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Point Break with Anita Sarkeesian · The Bechdel Cast

• 0:00
  Speaker 1: On the Beck Doll Cast, the questions asked if movies
• 0:03
  Speaker 1: have women in them, are all their discussions just boyfriends
• 0:07
  Speaker 1: and husbands? What do they have? Individualism, the patriarchy, zef
• 0:11
  Speaker 1: invest start changing it with the Beck del Cast. Hi,
• 0:16
  Speaker 1: and welcome to the Beck Doel Cast. My name is
• 0:18
  Speaker 1: Caitlin Darante, name Shamie Loftez, and we talk about the
• 0:21
  Speaker 1: representation and portrayal of women in mainstream movies and in
• 0:26
  Speaker 1: this the podcast that we host every week, every freaking week, diligently.
• 0:30
  Speaker 1: We're coming up on a hundred. We are coming up
• 0:32
  Speaker 1: on a hunting up on a hondy, So be ready
• 0:36
  Speaker 1: for a special hundred episode. You celebrate, well, you crack
• 0:40
  Speaker 1: on Mike's hard lemonade. You. That's the only way I
• 0:45
  Speaker 1: could think about to celebrate our hondredth episodes. Pretty much.
• 0:48
  Speaker 1: It will you ice producer Aristotle, because we did this morning. However,
• 0:53
  Speaker 1: it is morning. It's so he's going to hold up
• 0:55
  Speaker 1: for a while. But also, you know, we would have
• 0:57
  Speaker 1: respected his choice to be est at the all of
• 1:00
  Speaker 1: an am if that was you know, the worst things
• 1:02
  Speaker 1: have happened. Sure, So we based our discussion from the
• 1:06
  Speaker 1: jumping off point of the Bechtel test. The Becktel test,
• 1:09
  Speaker 1: of course, being the test invented jokingly and then later
• 1:13
  Speaker 1: seriously by cartoonist Alison Bechdel that requires that any piece
• 1:18
  Speaker 1: of media have two female characters with names talk about
• 1:22
  Speaker 1: something other than a man for two lines of dialogue.
• 1:27
  Speaker 1: Super low bar, but hardly anything passes. Shall we try it?
• 1:31
  Speaker 1: Let's try it? Okay, Hey Caitlin, Hey Jamie, getting iced rules?
• 1:38
  Speaker 1: I love being iced. Awesome. The scene doesn't have to
• 1:41
  Speaker 1: be compelling, it just has to occur. So cool. Well,
• 1:46
  Speaker 1: I'm so excited for our guest today and the movie
• 1:50
  Speaker 1: Recovering Today. I've never seen before, and I didn't ruined
• 1:55
  Speaker 1: my life. I'm changed. I've fully changed. It took me
• 1:59
  Speaker 1: three sittings to watch this whole movie because it's just
• 2:02
  Speaker 1: so there's so much happened. I loved it. Yeah, it
• 2:04
  Speaker 1: starts wild. Yes, let's introduce our guest. Yes, let's do it.
• 2:08
  Speaker 1: Our guest today. She is a media critic and the
• 2:10
  Speaker 1: co host of the feminist Frequency radio podcast Anita Sarcasian. Hella, Welcome.
• 2:18
  Speaker 1: I was not informed that you've never seen this movie before.
• 2:21
  Speaker 1: I'm so excited now. I've never seen a thing in
• 2:24
  Speaker 1: my entire life. This was like just a thrill ride
• 2:27
  Speaker 1: from start to finish. Every every line is screamed, every
• 2:33
  Speaker 1: line because unbelievable. It's crazy how Catherine Bigelow directed a
• 2:39
  Speaker 1: Michael Bay movie. There's so there's so many twists and turns,
• 2:44
  Speaker 1: like I had to keep reminding myself, like, no, this
• 2:47
  Speaker 1: movie was directed by a woman. But then how is
• 2:50
  Speaker 1: all of this happening? Like there, there's just there's so much.
• 2:53
  Speaker 1: It might be the film with the most best single
• 2:57
  Speaker 1: one liners. Yeah, terribly cheesy, wonderful one liners in this
• 3:05
  Speaker 1: is just mind bottling. This also, and not only does
• 3:08
  Speaker 1: it have like kind of the tone and feel of
• 3:10
  Speaker 1: like an early Michael Bay movie, it also has the
• 3:14
  Speaker 1: veneers of any Michael Bay movie. There's a lot of teeth,
• 3:18
  Speaker 1: capped teeth, a lot of caps. I know that I
• 3:22
  Speaker 1: maybe this is a new little I'm feeling a little
• 3:25
  Speaker 1: assaulted that this is being compared to any Michael Bay movie,
• 3:28
  Speaker 1: even though I understand it. It's just it's making me
• 3:30
  Speaker 1: a little sad. Well back covered We've covered what to
• 3:33
  Speaker 1: Michael Bay movies on the We've covered Transformers, and we've
• 3:35
  Speaker 1: covered The Rock, The Rock his wife, Uh two very
• 3:40
  Speaker 1: different Michael bay movies. I'm always on this new proposed
• 3:44
  Speaker 1: segment Vineer watch Jamie's Vneer Corner, where I keep track
• 3:50
  Speaker 1: of all the Hollywood teeth. Refer back to our Transformers
• 3:53
  Speaker 1: episode for more discussion on Michael Baye and teeth addict. No,
• 3:58
  Speaker 1: it's Bruckheimer. Bruckheimer's addicted to Veneers. He can't sleep without,
• 4:04
  Speaker 1: he can't come without thinking about Veneers. So, Anita, what
• 4:08
  Speaker 1: is your history and relationship with Point Break? First, you
• 4:12
  Speaker 1: have seen it a lot, I don't remember. This is
• 4:15
  Speaker 1: one of those movies that's just been like around and
• 4:18
  Speaker 1: you just like, I know I had seen it, and
• 4:20
  Speaker 1: then I've seen it a bunch of times. And I'm
• 4:21
  Speaker 1: also slightly obsessed with Patrick Swayze, not really, I just
• 4:26
  Speaker 1: I like him in a couple of movies and now
• 4:28
  Speaker 1: think that I'm obsessed with him because of that, but
• 4:30
  Speaker 1: don't know that much about him. So you're burying the lead.
• 4:33
  Speaker 1: You love Patrick Swayze. I would like to pick a
• 4:37
  Speaker 1: fight with whoever has already done dirty Dancing on your podcast,
• 4:41
  Speaker 1: because that's really what I want to talk about, because
• 4:43
  Speaker 1: The Very Dancing Legit is my favorite movie, and you know,
• 4:46
  Speaker 1: Patrick Swayze is also in that. So these two are
• 4:48
  Speaker 1: my like late eighties, early nineties like favorite go to films,
• 4:52
  Speaker 1: and they both happened to start this amazing, wonderful buff man. Yeah,
• 4:57
  Speaker 1: I love him as far as I know, Patrick Swayze.
• 5:00
  Speaker 1: We are. It's it's okay to love Patrick Swayze. Yeah,
• 5:04
  Speaker 1: well he's no longer with us. He can't funk up
• 5:06
  Speaker 1: now exactly, and so far he was married for like
• 5:11
  Speaker 1: thirty four years. I don't know if that means anything,
• 5:13
  Speaker 1: because it doesn't always. But you know, there have been
• 5:16
  Speaker 1: no accusations that have come up against Patrick Swayze, which
• 5:19
  Speaker 1: I don't know if that would be useful to anyone
• 5:20
  Speaker 1: at this point anyways, But Swayze can't I'm your dead baby.
• 5:23
  Speaker 1: He's gonna always be body or Johnny Castle to me,
• 5:28
  Speaker 1: You just Johnny Castle. Hard to take that away. These names,
• 5:32
  Speaker 1: the names Johnny Castle, Utah, Danny Ocean, Larry Jealie, what
• 5:38
  Speaker 1: are these names? I would also like to point out
• 5:42
  Speaker 1: that if you've never seen Point Break the film, does
• 5:45
  Speaker 1: that mean you've also never experienced Point Break Live? That's yeah,
• 5:49
  Speaker 1: what is that? Do you know about Point Break Live?
• 5:52
  Speaker 1: I don't know about Point Break Live. So Point Break
• 5:56
  Speaker 1: Live was this live theater show that was around for many,
• 6:00
  Speaker 1: many years and it was a recreation of the movie
• 6:04
  Speaker 1: live in a theater. And the way that it worked
• 6:07
  Speaker 1: was the role of Canoe was cast every performance and
• 6:13
  Speaker 1: the way it would be cast is that people in
• 6:14
  Speaker 1: the audience would come up to the stage and do
• 6:16
  Speaker 1: their best canoe impression. The audience would vote for their
• 6:19
  Speaker 1: favorite canoe and then that person would be in the
• 6:21
  Speaker 1: show for the night. And the way that they would
• 6:23
  Speaker 1: be in the show is that someone walks out with
• 6:25
  Speaker 1: que cards and they read off of the que cards.
• 6:29
  Speaker 1: The other amazing thing is that the live show turns
• 6:32
  Speaker 1: the homo erotic subtext of Point Break into text, which
• 6:37
  Speaker 1: is so good. The other thing is that they will
• 6:40
  Speaker 1: sell you one dollar poncho before you enter the theater
• 6:44
  Speaker 1: because they actually like splash the Oh my god, I
• 6:50
  Speaker 1: feel like homoerotic theater with a splash zone is the
• 6:54
  Speaker 1: show I want to see every single time, every single time.
• 6:58
  Speaker 1: That's unbelievable. I'm so bummed for all of the people
• 7:01
  Speaker 1: who didn't experience this show live. Yeah, so you're a
• 7:04
  Speaker 1: huge fan of the movie Point Break, I am. I
• 7:07
  Speaker 1: am a solid fan, Okay, like I've got facts about
• 7:10
  Speaker 1: the movie, behind the scenes info, and Jamie, you had
• 7:13
  Speaker 1: never seen it. I didn't grow up with this movie either.
• 7:16
  Speaker 1: I didn't see it until I think last year on Thanksgiving.
• 7:20
  Speaker 1: I had always heard of it, of course, but didn't
• 7:22
  Speaker 1: know really what I thought the reputation that it had
• 7:25
  Speaker 1: is that it was like a solid, like really cool
• 7:28
  Speaker 1: action movie. And did not realize how cheesy it is
• 7:31
  Speaker 1: and like how corny all the dialogue is and all
• 7:35
  Speaker 1: the performances are. So I posted on Facebook and I
• 7:38
  Speaker 1: was like, why did no one tell me how lame
• 7:40
  Speaker 1: Point Break is? And I've never gotten so much vitriol
• 7:45
  Speaker 1: hatred about anything I've ever said. I think it's one
• 7:49
  Speaker 1: of those things where like when you watch movies that
• 7:51
  Speaker 1: you watched as a kid and like experienced them when
• 7:54
  Speaker 1: they came out or when you're you know of that
• 7:56
  Speaker 1: time period, if you've never watched them but heard the hype, right,
• 7:59
  Speaker 1: because Point Break is a cult classic at this point,
• 8:02
  Speaker 1: it's really hard to watch it as an adult, Like
• 8:05
  Speaker 1: they just don't hold the same nostalgic appeal and I could.
• 8:08
  Speaker 1: That's why I'm super fascinated by the fact that you
• 8:11
  Speaker 1: hadn't seen it, and like, your interpretation of it is
• 8:14
  Speaker 1: going to be wildly different than mine because I have
• 8:17
  Speaker 1: all these like emotional attachments to it. I write no emotions,
• 8:20
  Speaker 1: but I ever but no, I I don't have an
• 8:24
  Speaker 1: emotional attachment, but this is this is one of those movies.
• 8:28
  Speaker 1: And I guess I'm trying to think of a movie
• 8:32
  Speaker 1: that we've done. This is similar to it where it's
• 8:34
  Speaker 1: like the problems are so clear, they're handed to you
• 8:38
  Speaker 1: on a platter of like, yeah, here's something awful, stare
• 8:41
  Speaker 1: at it, cheer for it, even and but it's but
• 8:45
  Speaker 1: it's such a fun movie where I couldn't. I was
• 8:47
  Speaker 1: smiling for so much of this movie because it's just
• 8:50
  Speaker 1: there are so many things. Whe'm like, this is so
• 8:52
  Speaker 1: poorly acted that I thought it was like a plot point,
• 8:55
  Speaker 1: but it wasn't. Of like when Gary Busey's in the
• 8:58
  Speaker 1: car laughing at Calvin and jobs like that, so he's
• 9:03
  Speaker 1: like cackling, It was like, is he I thought he
• 9:07
  Speaker 1: was hiding something? Oh? I thought I was like, oh,
• 9:10
  Speaker 1: he's he's laughing too hard at the comic because he
• 9:13
  Speaker 1: doesn't want to be emotionally vulnerable with Kianu, right, now,
• 9:16
  Speaker 1: but no, he really just thought the comic was so
• 9:18
  Speaker 1: funny too, and he wanted to meatball sandwiches and we
• 9:22
  Speaker 1: had to watch Kanu order the meatball sandwiches for a
• 9:26
  Speaker 1: whole scene of like why it was so just this
• 9:29
  Speaker 1: movie is so weird. It's a weird movie. The question
• 9:33
  Speaker 1: is, is is the movie self aware of being so cheesy?
