FH Mini 52 - Oscars Roundup 2022

[0:00] Oh, hey, it's me, Stuart Wellington of the Flophouse podcast, and you are tuning into

[0:09] a brand new mini episode brought to you by Minnie's Bar.

[0:12] That's a Flophouse mini by Minnie's.

[0:14] And I'm here recording all the way down in Bonita Springs, Florida.

[0:22] That's right.

[0:23] I'm in Florida.

[0:24] That was a Florida man call.

[0:26] Yep.

[0:27] If you're wondering why my audio sounds terrible, it's because I'm recording in a hotel room

[0:31] with my laptop.

[0:33] Joining me as always are my co-host Dan McCoy and Elliot Kalin.

[0:37] Let me hear an ooh ooh from you.

[0:38] Ooh ooh.

[0:39] That's me, Dan.

[0:40] Ooh ooh.

[0:41] Ooh ooh.

[0:42] Perfect.

[0:43] I'm Dan.

[0:44] I'm Elliot.

[0:45] I was about to say I'm Dan.

[0:46] I was about to just repeat whatever Dan said.

[0:48] It's late, guys.

[0:49] Yeah.

[0:50] Now, if you are, if this is the first time you're tuning into the Flophouse, you should

[0:53] delete this episode and start with a different one.

[0:55] But if you are a returning customer, I mean, loosener, I mean, honestly, basically every

[1:03] episode of this show plays better after you've sort of equated yourself with us and have

[1:08] like sort of a fondness, a sort of just sort of you've been beaten down by personalities

[1:13] and tell you who.

[1:15] Yeah, that's that's a fair.

[1:16] Every episode is better when you like us already.

[1:18] Yeah.

[1:19] Give in.

[1:20] You got to love us.

[1:21] Yeah.

[1:22] Much like the dinosaurs, baby.

[1:23] You got to love us.

[1:24] Yeah.

[1:25] You got to love us to point out he's not the mama.

[1:26] You just got to give an interest, your body like the dinosaurs.

[1:29] So we are what they did.

[1:32] That's what they did.

[1:33] Yeah, that's what they did.

[1:34] You missed that episode.

[1:36] We are just hanging out this now.

[1:38] Normally we have watched a bad movie and the episode is us reviewing that bad movie.

[1:44] And tonight, because it's a mini brought to you by minis bar, we are not doing that at

[1:48] all.

[1:49] Instead, we are talking about what is it brought to us by minis bar?

[1:51] I'm curious about.

[1:52] Yeah.

[1:53] Well.

[1:55] The goddamn owners of minis bar is talking right now.

[1:57] That's me.

[1:58] Yes.

[1:59] We're willing to.

[2:00] Yes.

[2:01] And that way.

[2:02] Right.

[2:03] Yes.

[2:04] And that brings you right to your eyeballs.

[2:06] So what I was saying is instead of doing that thing where we watch a bad movie and talk

[2:11] about it, we are talking about a TV program called the Oscars that was on on Sunday.

[2:19] And we're 94th Academy Awards.

[2:21] Thank you.

[2:22] We did the Oscars on Sunday.

[2:25] You know what, Stu?

[2:26] You did.

[2:27] You did it.

[2:28] You did it.

[2:29] You kept through the thicket of interruptions and you made your way just through an introduction

[2:35] cove into, you know, the interior of the island.

[2:40] I'm going to pull back the curtain like we're going backstage on the Oscars.

[2:44] And what had happened was we sat down and Dan and Elliot are like, so how do you want

[2:48] to do this?

[2:49] And I'm like, fuck it.

[2:50] I'm just going to do it.

[2:51] Ran right into the room and started.

[2:52] Yeah.

[2:53] Yeah.

[2:54] Well, the real Leroy Jenkins just ran right in.

[2:55] Yeah.

[2:56] Who?

[2:57] Yeah.

[2:58] Oh, boy.

[2:59] Well, you've got you've got.

[3:00] I just like the idea that that I would be less familiar with Leroy Jenkins than my two

[3:05] super cool gaming buddies.

[3:07] It sounds like Stu's got to catch up on his 17 year old memes.

[3:12] So the 94th Academy Awards, a lot of.

[3:15] So for those who are not familiar with the Oscars, every year awards are given out for

[3:19] the best in movies and often the best in movies don't get those awards.

[3:24] And it's just it's and it was mostly mostly no, no difference.

[3:29] But also there's the other drama going on in some ways, the more interesting drama,

[3:33] which is the story of a bunch of Oscar producers living under the delusion that there is a

[3:37] way to get people to watch the Oscars on TV and desperately chasing after it, not never

[3:43] realizing this is an illusion, because the days when the Oscars were must see TV, copyright

[3:48] and NBC are long past because there is no longer a separation between movies and television.

[3:53] And we don't find our stars magical in any way.

[3:56] And the best they can do is shock us momentarily with their outre behavior.

[4:01] I've been thinking about this a lot lately, which is just like, I guess the I mean, in

[4:07] a bigger way, it's the roots of conservatism, but maybe that's a bit that's too much of

[4:12] a macro view.

[4:13] It is just a thing in human nature to believe that the way things were when you were growing

[4:20] up is some sort of normalcy and everything else is the aberration.

[4:26] And so I do think that people are still trying to make the Oscars happen as they used to

[4:30] are like clinging to like, but this is the Oscars.

[4:34] This is a thing.

[4:35] It has always been where it's when Hollywood's brightest stars come out to shine in our very

[4:39] own homes.

[4:40] And we don't seem to realize that like we can see those stars whenever we want.

[4:44] It's no longer the excitement of I'm watching Elizabeth Taylor on my television set is no

[4:49] longer.

[4:50] Yeah.

[4:51] Yeah.

[4:52] I mean, this is coming from me to the one of the few people who continues to enjoy watching

[4:57] the Oscars.

[4:58] Like I, I am one of the dwindling audience for this thing, but even I am on your on your

[5:05] business cards.

[5:07] I wish I was dwindling.

[5:10] I'm in my, I'm not middle aged guys.

[5:11] I keep increasing, keep increasing now, but oh man, no, I, you know what I'm saying though.

