WEBVTT - The Terminator & Terminator 2: Judgment Day

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<v Speaker 1>On the Bell Cast, the questions asked if movies have

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<v Speaker 1>women in them? Are all their discussions just boyfriends and husbands?

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<v Speaker 1>Do they have individualism? The patriarchy? Zef invest start changing

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<v Speaker 1>it with the beck Del Cast. Hello and welcome to

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<v Speaker 1>the Bechdel Cast. My name is Caitlin Darante and my

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<v Speaker 1>name is Jamie Loftuz. Happy three year anniversary, Jamie. I

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<v Speaker 1>know this is so exciting. It doesn't feel like it's

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<v Speaker 1>been that long. But it also it's been like the

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<v Speaker 1>weirdest three years in the history of the country, so

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<v Speaker 1>it also feels like forever true congratulations, congratulations to you.

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<v Speaker 1>Here we are. We just got fished. Talk us. We

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<v Speaker 1>just all still a vista babies least bitch now this

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<v Speaker 1>sweet we neo lived in We did it so today.

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<v Speaker 1>That is why it's just the two of us, just

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<v Speaker 1>the two of us. We're doing a little celebratory three

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<v Speaker 1>year anniversary episode. We got our fish tacos. We watched

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<v Speaker 1>two movies, not one, and I'm excited about it. Yes,

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<v Speaker 1>So before we jump in, just the regular biz out

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<v Speaker 1>of the way. Oh yeah, what is the podcast? What

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<v Speaker 1>is who are we? What have we been doing for

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<v Speaker 1>three years? Good Lord? Honestly, existential couldn't tell you. Well.

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<v Speaker 1>This is our podcast about the portrayal of women in movies. Uh,

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<v Speaker 1>and it is based around or As a jumping off

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<v Speaker 1>point for our discussion, we use the Bechtel test, Yes,

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<v Speaker 1>sometimes called the Bectel Wallace test. Absolutely, and that is

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<v Speaker 1>of course a media metric developed by cartoonists Alison Bechtel

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<v Speaker 1>that requires that two female identifying characters in a movie

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<v Speaker 1>have to have names, they have to talk to each

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<v Speaker 1>other about something other than a man for at least

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<v Speaker 1>two lines. By our standards, are are relatively low standards changed,

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<v Speaker 1>it's time to I mean, it's the tricky as if

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<v Speaker 1>we demand more nothing from that exactly. Oh what a nightmare.

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<v Speaker 1>You know, maybe we should have gone. It would be

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<v Speaker 1>funny if we were, like, I think you start a

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<v Speaker 1>feminist movie podcast or James Cameron fan podcast. This episode

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<v Speaker 1>would have a little bit of a James Cameron is

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<v Speaker 1>was it was going multitudes going on with that person.

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<v Speaker 1>We're talking about Terminators today because the new one just

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<v Speaker 1>came out about a month ago. I I did not

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<v Speaker 1>see it. I saw it, and I have a little

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<v Speaker 1>bit to say so, so if you haven't seen it yet,

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<v Speaker 1>I'll give us spoiler warning a spoiler warning, but we'll

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<v Speaker 1>talk about that a little later on. But these are

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<v Speaker 1>some of my favorite movies, which is why I insisted

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<v Speaker 1>that we do them. So what is it? What is

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<v Speaker 1>your history with the Terminator franchise? And like these two specifically,

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<v Speaker 1>by the way, we're coming the Terminator and Terminator to

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<v Speaker 1>Judgment Day. Correct. I saw them both when I was

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<v Speaker 1>sixteen years old. Yes, because my family owned not unlike

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<v Speaker 1>the James Cameron Titanic two VHS tapes, did they sell

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<v Speaker 1>it in a bundle? Yes, so my family had the

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<v Speaker 1>T one and T two VHS bundle box set and

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<v Speaker 1>they were in my house for a few years, but

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<v Speaker 1>I just didn't pay them any mind. And then one

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<v Speaker 1>day I was like, I'm sixteen years old, It's time

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<v Speaker 1>for me to watch Terminator and Passage. And I watched

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<v Speaker 1>them both on the same day, back to back, and

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<v Speaker 1>I loved them, especially T two, which is I think

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<v Speaker 1>widely considered the favorite the better movie, although there I

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<v Speaker 1>I met a number of people who like Terminator one better. Uh,

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<v Speaker 1>and I think they're silly, but also, you know, to

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<v Speaker 1>each of them, but yeah, I would I would rank

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<v Speaker 1>T two among my like top ten favorite movies of

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<v Speaker 1>all time. But to this day I love that movie particularly,

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<v Speaker 1>and just I mean, well, okay, so then I saw

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<v Speaker 1>those and I was like, I guess I'm a huge

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<v Speaker 1>Terminator fan now, so I have been for you know,

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<v Speaker 1>going on fifteen plus years. I saw a Terminator three

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<v Speaker 1>Rise of the Machines in theaters. It was terrible bad.

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<v Speaker 1>I saw a Terminator Salvation in theaters it was like fine,

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<v Speaker 1>but I never felt the need to watch it again.

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<v Speaker 1>Skipped Terminator Genesis and Denis Connor. Right, yeah, but then

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<v Speaker 1>I did see Terminator Dark Fate on opening day. Okay,

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<v Speaker 1>what's your history, Jamie. Nothing. I didn't care about him, honestly,

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<v Speaker 1>not crazy about him. Now. I liked T Too a

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<v Speaker 1>lot from a feminist perspective. There's a lot about T

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<v Speaker 1>two in particular to love. I love watching Sarah Connor

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<v Speaker 1>kick ass. It's just not if you've been listening to

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<v Speaker 1>the podcast, this is never going to be a movie

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<v Speaker 1>that appeals to me. I don't like eighties blockbusters in general.

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<v Speaker 1>I get dragged in the reviews sometimes and I have

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<v Speaker 1>this to say, sorry for being so fucking young. No,

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<v Speaker 1>I just I've never seen these before. Prepping for this

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<v Speaker 1>episode because I intuited that they were not for me,

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<v Speaker 1>and that was generally true. I think that there's a

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<v Speaker 1>lot of cool stuff to talk about, though, I am,

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<v Speaker 1>I'm I'm excited to talk about it, but especially like

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<v Speaker 1>Terminator one in particular, I'm just like, I mean, it's

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<v Speaker 1>the effects are pretty of the time, just like the

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<v Speaker 1>Stinth score that's happening. I mean, it's fun, it's fun,

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<v Speaker 1>but it's like pretty silly, I like respect to place

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<v Speaker 1>in history and all that, and it is kind of

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<v Speaker 1>cool from like a filmmaking perspective to see like a

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<v Speaker 1>movie that clearly was not being set up to have

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<v Speaker 1>a sequel, then have a sequel and have a sequel

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<v Speaker 1>piece so much better because I feel like that very

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<v Speaker 1>rarely happened through And also stuff for Paddington too, of course,

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<v Speaker 1>but like I mean, of course, I mean those are

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<v Speaker 1>the two major majorally cited one, T one and T

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<v Speaker 1>two and P one and P two and depending on

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<v Speaker 1>who you are, the Cheetah girls. Uh yeah, no, I

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<v Speaker 1>I just never gotten around to seeing it, and you

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<v Speaker 1>know now I can't say that anymore. And that's my

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<v Speaker 1>history with the Terminator franchise. I'm not going to see

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<v Speaker 1>the new one because I have to go see Parasite

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<v Speaker 1>five more times. Of course. Yeah, well should we dive

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<v Speaker 1>into the recap? Yeah, let's do it. Okay, So i'll

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<v Speaker 1>and I'll do my best to do a more condensed

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<v Speaker 1>version of the recap than usual for both movies, since

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<v Speaker 1>we are covering two. So if, if, if things aren't

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<v Speaker 1>as through as you like. Um, we do have to

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<v Speaker 1>remind you after three years, it is still a free podcast.

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<v Speaker 1>We've been very defensive lately. I mean, honestly, people are

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<v Speaker 1>coming at us more and more like read a book.

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<v Speaker 1>I'm like, Uh, we were not really required to read

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<v Speaker 1>a book. First of all, we have never purported to

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<v Speaker 1>have read a book. True, and we never will nor would. Wait. Okay,

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<v Speaker 1>so the Terminator four, But we open in Los Angeles

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<v Speaker 1>ever heard of it? In nine? It's a post apocalyptic wasteland.

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<v Speaker 1>Little did they know that we were not even going

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<v Speaker 1>to survive until yeah, or that might actually be the

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<v Speaker 1>last year. Maybe they were right anyways, true yeah, yeah,

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<v Speaker 1>but there's a war happening between humans and machines. Then

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<v Speaker 1>we cut back to l A. In four, two people

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<v Speaker 1>show up out of thin air. One of them is

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<v Speaker 1>Arnold Schwarzenegger, who is a terminator who has been sent

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<v Speaker 1>back in time to kill Sarah Connor. And you see

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<v Speaker 1>his butt, you see use but you see that. I

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<v Speaker 1>mean the newddy choices in this movie are I think

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<v Speaker 1>very interesting. True, there's more male nudity than female duty

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<v Speaker 1>than never happens. The other is Kyle Reese, a soldier

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<v Speaker 1>from the Human Resistance in the future who is sent

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<v Speaker 1>back to protect Sarah Connor. Uh. Then we meet Sarah Connor.

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<v Speaker 1>She is a young woman. She works as a server,

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<v Speaker 1>but the reason she's being targeted by the Terminator is

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<v Speaker 1>because she is the mother of John Connor, the leader

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<v Speaker 1>of the Human Resistance in the war against the Machines

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<v Speaker 1>in the future, which is good because we all know

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<v Speaker 1>that the value of a woman is ascribed to whose

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<v Speaker 1>mother she is. Right, Oh, yes, we'll talk all about that. Um.

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<v Speaker 1>And the Machines figure out that if they can go

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<v Speaker 1>back in time and kill John Connor's mother, then they

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<v Speaker 1>won't have to deal with John Connor. So both Reese

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<v Speaker 1>and the Terminator get their hands on some guns and

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<v Speaker 1>then they go to try to find Sarah. The Terminator

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<v Speaker 1>starts killing every Sarah Connor in the phone book, and

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<v Speaker 1>then he goes to kill Sarah at home, only she's

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<v Speaker 1>not home, but her roommate Ginger is, and the terminator

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<v Speaker 1>kills her thinking it's Sarah, right right after she has

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<v Speaker 1>sex because it's the eighties, right, because women who have

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<v Speaker 1>sex in a you know, scary movie have to die.

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<v Speaker 1>But again, at least the man dies as well. True. Meanwhile,

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<v Speaker 1>the deaths of these other Sarah Connors are being reported

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<v Speaker 1>on on the news and Sarah here's about it, so

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<v Speaker 1>naturally she starts freaking out. And also at this time,

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<v Speaker 1>Sarah notices that this dude is stalking her. It's Reese,

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<v Speaker 1>but she assumes that it's the guy who's been killing

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<v Speaker 1>these other Sarah Connors. Well, but as we know, Caitlin,

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<v Speaker 1>the guy who is talking you actually is your husband,

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<v Speaker 1>is your baby daddy is? I think there's a lot

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<v Speaker 1>of good lessons right at the top. So then the

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<v Speaker 1>terminator figures out where Sarah is and he goes to

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<v Speaker 1>kill her, but Reese intercepts him and saves Sarah by

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<v Speaker 1>shooting the terminator. Except it's really hard to kill terminators,

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<v Speaker 1>so he gets back up and keeps chasing them, and

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<v Speaker 1>then Reese is like Sarah, come with me if you

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<v Speaker 1>want to live. So they escape, and Sarah's like, what

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<v Speaker 1>the fuck? Who are you? What's going on, which in

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<v Speaker 1>fair legitimate questions, and Reese explains everything that I explained

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<v Speaker 1>just a moment ago, including how the Terminator is a

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<v Speaker 1>cyborg right armored alloy endoskeleton underneath living human tissue. There's

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<v Speaker 1>a lot of this movie that is just things being

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<v Speaker 1>explained to a woman, the alleged protagonist of the movie,

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<v Speaker 1>and also that this Terminator will not stop until Sarah

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<v Speaker 1>Connor is dead. He also explains the nuclear war that

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<v Speaker 1>will take place a few years from now, that the

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<v Speaker 1>machine started because they became artificially intelligent, and more about

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<v Speaker 1>that in Terminator Too. Oh. Meanwhile, the Terminator is still

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<v Speaker 1>chasing them, and he has terminator vision, so he's very

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<v Speaker 1>god finding them great. It's given it's like target detected

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<v Speaker 1>and where it's like computer enhanced and hands some great

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<v Speaker 1>hack for sure. And then there's a car chase, a crash,

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<v Speaker 1>and then Sarah and Reese are taken into police custody

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<v Speaker 1>and a criminal psychologist, Dr Silberman talks to them and everyone,

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<v Speaker 1>based on the information that Reese gives thinks that Reese

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<v Speaker 1>is crazy because he's claiming to be a time traveler

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<v Speaker 1>from the future who was sent back to stop a

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<v Speaker 1>cyborg from killing Sarah. Right, So they're like, he is delusional,

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<v Speaker 1>and she is also not sure at this point whether

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<v Speaker 1>she believes him either. Right. And then the Terminator shows

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<v Speaker 1>up at the police station and we get the famous

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<v Speaker 1>I'll be back line and he kills several of the

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<v Speaker 1>police officers, but Reese manages to get loose. He and

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<v Speaker 1>Sarah escape again, and Reese tells Sarah he's like, by

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<v Speaker 1>the way, my name is Kyle. And then we realize

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<v Speaker 1>that there's Kyle visibility in this movie. I know, you're like, Wow,

0:12:09.360 --> 0:12:13.439
<v Speaker 1>we're really making space for Kyle's here. I mean, shout

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<v Speaker 1>out to all our Kyle fans on it, but also like,

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<v Speaker 1>take a good long look at the mirror. Um okay.

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<v Speaker 1>So then they go to a motel and Reese makes

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<v Speaker 1>some bombs to try to kill the terminator with, and

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<v Speaker 1>then he makes the love and then he makes them

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<v Speaker 1>love in what I am so excited to describe later

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<v Speaker 1>it's it's James Cameron's Pervy Corner. Oh, we're going to

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<v Speaker 1>read the script. I'm so thrilled I can't wait. Oh,

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<v Speaker 1>it's disgusting. So then the terminator finds them again, and

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<v Speaker 1>there's another chase scene in a big explosion which melts

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<v Speaker 1>off the terminators like fleshy exterior hot hot literally and figuratively,

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<v Speaker 1>and he chases Sarah and Reese through what I think

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<v Speaker 1>like a robotics factory, some kind of factory and it

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<v Speaker 1>looks expensive. Yeah, Reese gets killed, and then Sarah finally

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<v Speaker 1>crushes the terminator in a hydraulic press and then she

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<v Speaker 1>said terminated. Fucker. We're like, we're like, whoa, she got

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<v Speaker 1>to do something made you wait to the end. But uh.

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<v Speaker 1>And then we cut to a few months later and

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<v Speaker 1>she is gregnant. She is greek net as heck with

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<v Speaker 1>her son John Greg greg Connor. I mean, wouldn't have

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<v Speaker 1>killed them to call him greg wouldn't have. Wouldn't have

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<v Speaker 1>because Kyle Reee made her gregnant. He Greek nodded her

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<v Speaker 1>the yeah for one one shot Kyle over there. Really

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<v Speaker 1>fertile guy that Kyle or her, I mean, I guess

0:13:50.160 --> 0:13:53.440
<v Speaker 1>we don't know. Maybe they're both very fertile group effort

0:13:53.760 --> 0:13:58.800
<v Speaker 1>after all. And then we see her recording what's basically

0:13:58.800 --> 0:14:04.480
<v Speaker 1>a podcast, her for her son, her son John Greg

0:14:04.520 --> 0:14:10.280
<v Speaker 1>greg and that is the end of that movie. Now

0:14:10.400 --> 0:14:16.760
<v Speaker 1>for Terminator to Judgment Day, which is another biblical reference.

0:14:16.800 --> 0:14:21.480
<v Speaker 1>Inside of what we can't deny is the fourteen bajiliant

0:14:21.680 --> 0:14:25.640
<v Speaker 1>Christ narrative trying to not be a Christ narrative. That's

0:14:25.720 --> 0:14:28.080
<v Speaker 1>very true. But until you said that earlier, when we

0:14:28.080 --> 0:14:31.040
<v Speaker 1>were watching T two, it had never crossed my mind

0:14:31.040 --> 0:14:33.400
<v Speaker 1>that this was a Christ narrative. I feel like it's

0:14:33.440 --> 0:14:35.520
<v Speaker 1>because I'm just seeing it though, Like if I had

0:14:35.520 --> 0:14:37.520
<v Speaker 1>seen it when I was young, I wouldn't have. But

0:14:37.600 --> 0:14:40.600
<v Speaker 1>now I'm just I'm so sickly. Even movies I'm loving

0:14:40.720 --> 0:14:44.160
<v Speaker 1>right now are still about fathers and sons. I'm so

0:14:44.280 --> 0:14:46.480
<v Speaker 1>I love Parasite. I'll see it a million times. It's

0:14:46.520 --> 0:14:49.000
<v Speaker 1>not even the spoiler. It's a father and son joint.

0:14:49.200 --> 0:14:53.600
<v Speaker 1>You're just like, I've just we get it. It's complicated

0:14:53.720 --> 0:14:57.920
<v Speaker 1>for you guys. There's been a I just whatever, it's

0:14:57.960 --> 0:15:01.720
<v Speaker 1>a father and son. And then this, yeah, I mean

0:15:01.800 --> 0:15:06.160
<v Speaker 1>for T two especially. So we open with some more

0:15:06.240 --> 0:15:11.200
<v Speaker 1>shots of l A nine being a post apocalyptic wasteland.

0:15:11.800 --> 0:15:15.760
<v Speaker 1>Sarah Connor's voiceover kicks in saying that three billion lives

0:15:15.920 --> 0:15:22.080
<v Speaker 1>ended on August. That's some like four ship some snappy

0:15:22.240 --> 0:15:28.960
<v Speaker 1>snappy snappy the finger. Oh no, I'm Sanos. I wouldn't

0:15:29.560 --> 0:15:31.680
<v Speaker 1>not to brag, but I'm fucking cool and I don't

0:15:31.720 --> 0:15:36.880
<v Speaker 1>see those movies. Well I'm cool and I do see them.

0:15:36.800 --> 0:15:41.520
<v Speaker 1>Mr Thanos and his little glovy. Yes, but this time

0:15:43.240 --> 0:15:47.760
<v Speaker 1>is Skynet, which is the name of my external hard drive.

0:15:47.800 --> 0:15:51.960
<v Speaker 1>I named it Skynet. Really, there's also a real Skynet now,

0:15:52.000 --> 0:15:55.000
<v Speaker 1>like there's a government project called Skynet, which yikes, I

0:15:55.120 --> 0:16:00.920
<v Speaker 1>hate anyway, So August nine is with has been deemed

0:16:01.080 --> 0:16:05.000
<v Speaker 1>Judgment Day from the people in the future because of

0:16:05.040 --> 0:16:08.480
<v Speaker 1>this nuclear attack that was initiated by the machines. Right,

0:16:08.680 --> 0:16:10.960
<v Speaker 1>So then we cut back to I think it's either

0:16:11.080 --> 0:16:15.040
<v Speaker 1>ninety five. I think it is. Wait, let me check,

0:16:15.120 --> 0:16:19.000
<v Speaker 1>because I think it maybe for some reason, is when

0:16:19.080 --> 0:16:22.280
<v Speaker 1>Judgment Day happens. It's a few years before that. Okay,

0:16:22.320 --> 0:16:26.280
<v Speaker 1>never mind, it's and two people show up out of

0:16:26.280 --> 0:16:30.720
<v Speaker 1>thin air again. One of them is Arnold Schwarzenegger and

0:16:30.840 --> 0:16:35.120
<v Speaker 1>he's bad to the bone. Oh my god. Yeah, and

0:16:35.160 --> 0:16:37.800
<v Speaker 1>then we're like, okay, we know this scene was done

0:16:37.840 --> 0:16:45.000
<v Speaker 1>better in the Parent Trap, but nice effort. Jimmy Cams

0:16:45.120 --> 0:16:49.120
<v Speaker 1>and then the other person is Robert Patrick from Spy

0:16:49.240 --> 0:16:53.240
<v Speaker 1>Kids Fame, his best known role. That's all we care

0:16:53.520 --> 0:16:56.600
<v Speaker 1>that he's done, yes, And both of them are trying

0:16:56.640 --> 0:16:59.520
<v Speaker 1>to reach young John Connor. One of them is trying

0:16:59.520 --> 0:17:02.239
<v Speaker 1>to kill him and one is trying to protect him.

0:17:02.360 --> 0:17:08.800
<v Speaker 1>Greg Greg Sorry, So Greg Connor has been living in

0:17:08.880 --> 0:17:11.920
<v Speaker 1>foster care for the past few years because his mom,

0:17:12.160 --> 0:17:16.000
<v Speaker 1>Sarah Connor ever heard of her, has been in a

0:17:16.080 --> 0:17:20.159
<v Speaker 1>psychiatric hospital because everyone thinks she is delusional when she

0:17:20.240 --> 0:17:24.199
<v Speaker 1>talks about Judgment Day and time traveling killer cyborgs, and

0:17:24.240 --> 0:17:26.760
<v Speaker 1>she's trying to escape a number of times. Uh, And

0:17:26.800 --> 0:17:28.920
<v Speaker 1>it seems like she's gotten close, but they keep putting

0:17:28.960 --> 0:17:31.080
<v Speaker 1>her under more and more surveillance, and so now she's

0:17:31.080 --> 0:17:34.680
<v Speaker 1>focused on getting very very strong, right, she's doing pull

0:17:34.800 --> 0:17:40.920
<v Speaker 1>up pull ups. Doctor Body Dr Silberman from the first

0:17:40.920 --> 0:17:43.520
<v Speaker 1>movie is there and he's the one who's like she

0:17:43.800 --> 0:17:47.679
<v Speaker 1>is like under his supervision. Um. Then we cut two

0:17:47.960 --> 0:17:53.119
<v Speaker 1>Cyberdyne systems where this dude, Miles Dyson is using technology

0:17:53.200 --> 0:17:56.560
<v Speaker 1>from the terminator that Sarah Connor crushed in the first

0:17:56.600 --> 0:18:03.439
<v Speaker 1>movie to develop other technology. Meanwhile, John Greg Connor Greg

0:18:04.119 --> 0:18:09.720
<v Speaker 1>is at a greg. He is at a shopping mall

0:18:09.800 --> 0:18:12.879
<v Speaker 1>which may or may not be the Glendelle Gallerria. We

0:18:12.960 --> 0:18:16.320
<v Speaker 1>don't know, Headcannon, it's the Glendale Galleria, and we're like,

0:18:16.359 --> 0:18:21.280
<v Speaker 1>go across the street to the Americana right good side? Yeah, um,

0:18:21.320 --> 0:18:23.520
<v Speaker 1>And the two guys who showed up in the beginning

0:18:23.560 --> 0:18:25.760
<v Speaker 1>are both after him. And just when you think Arnold

0:18:25.800 --> 0:18:31.679
<v Speaker 1>Schwarzenegger is the bad Terminator again psych he's the protector.