• 9:37
  Speaker 1: Like did they know they were making a cheesy movie? No,
• 9:39
  Speaker 1: I think that's it. I think they were, like they
• 9:42
  Speaker 1: probably knew that, Like some of the lines were like
• 9:45
  Speaker 1: a little corny, young full of come right. But I
• 9:49
  Speaker 1: think that they thought that that was kind of cool
• 9:52
  Speaker 1: at the time. They're like, We're just, yeah, we're making
• 9:54
  Speaker 1: this cool action movie. It's about surfers, it's about bank robbers.
• 9:57
  Speaker 1: We're gonna have Gary Busey and Keanu ree Kind and
• 10:00
  Speaker 1: each other. Like I really think the people behind this
• 10:04
  Speaker 1: movie thought they were making I mean, because it was
• 10:06
  Speaker 1: the early nineties, Like I don't know that aesthetic was
• 10:09
  Speaker 1: like considered cool back then. And now we rewatch it
• 10:12
  Speaker 1: and we're like, oh, this is the cheesiest content I've
• 10:15
  Speaker 1: ever seen. Maybe, I mean, I a wild stretch of opinion.
• 10:19
  Speaker 1: I don't think this movie is trying to comment on
• 10:21
  Speaker 1: literally anything except perhaps surfers are cool. Uh, And maybe
• 10:27
  Speaker 1: that's kind of why I'm I don't feel that bad
• 10:30
  Speaker 1: that I enjoyed it so much in spite of all
• 10:33
  Speaker 1: the very clear issues. Is like, this movie thinks it's
• 10:36
  Speaker 1: fucking awesome and it's not, and that's funny. I mean,
• 10:40
  Speaker 1: don't get me wrong, I think the movie is very cheesy,
• 10:43
  Speaker 1: but I also think it's very fun to watch, like
• 10:46
  Speaker 1: it is a fun romp. So a little bit about
• 10:49
  Speaker 1: before we get into the recap, the like context of
• 10:52
  Speaker 1: this movie is fast. I mean, it's it's directed by
• 10:55
  Speaker 1: Katherine Bigelow, which I mean, if we could make a
• 10:59
  Speaker 1: list of movies I least suspected to have a female
• 11:02
  Speaker 1: director because it's not a shitty, conservative, fucking pro war movie.
• 11:08
  Speaker 1: That's I mean, Katherine Bigelow is like a polarizing figure,
• 11:13
  Speaker 1: but I mean this movie is so silly for her too,
• 11:17
  Speaker 1: Like it's silly and dumb as fuck. And this movie
• 11:21
  Speaker 1: I didn't realize that this movie came out the same
• 11:24
  Speaker 1: weekend as Terminator, to which was directed by her then
• 11:28
  Speaker 1: husband James Cameron. So there's isn't that. I just thought
• 11:32
  Speaker 1: that was interesting. So they were competing at the box
• 11:34
  Speaker 1: office together. Ye, term or two. I don't know the figures,
• 11:37
  Speaker 1: but I'm guessing at crushed Terminator two. Well, well, point
• 11:40
  Speaker 1: Break was second, but significant second. However, you know that
• 11:45
  Speaker 1: probably that makes sense cinematically, that makes sense. But yeah, so,
• 11:50
  Speaker 1: and I guess James Cameron also did some of the
• 11:52
  Speaker 1: work on this script, which you know, James Cameron knows
• 11:56
  Speaker 1: how to write a cheesy fucking movie, So that tracks
• 11:59
  Speaker 1: for me. God, his I'll never I know, I bring
• 12:02
  Speaker 1: it up every other episode, but his like first draft
• 12:04
  Speaker 1: of the two thousand two Spider Man movies, still just
• 12:07
  Speaker 1: like makes me craninge so hard every time I think
• 12:11
  Speaker 1: about it. Whereas I was like, oh god, James Cameron
• 12:13
  Speaker 1: wrote forty pages about a teenagers. Come, why did he
• 12:17
  Speaker 1: do that? That's so gross? Anyways, Well, should I do
• 12:21
  Speaker 1: the recap of Point Break? Okay? So Point Break is
• 12:25
  Speaker 1: about our hero Johnny Utah. He is a rookie FBI
• 12:30
  Speaker 1: agent assigned to his first case in the bank robbery
• 12:34
  Speaker 1: Department UM and he gets partnered up with Papa's who's
• 12:39
  Speaker 1: played by Gary Busey, and they're trying to catch a
• 12:42
  Speaker 1: group of bank robbers called the ex presidents because they
• 12:45
  Speaker 1: like all wear masks of like Reagan Nixon, lb J
• 12:50
  Speaker 1: and I think Jimmy Carter. And they go around and
• 12:53
  Speaker 1: they rob all these banks, and Bucy has this theory
• 12:57
  Speaker 1: that they are surfers in addition into being bank rubbers.
• 13:02
  Speaker 1: Um so the most logical conclusion, Well, there's some clues.
• 13:07
  Speaker 1: You know, they have a tan line. There's some like
• 13:09
  Speaker 1: sex wax that they used to like wax up their boards. Literally.
• 13:17
  Speaker 1: So Johnny Utah goes undercover and starts to learn how
• 13:22
  Speaker 1: to serve, to try to like infiltrate or like figure
• 13:25
  Speaker 1: out who the suspects might be. As you do, and
• 13:28
  Speaker 1: you don't make up an alias or anything, you use
• 13:31
  Speaker 1: your real name. We'll get we'll get there. Because he's
• 13:36
  Speaker 1: constantly getting into fights, He's constantly screaming, being very disrupt
• 13:42
  Speaker 1: of like I mean Kanu really, I mean, he blows
• 13:46
  Speaker 1: it a lot, but he really blows it in this one,
• 13:50
  Speaker 1: which is too bad because Kanu I feel like everyone
• 13:53
  Speaker 1: loves Kia, like he is a beloved person who blows
• 13:57
  Speaker 1: it regularly. Yeah, but I like Kiana reefs. Refer back
• 14:05
  Speaker 1: to the Matrix episode. We all I used to sell
• 14:08
  Speaker 1: that Kiana is Sudoku puzzles. Now that you are a hacker,
• 14:12
  Speaker 1: you really need to watch that movie, Jamie. I know,
• 14:14
  Speaker 1: I know, I so much has changed for for newer
• 14:18
  Speaker 1: Bectel cast listeners. That's the one episode where I didn't
• 14:21
  Speaker 1: watch the movie, and I'm lying for the entire episode
• 14:25
  Speaker 1: about knowing what you haven't seen the matrix. I still
• 14:28
  Speaker 1: have not seen the whole podcast. No, wow, I have
• 14:31
  Speaker 1: so much respect for you. You want to go back
• 14:33
  Speaker 1: and really grasping at straws. I mean I didn't, I
• 14:38
  Speaker 1: didn't notice you. You did something to make me not know.
• 14:41
  Speaker 1: I can still feel the sweat on my body from
• 14:43
  Speaker 1: that day. That was a stressful day. Okay, So anyway,
• 14:47
  Speaker 1: so Johnny Utah, he's going undercover as a surfer and
• 14:50
  Speaker 1: he's really bad at it. So he gets this woman
• 14:53
  Speaker 1: Tyler to start teaching him, and then LORI, Petty, what's up?
• 14:57
  Speaker 1: Petty rules Tyler. She's not like the other girl, right,
• 15:02
  Speaker 1: She's a cool chick. She's cool, she's she's a guy
• 15:06
  Speaker 1: scal she can be like, oh masculinity, but like still
• 15:10
  Speaker 1: be down but like, I'm cool, but I'm still best
• 15:13
  Speaker 1: friends with all these bank rubbers because okay, so she's
• 15:17
  Speaker 1: friends with this group of people. Body is there. They're
• 15:20
  Speaker 1: like elsa male played by Patrick Swayzy. Body, what did
• 15:25
  Speaker 1: they call him? Boda Riffith Bosa? Where did he get
• 15:31
  Speaker 1: that name? He's This actually reminds me of one of
• 15:35
  Speaker 1: my dear friend's father is in a southern California surfer
• 15:39
  Speaker 1: cult called the Barbecue Surfers, and I was like getting
• 15:43
  Speaker 1: major BBQ surfer vibes from And I would say honestly
• 15:47
  Speaker 1: that the BBQ Surfers were a more efficient cult than
• 15:50
  Speaker 1: the one in Point Break, because they also are not
• 15:52
  Speaker 1: very efficient at all. So Johnny Uta starts hanging out
• 15:57
  Speaker 1: with like Body and his pals. He tells everyone his
• 16:01
  Speaker 1: real name and they recognize him as a college football player,
• 16:04
  Speaker 1: so like, yeah, bro, come and hang out with us,
• 16:06
  Speaker 1: Like you're so cool, bro. Meanwhile, they're like still trying
• 16:09
  Speaker 1: to figure out who the ex presidents are and Johnny's like, Oh,
• 16:13
  Speaker 1: it's these like bad dudes. There's like this group of
• 16:15
  Speaker 1: four guys war Child and Bunker and like some other
• 16:17
  Speaker 1: dudes and they raid their house. But what's up the
• 16:22
  Speaker 1: Red Hot Peppers. Yeah, he's a singing in the Red
• 16:24
  Speaker 1: Hot Chili Peppers. My favorite part of the whole movie
• 16:26
  Speaker 1: is when he shoots himself in the foot. He's the
• 16:29
  Speaker 1: guy with the crazy hair with its like braids down
• 16:32
  Speaker 1: the side and then like a long pony on top
• 16:35
  Speaker 1: of setting information. Wow. Okay, okay, okay, So that doesn't
• 16:43
  Speaker 1: work out. And then Johnny he's hanging out with Bodie
• 16:46
  Speaker 1: and pals some more, and he's like one of Bodie's boys,
• 16:49
  Speaker 1: one of Bodi's boys, and he's like, oh my god,
• 16:53
  Speaker 1: Bodie and the boys are the ex presidents. And then
• 16:57
  Speaker 1: also meanwhile, Johnny and Tyler are getting a little closer.
• 17:01
  Speaker 1: They have some sex on the beach, and oh my god,
• 17:04
  Speaker 1: that scene where their first kissing is so funny because
• 17:08
  Speaker 1: they're both like you can tell just the actors like
• 17:10
  Speaker 1: Lori Petty and Kanu Reeves as individuals are struggling to
• 17:14
  Speaker 1: stay on their boards, like they're bobbing up and down
• 17:17
  Speaker 1: and like trying to deliver lines to each other. And
• 17:20
  Speaker 1: then he like he touches her leg, but I feel
• 17:23
  Speaker 1: like he's also trying to steady himself. And then she
• 17:26
  Speaker 1: kisses him, but they're both still bobbing. I was like,
• 17:29
  Speaker 1: this is not a hot kiss even remotely. Everyone is
• 17:32
  Speaker 1: so cold and nervous, and you see her lip chattering,
• 17:36
  Speaker 1: like I know that they acknowledge that it's cold. But y'all,
• 17:38
  Speaker 1: if you don't live in southern California, I don't know
• 17:41
  Speaker 1: if you understand how fucking cold the ocean is all
• 17:43
  Speaker 1: the time, especially at night. Maybe one of my least
• 17:46
  Speaker 1: favorite movie kisses of all time. It was I mean, like,
• 17:50
  Speaker 1: you know, it was a consenting kiss, right, not a
• 17:55
  Speaker 1: surprise kiss. But it was bad. It was bad because
• 17:58
  Speaker 1: he touches her leg and he's like goose bumps. Is
• 18:02
  Speaker 1: if like that's his like sweet pickup line and then
• 18:07
  Speaker 1: they kiss. It's very romantic. I don't know what you're
• 18:09
  Speaker 1: talking about. So also, who the funk? As an adult?
• 18:13
  Speaker 1: Doesn't know that you don't funk on the beach, Like
• 18:16
  Speaker 1: just you don't. You've done it once as a teenager,
• 18:18
  Speaker 1: and then you never do it again because it's the
• 18:20
  Speaker 1: most awful thing I've never sucked on the beach. That
• 18:23
  Speaker 1: sounds cool, You go do it, and then you'll learn
• 18:27
  Speaker 1: why you never funk on the beach. Okay, it's the messiest,
• 18:31
  Speaker 1: it's the worst. You stand everywhere forever. Good of the
• 18:34
  Speaker 1: barbecue surfers, so Johnny's like, oh my god, my Bodie
• 18:40
  Speaker 1: boys are the bank robbers. They catch them mid robbery,
• 18:44
  Speaker 1: so he blows his cover and then he's like, oh no,
• 18:47
  Speaker 1: what do I do? And they capture Tyler because they're like,
• 18:51
  Speaker 1: we got to use her as like leverage to like
• 18:53
  Speaker 1: get him to stop chasing them. And then they're like, Johnny,
• 18:58
  Speaker 1: come with us to go skydiving, and then also come
• 19:02
  Speaker 1: with us to go on a bank robber and it's
• 19:04
  Speaker 1: like this is where I was like the whole plane sequence.
• 19:09
  Speaker 1: I was like, why is this what is happening? He
• 19:14
  Speaker 1: accompanies them on. They're like, you have to come with
• 19:17
  Speaker 1: us on this bank robbery or we're gonna kill Tyler.
