Ah, the adventures of Jean Seberg-droid...
I don't think that it's a sexual thing for Marshall. Personally, I'd have thought it was more about his wanting to live in the fantasy world he sees in the French new-wave movies, but I dunno...
There's a lot of reference to the work of Jean-Luc Godard in this episode, but I can't really grasp what point they're driving at. The most prominent two films would appear to be A bout de Souffle and Alphaville (the two cans Togusa holds up), but I've seen both and I don't remember any of the dialogue that Marshall and Jerry appear to be acting out. The film that Togusa's wife is watching doesn't look familiar either.
You could possibly see it as some sort of cautionary tale about the danger of idealised nostalgia. Togusa and Batou both cling to relics from before their time (the revolver and the classic Lancia), but Marshall seems to have taken this to an absolute extreme - building himself into a romanticised vision of '60s France. Only the Major seems grateful that time has moved on, recalling her earlier prosthetic body with its imprecise controls.
Godot said:He's a lonely guy who had sexual ideals relating to androids I suppose. He seemed to be pretty useless around real women.
I don't think that it's a sexual thing for Marshall. Personally, I'd have thought it was more about his wanting to live in the fantasy world he sees in the French new-wave movies, but I dunno...
There's a lot of reference to the work of Jean-Luc Godard in this episode, but I can't really grasp what point they're driving at. The most prominent two films would appear to be A bout de Souffle and Alphaville (the two cans Togusa holds up), but I've seen both and I don't remember any of the dialogue that Marshall and Jerry appear to be acting out. The film that Togusa's wife is watching doesn't look familiar either.
You could possibly see it as some sort of cautionary tale about the danger of idealised nostalgia. Togusa and Batou both cling to relics from before their time (the revolver and the classic Lancia), but Marshall seems to have taken this to an absolute extreme - building himself into a romanticised vision of '60s France. Only the Major seems grateful that time has moved on, recalling her earlier prosthetic body with its imprecise controls.