Latest / The Bechdel Cast / Blade Runner with Hampton Yount

Transcript

Blade Runner with Hampton Yount · The Bechdel Cast

• 0:00
  Speaker 1: On the Bell Cast, the questions asked if movies have
• 0:03
  Speaker 1: women in them? Are all their discussions just boyfriends and husbands?
• 0:07
  Speaker 1: Do they have in individualism the patriarchy? Zef and best
• 0:12
  Speaker 1: start changing it with the Bedel Cast. All right, well,
• 0:16
  Speaker 1: it's the first day after the worst day. Good one,
• 0:20
  Speaker 1: first day after the worst day. It's the Bechdel Cast.
• 0:23
  Speaker 1: My name is Jamie, my Caitlin, And yesterday we tried
• 0:25
  Speaker 1: to stalk Alfred Billina here and then I had a
• 0:29
  Speaker 1: panic attack and Caitlyn got scared and we didn't say hi.
• 0:32
  Speaker 1: But today is another day. And that's not to say
• 0:35
  Speaker 1: that we are going to see alt from Millia today.
• 0:37
  Speaker 1: We're not. We pretty effectively fucking blew that. But all
• 0:42
  Speaker 1: I have to say is the first day after the
• 0:44
  Speaker 1: worst day. It's been in a real twenty four hours.
• 0:47
  Speaker 1: I've actually been reflecting a lot about it. What are
• 0:49
  Speaker 1: you thinking? I have like an hour long conversation last
• 0:52
  Speaker 1: night the dear friend about how you know I can
• 0:54
  Speaker 1: have something four feet away and still not say hey,
• 0:58
  Speaker 1: you're my top Google image start. I wouldn't know they're there.
• 1:03
  Speaker 1: He's right there. If we If you ever do to Molina,
• 1:08
  Speaker 1: don't open with that I'm in pervert there. I'm very
• 1:12
  Speaker 1: sick in the head and I love you. I don't
• 1:15
  Speaker 1: know anyways, So welcome to the Betel Cast. What's it about, right?
• 1:19
  Speaker 1: The portrayal of women in movies, and usually it's not
• 1:22
  Speaker 1: great that one was for women. Our guest hates women.
• 1:30
  Speaker 1: Um credit if you're wondering. If you're wondering what Bechtel cast?
• 1:41
  Speaker 1: What does that mean? It's inspired by the Bechtel test,
• 1:43
  Speaker 1: which requires that a movie has two characters. They're women.
• 1:46
  Speaker 1: They have names. They talk to each other, not about
• 1:49
  Speaker 1: a man, about anything else. Too much to ask to
• 1:54
  Speaker 1: terrorist list of demands we need to women. Those women
• 2:01
  Speaker 1: are names, not about Ryan Gosling. I got to talk
• 2:05
  Speaker 1: about their dreams. Yeah, do you want to be introduced?
• 2:09
  Speaker 1: I'm sorry, he hates women. He's a pro wrestler. It's
• 2:19
  Speaker 1: me Hampton. Yeah, well I was going to do it
• 2:22
  Speaker 1: for you. I'm from a comic. I'm a funny guy,
• 2:26
  Speaker 1: and I been different towards men and women. Largely, there's
• 2:31
  Speaker 1: really really no emotion. I think that that's progressive in
• 2:33
  Speaker 1: its in its own, in its own beautiful way. Well,
• 2:36
  Speaker 1: isn't it also the little binary there? I'm saying men
• 2:38
  Speaker 1: and women, what about difference non binary? So much you
• 2:43
  Speaker 1: might know Hampton from being the voice of Crow on Mr. Sense.
• 2:49
  Speaker 1: Oh my god, the new one. Yea, oh my god,
• 2:53
  Speaker 1: it's good. I love it. I have I have a
• 2:58
  Speaker 1: I have a full case of energy drinks of like
• 3:01
  Speaker 1: really like Porsche level and pounded half of one already. Yeah.
• 3:06
  Speaker 1: It's called uptime mental physical energy supplement original jin sing
• 3:11
  Speaker 1: jing co bloba bloba. It's like the one word that
• 3:17
  Speaker 1: it's a medicine that helps you remember things well. So
• 3:21
  Speaker 1: clearly it's not working, or it debilitated my ability to
• 3:25
  Speaker 1: form words. It's taking that away from the blow. But
• 3:29
  Speaker 1: Cohen's I'm cute. Ten. Hey let's talk about movies. Yeah, okay,
• 3:34
  Speaker 1: we're here to talk about Blade Runner. I like it, right,
• 3:39
  Speaker 1: I actually like it. So Hampton, tell us about when
• 3:42
  Speaker 1: did you first see this movie? What's your the best
• 3:45
  Speaker 1: movie ever? Second best movie in Boondogs Saints its Reduction?
• 3:54
  Speaker 1: I don't know. I like the movie. It's I watched
• 3:56
  Speaker 1: it when I was a teen, and I think I
• 3:59
  Speaker 1: saw all the bad version first, and which one is
• 4:03
  Speaker 1: bad version? Is the one that has the narrator where
• 4:06
  Speaker 1: Why didn't he Harrison Ford hated doing it so much
• 4:09
  Speaker 1: that he uh, he did it badly, like on purpose.
• 4:12
  Speaker 1: He was narrating it. Yeah, the studio was like, this
• 4:15
  Speaker 1: movie is like unfollowable, so they're kind of like, he
• 4:18
  Speaker 1: should do this narration. That's always like my wife used
• 4:21
  Speaker 1: to call me cold fish because I was a cold
• 4:24
  Speaker 1: fish in bed. But it's like shots of him like
• 4:27
  Speaker 1: looking down a dark alleyway and it's just like insanely
• 4:30
  Speaker 1: like weird jokes and ship like over it. But it's like,
• 4:33
  Speaker 1: you know, the whole movie is like only works because
• 4:35
  Speaker 1: it's this like neo noir thing, and I really hold
• 4:38
  Speaker 1: it in the same brain space as like a Kira.
• 4:41
  Speaker 1: It's like, oh yeah, it's like you're the first people
• 4:43
  Speaker 1: who did like dystopian future thing. So it's cool. It's
• 4:47
  Speaker 1: I don't know, I like it a lot. It's maybe
• 4:49
  Speaker 1: like a once a year kind of watch watching about Yeah.
• 4:53
  Speaker 1: I watched a lot of movies though, So that mean
• 4:55
  Speaker 1: that's like, you know, what do you do? What do
• 4:58
  Speaker 1: you do for a living? Make fun of bad Jamie?
• 5:02
  Speaker 1: When did you foresee it? This morning? Jesus Christ, I
• 5:07
  Speaker 1: got home perfect time I lost Here's here's a dystopian
• 5:13
  Speaker 1: novel in itself. I got home, I lost my key.
• 5:16
  Speaker 1: My roommate had to let me in. I got I
• 5:21
  Speaker 1: got into the shower, are slowly disappearing. It turned out
• 5:26
  Speaker 1: I haven't had a shower curtain in months. Where's the
• 5:29
  Speaker 1: shower curtain? So what I do is I place my
• 5:33
  Speaker 1: laptop on my sink so I can half watch a
• 5:36
  Speaker 1: movie while also showering for the whole shower. I thought
• 5:41
  Speaker 1: Harrison Ford was Liam Neeson, and then what he was doing,
• 5:50
  Speaker 1: I think that Harrison Ford. Okay, I would meet the
• 5:52
  Speaker 1: argument Harrison Ford doing a bad job is about equivalent
• 5:55
  Speaker 1: to Liam Neson doing Liam Neeson is. I have a
• 5:59
  Speaker 1: very special skills to find my wife. And here's for it.
• 6:03
  Speaker 1: It's like my wife. If you bring back my wife,
• 6:09
  Speaker 1: I'm wow. I am good invoicing. Good guys hiring me more.
• 6:16
  Speaker 1: I'm fucking unemployed. Give him to the job, Give me
• 6:20
  Speaker 1: a job, Hollywood. Yes, So did you ever see it?
• 6:22
  Speaker 1: I have seen the movie? Yes, what shitty boyfriend made
• 6:27
  Speaker 1: you watch it? No? I just watched it on my
• 6:31
  Speaker 1: own volition. I was like, I'm a freshman in college
• 6:34
  Speaker 1: and I'm a film major and I got watched you. Yeah,
• 6:37
  Speaker 1: it's awesome. Yeah, was it? Like I have two degrees.
• 6:40
  Speaker 1: I have a master to be screenwriting from Boston College
• 6:43
  Speaker 1: is kind of a way. So that's a fun degree,
• 6:45
  Speaker 1: you know. That sounds like good good news of your time. Yeah,
• 6:47
  Speaker 1: I had a great time. Um. So yeah, I think
• 6:50
  Speaker 1: I saw it for the first time in college and
• 6:52
  Speaker 1: then I've seen it now probably four or five times
• 6:55
  Speaker 1: since then. So you like it? No, so many times? There?
• 7:01
  Speaker 1: I don't understand this. Alright, guys, hot break here? Why
• 7:07
  Speaker 1: why do you Why do you like this movie? What
• 7:10
  Speaker 1: about it is fun for you? What is fun for it? Um?
