1 00:00:01,000 --> 00:00:03,960 Speaker 1: On the Bechdel Cast, the questions ask if movies have 2 00:00:04,120 --> 00:00:07,960 Speaker 1: women and them, are all their discussions just boyfriends and husbands, 3 00:00:08,039 --> 00:00:11,879 Speaker 1: or do they have individualism? It's the patriarchy, zeph and 4 00:00:12,119 --> 00:00:16,000 Speaker 1: best start changing it with the Bechdel Cast. 5 00:00:16,320 --> 00:00:27,960 Speaker 2: Hey, Jamie, Twisters hate my family, like honestly, Caitlin as 6 00:00:28,000 --> 00:00:29,120 Speaker 2: a militant feminist. 7 00:00:29,320 --> 00:00:33,920 Speaker 3: Everyone in this movie needs to get away from Helen Hunt. 8 00:00:34,240 --> 00:00:36,839 Speaker 4: She is leading them to danger. 9 00:00:37,440 --> 00:00:40,160 Speaker 3: Yes, she is repeated. I mean everyone is being led 10 00:00:40,159 --> 00:00:45,960 Speaker 3: to danger. Everyone here has a near death kink obviously 11 00:00:46,960 --> 00:00:51,600 Speaker 3: right like they get off on it. We see it repeatedly. However, 12 00:00:52,240 --> 00:00:56,800 Speaker 3: there's only one character who the Twister hates back with 13 00:00:56,920 --> 00:01:00,639 Speaker 3: a vengeance, and it's Helen Hunt. Because we are in 14 00:01:01,040 --> 00:01:04,440 Speaker 3: from what we can understand, we're led to believe, you know, 15 00:01:04,600 --> 00:01:09,160 Speaker 3: like we're we're with Oklahoma natives. We are with people 16 00:01:09,240 --> 00:01:15,040 Speaker 3: who have grown up live understand Tornado Alley, but with 17 00:01:15,160 --> 00:01:20,160 Speaker 3: Helen Hunt around. There are six unprecedented Twisters in a 18 00:01:20,200 --> 00:01:24,120 Speaker 3: space of it seems like seventy two hours. Yeah, seventy 19 00:01:24,160 --> 00:01:27,640 Speaker 3: two hours generously, But we never see anyone sleep, and 20 00:01:27,680 --> 00:01:28,839 Speaker 3: no one changes their clothes. 21 00:01:28,920 --> 00:01:31,400 Speaker 4: I think it's one nightfall. I think it's forty eight hours. 22 00:01:31,440 --> 00:01:33,880 Speaker 3: Maybe just when you think there's not going to be another. 23 00:01:33,959 --> 00:01:37,399 Speaker 3: I watched this movie with my brother today and we 24 00:01:37,400 --> 00:01:43,800 Speaker 3: were repeatedly shocked at exactly how many times Twister delivers 25 00:01:43,840 --> 00:01:47,800 Speaker 3: on the titular promise. Like I thought we had reached 26 00:01:47,840 --> 00:01:49,600 Speaker 3: the final Twister, and then I checked the run time. 27 00:01:49,640 --> 00:01:52,440 Speaker 3: I'm like, hold on, and then there is like a 28 00:01:52,640 --> 00:01:56,600 Speaker 3: you know whatever, diegetic newscast that's like up next, the 29 00:01:56,640 --> 00:01:59,840 Speaker 3: biggest Twister in thirty years. I'm like, they literally just 30 00:02:00,160 --> 00:02:03,560 Speaker 3: finished one. It's shocking how many Twisters, and they seem 31 00:02:03,600 --> 00:02:07,320 Speaker 3: to hate Helen Hunt and her extended family. Well, I 32 00:02:07,360 --> 00:02:10,840 Speaker 3: think it's personal with the Twisters, Like I don't know 33 00:02:11,440 --> 00:02:15,960 Speaker 3: what Helen Hunt's family did in ancient times to a Twister, 34 00:02:16,840 --> 00:02:20,400 Speaker 3: but the Twisters have it out for her specific twist. 35 00:02:20,440 --> 00:02:23,440 Speaker 3: Like I would be like, Helen, I love you, Joe 36 00:02:24,240 --> 00:02:28,880 Speaker 3: love you, but clearly Twisters hate you, like you need 37 00:02:28,919 --> 00:02:31,160 Speaker 3: to move out of the area. 38 00:02:31,360 --> 00:02:36,639 Speaker 4: I think when Joe and the Twisters are chasing each other, 39 00:02:37,200 --> 00:02:39,960 Speaker 4: I think that that passes the Bechdel test. 40 00:02:40,200 --> 00:02:42,040 Speaker 3: I was gonna ask you that because they do use 41 00:02:42,080 --> 00:02:45,800 Speaker 3: she her pronouns for Twisters in the same way that 42 00:02:45,919 --> 00:02:49,120 Speaker 3: I mean there's so many, I mean, truly so many 43 00:02:49,720 --> 00:02:52,480 Speaker 3: parallels between this movie and Jurassic Park, but also a 44 00:02:52,480 --> 00:02:55,720 Speaker 3: lot of parallels between this movie and Titanic. You know, 45 00:02:55,919 --> 00:03:01,120 Speaker 3: she her Titanic, she her the twist Twisters. 46 00:03:00,840 --> 00:03:04,080 Speaker 4: She heard Tyrannosaurus Rex and the raptors and all the 47 00:03:04,080 --> 00:03:05,520 Speaker 4: other dinosaurs and. 48 00:03:05,480 --> 00:03:09,720 Speaker 3: When it all comes together, and yeah, I mean there 49 00:03:10,040 --> 00:03:14,520 Speaker 3: really are the Michael Crichton of it all, the gorgeous 50 00:03:14,560 --> 00:03:18,320 Speaker 3: science woman lead wearing a tank top whereas everyone else 51 00:03:18,400 --> 00:03:21,560 Speaker 3: is wearing three shirts as a man of it all, 52 00:03:22,800 --> 00:03:28,079 Speaker 3: the guy calling Bill Paxton boss of it all. It 53 00:03:28,280 --> 00:03:33,000 Speaker 3: really does boggle the mind. How what a clear line 54 00:03:33,040 --> 00:03:39,880 Speaker 3: there is with disaster movies, with thrillers with white men 55 00:03:39,960 --> 00:03:45,440 Speaker 3: wearing minimum three shirts as the romantic protagonist. Like it's 56 00:03:45,640 --> 00:03:49,640 Speaker 3: just Twister is a part of a cultural moment. 57 00:03:50,280 --> 00:03:50,880 Speaker 4: It sure is. 58 00:03:51,120 --> 00:03:54,520 Speaker 3: And I personally feel as someone who at the time 59 00:03:54,520 --> 00:03:57,000 Speaker 3: of recording, I have not seen Twisters. I don't think 60 00:03:57,120 --> 00:04:00,000 Speaker 3: I could, or like, if I wanted to see Twisters, 61 00:04:00,040 --> 00:04:01,760 Speaker 3: I would need to be sitting in a movie seat 62 00:04:01,800 --> 00:04:02,840 Speaker 3: at this exact moment. 63 00:04:03,400 --> 00:04:05,320 Speaker 4: No, it's not even out for another week at the 64 00:04:05,320 --> 00:04:06,320 Speaker 4: time of this recording. 65 00:04:06,600 --> 00:04:09,120 Speaker 3: Okay, fuck it I'm busy, I'm not I don't think 66 00:04:09,160 --> 00:04:12,160 Speaker 3: I'm going to see it. And here's why, Glenn Powell. 67 00:04:12,400 --> 00:04:14,320 Speaker 4: I like him. 68 00:04:14,360 --> 00:04:17,320 Speaker 3: I like him. I have enjoyed the performances of his 69 00:04:17,440 --> 00:04:20,080 Speaker 3: i've seen, but I just feel like it's a losing 70 00:04:20,200 --> 00:04:24,520 Speaker 3: battle to be like, hey, new guy have the raw 71 00:04:24,640 --> 00:04:28,080 Speaker 3: charisma of Bill Paxton in his prime. Like it's I 72 00:04:28,240 --> 00:04:32,000 Speaker 3: just don't see it. How could anyone? He's so distinct. 73 00:04:32,360 --> 00:04:35,599 Speaker 3: May his soul rest in peace. 74 00:04:35,760 --> 00:04:37,880 Speaker 4: May it indeed. I would say this is one of 75 00:04:37,920 --> 00:04:42,039 Speaker 4: Bill Paxton's more subdued roles because he's normally screaming even 76 00:04:42,080 --> 00:04:44,360 Speaker 4: more than this in most of his movies. 77 00:04:44,680 --> 00:04:47,240 Speaker 3: I agree. And also I think it's really funny that 78 00:04:47,839 --> 00:04:50,960 Speaker 3: his name is Bill, like they made it, they put him, 79 00:04:51,440 --> 00:04:53,480 Speaker 3: not that this movie is on easy mode, Like as 80 00:04:53,520 --> 00:04:57,080 Speaker 3: an actor, clearly there's a lot of physical demands that 81 00:04:57,200 --> 00:04:59,960 Speaker 3: come with this movie on top of like normal acting challenge. 82 00:05:00,240 --> 00:05:03,680 Speaker 3: But I just always think it's funny when you know 83 00:05:03,800 --> 00:05:07,400 Speaker 3: it's Bill Paxton and they I don't know if I'm 84 00:05:07,440 --> 00:05:10,640 Speaker 3: casting an actor, if the perfect actor for my lead 85 00:05:10,760 --> 00:05:14,520 Speaker 3: role has the same first name, I would consider changing 86 00:05:14,560 --> 00:05:17,360 Speaker 3: it because it is a little like they keep calling 87 00:05:17,400 --> 00:05:19,640 Speaker 3: him Bill and you're like, oh, you made a mistake, 88 00:05:20,120 --> 00:05:22,400 Speaker 3: but they didn't. The character's name is Bill. 89 00:05:22,720 --> 00:05:27,520 Speaker 4: Yeah, it's pretty funny. Hey listeners, Welcome to the Bechdel Cast. 90 00:05:28,120 --> 00:05:32,200 Speaker 3: Whatever, fuck you, guys. We love you guys. Happy summer. 91 00:05:32,480 --> 00:05:33,880 Speaker 4: My name is Caitlin Deonte. 92 00:05:34,000 --> 00:05:36,279 Speaker 3: My name is Jamie Loftus. This is the Bechdel Cast, 93 00:05:36,360 --> 00:05:39,560 Speaker 3: the podcast where we talk about your favorite movies using 94 00:05:39,600 --> 00:05:43,360 Speaker 3: an intersectional feminist lens. What's the Bechdel test, Well look 95 00:05:43,400 --> 00:05:45,360 Speaker 3: it up on your own time. We're kind of busy 96 00:05:45,360 --> 00:05:50,280 Speaker 3: tonight because we have to talk about Twister nineteen ninety six. 97 00:05:51,000 --> 00:05:55,120 Speaker 4: Yeah, okay, Jamie, what's your relationship with the movie. 98 00:05:56,040 --> 00:05:58,920 Speaker 3: I've seen it a couple different times. Over the course 99 00:05:59,040 --> 00:06:04,160 Speaker 3: of the last twenty years. I've seen Twister probably three 100 00:06:04,240 --> 00:06:07,840 Speaker 3: or four times. Yeah. I have a memory of watching 101 00:06:07,880 --> 00:06:11,640 Speaker 3: this movie with my aunt during a vacation. I have 102 00:06:11,920 --> 00:06:15,040 Speaker 3: a memory of watching this movie on a plane. Like, 103 00:06:15,160 --> 00:06:18,000 Speaker 3: this is a movie that I didn't see in theaters. 104 00:06:18,000 --> 00:06:20,039 Speaker 3: I was too young to see it in theaters for sure, 105 00:06:20,839 --> 00:06:24,599 Speaker 3: But I just have memories of like knowing of its existence, 106 00:06:25,320 --> 00:06:27,440 Speaker 3: and I have a feeling that the reason I don't 107 00:06:27,440 --> 00:06:29,880 Speaker 3: watch this movie more. While I do think it's good, 108 00:06:30,480 --> 00:06:32,560 Speaker 3: and it has a lot of the elements of what 109 00:06:32,640 --> 00:06:35,039 Speaker 3: I like in a movie. There are so many movies 110 00:06:35,040 --> 00:06:38,680 Speaker 3: that came out in close proximity with similar actors, with 111 00:06:38,760 --> 00:06:43,320 Speaker 3: a similar premise that I think are better that while 112 00:06:43,320 --> 00:06:46,600 Speaker 3: this movie was I think, rightfully, very successful, I don't 113 00:06:46,600 --> 00:06:49,320 Speaker 3: return to it very often. I feel like the reason 114 00:06:49,440 --> 00:06:52,680 Speaker 3: I mainly think about this movie is because of the 115 00:06:53,000 --> 00:06:58,559 Speaker 3: attraction that existed about this movie at Universal Studios, Florida. Right, 116 00:06:58,960 --> 00:07:01,760 Speaker 3: and then Bill Paksay's in the video and he's like, Hi, 117 00:07:02,600 --> 00:07:05,760 Speaker 3: because that's like his whole vibe. Hi. You might be 118 00:07:05,839 --> 00:07:09,279 Speaker 3: wondering how did we make the Twister? And you're like, dude, 119 00:07:09,360 --> 00:07:11,600 Speaker 3: I was like six, I did not wonder how you 120 00:07:12,080 --> 00:07:15,080 Speaker 3: made the Twister? But they had, you know, if you're 121 00:07:15,200 --> 00:07:19,520 Speaker 3: nine thousand years old like us. There was a live 122 00:07:19,880 --> 00:07:25,360 Speaker 3: demonstration at Universal Studios, Florida where they basically demonstrated something 123 00:07:25,440 --> 00:07:28,600 Speaker 3: I would probably be more interested in now than I 124 00:07:28,800 --> 00:07:32,160 Speaker 3: was as a child, where they would sort of demonstrate 125 00:07:32,240 --> 00:07:34,520 Speaker 3: behind a pane of glass how they did a lot 126 00:07:34,520 --> 00:07:36,920 Speaker 3: of the practical effects in Twister. Which is part of 127 00:07:36,960 --> 00:07:41,320 Speaker 3: what's really cool about this movie is how many really 128 00:07:41,440 --> 00:07:46,679 Speaker 3: challenging and as we'll talk about very dangerous practical effects 129 00:07:46,680 --> 00:07:49,800 Speaker 3: that were done during this movie. And I was kind 130 00:07:49,800 --> 00:07:53,920 Speaker 3: of surprised on this viewing. It'd been at least six 131 00:07:54,040 --> 00:07:57,080 Speaker 3: or seven years since I'd seen it, and I don't 132 00:07:57,080 --> 00:07:59,760 Speaker 3: know that I've ever watched this movie paying one hundred 133 00:07:59,760 --> 00:08:02,880 Speaker 3: percent attention, if I'm being honest. So a lot of 134 00:08:02,880 --> 00:08:06,880 Speaker 3: plot points I'd forgotten. I totally forgot phillipsymore off. But 135 00:08:07,040 --> 00:08:10,240 Speaker 3: like there's so many people. I don't think I knew 136 00:08:10,240 --> 00:08:13,240 Speaker 3: who Alan Rock was the last time I saw this, 137 00:08:13,520 --> 00:08:18,480 Speaker 3: Like there's this movie has a ridiculous amount of heavy hitters. Yeah, 138 00:08:18,520 --> 00:08:21,080 Speaker 3: but in any case, Yeah, this was the first time 139 00:08:21,120 --> 00:08:23,480 Speaker 3: that I truly paid attention to it, and I was 140 00:08:23,520 --> 00:08:28,600 Speaker 3: pleasantly surprised at at least how relatively well. I feel 141 00:08:28,640 --> 00:08:31,760 Speaker 3: like the special effects hold up, which makes sense when 142 00:08:31,800 --> 00:08:34,840 Speaker 3: you know, or I learned after I finished watching the 143 00:08:34,880 --> 00:08:38,320 Speaker 3: movie that this movie was basically pitched as a special 144 00:08:38,320 --> 00:08:45,440 Speaker 3: effects demo versus a story to endure, which it's I 145 00:08:45,480 --> 00:08:51,600 Speaker 3: would argue, not wow, rude, I mean, the story sucks. 146 00:08:51,880 --> 00:08:57,920 Speaker 3: The story sucks, but whatever. Famous climate change denialist Michael 147 00:08:57,960 --> 00:09:00,800 Speaker 3: Crichton wrote this movie, you know, sort of offset from 148 00:09:00,880 --> 00:09:03,360 Speaker 3: Jurassic Park. It just feels like he's pulling from the 149 00:09:03,440 --> 00:09:08,480 Speaker 3: hits to write this special effects demo that became the 150 00:09:08,480 --> 00:09:09,120 Speaker 3: movie Twister. 151 00:09:10,040 --> 00:09:14,440 Speaker 4: Sure. Also, I mean the practical effects, yes, very good. 152 00:09:14,960 --> 00:09:19,040 Speaker 4: The CGI not so good. But it was nineteen ninety six, 153 00:09:19,240 --> 00:09:20,720 Speaker 4: so what could they have done. 154 00:09:20,800 --> 00:09:23,280 Speaker 3: I think the practical effects are amazing. I think the 155 00:09:23,320 --> 00:09:26,800 Speaker 3: CGI effects for the time for the time, yeah, are 156 00:09:26,840 --> 00:09:29,160 Speaker 3: pretty good. And I really got a kick out of 157 00:09:29,240 --> 00:09:32,800 Speaker 3: learning that the cow, which is iconic. I remember the 158 00:09:32,840 --> 00:09:36,000 Speaker 3: cow from the trailer whenever I saw the trailer on 159 00:09:36,080 --> 00:09:41,400 Speaker 3: like ABHS or whatever. Also Twister nineteen ninety six, Caitlin. Yeah, 160 00:09:41,440 --> 00:09:43,600 Speaker 3: from what I heard, and from what I heard is 161 00:09:43,600 --> 00:09:47,520 Speaker 3: from director John Debont. And it was so funny because 162 00:09:47,520 --> 00:09:50,400 Speaker 3: I again, this was a rewatch that I just watched 163 00:09:50,440 --> 00:09:52,280 Speaker 3: the movie with my brother and then I did all 164 00:09:52,360 --> 00:09:54,560 Speaker 3: of the research after I did no research before we 165 00:09:54,600 --> 00:09:59,160 Speaker 3: started watching, and I said several times I was like, wow, 166 00:09:59,240 --> 00:10:03,480 Speaker 3: this feels paced, whise like speed. Like every single time 167 00:10:03,840 --> 00:10:08,600 Speaker 3: there's a twister, there's like a brief Quippi exchange and 168 00:10:08,640 --> 00:10:11,680 Speaker 3: then there's just another twister, which is how speed works. 169 00:10:11,720 --> 00:10:15,440 Speaker 3: It's like there's a car thing and then Keanu and 170 00:10:15,480 --> 00:10:18,160 Speaker 3: Sandra are like, that was wild. That was wild. I 171 00:10:18,160 --> 00:10:20,800 Speaker 3: have a crush. No, I have a crush. Oh my god, 172 00:10:21,000 --> 00:10:22,520 Speaker 3: the baby. 173 00:10:22,080 --> 00:10:24,480 Speaker 4: Like it was cans. 174 00:10:24,720 --> 00:10:28,640 Speaker 3: It was cons like. And that's kind of the pacing 175 00:10:28,679 --> 00:10:32,120 Speaker 3: of this movie as well, where it's like, Sexy Quippy, 176 00:10:32,920 --> 00:10:36,240 Speaker 3: another Twister, Sexy Quippy, another Twister, and then two hours 177 00:10:36,320 --> 00:10:39,360 Speaker 3: later the movie ends, and then to find that they 178 00:10:39,360 --> 00:10:41,160 Speaker 3: have the same director. So it actually makes a lot 179 00:10:41,160 --> 00:10:44,800 Speaker 3: of sense. This was just like the action thriller pace 180 00:10:45,080 --> 00:10:49,720 Speaker 3: of this director at this time. What's your history with 181 00:10:49,800 --> 00:10:51,360 Speaker 3: Twister nineteen ninety six. 182 00:10:51,960 --> 00:10:55,240 Speaker 4: I did not grow up with this movie, despite it 183 00:10:55,320 --> 00:11:01,040 Speaker 4: being one of two VHS tapes at my gramm's house. 184 00:11:01,160 --> 00:11:04,040 Speaker 4: So anytime I would go to visit Whoa and She's like, 185 00:11:04,080 --> 00:11:06,679 Speaker 4: do you want to watch a movie? And I'd be like, yeah, 186 00:11:06,720 --> 00:11:09,800 Speaker 4: what do you have? And she had exactly two VHS's 187 00:11:09,840 --> 00:11:12,400 Speaker 4: and I don't even remember what the other one was, 188 00:11:12,520 --> 00:11:14,760 Speaker 4: which is the one that I watched all the time. 189 00:11:15,240 --> 00:11:17,319 Speaker 4: I just remember that there was dirty dancing. 190 00:11:18,480 --> 00:11:24,040 Speaker 3: No, my grandma had dirty dancing and slapshot okay, and 191 00:11:24,280 --> 00:11:26,640 Speaker 3: oh my god, Anne River dancing because she. 192 00:11:26,760 --> 00:11:31,480 Speaker 4: Was Irish fun Okay, No, I'll have to ask my 193 00:11:31,600 --> 00:11:33,640 Speaker 4: mom if she remembers, but I. 194 00:11:33,559 --> 00:11:35,480 Speaker 3: Would be so curious. I feel like that's a very 195 00:11:35,520 --> 00:11:38,600 Speaker 3: forbit of detail, like the especially when there's only two, 196 00:11:39,400 --> 00:11:40,280 Speaker 3: and you would think I. 197 00:11:40,240 --> 00:11:43,240 Speaker 4: Would remember the one that I actually watched, but I don't. 198 00:11:43,400 --> 00:11:45,000 Speaker 4: I only remember fucked up. 199 00:11:45,040 --> 00:11:47,720 Speaker 3: Were you watching like basic Instinct with your grandma? 200 00:11:47,880 --> 00:11:50,480 Speaker 4: I'm guessing it was like Aladdin or just something that 201 00:11:50,520 --> 00:11:52,880 Speaker 4: I was watching all the time anyway, But I was 202 00:11:52,920 --> 00:11:55,560 Speaker 4: always like, what's this other movie Twister? I don't know. 203 00:11:55,800 --> 00:11:59,040 Speaker 4: I don't know about it. It seems it seems there's adults 204 00:11:59,080 --> 00:12:01,280 Speaker 4: in it. I don't no, and so I just because 205 00:12:01,280 --> 00:12:03,200 Speaker 4: I was like ten, yeah, and so I just like, 206 00:12:03,320 --> 00:12:06,120 Speaker 4: wasn't that interested it. But I do remember that she 207 00:12:06,280 --> 00:12:11,160 Speaker 4: had it, but I didn't see it until decades later. 208 00:12:11,600 --> 00:12:15,079 Speaker 4: I think I watched it for the first time in 209 00:12:15,120 --> 00:12:19,520 Speaker 4: my twenties and then again kind of recently, like within 210 00:12:19,559 --> 00:12:21,200 Speaker 4: the past year. I was like, oh, wait a minute, 211 00:12:21,240 --> 00:12:24,040 Speaker 4: this movie rules. It's awesome. 