[5:19] Even as someone who loves it, I would prefer that they find a way to, you know, keep it

[5:24] alive rather than killing it by having bigger expectations of it than are rational.

[5:31] Step one, get more Tony Hawk involved.

[5:34] Yeah.

[5:35] That was pretty radical seeing him and the flying tomato at this point.

[5:43] I think that the Academy Awards from a viewership perspective will be best served if it was

[5:47] a streaming event on the Oscars website and fans could watch it.

[5:52] And there wasn't this sense of like, Hey, we've got to appeal to this, this imaginary

[5:56] audience that is not interested in watching Liv Ullman get a lifetime achievement award,

[6:01] but does want to see Tony Hawk, like, cause that's what who's interested in, in Academy

[6:05] Awards.

[6:06] You know, like we don't, we don't have time to show, we don't have time to show who won

[6:10] for like makeup and costumes or whatever.

[6:12] We need to make room for the dancers who will celebrate all the dead people that we're not

[6:17] going to see clearly on screen because we're watching the dancers.

[6:20] Wild.

[6:21] That was, that was wild.

[6:23] Like the fact that I had to like try and dodge my head between dancers so that I could see

[6:28] that Norm Macdonald got snubbed.

[6:31] Well, that's, and also, and also that it was like the, it felt very strange to me for it

[6:35] to end on Betty White, who is, you know, undeniably a beloved American fixture, but like not someone

[6:42] I think of as a movie star, you know?

[6:46] That is interesting because I was, I was about to make an argument of like as much as I think

[6:51] Norm Macdonald was a tremendously funny comedian and you know, had at least one pretty funny

[6:58] movie.

[6:59] I mean, he's not primarily known as a movie star, like it'd be an odd, like I, for all

[7:05] these things where like they snubbed this or that person, the Oscars, like oftentimes

[7:08] it's just like, yeah, they were famous, but they weren't necessarily known for movies.

[7:13] Yeah.

[7:14] I mean, ever since they, ever since they snubbed Angus Grimm, I have realized that it's all

[7:19] bullshit that we live in a world of chaos and nothing matters.

[7:23] I mean, they should have had him for sure, but like the, that, that like this was a year

[7:27] plan.

[7:28] I mean, they, they, right.

[7:29] They rightly gave Sidney Poitier his due, you know, as one of the great, you know, figures

[7:33] in screen history, but like, I know nobody remembers who he is, but like John Paul Belmondo

[7:37] shows up in the middle, one of the big stars of the French new wave.

[7:39] He was an international icon at the time when like our grandparents were, were young adults

[7:45] watching movies and it's like, oh, I guess he just gets a picture for a moment, huh?

[7:48] Like this is a guy who was the personification of French film for the time when French film

[7:54] mattered in the United States.

[7:55] But on the other hand, we got a, we got a full performance of, we don't talk about Bruno,

[8:01] a song that was not nominated.

[8:03] Well, that's the thing we have to, we've got to talk about what everyone's talking about.

[8:08] The, uh, the slap in the face, which is the huge slap in the face to Lin Manuel Miranda.

[8:12] Once again, getting shut out of the Oscars, he does not win Oscars, incredibly talented,

[8:18] but it's like they keep dangling and he got in front of him and then pulling it away at

[8:21] the last minute.

[8:22] Yeah.

[8:23] I have to admit.

[8:24] So I, when I didn't know the nominees for best original song ahead of time and then

[8:27] no time to die one.

[8:28] And I was like, yeah, that was the best part of that movie was that song.

[8:32] You did.

[8:33] You did.

[8:34] I kind of like that movie.

[8:35] Yeah.

[8:36] Well, I thought it was an okay movie, but I thought the song was, was to be in a better

[8:38] bond movie.

[8:39] It's certainly a strong bond song, like for like, I think, yes, I think that for years

[8:45] people have been seeking for a way to have that classic bond sound while still feeling

[8:51] somewhat contemporary.

[8:52] And only a few times has it been successful sort of thing.

[8:55] Yeah.

[8:56] It takes Billie Eilish and her brother to pull it off.

[8:58] Since we're talking about original songs.

[8:59] Can I talk about how fucking weird it was that they chose when Daniel Kaluuya walked

[9:04] out to present, they played Africa by Toto and then when Stephanie Beatriz walked out,

[9:10] they played Lies La Bonita, both of which felt fucking gross.

[9:14] Well, I think we, I think we have the thing.

[9:16] The Oscars is like ground zero for Hollywood being still a white male power structure,

[9:23] but trying desperately to look like it is not.

[9:25] And so it's like, yeah, yeah, we're all about, we're all about diversity here.

[9:30] What's a good song for him to come out?

[9:33] Yeah.

[9:34] Yeah.

[9:35] Africa by Toto.

[9:36] Why would that be problematic?

[9:37] I don't understand.

[9:38] We're like, I thought it was very weird that they were like, they were like, okay, here's

[9:41] a salute to, you know, 50 years of the Godfather.

[9:45] It's like, okay, that makes sense.

[9:47] Here's a salute to another thing.

[9:49] All right.

[9:50] I guess so.

[9:51] Here's a salute to 28 years of Pulp Fiction.

[9:52] And it's like, well, you just had the stars of Pulp Fiction available.

[9:56] Like 28 is a weird anniversary.

[10:00] Reminds me of the year a couple years ago when they were like and now a tribute to Chicago's 10th anniversary of winning best picture

[10:07] I hope I hope you you can

[10:12] celebrate my 44th anniversary of life this

[10:19] Yeah, I mean I think that also like that music thing is

[10:22] Yeah, Hollywood is known definitely for nothing if not on-the-nose needle drops

[10:30] And what can be more Hollywood now? It's an Emmy Award. I feel like it's just like get the guy in who does it for all the trailers

[10:39] In there whatever what I said, are you talking about Cruella again?

[10:47] The few I feel equal stand up for a Cruella who will I mean join me you mean

[10:52] Academy Awards in all right

[10:57] Yeah, and she so

[10:59] So I've been I've been reading. I just finished reading that the new making of Mad Max Fury Road book

[11:05] Which Dan got my birthday. It's great and

[11:09] The section the chapter where they're talking about the award season

[11:13] the first first off the Academy Awards that year were hosted by Chris Rock and

[11:18] And

[11:19] the the first award that Fury Road won that night was for costumes and it was

[11:26] Man, I can't remember her name. Is it like Jenny Beaven's something like that?

