What if your crucible didn’t happen to you โ but for you?
In this episode, we sit down with Zach Duke, whose life has taken one of the most unexpected and faith-filled paths we’ve ever featured on Beyond the Crucible. An eighth-generation Indiana farm kid, college football player, and missionary, Zach thought he knew his calling โ until years of chronic illness left him convinced his best days were behind him. Then came an audacious act of faith: pursuing soccer, a game he had never even played, with the goal of competing in the World Cup. What followed is a remarkable story of obedience, discipline, and the discovery that the seasons we most want to escape are often the ones quietly preparing us for our greatest purpose.
๐ Take the free Trials-to-Triumphs Self-Assessment to discover where you are on your journey of moving beyond your crucible and how to chart your personal course to a life of significance: https://beyondthecrucible.com/assessment/
Transcript
Warwick Fairfax:
Welcome to Beyond the Crucible. I'm Warwick Fairfax, the founder of Beyond the Crucible.
Zach Duke:
If I'm going to push myself to the limits, I need to find what my soccer limit will be. So if I could think to the farthest degree of what the limit could be, it would be the World Cup. And so naturally or unnaturally or supernaturally, I think, I'm going to try to make it to the World Cup in four years or break my body trying because I'm going to find what my limit and my edge is.
Gary Schneeberger:
Our guest this week, Zach Duke, has done just that. From an eighth generation Indiana farm kid to a college football player and missionary, Duke thought he knew his calling, until years of chronic illness left him believing his best days were behind him. Then his audacious act of faith, pursuing soccer, a game he had never even played, gave him his purpose back. His pursuit of playing in the World Cup is a remarkable story of faith, discipline, and discovering his crucible didn't happen to him, but for him.
Warwick Fairfax:
So Zach, welcome. Thanks so much for being on the podcast. And I'll just read a brief bio to let people know who Zach Duke is. So Zach is an American athlete and father known as World Cup Dad, who famously began a quest in late 2022 to become a professional soccer player. And this is despite having absolutely no previous experience, he aimed to compete in the FIFA World Cup in 2026.
Now he's documented his entire journey on social media and uses a digital platform to inspire others, including fellow fathers and families to chase their dreams. Now, before embarking on a soccer journey, Zach was a former collegiate American football player at Liberty University. And from there he went on to church planting, missionary work, family life. Traveled over 40 countries around the world. He was first inspired to begin pursuing his goal by a podcast he heard, that dared its listeners to stop accepting the status quo.
He began training in soccer for the first time when he was 34 years old. A remarkable story. His athletic journey included losing over 30 pounds and changing his entire body composition and skillset. In the Major Arena Soccer League, the indoor league, in 2024, he was selected 24th in the draft by the Empire Strykers, and that's in a roster which included much younger and more experienced players.
He met his wife, Megan, while attending Liberty, and together they have five children. And as Zach just mentioned to me off-air and one on the way. So Zach, thanks so much for coming and thanks so much for being here. So I understand that you are from Indiana and believe it or not, I have some understanding of Indiana because even though I'm from Maryland, my three kids all went to Taylor University, which is not far from where you first went to university before going to Liberty, so I'm sure you know where it is.
Zach Duke:
I know right where that is. Ivanhoe's.
Warwick Fairfax:
Exactly. In the middle of the cornfields. Ivanhoe's is an ice cream place and the goal, I think by the time you finished at Taylor is to have all ... I don't know, 101 flavors or whatever it is, some massive amount, which is quite a lofty goal. But Zach, tell us about growing up in Indiana, what was life like for young Zach? What was your hopes and dreams? What was just your family all about? So just tell us about what life was like for you growing up.
Zach Duke:
Yeah, absolutely. And Warwick and Gary, thank you so much for having me on this podcast. I'm just looking forward to this conversation. I'm so grateful, when I look back on my childhood, incredible parents that love Jesus so much. They weren't just in the church, but really wanting to hear and obey Jesus from their hearts. My grandparents the same. Our family has lived in the same area in Indiana, since the Revolutionary War. So we've been farmers in that same area for essentially as old as the country is, which is pretty remarkable.
And in fact, just last week we got our entire Duke family together around the original tombstone of our ancestor that fought in the Revolutionary War and took a giant Duke family picture. So just really special small town community farmers in Indiana and grew up in a very loving, incredible home. And as I look back on that ... I definitely took it for granted growing up because I didn't know any better. But looking back, it's more than I deserve. I'm very, very grateful for that.
And I was always taught to be a hard worker, blue collar mindset, very gritty, and my dad just instilled those values into me. And so I was always a very high driven, high performance type of a guy, but that also ended up being part of my underbelly in my relationship with the Lord because I always wanted to prove myself. I was always questioning, "God, am I good enough? Is what I've done good enough for you?" And a big part of my story is no, that's not how the gospel works. So I can get into more of that story later, but God really used those areas of my life to push me, to grow me, to mold me, but also at the same time to break me and to build me.
Warwick Fairfax:
That's fascinating, even though I imagine ... As you say, you grew up in the church and you probably heard lots of messages that were saved by grace, not by works. You probably heard that message a 1,000 times. I'm sure your parents were all about it, but yet it can be a challenge because we tend to think, "Yeah, but really ..." Intellectually we hear that, but emotionally or spiritually, it's like, "You have to work hard and you got to get good grades and do well if you're an athlete." And it's a subtle thing. That is not an easy message to believe to your core.
My thought about beliefs are, you know you believe something, if it changes the way you behave and act and live your life. So at the extreme, if you say, "Gee, I love Jesus." And then lie, cheat, steal and mistreat everybody, maybe you don't. People would question. I'm not seeing the match between your life and your faith. That's probably a fascinating story. Does that kind of make sense that it's ... You heard that message, but yet there was a subtle shift in the message from what the truth was, which is ... I won't say inevitable, but common.
Zach Duke:
Yeah. No, you're exactly right on that. It took years, even into being a missions pastor, youth pastor, college pastor, still struggling with that performanceism. It wasn't until I was working at a church in Dallas, Texas, and I felt like a total fraud. I felt unlovable. I felt unforgivable. I felt unredeemable. I'll never forget, I was in my apartment and I felt like the enemy had possession of my soul, legitimately, not exaggerating. And I felt like I was completely deserting Jesus.
I wasn't even living in sin, that performanceism ... That lack of peace grew so deep from my projected reputation to the depth of my depravity that I knew what I was, that I though there was no way that God could ever receive me and give me salvation. And I just cried out desperately. I didn't think God would answer me. I didn't think I had any faith. I just said, "Jesus, help." That's all I said. I said, "Jesus, help." And to this day, this is the only time this has ever happened, but I had this picture come into my mind immediately. Without thinking about it, of a lion jumping inside of my chest, eating the darkness. And I physically felt the weight leave. And I started jumping up and spinning in my room.
I knew in that moment I was free. This was in 2012. And when that kind of calmed down, I heard the voice of the Holy Spirit speak to me in a still, small voice. And he said, "Zach, I never want you to try to be good again." And that just was going against everything I'd always thought and been taught of, "We need to give our best, we need to do our best." And yes, absolutely it's true, but there's an underlying as what ... Aslan in Narnia would say, "There's a deeper truth or the deeper magic."
And this is what the Holy Spirit said next. He said, "I never want you to try to be good again. I need you to trust in my goodness." And it just wrecked me. For the first time I realized that there does need to be performance. There does need to be goodness. There does need to be all of that. It's just not mine. It's Jesus'. Jesus performed for me perfectly and then died on the cross with the perfect blood.
I still wrestle with that because that's my fleshly tendency to go into performance, but the gospel has profoundly transformed my life as I've just seen Jesus was my performance.
Warwick Fairfax:
So let's talk about your love of athletics. You started off your career at Anderson University, which is not that far from where my kids went at Taylor University. Was it I-69 or something from Indianapolis up through Anderson and then on to Taylor? So talk about that and your love of athletics and football and your love of competing. So that's clearly a theme throughout your life.
Zach Duke:
Yeah, totally. My time at Anderson was amazing. I played football there as well. Actually, my first game was against Taylor. So my first ever collegiate game was Anderson versus Taylor. It was the best. I met some incredible godly friends there. I have an identical twin brother, so we both were receivers on that team. My brother and I and a few close teammates, we started a Bible study on the team called Gridiron, and that ended up being one of the most powerful things that we've ever done, just seeing teammates come to Christ, seeing coaches come to Christ.
I look back on those days of just incredible fondness of college students that don't have strategy, but have willingness. Willingness to trust God and to say yes. And I think willingness is such an underrated ... I don't want to call it a skill, but a value of just being willing to obey no matter the cost. And so I really enjoyed my time there, played two seasons and then God spoke and he told me to transfer to Liberty. And I'll put it this way, Liberty wasn't on my mind. I didn't want to go. I was loving Anderson, everything about it. And it terrified me to even think about going to Liberty, leaving my family.
I've never spent more than two days away from my brother ever, my identical twin. I didn't really know anybody there. I wasn't enrolled to Liberty. I knew if I didn't do this, I was disobeying. So in one day I withdrew from Anderson, drove down to Liberty, wasn't even enrolled. They didn't know I was coming, showed up in the Liberty parking lot with tears on my face. This woman saw me and she asked me what was wrong and I told her what I just did and she's like, "Oh, you need to come with me." I'm like, "I've got nothing to lose. I'll follow you."
So I follow this lady. We go into the registrar office. I'm like, "Okay, this is the right spot." Then we go past the desk. I'm like, "Now where are we going?" She takes me to the dean of the registrar and then she sits down in the chair because she was the dean. The very first person I met accidentally was the dean of the registrar. She's like, "All right, I'm going to enroll you in the university." I had my transcripts with me. I gave it to her. Literally, that's how it happened. She enrolled me in the school, signed me up my classes, got me dormitories, emailed all my professors, saying I was two weeks late to school and to not give me two weeks past homework.
It was a miracle. And so from that moment, I knew God has planted me at Liberty and I'm going to give my heart and soul for the purpose he has me there. So even that story itself was a journey of the impossible, trusting God. And it was all these little seeds from these little yeses growing up that continued, I don't want to say give me faith like it's mine, but gave me confidence in God that he will always fulfill what he asks us to do, whether it's a failure or a success. His purposes will be fulfilled. And I just have really come to trust that. And that's one of the beautiful stories of how he did that.
Warwick Fairfax:
I mean, that's an amazing story because just to let listeners and viewers know, Liberty University in Virginia is probably the largest Christian university I think in the country, where I live in Maryland. My kids all went to a Christian K through 12 school. And so a lot of kids would go to Liberty and just various other places. But it's a remarkable story because sometimes you make a shift in life because you feel like things are going wrong. But as you write, things weren't going wrong. You loved Anderson. You're there with your twin brother. It's not like you had this sense of discontent, this sort of, "Gosh, is there more to life than this?" It's very rare that somebody makes a change when things are going well. That is so unusual.
And to hear that voice say "You need to go to Liberty." It's like, "Well, why? My family's in Indiana. It makes no sense." But the odds of meeting the dean of the registrar is like a billion to one. Did people say, "What are you doing, Zach? I mean, this makes no sense."
Zach Duke:
One hundred percent.
Warwick Fairfax:
I mean, how did you answer that? Things are going well. You love Anderson. Why in the world move to the other side of the country where you know nobody? This makes no sense. Probably so many said that. How did you respond to them?
Zach Duke:
They did. I remember those sit down meetings very well. And to be completely honest, I don't fault them at all for their thoughts and their opinions because genuinely they were right. It wasn't a moral right or wrong decision. It was a decision based on, God would be with me if I stayed and God would be with me if I went. And so I had really close friends sit down and say, "You're sinning, you're leaving work unfinished. This isn't of the Lord." And coaches, my high school coaches call me saying, "You'll never play at Liberty. This isn't a good decision."
There were very few people in my corner in this decision, but because I heard the Lord, I never wavered. And so what I would tell these people ... And I wouldn't be upset, I genuinely understood their feedback, but I would tell them, "I think God's telling me to leave something I love for something that he loves and to leave something good for something of God." Those are the conversations that I had. And what's really cool is all of those people that sat me down are still some of my closest friends to this day. Our relationship is better even after I've left. And that decision, some of them came back and said, "I'm glad you did that. That gave me confidence to step out in faith too."
I don't know if that's encouraging to anybody, but trust God even if it might cause temporary conflict because that could be the key for their life too, for faith and obedience.
Warwick Fairfax:
Another confirmation in addition to meeting the registrar, when you just got out of the car was how you came to actually play football at Liberty. So talk about that because that again makes no sense. It never happens the way it did. It just doesn't.
Zach Duke:
No. No. When I showed up at Liberty, I had zero desire to keep playing football. In my mind, I was thinking, "I've already just committed such a big transition. I just want to be here as a student. I want to be a missions major. I just want to follow Jesus. I want to grow in the word." And I was fully ready to just do that. But then my roommate who I had never known before that I got put with, when he heard my story. He's like, "You need to play football." I'm like, "I don't want to." He's like, "I think you're really supposed to do it. You should email the coach."
And so a couple of weeks into school, I'm like, "Okay, I'll just email him and see what happens." They had already had walk-on tryouts. Like, "There's no way he's going to say yes." I emailed him at 11 at night. His name was Coach Rocco. I don't remember the exact email, but I know I sent him, "Here are my stats from Anderson. I just transferred here, would love a chance to try out." And he responded back seven minutes later at 11:07. Again, what head coach would that? He had to have been on his email when I did that, just God's profound timing.
And he just said, "We already had tryouts, but I'll connect you with our receiver's coach, Charlie Skalaski, and come out Friday at such and such a time and we'll take a look at you." I'm like, "I got to at least try." So I show up Friday, and this coach is still a dear friend and mentor of mine today. We just connected at a personal level right away. I went out there. I ran 40-yard dash. I ran routes. We talked football plays and IQ and he found out real quick that I might not be the best athlete on the team, but he knew that I knew what I was doing and he knew that I was coachable and I was athletic and I would provide value to the team, at very minimum.
And so a day later got a message back saying, "I'm on the team. Show up and we'll get you all the compliance, everything set up." And I couldn't believe it. I was a Division 1 football player, which was a lifelong dream, and I didn't even go there to play football. God just opened up that door. The two years I played there ended up being some of the most fun, free, incredible times of playing football. I grew so much as a person, as an athlete with the incredible coaches and chaplains that ... Our coaching staff love Jesus so much. Our strength coach loved Jesus so much.
And so it was an incredible environment, even though a lot of our teammates weren't believers. I was in this Christian bubble of Liberty, but the football team was not a Christian bubble. So I got to live that out in the locker room every day. And God really used that time in me and in my teammates to draw us closer to Jesus while having fun smacking people around.
Warwick Fairfax:
So you met your wife, Megan, there at Liberty and it seemed at the time things are going great. I mean, you felt like, "Gosh, I've tried to obey the Lord. I've maybe found the Lord's favor in some sense." But yet it's hard to understand why bad things happen, why God doesn't cause things, but he allows things to happen. And you started having some stomach issues that went on for years. It didn't just affect you physically. It seems like it affected you emotionally, spiritually. It wasn't just ...
So talk about that journey. What I'm fascinated about is it didn't happen overnight. It's not like you woke up one day and it's like the sky's falling, at least not spiritual and emotionally. This is sort of a cautionary journey. It can happen to anybody, but just talk about the stomach issues, what it did to you physically, but also what it did to you emotionally and spiritually.
Zach Duke:
Yeah. It feels like another lifetime ago. It's crazy how quickly you can forget pain and forget where you were in that season, but it was really, really bad. And I don't even like putting my mind back into it. It was around 2014 and I just started getting very, very sick. The first thing I remember is going to the ER, and just being so nauseous, not knowing why. And then it just started every single day without exception. I would be sick.
No joke, I couldn't brush my teeth without getting sick. I couldn't drink water without getting sick. I couldn't eat food. I could barely stomach rice, but yet at the same time, I started gaining weight. Why? I don't know. Maybe cortisol, maybe stress, maybe spiritual. I don't know, but I couldn't eat or drink anything and when I did, I would just get sick. Then I started having insomnia and panic attacks while at the same time ... This is when I'm working for a global ministry, where I'm one of the main guys traveling internationally. And so I'm sick in the Congo, sick in Oman, sick in Qatar, Nairobi, Kenya, South Africa. Hugging toilets in the international airports, traveling alone, begging God to take my life because I was in so much agony. It was miserable. It was a miserable existence.
And I started getting super depressed, despairing of life. And the despair really came through thinking, "I'm never going to get to play with my kids. I'm never going to have a normal adult life. I'm never going to get to teach my kids to play sports or to play catch in the backyard." Or, "I won't be able to fulfill ministry, continuing to travel because the sickness is just taking hold of my body."
And at the same time, doctors couldn't diagnose it. I went to all sorts of functional medicine, got my stomach scoped in the hospital and it's swollen from the inside, but they don't know why. We tried to treat it from over the counter medicine and prescribed medicine. And just nothing worked, nothing for six years. And every single night I'd go to bed and I would just tell my wife to pray for me because I didn't think I would wake up in the morning. I wasn't being dramatic. I wasn't exaggerating. I felt every night like I was having a heart attack and I couldn't breathe and I had to stand up and I'm having terrible chest pain and terrible stomach pain and I'm crying and I'm hyperventilating, night after night after night. It was miserable.
So I would be scared to wake up because I'd be sick and I would also be scared to go to bed because I knew I wouldn't sleep. And so this cycle just got worse and worse and worse. Mentally, physically, emotionally affecting relationships, while trying to hold it together, help run and steward this global work in ministry. Be a father, be a husband. I was breaking. I reached an absolute breaking point. And there was one moment, I don't know the day or even the year, it was like 2019 or 2020. And I'm in the middle of a panic attack. It was in the afternoon and I just put worship music on and I was like, "I'm just going to worship and I'm just going to not care about this even though I felt like I was having a heart attack, I couldn't breathe."
Like, "I'm going to rebel against what I'm feeling and I'm going to praise God." The moment I just started singing to Jesus, the spirit spoke. And I've said this several times on the podcast. I don't want to say he's speaking all the time, but these are significant moments in my life where he did. And he said, "You're not going to die. I'm with you. You're going to be okay." And I believed him. I did. I just fully believed him, lifted my hands, and the panic attack did not go away in that moment. However, I never had one sense and I just felt his love come over me in that moment and my stomach was completely healed and haven't had those issues since. I've been sleeping great for the last six years as well. God totally, miraculously healed my body from ... I don't even know what it was, probably something spiritual and just completely brought me back from the abyss.
Warwick Fairfax:
That is a miracle.
Zach Duke:
It's miracle.
Warwick Fairfax:
I mean, how else could you explain it other than that? But just to dwell a bit on some of those challenging times, you write that it wasn't like discouragement happened immediately, but it wore you down. You weren't rebellious, you were resigned and resignation is dangerous and obviously it can affect every area of your life and your habits deteriorated, your confidence, purpose. You said when purpose fades, discipline follows. Discipline becomes difficult. So all of these habits that you had over a lifetime that was ingrained in everything that Zach Duke is, it began to erode. Purpose, discipline, vision, self-confidence.
I mean, just talk a bit about ... The physical pain must have been tough, but I'm sure your wife, Megan and others probably looked at you and just said, "The sickness is awful, but the person we know and love has changed. Where's the purpose? Where's the passion?" That must have been hard for you, but really hard for others.
Zach Duke:
Yeah. It was especially tough for my wife, Megan. The word I've heard her use the most is the word hopelessness. She saw the hopelessness in my eyes. She saw that my fire was gone. She saw that I was literally a walking corpse with no hope. She's an incredible woman and leader and would stick to me through thicker thin. She meant her vows with her whole heart. She's such a godly woman, but she felt hopeless and helpless because she didn't know what to do or how to help me. I mean, she prayed for me every day. She tried to encourage me. She never ever left my sight. She never criticized me or condemned me for ... Whether she thought I was acting or exaggerating. She just stood right by me and never left my side.
Now looking back, that really was beautiful and so often joy and sorrow are intermingled together. And God has a way of when you look back on things in your life that you think are sorrowful, ended up being joyful and the things that you look back that you really enjoyed, you look back and see that was actually not good. And so as I look back, as painful as that was, pain has a purpose and Jesus wastes nothing in our life. It's that Genesis 50, everything the enemy used for good, the Lord used, or the enemy used for evil, the Lord has turned for good. It's just true. It's just true.
Warwick Fairfax:
So this is where there's a profound shift in your, I suppose, vocational life and you began to be interested in soccer, which is crazy because from the sound of things, you didn't play soccer growing up. I mean, kids play soccer everywhere, but not necessarily a number of years ago. I mean, you've had a number of dramatic calls from the Lord to go from Anderson to Liberty and not having been enrolled, but then the whole soccer thing. It's like, "What?" And I think you were what, like 34 or something? I mean, you weren't like 17. That points you towards the journey that you're on now. How in the world did that happen, this whole soccer journey?
Zach Duke:
Yeah. I never grew up playing soccer. I played basketball, football, track. The only time I did soccer was when I was in preschool. When you're sitting, you're running amoeba and you're picking the grass. My dad, he's a big football guy, doesn't like soccer. So one year of that, he's like, "No more." So that was the extent of my soccer was preschool grass pickers. And so never trained, never played. And so the Lord heals my body, the story I just shared. Then a couple of years go by and I'm still very overweight, haven't got my habits back. Even though he healed me physically, mentally, emotionally from a leader and servant standpoint, I'm just not there. And so much so that I just begin to regret the man that I'm becoming.
Every man feels this. Every man thinks about, "Here's the standard God's called me to, and when I think 50 years in advance and who I am, I don't like it. I don't like the husband I'm becoming, the man I'm becoming." And so I was in Virginia at my in-laws and I'm like, "I just need to get away, go to a coffee shop, spend time with Jesus and just pray he speaks to me. Just beg as I'm listening to him to get me out of this depression and this rock bottom of my soul."
And so I go there and I listen to the podcast that you referenced in the beginning called DadWork. I love the tagline from my friend Curt Storring. It says, "Equipped to lead, easy to love, hard to kill." Every man wants that. We all want to be equipped to lead, to be hard to kill, to be easy to love. And so they had a guest on the podcast, this amazing Christian dad podcast. And he's just challenging men like me. Why have we accepted the status quo? Why do we accept the dad bod? Why do we accept the societal norms in America and not question them and challenge them according to scripture and what God has for us? Where are the few men, the warriors who trust God to the nth degree? Men of God, do you even know what your limits are? Do you even know what your edge is? Have you ever even been close to it before to know what pushing yourself looks like mentally, physically, spiritually, emotionally to the edge?
And I'm sitting there thinking, "I don't have a clue because I've never tried. I just gave up." I'm coasting and just getting through life. And that burdened me. I realized in that moment that I did not like the man that I was becoming. And so I prayed a dangerous prayer and I just prayed, "God, don't let me move from this chair until you bring the fire and resolve back." Fortunately he answered that immediately or I might still be sitting there.
But the only way I can describe it is I just felt like electricity just started going through my body that I instantaneously knew that God was answering my prayer, immediately, without question. And I get out my journal, I get my pen. I'm like, "All right, whatever you tell me to do, God. I'm going to do it." And he said, "Soccer." And I'm thinking, "All right, God. Whatever you want me to do, tell me."
Gary Schneeberger:
Because I'm not hearing so good right now.
Zach Duke:
There's no way that you actually mean that. And he said soccer. I'm like, "I don't understand." And the first thing that popped to my mind was my days at Liberty, when that's when I had the best habits and disciplines and time management, abiding in Jesus. Ministry that was going on with my friends and just enjoyment of walking with God according to his purpose. I'm like, "Okay, I get that from that standpoint, but why soccer? Why not football?" And he then reminded me I was going to Southeast Asia to be with one of the big directors of football soccer for the area. And he was using soccer to plant underground churches in India, Bangladesh, Sri Lanka, Bhutan, and Nepal.
The lights just started going on. "Okay, this is the lowest hanging fruit, every country on Earth. It's the global language. You can get into persecuted nations. The World Cup's coming to my country, the Club World Cup, Copa America. So it's going to hockey stick as far as popularity and people really engaging with soccer in our own nation. If there's ever a window and a time to use soccer and to use this gift of gain that God has given us for the sake of the gospel, it's right now."
And so that just clicked to me. I'm like, "All right, if that's why we want to do it ..." It's kind of like that Liberty moment. If you put me on the team, I don't know why, I might not ever play, but if you do, I want to use it for your glory. It was that same mindset. I don't understand any of this, but I'll do it if this is why you want me to do it. And then the other part came to me like, "Okay, but if I'm going to push myself ..." Because the conversation was around the limits and getting to the edge. If I'm going to push myself to the limits, I need to find what my soccer limit will be. So if I could think to the farthest degree of what the limit could be, it would be the World Cup.
And so naturally or unnaturally or supernaturally, I think I'm going to try to make it to the World Cup in four years or break my body trying because I'm going to find what my limit and my edge is. I wrote it all down. I still have that original note on my phone of that commitment down and went home and told my wife. I'm convinced I could have told her I wanted to be a professional basket weaver and she would have been all in because she saw that her husband was back.
Gary Schneeberger:
Yeah. You said something earlier that you don't have to have a strategy if you have willingness. And what you've just described is almost like willingness became your strategy. The willingness to go far beyond. I mean, you compared it to Liberty. What you did to yourself when you said, "Okay, let's just go for the World Cup," is like ... Take you back to football. Let's just go to Alabama. Let's walk out of Alabama and see how that happens, the University of Alabama. I mean, you really went far. Would you agree that willingness became a bit of a strategy for you as you move forward?
Zach Duke:
I think that's a great way to put it and I would say absolutely. I've never though of it that way. Might have to steal that, but yeah, willingness-
Gary Schneeberger:
All yours.
Zach Duke:
Willingness, it is the strategy because that's what the Lord is looking for is anyone who is thirsty may come. And that's his heart. Anyone who wants to come to me, 2 Chronicles 16:9 comes to my mind. Says that the Lord wants to give strong support to the heart that's fully committed to him. So the way to get strong support from the creator of the universe is your full heart abandoned yes, which is willingness.
Warwick Fairfax:
Well, that's such a good point. I mean, you're showing throughout your life that when God says, "You need to go to Liberty." When God says, "You need to do soccer." It's like, "Okay, I don't think I understand the whole plan. In fact, I know I don't, but yes. And I trust that you'll show me the path and the next step." I mean, that is to me a practical definition of faith. It's just amazing. And it seems like ... You write that this whole journey started with hope and some of those habits came back, the discipline, the vision, you had a goal. It almost seemed like goals are important, but it wasn't as much about the goal as what can I achieve? What can God do through me? How can God use this for his glory, the journey as much, if not more than the destination?
So talk about how that journey, the whole World Cup Dad meme, where that journey went and how it began to help you physically, emotionally, spiritually. I don't know if you could say the old Zach was back, but to a degree the trajectory of your life started changing in a positive way.
Zach Duke:
Yeah. No, what you just described is exactly it. It is not about the goals. It's not about reaching some achievement. And if more people were to get that, not in my story, but in their own life. Man, that really is what the Lord is after in all of us is shaping us more into the image of Christ. And so the whole journey of what World Cup Dad is and is becoming, it's been a miracle after miracle the entire step of the way.
From day number one, I knew I had to burn the ships. I had to make this public or else I would quit in private. I had to face very quickly that people were going to make fun of it, that I would be humiliated, that I would face rejection and everything in between. And I knew I had to walk through that fire because that reputation management is something I could no longer hold onto and God wanted to burn that out of me and is still burning that out of me. And so I just started posting my training as often as I could, almost every day. And I literally told nobody. I didn't tell friends. I didn't tell family. I just started doing it and they just found out when they found out.
And then four months into it, after I started regaining my daily disciplines, my time with the Lord. After four months, I lost about 15 pounds. I started getting stronger, back in shape. I started playing soccer. I was very bad, very bad, and playing rec league soccer. But then I had my first Instagram reel go viral. And I've gotten a lot of flack over the last four years of like, "Oh, your journey only happened because of social media." I think that's silly on so many fronts because one, I would encourage everybody to use every tool possible that they have. I am convinced Paul would've used social media and Zoom to share the gospel if he lived in our days. He wouldn't say, "You should only use the roads. How dare you use these other things that have been invented?" And for any other athlete, why would you not use social media, instead of just emailing coaches?
Use everything at your disposal to maximize what God has given you. That's called stewardship. And so my reel started doing really well. My story started to inspire a lot of people, so much so that a professional mid-level team out of Brazil found out about the story and invited me to come and train and play with them in Brazil, in Sao Paulo. And to which I told them, "That's a really bad idea. I don't think you know how bad I am." And they said, "No, we know how bad you are and we want to help you." Like, "This sounds like we're on the same accord here." And so they paid for the whole trip and went down there, trained with the professional team, was scared out of my mind. We ended up leading one of the coaches to Christ there. And that was probably my highlight was that.
Come home, I get invited after that to play for the Indiana University alumni team for a seven on seven world championship. And we ended up making it to the final four, playing on ESPN, so much fun. It's these in between seasons that people don't really see or know that we get to express more on these type of podcasts. But there was three months of nothing. No one's calling, no one's reaching out. And I'm thinking, "This journey's over. This is ridiculous. What am I doing? Did I hear God correctly?"
These are the seasons when our flesh wants to force something. We want to create an Ishmael out of Abraham and Hagar, instead of waiting for God's promise through Sarah. And so every time I thought about, "Should I reach out to anybody, what should I do?" The Lord said, "Do nothing or you will take credit." And so I just waited and I just prayed and I fasted. And God told me three months later when I was fasting, it was like a three-day fast, "Call your friend Reggie." And I call Reggie and Reggie's like, "No way. I just started fasting today and I asked God, what do you want me to do? And then you called me." I'm like, "Of course. Of course that's how it happened."
And so long story short, I go out to California to where Reggie lives and he just so happens to know the general manager of the USA indoor team. And we go out to lunch, he falls in love with my story and wants me to be part of the team and puts me and rosters me on the USA pro indoor team. It makes no sense. I'm not saying I deserve to be on that team. I tried out and they thought, "Man, Zach's really good and he should be on that team." No, it happened through fasting and prayer, connecting with Reggie. Reggie knew that guy. This GM was really moved by my story and God put me on the team. I didn't force my way on it. I didn't try to strategize my way on it. God just did it. So in my shoes, should I say yes to that? Absolutely, 100% I should do that.
They ended up playing me in the game Verse Mexico, which shocked me. I've never played pro indoor in my life and you're going to play me versus Mexico. And I didn't do good, but I didn't do bad. I just kind of existed out there and that was good enough for me to not look like an idiot. But before the game, I got to pray for the team because I had been sharing my testimony with a few of them the day before. So when it came time to pray before we went out, they all pointed to me and said, "Zach will pray for us." And so I'm thinking, "This is my one opportunity. I'm just going to pray individually over each one of them and speak life, identity, the blood of Jesus over them."
And they were visibly moved by the Holy Spirit touching their lives. So much so that they came up to me after the game saying, "That was the most incredible prayer ever." And again, no credit to me, my praying, I think that's silly, but I say that to say that it impacted them so much that when I went to the combine that next month, when I ended up getting drafted 24th by the Empire Strykers, that coach was in the locker room that day at the USA game. And he said, "I remember when you prayed for the team and the respect that they had for you and the way that everyone looked at you as a leader in that room and I knew that we needed that on our team."
So again, the reason I got drafted, was it because I was good? I don't think so. I think it was genuinely because I prayed for people and it moved people and they wanted that on the team. Why did I get put on Liberty? I don't know. Why did I get put on the USA team? I don't know. Why did I get drafted to the Empire Strykers? I think all of it is more than what I deserve, but it's a testimony of the strategy of willingness, of just keep saying yes to Jesus.
Since that time ... I'll make the rest of this brief, but I got asked by the LA Galaxy to play in their Adidas tournament for their three on three national tournament, which was so fun just to get to represent the Galaxy. I signed a contract to play in the 6V6 World Cup with Brazil in September. Some of that stuff is still in flux because coaches and presidents, but the contract is signed. Nevertheless, we'll see how that plays out. But God has just blown the doors off of expectations.
I still don't know how the story's going to finish, but as I look back, I just think God uses the weak things of this life to bring honor and glory to him. He really does use mustard seeds of faith in all of us. And my prayer is that God is using this to give Joshua and Caleb like courage to obey Jesus and to take the land and to obey the promises of what he's given instead of making excuses of, "There's giants in the land, they're too big, we're too afraid." Fill in the blank of whatever the excuse is, but to have courage again to fully trust Jesus and to go for it.
I'll finish this long thought with some wisdom that my brothers from Pakistan told me. They said, "You guys in America, you feel like you have to understand before you obey, but over here in Central Asia, we obey and then we understand." I think that's what Jesus is after from us. Let's stop hesitating until we know every little dot and tittle and obey Jesus first and understand second.
Warwick Fairfax:
That's so profound because part of the definition of faith is not understanding everything. And for those of us who like to plan, and I do, just learning to, "Okay, what's the next step, Lord? I may not understand why or where this is going, but yes, you show me the path." And really you've showed just so many elements of faith and the reason why you did things and why you did what you did is everything, not so much the result, as you say. So some people could say, "Well, look at Zach Duke." I don't know how many folks you have on Instagram. Is it like 160,000? Well, that's massive. And you could say, "Well, it's all about being a social media influencer." And it's like, "Well, no. It was about being faithful to God's call. It was about burning the ships and making public what your declaration was about soccer and the whole World Cup Dad goal." That was it.
Your goal wasn't to be this social media influencer. And people may believe you or not, but that's up to them. It's their problem. You were just being faithful and when you were fasting and praying and you call Reggie and it's like, "Wow, I was just thinking about you." And you get to play with the US indoor soccer team and then later with the Empire Strykers, the indoor soccer team. I mean, that's just God and the influence you had for him praying. I mean, there's so many times when you were faithful and God showed up.
Zach Duke:
Yeah. God is incredibly faithful. He really is faithful to the end as well. Earlier on the podcast, we talked about the schemes of the enemy a little bit. And anyone who is listening would understand this, it's not often the big things that will take us out, but Satan's strategy for all of us is the wearying of the saints. Just the slow grinding down to when we just say, "You know what? This isn't worth it anymore." And I pray that I would never get to the point where I could say, "You know what? Jesus no longer is the treasure in the field that in my joy I can sell everything for." I pray I never get there. I pray that I never stop risking for Jesus no matter how old I am, because I know that this life is only a grain of sand compared to the beaches of eternity.
I pray I'm like Caleb, if I get to live to my 80s, 90s, 100s, bright-eyed and full of faith to the end. And that's only possible through Jesus, only. Not by our disciplines, not by my habits. Those things are good, but that's not it. What is it? It's the spirit of God in us as we yield to him and everything else sits on that foundation.
Gary Schneeberger:
I have no idea why I do this sometimes on the show, Zach. Sometimes people will be talking about certain phrases and words and I'm like, "I wonder what the anagram for that would be." So while you and Warwick were talking, I grabbed my phone and typed in on an anagram server what World Cup soccer ... What anagram you can build out of World Cup soccer. Here's what you can build out of World Cup soccer. Lord escrow, God's escrow. When you buy a house, escrow is where they hold funds and they hold property and they hold places. And then when it's completed, those funds are released. It seems like the Lord has held all of this in escrow for you as you've continued the journey.
Zach Duke:
That's really good. Yeah. I'm going to sit on that for a while because I think that's better than just a 10 second of, Hey, that's good." That's really, really deep and good. Thank you for sharing that.
Warwick Fairfax:
So your story is just a remarkable story of faithfulness and I'd love to ask you what you feel like you've learned through the course of your life. What God has taught you, but it just seems, at least to me ... There's so many times when you said, "Yes, Lord," and not knowing the answer, not knowing the why, having people ridicule you. I mean, you've probably been ridiculed to a degree throughout a lot of your life from different people, sometimes well-meaning people. Going to Liberty and leaving Anderson makes no sense. You're playing wide receiver with your brother. Why would you do that?
Somehow you get this notion you'll play soccer and World Cup and it's like, "Well, that's not going to happen." And it's easy to say, "Well, it's 2026 and yes, you're not on the US team." But it's not the point, that people miss that. And it's like, "Oh, you're a social media influencer. That's what it's all about." No, that's not the point. It's about the journey and how God is using me. So do you feel like maybe some of the tools of the enemy is so many people misunderstand you or question your motives or question whatever, and yet you just keep saying, "Yes, Lord. I'm not here for popularity. People may love me, condemn me, but that's not the issue." There's probably a lot of thoughts in there, but what do you feel like God has taught you through all of this?
Zach Duke:
Transparently, he taught me that I cared way too much about what people thought and that when they would say those things, that it would really bother me and it would hurt. And so that was revealing. That was revealing that I had a long way to go for the Lord to refine that out of me. And so I've been growing and getting to the place where I don't need for others to understand. I don't need to convince them. If people have opinions, I can live with them having those opinions. That's really, really hard for me.
But what he does want me to do is to keep my eyes on him, like Peter on Jesus in the waves. There's all these waves constantly coming, but my eyes are on him. And the more I focus on the vitriol or even the well-meaning opinions, they're all distractions if they're not from the Lord. Now, that doesn't mean that I should dismiss what people are saying. And that's what's hard for me, is I want to hear people. I want to know it. I don't want to come off as off-putting or I don't care what people say. I don't think to swing the pendulum that far, but I think the top filter is what is the Lord saying? That's the priority. And then everything else is filtered through that.
And so fighting bitterness when you wish people would support and they don't. Is God's support enough? It has to be. For me and for us, his look of pleasure and love, if it's not everything, then I have idols and I had idols. And furthermore, it doesn't matter how many times I've said yes to Jesus up to this point. If tomorrow I give him a resounding no, it doesn't matter. I can't think, "Oh, I'm someone who says yes to Jesus." Well, that might be historically true, but is that true today? Is that true tomorrow? I don't know. I'll have to find out when I get there.
So I think that endurance, that long obedience in the same direction is what he's after in us. I think it's harder now in this journey than it was at the beginning. The stakes are higher. The responsibility is higher. The story is more profound. The light is more on me. So how will I respond? It's harder now. So I don't know what's necessarily next, and I think it's even harder now to maintain those habits and disciplines because now more is required. And so at every part of our journey, we could get to the edge and say, "I've come far enough." And so I'm at that point right now, where I need to continue to say, "I'm going to keep going." Not just for soccer, you could change the goal. I don't care. That's not an idol to me, but I've got to keep going and saying yes to Jesus or else everything in the past really didn't mean a whole lot.
Gary Schneeberger:
That sounds you just heard, folks, is the captain has turned on the fastened seatbelt sign indicating it is time for us to begin our dissent on this conversation. But before we get there, I would be remiss, Zach, if I didn't give you the opportunity, especially since you're not sure how the story's going to end. If I didn't give you the opportunity to tell folks how they could find you on all those social media platforms that you talked about earlier.
Zach Duke:
Yeah. The best one that I'm on the most is Instagram. So it's just @worldcupdad. Yeah, shoot me a message. Would love to engage with anyone on there and how this podcast encouraged them, inspired them. It's getting harder nowadays with more messages, but I want everyone to know that their journey and story is just as significant to God as anybody's. Follow me on Instagram, engage with me. Any way that I can be of a help and service, I just want to be.
Gary Schneeberger:
Warwick, as always, before we close, the prerogative of the last question or questions is yours.
Warwick Fairfax:
So Zach, there might be somebody that is listening and watching this and maybe they feel like today's their worst day. It might be a crippling physical ailment as you had, or it could be a loss of a loved one, loss of a business, of a job, a divorce. It could be all sorts of things in which today might feel like there is no hope. They have this grim sense of resignation, time to give up on life, give up on what I believe. What would a word of hope be for that person who they might feel like there is no hope, there is no point, I'm giving up. What would a word of hope be for that person?
Zach Duke:
If there's breath in your lungs, then there's hope. And the most profound revelation is that Jesus loves you. And I know we sing the songs, we have the nursery rhymes, but when we just sit long enough and believe that Jesus loves me, specifically me. Two verses are coming to my mind that I want to encourage people with, specifically if we're in that place of despair or giving up or tragedy or stuck. The first one is in Psalm 18, where it says that, "He delivered me because he delighted in me." And I think a lot of us have forgotten the delight of Jesus, that his love was so profound that he literally gave his life to buy back his family, to fight for us, to destroy what's destroying us.
And we so often think of kind, loving Jesus, but when it comes to the things against us, Jesus is a warrior king and he wants to destroy what's destroying us. So Psalm 18, read that, be encouraged by it. And then the second one is Isaiah 61, I believe, verse 11. And it says, "Instead of shame and dishonor, I will give you a double portion of honor." It blows my mind because we deserve, and those listening, you actually do deserve shame and dishonor. We can agree that that is true, but it's the half-truth.
The full truth is because of Jesus and his performance for us, we get a double portion of honor. We get a double portion of inheritance. We get a double portion ... It finishes in that verse saying that he will give us everlasting joy. That's our God. The only way that we can get through this is to look to Jesus, to see that he loves you, to see that he delights in you, to see that he's not against you. The moment we turn and we trust in him and believe in him, that's when he shines that light in our darkness again.
And so get up one more day, trust in him one more time. Do what I did in the middle of my panic attack. Turn on worship and start praising Jesus like your life depends on it and let worship be your warfare. So that would be just what comes to my spirit immediately to encourage others with.
Gary Schneeberger:
Friends, I've been in the communications business long enough to know when the last word on a subject's been spoken and our guest today, Zach Duke has just spoken it. In fact, if we go by the metaphor of what we've been talking about, he just kicked the winning goal on our conversation. If you're not watching it on YouTube, he just pumped his fist when I said that, so that's awesome.
Warwick, we just had a very interesting, inspiring and enlightening conversation with our guest, Zach Duke. You may know him folks as World Cup Dad. That's what he is all over social media. What's the one takeaway? And there were a lot of them, so I hate to do this to you. What's the one takeaway from our conversation with Zach that you'd like to leave our friends with today, Warwick?
Warwick Fairfax:
Zach Duke is a remarkable person. His is a story of faith and continually saying yes to God when it made no sense. Here he is, he's from Indiana. His family's lived in Indiana since ... Gosh, before the Revolutionary War, like a long time. He even had an ancestor that fought for the US in the Revolutionary War. And he goes to Anderson University in Indiana, which is not that far from Indianapolis. And he's playing wide receiver on the football team with his twin brother. And he feels like the Lord's saying, "I want you to leave Anderson and go to Liberty University," which is in Virginia. It's one of the largest Christian universities in the country, but it's all the way over the other side of the country. "I want you to go." And so here he arrives at Liberty and he's not even enrolled and he's two weeks late for the beginning of the year. It just makes no sense.
Gary Schneeberger:
It's not an auspicious beginning, for sure.
Warwick Fairfax:
No. And then somehow a woman in the parking lot says," Can I help you?" And she was like the dean of admissions or something, the registrar. And what are the odds of that? I mean, Liberty University, it's a very big place. And he gets enrolled and then he sends an email to the coach at 11:00 and within eight minutes or something, he gets a reply saying, "Sure, why don't you try out?" And he gets to be a wide receiver on the Liberty team.
I mean, as people know in college sports, you get scholarships, there's walk-ons, but not a whole lot of people get walk-ons. But after the team is selected and the semester has begun, your chance of making it is close to zero at that point. It just doesn't work that way in college sports, certainly not college football. It makes no sense.
And then he goes through this debilitating ... Gosh, it must have been six years or so of his stomach illness and the doctors can't figure out what it is. To this day, I don't think they know what it is. And he's showing up, he works for some global missions organization, he's traveling all over the world and he's spending his life in airport toilets. It's just debilitating. He can't sleep, he's depressed, it hurts his esteem, his ability, the drive and discipline, it all goes.
And then one day he says, "Lord, I just need a sense of direction." And Lord says soccer and somehow miraculously the panic attacks stop and his stomach is healed. It makes no sense. And here he is 34 years old and this whole notion of playing soccer, which he never played in his life.
Gary Schneeberger:
Well, no. That's not true. He played as a peewee, he said.
Warwick Fairfax:
That's true.
Gary Schneeberger:
He was in preschool or something, he said.
Warwick Fairfax:
Exactly. As he puts it, when you kind of pick up dandelions or grass off the field. Having had kids who played soccer, I'm familiar with that. And he has this whole idea of playing in the World Cup in 2026. Now we're in 2026. The World Cup is here in this hemisphere, US and Canada, Mexico. And no, he's not on the US team, but it's not the point. The point is he has been faithful to God his whole life. And so one of the biggest takeaways, whether you're a person of faith or not, is when you have that still, small voice, that inner voice saying, "You need to do this." As they say, you know when you know, and nobody else might think it makes any sense, you feel like this is the next direction, this is the next place I need to live, this is the next job, this is the next step in my journey. You sort of just obey that call. You listen to that voice.
And he's done that time and time again. And God has used him at Anderson, at Liberty, to lead Bible studies with players. Here he is at one point, he plays with a Brazilian soccer team. I think it's an indoor soccer team. He plays at one point for the US indoor soccer team and then gets drafted to play for the Empire Strykers. And why does he get drafted? Because the coach heard him pray at the US indoor men's soccer team. It's not his ability. I mean, he's athletic, but he hasn't played soccer his whole life. So his whole journey is a journey of saying yes to that still, small voice, yes to the Lord.
And even in the dark times, just clinging to that belief that somehow the Lord will find a way. Certainly he's a testament to, it didn't happen to him, it happened for him. His story is amazing. Yes, you could say, "Well, he hasn't made the US team and it's 2026." But it's not the point. It's about being faithful to the journey. And yes, he's got 160,000 followers on Instagram and people can say it's all about being a social media influencer. No, it was about publicly declaring the goal that he had and being faithful to the Lord.
He has really not got his identity in what he does or even his goal. He's just trying to be faithful. It's about the journey. When you have the sense of vision, it gives you a sense of perseverance, a sense of purpose, a reason to get up in the morning, having that vision more than ... It's not so much whether every aspect comes true or maybe the vision doesn't come true in the way you thought, but just focusing on the day-to-day, on the journey and the people that you'll impact more than what you achieve. So many powerful lessons, whether you're a person of faith or not, so many powerful lessons from Zach Duke.
Gary Schneeberger:
So until the next time we're together, folks, please remember this. We know that your crucible experiences are difficult. Warwick and I have talked about it on this show many times. Zach talked about the just terrible physical and spiritual, emotional crucible he went through. But here's the hope that we all have out of this conversation and out of all the ones that have come before, and that's this. Your crucible experiences aren't the end of your story. In fact, if you learn the lessons from them, you apply those lessons moving forward, you can find yourself heading toward what can be the greatest destination of your life, and that is a life of significance.
Welcome to a journey of transformation with the Beyond the Crucible Assessment. Unlike any other, this tool is designed to guide you from adversity to achievement. As you answer a few insightful questions, you won't just find a label like the helper or the individualist. Instead, you'll uncover your unique position in the journey of resilience. This assessment reveals where you stand today, the direction you should aim for, and crucially the steps to get there. It's more than an assessment. It's a roadmap to a life of significance. Ready? Visit beyondthecrucible.com. Take the free assessment and start charting your course to a life of significance today.
What does it take to be the kind of adviser a leader can truly trust โ and what does it take for a leader to trust them?
In this episode, we explore the remarkable relationship between Queen Elizabeth I and her closest adviser, Lord Burghley, as part of our ongoing series More Stories from the Book Crucible Leadership. Elizabeth once said of Burghley that he would not be corrupted by gifts and would remain faithful to the state โ high praise from a monarch who had every reason to be guarded. Warwick unpacks why Elizabeth thought so highly of Burghley, how he handled his role with complete dedication to her mission rather than his own ambitions, and why their partnership stands as a textbook example of what truly great counsel looks like โ and what it takes for a leader to recognize and receive it.
๐ Take the free Trials-to-Triumphs Self-Assessment to discover where you are on your journey of moving beyond your crucible and how to chart your personal course to a life of significance: https://beyondthecrucible.com/assessment/
Transcript
Warwick Fairfax:
Welcome to Beyond the Crucible. I'm Warwick Fairfax, the founder of Beyond the Crucible. Probably the finest tribute paid to Burghley was from Queen Elizabeth who said the following of him, "This judgment I have of you, that you will not be corrupted with any manner of gifts and that you will be faithful to the state."
Gary Schneeberger:
Those are pretty strong words of endorsement, especially coming from a monarch talking about an advisor. This week in the latest episode of our series within the show, more stories from the book, Crucible Leadership, Warwick unpacks why Queen Elizabeth I thought so highly of and relied so much on Lord Burghley and how Burghley handled his role with complete dedication to the queen's mission, not to his own aspirations. Theirs is a textbook example of what it takes to be a good advisor and what it takes for a leader to trust a good advisor.
Welcome friends to this episode of Beyond the Crucible. You have joined us in the first, what we would call a "regular episode" after our summer film series and our 30,000-foot level look at the summer film series. So, now we're back in the regular rhythm of the show, and that means this week, we are back to... It's been a while, Warwick, but we're back on more stories from the book, Crucible Leadership. It is what we call the series within the show, as it were.
And just to refresh your memory, especially since it's been a couple months because of the summer series that we've talked about more stories from the book, Crucible Leadership. The book, Crucible Leadership was a Wall Street Journal bestseller that Warwick released in 2022. It's an important book because it was that book which birthed the brand Beyond the Crucible. And if it wasn't for Crucible Leadership, not exaggerating at all, if it wasn't for Crucible Leadership, there would be no Beyond the Crucible business. There would be no Beyond the Crucible podcast. So, that's how important it is and that's why we revisit it. We have in 2026, once a month. Each month, although as I said, with our summer series, we were off doing that and so we haven't been on about the book series for a couple of months.
We feature one story from Warwick's book, spotlighting one key learning that helped the subject of the story overcome a crucible and can help you overcome your crucibles as well. And this year, in more stories from the book, Crucible Leadership, cleverly named from last year, which was stories from the book, Crucible Leadership, we've added an interesting twist this year and that is half of the stories that we're covering were those that made it not in the book, but on the cutting room floor. They did not make it in the final edition of the book. And the story that we're going to talk about this week is indeed one of those stories.
And the story is Lord Burghley on being an advisor to Queen Elizabeth I. If you don't have a lot of ideas of what that means, that's why we do this because you're going to get some great tips, some great insights and action steps from this historical story that we're going to go through. So Warwick, in every episode of this series within the show, I ask you a simple question to start off and that is this, why this individual from your book? Why are we doing a podcast episode on Lord Burghley?
Warwick Fairfax:
Well, it's interesting. We did a episode earlier this year on Louis Howe, who was a key advisor to Franklin Roosevelt in the '1930s and during his rise in the '1920s. So most people have heard of Franklin Roosevelt. Some may have heard of Louis Howe. Not everybody has heard of Lord Burghley.
Gary Schneeberger:
No.
Warwick Fairfax:
Queen Elizabeth was queen as we'll get into, in the '1500s. So this is a long time ago and there's a reason that we're talking about Lord Burghley because we can learn so much from what a fantastic advisor he was to Queen Elizabeth who was queen during very challenging times. So Lord Burghley was one of the key advisors to Elizabeth 1. Queen Elizabeth had a number of great advisors who were experienced and trustworthy. Her two key advisors were Lord Burghley and Sir Francis Walsingham. Probably her most important advisor, and she had a few, was Lord Burghley.
So Burghley was Elizabeth's advisor for 40 years, initially as Secretary of State and later, Lord Treasure. The Secretary of State meant something different back then. It's not the modern U.S. foreign secretary. Elizabeth was loyal to her ministers and encouraged their frank counsel and weighed their advice. So, Lord Burghley, he was born in 1520 and he died in 1598, just a few years before Queen Elizabeth died. And it's been said that the biography of Burghley is almost indistinguishable from that of Elizabeth and from the history of England. He devoted his whole life to serving his queen, Queen Elizabeth. Now, Burghley's main goal for English policy was the creation of United and Protestant British Isles. He wanted to complete the control of Ireland, forge an alliance for Scotland and protect England from invasion with the powerful Royal Navy.
Gary Schneeberger:
Yeah. 40 years serving the Queen, that is certainly yeoman service. That is a dedicated advisor. And we'll hear in this episode, folks, about just how dedicated Burghley was and the benefits that he brought to the queen. But before we get going that far, Warwick, let's begin where we start with guests on the show as we start talking about this more stories from the book episode. The backstory, that's where we start with guests. In this case, the backstory of Elizabeth I, how did she rise to the throne? Under what circumstances did she become queen?
Warwick Fairfax:
So, Queen Elizabeth I, she was born in 1533 and died in 1603 and she became queen in 1558. Now, these were certainly turbulent times that Elizabeth grew up in.
Gary Schneeberger:
Yeah, a little bit.
Warwick Fairfax:
Her father was somebody who is well known in history, King Henry VIII. And King Henry VIII was married quite a few times, six in fact. But how he got divorced is a bit different than today, different times. And so, when Henry's first wife, Catherine of Aragon, did not give him a male heir, he dissolved his marriage. Now, at the time, England was a Catholic country in the early part of his reign and the Roman Catholic Church did not recognize divorce, did not recognize the dissolving of his marriage. Well, Henry was not somebody who tolerated not getting his way, even if it was from the Pope and Roman Catholic Church. And so, he divorced anyway and Henry's second wife, Anne Boleyn, gave him a daughter, Elizabeth.
And then Henry beheaded Anne Boleyn before Elizabeth was three years old. And so, given that the Roman Catholic Church was against Henry's divorce from Catherine and his marriage to Anne Boleyn, Henry created his own church, the Church of England. It's like, fine, Rome won't recognize my divorce from Catherine and my marriage to Anne Boleyn. Fine. I'll make my own church and they'll recognize it. So that's how-
Gary Schneeberger:
[inaudible 00:08:10] new church.
Warwick Fairfax:
Exactly. The Church of England, the Anglican church, Episcopal Church, all came from this point. And so, after Henry died, Elizabeth's sickly, half brother, Edward became king. Six years later, Edward died and Elizabeth's elder half sister, Mary became Queen. Now she was the daughter of Catherine of Aragon. When Mary became Queen, being an ardent Catholic, she was bent on restoring the Roman Catholic Church in England. So this put Protestant Elizabeth in a precarious position. Protestant Elizabeth was next in line to the throne behind Catholic Mary and Mary didn't have children. So, this became an inevitable target of the plots to overthrow Mary and restore Protestantism to England. Elizabeth may not have been part of such plots, but she was arrested and sent to the Tower of London. And if anybody's visited London, you've got the Tower of London, the crown jewels. When you were sent to the Tower of London, it wasn't a good thing.
It tended to mean you were there for execution. And she narrowly escaped her mother's fate of being beheaded. And after five years of Mary's reign, Mary died. Elizabeth became queen in 1558 at the age of 25. And I'm reminded of scenes where Mary was pondering whether she would behead Elizabeth to preserve Catholicism by a 1998 movie called Elizabeth. And that starred a young Cate Blanchett. It was probably one of her earlier roles and launched her career. And as I was looking it up and reminding myself, it turns out that Richard Attenborough, who featured in our summer series Jurassic Park, a 1993 movie, he plays John Hammond, the guy that creates Jurassic Park and he creates dinosaurs, that same Richard Attenborough plays Lord Burghley in that movie. So pretty amazing, right? Because we've only just recently covered Jurassic Park. So when you watch that movie, it's worth looking at because it gives you an idea of the challenges of the times.
There were scenes in which the advisors to Mary said, "You've got to behead Elizabeth." And they would put pieces of paper in front of her basically saying, "Mary, sign this and your sister will be beheaded." And she ponders, she thinks, but she couldn't quite do it. And her advisors say, who are Catholic, "We've got to preserve Catholicism any way we can do it. You got to kill your sister," and she can't quite do it. And you see Elizabeth basically in prison in the Tower of London awaiting her fate. So, a movie definitely worth watching.
So what's interesting is in these turbulent times in which she's growing up and she's seen her father have multiple wives and kill a number of them, life was very uncertain even if you're a princess. And Elizabeth was somebody that was very intelligent. She received a first class education, quick-witted, intellectually serious, and she spent a good part of her growing up, understandably being careful with what she said and having to be quite cautious.
So, Elizabeth learned valuable lessons growing up on how she was seen by others. She also learned the fragility of life and the survival instinct was keenly earned. So those early years were very formative in terms of how Elizabeth would reign once she became queen.
Gary Schneeberger:
Right. And those difficult times that she went through didn't end when she became queen. In fact, you wouldn't make a movie starring Cate Blanchett, which got a bunch of Oscar nominations about her early days as queen if there weren't some very interesting early days as queen for Queen Elizabeth I. Elizabeth did indeed, from the moment she took the throne, she faced some challenging times during her reign as well, didn't she?
Warwick Fairfax:
Now, Elizabeth was more moderate. She wanted England to be Protestant, but she didn't want persecution of Catholics. So many feared that England would revert to being a Roman Catholic country after Elizabeth died. And you'll notice if you watched that movie, Elizabeth, from 1998 with Cate Blanchett, Elizabeth was known as the Virgin Queen. She never married. Basically, she didn't want to share control and women being in power in those days was certainly unusual. So, the Roman Catholic Church, they regarded Mary Queen of Scotts as the rightful queen of England. So when one of her advisors, one of Elizabeth advisors, Walsingham discovered that Mary Queen of Scotts was part of a plot against Elizabeth's life, Elizabeth reluctantly agreed to sign the death warrant for Mary. This is Mary Queen of Scotts. A year later in 1588, Elizabeth had to face the Spanish armada that was bent on invading and conquering Protestant England.
