Ep. #412 - Leave the World Behind

Elliott Kalan

[0:00] Hi, floppers. Before we start our regular nonsense, we wanted to make sure you knew the Flophouse is going on a four-city West Coast tour this January.

[0:08] It's the Flophouse Errors Tour, the biggest event in pop culture entertainment this year, probably.

[0:14] You can see us in Vancouver on Wednesday, January 24th at the Rio Theater.

[0:19] In Portland on Thursday, January 25th at the Aladdin Theater.

[0:22] In San Francisco on Friday, January 26th at Cobb's Comedy Club as part of San Francisco Sketch Fest.

[0:28] And in Los Angeles on Sunday, January 28th at the Regent Theater.

[0:32] For tickets, go to flophousepodcast.com slash events.

[0:36] Again, that's flophousepodcast.com slash events.

[0:39] The Flophouse Live. It's like the podcast, but you can smell us.

[0:43] And now, without further ado, our regular nonsense.

Dan McCoy

[0:46] On this episode, we discuss leave the world behind.

[0:50] More like leave this movie behind.

Elliott Kalan

[0:55] Guys, I started buying jokes from Gene Shallon.

[0:58] Hey, everyone, and welcome to the Flophouse.

Dan McCoy

[1:24] I'm Dan McCoy.

Elliott Kalan

[1:26] I'm Stuart Wellington.

[1:27] And I'm Elliot Kalin.

[1:29] Dan, do you want to explain to everybody who's listening why your voice sounds a little sexier today?

Dan McCoy

[1:35] Sexier.

[1:37] I had a cold, all right?

[1:40] I started out with a cold.

[1:42] Then I had a day that there was a – I had a violent allergy attack.

[1:45] And before I get tweeted at saying like, did you check for COVID?

[1:50] I'm aware that COVID exists.

[1:52] I have taken, you know, five COVID tests.

[1:54] Take that straw man.

[1:55] Yeah, yeah, straw man.

Stuart Wellington

[1:56] Take that shit.

[1:58] Well, there's a lot of well-meaning concern out there.

Elliott Kalan

[1:59] The Batman villain, the straw man, he gets knocked down real easy because he doesn't exist.

Dan McCoy

[2:04] Look, I appreciate the concern, but I'm taking care of myself.

[2:07] I checked out if it was COVID.

Elliott Kalan

[2:09] Sensitive straw man cares whether Dan has COVID.

Stuart Wellington

[2:12] Yeah, yeah, yeah.

[2:13] That's why what Batman's like.

[2:15] Yeah, I know that my money would be better spent helping people as opposed to me battling dudes.

[2:20] I get it, straw man.

Dan McCoy

[2:22] And then I was getting better.

Elliott Kalan

[2:23] Oh, no, it's straw man's partner, slippery slope.

[2:26] I'm sliding down his ice wall.

Dan McCoy

[2:28] I was getting better.

[2:30] And then I went to Audrey's extended, you know, large Filipino hard partying family had a celebration for it's like the first birthday of one of her nephews.

[2:44] And it all went back downhill after that.

[2:47] That was I shouldn't have.

[2:48] I should have continued the recovery period.

Elliott Kalan

[2:51] Is it possible that that was a super spreader event?

[2:54] You got COVID.

[2:55] Hi, my name is straw man.

Dan McCoy

[2:56] It could be.

[2:58] Look, guys, I'm no saint.

[3:00] I can't control everything that happens.

[3:02] And I'm sorry if I have infected anyone.

[3:05] I did my best.

[3:06] I took five negative COVID tests.

[3:08] But if it turns out.

[3:10] They were all lying to me.

Elliott Kalan

[3:12] Oh, no.

[3:14] Hey, Dan, here's my new character, straw man shortcake.

[3:17] He brings up arguments no one else is talking about and also delivers pastries.

Stuart Wellington

[3:23] Oh, that's cool.

[3:24] Dan, I do want to, I'm going to confirm for you.

[3:27] I have, I've been to at least the start of one of Audrey's family's parties.

[3:31] And they go super fucking hard.

[3:33] And I was like, oh, man, I got to leave.

[3:35] And they're like, what?

[3:37] We're just warming up.

Dan McCoy

[3:38] Yeah.

[3:39] Was there a part where I curled up in a corner of the downstairs on the carpeted floor and fell asleep?

[3:45] Yes.

[3:46] Oh, wow.

[3:47] Because they kept going past where I was able to.

[3:50] Anyway.

[3:51] Yeah.

[3:51] They went where you can't follow.

[3:53] So the shorter version of that is I've been sick.

[3:56] So my voice sounds like this.

[3:57] And Stuart is in a different room, not recording with me, in part because I've been sick.

[4:03] So I apologize if there's any extra lag because we're all in three different places.

[4:08] Yeah.

Stuart Wellington

[4:08] If we don't have our like normal, like electric chemistry that we usually have.

Dan McCoy

[4:14] I used to watch the electric chemistry.

[4:17] That was Spider-Man, right?

[4:18] Yeah.

Elliott Kalan

[4:19] Yeah.

[4:19] I taught you how to read.

[4:20] Anyway.

[4:21] So Dan, what do we do on this podcast other than talk about your illnesses and your wife's

Dan McCoy

[4:24] family's parties?

[4:25] Yeah.

[4:26] An extended diversion.

Elliott Kalan

[4:28] They thought they called into the Filipino house where Dan talks about his in-law's parties.

Dan McCoy

[4:33] You know.

[4:34] Jolly Bee reviews.

[4:35] Jolly Bee reviews.

[4:39] It's very good chicken.

[4:41] I'm not necessarily a fan of the sweet spaghetti, but I get it.

Stuart Wellington

[4:46] At least it's more of a trad chicken guy.

[4:48] He doesn't like it to be all weird like Jolly Bee chicken.

Elliott Kalan

[4:51] Well, the thing is the Jolly Bee chicken is pretty trad.

[4:54] It's very trad, yeah.

[4:55] There's not that much that's interesting about it, which surprised me when I first went to

[4:58] Jolly Bee in the mall near my house.

[5:01] But I'll go there again.

[5:02] You know what?

[5:02] And maybe I'll even try that sweet spaghetti.

Dan McCoy

[5:05] An explicit attempt to sort of challenge, you know, like worldwide fast food chain.

[5:13] So, you know, I'm not surprised that they went with like something with broad appeal like

Elliott Kalan

[5:17] I mean, the greatest food in the world, fried chicken.

[5:19] The thing is, though, if it's called Jolly Bee and there's a bee, you expect to have a taste

[5:24] of honey.

[5:25] Oh, interesting.

Dan McCoy

[5:26] Yeah, I think it just refers to the happiness of the bee that is their mascot.

[5:30] The wild bee.

[5:30] Classic.

[5:31] Wild bee.

Elliott Kalan

[5:31] Because they watched Wild Mountain Time and they were like, bees, yeah, of course.

[5:35] Guys, what do we do on this podcast?

Dan McCoy

[5:38] Right.

[5:38] This is the second time we try to get back on track.

[5:41] Let's make it three.

[5:43] This is the advantage of me being sick is you get one of these freewheeling episodes.

[5:47] Advantage.

[5:50] We watch a bad movie and then we talk about it.

[5:52] In this case, actually, we watched a movie that wasn't even a critical flop.

[5:58] Like, it got overall pretty good reviews.

[6:02] Like, mixed.

[6:02] Interesting.

[6:03] Mixed positive.

[6:04] But it is a movie that a lot of people had negative reactions to vocally on the internet.

[6:11] And also, our friend, Elliot's and mine, Lauren, who we used to write with at The Daily Show.

Elliott Kalan

[6:18] Lauren Sarver, incredibly talented comedy writer.

Dan McCoy

[6:21] Yeah.

[6:22] She took Audrey and me out for a...

[6:24] She and her husband took Audrey and me out for a...

Elliott Kalan

[6:26] Sam Means, also a very talented comedy writer.

Dan McCoy

[6:29] A late wedding dinner.

Elliott Kalan

[6:30] The show Mulligan, also on Netflix.

[6:31] Like, leave the world behind.

Dan McCoy

[6:33] And they were really selling us on this movie as something that we should cover for the show.

[6:39] And it was, like, number one on Netflix, I think, for, like, a week or whatever.

Elliott Kalan

[6:43] According to...

[6:45] According to Netflix.

[6:46] It says Netflix.

[6:47] Why?

[6:47] I'm telling you, who knows?

[6:48] Also, here's the thing.

[6:48] Whenever...

[6:49] When Netflix puts something on the homepage and it starts playing, if you don't press any buttons,

[6:55] and then they say that's the number one most watched movie on Netflix,

[6:58] it does not impress me.

[6:59] That don't impress me much.

[7:02] To quote the Italian guy on the pizza box, that don't impress me much.

[7:07] Yeah.

Dan McCoy

[7:09] Well, anyway, you know, I trust her when it comes to this kind of thing.

[7:13] I asked her whether she wanted to say anything for the show since she'd been so instrumental in pushing it.

[7:19] And she texted Karen Brockovich.

Elliott Kalan

[7:25] And then she texted...

[7:25] Oh, yeah, that's a great...

[7:26] No, frankly, that is the most trenchant description.

[7:29] And I've heard of it so far.

[7:31] Yeah, yeah.

[7:31] Because Julia Roberts, the star of the film, is playing the...

[7:35] It is playing such a caricature of a Karen, you know, East Coast, semi-liberal, but educated, complacent,

[7:42] wants everything her own way, white woman, who gets angry at people instantly, does not trust black people instantly.

[7:49] We'll get to that.

[7:50] Yeah.

[7:50] Karen Brockovich is a great way to describe it.

[7:52] Lauren, excellent.

Dan McCoy

[7:52] That's what she said.

[7:54] Yeah, she said, you can use that.

[7:55] And then she texted, ha ha, I still got it.

[7:58] So...

Elliott Kalan

[7:58] Oh!

[8:00] She is an Emmy-winning comedy writer.

[8:02] The idea that she's still got it, you know?

[8:04] Yeah.

Stuart Wellington

[8:05] But that's like a perfect over-the-shoulder gag, right?

[8:09] Yes.

[8:10] Yes, perfect.

[8:10] Well, we would call an OTS.

[8:11] Yeah, yeah.

Dan McCoy

[8:12] We would have asked her to be on the show, but she is a hermit of comedy.

[8:17] She prefers to be in the shadows.

[8:19] So...

[8:19] She doesn't like public approval.

Elliott Kalan

[8:22] Doesn't like to be seen by the public.

[8:25] Anywho, so let's talk about this movie, shall we?

[8:28] Called Leave the World Behind.

[8:29] Now that we've told the origin story of why we're doing it.

[8:33] Let's also direct advice.

[8:34] And my voice.

[8:36] Yep.

[8:36] Do we have any other origins we need to talk about?

[8:40] X-Men origins Wolverine.

[8:41] So Batman's parents walked him through Crime Alley for some reason,

[8:45] and some crime happened, and now he's Batman.

[8:49] That's the origin of Batman.

Stuart Wellington

[8:50] That's why his parents were killed by the straw man.

Dan McCoy

[8:53] Yeah, by the straw man, yeah.

[8:54] Batman was like, what do criminals fear more than anything?

[8:58] Bats.

[9:00] Because they're superstitious and cowardly, so I must become a bat.

Stuart Wellington

[9:05] Mm-hmm.

[9:05] Yeah.

[9:07] You nailed it.

[9:08] That's actually the summary.

[9:09] You did.

[9:10] I mean, I know what happened.

Dan McCoy

[9:11] You know, like he crashed through this window.

[9:12] I just think it's funny that...

[9:14] Well, what is the natural enemy of criminals then?

[9:16] Exactly.

Elliott Kalan

[9:17] I mean, he would join the police.

[9:18] He joined the FBI.

[9:20] Bigger criminals?

[9:21] He goes, I must become a larger criminal.

[9:26] And he builds kind of like a big puppet suit that looks like a bank robber,

[9:30] but it's like 10 feet tall.

Stuart Wellington

[9:31] Yeah.

[9:32] Guys, I've been watching Reacher, and I'm obsessed with big characters now.

Dan McCoy

[9:37] He's so huge.

[9:38] Every show needs one big guy.

Stuart Wellington

[9:40] Huge.

[9:40] It's so big.

[9:41] There's a sex scene, and I'm like, be careful, Reacher.

[9:45] You can't love like a normal man.

Dan McCoy

[9:48] I like that show, but I also feel like it has...

[9:51] Because he is so big and blonde, it has this uncomfortable undertone of like, yes, here's

[9:57] the Superman, who is both hugely strong and knows what is correct in every circumstance.

Elliott Kalan

[10:02] It's a step away from being called Reicher.

Dan McCoy

[10:04] Yeah.

[10:05] Yeah.

[10:05] He comes into town and rips criminals apart with his bare hands.

[10:09] Like so much pulled chicken.

Elliott Kalan

[10:11] Anyway, talking about ripping apart with their bare hands, there's nothing like that and

[10:15] leave the world behind.

[10:16] But Dan, shall I begin the summary?

Dan McCoy

[10:17] Please do.

[10:18] Get us on the tracks.

Stuart Wellington

[10:20] Actually, Elliot, there is a part where somebody rips something apart with their bare hands.

[10:24] It's near the end, though.

[10:26] Oh, yeah, you're right.

[10:26] It's a kid's teeth where he yanks all them fuckers out of his...

Elliott Kalan

[10:28] He's yanking teeth out of somebody.

[10:29] He's not ripping the teeth apart.

[10:31] He's not like, my teeth are made out of cotton candy all of a sudden.

[10:34] So, leave the world behind.

[10:36] So, we begin.

[10:37] We're introduced to Brooklyn-based Amanda, Julia Roberts, and her husband, Clay, Ethan

[10:41] Hawk.

[10:42] She wakes him up.

[10:43] They're your basic East Coast elite, educated...

[10:45] I mean, Karen Rogovich.

[10:46] That says it all.

[10:47] Ethan Hawk is America's hot daddy.

[10:49] I love him.

[10:49] He's great.

[10:50] Ethan Hawk, I love him in everything I see him in.

[10:53] I feel like he only gets better as he gets older, as both an actor and a charismatic

[10:56] performer.

[10:57] That's what I was saying to Audrey.

[10:59] Because he has made this niche for himself, which this character, Clay, fits into exactly

[11:03] of the guy who maybe once was cool and thinks he might still be cool, but is not cool.

[11:09] Like, did you guys see the episode of Reservation Dogs that he's in?

[11:13] Where...

[11:13] No.

[11:14] He is not really right for the casting of this character.

[11:16] Allura, one of the main characters, she finds out who her dad is.

[11:19] She goes to see him.

[11:20] And he's a little too old to be that character.

[11:22] But he so perfectly captures this guy who, like, used to be kind of cool, is no longer

[11:27] cool, but still thinks of himself as cool.

[11:30] And there's a battle within himself for the man he used to be and the man he is now.

[11:34] And that's Clay in this one.

[11:36] He is a total beta cuck who thinks he's a cool guy.

[11:39] He walks around wearing a bikini kill shirt, but he cannot do anything with his hands.

[11:43] He can't fix the TV.

[11:44] Later on, he uses this beta cuckness as a secret weapon.

[11:47] We'll see.

[11:48] But we have Karen Brockovich and beta cuck.

[11:52] They're fighting crime, I guess.

[11:54] And one morning, Amanda wakes up Clay and says,

[11:56] Hey, I booked a spur-of-the-moment vacation on Long Island for us.

[11:59] I just rented a house.

[12:00] Let's just do it.

[12:01] Let's just go to it.

[12:02] By the way, I hate people.

[12:04] That's how she ends the scene.

[12:05] And then we get animated opening titles where it's like weapons and American flags and deer

[12:10] and clocks.

[12:11] And I'm like, oh, it's one of these movies.

[12:13] Okay.

Stuart Wellington

[12:13] I'm like, is this Civil War directed by Alex Garland?

[12:17] That doesn't come out until next year.

Elliott Kalan

[12:19] But it has that feeling.

[12:20] And then it says, executive produced by Barack and Michelle Obama.

[12:23] And I'm like, oh, well, this is going to be a middle-of-the-road movie.

[12:26] These are two people I'm known for, I think of it for radical artistic experiments.

[12:31] But Dan, what were you going to say?

Dan McCoy

[12:32] No, I just want to say, as beta as he may be, as like, yes, he is a trenchant in some

[12:39] ways portrait of a certain type of guy that I fear that I might be, in fact.

[12:44] Yeah.

Elliott Kalan

[12:45] And he teaches media as a college course or something like that.

[12:48] Yeah.

[12:49] Media studies.

Dan McCoy

[12:50] As much as he is, yeah, we laugh at him.

[12:54] I also have to admire, I have to give it to him for the chill way he responds to his wife

[13:01] having sprung a trip on him the morning as he woke up.

[13:08] Good on you, Ethan Hawks character.

[13:11] I think it's true.

Elliott Kalan

[13:12] I think it's, if this was a, I'm going to lay some of my cards on the table.

[13:15] I think this movie is not really completely thinking through the things that it is doing.

[13:20] I think if it was, if I felt like it was thinking itself through more, I would say that he is

[13:25] showing that he is a character who is so used to getting whatever he needs that it doesn't

[13:30] even occur to him to be upset that his wife has suddenly thrown their life slightly into

[13:34] chaos with a vacation.

[13:35] He's just like, he's the kind of guy where vacations sometimes fall in his lap.

[13:39] He works hard, I'm sure, at his job, but it's not, his job is as a media professor.

[13:42] It's not a life-threatening job.

[13:44] He's someone who is, who is used to relying on privilege, but he doesn't think he is.

[13:47] Like that, if I thought the movie was, maybe it's saying that.

[13:49] Kind of like Timothy Oliphant.

Stuart Wellington

[13:52] I get that vibe from Timothy Oliphant.

[13:54] Like he's a great actor, but I get this feeling of like a dude who's never had to worry

[13:57] where he's sleeping at night.

[13:58] You know what I mean?

Elliott Kalan

[13:59] I mean, I've never had to worry where I'm sleeping at night either.

Dan McCoy

[14:01] No, that's what I, oh, cool.

[14:03] That's, that's what's dreamy about him.

[14:05] I'm like, yes, Timothy Oliphant.

[14:06] You have so much charisma that you overwhelm.

Elliott Kalan

[14:10] He does.

[14:11] I feel like there's a certain, I feel like Timothy Oliphant or like Chris Pine are guys who

[14:15] are very handsome and very charming, who understand that life comes a little easier to them because

[14:19] they're very handsome and very charming.

[14:21] And they're like owning it a little bit.

[14:23] Yeah.

[14:23] That's what I appreciate more than if they were like fighting it.

Dan McCoy

[14:26] You know, they're like.

[14:27] That's what I like about that most recent Fletch movie with Jon Hamm's performance as Fletch.

[14:31] I feel like he has like this certain air of like undertone of like apology that he's like this guy.

[14:39] He's like, look, I understand why this guy, AKA me, would be irritating, but I kind of have

[14:44] to be this way right now for what I'm doing.

[14:46] So like, I'm sorry.

[14:48] But.

Elliott Kalan

[14:49] I mean, I like the original Fletch, Jessica Fletcher in Murder, She Wrote.

[14:53] She didn't have it so easy.

Stuart Wellington

[14:55] No, she didn't.

Dan McCoy

[14:55] Yeah.

[14:56] Well, crime followed her.

[14:58] Yeah, that's true.

[14:58] Because I mean, she was killing people.

Elliott Kalan

[15:00] It's a dark passenger.

[15:01] Yeah.

[15:02] The last episode should have revealed that she was the murderer all along.

[15:04] But anyway.

Stuart Wellington

[15:05] So I will have to say a couple of other side notes.

[15:07] I like the design of their Brooklyn apartment.

[15:10] I think it's very cute.

[15:11] It does.

[15:12] And also, I feel like right away, Ethan Hawke also seems, I don't know if it's just the way

[15:17] it's written, but he seems to be more comfortable with the dialogue and like the pitch and pace

[15:24] of this dialogue than Julia Roberts does.

[15:26] Immediately, I'm like, has she lost the juice?

[15:29] Does she not have it anymore?

[15:30] Because she comes off very stilted in a way that seems, that like, in a way it reminded

[15:38] me of another Apocalypse movie, The Knock at the Cabin, which is also filled with nothing

[15:43] but stilted dialogue.

[15:45] But for some reason, it worked more in that movie than this one.

[15:48] But I'll get into that one.

Elliott Kalan

[15:49] I'm going to say two things to that before we get even further, because I think that's

[15:53] an interesting point.

[15:53] I think she's playing a character who's very brittle and very uncomfortable, which I think

[15:57] is part of that.

[15:58] But also, Julia Roberts is not used to playing this kind of character.

[16:01] And I admire that lately she's been stretching a little more to play more unlikable characters.

[16:06] But I feel like this is no shade on Julia Roberts.

[16:11] She is not the performer that Ethan Hawke is.

[16:13] And I think that's because Ethan Hawke at heart is a theater performer.

[16:16] And so he kind of like inhabits his characters and kind of wears their skin a little bit more.

[16:20] She's a movie star more than she is an actor.

[16:23] And he's an actor more than he is a movie star.

[16:25] That's an unfair classification in some ways.

[16:28] But that's how I'm going to say it.

[16:29] I don't care.

[16:30] Hey, come at me, Jew-robs.

[16:33] I'm going to...

[16:34] Is that movie stars?

[16:35] Is Jew-robs not a good nickname for Julia Roberts?

[16:37] Is that not a good one?

[16:38] Is there anything problematic about calling her Jew-robs?

Dan McCoy

[16:43] I will posit a third option, too, which is that I think that...

[16:47] Okay.

Dan McCoy

[16:47] Third way, McCoy.

[16:49] Well, this movie, in a lot of ways, is kind of like a mannered movie in the way it's written and shot.

[16:55] Yes, that's very true.

[16:56] And I would postulate that you could go one way or the other.

[17:02] You could cut against that manneredness and ground it more with Ethan Hawke's very naturalistic performance.

[17:08] Or you could do it the way that Julia Roberts is doing it, which I think kind of suits the writing.

[17:14] But to have both of them in the same movie might feel weird.

[17:17] Yes.

Elliott Kalan

[17:17] Yeah, that's a good point.

[17:18] That's a great point, Dan, that there's not a consistency between the performances.

[17:23] And we are trained to like realistic, natural performances more.

[17:28] And so I think you're right that maybe the material would have been better served if they were...

[17:32] I don't know.

Stuart Wellington

[17:33] You should look at some of the acting awards that have been given out over the years.

Elliott Kalan

[17:36] Well, I'm not...

[17:37] I mean, I'm not...

[17:37] Yeah, that's not...

[17:39] I mean, the acting awards are often given for showy performances.

[17:42] And there's a speech Julia Roberts gives later in the movie where I'm like, okay, this is like...

[17:46] If this was released in theaters, I don't remember if it was,

[17:48] then that would be her Oscar clip.

[17:49] Yeah.

[17:50] You know.

[17:50] But anyway, the family drives to Long Island.

[17:53] They have two kids, teenage Archie and adolescent Rose.

[17:56] And everyone in the car has their own screens or music or phone call they're on.

[18:00] They're not talking to each other in the car.

[18:02] And Rose, we learn here, and it'll become more and more of a theme,

[18:05] is obsessed with watching Friends on her iPad.

[18:08] She is one of those adolescents that loves to watch 90s sitcoms on her iPad.

Stuart Wellington

[18:13] And she's...

[18:13] They don't say it, but she's like coded

[18:17] as being on the spectrum or something, right?

Elliott Kalan

[18:20] Maybe.

[18:20] It's so hard for me to tell in movies these days.

[18:22] I feel like so many characters are coded that way that I don't know if it's accurate or not.

[18:27] And to be honest, when you're around little kids,

[18:30] it seems like every little kid is somewhere on the spectrum.

[18:32] Like, that's why it's called the spectrum.

[18:33] So, like, it's hard to know.

[18:35] It's hard to know.

