Ep. #412 - Leave the World Behind

[0:00] Hi Floppers, before we start our regular nonsense, we wanted to make sure you knew the Flophouse

[0:04] 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,

[0:14] probably.

[0:15] 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

[0:27] 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.

[0:46] On this episode, we discuss Leave the World Behind.

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

[0:53] Whoa!

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

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

[1:24] I'm Dan McCoy.

[1:25] I'm Stuart Wellington.

[1:28] 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

[1:33] today?

[1:34] Sexier.

[1:35] I had a cold.

[1:36] All right.

[1:37] I started out with a cold.

[1:38] Then I had a day that I had a violent allergy attack.

[1:39] Hot.

[1:40] And before I get tweeted at saying, like, did you check for COVID?

[1:41] I'm aware that COVID exists.

[1:42] I have taken, you know, five COVID tests.

[1:43] It's not COVID.

[1:44] Take that straw, man.

[1:45] Yeah, the straw, man.

[1:46] Take that straw.

[1:58] Take that straw.

[1:59] Well, there's a lot of well-meaning concern out there.

[2:00] The Batman villain, the straw man, he gets knocked down real easy because he doesn't

[2:02] exist.

[2:03] Look, I appreciate the concern, but I'm taking care of myself.

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

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

[2:12] Yeah, yeah, that's why, what Batman's like.

[2:14] Yeah, I know that my money would be better spent helping people as opposed to me battling

[2:19] dudes.

[2:20] A good straw man.

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

[2:23] Oh, no, it's straw man's partner, Slippery Slope.

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

[2:29] I was getting better.

[2:30] And then I went to Audrey's extended, you know, large Filipino hard partying family

[2:37] 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, I should have continued the recovery period.

[2:52] Is it possible that that was a super spreader event?

[2:54] You got COVID?

[2:56] It could be 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 they were all lying to me, no, no.

[3:14] Hey, Dan, Dan, here's my new character, Strawman Shortcake.

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

[3:23] No, that's cool.

[3:24] Dan, I do want to, I'm going to confirm for you, I have, I've been to at least the start

[3:29] of one of Audrey's family's parties and they go super fucking hard.

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

[3:36] And they're like, what?

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

[3:38] Yeah.

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

[3:44] 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.

[3:52] And 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 and Stuart is in a different room, not recording with me

[4:01] 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.

[4:09] We don't have our like normal, like electric chemistry that we usually have.

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

[4:16] That was Spiderman, right?

[4:17] Yeah.

[4:18] Yeah.

[4:19] Yeah.

[4:20] I tell you how to read.

[4:21] I don't know what to do on this podcast other than talk about your illnesses and your family's

[4:25] parties.

[4:26] Extended diversion.

[4:27] They thought they called into the Filipino house where Dan talks about his in-laws parties.

[4:33] You know, Jollibee reviews.

[4:40] Very good chicken.

[4:41] I'm not necessarily a fan of the sweet spaghetti, but I guess it's more of a trad chicken guy.

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

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

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

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

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

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

[5:02] You know what?

[5:03] And maybe I'll even try that sweet spaghetti.

[5:04] I mean, it was kind of an explicit attempt to sort of challenge, you know, like worldwide

[5:12] fast food chain.

[5:14] So, you know, I'm not surprised that they went with like something with broad appeal,

[5:17] like, I mean, the greatest fried chicken.

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

[5:24] of honey.

[5:25] Oh, yeah.

[5:26] I think the happiness of the bee, that is their mascot.

[5:32] Because they watch Wild Mountain Time and they were like, guys, what do we do on this

[5:37] podcast?

[5:38] Right.

[5:39] This is the second time we try to get back on track.

[5:42] Let's make it three.

[5:44] The advantage of me being sick is you get one of these freewheeling episodes advantage.

[5:51] We talk we watch a bad movie that we talk about in this case.

[5:53] Actually, we watched a movie that that wasn't even a critical flop.

[5:58] Like it got overall pretty good reviews, like mixed interest and mixed positive.

[6:05] 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.

[6:18] Lauren's incredibly talented comedy writer.

[6:21] Yeah.

[6:22] She took Audrey and me out for a she and her husband took Audrey and me also a very talented

[6:28] comedy writer.

[6:29] A late wedding, Mulligan, also on Netflix, like Leave the World Behind.

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

[6:38] show.

[6:40] And it was like number one on Netflix, I think, for like a week or whatever.

[6:44] According to according to Netflix.

[6:46] It says Netflix.

[6:47] Wow.

[6:48] Yeah.

[6:49] Here's the thing.

[6:50] Whenever when Netflix puts something on the home page and it starts playing, if you don't

[6:54] press any buttons and then they say that's the number one most watched movie on that

[6:58] you're saying, there's it does not impress me that don't impress me much to quote to

[7:03] quote the Italian guy on the pizza box that don't impress me much.

[7:07] Yeah.

[7:09] Well, anyway, I, 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

[7:18] in pushing it.

[7:20] And she texted Karen Brockovich and that's a great note.

[7:26] Frankly, that is that is the most trenchant description I've heard of it so far.

[7:31] Yeah.

[7:32] Julia Roberts, the star of the film, is playing the is playing such a caricature of a Karen,

[7:38] you know, East Coast, semi-liberal, but educated, complacent, wants everything her own way.

[7:43] White woman who gets angry at people instantly does not trust black people instantly.

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

[7:50] But that's Karen Brockovich is a great way to describe it.

[7:52] Lauren, that's what that's what she said.

[7:53] Yeah.

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

[7:55] And then she texted.

[7:56] Ha ha.

[7:57] I still got it.

[7:58] Oh, she is an Emmy winning comedy writer.

[8:03] She's still got it.

[8:04] You know?

[8:05] Yeah.

[8:06] Yeah.

[8:07] That's like a that's like a perfect over the shoulder gag.

[8:09] Right.

[8:10] Yes.

[8:11] Yes.

[8:12] Perfect.

[8:13] What we would call no TS.

[8:14] Yeah.

[8:15] Yeah.

[8:16] 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 she doesn't like public approval, doesn't like to be seen by the public.

[8:25] Anyhoo.

[8:26] So let's talk about this movie, shall we?

[8:29] Called Leave the World Behind.

[8:30] Now that we've told the origin story of why we're doing it.

[8:33] And my voice, you know, do we have any other origins we need to talk about?

[8:39] Let's go.

[8:40] I explain origins.

[8:41] Wolverine.

[8:42] So Batman's parents walked him through Crime Alley for some reason and some crime happened.

[8:48] And now he's Batman.

[8:49] That's the origin.

[8:50] Yeah.

[8:51] That's what his parents were killed by.

[8:52] The straw man.

[8:53] Yeah.

[8:54] The straw man.

[8:55] Yeah.

[8:56] Batman was like, what criminals fear more than anything bats because they're superstitious

[9:01] and cowardly.

[9:02] Yeah.

[9:03] I must become a bat.

[9:04] Mm hmm.

[9:05] Yeah.

[9:06] Yeah.

[9:07] That's you nailed it.

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

[9:09] I know what happened.

[9:10] You know, he crashed through this window.

[9:12] I just think it's funny that well, what is the natural enemy of criminals then?

[9:16] Exactly.

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

[9:18] He joined the FBI like bigger criminals.

[9:24] 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.

[9:31] Yeah.

[9:32] Guys, I've been watching.

[9:33] I've been watching Reacher and I'm obsessed with big characters.

[9:36] So every show needs one big guy.

[9:40] So there's a there's a sex scene.

[9:43] I'm like, be careful.

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

[9:48] I like that show.

[9:49] But I also like feel like it has like because he is so big and blonde.

[9:53] It has like this uncomfortable, like undertone of like, yes, here's the Superman who was

[9:58] both hugely.

[10:00] strong and knows what is correct in every circumstance. It's a step away from being

[10:03] called a Riker. Yeah. Yeah. So he comes into town and rips criminals apart with his bare hands.

[10:09] It's so much pulled chicken. Anyway, talking about ripping apart with their bare hands,

[10:14] there's nothing like that and leave the world behind. But Dan, shall I begin the summary?

[10:17] Please do. Get us on the tracks. Actually, Elliot, there is a part where somebody rips

[10:22] something apart with their bare hands. It's near the end, though. It's a kid's teeth where he ganks

[10:28] out of somebody. He's not ripping the teeth apart. He's not like, my teeth are made out

[10:32] of cotton candy all of a sudden. So leave the world behind. So we begin. We're introduced to

[10:38] Brooklyn-based Amanda Julia Roberts and her husband, Clay Ethan Hawke. She wakes him up.

[10:43] They're your basic East Coast elite educated. I mean, Karen Rogovich, that says it all.

[10:47] Ethan Hawke is America's hot daddy. I love him. He's great.

[10:50] Ethan Hawke, I love him in everything I see him in. I feel like he only gets better as he gets

[10:54] older as both an actor and a charismatic performer. And I think it's partly because

[11:00] he has made this niche for himself, which this character, Clay, fits into exactly of

[11:04] 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, where he is not really right

[11:15] for the casting of this character. Allura, one of the main characters, she finds out who her dad is.

[11:19] She goes to see him. And he's a little too old to be that character. But he so perfectly captures

[11:24] this guy who used to be kind of cool, is no longer cool, but still thinks of himself as cool.

[11:29] 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. He is a total beta cuck who thinks he's a cool guy. He walks around

[11:40] wearing a bikini kill shirt, but he cannot do anything with his hands. He can't fix the TV.

[11:44] Later on, he uses this beta cuckness as a secret weapon. We'll see. But we have Karen

[11:50] Brockovich and beta cuck. They're fighting crime, I guess. And one morning, Amanda wakes

[11:55] up Clay and says, hey, I booked a spur of the moment vacation on Long Island for us.

[11:59] I just rented a house. Let's just do it. Let's just go to it. By the way, I hate people. That's

[12:04] how she ends the scene. And then we get animated opening titles where it's like weapons and

[12:08] American flags and deer and clocks. And I'm like, oh, it's one of these movies. OK.

[12:14] Is this Civil War directed by Alex Garland? That doesn't come out till next year.

[12:19] But it has that feeling. And then it says it gets produced by

[12:22] Barack and Michelle Obama. And I'm like, oh, well, this is going to be a middle of the road movie.

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

[12:30] experiments. But Dan, what are you going to say? No, I just want to say as as bad as he may be

[12:35] as like, yes, he is a trenchant in some ways, like portraits of a certain type of guy that

[12:42] I fear that I might be, in fact. Yeah. But like and he teaches like

[12:46] media as a college course or something like that. Yeah. As much as like he is. Yeah. We

[12:53] laugh at him. I also have to admire. I have to give it to him for the chill way he responds

[13:00] to his wife having sprung a trip on him the morning as he as he woke up.

[13:09] Good on you, Ethan Hawke's character. I think it's true. I think it's if this was a

[13:14] I'm going to lay some of my cards on the table. I think this movie is not really completely

[13:18] thinking through the things that it is doing. I think if it was if I felt like it was thinking

[13:22] itself through more, I would say that he is showing that he's a character who is so used

[13:27] to getting whatever he needs that it doesn't even occur to him to be upset that his wife has suddenly

[13:32] thrown their life slightly into chaos with a vacation. He's just like he's the kind of guy

[13:36] where vacations sometimes fall in his lap. He works hard, I'm sure, at his job, but it's not

[13:41] his job is as a media professor. It's not a life-threatening job, and he's someone who is

[13:45] who is used to relying on privilege, but he doesn't think he is like that. If I thought

[13:48] the movie was maybe Timothy Oliphant, I get that vibe from Timothy Oliphant. Like he's a great

[13:55] actor, but I get this feeling of like a dude who's never had to worry where he's sleeping at night.

[13:58] You know what I mean? I mean, I've never had to worry where I'm sleeping at night, either.

[14:01] Oh, that's what I oh, cool. That's that's what's dreaming about him. I'm like, yes,

[14:05] Timothy Oliphant, you have so much charisma that you overwhelm.

[14:10] He does. 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 understands that life comes a little easier to them because

[14:19] they're very handsome and very charming. And they're like owning it a little bit that I

[14:24] appreciate more than if they were like fighting it. You know, they're like that's what I like

[14:27] about that most recent Fletch movie with Jon Hamm's performances. Fletch, I feel like he has

[14:32] 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, a.k.a. me would be irritating,

[14:43] but I kind of have to be this way right now for what I'm doing. So I'm sorry, but.

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

[14:53] She didn't have it so easy. No, she didn't.

[14:55] Yeah. Well, crime followed her. Yeah, because I mean, she was killing people.

[15:00] It's like a dark passenger. Yeah, the last episode should have revealed that she was

[15:03] the murderer all along. But anyway, so so I will have to say a couple of other side notes.

