WEBVTT - Lady Justice, Pt. 2 — Supergirl | The Next Picture Show 0:00:21.244 --> 0:00:24.604 Film Spotting is presented by Regal Unlimited, the all you 0:00:24.645 --> 0:00:27.565 can watch movie subscription past that pays for itself in 0:00:27.685 --> 0:00:31.365 just two visits. See any standard two D movie anytime 0:00:31.725 --> 0:00:34.845 with no blackoutdates or restrictions. Sign up now on the 0:00:34.885 --> 0:00:37.284 Regal app or at the link in our description and 0:00:37.445 --> 0:00:41.604 use code film spot twenty six to receive fifteen percent off. 0:00:43.685 --> 0:00:46.485 It's very difficult to keep the line between the past 0:00:46.525 --> 0:00:47.125 and the press. 0:00:47.205 --> 0:00:51.485 You believe that someone out of the past can enter 0:00:51.644 --> 0:00:54.324 and take possession of a living be We may be 0:00:54.365 --> 0:00:56.685 through with the past, but the past is not through 0:00:56.765 --> 0:01:00.925 with us. 0:01:01.965 --> 0:01:04.005 Welcome back to the next Picture Show A movie the 0:01:04.005 --> 0:01:06.005 Week podcasted to a classic film and the way it 0:01:06.045 --> 0:01:07.645 shaped our thoughts on a recent release. 0:01:07.685 --> 0:01:08.885 I'm Keith Phipps here. 0:01:08.685 --> 0:01:11.605 With Tasha Robinson and Scott Tobias. 0:01:11.365 --> 0:01:13.765 Our radio co host Genevieukoski. We're sorry. 0:01:13.885 --> 0:01:17.405 Report is currently suffering from a kryptonite related illness. We're 0:01:17.405 --> 0:01:20.565 hoping for a speedy recovery. In our last episode, we 0:01:20.565 --> 0:01:24.164 discussed True Grit, Joel Nathan Cohen's adaptation of Charles Porters's 0:01:24.164 --> 0:01:27.324 novel about a girl seeking vengeance or justice, and the 0:01:27.365 --> 0:01:29.765 drunken law man who reluctantly. 0:01:29.285 --> 0:01:30.444 Helps her in her search. 0:01:30.925 --> 0:01:33.204 There's a lot of true grit DNA and Supergirl, Woman 0:01:33.244 --> 0:01:35.444 of Vengeance and comics mini series written by Tom King 0:01:35.685 --> 0:01:38.084 with art by a book with Evily that's the primary 0:01:38.125 --> 0:01:41.524 aspiration for the new film Supergirl. In both Superman's cousin 0:01:41.565 --> 0:01:43.805 carz Orrel, best known as Supergirl and played in the 0:01:43.804 --> 0:01:46.484 film by Millie Alcock, is roped into aiding a girl 0:01:46.565 --> 0:01:50.245 named Ruthie played by Eve Ridley after a barbaric outlaw 0:01:50.445 --> 0:01:54.645 named Krim played by Matthia Shannart kills Ruthie's family tried 0:01:54.725 --> 0:01:57.044 to make Craig Gillespie. For a script by Anna Nogurerira, 0:01:57.445 --> 0:02:00.165 the Supergirl turns outer space into a cosmic version of 0:02:00.165 --> 0:02:02.765 the American West to tell a familiar story in a 0:02:02.805 --> 0:02:03.365 new way. 0:02:03.565 --> 0:02:06.045 Does it work? We'll talk it over after the break. 0:02:12.085 --> 0:02:20.445 Here's the thing. My cousin and I have very different 0:02:20.445 --> 0:02:30.965 ideas what it means to be a hero. He sees 0:02:30.965 --> 0:02:36.125 the good, Nevermoe, and I see the truth. 0:02:39.285 --> 0:02:40.365 The bricks. 0:02:42.445 --> 0:02:43.685 Brought destruction. 0:02:46.204 --> 0:02:51.085 To every corner of the universe. The galaxy must be defended. 0:02:56.605 --> 0:02:59.484 You cannot give up on me, all right, So I'll 0:02:59.525 --> 0:03:02.924 last again, does it work are a super Girl? I 0:03:03.005 --> 0:03:07.525 don't think it does that well. I think it's fine. 0:03:07.644 --> 0:03:08.525 I think it's okay. 0:03:08.644 --> 0:03:11.445 Actually, I think my my daughter kind of nailed this 0:03:11.965 --> 0:03:14.404 better than I did. Was like it's it's like an 0:03:14.445 --> 0:03:18.924 okay later MCU film right where it's like it's fine, 0:03:19.245 --> 0:03:22.405 you know, but it's almost like, but it's disappointing in 0:03:22.445 --> 0:03:26.205 relation to how fresh Superman felt and