Latest / The Bechdel Cast / Guardians of the Galaxy

Transcript

Guardians of the Galaxy · The Bechdel Cast

• 0:00
  Speaker 1: On The Bechdelcast.
• 0:02
  Speaker 2: The questions asked if movies have women and them, are
• 0:05
  Speaker 2: all their discussions just boyfriends and husbands, or do they
• 0:08
  Speaker 2: have individualism? The patriarchy zephynvest start changing with the Bechdelcast.
• 0:16
  Speaker 3: Hello, listeners, guess what we're doing.
• 0:19
  Speaker 1: We're well, we're doing two things. I just panicked. First
• 0:23
  Speaker 1: of all, we're unlocking a Matreon episode, which we are
• 0:26
  Speaker 1: wont to do not very often because we love to
• 0:30
  Speaker 1: give you piping hot content. However, yes, we are releasing.
• 0:35
  Speaker 1: We are unlocking this Matreon episode this week because it
• 0:39
  Speaker 1: goes a bit on a theme, a theme that is connected.
• 0:43
  Speaker 3: To our upcoming tour.
• 0:46
  Speaker 1: Perhaps.
• 0:46
  Speaker 3: Yeah, that's so true, Jamie, because.
• 0:49
  Speaker 1: Tell the people Klin.
• 0:50
  Speaker 3: So we're unlocking this Matreon aka Patreon the episode on
• 0:55
  Speaker 3: Guardians of the Galaxy because we did a themed month
• 0:59
  Speaker 3: the This was two years ago now it's been a
• 1:03
  Speaker 3: little while, but the theme was Zoe Saldana in Space
• 1:07
  Speaker 3: where we covered Star Trek two thousand and nine and
• 1:11
  Speaker 3: Guardians of the Galaxy.
• 1:12
  Speaker 1: It's very true.
• 1:13
  Speaker 3: And speaking of space, you know what other movies take
• 1:17
  Speaker 3: place in space?
• 1:19
  Speaker 4: Dunna famously Star Wars, Star War, and not just any
• 1:28
  Speaker 4: there's many eras of Star Wars.
• 1:30
  Speaker 1: We chose the I think the most complicated era of
• 1:34
  Speaker 1: Star Wars, the prequels, an era that a lot of
• 1:38
  Speaker 1: people hated when it came out, and then I feel
• 1:40
  Speaker 1: like there's a lot of nostalgia for it now for
• 1:43
  Speaker 1: kids that grew up with it. So we will be
• 1:46
  Speaker 1: on our Midwest tour giving the definitive intersectional feminist perspective
• 1:53
  Speaker 1: on this Star Wars prequels. There's been a lot of
• 1:57
  Speaker 1: talk about these things, but somehow hasn't been an intersectional
• 2:01
  Speaker 1: feminist talk. So please, if you are in the area,
• 2:04
  Speaker 1: we will will let you know where to go. But
• 2:06
  Speaker 1: you know, a Bechdel Cast live show is a blast.
• 2:09
  Speaker 1: We do some discourse. We're gonna be talking Pat May,
• 2:13
  Speaker 1: We're gonna be talking hmm, anyone else. George ran charge R.
• 2:19
  Speaker 1: They has a very very complicated figure in Star Wars history.
• 2:23
  Speaker 1: And we're also gonna be doing silly stuff. We do
• 2:26
  Speaker 1: our own presentations. They'll be fan fic, they'll be exclusive merch.
• 2:30
  Speaker 1: We're gonna try to lightsaber battle each other. It's gonna
• 2:34
  Speaker 1: be fun. So please do come out for that, and
• 2:39
  Speaker 1: here's where you can go. You We will first be
• 2:43
  Speaker 1: on August thirtieth. We will be live in Indianapolis, Indiana.
• 2:47
  Speaker 1: Have a heard of it. That's an afternoon show at
• 2:50
  Speaker 1: the Fountain Square Theater.
• 2:52
  Speaker 3: As a part of Let's Fest. And also a part
• 2:54
  Speaker 3: of Let's Fest, Jamie, do you have a little something I.
• 2:58
  Speaker 1: Do and I really need to sell tic? Thank you
• 3:00
  Speaker 1: for bringing that up. I will be doing an hour
• 3:03
  Speaker 1: of stand up called Jamie Laftas and her Pet Rock
• 3:07
  Speaker 1: Solve the World's Problems. And that'll be later that very day,
• 3:10
  Speaker 1: on August thirtieth. So if you're already going to the
• 3:13
  Speaker 1: Bexel Cash Show, then hang out for the day. There's
• 3:16
  Speaker 1: so many great comics performing at the festival and I'll
• 3:19
  Speaker 1: be performing towards the end of the night and it'll
• 3:21
  Speaker 1: be a blast. Please please come through. It'll be a blast.
• 3:25
  Speaker 1: It'll be a blaster.
• 3:26
  Speaker 3: Wow pew pew.
• 3:28
  Speaker 1: Yeah, that's right. I've been researching.
• 3:31
  Speaker 3: Wow amazing. So following the Indianapolis show is a show
• 3:36
  Speaker 3: in Chicago on August thirty first at the Den Theater.
• 3:42
  Speaker 3: That's a sexy evening show.
• 3:45
  Speaker 1: Next week are going to be zooming over in an
• 3:49
  Speaker 1: X swing.
• 3:49
  Speaker 3: Question mark at hyper speed or do they do light speed?
• 3:53
  Speaker 3: In Star Wars. I can't remember.
• 3:55
  Speaker 1: Look, go, we know what we're talking about. We get it,
• 3:58
  Speaker 1: we get We'll figure it out. Next week, there will
• 4:01
  Speaker 1: be in Madison, Wisconsin on September fourth. That is going
• 4:04
  Speaker 1: to be at the Burr Oak Theater. Do come out,
• 4:07
  Speaker 1: Wisconsin heads, bring your Kurds exactly.
• 4:11
  Speaker 3: And finally we will be in Minneapolis on September seventh
• 4:17
  Speaker 3: at the Dudley Riggs Theater. And this is just a
• 4:21
  Speaker 3: separate thing, but I'm going to go to the Mall
• 4:23
  Speaker 3: of America for the first time. I'm gonna go for
• 4:25
  Speaker 3: the second look at God.
• 4:29
  Speaker 1: So if you have any recommendations, just you know, Minneapolis,
• 4:32
  Speaker 1: I'm pissed at your American Girl law store close, but
• 4:35
  Speaker 1: I'll still roll through. We're so excited. If you have
• 4:39
  Speaker 1: been thinking about going to a beche little cash show
• 4:41
  Speaker 1: and you never have. We've never been to the Midwest before,
• 4:44
  Speaker 1: and the only way that we'll ever come back is
• 4:46
  Speaker 1: if people come to the shows. So not to threaten you,
• 4:50
  Speaker 1: that's just how the.
• 4:50
  Speaker 3: Business words, just how these things work. So please please
• 4:54
  Speaker 3: please come out. You can grab tickets on our link
• 4:58
  Speaker 3: tree to all of the these shows. That's link treat
• 5:02
  Speaker 3: Slash Bechdel Cast. We'd love to see you there. We
• 5:06
  Speaker 3: always do little meet and greets after the shows and
• 5:09
  Speaker 3: we sell merch, so come say hi to us, take
• 5:12
  Speaker 3: a picture.
• 5:13
  Speaker 1: And if you are a matron of the show, we
• 5:16
  Speaker 1: do have exclusive buttons for our matrons, so you get
• 5:20
  Speaker 1: a special little treat. Come and hang. We would really
• 5:23
  Speaker 1: love to see you. And if you want a little
• 5:25
  Speaker 1: taste of what the Bechdel Cast in Space is like,
• 5:29
  Speaker 1: well it might sound a little something like this. Here
• 5:32
  Speaker 1: is our episode on Guardians of the Galaxy from the
• 5:35
  Speaker 1: director that brought you, Scooby Doo, the Bechdel Cast.
• 5:39
  Speaker 3: Anyway, Hello, matrons, and welcome to the second installment of
• 5:44
  Speaker 3: Zoe Zaldana in Space. September. Weare covering Guardians of the
• 5:48
  Speaker 3: Galaxy Volume one from twenty fourteen. Although I did a
• 5:53
  Speaker 3: lot of extra credit.
• 5:54
  Speaker 1: You've done a lot of extra credit this month in general. Yeah,
• 5:57
  Speaker 1: it's true.
• 5:58
  Speaker 3: I've I watched two different trilogies, and for this episode
• 6:02
  Speaker 3: I watched so I watched all three volumes of Guardians
• 6:06
  Speaker 3: of the Galaxy plus parts of Avengers Infinity War and
• 6:12
  Speaker 3: Adventures Endgame, not the whole movie for either movie, because
• 6:16
  Speaker 3: that would be one hundred million hours of I yeah, work,
• 6:21
  Speaker 3: but I skipped through and just watched all of the
• 6:25
  Speaker 3: parts of those movies that had the Guardians characters in them, Okay,
• 6:29
  Speaker 3: just to have more context, because there's a significant kind
• 6:33
  Speaker 3: of like narrative gap between Volume two and three that
• 6:37
  Speaker 3: is filled in by those Avengers movies. So I went
• 6:40
  Speaker 3: I was like, right as I was watching the trilogy,
• 6:43
  Speaker 3: I was like, oh, there's stuff that happens in the
• 6:45
  Speaker 3: Avengers that I forgot about. So I went back and
• 6:49
  Speaker 3: watched those parts.
• 6:50
  Speaker 1: I watched the movie Recovering and that was all, And
• 6:56
  Speaker 1: that's fine. I feel it's interesting. I do think that, like, yeah,
• 6:59
  Speaker 1: there's like certain genres where I'll go above and beyond.
• 7:01
  Speaker 1: There's certain genres where you'll go above and beyond Star Trek.
• 7:04
  Speaker 1: We were evenly matched, true, had different areas of expertise Guardians.
• 7:09
  Speaker 1: I think that. I mean, if anyone's listened to our
• 7:11
  Speaker 1: past Marvel episodes, I just you know, if you love
• 7:15
  Speaker 1: the movies, that is wonderful. I don't want it to
• 7:18
  Speaker 1: be my personality to dislike anything, but I just find
• 7:22
  Speaker 1: them really challenging to keep up with. I feel, yeah,
• 7:28
  Speaker 1: I mean, they're the most popular movies in the history
• 7:32
  Speaker 1: of the world, so clearly a lot of people feel differently,
• 7:35
  Speaker 1: but I just yeah, there was a number of parts
• 7:38
  Speaker 1: of this movie where there are sentences where I'm like,
• 7:40
  Speaker 1: oh my god, what like and then I have to
• 7:44
  Speaker 1: google the sentence and then I read a sentence and
• 7:48
  Speaker 1: the thing that's supposed to be explaining the sentence to
• 7:50
  Speaker 1: me that is like, well, I don't know what that means.
• 7:53
  Speaker 1: I know enough, and I think that it speaks to
• 7:56
  Speaker 1: the strength of this movie. That and I think most
• 7:59
  Speaker 1: of the Marvel movies that I enjoy, because there's there
• 8:02
  Speaker 1: are Marvel movies I enjoy. I'm not a completionist. The
• 8:05
  Speaker 1: Avengers movies in particular, I find to be such a
• 8:08
  Speaker 1: slog There's too many characters. There's Orbs, Tessa Raks stones,
• 8:15
  Speaker 1: often one thing is containing the other thing, and at
• 8:17
  Speaker 1: some point I'm just like, oh my god, like we
• 8:20
  Speaker 1: got to pick a term, we gotta pick a term. Yeah,
• 8:23
  Speaker 1: because I can't keep up. And so I apologize in
• 8:28
  Speaker 1: advance for uh, if there are Marvel enthusiasts listening and Kitlyn,
• 8:33
  Speaker 1: I will I will need your help because I feel
• 8:38
  Speaker 1: like I'm here for you. Baby. I've watched Guardians of
• 8:42
  Speaker 1: the Galaxy Volume one twice. I've seen many Marvel movies.
• 8:47
  Speaker 1: I recognized terms, I recognized character, I know who Thanos is.
• 8:53
  Speaker 3: Nice.
• 8:53
  Speaker 1: I made the mistake of watching this with a boyfriend,
• 8:56
  Speaker 1: and they know all the words. I feel like there's
• 9:00
  Speaker 1: been three different boyfriends I've watched these movies, but throughout
• 9:02
  Speaker 1: the course of this podcast series, and they and they
• 9:06
  Speaker 1: all know all the words. No matter how different they are,
• 9:09
  Speaker 1: they all know all the words that are going on.
• 9:11
  Speaker 3: Boy love Marvel.
• 9:13
  Speaker 1: It was so it was truly shocking because like this,
• 9:17
  Speaker 1: my boyfriend is not someone I would think would know
• 9:20
  Speaker 1: all the words. But I said, like glove, and he
• 9:23
  Speaker 1: was like, it's not a glove. I was like, the infinity.
• 9:28
  Speaker 3: What's it called, because it's oh, what do they call it?
• 9:31
  Speaker 3: It's not a It's sort of like gauntlet, but not
• 9:34
  Speaker 3: is it?
• 9:35
  Speaker 1: He might have said, he might have corrected me to Gauntlet,
• 9:38
  Speaker 1: and I was like, whoa.
• 9:38
  Speaker 3: Whoa wa, maybe you I don't remember.
• 9:40
  Speaker 1: And then I was like, then I was like, you
• 9:42
  Speaker 1: need to leave.
• 9:45
  Speaker 3: It's it's Stanos's little mitten and that's the name of it.
• 9:48
  Speaker 1: It's a glove. It's a really like bulky glove. That
• 9:51
  Speaker 1: he's putting the rocks in and then he kills everyone.
• 9:54
  Speaker 1: But then also not there's no consequences in this world.
• 9:56
  Speaker 1: That's the other thing about Marvel that like why am
• 9:59
  Speaker 1: I bitch get the very big but like theyre like
• 10:02
  Speaker 1: with with Marvel movies, I find that like there's no
• 10:07
  Speaker 1: real and like later Star Wars movies, there's no real consequence.
• 10:10
  Speaker 1: No one ever dies because there's a multiverse. Groot dies
• 10:14
  Speaker 1: and then you're like, wait a second. Because I live
• 10:16
  Speaker 1: in the future, I know that there's always Groot and
• 10:19
  Speaker 1: then it grows a baby, and then it's like, oh,
• 10:22
  Speaker 1: they're just trying to sell toys. That death was for nothing.
• 10:25
  Speaker 1: It was like Chewbacca in Star Wars nine. I do
• 10:28
  Speaker 1: just like, but what does it mean?
• 10:30
  Speaker 3: I find the MCU and I generally like it, although
• 10:33
  Speaker 3: I'm not I wouldn't call myself an enthusiast because for
• 10:37
  Speaker 3: most of the MCU movies, I've seen each of them
• 10:41
  Speaker 3: only one time. There's a handful that I've seen multiple times.
• 10:45
  Speaker 1: But you do keep up.
• 10:46
  Speaker 3: I do keep up. I see all of them usually
• 10:48
  Speaker 3: in theaters, so I am a little bit more proactive,
• 10:52
  Speaker 3: but I'm not like, oh my god, I have to
• 10:55
  Speaker 3: watch all of them in the chronological order. Yeah, theatrical
• 11:00
  Speaker 3: and blah blah blah. Like I'm not I'm not like
• 11:02
  Speaker 3: that enthusiastic about it.
• 11:04
  Speaker 1: I guess just like a warning for because I just
• 11:07
  Speaker 1: I always get nervous going into big franchises where it's like,
• 11:10
  Speaker 1: we're not experts on this franchise. If fearless, I mean,
• 11:13
  Speaker 1: you're you're matrons. Also, we're not in the main feed,
• 11:15
  Speaker 1: so I can like let my guard down a little.
• 11:18
  Speaker 1: You can let your like guardy, you can I can
• 11:21
  Speaker 1: let my guardian down a little and just say, you know,
• 11:26
  Speaker 1: if you're a matron of this show, you know that
• 11:28
  Speaker 1: we are not experts on the MCU, or we would
• 11:32
  Speaker 1: maybe have mentioned it. I feel like I see one
• 11:35
  Speaker 1: Marvel movie a year, and there's like seven, so it's
• 11:39
  Speaker 1: like there's no way to keep.
• 11:40
  Speaker 3: The money now, and and I find that frustrating. And
• 11:43
  Speaker 3: the other thing I was about to say that I
• 11:45
  Speaker 3: find frustrating is that the Steaks do feel I mean,
• 11:49
  Speaker 3: they establish stakes, but I feel like you don't ever
• 11:52
  Speaker 3: actually feel them, because they're like these characters are throwing
• 11:56
  Speaker 3: each other around so violently, and it's like that I
• 12:00
  Speaker 3: would kill even a superhero. That seems like that would
• 12:03
  Speaker 3: kill a superhero, and they don't.
• 12:04
  Speaker 1: They never die.
• 12:06
  Speaker 3: I never feel the actual stakes or I rarely do.
• 12:09
  Speaker 1: Yeah, the stakes feel low, Yeah physically, which I didn't
• 12:12
  Speaker 1: even really think about, but I feel, yeah, the stakes
• 12:14
  Speaker 1: feel low, and it feels like there's a lot of
• 12:16
  Speaker 1: and I know that that to some extent, this exists
• 12:19
  Speaker 1: within comic book franchises, So I don't mean that like,
• 12:22
  Speaker 1: but it is frustrating as a moviegoer to be like,
• 12:26
  Speaker 1: I don't know, like at some point, and again, I
• 12:28
  Speaker 1: have seen not even half of the Marvel movies, but
• 12:32
  Speaker 1: it's like in the movies where a character dies, it
• 12:36
  Speaker 1: I feel like actually counts or sticks less than half
• 12:40
  Speaker 1: the time. And so you're like, why would I emotionally
• 12:43
  Speaker 1: get invested in this series if nothing matters. I didn't,
• 12:48
  Speaker 1: But I mean that's I don't know. I saw I
• 12:51
  Speaker 1: saw the last of what was the Last Avengers and
• 12:54
  Speaker 1: the Big One, yep, the Big One. I saw that
• 12:58
  Speaker 1: one in theaters. It was a good communal movie theater
• 13:01
  Speaker 1: experience because you know, it's like everyone's really into it,
• 13:04
  Speaker 1: everyone's really excited. I saw WandaVision. I saw Oh last
• 13:08
  Speaker 1: year I tried the New Doctor Strange and I just
• 13:13
  Speaker 1: I couldn't. It was so bad. It sucks.
• 13:16
  Speaker 3: Mistake. And that's not even the worst one that's come
• 13:18
  Speaker 3: out recently, because ant Man three.
• 13:21
  Speaker 1: Was that was the one. That's the one I saw
• 13:24
  Speaker 1: this year, and unfortunately I really can just see one.
