“Hey y’all,
Fairly new listener, long-time fan of Erlich’s writing and Katy Rich’s Twitter who can’t remember if he learned about the podcast from Little Gold Men or Blank Check, but it was probably one of those. Patches and Dave, y’all seem cool. The show’s great and its been accompanying me on my (hopefully) temporary stint working a night shift job, so thank you. People should listen to this, but I’m really writing in to revisit Ehrlich’s comment about Body Snatching in No One Will Save You in episode 446.
Your take seems to involve them not “body snatching” proper because they create a new version of their victims. If you remember back to the two most iconic Body Snatchers films (56, 78) that is how they work, the pods infect you while you sleep and they grow a new you.
I’m not bringing this up to nitpick but to say that this distinction is what makes No One Will Save You such a moving piece of genre fiction in my eyes. The reason the Body Snatcher pods replace the body is so that the films can debate the worth of a soul (or whatever you want to call the essential elements that make us human beyond memory and intelligence.)
By retaining this element of the Body Snatching including an alien-ified human clone versus infecting a person like many modern entries in the genre do, Duffield uses the intertextuality of genre to drive the very power of the ending.
Of course like you said, this story-telling mechanism allows her to defeat the version of herself that she wishes she was. But more importantly, by allowing Dever to live, the film states that her soul has not been ruined by her past and is worthy of preservation, while the townsfolk’s rejection of her, even when she tried to warn them, has cost them theirs. More than simply inverting the genre, Duffield sharpens it. My two cents.”
Andrew J. Eisenman via Apple Podcasts ·
United States of America ·
10/27/23