Sexism in Survival Situation (Movies)

Disaster and survival movies don't have the best track record when it comes to their treatment of women. From who deserves to die, consumption of female bodies, to ice queens who, gasp, don't want kids, what are these movies saying about who deserves redemption and who deserves to die? We look into two examples - Jurassic World and Deep Blue Sea.

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Episode Transcript

Speaker 1 (00:05):
Hey, this is Annie, and welcome to stuff on ever
told your protection of iHeartRadio, And yes, unfortunately I am
still by myself. Don't worry, Samantha will be back, but

(00:26):
right now, due to scheduling and illness, you just get me,
which means I feel like I can run rampant, which
is fitting for the topic we're talking about today. I
originally mentioned this a few episodes back, where I wanted
to talk about this idea of who deserves to die,

(00:49):
and it was based on I had I mean, I've
had this in the back of my head for a while,
but it was based on a recent headline i'd seen
about the very bad movie Deep Lucy that I still
enjoy but is quite bad, and the original ending for it,
and we'll talk about that more at the end. When
I was researching this, perhaps it won't surprise you, but

(01:12):
not too many people are writing about the feminism of
Deep Blue Sea. But I did find some other examples
and it kind of became a bit a bit bigger
than deserves to die, almost more like deserves redemption. And
that's a whole other trope of the you get redeemed

(01:34):
and then you die, but you don't do anything to
fix all of the harm that you did. Star Wars
is pretty bad about that one. But I wanted to
talk about this, and I have been on a bit
of a disaster movie. I've been watching a lot of them,
binging a lot of them. They were big parts of
my childhood. That being said, we have discussed horror movie

(02:01):
tropes that would fall under I would say the sort
of and heavy quotes deserves to die, like who is
the audience like, oh yeah, they deserve to go in
horror movies as often the slutty woman, the best friend
of the final girl, or the person of color, all

(02:22):
of which is pretty problematic. But that's not really what
we're talking about today. We have talked about that in
several episodes, so if you want to go check those out,
you can. I wanted to talk about more specifically in
the disaster film Arena, which because I'm by myself today,

(02:44):
this one's going to be a bit shorter and also
not as researched as we would normally do. I would
love to come back to it and get Samantha's thoughts
on this, but I do have a lot of thoughts
about it, and I have two maybe three main exist
samples of what I'm talking about, one of them being
Deep Lucy, which we will get we'll come back to,

(03:06):
don't you worry. But one of the big ones I
always think of is from Jurassic World. And I know
I've brought this up before. I am going to have
some criticisms of how women are portrayed in that movie.
If you like that movie, like I enjoyed it well enough,
But yeah, just just to say, I did have a

(03:27):
really funny, rousing conversation with me and a bunch of
friends about they're critiques of the movie and especially how
much of the dinosaurs are going for like cost wise.
They tell me that was nowhere near enough, and I
trust them. But yeah, when I saw that movie, because
I've said I was a huge fan of Durassic Park

(03:50):
and still am the first one. And then we have
an episode coming out about doctor Ellie Sadler and I
have a really funny update about those cards I was
brought about. But when I saw this movie, it was
I think I had been working on the show, and
I would have I was a feminist for sure, but

(04:12):
immediately I was like, I don't I feel like these
are some tropes that are pretty sexists that are happening here.
But one of the big things that really when I
was watching, I was like, this is unnecessary, and I
really don't like it is when I'm assuming I don't
have to break down the pot for all of you.
But yeah, it's a park the dinosaurs. The dinosaurs genetically altered,

(04:35):
and then they escape and recavoc and there's just not
a lot of good infrastructure to get people out. But
it focuses largely on Claire played by Bryce Dallas Howard,
who we're talking about in a second, who is running
the park, and then Owen who's played by Chris Pratt,

(04:56):
who is like a dinosaur whisper dinosaur trainer, and the
fact that Claire has looked down on because she's a businesswoman.
It doesn't want kids again, more on that in a second.
But things go wrong, dinosaurs get out. This character named Zara,

