I know Rick and Morty often does pop culture tributes, but this might be my favorite one so far. Captain Planet, a show that ended in 1996, was a big cultural part of the 1990s and one that represented the hope and unity we believed would come as a result of the end of the Cold War. Unfortunately, in retrospect, it also was ridiculously naïve. The show’s central theme was that each individual working to stop pollution would save the world. While there are a lot of signs that bringing awareness about the environment has managed to mitigate some of the impacts, like flaming rivers and acid rain, people have pointed out that shifting the blame to individuals rather than the much-heavier-polluting corporations has limited the amount that recycling efforts can actually achieve when combating climate change. This episode only touches on that aspect, but, being Rick and Morty, it takes it in a hilariously dark direction.
Rick and Morty (Justin Roiland) are buying t-shirts when they witness an acid rain attack by a supervillain named Diesel Weasel (Tom Kenny(?)), who appears to be a cross between Verminous Scumm from the Captain Planet series and the Biker Mice from Mars. Diesel Weasel is quickly defeated by eco-friendly superhero Planetina (Alison Brie), who Morty promptly, and successfully, asks out. Morty chooses to pursue Planetina rather than join Rick on their planned “apocalypse bar crawl,” where they go to three planets that are about to end in order to join in the orgies and debauchery that precedes such events. Summer (Spencer Grammer) agrees to join Rick instead, looking forward to the guilt-free orgy, over objections from Jerry and Beth (Chris Parnell and Sarah Chalke). Morty manages to find Planetina again and asks her out again, resulting in them hooking up. When Planetina’s formerly-teenage summoners call her forth at a convention, Morty is accidentally brought with her. This quickly agitates the now middle-aged “Tina-teers,” who kidnap Morty to kill him before selling Planetina to a rich man. Morty escapes and kills the American Tina-Teer (Steve Buscemi), before murdering all of the Tina-teers, freeing Planetina and moving her into the house.
Meanwhile, Rick meets an alien named Daphne (Jennifer Coolidge) on the first planet and brings her along to the next two, much to Summer’s disappointment. Rick insists that what he and Daphne have is special. However, on the third planet, in the middle of the orgy, Summer gets fed up with Rick and saves the planet by destroying the asteroid that’s going to hit it. Rather than being elated, most of the citizens are upset that they have to go to work and live with the stuff they did when they thought they would die. Also, Daphne reveals that she wasn’t really interested in Rick, but was only staying with him to avoid her fate. Rick ends up admitting to Summer that stopping an apocalypse to make a point is something he would do and seems to respect her more. Back on Earth, Morty watches Planetina escalate her anti-pollution efforts from stopping fires to committing arson on politicians and murdering miners. Morty, horrified, breaks up with her. She asks him to reconsider and points out that he violently murdered the Tina-teers, but he refuses to take her back. She tells him off and leaves, with Beth comforting a crying Morty.
This episode is one of the best A-plot and B-plot thematic connections in the series. Both involve the planet dying, but the former evaluates the slow death from climate change that we’re seeing on Earth and the latter involves the sudden and inevitable death suffered by planets undergoing natural cosmic ends. Earth basically ignores it and refuses to take any measure to stop it, with the Tina-teers even trying to sell their champion into sexual slavery. It seems to be a reference to the idea that people will sell out the future of the planet as long as it isn’t concretely going to affect them. Meanwhile, when death is inevitable, people seem to break into hedonism and are freed from the concerns of the future. While I think it’s more likely that a lot of people would try to spend time with their loved ones rather than in an orgy, I’m sure at least some orgies would break out. It’s interesting to note that Summer actually is the only one that saves a planet… but only does it out of spite. I also think that the aliens being pissed at having to go to work was hilarious.
JOKER’S THEORY CORNER
So, why does Planetina move from just putting out the forest fires to killing miners? Because this might be the first time that she’s actually been out of her rings for a prolonged period of time. The progression of Planetina’s actions is consistent with the idea that she is extremely naive at the beginning (possibly explaining why she would sleep with a teenager), and believes that the solution to pollution is, indeed, the individual. She unfortunately maintains that same belief in the individual, but starts to blame them for not doing “enough.” If she had shifted her focus to punishing the companies or corporate heads that cause most of the pollution, then maybe she could have had more of a point, but she wasn’t willing to break her genuine belief that only individuals can have an impact. So, rather than stopping pipelines or factories, she murders the workers who likely can’t afford to do anything about it.
Overall, I give this episode an
on the Rick and Morty scale.
Wubba-Lubba-Dub-Dub, I need a drink. See you next week.