[15:07] I like the design of their Brooklyn apartment. I think it's very cute.

[15:11] It does. And also I feel like right away, Ethan Hawke also seems I don't know if it's

[15:17] just the way it's written, but he seems to be more comfortable with the dialogue

[15:22] and like the pitch and pace of this dialogue than Julia Roberts does.

[15:26] Immediately, I'm like, has she lost the juice? Does she not have it anymore?

[15:30] Because she's she comes off very stilted in a way that seems that like.

[15:37] In a way, it reminded me of another apocalypse movie,

[15:40] The Knock at the Cabin, which is also filled with nothing but stilted dialogue.

[15:46] But for some reason, it worked more in that movie than this one.

[15:48] But I'm going to sit here. I think I think I'm going to say two things to that before

[15:52] we get further, because I think that's an interesting point. I think she's playing

[15:54] a character who's very brittle and very uncomfortable, which I think 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.

[16:05] But I feel like this is no, no, no shade on Julia Roberts.

[16:10] 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 a an actor.

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

[16:25] That's an unfair, 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've got movie stars.

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

[16:38] Is that not a good one?

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

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

[16:48] Well, this movie in in a lot of ways is kind of like a mannered movie,

[16:53] like in the way it's written and shot.

[16:54] Yes, that's right.

[16:55] And I would postulate that like you could go one way or the other.

[17:00] You could like cut against that manneredness and try and ground it more with like Ethan Hawke's

[17:05] very nationalistic performance.

[17:06] Or you could do it the way that Julia Roberts is doing it, which I think kind of suits the

[17:12] writing.

[17:12] But to have both of them in the same movie might feel weird.

[17:16] Might feel weird.

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

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

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

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

[17:31] if they were.

[17:32] I don't know.

[17:32] You should look at some of the acting awards that have been given out over the years.

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

[17:38] Yeah, that's nice.

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

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

[17:45] is like if this was released in theaters, I don't remember if it was, then that would

[17:48] be her Oscar.

[17:49] Yeah, yeah, yeah.

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

[17:53] They have two kids, teenage Archie and adolescent Rose, and everyone in the car has their own

[17:58] screens or music or phone call.

[18:00] They're on.

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

[18:01] And Rose, we learn here and it'll become more and more of a theme, is obsessed with watching

[18:07] friends on her iPad.

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

[18:13] And they don't they don't they don't say it, but she's like coded as being on the spectrum

[18:18] or something, right?

[18:20] Maybe 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 I don't know if it's accurate

[18:27] or not.

[18:27] And to be honest, when you're around little kids, it seems like every little kid is somewhere

[18:31] on the spectrum.

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

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

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

[18:35] Adolescents are normally checked out from life in certain ways that.

[18:39] Yeah, that's what struck me as just like that, like a very like not even very, but

[18:44] like heightened enough that there's a point of it like sort of checked out adolescent

[18:49] who just likes watching her tablet.

[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 these young people today who live through screens, you know, and obsessed with this

[18:59] fake past title.

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

[19:04] Yes, true.

[19:05] So title, there's a lot of there's chapter titles in this movie, which always means that

[19:10] it's high art.

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

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

[19:16] 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 from like, is she surprised to be seeing Kevin Bacon

[19:36] in Long Island?

[19:37] Yeah, what it is like he's playing himself and she doesn't expect to see him all grizzled

[19:41] because the music is doing some heavy lifting.

[19:43] I haven't seen you since Flatliners, she says.

[19:46] She what?

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

[19:48] Remember?

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

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

[19:54] It's almost blanketing the movie when there's not a needle drop song with a with a with a

[20:00] on the nose title like there was one where it's called like misled we've been misled or something

[20:04] like that and but it's also it's incredibly eerie over the top and it reminded me of something that

[20:10] they do in the movie queen of the queen of earth where or princess of earth let's go queen of earth

[20:15] with um with elizabeth moss where not where the music is super creepy and operatic even over things

[20:22] that are not on the surface creepy and it works really well and here i feel like they don't

[20:27] achieve that balance but the movie is trying so hard when the family goes to the beach

[20:31] and nothing creepy has happened yet the music is like

[20:43] like it's i'm like i know something creepy is gonna happen okay you don't need to like

[20:46] it's a little bit like um uh if you have like a truffle oil and you go to a fancy restaurant

[20:51] and they're like don't worry everything is drowning in truffle oil and you're like this

[20:55] it's too much i don't i don't want it anyway having established myself as as that kind of

[21:00] of liberal complacent uh coastal elitist since i go to restaurants where they put truffle oil

[21:04] on things let's continue um she's weirded out seeing this guy stock up his truck they go to

[21:09] the beach the eerie music plays uh my notes literally say the soundtrack in this movie is

[21:13] working hard uh rose at the beach notices a big oil tanker off the coast and it's getting closer

[21:20] until dan what does that oil tanker do it crashes in like like like speed 2 that's what i was saying

[21:25] to we did our speed 2 show in la recently and that that thing that tranker crashes for so long

[21:33] and audrey was like if i was on the beach i would run away much earlier than they run away i'm like

[21:37] yeah i've i've seen speed 2 i know how long it's gonna take that tanker to stop before when it like

[21:43] goes aground and the so it takes them a while to run away but they all escape we never see anyone

[21:49] on this ship it's like the demeter has just yeah has just crash landed and full of drax there's

[21:55] drax all over it's full of drax we don't mean drax the destroyer the lovable idiot yeah we mean we

[22:01] mean drax the dracula's which are not which are also kind of lovable but in a sexy way that's

[22:05] scary yeah dangerous you know especially when they have hair that looks like a giant butt

[22:10] that's does that add to the sexiness dan you like butts is it sexier to you if someone has a regular

[22:14] butt and a hair butt on their top of their head so it's like they have two butts or is that less

[22:18] sexy to you uh it doesn't have to be gary oldman too it could be on somebody who you're more

[22:22] naturally attracted what if it is does it look like an actual butt on the head or does it look

[22:30] like gary oldman's dracula hair because i mean it's made out of hair you're not going to confuse

[22:35] it for a butt unless they have hair that is pink and textured in general that's an automatic less

[22:41] sexy okay what if it was what if there were cone heads it's not hair but it's like a it's like a

[22:47] phallic cone that their head is made out of um could they wear like one of those sort of like

[22:53] dunce caps or like uh you know like a jester like something that would cover it up like a wizard's

[22:58] hat yeah like a wizard's hat you want to see like a top secret type movie but it's a fantasy movie

[23:03] and a wizard takes off his wizard hat and he just has a cone-shaped head that would be a great gag

[23:07] actually that would be yeah it would be called what like uh like uh um uh spelling i don't know

[23:17] with an apostrophe at the end like yeah or like dork of the rings or something like that i mean

[23:22] i know there's already board of the rings the best-selling national emblem parody but still

[23:26] okay so uh as they're leaving the beach a park officer tells them that ships seem to be having

[23:31] trouble with their navigation systems which is a big issue if they're crashing into the beach that

[23:35] would be close the beaches scenario i think i will say i will say i think this sequence is

[23:41] interesting like it feels uh it feels exciting and also it feels like something is happening

[23:48] it definitely feels like something is happening which is not a feeling you're gonna get for a lot

[23:51] of the movie uh deliberately deliberately from the film in a way that i think is doesn't work but

[23:56] that's right so they go to the house the wi-fi is out the tv signals are out can i also point out

[24:00] let me just mention you see some deer in the backyard uh-oh stewart what were you gonna point

[24:05] out i was just gonna say so this is one of many like disasters or uh tragedies that occur throughout

[24:13] this movie and for the most part they aren't given a human face like it's given a very and there's

[24:19] something that makes it that i find distancing about it for something that should be very like

[24:26] emotional it's like later on there's a sequence with cars crashing but they're all not being

[24:31] driven by anyone it feels very it feels both bloodless and distancing for what to me is uh

[24:39] i i don't quite know what the perspective of this movie is i think i kind of know what they're

[24:43] trying to say but i feel like it does the it does the message of the movie a disservice i feel the

[24:49] opposite because i think that it's thematic like i think that like it's about people who are feeling

[24:55] distanced and that's why all of the like the tragedies also feel like sort of like almost

[25:03] like happening yeah like we have a dream beyond the scrim like there's no you don't see the

[25:09] i think i'm gonna be in the middle i'm gonna be the third way this time i think the movie is going

[25:12] for what dan is talking about these characters supposed to feel isolated and cut off and so

[25:16] there's a lack of humans around them they're supposed to feel trapped uh but i feel like

[25:22] the movie doesn't it it's it's trying for like an apocalyptic the discrete charm of the bourgeoisie

[25:29] where like the characters are stuck they cannot get out their things keep happening that get in

[25:35] their way and they feel isolated and cut off from humanity around them but i feel like the movie is

[25:40] not to be honest i mean my main problem the movie is i've seen all this before it's not there's

[25:43] nothing new in it to me and the and i think it overplays its hand in the amount of time it would

[25:48] take human civilization to or america to collapse but i think it would help to see some of those

[25:53] people and i haven't read the book it's based on but i was reading a review that mentioned the book

[25:56] and i was saying how in the book you do get glimpses of other people in other places becoming

[26:01] victims of this thing someone getting trapped in an elevator and starving to death somebody

[26:05] dying in a refugee camp and you don't get answers you get glimpses of other people and i think this

[26:09] movie okay i think it would have helped it to have to give it a greater sense of scale that way it's

[26:13] supposed it wants to create the feeling of you're trapped and you don't know what the hell is going

[26:17] on outside but what's going on outside is not mysterious enough i think for the audience to

[26:23] wonder about it it gives you too many it both gives you too much information and not information

[26:26] too much about the outside world not enough human information in my opinion huh interesting i just

[26:32] i disagree i think that one of the strengths of the movie is that all of the stuff that happens

[26:37] and i've seen people complain about this you know online but like all the stuff that happens is so

[26:43] like sort of seemingly unconnected you can draw the lines about like the things that are probably

[26:49] causing all the stuff they see but they are like these weird incidences of something distressing

[26:58] maybe i think this is more a sign of where my head is at i think they're not weird and disconnected

[27:02] enough because the movie gives you explanations for each of these things and i don't want those

[27:06] explanations i mean i kind of agree with you but i think that the degree to which

[27:11] you know i do see people on the internet saying like oh none of this makes any sense i'm like i

[27:15] don't think i think you can patch that together wild that feels like that feels like people who

[27:20] are looking at their phones while they watch the movie to be honest because every now and then

[27:23] the television will turn on and explain or the radio and explain what's going on basically

[27:28] so i feel like that's you're not paying close enough attention to the movie i can't believe

[27:31] we're learn how to i can't believe we're arguing with straw man again oh the straw man he's struck

[27:35] again oh the straw man strikes detective comics number 433 straw man and like a made-up avatar of

[27:44] like things i've actually seen people say online but i mean like i guess we shouldn't argue no the

[27:50] avatar yeah the straw vatar true anyway so uh so we went to straw vatars the uh the turkish

[27:57] restaurant maybe three restaurant turkish it's mediterranean kind of oh you know it's

[28:02] oh man the fucking dips they're gonna have they have a lot of dips you know they'll have hummus

[28:06] for free they'll just put that out on the table yeah and just the thing of all of it but a little

[28:10] bit of hummus you got to buy more you don't refill it uh there's gonna be pita on the table in a

[28:15] basket one of the chickpeas everywhere one of those all you're doing is describing a type of

[28:20] restaurant i want to clarify yeah you're gonna get a platter that has not that much meat

[28:25] dried chicken on a skewer and then like rice and the rice is going to be fairly dry

[28:30] description of a certain type of sour cream or something to see yeah so elliot's not a fan of

[28:36] straw vatars you don't like i'm not he's i'm not every time i go to a mediterranean restaurant i

[28:42] go well this is the driest chicken i've had thanks for giving me a little of it you shouldn't get

[28:46] the chicken there that's what should i get dan you get the lamb the the like the beef and lamb

[28:52] stuff the beef is pretty dry too anyway i what i'm saying is throw it in a pot of water boil it

[28:56] up first then i love i love mediterranean food but i agree that the chicken is pretty dry okay so

[29:03] that's i'll try something else next time i go to to straw vatars so they go there the tv and the

[29:07] wife are out they see some deer in the backyard that night the kids are sleeping amanda and claire

[29:12] playing jenga very symbolic very thematic the house is about to tumble when someone knocks at

[29:18] the door and they spend a lot of time arguing about whether they're going to answer the door or

[29:21] not uh they are already in creep out zone well they saw a knock in the cabin and uh they're like

[29:27] this doesn't it doesn't go well if they if it showed them watching that or they're playing

[29:32] jenga they're like boy that knock at the cabin movie was kind of creepy huh uh and there's a

[29:36] knock on the door it turns out it's mahershala ali two-time academy award winner right mahershali

[29:41] and uh he's with a young woman he says i'm gh smith you can call me george this is our house

[29:47] you've been telling me over email this is my daughter ruth we were and uh we there was a

[29:51] blackout in the city so we decided to come here everyone acts instantly weird and awkward and guys

[29:57] i've stayed in airbnbs where the owners have showed

[30:00] up just to check on something, it's never been weird.