[18:36] Adolescents are so normally checked out from life in certain ways that it's hard to tell.

[18:39] Yeah, that's what she struck me as.

Dan McCoy

[18:40] Just like a very, like, not even very, but like heightened enough that there's a point of it.

[18:47] Like, sort of checked out adolescent who just likes watching her tablet.

Elliott Kalan

[18:51] I'm not sure if she's supposed to be on the spectrum or if she's a caricature of, yeah,

[18:55] these young people today who live through screens, you know, and are obsessed with this fake past.

[19:00] Title.

Stuart Wellington

[19:00] Unlike me, who was obsessed with screens as well.

Elliott Kalan

[19:04] Yes, true.

[19:05] So, title.

[19:07] There's a lot of, there's chapter titles in this movie, which always means that it's high art.

[19:12] First title, part one, the house.

[19:14] They get to the house.

[19:15] It's a very nice house.

[19:17] The kids immediately jump in the pool.

[19:18] Amanda goes out to get some groceries, and she is weirded out by a bearded Kevin Bacon,

[19:23] who is stocking up his pickup truck with bottled water and canned food.

[19:26] Nothing he is doing is weird at all.

[19:30] I guess because she's a Karen, she's weirded out.

[19:32] And it was one of those things where I'm like, is she surprised to be seeing Kevin Bacon in Long Island?

[19:37] Yeah.

[19:37] Is that what it is?

[19:38] Like, he's playing himself, and she doesn't expect to see him all grizzled?

[19:41] And the music's doing some heavy lifting, too, right?

[19:44] I haven't seen you since Flatliners, she said.

[19:46] She what?

[19:46] Sorry.

[19:46] Yeah, we used to work together, remember?

[19:49] Let's talk about the music.

[19:50] The music is so forced, eerie, creepy.

[19:54] It's almost blanketing the movie.

[19:56] When there's not a needle drop song with a very on-the-nose title,

[20:01] like, there was one where it's called, like,

[20:02] misled, we've been misled, or something like that.

[20:05] But it's incredibly eerie over the top,

[20:08] and it reminded me of something that they do in the movie Queen of Earth,

[20:13] or Princess of Earth, what's it called?

[20:14] Queen of Earth with Elizabeth Moss,

[20:17] where the music is super creepy and operatic,

[20:21] even over things that are not on the surface creepy,

[20:24] and it works really well.

[20:26] And here I feel like they don't achieve that balance.

[20:28] But the movie is trying so hard.

[20:29] When the family goes to the beach and nothing creepy has happened yet,

[20:32] the music is like...

[20:34] Like, it's...

[20:43] I'm like, I know something creepy is going to happen.

[20:45] Okay, you don't need to, like...

[20:46] It's a little bit like if you have, like, truffle oil,

[20:50] and you go to a fancy restaurant,

[20:51] and they're like, don't worry.

[20:52] Everything is drowning in truffle oil.

[20:54] And you're like, this is too rich.

[20:55] It's too much.

[20:56] I don't want it.

[20:57] Anyway, having established myself as that kind of liberal,

[21:01] complacent, coastal elitist,

[21:02] since I go to restaurants where they put truffle oil on things,

[21:05] let's continue.

[21:06] She's weirded out seeing this guy stock up his truck.

[21:09] They go to the beach.

[21:09] The eerie music plays.

[21:11] My notes literally say the soundtrack in this movie is working hard.

[21:15] Rose at the beach notices a big oil tanker off the coast,

[21:18] and it's getting closer and closer until,

[21:20] Dan, what does that oil tanker do?

Dan McCoy

[21:22] It crashes in like Speed 2.

[21:25] That's what I was saying to...

[21:26] We did our Speed 2 show in L.A. recently,

[21:29] and that tanker crashes for so long,

[21:33] and Audrey was like, if I was on the beach,

[21:35] I would run away much earlier than they run away.

[21:37] I'm like, yeah, I've seen Speed 2.

[21:39] I know how long it's going to take that tanker to stop

[21:42] when it, like, goes aground.

Elliott Kalan

[21:45] And so it takes them a while to run away,

[21:47] but they all escape.

[21:48] We never see anyone on this ship.

[21:50] It's like the Demeter has just crash landed.

[21:54] It's full of Drax.

[21:55] There's Drax all over it.

[21:56] It's full of Drax.

[21:56] We don't mean Drax the Destroyer,

[21:58] the lovable idiot.

[22:00] We mean Drax the Draculas,

[22:02] which are also kind of lovable,

[22:04] but in a sexy way that's scary and dangerous.

Stuart Wellington

[22:07] Especially when they have hair that looks like a giant butt.

Elliott Kalan

[22:11] Does that add to the sexiness?

[22:12] Dan, you like butts.

[22:13] Is it sexier to you if someone has a regular butt

[22:15] and a hair butt on the top of their head,

[22:16] so it's like they have two butts,

[22:17] or is that less sexy to you?

[22:19] It doesn't have to be Gary Oldman, too.

[22:21] It could be on somebody who you're more naturally attracted to.

[22:23] But what if it is Gary Oldman?

Dan McCoy

[22:25] Does it look like an actual butt on the head,

[22:30] or does it look like Gary Oldman's Dracula hair?

Elliott Kalan

[22:33] I mean, it's made out of hair.

[22:34] You're not going to confuse it for a butt,

[22:36] unless they have hair that is pink and flesh textured.

Dan McCoy

[22:39] In general, that's an automatic less sexy.

[22:42] Okay.

Elliott Kalan

[22:43] What if they were cone heads?

[22:45] It's not hair, but it's like a phallic cone

[22:47] that their head is made out of.

Dan McCoy

[22:50] Could they wear one of those sort of like

[22:52] dunce caps or like a jester,

[22:56] like something that would cover it up?

[22:57] Like a wizard's hat.

[22:58] Yeah, like a wizard's hat.

Elliott Kalan

[23:00] You want to see like a top secret type movie,

[23:01] but it's a fantasy movie,

[23:03] and a wizard takes off his wizard hat,

[23:04] and he just has a cone-shaped head on it.

Dan McCoy

[23:05] That would be a great gag, actually.

Elliott Kalan

[23:07] That would be, yeah.

[23:08] A movie called what, like a...

[23:10] Spelling.

Dan McCoy

[23:15] Spelling?

[23:16] Spelling with an apostrophe at the end.

Elliott Kalan

[23:19] Yeah, or like Dork of the Rings

[23:21] or something like that.

[23:22] I mean, I know there's already

[23:22] Board of the Rings,

[23:24] the best-selling national anthem parody,

[23:26] but still.

[23:27] Okay.

[23:27] So as they're leaving the beach,

[23:29] a park officer tells them

[23:30] that ships seem to be having trouble

[23:31] with their navigation systems,

[23:33] which is a big issue

[23:34] if they're crashing into the beach.

[23:35] That would be close the beaches scenario,

[23:38] I think.

Stuart Wellington

[23:38] I will say,

[23:39] I will say,

[23:39] I think this sequence is interesting.

[23:42] Like, it feels,

[23:44] it feels exciting,

[23:45] and also it feels like

[23:46] something is happening.

Elliott Kalan

[23:48] It definitely feels like

[23:49] something is happening,

[23:49] which is not a feeling

[23:50] you're going to get

[23:50] for a lot of the movie.

[23:52] Yeah.

[23:52] Deliberately.

[23:53] Deliberately from the film.

[23:54] Yeah.

[23:54] In a way that I think is,

[23:55] doesn't work,

[23:56] but that's right.

[23:57] So they go to the house,

[23:57] the Wi-Fi's out,

[23:58] the TV signals are out.

[23:59] Can I also point out for...

[24:00] Let me just mention,

[24:01] they see some deer in the backyard.

[24:03] Uh-oh.

[24:04] Stuart,

[24:04] what were you going to point out?

Stuart Wellington

[24:05] I was just going to say,

[24:06] so this is one of many,

[24:08] like,

[24:09] disasters or,

[24:10] uh,

[24:11] tragedies that occur

[24:13] throughout this movie,

[24:13] and for the most part,

[24:15] they aren't given a human face.

[24:17] No.

[24:17] It's given a very...

[24:19] And there's something

[24:20] that makes it...

[24:22] That I find distancing about it

[24:24] for something that should be

[24:25] very, like, emotional.

[24:27] It's like,

[24:28] later on,

[24:28] there's a sequence

[24:29] with cars crashing,

[24:30] but they're all

[24:31] not being driven by anyone.

[24:32] It feels very...

[24:34] It feels both bloodless

[24:35] and distancing

[24:36] for what,

[24:37] to me,

[24:37] is,

[24:38] uh,

[24:39] I don't quite know

[24:41] what the perspective

[24:41] of this movie is.

[24:42] I think I kind of know

[24:43] what they're trying to say,

[24:44] but I feel like

[24:45] it does the message

[24:46] of the movie a disservice.

Dan McCoy

[24:48] I feel the opposite

[24:50] because I think

[24:50] that it's thematic.

[24:52] Like,

[24:52] I think that, like,

[24:53] it's about people

[24:54] who are feeling distanced,

[24:56] and that's why

[24:58] all of the, like,

[24:59] the tragedies

[25:00] also feel, like,

[25:01] sort of, like,

[25:02] almost,

[25:03] like,

[25:04] happening,

[25:05] like,

[25:06] in a dream,

[25:06] beyond a scrim.

[25:07] Like,

[25:07] there's not...

[25:08] We don't see the...

Elliott Kalan

[25:09] I think...

[25:09] I'm gonna be in the middle.

[25:10] I'm gonna be the third way this time.

[25:11] I think the movie

[25:12] is going for what Dan

[25:13] is talking about.

[25:13] These characters

[25:14] are supposed to feel

[25:14] isolated and cut off,

[25:16] and so there's a lack

[25:17] of humans around them.

[25:19] They're supposed

[25:19] to feel trapped,

[25:21] but I feel like

[25:22] the movie doesn't...

[25:24] It's trying for, like,

[25:26] an apocalyptic,

[25:27] the discreet charm

[25:28] of the bourgeoisie,

[25:29] where, like,

[25:30] the characters are stuck,

[25:32] they cannot get out,

[25:33] things keep happening

[25:35] that get in their way,

[25:36] and they feel isolated

[25:37] and cut off

[25:37] from humanity around them,

[25:38] but I feel like the movie

[25:39] is not...

[25:41] To be honest,

[25:41] I mean,

[25:41] my main problem

[25:42] in the movie

[25:42] is I've seen all this before.

[25:43] There's nothing new

[25:44] in it to me,

[25:45] and I think it overplays

[25:47] its hand in the amount

[25:47] of time it would take

[25:48] human civilization to...

[25:50] or America to collapse,

[25:51] but I think it would help

[25:52] to see some of those people,

[25:53] and I haven't read the book

[25:54] it's based on,

[25:55] but I was reading a review

[25:55] that mentioned the book,

[25:56] and it was saying

[25:57] how in the book

[25:57] you do get glimpses

[25:59] of other people

[25:59] in other places

[26:00] becoming victims

[26:01] of this thing,

[26:02] someone getting trapped

[26:03] in an elevator

[26:04] and starving to death,

[26:05] somebody dying

[26:06] in a refugee camp,

[26:07] and you don't get answers,

[26:08] but you get glimpses

[26:08] of other people,

[26:09] and I think this movie...

[26:10] Okay.

[26:10] I think it would have helped it

[26:11] to give it a greater

[26:12] sense of scale that way.

[26:13] It's supposed to...

[26:14] It wants to create

[26:14] the feeling of you're trapped

[26:16] and you don't know

[26:16] what the hell

[26:17] is going on outside,

[26:18] but what's going on outside

[26:20] is not mysterious enough,

[26:22] I think,

[26:22] for the audience

[26:23] to wonder about it.

[26:23] It gives you too many...

[26:24] It both gives you

[26:25] too much information

[26:26] and not enough information.

[26:26] Too much information

[26:27] about the outside world,

[26:28] not enough human information,

[26:29] in my opinion.

Dan McCoy

[26:30] Huh.

[26:31] Interesting.

[26:31] I disagree.

[26:32] I think that one of the strengths

[26:33] of the movie is that

[26:34] all of the stuff that happens,

[26:37] and I've seen people

[26:38] complain about this,

[26:39] you know, online,

[26:41] but all the stuff that happens

[26:42] is so, like,

[26:44] sort of seemingly unconnected.

[26:46] You can draw the lines

[26:47] about, like,

[26:48] the things that are probably

[26:49] causing all the stuff

[26:50] that they see,

[26:51] but they are, like,

[26:52] these weird incidences

[26:54] of something distressing

[26:57] happening.

Elliott Kalan

[26:58] See, I think this is more

[26:59] a sign of where

[27:00] my head is at.

[27:01] I think they're not weird

[27:01] and disconnected enough

[27:02] because the movie

[27:03] gives you explanations

[27:04] for each of these things,

[27:05] and I don't want

[27:06] those explanations.

Dan McCoy

[27:07] I mean,

[27:07] I kind of agree with you,

[27:09] but I think that the degree

[27:10] to which, you know,

[27:12] I do see people

[27:13] on the internet saying,

[27:14] like, oh,

[27:14] none of this makes any sense.

[27:15] I'm like,

[27:15] I don't think,

[27:16] I think you can

[27:16] patch together.

Elliott Kalan

[27:18] That's wild.

[27:19] That feels like people

[27:20] who are looking at their phones

[27:21] while they watch the movie,

[27:22] to be honest,

[27:22] because every now and then

[27:23] the television will turn on

[27:25] and explain,

[27:25] or the radio,

[27:26] and explain what's going on,

[27:27] basically.

[27:28] So I feel like that's,

[27:29] you're not paying close

[27:29] enough attention to the movie.

[27:30] Go read a book.

[27:31] Learn how to read a book.

Stuart Wellington

[27:31] I can't believe we're arguing

[27:32] with Strawman again.

Elliott Kalan

[27:34] Oh, the Strawman,

[27:35] he's stuck again.

[27:36] Oh, the Strawman strikes

Dan McCoy

[27:38] Detective Comics

[27:39] number 433.

[27:41] Strawman and, like,

[27:42] a made-up avatar

[27:44] of, like,

[27:44] things I've actually seen

[27:46] people say online.

[27:48] I guess we shouldn't argue with.

[27:50] That's the Strawman 2.0,

[27:50] the avatar.

[27:51] Yeah.

Elliott Kalan

[27:52] The Strawvatar.

[27:53] True.

[27:53] Anyway,

[27:54] so we went to Strawvatars,

[27:55] the Turkish restaurant,

[27:57] maybe?

[27:58] Greek restaurant?

[27:59] Turkish,

Stuart Wellington

[27:59] it's Mediterranean kind of.

Elliott Kalan

[28:01] Oh, you know,

[28:01] it's some kind of

[28:02] pan-Mediterranean thing.

[28:03] Oh, man,

Elliott Kalan

[28:03] the fucking dips

[28:04] they're going to have.

[28:04] They have a lot of dips.

[28:05] You know they'll have hummus

[28:06] for free.

[28:07] They'll just put that

[28:07] out on the table.

[28:08] For free?

[28:09] Yeah,

[28:09] and just a thing of all of it,

[28:10] but a little bit of hummus.

[28:11] You've got to buy more.

[28:12] You don't refill it.

[28:13] There's going to be pita

[28:14] on the table

[28:15] in a basket.

[28:15] One of the chickpeas

[28:16] everywhere,

[28:17] one of those types of things.

[28:17] All you're doing is

Dan McCoy

[28:18] describing a type of restaurant.

[28:20] I want to clarify that.

[28:21] Yeah,

Dan McCoy

[28:21] Mediterranean restaurant.

Elliott Kalan

[28:22] You're going to get a platter

[28:23] that has not that much meat.

[28:24] It's going to have

[28:24] dry chicken on a skewer

[28:26] and then like rice

[28:27] and the rice is going to be

[28:28] fairly dry too.

[28:29] I'm a good description

[28:30] of a certain type of restaurant.

[28:32] There's sour cream

[28:32] or something.

[28:33] Tzatziki.

Stuart Wellington

[28:35] Yeah.

[28:35] So Elliot's not a fan

[28:36] of Strawvatar.

[28:38] You don't like.

Elliott Kalan

[28:40] I'm not a huge,

[28:40] I'm not a,

[28:41] every time I go

[28:41] to a Mediterranean restaurant,

[28:42] I go,

[28:42] well,

[28:43] this is the driest chicken

[28:44] I've had.

[28:44] Thanks for giving me

[28:45] so little of it too.

[28:46] You shouldn't get

Dan McCoy

[28:46] the chicken there.

[28:47] What should I get, Dan?

[28:49] You get the lamb,

[28:50] like the beef and lamb stuff.

[28:52] The beef is pretty dry too.

Elliott Kalan

[28:53] Anyway,

[28:54] what I'm saying is

[28:54] throw it in a pot of water,

[28:56] boil it up first,

[28:58] then get it to me.

Dan McCoy

[28:59] I love Mediterranean food,

[29:00] but I agree

[29:01] that the chicken

[29:01] is pretty dry.

Elliott Kalan

[29:02] Okay,

[29:03] so I'll try something else

[29:04] next time I go

[29:04] to Strawvatar's.

[29:06] So they go there,

[29:07] the TV and the wife are out,

[29:08] they see some deer

[29:08] in the backyard.

[29:09] That night,

[29:10] the kids are sleeping,

[29:11] Amanda and Claire

[29:12] playing Jenga,

[29:13] very symbolic,

[29:14] very thematic.

[29:15] The house is about

[29:16] to tumble.

[29:16] When someone knocks

[29:18] at the door,

[29:18] and they spend a lot

[29:19] of time arguing

[29:20] about whether they're

[29:20] going to answer

[29:21] the door or not.

[29:22] They're already

[29:22] in creep out zone.

[29:24] Well,

[29:24] they saw a knock

[29:25] at the cabin

[29:26] and they're like,

[29:28] this doesn't go well.

[29:30] If it showed them

[29:31] watching that

[29:32] or they're playing Jenga

[29:32] and they're like,

[29:33] boy,

[29:33] that knock

[29:33] at the cabin movie

[29:34] was kind of creepy,

[29:34] huh?

[29:35] And there's a knock

[29:36] at the door.

[29:36] It turns out

[29:37] it's Mahershala Ali,

[29:39] two-time Academy Award winner,

[29:40] right?

[29:41] Mahershala Ali.

[29:42] And he's with a young woman.

[29:43] He says,

[29:44] I'm G.H. Smith.

[29:45] You can call me George.

[29:46] This is our house.

[29:47] You've been telling me

[29:47] over email.

[29:48] This is my daughter,

[29:49] Ruth.

[29:49] We were,

[29:50] and there was a blackout

[29:51] in the city,

[29:52] so we decided to come here.

[29:54] Everyone acts instantly

[29:55] weird and awkward.

[29:56] And guys,

[29:57] I've stayed in Airbnbs

[29:58] where the owners

[29:59] have showed up

[30:00] just to check on something.

[30:01] It's never been weird.

[30:02] It's never been awkward.

[30:04] Well,

Stuart Wellington

[30:04] it's weird,

[30:05] but not like this.

Elliott Kalan

[30:06] Not like this.

[30:07] This is like,

[30:08] you expect at any moment,

[30:10] this is like the moment

[30:10] in the happening

[30:11] where the old woman goes,

[30:13] you're here to kill me,

[30:14] aren't you?

[30:14] And Mark Wahlberg goes,

[30:15] no,

[30:17] no,

[30:17] never.

[30:19] Both sides are acting

[30:20] as if they're criminals

[30:21] who are hiding a body

[30:22] that they need to dispose of.

[30:24] Well,

Elliott Kalan

[30:24] I mean,

[30:24] let's be,

Dan McCoy

[30:24] like,

[30:24] Clay is like,

[30:26] oh yeah,

[30:26] sure,

[30:27] whatever.

[30:27] Clay is super laid back.

[30:28] He can't get hurt.

Stuart Wellington

[30:31] He's like,

[30:32] yeah,

[30:32] he's like,

[30:32] is that Blade?

Elliott Kalan

[30:34] Did Blade show up?

[30:36] Mahershal is like,

[30:37] it's been delayed yet again,

[30:38] or de-blade,

[30:39] as we've been saying

[30:40] around the set.

Dan McCoy

[30:41] The heavy implication

[30:43] is that Julia Roberts

[30:45] specifically

[30:46] does not trust

[30:47] this black man

[30:48] and black young woman

[30:51] who shows.

Elliott Kalan

[30:51] A black man in a tuxedo

[30:52] with his daughter

[30:53] who is in a fancy dress.

[30:54] I mean,

[30:55] it's something they take

[30:56] a long time to get to,

[30:58] which is that,

[30:59] to just come out right

[30:59] and say,

[31:00] like,

[31:01] she's probably,

[31:01] it's probably because

[31:02] they're black.

[31:03] But it is so,

[31:03] it's so awkward

[31:05] and she's so,

[31:05] I mean,

[31:06] it's,

[31:06] they're caricature characters.

[31:07] Again,

[31:07] like,

[31:08] if it was not,

[31:09] if this was not a movie

[31:09] that was trying at times

[31:10] for a certain level of realism,

[31:12] it wouldn't bother me as much.

[31:13] If this was a Samuel Beckett play,

[31:15] I'd be like,

[31:16] yeah,

[31:16] of course,

[31:16] these are flat ideas.

[31:18] These aren't characters.

Dan McCoy

[31:19] I,

[31:20] I 100% believe

[31:22] that there's a woman

[31:22] who would act like this.

[31:24] Yeah,

[31:24] I guess that's true.

[31:25] You're right.

[31:25] I guess that's right.

Stuart Wellington

[31:27] And I like,

[31:27] I like the actress

[31:28] who plays his daughter.

[31:29] I don't,

[31:29] I don't remember her name,

[31:30] but she's what,

[31:31] from like industry,

[31:32] I think,

[31:33] and she's in the

[31:33] bodies,

[31:34] bodies.

[31:34] I mean,

[31:34] they're all in the

[31:36] entertainment industry.

Dan McCoy

[31:36] Just grist for the mill.

Elliott Kalan

[31:39] I'm going to look up her name

[31:40] because I also like her in this.

[31:41] Let's see.

[31:42] She is.

Dan McCoy

[31:43] And I like her character

[31:44] in it,

[31:44] the way that like,

[31:46] she sort of like,

[31:47] pokes at Julia Roberts

[31:48] and like,

[31:48] wants to sort of like,

[31:50] point out that she sees

[31:51] the type of woman

[31:52] that Julia Roberts is.

[31:53] And Julia Roberts like,

[31:54] has kind of like this,

[31:55] like,

[31:56] I mean,

[31:57] antagonistic,

[31:57] but also like this weird

[31:58] grudging respect for her too.

[32:00] Like,

[32:01] it feels like,

[32:02] she's like,

[32:02] okay,

[32:02] well,

[32:02] this girl has my number.

[32:04] Eventually,

Elliott Kalan

[32:04] this is an actress named Mayala.

[32:06] I don't know exactly

[32:07] how it's pronounced,

[32:07] but that's what it seems like.

[32:09] Cool.

[32:09] And she's really good in this.

[32:11] So,

Elliott Kalan

[32:11] they are,

[32:12] everyone's,

[32:13] everyone's,

[32:14] it seems like it is

[32:14] two suspicious women

[32:16] and two men

[32:17] who are just trying to like,

[32:18] smooth things over.

[32:18] That's the situation.

[32:19] Yeah.

[32:19] She says,

[32:20] there's a blackout.

[32:21] Our phone stopped working,

[32:22] so we went to the beach house.

[32:23] A man is instantly suspicious,

[32:25] does not want them

[32:25] to stay at the house.

[32:26] And he goes,

[32:27] look,

[32:27] let us stay in the basement.

[32:28] I'll refund your fee 50%.

[32:30] And he goes to a locked cabinet.

[32:32] He unlocks it.

[32:32] He has the key for it.

[32:33] He takes out an envelope

[32:34] with $1,000 cash.

[32:36] There's other envelopes we see.

[32:37] And we also see a gun in the drawer.