212 00:12:24,760 --> 00:12:28,000 Speaker 3: It does rule. I mean, I'm surprised, and I'm glad 213 00:12:28,040 --> 00:12:30,079 Speaker 3: you have it now, because it feels like a movie 214 00:12:30,080 --> 00:12:33,600 Speaker 3: that is like you are the target audience for. I know, 215 00:12:34,200 --> 00:12:38,520 Speaker 3: it's a romp, it's intense, it's sexy. It's fun. 216 00:12:39,320 --> 00:12:42,600 Speaker 4: Ten out of ten on the rompometer. Yeah, I don't 217 00:12:42,640 --> 00:12:46,320 Speaker 4: need Dorothy to take those measurements. I can safely say 218 00:12:46,360 --> 00:12:48,600 Speaker 4: for myself that it's a ten out of ten. 219 00:12:48,720 --> 00:12:51,000 Speaker 3: Oh my god, it made me laugh again. My brother 220 00:12:51,040 --> 00:12:55,320 Speaker 3: and I were laughing so much this morning at how 221 00:12:55,840 --> 00:12:58,400 Speaker 3: first of all the and it feels very I don't know. 222 00:12:58,679 --> 00:13:02,599 Speaker 3: I read Michael Crichton books when I was too young, 223 00:13:02,800 --> 00:13:05,400 Speaker 3: and I like, thank you so much. Even though we 224 00:13:05,440 --> 00:13:09,199 Speaker 3: don't read books for this podcast, I do love reading, 225 00:13:09,280 --> 00:13:12,880 Speaker 3: and like I remember reading Michael Crichton books when I 226 00:13:12,920 --> 00:13:15,480 Speaker 3: was a kid and like getting them from the library 227 00:13:15,960 --> 00:13:19,040 Speaker 3: and just feeling, you know, I'm sure he researched and 228 00:13:19,120 --> 00:13:21,280 Speaker 3: knew his shit, but it just always felt like such 229 00:13:21,360 --> 00:13:25,520 Speaker 3: YadA YadA science. And so when you get to Twister 230 00:13:25,679 --> 00:13:29,920 Speaker 3: and it's like science balls, like this whole thing is 231 00:13:29,960 --> 00:13:33,000 Speaker 3: like we have to throw the science balls into the 232 00:13:33,080 --> 00:13:38,840 Speaker 3: Twister so Helen Hunt can cure her father wound. Like 233 00:13:39,360 --> 00:13:42,840 Speaker 3: it's all so bizarre that, like my brother and I, 234 00:13:43,160 --> 00:13:45,600 Speaker 3: every time the science balls came out, we're like, well, 235 00:13:45,600 --> 00:13:48,440 Speaker 3: here they are again. Helen Hunt is just like having 236 00:13:48,480 --> 00:13:53,320 Speaker 3: a conniption because the science balls have spilled and they surely, 237 00:13:53,440 --> 00:13:56,360 Speaker 3: as scientists, they would know to put a net on 238 00:13:56,440 --> 00:13:58,920 Speaker 3: top of they. But they're always spilling the science. 239 00:13:58,920 --> 00:14:01,640 Speaker 4: They're loose, loose science balls just. 240 00:14:01,679 --> 00:14:04,840 Speaker 3: Rolling around, and they have so many Dorothy's because they 241 00:14:04,880 --> 00:14:08,040 Speaker 3: present it as like this movie is funny to because 242 00:14:08,040 --> 00:14:11,200 Speaker 3: I think it is like fun but not good, because 243 00:14:11,240 --> 00:14:13,439 Speaker 3: if there's so many things that are wrong that are 244 00:14:13,440 --> 00:14:17,400 Speaker 3: going on, there's an antagonist who like doesn't need to 245 00:14:17,440 --> 00:14:21,080 Speaker 3: be there. The antagonist should be the Twister, Like, we 246 00:14:21,280 --> 00:14:22,920 Speaker 3: don't need Carrie Elwis there. 247 00:14:23,360 --> 00:14:26,440 Speaker 4: How dare you say that about my friend Carrie Ellis. 248 00:14:26,800 --> 00:14:31,480 Speaker 3: We need him in Saw, we don't need him in Twister, unfortunately. 249 00:14:31,920 --> 00:14:34,160 Speaker 3: But like it was just like every time you show 250 00:14:34,240 --> 00:14:36,320 Speaker 3: up and he looks a little bit too much like 251 00:14:36,400 --> 00:14:41,280 Speaker 3: Bill Paxson, and you're like right, and he's like, I 252 00:14:41,280 --> 00:14:43,920 Speaker 3: don't have any science balls, but screw you guys. But 253 00:14:44,120 --> 00:14:49,240 Speaker 3: they present I thought they present Dorothy the science machine 254 00:14:49,440 --> 00:14:53,200 Speaker 3: at the beginning, like we made Dorothy there is only 255 00:14:53,280 --> 00:14:55,760 Speaker 3: one Dorothy, but it turns out that's not true. They 256 00:14:55,800 --> 00:14:57,720 Speaker 3: have like at least four it. 257 00:14:58,240 --> 00:15:02,720 Speaker 4: For Dorothy's, just in case the other three got ruined 258 00:15:02,760 --> 00:15:06,040 Speaker 4: by tornadoes, which is what happened Dorothy Okay. According to 259 00:15:06,080 --> 00:15:12,920 Speaker 4: Scholarly Journal, Wikipedia was inspired by Toto, an instrumented barrel 260 00:15:12,960 --> 00:15:17,400 Speaker 4: shaped device used to research tornadoes in the nineteen eighties. 261 00:15:17,440 --> 00:15:19,120 Speaker 4: And if you look at a picture of Toto, it 262 00:15:19,160 --> 00:15:22,720 Speaker 4: looks very similar to the design of Dorothy. So they were, 263 00:15:23,560 --> 00:15:27,960 Speaker 4: you know, basing this off of real science. I don't 264 00:15:27,960 --> 00:15:28,560 Speaker 4: know about. 265 00:15:28,320 --> 00:15:33,800 Speaker 3: The They were, oh, a big barrel full of science balls, 266 00:15:33,800 --> 00:15:36,440 Speaker 3: and they're like, this is real. I don't buy it. 267 00:15:36,520 --> 00:15:38,840 Speaker 3: I don't buy it, but I don't care. I mean, 268 00:15:38,840 --> 00:15:42,040 Speaker 3: when it comes to science and movies, honestly, the less 269 00:15:42,480 --> 00:15:45,960 Speaker 3: you tell me, the better. I don't need, you know, 270 00:15:46,560 --> 00:15:50,040 Speaker 3: the big short someone turning to camera and being like, 271 00:15:50,160 --> 00:15:52,640 Speaker 3: here's what's going on with the science balls. They're the 272 00:15:52,680 --> 00:15:55,560 Speaker 3: science balls. They need the silence balls to get into 273 00:15:55,600 --> 00:15:59,240 Speaker 3: the twister to cure Helen Hunt's Father Wound, which reminded 274 00:15:59,280 --> 00:16:03,440 Speaker 3: me of Oh my god, contact. No. I was thinking 275 00:16:03,480 --> 00:16:05,400 Speaker 3: of clock Stoppers weirdly. 276 00:16:05,760 --> 00:16:06,880 Speaker 4: Oh I've never seen that. 277 00:16:06,960 --> 00:16:10,240 Speaker 3: Actually, No, yes, we have, we covered what No, what 278 00:16:10,400 --> 00:16:13,920 Speaker 3: is the movie I'm thinking of? Julia Roberts sci Fi 279 00:16:14,240 --> 00:16:18,080 Speaker 3: Father Wound, clock Alliver Platt. 280 00:16:17,960 --> 00:16:20,520 Speaker 4: Oh no, no, no, flatliners. 281 00:16:20,000 --> 00:16:27,560 Speaker 3: Flat Liner Clockwatchers, flat liners. Listen, this has been on 282 00:16:27,800 --> 00:16:32,160 Speaker 3: for five thousand years. Well, we covered not clockwatchers, but 283 00:16:32,280 --> 00:16:36,840 Speaker 3: rather flatliners. I contact is a way better point of reference, 284 00:16:37,080 --> 00:16:40,240 Speaker 3: like in every way, but I was thought of. I 285 00:16:40,240 --> 00:16:42,640 Speaker 3: think it's maybe the first time that we talked about 286 00:16:42,680 --> 00:16:47,880 Speaker 3: like a sci fi movie where the primary woman who 287 00:16:47,960 --> 00:16:52,320 Speaker 3: is also the romantic lead, her entire plot line is 288 00:16:52,360 --> 00:16:57,360 Speaker 3: connected to men via a romantic interest with the male 289 00:16:57,520 --> 00:17:02,920 Speaker 3: lead and then with a vague traumatic father wound from 290 00:17:03,360 --> 00:17:04,520 Speaker 3: the nineteen sixties. 291 00:17:04,880 --> 00:17:05,320 Speaker 4: Yeah. 292 00:17:05,400 --> 00:17:09,040 Speaker 3: True, I have to say, and I apologize to any 293 00:17:09,160 --> 00:17:13,800 Speaker 3: of our listeners whose father was like fatally pulled into 294 00:17:13,840 --> 00:17:18,639 Speaker 3: a twister. But the CGI in that scene made me 295 00:17:18,760 --> 00:17:19,639 Speaker 3: laugh so much. 296 00:17:20,560 --> 00:17:22,080 Speaker 4: It's a bit silly. 297 00:17:22,720 --> 00:17:24,600 Speaker 3: If your daddy got pulled into a twister, you can 298 00:17:24,640 --> 00:17:26,800 Speaker 3: send me a mean email and cancel me. But like, 299 00:17:27,320 --> 00:17:29,720 Speaker 3: I just feel like daddy getting pulled into the twister 300 00:17:30,520 --> 00:17:34,280 Speaker 3: is funny because the CGI and that is bad. You 301 00:17:34,320 --> 00:17:38,000 Speaker 3: can just see that it is an extra on a 302 00:17:38,000 --> 00:17:44,480 Speaker 3: green screen being like whoo b Like I was laughing. 303 00:17:45,000 --> 00:17:48,639 Speaker 4: Sorry, Yeah, well, I was like, okay, a movie that 304 00:17:48,760 --> 00:17:53,760 Speaker 4: opens with a natural disaster in which the patriarch of 305 00:17:53,800 --> 00:17:57,280 Speaker 4: the family dies, What is this, Paddington? 306 00:17:57,480 --> 00:18:03,399 Speaker 3: I Okay, see the parallels. Yeah, we're seeing through the 307 00:18:03,440 --> 00:18:06,959 Speaker 3: matrix and this. But I do feel like this movie. 308 00:18:07,080 --> 00:18:09,600 Speaker 3: It makes sense to me why this movie was very 309 00:18:09,640 --> 00:18:15,160 Speaker 3: successful but not particularly remembered, because it just has elements 310 00:18:15,880 --> 00:18:20,119 Speaker 3: of similar movies that came out around the same time, 311 00:18:20,880 --> 00:18:25,600 Speaker 3: with similar, if not the same actors, that were better. 312 00:18:26,960 --> 00:18:29,240 Speaker 3: But it is kind of like it's like cooked in 313 00:18:29,320 --> 00:18:31,840 Speaker 3: a lap to be a fun summer movie. I don't 314 00:18:31,840 --> 00:18:34,440 Speaker 3: even mean it as a criticism, but like, you know, 315 00:18:34,800 --> 00:18:37,840 Speaker 3: any plot point or element of Twister that you like 316 00:18:38,640 --> 00:18:39,280 Speaker 3: was done. 317 00:18:39,240 --> 00:18:44,560 Speaker 4: Better in another movie in two years, yeah. 318 00:18:43,880 --> 00:18:45,280 Speaker 3: Right before or after? 319 00:18:45,800 --> 00:18:49,480 Speaker 4: Yeah the movie. Is it a cinematic masterpiece? Perhaps not, 320 00:18:49,800 --> 00:18:52,280 Speaker 4: but damn if it isn't a fun romp that I'm 321 00:18:52,320 --> 00:18:53,320 Speaker 4: always gonna enjoy. 322 00:18:53,880 --> 00:18:55,399 Speaker 3: I'm smiling. It's fun. 323 00:18:55,560 --> 00:18:58,040 Speaker 4: It's so fun. Let's take a break and then come 324 00:18:58,080 --> 00:19:11,440 Speaker 4: back for the recap, shall we. Okay, here's the plot 325 00:19:11,440 --> 00:19:17,800 Speaker 4: of Twister. The movie opens when it's nineteen sixty nine 326 00:19:18,680 --> 00:19:25,080 Speaker 4: in Oklahoma. What do you mean, nothing, Jamie, nothing at all. 327 00:19:25,119 --> 00:19:26,800 Speaker 4: I'll tell you when you're older, yeah. 328 00:19:26,680 --> 00:19:30,560 Speaker 3: Tubby, yeah, Toby, tell me when I'm thirty five place. 329 00:19:30,440 --> 00:19:33,960 Speaker 4: Yeah yeah, yeah, yeah. Okay, So we're in Oklahoma. A 330 00:19:34,080 --> 00:19:37,760 Speaker 4: storm is blowing in. There are tornado warnings on the TV. 331 00:19:38,400 --> 00:19:42,080 Speaker 4: We meet a young girl named Joe as well as 332 00:19:42,080 --> 00:19:46,320 Speaker 4: her parents as they head to their storm cellar. There's 333 00:19:46,320 --> 00:19:51,840 Speaker 4: a very intense tornado that blows little Joe's dad away 334 00:19:52,320 --> 00:19:53,720 Speaker 4: and he died. 335 00:19:55,920 --> 00:19:58,239 Speaker 3: Like It's sorry. 336 00:19:57,880 --> 00:20:01,640 Speaker 4: It's campy. It's too campily done for what is a 337 00:20:01,760 --> 00:20:04,800 Speaker 4: tragic death that affects the main character for the rest 338 00:20:04,840 --> 00:20:05,320 Speaker 4: of the movie. 339 00:20:05,480 --> 00:20:08,600 Speaker 3: Yeah, you can't have cgi like that and expect me 340 00:20:08,760 --> 00:20:12,840 Speaker 3: to be like weighted with grief for the remainder of 341 00:20:12,880 --> 00:20:15,679 Speaker 3: the movie. I also thought it was equally campily funny. 342 00:20:15,920 --> 00:20:19,760 Speaker 3: Yeah that anytime there is this repeated image connected to 343 00:20:19,960 --> 00:20:25,320 Speaker 3: the opening scene that later on when who knows the fourth, fifth, sixth, 344 00:20:25,560 --> 00:20:30,240 Speaker 3: ninth Twister they're plowing through the wreckage of that, Helen 345 00:20:30,359 --> 00:20:34,919 Speaker 3: Hunt will often see this recurring image of a mother, father, 346 00:20:35,080 --> 00:20:37,320 Speaker 3: and a young girl who looked like her in the 347 00:20:37,400 --> 00:20:43,000 Speaker 3: open but the dad in these subsequent images thankfully has 348 00:20:43,080 --> 00:20:48,159 Speaker 3: survived and she gives them the dirtiest little look like 349 00:20:48,240 --> 00:20:51,679 Speaker 3: she's like, I wish your father got sucked into the twister. 350 00:20:52,119 --> 00:20:54,840 Speaker 3: It is wild that there is such a through line 351 00:20:55,520 --> 00:20:59,520 Speaker 3: runner basically joke of how like many movies of the 352 00:20:59,600 --> 00:21:04,640 Speaker 3: nineties in two thousands and backwards, that therapy is ridiculous 353 00:21:04,720 --> 00:21:07,719 Speaker 3: because no one needs therapy more in the entire world 354 00:21:07,720 --> 00:21:12,240 Speaker 3: than Helen Hunt's character. Yes, oh my god, Like if 355 00:21:12,320 --> 00:21:15,080 Speaker 3: Melissa had really sat down with Joe and we just 356 00:21:15,119 --> 00:21:18,520 Speaker 3: got Bill out of there. He's the weakest of this, 357 00:21:19,400 --> 00:21:23,080 Speaker 3: you know, his girl Friday, Like whatever the movie they're 358 00:21:23,080 --> 00:21:26,399 Speaker 3: pulling from his girl Friday. The man is the weakest player. 359 00:21:26,760 --> 00:21:31,399 Speaker 3: Let's sit these ladies down and have a therapy session, 360 00:21:31,440 --> 00:21:34,479 Speaker 3: because that's what Joe needs. We don't need Joe running 361 00:21:34,520 --> 00:21:38,040 Speaker 3: into the eye of a storm that's going to kill her. 362 00:21:38,359 --> 00:21:42,160 Speaker 3: We need Joe to go to therapy for one second. 363 00:21:42,320 --> 00:21:44,359 Speaker 4: I will say, And we can talk about this further 364 00:21:44,680 --> 00:21:48,480 Speaker 4: in the discussion, but it's a very common choice for 365 00:21:49,720 --> 00:21:54,160 Speaker 4: a man haunted by something from his past, specifically something 366 00:21:54,200 --> 00:21:56,760 Speaker 4: related to his father, and that being his motivation for 367 00:21:56,800 --> 00:21:58,920 Speaker 4: the rest of the movie. That's something we see time 368 00:21:58,920 --> 00:22:02,560 Speaker 4: and time again in movies for male leads, but this 369 00:22:02,720 --> 00:22:06,200 Speaker 4: time it's a woman, and that we don't see that much. 370 00:22:06,280 --> 00:22:10,080 Speaker 3: So I yes, but I agree, like I had the 371 00:22:10,080 --> 00:22:11,719 Speaker 3: same thought that you don't see that much, but I 372 00:22:11,800 --> 00:22:14,960 Speaker 3: don't think that gender swapping it makes it a like 373 00:22:15,640 --> 00:22:20,359 Speaker 3: more compelling thing to see, because the takeaway is still 374 00:22:20,359 --> 00:22:25,840 Speaker 3: the same, is that like, falling in heterosexual love will 375 00:22:25,960 --> 00:22:30,720 Speaker 3: cure this deep psychic wound, which is a bad lesson 376 00:22:30,840 --> 00:22:34,879 Speaker 3: for any person. True fucking Bill Paxton will fix some 377 00:22:35,000 --> 00:22:39,080 Speaker 3: of your problems, but you know, could not fix Yeah. 378 00:22:39,119 --> 00:22:41,800 Speaker 3: I thought that too, and I think that there's some 379 00:22:41,960 --> 00:22:44,960 Speaker 3: value in it, but it just feels kind of like whatever. 380 00:22:45,119 --> 00:22:48,640 Speaker 3: It feels like Ghostbusters twenty sixteen, where you're just like, oh, 381 00:22:48,800 --> 00:22:51,600 Speaker 3: now women can do it, and you're like, oh, I 382 00:22:51,680 --> 00:22:57,360 Speaker 3: just would rather she not don't know, or like have 383 00:22:57,680 --> 00:23:00,359 Speaker 3: whatever whatever. That's not what this movie is a This 384 00:23:00,400 --> 00:23:02,720 Speaker 3: movie is not about progress. It's about twisters. 385 00:23:02,960 --> 00:23:05,600 Speaker 4: It's so true, eight of them, and that makes you 386 00:23:05,640 --> 00:23:08,760 Speaker 4: wonder how many twisters are gonna be in the movie Twisters. 387 00:23:09,119 --> 00:23:10,280 Speaker 4: Apparently a lot more. 388 00:23:10,680 --> 00:23:12,960 Speaker 3: Yeah, if you're gonna add the s, I feel like 389 00:23:13,000 --> 00:23:15,800 Speaker 3: you're hard pressed to have more twisters in the space 390 00:23:15,840 --> 00:23:19,840 Speaker 3: of a movie. I've never gotten more bang for my twister. 391 00:23:20,320 --> 00:23:23,680 Speaker 4: Well, because the movie Alien has one alien in it. 392 00:23:23,800 --> 00:23:27,960 Speaker 4: The movie Aliens has dozens of aliens, but the movie 393 00:23:28,000 --> 00:23:30,520 Speaker 4: Twister has multiple twisters. And then I guess the movie 394 00:23:30,640 --> 00:23:35,479 Speaker 4: Twisters is going to have an exponentially greater number of 395 00:23:35,520 --> 00:23:40,399 Speaker 4: twisters as much. So there's gonna be millions, millions of twisters. 396 00:23:40,480 --> 00:23:44,920 Speaker 3: I didn't. It's gonna be like Snoke. They're like, oh, 397 00:23:44,960 --> 00:23:48,960 Speaker 3: we have jars full of twisters. Pat has made so 398 00:23:49,040 --> 00:23:50,080 Speaker 3: many twisters. 399 00:23:50,760 --> 00:23:54,959 Speaker 4: Wow, Jamie making a Star Wars reference, I thought i'd 400 00:23:55,000 --> 00:23:55,520 Speaker 4: see the day. 401 00:23:55,680 --> 00:23:59,000 Speaker 3: I love Star Wars nine because I love Babu Frick. 402 00:24:00,680 --> 00:24:03,160 Speaker 3: So actually I'm the opposite of a Star Wars fan 403 00:24:03,200 --> 00:24:05,359 Speaker 3: because I just made a joke about Star Wars nine 404 00:24:05,520 --> 00:24:11,720 Speaker 3: and I like, yeah, no, I didn't count. I meant to, 405 00:24:11,960 --> 00:24:14,200 Speaker 3: but then I kept like gasping every time there was 406 00:24:14,240 --> 00:24:17,560 Speaker 3: another twister. I would say that, like set piece wise, 407 00:24:17,720 --> 00:24:20,760 Speaker 3: there are well there are there are four large twisters 408 00:24:20,760 --> 00:24:25,359 Speaker 3: because there's four Dorothy's, which says rule of threes, fuck 409 00:24:25,480 --> 00:24:26,320 Speaker 3: you never mind. 410 00:24:26,520 --> 00:24:30,800 Speaker 4: Well, also in one of those, there are three twisters 411 00:24:31,000 --> 00:24:34,640 Speaker 4: in one kind of moment, So I guess that means 412 00:24:34,680 --> 00:24:36,480 Speaker 4: there are say six. 413 00:24:37,600 --> 00:24:41,880 Speaker 3: None of this lines with conventional story logic at all, 414 00:24:42,200 --> 00:24:46,159 Speaker 3: like four and six are just not story logic numbers whatsoever. 415 00:24:46,600 --> 00:24:49,439 Speaker 3: But these are the twisters we get, and like I 416 00:24:49,520 --> 00:24:53,840 Speaker 3: honestly I mean, I forgot what the climax. I mean, 417 00:24:53,880 --> 00:24:59,159 Speaker 3: I remembered it involved a twister, but I didn't remember 418 00:24:59,200 --> 00:25:03,840 Speaker 3: that in them literally getting sucked into the twister without 419 00:25:03,920 --> 00:25:06,639 Speaker 3: as much as a scratch, they were just kind of 420 00:25:06,720 --> 00:25:08,720 Speaker 3: like it was like they had just been on the 421 00:25:08,800 --> 00:25:11,879 Speaker 3: Jurassic Park ride. Like they were like a little wet 422 00:25:12,680 --> 00:25:17,200 Speaker 3: and very horny, and like that's how I have always 423 00:25:17,480 --> 00:25:19,800 Speaker 3: historically felt getting off the Jurassic Park line. 424 00:25:19,880 --> 00:25:20,920 Speaker 4: Right, tell me about it. 425 00:25:21,000 --> 00:25:24,440 Speaker 3: They're so fine. It's like this movie is like everything 426 00:25:24,480 --> 00:25:27,240 Speaker 3: that's fun about a blockbuster, where the steaks are always 427 00:25:27,280 --> 00:25:31,880 Speaker 3: sky high, but also like paradoxically low at the state, 428 00:25:32,000 --> 00:25:35,240 Speaker 3: Like there's never a risk that someone's gonna die except 429 00:25:35,359 --> 00:25:39,880 Speaker 3: for that one guy who knows Carrie el Wes, who 430 00:25:39,920 --> 00:25:42,760 Speaker 3: I thought was killed brutally and needlessly. 