Ep.#449 - The Electric State

[0:00] On this episode, we discuss The Electric State, a movie that cost HOW MUCH MONEY?

[0:31] Hey everyone, welcome to the Flophouse. I'm Dan McCoy.

[0:34] Hey, I'm Stuart Wellington.

[0:36] Hey, I'm Elliot Kalin.

[0:37] Wait a minute, you guys aren't usually in my bedroom where I record.

[0:41] What's going on here?

[0:42] Well, Elliot, your bedroom looks a lot like Dan's office.

[0:46] Yeah, you got conked on the head with a coconut and whisked here to Flophouse HQ.

[0:53] I call it that because two of us are here, so we get to decide that this is HQ.

[0:56] Oh man, I got outvoted, yeah.

[0:58] It's kind of like in the video game Bloodborne where you fight those weird tall guys that have a giant bag

[1:03] and if they defeat you, instead of killing you, you wake up in their weird oubliette and then you have a bunch of them.

[1:09] So that's what happened to you. You got conked on the head by a guy carrying a big snack.

[1:12] And now I'm in Dan's weird oubliette.

[1:15] Get out of my oubliette.

[1:17] And if it was my oubliette, I'd call it a stoobliette.

[1:20] You would indeed.

[1:22] So what are we doing on this podcast?

[1:25] You're like a comic who was really big in 1979 and you had one thing.

[1:31] I was still swimming in my dad's ball sack back then.

[1:35] This is a podcast where we watch a bad movie and then we talk about it.

[1:38] And as mentioned, Elliot, who normally is on the other coast, has been kind enough to grace us with his presence.

[1:47] He was very kind of me.

[1:50] Thank you.

[1:51] It is spring break.

[1:54] So my family is on the East Coast this week and that means I get to see my best buds.

[1:59] And then you guys.

[2:01] Boom, boom, boom, boom, boom, boom, boom, boom.

[2:03] So this is a razzing podcast where we give each other the dozens.

[2:07] I can do 11 more of those. Oh, boy.

[2:10] I don't have that many.

[2:12] And the price of eggs, that's the only other dozen I know.

[2:17] Electric State.

[2:18] That's what we're talking about.

[2:19] We're talking about a movie.

[2:20] This is this is one of those Netflix movies.

[2:24] And it's what their most expensive one.

[2:27] It was well, they have disputed how much it cost.

[2:31] But according to Dan.

[2:33] Well, Wikipedia, which is not obviously the most, you know, reliable source.

[2:39] But not the least reliable.

[2:40] Not the least reliable either.

[2:42] The projected costs of this were made it the 13th highest most expensive movies ever made.

[2:50] Number I heard was three hundred and twenty five million dollars.

[2:53] I don't know which they spent on like a bunch of songs and like so many fucking celebrity voices.

[3:00] I thought I was watching a fucking DreamWorks animated.

[3:02] I mean, I was like, what is this?

[3:03] If Holly Hunter shows up to just be like a newswoman and say, I am not complaining.

[3:10] I mean, I assume that this is, of course, a character for broadcast.

[3:13] That was my assumption, too, that this is in the broadcast news.

[3:16] Yeah. But yeah, you have to imagine that that Albert Brooks character went out to report in the field during the robot war and just got slaughtered instantly.

[3:23] He would he he's in this movie, too, right?

[3:25] Albert Brooks. He got Albert Brooks voice.

[3:27] Is he? No, I'm fucking with you.

[3:29] I do like you should be there.

[3:31] I do like there's a baseball robot done by Brian.

[3:34] And the whole time, like, man, for some reason, hearing this robot talk, it makes me think about fucking a hamburger.

[3:40] That's because Brian Cox has these sexy McDonald's commercials.

[3:43] That's right. He does have those sexy.

[3:45] The way he says, da, da, da, da, da.

[3:46] I'm like, man, he's taking that Big Mac to bed.

[3:49] Or that like the Filet-O-Fish commercial.

[3:51] Have you seen that thing? I don't remember it offhand.

[3:54] I want to say the price tag of this movie was widely reported on.

[3:59] Yeah. People really talk about the biggest news story of the year, right?

[4:04] There's nothing else going on, but the electric state being expensive.

[4:07] But normally, I'm not one who's talking about waste, fraud and misuse.

[4:13] Normally, I'm not one that gets mad about the size of budgets per se.

[4:17] No, I think that that argument is weird because it takes on this sort of moral tinge a lot of the time.

[4:23] You could have done this with this money like that money was never going to go to whatever Netflix either could have made this movie or fed the homeless.

[4:31] Yeah. But it also forgets that a lot of people work on these movies and they have to be paid for that work.

[4:36] And Netflix would like to do nothing more.

[4:38] And I say this as a person working on a show for Netflix right now.

[4:40] Yeah. All studios would like to do not or networks will do nothing more than to not pay those people for that work.

[4:45] So you could be like Netflix. How could you spend this much money on there?

[4:48] And they might be like, we would have loved to have spent less money on this movie.

[4:51] Believe me. But I do. I do.

[4:53] Those pesky humans have other plans. The moral question of it is always kind of a is a false choice.

[4:58] Yes, I think so. But that being said, I did watch this movie like, what the fuck?

[5:02] How did this cost that much money?

[5:04] The real issue, I think, is you watch this movie, you know how much it costs and you're like, and they couldn't afford like ideas.

[5:11] Like they couldn't afford like new stuff. And even the fact that we'll get into it.

[5:15] But like a lot of the neildrop songs, they're the same old songs you hear in movies all the time.

[5:18] Yeah. Like the story is the same old basic story you've seen and things.

[5:22] The dialogue is super on the nose.

[5:24] This is a movie that does not trust the audience to ever put one plus one together and get to it has to tell you to every time to treat you like a fucking idiot.

[5:32] I also hate to. I mean, you're going to spend that much money.

[5:36] Spend it on such a cerebral artistic folly that people are going to be like, yeah, I see why you spent make megalopolis where you're like, yeah, I see why you spent all that money because no otherwise there's no way this would ever exist because this is bonkers.

[5:48] Yeah. Well, I was going to say I hate to sort of get mad at a movie that while it is based on a book and it's a book that sort of references the look of, you know, other sort of book.

[6:01] Yeah, but it's not, you know, it's not based on a big IP thing, but it seems like also they took a book that was more idiosyncratic and had interesting like a look and ideas and then plugs that into the most.

[6:18] Certainly, how do we stand down the edges of this the most and make it like every other just to make the most the most basic movie.

[6:25] So have either of you guys read the book that this is based on?

[6:27] No. Well, it's based on The Great Gatsby, right?

[6:30] So I haven't read that. Yeah.

[6:31] The Great Botsby. Yeah.

[6:32] The so green light he was looking towards.

[6:35] It was another bot.

[6:36] So I haven't read The Electric State, but I am pretty familiar with some of the artists.

[6:41] Simon's work.

[6:42] Yeah, I'm a big fan of his the role playing game based on that Tales from the Loop and one of the things that one of the things that I think the movie really latches on to two elements there,

[6:54] which is science fiction stuff and nostalgia, which a lot of style Huggins arts is takes place in the past.

[7:02] But one of the things that he does is he manages to incorporate these like sci-fi elements, but he puts them in otherwise very mundane situations.

[7:10] And I feel like the movie and and that may that adds like a little bit of wonder to it.

[7:15] Like like almost like the kids on bikes joy of like being a kid and all of a sudden there's a giant robot walking past your school bus or something.

[7:24] But the movie does not do any of that.

[7:26] Like it the movie is latched up like locked in on how can we do 90s shit?

[7:30] And how can we throw massive amounts of robots in your eyeballs 90s shit for a little bit like there's some it's set in the 90s,

[7:38] but it never really feels like they're taking advantage of it in a way like in a 90s way.

[7:43] Like I don't know.

[7:43] It was like, oh, yeah, not enough hyper color shirts, but the way that like as much as you know,

[7:48] like Stranger Things really makes the most of it being set in the time.

[7:50] It's set.

[7:51] I feel like like it's always reminding you that you're in that time.

[7:54] Whereas there was whole parts of this movie.

[7:55] I was like, oh, yeah, this is set in the 90s.

[7:57] Like I kind of forgot, you know, but also the the also that like the well, we'll get into it.

[8:02] Also like that.

[8:03] They're like the the I think they thought there's gonna be a lot more mileage in Mr.

[8:08] Peanut being the leader of a robot Rebellion than they're really seem to you know,

[8:12] the thing about the Mr.

[8:13] Peanut thing is the first time I saw him.

[8:16] I got my one like bit of enjoyment out of the movie and then it became an important plot point.

[8:22] Like I like just seeing Mr.

[8:24] Peanut signing peace accords with Bill Clinton and I like a zealot Force Gump style insertion.

[8:33] That was fun.

[8:34] But then I didn't need that to be more than just a one-off.

[8:37] You need that character to come back.

[8:39] Yeah, you didn't need him to show up with a fucking sword cane and getting a fucking sword fight with another robot.

[8:45] Yeah, let's uh, let's get into it.

[8:48] Let's get into what the electric state.

[8:49] Yeah, tell us all about it.

[8:50] Dan Dan's doing the summary today.

[8:52] So buckle up.

[8:53] Mm-hmm.

[8:54] Well, it's a song that has a dance to it.

[8:56] You sort of slide.

[8:57] Oh wait.

[8:57] No, that's a different thing.

[9:00] The 1990 Dan.

[9:01] Are you sure you're not the dad of the three of us?

[9:04] No, I you know, I just loved sort of growing into dad jokes, even though I was, you know, I don't have a kid.

[9:13] Actually, like I'd like to get into the age where it's like, oh my habit of making jokes just to irritate people is sort of like understood by the culture.

[9:23] Now.

[9:23] I think what you're what you're finally understanding is that you don't you don't become a dad and tell dad jokes.

[9:29] You become an older man who tells dad jokes and you have a kid.

[9:31] So you have someone to tell those jokes, right?

