Latest / The Bechdel Cast / Lara Croft: Tomb Raider with Dani Fernandez

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Lara Croft: Tomb Raider with Dani Fernandez · The Bechdel Cast

• 0:00
  Speaker 1: On the bell Cast, the questions asked if movies have
• 0:03
  Speaker 1: women and are all their discussions just boyfriends and husbands
• 0:07
  Speaker 1: or do they have individualism the patriarchy? Zef and best
• 0:12
  Speaker 1: start changing it with the beck del Cast. Hi, and
• 0:16
  Speaker 1: welcome to the Bectel Cast. My name is Caitlin Dronte.
• 0:18
  Speaker 1: My name is Jamie Loftus, and we host a podcast
• 0:21
  Speaker 1: about the portrayal of women in movies. We should do.
• 0:23
  Speaker 1: It's called the Becktel Cast. You just like listen to
• 0:26
  Speaker 1: right now? This is it? What if this is a mistake?
• 0:29
  Speaker 1: Is there like an auto play? The app I use
• 0:32
  Speaker 1: for my podcast does not auto play, but I have
• 0:34
  Speaker 1: to assume that there are like some auto playing podcast
• 0:37
  Speaker 1: apps right that would just like to the next one
• 0:39
  Speaker 1: in your listing. Yeah, they're like, have you ever heard
• 0:42
  Speaker 1: of these broads? Anyways, now they're talking about spoiler alert.
• 0:48
  Speaker 1: Welcome to Never Not Funny with Jimmy Pardo. I'm Jimmy Park.
• 0:53
  Speaker 1: Can we do it? We're talking about tomb Raider. We
• 0:58
  Speaker 1: should do an episode of Never Not Funny an Pardo? Yeah,
• 1:01
  Speaker 1: hear that, Jimmy and find us on your podcast. Yeah,
• 1:04
  Speaker 1: or we'll just do or we'll do a cover of
• 1:06
  Speaker 1: an episode and he's already done where you'll be Jimmy
• 1:09
  Speaker 1: Pardo and then I'll be the guest Jimmy Pardo. If
• 1:12
  Speaker 1: you could email us what your favorite episode of Never
• 1:14
  Speaker 1: Not Funny with Jimmy Pardo is and then let us know,
• 1:17
  Speaker 1: and then we'll transcribe it and then perform it and
• 1:20
  Speaker 1: then release it as an episode of our podcast. How
• 1:23
  Speaker 1: come it's okay for like bands to do covers of songs,
• 1:26
  Speaker 1: but podcasts can't do covers of other podcast comedians do
• 1:30
  Speaker 1: it around Halloween at like sticker treat and stuff. True,
• 1:33
  Speaker 1: It's like I did a Maria Bamford joke this year.
• 1:35
  Speaker 1: It was very cathartic and fun. Yeah, you're like, oh,
• 1:38
  Speaker 1: I get to do stuff that's better than what I
• 1:39
  Speaker 1: can write. I think that's probably how bands feel when
• 1:42
  Speaker 1: they're like, let us let us cut cross song that's
• 1:45
  Speaker 1: way beyond our personal competence. Yeah. Sure, so, Jimmy Pardo,
• 1:49
  Speaker 1: reach out, let us know if you want us to
• 1:52
  Speaker 1: do a cover of an episode of Never Not Funny
• 1:53
  Speaker 1: with Jimmy Parto. I think that that is funny, that
• 1:56
  Speaker 1: that is that is the podcast you pulled out of
• 1:58
  Speaker 1: your asses, Like you know we've got to cover. I
• 2:00
  Speaker 1: don't know why I thought of that, but hey, let
• 2:03
  Speaker 1: me tie it back into our podcast. We just did
• 2:06
  Speaker 1: not pass the Bechdel test because we were talking about
• 2:08
  Speaker 1: a man, Jimmy Pardo. Jimmy Pardo. But I would say
• 2:12
  Speaker 1: that also unless there's other parties that I don't know about.
• 2:15
  Speaker 1: I'm never Not Funny with Jimmy Parto. No episode of
• 2:19
  Speaker 1: Never Not Funny with Jimmy Pardo would pass the Bechtel
• 2:21
  Speaker 1: test until he gets the two of us on it
• 2:24
  Speaker 1: and we don't talk to him. We can ignore him,
• 2:27
  Speaker 1: and we talked to each other. Part O help us
• 2:30
  Speaker 1: on your podcast, but please be silent, okay anyway, So
• 2:34
  Speaker 1: if you don't already know the Bechtel cast, we talked
• 2:38
  Speaker 1: about the portrayal of women in movies using the Bechdel test.
• 2:42
  Speaker 1: It's just a really just a jumping off point, a
• 2:44
  Speaker 1: way to start the conversation. We talked about so much more.
• 2:48
  Speaker 1: But the Becktel test requires that a movie has two
• 2:51
  Speaker 1: female characters who speak to each other about something other
• 2:53
  Speaker 1: than a man. There's a second Jimmy Parto podcast called
• 2:57
  Speaker 1: called Playing Games with Jimmy pro I've never heard of
• 3:01
  Speaker 1: that one, but I feel like maybe I should. I'll
• 3:03
  Speaker 1: add it to my list. What if we were getting
• 3:06
  Speaker 1: money from Jimmy Pardo around the back end to be like, yeah,
• 3:08
  Speaker 1: just bring Jimmy Parto up at some point is fine. Yeah.
• 3:12
  Speaker 1: I'm suspicious of everything and everyone now and I think
• 3:14
  Speaker 1: everything is a secret advertisement. But sometimes you really are
• 3:17
  Speaker 1: just talking about just accidentally started talking about Jimmy Parto.
• 3:21
  Speaker 1: Every time we say Jimmy Pardo, Jimmy Parter gives us
• 3:23
  Speaker 1: twenty do So thank you, Jimmy Pardo. We love you,
• 3:26
  Speaker 1: Jimmy part Alright anyway, so yeah, so sorry, We're here
• 3:33
  Speaker 1: to talk about a specific movie, as we always are.
• 3:37
  Speaker 1: We have a guest to help us. She's the host
• 3:40
  Speaker 1: at hyper Rpg and she's a co host of the
• 3:43
  Speaker 1: podcast Nerdificent on How Stuff Works. Thanks for having Danny Fernande.
• 3:49
  Speaker 1: I am enjoying my Celsius sparkling wild berry that you
• 3:53
  Speaker 1: can catch at any Whole Foods near you. You heard,
• 3:56
  Speaker 1: Jimmy part loves that. Ship loves it so hyper Rpg,
• 4:01
  Speaker 1: which is like a Twitch channel, they don't care if
• 4:04
  Speaker 1: we have drinks and stuff on while we're podcasting and whatnot.
• 4:08
  Speaker 1: And I always have Celsis and I'm just waiting for
• 4:10
  Speaker 1: them to because it's an energy drink and I need it.
• 4:13
  Speaker 1: It's a healthy in quotes, energy drink, and I'm always
• 4:16
  Speaker 1: just waiting for them to just send me packs Mike's
• 4:18
  Speaker 1: Hard Lemonade. Right, I'm actively sabotaging my body when I'm
• 4:22
  Speaker 1: doing product, and they still they followed us on Twitter
• 4:25
  Speaker 1: and then they dropped the ball. Well, I think it's
• 4:28
  Speaker 1: now on us to reach out to them. Okay, fine,
• 4:30
  Speaker 1: let's do it. Okay, let's loop in direct message us
• 4:34
  Speaker 1: Mike's Hard Lemonade, Jimmy, Let's make something happen playing games
• 4:39
  Speaker 1: with Jimmy Pardo. So anyway, thank you for joining us.
• 4:43
  Speaker 1: We are here to talk about Laura Croft tomb Rat. Yes,
• 4:47
  Speaker 1: so you first saw this movie when last night I
• 4:52
  Speaker 1: thought this morning, yeah, I saw last night when you
• 4:55
  Speaker 1: had emailed me and we're like, are you would you
• 4:57
  Speaker 1: be down to talk about Laura Croft? I was like, yeah, sure,
• 5:00
  Speaker 1: finally watch it and see when it's I mean, I
• 5:02
  Speaker 1: had the video game when I was Actually I didn't
• 5:05
  Speaker 1: have the video game I it was one of the
• 5:06
  Speaker 1: ones that my brothers and I would rent from Blockbuster
• 5:09
  Speaker 1: because one of those I had something similar, which was
• 5:13
  Speaker 1: Charrok Dinosaur Hunter, which that was the like hunting game
• 5:17
  Speaker 1: that I would play, but I didn't have Laura Croft
• 5:21
  Speaker 1: and we also had Golden Eye for our entry before.
• 5:23
  Speaker 1: But you did play the Tomb Writer video games? Yeah, yeah,
• 5:26
  Speaker 1: what was it like? I mean, it was like had
• 5:30
  Speaker 1: similar scenes from what she did in this I haven't
• 5:34
  Speaker 1: played it in like two decades, so I don't really remember,
• 5:36
  Speaker 1: but she had no she had some of the same
• 5:39
  Speaker 1: like flips and some of the same action sequences from
• 5:42
  Speaker 1: this movie. But it wasn't it was something that like
• 5:44
  Speaker 1: we would beg my mom to rent for like seven
• 5:47
  Speaker 1: dollars like once a month or something. So it wasn't
• 5:49
  Speaker 1: one of the ones I grew up with. I grew
• 5:50
  Speaker 1: up with playing Diddykong racing, so I was a racing person.
• 5:55
  Speaker 1: I up with Barbie Detective on PC. Yeah. Yeah. She
• 5:58
  Speaker 1: would go to a carnival and just stare at people
• 6:01
  Speaker 1: and eventually you'd figure it out. Okay, it's usually at
• 6:03
  Speaker 1: the clown. Yeah. I think looking back, I'm sure my
• 6:06
  Speaker 1: mom was like, I don't need my young boys to
• 6:10
  Speaker 1: be like having I'm sure that they were having a
• 6:13
  Speaker 1: thought with what my mom is extremely Catholic, so I'm
• 6:17
  Speaker 1: sure when she saw Laura Cross she was like, Oh,
• 6:19
  Speaker 1: we're gonna she's fully video game girl. Oh yeah, yeah.
• 6:23
  Speaker 1: She actually is a thirty six double D, which they
• 6:26
  Speaker 1: made Angelina. They didn't even they made her like a
• 6:29
  Speaker 1: thirty six D because they were like, we can't make
• 6:31
  Speaker 1: it anymore. So people start, yeah, frightfully huge. I would
• 6:37
  Speaker 1: love it if she used her tips to knock people out.
• 6:40
  Speaker 1: That would be so into it that robot. Guys, you
• 6:44
  Speaker 1: know who loves doom Writer. Jimmy part I does want
• 6:50
  Speaker 1: to make more money from Jimmy Parto. Yea thousands of
• 6:53
  Speaker 1: dollars by now, Jimmy Parto is ragging up up. He
• 6:56
  Speaker 1: didn't give us the problem with Jimmy Parto. He did
• 6:58
  Speaker 1: not give us a cap of how many times we
• 7:00
  Speaker 1: could say it. So when we say it in unison
• 7:05
  Speaker 1: and actually it's hundred dollars, it's crazy. And if we
• 7:09
  Speaker 1: sing it, he's in trouble. I saw tumb Writer this morning.
• 7:14
  Speaker 1: It's weird. It's like one of those movies where it
• 7:15
  Speaker 1: came out in oh one and so it's like something
• 7:18
  Speaker 1: I've been familiar. I wasn't old enough to see it
• 7:20
  Speaker 1: when it came out for sure, And I also just
• 7:22
  Speaker 1: like didn't grow up with video games in really any way,
• 7:25
  Speaker 1: so I just was peripherally aware of it my whole life.
• 7:28
  Speaker 1: I do know that I've seen some sort of like
• 7:31
  Speaker 1: you know, and I feel like we come up across
• 7:33
  Speaker 1: this a lot in our podcast is like sort of
• 7:35
  Speaker 1: like corporate feminist articles about like nine reasons why a
• 7:39
  Speaker 1: Laura Croft is a feminist icon when you're just like yours,
• 7:43
  Speaker 1: like probably I'm going to hazard a guess and say
• 7:45
  Speaker 1: it's a no. But I had seen a lot about it,
• 7:49
  Speaker 1: but I didn't know. I didn't know this was a
• 7:51
  Speaker 1: movie about the Illuminati. Pretty blatant opening, yeah, like a
• 7:56
  Speaker 1: pretty pretty like hardcore education and Illuminati base. I really
• 8:01
  Speaker 1: was not familiar with that term until I think Jay
• 8:03
  Speaker 1: Z referenced it, you know, maybe five years ago. I
• 8:06
  Speaker 1: didn't know it was a thing so illuminati before it
• 8:08
  Speaker 1: was hot. Well, I was reading Bragg, the Da Vinci
• 8:12
  Speaker 1: Code and the whatever other Angels, Yes, bitch, and Illuminati
• 8:20
  Speaker 1: is prominently featured in those narratives, so I already knew
• 8:24
  Speaker 1: about it there. I knew. I I do remember I
• 8:27
  Speaker 1: did read that was like one of those things that
• 8:29
  Speaker 1: you would just everyone. You had to read it, whether
• 8:32
  Speaker 1: you felt attached to it in anyway. We had like
• 8:35
  Speaker 1: a family copy of the da Vinci Code had to
• 8:38
  Speaker 1: get her. I got it like last It was dirty.