[11:32] Janine costumes the it's somewhere in between those two things

[11:37] because

[11:38] We're between a real name and a fake joke name. Yeah, and she's she's great

[11:43] Like she's a distinctive person and it was great to see it. I don't know

[11:46] It was just a weird tie-in between those two things. Well, also like it became clearer

[11:53] Seeing her win again that you know

[11:55] The way that she dresses to the movie that she is nominated for because the first time around

[12:02] She had a Mad Max II thing on but I had she had no she had one arm

[12:06] She had replaced one of her arms with a robot arm

[12:10] No, it's a very Mad Max kind of like

[12:13] Oscars outfits, but honestly like I think that I

[12:18] apologize for this are

[12:21] my at least

[12:23] Vision of Australia has been shaped so much by Mad Max movies that it like almost didn't register. I'm like, yeah. Yeah. Sure. She's

[12:37] Formal where

[12:39] Cruella, oh, okay. I see the bit

[12:42] You've created the pattern now. I see what's going on

[12:46] Dan when you said a very very Mad Max it made me think of a movie called

[12:50] It's a mad mad mad mad. I know I want to see a Fury Road poster in the Jack Davis style with all the characters chasing

[12:56] Max and Furios

[12:59] That hasn't already been done. It would be it's a great idea and I'm gonna do it Tom Fowler should get on that

[13:05] Yeah, actually Tom Fowler should get on that Tom Fowler. Why haven't you done a Jack Davis?

[13:09] It's a mad mad mad mad

[13:11] It's up

[13:13] Tom Fowler do it already

[13:15] You need to uh, there is a I think so

[13:18] it was interesting Dune was very much the Fury Road of this year where it was like we're gonna you're gonna win all the

[13:22] technical awards and

[13:24] You're not gonna win. I think fear is a better movie than doing Fury Road is a movie that less every time I watch it

[13:29] I'm like, I just experienced something. I can't fully describe in words and doing is a really fun movie

[13:33] Yeah, Fury Road is like like I'm experiencing something

[13:36] I've never experienced before in Dune to me felt like this is a perfect encapsulation of something that I've seen a million times before

[13:44] Yeah, there's a certain aspect of it where it's like what if Star Wars never left tattooing?

[13:52] It was exciting to see

[13:55] Licorice Peet's and not win anything since the more I don't farther I get from that movie the less I like

[14:01] It's one of my top ones of the year

[14:04] Well, we can agree to disagree because we're friends and we're just different people that I don't agree on different things

[14:09] Oh, it's true. I mean, I was obviously disappointed that

[14:13] The worst person in the world did not win either of the awards

[14:15] It was nominated for since that was my favorite movie of the year and it should have gotten extra awards

[14:20] They should have invented new awards for it, but that's okay

[14:23] And I'm glad that the the the Palm D'or winner won Best Picture, right?

[14:28] Yeah, that's right Palm D'or winner Coda

[14:32] This is this is something it made me matter and matter after the Oscars when I was doing the dishes cuz I'd here in LA

[14:38] The Oscars are over pretty early that I was like

[14:43] Deal with it. I wasn't tired. I wasn't going to bed yet. It was only like eight o'clock

[14:49] But uh, and you have a ten o'clock bedtime cuz you're a big boy

[14:53] Mm-hmm. Yeah, I get to stay up late

[14:56] Sometimes I have a drink of water before I go to bed. Oh, man, that's cuz your parents trust you

[15:02] Well, it's because they trained me using Snake Mountain to

[15:06] Blue watch for me. That's the universe. You all know what I'm talking about that

[15:09] So Coda won and I was like, oh, okay

[15:11] I guess it did win the movie that I could not leave my house without seeing a dozen for your consideration

[15:17] Advertisements everywhere for it was advertised. LA was blanketed with vote for Coda ads. But uh, and uh,

[15:25] But then I'm watching I was like, oh, okay

[15:26] So one I guess it's like a feel-good movie people need to feel good and as the night went on and I did those dishes

[15:31] glasses and plates were cracking under my grip as it got more and more angry as I thought about the

[15:37] Incredible lack of ambition of that movie and how they're like, oh, yeah best picture of the year

[15:43] This movie that is not trying to do anything new or different or original and is the kind of thing that you could watch

[15:49] Probably on the Hallmark Channel and you wouldn't have to change anything, you know

[15:53] Which is not to say it's bad. It's a

[15:55] Well-crafted feel I think you know, I think you need to clarify that it's not doing anything new or original

[16:03] Stylistically or narratively like in terms of like yeah, it was to all the other things that happen in movies aside from

[16:09] No, I mean like there are like I think there is a genuine like

[16:13] This is the first deaf actor to win an award for this kind of performance

[16:18] Like it like there is a an issue of Marlon Matlin not win for best. No, that's actually she did

[16:23] I'm I the the the Oscars

[16:27] Separate actor and actress into separate categories. Oh, yes, but I don't know. Thank you

[16:33] LA I'm just pointing out that

[16:36] That is what I was that's why I was saying it that way

[16:39] No, I'm just saying and I thought he was really good I love the I thought the performances were all good in it

[16:44] It's not a bad movie. It's it's a it's a nice, you know, sweet little

[16:49] You know regular old movie

[16:51] That's you know

[16:52] Just the minute she it opens in the beginning and they're like we're having trouble with our fishing boat and I want to sing

[16:57] By the end of that movie, you know

[16:58] They're gonna stop having trouble with that fishing boat and she's gonna sing

[17:01] I mean in a year when Benedetta a movie that is a better than Coda

[17:06] Did not even crack my top ten

[17:08] I mean, I mean I find I you knew that Benedetta was not gonna be was not gonna be in the Oscars

[17:13] If only worthy, you don't know what I know

[17:18] That's a good point

[17:21] Yeah, don't don't don't take his naivete away from him it's

[17:30] My fucking eyes, buddy

[17:32] And I was not and I was certainly would have been more mad if like again, like I said licorice beats

[17:44] Seen don't look up yet

[17:45] We were saying things that we liked about the Oscars before it and I really enjoyed how mean Amy Schumer got about don't look

[17:52] Up. What was she saying?