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

[30:04] Well, it's weird, but not like this.

[30:06] Not like this.

[30:07] Yeah.

[30:08] This is like, you expect at any moment,

[30:10] this is like the moment in the happening

[30:11] where the old woman goes,

[30:13] you're here to kill me, aren't you?

[30:14] And Mark Wahlberg goes, no, no, never.

[30:18] Like, they're both, both sides are acting

[30:20] as if they're criminals who are hiding a body

[30:23] that they need to dispose of.

[30:23] Well, I mean, let's be, like, Clay is like,

[30:26] oh yeah, sure, whatever.

[30:27] I mean, Clay's super laid back.

[30:29] Julia Roberts.

[30:30] He can't get hurt, yeah.

[30:31] Is like.

[30:32] Yeah, he's like, is that Blayde?

[30:34] Like, did Blayde ever show up?

[30:36] Marshall is like, it's been delayed yet again,

[30:38] or delayed, as we've been saying around the time.

[30:42] The heavy implication is that Julia Roberts

[30:45] specifically does not trust this black man

[30:49] and black young woman.

[30:50] A black man in a tuxedo with his daughter

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

[30:54] I mean, it's something they take a long time

[30:57] to get to, which is that, to just come outright

[31:00] and say, like, she's probably,

[31:01] it's probably because they're black.

[31:03] But it is so, it's so awkward, and she's so,

[31:06] I mean, it's, they're caricature characters.

[31:07] Again, like, if it was not, if this was not a movie

[31:10] that was trying at times for a certain level of realism,

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

[31:13] If this was a Samuel Beckett play, I'd be like,

[31:16] yeah, of course, these are flat ideas.

[31:18] These aren't caricatures.

[31:19] I 100% believe that there's a woman

[31:23] who would act like this.

[31:24] Yeah, no, you're right.

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

[31:27] I like the actress who plays his daughter.

[31:29] I don't remember her name, but she's, what,

[31:31] from, like, industry, I think?

[31:33] And she's the bodies, bodies, bodies.

[31:33] I mean, they're all in the entertainment industry.

[31:35] Just grist for the mill.

[31:39] I'm gonna look up her name,

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

[31:41] Let's see, she is.

[31:43] And I like her character in it,

[31:44] the way that, like, she sort of, like,

[31:47] pokes at Julia Roberts and, like,

[31:48] wants to sort of, like, point out

[31:51] that she sees the type of woman that Julia Roberts is.

[31:53] And Julia Roberts, like, has kind of, like,

[31:55] this, like, I mean, antagonistic,

[31:57] but also, like, this weird grudging respect for her, too.

[32:00] Like, it feels like she's, like, okay,

[32:02] well, this girl has my number.

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

[32:06] I don't know exactly how it's pronounced,

[32:08] but that's what it seems like.

[32:10] And she's really good in this.

[32:10] So they are, everyone's, it seems like it is

[32:15] two suspicious women and two men

[32:17] who are just trying to, like, smooth things over.

[32:18] That's the situation.

[32:20] She says there's a blackout, our phone's not working,

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

[32:23] A man is instantly suspicious,

[32:25] does not want them to stay at the house.

[32:26] And he goes, look, 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 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.

[32:40] And he goes, here, take this $1,000.

[32:42] And Amanda's like, Clay, they could be con artists.

[32:44] And Clay is like, eh, it'll be fine.

[32:47] Come on.

[32:47] And Amanda asks-

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

[32:50] He's in a tuxedo.

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

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

[32:54] but the racist wouldn't let him.

[32:55] She's like, you're still gonna argue

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

[32:58] I know his stock has gone down quite a bit,

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

[33:02] And she's like, it's a misogynistic,

[33:04] moribund franchise.

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

[33:08] and find a new way to do things.

[33:09] And he's like, ugh, here we go again.

[33:12] Anyway, they've had this conversation a lot

[33:13] about James Bond.

[33:15] If this would be, like, if they were pulling a con,

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

[33:20] This would be like the Sting-level grift

[33:23] where they're like, okay, we're gonna figure out

[33:26] that we gotta go to this house

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

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

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

[33:31] We'll get whatever cash they have on hand.

[33:32] Hand over $1,000 to win their trust, of course.

[33:35] Well, but that's constant.

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

[33:37] That's a con thing.

[33:38] Give a little bit to get a lot.

[33:38] Yeah, but I'm saying that, I don't know,

[33:41] outside of the movies where we're living,

[33:44] I don't think that this is, like, I don't know.

[33:46] I would not be so suspicious of someone

[33:49] returning to the place that I rented.

[33:52] And saying, you rented it from me, I know your names.

[33:56] This is my name.

[33:56] I have a key to the, my key's to the liquor cabinet.

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

[34:00] but I guess he knocked just out of politeness, you know?

[34:05] Yeah, I'm sure he has a key to the house.

[34:08] But, and let's talk,

[34:10] we haven't talked about the house at all.

[34:11] It's, like, super modern, it's very fancy.

[34:15] It is, the camera movements 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, yeah.

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

[34:24] The house has a strange gravity

[34:25] that causes the camera to spin a lot.

[34:27] Yeah.

[34:28] Well, I think because the camera-

[34:29] Or, like, float through floors and shit.

[34:31] Yeah, I think because the camera,

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

[34:34] as they're driving away from all those driverless Teslas.

[34:37] But I think there's a, the camera, like the music,

[34:40] is working really hard to make us feel

[34:42] this is a creepy situation.

[34:44] Yeah.

[34:44] When, for the most part, it hasn't been.

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

[34:49] when the Wi-Fi and the power have gone out,

[34:52] and I have not jumped to the conclusion

[34:55] that humanity is dying or that we're under attack,

[34:57] which is what all the characters-

[34:58] I mean, humanity's dying, Elliot, all the time.

[35:00] I mean, humanity is dying,

[35:01] and we're under attack from ourselves.

[35:02] Pogo is right.

[35:03] We've seen the enemy and it's us, you know,

[35:05] but still, Dan.

[35:05] I like some of these camera moves, like, in a vacuum,

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

[35:11] Well, in a vacuum, you're not gonna be able to see anything.

[35:12] I mean, you can always hit the bag

[35:14] so some light gets in. That's true.

[35:15] But the problem is, like,

[35:17] the whole movie is shot like that.

[35:19] Something like Brian De Palma, usually, you know,

[35:22] with, like, very showy distancing camera moves,

[35:24] at least saves those for, like, big moments

[35:27] rather than, like, just making the whole movie that thing.

[35:30] Like, there's virtuoso sequences.

[35:32] Isn't there a part in Panic Room

[35:34] where David Fincher has the camera

[35:35] go through the hole of a mug's hand holder?

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

[35:39] yeah, fuck it, we're gonna do it when it's not important.

[35:42] And it feels like that.

[35:43] It's like that in this, where they're like,

[35:44] you know what we can do with the camera?

[35:46] Let me show you.

[35:47] And I'm like, tell me the story.

[35:48] Tell me the story.

[35:49] I don't care about the tricks.

[35:50] I mean, Sam Asimov has a lot of tricks.

[35:53] The right approach.

[35:55] And he's using them all.

[35:58] But I don't think, again, like, I said this before,

[36:01] but, like, I don't really think

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

[36:04] Like, other than just, like, trying to make you feel,

[36:06] like, either to be, like, cool

[36:09] or to make you a little unsettled,

[36:11] there's not really a lot of point

[36:13] to many of the, like, wacky shots.

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

[36:17] You know what, I like style for style's sake.

[36:19] That's fine.

[36:20] But it just feels pointless.

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

[36:23] I want more style or consistent style.

[36:26] Is this a movie that has a lot of loopy camera moves

[36:28] or is it an austere, kind of, like, isolated creepiness?

[36:32] Because you can't really have it both ways.

[36:34] It doesn't necessarily work both ways

[36:36] unless, like, in Repulsion,

[36:39] where, like, you have, like,

[36:40] almost fantasy madness sequences that are like that,

[36:42] you know, among more naturalistic things.

[36:45] But I don't know.

[36:46] It's hard to have it be both austere and Baroque.

[36:49] Yeah.

[36:50] I mean, maybe it's just because we, you know,

[36:52] lived through, you know, a confusing worldwide crisis

[36:58] and it's, you know, easy to dance on those feelings.

[37:02] But I did think, for me- Y2K?

[37:05] Yeah, yeah.

[37:06] Yep.

[37:07] I did. No, wait, Y2K.

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

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

[37:13] He goes, now, of course, we gotta watch out for Y2K.

[37:15] Y2K.

[37:16] No, no, no, I'm telling you,

[37:17] you gotta watch out for Y2K.

[37:18] But Y2K, why not a 2L, a 2M?

[37:22] No, I'm telling you, Y2K.

[37:23] I don't understand.

[37:24] Why not a Y2J, Y2J?

[37:25] Those guys, they get me every time.

[37:27] I love it.

[37:28] Yeah, they're the best.

[37:31] Yeah, come on.

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

[37:33] Take a bow, guys.

[37:34] Come back on stage.

[37:36] No, fuck, what the hell was I saying?

[37:40] You can't-

[37:41] We've all been through a dial for style's sake.

[37:43] Or we've all been through a big-

[37:44] We went through a big-

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

[37:46] But I thought that,

[37:48] the thing that I did like about this movie,

[37:50] just hit my hand, was I feel like it kept,

[37:55] like through the isolation,

[37:58] through sort of a bunch of disconnected events happening

[38:04] rather than like an omniscient sort of like viewpoint

[38:10] of like what this is.

[38:13] Just like sticking with these characters,

[38:15] seeing these weird things,

[38:17] not knowing what information is true,

[38:21] what information is false,

[38:22] not being given that.

[38:24] Like I found it an effective evocation

[38:28] of like the kind of disquiet,

[38:30] the kind of paranoia that I feel like I would feel

[38:34] in the situation, the fear.

[38:37] Is that a pleasant thing to relive?

[38:41] But it worked for me on that level, actually.

[38:44] I wish it had worked for me more on that level,

[38:45] to be honest.

[38:46] What I kept thinking was,

[38:47] I mean, and spoiler alert,

[38:48] as we won't take forever to go through this movie,

[38:50] I promise, or we will probably,

[38:52] but it's the Flophouse, come on.

[38:53] But civil society collapses almost instantly, it seems,

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

[39:00] And while watching it, I was like,

[39:01] I lived through the last big blackout in New York City.

[39:05] And what happened during that blackout?

[39:08] People had parties, they took care of each other.

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

[39:12] but the blackout 20 years ago,

[39:14] a little bit less than 20 years ago,

[39:16] was in many ways a very beautiful experience.

[39:18] I remember a lot of it being inconvenient,

[39:22] but I had to walk 100 blocks to get home.

[39:24] But what I saw along the way was really lovely.

[39:27] And the next day, it felt like everyone was just like,

[39:29] all right, this is still going on.

[39:31] Let's make the most of it.

[39:32] Let's take some time.

[39:34] And even with COVID, it went on for a long time,

[39:36] and it was bad in our other things it did for our society.

[39:39] But you didn't see gun battles in the streets.

[39:42] You didn't see, you know,

[39:43] carpet bombing of New York and things like that.

[39:46] So I felt like, but I felt like the movie is,

[39:49] the movie is creating a scenario

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

[39:53] And it doesn't, what you're talking about

[39:55] is the way that I felt reading,

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

[40:00] Extraordinary Gentleman, which, for me, captured the feeling the night of September 11th, the

[40:04] best of anything I've ever read, where the League has gone and Martians have attacked.

[40:09] They've burned people alive right in front of them, and they go back to the house they're

[40:11] staying in, and they're just kind of like trying to kill time to get through the night,

[40:16] like they don't really know what to do with themselves.

[40:18] And I feel like that's the feeling, if there was a little bit more of that, of characters

[40:21] unsure of how to pass the time, because it's like, the night of September 11th, what did

[40:26] I do?

[40:28] Me and my college roommates, living in Manhattan, it was like, I don't know, and we just watched

[40:34] Mr. Bean tapes for hours, because we just didn't know what to do with ourselves, and

[40:37] we had spent a day of this, and we didn't know what was going to happen next.