431 00:25:43,040 --> 00:25:45,640 Speaker 4: Well, Carrie Ellis is in the same vehicle. He dies too, 432 00:25:46,440 --> 00:25:47,000 Speaker 4: I know, but. 433 00:25:46,960 --> 00:25:48,800 Speaker 3: Only his friend gets speared. 434 00:25:49,320 --> 00:25:52,040 Speaker 4: Oh well yeah, but then you're led to believe that 435 00:25:52,320 --> 00:25:54,640 Speaker 4: Carrie Elvis is also gonna he dies. 436 00:25:55,119 --> 00:25:57,960 Speaker 3: I mean he dies, but I was just like this 437 00:25:58,080 --> 00:26:01,000 Speaker 3: poor guy, like this guy we're allowed to believe in 438 00:26:01,040 --> 00:26:03,199 Speaker 3: the whole scene leading up to it, that it's like 439 00:26:03,880 --> 00:26:06,920 Speaker 3: he knows, he knows that they need to turn back, 440 00:26:07,040 --> 00:26:09,760 Speaker 3: and then we kill hit like he'll carry Elwiz. 441 00:26:09,880 --> 00:26:11,760 Speaker 4: Yeah, like final destination style. 442 00:26:12,160 --> 00:26:15,159 Speaker 3: Yes, kill him in a movie that is otherwise, I 443 00:26:15,200 --> 00:26:19,240 Speaker 3: think like very deliberately avoids those kind of kills. Yeah, 444 00:26:19,560 --> 00:26:23,719 Speaker 3: this is one guy who we just met and they're like, 445 00:26:24,000 --> 00:26:26,880 Speaker 3: fuck this guy, and they just like absolutely. I mean 446 00:26:26,920 --> 00:26:29,000 Speaker 3: I liked it, but I was I was shocked. 447 00:26:29,119 --> 00:26:34,800 Speaker 4: Yeah, it's shocking. Well anyway, so that's the first scene 448 00:26:34,800 --> 00:26:40,200 Speaker 4: of the movie. Then we we see Joe's dad blow 449 00:26:40,240 --> 00:26:43,360 Speaker 4: away in the tornado. We cut to the present day 450 00:26:43,560 --> 00:26:47,400 Speaker 4: aka nineteen ninety six, which is when the movie came out. 451 00:26:47,720 --> 00:26:52,359 Speaker 4: We meet Bill Harding played by Bill Paxton, driving in 452 00:26:52,440 --> 00:26:58,040 Speaker 4: a truck with his fiance Melissa played by Jamie Gertz. 453 00:26:58,200 --> 00:27:01,960 Speaker 3: Melissa Innocent Melissa did nothing. 454 00:27:01,720 --> 00:27:05,679 Speaker 4: Wrong yeah, played by a fellow Jamie, although she spells 455 00:27:05,720 --> 00:27:09,680 Speaker 4: her name jay A m I no E at the end. 456 00:27:09,840 --> 00:27:11,320 Speaker 3: You can say it wrong. 457 00:27:13,200 --> 00:27:18,639 Speaker 4: Yes. Anyway. They are heading to see adult Joe played 458 00:27:18,640 --> 00:27:23,520 Speaker 4: by Helen Hunt. She is a tornado scientist, so you 459 00:27:23,560 --> 00:27:27,600 Speaker 4: know woman in stem Alert. She's got a team of 460 00:27:27,640 --> 00:27:32,200 Speaker 4: people working for her. They chase tornadoes to gather scientific 461 00:27:32,280 --> 00:27:37,480 Speaker 4: data on them. The team includes Philip Seymour Hoffman, Alan 462 00:27:37,600 --> 00:27:41,040 Speaker 4: ruck todd Field when he was still acting. 463 00:27:41,400 --> 00:27:45,080 Speaker 3: It is a wild crew, yeh. A woman who's forced 464 00:27:45,080 --> 00:27:47,400 Speaker 3: to wear a hat. Okay, here's something I thought was interesting. 465 00:27:47,880 --> 00:27:50,520 Speaker 3: There is one woman on the crew. This token is 466 00:27:50,560 --> 00:27:53,159 Speaker 3: a well I guess including Joe, there's two women on 467 00:27:53,200 --> 00:27:55,960 Speaker 3: the crew. But in terms of our side characters on 468 00:27:56,000 --> 00:28:00,240 Speaker 3: the crew, there's several men. There's one woman she where 469 00:28:00,320 --> 00:28:05,760 Speaker 3: is a hat the whole time until there's three women, well, okay, 470 00:28:05,800 --> 00:28:09,320 Speaker 3: three women who are tornado chasing in the movie. 471 00:28:09,880 --> 00:28:13,760 Speaker 4: And then also the Auntie aunt Megie. 472 00:28:13,760 --> 00:28:17,919 Speaker 3: Aunt Meg what I don't respect women. I don't need 473 00:28:17,960 --> 00:28:21,520 Speaker 3: to remember her name. There's three women on the storm 474 00:28:21,600 --> 00:28:24,359 Speaker 3: chasing team if you count Melissa, which you sort of 475 00:28:24,359 --> 00:28:26,679 Speaker 3: have to for the purposes of this movie. Yeah, I 476 00:28:26,720 --> 00:28:33,639 Speaker 3: feel like this movie has the patience for two women. 477 00:28:34,400 --> 00:28:39,160 Speaker 3: And then at the point spoiler alert where Melissa voluntarily 478 00:28:39,280 --> 00:28:44,280 Speaker 3: exits the plot rather abruptly, all of a sudden, the 479 00:28:44,360 --> 00:28:49,000 Speaker 3: woman in the hat removes her hat. We don't see 480 00:28:49,040 --> 00:28:52,680 Speaker 3: her as San's hat before Melissa is gone, and I'm like, 481 00:28:53,400 --> 00:28:57,640 Speaker 3: is the production team like we cannot see more than 482 00:28:57,680 --> 00:29:01,160 Speaker 3: two women's full head like it was so weird because 483 00:29:01,160 --> 00:29:02,880 Speaker 3: at the same time, like my brother and I would 484 00:29:02,880 --> 00:29:06,040 Speaker 3: be like, oh, yeah, there she is in her hat again, 485 00:29:06,800 --> 00:29:11,880 Speaker 3: and she has treated like, I think, slightly less equitably 486 00:29:12,200 --> 00:29:16,440 Speaker 3: than the handful of Men, where clearly Philip seymour Hoffman 487 00:29:17,120 --> 00:29:21,280 Speaker 3: is the sort of most present of this Bee crew. 488 00:29:21,840 --> 00:29:24,160 Speaker 3: I would say Alan ruck is after that, and then 489 00:29:24,200 --> 00:29:26,000 Speaker 3: the other three are kind of like have a line 490 00:29:26,040 --> 00:29:29,480 Speaker 3: here and there. And the woman in the hat so 491 00:29:29,560 --> 00:29:31,960 Speaker 3: the name of the character is Haynes and the name 492 00:29:32,000 --> 00:29:35,800 Speaker 3: of the actor is Wendell Josephers, so like she has 493 00:29:35,840 --> 00:29:38,880 Speaker 3: a name, you're hard pressed to find it in passing 494 00:29:39,000 --> 00:29:41,240 Speaker 3: in this movie. For sure, I was calling her the 495 00:29:41,280 --> 00:29:44,720 Speaker 3: woman in the hat like one would talk about the Babadok. 496 00:29:48,280 --> 00:29:51,760 Speaker 3: But then all of a sudden, when the second narratively 497 00:29:51,880 --> 00:29:56,240 Speaker 3: consequential woman exits, she takes her hat off. I did 498 00:29:56,240 --> 00:29:59,400 Speaker 3: not even notice that I was getting conspiratorial about it. 499 00:29:59,440 --> 00:29:59,960 Speaker 4: I was hitting this. 500 00:30:00,200 --> 00:30:02,400 Speaker 3: I was like, oh, now she can take her damn 501 00:30:02,400 --> 00:30:04,320 Speaker 3: hat off, because at first I was like, the hat 502 00:30:04,360 --> 00:30:07,120 Speaker 3: is a part of her personality. She loves to wear 503 00:30:07,120 --> 00:30:08,760 Speaker 3: the hat, the hat is a part of her. But 504 00:30:08,800 --> 00:30:10,320 Speaker 3: then all of a sudden, the hat disappeared. 505 00:30:10,520 --> 00:30:13,520 Speaker 4: The hat gets blown off by a tornado. I think 506 00:30:13,560 --> 00:30:14,320 Speaker 4: that's obvious. 507 00:30:14,880 --> 00:30:17,200 Speaker 3: I was perseverating about the hat. I was like that 508 00:30:17,280 --> 00:30:24,680 Speaker 3: the importance the narrated like this, the contextual like subtextual 509 00:30:24,720 --> 00:30:26,800 Speaker 3: importance of the hat. And then my brother was like, 510 00:30:26,920 --> 00:30:29,400 Speaker 3: shut up. There's another twister, which I think is the 511 00:30:29,440 --> 00:30:32,600 Speaker 3: proper response. Yeah, yeah, yeah, silenced by men again? 512 00:30:33,040 --> 00:30:37,320 Speaker 4: Wow? True Ben, Speaking of men, there are several more 513 00:30:37,360 --> 00:30:40,360 Speaker 4: on the team. The other ones include a guy who 514 00:30:40,400 --> 00:30:43,400 Speaker 4: looks like Steve Buscemi but isn't, a guy who looks 515 00:30:43,440 --> 00:30:46,000 Speaker 4: like Paul Giamatti but isn't, and a guy who looks 516 00:30:46,040 --> 00:30:49,480 Speaker 4: like William h. Maycy but isn't. And then there's another 517 00:30:49,640 --> 00:30:53,800 Speaker 4: guy who was in the show Lost. So there's a 518 00:30:53,960 --> 00:30:54,640 Speaker 4: large team. 519 00:30:54,960 --> 00:30:58,120 Speaker 3: Yes, yes, it took me until halfway in the movie 520 00:30:58,160 --> 00:31:01,120 Speaker 3: to realize that. And then you really and then I looked, 521 00:31:01,320 --> 00:31:04,280 Speaker 3: you know, I read scholarly journal Wikipedia about this movie, 522 00:31:04,320 --> 00:31:08,560 Speaker 3: and it turns out that Bill Paxton is just a 523 00:31:08,600 --> 00:31:12,080 Speaker 3: guy who you call when Tom Hanks isn't available, which, 524 00:31:12,200 --> 00:31:14,880 Speaker 3: in nineteen ninety six actually does make total sense. 525 00:31:15,200 --> 00:31:17,160 Speaker 4: Yeah yeah, yeah, what can you do? 526 00:31:17,480 --> 00:31:21,680 Speaker 3: But anyways, also also sorry, just when we're cast shout out. 527 00:31:21,920 --> 00:31:22,400 Speaker 4: Yeah. 528 00:31:22,480 --> 00:31:27,600 Speaker 3: I did not realize this on first watch, but the 529 00:31:27,920 --> 00:31:34,080 Speaker 3: child actor who plays young Helen Hunt is Alexa Vega 530 00:31:34,240 --> 00:31:39,320 Speaker 3: of Spy Kids. Oh whoa, she is the sister in 531 00:31:39,680 --> 00:31:40,479 Speaker 3: Spy Kids. 532 00:31:40,840 --> 00:31:41,600 Speaker 4: I imagine that. 533 00:31:42,200 --> 00:31:45,080 Speaker 3: Well, fine, don't be impressed. I thought it was interesting, 534 00:31:45,800 --> 00:31:49,160 Speaker 3: and now she runs an MLM. So how do you 535 00:31:49,240 --> 00:31:50,240 Speaker 3: like that? I don't. 536 00:31:50,360 --> 00:31:51,240 Speaker 4: I don't like it either. 537 00:31:51,800 --> 00:31:54,680 Speaker 3: Yeah, no one likes it. No one likes it. But 538 00:31:54,800 --> 00:31:58,600 Speaker 3: you know that's not what journalism is about, all right. 539 00:31:58,800 --> 00:32:03,000 Speaker 3: So anyways, in the movie, so I just laid down. 540 00:32:05,600 --> 00:32:07,760 Speaker 4: Oh I loved to keep these rants going. 541 00:32:08,160 --> 00:32:08,520 Speaker 3: Thank you. 542 00:32:09,400 --> 00:32:14,320 Speaker 4: Okay. So Bill and his fiance Melissa show up to 543 00:32:14,800 --> 00:32:19,640 Speaker 4: where this team of tornado chasers has gathered. Bill used 544 00:32:19,680 --> 00:32:24,440 Speaker 4: to work with Joe and he is married to Joe currently, 545 00:32:24,800 --> 00:32:28,040 Speaker 4: but he's there to get her to sign divorce papers 546 00:32:28,360 --> 00:32:31,800 Speaker 4: so that Bill and Melissa can get married and Bill 547 00:32:31,880 --> 00:32:34,000 Speaker 4: can start his new life as a weather man. 548 00:32:34,240 --> 00:32:36,840 Speaker 3: I really like this. Have you seen his girl Friday. 549 00:32:37,360 --> 00:32:40,640 Speaker 4: I have, but it's been probably like twenty years. 550 00:32:41,040 --> 00:32:43,680 Speaker 3: I just saw it for the first time late last 551 00:32:43,760 --> 00:32:46,760 Speaker 3: year and really enjoyed it. I'm looking forward to helpfully 552 00:32:46,840 --> 00:32:49,680 Speaker 3: covering it on the show one day and this is 553 00:32:50,040 --> 00:32:53,800 Speaker 3: a gender swapped his Girl Friday situation. It's very exciting. Yeah, 554 00:32:53,840 --> 00:32:57,480 Speaker 3: and do I think his Girl Friday is better? Yeah? 555 00:32:57,520 --> 00:33:01,240 Speaker 3: I do. I mean, but there's no twist. They didn't 556 00:33:01,280 --> 00:33:04,640 Speaker 3: have the technology, so you know, we're having a different conversation. 557 00:33:04,960 --> 00:33:09,600 Speaker 4: Yeah, they show up to get Joe to sign the papers, 558 00:33:09,640 --> 00:33:16,240 Speaker 4: but she's like, maybe stalling for reasons. Ooh, we'll find 559 00:33:16,240 --> 00:33:16,840 Speaker 4: out what they are. 560 00:33:17,000 --> 00:33:21,760 Speaker 3: She moves her ring around. Kind of fun, kind of steaky. 561 00:33:22,280 --> 00:33:26,320 Speaker 4: Then Joe shows Bill a machine called Dorothy, something that 562 00:33:26,440 --> 00:33:31,360 Speaker 4: Bill conceived and Joe built. It's a first of its 563 00:33:31,480 --> 00:33:35,240 Speaker 4: kind data collecting machine that releases. 564 00:33:34,920 --> 00:33:37,760 Speaker 3: These science balls, yes. 565 00:33:37,800 --> 00:33:41,360 Speaker 4: Science balls, into a tornado and they'll take all these 566 00:33:41,480 --> 00:33:45,280 Speaker 4: measurements that will provide information that's never been gathered before 567 00:33:45,400 --> 00:33:50,080 Speaker 4: about tornadoes. And this data may allow tornado warnings to 568 00:33:50,160 --> 00:33:53,040 Speaker 4: go from three minutes in advance to as much as 569 00:33:53,120 --> 00:33:57,600 Speaker 4: fifteen minutes, giving people more time to get to safety. 570 00:33:57,400 --> 00:34:00,680 Speaker 3: And you would think, you know, if it's technology were 571 00:34:00,720 --> 00:34:04,840 Speaker 3: that consequential, they wouldn't be so easy to spill all 572 00:34:04,880 --> 00:34:09,120 Speaker 3: over the ground during gale force winds. But that's just 573 00:34:09,360 --> 00:34:12,960 Speaker 3: not the situation. In Twister nineteen ninety six, it's so 574 00:34:13,120 --> 00:34:16,680 Speaker 3: easy to scatter these damn science balls. I liked that 575 00:34:16,880 --> 00:34:19,640 Speaker 3: even at the peak of the movie when the science 576 00:34:19,680 --> 00:34:24,760 Speaker 3: balls are finally swept into the cyclone and everyone's like, yes, yes, 577 00:34:25,040 --> 00:34:28,840 Speaker 3: we're never gonna die the science balls, Like we still 578 00:34:28,960 --> 00:34:31,560 Speaker 3: don't totally know what they're doing. 579 00:34:32,680 --> 00:34:33,200 Speaker 4: We don't. 580 00:34:33,560 --> 00:34:38,640 Speaker 3: You're like, they're up there, they're up there, they're reading 581 00:34:38,719 --> 00:34:43,680 Speaker 3: the tornado information. Yes, the science balls. 582 00:34:43,920 --> 00:34:47,319 Speaker 4: My thing was this, there's gotta be a better way 583 00:34:47,360 --> 00:34:50,000 Speaker 4: for them to get close to the tornado and for 584 00:34:50,120 --> 00:34:52,959 Speaker 4: them to release the science balls into the tornado because 585 00:34:52,960 --> 00:34:56,040 Speaker 4: they're just driving a bunch of trucks near tornadoes. Like 586 00:34:56,120 --> 00:34:59,160 Speaker 4: I'm like, yeah, can't they get in like a helicopter 587 00:34:59,400 --> 00:35:02,680 Speaker 4: and then have like I don't know, a T shirt 588 00:35:02,880 --> 00:35:07,560 Speaker 4: cannon launch the science balls into the tornado from afar? 589 00:35:07,960 --> 00:35:10,799 Speaker 4: Like everything they're doing is so dangerous, which is like, ye, 590 00:35:11,040 --> 00:35:11,879 Speaker 4: the plot of the. 591 00:35:11,920 --> 00:35:15,360 Speaker 3: Movie, right, But it's like, you don't need a product 592 00:35:15,400 --> 00:35:20,520 Speaker 3: placement jeep to throw your product placement PEPSI helicopter science 593 00:35:20,600 --> 00:35:25,160 Speaker 3: balls into the cyclone, Like yeah, and I get My 594 00:35:25,200 --> 00:35:27,919 Speaker 3: brother and I were just I mean, this is maybe dark. 595 00:35:28,280 --> 00:35:30,920 Speaker 3: Brother and I were like, is her dad still up there? 596 00:35:31,160 --> 00:35:33,359 Speaker 3: Like what is her end game? Like her dad is 597 00:35:33,400 --> 00:35:36,120 Speaker 3: like up in the top of every cyclone sipping tea, 598 00:35:36,239 --> 00:35:39,879 Speaker 3: being like you go get them, Joe, just get these 599 00:35:39,920 --> 00:35:41,440 Speaker 3: science balls up there. 600 00:35:41,480 --> 00:35:43,560 Speaker 4: Like grief looks like anything you know. 601 00:35:44,280 --> 00:35:47,919 Speaker 3: Well, I know, but like we've covered this plot point 602 00:35:48,080 --> 00:35:51,560 Speaker 3: so much and maybe I'm just like being personally irritated 603 00:35:51,600 --> 00:35:53,640 Speaker 3: by it, but I just feel like there's so many 604 00:35:54,360 --> 00:35:58,680 Speaker 3: female protagonists that it's like you cannot conceive of what 605 00:35:58,719 --> 00:36:02,319 Speaker 3: would possibly be the source of their distress, and it 606 00:36:02,400 --> 00:36:07,200 Speaker 3: either goes to sexual assault or something related to their father. 607 00:36:08,080 --> 00:36:10,160 Speaker 3: And that's not to say that it is not a 608 00:36:10,400 --> 00:36:15,160 Speaker 3: very real thing that happens in the world. I've experienced both, 609 00:36:15,320 --> 00:36:18,840 Speaker 3: But like I do think it's just a very lazy writing, 610 00:36:19,120 --> 00:36:22,520 Speaker 3: especially when the creative team is majority men. I do 611 00:36:22,560 --> 00:36:26,520 Speaker 3: think it's like when men are writing like a problem 612 00:36:26,560 --> 00:36:32,399 Speaker 3: for women, they immediately default to their relationships with other men, 613 00:36:32,680 --> 00:36:38,600 Speaker 3: whether it is romantically or in their family life, and 614 00:36:38,719 --> 00:36:41,280 Speaker 3: this movie is guilty of both of those things. 615 00:36:41,560 --> 00:36:44,319 Speaker 4: Yeah, I agree. In any case, the point is that 616 00:36:44,360 --> 00:36:47,799 Speaker 4: it's very difficult to get Dorothy in a position to 617 00:36:47,960 --> 00:36:50,480 Speaker 4: release the science balls, and they're explaining all of this 618 00:36:50,560 --> 00:36:55,520 Speaker 4: to Melissa Bill's fiancee who doesn't know anything about tornadoes 619 00:36:55,520 --> 00:36:58,919 Speaker 4: because she's a therapist. We will find out that she's 620 00:36:58,960 --> 00:37:03,080 Speaker 4: a reproductive therapist, which I didn't know that was a thing. 621 00:37:03,239 --> 00:37:07,400 Speaker 3: Which makes total sense. But it's like, the more specific 622 00:37:07,440 --> 00:37:10,840 Speaker 3: they get in pointing out how ridiculous the plot of 623 00:37:10,880 --> 00:37:14,920 Speaker 3: the movie feels Mollis's job is, the more I'm just like, oh, so, 624 00:37:15,040 --> 00:37:19,239 Speaker 3: not only is therapy ridiculous, but trauma in relation to 625 00:37:19,600 --> 00:37:26,160 Speaker 3: reproduction is even more ridiculous, Like you're just it's it's 626 00:37:26,200 --> 00:37:31,080 Speaker 3: like goofy, brainless ari ast shit that we talked about recently, 627 00:37:31,120 --> 00:37:35,040 Speaker 3: where it's like, why get so specific with something that 628 00:37:35,200 --> 00:37:40,040 Speaker 3: you're putting in there to either make fun of or 629 00:37:40,120 --> 00:37:41,320 Speaker 3: just serve as a plot. 630 00:37:41,040 --> 00:37:46,200 Speaker 4: Point, Yeah, or demonize the way our estra keeps doing. Yeah, yeah, 631 00:37:46,320 --> 00:37:51,799 Speaker 4: it's it's weird. But anyway, the point is she's not 632 00:37:51,920 --> 00:37:55,759 Speaker 4: a tornado expert, so we the audience are like, why 633 00:37:55,800 --> 00:37:57,960 Speaker 4: are she and Bill even together if she doesn't know 634 00:37:58,000 --> 00:38:02,120 Speaker 4: anything about tornadoes? Clearly he needs to end up with Joe. 635 00:38:04,000 --> 00:38:06,680 Speaker 4: But before we can think much about that, the team 636 00:38:06,840 --> 00:38:12,400 Speaker 4: receives word about a tornado that's materializing nearby, so Joe 637 00:38:12,480 --> 00:38:15,520 Speaker 4: and her team get in their vehicles and a hall 638 00:38:15,600 --> 00:38:19,959 Speaker 4: ass in that direction, and then Bill and Melissa go 639 00:38:20,320 --> 00:38:24,560 Speaker 4: with them because Bill still needs the divorce papers from Joe, 640 00:38:24,719 --> 00:38:27,680 Speaker 4: and Melissa's like, well, I want to learn about tornado. 641 00:38:27,920 --> 00:38:32,719 Speaker 4: I'll come with you. On the way. Bill discovers that 642 00:38:33,320 --> 00:38:38,920 Speaker 4: another rival team of tornado scientists, led by Jonas Miller 643 00:38:39,440 --> 00:38:45,680 Speaker 4: aka Carrie Ellis of Saw One Fame, is also chasing 644 00:38:45,760 --> 00:38:49,360 Speaker 4: this tornado, but Jonas isn't doing it for the science. 