• 8:41
  Speaker 1: It was covered in you know, like cheeto dust, and
• 8:44
  Speaker 1: I was like, oh, I guess I've got to read
• 8:45
  Speaker 1: the da Vinci Code now. And then that horrible movie
• 8:48
  Speaker 1: came out where Alfred Millina isn't it? Is he really Bina?
• 8:52
  Speaker 1: Isn't it? Yeah? And the priest whips himself and you're like, oh, wow,
• 8:57
  Speaker 1: that's all I remember about the movie. Alfred Billina, isn't it?
• 8:58
  Speaker 1: Priest weeps himself? Tom Hanks uh in it? No? Or
• 9:02
  Speaker 1: is that Angels? Indean? I think? And he plays he's
• 9:05
  Speaker 1: in both. He plays the guy whose name will never know?
• 9:09
  Speaker 1: Dan Brown probably yeah. Dan Brown was like, what if
• 9:12
  Speaker 1: I was cool? Robert Langley? Is that it? I don't know?
• 9:16
  Speaker 1: And you literally knew the whole time, And he just said,
• 9:20
  Speaker 1: I don't know. I do that all the time, or
• 9:22
  Speaker 1: I might not even be in right now. And then
• 9:23
  Speaker 1: I name an extremely specific fact like where was he
• 9:27
  Speaker 1: last night? Was he had this address? I'm just hazarding
• 9:29
  Speaker 1: a guess. Sure, I was going to say I didn't
• 9:32
  Speaker 1: see this movie when it came out. I think I
• 9:34
  Speaker 1: was telling K this came out the same year as
• 9:36
  Speaker 1: nine eleven, and I just was like, I'm I'm busy.
• 9:39
  Speaker 1: There was other things going on, what time of year,
• 9:44
  Speaker 1: and so I didn't see this. I also, it was
• 9:46
  Speaker 1: a time when I was like, I was in middle
• 9:48
  Speaker 1: school and my family had moved me to Texas, and
• 9:51
  Speaker 1: so I just was not I don't know, I was
• 9:53
  Speaker 1: not watching a woman like kicking ass and some paroids.
• 9:57
  Speaker 1: This was this was pre nine eleven. It was June, okay,
• 10:02
  Speaker 1: so it was Yeah. I wouldn't have seen it in
• 10:04
  Speaker 1: theaters anyways, but I didn't catch it at the Blockbuster
• 10:07
  Speaker 1: because of nine eleven. So it's so interesting. We have
• 10:10
  Speaker 1: done sort of a weird amount of movies that came
• 10:12
  Speaker 1: out right before, and I left Shrek being the most
• 10:16
  Speaker 1: prominent of like, wow, truly the last stand of innocence.
• 10:20
  Speaker 1: We got Shrek and then the whole fucking world fell
• 10:22
  Speaker 1: Apart draw your conclusions, but yeah, yeah, I I didn't
• 10:27
  Speaker 1: see this movie when KY. Also didn't see Shrek when
• 10:29
  Speaker 1: it came out because my parents were But I did
• 10:31
  Speaker 1: see the Master of Disguise when it came out, So
• 10:33
  Speaker 1: it's not that we had good taste, it's just that
• 10:35
  Speaker 1: we had twenty dollars. When we had twenty dollars, Yeah,
• 10:39
  Speaker 1: like if we had disposable income that month, then we
• 10:41
  Speaker 1: would see whatever garbage pile was currently in theaters. I
• 10:46
  Speaker 1: first saw lower Craft Tumbat not when it came out either,
• 10:50
  Speaker 1: but I think shortly after that, so I didn't see
• 10:52
  Speaker 1: in the theater, but I want to say I probably
• 10:53
  Speaker 1: saw it within the next year of it being out,
• 10:55
  Speaker 1: but I only saw that once, so I didn't remember
• 10:57
  Speaker 1: it that well, except for the only thing that I
• 11:01
  Speaker 1: remember is her being in a towel and the scene
• 11:05
  Speaker 1: in the movie taking it off and then you're seeing her.
• 11:09
  Speaker 1: That was the one thing I remember about it until
• 11:11
  Speaker 1: I rewatched it the other day. I think that speaks
• 11:14
  Speaker 1: to a lot about what this movie, what message it's
• 11:18
  Speaker 1: sending before we dive into because this is like, this
• 11:21
  Speaker 1: is sort of like an interesting thing for us in
• 11:24
  Speaker 1: a number of ways where I think we figured out
• 11:26
  Speaker 1: before we started that this is the first video game
• 11:29
  Speaker 1: to movie adaptation we've done on the podcast that we
• 11:32
  Speaker 1: can think of. It's also actually played Heather's the video
• 11:36
  Speaker 1: game a lot. So that was well. I played the
• 11:39
  Speaker 1: great gad. If you guys want to have a silent Hill,
• 11:44
  Speaker 1: you can talk about Silent Hill. Silent Hill would be
• 11:47
  Speaker 1: a really interesting one. I haven't seen the nurses are
• 11:50
  Speaker 1: like murders. That game terrified me. But yeah, silent Hill,
• 11:54
  Speaker 1: Silent Hill, that would be an interest. Yeah. Woof, it's rough,
• 11:58
  Speaker 1: it's really rough. But this is the first video game
• 12:01
  Speaker 1: adaptation that I think we've done on the show. And
• 12:02
  Speaker 1: it's also there's a number of scenes in this movie
• 12:06
  Speaker 1: that I would be interested to see the script for
• 12:08
  Speaker 1: this movie because there's the first scene of this movie,
• 12:11
  Speaker 1: and then I'll let you get into the recap. The
• 12:13
  Speaker 1: first scene of this movie, I think on paper would
• 12:15
  Speaker 1: look pretty much fine. Where the first scene in this movie,
• 12:19
  Speaker 1: Larcroft is fighting a robot. There's a bunch of fancy
• 12:23
  Speaker 1: you know, she wins, you know, it's it's an action scene,
• 12:26
  Speaker 1: and she wins. But then every other part of the
• 12:30
  Speaker 1: movie makes it so that she's like a sexual object
• 12:33
  Speaker 1: from the way it's filmed. The way this movie treats
• 12:37
  Speaker 1: her body in frame is extremely you know, objectified. There's
• 12:41
  Speaker 1: also and I feel like this is kind of a
• 12:43
  Speaker 1: carryover from video games, and literally anyone correct me, because
• 12:46
  Speaker 1: I don't know a lot about video games. But there's
• 12:49
  Speaker 1: so many like action sequences in this movie where you
• 12:53
  Speaker 1: hear it almost sounds like the same three like vocal
• 12:56
  Speaker 1: reactions over and over where she's like ah ah, she's
• 13:00
  Speaker 1: making fight sex is mid orgasm both and like how
• 13:05
  Speaker 1: she's vocalizing things and what she looks like and her
• 13:09
  Speaker 1: face look content like she just orgasm. And then the
• 13:13
  Speaker 1: I don't know if the cost I mean the costumes
• 13:15
  Speaker 1: sort of is built into the adaptation, but it's like,
• 13:17
  Speaker 1: you know, certainly not. She's not really protected in any
• 13:21
  Speaker 1: way that we can see. So it was just like
• 13:23
  Speaker 1: from the get go, it's like, Okay, here is in
• 13:26
  Speaker 1: theory a character that looks capable on paper, and the
• 13:30
  Speaker 1: movie is actively basically working against it, which I think
• 13:33
  Speaker 1: is something that we see in Transformers as well. Angelina
• 13:37
  Speaker 1: Jolie actually didn't want to wear the shorts, she said that,
• 13:41
  Speaker 1: but then she knew that it would make the fans happy,
• 13:43
  Speaker 1: so she wore the little tiny shorts, the lower cropt shorts,
• 13:46
  Speaker 1: but you can see she switched out of them a
• 13:48
  Speaker 1: couple of times. Yeah. When pants, Yeah, it's like whenever
• 13:52
  Speaker 1: she's got sensible pants, and I was like, she still
• 13:54
  Speaker 1: looks hot, like it's not it's not like she looks
• 13:57
  Speaker 1: like ship now like Angela and Jelli can wear cargo pants.
• 14:01
  Speaker 1: She's also wearing like these this weird like gravity reversing
• 14:05
  Speaker 1: bro throughout the entire movie, where like it just like
• 14:11
  Speaker 1: to heaven. Yeah, it's Illuminati to the light. Okay, So
• 14:17
  Speaker 1: I'll do the recap and then we have a lot
• 14:19
  Speaker 1: to talk about after that. So Laura Craft to is
• 14:23
  Speaker 1: about Laura Craft. She is a rich lady Laura or
• 14:29
  Speaker 1: Laura Laura, Lara, Laura, Laura Craft. It's that was where's
• 14:38
  Speaker 1: mines like Spanish Laura Croft La. I'm just gonna say
• 14:44
  Speaker 1: Laura Laura. I don't know, it'll go. I'll say whatever. Craft.
• 14:52
  Speaker 1: There's a very there's a transatlantic vague accent that continues
• 14:56
  Speaker 1: through this movie. We don't know, we don't know. So
• 14:59
  Speaker 1: Lara Croft has an ancient tomb in her house and
• 15:03
  Speaker 1: she's fighting a robot in it. So we learned, Okay,
• 15:06
  Speaker 1: she's like she does stuff with tombs. Maybe she's even
• 15:09
  Speaker 1: a tomb writer, dare we say? Dare we say? So
• 15:13
  Speaker 1: we meet her and established that fact about her. Meanwhile,
• 15:16
  Speaker 1: there's this guy named Manfred and he and his Illuminati
• 15:20
  Speaker 1: friends are looking for again classic they're looking for a
• 15:25
  Speaker 1: key that when put in a certain place at a
• 15:27
  Speaker 1: certain time, in that certain time being the alignment of
• 15:30
  Speaker 1: all nine planets, which is also known as a total
• 15:34
  Speaker 1: solar eclipse. I thought you were going to say a
• 15:36
  Speaker 1: total lie. Total line has very strong videas about the planet.
• 15:44
  Speaker 1: That scene was so crazy of just like there's a
• 15:48
  Speaker 1: lot of parts in this movie that you're like, Oh,
• 15:50
  Speaker 1: that's fucking lazy, but that's oh my gosh, is like
• 15:53
  Speaker 1: a row of old white men in ornate chairs, and
• 15:56
  Speaker 1: they're like, this is the exposition for the scene. The
• 15:59
  Speaker 1: planets five thousand years, one week. It must happen now.
• 16:03
  Speaker 1: I was like, who are you, Like, what is this? Yeah,
• 16:07
  Speaker 1: so this event only happens once every five thousand years,
• 16:10
  Speaker 1: and if they put the key in the right place
• 16:12
  Speaker 1: at the right time, they'll find this triangle artifact things
• 16:16
  Speaker 1: that will enable them to control time. The stakes are
• 16:21
  Speaker 1: high and everyone wants this. Who's the actor playing the
• 16:23
  Speaker 1: bad guy. His name is Ian's Something. He's from. He's
• 16:28
  Speaker 1: in Game of Thrones. He hangs out with the dragon
• 16:31
  Speaker 1: his name is whatever, denarest targarian. There you go again,
• 16:35
  Speaker 1: you did it again? Whatever. I don't know. Her name
• 16:38
  Speaker 1: is Robert Langley. I love that. Angelina Jolie was British,
• 16:46
  Speaker 1: British and quotes whatever that acts it was. But Daniel
• 16:50
  Speaker 1: Craig was American. Why doing the worst American accent I've
• 16:55
  Speaker 1: ever heard. He was all over the place. I hope
• 16:58
  Speaker 1: they were just trolling each other, like seeing how awful
• 17:00
  Speaker 1: they could do it. They're like, let's see if anyone
• 17:04
  Speaker 1: notices if we do the worst job. It's not okay, Sorry,
• 17:08
  Speaker 1: it's not Robert Langley's Robert Langdon. So I didn't even
• 17:12
  Speaker 1: know Rogdon wasn't Langdon. Yeah, well I was by making
• 17:18
  Speaker 1: fun of you, thank you so much. So back to
• 17:25
  Speaker 1: she has a dead dad and she really misses classic
• 17:29
  Speaker 1: classic love when the daddy's dead. So she's all like, Daddy,
• 17:33
  Speaker 1: I miss you. Meanwhile, the planetary alignment starts happening, and
• 17:37
  Speaker 1: she finds this clock in her house that apparently her
• 17:40
  Speaker 1: dad left behind, and it starts taking and inside of
• 17:43
  Speaker 1: it is the key that's going to unlock the location
• 17:47
  Speaker 1: of the triangle that controls time. So of course Daniel
• 17:51
  Speaker 1: Craig shows up. He and her are like kind of
• 17:54
  Speaker 1: rival tomb raiders, but there's also maybe some like sexual
• 17:58
  Speaker 1: tension there, we don't know. So then some bad guys
• 18:01
  Speaker 1: come and steal the key. She figures out some information
• 18:05
  Speaker 1: that her dad left behind again about where to go
• 18:08
  Speaker 1: and find a triangle, because the triangle was broken into
• 18:11
  Speaker 1: two pieces and they have to find both pieces and
• 18:13
  Speaker 1: reunite them. So could I just talk about that plot
• 18:17
  Speaker 1: for a second, because Okay, so she has one piece
• 18:21
  Speaker 1: and they won't work unless you have both pieces, but
• 18:24
  Speaker 1: yet she wants to destroy them. Like I was reading
• 18:27
  Speaker 1: in the trivia and it was like goof, you know how,
• 18:29
  Speaker 1: like sometimes in IMDb it will be like movie Goof,
• 18:31
  Speaker 1: but it was the entire plot. It was like a
• 18:33
  Speaker 1: movie Goof. She's trying to combine the two pieces, but
• 18:36
  Speaker 1: she wants to destroy them so no one can get
• 18:38
  Speaker 1: their hands on time right to make change. They're like,
• 18:41
  Speaker 1: she could have just destroyed the first one and end
• 18:44
  Speaker 1: up movie and that's it and nobody would have access
• 18:47
  Speaker 1: to be able to control time. She could have just
• 18:48
  Speaker 1: destroyed it this but instead she's like, we have to
• 18:51
  Speaker 1: go find this other Plevie Goof is the whole plot
• 18:54
  Speaker 1: feels so dumb I did that did not even occur
• 18:57
  Speaker 1: to me. Yeah, this movie could have been twenty minutes
• 18:59
  Speaker 1: short her and it should have been a minute shorter.