[32:38] But Clay and Amanda do not see that.

[32:41] here,

[32:41] take this $1,000.

[32:42] And Amanda's like,

[32:43] Clay,

[32:43] they could be con artists.

[32:44] And Clay is like,

[32:45] eh,

[32:46] it'll be fine.

[32:47] Come on.

[32:48] And Amanda asks,

[32:48] he's in a tuxedo.

[32:49] He's in a tuxedo.

[32:51] Maybe he's James Bond.

[32:52] Idris Elba should have been James Bond,

[32:53] but the racist wouldn't let him.

[32:55] And she's like,

[32:55] you're still going to argue

[32:56] Idris Elba should be James Bond.

[32:57] He's like,

[32:58] I know his stock has gone down

[32:59] quite a bit,

[33:00] but it would have been interesting.

[33:02] And she's like,

[33:02] it's a misogynistic,

[33:05] moribund franchise.

[33:07] They've got to give it time

[33:07] to regenerate

[33:08] and find a new way

[33:09] to do things.

[33:09] And he's like,

[33:10] ugh,

[33:10] here we go again.

[33:12] Anyway,

[33:12] they've had this conversation

[33:13] a lot about James Bond.

Dan McCoy

[33:14] If they were pulling a con,

[33:19] this would be a big grift.

[33:20] This would be like

[33:21] the Sting level grift

[33:23] where they're like,

[33:24] okay,

[33:24] we're going to figure out

[33:26] that we've got to go to this house

[33:27] and pretend that we're the owners.

[33:29] And what's the end game?

Elliott Kalan

[33:30] What do they hope to get?

[33:31] We'll get whatever cash

[33:32] they have on hand.

[33:33] Hand over a thousand dollars

Dan McCoy

[33:33] to win their trust,

[33:35] of course.

[33:35] Well,

Dan McCoy

[33:35] but that's constant.

Elliott Kalan

[33:36] That's a con thing.

[33:37] You give a little bit

[33:38] to get a lot.

[33:39] Yeah,

Dan McCoy

[33:39] but I'm saying that,

[33:41] I don't know,

[33:41] outside of the movies

[33:43] where we're living,

[33:44] I don't think that this is

[33:44] like,

[33:45] I don't know,

[33:46] I would not be so suspicious

[33:48] of someone

[33:48] returning to the place

[33:50] that I rented.

Elliott Kalan

[33:52] And saying,

[33:53] you rented it from me,

[33:54] I know your names.

[33:55] Yeah.

[33:55] This is my name.

[33:56] I have a key to the,

[33:57] my keys to the liquor cabinet.

[33:59] He doesn't have a key to the house,

[34:00] but I guess he knocked

[34:01] just out of,

[34:02] just out of politeness,

[34:05] you know.

[34:05] Yeah,

[34:06] I'm sure he has a key to the house.

[34:07] Yeah.

Stuart Wellington

[34:08] But,

[34:09] and let's talk,

[34:10] we haven't talked about

[34:10] the house at all.

[34:11] It's like super modern,

[34:13] it's very fancy,

[34:14] it is,

[34:16] the camera movements

[34:18] around the house

[34:19] does a lot of like,

[34:21] the camera to spin.

[34:22] The camera does a lot of spinning.

[34:23] Because the house is so amazing.

[34:24] The house has a strange gravity

Elliott Kalan

[34:25] that causes the camera

[34:26] to spin a lot.

[34:27] Yeah.

Stuart Wellington

[34:28] Or like float through floors

[34:30] and shit.

Elliott Kalan

[34:31] Yeah.

[34:31] I think because the camera,

[34:32] later the camera's just floating

[34:34] through their car

[34:34] as they're driving away

[34:35] from all those driverless Teslas.

[34:37] But I think there's a,

[34:38] the camera,

[34:39] like the music,

[34:40] is working really hard

[34:41] to make us feel

[34:42] this is a creepy situation.

[34:44] Yeah.

[34:44] when for the most part,

[34:45] it hasn't been.

[34:47] And I've even been on vacation

[34:49] when the Wi-Fi

[34:50] and the power have gone out.

[34:52] And I have not

[34:53] jumped to the conclusion

[34:54] that humanity is dying

[34:56] or that we're under attack,

[34:57] which is what all the characters

[34:58] I mean, humanity's dying, Elliot,

[34:59] all the time.

[35:00] I mean, humanity is dying

[35:00] and we're under attack

[35:01] from ourselves.

[35:02] Pogo is right.

[35:03] We saw,

[35:03] we've seen the enemy

[35:04] and it's us,

[35:04] you know,

[35:04] but still Dan.

[35:05] I like some of these

Dan McCoy

[35:06] camera moves

[35:08] like in a vacuum,

[35:09] but the problem with them is,

[35:11] Well, in a vacuum,

[35:11] you're not gonna be able

[35:12] to see anything.

[35:12] I mean,

[35:13] you gotta unzip the bag

[35:13] so some light gets in.

[35:14] That's true.

[35:15] But the problem is like

[35:17] the whole movie

[35:18] is shot like that.

[35:19] Like something like

[35:19] Brian De Palma

[35:20] usually, you know,

[35:21] with like very showy

[35:23] distancing camera moves

[35:24] at least saves those

[35:26] for like big moments

[35:27] rather than like

[35:28] just making the whole movie

[35:29] that thing.

[35:30] Yeah.

[35:31] There's virtuoso sequences.

Elliott Kalan

[35:32] Isn't there a part

[35:33] in Panic Room

[35:33] where David Fincher

[35:34] has the camera go through

[35:35] the hole

[35:36] of a mug's

[35:37] hand holder?

[35:38] Yeah, that one's just

Dan McCoy

[35:39] gonna be like,

[35:39] yeah, fuck it.

[35:40] We're gonna do it

[35:41] when it's not important.

Elliott Kalan

[35:42] And it feels like that.

[35:43] It's like that in this

[35:44] where they're like,

[35:44] you know what we can do

[35:45] with the camera?

[35:46] Let me show you.

[35:46] And I'm like,

[35:47] tell me the story.

[35:48] Tell me the story.

[35:48] I don't care about the tricks.

Stuart Wellington

[35:50] I mean,

[35:50] Sam Asimov has a lot of tricks

[35:53] and he's using them all.

[35:58] But I don't think,

[35:59] again,

[35:59] like it's,

[36:00] I said this before,

[36:01] but like,

[36:01] I don't really think

[36:02] there's much point of view to it.

[36:04] Like,

[36:04] other than just like

[36:05] trying to make you feel like,

[36:07] either to be like,

[36:08] cool or to make you

[36:09] a little unsettled,

[36:10] there's not really a lot of

[36:12] point to many of the

[36:14] wacky shots.

[36:14] Yes,

[36:14] I agree with that.

[36:16] Whether or not there's a point.

[36:17] I like style for style's sake.

[36:19] That's fine.

[36:20] But it just feels pointless.

Elliott Kalan

[36:22] If it's style for style's sake,

[36:23] I want more style

[36:25] or consistent style.

[36:26] Is this a movie

[36:26] that has a lot of

[36:27] loopy camera moves?

[36:28] Or is it an austere

[36:29] kind of like

[36:30] isolated creepiness?

[36:32] Because you can't really

[36:33] have it both ways.

[36:34] It doesn't necessarily

[36:35] work both ways.

[36:36] Unless,

[36:37] like,

[36:37] in Repulsion,

[36:39] where like,

[36:39] there are almost

[36:40] fantasy madness sequences

[36:41] that are like that,

[36:42] you know,

[36:43] among more

[36:44] naturalistic things.

[36:45] But,

[36:46] It's hard to have it be

[36:46] both austere and Baruch.

Dan McCoy

[36:49] Yeah.

[36:49] I mean,

[36:50] maybe it's just because

[36:51] we,

[36:51] you know,

[36:52] lived through,

[36:54] you know,

[36:55] of confusing

[36:56] worldwide crisis.

[36:58] And,

[36:59] it's,

[37:00] you know,

[37:00] easy to dance

[37:01] on those feelings.

[37:02] But I did think,

[37:04] for me,

[37:05] yeah,

[37:05] yeah.

Elliott Kalan

[37:07] No,

[37:07] wait,

[37:07] Y2K.

[37:09] That's the Marx Brothers movie

[37:11] that they did

[37:11] at the turn of the 21st century.

[37:13] He goes,

[37:13] now,

[37:13] of course,

[37:14] we got to watch out

[37:14] for Y2K.

[37:15] Why a 2K?

[37:16] No,

[37:16] no,

[37:17] I'm telling you,

[37:17] you got to watch out

[37:18] for Y2K.

[37:18] But why a 2K?

[37:19] Why not a 2L,

[37:20] a 2M?

[37:21] No,

[37:22] I'm telling you,

[37:22] why 2K?

[37:23] I don't understand.

[37:24] Why not a Y2J?

[37:25] Y2J?

[37:25] Oh,

Stuart Wellington

[37:25] those guys,

[37:26] they get me every time.

[37:27] Yeah,

[37:28] they're the best.

Elliott Kalan

[37:30] Yeah.

[37:31] That's in the Coconuts 2.0.

[37:33] Take a bow,

Dan McCoy

[37:33] guys.

[37:34] Come back on stage.

[37:36] No,

[37:37] fuck,

[37:38] what the hell was I saying?

[37:40] You can't fuck the position.

[37:41] We've all been through

[37:41] style for style's sake.

[37:42] Or we've all been through,

[37:44] we went through a big thing.

[37:45] No,

[37:45] I mean,

[37:45] maybe it's just because of that.

[37:46] But I thought that,

[37:48] the thing that I did like

[37:49] about this movie

[37:50] just hit my hand

[37:50] was,

[37:52] I feel like,

[37:53] it kept,

[37:55] like,

[37:55] through the isolation,

[37:58] through

[37:58] sort of a bunch of

[38:01] disconnected events

[38:03] happening,

[38:04] rather than like

[38:05] an omniscient

[38:08] sort of like

[38:08] viewpoint

[38:09] of like

[38:10] what this

[38:11] is.

[38:12] you know,

[38:13] just like

[38:13] sticking with these characters,

[38:15] seeing these

[38:16] weird things,

[38:17] not knowing

[38:18] what information

[38:20] is true,

[38:21] what information

[38:21] is false,

[38:22] not being given that,

[38:24] you know,

[38:24] like,

[38:25] I found it

[38:26] an effective

[38:27] evocation

[38:28] of like

[38:29] the kind of

[38:30] disquiet,

[38:30] the kind of paranoia

[38:31] that I feel like

[38:32] I would feel

[38:34] in this situation,

[38:35] the fear.

[38:36] is that a pleasant

[38:38] thing to relive?

[38:40] But it worked for me

[38:42] on that level,

[38:43] actually.

Elliott Kalan

[38:43] I wish it had worked

[38:44] for me more

[38:45] on that level,

[38:45] to be honest.

[38:46] I feel,

[38:46] what I kept thinking was,

[38:47] I mean,

[38:47] and spoiler alert,

[38:48] as we,

[38:48] well,

[38:49] we won't take forever

[38:50] to go through this movie,

[38:50] I promise,

[38:51] or we will probably,

[38:52] but it's the flop house,

[38:53] come on.

[38:53] But civil society

[38:56] collapses almost instantly,

[38:58] it seems,

[38:58] like within a day or two.

[39:00] And while watching it,

[39:00] I was like,

[39:01] I lived through

[39:02] the last big blackout

[39:04] in New York City.

[39:05] And what happened

[39:06] during that blackout?

[39:08] People had parties,

[39:09] they took care of each other.

[39:10] Like,

[39:10] I know the blackout

[39:11] in the 70s was bad,

[39:12] but the blackout

[39:13] 20 years ago,

[39:14] a little bit less

[39:15] than 20 years ago,

[39:15] was in many ways

[39:17] a very beautiful experience.

[39:18] Like,

[39:18] I remember a lot of it

[39:19] being,

[39:20] you know,

[39:21] inconvenient,

[39:22] but I had to walk,

[39:23] you know,

[39:23] 100 blocks to get home.

[39:24] But what I saw along the way

[39:26] was really lovely.

[39:27] And the next day,

[39:27] it felt like

[39:28] everyone was just like,

[39:29] all right,

[39:30] this is still going on,

[39:31] let's make the most of it,

[39:32] let's like take some time.

[39:34] And even with COVID,

[39:35] it went on for a long time

[39:36] and it was bad

[39:37] in our,

[39:38] other things it did

[39:38] for our society,

[39:39] but you didn't see

[39:40] gun battles in the streets,

[39:42] you didn't see,

[39:43] you know,

[39:43] carpet bombing

[39:44] of New York.

[39:45] Yeah,

[39:46] but let's.

[39:47] But I felt like

[39:48] the movie is,

[39:48] the movie is

[39:49] creating a scenario

[39:51] that I just

[39:51] can't quite buy into.

[39:53] And it doesn't,

[39:54] what you're talking about

[39:54] is the way that I felt

[39:55] reading,

[39:57] I think it's the second issue

[39:58] of the second series

[39:59] of League of Extraordinary Gentlemen,

[40:01] which for me

[40:02] captured the feeling

[40:02] the night of September 11th,

[40:04] the best of anything

[40:05] I've ever read,

[40:06] where the League has gone

[40:07] and Martians have attacked.

[40:08] They burned people alive

[40:10] right in front of them

[40:10] and they go back to the house

[40:11] they're staying in

[40:12] and they're just kind of like

[40:13] trying to kill time

[40:15] to get through the night.

[40:16] Like they don't really know

[40:17] what to do with themselves.

[40:18] And I feel like that's the feel,

[40:19] if there was a little bit

[40:20] more of that,

[40:20] of characters unsure

[40:22] of how to pass the time.

[40:24] Because it's like

[40:25] the night of September 11th,

[40:26] what did I do?

[40:27] I was,

[40:28] me and my college roommates,

[40:29] you know,

[40:29] living in Manhattan,

[40:30] it was like,

[40:31] ugh,

[40:33] And we just watched

[40:33] Mr. Bean tapes

[40:34] for like hours

[40:35] because we just didn't know

[40:36] what to do with ourselves

[40:37] and we had spent a day

[40:38] of this and we didn't know

[40:40] what was going to happen next.

[40:41] So I feel like this movie

[40:42] where everyone instantly jumps to,

[40:44] ah,

[40:44] what are we,

[40:45] fight each other,

[40:46] fight each other.

[40:47] We got to get out of here.

[40:48] This is crazy.

[40:48] Ah,

[40:49] the world's ending.

[40:49] It felt unrealistic.

[40:50] I get it,

Dan McCoy

[40:50] but I think that,

[40:51] I think that you're forgetting

[40:52] that it is not just a blackout,

[40:54] it's a total communications disruption

[40:57] of any sort of communication.

[41:00] There's a blackout,

[41:01] there's like radioactive noises

[41:04] being shot at them.

[41:05] Well,

[41:05] that happens later.

[41:06] I'm talking about before that,

Elliott Kalan

[41:07] before that happens.

[41:08] But that's true too.

[41:10] Okay,

[41:10] so you're right,

[41:11] there are radioactive noises

[41:12] that are attacking people.

[41:13] So anyway,

[41:14] a man asked to see George's ID,

[41:15] he left it behind in a hurry.

[41:17] His story seems to have

[41:18] some holes in it,

[41:18] but the TV interrupts him

[41:19] with a national emergency warning

[41:21] that has no details.

[41:22] Just says national emergency warning.

[41:24] This is the funniest

[41:25] kind of warning you could get

[41:26] because all it says

[41:27] is there's a national emergency

[41:28] and nothing else.

[41:29] Doesn't even tell them

[41:30] what to do.

[41:31] Doesn't tell,

[41:31] doesn't,

[41:32] so that night,

[41:33] George and Ruth are talking.

[41:34] He seems to have gotten

[41:35] some kind of a tip off

[41:36] from one of his clients.

[41:37] He's in the financial industry

[41:38] that something bad

[41:39] was going to happen

[41:40] and Ruth does not trust

[41:41] this white family

[41:42] and wants them out of the house.

[41:43] And when nobody's

[41:43] in the living room,

[41:44] the TV blips back on

[41:45] with a CNN report

[41:46] about a terrorist cyber attack

[41:48] that is across the country

[41:49] and that goes,

[41:50] turns to static.

[41:51] Uh-oh,

[41:51] we're ready for part two,

[41:52] the curve.

[41:53] And I guess we better move quicker

[41:54] because there's five parts

[41:55] to this movie.

[41:55] Part two,

[41:56] the curve.

[41:56] What?

[41:57] Okay,

[41:58] Rose really wants to watch

[41:59] the Friends finale

[42:00] but all the signals are out.

[42:01] Amanda sees these news alerts

[42:03] about cyber attacks

[42:03] on her phone

[42:04] and blackouts

[42:05] and Clay is like,

[42:06] I'll drive into town,

[42:07] I'll get some more information

[42:08] for somebody.

[42:09] Yeah.

[42:09] And Rose sees a shitload

[42:10] of deer in the backyard.

[42:11] That backyard is full of deer.

[42:13] What's this all about?

[42:14] Ruth and Amanda,

[42:15] they're prickly with each other,

[42:16] they just do not get along,

[42:17] they speculate about

[42:18] what's happening

[42:19] and Ruth was worried,

[42:20] we find out,

[42:20] because her mom

[42:21] was supposed to be

[42:21] on an airplane that night

[42:22] when the problem started.

[42:24] She's worried that her plane

[42:25] might have crashed.

[42:26] They can't get in touch with her.

[42:27] Now,

[42:28] we have the first

[42:29] of what I'll call

[42:29] our intercutting fugues

[42:32] where we intercut

[42:33] between different storylines.

[42:35] I'm just going to,

[42:35] rather than going back

[42:36] and forth between them,

[42:37] I'm just going to tell you

[42:37] what happens with each of them.

[42:38] Yeah, please.

[42:38] There's three.

[42:39] Clay is driving around,

[42:40] his GPS and his radio

[42:41] don't work so he gets lost.

[42:43] He steps out of the car

[42:44] and the radio,

[42:45] when he's not in the car,

[42:46] briefly says that

[42:46] the cyber attack

[42:47] has caused environmental damage

[42:48] which is affecting

[42:49] animal migration patterns.

[42:51] This is within 12 hours

[42:53] of the cyber attacks

[42:54] that the animals

[42:55] were already having

[42:56] trouble migrating.

[42:57] I mean,

[42:57] they didn't say

Dan McCoy

[42:57] what the environmental thing was.

[42:59] I presumed that this meant,

[43:02] spoiler alert,

[43:03] based on what happens later,

[43:04] I presumed it meant

[43:05] that there was some sort of

[43:06] chemical or nuclear issue

[43:10] that happened because of this

[43:13] that was sending the animals up.

[43:15] These deers probably carry

[43:17] the tooth-destroying tick

[43:19] that comes into the story later.

[43:22] perhaps the blood is infected

Elliott Kalan

[43:23] with some sort of...

Dan McCoy

[43:26] Man, that tick,

Elliott Kalan

[43:26] what a baddie.

[43:27] This is not the fun tick

[43:29] that our friend Griffin

[43:29] spent time with on television.

[43:31] This is a bad tick.

[43:33] Yeah.

[43:34] So, he finds a woman

[43:35] on the road

[43:36] who's yelling for help

[43:37] in Spanish

[43:37] and he is so stressed out

[43:39] by the situation

[43:39] that he just drives off

[43:40] without helping her

[43:41] and then a biplane

[43:42] starts dropping

[43:43] red paper leaflets

[43:45] all over his car

[43:46] and then also stresses him out

[43:47] to no end

[43:48] and he gets really upset.

Dan McCoy

[43:49] Because no one wants leaflets.

[43:51] He's like,

[43:51] do I have to throw

[43:52] all these away now?

[43:53] Yeah.

[43:53] He's like,

Stuart Wellington

[43:54] no, no, no,

[43:54] I don't like comedy.

[43:56] Yeah.

Elliott Kalan

[43:57] And it is going to haunt him

[43:58] that he left this woman behind.

Dan McCoy

[44:00] That's straight A.

[44:01] That specific...

[44:02] Sorry, I gotta say,

[44:03] do you like comedy?

[44:04] That specific, like,

[44:06] tactic on the street

[44:08] annoys me to no end.

[44:10] Specifically, you know,

[44:11] like, I'm sure you felt

[44:13] the same way, Elliot.

[44:13] As someone who, you know,

[44:15] has worked in comedy

[44:17] in some form, you know,

[44:19] to be like,

[44:20] to have this thrust at you

[44:22] and have someone ask,

[44:25] you know,

[44:25] do you like comedy?

[44:27] And having the twin impulses

[44:28] of, like,

[44:30] I do like comedy,

[44:32] but you're helping

[44:33] to make me hate it

[44:34] by, like,

[44:34] making me feel like

[44:35] I must reject you.

[44:36] And also, like,

[44:38] do you want an honest reaction?

[44:41] Like, my honest reaction is, like,

[44:42] yes, at one time,

[44:44] I did like comedy,

[44:45] but working in the industry

[44:46] has soured me on much of it.

Elliott Kalan

[44:48] I guarantee you

[44:48] that's not the reaction

[44:49] they're looking for.

[44:50] What?

[44:51] Here's why it doesn't

[44:52] bother me as much.

[44:53] One, I know those people

[44:54] are just trying to get stage time.

[44:55] I know.

[44:56] But also, two,

[44:57] you just lie to them.

[44:58] You just say no,

[44:59] and you keep walking.

[45:00] They don't care.

[45:00] It doesn't matter.

[45:01] No, I know.

[45:02] Maybe it's just because

[45:02] I've had practice

[45:03] because in New York,

[45:04] if you're Jewish,

[45:05] you get the Orthodox

[45:06] standing on street corners going,

[45:07] excuse me, are you Jewish?

[45:08] Are you Jewish?

Stuart Wellington

[45:09] Are you Jewish?

[45:09] You know, that happens

[45:10] to everyone, Elliot,

[45:12] you, Stuart,

[45:13] because you look pretty goyish.

[45:14] I know, but my therapist

[45:16] is right by Grand Army Plaza,

[45:18] so right around the holidays,

[45:19] I am attacked.

[45:21] And there I have to-

[45:22] I am wearing a yarmulke.

Elliott Kalan

[45:24] Yeah, you are wearing

[45:24] a yarmulke in Pais, yeah.

[45:25] But here's the thing

[45:26] because you're going

[45:27] to a Hanukkah dress-up party.

[45:30] Yep.

[45:30] But here's,

[45:32] because I have a similar thing,

[45:33] but it strikes me

[45:33] more to the soul, Dan,

[45:34] because this is about

[45:35] my heritage

[45:36] and my religious beliefs,

[45:38] that if I say yes,

[45:40] I've got to join them

[45:40] in some kind of BS prayer

[45:42] that I don't like

[45:43] and I don't want

[45:44] their vision of the earth

[45:45] to come about.

[45:46] I don't want their Messiah

[45:47] showing up

[45:47] because their Messiah is like,

[45:48] yeah, well, of course,

[45:49] women don't get jobs

[45:50] and things like that.

[45:51] But also, if I say no,

[45:52] I'm denying my faith, Dan.

[45:54] And so many of my ancestors

[45:55] had to make that same choice

[45:56] in much more dire situations.

[45:58] So I guess what I'm saying is,

[45:59] comedy is your Judaism.

[46:00] Anyway, moving along.

[46:01] Well, no, wait, hold on.

Dan McCoy

[46:03] There's so much talking.

[46:04] We can't talk about this more.

[46:05] No, I just wanted to say

[46:06] about the tip for people

[46:08] with the flyers.

[46:10] Like, I, you know,

[46:11] take it and then throw it away.

[46:13] And I used to feel bad

[46:14] about throwing it away.

[46:14] But you know what?

[46:15] They got to stay out there

[46:16] until they get rid

[46:17] of all those flyers.

[46:19] So you're doing a favor.

[46:19] Don't feel bad about throwing them away.

Elliott Kalan

[46:20] Recycle them.

[46:21] Don't feel bad about it.