• 7:13
  Speaker 1: That's an interesting question. I don't know. Maybe other than
• 7:15
  Speaker 1: I just stylistically like that sort of thing. I like
• 7:19
  Speaker 1: sci fi, like weird dystopian tales about the future, and
• 7:23
  Speaker 1: also like I like movies that are kind of about identity,
• 7:26
  Speaker 1: even if it's kind of lame. That's the one thing
• 7:28
  Speaker 1: is like I do realize a lot of my tastes
• 7:31
  Speaker 1: are really like childish. It's like I still read comic
• 7:33
  Speaker 1: books like I'm a couple of you know, like idiot.
• 7:38
  Speaker 1: But I mean it's also like, can't you just like
• 7:40
  Speaker 1: shitty things like what's so wrong with like, you know,
• 7:44
  Speaker 1: like a kind of something that's exactly but the reason
• 7:48
  Speaker 1: So I think I liked this movie the first time
• 7:50
  Speaker 1: I saw it, or I think I was just influenced
• 7:52
  Speaker 1: by knowing that it's, you know, one of the best
• 7:54
  Speaker 1: sci fi movies ever made, and I was supposed to
• 7:56
  Speaker 1: like it. So I was confused. I was eighteen, I
• 7:58
  Speaker 1: didn't know any better. And then I watch it again,
• 8:00
  Speaker 1: I was like, wait a minute, I don't drugs, and
• 8:04
  Speaker 1: I just fell in this world pressure fear pressure, like
• 8:08
  Speaker 1: Blade Runner. We're all supposed to be doing it. If
• 8:11
  Speaker 1: you're sitting in a a circle of like college freshmen, they're
• 8:13
  Speaker 1: all passing around the DVD Blade Runner, You're like, I
• 8:15
  Speaker 1: guess I'll take it. That is actually extremely accurate, like
• 8:19
  Speaker 1: that's exactly and Booddog Stage Donnie Darko that are the
• 8:25
  Speaker 1: exact same, like terrible movie, but they're good, but they're bad.
• 8:29
  Speaker 1: It's also like, look at most movies, they're awful, they're mad.
• 8:33
  Speaker 1: So if anybody like even kind of went to art school,
• 8:35
  Speaker 1: I'm like, all right, here we go something a little bit,
• 8:37
  Speaker 1: A little bit. I appreciate Blade Runner for it has
• 8:41
  Speaker 1: great production design. I think that's one of the reasons
• 8:44
  Speaker 1: that it's become such an iconic movie, and I enjoy
• 8:47
  Speaker 1: the world building. I don't think the story is executed
• 8:50
  Speaker 1: very well, and I like, I don't feel anything, like
• 8:53
  Speaker 1: the movie does not elicit any emotions in me. I
• 8:56
  Speaker 1: don't care if if Deckert wins and kills all the Also,
• 9:01
  Speaker 1: it's interesting like the replicants were slaves, no wonder, they're
• 9:06
  Speaker 1: gonna fucking kill everybody, Like this guy Stock, I'm kind
• 9:10
  Speaker 1: of on the dick. Yeah, I mean it's like that's
• 9:15
  Speaker 1: just robots in general, right, like why why why are
• 9:18
  Speaker 1: we making robots? It's every Like Elon Musk is like, stop,
• 9:23
  Speaker 1: this is going to kill everyone. All scientists are like, a,
• 9:26
  Speaker 1: I will eventually replace us. This thing we should tell
• 9:31
  Speaker 1: and we can back from. Not like it's so going forward. Yeah,
• 9:34
  Speaker 1: we're still at the point where like we could just
• 9:36
  Speaker 1: stop to keep I don't know. The computers they're just
• 9:40
  Speaker 1: so smart. I might have hit the point of no return.
• 9:43
  Speaker 1: I don't know. I saw Carl last night and it
• 9:45
  Speaker 1: looked like a shark. Oh god, well, yeah, I guess
• 9:49
  Speaker 1: it's so. Do you feel like there's movies though that
• 9:52
  Speaker 1: talk about stuff um like yeah, consciousness or like you know,
• 10:00
  Speaker 1: if a soul is real or something, you know, kind
• 10:02
  Speaker 1: of like in that vein that isn't sci fi, Like
• 10:06
  Speaker 1: I feel like these are the only movies that address
• 10:08
  Speaker 1: deeper largely, you know, and I like sci fi like
• 10:13
  Speaker 1: a movie that's like a wrong comm It's like he
• 10:15
  Speaker 1: doesn't have a they'll kill everyone. I generally like sci
• 10:26
  Speaker 1: fi a lot. It's one of my favorite genres. But
• 10:29
  Speaker 1: this movie I like at a Cocaine. I like Gotta
• 10:32
  Speaker 1: Go a lot. That's probably my favorite. Way cool cool
• 10:37
  Speaker 1: you guys are like, come on my movie podcast. I think, um,
• 10:44
  Speaker 1: Like it's also like beautiful the thing with like Blade Runner.
• 10:47
  Speaker 1: I don't know, like you could argue it's lame, sure,
• 10:49
  Speaker 1: like as a lot of things I like that I
• 10:52
  Speaker 1: find beautiful. I'm like, well, you can also call this stupid.
• 10:56
  Speaker 1: But like you know, it's like the soliloquy, you know,
• 11:00
  Speaker 1: like the shots like more effort I feel applied than
• 11:05
  Speaker 1: a lot of movies, you know, but I will I
• 11:07
  Speaker 1: will do. It's not like a self conscious movie, and
• 11:10
  Speaker 1: that's always kind of nice to see where it's like
• 11:11
  Speaker 1: not there's no like sarcasm excercise, Like everything is very
• 11:16
  Speaker 1: genuinely felt, even when it's the dumbest thing I've ever seen.
• 11:20
  Speaker 1: They feel it, they go through all the way like
• 11:23
  Speaker 1: so so that's kind of like nice to see of
• 11:27
  Speaker 1: do you feel like, um, that relationship between the him
• 11:31
  Speaker 1: and the robot girl and I mean it's all very odd,
• 11:34
  Speaker 1: right because it's so immediate, like it's like they have
• 11:37
  Speaker 1: no relationship and then and then yeah, I think, and
• 11:41
  Speaker 1: he's like, do you love me? I love you even
• 11:43
  Speaker 1: though we met yesterday. I'm sure it's just like Men
• 11:50
  Speaker 1: and Black where Will Smith gets to take over Men
• 11:53
  Speaker 1: and Black on his second day on the job, just
• 11:56
  Speaker 1: like Okay, cool, now he's the boss. And that's just
• 12:00
  Speaker 1: how this movie works there, I mean exactly like Minified
• 12:04
  Speaker 1: and I Love Man, Like I who is Harrison for
• 12:09
  Speaker 1: the Blade Runner? Is he the one running with the blade?
• 12:11
  Speaker 1: They are the blade running, the running blades across the borders,
• 12:14
  Speaker 1: the running blades bunch. I was waiting for that phrase
• 12:18
  Speaker 1: to be running before the Blade runs, you dog. I mean,
• 12:28
  Speaker 1: did you ever get into that whole thing where it's like, um,
• 12:31
  Speaker 1: he's a robot, you know, like a root and that's
• 12:36
  Speaker 1: like why everything's happening kind of the way it is.
• 12:39
  Speaker 1: Is that why Harrison Ford is doing so much bad
• 12:42
  Speaker 1: acting in this movie. Kind of yeah, he was like, well,
• 12:46
  Speaker 1: the character is a robot. And then when they added
• 12:48
  Speaker 1: the voiceover, that's why he got so mad. He was like,
• 12:50
  Speaker 1: you're making this guy like opposite of why I signed
• 12:54
  Speaker 1: on board. Well, we know now support school. He smoked pot.
• 12:58
  Speaker 1: He's really proud of his spots. Well, at least now
• 13:02
  Speaker 1: we know that he can't be a replicant because he
• 13:05
  Speaker 1: is in this sequel that's coming out, and he's an
• 13:08
  Speaker 1: old man and we learned from the replicatively lived for
• 13:12
  Speaker 1: four years, so he so he definitely was in a robot.
• 13:15
  Speaker 1: But then they find out that there was more money
• 13:18
  Speaker 1: to be made, right, Like that's just their whole Yes,
• 13:23
  Speaker 1: we did say that, but it says but money, there's
• 13:27
  Speaker 1: an asterisk and we can make money two years from now. Well,
• 13:34
  Speaker 1: I like, to me, there were opportunities for like reveals
• 13:38
  Speaker 1: and like exciting story components that just doesn't happen this movie.