how much like, oh, 0:03:26.285 --> 0:03:29.125 it's a whole different take on this genre, whereas this 0:03:29.325 --> 0:03:32.845 try some interesting new things or some new things or 0:03:33.085 --> 0:03:36.325 newish things, but it doesn't feel in any way like 0:03:36.365 --> 0:03:39.205 it has like a fresh take on the superhero film. 0:03:39.285 --> 0:03:41.085 It's sort of my main thing. There's things I like 0:03:41.125 --> 0:03:42.805 about the film. Ultimately, I gave it like three stars 0:03:42.805 --> 0:03:44.965 out of five. But all the films we're like, oh, 0:03:44.965 --> 0:03:47.085 that's pretty good, and then you spend the next few 0:03:47.165 --> 0:03:49.085 days thinking about all things didn't work about it. 0:03:49.085 --> 0:03:51.965 That's my experience anyway. What about what about you guys? 0:03:52.245 --> 0:03:54.965 I mean that pretty much nails it as far as 0:03:55.045 --> 0:03:57.405 it does it work. I think it works fine as 0:03:57.525 --> 0:04:01.485 kind of shaggy dog story about a couple of gals 0:04:01.525 --> 0:04:04.285 in the galaxy, you know, punching some guys and being 0:04:04.285 --> 0:04:08.205 punched by some guys. As anything else, like maybe as 0:04:08.325 --> 0:04:13.805 a sort of an origin story for the new DCU 0:04:14.005 --> 0:04:16.805 version of Supergirl. It works fine as a story about 0:04:16.885 --> 0:04:22.845 vengeance or justice or superheroism or hero ordinary heroism, or 0:04:23.725 --> 0:04:27.845 you know, helping people through difficult times or grief, you know, 0:04:27.925 --> 0:04:31.605 all of these things that specifically King and Everly's version 0:04:32.325 --> 0:04:36.485 we're doing the movie does the broader, dumber, and often 0:04:36.525 --> 0:04:39.885 in very self contradictory fashion. So you know, in the end, 0:04:39.925 --> 0:04:43.885 I the word that I hear people describe it using 0:04:43.885 --> 0:04:46.724 to describe this movie more than any other is okay, 0:04:46.925 --> 0:04:49.325 isn't Yeah it was okay? And that was kind of 0:04:49.325 --> 0:04:52.604 my take too, was yeah it was okay. And then 0:04:52.964 --> 0:04:55.765 as you say, you start thinking about it and you're like, well, okay, 0:04:55.844 --> 0:04:58.005 except for this part that doesn't make much sense, or 0:04:58.445 --> 0:05:00.325 this part that doesn't really land, or this part that 0:05:00.404 --> 0:05:03.484 kind of comes out of nowhere, or wow, this part 0:05:03.525 --> 0:05:06.445 that's actually really pretty damn ugly when you think about it. 0:05:06.325 --> 0:05:08.604 Scott, I think you are on the less than okay 0:05:09.085 --> 0:05:09.605 side of yes. 0:05:09.685 --> 0:05:11.925 I I think I mean, I would say maybe on 0:05:11.964 --> 0:05:14.685 the fence leaning backwards kind of it would be where 0:05:14.725 --> 0:05:17.284 I go it's fine, it's fine, And I think I 0:05:17.325 --> 0:05:20.765 think you know, Keith, your daughter great insight there. I 0:05:20.805 --> 0:05:25.165 think I think kind of in that later you feel 0:05:25.205 --> 0:05:28.964 but also but I also think more damningly, specifically in 0:05:29.045 --> 0:05:31.645 the late mode in that and that you worry that 0:05:32.165 --> 0:05:35.244 James Gunn, who is hired to kind of take DC 0:05:35.925 --> 0:05:41.085 into a new direction, is kind of injecting that formula 0:05:41.404 --> 0:05:44.605 into DC rather than kind of take it to somewhere new. 0:05:44.685 --> 0:05:48.924 This feels very rote to me, this film, this adventure, 0:05:49.485 --> 0:05:52.565 and nothing just it doesn't, you know. I think one, 0:05:52.765 --> 0:05:55.885 I think Ruthie does nothing for me as a character. 0:05:55.925 --> 0:05:58.405 I think that character needs in the performance too, frankly, 0:05:58.964 --> 0:06:01.845 a lot more juice than it has. I think I 0:06:01.885 --> 0:06:05.164 think it's a very passive character. And I think that 0:06:05.245 --> 0:06:07.964 hurts the film because because you need somebody who's going 0:06:08.045 --> 0:06:10.085 to be for super Girl really ping off, and that 0:06:10.125 --> 0:06:13.525 doesn't really happen, like really to billi alos Cox credit. 