[46:21] Yeah.

Stuart Wellington

[46:22] Don't tell you about the time

[46:23] when a couple of guys

[46:24] knocked on my door

[46:25] and asked if I was Jewish.

[46:26] I'm like, no.

[46:28] But my wife is.

[46:29] And they're like,

[46:29] would you like us to come in

[46:30] and blow the shofar?

[46:31] I'm like, yes, please.

Elliott Kalan

[46:33] Charlie's so mad at me.

[46:35] If it was a shofar blowing,

[46:37] I would love that.

[46:38] Come on in and blow the shofar.

[46:39] But don't hand me

[46:41] an etrog and a lulav.

[46:42] No, thank you.

[46:43] I want no part of that.

[46:44] Okay.

[46:45] Sukkot, I don't want to touch fruit.

[46:46] Forget about it.

[46:47] So anyway, that's Clay's story.

[46:49] Meanwhile, George,

[46:49] he's worried his wife

[46:50] is not responding

[46:51] to any of his texts.

[46:51] They haven't even gone through.

[46:52] He's getting increasingly worried.

[46:53] He goes to check on his neighbors,

[46:55] the Huxleys,

[46:55] which I thought was

[46:56] a hilarious name

[46:57] for characters in this movie

[46:59] to call them the Huxleys.

[47:01] It's an on-the-nose reference.

[47:03] Their house is in shambles.

[47:04] He finds a satellite phone,

[47:05] but it won't work.

[47:05] He walks down to the beach,

[47:07] and this is one of these movies

[47:08] where the,

[47:08] one of these moments

[47:09] where the movie puts style

[47:10] over substance

[47:11] in a way that bothered me.

[47:13] He sees a watch on the sand,

[47:15] and he goes to pick it up,

[47:16] and he finds it still attached

[47:17] to a severed arm.

[47:18] Only then does he look up

[47:19] and see a huge trail

[47:20] of dead bodies

[47:21] and a crashed airplane.

[47:22] Like, come on.

[47:24] How did you not notice that?

[47:25] How did you not notice it?

Dan McCoy

[47:26] The first part was pretty good.

[47:27] Yes.

[47:28] The second part could just be like,

[47:30] I mean, I've been on beaches.

[47:32] You know,

[47:32] if you're around the wrong turn,

[47:34] there's like whole shit

[47:35] you can't see.

[47:35] Just like have them like

[47:36] walk around some fucking dunes

[47:38] or whatever.

[47:39] But he doesn't,

[47:39] he just lifts his head slightly,

Stuart Wellington

[47:40] and there's a plane crash.

[47:42] There's some,

[47:42] some rich guys get

[47:44] fucking watch blindness too,

[47:45] and all they see

[47:46] is these fancy watches.

Stuart Wellington

[47:48] And they're like,

[47:48] whoa, what kind of watch is this?

Elliott Kalan

[47:51] Yeah,

[47:51] they never wear them.

[47:53] It's a good thing

[47:54] he noticed that airplane,

[47:54] of course they never wear them.

[47:56] They're just collectors.

[47:56] Put them in them.

[47:57] Yeah.

[47:58] It's sad, really.

[47:59] Give those watches, what,

[48:00] to the needy

[48:01] who need timepieces?

Dan McCoy

[48:02] That's right.

[48:03] The needy

[48:04] always need to be places on time.

Elliott Kalan

[48:09] So,

[48:10] George,

[48:11] it's a good thing

[48:11] he noticed that plane crash

[48:12] because he narrowly escapes

[48:13] a second plane

[48:15] crashing into the beach

[48:16] right where he's standing.

[48:17] They should call this movie

[48:18] Vehicles Crashing Into Beaches,

[48:20] the movie.

Stuart Wellington

[48:21] Yeah,

[48:21] it feels like he's being

[48:22] the target of an enemy stand

[48:24] in JoJo's Bizarre Adventure

[48:25] that throws planes at you.

Elliott Kalan

[48:28] Yeah,

[48:28] and he runs away.

[48:30] So,

[48:30] meanwhile,

[48:30] back at the house,

[48:31] this is story C.

[48:32] Everyone's at the pool.

[48:33] Ruth has put on a bikini

[48:34] and Archie is just perving

[48:35] all over her,

[48:36] taking pictures.

[48:36] He thinks he's slyly

[48:38] taking pictures of her,

[48:39] but she knows he's doing it.

[48:40] Rose is obsessed

[48:41] with where she saw the deer.

[48:42] She and Archie,

[48:43] eventually,

[48:43] they walk into the woods.

[48:44] They find a little shed

[48:45] and Archie scares her

[48:46] by making up a story

[48:47] that there's a creep

[48:48] who lives in the shed

[48:49] who has been watching Rose sleep

[48:50] and then they wander

[48:51] around the woods

[48:51] seeing more mysterious deer.

Stuart Wellington

[48:53] It does look creepy.

Elliott Kalan

[48:54] It does look,

[48:55] it is very creepy,

[48:56] yeah.

[48:57] George gets back to the house.

[48:58] He will not tell Ruth

[48:59] about the plane crash.

[49:00] When she leaves,

[49:01] he tells Amanda

[49:02] that this long speech

[49:04] about how the behavior,

[49:05] his job is to look at the curve

[49:06] of the financial markets

[49:07] and judge the future from it.

[49:10] And the way the curve was turning

[49:11] led him to believe

[49:12] something really bad

[49:12] was going to happen.

[49:13] And if that satellite phone

[49:14] wasn't working,

[49:15] it means that America's satellites

[49:16] are not working.

[49:17] Suddenly,

[49:18] they hear explosions

[49:19] in the distance

[49:19] and a painful,

[49:20] ear-splitting,

[49:21] high-pitched noise

[49:22] that they,

[49:23] it really hurts their ears.

[49:25] Amanda runs into the woods

[49:25] to find her kids,

[49:26] but the noise overwhelms her.

[49:27] She falls to her knees

[49:28] and the screen goes red.

[49:30] And we get the title,

[49:30] part three,

[49:31] the noise.

[49:32] Not the noid.

[49:33] You want to avoid

[49:34] the noid still.

[49:34] You want to avoid

[49:35] both the noid

[49:35] and the noid.

[49:36] The noid ruins pizza.

[49:37] The noise ruins your brain

[49:39] and your teeth.

[49:40] Do I know it?

[49:41] What if the noid

[49:42] and the noid

[49:43] are working together?

[49:43] The noid is like,

[49:44] I'll ruin the pizza.

[49:45] And noid,

[49:45] you ruin Archie's teeth

[49:46] so that he can't bite the pizza

[49:48] even if he wanted to.

Dan McCoy

[49:49] The noid and the noise

[49:49] by William Faulkner.

[49:54] Did you guys have

[49:54] the same reaction

[49:55] that I did

[49:56] to Julia Roberts

[49:57] running into the woods

[49:58] to look for her kids,

[50:00] which is,

[50:01] she's in fucking barefoot

[50:03] running through the woods?

[50:05] Come on, man.

[50:06] You're going to hurt yourself

[50:07] that way.

[50:08] Yeah.

Elliott Kalan

[50:09] She's too worried

[50:10] about her children.

[50:11] Running?

[50:11] And the only reason

[50:13] that it bothers me

[50:14] because I know

[50:15] looking at her,

[50:15] she wears slip-on shoes.

[50:17] She's not tying shoes.

[50:18] She's not wearing boots

[50:19] with a zip.

[50:19] She wears comfortable

[50:20] slip-on shoes.

[50:21] She could easily

[50:21] slip them on and run.

[50:22] So yes,

[50:23] but she's so worried

[50:23] about her children.

[50:24] She doesn't care

[50:25] about her feet

[50:25] at that moment.

Dan McCoy

[50:26] I understand emotionally.

[50:28] I just wanted,

[50:29] like,

[50:29] it struck me as,

[50:31] like,

[50:31] weirdly in this movie

[50:32] with a lot more

[50:33] unrealistic things

[50:34] that I'm willing

[50:35] to accept

[50:35] because they mean

[50:36] this or that

[50:37] on a metaphorical level

[50:38] or they're just a strategy.

[50:41] Like,

[50:41] the thing that hangs me up

[50:42] is, like,

[50:43] she would be going,

[50:44] ow,

[50:45] ow,

[50:45] I stepped on a stick.

[50:46] Ow.

Elliott Kalan

[50:48] Well,

[50:48] it's interesting

[50:49] the things that we poke

[50:50] holes in.

[50:51] I don't believe society

[50:52] would collapse that quickly

[50:53] and Dan is like,

[50:53] what about your feet?

[50:54] They're going to hurt.

[50:55] Well,

[50:55] because,

Dan McCoy

[50:56] again,

[50:57] I don't take it

[50:57] specifically that literally.

[51:00] I feel like a lot of the way

[51:01] this movie is made,

[51:02] you know,

[51:03] like,

[51:03] I'm willing to go

[51:04] with a lot of shit

[51:05] in some of these movies

[51:07] if they signal to me,

[51:08] like,

[51:08] hey,

[51:09] don't take it,

[51:10] like,

[51:11] seriously,

[51:11] like,

[51:11] you're going to fucking

[51:12] cinema sends this,

[51:13] like,

[51:13] poke holes in,

[51:14] like,

[51:14] the plot of it

[51:15] because it's not

[51:15] really going to make sense.

[51:17] Well,

[51:17] but I don't think

[51:17] the movie,

[51:18] we're saying other things.

[51:19] I don't think the movie

Elliott Kalan

[51:20] has signaled that necessarily,

[51:22] is the thing.

Dan McCoy

[51:22] Yeah,

[51:22] I think that one of the problems

[51:24] is it doesn't signal it hard,

[51:26] but I'm willing to,

[51:28] anyway.

Elliott Kalan

[51:28] You'll give it that slack.

[51:30] Yeah.

[51:30] Part three,

[51:31] the noise is the shorter part.

[51:33] Amanda finds the kids,

[51:34] they go back home,

[51:35] she's arguing with everybody,

[51:36] she hits on the idea

[51:37] that the guy at the grocery

[51:37] was stocking up on food,

[51:39] maybe he knows something,

[51:40] and George is like,

[51:41] oh,

[51:41] the guy with the beard,

[51:41] that's Danny.

[51:42] He's a local contractor,

[51:43] he's a survivalist,

[51:44] and Clay comes home shaken

[51:45] and shows them one of the leaflets,

[51:47] and it's got a picture

[51:48] of a snake,

[51:48] a rattlesnake,

[51:49] and it's got Arabic writing,

[51:50] and Archie recognizes the writing

[51:52] from a video game,

[51:53] I guess,

[51:53] and translates it as

[51:54] death to America.

[51:56] Bum, bum, bum.

[51:57] The white family,

[51:57] they're like,

[51:58] That's the thing,

Stuart Wellington

[51:58] you learn a ton of cool shit

[51:59] from video games, guys.

[52:01] I guess that's true.

[52:01] Yeah, that's what

Dan McCoy

[52:02] the media won't tell you.

[52:03] Yeah.

[52:04] Which media?

[52:06] You know,

[52:07] you know the ones.

Stuart Wellington

[52:08] Yep.

[52:09] GamePro,

[52:11] IGN,

Dan McCoy

[52:12] Yeah.

Elliott Kalan

[52:14] Game Informer,

[52:15] I'm calling you all out.

[52:16] Nintendo Power.

[52:18] Nintendo Power,

[52:19] is deep in the tank

[52:20] for the establishment.

[52:21] Yeah.

[52:22] Yeah.

[52:22] So,

[52:23] the white family,

[52:24] they decide they got to get back

[52:24] to the city,

[52:25] but uh-oh,

[52:25] the road is choked

[52:26] with a jam

[52:27] of crashed driverless

[52:29] new Teslas on autopilot,

[52:31] and then suddenly more driverless...

Stuart Wellington

[52:32] You must have been drooling, Elliot,

[52:34] because you're one of those

[52:34] Tesla boys, right?

Elliott Kalan

[52:36] I do own one to my eternal dismay

[52:38] every time Elon Musk does anything,

[52:39] but it's a car that drives very well.

[52:41] I really like it.

[52:42] But then more driverless Teslas

[52:44] start zooming towards them,

[52:45] and they have to steer through

[52:46] a gauntlet of driverless Teslas

[52:48] to get out.

[52:48] That hasn't happened to you, right?

[52:50] It has not happened to me.

[52:50] You haven't had to frog her

Stuart Wellington

[52:51] around Teslas, right?

Elliott Kalan

[52:53] Here's the thing.

[52:53] I don't know

[52:54] that when there's a

[52:55] communications cutout

[52:57] that there's some kind of

[52:58] program in the Tesla

[52:59] that tells it to automatically

[53:00] drive to New York City.

[53:01] I don't think that's that.

[53:03] I don't think that's there.

Dan McCoy

[53:04] That was a deliberate thing

[53:05] that was hacked.

[53:05] Yeah, they're like

Elliott Kalan

[53:06] small town grads.

Dan McCoy

[53:09] I took it,

[53:09] I took the implication

[53:10] to be like,

[53:11] whoever's doing these attacks,

[53:13] one of the things they're doing

[53:14] is they're just sending

[53:15] a bunch of fucking cars there

[53:16] to clog up the roads.

[53:18] I mean, to isolate New York,

Elliott Kalan

[53:19] that makes sense.

[53:20] Yeah.

[53:20] To be honest,

[53:21] when they first started

[53:22] having to drive through

[53:23] these driverless Teslas

[53:24] and they were like,

[53:25] ah, watch out.

[53:25] I thought it was really dumb,

[53:27] but it's over so fast

[53:28] that I realized suddenly

[53:29] I want more of this.

[53:30] It was just like,

[53:30] that was the right kind of dumb

[53:32] where I was like,

[53:33] all right,

[53:33] I want to see them having to dodge

[53:34] all these driverless cars,

[53:36] but it happens great.

[53:36] It's like in Attack of the Clones

Stuart Wellington

[53:37] where they go to the robot factory

[53:39] and have to dodge a bunch of shit.

[53:40] Like, more of that place.

Elliott Kalan

[53:42] I mean, it's dumb

[53:43] if there's only a little bit of it,

[53:44] but if there's a lot of it,

[53:45] you might be able to win me over.

[53:46] Part four, The Flood.

[53:48] Now it's part four.

[53:49] Everyone's back at the house.

[53:50] Nobody knows what to do.

[53:51] Ruth, Rose is so mad

[53:52] she can't watch Friends.

[53:53] Archie is just masturbating

[53:54] to the pictures he took of Ruth.

[53:56] Clay and Ruth are vaping together.

[53:57] I don't think he's able

Stuart Wellington

[53:58] to like finish off, right?

[53:59] He's like,

[53:59] I didn't take good enough pictures.

Elliott Kalan

[54:01] I thought he was too stressed out,

[54:03] but you think it's because

[54:03] he's disappointed in the pictures

Stuart Wellington

[54:04] or not?

[54:05] Yeah, he's like,

[54:06] oh, I should have changed

[54:07] the exposure on this one.

Elliott Kalan

[54:09] He's like,

[54:09] why can't I just use AI

[54:10] to remove her clothes?

[54:12] Why is Silicon Valley

[54:13] trying to solve

[54:14] the real problems of life?

[54:15] That is a real issue

[54:18] we don't need to get into.

[54:19] It's horrible.

[54:20] So anyway,

[54:22] Clay and Ruth are vaping together.

[54:22] Amanda and George,

[54:23] they're drinking together

[54:24] and they're starting

[54:25] to become friendly.

[54:26] And George tells a long story

[54:28] about a powerful client of his

[54:29] who he can't name him.

[54:31] He goes,

[54:31] you'd recognize the name.

[54:32] Anyway,

[54:33] he's involved in a lot

[54:33] of covert military stuff

[54:35] and defense contracts.

[54:37] are there a lot of famous

[54:38] covert military contractors?

[54:40] Okay, maybe.

Dan McCoy

[54:41] I just assume that

[54:42] because they produced it,

[54:43] he was friends with Obama.

[54:45] And that's the way

[54:46] he was saying.

Elliott Kalan

[54:48] And that this powerful client

[54:49] who called him at the symphony

[54:50] and said,

[54:51] hey,

[54:51] can you move a lot of money around?

[54:53] And I have to go somewhere.

[54:55] And that George tells a joke

[54:56] and the guy just says,

[54:56] take care of yourself

[54:57] and doesn't laugh.

[54:58] And this frightened George

[54:59] so much that he assumed

[55:00] that the world was about to end

[55:02] and he had to go back

[55:03] to Long Island.

[55:04] And meanwhile,

[55:05] Clay tells Ruth about his drive

[55:06] and it starts raining

[55:07] and a flock of flamingos

[55:09] shows up in their pool.

[55:10] This is one of those

[55:11] weird animal things.

[55:13] Amanda and George,

[55:14] they dance together.

[55:16] It's very weird.

Dan McCoy

[55:17] Don't act like you're too good

[55:18] for weird animal things, Elliot.

[55:20] I love it.

Elliott Kalan

[55:20] Look,

[55:21] I want this movie to be weirder.

[55:23] I want it to be Stalker.

[55:25] I want it to be Black Moon.

[55:26] I want it to be a weird movie.

[55:28] I like weird movies.

[55:29] I don't like these movies

[55:29] that are kind of half-assed weird.

Stuart Wellington

[55:31] I do like that Elliot just said

[55:33] they dance together

[55:34] instead of Julia Roberts

[55:35] picks out a record

[55:37] and plays Baby When We're Grind

[55:39] in there or whatever.

Elliott Kalan

[55:40] Yeah, that's true.

[55:41] It's called,

[55:42] what's the name of that song?

[55:44] I wrote it in my notes.

[55:45] Hold on.

Dan McCoy

[55:45] And does a dance

[55:46] that is pointedly bad.

[55:49] Yes.

[55:50] Yeah.

[55:50] Clearly she's meant to be bad.

[55:53] It's not Julia Roberts dancing.

[55:55] It's like this character,

[55:56] how she would dance.

Elliott Kalan

[55:58] Yes.

[55:58] It's Too Close by Next.

[56:00] That's the song.

[56:01] So it's all about grinding

[56:02] and being hard.

[56:03] And Julia Roberts is,

[56:04] I mean, it reminds me of-

[56:05] Feel a little poke coming through.

[56:06] It reminds me of Julia Roberts

[56:07] and George Clooney's dance

[56:08] in Vacation Wedding.

[56:10] What was that called?

[56:11] Welcome to Aloha to You.

[56:12] What was the name of that song you saw?

[56:14] I knew it before.

[56:15] Ticket to Paradise.

[56:16] That's what it was.

[56:16] Ticket to Paradise.

[56:17] Where they're deliberately dancing bad.

[56:19] these are the characters dancing.

[56:20] I like that.

[56:20] But there's this weird moment

[56:22] where they start dancing together

[56:24] and it's like the movie wants us to think

[56:26] that they are about to make out,

[56:28] which makes no sense.

[56:29] It's not how humans interact.

[56:31] But also,

[56:32] maybe it's that Julia Roberts thinks that,

[56:34] but Mahershala Ali does not think that.

[56:36] Like, maybe it's an inter-character miscommunication.

[56:39] But anyway, it doesn't happen

[56:39] because George-

[56:40] I think they're just scared

Dan McCoy

[56:42] and they're there

[56:43] and they're both hot people.

[56:45] So for a moment,

[56:47] it seems like maybe it would happen.

Elliott Kalan

[56:50] George is sad.

[56:51] He's like,

[56:52] I'm worried about my wife.

[56:53] And that's when the high-pitched noise comes back

[56:54] and the power goes out.

[56:56] Uh-oh.

[56:57] That night,

[56:57] Rose cannot sleep.

[56:59] She is too obsessed

[57:00] with thinking about a joke

[57:01] about a flood

[57:02] that she heard on an episode of West Wing.

[57:04] And she says-

[57:05] It's more of a parable.

Dan McCoy

[57:06] It's not really a joke.

Elliott Kalan

[57:07] It's been told to me as a joke.

[57:08] It's never been told to me as a parable.

[57:10] Maybe, but the-

Dan McCoy

[57:11] I got that story several times

[57:15] in my church growing up.

[57:18] That would come up in sermons

[57:20] from time to time.

[57:21] This is the one where the guy

Stuart Wellington

[57:22] is told there's a flood.

[57:22] And it was in the joke section

[57:23] of the sermon, right?

Dan McCoy

[57:24] It was the fun part.

[57:25] Yeah.

[57:26] It was jokes and japes.

[57:28] The japes, of course,

[57:29] are, you know,

[57:30] the minister using private information

[57:33] that it knows about the parishioners.

[57:35] Yeah.

[57:35] He does fucking crowd work, huh?

[57:38] Yeah, he's like,

[57:39] you know what I'm talking about.

[57:40] You're cheating on your wife.

[57:41] You know what I mean.

Elliott Kalan

[57:41] Anyway, that kind of thing.

[57:43] This guy.

[57:45] So it's the old story about

[57:46] the guy hears there's a flood

[57:48] and he decides to pray

[57:49] for God's assistance

[57:50] and then a boat comes by

[57:51] and he goes,

[57:52] no, no, God will help me.

[57:53] And then a helicopter comes by

[57:54] and he goes,

[57:54] no, no, God will help me

[57:55] and then he dies.

[57:56] why don't you help me?

[57:57] And God says,

[57:57] I sent you a boat.

[57:58] I sent you a helicopter.

[57:59] It's only ever been told to me

[58:00] as a joke.

[58:01] But maybe that's the,

[58:02] maybe because that's the Jewish

[58:03] way of telling it is,

[58:04] I sent you a boat.

[58:05] I sent you a helicopter.

Stuart Wellington

[58:08] No, no, I sent you a boat.

Dan McCoy

[58:10] It was, it was missing the delivery.

[58:13] Okay.

[58:13] Growing up.

Elliott Kalan

[58:14] That's, that's the,

[58:16] no, so I sent you a boat.

[58:18] But this is also,

[58:19] I could be misinterpreting it

[58:19] the same way.

[58:20] I think I've talked about how

[58:21] when I was a kid,

[58:22] I went, I was at a friend's house

[58:23] and there was a sam,

[58:25] a knitted sampler

[58:26] or embroidered sampler

[58:27] in their bathroom

[58:28] with the serenity prayer,

[58:29] which I misread as a joke.

[58:31] Where it was,

[58:32] let me, where it's like,

[58:33] let me have the,

[58:34] have the, what the,

[58:35] the strength to change what I can

[58:36] and the,

[58:36] and the understanding

[58:37] to,

[58:38] what the patience

[58:38] gets to the can.

Dan McCoy

[58:39] To accept the things

[58:40] that cannot change

[58:41] and the wisdom

[58:42] to tell the difference.

Elliott Kalan

[58:43] And the wisdom

[58:44] to tell the difference.

[58:45] That's how I read it

[58:45] with that kind of delivery.

[58:47] So I was like,

[58:47] oh, that's a joke.

[58:48] Anyway, so maybe I'm getting it wrong.

[58:49] Anyway, the point is,

[58:51] she says she's done with waiting.

[58:52] The next morning,

[58:53] she is missing,

[58:54] but they can't worry about that.

[58:55] Archie is spitting blood

[58:56] and he can't stop

[58:57] pulling his own teeth

[58:58] out of his mouth.

[58:58] He just will not stop.

Dan McCoy

[59:00] It's the new fad

[59:01] that's sweeping the nation.

[59:02] I gotta say, guys,

[59:03] if I notice,

[59:04] these young people with their screens

[59:05] and their removable teeth,

[59:06] what is this existence?

[59:08] They're gonna throw at people?

[59:09] They swallow tide pods

[59:10] and they pull their teeth out.

Stuart Wellington

[59:12] Maybe I'm a wimp, guys.

[59:13] It's the tooth pull challenge.

[59:15] Maybe you're wimps too, yes?

[59:17] After I yank out

[59:17] the first tooth,

[59:18] I'd be like,

[59:19] fuck this,

[59:20] I'm gonna leave the rest in.

Elliott Kalan

[59:21] Yes, very much so.