[17:55] Ricardo's I mean, I will butcher any attempt at recreating the joke, but it was just pointing out that

[18:02] You wanted to read you said there's a Chris Rocker joke. You really wanted to repeat

[18:10] Anyway, we should take a break to do ads because that's the thing that we do on this show is we have a sponsors

[18:19] I do want to say it is another this is a very quick thing that it is another symptom of the like

[18:24] How do we get people who don't like movies to watch the Oscars itis that it did seem like the hosts were doing a lot

[18:29] Of like shitting on the movies and it's like if I'm watching this it's because I like movies like I want to celebrate

[18:35] No, I agree with that in general just specific

[18:41] Okay, so let's sponsor it up our first sponsors don't look up

[18:48] What it says a great movie deserving of all the Oscars

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[25:01] the Bronx is burning number four by me and Andrew Moody on conflict stores right now.

[25:06] Not on conflict stores like on the roof, like on the shelves, not on top of the store. Don't

[25:10] climb on top of a conflict store looking for Maniac of New York number four. Apparently

[25:13] Haterade is a sponsor as well. So now that we're back to talking about these Oscars,

[25:21] fashion do's and don'ts, Dan? The only thing I can remember now and it was only because

[25:33] a friend was impressed I used the term pencil skirt to describe it was Uma Thurman's plain

[25:41] white blouse and black skirt but she looked great. Oh, you know who looked great? You got

[25:47] Kristen Stewart had the had the crazy short shorts. Crazy shorts. Nice gams. I don't know.

[25:53] I don't want that. Is that creepy? I feel like it was creepier than I intended. Just looked nice.

[25:58] It's a little creepy, I think. Yeah. I mean, it's kind of expected. It's fine.

[26:03] Yeah, it was like PG creepy. Okay, cool. And what do you guys think about that? This is off

[26:09] the topic of fashion, but what do you guys think about the biggest upset of the night? I think this

[26:13] took everyone by surprise. The winner of the Oscars fan favorite contest, Spider-Man No Way Home,

[26:18] coming in at fourth place and at first place that hit film Army of the Dead.

[26:24] That was so crazy, man. Do you think Zack Snyder ever gets worried that his fans might be too

[26:33] intense? I think he might. I think he might be if only because also in the Oscars cheer moment,

[26:38] first place went to Zack Snyder's Justice League. Yeah. The best part about it is when

[26:43] when the moment I feel like you did a disservice by not specifying the moment. The moment the

[26:49] Flash enters the Speed Force. That's right. It is the moment the Flash enters. It's what it is.

[26:54] This is this is a part of the show. I think I must have missed. I just saw it on the Wikipedia

[26:58] entry here that it was number one, Flash enters the Speed Force. Number two, three Spider-Man in

[27:03] Spider-Man No Way Home. Number three, Avengers assemble to fight Thanos Avengers Endgame. Now,

[27:07] again, these are not like that. These are not really the most momentous moments of film history,

[27:11] but they're recent things. Number four, the song. And I'm telling you, I'm not going from

[27:15] Dreamgirls. Number five, Neo dodging a bullet in the Matrix. And I was like, who made the nominees

[27:21] for this? Well, I don't understand. And what I love is that after seeing the number one

[27:28] cheer moment in the history of motion pictures. Yeah. We are greeted with a completely silent

[27:33] audience. Oh, maybe the theater. I was going to say, Stuart, I mean, it's lucky that Elliott

[27:40] wasn't watching because, of course, there was the deafening cheer that rocked America.

[27:46] As everyone saw Flash enter the Speed Force. I heard this. I heard this cheer go up and

[27:53] and my windows started shaking. And I said, is this the big quake that we've been waiting for?

[27:57] The one that we've been overdue for for a hundred years? Oh, no, this is that I better go rush to

[28:01] my children's room and wake them up so I can hug them one last time before the roof collapses in

[28:05] on us. And then the windows stop. And I said, oh, wait, that was just a cheer for the Flash

[28:09] entering the Speed Force. What I love about this being the number one stand up and cheer moment.

[28:14] In all the film. Well, I mean, can you think of a better one that makes you cheer harder than that?

[28:23] I can't. You're right. I can't. It's impossible. I love of it is that it's this very specific

[28:29] phrase him entering the Speed Force that like I was having seen the movie, I would never have

[28:36] been able to pull that phrase out of my brain. You know what? I don't even remember exactly

[28:41] which time it is that the Flash enters the Speed Force of all the times that he moves real fast and

[28:46] things go slow around him. Yeah. Is it when he goes back in time? Is that the one? But is this

[28:51] like the best part about it? The Flash goes back in time. And the thing is, it happened.

[28:57] I believe that only happens in the Snyder cut. So the cheer is happening at people's homes,

[29:03] not a movie. It never. But in a world where Cotto wins Best Picture, a movie can be. I mean,

[29:08] I'm the last person to say that a movie has to be seen in a movie theater,

[29:11] although it does feel like it is weird to cheer at home by yourself watching that, you know.

[29:15] Yeah. Is this something is is Speed Force like a thing from the comic comics? Yes,

[29:21] it is. That's that's what makes the Flash run fast as he can tap into the Speed Force.

[29:26] And there's a great moment in the in the JLA Avengers comic where the Flash ends up on the

[29:31] Avengers Earth in the Marvel Universe. And he cannot run fast because the Marvel Universe does

[29:35] not have a right force. Well, I just want to be sure. It's just funny to me, because

[29:40] as someone who never read Flash comics, somebody who's never entered the Speed Force,

[29:47] never read Flash comics. What am I? Let's see. What have I entered? I entered the dragon.

[29:50] One mistake. Very dangerous. But I entered the void once. Do not recommend. No, no, no. Very

[30:00] No, but I've seen these movies and I like saw like a few at least the Sandman that I'd

[30:13] seen some of the show.