645 00:38:49,400 --> 00:38:53,400 Speaker 4: He's doing it for money, because you know how lucrative 646 00:38:53,520 --> 00:38:54,680 Speaker 4: tornado science is. 647 00:38:54,920 --> 00:38:57,480 Speaker 3: I love that line where they're like he's in it 648 00:38:57,560 --> 00:39:00,399 Speaker 3: for the money, not the science, and you're like, this 649 00:39:00,560 --> 00:39:05,400 Speaker 3: is actually, weirdly kind of what Bill Paxton is more 650 00:39:05,840 --> 00:39:09,160 Speaker 3: sensically accused of in Titanic, of like, yeah, he's doing 651 00:39:09,200 --> 00:39:12,560 Speaker 3: it for the money, not the Titanic, which makes more 652 00:39:12,640 --> 00:39:16,480 Speaker 3: sense when you know that there's money in artifacts from 653 00:39:16,480 --> 00:39:17,160 Speaker 3: the Titanic. 654 00:39:17,480 --> 00:39:20,839 Speaker 4: He's searching for a diamond that is worth more than 655 00:39:20,840 --> 00:39:24,120 Speaker 4: the Hope diamond, So yeah, there's a lot of money. 656 00:39:24,040 --> 00:39:28,400 Speaker 3: But like they're just vaguely like, you know, Tornado money, 657 00:39:28,880 --> 00:39:30,479 Speaker 3: Like it's just you're just like. 658 00:39:33,320 --> 00:39:37,600 Speaker 4: Maybe anyway, Jonas has a machine of his own, not 659 00:39:37,880 --> 00:39:43,680 Speaker 4: unlike Dorothy, and Bill is furious that Jonas stole his design. 660 00:39:44,000 --> 00:39:46,800 Speaker 4: So now it's a race between Joe and her team 661 00:39:47,360 --> 00:39:53,120 Speaker 4: and the evil mercenary Jonas and his convoy of dodge 662 00:39:53,200 --> 00:39:57,360 Speaker 4: Mini vans to be the first to collect the tornado data. 663 00:39:57,440 --> 00:39:57,520 Speaker 1: This. 664 00:39:57,760 --> 00:40:00,680 Speaker 3: Yeah, that's something I liked about the movie. It is 665 00:40:00,760 --> 00:40:05,280 Speaker 3: so transparently product placement. Ye, where it's like only pepsi 666 00:40:05,400 --> 00:40:09,640 Speaker 3: cans and jeeps will survive the storm or whatever. 667 00:40:09,960 --> 00:40:15,480 Speaker 4: Yeah. Yes. And so while they're waiting to see when 668 00:40:15,600 --> 00:40:20,400 Speaker 4: and where this tornado actually like touches down, two women 669 00:40:20,600 --> 00:40:23,680 Speaker 4: talk to each other, Joe and Melissa. But oops, it's 670 00:40:23,719 --> 00:40:26,439 Speaker 4: about Bill, so it doesn't pass to the Bechdel test. 671 00:40:26,600 --> 00:40:30,520 Speaker 4: But Melissa is basically like, you're still in love with Bill, 672 00:40:30,680 --> 00:40:34,719 Speaker 4: aren't you? And Joe is like ti, he no, I 673 00:40:34,719 --> 00:40:37,320 Speaker 4: don't know, and it's clear that she did wonder. 674 00:40:37,640 --> 00:40:39,440 Speaker 3: Yeah. 675 00:40:39,480 --> 00:40:43,640 Speaker 4: Then Bill, who has agreed to join the group for 676 00:40:43,719 --> 00:40:48,920 Speaker 4: one day, he Spidey senses where the tornado is going 677 00:40:48,960 --> 00:40:54,640 Speaker 4: to form, so everyone drives in that direction. A tornado materializes, 678 00:40:55,200 --> 00:40:58,360 Speaker 4: but Bill kind of miscalculates and they miss their chance 679 00:40:58,440 --> 00:41:02,760 Speaker 4: to release Dorothy. To mention, Bill and Joe are almost 680 00:41:02,920 --> 00:41:06,440 Speaker 4: killed under this little like bridge thing, and Joe's truck 681 00:41:06,520 --> 00:41:10,000 Speaker 4: gets destroyed along with one of the Dorothy machines, though 682 00:41:10,400 --> 00:41:15,400 Speaker 4: it's established that there are three others. The team goes 683 00:41:15,520 --> 00:41:20,160 Speaker 4: back out again, chasing another tornado in the area. This 684 00:41:20,200 --> 00:41:25,160 Speaker 4: one turns into two tornadoes, then three, and they call 685 00:41:25,239 --> 00:41:30,040 Speaker 4: them sisters. So we've got some sister twisters on our hands. 686 00:41:30,120 --> 00:41:36,520 Speaker 3: Okay, we do, and they're determined to destroy Helen Hunt's family. Yes, 687 00:41:37,760 --> 00:41:41,720 Speaker 3: but the important thing here is that they're women apparently. Yes. 688 00:41:41,960 --> 00:41:44,479 Speaker 4: Also, cows are flying through the air. 689 00:41:44,960 --> 00:41:48,759 Speaker 3: I love it. Yeah, And that the CGI cow was 690 00:41:48,840 --> 00:41:52,360 Speaker 3: built off of the CGI zebra in Jumanji, which I 691 00:41:52,360 --> 00:41:55,759 Speaker 3: thought was very interesting. Yeah. They just were like, turn 692 00:41:55,840 --> 00:41:58,880 Speaker 3: that zebra into a cow, same color scheme, make it happen, 693 00:41:58,960 --> 00:41:59,520 Speaker 3: and they did. 694 00:42:00,320 --> 00:42:06,080 Speaker 4: They're like an animal with hoofs go close enough. Yeah, Okay, 695 00:42:06,280 --> 00:42:10,200 Speaker 4: cows are flying around. But then suddenly the tornadoes dissipate, 696 00:42:10,800 --> 00:42:13,279 Speaker 4: but the storm chasers are still thrilled because like this 697 00:42:13,400 --> 00:42:16,680 Speaker 4: is like the beginning of a long day full of tornadoes. 698 00:42:16,880 --> 00:42:21,759 Speaker 4: Although Melissa is terrified again, she can't really hack it 699 00:42:22,160 --> 00:42:23,799 Speaker 4: in the tornado industry. 700 00:42:24,280 --> 00:42:27,640 Speaker 3: I kept kind of like assuming based on how she 701 00:42:27,800 --> 00:42:32,120 Speaker 3: was styled and was reacting to tornadoes conceptually that she 702 00:42:32,320 --> 00:42:35,400 Speaker 3: was quote unquote from New York, Like it just seemed 703 00:42:35,440 --> 00:42:38,880 Speaker 3: like she wasn't from there, because that was something that 704 00:42:38,920 --> 00:42:41,839 Speaker 3: I was repeatedly bumping up against when I was overthinking 705 00:42:41,920 --> 00:42:45,319 Speaker 3: the plot of the movie, that there were characters in 706 00:42:45,320 --> 00:42:49,360 Speaker 3: this movie who were shocked that there were tornadoes, but 707 00:42:49,600 --> 00:42:52,840 Speaker 3: you weren't told that they weren't from Oklahoma. But that 708 00:42:53,000 --> 00:42:55,839 Speaker 3: makes no sense, like that they would be like, oh, 709 00:42:56,040 --> 00:43:01,319 Speaker 3: what is doing? What like even though there's rarely like 710 00:43:01,400 --> 00:43:05,000 Speaker 3: in the course of this movie seven hundred tornadoes in 711 00:43:05,080 --> 00:43:07,560 Speaker 3: the course of and I'm sorry, and I know someone's 712 00:43:07,560 --> 00:43:10,960 Speaker 3: gonna email me like tornadoes and twisters aren't the same thing. Well, 713 00:43:11,280 --> 00:43:15,040 Speaker 3: bad news. I didn't fucking know that. So anyways, like 714 00:43:15,320 --> 00:43:19,560 Speaker 3: these large cyclical storms, you know, usually twenty of them 715 00:43:19,600 --> 00:43:22,400 Speaker 3: don't happen in the course of a feature length film, 716 00:43:22,719 --> 00:43:26,680 Speaker 3: Like it still felt like Melissa was like what is this? 717 00:43:27,320 --> 00:43:29,239 Speaker 3: And I was like, are you not from here? Like 718 00:43:29,320 --> 00:43:30,360 Speaker 3: where are you from? 719 00:43:30,640 --> 00:43:33,000 Speaker 4: I we don't, Well, she's not from New York because 720 00:43:33,000 --> 00:43:37,560 Speaker 4: she speaks with accents from the American South. I'm not 721 00:43:37,600 --> 00:43:40,920 Speaker 4: good at detecting what accents are from what regions of 722 00:43:40,920 --> 00:43:41,360 Speaker 4: the South. 723 00:43:41,560 --> 00:43:46,920 Speaker 3: No, but it did feel dissonant to me. I feel like, narratively, 724 00:43:47,680 --> 00:43:52,080 Speaker 3: if a character did not know about twisters, it would 725 00:43:52,120 --> 00:43:55,480 Speaker 3: be stated or indicated in some way that they were 726 00:43:55,520 --> 00:44:01,560 Speaker 3: from in a region that did not experience twisters, right, 727 00:44:01,640 --> 00:44:02,759 Speaker 3: But that wasn't done. 728 00:44:03,120 --> 00:44:05,560 Speaker 4: Yeah, we needed a line from Melissa where she's like, 729 00:44:06,200 --> 00:44:10,120 Speaker 4: I'm from Georgia. We don't get these here or something. 730 00:44:10,000 --> 00:44:12,239 Speaker 3: Right, like somewhere in the American South that just like 731 00:44:12,719 --> 00:44:15,799 Speaker 3: was not in Tornado Alley. But it was just bizarre, 732 00:44:15,920 --> 00:44:18,000 Speaker 3: like they I feel like you're sort of led to 733 00:44:18,040 --> 00:44:22,040 Speaker 3: believe that everyone is from around here. But she doesn't 734 00:44:22,120 --> 00:44:26,800 Speaker 3: understand what a twister is for class reasons, which doesn't 735 00:44:26,840 --> 00:44:31,240 Speaker 3: make any sense. No, Like, I love a class narrative, 736 00:44:31,280 --> 00:44:35,080 Speaker 3: but not knowing what a popular weather phenomena in your 737 00:44:35,120 --> 00:44:38,600 Speaker 3: region is due to class does not make sense. 738 00:44:38,960 --> 00:44:42,520 Speaker 4: Right, because it's established that I think that she lives 739 00:44:42,560 --> 00:44:47,520 Speaker 4: there now, even if she didn't grow up in Tornado Territory, right, 740 00:44:47,640 --> 00:44:49,120 Speaker 4: she and Bill Paxston live there now. 741 00:44:49,360 --> 00:44:52,200 Speaker 3: I just think it indicates how kind of like underthought 742 00:44:52,239 --> 00:44:55,440 Speaker 3: her character is, because I think the team at the 743 00:44:55,440 --> 00:44:58,400 Speaker 3: time we say everyone from this movie is generally from 744 00:44:58,560 --> 00:45:03,520 Speaker 3: Oklahoma from Tornado Ali, but there are characters who are 745 00:45:03,640 --> 00:45:08,520 Speaker 3: shocked by theoretically something that they would have noted about 746 00:45:08,640 --> 00:45:10,280 Speaker 3: for decades at that point. 747 00:45:10,400 --> 00:45:14,240 Speaker 4: Yeah, I don't know. In any case, the most recent 748 00:45:14,480 --> 00:45:19,880 Speaker 4: tornado dies down and the group pays a visit to 749 00:45:20,160 --> 00:45:25,359 Speaker 4: Joe's aunt Meg, played by Lois Smith. She makes them 750 00:45:25,640 --> 00:45:28,320 Speaker 4: steak and eggs and they share a bunch of stories. 751 00:45:29,600 --> 00:45:34,319 Speaker 4: They talk about a scale that measures the intensity of tornadoes. 752 00:45:34,800 --> 00:45:37,760 Speaker 4: The ones they saw today were F two's and F threes, 753 00:45:38,480 --> 00:45:41,600 Speaker 4: and even more intense one is an F four, and 754 00:45:41,640 --> 00:45:45,239 Speaker 4: then there's the rare but devastating F five And the 755 00:45:45,280 --> 00:45:47,799 Speaker 4: only one of the group who has ever seen one 756 00:45:47,840 --> 00:45:52,279 Speaker 4: of those is Joe, because that was the tornado that 757 00:45:52,840 --> 00:45:53,760 Speaker 4: killed her father. 758 00:45:54,280 --> 00:45:59,200 Speaker 3: Another incredible narrative moment where Melissa, minding her own business, 759 00:45:59,280 --> 00:46:02,759 Speaker 3: is like, what is five me? Which is a fair question, yeah, 760 00:46:02,880 --> 00:46:05,480 Speaker 3: considering that she just moved to Oklahoma three days ago. 761 00:46:06,360 --> 00:46:11,480 Speaker 3: And then everyone's like, oh, and they answer so evasively 762 00:46:12,360 --> 00:46:15,719 Speaker 3: when it's like Helen Hunt isn't in the room, just 763 00:46:16,080 --> 00:46:17,560 Speaker 3: say say it. 764 00:46:17,680 --> 00:46:21,000 Speaker 4: Also, the guy who looks like William H. Macy says 765 00:46:21,440 --> 00:46:24,560 Speaker 4: it's the finger of God and that's just a very 766 00:46:24,560 --> 00:46:25,440 Speaker 4: funny phrase. 767 00:46:26,239 --> 00:46:29,680 Speaker 3: I think, Yeah, fingered by God, like it's just fingered 768 00:46:29,680 --> 00:46:35,720 Speaker 3: by God. There is so many awesome, creepy bizarro turns 769 00:46:35,719 --> 00:46:37,960 Speaker 3: of phrases in this movie, and some of them are 770 00:46:38,080 --> 00:46:40,919 Speaker 3: used in the context of her sexual harassment. But bear 771 00:46:41,000 --> 00:46:44,600 Speaker 3: with me. What is it the suck zone that's the 772 00:46:44,640 --> 00:46:45,840 Speaker 3: first jump scare. 773 00:46:46,320 --> 00:46:50,040 Speaker 4: Yeah, phillipsy Moore Hoffman is always talking about the suck Zone. 774 00:46:50,320 --> 00:46:55,400 Speaker 3: Phillipsy Moore Hoffman's character, I don't know if it is written, improvised, whatever. 775 00:46:56,040 --> 00:46:59,319 Speaker 3: He is surprised, kissing every woman he meets. It's made 776 00:46:59,320 --> 00:47:05,120 Speaker 3: to see him charming. I love Philip Siberhoffman, and yet 777 00:47:05,160 --> 00:47:10,320 Speaker 3: I don't find this charming. Although sock Zone is funny 778 00:47:10,400 --> 00:47:15,560 Speaker 3: and I was laughing, I believe. Let me know what 779 00:47:15,600 --> 00:47:18,000 Speaker 3: you think here, I believe, and my brother and I 780 00:47:18,160 --> 00:47:21,520 Speaker 3: firmly because I did not remember what happened in this movie, Dodo, 781 00:47:21,680 --> 00:47:25,440 Speaker 3: it's like washing over you kind of effect. I firmly 782 00:47:25,960 --> 00:47:30,040 Speaker 3: thought that we were being set up, that Melissa and 783 00:47:30,239 --> 00:47:33,640 Speaker 3: Dusty were gonna kind of strike something up because they 784 00:47:33,680 --> 00:47:39,040 Speaker 3: are repeatedly nonsensically thrown together. Where ultimately part of why 785 00:47:39,080 --> 00:47:43,720 Speaker 3: I think Bill Paxton's character Bill is a bad guy 786 00:47:44,800 --> 00:47:48,719 Speaker 3: because he's like almost always like, no, I have to 787 00:47:48,760 --> 00:47:51,920 Speaker 3: be with my ex wife right now and my wife 788 00:47:51,920 --> 00:47:54,399 Speaker 3: to be you just have to hang out with this 789 00:47:54,560 --> 00:48:02,120 Speaker 3: guy I know who famously sexually harasses p and he 790 00:48:02,320 --> 00:48:04,480 Speaker 3: and it's Philip Subra hot Fin, so we're like, oh, 791 00:48:04,520 --> 00:48:07,520 Speaker 3: I love him, but like, you know, objectively, that is, 792 00:48:07,600 --> 00:48:11,360 Speaker 3: he's repeatedly putting this woman who he knows is wildly 793 00:48:11,360 --> 00:48:13,560 Speaker 3: out of her element. There are multiple points of this 794 00:48:13,640 --> 00:48:16,200 Speaker 3: movie where I don't know it's a blockbuster, but I'm 795 00:48:16,239 --> 00:48:20,879 Speaker 3: in a bad mood, and so like why does he say, yeah, 796 00:48:21,000 --> 00:48:24,040 Speaker 3: keep coming? Like at the first time she follows the Twister, 797 00:48:24,719 --> 00:48:29,000 Speaker 3: Bill doesn't know and that's why, like she's joined this journey. 798 00:48:29,560 --> 00:48:32,960 Speaker 3: She's freaked out. But it's like, you know, unturned territory. 799 00:48:33,000 --> 00:48:36,439 Speaker 3: And in the second Twister sequence it's like the love 800 00:48:36,520 --> 00:48:40,120 Speaker 3: triangles in a car there is you know, like sponsored 801 00:48:40,120 --> 00:48:43,799 Speaker 3: by Jeep and it's interesting. But after that, when they 802 00:48:43,840 --> 00:48:48,800 Speaker 3: go to Aunt Meg's house, why does she continue? Because 803 00:48:48,840 --> 00:48:51,160 Speaker 3: there is a cast off scene as they leave Aunt 804 00:48:51,239 --> 00:48:56,400 Speaker 3: Meg's house where Bill Paxton says, you go with Dusty 805 00:48:57,040 --> 00:49:01,319 Speaker 3: and she says okay, and it's like real, realistically, that 806 00:49:01,440 --> 00:49:05,680 Speaker 3: character is not going if she's continuing, she's going with 807 00:49:05,840 --> 00:49:12,560 Speaker 3: the one person she knows, not Dusty, who she met today. 808 00:49:12,960 --> 00:49:15,399 Speaker 3: Like I thought that in some draft of this script, 809 00:49:15,440 --> 00:49:17,440 Speaker 3: because I know there are multiple drafts of this script, 810 00:49:17,880 --> 00:49:20,480 Speaker 3: Like Joss Whedon revised the script, but then he got 811 00:49:20,480 --> 00:49:24,200 Speaker 3: a cough and then puld like whatever, But like the 812 00:49:24,239 --> 00:49:26,719 Speaker 3: script was revised in the way that blockbuster scripts are. 813 00:49:27,520 --> 00:49:29,760 Speaker 3: I believe that there is a version of the original 814 00:49:29,800 --> 00:49:34,520 Speaker 3: script of Twister where they're like, yeah, and then Melissa's 815 00:49:34,560 --> 00:49:37,720 Speaker 3: started dating Dusty. I'm glad she didn't, but it felt 816 00:49:37,719 --> 00:49:40,759 Speaker 3: like for a good portion of the movie we are 817 00:49:40,800 --> 00:49:43,960 Speaker 3: being led to like they are together more often than 818 00:49:43,960 --> 00:49:45,280 Speaker 3: she's with her fiance. 819 00:49:45,680 --> 00:49:50,160 Speaker 4: Yeah. Anyway, what happens next, Well, the storm picks back 820 00:49:50,239 --> 00:49:53,200 Speaker 4: up again. You'll never believe it, but another twister is coming, 821 00:49:53,680 --> 00:49:58,360 Speaker 4: so the group heads back out to chase the next tornado. Also, 822 00:49:58,719 --> 00:50:03,479 Speaker 4: Joe and Bill are vibing. Melissa is in another car, 823 00:50:03,520 --> 00:50:08,719 Speaker 4: probably with Dusty, feeling uneasy. They almost crash into Jonas, 824 00:50:08,920 --> 00:50:12,160 Speaker 4: who is also heading into the storm, but Bill and 825 00:50:12,239 --> 00:50:15,719 Speaker 4: Joe get their first but things go wrong. A telephone 826 00:50:15,760 --> 00:50:19,040 Speaker 4: pole knocks Dorothy off the truck. All the science balls 827 00:50:19,080 --> 00:50:22,960 Speaker 4: go flying because they're just very loose in this barrel, 828 00:50:23,320 --> 00:50:27,040 Speaker 4: and she's crying. She's crying, she wants to stay hurt. 829 00:50:27,120 --> 00:50:31,040 Speaker 3: She's science falls and because of her father trauma. 830 00:50:31,320 --> 00:50:31,640 Speaker 4: Father. 831 00:50:31,880 --> 00:50:34,239 Speaker 3: Right, this is supposed to be a reveal when you're like, 832 00:50:34,719 --> 00:50:36,720 Speaker 3: do you think I'm six years old? Which I guess 833 00:50:36,840 --> 00:50:39,239 Speaker 3: is like people who saw this movie were six and 834 00:50:39,280 --> 00:50:40,680 Speaker 3: maybe it was shocking for them. 835 00:50:41,239 --> 00:50:44,680 Speaker 4: Maybe yeah. But Bill is like, you can't stay here, 836 00:50:44,680 --> 00:50:48,000 Speaker 4: it's too dangerous. This won't bring your dad back. Stop 837 00:50:48,080 --> 00:50:51,320 Speaker 4: living in the past and look at what's in front 838 00:50:51,360 --> 00:50:56,960 Speaker 4: of you right now aka me, which Melissa hears because 839 00:50:57,040 --> 00:51:01,040 Speaker 4: the radio slash like walkie talkie thing is picking up 840 00:51:01,080 --> 00:51:05,239 Speaker 4: their entire conversation. Somehow, we don't know why or how 841 00:51:05,280 --> 00:51:06,120 Speaker 4: that's happening, but. 842 00:51:06,239 --> 00:51:08,720 Speaker 3: It's one of the science that one of the science 843 00:51:08,800 --> 00:51:12,760 Speaker 3: balls narts, one of those one of the science balls, 844 00:51:12,800 --> 00:51:17,880 Speaker 3: and I thank them as a team Melissa. I'm team Melissa, period. 