• 13:28
  Speaker 1: So I sat out Guardians three and the Marvels because
• 13:32
  Speaker 1: I just I can only sit up for and so
• 13:34
  Speaker 1: I blew my wad early in the year. So and
• 13:38
  Speaker 1: at this point, I don't even know if people are
• 13:40
  Speaker 1: watching them anymore. I don't know. It seems like they're whatever.
• 13:45
  Speaker 1: There's goett. I guess back on topic because I feel
• 13:48
  Speaker 1: like I brought in negative energy. Okay, bring us back.
• 13:54
  Speaker 1: So now in the future, in late twenty twenty three,
• 13:57
  Speaker 1: the superhero bubble has effectively burst. They're not grossing the
• 14:02
  Speaker 1: same amount. There's too much coming out to be a
• 14:06
  Speaker 1: casual fan, which I feel like is important to a
• 14:08
  Speaker 1: movie franchise. You have to be able to be a
• 14:10
  Speaker 1: casual fan, or you're really limiting your audience. The quality
• 14:15
  Speaker 1: of the movie seems to have dipped. Yes, and I
• 14:18
  Speaker 1: say this, I mean also, I'm just speaking to what
• 14:21
  Speaker 1: I've read and heard overall, but Guardians at the Galaxy
• 14:25
  Speaker 1: Volume one, twenty fourteen, I would say this is like
• 14:29
  Speaker 1: pretty close to like the peak Marvel era, right, which
• 14:32
  Speaker 1: I would say would be like what between twenty twelve
• 14:34
  Speaker 1: and twenty nineteen, right, like Avengers movies and all of
• 14:40
  Speaker 1: the stuff that came out in between. And then I think,
• 14:42
  Speaker 1: once the pandemic, I don't something something I liked WandaVision sure,
• 14:50
  Speaker 1: end of thought. But yeah, this is like peak Marvel movies,
• 14:54
  Speaker 1: and it's.
• 14:54
  Speaker 3: A good movie. It's fun, right. Didn't you liked it?
• 14:57
  Speaker 1: Yes?
• 14:58
  Speaker 3: Yeah, and you had never seen it before? Right?
• 15:00
  Speaker 1: No, my history with guard Yeah, I guess I just
• 15:02
  Speaker 1: gave my history with Marvel movies or just all over
• 15:06
  Speaker 1: the place, very very hit or miss. I feel like
• 15:08
  Speaker 1: what I think is interesting about or at least was
• 15:11
  Speaker 1: interesting about Marvel movies at one point, was that like
• 15:16
  Speaker 1: you could kind of go with a I guess in
• 15:18
  Speaker 1: my mind like a director to director preference, where like this,
• 15:23
  Speaker 1: you can obviously feel that this is a James gun
• 15:26
  Speaker 1: movie that exists within the purview of this larger universe.
• 15:30
  Speaker 1: And I like James gunn and so I liked this movie.
• 15:33
  Speaker 1: I just I didn't see it when it came out,
• 15:35
  Speaker 1: and then in subsequent installments, I was like, I got
• 15:37
  Speaker 1: to watch the first one, and then I just sort
• 15:39
  Speaker 1: of never did because it's not my uh not my
• 15:42
  Speaker 1: vibe generally, But I really I enjoyed James Gunn. We
• 15:46
  Speaker 1: covered Scooby Doo this year, Yes, and there was multiple
• 15:51
  Speaker 1: times where I wished that Groot was Scooby Is that anything?
• 15:55
  Speaker 1: I think that like Grout has Scooby energy where he
• 15:58
  Speaker 1: says one thing and James Gunn was like, I've done
• 16:01
  Speaker 1: this twice. So here's because of Monsters Unleashed.
• 16:05
  Speaker 3: Here's my brilliant thought. I have two brilliant thoughts. Number one,
• 16:09
  Speaker 3: let's blow them early.
• 16:10
  Speaker 1: Yes, yeah, and then and then.
• 16:12
  Speaker 3: The rest of the episode will absolutely suck drivel thought
• 16:16
  Speaker 3: Number one. Yeah, Okay, so we know about I Am Groot,
• 16:20
  Speaker 3: but have you ever thought about I Am Grew?
• 16:26
  Speaker 1: And that makes you think? And that's also why you
• 16:28
  Speaker 1: don't need to take us seriously because we love the videans.
• 16:34
  Speaker 3: I mean, talk about a franchise.
• 16:36
  Speaker 1: My god, I'm worth with legs with lore for the people. Unpretentious.
• 16:44
  Speaker 1: I believe all of this. I saw that I went
• 16:48
  Speaker 1: to Universal Studios recently. Bran Thank you season pass holder.
• 16:54
  Speaker 3: And I'm going tomorrow thrilling.
• 16:57
  Speaker 1: It was a great, a great time, but I want
• 16:59
  Speaker 1: to I wanted to go for grinch Miss because I
• 17:02
  Speaker 1: do love me some grinch Miss. Grinch Miss still great,
• 17:05
  Speaker 1: but I also was like, how are they going to
• 17:09
  Speaker 1: holiday by the Minions? And it didn't disappoint even if
• 17:13
  Speaker 1: you don't. I mean, I know that there's not much
• 17:14
  Speaker 1: to do there for adults maybe, but you gotta stop
• 17:19
  Speaker 1: and check out the minion tree. Okay, there's a Honken
• 17:24
  Speaker 1: minion tree. Stuart's on top. I was loving it.
• 17:27
  Speaker 3: Did you get any pictures?
• 17:28
  Speaker 1: I did, I'll send them. I'll send them. Oh, of
• 17:31
  Speaker 1: course I got picked. Thank you for checking.
• 17:33
  Speaker 3: I'll get pictures also, and then we will post them
• 17:36
  Speaker 3: to the Instagram.
• 17:37
  Speaker 1: The people demand it. So yeah, that's the Minions update. Okay.
• 17:44
  Speaker 3: Oh and then my other brilliant thought is, yeah, I
• 17:48
  Speaker 3: was thinking it would be very funny if instead of
• 17:50
  Speaker 3: watching Guardians of the Galaxy, that one of us accidentally
• 17:55
  Speaker 3: watched the movie Legend of the Guardians colon the Owls.
• 18:00
  Speaker 1: Of go hol Oh I've do you remember that?
• 18:05
  Speaker 2: Yeah?
• 18:05
  Speaker 1: I saw it. I saw it because I was a
• 18:08
  Speaker 1: fan of the books. Is that bad. They were like
• 18:12
  Speaker 1: chapter books for sixth graders, and I was really invested
• 18:15
  Speaker 1: in their journey, and then like Zack Snyder was like,
• 18:18
  Speaker 1: I've got this.
• 18:19
  Speaker 3: I had no idea that was a Zack Snyder movie.
• 18:21
  Speaker 1: Oh my god. It's like, I don't know. I'm not
• 18:24
  Speaker 1: a Zack Snyder complacist, which maybe one could assume about me,
• 18:28
  Speaker 1: but I thought his his riskiest cinematic choice ever was
• 18:33
  Speaker 1: taken on Gohl and the movie is like bad, it
• 18:37
  Speaker 1: would be a fun April Fools movie because you're just
• 18:40
  Speaker 1: like those owls were so self serious. It was just
• 18:44
  Speaker 1: it was a bit much.
• 18:45
  Speaker 3: I've never seen it.
• 18:46
  Speaker 1: It's like they don't even know they're owls. It's ridiculous.
• 18:50
  Speaker 1: I loved it. I loved it.
• 18:52
  Speaker 3: But like how Rocket doesn't know he's a raccoon?
• 18:55
  Speaker 1: That and that is like an s t here Bradley
• 18:58
  Speaker 1: Cooper before. It's like Jackson Mane, Rocket Raccoon, whatever else
• 19:06
  Speaker 1: that's about hangover movies. That's not yeah, that's we don't
• 19:10
  Speaker 1: need to talk about those. I really I was thinking
• 19:12
  Speaker 1: about Jackson Maine recently, as I often want to do.
• 19:20
  Speaker 1: He is that is like one of the greatest, like
• 19:26
  Speaker 1: up there with Mommy Dearest of like one of the
• 19:28
  Speaker 1: greatest camp performances ever. Given the choices he's making turn
• 19:34
  Speaker 1: my head around three sixty Gahl style, it's it's it's
• 19:38
  Speaker 1: just absurd. I love I love him in that movie,
• 19:44
  Speaker 1: I you know, have a bone, but you know that's
• 19:47
  Speaker 1: not for today. He plays a raccoon in this movie. Yes,
• 19:50
  Speaker 1: and we're like, and that's interesting. What's your history with
• 19:53
  Speaker 1: Guardians of the Galaxy the franchise in this movie.
• 19:57
  Speaker 3: I've seen all three volumes in theater, and I've seen
• 20:02
  Speaker 3: probably this first one most often. I think I've probably
• 20:05
  Speaker 3: seen it like four or five times now. I generally
• 20:09
  Speaker 3: liked it. It also just feels like similar to the
• 20:12
  Speaker 3: way Star Trek two thousand and nine feels like a
• 20:15
  Speaker 3: Star Wars movie, this very much feels like a Star
• 20:18
  Speaker 3: Wars movie, and.
• 20:19
  Speaker 1: It's almost like everyone's trying to make a Star Wars.
• 20:22
  Speaker 3: A little bit. And so as a Star Wars fan,
• 20:26
  Speaker 3: this was my jam when it came out, and I
• 20:29
  Speaker 3: still enjoy this movie. I find it to be very fun.
• 20:32
  Speaker 3: I like the trilogy in general. I like the characters.
• 20:36
  Speaker 3: I like when they show up in the other MCU movies.
• 20:39
  Speaker 3: So yeah, I would say that I'm a casual fan
• 20:43
  Speaker 3: of this franchise. So hmm, that's about it from me.
• 20:49
  Speaker 1: Hell yeah, I mean, I yeah, did you like the
• 20:52
  Speaker 1: all all three installments? I also, I'm I'm curious because
• 20:55
  Speaker 1: I didn't when I knew that you were watching Out
• 20:57
  Speaker 1: three to prepare, I did not look into the uh
• 21:01
  Speaker 1: subsequent character arcs of these characters.
• 21:05
  Speaker 3: After all, I'm ready with Caitlin's context.
• 21:07
  Speaker 1: Corner perfect because I all, I know a little bit
• 21:11
  Speaker 1: from cultural osmosis. I know that Volume two somehow turns
• 21:16
  Speaker 1: the daddy factor.
• 21:17
  Speaker 3: Up significantly by a lot. Yes, I find that one
• 21:20
  Speaker 3: to be the most underwhelming of the three interesting. The
• 21:24
  Speaker 3: first one is the most fun. But as far as
• 21:27
  Speaker 3: like eliciting an emotional reaction from me, Volume three. When
• 21:32
  Speaker 3: I was rewatching it yesterday, I cried like fifteen different
• 21:37
  Speaker 3: times because it's so much it's a lot about Rocket
• 21:40
  Speaker 3: and his backstory and like all of the like animal
• 21:45
  Speaker 3: abuse he's suffered, and so it's like a lot about
• 21:47
  Speaker 3: like the abuse and mistreatment of animals, and it's just
• 21:50
  Speaker 3: like it got me so sad and crying.
• 21:53
  Speaker 1: I knew, I knew U little about that, but I like,
• 21:58
  Speaker 1: I yeah, I I I'm interested to hear more about
• 22:01
  Speaker 1: that because in a way that I mean, it seems
• 22:04
  Speaker 1: hopefully satisfying, because I guess it's weird by the time
• 22:07
  Speaker 1: this comes out, you've been with these characters for nine
• 22:09
  Speaker 1: years in one capacity or another. Would not have been
• 22:12
  Speaker 1: what I would guess the third movie would be about,
• 22:15
  Speaker 1: just based on how kind of like broad a character
• 22:17
  Speaker 1: Rocket is presented as in the first movie.
• 22:19
  Speaker 3: Yeah, it's interesting, it's a bit surprising.
• 22:22
  Speaker 1: So there's a lot to talk about today. And there's also,
• 22:25
  Speaker 1: of course, because we foreshadowed it in the last episode,
• 22:29
  Speaker 1: a lot of to talk about about Zoe's Aldonna and
• 22:33
  Speaker 1: when she's in space, because that's why we've all gathered
• 22:36
  Speaker 1: here today.
• 22:38
  Speaker 3: It sure is so without much further ado, should I
• 22:42
  Speaker 3: do the recap?
• 22:43
  Speaker 1: Yeah, let's let's recap it.
• 22:45
  Speaker 3: Okay, So we open on Earth, I think specifically Missouri, YEP.
• 23:02
  Speaker 3: In nineteen eighty eight. We meet a young Peter Quill
• 23:06
  Speaker 3: I think he's probably like nine or so. He's at
• 23:09
  Speaker 3: a hospital where his mom is on her deathbed. She
• 23:15
  Speaker 3: gives him a wrapped gift and says that his grandpa
• 23:19
  Speaker 3: is going to take care of him, at least until
• 23:21
  Speaker 3: his dad comes back to get him, so we'll put
• 23:24
  Speaker 3: a pin in that, and I'm just like, my.
• 23:27
  Speaker 1: Goodness, we really need a It's that classic movie chestnut
• 23:33
  Speaker 1: a woman has to die before the movie starts. Here, like, oh,
• 23:40
  Speaker 1: you know Starlard is like Lokia Disney Princess.
• 23:43
  Speaker 3: Oh yeah, that's just kind of gender swapped and worse. Huh.
• 23:50
  Speaker 1: I'm not a Starlar fan. I think. Also it's interesting
• 23:52
  Speaker 1: that this movie comes well, not completely, but I think
• 23:56
  Speaker 1: in a big way. In the big movie way. Was
• 23:58
  Speaker 1: like Chris Pratt. It's like, you know, debutante ball for
• 24:04
  Speaker 1: being bubuff, which we could talk about too. Yeah, but
• 24:08
  Speaker 1: also in twenty twenty three not as fun to I
• 24:11
  Speaker 1: think it was like it was still fun to watch
• 24:13
  Speaker 1: Chris Pratt until like in twenty eighteen, and then you're like,
• 24:17
  Speaker 1: I'm sick of this guy, I think. And then he's
• 24:20
  Speaker 1: like a Republican and then you're like, I hate this guy,
• 24:24
  Speaker 1: but he's still in everything.
• 24:25
  Speaker 3: He's like a he's a homophobic ableist, like religious Zelot. Yeah,
• 24:32
  Speaker 3: when we hate him for that.
• 24:33
  Speaker 1: Which is interesting because this movie is against religious zell
• 24:37
  Speaker 1: It and yet Chris Crowd is the star.
• 24:40
  Speaker 3: Well anyways, so anyway, Peter Quill's mother passes away. Peter
• 24:47
  Speaker 3: is distraught. He runs outside and then a spaceship appears
• 24:52
  Speaker 3: and abducts him. Because then we cut to twenty six
• 24:57
  Speaker 3: years later. We are on an abandoned plan and adult
• 25:01
  Speaker 3: Peter Quill played by Chris Pratt. His like superhero name
• 25:05
  Speaker 3: is star Lord. He's a ravenger, so it's kind of
• 25:10
  Speaker 3: like a space cowboy space outlaw.
• 25:13
  Speaker 1: And he's got all the sickest needle drops in that.
• 25:17
  Speaker 1: I mean, I feel like that's like one of the
• 25:19
  Speaker 1: things this movie or this like trilogy's most famous for us,
• 25:22
  Speaker 1: like needle drop meal. I mean, and they're in they're
• 25:24
  Speaker 1: good needle drops, just trying to take it from them,
• 25:26
  Speaker 1: And I like that. I like the kind of fake
• 25:28
  Speaker 1: out that it starts with. It feels very James Gunn
• 25:31
  Speaker 1: where it's like you're presented with all kind of like
• 25:34
  Speaker 1: the tropes of a Marvel movie, including the swelling music
• 25:38
  Speaker 1: and all this stuff, and then you get like a
• 25:40
  Speaker 1: little bit of levity. I feel like it sets the
• 25:42
  Speaker 1: stage for like taichowatd to do something similar bit different
• 25:46
  Speaker 1: later on.
• 25:47
  Speaker 3: True, my only complaint about it is Peter Quill kicking
• 25:51
  Speaker 3: animals as a joke. Oh bad way to introduce a character.
• 25:56
  Speaker 1: Yeah. Well, but you could also argue that he sucks.
• 26:00
  Speaker 1: And I mean, and this is proof. Kicking cgi rats
• 26:04
  Speaker 1: is proof that he sucks.
• 26:06
  Speaker 3: He's cruel. Anyway. He's there on this planet to steal
• 26:10
  Speaker 3: this valuable orb. He doesn't know what it is. He's
• 26:13
  Speaker 3: just been hired to steal it. But he's intercepted by
• 26:17
  Speaker 3: some bad guys led by someone named Korath played by
• 26:22
  Speaker 3: Jamon Junsu. They also want the orb, but Quil escapes and.
• 26:28
  Speaker 1: You're like, what's the orb? But well, there's an Infinity
• 26:32
  Speaker 1: stone in the orb? Yeah, can't they I know the
• 26:35
  Speaker 1: stones are powerful, but can't they just be looking for
• 26:38
  Speaker 1: the stone and be like, oh, by the way, the
• 26:41
  Speaker 1: stone's in a box like the orb the Tesser. I'm like,
• 26:44
  Speaker 1: oh gosh, anyways, it's done.
• 26:47
  Speaker 3: It sounds like you get it, though, Jamie.
• 26:49
  Speaker 1: I can. I'm embarrassed at how many people I needed
• 26:55
  Speaker 1: to get self to be completely clear on that. It's confusing.
• 27:00
  Speaker 3: Well, we'll find out later that an infinity stone is inside,
• 27:03
  Speaker 3: but for now, it's just an orb that has value.
• 27:07
  Speaker 3: Quill escapes and flies away on his spaceship, and then
• 27:10
  Speaker 3: he gets a call from his ravager boss Yondu, who
• 27:15
  Speaker 3: is the person who abducted Quill as a kid, and
• 27:18
  Speaker 3: Yondu is pissed at Quill for like messing up this
• 27:22
  Speaker 3: whole thing, and then he puts a bounty on him.
• 27:26
  Speaker 3: So then we cut to the big bad a guy
• 27:29
  Speaker 3: named Ronan played by Lee Pace.
• 27:32
  Speaker 1: And you're like, whoa, Lee Pace is so versatile hot,
• 27:36
  Speaker 1: I would never have known this was Yeah, the range
• 27:39
  Speaker 1: on that man. It's true. He got a love Lee Pace.
• 27:42
  Speaker 1: I love Lee Pace this role. You know, not much
• 27:46
  Speaker 1: to do, but what can you do?
• 27:48
  Speaker 3: Shout out to my Wait? Was it Pushing Daisies that
• 27:51
  Speaker 3: he was in?
• 27:52
  Speaker 1: Yeah? Oh boy, yeah, Halted catch Fire? He was in
• 27:57
  Speaker 1: what was in last year the movie the murder movie.
• 28:02
  Speaker 1: I forget the murder movie, Pete Davids, it was in it.