[30:15] My point is just that this phrase sounds like something that was like an instruction booklet

[30:21] for it's it's something you need to do to come to complete an algebra.

[30:29] Yeah problem.

[30:30] Now you would enter the Speed Force for why it looks like when you get the trading card

[30:34] set from Zack Snyder's Justice League, you flip the card over and that's what it says

[30:39] is the flash enters the Speed Force and it's a picture of him with glowy stuff all over.

[30:45] Yeah.

[30:46] Yeah, that's so anyway, that's the number one cheer moment in the history of filmmaking.

[30:52] The fact that fucking gizmo showing up and shooting the fucking spider gremlin wasn't

[30:57] the number one.

[30:58] That's crazy.

[30:59] I mean, that's pretty great.

[31:02] He looks like fucking Rambo, dude, the gremlin blowing up in the microwave in the first gremlin

[31:08] or or gizmo showing up in in that little Barbie car in the first movie it both number one

[31:13] and number two.

[31:14] Second, first and second place should both be gizmo moments.

[31:16] Yeah.

[31:17] Not three.

[31:18] Yeah.

[31:19] I mean, you see him and he looks so badass like, of course, it's the number one it does.

[31:23] He looks like he looks like Rambo.

[31:25] His aim is impeccable.

[31:26] And that spider gremlin is just on fire.

[31:29] Like he lights him on fire, you know, that spider gremlin, you're like, that thing's

[31:33] unstoppable.

[31:34] It's like squirting out webs all over creation.

[31:36] It already trapped Carla in its web.

[31:39] Now it's got to be fair.

[31:41] Carla doesn't seem to be trying to get at that are she's just sort of wow.

[31:45] Well, now you're blaming the victim, Dan.

[31:47] You're blaming the victim.

[31:48] I don't see the greatest person in the world.

[31:51] Sure.

[31:52] I mean, I mean, I love this Billy, but that's nothing to do with that movie.

[31:56] I'm like, yeah, take me to a Canadian restaurant, baby.

[31:59] Yeah.

[32:00] Yeah.

[32:01] I mean, I mean, I'm already going to that Canadian restaurant on a date with the lady

[32:04] griffin.

[32:05] Yeah.

[32:06] Yeah.

[32:07] That's that.

[32:08] Well, you will.

[32:09] Robert Picardo is it has something to say about that.

[32:10] He's cooler than me.

[32:11] I've seen him in inner space.

[32:12] He looks incredible.

[32:13] The fact that the Oscar fan favorite and the Oscars cheer moment of all time were both

[32:20] from Zack Snyder films does nothing to make me doubt the efficacy of these of these poll

[32:25] related content.

[32:26] Yes.

[32:27] It's so funny.

[32:28] I yeah, I was saying some article I honestly want more of these.

[32:33] How did the Oscars not realize that like having like Twitter polls is just going to mobilize

[32:40] the strangest corners of the Internet?

[32:43] I think I think they I think they were like, we don't care if it gets these people to watch

[32:48] our show so that we can so that we can, you know, juke the stats and make it seem like

[32:53] more people are interested in this.

[32:55] They're like, look, as long as we do not have to put Elaine May on television giving a speech

[33:00] for her very deserved Honorary Academy Award, then we'll be fine.

[33:04] What what nonsense can we put on TV so that we don't have to put Elaine May and live all

[33:08] men on American television screen?

[33:10] I think they should have taken it one step farther and let let these Twitter polls allow

[33:15] like vote for presenters.

[33:18] So we finally could have had Gabriel from Malignant present an award.

[33:25] You know, this year, they they didn't have an animated character alongside a live action

[33:30] character.

[33:31] Yeah, that's true.

[33:32] That's true.

[33:33] Do you know that you know that at some point someone suggested having Bruno on there predicting

[33:37] what what winners there would be and getting, you know, and everyone Bruno Bruno, you can't

[33:42] say that or something like that, you know.

[33:45] But I assume they they nixed that because, wait, I actually I don't know that much about

[33:50] in Canto because I was too busy watching Mitchell's versus the machine that I you backed the wrong

[33:56] horse, my friend.

[33:57] I mean, in terms of enjoyment, I think he packed the correct horse.

[34:02] I think it's no, at least at least this means the Mitchell's versus the machines will stop

[34:07] filling my Twitter feed with promoted ads telling me how much Guillermo del Toro liked

[34:12] the Mitchell's versus.

[34:13] I mean, it's a good movie.

[34:14] You should watch it, dude.

[34:16] I will watch it at some point, but I'm one of those guys who like the more you advertise

[34:19] a movie to me, the less likely I am to go watch it.

[34:21] Yeah.

[34:22] The more tired I get to it.

[34:23] That's why I try not to watch the trailers for movies.

[34:24] I want to see it because it's like this is going to make me.

[34:27] That's why Elliot never met Dave, even though he was told repeatedly.

[34:31] Yeah.

[34:32] You know, you got the thing is, I already I already saw Dave and I'm seeing these ads

[34:36] for meet Dave.

[34:37] And I'm like, I met Dave.

[34:38] Yeah.

[34:39] I saw Dave.

[34:40] What's so sad is you're never going to meet Michael Morbius.

[34:47] I mean, they keep pushing that movie's release date.

[34:49] It's possible none of us will ever meet Michael Morbius.

[34:53] Travesty is, I mean, for the best.

[34:56] I really get the feeling it's like my blood, but he tried not to.

[35:01] He tried to fight it as best as he can.

[35:03] Yeah.

[35:04] I mean, the problem is, if you met Jared Leto, he'd also try to suck your blood regardless

[35:08] of being a vampire.

[35:09] For, you know, research for a part.

[35:12] Yeah.

[35:13] Weirdly, though, the part is not a vampire.

[35:15] No, no, he is.

[35:17] It's for it's for a Dallas Buyers Club, too.

[35:21] Now, guys, were there any movies that you hadn't seen and you saw them win Oscars or

[35:27] get nominated and you were like, oh, I'm interested in that now and I want to see it.

[35:31] I will say that I finally watched Coda because it was nominated for an award and I enjoyed

[35:37] seeing Coda again.

[35:38] I understand.