[40:41] So I feel like this movie, where everyone instantly jumps to, fight each other, fight

[40:46] each other, we've got to get out of here, this is crazy, the world's ending, it felt

[40:50] unrealistic.

[40:51] I get it, but I think that you're forgetting that it is not just a blackout, it's a total

[40:55] communications disruption of any sort of communication.

[41:00] There's a blackout, there's like radioactive noises being shot at them.

[41:05] Well, that happens later, I'm talking about before that happens, but that's true too.

[41:10] Okay, so you're right, there are radioactive noises that are attacking people.

[41:14] So anyway, a man asked to see George's ID, he left behind in a hurry, his story seems

[41:17] to have some holes in it, but the TV interrupts him with a national emergency warning that

[41:21] has no details, just says national emergency warning.

[41:24] This is the funniest kind of warning you can get, because all it says is there's a

[41:27] national emergency and nothing else, it doesn't even tell them what to do.

[41:32] So that night, George and Ruth are talking, he seems to have gotten some kind of a tip-off

[41:36] from one of his clients, he's in the financial industry, that something bad was going to

[41:39] happen, and Ruth does not trust this white family and wants them out of the house, and

[41:43] when nobody's in the living room, the TV blips back on with a CNN report about a terrorist

[41:47] cyber attack that is across the country, and it turns to static, uh-oh, we're ready for

[41:52] part two, The Curve, and I guess we better move quicker, because there's five parts to

[41:55] this movie.

[41:56] Part two.

[41:57] What?

[41:58] Okay, uh, Rose really wants to watch the Friends finale, but all the signals are out, Amanda

[42:02] sees these news alerts about cyber attacks on her phone, and blackouts, and Clay is like,

[42:06] I'll drive into town, I'll get some more information for somebody, and Rose sees a shitload of

[42:10] deer in the backyard, that backyard is full of deer, what's this all about?

[42:14] Ruth and Amanda, they're prickly with each other, they just do not get along, they speculate

[42:18] about what's happening, and Ruth was worried, we find out, because her mom was supposed

[42:21] to be on an airplane that night, when the problem started, she's worried that her plane

[42:25] might have crashed, they can't get in touch with her.

[42:27] Now, we have the first of what I'll call our intercutting fugues, where we intercut between

[42:34] different storylines.

[42:35] I'm just gonna, rather than going back and forth between them, I'm just gonna tell you

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

[42:38] Yeah, please.

[42:39] There's three.

[42:40] Okay.

[42:41] Clay is driving around, his GPS and his radio don't work, so he gets lost, he steps out

[42:43] of the car, and the radio, when he's not in the car, briefly says that the cyber attack

[42:47] has caused environmental damage, which is affecting animal migration patterns.

[42:51] This is within 12 hours of the cyber attacks, that the animals were already having trouble

[42:56] migrating?

[42:57] I mean, they didn't say what the environmental thing was, like, I presumed that this meant,

[43:02] spoiler alert, based on what happens later, I presumed it meant that there was some sort

[43:06] of chemical or nuclear issue that happened because of this, that was sending the animals

[43:14] up.

[43:15] You know, like, these deers probably carry the tooth-destroying tick that comes into

[43:20] the story later, perhaps the blood is infected with some sort of, uh, yeah, what a baddy.

[43:28] This is not the fun tick that our friend Griffin spent time with on television.

[43:31] This is a bad tick, yeah.

[43:34] So he finds a woman on the road who's yelling for help in Spanish, and he is so stressed

[43:38] out by the situation that he just drives off without helping her, and then a biplane starts

[43:43] dropping, uh, red paper leaflets all over his car, and that also stresses him out to

[43:47] No-Anne, and he's getting really upset, uh, and-

[43:49] Because no one wants leaflets, he's like, do I have to throw all these away now?

[43:53] He's like, no, no, no, I don't like comedy.

[43:56] Yeah.

[43:57] And it is going to haunt him that he left this woman behind.

[44:00] That's story A.

[44:01] That specific, sorry, I gotta say, do you like comedy?

[44:04] That specific, like, tactic on the street annoys me to No-Anne specifically, you know,

[44:11] like, I'm sure you felt the same way, Elliot, as someone who, you know, has worked in comedy

[44:17] in some form, you know, to be like, to have this thrust at you, and say, after someone

[44:24] asks, you know, do you like comedy, and having the twin impulses of, like, I do like comedy,

[44:32] but you're helping to make me hate it by, like, making me feel like I must reject you,

[44:37] and also, like, do you want an honest reaction?

[44:41] Like, my honest reaction is like, yes, at one time, I did like comedy, but working in

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

[44:48] I guarantee you that's not the reaction they're looking for.

[44:51] What?

[44:52] Here's why it doesn't bother me as much.

[44:53] One, I know those people are just trying to get stage time.

[44:55] I know.

[44:56] But also, two, you just lie to them.

[44:58] You just say no, and you keep walking.

[45:00] They don't care.

[45:01] It doesn't matter.

[45:02] No, I know.

[45:03] Maybe it's just because I've had practice, because in New York, if you're Jewish, you

[45:05] get the Orthodox standing on street corners going, excuse me, are you Jewish?

[45:08] Are you Jewish?

[45:09] Are you Jewish?

[45:10] It happens to everyone, Elgit, not just Jewish people.

[45:12] Okay.

[45:13] Even to you, Stuart, because you look pretty goyish.

[45:14] I know, but my therapist is right by Grand Army Plaza, so right around the holidays,

[45:20] I am attacked.

[45:21] And there I am wearing a yarmulke.

[45:23] Yeah, you are wearing a yarmulke and peyas, yeah.

[45:25] But here's the thing, because you're going to a Hanukkah dress-up party, but here's because

[45:32] I have a similar thing, but it strikes me more to the soul, Dan, because this is about

[45:35] my heritage and my religious beliefs, that if I say yes, I've got to join them in some

[45:41] kind of BS prayer that I don't like, and I don't want their vision of the earth to come

[45:46] about.

[45:47] I don't want their Messiah showing up because their Messiah is like, yeah, well, of course

[45:49] women don't get jobs and things like that.

[45:51] But also if I say no, I'm denying my faith, Dan.

[45:54] And so many of my ancestors had to make that same choice in much more dire situations.

[45:58] So I guess what I'm saying is comedy is your Judaism.

[46:00] Anyway, moving along.

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

[46:02] We've got to talk about this more.

[46:03] We don't.

[46:04] No, I just wanted to say about the tip for people with the flyers, like take it and then

[46:12] throw it away.

[46:13] And I used to feel bad about throwing it away, but you know what, they got to stay out there

[46:16] until they get rid of all those flyers.

[46:18] So you're doing them a favor.

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

[46:20] Recycle them.

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

[46:22] Yeah.

[46:23] Yeah.

[46:24] I'll tell you about the time when a couple of guys knocked on my door and asked if I

[46:25] was Jewish.

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

[46:28] But my wife is.

[46:29] And they're like, would you like us to come in and blow the shofar?

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

[46:32] Charlie is so mad at me.

[46:33] If it was a shofar blowing, I would love that.

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

[46:39] That's fine.

[46:40] But don't don't hand me an etrog and a lulav.

[46:42] No, thank you.

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

[46:44] OK.

[46:45] It's a code.

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

[46:47] Forget about it.

[46:48] So anyway, that's Clay's story.

[46:49] Meanwhile, George, he's worried his wife is not responding to any of his texts.

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

[46:53] He's getting increasingly worried.

[46:54] He goes to check on his neighbors, the Huxleys, which I thought was a hilarious name for Karen

[46:58] Rutgers in this movie 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, but it won't work.

[47:06] He walks down to the beach.

[47:07] And this is one of these movies where the one of these moments where the movie puts

[47:09] style over substance in a way that bothered me.

[47:13] He sees a watch on the sand and he goes to pick it up and he finds it still attached

[47:17] to a severed arm.

[47:18] Only then does he look up and see a huge trail of dead bodies and a crashed airplane like

[47:23] yeah.

[47:24] Come on.

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

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

[47:28] The second part could just be like, I mean, I've been on beaches, you know, if you're

[47:32] around the wrong turn, there's like whole shit you can't see.

[47:36] Just like having like walk around some fucking dunes or whatever.

[47:39] And the thing is, there's a plane crash.

[47:42] There's some some rich guys get fucking watch blindness, too.

[47:45] And all they see is these fancy watches.

[47:47] And they're like, oh, what kind of watch is this?

[47:50] Yeah, they never wear them.

[47:53] It's a good thing he noticed that airplane.

[47:55] Of course, they never wear them.

[47:56] They're just collectors.

[47:57] You know?

[47:58] Yeah.

[47:59] Yeah.

[48:00] It's sad, really.

[48:01] Give those watch watches went to the needy who need timepieces.

[48:02] That's right.

[48:03] The needy always need to be places on time.

[48:09] So George, it's a good thing he noticed that plane crash because he narrowly narrowly escapes

[48:14] a second plane crashing into the beach where they should call this vehicle's crashing into

[48:19] beaches.

[48:20] The movie.

[48:21] Yeah, it feels like he's being the target of an enemy stand in Jojo's Bizarre Adventure

[48:25] that throws planes at you.

[48:28] Yeah.

[48:29] And he runs away.

[48:30] So meanwhile, back at the house, this is story.

[48:32] See, everyone's at the pool.

[48:33] Ruth has put on a bikini and Archie is just perving all over her taking pic.

[48:37] He thinks he's he's slyly taking pictures of her, but she knows he's doing it.

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

[48:43] She and Archie.

[48:44] Eventually they walk into the woods.

[48:45] They find a little shed.

[48:46] And Archie scares her by making up a story that there's a creep who lives in the shed

[48:49] who has been watching Rose sleep.

[48:50] And then they wander around the woods seeing more and his defense does look creepy.

[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 about the plane crash when she leaves.

[49:02] He tells Amanda that this long speech about how to behave.

[49:05] His job is to look at the curve of the financial markets and judge the future from it.

[49:10] And the way the curve was turning led him to believe something really bad was going

[49:13] to happen.

[49:14] And if that satellite phone wasn't working, it means that America's satellites are not

[49:17] working.

[49:18] Suddenly they hear explosions in the distance and a painful ear splitting high pitched noise

[49:23] It really hurts their ears.

[49:25] Amanda runs into the woods to find her kids, but the noise overwhelms her.

[49:27] She falls to her knees and the screen goes red.

[49:30] And we get the title.

[49:31] Part 3.

[49:32] The noise.

[49:33] Not the noid.

[49:34] You want to avoid the noid still.

[49:35] You want to avoid both the noid and the noise.

[49:36] The noid ruins pizza.

[49:37] The noise ruins your brain and your teeth.

[49:42] What if the noid and the noise are working together?

[49:43] The noid is like, I'll ruin the pizza.

[49:45] And noise, you ruin Archie's teeth so that he can't bite the pizza.

[49:48] Even if he wanted to.

[49:50] Bye.

[49:51] Bye.

[49:52] William Faulkner.

[49:53] Um, did you guys have the same reaction that I did to Julia Roberts running into the woods

[49:59] to leave?