[59:23] And they're yelling at him,

[59:24] stop, stop.

[59:24] He's like,

[59:25] once you pop,

[59:25] you can't stop.

[59:27] Once you pop a tooth,

[59:29] you can't stop popping teeth.

[59:30] Yeah.

[59:31] So it is very funny

[59:32] that he just does not

[59:33] stop pulling his teeth out.

[59:34] And then almost like

[59:35] he's in a daze or a trance.

[59:36] And then afterwards,

[59:37] he goes,

[59:37] my teeth.

[59:38] And it's like,

[59:38] yeah, no shit, dude.

[59:39] You're the one

[59:39] who pulled them out of your mouth.

[59:41] Yeah, yeah.

[59:42] Anyway,

[59:43] we're at part five,

[59:44] the last one.

[59:45] They've run out of names

[59:46] for the parts

[59:47] that are referring to things.

[59:48] Just the last part.

[59:50] I gotta say,

[59:51] as a viewer.

[59:51] Or maybe the last person.

[59:52] They mean the last person, maybe?

[59:53] It's a reference

[59:54] to the fucking

[59:55] series finale of Friends

[59:57] titled that.

[59:58] I forgot the title

[59:59] of the Friends episode

[59:59] was the last one.

[1:00:00] That'll make sense at the end.

Dan McCoy

[1:00:01] But also,

[1:00:02] as a viewer,

[1:00:02] it's comfort.

[1:00:03] I mean,

[1:00:03] like,

[1:00:03] you know that

[1:00:04] it's double meaning.

[1:00:06] So you're like,

[1:00:06] okay, cool.

[1:00:07] Like,

[1:00:08] the movie's almost over.

Elliott Kalan

[1:00:09] What if it was called

[1:00:09] part five,

[1:00:09] the last one,

[1:00:10] and then something happened

[1:00:11] that said part six,

[1:00:12] more to come.

[1:00:13] The one after that.

Stuart Wellington

[1:00:14] Yeah,

[1:00:15] it says Leonard on it.

[1:00:16] Part six Leonard.

[1:00:17] Here he is.

[1:00:18] As a spy.

[1:00:19] Leonard,

[1:00:20] and you're like,

[1:00:20] no,

[1:00:20] oh,

[1:00:21] God.

[1:00:23] If I don't know,

[1:00:24] I wouldn't have watched

[1:00:25] the movie.

Elliott Kalan

[1:00:28] So,

[1:00:29] George and Clay,

[1:00:30] they're going to take Archie

[1:00:31] to Danny's house,

[1:00:32] the survivalist,

[1:00:33] Kevin Bacon,

[1:00:34] to see if he's stockpiled

[1:00:35] any medicine.

[1:00:35] It's as good a plan as any.

[1:00:37] And George promises Ruth,

[1:00:39] we'll be back in one hour.

[1:00:40] Set a timer.

[1:00:40] We'll be back in one hour.

[1:00:41] Amanda and Ruth

[1:00:42] go to look for Rose.

[1:00:43] They go to the shed,

[1:00:43] but she's not there.

[1:00:44] They have an argument,

[1:00:45] which turns into

[1:00:46] a heart-to-heart.

[1:00:47] Julie Roberts gives her

[1:00:48] Oscar bait speech

[1:00:49] about how modern life is all,

[1:00:51] everyone's pretending

[1:00:51] things are okay

[1:00:52] when they're not okay

[1:00:53] and I do need people

[1:00:54] and et cetera.

[1:00:56] Now we're back to intercutting

[1:00:57] between the storylines.

[1:00:58] This is what happens.

[1:00:59] Storyline A,

[1:01:00] George and Clay

[1:01:00] go to Danny's door.

[1:01:01] He meets them with a shotgun

[1:01:02] and he says,

[1:01:03] oh,

[1:01:03] Archie's probably sick

[1:01:04] because of that

[1:01:05] microwave beam weapon.

[1:01:06] It's like the one

[1:01:06] they used in Cuba

[1:01:07] a few years back.

[1:01:08] I remember that story.

[1:01:08] I was like,

[1:01:09] okay,

[1:01:09] I remember that.

[1:01:10] Danny thinks

[1:01:10] there's been a war.

[1:01:11] He refuses to help them.

[1:01:12] It's time for everyone

[1:01:13] to look out for their own.

[1:01:14] He tells them,

[1:01:15] go to the Thorns house

[1:01:16] because they have

[1:01:16] a bunker basement.

[1:01:17] And I was like,

[1:01:18] Jesse Thorne?

[1:01:20] Yeah,

[1:01:22] he's a bunker baby.

[1:01:25] He's a billion dollar

[1:01:26] bunker baby?

[1:01:29] Eventually,

[1:01:29] George and Danny,

[1:01:30] they get so mad,

[1:01:31] they pull guns on each other

[1:01:32] and Clay gets between them

[1:01:33] in a masterful stroke

[1:01:35] of verbal,

[1:01:37] masculine politics jujitsu,

[1:01:40] leverages his beta cuckness

[1:01:41] into begging Danny

[1:01:43] for help

[1:01:44] and saying,

[1:01:45] look,

[1:01:45] I don't know anything.

[1:01:46] I don't know how

[1:01:46] to do anything.

[1:01:47] You do.

[1:01:48] I'm just,

[1:01:48] and you say

[1:01:49] you got to do

[1:01:50] what you need to do

[1:01:50] for your family.

[1:01:51] That's what I'm doing.

[1:01:52] Save my son.

[1:01:52] I can't do it.

[1:01:53] And he also offers him

[1:01:54] a thousand dollars in cash.

[1:01:55] And Archie gives,

[1:01:56] they give Archie some pills

[1:01:57] and Clay shows Danny

[1:01:59] the leaflet

[1:01:59] and Danny goes,

[1:02:00] oh yeah,

[1:02:01] I had a friend

[1:02:01] in San Diego

[1:02:02] before the radios went out.

[1:02:03] He told me

[1:02:03] they saw similar leaflets

[1:02:04] there,

[1:02:05] but in an Asian language,

[1:02:07] maybe our enemies

[1:02:07] have teamed up against us.

[1:02:09] Bum,

[1:02:09] bum,

[1:02:09] bum.

[1:02:10] Story B,

[1:02:12] encounter a big herd

[1:02:13] of deer.

[1:02:14] It's a stare down.

[1:02:15] The deer are staring at Ruth.

[1:02:16] Ruth's staring at the deer.

[1:02:17] This goes on for a long time.

[1:02:19] It's a regular ring too.

[1:02:20] These CGI deer

[1:02:21] are just staring at Ruth.

[1:02:23] Finally,

[1:02:23] Amanda runs over yelling

[1:02:24] to get them to go away

[1:02:25] and Ruth yells

[1:02:26] and the deer go away.

[1:02:28] And Ruth goes,

[1:02:28] huh,

[1:02:28] I think the animals

[1:02:29] are trying to warn us

[1:02:29] about something.

[1:02:30] It's like,

[1:02:31] what would give you

[1:02:31] that impression?

[1:02:32] I don't understand.

[1:02:34] And they see

[1:02:35] Rose's bike tracks

[1:02:36] between

[1:02:37] You know how they say

Dan McCoy

[1:02:37] the animal's just as scared

[1:02:39] of you as you are

[1:02:40] of that?

[1:02:41] Well,

[1:02:41] also the animal

[1:02:42] is just as scared

[1:02:43] of the end of the world

[1:02:44] as you are.

Elliott Kalan

[1:02:45] the exact opposite.

[1:02:46] The animal is not scared

[1:02:47] of the end of the world

[1:02:48] because it doesn't care

[1:02:49] about human civilization.

[1:02:50] It's better for the animals

[1:02:51] if human civilization falls.

Dan McCoy

[1:02:53] True,

[1:02:53] but apparently some of them

[1:02:54] have gotten all nuked

[1:02:56] down south or something.

[1:02:57] Yeah,

[1:02:58] but they don't know about that.

Stuart Wellington

[1:02:59] It's not like the deer

[1:02:59] are getting,

Elliott Kalan

[1:03:00] the deer are like,

[1:03:01] the text messages

[1:03:01] aren't going through.

[1:03:02] What happened to my dear friends

[1:03:03] in the south?

Stuart Wellington

[1:03:04] If human civilization falls,

[1:03:06] they're not going to be able

[1:03:07] to live in all the cool zoos anymore.

[1:03:10] That's true.

[1:03:10] That's a good point.

[1:03:11] They won't get hunted

Elliott Kalan

[1:03:12] methodically.

[1:03:14] The animals that are screwed

[1:03:15] if human civilization falls

[1:03:16] are the collaborators.

[1:03:19] Chickens,

[1:03:19] cows,

[1:03:20] goats,

[1:03:21] sheep,

[1:03:21] the animals that,

[1:03:22] and dogs especially.

Dan McCoy

[1:03:23] I don't know if they're collaborators.

[1:03:24] I mean,

[1:03:24] they get eaten basically.

[1:03:26] I mean,

Dan McCoy

[1:03:26] dogs and cows do not have it good.

Elliott Kalan

[1:03:28] No,

[1:03:29] they made a deal with humans.

[1:03:30] They said,

[1:03:31] this is the way we survive

[1:03:32] our species.

[1:03:33] There are so many more of us

[1:03:35] than there would be in the wild,

[1:03:36] but some of us have to get eaten

[1:03:38] every now and then.

[1:03:39] Dogs are the collaborators.

[1:03:39] It's a wild theory.

[1:03:40] Dogs are the ones who are like,

[1:03:41] I'm selling out animals.

[1:03:42] I work with humans now.

[1:03:43] I'm an official member

[1:03:44] of the family.

[1:03:45] Like,

[1:03:46] I'm a sympathizer.

[1:03:47] Yeah,

[1:03:47] dogs are collaborators.

[1:03:48] Okay,

Dan McCoy

[1:03:48] anyway.

[1:03:49] I don't know.

[1:03:49] The number of wild dogs around,

[1:03:51] I think they'll do fine too

[1:03:52] once we're gone.

Elliott Kalan

[1:03:54] I mean,

[1:03:54] they'll revert back pretty.

[1:03:55] Well,

[1:03:55] I mean,

[1:03:55] the dogs will go back

[1:03:56] to the other animals

[1:03:56] and be like,

[1:03:57] I was always working

[1:03:58] to sabotage the humans.

[1:04:00] Yeah.

[1:04:00] I was always against them.

Stuart Wellington

[1:04:01] Take the dad from the inside.

[1:04:02] I was encouraging him

[1:04:04] not to have children.

[1:04:06] I let them call me

[1:04:07] their fur baby.

Elliott Kalan

[1:04:09] It was the long game.

[1:04:10] Anyway,

[1:04:11] allow me back in.

[1:04:13] So,

[1:04:13] George tells Clay

[1:04:15] they got to get to this bunker

[1:04:16] because what's happening

[1:04:17] reminds him

[1:04:18] of a three-stage plan

[1:04:20] that the military designed

[1:04:21] is the most cost-effective,

[1:04:22] cheapest way

[1:04:23] to topple a government.

[1:04:24] Number one,

[1:04:24] isolation.

[1:04:25] Step one,

[1:04:26] isolate them.

[1:04:27] Step two,

[1:04:27] synchronized chaos,

[1:04:28] which is a funny phrase.

[1:04:30] Microwave them.

[1:04:30] Microwave them,

[1:04:31] drop leaflets,

[1:04:32] confuse them.

[1:04:33] Step three,

[1:04:34] coup d'etat,

[1:04:35] and civil war.

[1:04:36] That way,

[1:04:36] the target,

[1:04:37] which is already so divided,

[1:04:39] does most of the work for you.

[1:04:40] And that's when,

[1:04:41] in the woods,

[1:04:42] Ruth's one-hour alarm goes off,

[1:04:43] George stills in back,

[1:04:44] Amanda and Ruth look over

[1:04:45] to the New York City skyline

[1:04:47] and see explosion clouds,

[1:04:48] possibly a mushroom cloud,

[1:04:49] but I don't think it is

[1:04:50] because the buildings

[1:04:51] are not vaporized.

[1:04:52] Yeah.

Elliott Kalan

[1:04:52] And they hear gunfire.

[1:04:54] This is two days,

[1:04:56] I think,

[1:04:56] if I'm understanding the timeline,

[1:04:57] after the Wi-Fi

[1:04:58] and the power went out.

[1:04:59] Within two days,

[1:05:00] New York has fallen into

[1:05:01] civil war,

[1:05:02] anarchy,

[1:05:03] sporadic gunfire.

[1:05:04] That I don't believe.

Stuart Wellington

[1:05:05] I think what had happened

[1:05:06] was a disgraced government official,

[1:05:08] Nizu,

[1:05:09] accidentally shot Takashi

[1:05:10] whilst trying to shoot Akira

[1:05:12] and instead,

[1:05:12] Akira just made a huge explosion.

[1:05:14] Yes,

[1:05:15] he was so upset.

[1:05:15] New Tokyo Empire,

[1:05:16] et cetera,

[1:05:16] et cetera.

[1:05:17] If that was what happened,

Elliott Kalan

[1:05:18] if we saw a big Akira power bubble

[1:05:20] engulf the city,

[1:05:21] I would say,

[1:05:22] I understand what's happening.

[1:05:23] Yes,

[1:05:23] that could very well happen.

[1:05:24] This rules.

[1:05:25] And what an amazing moment

[1:05:26] in that story.

[1:05:27] What an amazing moment.

[1:05:28] Yeah,

Elliott Kalan

[1:05:28] it's incredible.

[1:05:29] That story,

[1:05:29] it's such a hinge point

[1:05:30] from volume three

[1:05:31] to volume four,

[1:05:32] like the way it's split up

[1:05:33] in the Dark Horse volumes,

[1:05:35] like,

[1:05:35] it's,

[1:05:35] that's,

[1:05:36] what a beautiful thing.

[1:05:37] Like,

[1:05:37] and the,

[1:05:38] just page after page

[1:05:39] of buildings falling over,

[1:05:40] oh,

[1:05:41] beautifully done.

[1:05:41] It's great.

[1:05:42] Katsuhiro Tomo

[1:05:42] and whatever assistants he uses,

[1:05:44] if he has any,

[1:05:45] I assume he has some,

[1:05:46] but,

[1:05:46] oh,

[1:05:46] we have a legion of them,

[1:05:48] I'm sure.

[1:05:48] Oh,

[1:05:49] with like angels

[1:05:49] that are really easy to kill?

[1:05:51] Legion?

[1:05:51] Yeah,

[1:05:52] yeah,

[1:05:52] no,

[1:05:52] it's,

Stuart Wellington

[1:05:53] it's Professor Xavier's son.

[1:05:55] He's got a bunch of dudes

[1:05:56] living in his head.

[1:05:57] Oh,

[1:05:57] I see,

[1:05:57] he's got so many personalities.

[1:05:58] We got Super Endo

[1:05:59] talking about Akira

[1:06:00] and Dan got,

[1:06:02] Dan's looking it up

[1:06:03] on his phone,

[1:06:04] I'm assuming.

[1:06:04] Oh,

[1:06:04] I'm not,

Dan McCoy

[1:06:05] so I was pointedly

[1:06:07] not paying attention anymore.

[1:06:08] No,

[1:06:09] but,

[1:06:10] like,

[1:06:10] Elliot,

[1:06:10] I don't think you can blame

[1:06:12] New York getting bombed

[1:06:14] on the,

[1:06:15] the breakdown of New York society.

[1:06:18] I don't think you can be like,

[1:06:19] oh,

[1:06:19] it wouldn't fall into this

[1:06:20] so quickly.

[1:06:23] Like,

[1:06:23] it's getting,

[1:06:24] like,

[1:06:24] that bomb is clearly a bomb,

[1:06:26] not like,

[1:06:28] because of the breakdown

[1:06:29] of society.

[1:06:30] But who's bombing New York?

[1:06:31] If you're,

[1:06:31] if you're trying to take over

Elliott Kalan

[1:06:32] the government,

[1:06:33] New York is not the place

[1:06:34] to attack.

[1:06:35] D.C. is the place to attack.

[1:06:36] New York,

[1:06:37] why would you go there?

[1:06:37] Why would you bother?

[1:06:39] I mean,

[1:06:39] we don't know,

[1:06:42] we don't know,

[1:06:43] like,

[1:06:44] to what degree.

[1:06:45] It's possible George's explanation

[1:06:47] is just a made-up explanation.

[1:06:49] If it's a civil war,

[1:06:50] you would not be nuking New York

[1:06:51] because you want that

[1:06:52] financial infrastructure.

[1:06:53] You want to take control of it.

[1:06:53] You don't want to destroy it.

Dan McCoy

[1:06:55] I don't think anyone

[1:06:56] who is,

[1:06:58] you know,

[1:06:59] on the non-New York side

[1:07:01] of,

[1:07:01] of the civil war

[1:07:03] cares so much

[1:07:04] about what happens

[1:07:05] to New York.

Elliott Kalan

[1:07:06] It's the difference

[1:07:06] between a civil war

[1:07:07] and a coup d'etat

[1:07:08] is the thing.

[1:07:09] And the movie treats them

[1:07:10] as if they are the same thing.

Dan McCoy

[1:07:11] I know,

[1:07:12] but I think that

[1:07:12] we're not to take

[1:07:14] any of the explanations

[1:07:15] for what's happening

[1:07:16] as the final explanation.

[1:07:18] I don't think.

[1:07:19] I think that there's one

[1:07:20] that, like,

[1:07:21] fits things

[1:07:22] to a degree,

[1:07:24] but we also don't know

[1:07:25] whether that bomb

[1:07:26] is coming from

[1:07:26] inside the house

[1:07:27] or outside the house.

[1:07:29] Like,

[1:07:29] we don't know

[1:07:30] whether it really is,

[1:07:32] like,

[1:07:32] one foreign power

[1:07:34] working and,

[1:07:35] like,

[1:07:35] putting out pamphlets

[1:07:37] that implicate

[1:07:38] other foreign powers

[1:07:39] that can,

[1:07:39] you know,

[1:07:40] continue to confuse people

[1:07:41] or it really is

[1:07:42] those people

[1:07:43] working together.

[1:07:43] I think that that's all

[1:07:44] deliberately left

[1:07:46] vague

[1:07:48] and it's all about,

[1:07:49] like,

[1:07:50] seeding,

[1:07:50] you know,

Elliott Kalan

[1:07:52] fear.

[1:07:52] Then I feel like

[1:07:52] the movie is doing

[1:07:53] itself a disservice

[1:07:54] by providing an explanation

[1:07:55] that does fit

[1:07:57] all the clues,

[1:07:58] pretty much.

Dan McCoy

[1:07:59] Yeah,

[1:07:59] but even if it fits

[1:08:00] the clues,

[1:08:00] how it's being implicated.

[1:08:02] Implemented,

[1:08:03] you know,

[1:08:03] like,

[1:08:04] this could be part

[1:08:04] of the confusion.

Elliott Kalan

[1:08:05] From watching movies,

[1:08:07] maybe it's,

[1:08:07] I become trained to,

[1:08:09] if I see clues

[1:08:10] and someone gives

[1:08:10] an explanation

[1:08:11] that fits the clues,

[1:08:12] then I go,

[1:08:12] oh,

[1:08:13] that's probably

[1:08:13] the explanation.

[1:08:13] But that's not

[1:08:14] what I'm saying.

Dan McCoy

[1:08:14] I'm saying that,

[1:08:15] like,

[1:08:15] even if that's

[1:08:16] the explanation

[1:08:16] for what's behind it,

[1:08:19] precisely what,

[1:08:21] how this fits

[1:08:22] into that necessarily.

[1:08:23] Like,

[1:08:24] like,

[1:08:24] I think that,

Stuart Wellington

[1:08:25] I guess so.

[1:08:26] It is,

[1:08:27] it does not matter.

[1:08:29] It does not,

[1:08:29] it doesn't,

[1:08:30] like,

[1:08:30] make literal sense.

[1:08:33] Yeah.

[1:08:33] But it fits

[1:08:33] the thematic rule

[1:08:35] of they are trying

[1:08:36] to use the metaphor

[1:08:37] of civilization crumbling.

Elliott Kalan

[1:08:40] Well,

[1:08:40] I think it feels like,

[1:08:41] if the metaphor

[1:08:42] seems to me

[1:08:43] to be saying,

[1:08:45] we are so,

[1:08:46] this is how fragile

[1:08:47] our,

[1:08:48] the world we live in is,

[1:08:49] which,

[1:08:50] I don't think

[1:08:51] it's doing a great job

[1:08:52] of selling that point.

[1:08:53] But it doesn't matter,

[1:08:54] the movie's almost over,

[1:08:54] let's just get there.

[1:08:55] Ruth,

[1:08:56] she's broken into

[1:08:56] the Thorns house,

[1:08:57] she has eaten

[1:08:58] all of their junk food

[1:08:59] in a hilarious moment

[1:09:00] where she's just sitting

[1:09:01] at the table

[1:09:01] eating junk food.

[1:09:02] She goes down

[1:09:03] into their bunker,

[1:09:04] a computer alert system

[1:09:05] says that the White House

[1:09:07] is under attack

[1:09:07] and high radiation levels

[1:09:08] have been detected.

[1:09:09] She doesn't notice that.

[1:09:10] All she sees is,

[1:09:11] there's a huge TV,

[1:09:12] a huge DVD collection.

[1:09:14] Guess what they have?

[1:09:15] The entire run of Friends.

[1:09:16] She pops in

[1:09:17] the Friends finale

[1:09:18] and we cut to credits

[1:09:19] as the Friends theme song plays

[1:09:21] because you know what?

[1:09:22] They won't be there for you,

[1:09:24] as the song says.

[1:09:26] So it's very ironic.

[1:09:27] It's incredibly ironic.

[1:09:28] Well,

Dan McCoy

[1:09:28] what's true also is,

[1:09:30] no,

Dan McCoy

[1:09:30] but what is actually true

[1:09:31] is no one told

[1:09:32] you life was going

[1:09:34] to be this way.

Elliott Kalan

[1:09:36] Their jobs are jokes

[1:09:38] and now they're broke

[1:09:39] and their love life

[1:09:40] is as DOA

[1:09:41] as everything else

[1:09:42] in the world.

[1:09:43] I mean,

[1:09:43] George's love life

[1:09:44] is very DOA

[1:09:45] because he thinks

[1:09:45] his wife has died

[1:09:46] in a plane crash.

[1:09:47] And it's one of these things

[1:09:49] where Ruth,

[1:09:50] Rose is supposed to,

[1:09:51] no,

[1:09:52] Rose,

[1:09:52] not Ruth.

[1:09:53] Rose is supposed to be,

[1:09:55] I think early on

[1:09:56] she's coded as

[1:09:57] this kid,

[1:09:58] all she cares about

[1:09:59] is TV.

[1:10:00] She's never going

[1:10:00] to survive.

[1:10:02] She's done for,

[1:10:03] but now she's

[1:10:04] the only one

[1:10:05] who's going to survive

[1:10:05] potentially.

[1:10:07] You know,

[1:10:07] she's discovered,

[1:10:07] her lust for television

[1:10:09] has brought her,

[1:10:10] or hunger for television

[1:10:11] has brought her

[1:10:11] to the one safe place.

[1:10:13] Maybe that's the future.

[1:10:14] And what I would like is,

[1:10:16] you know what?

[1:10:16] Maybe this is what's wrong.

[1:10:17] Maybe it's,

[1:10:18] maybe this is,

[1:10:20] in my mind,

[1:10:21] it's in the shadow

[1:10:22] of the play Mr. Burns,

[1:10:23] this really amazing play

[1:10:24] where there's been

[1:10:25] some kind of

[1:10:26] ambiguous catastrophe

[1:10:28] and society

[1:10:29] recreates itself

[1:10:30] around half-remembered

[1:10:31] episodes of The Simpsons.

[1:10:33] And it feels like

[1:10:34] this movie is kind of

[1:10:35] fainting towards

[1:10:36] that kind of thing,

[1:10:37] but not,

[1:10:38] it's not as good

[1:10:39] as that play,

[1:10:40] you know.