0:06:13.605 --> 0:06:17.245 She certainly has plenty of charisma and gravitational force, but 0:06:17.245 --> 0:06:20.724 but I think that the film doesn't have the balance 0:06:20.765 --> 0:06:23.685 that it needs in that in that regard, and I 0:06:23.725 --> 0:06:26.164 think there's there's just kind of a missed opportunity there, 0:06:26.205 --> 0:06:28.645 and I think Manila Darter's review kind of hits on 0:06:28.725 --> 0:06:31.404 this too is like the Supergirl kind of hits us 0:06:31.445 --> 0:06:36.005 at a good time tonally, because yeah, we feel superhero fatigue, 0:06:36.485 --> 0:06:40.205 and that is the defining characteristic of this character, who 0:06:40.245 --> 0:06:41.964 is just like do I have to do? Do I 0:06:42.005 --> 0:06:43.724 have to do any of this? Can I just drink 0:06:43.805 --> 0:06:46.445 and just not just ignore all of this all of 0:06:46.485 --> 0:06:49.085 this burdensome stuff. And I think I think that there's 0:06:49.125 --> 0:06:53.404 almost a meta connection that we have with that character, 0:06:54.085 --> 0:06:57.165 but it's just not exploited as effectively as you as 0:06:57.205 --> 0:06:59.565 you would want, like all across the board, like they 0:06:59.645 --> 0:07:03.364 think there's I think her brief appearance in Superman carried 0:07:03.525 --> 0:07:05.964 more punch than I think is delivered in this movie. 0:07:06.365 --> 0:07:10.125 I was disappointed that Crypto, who was who was absolutely 0:07:10.685 --> 0:07:12.925 one of the highlights, if not the highlight of Superman 0:07:13.085 --> 0:07:16.445 is is uh, you know, gets gets injured, you know, 0:07:16.565 --> 0:07:18.405 and it is not in the movie for a long 0:07:18.405 --> 0:07:19.085 stretch of the film. 0:07:19.125 --> 0:07:21.405 We're not gonna agree on that one. Scott, Sorry you 0:07:21.445 --> 0:07:22.125 don't like the dog. 0:07:22.365 --> 0:07:23.005 I love the dog. 0:07:23.285 --> 0:07:26.525 There was so much Crypto in Superman that I think 0:07:26.645 --> 0:07:29.085 if he had been nearly as front and center here 0:07:29.365 --> 0:07:31.925 it would have stopped being the DCU and started being 0:07:31.925 --> 0:07:37.645 the case. Yeah, exactly, oh case. 0:07:37.925 --> 0:07:40.925 I thought she said maybe K nine Cinematic Universe. 0:07:41.405 --> 0:07:43.805 I don't know, it does not start with the K. 0:07:44.925 --> 0:07:46.565 I think the one thing we're all kind of agreen 0:07:46.605 --> 0:07:48.885 on those is million Alcock's really good in this. 0:07:49.165 --> 0:07:49.885 Oh, she's great. 0:07:50.085 --> 0:07:52.485 She has a better sense of who the character is 0:07:52.965 --> 0:07:57.845 than the script does, and what consistency there is to 0:07:57.965 --> 0:08:00.645 that character from seeing the scene comes entirely from that performance. 0:08:00.685 --> 0:08:03.965 And yeah, I think she's terrific on this, and just you. 0:08:03.925 --> 0:08:06.645 Know, all of the all of the draw towards the character. 0:08:07.045 --> 0:08:10.445 You know, there's a kind of like there's a party 0:08:10.485 --> 0:08:15.325 girl energy and also a weary exhaustion and like layers 0:08:15.405 --> 0:08:20.645 of of grief and frustration and anger. That kind of 0:08:20.685 --> 0:08:23.445 getting ahead of myself here a little bit. But one 0:08:23.485 --> 0:08:26.045 of the things I was talking about with true Grit, 0:08:26.405 --> 0:08:28.925 with the Cohen's True Grit is a sense that you 0:08:28.925 --> 0:08:31.885 don't need to know too much about any of the 0:08:31.925 --> 0:08:35.605 three main characters to know a lot about the history 0:08:35.605 --> 0:08:37.805 of the three main characters. You know, you can see 0:08:37.845 --> 0:08:41.445 their histories in the way they interact with the world. 