• 13:42
  Speaker 1: The movie is very slow moving free. Yeah. Yeah, Um,
• 13:46
  Speaker 1: if there was the reveal at the end that that
• 13:48
  Speaker 1: Harrison Ford was also a replicant, like I'd be like, wow,
• 13:52
  Speaker 1: I don't know, just that staying where they got the
• 13:53
  Speaker 1: little origami. It's like the unicorn. Yeah, he's there. It's
• 13:57
  Speaker 1: because it's like that was in his dream, so the
• 13:59
  Speaker 1: guy wouldn't have known anyway. This is literally how guys
• 14:01
  Speaker 1: get like so into like movies and get online, and
• 14:04
  Speaker 1: we're just like, they're fucking unicorn. That's how you know
• 14:08
  Speaker 1: he was being incepted. I didn't realize that that was
• 14:11
  Speaker 1: his talisman. Look at the spinning top. It kind of
• 14:15
  Speaker 1: wavers at the conception. That's how you know his family
• 14:18
  Speaker 1: is still alive. Well, you're a fucking idiot for not
• 14:22
  Speaker 1: knowing the thing I just found out about. It's probably
• 14:28
  Speaker 1: why guys like it so much, because it's such a
• 14:30
  Speaker 1: great movie to shame other guys, to explain to people.
• 14:33
  Speaker 1: Explaining things to people. It's like literally like this orgasmic
• 14:37
  Speaker 1: release at the back of our explaining something, well, or
• 14:45
  Speaker 1: even theption of explaining something. I think it's the female
• 14:48
  Speaker 1: equivalent of like when you like, you know, get closure,
• 14:56
  Speaker 1: But but one is you can just do. It's hard
• 15:00
  Speaker 1: to pull off. It's hard to pull off a good
• 15:02
  Speaker 1: explanation as a guy. Let me tell you why. Okay,
• 15:08
  Speaker 1: I'm internally bleeding. Hey, this movie was written by two
• 15:13
  Speaker 1: people who have fake sounding names, one of whom is
• 15:16
  Speaker 1: named Hampton Fancher Hampden Hampton Hampton literally like never seen
• 15:24
  Speaker 1: another Hampton, Yeah, Hampton Fancher. He co wrote it with
• 15:28
  Speaker 1: David wed That actually makes me feel weird do fake
• 15:33
  Speaker 1: ass stunding names. I'm a fake ass dude, Hey, fake
• 15:37
  Speaker 1: as dude, real ast button. And David Peoples that's a
• 15:44
  Speaker 1: fake name, David People's. And it's adapted from the Philip K.
• 15:48
  Speaker 1: Dick book Android's Dream of Electric Sheep. No grow Up, Hey,
• 15:55
  Speaker 1: I'll do the recap. Okay, lad Runner is about Okay,
• 15:59
  Speaker 1: we learn I'm doing a great job. So part. But
• 16:01
  Speaker 1: so there are these things called replicants, their robots that
• 16:05
  Speaker 1: these like genetic engineer dudes made to basically be slaves.
• 16:10
  Speaker 1: It's set in twenty nineteen, which at the time this
• 16:14
  Speaker 1: movie was made in two that was like, wow, so
• 16:17
  Speaker 1: far in the future. But now we're like, you dumities,
• 16:20
  Speaker 1: you've got it all wrong. It doesn't was my robot.
• 16:25
  Speaker 1: We got a Warren Blade under about Trump. So it
• 16:30
  Speaker 1: doesn't rain in Los Angeles. It's like raining in every
• 16:33
  Speaker 1: single scene in this movie. And I forgot that it is.
• 16:37
  Speaker 1: So they are these replicants, but they basically have this
• 16:40
  Speaker 1: like mutiny and they start murdering people. And why wouldn't
• 16:44
  Speaker 1: you write I would if I was enslaved, I would
• 16:47
  Speaker 1: also turn into a murderous robot. Call them different things
• 16:51
  Speaker 1: and slaves. See that's where they start getting suspicious. WAT
• 16:56
  Speaker 1: call them stuff like uber driver and postmates, you know,
• 17:00
  Speaker 1: not slaves. They're just freelancers. Yeah, they're just they're humans.
• 17:11
  Speaker 1: They're getting experiences people and your internship. So the replicants
• 17:20
  Speaker 1: are like killing everybody, and Daryl Hannah's there, Darrell Hannah,
• 17:24
  Speaker 1: and then the Donade Roy yeah yeah, just my two
• 17:30
  Speaker 1: yeah uh. And then they're these blade Runners, who are
• 17:35
  Speaker 1: police officers who are basically given the instructions to like
• 17:38
  Speaker 1: shoot to kill any replicants because they've been made illegal
• 17:42
  Speaker 1: on Earth. So Harrison Ford ak Deckert is one such
• 17:46
  Speaker 1: blade Runner and he gets tasked with finding these four
• 17:50
  Speaker 1: replicants who show up. They're like kill kill them, um,
• 17:54
  Speaker 1: just like that not an exciting movie. He's over there,
• 18:00
  Speaker 1: he's right next to you, dude, just touch him. He's
• 18:02
  Speaker 1: right there. And meanwhile he meets with this dude Terrell
• 18:07
  Speaker 1: from the Terrell Corporation, who invented the replicants, and he
• 18:10
  Speaker 1: has a replicant of his own, and her name is Rachel.
• 18:13
  Speaker 1: And he's like, who's this Rachel person? Is she a person? No? No, no, no, no,
• 18:20
  Speaker 1: no no no, we don't do that. Rachel was going,
• 18:30
  Speaker 1: so I got the Rachel. It's where my brain got
• 18:34
  Speaker 1: put into Robot's body. The haircut. But it's that. Yeah,
• 18:38
  Speaker 1: And Harrison Ford like talks me through for play that
• 18:42
  Speaker 1: he wants to say is really cute. Here's you really cute. Okay,
• 18:52
  Speaker 1: now see you got goodbye, you got good hbbs. Okay, okay,
• 19:00
  Speaker 1: put your mouth very sensitive. I actually thought my hair
• 19:06
  Speaker 1: is imported fresh was way better. I think you're tied,
• 19:11
  Speaker 1: tied for first. I'm not even gonna try mine because
• 19:14
  Speaker 1: it'll it'll frankly embarrass both of you. But take a
• 19:16
  Speaker 1: sip of up time you're literally makes you good at impression.
• 19:22
  Speaker 1: It makes you j farre up. Okay. So Rachel's all like, oh,
• 19:28
  Speaker 1: I don't know I'm I guess I'm a replicant. She didn't,
• 19:31
  Speaker 1: she didn't know who she was at first, and then
• 19:33
  Speaker 1: she finds out that she's a replicant, so she's all
• 19:35
  Speaker 1: she's confused, she's scared. She's crying up there. Yeah, she's
• 19:40
  Speaker 1: crying up there. She's lining up there, and then she's
• 19:44
  Speaker 1: growing up there. Meanwhile, the other the replicants, the four
• 19:48
  Speaker 1: who are on Earth, are trying to especially Roy and PRIs,
• 19:52
  Speaker 1: are trying to locate Tyrrell because he can locate hate
• 20:00
  Speaker 1: Lynn what wow. Anyway, Uh, they're trying to find him
• 20:06
  Speaker 1: because they think he's going to be able to help
• 20:07
  Speaker 1: them live longer, because again, they only live for four years,
• 20:10
  Speaker 1: and they're like at the end of their lifespan to
• 20:13
  Speaker 1: live forever forever. Aristole's crying right now. What a beautiful
• 20:22
  Speaker 1: singing voice. That's the Queen song. And it's all about
• 20:28
  Speaker 1: like why would you anyway? That's wait, it's about living forever,
• 20:32
  Speaker 1: like because he wrote it for Highlanders, like this super
• 20:37
  Speaker 1: emotional song about being an immortal. What a weird paycheck,
• 20:42
  Speaker 1: the best paycheck? So oh. And then like Rachel's learning
• 20:47
  Speaker 1: about like memories being implanted in her and it's a
• 20:50
  Speaker 1: whole thing. And then he's like falling in love with her,
• 20:53
  Speaker 1: and he's trying to kill the other replicants and then
• 20:55
  Speaker 1: he started he killed a couple of them. He kills
• 21:00
  Speaker 1: Zora and Priss, the protagonis of this movie shoots two
• 21:04
  Speaker 1: of the main It's it's kind of like carte blanche,
• 21:07
  Speaker 1: like you're just allowed to shoot. Yeah, the street. There
• 21:10
  Speaker 1: could be a crowdful of people and they're too dangerous, right,
• 21:14
  Speaker 1: It's it's totally very and he's total and it's totally
• 21:17
  Speaker 1: fine because they're not wearing a lot of clothes, so
• 21:20
  Speaker 1: they have a great one down sugar, Like, just I
• 21:26
  Speaker 1: saw the sexy chicks. Dude, stop it. Let the Prince's
• 21:29
  Speaker 1: death was genuinely like, come on, she was she was cool,
• 21:34
  Speaker 1: very hot. You know, she was slipping around sexualized. It's
• 21:39
  Speaker 1: like in a It's like Deny when Zena on the
• 21:43
  Speaker 1: top and Golden Eye kills men with her vagina. Yeah,
• 21:47
  Speaker 1: it was the deaths were too sexy, sexy. I got
• 21:51
  Speaker 1: turned on too much. I was upset. I had to
• 21:54
  Speaker 1: lieve the theater man. I demanded a refund music. I
• 22:00
  Speaker 1: wasn't betting on being corny. Excuse me, excuse me, sir,
• 22:04
  Speaker 1: that movie turned me on. I would like a cash refund. Uh.