• 19:02
  Speaker 1: It could have been like a whole hour shorter, like
• 19:04
  Speaker 1: once she finds the first piece, so they go to
• 19:06
  Speaker 1: Cambodia and I find the first piece, But yeah, she
• 19:08
  Speaker 1: could have just been like destroyed it and then nobody
• 19:10
  Speaker 1: would have been able to funk with time exactly. Well,
• 19:12
  Speaker 1: but yeah, it's when they made a second one. So
• 19:21
  Speaker 1: it's the second one about the alumni to like, No,
• 19:23
  Speaker 1: I just watched it for the first time last night. Yes, um,
• 19:27
  Speaker 1: it's about they find this orb which allows them to
• 19:31
  Speaker 1: find Pandora's Box, which inside of it is like I
• 19:35
  Speaker 1: guess I don't even know for something about who knows
• 19:38
  Speaker 1: it's down this hell. Watching this movie made me want
• 19:40
  Speaker 1: to watch National Treasure Yet, where the major plot point
• 19:44
  Speaker 1: is daylight saving. Still. I saw that movie and I
• 19:46
  Speaker 1: was like eleven, and I was like, this is fucking dumb.
• 19:50
  Speaker 1: They're like, no, actually we have forty five minutes more
• 19:53
  Speaker 1: because Benjamin Franklin and Ben It was just like, are
• 19:56
  Speaker 1: you fucking kidding me? That's how we're getting out of
• 19:59
  Speaker 1: the add movie. This movie made me want to watch
• 20:02
  Speaker 1: Writers of the Lost Dark, which you talk about later on,
• 20:05
  Speaker 1: but I'll get there. So they find the first half
• 20:07
  Speaker 1: of the triangle in Cambodia, and then they go to
• 20:09
  Speaker 1: like Siberia somewhere in Russia. They go and find the
• 20:15
  Speaker 1: other half of the triangle. They reunite it. There's all
• 20:18
  Speaker 1: the bad guys they illuminatties there and then she is
• 20:21
  Speaker 1: the first one to like unite the two halves together,
• 20:24
  Speaker 1: and she's able to talk to her dad for like
• 20:26
  Speaker 1: two to seconds and then he's like her dad, you know,
• 20:31
  Speaker 1: it's so funny. It looks kind of good. And I
• 20:33
  Speaker 1: was like, yeah, but in the picture of him, it
• 20:35
  Speaker 1: did it Like I saw on her desk. There was
• 20:38
  Speaker 1: like a picture of him, and I was like, there's
• 20:40
  Speaker 1: no way that man would have someone this hot. And
• 20:41
  Speaker 1: then I was like, oh, that's her real dad. I
• 20:44
  Speaker 1: was like, oh, that's her real dad. He looked like
• 20:46
  Speaker 1: kind of like no, I don't know. I I think
• 20:48
  Speaker 1: if John Void is like so old that he couldn't look.
• 20:51
  Speaker 1: But I guess, you know, two one, he looked fine, Well,
• 20:53
  Speaker 1: he's in your treasure. I think the first movie I
• 20:58
  Speaker 1: saw him in as a young man was Midnight Cowboy,
• 21:01
  Speaker 1: where he goes and basically he's a sex worker in
• 21:04
  Speaker 1: New York City. He looks like in so many movies though,
• 21:07
  Speaker 1: Where It Holes is another movie where John John boyit
• 21:10
  Speaker 1: looks like trash the whole time. I guess I'm more
• 21:13
  Speaker 1: familiar with his character actor later days. He's very good
• 21:16
  Speaker 1: in holes. I love holes. I love holes. Okay, that's
• 21:20
  Speaker 1: quite right. So basically, she gets to reunite with her
• 21:23
  Speaker 1: dad for like a few moments in this weird like
• 21:25
  Speaker 1: spacetime thing that happens because she has the triangle. But
• 21:28
  Speaker 1: then she's like, you're right, I have to like destroy
• 21:30
  Speaker 1: it because it can't fall into the wrong hands. Blah
• 21:32
  Speaker 1: blah blah. So then she destroys the triangle and that's
• 21:36
  Speaker 1: pretty much the end of the movie. She staves the
• 21:38
  Speaker 1: day and everything's fine. Now that is the story of Laura.
• 21:43
  Speaker 1: I want to stay with with the spinning sun planet
• 21:46
  Speaker 1: thing that was happening in the end, just the first
• 21:49
  Speaker 1: guy that got crushed for no reason that he literally
• 21:53
  Speaker 1: could have just jumped off of it and he just
• 21:55
  Speaker 1: like his spine was snapped. It was like so many
• 21:59
  Speaker 1: scenes like where I was like, this is so dumb,
• 22:02
  Speaker 1: Like I get that it's supposed to be high stakes,
• 22:04
  Speaker 1: but it didn't feel high stakes at all. I genuinely
• 22:07
  Speaker 1: did gasp when Daniel Craig got knife, but she didn't.
• 22:12
  Speaker 1: She didn't feel ship. She didn't she didn't react at all,
• 22:16
  Speaker 1: and then she just jumped into the pool. I was like,
• 22:18
  Speaker 1: what is the move here? He's he died? He like
• 22:21
  Speaker 1: you saw him die and then get hit by a
• 22:23
  Speaker 1: second thing there. I love that scene with her, with
• 22:26
  Speaker 1: with watching the man get knife and she stood there emotionless.
• 22:30
  Speaker 1: I love them, like do you guys like each other?
• 22:32
  Speaker 1: Like what? This might be a good transition into one
• 22:35
  Speaker 1: of the talking points I have, which is that she
• 22:37
  Speaker 1: doesn't really have a personality as a character to like
• 22:41
  Speaker 1: she doesn't react. We don't see her really reacting too
• 22:44
  Speaker 1: much of anything. We don't see any glimpses of her
• 22:49
  Speaker 1: having a personality, Like she's just sort of like, yeah,
• 22:53
  Speaker 1: I'm interested to talk about that because it's I think
• 22:55
  Speaker 1: some of it is like lazy, awful screenwriting, where really
• 22:58
  Speaker 1: the only thing we know about out her is that
• 23:01
  Speaker 1: she misses Daddy and that's why she does what she
• 23:04
  Speaker 1: does in life, and that's her central motivation for literally
• 23:07
  Speaker 1: everything is Daddy, which is like fuck fine. And then
• 23:11
  Speaker 1: the other thing is I'm like curious about Like adapting
• 23:15
  Speaker 1: a video game character must be kind of challenging because
• 23:18
  Speaker 1: you're playing as her right in the day game, So
• 23:21
  Speaker 1: there's like an avatar basically, right, and there's so many
• 23:25
  Speaker 1: like protagonists avatars that I feel like are kind of
• 23:27
  Speaker 1: hollow in terms of personality because you're supposed to be
• 23:29
  Speaker 1: plugging yourself in. But if you're adapting dating, you gotta
• 23:33
  Speaker 1: day something, try harder. You can't just be like, let's
• 23:37
  Speaker 1: make the clothes tighter and hope no one notice, right, Yeah,
• 23:40
  Speaker 1: that's because that's I mean, I would love to play
• 23:43
  Speaker 1: a game where we go around the room and try
• 23:44
  Speaker 1: to describe her personality, because I mean, she had an attitude.
• 23:50
  Speaker 1: My kind of a saucy minx is the best way
• 23:53
  Speaker 1: I could describe, I think. But even then, like I
• 23:56
  Speaker 1: feel like there's just there's just not much there. So
• 23:59
  Speaker 1: you have a protect with like no personality who's just
• 24:02
  Speaker 1: sort of going through the motions of the story. I mean,
• 24:04
  Speaker 1: feel free to disagree with you. I think that she
• 24:07
  Speaker 1: I like the fact that she didn't give a shit
• 24:08
  Speaker 1: about anyone, Like she wants what she wants and she
• 24:10
  Speaker 1: doesn't care about anyone around her. So I did like
• 24:14
  Speaker 1: that aspect of it and probably related to it, where
• 24:17
  Speaker 1: like men are telling her what to do and she's like, no, no,
• 24:20
  Speaker 1: I'm not gonna do it, no thanks. So I did
• 24:22
  Speaker 1: like that. I did realize that she actually I don't think,
• 24:25
  Speaker 1: and I'm sure someone can correct me if I'm wrong.
• 24:27
  Speaker 1: I don't think she speaks to a single other woman.
• 24:30
  Speaker 1: She speaks to a little girl, but she doesn't speak
• 24:33
  Speaker 1: to a single other woman, which is insane. There were
• 24:35
  Speaker 1: no women. It's crazy in the whole movie. I remember
• 24:39
  Speaker 1: how we don't exist in this planet. In this video game,
• 24:42
  Speaker 1: there's one the crazy Verston movie version of New York
• 24:45
  Speaker 1: where only white people are there. It's like the crazy
• 24:48
  Speaker 1: like this is like the action movie world where there's
• 24:50
  Speaker 1: exactly one woman and she's very hot. That's just so yeah,
• 24:55
  Speaker 1: like a parallel universe, and it's crazy because it's like,
• 24:57
  Speaker 1: I don't you know if we saw if any of
• 24:59
  Speaker 1: us saw the movie when it came out, that probably
• 25:01
  Speaker 1: wouldn't register as like, oh, there is not another moment
• 25:06
  Speaker 1: because we're so used to seeing movies almost entirely populated
• 25:09
  Speaker 1: by men, so we're like, yeah, this is just how
• 25:12
  Speaker 1: movies are. I also like the fact that she didn't
• 25:14
  Speaker 1: really have a love interest. You know, she kissed not
• 25:18
  Speaker 1: really Daniel Craig, like she's trying to save his life
• 25:20
  Speaker 1: and a sense can you give someone mouth to mouth
• 25:27
  Speaker 1: underwater in the movies? I'm like, aren't you pushing carbon
• 25:30
  Speaker 1: dioxide and his mouth and not oxygen? Are you killing him?
• 25:35
  Speaker 1: I was also I was like, is this mouth to
• 25:37
  Speaker 1: mouth or are they kissing? Like I did not goodbye? No,
• 25:42
  Speaker 1: But yeah, So I like the fact that they didn't.
• 25:44
  Speaker 1: I thought that that was semi progressive for two thousand
• 25:47
  Speaker 1: and one, that she didn't have some guy she was
• 25:49
  Speaker 1: fawning over. I also made note of that, and I
• 25:51
  Speaker 1: appreciated that there wasn't some like romantic subplot. Yeah, but yeah,
• 25:55
  Speaker 1: I guess maybe I didn't mind her action sequences. Actually
• 25:59
  Speaker 1: like that a lot. I know that they did make
• 26:01
  Speaker 1: her heavily sexual well, and obviously by pattying her tits
• 26:05
  Speaker 1: so much that I do wish that she was able
• 26:07
  Speaker 1: to use them in combat, But I understand maybe this
• 26:10
  Speaker 1: new one weaponize the tits. Yeah, yeah, like one thing
• 26:14
  Speaker 1: that they do at the beginning and the end, because
• 26:16
  Speaker 1: the last also the last mini sequence of the movie.
• 26:20
  Speaker 1: I also was just like, whoa, what is happening here?
• 26:23
  Speaker 1: Something that happens at the beginning of the end of
• 26:24
  Speaker 1: the movie where it's some one of the guys who
• 26:26
  Speaker 1: like lives at her house and is one of her servants.
• 26:28
  Speaker 1: You know, she comes down, she's nude, and she's walking
• 26:31
  Speaker 1: around nude in front of her employees, which is like
• 26:33
  Speaker 1: is this ethical? But whatever, she's walking around nude and
• 26:36
  Speaker 1: he's like, you know, you're not being much of a
• 26:38
  Speaker 1: lady or whatever, like we need you to be a lady,
• 26:41
  Speaker 1: and then she's like yeah, yeah, yeah, And then a
• 26:45
  Speaker 1: lady should be modest, and she's like a lady should
• 26:48
  Speaker 1: be modest. She's like yeah. She's like sometimes it feels
• 26:50
  Speaker 1: good to be bad, and you're just like whatever, right,
• 26:54
  Speaker 1: And then that comes back at the end. We're in
• 26:57
  Speaker 1: the last scene of the movie. She is dressed like
• 27:01
  Speaker 1: quote unquote late Sunday brunch. Yeah, like she has a
• 27:05
  Speaker 1: sun hat and a white dress and she goes down
• 27:07
  Speaker 1: and the same guy is like, oh, she's a lady,
• 27:12
  Speaker 1: which nothing in the movie would really lead you to
• 27:14
  Speaker 1: be like and now she's a lady, but she randomly is.