• 28:05
  Speaker 1: Rachel Senate was in it. You know the movie Ria
• 28:08
  Speaker 1: Back of Lofoody's Body's Bodies That's the one. He was
• 28:12
  Speaker 1: in that one too. We love it. I forgot about
• 28:15
  Speaker 1: that queer icon leepees. We love him. Yeah, but yeah,
• 28:18
  Speaker 1: not much to do here. I feel like this is
• 28:20
  Speaker 1: interesting in a movie where like characters that you wouldn't
• 28:23
  Speaker 1: expect in a Marvel movie to have a personality. I
• 28:26
  Speaker 1: was kind of disappointed that the villain was not given
• 28:28
  Speaker 1: it a personality. You got to give the villain a personality.
• 28:31
  Speaker 3: Yeah, he's pretty boring.
• 28:32
  Speaker 1: He can't just be saying mean stuff and I want
• 28:34
  Speaker 1: to talk about the mean stuff he's saying in a
• 28:36
  Speaker 1: little bit, but like not yeah, kind of flat.
• 28:40
  Speaker 3: Anyway, he is a cree person who wants to destroy
• 28:45
  Speaker 3: this planet called Zandar. We learned that Korath is one
• 28:49
  Speaker 3: of his minions, okay, more like Kevin le Mignon exactly.
• 28:56
  Speaker 3: Other minions of Ronan's are Go Mora, our girl, Zoe's
• 29:01
  Speaker 3: Aldanna and her sister Nebula played by Karen Gillen, who
• 29:06
  Speaker 3: are both Sanos's daughters. So Ronan wants this orb and
• 29:11
  Speaker 3: he is trying to deliver it to Thanos, and Gomora
• 29:17
  Speaker 3: is like, okay, well I'll get the ORB for you.
• 29:19
  Speaker 3: So she sets off to steal the ORB back from Quill,
• 29:23
  Speaker 3: who is on this planet in question, the Zandar that
• 29:27
  Speaker 3: Ronan wants to destroy. So we cut to Zandar where
• 29:30
  Speaker 3: we meet Rocket, a talking raccoon voiced by Bradley Cooper
• 29:35
  Speaker 3: and Groot, a sentient tree voiced by Vin Diesel, who
• 29:40
  Speaker 3: famously only ever says I am Groot.
• 29:42
  Speaker 5: I have some very fun quotes from him about this.
• 29:45
  Speaker 5: Later from Vin Diesel, Yeah, okay, he gave a weird
• 29:49
  Speaker 5: amount of interviews to talk about having done this movie.
• 29:54
  Speaker 1: H and I'll like he will talk about it. It's
• 29:57
  Speaker 1: very funny to me.
• 29:58
  Speaker 3: Okay, nice, Okay. So Rocket and Grout are bounty hunters
• 30:02
  Speaker 3: who see the bounty that's out for Quill, so they
• 30:06
  Speaker 3: go after him. Meanwhile, Gomra finds Quill and tries to
• 30:11
  Speaker 3: steal the ORB from him. Rocket and Groot get involved.
• 30:15
  Speaker 3: There's this big fight and ultimately they're arrested by John
• 30:20
  Speaker 3: c Riley Sure and thrown in space jail together, where
• 30:27
  Speaker 3: Gomra reveals that she wasn't retrieving the ORB for the
• 30:32
  Speaker 3: bad guy Ronan. She was betraying him because like her
• 30:36
  Speaker 3: allegiances are actually not with Ronan or her father Thanos.
• 30:40
  Speaker 3: She's trying to get away from them. But all of
• 30:43
  Speaker 3: the prisoners recognize Gomorra and hate her because of her
• 30:47
  Speaker 3: affiliation with Thanos and Ronan, so they tried to kill her.
• 30:51
  Speaker 3: This is where we meet Drax, played by Dave Batista.
• 30:55
  Speaker 3: He has a big vendetta against Ronan because Ronan murdered
• 30:59
  Speaker 3: his wife.
• 31:01
  Speaker 5: And his daughter.
• 31:02
  Speaker 1: Yeah, classics, classics.
• 31:05
  Speaker 3: But Quill swoops in and saves Gomorra and convinces Drax
• 31:09
  Speaker 3: not to kill her because she is his only chance
• 31:13
  Speaker 3: to get to Ronan so that Drax can kill Ronan.
• 31:17
  Speaker 3: Then Quill, Gomorra, Rocket and Groot make a deal to
• 31:22
  Speaker 3: sell the Orb and then split the hefty prophet among
• 31:26
  Speaker 3: the four of them, so they make a plan to
• 31:30
  Speaker 3: escape the prison so they can do this. Meanwhile, we
• 31:34
  Speaker 3: cut back to Ronan who is talking to Thanos, who
• 31:37
  Speaker 3: I believe is uncredited in this movie, but it's obviously
• 31:40
  Speaker 3: Josh Brolin. He is pissed that he still doesn't have
• 31:43
  Speaker 3: the Orb, and it's clear that Thanos knows what it is,
• 31:48
  Speaker 3: or at least what's inside of it, but at this
• 31:50
  Speaker 3: point the audience and Peter Quill alike don't know what
• 31:55
  Speaker 3: it is. Anyway, Quill and his friends escape from the prison,
• 31:59
  Speaker 3: including Acts because like he kind of helps them fight
• 32:03
  Speaker 3: off the bad guys, and they all fly away on
• 32:07
  Speaker 3: Quill's ship, but tension is high among them because Quill
• 32:11
  Speaker 3: and Gomra don't really trust each other Drax hates Gomorra still.
• 32:17
  Speaker 3: He calls our a bunch of nasty names throughout the
• 32:20
  Speaker 3: movie and.
• 32:21
  Speaker 1: Will continue to and that's part of his arc for
• 32:24
  Speaker 1: some reason. Yay, he learned to respect one woman sort of,
• 32:32
  Speaker 1: but did he you know? Fun fun fun.
• 32:35
  Speaker 3: Yeah. They head to a mining colony called Nowhere to
• 32:42
  Speaker 3: meet the collector played by Benicio del Toro, who Gomra
• 32:47
  Speaker 3: had made this deal with to buy the orb and
• 32:50
  Speaker 3: then this is when we learn what it actually is,
• 32:53
  Speaker 3: or rather what's inside of it. It's the Purple Infinity Stone.
• 32:57
  Speaker 3: I forget which one it is. I don't know if
• 32:59
  Speaker 3: that's the Power Stone, I forget whatever. Anyway, it can
• 33:03
  Speaker 3: only be wielded by beings with great power, and it
• 33:06
  Speaker 3: can be used as a weapon to cause mass destruction.
• 33:10
  Speaker 3: So Goomora is like, well, we have to take it
• 33:12
  Speaker 3: to Novacore so that they can like contain it and
• 33:15
  Speaker 3: keep it safe. Novacore is like, I couldn't. It's like
• 33:21
  Speaker 3: some intergalactic government. Maybe I'm not really sure. I might
• 33:27
  Speaker 3: be getting this wrong, but anyway, it's run by Glenn Close.
• 33:32
  Speaker 1: It's run by Glenn Close. She's got a fun hairdo. Yes,
• 33:36
  Speaker 1: the whole Novacore thing. It just feels very good guy coded.
• 33:40
  Speaker 1: But then the stuff you see them doing, You're like,
• 33:43
  Speaker 1: is this what a good guy would do? You know?
• 33:46
  Speaker 1: I don't know. Sci fi politics are so pernicious and weird,
• 33:51
  Speaker 1: and I don't trust Marvel in particular with having anything
• 33:56
  Speaker 1: to say politically because they're so designed to please governments
• 34:00
  Speaker 1: so that they can be broadcast everywhere that, like, I
• 34:05
  Speaker 1: feel like it's inherent. Even when they're fun to watch,
• 34:07
  Speaker 1: they like, by their nature have to say vaguely, like
• 34:12
  Speaker 1: if it's anything, it's extremely vague, in the same way
• 34:16
  Speaker 1: that like, if you're you know, top gum Maverick, you
• 34:19
  Speaker 1: have to have a faceless enemy because.
• 34:24
  Speaker 3: You know, assigning anybody else an.
• 34:26
  Speaker 1: Enemy would, yeah, make it less marketable. So like, I
• 34:29
  Speaker 1: don't know, it's it's not even an expectation for a
• 34:31
  Speaker 1: Marvel movie for it to have to say anything other
• 34:34
  Speaker 1: than like, be nice to your friends and found family
• 34:38
  Speaker 1: is important, which it is. But also, yeah, there's all
• 34:41
  Speaker 1: the I just speaking to the political stuff. You're just like,
• 34:46
  Speaker 1: it's I'm the good guy versus bad guy? Is it's weird?
• 34:50
  Speaker 1: And I feel like the more I and maybe there's
• 34:52
  Speaker 1: stuff I'm missing, and there's stuff that comes up in
• 34:54
  Speaker 1: future installments which I'll ask you about, but I don't know. Like,
• 34:58
  Speaker 1: thinking about how this movie plays out politically was really
• 35:01
  Speaker 1: confusing to me, particularly with the character of Nebula, but we'll,
• 35:05
  Speaker 1: I guess talk about it. Yeah.
• 35:08
  Speaker 3: No, in general, it's just a lot of upholding of
• 35:11
  Speaker 3: the status quo as far as like a lot of
• 35:14
  Speaker 3: like industrial complexes. It's like, right because of all it's
• 35:18
  Speaker 3: these things aren't so bad, because Ronan's whole thing is
• 35:22
  Speaker 3: that like, you destroyed generations of my people, and they're like, but.
• 35:30
  Speaker 1: We called a peace treaty recently, and he's like fuck you,
• 35:34
  Speaker 1: and you're like, yeah, yeah, fair enough, you know, and whatever.
• 35:39
  Speaker 1: I had it out. Yeah.
• 35:42
  Speaker 3: Well, anyway, before Peter and company can get to novacor,
• 35:49
  Speaker 3: Ronan shows up, so there's this whole fight and chase
• 35:53
  Speaker 3: and Nebula Gomora's sister manages to steal the orb for
• 35:59
  Speaker 3: Ronan Gomra. Meanwhile, it has like gotten out into space
• 36:04
  Speaker 3: without any kind of like space suit or anything. So
• 36:06
  Speaker 3: she's about to die. So Quill goes and saves her
• 36:09
  Speaker 3: and sacrifices himself and gives up his location to the
• 36:15
  Speaker 3: head Ravager. Guy Yondu. Meanwhile, Drax, Rocket and Groot are
• 36:21
  Speaker 3: still on Nowhere and they decide that they need to
• 36:27
  Speaker 3: go and save Quill and go Mora because they're all
• 36:30
  Speaker 3: kind of like becoming friends question Mark. Meanwhile, Ronan has
• 36:36
  Speaker 3: the orb now and now that he knows that there's
• 36:39
  Speaker 3: an Infinity Stone inside, he's like, oh, I don't need
• 36:43
  Speaker 3: Thanos to destroy Zandar for me. I can do it myself.
• 36:47
  Speaker 3: So he puts the stone in his like hammer thing
• 36:52
  Speaker 3: and he's like, Okay, Thanos, bye, bitch, I don't need you.
• 36:56
  Speaker 3: We cut back to Quill. He convinces Yondu to let
• 37:01
  Speaker 3: him go and that they should all go after Ronan
• 37:04
  Speaker 3: together because Gomra knows about Ronan's weakness, so they have
• 37:09
  Speaker 3: like a chance at defeating him. Then Rocket, Grout, and
• 37:12
  Speaker 3: Drax show up and they team back up with Quill
• 37:16
  Speaker 3: and Gomra, and they really bond over being people who
• 37:22
  Speaker 3: have all lost things, you know, they're homes, their loved ones,
• 37:27
  Speaker 3: and they're like, okay, we're like we're like a freaking
• 37:30
  Speaker 3: team now, and together they come up with a plan
• 37:34
  Speaker 3: to take down Ronan, and so they set off with
• 37:37
  Speaker 3: Yondu's Ravager army to destroy Ronan. Then Quill calls John
• 37:43
  Speaker 3: c Riley on Zandar to warn them. John c Riley
• 37:47
  Speaker 3: relays this information to Nova Prime, that's glenn closest character,
• 37:52
  Speaker 3: and so everyone on Zandar either evacuates or they prepare
• 37:57
  Speaker 3: for Ronan's attack. Meanwhile, Quill and his friends make their
• 38:02
  Speaker 3: way onto Ronan's ship. They fight Ronan's minions and then
• 38:07
  Speaker 3: they reach him, but he's so powerful, especially with his
• 38:11
  Speaker 3: Infinity Stone Hammer, so they can't defeat him yet. Uh.
• 38:16
  Speaker 3: And then this is when Groot sacrifices himself for the
• 38:20
  Speaker 3: other Guardians and to like save the people of Zandar.
• 38:24
  Speaker 3: So he dies, or so we think, but oh no,
• 38:29
  Speaker 3: Ronan is still undefeated. So then Quill distracts him with
• 38:34
  Speaker 3: a dance.
• 38:36
  Speaker 1: While this all feels like so, I mean, this isn't
• 38:39
  Speaker 1: a criticism of the movie necessarily, just of my experience
• 38:43
  Speaker 1: watching it, where it just like so much of the
• 38:47
  Speaker 1: humor in a way that I feel like Scooby Dude
• 38:49
  Speaker 1: doesn't for some reason, but the humor of this movie
• 38:52
  Speaker 1: already feels so dated. It's like cringey, We're like, what
• 38:56
  Speaker 1: if I did or what if I Chris a homophobic
• 38:59
  Speaker 1: Republican did a random dance and you're like, hm, I
• 39:03
  Speaker 1: hate it, hating it, hating it, Chris hating it. Yeah,
• 39:07
  Speaker 1: you know, Live Lafler and whatever.
• 39:11
  Speaker 3: Right, So Quill's distracting him with this dance. While that's happening,
• 39:16
  Speaker 3: Drax and Rocket destroy the Infinity Stone hammer of Ronan's
• 39:22
  Speaker 3: and then Quill grabs the stone but oh, it's killing him.
• 39:25
  Speaker 3: So then his friends like all hold his hand and
• 39:30
  Speaker 3: it saves him, and then they use the power from
• 39:33
  Speaker 3: the stone to destroy Ronan because guess what, bitch, they're
• 39:37
  Speaker 3: the Guardians of the Galaxy now.
• 39:40
  Speaker 1: Yay, but really it's star Lord is the Guardian of
• 39:44
  Speaker 1: the Galaxy and this is his band. Based on Gomorah's
• 39:49
  Speaker 1: last line, which is basically like I'll do whatever you say.
• 39:55
  Speaker 1: The end.
• 39:56
  Speaker 3: It's annoying. Yeah, the movie ends with a couple little
• 39:59
  Speaker 3: like you know, Denument type things. Glenn Close is like,
• 40:04
  Speaker 3: by the way, Quill, we analyzed your DNA or something,
• 40:08
  Speaker 3: and we learned that you're half human and half something else.
• 40:11
  Speaker 3: Your father was this ancient being. Hmm, wonder what that's
• 40:16
  Speaker 3: all about.
• 40:16
  Speaker 1: Which I know is setting up to but also feels
• 40:19
  Speaker 1: very like Star Wars twenty tens and maybe into now
• 40:24
  Speaker 1: I kind of have given up, but like twenty tens
• 40:27
  Speaker 1: sci fi logic, which is like basically like supremacy minded,
• 40:33
  Speaker 1: where like you can't just be a regular person doing
• 40:37
  Speaker 1: extraordinary things anymore. It actually you have to be tied
• 40:40
  Speaker 1: to some exceptional bloodline and find that out. There's no
• 40:45
  Speaker 1: there's far less precedent for just being someone who rises
• 40:49
  Speaker 1: to the occasion and through their you know, there's no nurture,
• 40:52
  Speaker 1: it's all nature.
• 40:54
  Speaker 3: Yeah, it's like what's your bloodline, what's its legacy?
• 40:58
  Speaker 1: Blah blah blah, which is the whole thing with Ray
• 41:01
  Speaker 1: and the Last Star Wars, and I don't know, I
• 41:04
  Speaker 1: think that that is also just connected to this like
• 41:07
  Speaker 1: huge insecurity to like have to connect not just every
• 41:12
  Speaker 1: movie that gets greenlit, but like every plot point to
• 41:15
  Speaker 1: recognizable ip in a way that creates freaky fictional bloodlines
• 41:19
  Speaker 1: that you're like, I don't know, or just like trust your.
• 41:22
  Speaker 3: Writers, like soap opera shit, yeah yeah, where it's like
• 41:26
  Speaker 3: and it's actually your sister.
• 41:30
  Speaker 1: I mean, and I would love to see a Marvel
• 41:32
  Speaker 1: style like full on soap opera, but it's all taking
• 41:35
  Speaker 1: itself so seriously that you're it's just is like.
• 41:39
  Speaker 3: I don't know, it's a bit goofy, I don't.
• 41:41
  Speaker 1: I have very little patience for it. Yeah, yeah, but nevertheless,
• 41:45
  Speaker 1: the movie's almost over right And then so the movie
• 41:48
  Speaker 1: ends with Quill finally opening the wrapped gift from his
• 41:51
  Speaker 1: mom and then the Guardians of the Galaxy flying off
• 41:54
  Speaker 1: together because they're best friends.
• 41:56
  Speaker 3: And also Groot isn't dead. He's a little sapling in a.
• 42:00
  Speaker 1: That was and that was unfortunate. I mean, that was cute.
• 42:03
  Speaker 3: Yeah, okay, where shall we begin?
• 42:17
  Speaker 1: Well, okay, something I was surprised at is that this
• 42:20
  Speaker 1: movie was co written by a woman, Yes, by a
• 42:23
  Speaker 1: writer named Nicole Pearlman. I found her journey pretty interesting.
• 42:31
  Speaker 1: She started in Marvel's screenwriting program, which I was not
• 42:35
  Speaker 1: aware of as a thing either, and started by sort of,
• 42:39
  Speaker 1: I don't know, I guess, in the screenwriting program and
• 42:40
  Speaker 1: this kind of sounds like fun, Like they'll lay out
• 42:44
  Speaker 1: a bunch of ancient comic books and you, you know,
• 42:46
  Speaker 1: read through them and see what kind of resonates for you,
• 42:49
  Speaker 1: because they were reviving so many like stagnant or kind
• 42:52
  Speaker 1: of forgotten properties. And so she chose Guardians of the
• 42:56
  Speaker 1: Galaxy and that was, you know, Eventually her script for
• 43:01
  Speaker 1: it was read by James Gunn, and they ended up
• 43:04
  Speaker 1: I think getting dual screenwriting credits on this movie. I mean,
• 43:09
  Speaker 1: because it's Marvelle, I want to like shout out her
• 43:13
  Speaker 1: screenwriting credit, but like, who knows what that even means
• 43:17
  Speaker 1: because they're so heavily workshopped and exist in this larger framework.