[50:00] for her kids which is uh she's in fucking barefoot running through the woods come on man like that

[50:06] you're gonna hurt yourself that way yeah she's too worried about her children running and the only

[50:12] reason that i that that it bothers me because i know looking at her she wears slip-on shoes

[50:17] she's not tying shoes she's not wearing boots with a zip she wears comfortable slip-on shoes

[50:21] she could easily slip them on and run so yes but she's so worried about her children she doesn't

[50:24] care about her feet at that moment i understand emotionally i just wanted like like it struck me as

[50:31] like weirdly in this movie with a lot more like unrealistic things that i'm willing to like accept

[50:35] because they mean this or that on a metaphorical level or like they're just a strategy like the

[50:41] thing that hangs me up is like she would be going ow ow ow i stepped on a stick

[50:48] that's true well it's interesting the things that that we poke holes in i don't believe

[50:51] society would collapse that quickly and dan is like what about your feet they're gonna hurt well

[50:56] again i don't take it specifically that literally i feel like a lot of the way this movie is made

[51:02] you know like i'm i'm willing to go with a lot of shit in some of these movies if they signal to me

[51:08] like hey don't take it like seriously like you're gonna fucking cinema sends this like poke holes

[51:13] and like the plot of it because it's not really gonna make sense well but i don't think we're

[51:18] saying other things i don't think has signaled that necessarily is the thing yeah i think that

[51:23] the one of the problems is it doesn't signal it hard but okay but i'm willing to anyway you'll

[51:28] give it that you'll give it that slack yeah part three the noise is a shorter part amanda finds the

[51:33] kids they go back home she's arguing with everybody she hits on the idea that the guy at the

[51:37] grocery was stocking up on food maybe he knows something and george is like oh god the beard

[51:41] that's danny he's a local contractor he's a survivalist and clay comes home shaken and

[51:46] shows them one of the leaflets and it's got a picture of a snake a rattlesnake and it's got

[51:49] arabic writing and archie recognizes the writing from a video game i guess yeah translates it as

[51:54] death to america bum bum bum the white family that's the thing you learn a ton of cool shit

[51:59] from video games guys i guess yeah that's what the media won't tell you yeah which media you know

[52:07] you know the ones yep uh game pro uh ign yeah yeah

[52:16] nintendo power nintendo power is is deep in the tank for the establishment yeah

[52:22] so the white family they decide they got to get back to the city but uh-oh the road is choked with

[52:26] a jam of crashed driverless new teslas on autopilot and then suddenly you must have been

[52:33] drooling elliot because you're one of those tesla tesla boys right i do own one to my eternal

[52:37] dismay every time elon musk does anything but it's a car that it drives very well i really like it

[52:42] but the then more driverless teslas start zooming towards them and they have to steer through a

[52:46] gauntlet of driverless test that hasn't happened to you right it has not happened you haven't had

[52:51] to frogger around teslas right here's the thing i don't know that when there's a communications cut

[52:57] out that there's some kind of program in the tesla that tells it to automatically drive to new york

[53:01] city i don't think that's that i don't think that was a deliberate thing like small town

[53:09] i took it i took the implication to be like whoever's like doing these attacks like

[53:13] one of the things you're doing is they're just like sending a bunch of fucking cars there to like

[53:17] clog up the i mean to isolate new york that makes sense yeah uh to be honest when they first started

[53:22] having to drive through these driverless teslas and they were like ah watch out i thought it was

[53:26] really dumb but it's over so fast that i realized suddenly i want more of this it was just like

[53:30] that was the right kind of dumb where i was like all right i want to see them having to dodge all

[53:34] these driverless cars but it's like an attack of the clones where they go to the robot factor

[53:39] and have to dodge a bunch of shit like more of that please i mean it's dumb if there's only a

[53:43] little bit of it but there's a lot of it you might be able to win me over part four the flood now

[53:48] it's part four everyone's back at the house nobody knows what to do ruth rose is so mad she can't

[53:52] watch friends archie is just masturbating to the pictures he took of ruth clay and ruth are vaping

[53:57] together i don't think he's able to like finish off right he's like i didn't take good enough

[54:00] pictures i thought he was too stressed out but you think it's because he's disappointed the

[54:04] pictures or not yeah he's like oh i should have changed the exposure on this one he's like why

[54:09] can't i just use ai to remove her clothes why is the silicon valley trying to solve the real

[54:14] problems of life yeah i mean uh it is a real issue we don't need to get into it's it's horrible uh so

[54:21] anyway uh clay and ruth are vaping together amanda and george they're drinking together

[54:24] and they're starting to become friendly and george tells a long story about a powerful

[54:29] client of his who he can't name him he goes you'd recognize the name anyway he's involved in a lot

[54:33] of covert military stuff and defense contracts and i'm like are there a lot of famous covert

[54:38] military contractors okay maybe yeah i just assumed that because they produced it he was

[54:43] friends with obama and that's and that this powerful client who called him at the symphony

[54:50] and said hey can you move a lot of money around and i have to go somewhere and that george tells

[54:55] a joke and the guy just says take care of yourself and doesn't laugh and this frightened george so

[54:59] much that he assumed something that the world was about to end and he had to go back to long island

[55:03] and meanwhile clay tells ruth about his drive and it starts raining and a flock of flamingos

[55:09] shows up in their pool this is one of those one of those weird animal things amanda and george

[55:14] they dance together it's very weird don't act like you're too good for weird animal things

[55:20] look if you yeah that's the thing i want this movie to be weirder i want it to be stalker i want

[55:25] it to be black moon i want it to be a weird movie i like weird movies i don't like these movies that

[55:30] are kind of half-assed weird you know i do like that la just said they dance together instead of

[55:34] julia roberts picks out of a record and plays baby when we're grinding or whatever yeah that's true

[55:41] she does it's called um what's the name of that song i wrote in my notes hold on and does a dance

[55:46] that i you know is pointedly bad like you know clearly she's meant to be like bad it's not julia

[55:53] roberts dancing it's like this character how she would dance yes uh it's uh too close by next that's

[56:00] the song yeah it's all about it's all about grinding and being hard and julia roberts is i

[56:04] mean it reminds me of coming through it reminds me of julia roberts and george cluny's dance in um

[56:09] vacation wedding what was that called welcome to hana aloha to you what was

[56:13] uh take it to paradise that's what it was to get there they're deliberately dancing bad and i'm like

[56:19] these are the characters dancing i like that but it's this weird there's this weird moment where

[56:23] they start dancing together and it's like the movie wants us to think that they are about to

[56:27] make out which makes no sense it's not how yes humans interact and but also maybe it's that julia

[56:33] roberts thinks that but maher shali does not think that like maybe it's an inter-character

[56:37] miscommunication i don't know but anyway it doesn't happen because i think they're just

[56:41] scared and you know they're there and they're both hot people so i guess like for a moment it

[56:47] seems like maybe it would happen you know i don't know george is george is sad he's like i'm worried

[56:52] about my wife and that's when the high pitch noise comes back and the power goes out uh-oh

[56:57] that night rose cannot sleep she is too obsessed with thinking about a joke about a flood that she

[57:02] heard on an episode of west wing and she says it's more of a parable it's not really it's

[57:07] told to me as a joke it's never been told to be horrible maybe but uh the i i got that i got that

[57:13] i got that story several times in my church uh growing up that would that would come up in

[57:19] sermons this is the one where the guy is told it was in the joke section of the sermon right it

[57:24] was the fun part yeah it was jokes and japes the japes of course are you know the the minister

[57:32] using private information that he knows about the parishioners crowd work huh yeah you know

[57:39] what i'm talking about you're cheating on your wife you know what i mean anyway that kind of

[57:42] thing this guy so it's this it's the old story about the guy hears there's a flood and he decides

[57:49] to pray for god's assistance and then a boat comes by and he goes no no god will help me and

[57:52] then a helicopter comes by and he goes no no god will help me and he dies and god said and he goes

[57:56] why don't you help me and god says i sent you a boat i sent you a helicopter it's only ever been

[58:00] told to me as a joke but maybe that's the maybe because that's the jewish way of telling it is

[58:04] i sent you a boat i sent you a helicopter you know what new i sent you a boat it was it was

[58:11] missing the delivery okay that's that's the news so i sent you a boat but this is also i could be

[58:19] misinterpreting it the same way i think i've talked about how when i was a kid i went i was

[58:23] at a friend's house and there was a stamp a knitted sampler uh or embroidered sampler in

[58:27] their bathroom with the serenity prayer which i misread as a joke where it was let me where it's

[58:33] like let me have the have the what the the strength to change what i can and the and the understanding

[58:37] to what the patients get to accept the things i cannot change and the wisdom to tell the difference

[58:43] and the wisdom to tell the difference that's how i read it with that kind of delivery so it's like

[58:47] oh that's a joke uh anyway so maybe i'm getting it wrong anyway the point is she says she's done

[58:51] with waiting the next morning she is missing but they can't worry about that archie is spitting

[58:56] blood and he can't stop pulling his own teeth out of his mouth he just will not stop it's the

[59:00] new fad that's sweeping the nation i gotta say guys these young people with their screens and

[59:05] their removable teeth what is this what does this exist sense they're gonna swallow tied pods and

[59:10] they pull their teeth out maybe maybe i'm a wimp guys it's the tooth pull challenge maybe your wimps

[59:16] do yes after i yank out the first tooth i'd be like fuck this i'm gonna leave the rest in yes

[59:22] very much so yeah and they're yelling at him stop he's like once you pop you can't stop

[59:28] once you pop a tooth you can't stop popping teeth yeah uh so it's it is very funny that

[59:32] he just does not stop pulling his teeth out and then almost like he's in a daze or a trance

[59:36] and then afterwards he goes my teeth and it's like yeah no shit dude you're the one who pulled

[59:39] them out of your mouth yeah anyway we're at we're at part five the last one they've run out of names

[59:46] for the parts that are referring to things just the last part uh i gotta say the last person

[59:52] they mean the last person it's a reference to the the final episode finale oh that's right titled

[59:57] that i forgot the title of the friends episode is the last

[1:00:00] one that'll make no but also as a viewer it's comfort I mean like you know that

[1:00:04] it's a movie so you're like okay cool like the movie's almost so what if it's

[1:00:09] called part five the last one and then something happened as a part six more to

[1:00:13] come George and Clay they're gonna take Archie to Danny's house the survivalist

[1:00:33] Kevin Bacon to see if he stockpiled any medicine it's as good a plan as any and

[1:00:37] George promises Ruth we'll be back in one hour set a timer we'll be back in

[1:00:41] one hour Amanda and Ruth go to look for Rose they go to the shed but she's not

[1:00:44] there they have an argument which turns into a heart-to-heart Julie Roberts

[1:00:48] gives her Oscar bait speech about how modern life is all but everyone's

[1:00:51] pretending things are okay when they're not okay and I do need people and etc now

[1:00:56] we're back to intercutting between the storylines this is what happens

[1:00:58] storyline a George and Clay go to Danny's door he meets them with a

[1:01:02] shotgun and he says oh Archie's probably sick because of that microwave beam

[1:01:05] weapon it's like the one they used in Cuba a few years back I remember that

[1:01:08] story I was like okay I remember that Danny thinks there's been a war he

[1:01:11] refuses to help them it's time for everyone to look out for their own he

[1:01:14] tells them go to the Thorne's house because they have a bunker basement and

[1:01:17] I was like Jesse Thorne yeah maximum fun he has a bunker he didn't tell me he's a

[1:01:22] bunker baby he's a billion-dollar bunker baby eventually George and Danny they

[1:01:30] get so mad they pull guns on each other and Clay gets between them in a

[1:01:34] masterful stroke of verbal masculine politics jiu-jitsu leverages his

[1:01:41] beta-cuckness into begging Danny for help and saying look I don't know

[1:01:45] anything I don't know how to do anything you do I'm just any and you say you got

[1:01:50] to do what you need to do for your family that's what I'm doing save my son

[1:01:52] I can't do it and he also offers him $1,000 in cash and Archie gives they give

[1:01:56] Archie some pills and Clay shows Danny the leaflet and Danny goes oh yeah I had

[1:02:01] a friend in San Diego before the radios went out he told me they saw similar

[1:02:04] leaflets there but in an Asian language maybe our enemies have teamed up against

[1:02:09] us bum bum bum story B Amanda and Ruth encounter a big herd of deer it's a

[1:02:14] stare-down the deer staring at Ruth Ruth staring at the deer this goes on for a

[1:02:18] long it's a regular ring to these CGI deer are just staring at Ruth finally

[1:02:23] Amanda runs over yelling and to get them to go away and Ruth yells and the deer

[1:02:27] go away and Ruth goes I think the animals are trying to warn us about

[1:02:30] something it's like what would give you that impression I don't understand and

[1:02:34] they see Rosa spike tracks you know how they say the animals just as scared of

[1:02:39] you as you are of that it will also the animal is just as scared of the end of

[1:02:44] the world the exact opposite the animal is not scared of the end of the world

[1:02:48] because it has it doesn't care about human civilization it's better for the

[1:02:51] animals if human civilization falls true but apparently some of them we got got

[1:02:55] all nukes down down south or something yeah what about that it's not like the

[1:02:59] deer again living the deer like the text messages aren't going through what

[1:03:02] happened to my dear friends in the south the human civilization falls they're not

[1:03:07] gonna be able to live in all the cool zoos anymore

[1:03:10] they won't get hunted I mean methodically the animals that are screwed

[1:03:15] if human civilization falls are that are the collaborate collaborators chickens

[1:03:19] cows goats sheep the animals that and dogs their collaborators I mean they get

[1:03:25] eaten they made it they made a deal with humans they said this is the way we

[1:03:32] survive our species we there's so many more of us than there would be in the

[1:03:36] wild but every some of us have to get eaten every now and then dogs are the

[1:03:39] collaborators we're like I'm selling out animals I work with humans now I'm an

[1:03:44] official member of the family like I'm a sympathizer yeah dogs are collaborators

[1:03:48] okay anyway I don't know the number of wild dogs around I think they'll do

[1:03:51] they'll do fine too once we're gone I mean they'll revert back pretty well I

[1:03:55] mean the dogs will go back to the other animals and be like I was always working