[9:33] You know, it's going to happen when you were a younger dad or a younger man when I was a younger dad when I wore a younger dad's clothes.

[9:42] People were more apt to put up with those jokes because I don't know about that.

[9:49] Okay, sing us a song.

[9:51] You're the piano.

[9:51] Dad, sing us a song tonight.

[9:55] A bottle of dad and dad.

[10:00] Get your bye tonight.

[10:01] Oh, yeah, OK.

[10:04] We're on the dead Easter, Alexa.

[10:07] I forgot what one of these in-person things was like.

[10:09] Yeah. Yeah.

[10:10] You also forgot that I grew up in the land of Billy Joel, the tri-state area.

[10:15] I'm going to take you to a magical land of Billy Joel.

[10:19] We eat dad and start the fire.

[10:21] Where's he's got he's got one of those rest stops named after him, right?

[10:24] And I don't think he does.

[10:26] But like they named all the other rest stops after a celebrity.

[10:29] A lot of big crash in New Jersey, which which well, he's more of a Long Island guy.

[10:33] Yeah, you're right. I'll shut up.

[10:34] Yeah. I mean, but there are New Jersey restaurants.

[10:36] Walt Whitman has one named after him.

[10:37] And also Vince Lombardi, you know?

[10:39] Yeah. And like Jon Bon Jovi, Jon Bon Jovi.

[10:41] Yeah, there must be pictures.

[10:43] I mean, there isn't a Springsteen one because they felt it was not

[10:46] it was not a big enough tribute, but he's a Long Island guy.

[10:50] He's a big in New Jersey, but he's not from New Jersey.

[10:52] OK, well, this is good to hash out to the electric state, which is Billy Joel.

[10:57] I mean, there is some New Jersey talk in it.

[11:00] I'm sure there's at least one Billy Joel song that gets played

[11:02] at some point during this thing.

[11:05] I'm not sure about that.

[11:07] It just seems like there was a stranger.

[11:10] That's right. Yeah, let's go frame by frame.

[11:13] Yeah, let's get out.

[11:14] Jewelers loop.

[11:16] Is someone in the background?

[11:18] Let's look at the audio, the audio waveform.

[11:21] Yeah, yeah, yeah.

[11:24] I see if you identify any William Joel songs in this.

[11:29] So this movie is a picture of Jesus with some crabs.

[11:33] That's not what I asked for.

[11:34] I this movie is directed by the Russo brothers.

[11:36] Right. And they've been outspoken in saying they think is great.

[11:39] Right. They when they say it, they say it so confusingly that it's kind of hard.

[11:43] And this movie you would think would be a movie making a statement about

[11:47] about that, but it's not.

[11:48] It's the it's the most basic kind of robots or people, too,

[11:51] when they get smart enough that we've been seeing in science fiction for a hundred.

[11:54] Yeah, well, it's that.

[11:55] But it's also it's also an unplugged message.

[11:57] It plays both sides.

[11:58] Yes. It also says the it's like robots are people to also get off your screens.

[12:04] It's it. But it's and it's I mean, just the fact that like so much

[12:06] this movie is built on the ready player one, a model of the future

[12:10] where everyone just has a headset on all the time.

[12:12] Yeah, but the headset means that it's also that movie surrogates

[12:15] that we did with Bruce Willis many years ago.

[12:17] And we did ready player one, right?

[12:19] I know. I've never seen it.

[12:20] Oh, wow. I read the book and I said, I've never seen this movie.

[12:23] Yeah, it's that that is one of the books I dislike the most.

[12:27] Well, finishing it is.

[12:28] Yeah, no, the same way it was one of these books was every 30 pages.

[12:31] I was like, I hate this book. Why am I still reading it?

[12:33] Yeah. And I was like, I got to see if it gets dumber.

[12:35] It did. Yeah.

[12:37] So the electric state.

[12:38] Yeah. So we start out in 1990 and Millie Bobby Brown, who is,

[12:44] you know, been, you know, is Netflix's house starlet.

[12:48] What else is she in?

[12:49] Well, aside from Stranger Things, she was in the two Enola Holmes movies.

[12:54] And then she was in some movie where she fought a dragon.

[12:56] That was also an Enola Holmes versus the dragon.

[12:59] How old is she supposed to be?

[13:01] This is also my question.

[13:02] In 1990, because in 1990,

[13:05] I'm sorry to jump forward.

[13:07] In 1994, she still is like a high school.

[13:10] Yeah, she's treated like she's a minor.

[13:12] The first we see her, it's 1990.

[13:14] And her younger brother, I thought, is taking a college test.

[13:17] And she's talking about it made it sound as if she was a college student

[13:20] and he was going to join her at college.

[13:22] Then in 1994, suddenly she's in a high school class.

[13:24] I was like, what happened? I don't understand.

[13:26] And also there's something.

[13:27] Well, he was also he's like super genius.

[13:29] But I thought she was older than him.

[13:31] Yeah. Yeah. But he's like, yeah, he's skipping ahead.

[13:33] He looks like he's like 15.

[13:35] So if she's older than him, she should be college four years later.

[13:37] She should be in college.

[13:39] Now, I was like, did she get so did she go to jail

[13:41] and then she had to go back to high school?

[13:43] Be happy that they didn't de-age digitally.

[13:46] That would have been pretty awesome.

[13:47] That would have been funny.

[13:48] They're already young.

[13:50] But speaking of speaking of her appearance like Stewart.

[13:54] No, I'm just saying, I like it's like she has too much makeup on.

[13:57] Like she looks like like she's like poreless almost.

[14:00] She looks she looks very it's kind of jarring in compared to all the like

[14:04] beat up robots. I certainly never.

[14:07] I don't know her real age.

[14:08] I never bought her as a high school age character.

[14:10] You know, I mean, I mean, I'm not like being critical.

[14:13] I just feel like it's a choice that makes her look very clean.

[14:16] The other thing is that, yeah, that's what I'm saying.

[14:19] The other thing is, there's nothing about that character

[14:21] that needs to be that age either, you know, except that then she has to be have,

[14:25] I guess, Jason Alexander as her mean guardian.

[14:27] Anyway, she sees her brother aforementioned brother, Christopher.

[14:32] She's watching him take a super complex math test.

[14:35] Yeah, because he's a super genius.

[14:37] And outside they run into an army dude who's like,

[14:39] why are you wearing a cartoon shirt with a robot on it?

[14:42] We're going to put the shirt has a robot on it.

[14:44] It's not a cartoon shirt.

[14:45] I mean, it's not like he didn't get it from Toontown and put it on.

[14:50] Parse that out.

[14:51] I don't know.

[14:52] They're they're imagining he's wearing like animated shoes that that scream.

[14:55] Yeah, yeah, yeah, yeah.

[14:57] A war. Other than that, they're pretty quiet.

[14:59] Yeah. Otherwise, a war with the robots.

[15:01] What's that?

[15:01] Well, luckily, we get a montage of various TV reports.

[15:05] They really explain the idea of a war with with robots

[15:09] that don't want to be servants anymore, as if this is a new idea.

[15:12] We've never seen before and we would never understand it.

[15:14] When this was handled better by one of the animatrix cartoons.

[15:17] Yeah. You know, 30 or 20 years ago, it's and I could be wrong with this.

[15:21] But it's my impression from reading about the book that the war in the book

[15:25] is never explicitly, you know, like it's not like necessarily

[15:28] between robots and humans or whatever.

[15:30] There's just more like the Clone Wars.

[15:31] There's just a war. Yeah.

[15:32] Well, they just mention it and it's you don't know about it.

[15:36] Yeah. They're just like, hey, that there was a war.

[15:38] They they present in this montage the idea that the American military

[15:43] just cannot handle the onslaught of robots because they never sleep.

[15:47] They never stop.

[15:48] And when we see these robots fight finally in the movie, they suck so bad.

[15:51] Yeah, they're so easily taken down.

[15:53] And then they don't really even have weapons.

[15:55] They just throw shit and they throw like mail at you.

[15:57] Yeah. And they hit you with their fists.

[15:58] Yeah. We should be clear that most of these robots are like animatronic style.

[16:04] The idea is that they were like the country bears.

[16:06] They're descended from Walt Disney's.

[16:08] Yeah. Like Chuck E. Cheese and whatnot.

[16:09] Yeah. These are not like kill bots from shopping mall.

[16:12] They're not 80 to nine. Yeah, they're not.

[16:15] They're not even eating McClurg's.

[16:17] No, they're not.

[16:18] Little Edie from from Grey Gardens.

[16:22] That would be so now I want to see the electric state, but it's just

[16:25] it's just it's just an idiot little lady.

[16:31] Little Edie riding on Edie to own

[16:34] I to Italy.

[16:35] Elliot, the length of this info dump that you suggest, though, like it

[16:40] it really is fast.

[16:42] Well, it moves fast.

[16:43] But it's true that like this is not a complex idea to get across.

[16:46] But actually doing it in such detail over a montage

[16:52] made it more confusing to me than just like.

[16:54] Yeah, because you don't know what information is important.

[16:56] You don't know what you need to know.

[16:57] And but this is a movie that is constantly explaining everything to you.

[17:00] Yeah, they feel like you need to know.

[17:01] And they like.

[17:02] But they show you Chris Pratt for a moment

[17:04] because you can kind of see what he was like when he was a soldier.

[17:06] Starship Troopers has like a similar kind of opening montage.

[17:10] But you know what?

[17:10] Starship Troopers rules.

[17:12] But Starship Troopers also doing it for a very specific reason.

[17:15] There's a stylistic reason and there's a thematic reason that they like

[17:17] they want it to look like old school propaganda to get across the idea.

[17:21] Whereas this is just information dump.

[17:22] Yeah.

[17:23] And so much of those those those little cuts in Starship Troopers

[17:27] are about tone really more than it is about the the information

[17:31] which you get in the movie itself.

[17:33] I really liked when Starship Troopers hit like Netflix or something

[17:36] after not being readily available digitally for a long time.