0:18:32.400 --> 0:18:34.800
<v Speaker 1>He's a nice one. The first time I saw this

0:18:34.840 --> 0:18:37.000
<v Speaker 1>when I was sixteen years old, I was like, oh,

0:18:37.119 --> 0:18:43.000
<v Speaker 1>my fucking good one. And he's but he's like he

0:18:43.160 --> 0:18:46.159
<v Speaker 1>pulls the gun out of the box of roses and

0:18:46.160 --> 0:18:48.280
<v Speaker 1>then he sticks on the rose and you think he's

0:18:48.280 --> 0:18:51.960
<v Speaker 1>going to kill John Connor, but just kidding. He saves him.

0:18:52.000 --> 0:18:55.200
<v Speaker 1>So that means the other guy is the bad Terminator

0:18:55.800 --> 0:18:59.359
<v Speaker 1>and he is a T one thousand, a more advanced

0:18:59.400 --> 0:19:03.080
<v Speaker 1>model Arnold that he can turn into like animorphus goop.

0:19:04.520 --> 0:19:06.639
<v Speaker 1>Doesn't it look like he looks like an animal, like

0:19:06.680 --> 0:19:09.199
<v Speaker 1>if animals had a way bigger. But I'm guessing that's

0:19:09.200 --> 0:19:11.280
<v Speaker 1>why animals was ripping off, like they were trying to

0:19:11.320 --> 0:19:13.720
<v Speaker 1>do that effect. Did you ever watch animal didn't know

0:19:13.880 --> 0:19:15.879
<v Speaker 1>it was a TV show about kids that could remember

0:19:15.880 --> 0:19:18.520
<v Speaker 1>the books. Yeah, and they would turn into like Silver

0:19:18.640 --> 0:19:21.560
<v Speaker 1>Group and they're like, I'm an well now kind of

0:19:21.560 --> 0:19:26.080
<v Speaker 1>reminded me of that. Yeah, he's made of like liquid

0:19:26.160 --> 0:19:29.480
<v Speaker 1>metal and he can shape shift and then also like

0:19:29.560 --> 0:19:32.280
<v Speaker 1>turn his arms into swords. It kind of looks like

0:19:32.280 --> 0:19:35.280
<v Speaker 1>a screen saver too, the way that the liquid metal looks.

0:19:35.359 --> 0:19:38.120
<v Speaker 1>It looks like an old screen saver, right, I mean

0:19:38.200 --> 0:19:42.840
<v Speaker 1>it's like c G I, which was like just the

0:19:42.960 --> 0:19:45.159
<v Speaker 1>very beginning of c G I, but it's like it's

0:19:45.200 --> 0:19:48.639
<v Speaker 1>pretty Yeah, No, it's cool. I mean, even like seeing

0:19:48.960 --> 0:19:52.960
<v Speaker 1>the guys shape shift between different people and into Google

0:19:53.040 --> 0:19:56.440
<v Speaker 1>like it is, it still looks scary. Yeah, and then

0:19:56.760 --> 0:20:05.280
<v Speaker 1>John Connor is like, hey, Arnold, ha, we gotta go

0:20:05.359 --> 0:20:09.680
<v Speaker 1>get my mom. So they drive and go to pick

0:20:09.760 --> 0:20:12.720
<v Speaker 1>up Sarah Connor, but she's already like halfway escaped from

0:20:12.800 --> 0:20:16.040
<v Speaker 1>the hospital. In a scene that I now realize kill

0:20:16.119 --> 0:20:20.359
<v Speaker 1>Bill is very much ripping off potentially, Um, I feel

0:20:20.359 --> 0:20:23.400
<v Speaker 1>like there's no way. I mean, it's like Quentin Tarantino's

0:20:23.480 --> 0:20:27.439
<v Speaker 1>Saw Terminator too, like because there's i mean, the beats

0:20:27.440 --> 0:20:31.720
<v Speaker 1>are pretty close to identical where it's Sarah Connor. I mean,

0:20:31.880 --> 0:20:34.720
<v Speaker 1>what happens to Uma Thurman's character is like a more

0:20:34.800 --> 0:20:39.399
<v Speaker 1>severe assault, but she's assaulted while she's unconscious. She comes

0:20:39.440 --> 0:20:42.720
<v Speaker 1>to and she kills everyone in the hospital or you know,

0:20:42.840 --> 0:20:46.760
<v Speaker 1>injures them beyond and and then is able to escape. Yeah. True,

0:20:46.800 --> 0:20:50.280
<v Speaker 1>it's exciting. So yeah, she's she's well on her way

0:20:50.320 --> 0:20:54.000
<v Speaker 1>to escaping. But then she sees Arnold, who she thinks

0:20:54.000 --> 0:20:56.960
<v Speaker 1>it's still a bad terminator, but her son John Slash

0:20:56.960 --> 0:20:59.760
<v Speaker 1>Gregg is like, no, he's good. Now can you imagine

0:20:59.760 --> 0:21:03.439
<v Speaker 1>the e T S. D of It's got to be

0:21:03.640 --> 0:21:05.640
<v Speaker 1>a lot to hear. There's a lot. I mean, well,

0:21:05.680 --> 0:21:08.680
<v Speaker 1>we'll talk about that. But the thought about that. Arnold says,

0:21:08.840 --> 0:21:10.640
<v Speaker 1>come with me if you want to live, and that's

0:21:10.720 --> 0:21:13.639
<v Speaker 1>the same thing that Kyle Reyes said to her. So

0:21:13.680 --> 0:21:16.200
<v Speaker 1>she's like, I guess I got my boyfriend said that,

0:21:16.520 --> 0:21:19.680
<v Speaker 1>who I still love. I guess it's okay. So they

0:21:19.680 --> 0:21:21.680
<v Speaker 1>all meet up and then they get the hell out

0:21:21.680 --> 0:21:24.560
<v Speaker 1>of there and they go and gather some weapons, and

0:21:24.560 --> 0:21:27.560
<v Speaker 1>then Sarah goes after Miles Dyson, thinking that if she

0:21:27.680 --> 0:21:31.880
<v Speaker 1>kills him, she can prevent the impending war. He's doing

0:21:31.920 --> 0:21:34.600
<v Speaker 1>all the work to create what will eventually become Skynett.

0:21:34.920 --> 0:21:36.800
<v Speaker 1>This is one of my favorite moments in the movie

0:21:36.800 --> 0:21:39.399
<v Speaker 1>because I wasn't sure where this moment is going to go,

0:21:39.600 --> 0:21:44.080
<v Speaker 1>and end up being pretty cool, right, because she can't

0:21:44.080 --> 0:21:48.000
<v Speaker 1>bring herself to kill him because she's not a terminator

0:21:48.080 --> 0:21:52.320
<v Speaker 1>after all. She's wait for it, a mother, a mother

0:21:52.960 --> 0:21:55.680
<v Speaker 1>because she's in front of his family and so forth, right,

0:21:55.960 --> 0:22:02.359
<v Speaker 1>so instead she John, Arnold Miles go to Cyberdyne and

0:22:02.400 --> 0:22:06.800
<v Speaker 1>they destroy all of Miles Dyson's work on Skynet. Miles

0:22:06.880 --> 0:22:09.359
<v Speaker 1>ends up being like a hero. Yeah, yes, and I

0:22:09.400 --> 0:22:11.040
<v Speaker 1>hate that he has to die, and we'll talk about

0:22:11.080 --> 0:22:14.400
<v Speaker 1>that as well. But the cops show up and then

0:22:14.640 --> 0:22:17.920
<v Speaker 1>Bad Terminator shows up and there's a big chase and

0:22:18.119 --> 0:22:21.960
<v Speaker 1>they end up in this steel mill and there's like

0:22:22.000 --> 0:22:26.240
<v Speaker 1>the fun liquid nitrogen slash, like bad Terminator gets frozen

0:22:26.920 --> 0:22:32.159
<v Speaker 1>and Arnold's like, ah, still a Vista baby, but the

0:22:32.200 --> 0:22:34.919
<v Speaker 1>Bad Terminator melts himself back together, and then there's some

0:22:34.960 --> 0:22:39.840
<v Speaker 1>more fighting and it's long. It's quite long, um. But

0:22:39.880 --> 0:22:43.520
<v Speaker 1>then eventually they managed to kill the Bad Terminator and

0:22:43.560 --> 0:22:47.480
<v Speaker 1>melt him for good in the liquid steel and then

0:22:47.600 --> 0:22:50.280
<v Speaker 1>Arnold Terminator is like, hey, wait a minute. You have

0:22:50.320 --> 0:22:53.320
<v Speaker 1>to kill me too because my CPU chip has to

0:22:53.359 --> 0:22:57.120
<v Speaker 1>be destroyed. And it's sad because he's daddy. Now he's daddy. Now,

0:22:57.280 --> 0:22:59.800
<v Speaker 1>it's right. Greg can't catch a break and he's so

0:23:00.040 --> 0:23:04.159
<v Speaker 1>upset he watches his daddy go into lava. You're just like,

0:23:04.240 --> 0:23:10.359
<v Speaker 1>oh my god, what is poor Greg? Yes, um, hey, Jamie, Yeah.

0:23:10.640 --> 0:23:12.439
<v Speaker 1>I don't know if you noticed this in the movie,

0:23:12.560 --> 0:23:16.120
<v Speaker 1>but when they go to pick up Sarah Connor from

0:23:16.119 --> 0:23:19.520
<v Speaker 1>the hospital, there's a sign at some point that says

0:23:19.640 --> 0:23:24.400
<v Speaker 1>she's in Pascadero. That's a six hour That's like, there's

0:23:24.440 --> 0:23:27.800
<v Speaker 1>no need to think about how large California is. But

0:23:27.920 --> 0:23:31.359
<v Speaker 1>they're traveling in state. But that's not to say that

0:23:31.440 --> 0:23:34.439
<v Speaker 1>it isn't a very long voyage. And there's like, I

0:23:34.560 --> 0:23:38.879
<v Speaker 1>think something that Sarah Connor really could have used. Tell me,

0:23:38.920 --> 0:23:40.399
<v Speaker 1>what do you think it is? Well? I think this

0:23:40.480 --> 0:23:46.400
<v Speaker 1>is very graceful transition into talking about away suitcases. Away

0:23:46.920 --> 0:23:51.760
<v Speaker 1>Caitlin creates thoughtful products built for the way modern travelers

0:23:51.800 --> 0:23:55.960
<v Speaker 1>see the world, not those future duface is like Sarah

0:23:55.960 --> 0:24:00.160
<v Speaker 1>Connor people of now, they started with the perfect suits

0:24:00.200 --> 0:24:03.159
<v Speaker 1>and now they offer a range of essentials, all of

0:24:03.160 --> 0:24:07.119
<v Speaker 1>which would have made Sarah Connors travels more seamless. And

0:24:07.160 --> 0:24:09.720
<v Speaker 1>you think she'd know that, seeing as she's from the

0:24:09.760 --> 0:24:13.399
<v Speaker 1>near future. You would think you'd think, well, we have

0:24:13.520 --> 0:24:16.880
<v Speaker 1>some away suitcases. We got some, we got some. We've

0:24:17.000 --> 0:24:20.200
<v Speaker 1>used them recently. Recently we went to Denver for our

0:24:20.240 --> 0:24:23.639
<v Speaker 1>live shows and then I just used mine to go

0:24:23.680 --> 0:24:27.320
<v Speaker 1>across country to Boston and genuinely like, it's my new

0:24:27.480 --> 0:24:31.200
<v Speaker 1>prop suitcase for the show I travel with, because it's

0:24:31.240 --> 0:24:35.480
<v Speaker 1>just like I genuinely really I really enjoyed my away

0:24:35.520 --> 0:24:38.320
<v Speaker 1>suitcase and it's cute. I've never had one that had

0:24:38.359 --> 0:24:43.320
<v Speaker 1>like four wheels. Three sixty wheels are good. Yeah, before

0:24:43.320 --> 0:24:46.000
<v Speaker 1>I got my away suitcases, I was just like dragging

0:24:46.040 --> 0:24:50.400
<v Speaker 1>my old ones around the cotton or whatever, gravel, whatever.

0:24:50.920 --> 0:24:53.120
<v Speaker 1>But what we're trying to say here is that all

0:24:53.200 --> 0:24:56.320
<v Speaker 1>of the Way's suitcases are thoughtfully designed to last a

0:24:56.359 --> 0:25:00.960
<v Speaker 1>lifetime with They've got durable exterior shells. They can withstand

0:25:01.040 --> 0:25:05.600
<v Speaker 1>even the roughest and toughest of baggage handlers. The inside

0:25:05.680 --> 0:25:07.960
<v Speaker 1>is cool. It has like a bunch of different pockets

0:25:08.000 --> 0:25:11.560
<v Speaker 1>and a whole interior organization system. What I like is

0:25:11.600 --> 0:25:14.600
<v Speaker 1>that there's like compartments so that your shoes aren't going

0:25:14.640 --> 0:25:17.920
<v Speaker 1>to touch your stuff, and just like stuff I hadn't

0:25:17.960 --> 0:25:19.840
<v Speaker 1>even thought about, and I just was like, oh, I

0:25:19.840 --> 0:25:21.760
<v Speaker 1>guess my shoes will touch my stuff and I don't care.

0:25:21.880 --> 0:25:24.720
<v Speaker 1>But now I can care because you know, and you

0:25:24.760 --> 0:25:27.560
<v Speaker 1>can separate clean and dirty clothes. It's really nice. And

0:25:27.880 --> 0:25:31.160
<v Speaker 1>there's a t s A approved combo lock that keeps

0:25:31.160 --> 0:25:37.480
<v Speaker 1>your belonging safe. Caitlin, My combo is zero zero zero

0:25:38.080 --> 0:25:42.840
<v Speaker 1>zero for extra security, but you could make a real

0:25:42.880 --> 0:25:45.400
<v Speaker 1>one theoretically if you know how those sorts of things work.

0:25:45.600 --> 0:25:48.120
<v Speaker 1>You know what Jamie I do and I did, Oh wow,

0:25:48.680 --> 0:25:51.399
<v Speaker 1>but you're not going to discuss it. Well, I guess

0:25:51.640 --> 0:25:55.919
<v Speaker 1>woman's heart is a notion of secrets. Other things to know,

0:25:56.480 --> 0:25:59.240
<v Speaker 1>Away products are designed to last a lifetime. As we said,

0:25:59.560 --> 0:26:01.440
<v Speaker 1>so if any part of your sight case, every rags

0:26:01.480 --> 0:26:04.560
<v Speaker 1>always standout, customer service team will arrange to have it

0:26:04.600 --> 0:26:07.240
<v Speaker 1>fixed or replaced. We also didn't even mention that there's

0:26:07.240 --> 0:26:10.240
<v Speaker 1>a phone charger in the Away suitcase, which there's like

0:26:10.280 --> 0:26:13.680
<v Speaker 1>a little battery pack, portable battery pack. You can plug

0:26:13.720 --> 0:26:17.000
<v Speaker 1>your phone into it. It's it's a lifesaver. There's also

0:26:17.080 --> 0:26:20.200
<v Speaker 1>a one hundred day trial on everything that Away makes,

0:26:20.320 --> 0:26:22.760
<v Speaker 1>so you can take your product out on the road.

0:26:22.840 --> 0:26:25.560
<v Speaker 1>You can go to Pescadero from l A if you

0:26:25.600 --> 0:26:28.199
<v Speaker 1>want to. You can there in the future, which is

0:26:28.200 --> 0:26:33.080
<v Speaker 1>now our past, confusing, it's weird. You can go any

0:26:33.119 --> 0:26:37.280
<v Speaker 1>manner of places tested out, travel with it everything, and

0:26:37.320 --> 0:26:39.480
<v Speaker 1>if you decide it's not for you, you can return

0:26:39.640 --> 0:26:43.320
<v Speaker 1>any non personalized item for a full refund during that

0:26:43.359 --> 0:26:46.920
<v Speaker 1>one hundred day period, no ifs and or puts, and

0:26:47.200 --> 0:26:49.800
<v Speaker 1>they offer free shipping returns on any order within the

0:26:49.840 --> 0:26:54.920
<v Speaker 1>contiguous US, Europe, Canada, and Australia. So I truly and

0:26:55.080 --> 0:26:56.520
<v Speaker 1>my mom. The other day I saw my mom when

0:26:56.560 --> 0:26:59.119
<v Speaker 1>I was in Boston and she looked at my suitcase

0:26:59.359 --> 0:27:02.200
<v Speaker 1>and she was like, what is that? And I was like,

0:27:02.440 --> 0:27:05.240
<v Speaker 1>it's my new suitcase and I didn't use a brand name,

0:27:05.280 --> 0:27:07.600
<v Speaker 1>and she was like, I heard your podcast. Is that

0:27:07.640 --> 0:27:11.399
<v Speaker 1>In a way, So my mom's a listener and a

0:27:11.440 --> 0:27:13.640
<v Speaker 1>fan and she might actually get one. And the way

0:27:13.720 --> 0:27:16.040
<v Speaker 1>she's going to do it is with our special lapera

0:27:16.080 --> 0:27:19.520
<v Speaker 1>code for twenty dollars off in any suitcase or bag.

0:27:19.800 --> 0:27:22.200
<v Speaker 1>You want to be like my mom, visit away travel

0:27:22.320 --> 0:27:28.439
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0:27:28.480 --> 0:27:32.160
<v Speaker 1>that's twenty off any suitcase or bag. Visit away travel

0:27:32.240 --> 0:27:36.320
<v Speaker 1>dot Com slash TBC and use promo code TBC during

0:27:36.400 --> 0:27:39.200
<v Speaker 1>check out. All right, let's check in on Sarah Connor.

0:27:40.080 --> 0:27:42.720
<v Speaker 1>All right, well, I guess, I mean, there's there's a

0:27:42.720 --> 0:27:45.920
<v Speaker 1>lot to talk about here. It's so we're gonna attempt

0:27:45.960 --> 0:27:50.000
<v Speaker 1>to do a discussion that kind of spans both of

0:27:50.040 --> 0:27:52.640
<v Speaker 1>the movies, but we'll probably be clicking in and out.

0:27:52.720 --> 0:27:56.280
<v Speaker 1>Bear with us, Sarah. I mean, Sarah Connor obviously is

0:27:56.320 --> 0:28:01.000
<v Speaker 1>the main character worth discussing, and she's fortune, I mean,

0:28:01.080 --> 0:28:03.480
<v Speaker 1>I would say the best remembered character from the movie,

0:28:03.480 --> 0:28:07.320
<v Speaker 1>even though Arnold is also I don't know, maybe they're tied. No, definitely,

0:28:07.400 --> 0:28:11.960
<v Speaker 1>Arnold is far more. Really, god damn it, they're the

0:28:12.000 --> 0:28:14.760
<v Speaker 1>second one ends up being a lot more than right

0:28:14.800 --> 0:28:16.959
<v Speaker 1>out there. And then she also she also got her

0:28:17.000 --> 0:28:20.359
<v Speaker 1>own TV series, The Sarah Connor Chronicles, which I admittedly

0:28:20.440 --> 0:28:23.919
<v Speaker 1>never watched. Well, Caitly and you're canceled. I mean, like

0:28:23.960 --> 0:28:25.960
<v Speaker 1>the fact that like Arnold is on the poster for

0:28:26.040 --> 0:28:30.560
<v Speaker 1>both movies, like that string shows like who's potentially the

0:28:30.600 --> 0:28:35.520
<v Speaker 1>more valued character in this franchise, but Sarah Connor for

0:28:35.600 --> 0:28:39.560
<v Speaker 1>our purposes, she's by far the most right. But but

0:28:39.800 --> 0:28:42.880
<v Speaker 1>I think it is kind of fascinating to watch how

0:28:43.000 --> 0:28:47.680
<v Speaker 1>she is treated differently in both movies. I think it's

0:28:47.840 --> 0:28:49.480
<v Speaker 1>it's like one of those cool things where you can

0:28:49.560 --> 0:28:52.320
<v Speaker 1>see kind of you know, like you can track the

0:28:52.360 --> 0:28:54.800
<v Speaker 1>growth of a filmmaker in the space of seven years,

0:28:54.800 --> 0:28:58.120
<v Speaker 1>you can track the growth of you would imagine society

0:28:58.240 --> 0:29:01.000
<v Speaker 1>a little bit in seven years where in the first

0:29:01.080 --> 0:29:05.160
<v Speaker 1>Terminator Sarah Connor, I think she's still more active than

0:29:05.280 --> 0:29:10.800
<v Speaker 1>a lot of female protagonists of but she's not extremely active.

0:29:11.360 --> 0:29:15.360
<v Speaker 1>She is cast as a mother and a love interest

0:29:15.800 --> 0:29:17.960
<v Speaker 1>for the most part until the very very very end.

0:29:18.760 --> 0:29:21.240
<v Speaker 1>She's not made out to look as particularly qualified, which

0:29:21.280 --> 0:29:23.719
<v Speaker 1>I think is like both one of the coolest and

0:29:24.080 --> 0:29:27.760
<v Speaker 1>most frustrating things about her character, because it feels like

0:29:27.760 --> 0:29:32.240
<v Speaker 1>the first movie, I feel like it's all about withholding information.