[1:03:58] to sabotage the humans I let them call me their fur baby it was a long game

[1:04:10] anyway bring allow me back in so George tells clay they got to get to this

[1:04:15] bunker because what's happening reminds him of a three-stage plan that the

[1:04:20] military designed is the most cost-effective cheapest way to topple

[1:04:23] government number one isolation step one isolate them step two synchronized

[1:04:28] chaos which is a microwave microwave them drop leaflets confuse them step

[1:04:33] three coup d'etat and civil war that way the target it which is already so

[1:04:38] divided does most of the work for you and that's when in the woods Ruth's one

[1:04:42] hour alarm goes off George stills him back Amanda and Ruth look over to the

[1:04:46] New York City skyline and see explosion clouds possibly a mushroom cloud but I

[1:04:50] don't think it is because the buildings are not vaporized yeah and they hear and

[1:04:53] they hear gunfire this is two days I think if I'm understanding the timeline

[1:04:57] after the Wi-Fi and the power went out within two days New York has fallen into

[1:05:01] civil war anarchy sporadic gunfire that I don't believe I think what had

[1:05:06] happened was a disgraced government official knees you accidentally shot to

[1:05:10] Kashi whilst trying to shoot Akira and instead Akira just huge explosion yes

[1:05:15] Empire etc etc what happened if we saw a big Akira power bubble engulfed the

[1:05:21] city I would say I understand what's happening yes that could very well this

[1:05:24] rule and what an amazing moment in that story what an amazing moment that story

[1:05:29] it's such a hinge point from volume 3 to volume 4 like at the way split up in the

[1:05:34] dark horse volumes like it's what a beautiful thing like and the just page

[1:05:38] after page of buildings falling over Oh beautifully done great cats are here no

[1:05:42] and whatever assistance he uses if he has any I assume he has some but uh we

[1:05:47] have a legion of them I'm sure no would lead like angels that are really easy to

[1:05:50] kill Legion mm-hmm yeah it's a professor Xavier's son he's got a bunch of dudes

[1:05:56] living in his head we got to talk about Akira and Dan got Dan's Dan looking it

[1:06:03] up on his phone I'm pointedly not paying attention anymore no I like Ellie I don't

[1:06:10] think you can blame New York getting bombed on the the breakdown of New York

[1:06:17] Society I don't think you can be like oh wouldn't fall into this so quickly it

[1:06:23] like it's getting like that bomb is clearly a bomb not like because of the

[1:06:29] breakdown of society who's bombing if you're trying to take over the

[1:06:32] government New York is not the place to attack DC is the place to attack New

[1:06:36] York why would you go there why would you bother uh I mean we don't know we

[1:06:43] don't know it's possible that it's possible what degree it's possible

[1:06:46] George's explanation is just a made-up explanation yeah you would not be

[1:06:50] nuking New York because you want that financial infrastructure you want to

[1:06:53] take control of it you want to destroy it I don't think anyone who is you know

[1:06:59] on the non New York side of of the Civil War cares so much what happens it's the

[1:07:06] difference between a civil war and a coup d'etat is the thing and the movie

[1:07:10] treats them as if they are the same thing I know but I think that no we're

[1:07:13] not to take any of the explanations for what's happening as the final

[1:07:18] explanation I don't think I think that there's one that like fits things to a

[1:07:23] degree but we also don't know whether that bomb is coming from inside the

[1:07:27] house or outside the house like we don't know whether it really is like one

[1:07:33] foreign power working and like putting out pamphlets that implicate other

[1:07:38] foreign power to can you know continue to confuse people or it really is those

[1:07:42] people working together I think that that's all deliberately left maybe and

[1:07:48] it's all about like seeding you know then I feel like the movie is is doing

[1:07:53] itself a disservice by providing an explanation that does fit all the clues

[1:07:58] pretty much that yeah but even if it fits the clues we don't know how it's

[1:08:01] being implicated implemented you know this could be part of the confusion from

[1:08:06] watching movies maybe it's I become trained to if I see clues and someone

[1:08:10] gives an explanation that fits the clues then I go oh that's probably the

[1:08:13] explanation I'm saying I'm saying that like even if that's the explanation for

[1:08:17] what's behind it we don't know precisely what how this fits into that

[1:08:22] necessarily like like I think that I guess it does not matter it does not it

[1:08:30] doesn't like make literal sense yeah it fits the thematic rule of they are

[1:08:36] trying to use the metaphor of civilization crumbling well I guess

[1:08:40] that's all it feels like if if the metaphor seems to me to be saying we are

[1:08:45] so we are this is how fragile our the world we live in is which I don't think

[1:08:51] it's doing a great job of selling that point but it doesn't matter the movies

[1:08:54] almost over let's just get there rude yeah she's broken into the thorns house

[1:08:57] she has eaten all of their junk food in a hilarious moment where she's just

[1:09:00] sitting at the table eating junk food she goes down into their bunker a

[1:09:03] computer alert system set test says that the White House is under attack and high

[1:09:07] radiation levels have been detected she doesn't notice that all she sees is

[1:09:11] there's a huge TV a huge DVD collection guess what they have the entire run of

[1:09:16] friends pops in the friends finale and we cut to credits as the friends theme

[1:09:20] song plays because you know what they won't be there for you

[1:09:26] it's very ironic it's incredibly ironic well what's true also is no but what is

[1:09:31] actually true is no one told you life was gonna be this way that's true

[1:09:36] jobs that their jobs are jokes and now they're broke and their love life is the

[1:09:40] same as doa is everything else in the world yeah I mean George's love life is

[1:09:44] very doa because he thinks his wife has died in a plane crash and where Ruth is

[1:09:50] Rose is supposed to know Rose not Ruth Rose is supposed to be I think early on

[1:09:56] she's coded as this kid all she cares about is TV

[1:10:00] she's never going to survive. She's done for, but now she's the only one who's going to survive,

[1:10:06] potentially. Her lust for television has brought her, or hunger for television,

[1:10:11] has brought her to the one safe place. Maybe that's the future. And what I would like is,

[1:10:16] you know what? Maybe this is what's wrong. Maybe this is in my mind, it's in the shadow

[1:10:22] of the play Mr. Burns, this really amazing play where there's been some kind of ambiguous

[1:10:28] catastrophe, and society recreates itself around half-remembered episodes of The Simpsons,

[1:10:33] and it feels like this movie is kind of fainting towards that kind of thing, but it's not as good

[1:10:39] as that play. I mean, I think it's doing a very, I mean, like, it's ending on that note, maybe,

[1:10:47] if like, you know, I think, I mean, I just took it kind of as like a black joke at the end of the

[1:10:53] Shaggy Dog story of like... That's possible. You know, this is... But if that's, but if that's,

[1:10:57] I mean, it's one of those things... Found her ultimate shutting out of the world.

[1:11:01] If it's a joke at the end of a Shaggy Dog story, the story was not, for me, was not gripping enough,

[1:11:06] and the joke was not funny enough to justify an over two-hour movie. Yeah, my life as a Shaggy

[1:11:12] Dog. Now, the Shaggy Dog, DA, now that's a Shaggy Dog story. That's a Shaggy Dog story,

[1:11:16] it doesn't get shaggier than that. When he's the dog, when he's the DA, it doesn't, it's not so

[1:11:21] shaggy. Yeah, yeah. We're gonna love on a leash. Legal on a leash, law on a leash, yeah, Shaggy.

[1:11:28] So, let's go to final judgments. Guys, just real quick, there wasn't any bloops or anything in the

[1:11:34] post-credits, because I didn't know, I turned it off immediately. I didn't see any bloops,

[1:11:38] or Samuel L. Jackson didn't show up and tell Rose to join the Friends initiative.

[1:11:44] Yeah. Um, yeah, is this a good, bad movie, a bad, bad movie, or a movie you kind of liked?

[1:11:54] I think I've tipped my hand a little bit already. Like, I basically, I give this a mixed positive.

[1:12:01] You know, like, I give, like, on Letterboxd, I gave this three stars, which is the, like,

[1:12:07] you know, we all have different ways we interpret the star system. That seems fair,

[1:12:10] that seems fair, yeah. A three star to me is, like, kind of, like, the lowest something is

[1:12:15] that I might say to someone. Yeah, you know, you could, yeah, yeah, why don't you watch it?

[1:12:20] Like, if you're interested, you know, check it out. You know, like, it's a mild positive for me,

[1:12:24] where I'm like, not everything works, but... I mean, the power's out, and the Wi-Fi and the cable.

[1:12:33] But I did, I did take it, you know, like, like I said, when I take something not sort of, like,

[1:12:41] 100%, like, as, like, realism on a story level, because it's so clearly trying to just

[1:12:50] more evoke feelings and, like, also say something, even though I agree, like,

[1:12:55] what it's saying is kind of muddled. I'm more forgiving about all that stuff. Like,

[1:13:00] I wasn't, like, hung up on a lot of details. I liked the performances. I think it has some,

[1:13:06] like, genuinely, like, interesting images in it. And unfortunately, it gets, like,

[1:13:10] lost and kind of a wash of, like, like we said, it's all crescendos, where, like,

[1:13:14] there should be a couple of, like, key images that really pop out.

[1:13:19] That's a very good way to put it. But I also kind of like that it ends on this, this note of,

[1:13:25] like, nothing, nothing is resolved at the end. Like, our characters are all scattered. They're

[1:13:31] all sort of at the suspension point in the story, and you don't know where things could go. And

[1:13:36] if you're a cynic, like, this is, like, truly the end. If you want to look for signs of hope,

[1:13:42] like, I think that the movie shows, like, the characters growing closer over time as society

[1:13:49] falls apart. And, like, there is, like, Clay is able to appeal to this man's better nature,

[1:13:55] you know, plus some money. But, like, he's able to...

[1:13:58] Like, Amanda and Ruth find common ground when they've been in each other's throats all movie.

[1:14:02] Yeah, like, I think that, yeah, I think it's constructed so that you can find hope if you're

[1:14:07] looking for it. And I sort of enjoyed that. I don't think, I agree that, like, in some ways,

[1:14:12] I've seen it before, but, you know, mild kind of liked.

[1:14:15] I think this movie, it's hard for me to be fair with it, because I've seen this story so many

[1:14:21] times. And this is a kind of story I usually really like. And we have a question coming up

[1:14:26] that I'm actually going to cannibalize some of my answer for that. I like society falling apart

[1:14:30] stories. I like people being isolated and not knowing what's going on stories. And I feel like

[1:14:34] it's unfair to this movie that I've seen it done so much better in other forms and even other

[1:14:40] movies. And so, to be honest, this movie, and this is maybe an inflammatory way for me to put it,

[1:14:45] this is like the Obama's version of this movie. It reminds me of the presidency of Barack Obama,

[1:14:50] where it was like, I want to like this a lot. On paper, I should like this, but I'm not getting

[1:14:56] as much as what I want from it. And in the end, it wants to have it both. It wants to be both

[1:15:00] a chilling indictment and a sign of hope, in a way. Yeah, I can't. It's in its muddle. It's

[1:15:07] in the same way that I find a lot of Obama related stuff muddled, to be honest, where he's like,

[1:15:16] reach for the stars. But realistically, we've got to compromise everybody. It's like, hold on a

[1:15:21] minute. Come on. But the I think the movie suffers from just doing something that I've seen many

[1:15:27] times before. It's not necessarily a bad movie, but it is. There's it's there was nothing in it.

[1:15:33] There was no like you're saying there was no like kind of striking key image. There was no moment

[1:15:38] of real scaring or tension or chilling or fear. There was no it wasn't disquieting in the way

[1:15:44] that I hoped it would be in that. You know, I've seen movies that are quietly eerie where you're

[1:15:50] like, I can't I can't really get my my bearings. This is really throwing me off. And this movie is

[1:15:55] not that. And so I just was I was just disappointed. You know, it's not that I'm mad,

[1:15:59] but I'm disappointed if I was rating it. This is like a two and a half star movie for me,

[1:16:03] which, again, is not the worst it could be. But yes, I'm not going to go out of my way to

[1:16:07] recommend it because there's better versions of it, you know. So on our scale, I guess it's bad,

[1:16:12] bad. But it's not as bad as it bad, bad could be. You know, I wasn't like, oh, oh, this movie. But

[1:16:18] I was like, all right, so that's all there is. OK, I did. I asked my mother, is that all there

[1:16:22] is? Yeah, I looked at a house on fire and I said, is that all there is to a fire? I want to see what

[1:16:26] I want to see what Stewart's face is. He's making me fucking cry. No, I'm just Ellie.

[1:16:30] Just what we put a fucking couple of nickels in me won't stop. Yeah, I was at a certain point,

[1:16:36] Stuart. I was literally filibustering to make you have to wait longer for your judgment.