• 22:13
  Speaker 1: And then the big climactic scene is Roy the bed,
• 22:17
  Speaker 1: the big bad replicant Inherson the Dutchy fight the Duchy
• 22:22
  Speaker 1: with the frestye kIPS Dutch that's to the left hand side.
• 22:29
  Speaker 1: He's so cool man, He's Ruger Howard. Have you seen
• 22:32
  Speaker 1: him in The Hitch the hit Shert in Hitch Hitch
• 22:37
  Speaker 1: is the prequel to The Hitchhert Hitchers, really scary fun
• 22:42
  Speaker 1: So so Reger Howard has his own AIDS Awareness organization. Amazing,
• 22:47
  Speaker 1: but it's funny because it's called the Rudger Howard Starfish Association.
• 22:51
  Speaker 1: I wonder why that is. Shouldn't he call it chocolate Starfish,
• 22:56
  Speaker 1: limp biscuit the benefits hesn't Why don't I because he
• 23:01
  Speaker 1: looks so familiar to me. But he's kind of just
• 23:03
  Speaker 1: like I mean, I thought he was Ed Harris for
• 23:05
  Speaker 1: the longest time. What I thought? He looks like Ed
• 23:11
  Speaker 1: Harris so racist against straight white men, so goddamn turn
• 23:18
  Speaker 1: on and mad right now? Alright, So the big fight
• 23:23
  Speaker 1: scene at the end, and rather than Harrison Ford defeating Roy,
• 23:27
  Speaker 1: who is like losing the battle like Deckert is like
• 23:31
  Speaker 1: shitty at fighting, he keeps pausing to give soliloquies. Have
• 23:36
  Speaker 1: you ever seen the Fires of Orion? Roy just dies
• 23:41
  Speaker 1: of old age. And then that is pretty funny. He
• 23:46
  Speaker 1: basically do it. So then Deckert goes to Rachel, his
• 23:53
  Speaker 1: new girlfriend who he met yesterday, and he's like, I
• 23:56
  Speaker 1: know that you're a replicant robot, but let's just run
• 23:59
  Speaker 1: away together and maybe I'm also a replicate. I don't know.
• 24:03
  Speaker 1: You're running off into the sunset. Why you gotta go
• 24:07
  Speaker 1: so complicated? I mean, like, this's just a happy, happy romance. Yeah,
• 24:15
  Speaker 1: a love story for the ages. If you're a bad movie,
• 24:20
  Speaker 1: if you're well, let's talk about the how the women
• 24:26
  Speaker 1: are portrayed in it. So we have three main female
• 24:29
  Speaker 1: characters and none of them are human. There are no
• 24:32
  Speaker 1: human women in this movie who have speaking roles. It
• 24:36
  Speaker 1: is who Yeah, I'm good. So the first one we
• 24:39
  Speaker 1: meet is Rachel, and she's the good replication. She's not
• 24:42
  Speaker 1: like the other replicants. She's nice, but she's also she's
• 24:45
  Speaker 1: a bit of a she's a bit of fatal replicant,
• 24:49
  Speaker 1: and she she's a crier. So it's like, oh, we
• 24:51
  Speaker 1: like her, But do I love it when women cry? Yeah,
• 24:57
  Speaker 1: that's a stereotype seeing a woman crying. And they were like,
• 25:01
  Speaker 1: cool to leave the movie theaters, do turn on. That
• 25:08
  Speaker 1: movie just made me crazy, horny chick was crying, I
• 25:13
  Speaker 1: want to have a relationship with the person on the screen.
• 25:17
  Speaker 1: So Rachel, she's she's a robot. But then she has
• 25:20
  Speaker 1: the memories of the guy who loses his eyeballs, his
• 25:22
  Speaker 1: needs right, Tyrell's niece, So they implant her with these memories,
• 25:26
  Speaker 1: so she thinks she's human. Also, so they administer these
• 25:30
  Speaker 1: tests to figure out if someone's a replicator because void
• 25:33
  Speaker 1: Komp that's the name of the test. Okay, yeah, And
• 25:37
  Speaker 1: it's like basically just like asking all these questions that
• 25:40
  Speaker 1: will see if it'll elicit some sort of emotional response
• 25:43
  Speaker 1: and the replicants because basically the movie sets up that
• 25:46
  Speaker 1: the replicans are pretty much indistinguishable from humans except that
• 25:50
  Speaker 1: their emotional intelligence isn't uh and they only know it
• 25:56
  Speaker 1: for four years. That you can just watch them keel
• 25:59
  Speaker 1: over in the streets. It's dying. I also, but you
• 26:05
  Speaker 1: almost got to give respect to the movie that, like,
• 26:08
  Speaker 1: it's not just like a thing he scans people with like, oh,
• 26:11
  Speaker 1: there they're a robot, go get him. It's like he
• 26:13
  Speaker 1: has to give him this personality test, has to sit
• 26:15
  Speaker 1: people down and do the Myers Briggs, are you introgreted
• 26:18
  Speaker 1: or replicate your freak. I think they're making a point
• 26:23
  Speaker 1: about like nuance of personality or something. You know. At
• 26:27
  Speaker 1: one point, will we even give a fuck? You know,
• 26:31
  Speaker 1: you could talk to a robot that like just replicates
• 26:33
  Speaker 1: you know, human empathy, and you're like, you're my name,
• 26:36
  Speaker 1: best friend. I think I love you. You're so there
• 26:39
  Speaker 1: for me, and like, you know, is it the Turing
• 26:41
  Speaker 1: tests that it's like, is this that's what that is? Yeah?
• 26:46
  Speaker 1: So did this movie invent it? No? But but even
• 26:50
  Speaker 1: this test, there's one where the agers really thinks, all right,
• 26:58
  Speaker 1: he's the guy that invented there's this point, I'm an idiot.
• 27:03
  Speaker 1: They ask Rachel question. They sort of asked her about
• 27:06
  Speaker 1: her sexuality at one point. Or She's like that was
• 27:09
  Speaker 1: the first of them like, oh and she's a whether
• 27:12
  Speaker 1: she's human or not. They're like, whoa, who do you
• 27:15
  Speaker 1: fucking like? We're just curious immediately what you're doing with that.
• 27:22
  Speaker 1: It doesn't matter of the ass is sentient or not. Sentient,
• 27:26
  Speaker 1: asks gentlemen, we've invented it sentient as for years the
• 27:30
  Speaker 1: woman have plagued men. But imagine a sentient something that
• 27:36
  Speaker 1: has feelings that a man needs, and it's a Giant Us.
• 27:41
  Speaker 1: This is my favorite improv group that I go and see. Right,
• 27:47
  Speaker 1: So yeah, that that scene is like is this testing
• 27:49
  Speaker 1: whether I'm a replicat or a lesbians? Yeah, that's exactly cornyline. Yes,
• 27:57
  Speaker 1: why am I lesbian? It's such a like also a
• 27:59
  Speaker 1: throwback to like a noir line, like they used to
• 28:02
  Speaker 1: always do that, like you got the hot yeah, like
• 28:06
  Speaker 1: you have the things she should be like leaning in
• 28:08
  Speaker 1: and like pushing her cleavage together, like what are you suggesting? Right?
• 28:12
  Speaker 1: But it's obnoxious. Well, the thing with that scene is
• 28:16
  Speaker 1: that you discover that it took like he had to
• 28:18
  Speaker 1: administer the test for much longer and ask him any
• 28:21
  Speaker 1: more questions than with the other replicants. So there's something
• 28:24
  Speaker 1: about her that makes her special and maybe that's why
• 28:27
  Speaker 1: he loves her. She's calling like the other replicants respect
• 28:31
  Speaker 1: a man's love. Absolutely cannot respect a man's love period
• 28:40
  Speaker 1: in the streets. It's just a goofy your love, And
• 28:43
  Speaker 1: it really is. Yeah, you know how goofy men's love is.
• 28:46
  Speaker 1: It's like, sit down, I wrote a song and you
• 28:49
  Speaker 1: have to like that level of like creepy. It's creepy.
• 28:53
  Speaker 1: It's of a woman's love. And if he shows you
• 28:58
  Speaker 1: one shade of that of that fifty shades upright, I'm
• 29:02
  Speaker 1: gonna need more. There's three women almost speak because I
• 29:09
  Speaker 1: almost don't even think about the replicants. To me, they're
• 29:12
  Speaker 1: just like an obstacle. Well I think that that's intentionally done. Yeah,
• 29:16
  Speaker 1: I mean, Rachel's the only female character that we're supposed
• 29:18
  Speaker 1: to feel anything for, right, because Zora is the like
• 29:22
  Speaker 1: snake lady. She's an exotic dancer of some sort of thing.
• 29:27
  Speaker 1: She has one good line where she's a robot who
• 29:30
  Speaker 1: could be a construction worker and just like build buildings
• 29:33
  Speaker 1: with her bare hands. But she's like, I don't know
• 29:35
  Speaker 1: what to do. Chip she's also a robot, probably has
• 29:40
  Speaker 1: like insane like brain capacity, and she's still like, you
• 29:43
  Speaker 1: know what she could? And I think she was empowered
• 29:47
  Speaker 1: by Amber Rose. Yeah, I mean, let's learned that somehow
• 29:51
  Speaker 1: being a stripper is the most feminist thing you could do.