• 43:20
  Speaker 1: Who knows. But she went on to get story credits
• 43:25
  Speaker 1: for Captain Marvel and write Detective Pikachu pretty fun.
• 43:30
  Speaker 3: So Mew too, she got to write the line that
• 43:35
  Speaker 3: Phil not he says, I am mew too.
• 43:39
  Speaker 1: I don't even know if he says that, but he
• 43:41
  Speaker 1: says mw too, and he says it's so weird, the
• 43:45
  Speaker 1: ancient mew Anyways. But but in future installments, James Gunn
• 43:52
  Speaker 1: is the only credited writer. Uh so it seems that
• 43:55
  Speaker 1: Nicole Perlman was not extended the opportunity or did uncredit writing,
• 44:00
  Speaker 1: which I know happens on Marvel movies a lot in
• 44:03
  Speaker 1: future installments, which, while I like James Gunn, uh bummer.
• 44:10
  Speaker 3: But that is a bummer.
• 44:11
  Speaker 1: Yeah, so I was supposed to start start there. I
• 44:15
  Speaker 1: don't know makes sense to start for you. There's a
• 44:18
  Speaker 1: fair amount to talk about.
• 44:19
  Speaker 3: Well, since this is Zoe and Space, I want to
• 44:24
  Speaker 3: spend ample time on Gomorra and her participation and presence
• 44:31
  Speaker 3: in the story. Among the other female characters, because there
• 44:35
  Speaker 3: are a few. Obviously, this is a superhero movie, a
• 44:40
  Speaker 3: pretty standard one, which means that most of the characters
• 44:44
  Speaker 3: are men.
• 44:44
  Speaker 1: Yeah, and there can be one woman, but I feel
• 44:48
  Speaker 1: like they're well okay, yeah, I feel like the two
• 44:51
  Speaker 1: women that you have who actually meaningfully affect the plot
• 44:56
  Speaker 1: if we're taking out the Glenn Close government figurehead character
• 45:02
  Speaker 1: is Gomora and Nebula, And I know that that is
• 45:04
  Speaker 1: a very important relationship moving forward. But I do like, again,
• 45:08
  Speaker 1: just like speaking to the already dated feeling elements of
• 45:12
  Speaker 1: this movie, it feels very the McSweeney's article we've been
• 45:17
  Speaker 1: talking about for years of like, I am a woman,
• 45:19
  Speaker 1: so I kick. But if you look at well, how
• 45:23
  Speaker 1: does the kicking advance the narrative? Infrequently? Yeah, I would
• 45:27
  Speaker 1: say that the kicking and the equipping advances the plot,
• 45:33
  Speaker 1: not as much as you would be led to believe
• 45:36
  Speaker 1: by its frequency, because yeah, there's just a lot of
• 45:39
  Speaker 1: I mean, yeah, and it's a twenty fourteen movie. Again,
• 45:43
  Speaker 1: not trying to hold it to today's standards, but it
• 45:46
  Speaker 1: was noticed then as well, where it's like in the
• 45:50
  Speaker 1: twenty tens. And again, we were on this journey ourselves
• 45:54
  Speaker 1: because we existed through the twenty tens, not quite this early,
• 45:59
  Speaker 1: but whatever, just the whole like being I think that
• 46:02
  Speaker 1: there was like an element of being so thrilled that
• 46:06
  Speaker 1: women were included on screen as much that it maybe
• 46:10
  Speaker 1: took it be at least for general audiences and definitely
• 46:14
  Speaker 1: for me to be like, wait a second, but what
• 46:18
  Speaker 1: is what are they doing? Right? Like, they're doing stuff
• 46:22
  Speaker 1: and it was so exciting to be like, oh my god,
• 46:25
  Speaker 1: women are doing stuff. There's like parody in fight scenes.
• 46:29
  Speaker 3: Right, she's participating in the action in this action movie
• 46:33
  Speaker 3: and that's something that we hadn't seen very much prior
• 46:36
  Speaker 3: to this.
• 46:36
  Speaker 1: Right, And she's a weapon and let's not worry about
• 46:39
  Speaker 1: the circumstances under which she became a weapon, but like,
• 46:42
  Speaker 1: she's an extremely like capable fighter. It's very exciting. It's
• 46:46
  Speaker 1: not you know, I think that there's a huge fixation
• 46:49
  Speaker 1: on the Mary Sooo trope in the mid twenty tens.
• 46:51
  Speaker 1: She's not a Mary suit. We know why she's a
• 46:53
  Speaker 1: good fighter. We like it and and her motivations plot
• 46:57
  Speaker 1: wise do extend beyond and the male love interest. So
• 47:02
  Speaker 1: we're getting more than we're used to in twenty fourteen.
• 47:06
  Speaker 1: But I think, you know, with the benefit of hindsight,
• 47:08
  Speaker 1: you look at, well, what does her fighting accomplish to
• 47:12
  Speaker 1: advance the plot? Where does she end up versus where
• 47:15
  Speaker 1: she started? And there's still a lot of tropiness and
• 47:19
  Speaker 1: damseling and just stuff that you know, it's not a
• 47:23
  Speaker 1: seismic shift.
• 47:25
  Speaker 3: Right, So yeah, I was noticing this about just like
• 47:29
  Speaker 3: plot points where when she's introduced, it's in the context of,
• 47:35
  Speaker 3: you know, she seems like a villain. She seems like
• 47:38
  Speaker 3: she's gonna be an obstacle for Quill, especially because she
• 47:42
  Speaker 3: like goes after him and steals the orb. But not
• 47:46
  Speaker 3: clear to me why if she intends to betray you know,
• 47:51
  Speaker 3: Ronan and Thanos, why wouldn't she go to Quill and
• 47:54
  Speaker 3: be like, hey, like let's make a deal or like
• 47:57
  Speaker 3: let's have a bargain here. Not why I don't know.
• 48:00
  Speaker 3: Maybe there's some like comic book context where she always
• 48:05
  Speaker 3: chooses the fight or something like that. But anyway she steals.
• 48:08
  Speaker 1: The well, that's maybe you can justify that by her
• 48:11
  Speaker 1: being like a trained wepon like programmed to yeah to violence,
• 48:16
  Speaker 1: but that there's a lot of stuff to talk about
• 48:18
  Speaker 1: there too, Yeah right, right right.
• 48:19
  Speaker 3: So anyway, she steals the ORB from him, they fight,
• 48:24
  Speaker 3: and that's sort of like the catalyst that gets the
• 48:27
  Speaker 3: whole group to even come together at all, because that
• 48:31
  Speaker 3: leads Rocket and Groot to be involved in this fight.
• 48:35
  Speaker 3: They all get arrested together. So like her actions sort
• 48:39
  Speaker 3: of instigate this group even being formed, you could argue.
• 48:44
  Speaker 3: But beyond that, her participation in the plot is way
• 48:48
  Speaker 3: more minimal than I wanted it to be. She is
• 48:51
  Speaker 3: there in action scenes, fighting alongside and with men, but
• 48:58
  Speaker 3: there are moments where like, okay, Rocket gets the it's
• 49:02
  Speaker 3: his plan who gets them busted out of prison, So like,
• 49:06
  Speaker 3: yay for Rocket for doing that. Obviously, Peter Quill is
• 49:09
  Speaker 3: the protagonist, so a lot of his actions and motivations
• 49:12
  Speaker 3: are driving the story. You know, Groot gets this big
• 49:15
  Speaker 3: moment at the end where he sacrifices himself for the
• 49:18
  Speaker 3: greater good Drax Uh maybe I don't know. I need
• 49:23
  Speaker 3: to ponder him a bit more, but there's a very
• 49:25
  Speaker 3: frustrating moment to me as it relates to Gomora, where
• 49:30
  Speaker 3: you think she's gonna have this big thing to contribute
• 49:32
  Speaker 3: toward the end, because.
• 49:34
  Speaker 1: I know what you're talking about.
• 49:35
  Speaker 3: Ye Quill is like he's talking to his space daddy
• 49:40
  Speaker 3: what's his name, YANDU, and he's like, you need our help.
• 49:44
  Speaker 3: We can go after these bad guys together, and we
• 49:47
  Speaker 3: have a ringer because Gomra knows Ronan and knows his vulnerabilities.
• 49:53
  Speaker 3: So you think that you're gonna see that information that
• 49:58
  Speaker 3: Gomorra has off in some way and does it. No, no, no,
• 50:03
  Speaker 3: it doesn't.
• 50:04
  Speaker 1: Know. It becomes a moment that is extended to basically
• 50:09
  Speaker 1: every character except for Gomora for some reason, like I
• 50:13
  Speaker 1: feel like every I mean again, it's like just speaking
• 50:17
  Speaker 1: to the kind of emptiness of some of the scenes
• 50:21
  Speaker 1: we see that she's active in of everyone gets a
• 50:25
  Speaker 1: big moment towards the end, and Gomora's is that she's
• 50:28
  Speaker 1: fighting with her sister, but in terms of plot impact.
• 50:34
  Speaker 3: It's not. It's at least right after that, like again
• 50:38
  Speaker 3: kind of catalytic moment towards the beginning, she's not really
• 50:42
  Speaker 3: doing much to contribute to like the group, the group
• 50:45
  Speaker 3: dynamic of like Okay, this person did this thing, this
• 50:47
  Speaker 3: person did this thing. Now it's Gomora's turn to like
• 50:50
  Speaker 3: do something significant and that never really happens, right, So
• 50:55
  Speaker 3: that's frustrating.
• 50:56
  Speaker 1: I felt like, and I think that like in terms
• 50:59
  Speaker 1: of at least with blockbusters, there was an increased pressure
• 51:04
  Speaker 1: to give women in movies things to do and acknowledge patriarchy.
• 51:13
  Speaker 1: This was very vague, and I feel like that comes
• 51:16
  Speaker 1: through in the ways that it's done here because it's
• 51:19
  Speaker 1: really just like quips. It's and I think that it's
• 51:23
  Speaker 1: stuff we talked about before, where it's equips and then
• 51:26
  Speaker 1: doing it anyways. Like there's a point where, like I
• 51:29
  Speaker 1: think Rocket suggests that Gomora act as like sexy bait
• 51:35
  Speaker 1: to get something done while they're still in prison, and
• 51:37
  Speaker 1: she says, you've gotta be freaking kidding me, and that
• 51:41
  Speaker 1: was the feminism of the scene, and you're like, oh
• 51:44
  Speaker 1: my god, but they still all want her to do
• 51:46
  Speaker 1: it right or other times like I'm with the biggest
• 51:51
  Speaker 1: idiots in the galaxy and that's a feminism. Just acknowledging
• 51:57
  Speaker 1: that the men around her are not treating her well
• 52:00
  Speaker 1: is enough to continue to allow it to happen in
• 52:03
  Speaker 1: the plat.
• 52:03
  Speaker 3: Right, or like when Drax is like, oh, why are
• 52:07
  Speaker 3: we still hanging out with this whore. He calls her
• 52:10
  Speaker 3: a whoror he.
• 52:11
  Speaker 1: Calls her a green wore, which also has another element,
• 52:14
  Speaker 1: and that's another thing we had to talk about.
• 52:16
  Speaker 6: But yes, and then she like scoffs, but and Drax
• 52:20
  Speaker 6: is absolved of having done that inside of two minutes
• 52:24
  Speaker 6: because in that same scene, this was I think the
• 52:28
  Speaker 6: thing that drove me most out of my brain in
• 52:33
  Speaker 6: terms of Gomorrah, because I think I understand yours makes
• 52:36
  Speaker 6: total sense with the information with Brown in what felt
• 52:39
  Speaker 6: to me I was like the gall to do this
• 52:42
  Speaker 6: where Drax has just called Gomorrah a green whore as
• 52:46
  Speaker 6: a joke, clearly meant as a joke, yeah for.
• 52:49
  Speaker 1: The audience, and she goes ugh. Then her sister appears
• 52:54
  Speaker 1: also begins berating her, and for some reason, Drax wins
• 52:58
  Speaker 1: that scene and you know, knocks Nebula down and then
• 53:02
  Speaker 1: it's like you are my friend. And so somehow Drax.
• 53:06
  Speaker 3: Comes out of that scene the good thing because he
• 53:08
  Speaker 3: said something like, don't talk about my friend that way,
• 53:11
  Speaker 3: and it's like you just called her a whore two
• 53:14
  Speaker 3: seconds ago, two seconds ago, and also one of the
• 53:17
  Speaker 3: only characters that it is like and I know that
• 53:20
  Speaker 3: Gomora does end up fighting her, but even in that scene,
• 53:23
  Speaker 3: the fact that Gomora doesn't do anything she doesn't that's
• 53:26
  Speaker 3: a great opportunity for to advance that character relationship is
• 53:31
  Speaker 3: Nebula is showing up and berating her because there is
• 53:34
  Speaker 3: a very like I feel like their relationship is so
• 53:37
  Speaker 3: I mean with layers added on, but like very succession coded,
• 53:42
  Speaker 3: where like who's gonna get the kiss from Daddy? Right,
• 53:46
  Speaker 3: and like Nebula really wants the kiss from Daddy and
• 53:49
  Speaker 3: she will do she will murder whoever she has to
• 53:52
  Speaker 3: to get the kiss from Daddy, including her sister, right.
• 53:55
  Speaker 1: And Okay, is that that, you know rife with drupes? Yes,
• 54:02
  Speaker 1: I liked it on Succession, but this is a Succession.
• 54:05
  Speaker 1: It's simply not as good. But yeah, to have those
• 54:08
  Speaker 1: two characters in an emotionally charged confrontation and then have
• 54:14
  Speaker 1: the purpose of that scene to be to advance Drax's
• 54:16
  Speaker 1: character versus Gomoras, I was just like, uh no, that's
• 54:22
  Speaker 1: very annoying.
• 54:23
  Speaker 3: And speaking of and we'll talk more about Gomorra and
• 54:27
  Speaker 3: Nebula's relationship when I get into the kind of overview
• 54:31
  Speaker 3: of the sequels, because there is an interesting arc there Okay,
• 54:35
  Speaker 3: what I wanted to say for this movie, for this
• 54:38
  Speaker 3: first volume, and we've talked about this quite a bit
• 54:42
  Speaker 3: on the podcast, where if women are allowed to participate
• 54:47
  Speaker 3: in the action in an action movie, oftentimes they're only
• 54:51
  Speaker 3: allowed to fight other other women. That's not entirely true
• 54:56
  Speaker 3: for this movie, because we do see Gomora fighting a
• 54:58
  Speaker 3: bunch of men, especially towards the beginning, right right, Yeah,
• 55:02
  Speaker 3: there is a pretty big battle between her and Nebula
• 55:06
  Speaker 3: toward the end, But it didn't really ping for me
• 55:08
  Speaker 3: as that because we've already seen Gomora fight a bunch
• 55:12
  Speaker 3: of men, and this is more like narratively charged because
• 55:18
  Speaker 3: it's a fight between sisters who are diametrically opposed and
• 55:22
  Speaker 3: they have all of this history and and again the
• 55:25
  Speaker 3: movies go on to explore their relationship quite a bit
• 55:28
  Speaker 3: in later installments. So but I for a split second,
• 55:32
  Speaker 3: I was like, hmm, women fighting women. But I feel
• 55:35
  Speaker 3: like that discussion we've had before doesn't fully apply here.
• 55:40
  Speaker 1: Yeah, I agree, I was. I think because it's already
• 55:43
  Speaker 1: been well established that Gomora can fight anyone, and that
• 55:46
  Speaker 1: in fact, she is like built to be able to
• 55:49
  Speaker 1: fight anyone. Her climactic battle being with her sister didn't
• 55:54
  Speaker 1: bump me too much. But but yeah, I mean I
• 55:57
  Speaker 1: think that that and just like knowing the extent of
• 56:02
  Speaker 1: what I do about like Jame's gun who I think
• 56:04
  Speaker 1: like of the and again it's like you can always
• 56:08
  Speaker 1: fall into a Joss Whedon trap there. You never know
• 56:10
  Speaker 1: when that trapdoor is gonna open. But of the male
• 56:14
  Speaker 1: Blockbuster directors at that time, it seemed like he I
• 56:18
  Speaker 1: would guess that that was a conscious choice to not
• 56:22
  Speaker 1: just limit her to fighting other women. Right, Yeah, that
• 56:27
  Speaker 1: doesn't mean he gets off the freakin' hook because.
• 56:31
  Speaker 3: There because you know what alse happens.
• 56:34
  Speaker 1: Tell me, Kitlyn.
• 56:36
  Speaker 3: Gomora has to be saved by men twice, first in
• 56:41
  Speaker 3: the prison when some of the prisoners slash tracks are
• 56:45
  Speaker 3: trying to kill her, and then Quill swoops in and says,
• 56:50
  Speaker 3: don't do it. And then later about halfway through the
• 56:53
  Speaker 3: movie when she's floating out in space about to die.
• 56:57
  Speaker 1: Killed or almost killed by her unsafe, which I think, again,
• 57:02
  Speaker 1: I'm excited to hear how that results because A I
• 57:04
  Speaker 1: don't know, and be like, it's a very powerful setup,
• 57:09
  Speaker 1: and so I mean, you gotta hand it to her.
• 57:12
  Speaker 1: I feel like Nebula at points is more active in
• 57:15
  Speaker 1: the plot than Gamora in spite of being barely there,
• 57:19
  Speaker 1: because she does actively choose to be like I'll kill
• 57:22
  Speaker 1: my sister that I won't. I don't have to feel
• 57:25
  Speaker 1: great about it, but I'll do it, and I'm doing it.
• 57:28
  Speaker 3: Nebula being more active than Gamora in the story is
• 57:32
  Speaker 3: something that happens. I would say quite a bit in
• 57:35
  Speaker 3: the later.
• 57:36
  Speaker 1: Oh yeah, wow, well we'll get there. But the quote
• 57:40
  Speaker 1: Zoe's al dada herself. Gamora is kind of the mom
• 57:44
  Speaker 1: of the group, so it makes sense she wouldn't have
• 57:49
  Speaker 1: time to be active because she has to parent all
• 57:53
  Speaker 1: disese adult men that she's hanging out.
• 57:55
  Speaker 3: With, and unfortunately that is a familiar dynamic for a
• 58:00
  Speaker 3: lot of women and fems. Ye, so Gomora has to
• 58:05
  Speaker 3: be saved twice. She does kind of save Peter Quill
• 58:08
  Speaker 3: at the end because she was like the first one
• 58:10
  Speaker 3: to hold his hand when he's like grabbing onto the
• 58:13
  Speaker 3: infinity stone. But then like everyone but that it just
• 58:17
  Speaker 3: doesn't feel the same to me.