[17:39] And a whole new generation was exposed to it.

[17:42] And they're like, oh, this is pretty fascist, dude.

[17:45] It's like that was very funny.

[17:48] It's a cool, cool media literacy.

[17:50] Well, I mean, it's just history repeating.

[17:52] People did not understand at the time when it first came out.

[17:55] They were like, oh, like hooting and hollering.

[17:56] And I didn't.

[17:58] And I like I don't want to like fucking pump myself up too much.

[18:01] But like I was in the theater, I'm like, oh, yeah, this is fun.

[18:04] This is like, yeah, I found it so baffling that it was confusing to a whole.

[18:09] It is that kind of stuff happens a lot.

[18:11] And it's very surprising where you're a movie that is very clearly

[18:14] going for a specific idea that seems obvious to us.

[18:18] The sophisticated, you know, literate and media literate types.

[18:21] Thanks. Yeah.

[18:22] Normally you don't let me in on that shit.

[18:23] But that even that even the critics at the time will will not get it.

[18:26] Will like not understand.

[18:28] Yeah. You know,

[18:29] except for Dan's fave, Armand White.

[18:32] But it reminds me of, though, it also reminds me of like the Coen brothers

[18:35] for years kept getting attacked for.

[18:36] They hate their characters.

[18:38] They're so mean to their characters.

[18:39] And it was like, have you watched their movies?

[18:41] Like like their characters are funny and they're in bad situations

[18:45] that they have to get out of.

[18:46] But you like the idea that the Coen brothers are making fun of their characters

[18:49] in a way that is not OK or something like that.

[18:51] Yeah, it always felt very strange to me.

[18:53] Um, there is some important stuff to get out of this exposition dump robots.

[18:59] We meet a Stanley Tucci playing Ethan Skate,

[19:02] who is the head of a very real name, the head of a company called Sentry.

[19:07] But it's spelled with an E at the end instead of a Y, which was annoying to me.

[19:11] Yeah. And also it's it's also because it's like in the future,

[19:14] there will be no vowels in the names of companies.

[19:16] Yeah. And I guess it's 1990s.

[19:18] So his big innovation was like, hey,

[19:22] we can fight robots with robots if we put the brains of humans

[19:26] into these robot drones and not a little.

[19:29] So he invents a helmet that allows you to remotely control a robot body

[19:33] that has a little screen with your face on it.

[19:35] Yeah. Like like, uh, uh, why am I forgetting?

[19:38] Like Tom Noonan in Robocop two.

[19:40] You know, the thing is, is that I thought the problem was that

[19:44] like the robot brain doesn't need sleep.

[19:47] So like, wouldn't the human brain still need sleep when they're piloting?

[19:51] Yeah. And also like, can you imagine how incredibly expensive it is

[19:55] to make a robot double for every soldier or for at least enough that are going to.

[20:00] fight a battle with these, like, there's nothing about the solution that makes any sense.

[20:02] I mean, have you seen the American military budget?

[20:04] It's bonkers.

[20:05] That's true.

[20:06] But it's also one of those things where it's like, hey, you know what?

[20:07] The American military also has planes that drop bombs on things.

[20:10] You don't need to fight hand-to-hand with robots.

[20:13] I know that, look, I know that for this sort of thing, you just gotta shut that part of

[20:17] the brain up and like go with it.

[20:19] But that was my problem with Pacific Rim.

[20:20] I'm like, is the way to fight these monsters really to build a big robot that has to be

[20:26] controlled by two people because of some drift brain-fusing technology?

[20:31] If this movie postulated the way to defeat the robots is by giant mechs, I'd be like,

[20:36] hell yeah.

[20:37] Little human-sized mechs?

[20:38] Hell no.

[20:39] It doesn't make sense.

[20:40] But also, it's the same way at the end of that Jurassic World, was it Fallen Kingdom?

[20:43] Where at the end, Jeff Goldblum's like, I don't know if we're going to be able to survive

[20:46] the dinosaurs.

[20:47] And it's like, yeah, I think we could take them.

[20:48] I think we can blow up the dinosaurs if we need to.

[20:51] Humans make a lot of things extinct pretty easily.

[20:54] We're primitive to the best species that grew at wrecking other species.

[20:57] We're pretty much going to end our own species.

[21:01] Body size of building, brain size of penis.

[21:04] But yeah, so his solution is have remote control robot bodies and that wins the war.

[21:11] And I wonder if there's a, if this was a smarter movie, I would wonder if there was some implication

[21:16] that this whole robot war was a way of his just getting his product out there and taking

[21:23] over the system.

[21:24] And so because then his helmets go into consumer mode and now everyone in the world is using

[21:29] them to sit in a lazy boy chair all day with a helmet on, sending a robot out to do what

[21:34] you want to do.

[21:35] They don't really make it clear how this helps.

[21:41] They're saying you can split your time.

[21:44] I guess it's just that you can sit at home.

[21:46] Is that all it is?

[21:47] Yeah, it's fucking severance.

[21:48] Live remotely.

[21:49] Well, no, but it's not severance.

[21:50] Like I put down the severance light, but I thought it was more severance where you're

[21:55] like splitting your consciousness somehow.

[21:57] But I don't think you are.

[21:58] No, because they, if as show the one person we really see using it a lot, there are two

[22:01] people we see using a lot, Jason Alexander, who just sits in a lazy boy and has a robot

[22:05] go to the kitchen to get him things.

[22:07] And Giancarlo Esposito, right, who is using it to go out and fight other robots.

[22:12] But they seem to be totally concentrated on what they're doing.

[22:14] It's not like they can, they can't multitask, partly because they're wearing a big fucking

[22:17] helmet on their heads.

[22:18] So they can't do or say anything else, you know.

[22:21] The only other interesting, important to the plot, I'll chase that important to the plot

[22:28] thing is like the word interesting from the record, the robots, you know, in this peace

[22:33] accord are sort of settled on a reservation, the exclusion zone out in the desert.

[22:39] And now, now having learned the basics of the world, we can play this role playing game.

[22:44] Yeah.

[22:46] Elliott, you'll be playing Millie Bobby Brown.

[22:48] OK, great.

[22:49] Stewart, you'll be Chris Pratt.

[22:50] Yeah.

[22:51] Oh, OK.

[22:52] So, Dan, are you Cosmo the robot?

[22:55] Yeah.

[22:56] Beep boop.

[22:57] No.

[22:58] Voiced by Alan Tudyk.

[22:59] Oh, was that Alan Tudyk?

[23:00] Yeah.

[23:01] I mean, I can't get mad by Alan Tudyk getting work.

[23:02] Yeah.

[23:03] Um, anyway.

[23:04] He's got two dicks to support.

[23:05] He's got to buy twice as many condoms.

[23:06] Twice as many eggs for those.

[23:07] Yeah, yeah.

[23:08] Twice as many eggs to feed to the dicks.

[23:09] Yeah.

[23:10] They just swallow him like a snake.

[23:11] Yeah.

[23:12] Yeah.

[23:13] Yeah.

[23:14] It's like the, it's like in Le Petit Prance when you see the snake with an elephant inside

[23:15] it.

[23:16] Oh, I see.

[23:17] With an elephant.

[23:18] Yeah, it's a hat.

[23:19] No, it's a snake with an elephant in it.

[23:20] Anyway, but that's his penis, you're saying?

[23:21] Yeah.

[23:22] Um.

[23:23] When you said Le Petit Prance, I thought you said it meant the little prawns for a

[23:24] moment.

[23:25] I was like, you mean like in Muppets?

[23:26] Yeah.

[23:27] I thought it would be funnier to say it all French-like.

[23:28] Yeah.

[23:29] I don't have a good accent.

[23:30] Um.

[23:32] Yeah.

[23:33] Yeah.

[23:34] Yeah.

[23:35] Yeah.

[23:36] Yeah.

[23:37] Yeah.

[23:38] Yeah.

[23:39] I don't have a good accent.

[23:40] Um.

[23:41] I think your accent's great.

[23:42] Keep going.

[23:43] So, back to Millie Bobby Brown, we can tell it's later and that something bad has happened

[23:46] because now her hair's kind of ratty and she has a hoodie on.

[23:49] Yeah.

[23:50] Does she wear fingerless gloves or no?

[23:51] She just has kind of like long sleeves.

[23:53] But she does have like some sort of like house arrest, uh.

[23:56] Ankle bracelet.

[23:57] Yeah.

[23:58] Never explained, which is fine.

[23:59] Um.

[24:00] Or maybe it is.

[24:02] Anyway, her human robot foster dad, Jason Alexander, is me.

[24:05] Best known as the voice of Duckman.

[24:06] Mm-hmm.

[24:08] And, uh, she goes to school where she gets in trouble because she's the only one who

[24:11] doesn't want to wear one of these neuro helmets, uh, because she does not believe in doing

[24:15] that.

[24:16] And, uh.

[24:17] Yeah.

[24:18] Because that's the thing.

[24:19] Kids don't like looking at screens all day.

[24:20] No.

[24:21] Nope.

[24:22] But she's a rebel.

[24:23] Come on.

[24:24] Yeah.

[24:25] Uh.

[24:26] It reminds me of there was a time when I was in high school.

[24:27] There was a, when I was like a, either a freshman or sophomore, and there was an older girl

[24:30] who I was sitting near, uh, one in a study hall or something.

[24:34] And she took out a cigarette and put it next to me.

[24:37] And I was like, why'd you do that?

[24:38] She goes, I want to see how, I want to see how brainwashed you are.

[24:40] As if I was brainwashed if I didn't want to smoke a cigarette.

[24:44] And I was like, I don't know.

[24:45] It's pretty bad for you.

[24:46] Like, it feels like smoking a cigarette is what I think of as adults doing that's dumb.

[24:51] Man, she sounds like a fucking scientist.

[24:53] Yeah.

[24:54] She does her own research.

[24:55] Yeah.