• 19:20
  Speaker 1: So he's like okay, and they do it, but a
• 19:23
  Speaker 1: lot of things go wrong and some people die and
• 19:26
  Speaker 1: then Bros dies and it's so fucking sad, dude, right,
• 19:33
  Speaker 1: So they like escape and Johnny is like, I gotta
• 19:36
  Speaker 1: go after them, so he like tries to catch him
• 19:39
  Speaker 1: at the airport. They escape, He goes after them. Still,
• 19:43
  Speaker 1: there's more skydiving, and then finally like they released Tyler,
• 19:48
  Speaker 1: but body and the remaining boys get away and then
• 19:52
  Speaker 1: we cut to the next line pick up the body,
• 19:57
  Speaker 1: and then the end of the movie is Annie confronting
• 20:01
  Speaker 1: Bodie on the beach in Australia and he's like, I
• 20:04
  Speaker 1: got you now, and he's like, no, man, I can't
• 20:06
  Speaker 1: be in a cage. Just let me kid one least
• 20:08
  Speaker 1: wave dog please. It's like, okay, broke sounds fair broke,
• 20:13
  Speaker 1: and then Body effectively kills himself by surfing spectacular surfing
• 20:19
  Speaker 1: before Keiana Reeves says via contillos its an it's a
• 20:26
  Speaker 1: It's an epic line in the movie. So good on
• 20:29
  Speaker 1: on that spectacular surfing suicide. Note, Let's take a quick
• 20:32
  Speaker 1: break and we will be back in a second, and
• 20:41
  Speaker 1: we're back from the dead. We did it. We're Body's ghost. Yeah,
• 20:46
  Speaker 1: we did it. So now you know what happens in
• 20:49
  Speaker 1: the movie, right, But I feel that we still have
• 20:52
  Speaker 1: not scratched this, not even close. The first thing I
• 20:56
  Speaker 1: do want to say is that, so, Jamie, you know
• 20:59
  Speaker 1: how your form Twitter handle was Hamburger phone inspired by
• 21:03
  Speaker 1: the movie Juno Rest in Paradise. Yes, this movie point
• 21:06
  Speaker 1: Break has inspired me to create a new Twitter handle
• 21:10
  Speaker 1: for myself, football helmet, alarm, clock there and iconic crop.
• 21:20
  Speaker 1: So yeah, that's my new Twitter handle, so follow me
• 21:22
  Speaker 1: at football helmet alarm clock. I have okay it genuinely
• 21:26
  Speaker 1: and Caitlyn we talked about this a couple of days ago.
• 21:29
  Speaker 1: It took me three days to watch this movie, like
• 21:32
  Speaker 1: when did you stop? Like what parts did you stop at?
• 21:35
  Speaker 1: What inspired the brakes? It was never because I was angry.
• 21:39
  Speaker 1: It was never because I was upset. I would just
• 21:42
  Speaker 1: be like, I'm just I'm full. I feel like I
• 21:45
  Speaker 1: just ate a whole meal and I need to rest.
• 21:48
  Speaker 1: Like the first night, I got twenty five minutes in
• 21:51
  Speaker 1: and there was just like a line that Gary Busey screamed,
• 21:55
  Speaker 1: which does not narrow it down at all. It's Oh,
• 22:00
  Speaker 1: it's when Gary Busey says twenty two and puts up
• 22:03
  Speaker 1: two fingers. That's when I shut it up. The first
• 22:05
  Speaker 1: time he says twenty two, and yet his hand says yeah,
• 22:12
  Speaker 1: I didn't get very far. And then I watched the
• 22:14
  Speaker 1: most of it, and then oh, I stopped again when
• 22:17
  Speaker 1: Patrick Swayzey's bro died and he was so freaking sad
• 22:20
  Speaker 1: and he was like my bro, my fallen bro. And
• 22:24
  Speaker 1: then I watched like the last ten minutes like this morning.
• 22:27
  Speaker 1: The third day, Yeah, one of the first things I
• 22:30
  Speaker 1: want to say is that, so this is directed by
• 22:32
  Speaker 1: Katherine Bigelow. As we mentioned, I find it interesting that
• 22:36
  Speaker 1: a movie directed by a woman is not immune to
• 22:40
  Speaker 1: a lot of the misogyny and problems that most movies
• 22:43
  Speaker 1: that are directed by men have, because, like like you said, Jamie,
• 22:47
  Speaker 1: this movie kind of hits all the marks of like
• 22:49
  Speaker 1: there's you know, a woman captured to advance the story.
• 22:53
  Speaker 1: There's like some male gaze shots. There's like all this
• 22:56
  Speaker 1: kind of weird like an underdeveloped romance. There's all this stuff,
• 23:00
  Speaker 1: so much male kidnapping. Remember the scene where Kanu is
• 23:05
  Speaker 1: uh staring at Tyler changing and it's just like panning
• 23:08
  Speaker 1: her body, and then they pan her body again in
• 23:11
  Speaker 1: the video where she's like all of a sudden in
• 23:13
  Speaker 1: a nighty because we've ever seen her in a fucking
• 23:15
  Speaker 1: like lingerie little nighty and the cat down her leg
• 23:19
  Speaker 1: right like cool. And then there's so much more male
• 23:22
  Speaker 1: gaze with the The only other women in the movie
• 23:25
  Speaker 1: are the women in the house that gets rated um,
• 23:29
  Speaker 1: and they're like, you know, naked in the shower, that
• 23:31
  Speaker 1: naked chick fucking whales onto those dudes. Though, if feminist
• 23:35
  Speaker 1: icon woman who tries to kill Kana rees with the
• 23:38
  Speaker 1: golf club or whatever. But also the only people of
• 23:42
  Speaker 1: color are in that villain like in that house of
• 23:46
  Speaker 1: like the bad bad I don't understand the spiritual side.
• 23:50
  Speaker 1: They're not searchers like body, you know, right right, yeah,
• 23:53
  Speaker 1: there's and any people of color in this really almost
• 23:56
  Speaker 1: universally are demonized um as like these aren't I'm sorry,
• 24:00
  Speaker 1: keep saying the barbecue servers, these aren't like these are
• 24:03
  Speaker 1: the cool surfers. I hope that like the barbecue surfers
• 24:06
  Speaker 1: are okay with me. Given anyways, everyone everyone go to
• 24:10
  Speaker 1: this just be about barbecue. Everyone find out what surf
• 24:14
  Speaker 1: cult I'm most closely affiliated with. Um But then they're like, oh,
• 24:18
  Speaker 1: but then there's the meth surfers and they're bad, And
• 24:20
  Speaker 1: that's the only time you really see people of color
• 24:22
  Speaker 1: in the Intern. There's also a character named Alvarez who's
• 24:25
  Speaker 1: one of the other FBI agents, but he's like antagonistic
• 24:28
  Speaker 1: toward Papas and Johnny Utah, so he's also kind of villainized,
• 24:32
  Speaker 1: right yeah. Where it's like, you know, every time a
• 24:34
  Speaker 1: person of color appears in this movie, it's to get
• 24:37
  Speaker 1: in the way of Kia news development as a character.
• 24:42
  Speaker 1: Although Kiano is mixed, he is part Chinese and part
• 24:47
  Speaker 1: Native Hawaiian. Yeah yeah, and then as well as being
• 24:51
  Speaker 1: I think English, Irish and Portuguese. So I just wanted
• 24:54
  Speaker 1: to acknowledge that. But I'll say that I think because
• 24:58
  Speaker 1: he can pass is white, he is still able to
• 25:03
  Speaker 1: like get cast in all the big roles in Hollywood,
• 25:06
  Speaker 1: because usually Hollywood does not know what to do with
• 25:09
  Speaker 1: people who look ethnically ambiguous. Ever heard of it? Ever
• 25:14
  Speaker 1: heard of the podcast on how Stuff? What's Up? Network?
• 25:19
  Speaker 1: Check it out? Well, that's I I didn't know that
• 25:22
  Speaker 1: about cut. Yeah. I feel like the rock is like
• 25:24
  Speaker 1: a like an exception to the rule, but it's an
• 25:27
  Speaker 1: exception to most rules of course. But yeah, so I
• 25:30
  Speaker 1: just wanted to acknowledge that Kiano is mixed. You are heard,
• 25:34
  Speaker 1: Thank you. Getting back to the Katherine Bigelow thing, it's
• 25:38
  Speaker 1: it's tricky because Katherine Bigelow, I feel, and if you
• 25:41
  Speaker 1: have different examples to share, but like she's the most
• 25:44
  Speaker 1: frequently cited female director. When people are like, well women
• 25:48
  Speaker 1: don't direct movies enough, they're like, like, that's the exact
• 25:54
  Speaker 1: because it's always the margin of error, right, every time.
• 25:56
  Speaker 1: Every time we talk about like marginalized folks, they're like
• 26:00
  Speaker 1: the margin of error, right, like the one the name, Yeah,
• 26:04
  Speaker 1: so everything's fine now exactly. She's yeah, she's one of
• 26:08
  Speaker 1: maybe a handful of like women directors who are like
• 26:10
  Speaker 1: kind of household names. It's like her Sofia Coppola, Ava
• 26:14
  Speaker 1: duvern name Patty Jenkins, and you can Patty Jenkins like that,
• 26:19
  Speaker 1: and then like Nora Ephron and like Nancy Myers. But
• 26:22
  Speaker 1: that's kind And that's the thing is like women can
• 26:25
  Speaker 1: make sexist media too, just because like it's really important
• 26:30
  Speaker 1: that like there's a lot of internalized depression and that
• 26:33
  Speaker 1: like just because you're a woman doesn't mean that you're
• 26:35
  Speaker 1: automatically a feminist or making feminist media. And it's also
• 26:38
  Speaker 1: like part of the problem with the Bechdel Test. Like
• 26:40
  Speaker 1: so before before I was known for video games, like
• 26:44
  Speaker 1: the Bechdel Test, videos that I made were the like
• 26:46
  Speaker 1: the things that people knew me for. So I got
• 26:48
  Speaker 1: asked about it all the fucking time, which I was like,
• 26:51
  Speaker 1: oh my god, it's not it does not mean anything
• 26:53
  Speaker 1: as feminist, Like it doesn't mean it's good. It's just
• 26:56
  Speaker 1: literally giving you a tool to recognize that, like, we
• 26:58
  Speaker 1: got a problem exactly right. The Sex and the City
• 27:01
  Speaker 1: movies pass the backdel test, and that's not really what
• 27:04
  Speaker 1: we're going the pantheon of womanhood like I got. I
• 27:10
  Speaker 1: actually got so annoyed that people would pull it out
• 27:13
  Speaker 1: all the time that I, um, I added my own rule,
• 27:17
  Speaker 1: which didn't pick up. But whatever, It's fine. I will
• 27:19
  Speaker 1: want to um where the women have to talk for
• 27:21
  Speaker 1: over a minute, because most of the movies that pass
• 27:25
  Speaker 1: just passed because there was literally one sentence, right, just
• 27:28
  Speaker 1: one conversation. Absolutely, and sometimes by characters we never see
• 27:31
  Speaker 1: again who have nothing like that. That conversation won't have
• 27:34
  Speaker 1: anything to do with advancing the story in any way. Yeah, well,
• 27:37
  Speaker 1: and and yet this is a bit of a sidebar.
• 27:39
  Speaker 1: But what is your history with like, I mean, I'm
• 27:42
  Speaker 1: curious about your history of people getting in your mentions
• 27:45
  Speaker 1: about the Bechtel test specifically, like because there, Yeah, how
• 27:48
  Speaker 1: is your like your attitude shifted towards it through the years,
• 27:52
  Speaker 1: because I know you've been putting up with people forever.
• 27:56
  Speaker 1: I don't know what you're talking about. Twitter's beautiful haven
• 28:00
  Speaker 1: of just wonderful, tolerant, constructive criticism. Yeah, I just so I,
• 28:06
  Speaker 1: so I made a video. It was like a really
• 28:07
  Speaker 1: short one to two minute long video that explained what
• 28:10
  Speaker 1: the Becktealth test was and showed examples that did really well.
• 28:13
  Speaker 1: Because you know, giving people these like very simple media
• 28:17
  Speaker 1: literacy tools to start recognizing how to look at media
• 28:20
  Speaker 1: differently is really mind opening and expanding for a lot
• 28:23
  Speaker 1: of folks. And that's great, Like the this test is
• 28:26
  Speaker 1: very useful and a very very one on one level, right,
• 28:30
  Speaker 1: which we've always said, yeah, which I think you do
• 28:32
  Speaker 1: hilariously at the intro of your podcast. Um, but the
• 28:36
  Speaker 1: thing is that everyone was like every time you talk
• 28:39
  Speaker 1: about anything, they're like, well, does a test pass the
• 28:41
  Speaker 1: test as a pass the test as a pass the
• 28:42
  Speaker 1: test as if that is a marker of like actual
• 28:45
  Speaker 1: criticism of a film, right, And So I think there's
• 28:48
  Speaker 1: there's value in it, but it's not like the end
• 28:51
  Speaker 1: all be all, Like it doesn't give us that much
• 28:54
  Speaker 1: information other than showing us a wide scale pattern within
• 28:57
  Speaker 1: Hollywood totally, right. So I you know, I think that
• 29:01
  Speaker 1: we can use it, and I think that like, you know,
• 29:03
  Speaker 1: being able to integrate it in ways that you're using
• 29:05
  Speaker 1: it it like it's really helpful, but it's not like
• 29:08
  Speaker 1: the end of the end. It's not like, you know,
• 29:10
  Speaker 1: you've you figured out the Becktel test in every movie
• 29:13
  Speaker 1: and therefore we're done here kind of thing, or like
• 29:15
  Speaker 1: if every movie passes it, it automatically means that it's
• 29:18
  Speaker 1: like not oppressive, which is also not true exactly. And
• 29:22
  Speaker 1: we've we've seen some wild passes. Yeah, but wasn't She's
• 29:27
  Speaker 1: all that where the only time it passes in the
• 29:29
  Speaker 1: whole movie is one when one female character is telling
• 29:32
  Speaker 1: another female character that they should fucking kill themselves. Like,
• 29:35
  Speaker 1: there's there's some there's some wild passes. We'll link that
• 29:40
  Speaker 1: out as well, because we want our listeners to be
• 29:43
  Speaker 1: as familiar with your work as possible. Yes, thank you,
• 29:47
  Speaker 1: but yeah, and that's why we talk about, of course,
• 29:49
  Speaker 1: not only whether or not a movie passes the Bectel tests,
• 29:53
  Speaker 1: but a whole slew of other things. For example, should
• 29:58
  Speaker 1: we just get into Tyler. Yeah, let's get into Tyler.