They wanted to restore England to being a Catholic country and put a Catholic on the throne. So, in part because of the fear of Elizabeth not having a Protestant heir and thus the monarchy falling back into Roman Catholic hands, there was constant pressure for Elizabeth to marry. And as I mentioned, given the time she lived in, she was reluctant to share power, Elizabeth said this famous phrase that she did indeed have a husband, namely the Kingdom of England. So hence, the Virgin Queen as she was known.
Gary Schneeberger:
And it's at this time, she has a husband, the Kingdom of England, right? She's dedicated to that, but she's going to need some help somewhere, she realizes, and that is where Lord Burghley makes his arrival and makes his impact, right?
Warwick Fairfax:
Absolutely. So, Elizabeth's upbringing in challenging circumstances and an intellectual curiosity perhaps made her more open than some to having first class advisors. So, Elizabeth assembled a core of experienced and trustworthy advisors such as Lord Burghley and Sir Francis Walsingham. Now, chief among her advisors, followed closely by Walsingham, was indeed Lord Burghley. Elizabeth appointed Burghley, her principal Secretary of State on the morning of her accession to the throne. Burghley was to serve as her advisor for 40 years, initially as Secretary of State and later, as Lord treasurer. Elizabeth was loyal to her ministers, encouraged their frank counsel and weighed their advice, yet she retained her power to make final decisions. Elizabeth may have had good advisors, but there was no question who was in charge.
So, it's to Elizabeth's great credit that she worked with such able advisors such as Burghley and Wasingham and really was perhaps the most crucial strength of her reign. So it's amidst such pressures of state and personal pressures that it's no wonder she sought good advice. Lord Burghley had a special place as a key advisor to Elizabeth throughout much of her reign. Now, there were times when that relationship was strained. We mentioned earlier about Mary Queen of Scotts being beheaded. And it was Burghley who wanted to push through that execution quickly. He was afraid of what would happen to the kingdom given the Catholic support of Mary and wanting her to basically overthrow and indeed kill Elizabeth. And so, Burghley pushed through the death warrant to spare Elizabeth some emotional hardship. Maybe he was afraid of Elizabeth wavering in signing the death warrant of Queen Mary, the way that Queen Mary wavered in signing the death warrant of Elizabeth.
Now, Elizabeth was outraged that Burghley pushed this execution through, but while she did argue with him at times, Elizabeth said of Burghley that, "No Prince of Europe had such a counselor." So it doesn't mean that she always agreed with his advice, but she knew that his advice was purely in her best interests. He was fiercely loyal to her and wanted to do everything he could to make her successful. So, Lord Burghley was quite a remarkable man. Burghley saw his duty was to give Queen Elizabeth the best possible advice and then to carry out whatever policy she wished. Burghley was loyal to his duty to serve Elizabeth. He was a man of discretion. He did not necessarily make it obvious outside the Queen what his views were. It's interesting, historians look at his letters and memorandum and they find it very difficult to figure out what he actually believes on any given issue because you've got memorandas stating the pros and cons of various issues, but there are a few indications of where he stood.
And one writer said that he was an eminently safe man and not an original thinker, but that he was a counselor of unrivaled wisdom. And so, that's really what you want, a counselor of unrivaled wisdom. And that same writer said that caution was his supreme characteristic. Now, given the times in which Elizabeth was queen, where you've got the tumult and the monarchy before she became queen, the Protestant versus Catholic divisions in the country and the threat of Spain, it's understandable that he'd be cautious. There was a lot of things that could go wrong, a lot of threats to England and indeed, to her reign.
So Burghley had a reputation for being efficient and scrupulous. And Queen Mary, who knew of Burghley before she died, she said of Burghley that he was a very honest man. So, Queen Mary respected Burghley also. So probably the finest tribute paid to Burghley was from Queen Elizabeth who said the following of him, "This judgment I have of you, that you will not be corrupted with any manner of gifts and that you will be faithful to the state." Now, having an advisor that it's not corrupt in an age when advisors could get a lot of profit from aligning themselves to whoever was going to win and accumulate wealth and patronage, that was a thing.
And advisors could profit by participating in royal intrigue, either support the current monarch or basically stab them in the back. So Elizabeth was very wise to seek advisors such as Burghley during these turbulent times. And Burghley's sole motivation was to provide support to the queen and to his country. And I'm sure many a leader would covet an advisor such as Lord Burghley.
Gary Schneeberger:
Yeah. And as you were talking about all of the things that he did, things he didn't do, and what was said about him by Queen Elizabeth, what popped in my mind are advisors today, modern day advisors to presidents, for instance. As soon as the president leaves office, those men and women write memoirs and they lay open all of the things that happened. There doesn't seem to be a lot of loyalty among advisors, certainly not 40 year loyalty that Burghley did. And the things that were said about him, he kept things that were in confidence in confidence and he wasn't trying to make his mark even after he... He didn't leave the service and then try to make his mark. That's astoundingly different than what we get today from a lot of advisors, isn't it?
Warwick Fairfax:
You're right. They write tell-all books about what happened and yes, they want to serve the president or the leader of their country, but there's often another agenda is, gosh, maybe once I leave office, I can be on a commentator on a news channel and I can write books and a thought leader, and this will launch my career as a sage and wise person. But Burghley was not like that. His sole motivation was to serve Queen Elizabeth. When you take your oath of office, you say, "Will you protect the country from all enemies, foreign and domestic?"
Well, there were enemies within, within England, those who wanted to restore Catholicism to the nation and those without, namely Spain, who also wanted to return England to being a Catholic country. So there are a lot of threats and Burghley was completely focused on preserving the nation, keeping it Protestant and protecting and furthering Queen Elizabeth's vision for the country. That was his sole motivation, not a book tour, not to go down history as a brilliant man. He was totally focused on his duty to Elizabeth and to be known as a very honest man at a time where honesty didn't really pay, it wasn't the best way to preserve your life. The best way was to align yourself with whoever was going to win because you get wealthy and you might live and not be beheaded.
We live in times in which you don't tend to get beheaded if the leader doesn't like your advice or you fall out of favor and the other side wins. So the stakes were a lot higher back then. It was literally your own survival. And so, yeah, honesty, not sure that was really a policy that always led to a long life, but he was honest and would do whatever he could to help Queen Elizabeth succeed and preserve her reign.
Gary Schneeberger:
I want to ask you this next question from two different directions. I want to ask you from Lord Burghley's perspective and then also from Queen Elizabeth's perspective. And that's this, what can we learn about being a good advisor from Lord Burghley, aside from not writing a tell all memoir as soon as your leader that you've served gets out of office? What can we learn from Lord Burghley about being a good advisor? And what can we learn from Elizabeth about keeping good advisors, about being confident enough to bring aboard good advisors? Because we have to learn sometimes we're going to be the advisor, sometimes we're going to be the leader. So what can we learn from both Burghley and Elizabeth about this subject?
Warwick Fairfax:
Yeah. So what's remarkable, I think as we've been saying, is how loyal Burghley was to Elizabeth. Now remember, this is an era in which it was very unusual for a woman to be the monarch of a country. There was constant chatter about who should Elizabeth marry and she didn't want to marry somebody because she wanted to be queen. That would be a time when it would be assumed that her husband would really take control and not her. But Burghley was loyal to... He wasn't like, "Well, how can we have a queen here? How come a woman is a monarch?" It's like, "Okay, my sovereign is a woman. She's queen of England. I will do whatever I can to help her succeed and preserve the nation." So, he was considered a counselor of unrivaled wisdom, and it was just not obvious what his personal opinion was behind his advice. I'm not sure we know.
Historians have not really found it easy to ascertain that. Burghley's goal was to serve Elizabeth, the queen, and give her the best possible advice to carry out her policies. Again, this was no easy time in which she reigned. The monarchy before she became queen, Protestant Catholic divisions, the threat of Spain, and Burghley was somebody that was honest and could not be corrupted. So to be a good advisor, you have to leave your own personal opinions and agenda behind. When you're serving somebody who has great power and influence, that is very hard. It's so tempting to want to influence the organization or the country because you're thinking, "Gosh, I'm the voice of the president. He listens to what I have to say. I can influence the nation. What is it I want? Maybe I can subtly influence things by the questions I ask, the advice I give," and that's corrupting, but that's not the role of an advisor.
An advisor's goal is to accomplish the leader's objectives, not his or her own objectives, and to give them advice on how to bring their vision to reality. It's not the advisor's vision that's relevant, it's the leader's vision that's important. That probably makes sense, but it's very rare to have an advisor whose only agenda is yours, and they're not trying to push things. They're not trying to influence you other than you've told me what your vision is, you've told me what your agenda is, this is my advice on how to get it done. I think this is the best way for it to happen. That's where the focus is, not on the direction, but more, how you get to that direction.
Gary Schneeberger:
And before we get into the Elizabeth part of this question, let me ask you this because it occurred to me that... You say a good advisor tries to give advice on how to bring the leader's vision to reality, but especially we see with Elizabeth, given all of the tumult that she went through as queen, it's also a good advisor helps you avoid crucibles, helps you... It's not just bringing your vision to life, it's keeping crucibles at bay or overcoming crucibles, isn't it? It's a vision perspective, yes, but it's also a crucible advising position, is it not?
Warwick Fairfax:
Oh, it's so true. Well said. So, when you think of what was Elizabeth's vision, part of it was survival, not being killed and preserving the nation of England. You had people scheming within the country to overthrow her and make Mary Queen of Scotts the Catholic queen of England. You had Spain trying to conquer England again, same thing really, to make England a Catholic country. You had a lot of palace intrigue, will Elizabeth marry? If you watch the movie Elizabeth, with Cate Blanchett, you'll see that she had definitely some romantic interests and lovers and all of that. That was certainly something that happened, but she would not make any of those people that she had romantic interest in, a king. That was not going to happen.
But it doesn't mean there weren't people who were trying. It doesn't mean there weren't probably advisors and courtiers who would say, "You need to marry and how about some prince in Europe and align with this country?" And there's all sorts of intrigue, but that provided a very challenging climate. And so, Burghley's job was to protect her from probably the palace intrigue, the internal factions in the country that wanted to depose and kill her. And in fact, I think I read somewhere that it was Walsingham that set up a whole intelligence network. It wasn't like the FBI or CIA back then, but you had to have a good intelligence network to know where the threats were coming from.
So between Burghley and Walsingham, she had advisors that were very focused on preserving her reign and on her very survival. So, those kind of advisors, as you say, they helped her avoid crucibles, go through the crucibles of internally, people that wanted to kill her, externally people wanted to overthrow the country and those that wanted to try to force and pressure her to marry somebody within the country or some prince in some other land. So, truly, you could say her reign was what? 45 odd years of constant crucible. It was not easy times. It was survival was really the goal. That was one of the chief goals.
Gary Schneeberger:
Yeah, right? A good advisor, Burghley in this case, and there's many more in history that we can talk about, a good advisor helps you achieve the positive and avoid or at least, weather the negative. I think that's what you just described about Lord Burghley, it makes that clear.
Warwick Fairfax:
Yeah. A good advisor like Burghley and Walsingham obviously was also there, is let's deal with the negative people externally and internally that want to overthrow you, but also, let's help grow the nation of England. It wasn't quite the United Kingdom as it became, but let's see if we can better unite England and Scotland and Ireland and let's make England a great nation because at the time, Spain was probably one of, if not the great power at the time and England would later become the great power in Europe in the centuries to come. So yes, part of Elizabeth's vision that Burghley was helping her with was to make England a great nation and an even greater nation than it was. You had the positive, make England a great nation, and the negative, if you will, of preserving her life and protecting the country.
Gary Schneeberger:
Yeah. Well, I've interrupted you from answering the second part of my question. That's what I get for putting two questions in one and then thinking, "Hey, there's another question I can ask in the middle of that." But you've just talked about Burghley as an advisor. Now let's talk about what it takes for someone like Elizabeth, for someone in power, someone who's a leader, whether it's of a nation or it's of a company. What does that person have? Because that person has to muster some confidence and some perspective in order to allow advisors close. And that's important to do that because if you don't allow an advisor to advise, you're not going to be able to get good counsel from that advice, right?
Warwick Fairfax:
That's so true. There aren't many leaders that are good at taking advice and are willing to get advice from great advisors. If they are open to advice, it's from yes men or yes women that will tell them what they want to hear. That's not advice. That's enabling, if you will. It's like, okay, what is it that the leader wants to hear? I'll just tell them what they want to hear and then I'll preserve my power and influence and I can write my books and be a commentator on TV networks and what have you. And that's the way to be successful. But somebody that was as smart and wise as Queen Elizabeth I, she wanted good advisors who would actually speak truth to power. Now, to do that, you need to be very secure and being willing to take advice from able advisors and not feel threatened by them.
Again, this was an era where there weren't too many female monarchs. And so, it would be understandable if she felt like nobody respects me because I'm a woman. They don't think I have intelligence and I'll be seen as weak if I just listen to these men or it's like, oh, well, they're really in control, not me because how could a woman have enough wisdom and capacity to rule a country? There might be prejudice now, but my gosh, it was so much worse back then. So you've got all of these things that Elizabeth had to deal with, but yet, she was a secure enough person that she wanted the best advice. So, having great advisors such as Lord Burghley, it was really remarkable. And for 40 years, because there were times in which they had run-ins such as it's no small thing when your advisor speeds up the process and has Mary Queen of Scott's beheaded. It's like, okay, that's not a detail. It's like, "Hey, that's my role, not yours. Advisors don't make those decisions. You can advise me, but I'm the one that has to sign the piece of paper."
But again, these are different times. It's hard to relate. I understand. But she must have felt that while it wasn't appropriate, she probably realized it was necessary to preserve the nation. Maybe she wondered if she could have done it herself, but she probably realized that what Lord Burghley did was ultimately in her interests and in England's interests. And so for most, that'd be a firing offense. He wouldn't have been around 40 years, but yet she said, "Well, okay, you didn't handle it the way you should have, inappropriate, but you had my best interests at heart and I don't question your motives. Maybe your methods, but not your motives." So she didn't fire him. That's remarkable. So, yes, you have to be secure as a leader and take advice from very smart advisors.
And what you have to realize that having somebody such as Lord Burghley, it doesn't diminish you. It enhances you and increases the probability of your vision becoming reality. And that's what so many leaders, they don't get. It's like maybe people will say, "Wow, that may not have happened, that policy without Lord Burghley." And you might say, "You're right. I had the vision, but he helped me make it happen." You need a team. We talk more broadly about the importance of having a team of fellow travelers. Being an advisor is a subset of that. It's part of that. And so, a secure man or woman who's leading a nation, a nonprofit, an organization realizes they don't have all the skills and all the gifts and they need people who can be objective. And when you're in the midst of pretty tough decisions as a leader, it's not always easy to be completely objective.
And so, you've got to be very wise and secure to realize somebody like Lord Burghley shouldn't make you feel threatened. You should feel blessed to have somebody of that level of wisdom and intelligence and that level of integrity who you know you will not have to watch your back with this person. They are 100% for you and will give you great advice.
Gary Schneeberger:
All right. So, we've arrived, Warwick, at the end of the episode where I ask you this question, what are the big takeaways from Elizabeth's reliance on her advisors that we discussed today that can help our listeners and viewers make their vision a reality? And to the point that we made earlier when we were talking, also weather some crucibles and move beyond them.
Warwick Fairfax:
Elizabeth grew up in challenging times. And as we've discussed, her dad was King Henry VIII and multiple wives, beheaded a number of them. Her older sister Mary was queen before her and Elizabeth narrowly escaped getting beheaded. It was not an easy time to grow up, but she had great intellectual curiosity and that made her more open than some, to having first class advisors. It's worth noting just how intelligent Elizabeth was. She was well-educated. It was probably unusual for the time she was a princess, but I imagine not everybody would've been so well-educated and not all women would've been so well-educated as she was. She could read and write in multiple languages, including English, Latin, Italian. She was familiar with French, Dutch, and Spanish. And during her life, she translated multiple works from Latin and Greek into English and she was a skilled musician. That's no small thing. She was highly intelligent.
And so Elizabeth's intelligence and growing up in such uncertain times meant that she had the wisdom to know that good advisors were essential. Again, as I've said, good advices to both to help you survive and not get overthrown or beheaded yourself like some of the wives of King Henry VIII were, and to survive the intrigue of Spain as well as Mary Queen of Scots, just survival was no small thing. So, she had the wisdom to know that good advisors could help her survive, preserve a country and help her country prosper and grow. So, this was a huge thing. She realized that good advisors, they help you make good policy decisions and help her preserve her reign and lead her life.
So for most of us, the stakes and importance of having good advisors ensuring our survival is not really what's uppermost. There are some places in the world, but for most of us, you don't think, "Gosh, I need good advice because that'll help me avoid being beheaded or killed." That's typically not something that people worry about these days. But our need for advice and good advice is just as important as is, I need to be secure enough and intellectually curious enough to want good objective advice. And this is where unfortunately, it's so unusual and yes, it's a challenge to find good advisors. I would say the greater challenge is almost being open to good advice. There's a lot of intelligent people out there. Some of those intelligent people have high integrity and honesty and are people you can trust. Not everybody, but there are some.
But it's almost rarer to find a leader that is secure enough to realize, "Hey, I don't know everything. There are some things that I may not know. And even if there are some things I'm kind of aware of," as a leader, there are times in which it's very difficult to be objective because all sorts of things can be challenging to think straight in any given particular circumstance. You're hearing counsel from many different people, you have oppositions from all sorts of folks and be able to sift through it all and calmly figure out what's the best path forward. That's where advisors, because they're not exactly in your shoes, can provide wise counsel if you listen to them. But that only happens if you're secure and it only happens if you're willing to listen to them and indeed ask, "So tell me more about that. So why do you think that? Is there something I'm missing?" You've got to create a climate where they're willing to say, "Look, with all due respect, that's an idiotic policy you're about to enact. It makes no sense. It won't fly."
There were times in which, going back to Franklin Roosevelt, Louis Howe would say that to Roosevelt. Not an easy thing to do, not something that Roosevelt would listen to everybody on, but he would to Louis Howe. And it's been said in the latter half of Roosevelt's presidency after Louis Howe died, that a number of the mistakes that he made in terms of policy, bringing them into fruition, was because Louis Howe was not there. That's not the case with Queen Elizabeth other than, gosh, I think it might be five years or less between Lord Burghley dying and Elizabeth dying. So, pretty much for a whole reign, she had Lord Burghley as a key advisor. So you've got to be secure and wise enough to take and receive good advice. You want good advisors. You want good advisors with integrity that will speak truth to power, but you want to be the kind of person that looks for good advice and creates a climate where good advisors want to be on your team and feel completely free to not hold back and give you that advice.
That's a high bar that frankly, most leaders do not meet. And that's why you typically don't have a lot of advisors that we feel are great ones because the leader is not secure enough. They want to have yes men, yes women or advisors that aren't quite as good because they're not secure enough to handle advisors who are highly intelligent, eloquent, and will tell them what they don't want to hear. Very few people are willing to put up with great advisors.
Gary Schneeberger:
Warwick, you know what you just did there? You just landed the plane on our conversation. And folks, that will wrap up our seventh series within the show episode on more stories from the book, Crucible Leadership. We'll turn the page again in October to another story to help you turn the page and move beyond your crucible to a life of significance. We'll see you then.
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What does it actually take to move from your worst day to your greatest opportunity?
In this episode, we step back and take a big-picture look at the five key truths for overcoming setback and failure that emerged from our recently completed summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. From moving forward with conviction even when success isn’t guaranteed, to the deeper patterns of resilience, purpose, and transformation we saw play out across eight films, these lessons form a succinct and practical roadmap for anyone navigating a crucible right now. Grab a pen and some paper โ you’ll want to write these down, because taken together they map the critical steps from your hardest moment to your greatest opportunity.
Want to explore our three prior summer series about the lessons we can learn about overcoming crucibles from film? Check out these playlists featuring every episode of each one:
๐ Take the free Trials-to-Triumphs Self-Assessment to discover where you are on your journey of moving beyond your crucible and how to chart your personal course to a life of significance: https://beyondthecrucible.com/assessment/
Transcript
[00:01] [Warwick Fairfax] Welcome to Beyond The Crucible. I'm Warwick Fairfax, the founder of Beyond The Crucible. You do not know, in the case of Sarah Connor, whether she'll be able to avoid Judgment Day where Skynet takes control. Captain Jean-Luc Picard doesn't know if he's going to succeed in battling the Borg and saving humanity. Ripley doesn't know if she will find a way to defeat this alien creature. You know, in no way do they know if they're going to succeed. But they let go of the past, and they find a way to move forward.
[00:39] [Gary Schneeberger] Moving forward after a crucible with conviction, even when you're uncertain you'll be successful. That's one of the 5 key truths for overcoming setback and failure we discuss today in our big-picture look at the lessons we learned from our recently completed summer series, Back to a Better Future. The crucibles of sci-fi cinema. Before you go any further, we suggest you grab a pen and some paper so you can jot down each of the points we unpack, because when taken together, they form a succinct roadmap for the critical steps necessary to move from your worst day to your greatest opportunity. Friends, welcome to this episode of Beyond the Crucible. And we'veโ Warwick and I have maybe pulled a fast one on you because you listened last week where we talked aboutโ it was the end of our summer movie series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. But we thought more about it and decided we wanted to do not a wrap-up episode so much, but an episode that really spotlighted from a higher vantage point the lessons that we learned in that movie series. So, we're calling this Back to a Better Future: The 5 biggest lessons from crucibles, from the crucibles of sci-fi cinema. Because, right, we spent 8 weeks taking deep dives, exploring some of science fiction's most memorable characters and crucibles. And we decided we wanted to ask this question: what did these movies collectively teach us about navigating crucibles, bouncing back from them, and building a life of significance afterward? Because that's what we're all about here at Beyond the Crucible. So over the Of Back to a Better Future: The Crucible of Sci-Fi Cinema. This is interesting, folks. We've traveled through time, through alien worlds, dystopian futures, and even a dinosaur-infested theme park. So we've been a little bit of everywhere this summer. But beneath all of that science fiction, and this is important, these are very human stories about people facing moments when life did not go according to plan and deciding what they were going to do next. So what we're going to do next is take a 30,000-foot level look at the series, not to talk about each individual lesson in each individual movie, but to talk about what big lessons come out of all the movies grouped together as one. That sound like a plan, Warwick?
[03:20] [Warwick Fairfax] Absolutely.
[03:22] [Gary Schneeberger] Well, let's just really quickly touch on the movies we covered so you know the ground from which we're Talking as we go through this, uh, this episode, folks. First one, Planet of the Apes. I'll give you a quick description. Planet of the Apes: Taylor discovers that the strange world he has landed on contains a devastating truth about humanity. I love this, Warwick, because if folks haven't watched the episodes, they can go back and, and this serves as a tease to those episodes too. So you can find them all on our YouTube channel. You can find them all where you get podcasts. But that's the first episode that we did, Planet of the Apes. Second episode was Alien. Ripley and the Nostromo crew face a terrifying threat compounded by disastrous decisions and misplaced trust. That's the second movie. Third movie, Terminator 2: Judgment Day. Sarah and John Connor confront a supposedly inevitable future and fight to change it. Okay, third movie. Fourth movie, Back to the Future, the movie from which we got the name for our series. Marty McFly finds himself stranded in 1955 and must repair the past to preserve his future. Soundsโ I'm all excited about this. It's bringing back all the warm and fuzzies we had from doing the series. The next one, Jurassic Park. Brilliant people discover what happens when technological ability races ahead of wisdom. Ooh, we'll talk about that for sure in this episode. Star Wars. Luke Skywalker loses the life he knew and has to decide whether to answer the call to something larger. Then there's probably Warwick's favorite, if I'm daring to hazard a guess, of the movies in this summer series, Star Trek: First Contact, where Jean-Luc Picard faces the Borg again and discovers that his determination to defeat them has beenโ has become something much darker. And then our last episode, which aired last week, was The Martian, where astronaut Mark Watney is stranded alone on Mars and survives by repeatedly solving the next Problem in front of him. Okay, those are the 8 movies that we did, and from these 8 movies in this episode, we're going to extract 5 big lessons that you can pull from, that you can lean into, that are shared by pretty much every one of the movies. So, Warwick, we've spent the series that we're talking about looking at all these movies individually, but todayโ We're going to pull them all together. When you look across all of these stories, 5 lessons keep appearing, and they sound remarkably similar to the principles we talk about every week on Beyond the Crucible, don't they? These are not new concepts that we're introducing people to in this episode.
[06:20] [Warwick Fairfax] Yeah, absolutely. As I've mentioned throughout the series, I've always been a big fan of science fiction. Beginning with 2001: A Space Odyssey that I think came out in 1968. I've read widely in science fiction, Isaac Asimov, Arthur C. Clarke. And these 8 movies are emblematic of why I like science fiction. We've got characters in these movies, protagonists, who faceโ
[06:49] [Gary Schneeberger] I love that word. I'm glad I get to hear that word one more time before next summer.
[06:53] [Warwick Fairfax] Exactly. Word of the day, protagonist. And they face massive challenges, crucibles that test who they are, what they believe in. And in some cases in these movies, the challenge that the protagonist faces is literally the fate of the human race.
[07:12] [Gary Schneeberger] Right.
[07:13] [Warwick Fairfax] So the stakes are very high. There is a recurring theme of would these characters be defined by their worst day or not? Could they overcome their fears, their inner demons, if you will, to focus on others and make decisions that would uplift their team and the world in general to create a brighter future. Now, most of us aren't faced with crucibles that, you know, our actions will determine the fate of the human race, fortunately, because that would be a pretty massive weight on us.
[07:43] [Gary Schneeberger] Yes, it would last more than the 2 and a half hours of your typical science fiction film.
[07:49] [Warwick Fairfax] So it would, it truly would. But our crucibles are very real, and the decisions we make as we try to get beyond them affect not just us, but those we love and the people around us. So these movies that we covered this summer, they provide powerful lessons of how to overcome your darkest day, which frankly often starts with the battle of the soul and then expands to helping those around us. So yes, we might feel like, well, I don't live in space and I'm not fighting the Borg or the Empire.
[08:23] [Gary Schneeberger] Right.
[08:24] [Warwick Fairfax] But yet, It might feel that the crucibles and challenges we face, they might feel like Mount Everest. They might feel like massive challenges that we wonder, how can we get beyond them? How can we not be defined by our worst day? And so in these 8 movies, there are some powerful lessons that we can apply to our lives.
[08:42] [Gary Schneeberger] Right. And folks, I can't emphasize this enough, that the things that we're going to be talking about are not things necessarily that we discussed in detail during the series. We really are taking, as I said at the outset, a 30,000-foot level, an overhead look level at all of these movies and the things they have in common. And we see these 5 lessons, and I'm about to tell you what the first one is. We see these 5 lessons play out in the vast majority of those 8 films. So, the first example, the first lesson is this: every comeback begins with a decision. Warwick, before someone can actually begin moving forward beyond a crucible, right? There's usually a moment when they have to decide internally, this isn't where my story's going to end. How did that truth, so important to our listeners and viewers, how did that truth show up in the movies we covered this summer?
[09:42] [Warwick Fairfax] When we go through a crucible, which according to our research, we found that pretty much everybody has, and those that say they haven't, our data analysts say, you know, they have. We have. We face a simple but yet profound question. Will we be defined by this, our worst day? Will we give up? There may be aspects of the crucible that we can't change, certainly with physical crucibles. And we've had people on our podcast that have had, you know, crucibles that have become quadriplegics or paraplegics. So at a certain point, there may be things we can't change. But we do need to decide, are we going to be bitter and angry at ourselves or others? Right. Are we going to hide under the covers and give up on life? Or are we going to say that what we went through is awful and painful, but how do we move on? That's a decision we have to make. Yes, you know, we have to learn from the challenges that we went through, but we've got to decide, you know, how do we learn What we've been through and how do we learn how to use that to help others? And ultimately, we believe that beyond the crucible, how do we, you know, lead a life of significance, a life on purpose dedicated to serving others? So that all starts with a decision. Am I going to be defined by my worst day? Am I going to find a way to move on and let go of bitterness and anger? And in a number of the movies that we covered, you know, we can learn so many lessons. So for instance, in the movie The Martian, which was the last movie we actually covered in the series, we've got this astronaut, Mark Watney, and he's stranded on Mars after his crew mistakenly thought that he died. There was this massive dust storm and there were no life signs on the readings, so they had every right to believe that he had died. So he ends up being stranded there. And he realizes best-case scenario, even if they figure out that he's dead, it's going to take over a year to be rescued. Now, Watney could have been bitter and wondered how could his crewmates have left him. And he could have said, look, you know, surely they should have come back. They should have found a way to make sure they didn't leave him behind. And he could have been despondent and said, look, There is no way I can survive for more than a year. Food on Mars? I mean, how is that possible? How can I get enough food or water to live? It's clearly mission impossible. I should just give up. But from the beginning, Watney finds a way to get water and food inside his habitat on Mars. Now, fortunately, Watney is a botanist, and one of the recurring lines that will come up in the movie is his sort of in-your-face humor. And he says in a video log at one point, Mars will come to fear my botany powers.
[12:45] [Gary Schneeberger] Right.
[12:46] [Warwick Fairfax] And in a sense, Mars will. I mean, that's the key to him surviving. But really, the point about The Martian is his attitude that he will not be defined by his worst day. He never actually is bitter or angry even for a nanosecond, which is incredible. It's like, okay, I'm here. This is bad. What do I do next? He makes that decision. In the case of Terminator 2: Judgment Day, we have Arnold Schwarzenegger. And this time, unlike the first movie, he comes back as a cyborg, which is as a good guy, if you will.
[13:20] [Gary Schneeberger] Right.
[13:21] [Warwick Fairfax] And his mission is to try to save Sarah Connor and her 10-year-old son, John, from a future where It's truly dystopian with cyborgs and Skynet, which is this supercomputer that sure seems malevolent. And basically, it enslaves all of humanity and it's completely in control. So we have Sarah Connor who's been in a psychiatric ward since after the first movie because she keeps saying Judgment Day is coming.
[13:53] [Gary Schneeberger] Right, right.
[13:53] [Warwick Fairfax] And Skynet's going to be in control. And for some reason, people don't believe her and think she's Got serious mental problems, which is understandable. Why would you believe that? And so she's been in the psychiatric ward. And Sarah could have been bitter and angry at nobody believing her about Judgment Day. And certainly when she's in that mental hospital, she is certainly not a happy camper. She's not doing well. But after she's rescued, she might have thought avoiding Judgment Day is impossible. How can we possibly do this? It's my son and this one cyborg. Played by Arnold Schwarzenegger, but it's like, okay, for the sake of my son and the future of the human race, it's going to be very challenging, but we've got to find a way to prevent Judgment Day, which is when Skynet is in control. She's got to believe it's possible. She's going to try or frankly die trying. In another movie, Alien, we've got the main character Ripley who's on a cargo ship In space, and they end up having this terrifying parasitic alien roaming around the ship.
[15:03] [Gary Schneeberger] Right.
[15:04] [Warwick Fairfax] Now, she's faced with a crew that don't always see the danger, and the ship is part of a commercial entity that really values profit more than the safety of the crew. She's being led by a poor leader that makes some poor decisions that frankly leads to this alien creature getting on board the ship. And she could say, look, I'm with this crew that really is not making good decisions, certainly being led by a poor leader, and it's all controlled by this company that really doesn't care about us. What is the point? But she realizes that this alien creature cannot be allowed to make it onto other ships and frankly be in contact with the rest of humanity. So she will do whatever it takes to fight and defeat this creature. And stop it infesting other ships. And in Star Wars, now called Episode IV: A New Hope, we've got Luke Skywalker living on a desolate planet called Tatooine. Now, his aunt and uncle are killed by the forces of the Empire, and he could be angry and bitter and feel hopeless. And at first, he's feeling just pretty overwhelmed byโ What he has toโ what he's seen. And he could feel like, gee, I grew up in a farming community. What could I possibly do to help the Rebel Alliance against the Empire? But in part inspired by Obi-Wan Kenobi, he decides to join the Rebel Alliance and fight for freedom against the Empire. Now, he doesn't know what the future will hold. And he doesn't know how in the world he could play any part As it turns out, a big part in defeating the Empire. But he knows he's got to do something. He's got an uncle dead. The Empire wants to enslave all of the races of the galaxy. And he doesn't know what the future is going to hold, but he will play his part. So in each of these films, you have a key protagonist making the decision that they will not wallow in anger or bitterness or be defeated, and they'll fight to survive And in many cases, ensure the safety of not just themselves, but the well-being of others, of humanity, of other races. This provides a powerful lesson that we will not be defined by our worst day. We will not be consumed by anger and bitterness, and we'll find a way to move forward to not just help ourselves, but help others.
[17:31] [Gary Schneeberger] Right. And thatโ right, that's the lesson, folks. As you listen to what Warwick was just describing, he wasn't running through the synopses of the films that we covered in the series. Every one of thoseโ go back and play it again and listen to itโ every one of those involves exactly what we're talking about here. The character made a decision to say, nope, I'm gonna move forward. I'm not gonna sit back and let the crucible sort of knock me out. I'm gonna move forward. And it's interesting, Warwick, the next question that I have for you is, what happens to us Again, the movies show us this, the series showed us this, but our guests show thisโ show us this too. What happens psychologically when someone stops asking, why did this happen, and starts asking, what am I going to do about it? Sort of like we say all the time, it didn't happen to you, it happened for you, right? What happens at that moment when we come to that realization?
[18:30] [Warwick Fairfax] Yeah, so there is some utility in asking Why did this happen?
[18:36] [Gary Schneeberger] Right.
[18:36] [Warwick Fairfax] Yes, we need to focus on understanding the lessons of our crucible, the mistakes that we made. Did we trust the wrong people? Maybe, you know, we don'tโ maybe we're in a situation that we didn't have the gifts and strengths that we needed. And yes, there are lessons to be learned from our crucibles. But endless reflection, endless rumination is never helpful. At some point, you've got to say, okay, I've learned, at least for the moment, everything I can from the crucibles I went through. I've got to move on. And that's really what we're talking about here in this lesson. We've got to decide, okay, well, what's next? How am I going to find my way forward through this crucible? And really, Mark Watney in The Martian is such a good example of this. He's not angry at others for a moment. He's not even despondent hardly.
[19:29] [Gary Schneeberger] Right.
[19:30] [Warwick Fairfax] It's like, okay, this sucks basically. This is awful. But what am I going to do? What is the next step I need to take today to survive?
[19:38] [Gary Schneeberger] Right.
[19:39] [Warwick Fairfax] From the very beginning, he puts the solar panels back in place, he gets the habitat back, he begins to think, okay, how do I make water here? He's a botanist and a scientist. I need to combine hydrogen and oxygen. How can I make food? Okay, I've got potatoes. Let me figure out a way to make boiled potatoes. I mean, he just, from the very beginning, it's like, okay, what's the next step I need to take? And he knows he's gonna be there for a while. He doesn't know yet how he can communicate with NASA to tell them he's alive. But it's like, okay, what step can I do today to move forward? It's such a great example of not dwelling in the past and just figuring out what's the next right step I can take today.
[20:28] [Gary Schneeberger] And what that spotlights, I think, Warwick, is that this is a place where resilienceโ this is where resilience really begins. It's not with a plan, not with resources, or even hope that everything's going to work out. It begins simply with the decision to move forward. One of the notes I took on this was that the first victory in every crucible happens between the ears. And I wrote on my piece of paper here, you might be able to see it, we refer to being Beyond The Crucible, colloquially around the office, is BTC, Beyond The Crucible. And this is really BTE, between the ears, right? That's where it begins. Resilience begins BTE for, right, BTC. I think that's a fair statement. So talk a little bit about that beginning, that birth of resilience and it coming from our minds and then extends to what we do with our body. Yeah.
[21:28] [Warwick Fairfax] Such a great point. Before you can move forward from your crucible, there is the battle of the soul. And that is the key battle in living a life of resilience. You've got to make a decision, yes, after you learn the lessons from your crucible, the mistakes you made, maybe things that people did to you, people that maybe aren't helpful to be around. If you're in a relationship, you've got to make a decision.
[21:51] [Gary Schneeberger] Yeah.
[21:52] [Warwick Fairfax] They hurt you. Certainly not repeating the mistake of being around those sorts of people. But you've got to let go of the past and endless recriminations and say, okay, this is awful, this was painful, but I've got to move on. And life is going to be uncertain. We're not going to know how it's all going to end, but what's the next step I can take? And that's where some of these movies provide such great examples. Mark Watney in The Martian. Okay, I'm stranded on Mars. I'm going to be here more than a year. What's the next step I can take to survive? He didn't really focus at all on being bitter about being stranded there. Sarah Connor. Yes, she had periods of anger, but ultimately she said, okay, how do we avoid Judgment Day? How do I protect my son? How do we save the human race? What do we do? She focused on the future. What's the next step that we need to take to try to ensure that Skynet doesn't take control and there will be no Judgment Day? So in these movies, we learn powerful lessons of resilience, which, as you say, starts with making a decision to not dwell on the past and endless recriminations on yourself or others.
[23:09] [Gary Schneeberger] Yeah. All right, folks, that was Point number 1, lesson number 1: every comeback begins with a decision. Moving on to lesson number 2, and that's this: courage means acting on conviction, not certainty. See how those 2 things fit together, right? Every comeback begins with a decision, and courage means acting on conviction. You're convicted, right? You have a conviction about this decision that you've made, and you act on that, not on certainty. Again and again in these movies, the characters are act without knowing how things will turn out. They don't have any idea how things are going to turn out. The lesson isn't that courageous people know that they'll succeed. It's that they take the next right step, which Warwick says all the time, take the next right step. They take the next right step anyway. So, Warwick, we sometimes think courage means being confident that everything is going to work out just hunky-dory, right? But these films suggest almost the opposite, don't they?
[24:12] [Warwick Fairfax] They really do. You know, This is one case where these films are exactly like the life that we face.
[24:20] [Gary Schneeberger] Yeah.
[24:21] [Warwick Fairfax] 'Cause none of us know how our life is gonna turn out. If you look back, depending on your age, 5, 10, 20, 30 years, you'll probably say to yourself, I had no clue that life was gonna turn out the way that it did. I could not possibly have foreseen the adventures I faced, the people I'd meet, The challenges I went through, the mistakes I made, the lessons I learned, the blessings I had. How could we possibly have known? And so when you're moving beyond your crucible, we're not going to know how things are going to turn out. We're not going to know how successful we're going to be in overcoming any particular challenge. But, you know, that should not stop us from moving forward. Maybe life will turn out in a radically different way than we envisage. And so when you go through a crucible and you're trying to get beyond it, we're faced with a choice. Do we give up against the challenges we're going to face and say the odds are against us, this is impossible? Or do we move forward and say, look, I don't know how life is going to turn out. Maybe it'll turn out very differently than I think, but I've got to move forward. This mission is important. And I'm going to try. I'm going to keep at it. I'm not going to give up. And so courage does indeed mean acting on our innermost beliefs of what is important, even when we have no idea if we'll be successful. There are no guarantees in life, but it's the fight. It's the living in light of your beliefs every day and doing your level bestโ
[25:56] [Gary Schneeberger] Right.
[25:56] [Warwick Fairfax] To get beyond what you went through and to live a life of significance where you're focused on others. And that's where these movies really provide so many powerful lessons. We've got Ripley in Alien refusing to give up when she's battling this alien creature, when at one point she is the last person on that ship. Everybody else has been killed. She could say, well, what chance do I have? You know?
[26:21] [Gary Schneeberger] Right.
[26:22] [Warwick Fairfax] You could say not much, but she refuses to look at that problem that way. Victory is by no means certain. But she is going to find a way to defeat this creature and stop it attacking other people in the human race. In Star Trek: First Contact, we find Captain Jean-Luc Picard, and he chooses to battle the Borg, which is this very scary, malevolent, cybernetic species that desires to enslave all other beings. Now, Picard has history with the Borg. And he could well have said, look, I want to avoid them. I was captured by them and enslaved by them, and it's been incredibly traumatic. It's too much. But he chooses to go in and engage the Borg because he wants to save humanity and other races in the galaxy. He doesn't know whether he'll succeed.
[27:18] [Gary Schneeberger] Right.
[27:18] [Warwick Fairfax] The Borg are about as malevolent a foe as you'll ever find in science fiction. And he, yes, I'm sure he's scared and intimidated, but he chooses to be governed by the past and at least in a way that he would give up and not even try. He is going to try. In Jurassic Park, we find paleontologist Alan Grant. He's taken to an island where billionaire industrialist John Hammond has found a way to create dinosaurs, to recreate them. Now, Hammond sees a Disney-like park that will make him lots of money. It'll be something no one has ever seen. Grant and the other scientists challenge Hammond and tell him that what he's doing is dangerous. You cannot control the unknowns. Trying to control nature is a formidable challenge and you probably will not succeed. Grant doesn't sit idly by. He challenges Hammond's assumptions, which is basically that everything's gonna work out. And every time Hammond sees a mountain, as you said in the podcast, he sees a molehill. It's just likeโ
[28:29] [Gary Schneeberger] Right.
[28:29] [Warwick Fairfax] It's great to have confidence, but you've gotta be aware of the challenges. He just doesn't even recognize speed bumps hardly. It's crazy. In Planet of the Apes, George Taylor is an astronaut, who is stranded on a planet where highly intelligent apes enslave humans who are mute. And Taylor throughout this movie, he does not give up. I mean, he's in a very difficult situation and he fights for survival and importantly, the truth about how did this planet turn out the way it did where humans are mute and enslaved. He will not give up. trying to find the truth and fight for survival. Yes, he may be angry and feel alone and he's a bit cynical, but he doesn't just sit there.
[29:17] [Gary Schneeberger] Yeah.
[29:17] [Warwick Fairfax] Exactly. Yes, that's an Australian understatement.
[29:21] [Gary Schneeberger] Yes.
[29:22] [Warwick Fairfax] But yeah, he's a lot cynical. But yet he could just give up, but never does Taylor give up. I'm going to find a way to survive, fight my way out of it. I'm going to find the truth. Of how humans ended up the way that they did. So in each of these cases, the protagonist makes a decision not to be defined by their worst day, by their crucible, and to courageously face that crisis they're in, speak truth, search for truth. And yet they do not know whether their efforts will be successful. They do not know, in the case of Sarah Connor, Whether she'll be able to avoid Judgment Day where Skynet takes control. Captain Jean-Luc Picard doesn't know if he's going to succeed in battling the Borg and saving humanity. Ripley doesn't know if she will find a way to defeat this alien creature. In no way do they know if they're going to succeed, but they let go of the past and they find a way to move forward and They will do whatever they can to try to succeed and in a lot of cases save humanity.
[30:34] [Gary Schneeberger] Yeah. Now, here's a question we can address right to listeners and viewers here because we've been talking about, right, these lessons from movies. But this idea of acting on conviction, not certainty, I can guarantee youโ well, I know at least one person who has difficulty with that. Me, right? I mean, it's easy to know how it's all going to end. It's not easy to let your conviction carry you, but that's what, what this lesson talks about. So how important is it to learn to tolerate uncertainty when you're trying to move beyond the crucible? Because there's really no way to do it, I don't think, if you don't learn to tolerate a little bit, at least a little bit of uncertainty, right?
[31:22] [Warwick Fairfax] So well said. You know, back to what you said earlier, that the battle is between the ears. It's very true. And another way of saying it is, as we've said often, the battle is for the soul. And so you've got to make a decision. Okay, I don't know what's going to happen. Nobody wants to feel like they're jumping off a proverbial cliff where you have no idea what's below. But you've got to make a decision that, okay, there's going to be uncertainty. I have no idea what's going to happen. The Martian is probably one of the best cases when Mark Watney is like, He may be a scientist and a botanist. He has no idea day one how he will let NASA know that he's alive because the whole communications array has been destroyed. He has no idea of how he'll figure that out, let alone how to get food and water that will help him survive over a year. He figures it out eventually. On day one, he could say, well, my chance of survival is zero. Let's just give up. My chance of contacting NASA, zero. The communications array is all damaged beyond repair. So what do I do? But he doesn't give up. And so you've got to make a decision. Okay, I don't know that anybody can truly be comfortable with uncertainty, but say, yes, life is uncertain. I don't have it all planned out, but I'm going to make a decision not to worry about tomorrow, not to dwell on the past, and to focus purely on on today. It's reallyโ it'sโ you got to have this sort of mindset shift. And you got to make a decision not to hide under the covers, but find a way to move forward and not worry about tomorrow.
[33:07] [Gary Schneeberger] Let's land the plane on this part of the conversation with this question. Somebody who's listening right now, I guarantee you, feels overwhelmed by the size of their crucible. So How powerful can it be for him or her to stop trying to solve everything and identify just the right next step? Not trying to build the map, not trying to build the house, not trying to pave the road, just taking the next right step. How powerful can that be in moving beyond your crucible?
[33:41] [Warwick Fairfax] It really is. And I think, as we have mentioned, Mark Watney in The Martian is such a great example that rather than getting overwhelmed by his crucible, which is about as bad as it could beโ nobody knows he's alive, and it'll be at least a year before he can be rescued, and he doesn't have enough food or water to survive. I mean, that would seem like, let's just give up, it's just impossible. But he doesn't dwell on the past. He says, okay, what's the next step? He begins getting the solar panels set up again so that he has power. He knows he needs to find food and water. Okay, he's a scientist. He knows water is made up of hydrogen and oxygen. How can I use the equipment I have to literally make water? It takes him a bit with the odd explosion as some of his experiments don't work out too well initially. But he figures out a way. How can I grow food? Well, you can't grow food on Mars. But in his habitat, he finds he has some potatoes. Okay, he's a botanist. How can I use the seeds from these potatoes? And after I figure out how to make water, how can I make more potatoes, more food? Now, he doesn't figure all this out day one, but he figures out a plan step by step by step. So the key lesson here is don't fixate about how tough the challenge is. Even when it feels impossible, but figure out, okay, this decision, this cause is important. In the case of Mark Watney, survival is an important goal. He wants to get back to his friends and family. And so what's the next right step in solving this problem? How can I get water? How can I get food? Am I going to have enough to survive over a year? I don't know. But let's figure out a way to make it. food and, you know, make water, and then we'll figure out how to make enough to survive every year, and then eventually we'll figure out how to communicate with NASA. But you made a decision from the very first day is what's the next right step. And one of the things we've said on the podcast a lot, we talked about the power of the flywheel. Once you make a few right steps, it's like, huh. Those steps have given me some progress. It may feel like baby steps. It may feel like I've covered one step in a 100-mile journey, but it's one step. And one step plus another step, you begin to have confidence saying, okay, mission impossible feels like mission really challenging, but it maybe, just maybe possible. So that's the value of making the first right step and then a next right step and the next right step. It gives you greater confidence and greater perseverance to keep moving forward.
[36:30] [Gary Schneeberger] Right. This lesson, lesson 2, courage means acting on conviction, not certainty. Confidence falls in the middle of those things, right? Right. You act on conviction and the end result, you would hope you want to get to certainty, but you can get to confidence and that can be the engine that drives you through to the next step. The next step, folks, the next lesson here, the first 2 were about ways to encourage you along the path, right? This one, the 3rd lesson, is our greatest strengths can become our greatest liabilities unless they're steeped in humility and wisdom. So here's where the caution comes in, right? Encouragement important, but also warning and caution is important as you're making your way back from a crucible. And this, this reallyโ Warwick, this, this lesson 3 may be the most cautionary lesson. Running through the series, strength without humility and wisdom can actually create crucibles. So this one fascinates me, fascinates me because several of these characters aren't undone by their weaknesses, right? Several of the folks that we've been talking about and that we talked about for the last 8 weeks on the series, they're undone by what their strengthโ when their strengths go unchecked. How did that happen to the characters in the films we covered, and how does that happen to us in real life?
[38:01] [Warwick Fairfax] Yeah, this is such a great point. You know, you often think, oh, it's good to have strengths, and it is, right? But in certain situations, it is so true our greatest strengths can become our greatest liabilities. And, you know, one of the things we have to realize is In any given scenario, strength can be helpful or not. Our greatest strengths aren't always helpful. So for instance, for somebody who has a lot of perseverance, it may be tough to stop moving in a direction that's not bearing fruit. You know, we can have other strengths that aren't helpful. We can be very reflective, which is good to examine all angles, but at a certain point, you've got to make a decision and move forward. You can't just reflect your life away. So yes, having strengths is good, but you've got to know the flat side. So it requires both humility, but it requires the wisdom to know when in a particular situation is that strength a liability. Sometimes it'll be a strength, sometimes it won't be. That requires the humility to ask the question and the wisdom to know which situation is it helpful or not helpful. In the case of Jurassic Park, we've got Hammond, this brilliant entrepreneur who has this incredible vision to create a theme park, Jurassic Park, with living dinosaurs. But Hammond's brilliance and ambition, they blind him to the dangers despite scientists telling him that you cannot control nature. He just blows right past that. He's got some eminent scientists saying, you can try to control nature at your peril. You won't be able to. He ignores their advice right from the beginning. And certainly he has a huge lack of humility that leads him to make very unwise choices. He's a brilliant guy, but his ambition and lack of humility leads him to making incredibly poor choices. In Star Trek: First Contact, we have Captain Jean-Luc Picard, He has tremendous courage and determination to fight the Borg. But what he doesn't fully realize is that courage and determination, they're mixed with obsession. At one point, the Borg have taken over half of his ship, and the crew advise him to destroy the ship, because that way the Borg will be destroyed. Well, Picard is not willing to do this, because he feels emotionally that destroying the ship means losing. He won't be able to save his ship. And eventually, he does listen to somebody that talks sense into him and helps him realize how obsessed he was with the Borg and he's not thinking correctly. And so, he does indeed decide to put the ship on auto-destruct sequence. In Terminator 2: Judgment Day, a brilliant inventor, Miles Dyson, invents a computer chip That will lead to Skynet and the cyborgs that in the future will control Earth and enslave humanity. Dyson, a bit like Hammond, is not humble enough to realize what could go wrong in creating this chip that will create basically a sentient Skynet and cyborgs. It takes Sarah Connor telling Dyson about the future to make him realize how blinded he was to the danger Mhm. Of his research. And he feels terrible. It's like, how could I have been so stupid? You know, he gets to see the future. Most of us don't get to see the future. We might say, oh, that won't happen. He gets to realize it will happen. It does happen. So we all have our strengths, and they can be very helpful to us and to others. But we need humility and wisdom to realize that our strengths aren't always strengths in every situation. To realize that with those strengths come blind spots, the humility to realize that there can be blind spots, and the wisdom to know in what situation are those strengths a liability, and the wisdom to make sure that, you know, to realize that other people can help us.
[42:09] [Gary Schneeberger] Yeah. And this seems to be the moment where it's easier said than done, right? Because, I mean, how do we Recognize when something that has made us successfulโ our confidence, our determination, our intelligence, our ambition, right? All of those things, or any of those thingsโ is beginning to work against us. How do we grasp hold of that?
[42:39] [Warwick Fairfax] Yeah, it's not easy. It can be difficult, almost impossible at times, to see one of our greatest strengths It can be a liability because often we've been successful with those strengths. So it can be easy to think, how can intelligence be a problem? Terminator 2: Judgment Day is an interesting movie because if Miles Dyson had survived, he would hopefully have been a lot more humble and wise about the dangers of cybernetic research.
[43:13] [Gary Schneeberger] Right.
[43:13] [Warwick Fairfax] He might not have abandoned it. He said, boy, I've got protocols in place. I've got to think really seriously hard about the dangers of creating a computer that's sentient. And people talk today about the dangers of AI, what will happen if AI is sentient. And we might think that, oh, we could never be in a Terminator 2 situation. Well, hopefully not. But people who follow these things are actively worried about what happens if computers get sentient and too sentient. In the case of John Hammond in Jurassic Park, you would hope he would have the humility and wisdom to learn the lessons of his crucible. But I do wonder because his whole vision was creating dinosaurs.
[43:58] [Gary Schneeberger] Right.
[43:59] [Warwick Fairfax] And that whole plan seems fraught with danger as in don't do it. He would have to give up on the whole dream and somehow channel his entrepreneurial vision and intelligence in a completely different direction. I'm not sure that John Hammond could really do that. But that's the lessons we can learn from both Miles Dyson, who I think was willing to make that decision or would have been, and John Hammond, who arguably wouldn't have been, that we just have to realize that our greatest strengths don't always help us. They can be our greatest liability.
[44:36] [Gary Schneeberger] This next question will lead into the next lesson, and that's, that's this: Is one mark of humility having people in our lives who we allow to tell us something we don't want to hear? Right. In other words, if we surround ourselves with people who only tell us what we want to hear, this is going to reinforce the things that we may be doing that we think are strengths, but maybe indeed weaknesses, limitations. Is one mark of humility having people around you who will speak truth to power, as it were?
[45:12] [Warwick Fairfax] It really is. You know, we've spoken about how we can learn from our crucibles, how our greatest strength can be a liability. And often, you know, crucibles provide that cauldron, if you will, where we can learn some powerful lessons. But ultimately, one key mark of wisdom is realizing That in certain situations that we won't be able to see reality. And you can have intelligent people making foolish decisions. Certainly John Hammond was an incredibly bright guy. Because of his obsession with recreating dinosaurs, he couldn't see the dangers. What he needed was people around him to be able to tell him the truth. Miles Dyson needed somebody like Sarah Connor telling him that what would happen with Skynet, the cyborgs, and the danger of his research. Jean-Luc Picard in Star Trek: First Contact, he needed somebody to tell him that having been captured by the Borg, he was obsessed with them. And it's interesting, this person Lily, who he met When they went back to fight the Borg, this person Lily says to Picard that he is like Captain Ahab.
[46:34] [Gary Schneeberger] Right, right, right.
[46:36] [Warwick Fairfax] In the book Moby Dick and indeed the movie. And Captain Ahab was obsessed with killing this whale that had haunted him and menaced him before. And so once this fellow traveler Lily used this example, I mean, Picard is a very widely read person. He sees it. He sees how he was Captain Ahab. And he realizes, okay, I can see it. I can see it now. And so he begins to listen to Lilly. He begins to realize, I've got to find a way to, yes, defeat the Borg, but realize maybe the next right decision is to set the auto-destruct sequence on his ship, the Enterprise. Now, he ends up not having to do that, but he made the decision to, you know, basically hit the auto-destruct button and make the next right decision. So we need people in our lives who will speak truth to power and tell us things that we don't want to hear, and we need the humility to listen to their wisdom.
[47:50] [Gary Schneeberger] Hmm. That was the 3rd lesson that we learned from our summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. I will go through the first 3 lessons. Lesson 1: Every comeback begins with a decision. Lesson 2: Courage means acting on conviction, not certainty. And number 3, which we just finished talking about, is our greatest strengths can become our greatest liabilities unless they're steeped in humility and wisdom. Brings us to lesson 4, Warwick, which is this: nobody moves beyond a crucible alone. You were just talking about that a little bit. Now we get a chance to talk about it a little more. Despite science fiction's larger-than-life heroes, our series repeatedly shows that resilience is rarely a solo achievement. And one of the myths of resilience, Warwick, is the rugged individual who pulls himself up and conquers adversity alone. And these movies don't really support that, do they, when you get right down to it and you really study them?
[48:58] [Warwick Fairfax] Yeah, it's such a great point. You know, in some cultures, we admire the rugged individualist who can do it all, the person who says, I've got it all. I'm smart, intelligent, I have perseverance. I have all that I need. I'm powerful. I just need to channel my inner brilliance and resilience, and I'll get it done. But that idea is a myth and dangerous. None of us have all the gifts required to see our vision become reality. And we all need fellow travelers both to encourage us When the situation becomes difficult and we're feeling down, and also strengths that we don't have. That requires humility and wisdom. And it's just so dangerous when we feel like, I've got it all, I can do it. You know, building on prior lessons, we've got to realize that our strengths can be liabilities in certain situations. And we need help with people who have strengths we don't have, and we need help from people That will tell us, hey, it's great to have perseverance, but this one you need to give it up. You need to move on to another plan, another project, another vision. This one's not going to pan out. It's okay to say that. That's a setback. And in these movies, they really provide powerful lessons of this point. So in Star Wars Episode IV: A New Hope, Luke definitely needs Obi-Wan. Obi-Wan becomes his mentor. He helps him learn the ways of the Force and channel his innate abilities in a positive way. He would never become the Jedi Knight he becomes without Obi-Wan helping him, training him, and channel the ways of the Force.
[50:45] [Gary Schneeberger] Right.
[50:45] [Warwick Fairfax] In Back to the Future, we've got Marty McFly as a 17-year-old kid, this high school student who goes back 30 years in time to 1955. And Marty absolutely needs the help of this maverick scientist, Doc Brown, to help him get back to his time of 1985. No way could he do it by himself. In The Martian, Mark Watney may be alone, but he shows an incredible ability to think outside the box to be able to survive. But even Mark Watney, who is a brilliant botanist, and as he says, Mars will fear my botany powers, Good stuff. That's great. But even he needs help. He'll end up needing to get help from NASA and JPL, the Jet Propulsion Lab, and his crew on the ship that unknowingly left him to figure out how to survive and how to be rescued.
[51:41] [Gary Schneeberger] Right.
[51:42] [Warwick Fairfax] He can't lift off. He has no ship. He'll be stranded there and eventually he will die. He'll run out of food, water. I mean, eventually, You know, I don't know that he can survive forever there, but he wants to be rescued nonetheless, and he needs help. You know, the bottom line is, no matter how capable we think we are, we all need help. We need to be humble and wise enough to say, I don't have it all the time. My greatest strength could be a liability. I don't have all the strengths. I need people to help me with strengths I don't have and to help tell me whenโ I'm going off the rails down a track that's not helpful. We need other people. It's absolutely vital, especially to get beyond our crucibles. You know, we can't do it alone.