• 29:53
  Speaker 1: It's very empowering. Everyone's He's like, is that a real snake?
• 29:58
  Speaker 1: And she's like, no, I get aboard on a second,
• 30:02
  Speaker 1: Actually that snake he looks like a girl's sake. It's
• 30:07
  Speaker 1: blade runners. When really deckerd finds that like scale, Yeah,
• 30:11
  Speaker 1: it's it's like the worst detective work. He's like, here
• 30:14
  Speaker 1: it is the clue, right here where it should be.
• 30:18
  Speaker 1: Like he finds a creepy believe it took me forever
• 30:21
  Speaker 1: to piece together because then he goes and like he
• 30:24
  Speaker 1: goes to the snake man. He's like, who you're selling
• 30:27
  Speaker 1: your snakes too? And I was like, what's happening? And
• 30:29
  Speaker 1: then detective talks to that other dude in the bar
• 30:31
  Speaker 1: and sny no matter what you're Harrison's talking. He sounds
• 30:43
  Speaker 1: very old. He is great. He's had a dad bod
• 30:46
  Speaker 1: since he was fifteen years old. He's had a Jones
• 30:49
  Speaker 1: basically had dad. For sure. He's a crummy actor. He's
• 30:52
  Speaker 1: a crumby act when he doesn't have any When he good,
• 30:58
  Speaker 1: he's like, when is he not himself? You know, well
• 31:01
  Speaker 1: that's well, sure, he doesn't have a lot of like versatility,
• 31:04
  Speaker 1: so it doesn't have range. But you're like, oh, time
• 31:14
  Speaker 1: into the role. Sure, but Alfred Milena raised the loss
• 31:17
  Speaker 1: Alfama of the Da Vinci Code two thousand six You
• 31:22
  Speaker 1: try to throw him a whip in two thousand sixteen.
• 31:25
  Speaker 1: He won't accept it. No, He's like, I've done it
• 31:28
  Speaker 1: what's next. People give him robot tentacles and he's like,
• 31:32
  Speaker 1: did you see Spiderman two two thou before? I'm the
• 31:37
  Speaker 1: rain Man of Alfred Milena. A point I would like
• 31:42
  Speaker 1: to make is that we see again and again in
• 31:45
  Speaker 1: movies that there's often a scene where a man has
• 31:48
  Speaker 1: to save a woman. A woman is in peril. That
• 31:57
  Speaker 1: was literally standing in a platum, a very intense moment
• 32:01
  Speaker 1: for everyone. We're not going to be able to release
• 32:04
  Speaker 1: this episode because you have something. Oh my god, because
• 32:07
  Speaker 1: you're a guest, you're singing so many copyrights. No, but
• 32:14
  Speaker 1: it's fine because I'm doing it my bad version, and
• 32:17
  Speaker 1: I'm doing it under like eight seconds. I know the law.
• 32:24
  Speaker 1: I know the law. So women are often women be
• 32:30
  Speaker 1: in peril in movies. They need they need saving, and
• 32:36
  Speaker 1: is it a very annoying I get saved at least
• 32:40
  Speaker 1: once a day, So it's a very annoying trump that
• 32:43
  Speaker 1: I hate. We don't see it in this movie. Instead,
• 32:46
  Speaker 1: we see a woman saving a man or a woman robot.
• 32:50
  Speaker 1: That's true because there are no women humans. But it's
• 32:55
  Speaker 1: it's the scene where um Leon, the fourth replicant, who
• 32:59
  Speaker 1: we haven't met yet, he's like fighting with Deckert and
• 33:01
  Speaker 1: about to kill him by pushing his thumbs into his
• 33:04
  Speaker 1: eyes or that's the how you kill people if you're
• 33:08
  Speaker 1: a robot. I liked that part. And he's about so
• 33:11
  Speaker 1: he's about too like eyes motion him and then he
• 33:14
  Speaker 1: gets but then he gets shot in the head and
• 33:22
  Speaker 1: reveal that it's Rachel Pick So Rachel, Rachel's saves Rachel
• 33:29
  Speaker 1: saves Deckert from getting dead. I like that this movie
• 33:33
  Speaker 1: subverts that very annoying trope. But there's so much that
• 33:36
  Speaker 1: it does. Like they're sure every female character in this
• 33:39
  Speaker 1: movie either exists to be a foil to a man
• 33:43
  Speaker 1: or to write like Rachel's whole reason for existing in
• 33:46
  Speaker 1: the movie is to facilitate the growth of Harrison Ford's character,
• 33:50
  Speaker 1: Like that's why she's there, to change his attitude. I'm
• 33:52
  Speaker 1: out my room wants and maybe they're not so mad,
• 33:54
  Speaker 1: and like that's well. The thing is, he doesn't even
• 33:57
  Speaker 1: seem to hate replicants that much. He doesn't even know
• 34:00
  Speaker 1: anything about them. In the first scene when the dudes
• 34:02
  Speaker 1: explaining to them that, He's like, yeah, they only lived
• 34:03
  Speaker 1: for four years. You bet at your job. But he
• 34:05
  Speaker 1: didn't like one of them. Whatever, don't blade dogades just
• 34:15
  Speaker 1: like I'm a roll by, but I like Chris was
• 34:19
  Speaker 1: my favorite. I mean, little dar Daryl Hannah got she
• 34:24
  Speaker 1: has probably the most agency, or she's she's active. She
• 34:28
  Speaker 1: tricks the dude Sebastian into like, oh man, that guy
• 34:31
  Speaker 1: though with his weird like I've and you're like what
• 34:37
  Speaker 1: he is, like he has a disease where he ate
• 34:39
  Speaker 1: his like aging is accelerated. Dude is so awesome. I've,
• 34:43
  Speaker 1: but I look like shit, I'm a paynut farmer. But
• 34:47
  Speaker 1: also about I make friends, I would I would do
• 34:51
  Speaker 1: that if I was the guy who could do that
• 34:53
  Speaker 1: and make those easy. If there's anyone in the movie
• 34:56
  Speaker 1: that I could realistically see myself with it him. I
• 34:59
  Speaker 1: don't like it when they're full adult size, but when
• 35:01
  Speaker 1: they're tiny and they're like cartoon characters, that's pretty great.
• 35:06
  Speaker 1: Baby clowns. Check out clown. All they have to do
• 35:09
  Speaker 1: is like get bonked on the head and fall down
• 35:11
  Speaker 1: every now and then. It's not like, you know, it's
• 35:13
  Speaker 1: not like grueling work. But prison I mean she, I mean,
• 35:18
  Speaker 1: you can see both ways. I like she has the
• 35:19
  Speaker 1: most agency, but you could also be like, oh, they
• 35:21
  Speaker 1: made a little cunning witch female character. She's another of them.
• 35:27
  Speaker 1: They tell I'd like to pay for two tickets because
• 35:31
  Speaker 1: I love magic, Mr Pizza, cunning witches. So those are
• 35:39
  Speaker 1: the three prisons, Zora and Rachel. Rachel, what kind of
• 35:43
  Speaker 1: a character would you have liked to have seen put
• 35:46
  Speaker 1: in this? I mean, any human women? Why couldn't one
• 35:49
  Speaker 1: of the other Blade runners be a woman? His girlfriend?
• 35:55
  Speaker 1: Should it? But like, how removed should it be from him?
• 35:58
  Speaker 1: Like partner or love interest? I mean it didn't. You
• 36:03
  Speaker 1: don't need to necessarily add someone new to the story.
• 36:06
  Speaker 1: That wouldn't make sense for the story. But just like
• 36:08
  Speaker 1: he could have been his police chief decord, I need
• 36:11
  Speaker 1: fucking results. It could have been put on your blades?
• 36:16
  Speaker 1: Where are your blades? Where are your blades? She's as
• 36:19
  Speaker 1: mad about things he forgot to bring running. What's your problem? Yeah?
• 36:27
  Speaker 1: And we need a naggy woman in here. Oh there's
• 36:30
  Speaker 1: um the woman in the She like looks at the
• 36:34
  Speaker 1: snake scale. He thinks it's like a fit and she's like,
• 36:37
  Speaker 1: oh no, so there's a there's another woman with a
• 36:39
  Speaker 1: speaking roll I forgot about. But she's like, secretly, I
• 36:43
  Speaker 1: love you ded like Rachel, and forgive me if I
• 36:49
  Speaker 1: missed a part when I was taking a shower and
• 36:52
  Speaker 1: really not watching the movie at all, but it was on.
• 36:58
  Speaker 1: But there's like Rachel Harris a Ford and Rachel they
• 37:01
  Speaker 1: both sort of have like these identity issues, right, but
• 37:04
  Speaker 1: like Rachel, what's the resolution there where she's like, oh,
• 37:07
  Speaker 1: I guess I have the memories of the eyeball guy's
• 37:09
  Speaker 1: niece and I'm sad about that. But then there's no like,
• 37:13
  Speaker 1: where does that arc? You're going to go on the road? Right,
• 37:16
  Speaker 1: they're they're on the lamb now now they know the
• 37:18
  Speaker 1: robots and they're like to figure like figure it out.