[24:56] Wake up, sheeple.

[24:57] Lungs crave smoke.

[24:59] They need it.

[25:00] Um.

[25:02] So, uh, yeah, she gets in trouble for not wearing the snore caster.

[25:05] So we go to a disciplinary hearing where we learn what happened, that her family died

[25:09] in a car accident.

[25:11] The guidance counselor or whatever that she's talking to doesn't know this information.

[25:14] She's reading the file.

[25:16] She's like, she goes, go to the next page of the file.

[25:18] And she goes and reads parents killed in car accident.

[25:20] She's like, no, so she didn't do any research.

[25:22] I should have looked at this before the meeting.

[25:25] I just read parents were, and then it went to the next page and I didn't have time to

[25:28] turn the page.

[25:30] So I thought it was parents were Jamaican.

[25:33] Parents were doing great and they still are.

[25:36] Yeah.

[25:37] Um, uh, she wakes up in the middle of the night to find a Cosmo robot outside like the

[25:42] cartoon on the t-shirt.

[25:45] And she's initially scared.

[25:46] This was a cartoon that her and her brother loved.

[25:47] Yeah.

[25:48] They watched this together.

[25:49] She's scared, but there's something about this robot.

[25:52] And he seems to indicate to her that maybe he's her brother somehow.

[25:56] I have some issues.

[25:57] I wanted to talk through this a little bit cause I had some issues with this that I think

[25:59] typify a major problem I have with the movie, which is that in this movie, characters don't

[26:04] do things because that's what their character feels like they should do.

[26:08] They do things cause that's what characters do in movies.

[26:10] So she hears rattling in her trash hands.

[26:12] I live in a suburb basically.

[26:14] I live in Los Angeles, but it's a suburban part of Los Angeles.

[26:17] Yeah.

[26:18] If I hear my trash cans, I like, Oh, that's an animal outside.

[26:20] I'm not going to bother with that.

[26:21] Whereas she immediately assumes something that she has to investigate is going on.

[26:25] She goes out with what, like a taser or a knife.

[26:27] I can't remember.

[26:28] I don't remember.

[26:29] She, she sees this robot, the robot, the robot chases her inside and she's hiding from it.

[26:36] She's scared of this robot.

[26:38] And then when Jason Alexander comes in and starts fighting the robot, she's like, robot,

[26:41] we got to get out of here.

[26:42] And they're on the run together.

[26:43] And it was like, wait, there's no reason for you to investigate.

[26:46] There's no reason for you to be dealing with this robot.

[26:47] There's no reason for you to now be friends with this robot because the robot makes a

[26:50] hand signal that she recognizes as her brothers.

[26:53] But it's also the same thing that Cosmo, the robot did in the cartoon show.

[26:56] That's why her brother did.

[26:57] Yeah.

[26:58] The idea that a Cosmo robot would make the Cosmo signal and the robot can't communicate

[27:03] with language because it only speaks in catchphrases.

[27:06] Yes.

[27:07] It only says what the Cosmo robot is programmed to say.

[27:09] But the idea that now she's like, I guess I'm on the run.

[27:11] I'm a fugitive now.

[27:12] Why?

[27:13] I don't understand.

[27:14] Yeah.

[27:15] Not to think there's a reason for you to do this, except that's what these movies do.

[27:17] Yeah.

[27:18] Yeah.

[27:19] There's this fracas.

[27:20] Millie Tazer, Jason Alexander, gets Cosmo to undo the thing on her ankle and they drive

[27:27] to the outskirts of the exclusion zone.

[27:29] And she asked Cosmo, hey, Cosmo, how'd you get robofied?

[27:34] My brother.

[27:35] Dan, that was the lightest way you could have said my brother, which is fine.

[27:41] Literally.

[27:42] Yeah, that's true.

[27:43] He sounded like a narc trying to talk your way into a Black Panther meeting.

[27:49] But Cosmo can only speak in pre-programmed phrases like a Woody when people are around

[27:55] or Bumblebee or whatever.

[27:58] But he's able to make her remember.

[28:01] Or a real life robot.

[28:02] Yeah.

[28:04] A normal non-brother robot would also be like that.

[28:07] Maybe it's an idea I didn't have to explain.

[28:11] She makes her remember a doctor from after the car accident, and that's played by Kihwe

[28:17] Kwan.

[28:18] Academy Award winner.

[28:19] Who is the one who told her that her brother was dead.

[28:24] So they try to find him, Cosmo points to a map saying he's in the exclusion zone.

[28:31] So Millie's like, how do I get into this exclusion zone?

[28:35] It seems to say that people aren't supposed to be there.

[28:39] But her foster dad used to get a bunch of black market stuff that's plundered from there.

[28:44] Yeah, we need like a Han Solo, Chewbacca team to get in.

[28:48] That's what we need, all right.

[28:49] Probably at this P.O. box, right?

[28:51] Yep.

[28:52] Where we'll find him.

[28:53] And he comes out, they get there, to the P.O. box, and Pratt is introduced coming out of

[28:59] a semi-truck to the strains of Danzig.

[29:01] Chris Pratt.

[29:02] Chris Pratt, to Danzig's singing mother.

[29:05] And you know, I still like him based in those Guardian movies.

[29:10] He's kind of annoying otherwise, but I have affection there.

[29:13] But he's not like the cool Danzig semi-truck guy.

[29:16] Well, that's the thing.

[29:17] When you play mother, literally the message of the song is this guy is such bad news.

[29:23] Tell your children never go near him.

[29:25] Because he's going to bring them to do the worst things they can do.

[29:27] And then you introduce a guy who's like, you know, Star-Lord is already a cut-rate Han

[29:31] Solo, and now this character is a cut-rate Star-Lord.

[29:33] And he's just kind of like a loser who roams around in a truck.

[29:35] And they do the joke where he has a signal phrase that his partner is supposed to use

[29:41] to get him out of trouble, and it doesn't work the first time, and it does.

[29:44] They do the same joke later with the bots.

[29:46] And I was like, you can't do this joke twice in the same movie.

[29:49] Well, and the trouble he's in is that he's trying to sell some goods to Academy Award

[29:53] nominee Coleman Domingo.

[29:57] Who is wearing, you know.

[30:00] He's a fashionable guy, this time he's wearing a robot.

[30:03] Yeah, wow.

[30:04] And he drives up on a motorcycle too,

[30:05] which I think is very funny.

[30:07] I better be watching something, a heavy metal type movie.

[30:10] If you can have a robot drive a motorcycle.

[30:12] I know he probably wasn't as big when this was shot,

[30:17] but like, I think this was in development for a little while,

[30:20] but like, it is wild to me that he just shows up

[30:23] basically to be a drone and get zapped.

[30:26] Yeah.

[30:26] Well, it also means that he only shot

[30:28] the footage of his face.

[30:29] He didn't do anything else, probably.

[30:31] I don't think he was doing mo-caps for the robot, no.

[30:34] But yes, yes, playing,

[30:35] of any of this, I'll say playing mother

[30:37] implies a tougher character than we're gonna get.

[30:39] Yeah.

[30:39] But like I said-

[30:40] What a great song.

[30:41] Showman, it's great.

[30:42] Showdown with-

[30:43] Hard to do in karaoke, warning.

[30:44] Yeah, yeah.

[30:45] Showdown with Coleman Domingo-Bott

[30:48] and Pratt's buddy Herman zaps him

[30:51] with a little electro zap.

[30:52] And Herman's a robot.

[30:53] Herman's a little robot.

[30:54] So they're a, like Stuart was saying,

[30:56] a Han Solo Chewbacca team.

[30:57] This is a guy and a robot,

[30:58] but people and robots are supposed to hate each other.

[30:59] Yeah, they hate each other,

[31:00] but not this time.

[31:01] I mean, they, you know,

[31:02] they razz each other a little bit,

[31:03] but it's, you know,

[31:04] there's real love there, you know.

[31:06] Sure.

[31:06] We get a little scene of-

[31:07] Who does Herman's voice?

[31:09] Anthony Mackie.

[31:09] Oh, it is Anthony Mackie, okay.

[31:10] Yeah.

[31:11] But it's like pitched up.

[31:12] Heavily modulated.

[31:14] That is the one AI they admitted to using

[31:16] is with some of the voice effects.

[31:19] It's funny that they would have to use AI for that,

[31:20] because I feel like you would just use Pro Tools

[31:22] or something.

[31:23] Yeah.

[31:23] Yeah, I mean, I feel like, yeah, yeah, it's-

[31:27] It's funny that they would use AI for a lot of things

[31:29] that could easily be done in other ways.

[31:31] Yeah.

[31:32] Meanwhile, a Giancarlo Esposito robot.

[31:35] Like, you can get a real kid

[31:36] who looks like Haley Joel Osment.

[31:37] Maybe even Haley Joel Osment.

[31:38] You don't need an AI robot

[31:39] that looks like Haley Joel Osment, you know.

[31:42] Yeah.

[31:43] Boy, got that movie.

[31:44] I mean, you see,

[31:45] there's that part where he's chewing

[31:46] and it totally screws up his face.

[31:47] Haley Joel Osment could chew things.

[31:48] Just hire him to do it.

[31:49] Yeah, man.

[31:53] Real John Henry tale.

[31:55] Sure, in between a man and a human chewing robot,

[31:57] or not a human chewing robot, a food chewing robot.

[31:59] We can chew this food better.

[32:01] They say that machine,

[32:02] it's Matt Sanger who does it.

[32:03] Matt Sanger, they say this machine

[32:05] can eat a whole Denny's Wonka menu.

[32:08] Matt Sanger's like,

[32:09] oh, I'll compete against that machine.

[32:11] No, you'll die.

[32:12] You'll die, don't do it, Matt Sanger.

[32:14] You don't have to.

[32:15] There's literally no reason.

[32:19] It's just not, I mean,

[32:20] we all like that this is a service you provide,

[32:22] but mostly because it destroys your body.