845 00:51:18,200 --> 00:51:21,520 Speaker 3: And yeah, one of the science balls told Melissa, guess 846 00:51:21,520 --> 00:51:25,040 Speaker 3: what writing's on the wall, and thankfully she listened, and 847 00:51:25,080 --> 00:51:28,640 Speaker 3: even more thankfully to whatever subsequent writer was like, do 848 00:51:28,840 --> 00:51:31,879 Speaker 3: not just make her end up with Dusty like let 849 00:51:31,880 --> 00:51:38,080 Speaker 3: her return to her work as a doctor. Melissa wins 850 00:51:38,120 --> 00:51:41,520 Speaker 3: the plot because even even though at the end it's 851 00:51:41,560 --> 00:51:45,120 Speaker 3: like do do do do do? And they kiss and 852 00:51:45,160 --> 00:51:48,160 Speaker 3: they're back together, like two years from now, they're for 853 00:51:48,239 --> 00:51:51,120 Speaker 3: sure dead. Yeah, they have two years something. They're like 854 00:51:51,160 --> 00:51:56,040 Speaker 3: those the cologists that yes, yeah, yeah, and it's like 855 00:51:56,160 --> 00:51:59,879 Speaker 3: it's beautiful, but it's also just like, okay, that's kind 856 00:51:59,880 --> 00:52:04,240 Speaker 3: of like you're not me being like, okay, the volcanologists 857 00:52:04,239 --> 00:52:08,239 Speaker 3: that got swallowed by the volcano, that's their business, but 858 00:52:08,360 --> 00:52:10,759 Speaker 3: like kind of it is. And that's how I feel 859 00:52:10,800 --> 00:52:12,919 Speaker 3: about the Twister couple, Like all right, if you want 860 00:52:12,920 --> 00:52:15,279 Speaker 3: a twister or to suck you up instead of going 861 00:52:15,280 --> 00:52:19,400 Speaker 3: to therapy, like I just like don't have the emotional 862 00:52:19,560 --> 00:52:21,960 Speaker 3: energy to be like no, we should help them, like. 863 00:52:23,520 --> 00:52:25,280 Speaker 4: Choice, Yeah, their life, their choice. 864 00:52:25,280 --> 00:52:29,480 Speaker 3: They're consenting adults that want the twister to eat them. 865 00:52:29,760 --> 00:52:33,280 Speaker 3: Helen Hunt, if she had just had a conversation with Melissa, 866 00:52:33,719 --> 00:52:36,040 Speaker 3: Melissa could have referred her to someone who could have 867 00:52:36,080 --> 00:52:40,359 Speaker 3: helped out with that, or at least helped her understand 868 00:52:40,440 --> 00:52:43,160 Speaker 3: that better in a way that wouldn't involve her dying 869 00:52:44,040 --> 00:52:45,000 Speaker 3: by twister. 870 00:52:45,520 --> 00:52:45,880 Speaker 4: Yeah. 871 00:52:45,920 --> 00:52:49,560 Speaker 3: I wonder if they acknowledge in Twisters that Bill Paxson 872 00:52:49,640 --> 00:52:52,960 Speaker 3: and Helen Hunt absolutely got sucked into a twister and 873 00:52:53,000 --> 00:52:55,600 Speaker 3: died because they're begging for that to happen to them. 874 00:52:55,680 --> 00:52:59,480 Speaker 4: I bet Glenn Powell is that his name? Yeah, plays 875 00:52:59,760 --> 00:53:04,080 Speaker 4: the son and the Helen Hunt and Bill Paxton died 876 00:53:04,440 --> 00:53:06,680 Speaker 4: in a twister accident, And. 877 00:53:06,960 --> 00:53:10,680 Speaker 3: Okay, so let maybe the third generation of someone who 878 00:53:10,719 --> 00:53:15,319 Speaker 3: refuses to go to therapy and also chase twisters with 879 00:53:15,400 --> 00:53:23,080 Speaker 3: an indie darling like fine, fine, I'm just tired, Caitlin, Like. 880 00:53:23,120 --> 00:53:28,200 Speaker 4: I know, Jamie, I'm sorry. The point is that Melissa 881 00:53:28,239 --> 00:53:32,319 Speaker 4: overhears what's basically a profession of love from Bill to 882 00:53:32,440 --> 00:53:36,440 Speaker 4: Joe because the plot needed that to happen. So now 883 00:53:36,640 --> 00:53:39,760 Speaker 4: Melissa knows this and it's not great for her. She's sad. 884 00:53:40,800 --> 00:53:46,719 Speaker 4: And then during another lull between tornadoes, Joe signs the 885 00:53:46,760 --> 00:53:49,480 Speaker 4: divorce papers, but before she can give them to Bill, 886 00:53:50,000 --> 00:53:53,759 Speaker 4: another huge storm comes on very suddenly right where they are, 887 00:53:53,800 --> 00:53:56,640 Speaker 4: which is at a drive in movie theater, so everyone 888 00:53:56,760 --> 00:54:01,719 Speaker 4: has to take shelter. Then the torny heads to Wakita, 889 00:54:01,840 --> 00:54:05,440 Speaker 4: where Aunt Meg lives, so the group goes there too, 890 00:54:05,840 --> 00:54:09,640 Speaker 4: but not before Melissa ends her relationship with Bill, and 891 00:54:09,680 --> 00:54:12,319 Speaker 4: she says, bye, you can go on ahead, but I'm 892 00:54:12,320 --> 00:54:13,760 Speaker 4: not gonna be here when you get back. 893 00:54:14,040 --> 00:54:17,760 Speaker 3: Well yeah, which is a great moment for Melissa. 894 00:54:18,040 --> 00:54:20,200 Speaker 4: Yeah, and she's like, I'm not even sad about it? 895 00:54:20,280 --> 00:54:23,760 Speaker 4: What does that say? And he's like, uh shrug. 896 00:54:24,120 --> 00:54:27,080 Speaker 3: But don't worry. The movie will express no interest in 897 00:54:27,160 --> 00:54:30,839 Speaker 3: her from here forward. We have no idea no what happens, We. 898 00:54:30,880 --> 00:54:34,680 Speaker 4: Do not, But the characters we are meant to care 899 00:54:34,680 --> 00:54:38,320 Speaker 4: about are Joe and Bill. They head to Aunt Meg's 900 00:54:38,320 --> 00:54:42,920 Speaker 4: house with the other tornado chasers. They see the destruction 901 00:54:43,040 --> 00:54:46,359 Speaker 4: along the way, families who have lost their homes. They 902 00:54:46,400 --> 00:54:50,160 Speaker 4: save Aunt Meg, who is trapped under the rubble of 903 00:54:50,160 --> 00:54:54,320 Speaker 4: her house, as well as her dog, Mows the dog, 904 00:54:55,080 --> 00:54:59,960 Speaker 4: and now weather reports are predicting a possible F five tornado. 905 00:55:00,200 --> 00:55:02,480 Speaker 4: That's one of those big nasty ones. 906 00:55:02,800 --> 00:55:04,080 Speaker 3: That's a daddy killer. 907 00:55:04,440 --> 00:55:07,719 Speaker 4: Yeah, yeah, yeah yeah. Then Joe has the idea for 908 00:55:07,800 --> 00:55:13,040 Speaker 4: how to make Dorothy fly, because she and Bill were 909 00:55:13,080 --> 00:55:16,319 Speaker 4: having concerns about not being able to get Dorothy up 910 00:55:16,320 --> 00:55:20,279 Speaker 4: into the tornado. But she looks at Aunt Meg's like 911 00:55:20,680 --> 00:55:25,320 Speaker 4: wind chime things and she's like, oh, let's fashion a 912 00:55:25,360 --> 00:55:28,919 Speaker 4: bunch of pinwheels out of Pepsi cans and attach them 913 00:55:29,360 --> 00:55:32,400 Speaker 4: to the science balls so that they'll fly up into 914 00:55:32,480 --> 00:55:33,120 Speaker 4: the tornado. 915 00:55:33,600 --> 00:55:40,480 Speaker 3: Yeah. Thankfully this Tornado crew only drinks classic Pepsi. Yeah, 916 00:55:40,520 --> 00:55:44,319 Speaker 3: and they fashion the little propellers with the with the 917 00:55:44,360 --> 00:55:50,080 Speaker 3: logo visible. And my boyfriend's dad worked in product placement 918 00:55:50,360 --> 00:55:54,360 Speaker 3: during this era, and you're like, Okay, that was whatever 919 00:55:55,000 --> 00:55:58,320 Speaker 3: that ridiculous plot boy ended up being was hard fought 920 00:55:58,360 --> 00:55:59,360 Speaker 3: by some guy. 921 00:56:01,640 --> 00:56:03,480 Speaker 4: It's like, no, cut the cans in a way that 922 00:56:03,560 --> 00:56:05,440 Speaker 4: we can see that it says Pepsi. 923 00:56:05,840 --> 00:56:09,360 Speaker 3: The poor pa is that had to fucking like exact 924 00:56:09,360 --> 00:56:15,080 Speaker 3: o knife those ridiculous science balls. It's just I hope 925 00:56:15,080 --> 00:56:17,400 Speaker 3: that Helen Hunt got to keep a science ball. 926 00:56:17,560 --> 00:56:19,399 Speaker 4: Hmmm, yeah, I'm sure she did. 927 00:56:19,960 --> 00:56:20,680 Speaker 3: Anyways. 928 00:56:20,920 --> 00:56:25,560 Speaker 4: Anyway, so the team heads out again to chase this 929 00:56:25,680 --> 00:56:30,800 Speaker 4: impending F five twister. Bill and Joe place the third 930 00:56:31,080 --> 00:56:34,920 Speaker 4: Dorothy Machine in the path of this huge tornado, but 931 00:56:35,239 --> 00:56:38,680 Speaker 4: once again, something knocks it out of the way because 932 00:56:38,719 --> 00:56:41,960 Speaker 4: this twister is kicking up so much debris it throws 933 00:56:42,000 --> 00:56:45,200 Speaker 4: a semi truck at them. This is also when Jonas 934 00:56:45,560 --> 00:56:48,520 Speaker 4: and some of his team are killed by the tornado. 935 00:56:48,960 --> 00:56:52,880 Speaker 3: Yeah, they're speared there. I sort of thought that, like, 936 00:56:53,000 --> 00:56:55,440 Speaker 3: I was kind of hopeful. I thought it would be 937 00:56:55,520 --> 00:56:59,960 Speaker 3: a fun plot point at least that like Jonas and Bill, 938 00:57:00,000 --> 00:57:02,719 Speaker 3: Bill would end up like their teams would end up 939 00:57:02,760 --> 00:57:06,000 Speaker 3: having to work together on opposite sides of the Twister, 940 00:57:06,840 --> 00:57:10,760 Speaker 3: and that Jonas could learn that, you know, that Joe 941 00:57:11,520 --> 00:57:18,040 Speaker 3: and Bill's approach to Twister via science balls was actually 942 00:57:18,200 --> 00:57:22,880 Speaker 3: thoughtful and like they would have to collaborate, but instead 943 00:57:23,000 --> 00:57:27,560 Speaker 3: he is he has like Saw like slasher movie style 944 00:57:27,760 --> 00:57:31,240 Speaker 3: killed for his hubris, which is also fine. Yeah, I 945 00:57:31,320 --> 00:57:34,000 Speaker 3: just don't understand why if that guy was going to 946 00:57:34,040 --> 00:57:37,320 Speaker 3: disappear for forty five minutes and then be speared to death, Like, 947 00:57:37,440 --> 00:57:41,200 Speaker 3: why even have an antagonist if it's that unnecessary. 948 00:57:42,320 --> 00:57:46,280 Speaker 4: I guess it's to establish that you shouldn't be into 949 00:57:46,480 --> 00:57:48,960 Speaker 4: tornadoes for the money, and you should be in them 950 00:57:49,320 --> 00:57:50,680 Speaker 4: for the love of the game. 951 00:57:51,200 --> 00:57:51,439 Speaker 3: Right. 952 00:57:51,600 --> 00:57:55,640 Speaker 4: In a way, Carrie Elwis is Carrie Ellis and saw 953 00:57:55,920 --> 00:57:59,320 Speaker 4: Bill Paxton is the other guy in Saw one We 954 00:57:59,440 --> 00:58:04,439 Speaker 4: want all yeah, and the Twister is Jigsaw and he's 955 00:58:04,440 --> 00:58:07,120 Speaker 4: playing a little game with these boys. 956 00:58:07,240 --> 00:58:11,200 Speaker 3: Exactly, except you don't get the satisfying flashback to show 957 00:58:11,520 --> 00:58:14,320 Speaker 3: that Carrie Elws was cheating on his wife in a 958 00:58:14,400 --> 00:58:18,520 Speaker 3: room that looks like every other room in Twister. That 959 00:58:18,600 --> 00:58:20,680 Speaker 3: is actually something I really like about this movie is 960 00:58:20,720 --> 00:58:25,040 Speaker 3: the movie is so obviously expensive and the action sequences 961 00:58:25,040 --> 00:58:28,480 Speaker 3: in this movie. I'm bitching a lot about the plot, 962 00:58:28,560 --> 00:58:31,240 Speaker 3: which I do think is nonsensical and ridiculous in the 963 00:58:31,240 --> 00:58:34,760 Speaker 3: way that a lot of nineties disaster movies can be, 964 00:58:34,800 --> 00:58:38,080 Speaker 3: with the exception of Titanic and others, But like, the 965 00:58:38,120 --> 00:58:43,240 Speaker 3: action sequences are awesome. It feels like speed, which makes sense. 966 00:58:43,280 --> 00:58:47,680 Speaker 3: It's the same director where it's like the wildest, most 967 00:58:47,800 --> 00:58:50,240 Speaker 3: elevated thing you could think of with a set piece 968 00:58:50,560 --> 00:58:54,160 Speaker 3: is what they do where Bill Paxon and Helen Hunt 969 00:58:54,200 --> 00:58:58,480 Speaker 3: are driving full speed in a jeep toward a house 970 00:58:58,600 --> 00:59:01,200 Speaker 3: in the middle of a twister, and he's like, we 971 00:59:01,440 --> 00:59:04,760 Speaker 3: better drive through it. And then we see them drive 972 00:59:04,920 --> 00:59:09,040 Speaker 3: through the house at every conceivable angle and it just 973 00:59:09,080 --> 00:59:13,720 Speaker 3: looks so expensive and dangerous and it's awesome. 974 00:59:13,920 --> 00:59:18,960 Speaker 4: It's fun. Yeah, yeah, so that's about to happen. So basically, 975 00:59:19,200 --> 00:59:22,760 Speaker 4: Joe and Bill drive into a field and place the 976 00:59:22,880 --> 00:59:26,200 Speaker 4: last Dorothy and this time it finally works. The science 977 00:59:26,240 --> 00:59:29,120 Speaker 4: balls fly up into the tornado and collect all the 978 00:59:29,200 --> 00:59:31,520 Speaker 4: data that they've been trying to gather the whole movie. 979 00:59:31,880 --> 00:59:35,439 Speaker 4: But oh no, the tornado is still coming for them. 980 00:59:35,800 --> 00:59:42,720 Speaker 4: So Joe and Bill outrun the tornado on foot. Sure, yeah, 981 00:59:42,800 --> 00:59:43,720 Speaker 4: and don't worry. 982 00:59:43,760 --> 00:59:46,760 Speaker 3: They linger for a long time in spite of being 983 00:59:46,760 --> 00:59:49,160 Speaker 3: at the top of their fields to not know to 984 00:59:49,240 --> 00:59:53,440 Speaker 3: run in the opposite direction of a twister, I just can't. 985 00:59:53,520 --> 00:59:56,240 Speaker 4: Anyways, they're just looking at it and they're like, wow, 986 00:59:56,400 --> 00:59:57,840 Speaker 4: the majesty of nature. 987 00:59:57,960 --> 00:59:59,400 Speaker 3: Wow, should we kiss? 988 00:59:59,600 --> 01:00:01,920 Speaker 4: Also, no point are they wearing any kind of like 989 01:00:02,040 --> 01:00:06,400 Speaker 4: protective gear, like, no weather appropriate clothes. 990 01:00:06,640 --> 01:00:09,200 Speaker 3: No, because Helen Hunt has to be wearing a tank 991 01:00:09,240 --> 01:00:12,560 Speaker 3: top or the movie cannot be released. 992 01:00:13,560 --> 01:00:17,320 Speaker 4: Yeah. Anyway, so they go and they hide in a barn, 993 01:00:17,440 --> 01:00:20,680 Speaker 4: and the barn is full of so many pointy tools, 994 01:00:21,160 --> 01:00:24,520 Speaker 4: and the tornado is throwing the sharp pointy things at them. Yeah, 995 01:00:24,560 --> 01:00:27,600 Speaker 4: it's tearing the barn apart. Joe and Bill almost get 996 01:00:27,680 --> 01:00:30,920 Speaker 4: blown away, but then they anchor themselves to some pipes 997 01:00:30,960 --> 01:00:36,960 Speaker 4: that are secured in the ground via some leather belts. Okay, kinky, 998 01:00:37,040 --> 01:00:41,520 Speaker 4: and this tornado dissipates and everyone is safe, and Joe 999 01:00:41,560 --> 01:00:44,400 Speaker 4: and Bill kiss on the lips about it. In front 1000 01:00:44,400 --> 01:00:49,600 Speaker 4: of all of their friends the end. So that's the movie. 1001 01:00:49,680 --> 01:00:52,640 Speaker 4: Let's take another quick break and we'll come back to discuss, 1002 01:01:02,760 --> 01:01:03,880 Speaker 4: and we're back. 1003 01:01:05,480 --> 01:01:09,680 Speaker 3: Yeah, this movie is I don't know, There's a lot 1004 01:01:09,680 --> 01:01:13,120 Speaker 3: of interesting things going on with it. It's tricky because 1005 01:01:13,160 --> 01:01:19,600 Speaker 3: our podcast obviously addresses the narrative, story and characters the most. 1006 01:01:20,440 --> 01:01:24,440 Speaker 3: That's not necessarily what this movie is about. That's not 1007 01:01:24,480 --> 01:01:26,600 Speaker 3: why this movie made a ton of money. It is 1008 01:01:26,760 --> 01:01:29,760 Speaker 3: very much, I think, a really great example and even 1009 01:01:29,800 --> 01:01:31,800 Speaker 3: though I've just been an hour being like, oh, the 1010 01:01:31,840 --> 01:01:36,680 Speaker 3: story sucks, but I think that we are given interesting, 1011 01:01:36,880 --> 01:01:42,000 Speaker 3: compelling characters where you know, this movie is directed by 1012 01:01:42,080 --> 01:01:44,400 Speaker 3: and I'm honestly afraid to try to say his name 1013 01:01:44,480 --> 01:01:47,160 Speaker 3: because I feel like I'm wrong. He's Dutch. His name 1014 01:01:47,240 --> 01:01:50,400 Speaker 3: is Jean Debant. This is not the first time we 1015 01:01:50,480 --> 01:01:54,920 Speaker 3: have covered his work, because he also directed Speed, and 1016 01:01:55,000 --> 01:01:58,880 Speaker 3: he was, you know, tangentially involved in a number of 1017 01:01:58,920 --> 01:02:02,360 Speaker 3: other movies that we've covered. He started as a cinematographer, 1018 01:02:02,840 --> 01:02:06,880 Speaker 3: which is I think a really cool, like career pivot, 1019 01:02:06,920 --> 01:02:10,560 Speaker 3: because you just get movies that are narratively less good 1020 01:02:10,720 --> 01:02:15,000 Speaker 3: but look cool. And that's Twister to a fault written 1021 01:02:15,160 --> 01:02:21,520 Speaker 3: by Michael Crichton, as well as his wife co writer. Yeah. 1022 01:02:21,680 --> 01:02:24,919 Speaker 3: Co writer Anne Marie Martin, who was then married to him, 1023 01:02:25,560 --> 01:02:28,800 Speaker 3: had also previously been an actor. 1024 01:02:29,160 --> 01:02:32,320 Speaker 4: Yeah. I think this was the only movie she wrote, 1025 01:02:32,440 --> 01:02:35,600 Speaker 4: or at least the only movie she was credited on. Yes, Yeah, 1026 01:02:35,600 --> 01:02:37,000 Speaker 4: she mostly worked as an actor. 1027 01:02:37,280 --> 01:02:39,760 Speaker 3: It's hard to you know, as far as writing goes. 1028 01:02:39,920 --> 01:02:41,880 Speaker 3: You know, Michael Crichton, I feel like, is the big 1029 01:02:42,000 --> 01:02:44,080 Speaker 3: name involved. But it is kind of hard to know, 1030 01:02:44,320 --> 01:02:47,320 Speaker 3: like who to get annoyed with because it's the blockbuster, 1031 01:02:47,400 --> 01:02:49,920 Speaker 3: and also because this movie did famously go through a 1032 01:02:49,920 --> 01:02:54,120 Speaker 3: lot of rewrites. Josh Whedon was a rewriter. It's also 1033 01:02:54,200 --> 01:02:56,720 Speaker 3: implied that the actors had a lot of say and 1034 01:02:56,760 --> 01:03:00,760 Speaker 3: there was a fair amount of improv in the action 1035 01:03:01,240 --> 01:03:04,720 Speaker 3: of the movie, because there was an incident where Helen 1036 01:03:04,840 --> 01:03:07,240 Speaker 3: Hunt and we don't know what this is even in 1037 01:03:07,320 --> 01:03:10,760 Speaker 3: reaction to I'm assuming she's right, but I don't even 1038 01:03:10,840 --> 01:03:14,280 Speaker 3: know right that Helen Hunt was said to have been 1039 01:03:14,320 --> 01:03:18,120 Speaker 3: frustrated with the interactions that had been originally scripted between 1040 01:03:18,200 --> 01:03:21,760 Speaker 3: her character Joe and with Melissa, saying that it felt 1041 01:03:21,920 --> 01:03:26,400 Speaker 3: very like shrill and shrewy and argumentative. Yeah, katty was 1042 01:03:26,440 --> 01:03:29,640 Speaker 3: the word that she used, so basically like she felt 1043 01:03:29,720 --> 01:03:33,760 Speaker 3: that the interactions between them were sexist. And so I 1044 01:03:33,760 --> 01:03:36,320 Speaker 3: don't know if that means what was there was rewritten 1045 01:03:36,560 --> 01:03:39,360 Speaker 3: or just cut, because what we get between these characters 1046 01:03:39,520 --> 01:03:44,960 Speaker 3: is very minimal, which I think is a huge lost opportunity. Yeah, 1047 01:03:45,000 --> 01:03:48,480 Speaker 3: this movie is supposed to be like Tornado Alley His 1048 01:03:48,560 --> 01:03:52,200 Speaker 3: Girl Friday, and I still feel like His Girl Friday, 1049 01:03:52,200 --> 01:03:54,360 Speaker 3: a movie that came out over half a century before, 1050 01:03:54,600 --> 01:03:59,520 Speaker 3: still is a little more thoughtful in its characterization of women. 1051 01:04:00,280 --> 01:04:03,800 Speaker 3: And so time is a flat circle. But the thing 1052 01:04:03,920 --> 01:04:07,720 Speaker 3: is like, we're given a love triangle, and I like 1053 01:04:08,640 --> 01:04:12,200 Speaker 3: both of the women in this love triangle. I don't 1054 01:04:12,480 --> 01:04:16,560 Speaker 3: hate Bill, but I don't like him. I like Bill Paxton, 1055 01:04:16,720 --> 01:04:19,960 Speaker 3: I don't like Bill the guy. Yeah, but whatever, Like 1056 01:04:20,280 --> 01:04:24,000 Speaker 3: you know, we're given three interesting characters who are struggling 1057 01:04:24,000 --> 01:04:27,200 Speaker 3: with their own individual things, but I just feel like 1058 01:04:27,240 --> 01:04:30,680 Speaker 3: they're kind of like unevenly characterized. 