0:08:42.045 --> 0:08:43.565 And I think she brings in a lot of that 0:08:43.645 --> 0:08:46.045 as well. So maybe it's a little bit of a 0:08:46.045 --> 0:08:47.845 shame that we spend quite as much time as we 0:08:47.925 --> 0:08:52.005 do detailing all of that backstory, But she's the only 0:08:52.045 --> 0:08:55.125 one that comes with that weight. Like literally everybody else, 0:08:55.205 --> 0:08:58.444 including the other character whose backstory we see play out, 0:08:58.645 --> 0:09:03.365 it's just kind of a one note, one element thing, 0:09:03.605 --> 0:09:07.084 you know, a prop for her to interact with, and 0:09:07.564 --> 0:09:11.805 watching this three dimensional character interact with a two dimensional 0:09:11.804 --> 0:09:16.245 world just isn't always very interesting. As Scott says, she 0:09:16.765 --> 0:09:20.685 needed a better world to ping off of and she 0:09:20.725 --> 0:09:22.045 doesn't get it here, and. 0:09:22.645 --> 0:09:26.325 Ultimately too this is again important when you're when you're 0:09:26.325 --> 0:09:29.725 really trying to assert yourself as a brand, as a 0:09:29.765 --> 0:09:32.165 personality or something. It's just is to get a director 0:09:32.205 --> 0:09:34.565 who can give you that. I mean, what is it, 0:09:34.605 --> 0:09:36.525 Craig Gillespie, film folks, what is it? 0:09:36.725 --> 0:09:37.605 What are we looking at? 0:09:37.605 --> 0:09:40.205 I mean, you look at this guy's filmography. You know, 0:09:40.405 --> 0:09:42.565 it's kind of he's kind of pretty good at doing 0:09:43.125 --> 0:09:45.005 you know, he does kind of this real life to 0:09:45.485 --> 0:09:48.845 screen thing with like Ititanyan with Pam and Tommy, which 0:09:48.885 --> 0:09:51.324 it was was the TV show that our friend Rob 0:09:51.365 --> 0:09:54.564 wrote that he was directing. Uh so he's going back 0:09:54.564 --> 0:09:57.125 between the two mediums he did Cruella, you know, mister 0:09:57.125 --> 0:09:59.605 Woodcock or whatever. He's giving what was he giving you Stylistically, 0:09:59.605 --> 0:10:02.045 He's giving you a lot of attitude. He's not giving 0:10:02.045 --> 0:10:05.165 you a whole lot of distinctive style. And again I 0:10:05.165 --> 0:10:08.685 will say it's fine. I mean, I think it's Corolla 0:10:08.765 --> 0:10:11.285 is okay. It's all the wall music though, if I recall, But. 0:10:12.005 --> 0:10:14.085 Krella is part of why I was kind of looking 0:10:14.085 --> 0:10:16.165 forward to this movie though, because it's far better than 0:10:16.245 --> 0:10:17.925 I don't think it's a great film, but it's far 0:10:17.965 --> 0:10:20.765 better than a sort of a what was the word 0:10:20.765 --> 0:10:22.045 brand a deposit. 0:10:21.725 --> 0:10:24.085 You know, live action version of a character that. 0:10:24.125 --> 0:10:27.165 Didn't seem to need her own movie was like, it 0:10:27.205 --> 0:10:29.605 actually has like a fair amount of depth to that character. 0:10:30.125 --> 0:10:32.485 I think the biggest flaw is, like I like that Corilla. 0:10:32.525 --> 0:10:34.405 It's enough that I don't want her to turn into 0:10:34.405 --> 0:10:38.165 the Karrella from her one telemage. Yeah, but it's kind 0:10:38.165 --> 0:10:40.725 of interesting to take on on on, you know, trying 0:10:40.765 --> 0:10:43.405 to how to work with a character like that, and 0:10:43.965 --> 0:10:45.845 I don't really get that from Supergirl at all. 0:10:47.285 --> 0:10:49.925 This is also the director of Lars and the Real Girl, 0:10:50.085 --> 0:10:54.324 and I think it Tanya actually is like a movie 0:10:54.325 --> 0:10:57.405 with a stylistic point of view. I kind of feel 0:10:57.445 --> 0:11:00.525 like he got sucked into the Hollywood machine and you 0:11:00.564 --> 0:11:03.365 know this, this movie to me is just ersatz James Gunn. 0:11:03.765 --> 0:11:07.085 He uses a lot of same visual tricks, camera tricks, 0:11:07.205 --> 0:11:11.605 especially the three sixty spin camera during a battle scene 0:11:11.965 --> 0:11:14.125 which we get a bunch here, which is a big 0:11:14.165 --> 0:11:17.645 gun signature. So I feel like he's evolved from a 0:11:17.765 --> 0:11:22.325 much more distinctive filmmaker into you know, somebody who's producing 0:11:22.325 --> 0:11:25.125 stuff for the machine that the machine wants. 