• 27:17
  Speaker 1: And then she goes down pays homage to her actual
• 27:21
  Speaker 1: daddy's grave, and then goes back upstairs and they're like,
• 27:26
  Speaker 1: time to fight another rope. They take a picture of
• 27:29
  Speaker 1: her because she's a lady, right, and then they're like,
• 27:32
  Speaker 1: time to fight another robot. I'm like, is this just
• 27:35
  Speaker 1: First of all, I would hazard to guess the scene
• 27:37
  Speaker 1: is just bad and stupid, but the subtext of it
• 27:41
  Speaker 1: is like you can be forced into a role you
• 27:44
  Speaker 1: don't want and fight a robot Like that wrung a
• 27:48
  Speaker 1: little hollow for me. I'm like, oh, I can also
• 27:50
  Speaker 1: shoot people in a sun hat, can do it in
• 27:55
  Speaker 1: a dress. Looks like it was from Forever one. It
• 27:58
  Speaker 1: was not address I don't know. I did notice that
• 28:02
  Speaker 1: the screenplay it was build like a woman was build
• 28:05
  Speaker 1: at the top, and then it was like two male
• 28:07
  Speaker 1: writers underneath, so like three people wrote this, but they
• 28:11
  Speaker 1: made sure to put the woman first, like it's her fault.
• 28:15
  Speaker 1: We've got yeah, yeah, i'ven thinking that, Yeah, let's implicate
• 28:19
  Speaker 1: her in this screenwriting crime. We've got three story by credits,
• 28:23
  Speaker 1: which are Sarah B. Cooper, Mike Werb and Michael. And
• 28:30
  Speaker 1: then we've got a writing credit for the adaptation from
• 28:33
  Speaker 1: Simon West, who was also the director of the movie.
• 28:35
  Speaker 1: And then we've got two screenplayed by credits from Patrick
• 28:38
  Speaker 1: Massett and John So this Ma and Jimmy as the end.
• 28:45
  Speaker 1: As most movies, if you stay to the end of
• 28:47
  Speaker 1: the credits, will think, I mean, well, so this is
• 28:51
  Speaker 1: an example of a movie with a female protagonist but
• 28:55
  Speaker 1: made almost entirely by men. So it's gonna be coming
• 28:58
  Speaker 1: from a man's first active in terms of like writer, director,
• 29:02
  Speaker 1: and all of that stuff, except for one story by
• 29:04
  Speaker 1: credit from a woman. But men are largely responsible for
• 29:07
  Speaker 1: crafting the story of Craft and we see hints of
• 29:12
  Speaker 1: that all throughout the movie, especially, I mean we already
• 29:14
  Speaker 1: touched on this, but like Laura Croft's character is its
• 29:20
  Speaker 1: hyper sexualized, like from minute one, even like you said,
• 29:24
  Speaker 1: the scene where she's fighting the robot in the verious
• 29:25
  Speaker 1: first sequence, on paper, that's probably a fine scene, but
• 29:30
  Speaker 1: when we see it realized on screen, you see her
• 29:33
  Speaker 1: in her outfit, which is this tiny little tank top
• 29:36
  Speaker 1: and her giant pointy boobs that like, if you're doing that,
• 29:42
  Speaker 1: you would be wearing a sport s bra you're not
• 29:43
  Speaker 1: going to be wearing this like bra that like makes
• 29:45
  Speaker 1: your I don't know, sorry to body a big women,
• 29:49
  Speaker 1: but like it just is so unpractical that the tiny
• 29:51
  Speaker 1: tiny shorts that she's wearing like these giant combat boots,
• 29:54
  Speaker 1: and then like just the framing of how the framing
• 29:57
  Speaker 1: male gaze, shots of her hips, shots of her ass.
• 30:00
  Speaker 1: Like there's a point where like she's sitting on the
• 30:02
  Speaker 1: ground and then she spreads her legs and then like
• 30:04
  Speaker 1: the robot like hand comes down and smashes in between
• 30:07
  Speaker 1: her legs. Just to even like make the male gaze
• 30:11
  Speaker 1: thing more egregious, there's a number of action scenes where
• 30:14
  Speaker 1: Laura Croft, I mean she is doing things once you
• 30:18
  Speaker 1: know that whole scene where she's just like on a
• 30:19
  Speaker 1: log and everyone's like, whoa, she's on that swing and
• 30:24
  Speaker 1: the swing dog has to poke something and then the
• 30:26
  Speaker 1: illuminatis released wasn't totally true what's happening there, But she's
• 30:30
  Speaker 1: on the log and there, but there's like action scenes
• 30:32
  Speaker 1: where she's surrounded by men who are just kind of
• 30:36
  Speaker 1: watching literally the male gaze. I'm just like, well, where
• 30:39
  Speaker 1: it's that action thing that we come up with again
• 30:41
  Speaker 1: and again we'll reference that mixed me use the article
• 30:43
  Speaker 1: again where it's like, anytime a woman does something that
• 30:47
  Speaker 1: implies that she's capable in an action way, cut to
• 30:50
  Speaker 1: a shot of a man being like, what she can do?
• 30:55
  Speaker 1: The thing like that? That shot happens for I some
• 31:00
  Speaker 1: times in this totally well also because I mean, her
• 31:03
  Speaker 1: choreography is like sexualized. Also, like she's doing a lot
• 31:06
  Speaker 1: of like flips and like you wouldn't see a male
• 31:09
  Speaker 1: action hero fight the same way as you see her,
• 31:12
  Speaker 1: Like men are just like flipping around and like being
• 31:15
  Speaker 1: all like willowy and writhing the way that she is,
• 31:18
  Speaker 1: and a lot of her fight choreography. So I feel
• 31:21
  Speaker 1: like there's this idea in Hollywood that action movies are
• 31:24
  Speaker 1: for men, and men aren't gonna want to see an
• 31:27
  Speaker 1: action movie that's starring a woman unless she's hyper sexualized
• 31:31
  Speaker 1: and she like looks like a supermodel basically. So that
• 31:34
  Speaker 1: was this idea that this movie for sure perpetuates, one
• 31:38
  Speaker 1: that sends a message to women that's basically like, oh,
• 31:40
  Speaker 1: if you want to do anything physical, you have to
• 31:42
  Speaker 1: look like your mid orgasm. Sorry, you have to be
• 31:46
  Speaker 1: as hell. But I feel like she's I mean, aside
• 31:54
  Speaker 1: from this character Angelina Jolie herself is hyper sexualized most
• 31:58
  Speaker 1: of her roles, especially at this time, but then in general,
• 32:04
  Speaker 1: her action in Mr. And Mrs Smith it's all sexual branded.
• 32:08
  Speaker 1: That's like a heavily sexual tension where she met her
• 32:12
  Speaker 1: husband that was someone else's husband. But sorry, Jennifer, that's okay,
• 32:18
  Speaker 1: life happened. They're hanging out again. Are they really good
• 32:22
  Speaker 1: for them? You know whatever? But yeah, I mean, I
• 32:25
  Speaker 1: don't know. I want to know how she felt about it. Yeah,
• 32:29
  Speaker 1: that would be an interesting conversation, is like how she felt,
• 32:33
  Speaker 1: because I feel she probably was okay with a lot
• 32:36
  Speaker 1: of it, But I don't know. I guess I'm making
• 32:38
  Speaker 1: that assumption because she seems to have taken a lot
• 32:41
  Speaker 1: of roles like that. That's true. Well, I mean not
• 32:44
  Speaker 1: to say that it's irrelevant how she feels about it,
• 32:46
  Speaker 1: but I think more importantly just the fact that we're seeing,
• 32:50
  Speaker 1: like we're making all these movies geared towards usually young,
• 32:53
  Speaker 1: impressionable audiences, and they're like hyper sexualized portrayals of women
• 32:58
  Speaker 1: where it's like, oh, like, look at how like I
• 33:01
  Speaker 1: saw the Drumanji reboot movie, and I think there is
• 33:05
  Speaker 1: a few illusions that I think are direct references to
• 33:09
  Speaker 1: Lata Croft tomb Writer, really, where whenever the one character
• 33:14
  Speaker 1: ends up in the Avatar that Karen Gillen plays, she
• 33:18
  Speaker 1: ends up in this very similar outfit. Short shorts, big boots,
• 33:21
  Speaker 1: and then like a tiny tank top and she's getting
• 33:23
  Speaker 1: like bitten by mosquitoes and stuff like that. She's like, what,
• 33:25
  Speaker 1: like what is this outfit? Like are you kidding me?
• 33:26
  Speaker 1: Like this is so impractical? I think that's and then
• 33:32
  Speaker 1: her skill, her special skill in the in the game Drumanji,
• 33:36
  Speaker 1: is that she's great at dance fighting, which I think
• 33:38
  Speaker 1: is an allusion to either this movie or just this
• 33:41
  Speaker 1: type of movie where the female action star is like this,
• 33:45
  Speaker 1: like I said, like a willowy, super agile. So that's okay.
• 33:48
  Speaker 1: So that brings me to another thing that I another
• 33:50
  Speaker 1: scene that I was just like, what the funk are
• 33:52
  Speaker 1: we looking at right here? When she is like in
• 33:54
  Speaker 1: her pajamas, these like billowing, flowy pajamas, they are purposefully
• 33:59
  Speaker 1: not buttoned the whole way, and then she's attached to
• 34:03
  Speaker 1: this like bungee cord set up and she's just like
• 34:06
  Speaker 1: kind of bunging around her living room. And then I'm like, okay,
• 34:10
  Speaker 1: what is this for what is she doing? Is this exercise?
• 34:13
  Speaker 1: Is this maybe to help with her I loved that
• 34:16
  Speaker 1: whatever that was. That was like I want, I want
• 34:18
  Speaker 1: to do that. It looks fun, but like is it
• 34:21
  Speaker 1: serving the story at all? No? But then I was like, Okay,
• 34:24
  Speaker 1: maybe it's helping with her agility. And then it got
• 34:27
  Speaker 1: me thinking that female action stars like this have to
• 34:31
  Speaker 1: be agile, like that's their thing, so like they can't
• 34:35
  Speaker 1: be like their male counterparts. They're male action stars. They
• 34:39
  Speaker 1: can be like tough and brutish and just like kind
• 34:41
  Speaker 1: of sloppy, and they don't have to be these like
• 34:43
  Speaker 1: super graceful, super agile. They're like dirty, gritty, Yeah, exactly,
• 34:48
  Speaker 1: not manicured. But a female action star has to still
• 34:51
  Speaker 1: be And maybe I think this is like changing a
• 34:54
  Speaker 1: little bit in the Hollywood landscape. But for sure, at
• 34:57
  Speaker 1: this time, like it was just like, well, no one's
• 34:58
  Speaker 1: gonna want to see this unless is like perfectly flipping
• 35:01
  Speaker 1: around and like being super delicate and agile. This is
• 35:05
  Speaker 1: a lot of like Bush era ship. Yeah of like
• 35:08
  Speaker 1: and and it does feel ultimately a little bit like
• 35:11
  Speaker 1: I hope that some women got something empowering out of
• 35:14
  Speaker 1: this movie, but Ultimately, it just feels kind of counterproductive totally,
• 35:19
  Speaker 1: Like this is the sort of thing that any number
• 35:21
  Speaker 1: of crummy ex boyfriends I've had would point to and
• 35:24
  Speaker 1: be like, what do you mean There's no representation in
• 35:26
  Speaker 1: movies feminist icon right, So so ultimately I do feel
• 35:33
  Speaker 1: like it is it kind of like gives crummy dude
• 35:36
  Speaker 1: something to point to to be like, what what do
• 35:38
  Speaker 1: you mean? Like women are underrepresented. Here's this woman who
• 35:41
  Speaker 1: has never existed. Well yeah, well so the video game
• 35:45
  Speaker 1: I mean was obviously I made with the intent of
• 35:49
  Speaker 1: young men, you know, wanting, well, why would a young
• 35:52
  Speaker 1: guy want to play a woman? Well, we're going to
• 35:54
  Speaker 1: make her with huge tits and then that might be
• 35:56
  Speaker 1: fun for them to play with. But it was also
• 35:59
  Speaker 1: kind of fired by James Bond, and I think if
• 36:02
  Speaker 1: they had approached it more in that way. Not saying
• 36:05
  Speaker 1: that she's the same as that character, but I agree
• 36:08
  Speaker 1: that so much of her is shot from the male gaze,
• 36:10
  Speaker 1: and James Bond is able to sleep with like multiple women,
• 36:13
  Speaker 1: and we see his body and things like that. But
• 36:15
  Speaker 1: yet it's not in a demeaning way. It's in a
• 36:18
  Speaker 1: power power Yes, Wow, look how fucking cool he is
• 36:23
  Speaker 1: what's the things I noticed with this? Okay, there is
• 36:26
  Speaker 1: a totally Kuko bananas Angelina Jolie shower scene and that's
• 36:32
  Speaker 1: from the video game. Yes, yeah, who in their life
• 36:35
  Speaker 1: has ever flipped their hair in the shower? But my
• 36:39
  Speaker 1: favorite thing this is like the us in movies all
• 36:41
  Speaker 1: the time where the hot protagonist stares into their shower spot.