Dan McCoy

[1:10:42] I mean,

[1:10:42] I think it's doing

[1:10:43] a very,

[1:10:44] I mean,

[1:10:44] like,

[1:10:45] it's ending on that note

[1:10:47] maybe of like,

[1:10:48] you know.

[1:10:49] I think,

[1:10:50] I mean,

[1:10:50] I just took it kind of

[1:10:51] as like a black joke

[1:10:52] at the end of the

[1:10:53] Shaggy Dog story

[1:10:54] of like.

[1:10:54] That's possible.

[1:10:55] You know.

[1:10:56] But if that's,

Elliott Kalan

[1:10:57] if it's one of those things

[1:10:58] that's like.

[1:10:58] Found her ultimate

[1:11:00] shutting out of the world.

[1:11:01] If it's a joke

[1:11:02] at the end of a Shaggy Dog story,

[1:11:03] the story was not,

[1:11:05] for me,

[1:11:05] was not gripping enough

[1:11:06] and the joke was not

[1:11:07] funny enough

[1:11:08] to justify

[1:11:09] an over two hour movie.

[1:11:11] My life is a Shaggy Dog.

[1:11:12] Now,

Dan McCoy

[1:11:13] the Shaggy Dog,

[1:11:14] DA,

[1:11:14] now that's a Shaggy Dog story.

[1:11:15] That's a Shaggy Dog story.

[1:11:16] It doesn't get shaggier than that.

Elliott Kalan

[1:11:18] When he's the dog,

[1:11:19] when he's the DA,

[1:11:20] it doesn't,

[1:11:20] it's not so shaggy.

[1:11:22] Yeah.

[1:11:23] Real love on a leash.

[1:11:25] Legal on a leash.

[1:11:26] Law on a leash.

[1:11:27] Yeah.

[1:11:27] The Shaggy Dog.

[1:11:28] So,

[1:11:29] let's go to final judgments.

[1:11:30] Guys,

Stuart Wellington

[1:11:32] just real quick,

[1:11:33] there wasn't any bloops

[1:11:33] or anything in the post-credits

[1:11:35] because I didn't,

[1:11:36] I turned it off immediately.

Elliott Kalan

[1:11:37] I didn't see any bloops

[1:11:38] or Samuel L. Jackson

[1:11:40] didn't show up

[1:11:40] and tell Rose

[1:11:41] to join the Friends Initiative.

[1:11:44] Yeah.

Dan McCoy

[1:11:47] Yeah.

[1:11:47] Is this a good,

[1:11:48] bad movie,

[1:11:49] a bad,

[1:11:50] bad movie,

[1:11:51] or a movie

[1:11:52] you kind of liked?

[1:11:54] I think I've tipped my hand

[1:11:56] a little bit already.

[1:11:57] Like,

[1:11:58] I basically,

[1:11:59] I give this a mixed positive.

[1:12:01] You know,

[1:12:02] like,

[1:12:02] I give,

[1:12:02] like,

[1:12:03] on Letterboxd,

[1:12:04] I gave this three stars,

[1:12:05] which is the,

[1:12:06] like,

[1:12:07] you know,

[1:12:08] we all have different ways

[1:12:08] we interpret the star system.

[1:12:09] That seems fair.

[1:12:10] That seems fair,

[1:12:11] yeah.

[1:12:11] A three star to me

[1:12:12] is,

[1:12:13] like,

[1:12:13] kind of,

[1:12:14] like,

[1:12:14] the lowest something is

[1:12:15] that I might say to someone,

[1:12:17] yeah,

[1:12:17] you know,

[1:12:18] you could,

[1:12:19] yeah,

[1:12:19] why don't you watch it?

[1:12:20] Like,

[1:12:20] if you're interested,

[1:12:21] you know,

[1:12:21] check it out.

[1:12:22] You know,

[1:12:22] like,

[1:12:22] it's a mild positive for me

[1:12:24] where I'm like,

[1:12:25] not everything works,

[1:12:29] but,

[1:12:30] I mean,

[1:12:30] the power's out

[1:12:31] and the Wi-Fi

[1:12:32] and the cable.

[1:12:33] But,

[1:12:34] I did,

[1:12:35] I did take it,

[1:12:36] you know,

[1:12:37] like,

[1:12:38] like I said,

[1:12:39] when I take something

[1:12:40] not sort of,

[1:12:40] like,

[1:12:41] 100% like,

[1:12:43] as,

[1:12:43] like,

[1:12:43] realism

[1:12:44] on a story level

[1:12:46] because it's so clearly

[1:12:47] trying to just

[1:12:49] more evoke feelings

[1:12:51] and,

[1:12:52] like,

[1:12:52] also say something,

[1:12:54] even though I agree,

[1:12:55] like,

[1:12:55] what it's saying

[1:12:56] is kind of muddled,

[1:12:57] I'm more forgiving

[1:12:58] about all that stuff.

[1:13:00] Like,

[1:13:00] I wasn't,

[1:13:01] like,

[1:13:01] hung up on a lot of details.

[1:13:02] I liked the performances.

[1:13:05] I think it has some,

[1:13:06] like,

[1:13:07] genuinely,

[1:13:07] like,

[1:13:08] interesting images in it

[1:13:09] and,

[1:13:09] unfortunately,

[1:13:10] it gets,

[1:13:10] like,

[1:13:10] lost in kind of a wash of,

[1:13:12] like,

[1:13:12] like we said,

[1:13:13] it's all crescendos

[1:13:14] where,

[1:13:14] like,

[1:13:15] there should be a couple

[1:13:15] of,

[1:13:16] like,

[1:13:16] key images

[1:13:17] that really pop out.

[1:13:19] That's a very good way

[1:13:20] to put it.

[1:13:21] But,

[1:13:21] I also kind of like

[1:13:22] that it ends on this

[1:13:23] note of,

[1:13:26] like,

[1:13:28] nothing,

[1:13:29] nothing is resolved

[1:13:30] at the end.

[1:13:31] Like,

[1:13:31] our characters are,

[1:13:32] all scattered.

[1:13:33] They're all sort of

[1:13:33] at this suspension point

[1:13:35] in the story

[1:13:36] and you don't know

[1:13:36] where things could go

[1:13:37] and if you're a cynic,

[1:13:40] like,

[1:13:40] this is,

[1:13:41] like,

[1:13:41] truly the end.

[1:13:42] If you want to look

[1:13:43] for signs of hope,

[1:13:44] like,

[1:13:44] I think that the movie

[1:13:45] shows,

[1:13:47] like,

[1:13:47] the characters

[1:13:48] growing closer

[1:13:49] over time

[1:13:50] as society falls apart

[1:13:51] and,

[1:13:52] like,

[1:13:52] there is,

[1:13:53] like,

[1:13:53] Clay is able to appeal

[1:13:55] to this man's

[1:13:56] better nature,

[1:13:58] you know,

[1:13:58] plus some money.

[1:14:00] like,

[1:14:00] he is able to-

Elliott Kalan

[1:14:02] find common ground

[1:14:03] when they've been

[1:14:03] at each other's throats

[1:14:04] all moving.

Dan McCoy

[1:14:05] I think that,

[1:14:05] yeah,

[1:14:06] I think it's constructed

[1:14:06] so that you can find

[1:14:08] hope if you're looking

[1:14:09] for it

[1:14:10] and I sort of enjoyed

[1:14:11] that.

[1:14:11] I don't think,

[1:14:12] I agree that,

[1:14:13] like,

[1:14:14] in some ways

[1:14:14] I've seen it before

[1:14:15] but,

[1:14:16] you know,

[1:14:16] mild kind of liked.

Elliott Kalan

[1:14:17] I think I'm gonna go,

[1:14:18] I think this movie,

[1:14:20] I,

[1:14:20] it's hard for me

[1:14:20] to be fair with it

[1:14:21] because

[1:14:22] I've seen this story

[1:14:24] so many times

[1:14:25] and this is a kind of story

[1:14:26] I usually really like.

[1:14:27] I like,

[1:14:28] and we have a question

[1:14:28] coming up

[1:14:29] that I'm actually gonna

[1:14:30] cannibalize some of my

[1:14:31] answer for that.

[1:14:32] I like society falling apart

[1:14:33] stories,

[1:14:34] I like people being isolated

[1:14:35] and not knowing

[1:14:36] what's going on stories

[1:14:37] and I feel like

[1:14:38] it's unfair to this movie

[1:14:39] that I've seen it done

[1:14:40] so much better

[1:14:41] in other forms

[1:14:43] and even other movies

[1:14:43] and so,

[1:14:45] it's,

[1:14:45] to be honest,

[1:14:46] this movie,

[1:14:47] and this is maybe

[1:14:48] an inflammatory way

[1:14:48] for me to put it,

[1:14:49] this is like

[1:14:50] the Obama's version

[1:14:51] of this movie.

[1:14:52] It reminds me of the presidency

[1:14:53] of Barack Obama

[1:14:54] where it was like,

[1:14:55] I wanna like this a lot,

[1:14:56] on paper I should like this,

[1:14:58] but I am not getting

[1:14:59] as much as what I want from it

[1:15:01] and in the end

[1:15:01] it wants to have it,

[1:15:02] it wants to be both

[1:15:03] a chilling indictment

[1:15:05] and a sign of hope

[1:15:06] in a way.

[1:15:08] Yeah.

[1:15:08] Like it can't,

[1:15:09] and it's muddled

[1:15:10] in the same way that

[1:15:11] I find a lot of

[1:15:12] Obama-related stuff muddled

[1:15:14] to be honest,

[1:15:15] where he's like,

[1:15:16] reach for the stars,

[1:15:17] but realistically,

[1:15:19] we've gotta compromise

[1:15:19] everybody.

[1:15:20] It's like,

[1:15:20] hold on a minute,

[1:15:21] come on.

[1:15:22] But the,

[1:15:23] I think the movie suffers

[1:15:24] from just doing something

[1:15:26] that I've seen

[1:15:26] many times before.

[1:15:27] It's not necessarily

[1:15:28] a bad movie,

[1:15:29] but it is,

[1:15:31] there was nothing in it,

[1:15:32] there was no,

[1:15:33] like you're saying,

[1:15:34] like,

[1:15:35] kind of striking key image,

[1:15:37] there was no moment

[1:15:38] of real scaring

[1:15:39] or tension

[1:15:40] or chilling

[1:15:40] or fear,

[1:15:43] it wasn't disquieting

[1:15:44] in the way that

[1:15:45] I hoped it would be,

[1:15:46] in that,

[1:15:46] you know,

[1:15:47] I've seen movies

[1:15:48] that are quietly eerie

[1:15:50] where you're like,

[1:15:50] I can't,

[1:15:51] I can't really get

[1:15:52] my bearings,

[1:15:53] this is really throwing me off

[1:15:54] and this movie is not that

[1:15:55] and so,

[1:15:56] I just was,

[1:15:57] I was just disappointed in it.

[1:15:58] You know,

[1:15:58] it's not that I'm mad,

[1:15:59] but I'm disappointed.

[1:16:00] If I was rating it,

[1:16:01] this is like a two and a half star

[1:16:02] movie for me,

[1:16:03] which again,

[1:16:03] is not the worst,

[1:16:04] it could be,

[1:16:05] but it is,

[1:16:06] I'm not gonna go out of my way

[1:16:07] to recommend it

[1:16:08] because there's better

[1:16:09] versions of it,

[1:16:10] you know.

[1:16:10] So on our scale,

[1:16:11] I guess it's bad,

[1:16:12] bad,

[1:16:12] but it's not as bad

[1:16:13] as it bad,

[1:16:14] bad could be,

[1:16:14] you know.

[1:16:15] I wasn't like,

[1:16:16] ugh,

[1:16:17] ugh,

[1:16:17] this movie,

[1:16:18] but I was like,

[1:16:19] all right,

[1:16:19] so that's all there is?

[1:16:20] Okay.

[1:16:20] I did,

[1:16:21] I asked my mother,

[1:16:22] is that all there is?

[1:16:23] Yeah.

[1:16:23] I looked at a house on fire

[1:16:24] and I said,

[1:16:24] is that all there is to a fire?

Dan McCoy

[1:16:25] I want to see what,

[1:16:26] I want to see what Stuart's faces

[1:16:27] he's been making mean.

Stuart Wellington

[1:16:28] Jesus fucking Christ.

[1:16:29] No,

[1:16:29] I'm just,

[1:16:30] we put a fucking couple nickels in him

[1:16:32] and he won't stop talking.

[1:16:33] Yeah.

Elliott Kalan

[1:16:35] At a certain point,

[1:16:36] Stuart,

[1:16:36] I was literally filibustering

[1:16:37] to make you have to wait longer

[1:16:38] to give your judgment.

Stuart Wellington

[1:16:40] Like,

[1:16:40] ugh,

[1:16:41] eyes continuing to glaze over.

[1:16:44] Yeah,

[1:16:44] I,

[1:16:45] I mean,

[1:16:45] I think I'm gonna,

[1:16:46] I'm gonna air

[1:16:47] kind of closer to Elliot.

[1:16:49] I'm gonna say it's a bad,

[1:16:50] bad that,

[1:16:52] I don't think it,

[1:16:52] I think this is a movie

[1:16:53] that has plenty of,

[1:16:55] it has,

[1:16:56] it has some cool bits

[1:16:58] and cool moments

[1:16:59] and things that I liked,

[1:17:01] but I feel like,

[1:17:02] similar,

[1:17:03] like,

[1:17:03] similar to what I talked about

[1:17:04] when we were talking about

[1:17:05] the camera,

[1:17:06] like the camera movements

[1:17:07] and camera tricks

[1:17:08] is that it feels like

[1:17:09] it's a collection of ideas

[1:17:11] that don't necessarily,

[1:17:13] that don't actually

[1:17:15] have a clear,

[1:17:16] like,

[1:17:17] it's not tight enough.

[1:17:18] It doesn't have a clear,

[1:17:19] and that,

[1:17:20] that isn't to say

[1:17:22] that it's like,

[1:17:23] terrible,

[1:17:23] I just don't think it,

[1:17:25] like it,

[1:17:26] it's not really saying much.

[1:17:27] It feels,

[1:17:28] in some ways,

[1:17:29] it kind of reminded me of,

[1:17:30] it reminded me a little bit of

[1:17:32] Ex Machina,

[1:17:33] the Alex Garland movie,

[1:17:35] where I'm like,

[1:17:36] there's a lot of things

[1:17:36] that I like in this,

[1:17:38] but I think,

[1:17:38] as a whole,

[1:17:40] it's not saying anything

[1:17:41] particularly new,

[1:17:42] and it doesn't feel like

[1:17:44] it's,

[1:17:44] like it,

[1:17:46] like it's somebody,

[1:17:46] like,

[1:17:47] playing it,

[1:17:48] making a movie,

Dan McCoy

[1:17:50] which is a shitty,

[1:17:51] it's a shitty way to say it.

[1:17:52] I love Ex Machina.

[1:17:53] I mean,

[1:17:54] like,

[1:17:54] well,

[1:17:54] I don't,

[1:17:55] like,

[1:17:55] does something need to say

[1:17:56] something new,

[1:17:57] specifically?

[1:17:58] Like,

[1:17:58] I think,

[1:17:59] I think Ex Machina

[1:18:00] has a,

[1:18:00] kind of a clear message

[1:18:01] in a way that this movie

[1:18:03] does not.

Stuart Wellington

[1:18:04] Well,

[1:18:05] Ex Machina,

[1:18:05] I think,

[1:18:06] I think for me,

[1:18:07] the,

[1:18:07] like,

[1:18:08] thriller elements

[1:18:09] didn't work as much

[1:18:10] because I feel like I didn't,

[1:18:11] like,

[1:18:12] it,

[1:18:13] I don't know.

[1:18:14] I don't want to get in the weeds

Elliott Kalan

[1:18:16] on Ex Machina right now.

[1:18:18] It's hard for a movie

[1:18:19] to have an ambiguous quality to it.

[1:18:21] With Ex Machina,

[1:18:22] I think,

[1:18:23] you as an audience

[1:18:24] are supposed to wonder,

[1:18:25] what's the,

[1:18:26] is this robot really into him?

[1:18:27] Is he reading too much?

[1:18:28] Is there,

[1:18:28] or is it programmed to do this?

[1:18:30] But it never really,

[1:18:32] I don't think it ever fully achieves that.

[1:18:33] But,

[1:18:33] like,

[1:18:34] Alex Harlan did Annihilation too,

[1:18:35] right?

[1:18:36] Which,

[1:18:36] Annihilation,

[1:18:37] which is great.

[1:18:38] I think does such a great job

[1:18:40] of creating that kind of,

[1:18:41] the kind of eeriness

[1:18:42] that this movie is looking for

[1:18:43] and the kind of,

[1:18:43] and the kind of thing where

[1:18:44] every now and then

[1:18:45] there's something,

[1:18:47] there's an image

[1:18:47] or something that is

[1:18:48] very frightening and surprising.

[1:18:50] Like,

[1:18:50] I feel like that's a movie that,

[1:18:51] it's not the same kind of story exactly,

[1:18:52] but it accomplishes the tone

[1:18:54] this one's kind of going for

[1:18:55] in a much,

[1:18:57] in a cleaner way,

[1:18:57] a stronger way.

Stuart Wellington

[1:18:58] And men is the same way.

[1:18:58] Men is the same way

[1:18:59] until it gets,

[1:19:00] becomes the craziest thing

[1:19:01] you've ever seen.

[1:19:02] Yeah.

Elliott Kalan

[1:19:04] I haven't seen,

[1:19:04] I haven't seen men yet

[1:19:05] because I've been too busy

[1:19:06] watching the Minions movies

[1:19:07] with my children.

[1:19:08] I say,

[1:19:09] you want to watch men?

[1:19:09] And they go,

[1:19:10] Minions?

[1:19:10] Yeah,

[1:19:10] of course,

[1:19:11] sure.

Stuart Wellington

[1:19:11] I feel like,

[1:19:13] the last 10 minutes of Minions.

Dan McCoy

[1:19:15] I love the idea of,

[1:19:17] like,

[1:19:17] Elliot presents the DVD

[1:19:20] of men,

[1:19:21] but he's just taped

[1:19:22] like a little piece of paper

[1:19:23] which says,

[1:19:24] Ions,

[1:19:25] at the end.

[1:19:25] So,

[1:19:26] they think it's

[1:19:27] misspelled Minions

[1:19:28] and then watches

[1:19:30] men with it,

[1:19:32] Sammy and Gabriel,

[1:19:34] and they get to the end

[1:19:35] of that movie,

[1:19:35] which I will not spoil

[1:19:36] for Elliot.

[1:19:37] Yeah,

[1:19:37] some of the baddest stuff

[1:19:39] you'll see.

[1:19:40] Oh,

Stuart Wellington

[1:19:41] I have to watch it.

[1:19:41] Is it,

[1:19:42] would you describe it

[1:19:43] as cuckoo crazy?

[1:19:44] Yeah.

Dan McCoy

[1:19:45] I mean,

[1:19:46] I guess they are the same

[1:19:47] in that at the end,

[1:19:48] at the end of what happens,

[1:19:50] it goes,

[1:19:51] banana.

Elliott Kalan

[1:19:55] Yeah,

[1:19:55] I should have known

[1:19:56] when that movie was rated

[1:19:57] CC for cuckoo crazy

[1:19:58] that I should have seen

[1:19:59] in the theaters.

[1:20:00] I think this movie,

[1:20:02] if I'm going to say

[1:20:02] one last thing about

[1:20:03] Leave the World Behind,

[1:20:04] it's not so much

[1:20:04] as it's bad

[1:20:05] as I think it's unsuccessful

[1:20:06] at what it's trying to do,

[1:20:08] for me at least.

Dan McCoy

[1:20:09] Yeah.

[1:20:09] I think I can even agree

[1:20:11] with that,

[1:20:11] even though I basically

[1:20:12] enjoy the vibes,

[1:20:14] as they say.

S4

[1:20:19] Hey,

[1:20:20] this is Andrew Reich,

[1:20:21] the host of Dead Pilot Society,

[1:20:22] the show that takes

[1:20:23] comedy pilots

[1:20:24] that were sold

[1:20:24] and developed

[1:20:25] at networks and streamers

[1:20:26] but never produced

[1:20:27] and gives them

[1:20:28] the table reads

[1:20:28] they never got a chance

[1:20:29] to have.

[1:20:30] If you've never checked out

[1:20:31] Dead Pilot Society,

[1:20:32] this month's episode

[1:20:33] might be the place to start.

[1:20:34] The cast is incredible.

[1:20:36] Headlined by the one

[1:20:37] and only Zoe Deschanel

[1:20:38] and also featuring

[1:20:39] Paget Brewster,

[1:20:40] Michaela Watkins,

[1:20:41] Hamish Linklater,

[1:20:42] Asif Ali,

[1:20:43] and Maximum Fun's

[1:20:44] very own Hal Lublin.

[1:20:45] So go to MaximumFun.org

[1:20:47] or your favorite podcatcher

[1:20:48] and check out

[1:20:49] this incredible cast

[1:20:50] on the latest episode

[1:20:51] of Dead Pilot Society.

Dan McCoy

[1:20:54] If you need a laugh

[1:20:56] and you're on the go,

[1:20:57] try S-T-O-P-P-O-D-C-A-S-T-I.

[1:21:00] Hmm.

[1:21:01] Were you trying to put

[1:21:01] the name of the podcast there?

[1:21:03] Yeah, I'm trying to spell it,

[1:21:04] but it's tricky.

S4

[1:21:05] Let me give it a try.

[1:21:06] Okay.

Stuart Wellington

[1:21:10] call S-T-O-P-P-P-A-D-I.

Dan McCoy

[1:21:13] It'll never fit.

[1:21:14] No, it will.

[1:21:15] Let me try.

Stuart Wellington

[1:21:19] try S-T-O-P-P-P-D-C-O-O.

[1:21:22] Ah, we are so close.

[1:21:24] Stop podcasting yourself.

[1:21:26] A podcast from MaximumFun.org.

Dan McCoy

[1:21:30] and you're on the go.

[1:21:32] Let's do some ads.

[1:21:35] That'll be nice, you know?

[1:21:37] Get a little scratch.

[1:21:38] Nice break from what we're doing.

[1:21:39] Tell people about some products.

Elliott Kalan

[1:21:40] Yeah.

[1:21:41] If anyone's still listening,

[1:21:42] that was a long talk

[1:21:43] about Leave the World Behind.

Dan McCoy

[1:21:44] Yeah, I hope you are.

[1:21:46] Hey, how are you?

[1:21:47] Anyway,

[1:21:48] the podcast is sponsored

[1:21:50] in part.

Elliott Kalan

[1:21:53] My Babbel.

[1:21:53] Oh, wait.

[1:21:54] I do want to see one last thing,

[1:21:56] which is...

[1:21:56] What?

[1:21:57] In the ad section?

[1:21:59] Wait till we're back

[1:22:00] from the ad.

[1:22:01] Sorry.

[1:22:01] I was going to say,

[1:22:02] the problem that a lot of people

[1:22:03] on the internet had with that movie

[1:22:04] was the ambiguity of the ending,

[1:22:05] which is not my problem with it.

[1:22:07] I liked that about it.

[1:22:08] Yeah, yeah, yeah.

[1:22:08] So anyway,

[1:22:08] let's go to the ads.

[1:22:09] I have a different problem.

[1:22:10] Okay, Babbel.

[1:22:11] That's who's sponsoring us today.

Dan McCoy

[1:22:13] Babbel.

[1:22:13] Only 22% of Americans

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[1:22:18] start learning a new language

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[1:22:21] and be the exception,

[1:22:22] not the rule.

[1:22:22] Or this winter.

[1:22:23] I think this is old copy.

[1:22:25] But because with Babbel,

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[1:22:28] a new language

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[1:22:34] Why Babbel?

[1:22:35] Because it works.

[1:22:38] Instead of paying

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[1:22:56] And one study

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[1:23:01] to a full

[1:23:02] semester

[1:23:03] at college.