0:29:32.360 --> 0:29:35.000
<v Speaker 1>She doesn't have any of the information or skills she

0:29:35.120 --> 0:29:38.120
<v Speaker 1>needs to be an active participant in the first movie,

0:29:38.560 --> 0:29:41.080
<v Speaker 1>and then the second one is the total opposite. She

0:29:41.120 --> 0:29:44.120
<v Speaker 1>has most of the information and all of the skills

0:29:44.560 --> 0:29:47.400
<v Speaker 1>she needs to survive. So it's cool, It is cool

0:29:47.440 --> 0:29:50.560
<v Speaker 1>and I mean, as much as we get frustrated when

0:29:51.000 --> 0:29:55.560
<v Speaker 1>a female protagonist, like in an action franchise, isn't equipped

0:29:55.560 --> 0:29:57.880
<v Speaker 1>with like the skills and the information she would need

0:29:57.920 --> 0:30:01.600
<v Speaker 1>to have to be a total bad that also, right,

0:30:01.640 --> 0:30:04.200
<v Speaker 1>it makes sense at least in the first movie. Yeah,

0:30:04.240 --> 0:30:05.840
<v Speaker 1>I just I think that that's like one of those

0:30:05.880 --> 0:30:07.760
<v Speaker 1>things that it comes down to, like that was a

0:30:07.920 --> 0:30:12.480
<v Speaker 1>narrative choice to give her literally no information or I

0:30:12.560 --> 0:30:14.480
<v Speaker 1>just like that's one of those things where I wish,

0:30:14.520 --> 0:30:16.840
<v Speaker 1>like if she doesn't have the skills, I mean that

0:30:16.920 --> 0:30:19.280
<v Speaker 1>makes sense, she is an l a waitress, why would

0:30:19.280 --> 0:30:21.480
<v Speaker 1>she have these combat skills? But then at least give

0:30:21.480 --> 0:30:24.960
<v Speaker 1>her some information, give her something that doesn't mean that

0:30:25.000 --> 0:30:28.360
<v Speaker 1>she's going to have to go to like the whims

0:30:28.400 --> 0:30:31.200
<v Speaker 1>and be constantly needing. I don't know. I just feel

0:30:31.200 --> 0:30:34.640
<v Speaker 1>like in the first one, she never really has an

0:30:34.720 --> 0:30:37.160
<v Speaker 1>upper hand until the end, And I feel like that's

0:30:37.200 --> 0:30:40.320
<v Speaker 1>like a narrative issue, or it was for me, I

0:30:40.360 --> 0:30:43.520
<v Speaker 1>see what you're saying. And I might be like, because

0:30:43.520 --> 0:30:46.440
<v Speaker 1>I love these movies so much, like I it might

0:30:46.480 --> 0:30:51.640
<v Speaker 1>be difficult for me to like separate my feelings and yeah,

0:30:51.680 --> 0:30:53.600
<v Speaker 1>but like I don't know, like, yes, of course, it

0:30:53.640 --> 0:30:56.800
<v Speaker 1>wouldn't make any sense for her to have combat training,

0:30:57.480 --> 0:31:00.440
<v Speaker 1>and why would she have information about the future. But

0:31:00.480 --> 0:31:02.640
<v Speaker 1>like then like Kyle Ree's like gives her a lot

0:31:02.680 --> 0:31:05.680
<v Speaker 1>of information. Yeah, but that's her stuff. But that's what

0:31:05.720 --> 0:31:09.880
<v Speaker 1>I'm saying is like she there's nothing she can tell him,

0:31:09.920 --> 0:31:11.560
<v Speaker 1>you know, you know what I mean. Like, I feel

0:31:11.560 --> 0:31:14.640
<v Speaker 1>like it wouldn't have like made the concept of the

0:31:14.680 --> 0:31:17.760
<v Speaker 1>movie work less if she even at one point in

0:31:17.800 --> 0:31:20.200
<v Speaker 1>the movie had information that he didn't. I was able

0:31:20.240 --> 0:31:23.160
<v Speaker 1>to move the plot forward, Like if she was like, hey,

0:31:23.200 --> 0:31:25.840
<v Speaker 1>there's a blockbuster around the corner that we can hide

0:31:25.840 --> 0:31:30.120
<v Speaker 1>in four and you don't know what blockbuster is even

0:31:30.240 --> 0:31:35.160
<v Speaker 1>like goofy four knowledge that could come into Like I

0:31:35.240 --> 0:31:37.720
<v Speaker 1>just I was fresh because usually I feel like most

0:31:37.800 --> 0:31:41.400
<v Speaker 1>movies will toss you a bone of like something of

0:31:41.440 --> 0:31:44.440
<v Speaker 1>like I mean, obviously, you know she sort of becomes

0:31:44.480 --> 0:31:47.600
<v Speaker 1>the fish out of water in her own world, but

0:31:48.040 --> 0:31:51.080
<v Speaker 1>you know, there's usually something and so I was kind

0:31:51.120 --> 0:31:53.560
<v Speaker 1>of like, I see what you're saying, I misunderstood before.

0:31:53.560 --> 0:31:55.840
<v Speaker 1>But yeah, that yeah, that's a valid criticism for sure.

0:31:56.240 --> 0:32:01.880
<v Speaker 1>Another thing with her in Terminator one is that I mean, well,

0:32:01.920 --> 0:32:05.760
<v Speaker 1>I mean, my my issue with the Sarah Connor thing is.

0:32:06.240 --> 0:32:09.360
<v Speaker 1>I agree that she is a feminist icon, especially in

0:32:09.480 --> 0:32:13.680
<v Speaker 1>T two. I love so much about her, but it

0:32:13.720 --> 0:32:17.800
<v Speaker 1>does like her whole. You know, she's she's in her twenties,

0:32:17.960 --> 0:32:21.480
<v Speaker 1>she's in nineteen. She's nineteen fund the first movie, so

0:32:21.560 --> 0:32:25.720
<v Speaker 1>she's nineteen, but she's twenty eight because movies. But she's nineteen.

0:32:25.920 --> 0:32:28.120
<v Speaker 1>She's a waitress in l A, which you would imagine

0:32:28.280 --> 0:32:31.440
<v Speaker 1>she has some sort of creative aspiration. Movie has no

0:32:31.600 --> 0:32:34.760
<v Speaker 1>interest in why she's in l A, how she got there,

0:32:34.760 --> 0:32:37.240
<v Speaker 1>what her dreams are, what her goals are. Two men

0:32:37.280 --> 0:32:39.880
<v Speaker 1>show up and tell her this is what your life is.

0:32:40.280 --> 0:32:42.760
<v Speaker 1>You will give birth to this boy, and this is

0:32:42.920 --> 0:32:45.720
<v Speaker 1>and and and we only see her push back against

0:32:45.760 --> 0:32:49.600
<v Speaker 1>it one time, in that scene with Kyle, where she's like,

0:32:49.760 --> 0:32:51.640
<v Speaker 1>I can't even battle to checkbook, like I don't have

0:32:51.840 --> 0:32:55.480
<v Speaker 1>I can't be this like you know, military hero, I

0:32:55.480 --> 0:32:59.080
<v Speaker 1>can't be this terminator destroyer or whatever. And that's the

0:32:59.120 --> 0:33:01.560
<v Speaker 1>only time we see her stand up for herself about like, well,

0:33:01.560 --> 0:33:04.000
<v Speaker 1>what about what I want? What about my choices? Which

0:33:04.000 --> 0:33:06.920
<v Speaker 1>we haven't I'm trying to be an actor over here,

0:33:07.200 --> 0:33:11.040
<v Speaker 1>you would imagine trying to write audition for The for Aliens,

0:33:11.080 --> 0:33:13.640
<v Speaker 1>directed by James Cameron, has come out in two years.

0:33:13.640 --> 0:33:16.880
<v Speaker 1>I gotta get, I gotta get, I gotta start taking classes.

0:33:17.840 --> 0:33:20.400
<v Speaker 1>But the movie has I mean, it's and I and

0:33:20.480 --> 0:33:23.000
<v Speaker 1>I and I know that this is a critical part

0:33:23.080 --> 0:33:27.160
<v Speaker 1>of the movie working. But you know, it is a

0:33:27.200 --> 0:33:29.840
<v Speaker 1>young woman who two guys from the future show up

0:33:29.880 --> 0:33:32.640
<v Speaker 1>and say this is what your life is, and you

0:33:32.840 --> 0:33:35.360
<v Speaker 1>have to make this work. And she doesn't really have much.

0:33:35.600 --> 0:33:37.800
<v Speaker 1>The movie doesn't give her much space to say, no,

0:33:38.040 --> 0:33:40.680
<v Speaker 1>I get to decide what I do with my life. Yeah,

0:33:40.720 --> 0:33:42.720
<v Speaker 1>it's like, well, can I still moonlight as an actress?

0:33:42.720 --> 0:33:47.360
<v Speaker 1>In addition to that, that's the most frustrating thing about

0:33:47.400 --> 0:33:49.800
<v Speaker 1>this movie in particular. And then it carries over into

0:33:49.920 --> 0:33:53.360
<v Speaker 1>T two, but it becomes a little like it's so

0:33:53.440 --> 0:33:58.520
<v Speaker 1>much because like Sarah Connor is targeted because she's important,

0:33:58.560 --> 0:34:01.640
<v Speaker 1>but she's only in poor because she is the mother

0:34:02.200 --> 0:34:05.040
<v Speaker 1>of a man who is actually important to the resistance.

0:34:05.560 --> 0:34:09.480
<v Speaker 1>Because these movies can't envision a world where a woman

0:34:09.600 --> 0:34:14.120
<v Speaker 1>is important because she's the powerful resistance leader. They can

0:34:14.160 --> 0:34:16.400
<v Speaker 1>only see a world where a man would be in

0:34:16.440 --> 0:34:20.759
<v Speaker 1>that leadership role. And she's his mother, his mother, I mean,

0:34:20.800 --> 0:34:23.520
<v Speaker 1>and it's cool. It's so I mean, there is this

0:34:23.880 --> 0:34:26.760
<v Speaker 1>like and I know that we have to consider the

0:34:26.800 --> 0:34:30.439
<v Speaker 1>time that this came out in where it was. I mean,

0:34:30.760 --> 0:34:33.560
<v Speaker 1>for a long time, Sarah Connor was like about as

0:34:33.560 --> 0:34:36.360
<v Speaker 1>good as you could get for a female protagonist in

0:34:36.560 --> 0:34:41.640
<v Speaker 1>an action franchise. And for all the Jimmy Cammy issues

0:34:41.920 --> 0:34:44.239
<v Speaker 1>will bring up later, like, he was one of the

0:34:44.280 --> 0:34:47.600
<v Speaker 1>only directors that would prioritize that and for sure work.

0:34:47.920 --> 0:34:50.200
<v Speaker 1>So for all of its flaws, it definitely was progressive

0:34:50.239 --> 0:34:52.719
<v Speaker 1>for its time. But you do see, just kind of

0:34:52.800 --> 0:34:56.839
<v Speaker 1>with some time and reflection that she is still relegated

0:34:56.920 --> 0:35:01.560
<v Speaker 1>in both movies to an extent to her relationships to men.

0:35:02.400 --> 0:35:04.640
<v Speaker 1>And and that's another thing that I feel like is

0:35:04.760 --> 0:35:09.640
<v Speaker 1>kind of fully taken from uh Kill Bill and the Bride,

0:35:10.040 --> 0:35:13.080
<v Speaker 1>is that you know, you can see this woman who

0:35:13.160 --> 0:35:16.120
<v Speaker 1>is kicking as she's very capable, she's excellent at what

0:35:16.160 --> 0:35:19.399
<v Speaker 1>she does, but it's the connection to motherhood that ends

0:35:19.440 --> 0:35:23.319
<v Speaker 1>up driving the story. Women aren't allowed to have motivations

0:35:23.360 --> 0:35:27.880
<v Speaker 1>that aren't connected still somehow to domesticity. And again that's like,

0:35:27.880 --> 0:35:31.080
<v Speaker 1>obviously not to knock the concept of motherhood, but it

0:35:31.239 --> 0:35:35.040
<v Speaker 1>is like the way we most frequently see women defined

0:35:35.120 --> 0:35:37.680
<v Speaker 1>by in movies, and even in these like very famous

0:35:37.680 --> 0:35:41.719
<v Speaker 1>action movies, it's still that somehow a woman can only

0:35:41.760 --> 0:35:44.960
<v Speaker 1>be a participant in narratives like that if she's also

0:35:45.120 --> 0:35:48.279
<v Speaker 1>framed as you know, being a mother oftentimes. And yes,

0:35:48.320 --> 0:35:52.680
<v Speaker 1>of course, like to clarify, we love motherhood, we love mom's.

0:35:52.800 --> 0:35:57.560
<v Speaker 1>It's just the societal expectation that women must be mothers

0:35:57.600 --> 0:36:00.200
<v Speaker 1>and you've got no other choice, and that's what your

0:36:00.320 --> 0:36:03.080
<v Speaker 1>role is as a woman in society. That's what we

0:36:03.120 --> 0:36:05.640
<v Speaker 1>take issue with. Well. And also I think, just like

0:36:05.880 --> 0:36:08.560
<v Speaker 1>my frustration is just like I think it's wonderful that

0:36:08.600 --> 0:36:12.200
<v Speaker 1>there's movies about motherhood and like frank discussions of motherhood

0:36:12.680 --> 0:36:16.000
<v Speaker 1>women aren't I mean there's one woman one for four

0:36:16.640 --> 0:36:19.680
<v Speaker 1>in both of these movies. Is there a woman actually

0:36:19.680 --> 0:36:22.680
<v Speaker 1>writing about it? So women are not allowed to have

0:36:22.880 --> 0:36:26.680
<v Speaker 1>really generally a perspective on motherhood. It is an invented

0:36:26.719 --> 0:36:29.680
<v Speaker 1>perspective forced upon them by a male writer and a director.

0:36:30.320 --> 0:36:33.240
<v Speaker 1>And it's also just like that is the only narrative

0:36:33.320 --> 0:36:36.560
<v Speaker 1>you can have, like there's not many alternatives, and so

0:36:37.400 --> 0:36:39.480
<v Speaker 1>I don't know, And if it sounds like I'm being

0:36:39.520 --> 0:36:42.520
<v Speaker 1>too harsh, it's because I don't have any um sentimental

0:36:42.600 --> 0:36:46.200
<v Speaker 1>connection to these movies, but especially in the first one,

0:36:46.360 --> 0:36:50.799
<v Speaker 1>the christ narrative was so heavy handed, and then at

0:36:50.840 --> 0:36:53.200
<v Speaker 1>the end they're like, Jesus is about to be born,

0:36:53.320 --> 0:36:55.799
<v Speaker 1>and I'm like, I don't, I can't give a fun

0:36:56.320 --> 0:36:58.680
<v Speaker 1>Jesus name is Greg and he's not to be born,

0:36:59.360 --> 0:37:01.960
<v Speaker 1>you know. Also, to just touch on something that you

0:37:02.080 --> 0:37:05.520
<v Speaker 1>just mentioned, Um, the writers of these two films both

0:37:05.560 --> 0:37:08.760
<v Speaker 1>were written by James Cameron, and then on the first

0:37:08.880 --> 0:37:12.560
<v Speaker 1>Terminator movie, Gail and Heard has a co writing credit,

0:37:12.719 --> 0:37:15.480
<v Speaker 1>and then on the second movie, UM William Wisher has

0:37:15.520 --> 0:37:20.719
<v Speaker 1>a co writing credit. However, for the first movie, that

0:37:20.760 --> 0:37:22.800
<v Speaker 1>would appear to have been co written by a woman.

0:37:23.440 --> 0:37:27.680
<v Speaker 1>According to Wikipedia, Gail and Heard suggested some edits to

0:37:27.719 --> 0:37:30.600
<v Speaker 1>the script after she came on board as a producer

0:37:30.600 --> 0:37:33.200
<v Speaker 1>of the film, and then took a screenwriting credit for

0:37:33.239 --> 0:37:36.399
<v Speaker 1>the film, but James Cameron has stated that she did

0:37:36.560 --> 0:37:39.399
<v Speaker 1>no actual writing at all. I read that as well,

0:37:39.560 --> 0:37:42.320
<v Speaker 1>which is just like, I mean, I'm glad she got paid.

0:37:42.600 --> 0:37:45.400
<v Speaker 1>Love when women get paid, but also like let them

0:37:45.480 --> 0:37:49.080
<v Speaker 1>do the fucking job. Yeah, Gail and her, I mean

0:37:49.160 --> 0:37:51.840
<v Speaker 1>it's she produced both of these movies. She's produced a

0:37:51.960 --> 0:37:54.879
<v Speaker 1>number of famous movies. Um in a time where not

0:37:54.960 --> 0:37:57.280
<v Speaker 1>a lot of women were producing movies, much less movies

0:37:57.719 --> 0:38:02.200
<v Speaker 1>this huge, So that is great, it is. I mean,

0:38:02.280 --> 0:38:04.799
<v Speaker 1>if if you look at the script for a Terminator one,

0:38:05.280 --> 0:38:08.000
<v Speaker 1>it's very clear that it's a James Cameron script because

0:38:08.000 --> 0:38:13.200
<v Speaker 1>it is disgusting. It's so you're just like, oh, this,

0:38:13.719 --> 0:38:15.960
<v Speaker 1>there's no way this isn't written by a man who's

0:38:16.040 --> 0:38:19.319
<v Speaker 1>never made a woman come into life. Like that's the

0:38:19.400 --> 0:38:22.839
<v Speaker 1>only energy you get from it. So yeah, I saw

0:38:22.880 --> 0:38:25.360
<v Speaker 1>that as well. You're like, oh, that totally tracks based

0:38:25.360 --> 0:38:29.600
<v Speaker 1>on the very bizarre excerpt that I've read. I mean it,

0:38:29.880 --> 0:38:32.560
<v Speaker 1>I am happy at very least and again it's like

0:38:32.920 --> 0:38:35.640
<v Speaker 1>eighties early nineties, Like you're like, I'm glad that a

0:38:35.680 --> 0:38:39.319
<v Speaker 1>woman was involved and like had influence over the store

0:38:39.440 --> 0:38:42.520
<v Speaker 1>or at least some influence over the story and what happened.

0:38:43.239 --> 0:38:45.960
<v Speaker 1>I mean. It's frustrating though, because even the Terminator movie

0:38:46.000 --> 0:38:48.719
<v Speaker 1>that just came out five credited writers, all men, ye,

0:38:49.440 --> 0:38:54.279
<v Speaker 1>which is just like a continuation of this fucking hideous thing.

0:38:54.440 --> 0:38:57.440
<v Speaker 1>Then I feel like we're seeing as like as it

0:38:57.520 --> 0:39:00.480
<v Speaker 1>becomes more of a priority in an audience to manned

0:39:01.000 --> 0:39:04.279
<v Speaker 1>for there to be more inclusion in movies where the

0:39:04.320 --> 0:39:07.880
<v Speaker 1>front facing stuff, the on camera stuff is far more inclusive,

0:39:07.920 --> 0:39:10.480
<v Speaker 1>and then behind the camera it's exactly the same. Pisses

0:39:10.600 --> 0:39:13.920
<v Speaker 1>me because in Terminator Dark Face, and this is not

0:39:13.960 --> 0:39:16.360
<v Speaker 1>a spoiler because if you've seen any of the trailers

0:39:16.360 --> 0:39:18.920
<v Speaker 1>you know this, but the three main characters of that

0:39:18.960 --> 0:39:21.760
<v Speaker 1>film are three women, and you're not going to believe.

0:39:21.880 --> 0:39:27.080
<v Speaker 1>Fans of the Terminator franchise, we're mad about it. Another

0:39:27.160 --> 0:39:31.600
<v Speaker 1>kind of conflicting thing I have about this first movie

0:39:31.840 --> 0:39:35.560
<v Speaker 1>is so a man is sent back as Sarah Connor's

0:39:35.680 --> 0:39:39.319
<v Speaker 1>protector and savior essentially, um So, the plot of this

0:39:39.400 --> 0:39:42.680
<v Speaker 1>movie forces a woman to be in a situation where

0:39:42.680 --> 0:39:46.120
<v Speaker 1>she's constantly needing to be protected by a man because

0:39:46.160 --> 0:39:48.840
<v Speaker 1>he does have the upper hand in terms of having

0:39:48.840 --> 0:39:52.359
<v Speaker 1>the combat skills and all the information necessary to keep

0:39:52.360 --> 0:39:55.719
<v Speaker 1>her alive. She has nothing, but all at the same time,

0:39:55.760 --> 0:39:59.520
<v Speaker 1>though she's like, she isn't framed as being helpless. She

0:39:59.680 --> 0:40:02.439
<v Speaker 1>like doesn't she does stuff, you know, like, especially towards

0:40:02.440 --> 0:40:04.560
<v Speaker 1>the end, it does take a while take the whole move.

0:40:04.640 --> 0:40:07.279
<v Speaker 1>But also if I was in that situation, like I

0:40:07.440 --> 0:40:10.200
<v Speaker 1>have no combat training, if someone was like sent back

0:40:10.200 --> 0:40:11.880
<v Speaker 1>to kill me, I'd be like, yeah, I don't know

0:40:11.920 --> 0:40:14.560
<v Speaker 1>how to survive either. Well, again, I think it's a

0:40:14.640 --> 0:40:18.520
<v Speaker 1>story flaw because that's like it didn't have to go

0:40:18.640 --> 0:40:21.600
<v Speaker 1>that way. She could have had something she I agree

0:40:21.600 --> 0:40:25.040
<v Speaker 1>that she if she even just had like knowledge of

0:40:25.560 --> 0:40:29.280
<v Speaker 1>contemporary l a and she can be like we let's

0:40:29.280 --> 0:40:32.719
<v Speaker 1>go this way or like hide here. Yeah, like that

0:40:32.760 --> 0:40:35.560
<v Speaker 1>would have been that would have been nice the end.

0:40:35.640 --> 0:40:37.680
<v Speaker 1>I like, I like all of her scenes at the end,

0:40:37.800 --> 0:40:41.560
<v Speaker 1>like when she starts to when she's allowed to drive, right, Yeah,

0:40:41.600 --> 0:40:44.080
<v Speaker 1>so in the third act, essentially when she starts to

0:40:44.120 --> 0:40:47.680
<v Speaker 1>become a bit more active, where she yeah, like you said,

0:40:47.719 --> 0:40:51.960
<v Speaker 1>she is driving the various cars that they've stolen. Um,

0:40:52.000 --> 0:40:54.839
<v Speaker 1>she does veer the terminator off the road when he's

0:40:54.880 --> 0:40:58.360
<v Speaker 1>chasing them on the motorcycle. She saves Kyle, and I

0:40:58.360 --> 0:40:59.920
<v Speaker 1>mean he has to save her a number of time,

0:41:00.160 --> 0:41:02.799
<v Speaker 1>but like their truck rolls, so she like pulls him

0:41:02.800 --> 0:41:05.080
<v Speaker 1>out of the truck and saves him U And then

0:41:05.160 --> 0:41:07.720
<v Speaker 1>after the terminator gets back up out of the fire,

0:41:07.960 --> 0:41:11.160
<v Speaker 1>she's the one who like the glass. She unlocks the

0:41:11.160 --> 0:41:13.560
<v Speaker 1>door to get into the factory. And then yes, she's

0:41:13.600 --> 0:41:17.000
<v Speaker 1>the one who like lands the final blow of like

0:41:17.080 --> 0:41:20.840
<v Speaker 1>crushing and destroying the terminator, which is cool, you know,

0:41:20.880 --> 0:41:22.480
<v Speaker 1>because you were like kind of set up by that

0:41:22.520 --> 0:41:24.560
<v Speaker 1>scene to make it seem like Kyle is going to

0:41:24.600 --> 0:41:27.400
<v Speaker 1>be the one that does it, but he died but

0:41:27.440 --> 0:41:31.160
<v Speaker 1>then he was too weak, and then she gets it

0:41:31.200 --> 0:41:33.520
<v Speaker 1>was really exciting when she when she gets like the

0:41:33.520 --> 0:41:37.640
<v Speaker 1>death book is so I mean, female protagonists very infrequently

0:41:37.680 --> 0:41:40.600
<v Speaker 1>get that in their own movie. So I thought that

0:41:40.680 --> 0:41:43.000
<v Speaker 1>was great. Yeah, I mean the last act you start

0:41:43.080 --> 0:41:45.839
<v Speaker 1>to see like the and it was I mean, it

0:41:45.920 --> 0:41:49.319
<v Speaker 1>was kind of like heartwarming, even though you're like the

0:41:49.360 --> 0:41:52.880
<v Speaker 1>love story is so bizarre, but it was kind of sweet.