• 36:47
  Speaker 1: This looks so uncomfortable. Who's looking into their like washed
• 36:52
  Speaker 1: me daddy, Like it's so fucking weird my eyes. Yeah,
• 36:58
  Speaker 1: that shower scene is from SO and I think it
• 37:01
  Speaker 1: might be a tiny bit more graphic in the video game,
• 37:03
  Speaker 1: and so they toned it down. And the only thing
• 37:06
  Speaker 1: that they could show in this was her side boob.
• 37:08
  Speaker 1: But she does have killer side crap. Mine is so
• 37:14
  Speaker 1: not as perky compared to that. I've got a weird
• 37:17
  Speaker 1: texture to the side. It's the whole thing. You've got
• 37:20
  Speaker 1: to arrange it just so. Yeah, the shower scene did
• 37:24
  Speaker 1: make me laugh out like l O L. Well, yeah,
• 37:28
  Speaker 1: I mean it's her a close up of her head,
• 37:31
  Speaker 1: but she's like again mid orgasm where she's just like
• 37:34
  Speaker 1: throwing her head back and like staring into hot water,
• 37:38
  Speaker 1: writhing around in the shower. No one showers like that.
• 37:41
  Speaker 1: You spend yourselone there. I would say, if you had
• 37:46
  Speaker 1: video footage of anyone showering alone, it would be some
• 37:49
  Speaker 1: of the most humbling thing you ever see. I'm like, oh,
• 37:52
  Speaker 1: sudsing with their pubes makes sense, not fun to watch,
• 37:55
  Speaker 1: but makes sense. Being crying. She does that bumbling despot
• 38:01
  Speaker 1: like horrible. She does that thing where she has her
• 38:05
  Speaker 1: head down and then she flips it up and all
• 38:07
  Speaker 1: her hair comes flipping, and I've never done in my life.
• 38:12
  Speaker 1: No one ever held the purpose be you'd make a mess, right,
• 38:15
  Speaker 1: So that scene happens, and then she steps out of
• 38:17
  Speaker 1: the shower and she's in this tiny little towel, which
• 38:20
  Speaker 1: and she's not a lady, right yes, so her get
• 38:22
  Speaker 1: out of the bathroom per her. Her butler is named Hilary,
• 38:30
  Speaker 1: but he's a man and progressive. I'm a cycon, remember
• 38:37
  Speaker 1: Ashley Parker, Angel of Otez. Progressive and a three name
• 38:43
  Speaker 1: to boo. Yeah, I love a good three name. So
• 38:46
  Speaker 1: she comes into the shower, she's in this tiny towel.
• 38:49
  Speaker 1: The butler holds up a dress in this para right heeled,
• 38:52
  Speaker 1: and she's like, no dresses and heels for me, and
• 38:57
  Speaker 1: he's like, I'm only trying to turn you into a lady,
• 38:59
  Speaker 1: and she flings her towel off, and that's when you
• 39:02
  Speaker 1: see the famous side boob and then and then he
• 39:04
  Speaker 1: does the whole thing where we talked about where he's like,
• 39:06
  Speaker 1: I'm just trying to he's like, a ladies should be modest,
• 39:08
  Speaker 1: and she's like, yes, a lady should be implying she's
• 39:12
  Speaker 1: not a lady. She's not like the other girls. She's
• 39:14
  Speaker 1: a little bit different. She wears combat boots and she
• 39:16
  Speaker 1: drives a jeep and she fights robots. Fine, if you're
• 39:20
  Speaker 1: not conforming to this like standard. But then she's also
• 39:22
  Speaker 1: agreeing that, yes, ladies should be a certain way. I mean,
• 39:26
  Speaker 1: this is dumb. This is of like a throwaway moment,
• 39:28
  Speaker 1: but it's just like I feel like the movie's trying
• 39:30
  Speaker 1: to comment on like gender and gender roles, but like
• 39:33
  Speaker 1: it doesn't. You don't get to do that and then
• 39:35
  Speaker 1: also sexualize your main character in an insane way. But
• 39:41
  Speaker 1: the reason I brought up the shower scenes because we
• 39:43
  Speaker 1: do later and I was sort of like, I don't
• 39:46
  Speaker 1: know what I would call that. We do get it,
• 39:49
  Speaker 1: not quite as agreed, just but we do get adower
• 39:52
  Speaker 1: scene and uh and a little bit of commentary on
• 39:55
  Speaker 1: his full frontal, which I think is the only other
• 39:58
  Speaker 1: time we see a shot of just still a woman
• 40:00
  Speaker 1: when he answers the door and then a woman is
• 40:02
  Speaker 1: straight up horrified at whatever gnar old situation Daniel Craig
• 40:08
  Speaker 1: has going on, because I've never like, who would see
• 40:10
  Speaker 1: Daniel Craig nude and be like, oh, like, what was terrified?
• 40:15
  Speaker 1: What did she see down there? It was? It was
• 40:18
  Speaker 1: I mean, I just think just opening the door on
• 40:19
  Speaker 1: a naked man is gonna shock anyone who's not I mean,
• 40:22
  Speaker 1: but are you going to be are you screaming hat
• 40:25
  Speaker 1: off and running away? You'd be like, okay, when you're
• 40:27
  Speaker 1: not expecting a penis, I would probably scream. You know,
• 40:32
  Speaker 1: you know, we've all had the unexpected penis, so so
• 40:36
  Speaker 1: I would probably. I think it's not that unusual of
• 40:39
  Speaker 1: a reaction for her. But the point is so that
• 40:41
  Speaker 1: in that scene, yeah, you do see like a good
• 40:43
  Speaker 1: chunk of his naked body pretty much everything besides Dick
• 40:46
  Speaker 1: in the scene, but he's not framed in the same
• 40:48
  Speaker 1: way Angela Jolie is, where she's just like writhing around
• 40:52
  Speaker 1: and like I'm having an orgasm in the shower. So
• 40:58
  Speaker 1: the way men and women are framed in this movie
• 41:01
  Speaker 1: and many many action movies is very differently. And I
• 41:03
  Speaker 1: actually wanted to go back to Danny something that you
• 41:06
  Speaker 1: were kind of touching on, which is that Danny just
• 41:08
  Speaker 1: took a swig of Celsius Celsius sparkling wildberry. Get it
• 41:14
  Speaker 1: at Vitamin Shop, g n C Whole Foods and Airjan
• 41:17
  Speaker 1: and Jenny Carters refrigerator. On your way there. They're on
• 41:21
  Speaker 1: an episode of Playing Games with Jimmy Carter. There's only
• 41:25
  Speaker 1: six episodes. He needs your support. Yeah, so I think
• 41:29
  Speaker 1: you can make the argument that men are also to
• 41:32
  Speaker 1: some degree sexualized in action movies, like male action heroes
• 41:37
  Speaker 1: are different. Yeah. Well, I mean I'm gonna just sort
• 41:42
  Speaker 1: of like play devils advocate here and say that they're
• 41:45
  Speaker 1: often like very muscular, very macho, sort of this like
• 41:48
  Speaker 1: ideal standard of masculinity you see there, like glistening muscles
• 41:53
  Speaker 1: a lot of the time. But it's it is not
• 41:55
  Speaker 1: the same. I think they're sexy, they're not sexualized. I
• 41:58
  Speaker 1: think they're sexy because they're bachelor's. If we're talking about
• 42:01
  Speaker 1: Bruce Wayne or Clark Kent to them. It's like they
• 42:04
  Speaker 1: have to be muscular for their job because they're saving
• 42:06
  Speaker 1: the world, but they're not shown in a way that
• 42:10
  Speaker 1: is hyper sexualized the way that women are. And I
• 42:12
  Speaker 1: also think that both male and female action heroes of
• 42:16
  Speaker 1: this era, at least they're sexualized in different ways, but
• 42:19
  Speaker 1: for the same audience. There it's both for men. The
• 42:22
  Speaker 1: way that Laura Craft is sexualized is for a male
• 42:25
  Speaker 1: audience and and the same way that James Bond would
• 42:28
  Speaker 1: be sexualized in a different way for that same male audience. Yeah,
• 42:31
  Speaker 1: it's basically like, Oh, here's this like ideal that I
• 42:34
  Speaker 1: want to strive to be when it's a male action hero,
• 42:38
  Speaker 1: and then when it's a female action hero, it's still like, oh,
• 42:40
  Speaker 1: here's this woman I want to conquer and make my
• 42:43
  Speaker 1: conquest and not actually like identify with even though she's
• 42:46
  Speaker 1: the hero. Story. Yeah, I think that male superheroes are
• 42:50
  Speaker 1: kind of more what I see as like athletes, where
• 42:52
  Speaker 1: athletes are sexy, they have great bodies, but they're not
• 42:55
  Speaker 1: as hyper sexualized the way that I think female superhero are.
• 42:59
  Speaker 1: Superheroes are quotes because I feel like most of the
• 43:02
  Speaker 1: women in this era, we're not really seen as superheroes
• 43:04
  Speaker 1: as much as like Catwoman, Poison Ivy things like that
• 43:07
  Speaker 1: were like villains ish where they're super sexual totally to
• 43:11
  Speaker 1: the point where they're basically like handicapped, just like Catwoman
• 43:15
  Speaker 1: is so horny she can't really she cannot do anything well.
• 43:20
  Speaker 1: And and here's the thing, though, is that they use
• 43:22
  Speaker 1: the superheroes themselves, Like if we're talking about let's say
• 43:25
  Speaker 1: Bruce Wayne Batman, like they don't use their sexuality as
• 43:30
  Speaker 1: you know what I mean, Like they're so women are
• 43:32
  Speaker 1: using their sexuality as weapon. So that is showing how
• 43:35
  Speaker 1: they're different as far as how they're written and their purpose,
• 43:39
  Speaker 1: which doesn't necessarily happen that much in this movie. But
• 43:43
  Speaker 1: in The Tomb Writer's sequel, there's a scene where she
• 43:46
  Speaker 1: like is basically seducing Gerard Butler. They kiss, and then
• 43:50
  Speaker 1: it's basically to distract him so that she can handcuff
• 43:53
  Speaker 1: him to like a railing so that he doesn't run
• 43:56
  Speaker 1: off and do something stupid. There is a perfect example
• 43:59
  Speaker 1: of like women using like women action heroes using their
• 44:01
  Speaker 1: sexuality as like a weapon. Almost there's a scene that's
• 44:06
  Speaker 1: like sort of like that again, It's like I feel
• 44:08
  Speaker 1: like Laura both doesn't have much of an interest in
• 44:11
  Speaker 1: a romantic conquest, and also it's just kind of an
• 44:14
  Speaker 1: underwritten character in general, so it's hard to know what
• 44:16
  Speaker 1: she feels a lot of the time. But there's a
• 44:18
  Speaker 1: scene where she's with Manfred Powell, feminist icon Manfred Powell,
• 44:24
  Speaker 1: and he's based there in a cave of some sorty
• 44:26
  Speaker 1: he's threatening to kill her, but it's very set. It's
• 44:28
  Speaker 1: like there's one scene where it's particularly sexy where he's like,
• 44:33
  Speaker 1: I'm going to kill you and she's like, I don't
• 44:34
  Speaker 1: know what to believe. And then he's like I knew
• 44:36
  Speaker 1: you're daddy, and she's like what, And that's when he's
• 44:40
  Speaker 1: like he was in the Illuminati and she's like, no,
• 44:44
  Speaker 1: he couldn't be. That's the other thing I wanted her.
• 44:49
  Speaker 1: Even her voice is like this, like sultry like, but
• 44:53
  Speaker 1: that's also angel but she doesn't have to talk like that.
• 44:57
  Speaker 1: I've seen her in other movies where she's not being
• 44:59
  Speaker 1: all like, hello, this is I'm Lara Kraft. But that's
• 45:04
  Speaker 1: like but I think that's like a conversation of because
• 45:06
  Speaker 1: to me, I don't know, it doesn't bother me as
• 45:08
  Speaker 1: much because I feel like I feel really conflicted. Like
• 45:12
  Speaker 1: if I were in a superhero movie, I would want
• 45:14
  Speaker 1: to be sexy as fuck. I want to like crush
• 45:17
  Speaker 1: someone with my ass, but like also people respect me.
• 45:21
  Speaker 1: Like I feel like we're in an air where like, yeah,
• 45:24
  Speaker 1: I want to be able to do what the guys do.
• 45:26
  Speaker 1: I want to be James Bond and fucking like Fux
• 45:28
  Speaker 1: some guy and be like Sia, you know, and like
• 45:31
  Speaker 1: hop into my helicopter and leave him a basket or
• 45:33
  Speaker 1: whatever a Rod does to the women days, leave him
• 45:37
  Speaker 1: a basket or whatever. Like I want to do that.
• 45:40
  Speaker 1: So I want to be as sexually progressive as the men.
