The new BIRDS OF PREY: AND THE FANTABULOUS EMANCIPATION OF ONE HARLEY QUINN is part of an inconsistent and fitfully realized tradition of female-empowerment stories told within a high-gloss genre framework, a tradition that reached one of its too-rare high points with THELMA & LOUISE, a Ridley Scott-directed, Callie Khourie-scripted take on a buddy road movie/chase film that ruffled plenty of feathers when it became a sleeper hit in 1991. This week we’re joined by Vulture.com critic and friend of the podcast Angelica Jade Bastién to consider how the conversations THELMA & LOUISE inspired in 1991 would — or wouldn’t — be different today, how the film’s structure and performances subtly underline its feminist themes, and whether complaints about the film’s “cartoonish” male characters hold any water. Plus, we answer some feedback on our recent pairing of THE PIANO and PORTRAIT OF A LADY ON FIRE. 

Please share your comments, thoughts, and questions about THELMA & LOUISE, BIRDS OF PREY, or anything else in the world of film, by sending an email to [email protected], or leaving a short voicemail at (773) 234-9730.

Show Notes

Works Cited:

• “Every Brad Pitt Movie Performance, Ranked,” by Angelica Jade Bastién (Vulture.com)

• “The Third Woman of ‘Thelma and Louise,” by Larry Rohter (The New York Times, June 5 1991)

Outro Music: Charlie XCX, “Vroom Vroom”

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