0:41:53.000 --> 0:41:55.360
<v Speaker 1>I thought to see Kyle be kind of like star

0:41:55.480 --> 0:41:57.879
<v Speaker 1>struck by her and like, I don't know, just kind

0:41:57.920 --> 0:41:59.560
<v Speaker 1>of that was something I'm like, Oh, if I had

0:41:59.600 --> 0:42:02.080
<v Speaker 1>seen that movie when I was younger, it would have

0:42:02.160 --> 0:42:05.560
<v Speaker 1>like hit for me. Where she feels like, oh, I'm

0:42:05.600 --> 0:42:08.160
<v Speaker 1>just a waitress. There's there's not much to me, and

0:42:08.200 --> 0:42:09.920
<v Speaker 1>then he's like, no, do you know how cool you're

0:42:09.960 --> 0:42:11.799
<v Speaker 1>going to be or like the coolest person in the world.

0:42:11.840 --> 0:42:14.719
<v Speaker 1>She's like what, and you know, like that I thought

0:42:14.719 --> 0:42:16.759
<v Speaker 1>that was kind of sweet, but It's like, did she

0:42:16.800 --> 0:42:19.400
<v Speaker 1>really need that validation from from a future man. I

0:42:19.400 --> 0:42:23.840
<v Speaker 1>don't know. I think she's already cool even before she

0:42:24.000 --> 0:42:27.520
<v Speaker 1>for sure is. She drives a moped, she has a

0:42:27.600 --> 0:42:34.399
<v Speaker 1>pet iguana, feminist song hugs iguana. You know she she's

0:42:34.400 --> 0:42:37.560
<v Speaker 1>an independent woman. We know what her job is. She

0:42:37.760 --> 0:42:40.279
<v Speaker 1>has a roommate, ginger who she seems to get along

0:42:40.320 --> 0:42:42.279
<v Speaker 1>with really well. I feel like that we don't know

0:42:42.360 --> 0:42:45.440
<v Speaker 1>that much. We don't know much. The end goal air

0:42:45.600 --> 0:42:49.960
<v Speaker 1>endgame isn't being a diner waitress. Probably not, It isn't.

0:42:51.800 --> 0:42:53.880
<v Speaker 1>But one of the things I did like about what

0:42:53.960 --> 0:42:57.879
<v Speaker 1>we know about her character early on is her date

0:42:57.920 --> 0:43:00.840
<v Speaker 1>bails on her on a Friday night, but she decides

0:43:00.920 --> 0:43:03.440
<v Speaker 1>to like go out to dinner in a movie by herself,

0:43:04.360 --> 0:43:06.600
<v Speaker 1>because like in a lot of movies you would see

0:43:06.640 --> 0:43:09.480
<v Speaker 1>that happen, and then you would see the woman like

0:43:10.280 --> 0:43:13.359
<v Speaker 1>cry over a tub of ice cream at home and

0:43:13.480 --> 0:43:16.319
<v Speaker 1>like not that I mean I do that sometimes, Like

0:43:16.400 --> 0:43:20.040
<v Speaker 1>it definitely happens, but in terms of setting a precedent, right,

0:43:21.360 --> 0:43:24.360
<v Speaker 1>that's become yeah, like the whole like a boy didn't

0:43:24.360 --> 0:43:26.200
<v Speaker 1>want to go with me, I'm just gonna eat ice cream.

0:43:26.239 --> 0:43:28.160
<v Speaker 1>That's become like such a trope. So yeah, I really

0:43:28.200 --> 0:43:30.960
<v Speaker 1>liked that. You know, she's just like fun it, I'm

0:43:31.000 --> 0:43:32.799
<v Speaker 1>gonna go to a dinner in a movie. But like,

0:43:32.840 --> 0:43:34.200
<v Speaker 1>what does she want to do with her life? We

0:43:34.200 --> 0:43:38.880
<v Speaker 1>don't know, Carmen doesn't care. We gotta take a quick break,

0:43:39.040 --> 0:43:44.400
<v Speaker 1>but we'll be back. Hilarious. You get what I did there, Jamie,

0:43:44.520 --> 0:43:47.880
<v Speaker 1>no unpack it during the break. Okay, Well we'll be

0:43:47.920 --> 0:43:56.920
<v Speaker 1>back another thing. Well even Okay, So even though we

0:43:56.960 --> 0:44:02.520
<v Speaker 1>don't know really anything about her aspirations or you know,

0:44:02.640 --> 0:44:05.239
<v Speaker 1>just that much in general, and she doesn't get a

0:44:05.320 --> 0:44:07.560
<v Speaker 1>chance to be super active until around the third act

0:44:07.560 --> 0:44:09.880
<v Speaker 1>of the movie, I would argue that she's still fairly

0:44:11.480 --> 0:44:16.440
<v Speaker 1>She's reaching come to the defense of this movie, probably

0:44:16.480 --> 0:44:19.200
<v Speaker 1>too much, But I would argue that she's fairly proactive

0:44:19.239 --> 0:44:22.520
<v Speaker 1>throughout the movie in the sense that, like when she

0:44:22.680 --> 0:44:26.719
<v Speaker 1>thinks she's being stalked by Kyle Reese, like she goes

0:44:27.400 --> 0:44:29.279
<v Speaker 1>into a yeah, she says, I mean she goes into

0:44:29.280 --> 0:44:31.319
<v Speaker 1>a public place because she thinks that'll be safe. She

0:44:31.440 --> 0:44:34.160
<v Speaker 1>calls the police, like I think in a lot of

0:44:34.239 --> 0:44:37.920
<v Speaker 1>movies where a woman is being chased by a killer,

0:44:38.000 --> 0:44:40.960
<v Speaker 1>And maybe this is more common in like horror slasher movies.

0:44:41.000 --> 0:44:45.320
<v Speaker 1>But also I would argue that Terminator is not unlike

0:44:45.360 --> 0:44:48.520
<v Speaker 1>a slasher horror film. But in a lot of cases,

0:44:48.560 --> 0:44:51.960
<v Speaker 1>the women in those movies make stupid choices. And that

0:44:52.040 --> 0:44:54.600
<v Speaker 1>might sound victim blame me, but they're stupid choices because

0:44:54.640 --> 0:44:57.080
<v Speaker 1>the male writers who write those characters I think that

0:44:57.120 --> 0:44:59.399
<v Speaker 1>women are stupid, and so they write them that way.

0:44:59.480 --> 0:45:02.080
<v Speaker 1>And I think at that point, um, I totally see

0:45:02.080 --> 0:45:05.080
<v Speaker 1>what you're saying. And and that stands just strictly based

0:45:05.160 --> 0:45:08.520
<v Speaker 1>on how her roommate is treated, her roommate and her

0:45:08.600 --> 0:45:11.799
<v Speaker 1>roommate's boyfriend when they're murdered in cold blood right after

0:45:11.840 --> 0:45:14.760
<v Speaker 1>having sex. That is like a horror movie tried, Yeah,

0:45:15.520 --> 0:45:20.080
<v Speaker 1>for sure. But Sarah is like using the best judgment

0:45:20.360 --> 0:45:24.200
<v Speaker 1>she can, whereas in like other movies of this era, again,

0:45:24.320 --> 0:45:27.600
<v Speaker 1>especially like you know, slasher movies, the female characters were

0:45:27.680 --> 0:45:31.200
<v Speaker 1>using terrible judgment. And even like I watched a movie

0:45:31.600 --> 0:45:37.800
<v Speaker 1>around Halloween time that came out in a terrible horror

0:45:37.840 --> 0:45:43.600
<v Speaker 1>movie on Netflix about a killer clown called Terrifier. But

0:45:43.640 --> 0:45:46.120
<v Speaker 1>I was like, this looks horrible. Let me watch this,

0:45:46.360 --> 0:45:49.440
<v Speaker 1>and in that movie again, this movie can put two

0:45:49.560 --> 0:45:52.560
<v Speaker 1>years ago, but all the female characters just like kept

0:45:52.640 --> 0:45:56.120
<v Speaker 1>making one stupid choice after another, like they would go

0:45:56.239 --> 0:45:59.600
<v Speaker 1>back into the creepy warehouse for no reason at all

0:46:00.040 --> 0:46:02.680
<v Speaker 1>after a bunch of very scary stuff had just happened

0:46:02.719 --> 0:46:05.320
<v Speaker 1>to them. I think we're used to seeing like female

0:46:05.400 --> 0:46:09.000
<v Speaker 1>characters using poor judgment or just like not being very proactive.

0:46:09.120 --> 0:46:13.040
<v Speaker 1>But in this movie, like Sarah is making smart choices

0:46:13.080 --> 0:46:15.680
<v Speaker 1>and she's being proactive. And even though she does like

0:46:15.760 --> 0:46:19.359
<v Speaker 1>make a mistake because she thinks she's talking to her

0:46:19.400 --> 0:46:21.560
<v Speaker 1>mom and tells her the number of the motel that

0:46:21.600 --> 0:46:24.279
<v Speaker 1>she's staying at, but it was really the terminator who

0:46:24.280 --> 0:46:28.239
<v Speaker 1>had been impersonating her mother she had knowing that she

0:46:28.280 --> 0:46:31.800
<v Speaker 1>didn't know. Yeah, so even like a mistake that she makes,

0:46:32.200 --> 0:46:34.080
<v Speaker 1>she didn't do it because she's like written as a

0:46:34.560 --> 0:46:38.239
<v Speaker 1>an airheaded, underwritten female character. I still think she's an

0:46:38.280 --> 0:46:41.279
<v Speaker 1>underwritten female character in the first movie, but I see

0:46:41.360 --> 0:46:45.360
<v Speaker 1>she has been I viewed with street smarts, and that's yeah,

0:46:45.400 --> 0:46:48.320
<v Speaker 1>that's good. And that's also I mean, like you said before,

0:46:48.600 --> 0:46:51.080
<v Speaker 1>this is a movie coming out in a decade where

0:46:51.200 --> 0:46:54.279
<v Speaker 1>action movies had almost no interest in featuring women. Like

0:46:54.640 --> 0:46:57.440
<v Speaker 1>the action movies of this time, where things like die Hard,

0:46:57.640 --> 0:47:01.799
<v Speaker 1>First Blood, RoboCop, Indiana Jones, Lethal Weapon, Top Gun, like

0:47:01.840 --> 0:47:07.480
<v Speaker 1>all these like hyper hyper masculine, dripping with toxic masculinity films.

0:47:08.120 --> 0:47:11.640
<v Speaker 1>Uh that didn't have any vested interest in female characters,

0:47:11.640 --> 0:47:13.040
<v Speaker 1>which might be a good point. I mean, and it's

0:47:13.040 --> 0:47:16.480
<v Speaker 1>weird because you get a taste of that with the Terminator.

0:47:16.800 --> 0:47:19.120
<v Speaker 1>But the Terminator is kind of like this, I don't know,

0:47:19.280 --> 0:47:23.080
<v Speaker 1>it's kind of like a smartly written character where the

0:47:23.200 --> 0:47:26.960
<v Speaker 1>Terminator I mean, and we know now that like robots

0:47:26.960 --> 0:47:31.120
<v Speaker 1>are also prejudiced because they're made by people, but I

0:47:31.120 --> 0:47:33.960
<v Speaker 1>feel like the Terminator is created to be someone who

0:47:34.040 --> 0:47:37.640
<v Speaker 1>doesn't discriminate, just has a mission and accomplishes it. So

0:47:37.680 --> 0:47:40.239
<v Speaker 1>there's not even even though he is like technically the

0:47:40.320 --> 0:47:44.040
<v Speaker 1>lead macho blah blah blah of the movie, you don't

0:47:44.200 --> 0:47:48.480
<v Speaker 1>see that like inherent sexism in him because he's a machine.

0:47:48.719 --> 0:47:51.760
<v Speaker 1>A machine he's so you're like, oh, that's kind of cool,

0:47:51.960 --> 0:47:54.600
<v Speaker 1>like you you don't get the casual sexism that you

0:47:54.640 --> 0:47:57.920
<v Speaker 1>would in a die Hard kind of movie because he's

0:47:57.960 --> 0:48:01.440
<v Speaker 1>a computer. Cool and I do. I mean, this is

0:48:01.440 --> 0:48:04.040
<v Speaker 1>maybe a good point to bring up James Cameron's pretty

0:48:04.120 --> 0:48:08.799
<v Speaker 1>consistent commitment to not objectifying Linda Hamilton's in both of

0:48:08.840 --> 0:48:12.560
<v Speaker 1>these movies, which is again it sounds like a very

0:48:12.760 --> 0:48:15.279
<v Speaker 1>like least you can do creative choice, but not a

0:48:15.320 --> 0:48:18.200
<v Speaker 1>lot of movies we're making that creative choice, especially in

0:48:18.360 --> 0:48:23.640
<v Speaker 1>like blockbuster movies, where that's so inherent even now truly. Yeah,

0:48:24.160 --> 0:48:26.840
<v Speaker 1>I mean eighties action movies. If there was a woman

0:48:27.000 --> 0:48:30.759
<v Speaker 1>in the story, she was very much overly sexualized, like

0:48:30.800 --> 0:48:33.480
<v Speaker 1>retuitious nudity, all that kind of stuff, and if she

0:48:33.640 --> 0:48:35.880
<v Speaker 1>was participating in the action, it wasn't a very skimpy

0:48:35.880 --> 0:48:38.440
<v Speaker 1>outfit the whole bit. So that is cool, and you,

0:48:38.760 --> 0:48:41.480
<v Speaker 1>I think, especially in the first one, you see more

0:48:41.520 --> 0:48:46.239
<v Speaker 1>made of Arnold Schwarzenegger's body than of Linda Hamilton's. You

0:48:46.320 --> 0:48:48.120
<v Speaker 1>do have that brief sex scene that we are going

0:48:48.120 --> 0:48:51.640
<v Speaker 1>to do a reading from. I mean, she should we

0:48:51.760 --> 0:48:53.359
<v Speaker 1>get to that now, because I would like to talk

0:48:53.400 --> 0:48:56.920
<v Speaker 1>about this romantic subplot. Okay, well, let's I guess start

0:48:57.000 --> 0:48:59.440
<v Speaker 1>by like reading Okay, so do you who do you

0:48:59.480 --> 0:49:01.239
<v Speaker 1>want to be? Say A Reese? And then I'll read

0:49:01.280 --> 0:49:07.080
<v Speaker 1>action lines. Okay, I'll be Reese? Okay, ready, yes, action

0:49:08.080 --> 0:49:12.720
<v Speaker 1>and so you feel nothing. It's better that way Kyle

0:49:13.480 --> 0:49:16.640
<v Speaker 1>Reese takes a long, slow breath before he answers, and

0:49:16.640 --> 0:49:18.800
<v Speaker 1>when he does, his voice as a new quality and

0:49:19.040 --> 0:49:23.600
<v Speaker 1>unfamiliar tenderness. John Connor gave me a picture of you once.

0:49:23.880 --> 0:49:28.160
<v Speaker 1>I never knew why. It was very old, torn faded.

0:49:28.640 --> 0:49:31.640
<v Speaker 1>You were young like you are now. You weren't smiling,

0:49:32.080 --> 0:49:34.680
<v Speaker 1>just a little sad. I always wondered what you were

0:49:34.760 --> 0:49:37.759
<v Speaker 1>thinking at that second. Oh, he's so cringe e. He

0:49:37.880 --> 0:49:41.080
<v Speaker 1>closes his eyes, reaches towards her. His fingertips traced the

0:49:41.160 --> 0:49:46.200
<v Speaker 1>contour of her nose, chin, cheeks. I memorized every line,

0:49:46.680 --> 0:49:51.320
<v Speaker 1>every curse, opens his eyes, looking right at hers. Sarah,

0:49:51.480 --> 0:49:55.319
<v Speaker 1>I came across time for you. I love you, I

0:49:55.360 --> 0:50:00.239
<v Speaker 1>always have. Sarah's quietly overwhelmed. Reese looks away. I'm so sorry.

0:50:00.680 --> 0:50:05.160
<v Speaker 1>I shouldn't have said Kyle. And now the money shot.

0:50:06.040 --> 0:50:09.600
<v Speaker 1>She leans forward and kisses him. His face is frozen

0:50:09.760 --> 0:50:14.239
<v Speaker 1>a mask. She continues tenderly. He begins to respond. The

0:50:14.360 --> 0:50:17.799
<v Speaker 1>damn breaks and he tolds. He holds her in a tight,

0:50:18.160 --> 0:50:23.000
<v Speaker 1>trembling embrace, clinging to her like life itself. Carmon is

0:50:23.120 --> 0:50:27.319
<v Speaker 1>literally a virgin. Kyle picks her up and carries her

0:50:27.360 --> 0:50:30.440
<v Speaker 1>to the bed. She kisses his neck and chest, tracing

0:50:30.480 --> 0:50:34.800
<v Speaker 1>his scars with her lips. He unbuttons her blouse very slowly.

0:50:35.280 --> 0:50:39.160
<v Speaker 1>Sarah guides his powerful hands over her. A sequence of

0:50:39.200 --> 0:50:44.239
<v Speaker 1>cuts details impression Sarah a very close angle as she

0:50:44.440 --> 0:50:50.640
<v Speaker 1>grimaces in divine agony agony Reese his face wrapped, his

0:50:50.800 --> 0:50:54.440
<v Speaker 1>hand clutching the pillow as if to kill it. It

0:50:54.600 --> 0:51:01.279
<v Speaker 1>is explosive, torrential, a confluence of fate and will disgusting.

0:51:01.520 --> 0:51:08.560
<v Speaker 1>James Cameron writing like competitive, erotic, fantic, Like I was like, sir,

0:51:08.920 --> 0:51:12.760
<v Speaker 1>this is a wendy. It's like, please take this out.

0:51:13.480 --> 0:51:15.720
<v Speaker 1>And it's funny because I think it really did produce

0:51:15.760 --> 0:51:18.279
<v Speaker 1>one of the most sexless love scenes I've ever seen.

0:51:18.560 --> 0:51:21.280
<v Speaker 1>Hate this sex scene in the movie. Although okay, here's

0:51:21.600 --> 0:51:24.279
<v Speaker 1>what I will say about this. It's written a little

0:51:24.320 --> 0:51:27.319
<v Speaker 1>differently in the script. What ends up on screen is

0:51:27.760 --> 0:51:31.600
<v Speaker 1>Sarah being the one who initiates romantic contact with Reese,

0:51:31.719 --> 0:51:34.399
<v Speaker 1>like she's the one who comes onto him because she's like, Hey,

0:51:34.480 --> 0:51:36.480
<v Speaker 1>what are the women like in your time? And he's like,

0:51:36.840 --> 0:51:38.959
<v Speaker 1>I don't know, I don't talk to women. I've only

0:51:39.000 --> 0:51:41.480
<v Speaker 1>ever loved you. And then he's like, oh no, I

0:51:41.480 --> 0:51:43.040
<v Speaker 1>should have said that. And then he goes over and

0:51:43.080 --> 0:51:45.879
<v Speaker 1>starts fiddling with his bombs because he doesn't know how

0:51:45.880 --> 0:51:47.880
<v Speaker 1>to be around a woman, know how boys are. And

0:51:47.920 --> 0:51:50.600
<v Speaker 1>then she kisses him and then they have sex, so

0:51:50.719 --> 0:51:55.520
<v Speaker 1>and then that's she gets gregnant. But I mean, yeah,

0:51:55.560 --> 0:51:59.239
<v Speaker 1>she's the one who's like initiating this sexual encounter, which

0:51:59.239 --> 0:52:01.960
<v Speaker 1>I always like to see. It is nice. Yeah, and

0:52:01.960 --> 0:52:04.600
<v Speaker 1>then and again it's like another thing that this movie

0:52:04.640 --> 0:52:07.600
<v Speaker 1>does that might not seem I mean even that now,

0:52:07.719 --> 0:52:09.160
<v Speaker 1>I feel like there's still not a lot of women

0:52:09.160 --> 0:52:12.680
<v Speaker 1>in movies who initiate sex scenes except for Rose and Titanic.

0:52:13.000 --> 0:52:16.960
<v Speaker 1>James Cameron needs a woman to initiate unfortunately, one of

0:52:17.040 --> 0:52:21.360
<v Speaker 1>the other nastiest sex scenes ever written. Um. What I

0:52:21.400 --> 0:52:26.000
<v Speaker 1>don't like though about this romantic subplot is one it exists.

0:52:26.040 --> 0:52:30.200
<v Speaker 1>It exists at all. It was a studio note I

0:52:30.280 --> 0:52:33.520
<v Speaker 1>read that strengthening the love interest between Sarah and Reese

0:52:33.960 --> 0:52:37.720
<v Speaker 1>was a studio James Cameron agreed to it because apparently

0:52:37.719 --> 0:52:40.680
<v Speaker 1>it hadn't been written quite that way, like their relationship

0:52:40.800 --> 0:52:45.920
<v Speaker 1>wasn't as strong and romantic in the original script, so

0:52:46.000 --> 0:52:48.640
<v Speaker 1>he's like, yeah, sounds great. What I really hate about

0:52:48.840 --> 0:52:51.960
<v Speaker 1>it is that he shows up as this protector man

0:52:52.960 --> 0:52:57.520
<v Speaker 1>she rescues her, and then also like treats her really badly.

0:52:58.000 --> 0:53:00.520
<v Speaker 1>The way he treats her physically at the getting made

0:53:00.560 --> 0:53:05.360
<v Speaker 1>me very incurtently. He's repeatedly like scrabbing, grabbing, and I

0:53:05.440 --> 0:53:07.960
<v Speaker 1>know it's like it's an emergency, but he keeps grabbing

0:53:08.040 --> 0:53:11.080
<v Speaker 1>her arm and you're like, dude, he's saying. He's like,

0:53:11.560 --> 0:53:14.399
<v Speaker 1>do exactly as I stay, don't move unless I say,

0:53:14.440 --> 0:53:18.279
<v Speaker 1>don't make good sound unless I said do you understand? Yeah,

0:53:18.320 --> 0:53:24.920
<v Speaker 1>just a lot of like extremely aggressive, pretty violent actions

0:53:25.000 --> 0:53:28.000
<v Speaker 1>towards her. And then I have sex a while later.