[1:23:05] All that wasted time

[1:23:07] at college.

[1:23:09] Yeah.

[1:23:11] Look,

[1:23:12] it's a great way

[1:23:12] if you want to learn

[1:23:14] some new language skills

[1:23:15] at home

[1:23:16] or sharpen up

[1:23:17] some language skills

[1:23:18] you used to have

[1:23:19] perhaps in the days

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[1:23:24] But since utterly forgotten,

[1:23:26] this is a great way

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[1:23:28] So why not

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[1:23:48] Rules and restrictions

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Stuart Wellington

[1:23:51] Yeah, you know,

[1:23:52] the world is full

[1:23:53] of people.

[1:23:54] But even more importantly,

[1:23:56] the world is full

[1:23:56] of kitty cats.

[1:23:58] And that's what

[1:23:58] we're going to talk

[1:23:59] about today.

[1:24:00] We're going to talk

[1:24:00] about kitty cats

[1:24:01] and rescuing

[1:24:03] and feeding

[1:24:03] those beautiful

[1:24:04] baby kitty boys.

[1:24:06] This podcast

[1:24:06] is sponsored

[1:24:07] by Smalls.

[1:24:09] Smalls Cat Food

[1:24:11] is protein-packed

[1:24:13] recipes made

[1:24:14] with preservative-free

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[1:24:18] if you opened

[1:24:19] the door and looked.

[1:24:20] And it's delivered

[1:24:21] right to your door.

[1:24:24] That's right.

[1:24:25] The refrigerator door

[1:24:26] or the door

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[1:24:28] I mean,

[1:24:28] I think it's up to you,

[1:24:29] actually.

[1:24:30] You can specify

[1:24:30] on the form.

[1:24:32] Actually,

[1:24:33] that's not true.

[1:24:33] It comes to the door

[1:24:34] of your house.

[1:24:35] Smalls recently

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[1:24:38] They've donated

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[1:24:41] through the Humane Society.

[1:24:42] And they even

[1:24:43] give you a chance

[1:24:44] to donate

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[1:24:46] So,

[1:24:47] I like Smalls.

[1:24:48] My cats like Smalls.

[1:24:50] They attack the box.

[1:24:51] I like feeding them

[1:24:52] something that's going

[1:24:53] to not be just a big...

[1:24:55] Yeah,

[1:24:55] I attack the block,

[1:24:56] of course.

[1:24:57] I like feeding my cats

[1:24:58] something that I know

[1:24:59] is an actual,

[1:25:00] like,

[1:25:01] is actual food

[1:25:01] instead of just slop

[1:25:02] out of a can.

[1:25:04] After making the switch

[1:25:05] to Smalls,

[1:25:05] 78% of cat owners

[1:25:07] reported their cats

[1:25:08] have shinier

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[1:25:09] And,

[1:25:09] you know,

[1:25:10] you're going to be

[1:25:10] petting that cat a lot.

[1:25:11] You want that shit

Dan McCoy

[1:25:12] to be shiny and soft.

Stuart Wellington

[1:25:13] So,

[1:25:15] is your cat food

[1:25:16] giving back to cats

[1:25:17] in need?

[1:25:18] Well,

[1:25:19] Smalls is.

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[1:25:21] and ditch kibble forever,

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[1:25:43] Guys,

[1:25:44] have you ever had

[1:25:45] Hormel slop

Dan McCoy

[1:25:46] out of a can?

[1:25:48] Yeah,

[1:25:48] I did,

[1:25:49] yeah.

[1:25:49] It's pretty good stuff.

[1:25:51] Yeah,

[1:25:51] why not?

[1:25:51] Got a lot of sodium.

[1:25:53] Go nuts.

[1:25:53] Yeah,

Elliott Kalan

[1:25:54] it was called

[1:25:55] Sodium Slop

[1:25:56] and then they changed

[1:25:57] the name

[1:25:57] because people

[1:25:58] weren't buying it.

[1:25:59] Hey,

[1:25:59] guys,

[1:26:00] we have some things

[1:26:00] to promote too.

[1:26:01] This episode is not

[1:26:02] brought to you

[1:26:03] by these things,

[1:26:04] but,

[1:26:05] hey,

[1:26:05] I'll still tell you

[1:26:05] about them.

[1:26:06] The last episode

[1:26:07] of Flop TV

[1:26:08] is coming up

[1:26:09] just about

[1:26:09] two weeks

[1:26:10] after this episode,

[1:26:12] about three weeks

[1:26:12] after this episode.

[1:26:13] That's right.

[1:26:14] The first Saturday

[1:26:14] of every month,

[1:26:16] we've been doing

[1:26:16] Flop TV,

[1:26:17] the television show

[1:26:18] version of the Flophouse.

[1:26:19] It's a compact

[1:26:20] one-hour show

[1:26:21] where you get

[1:26:22] one PowerPoint presentation

[1:26:23] or presentation

[1:26:24] of some other kind.

[1:26:25] We talk about a movie

[1:26:27] and we answer questions

[1:26:28] from the audience.

[1:26:29] This Saturday,

[1:26:30] it's our season finale,

[1:26:31] which means we're seeing

[1:26:32] New Key.

[1:26:34] That's right,

[1:26:35] New Key,

[1:26:35] the second worst movie

[1:26:37] I've ever watched.

[1:26:38] I don't think Dan and Stuart

[1:26:39] have seen it before

[1:26:39] and I'm going to

[1:26:41] make them watch it.

[1:26:42] So go to

[1:26:43] theflophouse.simpleticks.com

[1:26:45] and then you can join us

[1:26:46] on January 6th,

[1:26:47] Saturday,

[1:26:48] January 6th

[1:26:49] at 9 p.m. Eastern,

[1:26:51] 6 p.m. Pacific

[1:26:51] to watch us talk about

[1:26:54] having watched

[1:26:54] New Key.

[1:26:56] That's our last episode

[1:26:57] of this season,

[1:26:58] but we've had such

[1:26:59] a great response.

[1:26:59] We've been enjoying it so much.

[1:27:00] I think we are going to do

[1:27:01] another season

[1:27:02] later next year,

[1:27:04] probably not until the fall,

[1:27:05] but we hope you've been

[1:27:06] enjoying it.

[1:27:07] If you missed the episodes

[1:27:08] up till now,

[1:27:08] get a season pass

[1:27:09] and you can watch

[1:27:11] the videos

[1:27:11] of every episode

[1:27:13] of the season.

[1:27:13] That's six episodes.

[1:27:14] Those will be up online

[1:27:15] through the end of January.

[1:27:17] At the end of January,

[1:27:18] we will take them down

[1:27:19] and we will start

[1:27:20] working on another season

[1:27:22] and our other stuff.

[1:27:23] What is our other stuff?

[1:27:24] Good to mention.

[1:27:25] You may have heard

[1:27:25] the announcement

[1:27:25] at the top of this episode,

[1:27:27] it should have been up there,

[1:27:27] that we are going on tour

[1:27:29] at the end of January.

[1:27:30] It's a four-stop

[1:27:31] West Coast,

[1:27:32] four-city tour.

[1:27:33] We're calling it

[1:27:33] the Errors Tour.

[1:27:35] It's essentially

[1:27:35] the most important thing

[1:27:36] to happen in 2024.

[1:27:38] Go to www.flophousepodcast.com

[1:27:41] slash events.

[1:27:42] That's flophousepodcast.com

[1:27:44] slash events

[1:27:45] and you'll see that

[1:27:46] January 24th,

[1:27:46] we're in Vancouver.

[1:27:48] about Cobra.

[1:27:49] January 25th,

[1:27:50] we're in Portland.

[1:27:51] about Cool as Ice.

[1:27:52] January 26th,

[1:27:53] we're going to be

[1:27:54] in San Francisco

[1:27:54] as part of San Francisco

[1:27:55] Sketch Fest

[1:27:56] and we're going to talk

[1:27:57] about Gigli

[1:27:57] and January 28th,

[1:27:58] we'll be in Los Angeles

[1:27:59] talking about Spawn.

[1:28:01] So that's the Errors Tour,

[1:28:03] four cities,

[1:28:04] four dates.

[1:28:04] Go to flophousepodcast.com

[1:28:06] slash events

[1:28:07] to see us

[1:28:08] in human person

[1:28:09] if you are near

[1:28:10] Vancouver, Portland,

[1:28:11] San Francisco,

[1:28:11] or Los Angeles.

[1:28:12] To be honest,

[1:28:13] with modern-day plane flights,

[1:28:15] you're near any of those cities.

[1:28:16] Just take a plane there.

[1:28:17] You can do it.

[1:28:18] Yeah, just take a plane.

[1:28:20] Just take a plane.

[1:28:21] I have one last thing

[1:28:22] I want to mention.

[1:28:23] The final issue

[1:28:24] of my comic book miniseries,

[1:28:26] Disney Villains,

[1:28:27] Hades,

[1:28:28] issue number five,

[1:28:29] is coming out

[1:28:29] right after Christmas.

[1:28:30] That's from Dynamite Comics.

[1:28:32] Please pick it up.

[1:28:33] Get the rest of the series

[1:28:33] if you don't have it.

[1:28:34] It's a five-issue miniseries

[1:28:35] that is a mythological,

[1:28:37] funny heist

[1:28:38] that's exciting

[1:28:38] and hilarious.

[1:28:40] Hades,

[1:28:40] the villain

[1:28:40] from the Disney movie,

[1:28:41] Hercules,

[1:28:42] has collected

[1:28:43] a group of

[1:28:44] mythological oddballs

[1:28:45] to steal the golden fleece.

[1:28:47] I think you'll enjoy it.

[1:28:49] And soon,

[1:28:49] I think I'll be able

[1:28:50] to announce

[1:28:50] some other comic book stuff

[1:28:51] that I'm doing.

[1:28:52] It'll be fun stuff

[1:28:54] that I think you'll like.

[1:28:55] But until then,

[1:28:56] pick up Disney Villains,

[1:28:57] Hades,

[1:28:57] number five,

[1:28:58] right after Christmas

[1:28:59] in comic book stores.

[1:29:01] Cool!

[1:29:03] Okay,

[1:29:04] let's get back into the show.

[1:29:05] What do we do next, Dan?

Dan McCoy

[1:29:06] Next on the show,

[1:29:08] we do some letters

[1:29:09] from listeners.

[1:29:10] Listeners,

[1:29:11] like you?

[1:29:13] This first letter

[1:29:15] is from

[1:29:16] Alex,

[1:29:18] last name,

[1:29:19] withheld.

[1:29:20] Who writes?

[1:29:21] Alex Garland.

[1:29:22] Alex Garland.

Elliott Kalan

[1:29:23] Stuart,

[1:29:23] why don't you like

[1:29:24] Ex Machina?

[1:29:24] Dan,

[1:29:25] thanks for liking it.

[1:29:25] I like your other movies.

Dan McCoy

[1:29:28] Dearest Peaches,

[1:29:30] I've been looking

[1:29:31] for a chance

[1:29:32] to introduce my wife

[1:29:33] to the Flophouse

[1:29:34] and saw the

[1:29:35] Battlefield Earth

[1:29:36] live show

[1:29:36] as a wonderful opportunity.

[1:29:38] Previously,

[1:29:39] the most communication

[1:29:39] we had regarding

[1:29:41] the podcast

[1:29:41] has been me

[1:29:42] mentioning some

[1:29:42] obscure fact

[1:29:43] about a bad movie

[1:29:44] we would be watching

[1:29:45] and her asking,

[1:29:47] did you learn that

[1:29:47] from your movie boys?

[1:29:49] One evening.

[1:29:51] What a better

[1:29:51] fucking name

[1:29:52] than Flophouse.

[1:29:53] We should have been

[1:29:54] called the movie boys.

[1:29:55] Oh, man.

[1:29:55] The movie boys

[1:29:56] would be a much

[1:29:56] better name.

Stuart Wellington

[1:29:57] Oh, boy.

[1:29:58] We could have gotten

[1:29:59] into the ground floor.

[1:30:00] There was nobody

[1:30:00] called movie boys.

Dan McCoy

[1:30:02] No.

[1:30:02] It's equally

[1:30:03] endearing and belittling

[1:30:05] in a way

[1:30:06] that is appropriate.

[1:30:08] And then we could

Elliott Kalan

[1:30:09] watch good movies

[1:30:10] sometimes, too.

[1:30:11] Yeah.

Dan McCoy

[1:30:12] One evening,

[1:30:13] she was working

[1:30:13] on her laptop

[1:30:14] and I figured

[1:30:14] the show would be

[1:30:15] great to put on

[1:30:16] in the background.

[1:30:17] A few minutes

[1:30:18] into the presentations,

[1:30:19] she commented

[1:30:20] without looking up,

[1:30:21] wow, that one

[1:30:22] has a nasally voice.

[1:30:23] It was not

[1:30:24] the flopper

[1:30:25] one would assume.

[1:30:26] Oh.

[1:30:27] I mean,

[1:30:28] one would assume me,

[1:30:29] so that leaves two behind.

[1:30:30] Yeah.

[1:30:32] Must be down.

[1:30:33] Yeah, I don't know.

Stuart Wellington

[1:30:33] We'll find out.

[1:30:34] Yeah, right in.

[1:30:36] Let's do a fucking

[1:30:37] Twitter poll.

Dan McCoy

[1:30:39] Later,

[1:30:40] I mean,

[1:30:41] very nasally today.

[1:30:42] Later during the synopsis,

[1:30:44] I peeked over

[1:30:44] to see how she was

[1:30:45] enjoying it,

[1:30:46] and sure enough,

[1:30:47] she had on a pair

[1:30:48] of noise-canceling headphones.

[1:30:50] Overall,

[1:30:50] a great first impression.

[1:30:52] Yeah.

[1:30:53] I'm not sure

[1:30:53] at what point

[1:30:54] she decided

[1:30:54] this wasn't for her,

[1:30:55] but I have a slight suspicion

[1:30:56] Stu's lore dump

[1:30:57] regarding Warhammer

[1:30:58] was a bit too similar

[1:31:00] to when I annoy her

[1:31:01] with impromptu D&D lore.

Stuart Wellington

[1:31:03] Probably not.

[1:31:05] She probably thought

[1:31:06] that part was really cool,

[1:31:07] and then when it was over,

[1:31:08] she's like,

[1:31:08] time to put on the headphones.

[1:31:10] She's like,

[1:31:10] you need the headphones on

[1:31:11] so I can ruminate

Elliott Kalan

[1:31:11] and meditate

[1:31:12] on what I've just heard.

Dan McCoy

[1:31:13] I was thinking, though,

[1:31:14] how the show

[1:31:15] could have captured

[1:31:16] her attention.

[1:31:17] Maybe if the Flophouse

[1:31:18] solely covered J-horror

[1:31:19] or switched entirely

[1:31:20] to a podcast

[1:31:21] about comfy

[1:31:22] core cooking shows.

[1:31:24] I know that I personally

[1:31:25] can be sucked into

[1:31:26] watching any film

[1:31:27] based on the premise

[1:31:27] of the 10%

[1:31:29] of your brain myth,

[1:31:30] i.e.

[1:31:31] your libelessness

[1:31:32] and Lucy's.

[1:31:35] Yes.

[1:31:36] What trope or topic

[1:31:37] when you see it in a film

[1:31:38] grabs your attention

[1:31:39] regardless of how good

[1:31:40] or bad it may seem

[1:31:41] otherwise?

[1:31:42] Alex's last name withheld.

[1:31:44] P.S. Stu,

[1:31:45] what should my next

[1:31:46] D&D character be?

Elliott Kalan

[1:31:48] Well,

[1:31:48] I want to say first,

[1:31:49] thanks, Alex,

[1:31:50] for the criticism

[1:31:51] and notes,

[1:31:52] the demographic report

[1:31:53] on how we're not

[1:31:54] attracting

[1:31:55] your wife's interest.

[1:31:56] I think that

Dan McCoy

[1:31:57] she has every right

[1:31:58] to cancel our noise.

[1:32:00] She does not, Dan.

[1:32:01] She does not.

[1:32:02] Maybe, you know,

[1:32:03] don't spring

[1:32:03] the Battlefield Earth show

[1:32:05] on her

[1:32:06] while she's doing

[1:32:06] something else.

[1:32:08] But, yeah.

Stuart Wellington

[1:32:09] Yeah, maybe after hearing

[1:32:11] my lore dump

[1:32:11] on the Primarchs

[1:32:12] of Warhammer 40,000,

[1:32:14] she put on

[1:32:14] the noise-canceling headphones

[1:32:15] similar to the way

[1:32:17] that Lord Skrulk

[1:32:18] of the Clan Pestilence

[1:32:20] of the Skaven

[1:32:22] tore out his own eyes

[1:32:23] upon gazing

[1:32:24] at Nurglitch

[1:32:25] because he would never

[1:32:25] see a more defined being.

[1:32:27] Sure.

[1:32:29] Impossible.

[1:32:29] That old chestnut?

[1:32:31] Yeah.

[1:32:32] Who should his,

[1:32:32] who should his,

Elliott Kalan

[1:32:33] his next character be?

Stuart Wellington

[1:32:35] I would say

[1:32:36] I'm a big fan

[1:32:37] of human paladins

[1:32:38] that are not the,

[1:32:39] like,

[1:32:40] woodsy one,

[1:32:40] but the most normal,

[1:32:41] like,

[1:32:42] boring paladin.

[1:32:43] I think playing

[1:32:44] a character that has,

[1:32:45] like,

[1:32:45] a rigid moral code

[1:32:47] and is good

[1:32:48] is fun to play.

[1:32:50] Like,

[1:32:50] a lawful good guy.

[1:32:51] That's what you should do.

[1:32:52] Lawful good paladin,

[1:32:53] preferably human.

Dan McCoy

[1:32:55] Uh,

[1:32:56] as for these,

[1:32:56] like,

[1:32:57] uh,

[1:32:58] tropes or whatnot

[1:32:58] that,

[1:32:59] uh,

[1:32:59] always lure us in,

[1:33:00] I'm gonna name

[1:33:02] a couple things

[1:33:02] that are,

[1:33:03] I mean,

[1:33:03] pretty much,

[1:33:04] like,

[1:33:04] sub-genres,

[1:33:06] but,

[1:33:06] uh,

[1:33:06] also can be elements

[1:33:07] and I like,

[1:33:09] uh,

[1:33:10] I'm always sucked in

[1:33:11] by a heist,

[1:33:11] love a heist,

[1:33:13] and,

[1:33:14] uh,

[1:33:14] I like a,

[1:33:16] it all happened

[1:33:16] in one crazy night movie.

Stuart Wellington

[1:33:19] Mmm.

[1:33:21] I like movies

[1:33:22] where there's twins,

[1:33:24] you know,

[1:33:25] when there's,

[1:33:25] like,

[1:33:25] a twist that are twins.

[1:33:27] Yeah.

[1:33:28] Like,

[1:33:29] Dead Ringers?

[1:33:29] I don't know.

[1:33:30] Sure.

Dan McCoy

[1:33:31] Oh,

[1:33:31] Stu,

[1:33:31] yeah.

[1:33:32] See his eyes light up?

Stuart Wellington

[1:33:34] Yeah.

[1:33:35] Or,

[1:33:35] like,

[1:33:35] femme fatale

[1:33:36] where they're basically twins.

[1:33:37] Yeah,

[1:33:37] hell yeah.

[1:33:38] Give me that shit.

Elliott Kalan

[1:33:39] Uh,

[1:33:39] I was,

[1:33:40] until this episode,

[1:33:41] I was gonna say,

[1:33:42] uh,

[1:33:42] post-apocalyptic stuff,

[1:33:43] but it realizes,

[1:33:44] I realized,

[1:33:45] I like it afterwards.

[1:33:46] I'm a sucker for any movie

[1:33:47] where someone is walking

[1:33:48] through the ruins

[1:33:48] of a famous building,

[1:33:50] or,

[1:33:51] and they don't know what it is.

[1:33:52] Like,

[1:33:52] you know,

[1:33:53] um,

[1:33:54] if you're watching,

[1:33:55] uh,

[1:33:55] like,

[1:33:56] Logan's Run,

[1:33:56] that movie starts really working for me

[1:33:58] when they get to Congress,

[1:33:59] and they're,

[1:34:00] like,

[1:34:00] walking through the ruins of Congress,

[1:34:01] and they're like,

[1:34:02] we don't know what this is.

[1:34:02] I don't know what this stuff is.

[1:34:04] I really like that for some reason.

[1:34:05] But,

[1:34:05] maybe this needed more of that.

[1:34:07] Maybe,

[1:34:07] I wanna see the sequel to this

[1:34:08] that takes place,

[1:34:09] like,

[1:34:09] 500 years in the future.

Stuart Wellington

[1:34:11] I'm also a sucker

[1:34:12] whenever something can,

[1:34:13] uh,

[1:34:14] like,

[1:34:14] build up a villain

[1:34:16] or group of villains really well.

[1:34:18] Like,

[1:34:19] uh,

[1:34:19] if you can effectively

[1:34:20] make a villain scary

[1:34:21] without us actually seeing them,

[1:34:23] I think that's awesome.

[1:34:25] Thumbs up to that shit.

Dan McCoy

[1:34:27] I specifically like,

[1:34:28] uh,

[1:34:29] if heist is too broad,

[1:34:31] I was thinking about,

[1:34:31] like,

[1:34:32] something that,

[1:34:32] within the heist,

[1:34:33] that's always fun.

[1:34:35] If they're assembling a team,

[1:34:36] I'm on board.

Elliott Kalan

[1:34:38] Oh,

[1:34:38] yeah,

[1:34:38] you love that.

[1:34:39] Yeah.

Dan McCoy

[1:34:39] Even if it's not done that well,

[1:34:40] like,

[1:34:41] there's still a little bit of zazz in it,

[1:34:42] I think.

Elliott Kalan

[1:34:43] I like,

[1:34:43] uh,

[1:34:44] I like seeing fist fights

[1:34:45] or physical fights

[1:34:46] in a narrow space.

[1:34:48] Yeah.

[1:34:48] The people who just don't have

[1:34:49] a lot of room to move around in.

[1:34:50] That's something,

[1:34:51] I'll watch any movie

[1:34:51] where they do that,

[1:34:53] you know.

[1:34:54] From Russia with love,

[1:34:55] uh,

[1:34:56] old boy.

[1:34:57] Old Prussia with love.

Stuart Wellington

[1:35:00] Did you say from Prussia with love?

[1:35:01] Yeah.

Dan McCoy

[1:35:02] Yeah,

[1:35:02] from Prussia,

[1:35:03] the narrow margin.

Stuart Wellington

[1:35:04] That's the king of Prussia,

[1:35:05] yeah.

[1:35:05] Um,

Dan McCoy

[1:35:08] this next letter

[1:35:10] is from Jeff Lasting

[1:35:11] without,

[1:35:11] who writes,

[1:35:12] Peaches,

[1:35:13] why do only certain,

[1:35:14] why do,

Elliott Kalan

[1:35:15] he writes like this,

[1:35:16] uh,

[1:35:17] Peaches,

[1:35:17] uh,

[1:35:18] why do,

[1:35:19] uh,

Dan McCoy

[1:35:20] why do only certain film franchises,

[1:35:24] uh,

[1:35:25] yes,

[1:35:26] uh,

[1:35:26] now why do only certain film franchises

[1:35:28] get deep dives into the lives

[1:35:30] of their secondary and minor characters?

[1:35:32] Why do only some stories

[1:35:34] get spinoffs

[1:35:35] and media tie-in novels?

[1:35:37] See,

[1:35:37] even the playing field a bit,

[1:35:38] I propose that some

[1:35:39] industrious person

[1:35:40] publish a book of short stories

[1:35:42] titled,

[1:35:43] You Know Such Lovely People.

[1:35:45] This will be a Tales

[1:35:46] from the Mos Eisley Cantina-esque

[1:35:47] book of short stories,

[1:35:49] though the book will feature

[1:35:50] the characters seen

[1:35:51] at Nick and Nora's

[1:35:52] Christmas Eve party.