(05:19):
who is the assistant of Claire, is tasked with watching
Claire's nephews when they visit, and it was sort of
an unexpected visit. Claire's sisters getting a divorce and it's
just like no good timing, but Claire great to do
it and then was really busy and then pass them

(05:41):
off to Zara, who is played by Katie McGrath, and
Katie McGrath's character is definitely in the same vein that
Claire's character is seen as like not a good person
because she's always on her phone, she's always busy, she's

(06:03):
not really paying attention to these kids, which again were
passed off on to her, and eventually the kids like
give her the slip and escape, and there is a
scene where once the dinosaurs break out, she is brutally

(06:24):
killed for like a long time. And when I was
watching the movie, I was like, oh my gosh, it's
still going. Oh my gosh, it's still going. I've read
she's the first woman to die on screen in Jurassic Park.
I don't know if that's true, but that's what I read.
And it was such a long drawn out death and
it was kind of played as like almost for laughs,

(06:46):
or like, see, she should have done better at her
job and taken better care of these kids, and now
she's gonna get ripped up. So she gets picked up
by Pterodactyl's terroritive terror something of the flying dinosaurs. It
has dropped into the grasp of another dinosaur, like the

(07:09):
sea dinosaur and then so she's like thrown back and
forth between them. The flying dinosaurs is screaming, and then
it is dropped into the mouth of this sea dinosaur
and it just feels odd. It just feels very odd.

(07:30):
And it was in the trailer, and in fact, it
was a big part of the trailer, and one of
the trailers was titled Jurassic World Trailer to starring Katie McGrath.
And she's not really in it, like she's barely in it.
But her death, I guess, was supposed to be some

(07:51):
kind of representation of, oh, how gory this could be,
or and I believe we've bryce Dallas Howard says, oh,
she gets tortured, and the director, Colin Chevro says that
it's quote one of the all time dinosaur deaths in

(08:12):
a movie. Wow. Yes, But it just felt unnecessary, It
didn't feel a lot of people have compared it to
the Lawyer from the first one, the blood Sucking Lawyer,
but his death, even his death, while it was sort

(08:32):
of like drawn out, it wasn't drawn out like that one.
But two he had been shown to be not great,
like he abandoned the children, he didn't care about the
morality of any anything to do with the park. He
was very much like, I'm just going to protect myself.

(08:53):
He wasn't sympathetic at all. And the difference here is
her death scene is much longer. But also she does
feel bad that these children ran away from her when
she's doing her work, and she expresses that, but that's

(09:14):
not seen as sympathetic. She is not painted as sympathetic.
She's painted as someone we're supposed to kind of laugh
at when she dies, and her sin is she wasn't
caring for these kids, who again were not her kids.
She was not planning to take care of who ran
away from her, and therefore she must be punished. We

(09:36):
will revel in her death as the audience. She isn't
like mean to them. I mean, she's not like greatly developed. Again,
she's not in the movie that long, but she's not terrible.
But still it's painted as if, well, she deserved this,

(09:56):
she deserved this death. Being said, though, I am not
the only one who felt very jarred and disturbed by
this scene, there were a couple of quotes correlated by
culture war reporters from Reddit. Because there's a whole thread
dedicated to this scene. I guess here a few Yeah,

(10:20):
it was pretty horrifying. The character didn't even deserve it,
so there was zero satisfaction. It just left me feeling violated,
which I suppose it was meant to. Here's another yeah,
I guess it logically works, but cinematically it was just
cruel and unnecessary. I thought maybe I was overacting to
that scene. It made me so uncomfortable. It was just

(10:41):
so extended. Most deaths and Jurassic Park series are quick
in adding to the thrill of the scene. This just
felt cruel. Glad to see I'm not alone in this opinion.
I asked my buddy what did she do to deserve
that death? And some people were pointing out, like, you know,
the dinosaurs, that's what's going to happen. But going back