0:11:25.245 --> 0:11:28.485 It reminds me a little bit of you can't help 0:11:28.525 --> 0:11:31.485 but think of the Mandalorian and Grogo from earlier this 0:11:31.525 --> 0:11:34.125 summer in the sense that you have yeah, with James 0:11:34.125 --> 0:11:35.645 gun does come out. 0:11:36.645 --> 0:11:37.285 It sure did. 0:11:37.485 --> 0:11:39.605 I definitely can stop myself from thinking of it. I 0:11:39.605 --> 0:11:41.285 had already forgotten about that movie Computed. 0:11:41.285 --> 0:11:43.285 But I mean, I think the idea though, is like 0:11:43.725 --> 0:11:46.285 both scenarios, you know, with with James Gunn and and 0:11:46.405 --> 0:11:50.365 kind of these new DC movies coming out, and then 0:11:50.925 --> 0:11:54.285 and then Dave Filonian and that that gang taking over 0:11:55.165 --> 0:11:58.045 Star Wars. It's just it's just like we're gonna clean 0:11:58.085 --> 0:12:00.885 things up. Things have gone astray with these you know, 0:12:01.405 --> 0:12:04.485 beloved important franchises. We're gonna we're gonna put in a 0:12:04.525 --> 0:12:08.245 new direction. And it's like you feel no extra life 0:12:08.285 --> 0:12:11.005 at all with something like the Mandalorian Grogu and here 0:12:11.445 --> 0:12:13.365 you know that that initial bit of juice she got 0:12:13.405 --> 0:12:17.444 from James Gunn has just settled into something that feels 0:12:17.885 --> 0:12:22.685 so familiar and so mediocre and so risk averse, and uh, 0:12:22.804 --> 0:12:25.045 you know, I think that was that's kind of just 0:12:25.165 --> 0:12:28.005 ends up being disappointed because it was super goal is 0:12:28.005 --> 0:12:31.245 what it could have been, because you have this character 0:12:31.445 --> 0:12:34.605 at at center, and you have an actress who are 0:12:34.925 --> 0:12:39.565 irreverent and powerful and kind of cool and have an 0:12:39.605 --> 0:12:41.245 attitude that I think you might be able to kind 0:12:41.245 --> 0:12:44.485 of engage with that fatigue that of course we're feeling 0:12:44.925 --> 0:12:48.765 watching these movies. But then the reality is that you're 0:12:48.804 --> 0:12:52.525 given kind of a mediocre adventure in both this case 0:12:52.564 --> 0:12:54.844 and in the Mandalorian and gro Goup, and. 0:12:54.804 --> 0:12:58.684 It's a mediocre adventure with just a lot of the 0:12:58.725 --> 0:13:01.645 you know it is handa put it with. This mediocre 0:13:01.684 --> 0:13:06.045 adventure has all the problems of like the mediocre late 0:13:06.045 --> 0:13:09.564 stage MCU movies, one of which is a really unmemorable 0:13:09.645 --> 0:13:12.365 villain who just does not have a lot going on 0:13:12.525 --> 0:13:15.285 except gra gra I, eat babies and rape children. 0:13:15.645 --> 0:13:17.165 I think that's performance too. 0:13:17.245 --> 0:13:21.325 I I don't know what he could have done with 0:13:21.684 --> 0:13:25.485 that little material that would have stood out. Like he's 0:13:25.605 --> 0:13:29.525 basically an extra for Mad Max and that's that's all 0:13:29.605 --> 0:13:32.725 the script gives him. You know, he has no philosophy, 0:13:32.725 --> 0:13:34.685 he has no point of view, he has no there's 0:13:34.684 --> 0:13:36.964 nothing about him that's interesting. And that's one of the 0:13:36.965 --> 0:13:42.445 biggest disappointments from adapting King Evily's mini series is just 0:13:42.765 --> 0:13:50.444 that character was so defined and so different and interesting. 