[1:16:40] Like eyes continuing to glaze over. Yeah, I mean, I think I'm going to I'm going to air

[1:16:47] kind of closer to Elliot. I'm going to say it's a bad, bad that I don't think it I think

[1:16:52] this is a movie that has plenty of it has it has some cool bits and cool moments and things that I

[1:17:00] liked. But I feel like similar like similar to what I talked about when we were talking about

[1:17:05] the camera, like the camera movements and camera tricks, is that it feels like it's a collection

[1:17:10] of ideas that don't necessarily that don't actually have a clear like it's not tight enough.

[1:17:18] It doesn't have a clear. And that that isn't to say that it's like terrible. I just don't think it

[1:17:25] like it. It's not really saying much. It feels in some ways it kind of remind me of it remind

[1:17:31] me a little bit of ex machina, the Alec Alex Garland movie, where I'm like, there's a lot

[1:17:36] of things that I like in this. But I think as a whole, it's not saying anything particularly new.

[1:17:42] And it doesn't feel like it's like it like it's somebody like playing it, making a movie.

[1:17:50] It's a shitty way to say it. I love ex machina. Well, I don't like does something need to say

[1:17:56] something new specifically? Like I think I think ex machina has a kind of a clear message in a way

[1:18:02] that this movie does not. Well, ex machina, I think I think for me, the the like thriller elements

[1:18:09] didn't work as much because I feel like I didn't like it. I don't know. I don't I don't want to

[1:18:15] get in the weeds. It's hard for a movie to have an ambiguous quality to it. But then ex machina,

[1:18:22] I think you as an audience is supposed to wonder what's the is this robot really into him? Is he

[1:18:27] reading too much? Is there or is it programmed to do this? But it never really I don't think

[1:18:32] it ever fully achieves that. But like Alex Garland did Annihilation 2, right? Which which is great.

[1:18:38] I think does such a great job of creating that kind of the kind of eeriness that this movie

[1:18:42] is looking for and the kind of in the kind of thing where every now and then there's something

[1:18:47] there's an image or something that is very frightening and surprising. Like I feel like

[1:18:50] that's a movie that it's not the same kind of story exactly, but it accomplishes the tone.

[1:18:54] This one's kind of going for it in a much in a cleaner way. The same way men is the same way

[1:18:59] until it gets becomes the craziest thing you've ever seen. Yeah, I haven't seen I haven't seen

[1:19:05] men yet because I've been too busy watching the Minions movies with my children. I say you want

[1:19:09] to watch a man and they go Minions. Yeah, of course. I feel like I feel like your kids would

[1:19:13] at least like the last 10 minutes of I love the idea of like Elliot presents the DVD of men,

[1:19:21] but he's just taped like a little piece of paper says ions at the end. So they think it's

[1:19:27] misspelled Minions and then watches man with Sammy and Gabriel and they get to the end of that movie,

[1:19:35] which I will not spoil for Elliot. You'll see. Oh, I have to watch it. So is it

[1:19:42] would you describe it as cuckoo crazy? Yeah. I mean, I guess they are the same

[1:19:47] and that at the end at the end of what happens it goes banana.

[1:19:52] Yeah, I should have known when that movie was rated CC for cuckoo crazy that I should have seen.

[1:20:00] Mm-hmm. I think this movie if I'm gonna say one last thing about leave the world behind

[1:20:03] It's not so much as it's bad as I think it's unsuccessful and what it's trying. Yeah for me at least

[1:20:08] Yeah, I I think I can even agree with that even though I basically

[1:20:13] Enjoy the vibes as as they say

[1:20:19] Hey, this is Andrew Reich the host of dead pilot society the show that takes comedy pilots that were sold and developed at networks and

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[1:21:41] Still listening. That was a long talk about leave the world behind. Yeah, I hope you are. Hey, how are you? Anyway?

[1:21:53] Wait, I do it. Wait, I do want to see what I think which is

[1:22:01] Sorry, I say the problem that the a lot of people the internet have that movie was the ambiguity of the ending which just is

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[1:26:00] We have some things to promote to this episode is not brought to you by these things

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[1:26:15] We've been doing flop TV the television show version of the flop house

[1:26:19] It's a compact one-hour show where you get one PowerPoint presentation or presentation of some other kinds

[1:26:25] You get to we talk about a movie and we answer questions from the audience this Saturday. It's our season finale

[1:26:31] Which means we're seeing

[1:26:33] Nuki that's right. Nuki the second worst movie I've ever watched. I don't think Dan Stewart have seen it before and

[1:26:40] I'm gonna make them watch it

[1:26:42] So go to the flop house dot simple tics comm and then you can join us on January 6th Saturday

[1:26:48] January 6th at 9 p.m. Eastern 6 p.m. Pacific to watch us talk about having watched Nuki

[1:26:56] That's our last episode of this season, but we've had such a great response. We've been enjoying it so much

[1:27:00] I think we are gonna do another season later next year

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[1:27:05] but we hope you've been enjoying it if you miss the episodes up till now get a season pass and

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[1:27:34] It's essentially the most important thing to happen in 2024 go to

[1:27:39] www.flophousepodcast.com

[1:27:41] Slash events, that's flop house podcast comm slash events and you'll see that January 24th. We're in Vancouver

[1:27:47] We're gonna talk about Cobra January 25th. We're in Portland. We're gonna talk about cool as ice January 26th

[1:27:53] We're gonna be in San Francisco as part of San Francisco sketch fest and we're gonna talk about Julie and January 28th

[1:27:58] We'll be in Los Angeles talking about spawn

[1:28:00] So that's the errors tour for cities for dates go to flop house podcast

[1:28:06] Dot-com slash events to see us in

[1:28:08] Human person if you are near Vancouver Portland, San Francisco or Los Angeles to be honest with modern-day plane flights

[1:28:14] You're near any of those cities. Just take a plane there. You can do it. Yeah, just just take a plane

[1:28:20] Just take a plane. I have one last thing. I want to mention the the final issue of my

[1:28:25] Comic mini-series Disney villains Hades issue. Number five is coming out right after Christmas. That's from dynamite comics

[1:28:31] Please pick it up get the rest of the series if you don't have it

[1:28:34] It's a five-issue miniseries. That is a mythological funny heist. That's exciting and the hilarious Hades

[1:28:40] the villain from the Disney movie Hercules has

[1:28:43] Collected a group of mythological oddballs to steal the Golden Fleece. I think you'll enjoy it and soon

[1:28:49] I think I'll be able to announce some other comic book stuff that I'm doing

[1:28:52] It'll be fun stuff that I think you'll like but but until then pick up Disney villains Hades number five right after Christmas in comic book stores

[1:29:01] cool

[1:29:03] Okay, let's get back into the show. What do we do next Dan?

[1:29:06] Next on the show. We do some letters from listeners listeners

[1:29:11] like you

[1:29:13] This first letter

[1:29:15] is from

[1:29:17] Alex last name withheld

[1:29:20] Who writes Alex Garland?

[1:29:22] Stewart why don't you like ex machina Dan? Thanks for like

[1:29:25] Your other movies

[1:29:28] Dearest beaches

[1:29:30] I've been looking for a chance to introduce my wife to the Flophouse and saw the Battlefield Earth live show is a wonderful opportunity

[1:29:38] Previously the most communication we had regarding the podcast has been me mentioning some obscure facts about a bad movie

[1:29:44] We would be watching and her asking. Did you learn that from your movie boys?

[1:29:49] one evening

[1:29:55] Much better name. Oh boy. We could have gotten into the ground

[1:30:00] There's nobody called movie boy. It's now it's equally endearing and belittling in a way that is appropriate

[1:30:08] One and we can watch good movies sometimes too. Yeah

[1:30:12] One evening she was working on her laptop and I figured the show would be great to put on in the background a few minutes

[1:30:18] Into the presentations she commented without looking up. Wow. That one has a nasally voice. It was not the flopper one would assume. Oh

[1:30:26] So

[1:30:28] Me so I don't that leaves two. Yeah, I

[1:30:33] Will find out yeah, right right and let's do a fucking Twitter poll

[1:30:39] later

[1:30:40] I mean very nasally today later during the synopsis

[1:30:44] I peeked over to see how she was enjoying it and sure enough. She had on a pair of noise-canceling headphones

[1:30:50] Overall a great first impression. Yeah, I'm not sure at what point she decided this wasn't for her

[1:30:55] But I have a slight suspicion Stu's Lord up regarding Warhammer was a bit too similar to when I annoy her with impromptu D&D lore

[1:31:03] Probably not. I was probably thought that part was really cool. And then when it was over she's like

[1:31:11] Ruminate and meditate on what I've just heard

[1:31:13] I was thinking though how the show could have captured her attention

[1:31:17] Maybe if the flop house solely covered J horror or switched entirely to a podcast about comfy core cooking shows

[1:31:23] I know that I personally can be sucked into watching any film based on the premise of the 10% of your brain myth

[1:31:30] I eager little list is this is and Lucy's

[1:31:34] Yes, what trope or topic when you see it in a film grabs your attention regardless of how good or bad it may seem

[1:31:41] otherwise

[1:31:42] Alex last name withheld ps2

[1:31:45] What should my next D&D character be?

[1:31:48] Well, thanks Alex for the criticism and notes the demographic report on how we're not attracting I mean wife's interest

[1:31:56] I think that I mean she has every right to cancel our noise

[1:31:59] She does not and she does not maybe you know, don't spray spring the battlefield earth show on her while she's doing something else

[1:32:08] But yeah, yeah, maybe I'll be boring my lower dump on the prime marks of Warhammer 40,000

[1:32:14] She put on the noise-canceling headphones similar to the way that Lord Skrull of the clan pestilence of the

[1:32:21] Skaven tore out his own eyes upon gazing at her glitch because he would never see a more divine being sure

[1:32:29] possible

[1:32:32] Who should his who should his is next for me

[1:32:35] I would say I'm a big fan of human paladins that are not the like

[1:32:39] Woodsy one, but the most normal like a boring paladin

[1:32:43] I think playing a character that has like a rigid moral code and is good is is fun to play like a lawful

[1:32:50] Good guy, that's what you should do lawful. Good paladin

[1:32:53] preferably human

[1:32:55] as for these like

[1:32:57] tropes or whatnot that always lure us and I'm gonna

[1:33:01] Name a couple things that are I mean pretty much like sub genres

[1:33:05] but also can be elements and I like I'm always sucked in by a heist love a heist and

[1:33:13] I like a

[1:33:15] It all happened in one crazy night movie

[1:33:19] mmm, I

[1:33:21] Like movies where there's twins, you know when there's like a twist that are twins

[1:33:27] Yeah

[1:33:28] like

[1:33:30] Sure, oh, yeah

[1:33:32] See his eyes light up. Yeah, they're like femme fatale where they're basically twins. Yeah. Yeah, give me that shit

[1:33:38] I was until this episode I was gonna say

[1:33:43] Post-apocalyptic stuff, but it realizes I realized I like it afterwards

[1:33:46] I'm a sucker for any movie where someone is walking through the ruins of a famous building or

[1:33:50] And they don't know what it is. Like, you know

[1:33:54] If you're watching

[1:33:55] Like Logan's run that movie starts really working for me when they get to Congress and they're like walking through the ruins of Congress

[1:34:01] And they're like, we don't know what this is. I don't know what this stuff is

[1:34:03] I really like that for some reason but maybe this needed more of that

[1:34:06] Maybe I want to see the sequel to this that takes place like a like 500 years in the future

[1:34:11] I'm also a sucker whenever something can

[1:34:14] like build up a villain or group of villains really well like

[1:34:19] If you can effectively make a villain scary without us actually seeing them

[1:34:23] I think that's awesome thumbs up to that shit. I

[1:34:27] specifically like

[1:34:29] If heist is too broad I was thinking about like something that within the heist that's always fun if they're assembling a team

[1:34:36] I'm on board

[1:34:38] Yeah, you love that. Yeah, even if it's not done that well, like there's still a little bit of zazz

[1:34:42] I don't I think I like I like seeing fistfights or physical fights in a narrow space

[1:34:48] Yeah, don't have a lot of room to move around in that's something I'll watch any movie that where they do that

[1:34:52] You know

[1:34:54] from Russia with love

[1:34:56] old boy

[1:35:00] Do you say from Russia with love? Yeah. Yeah

[1:35:04] King of Prussia

[1:35:08] This next letters from Jeff lasting without who writes peaches, why do a certain why do

[1:35:18] Why do

[1:35:20] Why totally certain a film franchise

[1:35:25] Yes

[1:35:26] Now why do only certain film franchises get deep dives into the lives of their secondary and minor characters?