(11:04):
to that kind of like cinematically it doesn't make sense.
Comments of like, well, what message are we to take
from the fact that she's the one that gets this,
that she's sort of the inexpendable one, that we're supposed
to find some kind of joy or satisfaction in her death,
And it definitely made me uncomfortable. I remember watching the

(11:27):
scene and clearly it stuck with me where I was like,
why are we supposed to rejoice at her death? That's
just what it felt like to me. And I am
somebody I can admit, like, I'm not usually happy when
someone dies, even if they are not great. But it's

(11:50):
just the way it was so drawn out. And yeah,
she really wasn't in the movie that much to really
warrant that. That being said, I wasn't originally intending to
do this, but through this research I did find a
lot of commentary about Claire Ryce Dallas Howard's character, who

(12:13):
I also when I saw this movie, I was like, wait, wait,
because she is such a trope. She is such like
an ice queen. She doesn't want kids, which is one
of the big points of the movie. And I think
it's meant to be a flip of Alan Grant, but
it feels super judgy where it didn't feel super judgy

(12:35):
with Alan Grant. It's like she's the lost sight of
what matters, like not wanting to be a mother is
inherently bad in this movie. From the Mary Sue quote,
from what we see, this woman with an entire park
to run, has multiple responsibilities across multiple divisions and gets

(12:56):
very little assistance, but has still agreed to take these
children as a favor for her sister during a divorce.
I would tend to agree that if you commit to
watching your sister's kids, you should put the phone down.
But it also seems like the weekend was pushed on
her rather than worked out with her schedule, and frankly,
Claire is dealing with this forced obligation as best she can. Nonetheless,

(13:18):
Claire is presented very early on as a bad person
of questionable morality because she has asked her assistant to
watch the boys while she goes to work. I certainly
didn't share Chris Pratt's look of shock and disgust when
she makes the horrific reveal that she doesn't know her
own nephew's ages. Yes, I remember that too. I was

(13:41):
looking around like, oh, no, that that may I'm a
terrible person, because it's very clearly portrayed that way. That's
the problem. It's like you can have these storylines of,
you know, someone who is too focused on their work
and meets someone who kind of shows them like, oh
what about this? But if she wants to do her work,

(14:04):
then yeah, it doesn't mean she's a horrible person because
she doesn't have kids, or doesn't know her nephew's ages.
But it is I remember that distinctly watching this, like, wow,
she is They really want me to think she's bad
for this. And also it's a problem of writing, which

(14:25):
we'll talk about a bit more. But she was just
such a trope. She would she was such a superficial
especially well I don't want to say that, but in
this one, which is the one we're focusing on, she
was very like the ice cream. That was her even
in her costuming. That was what she was. A quote
from the Mary Sue continues. Beyond that, Claire not having

(14:48):
children and claring she doesn't want children also isn't some
sort of fatal personality flaw. But Jurassic World clearly sees
it this way, believing the natural progression of women has
them of all to mothers, and those who don't have
that desire are somehow deficient of humanity. Despite claims to
the contrary, motherhood does not equal inherent goodness, and not

(15:12):
wanting to be a mother does not equal an inherent
lack thereof for women? What about the many women who
are unable to have children? Most importantly to the film,
And this is where Jurassic World is really offensive. Women
who choose to put their careers first and or foremost
are not doing it as a coping mechanism for what
is really lacking in their lives. I'm sure some are

(15:37):
as are many men, but many have a passion for
their work, which they want to put front and center,
and that doesn't make them less of a woman or
less a part of the world around her. While Ellie
and Grant were discussing where their children would be part
of their future as an option, Claire's being told she
wants kids, that there is something wrong with her for

(15:58):
not feeling that way herself. Claire's own sister tells her
one day she'll settle down, as if the life she
has built is temporary, which might be the clearest piece
of evidence that this movie was written by four men. Yeah, yeah,
I mean, it's just the the pressure throughout that she