Arlo Beauregard (Michael J. Woodard) is a singing and dancing anthropomorphic alligator who was found as a baby by a swamp-dweller named Edmée (Annie Potts). She raises him to adolescence, but finally tells him that he has a father named Ansel (Vincent Rodriguez III) in New York City. Arlo sets out into the world and meets a giantess named Bertie (Mary Lambert) who saves him from a group of hillbillies aiming to kidnap him: Ruff, Stucky, and The Beast (Flea, Jennifer Coolidge, Fred Tatasciore). The pair then encounter a group of scamming wrestlers: Tiger girl Alia, pink furball Furlecia, fish-man Marcellus, and rodent leader Teeny-Tiny Tony (Haley Tju, Jonathan Van Ness, Brett Gelman, Tony Hale). Together, the whole squad heads up north to New York to try and reconnect Arlo with his father.
So, at the end of this film, it’s revealed that the entire thing was a pilot for a show called I Heart Arlo which apparently revolves around the cast of this film trying to revitalize a dilapidated neighborhood near New York. It’s not unusual for a show to do a feature-length pilot, usually a two or three episode arc, but this is the second one I can think of where a completely independent movie tells its own story just to set up the world and then the show takes it from there. The first was Jimmy Neutron: Boy Genius, which people seem to forget was a movie first. The world this film builds is sufficiently interesting to set-up a lot more stories, but it does it in a way that feels incidental to the story.
The characters are surprisingly well-crafted for a movie like this, mostly due to the fact that the majority of them are foils for Arlo’s outgoing nature, optimism, and innocence. I mean, there aren’t a lot of kids films where they introduce some of the heroes as people who are faking losing a deathmatch in order to scam people for money. Also, the fact that Furlecia, who is a giant pink furball, is the wrestler just makes it that much better. We don’t get a full picture of all of their backstories, but we do get a fairly clear image of who they are, and that’s enough for something like this.
As far as the plot, it’s a pretty straightforward odyssey going from the swamp to the Big City. It’s been done before, so the focus is mostly on the feelings of the people involved rather than the plot. The musical numbers are pretty great. They vary in style throughout the film, but many of them are akin to big Broadway numbers which are in line with the movie’s New York setting. The character designs are excellent as are the settings.
Overall, not a bad movie, but the fact still remains that it holds back on a lot of stuff just to save it for later. I’m sure the show will be fun for kids.
This revenge story isn’t quite what you would expect, but it gets the job done.
Cassie Thomas (Carey Mulligan) is a 30-year-old medical school dropout who lives with her parents (Clancy Brown and Jennifer Coolidge) and works at a coffee shop under her friend Gail (Laverne Cox) and starts dating her former classmate Dr. Ryan Cooper (Bo Burnham). Cassie dropped out of college along with her friend Nina when Nina was raped and the school refused to do anything about it, leading to Nina’s apparent death. Every weekend, now, Cassie dresses up and pretends to be drunk in order to trick random “good guys” (Christopher Mintz-Plasse, Adam Brody, Sam Richardson) into taking her home and trying to have sex with her without her consent, prepared to punish them for what they’re doing. This, however, is only the tip of the iceberg. It turns out that Cassie is planning on getting back at all of the people involved in Nina’s case, ranging from the women who didn’t help her (Alison Brie, Connie Britton) to the lawyers (Alfred Molina) to the men involved (Chris Lowell, Max Greenfield).
It’s interesting to me that I have gone back and forth repeatedly about whether or not this is a great movie, but I cannot question that it is an effective movie. I’m not sure exactly what the term is for what this movie does, likely because I don’t have any formal schooling in theater or film, but it clearly is designed to make you think about it more than most films. I’d say it is similar to Bertolt Brecht in that the film is designed in such a way that you can’t quite be pulled into it the way that you would with most other films, but instead of doing so by eliminating the fourth wall, this film does it by constantly subverting your expectations on every level. Rather than being able to pretend to be an unseen viewer into the story, the film tries to force you to analyze yourself and those around you in relation to what’s happening by constantly keeping you on your toes.
First, the casting is intentionally done to be against type. All of the guys in this movie that Cassie ends up confronting are usually either love interests or fun best friends in films (Adam Brody, for example). They’re actors who seem harmless and non-threatening, which makes it all the more impactful when we see them start to grope a half-aware woman. In contrast, the guys who we actually can kind of trust are mostly cast by people who play villains, like Clancy “The Kurgan” Brown, which adds to that same effect.
Second, much of the film is based around slow reveals that not everything is what it seems. While the advertising and the opening scene suggest that Cassie is doing is quickly revealed to be slightly different than reality, and the film keeps changing things just enough and not quite explaining everything directly enough that you keep being forced to think about the narrative and that’s how the film gets you in a mindset to contemplate.