[32:24] Like, we don't need a robot to do it anyway, so.

[32:27] Okay.

[32:30] A Giancarlo Rasmusito robot is on Bobby Brown's trail.

[32:35] So he was a famous general during the robot wars.

[32:38] They call it the Butcher of, where is it?

[32:40] The Butcher of like,

[32:41] Schenectady. Schenectady, yeah.

[32:42] Uh-huh, yeah.

[32:43] And now he's like,

[32:44] essentially a chewing robot.

[32:45] He killed a Philip Seymour Hoffman bot.

[32:47] That was Schenectady.

[32:48] Oh, yeah, okay, that makes sense.

[32:51] And he's, yeah, he's like a little,

[32:53] like he's dressed up like an old time sheriff.

[32:56] And in the study, like his office,

[32:59] that he wears his cool drone rig,

[33:02] we see like trophies mounted on the wall.

[33:04] Yeah, robo heads.

[33:05] Robots he killed.

[33:08] He hates bots.

[33:09] So. He just hates them.

[33:11] Millie and Robo Bro are stowed away in the truck.

[33:15] They go back to Chris Pratt's Black Market Warehouse lair.

[33:19] Which is huge.

[33:20] He has so much stuff in there.

[33:22] And it's just him and the little robot who's dealing,

[33:24] so I don't know how they moved all that stuff, but you know.

[33:26] Yeah, time, you know.

[33:27] A lot of unfunny Zagnuts arguing.

[33:30] So yeah, why particularly were they talking about Zagnuts?

[33:33] Just because. It's a fun name.

[33:34] Yeah, it's a fun name.

[33:36] There's a bit where they have a wall

[33:38] of Billy Big Mouth basses that are motion activated.

[33:41] Well, that's, that.

[33:42] Plays into the plot.

[33:43] That is at least used as a plot element.

[33:45] It's true, yeah.

[33:45] The motion detectors on the Billy Bass alert.

[33:48] Just like in Dane's favorite show, The Sopranos.

[33:51] Yeah, I mean, you said that as if that was a weird thing

[33:53] to have as someone's favorite show.

[33:55] Because this is a great show.

[33:55] Dane's never watched The Sopranos.

[33:56] Have you never watched The Sopranos, Dan?

[33:58] I've watched the pilot.

[34:00] Obviously not from New Jersey.

[34:02] I've watched the pilot twice, both times.

[34:05] Oh, you forgot there's more episodes.

[34:07] You don't have to keep watching the pilot.

[34:08] You can watch episode two.

[34:09] He's like, this is great, but there's no more.

[34:11] It didn't really hook me either time.

[34:13] You need to give it a couple episodes, I think.

[34:14] But that, I mean, it's a really good pilot,

[34:16] but watching it again, it feels like an old TV pilot.

[34:19] It does not feel like the kind of show it would become,

[34:22] you know, or that others, but it's a great show.

[34:24] You gotta watch that first couple seasons.

[34:25] I mean, I'm sure I would like it if I gave it a chance,

[34:28] because the exact same thing happened to me with Mad Men,

[34:31] where I like watched the pilot,

[34:33] and I'm like, I don't like this.

[34:34] Like, it seems like really easy with all these,

[34:36] like, it used to be this way,

[34:38] and then I gave it a fuller chance later.

[34:40] I'm like, oh, it gets out of that really quickly,

[34:42] and it just becomes a good show.

[34:44] And I feel like that first season of Mad Men's

[34:46] probably the weakest.

[34:48] I think so, because so much of it is about,

[34:50] are people gonna find out who Don Draper really is?

[34:53] And once they dispense with that,

[34:55] it just becomes a show about these characters.

[34:57] And by the, yes, I think they're-

[34:58] And the secret pregnancy thing is kind of weird.

[35:01] And once it gets a little less soapy,

[35:04] and then it becomes so much better.

[35:05] The same way that, like-

[35:06] Once the characters are established,

[35:07] and the whole point of every episode is not the plot,

[35:09] but what are the, let's do odd pairings of characters.

[35:12] Yeah, exactly.

[35:14] Anyway, by this point in the movie we're talking about-

[35:17] Well, you gotta watch it at least to the point

[35:18] where Pete goes, not great, Bob.

[35:20] It's just one of the best lines in the whole show.

[35:22] At that point, that was Vincent Carthizer

[35:23] shaving the front of his hairline

[35:25] so that he'd have a bald spot, which is incredible.

[35:29] Like, that is such dedication.

[35:30] Yeah.

[35:33] So our heroes are-

[35:34] Our electric state, right?

[35:35] Are together now.

[35:36] Yeah, I know, we wanna talk about better things.

[35:38] Yeah.

[35:38] But we could talk about better things,

[35:40] featuring Mikey Madison, Academy Award winner.

[35:45] There's some argument between Chris Pratt

[35:48] and Millie Bobby Brown about whether

[35:49] he's gonna help her or not.

[35:51] It's all like standard-

[35:51] It's so pro forma.

[35:52] It's like, there's no reason for him to help her,

[35:55] but except that in these movies,

[35:56] that character ends up helping the other character.

[35:58] They do have a moment,

[35:59] they have one conversation later in the movie

[36:01] that I really liked a lot.

[36:02] But until that moment, it's a lot of like,

[36:04] but I'm the loner, rogue rebel who doesn't care about it,

[36:08] doesn't stick his neck out for anybody.

[36:09] Well, time for me to help you right away.

[36:11] Yeah.

[36:12] Yeah.

[36:13] So, but this is interrupted by the rival of-

[36:16] Much like the girl.

[36:16] Girl interrupted, yeah.

[36:19] John Carlo Bob.

[36:20] So has that girl ever stopped being interrupted?

[36:22] Or is it Dan being interrupted?

[36:24] Dan uninterrupted, starting Winona Ryder as Dan.

[36:27] Oh, wow, Dan's like,

[36:29] I do think I wanna sleep with myself.

[36:30] Or maybe it starts Dangelina Jolie.

[36:33] Hold on.

[36:34] Oh, yeah.

[36:34] I know she wants to star.

[36:35] He's inhabiting me.

[36:38] So that's your fantasy?

[36:40] Yeah, it's like the sex of the mind.

[36:42] So that's a working David Cronenberg movie title.

[36:52] No, you-

[36:53] Throw crime in there somewhere.

[36:55] There is no reason for Pratt to help her.

[36:57] So of course, John Carlo drone has to show up

[37:01] to provide some sort of motivation.

[37:03] He's with the Robot Deactivation Task Force.

[37:07] I like his little gun.

[37:10] It's like super powerful.

[37:11] I think that's kind of cool, his little pistol.

[37:12] I think there's something.

[37:13] I mean, he's supposed to be a baddish guy right now.

[37:15] So it's okay.

[37:16] The fact that he is literally risking nothing

[37:19] in these scenes.

[37:19] He's just a robot, you know?

[37:22] Pratt tries to do the same.

[37:24] How come the soldier robots never rise up

[37:26] and try to take over?

[37:28] Well, they're just drones.

[37:29] They don't have AI in them?

[37:31] Yeah, they need our human consciousness.

[37:34] That's fair.

[37:36] Pratt tries to do the zap,

[37:38] electro zap trick again with Herman,

[37:40] but-

[37:41] Does not work.

[37:42] Yeah, yeah.

[37:43] Shields himself.

[37:44] And Yarnells himself.

[37:45] There's some destruction,

[37:46] but they finally escape,

[37:48] caving in the hideout on top of his drone,

[37:52] which both destroys Pratt's home.

[37:55] So I don't understand why he's not really mad

[37:58] at Bobby Pratt.

[37:59] He's like, well, you wrecked all my stuff.

[38:01] So I guess I gotta help you now

[38:02] because we're on the run, I guess.

[38:04] Well, they're trapped in the exclusion zone now.

[38:06] They're trapped on the bad side of the wall, I guess.

[38:08] That's a death sentence.

[38:10] Yeah, because there's scavs running around,

[38:11] scavenger robots.

[38:12] Which are explained in detail.

[38:15] They spend so much time.

[38:16] So Herman, who is this construction robot,

[38:19] fits himself inside a much larger robot

[38:21] that looks exactly like him.

[38:22] Kind of like it.

[38:23] Yeah, that part's kind of cool.

[38:24] I mean, to be honest,

[38:25] I thought I was gonna hate this robot character.

[38:27] He's pretty fun.

[38:28] Yeah.

[38:28] He gets some good lines.

[38:29] He does some neat stuff, yeah.

[38:31] Anthony Mackie's performance is fine.

[38:33] So they go across the exclusion zone in a van

[38:37] that Herman's carrying on his shoulder.

[38:39] This is one of the dumbest,

[38:41] another one of these dumb moments

[38:42] where it's like, hey, what about that van?

[38:44] The engine doesn't work.

[38:45] Well, what if that robot can carry us?

[38:47] If you're implying that he's gonna,

[38:49] if you're suggesting he's gonna carry us in that van,

[38:51] it is not gonna happen.

[38:52] Cut to him carrying the van.

[38:53] It's like, why was he arguing against it?

[38:55] Why did he change his mind?

[38:57] Don't understand.

[38:58] Doesn't matter.

[38:59] It's just there for the cut joke,

[38:59] which doesn't make sense, you know?

[39:02] We get a little Pratt backstory.

[39:04] He was rescued by Herman during the war.

[39:06] A flash Pratt.

[39:06] Yeah.

[39:08] He became an outlaw

[39:09] because of their forbidden robo-human connection.

[39:12] Guys, it would be, I would like this way more

[39:16] if we found out they were lovers.

[39:17] Which you could kind of imply at the end.

[39:19] Yeah, Pratt does have that line where he's like,

[39:21] I think I might like you as more than a friend.

[39:23] He goes, I love you as more than a friend.

[39:25] But that never is followed up,

[39:26] but I would like it if they were lovers.

[39:27] Yeah.

[39:28] That'd be great.