[52:25] [Gary Schneeberger] Right. And we've been talking about this in the context of these 8 films that we talked about in our summer series. Many of those, as we mentioned in each episode, were like the top film of the year that they came out. Right. So these are, these are well-known movies, well-loved movies, very Which led to a lot of sequels and reboots and those kinds of things as well. So people know the stories here. That being true, why do people going through crucibles then sometimes resist the very relationships that we can see in these movies help the protagonist get through what they're going through? Why, why in real life, R-E-A-L, do we not follow the examples that we see here in real life? R-E-A-L.
[53:11] [Warwick Fairfax] Yeah, I think it comes down to a few things. One is certainly ego. It's very common that entrepreneurs who start businesses in their garage, they become successful, they get a certain amount of employees and revenue in, but the skills it takes to be an entrepreneur is often not the skills it takes to be a general manager and grow to the next level. Those skills are very different. But the entrepreneur typically says, I got it. Hey, I founded this business myself. I don't need help.
[53:42] [Gary Schneeberger] Right.
[53:42] [Warwick Fairfax] Look how far I've come. That's ego talking. That's a lack of humility and a lack of wisdom. That is more the rule than the exception, sadly. And so why is that? Well, we just tend to feel like, I'm brilliant. Look how successful I am and look at everything I've achieved. You know, I can figure it out. And ironically, in our darkest hours, that's the time in which we most need help, but we often least want to accept it. We might say, hey, this is bad, but, you know, I'll figure out a way, or I don't know. Or it could be, this is bad and I don't deserve help. I'm a terrible person. I made terrible mistakes. Or what was done to me makes me feel worthless and I don't deserve help. I'm in purgatory. Just leave me alone. Go away. You're in such a negative mindset. You just want to be left alone, hide under the covers, and, you know, please don't free me from my prison cell.
[54:47] [Gary Schneeberger] Right.
[54:48] [Warwick Fairfax] Just leave me alone. Let me fade away. You know, please don't help me. It's this almost self-loathing or just this Incredible despondency that's so unhelpful. So in Star Trek: First Contact, Picard absolutely needs a fellow traveler. And as you've mentioned, he finds one in Lily, a woman he comes across in this part of the journey. But it's not easy. He doesn't listen to her initially. He fights her in the sense that he won't accept her advice. And Picard wants to keep fighting the Borg, his way rather than destroying the ship, which makes the most sense. It takes a lot for Lily to get through to him. I mean, Lily doesn't give up. And Picard almost shouts at her and says, you don't know what it's like and what the Borg have done to me. And he just won't think straight. And Lily just doesn't give up and almost mocks him in a way with, oh, Captain Ahab, there you go.
[55:49] [Gary Schneeberger] Right.
[55:49] [Warwick Fairfax] As I've said before, that's what begins to penetrate, and he realizes he is Captain Ahab. We all need people like Lily in our lives who won't give up on us. And not all of us have that. We need people like that in our lives, and we need to let them in. We shouldn't make it quite as hard as Captain Picard makes it. We need to realize, okay, we may not like what they're telling us, but is there a point? Maybe what they're saying is true. And obviously you want to pick the trusted advisors, trusted fellow travelers, ones who are for you, not ones who are there just to enjoy pulling you down. It justโ it's like a sport. So you got to pick the right people. But let's assume you picked the right people. You've got to let them in and listen to them because they just may be right.
[56:36] [Gary Schneeberger] Yeah. All right. So let's get down to brass tacks with this one. Let me ask you this. Is part of moving beyond a crucible Recognizing the limits of our own perspective and allowing other people into the story. Is that a definitive statement that we can make? That's part of bouncing back from a crucible. And if you don't do that, chances are you're not going to bounce back very well.
[56:58] [Warwick Fairfax] Absolutely. We have to realize that our perspective is colored by our history, our upbringing, our experiences. We don't have all knowledge or all truth. We look through life Through a lens of our experiences, our gifting. We might feel like, oh, perseverance, that's all I need. Or, hey, I don't really reflect. I just move and act, and I'll just trust I'll figure it out later. We all have certain mental mindsets that can be helpful or not helpful depending on the situation. And other people may have different strengths and perspectives and experiences that can be so helpful to us. In the case of Picard, he was captured by the Borg and he was assimilated by them, meaning he was turned into this half-human, half-machine cyborg where he was enslaved by them. And what they did is they used his experience and intelligence to harm other races, including humanity. Picard was seriously emotionally scarred by that. Even when he was freed, there was no way he could make objective decisions about the Borg. After all, they had enslaved him and then used his experience and intelligence to kill many people. How could he forgive himself for that? Even though it wasn't his fault emotionally, how do you get beyond that? I mean, this is trauma of a massive proportion.
[58:21] [Gary Schneeberger] Right.
[58:21] [Warwick Fairfax] Picard is a very sensible, highly intelligent person, but he needed to realize when it comes to the Borg, Making rational decisions in all cases are going to be a very difficult task. And that's why Picard absolutely needed people like Lily to speak truth to power. No way could he have solved that problem or been objective with the Borg. How could anybody?
[58:46] [Gary Schneeberger] Now we have arrived at what will be sort of the last lesson from our summer series. But this is the the, the cherry on top lesson, uh, inโ from Back to a Better Future: The Crucibles of Sci-Fi Cinema. And that's this, lesson 5 from all the movies, again taken when you look at them from 30,000 feet. Lesson 5 is this: the future is built by the choices we make today. Um, this really, Warwick, is perhaps the perfect closing lesson for a series that we've called Back to a Better Future. Nearly every film Explores the connection between today's choices and tomorrow's reality. So let me ask you this question. Science fiction loves asking what the future will look like, right? That's one of the reasons that you like it so much, that you love it so much. But these movies seem to be saying that the more important question is, what are we doing today to create that future? How did you see that play out in these movies, this idea of, right, we build the future today in many, many ways?
[59:59] [Warwick Fairfax] You know, in science fiction, it's really a great example of this challenge almost to the extreme because so often the battles between a preferred future and a dangerous dystopian one, certainly true In Terminator, the Terminator 2 movies. So for us, after our worst day or crucible, one path leads to endless recrimination and anger that will lead to a darker future. That's certainly one path. The other one leads to a brighter future where you learn the lessons of your crucible, you let go of any anger and bitterness, and you move forward on a better life-enhancing future focused on others, a life of significance. It's really a choice you make. Do I want to hide under the covers and be angry and bitter against myself or others? That will be your own personal dystopian future, your own dystopian night of the soul, if you will.
[01:00:58] [Gary Schneeberger] Right.
[01:00:58] [Warwick Fairfax] You don't need to live that way, or you can make decisions that will lead to a brighter future. It doesn't mean that there won't be any pain from what you've been through, but you can think to yourself, how can I Figure out, is there a way to use what I've been through, the lessons I've gone through, to help others? What's a brighter future? That's a key decision that you have to make. Which path are you going to go down, the dystopian one or one that leads to a brighter future? Speaking of future, in Back to the Future, Marty McFly grows up in a family that's essentially given up unless other people mistreat them. Where others may feel that McFlys will never amount to much, Marty begins to go on a different direction. Marty's life is greatly influenced by Doc, who tells him that if you put your mind to it, you can accomplish anything. This affirmation, when Marty goes back to 1955, leads him to change the complete direction of his family. Marty's dad George He pursues his dream to be a science fiction writer. He dances with the girl he would end up marrying at the high school dance. The direction of his life and indeed his whole family changes. In The Martian, Mark Watney has to figure out how to get food and water and communicate with NASA. Now, he could have just given up and his dystopian future would be trapped on Mars and Eventually die. Well, he wants a preferred future of survival. And he does not give up. He finds a way to communicate with NASA. He finds a way to get food and water. And indeed, at the end of the movie, we see Mark Watney passing on his wisdom to future generations of astronauts and scientists. What has he learned about science and indeed about perseverance. So these lessons end up helping not just himself but other people.
[01:03:02] [Gary Schneeberger] So how do we, after a crucible, shift from thinking of ourselves as victims of what happened yesterday to becoming architects of what happens tomorrow? Dare I say, to living out what we called this series Getting back to a better future. How do we go about doing that in our own lives?
[01:03:27] [Warwick Fairfax] You know, after we've learned the lessons of our crucible, which we need to do as quickly as possible, we need to forgive others, forgive ourselves, and let go of bitterness. Only then can we move forward to create a better future. Again, we keep talking about Mark Watney, but in The Martian, it's such a powerful lesson in which He seems to move on from his crucible instantaneously. He doesn't seem to harbor bitterness towards his crew for leaving him. He realizes, look, there was a dust storm. There are no life signs on my spacesuit because those wires maybe were damaged. There's no way they could know. So he does not Hold any bitterness towards them. He's not angry towards them. He's not even angry at God or the Creator, whoever he feels like is up there. He's not really angry at anybody for his situation. It's like, okay, this is awful, but let's figure out a way forward. He goes into problem-solving mode immediately. In Star Wars, yes, Luke is uncertain about moving forward after losing his aunt and uncle, But he realizes with Obi-Wan's help, there is an important mission to fulfill. He doesn't know what his role is gonna be in that completely, but he focuses on the future and how he can be part of the Rebel Alliance to defeat the Empire. How do I move forward? What's the next right step? All he knows is to leave the planet of Tatooine with Obi-Wan, learn the ways of the Force, learn what it is to become a Jedi Knight, at least learn their skills. He doesn't know what's all going to happen, but he decides he's not going to wallow in bitterness and anger. He's going to find a way to move forward and be part of the solution, not the problem.
[01:05:19] [Gary Schneeberger] So as we approach the end here, Warwick, let me ask you this question. How do we make sure the future we're buildingโ right, we've talked a lot about building a better futureโ how do we ensure that the future we're building after our crucible isn't simply a reaction to the pain of our past? How do we know that we've really moved beyond our crucible and we're moving toward a life of significance? What does that look like?
[01:05:46] [Warwick Fairfax] Yeah, I think probably the key way is to make sure we have let go of bitterness and anger about our crucibles, that we have forgiven ourselves and forgiven others. If we continually ruminate and reflect on what's happened and how angry we are, we just can't let go of those awful people who hurt us. The dumb decisions we made. If we keep on and on and on about that, we know we've not moved on.
[01:06:12] [Gary Schneeberger] Right.
[01:06:13] [Warwick Fairfax] And we know it's going to damage our ability to move forward and create a better future. It will also indeed damage others. We've said a lot on this podcast that anger and bitterness leak. If you're angry and bitter, you'll undoubtedly take it out on your family, your friends, coworkers. It's inevitable. So to move forward, we have to find a way to let go of that anger and bitterness. In Star Trek: First Contact, Picard probably has not really moved on from the pain of being assimilated by the Borg. It's pretty clear. His obsession with them, he may know them well and their weaknesses, but he doesn't realize that his obsession is stopping him making the next right choice at the time, which wasโ
[01:07:01] [Gary Schneeberger] To surrender.
[01:07:01] [Warwick Fairfax] To blow his ship up, to destroy the Borg. In this case, he needs help from a fellow traveler, Lily, to realize his blind spot and that his lack of objectivity concerning the Borg. So we've got to let go of the past, and we can only do that by letting go of anger and bitterness. But we also need help from others who can come alongside us. And we might say, I'm good. Nothing to see here. I'm not angry. And they'll say, yeah, not buying it. Why do you keep talking about that person who did what they did to you? And why do you keep being so angry at yourself? We need help from people saying, you know, I really don't think you've let go.
[01:07:44] [Gary Schneeberger] We've reached the point in the show where I have said traditionally over 300 and some episodes, You've just landed the plane on the conversation. But I'd be completely off-brand if I didn't say you just landed the spaceship on this conversation. Absolutely.
[01:08:07] [Warwick Fairfax] And which spaceship is it?
[01:08:09] [Gary Schneeberger] That would be the Starship Enterprise.
[01:08:12] [Warwick Fairfax] Absolutely.
[01:08:14] [Gary Schneeberger] I've learned a little something sitting next to you for theseโ for all these 8 episodes. We'll have to do more episodes for sure. Um, theโ so let's go over the, the lessons again, folks. Uh, the 5 lessons from our series, uh, Back to a Better Future: The Crucibles of Sci-Fi Cinema. Lesson 1 is every comeback begins with a decision. Lesson 2, courage means acting on conviction, not on certainty. Number 3, lesson 3, our greatest strengths can become our greatest liabilities unless they're steeped in humility and wisdom. Lesson 4, Nobody moves beyond a crucible alone. Not a solo proposition. And the 5th lesson that we just finished talking about, the future is built by the choices we make today. And Warwick, as we wrap up, when I put all 5 of those together, they almost form a roadmap. And I'm going to read it off my notes because I want to make sure I get it exactly right for our listeners and viewers. Step 1 is to decide that the crucible doesn't get the final word. Step 2 is act even when you don't know exactly how things will turn out. Step 3, stay humble enough to recognize when your strengths may not be working for you. Point 4, don't go alone. Let others help you. Seek others out to help you. And then finally, build the future through the choices you make in the present. So, Warwick, if someone's listening to us right now and still in the middle of their crucible, still roiling around with that, that the wind knocked out of their sails by the crucible that hit them, they're nowhere near the happy ending yet. Which of these 5 lessons would you encourage them to grab hold of first? And what should they do with it, not in the future, but today?
[01:10:20] [Warwick Fairfax] You know, the starting point is lesson 1: every comeback begins with a decision. We've got to make a decision to not be defined by our worst day. We've got to let go of anger and bitterness towards ourselves and others. If you don't do that, then you don't move forward. That's the first key step. And we need to be like Mark Watney. He's such a great example in The Martian. He wasn't bitter towards others for leaving him there, for his crew. He realized they made the best decision they could based on the data they had, which is, sure, it seemed like he was dead based on the The monitoring of his suit seemed to show that he was not alive because it had failed. How could anybody survive that dust storm? He decided that he was not going to be angry towards them. He wasn't going to be angry towards a higher power, the universe, whoever he thought was up there, NASA. Goodness knows, there could have been a long list. He said, okay, this is awful, but how do I move forward? He made a decision. But I'm going to let go of the past. I'm going to find a way to survive. It's not going to be easy, but what's the next right step I need to decide today? So once you make a decision that I'm going to let go of the past, I'm going to move forward, everything else flows from that. All the other lessons we just talked aboutโ courage means acting on conviction, not certainty. Our greatest strengths can become our greatest liabilities. Unless they're steeped in humility and wisdom. Nobody moves beyond a crucible alone. The future is built by the choices we make today. But it all starts with making a decision that we will not be defined by our worst day and that we are going to work to create a better future. Yes, a bit like weeding. When you go back and, oh boy, how could I have been so dumb? Why'd I do that? You've got to say, okay, I'm not going there, whether it's prayer or whatever you use. Let it go. Have people on your corner. It could be a spouse, partner, loved one. It could be teammates, people at work, friends. We all need fellow travelers, but just let it go. And if you're tempted to pick it up again, let it go again. Keep letting it go. And over time, we can get better at letting it go. And you might kind of obsess for a season, A few minutes, a few hours. I'm reminded in the movie Star Trek, one character we haven't talked about is Data, who's this robot. And he was tempted by the evil Borg Queen at one point to go over to her side and give up the computer codes so she could control the ship. And Picard says to Data, how long were you tempted? And he said like, I don't know what, 0.36 seconds. Right, right, right. And he says, well, that's not long. Well, yes, but for an android, that's forever. So, okay. He was pretty tough on himself, I guess. But whether it's 0.36 seconds, a day, a month, a week, whatever it is, find a way to let it go and move on. So that's reallyโ it all starts with making a decision. I will not be defined by my worst day. I will not be defined by what people did to me or bad choices I made. I'm going to move on. I'm going to lead a life of significance. I'm going to take the better path that leads to a better future.
[01:13:50] [Gary Schneeberger] Well, I'm at that place, Warwick. I have to let it go and move on because this is the last time that we will talk about this movie series this year. So folks, until the next time we're together, do rememberโ and the next time we're together, just so you know, is going to be the traditionalโ we're going to have guests, we're going to have dialogues, we're going to do all of that stuff. Coming back next week, but until that happens, please remember this: We know that your crucible experiences are difficult. We know they're hard. We know that they're they're not easy to get beyond. That's why we're here trying to help you with insights and action steps that you can take to get beyond them. And we also know this: that when you learn the lessons of your crucibles and you apply those lessons moving forward, they can lead you to the most. rewarding destination of your life. And that destination is, as always, a life of significance. Welcome to a journey of transformation with the Beyond the Crucible assessment. Unlike any other, this tool is designed to guide you from adversity As you answer a few insightful questions, you won't just find a label like the helper or the individualist. Instead, you'll uncover your unique position in the journey of resilience. This assessment reveals where you stand today, the direction you should aim for, and crucially, the steps to get there. It's more than an assessment. It's a roadmap to a life of significance. Ready? Visit beyondthecrucible.com Take the free assessment and start charting your course to a life of significance today.
What do you do when you’re stranded on Mars with almost no chance of survival โ and no one is coming to save you anytime soon?
In this episode, we wrap up our special summer series Back to a Better Future: The Crucibles of Sci-Fi Cinema with The Martian โ and the remarkable story of astronaut Mark Watney. Left behind on the Red Planet after a mission gone wrong, Watney faces not just his worst days, but his worst months and years, with little more than his ingenuity, determination, and an impressive sense of humor to carry him through. His story is one of the most compelling portraits of resilience we’ve explored in this entire series โ a masterclass in what it looks like to science your way out of a crucible and refuse to let impossible odds have the final word.
Want to explore our three prior summer series about the lessons we can learn about overcoming crucibles from film? Check out these playlists featuring every episode of each one:
๐ Take the free Trials-to-Triumphs Self-Assessment to discover where you are on your journey of moving beyond your crucible and how to chart your personal course to a life of significance: https://beyondthecrucible.com/assessment/
Transcript
Warwick Fairfax:
Welcome to Beyond the Crucible. I'm Warwick Fairfax, the founder of Beyond the Crucible. He could have given up saying, "Well, how do I grow food on Mars?" I mean, that's impossible, surely. But fortunately, Watney then says, "Luckily he's a botanist," and then says these words, "Mars will come to fear my botany powers."
Gary Schneeberger:
The red planet may not wind up fearing astronaut Mark Watney's botanical skills, but his science skills and his creative ways of applying them to overcoming being stranded on Mars impresses NASA and a watching world when a mission crucible leaves him stuck there with little chance of getting back to earth or even surviving. This week in the eighth and final episode of our special summer series, Back to a Better Future, The Crucibles of Sci-Fi Cinema, we look at the ingenuity, determination, and sense of humor that propel Watney through and past not just his worst days, but his worst months and years too. How can understanding how he overcomes these challenges help you overcome your own? Stay tuned.
Welcome friends to this episode of Beyond the Crucible. You have joined us for, sadly, the final episode of our summer series, which we are calling Back to a Better Future: The Crucibles of Sci-Fi Cinema. And it is the fourth year that we have focused our special summer series on what films can teach us about confronting crucibles, moving beyond our crucibles, and then launching ourselves into a life of significance. And we had so much fun doing it the first three times we did it that we though we'd do it again this year. And that's indeed what we have done.
Just to rewind a little bit, the first one we did in 2022 was spotlighting heroes, sports heroes, military heroes, historical heroes, any kind of hero you can think of, we covered that in 2022. We then skipped a year and did something else in our summer series. In 2024, we did classic films from the American Film Institute that they'd spotlighted as really, really excellent films. And they were really, really excellent and they were really, really excellent in helping you learn how to move beyond your crucible. And then last year we did movies. I've said it before, not in all episodes, but in some of these episodes, you've heard of the brand Chock full o'Nuts Coffee.
Our summer series last year was chock-full of crucibles films, films that really had a lot of crucibles that really showed how to tackle multiple setbacks and failures and move forward toward a life of significance. And this year, as I said, we're focusing on sci-fi movies and Warwick, I will ask you this question. I've asked you the first seven episodes, I'll ask you here for the eighth episode. We're going back to the cinema again. We're walking through buying our tickets and going in. Why movies again? What is it about films that fit Beyond the Crucible and what are you hoping our listeners and viewers have gotten from what we've done so far? And we'll get from this. What is your hope for this series?
Warwick Fairfax:
Yeah. We both love movies, but it's different looking at movies from the Beyond the Crucible perspective. Suddenly-
Gary Schneeberger:
Ain't that the truth?
Warwick Fairfax:
... this movie, which we'll get into, I really enjoyed it, but there's so much we can learn from this movie, which you'll talk about in a bit. There's so many lessons from Beyond the Crucible perspective. So, it's really hopefully educational for the listeners and viewers. It certainly is for both Gary and me. We really enjoy doing this. And part of the thing with movies is they typically portray a protagonist who is facing huge challenges, huge crucibles. It's really sort of technicolor level of challenges rather than just black and white or just pastel. I mean, it's just bright colors. And as you've mentioned, we've covered superheroes, sports heroes, the American Film Institute's top 100 movies.
And it's really a lot of fun and a great learning experience just to see how these central characters overcame just massive crucibles and found a way in most cases to not let those crucibles define them. In some cases, I can think of a couple, The Godfather and Citizen Kane. Unfortunately, those crucibles did define them and the arc of the movie, basically their lives get worse. So, it is possible to go downhill after a crucible, and certainly that happened in those movies. But in general, with the movies we have here portrayed over the last several years, you have characters that learn from their crucibles and find a way to focus on albums.
Gary Schneeberger:
Yeah. And whether they learn from their crucibles, the characters in the films, or like The Godfather and Citizen King, they didn't. They did let their worst day define them. There's plenty of help for all of us who go through crucibles from both the stories we should follow and the cautionary tales, right?
Warwick Fairfax:
Absolutely.
Gary Schneeberger:
And you said that it was fun just to kind of go through movies that we both like movies. As we've said before, when we do it for the series, we wear, I've coined the phrase Beyond the Crucible Goggles. But this particular series this year, right? Back to a Better Future, The Crucibles of Sci-Fi Cinema, particularly exciting for you, this now eighth week of this series has been. What is it? Explain to folks here, what is it about science fiction that you love so much and that you think is so resonant for discussing the kinds of things we're discussing, moving past your worst day and going toward a life of significance?
Warwick Fairfax:
Yeah. I've always loved science fiction ever since I was very small. I read books, watched movies, TV shows, the focus on science fiction. And I think of one of the most influential science fiction movies ever made was 2001: A Space Odyssey. It came out in 1968. And in this movie, you saw future technologies such as space shuttles with video screens on the seat in front of you. That's common now when we fly. But back in 1968, that technology didn't exist. You had talking computers, video conferencing. And what they did so well in 2001 is Space Odyssey is they use brands such as Precursor to AT&T, the Bell Company, and you have a scientist calling his daughter back on a birthday on earth.
He's in some space station circling the earth and he's using Bell telephone video conferencing. So, it's pretty cool the way they did all that. I think the space shuttle might be a Pan-Am space shuttle, which doesn't exist now, but today it might be American Airlines or United. So, really impressive. Of all the science fiction shows that exist, my favorite was Star Trek. And that aired from 1966 to 1969, we actually discussed a Star Trek movie last week. And that was from the Star Trek Next Generation, Star Trek First Contact. And as I mentioned last week, Star Trek: Next Generation is probably my favorite of the different series within the Star Trek universe.
Gary Schneeberger:
And you've seen all of them. You made that point last week. You've seen every episode of pretty much every series that they've done on Star Trek. So, it's bravo.
Warwick Fairfax:
Absolutely. Absolutely. Yeah. So, huge fan. And I'm also a fan of some of the great science fiction writers, Arthur C. Clarke and Isaac Asimov. Arthur C. Clarke actually wrote the screenplay to 2001, The Space Odyssey. And what I love about science fiction is yes, it explores future technology, but at its best, and certainly Star Trek does it very well, which is one of the reasons why I love Star Trek, is it explores deep societal issues such as the future of the human race, conflict between people who are different, how we'll interact with other forms of life, what's the role of technology? We obviously think a lot about AI today and is it good? Is it bad? What will AI do? Will it take people's jobs?
If AI gets too intelligent, will it be like in the Terminator where you've got robots that are taking over the world? Science fiction portrays things in some cases that we have some degree of reason to be concerned about. So, in science fiction, we see very significant crucibles portrayed. Can the human race survive? What will happen as humans explore the galaxy? Will it be beneficial or not? And will technology get to a point where it will control humans? So, that's why a lot of science fiction is yes, there's the technology, but the deep societal issues that science fiction can explore is really amazing because it's said in the future.
It's in societies that don't exist now or in context that don't exist. So, it's not threatening to anybody per se. So, you can really fully explore some deep issues.
Gary Schneeberger:
I've not said this in any of the episodes in this series, but the one thing that's interesting to me as we talk about all the advances and things that they show is the one thing that these movies did not necessarily get right, and how could they, is what computers look like. Because every computer that they show still looks like a dot matrix thing that's running by. Even Alien, which is set in this future. It's one of those things that you look at and you go, okay, this feels a little dated. Even The Terminator does that.
Warwick Fairfax:
Yeah, it's so true. They can't get everything right. But I do remember in the original Star Trek, they do have these communication devices that they're not quite smartphones, but they're kind of pretty nifty and talking computers that talk back. So, they don't get everything right. But that's the beauty of science fiction is the movies we make today about the future, I'm sure in 30 years' time to look back and say, "Come on, how could we have got that so wrong?" So, it's sort of inevitable.
Gary Schneeberger:
Okay. Here we are in episode eight and we're looking at the final film on our list this summer, and it's 2015's The Martian. It's the second movie, interestingly enough, in this summer series that we're doing, directed by Ridley Scott. And the first was Alien, which we just sort of hinted at a little bit, all the way back in week two. Sorry. It feels like season two sometimes, doesn't it? But it was back in week two. That was Alien. And here's the summary of the movie that we're talking about here, The Martian, which is in the film industry, this summary is known as the log line. It's the most compact way to express a film.
And I'm going to be sad that until next summer, I'm done talking log lines on Beyond the Crucible after this week. But here is the log line, and it's the shortest film we've had so far. It's this. An astronaut stranded on Mars must rely on his ingenuity to survive and arrange a potential rescue. Now that's a very succinct way of saying something that as you'll hear, we talk about it here. It's not very succinct. There's a lot of stuff that goes on and a lot of ingenuity indeed, as the logline says, it has to happen.
But Warwick, before we get into the movie, I thought it would be interesting since this is the last one of the series, to have a little look back at all four years, four years that we've done a summer series. So, I did a little research, Warwick, into the four years that we've done this. And in those four years, we've done 32 films counting this one. 32 films over four years. There are three films that one actor appears in all three films. Three different actors appear in all three films.
Do you have any wild guess as what, going back to 2022, what one actor might appear in all three series, not films, sorry. In all three series, appears in one film in three series. There's three actors. I won't keep you on the hook long because there's a lot of actors in 32 movies.
Warwick Fairfax:
Well, I know we had Charlton Heston in Planet of the Apes. I'm not sure if he was in any of the other series, but including this series, hmm, I don't know.
Gary Schneeberger:
I'll give you a hint. One of them's the star of the movie we're talking about this week.
Warwick Fairfax:
Oh, Matt Damon.
Gary Schneeberger:
Matt Damon. So, Matt Damon is one of the three. Matt Damon was in, well, he's in The Martian. He was in The Monuments Men, which we did last year. And he was in Invictus, which we also did last year.
Warwick Fairfax:
Right. Yeah.
Gary Schneeberger:
Matt Damon was one. Here are the other two really quickly. Cate Blanchett has been in three of the films we talked about in our summer series. Lord of the Rings, Fellowship of the Ring, that was 2024. In 2022, she was Marion in Robin Hood way back in 2022.
Warwick Fairfax:
Wow.
Gary Schneeberger:
And in 2025 last year, she was in The Monuments Men.
Warwick Fairfax:
Okay. Yeah. Yeah.
Gary Schneeberger:
And this one surprised me when I was looking it up because you don't think of him as doing this. Robert Duvall was in three. Robert Duvall was in The Natural in 2022. He played the sports writer that was kind of out to get Roy Hobbs. He was in The Godfather very famously as Tom Hagen, the consigliere of the Corleone family. And then he had a very small part, the pivotal part in To Kill a Mockingbird, which came from 2024.
Warwick Fairfax:
Right. Yeah. I think that might've been his first role in To Kill a Mockingbird.
Gary Schneeberger:
It was one of his first roles for sure. So, I have a modest proposal that we should call these series from now on, the Blanchett, Duvall, and Damon Summer Movie Series, right?
Warwick Fairfax:
There you go.
Gary Schneeberger:
Blanchett, Duvall, and Damon summer miniseries in honor of our most visited stars in the films that we've covered.
Warwick Fairfax:
That's so funny. That's great.
Gary Schneeberger:
And one other little fact that I just thought was kind of interesting here is that, where'd it go? One film has the most actors, three actors. One particular film of the 32 that we've covered has three actors who appear in other films that we have. And that's the Fellowship of the Ring. The Lord of the Ring is the Fellowship of the Ring. That's Cate Blanchett, isn't it? Ian Holm, who was also in Alien, isn't it? And Hugo Weaving, who was also the Red Skull and Captain America, the First Avenger. There's some summer movie series trivia from Beyond the Crucible. All right. Let's move on from trivia to what's going on in this film.
It's 2035, Warwick. And the crew of the Aries three, Mission to Mars, is exploring a planet on Martian Solar Day 18 of their 31 sol expedition. You'll explain probably better than I can what sols are when we get there. Sol, not souls like soul work that we talk about. A severe dust storm threatens their Mars ascent vehicle, known as a MAV. We'll call it a MAV throughout. And in the ensuing evacuation, astronaut Mark Watney is struck by flying debris. This kicks off the plot and it's a major crucible right away for the star of our film and for this film, right?
Warwick Fairfax:
Absolutely. So, in this opening scene of the movie, we see Watney and then another astronaut, Rick Martinez. They're outside the MAV. And it seems like out of no way, the severe dust storm hits. And all of the crew head towards the MAV. The dust storm is so severe, it begins tilting the MAV dangerously. And if it tilts too much, it's going to keel over and they're not going to be able to take off. And so, time is against them. And amidst this dust storm, the crew loses contact with Watney. All they see is that Watney gets hit with debris and they don't see him again and they assume that he's killed.
And one of the things that certainly makes them think that is they lose all contact with him and there are no vital signs. All of the spacesuits have technology that you can see the biosigns in each crew member. So, they see him being struck by debris and there are no vial signs, no bio signs. So, they assume that he's dead. And Commander Melissa Lewis, who is the lead person of the crew, she's faced with a difficult, almost impossible decision, is that if they wait, then they might all be killed because the MAV is going to be on its side or tilted over and nobody's going to be able to escape. So, they're really faced with a choice where they have no choice and they take off.
Gary Schneeberger:
Right.
Warwick Fairfax:
And obviously, they assume that Watney's dead and that there's nothing they can do.
Gary Schneeberger:
But Watney is not dead. Watney awakens after the storm we see in a subsequent scene, having narrowly survived his injuries. As he recovers within the crew's surface habitat, he begins a video diary to document his thoughts on survival. Watney realizes he's alone, injured and stranded millions of miles from earth. One of the most powerful moments in the film comes when Watney makes a decision. Simple decision, but not a simple decision. He's going to survive. So, let me ask you this, Warwick. Why is mindset the most important choice we can make when we're at the beginning of our own crucibles?
Warwick Fairfax:
We see in these early scenes that after the dust storm is over, as you say, Watney is actually alive. His has been punctured by this flying metal spike, which we later learned is connected to the antenna array, and his oxygen level is critical. So, he wakes up, he's injured, and he begins to walk slowly back to the base camp before the oxygen level dissipates. And once inside, he takes his suit off, pulls out the metal spike, which is punctured his side and staples the wound with sutures. And he's all alone. The crew have left him and the MAV. And so, what he begins a video log.
It's a very useful way in the movie that we know what he's thinking because he wants to record his thoughts, which makes sense. So, he says that this metal spike was part of the antenna and it sealed the blood in his suit, but it also destroyed his biomonitor. And he says it will be four years before anyone can reach him. He talks about everything that could go wrong, including the water reclamation machinery, or if the lab is breached, or if he runs out of food. So, he's very aware of how a dire his situation is. He's not kind of saying everything's great. He is very sober and sane in terms of how challenging his position is. But then he makes this bold statement.
He says, "I'm not going to die here." He just puts that line in the sand, "I realize how dire things are, but it's not happening. I will not die." Basically throughout the movie, he finds a way to keep moving forward. It's just remarkable. And Watney obviously had every reason to give up. He could have felt that his crew abandoned him and that there is no way he'll have enough water or food to survive four years when the next mission may come. I mean, that was not what this whole space camp was designed for. Not to mention all the disasters that could happen to him on Mars. So, there's every reason for him to feel like this is impossible. I may as well just give up.
And it would be very understandable if he felt sorry for himself and as I mentioned, gave up. But yet he makes a decision that he will not die on Mars. That is his mindset. And that shifts his thinking from despondency and negativity to one of hope. And it shifts his thinking to one of where he's saying to himself, "What do I need to do to come up with a plan to keep myself alive for four years? What's the plan?" And rather than saying, "This is all too hard," he has an attitude. "This will be challenging, but let's begin the journey. What's the first step? Let's come up with a plan and begin the first step towards survival.
So, really what this says more broadly is when you try to come back from your worst day, you're crucible, your mindset is everything. It's the difference between staying mired in the pit of despair and being angry at the world, angry at yourself, or having this sense of hope that, yeah, things are challenging, but I'm going to come up with a plan. I'm going to figure out a way. We're going to move forward step by step. We'll figure it out. We'll get it done. So, the difference between despair and hope is huge. Hope offers the promise of life. Despair almost guarantees that there is no hope. Despair can be and often is a fulfilling prophecy.
So, you want to move forward from your deepest, darkest day, have a sense of optimism, a sense of hope, not anchored in some complete lack of reality, but it's like, okay, it's going to be challenging, but we'll figure out a way, one step at a time. It's remarkable throughout this whole movie, Watney's sense of optimism and his mindset. It's just incredible.
Gary Schneeberger:
Yeah. I mean, he's got confidence and sometimes, he's even got defiance. And I think that's one of the things, folks, that you'll see in this clip that we're going to play. Let's take a look and listen to how Watney lays out his situation and his plans. His confidence, as I said, that he will survive.
Video Clip:
Right. Let's do the math. Our service mission here was supposed to last 31 sols. For redundancy, they sent 68 sols worth of food. That's for six people. So, for just me, that's going to last 300 sols, which I figure I can stretch to 400 if I ration. So, I got to figure out a way to grow three years worth of food here on a planet where nothing grows. Luckily, I'm the botanist. Mars will come to fear my botany powers.
Gary Schneeberger:
So, Warwick, there's skill obviously in that clip, but also a lot of humor. What will show a lot of both throughout this film, The Martian. Why is humor an indispensable asset to pair with our skill in our crucibles? Because I think those two go hand in glove in this movie and in our lives.
Warwick Fairfax:
Absolutely. So, in this clip, Watney calmly lays out what he needs to do to survive. He figures out that given that there is just one person and not the full crew, there is enough food for him for 300 or maybe 400 days. But he has to get three years worth of food when nothing grows. In other words, maybe this will cover the first year or so, but what about the rest of the four years? And he realizes that he does not have enough rations to get through four years. So, he could have given up saying, "Well, how do I grow food on Mars?" I mean, that's impossible, surely. But fortunately, Watney then says, luckily he's a botanist, and then says these words, "Mars will come to fear my botany powers."
I mean, you're right. It's an in your face, very humorous remark. But it's true the fact that he's a botanist does save his life. So, Watney calmly assesses a challenge about what will happen after his rations run out. And he has to find some way of growing food in order to survive. So, rather than being despondent, he sees this as a challenge and he's willing to face this with almost in your face humor. So, one of the things that this shows is sometimes amidst to crucible humor, even death defying gallows humor, which we see a lot from Mark Watney in this movie can be helpful. You recognize the problem, but you will not be defeated by it.
So, humor almost sort of diffuses any sense of despondency and actually help propel you towards moving forward. At least it does in this movie. Watney then begins to bring dirt from outside and he lays it all in a room and plants seeds in the dirt. So, he sees these potatoes and he finds a way to kind of get the seeds in the potatoes to kind of plant in the earth. And one of the other things you see is he's got two things sort of blocking his nose. So, he finds a way to use the manure from the waste disposal system because plants, as we know, they need some kind of fertilizer. So, he's creative, but not a fun job.
Gary Schneeberger:
No.
Warwick Fairfax:
And so, okay, so he's got the potatoes, he's got earth, he's got some kind of fertilizer, but you also need water. And this is Mars. There's not water on Mars, at least not anymore. Scientists speculate they may have been billions of years ago, but not now. So, how's he make water? Well, he's a scientist. So, he combines hydrogen and oxygen and burns it in some way that will produce water. Well, his first attempt doesn't work and it kind of blows up and is thrust backwards. But it's like, "Okay, yep, that didn't work out." And he figures out what he did wrong and figures out a new way to combine hydrogen and oxygen. And he indeed makes water and you see moisture in the room with the soil.
And eventually, he sees a small green sprout and then later potatoes. I mean, to have enough ingenuity, okay, he's a botanist, but enough ingenuity, creativity and sticktoitiveness to grow potatoes inside in this base camp in Mars. I mean, that's mind-blowing and creativity. And I'm sure the people back in NASA, if you said, "Yeah, I'm sure there's a way to grow potatoes inside a base camp," everybody would've said, "Nah, that's impossible. There's not one person at NASA that would say this could in any way, shape or form be possible." But Watney finds a way. It's truly remarkable.
Gary Schneeberger:
And Mars does indeed witness his botany powers as they play out in this scene. But as he's beginning this process of staying alive, back on earth, NASA has no idea that he is indeed alive, do they?
Warwick Fairfax:
They do not. So, the first we see of NASA on earth is we see Teddy Sanders, the administrator of NASA, and he's actually conducting a memorial service for Watney. They assume that he's dead. And then we see Vincent Kapoor, who is NASA's director of Mars missions. He comes and talks to Sanders and says that he wants to have satellite coverage of Mars to see what's left. And he wants to know what's happened. And Sanders worries about the PR of seeing a dead astronaut. Now, throughout this movie, Sanders doesn't always make the right call and doesn't even make the right PR call. He doesn't always approach it that well. But Kapoor advocates for satellite coverage to try to see what's happened.
And if Watney is indeed dead, let's fight out, let's bring his body home. Now's the time when everybody is focused on NASA and Mars and what's happened Let's do it now. Kapoor actually tries to push back on Sanders' PR view saying there's another way of looking at it. So, finally, Sanders does authorize satellite coverage of Mars so that they can see what happened and what's left of base camp and where things are. So, finally, Sanders authorizes it.
Gary Schneeberger:
And they don't just see what's left of base camp from those images. On earth, NASA satellite planner, Mindy Park notices Watney's activity from the recorded satellite images and suspects that he must be alive. How does NASA react to this news, Warwick? Because it is a bit of a seismic shift in what they understand to be true about what has happened on Mars.
Warwick Fairfax:
It is indeed. So, the satellite photos show that there's been movement at base camp on Mars. The solar panels are being put back. Obviously, they were kind of turned over and scattered with the storm. And they see that a rover, which is a Mars vehicle, has been moved. So, they conclude that Watney must be alive. I mean, how do those solar panels get put back in place? How does the rover sort of move from one place to the other? It's not being knocked over by a storm. It's right side up. I mean, how does all that happen? So, one of the other things that's apparent is that Sanders does not want the crew of the Aries, which is Watney's fellow crew that are heading back to earth on their spaceship.
Sanders doesn't want them to know that Watney is alive because he believes they'll be devastated to think that they've left him behind. So, Sanders makes the call, "Do not tell the crew of the Aries that Watney's alive."
Gary Schneeberger:
Watney then explores the surrounding terrain and studies his maps and he quickly journeys out to retrieve the Pathfinder probe, hoping to restore its communications. Kapoor realizes this strategy and quickly visits Jet Propulsion Laboratory. We're going to call that JPL throughout the rest of this episode, folks. The director of JPL, Bruce Ng, to use their replica of the probe. What plan is hatched next, Warwick?
Warwick Fairfax:
So, this again shows Watney's remarkable creativity and his ability to think outside the box. So, he remembers the Pathfinder probe from 1997 and he takes the rover out to find it, thinking that maybe he can use this to communicate with NASA. Because remember that whatever communications array they had back at base camp was destroyed in the storm. So, while he's found a way to grow food and create water to survive, he knows that ultimately to live, to continue to be alive, he needs to find a way to restore communications with NASA. He wants them to know that he's alive and he obviously needs their help.
And so, what's interesting is at NASA on earth, they're looking at these images of base camp and they notice that the rover is headed out of base camp. Well then they draw a line from base camp to the rover and Kapoor is a smart guy and he figures out, "I know what Watney's doing. He's headed to where the Pathfinder probe was." And so, at that point, as you say, Kapoor heads out to JPL in Pasadena, California, and there they have a replica of the Pathfinder. And so, it's like, okay, he's going to find Pathfinder on Mars. We'll find the one we have here. And this is old technology, but the Mars Pathfinder in a sense will find a way to hopefully communicate with the Pathfinder on earth.
So, Watney brings his Pathfinder back to base camp. He turns the machine on and there's a camera that takes still photos. So, that's the technology. It's not video. There's no sound, but it does take still photos. So, again, Watney is the ultimate for thinking outside the box. So, he gets these trays from inside the base camp and he starts writing on them. And then he erects two sides saying yes or no. And so, when the camera spins towards yes, he knows that they're seeing him at NASA on earth and it means yes. And so, it's pretty rudimentary forms of communication, but at least he can get a yes or no answer to these questions that he's written on these trays. It's really remarkable. But Watney's not satisfied.
That's the first step in communication, but yes or no is a pretty crude way of communicating. It's a fairly elementary. It'll take forever to have any kind of communication. Well, he knows he needs to find a way to have an alphabet, but because of the turning radius of the camera, a regular 26-letter alphabet won't work. So, being a scientist, he said of something that I certainly haven't heard of, which is the hexadecimal alphabet.
Gary Schneeberger:
Oh yes, that.
Warwick Fairfax:
So, that was a new one to me. So, somehow the hexadecimal alphabet must be less than 26 letters and can fit within the turning radius of this camera on the Pathfinder. Well, somehow as he's working on that, the smart people at JPL in Pasadena figure out what he's trying to do is it's a hexadecimal alphabet. I mean, talk about great minds thinking alike. I mean, this is crazy, but I guess he must have given them clues or maybe he's written it on a tray. Somehow they've figured it out and now they can communicate with the full alphabet. So, they ask him how he is alive. And so, this is the message that Watney sends. Impaled by antenna, biomonitor destroyed. Crew had reason to think me dead, not their fault.
Very concise, very to the point. Really a remarkable message. So, this shows Watney's incredible ingenuity and thinking of using the Pathfinder's communication device and thinking of using the hexadecimal alphabet to communicate. But it also shows Watney's state of mind. He is not blaming NASA or the Aries crew for leaving him behind. He gets it. He understands that the MAV was about to keel over, that they had to escape. He realizes his biomonitor was damaged. And so, they had no reason to believe he was alive. He doesn't at all fault them for leaving him. There's no anger. He gets it. It just shows a remarkable presence of mind.
And it's not even forgiveness because it's like, well, there's nothing to forgive. They did what they had to do. So, he's not weighed by the past. He's not wallowing in the pivot of space. He's not angry at others. He's not angry at himself or anything or anybody. It's like, here we are, what's the next step? So, his creativity and his mindset as just jaw dropping. It's really incredible.
Gary Schneeberger:
The agency makes contact with Watney and instructs him to link Pathfinder to the Rover where he can now communicate by text. Totally going to change the way that they exchange information and make it much, much better. With this breakthrough, Mitch Henderson, who is a flight director for NASA, Mitch Henderson is finally allowed to inform Watney's crew mates. This is his team of fellow travelers. And how do they react to this unexpected, truly breathtaking news?
Warwick Fairfax:
So, now that Watney can communicate with NASA, really the first huge breakthrough is when NASA says, "Okay, there's a way that we can link up Pathfinder to the rover so we can have more complex conversations by text. That's not something Watney had figured out, but the bright minds at NASA did. Again, it shows the importance of having fellow travelers. As smart as Watney is, having a whole bunch of other minds can certainly help. And you're right, it was a game changer. So, now he's able to text NASA and they can text him back. I mean, it's huge. Certainly a lot more efficient than the original system of yes or no signs in the earth of Mars, so to speak.
And so, Kapoor tells Watney that they're working on a supply mission to keep him fed and working on a rescue mission. Watney is understandably relieved and in classic Watney in your face, humorous fashion says, "Glad to hear it. Really looking forward to not dying." And they all laugh back at NASAs, including Sanders. I mean, it's just classic Watney. Yeah, really looking forward to not dying. Just this optimistic gala's humor is incredible. So, Watney asks how the Aries crew is feeling now that they know that he's alive. Well, they tell him that the crew doesn't know that he's alive. And Watney's incredulous and says, "What's wrong with you at NASA that the crew doesn't know he's alive?"
He's just dumbstruck by that. At that point, Henderson tells Sanders that the crew of the Aries need to be told that Watney is alive. And so, at this point, Sanders authorizes communications. So, Henderson sends a video message to the Aries crew and he tells them that Watney's alive and healthy and that they found this out two months ago and they decided not to tell them. But then Watney says they have communications with Watney and a rescue plan. So, Lewis' reaction is, "I left him behind." And she says it more than once. "It's understandable the commander of a mission, when things go wrong, they tend to say, it's my fault. I should have thought of something."
And she does. Now the crew says we all left together and it wasn't her fault, but that's a tough thing. I mean, how could she possibly know? She saw this debris take Watney away. There's no biosigns on his spacesuit. They had to take off because the MAV was about to tilt over. She had no choice. Logically, she made the right call. She has the safety of the rest of the crew. But emotionally, understandably, she's thinking, it's my fault. He's stranded there and it's my fault. It's very understandable that she would think that way.
Gary Schneeberger:
So, as Watney enters the camp one evening, a leak in the airlock causes an explosion that injures him and destroys that potato garden that he works so hard and ingeniously to create. And just as the audience, you're kind of lulled into this, things are going smoothly. These guys are all so smart. It's going to work out great. Here come crucibles. Something that we all know, right? Just because you've been through one and it's gone smoothly a bit for you or you figured it out does not mean that another one's not going to come. And although he repairs the airlock, he is again threatened by starvation. Warwick, what impact does that scene have on Watney?
Warwick Fairfax:
Yeah. So, Watney's outside trying to strengthen the outside wall of base camp. And he's in an interlock, which is between the two doors. So, basically you go through one door and pressurize that sort of tunnel, if you will, and then open the next door and get into base camp. So, as he's in the interlock between these two doors, somehow there's a tear in the tube and oxygen blows out and knocks Watney around. His soon has been punctured. His oxygen is at 5% before he can find tape to tape over the puncture. So, he gets that taped.
Well, then he heads into base camp and he sees that the whole explosion, if you will, with oxygen escaping. He sees that the whole crop has been exposed to the outside atmosphere and it's all being killed. And then he goes to the rover and tells Sanders Henderson and Annie Montrose, who's the director of media relations for NASA, he tells them all that the crops are dead and the water supply's an issue. So, this makes the rescue mission that much more challenging. The whole food supply has been radically diminished because he's lost all his potato crops. And NASA is now allowing the Aries crew the ability to communicate directly with Watney.
And so, there's this conversation that ensues and it's classic in your face banter as comrades and arms do. And it's just incredibly priceless conversation. So, Martinez on the Aries crew says to Watney, "Sorry we left you behind, but we just don't like you." And then he says, "It's a lot roomy on the Aries crew without you. We had to take up your job, but it's only botany. It's not real science. It's classic smack talk in your face." And Watney eats it up. He realizes it's all in fun. And so, Watney smiles at this batter and Martinez asks how things are going. And Watney says he just blew up the hatch and explained what happened.
But unfortunately, all of Lewis's disco music survived. Now throughout the movie to this point, the only music in base camp is Commander Lewis's disco music. And for whatever reason, Watney cannot stand his disco music. It's just driving him insane. But when it's you alone, it's disco music or nothing. Well, he decides disco music is better than nothing because he's hearing something as he's going about his day. So, in this banter between Watney and the Aries crew, it's clear that Watney has not given up no matter how bad things look at times, and still tries to have some sense of optimism despite the fact that he's lost his, well, at least a lot of his food supply and some of his water.
And so, this is just this recurring theme of optimism. And as I mentioned, hating Lewis's disco music. It's also clear from the batter how much the Aries crew thinks of Watney. And the smack talk is said in love. You only have that kind of conversation if there's a real sense of love and camaraderie between the Aries crew and Watney.
Gary Schneeberger:
Right. Last, another big crucible happens to NASA. And then the China National Space Administration becomes an unexpected fellow traveler to all of this that's going on. And it decides to offer a launch vehicle originally intended for the Tai Yang Shen Space Probe out of China to resupply Watney. NASA astrophysicist Rich Purnell devises an alternative plan though. What is that new plan, Warwick?
Warwick Fairfax:
So, NASA is trying to send a supply vehicle up, but unfortunately the supply vehicle they send up. It blows up shortly after liftoff. So, now what are they going to do? They don't have lots of vehicles, supply vehicles are waiting. It could take months to be able to get another one up and running. So, they'd shortened the schedule to get that supply vehicle up and had not done all the final checks because they just knew that Watney didn't have time. You have to take desperate measures when it's a desperate situation. So, at this point, Watney realizes that things are not looking good. And so, we asked Lewis to pass on a message to his family in case the worst happens.
And this message is very telling about Watney's mindset, but also the legacy that he wants to leave. And this is a message he asks Lewis to pass on to his family. He says that if he dies to tell his parents, and he says, "It is a lot to ask, but he's not giving up, but he's preparing for every outcome." And he said to tell him he loves what he does and he's really good at it. Dying for something big and beautiful and greater than me. Tell him he said that he can live with that. And thank you for being my mom and dad. So, basically, he's hopeful that he'll live, but if he doesn't, he can live with the facts, so to speak, that he's dying for a cause greater than himself. That is pure life of significance. A life on purpose, dedicated to serving others.
Gary Schneeberger:
Yeah, for sure.
Warwick Fairfax:
It's really remarkable. So, this legacy message shows that Watney realizes he is living for life of significance. In fact, he's willing to die for his life of significance. And he says that he can live with that. It's just remarkable. So, meanwhile, the China Space Agency is watching. And unbeknownst to NASA, China has come up with booster technology that can help. So, the head of this China Space Agency reaches out to Sanders at NASA and tells them that China's willing to help. So, NASA can get a supply vehicle launched fairly quickly after all. So, meanwhile, Purnell at JPL Pasadena has come up with a plan. So, he's this sort of uber scientist, almost a little bit nerdy and he's kind of a genius.
And this involves the Aries spaceship, which is headed back to Earth, getting gravity assist from looping around the Earth and picking up supplies from the Chinese rocket and then accelerating back to Mars. Then it's going to loop around the Earth, pick up the supplies from the Chinese rocket and head back to Mars. So, Watney, on the other hand, he would use another MAV on another part of Mars to then intercept Aries while it's orbiting Mars. So, that's the plan. It's not an easy plan, but it's doable. So, Sanders does not want the Aries crew to know of this option.
I guess Sanders is probably skeptical, plus it would mean the Aries crew having to go all the way back to Mars after they're actually orbiting the Earth. And while Henderson, on the other hand, says he believes it should be the crew's decision. Well, Sanders makes a call. No, Aries crew are not going to hear about this option from Purnell. Well, then Henderson, he goes behind Sanders' back and sends a coded message to the Aries crew. Lewis and the rest of the crew realize that they're being kept in the dark by NASA and that they could force NASA's hand. I mean, they could make a decision on their own that Sanders can't do really anything about. But Lewis says that if it was up to her, she'd do it.
She'd return and rescue Watney. But she fully realizes this is mutiny and they're going against what NASA wants. And so, she says that the crew has to be in this together. She says, "This will add 533 days to the mission before we see our families." And she says that NASA will never send us back in space again because they're defying orders, it's mutiny. And she says, "Any of the crew who are in the military will be caught marshaled." So, Lewis says, "This decision must be unanimous." They all vote yes and they're excited. They're eager to rescue their friend and colleague Watney, and they fully realize the consequences of their decision.
So, the crew somewhat cryptically tells NASA that Purnell is a steely-eyed missile man. So, basically at that point, Sanders and NASA realizes word is out. They know about Purnell's plan. So, Sanders realizes what's going on and he also realizes how it happened. It must be Henderson. He's the one that wanted to tell the Aries crew. He obviously did tell the Aries crew of Purnell's plan. But Sanders then asked for Henderson's resignation. There are consequences for doing what Henderson did. And I'm sure Henderson realized there could be consequences. And Sanders basically said, "I need your resignation." Nonetheless, Sanders reluctantly blesses Purnell's plan, which the Aries crew are emblematic.
He might think, "What choice do I have?" But he basically blesses Purnell's plan. So, a couple remarkable things happen here. Lewis and the Aries crew are willing to add 533 days to their mission before seeing their families again, and they're willing to risk their future careers with NASA. Henderson sacrifices his career for the sake of rescuing Watney. So, it's a lot of incredibly selfless behavior on the part of the Aries crew and Henderson of doing what they feel is right, even though it will be a great cost to themselves to help Watney. It's truly remarkable their attitudes and what they did.
Gary Schneeberger:
So, after waiting several months, Watney embarks on a long journey to the areas for MAV. He plans to use it to rendezvous with the Hermes, but needs to do something pretty extreme to make it work, doesn't he?
Warwick Fairfax:
He really does. So, Watney has to make a long journey to get to the MAV on the other side of Mars. He travels during the day or at night, and then he has to stop and get out the solar panel to charge the rover. And then off he goes again. It's just a long journey. So, his goal is to reach this other MAV that will then take off from the planet Mars from the surface and then link up with the airy ship once it's in orbit. And so, he leaves this following message as he leaves base camp, I believe. Everywhere I go, I'm the first. Climb that hill, first guy to do that. Four and a half billion years than me. First person to be alone on an entire planet. So, again, it's a never say die attitude from Watney.
His human optimistic personality are incredible. So, Watney then finally gets to this MAV, and he's told by NASA that to get to the right intercept velocity, he needs to make the MAV wire a lot lighter. So, Watney at NASA's direction begins to start throwing out a lot of equipment from the MAV. He throws out the controls. He unscrews everything. He even, I think sort of removes some of the outside windows to this MAV and he puts a top over the nose, which he comically calls making this MAV like a convertible without a top. And it's just incredible. Wat needs to this process before he leaves in the MAV, he cleans up his appearance, cuts his hair, shaves. He wants to look presentable.
And earlier as he was heading to the MAV, he thought of himself as a pirate since nobody really owns Mars. And then he starts thinking about when you're in International Waters, nobody owns International Waters. He kind of riffs on this whole way of thinking. And he thinks of himself as a pirate because again, he's in the middle of Mars, nobody owns that. And he asked to be called a Captain Blondebeard. The sort of captain Blackbeard in the pirate days way back when. So, he wants to be called Captain Blondebeard. It just cracks you up his sense of humor. And meanwhile, while all this is happening and he's about to take off in the MAV, the whole world is watching.
We see scenes from NASA, the Chinese Space Agency headquarters, even people in Trafalgar Square in London, they're all watching. And the MAV takes off and the G-forces are so strong and so great that Watney passes out.
Gary Schneeberger:
The daring rescue mission that follows sort of caps the film off. And remember on the Aries going through some kind of crucible experiences. It's also the film's biggest rollercoaster ride. It's truly an action packed way to bring this film in for a landing. What happens?
Warwick Fairfax:
So, the Aries crew in Watney really have to think outside the box. So, the intercept velocity between the Aries ship and the MAV is too fast. Somehow they've got to slow down, otherwise they're not going to be able to make contact. So, Lewis incredibly tells a crew member to make a bomb. That's a solution, make a bomb. And so, they're going to put this bomb in part of the ship. And when the bomb explodes, it will reduce the ship's speed. It will reduce the ship's velocity. So, meanwhile, Lewis puts on the spacesuit, which is attached to a long tether line as she seeks to grab Watney. And she tells Watney that he has to leave the ship, which is not a problem after all, it is convertible.
And the ship's windows out there, he's got a space suit on, he just needs to crawl through the open window, so to speak, and off he goes. And so, she's trying to grab Watney as he's leaving the MAV, and she's on this long tether line in her spacesuit, but this still's too far away. And so, Watney creatively thinks of cutting a hole in his suit and uses the escaping air pressure to thrust him forward. He'd mentioned it earlier to Lewis and the crew of the Aries is an option. And Lewis grabs Watney and says, "Way to go, Iron Man."
Now, this is another comment that Watney comes up with when he was earlier pitching his idea saying, "Hey, I know there's a way I could leave a MAV and reach the airy spaceship. I can be like Iron Man and puncture my suit. They turned it down initially. Now what choice do they have?" It's so funny. And so, finally they reunite and we see Lewis grab Watney. The tether line is pulled back and Lewis and Watney are pulled back onto the ship. And everybody's smiling. And one of the first things that Watney says when he's able to talk to Lewis face to face, he says, "You have terrible taste of music." Again, this whole rift about how much he hates disco music.
They all laugh and mission control at NASA yells enjoy. And the whole world is watching this and everybody around the world is also rejoicing. Watney has been successfully rescued.