• 37:21
  Speaker 1: I don't know. Like that that was the end of
• 37:23
  Speaker 1: where her character ended. Was like, oh, there was no
• 37:26
  Speaker 1: like she was truly they were like here's a shell
• 37:29
  Speaker 1: of a woman, forced her to say whatever you want. Okay,
• 37:33
  Speaker 1: that scene, let's talk about let's talk about that scene
• 37:35
  Speaker 1: was like so the scene where she's back at his apartment,
• 37:39
  Speaker 1: she's playing piano. He goes into kiss her very twilight.
• 37:44
  Speaker 1: He's all wounding over piano playing. He moves into kiss her,
• 37:52
  Speaker 1: she pulls away, gets up, tries to leave. He slams
• 37:57
  Speaker 1: the door shut. He's like shooting robots for you. So
• 38:06
  Speaker 1: we got pretty cool devil's advocating right now, So he
• 38:09
  Speaker 1: slams the door shut so that she can't leave. He
• 38:12
  Speaker 1: violently pushes her against the wall and then like corners
• 38:16
  Speaker 1: her puts his arms up sore, she can't move, she's crying.
• 38:20
  Speaker 1: He's like, kiss me, you want me to kiss you?
• 38:24
  Speaker 1: Kiss me? And she's like, she was like, you want me?
• 38:29
  Speaker 1: I want you to say it again. It is I
• 38:32
  Speaker 1: think meant to be I think it's meant to be
• 38:37
  Speaker 1: hot hot, but it is so ra That movie just
• 38:41
  Speaker 1: turned me on. He just kissed that woman who loves him.
• 38:46
  Speaker 1: She does it, well, that's okay. And then the three
• 38:49
  Speaker 1: female characters speaking to the fact that there's no human women.
• 38:52
  Speaker 1: All three female characters were invented by men. I was like, oh,
• 38:57
  Speaker 1: how hard is this movie thinking about itself? Answer, I
• 38:59
  Speaker 1: don't think very hard. But there was like a ten
• 39:02
  Speaker 1: minutes span where I'm like, maybe what really Scott's trying
• 39:05
  Speaker 1: to say is that men created these women and that's
• 39:09
  Speaker 1: why the female characters are so horrible, because it's just
• 39:11
  Speaker 1: the man's perception of what a woman should be doing.
• 39:14
  Speaker 1: And then I was like, oh, no, it's just bad.
• 39:16
  Speaker 1: This is just how you're giving it too much credit.
• 39:19
  Speaker 1: It's just bad, badly written female characters. But the the
• 39:23
  Speaker 1: escape and how because I always try to like car
• 39:25
  Speaker 1: ready for this podcast, I'm like, how would an asshole
• 39:27
  Speaker 1: explain away the point I'm about to make? And I
• 39:30
  Speaker 1: think it would be that's like, well, the women were
• 39:33
  Speaker 1: created by men, and so the men don't understand women,
• 39:36
  Speaker 1: so they just made women that made gents to them,
• 39:38
  Speaker 1: So women that wanted to get naked and sucked them, right,
• 39:42
  Speaker 1: So that was the Devil's advocate to degree there. Yeah,
• 39:48
  Speaker 1: I don't didn't even know that. I don't think they
• 39:50
  Speaker 1: were thinking very hard about that. I think, well, my
• 39:52
  Speaker 1: my thing is honestly, I just think, you know, movies
• 39:55
  Speaker 1: really didn't think about this till about ten years ago.
• 39:58
  Speaker 1: Hampton Fancher was not thinking about No, I don't know.
• 40:02
  Speaker 1: I mean like it was and it wasn't, but like
• 40:05
  Speaker 1: i'd say this, yeah, it just hasn't been applied. Philip K.
• 40:08
  Speaker 1: Dick was certainly not thinking about finding that book. It
• 40:12
  Speaker 1: was probably like nineteen sixty. It had to be in
• 40:14
  Speaker 1: the sixty. Yeah, it's badly made, Like you know, it's like, yeah,
• 40:22
  Speaker 1: you're totally right. There's a glaring problems that it's like,
• 40:26
  Speaker 1: now if you couldn't get away with it right. Well,
• 40:28
  Speaker 1: I'm interested to see if in the in this sequel
• 40:30
  Speaker 1: that's coming, if they're more interesting or developed female characters,
• 40:36
  Speaker 1: because like the love story that's set up between Harrison
• 40:39
  Speaker 1: Ford's character and Rachel is like, why do they like
• 40:43
  Speaker 1: each other? This happens all the time in movies where
• 40:45
  Speaker 1: it's like we're not sure what They're near each other
• 40:48
  Speaker 1: and they're both attractive, so naturally they're gonna want to
• 40:50
  Speaker 1: fucking be together forever. But like, so she'll do whatever
• 40:54
  Speaker 1: he tells. It's so like that whole thing. I was like, Oh,
• 40:58
  Speaker 1: so that's why he likes her, because he's like, hey,
• 41:00
  Speaker 1: say this thing to me that makes me feel cute.
• 41:04
  Speaker 1: I'm feeling about my hips, makes me feel cute. He's
• 41:14
  Speaker 1: hervy man curve. I got dumb thick butt. Though. One
• 41:20
  Speaker 1: thing I do like about the movie is that you
• 41:22
  Speaker 1: do see Duckard's as get kicked by two women because
• 41:26
  Speaker 1: Zora and Priss both beat the ship up. That's like
• 41:30
  Speaker 1: the most progressive thing you could do with a woman.
• 41:35
  Speaker 1: A man doesn't immediately naked ultra feminist in a movie.
• 41:40
  Speaker 1: Cain and I spent our nights and he's just hunting.
• 41:43
  Speaker 1: The press. Fight scene was really weird because she basically
• 41:46
  Speaker 1: like gets him in a headlock with her vagina. What
• 41:50
  Speaker 1: a weird way to fight, guys. Never kickled someone's fucking
• 41:55
  Speaker 1: head up, pure decapitation World combat style. And then Golden
• 42:03
  Speaker 1: ailes she puts her fingers up his nose. That's a
• 42:06
  Speaker 1: great way I hurt someone your nose is like stone
• 42:11
  Speaker 1: and humiliate them at the same time. The only thing
• 42:14
  Speaker 1: I learned about self defense I learned from Miscongeniality two thousand.
• 42:17
  Speaker 1: What'd you learn? Uh, there's a part where Sandra Bullock
• 42:21
  Speaker 1: says you have to remember to sing solar plexus, instep
• 42:25
  Speaker 1: knows groin and those are the places that you hit
• 42:28
  Speaker 1: people and then and then they stay away from you. Anyways,
• 42:31
  Speaker 1: was that a song? It's something whole? And then Benjamin
• 42:35
  Speaker 1: Bratt breaks out into song. And that's a great movie.
• 42:39
  Speaker 1: That is that movie good? Better than Runner? Hey, mis
• 42:48
  Speaker 1: Congeniality too? Maybe not well? Speaking of other movies and
• 42:52
  Speaker 1: other cop movies specifically, I wanted to make the point
• 42:55
  Speaker 1: that so many cop movies revolve around a male protagonist
• 43:00
  Speaker 1: in the cop or like two men cop buddies there
• 43:03
  Speaker 1: are who are sensitive about their body. It's so rare
• 43:08
  Speaker 1: that you see a female cop protagonist in a movie.
• 43:13
  Speaker 1: I made a list of man cop movies. Uh, get
• 43:17
  Speaker 1: rid of every Diehard That Departed Seven, Beverly Hills, Cup,
• 43:22
  Speaker 1: Lethal Weapons, Serpico, Chinatown, Dirty Harry l A, Confidential, The
• 43:25
  Speaker 1: French Connection, Bad Boys, forty eight Hours, Point break Y, Intouchables,
• 43:28
  Speaker 1: Training Day, super Troopers, Robotcot, Men in Black, Speed, Mad
• 43:31
  Speaker 1: Max Hots twenty one, Joshiss Kiss, Bang Bang, many many,
• 43:35
  Speaker 1: many more. A few exceptions Fargo, Silence of the Lambs. Wow,
• 43:47
  Speaker 1: almost all good movie. That Yeah, that is Yeah. Another exception,
• 43:52
  Speaker 1: The Heat. It was SMI great female cop. That's a
• 44:02
  Speaker 1: cop movie. She's FBI. Honestly, Miss g L is an
• 44:06
  Speaker 1: amazing movie. Michael Caine shines in that movie. Yeah, he's great.
• 44:10
  Speaker 1: Where's your Michael Caine? Impressure? I was like, Michael A
• 44:20
  Speaker 1: Michael Kaine, I've heard better. Yeah, it wasn't in me.