• 30:00
  Speaker 1: So she is the only main female character in the
• 30:05
  Speaker 1: whole story. There's a few other women who pop up
• 30:08
  Speaker 1: here and there, usually in the background, or if they
• 30:10
  Speaker 1: do have any sort of significant screen time, they are
• 30:12
  Speaker 1: either naked or selling a sandwich. Oh is that a woman.
• 30:18
  Speaker 1: I don't even notice. It's because yes there is. Her
• 30:23
  Speaker 1: name is miss deerin the is she named? But is
• 30:26
  Speaker 1: she named in the movie? I think they call her
• 30:28
  Speaker 1: miss Deer? But all right, I don't know for sure.
• 30:31
  Speaker 1: She's she's a hacker and she wants to fun Keanu,
• 30:34
  Speaker 1: and that's what we know about her. That's pretty much it.
• 30:39
  Speaker 1: So this movie is one of the Brazilian examples of
• 30:43
  Speaker 1: a man trying to get closer to a woman by
• 30:47
  Speaker 1: lying to her or manipulating her. So for the betterment
• 30:52
  Speaker 1: of the world, right to stop, justified exactly, and don't worry.
• 30:57
  Speaker 1: He never like it's never in the way their relationship
• 31:01
  Speaker 1: plays out, that's never really resolved at all, because she's
• 31:05
  Speaker 1: kidnapped before it can be a discussion, and she does
• 31:08
  Speaker 1: confront him, but his pillow. Yeah, she knows how to
• 31:14
  Speaker 1: aim a gun. What was she trying to kill She
• 31:16
  Speaker 1: wasn't trying to kill him, just trying to I'm not
• 31:19
  Speaker 1: sure she could have. If he moved an inch, she
• 31:21
  Speaker 1: would have killed him. Yeah, So basically, so here's how
• 31:24
  Speaker 1: their relationship plays out. He's trying to surf. He's extremely
• 31:27
  Speaker 1: bad at it. He nearly drowns she swoops in and
• 31:31
  Speaker 1: saves his life. So we see an example of a
• 31:32
  Speaker 1: woman saving a man. It's not that common because usually
• 31:35
  Speaker 1: men are saving women in movies. Um, save very little mermaid, right. Um.
• 31:41
  Speaker 1: Then she screams at him. She's like, you have no
• 31:43
  Speaker 1: business being out here, basically telling him that he's not
• 31:45
  Speaker 1: good enough. But then he basically stocks her and it's like,
• 31:49
  Speaker 1: you need to teach me how to surf. Yeah, he
• 31:51
  Speaker 1: goes to her job. I liked that. We saw that
• 31:54
  Speaker 1: she has a job, we know what she does. Like that,
• 31:57
  Speaker 1: I was like, okay, movie, most movies don't get that
• 32:00
  Speaker 1: far before that, though, he is so that We talked
• 32:03
  Speaker 1: about this a little bit already. But the shot of her,
• 32:06
  Speaker 1: she's changing out of her swimsuit, as the audience were like, hmm,
• 32:11
  Speaker 1: this is extremely male gaze oriented. And then we cut
• 32:15
  Speaker 1: to a shot of Keanu literally gazing at her through
• 32:19
  Speaker 1: binoculars and we're like, oh, whoa, Okay, so this is
• 32:22
  Speaker 1: like doubling down on the male gaze. That's wild. But
• 32:25
  Speaker 1: don't worry, no commentary is made, no none whatsoever. So
• 32:29
  Speaker 1: then so he's like following her, stalking her, and then
• 32:31
  Speaker 1: he approaches her at work, it's like, you have to
• 32:33
  Speaker 1: teach me how to surf. She is reluctant at first,
• 32:35
  Speaker 1: but then he uses the information that he learned about
• 32:38
  Speaker 1: her from which hacker. That scene is also great because
• 32:42
  Speaker 1: Gary Busey's like, oh, this is your surfing contact, female
• 32:47
  Speaker 1: D nineteen pounds, hares blue eyes. Do you have to
• 32:50
  Speaker 1: say a hundred nineteen pounds? Do we all need to
• 32:53
  Speaker 1: be triggered? Like what? Why? And he's so offended that
• 32:56
  Speaker 1: she's a woman. Gary Busey was like, oh, he found
• 32:58
  Speaker 1: a woman to help me, which is crazy because in
• 33:01
  Speaker 1: real life, Gareb you see, loves and respects Mester. Right.
• 33:08
  Speaker 1: So then so he uses this information that he finds
• 33:10
  Speaker 1: out about her, which is that her parents died in
• 33:12
  Speaker 1: a plane crash, to sort of like leverage against her,
• 33:16
  Speaker 1: to be like, well, like, my parents died in a
• 33:19
  Speaker 1: car crash, so you just don't know what. It's like,
• 33:22
  Speaker 1: I'm finally doing something for myself. And then she falls
• 33:25
  Speaker 1: for it and agrees to start helping him. She's teaching
• 33:28
  Speaker 1: him how to surf, and then they get romantically involved,
• 33:31
  Speaker 1: because you can't have a movie where there's just a
• 33:35
  Speaker 1: man and a woman on a professional basis or a
• 33:39
  Speaker 1: friendship basis, they have to start having sex. There's a weird,
• 33:43
  Speaker 1: awkward kiss. They're sex on the beach. He keeps lying.
• 33:48
  Speaker 1: There's a long shot of Kianu just thinking while she sleeps.
• 33:54
  Speaker 1: Remember when he tries to tell her and she's like literally,
• 33:58
  Speaker 1: she says, you look like you are are about to
• 34:01
  Speaker 1: tell me something, and then you don't. And then he's like,
• 34:03
  Speaker 1: I'm going to tell you the thing, and she's like
• 34:04
  Speaker 1: puts her finger on his lips and he's like, no, no,
• 34:07
  Speaker 1: it's okay, don't tell me. She tries to shoot him morning,
• 34:11
  Speaker 1: and you're like, wait, what a lot of inconsistencies. So yeah,
• 34:16
  Speaker 1: what happens there is that he's, I guess, trying to
• 34:19
  Speaker 1: tell her that he's working undercover as an FBI agent
• 34:22
  Speaker 1: to try to find these bank robbers. She's like, some
• 34:26
  Speaker 1: other time, don't tell me now. Then we cut to
• 34:30
  Speaker 1: a scene which I would argue as a weird like
• 34:33
  Speaker 1: that just as bad writing and weird for the character
• 34:36
  Speaker 1: because a second ago she wants to know so badly,
• 34:40
  Speaker 1: but then her loins overcome her because he's like this
• 34:43
  Speaker 1: is so hard for me, and she's like men are
• 34:46
  Speaker 1: so bad at this. Further perpetuating the stereotype that men
• 34:49
  Speaker 1: are bad at talking about whatever. But I mean, if
• 34:52
  Speaker 1: you had representation of men in movies talking about their
• 34:56
  Speaker 1: feelings and their you know, vulnerabilities and stuff like that,
• 34:59
  Speaker 1: maybe it wouldn't be so hard for men to do that.
• 35:01
  Speaker 1: There's more ways, you know, you could. There's also surfing.
• 35:06
  Speaker 1: I really expressed myself best through my surfing, surfing, his art, surfing,
• 35:10
  Speaker 1: his life. So he doesn't tell her what his deal is,
• 35:14
  Speaker 1: but she finds out because he leaves his badge lying
• 35:17
  Speaker 1: around and I do want to get into the list
• 35:18
  Speaker 1: of all the reasons why he is a terrible undercover agent.
• 35:22
  Speaker 1: But did she say he's a lawyer, because he's like
• 35:25
  Speaker 1: I went to law school. My parents wanted me to
• 35:27
  Speaker 1: go to law school. Oh. I thought she was saying
• 35:29
  Speaker 1: I found out you're a lawyer. And I was like, no,
• 35:32
  Speaker 1: that's the lie that he fed her. Got it Okay?
• 35:35
  Speaker 1: So she finds his badge and then she tries to
• 35:39
  Speaker 1: she shoots at him, but the movie frames it because
• 35:43
  Speaker 1: she's like, you lied to me, or your parents even dead?
• 35:45
  Speaker 1: Tell me if your parents are dead, and then she leaves,
• 35:48
  Speaker 1: but the movie frames it as though we are supposed
• 35:50
  Speaker 1: to feel sorry for Johnny Utah for like having been
• 35:54
  Speaker 1: found out, rather than us feeling sorry for Tyler for
• 35:58
  Speaker 1: being lied to. Having her traumatic past leverages against her
• 36:01
  Speaker 1: because surf crime. Yeah, but it's because like the narrative
• 36:06
  Speaker 1: has her go absolutely berserk and nearly shoot him, so
• 36:10
  Speaker 1: we're like, oh, she's crazy. We're supposed to feel sorry
• 36:13
  Speaker 1: for john Utah, which is not great. Yeah, that the
• 36:18
  Speaker 1: way that scene it's so weird because it's like, I
• 36:20
  Speaker 1: feel like we probably all watched that scene kind of
• 36:23
  Speaker 1: the same way of like, again, it was an irrational
• 36:27
  Speaker 1: story choice to have her shoot a gun like that
• 36:30
  Speaker 1: doesn't line up with who we know that character to be,
• 36:33
  Speaker 1: you know, and every other example we've seen her try
• 36:36
  Speaker 1: to talk to him, and it's so it's weird that
• 36:38
  Speaker 1: all of a sudden they're like, no, she's she's mad
• 36:40
  Speaker 1: and she's crazy and we're about to kidnap her anyway,
• 36:43
  Speaker 1: so might as well give her a gun. Yeah, it's like,
• 36:46
  Speaker 1: how do we make her seem the most betrayed right
• 36:49
  Speaker 1: that she's like totally whack a doodle, Like this is
• 36:52
  Speaker 1: the way chicks react, and you know, bullshit, and they're
• 36:55
  Speaker 1: like the big climactic like scenes at the end. So
• 36:58
  Speaker 1: it's super inconsistent, right, But also like, I don't know,
• 37:02
  Speaker 1: I feel like I'm so much worth forgiving of a
• 37:04
  Speaker 1: lot of this stuff in this film only because like
• 37:06
  Speaker 1: it's so off the rails in every conceivable way from
• 37:10
  Speaker 1: the get go that you're like, oh, sure of course
• 37:12
  Speaker 1: she shoots the gut whatever. I do agree that everyone
• 37:15
  Speaker 1: is operating at and eleven for the duration of this
• 37:19
  Speaker 1: that it's not it's by far not the craziest thing
• 37:22
  Speaker 1: that happens. No, But then what's like super sexist? Then
• 37:27
  Speaker 1: of course we get the third act cop out of Oh,
• 37:31
  Speaker 1: let's kidnap the only female character in the movie as
• 37:34
  Speaker 1: leverage so that there's something for the boys to fight for.
• 37:38
  Speaker 1: And and then the next time we see her where
• 37:41
  Speaker 1: she's not you know, like bound and gagged on Patrick
• 37:45
  Speaker 1: Swayzy's creepy van computer or was like what was that
• 37:50
  Speaker 1: plugged into? What is It's not a wireless computer you have?
• 37:54
  Speaker 1: But and the whole thing where he's like Rosie, he's
• 37:58
  Speaker 1: just has this gift where he can just go blank.
• 38:00
  Speaker 1: I couldn't do it, man, she was my woman, but
• 38:02
  Speaker 1: like he can do it, and it's okay, and you're like,
• 38:05
  Speaker 1: what is happening right now? Right? Yeah, that's the other thing.
• 38:09
  Speaker 1: So the movie establishes that Tyler and Bodie used to
• 38:13
  Speaker 1: go out and have a romantic relationship, which means that
• 38:17
  Speaker 1: like the writers when they're trying to like characterize her
• 38:20
  Speaker 1: and like trying to figure out, okay, like who is
• 38:22
  Speaker 1: she in the story? Like what purpose does she serve? Like,
• 38:25
  Speaker 1: they had to write in that she is Bodie's ex girlfriend,
• 38:31
  Speaker 1: which is like not necessary for the story at all.