[35:39] I would like to see something a little more cinematically daring, stylistically, again,

[35:44] like not even or even like I mean, Coda is not a bad movie and that's why I kind of feel

[35:48] bad about getting frustrated because it's not a bad movie, but it's like but it's the

[35:53] I.

[35:54] So this this is the spoiler for our next regular episode, the movie I'm going to probably going

[35:57] to recommend.

[35:58] I watched this this movie called I Was a Simple Man.

[36:02] That's a movie about this old man in Hawaii is dying and he's kind of reliving his life

[36:07] out of order and his family is is kind of experiencing memories as they go through it.

[36:11] And it gets very surreal at some times and not at other times.

[36:14] And it is just so beautifully gorgeous.

[36:16] And it also is a movie that does not look like it had a big budget, like that it looks

[36:21] like a movie and it feels like a movie.

[36:22] When I was watching Coda, I was like, this movie doesn't look or feel like a movie.

[36:26] Like it's just kind of there's nothing there's nothing beautiful about it.

[36:30] And I don't mean that it has to have like sweeping landscapes or whatever.

[36:33] Like you can have a beauty in the way that I feel like, you know, a movie like like Chan

[36:41] is missing or something like a very independent movie can also be a beautiful movie just because

[36:44] it looks like a movie, you know.

[36:46] But this but with Coda, it was just kind of like, yeah, we're telling you the story.

[36:49] Here you go.

[36:50] There's this thing.

[36:51] Let's move on to the next part.

[36:52] OK, this thing.

[36:53] Yeah.

[36:54] And it just felt like the movie was could have gone a little deeper for it to be named

[36:57] Best Picture.

[36:58] But as a movie, as it is, it's fine.

[37:00] But when people are now going to be forever, people can be like, yeah, well, that was the

[37:04] best picture of twenty twenty one, twenty twenty two.

[37:06] Yeah.

[37:07] Just scientific facts.

[37:08] You know, I hope that this that winning will finally push me to get around to watching

[37:16] Summer of Soul.

[37:18] Summer is really good.

[37:19] Yeah.

[37:20] I think I like it.

[37:21] I just it's always hard for me to get around to watching documentaries.

[37:24] And Summer of Soul is one that like that's another one where like stylistically it's

[37:28] not really doing anything out of the ordinary.

[37:30] But the story it's telling is so it's storytelling is so interesting.

[37:34] And the footage is just so amazing and it looks so great.

[37:36] Like it's it feels like you're experiencing that concert, you know, in person while you're

[37:41] watching it.

[37:42] So so it's really good.

[37:44] It's worth it just for the music alone.

[37:46] Although someone once said they were like, oh, if you want to win an Academy, a Documentary

[37:49] Academy Award, it should either be about the Holocaust or about music performers.

[37:54] And that seems to be the way it works a lot of the time.

[37:56] But that being said, it is really good.

[37:59] I haven't said anything for a ways and that's just because I've been looking through the

[38:04] the movies that were nominated trying to answer your question.

[38:07] And like other than like I said, I, you know, I watched Coda because it suddenly became

[38:12] the front runner and I watched.

[38:14] Well, you also thought it was about Kathie Lee and Coda.

[38:16] Yeah.

[38:17] And I watched.

[38:18] And you love them.

[38:19] I watched Don't Look Up out of morbid curiosity once it started being taken seriously.

[38:25] And I shouldn't have done that.

[38:27] Should I?

[38:28] So I still haven't watched it yet.

[38:29] Should I watch it or should I not watch it?

[38:30] Only if for some reason we decide to do it for the show.

[38:36] OK.

[38:37] For Oscar nominees edition.

[38:39] Yeah.

[38:40] Yeah.

[38:41] And what was was Teton nominated for Best Picture?

[38:46] No, Teton wasn't nominated for anything.

[38:48] So what were some of the movies you watched this past year that that you really liked

[38:52] that you wish had been nominated?

[38:53] I mean, obviously Pig.

[38:54] I know you were.

[38:55] I know you were disappointed for anything.

[38:57] Pig, Green Knight wasn't nominated for anything, not even fucking production design.

[39:03] Like what the fuck's wrong with you?

[39:04] Green Knight, I think it's my top of the year.

[39:07] So I yeah, I still haven't seen Green Knight.

[39:09] I got that in Last Duel.

[39:10] I still need to see.

[39:11] I haven't seen any of the night movies from last year.

[39:14] I am.

[39:17] Let's see.

[39:18] Oh, like Last Duel.

[39:19] Like, I would love Last Duel to get nom.

[39:21] I think it's great.

[39:23] And I'm surprised that you didn't get a best actor nom for what's his name in Red Rocket

[39:27] with the big ding dong.

[39:30] Simon Rex.

[39:31] He's great.

[39:32] He's right.

[39:33] Simon Rex is great in that movie.

[39:34] He plays a fucking terrible piece of shit, but he is compelling enough that you want

[39:38] to watch the whole movie with him.

[39:39] It's like Uncut Gems.

[39:40] I mean, Denzel Washington nominated for playing a piece of shit in Lord Macbeth in Tragedy

[39:44] of Macbeth.

[39:45] Macbeth is not a good dude.

[39:46] I was I was disappointed he didn't win that that award because the way he delivers the

[39:50] tomorrow and tomorrow and tomorrow's speech, I thought was so great because I'd never seen

[39:54] it done that way before.

[39:55] Every other way I've seen an actor do that, they're genuinely grieving for the death of

[39:59] Lady Macbeth.

[40:00] And in this version he's so far gone that he's just so irritated that she's dying at this moment

[40:05] Yeah, and he's like, yeah, I'll deal with it another time cares. She dies. Everybody dies. I'll deal with it later

[40:09] Like the way he just tosses it off. I thought was amazing. But uh, but that mcbeth not a good dude thumbs down

[40:15] Let's cancel mcbeth

[40:17] Yeah

[40:18] The knives are out for him looking over this last year. I agree on the green night

[40:23] I liked the night house quite a bit

[40:26] It's not the sort of thing that ever really gets nominations, although we're big

[40:34] But just on a personal level, I like that one a lot

[40:38] that's

[40:39] Sorry, I don't have I mean it was it was I mean it was gratifying that dear Evan Hansen wasn't nominated for anything, right?