(16:18):
must want kids. There's a several shots where she's looking
at kids with sort of a veiled belonging, which is
a fine plot point, but if you're if you're going
to do it, where in this like moral grounds of
like she's bad because she doesn't want that or might
not want that, that's not good. That's that's the issue,

(16:42):
and it is very, very very heavy handed. And how
it paints that she is just missing, she is lacking something,
she's just not complete and doesn't know it. That's one
of the galling parts of it, I think, and I've
heard that as a single person too, of like, oh,

(17:04):
you just don't realize, so you just don't know, and
it's annoying and incorrect. Here's another quote from The Mary Sue.
As Marlow Stern wrote in his rather accurate review for
The Daily Beast, the only character development we get in
this movie is quote a woman's evolution from an icy, cold,

(17:25):
selfish corporate shill into a considerate wife and mother, as
if to say, don't worry, guys, that shrill boss lady
really just wants to find a sexist guy that will
teach her how to behave and awaken that biological clock. Sure,
her life's work is destroyed in Hundredstead, but she got
a man who can give her that baby all women
really want. Yeah, it is. When I was researching this,

(17:51):
which again wasn't what I really intended when I started
this episode, but I did find a lot of articles
about that, in particular of in disaster movies, painting women
as they are this the cold business woman or the

(18:12):
kind woman who wants a baby, which when I was
thinking about it was like, yeah, I can think of
a lot of examples of that. And then I found
a lot of articles about how all the dinosaurs are
female and men are the only ones who can tame them.
I think that's a separate episode, but that's interesting. And

(18:44):
then here is a quote from Media Owen, who's Chris
Pratt's character, knows no wrong. When a fly is buzzing
around Claire, Owen can slap it right out of the air.
While Claire gets nervous even being in a helicopter, Owen
rides a motorcy neck and neck with velociraptors. Nothing scares Owen,
not even violent man eating dinosaurs, because he is a

(19:07):
manly man. There's certainly nothing wrong with Claire's fear in
the face of a potential death via dinosaur, but her
fear is not used to create a sense of realism
or to pull the audience in. It's used to show
how heroic Owen is. Throughout the film, Claire is mostly
Owen's foil, and damn he looks good by comparison, In

(19:28):
one moment of the film, Owen is in need of
rescuing from a pterodactyl. Claire saves him by shooting said
flying reptile. We cheer because Claire reversed the roles and
saved him. However, this empowering moment is short lived, and
I mean very short lived. After being saved, Owen rises
to his feet and immediately kisses Claire as she's preparing

(19:48):
to say something. This move allows him to both assert
and regain power and control. Claire is reduced to a
blushing and embarrassed girl. Within seconds, Owen takes back his
gun and retakes his role as the alpha of the group.
So I thought that was interesting because in this very

(20:10):
same article they point out that again, this can be
done well, like it can be done where you have,
in one way or another kind of the the woman
who's never been in the jungle and the guy who
knows everything about the jungle. But the key to it
is that they're learning from each other, and you're not

(20:34):
necessarily making one more the butt of the joke than
the other. She's clear, and this is consistently the butt
of the joke. We're supposed to mock her like, oh,
she's never gotten dirty before, all of these kinds of things,
And again that can be funny like that, that can be.

(20:56):
But if it's done in sort of this very soon
official sexist way and meant to make the male character
look way better, then that's that's the problem. As I
thought this was interesting, I hadn't really thought about this,
but I found this quote from Refinery twenty nine. The

(21:17):
original Jurassic Park stands out among action films largely because
its protagonists weren't regular action heroes. They were scientists, cool ones, sure,
but not the kind of people you would expect to
be running around to juggle fighting off massive and dangerous creatures.
And what's more, they didn't so much solve the problem
with violence as they deduced a creative solution and implemented it.