[39:29] The best part of the Rebel Moon series

[39:32] is that the bad guy is in love with a tentacle monster.

[39:34] Yeah, hands down.

[39:35] Meanwhile, Stanley Tucci is hanging out in VR reality.

[39:39] He's just going all around Italy trying-

[39:40] I have to add, it's reality.

[39:41] It's like an ATM machine.

[39:42] Yeah, VR reality.

[39:45] What the hell's wrong with me?

[39:47] In virtual reality with his dead Italian mama,

[39:49] but it glitches and he calls his underlings.

[39:52] What's wrong?

[39:53] One of two times in the movie

[39:54] that you hear him say stuffed peppers.

[39:59] Why is my-

[40:00] Why is my fantasy of my mom of still being alive feeding me cannolis glitching out and it's because

[40:06] Christopher has somehow

[40:09] Neurologically escaped his robot body and he is powering this but be a question mark question mark

[40:15] So all of all we find out that the entire neuro helmet center system

[40:20] Which encompasses the entire world is entirely flowing through Christopher's comatose brains super brain. Yeah. Yeah

[40:26] Yeah, we don't we don't get all the details now, but that's what happens

[40:29] It's because he's got such a super brain

[40:32] Brain allows them to do all this computing power. Yeah, but it's also like well if the human brain is that potential maybe we don't

[40:39] Need computers. Yeah, maybe I mean robots to do stuff. I don't know but I mean

[40:45] It reminds me a lot of how in the 41st millennia

[40:49] humanity is only able to travel through the stars due to the light of the astronomic on a

[40:54] Psychic beacon projected by the God Emperor of Mankind and it flows from his magic brain similar to Christopher

[41:02] But the only reason he's able to stay alive is by drinking the souls of a thousand psykers every day

[41:08] He is telling the truth. That is what happens the first injury much much like how in the in the far future as well

[41:13] Mankind can travel through the stars by folding space

[41:16] But the only way to do it is with a human brain that has been suffused with the spice melange

[41:20] Which gives them the ability to do it the human brains and it mutates the person

[41:24] All right, quite a third stage mutation is quite something to see

[41:33] Brains I'm reading the stars my destination right now that fuck rock. Yeah, it does rock. It's about brains

[41:42] Teleport with their brain you want around but it gets smarter. Yeah, it's smarter. That's the thing. Yeah

[41:47] It's not like Donovan's brain though, which really is about a brain. Yeah, that's true

[41:52] So meanwhile giant Herman gets toppled by a bunch of animatronics from mall and old mall

[41:58] Uh-huh, and they're taking prisoner by perplex. Oh a magician robot done by Hank Azaria. Yeah, who takes them to that's a

[42:09] You like you can tell the difference between a celebrity cameo robot voice and Hank Azaria doing it like there's a master. Yeah

[42:16] Get so many more notes out of that out of that equipment than anybody else does that instrument they take him to mr.

[42:21] peanut their leader who's

[42:23] Pretty nice to them. Is that house and imagine Connie? Yeah. Okay. Really? I don't know how I missed that

[42:31] It's okay. The voice was coming out of a big robot peanut wearing a monocle and a tie

[42:35] Well, cuz what I thought it was probably a real peanut

[42:39] It is a little offensive. They didn't get a peanut to do the voice. That's so

[42:43] Char and I were watching this movie together. I feel bad for her, but she was like, I'm interested in that. I'm like

[42:51] You chose wrong but

[42:54] As she turned into a corpse and then does yeah anytime there's a movie that features voice acting

[43:00] She's always like who's that? Who's that? I'm like, okay. I'll pull up

[43:04] Do

[43:08] Yeah, that comes in the form of Audrey saying I've seen them before as we watch one of her numerous mystery shows

[43:15] I'm like, well, I'm only half engaged by what's happening. So I'll play I'm DB

[43:19] You're like that's Benedict Cumberbatch. He's the star of the show. He's in every episode Sherlock Holmes. I

[43:24] Wish you didn't have that 51st base disease

[43:29] Your wife has

[43:34] Here's a DVD copy 51st day to recommend this to everyone to watch only informationally not for entertainment

[43:41] It's just the best way of getting across the idea. Well, my parents got a blu-ray player. That was the first

[43:53] That would actually explain a lot based on the fact that I hear the same fucking stories

[44:05] Wow, he doesn't listen to this shit. Wow. Neither do my parents. It's okay

[44:14] I flew home one Christmas and got in the car and

[44:18] You know as you turn the car on the radio comes back on and my voice came up as they had it plugged in

[44:23] And I'm like, oh, oh, you're like mom Ted. Get off my ass. Stop being so obsessed with me. Yeah

[44:28] They're like Dan. Could you explain to us what a wormy boner is?

[44:32] It's very sweet of them, but also I say terrible things here. Yeah. Well, they see the dark side of you

[44:38] So anyway, they find them all there's all these animatronic robots. They're mr. Peanuts the leader

[44:42] It's like a post-apocalyptic mall where a bunch of robots hang out. Yeah

[44:48] Mr. Peanuts is surprisingly nice to them considering, you know, they just had a war

[44:54] He's one of those freedom fighters who just wants the best for everybody and wants to live in coexistence and peace, you know

[45:00] we get a

[45:02] Pretty non-essential flashback to Millie and her non-robot brother. What where she convinces him to stay in college and

[45:09] It just sort of shows that they had a strong bond

[45:11] They need it so that later when the movie tries to hit a high peak of emotion

[45:16] Yeah, it was to an instrumental version of what is it?

[45:18] Wonderwall that you as the audience are gonna dissolve in tears because you know how much a sister and a brother love each other

[45:23] But it gets into the Folgers crystals sister-brother territory where it feels like they are in love

[45:29] Yeah, there's a little of that in the present robot brother projects Cosmo cartoons

[45:35] like the ones they used to watch together to you know

[45:37] Create a link between the two and that somehow it really it all the other robots are in all of the magic of this cartoon

[45:43] Projected as if they're cavemen

[45:48] So there's a postal lady robot who's penny pal Jenny Slate does that boy?

[45:53] Yeah, she delivers a letter that dr. Amherst left for Christopher that was the doctor from the flashback, right?

[46:00] Yes in case he showed up. He had left this letter and mr

[46:04] Peanut takes pity on them and offers to help them get to the doctor without being killed by these scavengers

[46:09] This is also where we meet pop fly the aforementioned pop fly with the voice of Brian Cox

[46:14] He is a robot baseball player who has an infinite supply of baseballs. Yeah, he can spit out of his mouth

[46:20] He's a funny character and yeah, he brags about killing scabs with his bat scavengers. Yeah, so now we have our team

[46:27] This is our core team. Yeah, we got two humans. We got Cosmo. We got Herman penny pal pop fly. Mr. Peanut

[46:35] Seems like a real abdication of mr. Peanuts responsibility for him to go out on this field mission

[46:40] Well, if they leave nothing battle happened to his little mall friend. That's right. That's right. Yeah

[46:45] Also reading that like sentence made me feel like a bunch

[46:50] Movie is so much less fun than that sentence makes it seems like it should be

[46:55] there so they're beset by scavs in this

[46:57] Abandoned carnival and there those are frightened away by the sounds of Marky Mark and the Funky Bunch is good

[47:02] Vibrations and our hero team fall into a trap door and where they meet. Dr. Amherst. Yeah. Yep. That's all true

[47:09] I'm just lurking around like a regular phantom of the paradise. Yeah

[47:13] It would have been cool if he had like a little helmet

[47:16] I mean every other fucking character this movie has a helmet

[47:20] Now this character was originally supposed to be Michelle Yeoh and she's out for something else

[47:25] I believe the Star Trek movie that we did. Yeah, so they said who else is in everything everywhere

[47:29] Oh, yeah, that's kind of what it feels like, right?

[47:32] so

[47:33] between dr. Amherst and

[47:36] Essentially robot. Dr. Amherst a computer that he has converted into him sort of

[47:43] Between the two of them. They explained that Christopher has a special brain that allows blah blah blah blah neural helmets

[47:51] And I wish that's the way they've done it in the movie since he was in a coma

[47:55] They just told everyone hey, he's dead so we can use this juicy brain to

[48:00] Will say I did feel really it made me feel very happy that he is the actor who is now at the point in his

[48:06] Career where they're like who's hot right now throw him into this movie, you know

[48:10] Like every act there's every I feel like there's a lot of actors where it's like suddenly they're in everything

[48:14] Yeah, and I'm like, okay good if he if he's that actor for a little bit that makes me very I'm glad about that

[48:18] I wish that more of them seem to be like things that we're getting good. Yeah

[48:22] I mean, he's mostly and I think that he's gonna be a lot of junk for a while

[48:25] But but he brings a real soulfulness to this to this part

[48:29] Supporting like a supporting actor or actress thing, right? Is that they they make nothing but stinkers after it

[48:34] But yeah, it's like pretty much. I mean that was people getting juniors curse for sure, you know

[48:38] Heath Ledger. Oh

[48:39] Wow, and we but also what do we what's her name?

[48:42] The one who won for West Side Story and was it was just in the area. Yeah

[48:46] Was just in a what was the move the dumb movie that we were craving craving, yeah

[48:52] Yeah, he's just inherently likable yeah on screen yeah, he's a good presence but uh, so anyway Christopher woke up

[49:00] famous a Christopher Walken

[49:08] When I fought the robot war

[49:12] Actually, he should be the robot

[49:14] Scared

[49:20] But if mr. Pina been Christopher Walken

[49:24] Yeah, I think they say what I guess they went with a southern voice because he's mr.

[49:28] Pina, but I wish they've gone for more of either a robot voice or more urbane voice

[49:32] It was a top hat and a monocle the whole point of mr.