[1:35:53] The Christmas morning

Dan McCoy

[1:35:53] The Thin Man.

[1:35:54] During The Thin Man,

[1:35:55] yes.

[1:35:56] Think about it.

[1:35:57] A short story about the guy

[1:35:59] who calls San Francisco

[1:35:59] to cry to his mom.

[1:36:01] What's his deal?

[1:36:02] Did that boxer

[1:36:03] ever become a contender?

[1:36:04] We'll find out.

Elliott Kalan

[1:36:05] that's the joke of that boxer.

[1:36:06] He gets knocked out instantly.

Dan McCoy

[1:36:08] All these questions and more

[1:36:09] will be fleshed out

[1:36:10] in stories ranging

[1:36:11] from 30 to 50 pages each.

[1:36:12] Wow.

[1:36:14] Let's make it happen,

[1:36:15] Peaches.

[1:36:15] Who would want to read

[1:36:16] this theatrical book?

[1:36:17] I know I sort of would.

[1:36:19] Jeff.

Stuart Wellington

[1:36:20] Wow,

[1:36:20] I'm glad that our listeners

[1:36:21] are writing in book ideas

[1:36:22] for Dan to write.

Elliott Kalan

[1:36:26] I mean,

[1:36:27] the straightforward answer

[1:36:28] as to why some franchises

[1:36:29] get them and some don't

[1:36:30] is money.

[1:36:32] Oh,

[1:36:32] interesting.

[1:36:32] Which franchises

[1:36:33] they think will be able

[1:36:34] to make money off of those.

[1:36:35] Yeah.

[1:36:36] Yeah,

[1:36:36] I do like the idea

[1:36:39] of taking that,

[1:36:40] taking just a party scene

[1:36:41] from any movie

[1:36:43] that has sequels

[1:36:44] and doing those characters.

[1:36:45] I mean,

[1:36:46] the difference for

[1:36:46] The Mos Eisley Cantina

[1:36:48] is partly that the characters

[1:36:49] in that book

[1:36:50] are aliens.

[1:36:51] Yeah.

[1:36:52] Whereas the characters

[1:36:53] in The Thin Man

[1:36:54] are just kind of like

[1:36:55] Damon Runyon style.

[1:36:57] You know.

[1:36:58] Aliens.

[1:36:59] Aliens.

Dan McCoy

[1:37:00] But that's all implied.

[1:37:02] You have to read

[1:37:03] between the lines

[1:37:03] to know that

[1:37:04] they're aliens.

[1:37:05] And the guy who keeps

Elliott Kalan

[1:37:06] the guy,

[1:37:06] the woman who's trying

[1:37:07] to stop the guy

[1:37:08] from popping all the balloons

[1:37:09] with a cigarette

[1:37:09] or whatever it is

[1:37:10] that he has.

[1:37:11] Like,

Elliott Kalan

[1:37:11] I love that scene.

[1:37:13] You know why I love you,

[1:37:13] Nick?

[1:37:14] Because you know

[1:37:15] such lovely people.

[1:37:16] And then the next scene

[1:37:17] is great too

[1:37:18] when he's using

[1:37:19] his Christmas present

[1:37:20] on the BB gun

[1:37:20] and he shatters the window

[1:37:22] and he pretends

[1:37:23] to fall asleep.

[1:37:25] Good movie.

Dan McCoy

[1:37:26] Yeah.

[1:37:27] I mean,

[1:37:27] you know,

[1:37:27] I mainly just read that

[1:37:28] so we could all reminisce.

[1:37:30] So let's move on.

[1:37:31] Yeah, Stuart,

Elliott Kalan

[1:37:31] what's your favorite moment

[1:37:32] in The Thin Man?

[1:37:33] Yeah.

Stuart Wellington

[1:37:35] Is that when he,

[1:37:36] like when he uses

[1:37:37] those spheres

[1:37:38] to drill holes

[1:37:39] in people's heads?

[1:37:40] Yeah, that's it.

Dan McCoy

[1:37:41] I believe you're thinking

[1:37:41] of The Tall Man.

[1:37:43] Oh yeah, I was.

[1:37:45] Yeah.

[1:37:47] Let's move on

[1:37:48] to recommendations

[1:37:51] of movies

[1:37:52] that we liked

[1:37:53] a little bit better

[1:37:54] than say this one.

[1:37:57] Hell yeah.

[1:37:58] I finally,

[1:37:59] speaking of things

[1:38:00] that are on Netflix,

[1:38:01] forget Leave the World Behind.

[1:38:03] I finally got around

[1:38:04] to watching May, December,

[1:38:05] the new Todd Haynes movie.

[1:38:07] Hey, you know

[1:38:08] who's good at acting?

[1:38:09] That Julianne Moore,

[1:38:11] that Natalie Portman.

[1:38:13] Man,

[1:38:13] and that fucking Charles Melton

[1:38:15] is so good.

[1:38:16] That fucking dude

[1:38:17] from Riverdale

[1:38:18] turns out he's great.

[1:38:19] He's so good.

Stuart Wellington

[1:38:20] The way he like

[1:38:21] holds his body

[1:38:22] when he gets upset,

[1:38:23] he holds his body

[1:38:24] like he's a little

[1:38:24] teenage boy.

[1:38:26] It's crazy.

Dan McCoy

[1:38:27] I mean,

[1:38:28] yeah,

[1:38:29] it's a movie that

[1:38:29] I,

[1:38:32] you know,

[1:38:34] I couldn't imagine

[1:38:35] it not upsetting

[1:38:36] you

[1:38:38] if you were to watch it,

[1:38:39] the theoretical person

[1:38:40] I'm talking to.

[1:38:41] Like,

[1:38:41] it has upsetting elements

[1:38:43] and, you know,

[1:38:44] it's up to you

[1:38:44] to decide

[1:38:45] whether it's worth

[1:38:46] watching to you,

[1:38:47] but it's so

[1:38:47] wonderfully done.

[1:38:49] Like,

[1:38:50] the characters

[1:38:50] are so good.

[1:38:51] It's a movie

[1:38:51] that,

[1:38:52] like,

[1:38:54] you know,

[1:38:55] it's about

[1:38:56] delving into questions

[1:38:58] and finally

[1:38:58] only more questions.

[1:38:59] And it's funny.

[1:39:00] And it's,

[1:39:01] you know,

[1:39:01] it's,

[1:39:02] there's,

[1:39:03] like,

[1:39:03] some distancing techniques

[1:39:05] that are used in it

[1:39:06] only at,

[1:39:06] like,

[1:39:06] certain points

[1:39:07] that kind of,

[1:39:08] like,

[1:39:08] underline

[1:39:09] the encrosion

[1:39:10] of this sort of,

[1:39:12] you know,

[1:39:14] tabloid

[1:39:15] movie version

[1:39:17] of their story

[1:39:18] into their life.

[1:39:19] I don't know.

[1:39:20] I can't,

[1:39:21] I'm not talking very

[1:39:21] well

[1:39:22] because I'm,

[1:39:23] I'm,

[1:39:24] I'm overwhelmed

[1:39:25] with thoughts

[1:39:26] and also Benadryl.

[1:39:28] So,

[1:39:28] let's move on.

Stuart Wellington

[1:39:30] Like,

[1:39:30] like you said,

[1:39:31] like,

[1:39:31] the score

[1:39:32] is like a fucking

[1:39:33] 90s,

[1:39:34] like,

[1:39:36] movie of the week

[1:39:36] type movie score.

[1:39:38] It's so great.

[1:39:39] Oh, man.

[1:39:39] That's a great movie.

Elliott Kalan

[1:39:40] I got a,

[1:39:41] that's,

[1:39:41] I think that's next

[1:39:42] on the list.

[1:39:42] After we,

[1:39:43] after my wife and I

[1:39:44] finish watching

[1:39:44] The Holdovers,

[1:39:45] I think we're gonna watch

[1:39:45] May,

[1:39:46] December.

[1:39:46] Yeah.

Stuart Wellington

[1:39:47] And there's,

[1:39:48] and there's a big old

[1:39:49] probably prosthetic

[1:39:50] hog in it.

[1:39:51] So,

[1:39:52] enjoy.

Elliott Kalan

[1:39:53] Yeah,

[1:39:53] you mentioned that before.

[1:39:54] That's something for the ladies

[1:39:55] and dudes.

[1:39:56] And dudes,

[1:39:57] yeah.

[1:39:57] Yeah,

[1:39:58] everybody,

[1:39:58] everybody can enjoy that.

[1:40:00] Anyone who takes

[1:40:01] appreciation out of the beauty

[1:40:02] of the human body.

[1:40:03] Yeah.

Dan McCoy

[1:40:03] The beauty of prosthetic

[1:40:05] organs.

Stuart Wellington

[1:40:06] That's a thing.

[1:40:07] It's,

[1:40:08] it's an important art.

Elliott Kalan

[1:40:10] Where would movies be?

[1:40:12] Now,

[1:40:12] I imagine David Cronenberg,

[1:40:13] uh,

[1:40:14] hears you say prosthetic

[1:40:15] hog and he goes,

[1:40:16] I can't wait to watch it.

[1:40:17] And he watches it,

[1:40:18] he goes,

[1:40:18] hmm,

[1:40:19] I wish it was goopier.

[1:40:20] I thought it was a real

[1:40:22] hog that was sewed on

[1:40:23] to someone.

[1:40:24] Yeah.

[1:40:25] That turns into a cannon

[1:40:26] or something.

Stuart Wellington

[1:40:28] Uh,

[1:40:29] I'm gonna recommend,

[1:40:30] I don't think,

[1:40:30] I don't think any of us

[1:40:31] have recommended this one yet.

[1:40:32] I'm gonna recommend,

[1:40:33] uh,

[1:40:34] Nicole Holofstunner's movie,

[1:40:35] You Hurt My Feelings,

[1:40:38] uh,

[1:40:38] starring Julia Louis-Dreyfus

[1:40:40] and Tobias Menzies.

[1:40:44] Uh,

[1:40:45] you say it as if it's a joke,

Dan McCoy

[1:40:46] but you expect that we're gonna,

[1:40:48] we're gonna laugh at him.

[1:40:49] Woo-hoo!

Stuart Wellington

[1:40:51] Uh,

[1:40:51] I mean,

[1:40:52] everybody loves that dude.

[1:40:53] Um,

[1:40:54] it's,

[1:40:54] uh,

[1:40:55] yeah,

[1:40:55] so it's about,

[1:40:56] Julia Louis-Dreyfus plays a,

[1:40:58] uh,

[1:40:59] a mom who is a novelist

[1:41:01] and she overhears her husband,

[1:41:04] uh,

[1:41:04] talking shit about her most recent work

[1:41:06] and,

[1:41:07] uh,

[1:41:08] it,

[1:41:09] like,

[1:41:09] the,

[1:41:09] the relationship followed,

[1:41:11] that follows that.

[1:41:12] Um,

[1:41:13] and it's got a ton of small character performances.

[1:41:16] Um,

[1:41:17] it's funny and touching

[1:41:18] and kind of about how,

[1:41:20] uh,

[1:41:21] you know,

[1:41:22] both like,

[1:41:23] at least for me,

[1:41:24] about like,

[1:41:25] what we,

[1:41:25] the emphasis that we put on our jobs,

[1:41:28] how it isn't necessarily

[1:41:29] the most important thing in the world

[1:41:31] and also how,

[1:41:32] uh,

[1:41:33] the little lies that we tell each other

[1:41:35] to kind of get through life.

[1:41:37] Um,

[1:41:37] and I thought it was,

[1:41:38] uh,

[1:41:38] really good.

Elliott Kalan

[1:41:39] Great.

[1:41:39] Well,

[1:41:39] I,

[1:41:40] I don't think we've mentioned this movie yet either.

[1:41:41] Uh,

[1:41:42] I want to recommend Born to Dance

[1:41:43] from 1936.

[1:41:45] Uh,

[1:41:45] it stars Eleanor Powell

[1:41:47] and Jimmy Stewart,

[1:41:48] uh,

[1:41:49] and Buddy Epson is in it.

[1:41:50] And this is one of these movies

[1:41:52] that it is a musical comedy

[1:41:54] where the plot

[1:41:55] is almost non-existent.

[1:41:57] It's so gossamer thin

[1:41:58] and silly

[1:41:59] and stupid.

[1:41:59] But it's very funny

[1:42:01] where Jimmy Stewart

[1:42:02] and these other two,

[1:42:02] and,

[1:42:03] uh,

[1:42:03] Buddy Epson and another guy

[1:42:04] are sailors

[1:42:05] who are on leave in New York,

[1:42:06] uh,

[1:42:07] and they get mixed up with dancers.

[1:42:09] And Eleanor Powell

[1:42:10] has some great dance routines in it.

[1:42:12] She's a dancer who,

[1:42:13] for some reason,

[1:42:14] I feel like I came too late

[1:42:15] and her dancing is amazing.

[1:42:17] And Jimmy Stewart

[1:42:18] is very silly in it.

[1:42:20] And Buddy Epson,

[1:42:20] I'm really silly in it.

Stuart Wellington

[1:42:22] Yeah,

[1:42:23] something like that.

[1:42:24] I'm,

[1:42:24] I'm in New York.

[1:42:25] It's me,

[1:42:26] Jimmy Stewart.

Elliott Kalan

[1:42:28] Mr. Stewart,

[1:42:29] you're here.

[1:42:29] I love this movie.

[1:42:30] It was so funny.

[1:42:31] Uh,

[1:42:32] I bumped into some dancers

[1:42:33] in New York.

[1:42:35] And,

[1:42:35] uh,

[1:42:35] and Buddy Epson who,

[1:42:37] I think if anyone remembers him now,

[1:42:38] it's as Jed Clampett.

[1:42:40] But,

[1:42:40] when he was young,

[1:42:41] he was,

[1:42:42] he was just an amazingly cool dancer.

[1:42:44] Just an amazing dancer

[1:42:45] who had this very cool

[1:42:46] kind of like,

[1:42:47] um,

[1:42:48] ease to him.

[1:42:49] And so,

[1:42:49] uh,

[1:42:50] Born Dance,

[1:42:50] if you want to watch something

[1:42:51] that's just really silly

[1:42:52] and really fun

[1:42:53] and there is no substance

[1:42:55] at all to it

[1:42:56] for the most part.

[1:42:57] It is just real goofy

[1:42:58] from one moment to the next.

[1:43:00] Uh,

[1:43:00] the movie ends

[1:43:01] and it's like,

[1:43:02] the movie climaxes

[1:43:03] and it's like,

[1:43:04] did we,

[1:43:04] did we tie up all the plot threads?

[1:43:06] Who cares?

[1:43:07] No,

[1:43:07] we didn't.

[1:43:07] Let's just get to the big dance number.

[1:43:09] You don't care.

[1:43:09] So that's Born to Dance.

Dan McCoy

[1:43:12] I looked up Tobias Menzies

[1:43:13] and I was like,

[1:43:14] oh,

[1:43:14] I've barely seen anything he's been in

[1:43:17] so I felt better about not knowing

[1:43:18] why you were so excited about him.

[1:43:20] Oh man,

Stuart Wellington

[1:43:20] you should watch things.

[1:43:21] He's in stuff.

Dan McCoy

[1:43:23] Yeah.

[1:43:23] I should watch things.

Stuart Wellington

[1:43:24] He's in some TV.

[1:43:25] He was in Rome.

[1:43:26] Oh, TV.

[1:43:27] I should check out some TV.

[1:43:28] You saw Rome, right?

[1:43:29] He was in Game of Thrones.

Dan McCoy

[1:43:30] You saw that, right?

[1:43:31] He was in Game of Thrones.

[1:43:32] I watched one season of Game of Thrones.

[1:43:34] I never watched Rome.

Stuart Wellington

[1:43:36] He was in that great,

[1:43:37] uh,

[1:43:37] in that great show,

[1:43:38] This Way Up,

[1:43:39] with Sharon Horgan.

[1:43:40] Nope,

Stuart Wellington

[1:43:40] never saw it.

[1:43:41] Oh man,

[1:43:42] and,

[1:43:42] uh,

[1:43:43] what,

[1:43:43] Aisling B.

[1:43:44] Man,

[1:43:45] that's great.

[1:43:45] Look,

[1:43:45] This Way Up,

[1:43:46] you should check it out.

Dan McCoy

[1:43:46] I'll check out his filmography.

[1:43:47] It's fine.

Elliott Kalan

[1:43:48] I'm just saying.

[1:43:49] He was in the BBC2 miniseries

[1:43:50] of The Shadow Line.

[1:43:51] I know you saw that,

[1:43:52] right?

[1:43:53] Yeah,

[1:43:53] yeah,

[1:43:53] bitch.

Dan McCoy

[1:43:55] I did see The Night Manager.

[1:43:57] He was apparently in that.

Elliott Kalan

[1:43:58] Yeah,

[1:43:58] Night Manager rocks.

[1:44:00] Yeah.

Dan McCoy

[1:44:01] Okay,

[1:44:01] well,

[1:44:02] on that important note

[1:44:03] about The Night Manager,

[1:44:05] a public service message.

[1:44:06] I know you saw,

Dan McCoy

[1:44:06] uh,

Elliott Kalan

[1:44:06] Pierpont,

[1:44:06] The Last Hangman,

[1:44:07] which he apparently was in,

[1:44:08] right?

[1:44:09] I'm just looking up his Wikipedia entry now.

Dan McCoy

[1:44:12] Hey,

[1:44:12] uh,

[1:44:13] if you like us,

[1:44:15] why not go to iTunes,

[1:44:17] leave us a five-star review.

[1:44:19] If you don't like us,

[1:44:20] five stars,

[1:44:22] maybe,

[1:44:22] like,

[1:44:23] wait,

[1:44:23] listen to,

[1:44:23] like,

[1:44:24] a few more episodes

[1:44:25] until we wear you down,

[1:44:26] and you're like,

[1:44:27] oh,

[1:44:27] I like them five stars now,

[1:44:28] and then you can leave that review.

[1:44:30] Um,

[1:44:31] it's like,

[1:44:31] we don't like us.

[1:44:32] Relationships are edgy.

Stuart Wellington

[1:44:33] If you hate,

[1:44:34] if you hate us,

[1:44:35] well,

[1:44:35] I'm not sure why you've gotten to this point in the podcast.

[1:44:37] You know,

Dan McCoy

[1:44:38] it seems like you could have just turned it off at any point.

[1:44:40] Very true.

[1:44:40] But you know what?

[1:44:41] But still leave us a five-star review.

[1:44:42] No more,

[1:44:42] yeah,

[1:44:43] well,

[1:44:43] I was gonna say,

[1:44:44] no more action is needed.

[1:44:45] If you hate us,

[1:44:46] we've fulfilled the terms of the contract,

[1:44:48] which was,

[1:44:49] we provided you entertainment for,

[1:44:51] for no,

[1:44:51] uh,

[1:44:52] recompense directly from you.

[1:44:54] Unless,

[1:44:55] I guess if you're a member who's grown to hate us,

[1:44:57] I apologize.

[1:44:58] But please continue to give us money.

[1:45:00] I think I've covered all the bases.

Stuart Wellington

[1:45:01] It's what happens with parasocial relationships,

[1:45:03] you know?

[1:45:04] You know?

[1:45:04] Familiarity can breed contempt.

Dan McCoy

[1:45:06] It can,

[1:45:06] you know,

[1:45:07] it can,

[1:45:08] it can,

[1:45:08] and I get it,

[1:45:09] but just stop listening.

[1:45:10] That's fine,

[1:45:11] too.

[1:45:11] Um,

[1:45:13] but thank you for listening.

Stuart Wellington

[1:45:17] Oh,

[1:45:17] he saved it.

[1:45:18] He saved it in the end.

Elliott Kalan

[1:45:19] Yeah,

[1:45:19] I feel like nothing,

[1:45:20] nothing says Dan McCoy,

[1:45:21] to me in some ways more than him saying,

[1:45:23] please stop listening.

[1:45:24] Thank you for listening.

[1:45:25] Thank you.

Dan McCoy

[1:45:27] Thank you for your support.

[1:45:29] Look,

[1:45:29] I can't buy Benadryl without you.

[1:45:32] Thank you for being a member.

[1:45:33] We'll,

[1:45:34] um,

[1:45:34] we'll have a member drive again soon.

[1:45:37] Uh,

[1:45:37] but also thanks to Alex Smith.

[1:45:40] He's our producer.

[1:45:41] He's our editor.

[1:45:42] He goes by Howell Dottie on the internet.

[1:45:44] Look him up.

[1:45:46] He's got his own great podcasts and music and all sorts of stuff.

[1:45:50] Very talented.

[1:45:50] Um,

[1:45:51] also,

[1:45:52] uh,

[1:45:53] check out MaximumFun.org.

[1:45:55] As we mentioned,

[1:45:56] we're part of that network.

[1:45:57] There's other great shows over there.

[1:45:59] Uh,

[1:46:00] I listen to many of them.

[1:46:01] I'm not going to name names because I don't want anyone to feel left out,

[1:46:04] but,

Elliott Kalan

[1:46:05] trust me.

[1:46:06] Dan,

[1:46:06] they can also,

[1:46:07] they can also go to that website to buy Flophouse merchandise or buy a Jumbotron personal message.

Dan McCoy

[1:46:12] You know what?

[1:46:12] We haven't added Jumbotron in a little while.

[1:46:14] If you want to get up on the Jumbotron,

[1:46:16] you can go to MaximumFun.org slash Jumbotron.

[1:46:21] It's spelled as you might think.

[1:46:22] Jumbo,

[1:46:23] like Mrs. Jumbo,

[1:46:24] and Tron,

[1:46:25] like the movie Tron.

[1:46:26] Like Mrs. Tron.

[1:46:27] Jumbotron,

[1:46:28] but not separate words altogether.

[1:46:31] Anyway.

[1:46:31] Yeah,

Stuart Wellington

[1:46:31] because in Tron,

[1:46:32] he gets shrunk down real small,

[1:46:34] but in this case,

[1:46:35] it's real big.

Dan McCoy

[1:46:36] It's a big Tron.

[1:46:38] That's what we're talking about.

[1:46:38] Some kind of a Jumbotron.

[1:46:40] Yeah,

[1:46:40] exactly.

[1:46:41] Um,

[1:46:43] I think I've said enough.

[1:46:44] For the Flophouse,

[1:46:45] I've been Dan McCoy.

Elliott Kalan

[1:46:47] Hey,

[1:46:48] it's me,

[1:46:48] Stuart Wellington.

[1:46:49] And I'm Elliot Kalin.

[1:46:51] Thank you so much for your time.

[1:46:52] We'll take up more of it next week.

[1:46:54] Okay,

[1:46:55] bye.

[1:46:57] I really feel like I'm going to pass out

Dan McCoy

[1:47:05] every time I cough,

[1:47:06] though.

[1:47:06] That's not great.

[1:47:08] That would be wild if it happened

[1:47:09] in the episode,

[1:47:10] though,

[1:47:10] right?

[1:47:11] Yeah.

[1:47:11] So maybe,

[1:47:11] maybe try and set that up.

[1:47:13] If you see me fall out of frame,

[1:47:15] one of you should call Audrey.

[1:47:17] First,

[1:47:18] we'll love you for a little bit.

[1:47:18] It'll take me a minute.

Stuart Wellington

[1:47:20] Yeah,

[1:47:20] I'll assume that you fell out of frame

[1:47:22] because I made you laugh so hard

[1:47:23] that you zoomed out of that shit.

[1:47:25] Yeah.

Elliott Kalan

[1:47:26] If we see Dan's feet flip up,

[1:47:28] then we know it's because

[1:47:28] of a hilarious gag.

[1:47:30] Yeah.

Elliott Kalan

[1:47:32] Maximum Fun.

S5

[1:47:33] A worker-owned network

S4

[1:47:34] of artist-owned shows

[1:47:36] supported

[1:47:37] directly

[1:47:37] by you.

Ep. #412 - Leave the World Behind

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