Gary Schneeberger:
And that's not exactly the last scene of the film because after returning to earth, Watney becomes a survival instructor for astronaut candidates. His speech to the class could be a talk to a group of graduates if we ever created a Beyond the Crucible university, couldn't it?
Warwick Fairfax:
That is so true. So, we see Watney walking into a classroom of future potential astronauts. And it's just classic in your face Watney humor. He says this, "Welcome to the astronaut candidate program. Pay attention. This could save your life. Trust me, I know what I'm talking about." And the class of course laughs. "Yes, I did survive on a deserted planet by using my own S expletive. In other words, dung, excrement, manure. You get the picture. And did I think I was going to die? Yes. At some point, everything is going to go south. You can either accept that or get to work. You just begin. You do the math. You solve one problem and then the next. And if you solve enough problems, you get to go home."
I mean, this is classic Mark Watney. He shows a remarkable sense of humor, optimism, and a willingness to never give up. When he's flying through space using a punctured hole in his suit to let the air escape, to try to reach Lewis and the Aries crew, he refers to himself as Iron Man. Perhaps he should have called himself Captain America. I think of that movie that we did a few years ago. And in fact, you mentioned this in a recent blog, Gary, that you wrote in a podcast we did a little bit ago. And there's a line in Captain America with Steve Rogers as Captain America says, "I can do this all day." He says that throughout the movie.
Well, I feel like Watney could also use those phrases because he could say, "I can do this all day." No matter what happens to him, he always thinks of a way forward. He never gives up. And it's just incredible. As Watney tells the class when things go wrong, you have to accept that and get to work and solve the problem, solve the next problem. And eventually if you solve enough problems, you get to go home. This is resilience persists It's a creativity and instead of a never say die humor at a Mount Olympus level.
It's just no matter what happens, he shrugs it off, has a smart Alec remark and says, "Okay, that sucks. That's not good. But now what? Now what do we do? What's the next plan? What's the next step?" He never gives up. He just keeps going. It's just his mindset is truly remarkable.
Gary Schneeberger:
So, Warwick, we've finished the film proper. Let me ask you what I've asked you for all seven episodes prior to this. Frankly, what I've asked you for... oh, I'm going to have to do math. All the ones that came before these last seven episodes, I'm not going to do the math. How do the crucibles of the characters in the martian, particularly Mark Watney, how do they offer us insight into how to overcome, how to walk through, how to move beyond our own crucibles?
Warwick Fairfax:
One of the major themes of this movie is humor. I'm not sure that we've talked about humor as often as we have in this movie and in this podcast of how valuable a tool it can be to really helping you come back from your crucible and not be defined by your worst day. But it's certainly one of the biggest themes in this movie. And even when things are looking dire, Watney always has a wise crack, calling himself Iron Man, Captain Blondebeard. He jokingly calls himself the greatest botanist on the planet of Mars. Well, he's the only botanist. He's the only human. But of course, it's classic. I'm the greatest botanist and planet of Mars.
And then he says, he colonized Mars and then says, "In your face, Neil Armstrong." So, he's referring to Neil Armstrong back in 1969, he was the first human to set foot on the moon. But he says, "Huh, Moon? This is Mars in your face, Neil Armstrong." It's just so funny. It's all so impressive. So, when we're in our darkest moments, humor can often lighten the mood so we can clear our head and think what we need to do next. It basically flushes out the negative thoughts. It's like, "Okay, that sucked." You make a smart-aleck remark. And then what do I do next? It's such an important tool for survival and getting beyond a crucible. But Watney also shows how important it is not to dwell in the past.
He is not angry that he's been left behind on Mars. He could have said, or maybe he could have tried harder and why'd you leave me? I mean, not the best necessarily logical in this case, they had no choice. But when you've been left behind on the planet Mars with little hope for survival, most people would dwell on the negative. Most people will get angry at others. But he gets it. He would've assumed that he was dead too, especially after the biomonitor on his suit stopped working. He does not get down. He solves the problems one by one. He gets the solar panels up and running. He figures out a way to grow potatoes and produce water. He figures out a way to communicate with NASA using Pathfinder.
It's just amazing. So, after we've cleared our minds with humor and not dwelled on the past, letting go of any resentment of others, we can begin to work the plan one step at a time. Don't focus too far ahead. Think about what you need to do today. And then when you string enough action steps together, one today and then another today, you'll find these steps take you to where you want to go. Your vision will have come to pass and you'll be leading a life of significance, a life on purpose, dedicated in serving others. So, humor sort of clears the system, helps you focus, and come up with a plan. And what's the next right step I need to do today?
And when obstacles come, you always say, okay, this was awful. This wasn't fun. Crack a joke, whatever it takes to relieve the tension, and then get back on tracks and go, okay, what's the plan? What do I do now? Maybe I need a new plan. If you keep moving forward, have the sense of optimism. Don't look back. What's the next right step? And eventually, those steps will string together your journey that will lead to a life-affirming vision. It's just such a powerful mindset that Mark Watney has. It's truly incredible.
Gary Schneeberger:
Warwick, folks, that is a wrap on our 2026 summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. Or as I called it before, the Blanchett, Duvall, and Damon Summertime Series. Is that right? It's the Blanchett, Duvall, and Damon summer movie series. We've just ended our 2026 version, but guess what? As we've said from the time we started this eight episode arc, we have three other series that came before this, and we've created a way for you to find them and enjoy them really quickly. So, as we're wrapping, just keep this in mind. You can go to Beyond the Crucible on YouTube. All right? Find Beyond the Crucible's website on YouTube and look up our three previous series to this fourth one. There's 2022s.
All the episodes are listed right there for you in a playlist. Lights, camera, crucibles. That one focuses on heroes, movies that feature heroes. You can also find 2024's summer movie series called Classic Films, Classic Crucible Lessons. Those are film classic movies that are rated as some of the best movies ever made by the American Film Institute. And then you can also find last year's summer movie series, Big Screen Big Crucibles, which as I have said several times in this series, you've heard of Chock-Full of Nuts Coffee. This is Chock-Full of Crucibles films. Go to our YouTube channel, search for the playlists. They're all there.
And you can enjoy an afternoon and an entire day really watching through all of these series. 32 and all, as I said, that is the Blanchett, Duvall, and Damon summer movie series. And we are done with the latest version of it here in 2026. We will be back, folks, to regular programming, as you might say, next week here at Beyond the Crucible. Until then, please remember that we know and understand this truth. Your crucible experiences are tough. They're hard. The people who've been through Crucibles and all these movies that we've just discussed experience that, but they're not the end of your story.
In fact, if you learn the lessons, like we unpack the lessons from these films in this series, if you learn those lessons and apply them as you move forward, it's not just not the end of your story. It's the start of a new story that can lead you to a phenomenal new destination. And that new destination, as Warwick has talked about since the onset of Beyond the Crucible, but also a lot of times in this series, that new destination is the most wonderful destination you can reach because it is a life of significance.
Welcome to a journey of transformation with the Beyond the Crucible assessment. Unlike any other, this tool is designed to guide you from adversity to achievement. As you answer a few insightful questions, you won't just find a label like the helper or the individualist. Instead, you'll uncover your unique position in the journey of resilience. This assessment reveals where you stand today, the direction you should aim for, and crucially the steps to get there. It's more than an assessment. It's a roadmap to a life of significance. Ready? Visit beyondthecrucible.com. Take the free assessment and start charting your course to a life of significance today.
Heroes versus villains. The latter looking to rule the galaxy, the former looking to save it.
What happens when the leader who must save everyone is still carrying the wounds of his own trauma?
In this episode, we dive into Star Trek: First Contact as part of the seventh installment of our special summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. Captain Jean-Luc Picard of the Starship Enterprise must lead his crew against the Borg. This very enemy once assimilated him, while fighting through the trauma that experience left behind. The stakes couldn’t be higher: the fate of the entire galaxy and the birth of warp drive hang in the balance. Picard’s journey is one of the most compelling crucible stories in all of sci-fi cinema, and the lessons it holds for anyone leading through unresolved pain are as relevant on Earth as they are in the final frontier.
Want to explore our three prior summer series about the lessons we can learn about overcoming crucibles from film? Check out these playlists featuring every episode of each one:
๐ Take the free Trials-to-Triumphs Self-Assessment to discover where you are on your journey of moving beyond your crucible and how to chart your personal course to a life of significance: https://beyondthecrucible.com/assessment/
Transcript
Warwick Fairfax:
Welcome to Beyond the Crucible. I'm Warwick Fairfax, the founder of Beyond the Crucible.
One of the things that Picard and the Enterprise realize is it is critical that Zefram Cochrane launched this ship called The Phoenix, go and achieve warp drive, and make contact with the Vulcans. And it's also pretty clear that the Borg don't want this to happen. They're all about defeating the Federation and really anybody in their path.
Gary Schneeberger:
Heroes versus villains, the latter looking to rule the galaxy, the former looking to save it. This week in the seventh episode of our special summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema, we look at Star Trek first contact in which Jean-Luc Picard, the captain of the Starship Enterprise, must fight through the trauma of having been assimilated by the Borg, as he leads his team to a life of significance for the whole galaxy, ensuring the birth of Warp Drive.
How can understanding how Picard and his crew turn their trials with the Borg into triumph for all, on the side of the Federation, help us through our own crucibles? Stay tuned.
Welcome, friends, to another episode of Beyond the Crucible. You are dropping in toward the end now of our summer series. We do one every year, or at least we have for the last four or five years. And you've dropped into the latest episode of our summer series this year, which once again, you won't be surprised if you've been with other summer series for us. It's on movies. And the reason why it's on movies is we had so much fun when we focused our summer series on movies, Warwick and I have, over three of the last four years, that we want to do it again. Not only because it's fun, that's a big reason, but also because from movies, we can learn a lot about how to overcome, how to move beyond crucibles, and how to then to point yourself toward a life of significance.
And so, after spotlighting our first one of these series, we just did some hero movies, superhero movies, military hero movies, historical hero movies. Then we flipped to some of the best movies ever made, according to the American Film Institute. We talked about how the characters in those movies either overcame or didn't overcome their crucibles. And if you haven't heard that, go back, because in a couple cases, you can learn just as much about how to move beyond your crucible from those characters that don't do that in films.
And then, last year we did what I have called on a couple of occasions during this series, you've heard of Chock Full of Nuts Coffee. This was Chock Full of Crucibles. We did movies with lots of crucibles in them. And as those crucibles sort of barraged you, you could continue to learn from them and move on.
So Warwick, this year we're calling our series Back to a Better Future: The Crucibles of Sci-Fi Cinema. And I'm going to ask you this question, just first about movies, and then I'll ask you why this particular focus on movies.
But why are we back in theaters, this time around, to examine movies again for our summer series?
Warwick Fairfax:
Well, both you, Gary, and I, we love movies and it's very different looking at movies from Beyond the Crucible perspective. Typically, when you watch a movie, you got your popcorn and you're there to have fun and enjoy. And I'm thinking, gee, what can I learn from this movie to help me lead a better life? Life is significant to life on purpose, dedicated to serving others. Typically, movies portray a protagonist who is facing significant crucibles that they're seeking to overcome.
And as you mentioned, we've covered superheroes, sports heroes, and some of the movies from the American Film Institute's top 100 movies. And it's just fascinating, when you're looking at these movies, it's really crucibles in technicolor. They're enormous challenges, challenges often of character. And how are they going to overcome these challenges and become often a better version of themselves?
So it's really rich territory to look at how do you overcome the pit of despair and get beyond it and live a life of significance? And so, really movies are often a great way to learn some powerful lessons.
Gary Schneeberger:
Yeah. And one of the things that we've said as we've been doing this, and in fact, an episode before the series started, we talked about watching movies with Beyond the Crucible goggles on, because it's a whole different experience, as you said, than just watching movies with a bucket of popcorn in front of you. It's more than just entertainment. It's also encouragement and tips and action steps you can take to get beyond crucibles. That's why we're doing it this time.
And Warwick, you're doubling down on stuff you love here on this summer series, because as I said, it's called Back to a Better Future: The Crucibles of Sci-Fi Cinema. And you're particularly excited about that, because that is, science fiction movies are indeed a major love of yours. Why do you love science fiction films so much? And what about them is particularly resonant about this discussion that we're having about looking at movies through Beyond the Crucible goggles?
What happens generally in science fiction films that goes to the topic we're discussing?
Warwick Fairfax:
So since I was very young, I have always loved science fiction in books, movies, TV shows. I think one of my earliest memories was going to see one of the most influential science fiction films ever made, 2001: A Space Odyssey. It came out in 1968. What I really loved about this movie was just the way you saw future technology. You saw space shuttles with screens on the seats in front of them where you could watch a movie, which of course you can now, not necessarily on space shuttles, I'm afraid, which they don't have anymore, but you can on planes. But it didn't exist back then. There was video conferencing.
And what they did so well is they put brand names. So at the time, AT&T was Bell. And so you had Bell Teleconferencing from whatever, I think it was a space station that the hero was in. He was just talking to his family. I think his young daughter had a birthday. So they just made it seem so real with future technology, with brands that everybody was familiar with.
And I was also a fan of a lot of science fiction shows, including the original Star Trek. And maybe we'll talk about that.
Gary Schneeberger:
Good foreshadowing as always work. Good foreshadowing.
Warwick Fairfax:
And I was also a great fan of some of the classic science fiction novels, Arthur C. Clark and Isaac Asimov. In fact, Arthur C. Clark wrote the screenplay for 2001: A Space Odyssey.
And so, what I loved a lot about science fiction is yes, it explores future technology, but at its best, great science fiction, whether books written by Arthur C. Clark or Isaac Asimov, or indeed in the Star Trek TV series, they explored deep societal issues about, what is the future of the human race and how will it interact with other forms of life? And what's the role of AI?
One of the things about the original Star Trek series, it provided a medium in which issues that were really forbidden to be discussed in the '60s could be discussed. You had a white man, Captain Kirk kissing a Black woman, Uhura, who is a communications specialist. That is not something, in '66, '67, whenever that episode came out, it was pretty controversial. A lot of parts of America, unfortunately. And you even had a classic episode in which you had a race that was on an alien planet that was half white and half black on their faces. And, the only difference between the two races was which half was white and which was black.
And so, when Captain Cook said to the leaders of one of the races, "You folks, they're so similar."
He said, "What do you mean? We're totally different? It depends on which side of the face is white or black."
It was making a mockery of racism in a very clever way. So science fiction at its best takes on issues, sometimes before we're really willing to face it. So that's some of the reasons why I love science fiction.
And science fiction, certainly you see very significant crucibles. Often we're talking about the future of the galaxy, the future of the human race. Can humans survive? Will humans, as they expand across the galaxy, be a force for good or not? Will technology get to the point where it will control humans? That is prevalent throughout a lot in science fiction, including Terminator, which we talked about earlier this summer.
So, that issue of technology, which now we have AI and people are wondering what are the ethics of AI, and will AI get too powerful? So a lot of the issues that we face are covered by science fiction.
Gary Schneeberger:
Yeah. And this week, in episode seven of the series, we're looking at a movie... It's kind of like having kids. I wouldn't dare say that this movie is your favorite among the ones we've talked about, because all of them are your favorites. You like them all. But this one, let's say this, and you'll unpack this in a bit. You understand you're truly a student of this universe. And that is the movie that we're talking about. 1996's Star Trek: First Contact.
The second big screen movie to feature the cast of the TV series, Star Trek: The Next Generation. That's the second TV series that came after the original Star Trek that Warwick was talking about. And here's the summary of the movie. One of my favorite parts of the show. I'm going to miss it when after next week I can't do it again for another several months.
But this is what the Hollywood film industry calls the log line of a film. It's the most concise recitation of what the plot is about. Here's the log line for Star Trek: First Contact. When the cybermetric Borg traveled back in time to 2063 to prevent Earth's first contact with an alien species, Captain Picard and the crew of the Enterprise must follow them to the past, fighting to save both the timeline and the future of the Federation.
Oh my goodness, there's so much stuff in here. There's time travel. There's bad guys and there's bad space guys. There's lots of good stuff in here. So let me ask you this question as we start off, Warwick. But, before we get into this movie though, you're a big fan of Star Trek as I intimated, and particularly Star Trek: The Next Generation. Talk a little bit about why that is, because I think it'll help people understand why you're going to be able to pluck so many lessons out of this for moving beyond your crucible.
Warwick Fairfax:
Yeah. As we've discussed, I am a big fan of science fiction, but of all the science fiction genres and series that there've been, I've always been a huge fan of Star Trek. That may be one of, if not my most favorite genre of all the different iterations that we have in science fiction.
And Star Trek, the original series, it began with the vision that Gene Roddenberry had and the series ran from 1966 to '69. Kind of fun fact is, pretty much every studio in Hollywood turned it down. But it turned out that Lucille Ball, of I Love Lucy Fame, she had a studio called Desilu Studios after, I guess, her and her husband, Desi Arnaz.
And so, every studio out there turned it down, but Lucille Ball saw something in this. And despite some of her organization saying, "I'm not really seeing it," she kept saying, "Yes, yes, yes. We are going to fund this. We're going to make it."
And so, obviously without Jude Roddenberry's vision, there wouldn't be Star Trek, but without Lucille Ball, we wouldn't have Star Trek, because nobody would provide the funding or produce it. Gene Roddenberry created this world where there was a benevolent organization called the Federation. And their mission was to explore new worlds. As they say in their opening of Star Trek, to bravely go where no one has gone before.
And so, this mission of exploration in this world, there wasn't money, there wasn't poverty. There was a sense of altruism in which people were working together to benefit all of mankind, and indeed other alien races.
Now, yes, there were malevolent cultures that really didn't have the same vision. And in various iterations of Star Trek, we had the Klingon, the Romulans, and especially the Borg, which we'll get into here. So yes, there's conflict, because their mission is to protect the Federation and all of the planets that aligned with them against evildoers that want to destroy their way of life. So yes, even benevolent organizations do have to defend themselves. The Federation obviously does.
For a science fiction fan like me, who loves thinking about future technology, but also a better world, a better society where people are honored, treasured, where excellence is rewarded, where really you can achieve your dreams with work and vision, Star Trek was certainly enticing. And just to give you an idea of what a Star Trek fan I am, other than some animated series, which I've not really watched, but all the live action series, I have pretty much watched every episode of every series dating back to when it first came out in the '60s and then reran in Australia where I'm from in the '70s.
So that means I've watched the original Star Trek, which as we mentioned, went from like 66 to 69. Star Trek: The Next Generation that went from 1987 to 1994. Deep Space Nine, Voyager, Enterprise, Discovery, Picard, Strange New Worlds, and Starfleet Academy. That's a lot of Star Trek.
And in fact, there were also six films made with the original cast and four with Star Trek: Next Generation. I've seen all of those.
Now, one of the interesting things is that, of all the Star Trek iterations, probably my favorite, I'd say definitely my favorite is Star Trek: Next Generation. And you might wonder why, because they all have the same vision. It's the Federation. It's an altruistic organization. The central meme of all of them is the same. But in Star Trek: Next Generation, you have this Shakespearean trained English actor, Patrick Stewart, playing Captain Jean-Luc Picard.
Now, Captain Picard is actually meant to be French, although it's played by Patrick Stewart in a very English way. He doesn't even pretend to put on a French accent.
Gary Schneeberger:
Right. Exactly.
Warwick Fairfax:
Exactly. But you see in earlier episodes of the series that his family have a vineyard somewhere in France and all that. But what I like about Captain Picard is, in some ways, he reminds me of my father because you see in earlier parts of the series that he is an amateur archeologist, extremely well-read in history and philosophy. And he's a very intellectual, very erudite man, but also a man of action. He is very considered, he's loyal, he listens to input from his crew. Most of the time, he's a very rational, caring, thoughtful person.
And as a part of that, sort of intellectual person that he was, he was open to input and open to understanding different perspectives that reminds me of my father was also some intellectual, but loved to learn, and love to dialogue with people who had different political or even theological views than himself.
There's an element of Patrick Stewart and Captain Jean-Luc Picard that reminds me of my father. Obviously, my father wasn't a starship captain or a man of action. He was very much the philosopher type. But that being said, I've always felt some sort of a kinship with Captain Jean-Luc Picard. So all that's to say is, I'm definitely a huge fan of Star Trek, in particular Star Trek Next Generation.
Gary Schneeberger:
I've known since we've worked together, Warwick, that you are a graduate with an MBA of Harvard Business School. I did not know until right now that you also have an MSFA, a Master of Science Fiction Arts from Starfleet Academy. I did not know that till just now.
Warwick Fairfax:
Absolutely. And in fact, I have that piece of paper in a frame in my office, Starfleet Academy.
Gary Schneeberger:
We'll have to catch a glimpse of that at some other time, but we have a full agenda here, because there's lots of good tips and action steps about overcoming crucibles that we can get to here in Star Trek: First Contact. So let's start out here.
One reason that this film resonates so deeply is that, beneath its action in science fiction and all those things that you talked about, right? It's really a story about people facing crucibles, trauma, loss, fear, obsession, questions about identity. And we'll touch on all of this as we get through the film, but let's start at the beginning, which is a good place to start, right? That's why it's called the start, because you begin there.
Captain Jean-Luc Picard awakens from a nightmare in which he relives the assimilation of the cybernetic Borg six years earlier. What is that nightmare about Warwick, and how does it affect the captain?
Warwick Fairfax:
So as the movie opens, we see Captain Jean-Luc Picard, he's reliving a nightmare in which he was assimilated by the Borg six years earlier. And this is arguably the toughest time of Picard's life, the most searing crucible. So, in the TV series, Star Trek: Next Generation, Picard was captured by the Borg and was made into one of them. Now the Borg are this half human, half machine creature, and the Borg operates as a collective. So that means you lose all individuality.
It's sort of like a hive mind, almost like bees. And you have no self-control. You're almost like this drone in which you're all operating as one unit with one will. And he was renamed Locutis of Borg. And of all the things that could happen to you in science fiction, this is one of, if not the scariest, because not only do you have no individuality, and no control over what you did, in the case of Captain Picard, he was one of the premier Starfleet captains of Starfleet. That means his collective knowledge of the weaknesses and strengths of Starfleet was prodigious. And the Borg used all his intelligence and all his experience to great effect, meaning that Captain Picard ended up killing enormous numbers of humans on behalf of the Borg. I mean, enormous numbers and caused huge damage to the Federation and different planets.
And so, somehow there are a few worse crucibles that you can have, is losing all sense of self and being forced to do despicable things against your will. So somehow you hope others will forgive you. And then somehow you have to forgive yourself. And you could say, "Well, I had no control," but somehow that doesn't hold a whole lot of water. It's like, "Yeah, but I still did it." Surely there was a way I could have broken free, which in the case of the book, there really is not. There's nothing you can do. There's no way out.
So, just emotionally feeling that there's something I could have done. Somehow it is my fault. It was searing. He ended up being rescued by his crew, but without being rescued, he would never have escaped. Despite him being a courageous, very strong person, you can't escape the technology and what they do to you. So it was just a horrific experience that was absolutely traumatic and was searing.
Gary Schneeberger:
It's very interesting that you talked about Picard's collective knowledge of things. And you talked then, right before that, you talked about the Borg as a collective. It's interesting, they have a guy who has a lot of... They want to capture him because he's got a lot of varied information, and they want to absorb him into this place where everybody's sort of got the same kind of information. Is that a sort of a decent assessment of what's going on here?
Warwick Fairfax:
Absolutely. We'll see later that the Borg talk about, resistance is futile. You will assimilate your culture, your intelligence into our own, so that we can better achieve perfection. It's this twisted ideology that sounds almost attractive. Who's against striving for perfection? Who's against assimilating other cultures to better our own?
Now, you could do it in an altruistic sense, in the time we live in, of learning a new language, living in a different culture so that you can better improve your own culture and your own way of thinking. That's not wrong, but the way the Borg do it is, it's not voluntary. They compel people, they force people. But they believe what they're doing is right. We're just achieving perfection. And the cost of perfection is, we assimilate you. We make you a higher evolved self than you were before. We're doing you a favor by assimilating. They're this weird ideology that they actually believe in. It's just scary.
Gary Schneeberger:
Well, and that's what makes what happens next in the film scary. Picard is contacted by Starfleet, which informs him of a new Borg threat against Earth. But they don't want him to combat that threat. Starfleet does not.
Warwick, many people who've experienced a crucible struggle with how others view them afterward. What can we learn from Picard's reaction to being sidelined because of his past? Because that's really the reason why Starfleet doesn't want to send him into battle, right?
Warwick Fairfax:
Absolutely. So given Picard's history with the Borg and having been assimilated and causing a lot of damage to Starfleet when he was one of them, in a sense, it's understandable why they didn't want to send Picard in. But it must have been very frustrating because Captain Picard is thinking, "I know the Borg better than any human. I know their weaknesses. I know their tactics. I, of all people, should be sent in and my crew of the Enterprise to combat the Borg. And the Borg are heading towards Earth. And Starfleet is sending many ships to fight the Borg. And it must have been so frustrating because the Enterprise is one of the top ships and technology and crew in all the Starfleet. How can you not send your best ship or arguably your best ship and your best crew? But Picard, while he deeply resented it and was frustrated, he did understand it.
Doesn't mean he agreed with it because Starfleet, from his perspective, did not have confidence in Picard's ability to tackle the Borg because he'd been assimilated by them, which he said introduced an unstable element that was not predictable. So he could coldly analyze and say, "I understand why. I don't agree, but I get it." But clearly he disagreed and obviously would feel put down by this, would feel like, okay, they don't have confidence in me. Surely I've proven in the six years since my ability to tackle the Borg and be a top-notch staffly captain, but it was frustrating. So I think the broader point here is sometimes we've gone through crucibles. Others may doubt our ability to face similar challenges again. I've seen what he or she has been through and I don't think they can tackle that again. I think they'd probably knockle under, they'd lose.
So I'm not going to put them in that situation again because I don't think they can hack it. And that may be right or wrong, but if you are that person where somebody in authority says, "I'm not sending you in because I don't think you can take it. I don't think you just cry uncle." You're not going to feel like, "Oh, of course I understand." You'll be thinking like, "No, no, no. I'm beyond that. Put me in, coach. Let
Me get in there. I can take this thing on. I'm not going to buckle." And when they don't listen to you, it's like, well, they don't have confidence in me. They don't trust me. I'm forever defined by my worst day because people don't have confidence in me not to fail again or buckle under again. It's humiliating, frustrating, and it certainly makes you feel put down and less than. It may be understandable, but it doesn't feel understandable to you. You feel like they don't trust me. Am I going to have to live my whole life based on that crucible? Won't anybody ever give me a chance again? To give me a break, give me a chance. That's what Captain Picard is thinking.
Gary Schneeberger:
Yeah. Well, and he gets a chance. He kind of seizes a chance because plans change when the Enterprise learns that the fleet, Starfleet, is losing the battle against the Borg. So, what do Picard and his crew then do to change what Starfleet has said they should do?
Warwick Fairfax:
Yeah. So Picard finds out that the fleet, they're not doing well, and the Borg is winning. Picard has specific instructions, don't enter the fray, don't enter the battle. But his sense of duty and obligation to fight the Borg is so paramount that, look, I can't let them win. The fleet is losing. They need the Enterprise. And he's thinking, "I know more than anybody how to fight the Borg and their weaknesses." And that proves to be, certainly in some ways, true.
So then being a smart man, a man of honor, he asks the crew whether they're willing to come with him because he's asking the crew to violate orders. That is not a small thing that could affect all of their careers. And the crew is of course united and says, "Let's go. We're with you." Which is very heartwarming. So, Picard enters the fray. He feels like Judy calls him to battle and he heads towards the Borg that are near Earth.
Gary Schneeberger:
Yeah. And then the Borg cube launches a smaller spherical ship towards Earth before being destroyed. That leads to a major crucible for the crew with major implications for the future, doesn't it?
Warwick Fairfax:
Absolutely. So here we have the Borg cube, which is very common. The Borg ships are in this cube shape. Now, Picard, he has extensive knowledge of the Borg and their weaknesses. So he finds a way to destroy the cube. He says, "Okay, target this particular sector of the cube."
And the crew was saying, "But that seems like it's a non-essential, non-critical part of the ship."
Well, somehow Picard, obviously, because of experience, he knows their weaknesses, and it proves to be by firing at that particular spot on the cube, it destroys them and destroys the Borg cube. But as you mentioned, not before this spherical ship leaves the cube and it hurdles towards Earth, but then this spherical ship, it may And it is to create a temporal vortex, which enables time travel. You see, the Enterprise is caught in this vortex wake and it has the ability to follow, but before it enters this temporal vortex, we can see that this Borg spherical ship, it has changed time. It has changed history. And we see that the present Earth is now being assimilated and is all Borg. There are no humans on the planet, only Borg.
And so, Picard realizes what has happened. They've gone to the path to change the future, and they have changed the future. So Picard and the Enterprise followed the Borg through this temporal vortex. And they're now in the past, they end up around Earth of 2063, and their time is the 24th century. And so in 2063, as we're told, this is 10 years after the Third World War where 600 million people died on Earth and major cities were destroyed.
So, we happen to see a colony in the woods of central Montana. And Picard and the Enterprise's mission is clear that they're in the past to stop the Borg changing the future and turning Earth into a Borg colony.
Gary Schneeberger:
Yeah. And the crew does a good job at figuring out the Borg plan. What is that plan, and what critical historical figure in the Star Trek universe does it involve?
Warwick Fairfax:
Yeah. So, obviously part of the plan is to change the future and ensure that Earth is a Borg colony. But there's another part of that Borg plan, and that is to stop a man by the name of Zefram Cochrane. And he, back in 2063, is about to launch a ship called the Phoenix and achieve warp drive. Now, warp drive in the Star Trek universe is faster than the speed of light travel. So you'll hear in various iterations, you'll say, okay, let's warp seven, warp 9.9, you can't go faster than warp 10. So that means multiples of the speed of light.
So, one of the interesting things in the Star Trek universe, there's a thing called the prime directive, which means that Federation cultures and planets, and certainly Starfleet, should not interfere with civilizations that are of pre-warp technology. So they might have steam engines, they might have cars, radios. It depends on the level of progression of their culture. But if they don't have warp drive, they're not meant to interfere with their culture and they're meant to just let it evolve on its own. That's one of the hallmarks of the Starfleet belief system.
So, in history, when the ship called The Phoenix is launched by Zefram Cochrane and achieves warp drive, a species known as the Vulcans, which it is very logical culture, they're flying by in their spaceship. When they see a ship with warp drive, now it's okay for them to make contact, because now this is a post-warp culture, post-warp civilization.
And so, in history, they do make contact, and that contact with Earth back in 2063 completely changes the trajectory of Earth culture. And so, one of the things that Picard and the Enterprise realize is it is critical that Zefram Cochrane launched this ship called The Phoenix, go and achieve warp drive and make contact with the Vulcans. And it's also pretty clear that the Borg don't want this to happen. They're all about defeating the Federation and really anybody in their path.
Not only do they want to assimilate Earth, they want to make sure the Federation never exists. It's hard to believe the Federation staff would exist without Earth of 2063 making contact with the Vulcans. So it's really twin objectives from the Borg. Assimilate Earth, and making sure that Zefram Cochran's flight that achieves warp travel never happens.
Gary Schneeberger:
Yeah. And it's common in time travel movies, and we saw it when we did Back to the Future. Marty McFly leaves 1985, goes back to 1955, and his mom is not the same as she was in 1985. So, when you time travel, it's not uncommon to run into people who aren't exactly who your timeline tells you they are. And the Zefram Cochrane that the crew meets is not the hero that they studied in school. Here's a clip from the film that spotlights the differences in who he really is and who they know him as. Let's take a look and listen to that clip now.
VIDEO CLIP:
Only got an hour to go, doc. How you feeling?
I got a four alarm hangover, either from the whiskey or your laser beam, or both. But I'm ready to make history.
Joint Commander Riker.
Riker here.
We're ready to open the launch door.
Go ahead.
Oh, look at that. What, you don't have a moon in the 24th century?
Sure we do. This looks a lot different. There are 50 million people living on the moon in my time. You see Tyco City, New Berlin, even a Lake Armstrong in a day like this. And you know, doctor, Zefram-
Please, don't tell me it's all thanks to me. I've heard enough about the great Zefram Cochrane. I don't know who writes your history books or where you get your information from, but you people got some pretty funny ideas about me. You all look at me as if I'm some kind of saint or visionary or something.
I don't think you're a saint, doc. If you did have a vision. And now we're sitting in it.
You want to know what my vision is? Dollar signs. Money. I didn't build this ship to usher in a new era for humanity. You think I want to go to the stars? I don't even like to fly. I take trains. I built this ship so that I could retire to some tropical island filled with naked women. That's Zefram Cochrane. That's his vision. This other guy you keep talking about, this historical figure, I never met him. I can't imagine I ever will.
Someone once said, "Don't try to be a great man, just be a man, and let history make its own judgments."
It's rhetorical nonsense. Who said that?
You did, 10 years from now.
Gary Schneeberger:
So Warwick, what impact does that scene have on Cochrane moving forward? Because it shakes him up a bit, and puts him on a different trajectory.
Warwick Fairfax:
Yeah. Well said. It's interesting that sometimes our heroes don't measure up to the image we have of them. If we could go back in time, sometimes we'd say, "Huh, that's not what I read about." Well, maybe it depends when you saw them.
I'm reminded of young Washington and we spoke to one of the screenwriters, Dietrich Hogestratten. And if you went back in time to a young Washington in the 1740s, 1750s, I think one of the things you would see is somebody that had character, but was really not the great man that Washington became. He'd suffered defeats, humiliation. Nobody had a whole lot of confidence in Washington, be it the British army that he was at least attached to, being in the Virginia militia, or indeed his fellow soldiers in the Virginia militia.
But by the end of the movie, he's a different person. He has achieved some success. He has courage. So it depends.
At one point we sort of go back and see and make contact with our heroes. So in the case of Zefram Cochrane, yes, in the future he was considered a hero. There's a big statue of him erected on the spot in Montana where the action takes place when we're on the planet Earth. And one of the crew members on Starfleet Enterprise mentions that his high school was Zefram Cochrane High School.
And so, this all kind of weirds out Cochrane. And in an earlier scene, we see him just run off. He just doesn't want to be any part of this hero worship. And in this clip, we see him talking to William Riker, who's the first officer of the Enterprise. And he says, he's just tired of hearing about the great Zefram Cochrane. He says, "You all think I'm the saint or visionary. You got it all wrong. I mean, it's all about money for me. It's not about humanity. I don't even like to fly. I want to get rich so I can retire on some beautiful island with a whole bunch of women." That's the vision. Okay. That's it.
And, in this last part of the clip, Riker quotes somebody and the quote says this: "Don't try to be a great man. Just be a man and let history make his judgment."
And Cochrane says, "That's rhetorical nonsense. Who said that?"
And Riker says, "You, 10 years from now. It's your words." And so, I think Zefram Cochrane is being a bit harsh with himself. He says, "Look, I'm not a visionary. It's all about money." And while there's truth to that, I bet deep down there is at least a grain of a greater man in there, a grain of somebody that does have this great vision. I mean, achieving warp drive is an amazing thing that will benefit humanity. You can explore other planets in a way that's just not possible with pre-warp power.
So, I have to believe there were some good motives, even if there were just a few. And so, sometimes we undersell ourselves and say, "I'm not that great. It's all about me. There's nothing virtuous, nothing good about me."
And maybe that could be largely true, but maybe there's a grain of humanity, a grain of a desire for life of significance, a life on purpose dedicated to serving others. Sometimes we undersell ourselves, as we'll see. Sometimes it requires help from others to help us see our true selves, but sometimes we're actually better than we think we are. We're not as bad as we really think we are. So that's one of the interesting elements of looking at Zefram Cochrane here in this clip.
Gary Schneeberger:
Yeah. One of the things about his backstory I thought is interesting in light of what you just said, is that he likes to drink a little. Oh, okay. He likes to drink a lot. And with my background of having been an alcoholic, I learned the lesson that, why do you drink? Well, it's not how much you drink that makes you an alcoholic. It's why you drink.
And one of the reasons that I drank, main reason was to change the way I felt. And I wonder if Zefram Cochrane doesn't have some of that in him too, that this sort of devil may care, drinking too much guy, is trying to make up for something that he feels is missing from him. Maybe that's bad psychoanalysis. I don't know, but it seems like it might fit.
Warwick Fairfax:
Yeah, it's so well said. So we see in early scenes where he's drinking, and he's got his favorite cheer on the jukebox, and sort of this basic kind of nightclub out in the woods in the wilds of Montana. And he might be trying to escape from himself thinking like, "I'm not that great," and this whole thing won't work. We lived in this post apocalypse Earth in which civilization has been largely destroyed. The cities are being destroyed. And there are factions that we hear that are all around the place attacking each other. It's not a particularly fun or pleasant place.
So, he's got to live in a world which is a shred of what it used to be where there could be factions all over the place, and his vision may come to nothing. So there are reasons why he might kind of dislike himself, dislike the world, and wants to drink to escape all of these thoughts about the dangers of the world, the destruction of much of humanity and him feeling like, "I'm just not good enough. What me? I'm a loser. I'll never amount to anything."
So yes, it's understandable in some ways why he takes to drink. It's very sad, but yes, we can guess about some of the motives behind it.
Gary Schneeberger:
Yeah. All right. Let's go back into the film. Back on the Enterprise. A group of Borg invade the ship's lower decks, assimilating some of the crew and modifying the ship. So these guys don't just assimilate and modify people. They assimilate and modify things. They're modifying the ship. What did Picard and his crew do next, and what happens to them?
Warwick Fairfax:
So, soon after the Enterprise travels back in time, they're following this Borg spherical ship. And the Enterprise destroys the Borg ship. So you think like, okay, danger over, the Borg have been defeated. We've still got to make sure that Zefram Cochrane takes off in a Phoenix and achieves warp travel, but at least one out of two parts of this mission accomplished.
Well, not so fast. So it seems that somehow the Borg had managed to sneak into the Enterprise and take over part of the crew and part of the ship. And one of the early clues to this is, when one of Picard's senior crew, Warf, tells Picard that the humidity and temperature have risen on the ship. And he quotes him exact numbers. Well, Picard is an expert on the Borg, obviously. And he knows that the humidity and the temperature that have changed on parts of the ship is exactly what the Borg like. That's what they need to flourish in.
So at that point, Picard realizes something is instantly wrong. He happened to be on Earth in the colony in Montana, because he's trying to make contact with Zefram Cochrane. So at that point, he instantly comes back to the Enterprise, and he knows that the Borg is somewhere on the ship.
So the Borg, we learn, have assimilated much of the Enterprise, including up to half the crew. And they've occupied a number of decks, including engineering. Meanwhile, the Borg is assembling a communications array on the outer hull of the ship. So Picard realizes that what they're trying to do is they're trying in the past to communicate with the Borg that then live at the time. And they're trying to summon their fellow Borg to help them conquer Earth.
Now we learned that the Borg are in the Delta Quadrant, which we know from other Star Trek series is, I don't know if it's a hundred light years away, it's a lot of light years away. Basically it would require, I don't know if it's 50, 100 years, generations to come to Earth, but the Borg, they don't really think about time the way we do. So it may take a while for the Borg in the Delta Quadrant to come, but what will happen is humanity will face the Borg hundreds of years earlier than they were ever meant to. And before they could even be remotely prepared to take on the Borg.
So clearly this is an enormous threat. And so we have Picard, Warf, and another crew member, they've done spacesuits and they're on the outer haul of the ship, and they attempt to stop the Borg assembly the communications array and then communicating with their fellow Borg all the way in the Delta quadrant.
So fortunately they do manage to destroy the communications array. And so that's one part of the mission solved. But meanwhile, we see that Commander Data, who's one of the key members of the crew, has been captured by the Borg. And somebody that we see is the Borg queen, somebody who's in charge, in one sense, of this collective. It's a bit strange because the Borg, they don't have any leader because they're a collective, but yet the Borg queen seems to be in charge. That's a bit of a hard to understand.
Gary Schneeberger:
Well, think of Russia in World War II. They were a commune, right? And they had Stalin. So I think that's not unheard of.
Warwick Fairfax:
Yeah. Well, we're all equal except when we're not.
Gary Schneeberger:
Exactly. Exactly.
Warwick Fairfax:
So one of the interesting things about Data, which we know from Star Trek Next Generation series, is he's an android. He is a machine. Now he's a highly evolved machine. And in most cases, he doesn't have emotion much like Spock in the original series, Star Trek series who is Vulcan and doesn't have emotion. But Data is a machine and Data has always wanted to be human. He's always wanted to understand what it is to have emotion and empathy. And that's in his own way, he's tried to become more human.
So Data is captured by the Borg queen. So the Borg queen, she's trying to get Data to give over the encrypted computer codes of the ship, which will then allow her to have total control. And she does everything to tempt him, seduce him. I mean, she's a very clever enemy. She knows that Data wants to be human. So she kind of finds a way to graft human skin onto part of Data's arm so that he can feel like her breath over the hairs of his skin. It's just a weird thing. She's doing whatever it takes to seduce him, to control him, to get from him these computer codes. She's very evil, but she's very smart. So it's a scary, scary situation that Data finds himself in.
Gary Schneeberger:
Yeah. And it starts to get scarier for everybody else too, because the Borg assimilate more decks of the Enterprise. As they do so, Warf suggests destroying the ship. And Picard angrily calls him a coward.
Picard is still rendered wobbly by his earlier encounter with the Borg, isn't he? It seems like he's triggered by his previous encounter with the Borg when the stakes for the Borg continue to get higher. And he calls out someone who's been a loyal crew member to him as a coward. Talk about that a little bit.
Warwick Fairfax:
Yeah. So here we have the Borg that keep assimilating parts of the ship, including many crew members. And, it seems that there is no way that they can stop the Borg. And so, at this point, the smart play is to abandon the ship, escape in escape pods, and destroy the ship so that the Borg can't get hold of the Enterprise because then they don't have their own ship anymore. The spherical ship has been destroyed. But if they get control of the Enterprise, then they can more easily take control of and conquer Earth. If they destroy the Enterprise, then they'll destroy the Borg. It seemed like that's a logical play, is to destroy the ship.
But Picard, he does not want to be defeated by the Borg. He sees in some sense destroying the ship as admitting defeat. And he remembers how, in a sense, they defeated him six years earlier when they assimilated him.
And so, he starts acting angrily, irrationally, and in a very mean, cruel way that's completely unlike the Captain Picard that we've known and loved throughout the movies and the TV series. And so, when he says that Warf is afraid and calls him a coward, that is a searing thing to say because those who know the original TV series, of The Next Generation, they'll know that Warf is a Klingon. And that is a warrior culture, that prides itself on courage and honor, and sacrificing yourself and your comrades. To be called a coward is the worst possible thing you can call a Klingon.
And so, when Picard calls this elite warrior a coward, it's like saying to a Navy SEAL, or some other elite warrior about times that they're a coward. Now they'll probably just laugh and think you're an idiot. A Klingon is going to kill you for that without even thinking, such is the pride they have in being a warrior.
And so what's really unfortunate to hear is Picard knows how damaging what he's saying is. And in that moment, he doesn't care. So he's thinking, "What's the most hurtful thing I can possibly say to my friend?" And he picks a good one. It was a very hurtful thing to say.
And Warf says he will kill any other man for saying this, but such is Warf's loyalty, and frankly love, of Captain Picard, that he doesn't do what he would do to any other living being. He would kill him on the spot, but not Captain Picard.
All that's to say is Picard is not acting rationally. All his senior crew know that the right decision is to destroy the ship and stop the board getting control of it. But in his rage, Picard cannot see straight. He cannot think straight. He's acting completely irrationally against the interest of his crew and against the interest of the very mission that he's there for, which is to destroy the Borg. He's acting irrationally in every possible way.
Gary Schneeberger:
Yeah. And he's also, in a very real sense, he's crossing a line from courage to obsession. And that's an interesting point to sort of broaden out to our listeners and viewers. How can people recognize when determination has become something destructive? What are the warning signs that our crucible as starting to control us instead of strengthening us? What finally snaps Picard back out of it when he finds himself in this situation?
Warwick Fairfax:
Picard is obsessed with not letting the Borg win. He can't stomach the thought of the bog getting control of his ship. And he somehow sees destroying the ship as letting the Borg win, which it's really not. Destroying the ship means the bog lose because they get destroyed, but he can't think straight. And so he just doesn't see it.
And so, his way of thinking makes no sense, but it's all fueled by rage and anger. I think what that says more broadly is, when we're filled with rage and anger. There is pretty much zero chance that we're going to make good and rational decisions. And we're also very likely to hurt those that we love and those that we work with, friends and family, everybody.
And so, we see Picard, he goes to his office just on the side of the bridge called his ready room. And someone from the colony, Lily, who happens to be on the Enterprise at this point, she enters Picard's ready room and she takes Picard on.
I mean, everybody else is just like, when Jean-Luc Picard is like this, there's no talking to him. They just realize, he's our boss, he's the captain. He's spoken. It is what it is. But not Lily.
So Lily says that everyone is saying to you that fighting the Borg is suicide. And Picard tells her of his assimilation six years ago, and says that he knows how to fight the Borg. And Lily says, "I get it. The Borg hurt you and you're going to hurt them back, almost like a kid. That guy hurt me. I'm going to hurt him back." Just this almost childish reaction that she's really calling him out on.
And Picard says in his century, they are beyond revenge. And Lily calls him on this and says, "I mean, that's rubbish." She says in effect, it's about revenge. She doesn't buy it for a second. She doesn't know Picard, but she knows somebody that's just not being honest with themselves.
And so, then she really uses an image, which she has no way of knowing is brilliant with Picard because he's a very well-read person. And she says that Captain Ahab has to go hunt his whale. And Picard knows exactly what she means. This is all from the book Moby Dick. And he says, "It's not about revenge," which is of course what Captain Ahab is all about, "It's about saving the future of humanity."
And Lily yells at him and says, "Liar." She calls him out on it in the strongest possible way. You are lying to yourself, basically. And Lily tells him to blow up the ship.
This really gets to Picard and he just smashes the glass panel near him where he's got all the models of model ships. And he says, "We've made too many compromises. Not again, the line must be drawn here." He'll make them pay for what they've done.
And Lily begins to leave and says, "See you around, Ahab. Again, a very neatly timed barb, calling him Captain Ahab. And Picard begins to recite lines from Moby Dick, realizing that what Lily says is very true. And so he says that Ahab spent years hunting the white whale that crippled him, but in the end, it destroyed him and his ship. Lily said that Ahab did not know when to quit.
The message has got to Picard. He understands the image. And so Picard then goes to the bridge, and he says to his senior crew that they'll evacuate the Enterprise, and they're going to start the 15-minute order destruct sequence for the ship. And then Picard goes to Warf and apologizes, and says that Warf is the bravest man he's ever known. Clearly Picard deeply regrets what he said to Warf. And because Warf has a deep admiration, and indeed love, for Picard, he accepts the apology. Not an easy thing for Klingon to do when you've been called a cow. That's not something you kind of move on from, pretty much ever, but such is the depth of their relationship.
So I think what this shows is sometimes we can act irrationally, because we are triggered by a painful memory of a past crucible. And in those circumstances, it is not easy to think clearly and to think rationally.
And it's certainly not easy to make good decisions. Sometimes in the midst of being triggered by a past crucible, it may be impossible to make a good decision. And, you might think, "I'm a resilient, evolved human. I can pull myself out." Sometimes you may not be able to. And in the case of Picard, he's one of the strongest, most rational leaders you could ever meet. And even Captain Picard in that instance, he can't see it. If Captain Picard can't see it, I mean, that's something to think about.
So this is where a team of fellow travelers is so critical. Having an advisor, like Lily in this sense, will speak truth to power is so important. And Picard hardly knows Lily and they've just met in a sense. But she ends up being the one who goes to the mat to try to save Picard and the crew, in a sense.
And so, it's ironically not one of his longtime friends, but she goes at it. She calls him out on his lies to himself and he says, "Oh, we're beyond revenge." And she just says, "Liar." She knows exactly what it's about. It's about revenge and uses this very neat story of Captain Ahab.
So what this says is, when you go through your darkest times and you're triggered by a crucible, that is where having fellow travelers is so critical. And having a fellow traveler like Lily, who was really only just his fellow traveler, hadn't been there for very long at all, is just so critical.
Gary Schneeberger:
We talk a lot, we have talked a lot in more than 300 episodes of this show, about the importance of fellow travelers. But something else that you hit on here as you were describing what happened, is something else we talk about. I mean, there's power in fellow travelers, yes, but there's also power in apology. Fellow travelers speak truth to power, but the power sometimes needs to speak apology to those who they lead, who they may have judged wrongly. That's a big part of this as well. And it's a big part of how you move beyond a crucible sometimes, isn't it?
Warwick Fairfax:
It's such a good point. Sometimes when we're triggered by a crucible, or maybe in the throes of a crucible itself, we can say very hurtful and damaging things to those we love, those we know, and those we work with, very often, when we're at our lowest point and feel hurt the most, our prime target for our anger is those we love. Makes no sense, but such is human psychology, unfortunately.
And so, when that happens, because it's more when than if, and we say things that are hurtful and devastating to those we love and know and work with, because we're in the midst of a crucible or being triggered by something that happened in the past, We need to go to those people and say, "What I said was uncalled-for. I should never have said that to you. I was wrong. I was so hurt. No excuse. Please forgive me."
That's what you do, because it's inevitable over the course of our lives that we'll say hurtful things to those we know and love. And it's nice to try and avoid it happening, and we should do whatever we can to stop it from happening. But when it does happen, because it's when, not if, we've got to clean up after ourselves. We've got to apologize and hope and pray that that person will forgive us. If they don't, well, that makes it tough, but we're not responsible for their actions, but we are responsible for ours, which is to apologize.
Gary Schneeberger:
Good bonus content here at Beyond the Crucible. All right, so let's get back to the movie. As Cochrane, Riker, and engineer Geordi La Forge prepared to activate the warp drive on The Phoenix, Picard discovers the plan the Borg queen has set into motion. And Data doesn't let that crucible get the better of him, does he?
Warwick Fairfax:
Yeah. So Picard, as we've mentioned, he's ordered the evacuation of the Enterprise, they're escaping their escape pods, and he's initiated the self-destruct sequence for the ship.
But he learns that Data has been captured by the Borg and in particular the Borg Queen. And Picard tells Lily, as she and the others are about to escape from the ship, that one of the crew members, Data, has been captured, and he wants to save Data. And Picard said that years earlier, six years earlier, that his crew risked everything to save him. And now, Picard is willing to risk his life to save his friend and fellow crew member Data. It's a very noble thing to do. The ship is being evacuated. The order destruct sequence is on, but Picard wants to find a way, before the ship blows up, of saving his friend Data. It's a very noble and self-sacrificial act that Picard is willing to take.
So meanwhile, Cochrane, Riker, and La Forge, they're about to activate the warp drive on the Phoenix. They're out in space. They've left the Earth atmosphere.
But the Borg queen, of course, she wants to stop this and destroy the Phoenix, because she does not want the Phoenix to achieve warp drive and then to make first contact with the Vulcans, which will of course change history for the better for the Earth, which of course is not good for the Borg, because they want to subjugate the people of the Earth and every other civilization they can get their hands on.
So, Picard confronts the Borg queen in his efforts to save Data. And he does an incredibly noble thing. He asks the Borg queen to let Data go in return for him freely offering himself to the Borg. Now remember, that trauma he went through six years earlier, it's Picard's worst nightmare. He's saying, the agony and the trauma that I went through, I will need to go through it again. It's one thing not to know what's going to happen. It's another to know exactly how much pain, and how terrible it's going to be. And you do it anyway to save the life of your friend. That is about as noble as he can possibly be.
And his Borg name is Locutis. Locutis the Borg. And he knows there's something about the Borg queen in which he has so many special gifts and knowledge that it's the Borg queen's advantage for him to willingly offer himself rather than just him being forcibly becoming a Borg. So, he says that you can have Locutis, and Locutis will be with you. Picard will be with you.
And the Borg queen says in this malevolent tone, "Welcome home, Locutis." It's this evil, evil tone. But it appears that Data is now with the Borg, and has given the Borg the encryption code. It appears that Data is now with the Borg and has given the encryption code to the computer, to the Borg queen, which means that the Borg will now be able to control the ship and do whatever they want to with the ship and the civilization of Earth.
So Data then sends quantum torpedoes to destroy the Phoenix, which is what obviously the Borg wants. And the Borg queen, because they don't want the Phoenix to achieve warp drive and get in contact with the Vulcans. But it turns out that those torpedoes, they miss the mark. And the Borg queen yells at Data because Data's an Android, doesn't make mistakes. Clearly it's on purpose. And so, Data says in a sort of a deadpan, low-key voice, resistance is futile, which is what the Borg always say to their victims as they're about to assimilate them.
And so, Data then shatters a pipe that has plasma in it. And Data knows that plasma will destroy all flesh. Remember the Borg, they're part human and part machine, but they need flesh. They need the human part to function. And so, Data knows it will destroy all the Borg, including the Borg queen.
Now, Picard understands what's happening. So he climbs up the conduit to try to get above where the plasma is, instead of this green gaseous substance that's all over engineering, where they're at. And the Borg queen is trying to save herself by grabbing at the feet of Picard. But Data pulls the Borg queen down, and she is killed along with the other Borg. The plasma is then vented, and Data then admits to Picard that he was tempted for a time by the Borg queen's offer of being with the Borg and being part of their collective.
And Picard asks, "Well, how long were you tempted?"
And Data says, "0.68 seconds." Doesn't seem like much, but Data says, "For an android, that's an eternity." So he might say to himself, "Man, I was tempered for 0.68 seconds." Maybe for us that might mean months. I don't know. But yeah, so Data will have to try and find a way to forgive himself for being tempted for such a long period of time, 0.68 seconds. So there we go.
Gary Schneeberger:
That's a lifetime. My goodness. So the Borg's now neutralized. And with the Borg neutralized, all that's up in the air, literally, is whether Cochrane completes his warp flight. How does that turn out?
Warwick Fairfax:
So back on the Phoenix, we know that those quantum torpedoes have missed their mark. So Cochrane initiates warp drive, and he's indeed detected by the Vulcan ship that happened to be passing nearby. And so the ship, having seen that this population of Earth has achieved warp drive technology, they then make first contact, hence the name of the movie. And the Vulcan ship lands at this colony in Montana, and they come out of their ship and they greet Cochrane.
And of course, the Vulcans say what they always do, "Live long and prosper." That's what Spock says in the original Star Trek series. That's just the natural greeting to each other. Live long and prosper, which yeah, not a bad greeting. And so, the Borg have now been destroyed. Cochrane and the Phoenix have achieved warp drive, and first contact with the Vulcans has happened. History is being preserved, and the future will be as it should be.
So the movie ends with the Enterprise then heading back to the 24th century, using the temporal vortex.
Gary Schneeberger:
And that lands the plane on the plot of Star Trek First Contact, but there's still a question to ask you. And that's the one that we always ask at the end of these summer series episodes, and that's this. How do the crucibles that the characters in this film go through, the folks in Star Trek First Contact, how do their crucibles and what they do to overcome them, move beyond them? How can they help us move beyond our own crucibles?
Warwick Fairfax:
Yeah. One of the biggest lessons we learned in this movie, Star Trek: First Contact, is from Captain Jean-Luc Picard. We can see even a man as sane and balanced and caring and empathetic, and as great a leader as he is, can be affected by past trauma and crucibles. And, he was about to continue to fight the Borg on his ship when the rational, sane choice for the crew, for himself, for the future of humanity. I mean, this is not a small decision, would be to blow up the ship, and have everybody evacuate and initiate the self-destruct sequence.
But Picard was so filled with rage with what they did to him by assimilating him six years earlier and robbing him of his individuality and forcing him to kill enormous numbers of people and living beings, just throughout the galaxy, that he could not get over that. He could not obviously forgive them. And so, it just was not possible for him to think straight.
So I think what this shows, it's possible for past trauma and crucibles to affect us in the present, and stop us from making sane, rational decisions. It's easy to say, "I'm in this evolved being and I've gotten past my crucibles and I'm good." Well, with Captain Picard, as sane a leader as you ever come across, can be affected by past crucibles, it means all of us can. None of us should say, we're so evolved. We're so progressed in our psyche and self-knowledge that yes, we're bulletproof. Given a certain set of circumstances, any of us, I think, can face a situation where we're triggered by a past crucible, and it makes it hard, if not impossible, to make sane, rational decisions.
And so yes, maybe sometimes we can sap out of it by ourselves, but sometimes we can't. And that's where having fellow travelers, or an advisor like Lily, is so critical. I mean, she was willing to speak truth to power and go to the mat. And she hardly knew the guy. It's just amazing. And sometimes when somebody speaks truth to us, we did not want to hear it.
And a true advisor, a true fellow traveler, is willing to risk the relationship for the sake of getting through to us, because they care so deeply. So in that sense, that is the ultimate fellow traveler.
I think of really an example that we've talked about earlier, in Louis Howe, who was the key advisor to Franklin Roosevelt. As we described in that recent podcast, in 1921, Franklin Roosevelt got polio. He was paralyzed from the waist down. And in that time, if you got polio, it was considered a political death sentence. You were meant to stay home. And that was just the culture at the time, hard to understand. But in the world of the '20s and '30s, if not beyond, that was the culture.
Well, Louis Howe was Roosevelt's political advisor, helped in campaigns in the early '20s and 1920 presidential campaign, when Roosevelt was a Democratic candidate for vice president. And he wouldn't let Roosevelt give up. He just encouraged his wife, Eleanor Roosevelt and Franklin, just not to give up. We can get you back in the political limelight. Your career's not over.