• 45:43
  Speaker 1: But then I want to be respected. And that's that's
• 45:46
  Speaker 1: an issue where people still respect people like James Bond
• 45:48
  Speaker 1: or Bruce Wayne who Fox Chicks and then leaves, but
• 45:52
  Speaker 1: yet we're not respected as as women much of the time.
• 45:54
  Speaker 1: There's no way they could have done that with wonder woman,
• 45:56
  Speaker 1: you know what I mean, and showing her in that
• 45:58
  Speaker 1: way where she's just like sucking a bunch of guys.
• 46:00
  Speaker 1: I mean, they could have, but it would have been received. Yeah,
• 46:04
  Speaker 1: she has to be extremely classy. She has to be
• 46:07
  Speaker 1: like a mother essentially, she's like the mother of Earth
• 46:11
  Speaker 1: in a way that her counterparts in the Justice League
• 46:13
  Speaker 1: are not where Jason Momoa and Bruce Wayne and people
• 46:17
  Speaker 1: like that, where they're kind of like yeah, chicks, you
• 46:19
  Speaker 1: know whatever, and she has to be like super classy. Well,
• 46:22
  Speaker 1: I think so we might get there. It's too early
• 46:25
  Speaker 1: right now in the Hollywood landscape to have a like
• 46:28
  Speaker 1: a female action sorthing like that, right, but so I think, like,
• 46:32
  Speaker 1: I think we just need to. Yeah, I like an
• 46:34
  Speaker 1: action hero, a superhero who's a woman. I think can
• 46:37
  Speaker 1: be sexy without being sexualized the way we were talking
• 46:40
  Speaker 1: about how they frame male action heroes where they're like
• 46:43
  Speaker 1: the buff Like you've got your John mcclean's and your
• 46:45
  Speaker 1: James Bonds and you're like all the superheroes who are
• 46:48
  Speaker 1: like muscular and sexy, but they're not framed in a
• 46:51
  Speaker 1: way that's hyper sexualizing them. So I think, like we
• 46:53
  Speaker 1: just it's not hard to do that with women either.
• 46:56
  Speaker 1: Like we have Jessica Jones, who I feel like it
• 46:58
  Speaker 1: is a very conflict did you know? It shows her
• 47:01
  Speaker 1: dealing with mental illness and alcoholism and things like that.
• 47:05
  Speaker 1: So we do have her, and she's she I'd like
• 47:09
  Speaker 1: the fact that she's not one dimensional, and she's not
• 47:11
  Speaker 1: very sexualized, even though she does have sex. She has
• 47:13
  Speaker 1: sex with Luke Cage that they show, but and probably
• 47:16
  Speaker 1: other people. So I will say that they are working
• 47:19
  Speaker 1: towards that where we do have flawed female characters that
• 47:23
  Speaker 1: don't have to be, you know, as classy and put
• 47:26
  Speaker 1: together as Diana Prince, but not enough, not enough, not yet.
• 47:30
  Speaker 1: And I do think that I do think that the
• 47:32
  Speaker 1: cinemamatography of this movie works against its protagonist totally quite
• 47:37
  Speaker 1: a bit. And I looked it up. You're not gonna
• 47:39
  Speaker 1: be shocked. Man was the cinematographer for this movie. Also
• 47:42
  Speaker 1: has done die Hard, with a Vengeance, The Incredible Hulk,
• 47:46
  Speaker 1: the most recent Why Uh, and then Clash of the Titans.
• 47:48
  Speaker 1: So it's like this, this is not even a cinematographer
• 47:51
  Speaker 1: who doesn't know what cinematography on an action movie should
• 47:55
  Speaker 1: look like. But because it's a female protagonist, there are
• 47:59
  Speaker 1: times where there is action happening, but we're looking at
• 48:02
  Speaker 1: an ass. It's just like, it's great that the ass
• 48:05
  Speaker 1: is there. It's not even that I don't want to
• 48:07
  Speaker 1: see the ass. But when someone's getting stabbed, show me
• 48:10
  Speaker 1: the person getting fucking stabbed. That's just how a movie
• 48:12
  Speaker 1: should look. Well, I think it goes back to the
• 48:14
  Speaker 1: fact that there's an assumption I think still that only
• 48:18
  Speaker 1: men like action movies, So if there is going to
• 48:20
  Speaker 1: be a female hero, then they're going to have to
• 48:22
  Speaker 1: cater to that male audience. But that's like, first of
• 48:25
  Speaker 1: all ludicrous because guess what, I'm a woman and I
• 48:28
  Speaker 1: love action movies. So the fact that like there's this
• 48:31
  Speaker 1: assumption that like, oh, well, we can't have like a
• 48:33
  Speaker 1: female action star. That's just like, you know, a normal
• 48:36
  Speaker 1: woman who we aren't showing her ass and tit's the
• 48:38
  Speaker 1: entire movie, like we have to cater to this male audience.
• 48:42
  Speaker 1: With the new one that's coming out with Alicia, and
• 48:47
  Speaker 1: I noticed that they didn't bump up her tips to
• 48:50
  Speaker 1: thirty six double D, so that's progress. I mean they
• 48:54
  Speaker 1: let her have her her body, her body. It's very
• 48:57
  Speaker 1: much about her own body. Um, which is fine, you
• 49:00
  Speaker 1: know either way, But I mean, like they let her, yeah,
• 49:04
  Speaker 1: have her body, is what I meant. So if you
• 49:06
  Speaker 1: have thirty six double ds, I'm very jealous, and I
• 49:08
  Speaker 1: think you should be in a superhero movie. But I
• 49:10
  Speaker 1: don't know if that's the only representation. I was watching
• 49:14
  Speaker 1: the trailers, and it seems as though the framing in
• 49:17
  Speaker 1: the cinematography and stuff like that doesn't seem to be
• 49:20
  Speaker 1: as through the lens of the male gaze as much,
• 49:23
  Speaker 1: or maybe not even at all. It's going to be
• 49:25
  Speaker 1: hard to tell exactly until you see the whole movie,
• 49:27
  Speaker 1: but to me, it seems as though it's a little
• 49:30
  Speaker 1: bit more respectful of its female heron, which is then
• 49:34
  Speaker 1: I hope it is. That would be awesome. She also
• 49:37
  Speaker 1: looks like she's like five too, so I'm like, she's
• 49:39
  Speaker 1: so scrappy, yeah, and I just want to see her like, yeah,
• 49:43
  Speaker 1: like using like a shard of glass to stab someone
• 49:46
  Speaker 1: in the in the neck or something, which is like what, Yeah,
• 49:48
  Speaker 1: what I want to see, Like I hate that there's
• 49:50
  Speaker 1: that whole stupid like dance fighting thing that has to
• 49:52
  Speaker 1: happen in this two thousand one tomb rater, which is
• 49:56
  Speaker 1: what I think what that Jumanji references to, where she's
• 49:58
  Speaker 1: like she's good at dance fighting because she has to
• 50:00
  Speaker 1: be super dancy and sexy and her fight choreography, where
• 50:04
  Speaker 1: like I think this new tomb Writer is we're going
• 50:07
  Speaker 1: to see her be a bit more scrappy and sloppy
• 50:09
  Speaker 1: because like, I think this one is setting up that
• 50:11
  Speaker 1: she's not already an adventurer. Like she finds information from
• 50:15
  Speaker 1: that her dead dad left behind, so she doesn't have
• 50:18
  Speaker 1: a dead but like she's like, we're gonna go on it,
• 50:20
  Speaker 1: like she hasn't she's not yet an adventure seeker. So
• 50:24
  Speaker 1: I think it's going to be like a like a
• 50:25
  Speaker 1: made hero type of story. That's cool. Yeah, I didn't
• 50:29
  Speaker 1: mind how like Lada was set up in this movie
• 50:33
  Speaker 1: where it's like, oh, she's already done ship. She has
• 50:35
  Speaker 1: what she's doing. I'm not exactly sure what she's done
• 50:38
  Speaker 1: or why, but it's clear she's done ship. She's got
• 50:41
  Speaker 1: bungee cords in her house, she's shooting robots and sex stuff.
• 50:45
  Speaker 1: I was like, Okay, she's got some sort of established something.
• 50:48
  Speaker 1: But actually I have a good point about that. Get
• 50:51
  Speaker 1: ready brag? Okay, So Laura Croft Tomb Writer is very
• 50:58
  Speaker 1: similar in story structure to Writers of the Lost Arc,
• 51:01
  Speaker 1: the first Indiana Jones movie. I'll just kind of go
• 51:04
  Speaker 1: quickly through the main story beats of both, and that
• 51:07
  Speaker 1: they both have an opening sequence where we meet the
• 51:09
  Speaker 1: hero and learn that they do shit in tombs because
• 51:13
  Speaker 1: they are archaeologists. I guess we for sure know that
• 51:16
  Speaker 1: about Indiana Jones. We're not so sure about what Laura
• 51:18
  Speaker 1: crofts credentials are. They both have a bad guy who
• 51:21
  Speaker 1: has their hearts set on acquiring an artifact that will
• 51:24
  Speaker 1: allow them to wield tremendous supernatural power. We see the
• 51:27
  Speaker 1: hero get their hands on a round medallion type object
• 51:32
  Speaker 1: that will lead them to said artifact, and that they
• 51:35
  Speaker 1: Medalian adjacent Medalia adjacent, and then they seek to The
• 51:39
  Speaker 1: hero seeks to destroy it so that the bad guys
• 51:42
  Speaker 1: can't get their hands on it and abuse this power.
• 51:44
  Speaker 1: The hero and the bad guys both travel to a
• 51:46
  Speaker 1: different country to use the medallion key thing to figure
• 51:50
  Speaker 1: out where the artifact is, and then the bad guys
• 51:53
  Speaker 1: exploit the locals to do a lot of the heavy
• 51:55
  Speaker 1: lifting in terms of trying to figure out where this
• 51:58
  Speaker 1: thing is. Happens in both movies. Then the round key
• 52:01
  Speaker 1: medallion thing has to be in a certain place at
• 52:04
  Speaker 1: a certain time to show them where the artifact is,
• 52:07
  Speaker 1: and then the hero and the bad guys come in
• 52:09
  Speaker 1: contact with each other, they find either all or part
• 52:12
  Speaker 1: of the artifact, depending on which movie we're talking about.
• 52:15
  Speaker 1: There's some scary things that happen to the hero that
• 52:17
  Speaker 1: they have to fight off, either snakes or statues that
• 52:20
  Speaker 1: come to life. Um, we forgot about that. And then finally,
• 52:24
  Speaker 1: in both movies, the hero and the bad guys travel
• 52:27
  Speaker 1: to a second location, either to perform a ritual with
• 52:31
  Speaker 1: with the artifact or to find the other half of
• 52:34
  Speaker 1: the artifact, and then basically they both end with the
• 52:37
  Speaker 1: hero either destroying or getting the artifact away from the
• 52:42
  Speaker 1: bad guys and them saving the day and winning. So
• 52:45
  Speaker 1: very similar movies in terms of storage structure. However, there's well,
• 52:48
  Speaker 1: there's a few key differences, and that Indiana Jones is
• 52:51
  Speaker 1: not hyper sexualized the way that is there. Indiana Jones
• 52:56
  Speaker 1: is a good movie. And Indiana Jones is able to
• 52:59
  Speaker 1: find stuff or figure out a lot of this stuff
• 53:02
  Speaker 1: for himself, either because he like already has the knowledge
• 53:05
  Speaker 1: to get him to the next step, or he just
• 53:08
  Speaker 1: does the work himself to figure out the next clue
• 53:10
  Speaker 1: or to find the next thing. Whereas Laura Croft gets
• 53:14
  Speaker 1: a lot of help and it's usually from men because
• 53:18
  Speaker 1: she's never met a woman before. She never I think
• 53:21
  Speaker 1: that would be interesting, that would be kind of how
• 53:23
  Speaker 1: I would judge her characters, how she treats other women. Yeah,
• 53:26
  Speaker 1: so would she be one of the people that's like,
• 53:28
  Speaker 1: I'm not like the other girls, you know? Yeah guy girl? Yeah, yeah,
• 53:33
  Speaker 1: I mean she does. She doesn't even well, don't you
• 53:36
  Speaker 1: don't know, she's never met a woman, but we don't know. Yeah,
• 53:38
  Speaker 1: we don't know if she would be all like these dudes.
• 53:42
  Speaker 1: She might not even know that other women have Well,
• 53:45
  Speaker 1: she knows that she had a mom because she never
• 53:47
  Speaker 1: met her mom. Yeah, she's her dad and her mom
• 53:51
  Speaker 1: are dead, but she does not give a funk about
• 53:53
  Speaker 1: her dead mom. She only cares about her dead dad.
• 53:56
  Speaker 1: And I guess you could argue like she didn't know
• 53:58
  Speaker 1: her she didn't remember her mom. But even so, like
• 54:00
  Speaker 1: her dad, it seems died when she was a child,
• 54:03
  Speaker 1: and I understand like still being hung up about it,
• 54:06
  Speaker 1: but it's basically her main character trait. And this is like,
• 54:09
  Speaker 1: what else is about? Why don't you care about knowing
• 54:13
  Speaker 1: anything about your dead mom? I returned. There's a few
• 54:15
  Speaker 1: other movies that we have come across where there's a
• 54:18
  Speaker 1: young female protagonist where that is the main the family
• 54:20
  Speaker 1: of the opera. The main thing we know about Christine
• 54:23
  Speaker 1: Die is that her dad died and it's because of
• 54:26
  Speaker 1: that she actively self sabotages her own life and ends
• 54:30
  Speaker 1: up making out with Gerard Butler, who looks like shit.