0:53:28.160 --> 0:53:32.759
<v Speaker 1>So not into it. It's not great. I get how

0:53:32.800 --> 0:53:35.320
<v Speaker 1>it fits into the story, and it feeds into the

0:53:35.360 --> 0:53:37.799
<v Speaker 1>whole franchise, and you're like, oh now, it's kind of

0:53:37.840 --> 0:53:43.000
<v Speaker 1>this story element that's inseparable from the entire franchise. And

0:53:43.120 --> 0:53:46.160
<v Speaker 1>you know, hooking up with the future man sounds hot,

0:53:46.239 --> 0:53:50.080
<v Speaker 1>sounds great. I just like, I I don't know, I

0:53:50.160 --> 0:53:52.279
<v Speaker 1>have more. I I don't like that it is such

0:53:52.320 --> 0:53:56.719
<v Speaker 1>an obvious studio note relationship um that carries into the

0:53:56.800 --> 0:53:59.440
<v Speaker 1>Terminator too in a way that is like doesn't feel necessary,

0:53:59.440 --> 0:54:02.640
<v Speaker 1>where she's like I still love him, and which will

0:54:02.840 --> 0:54:07.760
<v Speaker 1>get into because the whatever my thing is Listen, Sarah

0:54:07.760 --> 0:54:10.000
<v Speaker 1>Connor didn't get to decide what to do with her life.

0:54:10.080 --> 0:54:12.279
<v Speaker 1>She didn't even get a name her own fucking kid.

0:54:13.360 --> 0:54:17.080
<v Speaker 1>It's like, so I just she wanted to name him Greg.

0:54:17.360 --> 0:54:20.320
<v Speaker 1>She wanted to name him Greg, which makes logical sense.

0:54:21.200 --> 0:54:27.240
<v Speaker 1>The relationship is annoying and the sex scene is weird.

0:54:27.600 --> 0:54:31.160
<v Speaker 1>Every eight I'm just like, who is we were saying

0:54:31.200 --> 0:54:34.520
<v Speaker 1>this when we were watching, Like you can just feel

0:54:34.680 --> 0:54:36.880
<v Speaker 1>that there is an entire crew in the room. It

0:54:36.960 --> 0:54:40.040
<v Speaker 1>doesn't feel like you're just like, oh, the actors seems

0:54:40.080 --> 0:54:43.080
<v Speaker 1>so like I'm like, they must be so uncomfortable otherwise

0:54:43.080 --> 0:54:46.319
<v Speaker 1>why would this scene appear this way? I think, Yeah,

0:54:46.360 --> 0:54:49.080
<v Speaker 1>I mean, what really bothers me about it is not

0:54:49.160 --> 0:54:51.799
<v Speaker 1>I mean the sex that they have fine, Like I

0:54:51.840 --> 0:54:55.880
<v Speaker 1>think their trauma bonded together that makes people horny, and

0:54:55.920 --> 0:54:58.759
<v Speaker 1>I think, you know, they have sure sex. But when

0:54:58.800 --> 0:55:01.520
<v Speaker 1>it bleeds over into this movie and she's like, I

0:55:01.560 --> 0:55:03.600
<v Speaker 1>still love him. I think about him all the time

0:55:03.640 --> 0:55:05.560
<v Speaker 1>and da da da, and like she has dreams about him,

0:55:05.640 --> 0:55:08.560
<v Speaker 1>Like I don't they knew each other for a day,

0:55:08.719 --> 0:55:11.359
<v Speaker 1>Like do you really are you in love with him. Well,

0:55:11.360 --> 0:55:15.120
<v Speaker 1>if we're formally crossing over in Determinator to territory, I mean,

0:55:15.239 --> 0:55:20.759
<v Speaker 1>obviously Sarah has a like infinity more agency in Terminator

0:55:20.800 --> 0:55:24.120
<v Speaker 1>two than she does in the majority of the first one.

0:55:24.400 --> 0:55:26.960
<v Speaker 1>And and I feel like T two is like the

0:55:27.160 --> 0:55:31.399
<v Speaker 1>feminist icon version that people really remember in cosplay as

0:55:31.480 --> 0:55:33.600
<v Speaker 1>and all this stuff. I mean you can literally see how,

0:55:33.760 --> 0:55:39.040
<v Speaker 1>like Laurie Strode is dressed like Sarah Connor from T

0:55:39.040 --> 0:55:41.399
<v Speaker 1>two in the Halloween movie that came out last year,

0:55:41.960 --> 0:55:45.560
<v Speaker 1>Like it is a very enduring version of this character

0:55:46.360 --> 0:55:49.239
<v Speaker 1>something I wanted to touch on, and this does sort

0:55:49.280 --> 0:55:52.840
<v Speaker 1>of just demarket I guess, like the difference of how

0:55:53.120 --> 0:55:56.399
<v Speaker 1>he approaches her character in the first and second movies, which,

0:55:56.440 --> 0:55:59.719
<v Speaker 1>by the way, he first describes her. So in the

0:55:59.719 --> 0:56:03.480
<v Speaker 1>first movie, this is how he describes Sarah Connor. Sarah

0:56:03.520 --> 0:56:07.760
<v Speaker 1>Connor is nineteen, small and delicate, featured, pretty in a flawed,

0:56:07.800 --> 0:56:11.160
<v Speaker 1>accessible way. She doesn't stop the party when she walks in,

0:56:11.320 --> 0:56:14.360
<v Speaker 1>but you'd like to get to know her, her vulnerable quality,

0:56:14.440 --> 0:56:18.600
<v Speaker 1>masks of strength she doesn't even know exists. So that's

0:56:18.760 --> 0:56:24.520
<v Speaker 1>pretty fucking patronizing. Uh. And then in T two, this

0:56:24.560 --> 0:56:28.839
<v Speaker 1>is how he describes her, he is truly a horrible writer. Uh.

0:56:28.880 --> 0:56:31.440
<v Speaker 1>Sarah Connor is not the same woman we remember from

0:56:31.440 --> 0:56:33.880
<v Speaker 1>the last time. Her eyes peer out through a wild

0:56:33.880 --> 0:56:37.040
<v Speaker 1>tangle of hair, like those of a cornered animal, defiant

0:56:37.080 --> 0:56:39.640
<v Speaker 1>and intense, but skittering around looking for escape at the

0:56:39.680 --> 0:56:42.080
<v Speaker 1>same time fight or flight down. One cheek is a

0:56:42.080 --> 0:56:44.480
<v Speaker 1>long scar from just below the eye to the upper lip.

0:56:44.600 --> 0:56:48.000
<v Speaker 1>Her voice is low and chilling monotone. So he kind of,

0:56:48.040 --> 0:56:50.520
<v Speaker 1>I mean, and you can see this, you can see

0:56:50.560 --> 0:56:56.120
<v Speaker 1>like shades of the Sarah from Terminator one, but it's

0:56:56.160 --> 0:56:59.279
<v Speaker 1>for the most part, like a really different like you

0:56:59.320 --> 0:57:01.920
<v Speaker 1>can see where she's coming from, but she's very different

0:57:02.000 --> 0:57:06.239
<v Speaker 1>and t two and like for sure way more fun, definitely,

0:57:07.360 --> 0:57:11.480
<v Speaker 1>but there are still like some little things that just

0:57:11.520 --> 0:57:16.080
<v Speaker 1>like bug me as the James Cameron has this thing

0:57:16.400 --> 0:57:21.040
<v Speaker 1>where he for his time Peak Cameron, although you know

0:57:21.160 --> 0:57:25.080
<v Speaker 1>Avatar a billion, maybe there's a second coming, but for now,

0:57:25.120 --> 0:57:29.080
<v Speaker 1>if we're considering eighties and nineties, Peak Cameron right had

0:57:29.160 --> 0:57:32.920
<v Speaker 1>more progressive female characters than most, but he does kind

0:57:32.960 --> 0:57:37.880
<v Speaker 1>of he's still a man, and he's still kind of

0:57:38.000 --> 0:57:41.320
<v Speaker 1>uses the same I feel like quote unquote cheat codes

0:57:41.960 --> 0:57:47.240
<v Speaker 1>to give his female characters dimension in multiple movies and

0:57:47.360 --> 0:57:50.160
<v Speaker 1>Terminator to an aliens. I feel like he makes a

0:57:50.280 --> 0:57:54.520
<v Speaker 1>very similar choice with Ripley as he does with Sarah Connor,

0:57:54.680 --> 0:57:59.520
<v Speaker 1>where it's she you know, these are both very capable

0:58:00.160 --> 0:58:05.400
<v Speaker 1>and motivated action heroes, but they're motivated by mommy, and

0:58:05.560 --> 0:58:09.240
<v Speaker 1>he has difficulty it would appear, I mean, he doesn't Entitanic,

0:58:09.520 --> 0:58:14.720
<v Speaker 1>but he has difficulties seeing past motherhood in this period

0:58:14.880 --> 0:58:18.680
<v Speaker 1>of movies as a conceivable motivated He can't like think

0:58:18.680 --> 0:58:23.520
<v Speaker 1>of another conceivable motivation for a woman, which is annoying.

0:58:23.600 --> 0:58:26.560
<v Speaker 1>And in this one too, and in T two, there's

0:58:26.600 --> 0:58:28.800
<v Speaker 1>a few different moments for Sarah Connor. You know, there's

0:58:28.840 --> 0:58:33.040
<v Speaker 1>like that speech where she says, um, oh, you know

0:58:33.040 --> 0:58:36.280
<v Speaker 1>what I'm trying to bring up, where she's basically this thing,

0:58:36.400 --> 0:58:38.960
<v Speaker 1>this machine, was the only thing that measured up. And

0:58:39.000 --> 0:58:41.800
<v Speaker 1>she's talking about how she you know, she's been subtly

0:58:41.920 --> 0:58:47.760
<v Speaker 1>scouting for a father for Greg Greg, and you know

0:58:47.800 --> 0:58:51.400
<v Speaker 1>that just sort of doubles down on the like nuclear

0:58:51.440 --> 0:58:54.680
<v Speaker 1>family trope and like everyone needs a mother and a father,

0:58:54.800 --> 0:58:57.680
<v Speaker 1>which we know is not true. And it's not like

0:58:57.720 --> 0:58:59.880
<v Speaker 1>it's a bad thing for her to want more support

0:59:00.200 --> 0:59:03.520
<v Speaker 1>in parenting. But it's just such a straight forward kind

0:59:03.520 --> 0:59:06.200
<v Speaker 1>of underthought. I feel like conclusion of like, well, of

0:59:06.240 --> 0:59:09.200
<v Speaker 1>course she has to find a father for her son. Yeah,

0:59:09.240 --> 0:59:13.880
<v Speaker 1>I also this is maybe a reach, but also like

0:59:14.440 --> 0:59:17.000
<v Speaker 1>that bothered me because yeah, she says something like, of

0:59:17.040 --> 0:59:20.120
<v Speaker 1>all the would be fathers, like this machine is the

0:59:20.160 --> 0:59:23.080
<v Speaker 1>only thing that could measure up because it would never

0:59:23.160 --> 0:59:26.120
<v Speaker 1>leave him or get drunk and hit him or shout

0:59:26.120 --> 0:59:28.760
<v Speaker 1>at him or say he was too busy for him.

0:59:28.800 --> 0:59:31.760
<v Speaker 1>But like, the other part of this terminator character is

0:59:31.840 --> 0:59:36.480
<v Speaker 1>that like he doesn't understand human emotion and like it's

0:59:36.520 --> 0:59:40.600
<v Speaker 1>just like completely avoid of likeial vulnerability and as someone

0:59:40.640 --> 0:59:43.680
<v Speaker 1>who grew up with a father who is incapable of

0:59:43.720 --> 0:59:49.080
<v Speaker 1>emotional intimacy or vulnerability. And yes, because I've estranged myself

0:59:49.120 --> 0:59:52.280
<v Speaker 1>from my dad for that reason. So I feel like

0:59:52.280 --> 0:59:55.280
<v Speaker 1>Sarah Connor being like, yeah, daddy, he just needs to

0:59:55.320 --> 0:59:57.960
<v Speaker 1>be around, and it's like, well, that's not good enough.

0:59:58.080 --> 1:00:00.720
<v Speaker 1>So I feel like it's like letting father's off the

1:00:00.760 --> 1:00:03.200
<v Speaker 1>hook as long as they're just around, and it's like, no,

1:00:03.360 --> 1:00:06.640
<v Speaker 1>there's more to it than that. Yeah, it's weird. It's

1:00:06.680 --> 1:00:10.080
<v Speaker 1>kind of complicated too, because it's not like Sarah Connor is.

1:00:10.360 --> 1:00:12.640
<v Speaker 1>I mean, there's so so something that I think is

1:00:12.720 --> 1:00:16.040
<v Speaker 1>very interesting. I guess the sort of crosses over T

1:00:16.040 --> 1:00:19.480
<v Speaker 1>two becomes more of this goofy father son relationship than

1:00:19.760 --> 1:00:22.560
<v Speaker 1>I was expecting it too. That's one thing I feel

1:00:22.600 --> 1:00:24.800
<v Speaker 1>like that takes up way more real real estate in

1:00:24.840 --> 1:00:27.240
<v Speaker 1>the movie than it needs to. And it again implies

1:00:27.320 --> 1:00:30.320
<v Speaker 1>that every kid needs a mother and a father, and like,

1:00:30.840 --> 1:00:35.000
<v Speaker 1>you know, good Terminator becomes daddy and you're like, I

1:00:35.080 --> 1:00:37.240
<v Speaker 1>get like, sure, I guess, you know, and and I

1:00:37.280 --> 1:00:41.720
<v Speaker 1>do like that John Grigg calling what you will um

1:00:41.800 --> 1:00:46.520
<v Speaker 1>he has an arc of becoming more emotionally intelligent, more sensitive,

1:00:47.000 --> 1:00:49.360
<v Speaker 1>more empathetic. I feel like through the movie where you

1:00:49.440 --> 1:00:52.080
<v Speaker 1>start out and he you know, he's in foster care.

1:00:52.160 --> 1:00:54.400
<v Speaker 1>His mother is in a psychiatric word and he, you know,

1:00:54.680 --> 1:00:57.280
<v Speaker 1>says that you know, he doesn't believe what she's saying,

1:00:57.480 --> 1:00:59.920
<v Speaker 1>and she you know, he doesn't trust what she said

1:01:00.000 --> 1:01:02.360
<v Speaker 1>as and he's like better off without her. All this stuff,

1:01:03.000 --> 1:01:05.240
<v Speaker 1>you know, which we don't get a lot of good

1:01:05.280 --> 1:01:10.040
<v Speaker 1>examples of portrayals of younger boys, especially like preteen boys.

1:01:10.120 --> 1:01:13.000
<v Speaker 1>It's like a you know, tentative time for anyone. So

1:01:13.080 --> 1:01:18.560
<v Speaker 1>to cease. You know, his arc be learning to trust

1:01:18.600 --> 1:01:22.080
<v Speaker 1>and believe women is really cool, and so that's great.

1:01:22.720 --> 1:01:25.680
<v Speaker 1>The father's son's stuff, it's just like, okay, you know,

1:01:25.920 --> 1:01:28.040
<v Speaker 1>I guess it's kind of feels like a different movie

1:01:28.080 --> 1:01:30.800
<v Speaker 1>in some ways, but well, I do also like that

1:01:31.040 --> 1:01:34.480
<v Speaker 1>part of his arc is him teaching his new daddy.

1:01:34.960 --> 1:01:38.600
<v Speaker 1>He's like teaching him like emotional intelligence and like empathy

1:01:38.640 --> 1:01:41.960
<v Speaker 1>a little. He's like, you can't kill people. Like also

1:01:42.240 --> 1:01:45.920
<v Speaker 1>like we have feelings, people hurt, people cry, we're afraid,

1:01:46.160 --> 1:01:49.360
<v Speaker 1>like he tells. He basically tells, as you pointed out, Jamie,

1:01:49.440 --> 1:01:52.600
<v Speaker 1>that he tells the terminator to smile more he does.

1:01:52.880 --> 1:01:55.120
<v Speaker 1>That's I think that that's a bonus scene. But it's yeah,

1:01:55.160 --> 1:01:56.840
<v Speaker 1>I think that might be from the director's cup. But

1:01:57.520 --> 1:02:00.280
<v Speaker 1>he doesn't scene where he's like you should smile and

1:02:00.280 --> 1:02:02.360
<v Speaker 1>then he's like how do I smile? I was like, oh,

1:02:02.440 --> 1:02:05.280
<v Speaker 1>this is uh, It's like, this is not trying to

1:02:05.320 --> 1:02:07.720
<v Speaker 1>do this. What's kind of funny that it did? It

1:02:07.840 --> 1:02:10.840
<v Speaker 1>is cool? Yeah, where and like the younger boy is

1:02:10.960 --> 1:02:15.800
<v Speaker 1>encouraging the older man to be emotionally intelligent and consider

1:02:16.360 --> 1:02:19.640
<v Speaker 1>other people and their motivations and their lives and you know,

1:02:19.800 --> 1:02:23.400
<v Speaker 1>literally their lives, giving them alive. That's lovely, But going

1:02:23.440 --> 1:02:26.080
<v Speaker 1>back to his motivation and believing his mom, that was

1:02:26.120 --> 1:02:28.120
<v Speaker 1>like what I thought was one of the more compelling

1:02:28.240 --> 1:02:32.040
<v Speaker 1>elements of Sarah Connor's character in the second one is

1:02:32.200 --> 1:02:35.480
<v Speaker 1>we start from this point of like it feels like

1:02:35.680 --> 1:02:39.480
<v Speaker 1>weirdly like pretty modern of she is stuck in this

1:02:39.720 --> 1:02:44.680
<v Speaker 1>psychiatric ward because people don't believe what she's saying. She

1:02:44.760 --> 1:02:49.040
<v Speaker 1>doesn't have enough evidence of what she's saying for people

1:02:49.120 --> 1:02:52.560
<v Speaker 1>to believe it, and similar to how they treated Kyle

1:02:52.720 --> 1:02:57.400
<v Speaker 1>in the first movie, law enforcement thinks it's easier to

1:02:57.880 --> 1:03:00.880
<v Speaker 1>just kind of lock her up and um tell her

1:03:00.920 --> 1:03:05.000
<v Speaker 1>that she is you know, her mind isn't right, and

1:03:05.080 --> 1:03:08.360
<v Speaker 1>she sticks to her truth until what I think is

1:03:08.440 --> 1:03:11.800
<v Speaker 1>kind of like a devastating sad scene where we see

1:03:12.280 --> 1:03:14.960
<v Speaker 1>there's that like really great Linda Hamilton's moment where we

1:03:15.000 --> 1:03:17.920
<v Speaker 1>see a clip of her from like when she first

1:03:17.920 --> 1:03:21.120
<v Speaker 1>got there, um screaming like it happened, it happened, which

1:03:21.160 --> 1:03:24.320
<v Speaker 1>you were just like a fuck, and then we flashed

1:03:24.360 --> 1:03:29.880
<v Speaker 1>forward to her, however long later, saying to a medical professional,

1:03:30.160 --> 1:03:32.080
<v Speaker 1>I mean the same one from the first movie. Dr

1:03:32.120 --> 1:03:35.080
<v Speaker 1>Silberman saying even though we know she doesn't think this

1:03:35.360 --> 1:03:39.000
<v Speaker 1>taking it back and being like I was wrong. The

1:03:39.080 --> 1:03:41.240
<v Speaker 1>thing I know is the truth is actually not the truth.

1:03:41.760 --> 1:03:44.840
<v Speaker 1>Now can I see my son? That I thought was

1:03:44.880 --> 1:03:48.320
<v Speaker 1>like one of the most emotionally compelling parts of both

1:03:48.440 --> 1:03:51.720
<v Speaker 1>movies is like she has to take back her truth

1:03:52.560 --> 1:03:55.680
<v Speaker 1>in order to survive. And like I just I thought

1:03:55.720 --> 1:03:59.640
<v Speaker 1>that was like a felt very contemporary, and you sort

1:03:59.640 --> 1:04:03.320
<v Speaker 1>of see her dealing with even though it's not explicitly stated,

1:04:03.400 --> 1:04:07.640
<v Speaker 1>but it's you know, like a post traumatic stress narrative

1:04:07.760 --> 1:04:12.240
<v Speaker 1>with the dreams that she's having and when she's first

1:04:12.280 --> 1:04:16.440
<v Speaker 1>confronted with Arnold Schwarzenegger's face again, and just like, I

1:04:16.440 --> 1:04:19.400
<v Speaker 1>don't know, it's like you see her sometimes act a

1:04:19.400 --> 1:04:22.880
<v Speaker 1>little bit harshly or a little bit abruptly, but it

1:04:23.000 --> 1:04:25.720
<v Speaker 1>is all grounded in this like, well, she's been through

1:04:25.760 --> 1:04:29.160
<v Speaker 1>so fucking much, she's been so disbelieved even by her

1:04:29.160 --> 1:04:31.280
<v Speaker 1>own son, and just like kind of watching her go

1:04:31.360 --> 1:04:35.160
<v Speaker 1>on that journey of first of all her son learning

1:04:35.200 --> 1:04:39.240
<v Speaker 1>and accepting what was the truth the whole time, and

1:04:39.720 --> 1:04:42.720
<v Speaker 1>just her like navigating the like PTSD of what happens

1:04:42.760 --> 1:04:44.840
<v Speaker 1>to her in the first movie and in the events

1:04:44.840 --> 1:04:48.680
<v Speaker 1>in between it thought was like really compelling, Yeah, for sure,

1:04:48.720 --> 1:04:52.320
<v Speaker 1>and then the component of like she doesn't have the

1:04:52.480 --> 1:04:59.960
<v Speaker 1>evidence to support her truth because a fucking corporation stolen

1:05:00.040 --> 1:05:04.040
<v Speaker 1>it is now being used as research to develop the

1:05:04.080 --> 1:05:07.000
<v Speaker 1>technology that we'll later kill everybody. Um yeah, I thought

1:05:07.040 --> 1:05:10.480
<v Speaker 1>that that scene was super effective where she's like, it

1:05:10.520 --> 1:05:13.880
<v Speaker 1>makes it seem like she's walking back what she actually believes.

1:05:13.920 --> 1:05:17.600
<v Speaker 1>But she's only doing that because she's so smart. If

1:05:17.640 --> 1:05:19.840
<v Speaker 1>she says, oh no, I'm feeling better now, I don't

1:05:19.840 --> 1:05:22.439
<v Speaker 1>believe this anymore. I made all that stuff up. There's

1:05:22.440 --> 1:05:25.000
<v Speaker 1>no evidence because there is no evidence, like there would

1:05:25.000 --> 1:05:27.560
<v Speaker 1>be evidence if you know, I had crushed that terminator.

1:05:27.600 --> 1:05:30.479
<v Speaker 1>So she's walking it back, but only because she's trying

1:05:30.520 --> 1:05:35.520
<v Speaker 1>to trick the psychologist into getting putting the minimum security.