Third, the cinematography in many of the scenes are designed to make the audience feel like they’re the bad guy or girl. The confrontations are often directly at camera, making us empathize not with the heroine, but with the people she’s forcing to think about their actions. It’s a brilliant technique, particularly when combined with the other elements above. It compels you to think about your own actions in the past, even, or especially, the ones that you justified to yourself at the time.
More than trying to tell a complete story (although it does that as well), I think this movie was designed to affect the audience in ways that few movies do. It’s making you think about your real life and your actions, whether you’re a man or a woman, and it does it very effectively.
The performances are all fantastic, particularly Carey Mulligan and Bo Burnham. Their chemistry is so strong that it allows for their relationship to move forward in a fairly rapid montage without it being at all distracting. It’s also strong enough that you can buy that a woman who is focused on getting back at men could really find a romantic interest in one.
Overall, without going into spoilers, I think this is a movie that everyone should see. I’m not sure that it’s a great movie in the traditional sense, but it is doing something effectively that many movies can’t. That’s impressive.
ON THE SOFA WITH THE JOKER AND THE FACELESS OLD WOMAN
So, after watching this, we started talking and, after having a fairly long discussion of the movie, we decided that maybe we should convey our back and forths rather than just talking about the film separately.
Faceless Old Woman: Hey stranger.
Joker: Welcome back to the Sofa.
FOW: Well, I do live here.
JotS: Somehow I always forget that. Possibly due to the whole faceless thing.
JotS: In any case, Promising Young Woman. When we saw this, you already knew the ending. Do you think that’s something people should be warned about?
FOW: I read a spoiler for the ending because a critic who saw it at Sundance thought the ending was a reason not to watch the movie at all, and when I read it I thought that maybe they were right. Having now watched the movie, I don’t really agree. I definitely would say that anyone who’s experienced sexual trauma or violence needs to be warned that this movie could be really upsetting or retraumatizing to them. If they really want to see the movie and think that reading a synopsis would make it easier for them to handle, they should.
JotS: Do you feel that knowing the ending spoiled the effect for you? I personally didn’t see that coming and it was pretty profound, but I don’t know that it would be any less impactful if it wasn’t a surprise.
FOW: It’s hard to compare an experience I didn’t have with one I did have. I did feel stressed out and on-edge while watching the movie because I knew where it was going, but that could have been even worse if I didn’t know. It was still an extremely upsetting scene to watch, if that’s what you mean.
JotS: Yeah, that’s what I meant. Side Note: I’ve already put up the spoiler warning, but if you got to this point here’s your second chance to bail. … Okay, well, for those of you who watched the movie or are just reading this, at the end of the film Cassie is killed by Alexander Monroe, the same person who raped her friend Nina years before. I get why people might view that as a reason not to see the movie.
FOW: It’s more complicated than that, because Cassie turns out to have a full contingency plan for her murder that leads to Alex’s arrest. So that’s clever and humorous in a very dark way. Still, at the end of the day, two dead women. It’s not the healthiest message, that you should let a traumatizing event completely consume your life and then you should be willing to die to get the ultimate revenge. On the other hand, that’s such a classic story, so am I unfairly penalizing this movie because I’m worrying too much about these implications?
JotS: I think it’s appropriate to worry about the fact that the movie ends on a note like that. Sure, Alexander is going to jail, but, when you think about it later, Cassie literally tried to cut him with a scalpel after handcuffing him to the bed. He’s rich and there’s a good chance he’d either win a self-defense claim or that he’d plead down to a lesser charge, even after burning Cassie’s body (which is also a crime, kids). But I think this is part of the movie trying to get your attention more than provide a good example of how to deal with trauma. And that ending DEFINITELY gets you thinking. I don’t know that I’ve considered the implications of a film’s ending this much in a long time and I do these every day.
FOW: Specifically, I remember it made an impression on you that Alex was able to kill her when he was only able to free one arm and Cassie had a scalpel.
JotS:I mean, yeah, that’s kind of a horrifying thing I would never consider. Alexander isn’t like a big, muscular guy, and he’s able to kill a woman with only one arm. Guys don’t realize that women are probably very aware of that power disparity. If I were to walk behind a woman on the street, I wouldn’t think about it at all, but she might be on edge because, despite the fact that I’m only maybe average strength for a man, I could probably overpower her. That’s fucking insane and half of the population lives with that all the time.
FOW: Insert reference to the John Mulaney bit where he realizes he’s chasing a woman through the subway station without intending to.