0:13:51.245 --> 0:13:54.405 His motives were interesting. I truly don't know what KREM's 0:13:54.405 --> 0:13:57.725 motivations are in this movie beyond burn it all down. 0:13:58.005 --> 0:14:01.085 He kicks off the action, yeah, exactly. He kicks off 0:14:01.125 --> 0:14:04.525 the action by showing up at Ruthie's father's place to 0:14:04.725 --> 0:14:09.285 steal all of his like Universe class super swords, and 0:14:09.285 --> 0:14:10.844 then they don't even use any of them. They just 0:14:10.925 --> 0:14:13.525 kind of hang them up. And maybe that's meant to, 0:14:14.365 --> 0:14:17.804 you know, indicate a certain amount of like, you know, 0:14:17.925 --> 0:14:24.245 Potlatchian attitude towards towards things like he didn't do this 0:14:24.365 --> 0:14:26.485 so he could be the best swordsman in the galaxy. 0:14:27.045 --> 0:14:29.085 He did this because somebody had something he wanted. And 0:14:29.125 --> 0:14:31.645 then you know, he killed everybody in sight. But that's 0:14:31.685 --> 0:14:35.725 not interesting, and the Cram of the comics mini series 0:14:36.365 --> 0:14:38.645 has a point of view and has a reason for 0:14:38.685 --> 0:14:41.685 what he did and only killed Ruthie's father as opposed 0:14:41.725 --> 0:14:46.205 to mask herring her entire family and burning down their farm, 0:14:46.325 --> 0:14:48.045 and it had nothing to do with swords. It's just 0:14:48.085 --> 0:14:51.405 it's a much more interesting and nuanced take on the 0:14:51.445 --> 0:14:55.085 story and the character. Here everything is flattened out up 0:14:55.085 --> 0:14:57.925 to an including Lobo, who is just a character I 0:14:57.965 --> 0:15:03.965 have never found particularly interesting, and here really only seems 0:15:03.965 --> 0:15:07.685 to be inserted awkwardly into the middle of this story 0:15:08.245 --> 0:15:12.045 so we can say, hey, here's this guy. Later, when 0:15:12.045 --> 0:15:14.885 we have a movie that's just him, you'll know who 0:15:14.925 --> 0:15:17.005 he is. He's that guy that was in Supergirl. 0:15:17.405 --> 0:15:20.205 Yeah, and Superman did that much more gracefully, like introduced 0:15:20.245 --> 0:15:22.485 like a bunch of actors that presumably we'll see in 0:15:22.565 --> 0:15:26.205 later DC movies. But it felt like it was doing 0:15:26.285 --> 0:15:28.325 it as part of the story it was being told, 0:15:28.365 --> 0:15:31.445 where it's like this, he feels so shoveled in and like, yeah, 0:15:31.485 --> 0:15:33.565 Lobo shows up in the comics for like one issue, 0:15:33.645 --> 0:15:35.365 is like, oh, that's kind of Lobo's kind of fun. 0:15:35.485 --> 0:15:38.765 But then you know, Lobo Alstaates is welcome, and that's 0:15:38.805 --> 0:15:42.325 that's that's that's no good. And basically Alstaates is welcome 0:15:42.605 --> 0:15:45.645 by being in this movie. I don't really love. I'm 0:15:45.725 --> 0:15:48.245 kind of a Jason momoas skeptic, I guess in some ways. 0:15:48.245 --> 0:15:53.005 And I just felt like this was way way too 0:15:53.005 --> 0:15:56.205 many like beefy dudes who are doing the same thing. 0:15:56.365 --> 0:16:01.085 We got to dial back back, Yeah, you got to 0:16:01.125 --> 0:16:03.725 dial back and like yeah, And I was really excited. 0:16:04.125 --> 0:16:07.325 I know Tom King's a divisive writer, both for what 0:16:07.405 --> 0:16:11.125 he writes and for his background. No ways, no way 0:16:11.125 --> 0:16:14.565 to get into that gracefully in this podcast, but I do. 0:16:14.765 --> 0:16:17.565 I really loved this mini series and part of that 0:16:17.605 --> 0:16:19.725 was part of why I was excited about this film. 0:16:20.005 --> 0:16:23.885 And then when you look at the changes made, particularly 0:16:23.925 --> 0:16:27.805 to the ending of the film, which is basically, hey, 0:16:27.805 --> 0:16:30.365 Supergirl and pals go off and have his space adventure 0:16:30.485 --> 0:16:34.405 versus a very interesting bit of moral reckoning and so 0:16:34.445 --> 0:16:36.565 a lot of ambiguity in the in the end of 0:16:36.565 --> 0:16:40.965 the Comics mini series. Yeah, it was. It's definitely felt 0:16:40.965 --> 0:16:44.805 like something that had been reduced. And also the late 0:16:44.885 --> 0:16:48.085 introduction of this whole like Fury Road, We're going to 0:16:48.725 --> 0:16:51.805 uh traffic in these women and they must be saved thing. 