1:05:35.920 --> 1:05:40.440
<v Speaker 1>I thought it was super effective and I totally agree. Cool. Oh,

1:05:40.480 --> 1:05:43.000
<v Speaker 1>I thought was good. One thing that this is. I mean,

1:05:43.000 --> 1:05:45.200
<v Speaker 1>I guess this might be another example of it being

1:05:45.200 --> 1:05:48.320
<v Speaker 1>well done, even though it's like frustrating, the reality of

1:05:48.360 --> 1:05:51.800
<v Speaker 1>the situation is, you know, even though she does, her

1:05:51.840 --> 1:05:55.120
<v Speaker 1>son ends up believing her and Dyson ends up believing her,

1:05:55.480 --> 1:05:58.600
<v Speaker 1>it's only because she has the evidence all of a sudden.

1:05:59.000 --> 1:06:01.440
<v Speaker 1>It's never that or like, you know what, I should

1:06:01.440 --> 1:06:04.400
<v Speaker 1>have taken seriously what you were saying. There was no

1:06:04.480 --> 1:06:07.440
<v Speaker 1>reason not to. I believe you. It's only when she

1:06:07.520 --> 1:06:11.880
<v Speaker 1>has the flesh and robot evidence of a terminator and

1:06:11.880 --> 1:06:15.360
<v Speaker 1>she can literally peel someone's arm down, like you know.

1:06:15.720 --> 1:06:20.040
<v Speaker 1>It's like Greg only truly believes her once he's met

1:06:20.040 --> 1:06:23.680
<v Speaker 1>a terminator himself, and Dyson only truly believes her when

1:06:23.840 --> 1:06:28.200
<v Speaker 1>Arnold Schorgenseninger removes his hand. And so it's which I

1:06:28.240 --> 1:06:32.280
<v Speaker 1>think is unfortunately kind of a realistic thing in terms

1:06:32.280 --> 1:06:35.600
<v Speaker 1>of like the circumstances under which people believe women, is

1:06:35.880 --> 1:06:38.320
<v Speaker 1>no one really believes her until she does have the

1:06:38.360 --> 1:06:43.240
<v Speaker 1>heart evidence, just like in the context of believing women,

1:06:43.320 --> 1:06:45.840
<v Speaker 1>which does seem to be like something that was ahead

1:06:45.840 --> 1:06:50.160
<v Speaker 1>of its time in like demanding that. It does feel

1:06:50.200 --> 1:06:53.520
<v Speaker 1>unfortunately kind of on point that the two people who

1:06:53.640 --> 1:06:55.600
<v Speaker 1>end up believing her, and I guess you would include

1:06:55.800 --> 1:06:58.480
<v Speaker 1>um Dyson's family and this as well, even though they

1:06:58.480 --> 1:07:02.200
<v Speaker 1>don't have very large roles. They don't believe it until

1:07:02.960 --> 1:07:06.280
<v Speaker 1>until they see it. Yeah, for sure. So another very

1:07:06.400 --> 1:07:10.000
<v Speaker 1>cathartic moment for me in the movie is when Dr

1:07:10.080 --> 1:07:15.840
<v Speaker 1>Silberman sees the bad terminator coming through the gate in

1:07:15.880 --> 1:07:19.200
<v Speaker 1>a way that only a like liquid metal robot would

1:07:19.240 --> 1:07:21.480
<v Speaker 1>be able to do, and so he sees it, and

1:07:22.040 --> 1:07:24.880
<v Speaker 1>you know, he's watching this whole scene unfold where you

1:07:24.920 --> 1:07:28.160
<v Speaker 1>know this other terminator is there, and then his mouth

1:07:28.880 --> 1:07:32.240
<v Speaker 1>drops a gape because he's like, oh fuck, she was

1:07:32.320 --> 1:07:37.120
<v Speaker 1>telling you the whole time, like yes, fucking believe women.

1:07:37.440 --> 1:07:41.200
<v Speaker 1>And there's like a similar theme explored in Aliens from

1:07:41.600 --> 1:07:44.280
<v Speaker 1>at the beginning of that movie is a very similar

1:07:44.440 --> 1:07:47.120
<v Speaker 1>like I swear to God this is happening, and then

1:07:47.120 --> 1:07:54.240
<v Speaker 1>no one blazes her until so another Mr Jim he

1:07:54.280 --> 1:07:57.880
<v Speaker 1>is effectively explored here, I agree to just go back

1:07:57.920 --> 1:08:02.800
<v Speaker 1>to that hospital. Seen the first time I saw that

1:08:02.920 --> 1:08:06.760
<v Speaker 1>scene where she is escaping from the hospital, I just

1:08:06.800 --> 1:08:10.760
<v Speaker 1>remember feeling so empowered and like energized by it, Like

1:08:10.920 --> 1:08:13.760
<v Speaker 1>I was like, you know this team girls, like fuck, yes,

1:08:13.880 --> 1:08:17.599
<v Speaker 1>go Sarah because it's so cool. Around the same time

1:08:17.640 --> 1:08:20.840
<v Speaker 1>in the movie, John is telling Arnold he was like,

1:08:21.120 --> 1:08:23.800
<v Speaker 1>we gotta go get my mom, Like we gotta go

1:08:24.000 --> 1:08:27.160
<v Speaker 1>rescue her. I order you to do this, like even

1:08:27.160 --> 1:08:29.679
<v Speaker 1>though it's dangerous and maybe the other terminator will be there,

1:08:29.680 --> 1:08:31.880
<v Speaker 1>like we have to go save her, So like it's

1:08:31.880 --> 1:08:33.760
<v Speaker 1>set up in a way that's like maybe they're going

1:08:33.800 --> 1:08:36.320
<v Speaker 1>to have to like literally go in and break her out,

1:08:36.600 --> 1:08:41.320
<v Speaker 1>but she's already basically broken herself out, which I love

1:08:41.400 --> 1:08:43.920
<v Speaker 1>the thought that she doesn't have to be rescued, um,

1:08:44.000 --> 1:08:45.559
<v Speaker 1>but could you get the feeling that if they hadn't

1:08:45.560 --> 1:08:49.080
<v Speaker 1>showed up she would get out anyways? Yes, she was

1:08:49.120 --> 1:08:51.680
<v Speaker 1>like well on her way out and just kind of

1:08:51.800 --> 1:08:53.559
<v Speaker 1>I just want to do like a little beat by

1:08:53.560 --> 1:08:55.720
<v Speaker 1>beat breakdown of this because I just love it so

1:08:55.800 --> 1:09:00.400
<v Speaker 1>much where she is putting on this facade of tending

1:09:00.439 --> 1:09:04.320
<v Speaker 1>to be just so drugged up that she's basically not cognizant,

1:09:05.160 --> 1:09:07.920
<v Speaker 1>And she very subtly steals a little paper clip and

1:09:08.000 --> 1:09:10.679
<v Speaker 1>hides it in her mouth, and then after she's been

1:09:10.880 --> 1:09:14.040
<v Speaker 1>locked up in her restraints in her room, she like

1:09:14.080 --> 1:09:16.360
<v Speaker 1>spits out the paper clip, uses it to unlock the

1:09:16.400 --> 1:09:20.599
<v Speaker 1>restraints and then the door. Then she has like broken

1:09:20.600 --> 1:09:23.479
<v Speaker 1>off the handle of a broom and she uses that

1:09:23.760 --> 1:09:26.000
<v Speaker 1>to beat the ship out of the guy who has

1:09:26.000 --> 1:09:28.880
<v Speaker 1>been horrible to her, who has beaten her and ligged

1:09:28.920 --> 1:09:34.120
<v Speaker 1>her face electrocuted her. So she breaks his face and

1:09:34.120 --> 1:09:36.639
<v Speaker 1>then drags him and locks him in a closet, takes

1:09:36.640 --> 1:09:41.559
<v Speaker 1>his nightstick, takes the psychologist hostage, you know, with the

1:09:41.600 --> 1:09:47.040
<v Speaker 1>whole like drain of like liquid drain cleaner thingking brutal. Yes,

1:09:47.120 --> 1:09:49.760
<v Speaker 1>I loved it. And then just like that whole sequence

1:09:49.800 --> 1:09:54.000
<v Speaker 1>where she's like calling the shots and doing whatever it

1:09:54.040 --> 1:09:56.920
<v Speaker 1>takes to get out of there. Yeah, I was just like, oh, man,

1:09:57.080 --> 1:10:01.280
<v Speaker 1>like so cool. Yeah, think, I mean that whole scene

1:10:01.400 --> 1:10:05.200
<v Speaker 1>is so exciting and cool and also like completely like

1:10:05.360 --> 1:10:07.760
<v Speaker 1>there's no Mary Sue element to it because you know

1:10:07.880 --> 1:10:11.719
<v Speaker 1>that she's been planning this for so long and she's

1:10:11.720 --> 1:10:15.639
<v Speaker 1>been like bulking up and very solitary confinement, like she

1:10:16.040 --> 1:10:18.880
<v Speaker 1>has developed every single skill she needs to pull off

1:10:18.920 --> 1:10:23.200
<v Speaker 1>this fucking incredible sequence. It's so cool, right because it's

1:10:23.240 --> 1:10:25.920
<v Speaker 1>like it's a bunch of different things. It's us seeing

1:10:26.320 --> 1:10:30.080
<v Speaker 1>a woman be like tough and smart and tactical and

1:10:30.160 --> 1:10:33.680
<v Speaker 1>just like straight up kick ass in a way that

1:10:33.840 --> 1:10:37.400
<v Speaker 1>is not sexualized because in a lot of like action

1:10:37.479 --> 1:10:40.679
<v Speaker 1>franchises that do feature women who are like kicking ass,

1:10:40.760 --> 1:10:44.480
<v Speaker 1>like Vagina, it's the it's the pussy slam that we see,

1:10:44.880 --> 1:10:47.000
<v Speaker 1>but it's it's we don't see anything like that with

1:10:47.240 --> 1:10:51.719
<v Speaker 1>Sarah Connor. It's us seeing her escape from this wrongful

1:10:51.760 --> 1:10:56.799
<v Speaker 1>imprisonment because she hasn't been believed and she's basically saying

1:10:56.840 --> 1:10:59.240
<v Speaker 1>like just a giant fuck you to all the people

1:10:59.240 --> 1:11:01.559
<v Speaker 1>who have not leaved her for all these years, which

1:11:01.600 --> 1:11:04.720
<v Speaker 1>is crazy cathartic. It's so cool, it's so cool, and

1:11:04.880 --> 1:11:08.400
<v Speaker 1>it's just it was such an empowering, awesome scene too,

1:11:08.439 --> 1:11:10.000
<v Speaker 1>and I love it. Just Yeah, every time I see

1:11:10.040 --> 1:11:14.759
<v Speaker 1>this movie, I'm always just like, yes, and we don't

1:11:14.840 --> 1:11:17.760
<v Speaker 1>see her fall into the women are only allowed to

1:11:17.880 --> 1:11:21.840
<v Speaker 1>use household items as weapons here, Sarah Sarah, I mean

1:11:21.880 --> 1:11:24.800
<v Speaker 1>she she uses what's around in the hospital, but I

1:11:24.840 --> 1:11:28.519
<v Speaker 1>feel like that makes perfect sense, and she but then

1:11:28.840 --> 1:11:34.160
<v Speaker 1>she takes the nights the rest of the movie, right, right,

1:11:34.200 --> 1:11:36.559
<v Speaker 1>and so like that. I mean, it truly is just

1:11:36.600 --> 1:11:41.080
<v Speaker 1>like she's being treated like an action hero is treated,

1:11:41.680 --> 1:11:44.040
<v Speaker 1>which is great. So just I guess to kind of

1:11:44.080 --> 1:11:46.439
<v Speaker 1>close on the mommy stuff because I feel like we've

1:11:46.439 --> 1:11:49.439
<v Speaker 1>been alluding to it quite a bit and it takes

1:11:49.479 --> 1:11:52.479
<v Speaker 1>a larger role in the second movie. Again, it's kind

1:11:52.479 --> 1:11:56.840
<v Speaker 1>of necessary to the narrative because the kid exists now. Um,

1:11:57.000 --> 1:12:00.880
<v Speaker 1>but there is that moment that happens right after she

1:12:01.200 --> 1:12:03.200
<v Speaker 1>it seems like she's going to kill Dyson, and then

1:12:03.360 --> 1:12:05.639
<v Speaker 1>she's like, j K, I mommy, I can't kill you.

1:12:06.280 --> 1:12:09.240
<v Speaker 1>Slash a lot of stuff. She's human. They're like sitting

1:12:09.280 --> 1:12:12.200
<v Speaker 1>in Dyson's kitchen with his whole with it, with his wife,

1:12:13.080 --> 1:12:16.960
<v Speaker 1>uh and him and good terminator and John. She's kind

1:12:16.960 --> 1:12:20.799
<v Speaker 1>of railing on Dyson for trying to build another terminator.

1:12:21.120 --> 1:12:23.200
<v Speaker 1>She says, how are you supposed to know? Fucking men

1:12:23.240 --> 1:12:25.800
<v Speaker 1>like you built the hydrogen bomb, men like you thought

1:12:25.800 --> 1:12:27.680
<v Speaker 1>it up. You think you're so creative. You don't know

1:12:27.680 --> 1:12:30.120
<v Speaker 1>what it's like to really create something, to create a life,

1:12:30.200 --> 1:12:33.120
<v Speaker 1>to feel it growing inside you. All you know how

1:12:33.160 --> 1:12:36.479
<v Speaker 1>to do is death in destruction. And then Greg cuts

1:12:36.479 --> 1:12:43.320
<v Speaker 1>her off and it's like mom, yucky um, which I

1:12:43.360 --> 1:12:45.240
<v Speaker 1>don't know. I mean, I think that there's a lot

1:12:45.320 --> 1:12:48.280
<v Speaker 1>of different reads of that line. There's a read of

1:12:48.320 --> 1:12:51.719
<v Speaker 1>it I think that is like very empowering and really

1:12:51.800 --> 1:12:55.680
<v Speaker 1>hitting the nail of the like what James Cameron is

1:12:55.680 --> 1:12:58.240
<v Speaker 1>trying to do with her character right on the head

1:12:58.920 --> 1:13:02.920
<v Speaker 1>of like women with a narrow definition of what a

1:13:02.960 --> 1:13:06.400
<v Speaker 1>woman is, but like women can be badass and like

1:13:06.920 --> 1:13:10.080
<v Speaker 1>they give life. That's so cool, Like there's there's a

1:13:10.080 --> 1:13:12.439
<v Speaker 1>read of it that's very empowering, and I think that

1:13:12.479 --> 1:13:15.520
<v Speaker 1>there's a read of it that's like a little reductive

1:13:16.120 --> 1:13:19.599
<v Speaker 1>with with time and you know, just progress. I don't

1:13:19.600 --> 1:13:22.719
<v Speaker 1>think it was intended to be reductive at all, but

1:13:23.000 --> 1:13:25.000
<v Speaker 1>you know, it's like, that's the only way she can

1:13:25.040 --> 1:13:30.559
<v Speaker 1>define a woman's power is through mommy stuff, and so

1:13:30.800 --> 1:13:33.920
<v Speaker 1>that you know, there are moments and and for its time. Again,

1:13:33.920 --> 1:13:36.639
<v Speaker 1>it's like that you do not get a better female

1:13:36.680 --> 1:13:40.000
<v Speaker 1>action hero than Sarah Connor. But there are times where

1:13:40.000 --> 1:13:42.320
<v Speaker 1>I feel like it leans a little too heavy on

1:13:42.400 --> 1:13:47.839
<v Speaker 1>the crutch of like and her motivation is still woman's stuff,

1:13:48.200 --> 1:13:52.240
<v Speaker 1>you know, right, Definitely, I definitely agree with that. But

1:13:52.320 --> 1:13:56.080
<v Speaker 1>on the other hand, I can also see women who

1:13:56.080 --> 1:14:00.920
<v Speaker 1>are mothers also feeling very empowered by Sarah Connor just

1:14:00.960 --> 1:14:04.160
<v Speaker 1>by the mere fact of, like, she's a mom and

1:14:04.320 --> 1:14:10.280
<v Speaker 1>she's also a complete badass. Because mother characters in movies

1:14:10.560 --> 1:14:15.320
<v Speaker 1>are often depicted as like being just like naggy shrewy

1:14:15.360 --> 1:14:18.880
<v Speaker 1>types of characters or just like, you know, just a

1:14:18.960 --> 1:14:21.599
<v Speaker 1>typical kind of mom so to see, which is literally

1:14:21.600 --> 1:14:25.400
<v Speaker 1>how Dyson's wife is portrayed. True. So to see, like

1:14:25.439 --> 1:14:29.479
<v Speaker 1>a mother character who is also extremely tough. I think

1:14:30.000 --> 1:14:34.519
<v Speaker 1>is like representation that we don't get to see that often. Again,

1:14:34.560 --> 1:14:36.240
<v Speaker 1>I think it goes back to that thing we were

1:14:36.280 --> 1:14:40.599
<v Speaker 1>talking about before, where it's like, we have nothing against

1:14:40.960 --> 1:14:43.320
<v Speaker 1>mothers and motherhood, but for that to be the only

1:14:43.320 --> 1:14:46.920
<v Speaker 1>option of a motivation is where I find it to

1:14:47.040 --> 1:14:52.080
<v Speaker 1>be possibly reductive. Is like there's no even in kill Bill,

1:14:52.120 --> 1:14:56.280
<v Speaker 1>a movie that is allegedly about revenge, it's not really

1:14:56.400 --> 1:15:00.840
<v Speaker 1>just about revenge. It's also about motherhood. So it just

1:15:01.080 --> 1:15:03.320
<v Speaker 1>I mean, I think that there are more options now

1:15:03.439 --> 1:15:06.240
<v Speaker 1>and that this movie was important and pushing stuff forward,

1:15:06.360 --> 1:15:08.920
<v Speaker 1>but there yeah, I I do still feel like that

1:15:09.200 --> 1:15:12.679
<v Speaker 1>read of it, like there's a like I was rolling

1:15:12.720 --> 1:15:17.400
<v Speaker 1>my eyes just a little bit for sure. That all

1:15:17.560 --> 1:15:22.120
<v Speaker 1>being said in terms of like Sarah's badassery and like

1:15:22.200 --> 1:15:24.200
<v Speaker 1>all the cool things we get to see her do,

1:15:24.520 --> 1:15:29.160
<v Speaker 1>and to me, the very drastic, stark change between her

1:15:29.240 --> 1:15:32.400
<v Speaker 1>character in the first movie and the second movie is

1:15:32.439 --> 1:15:36.720
<v Speaker 1>not only like cool to see this more empowered and

1:15:36.760 --> 1:15:40.360
<v Speaker 1>badassed version of this character, but it also like tracks

1:15:40.520 --> 1:15:43.880
<v Speaker 1>very well for what the story requires of it. So

1:15:43.960 --> 1:15:46.519
<v Speaker 1>like I so it makes sense for the story, which

1:15:46.880 --> 1:15:49.920
<v Speaker 1>as a screenwriter, um, I don't like to mention it,

1:15:50.000 --> 1:15:55.559
<v Speaker 1>but like that I very much appreciated. Um. However, there

1:15:55.640 --> 1:15:58.160
<v Speaker 1>was something that I couldn't help. But notice if we're

1:15:58.280 --> 1:16:02.679
<v Speaker 1>kind of comparing some of the opening sequences of Terminator

1:16:02.760 --> 1:16:09.080
<v Speaker 1>One and Terminator Too, where in Terminator one, the terminators

1:16:09.120 --> 1:16:13.840
<v Speaker 1>in hot pursuit and Sarah needs Kyle Reyes to save

1:16:13.880 --> 1:16:16.120
<v Speaker 1>her and get her away from the terminator and all

1:16:16.120 --> 1:16:20.080
<v Speaker 1>this stuff. But in T two, John, a k greg

1:16:20.439 --> 1:16:25.080
<v Speaker 1>who is a child, but a male child, is able

1:16:25.160 --> 1:16:27.719
<v Speaker 1>to get away on his own for a little while

1:16:28.920 --> 1:16:32.240
<v Speaker 1>his motorbike. So I'm like, okay, well she also had

1:16:32.280 --> 1:16:36.479
<v Speaker 1>a mope. She did. But at the same time, John

1:16:36.800 --> 1:16:41.800
<v Speaker 1>has been raised by his mother. His mom but in

1:16:41.840 --> 1:16:44.439
<v Speaker 1>the context of like she was always telling him, like,

1:16:44.520 --> 1:16:46.880
<v Speaker 1>you're going to be a military leader, like you need

1:16:46.920 --> 1:16:50.559
<v Speaker 1>to learn combat and weapons and engines and like all

1:16:50.560 --> 1:16:54.040
<v Speaker 1>this stuff. So he was more equipped than Sarah was

1:16:54.160 --> 1:16:57.120
<v Speaker 1>to like, like he knew about terminators, like and he

1:16:57.200 --> 1:16:59.920
<v Speaker 1>probably was like, Oh, this thing that's coming to kill me,

1:17:00.600 --> 1:17:03.960
<v Speaker 1>that's probably a terminator. I have to get away. But

1:17:04.160 --> 1:17:07.600
<v Speaker 1>it's still just the optics of like this child is

1:17:07.640 --> 1:17:11.759
<v Speaker 1>able to like escape this terminator, but a grown woman

1:17:12.280 --> 1:17:15.000
<v Speaker 1>needs all his help totally. I don't know. They both

1:17:15.040 --> 1:17:18.439
<v Speaker 1>have mopeds. It's like, why is one more capable than

1:17:18.479 --> 1:17:23.920
<v Speaker 1>the other. Should we talk about Dyson and his wife? Yes,

1:17:24.200 --> 1:17:26.320
<v Speaker 1>as we already sort of touched on a little bit.

1:17:26.400 --> 1:17:28.960
<v Speaker 1>I'm a fan of his arc in the second movie,

1:17:29.040 --> 1:17:31.080
<v Speaker 1>except for the very end. I don't think you needed

1:17:31.200 --> 1:17:35.040
<v Speaker 1>to die. But I like there was more character written

1:17:35.080 --> 1:17:37.280
<v Speaker 1>for him than I assumed there would be, honestly because

1:17:37.680 --> 1:17:40.479
<v Speaker 1>he sort of set up as someone who Sarah Connor

1:17:40.520 --> 1:17:44.719
<v Speaker 1>would kill or that good Terminator would kill. But because

1:17:44.760 --> 1:17:47.080
<v Speaker 1>of the progress that those characters are already making, they

1:17:47.120 --> 1:17:49.559
<v Speaker 1>don't kill him, and then we get to see progress

1:17:49.560 --> 1:17:52.679
<v Speaker 1>on his part of being like, I see what I've done,

1:17:52.880 --> 1:17:56.080
<v Speaker 1>I see the error of and like the tunnel mindedness

1:17:56.080 --> 1:17:58.360
<v Speaker 1>of what I was doing. How can I help? How

1:17:58.400 --> 1:18:01.960
<v Speaker 1>can I reverse it? And so you know his arc

1:18:02.120 --> 1:18:05.240
<v Speaker 1>I liked, Yeah, that's always lovely, Um I do, I mean,

1:18:05.280 --> 1:18:09.559
<v Speaker 1>it's worth mentioning. He has his wife, her name, she

1:18:09.720 --> 1:18:13.960
<v Speaker 1>is named as Teresa. That's all we know. That's all

1:18:14.000 --> 1:18:18.920
<v Speaker 1>we know. She's a pretty much a tertiary character, so

1:18:19.080 --> 1:18:21.080
<v Speaker 1>I guess I mean she she didn't have to be,

1:18:21.160 --> 1:18:23.040
<v Speaker 1>but that's how the movie does frame her. I think

1:18:23.040 --> 1:18:26.599
<v Speaker 1>it's also worth noting that he's one of the very

1:18:26.640 --> 1:18:30.479
<v Speaker 1>few people of color in the movie franchise the franchise

1:18:30.520 --> 1:18:33.720
<v Speaker 1>at this point. Yeah, but the fact that he is

1:18:33.760 --> 1:18:36.720
<v Speaker 1>like a tech genius, like a person of color and

1:18:36.760 --> 1:18:40.880
<v Speaker 1>stem was representation we were not getting very much of,

1:18:41.160 --> 1:18:46.040
<v Speaker 1>especially in this era. UM, so that was pretty cool.