• 44:26
  Speaker 1: I didn't really want it. But anyway, so most cop
• 44:28
  Speaker 1: movies are male dominated. There's anything to do with the
• 44:32
  Speaker 1: cops and mostly being men. It could be, but our
• 44:35
  Speaker 1: cops mostly men because women don't see representation in media
• 44:39
  Speaker 1: of women being cops, so they're like, oh, it would
• 44:41
  Speaker 1: be weird for me to try to be a cop,
• 44:43
  Speaker 1: because I guess women can't be cops because I've seen
• 44:45
  Speaker 1: all these movies where it's all men being stemic. I
• 44:50
  Speaker 1: just finished season three of far Ago and didn't make
• 44:53
  Speaker 1: you want to fight crime. It maybe want to move
• 44:55
  Speaker 1: to the Midwest become a cop and she become troubled
• 44:59
  Speaker 1: with the state of is just as possible to require.
• 45:02
  Speaker 1: Actually that's the thing, is like every cop movie I see,
• 45:07
  Speaker 1: I'm like, no, I want to fight, cry like it
• 45:10
  Speaker 1: does totally about me. So like when you saw a Fargo,
• 45:13
  Speaker 1: did it make you go like fu, Yeah, I want
• 45:15
  Speaker 1: to fucking I've never want to find a body. I
• 45:19
  Speaker 1: want to find murders. I don't think so. Although when
• 45:23
  Speaker 1: I did see Harriet the Spy as a young kid,
• 45:26
  Speaker 1: wanted to be a spy school women because it's because
• 45:34
  Speaker 1: that's kind of happening with the new Jennifer Lawrence movie
• 45:37
  Speaker 1: that's coming out, Which One, Which One. It's like a
• 45:40
  Speaker 1: spy movie, She's a spy. It's it's only been teased
• 45:43
  Speaker 1: kind of what it is. And then immediately people were like,
• 45:46
  Speaker 1: why are women always betrayed his spies. Is it because
• 45:50
  Speaker 1: we're sneaky? And I was like, I don't know. That
• 45:53
  Speaker 1: sounds not fair on many levels. Did Harry the Spies
• 45:58
  Speaker 1: a movie? So yeah, Nancy Drew, Oh yeah, I wanted
• 46:02
  Speaker 1: to be Nancy Drew real mad, not Emma Roberts. Nancy Drew, hot,
• 46:07
  Speaker 1: big titty, fifteen year old, illustrated nanty Cher. Then she
• 46:11
  Speaker 1: had asked, Nancy, my mom made me read those books.
• 46:15
  Speaker 1: She was like, you Drew, Well, there's those books are
• 46:19
  Speaker 1: so because Nancy has ned Ned Nickerson, her boyfriend who's
• 46:23
  Speaker 1: a hottie and stays out of the way, which is great.
• 46:29
  Speaker 1: Ned Nickerson is hot and stays out of the way.
• 46:31
  Speaker 1: It's like, okay, that's what we're going to go for
• 46:33
  Speaker 1: the future. And then she has her two cousins or no,
• 46:36
  Speaker 1: her two friends who are cousins, one of whom is
• 46:39
  Speaker 1: not the star of the book because she's five pounds overweight.
• 46:42
  Speaker 1: They say that in every book. They say, folks was
• 46:45
  Speaker 1: about five pounds. She needed to be five, always five.
• 46:48
  Speaker 1: That is remarkably always fine. And then and then there's George,
• 46:54
  Speaker 1: who is who's a lesbian, but they say she's a
• 46:58
  Speaker 1: bit of a tomboy. It's someone who's five pounds too
• 47:01
  Speaker 1: heavy and a bit of a tomboy. And that's why
• 47:04
  Speaker 1: she's a perfect She's a strawberry bond and she's got
• 47:08
  Speaker 1: a beta cock. Wait for her to start solving crimes. Yeah, no,
• 47:16
  Speaker 1: I know she Well she does it in a cute
• 47:17
  Speaker 1: little skirt and she has a rowboat. It's the whole thing. Um,
• 47:20
  Speaker 1: Does anyone have anything else they want to say about
• 47:22
  Speaker 1: Blade Runner? And it's portrayal of women? Boo. Let's talk
• 47:29
  Speaker 1: about whether or not the movie passes the Bechtel test No,
• 47:36
  Speaker 1: the Betel testimeter. This is our avoid comptest. If you
• 47:44
  Speaker 1: were to sit really Scott down and ask him kind
• 47:46
  Speaker 1: of avoid comp on this, what would you ask him?
• 47:49
  Speaker 1: That is a quick That is a quick thing I
• 47:50
  Speaker 1: want to bring up is this is a really Scott movie.
• 47:53
  Speaker 1: And really Scott is all over the board like truly
• 47:56
  Speaker 1: a to z and how he treats women in his movies,
• 47:59
  Speaker 1: because he fucking directed Felmont and Louise. He directed Alien,
• 48:02
  Speaker 1: like two movies we've done in this podcast that are like,
• 48:06
  Speaker 1: I mean, Selman Louise fared very well. We gave it
• 48:09
  Speaker 1: a five nipple rating. Across the board. We did. We
• 48:12
  Speaker 1: did Alien a problem that it's like women are always
• 48:15
  Speaker 1: portrayed as like indestructible badasses also you know, I mean
• 48:20
  Speaker 1: in destructible, but they also died. I was we're thinking
• 48:25
  Speaker 1: about Ripley. I love aliens and aliens and stuff because
• 48:30
  Speaker 1: he has he has Alien Thulmt and Louise g I Jane.
• 48:32
  Speaker 1: Whoa g I Jane? G I Jane. I've never actually
• 48:35
  Speaker 1: seen that. It passes the bag. It's dumb, but but
• 48:39
  Speaker 1: it is supposed to be like, oh, you know whatever,
• 48:41
  Speaker 1: it's inherently done because they call her g I Jane
• 48:44
  Speaker 1: and she's joining the Navy Seals General Infantry. But then,
• 48:51
  Speaker 1: but then he's also directed a slew of movies Blade Renner, Gladiator,
• 48:56
  Speaker 1: Kingdom of Heaven, Magic Men, So he's all over the
• 48:59
  Speaker 1: board in terms of how well I would argue that
• 49:02
  Speaker 1: the writer of a movie is gonna have more say
• 49:05
  Speaker 1: and how a woman is portrayed than the director. I mean,
• 49:08
  Speaker 1: the director contract different choices, but it's ultimately the way
• 49:11
  Speaker 1: a woman is portrayed, at least in terms of like
• 49:14
  Speaker 1: how active of a role she plays in the story
• 49:16
  Speaker 1: and things like that is going to be up to
• 49:17
  Speaker 1: the writer. So I mean, you know, the director might
• 49:21
  Speaker 1: make decisions on like how you frame it and like
• 49:23
  Speaker 1: how like how little clothing she has on, and like
• 49:27
  Speaker 1: do we do like lingering shots of like mail gaze
• 49:30
  Speaker 1: kind of stuff. But I think it's so weird that,
• 49:32
  Speaker 1: you know, three years previous to this, he makes Alien
• 49:35
  Speaker 1: and then he's like, well, we've got to have a
• 49:36
  Speaker 1: twenty year old Daryl Hannah flailing with her tits out
• 49:40
  Speaker 1: for good thirty seconds before we allow the protagonists to shoot,
• 49:45
  Speaker 1: and the baby maker doesn't like, oh yeah, So it's
• 49:51
  Speaker 1: just I think that the real I'm telling you that
• 49:56
  Speaker 1: that's probably thought about. I'm telling you, are you telling
• 50:01
  Speaker 1: me that? What you tell us? Why? I love later
• 50:04
  Speaker 1: to explain it to people. I know, I'm telling you.
• 50:06
  Speaker 1: I think we can really like so we can really
• 50:10
  Speaker 1: blame Hampton Fancher, Yeah for best Actually you're in the
• 50:19
  Speaker 1: hot seat. But but it's just weird to think about,
• 50:21
  Speaker 1: like Ridley Scott's what's that word with too many bells?
• 50:26
  Speaker 1: Oh yeah, yeah, good, good point. Yeah. Well, I think
• 50:33
  Speaker 1: he's like one of those super like visual directors as
• 50:36
  Speaker 1: A've been thinking a bit about like directors recently, where
• 50:39
  Speaker 1: I'm like well, some seems like super hands on with
• 50:41
  Speaker 1: actors or like, you know, that's where they started because
• 50:45
  Speaker 1: that's their background. He just seems like art school visual guys.
• 50:48
  Speaker 1: So I always think he's it's almost like he's not
• 50:50
  Speaker 1: trying to empower Ripley or or or do you know
• 50:53
  Speaker 1: something with Elma and Luis. He's just like, this is
• 50:56
  Speaker 1: a beautiful story. Here is how is his shot? And
• 50:58
  Speaker 1: I am removed back. I want you to see this,
• 51:01
  Speaker 1: you know, this painting sort of thing. And he's not
• 51:03
  Speaker 1: thinking about the relationships so much. I guess that would
• 51:06
  Speaker 1: enable such a wide kinds of different stories that he tells. Yeah,
• 51:10
  Speaker 1: because it's like if he had some sort of like
• 51:11
  Speaker 1: specific agenda the way some directors too, I feel like
• 51:14
  Speaker 1: you wouldn't see that many different right, Yeah, because he's
• 51:18
  Speaker 1: in an a tour, but not necessarily like here I
• 51:22
  Speaker 1: am on the women's movement of My Girlfriend's seven. He's
• 51:30
  Speaker 1: forty nine. Okay, that's not great, that's too much. He
• 51:36
  Speaker 1: wears dumb hats and I beat him in a fight
• 51:39
  Speaker 1: and make okay, So back to the beach. Tol t
• 51:50
  Speaker 1: doesn't it doesn't, It doesn't pass, doesn't pass. There are
• 51:54
  Speaker 1: no scenes in the movie where they're even two women
• 51:57
  Speaker 1: in the same scene who are like how have aking rolls?