(21:37):
Jeff Goldbloom may have reached peak Internet icon status in
twenty eighteen, but can you imagine him holding up an
action franchise a la Bruce Willis. Sam Neil has kind
of a rugged appeal, but he's not rambo. He's not macho.
If anything, he's a nerd who's just so excited to
be around his long lost monsters. And he and Ellie

(21:57):
were equal and professional partners above anything else. Now fast
forward to Jurassic World, and our hero looks very different,
like one hundred pounds of muscle different. Owen Grady is
a former marine turned dinosaur trainer who, as we see
in the beginning of Fallen Kingdom, enjoys building himself log
cabins and living out of his car. He's the kind

(22:18):
of hero who needs a love interest in order to shine,
to redeem him as a hulky man with a heart
of gold. Every shot of him is meant to emphasize
how good he looks in his very fitted pants. We're
supposed to admire his muscular arms, his ability to ride
motorcycles alongside raptors, his rough stuble, not his intellect. I

(22:39):
think that's a good point, because a lot of the
things that have really resonated with me when I look back,
it's not the like I do love a superhero movie.
You don't get me wrong, you all know that. But
when it comes to this, I do like when it's
not your super bulky, traditional stereotypical man, uh who is

(22:59):
the hero. I like when it's scientists who are thrown
in this situation or whatever it is, and it did
kind of flip it where he's definitely the hero, she
is the villain. And when you talk about like we

(23:20):
we briefly discussed John Hammond in the original Jurassic Park,
who we sympathize with, who is humanized. There has been
some conversation about whether or not he should have been,
but he was. And Claire, who's sort of assuming that
role in this one, is very much not, very much

(23:42):
not and is not doesn't have a satisfying redemptive arc.
I would say she does do in the in the sequels,
she does do some things, but it's it doesn't feel
this could go back to the writing, but it just
feels like, well, why did you do that? Then? If

(24:05):
now we're having to solve this, that's a whole different thing.
That's a whole different podcasts. But yeah, just the different
treatments we got in the first of the Jurassic World
series versus the first of the Jurassic Park series of
John Hammond versus Claire is quite different. But yes, this
brings us to Deep Blue Sea, which I really did

(24:31):
not think I was going to find anything written about this,
but I did listeners. So as I discussed recently, in
a recent classic, I got this headline show up in
my feed that there was a petition for the original
ending of Deep Blue Sea to come out. If you

(24:54):
haven't seen it, yeah, it's not very good, but I
enjoy it. It's about a woman named Susan who is
trying to cure Alzheimer's and for some movie science reason,
that means experimenting on sharks and their brains in particular,

(25:18):
and of course it goes wrong, and ultimately it culminates
in a lot of people dying in their team and
then her sacrificing herself and dying. And I always thought
the ending was sort of off. I was always like, huh,
I feels a little out of left field. It turns
out I was onto something, because in the original ending,

(25:40):
she survives, she has to kill the shark herself, and
she does, and it's much more of a redemptive like
I realized my mistake, I will take care of it,
as opposed to her dying in this way, which was
pretty graphic, and she doesn't have like I feel, going

(26:03):
back to what I said at the top, when I'm
talking about like you get redemption and then you die,
it's not that because I feel like with the men
I'm thinking of when I think of that had a
long time to get that redemption, like three movies at least,
she did not have that. So it was she just
kind of died and very unceremoniously. No one seemed to care. Uh.

(26:29):
But the directors said the reason they changed the ending
was because the audience was like, no, that has to die,
and that's the inspiration of this whole episode. So I
do have some quotes about this. Here is one from
Girl Type. In the film, doctor Susan McAllister played by
white British actress Saffron Burrows, develops a cure for Alzheimer's

(26:53):
disease using the chemicals and the brains of genetically altered
giant sharks. Burrows possesses fashion model looks and seeing the
obvious candidate for romantic subplot with Carter Blake played by
white actor Thomas Jane, the shark wrangler with the cowboy
attitude and boyish good looks. However, she turns down his
friendly offer to share beer, saying primly it's all worked