It's unclear exactly how much Roosevelt pushed back. It's clear that Louis Howe was willing to do whatever it took to help Franklin Roosevelt not give up and achieve Franklin Roosevelt's dreams, which led to, of course, him being president and also being president during World War II. So, such is the value of an advisor.
So, we also see other characters in their growth. Zefram Cochrane, he was a cynical, hard-drinking guy who claimed his vision for this warp-capable ship was purely for money so he could live a good life. It seemed like there were not too many redeeming qualities with Zefram Cochran, but in reality, there was some altruism in his vision. He just wasn't willing to admit it.
And there again, we see a fellow traveler. We see William Riker, the first officer of the Enterprise. And he quotes a future Cochrane, 10 years from then, saying that we should not try to be a great man or a great person, just a man, a human being, and let history make his judgment. He basically called out to the better angels and Zefram Cochran, and Cochrane would grow into being a better version of himself and less cynical. We see a number of examples of people willing to give their lives for their fellow crew members, their fellow humans. And they were all about living lives of significance.
Self-sacrifice is a common theme in this movie. The crew of the Enterprise is willing to go back in time to save the Earth from being a Borg colony, that they were willing to do whatever it took to stop the Borg winning.
Picard is willing to sacrifice his own life and freedom for Data. That is no small sacrifice, to be captured by the Borg again and forced to do what they want him to do, and potentially hurt other people. He's willing to do whatever it took to save his friend Data. So, one of the themes in this movie is, to move beyond our worst out crucible. We need friends, we need help from fellow travelers. There's no question that Captain Jean-Luc Picard needed help from Lily, a fellow traveler he'd only just met. We can see that Zefram Cochrane needed help from William Riker.
We need fellow travelers who are willing to help us. In a sense, Picard was also fellow traveler to Data. He was willing to do whatever it took to help Data be freed from the Borg and the Borg queen.
So, sometimes we might be where Captain Picard was and this sort of doom loop of anger and self-incrimination. And we might feel like there's no escape. And maybe we've tried everything we could, but maybe we need help. And that's where having friends and fellow travelers is absolutely critical.
Another lesson from this movie is sometimes we can spend our lives endlessly ruminating about the past, being angry at ourselves, angry at others. I can't believe I did that, like Picard. I can't believe that I hurt so many people and let the Borg capture my intelligence and my knowledge. It wasn't his fault, but it doesn't stop ourselves from endlessly beating ourselves up, or being angry at the things that we did have control over and the way we hurt other people.
We need to forgive ourselves. We need to give others. Yes, that doesn't mean condoning, but we have to move on. If we don't move on, how are we going to continue with the vision that's going to uplift ourself and others? We won't be able to, because we're in this endless doom loop of self-recrimination and self-loathing. That helps nobody. It doesn't help our friends, our family. It helps nobody. So we've got to find a way to forgive ourselves and move on, so that we can lead a life of significance, a life on purpose, dedicated to serving others.
Gary Schneeberger:
Folks, take a look. The house lights are coming up. The house lights are coming up. That ends the feature, as it were, on this episode of Back to a Better Future: the Crucibles of Sci-Fi Cinema. This was week seven, folks. We've got one week left.
And I'm going to call on you, Scott, because this is going to be the last time that you'll have a chance to do what I'm about to ask you to do for, if my math is right, probably 50 weeks, right? 52 weeks in a year. And we do this for... No, wait, we do this for eight weeks. My goodness. It's going to take you like 40-some weeks. I can't do the math on the fly here. It's going to be a while, Scott. So here's what I need. I need a drum roll right now so we can talk about the last episode.
Excellent. We will be back next week, folks, with our eighth and final episode of our summer movie series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. And that is on the movie. I know the drum roll's probably still going. This is good. I'm dragging the moment out. The movie is The Martian, another sort of space flight film.
So, as you leave the theater, please take your popcorn boxes and your sodas with you, and we will see you next week. We'll save you an aisle seat.
Welcome to a journey of transformation with the Beyond the Crucible assessment. Unlike any other, this tool is designed to guide you from adversity to achievement.
As you answer a few insightful questions, you won't just find a label like the helper, or the individualist. Instead, you'll uncover your unique position in the journey of resilience. This assessment reveals where you stand today, the direction you should aim for, and crucially, the steps to get there. It's more than an assessment. It's a roadmap to a life of significance.
Ready? Visit beyondthecrucible.com. Take the free assessment and start charting your course to a life of significance today.
A farm boy, a princess, a smuggler, a druid, and a robot walk into a crucible. What happens next changed cinema forever.
In this episode, we dive into Star Wars Episode IV: A New Hope as part of the sixth and final installment of our special summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. We unpack the crucibles faced by some of the most iconic characters in film history โ Luke Skywalker, C-3PO, Obi-Wan Kenobi, Princess Leia, and Han Solo โ and examine the tragedies unleashed by Darth Vader. Each character’s journey offers a distinct and powerful lesson about what it takes to turn setbacks into significance, and what happens when we choose the dark side instead.
Want to explore our three prior summer series about the lessons we can learn about overcoming crucibles from film? Check out these playlists featuring every episode of each one:
๐ Take the free Trials-to-Triumphs Self-Assessment to discover where you are on your journey of moving beyond your crucible and how to chart your personal course to a life of significance: https://beyondthecrucible.com/assessment/
Transcript
Warwick Fairfax:
Welcome to Beyond the Crucible. I'm Warwick Fairfax, the founder of Beyond the Crucible. We also see Luke and he's grumbling a lot about his life. He just doesn't want to be on this planet. He wants to get off this rock. So we don't know much about Luke other than he's also not a happy camper and somehow just feels like, I don't know where my life is headed, but I sure don't want to be in this desolate, desert-ridden place.
Gary Schneeberger:
Those names, C-3PO and Luke, are familiar to anyone who's watched the Star Wars films, but maybe not from the vantage point we discussed them here. This week in the sixth episode of our special summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema, we unpack the crucibles not only these two characters face in the film that kicked off the saga, Star Wars: Episode IV - A New Hope. We also look at the trials Obi-Wan Kenobi, Princess Leia and Han Solo must move beyond and the tragedies Darth Vader dishes out. How can understanding the lessons of the crucibles they overcome or caused help you turn your setbacks into significance? Stay tuned.
Welcome, friends, to this episode of Beyond the Crucible. You have joined us in the midst of our summer series, which we do every summer. And if you have not heard or seen the first several episodes, this is the sixth episode, if you haven't seen the first five, we encourage you to go to beyondthecrucible.com and look them up because there's some pretty robust conversations here. That is because we're once again focusing on the world of film. We had so much fun for the three years that we've done films. We're doing it for a fourth time this year. And after doing movies spotlighting heroes, that's sports heroes, that's historical heroes, military heroes, then we did movies that made the American Film Institute's top 100 films, so really classic films. And then last year we did just a roundup of films that really had a lot of crucibles in them.
And in each one of those series, we've just had a great time and we've brought, I hope, I pray, I think that we brought some great insights on how to manage your crucibles and move beyond them. So that's why we're doing it again this year. And this year we've decided, we've landed on something that's near and dear to the heart of our host, Warwick Fairfax, and that is science fiction films. Here's what our series is about this year. It's called Back to a Better Future: The Crucibles of Sci-Fi Cinema. So, Warwick, before we get going, I'm going to ask you what I ask you every episode of this series. Why are we back in the theater talking about movies again? This is the fourth time, as I said, we've done this. And what are you hoping our listeners and viewers will take away from our discussions in this series?
Warwick Fairfax:
Well, Gary, we both love movies and we really enjoy looking at movies from a Beyond the Crucible perspective. Watching a movie for fun is different than when you're watching it from Beyond the Crucible.
Gary Schneeberger:
Indeed.
Warwick Fairfax:
So you're looking at what are the challenges and typically a movie portraying a protagonist that's facing significant challenges that they seek to overcome. And as you've mentioned, we've done superheroes, sports heroes, historical heroes. And as you say, we've done American Film Institute's top 100 movies last year, focus on films with significant crucibles. But yeah, it's just something that's a lot of fun to look at a movie and deconstruct it, if you will, saying, "What are the key learnings that we can have? How do the protagonist either grow in their wisdom and courage?" Or sometimes it happens, the reverse is true rather than not being defined by their worst day. They are defined by their worst day and they get an erosion of their soul and character. So movies are a lot of fun in that sense and are very helpful to us as we all learn to try to figure out how do we overcome our crucibles and live lives of significance.
Gary Schneeberger:
And you are particularly excited about the genre of film that we're talking about in this series because you are a big science fiction film fan. Science fiction everything fan, I think is fair to say. So why do you love science fiction so much? And what about science fiction films in particular make them ripe for us discussing crucibles and how we move beyond them?
Warwick Fairfax:
Yeah. I've loved science fiction since I was very young, both in movies and TV shows. And I think of that iconic movie, 2001: The Space Odyssey. It came out in 1968 and you saw future technology such as iPad-like things on the back of seats that are in front of you, which obviously didn't exist in 1968. You had talking computers that were sentient and actually caused a lot of crucibles for the folks in 2001: The Space Odyssey. You even had video conferencing.
And what 2001: Space Odyssey did so well is they put brands on them. So if you were making a video call from the Space Station back to Earth, it was a Bell Telephone, which was the former AT&T. I was also a fan of pretty much every science fiction show, including the original Star Trek, the day from 1966 to '69. And truth be told, I think I've watched pretty much every Star Trek series since. My favorite one, which we might talk about one of these days or something related to it is Star Trek: Next Generation. But I also was a big fan of great science fiction novels written by some of the classic authors, Arthur C. Clarke and Isaac Asimov.
And what I love about science fiction and still do, it's not just about the future technology, which is amazing, but at its best, it explores deep societal issues that affect the human race. How will humans interact with other forms of life and technology? And it's very relevant as looking at technology as we look at AI. And a lot of folks are thinking about is AI safe? What role does that have in the future of humans? And that's something definitely is explored in science fiction. So in science fiction, we see that very significant crucibles are portrayed. Can the human race survive? Will the expansion of the human race across the galaxy be beneficial or not? And will technology get to the point where it will actually control humans? A lot of very deep issues.
Gary Schneeberger:
And here, folks, in episode six, we're looking at the 1977 film that when Warwick and I first saw it was simply called Star Wars. That was before there were several sequels and prequels made. And now it is called Star Wars: Episode IV - A New Hope. And what's interesting about this movie, it was not only the top grossing film in 1977, the year it came out. And let's put a pin in that for a second and say the last four movies that we've talked about in this series were all the number one films in their year. Right?
This one, and we back up, it was Jurassic Park. Then we back up one more. It was Terminator 2: Judgment... It was, sorry, Back to the Future and then Terminator 2: Judgment Day. So the last four movies that we've talked about were the number one film of the year that they were released. But here's another fact about Star Wars that's really, really interesting. And that is, it is the number two motion picture in terms of total box office adjusted for inflation in movie history. Two.
I'm going to read the number so I get it right. It is made, adjusted for inflation, 1 billion, 629 million. I'm not used to these big numbers. $496,559. That's how much the first Star Wars, just the first one has made adjusted for inflation. And I told you this earlier when we were preparing, Warwick, but there's only one movie ahead of it, folks. I'm going to ask you to figure what movie could be ahead of Star Wars, all time box office adjusted for inflation. Think about that for five, four, three, two, one. It was Gone With the Wind is number one at something more than 1 billion, 600 million dollars. So pretty fascinating trivia here.
Here's another bit of fascinating. This is my second favorite part of the series. My first favorite part might be Warwick getting to say protagonist, which is just that sweet, catchy Australian accent that he has just a touch-up still, but it's the log line of the film. Here's the summary. The film industry calls this the log line. It's a short, compact version of what the film is about. And this is a good one.
A young farm boy joins forces with rebels, a mercenary and a wizard to rescue a princess and destroy an evil Empire's planet-killing space station, unlocking his destiny as a Jedi Knight. That's tight. That is a very tight summary of Star Wars. But the even more famous summary of Star Wars, Warwick, really is the first thing audiences see as the iconic opening text scrolls across the screen. The openings really become a character almost itself in the Star Wars cinematic universe. What does it say as those words scroll across and up the screen? And how does it frame the action and intrigue that we're in store for?
Warwick Fairfax:
Yeah. I think back to when we saw this movie at the theaters in 1977, and the first thing you see is space with stars and these giant letters kind of roll towards you as the iconic John Williams score plays. I mean, it was quite an epic beginning to the movie. And as we hear this music, these are the lines, the words that we see scrolling towards us. It says, "A long time ago in a galaxy far, far away." And then it continues with the story of how that there's a civil war between the Rebel Alliance and the evil Galactic Empire.
Rebel spies have stolen the secret plans of the empire's ultimate weapon, the Death Star, which sounds pretty ominous. And that Death Star has enough power to destroy an entire planet. Princess Leia races home with the stolen plans that can save their people and restore freedom to the galaxy while pursued by the Empire's sinister agents. Now what's interesting here is George Lucas that created Star Wars, the whole Star Wars motif harkens back to the serials that were movie theaters in the early '30s and '40s.
You go to the Saturday movie and before the main feature would play, you'd have this half hour serial. So it could be Flash Gordon, Batman, Superman. I mean, there's all sorts of heroic adventures. And it would take maybe several weeks to see the full story. Come back next week's at the part two and Flash Gordon. Will he escape from the evil Emperor Ming? I think that's who he was from what I can remember. So it definitely starts off with that kind of mindset.
And from the beginning of the movie, we are confronted with the central crucible challenge that we'll see play out. Will the Rebel Alliance be able to stop the Death Star, which threatens to destroy the Rebel Alliance and any prospect of freedom in the galaxy? Or will the evil Empire prevail? Who will win, the forces of good or the forces of evil?
Gary Schneeberger:
Yeah. It's interesting when you mentioned that opening crawl, right? A galaxy far, far away. Here's some inside trivia that you don't know, folks, about the title of this series, which is Back to a Better Future: The Crucibles of Sci-Fi Cinema. One of the ideas we kicked around in the beginning was a crucible far, far away. And it just didn't quite measure up to Back to a Better Future. But that was one of the things in considerations.
Warwick Fairfax:
So what's interesting is two of the movies that we're covering in the summer series, one is Star Wars, the original 1977 version, and a movie that we have already covered is Back to the Future. So in that sense, Back to the Future won out over Star Wars.
Gary Schneeberger:
And hopefully, you listen to that episode on Back to the Future, because it was indeed an interesting conversation. All right. So after the crawl happens on the screen, the film does quick introductions. Lucas does a great job as director and producer and writer of this film. It does quick introductions of some of the main characters to get us going on our journey. Who do we meet in these first few scenes and how does their introduction set up the plot for Star Wars?
Warwick Fairfax:
So after the opening words that we see, we see that Princess Leia's ship is captured by this large Empire ship. And for those of us who saw that movie for the first time, when you see this massive ship that looks like some huge battleship flying through space, the technology at the time was like, "Wow." I mean, you were just floored. It's like when we were looking at Jurassic Park and for the first time you saw these dinosaurs roaming around. Also, to John Williams' music, it was that kind of a moment.
And so Princess Leia Ship, it's captured by this large Empire ship. Leia gives a droid, in other words, a robot, R2-D2, the secret plans for the Death Star. And then we meet Darth Vader of the Empire soon after. Leia is captured and Darth Vader wants the stolen plans from her. And he knows that she's part of the Rebel Alliance. So meanwhile, R2-D2, who now has the secret plans and another droid, C-3PO, they flee in an escape pod to a planet below. And so we see the unfolding of a central theme in the movie. Leia wants to get the stolen plans for the Death Star back to the Rebel Alliance.
Meanwhile, Darth Vader and the Empire will stop at nothing to get those stolen plans back. You'll see that through most of the movie. They really don't think it's going to play that much difference if the Rebel Alliance gets hold of these plans because they feel that the Death Star is impregnable. But that being said, they don't want to leave anything to chance. So they're desperate to get these stolen plans back.
Gary Schneeberger:
Yeah. And then next we see R2-D2 and C-3PO. Pin in that for a second, folks. I'm confessing to you here on the podcast that when I was 12 years old when this movie first came out, and I talked about it with my friends in school, I referred to C-3PO as C-3 Po. And people, all my classmates made fun of me. And I might have a little bit of that still stuck to me, but we see R2-D2 and C-3PO. I got it right now, old former classmates. I got it right now.
They've landed on a desolate desert planet, Tatooine. And as they make their way to where they really don't know where they're going, they're just making their way around the planet, C-3PO says something that sums up not just what the droids are going through, but how it feels for all of us when we're living under the weight of a crucible. This is one of those moments that Warwick talked about at the start where you watch it for fun, you watch it in the theater, you're just having a good time, not for Beyond the Crucible purposes, you don't notice this kind of stuff, but what C-3PO says in this scene really sums up what it feels like to be hit by a crucible, doesn't it, Warwick? And what does he say?
Warwick Fairfax:
Yeah, it does indeed. So we've got this escape pod with R2-D2 and C-3PO, and it hurdles towards this desert planet. And when it lands on this planet, I mean, it's just desert sand dunes for miles and miles. And so here's C-3PO and R2-D2 trudging through the desert. And there's an interesting interplay that will play out throughout much of the movie. C-3PO, it constantly grumbles. He's like, "Why are we here?" And he's just really a wet blanket. And while we can hear what he says with R2-D2, it just really communicates through electronic swaths. So we don't know what he's saying.
Gary Schneeberger:
Right.
Warwick Fairfax:
But what happens is throughout the movies, C-3PO is, amongst other things, a translation droid, explains to us what he's saying. R2-D2 is on a mission to get the stolen battle plans back to the Rebel Alliance. And he will stop at nothing to accomplish his mission. On the other hand, C-3PO seems to blame everything that goes wrong on R2-D2. And at one point he's so disgusted with R2-D2, he blames him for everything that possibly could go wrong in life. He just goes in a separate direction. And so then C-3PO says these immortal words, "We seem to be made to suffer. It's our lot at life. What a desolate place this is."
So imagine that you have a fellow traveler and they act like C-3PO. It just gets to be annoying like sand on the gears. It's like anything you could possibly whine or complain about, C-3PO will. The glass is always half empty. The world's going to end. It's a gloomy day, even if there's not a cloud in the sky, and he's always going to complain. But despite the fact that R2-D2 certainly does not have an ideal fellow traveler, R2-D2 is loyal to the mission and he will not give up.
Gary Schneeberger:
Yeah. And it's the glass that was half full is going to become less full because next, the pair are captured by the Jawa hunters. We aren't sure immediately what these creatures are going to be doing with the droids. But once again, C-3PO is not feeling that this crucible, as we say, is happening for him, not to him. He is really still living in the fact that it's happening to him. What does he say? And how is it something that's all too familiar again to us earthlings when we go through crucibles?
Warwick Fairfax:
Yeah. For C-3PO, everything in life is happening to them. Every event that occurs around you is always for ill, is always going to harm you. That's just the way he looks at life. It's a pretty gloomy droid. And so yeah, here we have these small creatures, the Jawa hunters, and they've captured R2-D2 and C-3PO and they're inside this large transport with a whole bunch of other droids and what looks like a junkyard setting. And so C-3PO in classic fashion says, "Will this never end? There is no sign for hope. There is no sign for optimism. In the world of C-3PO, you're always defined by your worst day. And tomorrow can always be worse than today." That's just his negative view of life.
Gary Schneeberger:
So folks, think about it right now. B and R2-D2, not a C-3PO as you go through life and you encounter crucibles. That is learning number one, I think, from our discussion of Star Wars. The scene then shifts, Warwick. We meet the hero of the piece, the young man certainly with the greatest story arc in the film. And that's Luke Skywalker, whose uncle buys the droids to help him around the farm. He buys them from the Jawa hunters. Turns out they were just trying to make some money off the droids. Luke seems to be suffering from something else we talk about at Beyond the Crucible quite a bit. And that is this, is this all there is feeling about his life? How does that show up, Warwick, in what he says and does as we get to know him in the scenes that follow?
Warwick Fairfax:
So at first, Luke's uncle, he wants to buy C-3PO and some other droid that you see sparks going on and just starts failing. And so only then does C-3PO mention R2-D2. And of course, C-3PO grumbles about having to help R2-D2. Now notice when C-3PO is bought by Luke's uncle, he doesn't say, "Well, wait, hang on. You want an R2 unit? You absolutely need R2-D2." He only mentions that after this first R2 fails. So it's not like C-3PO is fine this moment. He's happy, at least, in the first instance, to abandon his comrade until, "Okay, fine, I guess maybe I need to help him since this other R2 unit's not working."
Gary Schneeberger:
Right.
Warwick Fairfax:
Now we also see Luke, and he's grumbling a lot about his life. And he just doesn't want to be on this planet. He wants to get off this rock. So we don't know much about Luke other than he's also not a happy camper and somehow just feels like, I don't know where my life is headed, but I sure don't want to be in this desolate, desert-ridden place. Not a whole lot of reason for hope. "What kind of life am I going to have in this rock?" As he puts it.
Gary Schneeberger:
Right. While doing some cleanup though on R2-D2, Luke finds something that will lead him to the adventuresome life he craves. What does he find and what happens next?
Warwick Fairfax:
So while cleaning R2-D2, Luke triggers a video message from Leia. And Leia says this, "Help me, Obi-Wan Kenobi. You are my only hope." And the message just plays back again and again. And so at first, Luke's not really quite sure what this is. And then R2-D2, always through C-3PO as his interpreter, says that he, R2-D2, is the private property of Obi-Wan. And that this message, the full message is a private message for him. Now Luke thinks, "I wonder if he's referring to old Ben Kenobi."
So Luke is having dinner with his aunt and uncle, and Luke asks about Obi-Wan. And his uncle says that Obi-Wan died at the same time as Luke's father, as if a long time ago. And his uncle wants Luke to focus on preparing new droids for tomorrow and to focus on working at the farm. Now, Luke says he wants to transmit his application for the academy this year and not work another year for his uncle with the harvest and the farm. And his uncle says, "Look, Luke, I need you for one more season. So forget the academy. I need you here."
Luke is disappointed and he leaves. And after he leaves, his aunt says to his uncle that Luke is not a farmer and that he's too much of his father in him. And then his uncle says these very interesting words, he says, "Well, that's what he's afraid of, that Luke is too much of his father." The scene ends as we see Luke staring out in the night sky as he reflects and looks out on the twin sons of this planet.
And clearly Luke is frustrated. He doesn't want to be there on that rock. His uncle just wants him to stay and walk on the farm. His aunt says, "Look, Luke's not a farmer, but it just feels like Luke is trapped in this life." It does seem, as we've said, a bit of a life of quiet desperation, but maybe his uncle will let him out in a year's time. Maybe next year will never come. Who knows? But it seems like for the time being, Luke's going nowhere and he's stuck in a life that he really doesn't want to live, but what alternative is there?
Gary Schneeberger:
Right. So you mentioned he was looking out at the twin sons. He falls asleep. Ah, but when he wakes up, Luke discovers the first beats of his destiny. As we call it at Beyond the Crucible, the first beats of his life of significance. So what does he discover? What happens after Luke wakes up the next morning?
Warwick Fairfax:
When Luke wakes up, he discovers that R2-D2 is gone. R2-D2 was never one to flag in pursuit of his mission. And so here's this little R2 unit and he's wandering in the desert looking for Obi-Wan. So Luke and C-3PO, they head out in the desert in some kind of hovercraft vehicle that hovers over the desert. It's kind of pretty cool and-
Gary Schneeberger:
Especially in 1977, it was pretty cool.
Warwick Fairfax:
Oh, absolutely. And so they're wandering in the desert, Luke and C-3PO looking for R2-D2. Now they realize that R2-D2 must be looking for Obi-Wan because that's what is said. So what then happens is R2-D2, C-3PO and Luke, they're captured by these sand people, like little creatures. And fortunately, Obi-Wan comes on the scene. He sees what's happening and rescues him and brings him back to his place. Luke says that R2-D2 was looking for his former owner, Obi-Wan Kenobi. Now Obi-Wan says he's not heard that name in many years. And Obi-Wan says that that is his name, even though Luke knows him by Ben Kenobi and that he's not dead yet, because remember his uncle said, "Obi-Wan's no longer with us. He's dead."
But he's not gone by that name in a long, long time, Obi-Wan Kenobi. So Luke's encounter with Obi-Wan would indeed change the direction of Luke's life. That's amazing how sometimes you meet one person and it can change the whole direction of your life. You're not maybe going to realize it at the time, but that absolutely happens when Luke meets Obi-Wan.
Gary Schneeberger:
Good, good point. Obi-Wan then gives him a special gift that cements the non-farming life that Luke is going to have and also explains the parameters of the battle of good versus evil that play out in the rest of, not just this film, but all of the films that follow in the Star Wars saga. Let's take a look and a listen of a clip that unpacks that moment really nicely.
Video:
Luke Skywalker: No, my father didn't fight in the wars. He was a navigator on a spice freighter.
Obi-Wan Kenobi: That's what your uncle told you. He didn't hold with your father's ideals, thought he should have stayed here and not gotten involved.
Luke Skywalker: You fought in the Clone Wars?
Obi-Wan Kenobi: Yes. I was once a Jedi Knight, the same as your father.
Luke Skywalker: I wish I'd known him.
Obi-Wan Kenobi: He was the best star pilot in the galaxy and a cunning warrior. I understand you've become quite a good pilot yourself. And he was a good friend. Which reminds me, I have something here for you. Your father wanted you to have this when you were old enough, but your uncle wouldn't allow it. He feared you might follow old Obi-Wan on some damn full idealistic crusade like your father did.
C-3PO: Sir, if you'll not be needing me, I'll close down for a while.
Luke Skywalker: Sure, go ahead. What is it?
Obi-Wan Kenobi: Your father's lightsaber. This is the weapon of a Jedi Knight. Not as clumsy or random as a blaster. An elegant weapon for the more civilized age. For over a thousand generations, the Jedi Knights were the guardians of peace and justice in the Old Republic before the dark times, before the Empire.
Luke Skywalker: How did my father die?
Obi-Wan Kenobi: A young Jedi named Darth Vader, who was a pupil of mine until he turned to evil, helped the Empire hunt down and destroy the Jedi Knights. He betrayed and murdered your father. Now the Jedi are all but extinct. Vader was seduced by the dark side of the force.
Luke Skywalker: The force?
Obi-Wan Kenobi: Now the force is what gives the Jedi his power. It's an energy field created by all living things. It surrounds us and penetrates us. It binds the galaxy together.
Gary Schneeberger:
So, Warwick, talk about that that scene and its importance to what's to come for the rest of Star Wars.
Warwick Fairfax:
So this scene is a powerful scene. It gives you a bit of background to what's happened and it's the beginning of a call to action, a call to purpose for Luke. So it's an incredible scene. So here we see that Obi-Wan, he's fought in the Clone Wars as Luke's uncle did. Obi-Wan says that he once was a Jedi Knight, Obi-Wan just like Luke's father. And he says that Luke's father was the best fighter pilot in the galaxy, a cunning warrior. And Obi-Wan says Luke's father was a good friend of his.
So as we can see in this clip, Obi-Wan gives Luke a lightsaber, which Luke's father wanted Luke to have when he was old enough, but of course his uncle did not want him to have. And then Obi-Wan says these really interesting words. He says, "The lightsaber is the weapon of the Jedi Knight, an elegant weapon for a more civilized age." Really interesting phrases. And Obi-Wan goes on to say that for over a thousand generations, the Jedi Knights were the guardians of peace and justice of the Old Republic. That was before the dark times, before the Empire. The Empire really signaled the illumination of peace and justice and now has called forth the dark times.
So Luke asked how his father died. Obi-Wan looks sad and reflects on how a young Jedi, Darth Vader, who was a pupil of Obi-Wan until he turned to evil. And Darth Vader, as we've heard, he helped the Empire hunt down and destroy all the Jedi Knights or seemingly all. And Darth Vader betrayed and murdered Luke's father, so now the Jedi, all but extinct. So Darth Vader, he was seduced by the dark side of the force. And this is where we begin to learn what the force is. And Obi-Wan says, "The force is what gives the Jedi his power. It's an energy field created by all living things." So Obi-Wan says, "It surrounds us and penetrates us and binds the galaxy together."
So now Luke has learned about his history, about his father and how Darth Vader murdered his father and all but eliminated the Jedi Knights. This conversation with Obi-Wan is the beginning of the change of direction of Luke's life. This is a powerful struggle that is going on between the forces of good and the forces of evil. One of the interesting sidelines here that George Lucas does, and this might be familiar to students of ancient history, is the whole Star Wars struggle is modeled after ancient Roman history.
So in ancient Rome, there was a Republic and a Senate, like there was an Old Republic and a Senate in Star Wars, and there was a quasi-democracy before Julius and Augustus Caesar took over and created the empire in some ways as the empires created in Star Wars. And just like with the Empire, the Empire in Roman times was essentially a dictatorship. So it's just fascinating how George Lucas borrows these terms of the Republic and the Empire, really echoing forth the struggle between democracy and dictatorship that happened back in ancient Rome.
Gary Schneeberger:
Folks, I would be remiss in my duties as co-host, but I didn't point out to you what just occurred here for the first time I think in Beyond the Crucible history. You got to hear our host, the creator of Beyond the Crucible, share his love of two things that just fit together like hand in glove. Science fiction and history. He brought them both together in the same way that George Lucas did. And that's truly no jokes at all. That's a special moment in the history of the podcast right there.
In the next scene, very well placed by George Lucas, we get our first look at the power and the malevolence of Darth Vader. Up until now, he's been talked about as this kind of evil influence, but we haven't seen it play out. It happens when the Empire leaders are discussing their efforts to crush the rebel resistance. And one of them criticizes the force as not a real source of power. Certainly not as strong as the Death Star. What happens next, Warwick?
Warwick Fairfax:
So this is our first seat of Darth Vader. And here's this grim foreboding figure with this black helmet and you can't see his face and this black cloak. I mean, he's a scary figure. And so we're at a council meeting on an Empire ship where they're saying that they're vulnerable until the Death Star is completed. So we see the commander of the Death Star saying that the emperor has dissolved the Imperial Senate and the last remnants of the Old Republic and then swept away.
Fear will keep people in line, fear of the Death Star. Some say that this Death Star is the ultimate technological weapon. Now, Darth Vader then joins a conversation and says that he should not be too proud of this weapon as the ability to destroy a planet is insignificant next to the power of the force. Now, some of these folks at this council meeting are thinking, "Okay, this whole force thing that's more powerful than the ability to destroy a planet?" I mean, that makes no sense.
So one person there marks Darth Vader's sad devotion to an ancient religion, as he puts it. And that person says the force, it can't give Darth Vader clairvoyance to find the stolen plans or the rebel's hidden base. Well, Darth Vader does not take highly to being challenged. You challenge Darth Vader at your peril. And he does not like being marked or confronted. And so he uses the power of the force to basically lift this guy off the floor and he's getting choked to death.
Now this is by the force. So Darth Vader does not have his hands physically around him. He's just using the force to choke him. And he might have continued until the commander tells him to stop. So for those knowledgeable about religion, the force has familiar overturns. Some view religion as myth and legend and irrelevant in today's society. And in most religions, there are absolutely forces of good and evil that battle it out. So it echoes through the age in which we live in and some people think religion, any religion is irrelevant. Others find great solace and strength in it.
Gary Schneeberger:
Then next, R2-D2 plays Leia's full message in which she begs Obi-Wan to take the Death Star plans to the planet, Alderaan, and give them to her father, a fellow veteran for analysis. What is Luke's reaction, Warwick, to hearing the full message from Leia and the conversation he then has with Obi-Wan?
Warwick Fairfax:
It's a very interesting conversation. So after hearing the message, Obi-Wan says that Luke must learn the ways of the force if he's to accompany Obi-Wan to Alderaan. I mean, Obi-Wan doesn't ask. He just assumes, "Of course you're going to come, right? I mean, it's battle of good versus evil. What's there to think about?" But Luke says he has to go home. And Obi-Wan says that he needs Luke's help because he's getting old and that Leia also needs Luke's help.
Again, Luke says, "Can't get involved." He's got work to do. He said that he hates the empire, but he can't get involved and there's just nothing he can do. And Obi-Wan says, "That's your uncle talking." Obi-Wan urges him to learn the ways of the force. Obi-Wan says that Luke must do what he feels right, of course. It's really an interesting thing that Obi-Wan says, "Well, you must do what you think is right." It's a telling question because I'm not sure that Luke is thinking about what is right. He's just thinking about, well, what is obvious, what he needs to do, not what's right.
It's an interesting question. I don't think Luke really fully understands what Obi-Wan is saying. So at this point, Obi-Wan has laid down the challenge and the call for Luke to fight for the forces of good against evil. And at this point, Luke says, "Okay, I hear what you're saying, but no. I decline to meet the challenge. I'm just going to stay on with my life. This whole battling good and evil, that can go on, but I can't do anything. Who am I? I'm just one person, so I need to stay here." So it's not really Luke's finest moment and certainly at this point, he doesn't seem like the heroic hero in this movie.
Gary Schneeberger:
So let's break, put a pin in this just for a second out of the movie and just talk to our listeners and viewers, because what you just described is something that we all have dealt with. Right? There's advice from someone like Luke's uncle who says, "You don't want to go into that. Stay away from that calling." And then there's advice from someone like Obi-Wan who says, "No, this is your destiny. Step into it." And if we're being honest, these are things that can happen to us pretty much every day. One voice says, "Go for it." One voice says, "Stay away from it." How do we walk our way through that satisfactorily?
Warwick Fairfax:
Yeah, it's a really interesting question. I think for all of us, there'll be the cries for fear and caution maybe from within. It may be from family members, friends. You can't do it. The fight is too big. It's not your fight. You don't have it. Who are you? Be cautious. Stay here. Don't follow your own destiny, your own path. I know what your destiny is. It's to be a farmer. Stay here.
Well, not everybody that grows up on a farm wants to be a farmer. Many do. Some are like, "Do I want to be a farmer?" Or it could be any profession. You don't always want to do what your father and grandfather or grandmother do. You sometimes want to follow your own path. And so you have some people that are calling for fear and caution and safety. Others are saying, "You have a destiny. You have a higher purpose. There's a battle for good against evil."
And so we have a choice to make every day and throughout our lives, are we going to listen to the voices of fear and caution? Or are we going to listen to the voices and hopefully some within ourselves that call us to courage and adventure to a higher purpose? Which voices are we going to listen to? The voices we listen to are fear and caution versus courage and destiny and purpose. It determines the course of our life and our legacy. So every day we get to make a choice. We're going to go with fear and caution or courage, destiny, and purpose. It's a choice we have to make.
Gary Schneeberger:
And Luke has to make that choice and does indeed make that choice in the next scene. He quickly changes his mind after Imperial Stormtroopers murder his family and destroy his home while searching for the droids. Warwick, how does that all develop? What happens next?
Warwick Fairfax:
So the death of Luke's aunt and uncle, it changes everything. Obi-Wan really tries to console Luke by saying that Luke couldn't have done anything to save his aunt and uncle. If he tried, if he'd been there, he would've been killed too. So Luke says he wants to come to Alderaan. He wants to become a Jedi like his father. There's nothing for him now. So this crucible has become the catalyst for a complete change in the direction of Luke's life.
We talk a lot about it didn't happen to you, it happened for you. Well, Luke maybe unknowingly is embracing that way of looking at life. Now that his aunt and uncle have been killed, he realizes, well, there's nothing for him now. And he does feel called to a higher purpose to fight for the forces of good against evil. He's not saying, who am I? Do I have the capability? It's really not relevant at the moment. It's like, what do I need to do? Who do I need to become? What's the next step? And so Luke really changes from, there's nothing I can do, to I have to become a Jedi like my father and fight for freedom and justice.
Gary Schneeberger:
Right. But there are other people who will come up in the very next scene who don't have the same perspective that Luke develops. The party, the group ends up in a bar populated by, it's a very popular scene in the Star Wars universe, by several interesting creatures this bar is populated by, and one human who will prove important to Luke in Leia's mission. Warwick, talk about what happens in that bar and who they meet there.
Warwick Fairfax:
So in this bar, we see here's Luke, Obi-Wan, the two droids, R2-D2 and C-3PO, and they need a ship to get to the planet of Alderaan because they want to get the secret plans of the Death Star back to the Rebel Alliance, which is at Alderaan. And so they come across Han Solo, and he is the captain of the Millennium Falcon, and Han Solo's first mate, Chewbacca. And Chewbacca is an enormous furry creature that doesn't really talk. It just groans. But a bit like C-3PO interprets for R2-D2, Han Solo seems to be able to interpret for Chewbacca.
So as we see Han Solo in the opening scenes of his presence in the movie, it seems that he's only about himself and money. That's all he cares about. So when the group led by Obi-Wan says that they need a ship to get them to Alderaan rather than, "Gee, how can I help?" His first thought is, "Well, it's all about the money." So he negotiates to get 2,000 or whatever currency they have now, and then 15,000 when they get to Alderaan.
If Obi-Wan hadn't offered a good deal, Han Solo would be like, "Forget it." If Obi-Wan had said, "But this is all about fighting the evil empire and helping the Rebel Alliance," Han Solo's attitude would've been, "So? What does that have to do with me?" We'll find out he's a smuggler. He's in it for the money. It's like the patriotic speeches of country and sacrifice. It's like, why? So yeah, he's not a particularly endearing character at this point in the movie. It's all about himself and money. That's the Han Solo that we meet.
Gary Schneeberger:
Right. But he's also, like pretty much everybody else in the movie, at least on the not bad guy side of things. He's someone who's facing a crucible of his own. And this crucible that he's facing at this moment has really nothing to do with the Empire's plans to snuff out the resistance. What is that trial that Han Solo is facing as we meet him?
Warwick Fairfax:
So we find out, surprise, surprise, that Han Solo owes a lot of money to Jabba. He's a smuggler. And so he's always trying to pay people. And sometimes his adventures don't work out. And we learned that on a previous smuggling operation, I think he lost some cargo, didn't get through. And so Jabba wants to be paid. And Han Solo manages to convince Jabba to hold off and he'll give him an extra 15% based on the proceeds of his current mission with Obi-Wan and Leia and just kind of leave me alone for a moment. I promise you, I'll give you what I owe you plus 15%.
So this seems to be the life of Han Solo. It's all about the money and keeping bad guys like Jabba or these smugglers at bay, keeping the creditors at bay. It's all about one more mission, get the money and somehow hold off people like Jabba from getting on his back. And it's just a miserable existence. One mission to the next, dealing with people like Jabba. So that's the life of Han Solo at this point in the movie.
Gary Schneeberger:
But you do, as the audience get the idea that maybe what's going on with Han Solo is his character has never developed because his character's never been tested. So let's just wait for a full determination on his character until the movie plays itself out. Then, Warwick, they all go and get on the Millennial Falcon to head to Alderaan. But the Empire has obliterated the planet after Leia told them it was the home base for the resistance, even though it was not. But the journey to Alderaan does serve perhaps a better purpose for Luke and his tutelage under Obi-Wan. What starts happening between mentor and mentee on that journey?
Warwick Fairfax:
Yeah. This is a really interesting moment in the movie. We see in a scene with Leia and Darth Vader on the Empire ship that they're asking, "Where is the rebel base? And if you tell us, we won't destroy Alderaan." Well, she tells them. Of course she doesn't tell them the truth, but they don't quite know that at the moment. And they just destroy Alderaan anyway. It has millions of people, if not more, on this planet. I mean, she is just shocked about the elimination of life.
In fact, when that happens, Obi-Wan senses something happening in the force, a disturbance in the force, and he feels like there are a million voices crying out as they're being obliterated by the Death Star. So meanwhile, on the Millennium Falcon, we see Obi-Wan is beginning to train Luke with the lightsaber. And he says that a Jedi can feel the force flowing through them.
Now, Han Solo, ever the sort of snarky pessimist, says that hooky religions are no match for a blast by your side, exactly what he expect Han Solo to say. He says he doesn't believe there is one powerful mystical force controlling everything. He says there is no mystical field that controls his destiny. It's a lot of simple tricks and nonsense. So then Obi-Wan steps up the training of Luke by putting a helmet on him where he can't see anything. It blocks his whole vision. And he tells Luke to let go of your consciousness and act on instinct. Let go of your conscious self. He says that your eyes can deceive you and not to trust them.
He tells Luke to stretch out his feelings and Luke actually does better in his training. So Luke, unlike Han Solo, he's embracing the ways of the force and his legacy. And he's training his mind, body, and spirit for the battle ahead, the battle between good and evil. That's one of the things we'll see in this movie, is not all just about Luke receiving training about how to be a fighter and use technology and all that. Nothing against that. But the focus of Obi-Wan's training of Luke is really more on the internal of the soul and the spirit and self-control, self-consciousness. That is the focus of Obi-Wan's training. As we'll find, that training will be absolutely vital in Luke's mission as the movie unfolds.
Gary Schneeberger:
You might say Obi-Wan makes sure he does the soul work. I've heard that somewhere else. Where have I heard that?
Warwick Fairfax:
Absolutely. It's so true. And so for most of us, the really bigger battle is the battle within the soul, the soul work. Are we going to lead a life for good or for evil? Is it all going to be about us and money and power? Is it going to be about helping our friends and neighbors, serving a higher purpose, whether it's in our company, a business or a nonprofit? The battle for most of us is really a battle of within. Are we going to go on a path of money and power and fame? Are we going to follow a path that leads to serving others and some higher purpose? And that's really the battle of the soul that ultimately determines the direction of our lives and our legacy. And that's what's going on here, is Obi-Wan is training Luke, really doing a lot of soul work.
Gary Schneeberger:
They're still not out of the woods yet, or out of the space travel problem yet because the ride is anything but smooth for them. The Death Star's tractor beam captures the Millennium Falcon, but Luke and his companions managed to avoid detection and infiltrate the station. But Darth Vader is on the Death Star too. We're starting to get good versus evil converging in each other's presence. And he senses Obi-Wan's presence and begins searching for him.
As Obi-Wan deactivates the tractor beam that's pulling the Millennium Falcon in, Luke persuades Han Solo and Chewbacca to help him rescue Leia, who is scheduled for execution after refusing to reveal the true location of the rebel base. And, Warwick, Luke doesn't appeal to the better angels of Han Solo's nature here, does he? Because he's just not sure that Hans got them yet.
Warwick Fairfax:
Now that is so true. I mean, altruism seems like it's not going to work with Han Solo. So with R2-D2's help, they managed to find where Leia's being held captive on the Empire ship. So of course, Han Solo, ever the non-hero says he doesn't want to help or get involved. I mean, meanwhile, the Empire Stormtroopers are looking for them on the ships. It's not like he doesn't have any role to play or not like he just sit back and do nothing, but somehow he feels like he doesn't want to get involved. Well, a bit too late for that.
But anyway, so Luke tells Han Solo that Leia is rich and powerful and that Han Solo will get a reward. That's about the only thing that's going to motivate Han Solo. So now, Han Solo is suitably motivated and is willing to help and will do what he can to free Leia. So it's like, "You want my help? What are you going to pay me?" It's like altruism doesn't seem to exist at the moment in Han Solo. It's all about the money and what's in it for him. Give him a good enough deal. Okay, I'll help you. It'll cost you something. Cost you a lot, but sure will help you in those circumstances. So it doesn't really paint a particularly rosy picture of Han Solo's character.
Gary Schneeberger:
No. He continues taking a half a step forward and 15 steps back. But hang in there, folks. It'll turn. Obi-Wan then disables the tractor beam and faces Darth Vader in battle. This is one of the most rousing scenes in the film. It's something we see and hear a lot at Beyond the Crucible two. Our past can keep pursuing us if we don't confront it. And that's what Obi-Wan does here. How does that play out, Warwick?
Warwick Fairfax:
So while Leo, Hans Solo, Luke, R2-D2, C-3PO, they're heading to the Millennium Falcon to try to get away, Obi-Wan faces Darth Vader. Now, both of them realize this is a destiny to have this epic battle. And Darth Vader, as he's in the middle of fighting, Obi-Wan said the circle is now complete. "When I left you, I was but the learner, but now I am the master," says Darth Vader. Obi-Wan says, "Only a master of evil, Darth."
As they fight, Darth Vader taunts Obi-Wan, "Your powers are weak, old man." Obi-Wan says these immortal words, "You can't win, Darth. If you strike me down, I shall become more powerful than you possibly could imagine." Now, Obi-Wan almost seemed to let Darth Vader kill him after these words. He just seems to put down his lightsaber. And so this is all happening while the rest of the group is getting on the Millennium Falcon.
Gary Schneeberger:
Right. They're scadabling.
Warwick Fairfax:
Absolutely. And so Obi-Wan sacrifices his life, both for Luke and for the cause of helping good prevail over evil. Somehow Obi-Wan realizes by sacrificing his life, he's actually going to help the cause of the Rebel Alliance, help the cause of good, and help the cause of the force, if you will. So as Luke flees to the Millennium Falcon, for the first time we hear Obi-Wan voice in his ear. Obi-Wan has been killed, but yet we still hear his voice, you assume through the power of the force, and Obi-Wan says to Luke, "Run, Luke. Run." And this voice in Luke's ear from his mental will continue as the movie unfolds in an extremely helpful and empowering fashion for Luke.
Gary Schneeberger:
Next up, those Death Star schematics that have been all about people chasing each other across the universe, they're examined and they reveal a weakness in a small exhaust port leading directly to the station's reactor. It's only two meters wide, two meters wide, a little hole. And a plan is hatched to drop a torpedo into it to destroy the Death Star. Warwick, this is a poetic moment in the movie from a beyond the crucible perspective. It shows that you don't always need a big effort to begin moving beyond your crucible in a big way. How does that play out in the rest of the film?
Warwick Fairfax:
So the group are now on the Millennium Falcon. Fortunately, Obi-Wan deactivated the tractor beam and they're able to escape from this empire ship. And they have the plans for the Death Star, which R2-D2 has. And at this point, you hear Han Solo say that he's in it for the money and not for revolution. And later, Leia says to Luke about Han Solo, "I wonder if he cares about anything or anybody." At this point, the answer I think would be, "Well, no."
So once they arrive at the rebel base, Luke gets equipped to be one of the fighter pilots. We hear early in the movie that he's an experienced pilot and he just has natural ability. So as Luke is about to take off, he wonders what Han Solo will do. And Han Solo says this, "You don't think that I would be fool enough to stick around here, do you?" And Han Solo actually asked Luke to come with him. He figures Luke could be helpful to him in his smuggling operation because he's a pretty handy person. So Luke says that they need a good pilot like Han Solo, and he's turning his back on them. And Han Solo says, "What good is a reward if you're not around to use it? Besides, attacking the battle station is not my idea of courage. It is more like suicide."
So Han Solo is like, "Forget it. It's not my fight. It's suicide. I'm out of here." But there is a sign of hope because as Luke walks off, Han Solo says, "May the force be with you." Now remember, this is somebody who thinks this is some kooky, ancient religion. It's irrelevant. So whether he believes in the force or not, I think at least it shows a sign of respect for Luke and for what he believes in. So Luke is understandably disappointed that Han Solo won't be fighting with them. And Leia says these words, "He, Han Solo, has to follow his own path. No one can choose it for him."
And those are very wise words. And that's true for all of us. We have to choose our own path. Nobody can choose it for us. The consequences are also, in one sense, our choice because each path we follow does have consequences. If you follow the path of, it's all about me and money and greed, that will have consequences. And they typically won't be good. You can actually make your own crucibles worse and then manufacture more of them. Or the path that leads to good and life of significance, there still might be crucibles, but there'll be a whole lot more fulfillment and satisfaction on that path.
So Luke and the other fighter pilots, they head towards the Death Star. They fly low over the Death Star to try and make the shot down that small exhaust port. It's an almost impossible shot. It's not going to be easy as the Empire's fighters are all over them, including one which is piloted by Darth Vader. Earlier on, we learned that Darth Vader is an excellent pilot, and that definitely is true. And one by one, Darth Vader shoots down the rebel fighters. If Darth Vader's on your tail, you're in trouble.
And so Luke is about to take his shot, but at this point, Darth Vader is on his tail. The chances of Darth Vader missing at this point, no matter how good Luke is as a pilot, is slim. It's one of the things you see in the movie, is there are these channels in the outside of the Death Star and a bit like going in a plane and a fighter plane down a canyon. There's no room for maneuver. You can't juke your way out of range of people pursuing you. So you're in a very tough situation.
And then out of nowhere, here comes Han Solo in the Millennium Falcon. He distracts the Empire fighters, including Darth Vader, kind of spins out of control, and Luke actually has a clear shot. So Luke has his targeting computer all set. But now we hear the voice of Obi-Wan telling Luke this, he says, "Use the force, Luke. Let go. Luke, trust me." And then Luke turns off his targeting computer. Now remember, this shot is an incredibly difficult shot. And what does he do? He turns off his targeting computer. It makes no sense. But Luke sends his torpedoes into the shaft. And while all this is happening, one of the things that George Lucas does, which is so brilliant, we constantly see the movie shift from the Death Star to the rebel fighters.
And what we understand is that this Death Star is on the other side of the orbit of a planet, and it has to get around the orbit of that planet to be in range at the rebel base, which is on a moon on the far side of this planet. So we see during this part of the movie, a countdown of when the rebel base will be in range. So at first, it's 30 minutes, then 15 minutes, then 5, and then 30 seconds. And just as Luke is about to fire these torpedoes down that narrow shaft on the Death Star, we see that the Death Star is in range at the rebel base.
They're powering up their weapon just in the process of firing. We're talking seconds away. And so Luke's torpedoes, they go down that shaft, it's a clean shot, and the Death Star explodes just before it can fire, mere seconds before it can fire. It's an incredible shot, an incredible end to this part of the movie and the Death Star.
Gary Schneeberger:
Yeah. And what follows then is a bit of a coda to the film. That is, it ends in a triumphant ceremony in which Leia awards Luke and Han Solo medals for their heroism. At the start of this movie, if you would've said Han Solo's going to get a medal for his heroism, no one would've believed you. But that's indeed what happens. And, Warwick, Luke and Han Solo really have started living lives of significance at the end of Star Wars, haven't they?
Warwick Fairfax:
It's so true. And you're very right, Gary. At the beginning of this movie, Han Solo certainly won't get any medals other than maybe cowardice, greed, self-centeredness, an anti-medal, anti-hero.
Gary Schneeberger:
Or when he bought himself.
Warwick Fairfax:
Exactly right. Exactly, because nobody else would give him one. But Luke, on the other hand, he's not a bad guy, but he certainly doesn't seem this heroic figure. It's like, look, I'm living my life a quiet desperation on this planet. I'm in Tatooine. I don't know that I want to be here. Maybe I'll escape one day. But really does not seem like the hero that would save the galaxy and the Rebel Alliance from the Empire. He's not a bad guy. You just wouldn't really think about him in that context.
So we see this transition from Luke as a young man working on a farm, wants to go to the academy, but he's locked into this desolate planet with his aunt and uncle. Doesn't feel he can make any difference between the Rebel Alliance and the Empire. And just like so many of us, we feel like we can't make a difference. We can't lead much of any life of significance. What does that even mean? It's meaningless for us. We're locked into a humdrum life the way he sees it.
By the end of the movie, Luke has saved the day with what Han Solo says, "It's a million to one shot with his torpedoes destroying the Death Star." Even with his targeting computer, the odds of that shot making it are a million to one. Without the targeting commuter, it probably goes up to a trillion to one. But Luke trusts the force, trusts his mentor, and makes this impossible shot. So Luke indeed learns to trust himself, trust the training of his mentor, Obi-Wan, trust in a higher power, and not just to rely on his own strength. Luke has grown tremendously in his courage, trust, and wisdom. Luke's journey shows that the key battle is the battle within. It's not just about what we do on the outside. The battle within has been won by his own courage, by the advice of his mentor Obi-Wan, and by relying on a higher power. All of those have empowered him to do the impossible.
Han Solo truly does make an amazing transformation. At the beginning of the movie, he's all about himself and money. It's all about helping number one, not about other people. He doesn't want to get involved in causes or battles. Hey, the fight pitting the Rebel Alliance and the Empire, it's not my fight. Nothing to do with me. But by the end of the movie, Han Solo is a key part of saving the day. So as Luke lines up that impossible shot to send the torpedoes down that shaft, if Han Solo hadn't been around, it's questionable as to whether Luke would've made it.
Darth Vader would've stood a very good chance of shooting Luke down. He had him right on his scope. There was nobody around to stop that shot. So Han Solo really did make the saving of Luke and the destruction of the Death Star possible. That would not have been possible without Luke. It certainly would not have been possible without Han Solo coming to help Luke save the day.
So it's really incredible. It shows you the evolution of Han Solo's character. It also shows that we should never give up on those around us, family and friends. Maybe we feel like they're going down a path of self-destruction. It could be drugs, alcohol. It could be poor choices in life. It could be just making choices of a life of quiet desperation. We know they have so much talent and ability, but they don't believe in themselves. They won't take chances. They won't take risks. And so they just take the safe route, the route that really leads to a life in which so many people would say about them what could have been. And only if they trusted themselves, trusted in a higher power, looked to others and not themselves.
Gary Schneeberger:
This whole episode, it's interesting, I said at the start, we kicked around ideas for the title of the series, and one of them was A Crucible Far, Far Away. And our discussion on this movie makes me think, we should have selected that one maybe. But it is indeed called Back to a Better Future: The Crucibles of Sci-Fi Cinema, and we're sticking with that. Warwick, how do the crucibles of the characters in Star Wars offer us insight into how to move beyond our own crucibles?
Warwick Fairfax:
It's easy to think that we can't make a difference with just some insignificant person who doesn't have the skills or the training or the pedigree to accomplish much. Maybe nobody from our family went to college. Maybe none of them left the town that we grew up in. Maybe we feel like our path on life was mapped out for us at birth. And we might feel like the battle around us is so big. How can we possibly make a difference? It's just me. I don't have the training, the skills, the courage, anything. But you look at the lives of Luke, Han Solo, Obi-Wan, Leia, R2-D2, and even C-3PO, we can see how they were willing to fight for a cause beyond themselves, to fight for good against evil. And each of them played a part and each of them were part of how good did indeed triumph over evil.
So we need to choose how we want to live our lives. Do we want to live lives of quiet desperation? Which is where we see Luke at the beginning of the movie. I can't really do much. Who am I? It's all too difficult. Do we want to live lives where it's all about money and about ourselves? Which is what we see Han Solo live his life of much of the movie. Hey, everybody's greedy. Everybody's in it for themselves. Why shouldn't I be? Why shouldn't I get a piece of the action? Nobody's going to help me. Why should I help them? That cynical, defeatist, it's all about me attitude, that could be us. Or we can make a different choice. We can decide to live lives of significance, a life on purpose dedicated to serving others.
We truly seek to make a difference in the world. Now, maybe we won't save the galaxy like Luke and Han Solo did. Maybe it's just our town, our community, our home. Maybe it's fighting for a friend of ours at school or a brother or sister. One path leads to a somewhat despondent, gloomy life, while the other leads to a life of fulfillment and purpose. So each day we get to make that choice for our lives and our legacy. Is it all going to be about me, money and greed? Is it all too difficult? Am I going to live a life of quiet desperation? Or am I going to live a life on purpose dedicated to serving others, a life of significance?
Gary Schneeberger:
Did you see that folks? Look, the house lights have come up, which indicates we have reached the end of this episode of Beyond the Crucible in our series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. Next week, we will take another look at another film. And this time, Scott, give it to me, give me the drum roll, next time we're going to talk about, this is probably Warwick's favorite on the list that we have so far, and that is Star Trek: First Contact. So don't miss that. We'll be here next week. And as always, we'll save you an aisle seat.
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Just because you can do something doesn’t mean you should.
In this episode, we dive into Jurassic Park as part of the fifth installment of our special summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. John Hammond had the wealth, the vision, and the technology to bring dinosaurs back to life โ and he used all of it without stopping to ask whether he should. What he intended to fill with wonder, he filled with terror. His story is one of the most vivid leadership cautionary tales in cinema: the crucibles we unleash when ambition outpaces wisdom, and when the desire to do something remarkable blinds us to the responsibility that comes with it.
Want to explore our three prior summer series about the lessons we can learn about overcoming crucibles from film? Check out these playlists featuring every episode of each one:
๐ Take the free Trials-to-Triumphs Self-Assessment to discover where you are on your journey of moving beyond your crucible and how to chart your personal course to a life of significance: https://beyondthecrucible.com/assessment/
Transcript
Warwick Fairfax:
Welcome to Beyond the Crucible. I'm Warwick Fairfax, the founder of Beyond the Crucible. He says it didn't require any scientific discipline. Your scientists were preoccupied with whether they could and did not stop to think whether they should. Basically saying just because you can do something doesn't mean you should. Wise words.
Gary Schneeberger:
Just because you can do something doesn't mean you should. That's the chief lesson of Jurassic Park, but it's not one the man who brought dinosaurs back to life and turned them into theme park attractions learns until it's too late. This week in the fifth episode of our special summer series, Back to A Better Future: The Crucibles of Sci-Fi Cinema, we discussed the crucibles unleashed when John Hammond uses his vast wealth to create what he thinks will fill the world with wonder but winds up filling the attraction he builds with death and terror. How can understanding where Hammond went wrong help you avoid your own crucibles or overcome them when they hit? Stay tuned.