• 38:33
  Speaker 1: It's just weird. Yeah, for whatever reason they're I mean,
• 38:36
  Speaker 1: this happens a lot where they're like, well, why would
• 38:38
  Speaker 1: this woman exist in this story? Better make her the
• 38:40
  Speaker 1: ex girl, like, better established her relationship to a man
• 38:44
  Speaker 1: in this story. But it doesn't serve the story at all.
• 38:46
  Speaker 1: It could easily just been that they were friends or
• 38:48
  Speaker 1: they hang out in the same surfing circle, pushing the
• 38:51
  Speaker 1: point to write, Like in the party scene where he's
• 38:54
  Speaker 1: like doing the tequila shots of that woman, he says
• 38:56
  Speaker 1: to Johnny, Utah, what's mine is yours? And you're like,
• 39:02
  Speaker 1: because women be property, the property of the men. In
• 39:06
  Speaker 1: the game of patriarchy, women are not the opposing team.
• 39:09
  Speaker 1: They are the ball and the scene very much illustrates that. Yes,
• 39:14
  Speaker 1: I feel like that from a story perspective, that wasn't
• 39:16
  Speaker 1: even really necessary because you know, in one of the
• 39:20
  Speaker 1: things this movie I thought did right, we do know
• 39:24
  Speaker 1: a little bit about Tyler, Like I think we know
• 39:26
  Speaker 1: enough about her that we don't really need that element
• 39:29
  Speaker 1: where we know, you know a little bit about her
• 39:31
  Speaker 1: past where she has like you know, she is an orphan.
• 39:34
  Speaker 1: That's more than we know about a lot of female protagonists.
• 39:37
  Speaker 1: We know that she has a job and a hobby,
• 39:41
  Speaker 1: and we know that of course she is not like
• 39:43
  Speaker 1: the other girls. I suspect it's also I mean, like, okay,
• 39:47
  Speaker 1: we're talking about, you know, a very cliched story with
• 39:50
  Speaker 1: the three act arc or whatever is how you talk
• 39:54
  Speaker 1: about stories. I totally up. It's fine, keep moving, But
• 39:59
  Speaker 1: I suspect there's a thing where instead of just being like, oh,
• 40:01
  Speaker 1: she's a really good surfer and she just is down,
• 40:03
  Speaker 1: she like hangs out with a surfing group, like they
• 40:06
  Speaker 1: have to justify her involvement as an ex or else.
• 40:09
  Speaker 1: Why would there be some woman here, Why would a
• 40:11
  Speaker 1: woman be a good surfer? Why is a woman hanging
• 40:13
  Speaker 1: out in this house? That's not just background decoration. I
• 40:16
  Speaker 1: think that that's like too much forethought for the writers.
• 40:19
  Speaker 1: But I suspect that would be the you know, they
• 40:22
  Speaker 1: just did it because that's what you do. You just
• 40:23
  Speaker 1: write women as the love interest. But I suspect, like,
• 40:26
  Speaker 1: if you really force someone to explain it, that would
• 40:29
  Speaker 1: be the excuse, because otherwise, why would she even be there.
• 40:32
  Speaker 1: God's depressing, Like she could not have come to surfing
• 40:36
  Speaker 1: on her own. Yeah. And I think the other thing too,
• 40:39
  Speaker 1: is that her character is very indicative of like the
• 40:42
  Speaker 1: sort of rise that we start seeing in the nineties
• 40:46
  Speaker 1: of perceived quote unquote strong female characters, where you know,
• 40:49
  Speaker 1: you have these women who are very conventionally attractive and
• 40:54
  Speaker 1: they they're sort of mouthy, right, Like she can kind
• 40:57
  Speaker 1: of she's kind of like tough and cool like we're
• 40:59
  Speaker 1: talking about earlier, um, but is still put in her place.
• 41:02
  Speaker 1: She's still a love interest. She's still like kind of
• 41:04
  Speaker 1: this side character in this this story about two men. Yeah,
• 41:08
  Speaker 1: she basically only exists in the narrative in the context
• 41:11
  Speaker 1: of her relationship to the men who are the main characters. Yeah,
• 41:15
  Speaker 1: but she's like, you know, cool, right, because she gets
• 41:17
  Speaker 1: to comment on like you know, they're they're talking about
• 41:20
  Speaker 1: if you die doing what you love, it's worth it,
• 41:22
  Speaker 1: and she's like too much testosterone for me. Yeah, Like
• 41:25
  Speaker 1: she'll make these these like comments about masculinity and she's like,
• 41:30
  Speaker 1: you know, she'll she'll talk back, um, and she'll be
• 41:33
  Speaker 1: quote unquote tough. But like that doesn't really matter because
• 41:36
  Speaker 1: she's not important enough and she doesn't get to do
• 41:39
  Speaker 1: anything with that. It's not actualized. Right, that never really
• 41:41
  Speaker 1: pays because she's like big wave riding is for mucho
• 41:44
  Speaker 1: assholes with a death wish, which is what happens at
• 41:48
  Speaker 1: the end of the movie where does kill himself on
• 41:53
  Speaker 1: a big wave. But I mean, yeah, like her like
• 41:57
  Speaker 1: headstrongness so to speak, doesn't necessarily play into the narrative.
• 42:02
  Speaker 1: It just gives her a little bit more characterization, but right,
• 42:06
  Speaker 1: it's not necessarily important to the events of this story. Yeah, yeah, totally.
• 42:10
  Speaker 1: And I feel like, you know, at the time, it
• 42:12
  Speaker 1: was probably like man like, she's a really cool female
• 42:15
  Speaker 1: character in comparison to all of the lack of options
• 42:18
  Speaker 1: that we have in media during that time period, you know,
• 42:21
  Speaker 1: especially because she's sad, short hair, she's got short hair, baldist,
• 42:25
  Speaker 1: woman in charge there's not even enough. But there's not
• 42:27
  Speaker 1: even another woman. There's not another woman. I have a
• 42:32
  Speaker 1: very important question. What does speak into the microphone squid brain? Mean? Wait,
• 42:40
  Speaker 1: at what point does that happen? Bucy says it when
• 42:43
  Speaker 1: he like sticks a gun into someone's face, and I
• 42:45
  Speaker 1: was like, speak into the microphone, squid brain, Like, really,
• 42:49
  Speaker 1: how do you say that and not just have like
• 42:53
  Speaker 1: a word cloud of insane things that you can say
• 42:56
  Speaker 1: at any given moment. I mean, it probably means the
• 42:59
  Speaker 1: same thing is I'm so hungry I could eat the
• 43:01
  Speaker 1: as end out of a rhino. Or it means the
• 43:06
  Speaker 1: same thing as vanish like a virgin on prom night,
• 43:10
  Speaker 1: Or it means the same thing as are you through?
• 43:13
  Speaker 1: Mr Wizard? Let me know if you find Jimmy Hoffa
• 43:15
  Speaker 1: under the seat while you're at it, like his line
• 43:18
  Speaker 1: to Sea World Kid. I did particularly like when Keanu
• 43:25
  Speaker 1: said are we going to jump or jerk off? When
• 43:28
  Speaker 1: they're all like dying on the plane. That was definitely
• 43:30
  Speaker 1: a good They also said, uh, when they're skydiving and
• 43:34
  Speaker 1: they're like debating like whether or not they should pull
• 43:37
  Speaker 1: the rip chord, someone says we're gonna be meat waffles.
• 43:42
  Speaker 1: Just what end on that note, We're gonna take another
• 43:46
  Speaker 1: quick break and we'll be back in a second, and
• 43:55
  Speaker 1: we are back. Um, I want to talk about So
• 43:59
  Speaker 1: they're is a trend in this movie and across a
• 44:02
  Speaker 1: bunch of movies where like during the bank robbing scenes
• 44:06
  Speaker 1: or in like other movies, if you see like a
• 44:08
  Speaker 1: hostage situation, I feel like women are more commonly threatened
• 44:13
  Speaker 1: with violence or they're like thrown all around a lot more.
• 44:17
  Speaker 1: They're screamed at more, they're like guns are pointed at
• 44:20
  Speaker 1: them more, they're like thrown to the floor more. And
• 44:23
  Speaker 1: I think the reason this happens, the reason this choice
• 44:26
  Speaker 1: is made, is that women are perceived by society as
• 44:30
  Speaker 1: being weaker and more delicate, So when they're threatened, it
• 44:34
  Speaker 1: like heightens the tension more than it would if it
• 44:36
  Speaker 1: was like a big, macho guy being thrown to the ground,
• 44:39
  Speaker 1: because the implications always like she can't fight back, right exactly.
• 44:43
  Speaker 1: So it's like the filmmaker's idea of like how can
• 44:45
  Speaker 1: we like heighten the tension of this scene or how
• 44:47
  Speaker 1: can we like really amplify the stakes. It's so ridiculous
• 44:52
  Speaker 1: about that is in that scene that you're talking about,
• 44:56
  Speaker 1: he's like, lady open up the vault, and she's like,
• 44:59
  Speaker 1: Mr Manager has the keys, and so he's like, we
• 45:03
  Speaker 1: just missed your manager. So then he's like, here, do
• 45:06
  Speaker 1: whatever they want and gives her the keys to go
• 45:09
  Speaker 1: and do the things so that it perpetuates exactly what
• 45:11
  Speaker 1: you're talking about, as opposed to the dude with the
• 45:13
  Speaker 1: keys just opening up the fucking vault right, like he
• 45:16
  Speaker 1: just passes it off to her like that, what's come on?
• 45:18
  Speaker 1: It's so yeah, it's bizarre. And then if you just
• 45:21
  Speaker 1: see just like different moments of like extras, just like
• 45:24
  Speaker 1: women being thrown violently to the floor, pushed around a
• 45:28
  Speaker 1: gun how to her head? Like we see this all
• 45:30
  Speaker 1: the time in movies like this, if there's like a
• 45:32
  Speaker 1: bank robbery or something, and we perceive women as a
• 45:36
  Speaker 1: society to be weaker because maybe we just see so
• 45:39
  Speaker 1: much representation on screen of like quote unquote weak women
• 45:43
  Speaker 1: who can't fight back or who you know, are super
• 45:48
  Speaker 1: scared or whatever. But like, I don't know, like if
• 45:51
  Speaker 1: we see stronger and more fearless women on screen, this
• 45:55
  Speaker 1: wouldn't keep happening. Yeah, Well, and also challenging the notion
• 45:59
  Speaker 1: of what string means, right, and I think we're seeing
• 46:02
  Speaker 1: we are seeing more media that's doing that that like
• 46:04
  Speaker 1: this historical notion of strength and toughness that comes from
• 46:09
  Speaker 1: like male masculinity and like the hero hero archetype um women,
• 46:14
  Speaker 1: they just threw onto female roles and was like, now
• 46:17
  Speaker 1: you're strong. But like we I think we're slowly starting
• 46:20
  Speaker 1: to see more female characters who are more nuanced, who
• 46:22
  Speaker 1: are more flawed, who are more complex, and where strength
• 46:25
  Speaker 1: comes from things that aren't just like physical violence or
• 46:28
  Speaker 1: like stoicness. Yeah. And I would extend that same line
• 46:32
  Speaker 1: of thought to the chase scene as well, because you
• 46:36
  Speaker 1: see women sort of threatened with the possibility of violence,
• 46:39
  Speaker 1: but also it's like, oh, we're running through their house
• 46:41
  Speaker 1: without you know, asking to come in, so of course
• 46:43
  Speaker 1: they're going to be naked because we need an excuse
• 46:46
  Speaker 1: for nudity to appear. That always reminds me of die Hard,
• 46:50
  Speaker 1: uh in the first scene of die Hard, where there's
• 46:52
  Speaker 1: no reason for a woman to be topless, but they
• 46:55
  Speaker 1: find a reason, Like we'll just have her be having
• 46:57
  Speaker 1: sex with a random man. We will not see his
• 47:01
  Speaker 1: he's he's wearing a shirt. She's totally topless, So yeah,
• 47:05
  Speaker 1: I mean it's just it's like every movie tries to
• 47:08
  Speaker 1: throw in and this happens in video games all the
• 47:10
  Speaker 1: fucking time, where it's like, oh, there has to be
• 47:12
  Speaker 1: a strip club scene. Of course, yeah, there'll be like
• 47:15
  Speaker 1: a business meeting at a strip club in movies where
• 47:17
  Speaker 1: it's like, why are you meeting here? It's just it's
• 47:20
  Speaker 1: like an excuse for titties. And it's also like a
• 47:23
  Speaker 1: shorthand for like, these guys are cool, like or or
• 47:28
  Speaker 1: or villain is I want to go back really cool?
• 47:31
  Speaker 1: We didn't. We didn't talk about where the Tyler's storyline
• 47:34
  Speaker 1: leaves off, which is also baffed and frustrating because I
• 47:38
  Speaker 1: just want to make sure we hit on it. So
• 47:40
  Speaker 1: Tyler is kidnapped by Swaysy's meanest boy and uh, the
• 47:46
  Speaker 1: one who would actually kill her Rosie so yes, and
• 47:51
  Speaker 1: and Swaysie's character, in order to keep the audience on
• 47:54
  Speaker 1: board enough with him as a character, does this weird
• 47:58
  Speaker 1: thing where he's like, yeah, I can never kill her.