[40:45] So thank God

[40:47] It's still it's still kind of stings that being the Ricardo's got nominations

[40:52] That's that's one of those ones where it was I mean if I'm if if Coda is unambitious

[40:57] I feel like being the Ricardo's is even less ambitious like Coda felt like a TV movie being the Ricardo's felt like a TV show

[41:03] That was like pumped up to a big and as much as I love Jake

[41:07] Like a network TV show

[41:10] Yeah, as much as I love JK Simmons

[41:13] I was that when I found out he was not a best supporting actor. I was like really for that

[41:16] I mean like I love JK Simmons, but he doesn't really have much to do in it

[41:20] And he's just kind of doing the same thing. Yeah. Well, I would argue that

[41:24] if anything being the Ricardo's is an advertisement for like how maybe like you're undervaluing Coda a little bit because

[41:32] like Coda we took a very sort of

[41:37] Standard script structure and I I got frustrated with some of the

[41:41] things and in the second act that felt like the plot plot kicking into gear but at every turn I felt like oh that was

[41:47] just like a

[41:50] Slightly better smarter like more

[41:54] Sensitive choice than I was expecting whereas being the Ricardo's at every point. It was like let's make the like most obvious

[42:02] You know false

[42:04] choice like the least realistic kind of version of this story

[42:10] like Coda is not cinematically ambitious, but it's almost like being the Ricardo's is is

[42:15] Ambitious in the opposite direction where they're like, huh?

[42:18] Desi Arnaz is is calling up everyone in Congress to get to J Edgar Hoover to clear Lucy's name

[42:24] We don't need to see any of that

[42:25] Let's just have him mention that he did it and how how can we have a climactic ending?

[42:30] Should he give a big speech a big dramatic rousing speech? No, we'll have somebody else say something over a telephone

[42:35] It's like it is it is like Brechtian in the way it is

[42:39] It is deliberately avoiding the things that a drama is supposed to deliver like excitement and suspense and emotions

[42:44] You know, hey, did y'all?

[42:47] So Coda Coda one best adapted screenplay. Yes

[42:52] Against what I would describe as stiff competition. Yeah. Yeah. Did you guys see Belfast?

[42:58] No, I haven't seen it yet. I really want to see it. Yeah, I didn't see it either, you know

[43:05] John who listeners know

[43:08] from

[43:09] Or the Gospels from doing a lot of our animations for the live show

[43:15] saw it with

[43:16] with his partner and they both liked it, but

[43:21] Yeah, I mean the Academy liked it enough to give it best original screenplay

[43:27] Again

[43:28] It felt like in both categories. It felt like safer choices. Although I have not seen Belfast

[43:34] So I can't really you would have much rather don't look up one for best original screenplay. You're saying

[43:40] That was it was nominated. You're right

[43:43] And you would have preferred licorice pizza to be nominated. No, thank you

[43:47] I mean if that here's here's look I was surprised licorice pizza wasn't nominated for any it was what it was not me for any

[43:53] acting awards

[43:54] right

[43:54] Like that was the strength of that movie that and the look of the movie were the strength and it wasn't nominated for those

[43:59] things it was not me for

[44:02] Which I which was a kind of rambling shambling

[44:05] You know thing that that built to the built to the message that

[44:10] Grown women and teenagers should run off together

[44:13] It was not me for best picture. Yeah, dude. It's it's fucking Phantom Menace

[44:20] Or arguably attack the cause

[44:23] The I mean they don't get together until attack of the clones would would and Alana Haim would have been

[44:29] Best actress right not supporting. She's the lead. She's really yeah, she I would call her the lead

[44:34] Yeah, although you never know

[44:35] It's like how Francis McDormand won for best supporting actress for Fargo

[44:38] But she's even though she doesn't come in for like the first half hour. She's clearly the lead of that movie. Also. Yeah

[44:44] HMAC have like the same amount of screen time. Sometimes they kick people down, you know for strategic reasons when it comes

[44:50] Yeah, because I think I'll have a better chance. Yeah. Yeah. Well, I'm bet and

[44:54] Best actress was a kind of weird category because none of those roles were from best picture nominated films

[45:02] Yeah, I mean it shows you this is a weird year in that like there was nothing even in the nominations

[45:08] there was nothing that was kind of like

[45:09] Sweeping the big awards and when you look at it like Dune won the most awards and most of those are

[45:14] technical and like the

[45:16] Coda won the second most and then the eyes of Tammy Faye

[45:19] Won the third most with two awards and then you have all these movies that won one award and that's it

[45:24] It was a this was a this was a year

[45:25] I think where Hollywood was I mean as as it should be every the past couple years are have been years where the world has

[45:30] Been struggling. This was the past couple years when Holly was struggling and here's my overall thesis on that

[45:35] You guys want to hear it? Sure

[45:39] I wrote it out my brain

[45:42] the fact that

[45:44] The kinds of movies that the Oscars are kind of made for there's two kinds of movies

[45:49] there's big spectacle experiences that you can only get at the movies and then there are the kinds of like

[45:56] Probing or even just like standard dramas where people are acting out big emotions and

[46:02] Hollywood in terms of theatrical releases has more or less turned its back on that second type of movie and

[46:07] To be honest, even the first type a little bit

[46:09] They give us a lot of big special effects spectacles that you can only do in the movies

[46:12] But very rarely is it something like Fury Road where you're like, oh, I just I just went through a thing

[46:18] I've never been through before like there was an intensity of that that I can't get anywhere else and like I saw a vision of

[46:23] a strange world where a new type of character or something like that and so a lot of the kinds of movies that

[46:30] Traditionally get nominated for Academy Awards are just not being made as much

[46:35] They're either

[46:36] legacy products from people like Steven Spielberg or a game of their total that can get things made if they push hard enough or

[46:41] Stuff through that like the kinds of movies that used to be made through

[46:45] and put through the theaters that you're kind of like

[46:48] You're on Golden Pawns and your Moonstruck's and things like that like they either get made for streamers or not at all and