[49:34] Pina is he's a sophisticated man about town

[49:36] Yeah, which is not the I know what he Harrelson is not a dumb guy

[49:39] But that's not the feel I get from what he Harrelson. Yeah, and there's something about the design of this. Mr

[49:44] peanut robot

[49:46] Yes, well part of it is that when his mouth moves

[49:49] It's like it's a rubber mask. Yes, there's no like it's not like it's not a metal thing

[49:54] Yeah, so it's just kind of weird it look it does look like they he's the one robot where

[50:00] Yeah, it's supposed to look like a human face that was turned into a peanut.

[50:05] I wonder if the planters people were like, no, we need him to look sexy.

[50:11] His whole brand, his whole brand is that he's a sexy peanut who died and came

[50:15] back as a baby.

[50:21] Bikini model doesn't need a top.

[50:23] Yeah. Yeah.

[50:25] We want his legs to look super fucking skinny.

[50:30] Uh, uh, so we were right in the middle of this boring exposition.

[50:35] Uh, put a garter belt on him.

[50:36] Sure.

[50:37] Yeah.

[50:38] The point is Christopher woke up and when you're going to say Christopher

[50:42] walk,

[50:49] when Skate wouldn't let the doctor to free, uh, the, the awakened Christopher,

[50:54] he made it so his brain could connect to the outside world.

[50:58] Although later on, like, it seems like Christopher, you know, couldn't survive

[51:03] without the machine that he's on anyway.

[51:06] His body can't survive, but his brain has been able to escape the mainframe

[51:10] into a, into a robot.

[51:11] Okay.

[51:12] Cause I was like confused and all of a sudden I'm like, well, he wouldn't like,

[51:16] wouldn't he be able to like, I guess freeing him would be just be the

[51:19] equivalent of like, Hey, we'll set you up with your own drone and like, you'll

[51:22] live at this part or something.

[51:23] Yeah.

[51:24] I mean, I don't know why they didn't do that, but yeah, keep him happy anyway.

[51:28] Uh, then you've got, then you've got two, if they had done it that way, you

[51:32] had two sides of Christopher.

[51:33] There's the good side that is trying to stop things.

[51:35] And you've got the bad side that has like, that they, that they, that they're

[51:38] just Franco movie.

[51:39] Well, that they're keeping happy with like some kind of sex bot drone that he

[51:43] can control.

[51:43] And it's like Tetsuo when he becomes a cult leader.

[51:46] And it's just like, yeah, that version of Christopher is a, as a bot that just

[51:49] popping pills and just being brought women like, I don't know, let's edge this

[51:53] movie up, you know?

[51:54] Yeah.

[51:55] Um, so, uh, what the hell am I talking about?

[51:58] So, uh, they found the doctor.

[51:59] He tells them, Hey, your brother's brain's being used to run all this stuff.

[52:02] You know, Oh, there's a robot sheriff at the door.

[52:05] And, uh, and John Carlo, Lobo, John Carlo, a bot, uh, shows up and Mr.

[52:12] Peanut fights him, allowing the others to escape, but they're attacked by a drone

[52:16] army and he gets his hat blasted off.

[52:18] But then later he has his hat again.

[52:20] Yeah.

[52:20] I mean, they, they must've repaired it, but like he is kind of disturbing.

[52:23] He has his hat ripped off and he's got like frying brain circuits.

[52:28] And, uh, then Tucci shows up as a drone.

[52:31] Tucci sounds like, I mean, it's his real name, but it sounds like

[52:34] another cartoon robot character.

[52:37] Uh, Tucci drone flies down and, uh, kills Dr.

[52:41] Amherst over the objections of, uh, John Carlo Esposito, who only kills metal.

[52:46] He says he then takes the longest possible time to decide that

[52:49] Stanley Tucci is a bad guy.

[52:51] Yeah.

[52:52] Uh, I was unclear the entire time.

[52:54] So Giancarlo Esposito's character works for the government in shutting down

[52:58] robots, right.

[52:59] That are out of the exclusion zone.

[53:01] After a certain point, Stanley Tucci is like, Hey, let me get in touch with you.

[53:04] There's some robots you should take on.

[53:05] And I want him to be like, yeah, that's my job, dude.

[53:08] I don't need you to motivate me.

[53:09] But instead it feels like now he's working for Stanley Tucci.

[53:12] And I don't, what is he doing for him?

[53:15] That he's letting him get into the exclusion zone to kill another.

[53:19] They do address this.

[53:20] I don't think it's like super, I don't think it makes sense if you really think

[53:24] about it that hard, but like, because of the accords, it would be, he can't go in

[53:29] and just like, get these guys.

[53:31] So why does he want to go in?

[53:34] So that he has like a bit more distance.

[53:37] I know why Stanley Tucci is doing it.

[53:38] Okay.

[53:38] I don't know why Giancarlo Esposito is now acting like he works for Stanley Tucci.

[53:44] He doesn't need his permission to blast bots.

[53:45] Right.

[53:45] It's true, but maybe, but like this allows him to get into the exclusion

[53:50] zone where he gets Max Bot Blastin.

[53:54] Max Bot Blastin is a great name for a character.

[53:58] Hey, like a robot porn actor.

[54:02] It's like Magnus Robot Fighter, but instead of fighting against things,

[54:05] it's Max Bot Blastin.

[54:06] We need something with more power.

[54:08] We need to get Max Bot Blastin.

[54:12] Only he can give us a robot orgasm.

[54:15] My name was, I grew up Max Blot Bastasaurian, but you know, I'm going to

[54:18] change it to Max Bot Blastin.

[54:20] Robo Ellis Island.

[54:21] Yeah.

[54:24] Robot Statue of Liberty holding up a circuit board or something.

[54:27] Uh, the bots go back to the mall, which has been raised in their absence.

[54:31] It's all burnt up.

[54:31] Oh, they put, they made it higher.

[54:33] Yeah.

[54:34] If only.

[54:37] Raised up to robot heaven.

[54:40] Meanwhile, Cosmo.

[54:41] Heaviside lair for bots.

[54:42] A handcuffed Cosmos led through sentry and cuffs to see, uh, himself in, in

[54:48] flesh form in a medical pod.

[54:52] John Carlo bot is mad that Tucci had him hunting a human boy.

[54:55] And they have a, a boring moral argument.

[54:58] It's very boring.

[54:59] Uh, Pratt gives Millie a little pep talk says he'll help her try to break into

[55:04] this thing.

[55:04] And I liked a little bit.

[55:05] I felt like there was some, there was some writing here that I liked more than

[55:07] I thought I was going to.

[55:08] Yeah.

[55:08] I mean, it doesn't really, it doesn't make sense.

[55:11] Yes.

[55:11] That's the thing.

[55:12] Like she asked this question, like, like, when did you stop being a jerk?

[55:14] And he says like, I'm not, I'm still a jerk.

[55:17] He goes, she goes, when did you stop being an asshole?

[55:18] He goes, I still haven't got a haircut.

[55:19] I like those two lines, but the scene does not.

[55:22] I mean, the movie doesn't deserve them, you know?

[55:24] Yes.

[55:25] No, like I don't actually know, like her, her questions still stand.

[55:28] I don't know why he changed his mind.

[55:30] I don't know why she's listening to him.

[55:33] Yeah.

[55:33] But, uh, but it's sweet.

[55:35] It's a, we'll take what we can get.

[55:37] Uh, fortunately they have essentially a robot version of Dr.

[55:40] Amherst still, even though you mentioned, yeah, same voice.

[55:44] So, so he's still getting paid glasses on the screen.

[55:47] Yeah.

[55:48] He's got the code.

[55:49] Do you think the actor stops getting paid if the character gets killed?

[55:51] Yeah.

[55:52] That's why Richard Jenkins made no money off of six feet.

[55:57] We wish we could pay you.

[56:01] Yeah.

[56:01] Same thing with, uh, what's that?

[56:05] And paradise.

[56:06] Yeah.

[56:08] Like we can't nominate you for best actor because you're dead.

[56:12] He didn't know they, they shot the movie in sequence, so he didn't know he

[56:15] wasn't getting paid to the last.

[56:16] Yeah.

[56:16] Hey, that's how you do it.

[56:18] So there's an orchestral version of don't stop believing plays as

[56:23] submarines approach century.

[56:25] The fucking music in this movie sucks.

[56:28] So horrible.

[56:29] Yeah.

[56:29] It's terrible.

[56:30] Worse as it goes.

[56:31] It does look worse as it goes on.

[56:32] I, I am not the sort of person who's like.

[56:35] Usually mad about needle drops.

[56:38] Like unless they're like the most,

[56:40] unless, unless one of your friends has a heroin habit, in which case you want

[56:43] them to drop that needle, not into their arm.

[56:46] I don't do a needle recycling band.

[56:48] Yes.

[56:49] Yeah.

[56:49] I don't need to hear.

[56:51] You know, I feel good again.

[56:52] I don't need to hear bad to the bone.

[56:55] I feel good again.

[56:57] Hallelujah.

[56:57] I never want to hear that to the hold on.

[57:00] I'm coming like things that are like, have been like turned into cliches, but

[57:04] here, like at the beginning, it's like, Oh, you know, normal, like dumb needle

[57:09] drops.

[57:09] It doesn't make me too mad.

[57:10] But then by the end, it really ramps up into, I think doing the orchestral

[57:14] versions really brings it to a new level.

[57:16] It's stupid.

[57:16] Yeah.

[57:17] But it's, well, it's like how, uh, uh, what is it?

[57:19] Uh, the sons of energy show would just constantly do like slowed down versions

[57:24] of like alt rock songs, but there's, there's a certain kind of director that

[57:28] loves to use pop music in their movies.

[57:30] Martin Scorsese is one where for the most part in his movies, I think he's also

[57:33] looking for songs that you might not associate with what you're seeing or

[57:38] songs that like, maybe you haven't heard that much or that means something to him.

[57:41] And I feel like in this movie, the rule was we can only use songs that have

[57:45] appeared in other movies within the past three to four years.

[57:48] No, I would not.

[57:48] I do not want the audience to be shocked out of their seats by hearing a song that

[57:52] they don't immediately recognize.