• 58:19
  Speaker 1: I and feel free to you know, like run me
• 58:24
  Speaker 1: over with a truck ideologically, but that moment also pinged
• 58:29
  Speaker 1: me a little weird because there's multiple moments in the
• 58:33
  Speaker 1: back half of this movie that connect Gomora to Peter's
• 58:39
  Speaker 1: dead mom. It happens twice. The most significant time is
• 58:45
  Speaker 1: what you're just describing. Where Peter's like in Infinity Stone World,
• 58:49
  Speaker 1: like wherever Margaret Robbie Barbie was when she was with
• 58:52
  Speaker 1: Ria Pearlman, like whatever that place is that people go.
• 58:55
  Speaker 1: At the end of the movie, Peter was there and
• 58:59
  Speaker 1: his mom was reached out to him like she did
• 59:01
  Speaker 1: at the beginning of the movie when she was dying
• 59:03
  Speaker 1: and said, Peter, take my hand, and he reaches out
• 59:06
  Speaker 1: for her hand, and then it switches to Gomora's hand,
• 59:10
  Speaker 1: And that is I think a very intentional choice that
• 59:14
  Speaker 1: feels and I would guess like not intentionally, but just
• 59:19
  Speaker 1: like inherently connecting any woman that's important to him is
• 59:26
  Speaker 1: going to be a mothering figure, like connecting mommy to
• 59:30
  Speaker 1: my girlfriend in fiction or in life. I don't like
• 59:34
  Speaker 1: it and don't do that.
• 59:36
  Speaker 3: That's some edible shit, right the hair.
• 59:39
  Speaker 1: And I mean it's it's edible. But like also I
• 59:42
  Speaker 1: think that it just conditions young men to view women
• 59:48
  Speaker 1: the same like the like every woman that means something
• 59:53
  Speaker 1: to me has to mean the same thing that the
• 59:56
  Speaker 1: first woman who meant something to me did, which means
• 59:59
  Speaker 1: that my.
• 1:00:00
  Speaker 3: Girlfriend is my mommy and you're like no, no, and
• 1:00:03
  Speaker 3: like establishes expectations for men that like, oh, my girlfriend
• 1:00:09
  Speaker 3: or my wife like is going to take care of
• 1:00:12
  Speaker 3: me and be responsible for all of my emotional nurturing
• 1:00:16
  Speaker 3: and like just and like household domestic things and like
• 1:00:21
  Speaker 3: all this stuff.
• 1:00:22
  Speaker 1: And that said, do I expect every single one of
• 1:00:26
  Speaker 1: the boyfriends I've had to report on the Boston Bruins? Yes,
• 1:00:31
  Speaker 1: I do. I do, And so you know, it affects
• 1:00:37
  Speaker 1: us all I do. I expect all. I expect girlfriends
• 1:00:42
  Speaker 1: to be my mommy and boyfriends to report in the
• 1:00:46
  Speaker 1: Boston Bruins. But that's about it, that's all. Yeah.
• 1:00:49
  Speaker 3: Yeah, well that's reasonable.
• 1:00:51
  Speaker 1: I'll you know, I'll do everything else, but please report
• 1:00:56
  Speaker 1: in the Boston Bruins.
• 1:00:57
  Speaker 3: Yeah, yeah, no, I think that's fair. Well, that kind
• 1:01:00
  Speaker 3: of brings us into the romantic tension between Peter Quill
• 1:01:05
  Speaker 3: and Gomra.
• 1:01:07
  Speaker 1: Yeah.
• 1:01:07
  Speaker 3: So this will be explored more when I go through
• 1:01:10
  Speaker 3: the sequels, but in this first movie, it's very clearly
• 1:01:15
  Speaker 3: being set up that there's romantic tension between them. There's
• 1:01:20
  Speaker 3: a moment where they're kind of vibing. He is sharing
• 1:01:25
  Speaker 3: his music with her. They're like kind of holding on
• 1:01:28
  Speaker 3: to each other, dancing a little bit. They're about to kiss,
• 1:01:32
  Speaker 3: but for some reason she doesn't notice how close they
• 1:01:35
  Speaker 3: are and how much they're about to kiss, and as
• 1:01:37
  Speaker 3: soon as she does, when they're like an inch apart,
• 1:01:40
  Speaker 3: she pushes him off of her and says something like
• 1:01:45
  Speaker 3: I'm not some starry eyed waif here to succumb to
• 1:01:49
  Speaker 3: your pelvic sorcery.
• 1:01:51
  Speaker 1: Which is the most twenty fourteen line ever written. Oh
• 1:01:55
  Speaker 1: my god, Okay, yeah, Like she's like a breath away
• 1:01:58
  Speaker 1: from being like this is so random, epic bacon.
• 1:02:01
  Speaker 3: Like, it's just like hashtag awesome sauce.
• 1:02:05
  Speaker 1: It's a little exhausting. Yeah, pelvic sorcery. I'm just like, oh, OsO,
• 1:02:12
  Speaker 1: that feels like.
• 1:02:13
  Speaker 3: A line that Drax would say, not her.
• 1:02:16
  Speaker 1: Right, because she doesn't like that's not Yeah, I didn't
• 1:02:19
  Speaker 1: even think of that, Like I just wrote down twenty
• 1:02:21
  Speaker 1: fourteen boo real bummer. Yeah. I feel like it's like
• 1:02:26
  Speaker 1: what everyone makes fun of millennials speak being, which is
• 1:02:30
  Speaker 1: a separate tangent. I feel like what everyone makes fun
• 1:02:33
  Speaker 1: of a generation for is actually a sin of the
• 1:02:36
  Speaker 1: previous generation because gen X, you know, like James Gunn
• 1:02:41
  Speaker 1: is a gen X guy and wrote movies that resonated
• 1:02:45
  Speaker 1: with millennials. It is technically a crime of gen X.
• 1:02:48
  Speaker 1: And so in the future, you know, everything gen Z
• 1:02:51
  Speaker 1: likes was majority written by millennials. Whatever, Yeah, whatever, we'll
• 1:02:56
  Speaker 1: get there. It doesn't matter. We maybe won't get there,
• 1:02:59
  Speaker 1: It doesn't matter who can say. But I feel like
• 1:03:02
  Speaker 1: there was this very of the time tendency to again
• 1:03:05
  Speaker 1: in the same way that like that you could just
• 1:03:08
  Speaker 1: perpetuate all of the same tropes that have appeared in
• 1:03:12
  Speaker 1: these genres for years and years and years, but in
• 1:03:16
  Speaker 1: the mid twenty tens, if you acknowledged it with a joke,
• 1:03:20
  Speaker 1: you could just proceed with the trup right, And that
• 1:03:24
  Speaker 1: feels true on a number of levels, And like that
• 1:03:26
  Speaker 1: romantic relationship was one of them where she like there's
• 1:03:30
  Speaker 1: a there's two significant jokey moments that does not undercut
• 1:03:35
  Speaker 1: the sexual tension between them in any way, shape or form,
• 1:03:39
  Speaker 1: including when after Peter saves Gomora for the second time,
• 1:03:44
  Speaker 1: when she's dying in space, he brings her back and
• 1:03:45
  Speaker 1: he's you know, starting to do the kind of like
• 1:03:48
  Speaker 1: end of speed speech. I think of it as like
• 1:03:52
  Speaker 1: I love you blah blah blah, and like and then
• 1:03:56
  Speaker 1: she you know, in the middle, they're like, wait a second,
• 1:03:59
  Speaker 1: is this ram.
• 1:04:01
  Speaker 3: Meanwhile he's like lying on top of her in missionary position.
• 1:04:06
  Speaker 3: He's it's all the same.
• 1:04:08
  Speaker 1: It's all the same, and it's just like intercutting it
• 1:04:10
  Speaker 1: with like, uh, I don't mean to again, I feel
• 1:04:14
  Speaker 1: like I'm being overly hard on it, but it is
• 1:04:17
  Speaker 1: just like the same trope and interrupting it with a
• 1:04:21
  Speaker 1: very dated one liner and a needle drop and then
• 1:04:24
  Speaker 1: doing the same thing right.
• 1:04:26
  Speaker 3: Well, my big problem with their relationship dynamic, which again
• 1:04:31
  Speaker 3: gets started here and then it culminates in you know,
• 1:04:35
  Speaker 3: different ways as we see these characters in later installments,
• 1:04:40
  Speaker 3: but you never really understand aside from the attractive people
• 1:04:46
  Speaker 3: being near each other trope. Yeah, I don't really everget
• 1:04:50
  Speaker 3: why they're into each other. But it's also like pretty
• 1:04:53
  Speaker 3: one sided for a while, where like Peter Quill is
• 1:04:56
  Speaker 3: obviously interested in and attracted to Moora and for a
• 1:05:01
  Speaker 3: long time she keeps rejecting him, which is also exhausting
• 1:05:07
  Speaker 3: to watch because the movie still frames it as a
• 1:05:10
  Speaker 3: like will they or won't they? Stay tuned inevitable.
• 1:05:16
  Speaker 1: Yes, they will to care like, of course they will,
• 1:05:20
  Speaker 1: and it's gonna be so boring. Do we want to
• 1:05:24
  Speaker 1: get into that now or what is a good I'm
• 1:05:27
  Speaker 1: trying to think if I have any because I have,
• 1:05:29
  Speaker 1: like Zoe Seldonna stuff, I don't know that I have
• 1:05:31
  Speaker 1: very much. Oh, actually I did want to speak about
• 1:05:34
  Speaker 1: the and maybe this will be a transition. How I
• 1:05:38
  Speaker 1: think that, like the tension between Nebula and Gomora is
• 1:05:43
  Speaker 1: genuinely really interesting and really cool, and it is so
• 1:05:49
  Speaker 1: unfortunate that it ostensibly boils down to a daddy problem. However,
• 1:05:56
  Speaker 1: I do think that I've seen writing and no disrespect anyway,
• 1:06:01
  Speaker 1: I have seen writing that like indicates like Gomorrah and
• 1:06:05
  Speaker 1: Nebula have daddy problems. How trite. I think that their
• 1:06:09
  Speaker 1: problems actually are really complicated and interesting, and yeah, I
• 1:06:14
  Speaker 1: wish that again. That's why I'm so frustrated when like
• 1:06:18
  Speaker 1: potentially cool scenes between them in the first installment at
• 1:06:23
  Speaker 1: least are cut by like a random moment of emotional
• 1:06:26
  Speaker 1: progression for drags, which I don't really care about. And like,
• 1:06:31
  Speaker 1: I think that like where they're coming from, where they
• 1:06:34
  Speaker 1: are first of all, like there's so many issues that
• 1:06:37
  Speaker 1: they're dealing with in a way that it like totally
• 1:06:39
  Speaker 1: they have like sibling tension, which siblings that grew up
• 1:06:43
  Speaker 1: completely well adjusted have. Anyways, they are both from their
• 1:06:48
  Speaker 1: adopted from different planets, and I think that the word
• 1:06:51
  Speaker 1: adopted is being really stretched there, oh for sure, because
• 1:06:55
  Speaker 1: they it's.
• 1:06:56
  Speaker 3: More abducted than adopted.
• 1:06:58
  Speaker 1: Right, I mean, and there's a whole you know, this
• 1:07:01
  Speaker 1: is for another episode, but you know there's a whole
• 1:07:04
  Speaker 1: sort of area of thought within the adopted community that
• 1:07:08
  Speaker 1: feels the same way, and like there's there's so whatever,
• 1:07:12
  Speaker 1: we'll come back to another time. But but they're dealing
• 1:07:15
  Speaker 1: with an extremely complicated set of circumstances where they grew
• 1:07:18
  Speaker 1: up as sisters, they were conditioned to compete for who
• 1:07:23
  Speaker 1: they were told was their parents' love was actually an
• 1:07:26
  Speaker 1: abductor who had demolished their home worlds, their home world
• 1:07:32
  Speaker 1: and their biological parents, right and then just and also
• 1:07:36
  Speaker 1: were physically altered to serve their adoptive parents' purposes. Like
• 1:07:41
  Speaker 1: I think, while I have a million criticisms for this movie,
• 1:07:47
  Speaker 1: they're being tension between Gomorrah and Nebula like is very
• 1:07:52
  Speaker 1: well established as to why that might be. It doesn't
• 1:07:56
  Speaker 1: feel like because I mean, I think in a lot
• 1:07:58
  Speaker 1: of movies, what we've talked about in the past is
• 1:08:00
  Speaker 1: that like, well, there's two women, so of course they're
• 1:08:02
  Speaker 1: in conflict. There are two women, they are in conflict.
• 1:08:06
  Speaker 1: But I understand why. It makes a lot of sense, yes,
• 1:08:10
  Speaker 1: And I was like genuinely interested to find out where
• 1:08:13
  Speaker 1: that went because it feels like they're like going in
• 1:08:16
  Speaker 1: two separate directions theoretically, right, And this is why Camorra
• 1:08:20
  Speaker 1: is such a tricky character, because like, theoretically, you think
• 1:08:24
  Speaker 1: you're given two sisters, same parent, and one is going
• 1:08:30
  Speaker 1: the revolutionary route and one is going through the you know,
• 1:08:34
  Speaker 1: traditional fiscistic, evil government route. But Gomora doesn't even really
• 1:08:40
  Speaker 1: get to go through the revolutionary routes. So in the
• 1:08:44
  Speaker 1: first installment, at least it fell flat for me.
• 1:08:47
  Speaker 3: I would say, it doesn't improve very much as things
• 1:08:50
  Speaker 3: go on. Bummer, yeah, yeah. Should I get into the
• 1:08:57
  Speaker 3: sequels just yeah, I think we're kind of nearing there,
• 1:09:02
  Speaker 3: and then we'll go back to the first movie because
• 1:09:04
  Speaker 3: there's other things to talk about there. But so I'll
• 1:09:10
  Speaker 3: give a little prelude here. But I found it interesting
• 1:09:14
  Speaker 3: that Guardians of the Galaxy at least volume one. Unlike
• 1:09:19
  Speaker 3: basically every other movie to ever exist, this movie is
• 1:09:22
  Speaker 3: not about fathers and sons. It's about mothers and sons.
• 1:09:27
  Speaker 1: Or well, I feel like there's a lot because there's
• 1:09:29
  Speaker 1: mothers and sons, there's fathers and daughters and daughters, right
• 1:09:32
  Speaker 1: and and I mean, I guess there's like sons and
• 1:09:36
  Speaker 1: if you're what is that guy's name? Oh my god, Okay,
• 1:09:41
  Speaker 1: what was his name? There's so many guys. Uh yan do?
• 1:09:45
  Speaker 1: I feel like Yondu is the closest you get to
• 1:09:47
  Speaker 1: like a father's son tension dynamic, as like Peter and
• 1:09:50
  Speaker 1: Yan do. But it does feel like, yeah, mothers and
• 1:09:52
  Speaker 1: sons and fathers and daughters, which is unusual.
• 1:09:55
  Speaker 3: Yes, it's unusual. It's interesting. And so you know, for Quill,
• 1:09:59
  Speaker 3: he's very attached to the memory of his mom. He's
• 1:10:03
  Speaker 3: very attached to anything his mom ever gave him. In
• 1:10:07
  Speaker 3: this case, it's a walkman, it's his most cherished possession.
• 1:10:11
  Speaker 3: He risks his life to go back to the prison
• 1:10:13
  Speaker 3: to get.
• 1:10:13
  Speaker 1: It, gets tasered.
• 1:10:15
  Speaker 3: Yeah, it's so Again, it's not a story about fathers
• 1:10:19
  Speaker 3: and sons until volume two because then.
• 1:10:22
  Speaker 1: Well, and I think that that's because I know that
• 1:10:25
  Speaker 1: Volume two involves in a live father, and I think,
• 1:10:29
  Speaker 1: like we can say that volume one is about mothers
• 1:10:31
  Speaker 1: and sons, but we the mother gets one line. We
• 1:10:34
  Speaker 1: don't know anything about her other than she die.
• 1:10:38
  Speaker 3: For sure, So it's not so much about the character herself,
• 1:10:42
  Speaker 3: it's about the idea or memory of her.
• 1:10:46
  Speaker 1: I just feel like we could have done better, We
• 1:10:48
  Speaker 1: could have known more about it.
• 1:10:49
  Speaker 3: What was her?
• 1:10:50
  Speaker 1: Did she have a job? Did she have a job, No.
• 1:10:53
  Speaker 3: We don't know. We don't know anyway. So that brings
• 1:10:56
  Speaker 3: us to Guardians of the Galaxy Volume two, Quill finally
• 1:11:01
  Speaker 3: meets his dad. He is a god played by Kurt Russell.
• 1:11:06
  Speaker 3: Sure Quill is so happy to finally meet his daddy.
• 1:11:10
  Speaker 3: He has apparently as of this movie, because we don't
• 1:11:14
  Speaker 3: really get a sense of this in the first movie,
• 1:11:16
  Speaker 3: but he talks in volume two about how he's always
• 1:11:19
  Speaker 3: longed to meet his father his whole life. Oh all
• 1:11:22
  Speaker 3: he ever wanted to do is play catch with him,
• 1:11:25
  Speaker 3: which is like, really the trupiest thing I've ever.
• 1:11:27
  Speaker 1: Heard play catch?
• 1:11:29
  Speaker 3: And then they play catch together with a ball of
• 1:11:33
  Speaker 3: like celestial light.
• 1:11:35
  Speaker 1: It's a most So it's a little joke. Okay, hate
• 1:11:38
  Speaker 1: that hate it, hate it.
• 1:11:39
  Speaker 3: But Quill's father, whose name is Ego, is.
• 1:11:45
  Speaker 1: That supposed to mean something? Never mind? Never mind never mind?
• 1:11:49
  Speaker 3: No no, no, no no, you're thinking too hard, Jamie.
• 1:11:52
  Speaker 1: I have to rest. I have to lay down. Okay.
• 1:11:56
  Speaker 3: So Ego turns out to be the Big Bad turn
• 1:12:00
  Speaker 3: to be the big Dad who's taking over the universe,
• 1:12:03
  Speaker 3: and he wants Quill to help him. He also reveals
• 1:12:09
  Speaker 3: that he's responsible for Peter Quill's mom's death because he
• 1:12:14
  Speaker 3: gave her a brain tumor. So then when Peter learns this,
• 1:12:18
  Speaker 3: he's like, well, fuck you, I hate you. And then
• 1:12:20
  Speaker 3: they all try to kill and then successfully kill Ego,
• 1:12:24
  Speaker 3: but he kills his dad. He kills his daddy slay.
• 1:12:27
  Speaker 1: Okay, that's kind of fun.
• 1:12:29
  Speaker 3: Also Oedipus complex shit, But.
• 1:12:32
  Speaker 1: I mean slay that I wasn't expecting. I thought he
• 1:12:35
  Speaker 1: was gonna forgive his father, because that's also like such
• 1:12:37
  Speaker 1: a you know, twenty tens trend for villains, and like, no,
• 1:12:41
  Speaker 1: you can kill him, Oh that's fine. Yeah, no, well
• 1:12:43
  Speaker 1: at least he kills.