[46:55] or independently and they don't get

[46:57] Noticed by many people and so the Oscars kind of like it's it's kind of I think it feels like they're kind of scrambling to

[47:03] Figure out what to nominate. Well, I mean, that's the thing like that's why it feels like a weird year for you

[47:08] I think in many ways where it's like Coda is the sort of movie that used to get made in

[47:14] Hollywood more and

[47:16] nominated for

[47:18] In

[47:20] It's like the kind of movie that I would say it's the kind of movie that used to get made and not nominated for Oscars

[47:24] Because there were so many right right, right

[47:27] Like an acting award or something, but now it's made, you know, like

[47:31] You know like it had

[47:34] It's a big movie for what it is

[47:37] But it was like, you know only big because Sundance like there's a huge bidding thing over it

[47:43] Because it was such a crowd-pleaser and then it still ends up on

[47:47] Streaming. So of course it like it feels small because like these type of movies do end up on streaming

[47:53] so like

[47:55] You I feel like you're gonna get even more complaints of the the kind you're talking about Elliot where you're just like

[48:01] Why is this nominated movie like look so much like well, I don't know

[48:07] But TV has gotten so much more ambitious like your average

[48:11] Yellow jackets looks more like a movie to me than then Coda does just I know I'm just saying like there's just not the same

[48:20] Rewards given for like putting style into like I think that streaming has flattened a lot of style out and so

[48:28] now

[48:29] if things aren't gonna go to like the movie theaters like they end up looking a certain way and

[48:35] I don't think it's like I

[48:38] Hear what you're saying about

[48:40] shows, but I think that in a weird way that is like

[48:43] often more of a show thing now than it is like for like these

[48:48] Movies that end up kind of going straight to streaming. I don't know maybe I think I don't know

[48:53] I think it's less that streaming has squeezed out style and more that like the well

[48:58] Maybe it is maybe be if you're making a movie on

[49:00] That now because it's not like it's not like Coda was made for streaming like it's an independent

[49:05] I was made as an indie film and then Apple bought it, but there's definitely a I

[49:11] feel like you used to have a

[49:13] You just have more of that kind of movie where they were not huge budget productions

[49:17] But they were kind you know those mid-level productions where you would get you know

[49:21] that certain movie

[49:25] Ambition because people are still gonna go to a movie theater and pay money to see it and maybe you're right that it on streaming

[49:30] There's a little bit less of that because you don't have to you don't have to convince people to get out of their houses

[49:34] yeah, but I think about movies like

[49:36] Coda has so much in common with like

[49:39] Breaking away and goodwill hunting and like a lot of those types of movies

[49:42] But each of those feel like movies, you know

[49:44] And I I guess part of me is trying to put my finger on that

[49:47] Indefinable thing that why do those feel like movies to me?

[49:50] And why does Coda not feel as much like a movie to me because now you're a crazy old guy

[49:54] That's probably part of it. I mean Christopher Nolan would say because it's not shot on 35 millimeter film, but you know

[50:00] But I would disagree with that, you know, you know, I don't know.

[50:03] Well, I guess we're saying is best Oscars ever.

[50:05] Yeah. Best ever.

[50:07] You know, that was kind of philosophical.

[50:10] And I'll tell you something.

[50:11] It's getting late here.

[50:14] Stewart's in a hotel room somewhere.

[50:16] And I don't think that there's anything where he is.

[50:18] Yeah, but that by Gator is some way

[50:22] Stewart's just off somewhere in that strange land we call America.

[50:25] Yeah. And I don't think we're going around like a Jack Reacher.

[50:29] Just the clothes on his back and the blood on his hands.

[50:33] And I can't think of anything else

[50:35] that we need to talk about for this Oscars.

[50:39] So I think I'll say the one last thing I'll say is, oh, we've had fun

[50:42] talking about the Oscars, but I want to remind everybody

[50:43] the Oscars also don't matter at all.

[50:45] Yeah, they don't matter at all.

[50:46] It's just an excuse to talk about movies.

[50:48] Thanks. It's just an excuse.

[50:50] Thanks, Elliot, for that PSA in case our listeners were about to go out

[50:54] and start experimenting with the Oscars.

[50:56] Hey, hey, this is this.

[50:58] Hey, you want to try it?

[50:59] So you hear Oscars are cool.

[51:00] Your friend tells you you should try an Oscar.

[51:02] But it's a good idea to rate art as if it's a competition

[51:05] that has an easy metric.

[51:06] Well, let me ask you this.

[51:09] Hotshot like drugs, too, because it's also bad.

[51:12] That's the more, you know, the more, you know, Elliot,

[51:16] we need to talk to you about this.

[51:17] The more, you know, you've scripted. Yeah. Yeah.

[51:19] Let's talk about it.

[51:20] I feel like it walks us our cutest route to maybe a questionable lesson.

[51:27] Well, I'm saying that people, you know, should be wary of the Oscars.

[51:29] And also drugs are probably bad, too.

[51:31] The more, you know, right?

[51:32] Yeah, it feels like you're trying to combine two separate.

[51:35] You know what? Well, we'll have this talk later.

[51:37] Look, you told me you told me when you made me head of the the more,

[51:40] you know, department, you said we're going to have to do more with less.

[51:42] And I'm trying my best, man. I'm trying my best.

[51:45] Well, we're all trying our best,

[51:48] including me to end this episode.

[51:52] So we're going to stop the fucking landing on that shit for the flop.

[51:59] I think it was.

[51:59] I think it was the moment when Dan Lister's going to see this,

[52:01] when he dramatically threw his scarf back around his neck.

[52:05] They gave him the power to. Yeah.

[52:07] Well, I'm also. Yeah.

[52:10] Yeah, we have a regular pork or a red pig

[52:17] for the flop house.

[52:19] I've been Dan McCoy.

[52:21] Hey, I've been Stuart Wellington.

[52:24] And the winner of the other guy in the flop house is Elliot Kalin.

[52:29] That's you. Bullshit.

[52:36] Maximum fun dot org.

[52:38] Comedy and culture. Artist owned.

[52:41] Audience supported.

FH Mini 52 - Oscars Roundup 2022

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