JotS: Speaking of comedians, let’s talk about Bo Burnham.
FOW: See, possibly because I knew the ending, Ryan’s (Bo Burnham’s character) situation is what actually kept me awake at night.
JotS: I cannot blame you. For those of you who are reading this, it’s revealed that Ryan had been a witness to Nina’s rape (which he had seemingly forgotten). Later, after Cassie is killed, he lies to the police about her disappearance. Now, this is a woman whom he had dated for months and claimed to love, but he flat-out lies to the cops about her, knowing full well that she’s probably dead, all just to cover his ass. That’s some dark shit.
FOW: Well, yeah, that was what I said, what you pointed out was that they did a really good job of setting him up as a very likeable, sweet, handsome, charming guy in the first place. The thing that kept me awake at night after watching it was the reality that someone who says they love you, that you’ve let your guard down to trust, someone who’s met your parents, would hurt you to save their own ass. That’s a pretty terrifying reality.
JotS: Yeah, you don’t expect Bo Burnham to be the bad guy. You particularly don’t see it coming after they even make him out to be the injured party when he sees Cassie on one of her weekend revenge outings. You understand completely why he was hurt by this and you feel like he’s the good guy when he forgives her. This movie is built around throwing your expectations off.
FOW: It’s subverting an audience expectation (and as you’ve pointed out there’s a lot of that in this movie) but it’s also about our own expectations in these situations. The movie is already pointing out that there are people you’re told you can trust, like your female friends or the female dean of your school. You’re told those people will have your back when you tell them that something happened to you. Girl power, right? And the movie explicitly shows the reality is they might not! In the worst ways! Secondly, we get an early hint that Ryan has issues when, on his first date with Cassie, leads her right to his apartment and then springs that fact on her. It might seem cute but it’s actually very pressure-y!
JotS: Yeah, but we also see him recognize that she doesn’t like that, realize immediately that he has messed up, and try to apologize and fix it, something that we often see male protagonists do in rom-coms. This movie kind of makes you recognize that a lot of stuff we’re accustomed to seeing in films is actually not great to serve as a cultural example of behavior. And yeah, a big part of this film is that you absolutely never know who a person really is on the inside. One of the only characters who actually recognizes his mistakes is the lawyer, a character that is typically the ruthless one.
FOW: Oh hey Alfred Molina, didn’t expect to see you here.
JotS: Yeah, that’s another subversion. The guy who usually plays villains is the one with the conscience.
FOW: You pointed out they do that with pretty much the whole cast of this movie.
JotS: AND IT. IS. AMAZING. And it really does contribute to the theme that the people that Hollywood or society tells you to trust might not be the ones you really should.
FOW: When Ryan is confronted by Cassie he asks “So you’ve never done anything you regret?” But the thing is, he didn’t regret it, or seemingly even remember it, until he was confronted with it!
JotS: Yeah. That’s the thing. To Nina, it was her life being ruined. To Ryan, it wasn’t even worth remembering. What the hell else has he done that watching a girl get raped at a frat house wasn’t even memorable?
JotS: Then again, maybe it’s a statement on how the rapists get to move on. They get to forget. The victims don’t.
FOW: Everyone gets to forget except the people who can’t. When you do get to Alfred Molina’s lawyer who does actually feel bad about his part in it, Cassie doesn’t continue to berate him for just a little bit longer after that point. She’s clearly so relieved that SOMEBODY acknowledged that they did something bad and ACTUALLY remembered and deeply regretted it. I was moved by that.
JotS: I think it helped that this was right after we had her dealing with both Alison Brie’s character, who didn’t remember that A) Nina had died and B) that she had a video of Nina’s rape on her old phone, and Connie Britton’s character, who didn’t remember the incident really. These were two women who were involved in Nina’s life at the time and they both just kind of ignored it. Then you have Alfred Molina who probably never even met Nina in person and he’s the one who is broken over what happened to her. Yeah, it’s a hell of a moment.
JotS: So, would you recommend that people see this movie despite the fact that the plot ends in kind of a bad place?
FOW: I have to say that watching a cishet man react to this movie made me immediately think “all men should see this movie, including young men.” For everyone else, it’s a reminder not to be complicit in this culture of silence and “forgetfulness.” I hope that some people who see this movie also feel heard – it’s truly maddening when everyone acts like nothing has happened and this movie echoes that situation in a way that could feel validating. And of course, the movie is extremely well done and Carey Mulligan is incredible. But it’s not the fun revenge movie you might think you’re getting from the trailer!
JotS: Or even from the opening scene, honestly, but I agree, I think everyone should see it. It’s not the movie you want, but it’s the movie you need.