• 48:01
  Speaker 1: Fortunately I know someone who could though, and you're just like, okay,
• 48:05
  Speaker 1: I guess he's like, but I don't actually wanted to die,
• 48:07
  Speaker 1: like please Bedrock, sweetie. But we see Tyler at the end,
• 48:14
  Speaker 1: she's released or she you know, and she's wearing this
• 48:17
  Speaker 1: virginal slip, and she's wearing the white slip runs into
• 48:21
  Speaker 1: Keyanu's arm. Keep in mind the last time they saw
• 48:24
  Speaker 1: each other, she was shooting him exactly. And then you
• 48:27
  Speaker 1: see what one of my favorite shitty dumb sequences in
• 48:31
  Speaker 1: the scene was, which was him calling her on the
• 48:33
  Speaker 1: phone over and over trying to apologize and just grappling
• 48:38
  Speaker 1: with this. And he was just like, he's a tyler.
• 48:40
  Speaker 1: I'm so sorry, these are so messed up. I was
• 48:42
  Speaker 1: afraid you'd leave. And then he says and I quote, fuck,
• 48:46
  Speaker 1: why can't I ever say what I really mean? And
• 48:51
  Speaker 1: he puts the phone down, and I continues to do
• 48:54
  Speaker 1: the message. I was just like, you did nothing up.
• 49:00
  Speaker 1: That's on the message. Funk, my kid? Is he what
• 49:05
  Speaker 1: they really mean? So good? I prepped you for that.
• 49:08
  Speaker 1: Remember I would remember that I like pay attention. Yeah
• 49:12
  Speaker 1: that was the line. Oh that I like how old?
• 49:15
  Speaker 1: It is so funny. But but she doesn't talk to
• 49:19
  Speaker 1: him because we were to assume she gets kidnapped immediately
• 49:22
  Speaker 1: after running out of her own house naked with a
• 49:24
  Speaker 1: gun whatever, But we we don't see her again. She
• 49:26
  Speaker 1: runs into Kanu's arms, and as a call back to
• 49:30
  Speaker 1: a problematic scene Plissa earlier in the movie, she's about
• 49:34
  Speaker 1: to tell him that she loves him, and then he
• 49:37
  Speaker 1: goes some other time, So she runs into his arms
• 49:41
  Speaker 1: to say that she loves him, even though that doesn't
• 49:43
  Speaker 1: make any logical sense, and then he goes shut up,
• 49:48
  Speaker 1: and then she starts to make out with his neck
• 49:50
  Speaker 1: while he has a conversation with another character. It's that's
• 49:55
  Speaker 1: the last time was here. Yeah, that's it, Bye bye.
• 49:58
  Speaker 1: We have to watch the pat Patrick Swayze commits surfing suicide.
• 50:04
  Speaker 1: So the thing about the last scene, which again you
• 50:08
  Speaker 1: just gotta not ask questions about this movie, which is
• 50:12
  Speaker 1: the complete opposite of what we've been doing for an hour.
• 50:14
  Speaker 1: But so the FBI has no jurisdiction internationally. Oh yeah,
• 50:22
  Speaker 1: somehow Keanu reeves the rookie cop that he's already hated
• 50:26
  Speaker 1: by his boss, gets to travel around the world trying
• 50:29
  Speaker 1: to track down this one dude that robbed some banks.
• 50:32
  Speaker 1: A couple of times he finds him, then he lets
• 50:35
  Speaker 1: him go, and then he's like, I'm done, and he
• 50:40
  Speaker 1: throws his badge into the ocean, as if he wasn't
• 50:43
  Speaker 1: already fired, right did he quit? Like, I don't know
• 50:46
  Speaker 1: what that like. That's insinuation is that he's like, I
• 50:49
  Speaker 1: did the one thing I needed to do and now
• 50:51
  Speaker 1: I can quit. And you're like, like, you didn't do it,
• 50:53
  Speaker 1: but you didn't do it? Is his death satisfaction to you?
• 51:00
  Speaker 1: Is that? What? Like what you've been seeking for a year?
• 51:03
  Speaker 1: I I interpreted it as well. No, Actually that wouldn't
• 51:06
  Speaker 1: make sense either, where he's like he wanted to watch
• 51:08
  Speaker 1: Patrick Swayzey die, but he didn't want to be the
• 51:11
  Speaker 1: one to do it himself. Maybe I think he just
• 51:13
  Speaker 1: wanted justice quote unquote right, like you're a bad guy,
• 51:17
  Speaker 1: so you have to be taken down and like people
• 51:20
  Speaker 1: died and ship, right and so but he's still Kanu
• 51:25
  Speaker 1: has a soft heart and was like it's okay that
• 51:28
  Speaker 1: you die doing brain Yeah. And also in the year
• 51:32
  Speaker 1: he's traveling around the world. What's Tyler doing? Right? Is
• 51:35
  Speaker 1: she there? Where they break up? Like immediately after if
• 51:39
  Speaker 1: she had any sense, she would be like, I'm sorry,
• 51:41
  Speaker 1: I was just overcome with emotion because I was kidnapped.
• 51:44
  Speaker 1: But like, yeah, this doesn't make a lot of sense. Well,
• 51:46
  Speaker 1: they're they're romantic relationship is very similar to ones that
• 51:50
  Speaker 1: we see in movies all the time, where it's so underdeveloped.
• 51:53
  Speaker 1: We're not really sure why they like each other, aside
• 51:57
  Speaker 1: from the fact that they're both attractive people and that
• 51:59
  Speaker 1: they're near each other. So like, I guess you could
• 52:01
  Speaker 1: argue that she feels a connection to him because he
• 52:04
  Speaker 1: had a similar experience with the death of his parents,
• 52:06
  Speaker 1: which he didn't actually have, and he was just lying
• 52:08
  Speaker 1: to her about that. But like, other than that, she
• 52:11
  Speaker 1: like very quickly falls in love with him. They've only
• 52:13
  Speaker 1: been dating for like two weeks, Like the timeline on
• 52:16
  Speaker 1: this movie is pretty short, so when you're on the
• 52:18
  Speaker 1: beach though, but like body says something to Johnny Utah
• 52:25
  Speaker 1: where he's just like, you know, she does love your man,
• 52:27
  Speaker 1: Like she never felt that way about me, like I
• 52:29
  Speaker 1: can tell. So it's just like, well, why do you
• 52:33
  Speaker 1: love him again? Like it's just the I know, I
• 52:36
  Speaker 1: know why she like opens up to him, and that's
• 52:38
  Speaker 1: because he lies to her about dead parents. Because when
• 52:42
  Speaker 1: you have a trauma and someone else has the same trauma,
• 52:45
  Speaker 1: you immediately fall in love with You have to be
• 52:47
  Speaker 1: in love. That's that's what the movies of timing and
• 52:50
  Speaker 1: if they're lying about it too late. You're already in love.
• 52:54
  Speaker 1: You can't get out of that. I would like to
• 52:57
  Speaker 1: see how many scenes Keanu Reeves is in and where
• 53:01
  Speaker 1: he it's that last scene, you know, like where she
• 53:03
  Speaker 1: runs up and they're like kissing and they're like, we
• 53:05
  Speaker 1: love each other after this horrible thing just happened, because
• 53:07
  Speaker 1: it's the exact same scene in Speed Ye yeah, and
• 53:11
  Speaker 1: they make the joke and Speed about how like relationships
• 53:14
  Speaker 1: that are built on whatever, fucking like a trauma bond,
• 53:18
  Speaker 1: like yeah, it never lasts, and they're like's to love you?
• 53:22
  Speaker 1: I just like, how many movies does that happen in
• 53:24
  Speaker 1: with Kenna Reeves? I would like that super cut. So
• 53:26
  Speaker 1: if somebody could make that in sentence to me, I
• 53:28
  Speaker 1: would really appreciate. It's the implication there that someone can
• 53:30
  Speaker 1: only fall in love with Kanary as if they've recently
• 53:33
  Speaker 1: been through a tragedy, like you can't fall in love
• 53:37
  Speaker 1: with them in regular life. Well, in the Matron she
• 53:39
  Speaker 1: falls in them because that was a prophecy. Well, I
• 53:42
  Speaker 1: haven't seen that movies just as important as talking about
• 53:48
  Speaker 1: the only female character in the movie. I do think
• 53:50
  Speaker 1: that it's interesting to explore a little bit just how
• 53:54
  Speaker 1: masculinity is in hyper masculinity is portrayed in this particular
• 53:58
  Speaker 1: movie because the two cents real friendships between men that
• 54:02
  Speaker 1: we see in this movie are Swayzy Abusey, I don't know,
• 54:07
  Speaker 1: but give me that Kianu Abusi and Kianu and Swayze
• 54:12
  Speaker 1: two very different friendships, but both are rooted in hyper
• 54:16
  Speaker 1: masculine like adrenaline rushes, where like Abusey and Keanu get
• 54:20
  Speaker 1: off on the adrenaline rush of like police where the police,
• 54:26
  Speaker 1: and then Swayzie and Keanu get off on like surfing
• 54:30
  Speaker 1: and planes, and like it's two different types of the
• 54:33
  Speaker 1: same relation planes surfing and planes. They're like we're recreational
• 54:39
  Speaker 1: testosterone and we're professional testosterone. And you know, it's like
• 54:44
  Speaker 1: the Swayze is the weekend guy or whatever. But I don't,
• 54:48
  Speaker 1: I don't know. It's just weird to see both friendships
• 54:50
  Speaker 1: are based in the same like they're always doing stuff
• 54:55
  Speaker 1: instead of talking about stuff. And that's also the root
• 54:58
  Speaker 1: of most of their problem. This is because they're always
• 55:01
  Speaker 1: doing stuff and not talking about stuff. I don't know.
• 55:04
  Speaker 1: It's definitely a very specific type of masculinity. The whole
• 55:07
  Speaker 1: film is that is the same kind of like bullshit,
• 55:09
  Speaker 1: which hilariously Tyler tries to call out, but also doesn't
• 55:14
  Speaker 1: matter at all, right, Like it it's just so yeah,
• 55:17
  Speaker 1: it's such a throwaway line. The only way she calls
• 55:19
  Speaker 1: it out too, is by like stating it and then
• 55:22
  Speaker 1: leaving this scene, right and so continue but this time
• 55:26
  Speaker 1: without me, and she's still friends with them, so like,
• 55:28
  Speaker 1: if she was that bothered by it, she wouldn't be
• 55:30
  Speaker 1: hanging out with these guys, but she remains friends with them,
• 55:33
  Speaker 1: so it's like, Okay, well, you're not that disgusted by
• 55:36
  Speaker 1: their toxic masculinity, So it's just like, what's the point
• 55:40
  Speaker 1: then if you're gonna have a character make a comment
• 55:42
  Speaker 1: on it, but then like there's no follow through or
• 55:44
  Speaker 1: there's no repercussions. It's a it's like a have your
• 55:48
  Speaker 1: cake and eat it. To kind of where we were
• 55:49
  Speaker 1: talking about this recently in the Aladdin episode, where it's
• 55:53
  Speaker 1: like there's a bunch of like Disney Renaissance princesses that
• 55:56
  Speaker 1: are like kind of what you're saying earlier, inn to
• 55:59
  Speaker 1: of like here's a character who will technically say some
• 56:04
  Speaker 1: of the right things, but they're saying that has no
• 56:06
  Speaker 1: impact on what happens. So it's you know, it's almost
• 56:09
  Speaker 1: for like male creatives to be like, well we said so,
• 56:13
  Speaker 1: and it's like, yeah, but it had no impact and
• 56:15
  Speaker 1: nothing happened as a result of it. So why say
• 56:18
  Speaker 1: it other than to be able to say you said
• 56:19
  Speaker 1: it later? You mean when Princess Jasmine says I am
• 56:23
  Speaker 1: not surprised to be one and then Aladdin wins her, yeah,
• 56:27
  Speaker 1: twenty minutes later. Yeah. Yeah. It's like, just like, I
• 56:30
  Speaker 1: don't know if there's like a name for for when
• 56:33
  Speaker 1: that happens, but it happens so frequently, and especially in
• 56:36
  Speaker 1: movies of this era. And then also, okay, so are
• 56:40
  Speaker 1: we It sounds like Point Break Live references this the
• 56:44
  Speaker 1: like homoerotic undertones direct me to them, Like where where
• 56:50
  Speaker 1: the specific moments people pick out in this movie as
• 56:52
  Speaker 1: that is it the holding hands jumping out of the
• 56:55
  Speaker 1: plane scene. I thought they were going to try to
• 56:57
  Speaker 1: kill Kianu in that scene. That's where I went into
• 56:59
  Speaker 1: that scene, being like, they're going to kill him and
• 57:01
  Speaker 1: then it turns out that they're just they're friends. That
• 57:04
  Speaker 1: scene makes no sense in the movie. It doesn't need
• 57:07
  Speaker 1: to be there. It's so serves no purpose. Except to
• 57:11
  Speaker 1: maybe that it pays off a little later when they
• 57:13
  Speaker 1: go sky diving again, but that also doesn't need to happen.