• 1:12:44
  Speaker 3: They they kill him dead. But then that father son
• 1:12:49
  Speaker 3: dynamic that you were picking up on between Peter Quill
• 1:12:52
  Speaker 3: and Yondu becomes way more prominent, and then that is
• 1:12:57
  Speaker 3: a component of the movie. But then also Yon dou
• 1:13:00
  Speaker 3: dies because he sacrifices himself for Peter Quill.
• 1:13:04
  Speaker 1: And you know what's interesting, because I saw Avengers, the
• 1:13:07
  Speaker 1: big one is that Peter gets to kill his evil dad,
• 1:13:13
  Speaker 1: whereas Gomorra's evil dad kills her. And that's interesting, is
• 1:13:19
  Speaker 1: it it?
• 1:13:20
  Speaker 3: It sure is? Yes, it is. Anyway, what else happens
• 1:13:27
  Speaker 3: in volume two? There is still a you know, will
• 1:13:31
  Speaker 3: they or won't they? Dynamic between Quill and go Mora.
• 1:13:36
  Speaker 3: He continues to pursue her, his feelings about her are
• 1:13:41
  Speaker 3: made known. She keeps rejecting him, saying, oh, there's.
• 1:13:47
  Speaker 1: Quippy little one liners, and then at the end she's like, oh, Peter,
• 1:13:50
  Speaker 1: I guess you are the best at being in space whatever.
• 1:13:56
  Speaker 1: I hate. I know we were recently there and it's
• 1:14:00
  Speaker 1: worse here. But like, if they're so.
• 1:14:03
  Speaker 3: Every time, it's just bad. All times are bad?
• 1:14:06
  Speaker 1: What what?
• 1:14:08
  Speaker 3: Anyway, he keeps pursuing her, she keeps rejecting him. This
• 1:14:13
  Speaker 3: movie never really culminates into anything. There's no kiss, there's
• 1:14:18
  Speaker 3: no They do put their arms around each other at
• 1:14:21
  Speaker 3: the end, I mean, but they're still not like together.
• 1:14:26
  Speaker 1: And is that just because there's three movies planned I wonder,
• 1:14:30
  Speaker 1: I get.
• 1:14:31
  Speaker 3: I'm not sure what happens in the third one with them. Well, okay,
• 1:14:37
  Speaker 3: we have to we have to switch over to the
• 1:14:39
  Speaker 3: Avengers now, at least in terms of there. But before
• 1:14:44
  Speaker 3: I even get there, I'll say a couple more things
• 1:14:46
  Speaker 3: about volume two as they relate to our discussion. There
• 1:14:51
  Speaker 3: is another major female character who is introduced to like
• 1:14:53
  Speaker 3: pretty much becomes a member of the Guardians. Her name
• 1:14:56
  Speaker 3: is Mantis, played by Palm and life.
• 1:15:01
  Speaker 1: Is that how you say it? I remember JPEGs of
• 1:15:04
  Speaker 1: this character.
• 1:15:04
  Speaker 3: Yes, yes, she I like that character a lot. She's
• 1:15:09
  Speaker 3: another female character that Drax is unnecessarily cruel to. Seems
• 1:15:14
  Speaker 3: to be his thing. Seems to be his thing. Her
• 1:15:16
  Speaker 3: like superpower is that she's an mpath. She has like
• 1:15:20
  Speaker 3: a very heightened ability, like magical superhero ability.
• 1:15:24
  Speaker 1: And we talk, well we talked about this a little bit.
• 1:15:27
  Speaker 1: It's star Trek, but that's that's also a Star Trek thing.
• 1:15:31
  Speaker 1: In a way that I think has been heavily criticized
• 1:15:33
  Speaker 1: is like coding women and fem characters as highly empathic
• 1:15:38
  Speaker 1: in ways that men are inherently not interesting.
• 1:15:41
  Speaker 3: Okay, yes, And then as far as the relationship between
• 1:15:45
  Speaker 3: Gomora and her sister Nebula in volume two, Nebula, over
• 1:15:51
  Speaker 3: the course of this movie slowly becomes their ally rather
• 1:15:55
  Speaker 3: than their enemy. And it happens basically because go Mora
• 1:16:00
  Speaker 3: is like, don't you see that our father who stole
• 1:16:04
  Speaker 3: us is a really bad guy and we actually have
• 1:16:08
  Speaker 3: to destroy him. And then and I'm like probably oversimplifying this,
• 1:16:13
  Speaker 3: and I should have written more down about this than
• 1:16:16
  Speaker 3: I did, so I'm like, my memory's a little foggy.
• 1:16:19
  Speaker 1: But okay, I mean I do I like that idea
• 1:16:22
  Speaker 1: at its core of like we have to destroy who
• 1:16:26
  Speaker 1: kidnapped us and killed our family.
• 1:16:30
  Speaker 3: Yeah, yeah, I like it too. And then so Nebula
• 1:16:33
  Speaker 3: starts to like see reason and like come over to
• 1:16:38
  Speaker 3: the Guardian's side. And then toward the end of this movie,
• 1:16:41
  Speaker 3: Gomora does have to be saved again, but this time
• 1:16:43
  Speaker 3: it's by Nebula and not Peter, just saying okay, now
• 1:16:49
  Speaker 3: we're switching over to Avengers Infinity War. Is it's not
• 1:16:54
  Speaker 3: the big one, it's that's the small one.
• 1:16:56
  Speaker 1: Oh, the middle one. That's the middle one, or the.
• 1:16:59
  Speaker 3: Three the three or four three of four? So this
• 1:17:04
  Speaker 3: is the one where Thanos is going around the universe
• 1:17:06
  Speaker 3: collecting all the Infinity Stones. So the Guardians go to
• 1:17:11
  Speaker 3: Nowhere to try to kill Thanos. They're unsuccessful, and Thanos
• 1:17:16
  Speaker 3: kidnaps Gomorra because he knows that she knows where one
• 1:17:20
  Speaker 3: of the stones is, the Soul Stone, and he has
• 1:17:23
  Speaker 3: to make a sacrifice to get it. That sacrifices to
• 1:17:29
  Speaker 3: kill someone he loves, so he kills Gomorra by throwing
• 1:17:32
  Speaker 3: her off a cliff. Before this happens, though, because it
• 1:17:36
  Speaker 3: happens toward the end. Before this happens, we see more
• 1:17:39
  Speaker 3: of Quill and Gomorrah's relationship. They kiss on screen for
• 1:17:43
  Speaker 3: the first time, I.
• 1:17:45
  Speaker 1: Think in an Avengers movie.
• 1:17:47
  Speaker 3: Yes, yes, they say I love you to each other
• 1:17:50
  Speaker 3: for the first time, also in this movie.
• 1:17:53
  Speaker 1: I feel like the Avengers movies are also like the
• 1:17:55
  Speaker 1: most middle of the road leaning on conservative of them
• 1:18:01
  Speaker 1: all too, because I feel like that that was a
• 1:18:03
  Speaker 1: criticism I remember seeing that obviously I cannot speak to personally,
• 1:18:08
  Speaker 1: but that like characters that we would see in their
• 1:18:11
  Speaker 1: individual movies acting with some sort of nuance would appear
• 1:18:15
  Speaker 1: with far less nuance in Avengers movies.
• 1:18:18
  Speaker 3: I mean that doesn't surprise me because the Avengers movies,
• 1:18:21
  Speaker 3: I feel like, are designed to appeal to the massist.
• 1:18:26
  Speaker 1: It's a global product. Yeah, and so I feel like
• 1:18:29
  Speaker 1: any sort of like quirk unique to a performance choice
• 1:18:34
  Speaker 1: or a writer or a director is kind of like
• 1:18:37
  Speaker 1: sashed over in the in the ensemble movies.
• 1:18:41
  Speaker 3: Yeah right, yes, So in Infinity War, the romantic relationship
• 1:18:47
  Speaker 3: between Quill and Gamora, or that romantic tension has apparently
• 1:18:52
  Speaker 3: developed off screen, and now it seems like they're together.
• 1:18:55
  Speaker 3: They love each other, they kiss now, and and I
• 1:19:00
  Speaker 3: don't know exactly how to feel that because on one hand,
• 1:19:03
  Speaker 3: I don't want there to be too much of their
• 1:19:06
  Speaker 3: relationship taking up too much like narrative real estate on screen,
• 1:19:10
  Speaker 3: especially because I'm not rooting for their relationship. But also,
• 1:19:14
  Speaker 3: if it is there, I at least want to understand
• 1:19:17
  Speaker 3: why they like each other. And right now I don't
• 1:19:20
  Speaker 3: understand that because I don't know. The movie doesn't pay
• 1:19:23
  Speaker 3: enough attention to their relationship, So I don't know.
• 1:19:26
  Speaker 1: I think it's I think it sucks, and it, like
• 1:19:29
  Speaker 1: I like with so many characters, is done because it's
• 1:19:34
  Speaker 1: the easiest thing to do with Gomora, when in fact,
• 1:19:38
  Speaker 1: based on what we know about Gamora. There's a million
• 1:19:40
  Speaker 1: more interesting things she could be doing, for sure, and
• 1:19:43
  Speaker 1: that doesn't preclude a love interest. I don't mean to
• 1:19:47
  Speaker 1: say that any woman character can you know, like not
• 1:19:52
  Speaker 1: be in love doy it's lowed, but I think like
• 1:19:57
  Speaker 1: and I think that this also falls into the clear
• 1:19:59
  Speaker 1: pattern how Zoe's Aldona has been type cast over and
• 1:20:02
  Speaker 1: over where. Even though she's presented as hypercompetent and authority
• 1:20:07
  Speaker 1: on something and important narrative connections to the plot, she
• 1:20:13
  Speaker 1: is always falling in love with the white male lead.
• 1:20:19
  Speaker 1: And in Guardians, I feel like her character at least
• 1:20:24
  Speaker 1: in the world of the movie, because I Knowhra has lore,
• 1:20:28
  Speaker 1: but it doesn't really appear in the movie.
• 1:20:30
  Speaker 3: True.
• 1:20:31
  Speaker 1: Out of the three Zois Aldana space movies, Guardians, Avatar
• 1:20:37
  Speaker 1: and star Trek Kamura has the most to pull from,
• 1:20:41
  Speaker 1: and I feel like the falling back on the relationship
• 1:20:44
  Speaker 1: is like the least necessary or called for by a
• 1:20:48
  Speaker 1: country mile in the world of how much information we're
• 1:20:51
  Speaker 1: given about her, But it just feels I mean, and
• 1:20:54
  Speaker 1: I'm sure that this is tied back to the comics,
• 1:20:57
  Speaker 1: but it's just like or don't you.
• 1:21:00
  Speaker 3: Know, or you don't have to have the one woman
• 1:21:04
  Speaker 3: in your main cast be tied romantically to the lead man.
• 1:21:09
  Speaker 3: You don't have to do that.
• 1:21:11
  Speaker 1: And that's what frustrates me about adaptation evangelism too, where
• 1:21:16
  Speaker 1: it's like, well, if it's adapted exactly as it was
• 1:21:19
  Speaker 1: in the sixties or seventies, then there will be no
• 1:21:23
  Speaker 1: narrative progress. And is that just the goal? Is there?
• 1:21:26
  Speaker 1: Just like you know, we have to be trapped within
• 1:21:29
  Speaker 1: that the same exact values that this franchise like came
• 1:21:36
  Speaker 1: out underneath. That doesn't make any sense. Yeah, whatever, though,
• 1:21:40
  Speaker 1: sure they're in love. They're in love.
• 1:21:42
  Speaker 3: And then also, bizarrely, in this Avengers movie, you get
• 1:21:47
  Speaker 3: more backstory on Gomorra than you do in any of
• 1:21:50
  Speaker 3: the Guardians movies because you see a flashback where Sanos
• 1:21:54
  Speaker 3: like goes to her home planet. You see her with
• 1:21:57
  Speaker 3: her mother, her family. He destroys them, but he has
• 1:22:02
  Speaker 3: taken like young Gomorra aside, gives her a little weapon
• 1:22:07
  Speaker 3: to play with to distract her as he's murdering her
• 1:22:10
  Speaker 3: entire people, and then takes her with him. So we
• 1:22:16
  Speaker 3: see that and it's I'm sure very traumatizing and triggering
• 1:22:20
  Speaker 3: for a lot of people to watch, but we get
• 1:22:23
  Speaker 3: that backstory in an Avengers movie and not a Guardian's movie.
• 1:22:28
  Speaker 1: Yeah.
• 1:22:29
  Speaker 3: Now moving on to Avengers End Game parentheses the big one.
• 1:22:34
  Speaker 3: So at the end of Infinity War, Thanos does the
• 1:22:36
  Speaker 3: Snap that kills half the population of the universe. So
• 1:22:40
  Speaker 3: the remaining MCU characters band together and they do a
• 1:22:43
  Speaker 3: time heist where they go back to the past and
• 1:22:45
  Speaker 3: collect the Infinity Stones before Thanos gets them in the Snap.
• 1:22:51
  Speaker 3: I believe, And now I'm not even sure, so Matrons
• 1:22:55
  Speaker 3: sound off in the comments, I don't even know if
• 1:22:57
  Speaker 3: we see this or not again, because I was like
• 1:22:59
  Speaker 3: skipping around, probably missed some stuff here and there. I
• 1:23:03
  Speaker 3: think Gomora must have, like you know, vanquished in the
• 1:23:07
  Speaker 3: in the Snap, she must have like you know, dissipated
• 1:23:09
  Speaker 3: into dust, as do most of the Guardian's characters, with
• 1:23:14
  Speaker 3: the exception being Nebula. So most of the Guardian's characters
• 1:23:18
  Speaker 3: are not even in the first half of Endgame, and
• 1:23:20
  Speaker 3: it's not until the other characters start time traveling and
• 1:23:24
  Speaker 3: going back.
• 1:23:25
  Speaker 1: To the past. Yeah, because nothing matters, and.
• 1:23:28
  Speaker 3: Because there are no stakes and you can just do
• 1:23:29
  Speaker 3: whatever the fuck you want, Miss Pratt can get paid
• 1:23:33
  Speaker 3: for anything. But because the past is interfered with it
• 1:23:38
  Speaker 3: changes the course of history, which, again, from what I understand,
• 1:23:43
  Speaker 3: I think this means that the version of Gomorra, or
• 1:23:46
  Speaker 3: that like this version of Gomorra that we see toward
• 1:23:49
  Speaker 3: the end of Infinity War, never joined the Guardians and
• 1:23:54
  Speaker 3: never met Quill. So toward the end of this movie,
• 1:23:58
  Speaker 3: when all of the MCU characters are battling Thanos and
• 1:24:01
  Speaker 3: his minions, his Kevin Lei Mignon's Hello Bello, Okay, we
• 1:24:08
  Speaker 3: see Quill and Gomora kind of reuniting, but it's the
• 1:24:12
  Speaker 3: Gomora who never met Quill. So she's like, who are you?
• 1:24:15
  Speaker 3: Don't touch me? And she kicks him or she like
• 1:24:17
  Speaker 3: knees him in the balls. And that's the dynamic that
• 1:24:20
  Speaker 3: gets brought into Guardians Volume three, where Gomora does not
• 1:24:25
  Speaker 3: remember Peter or any of her time with the Guardians. Okay,
• 1:24:29
  Speaker 3: so she and Peter are not together in this movie.
• 1:24:32
  Speaker 3: That doesn't stop him from trying to get with or
• 1:24:35
  Speaker 3: He's he's trying to get her to be open to
• 1:24:39
  Speaker 3: them getting together, but she's like no, thank you. Yeah,
• 1:24:43
  Speaker 3: she's like, no, thank you. The person who you were
• 1:24:46
  Speaker 3: in love with that's not me, that was someone else,
• 1:24:48
  Speaker 3: that was a different version of me. So pass no,
• 1:24:51
  Speaker 3: thank you, good for her. And that's like pretty much
• 1:24:54
  Speaker 3: where that dynamic ends. Like there's no like he still
• 1:24:58
  Speaker 3: he still loves her, but they don't get together. That
• 1:25:01
  Speaker 3: does not culminate in her like changing her mind or
• 1:25:03
  Speaker 3: realizing she does actually love him like that is not
• 1:25:08
  Speaker 3: That's not how that movie ends. It's just like they
• 1:25:10
  Speaker 3: go their separate ways. She she's like a ravager now,
• 1:25:14
  Speaker 3: so she just goes back with the Ravagers and there's
• 1:25:17
  Speaker 3: no like romantic situation between them anymore.
• 1:25:20
  Speaker 1: That's really interesting. I mean, and I I'm sure that
• 1:25:24
  Speaker 1: there's a whole like thesis paper on what changed between
• 1:25:30
  Speaker 1: twenty fourteen and twenty twenty three in terms of how
• 1:25:34
  Speaker 1: we view women in movies and in like the Marvel
• 1:25:39
  Speaker 1: superheroic genre specifically. That might have led to making choices
• 1:25:46
  Speaker 1: that would have made that possible, because I feel like,
• 1:25:48
  Speaker 1: if you know, if the movie start in two thousand
• 1:25:51
  Speaker 1: and three and and in twenty twelve, it I don't know,
• 1:25:55
  Speaker 1: I don't know if we would say that that's really interesting, Yeah,
• 1:25:58
  Speaker 1: growth question mark.
• 1:26:00
  Speaker 3: Possibly, Yeah, hard to say. But and then so in
• 1:26:04
  Speaker 3: volume three, I would say there is more of a
• 1:26:06
  Speaker 3: focus on Nebula and Mantis than there is on Go Mora,
• 1:26:11
  Speaker 3: which is like, you know, I like Gomra, so I
• 1:26:13
  Speaker 3: do want to see her, but they do tend to
• 1:26:15
  Speaker 3: focus more on these other two female characters, and they
• 1:26:18
  Speaker 3: are more you know, active and narratively significant in volume three.
• 1:26:25
  Speaker 3: And then the final thing I will say about volume
• 1:26:26
  Speaker 3: three is that Will Poulter is in it. So oh
• 1:26:31
  Speaker 3: that is interesting to you.
• 1:26:32
  Speaker 1: I think it's so wild that, like, even Will Poulter
• 1:26:37
  Speaker 1: being in it was not enough to get my ass
• 1:26:40
  Speaker 1: out of my house. And that really speaks to how
• 1:26:43
  Speaker 1: exhausting I can find a Marvel movie. Is that my
• 1:26:46
  Speaker 1: number one crush who I would implode my life over
• 1:26:50
  Speaker 1: to to be with, even in a theater I did
• 1:26:57
  Speaker 1: not go and I kind of forgot that that happened.
• 1:27:00
  Speaker 3: That's fascinating, Yes, okay, so yeah, that's like the context
• 1:27:04
  Speaker 3: for the other movies that these characters appear in, and
• 1:27:10
  Speaker 3: like how those arcs manifest.
• 1:27:13
  Speaker 1: That's really interesting. I mean, there's a lot of unexpected
• 1:27:17
  Speaker 1: least and I would wonder because I did that Marvel,
• 1:27:21
  Speaker 1: at least for some stretch of time, was like very
• 1:27:25
  Speaker 1: planned out. But I guess I just spitballing I'd be
• 1:27:30
  Speaker 1: surprised to hear that, like that couple not ending up
• 1:27:34
  Speaker 1: ultimately together was the plan. That's really interesting.