• 54:34
  Speaker 1: And now and there's there's another one. I'll all of
• 54:37
  Speaker 1: my Disney movies are dead, mom, but um, I have
• 54:42
  Speaker 1: to please or save my dad, which is Beauty and
• 54:45
  Speaker 1: the Beast, the Little Burmaid, Aladdin, and that kind of
• 54:49
  Speaker 1: brings me to the climactic scene of this movie. It
• 54:52
  Speaker 1: is I thought, great that at no point in this
• 54:55
  Speaker 1: movie that I could identify like Laura is never damseled.
• 54:59
  Speaker 1: She always does save herself, sometimes with help. She's never
• 55:02
  Speaker 1: met a woman before. That's all interesting, and she even
• 55:05
  Speaker 1: has to she ends up saving Daniel Craig, right, and
• 55:09
  Speaker 1: there's that that that reverse that was like, okay, that
• 55:12
  Speaker 1: that is good. That is to an extent progressive. But
• 55:15
  Speaker 1: all the steaks in the climactic scene for Laura are
• 55:19
  Speaker 1: connected to two male characters, which are her dad and
• 55:22
  Speaker 1: Daniel Craig, who gets straight up knife and she feels
• 55:24
  Speaker 1: nothing where she's like and then she just like she
• 55:29
  Speaker 1: didn't gasp. She was just like, oh, maybe she knows
• 55:32
  Speaker 1: that she's going to be able to reverse time and
• 55:34
  Speaker 1: save him. I think she just was like, you, motherfucker,
• 55:37
  Speaker 1: I gotta do this thing well because the climactic scene
• 55:40
  Speaker 1: she goes into whatever the time whole thing, John Void's there,
• 55:45
  Speaker 1: and instead of we could have had some sort of
• 55:48
  Speaker 1: satisfying character driven moment where we get to know Laura
• 55:52
  Speaker 1: a little better because we don't really know her that well,
• 55:55
  Speaker 1: but instead of her discovering it for herself, John Voight
• 55:59
  Speaker 1: literally livers the lesson to her in the time whole
• 56:03
  Speaker 1: and it's like, you know, some stupid turn of phrase
• 56:07
  Speaker 1: with like you can't steal time, you have to give
• 56:11
  Speaker 1: back time. And then she's like, but Daddy know, and
• 56:14
  Speaker 1: he's like, but Daddy yes, And then they touch fingers
• 56:19
  Speaker 1: and then it's over. And so she's told what the
• 56:22
  Speaker 1: lesson is and then goes back and and executes what
• 56:25
  Speaker 1: she was told by Bye bye Daddy. But it was
• 56:28
  Speaker 1: that was just like one of those little moments where'm like, oh,
• 56:30
  Speaker 1: that's a big missed opportunity where we could have had
• 56:33
  Speaker 1: a moment of seeing her work through an emotional thing,
• 56:37
  Speaker 1: which we haven't seen her do the entire movie. Instead,
• 56:40
  Speaker 1: Daddy does it for her and then she goes back.
• 56:43
  Speaker 1: That's the thing. Anything she learns about the key clock thing,
• 56:47
  Speaker 1: anything she learns about anything else is really information delivered
• 56:51
  Speaker 1: to her or left for her by her dad, or
• 56:54
  Speaker 1: she has to go and consult like one of her
• 56:55
  Speaker 1: dad's old friends. Like you often don't really see her
• 56:59
  Speaker 1: figuring it out for herself. Like she is an active
• 57:02
  Speaker 1: character and that she does drive the story forward. She
• 57:04
  Speaker 1: is making decisions that steer the direction the story takes.
• 57:07
  Speaker 1: But unlike, like I said, Indiana Jones, who already has
• 57:11
  Speaker 1: a lot of this knowledge or is just more active
• 57:13
  Speaker 1: and that he is finding things out for himself, She's
• 57:16
  Speaker 1: getting a lot of the information necessary to push the
• 57:19
  Speaker 1: story forward through someone else. Someone else is giving it
• 57:21
  Speaker 1: to her or helping her in a way that like,
• 57:25
  Speaker 1: I think a male counterpart action hero would not need
• 57:29
  Speaker 1: that much help, So that's frustrating. I don't like when
• 57:33
  Speaker 1: female protagonists are robbed of Catharsis because men can't write movies.
• 57:40
  Speaker 1: Bugs me a lot of them. Yeah, can I just
• 57:43
  Speaker 1: say that there's a character named Bryce, which is Lara
• 57:47
  Speaker 1: Croft's kind of technology. I liked, I kind of liked him.
• 57:51
  Speaker 1: I like him in Paddington too. I'm I'm glad that
• 58:02
  Speaker 1: he skipped this one also, Um, Aristotle gets mentioned in
• 58:06
  Speaker 1: this movie where one of the characters is like, Oh,
• 58:09
  Speaker 1: this thing that only happens every five thousand years, blah
• 58:12
  Speaker 1: blah blah, even predate. So shout out to ast Aristotle. Yea,
• 58:19
  Speaker 1: and our other producer, Jimmy Pardo. Can I just say
• 58:23
  Speaker 1: shout out to Jimmy partout because he does owe us
• 58:26
  Speaker 1: a lot of money? Um? Does anyone have any other
• 58:30
  Speaker 1: final thoughts about Lara Craft tumb Rader. What a classic film.
• 58:35
  Speaker 1: It's timeless, feminist text for sure, feminist masterpiece. Couldn't be
• 58:39
  Speaker 1: not possible without Jimmy Parto. I think that's all I had.
• 58:42
  Speaker 1: I think that's all I had as well. One last
• 58:44
  Speaker 1: thing I wanted to mention is I like how this
• 58:46
  Speaker 1: is one of those movies that anything could only really
• 58:50
  Speaker 1: happen because the character is excessively wealthy, like Bruce Wayne,
• 58:55
  Speaker 1: like Tony Stark, where like they just have a bunch
• 58:58
  Speaker 1: of gadgets and wealth and that enables them to like
• 59:01
  Speaker 1: go on with the adventures you need to go on.
• 59:03
  Speaker 1: The one laugh line for me in this movie, there
• 59:06
  Speaker 1: was like that one part where like the ups guy
• 59:08
  Speaker 1: shows up and her whole house is a mess because
• 59:10
  Speaker 1: she's shot. She killed like twenty people the night before,
• 59:13
  Speaker 1: and she has that line where she's just like I
• 59:15
  Speaker 1: woke up this morning and I just hated it everything.
• 59:18
  Speaker 1: That's like, that's kind of funny. I wrote that down
• 59:21
  Speaker 1: because I feel like that's one of the few times
• 59:24
  Speaker 1: in the entire movie where you see a glimpse of
• 59:26
  Speaker 1: her having a personality, like she had a joke. Other
• 59:29
  Speaker 1: than that, she's just so like, I don't know, stiff
• 59:32
  Speaker 1: and just I mean, maybe that's her personality, but it's
• 59:35
  Speaker 1: just kind of boring to watch her because she's not
• 59:38
  Speaker 1: fun really to see her interacting with people. Like I said,
• 59:42
  Speaker 1: she's kind of a little saucy, and like you said,
• 59:44
  Speaker 1: she's like defiant and that like sometimes men try to
• 59:47
  Speaker 1: get her to do a thing and she's like, no nothings.
• 59:50
  Speaker 1: But other than that, she barely has a personality. And
• 59:54
  Speaker 1: that's why did they go through that weird thing of
• 59:58
  Speaker 1: making her dress like a late at the end. What
• 1:00:00
  Speaker 1: was that commenting on? What was that for? I don't know. Yeah,
• 1:00:04
  Speaker 1: I guess it was something that they wanted to see
• 1:00:07
  Speaker 1: because she's always been I imagine that they kind of
• 1:00:09
  Speaker 1: are her caretakers in the same way that Alfred is
• 1:00:12
  Speaker 1: to Bruce Wayne because her dad died, so maybe her
• 1:00:15
  Speaker 1: butlers were her caretaker daddies. Daddies were so many daddies
• 1:00:21
  Speaker 1: were her like caretakers, and they were like, you're always dirty,
• 1:00:25
  Speaker 1: running off, you know, shooting things, like you're not doing
• 1:00:27
  Speaker 1: anything lady like. So she wore a son hat for
• 1:00:29
  Speaker 1: the daddies. I don't I don't know that that part.
• 1:00:33
  Speaker 1: I was like, but but at the end, it is nice.
• 1:00:35
  Speaker 1: There's so many movies with male and female protagonists where
• 1:00:39
  Speaker 1: they'll go out of the way at the end to
• 1:00:40
  Speaker 1: be like and don't worry they ended up together, because
• 1:00:43
  Speaker 1: I was expecting Daniel Craig to be in that last
• 1:00:46
  Speaker 1: scene of like, I mean, I made you an egg
• 1:00:50
  Speaker 1: or whatever, you know, Like he could have very easily
• 1:00:52
  Speaker 1: been shoehorn into that, and I kind of appreciate that
• 1:00:54
  Speaker 1: he wasn't the same because I don't really care if
• 1:00:56
  Speaker 1: they ended up together. Yeah, I don't think she cared either.
• 1:00:59
  Speaker 1: I don't know if she may sense or mattered. It
• 1:01:01
  Speaker 1: seems like they like from the second they meet, and
• 1:01:04
  Speaker 1: I'm like, oh, these people have weird sex every couple
• 1:01:07
  Speaker 1: of years, and that's okay. Let's figure out whether or
• 1:01:11
  Speaker 1: not the movie passes the Bechtel tests. No, there's one
• 1:01:16
  Speaker 1: scene that's a contender, and it's when they're in Russia
• 1:01:19
  Speaker 1: trying to find the other half of the triangle and
• 1:01:21
  Speaker 1: they're trying to buy these dogs from the locals and
• 1:01:25
  Speaker 1: a young girl comes up to her. They speak Russian
• 1:01:28
  Speaker 1: with no subtitles, so we don't know what they're talking about.
• 1:01:31
  Speaker 1: And that little girl also does not have a name,
• 1:01:34
  Speaker 1: and also might not even be a real girl because
• 1:01:36
  Speaker 1: then she like Lara around and the little girl's actually
• 1:01:41
  Speaker 1: a jasmine flower and she always think it was just
• 1:01:44
  Speaker 1: jasmine I think, But no, that scene didn't because they
• 1:01:49
  Speaker 1: were talking about her dad. We can assume. But it's
• 1:01:52
  Speaker 1: in again, it's in a different language. And that's two
• 1:01:55
  Speaker 1: different girls you're talking about. I was talking. You're talking
• 1:01:59
  Speaker 1: about the one where the little girl is sitting she's
• 1:02:01
  Speaker 1: like sitting down and and yeah, they say something to
• 1:02:04
  Speaker 1: each other and then she picks she like points to
• 1:02:06
  Speaker 1: the flower. Right. There's another scene when they're trying to
• 1:02:09
  Speaker 1: buy the dogs that is subtitled and she says, you're
• 1:02:11
  Speaker 1: making a mistake. Yeah, at least on my TV, it
• 1:02:14
  Speaker 1: was in Russian. Or whatever, and it said, you're making
• 1:02:18
  Speaker 1: a mistake by going back to find him, and she said,
• 1:02:21
  Speaker 1: who are you? Who are you talking about? She said
• 1:02:23
  Speaker 1: your father? Okay, so that definitely, and we don't know
• 1:02:26
  Speaker 1: their names. And then the other little girl that she
• 1:02:29
  Speaker 1: interacts with in Cambodia, I think I don't think they
• 1:02:31
  Speaker 1: actually speak like she she just points. Yeah, so there's
• 1:02:34
  Speaker 1: not even exchange of that. Such an easy thing to do.
• 1:02:37
  Speaker 1: But but there were no women allowed in this movie,
• 1:02:40
  Speaker 1: so it was it was a whole I guess that
• 1:02:43
  Speaker 1: makes me feel good that there are no women in
• 1:02:45
  Speaker 1: the Illuminati. That's true. It's just all men. Yeah. Gosh, well,
• 1:02:53
  Speaker 1: this is certainly a movie that was released there around
• 1:02:56
  Speaker 1: it Actually I think did really well. I was reading
• 1:02:59
  Speaker 1: and it said it was like the highest gross same
• 1:03:02
  Speaker 1: movie with a female protagonist since Aliens. I mean it did, yeah,
• 1:03:06
  Speaker 1: especially when you account for international box office. I think
• 1:03:09
  Speaker 1: it at least doubled its budget. So it did well
• 1:03:12
  Speaker 1: and a lot of people went to see it. But
• 1:03:14
  Speaker 1: it's just that, as we've already discussed, a very convenient
• 1:03:18
  Speaker 1: form of quote unquote empowerment. Right, Oh, I'll play Devil's
• 1:03:23
  Speaker 1: advocate one more, try to pass the back to the test.