• 57:16
  Speaker 1: Like I think someone was just like, we gotta sky
• 57:20
  Speaker 1: diving in this surfing movie. I'm trying to remember now
• 57:26
  Speaker 1: because when I just watched it again yesterday, and I
• 57:29
  Speaker 1: feel like I've watched it so many times that I
• 57:31
  Speaker 1: don't even notice it anymore. But I know for sure
• 57:33
  Speaker 1: them like being on top of each other in the
• 57:35
  Speaker 1: sky and being like pull the cord. No, you pull
• 57:38
  Speaker 1: the cord. You pull the cord. Now you pull the
• 57:39
  Speaker 1: cord um, and and because Swayze is like he's so,
• 57:43
  Speaker 1: here's the thing is I think Patrick Swayze is just
• 57:45
  Speaker 1: like the cats me out. Speaking of cats, cats do
• 57:49
  Speaker 1: have eight nipples, as this cat facts with Caitlin Go.
• 57:55
  Speaker 1: He's just he's so like kind of hippy dippy that
• 57:57
  Speaker 1: he's just like he's got a lot of charm and
• 57:59
  Speaker 1: ship it. And so I think he's just like hey
• 58:02
  Speaker 1: kind of all the time. And Kanu is trying to
• 58:05
  Speaker 1: like get close to that, and so there's just moments
• 58:07
  Speaker 1: where you're like I can see this fan fiction very clearly, right,
• 58:11
  Speaker 1: Like it's just kind of around, So I feel very
• 58:14
  Speaker 1: underprepared because I feel like I should know the answer
• 58:16
  Speaker 1: to this. Oh no, no, I mean that was where
• 58:18
  Speaker 1: I was guessing it was, but I just didn't know
• 58:20
  Speaker 1: if there was anything I was missing. Yeah, And also
• 58:22
  Speaker 1: the other thing is like I always feel like Tina
• 58:26
  Speaker 1: Belcher watching this movie because I'm like butts so many
• 58:29
  Speaker 1: look at all of the butts, the butt that says
• 58:32
  Speaker 1: I'm not a crook. It's like, this is a wild
• 58:34
  Speaker 1: but Yeah. And I mean, and their friendship it's weird
• 58:38
  Speaker 1: because it's made to be the kind of the purer
• 58:41
  Speaker 1: of the two friendships, but it's also kind of sold
• 58:44
  Speaker 1: up by the fact that Patrick Swayzy is also an
• 58:46
  Speaker 1: unrepentant criminal and kind of an anarchist. And he says
• 58:50
  Speaker 1: the line you project strength to avoid conflict, which really
• 58:54
  Speaker 1: just like boils down a lot of male character motivation
• 58:59
  Speaker 1: down in a pretty crystallized way. I don't know, it's
• 59:03
  Speaker 1: it's a weird friendship. And then Kanu also needs the
• 59:06
  Speaker 1: satisfaction of watching Patrick swayzey die via surfing, and you know,
• 59:12
  Speaker 1: he's just got to get that justice because you know,
• 59:15
  Speaker 1: the victims here are the banks. We all feel so
• 59:18
  Speaker 1: sorry for the banks that got robbed. He's got to
• 59:21
  Speaker 1: make sure that there's justice. I would like to know
• 59:23
  Speaker 1: the psychological profiles of how they determined which president they
• 59:27
  Speaker 1: all wanted to be. Also addendum or additional statement is
• 59:32
  Speaker 1: that they very specifically created that flaming gas station scenes
• 59:38
  Speaker 1: so that they could have Ronald Reagan with a giant
• 59:40
  Speaker 1: fucking blowtorch, like blowing forge or yeah, which I mean.
• 59:45
  Speaker 1: And I enjoyed watching that, sure, I thought it was fun.
• 59:49
  Speaker 1: I think that some of the like the homoerotic stuff
• 59:51
  Speaker 1: people talk about in terms of like masculine relationships and
• 59:54
  Speaker 1: like masculine love and like the close like trying to
• 59:57
  Speaker 1: get close or trying to figure out how to be
• 59:59
  Speaker 1: close one another. And clearly Johnny Utah has some like
• 1:00:04
  Speaker 1: admiration and interest in being more like body right, like
• 1:00:09
  Speaker 1: even though he's trying to like take him down, he's
• 1:00:11
  Speaker 1: like like he's like I'm fucking surfing and like hanging
• 1:00:14
  Speaker 1: out and having a really good time with them and
• 1:00:16
  Speaker 1: like trying to get in on this inner circle in
• 1:00:18
  Speaker 1: a way that's like you could almost see the extension
• 1:00:22
  Speaker 1: of like I want to be this guy and like
• 1:00:24
  Speaker 1: I want to be with him or I want to
• 1:00:26
  Speaker 1: be him or I don't know the difference between these things.
• 1:00:28
  Speaker 1: You know, well, we all want to be BODI, so
• 1:00:30
  Speaker 1: I get it clearly, especially with the banks. Yeah, those banks,
• 1:00:36
  Speaker 1: the banks. I want to go through my list of
• 1:00:39
  Speaker 1: all the reasons why Johnny Utah and Papas are terrible
• 1:00:44
  Speaker 1: at being undercover FBI agents, So real quick, Okay. So
• 1:00:48
  Speaker 1: they both show up in suits looking exactly like cops
• 1:00:52
  Speaker 1: to a surf shop to buy a surfboard. Then they're
• 1:00:57
  Speaker 1: both of the beach. There's people all around who can
• 1:00:59
  Speaker 1: hear Johnny say, you're telling me that the FBI is
• 1:01:03
  Speaker 1: going to pay me to learn how to surf, so,
• 1:01:06
  Speaker 1: you know, everyone like they're just in plain sight, everyone
• 1:01:08
  Speaker 1: can hear, and he's, you know, screaming about being in
• 1:01:10
  Speaker 1: the FBI. Then after Tyler saves him, he screams out
• 1:01:14
  Speaker 1: his real name and she's like, I don't care, which
• 1:01:19
  Speaker 1: I loved. Yeah, And then a bunch of people who
• 1:01:23
  Speaker 1: turn out to be the people that he is trying
• 1:01:25
  Speaker 1: to take down as the ex presidents all recognize him
• 1:01:28
  Speaker 1: as a college football star and they know his real name.
• 1:01:32
  Speaker 1: If they just did a little bit of research, they
• 1:01:34
  Speaker 1: could like figure out that he's in the FBI. We
• 1:01:36
  Speaker 1: know computers exist because there's a hacker and there's uh,
• 1:01:40
  Speaker 1: Patrick Swayzey's trunk computer. I was actually thinking about this though,
• 1:01:45
  Speaker 1: because I was like, oh, this was like pre wide
• 1:01:47
  Speaker 1: scale adoption of the Internet, so you couldn't just google him,
• 1:01:50
  Speaker 1: and he was in the FBI, so I was a
• 1:01:52
  Speaker 1: little I was slightly more forgiving about that, even though
• 1:01:55
  Speaker 1: it's clearly stupid. But then there's some other stuff that happens,
• 1:01:58
  Speaker 1: which like Papa's is near the beach, parked in what's
• 1:02:03
  Speaker 1: clearly like an undercover cop car, scoping things out with
• 1:02:07
  Speaker 1: binoculars in plain sight, and then Johnny is talking to
• 1:02:11
  Speaker 1: him on a walkie talkie in the middle of the beach,
• 1:02:14
  Speaker 1: again in plain sight. So they're just like, yeah, let's
• 1:02:17
  Speaker 1: use our like binoculars and walkie talking us just where
• 1:02:20
  Speaker 1: everyone can see us. They both miss the bank robbery
• 1:02:24
  Speaker 1: that's taking place like a hundred yards away because they're
• 1:02:27
  Speaker 1: so focused on sandwiches. I was like, surely the sandwiches
• 1:02:31
  Speaker 1: will become relevant at some point. They never do. He's like,
• 1:02:35
  Speaker 1: I need to meatball sandwiches. He we see him order
• 1:02:38
  Speaker 1: them meat ball sandwiches. He comes back with the meat
• 1:02:40
  Speaker 1: po sandwiches because he's like, man, maybe I should have
• 1:02:43
  Speaker 1: gotten three meat bos sandwiches. Um those okay? So Kiano
• 1:02:48
  Speaker 1: orders to meat ball sandwiches, one tune a sandwich for himself,
• 1:02:52
  Speaker 1: and two lemonades and it only cost four in today's money.
• 1:02:57
  Speaker 1: I did the inflation calculator. That's it have went to
• 1:03:01
  Speaker 1: fourteen dollars and thirty two cents, which is still very
• 1:03:04
  Speaker 1: cheap for three sandwiches and two lemonades. Like, what's that
• 1:03:07
  Speaker 1: all about? What area of l A are they? And
• 1:03:10
  Speaker 1: truly the point is is that they are extremely bad.
• 1:03:14
  Speaker 1: And then like Johnny Utah leaves his badge out where
• 1:03:17
  Speaker 1: Tyler can find it. He's so bad, it's not everyone
• 1:03:21
  Speaker 1: knows his identity and he basically tells every single person
• 1:03:24
  Speaker 1: in the movie that he is an undercover FBI agent.
• 1:03:27
  Speaker 1: This movie is so well, I mean, this is this
• 1:03:31
  Speaker 1: is a movie that is not progressive in literally any way.
• 1:03:36
  Speaker 1: The world did not move forward really in any way
• 1:03:38
  Speaker 1: because it was made. However, I really enjoyed it and
• 1:03:42
  Speaker 1: I would recommend people watch it and watch it with friends. Yeah,
• 1:03:46
  Speaker 1: I agree, we should find the people who do Point
• 1:03:48
  Speaker 1: Break Live to come back for like one reunion for
• 1:03:51
  Speaker 1: us that would be amazing. Yeah, and the fact that
• 1:03:54
  Speaker 1: it did inspire media spinoffs like that also make me
• 1:03:56
  Speaker 1: happy it exists. Yeah. Yeah, And um, what's this base
• 1:04:00
  Speaker 1: hot Fuzz which I actually haven't seen. Oh yes, there's
• 1:04:03
  Speaker 1: so much of Point Breaking that one of the characters
• 1:04:07
  Speaker 1: is like talking to Simon Peg and he's just like,
• 1:04:09
  Speaker 1: if you ever pulled out your gun and then shot
• 1:04:11
  Speaker 1: it into the air and went ah, And then he doesn't,
• 1:04:14
  Speaker 1: But then that character gets to do it later in
• 1:04:16
  Speaker 1: the movie. It's great. Um. One last thing I wanted
• 1:04:19
  Speaker 1: to say is that I do think it's cool that
• 1:04:24
  Speaker 1: a woman got to direct like a popular action movie
• 1:04:28
  Speaker 1: in the early nineties. Um, because that's a genre that
• 1:04:31
  Speaker 1: women usually do not get to direct, because in the
• 1:04:34
  Speaker 1: off chance that a woman is hired to direct a movie,
• 1:04:37
  Speaker 1: it's usually either a rom com or like a romantic drama.
• 1:04:41
  Speaker 1: I was like, oh man, this is so cool that
• 1:04:42
  Speaker 1: like a woman directed Point Break. You know of a
• 1:04:46
  Speaker 1: famous popular action flick that resonates with a lot of
• 1:04:50
  Speaker 1: especially men. So I was like, Okay, that's cool. But
• 1:04:53
  Speaker 1: as we've said, like, I was counter that with being
• 1:04:56
  Speaker 1: like I would wager that the reason she got to
• 1:05:00
  Speaker 1: do that is because she played the game and directed
• 1:05:02
  Speaker 1: it like most men would exactly at that time. I
• 1:05:06
  Speaker 1: don't know, because again this is a Michael Bay movie
• 1:05:08
  Speaker 1: in that the actors are almost always screaming their lines.
• 1:05:12
  Speaker 1: The lines are extremely corny and terrible. The line reads
• 1:05:16
  Speaker 1: are bad, and there's like over the top action sequences.
• 1:05:20
  Speaker 1: Like everything screams Michael Bay. I mean you didn't love
• 1:05:23
  Speaker 1: the line? I guess we must have an asshole shortage.
• 1:05:26
  Speaker 1: Not so far, I love every single line. I still thinking,
• 1:05:32
  Speaker 1: ha ha ha ha ha ha. This Calvin and Hobbs
• 1:05:35
  Speaker 1: is funny. Hey, get me a meat boss switch. Still
• 1:05:39
  Speaker 1: one of the wilder trains of thoughts I've ever encountered.
• 1:05:44
  Speaker 1: Does anyone have any other thoughts about the movie? I
• 1:05:49
  Speaker 1: mean so many? Like do vaults just have small piles
• 1:05:53
  Speaker 1: of money in them? That would have vaults actually looks like?
• 1:05:56
  Speaker 1: I think that's an important question. Yeah, just unsealed lose money.
• 1:06:01
  Speaker 1: It's just like the floor is covered in pennies in
• 1:06:04
  Speaker 1: this version of the basically The Cave of Wonders. Yes,
• 1:06:09
  Speaker 1: if you haven't seen point breaks added to the list
• 1:06:12
  Speaker 1: when you go to revisit cult classics, this is definitely
• 1:06:15
  Speaker 1: one to make sure you catch and don't add me
• 1:06:18
  Speaker 1: when you don't like it. I don't want to hear.
• 1:06:20
  Speaker 1: I don't want to hear about it. Shall we determine
• 1:06:23
  Speaker 1: whether or not this movie passes the Bechtel test? Yeah, no, no,
• 1:06:31
  Speaker 1: obviously not even close to Women do not even interact.