• 52:00
  Speaker 1: Like Zora and Press are never in the same scene,
• 52:04
  Speaker 1: which is weird because like they all those four knew
• 52:06
  Speaker 1: each other, Leon, Roy and Zora, and they regularly come
• 52:10
  Speaker 1: into contact with the male characters, right, But the two
• 52:12
  Speaker 1: women don't ever talk to each other, and then Rachel
• 52:15
  Speaker 1: never talks to either of them. I wonder if in
• 52:18
  Speaker 1: any of the seven fucking versions of this movie two
• 52:21
  Speaker 1: women talk to each other. Guarantee they don't know, right,
• 52:23
  Speaker 1: that's actually Deckerds like narration is like I imagine them
• 52:27
  Speaker 1: having conversations, they're probably boring, and we won't show them
• 52:32
  Speaker 1: probably talking about they could have had a conversation between
• 52:36
  Speaker 1: the two robots just about being yeah, like the robot experience.
• 52:40
  Speaker 1: It's kind of like the whole point of the movie basically,
• 52:42
  Speaker 1: like why can't they have a discussion about like their
• 52:44
  Speaker 1: loss of soul or you know, the solution of personality
• 52:49
  Speaker 1: sort of thing. I mean that would have been interesting,
• 52:51
  Speaker 1: like oh no, I don't want to die in four years?
• 52:54
  Speaker 1: Did they get their period? Do you think you got
• 52:56
  Speaker 1: a program in a period? Why would you make a
• 52:59
  Speaker 1: real going to control, the controlled our body. Um. But yeah,
• 53:10
  Speaker 1: there are a bunch of different versions of this movie.
• 53:12
  Speaker 1: I watched, um, the final cut one most recently. I
• 53:15
  Speaker 1: don't know how different any of the other one. I
• 53:17
  Speaker 1: watched the easiest one to steal over the World War one.
• 53:19
  Speaker 1: I don't know whatever the first one was. So there's
• 53:21
  Speaker 1: also the director's cut, the US theatrical cut, the international cut,
• 53:25
  Speaker 1: and something called the work prints the Night. They're all
• 53:28
  Speaker 1: the same except for the one with narration. Okay, I
• 53:31
  Speaker 1: would like that's just about making money, Like they just
• 53:34
  Speaker 1: re release it every now, and they were like the
• 53:35
  Speaker 1: editors final It's like we cut out one season. It's
• 53:41
  Speaker 1: a movie like, okay, good to know. So yeah, it
• 53:47
  Speaker 1: doesn't pass the back to test, no surprise there. Um.
• 53:51
  Speaker 1: And the thing is it also sucks as a movie.
• 53:55
  Speaker 1: It's well with that. Let's rate it, but we'll rate
• 53:59
  Speaker 1: it on our our nipple scale based on its portrayal
• 54:02
  Speaker 1: of women. So not how much you like the movie,
• 54:04
  Speaker 1: we're rating it on how it portrays women. Uh. And
• 54:07
  Speaker 1: it's a scale of zero to five nipples, and then
• 54:10
  Speaker 1: you can attribute those nipples to anyone you want, or
• 54:12
  Speaker 1: describe them or anything like describing them two inverted nipples
• 54:18
  Speaker 1: because that's the definition of it's a woman reverse Like
• 54:23
  Speaker 1: they didn't understand it, and that's what happened with this movie.
• 54:27
  Speaker 1: So that's why I go for that artistic rating molmost
• 54:31
  Speaker 1: silence very rating. Um okay, yeah, sorry, I forgot to
• 54:38
  Speaker 1: be silent for the moment of silence. I would give it, Yeah,
• 54:42
  Speaker 1: like a one and a half or two nipples. Um,
• 54:47
  Speaker 1: I'm gonna go with a one and a half. The
• 54:49
  Speaker 1: women you do see on screen, none of them are human.
• 54:54
  Speaker 1: Most of them are bad, and it's fine to have
• 54:56
  Speaker 1: a female villain, but they're all so poorly developed that
• 55:00
  Speaker 1: we don't really know anything about what their feelings are,
• 55:04
  Speaker 1: what their perspective is, or anything like that. We see
• 55:07
  Speaker 1: one's nipples for pretty much no reason. Um, excuse me,
• 55:11
  Speaker 1: I got horny, and then and then a pan bag
• 55:15
  Speaker 1: like cut two from nipples back to snake. It's like, wait,
• 55:19
  Speaker 1: what is they are playing here? Oh? I get its
• 55:22
  Speaker 1: snake someone he's got a garbage bag full of popcorn?
• 55:34
  Speaker 1: Doc mad. Yeah that The love story between Ducker and
• 55:41
  Speaker 1: Rachel like makes no sense. We're not sure why they
• 55:45
  Speaker 1: like each other. Uh yeah, generally, just the female characters
• 55:50
  Speaker 1: exists to what you were saying, either either like be
• 55:52
  Speaker 1: a foil to the men to specifically Deckert, or be
• 55:56
  Speaker 1: a random love interest. That doesn't make any sense. So yeah,
• 56:00
  Speaker 1: one and a half nipples. The nipples belong to the
• 56:03
  Speaker 1: owl in the movie. And I know that, Okay, So
• 56:06
  Speaker 1: I know they nipples to birds have Caitlin so generally,
• 56:09
  Speaker 1: not how many nipples everyone has. Generally birds don't have
• 56:12
  Speaker 1: any nipples. However, I think I think we can all
• 56:15
  Speaker 1: agree like cock bar cock birdies. I think we can
• 56:24
  Speaker 1: all agree that owls are hot cats, especially I've always
• 56:30
  Speaker 1: graduated like dude, smart education. No owls are sky cats.
• 56:36
  Speaker 1: Their cats with wings, and cats do have eight nipples.
• 56:39
  Speaker 1: This has been cat facts with Caitlin. But so we
• 56:43
  Speaker 1: see the owl at the Replican owl, and so the
• 56:45
  Speaker 1: nipples belong to to that. I give this movie one nipple.
• 56:56
  Speaker 1: It sucks. I don't like it. If you got a
• 56:59
  Speaker 1: problem with it, hey bring your hardcover bill of k
• 57:03
  Speaker 1: Dick Anthology and beat me to death over the head.
• 57:05
  Speaker 1: I don't care. This movie blows there. There's all the
• 57:09
  Speaker 1: characters were like, just there's nothing, there's nothing there. This
• 57:13
  Speaker 1: movie made me had to take a shower midway through,
• 57:16
  Speaker 1: I thought this movie had liam. It was so bad.
• 57:21
  Speaker 1: I clearly watched it of my patients in the morning.
• 57:26
  Speaker 1: I couldn't do I could not do it. I couldn't
• 57:28
  Speaker 1: like this movie. Got it? I don't. I didn't. Who'll
• 57:36
  Speaker 1: throw another nibble to the owl? Sure? Okay, that's gonna
• 57:39
  Speaker 1: full set? Yeah and it's um well, thank you so
• 57:44
  Speaker 1: much Hampton for being here. Yeah, Hampton, Yeah, Hampton Yunt.
• 57:49
  Speaker 1: It's kind up comedian, right, bald Rock on tour? Where
• 57:54
  Speaker 1: can people follow you on Twitter? Twitter would be my favorite? Okay,
• 57:58
  Speaker 1: Hampton Yunt great at Twitter. You can follow the bachtel
• 58:06
  Speaker 1: Cast at bachtel Cast on Twitter and Instagram, and can
• 58:09
  Speaker 1: go to our Facebook page, and you can also go
• 58:12
  Speaker 1: to our website cast dot com and there you there's
• 58:18
  Speaker 1: a link that you can give us money. We need
• 58:21
  Speaker 1: your money. You need a slightly better pitch daddy, I
• 58:30
  Speaker 1: went myney. We have we have some production costs that
• 58:36
  Speaker 1: and we would love your help. So if you want
• 58:38
  Speaker 1: us to keep doing this podcast, any any number of
• 58:41
  Speaker 1: money is any you can give us. We've gotten Australian dollars,
• 58:47
  Speaker 1: we've gotten British pounds, people have given us euros. Bank
• 58:52
  Speaker 1: is furious. Um, it's good. Yeah, it's good. Thanks for
• 59:00
  Speaker 1: the money, guys, it's good. Thank you. We love it.
• 59:03
  Speaker 1: And uh and let's all get on our blades and
• 59:06
  Speaker 1: go out running. No no no no no no no
• 59:10
  Speaker 1: no no no