• 1:03:26
  Speaker 1: If an unnamed woman screams at Daniel Craig, does that
• 1:03:31
  Speaker 1: interaction pass well? Her in the penis his penis is
• 1:03:37
  Speaker 1: actually identifies as a woman. Yeah, exposed penis. Yeah, but no,
• 1:03:44
  Speaker 1: I do not think the movie passes the backtel tests,
• 1:03:47
  Speaker 1: which it would have been very easy as you have
• 1:03:49
  Speaker 1: a female protagonist. You could have just seen she could
• 1:03:51
  Speaker 1: have had a woman character who lives in the house
• 1:03:54
  Speaker 1: with her and helps out. Like there were several opportunities
• 1:03:58
  Speaker 1: for lazy opportunit. Whatever, we wash our hands of it,
• 1:04:03
  Speaker 1: we hope, we hope for the best for the reboot. Indeed,
• 1:04:07
  Speaker 1: So with that, let's rate the movie on our nipple scale.
• 1:04:11
  Speaker 1: We have a scale of zero to five nipples where
• 1:04:14
  Speaker 1: we rate the movie based on its portrayal of women.
• 1:04:16
  Speaker 1: I think I'm going to give it like a one
• 1:04:19
  Speaker 1: and a half or two. I'll stick with one and
• 1:04:22
  Speaker 1: a half. This movie had a lot of potential. I
• 1:04:25
  Speaker 1: think on paper it was probably a much better version
• 1:04:28
  Speaker 1: than we see on screen because it's a female action
• 1:04:32
  Speaker 1: hero kicking ass and saving the world. Again, when you
• 1:04:36
  Speaker 1: talk about how very rarely do we see women get
• 1:04:39
  Speaker 1: to save the day, like steaks are usually pretty low
• 1:04:42
  Speaker 1: when a woman is the protagonist of a movie. So
• 1:04:45
  Speaker 1: the usually the thing at steak is is she gonna
• 1:04:47
  Speaker 1: get married? Yeah? Is it? Is it? Boy gotta love
• 1:04:50
  Speaker 1: her back? So it's I always like it to see
• 1:04:53
  Speaker 1: when it's like a woman starring in the movie and
• 1:04:56
  Speaker 1: the stakes are high and that she's saving the day,
• 1:04:59
  Speaker 1: but because she is hyper sexualized in a way that
• 1:05:03
  Speaker 1: male action heroes aren't, because she needs a lot of
• 1:05:07
  Speaker 1: help and she isn't as active as she could be,
• 1:05:09
  Speaker 1: and that a lot of information gets handed to her
• 1:05:12
  Speaker 1: rather than her seeking it out herself. Just the fact
• 1:05:14
  Speaker 1: that there are no other women in the entire fucking
• 1:05:17
  Speaker 1: movie the big thing. It's like where I'm gonna say,
• 1:05:22
  Speaker 1: they literally go across the globe and still no women
• 1:05:28
  Speaker 1: this version of the world. Angelina Jilia is the only woman.
• 1:05:31
  Speaker 1: And also there is a rogue woman who will show
• 1:05:33
  Speaker 1: up and scream at Daniel Craig. There's also there's there's
• 1:05:37
  Speaker 1: a scene where she goes into an auction that's happening
• 1:05:40
  Speaker 1: to talk to someone and she sits down and she
• 1:05:44
  Speaker 1: accidentally bids on something, and it's a hilarious joke that
• 1:05:47
  Speaker 1: we all just laugh and we've all been there, We've
• 1:05:49
  Speaker 1: all been. There's an extremely relatable there's another woman who's
• 1:05:56
  Speaker 1: also bidding, So that's another woman we do see in
• 1:06:00
  Speaker 1: the movie, So congratulations, feministize was the same woman, and
• 1:06:05
  Speaker 1: she's just wearing a different disguise each time, like when
• 1:06:10
  Speaker 1: she just has a mustache, and then another she has
• 1:06:12
  Speaker 1: like a top hat, so like ask good or like
• 1:06:17
  Speaker 1: some absurd scarf memoirs. Sorry, that was a Paddington two
• 1:06:22
  Speaker 1: referenced Wait who are you giving your nipples? Um? One
• 1:06:25
  Speaker 1: of them goes to Lara because I think she could
• 1:06:28
  Speaker 1: have been a really great character that could have represented
• 1:06:31
  Speaker 1: women really well. But because this movie was made by
• 1:06:35
  Speaker 1: men four male audience, adapted from a game that was
• 1:06:38
  Speaker 1: targeted towards young boys, it's just catering toward a very
• 1:06:43
  Speaker 1: male audience and therefore it ends up being bad. So
• 1:06:49
  Speaker 1: I feel like she there's a lot of potential. She
• 1:06:51
  Speaker 1: deserved a lot more. So Laura gets one of them,
• 1:06:53
  Speaker 1: and then my half nipple goes to Bryce because he
• 1:06:56
  Speaker 1: was in Paddington too. I'm going to give it one
• 1:07:00
  Speaker 1: and a half as well. There's like a number of
• 1:07:02
  Speaker 1: breakdowns for why this movie doesn't work for me, Like
• 1:07:06
  Speaker 1: it sucks because there are scenes that I could clearly
• 1:07:09
  Speaker 1: see working on paper, and then the active sabotage that
• 1:07:13
  Speaker 1: takes place is in the cinematography and in the editing
• 1:07:16
  Speaker 1: and in the costume design. The costume design where it's
• 1:07:19
  Speaker 1: just like a signal to me of just like, oh,
• 1:07:21
  Speaker 1: we need more women working behind the scenes, and this
• 1:07:24
  Speaker 1: wouldn't be fucking happening because it is a you know,
• 1:07:27
  Speaker 1: vastly male dominated beyond the scene crew. And then there's
• 1:07:30
  Speaker 1: other parts where it's like, well, there is a writing
• 1:07:32
  Speaker 1: breakdown because there is only one female character. So it
• 1:07:36
  Speaker 1: doesn't do it doesn't bode well. I'll give one of
• 1:07:38
  Speaker 1: my nipples to to Laura as well, because I think
• 1:07:40
  Speaker 1: she deserved better. Hopefully she'll get better in the reboot.
• 1:07:45
  Speaker 1: Cautiously optimistic, but we saw what happen with flatliners. She
• 1:07:48
  Speaker 1: can't you can't you never know. Uh, And I'll give
• 1:07:54
  Speaker 1: my I'll give my half nippy to Daniel Craig, but
• 1:07:58
  Speaker 1: when his nippy is stabbed, Okay has stabbed Nippy? Cool? Yeah,
• 1:08:03
  Speaker 1: I just wanted to clarify that, Like, I do feel
• 1:08:07
  Speaker 1: like you can be a superhero and be sexy and
• 1:08:10
  Speaker 1: also have huge tits. I think all those things can happen,
• 1:08:14
  Speaker 1: but I think it was the way that she was
• 1:08:16
  Speaker 1: shown and portrayed in this un whatever. Yeah, yeah, I'm
• 1:08:23
  Speaker 1: afraid I might have come office on perhaps body shamy
• 1:08:27
  Speaker 1: to Angelina Jolie because of her ginomous but I mean,
• 1:08:31
  Speaker 1: but they pad them to be even bigger. That's what
• 1:08:33
  Speaker 1: we're seeing is like, dude, we know you did that
• 1:08:35
  Speaker 1: for the dude, like you you that's the way that
• 1:08:38
  Speaker 1: she was made in this game, and instead with Alicia
• 1:08:41
  Speaker 1: they're kind of keeping that her normal body. And so
• 1:08:45
  Speaker 1: it's just like, you know, when you don't let a
• 1:08:47
  Speaker 1: woman have her own like they didn't do that for
• 1:08:49
  Speaker 1: Wonder Woman. Is what I'm saying, Like, when you're changing
• 1:08:53
  Speaker 1: a sexual part of a woman so that men will
• 1:08:55
  Speaker 1: be more interested in it, I think is what we're
• 1:08:58
  Speaker 1: saying exactly right where it's Angelina and Julie is that
• 1:09:03
  Speaker 1: she doesn't need assistance today looking very hot. But yeah,
• 1:09:08
  Speaker 1: it's all I mean it totally, and just in the
• 1:09:10
  Speaker 1: same way that in Transformers you see Megan Fox and
• 1:09:14
  Speaker 1: it's like, yeah, she's beautiful, that's not the issue. The
• 1:09:18
  Speaker 1: issue is the way that we see her because we're
• 1:09:20
  Speaker 1: seeing her through a male lens and in crops or
• 1:09:24
  Speaker 1: you're dressing them in a way that's unrealistic for fighting crime,
• 1:09:28
  Speaker 1: you know, Like that's that's something that I do like about.
• 1:09:30
  Speaker 1: So they have Captain Marvel is another one that's coming
• 1:09:32
  Speaker 1: out with Bree Larson, and like they just released some
• 1:09:34
  Speaker 1: of her armor and it looks like she's going into battle,
• 1:09:38
  Speaker 1: you know what I mean, it's not like a crop
• 1:09:40
  Speaker 1: top and like this tiny little where she's still hot,
• 1:09:44
  Speaker 1: like shocking. Yeah, yeah, I love that scene in a
• 1:09:47
  Speaker 1: Wonder Woman where she puts on the glasses and at
• 1:09:50
  Speaker 1: a candy's like and suddenly she's not the hottest woman
• 1:09:52
  Speaker 1: you have ever seen in your life. Like they're still
• 1:09:54
  Speaker 1: gonna be fucking gorgeous as ship there millionaire movie model actresses.
• 1:09:59
  Speaker 1: So uh yeah. But I think what we mean is
• 1:10:02
  Speaker 1: when you're altering the way a woman looks so that
• 1:10:04
  Speaker 1: a man will be more interested in the movie, and
• 1:10:07
  Speaker 1: that's highlighting those features of her body. Yeah, pretty much
• 1:10:10
  Speaker 1: exclusively to cater to a male gaze. That is what
• 1:10:14
  Speaker 1: I have a problem with, not her body, And that's
• 1:10:16
  Speaker 1: like just that's how a lot of nineties comic book
• 1:10:19
  Speaker 1: women were drawn with tiny, tiny snatched waist. Yeah, yeah,
• 1:10:26
  Speaker 1: and it's just like showing women with with all body
• 1:10:29
  Speaker 1: sizes would be a lot nicer to me, especially if
• 1:10:32
  Speaker 1: you have superpowers. You don't actually have to be super tiny.
• 1:10:36
  Speaker 1: If you have superpowers, you can do you know, right,
• 1:10:39
  Speaker 1: So honestly, if you can be But that shouldn't be
• 1:10:42
  Speaker 1: the only representation of a superhero woman is. But yeah,
• 1:10:48
  Speaker 1: I guess I would give it two nippies, one to
• 1:10:50
  Speaker 1: Laura Croft because I did think that some of her
• 1:10:53
  Speaker 1: action sequences were kind of badass and she was good
• 1:10:57
  Speaker 1: with guns. Appreciate. And then my other I'm gonna give
• 1:11:02
  Speaker 1: it to you know what. I liked all of the
• 1:11:05
  Speaker 1: Husky Dogs the dogs scene at the end where she
• 1:11:10
  Speaker 1: burst out of the tune with the Husky dogs. That
• 1:11:11
  Speaker 1: was very exciting. Yeah, that was actually really cool. I
• 1:11:14
  Speaker 1: liked that she looked badass when she was in that scene,
• 1:11:18
  Speaker 1: So I'm going to give it to that scene. Yeah. Well, Danny,
• 1:11:21
  Speaker 1: thank you so much for being here. Thank you. Well,
• 1:11:24
  Speaker 1: would you like how can people follow you? What would
• 1:11:27
  Speaker 1: you like to play? Yeah, I'm I'm at Miss Danny
• 1:11:29
  Speaker 1: Fernandez tweet a lot about superhero stuff, so you can
• 1:11:33
  Speaker 1: follow me on there and also anime, which that's a
• 1:11:35
  Speaker 1: whole another thing about representation of women. Um, but some
• 1:11:39
  Speaker 1: of the ones I'm into have really you know, they
• 1:11:41
  Speaker 1: have women as genius scientists and things like that, so
• 1:11:43
  Speaker 1: I love that as well. I am a host over
• 1:11:45
  Speaker 1: at hyper RPG, so you can if you're on Twitch,
• 1:11:48
  Speaker 1: you can check out that. And then my co host,
• 1:11:50
  Speaker 1: Iffy Wadaway and I have a new podcast coming out
• 1:11:53
  Speaker 1: called Nerdificent where we tackle different issues and nerd culture,
• 1:11:57
  Speaker 1: and that's going to be on how stuff works. So yeah,
• 1:12:03
  Speaker 1: oh wait, I did want to say one more thing.
• 1:12:04
  Speaker 1: I want to take my nipple back from Daniel Craig
• 1:12:06
  Speaker 1: and give it to Jimmy part thinking, oh yes, he
• 1:12:08
  Speaker 1: says obviously he's never not fine, he's always playing games.
• 1:12:14
  Speaker 1: You can follow the back to cast on all the platforms.
• 1:12:17
  Speaker 1: You can tweet at us, you can rate and review
• 1:12:20
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• 1:12:22
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• 1:12:24
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• 1:12:27
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• 1:12:31
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• 1:12:34
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• 1:12:36
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• 1:12:39
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• 1:12:42
  Speaker 1: on it. We're gonna see it, I'm gonna see it. Yeah,
• 1:12:44
  Speaker 1: totally all right, by bye,