1059 01:04:31,160 --> 01:04:35,280 Speaker 4: I well to come to the movie's defense, okay, because 1060 01:04:35,920 --> 01:04:39,040 Speaker 4: I enjoyed the movie, and I think there are some 1061 01:04:39,160 --> 01:04:43,600 Speaker 4: interesting things as it relates to gender, where a lot 1062 01:04:43,600 --> 01:04:48,560 Speaker 4: of movies would be about a guy who really won 1063 01:04:48,720 --> 01:04:51,720 Speaker 4: something and he's going out and he's doing it and 1064 01:04:51,880 --> 01:04:55,960 Speaker 4: there's a woman who he's allowing to tag along. That 1065 01:04:56,040 --> 01:04:58,560 Speaker 4: is not the case here. It's pretty flipped where it's 1066 01:04:59,240 --> 01:05:03,360 Speaker 4: you know, we do have dual protagonists in Bill and Joe. 1067 01:05:03,400 --> 01:05:05,960 Speaker 4: I would argue, So you have a man and a 1068 01:05:06,000 --> 01:05:08,440 Speaker 4: woman at the center of this story, and they kind 1069 01:05:08,440 --> 01:05:12,640 Speaker 4: of share protagonist functions. They have the same overall goal 1070 01:05:12,680 --> 01:05:16,200 Speaker 4: as far as like gathering the data on the tornadoes, 1071 01:05:16,240 --> 01:05:20,600 Speaker 4: but it's the woman who has the backstory that we 1072 01:05:20,760 --> 01:05:25,960 Speaker 4: know about, which is giving her a more clearly defined motivation. 1073 01:05:26,840 --> 01:05:30,480 Speaker 4: He is the one with a subplot with his relationship 1074 01:05:30,520 --> 01:05:34,240 Speaker 4: with Melissa, but that kind of peters out and it 1075 01:05:34,320 --> 01:05:39,000 Speaker 4: turns into a romantic subplot with Joe. Another thing is 1076 01:05:39,040 --> 01:05:42,600 Speaker 4: like he was the one to design Dorothy. Joe was 1077 01:05:42,640 --> 01:05:45,160 Speaker 4: the one to actually like build it and see it 1078 01:05:45,160 --> 01:05:48,160 Speaker 4: into fruition. She's the one who's still doing the storm chasing. 1079 01:05:48,240 --> 01:05:51,800 Speaker 4: She has a team of men mostly and we'll talk 1080 01:05:51,800 --> 01:05:54,480 Speaker 4: about Haines, but you know it's well mostly men. 1081 01:05:54,720 --> 01:05:57,080 Speaker 3: Yes, I hear what you're saying, and I do think 1082 01:05:57,120 --> 01:06:00,320 Speaker 3: that there are things that are subversive, and I think 1083 01:06:00,480 --> 01:06:04,040 Speaker 3: ultimately just gender swapped to what a traditional narrative would 1084 01:06:04,080 --> 01:06:07,560 Speaker 3: be and for nineteen ninety six that is impressive, But 1085 01:06:07,600 --> 01:06:10,000 Speaker 3: I still feel like there's a lot of tropes present 1086 01:06:10,040 --> 01:06:12,200 Speaker 3: where it is one thing to say, like, yes, she 1087 01:06:12,440 --> 01:06:14,960 Speaker 3: is in a what I'm assuming I don't know shit 1088 01:06:15,040 --> 01:06:18,320 Speaker 3: about what Tornado science was like in the nineties. I'm 1089 01:06:18,360 --> 01:06:23,080 Speaker 3: assuming that most science was still male dominated in the 1090 01:06:23,200 --> 01:06:25,840 Speaker 3: nine Times, right. Oh, so the fact that she has 1091 01:06:25,880 --> 01:06:30,400 Speaker 3: a majority male team working for her is subversive, But 1092 01:06:30,520 --> 01:06:34,360 Speaker 3: also it just feels swapped. It feels like, you know, 1093 01:06:34,480 --> 01:06:37,320 Speaker 3: there's a world where you could you could flip the 1094 01:06:37,400 --> 01:06:40,760 Speaker 3: characters of Bill and Joe. I'm glad that it's not 1095 01:06:40,960 --> 01:06:41,880 Speaker 3: that way. 1096 01:06:42,000 --> 01:06:44,720 Speaker 4: It does feel swapped, But I would argue that this 1097 01:06:44,800 --> 01:06:48,160 Speaker 4: movie is doing better than a lot of similar blockbuster 1098 01:06:48,280 --> 01:06:52,800 Speaker 4: movies from this era by having a strongly motivated woman 1099 01:06:53,080 --> 01:06:57,800 Speaker 4: in Joe who we know things about, who is helping 1100 01:06:57,840 --> 01:07:02,280 Speaker 4: to drive the narrative in significant ways, because again, similar 1101 01:07:02,360 --> 01:07:05,800 Speaker 4: movies from this time would generally only position the woman 1102 01:07:06,040 --> 01:07:10,360 Speaker 4: as a love interest to the male lead, or maybe 1103 01:07:10,400 --> 01:07:14,160 Speaker 4: the woman would be allowed to tag along, but wouldn't 1104 01:07:14,200 --> 01:07:17,480 Speaker 4: really be allowed to do anything and wouldn't have any 1105 01:07:17,520 --> 01:07:21,280 Speaker 4: expertise in what they are trying to accomplish. And so 1106 01:07:21,760 --> 01:07:25,480 Speaker 4: I think this movie. I think Twister could be considered 1107 01:07:25,560 --> 01:07:31,360 Speaker 4: an example of a stepping stone movie for more meaningful 1108 01:07:31,440 --> 01:07:33,480 Speaker 4: inclusion later on. 1109 01:07:34,040 --> 01:07:36,480 Speaker 3: I agree, I mean, I agree to some extent, but 1110 01:07:37,000 --> 01:07:40,040 Speaker 3: I just feel like the ways that it's subversive still 1111 01:07:40,080 --> 01:07:43,840 Speaker 3: feeling it's leading on a lot of classic crutches, which 1112 01:07:43,880 --> 01:07:45,800 Speaker 3: is like, yeah, the things that we know about her 1113 01:07:45,880 --> 01:07:49,400 Speaker 3: are exclusively in relation to the men in her life, 1114 01:07:49,520 --> 01:07:53,440 Speaker 3: and so this is still not a world where her 1115 01:07:54,520 --> 01:07:59,480 Speaker 3: relationship to women has informed the direction of her life. 1116 01:08:00,040 --> 01:08:04,760 Speaker 3: That her father died in a cyclone, and that that, 1117 01:08:05,280 --> 01:08:08,080 Speaker 3: like her father's death, we are led to believe repeatedly, 1118 01:08:08,200 --> 01:08:11,360 Speaker 3: is what led her to pursue her current thing. That 1119 01:08:11,520 --> 01:08:13,920 Speaker 3: is very normal for a kid to want to pursue 1120 01:08:13,920 --> 01:08:18,880 Speaker 3: something based on a passion or event that happened in 1121 01:08:18,920 --> 01:08:24,080 Speaker 3: their formative life. But again, it's just all related to men. 1122 01:08:24,280 --> 01:08:28,880 Speaker 3: And even though we are given Aunt Meg, who is 1123 01:08:29,120 --> 01:08:32,960 Speaker 3: a you know, obviously a very formative and prominent woman 1124 01:08:33,200 --> 01:08:37,680 Speaker 3: in Joe's life, all wes see Meg talk about is 1125 01:08:38,800 --> 01:08:44,200 Speaker 3: Joe's relationship to Bill, and we see Joe in you know, 1126 01:08:44,479 --> 01:08:48,840 Speaker 3: very like nineties pg. Thirteen or whatever. This ended up 1127 01:08:48,880 --> 01:08:53,920 Speaker 3: being like a very blockbuster like contemplative. My hair is dry, 1128 01:08:53,960 --> 01:08:56,320 Speaker 3: but I'm in the shower scene thinking about, ugh, I 1129 01:08:56,439 --> 01:08:59,040 Speaker 3: love Bill so much. And then she gets out and 1130 01:08:59,080 --> 01:09:01,599 Speaker 3: then her aunt is like, don't you let Bill so much? 1131 01:09:01,640 --> 01:09:04,679 Speaker 3: And She's like, I don't know, And so we're given 1132 01:09:04,760 --> 01:09:08,560 Speaker 3: I think the framework of like, yes, in the abstract 1133 01:09:08,760 --> 01:09:12,519 Speaker 3: like she is. I think like she's. I think it's 1134 01:09:12,560 --> 01:09:15,480 Speaker 3: like a very girl power thing where she is ostensibly 1135 01:09:15,520 --> 01:09:18,360 Speaker 3: in charge, but the things that we learn about her 1136 01:09:18,479 --> 01:09:21,320 Speaker 3: have nothing to do with her power, have nothing to 1137 01:09:21,400 --> 01:09:26,120 Speaker 3: do with her sense of authority. It's very Quippi, and 1138 01:09:26,160 --> 01:09:30,599 Speaker 3: it's all in relation to the men who have driven 1139 01:09:30,680 --> 01:09:35,799 Speaker 3: her story before and like during the actions of this movie. 1140 01:09:35,880 --> 01:09:38,439 Speaker 3: So I just kind of don't buy it. 1141 01:09:39,640 --> 01:09:43,479 Speaker 4: No, I see that it is very like surface level. 1142 01:09:43,800 --> 01:09:46,360 Speaker 4: I mean again, this is like, yeah, it's a blockbuster, 1143 01:09:46,520 --> 01:09:47,200 Speaker 4: that's not. 1144 01:09:47,200 --> 01:09:49,920 Speaker 3: I just don't think this movie is like subverting or 1145 01:09:49,960 --> 01:09:53,400 Speaker 3: informing the future in any way like whatever. 1146 01:09:53,800 --> 01:09:57,559 Speaker 4: No, but I'm just like thinking of other movies from 1147 01:09:57,600 --> 01:10:00,320 Speaker 4: this era that like do such a shittier job. So 1148 01:10:00,360 --> 01:10:02,240 Speaker 4: I guess maybe I'm giving the movie too much credit 1149 01:10:02,240 --> 01:10:05,960 Speaker 4: because I'm comparing it to other like very sexist movies 1150 01:10:06,000 --> 01:10:09,800 Speaker 4: from the mid nineties, not to say that it's doing 1151 01:10:09,840 --> 01:10:13,640 Speaker 4: a great job, but again, I think better compared to 1152 01:10:13,880 --> 01:10:18,679 Speaker 4: so many of the like extremely sexist action blockbusters from 1153 01:10:18,920 --> 01:10:22,679 Speaker 4: this time. I do find it interesting that the movie 1154 01:10:22,720 --> 01:10:27,120 Speaker 4: kind of explores this power struggle between Bill and Joe, 1155 01:10:27,800 --> 01:10:30,400 Speaker 4: where for the most part, again Joe is leading a 1156 01:10:30,400 --> 01:10:34,280 Speaker 4: team of men who we never see like question her 1157 01:10:34,360 --> 01:10:38,080 Speaker 4: judgment or question her authority or try to undermine her 1158 01:10:38,400 --> 01:10:42,120 Speaker 4: the way that men who work under women often do. 1159 01:10:42,640 --> 01:10:45,519 Speaker 4: We don't see that, and I found that refreshing until 1160 01:10:45,600 --> 01:10:47,600 Speaker 4: Bill comes into the mix, and then there's all the 1161 01:10:47,600 --> 01:10:50,519 Speaker 4: ways this like no we need to go over here, No, 1162 01:10:50,640 --> 01:10:52,840 Speaker 4: we need to go over here, No I'll drive, No 1163 01:10:53,080 --> 01:10:54,160 Speaker 4: I'm driving. 1164 01:10:53,960 --> 01:10:56,599 Speaker 3: Which again does feel very like and just because I've 1165 01:10:56,640 --> 01:11:01,720 Speaker 3: seen his Girlfredda recently, Yeah, I kind of liked these sequences, 1166 01:11:01,760 --> 01:11:06,519 Speaker 3: even though they feel out of place in the nineties 1167 01:11:06,600 --> 01:11:10,839 Speaker 3: disaster genre. But they are kind of like weirdly copy 1168 01:11:10,880 --> 01:11:17,280 Speaker 3: pasting these like thirties Quippi like no, yes, no, yes, 1169 01:11:17,479 --> 01:11:20,519 Speaker 3: I don't, you don't, let's kiss no, like that sort 1170 01:11:20,560 --> 01:11:25,679 Speaker 3: of like back and forth Frank Capra era dialogue into 1171 01:11:25,760 --> 01:11:28,960 Speaker 3: the nineties and it doesn't totally work, And I thought 1172 01:11:28,960 --> 01:11:32,479 Speaker 3: it was really weird until I knew what they were 1173 01:11:32,560 --> 01:11:35,080 Speaker 3: trying to do, and it's still really weird. And it 1174 01:11:35,080 --> 01:11:36,920 Speaker 3: feels like that, like, based on what I was reading, 1175 01:11:37,000 --> 01:11:39,280 Speaker 3: felt like it was kind of a director thing where 1176 01:11:39,720 --> 01:11:42,719 Speaker 3: it was written one way and then the director decided 1177 01:11:42,800 --> 01:11:46,040 Speaker 3: on set that it sounded weird and then encouraged the 1178 01:11:46,080 --> 01:11:50,800 Speaker 3: actors to improvise, which probably made it a little weirder. 1179 01:11:51,160 --> 01:11:54,320 Speaker 3: And I don't know. I like a lot of the 1180 01:11:54,400 --> 01:11:57,519 Speaker 3: setups that happened in this movie, Like a love triangle 1181 01:11:57,600 --> 01:12:01,599 Speaker 3: in a jeep driving toward a twister is a great setup. 1182 01:12:01,880 --> 01:12:03,280 Speaker 4: That's a winner, but. 1183 01:12:03,280 --> 01:12:05,599 Speaker 3: The way it plays out not as good. 1184 01:12:06,000 --> 01:12:08,040 Speaker 4: I do imagine that a lot of this, like power 1185 01:12:08,080 --> 01:12:13,920 Speaker 4: struggle between Joe and Bill, is more about their relationship history. Yes, 1186 01:12:13,960 --> 01:12:17,080 Speaker 4: because totally they're married. They were, they are married. They 1187 01:12:17,240 --> 01:12:21,880 Speaker 4: apparently split up but didn't officially divorce. Yet we find 1188 01:12:21,880 --> 01:12:25,080 Speaker 4: out that Bill was the one who walked out. According 1189 01:12:25,120 --> 01:12:29,240 Speaker 4: to him, it was because Joe wasn't a great partner. 1190 01:12:29,280 --> 01:12:31,559 Speaker 4: He says that you know, you have you had no 1191 01:12:31,600 --> 01:12:35,600 Speaker 4: idea what it meant to be married, commitment, stability, supportiveness, 1192 01:12:35,680 --> 01:12:39,280 Speaker 4: a house, all kinds of neat stuff like that hilarious 1193 01:12:39,280 --> 01:12:40,000 Speaker 4: line of dialogue. 1194 01:12:40,080 --> 01:12:43,120 Speaker 3: Yeah, which just feels Yeah, that feels like very like 1195 01:12:43,240 --> 01:12:48,040 Speaker 3: bullet points of like I just googled marriage, right, which 1196 01:12:48,080 --> 01:12:50,400 Speaker 3: is very I don't know. I liked that line too. 1197 01:12:50,400 --> 01:12:52,600 Speaker 4: Yeah, it was funny, but yeah, I don't know. It 1198 01:12:52,640 --> 01:12:56,559 Speaker 4: was just interesting that again, like the reasons for their 1199 01:12:56,800 --> 01:13:02,320 Speaker 4: breakup and the reasons that Bill sites as Joe not 1200 01:13:02,439 --> 01:13:06,640 Speaker 4: being a great partner are often things that are attributed 1201 01:13:06,680 --> 01:13:10,000 Speaker 4: to men when they're not when they're not great partners 1202 01:13:10,000 --> 01:13:13,240 Speaker 4: and relationships. Again, it just feels like maybe another gender 1203 01:13:13,280 --> 01:13:16,360 Speaker 4: swap thing. But the lazier thing would have been to 1204 01:13:16,479 --> 01:13:21,760 Speaker 4: make Bill a very stereotypical tropy man and to make 1205 01:13:21,840 --> 01:13:24,479 Speaker 4: Joe a very agree with that stereotypical tropy woman, and 1206 01:13:24,600 --> 01:13:25,639 Speaker 4: the kind of flip side. 1207 01:13:25,800 --> 01:13:28,800 Speaker 3: So I do agree with that. I like that Joe was, 1208 01:13:29,320 --> 01:13:31,880 Speaker 3: you know, presented as the one who is too sucked 1209 01:13:31,960 --> 01:13:34,320 Speaker 3: up in work to be able to commit fully to 1210 01:13:34,360 --> 01:13:37,599 Speaker 3: the relationship. I don't think it was fully demonstrated what 1211 01:13:37,680 --> 01:13:41,320 Speaker 3: Bill was doing to fully demonstrate, because it is also 1212 01:13:41,400 --> 01:13:43,519 Speaker 3: sort of implied that he was also very consumed with 1213 01:13:43,560 --> 01:13:46,479 Speaker 3: his work. But I feel like the fact that he is, 1214 01:13:47,360 --> 01:13:52,320 Speaker 3: you know, it seems like in this very misguided rebound 1215 01:13:52,360 --> 01:13:55,599 Speaker 3: relationship with someone who who does want to settle down, 1216 01:13:55,600 --> 01:13:57,800 Speaker 3: which it seems like is what Bill wanted and what 1217 01:13:57,920 --> 01:14:01,839 Speaker 3: Joe was unable to really give him in their marriage. 1218 01:14:02,600 --> 01:14:06,479 Speaker 3: Does demonstrate that, like they wanted different things. Again it's 1219 01:14:06,520 --> 01:14:09,080 Speaker 3: blockbuster logic. I don't really know what happens in the 1220 01:14:09,120 --> 01:14:12,720 Speaker 3: course of them almost dying while driving into six twisters 1221 01:14:12,760 --> 01:14:16,599 Speaker 3: in two hours, Like how that demonstrates that Joe is 1222 01:14:16,640 --> 01:14:20,680 Speaker 3: actually now ready for a long term relationship like maybe not, 1223 01:14:21,439 --> 01:14:25,760 Speaker 3: maybe not, but but I mean, yeah, no, I did 1224 01:14:25,800 --> 01:14:30,000 Speaker 3: appreciate that like that in this like fairly common relationship 1225 01:14:30,040 --> 01:14:35,880 Speaker 3: dynamic is swapped in a way that was I think effective. 1226 01:14:36,400 --> 01:14:41,640 Speaker 3: I guess I just didn't understand narratively, like how it 1227 01:14:42,000 --> 01:14:45,000 Speaker 3: was resolved they're the events of the movie. 1228 01:14:45,160 --> 01:14:47,400 Speaker 4: Is the movie's not interested in that. 1229 01:14:48,040 --> 01:14:50,679 Speaker 3: Which is why I honestly found myself getting a little 1230 01:14:50,720 --> 01:14:54,360 Speaker 3: I mean, I think, like Bill is arrogant, but to 1231 01:14:54,400 --> 01:14:59,040 Speaker 3: your point less characterized than Joe. But I found much 1232 01:14:59,080 --> 01:15:02,960 Speaker 3: of what wasarized with Joe to be very frustrating, Like 1233 01:15:04,160 --> 01:15:07,040 Speaker 3: it felt like the way she was characterized was pretty 1234 01:15:07,680 --> 01:15:12,240 Speaker 3: standard for a woman character is like my hero's journey 1235 01:15:12,320 --> 01:15:17,800 Speaker 3: is begun by something something my father and is continued 1236 01:15:17,840 --> 01:15:22,000 Speaker 3: by something something my husband, and like there is this 1237 01:15:22,439 --> 01:15:26,320 Speaker 3: implication of ambition and that we know that that is 1238 01:15:26,320 --> 01:15:28,000 Speaker 3: a lot of what drives her. We know that's a 1239 01:15:28,000 --> 01:15:30,840 Speaker 3: lot of why her marriage failed. But it doesn't seem 1240 01:15:30,880 --> 01:15:33,800 Speaker 3: like she really meaningfully grows throughout the movie. I don't 1241 01:15:33,840 --> 01:15:37,800 Speaker 3: really understand what changes about her. It almost feels like 1242 01:15:37,840 --> 01:15:41,639 Speaker 3: it almost diminishes why they broke up, which it seems 1243 01:15:41,680 --> 01:15:44,679 Speaker 3: like was they wanted different things, and I don't think 1244 01:15:44,680 --> 01:15:46,640 Speaker 3: that changes at the end of the movie. I just 1245 01:15:46,680 --> 01:15:50,320 Speaker 3: think they have whether they've gotten horny from another like 1246 01:15:50,920 --> 01:15:54,559 Speaker 3: half dozen natural disasters. Like, I don't think that anything 1247 01:15:54,600 --> 01:15:58,520 Speaker 3: has changed, which is why I'm team Melissa. 1248 01:16:00,120 --> 01:16:03,840 Speaker 4: Talk about Melissa, although really quickly before we get there. Uh, 1249 01:16:03,960 --> 01:16:07,480 Speaker 4: it's in this scene where Joe and Bill are discussing 1250 01:16:07,520 --> 01:16:11,240 Speaker 4: why their marriage failed, where some very dated views on 1251 01:16:11,320 --> 01:16:13,360 Speaker 4: therapy come up, where. 1252 01:16:13,400 --> 01:16:16,320 Speaker 3: Well, that's Melissa's whole story. It's a whole runner where 1253 01:16:16,320 --> 01:16:20,000 Speaker 3: it's like, yeah, oh my god, if you're in therapy, 1254 01:16:20,160 --> 01:16:25,519 Speaker 3: you're ridiculous, because actually you could be driving into a 1255 01:16:25,560 --> 01:16:28,200 Speaker 3: twister and it's like, well, guess what if any of 1256 01:16:28,200 --> 01:16:31,880 Speaker 3: these motherfuckers had bended therapy? They wouldn't be driving into 1257 01:16:31,920 --> 01:16:36,320 Speaker 3: a twister, so you know, match point. 1258 01:16:36,720 --> 01:16:40,559 Speaker 4: Yeah, but yeah, just in general, the suggestion that someone 1259 01:16:40,720 --> 01:16:44,520 Speaker 4: might need therapy is taken as a grave insult. 1260 01:16:44,760 --> 01:16:44,960 Speaker 3: You know. 1261 01:16:45,040 --> 01:16:47,720 Speaker 4: Bill Packson's character is like, what could I possibly need 1262 01:16:47,840 --> 01:16:51,120 Speaker 4: therapy about? And it's like, sir, everyone needs therapy. That 1263 01:16:51,320 --> 01:16:54,360 Speaker 4: is not an insult, that's just a neutral statement. 