1:18:46.120 --> 1:18:49.320
<v Speaker 1>But yes, I don't like, still the only die the

1:18:49.439 --> 1:18:51.439
<v Speaker 1>character we know the best in this movie that is

1:18:51.520 --> 1:18:55.240
<v Speaker 1>killed off. Besides like the villain. Yeah, yeah, I feel

1:18:55.240 --> 1:18:58.480
<v Speaker 1>like that character could have been brought back in sequels

1:18:58.600 --> 1:19:01.599
<v Speaker 1>and like used his like tech genius brain to like

1:19:01.960 --> 1:19:04.559
<v Speaker 1>help and stuff. Well there, Yeah, it was like, there's

1:19:04.640 --> 1:19:07.320
<v Speaker 1>no reason in my head why he shouldn't have joined

1:19:07.360 --> 1:19:10.000
<v Speaker 1>their team. It seems like that was what he was doing.

1:19:10.400 --> 1:19:12.960
<v Speaker 1>I think he was killed twenty minutes later. Um, which

1:19:12.960 --> 1:19:16.160
<v Speaker 1>again just like feeds into whether it was written intentionally

1:19:16.160 --> 1:19:18.519
<v Speaker 1>that way or not, just feeds into some of the

1:19:18.560 --> 1:19:20.799
<v Speaker 1>horror movie trips you see pop up in these movies,

1:19:21.080 --> 1:19:24.479
<v Speaker 1>which is that the person of color always dies and

1:19:24.520 --> 1:19:28.280
<v Speaker 1>it's always the first to die. Um. Even though it's

1:19:28.320 --> 1:19:31.400
<v Speaker 1>for Diyson, it's pretty significantly into the movie. But he's

1:19:31.640 --> 1:19:37.400
<v Speaker 1>he's the character we know best who dies and that sucks. Yes,

1:19:38.080 --> 1:19:40.160
<v Speaker 1>so I wish I mean, yeah, I wish we just

1:19:40.400 --> 1:19:44.320
<v Speaker 1>Dyson Justice for Dyson. Damn it, I got, I got

1:19:44.360 --> 1:19:47.040
<v Speaker 1>a little bit of context, corner. Let's hear it for

1:19:47.160 --> 1:19:50.200
<v Speaker 1>this whole. For the for these two movies. We'll start

1:19:50.280 --> 1:19:54.240
<v Speaker 1>with Linda Hamilton's because the most recent Terminator movie is

1:19:54.280 --> 1:19:58.240
<v Speaker 1>the first one. She's returned four since Terminator two, and

1:19:58.360 --> 1:20:02.720
<v Speaker 1>she had some thoughts and how Sarah was portrayed in

1:20:02.840 --> 1:20:04.720
<v Speaker 1>the first one as opposed to the second one. I

1:20:04.760 --> 1:20:06.720
<v Speaker 1>guess the first one she went into it. I mean,

1:20:06.720 --> 1:20:08.519
<v Speaker 1>no one thought it was going to be a huge hit,

1:20:08.920 --> 1:20:10.479
<v Speaker 1>the first one, and so she went into it just

1:20:10.520 --> 1:20:13.200
<v Speaker 1>like it was a job. She described Sarah in the

1:20:13.200 --> 1:20:16.040
<v Speaker 1>first movie as quote so wholesome, my good puke unquote,

1:20:16.720 --> 1:20:20.920
<v Speaker 1>and that she didn't feel particularly empowered by the character

1:20:21.200 --> 1:20:24.680
<v Speaker 1>until quote that transition from damsel in distress to all right,

1:20:24.760 --> 1:20:27.639
<v Speaker 1>she's got to pull everything she's got together to get

1:20:27.720 --> 1:20:30.960
<v Speaker 1>Kyle up for the on your feet soldier. And so

1:20:31.280 --> 1:20:35.040
<v Speaker 1>she said she was generally unimpressed with the first Terminator

1:20:35.200 --> 1:20:38.599
<v Speaker 1>until she saw it and then was like, oh, there's something,

1:20:38.840 --> 1:20:41.960
<v Speaker 1>there's something to this. And she also saw some metaphorical

1:20:42.080 --> 1:20:45.559
<v Speaker 1>importance to the sex scene in the first movie where

1:20:45.640 --> 1:20:48.560
<v Speaker 1>she's on top, which she felt was like a metaphor

1:20:48.680 --> 1:20:52.200
<v Speaker 1>for um where that character is headed. So I thought

1:20:52.240 --> 1:20:56.240
<v Speaker 1>that was that was cool. She also in regards to

1:20:56.520 --> 1:20:59.560
<v Speaker 1>T two, there was I think kind of an interesting

1:21:00.080 --> 1:21:02.600
<v Speaker 1>strange that you know, everyone can feel any number of

1:21:02.600 --> 1:21:06.840
<v Speaker 1>ways about, but it's hair related. Um. So this is

1:21:06.880 --> 1:21:09.920
<v Speaker 1>from an interview with the Hollywood Reporter from like a

1:21:09.960 --> 1:21:12.519
<v Speaker 1>couple of weeks ago, So it goes like this. Cameron

1:21:12.600 --> 1:21:15.519
<v Speaker 1>originally proposed that Hamilton's chop off her golden brown locks

1:21:15.560 --> 1:21:19.280
<v Speaker 1>after Sarah's escape from an asylum. She argued successfully mean

1:21:19.400 --> 1:21:23.439
<v Speaker 1>Lynda Hamilton's for a ponytail instead, because, as she puts it, quote,

1:21:23.439 --> 1:21:26.120
<v Speaker 1>you don't have to look a guy to be strong unquote.

1:21:26.400 --> 1:21:28.880
<v Speaker 1>For some reason, I won that argument, she recalls, it

1:21:28.920 --> 1:21:31.519
<v Speaker 1>wasn't even a vanity thing. And then later on, when

1:21:31.520 --> 1:21:33.559
<v Speaker 1>she became this icon of strength and you know the

1:21:33.640 --> 1:21:36.120
<v Speaker 1>legend of Sarah Connor, I realized that it's only because

1:21:36.120 --> 1:21:37.840
<v Speaker 1>I didn't cut my hair that she became what she

1:21:37.880 --> 1:21:39.920
<v Speaker 1>did in the minds and hearts of the audience, that

1:21:40.000 --> 1:21:43.120
<v Speaker 1>this was a picture of feminine strength. I would love

1:21:43.160 --> 1:21:44.639
<v Speaker 1>to say, oh, I was so ahead of my time,

1:21:44.680 --> 1:21:46.840
<v Speaker 1>but it really was just an instinct that it wasn't right.

1:21:46.880 --> 1:21:49.400
<v Speaker 1>And then she goes on to roast Demi Moore's haircut

1:21:49.439 --> 1:21:52.320
<v Speaker 1>in g I Jane. So I mean we, I mean,

1:21:52.360 --> 1:21:54.360
<v Speaker 1>we know that the Baltic stwoman is in charge. This

1:21:54.600 --> 1:21:57.679
<v Speaker 1>is a rule that is held for three years now.

1:21:58.400 --> 1:22:02.520
<v Speaker 1>But I thought it was interesting that she wanted to

1:22:02.560 --> 1:22:05.439
<v Speaker 1>make that choice because I think in the case of

1:22:05.560 --> 1:22:08.960
<v Speaker 1>some action movies written by men, that is a like

1:22:09.000 --> 1:22:13.160
<v Speaker 1>a writing shorthand that is like to indicate, like I mean,

1:22:13.160 --> 1:22:15.920
<v Speaker 1>and also it's like practical to get hair out of

1:22:15.960 --> 1:22:18.439
<v Speaker 1>the way. But um, I thought it was interesting that

1:22:18.479 --> 1:22:23.320
<v Speaker 1>she like made a stand on her character, especially against

1:22:23.479 --> 1:22:27.520
<v Speaker 1>James Cameron, which gets us into Oh also, Linda Hamilton's

1:22:27.520 --> 1:22:30.719
<v Speaker 1>has done more activism for the bipolar community than most

1:22:30.760 --> 1:22:35.479
<v Speaker 1>people have. Great, I mean, just to touch on a

1:22:35.560 --> 1:22:38.280
<v Speaker 1>little bit more, Um, yeah, I think there was for

1:22:38.320 --> 1:22:40.960
<v Speaker 1>a while and even almost you know, even as recently

1:22:41.000 --> 1:22:44.000
<v Speaker 1>as like mad Max Fury Road. But like the shorthand

1:22:44.040 --> 1:22:47.200
<v Speaker 1>for like a really strong badass female character is like

1:22:47.400 --> 1:22:49.400
<v Speaker 1>chop all her hair off or a shaver head kind

1:22:49.400 --> 1:22:52.360
<v Speaker 1>of thing. And as someone who recently chopped off all

1:22:52.400 --> 1:22:57.360
<v Speaker 1>my hair. You can't stop kidding people. Yeah, I mean

1:22:57.400 --> 1:22:59.800
<v Speaker 1>I see what she's saying. I think that's somewhat of

1:22:59.840 --> 1:23:03.479
<v Speaker 1>a like, I don't know, Like, yes, I think it

1:23:03.560 --> 1:23:07.280
<v Speaker 1>is important to see like maybe more traditionally feminine, like

1:23:07.320 --> 1:23:11.240
<v Speaker 1>strong female protagonists in addition to seeing like like I

1:23:11.479 --> 1:23:15.520
<v Speaker 1>don't think like a woman who maybe presents as more masculine.

1:23:15.920 --> 1:23:18.160
<v Speaker 1>It's become a bit tropy. But I also don't think

1:23:18.160 --> 1:23:21.600
<v Speaker 1>there's anything wrong with that either, So like, yeah, I

1:23:21.600 --> 1:23:24.320
<v Speaker 1>don't know, of course I think that I think or

1:23:24.360 --> 1:23:27.559
<v Speaker 1>I mean, who knows. I feel like what she is.

1:23:27.680 --> 1:23:30.920
<v Speaker 1>I mean because partially the baldist woman in charge rule

1:23:31.120 --> 1:23:34.120
<v Speaker 1>comes from the trope of writers using it a lot

1:23:34.200 --> 1:23:37.800
<v Speaker 1>that way exactly, But but there's also it's rooted in

1:23:37.920 --> 1:23:41.200
<v Speaker 1>some military reality, Like there's a lot of like it's

1:23:41.200 --> 1:23:44.280
<v Speaker 1>based in some truth and some like silly like male

1:23:44.280 --> 1:23:46.240
<v Speaker 1>writers tend to do this a lot. But it's like now,

1:23:46.360 --> 1:23:48.040
<v Speaker 1>I don't know, I mean, it's I feel like it's

1:23:48.080 --> 1:23:51.360
<v Speaker 1>kind of neither here nor there um and like everyone

1:23:51.400 --> 1:23:53.120
<v Speaker 1>should just be able to have their hair the way

1:23:53.160 --> 1:23:56.920
<v Speaker 1>they want it. Yeah, yeah, and when you know, gender

1:23:57.000 --> 1:24:00.400
<v Speaker 1>is very fluid, Yeah, and it shouldn't be too suggest

1:24:00.439 --> 1:24:03.240
<v Speaker 1>that like short hair can't be considered feminine like that

1:24:03.960 --> 1:24:06.559
<v Speaker 1>also not true, but I you know, I thought it

1:24:06.600 --> 1:24:12.080
<v Speaker 1>was worth mentioning. Get around to Jimmy Cameron. Jimmy Cam

1:24:12.520 --> 1:24:19.000
<v Speaker 1>legendarily horrible person to work with, specifically not like a.

1:24:19.920 --> 1:24:21.519
<v Speaker 1>I mean, I guess it depends on how you look

1:24:21.520 --> 1:24:24.040
<v Speaker 1>at it. He is a nightmare on set. I think

1:24:24.040 --> 1:24:28.519
<v Speaker 1>he's very much an example of male director who can

1:24:28.560 --> 1:24:33.160
<v Speaker 1>get away with fucking murder, doing things that female director

1:24:33.200 --> 1:24:36.600
<v Speaker 1>of any amount of experience would get fired and blacklisted

1:24:36.880 --> 1:24:39.720
<v Speaker 1>for doing. And uh, I would also apply that to

1:24:39.800 --> 1:24:43.640
<v Speaker 1>really any marginalized community where it is there is some

1:24:43.720 --> 1:24:47.080
<v Speaker 1>truth to like you only have so many shots, um,

1:24:47.080 --> 1:24:50.240
<v Speaker 1>whereas white male directors with a with a specific style

1:24:50.320 --> 1:24:53.280
<v Speaker 1>can just fucking get away with murder. Some examples of

1:24:53.320 --> 1:24:55.680
<v Speaker 1>things he's done in ways he's been described. On the

1:24:55.680 --> 1:24:58.080
<v Speaker 1>set of Avatar, he would take people's cell phones if

1:24:58.080 --> 1:25:00.160
<v Speaker 1>they were out, and he would nail gun them to

1:25:00.240 --> 1:25:04.560
<v Speaker 1>the wall. Um, let's see. Andrew Gumbel of The Independence

1:25:04.600 --> 1:25:08.280
<v Speaker 1>says Cameron is quote a nightmare to work with studios

1:25:08.320 --> 1:25:11.200
<v Speaker 1>fear his habit of straying over schedules and over budget

1:25:11.280 --> 1:25:15.680
<v Speaker 1>He's notorious on set for uncompromising and dictatorial manner, as

1:25:15.680 --> 1:25:20.679
<v Speaker 1>well as his flaming temper. Leonardo DiCaprio told Esquire magazine, quote,

1:25:20.840 --> 1:25:23.000
<v Speaker 1>when somebody felt a different way on set, there was

1:25:23.040 --> 1:25:27.320
<v Speaker 1>a confrontation. Uh, and what is it like? It's putting

1:25:27.320 --> 1:25:31.760
<v Speaker 1>it lightly? Yeah, well, you know, Uh, Leonardo DiCaprio is

1:25:31.800 --> 1:25:35.320
<v Speaker 1>not necessarily you know, you have to think that Leonardo DiCaprio,

1:25:35.360 --> 1:25:36.920
<v Speaker 1>for the amount of time he spends around twenty three

1:25:37.000 --> 1:25:40.480
<v Speaker 1>year olds, would be more woke than he is. But um,

1:25:40.600 --> 1:25:44.600
<v Speaker 1>it's just not true. Speaking of their experiences on filming Titanic,

1:25:44.680 --> 1:25:47.800
<v Speaker 1>Kate Winslett said that she admired Cameron but quote, there

1:25:47.800 --> 1:25:51.200
<v Speaker 1>were times I was genuinely frightened of him. Unquote. He's

1:25:51.240 --> 1:25:55.439
<v Speaker 1>just a notoriously scary guy. Linda Hamilton's also attested to this,

1:25:56.080 --> 1:26:00.400
<v Speaker 1>where she was I think generally very like to his

1:26:00.479 --> 1:26:03.040
<v Speaker 1>whims on set, and then the one time she asked

1:26:03.080 --> 1:26:06.080
<v Speaker 1>to see playback of a scene she had just done,

1:26:06.200 --> 1:26:09.080
<v Speaker 1>he screamed at her in front of everyone and they

1:26:09.160 --> 1:26:11.400
<v Speaker 1>later got married, which she said was the biggest regret

1:26:11.439 --> 1:26:15.040
<v Speaker 1>of her life. So what can you do? Uh? And

1:26:15.080 --> 1:26:19.160
<v Speaker 1>then just a brief one more thing, as it pertains

1:26:19.200 --> 1:26:23.120
<v Speaker 1>to Sarah Connor specifically. You may recall that James Cameron

1:26:23.360 --> 1:26:30.960
<v Speaker 1>made some stupid as comments when Wonder Woman came out,

1:26:31.680 --> 1:26:36.839
<v Speaker 1>and he just really couldn't take someone else making movies

1:26:36.880 --> 1:26:40.559
<v Speaker 1>about women, and he was very reductive, and the way

1:26:40.560 --> 1:26:43.719
<v Speaker 1>he described it, he said that gal Gadot was too

1:26:44.000 --> 1:26:47.000
<v Speaker 1>beautiful and that she was objectified and that she was

1:26:47.439 --> 1:26:50.120
<v Speaker 1>you know, and and you can view that however you want.

1:26:50.160 --> 1:26:53.360
<v Speaker 1>The point is that James Caramon is like, my female

1:26:53.360 --> 1:26:56.519
<v Speaker 1>protagonist is the best female protagonist, which means that he

1:26:56.640 --> 1:27:00.559
<v Speaker 1>only thinks female protagonists can be one way, and there's

1:27:00.640 --> 1:27:04.000
<v Speaker 1>only one way to be a female action hero. It's

1:27:04.040 --> 1:27:08.080
<v Speaker 1>pitting women against each other for no reason. It's egotistical,

1:27:08.479 --> 1:27:13.000
<v Speaker 1>it's annoying, and also it's incorrect because he says in

1:27:13.000 --> 1:27:15.920
<v Speaker 1>twenty sevent TV says quote, Sarah Connor was not a

1:27:15.920 --> 1:27:18.040
<v Speaker 1>beauty icon. She was strong, she was troubled, she was

1:27:18.080 --> 1:27:20.200
<v Speaker 1>a terrible mother, and she earned the respect of the

1:27:20.240 --> 1:27:23.120
<v Speaker 1>audience through pure grit. Well, there may be some truth

1:27:23.160 --> 1:27:24.920
<v Speaker 1>to that if you look back at the way that

1:27:25.000 --> 1:27:29.920
<v Speaker 1>James Cameron describes Sarah Connor and his first screenplay. That's

1:27:29.960 --> 1:27:33.479
<v Speaker 1>not true, It's just he's just like a he's just

1:27:33.560 --> 1:27:37.240
<v Speaker 1>kind of a stupid ass. Yes, I agree. I have

1:27:37.320 --> 1:27:39.519
<v Speaker 1>a little bit of a little bit more specifics on

1:27:39.600 --> 1:27:42.320
<v Speaker 1>this part of the context corner when he made those

1:27:42.360 --> 1:27:45.960
<v Speaker 1>comments originally about Wonder Woman, and he also said that well,

1:27:46.000 --> 1:27:50.599
<v Speaker 1>because this character was so sexualized, therefore the film is

1:27:50.640 --> 1:27:54.640
<v Speaker 1>not groundbreaking exactly right, like okay? And then Patty Jenkins,

1:27:54.720 --> 1:27:59.280
<v Speaker 1>the director of Wonder Woman, responded by saying, James Cameron's

1:27:59.280 --> 1:28:02.760
<v Speaker 1>inability to understand what Wonder Woman is or stands for

1:28:02.840 --> 1:28:05.840
<v Speaker 1>to women all over the world is unsurprising to me.

1:28:06.400 --> 1:28:09.080
<v Speaker 1>Though he is a great filmmaker, he is not a woman.

1:28:09.400 --> 1:28:12.280
<v Speaker 1>Strong women are great. His praise of my film Monster

1:28:12.439 --> 1:28:15.000
<v Speaker 1>and our portrayal of a strong yet damaged woman was

1:28:15.120 --> 1:28:18.200
<v Speaker 1>so appreciated. But if women have to always be hard,

1:28:18.520 --> 1:28:21.360
<v Speaker 1>tough and troubled to be strong, then we aren't free

1:28:21.400 --> 1:28:25.160
<v Speaker 1>to be multidimensional or celebrate an icon of women everywhere

1:28:25.479 --> 1:28:28.280
<v Speaker 1>because she is attractive and loving, then we haven't come

1:28:28.400 --> 1:28:31.759
<v Speaker 1>very far, have we. I believe women can and should

1:28:31.760 --> 1:28:35.040
<v Speaker 1>be everything, just like male lead characters should be, and

1:28:35.080 --> 1:28:38.040
<v Speaker 1>there's no right and wrong kind of powerful woman in

1:28:38.080 --> 1:28:40.200
<v Speaker 1>the massive female audience who made the film a hit

1:28:40.320 --> 1:28:43.759
<v Speaker 1>it is can surely choose and judge their own icons

1:28:43.800 --> 1:28:47.320
<v Speaker 1>of progress. And then James Cameron doubled down on his

1:28:47.400 --> 1:28:53.320
<v Speaker 1>previous and said about gal Gado all the like, but whatever,

1:28:53.479 --> 1:28:57.160
<v Speaker 1>she was miss Israel and she's dropped dead gorgeous and

1:28:57.200 --> 1:29:00.439
<v Speaker 1>that's not great and ground uh. And then he said

1:29:00.960 --> 1:29:05.599
<v Speaker 1>added about Sarah Connor in Terminator to saying she wasn't

1:29:05.640 --> 1:29:08.599
<v Speaker 1>there to be liked or ogled, but she was central

1:29:08.640 --> 1:29:11.040
<v Speaker 1>and the audience loved her by the end of the film.

1:29:11.080 --> 1:29:14.519
<v Speaker 1>And it's just like, you don't get it. I like

1:29:14.600 --> 1:29:17.479
<v Speaker 1>Patty Jenkins is responsible, Like she shouldn't have even had

1:29:17.479 --> 1:29:21.000
<v Speaker 1>to say anything. It's just like it's just another example

1:29:21.040 --> 1:29:24.280
<v Speaker 1>of like he made it about him for no reason.