[1:35:32] Why do only some stories get spinoffs and media tie-in novels see even the playing field a bit

[1:35:38] I propose that some industrious person published a book of short stories titled, you know, such lovely people

[1:35:44] This will be a tales from the Mos Eisley Cantina ask book of short stories

[1:35:49] Though the book will feature the characters seen at Nick and Nora's Christmas Eve party man during the thin man. Yes

[1:35:56] Think about it a short story about the guy who called San Francisco to cry to his mom

[1:36:01] What's his deal to that boxer ever become a contender? Well, that's the joke of that box

[1:36:06] He gets knocked out instantly all these questions and more we fleshed out stories ranging from 30 to 50 pages each Wow

[1:36:15] Who would want to read this theater article book, I know I sort of would Jeff well

[1:36:20] I'm glad that our listeners are writing in book ideas for Dan

[1:36:24] I

[1:36:26] Mean the the straightforward answer as to why some franchises get them and some don't is money

[1:36:33] They think they'll be able to make money off of those

[1:36:36] yeah, that's I do like the idea of taking that a taking just a party scene from from any movie that has sequels and

[1:36:44] Doing those characters. I mean the difference for the Mos Eisley Cantina is partly that the characters in that in that book are aliens

[1:36:51] Yeah, whereas the characters in the world then man are just kind of like Damon Runyon style

[1:36:57] You know aliens aliens

[1:37:00] But that's all it blight you have to read between the lines. So that they're

[1:37:05] Keeps the guy the woman who's trying to stop the guy from popping all the balloons for the cigarette or whatever it is that he

[1:37:10] Like I love that scene, you know, I love you Nick because you know such lovely people and then the next scene is great, too

[1:37:18] When he's he's using it over the BB gun and he shatters the window and he pretends to fall asleep

[1:37:26] Yeah, I mean, you know, I mainly just read that so we can all reminisce so let's

[1:37:31] Favorite moment in The Thin Man. Yeah

[1:37:35] Is that when he like when he uses those spheres to drill holes in people's heads?

[1:37:40] Yeah, I believe you're thinking of the tall man. Oh, yeah, I was

[1:37:44] Yeah

[1:37:47] Let's move on

[1:37:49] to

[1:37:51] Recommendations of movies that we liked a little bit better than say this one

[1:37:57] Hell, yeah, I finally speaking of things that are on Netflix

[1:38:01] Forget leave the world behind. I finally got around to watching May December the new Todd Haynes movie

[1:38:07] Hey, you know, you know who's good at acting that

[1:38:10] Julianne Moore that that Natalie Portman

[1:38:15] Good yeah, if I can do it from Riverdale

[1:38:20] The way I like holds his body when he gets upset he holds his body like he's a little teenage boy

[1:38:26] I mean, yeah, it's a movie that I

[1:38:33] You know, I couldn't imagine it not upsetting

[1:38:37] You if you were to watch it a theoretical person

[1:38:40] I'm talking to like like it is it has upsetting elements and you know

[1:38:44] it's up to you to decide whether it's worth watching to you, but it's so

[1:38:48] Wonderfully done like the characters are so good. It's a movie that like

[1:38:54] You know

[1:38:56] It's about delving into questions and finally only more questions and it's funny and it's you know, it's

[1:39:02] There's like some

[1:39:04] Distancing techniques that are using it only at like certain points that kind of like underline the encrosion of this sort of

[1:39:13] You know tabloid

[1:39:16] Movie version of their story into their life. I don't know. I can't I'm not talking very

[1:39:22] well, because I'm I'm I'm overwhelmed with

[1:39:26] thoughts and also Benadryl so

[1:39:28] I love like like you said like the score is like a fucking 90s

[1:39:34] Like movie of the week type. Yeah score. It's so great. Oh, man, that's a great movie

[1:39:40] I got a that's I think that's next on the list after we after my wife and I finished watching the holdovers

[1:39:45] I think we're gonna watch me December. Yeah, and there's and there's a big old probably prosthetic hog in it. So enjoy

[1:39:52] Yeah, you mentioned that before

[1:39:54] Dudes and dudes. Yeah. Yeah, everybody everybody gonna do that

[1:40:00] Anyone who takes appreciation out of the beauty of the human body, yeah.

[1:40:04] The beauty of prosthetic organs.

[1:40:07] That's a thing. It's an important art.

[1:40:10] Where would movies be?

[1:40:12] Now, I imagine David Cronenberg hears you say prosthetic hog and he goes,

[1:40:16] I can't wait to watch it. And he goes, hmm, I wish it was goopier.

[1:40:21] I thought it was a real hog that was sewed on to someone.

[1:40:24] Yeah.

[1:40:25] That turns into a cannon or something.

[1:40:28] I'm going to recommend, I don't think any of us have recommended this one yet.

[1:40:32] I'm going to recommend Nicole Holofstetter's movie, You Hurt My Feelings,

[1:40:38] starring Julia Louis-Dreyfus and Tobias Menzies.

[1:40:43] You say it as if it's a joke.

[1:40:46] Tobias Menzies.

[1:40:49] Woo-hoo.

[1:40:51] I mean, everybody loves that dude.

[1:40:55] So it's about Julia Louis-Dreyfus plays a mom who is a novelist,

[1:41:01] and she overhears her husband talking shit about her most recent work.

[1:41:07] And the relationship that follows that.

[1:41:13] And it's got a ton of small character performances.

[1:41:17] It's funny and touching and kind of about how both,

[1:41:23] at least for me, about the emphasis that we put on our jobs,

[1:41:28] how it isn't necessarily the most important thing in the world,

[1:41:31] and also how the little lies that we tell each other to kind of get through life.

[1:41:37] And I thought it was really good.

[1:41:39] Right. Well, I don't think we've mentioned this movie yet either.

[1:41:42] I want to recommend Born to Dance from 1936.

[1:41:46] It stars Eleanor Powell and Jimmy Stewart, and Buddy Ebsen is in it.

[1:41:50] And this is one of these movies that it is a musical comedy

[1:41:54] where the plot is almost nonexistent.

[1:41:57] It's so gossamer thin and silly and stupid.

[1:42:00] But it's very funny where Jimmy Stewart and Buddy Ebsen and another guy

[1:42:04] are sailors who are on leave in New York, and they get mixed up with dancers.

[1:42:09] And Eleanor Powell has some great dance routines in it.

[1:42:12] She's a dancer who for some reason I feel like I came too late,

[1:42:15] and her dancing is amazing.

[1:42:17] And Jimmy Stewart is very silly in it.

[1:42:20] I'm really silly in it.

[1:42:23] Yeah, something like that.

[1:42:24] I'm in New York. It's me, Jimmy Stewart.

[1:42:28] Mr. Stewart, you're here. I love this movie. It's so funny.

[1:42:32] I bumped into some dancers in New York.

[1:42:35] And Buddy Ebsen who I think if anyone remembers him now, it's as Jed Clampett.

[1:42:40] But when he was young, he was just an amazingly cool dancer,

[1:42:45] who had this very cool kind of like ease to him.

[1:42:49] And so Born to Dance, if you want to watch something that's just really silly

[1:42:52] and really fun, and there is no substance at all to it for the most part.

[1:42:57] It is just real goofy from one moment to the next.

[1:43:00] The movie ends, and it's like the movie climaxes,

[1:43:03] and it's like did we tie up all the plot threads?

[1:43:06] Who cares? No, we didn't.

[1:43:08] Let's just get to the big dance number. You don't care.

[1:43:10] So that's Born to Dance.

[1:43:12] I looked up Tobias Menzies, and I was like, oh, I've barely seen anything he's been in.

[1:43:17] So I felt better about not knowing why you're so excited about him.

[1:43:20] Oh, man, you should watch things. He's in stuff.

[1:43:23] Yeah, I should watch things.

[1:43:24] He's in some TV. He was in Rome.

[1:43:26] Oh, TV. I should check out some TV.

[1:43:28] You saw Rome, right?

[1:43:29] He was in Game of Thrones. You saw that, right?

[1:43:31] He was in Game of Thrones.

[1:43:32] I watched one season of Game of Thrones. I never watched Rome.

[1:43:36] He was in that great show This Way Up with Sharon Horgan.

[1:43:40] Nope, never saw it.

[1:43:41] Oh, man, and what, Aisling B?

[1:43:44] Man, that's great.

[1:43:45] Look, This Way Up. You should check it out.

[1:43:46] I'll check out his filmography. It's fine.

[1:43:48] I'm just saying.

[1:43:49] He was in the BBC2 miniseries of The Shadow Line.

[1:43:51] I know you saw that, right?

[1:43:53] Yeah, bitch.

[1:43:55] I did see The Night Manager. He was apparently in that.

[1:43:58] Yeah, Night Manager rocks.

[1:44:00] Yeah.

[1:44:01] Okay, well, on that important note about The Night Manager, a public service message.

[1:44:05] I know you saw Pierpont, The Last Hangman, which he apparently was in, right?

[1:44:09] I'm just looking up his Wikipedia right now.

[1:44:12] Hey, if you like us, why don't you go to iTunes, leave us a five-star review.

[1:44:19] If you don't like us five stars, maybe wait and listen to a few more episodes until we wear you down.

[1:44:26] And you're like, oh, I like them five stars now, and then you can leave that review.

[1:44:30] That's a classic relationship strategy.

[1:44:33] If you hate us, I'm not sure why you've gotten to this point in the podcast.

[1:44:37] It seems like you could have just turned it off at any point.

[1:44:40] But still leave us a five-star review.

[1:44:42] I was going to say no more action is needed.

[1:44:45] If you hate us, we've fulfilled the terms of the contract, which was we provided you entertainment for no recompense directly from you.

[1:44:54] Unless, I guess if you're a member who's grown to hate us, I apologize.

[1:44:58] But please continue to give us money.

[1:45:00] I think I've covered all the bases.

[1:45:02] It's what happens with parasocial relationships.

[1:45:04] Familiarity can breed contempt.

[1:45:06] It can.

[1:45:07] It can.

[1:45:08] It can.

[1:45:09] I get it.

[1:45:10] But just stop listening.

[1:45:11] That's fine too.

[1:45:12] But thank you for listening.

[1:45:15] Oh, he saved it.

[1:45:18] He saved it in the end.

[1:45:20] Yeah, I feel like nothing says Dan McCoy to me in some ways more than him saying, please stop listening.

[1:45:24] Thank you for listening.

[1:45:26] Thank you.

[1:45:27] Thank you for your support.

[1:45:29] Look, I can't buy Benadryl without you.

[1:45:32] Thank you for being a member.

[1:45:34] We'll have a member drive again soon.

[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 HowlDotty on the internet.

[1:45:45] 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.

[1:45:52] Also, check out MaximumFun.org.

[1:45:56] As we mentioned, we're part of that network.

[1:45:58] There's other great shows over there.

[1:46:00] I listen to many of them.

[1:46:02] I'm not going to name names because I don't want anyone to feel left out.

[1:46:04] But trust me.

[1:46:06] They can also go to that website to buy Flop House merchandise or buy a Jumbotron personal message.

[1:46:12] You know what?

[1:46:13] We haven't added Jumbotron in a little while.

[1:46:15] If you want to get up on the Jumbotron, you can go to MaximumFun.org slash Jumbotron.

[1:46:21] It's spelled, as you might think, Jumbo like Mrs. Jumbo and Tron like the movie Tron.

[1:46:27] Like Mrs. Tron.

[1:46:28] Jumbotron but not separate words altogether.

[1:46:31] Because in Tron, he gets shrunk down real small.

[1:46:34] But in this case, it's real big.

[1:46:36] It's a big Tron.

[1:46:38] Some kind of a Jumbotron.

[1:46:40] Yeah, exactly.

[1:46:42] I think I've said enough for the Flop House.

[1:46:45] I've been Dan McCoy.

[1:46:47] Hey, it's me, 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, bye.

[1:47:02] I really feel like I'm going to pass out every time I cough, though.

[1:47:06] That's not great.

[1:47:07] That would be wild if it happened in the episode, though, right?

[1:47:10] Yeah.

[1:47:11] So maybe try and set that up.

[1:47:13] If you see me fall out of frame, one of you should call Audrey.

[1:47:17] It'll take me a minute.

[1:47:19] Yeah, I'll assume that you fell out of frame because I made you laugh so hard that you

[1:47:23] zoomed your joad out of that shit.

[1:47:25] If we see Dan's feet flip up, then we know it's because of a hilarious gag.

[1:47:31] Maximum fun.

[1:47:33] A worker-owned network.

[1:47:34] Of artist-owned shows.

[1:47:36] Supported.

[1:47:37] Directly.

[1:47:38] By you.

Ep. #412 - Leave the World Behind

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