1264 01:16:54,520 --> 01:16:57,960 Speaker 3: But I thought that unintentionally, that plot point actually ages 1265 01:16:58,080 --> 01:17:02,360 Speaker 3: very well because you know whatever, like eighteen years later, 1266 01:17:03,120 --> 01:17:07,920 Speaker 3: it's so obvious that everyone on the Twister team needs 1267 01:17:08,040 --> 01:17:11,639 Speaker 3: therapy and they actually look sillier. But yeah, at the time, 1268 01:17:11,680 --> 01:17:14,640 Speaker 3: it's very clear, like it's such a well because this 1269 01:17:14,760 --> 01:17:19,479 Speaker 3: movie is I think, you know, sort of like Control 1270 01:17:19,560 --> 01:17:22,519 Speaker 3: see Control VD, out of well worn tropes in a 1271 01:17:22,560 --> 01:17:26,000 Speaker 3: bunch of different genres ranging a half a century to 1272 01:17:26,040 --> 01:17:28,960 Speaker 3: make this movie work, and that's one of them. And 1273 01:17:29,160 --> 01:17:32,320 Speaker 3: I feel like that is really prominent from the eighties 1274 01:17:32,520 --> 01:17:34,720 Speaker 3: to the two thousands. I think the first time that 1275 01:17:34,760 --> 01:17:37,080 Speaker 3: we talked about it in detail on this show was 1276 01:17:37,160 --> 01:17:41,920 Speaker 3: during Freaky Friday, and also in the Santa Claus Neil 1277 01:17:42,680 --> 01:17:45,920 Speaker 3: is a therapist, Like it's just a very well worn 1278 01:17:45,960 --> 01:17:49,599 Speaker 3: trope and that the person it's weird because I feel 1279 01:17:49,600 --> 01:17:52,240 Speaker 3: like they're sort of made to seem like, you know, 1280 01:17:52,520 --> 01:17:56,000 Speaker 3: rich people and their problems, which has a lot to 1281 01:17:56,040 --> 01:17:59,479 Speaker 3: do with access to mental health care. But I feel 1282 01:17:59,520 --> 01:18:01,800 Speaker 3: like that the problem is like it's made to seem 1283 01:18:01,880 --> 01:18:05,360 Speaker 3: that like therapy is something that is only for rich 1284 01:18:05,400 --> 01:18:09,400 Speaker 3: people because it's fake, not that therapy is something that 1285 01:18:09,520 --> 01:18:12,880 Speaker 3: is accessible to rich people because of how healthcare is 1286 01:18:12,920 --> 01:18:18,120 Speaker 3: structured and almost everyone would benefit from it anyways, that's 1287 01:18:18,120 --> 01:18:21,080 Speaker 3: what's happening here and the vague people. I feel like 1288 01:18:21,120 --> 01:18:26,080 Speaker 3: that's always I want to say. In Freaky Friday, it's 1289 01:18:26,120 --> 01:18:29,320 Speaker 3: like Jamie Lee Curtis's character is calling someone named Jonathan 1290 01:18:29,560 --> 01:18:32,040 Speaker 3: over and over and over who's calling her with the 1291 01:18:32,080 --> 01:18:35,200 Speaker 3: same problem that is made out to be very ridiculous 1292 01:18:35,200 --> 01:18:39,120 Speaker 3: and very absurd. And we see that with a couple 1293 01:18:39,160 --> 01:18:43,000 Speaker 3: of characters in Twister, where Melissa is talking to the 1294 01:18:43,040 --> 01:18:46,040 Speaker 3: same few clients and it's made to seem like they're 1295 01:18:46,160 --> 01:18:49,240 Speaker 3: very weak and very pathetic for seeking out her help, 1296 01:18:49,680 --> 01:18:52,799 Speaker 3: and that Melissa is slowly realizing that there are bigger 1297 01:18:52,880 --> 01:18:58,680 Speaker 3: problems than mental health. Because you could have accidentally assumed 1298 01:18:58,720 --> 01:19:02,120 Speaker 3: that when someone said they drove into twisters for a living, 1299 01:19:02,479 --> 01:19:07,760 Speaker 3: they were speaking metaphorically, which is all so ridiculous. Like 1300 01:19:08,000 --> 01:19:11,120 Speaker 3: I was so I mean, I was very glad that 1301 01:19:11,400 --> 01:19:17,360 Speaker 3: this movie subverted, or at least at best avoided what 1302 01:19:17,520 --> 01:19:20,000 Speaker 3: I thought would happened in a movie in nineteen ninety six, 1303 01:19:20,040 --> 01:19:22,200 Speaker 3: which is that they would just push her off on 1304 01:19:23,000 --> 01:19:26,880 Speaker 3: someone else. And I did think she was being pushed 1305 01:19:26,880 --> 01:19:32,800 Speaker 3: towards Dusty in multiple scenes. Thankfully that doesn't happen. She 1306 01:19:32,960 --> 01:19:36,200 Speaker 3: walks away. It's her idea. I do kind of like 1307 01:19:36,479 --> 01:19:40,040 Speaker 3: it feels abrupt, and I do wish that she had 1308 01:19:40,080 --> 01:19:47,439 Speaker 3: had a more meaningful interaction with Joe. Yeah, but for 1309 01:19:47,600 --> 01:19:51,559 Speaker 3: nineteen ninety six, it was on her terms. I do 1310 01:19:51,640 --> 01:19:54,479 Speaker 3: think she walked directly into a twister and was dead 1311 01:19:54,680 --> 01:19:59,000 Speaker 3: twelve minutes later. But fine, but it is her whole 1312 01:19:59,040 --> 01:20:03,880 Speaker 3: profession is still unequivocally made out to be ridiculous, and 1313 01:20:04,520 --> 01:20:05,679 Speaker 3: that's just like a trope. 1314 01:20:05,840 --> 01:20:10,720 Speaker 4: Yeah, very representative of the you know, extreme stigma surrounding 1315 01:20:10,880 --> 01:20:14,840 Speaker 4: mental health and therapy at the time. So in the 1316 01:20:14,880 --> 01:20:19,720 Speaker 4: movie is just taking the thing and reinforcing it. As 1317 01:20:19,760 --> 01:20:24,519 Speaker 4: far as Melissa's like function in this story, she's there 1318 01:20:24,640 --> 01:20:29,480 Speaker 4: to create this you know, pretty classic love triangle situation. 1319 01:20:30,479 --> 01:20:32,960 Speaker 4: I will say at least she's not characterized as being 1320 01:20:33,080 --> 01:20:36,800 Speaker 4: like mean and awful the way that like Well, to 1321 01:20:37,640 --> 01:20:42,000 Speaker 4: reference another Lindsay Lohan movie, Meredith from The Parent Trap, 1322 01:20:42,720 --> 01:20:45,840 Speaker 4: it's more that she's just like not compatible with Bill. 1323 01:20:45,880 --> 01:20:49,559 Speaker 4: They don't share the same core interests and that's why. 1324 01:20:49,800 --> 01:20:52,479 Speaker 3: And I did really like that she was the one 1325 01:20:52,520 --> 01:20:55,360 Speaker 3: to say and I'm not even really sad about it. Yeah, 1326 01:20:55,360 --> 01:20:58,400 Speaker 3: Like I feel like it is implied that and again, 1327 01:20:58,840 --> 01:21:02,559 Speaker 3: it would have been helpful if we knew because with Bill, well, 1328 01:21:02,680 --> 01:21:05,519 Speaker 3: I agree, it is unusual that we know the most 1329 01:21:05,560 --> 01:21:09,320 Speaker 3: about Joe of anyone in this movie. We at least 1330 01:21:09,400 --> 01:21:12,400 Speaker 3: know with Bill that it sort of seems like he 1331 01:21:12,600 --> 01:21:17,600 Speaker 3: wanted to be in a stable, more traditional marriage and 1332 01:21:17,680 --> 01:21:21,560 Speaker 3: career and that is why he ended up with Melissa. 1333 01:21:22,040 --> 01:21:25,800 Speaker 3: We don't know why Melissa ended up with Bill. We're 1334 01:21:25,840 --> 01:21:28,240 Speaker 3: not even totally sure why she's from and why she 1335 01:21:28,360 --> 01:21:32,000 Speaker 3: doesn't seem to know what a twister is. But I 1336 01:21:32,080 --> 01:21:34,840 Speaker 3: do like that, at the end of the day, that 1337 01:21:34,960 --> 01:21:38,680 Speaker 3: she is the one to state the problem, say that, 1338 01:21:38,760 --> 01:21:43,280 Speaker 3: like they have very likely been incompatible the whole time. 1339 01:21:44,400 --> 01:21:49,519 Speaker 3: I do think it's annoying that she says the thing 1340 01:21:49,600 --> 01:21:53,360 Speaker 3: I was predicting with my brother that she would say, 1341 01:21:53,360 --> 01:21:57,200 Speaker 3: which is that clearly she needs you and is not 1342 01:21:57,360 --> 01:22:01,400 Speaker 3: allowed because the thing is we love trying. There is 1343 01:22:01,439 --> 01:22:05,599 Speaker 3: this implied graciousness to the third party that I would 1344 01:22:05,640 --> 01:22:10,480 Speaker 3: love to see subverted. But Melissa is a class act. 1345 01:22:10,760 --> 01:22:13,280 Speaker 4: She's about she's two accommodating. 1346 01:22:13,320 --> 01:22:16,719 Speaker 3: Maybe I just would love to see more people who 1347 01:22:16,920 --> 01:22:22,000 Speaker 3: okay in future love triangle movies. And it has happened, 1348 01:22:22,000 --> 01:22:24,160 Speaker 3: but I would like to see it more that the 1349 01:22:24,200 --> 01:22:27,160 Speaker 3: third party who ends up with no one in the 1350 01:22:27,240 --> 01:22:31,800 Speaker 3: love triangle is pissed off about it, even if the 1351 01:22:31,840 --> 01:22:34,760 Speaker 3: other two people belong together. They're like, yeah, well, what 1352 01:22:34,840 --> 01:22:38,559 Speaker 3: the fuck? This feels horrible? Yeah, kind of like James 1353 01:22:38,600 --> 01:22:42,360 Speaker 3: Marsden in The Notebook, you know, like, well, what the fuck. 1354 01:22:42,520 --> 01:22:46,240 Speaker 3: I'm a nice person. I deserve love, I imagine, and 1355 01:22:46,320 --> 01:22:49,439 Speaker 3: look at my life. I mean, I imagine. 1356 01:22:49,439 --> 01:22:52,080 Speaker 4: It's a case by case basis thing where yeah, sometimes 1357 01:22:52,080 --> 01:22:54,759 Speaker 4: it makes sense for the person to be like really 1358 01:22:54,840 --> 01:22:56,879 Speaker 4: hurt and upset. 1359 01:22:57,360 --> 01:22:59,680 Speaker 3: And I'll tell you what though, Like there's so few 1360 01:22:59,680 --> 01:23:02,160 Speaker 3: people that are like, you know what, it makes sense. 1361 01:23:02,200 --> 01:23:05,360 Speaker 3: You're totally right for each other. And I realize this, 1362 01:23:05,560 --> 01:23:07,840 Speaker 3: and I don't need help getting out of the. 1363 01:23:07,840 --> 01:23:12,280 Speaker 4: Twister, especially because he takes their truck, So how is 1364 01:23:12,360 --> 01:23:13,920 Speaker 4: she even gonna drive away anywhere? 1365 01:23:13,920 --> 01:23:16,800 Speaker 3: Else? She dies, Caitlin, I hate to break it to you, 1366 01:23:17,280 --> 01:23:19,800 Speaker 3: but she does not make it out of the two 1367 01:23:20,040 --> 01:23:24,320 Speaker 3: subsequent twisters that happen after her characters exit. Where does 1368 01:23:24,360 --> 01:23:24,800 Speaker 3: she go? 1369 01:23:24,960 --> 01:23:27,040 Speaker 4: Where does she go? Well, here's the thing I think of. 1370 01:23:27,160 --> 01:23:31,800 Speaker 4: A sexist choice would have made Melissa, you know, once 1371 01:23:31,880 --> 01:23:35,519 Speaker 4: she realizes that Bill and Joe are destined to be together. 1372 01:23:36,520 --> 01:23:37,200 Speaker 3: A lot of. 1373 01:23:37,320 --> 01:23:40,360 Speaker 4: Especially you know, writers who are men, would have made 1374 01:23:41,000 --> 01:23:44,519 Speaker 4: Melissa be really cruel to Joe and be like really 1375 01:23:44,560 --> 01:23:48,000 Speaker 4: possessive over Bill or something like that, which could at 1376 01:23:48,040 --> 01:23:50,840 Speaker 4: least have the potential to feel very like, oh, women 1377 01:23:50,920 --> 01:23:53,040 Speaker 4: in conflict with each other in a way that like 1378 01:23:53,320 --> 01:23:56,679 Speaker 4: men don't understand because women are petty and their caddy. 1379 01:23:56,960 --> 01:23:57,840 Speaker 4: So at least that didn't. 1380 01:23:58,000 --> 01:24:00,920 Speaker 3: Did you not feel that the converse we had between 1381 01:24:00,960 --> 01:24:05,480 Speaker 3: them was like inherently that I mean, yeah. 1382 01:24:05,240 --> 01:24:08,000 Speaker 4: You mean in the diner or whatever, when she's when 1383 01:24:08,040 --> 01:24:10,600 Speaker 4: Melissa's like, you're still in love with Bill, aren't you? 1384 01:24:11,760 --> 01:24:13,920 Speaker 3: A little? Yeah, it felt like a little bit of 1385 01:24:14,160 --> 01:24:16,720 Speaker 3: like a little bit of that conversation was in that 1386 01:24:16,760 --> 01:24:21,240 Speaker 3: conversation doesn't accept in passing pleasantries past the Bechdels desk 1387 01:24:21,240 --> 01:24:23,800 Speaker 3: because they're talking about Bill the whole time, which is 1388 01:24:23,880 --> 01:24:27,479 Speaker 3: what they have in common. But like that conversation to 1389 01:24:27,560 --> 01:24:30,240 Speaker 3: be did feel a little bit like both of them 1390 01:24:30,280 --> 01:24:34,240 Speaker 3: were very uncomfortable, which makes sense. I don't know, maybe 1391 01:24:34,280 --> 01:24:35,960 Speaker 3: I'm overthinking it, but like I. 1392 01:24:35,880 --> 01:24:38,200 Speaker 4: Think it could have been worse. I guess I was 1393 01:24:38,240 --> 01:24:40,360 Speaker 4: just like primed for worse in the nineties. 1394 01:24:40,680 --> 01:24:43,599 Speaker 3: Yeah, but I just like it's in a world where 1395 01:24:43,640 --> 01:24:46,839 Speaker 3: they were given something to bond over and talk about 1396 01:24:46,920 --> 01:24:49,599 Speaker 3: that wasn't the mutual guy they'd fucked. 1397 01:24:51,280 --> 01:24:54,960 Speaker 4: Fair. Another thing that kind of rubbed me the wrong 1398 01:24:54,960 --> 01:24:59,760 Speaker 4: way about Melissa's character is that she becomes this sort 1399 01:24:59,760 --> 01:25:02,720 Speaker 4: of like audience insert character in the sense that like, 1400 01:25:02,920 --> 01:25:05,880 Speaker 4: she's the only one who doesn't know anything about tornadoes, 1401 01:25:06,320 --> 01:25:09,519 Speaker 4: and the movie assumes that the average viewer won't know 1402 01:25:09,800 --> 01:25:12,760 Speaker 4: much about tornadoes, and the movie needs a way to 1403 01:25:12,960 --> 01:25:16,600 Speaker 4: deliver exposition so that the audience can understand what's going on. 1404 01:25:17,320 --> 01:25:20,080 Speaker 4: So you see a lot of other people, mostly men, 1405 01:25:20,600 --> 01:25:24,240 Speaker 4: explaining stuff to Melissa, And I'm always wary of a 1406 01:25:24,320 --> 01:25:27,920 Speaker 4: story that requires a bunch of men explaining stuff to 1407 01:25:28,880 --> 01:25:32,639 Speaker 4: a woman. Now, granted we see Joe explain things here 1408 01:25:32,680 --> 01:25:36,000 Speaker 4: and there to Melissa as well, but it just it 1409 01:25:36,000 --> 01:25:39,200 Speaker 4: still pings for me when like, yeah, the character who 1410 01:25:39,200 --> 01:25:42,280 Speaker 4: needs to have a bunch of exposition dumped on them 1411 01:25:42,880 --> 01:25:46,479 Speaker 4: to be like one of the few women in the movie. 1412 01:25:46,680 --> 01:25:49,240 Speaker 3: I agree, And I also think that's like part of 1413 01:25:49,280 --> 01:25:52,160 Speaker 3: why I get even more defensive of Melissa's character, because 1414 01:25:52,200 --> 01:25:56,880 Speaker 3: she is ultimately the audience insert because most of the 1415 01:25:56,960 --> 01:26:00,719 Speaker 3: science in this movie, based on my research, is made up, 1416 01:26:01,400 --> 01:26:05,000 Speaker 3: and so you do need someone to explain. 1417 01:26:04,800 --> 01:26:06,439 Speaker 4: Made sciences to you. 1418 01:26:07,200 --> 01:26:10,599 Speaker 3: Yeah, but it's made that she's very naive and is like, way, 1419 01:26:11,000 --> 01:26:13,240 Speaker 3: what is this? But it's like, yeah, this is made up, 1420 01:26:13,360 --> 01:26:17,160 Speaker 3: but yeah, but it is like recontextualized as a woman 1421 01:26:17,200 --> 01:26:21,000 Speaker 3: who needs something to explain to her, mainly by other men. 1422 01:26:21,280 --> 01:26:24,960 Speaker 4: Well, something else I noticed is that the two characters 1423 01:26:25,040 --> 01:26:28,840 Speaker 4: in the movie who speak with accents from the American South, 1424 01:26:29,400 --> 01:26:34,040 Speaker 4: Melissa and Jonas, are the characters who were not rooting 1425 01:26:34,160 --> 01:26:38,000 Speaker 4: for Obviously, like Jonas is the villain, Melissa is positioned 1426 01:26:38,000 --> 01:26:42,120 Speaker 4: as someone who ignorant, is like an obstacle ignorant and yeah, 1427 01:26:42,120 --> 01:26:46,120 Speaker 4: like an obstacle for Bill and Joe and ignorant. I mean, 1428 01:26:47,120 --> 01:26:49,439 Speaker 4: what I'll say is that at least the movie doesn't 1429 01:26:49,840 --> 01:26:53,799 Speaker 4: depict them the way a lot of media depicts people 1430 01:26:53,880 --> 01:26:59,120 Speaker 4: with Southern accents as being like unintelligent and inarticulate and 1431 01:26:59,200 --> 01:27:01,680 Speaker 4: like backwards and all that kind of stuff. Both of 1432 01:27:01,680 --> 01:27:05,040 Speaker 4: these characters are highly educated. One of them is a doctor, 1433 01:27:05,080 --> 01:27:06,200 Speaker 4: one of them is a scientist. 1434 01:27:06,240 --> 01:27:08,280 Speaker 3: But they are and I would say that they're still 1435 01:27:08,360 --> 01:27:09,320 Speaker 3: both ignorant. 1436 01:27:09,600 --> 01:27:11,880 Speaker 4: Well, that's what I'm saying, Like, the two characters with 1437 01:27:12,000 --> 01:27:15,080 Speaker 4: Southern accents are the ones who are like positioned as 1438 01:27:15,240 --> 01:27:18,920 Speaker 4: obstacles and who are positioned as like not having either 1439 01:27:19,000 --> 01:27:23,120 Speaker 4: the same like intuition about tornadoes or just being completely 1440 01:27:23,160 --> 01:27:25,240 Speaker 4: ignorant of them. So I feel like there's still like 1441 01:27:25,880 --> 01:27:30,360 Speaker 4: a demonization of the American South in that regard. 1442 01:27:30,240 --> 01:27:33,240 Speaker 3: Which, again, like if that is the case, it makes 1443 01:27:33,280 --> 01:27:36,599 Speaker 3: no sense because they all appear to be from the 1444 01:27:36,640 --> 01:27:37,960 Speaker 3: same area that. 1445 01:27:38,320 --> 01:27:40,519 Speaker 4: I mean, we have no idea, I guess, yeah. 1446 01:27:40,560 --> 01:27:44,080 Speaker 3: But but even that is like speaks to a lack 1447 01:27:44,120 --> 01:27:45,559 Speaker 3: of characterization. Right. 1448 01:27:45,600 --> 01:27:48,599 Speaker 4: The only character we know where they're from is Joe 1449 01:27:48,640 --> 01:27:51,320 Speaker 4: because we see her as a kid in Oklahoma. I 1450 01:27:51,320 --> 01:27:53,400 Speaker 4: guess we don't really know where anyone else is from 1451 01:27:53,400 --> 01:27:55,839 Speaker 4: where we can only assume the only. 1452 01:27:55,680 --> 01:28:00,120 Speaker 3: Person we know is because of Daddy trauma and the 1453 01:28:00,160 --> 01:28:02,800 Speaker 3: way of Aunt Meg. Who Aunt Meg is. I feel 1454 01:28:02,800 --> 01:28:06,240 Speaker 3: like kind of a quirky, older woman, kind of stock character, 1455 01:28:06,640 --> 01:28:12,320 Speaker 3: and this stock character exists across gender boundaries, and I 1456 01:28:12,680 --> 01:28:16,560 Speaker 3: appreciate it, releast that she's there to sort of expand 1457 01:28:16,600 --> 01:28:21,960 Speaker 3: the characterization of Joe and that they have a very 1458 01:28:22,000 --> 01:28:26,080 Speaker 3: close bond, and that you know, Meg has a close 1459 01:28:26,160 --> 01:28:30,960 Speaker 3: bond with the entire storm crew. But again, the only 1460 01:28:31,000 --> 01:28:35,760 Speaker 3: thing you see Aunt Meg and Joe talk about is Bill. Yeah. 1461 01:28:36,000 --> 01:28:38,800 Speaker 3: If I got out of this shower and my aunt 1462 01:28:39,000 --> 01:28:42,800 Speaker 3: immediately started talking to me about how the man I 1463 01:28:42,920 --> 01:28:48,640 Speaker 3: recently divorced downstairs should actually still be my husband, and 1464 01:28:48,720 --> 01:28:51,439 Speaker 3: I don't care that his fiance is down there like 1465 01:28:51,800 --> 01:28:54,479 Speaker 3: he's here. You might as well go for it. It's 1466 01:28:54,720 --> 01:28:58,479 Speaker 3: just a movie, a man road. I know, Anne Marie 1467 01:28:58,560 --> 01:29:01,920 Speaker 3: Martin has her I don't want to like discount the 1468 01:29:01,920 --> 01:29:04,840 Speaker 3: fact that there was a woman co writer, but it 1469 01:29:05,000 --> 01:29:09,800 Speaker 3: just feels very like YadA YadA, patriarchal, Like, Okay, we 1470 01:29:09,920 --> 01:29:13,439 Speaker 3: have to have these characters interact. I don't even feel certain. 1471 01:29:13,600 --> 01:29:15,880 Speaker 3: I don't know like, do we know is Aunt Meg 1472 01:29:16,680 --> 01:29:18,960 Speaker 3: her father's sibling. 1473 01:29:19,520 --> 01:29:21,719 Speaker 4: Yeah, we don't know. If it's her brother who died 1474 01:29:21,760 --> 01:29:24,840 Speaker 4: in the tornado, We don't know, if it's her brother 1475 01:29:24,880 --> 01:29:27,200 Speaker 4: in law. We don't know if it's just like Aunt 1476 01:29:27,240 --> 01:29:31,200 Speaker 4: Meg used colloquially but like not a blood relative. Yeah, 1477 01:29:31,240 --> 01:29:31,960 Speaker 4: we don't know. 1478 01:29:32,520 --> 01:29:35,479 Speaker 3: Yeah, so, like the movie is badly written, is my point. 