Welcome, friends, to Beyond the Crucible. You have joined us in the midst of our summer series, which we're calling Back to A Better Future: The Crucibles of Sci-Fi Cinema. We're doing this because we've had so much fun, Warwick and I have, over the last three years when we focused our summer series on the crucible lessons that we can learn from motion pictures. We're doing it again this summer. And with this, we've already done four episodes, just makes this episode five. But after doing movies that spotlighted heroes, sports heroes and superheroes and military heroes, and then doing movies that the American Film Institute ranked very high on their list of the best films of all time, and then last year doing films that really had a lot of crucibles in them, this time we're focusing on a genre that is one of Warwick's favorite types of films, and that's science fiction.
Hence, the title, as I said, Back to A Better Future: The Crucibles of Sci-Fi Cinema. So, Warwick, before we dive into the movie that we're going to talk about this week, why movies? Again, this is the fourth time we've gone into the cinema for our summer series. There was a time before these last three years that we did it as well. What are you hoping our listeners and viewers get out of our discussions about the movies that we're covering?
Warwick Fairfax:
So Gary, we both love movies, and it's interesting looking at movies from the Beyond the Crucible perspective, it's very different, because typically, when you watch a movie sitting there with popcorn, you're enjoying it. But here, you're watching a movie very differently. You're actually seeing what are the crucibles the protagonist is facing and how do they deal with them. Sometimes well, other times, in The Godfather or Citizen Kane, not so well. And typically, in movies, you have the protagonists that faces significant obstacles and challenges that they seek to overcome. We've covered superheroes, sports heroes, historical heroes, American Film Institute's top 100 movies. And last year, we focused on movies that had characters with significant crucible. Movies are really a rich territory in which to explore how people face really huge challenges and how they deal with them.
Gary Schneeberger:
And you're right, watching movies just to kick back and watch a movie for the weekend, different than watching them here. But I'll tell you, it's even different. I was a film critic. I worked in Hollywood, and I had to take notes on films to give feedback to the filmmaker, and I take more notes for these episodes than I did for those pursuits. So it is a much different experience and rewarding in a much different way, and we'll talk about that as we get going. But before we get going, let me ask you this question too. You're particularly excited this year because we are exploring science fiction films. Why do you love science fiction films in particular so much? What about them is particularly resonant for discussing crucibles and how we move beyond them?
Warwick Fairfax:
I've loved science fiction since I was very small, both in books, movies, TV shows. I remember one of the earliest things I saw that had a huge impact on me was 2001, The Space Odyssey that came out in 1968. You saw future technologies, such as space shuttles with pads, screens on the seat in front of them, which obviously, didn't exist in planes in 1968. You had talking computers that were almost, I guess, were sentient, and that was a major theme of that movie with AI to the next level. You had video conferencing, other technology that wasn't around at the time. I've also been a fan of the original Star Trek series that aired between 1966 and 1969. And I read some of the great science fiction novels by Arthur C. Clark and Isaac Asimov.
What I love about science fiction and still do is not only does it explore future technology, but it also explores deep societal issues, such as what is the future of the human race? How will humans interact with other forms of life and technology? What's the future role of AI? These are issues that are very relevant. And in science fiction, we see very significant crucibles portrayed. Can the human race survive? Will the expansion of humans across the galaxy be beneficial or not? Will technology get to a point where it will actually control humans? These are issues that we face now and it's just a very rich genre of exploring crucibles and how does mankind overcome those crucibles?
Gary Schneeberger:
And perfect setup for what we're doing, what we're talking about this week, episode five of the series. We are looking at the 1993 film that sparked a new generation, a new milestone in special effects from Hollywood, and that is the original Jurassic Park. It was the top grossing film of that year. This is the third time in a row we're discussing the top box office moneymaker of the year that the film was released. So there's something about what you're saying about, they're also very popular movies, Warwick, if they're for three years in a row or not three years in a row, but three times in a row we found what was the number one moneymaker of the year. Here's a summary of what the film is about. This is one of the highlights of every week of the series for me because it's such tight writing. This summary is called the log line, known in the film industry as the shortest, most direct summary of what a film's about, and here it is for Jurassic Park.
When a group of scientists is invited to an island theme park filled with cloned dinosaurs, they must fight to survive when the prehistoric creatures break free and wreak havoc. And it's not just havoc they wreak. This was fascinating to me. As the movie's rating card is shown on screen at the very start of the movie, before the credits even roll, before the first sounds of the musical score happened, as the movie's rating card is shown, Jurassic Park it is said, is rated PG-13 for intense science fiction terror, which is a pretty ... that's why these things are ... People who can write really well write these kind of things because that is true. There is intense science fiction terror in here and we're going to talk about all of it.
The first beats of the film actually were do set the stage for that terror. A sliver of it is shown, but a lot of it is not. Unpack that first scene and what it depicts, what it almost depicts and the effect it has on those in the audience who are in the scene who see it happen. It's pretty clear from the outset, isn't it, that major crucibles are going to happen in this movie?
Warwick Fairfax:
So well said. I think of Alfred Hitchcock and his movies and a lot of the fear and suspense was in what you didn't see. That will be true at the beginning of this movie. Steven Spielberg, who was the director here and helped engineer this whole movie, certainly got this right. In the opening scene, we see this large metal container and it's being pushed up against a seemingly secure concrete cage. It's got concrete around the sides with some heavy steel metal mesh on the top. You can see there's sort of a jungle plants in the actual cage, really can't see what's going on. And so, you see a man who seems to be in charge. His name is Robert Muldoon. He's the game warden of Jurassic Park, and he gives the order to open up the container and let whatever is in this metal container back into this concrete cage.
We don't really see much. We don't see the creatures, but we hear a lot of shrieking and we see jungle undergrowth at the top of the cage and that kind of moves a bit with the animals scurrying around there. Now, one of the creatures manages to push this metal container away from the concrete cage, so there's a gap, and it grabs one of the workers and pulls that worker in and kills it. Now, this is meant to be secure. These are heavy containers, but somehow these creatures are smart enough to figure out a way, figure out a way to create room between that metal container and the cage and get one of the workers. At this early stage of the movie, we don't quite know what's going on, but things are certainly not going to plan. Whatever these creatures are, they are not easy to control or contain. So, we definitely have a bit of forewarning of what is going to happen. Things don't start well in this movie.
Gary Schneeberger:
No. And the plot proper of Jurassic Park gets set into motion in the very next scene. What do we learn has happened and what is the park doing to keep its opening on schedule? Because that's the big thing being chased here, is keeping the park opening on schedule. And what you just described from the first scene has put that in jeopardy. How so?
Warwick Fairfax:
So, we see a lawyer and this lawyer is saying that the investors are getting nervous. In fact, it's the investors and the insurance companies. You need both for a theme park, certainly, a theme park such as this as we'll find out. This lawyer is saying that, as I mentioned, investors are getting nervous and that if two experts sign off, the insurance company and the investors will be okay, but they're not willing to proceed without these outside experts saying that things are okay because they've just heard about somebody getting killed in this opening scene. It could be a lawsuit from the guy's family. They're just a bit worried about this whole enterprise. And so, the lawyer mentions Alan Grant, who's a noted paleontologist as one of the experts that maybe they could get his input in. So at this point, we're at the stage where things are not going to proceed until two outside experts sign off, which then will give, hopefully the insurance company's investors enough comfort to sign off and keep going ahead with whatever this theme park is.
Gary Schneeberger:
Right. And in the next scene, we get our first really good full sunshine out in the wild look at the CEO, the founder, the creator of Jurassic Park, and that's John Hammond. John Hammond seems pretty good-natured for someone facing what he's facing as he meets with two of the experts that he wants to convince to come look at the park. This is a man who's had a hard time seeing his crucible as an obstacle, and that's not always good, is it?
Warwick Fairfax:
It's so true. We'll find out with John Hammond that ... I'm not sure that he even sees or knows what a crucible is. It's just like every crucible's a speed bump. Not even a speed bump, it's just like, "I think I felt something there, but we're pushing ahead." He's a fascinating guy. So here, we have this guy Hammond and he's landing his helicopter in the middle of an archeological dig in Montana. And in the movie you've got dust getting kicked up and going everywhere, and this is over this fragile dig site where there are dinosaur bones, which is not exactly what you want to have happen. It just could contaminate the whole site. Here, we see Alan Grant, one of the experts, paleontologist, and his fellow paleontologist, Ellie Sattler. They're looking for dinosaur bones, and ironically, they've actually found a velociraptor, which might feature in the movie at some point.
Gary Schneeberger:
Yes. Maybe, maybe.
Warwick Fairfax:
Yeah. These velociraptors, raptors, it's interesting that Grant tells this kid who happens to roll by that these are fearsome creatures. They're highly intelligent. They can run fast. They hunt in packs. These creatures, I'm sure he's probably thinking is, good job we don't have raptors anymore because those are scary creatures. So then, we have Hammond, Grant, and Sattler, they go talk in Grant's trailer. Hammond has actually been supporting Grant to the tune of a $50,000 a year donation. And Hammond says that he's leased an island off of Costa Rica, which will have attractions that will drive people out of their minds. But the investors want outside opinions from the top minds in their field, and from Hammond's perspective, those top minds are Grant and Sattler.
So Hammond wants them to sign off on the park, but Hammond won't tell them what kind of park it is, but he wants them to visit. Says, "Go visit this park. I'm not going to tell you what's in there or why you're coming along, but just come with me." Well, not surprisingly, Grant initially hesitates. He's in the middle of this important archeological dig in Montana. It's a long way from Costa Rica where this island is off of. But after Hammond says he'll fully fund their dig, not just partly, fully fund for initial three years, Grant says, "Okay." Kind of an offer you can't refuse, right?
Gary Schneeberger:
Right.
Warwick Fairfax:
For people in archeology, it's not every day that somebody says they'll fund your dig for three years. It's interesting to reflect on Hammond at this point. So when faced with the setback of some creatures, we don't know quite what they are yet, killing one of his workers, Hammond almost treats this as a minor bump in the road. The investors and insurance companies want the opinion of outside experts before they'll go ahead. And Hammond's like, "Okay, let's get these experts in. Let's have them sign off and then we'll keep moving. No problem here. Just a minor setback. We've lost a worker. That's unfortunate, but okay."
There's no deep reflection about whether they're on the right course or whether they should change direction. So we'll see, unfortunately again in this movie, this sort of non-reflective, self-confident, almost arrogant approach from John Hammond, which will unfortunately have dire consequences. One of these characters we can learn a lot from, not just from what they do right, but in this case with Hammond, a lot of what they don't do right.
Gary Schneeberger:
Right. One of the things that struck me about this movie back when I saw it in '93 and when I saw it a couple of days ago for our discussion, is Hammond has a favorite phrase he says all the time. "Spare no expense," he says it all ... In fact, how many times do you think he says it? There's actually a clip on YouTube which has every single time he says it. How many times do you think he says it?
Warwick Fairfax:
I don't know. Twenty? I don't know.
Gary Schneeberger:
Only five, but it feels like more.
Warwick Fairfax:
Probably feels like 20.
Gary Schneeberger:
It does. It comes in very significant parts of the movie, and he says it in good scenarios and not so good scenarios, so that's who John Hammond is. And you're right, Warwick, to say that it's going to have dire consequences. We see what can lead to some of those dire consequences in the next scene involving one of the computer programmers at the park, Dennis Nedry. Nedry has nefarious plans to get rich off of the technology of Jurassic Park, right?
Warwick Fairfax:
So Nedry, as we'll see, is not a good guy. He's off island in the mainland of Costa Rica and he's meeting with the man who works for Hammond's corporate rival. What this other man wants are viable embryos. We don't quite yet know viable embryos of what, but whatever they are, they're clearly valuable, because this other guy says to Nedry that he'll give him $1.5 million if he can get his hands on embryos from all 15 species, so kind of very much James Bond-like. He gives Nedry this fake shaving cream canister, which when you unscrew it, you have slots for little test tubes of all of the embryos. And this will keep the embryos cool for 36 hours. The plan is, Nedry is to be at the east dock at the aisle the next night at 7:00 to meet a boat to pick up the embryos.
The other folks, the other corporation will have somebody meet them a boat and take those embryos away. Nedry says there's an 18-minute window and security will be down and then this other company is going to be able to catch up on 10 years of research, so what Nedry has is very valuable to this other corporation.
Gary Schneeberger:
Right. After this scene, Hammond then flies his three experts, Grant and Sattler, and chaos theory scientist Ian Malcolm to the island, Isla Nublar, where his venture is set up. When they land just to beat more than 20 minutes into the film, which is an enormous departure on Spielberg's part for how this is normally handled in movies when there's a, especially science fiction movie star that's going to show up. You don't see the apes and Planet of the Apes until an hour into the film. This is only 20 minutes into the film. Spielberg then reveals to the scientists and the audience their first live dinosaurs. Talk about that scene because it's really even 30-some years later, 33 years later, it's still a really impressive scene.
Warwick Fairfax:
It surely is. As you mentioned, Hammond takes these folks on a helicopter to this island. They get off the helipad and they're in a Jeep, and they begin to take a tour. Here they are in these open Jeeps and they're going through this sort of grassy area in the island. The Jeep stops and Grant stands up in the Jeep. He stares. He is just amazed. Sattler's talking to somebody else and Grant and Sattler are pretty close. They look like they're dating. Anyway, so Grant grabs Sattler's head and slowly turns her head around.
Gary Schneeberger:
Turns her, yeah.
Warwick Fairfax:
And what we see is this huge dinosaur. It's like a plant-eating dinosaur. We'll find out it's a brachiosaurus, and they all get out of the Jeep. The scene is amplified by the soaring music of John Williams, the composer of the film score. He did the music for Superman and Raiders of the Lost Dark and some of the most brilliant film scores ever made. Now, imagine Gary and I saw this movie at the cinema in '93 and the technology, the CGI graphics to make this happen was just unparalleled. You don't know what's going to happen, and you suddenly hear this music and this massive dinosaur and you're like, "Oh, my gosh, what is happening? How do they do this? How can they make it so lifelikey?" And this is a lot of years ago. Now, we're accustomed to computer generated graphics. But back then, you'd never seen anything like this. So not only was Grant and Sattler amazed, so was Schneeberger and Fairfax amazed so to speak.
Gary Schneeberger:
Yeah. Absolutely. Absolutely.
Warwick Fairfax:
Sitting in our seats in the respective cinemas. Grant and Sattler are amazed at what they're seeing in real life that they've theorized about. As I said, these dinosaurs are brachiosaurus. Grant says this dinosaur is warm-blooded. I remember reading in the papers, I think years ago, there was controversy as to whether the dinosaurs are cold-blooded, which reptiles are or are warm-blooded. And there were some theorists that said, "We actually think that they're warm-blooded because some folks speculate that dinosaurs really come from birds that are warm-blooded." So Grant and Sattler have done all this theorizing about what dinosaurs are. Well now, they're seeing the real thing that's confirming some of their theories. We see this big herbivore dinosaur eating leaves from the trees. But what's interesting is the reaction of others is quite different. You've got Grant and Sattler sort of their lifelong, not even a dream, but just because they never thought they'd ever see a dinosaur, but they're seeing what they've spent their life working on in flesh.
But you've got other reactions. You've got Ian Malcolm, who, as you mentioned, is a chaos theorist. He's not impressed at all. He says, "You did it. You crazy son of a B. You did it." So what Malcolm means by that, he is very concerned. He's a chaos theorist, and we'll find out that if something can go wrong, maybe it will. The lawyer's reaction is different also. His reaction is, "We're going to make a fortune with this place."
Gary Schneeberger:
Right.
Warwick Fairfax:
Two folks, Grant and Sattler, amazed at the science. Malcolm is thinking of the chaos, consequences and the calamity that could happen. And the lawyer is just thinking, "We're going to be rich," so three very different reactions.
Gary Schneeberger:
Yeah, for sure. Hammond then tells the story to the scientists of how the park came to be partly in conversation with them and partly in a tour of the lab where the dinosaur embryos are kept and hatched. What happens in this scene, Warwick, that leaves the scientists amazed? What do they see in the lab that blows their minds?
Warwick Fairfax:
In this scene, here they are, they're at base camp and there's a lab there. The scene starts off with almost a Disneyworld-like movie theater. It's a bit like kind of Epcot, if you will, in which you start off in the movie theater, and then your seats turn into some vehicle and it goes down a track. It's very much like that. They're in this Disneyworld-like movie theater and there's a movie playing that's really talking about the process of making dinosaurs, but it's catering to a kid level in terms of the audience. Apparently, what the Jurassic Park scientists have done is that they've found pieces of amber with mosquitoes in them. So apparently, what happened is a hundred million years before mosquitoes bit the dinosaur and they got stuck in the sap of a tree. And over time that sap becomes amber, so what the scientists have done is they've extracted dinosaur DNA from the blood that's in the mosquito that's in amber. Pretty amazing stuff.
Gary Schneeberger:
I am glad that you said they do it in a bit of a kid way as they explain it, because what you've just described in the amber, there it is. There is my little kid me, my Jurassic Park bit of whimsy that I have in my office.
Warwick Fairfax:
But folks, rest assured, Gary is not going to try to get the dinosaur DNA out of that mosquito and reconstitute dinosaurs. Gary's going to pledge that he will not make the mistake that Hammond made, so rest assured.
Gary Schneeberger:
Absolutely. I learned my lessons from others.
Warwick Fairfax:
Exactly. So then, they go on to say that gene sequencing and supercomputers fill in the gaps in the DNA sequence, because they need the DNA sequence to create these dinosaurs. But one of the things they do to fill in the gaps is used the DNA of a frog, which we'll find out is maybe not the greatest idea in the world, but seemed like a good idea at the time. Now, we see this group, they've sort of gotten off the ride, if you will, and they're in the lab with a bunch of scientists. One of the folks they talk to is Jurassic Park's chief geneticist, Henry Wu. We see that there's some eggs, and one of those eggs begins to hatch, and there's a little dinosaur about to emerge and Hammond thinks it's very cute and tries to help it by delicately peeling back parts of the shell.
And so, Henry Wu, this chief geneticist, says that there is no uncontrolled breeding in Jurassic Park, because they've engineered them through their chromosomes and what have you to make sure that all the dinosaurs are female, and therefore, can't pre problem solved. Well, Malcolm, ever the pessimist and frankly realist-
Gary Schneeberger:
And the chaos theorist, right?
Warwick Fairfax:
Absolutely.
Gary Schneeberger:
He's always expecting chaos.
Warwick Fairfax:
Yes, and he turned out to be true. Malcolm is concerned and wonders how they could all be female. And so, Wu, the geneticist, explains the process and there are ways of making sure that happens. Well, Malcolm says, "This is not possible as the history of evolution is that life will not be contained." He says, "Life expands new territories and life finds a way." Telling words, life finds a way. So then, Grant asks, "What kind of species is this baby dinosaur that's just emerged from the egg?" Well, geneticist Wu, he knows you got a bunch of scientists and paleontologists. Well, he says a bit nervously that is a velociraptor. So remember, in that early scene of the movie where you're in Montana and Grant is talking about the velociraptor and the hundred and packs and he actually has a Velociraptor claw, but it's like a souvenir.
Gary Schneeberger:
Scares a little kid. Scares a little kid with it.
Warwick Fairfax:
Absolutely. And so, here they seem to be rebreeding velociraptors one of the scariest creatures in the dinosaur world. So, what could go wrong? So, we'll see.
Gary Schneeberger:
Indeed, we will. When the group stops for lunch, things really begin to change. I think this is where the tipping point of the film begins. There's a key exchange where their concerns about what Jurassic Park is doing begin to override their amazement on that has been done, what they've seen has been done. The scientists stop being, for lack of a better phrase, little kids who are like, "Oh, my gosh, they're dinosaurs," and start being scientists who are pondering, "What's happening here?" Let's take a look and a listen to a clip that really spotlights this for us.
VIDEO CLIP:
More adventurous guests, of course, can opt for our jungle river cruise or for a close-up look at our majestic ... None of these attractions are ready yet, of course, but the park will open with the basic tour you're about to take, and then other rides will come online six or 12 months after that. Absolutely spectacular designs. Spared no expense.
Yeah, and we can charge anything we want, $2,000 a day, $10,000 a day, and people will pay it. And then, there's the merchandise and I can personally advise-
Donald, Donald. This park was not built to cater only for the super rich. Everyone in the world has the right to enjoy these animals.
Sure. They will. Well, we'll have a coupon day or something.
Gee, the lack of humility before nature that's being displayed here staggers me.
Well, thank you, Dr. Malcolm, but I think things are a little bit different than you and I had feared.
Yeah, I know. They're a lot worse.
Now, wait a second, now. We haven't even seen the park yet-
No, Donald, Donald, let him talk. There's no reason, now I want to hear every viewpoint. I really do.
Don't you see the danger, John, inherent in what you're doing here? Genetic power is the most awesome force the planet's ever seen, but you wield it like a kid that's found his dad's gun.
It's hardly appropriate to start hurling generalizations before-
If I may. I'll tell you the problem with the scientific power that you're using here. It didn't require any discipline to attain it. You read what others had done and you took the next step. You didn't earn the knowledge for yourselves, so you don't take any responsibility for it. You stood on the shoulders of geniuses to accomplish something as fast as you could, and before you even knew what you had, you patented it and packaged it and slapped it on a plastic lunch box and now you're selling it. You want to sell it. Well-
I don't think you're giving us our due credit. Our scientists have done things which nobody's ever done before.
Yeah. Yeah. But your scientists were so preoccupied with whether or not they could, they didn't start to think if they should.
Condors. Condors are on the verge of extinction. If I was to-
Oh, no.
No, no. If I was to create a flock of condors on this island, you wouldn't have anything to say.
No, hold on. This isn't some species that was obliterated by deforestation or the building of a dam. Dinosaurs had their shot and nature selected them for extinction.
I simply don't understand this Luddite attitude, especially from a scientist. I mean, how can we stand in the light of discovery and not act?
Oh, what's so great about discovery? It's a violent, penetrative act that scars what it explores. What you call discovery, I call the rape of the natural world.
Well, the question is, how can you know anything about an extinct ecosystem? And therefore, how could you ever assume that you can control it? You have plants in this building that are poisonous. You pick them because they look good, but these are aggressive living things that have no idea what century they're in and they'll defend themselves. Violently, if necessary.
Dr. Grant, if there's one person here who could appreciate what I'm trying to do.
The world has just changed so radically and we're all running to catch up. I don't want to jump to any conclusions, but look, dinosaurs and man, two species separated by 65 million years of evolution have just been suddenly thrown back into the mix together. How can we possibly have the slightest idea what to expect?
I don't believe it. I don't believe it. You're meant to come down here and defend me against these characters and the only one I've got on my side is the blood-sucking lawyer.
Thank you.
Gary Schneeberger:
Warwick, the scientists are seeing how ripe this endeavor is for unprecedented crucibles, aren't they?
Warwick Fairfax:
They really are. We have these scientists, Hammond, they're sitting around a dinner table in the base camp, and they're having this fascinating conversation. They're having a very, very nice dinner. It's interesting to see different people's reactions to really what has come about, what they've seen in the tour of the lab. And so, we've got the lawyer saying that they can charge anything they want to. It could be $10,000 a day, $12,000 a day. And then, of course, there's the merchandising on top of all of that. It's not just ticket prices.
Gary Schneeberger:
Lunch boxes, right?
Warwick Fairfax:
Absolutely. And Hammond says, "Well, this park is not just for the super rich." He says he wants everybody in the world to enjoy it. The lawyer says somewhat smilingly and condescendingly, "Well, we'll have a coupon day. Throw crumbs to the old people." What is telling is Hammond just laughs. So here, he said, "Well, I don't want this to be for the wealthy." And then when the lawyer says, "Well, it'll be coupon day." Hammond goes, "Oh, yeah, okay," and laughs. So how much does Hammond care about taking care of regular people and not the super rich one can wander? Now, meanwhile, Malcolm says the lack of humility before nature that is displayed here in this whole complex is staggering. While the lawyer says things look okay, Malcolm says things are a lot worse than he feared. He says genetic power is the most awesome force, but you guys wield it like a kid who's found his dad's gun, a very graphic and unfortunately apt image.
He says it didn't require any scientific discipline. Your scientists were preoccupied with whether they could and did not stop to think whether they should. Basically saying, just because you can do something doesn't mean you should. Wise words. Malcolm says the dinosaurs had their chance and nature said they did not make it. And meanwhile, Sattler, one of the paleontologists, says that, "You can't know everything about an extinct ecosystem. And how can you assume that you can control it? These are aggressive living things that will protect themselves violently, if necessary." Grant says he doesn't want to jump to conclusions, but dinosaur and man, two species separated by 65 million years of evolution have just been thrown together. How can we have the slightest idea of what to expect? So Grant also has reservations.
Now, Hammond, ever the optimist, to say the least, was taken aback by all this. He says the scientists are meant to defend him. And all three of them, Sattler, Grant and Malcolm, if not, and he says the only one that supports him is the blood-sucking lawyer. Those are his words. The scientists, Malcolm, Sattler and Grant, they're all concerned about what could go wrong, about the unanticipated crucibles that could happen. Hammond and the lawyer, they just focus on money, fame and the unprecedented impact that they will have. That's what they're thinking. It's two incredibly different reactions between the scientists and Hammond and the lawyer.
Gary Schneeberger:
Yeah, and they're going to be on a collision course, folks. Stay tuned. Hammond's grandchildren then show up. Tim is a dinosaur lover and a bit of a fanboy of Grant's and Lex is a computer whiz. Both skills will prove important later on. Then the kids and the scientists begin the automated version of the tour of the park. But Grant gets frustrated very early on when no dinosaurs are featured in the first several minutes. Everybody gets out of the car and walks around and soon they find an ill triceratops. Warwick, this is the first sign in the film that in bringing dinosaurs back to life, the parks team seems not to have given enough thought to keeping the animals safe, right?
Warwick Fairfax:
Indeed. Yeah, as you mentioned, we've got the group and they're now in a couple of Jeeps. These are automated Jeeps on a track, and they're having a tour of the park. So initially, as they approach the tyrannosaurus rex, the T-Rex paddock, they don't see anything. And so, Malcolm continues reflecting on his chaos theory, doom and gloom motif. Malcolm says, "God creates dinosaurs. God destroys dinosaurs. God creates man. Man destroys God. Man creates dinosaurs." I guess Malcolm probably is not that religious, I guess. It's very much a doom and a gloom philosophy. And so, we see a goat that's being put near the fence to tempt the dinosaurs, because the people want to see some action, like a T-Rex come out from the undergrowth. But nothing happens.
So Grant says that a T-Rex does not want to be fed. It wants to hunt. Again, they're challenging the very nature of these animals. Grant says you cannot suppress 65 million years of gut instincts. And so then, we shift to this sick dinosaur, the triceratops, it's on its side, and Sattler sees that there's some West Indian lilacs nearby and that they're toxic. The implication is that the scientists and others at Jurassic Park, they haven't figured everything out. Basically, you've brought these tricerotops back to life. You put a bunch of plants and undergrowth there, but you haven't quite figured out that West Indian lilacs are poisonous, and that's why this triceratops is not doing well. They're doing things pretty fast, but clearly, there are some things that they not really thought through.
Gary Schneeberger:
We've all heard the phrase rush to judgment. What they're doing here is a rush to profit. It seems like that's the nature of ... As Hammond is sparing no expense, he is counting the money that's going to cover the expenses coming in once the park opened.
Warwick Fairfax:
And not only is it a rush to judgment, as we'll see, it's a rush to crucibles.
Gary Schneeberger:
Oh, very, you should be the president of a business called Beyond the Crucible. Very, very good. Next, nature, which has been manipulated quite a bit so far by Jurassic Park, shows up in the form of a severe rainstorm. The tour is stopped that the scientists are on. But as the scientists head back, Nedry, the computer programmer, who's going to sell the embryos to the competitor, sees the opportunity to steal those embryos and give them to the rival corporation. To get to the highly-protected embryo storage room, he shuts down all the park's security protocols. What happens next where it kicks off in earnest for all the characters we've met so far that science fiction terror the movie's rating promised. What happens first?
Warwick Fairfax:
So Nedry's been looking for an excuse to shut the security systems off, so that he can get the 15 dinosaur embryos off the island. So he has to, as we've mentioned, go to the east dock of the island, meet the competitor's boat, and then eventually get paid. He tells Hammond and some of the others in the control room area that they've been having trouble with the phones. Everything's tied to computers. Everything's very automated. And he says, "We're just going to shut off the minor system for about 18 to 20 minutes." Then he says, "Hey, I'm just going to get something at the snack bar. Does anybody want anything?" Like you say, he's all very nervously and he's not a calm, cool, collected spot. So Nedry shuts the systems down and gets the embryos out, because he has to shut the systems down to get the embryos out, and then runs off.
Now, what's interesting is, in an earlier scene, Nedry tells Hammond that he feels unappreciated. That's sadly for at least turncoats and people that betray companies in their country that somehow that's common tale. They feel unappreciated for whatever reason. So Hammond says that he's sorry about Nedry's financial problems. We don't know quite what that is. It's a gambling. Somehow Nedry's got himself into financial trouble. Hammond says he does not blame people for their mistakes, but he does ask that they pay for them. Now, these words will really come back to haunt Hammond, or at least they should. It sounds all very judgmental. "Hey, I understand if you make mistakes, but there are consequences if you make mistakes, you're going to pay for them. I'm not so much judging you. I'm just saying that's what happens. It's just all very matter of fact. You make a mistake. I get it, but you're going to pay for it." Those words could or should come back to haunt Hammond.
Meanwhile, back with the group near the T-Rex paddock, we see this huge T-Rex devouring the goat. At this point, the fences are failing all over the park because of the systems that Nedry has shut down. These fences are meant to be electrified. Well, they're not anymore. So, the T-Rex tears through the fence and Malcolm says that he hates being right all the time. Malcolm, I wouldn't say he's the most humble guy in the world, but he is self-confident, but he also does tend to be right pretty much always throughout this movie. Now, we see the T-Rex is right outside their Jeeps. Grant is in one Jeep and then the kids are in another. There are some other people there, Sattler and the lawyer and Malcolm.
Grant tells everybody not to move because the T-Rex detects movement. I don't know the eyesight is great with the T-Rex, but it does detect movement. So the T-Rex begins to turn over the vehicle with the kids in it. Now, Grant gets out with a flare to try to distract the T-Rex and throws the flare in the jungle. He's just trying to help the kids. Meanwhile, a lawyer has fled the scene and he's in an outside toilet because that's just the nearest structure that he can find.
Gary Schneeberger:
Fled the kids, right? Left the kids behind, fled the kids, yeah.
Warwick Fairfax:
Yes. He doesn't turn out very well in this movie. And so, the T-Rex ends up finding the lawyer and eating him. Then, we see Grant and the kids, they escape through their fence and they find themselves on the edge of this huge concrete cliff. They cling to a cable and lower themselves down. They're just trying to find a way to get away from these T-Rex. Meanwhile, Sattler and Malcolm, they escape in another Jeep and go back to base camp. And so, as they try to flee, this T-Rex is chasing after them. They're trying to accelerate and it's getting very close. We see a side mirror with these immortal words that everybody has seen many times.
In the side mirror, there are words that say this. "Objects in mirror are closer than they appear." And what do you see in this mirror? T-Rex charging at this Jeep. Very humorous words that Spielberg and the other folks behind this movie engineer. It's a classic. How can you avoid that line? "Objects in the mirror are closer than they appear," it's just classic. Yeah, it's an incredible scene, and eventually, Sattler and Malcolm do find a way to escape this T-Rex.
Gary Schneeberger:
And things go south next for Nedry, as he tries to meet his contact. Let's just say he pays for his mistake. And it's not just the rain washing him off the roads, is it?
Warwick Fairfax:
No, indeed. So here's Nedry. He's nervously trying to make his way through the pouring rain. The roads are very muddy. Somehow he managed to crash into the sign that says which way the east dock is, and he has no idea now because the sign is just hanging down. He's racing to the east dock, as we've mentioned, to give the embryos to this competitive company, but Nedry crashes. His car seems to be near this waterfall. The Jeep is stuck. He gets out this [inaudible 00:46:52] winch, which is attached to the Jeep, tries to put it around a tree to then try to winch his way out from where it's stuck. Well, this dinosaur comes along. It's not that big and it sees him. Initially, Nedry's tried to give it a stick or it's like as if somehow that would help. But the dinosaur starts getting all agitated and flaring up at him. So Nedry flees back to his car, but the dinosaur follows and kills him.
Gary Schneeberger:
And Warwick, the scene that's really instructive for our purposes follows. Grant, Tim and Lex in a tree watching a brachiosaurus, what Lex has referred to as a veggiesaurus as opposed to a metosaurus, those who do not just eat plants. They're watching a brachiosaurus feed on the tree's leaves. It's a return to wonder in this movie, however shortlived. We'd all be wise in the midst of our own crucibles to look for the good among the bad, wouldn't we, as we're going through it?
Warwick Fairfax:
Yeah, such a good point. Here, we have Grant and the kids, they've got out of the vehicle. Tim is trapped at one point and they're trying to find their way down the cable, which they do to the bottom of this concrete cliff. They wander through the jungle and the undergrowth and they find this big tree, where they climb up to try to spend the night and just find a safe spot away from all the dinosaurs. What's interesting is before, it was clear that Grant feels uncomfortable with kids. After all, he made sure that he wasn't in the Jeep with the kids. I think he actually got out to get into the other one. He just does not want to be around kids. But now, we see that Grant and Lex and Tim are in this tree and the kids are hugging him and he's hugging them just to keep them safe. And then, this very large herbivore comes up and it's so big, even though they're very high up in the tree, it's looking to get some leaves from the top branches.
And as he mentioned, this is a herbivore, a plant-eating a dinosaur, a brachiosaurus. It's making some kind of noise. Its way of speaking, if you will. Grant tries to echo this noise back and the kids are huddling with Grant. Tim is trying to make some, what some would say is like a dad joke version of a dinosaur joke. It's a sweet scene that here you have Grant, the guy that does not like kids, he rescues the kids, he saves them, he's comforting them. As I think you're sort of indicating, amidst this crucible, we need to care for and have compassion for those around us, especially on our team. Sometimes we're going through a pretty challenging crucible, it's okay to stick your head up, smell the roses and just enjoy the scene in front of you. They always try to pat this massive dinosaur, which then I think sneezes on one of them or something, but it's sort of a cute scene.
Gary Schneeberger:
Yeah. The scene then shifts back to Hammond and Sattler sitting in the dining area of the park. One of the great things Spielberg does in this movie is he divides the scientists and the kids up, so that there's like three different pairs of people who are going and doing stuff. The next one is Hammond and Sattler in the dining area of the park, and they have this conversation. What do they talk about work that's so interesting?
Warwick Fairfax:
This is a very interesting scene. So here, we have Hammond and it's with Sattler in this dining area of the base camp. It's in this huge atrium and he's eating ice cream. Basically, systems are down, there's no fridges. It's going to go to waste, and so they're just sitting there and Hammond is reflecting on the first exhibit that he had when he came down from Scotland and it was a flea circus. In this flea circus, they had a bunch of different attractions, a trapeze, seesaws, merry-go-rounds. People thought that they could cause sea fleas on these different attractions, but it was an illusion. And so Hammond says, "But with this place, Jurassic Park," he wanted to show people that something that was not an illusion, something that was real, something they could see and touch. And Hammond says they were overly reliant on automation.
I think what he's talking about is the systems that were shut down once Nedry put things on pause or they can't even phone outside because everything's tied to these computer systems. And so Hammond says, "Creation is an act of sheer will. Next time, it will be flawless." And clearly, he's not learning the lessons. He thinks the lesson is, "Okay, we won't have so much automation. We can just control creation by an act of will." That's his lesson, which is the wrong lesson. Sattler says it is still a flea circus. It's an illusion. Sattler's basically saying this whole Jurassic Park, it's a flea circus. It's an illusion. She says it calmly, but those are tough biting words. And Hammond keeps talking about having control again. And Sattler again says, "That's an illusion that we have control." She says that she did not have enough respect for this place and it is out now, meaning the dinosaurs.
She says that the only thing that matters now, caring for the people that we love, basically saving them, rescuing them, Grant, Lex and Tim. There are people out there and they're dying. Hammond still struggles to admit the mistakes he has made. He seems to believe that he can fix the problems and control things. Gee, the only mistake I made was too much automation. We can fix that. Sattler realizes that control is an illusion. Hammond has not learned the lessons of his crucible or Sattler clearly has.
Gary Schneeberger:
Couple of years ago when we did the AFI movies. There were two films that had characters that really didn't learn from their crucibles. The Godfather, Michael Corleone didn't, and Citizen Kane, Charles Foster Kane didn't. Hammond's in the same zip code with those folks for most of this movie. He's not learning the lessons of his ... He's much more avuncular. He's much more happy-go-lucky, but he really isn't learning as you pointed out. He's not learning while Sattler has.
Warwick Fairfax:
Hammond is certainly not as evil as Charles Foster Kane or Michael Corleone, but Sattler is arrogant and does believe that he can control everything. He's not learning any real lessons from his crucibles just to say, "Oh, it's an automation problem." That really isn't the issue. He's not, so far in this movie, learned any lessons. His decisions have had massive consequences. He's not tried to hurt anybody. In some sense, he feels like this whole Jurassic Park can be a wonderful attraction, help people understand science. So it's not like he's intrinsically evil and that all his motives are bad. He's a bit more of a relatable character in that it's easy to feel like you tried to do the right thing in life, but yet, end up not doing the right thing. You don't want to hurt anybody, but you end up hurting people, and you don't learn the lessons of your crucible, and that is certainly Hammond.
Gary Schneeberger:
Yeah. Now, we'll switch back. Now, we go back to Grant and the two kids, and they find several hatched eggs on the ground in the wild. What's the importance of this scene, Warwick? Because it's a pretty important one.
Warwick Fairfax:
It surely is. So here, Grant finds the eggshells, a number of eggshells on the ground. Well, what this says is that dinosaurs are breeding. Remember what these scientists told them, that the dinosaurs are all meant to be female. But Grant says, "Well, part of the DNA sequence was from frogs, and frogs are amphibian and that some frogs can change from one sex to another in a single sex environment. So adding that frog DNA ends up being a major mistake. Grant says that Malcolm was right. You can't control everything, life finds a way. Probably seemed like a good idea in theory. We've got some DNA sequences missing. Gee, let's use a frog. Maybe it's something in common in some sense with dinosaurs and something that maybe will work without thinking through everything in that decision.
Gary Schneeberger:
There's a scene that comes shortly after this one when Sattler goes out in the park with the park's game warden to try to reboot all the systems. Hammond says something here that shows he's not yet still, he's not yet accepting the seriousness of the crucible he and others are in.
Warwick Fairfax:
Hammond says that they're going to have to fully shut down the whole system in order to reboot it and wipe away, basically, the malware, the code that Nedry inserted in the system. And then, the systems will come back, including the phones, which they need to call for help. The y shut down the system, but there's a problem. To turn that system back on, they've got to go out to this concrete bunker, if you will, concrete shed where you'll have to turn the breakers back on. That's outside this main base area, they'll have to go out into the undergrowth to get there. So Sattler and the game warden are about to go outside to turn the breakers back on in this concrete bunker. But before they do, Hammond says, "This is all a bit like Disneyland when it opened. Nothing worked." So Malcolm says, "When the pirates of the Caribbean don't work, the guests don't get eaten."
Great phrase. Hammond still seems to think that this is all an easy fix to get Jurassic Park back up and running. We switch back to Sattler and the game warden. They're going through brush to get to this concrete building, where the breaker switches are. And the game warden, he's hunted in Africa. He's very aware of his environment and he senses there's something out there. So he tells Sattler, run to the building and go inside to re-engage the breakers while he stays outside to just see what's going on. Sattler goes down to the bowels of this concrete bunker. She has to charge up the breakers with some switch, and then she turns the breakers on. And then, once they're on, she has to re-engage all the individual circuits that are in there for each fence.
Now, meanwhile, the game warden, he sees a raptor in the brush and is about to shoot it. Instead of calmly looking at him, it's in the brush a little ways away and he's getting ready to shoot this raptor, but he pauses. It's if to say, "This doesn't feel right. This seems a bit too easy," because these are highly intelligent creatures. And just then, a raptor appears right beside him. He says, "Clever girl." Those are his last words because he does not have time to turn his gun and get the raptor. So a little bit too late he says, "Okay, now I figured out what's happening."
Gary Schneeberger:
Yeah. One of the most exciting, scary, dare I say, sci-fi terror scenes happens next when three velociraptors attack, first, Sattler and then the kids. Walk us through that scene, those scenes, Warwick.
Warwick Fairfax:
Grant manages to get the kids back to the base camp. Once Grant is inside, he leaves to find the others where Sattler and Hamilton, where's everybody? Tim and Lex, they sit down at the dining area and they start to eat cakes. I guess they brought everything out from the fridges and there are cakes there. We see in here a raptor that is nearby. Tim and Lex, they run to the commercial kitchen, they close the door behind them, they hide behind some equipment that's there, and we see some raptors hunting them. Now, one even figures out how to turn the handle on the door to open it. Earlier on, I think they speculated as could they really figure that out? Grant and Sattler trying to ponder that question.
Well, clearly these raptors are highly-intelligent hunters. The raptors get into this kitchen and they're hunting them. So eventually, the kids escape and they find Grant and Sattler and they run to the control room. But they can't lock the door to the control room until the locks are rebooted. And so, while the power's back on, the computers have to be rebooted. While Grant and Sattler are trying to keep the metal door closed with this raptor trying to get its way in, Lex, who we've learned earlier knows computer programming and she says it's a UNIX system. Now, not every kid knows what a UNIX system is, but she does
Gary Schneeberger:
I don't know what a UNIX system is.
Warwick Fairfax:
All I can say is I've heard the word, a UNIX coding, but that's about it. That would be all I would know. There's Lex at the computer terminal frantically trying to get the system online and reactivate every part of the program, including the door locks. So eventually, she does and the control room door lock. So now, they race out of the control room being chased by raptors and they find themselves in the atrium area of the space camp. There's two raptors have them trapped. You've got Grant trying to protect the others. At this point, things look very dire, about as dire as it has all movie for Grant and the kids and Sattler, everybody. But fortunately, the T-Rex comes to save the day about the only time in this movie when the T-Rex is the hero, but briefly.
The T-Rex comes in and starts eating one of the raptors, while the other raptor wants to try and defend its fellow raptor and jumps on the T-Rex and tries to get it. They all flee outside to a gas Jeep while all this is happening. And as Grant is getting in the car and they're about to drive away, Grant in this sort of deadpan pithy way says to Hammond, "After careful consideration, I've decided not to endorse your park." All very calmly. And Hammond, in a rare moment of self-reflection and humility says, "So have I." Hammond, for the first time in the movie, realizes there's a problem with the inherent concept of Jurassic Park. First time that's happened, all movie.
And then, in a comical bit that again, Steven Spielberg does such a good job of, as the T-Rex and the raptor attacking each other in this atrium of the base camp, we see this sign falling down. On that sign, it says, "When dinosaurs ruled the Earth," a fitting way to end that part of the movie.
Gary Schneeberger:
Yeah. Speaking of ends, how does the movie wrap? The final scene in the film, how does that play out?
Warwick Fairfax:
We now see them drive down in the Jeep to the helicopter pad. They get in the helicopter because they've been able to phone the mainland in Costa Rica to get help. We see Hammond in the helicopter looking at his cane. On the head of that cane is an amber head with a mosquito in it. And so, Hammond is reflecting about Jurassic Park, about getting dinosaur DNA from mosquitoes and Amber. He's just thinking about this whole thing, probably thinking, "Why did I do it? What was this all for? Where did it go wrong?" Who knows what he's thinking, but he's reflecting as he's looking at that amber head of his cane.
Meanwhile, you've got Tim and Lex, and they're in Grant's arms. Grant's like their hero, their savior. The man who does not like kids is suddenly warming up and kind of likes having the kids around him. And meanwhile, Sattler, who as we've mentioned, it does seem to indicate that she's in a relationship with Grant, she smiles at him, like, "Who is this guy? I thought this guy didn't like kids." Maybe she's thinking, "Well, maybe this bodes well for the future." Who knows what she's thinking? It's a neat scene. As the helicopter flies off into the sunset, we see birds on the side, including Pelicans. It's really a somber end to the movie with a lot of reflection of what's happened.
Gary Schneeberger:
Right. Warwick, you and I are not ... I'm going to date myself here, we're not Siskel and Ebert. We're not film critics. We talk about these movies not to review them. We talk about them to spotlight the crucibles the characters go through and the lessons that all of us can learn about their crucibles. How does Jurassic Park offer insight to help us move beyond our own crucibles?
Warwick Fairfax:
Yeah. We can learn a lot from the characters in this movie, Jurassic Park. We've got some characters who are not fully aware of the gravity of their crucible, like Hammond, who until the very end believes nothing to see here. I'm not even sure he admits it's a speed bump. Maybe it's just a pebble on the road. Really, not much more than that. Everything's solvable. We've just got to figure it out. Meanwhile, the lawyer, he just sees dollar signs. Yes, he was a bit concerned when the investors, the insurance companies were concerned, but now that he has experts who he hopes will sign off on it, he's good. He's calm so long as the investors' insurance companies are okay and the money rolls in. That's really his way of looking at life.
On the other hand, you've got characters that see the gravity, the crucible, especially Malcolm, who, from the very beginning, just as horrified by what he sees from just moment one landing in Jurassic Park and seeing dinosaurs. Grant and Sattler initially overall, by what they see, but pretty soon they begin to have doubts and reservations about what will happen. What Malcolm has said is telling about chaos theory and you can't control things. Grant and Sattler, they're paleontologists, they know you can't control life evolution, you can't control what happened to the species. This movie shows us that sometimes we will gloss over the crucible that we have faced and believe it's not a big deal and nothing to see here, we can absolutely solve it.
This is really the reverse of that common saying. In this case is actually making a molehill out of a mountain. We should never underestimate not just how painful our crucibles are, but how difficult it is to move beyond them. You've got to reflect on your crucibles. You can't just say, "Okay, that was a crucible. Moving on. I'm getting back on a horse. We're moving ahead full steam ahead. Nothing's holding me back." That is also just as bad as hiding under the covers and not doing anything. You've got to really understand and analyze and reflect on what went wrong with the crucible. It's not always just, "Oh, if I did something a bit different, I can still carry on with life just the same way." Typically, with crucibles, it might mean I need to change the direction of my life, not just retool and recalibrate and slightly tweak.
Rarely do you have a crucible, and we've had so many guests in our podcast and we've learned lots from history. Rarely have I ever heard a guest saying, "Well, my big lesson with this crucible is I just need to tweak my life by 5% and keep going." I can never remember one guest ever saying that. Life's not just about a quick tweak to the crucible and everything will be rosy. Well, that seems to be Hammond's philosophy of life. This movie shows you that blind optimism and hubris can be very dangerous, and that's exactly what Hammond has. This kind of arrogance can help make crucibles worse and indeed create many new crucibles. And that's the sad testimony of John Hammond.
Hammond is not an evil person, like Michael Corleone or Charles Foster Kane. He's not a bad human being, but his arrogance and cutting corners lead to horrendous crucible. This is a character that's easy to relate to in one sense, it's easy to say nothing to see here. Keep going forward, we just need to retool a bit. No problem. Everything's solvable. That is the kind of character that could be many of us.
Gary Schneeberger:
Folks, you've just seen the lights come up. The feature has ended. As you gather up your popcorn boxes and your toys that came with the film, sometimes they hand it out. Maybe they handed out things like this, like the amber stone where you're watching the movie. That will put a wrap on this episode of our summer series, Back to A Better Future: The Crucibles of Sci-Fi Cinema. We will be back next week with Scott, give it to me. Give it to me. Give me to me. What? Give me the drum roll. All right, there it is. Next time, we will talk about what Warwick and I first learned was just called Star Wars. Now, it is called Star Wars Episode IV: A New Hope. That will be the next episode of our series. So until we are together for that episode, we'll save you an aisle seat and we'll see you then.
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What if the only thing standing between you and triumph is the belief that your crucible can’t be overcome?
In this episode, we dive into Back to the Future as part of the fourth installment of our special summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. The McFly family has a generational problem โ not just Biff Tannen, but the deeper pattern of self-doubt and resignation that leaves them stuck in their trials rather than pushing through them. It takes a souped-up DeLorean, a little time travel, and one son willing to believe things can be different to break the cycle. Their story raises a question worth sitting with: what crucibles in your own life have you quietly decided can’t be overcome?
Want to explore our three prior summer series about the lessons we can learn about overcoming crucibles from film? Check out these playlists featuring every episode of each one:
๐ Take the free Trials-to-Triumphs Self-Assessment to discover where you are on your journey of moving beyond your crucible and how to chart your personal course to a life of significance: https://beyondthecrucible.com/assessment/
Transcript
Warwick Fairfax:
Welcome to Beyond the Crucible. I'm Warwick Fairfax, the founder of Beyond the Crucible.
It seems like when setbacks happen, like Marty losing his audition, the collective response is, "Well, it's all for the best." Defeats are not motivating for this family. It's not like, "okay, when you get defeated, you get back up, you try again, you never give up." It's like, "Well, if at first you don't succeed, give up and never try again."
Gary Schneeberger:
That's hardly a recipe for overcoming the crucibles life throws at us, but it's exactly how the McFly family of Back to the Future responds when they encounter setbacks, at least until their son Marty starts doing some time traveling in a souped-up DeLorean.
This week, in the fourth episode of our special summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema, we look at the challenges the McFlys faced, from being bullied by Biff Tannen across two generations to not believing in themselves enough to muster their resilience to turn their trials into triumph. How can understanding how they master these challenges help you overcome your own? Stay tuned.
Welcome, friends, to this episode of Beyond the Crucible. You have joined us during our summer series, which we are calling Back to a Better Future: The Crucibles of Sci-Fi Cinema. That's right, it's another series where we focus on what movies can teach us about crucibles. And we did it because we had so much fun in the last three years that we did this, that we're doing it again this summer. And after doing movies that spotlighted heroes, all kinds of heroes, sports heroes and superheroes and historical heroes, classic movies celebrated by the American Film Institute and then movies that really featured a lot of crucibles. You've heard of the coffee brand Chock Full o'Nuts. This was Chock-Full of Crucibles. That was the series that we did last year. But this year we're doing, as I said, Back to a Better Future: The Crucibles of Sci-Fi Cinema.
So Warwick, as we dive into this, let me ask you what I asked you at the beginning of all of these episodes. Why movies again? This is the fourth time now, three in a row, plus one before that, that we've gone into the cinema for our summer series. What are you hoping our listeners and viewers get from our discussion of these films that we're talking about?
Warwick Fairfax:
So we both love movies and have enjoyed looking at movies from a Beyond the Crucible perspective, which is very different than when you're watching a movie for fun and you're watching it with a Beyond the Crucible lens. I mean, just in this movie that we're about to discuss, there's so much I didn't see the first time. But movies typically portray protagonists that face significant obstacles that they seek to overcome. Sometimes they overcome them and a few times, like in Citizen Kane and in some other movies like The Godfather, they're actually defined unfortunately by the crucibles. And we've covered superheroes, sports heroes, historical movies, as you mentioned, the American Film Institute's top 100 movies and lastly, we focused on films with significant crucibles. So we love movies and seeing what we can learn from them.
Gary Schneeberger:
Yeah. And one of the things, and I've not said it yet in this year's series, I love because every week I get to hear you say the excellent Australian pronunciation of protagonist as protagonist. So I love that. Truly, that's a high point of the series for me. But I also know, Warwick, you're particularly excited about what we're doing this year because you are very much a fan of the science fiction film genre. What do you love about science fiction movies so much and what about them in particular is resonant as we talk about the subject of crucibles and how you move beyond them?
Warwick Fairfax:
Yeah. I've always loved science fiction since I was very small, books, movies, TV. I think of that classic science fiction movie, 2001: A Space Odyssey that came out in 1968 and that was an incredible movie. You'd see future technology like space shuttles and that'd have screens on the front of seats in front of you, which exists now but didn't in 1968. You'd have talking computers, almost sentient computers, which it got a little scary in that movie, video conferencing. And they did such a good job. You had video conferencing with Bell telephone, which became AT&T. And then I was also a big fan of some science fiction shows like Star Trek, [inaudible 00:04:51] from 1968 to 1969. And I read some of the classic novels written by Arthur C. Clarke and Isaac Asimov, giants of the science fiction genre.
So what I loved about science fiction and still do is not only does it explore future technology, but at its best it explores deep societal issues, what's the future of the human race. How will humans interact with technology as well as other species out there in the universe? Will the human race be a force for good or not? And many of the issues that we face today such as AI really is something that comes up in science fiction. As I mentioned in 2001: A Space Odyssey, we have a computer that ends up being malevolent and puts the astronauts in great danger because it basically becomes sentient. So it's something we talk about today. So science fiction, we see significant crucibles portrayed. Can the human race survive? Will there be expansion of humans throughout the galaxy? Will technology get to a point where it controls humans? So science fiction, not only does it have crucibles, but explores some very deep societal issues.
Gary Schneeberger:
Right. And just hearing you talk about computers becoming sentient, I'm reminded of our last week's episode on Terminator 2: Judgment Day because Skynet did become self-aware and that sentience did turn out to be bad. So that was an actual very bad computer, just like in 2001: A Space Odyssey.
Warwick Fairfax:
Absolutely. So bad things potentially happen when computers become sentient. So something we'll have to watch out for in the years to come.
Gary Schneeberger:
Indeed. So here we are in episode four and we're looking at the 1985 movie that inspired our series title. This is kind of fun. And that was Back to the Future, the top grossing film of that year, just like T2, which we talked about last week was the top grossing film of 1991. This Back to the Future was the top grossing film of 1985. Here's the summary of the movie known in the film industry as the logline. And I read these every episode that we do because I just think as a writer, I'm like, this is so perfectly compactly explained that I'm jealous. I didn't think of it, but here we go.
Marty McFly, a 17-year-old high school student is accidentally sent 30 years into the past in a time-traveling DeLorean invented by his close friend, the maverick scientist Doc Brown. The first piece of the film, Warwick, introduced the two main characters mentioned in the logline, Marty and Doc. And both of them, from what we glean in the film's first minutes, are no strangers to crucibles. In fact, it seems their lives are kind of a boneyard full of crucibles when we first meet them. So what setbacks and challenges are these two characters dealing with when we encounter them?
Warwick Fairfax:
So in this opening scene, we see Doc's house and there's every conceivable kind of clock ticking. I mean, everything from grandfather clocks with cookers and you name it, there's every kind of clock. And we see a framed article that Doc had to sell his family's mansion, so he's obviously suffered a setback there. And then there's this kind of hair-brained automatic breakfast machine that really doesn't seem to work too well, there's burnt toast, there's coffee that's getting poured on the ground, there's pet food that falls in a massive pile in the dog bowl, I mean, I could have sworn I saw the movie that it said cat food, maybe it wasn't, but I mean, everything seems to be going wrong with piles of dog food on the ground. So it seemed that Doc is having challenges. He's not a very successful inventor. He's lost his family home. So it's really not an auspicious beginning.
And so then we see Marty at Doc's house and his calling for Doc is not there. So Marty then turns on a very powerful amp and he plugs his guitar into this amp and starts plucking the strings and the amp basically blows up. I mean, of course, Marty being Marty turns every dial up to the max that he could possibly do. Is there a red zone on the dial? Well, what does that mean? Well, you just go way past that red zone, you just kind of dial it up, see what happens. And he's just blown backwards with his guitar. And so soon after that, there's a phone call that Marty gets at Doc's house. And Doc says, "You have to go to the local mall, Twin Pines Mall, and you got to be there at 1:15 AM." Now somehow Doc has set the clocks back, so that they're slow, 25 minutes slow. So it's like Marty looks at the clock and he's like, it's really 8:25, he's late for school. And so he dashes off.
Gary Schneeberger:
And also in that scene where he's talking to Doc, Doc says to him, "Oh yeah, you might want to watch out about the amp. Be careful because I don't think it's working right." Doc's timing is not good there on that advice.
Warwick Fairfax:
And Marty thinks, "Okay. Yeah. Thanks, Doc. I'll watch out for that," or something like that.
Gary Schneeberger:
Right. Yeah. Yeah. So two scenes then come back to back in this film that spotlight the big themes of the movie. And the first one, Warwick, involves Marty's confrontation with his principal. What does he say to Marty and how does Marty respond? And it's important to really pull this out because this will become sort of a common refrain that gets thrown at Marty throughout the movie.
Warwick Fairfax:
Yeah, it's so true. So here's Marty, he's sneaking into Hill Valley High School and he sees his girlfriend, Jennifer Parker. But Principal Strickland, he catches them and gives him tardies, which for Marty is four in a row. That's a very common thing.
Gary Schneeberger:
The ultimate black mark. Yeah.
Warwick Fairfax:
Oh yeah, very common thing for Marty. And so Principal Strickland, he reminds Marty that Doc is his almost mentor, Marty's mentor is a nut job. And Marty is a slacker who reminds him of Marty's dad who is also a slacker. The principal notices that Marty's band is on the roster for an audition for the high school. And the principal says he does not have a chance. He, Marty has no chance because he's too much like his old man. And then he says this, the principal, "No McFly never amounted to anything in the history of Hill Valley." The principal is in Marty's face, like inches away. And Marty fights back, at least verbally, and says, "Well, history is going to change."
So you see in this opening scene rather than a fellow traveler, he's one of the people that we most know, somebody that says, in not so many words, "You're nothing. Your family's nothing. They've never amounted to anything. Give it up. Why even bother trying to audition with your band? It won't work. You'll fail." I mean, that's just this negative message that Principal Strickland gives him.