(27:14):
for me Carter. Susan's sexual reluctance has been established, and
the film goes on to characterize her as frigid, cold
and calculating. Welcome to my parlor, she says coldly when
everyone enters her laboratory. Susan is a black widow, a
spider woman close to being Villa and I simply because
she is an ambitious scientist and isn't attracted to the

(27:35):
leading man. And this essay was really interesting because it
broke down a lot of a lot of the pieces
of this movie. But one of the other things was
the other woman who's in this group, because the main
group just had two women, Janis and Janice of course

(27:56):
blame Susan. So here's a quote Sepid she cries at Susan,
setting up their oppositional relationships within the film. These two
characters represent a dichotomy of femininity, powerful unfeeling an over
emotional weak victim, which is something we see a lot.
I often think of alien when I think of this psychotomy.

(28:18):
But it also goes back to what I was saying
earlier that that seems to be maybe not quite the same.
But your business woman ice cream and your loving mother,
like those are your two options? Which one so the
quote goes on. The next to go is Janice, who

(28:39):
by this time is a total basket case. She falls
off a ladder and into the water, thinks to weak
arm muscles, and splashes around, screaming for Carter to save her.
She is suddenly jerked under the water by a shark,
and the rest of the gang momentarily mourns her loss.
Then she rises up again, arms outstretched in a weirdly
graceful pose like a single nchronized swimmer. Her legs are

(29:02):
wrapped in an equally posed way around the shark's vertical snout,
but its jaws are locked over her crotch. Janis screams
and bleeds and gouts, but stays carefully positioned like a
ballet dancer as the shark attacks her between the legs. Amazingly,
the shot of her emerging from the water like this
is shown twice, but once from the side so we

(29:24):
can see where she has been bitten, and again from
above so it can see her anguished face, slow mow
bobbing breasts, and the shark's teeth locked over her pelvic area.
Needless to say, I was astounded and disturbed by this image.
Not only are the women's helplessness, weakness, and hysteria treated
as normal feminine characteristics, but she dies as a prettily

(29:45):
posed sex object. The shark gruesomely attacks her vagina, her
biological difference from men, and the film glories in the
image with elaborate camera work, slow motion and repeated shots.
In a later scene the gang's floors, janisis quarters looking
for batteries for their flashlight. Jan was a healthy girl.
Something in here has to run on batteries, says secondary

(30:07):
white male Scoggins, the goofy member of the gang. Where
would a girl keep her vibrator noise thing? I was
outraged that even in death, Janie got reduced to a
dirty joke, reduced to nothing but her vagina, yep, yep.
And I did want to come one day when Samantha's better,

(30:29):
I'd want to come back to this of the history
of in disaster movies, movies and horror movies in general,
of women getting consumed by monsters while naked or somehow
skimply cloud or are sexy or something like that, and
what that says. But in the meantime, the quote continues,

(30:54):
Susan is also degraded sexually. She gets trapped by a
shark and has to electrocute it. With a nearby car
of wires. She strips to her underwear and stands on
her wet suit to insulate herself from the electrical charge.
Shivering and pissed off, she cowers in her tiny white
bra and panties as a flailing shark, flames and sparks
go everywhere. The scene may be a homage to Sigourney

(31:16):
Weaver's stripped teas at the end of Alien, but in
this case I was especially angered. Susan is forced to
strip to survive. It says if the movie is punishing
her for her earlier denial of Carter and gloating while
she suffers wet and miserable, and that I will admit,
as much as I have had my questions of this movie,

(31:40):
which I don't know how to feel about, I always thought,
you know, oh, they feel like they have to put
in this scene, very degraded scene of the woman stripping down.
But that is a good point that she turned down
and this offer from your hot action hero guy, and

(32:02):
now here she is almost says punishment and then going
to the ending. So at this point we've got three

(32:23):
survivors from the main group. We've got ll cool j
the action hero Guy and Susan, and the shark is
trying to get free, and they're like, we cannot let
this shark free, and action hero Guy jumps in the water,
but the shark is coming for him. He jumps in