• 1:27:38
  Speaker 3: Yeah, I'm not sure. I wonder almost if like, and
• 1:27:42
  Speaker 3: this is pure speculation here, so don't quote me on
• 1:27:45
  Speaker 3: this at all, but I wonder if Zoe Saldana was like,
• 1:27:48
  Speaker 3: I'm tired of my characters in these huge franchises getting
• 1:27:52
  Speaker 3: stuck with the like, you know, boring white guy lead,
• 1:27:57
  Speaker 3: So can you write something else for me?
• 1:27:59
  Speaker 1: Or a more pragmatic version of that? Is like very
• 1:28:03
  Speaker 1: possible that she had a lot of shooting conflicts because
• 1:28:06
  Speaker 1: she was in New Zealand shooting Avatar all the time.
• 1:28:09
  Speaker 3: Could be that as well, So I mean.
• 1:28:11
  Speaker 1: Anything is possible. I And again I can't speak to
• 1:28:14
  Speaker 1: the character mantas, haven't meta, don't noah, but I think
• 1:28:17
  Speaker 1: it's interesting and in the first I don't know. I mean,
• 1:28:20
  Speaker 1: it's interesting that the three movies came out over such
• 1:28:22
  Speaker 1: a long period of time, because it sounds like almost
• 1:28:26
  Speaker 1: ten years. Yeah, it sounds like there is like a
• 1:28:28
  Speaker 1: noted change in how these characters are treated, which is
• 1:28:32
  Speaker 1: which is nice. It's you know, probably confusing to watch
• 1:28:36
  Speaker 1: this trilogy of the future, but it's nice I wanted to.
• 1:28:41
  Speaker 1: I guess just continuing on Zoe's Aldona and Space and
• 1:28:47
  Speaker 1: I have a few things. I have things to say
• 1:28:48
  Speaker 1: about the other characters, but I want to make sure
• 1:28:50
  Speaker 1: we touch on this. Yes, we referenced this in the
• 1:28:52
  Speaker 1: Star Trek episode. However, Zoe's Aldona is her natural skin
• 1:28:59
  Speaker 1: tone Star Trek so and was playing a historically black character,
• 1:29:04
  Speaker 1: so there wasn't quite as much to say. However, and
• 1:29:06
  Speaker 1: we've also talked about this. You can go and listen
• 1:29:09
  Speaker 1: to our episode that is I think almost exactly a
• 1:29:11
  Speaker 1: year old now on Avatar Alie Naughty, where we talked
• 1:29:14
  Speaker 1: about the same thing about how zoeys Aldana has starred
• 1:29:18
  Speaker 1: in three major sci fi franchises, and in two out
• 1:29:22
  Speaker 1: of three of them she is playing a character that
• 1:29:28
  Speaker 1: is either blue or green, and in all three of
• 1:29:32
  Speaker 1: them ends up being the love interest of the white
• 1:29:35
  Speaker 1: male protagonist named either Chris or Sam. In two out
• 1:29:39
  Speaker 1: of three of them bear named Chris. So really sit
• 1:29:43
  Speaker 1: and think about that for a second. But I mean,
• 1:29:46
  Speaker 1: we've talked about this, you know, to different extents. I
• 1:29:48
  Speaker 1: think Zoe's Seldana is an interesting case study for this
• 1:29:51
  Speaker 1: because her career is so dominated by these roles, but
• 1:29:55
  Speaker 1: I mean obviously worth mentioning. I found a piece published
• 1:30:02
  Speaker 1: in twenty nineteen in LATINX Spaces by Danielle Alexis Aurosco
• 1:30:09
  Speaker 1: that spoke to this war called race and Alien Face
• 1:30:12
  Speaker 1: the other worldly roles of Zoe Saldana that explore these
• 1:30:16
  Speaker 1: three franchises. Now we've covered all three of them, so
• 1:30:21
  Speaker 1: let me just pull the quote that I wanted to do.
• 1:30:24
  Speaker 1: So Zoe Seldona. She is Afro Latina, she has Puerto Rican,
• 1:30:28
  Speaker 1: Dominican and Haitian ancestry, and has spoken at length, especially
• 1:30:34
  Speaker 1: over time. I think her her career is fascinating, and
• 1:30:38
  Speaker 1: she is a person is fascinating because there's been a
• 1:30:42
  Speaker 1: clear noted evolution on how outspoken she has been or
• 1:30:47
  Speaker 1: has felt comfortable being about the ways in which she's typecast.
• 1:30:53
  Speaker 1: So there's one gigantic hiccup that we will discuss in
• 1:30:57
  Speaker 1: this but as far as and after Latina actor being
• 1:31:01
  Speaker 1: frequently coded as an alien, this is what this piece
• 1:31:07
  Speaker 1: had to say. Quote Cotton, what queer Chicana feminists Gloria A.
• 1:31:13
  Speaker 1: Saldua calls los intercitios Seldana seems to occupy a tense
• 1:31:18
  Speaker 1: position of in between this. While she can play strong
• 1:31:21
  Speaker 1: female characters individuals that are respected and revered by fans,
• 1:31:25
  Speaker 1: she is also subject to type cast roles that threaten
• 1:31:28
  Speaker 1: to fetishize her, capitalizing on her ethnic difference via her
• 1:31:32
  Speaker 1: performances of alien face roles in which she represents the
• 1:31:36
  Speaker 1: alien other. This is not to critique Seldona or strip
• 1:31:39
  Speaker 1: her of agency with regard to the roles she plays,
• 1:31:42
  Speaker 1: but rather to critically reflect upon the presence of Latina's
• 1:31:45
  Speaker 1: in mainstream media. And I mean, I think that that
• 1:31:50
  Speaker 1: puts it pretty succinctly. The piece argues that alien face,
• 1:31:54
  Speaker 1: specifically with Latina's, has an echo of minstrelsy within it.
• 1:32:00
  Speaker 1: We can link the full piece. I found it really instructive,
• 1:32:04
  Speaker 1: and it also quotes an interview that Zoe Saldana did
• 1:32:08
  Speaker 1: and I believe twenty eighteen with Porter magazine in which
• 1:32:12
  Speaker 1: she sort of talks about this directly and also mentions
• 1:32:16
  Speaker 1: that she began a production company called Besse, which the
• 1:32:22
  Speaker 1: whole purpose of it is to empower and uplift the
• 1:32:26
  Speaker 1: representation of Latin X people. So I just wanted to
• 1:32:30
  Speaker 1: also touch on really quickly what Zoie Seldana has had
• 1:32:33
  Speaker 1: to say about not specifically, as far as I can tell,
• 1:32:37
  Speaker 1: she has not addressed the alien facesness of it all,
• 1:32:42
  Speaker 1: which I would guess has to do with the fact
• 1:32:44
  Speaker 1: that she is still actively in the Avatar franchise for
• 1:32:47
  Speaker 1: the next one thousand years, So I don't know ifull
• 1:32:49
  Speaker 1: ever year, you know, until that franchise is concluded, how
• 1:32:54
  Speaker 1: her feelings about it have changed over time, which I
• 1:32:58
  Speaker 1: think is really interesting, because you know, Avatar began in
• 1:33:00
  Speaker 1: two thousand and nine. You have to imagine, and there
• 1:33:02
  Speaker 1: is a lot of evidence that Zoe Saldana's outspoken this
• 1:33:06
  Speaker 1: and views of this have changed every time. Sure, in
• 1:33:08
  Speaker 1: twenty eighteen, this is what she has to say about
• 1:33:10
  Speaker 1: typecasting in general, speaking about her early career specifically. Quote,
• 1:33:16
  Speaker 1: every time I read a script, even if it was
• 1:33:18
  Speaker 1: a period piece, I read it thinking that I was
• 1:33:21
  Speaker 1: going to go after the lead role. It wasn't until
• 1:33:23
  Speaker 1: I would come across the introduction of a supporting ethnic
• 1:33:26
  Speaker 1: role that I realized, oh, I wasn't even allowed to
• 1:33:29
  Speaker 1: try to get that main role because quote they want
• 1:33:32
  Speaker 1: to go traditional on the part Unquote. I would hang
• 1:33:35
  Speaker 1: up on that conversation from my agents thinking what about
• 1:33:38
  Speaker 1: me is non traditional. It was a very hard pill
• 1:33:41
  Speaker 1: to swallow in my country, where I pledged allegiance every
• 1:33:45
  Speaker 1: day since I was five, to be told when I'm
• 1:33:47
  Speaker 1: out there trying to pursue my American dream that I
• 1:33:50
  Speaker 1: was not a traditional American was very hurtful. I will
• 1:33:53
  Speaker 1: never accept that I am not a traditional anything. I
• 1:33:57
  Speaker 1: come from where I come from, I can't change that.
• 1:33:59
  Speaker 1: And you come from where you come from. But if
• 1:34:01
  Speaker 1: you tell me that where you come from is the
• 1:34:03
  Speaker 1: only right place and therefore I don't fit that traditional mold,
• 1:34:06
  Speaker 1: let's just establish very clearly that you are the one
• 1:34:09
  Speaker 1: who's wrong, because everything about me and where I come
• 1:34:12
  Speaker 1: from is just as right. Unquote hell yeah, hell yeah.
• 1:34:16
  Speaker 1: Now let's I want to acknowledge because I think that
• 1:34:20
  Speaker 1: this has been This was referenced in the Star Trek
• 1:34:23
  Speaker 1: episode that Zoias Aldanda also got into a lot of
• 1:34:28
  Speaker 1: hot water over a twenty sixteen biopic in which she
• 1:34:31
  Speaker 1: played Nina Simone, who is a dark skinned black woman,
• 1:34:37
  Speaker 1: and Zoie Seldanda is a light skinned black woman, And
• 1:34:41
  Speaker 1: so we've discussed this on the show as well. But
• 1:34:44
  Speaker 1: around the still dominant colorist casting techndencies of Hollywood, I
• 1:34:54
  Speaker 1: just wanted to also because it is something that she
• 1:34:58
  Speaker 1: it first defended doing and then later apologized for where
• 1:35:04
  Speaker 1: she was cast as Nina Simone, I think, more importantly
• 1:35:08
  Speaker 1: than anything else, Nina Simone's estate and her family objected
• 1:35:11
  Speaker 1: to this, so at that point, I don't see a
• 1:35:15
  Speaker 1: world in which you don't step out. Her casting was
• 1:35:19
  Speaker 1: announced in twenty twelve, and Nina Simone's daughter, Simone Kelly, said,
• 1:35:24
  Speaker 1: I love Zoe Saldana. We all love Zoe from Avatar
• 1:35:28
  Speaker 1: to Colombiana. I've seen those movies a few times, but
• 1:35:30
  Speaker 1: not every project is for everybody, and I know what
• 1:35:33
  Speaker 1: my mother would think. I just don't get it. And
• 1:35:36
  Speaker 1: the clear implication there being that their skin tones were
• 1:35:40
  Speaker 1: not the same and that it was speculated, if not confirmed,
• 1:35:44
  Speaker 1: that Zoe Selon's skin was darkened in order to play
• 1:35:48
  Speaker 1: Nina Simone, which was heavily criticized. Zoe Saldana was very
• 1:35:53
  Speaker 1: publicly defensive of this choice originally and then in twenty
• 1:35:59
  Speaker 1: twenty redacted this choice and said I should never have
• 1:36:04
  Speaker 1: played Nina. I should have done everything in my power
• 1:36:07
  Speaker 1: with the levers that I had ten years ago, which
• 1:36:09
  Speaker 1: was a different led Fridge, but it was leverage Nonetheless,
• 1:36:12
  Speaker 1: I should have done everything in my power to cast
• 1:36:14
  Speaker 1: a black woman to play an exceptionally perfect black woman.
• 1:36:18
  Speaker 1: Goes on to say, I thought back then that I
• 1:36:21
  Speaker 1: had the permission to play her because I was a
• 1:36:23
  Speaker 1: black woman, and I am, but it was Nina Simone,
• 1:36:27
  Speaker 1: and Nina had a life and she had a journey,
• 1:36:29
  Speaker 1: and that should have been and should be honored to
• 1:36:31
  Speaker 1: the most specific detail because she was a specifically detailed individual.
• 1:36:36
  Speaker 1: With that said, I'm sorry, I'm so sorry. I know
• 1:36:38
  Speaker 1: better today and I'm never going to do that again.
• 1:36:41
  Speaker 1: She's one of our giants, and someone else should step up,
• 1:36:43
  Speaker 1: someone should tell her story.
• 1:36:47
  Speaker 3: Okay, well, growth sure.
• 1:36:50
  Speaker 1: And I also think it is completely reasonable that Nina
• 1:36:54
  Speaker 1: Simone's family and a number.
• 1:36:55
  Speaker 3: Of absolutely like outraged absurd.
• 1:36:59
  Speaker 1: And while that movie was happening, Zoe Seldona is also
• 1:37:04
  Speaker 1: dealing with being type cast as the other, as the alien,
• 1:37:09
  Speaker 1: and this is all happening at the same time. I
• 1:37:14
  Speaker 1: just I don't know, I'm interested. I hope someday that
• 1:37:17
  Speaker 1: she feels empowered or interested in speaking on that, because
• 1:37:23
  Speaker 1: it's I mean, as far as I'm concerned, and I
• 1:37:25
  Speaker 1: think as far as a lot of people are concerned.
• 1:37:27
  Speaker 1: It's a clear pattern intended to other black women and
• 1:37:33
  Speaker 1: and just people of color and genermy non white Yeah, yeah,
• 1:37:37
  Speaker 1: because Glenn Close is simply a white woman. And what
• 1:37:41
  Speaker 1: is what is that all about?
• 1:37:43
  Speaker 3: Well, to speak a little more to that, So, like,
• 1:37:47
  Speaker 3: you know, as as we've discussed us, we're currently discussing
• 1:37:51
  Speaker 3: you know, actors of color often being cast to play
• 1:37:54
  Speaker 3: aliens in sci fi movies, or orcs or goblin or
• 1:38:00
  Speaker 3: anything like that, any like non human being in sci
• 1:38:06
  Speaker 3: fi and fantasy obviously has you know, very harmful connotations
• 1:38:12
  Speaker 3: when their skin is covered in makeup that you know,
• 1:38:16
  Speaker 3: makes them green or blue or purple any like out
• 1:38:19
  Speaker 3: of this world skin color. Not only does that erase
• 1:38:23
  Speaker 3: their darker skin and like denormalize darker skin, it also
• 1:38:28
  Speaker 3: means that those actors have to sit in makeup chairs
• 1:38:31
  Speaker 3: way longer than their white counterparts and not get paid
• 1:38:35
  Speaker 3: as much.
• 1:38:36
  Speaker 1: Right because I read, and again it's like hard to
• 1:38:39
  Speaker 1: confirm salaries, I cannot one hundred percent say this is.
• 1:38:42
  Speaker 1: But from what I read, Zoe's Aldona, who had already
• 1:38:45
  Speaker 1: started Star Trek and Avatar, amongst other beloved movies, was
• 1:38:49
  Speaker 1: paid one hundred thousand dollars for Guardians one, where Chris
• 1:38:53
  Speaker 1: Pratt that, oh I really hope that isn't true. That
• 1:38:56
  Speaker 1: was what I was able to find. Again, it's very
• 1:38:58
  Speaker 1: hard to confirm, sala, whereas the speculated paycheck for Chris Pratt,
• 1:39:03
  Speaker 1: who to this point had not been in a huge
• 1:39:06
  Speaker 1: movie in a leading role, was paid one point five
• 1:39:10
  Speaker 1: million dollars when it's like, who is the proven talent here?
• 1:39:14
  Speaker 1: Who has to sit in a makeup chair three hours
• 1:39:16
  Speaker 1: before you even show up?
• 1:39:17
  Speaker 3: Come on, yeah, I hope she got money on the
• 1:39:20
  Speaker 3: back end because this movie made three quarters of a
• 1:39:22
  Speaker 3: billion dollars and sure did. Hopefully her contract let her
• 1:39:28
  Speaker 3: make extra money. Now this might be controversial, but I,
• 1:39:33
  Speaker 3: at least in the context of this specific movie of
• 1:39:35
  Speaker 3: Guardians of the Galaxy, I am gonna stand in its
• 1:39:40
  Speaker 3: defense a little bit because even though, yes, you do
• 1:39:43
  Speaker 3: have Zoe Saldana in green makeup, Dave Bautista, who is mixed,
• 1:39:51
  Speaker 3: he's Greek and Filipino, He's also in makeup to make
• 1:39:56
  Speaker 3: his skin gray. Question mark. You know, so you have
• 1:39:59
  Speaker 3: actors color in these alien roles, in makeup that covers
• 1:40:05
  Speaker 3: up their natural skin tone, and you, like you mentioned,
• 1:40:09
  Speaker 3: you have Glenn Close just being able to present as
• 1:40:12
  Speaker 3: a white woman. You have you know, Chris Pratt being
• 1:40:15
  Speaker 3: able to present as a white human man. That said,
• 1:40:19
  Speaker 3: there are a lot of white actors such as Michael
• 1:40:24
  Speaker 3: Rooker who plays Yondu. You've got Karen Gillen who plays Nebula,
• 1:40:27
  Speaker 3: You've got Lee Pace who plays Ronan. These are all
• 1:40:30
  Speaker 3: blue characters. There are a number of white actors who
• 1:40:35
  Speaker 3: play people who are magenta. Josh Brolin is Thanos, He's purple. Meanwhile,
• 1:40:41
  Speaker 3: you've got Jamon Junsu, who is a black actor, is
• 1:40:45
  Speaker 3: seen in his actual skin color. So I would argue
• 1:40:49
  Speaker 3: that even though there is this pervasive problem of actors
• 1:40:53
  Speaker 3: of color being cast to play aliens or and often villains,
• 1:40:59
  Speaker 3: I feel like Guardians does just an equal opportunity because
• 1:41:04
  Speaker 3: you know, you see a bunch of different people from
• 1:41:06
  Speaker 3: a bunch of different planets, You see all these races,
• 1:41:08
  Speaker 3: all these skin colors, and it's just sort of like,
• 1:41:12
  Speaker 3: regardless of the race of the actor, you will see
• 1:41:15
  Speaker 3: them maybe in like purple skin totally, or you'll see
• 1:41:20
  Speaker 3: them in So I feel like Guardians is a good
• 1:41:23
  Speaker 3: example of the way to do sci fi like that.