Gary Schneeberger:
And he's been dropping that kind of negativity on the McFly men for 30 years because as the movie travels back later on, we find out he knows Marty's dad because he had Marty's dad in school too.
Warwick Fairfax:
Oh yeah, exactly. This is his lifelong, the McFlys are hopeless, they'll never amount to anything, waste of space. So Marty auditions with his band, which are interestingly called The Pinheads. And they actually play The Power of Love by Huey Lewis and the News. And the teachers evaluating Marty's audition are not impressed and say that the music is too loud.
Gary Schneeberger:
And the teacher who actually tells him it's too loud, it's a cameo by Huey Lewis himself playing the teacher who is kind of very bland and he's like, "Oh no, that's way too loud." And it's his song that's playing, which is kind of a funny little Easter egg that Bob Zemeckis, the director, threw in the film.
Warwick Fairfax:
It's pretty funny. Huey Lewis doesn't like his own song, so who knew? But anyway, so Marty's crestfallen, as is Jenifer.
Gary Schneeberger:
Right. But Jennifer does try to cheer him up by quoting to him something that she says Doc Brown always says. And folks, you want to listen to what Warwick's going to explain that is because it will not be the last time you hear these words. So what is it, Warwick, that Jennifer tells Marty, quoting Doc, about how he should think about this crucible that he finds himself in?
Warwick Fairfax:
So Jennifer is really the first fellow traveler that we see in the movie that is speaking into Marty. And Jennifer tells Marty that he's really good, that she likes his music and she says that he should send in his audition tape to a record company. She believes in him. And then Jennifer starts to say, "It's like Doc says," and then Marty finishes what Jennifer was about to say. And so Marty says, "If you put your mind to it, you can accomplish anything." And Jenifer says, "That's good advice." So Marty says that if they say he's no good, he can't take that kind of rejection. So he's about to go down that negative line, listening to the siren songs of Principal Strickland who says McFlys can't amount to anything. But then he stops and he catches himself and says, "Hang on, I'm sounding like my old man. I'm sounding like my dad."
So he realizes this is not helpful to go down this line that McFlys can't accomplish anything and just give up. He's thinking that, he's beginning to go down that line, but he stops himself before he gets too far down there. So it's a fascinating moment.
Gary Schneeberger:
Yeah. And it's a fascinating moment when taking the whole movie into context. We'll talk more about that later folks. We then meet Marty's parents and siblings. They too seem to be living in a crucible existence, especially the dad, George, who is bullied by his boss Biff. These scenes show, Warwick, that the whole family's living in crucibles, don't they?
Warwick Fairfax:
So here we see Marty at his home and Biff Tannen comes in. Now Biff has wrecked George's car, but Biff, of course, won't pay for the damages. Somehow he finds a way to say, "Well, George, it's all your fault that I crashed your car," instead of, Biff logic, and not only that, but he blames George for the fact that he spilled his drink on his lap and it stained his jacket. And so he wants George to pay for the cleaning bill for his jacket. So it's George's fault, George has to fix the car that he wasn't driving, which is George's car, and also to pay for the dry cleaning for the jacket. So then Biff asks George for the reports that George was meant to work on. Now it's clear that these are reports that Biff should be working on. It should be Biff's reports. And he says, "Look, I need a bit of time because I'm going to need to copy them so that it makes it look like it's my work."
And so when George seems a bit slow on the uptake or slow to respond, Biff grabs George by the tie and says sarcastically, "Hello, anyone home?" He then marks George again by saying to him that his shoe is untied. Of course, George looks down and Biff kind of hits him on the chin. So George laughs kind of nervously and Biff looks at Marty and Marty stares. Marty's just looking at what is happening here. Marty's just incredulous just to see the way that Biff is treating his dad and how his dad is just taking it.
Gary Schneeberger:
And to hear you talk about Biff, this just popped in my head, he's kind of like in old Western movies, the villain that twirls his mustache. And what's funny about this movie or about that is that there were three Back to the Futures made. And in the third movie, Back to the Future Part III, where they go back into the 1870s or something, I believe Biff is actually played with one of those big handlebar mustaches. So that was intentional, I guess, for the character when he's first introduced here.
Warwick Fairfax:
I'm not sure, but I can't remember, but maybe it was one of Biff's ancestors in the 1800s or something. So the genes of being obnoxious and the bully go back generations.
Gary Schneeberger:
Yes, indeed they do.
Warwick Fairfax:
Yeah. So once Biff leaves, then George says he knows what Marty will say because he can tell, there's this expression on Marty that's just like, "What are you doing? What's happening here?" And so George says, "Well, Biff is his supervisor." And George says, "Well, he's just not good at confrontations." Marty says, "But Biff wrecked the car." And Marty says he needed the car. And his dad says, "Well, he's sorry." So George says, "Well, Marty is better off not playing at the dance because George hears that Marty didn't do well on the audition." And Marty's brother Dave agrees. Everybody's supporting this negative give up at the first moment of failure, at the first setback, and nobody seems to be doing that well. We've seen how George is completely under Biff's thumb. We see Dave is in a McDonald's uniform, obviously working at McDonald's. Marty's sister doesn't seem to be doing that well.
And then we see Marty's mother who's overweight and is drinking a lot. And then, we see that Lorraine throws a cake down on the table for Uncle Joey who basically says he's not going to need it because he didn't make parole again. I think there was icing on there saying, "Welcome home" or "Welcome out Uncle Joey." And yeah, Uncle Joey's still behind bars. And so then Lorraine says, "Well, we all make mistakes in life." And this looks at it very, I don't know, matter-of-factly, if you will.
So it seems like none of the family seems to be doing well, including Marty's mother who drinks too much and his brother's working at McDonald's. It seems like when setbacks happen, like Marty losing his audition, their collective response is, "Well, it's all for the best." Defeats are not motivating for this family. It's not like, "Okay, when you get defeated, you get back up, you try again, you never give up." It's like, "Well, if at first you don't succeed, give up and never try again." That seems to be the family motto, which is very destructive and very discouraging for Marty and the rest of the family.
Gary Schneeberger:
It flips on its head, what we say in Beyond the Crucible all the time. The way the McFlys are living is that their crucibles did not happen for them, their crucibles happened to them. That's how they're living their lives.
Warwick Fairfax:
Yeah. And it's almost like you are not only defined by your worst day, you were defined by the smallest speed bump. No matter how small the speed bump is, give up, you were defined by that. I mean, it's just a crushing, depressing life that they're leading based on their choices basically.
Gary Schneeberger:
Correct. But here's the good news. The norm is about to be upset. Doc Brown shows up on the scene to reveal what he calls his greatest experiment. "The big one I've been dreaming of all my life," he says. He has Marty meet him at the local mall to show him what the experiment is. It's something that has the power to change the trajectory of Doc's life and winds up changing the trajectory of Marty's life and his whole family's life too.
Warwick, what is this invention and how does it come to be?
Warwick Fairfax:
So we see Marty with Doc at the mall and Doc opens up a truck to reveal a DeLorean car, but it's not any ordinary DeLorean, this is actually a time machine. So we see Doc has a white coat with interestingly enough, a radioactive symbol on it, which doesn't look good.
Gary Schneeberger:
No.
Warwick Fairfax:
And Doc opens the car and he puts in the dashboard the date of November 5th, 1955. And he says that was the date that Doc invented time travel. So Doc had this vision of the flux capacitor back then. This is 30 years ago and it took that length of time, 30 years and his family fortune to build it.
Gary Schneeberger:
I want to play show-and-tell for a second because you mentioned a DeLorean, right? The time machine is made out of a DeLorean. For folks who don't know about DeLoreans, look them up. You can find them on YouTube. They're very interesting-looking cars. But my watch today happens to be made with the logo of the DeLorean Motor Company. See right there? DRC. No, sorry. DMC, the DeLorean Motor Company. That's my watch today. But you also mentioned Warwick, the flux capacitor. I've got to do this.
Warwick Fairfax:
You have a flux capacitor. I
Gary Schneeberger:
I have a flux capacitor right here. It's actually a Yahtzee cup. It's Back to the Future Yahtzee. There's my show-and-tell for the day. Sorry to interrupt, but I had to show that.
Warwick Fairfax:
No, that's all good. And you don't need to show us the plutonium. I'm sure that's back in the lead line vault that you have in the basement.
Gary Schneeberger:
Yes. Yes. That is not, right, handy right now.
Warwick Fairfax:
Not indeed.
So this flux capacitor, the DeLorean, it runs on plutonium and it needs 121 gigawatts of power to make it run. So Doc said obviously it needs plutonium. And he said that he took the plutonium from some Libyan terrorists who wanted him to build them a bomb. So basically, where do you find plutonium? Well, I guess these handy Libyan terrorists-
Gary Schneeberger:
Terrorists that are [inaudible 00:24:08].
Warwick Fairfax:
... who wanted him to build a bomb. And he said, "Sure, I'll build a bomb," not really intending to do that. So I think we'll see that Doc didn't quite think through this plan very well. But anyway, he says he's going 25 years into the future and he needs one flask of plutonium per trip. He was almost about to take off without another flask of plutonium, which means he would've got stuck. So just then as Doc's about to take off, we see this VW van hurtling through the mall, the tops open, and there's Libyan terrorists just shooting at them with machine guns.
Gary Schneeberger:
Right.
Warwick Fairfax:
And at one point it appears that Doc is being killed, fire all over him. So then Marty jumps in the DeLorean and accelerates. And we've already learned, just before then, that the key benchmark is 88 miles per hour because once you hit 88, time travel happens. So you see the dial get close to 88 and then it happens and then the DeLorean disappears. You see these flaming tire tracks and it's disappeared. The VW van crashes and yeah, somehow Marty is gone, he's gone somewhere.
Gary Schneeberger:
He's gone somewhere ta-da-da-ta. You don't have to wait too long folks. He's gone and he shows up pretty quickly and he shows up in 1955, 30 years earlier. He hides behind the signs, some signs in town, and he walks into the town. And when he enters the town, Warwick, he sees a much different Hill Valley than the one he was living in 1985, doesn't he?
Warwick Fairfax:
He surely does. So Hill Valley in 1985, it's a dilapidated rundown town center. It has X-rated movies showing on the movie theater. But now in 1955, Hill Valley town center, it looks pristine. And there's a movie playing with Ronald Reagan in it. Now for folks, this movie was made in 1985 and in that year, Ronald Reagan was President. So the audience are going, "Whoa, what? Ronald Reagan is playing in a movie back then." And so then we see a Texaco gas station and it has a whole bunch of people helping this one car. So there's somebody filling it up. There are other people washing the car and they've all got their Texaco uniforms and something-
Gary Schneeberger:
It looks like a pit crew. It looks like a pit crew in car race, right?
Warwick Fairfax:
Absolutely. But that doesn't happen here, at least not in our time, nor did it in 1985, but in 1955 it did. And we also see a record shop playing the song, The Legend of Davy Crockett. And that was from a great 1950s black-and-white TV show, David Crockett. And then we see the clock tower in the main square is actually working because in 1985, and this will be important later on, it's been broken for 30 years. But in 1955, it's actually working.
Gary Schneeberger:
Yeah. And then Marty meets his dad, a 30 years younger George McFly, first person he meets when he gets back in 1955, when he gets into 1955. And he discovers that George's crucibles back then are a pattern that continued, doesn't he? In other words, the guy that he meets in 1955 has a lot in common with his father in 1985, doesn't he?
Warwick Fairfax:
Yeah, he surely does, unfortunately. So Marty enters a diner and he's looking for a payphone to try to get a hold of Doc. He knows that Doc was around in Hill Valley back then in 1955. So he's trying to find a payphone and a phone book and find the address and number. So then a young Biff enters and he says, "Hey, McFly." And so Marty turns around, but there's another guy that turns around too at the same time. And that other guy is a young George, Marty's dad. And so Biff asked George if George has done Biff's homework. It's the same line as 1985-
Gary Schneeberger:
Exactly.
Warwick Fairfax:
... when Biff says, "Hey, have you done my reports?" So in this case it's, "Have you done my homework?" And George says, "Well, it's not due till Monday." Well, Biff knocks George on the head saying, "Hello, is anybody home?" Biff says he needs basically the weekend to copy it because if he doesn't copy it in his own hand, Biff will get kicked out of school. And so it looks like nothing has changed for George. George is still getting picked on by Biff and George is also not standing up for himself and just shrinks from Biff teasing and him using him. So it seems like George has gone through a lifetime of being picked on and being used by Biff and doing nothing about it.
Gary Schneeberger:
Yeah. Then, George also leads Marty to his mom, Lorraine, to Marty's mom, Lorraine. And unlike Marty's dad, who's pretty much the same as Marty knows him to be in 1985, Marty's mom, 30 years earlier in 1955, she's nothing like the woman. She's a girl at this point. She's nothing like who Marty knows to be his mom in 1985, is she? She's a different young lady.
Warwick Fairfax:
It's so true. So George takes off on his bike and Marty follows him. So then Marty sees George in a tree and George has binoculars and he's staring across the road at a young woman in her bedroom on the second floor who's undressing.
Gary Schneeberger:
Clearly up to something really good, George.
Warwick Fairfax:
And so Marty is thinking, "My dad is a peeping Tom. I mean, what is my dad doing?" So then George falls out of the tree and falls right in front of the car that's driving by. So Marty, in an act of heroism, pushes his dad out of the way and gets hit by the car. Now George rushes off while the driver of the car gets out to see if Marty's okay. Now it turns out we'll find out the driver of this car is a young Lorraine's dad. So what ends up happening is Lorraine's dad, the driver of the car, brings George, who is unconscious, back to his house. So then Marty wakes up and at first he thinks, okay, I had this nightmare and I'm waking up and what happened? And there's a girl by there and as Marty's waking up, he says, "Mom, is that you?"
Gary Schneeberger:
Right.
Warwick Fairfax:
... and kind of, but as Marty's waking up, this girl puts an ice pack on his head and says that Marty has been asleep for nine hours. And the light goes on and it turns out the girl is his mother. Now this is a young Lorraine. She's a teenager. She looks wonderful, very different than the more overweight mother that he knows who drinks too much. This is a completely different Lorraine, a completely different person. So Lorraine keeps calling Marty Calvin because Marty wears Calvin Klein underwear. And so throughout the movie, it shifts between Lorraine calling him Calvin or Marty. It's a bit confusing because obviously she'd never heard of Calvin Klein underwear. And so Lorraine sits next to Marty and is going to touch him, like putting a hand on his knee or something and Marty falls off the bed and really doesn't want to be sort of romantic-
Gary Schneeberger:
Can't get away fast enough, right?
Warwick Fairfax:
Yeah. He doesn't want to be in a romantic relationship with his mother. So Marty goes downstairs and he meets Lorraine's parents and family. And one funny scene, he sees that there's baby Joey who's in the playpen and Marty says, "You better get used to this." Because remember in 1985 when he's at his home, his mom puts down this cake for his uncle Joey who's in prison. So it's like foreshadowing of little baby Joey is behind bars. So anyway, so Lorraine in 1955 is nothing like Marty's mother in 1985. She's young and good-looking with a whole life ahead of her. So everything seems very different now in 1955.
Gary Schneeberger:
Yeah. So Marty's perspective, his world is rocked and he tries to find something that's going to help him un-rock it. And that's when he goes looking for 1955's version of Doc Brown. He finds him, but initially has trouble convincing him that he's from the future, he, Marty, is from the future. It's only after he shares the story of how Doc was prompted to create the time machine that Doc offers to help him. Warwick, let's take a look and a listen to.
The clip that drives the action in the second act of the movie. Here it is.
Doc Brown:
It's truly amazing. A portable television studio. No wonder your President has to be an actor. He's gotta look good on television.
Marty McFly:
Whoa, this is it. This is the part coming up, Doc.
Doc Brown:
No, no, no, no. This sucker's electrical, but I need a nuclear reaction to generate the 1.21 gigawatts of electrical.
What did I just say?
The flux capacitor stores...
This sucker's electrical, but I need a nuclear reaction to generate the 1.21 gigawatts of electricity.
Marty McFly:
1.21 gigawatts. 1.21 gigawatts.
Doc Brown:
Please stop. What the hell is a gigawatt? How could I have been so careless? 1.21 gigawatts? Tom, how am I going to generate that kind of power? It can't be done. Can it?
Marty McFly:
Doc, all we need is a little plutonium.
Doc Brown:
I'm sure that in 1985, plutonium was available in every corner drug store, but in 1955, it's a little hard to come by.
Marty, I'm sorry, but I'm afraid you're stuck here.
Marty McFly:
Whoa, whoa, Doc. Stuck here? I can't be stuck here. I got a wife in 1985. I got a girl.
Doc Brown:
Is she pretty?
Marty McFly:
She's beautiful. She's crazy about me. Look at this. Look what you wrote here, Doc. That says it all. Doc, my only home.
Doc Brown:
Marty, I'm sorry. But the only power source capable of generating 1.21 gigawatts of electricity is a bolt of lightning.
Marty McFly:
What'd you say?
Doc Brown:
A bolt of lightning. Unfortunately, you never know when or where it's ever going to strike.
Marty McFly:
We do now.
Doc Brown:
This is it. This is the answer. It says here that a bolt of lightning is going to strike the clock tower precisely 10:04 PM next Saturday night. If we could somehow harness this light, channel it into the flux capacitor, it just might work. Next Saturday night, we're sending you back to the future.
Gary Schneeberger:
So Warwick, talk about what leads up to this clip and the importance about what's about to take place after this clip plays out.
Warwick Fairfax:
So yeah, Gary, as you mentioned, Marty has trouble convincing Doc that he's from the future in the time machine that Doc created. It seemed pretty farfetched in 1955. So Marty says that he knows how Doc got the bruise on his head, that he fell off the toilet and somehow came up with the idea for the flux capacitor. So they go off and get the DeLorean, which is hidden behind the sign outside of town, and they bring the car back to Doc's garage. So after Doc shows Marty his drawing of the flux capacitor, they open the DeLorean to see the real flux capacitor. And Doc is amazed because he's dreamt of this flux capacitor and here it is, it's actually working. And Doc is just jubilant and says, "Finally, I've invented something that works." Because as we'll see, a lot of his inventions don't work like the automated breakfast thing that doesn't work too well.
So in this clip, we see Marty showing Doc the video because he has the video camera that he was actually shooting Doc before the Libyan terrorists came on in the mall in 1985. And so he's showing Doc, an old Doc, talking about that to make this DeLorean work and to be a time machine, you need a nuclear reaction to generate 121 gigawatts and you need plutonium. Well, Doc says in one of the funnier moments of the movie, and there's a lot of funny moments, "I don't know what it's like in 1985, maybe getting plutonium is like going to the corner drugstore, the corner grocery store, but it's a little hard to get plutonium in 1955." So Doc says, as you can see in the clip, "We need a bolt of lightning to generate that kind of power."
Now, it just so happens that Marty has a flyer with him from 1985. Now, earlier in the movie when Marty and Jennifer in the town square, a woman hands him a flyer saying to try to raise money to fix the clock tower. In that flyer, it has the precise date of when a lightning bolt hit that clock tower in 1955. So at this point, Doc's like, "Well, that's it. We're going to need a bolt of lightning. Well, now I know exactly when a bolt of lightning is going to hit and where." And so then he says in that immortal line that we're going to send you back to the future, pointing his hand out. Marty now has hope that he won't be stuck in 1955 and he can get back to 1985, his family and his girlfriend, Jennifer.
Gary Schneeberger:
Right. And there are crucibles involving time travel. There are other crucibles involving time travel. Doc warns Marty of the catastrophe that can happen if Marty interacts with anybody he knows in 1985, now that he's in 1955.
Warwick, how does Doc convince him, this is more than a life-altering crucible, it's a life-preventing crucible possibly?
Warwick Fairfax:
When Doc asks him if he's interacted with anybody, Marty says, well, he's met his parents and Doc is horrified, "What?" And so Marty has a photo of his family with him. When Doc looks at that photo, Marty's head is gone like it's being erased. And so basically Doc says, "If we don't stop this process, your whole family will be erased." So one of the things you see in time travel movies and shows, including Star Trek, is if you go back in time and you influence yourself back then, it can alter the future timeline. That's a standard fare in science fiction. So Robert Zemeckis, the director of the movie, obviously knows this standard science fiction logic. Yeah, so that is a crucible. And really Marty's challenge is he's got to find a way to prevent this crucible of altering his family's history, which if he doesn't, not only will he have trouble perhaps getting back to the future, but he may not exist in the future.
Gary Schneeberger:
Right. And his parents, in the 1985 segments, his parents talk about how they fell in love. So that's what prompts Marty to go, "Wait, okay, they're in high school. I met them both. My mom now thinks I'm attractive, so that's kind of weird and also dangerous." So he comes up with the idea that he has to find a way to make his mom and dad as high schoolers meet and fall in love in 1955, so the family can exist in 1985. His efforts start with George. He discovers something about his dad he never knew.
And really, Warwick, and beyond the crucible parlance, Marty dives in to act as a fellow traveler to his father at this point, doesn't he?
Warwick Fairfax:
Yeah, it's so true. So we see Marty now going to high school and he sees George who's in high school getting kicked on the backside because of a sign on him saying, "Kick me." It's like a middle school thing, except for George it keeps going on, he's in high school. And so Doc and Marty look at this and Doc says, "Well, maybe you're adopted." I mean, Doc's thinking, how in the world is he going to get together with Lorraine and have kids? The sad thing is nothing much has changed with George. So now we see Principal Strickland, he was principal in 1985, well, he's principal in 1955, very long tenure, staggering.
And so then we see Principal Strickland, he comes up to George and asks him if he wants to be a slacker the rest of his life. So just like the future principal, this principal is the same kind of person. He keeps really getting in the face of McFlys and discouraging them. And Doc wonders what Marty's mother ever saw in George. I mean, there's not a lot to think of who could see anything worthwhile in George. That's really basically what Doc is thinking. And Doc and Marty realize that George and Lorraine connected because originally George was the one who was meant to be hit by Lorraine's father's car. But in this version of events, it was Marty and not George. And that's what really alters the timeline, which is a bit of a disaster for the time continuum, so to speak.
So Doc says it's the Florence Nightingale effect when nurses become attached to their patients. And that's what happened in the original timeline. Now, Lorraine only has eyes for Marty and calls him a dreamboat. Doc says that we have to get George and Lorraine to go to the Enchantment Under The Sea dance and that George has to take Lorraine to the dance. If that doesn't happen, then Marty won't exist, his siblings won't exist. So we see George is in the cafeteria writing science fiction stories and George says that he never lets anyone read his stories because what if people thought they were no good. George often says, "I don't think I could take that." And Marty finds a way of encouraging him and saying, "Well, maybe they'll get published." There's something that just by Marty's presence, I think George maybe feels like, "Well, that's probably silly." And Marty doesn't think it's silly. Anyway-
Gary Schneeberger:
And it's also for Marty, because Marty back in 1985 when he gets not in the band, he's trying out for the concert, he gets rejected. He says the same thing to Jennifer. So they oddly, interestingly, get strength from each other over the course of time I think here.
Warwick Fairfax:
Yeah, so true, so true. So Marty says that Lorraine wants George to ask her to the dance. And George says, "Well, if she said no, he could not take that kind of rejection." And George says that Lorraine would rather go with Biff, which is amazing how clueless George is because-
Gary Schneeberger:
Correct.
Warwick Fairfax:
... that is not the case, who would want to go with Biff, he's just a bully. So George says there is nothing on the planet that will make him change his mind and ask Lorraine to the dance. Now those are auspicious, actually triggering words in a good sense of the word because then Marty gets creative and he puts on his radiation suit because to go in the DeLorean time travel machine because it's got plutonium, they have a radioactive suit. So he has this yellow radioactive suit on and he goes into George's bedroom at night and he puts these Sony Walkman headphones on George and he sort of cranks up the music and it is playing Van Halen. And George wakes up and Marty pretends to be an alien. And he says that he is Darth Vader from the planet Vulcan, which as science fiction aficionados would know, that's mixing Star Wars with Star Trek, but George doesn't know. Neither of those things existed in 1955.
So the next day, George tells Marty that he will take Lorraine out to the dance because if he doesn't, Darth Vader told him that he would melt his brain. So Darth Vader really deserves some credit in this particular movie for helping give George some courage or maybe it's the fear that prompts him to do something. So really what we see in these scenes is that Marty goes all out to help George and be a fellow traveler. He seems to encourage George in writing his science fiction stories. He encourages George to take Lorraine to the darts, albeit through this way over the top creative device of pretending to be an alien Darth Vader. Really, Marty is a kind of fellow traveler that will do whatever it takes to help George. Yes, there's some self-interest because Marty doesn't want to disappear, he wants to exist.
But I think more than that, he wants his dad George to be different. He wants to encourage his dad to follow a different path. I mean, clearly the part of it is not just a self-serving, "Hey, I want to live and exist." But part of it too is he wants his dad to be something different than the person that he's grown up with.
Gary Schneeberger:
Right. And then for a science fiction movie, something that happens in pretty much any dramatic movie, happens next. And that's the Biff of 1955 shows up to wreak his bullying behavior on George and to sexually harass Lorraine. The evil, right, the bad guy always shows up just as you're about to make progress in your plan. Marty unravels his own plan before he's even really started moving when he punches out Biff and Lorraine goes all lovesick on him even more than she had before. And she raises the stakes here, doesn't she, Warwick?
Warwick Fairfax:
Yeah, absolutely. So George goes to the diner and is about to ask Lorraine to the dance. Now Marty, ever the loyal fellow traveler who never gives up, he's even basically written a script for George to say. He says, "George, this is what you say. Destiny has brought us together and you are the most beautiful girl in the world." It's not a bad, in certainly 1955, not a bad line. It should hopefully be effective.
Gary Schneeberger:
If you say it right, he says density.
Warwick Fairfax:
Oh, he does. He completely-
Gary Schneeberger:
Yeah.
Warwick Fairfax:
Yes. Right. I guess dense people say density, I don't know, but he doesn't get it right.
So just as George is in the middle of trying to get this out and Lorraine is looking at him saying, "Huh, what's going on here," because it's a different George, Biff comes up. Worst possible moment. Now Marty is trying to keep Biff out of it. So Marty sticks his foot out and trips Biff. And so then Biff stands up, gets in his face, and then Marty punches him out, punches Biff. Well, Marty flees while Lorraine looks at Marty, who she calls Calvin, and says it's a dream. So the plan spectacularly backfires here. And rather than helping George, it actually makes her be even more attracted to Marty. So yeah, she's getting even more infatuated with Marty and not George.
So then what happens is that Lorraine actually follows Marty to Doc's house where Marty's staying. And Lorraine wants Marty to ask her to the dance, which is the exact opposite of the plan. So Marty asks, "What about George?" Lorraine says, "Well, George is cute, but a man should be strong and stand up for himself and protect the woman he loves," key words, as we'll see later in the movie, she wants somebody that will stand up for himself and protect the woman he loves. This George in 1955 does not seem the kind of guy that would do either of those things.
Gary Schneeberger:
So it's after this scene, Warwick, that Marty truly shows his fellow traveler colors. He gives George a pep talk that echoes what Jennifer told Marty in 1985. What does he say and how does that help George?
Warwick Fairfax:
Yeah, it's a great point. So Marty says to Doc that we need to show Lorraine that George will stand up for himself and protect Lorraine, echoes the words that Lorraine has just mentioned to him a short while earlier. So Marty lays out this whole plan for George. Marty will take Lorraine to the dance at around 8:55 PM. Lorraine will get angry when Marty pretends to take advantage of her. George will then walk up and say, "Hey, you, get your damn hands off her." Marty tells George that George will then punch him in the stomach. And so basically Marty's trying to set this whole thing up, so that George would be the hero and Lorraine would then admire and be attracted to George.
Gary Schneeberger:
Right.
Warwick Fairfax:
So while George is scared, Marty says, "Hey, there's nothing to be scared about." And then Marty mentions these words that originally came from Doc and says to George, "If you put your mind to it, you're going to accomplish anything." This is probably the first time anybody has ever told a young George that in his life and that will end up being life altering. So George has just had people that have just given up on him and don't believe in him, certainly the principal at the school. For the first time, here's somebody like Marty, just this fellow traveler that's constantly in his face, in the best sense of that word, who believes in him and tries to give him hope in the future that you can accomplish anything if you put your mind to it. It's just incredibly powerful words.
Gary Schneeberger:
But alas, the plan doesn't go exactly as scripted on the night of the dance, does it? How does it go south and then how does it get redirected to go the right direction again? There's some fancy footwork that has to happen here to get this turned around.
Warwick Fairfax:
So true.
While George is at the dance sort of dancing by himself awkwardly, we see Marty and Lorraine pull up in a car. Now Marty asked Lorraine if she would mind parking for a while. So instead of language from days gone by, parking, and Lorraine says, sure, but she's almost 18 years old and it's not like she's never parked before. So Marty is shocked and nervous. My mom has parked, which basically means in some sort of romantic interlude, if you will. So Lorraine has found some alcohol from her mother's liquor cabinet and has it there. So Marty tells her not to do that because she might regret it later in life when she drinks too much and then she starts smoking. And Marty is shocked. This is almost foreshadowing of direction that won't be helpful in Lorraine's life, drinking and smoking. So then Lorraine kisses Marty, but is shocked. Lorraine says, "It's sort of like kissing my brother." Obviously, she's kissing her son in some weird-
Gary Schneeberger:
Time travel way. Yeah.
Warwick Fairfax:
Exactly right.
Gary Schneeberger:
But then once again, I think in this movie we could say maybe seven times, but then Biff shows up and that's never a good thing. Then Biff shows up and his boorishness sets the plan back in motion. It causes a problem in the moment, but it does indeed set the plan to get Lorraine and George together back in motion, doesn't it?
Warwick Fairfax:
Indeed. So Biff holds Marty out of the car and Biff's gang ends up locking Marty in the trunk of the car of the band that's playing at the dance. So Marty's out of the picture at this point. He's locked in the trunk of the car. Now Biff gets in the car with Lorraine and starts manhandling her. George comes up on the scene and he doesn't realize that it's Biff in the car with Lorraine, he thinks it's Marty. So he thinks this is all part of the act and he leans in and says he's his lines, "Hey you, get your damn hands off," and before he could finish his sentence, he sees its Biff. So it's like, "Uh-oh, Biff." And Biff tells George that he has the wrong car and to turn around and walk away, basically George, just be a coward, leave, none of your business, go away. And Lorraine pleas with George to please help her.
Biff says to George, "Close the door and beat it." Now, George then says something that's very uncharacteristic for him. He says, "No, Biff, you leave her alone." We haven't seen any degree of courage or backbone in the whole movie until this point. So Biff gets out of the car while Lorraine is trying to help, but he pushes her back into the car and starts laughing. George gets mad and he punches Biff, knocking him out cold. I mean, incredible thing for George to do. Lorraine turns to George and looks at him in a new way, this is a George she has never seen before. George can't believe that he's done it. And Lorraine looks at George dreamily. The arc of their lives is beginning to change. It's an incredible moment. It's really a life-defining moment.
Gary Schneeberger:
Yeah. And she forgets Calvin Klein, right? Immediately, Calvin Klein, we'll be friends, Calvin, but Calvin is now out of her romantic sights.
But again, great thing about this movie, things are going well, two steps forward, one step back. It almost unravels again only to be saved by George finally embracing fully his inner strength. Right, Warwick? He finally embraces that courage, that backbone that you were talking about, right?
Warwick Fairfax:
Absolutely. So George is dancing with Lorraine and Lorraine asks George if he's going to kiss her. So just at that point, somebody butts in and dances with Lorraine saying to George, "Scram McFly," basically get lost. Now George starts to walk away, but then he turns, he comes back. Again, this is not the same George McFly that we're used to. And George pushes the other guy away and kisses Lorraine, an incredibly bold thing to do for somebody that's so scared and meek and mild. But again, this is a new George.
So at this point, Marty's actually playing in the band. One of the band members actually got injured and Marty's image had been almost completely lost. It almost completely disappeared from the photo. And he's not doing that well. He's in the process of effectively disappearing himself. But as soon as that kiss happens between George and Lorraine, he bounces back and he feels better. All his siblings reappear on the photo because they pretty much were all gone. So it's an incredible moment when George comes back, pushes that other guy away and kisses Lorraine and the future at this point seems to be cemented.
Gary Schneeberger:
Yeah. I mean, truly the future of the McFly clan has been secured and all that's left, right? All that's left, he says ironically, all that's left, all that's left is for Doc and Marty to head back to the future. But that's not always easy. That's not all that easy, is it Warwick? Because there's some things that happen that have to fall into place for them to get back to the future. Talk about that a little bit.
Warwick Fairfax:
While all that's happening, meanwhile in the town square, Doc is trying to set things up so that Marty can indeed get back to the future, so the DeLorean is there, set up this big long cable from the clock tower, the clock face where the lightning bolt is going to hit. He's got that connected to another wire that when the DeLorean goes past, it's got this metal hook that will then touch the horizontal wire that's near the road and it will get the whole 121 gigawatts and will go back to the future. So this is not easy. It's a stormy night. And then you can see at one point a tree falls on the cable and it's disconnected. So there's poor Doc high up in the clock tower almost about to fall off with his hands on the hands of the clock itself and he's got one hand trying to put the wire on one of the arms of the clock face, another one with the cable that's fallen onto his pant leg and he's trying to connect the two and then come down.
And meanwhile, Marty races from the dance to the car. He gets back to where he needs to go, gun it to get to 88 and of course, the car won't start. He finally gets it to start and accelerates. The cable's connected somehow by Doc to the clock face. The lightning strikes, the clock face goes right down into the DeLorean as it hits the cable and we see the fiery tire tracks and Marty has indeed gone back to the future.
Gary Schneeberger:
Yeah. And when he gets back to the future, he discovers that the McFly family still exists, but its fortunes have turned around from what they first were since we met them in 1985.
And Warwick, this is for me the most fascinating part of this movie from a Beyond the Crucible context, is that this is a very Beyond the Crucible ending, isn't it? The characters have been through setbacks and failures, they've done some things wrong but learned the lessons from those mistakes. And it sure seems that by the time the credits roll, the McFlys are living lives of significance, doesn't it?
Warwick Fairfax:
It really does. So you've got Marty entering his house, the home he grew up in, and it's like it's this completely new world that's an alternate universe. It literally is an alternate universe, a better universe. So he sees his brother, he is wearing a suit, not a McDonald's outfit. And his sister's looking nice and Marty is surprised at what Dave is wearing, his brother. And his brother Dave says, "Well, that's what I always wear to the office, a suit." And so Dave has a better job than what he had before.
So his parents walk in, looking like they've just come back from some tennis match at the club and they're nicely dressed, sophisticated and looking very confident and at ease and these completely different parents than he's grown up with. Now, Marty falls off his chair in shock and says they look great. And as did his mother looks so thin. She now looks good, is healthy, is thin. And then his mother says that she really likes his girlfriend Jennifer and asks Marty if he's going to go up to the lake with Jennifer. Well, Marty says, "Well, I can't because the car's wrecked." Because remember in his timeline, Biff wrecked the car and of course blames his dad George.
So it turns out that it's actually a BMW in the driveway, which wasn't a BMW there before, it was another car, not as nice. And now we see an older Biff and he's waxing it. Now this is a very different Biff. Biff is almost, I don't want to say lost some confidence, but kind of. He's certainly not that bully anymore.
Gary Schneeberger:
No.
Warwick Fairfax:
And what's interesting is the very different George tells Biff, "Now Biff, make sure there are two coats on that car" because he knows that Biff will try to con him and get away with stuff. And George knows that and is onto him and will not let that happen. And so then in walks Biff with a box of George's new book. It is George's first novel, a science fiction novel, which is amazing because if you remember in 1955, George talked about writing a science fiction novel, but never seemed to think he was going to do it, but Marty sort of encouraged him. And so then George offers this classic line, "If you put your mind to it, you can accomplish anything." And George says that, as he always says, well, obviously you heard that from Marty, you heard it from Doc, Jennifer encouraged him in sort of a line throughout the movie, but it's incredible.
So then Jennifer appears, Marty's girlfriend and asks if everything is all right. And Marty says, "Oh yeah, everything is great." I mean, everything is a whole lot better than it was before. This version of Marty's life is so much better than before. And so then Marty notices a sleek black Toyota 4x4 pickup truck. I think Biff had just been waxing it and Biff hands Marty the keys. Now, before Marty went back to 1955 earlier in the movie, we see that Marty had always dreamed of having this 4x4 Toyota pickup truck and now he hasn't, he actually owns it.
So now we see George returns in the DeLorean, he's been off to the future and he wants to tell them about the future adventures or about the next adventure that they're going to go on. So it looks like the McFlys are doing very well. George is confident and successful and is no longer bullied by Biff. In fact, Biff now works for George, which is very different than the earlier version of life. Lorraine doesn't drink too much anymore and looks great. Marty's brother is professional. Marty's sister is doing great. So George has changed the direction of his family's life. It's really Marty that changed George's life and now George is changing his whole family's life. Before, he was a timid person who would just give up at the first sign of trouble. Now, he lives by that family motto, that's become his family's motto, even though it was originally from Doc, "If you put your mind to it, you can accomplish anything."
So that motto, as he mentioned, started with Doc. Jennifer and Marty started quoting it. And now that motto is really the way of thinking, rather than giving up, anything's possible if you put your mind to it. It's transformed George's life and his family's life. It's incredible.
Gary Schneeberger:
And it's interesting, right Back to the Future at its basic level is a time travel film. But really when you get into these issues, when we come at it from this perspective, it's really a legacy building film. It talks about, it shows how to build a legacy in a family, which I think is what we try to do here at Beyond the Crucible.
Warwick Fairfax:
Yeah. It's such a good point. You can have a legacy of despondency, of giving up. Nothing's impossible. At the first sign of a setback or failure, give up. You're not worth it. Everybody's out to get you. When they say that you're hopeless, everybody's right. You should cower when people pick on you. Don't defend your family, just maybe commiserate with them, but yeah, McFlys are slackers and will never amount to anything, so just why bother.
And now we have a different legacy in which McFlys are a family that don't give up, that anything's possible. They defend those they love, they stand up for what's right. They don't let people like Biff take advantage of them. It's a complete 180. It's a completely different legacy, a completely different life. One is of just despondency and hopelessness and despair and the others of confidence and optimism and anything's possible. It's just two completely different legacies that we're seeing in this movie.
Gary Schneeberger:
Right. The McFlys at the end are living a 121 gigawatt life of significance, I think.
Warwick Fairfax:
Indeed.
Gary Schneeberger:
So Warwick, let's pull out of the movie and talk to our listeners and viewers. How do the crucibles of the characters in Back to the Future offer us insight into how to move beyond our own crucibles?
Warwick Fairfax:
So we see in Back to the Future lives change. George McFly goes from this caring man who is continually bullied by Biff and basically gives up on life to a confident man who's in charge and as well is optimistic, is influencing his whole family with this can-do, nothing is impossible mindset. His wife, Lorraine, is also confident and healthy, which is different from the person before who is overweight and drank too much. And Marty's siblings are also transformed, they're doing better. Now, Doc also is different. He shifts from being an inventor who historically has failed at everything and he lost his family's house and fortune. Now, he's a successful inventor who has traveled to the future and back.
Now, Marty has also changed. He changed from somebody who almost believes he's a loser like his dad and can't be successful at anything, including not making the audition for the band at high school. He hears the voices of people like Principal Strickland who calls him a slacker and believes that McFlys will never amount to anything. He doesn't completely buy it, but he's certainly not confident that he, Marty can achieve anything. It requires people like Jennifer kind of believing in him, but he certainly doesn't come out of the gate as some confident person where success and confidence is assured.
So Marty changes the direction of his family's life. He is the one who encourages his father to publish science fiction novels and to pursue a relationship with Lorraine. Marty, in some sense, is responsible for giving George courage, which ends up leading George to no longer being bullied by Biff. I mean, Marty is really an incredible fellow traveler to George, to his dad. He helps him believe that he can get his book published. He helps him believe that he can have courage and stand up to people like Biff and do what's right to pursue the woman that he's attracted to.
So really what this shows is we have a choice in life. We can listen to the bullies like Biff or the naysayers like Principal Strickland that tell us we're losers and we'll never amount to much. But we can listen to people like Doc, Jennifer and Marty who believe in us. So having fellow travelers that come alongside us like this in this movie, it can have generational impact that fundamentally transforms our lives for good.
Gary Schneeberger:
Folks, you just saw it. The house lights are back up, curtains closed. So pick up your popcorn boxes, your hotdog wrappers, and if you brought a flux capacitor, take that with you as well. Because we are done for this week's episode of our summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. But next week, we will be back with another episode. And here we go, I'm going to tell you what it's going to be. And Scott, I'm going to need you to give me a drum roll right here. There you go, the drum roll is here and we are going to talk next week about Jurassic Park, the first Jurassic Park. Fascinating. That'll be a fascinating discussion. So until next week, folks, remember, we'll save you a seat. We'll see you then.
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In this episode, we explore Terminator 2: Judgment Day as part of our special summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. At the heart of T2 is a remarkable idea: a robot reprogrammed not to destroy, but to protect, putting the safety of another ahead of itself at every turn. A machine living its existence on purpose, dedicated to serving others, is pursuing the very goal we all hope to reach as we move beyond our own crucibles. If a Terminator can get there, what’s stopping us?
Want to explore our three prior summer series about the lessons we can learn about overcoming crucibles from film? Check out these playlists featuring every episode of each one:
๐ Take the free Trials-to-Triumphs Self-Assessment to discover where you are on your journey of moving beyond your crucible and how to chart your personal course to a life of significance: https://beyondthecrucible.com/assessment/
Transcript
Warwick Fairfax:
Welcome to Beyond the Crucible. I'm Warwick Fairfax, the founder of Beyond the Crucible.
So we see in the Terminator a machine that has been programmed to take care of John even at the point of its own life. It's rare to have people in our life that will care for us no matter what and will do everything they can to protect us and care for us even at the cost of their own life. I mean, that's love at a level that few of us can imagine. It's really the ultimate expression of living a life dedicated to serving others.
Gary Schneeberger:
That's the definition of a life of significance, and it comes from a surprising place in Terminator 2: Judgment Day, which we discussed this week in the third episode of our special summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. A machine that lives its robotic life on purpose, dedicated to serving others, is pursuing a goal we all hope to achieve as we move beyond our crucibles. How can Terminators help us arrive there? Stay tuned.
Welcome, friends, to this episode of Beyond the Crucible. You have tuned in to, 1, 2, 3, the third episode of our summer series, which we are calling Back to a Better Future: The Crucibles of Sci-Fi Cinema. That means, once again, we're going into the theater to talk about what we can learn about overcoming our crucibles and moving toward a life of significance that films can teach us. We've done this now three years before this year, this is our fourth year doing so, and it's just been a lot of fun. But also, we have discovered that movies, the movies that we choose, really do provide great examples of crucibles and how to overcome them, and that's really why... It's two things. We love doing it, and two, it helps you, it helps us move beyond our crucibles.
Just to level set us all, after doing movies spotlighting heroes, classic movies celebrated by the American Film Institute, AFI, and last year, movies that featured really major crucibles, this summer, we're examining a film genre that is one of Warwick's favorites. Watch him when I say this, he just smiles. He gets very happy when I say... We are indeed doing science fiction films. That's why this is called Back to a Better Future, get it, a little pun on Back to the Future, The Crucibles of Sci-Fi Cinema. That's what this year's series is about.
Warwick, before we dive into the film that we're discussing this week in the third week of the series, why movies again? I said a little bit about why movies, but you have more in-depth kind of perspective on it. This is the fourth time we've done it. What are you hoping listeners and viewers get out of our discussions this year?
Warwick Fairfax:
Yeah. I mean, we both love movies and we've enjoyed looking at movies from Beyond the Crucible perspective, which we always say, "When you're watching a movie for fun, it's very different than when you're watching it from Beyond the Crucible." What's the arc of the characters? Are they growing? How do they overcome crucibles? In some cases, a couple of years or so ago with Citizen Kane and The Godfather, they really didn't learn. The kind of growth went backwards, if that's a word, so-
Gary Schneeberger:
Which is also very helpful to discuss for folks, right?
Warwick Fairfax:
Yeah, exactly. You don't want to be a Citizen Kane.
Gary Schneeberger:
No.
Warwick Fairfax:
Yeah. Typically, movies portray protagonists that faces significant crucibles that they seek to overcome. Really the question is, are they going to overcome those crucibles? Are they going to become defined by their worst day or not? We've covered superheroes, sports heroes, historical heroes, as well as, you mentioned, the American Film Institute's top 100 movies. As you said last year, we focused on film with significant crucibles. This year, it's going to be a little different.
Gary Schneeberger:
It is. Good setup, and it really is. Again, watch his face, folks. He's delighted by this because...
Warwick, you're particularly excited about this series this year because it's science fiction. Just why do you love science fiction so much? And what about science fiction films in particular resonate with this idea of discussing crucibles and how we might move beyond them? These are good movies for crucibles, aren't they?
Warwick Fairfax:
They surely are. I've loved science fiction, both books, movies, and TV since I was very small. One of the most influential science fiction movies ever made was 2001: A Space Odyssey that came out in 1968. And what was amazing is you could see space shuttles, you'd see screens on the back of seats in front of you, which is commonplace in airlines today, but was not in 1968. You flew Eastern Air Lines or American or United [inaudible 00:05:22] was back then, and you would not have found a screen in front of you. You would not have found any movie screens in the plane. So it was very different back then. In this movie, 2001: A Space Odyssey, you had talking computers that were almost sentient. They had a brain, a video conferencing.
And then there were other science fiction shows like Star Trek. I'm a fan of all Star Trek shows, but the original one was aired from 1966 to '69. Certainly, pathbreaking in not just its view of technology, they had machines you could talk into almost like smartphones and all sorts of interesting things, but it also really dealt with significant societal issues. And then in terms of science fiction novels, I read a bunch of them by great authors like Arthur C. Clarke and Isaac Asimov.
What I loved about science fiction and still do is not just that it explores future technology, which is amazing to think of, but at its best, it explores deep societal issues. It looks at the future of the human race, how we interact with other forms of life and technology. And many of the issues that science fiction brings up today are very relevant, such as AI. I mean, you had AI in the sense of how the talking computer in 2001: A Space Odyssey, and that ended up being a pretty scary version of AI that ends up taking control. It's something to think about, AI and technology taking control, as we talk more in this episode. Science fiction tends to explore significant crucibles, huge questions about humanity, and really gives a rich palette, if you will, to look at how we overcome crucibles and do we get defined by them. So that's some of the reasons why I love science fiction.
Gary Schneeberger:
Right. You said a couple of minutes ago when you were talking about 2001: A Space Odyssey that there was a computer, and it became sentient. That's a pretty good bridge to what we're talking about, the film we're talking about this week, because this week, we are talking about 1991's Terminator 2: Judgment Day, which was the top box office draw of the year that it was released, in 1991. There's a thing about computers becoming sentient in here that we're going to talk about as a crucible as we go on. But here is the summary of the movie known in the film industry as the logline, and I love these things because they're so tightly written. As a writer, I'm just jealous every time I read one. But here's the logline from Terminator 2. "A cyborg from the future, identical to the one who failed to kill Sarah Connor, must now protect her 10-year-old son John from an even more advanced and powerful cyborg."
And Warwick, before we dive into talking about the movie, I noted something about... So we've done three episodes, right? This is the third episode of the series, and we have another one. I'm not going to tell you what it is, but trust me when I say this, in the three films that we've talked about so far, Planet of the Apes, Alien, and now Terminator 2, these movies and the one that we're going to talk about next week, rife with sequels. I mean, all four of the first films we're talking about have sequel after sequel after sequel being made. I think you'd even be hard-pressed to find superhero movies that have as many sequels as just these first four that we're going to talk about. That speaks to something about their appeal and what you talked about there about the issues that they raise, I think, doesn't it? Because they keep coming back to the well.
Warwick Fairfax:
Yeah, it is. I mean, they've got great characters in Terminator and some of these other movies. I mean, how many Star Wars movies have there been made? There were the three original and countless other ones since Disney acquired them from... the rights to the Star Wars and Lucasfilm. But yeah, there's something about the future of, what's the world going to be like? How are we going to address issues from the environment, climate change? Is the human race going to be a kind of gentler one, or will we get into some dark future? People are fascinated about the future and what will happen or what might happen. It's just part of people's innate curiosity.
Gary Schneeberger:
Yeah. Well, in this movie, Terminator 2: Judgment Day, right off the bat, opening credits are unfurling, folks. We see the global crucible in which mankind finds itself enveloped, and it's a doozy. It's Judgment Day, the event so feared in the first film, which came out in the '80s, and that has occurred as this movie opens. So Warwick, let's explain first what Judgment Day is and how it happens so we can kind of get our feet under us as we begin this discussion.
Warwick Fairfax:
So in this opening scene, we see that we're in Los Angeles in the future, in 2029 AD. Can you imagine, folks? It's far, far to the future. I mean, who can imagine, 2029? It seems so far away-
Gary Schneeberger:
I know.
Warwick Fairfax:
... doesn't it?
Gary Schneeberger:
That's crazy.
Warwick Fairfax:
Yeah, exactly. But in this version... Because as you said, the movie came out in 1991, so 2029 is a long time in the future. In this world, we see a dystopian world of burned out cars and skeletons. And we see, as the movie opens, that it says that three billion humans were killed in 1997, and the survivors of the nuclear war that caused this destruction that happened that year, they call... That year, 1997, what happened on that particular day when nuclear war occurred, they call it Judgment Day. And so the survivors of Judgment Day, now years later in 2029, they face a new nightmare. It's a war against machines. We see robots and robot aircraft, if you will, and it seems like the mission of these robots are to kill humans. There's something called Skynet that is a computer that controls all these robot killing machines.
So this dystopian world of 2029, it seems like a pretty scary place to be a human. It's just a bombed out, deserted place where you're running around just trying to survive as these killing machines and robot killing machines are trying to kill you.
Gary Schneeberger:
Yeah. And the stakes are laid out in terms of what the forces in the future, the machines and those fighting against them, have sent from the future. In the first movie, I said in the '80s, the Terminator came back to kill a woman named Sarah Connor. This time, we're told one is coming to kill her son, John. While he is a boy, because he is going to grow up to be... As we heard about in the first film, in the first Terminator, he's going to grow up to be the warrior who leads the resistance against the machines, and the resistance led by John in the future has sent a warrior to protect the Terminator's target. Warwick, we see first a Terminator we're familiar with comeback played by Arnold Schwarzenegger. It's a Terminator that looks exactly like the one from the first movie, which shows up in the same way that one from the first movie did.
In these early scenes, it's easy to expect the same destructive mayhem as the machine that looked like this machine wrought in the first film, isn't it? Especially given the way it arrives on the scene.
Warwick Fairfax:
Yeah, it's a great point, Gary. If you watch the first Terminator movie, you expect Arnold Schwarzenegger as the Terminator to be this killing machine. And early on, it would seem like this Terminator is like this. We see that at a truck stop where the Terminator comes out of this sort of lightning bolt... I guess for whatever reason, the Terminator, when they come out of these lightning bolt, they have nothing on. They're naked. The Terminator goes to this truck stop, and he beats up a few guys because he needs some clothes, and he needs boots, he needs a motorcycle. In fact, he even needs some sunglasses. The guy's like, "What do you want?" and it's like... At that point, they're willing to give him anything. At this point, really don't know who the good guy is. We see in this lead up that there's going to be a good guy, but it does not seem like the Terminator, Arnold Schwarzenegger, is a good guy. He's beating people up and taking things. So yeah, we really don't know what's going on.
Gary Schneeberger:
Yeah, and it does have some echoes to the first movie, to the Terminator. He does some similar things in the first movie. You're right. We're not exactly sure what's going on. But then, another Terminator shows up too. It's a new version, the T-1000 made of liquid metal. We'll find out a lot more about that as the movie goes on. What makes the machine's new form particularly scary, and it becomes pretty clear from early on, that it is an emotionless killing machine like the T-800 was in the original, isn't it?
Warwick Fairfax:
Yeah, it really is. I mean, this second Terminator emerges from the lightning bolt, and it's also naked. Now, this second Terminator, this is sort of merciless. It kills a nearby policeman, takes his clothes and police car. It doesn't beat him up. It just kills a guy instantly without any emotion. So at this point, we're definitely confused. Both Terminators look pretty savage and brutal. Maybe there's another kind of gentler Terminator coming. I mean, neither of them look like this warm, fuzzy... here to help.
Gary Schneeberger:
Protector of the humankind, right?
Warwick Fairfax:
Yeah, maybe we've missed something. I mean, the only slight clue is the fact that one kills and the other one just beats people up. Maybe that's because he didn't need to or... It's really hard to know what to make of any of that. At this point, they both seem like pretty savage machines, these two Terminators.
Gary Schneeberger:
Right. So while we're sitting with that, who's the good guy? Who's the bad guy? Is there a good guy? Is there a bad guy? And they're not even guys, they're machines. As we're sitting with that, we're introduced to Sarah Connor, and she's a different woman than she was in the first film by a long shot. Warwick, how have circumstances changed and how has Sarah Connor changed from the kind of young debutante sort of party girl she was in the first movie? Different Sarah Connor this time around.
Warwick Fairfax:
Yeah, she really is. Here, we see a Sarah Connor, and she's in some kind of prison that turns out to be a psychiatric hospital. We see her working out, and she is a patient there, it says, she's 29 years old, but she is seen as a violent schizophrenic. And there's no question she's violent, but they think of her as a schizophrenic because she keeps talking about some ludicrous story about some terminator from the future that came to kill her. Well, that'll end you up in a psychiatric hospital pretty quick if you start telling people that. She's in her cell. She seems very sinister and violent. She's stabbed a doctor with a pen, and she's repeatedly tried to escape. This Sarah Connor, she's spent years in a psychiatric prison and she's violent, she's full of rage. It's a different Sarah Connor than the one in the first movie.
Gary Schneeberger:
Right. And then we meet her son John, talked about in the first film, not seen in the first film. We see pretty quickly the T-1000 is trying to track him down. We still don't know exactly why the T-1000 is tracking him down for sure, to protect him or to terminate him. That's the phrase they use, to terminate him. But after Sarah tries to fake her way out of the psychiatric hospital she's been confined to and fails, both Terminators converge on John at an LA mall. Their allegiances are quickly revealed after they fight. Warwick, what we see begin to play out here runs for the rest of the movie. The unwavering commitment of both Terminators that they have to carrying out their missions. And it gets pretty intense, doesn't it? As the T-1000 tries to kill John and the Terminator, he's the T-800, the lower model, but the Terminator that we'll come to recognize as the same face of that Terminator in the '80s movie, he tries to save him, right?
Warwick Fairfax:
Absolutely. So here we see John and a buddy of his, they're playing video games in the Galleria, a mall in Los Angeles. And we also see the Terminator and the T-1000 are in the mall looking for John. John's buddy says that a cop gets the T-1000, as assumed. The image of a policeman is looking for John. Now, normally, you wouldn't necessarily be scared. I mean, you might be like, "What the heck's going on?" But it turns out that John is not exactly living a great life in a sense. He stole money out of an ATM machine. I mean, the guy's angry, obviously. He hasn't seen his mother in years, and he thinks his mother's crazy, locked up in some psychiatric hospital. So yeah, I mean, given that we just see earlier in a short while back in this movie that he stole money from ATM, John is naturally wary about the police. Maybe somebody saw them.
And so John runs, and the T-1000 chases him. And now, we see a scene where the Terminator comes on the scene and fires at the T-1000, and the T-1000 fires back. And these two Terminators, they get in a fight. So John then runs away while the Terminator follow. There, we see a great chase scene in which John is on a motorbike, little motorbike, kids' motorbike, and they're racing through the aqueduct in Los Angeles, and he's being chased by the T-1000 in a truck and the Terminator on the motorcycle, another motorcycle, chasing the T-1000. As any aficionado of the movies would know, there's a lot of movies in which there are chase scenes in this aqueduct in Los Angeles. It's one of the go-to places for chasings, and it's great in this movie. So the Terminator ends up rescuing John, and John begins to see that this Terminator is the good guy. John has seen that these two Terminators fight. Well, one of them actually wants to protect him from this other malevolent T-1000. So he's beginning to realize there's a good Terminator and a bad Terminator.
Gary Schneeberger:
Right. And John and the good Terminator stopped to talk, and John learns some things that change what he believes about his mother. So not only does he come to learn that there's a good Terminator, but in talking to that good Terminator, he learns some things that changes his view of his mother. How does that happen, Warwick?
Warwick Fairfax:
So John has heard all the stories from his mother, and he says, "You're a Terminator," and the Terminator says, "That's right." John sees the bullet holes in the Terminator's jacket, and the Terminator's obviously still living, functioning something. So John realizes, all these stories about the Terminator, it's real. It's true. And the Terminator says he's a cyber robot with living tissue over a metal skeleton. John can't believe what he's seeing. The Terminator says that his mission is to protect him, to protect John. And John asks who sent him? Well, the Terminator says basically, "Well, you did. You, John, 35 years from now, sent me." And the Terminator says that John in the future has reprogrammed him to protect John in this time in the past when John was a kid. So John asks about the other Terminator, and the Terminator says that the other machine is a T-1000, an advanced prototype. The T-1000 is made of liquid metal, which we'll see in future scenes how scary that really is being up against this T-1000. As we just said, it was made of liquid metal.
Gary Schneeberger:
Right. That's a whole lot of stuff to be laid on 10-year-old John Connor. There's a lot of stuff flying at him that he just... How does he make sense of it all? And it's interesting the place that he goes to right after this. John makes sure the Terminator protecting him doesn't actually terminate anyone. How does he do that and how does he change the Terminator's mission? Because there's a lot of directions he could have gone. These are the directions he went in. How does he do it?