1479 01:29:36,000 --> 01:29:39,719 Speaker 4: Also, Aunt Meg is more excited to see Bill than 1480 01:29:39,800 --> 01:29:43,519 Speaker 4: she is her own niece, than she is deceived Joe. 1481 01:29:44,360 --> 01:29:50,720 Speaker 3: She's more more happish, She's more like Dusty King, like 1482 01:29:51,280 --> 01:29:54,320 Speaker 3: you know, and not to say that, like your relatives 1483 01:29:54,360 --> 01:29:58,000 Speaker 3: cannot perform more excitement to see others than you like 1484 01:29:58,320 --> 01:30:02,920 Speaker 3: been there, But regardless, like it just feels all very 1485 01:30:03,080 --> 01:30:06,400 Speaker 3: like half cooked, and it just feels like Aunt Meg 1486 01:30:06,560 --> 01:30:09,200 Speaker 3: is put there because at the end of the second act, 1487 01:30:09,520 --> 01:30:12,799 Speaker 3: we have to pull Aunt Meg and her Golden retriever 1488 01:30:13,080 --> 01:30:16,559 Speaker 3: out of the rubble because YadA, YadA, YadA, and it 1489 01:30:16,720 --> 01:30:19,479 Speaker 3: ultimately serves to make Bill Paxton look like a hero 1490 01:30:19,760 --> 01:30:24,640 Speaker 3: because he saves her and the dog with Joe, but 1491 01:30:24,960 --> 01:30:28,200 Speaker 3: at the end he goes back twice and it's you know, 1492 01:30:29,080 --> 01:30:34,240 Speaker 3: I just think that like even the most consequential relationship 1493 01:30:34,280 --> 01:30:36,680 Speaker 3: between women in this movie, which I do think is 1494 01:30:36,720 --> 01:30:41,479 Speaker 3: between Joe and her aunt, is still almost exclusively in 1495 01:30:41,800 --> 01:30:47,360 Speaker 3: reference to men. So so whoops. 1496 01:30:47,600 --> 01:30:51,120 Speaker 4: The last thing I want to talk about is the 1497 01:30:51,680 --> 01:30:56,439 Speaker 4: one other woman on the storm Chaser's team, Missus hat 1498 01:30:56,640 --> 01:31:01,200 Speaker 4: missus Hat aka Haynes. Once again, the actor played Haines 1499 01:31:01,400 --> 01:31:05,240 Speaker 4: is named Wendell Josepher. There's not much to say because 1500 01:31:05,600 --> 01:31:09,880 Speaker 4: you barely see her on screen, You barely see her 1501 01:31:09,960 --> 01:31:14,520 Speaker 4: and Joe interacting. You would think there would be some camaraderie. 1502 01:31:13,680 --> 01:31:16,800 Speaker 3: I would guess, and I hope. I wonder if this 1503 01:31:16,880 --> 01:31:21,040 Speaker 3: is true that all of the science side characters outside 1504 01:31:21,080 --> 01:31:24,920 Speaker 3: of Dusty were written to be gender neutral, and yet 1505 01:31:25,080 --> 01:31:26,120 Speaker 3: only one. 1506 01:31:26,560 --> 01:31:31,599 Speaker 4: Woman was cast. Yeah, that is very frustrating. Maybe someone 1507 01:31:31,640 --> 01:31:36,679 Speaker 4: would argue, well, realistically, the people who were doing Tornado 1508 01:31:36,800 --> 01:31:39,320 Speaker 4: science back then were predominantly men. 1509 01:31:39,520 --> 01:31:41,639 Speaker 3: Yeah, well, guess what, bitch is the movie. 1510 01:31:41,840 --> 01:31:43,479 Speaker 4: It's a movie, and you can do whatever the fuck 1511 01:31:43,520 --> 01:31:46,120 Speaker 4: you want. Yeah, and again, the most frustrating thing to 1512 01:31:46,120 --> 01:31:49,800 Speaker 4: me is that, like, you rarely see Haines and Joe 1513 01:31:50,400 --> 01:31:54,280 Speaker 4: interacting in a situation like that, where like, because I mean, 1514 01:31:54,520 --> 01:31:58,559 Speaker 4: we've been there in the comedy sphere where like We're 1515 01:31:59,360 --> 01:32:03,639 Speaker 4: two women on a show that has like eight other 1516 01:32:03,880 --> 01:32:09,160 Speaker 4: men on the lineup, and you like develop camaraderie with 1517 01:32:10,479 --> 01:32:12,880 Speaker 4: the other people who are like you, and you would 1518 01:32:12,880 --> 01:32:16,799 Speaker 4: think there would be more camaraderie between Joe and Haines. 1519 01:32:16,840 --> 01:32:19,920 Speaker 4: But again, you never see them interacting because the movie 1520 01:32:19,960 --> 01:32:24,960 Speaker 4: doesn't actually care anything about Haines. So Bods, that's frustrating. 1521 01:32:25,200 --> 01:32:28,519 Speaker 4: Oh whips, Do you have anything else you'd like to discuss? 1522 01:32:29,280 --> 01:32:34,200 Speaker 3: No, this movie, I think vague like passes the Veccal 1523 01:32:34,320 --> 01:32:36,679 Speaker 3: test in the way that maybe we should have defined 1524 01:32:36,680 --> 01:32:38,639 Speaker 3: it at the begin name, because I feel like this 1525 01:32:38,680 --> 01:32:41,680 Speaker 3: movie does pass the Bechtel test, but in ways that 1526 01:32:41,720 --> 01:32:47,120 Speaker 3: we generally find to be unsatisfactory. It's pleasant trees, it's hello's, 1527 01:32:47,400 --> 01:32:50,320 Speaker 3: it's quipi asides. I think it does technically pass the 1528 01:32:50,360 --> 01:32:54,640 Speaker 3: Bechtel test, but in terms of like meaningful interactions, I 1529 01:32:54,680 --> 01:32:56,040 Speaker 3: would say, no, it doesn't. 1530 01:32:56,520 --> 01:32:58,759 Speaker 4: I think. Yeah. The closest thing would be a line 1531 01:32:58,840 --> 01:33:02,240 Speaker 4: where Joe says to Melissa, if you have to pee, 1532 01:33:02,600 --> 01:33:06,000 Speaker 4: do it now, because there's nowhere to stop along the 1533 01:33:06,000 --> 01:33:09,320 Speaker 4: way on our path of tornado chasing. 1534 01:33:09,200 --> 01:33:12,320 Speaker 3: Which is useful information but could be cut from the movie. 1535 01:33:12,640 --> 01:33:13,639 Speaker 4: Could be cut Yeah. 1536 01:33:13,720 --> 01:33:15,639 Speaker 3: That's the thing is like, I feel like there's very 1537 01:33:16,040 --> 01:33:18,960 Speaker 3: at this point because, as we talk about all the time, 1538 01:33:19,200 --> 01:33:22,800 Speaker 3: the Bechtel test is a general metric just to get 1539 01:33:22,800 --> 01:33:27,480 Speaker 3: a feel for are people of a martialized gender interacting 1540 01:33:27,600 --> 01:33:31,280 Speaker 3: in meaningful ways in this movie? And I do feel like, well, 1541 01:33:31,400 --> 01:33:35,240 Speaker 3: there are subversive elements to the movie. The answer to 1542 01:33:35,280 --> 01:33:39,240 Speaker 3: that question is no, No, that women are not interacting 1543 01:33:39,400 --> 01:33:43,400 Speaker 3: in subversive ways. They're only interacting in relation to men, 1544 01:33:43,560 --> 01:33:46,640 Speaker 3: even though there are ample opportunities for that to not 1545 01:33:46,720 --> 01:33:48,519 Speaker 3: be made the case. And so it feels to me 1546 01:33:48,600 --> 01:33:52,720 Speaker 3: like a classic nineties version. I mean, I know I 1547 01:33:52,720 --> 01:33:54,760 Speaker 3: say nineties, I mean I know that it happens in 1548 01:33:54,800 --> 01:33:59,120 Speaker 3: every generation where every generation feels like feminism we actually 1549 01:33:59,120 --> 01:34:03,280 Speaker 3: got it right, and no one has, including our generation, right. 1550 01:34:03,479 --> 01:34:07,120 Speaker 3: But like this feels like a very third wave nineties 1551 01:34:07,200 --> 01:34:09,559 Speaker 3: version of like, yeah, we get it, and it's like, no, 1552 01:34:09,680 --> 01:34:12,839 Speaker 3: you don't, because you were still talking about Bill Paxton 1553 01:34:12,960 --> 01:34:17,200 Speaker 3: the whole time, and so for me, it doesn't pass. 1554 01:34:17,439 --> 01:34:19,760 Speaker 4: There also would have been a great opportunity because there 1555 01:34:19,800 --> 01:34:23,519 Speaker 4: is a scene early on where Haines tells Joe about 1556 01:34:23,600 --> 01:34:26,759 Speaker 4: I think it's the first tornado that arises in the movie, 1557 01:34:27,200 --> 01:34:31,120 Speaker 4: but Joe does not respond at least to Haines. She 1558 01:34:31,240 --> 01:34:33,640 Speaker 4: like then addresses the whole group and it doesn't. 1559 01:34:33,439 --> 01:34:36,320 Speaker 3: Yeah, she just like turns to the boys. 1560 01:34:36,520 --> 01:34:38,880 Speaker 4: It could have been so easy for Joe to be like, wow, 1561 01:34:39,240 --> 01:34:43,719 Speaker 4: thanks Haines, now we know your name, and what else 1562 01:34:43,960 --> 01:34:45,719 Speaker 4: do you have to say about this? And there could 1563 01:34:45,720 --> 01:34:48,320 Speaker 4: have been a couple back and forths that would have passed. 1564 01:34:48,320 --> 01:34:51,120 Speaker 4: But the movie didn't do it. So yeah, spiritually I 1565 01:34:51,120 --> 01:34:54,080 Speaker 4: would say no, the movie does not pass the Bechdel test. 1566 01:34:54,200 --> 01:34:57,519 Speaker 4: But our nipple scale, where we rate the movie on 1567 01:34:57,600 --> 01:35:01,040 Speaker 4: a scale of zero to five nipples ba on examining 1568 01:35:01,160 --> 01:35:05,920 Speaker 4: the movie through an intersectional feminist lens, I mean, as 1569 01:35:06,000 --> 01:35:08,960 Speaker 4: much of a rump and a fun time I think 1570 01:35:09,000 --> 01:35:12,479 Speaker 4: it is, I still will only give it. I'll give 1571 01:35:12,479 --> 01:35:15,000 Speaker 4: it like one and a half maybe two. I'm feeling 1572 01:35:15,040 --> 01:35:19,320 Speaker 4: a little generous just because I think it does some 1573 01:35:19,760 --> 01:35:26,000 Speaker 4: interesting things. Compared to similar blockbuster movies of this same era. 1574 01:35:26,320 --> 01:35:30,400 Speaker 4: Most other movies from this time and that were of 1575 01:35:30,439 --> 01:35:35,759 Speaker 4: the same ilk did way worse. They were so deeply 1576 01:35:36,040 --> 01:35:41,679 Speaker 4: sexist and like outwardly hateful toward women, Whereas this is like, well, 1577 01:35:41,680 --> 01:35:44,040 Speaker 4: what if a woman was in charge, and what if 1578 01:35:44,080 --> 01:35:46,840 Speaker 4: we knew more about her than any of the other 1579 01:35:47,479 --> 01:35:49,800 Speaker 4: characters who were men, and you know, a few things 1580 01:35:49,800 --> 01:35:52,960 Speaker 4: like that, and I think that there's something to be 1581 01:35:52,960 --> 01:35:53,439 Speaker 4: said for that. 1582 01:35:53,760 --> 01:35:54,280 Speaker 3: Not a lot. 1583 01:35:54,400 --> 01:35:57,360 Speaker 4: Again, it's not doing the best job ever, but by 1584 01:35:57,479 --> 01:36:03,519 Speaker 4: nineties standards, I was vaguely impressed. It's a very, very 1585 01:36:03,600 --> 01:36:09,840 Speaker 4: white cast, no diversity whatsoever. The treatment of therapy and 1586 01:36:09,880 --> 01:36:14,120 Speaker 4: mental health is dated and is presented in such a 1587 01:36:14,120 --> 01:36:19,120 Speaker 4: way that perpetuates the stigma of mental health and therapy. 1588 01:36:19,920 --> 01:36:22,200 Speaker 4: So there's not great things in it. But I don't know. 1589 01:36:22,760 --> 01:36:26,240 Speaker 4: I like Joe's a character. She makes jokes, she makes quips. 1590 01:36:26,360 --> 01:36:29,920 Speaker 4: She says, I'm gonna head southwest to the counter. Oh, 1591 01:36:29,960 --> 01:36:32,759 Speaker 4: how was the tornado? It was, Wendy. These are funny 1592 01:36:32,760 --> 01:36:34,960 Speaker 4: lines that I laughed at, and so I like her. 1593 01:36:35,240 --> 01:36:38,800 Speaker 4: And I'll give the movie two nipples, and I'll give 1594 01:36:38,920 --> 01:36:43,760 Speaker 4: one to Toby the dog, which is Joe's childhood dog, 1595 01:36:43,840 --> 01:36:46,519 Speaker 4: and I'll give the other to Mose the dog and 1596 01:36:46,680 --> 01:36:48,559 Speaker 4: Meg's dog. The end. 1597 01:36:49,160 --> 01:36:51,679 Speaker 3: Yeah, I'm gonna think this movie one and a half 1598 01:36:51,920 --> 01:36:55,960 Speaker 3: because I do think that it is like vaguely subverting stuff, 1599 01:36:56,640 --> 01:36:59,400 Speaker 3: but in a way that is very unsatisfactory. I feel 1600 01:36:59,400 --> 01:37:01,880 Speaker 3: like the success of this movie mainly is that, like 1601 01:37:01,920 --> 01:37:04,479 Speaker 3: you were saying earlier, and I wish yeah, Like I 1602 01:37:04,479 --> 01:37:07,160 Speaker 3: think I was too irritated by other elements of the 1603 01:37:07,200 --> 01:37:10,599 Speaker 3: movie to fully appreciate, but that yes, Joe is the 1604 01:37:10,640 --> 01:37:14,080 Speaker 3: best characterized person in this movie, and that is rare. 1605 01:37:14,800 --> 01:37:17,479 Speaker 3: I still think she's mainly characterized as it pertains to 1606 01:37:18,560 --> 01:37:21,679 Speaker 3: the first man she met and the man she married, 1607 01:37:21,920 --> 01:37:27,360 Speaker 3: which is very reductive and to me, reeks of a 1608 01:37:27,479 --> 01:37:31,120 Speaker 3: story that is written and shaped by primarily men. I 1609 01:37:31,160 --> 01:37:35,400 Speaker 3: also think the way that she is like clothed and generally, 1610 01:37:35,400 --> 01:37:39,200 Speaker 3: I mean, it's not excessively harping on her body, but 1611 01:37:39,280 --> 01:37:42,320 Speaker 3: if you look at the way that her team is 1612 01:37:42,520 --> 01:37:45,480 Speaker 3: clothed versus her, it's obvious. 1613 01:37:45,120 --> 01:37:46,280 Speaker 4: That she's showing more skin. 1614 01:37:46,720 --> 01:37:49,360 Speaker 3: This movie came out two years after Jurassic Perk, and 1615 01:37:49,439 --> 01:37:52,799 Speaker 3: she is dressed far more scantily than Laura Durd's character. 1616 01:37:53,280 --> 01:37:57,400 Speaker 3: Like it just feels a little more and which sucks 1617 01:37:57,439 --> 01:37:59,640 Speaker 3: because I think Helen Hunt does a great job in 1618 01:37:59,680 --> 01:38:02,400 Speaker 3: this week. I think she's really talented, and I think 1619 01:38:02,439 --> 01:38:06,200 Speaker 3: that the physical endurance, which we didn't really get to, 1620 01:38:06,320 --> 01:38:09,880 Speaker 3: but the fact that like Helen Hunt and the entire 1621 01:38:09,920 --> 01:38:12,559 Speaker 3: cast of this movie were obviously put through because so 1622 01:38:12,640 --> 01:38:15,559 Speaker 3: much of the movie were practical effects, which again I love, 1623 01:38:16,200 --> 01:38:20,240 Speaker 3: but that you know, Yon Debant was kind of a tyrant, 1624 01:38:20,880 --> 01:38:23,080 Speaker 3: a bit of a James Cameron, which makes sense as 1625 01:38:23,120 --> 01:38:25,200 Speaker 3: he was considered as a director for this movie, but 1626 01:38:25,280 --> 01:38:29,240 Speaker 3: he was busy with Titanic. But everyone was put through 1627 01:38:29,280 --> 01:38:32,080 Speaker 3: the physical ringer. But the only person who was called 1628 01:38:32,080 --> 01:38:36,160 Speaker 3: out as being a little clumsy was Helen Hunt. Yes, 1629 01:38:36,200 --> 01:38:39,160 Speaker 3: and Helen Hunt stood up for herself in retrospect when 1630 01:38:39,200 --> 01:38:42,280 Speaker 3: she knew of that quote. And it's just like it's 1631 01:38:42,760 --> 01:38:46,800 Speaker 3: even being a better characterized movie in a blockbuster as 1632 01:38:46,840 --> 01:38:50,720 Speaker 3: a woman is still entrenched in this theory of the 1633 01:38:50,760 --> 01:38:53,880 Speaker 3: time sexism. I am very in a lot of it 1634 01:38:53,880 --> 01:38:57,679 Speaker 3: is because I have no nostalgic attachment to this movie, 1635 01:38:57,840 --> 01:39:01,360 Speaker 3: but like watching it, I just don't feel a lot 1636 01:39:01,360 --> 01:39:07,320 Speaker 3: of reasons to excuse that. And I think Helen Hunt 1637 01:39:07,400 --> 01:39:11,360 Speaker 3: and Jamie Gertz give great performances. I think their characters 1638 01:39:11,360 --> 01:39:15,040 Speaker 3: are really good, and I feel like they're underserved and 1639 01:39:15,120 --> 01:39:21,479 Speaker 3: ultimately two greats of twentieth century cinema into twenty first 1640 01:39:21,520 --> 01:39:25,920 Speaker 3: century cinema because obviously I mean Phillip Seymour. Hoffman's later 1641 01:39:26,000 --> 01:39:31,200 Speaker 3: performances are incredible. I would also shout out Bill Paxton's 1642 01:39:31,280 --> 01:39:35,760 Speaker 3: performance in night Crawler, one of my favorite movies, is 1643 01:39:35,800 --> 01:39:38,840 Speaker 3: a great later performance from him. Unfortunately they're no longer 1644 01:39:38,880 --> 01:39:41,519 Speaker 3: with us. It's a great way to end, obviously, and 1645 01:39:42,000 --> 01:39:47,280 Speaker 3: Alan ruck in the entirety of succession, like you have 1646 01:39:47,400 --> 01:39:51,720 Speaker 3: a lot of great actors here. But ultimately, yeah, I 1647 01:39:51,840 --> 01:39:55,599 Speaker 3: understand why this movie was kind of forgotten in spite 1648 01:39:55,600 --> 01:39:58,599 Speaker 3: of making half a billion dollars in nineteen ninety six money. 1649 01:39:58,680 --> 01:40:02,080 Speaker 3: And that's saying something. It does just feel like the 1650 01:40:02,120 --> 01:40:06,559 Speaker 3: best elements of better movie is put into a movie 1651 01:40:06,640 --> 01:40:08,599 Speaker 3: that is pretty good. 1652 01:40:08,880 --> 01:40:12,880 Speaker 4: And I guess we'll find out what Twisters is all about. 1653 01:40:13,240 --> 01:40:15,559 Speaker 3: So you have a feeling. I have a feeling. 1654 01:40:15,840 --> 01:40:17,679 Speaker 4: Is it gonna be about Twisters? Do you think? 1655 01:40:17,920 --> 01:40:22,920 Speaker 3: Yeah? And I don't think that anyone cares, so yeah, 1656 01:40:22,960 --> 01:40:24,760 Speaker 3: I'll give it one and a half nipples. I'll give 1657 01:40:24,800 --> 01:40:27,320 Speaker 3: one to Helen Hunt and I'll give half to Jamie 1658 01:40:27,360 --> 01:40:30,559 Speaker 3: Gertz because I think and the character of Melissa, because 1659 01:40:30,680 --> 01:40:33,719 Speaker 3: I think that they were great and that this movie 1660 01:40:33,760 --> 01:40:37,519 Speaker 3: would have been vastly complicated in a good way, because 1661 01:40:37,560 --> 01:40:44,160 Speaker 3: This movie needed more interpersonal conflict versus random twisters between 1662 01:40:45,200 --> 01:40:48,040 Speaker 3: the two women at its center. It would have been 1663 01:40:48,080 --> 01:40:52,640 Speaker 3: amazing if they formed an allyship and forced Bill to 1664 01:40:52,760 --> 01:40:57,880 Speaker 3: reveal information about himself, but no one was thinking this 1665 01:40:58,040 --> 01:41:01,320 Speaker 3: hard about it, and so I just felt a little 1666 01:41:01,960 --> 01:41:07,040 Speaker 3: underwhelmed by the product. One and a half nipples from Jamie. 1667 01:41:07,760 --> 01:41:13,480 Speaker 4: Well, listeners, that's our twister episode. You can follow us 1668 01:41:13,600 --> 01:41:17,519 Speaker 4: at Bechdel Cast on Instagram. You can go to our 1669 01:41:17,520 --> 01:41:23,000 Speaker 4: Patreon aka Matreon, where we have two bonus episodes every 1670 01:41:23,040 --> 01:41:27,760 Speaker 4: month on a brilliant, genius, amazing theme that we cook up, 1671 01:41:28,240 --> 01:41:32,040 Speaker 4: plus access to the back catalog, and that is found 1672 01:41:32,040 --> 01:41:35,040 Speaker 4: at patreon dot com slash Bechdel Cast and it's five 1673 01:41:35,080 --> 01:41:38,240 Speaker 4: dollars a month. Wow. And then we've got our merch 1674 01:41:38,280 --> 01:41:41,519 Speaker 4: store teapublic dot com slash the Bechdel Cast where you 1675 01:41:41,520 --> 01:41:44,200 Speaker 4: can buy a bunch of merch that Jamie designed. 1676 01:41:44,720 --> 01:41:45,240 Speaker 3: So do it. 1677 01:41:47,000 --> 01:41:51,040 Speaker 4: And with that, Jamie, let's get in a truck and 1678 01:41:51,479 --> 01:42:02,280 Speaker 4: drive away from the twisters toward safety. Bye Bye. The 1679 01:42:02,320 --> 01:42:06,280 Speaker 4: Bechdelcast is a production of iHeartMedia, hosted by Caitlin Drante 1680 01:42:06,400 --> 01:42:09,880 Speaker 4: and Jamie loftis produced by Sophie Lichtermann, edited by Moe 1681 01:42:10,000 --> 01:42:13,240 Speaker 4: La Boord. Our theme song was composed by Mike Kaplan 1682 01:42:13,400 --> 01:42:17,439 Speaker 4: with vocals by Katherine Voskressenski. Our logo in merch is 1683 01:42:17,479 --> 01:42:21,520 Speaker 4: designed by Jamie Loftis and a special thanks to Aristotle Assevedo. 1684 01:42:22,160 --> 01:42:25,639 Speaker 4: For more information about the podcast, please visit linktree Slash 1685 01:42:25,680 --> 01:42:26,320 Speaker 4: Bechdelcast