0:16:51.885 --> 0:16:54.365 It's like, you know, that's that felt like just sort 0:16:54.405 --> 0:16:55.965 of like we got to RAISEI stake somehow. 0:16:56.445 --> 0:16:59.805 I don't know. I don't know. Again, It's fine, but 0:17:00.165 --> 0:17:01.485 it's also frustrating. 0:17:02.205 --> 0:17:04.885 It feels like a nineties superhero movie. It feels like 0:17:04.965 --> 0:17:10.485 we've gone back like several generations of you know, iterations 0:17:10.525 --> 0:17:15.285 and developments on what superheroes can be. And I don't know, 0:17:15.365 --> 0:17:19.365 there's a kind of nineties like nihilism too. I mean, 0:17:19.365 --> 0:17:22.325 first of all, the Lobo, who was created earlier but 0:17:22.605 --> 0:17:26.085 kind of you know, became a to the degree that 0:17:26.085 --> 0:17:28.525 he's an iconic figure like that that all came out 0:17:28.525 --> 0:17:33.765 of his nineties reinvention to you know, Supergirl in the 0:17:33.885 --> 0:17:37.885 end of this movie consciously choosing murder, which is something 0:17:37.885 --> 0:17:42.165 that was hugely, hugely controversial when Superman did it in 0:17:42.205 --> 0:17:46.165 the Zack Snyder verse, to the degree that it took 0:17:46.205 --> 0:17:50.485 over a lot of the conversation about that movie. And 0:17:50.605 --> 0:17:55.645 here to me kind of is presented almost as proof 0:17:55.685 --> 0:17:59.725 that Supergirl is not Superman, which we get a lot 0:17:59.765 --> 0:18:03.125 of throughout this movie, you know, both in terms of 0:18:03.165 --> 0:18:06.125 her like partying and getting drunk and puking and seeking 0:18:06.165 --> 0:18:10.125 out places where she's not Super so she doesn't have 0:18:10.165 --> 0:18:13.285 to feel any responsibility for being super and also so 0:18:13.325 --> 0:18:17.445 she can knock herself blotto with alcohol, but also in 0:18:17.765 --> 0:18:23.445 periodic conversations with Superman, with David Corn Sweat showing up 0:18:24.525 --> 0:18:28.565 in these little cameos that initially I thought we're going 0:18:28.605 --> 0:18:32.125 to be just, hey, you liked this guy in this movie, 0:18:32.565 --> 0:18:35.045 hear some more of him, But I actually I ended 0:18:35.125 --> 0:18:37.445 up thinking we're One of the more interesting aspects of 0:18:37.485 --> 0:18:42.125 this movie is just him trying to reckon with this 0:18:42.125 --> 0:18:45.125 this new thing that's been thrust upon him, and him 0:18:45.165 --> 0:18:49.325 trying to, you know, extend his goodness and his boy 0:18:49.405 --> 0:18:54.205 scoutness to somebody who went through something so similar to 0:18:54.245 --> 0:18:57.405 what he's going through and reacted so differently and has 0:18:57.405 --> 0:18:59.405 come to the same place that he's come to and 0:18:59.445 --> 0:19:02.645 has reacted so differently to it. So, you know, I 0:19:02.685 --> 0:19:06.965 think maybe the conversations between the two of them and 0:19:07.565 --> 0:19:11.445 her way of seeing Earth versus the way he sees 0:19:11.485 --> 0:19:14.125 Earth are some of the most interesting things in the movie, 0:19:14.565 --> 0:19:17.565 and they're just backgrounded for most of the film, so 0:19:17.605 --> 0:19:21.685 we can have, you know, antic nonsense involving aliens, slimy 0:19:21.725 --> 0:19:26.805 cg aliens with weird anatomies, and see a whole bunch 0:19:26.845 --> 0:19:32.045 of very young girls who have been trafficked as sex slaves, 0:19:32.445 --> 0:19:36.605 running around being helpless and in many cases dying, all. 0:19:36.525 --> 0:19:39.965 Leading up to they're they're not just for kids anymore, leading. 