Warwick Fairfax:
So when he realized the Terminator is a Terminator, one of the things he realizes is that everything that his mother told him is true. John thought his mother's just crazy. Maybe he thought she needs to be in a psychiatric prison because he's just nuts talking about these future killing machines. But in this instance, he realizes it's all true. Everything his mother told him happened. The Terminator is a killing machine. And so at that point, he says to the Terminator, "Well, we've got to rescue my mother." He realizes she doesn't deserve to be in some psychiatric hospital. Well, the Terminator says no, because the T-1000 is very advanced and will probably realize what John is thinking and will try to copy her and kill her. Because one of the things we learn is this T-1000 has the ability to copy living beings and take their shape and even sound like them.
So yeah, at this point, we've seen the T-1000. He doesn't just copy and mimic people, he then kills them. So the Terminator says, "It's not a priority to rescue your mother." John finds out that the Terminator has to do what John says. This is one of the Terminator's mission parameters. So at this point, John is going to alter the Terminator's mission, and this will have profound consequences throughout the movie. When the Terminator was going to kill some guy that got in the way, John asks, "Why?" The Terminator says, almost slightly sarcastically, "Because he's a Terminator."
Gary Schneeberger:
Yeah, right.
Warwick Fairfax:
Terminators terminate. The Terminator's thinking, "Well, what kind of a question is that? That's kind of what I do." And John says that the Terminator is not a Terminator anymore and must not go around killing people. Terminator doesn't understand. John basically says, "That's the way it is," and he orders the Terminator to help him rescue his mother. So now he finds that he can change the Terminator's mission parameters, he's going to do that, "No killing of people, and you've got to rescue my mother."
Gary Schneeberger:
Right. We didn't talk about this beforehand, but this kicks off when John realizes whatever he tells the Terminator to do, the Terminator has to do. There's some really cute things that play out throughout the rest of the movie where he teaches him hip '90s slang terms and those kind of things. I mean, it's important to mention this sort of kicks off what can be the comedy relief that comes up in the film. There are some comedic touches and flourishes throughout after this, after John realizes his power, quote, unquote, "over the Terminator."
Warwick Fairfax:
Absolutely. He teaches him phrases like [foreign language 00:26:36] and all sorts of phrases that will come in handy for the Terminator later on.
Gary Schneeberger:
Yeah, for sure, and entertain audiences for sure as well. Sarah then manages to break out of the psychiatric hospital. She overpowers the doctor that committed her back in 1985 and begins to run toward the exit when the T-1000 shows up, kills a guard, and takes his form, and pursues her. Before he can reach her, before the T-1000 can reach Sarah...
Well, let's not talk about that scene, Warwick. Let's watch it and listen to it.
MOVIE CLIP:
Orderlies: Let's go around. Come on. Move it. Come on.
Sarah Connor: No. No. No.
John Connor: Mom, wait. Mom.
Orderlies: Come back here.
Sarah Connor: No. No. No.
Orderlies: I got it.
John Connor: Help her.
Terminator: Wait here.
Orderlies: Hurry up. Hurry up.
Sarah Connor: He'll kill us all. He'll kill us all.
Speaker 7: Hold her.
Orderlies: Get her up.
Sarah Connor: He'll kill us all.
Orderlies: Get her up.
John Connor: Mom, are you okay? Mom.
Terminator: Come with me if you want to live.
John Connor: It's okay, mom. He's here to help. It's okay.
Terminator: Go.
Sarah Connor: What the fuck is it? What the fuck is going on?
Terminator: Get down.
John Connor: Mom.
Sarah Connor: Out of the car.
Gary Schneeberger:
So Warwick, that was a very interesting scene because what the Terminator says at the end of that, "Come with me if you want to live," is what was said in the first movie. And in fact, in all the other sequels, there's a line where somebody who's on the side of good says, "Come with me if you want to live." So talk a little bit about the clip and what it sets up as the film goes on.
Warwick Fairfax:
From Sarah's perspective, when she sees the Terminator, you have a reason to fear because Terminators terminate. They're there to kill you, so she's like, "Oh, my gosh." She starts running because she's just afraid for a life. And then we see John pop out from behind the corner and basically say, "Mom, it's okay." And for her to hear a Terminator say, "Come with me if you want to live," the Terminator in the first movie never said that, others might have, but not the Terminator, so it's like, "What is happening here?" She realizes this is the good Terminator or she realizes even such a thing as a good Terminator. And then they flee the prison. But it completely changes her perspective in what world are we living in now when there's actually a good Terminator. I mean, it must blow her circuits to kind of think about that. Obviously, she doesn't have too much time to think because they've got to flee for their lives from the bad Terminator, the T-1000.
Gary Schneeberger:
Right, and they do indeed do that. Sarah, John, and the Terminator then go on the lam to meet up with some of her old gun running friends to get some weapons to defend themselves. It's while observing the Terminator and her son interacting here that she comes to a conclusion about the Terminator that sounds a lot like we say it Beyond the Crucible, with some sci-fi flourish added in, about living out our vision of living a life dedicated to serving others. That's sort of the warp and woof of what she talks about in this next scene, right?
Warwick Fairfax:
Absolutely. So here, we have the Terminator, Sarah, and John. They're fleeing to the desert, and they meet up with an old friend of Sarah's, Enrique, and we see Enrique. Again, this is in the desert with his family. It's almost like a trailer area with a trailer and some different buildings. Sarah's coming to get her stuff. So they pull off this heavy metal plate off the ground, and there's this massive weapon storage with every kind of weapon you can imagine. I mean, you're there to kind of gear up for war. It's what it looks like.
Gary Schneeberger:
Right, exactly.
Warwick Fairfax:
And so Sarah begins to think about this Terminator. She's still trying to get her head around the fact that this Terminator is not there to kill them. She realizes that this Terminator would never leave John, is there to protect him, would never hurt John because that's his mission, to protect John. This Terminator would never get drunk and would die to protect John. And Sarah thinks to herself that of all the would-be fathers that John could have... Because Sarah we learn has had multiple relationships with different men, and none of them have really worked out. We learn a little bit about that in this movie. That's why she thinks to herself of all the would-be fathers that John could have, that this machine is the only one who measures up. In an insane world, this was the sanest choice, to have the Terminator look after John. I mean, just a remarkable thought that Sarah is having.
And so we see in The Terminator a machine that has been programmed to take care of John even at the point of its own life. It's rare to have people in our life that will care for us no matter what and will do everything they can to protect us and care for us even at the cost of their own life. I mean, that's love at a level that few of us can imagine. It's really the ultimate expression of living a life dedicated to serving others. In relatively short order, Sarah sees this Terminator that's sort of this unemotional machine, but yet it has this mission, this programming that you can rely on. It will never deviate from its program. When she talks about wouldn't get drunk or would die to protect John, we don't quite know whether she's referring to herself or maybe guys that she's linked up with. We don't quite know, but we can imagine it might be all of the above in a sense.
So this is somebody, or a machine, if you call it, it seems like somebody in a sense, that you can trust and rely on. It will never deviate from its program. It will always try and protect her son. It's rare that you have anybody you can rely on with 100%. Some people, you would hope might have a good track record. But to rely on somebody 100% like that, Sarah realizes that John can have almost a surrogate parent, somebody that's more reliable than she is. It's just an incredible conversation, or not conversation, it's incredible moment as she's thinking these things to herself.
Gary Schneeberger:
Right. And this spotlights what you talked about at the beginning of this episode and every episode. We don't normally watch movies when we're just sitting around with our family having a good time. We don't normally watch movies and pull out bits of wisdom like this. I mean, the fact that we saw that when Sarah says that about the Terminator, that has an application to what we do at Beyond the Crucible, what your fellow travelers need to be like, those kinds of things. It's very interesting. And again, I've watched this movie probably a dozen times, and the first 11 times I watched it, that never occurred to me about the application that you just discussed.
Warwick Fairfax:
It's so true. And just the other sad thing is she marveled at the Terminator and how it could protect and care for her son, but yet there's a sense where she felt less than.
Gary Schneeberger:
Yeah.
Warwick Fairfax:
There's a sense where she probably felt like she was a failure. Now, was it her fault that she gets locked up in a psychiatric hospital? Not necessarily. I mean, obviously maybe not the smartest thing running around telling people about machines from the future, but she didn't deliberately seek to abandon her son. It just happened because she's frantic and she's mentioning it and just digs herself in deeper. But that being said, she probably thinks to herself, "I wasn't there to care for my son for years, and maybe this Terminator would be a better parent than I would be." I mean, it's a very sad revelatory moment that we have as Sarah's just really contrasting herself with this machine, the Terminator.
Gary Schneeberger:
Yeah. But then comes a little bit of hope in the next scene. Seeing that John is safe with the Terminator, Sarah takes a few moments by herself at a picnic table on the grounds. She carves something into the tabletop, and then she falls asleep. She has a horrific dream of Judgment Day, which is August 29th, 1997. That's when the three billion people are incinerated by a nuclear bomb. We learn that what fuels the destruction is the computer system Skynet, which becomes self-aware on that date. She decides that the only way to prevent the devastation is to prevent the development of Skynet. Warwick, that belief sets Sarah off on her next mission, doesn't it?
Warwick Fairfax:
Absolutely. I mean, Sarah learns a lot about the future and that sets her off on her mission. So Sarah asks the Terminator, "How does Skynet get built?" Well, John asks if people are going to make it. Are they going to survive? And the Terminator says these very chilling words. He says, "It's in your nature to destroy yourselves." I mean, very sobering. So the Terminator says that Skynet came about because of this guy, Miles Bennett Dyson, and he's the director of special operations at Cyberdyne Systems operations. In a few months, the Terminator says that Dyson will create a revolutionary computer chip. In three years, Cyberdyne will be the largest supply of computer systems, of military computer systems. All stealth bombers will be upgraded with Cyberdyne Systems and become fully unmanned. After the Skynet Funding Bill is passed, the system goes online August 4th, 1997.
A short while later, in August 29th, 1997, Skynet begins to learn at a geometric rate and becomes fully aware. At that point, in a panic, the US government tries to pull the plug, but Skynet fights back and it launches its missiles against targets in Russia, knowing full well that the Russians will counterattack and eliminate enemies over here in the US. So basically, Skynet realizes what to do. I mean, it's in an unemotional way. It causes the destruction of much of humanity by launching a nuclear war. So hearing all this and believing that the Terminator in a sense would make a better father than she was a mother, Sarah sets off on the mission. We don't quite know what she's going to do, but it would seem like she wants to somehow prevent this bleak, dark future.
Gary Schneeberger:
Right. And the hope that I talked about comes up in this next scene. After his mom quickly and mysteriously leaves, as you said, John notices the word she carved on the table. "No fate" is what she carved in the table. It's an abbreviated version of something we learn in these scenes. John's father, Kyle Reese, says John told him in the future... So let's just take a deep breath. That's a lot of moving around, right? It's something that John's father says John told him in the future. And John's father, for those of you who remember the first Terminator movie in 1985, is the protector, the human protector, who came back from the future to try to save Sarah from the Terminator who was unleashed on her in the first movie. So what are the words that are written in that table, that are carved in that table? And what does that say about us in the future and how it can relate to Beyond the Crucible?
Warwick Fairfax:
So John sees these words carved in the picnic table, "The future is not set. There is no fate except what we make for ourselves." John learns that his future self said this. I mean, mind-blowing. So it's easy in the aftermath of a crucible to feel that our fate is set. We might feel that we are irretrievably and irrevocably broken. We might feel like what we've done is unforgivable. No one should associate with us because we're just awful human beings. And it is easy to feel that we are irredeemable, but the truth is that we are redeemable and that we can change the direction of our lives.
There is always hope. We don't have to be a prisoner of our own mistakes or the misdeeds of others. We can indeed chart a better future, one of promise that does not lead to some dark, dystopian future. There is hope. The idea that the future is not set and there is no fate except what we make for ourselves, it really gives us hope. We might feel like today is our worst day. We might feel we're in the pit of despair, but we have to realize we can take charge of our life. We can shape our future, and our future doesn't have to be irredeemable, nor do we need to feel that we are broken without any hope.
Gary Schneeberger:
See, folks, that's why we do movies because out of movies come really great tidbits like that for how we navigate beyond our own crucibles.
Back to the movie. We then learn where Sarah ran off to was to kill Dyson to prevent Skynet from being built and from Judgment Day occurring. And Dyson's reaction, Warwick, to learning what the future may hold leads him to try to help prevent it from happening, doesn't it?
Warwick Fairfax:
It really does. Sarah's gone out to kill Dyson. She wants to prevent the future and everything that Dyson's going to create, and she almost succeeds. She has this long rifle, and she shoots Dyson while he's at a computer working, and Dyson ducks at the last moment when his son comes in and he's playing with a toy. John realizes meanwhile that his mother's going after Dyson, and so both the Terminator and John go after Sarah. Now, the Terminator, here's this unemotional machine, says the T-1000 will also anticipate the move that Sarah's going to make. And John does not want his mother to kill Dyson, although the Terminator basically says, "Well, that's not a bad idea because killing Dyson might prevent a future war."
Gary Schneeberger:
Right, right. Logic.
Warwick Fairfax:
Terminator's looking at it very logically. You know?
Gary Schneeberger:
Right.
Warwick Fairfax:
But John is like, "Yeah, but this is my mother." So John wonders why the Terminator hasn't figured out that the Terminator can't kill people. It's like, "Doesn't he get it yet?" And so the Terminator and John, they arrive at Dyson's house where Sarah is, and we see that Dyson is bleeding. Sarah's injured him. And at this point, the Terminator, he cuts his arm open to reveal that he's a machine. You see this skeletal metal arm. The Terminator explains everything to Dyson, Skynet, Judgment Day, and the history of things to come.
Now, Dyson, seeing the Terminator and this skeletal arm, he puts it all together because he's working on all this technology. He gets it. It hits him like a thunderbolt. And so Dyson says, "It's not every day that you find out that you're responsible for three billion deaths." This wasn't some evil genius. He wasn't trying to hurt anybody. And to imagine a moment where you see your future, it's really unimaginable, and somehow... You're trying to help people and working for science, and somehow you're responsible for three billion deaths. I mean, it's just staggering. And Dyson says that they were judging him on things that he hasn't done yet. He feels like, "Well, that's a little unfair," and he asks, "How are we supposed to know?" So Sarah shoots back sarcastically. "Men like you built the hydrogen bomb." She's not very charitable.
Gary Schneeberger:
No.
Warwick Fairfax:
She basically says that he doesn't know how to create life and all he knows is how to create death. She has seen the future in a sense and she does not have much sympathy for Dyson. What he's going to be doing is going to create death. Is that really fair? I don't know, but I get her perspective. Well, Dyson is willing to quit Cyberdyne. Sarah and the Terminator say, "That's not enough. No one must follow your work, and everything at the lab must be destroyed, including the computer chip from the first Terminator," and they must do this that night. So Dyson agrees, and they all charge off, Dyson, the Terminator, Sarah, and John to the lab, and they start setting explosive charges to blow everything up. And they retrieve the computer chip and a robotic arm from a safe because everything must be destroyed so that the future will not unfold as it's going to.
But unfortunately, a security guard sets off the alarm, and the building is surrounded by police, a gunfight ensues just as they're trying to set off the charges. Now, in this gunfight, Dyson is wounded, turns out mortally wounded. So Dyson stays back with the trigger for the explosives while the rest of the group flees. And it's one of those triggers where if you let go of the trigger, then everything explodes. We see that Dyson is running out of strength. And as the police surround him, they basically see that he's in trouble, and he says, "Look, I don't know how much longer I can hold the trigger." At that point, they get it, the police flee, and we see the lab exploding just as we see Dyson dies and can't hold the trigger anymore. Meanwhile, the T-1000 arrives and goes after the Terminator, Sarah, and John as they're fleeing the scene, fleeing this lab that's now just exploded.
Gary Schneeberger:
Right. So it would seem at this juncture of the film, in this moment, that Judgment Day has been avoided, but there's still the matter of the T-1000. You mentioned he shows up, he starts to chase them, and it's mission to kill John, and the Terminator and its mission to protect him, and of course, lots of dazzling special effects, battles to be fought. But Warwick, there's a platinum principle in what we've discovered at Beyond the Crucible that's at work as the two Terminators do final battle. It's what we say all the time. If we learn the lessons of our crucibles and apply them moving forward, we will find a life of significance. And that happens in the end for the Terminator, doesn't it?
Warwick Fairfax:
Absolutely. So after this chase scene, they're leaving this lab that's now destroyed. We see the T-1000, the Terminator, and Sarah, and John end up in some kind of blast furnace factory. There's this vat of molten metal. There's sort of sparks going all over the place. And the T-1000, it hasn't changed its mission. It's to kill John Connor. And they still have the computer chip and the metal arm with them. Those haven't been destroyed yet. So the Terminator is doing everything it can to protect John and eliminate the T-1000, but it's not easy. This T-1000, it's a newer model than the Terminator. It's in some ways more powerful, more capable. It has this liquid metal. It can change shapes. It can send out this metal spear to kill people or the Terminator. It's pretty scary.
So, eventually, the T-1000 falls into the vat of molten metal. This is after repeated firing bullets at it and doing everything they can. Eventually, it falls off this sort of metal ledge into this vat of molten metal, and somehow this is maybe one of the few ways this could be killed. And we see this liquid metal is being mixed with all the other molten metal, and so it's now finished. John then throws the computer chip and the robots skeletal arm into the molten metal. So at this point, we think, "Okay, it's over," but the Terminator says, "There is one more computer chip," and that's in him. Remember from the first movie, while the Terminator in the first movie was killed, the computer chip survived, and that's what was going to cause all this dystopian, terrible future. This Terminator realizes this, and he says that he can't self-terminate. It's not in his programming. So Sarah lowers the Terminator into the molten metal.
Before this happens, the Terminator says he's sorry, basically sorry because he knows, in effect, killing himself is not what John wants. It's amazing he's showing some degree of emotion. John begs him not to do this. The Terminator says he must go away and said, "It has to end here." So John hugs the Terminator, and the Terminator gives his hand to Sarah, saying goodbye. And as the Terminator dissolves in this vat of molten metal, we see an abstract hand with a thumbs up sign. John hugs his mom, and they drive off.
Gary Schneeberger:
I want to just stop you right here because something occurred to me about the way the T-1000 died and the way that you just described the Terminator died. The T-1000 dies in this roiling, horrible... All the faces of the people he took on are popping up out of this molten... It seems like in addition to being a terrible death, just because you're dying in molten metal, it's emotionally terrible. And yet what you just described about the Terminator dying, he gives the thumbs up. That says a little something about those who do good and those who do evil. It's pretty much a morality play here at that point in this movie, right?
Warwick Fairfax:
It's such a great point. When the T-1000 dies, it's obviously struggling for life. It's in agony. All of these past people that it's taken on, you see them, you just see sort of agony and screams, if you will, whereas the Terminator is at peace. It's about to die for a greater cause, and most immediately it wants to protect John. So the thumbs up, to die with the thumbs up of saying he's at peace, "I'm doing this willingly. I'm doing this because it has to be done for your sake and for the future of humanity," it's pretty amazing, as you rightly point out the contrast between the two deaths of the T-1000 and the Terminator.
Gary Schneeberger:
Right. All right. So I cut you off as you were going to land the plane on the plot here. You said that John hugs his mom and they drive off. What happens after that?
Warwick Fairfax:
So the last scene in the movie is Sarah and John are driving off, and in a voiceover, we hear Sarah saying this, "The unknown future rolls toward us. I face it for the first time with a sense of hope, because the machine, the Terminator, learned the value of human life, maybe we can too." I mean, just amazing. She's learning something from this machine. This machine is giving her hope. So we see that in this movie. The Terminator, it seems to grow beyond its original programming. Its original mission was to protect John. That's it. But yet, it ends up protecting Sarah, it sacrifices its life both to try to kill the T-1000 and have itself terminated so as it can protect the future of humanity. This does not seem to be typical programming. It seems to learn some degree of human emotions, a level of care for John and Sarah and the future of the human race.
Meanwhile, John grows from being a misfit kid who was angry and committing petty crimes to being somebody that wants to save his mother, who he now admires. He realizes she doesn't deserve to be in a psychiatric hospital. And he wants to protect the Terminator and save humanity. I mean, he has care for a machine, this unemotional machine. I mean, just remarkable. Sarah, meanwhile, she grows from being this angry woman who's committed to a psychiatric hospital, she wants to just hurt everybody around her, she's so angry, and now she wants to not just protect her son. She wants to or is willing to give her life to protect him and the future of humanity. So there's this tremendous growth.
We all face a choice. Are we going to follow the path of the T-1000, of destruction, of not caring about others, just merely following our programming? Maybe that was programmed at birth from bad upbringing or things that happened to us. Are we just going to follow our programming and not care for others, say, "It's all about me"? Or are we going to follow the path of the Terminator and Sarah who are willing to give their lives in service of others? Now, that's really an incredible way of living life in which it's not about us. It's about serving a greater cause, serving humanity.
Gary Schneeberger:
Yeah. Again, this is one of the things that makes this film series stuff that we do so much so enjoyable, because, again, would you have pulled that out and applied it to Beyond the Crucible if we weren't doing-
Warwick Fairfax:
No.
Gary Schneeberger:
... this series? No, I wouldn't have either.
Warwick Fairfax:
No.
Gary Schneeberger:
So you've extracted something that can really help the folks who are listening and watching. Speaking of helping the folks who are listening and watching at work, let's end here. How do the crucibles, the characters in Terminator 2, offer us insight? How do the crucibles that they face offer us insight to move beyond our own crucibles, especially in the face of challenging, dare I say, overwhelming circumstances?
Warwick Fairfax:
So what this movie shows and really the growth in the Terminator, Sarah, and John is that we all face choices in life. Are we going to be defined by our worst day, our crucible? We can be this angry person, like Sarah, who is unfairly locked away in a psychiatric hospital. We can be angry and a troublesome kid, like John, who felt abandoned by his crazy mother as he though she was and had to be in the care of foster parents. Or we can choose a different path. We may not like our past and where we're headed, but we can change our present. In fact, we can change our future to a more life-affirming path where we devote our lives to something beyond ourselves, where we are focused on caring for others. That kind of vision does indeed lead to a life of significance, a life on purpose dedicated to serving others.
Few of us will receive almost a gift in which we see, if we keep on going along a certain path, this bleak dystopian future that John and Sarah Connor get to see. We may not always see that, but we don't have to see the future to know. If we keep going on this self-serving, destructive path, we may not know where that ends, but we know it won't end well. So we have to make a choice. Do we want to be a prison of our past, of what was done to us? Are we going to set a new course, a more life-affirming course which will be better for us, will make us happy and more fulfilled, and will also benefit others, maybe not humanity, but maybe out of the whole version or out the whole world of humanity in our town and in our state community?
Every day, we have a choice. Are we going to be defined by our worst day, or are we going to choose a different path, a more life-affirming? But every day, we get to make that choice.
Gary Schneeberger:
Including today, folks. The house lights are back on. It's time to collect your popcorn buckets and head for the exits and ponder the question that Warwick just asked until the next time we're together. When we get to Episode 4 of our summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. And next week, we will be talking about...
Here it comes. Scott, give it to me. Wait, slow. Start slow. Start a little quiet, and then blow it up. Blow it up, blow it out. There we go.
Next week, we're going to talk about.... We're going to examine Back to the Future. So until next time, folks. We'll see you next week, and we'll save you a seat.
Welcome to a journey of transformation with the Beyond the Crucible assessment. Unlike any other, this tool is designed to guide you from adversity to achievement. As you answer a few insightful questions, you won't just find a label like the helper or the individualist. Instead, you'll uncover your unique position in the journey of resilience. This assessment reveals where you stand today, the direction you should aim for, and crucially the steps to get there. It's more than an assessment. It's a roadmap to a life of significance. Ready? Visit beyondthecrucible.com, take the free assessment, and start charting your course to a life of significance today.
What happens when the person in charge fails โ and someone else has to step up? In this episode, we dive into Alien as part of our special summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. The ship’s captain in Alien represents one of cinema’s most striking examples of poor leadership under pressure โ and the film makes clear that when leadership fails, the only path forward is when others on the team rise up and do what they know to be right, regardless of rank or hierarchy. It’s a lesson as relevant in the boardroom and the home as it is on a spacecraft.
Want to explore our three prior summer series about the lessons we can learn about overcoming crucibles from film? Check out these playlists featuring every episode of each one:
๐ Take the free Trials-to-Triumphs Self-Assessment to discover where you are on your journey of moving beyond your crucible and how to chart your personal course to a life of significance: https://beyondthecrucible.com/assessment/
Transcript
Warwick Fairfax:
Welcome to Beyond the Crucible. I'm Warwick Fairfax, the founder of Beyond the Crucible.
Dallas is a good example of somebody that's not a strong leader. He would rather follow orders that obviously a suspect than doing what's right. He won't do the sane and sensible thing. You've got Kane who has this organism attached to him and he's just going to let Kane back on the ship and they know nothing about this organism. They don't know if it's got some virus or if it's malevolent. I mean, they don't know what's going on, but it's like, "Oh, well, let's not worry about it."
Gary Schneeberger:
Poor leadership, it's the Achilles heel of the ship's captain in the movie Alien, which we discussed this week in the second episode of our special summer series, Back to a Better Future: The Crucibles of Sci-Fi Cinema. As the movie makes clear, the only way to overcome leadership that's lacking is when others on the team step up and do what they know to be right regardless of rank or hierarchy. How can understanding that help you overcome your own crucibles? Stay tuned.
Welcome friends to this episode of Beyond the Crucible. This is our special summer series, which we have called Back to a Better Future: The Crucibles of Sci-Fi Cinema. Why do we do that? We're going to talk about why we did that. First of all, we had so much fun over the last three years that we focused, not over the last three years, over the three years, last two years, and then a couple years back. We've done three years, this is the fourth, where we focused our summer series on the lessons about overcoming crucibles that movies can teach us. And so we had so much fun doing it before we're doing it again. Guess what? We're probably going to do it next summer too.
And after we've done movies that spotlighted heroes, classic movies celebrated by the American Film Institute and last year, movies that feature really major crucible after major crucible after major crucible. In the first episode, I said you've heard of Chock Full o'Nuts coffee, that was Chock Full of Crucibles summer movie series last year. This year we're examining a film genre that's one of Warwick's favorite types of movies and that is science fiction. And the title, as I said, is Back to a Better Future: The Crucibles of Sci-Fi Cinema.
So Warwick, as we start, let me ask you this question. Why movies again? This is the fourth time, as I've said, that we've done this in our summer series. What are you hoping our listeners and viewers get from our discussions this year, these eight films that we're going through?
Warwick Fairfax:
Yeah. Gary, both you and I, we love movies and it's interesting when you look at movies from a Beyond the Crucible perspective, because most of us look at movies just to have fun and enjoy them, but it's very different than when you're looking at it, what are the crucibles? How do the characters bounce back? Do they make the right choice? And so what we love about movies from our perspective of Beyond the Crucible is that they typically portray a protagonist who is facing significant challenges that they seek to overcome. Will they be defined by their worst day? Will they overcome the crucible? Will they just do what everybody else is doing and go along? So it's a fascinating way of both looking at crucibles and learning from the characters in those movies, whether they make a good choice or a bad choice. So as you've mentioned, we've in past years looked at movies coming superheroes, sports heroes, historical heroes, significant crucibles as well as the American Film Institute's top 100 movies. So it's something we both enjoy and there's so many lessons that we can learn from looking at these movies.
Gary Schneeberger:
And it's interesting that you say, and it's true, you watch movies, we watch movies for this series much differently than we watch movies just for entertainment. And that's not to say, I think it's important to say that's not to say that this is like being at the museum of homework and vegetables. I mean, it's not drudgery to do it. It's actually quite exciting to do it, right? To be able to find those things and it shows us just how universal this concept of moving beyond your crucible is. I think that makes it more exciting even if it's different, doesn't it?
Warwick Fairfax:
Absolutely. There's something about movies that they're larger than life and typically the crucibles, the characters, are facing are larger than life, but that really highlights both the heroism and the poor choices occasionally that the protagonist make. So it's really a great way of highlighting some significant issues in a kind of an enjoyable way in a sense. It's a fun thing that we enjoy doing and we hope people will enjoy learning from some of these famous characters.
Gary Schneeberger:
And for you, this summer series about sci-fi cinema is particularly enjoyable because that is one of your favorite film genres. Why do you love science fiction films, not just films, but other aspects of science fiction? Why do you love them so much and what about them is particularly resonant for discussing crucibles and how we move beyond them?
Warwick Fairfax:
I've loved science fiction from a very early age, both in movies, TV shows, and indeed, books. One of the most influential science fiction films ever made was 2001: A Space Odyssey. It came out in 1968. And what I loved about that was it showed you future technologies such as space shuttles with screens on the seat in front of you, which is commonplace now in airlines, but didn't exist back in the '60s. You had talking computers, as they say, sentient computers that had intelligence. They couldn't just answer questions, they could actually almost think in a sense, and video conferencing and other technologies.
And one of these shows I was a big fan of was the original Star Trek TV series from 1966 to '69. I also read widely in science fiction novels, books by Arthur C. Clarke who wrote the screenplay for 2001: A Space Odyssey and Isaac Asimov. And so what I like about science fiction and still do is, sure, it explores future technology, which is fascinating. Like in Star Trek, it looks at warp drive, which is speeds that are faster than the speed of light, which scientists can debate whether that's possible or not, but it's fascinating to look at the technology.
But science fiction at its best explores deep societal issues like what is the future of the human race? How will it interact with other forms of life and technology? Will the human race go in a beneficial direction? And when we talk about technology, there's a lot of discussion these days about the future of AI. Is that going to be good for humanity or not? Is there a threat? Is there a danger people discuss these things? So science fiction is really a great way to look at crucibles and how do you overcome significant crucibles, whether it's existential questions like can the human race survive? Will the expansion of humans be across the galaxy and beyond will it be beneficial? Will technology get to the point where it will control humans? These are all very significant questions that science fiction explores. So it's a fun genre and is a rich ground to look at crucibles in.
Gary Schneeberger:
Which is a good one, two punch. It's enjoyable and there's crucibles, as I said at the top, right? A plenty, chock-full of crucibles for sure. And here in episode two of our summer series, we are looking at one movie that is indeed chockfull of crucibles and that is Alien, which is the 1979 movie that's been described and plays out for sure as sci-fi horror. Here's the summary of the film known in the industry as the logline.
"After a commercial space tug crew intercepts an SOS from a desolate planet, they are hunted by a terrifying parasitic alien creature that boards their ship."
I always love how loglines, it's like this expansive big two hour movie and they get it down to like a dozen or more words. Those people in Hollywood know what they're doing. And speaking to people in Hollywood, before we actually get into talking about the ins and outs of the film, in your research, you uncovered some interesting facts, interesting details about Alien. Share those with folks just to warm them up before we get talking about the movie proper.
Warwick Fairfax:
Indeed. So as we discussed, Alien came out in 1979 and this was director Ridley Scott's, one of his very first movies. Now he's done so many blockbuster movies, basically anything that the Australian actor, Russell Crowe does, Ridley Scott is the director. He did the one of Gladiator and just some other massive movies. It was also one of Sigourney Weaver's, who is the star here, plays character Ripley, it was one of her earliest movies and might be the first one when she was actually the star. And what's interesting is there was a time in maybe the late '60s, early '70s when science fiction wasn't popular, but then Star Wars came out in 1977 and then all the other studios, and I believe this movie was made by 20th Century Fox, everybody was running around saying, "We've got to make a science fiction movie." You know the way Hollywood is, you've worked there.
It's like once something comes out in as a hit, everybody wants to jump on the bandwagon. And so I think this particular studio ran around saying, "Is there anything we can make about science fiction?" And somebody said, "Well, we have this script called Alien." "Alien? Okay, great. It's ready? Let's make it." So it was sort of like, you got the script, we've got to make a movie about science fiction, let's go. So this is at the time, I think it got modest reviews, but interestingly enough, over time this has been seen as one of the top science fiction movies. So it's funny how movies when they come out, they might get so-so reviews, but later on as critics look at it in the course of examining sci-fi history and culture, they can reassess it and say, "Actually, this is a really good movie." This is one of those movies. It didn't come out with a bang, but its reputation increased over time.
Gary Schneeberger:
Yeah. And to your point about how Hollywood loves to copy each other, it's because of the success of science fiction films in Hollywood. The only time in a James Bond film that what is at the end of the movie and "Bond will return in..." whatever the name of the movie is, the only time that that was not correct because they put, I think it was For Your Eyes Only maybe up, but at the time Star Wars was out, as you said. And lo and behold, they had one that they were going to make called Moonraker, which had been written by Ian Fleming and they swapped the movies and Moonraker came out first to capitalize on the Star Wars mania. So Roger Moore got to go to space.
All right, let's get to talking about this movie Alien and let's begin as the opening credits unfurl, we're given the setup of this film. And at first it doesn't seem all that action packed, right? There's a core of seven folks on this spaceship. It's a towing vehicle called the Nostromo and on it they do refinery work that processes 20 million tons of mineral ore and they are returning to earth. That's the screen card that goes up. You're watching that movie and you're going, "Oh boy, this isn't going to be very exciting." But that initial scene is pretty run-of-the-mill, yes, it's pretty matter of fact given what is to come and there's no hint early on of the action and/or the danger that is to come. Why is that an effective opening, especially for a film that builds itself as sci-fi horror?
Warwick Fairfax:
Yeah. So you're right, Gary. Alien starts off pretty quietly and Nostromo is this commercial towing vehicle making its way back to earth. This isn't some like battleship or like battlestar in Star Wars or any of the other... Or in Star Trek. This isn't some elite crew in this state of the art top of the line spaceship that's ever been built at the time. This is just this commercial towing vehicle. It has a crew that almost seems bored. They're pretty relaxed. They certainly don't seem to be this crack, well-trained military type of crew, iron discipline, inquiring minds here to explore space and go beyond where people have ever gone before in Star Trek terms. It just seems like this is a job that pays the bills and it's not something they're really excited about. They're going after wherever they're going, finding material, refining it, bringing it back, then they go back again. It's just this boring kind of job that somebody's got to do it.
And so there's really no hint of what's going to happen, of the perseverance, ingenuity, and courage that are going to be required. So often crucibles happen to people who seem to be unprepared and don't feel like they're heroes at all, whether it's World War II or some cataclysmic event, something happens that really tests the medal of the man or woman who's in the arena, so to speak. Some will be found wanting and others will rise to the occasion, but it's amazing how ordinary people can do extraordinary things depending on the circumstances. So yes, this movie starts off in a pretty relaxed kind of manner in which you're thinking, "Okay, we've got this towing spaceship with this pretty lackluster crew, okay, and so we're watching this movie and should we walk out? I mean, what's going on here?" It doesn't start with the bang, that's for sure.
Gary Schneeberger:
Right. And that's common in the horror film genre. Earth-based horror films tend to be sleepy towns and everybody's like, "Oh, it's just an average everyday thing going on." And then all of a sudden the horror hits. And that's what happens here. And the ship's computer starts it all off. It's called Mother and it wakes the crew up from stasis, they're onboard sleep in pods to tell them about a signal it's received. It's a beacon and the policy of the company they work for, the seven folks on this ship is that they have to go investigate it, the crew does. So the captain, whose name is Dallas and the executive officer whose name is Kane and the navigator, Lambert, go off to investigate.
Warwick, what happens in this scene that indicates the crew of the Nostromo is about to face a terrifying crucible, right? It begins to tick up from "Not much to see here" to, "Oh, there's going to be something good to see here."
Warwick Fairfax:
Yeah. So things are about to change with the sleepy, relaxed crew. They're not going to be that relaxed for much longer. So some of the crew take off in the shuttle from the main ship to investigate where this transmission is coming from. So they go land on this planet and three of them leave. You've got Kane, Lambert and Dallas. And as they're walking on their space suits on this planet, they see this weird spacecraft is like nothing they've ever seen before and they start climbing into it and investigating. So Kane hears something strange and starts investigating because, well, that's what you do in a horror movie. You see something weird and something scary and you go, "Look."
Gary Schneeberger:
And you run right toward it, not away from it.
Warwick Fairfax:
And of course you go and look yourself. You don't bring other people on, because why would you do that? And so he starts investigating and he goes down into this large cavernous space and he sees this murky pool with lots of eggs. And of course, what does Kane do? Well, he thinks it's a great idea to decide to walk amongst these eggs, what could go wrong. So he's doing that. So Kane decides to walk amongst these eggs and he sees something moving in one of the eggs. Something seems to be alive. Now the egg opens and an organism flies out onto Kane's helmet. So Dallas and Lambert bring Kane back to the shuttle, which then docks with the main ship, the Nostromo. So they want to bring Kane back onto the ship for medical care. Now meanwhile, Mother lets Ripley know that the transmission from the beacon is a warning and not an SOS. Now they've not deciphered the whole message. They don't quite know what that message means other than it's not an SOS. It's some kind of warning.
Gary Schneeberger:
Yeah. And this is where Ripley, right, Sigourney Weaver, who's the warrant officer, even though she's third in command, she makes a bold stand when the crew that has been investigating the beacon returns to the ship.
What does she do, Warwick, and how does the action she takes or tries to take spotlight the importance in a crucible of doing what you think is right regardless of opposition or even hierarchy because she does something very pivotal to help you through a crucible.
Warwick Fairfax:
Yeah, it's well said. So at this point, the shuttle has docked with the main ship and Dallas and Lambert, they want to bring Kane back onto the ship for medical attention, but Ripley doesn't want to let them pass the airlock. So that's an airlock and the folks in the shuttle, Dallas, Lambert and Kane, they can't get back in without somebody on the main ship opening the airlock and Ripley doesn't want to do this because she says they should follow protocol, which is 24 hours for quarantine because there's some organism that's on Kane, maybe that wouldn't be safe. And so Ripley won't open the hatch, but Dallas, that is the captain, orders that the hatch be opened and Ripley says, "No."
She understands the order, but she believes that order is wrong. And you could say if it was a military term, it's not valid, you're not following a valid order, if you will. It goes against protocol, at least for quarantine. But Ash, the science officer, he opens the hatch anyway because Ash is on the main ship. So now we see that the Kane has this organism, it's attached and wrapped around his head. It's not just on his helmet, it's just on his actual head. And so Ash and Dallas try to get it off, but they can't. And so then they make an incision into the creature and this liquid pours out and it's like acid. It just eats through the decks of the ship and they're thinking it's going to create a hole in the whole ship. And so they run around, try to stop it leaking everywhere.
And so then there's this fascinating conversation in which Ripley says to Ash that Ash let Kane and the organism in when Ripley says, "I'm the senior officer on the ship." Yes, Dallas is the captain, but he's on that shuttle, and in terms of who has to make the decision on the ship to let them in, Ripley says, "I'm the senior person." And Ripley says that Ash forgot the quarantine law, but Ash says, "Kane's only chance of survival was to bring him on the ship." And so Ripley says, "Okay, yeah, but by breaking quarantine Ash, you're risking everybody's life." And Ash says, well, that was a risk that he was prepared to take. And Ripley says, "Well, that's a pretty big risk."
Now, Ripley could have said, "Well, that wasn't your decision to make. You feel like you believe that was a risk that was worth taking but not your call, but Ash makes that decision anyway. So both Dallas, the captain, and Ash, the science officer, want to bring Kane as an organism attached back on the ship, Ripley does stand her ground against Dallas and Ash and tell them that risked the health of the crew, but she's countermanded basically. Dallas overrules her and Ash ignores what Ripley wanted to do. So this is a good example of Ripley stands up for what is right. Irrespective of the consequences on her career, or indeed how she's going to get on with her colleagues, you assume that they're going to be taking more journeys together on this towing vehicle.
What this highlights is that it's easy when those around you and who work for you are pushing the course of action just to go along. Even when you don't think it's right, it's like, look, why buck the system? This is the company line. This is what all my colleagues want to do. Let's just go along. And so you could say, look, I'm not the decision maker. It's not my responsibility, but I'm reminded of the phrase that bad things happen when good people do nothing.
So Ripley is one of those people that will stand up and do what is right irrespective of what the captain thinks or, as we'll see, what the company thinks. Ripley is somebody that will do what is right no matter what, but it would seem like she is the only one on that ship. And sadly, I think many of us will find ourselves in situations where we might think of ourselves as the only person in the company in our group, in our neighborhood that will do what is right. Sadly, it often feels like there aren't that many because most people are like, "Why fight this? We're probably going to lose. What's the point? We don't want to be the only one standing up and everybody else is going to say, 'What's your problem? Come on. Just go along. It's the easy path.'"
Gary Schneeberger:
Right. And you mentioned that the other folks on the ship don't really have that same perspective, that same courage that Ripley has. And it's particularly difficult both in her case and in the cases of all of us because the actions are inactions of the guy in charge, Captain Dallas point to another critical truth about navigating a crucible, that they can get worse, much, much worse if you keep moving forward without a plan. And that's what Captain Dallas does. He allows the ship's science officer, Ash, to make a critical decision despite Ripley's growing distrust of him. How does the captain's weakness and lack of fortitude deepen the crucible they're facing? Because again, this is, as I said at the top, a lot of crucibles coming together and this one's rooted in Captain Dallas just not having the fortitude to do what's right.
Warwick Fairfax:
Yeah, it's so true. So after they're in the infirmary with Kane, they notice that the creature is gone and it's not on Kane's face. While they look for it, an organism falls from the ceiling and drops on Ripley. Now, fortunately it seems to be dead and as they're looking at it, kind of [inaudible 00:25:06] it, trying to figure out what it's made of. And Ash asked Dallas if they can bring the organism back, as in back to headquarters where they're going. And Dallas says that science matters are up to Ash as a science officer. So Ripley says, "That doesn't make sense." Dallas says, "Well, it's up to the company and we have to do what the company says." And Ripley says she doesn't trust Ash. So Dallas is just going on along with the company line, "Hey, it's really not my call. It's up to Ash as a science officer." And he's just avoiding responsibility.
Ripley meanwhile is standing up for what is right because she wants to ensure the safety of the crew, let alone those that might come into contact with the ship and the crew when the ship returns. Dallas, on the other hand, is just saying, "Yep, not my problem. I'm just doing what I'm told to do." Toeing the company line, whether that makes sense, whether it's right or not, not my problem. So Dallas is a good example of somebody that's not a strong leader. He would rather follow orders that obviously a suspect that doing what's right. He won't do the sane and sensible thing. You've got Kane who has this organism attached to him and he's just going to let Kane back on the ship and they know nothing about this organism. They don't know if it's got some virus or if it's malevolent. I mean, they don't know what's going on, but it's like, "Oh, well, let's not worry about it."
So sadly, there are too many leaders like Dallas who will not stand up for their superiors or company policy and they'll just acquiesce by basically saying, "Hey, it's not my problem. It's not my decision." And they just acquiesce. It's just so common. People often are willing to pass the buck.
Gary Schneeberger:
It's interesting. It just popped in my head in a movie called Alien, it's alien for everybody except Ripley to make strong decisions rooted in principle and rooted in courage and rooted in knowing what's going on. That's just for whatever reason, that just popped in my head.
So the next scene, Warwick, is one of the film's most horrific, most horror inducing scenes. And remember, this is a horror movie, even though it's a sci-fi horror movie. That scene happens next. Talk a little bit about what happens in that scene and why it pushes and how it pushes the plot forward.
Warwick Fairfax:
So Kane who had that creature on him, he wakes up and he seems to be fine and they're all eating a meal together. Everything's going well. They're laughing, having a good time. And as we're learning, so the spoiler alert, when things seem to be going well in a horror movie, it is not a good sign. It won't last. So enjoy it while you can. Just goad yourself, something bad is going to happen. I just know it. And indeed that is what happens. So we see that Kane seems to be ravenous. It's like he's eating way more than you would think a normal person would.
Gary Schneeberger:
Especially when he just woke up, right,-
Warwick Fairfax:
Right.
Gary Schneeberger:
... who just woke up from not doing anything.
Warwick Fairfax:
Exactly. And then Kane starts writhing and shaking and screaming. He's obviously sick. Something bad is going on here and a creature comes out of his chest and it has teeth. I mean, at this point, it's a small little creature and the creature runs away. Kane is dead at this point and they send his body off into space and they all run around now looking for the creature throughout the ship. So one moment you're having a nice meal and the next moment this weird creature comes out from this guy's chest and runs off. So it just from in a nanosecond, it goes from being a calm time to what the heck is going on here.
Gary Schneeberger:
So the alien that had affixed itself to Kane's face and then got on his face and got some probes down into his... And somehow was then in his stomach and then burst out and now he's on the loose, which is Ripley's worst fear back to, where on quarantine, they didn't listen to her. So her worst fear now has come to life. What happens next because more worse fears keep coming now?
Warwick Fairfax:
They sure We do. The crew has a cat, Jones or Jonesy as they call it, and this cat sets off a sense that the team has developed to allow them to catch the alien as it moves around the ship. So they've sort of tested out this technology, it does work. When Jones sets off one of the motion sensors, Brett, an engineering technician, goes to find him and Brett encounters the alien. Well, at this point the alien is not small, it's massive and it kills him. And Ash says the creature has adapted well. Again, a bit of foreshadowing. There's a little bit of too much admiration in Ash's voice.
Gary Schneeberger:
Right, right.
Warwick Fairfax:
So Dallas then devises a plan to force the creature off the ship with an airlock. So Dallas wants to chase this creature into an airlock and then let it off into space. And so Dallas asked Mother, the computer, about alternative plans to kill the alien, but the computer seems to be unable to answer the questions. The Mother has nothing, so to speak. It's just not helpful. Its answers are like uncertain, basically, "I don't know". So then Dallas enters these air ducts with a flame thrower, but is ambushed and killed by the alien. So what this movie does a good job of is it shows you hints of violence. You'll see this creature come up behind Brett. You'll hear screams from Dallas, maybe a hint of a creature about to get him. But then it cuts away leaving a lot to the imagination, which really the best kind of horror movies is when it's your imagination that is thinking, "What exactly happened? I know he's dead, but ..." So Ridley Scott does a great job in directing this movie.
Gary Schneeberger:
So Ripley is now in charge of the ship and she has her suspicions and has had, you could tell the way she looked at them. She's had her suspicions about Ash and she has them confirmed in one of the most pivotal scenes in the movie. Let's take a look and a listen to that scene.
Movie Clip:
Ash: There is an explanation for this, you know?
Ripley: Is there really? I don't wanna hear your goddamn explanation. Ash, open the door. You open the door.
Parker: Get her up, get her up. It's a robot, Ash is a goddamn robot. Holy shit! Shit! Help me get this f...ing thing off! Oh, God. God, Jesus.
Gary Schneeberger:
Warwick, that scene, not easy to watch, very jarring to watch. That scene makes everything that has come before though makes sense, doesn't it?
Warwick Fairfax:
It really does. So with Dallas Dead, Ripley now has access to Mother and she wants to know how to kill the creature. So Ripley is now acting captain and she has access to Mother and some of the information there. So Mother says that their orders are to retrieve the creature and that the crew is expendable. So in the scene we see that Ripley confronts Ash who comes up behind her while she's reading this message from Mother and Ash says that there is an explanation and Ripley angry, she just tears off and Ash traps Ripley in a part of the ship and with superhuman strength hurls Ripley to the ground. Now Ash then forces Ripley down and gets this rolled up magazine and puts it down Ripley's throat. At this point you're wondering what's going on with Ash putting a rolled up magazine down Ripley's rote and you wonder if Ash wants to pour something down Ripley's throat.
I mean, it's the kind of thing that you would think may happen. So Parker comes from behind Ash and hits Ash with this metal tube. So when Ash's head almost comes off, we see that Ash is a robot. And then we see that Ash has been protecting the creature all along. Ripley asks Ash about the special order. Ash says it was to bring back the life form that is priority one. All other priorities are rescinded. Parker curses Ash and a company who clearly don't care about their lives. Ripley asks Ash how to kill it and Ash says, "You can't."
Now at this point, I think we see that the creature is actually within Ash. So it's a very weird thing that we see going on here. So Ash says that the creature's structural perfections is only matched by its hostility. Ash admires its purity. It is unclouded by conscience or morality. Ash says he can't lie about their chances almost smiling and says they have his sympathies. At this point they pull the plug on Ash. So it seems like Ash is being protecting the creature all along. Partly maybe it's his orders to protect the creature, bring it back for study. Maybe also the creature is within Ash, but it just seems that Ash has this admiration for this creature. It's sort of structural perfections, it's purity. And Ash admires the fact that the creature is unclouded by conscience or morality. I mean, what a thing to admire. Yeah, Ash is clearly in the camp of this very malevolent creature.
Gary Schneeberger:
Yeah. And as you were describing that, it just occurs to me, you mentioned Parker, who I don't think we've introduced yet. He's the one of the seven we haven't talked about. Parker is one of the engineers. So he's a very no nonsense kind of rough and gruff and physically intimidating guy. So that's why he takes the big metal tube to Ash and ends Ash's sentience, if you will, eventually. But with no hope of defeating the alien, Ripley decides that she has to initiate the self-destruct sequence and abandon the ship. But it's not as simple as that, Warwick. What happens next?
Warwick Fairfax:
So Ripley is now, again, clearly in command. You've just got Ripley and Lambert and Parker left. So Ripley says to the other two, "Okay, I'm going to go prepare the shuttle." And she's hoping to kill the creature when the ship self-destructs because they have no idea how to kill it. And she tells the other two, Lambert and Parker, to go collect some critical supplies and equipment for the shuttle for when they take off. While Lambert and Parker are gathering supplies, you see that this alien creature kills both of them. You see it's put some sharp part of itself right through Parker and then put some tentacle around Lambert. So you just see hints of that. So now alone, Ripley starts the self-destruct process, but the alien blocks her root to the escape show. And so Ripley narrowly escapes and turns back to abort the self-destruct sequence because she feels like "I'm running out of time", but she fails to return to where this self-destruct mechanism is before the override option expires.
So with only a few minutes left to evacuate, Ripley frantically returns to the shuttle and finds that the alien is gone. She takes Jones the cat with her and she boards the ship and launches it seconds before the Nostromo explodes.
Gary Schneeberger:
Right. So she's in the shuttle, ship's blowing up. End of story, right? Roll credits. Nah, come on. This is a horror film, folks. There's on jolt, one shocking surprise left. Alien still has one scary surprise left. Describe what happens next and that is indeed what happens last in Alien.
Warwick Fairfax:
So Ripley is now in the shuttle and you think all is well. Again, never a good sign, certainly not in a horror movie. So we see the main ship blow up and it blows up in a massive explosion. Ripley says under her breath, "I got you, you son of a blank."
Gary Schneeberger:
Blimp, yep.
Warwick Fairfax:
[inaudible 00:41:45]. Fill in the details. Ripley almost seems comatose. When you've gone through this crucible that Ripley has gone through and you've been running for your life and then you feel like you're finally out of danger, you just sort of sit back and take a breath and you're almost sort of numb after the whole experience. And she does feel like almost comatose from that experience. But then she sees, on the other side of the shuttle, this creature crawling around and she races to get away and she hides among the spaces. I mean, this shuttle is not big and she has an idea. So she climbs into one of the space suits and puts the helmet on and she gets like the spear gun and she comes out of hiding almost singing to herself under her breath because she has a plan and she starts pushing buttons and what Ripley does is she sucks the air out of the shuttle and then opens the airlock.
Now she has a spacesuit on, so this is obviously all planned and the creature is beginning to be sucked out of the shuttle. But before getting sucked out of the shuttle, the creature tries to hang on, it's got its tentacles on either side of the airlock, the opening of the airlock and Ripley shoots it with a spear gun and it finally lets go. So then we see that Ripley closes the airlock, puts air back in the shuttle and takes her spacesuit off. So at this point she thinks, "Okay, we're good," but not yet.
Gary Schneeberger:
Not yet.
Warwick Fairfax:
So this creature is trying to crawl back in where the rocket tubes are. And so Ripley turns on the rockets and the creature is finally blown away. So at this point, Ripley then begins to make a final report in her log and she says, the other members of the crew are dead. The cargo and the ship are destroyed and she'll reach base in about six weeks. She says, "This is Ripley the last survivor of the Nostromo signing off." Ripley hugs the cat and talks to the cat because it's the only left and says, "Come on, cat," and hugs it. And so Ripley is in a cryopod and the movie ends.
One of the interesting things to note in this movie is you do see some humanity on the part of Ripley in that Ripley goes to great lengths to save the cat and that's definitely a priority. She's not this callous cold person. She's trying to save everybody, but in the end, it's only Ripley and Jones, the cat, that survive.
Gary Schneeberger:
And what's interesting, right? That's the end of the movie, but it's not the end of the Alien cinematic universe. They've made how many sequels? They've made like three or four sequels to this movie, including some in which the alien fights the predator from the Predator movies. I've never seen any of them, but this film, this antagonist definitely has legs going forward. Sigourney Weaver comes back for at least two more movies. There's something about this idea of an alien from space that is indestructible in everything that Ash said, it has no humanity. It has no morality. There's something about that that is appealing to moviegoers, right?
Warwick Fairfax:
It really is true. Yeah. As you mentioned, you've got that movie Predator with Arnold Schwarzenegger and it is an alien-like creature. It's very malevolent and kills everybody except Arnold Schwarzenegger and he's sort of clambering over rocks and streams with kind of camouflage on. And this whole alien genre, there's quite a few Alien-like movies that come out after this. It's just sort of your worst nightmare to see this malevolent creature. You don't know what it is, where it's come from. All you know is it wants to kill you. That seems to be its mission in life. So yes, it spawned a very scary genre of movies.
Gary Schneeberger:
Yeah. All right. So we don't talk about these movies, Warwick, just enjoy the films as we said at the outset, right? We don't watch them just for entertainment. We watch them because there's crucibles in them and we want to help folks who go through crucibles, learn some lessons from these movies about how to do that. So how do the crucibles that the characters in Alien go through offer us insight into how to move beyond our own crucibles, especially, and this is important, in the face of challenging circumstances, yes, but even scary circumstances, which are definitely at play in Alien. How does this movie help us navigate our own crucibles?
Warwick Fairfax:
Yeah. Alien highlights that dichotomy between those who will do what is right and those that will not and the severe consequences that ensue. So clearly that happens here. Ripley is concerned about letting Kane back on the ship with an organism on him. She understandably and rightly wants to invoke quarantine. Dallas, on the other hand, the captain, he just goes along with a company line and supports the science officer. "Hey, it's not my responsibility. Company, they want to investigate life and maybe there's a profit in it. And besides it's not my decision, it's a science officer's decision or it's the company's decision. It's really anybody's decision other than me. Not my problem."
The other really sad thing here is the company clearly values potential profit that the creature might bring over the safety of the crew. It is clear that the crew are expendable. It's all about profit. It's all about leveraging this alien creature for some benefit of the company. They can always find other crew. So there are powerful lessons in Alien. Are we going to do what is right like Ripley or are we going to go along with a company line like Dallas and Ash do? "Hey, it's not my problem, not my responsibility. I don't have a choice. I'm just doing what I'm told to do. I'm just going to do what's expected. I don't want to make enemies with the people I work with. Certainly I don't want to make enemies with the powers of be or my bosses above me."
So are we going to do what Ripley does or do what Dallas and Ash do? Are we going to lead a company that only cares about the bottom line or that cares about people? It's often in the corporate world, you're constantly concerned about earnings per share and got to constantly increase profit. Maybe we'll have to right size, which means lay off some people, but it's just a few and hey, I don't know that I really need to do this, but if I don't hurt the quarterly profits and I don't think I can explain to the shareholders and investors and let's just do what's expedient, let's just do what's easy.
So are we going to be that kind of a leader or are we going to work for a company whose values that are completely against ours? Maybe it's like, "Well, it's a paycheck," or it might be, "This company pays really well. I just have to go along to get along and, hey, I just work here. I don't set the company values." And the challenge is you go along with one poor decision after another or you just acquiesce to them and pretty soon you've moved as we find in Star Wars from the light into the dark side.
It happens a bit like a lobster boiling step by step. And so this movie shows that our decisions on some of these powerful questions, they have significant consequences. The repercussions of our decisions might be much bigger than we realize. It's so easy to say, "Well, it's just a white lie and doesn't everybody cheat on their taxes?" And "I didn't lie. I just didn't tell the whole truth. I left out some key facts, but hey, I didn't murder anybody, right? I mean, it's not a capital crime. It's just something little." But something little eventually becomes bigger and then it becomes so big that it's too late to back out because backing out might mean loss of reputation or even worse, maybe prison. So you may think, "Oh, that will never happen to me." Well, it's easier than you think if on bad decision, one unethical decision after another in some cases, molehills can grow into mountains.
You don't want to be that person that starts off as somebody that just didn't do anything that wrong, but one poor decision after another, one acquiescing to somebody's orders after another leads you to be a person that you don't even recognize and at that point you feel like it's too late.
Gary Schneeberger:
Friends, the house lights are back on. Our feature is over for this week. Thank you for joining us for this episode of Back to a Better Future: The Crucibles of Sci-Fi Cinema. Next week we will have another film where we will discuss the crucibles there and the lessons you can learn from them. And I'm going to do it, Warwick, I'm going to ask Scott, give me a drum roll here so I can tell everybody what the next film is. Excellent. Next time we are going to talk about Terminator 2: Judgment Day and I'll leave you with this folks, just so you know, we'll be back. See you next week.
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