• 1:41:25
  Speaker 1: And also like Nebula, played by a white well yeah, yeah,
• 1:41:29
  Speaker 1: and you know, like I don't even know what's going
• 1:41:32
  Speaker 1: on on her face. There's it's a lot happened. It's
• 1:41:34
  Speaker 1: like a wallpapers multicultured. Yeah. Point well taken, I think that,
• 1:41:39
  Speaker 1: like it's just tricky. I mean, I guess it is
• 1:41:42
  Speaker 1: like not the sort of thing that one movie can
• 1:41:45
  Speaker 1: resolve is like removing sure years of coding. But I
• 1:41:50
  Speaker 1: agree that, like this movie does clearly attempt to equalize
• 1:41:54
  Speaker 1: the way that that is deployed, and I think that
• 1:41:56
  Speaker 1: that happens a lot in Star Trek as well, where
• 1:42:00
  Speaker 1: it is like an attempt to sort of dial back
• 1:42:02
  Speaker 1: or at least equal opportunity those situations. I just wish,
• 1:42:06
  Speaker 1: I mean, it would have been and this is like
• 1:42:08
  Speaker 1: maybe nitpicky, but it would have been nice to see
• 1:42:10
  Speaker 1: a black woman playing a black woman in this for sure,
• 1:42:14
  Speaker 1: which we don't see or really any woman of color
• 1:42:18
  Speaker 1: being allowed to be a woman of color. And I
• 1:42:20
  Speaker 1: feel like, because women of color are so so so marginalized,
• 1:42:24
  Speaker 1: and like I think in this franchise, most frequently in
• 1:42:27
  Speaker 1: main roles subjected to that it would have been cool.
• 1:42:30
  Speaker 1: But yeah, no, I totally see what you're saying, and
• 1:42:33
  Speaker 1: you're right. You're right, and they also think I would.
• 1:42:36
  Speaker 1: I would expect no less of James gunn and I
• 1:42:38
  Speaker 1: will continue to expect no less of James gun Brave
• 1:42:42
  Speaker 1: view to defend, and I just like want this Zoe's
• 1:42:47
  Speaker 1: Aldana interview someday in any case, also not for nothing,
• 1:42:50
  Speaker 1: I don't know if Zoe's Aldana's Besse initiative is still active,
• 1:42:56
  Speaker 1: because I it was mentioned significantly in twenty eighteen and
• 1:42:59
  Speaker 1: now the to the website is dead, so I'm not
• 1:43:02
  Speaker 1: totally sure if it worked out. But either way, I
• 1:43:07
  Speaker 1: just wanted to mention that that she was mentioning it
• 1:43:10
  Speaker 1: about five years ago, and I don't really know what
• 1:43:12
  Speaker 1: became of it.
• 1:43:13
  Speaker 3: Interesting if you know.
• 1:43:15
  Speaker 1: I would love to know. I hope that it was successful,
• 1:43:17
  Speaker 1: but couldn't find inhough.
• 1:43:19
  Speaker 3: The last thing I would like to discuss is neurodivergence
• 1:43:25
  Speaker 3: coding in sci fi. Yes, so it seems as though
• 1:43:31
  Speaker 3: Dras I would say, is probably the maybe most apparent example,
• 1:43:37
  Speaker 3: but the Drax is coded intentionally or not, but is
• 1:43:41
  Speaker 3: coded as being neurodivergent, specifically as being on the autism spectrum.
• 1:43:49
  Speaker 3: He is described as that like his people from his planet,
• 1:43:54
  Speaker 3: which I forget the name of it, but his people
• 1:43:57
  Speaker 3: take things completely literally. They don't understand metaphors, they don't
• 1:44:02
  Speaker 3: comprehend sarcasm, things like that. These are characteristics that some
• 1:44:07
  Speaker 3: people on the autism spectrum might experience to some degree
• 1:44:10
  Speaker 3: or relate to in some capacity. Also, Spock from Star
• 1:44:15
  Speaker 3: Trek is coded in a similar way, and I know.
• 1:44:18
  Speaker 1: A lot of vulcans are very often come up in
• 1:44:20
  Speaker 1: that conversation.
• 1:44:21
  Speaker 3: Yeah, yes, so it got me thinking about neurodivergent coding
• 1:44:27
  Speaker 3: in sci fi, especially because both of those characters of
• 1:44:31
  Speaker 3: Drax and Spock come from a like, quote unquote alien race,
• 1:44:37
  Speaker 3: which I think could potentially conflate being neurodivergent with being
• 1:44:43
  Speaker 3: you know, alien or other. This also happens with like
• 1:44:47
  Speaker 3: cyborg robot type characters. Basically many non human characters being
• 1:44:54
  Speaker 3: coded this way also obviously has like harmful implications. Now,
• 1:44:59
  Speaker 3: if people on the autism spectrum or another type of neurodivergence,
• 1:45:03
  Speaker 3: if they see a character like Spock or like Dras
• 1:45:07
  Speaker 3: and they feel seen and represented, like, I don't want
• 1:45:10
  Speaker 3: to take that away from them, right.
• 1:45:11
  Speaker 1: And I know that there's a large number of people
• 1:45:15
  Speaker 1: who have and it feels like all these conversations we've
• 1:45:20
  Speaker 1: been having for years to be from what I could gather,
• 1:45:24
  Speaker 1: a stepping stone kind of character, right, because ideally we
• 1:45:29
  Speaker 1: could have a leading character who is on the spectrum,
• 1:45:33
  Speaker 1: a leading human character, even a human from Earth right
• 1:45:38
  Speaker 1: who is on the autism spectrum and is just as
• 1:45:41
  Speaker 1: loved and respected and on their own journey as whoever
• 1:45:46
  Speaker 1: else is with them from whatever alien planet. But yeah,
• 1:45:48
  Speaker 1: it seems from what I could gather, like Dracs resonated
• 1:45:52
  Speaker 1: with a lot of people. But again, like speaking to
• 1:45:55
  Speaker 1: your point, and it's like a different version of the
• 1:45:58
  Speaker 1: issue we have with go Mora's eracial coding, where it's
• 1:46:03
  Speaker 1: it's like, it's nice that there is a character and
• 1:46:06
  Speaker 1: that the character resonated with people, but also we are
• 1:46:10
  Speaker 1: ideally working towards a world where the representation doesn't need
• 1:46:14
  Speaker 1: to be you know, hidden under a million layers of
• 1:46:18
  Speaker 1: coding in order to be resonant.
• 1:46:20
  Speaker 3: Right. It would also be way bigger of a problem
• 1:46:23
  Speaker 3: if there was exactly one alien or non human character
• 1:46:28
  Speaker 3: and that was the character totally coded as being neurodivergent.
• 1:46:33
  Speaker 3: Obviously that's not the case for Guardians or for Star Trek.
• 1:46:35
  Speaker 3: You see many different types of like just characters from
• 1:46:39
  Speaker 3: other planets who aren't coded that way. Yeah, so, but
• 1:46:43
  Speaker 3: it just I thought it was worth mentioning totally.
• 1:46:47
  Speaker 1: It's it is like this whole movie just feels like
• 1:46:49
  Speaker 1: an interesting like cultural like we're getting somewhere, but there's
• 1:46:54
  Speaker 1: still a lot of the old shit around.
• 1:46:57
  Speaker 3: On a similar topic, we see ableism in the form
• 1:47:04
  Speaker 3: of a character, a physically disabled character, their prosthetic leg
• 1:47:11
  Speaker 3: being taken from them because Rocket says he needs it
• 1:47:14
  Speaker 3: for a prison break. But then when Quill brings it
• 1:47:16
  Speaker 3: to him, Rocket's like, oh ha ha, I was just
• 1:47:19
  Speaker 3: kidding about that. I thought it would be funny. What
• 1:47:22
  Speaker 3: did he look like hopping around? So at first it
• 1:47:25
  Speaker 3: seems like this character's disability again, a character we don't
• 1:47:29
  Speaker 3: even know, we don't know their name, we'd never hear
• 1:47:31
  Speaker 3: them talk. Seems like their disability is going to be
• 1:47:35
  Speaker 3: used to further the plot in a pretty nefarious way,
• 1:47:39
  Speaker 3: and that they're like limb, their prosthetic limb will be
• 1:47:42
  Speaker 3: used as a prop. But then it turns out the
• 1:47:44
  Speaker 3: whole situation is just a joke, like it's played for
• 1:47:47
  Speaker 3: a joke. Rocket tries to do this later with another
• 1:47:51
  Speaker 3: character's prosthetic eye, and then this joke gets called back
• 1:47:55
  Speaker 3: to either in another installment of a Guardian's movie or
• 1:48:00
  Speaker 3: in an Avengers movie where Rockets always like stealing characters'
• 1:48:06
  Speaker 3: prosthetic limbs or eyeballs. Yeah, so I hated that.
• 1:48:13
  Speaker 1: Yeah, it's it just yeah, it felt like a very again,
• 1:48:16
  Speaker 1: a very cheap dated joke that was like, for sure garbage.
• 1:48:21
  Speaker 1: The last thing, so, the last thing that I wanted
• 1:48:23
  Speaker 1: to touch on was the way that the character of
• 1:48:28
  Speaker 1: Ronan is characterized. I found weird. And there's a lot
• 1:48:33
  Speaker 1: of charged language in the way that he's described. He's
• 1:48:35
  Speaker 1: described as a terrorist, he's described as I mean, he's
• 1:48:39
  Speaker 1: just described it as like in every way and I
• 1:48:41
  Speaker 1: think in the Western world, and we can get more specifically,
• 1:48:45
  Speaker 1: get just like the US specifically of the way that
• 1:48:46
  Speaker 1: we describe other people defending themselves, right, because we find
• 1:48:52
  Speaker 1: out from Ronan at the beginning that he is a
• 1:48:56
  Speaker 1: bad he is the bad guy, right, like he has
• 1:48:59
  Speaker 1: destroyed there's no defense of his actions. But he's characterized
• 1:49:04
  Speaker 1: by saying to the Zandarians, like you wiped out my bloodline,
• 1:49:09
  Speaker 1: and that is never called into question by the Xanderians
• 1:49:14
  Speaker 1: as something that there was that there was any sort
• 1:49:17
  Speaker 1: of reparations owed to Ronan's people other than like, well,
• 1:49:21
  Speaker 1: we recently made a peace pact and you're like, well good,
• 1:49:25
  Speaker 1: but like that, I think that that's presented very It
• 1:49:27
  Speaker 1: just felt very us coded of like well, we don't
• 1:49:31
  Speaker 1: do that anymore, so stop yelling at us, and like
• 1:49:34
  Speaker 1: we need to vanquish you along with all of our
• 1:49:37
  Speaker 1: our country's original sins. And because the Creed are characterized
• 1:49:43
  Speaker 1: as an indigenous population within the world of Marvel, I
• 1:49:47
  Speaker 1: think that's just presented in this very unchallenging way of
• 1:49:51
  Speaker 1: indigenous people as inherently violent and coded as inherently violent.
• 1:49:56
  Speaker 1: And I think it's easy to miss because the character
• 1:49:59
  Speaker 1: of Ronan is so boring and so vaguely like I'm
• 1:50:04
  Speaker 1: bad blah blah blah. But I mean it's I'm I
• 1:50:08
  Speaker 1: am Alipe's lover. But he did say his inspiration for
• 1:50:12
  Speaker 1: the character of Ronan was Osama bin Laden, and there's
• 1:50:16
  Speaker 1: just so much coded into that statement that I don't
• 1:50:21
  Speaker 1: even really know where to start. It just feels like
• 1:50:24
  Speaker 1: there is a degree of just like clearly washed over,
• 1:50:31
  Speaker 1: like I don't know, oversimplified, which is what comic books
• 1:50:33
  Speaker 1: are for right, And I don't have the knowledge nor
• 1:50:38
  Speaker 1: the time to do a doctoral thesis on it. But
• 1:50:41
  Speaker 1: does the character run it and just him being presented
• 1:50:43
  Speaker 1: as an evil terrorist but also giving us the information
• 1:50:46
  Speaker 1: that he was a member of an indigenous population who
• 1:50:49
  Speaker 1: had been wiped out by the Zendarians, and then our
• 1:50:51
  Speaker 1: sympathies are very much with the Zendarians for the entire movie.
• 1:50:55
  Speaker 1: I just it rubbed me the wrong way. Yeah, I didn't.
• 1:50:59
  Speaker 1: I didn't like it same.
• 1:51:02
  Speaker 3: Do you have anything else you'd like to discuss?
• 1:51:06
  Speaker 1: No, I think does this movie past the Bechdel test?
• 1:51:10
  Speaker 1: Technically it does?
• 1:51:11
  Speaker 3: Yeah, between Psycomora and Nebula bit little bit. Yeah. I
• 1:51:17
  Speaker 3: think passes a bit more in later installments as you
• 1:51:20
  Speaker 3: see more of the relationship between those two sisters. But yes,
• 1:51:25
  Speaker 3: it does pass. Yes, Wow, onto our perfect metric of
• 1:51:30
  Speaker 3: the nipple scale. I'm actually inclined to give this like
• 1:51:34
  Speaker 3: two nipples okay, which is high for us rating a
• 1:51:41
  Speaker 3: you know, blockbuster superhero action franchise, especially from twenty fourteen,
• 1:51:48
  Speaker 3: because while it still doesn't do a lot of things well,
• 1:51:54
  Speaker 3: I feel as though it's I think it's more respectful
• 1:51:58
  Speaker 3: of Zoe Seldona's character than Star Trek two thousand and nine.
• 1:52:03
  Speaker 3: Is it allows her to participate more. I would say
• 1:52:07
  Speaker 3: it generally like camera rized, cinematography wise respects Gomorra and
• 1:52:15
  Speaker 3: does not sexualize her.
• 1:52:16
  Speaker 1: There is one shot, so it does a little bit. Yeah,
• 1:52:19
  Speaker 1: I think it does a little bit.
• 1:52:20
  Speaker 3: There's a couple. There's a few moments, like there's a
• 1:52:22
  Speaker 3: shot where she puts a gun in her holster and
• 1:52:25
  Speaker 3: for some reason it's like shot from a low angle
• 1:52:28
  Speaker 3: and like giving a pretty gazy shot of her butt.
• 1:52:31
  Speaker 3: Like There's a few fleeting moments like that. But generally
• 1:52:35
  Speaker 3: I think the camera respects her. I think this romantic
• 1:52:39
  Speaker 3: tension between her and Peter Quill is unnecessary. It's frustrating
• 1:52:44
  Speaker 3: that she has to be saved by him multiple times.
• 1:52:49
  Speaker 3: But it feels more kind of like stepping stony as
• 1:52:52
  Speaker 3: far as like her allowed to participate in the action.
• 1:52:56
  Speaker 3: Certainly more not quite so much the plot. But and
• 1:53:00
  Speaker 3: there is that moment that could have paid off of
• 1:53:02
  Speaker 3: like she knows how to exploit Ronan's weakness, but we
• 1:53:06
  Speaker 3: just never see that on screen. Yeah, there's some other
• 1:53:10
  Speaker 3: things that feel very dated about this movie, feel very
• 1:53:13
  Speaker 3: tropy about this movie. But I feel like it's doing
• 1:53:16
  Speaker 3: a little bit better. It does break the rule of
• 1:53:19
  Speaker 3: baldest women in charge because Nebula is the baldest, but
• 1:53:23
  Speaker 3: she's not in charge. True, so that's kind of fucked up.
• 1:53:27
  Speaker 1: But I don't know.
• 1:53:29
  Speaker 3: I I'm gonna give this two nipples, which is still
• 1:53:33
  Speaker 3: a filling grade. I will give one to Zoe Saldana
• 1:53:38
  Speaker 3: and I will give one two. I'll give it to
• 1:53:42
  Speaker 3: Karen Gillen. Why not.
• 1:53:44
  Speaker 1: Yeah, I'm going to give it one and a half.
• 1:53:47
  Speaker 1: I think maybe, I don't know. I think that this
• 1:53:49
  Speaker 1: movie is doing some things differently. I think that your
• 1:53:52
  Speaker 1: point about the equalizing of actors of all races being
• 1:53:58
  Speaker 1: alien coded is very well taken. And I was just
• 1:54:02
  Speaker 1: generally disappointed in this installment. And also I'm sure that
• 1:54:05
  Speaker 1: if I had seen all three, it may have like changed.
• 1:54:08
  Speaker 1: I felt a little bit to know that women have
• 1:54:10
  Speaker 1: increasing importance as the franchise goes on. But for this one,
• 1:54:14
  Speaker 1: I'm going to go one and a half. I just
• 1:54:16
  Speaker 1: feel like Gomorra is presented as a really dynamic and
• 1:54:19
  Speaker 1: cool character. She gets the decent amount of screen time
• 1:54:21
  Speaker 1: but doesn't have equal screen impact. And the and just
• 1:54:26
  Speaker 1: all the zoyas Helldyna stuff on top of you know,
• 1:54:29
  Speaker 1: three hours of makeup a day. If her paycheck really
• 1:54:32
  Speaker 1: was that small in comparison to Chris Pratt's you know,
• 1:54:36
  Speaker 1: we Riot, we take to the streets. So I'm going
• 1:54:38
  Speaker 1: to go one and a half and I'm going to
• 1:54:41
  Speaker 1: give one to the screenwriter of this movie who was
• 1:54:47
  Speaker 1: not allowed to continue to participate Nicole Pearlman or participated
• 1:54:51
  Speaker 1: in other stuff. Who knows, maybe she was working on
• 1:54:54
  Speaker 1: Captain Marvel by then. And I would give my other
• 1:54:56
  Speaker 1: half nipple to Zoe's Aldana slash Gomore.
• 1:55:00
  Speaker 3: Nice And with that, folks, there it is.
• 1:55:03
  Speaker 1: That's so Seldona in space and that's.
• 1:55:06
  Speaker 3: Our unlocked Guardians of the Galaxy episode for your pleasure?
• 1:55:11
  Speaker 1: Question are ripped for your pleasure?
• 1:55:14
  Speaker 3: Yeah, And just a reminder listeners that if you live
• 1:55:19
  Speaker 3: in the Midwest, we'd love to see you at our
• 1:55:23
  Speaker 3: live shows in Indianapolis, Chicago, Madison, and Minneapolis. You can
• 1:55:28
  Speaker 3: grab those tickets at link Tree slash Bechdel Cast. Come
• 1:55:32
  Speaker 3: say hi, come see this show. We're excited to perform
• 1:55:36
  Speaker 3: for the first time in the Midwest and we'd love
• 1:55:39
  Speaker 3: to see you there.
• 1:55:41
  Speaker 1: Bye bye.
• 1:55:45
  Speaker 3: The Bechdel Cast is a production of iHeartMedia, hosted by
• 1:55:48
  Speaker 3: Caitlin Derante and Jamie Loftus, produced by Sophie Lichterman, edited
• 1:55:52
  Speaker 3: by Mola Board. Our theme song was composed by Mike
• 1:55:56
  Speaker 3: Kaplan with vocals by Catherine Voskresenski. Our logo and merch
• 1:56:00
  Speaker 3: is designed by Jamie Loftus and a special thanks to
• 1:56:03
  Speaker 3: Aristotle Acevedo. For more information about the podcast, please visit
• 1:56:08
  Speaker 3: Linktree Slash Bechtelcast