0:19:39.845 --> 0:19:41.645 Up to a moment at the very end where one 0:19:41.685 --> 0:19:44.805 of them does somethings just so you can say girl power. 0:19:46.285 --> 0:19:50.445 Yes, hear you talk about the movie in detail, because 0:19:50.485 --> 0:19:54.325 I don't remember any of It's like, oh, that happened, 0:19:54.325 --> 0:19:57.925 that's interesting. I'm good recall on that. I just to 0:19:58.005 --> 0:20:00.725 kind of reflect. I do feel I agree with you, Tasha, 0:20:00.805 --> 0:20:05.285 that that what we do get here with Superman. Those 0:20:05.285 --> 0:20:08.205 interactions are some of my favorite moments in the movie 0:20:08.245 --> 0:20:11.285 because they do feel like they're talking about something important, 0:20:11.525 --> 0:20:14.565 and they do. They do come you know, have these 0:20:14.965 --> 0:20:18.605 as you say, similar experiences that they've that they've can 0:20:19.125 --> 0:20:21.325 come to different conclusions about and reshape the lives and 0:20:21.325 --> 0:20:23.805 different ways around. All that stuff is real dramas and 0:20:23.845 --> 0:20:26.005 real things that you can kind of chew on. But 0:20:26.125 --> 0:20:29.285 I think you know not to harp on Lobo here. 0:20:29.325 --> 0:20:33.565 But let's just talk about Lobo for a second. Like 0:20:33.965 --> 0:20:37.205 you all have experience with Lobo. I'm a comics idiot. 0:20:37.205 --> 0:20:40.005 I don't know who this guy is. So imagine imagine me. 0:20:40.085 --> 0:20:43.485 Imagine me, this naive fellow who's just going out to 0:20:43.805 --> 0:20:46.645 have a good time at Supergirl encountering this character. 0:20:46.725 --> 0:20:48.525 What am I supposed to make it? This guy? 0:20:48.645 --> 0:20:51.045 You know, you know, it does not matter to me. 0:20:51.685 --> 0:20:54.085 It doesn't matter to me that he he doesn't have 0:20:54.605 --> 0:20:58.845 a significant, important role in this movie. It's not the 0:20:58.885 --> 0:21:01.405 movie could take him or leave him, and you kind 0:21:01.405 --> 0:21:04.365 of wish that they would leave him. But I have 0:21:04.405 --> 0:21:08.165 no investment or interest in how this character might you know, 0:21:08.285 --> 0:21:11.725 this character needing to be established to be in future movies. 0:21:11.765 --> 0:21:13.245 This is what are we doing here? 0:21:13.765 --> 0:21:16.525 I mean, I just think I'm so tired of these 0:21:16.525 --> 0:21:21.205 films throwing out, you know, some basic storytelling responsibility of 0:21:21.205 --> 0:21:25.365 these in order to extend the franchise, in order to 0:21:25.405 --> 0:21:28.565 link together one film to the next. It's so exhausting 0:21:29.005 --> 0:21:31.605 and it's so damaging to the films individually. 0:21:31.805 --> 0:21:32.885 To make movies that way. 0:21:33.285 --> 0:21:36.365 When you say he doesn't have a significant role to play, Scott, 0:21:36.405 --> 0:21:38.805 I think you're forgetting the very important thing at the 0:21:38.925 --> 0:21:42.125 end where even though he's a bounty hunter and his 0:21:42.365 --> 0:21:44.565 only job is to get this guy's head and get 0:21:44.605 --> 0:21:47.765 the bounty, and he does that, and in spite of 0:21:47.885 --> 0:21:50.565 repeatedly telling us that he doesn't care about anything else, 0:21:50.885 --> 0:21:53.365 he still comes back to like witness the end of 0:21:53.405 --> 0:21:57.125 the confrontation and you know, give these girls an approving 0:21:57.245 --> 0:22:00.925 nod to make sure that it's clear to everybody that 0:22:01.045 --> 0:22:03.085 he likes the way they he likes the cut of 0:22:03.125 --> 0:22:03.725 their jibs. 0:22:04.045 --> 0:22:05.645 You know, you almost feel like you can almost read 0:22:05.645 --> 0:22:06.045 the contract. 0:22:06.045 --> 0:22:07.725 It was like, mister Momoa must be on the in 0:22:07.805 --> 0:22:10.405 the film for no less than X number of minutes. 0:22:10.805 --> 0:22:12.005