(32:44):
the water to like, I don't know stuff the shark,
and Susan decides she is going to draw the shark's attention,
so she cuts her hand and says come to mama
and jumps in the water. And here is our final
quote about that. The shark approaches her, regards her blankly

(33:08):
for a long moment, and then gobbles her up in
three very separate floody bites. The film pauses deliberately before
picking off Susan, and the subsequent destruction of the shark
is like an anticlimactic afterthought. When Preach Hell, Cool Jay's
character fires a lethal explosive charge, he whispers, this is
for Scoggins. Scoggins, Susan is the one who sacrificed her

(33:31):
life to help kill the shark. Scoggins was comic relief
for Pete's sake. Yet Susan doesn't even get a hero's memorial.
She's nothing but fish food to the sharks and her companions.
I felt cheated by Susan's death and saddened by how
little the surviving characters cared about her. So yeah, I
think that speaks to what we've been talking about, is

(33:53):
she wasn't very fleshed out, she wasn't given and a
lot of moments for sympathy or redemption, where as a
lot of male characters like John Hammond were are. But
it also is a very very fair point that the

(34:16):
shark's death is seemingly lesser than her death, Like she
deserved to die more than that shark. And you can
make your arguments about that, because she was, you know,
ethically doing these experiments on sharks that caused this whole thing,
but she did want to make amends and she was
trying to And the fact that we're more supposed to

(34:41):
be more jubilant that she died rather than this shark
is not the most It's not the most fun thought
I and I do again. I say this as someone
who really doesn't get joy out of death and a
lot of media, but uh, this is always always stuck

(35:05):
out to me. And when I read that headline, like
I said in that classic where I first mentioned this,
I was like I knew it. I knew it just
fell off, and I, uh, yeah, I had forgotten that
they that they sort of just immediately forget she died,
like oh yeah, this is Fris Coggins. So her death

(35:27):
felt kind of meaningless. All it was was like, yeah,
she deserved to die, Let's move on. And I do
think there is a conversation to be had about, you know,
responsibility and her taking responsibility for what she did. But

(35:48):
I just feel very strongly this was punishing an ambitious
woman who wasn't into the lead man, and so we
were supposed to level in it as opposed to all
of the redemptive arcs we grant men who are more
fleshed out in terms of character. But yeah, it's also

(36:12):
I know some of you are probably scratching your red
and like why are we talking so much about this
bad shark movie? But it matters. The stuff we consume matters,
And I was curious, So I was pretty sure I
knew why, but I was curious why they changed the
ending go when I read it, and I was like, oh, yep,
that makes total sense that the audience were like, yeah,
just kill her, we don't want to have to deal

(36:34):
with her, and you ought to like her. I get
a lot of parts she wasn't very likable, but that's
part of the issue. I don't know, maybe I'm talking
to myself in circles. I do have other episodes coming
up about Jurassic Park and some other disaster things disaster movies.

(36:56):
But in the meantime, please let me know if you
have any thoughts on this. I don't know if I'm
the only one out there, clearly not. I can't believe
I've held some great essays about it, but I would
love to hear from all of you. Hopefully, Samantha, we
miss you. I don't know if y'all ever listen to this.
I feel again. I feel like I'm a child who's
gotten free and can do whatever I want. But we

(37:19):
hope you feel better soon, and yes, listeners. In the meantime,
you can contact us. Our email is Stephanidia Momsteff at
iHeartMedia dot com. You can find us on Twitter at
mom Stuff podcast and on Instagram and TikTok at Stefan
never told you. We have a tea public store. You
can get merchandise there. We have a book you can
get it at stuff You should Read Books dot com.

(37:39):
Thanks is Alwis to our super producer Christina, our executive
producer Maya, and our contributor Joey, And thanks to you
for listening. Stuff I'll Never Told You is production of
I Heart Radio. For more podcast from my Heart Radio,
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