• 1:06:35
  Speaker 1: I think the only scene where there are two women
• 1:06:37
  Speaker 1: in the same scene together is when they do the raid.
• 1:06:40
  Speaker 1: For like all those aggro surfer dudes, one of them
• 1:06:43
  Speaker 1: is the party scene. Oh, that is right, but I
• 1:06:46
  Speaker 1: don't think any women interact there. I'd like to propose
• 1:06:50
  Speaker 1: a new addendum to the Bechtel tests, which is that
• 1:06:54
  Speaker 1: if a woman talks to a meatball sandwich, it passes. Yeah,
• 1:07:02
  Speaker 1: it passed. Even if the meat sandwich does not verbally respond.
• 1:07:06
  Speaker 1: Even if the meat ball sandwich identifies male, it passes.
• 1:07:12
  Speaker 1: I will bat I will send that motion, thank you
• 1:07:14
  Speaker 1: so much. But yeah, so women do not interact at all.
• 1:07:17
  Speaker 1: There's the scene in like the Raid, where there's one
• 1:07:21
  Speaker 1: woman who's wearing a bikini and woman one woman who
• 1:07:24
  Speaker 1: is wearing nothing, and uh, they're both I guess they're
• 1:07:28
  Speaker 1: fighting off the FBI. That I mean, we didn't that
• 1:07:32
  Speaker 1: scene is just wild. All the men are dressed like
• 1:07:35
  Speaker 1: fully dressed, not even like partially dressed, and all the
• 1:07:37
  Speaker 1: women are not, which is amusing in the opposite of
• 1:07:41
  Speaker 1: the definition of that word. Yeah. Yeah, it doesn't make
• 1:07:44
  Speaker 1: any sense why they're both barely wearing anything or wearing
• 1:07:47
  Speaker 1: nothing at all. But so yeah, does not pass the
• 1:07:50
  Speaker 1: Bechdel test. Let's rate the movie on our nipple scale
• 1:07:53
  Speaker 1: serie to five nipples based on its portrayal and representation
• 1:07:57
  Speaker 1: of women. Um, I'm going to have to give this
• 1:07:59
  Speaker 1: like a half nipple. Yeah. I suppose that Tyler, if
• 1:08:04
  Speaker 1: you just sort of isolate her and take the things
• 1:08:08
  Speaker 1: that she says in terms of like not being impressed
• 1:08:09
  Speaker 1: with toxic masculinity and like not wanting to be around
• 1:08:13
  Speaker 1: too much test tossterone and you know, being an athlete
• 1:08:17
  Speaker 1: women athletes, that's pretty cool. We don't get to see
• 1:08:20
  Speaker 1: that much in film. You know, she's good at what
• 1:08:22
  Speaker 1: she does, like a man needs her to help him
• 1:08:26
  Speaker 1: learn how to surf, but those just feel like you
• 1:08:29
  Speaker 1: see her doing it, and it's like usually when you yeah,
• 1:08:32
  Speaker 1: like when you hear that women are good at a
• 1:08:33
  Speaker 1: thing that you don't, you just hear it. You don't
• 1:08:35
  Speaker 1: actually see it, so that you know, that's one thing,
• 1:08:37
  Speaker 1: and there is the absence unless I miss something, There
• 1:08:39
  Speaker 1: is the absence of that moment that I was kind
• 1:08:41
  Speaker 1: of waiting for, which is like the moment where we
• 1:08:44
  Speaker 1: see her because surfing and all the dudes are like, whoa,
• 1:08:48
  Speaker 1: she can do? Well we do because that that that
• 1:08:51
  Speaker 1: was a moment I was waiting for that fortunately did
• 1:08:53
  Speaker 1: not come. That's true, it's nice, but those things all
• 1:08:56
  Speaker 1: feel like shallow victories, especially with Whoa not even in turns,
• 1:09:05
  Speaker 1: but considering all the other things that happened in the movie,
• 1:09:09
  Speaker 1: where like basically her existence in the story is only
• 1:09:11
  Speaker 1: to be the romantic interest and then to later be
• 1:09:14
  Speaker 1: kidnapped and used as leverage for the male hero, the
• 1:09:19
  Speaker 1: male gaze shots of pretty much all the women you
• 1:09:22
  Speaker 1: see in the movie, which is again hardly any of them,
• 1:09:25
  Speaker 1: the total lack of women of color, just everything about
• 1:09:32
  Speaker 1: it is not handled well. So um, her treatment in
• 1:09:36
  Speaker 1: the movie is like very very stereotypical like action movies,
• 1:09:42
  Speaker 1: and it does feel weird that coming from a movie
• 1:09:46
  Speaker 1: directed by a woman. It's a bizarre paradox. Yeah, she's
• 1:09:51
  Speaker 1: basically mistreated or her character is mishandled in every regard
• 1:09:55
  Speaker 1: throughout the whole movie, and it gets one half nipple
• 1:09:58
  Speaker 1: from me, And I will give that half nipple too.
• 1:10:02
  Speaker 1: I'll give it just right back to Lori Petty. Good
• 1:10:04
  Speaker 1: for her. Yeah, I'm gonna give the movie one nipple,
• 1:10:09
  Speaker 1: even for the reasons you stated. I also think that
• 1:10:11
  Speaker 1: this is an example of, you know, the fact that
• 1:10:15
  Speaker 1: just because a woman is in a key creative role
• 1:10:18
  Speaker 1: in the movie does not mean that it's a feminist text, uh,
• 1:10:21
  Speaker 1: and that that is just a thing that exists in
• 1:10:24
  Speaker 1: the world. Not all women are feminists, and not all
• 1:10:29
  Speaker 1: media created by women are pro woman, just on the
• 1:10:32
  Speaker 1: merit that it was created by a woman, which is
• 1:10:34
  Speaker 1: unfortunate but true. I also could understand I'd be interested
• 1:10:39
  Speaker 1: in hearing Katherine Bigela speak on this now. But you know,
• 1:10:43
  Speaker 1: I mean, there's a number of reasons I could I
• 1:10:45
  Speaker 1: could guess why her movies were not treating women especially
• 1:10:50
  Speaker 1: well at this particular point in history. Um, would the
• 1:10:54
  Speaker 1: job have been taken from her if she had brought
• 1:10:56
  Speaker 1: stuff up with it? You know, I'd be interested in
• 1:10:58
  Speaker 1: hearing more about what she thought. But yeah, I mean,
• 1:11:00
  Speaker 1: I think you covered it pretty succinctly, Caitlin. Uh, And
• 1:11:04
  Speaker 1: I would just like to bring up the fact that
• 1:11:06
  Speaker 1: there was a female hacker, and uh, that is I
• 1:11:10
  Speaker 1: don't even think she was hacking. I think she was
• 1:11:12
  Speaker 1: just looking up information on their database that they had
• 1:11:15
  Speaker 1: easy access to. Well, as a hacker, I can say
• 1:11:19
  Speaker 1: that googling is actually hacking. So giving your data to
• 1:11:23
  Speaker 1: Google is hacking, and giving your data to Zuckerberg and
• 1:11:27
  Speaker 1: Bezos is hacking. So I'm a hacker just by having
• 1:11:30
  Speaker 1: a Facebook profile. Do you have a computer, Yes, then
• 1:11:34
  Speaker 1: you're a hacker there. Uh so, and then of course
• 1:11:38
  Speaker 1: feminist icon woman who sells me ball sandwiches. So so
• 1:11:43
  Speaker 1: I'll give it one nipple, and I'm going to give
• 1:11:45
  Speaker 1: the nipple to the bill sandwich. Great, yeah, Anita, Uh,
• 1:11:52
  Speaker 1: can we give minus nipples? I guess that would be
• 1:11:54
  Speaker 1: the absence of women. You can do whatever. You know,
• 1:11:57
  Speaker 1: there were there were women. There bodies were in this movie.
• 1:12:04
  Speaker 1: I will do one, maybe three quarters of it. I
• 1:12:07
  Speaker 1: literally when you said half nipple, grabbed my chest because
• 1:12:10
  Speaker 1: I felt the pain of just putting that out there. Okay,
• 1:12:14
  Speaker 1: I'll round up to one nipple, just because I really
• 1:12:17
  Speaker 1: like Lori Petty, you know, like I remember, you know,
• 1:12:19
  Speaker 1: like tank Girl and stuff like so I just have
• 1:12:21
  Speaker 1: fond memories of her, and I think she tries to
• 1:12:24
  Speaker 1: push back, even though she can't really because she's a
• 1:12:26
  Speaker 1: fictional character and they wrote a shitty role for her.
• 1:12:29
  Speaker 1: But I appreciate the attempts, and I appreciate her being
• 1:12:33
  Speaker 1: good at surfing, because when you see women who are
• 1:12:36
  Speaker 1: good at surfing. But I also grew clearly everything else.
• 1:12:39
  Speaker 1: You all said that this is super objectifying and male
• 1:12:42
  Speaker 1: gazey and the absence women in general in any important role.
• 1:12:47
  Speaker 1: So you know you don't watch Point Break for the women. Yeah,
• 1:12:52
  Speaker 1: you watch it for hacking, and specially for the scenes
• 1:12:58
  Speaker 1: where there's hacking. Well, adya, thank you so much for
• 1:13:02
  Speaker 1: for coming on. This was one of my favorite movies
• 1:13:06
  Speaker 1: I've ever seen in my life. I'm so glad I
• 1:13:10
  Speaker 1: could have hide that for you. I didn't realize that
• 1:13:12
  Speaker 1: was true until it's coming out of my mouth. Wait,
• 1:13:15
  Speaker 1: except you watched it in three parts, it would take
• 1:13:18
  Speaker 1: me three days to watch it literally. Anytime. That said,
• 1:13:22
  Speaker 1: it is one of my favorite movies of all time.
• 1:13:24
  Speaker 1: Oh Alpha Billina, No, Alpha Billina could have been any
• 1:13:28
  Speaker 1: of the surfers body Yeah, give me a topless Molina
• 1:13:33
  Speaker 1: in films? Also, where's the chest hair in the movie?
• 1:13:36
  Speaker 1: And everyone is a very smooth movie. Can I just
• 1:13:40
  Speaker 1: say a very smooth movie? Yes, not a criticism, just
• 1:13:43
  Speaker 1: some observation. I think Alpha Blina could have really brought
• 1:13:46
  Speaker 1: some representation of Harry cha hair. Thank you so much
• 1:13:53
  Speaker 1: for being here. Where can people follow you online? Is
• 1:13:56
  Speaker 1: there anything you would like to plug? Yeah, I am
• 1:13:59
  Speaker 1: at Twitter. I'm I'm at Twitter. Please tweet at Twitter
• 1:14:04
  Speaker 1: if you'd like to get a hold of me. Um,
• 1:14:05
  Speaker 1: I'm on Twitter at any to Sarkasian. You can find
• 1:14:08
  Speaker 1: out more about Feminist Frequency and our podcast about pop
• 1:14:12
  Speaker 1: culture and feminism at Feminist Frequency dot com. And I
• 1:14:16
  Speaker 1: have a book coming out. It's called History Versus Women,
• 1:14:19
  Speaker 1: The Defiant Lives that They Don't Want You to Know,
• 1:14:21
  Speaker 1: comes out October two, and it's about women who have
• 1:14:24
  Speaker 1: been written out of history and we wrote them back in.
• 1:14:27
  Speaker 1: That's amazing. Congratulations, Thank you great. You can follow the
• 1:14:31
  Speaker 1: Bechtel Cast on all the social media platforms Instagram, Twitter,
• 1:14:35
  Speaker 1: of Facebook, which means we are also hackers because we
• 1:14:38
  Speaker 1: have those accounts. So I mean, I don't think you
• 1:14:40
  Speaker 1: need to say that I'm one of the world's most
• 1:14:42
  Speaker 1: famous hackers. Well, I'm saying like the Bechtel Cast the end,
• 1:14:46
  Speaker 1: because I'm using a conglomerate. We also our hackers culture.
• 1:14:53
  Speaker 1: Hack us by following us on Twitter at Bechtel Cast.
• 1:14:56
  Speaker 1: Could luck hacking us? Okay? You can? So you can
• 1:15:02
  Speaker 1: also hack us by subscribing to our Matreon. It's five
• 1:15:05
  Speaker 1: dollars a month and you get to bonus episodes every
• 1:15:08
  Speaker 1: single month on Patreon dot com slash pectel Cast, and
• 1:15:12
  Speaker 1: you can rate and review us on iTunes. That helps
• 1:15:14
  Speaker 1: us out a lot, especially if you give us five
• 1:15:17
  Speaker 1: stars or five nipples. Yeah, and you can go to
• 1:15:20
  Speaker 1: our website pectel cast dot com. We have episodes there,
• 1:15:24
  Speaker 1: we have merched there, we have all kinds of goodies. Guys.
• 1:15:27
  Speaker 1: Do you guys want to go hit the board? Yeah?
• 1:15:31
  Speaker 1: I'm actually only if we can hang out with the
• 1:15:33
  Speaker 1: barbecue servers. Oh my god, I gotta call my boys.
• 1:15:38
  Speaker 1: I'm actually gonna stay indoors and uh surf the web
• 1:15:43
  Speaker 1: surfs up dogs. Okay, bye bye bye