1:29:24.680 --> 1:29:26.599
<v Speaker 1>No one asked him too, it was in response to

1:29:26.640 --> 1:29:28.680
<v Speaker 1>nothing like. It was just like he just made it

1:29:28.720 --> 1:29:31.760
<v Speaker 1>about him because that's what he's like. Yeah, And it

1:29:31.840 --> 1:29:35.000
<v Speaker 1>just sucks that he is like one of the very

1:29:35.040 --> 1:29:38.519
<v Speaker 1>influential directors in Hollywood who is a straight white man

1:29:38.920 --> 1:29:43.559
<v Speaker 1>who is trying to, it seems, attempt to include women

1:29:43.640 --> 1:29:47.559
<v Speaker 1>in meaningful ways in his stories, but he still has

1:29:47.560 --> 1:29:51.040
<v Speaker 1>a very narrow view of what a like strong female

1:29:51.040 --> 1:29:55.920
<v Speaker 1>protagonist should and could be. I hope that he has,

1:29:56.080 --> 1:29:59.000
<v Speaker 1>you know, demonstrates I'm not I'm not going to set

1:29:59.040 --> 1:30:02.920
<v Speaker 1>my watch by it. It like that was incredibly recent

1:30:03.160 --> 1:30:07.040
<v Speaker 1>and completely fucking toned up into double down. It's just

1:30:07.120 --> 1:30:12.040
<v Speaker 1>like it's embarrassing for him, and um, he should be ashamed. Indeed,

1:30:12.360 --> 1:30:14.280
<v Speaker 1>the last thing I had to say in in this

1:30:14.400 --> 1:30:18.200
<v Speaker 1>context corner is that it appears that the Sarah Connor

1:30:18.280 --> 1:30:22.599
<v Speaker 1>character is very much based on James Cameron's mother. Did

1:30:22.680 --> 1:30:25.719
<v Speaker 1>you know, well, we didn't know for today that James

1:30:25.800 --> 1:30:29.040
<v Speaker 1>Cameron is Canadian. I suspect we didn't know this because

1:30:29.040 --> 1:30:32.200
<v Speaker 1>he's notoriously mean, so no one would be like, he's

1:30:32.240 --> 1:30:37.040
<v Speaker 1>probably Canadian, but he is Canadian and in a profile

1:30:37.320 --> 1:30:41.280
<v Speaker 1>of him, and this is I wouldn't recommend this article.

1:30:41.520 --> 1:30:43.360
<v Speaker 1>It was in Vanity Fair in two thousand nine when

1:30:43.400 --> 1:30:47.040
<v Speaker 1>Avatar was coming out and was called James Cameron secret

1:30:47.200 --> 1:30:52.240
<v Speaker 1>feminished and it is just praising woke icon James Cameron,

1:30:52.400 --> 1:30:55.280
<v Speaker 1>like who cares? But the interesting passage concerning his mother

1:30:55.400 --> 1:30:59.280
<v Speaker 1>goes as follows, quote Cameron's mother surely is Sarah Connor

1:30:59.280 --> 1:31:02.040
<v Speaker 1>trapped in the body be of a Canadian grandmother. I

1:31:02.040 --> 1:31:05.160
<v Speaker 1>don't know why Jim thinks I'm so reliant. Surely shrugged

1:31:05.160 --> 1:31:07.960
<v Speaker 1>to me, professing bewilderment that she might be the inspiration

1:31:08.000 --> 1:31:11.479
<v Speaker 1>for the gutty maternal characters and the Terminator in Aliens. Well,

1:31:11.520 --> 1:31:13.760
<v Speaker 1>I can take a guess. While a mother with three

1:31:13.840 --> 1:31:16.240
<v Speaker 1>kids under age eight, James was the oldest of what

1:31:16.280 --> 1:31:20.320
<v Speaker 1>would ultimately be five, Surely joined the Canadian Women's Army Corps,

1:31:20.479 --> 1:31:23.519
<v Speaker 1>happily trooping off on weekends and fatigues and combat boots

1:31:23.560 --> 1:31:26.479
<v Speaker 1>to assemble a rifle while blindfolded and marked through field

1:31:26.560 --> 1:31:29.599
<v Speaker 1>in the pouring rain. At a time and place, Ontario, Canada,

1:31:29.640 --> 1:31:32.559
<v Speaker 1>in the fifties and sixties when most women set aside

1:31:32.560 --> 1:31:35.759
<v Speaker 1>their personal pursuits for the sole ambition of homemaking. Surely

1:31:36.080 --> 1:31:39.080
<v Speaker 1>was a painter and attended courses in subjects like geology

1:31:39.120 --> 1:31:42.759
<v Speaker 1>and astronomy. Often she brought along her oldest son. So

1:31:43.600 --> 1:31:47.200
<v Speaker 1>I think that that is that's lovely. So that makes

1:31:47.720 --> 1:31:53.200
<v Speaker 1>the first Terminator movie even more confusing, because again it

1:31:53.280 --> 1:31:56.719
<v Speaker 1>seems like he couldn't envision a world where a woman

1:31:56.760 --> 1:32:01.880
<v Speaker 1>would be important because she's the one who has military

1:32:01.880 --> 1:32:06.439
<v Speaker 1>training and combat training in leadership tendencies. But his mother

1:32:07.280 --> 1:32:11.120
<v Speaker 1>was in the military. Right at least the course corrects

1:32:11.120 --> 1:32:14.040
<v Speaker 1>on the second one. I don't know, I mean, but

1:32:14.400 --> 1:32:19.680
<v Speaker 1>I was well speaking of course, correcting what may I share? Um?

1:32:19.720 --> 1:32:24.120
<v Speaker 1>So these are spoilers for Terminator Dark Fate, So if

1:32:24.120 --> 1:32:28.400
<v Speaker 1>you would like to avoid these spoilers, skip ahead about

1:32:28.400 --> 1:32:31.200
<v Speaker 1>a minute and a half. Okay, I did see Terminator

1:32:31.479 --> 1:32:35.799
<v Speaker 1>Dark Fate, Bragg and I will say that that movie

1:32:36.400 --> 1:32:39.479
<v Speaker 1>corrects the idea that women are only important because they

1:32:39.520 --> 1:32:43.400
<v Speaker 1>are mothers of the important men, because in this movie,

1:32:43.479 --> 1:32:48.400
<v Speaker 1>the character being protected is Danny, a Latino X woman.

1:32:49.040 --> 1:32:52.400
<v Speaker 1>She is the person who ends up becoming the leader

1:32:52.439 --> 1:32:57.040
<v Speaker 1>of the human resistance against the machines. Also, the protector

1:32:57.160 --> 1:33:00.559
<v Speaker 1>this time is also a woman. She is a an

1:33:00.640 --> 1:33:05.280
<v Speaker 1>enhanced human named Grace, played by Mackenzie Davis and then

1:33:05.560 --> 1:33:10.000
<v Speaker 1>Sarah Connor Limbda Hamilton's is back, and so you see

1:33:10.000 --> 1:33:13.559
<v Speaker 1>a bunch of scenes with Danny, Grace, and Sarah all

1:33:13.640 --> 1:33:18.880
<v Speaker 1>working together and getting stuff done. Now, Grace and Sarah

1:33:19.080 --> 1:33:21.840
<v Speaker 1>seemed to hate each other for what feels like kind

1:33:21.840 --> 1:33:26.080
<v Speaker 1>of no reason. So that's a little whatever, But the

1:33:26.120 --> 1:33:31.400
<v Speaker 1>movie does, and the female characters aren't necessarily well developed.

1:33:31.479 --> 1:33:33.840
<v Speaker 1>And I just had some other issues with the movie,

1:33:34.040 --> 1:33:36.840
<v Speaker 1>but the movie does pass the BacT to test a bunch.

1:33:37.080 --> 1:33:40.000
<v Speaker 1>So there's just some of the some of the mistakes

1:33:40.000 --> 1:33:43.200
<v Speaker 1>that I think the earlier Terminator films did. The Dark

1:33:43.280 --> 1:33:48.479
<v Speaker 1>Fate attempts to correct the day. At the end of

1:33:48.479 --> 1:33:52.400
<v Speaker 1>the day, I just want women to write the movie

1:33:52.479 --> 1:33:58.759
<v Speaker 1>and for people to stop rebooting franchises. Yes, because nothing's

1:33:58.800 --> 1:34:02.240
<v Speaker 1>ever going to be as good as Terminator. To exactly

1:34:02.360 --> 1:34:08.439
<v Speaker 1>stop trying and let's all move on with our lives. Okay,

1:34:08.680 --> 1:34:10.679
<v Speaker 1>I think that's all I had. That's all I had.

1:34:11.400 --> 1:34:14.960
<v Speaker 1>Do these movies pass the Bechdel test, the first one,

1:34:15.439 --> 1:34:17.439
<v Speaker 1>I feel like I think the first one might. It

1:34:17.560 --> 1:34:22.160
<v Speaker 1>might because we've got Sarah talking to Ginger, her roommate,

1:34:22.520 --> 1:34:24.919
<v Speaker 1>and we have Sarah talking to I believe the characters

1:34:25.080 --> 1:34:31.679
<v Speaker 1>named in the credit as Nancy, who's the other waitress. Yes,

1:34:31.960 --> 1:34:34.120
<v Speaker 1>I don't think we learned her name in the in

1:34:34.120 --> 1:34:37.240
<v Speaker 1>the movie, but that other So the server at the

1:34:37.280 --> 1:34:41.960
<v Speaker 1>diner tells Sarah about the news broadcast about another Sarah

1:34:41.960 --> 1:34:46.679
<v Speaker 1>Connor getting murdered. Um, does Sarah respond, I can't totally remember.

1:34:46.920 --> 1:34:50.040
<v Speaker 1>Sarah does respond. It's kind of I mean, it's kind

1:34:50.080 --> 1:34:52.280
<v Speaker 1>of those throwaway. I mean, it's kind of too throwaway

1:34:52.280 --> 1:34:54.280
<v Speaker 1>to account. But they say hi to each other at

1:34:54.280 --> 1:34:58.360
<v Speaker 1>one point, you're late HIU. Then there's that moment where

1:34:58.400 --> 1:35:01.439
<v Speaker 1>Sarah kind of responds, I mean, I don't know if

1:35:01.439 --> 1:35:05.320
<v Speaker 1>it's necessarily with words, because it's like, oh, you know,

1:35:05.520 --> 1:35:07.519
<v Speaker 1>like one of those it's like they're talking to each other.

1:35:07.560 --> 1:35:09.920
<v Speaker 1>It's about the murder of other women. But you know

1:35:10.200 --> 1:35:12.920
<v Speaker 1>if maybe it maybe it counts. I don't know, Yeah,

1:35:13.000 --> 1:35:15.679
<v Speaker 1>that one, I feel like I wouldn't necessarily count those

1:35:15.720 --> 1:35:18.240
<v Speaker 1>because we don't ever learn that character's name, I think.

1:35:18.240 --> 1:35:21.400
<v Speaker 1>But then Sarah and Ginger do talk a little bit,

1:35:21.920 --> 1:35:26.200
<v Speaker 1>but these conversations go something like Ginger says they're looking

1:35:26.200 --> 1:35:28.280
<v Speaker 1>at each other in the mirror, and Ginger says, like

1:35:28.680 --> 1:35:31.880
<v Speaker 1>better than the mortal man deserves. And then Sarah kisses

1:35:31.920 --> 1:35:35.599
<v Speaker 1>Ginger on the cheek, and then later she's like, Ginger,

1:35:35.680 --> 1:35:39.960
<v Speaker 1>have you seen Pugsley, my feminist icon iguana man? But

1:35:40.120 --> 1:35:44.320
<v Speaker 1>he's a Pug's a male iguana. So responds and says,

1:35:44.439 --> 1:35:47.000
<v Speaker 1>not recently, did you check the messages? And then they

1:35:47.040 --> 1:35:50.559
<v Speaker 1>talk about the guy who cancels on Sarah so that

1:35:50.600 --> 1:35:52.920
<v Speaker 1>doesn't pass us, And then she says, I'm going to

1:35:52.960 --> 1:35:56.439
<v Speaker 1>a movie, kiddo, okay, Ginger says, and then Sara says,

1:35:56.479 --> 1:35:59.360
<v Speaker 1>you and Matt have a good time. But we have

1:35:59.400 --> 1:36:03.439
<v Speaker 1>two lines there, so maybe I don't know. If it

1:36:03.520 --> 1:36:07.479
<v Speaker 1>does pass, it's it's the skin of its teeth. And

1:36:07.520 --> 1:36:10.120
<v Speaker 1>then what about what you have for two? I think no,

1:36:10.360 --> 1:36:12.400
<v Speaker 1>I think two does not pass. There was one moment

1:36:12.400 --> 1:36:15.600
<v Speaker 1>where I thought Teresa and Sarah we're almost talking, but

1:36:15.640 --> 1:36:18.040
<v Speaker 1>then it turns out Teresa was talking to her husband, right,

1:36:18.360 --> 1:36:22.799
<v Speaker 1>although Sarah does say to Teresa, get down on the floor, bitch,

1:36:23.240 --> 1:36:28.800
<v Speaker 1>fucking down now, and Teresa screams, so does it pass? Good? Um,

1:36:29.360 --> 1:36:33.200
<v Speaker 1>so you know it doesn't. I don't know which is

1:36:33.240 --> 1:36:36.960
<v Speaker 1>I think again, like you almost and not to say that.

1:36:37.120 --> 1:36:39.760
<v Speaker 1>You know, Sarah Connor is characterized in the same way

1:36:39.760 --> 1:36:41.960
<v Speaker 1>that Princess Leah is, but just that tendency of like

1:36:42.280 --> 1:36:45.479
<v Speaker 1>there shall be no more than one strong woman in

1:36:45.520 --> 1:36:49.040
<v Speaker 1>any movie, like that rule kind of holds in at

1:36:49.120 --> 1:36:52.160
<v Speaker 1>least these two movies. Even though they the strong female

1:36:52.240 --> 1:36:55.080
<v Speaker 1>character you get is great, there's no women for her

1:36:55.080 --> 1:37:01.080
<v Speaker 1>to talk to. New So that's that I thing. What

1:37:01.080 --> 1:37:05.200
<v Speaker 1>would you rate the movie? The two? I feel like

1:37:05.240 --> 1:37:09.080
<v Speaker 1>we got to split it, right. Yeah, they're very different

1:37:09.080 --> 1:37:12.080
<v Speaker 1>than the way they treat their female protagonists. I think, yes,

1:37:12.160 --> 1:37:17.160
<v Speaker 1>I agree. Okay, So for Terminator one, I think I

1:37:17.160 --> 1:37:20.280
<v Speaker 1>would only give this like a one and a half

1:37:20.360 --> 1:37:24.800
<v Speaker 1>or two maybe just because of the whole like, you're

1:37:24.840 --> 1:37:28.480
<v Speaker 1>only important because you're a mummy of a man who's important,

1:37:28.560 --> 1:37:32.880
<v Speaker 1>and like she's not characterized enough. We don't know anything

1:37:32.920 --> 1:37:35.960
<v Speaker 1>about her aspirations, she's not equipped with any skills that

1:37:36.280 --> 1:37:40.719
<v Speaker 1>make her able to contribute to her own safety or

1:37:40.840 --> 1:37:45.760
<v Speaker 1>of like getting away from the Terminator, different stuff like that. See,

1:37:45.840 --> 1:37:47.599
<v Speaker 1>I feel like it's only like a one and a

1:37:47.640 --> 1:37:53.040
<v Speaker 1>half kind of thing. The Terminator too, I would double

1:37:53.120 --> 1:37:58.360
<v Speaker 1>it and give it a three because it's still just

1:37:58.479 --> 1:38:02.760
<v Speaker 1>by the nature of you know, sequels and storytelling. The

1:38:02.800 --> 1:38:05.280
<v Speaker 1>different hang ups I have about the first movie just

1:38:05.479 --> 1:38:09.880
<v Speaker 1>carry over into Terminator to you know, the whole like

1:38:10.560 --> 1:38:14.320
<v Speaker 1>very strong emphasis on but I'm a mummy and that's

1:38:14.360 --> 1:38:18.880
<v Speaker 1>my major motivation and stuff like that. But because she

1:38:19.720 --> 1:38:23.640
<v Speaker 1>we see, you know, all of her general badassery, I

1:38:23.680 --> 1:38:25.880
<v Speaker 1>think I'm gonna go a one and a half and

1:38:25.920 --> 1:38:30.400
<v Speaker 1>then a three respectively. I'm gonna go a one and four.

1:38:30.680 --> 1:38:35.360
<v Speaker 1>I think one I really don't have any love at

1:38:35.360 --> 1:38:38.000
<v Speaker 1>all for the first Terminator movie. I think that her

1:38:38.120 --> 1:38:42.439
<v Speaker 1>character is like severely underwritten. And then I like the

1:38:42.479 --> 1:38:45.719
<v Speaker 1>growth she shows in the last act of the movie,

1:38:45.800 --> 1:38:48.960
<v Speaker 1>but I don't feel that it's more than uh nipples

1:38:48.960 --> 1:38:52.439
<v Speaker 1>worth of growth. Um. I don't like that she's told

1:38:52.439 --> 1:38:54.640
<v Speaker 1>the person she's going to become, she can't name her

1:38:54.680 --> 1:38:59.120
<v Speaker 1>own child, she's defined by her motherhood, etcetera, etcetera. I

1:39:00.040 --> 1:39:01.559
<v Speaker 1>you know, and again, I know that people are going

1:39:01.600 --> 1:39:02.920
<v Speaker 1>to roast me, but I'm just like, I'm just not

1:39:02.960 --> 1:39:05.920
<v Speaker 1>attached to these movies. One nipple for the first one, uh,

1:39:05.960 --> 1:39:07.840
<v Speaker 1>and then I think I would go I I again,

1:39:07.960 --> 1:39:10.360
<v Speaker 1>like you were saying, I have similar issues with her

1:39:10.400 --> 1:39:14.720
<v Speaker 1>being defined by her motherhood in the second movie. But

1:39:14.760 --> 1:39:17.920
<v Speaker 1>I think just kind of based off of how it

1:39:18.000 --> 1:39:22.240
<v Speaker 1>does seem like, especially in this gigantically popular because the

1:39:22.439 --> 1:39:25.240
<v Speaker 1>second movie did even better than the first movie. It

1:39:25.320 --> 1:39:28.080
<v Speaker 1>made over five billion dollars and it was a very

1:39:28.080 --> 1:39:30.920
<v Speaker 1>expensive you were saying, it was the most expensive movie

1:39:31.120 --> 1:39:34.120
<v Speaker 1>made to date and it's still doubled its budget over

1:39:34.840 --> 1:39:38.559
<v Speaker 1>And I think seeing a character like Sarah Connor kick

1:39:38.840 --> 1:39:43.320
<v Speaker 1>Ass have those moments of Catharsis have the idea of

1:39:43.400 --> 1:39:49.200
<v Speaker 1>believing women effectively tackled in a huge, mainstream blockbuster movie.

1:39:50.120 --> 1:39:53.559
<v Speaker 1>Is yeah, I mean first time, that's like huge, And

1:39:53.720 --> 1:39:56.160
<v Speaker 1>like I wish that there was less defining her by

1:39:56.200 --> 1:39:59.080
<v Speaker 1>her motherhood. I wish that there was less I need

1:39:59.080 --> 1:40:03.080
<v Speaker 1>to find a father for my boy. But I just yeah,

1:40:03.120 --> 1:40:06.400
<v Speaker 1>I think it's so It lets her be so much

1:40:06.439 --> 1:40:10.360
<v Speaker 1>more and and definitely paved the way for more effectively

1:40:10.400 --> 1:40:15.240
<v Speaker 1>written female action heroes. It's gonna go one in four,

1:40:17.439 --> 1:40:22.200
<v Speaker 1>no factions for Jamie Tenney. Well there you have the Folks,

1:40:22.640 --> 1:40:27.240
<v Speaker 1>the Terminator one in two episode and our three year

1:40:27.240 --> 1:40:33.160
<v Speaker 1>anniversary episode, so you know, happy three years once again, Jamie.

1:40:33.280 --> 1:40:38.479
<v Speaker 1>Thank you. Here's to five million. There's so many more

1:40:38.640 --> 1:40:43.240
<v Speaker 1>movies to do. Um. Well, hey Jamie, where can people

1:40:43.320 --> 1:40:46.800
<v Speaker 1>follow you on the internet? Oh, you can follow me

1:40:47.120 --> 1:40:51.080
<v Speaker 1>at Jamie We never do this, we don't still with

1:40:51.240 --> 1:40:54.240
<v Speaker 1>our inniversion. We don't have a guest so our Time

1:40:54.280 --> 1:40:57.760
<v Speaker 1>to Shine. Can follow me on Twitter at Jamie Loftest.

1:40:57.800 --> 1:41:00.599
<v Speaker 1>Help you can follow me and it's rum at Jamie

1:41:00.680 --> 1:41:03.639
<v Speaker 1>christ Superstar. By the time this has released, you listen

1:41:03.720 --> 1:41:06.800
<v Speaker 1>to my podcast about being in Mensa for a year

1:41:06.880 --> 1:41:10.280
<v Speaker 1>called my year in mensa. Uh, and that's I think.

1:41:10.320 --> 1:41:12.719
<v Speaker 1>But what do you have to say kit another plugcast?

1:41:13.000 --> 1:41:17.160
<v Speaker 1>I sure do. It's called Sludge an American Healthcare Story.

1:41:17.720 --> 1:41:23.759
<v Speaker 1>Season one has wrapped because luckily I am now sludge free,

1:41:23.960 --> 1:41:26.640
<v Speaker 1>but season two will be coming out sometime in the

1:41:26.680 --> 1:41:30.439
<v Speaker 1>new year, so check that out. You can follow me

1:41:30.479 --> 1:41:34.320
<v Speaker 1>on Twitter and Instagram at Caitlin Durante. And as for

1:41:34.960 --> 1:41:39.000
<v Speaker 1>our podcasts plugs, you can follow us on social media

1:41:39.080 --> 1:41:44.040
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1:41:44.120 --> 1:41:48.040
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1:41:48.200 --> 1:41:50.240
<v Speaker 1>It's five dollars a month. It gets you to bonus

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1:41:56.400 --> 1:42:00.320
<v Speaker 1>March at t flo dot com, slash the backdel asked.

1:42:00.720 --> 1:42:02.920
<v Speaker 1>Holidays are coming up gang if you if you want

1:42:02.920 --> 1:42:06.479
<v Speaker 1>to treat yourself, treat someone you love by all means,

1:42:06.560 --> 1:42:09.320
<v Speaker 1>We've got all the designs. We also have our seasonal designs.

1:42:09.360 --> 1:42:12.599
<v Speaker 1>If you want feminist icon baby Grinch, No, I think

1:42:12.600 --> 1:42:15.599
<v Speaker 1>it's queer baby queer. I'm so sorry queer. I call

1:42:15.680 --> 1:42:19.920
<v Speaker 1>baby grinch or just a simple grinch in heels. Text

1:42:19.960 --> 1:42:23.960
<v Speaker 1>free Grinch as well um Or or any of our

1:42:24.040 --> 1:42:28.240
<v Speaker 1>our designs. Feminist icon, feminist like all from Molina, Queer Icon,

1:42:28.760 --> 1:42:33.080
<v Speaker 1>all the classics. Indeed, they're all there for you. And hey, Jamie, Yes,

1:42:33.520 --> 1:42:39.400
<v Speaker 1>Asta Levista, Baby, Asta Levista, Caitlin, Bye bye