[57:53] You know, if, if, if it was an AI, if the music supervisor was AI, I would not be

[57:59] surprised.

[57:59] That would be the music supervisor is like the shittiest touch tunes in a

[58:05] fucking college bar.

[58:07] But anyway, we get this orchestral don't stop believing submarines approach

[58:10] century.

[58:11] Stanley Tucher frowns at some monitors, uh, then breaking the law kicks in and

[58:16] just for it.

[58:16] We don't get enough of it.

[58:17] You know, a giant Herman throws cars from the parking lot.

[58:20] There's a bunch of fighting.

[58:21] Having said that the needle drops suck.

[58:23] Breaking the law is great.

[58:24] So I'm not, yeah.

[58:25] I mean, the thing is that the problem is that like, even a song like mother or

[58:30] breaking the law, like it's for the, when it's applied to this specific context,

[58:35] it sucks.

[58:36] Yeah.

[58:36] It's not, they're not doing anything good with it.

[58:37] Yeah.

[58:38] Uh, they are breaking the law.

[58:39] It is against the law to pick up someone's car and throw it at a building.

[58:42] Is it illegal for a robot to do that?

[58:47] Hold on.

[58:47] Oh, and the, uh, and the, what the weird it says law law in a, on account of why

[58:54] would we write it?

[58:56] I was excited to see that there's a, that the, what scientist who gets the car

[59:01] thrown at her is Patty Harrison.

[59:03] Oh, really?

[59:05] Yeah.

[59:05] That's cool.

[59:06] Uh, yeah, it was, uh, you know, there's a few, yeah.

[59:09] A few people got paid.

[59:10] I'm happy about, I'm never, I'm never like, I'm never unhappy with someone.

[59:14] It was someone who is good.

[59:15] Gets paid to be in a movie.

[59:16] Yeah.

[59:17] Uh, Amherst bought has stuck in a disguise as a regular computer with Millie Bobby

[59:22] Brown hidden inside him.

[59:24] And they find Christopher outside the tightest turn against the robots because

[59:29] has used the clever strategy of having a bigger mech had previously been used.

[59:35] This is so dumb.

[59:38] The idea that these drones were the only thing that could stop the bots, but now

[59:42] the bots are totally kicking the drone's ass.

[59:44] You know, it would stop.

[59:45] It was not one giant one.

[59:47] And it's like, why is nobody using bombs?

[59:49] Like, why is, I don't understand.

[59:50] Why is nobody doing that?

[59:51] Also that they've only developed like small EMP technology or something.

[59:56] Yeah.

[59:57] I don't know, just, but also the, the, that.

[1:00:00] And there's no, it's one of those things where like,

[1:00:03] all the robots that are, it's all just robots fighting,

[1:00:05] but half the robots, if they get destroyed, they're dead.

[1:00:07] And the other half, if they get destroyed,

[1:00:09] it doesn't matter.

[1:00:10] The person controlling it is fine.

[1:00:12] And it's a, that should raise the stakes for our heroes,

[1:00:15] but instead it just makes everything

[1:00:17] feel a little bit more meaningless, you know?

[1:00:18] Yeah, there wasn't even a moment where

[1:00:20] it looks like the robots are winning

[1:00:22] because they killed a bunch of the drones,

[1:00:23] and then like, we see the same pilots

[1:00:25] piloting new drones coming and running out.

[1:00:27] Oh, that'd be a great moment, yeah.

[1:00:28] They didn't do that.

[1:00:29] I mean, because the pilots piloting the drones

[1:00:32] are treated as drones.

[1:00:34] They're treated as nobodies.

[1:00:35] And if it was a smarter movie, it'd be like,

[1:00:37] oh, you become, you use a drone, you become a drone.

[1:00:40] You know, that's how you lose your individuality,

[1:00:41] which is kind of the message they're trying to do later

[1:00:44] when they're saying, turn off your helmets.

[1:00:46] But I don't know.

[1:00:47] And the big drone, what, like blows up Herman's, like-

[1:00:52] His big rig.

[1:00:52] Big body, and then his like second big body,

[1:00:55] because he has, it's like a nesting doll of a robot.

[1:00:58] Yeah, yeah, yeah.

[1:00:59] But, so, in the midst of all this robot carnage,

[1:01:04] Esposito has a change of heart.

[1:01:04] Starting Woody Harrelson as robot carnage.

[1:01:07] Because of all he's seen, he tells Mr. Peanut

[1:01:09] where to find Stanley Tucci in non-drone form,

[1:01:13] in flesh form. Just human meat form.

[1:01:16] Millie and her brother talk inside her brother's brain.

[1:01:19] He tells her there's no way to disconnect him

[1:01:21] without him dying.

[1:01:21] Real quick, robot carnage would be like

[1:01:24] computer virus or something?

[1:01:26] Oh, yeah.

[1:01:26] Because they're all named like toxin.

[1:01:27] Yeah, it's all toxin or virus or phage, yeah.

[1:01:31] Christopher says there's no way to disconnect him

[1:01:32] without him dying, and he says, go ahead and do it.

[1:01:36] That's gonna be the big triumph.

[1:01:37] They're gonna pull the plug.

[1:01:39] Because he doesn't want to be their robo-battery

[1:01:41] for the next hundred years.

[1:01:42] And luckily, there's just like three buttons you hit

[1:01:45] that are like, turns it off.

[1:01:46] Very easy to disconnect him, yeah.

[1:01:49] Robo-bro.

[1:01:50] So this really counts as a dumb adaptation

[1:01:53] of that Ursula K. Le Guin story about the city

[1:01:55] that operates on the mistreatment of one child.

[1:01:58] And that's what it's good fortune is based on.

[1:02:00] And some people walk away from that, you know?

[1:02:02] Yeah, those who walk away from something.

[1:02:04] I couldn't remember the name of the place.

[1:02:05] So she should get, she should sue them.

[1:02:08] Yeah, yeah, I mean, she's not alive.

[1:02:11] No, her state, yeah, yeah.

[1:02:11] But she's also amazing.

[1:02:12] Yeah.

[1:02:13] Yeah, the best.

[1:02:15] So.

[1:02:15] What's that K stand for?

[1:02:17] Herman.

[1:02:17] Cool.

[1:02:18] Cool as hell.

[1:02:19] Herman dies while the others

[1:02:20] are arguing inside Christopher's brain.

[1:02:23] She was sponsored by them.

[1:02:23] She was sponsored by Kelsey Grist.

[1:02:25] This argument over whether she's gonna kill Christopher

[1:02:30] takes way too long considering we're already

[1:02:32] 105 minutes into this movie.

[1:02:33] And you know it's gonna happen.

[1:02:34] They're not, yeah.

[1:02:36] But they really, they draw it out for a long time.

[1:02:37] Yeah.

[1:02:38] Pratt is sad because despite them winning,

[1:02:43] Herman has been blasted and confesses

[1:02:45] possible romantic feelings.

[1:02:47] Guys.

[1:02:47] What, what, what, what?

[1:02:48] But so when Herman gets blasted,

[1:02:51] we've already seen him nesting doll down.

[1:02:54] Like immediately I'm like,

[1:02:55] there's just a little one inside his head, right?

[1:02:57] There's no way this movie

[1:02:58] is gonna let that character die.

[1:03:00] Even though that would make,

[1:03:01] instantly make the movie better,

[1:03:03] more interesting, more meaningful.

[1:03:05] I don't know.

[1:03:05] I think having a tiny little guy trumps that.

[1:03:08] No, that's what happens.

[1:03:10] Another smaller Herman pops out.

[1:03:12] A little bitty one, yeah.

[1:03:13] A little guy that can perch on his shoulders.

[1:03:16] I wish his voice was also pitched even higher.

[1:03:21] I mean, really funny.

[1:03:22] When he's in the big suit,

[1:03:23] he should have a super low voice.

[1:03:24] Yes, that would have been really funny.

[1:03:25] He pops out of Herman's head.

[1:03:27] Yes.

[1:03:28] Oh, it all fits together.

[1:03:29] Herman's head.

[1:03:30] There's a little man inside there.

[1:03:30] And you know what?

[1:03:31] Now there's only one of him.

[1:03:32] So he's like Herman's hermit.

[1:03:35] Wow.

[1:03:37] There's probably another one inside.

[1:03:38] Yeah.

[1:03:40] I don't think so.

[1:03:41] What is it?

[1:03:42] There's nothing else belongs to Hermans

[1:03:43] except hermits and heads.

[1:03:44] Yeah.

[1:03:45] What happens?

[1:03:46] We get another dump of,

[1:03:47] we get another dump of news clips

[1:03:49] showing that Skate was held to account.

[1:03:51] A dump of news clips is the correct plural.

[1:03:53] Like a murder of crows or a pack of lions.

[1:03:54] I feel like this wrap up was like somehow dumber

[1:03:57] than the rest of the movie.

[1:03:59] Maybe.

[1:04:00] The way they're just like,

[1:04:02] yeah, and the bad guy.

[1:04:03] And everything.

[1:04:04] And everybody now hates this technology

[1:04:07] that everybody uses.

[1:04:08] Well, they're like,

[1:04:09] the technology that ran the world is over.

[1:04:11] There's chaos.

[1:04:12] People are going outside and enjoying themselves.

[1:04:14] Like, no.

[1:04:16] And everyone got ice cream.

[1:04:19] And Millie Bobby Brown at this point,

[1:04:22] during an orchestral version of Wonderwall.

[1:04:24] Yeah.

[1:04:25] Millie Bobby Brown delivers a sermon to you,

[1:04:27] the viewers of the electric state,

[1:04:29] telling you to turn the electric state off for fuck's sake.

[1:04:32] Go hug your loved ones.

[1:04:33] Tell me that two hours ago.

[1:04:35] Well, also, also tell,

[1:04:36] she's like, stop using your helmets.

[1:04:38] Like, I thought the helmet system got fucked up.

[1:04:39] Like, why are you telling people this?

[1:04:41] Yeah.

[1:04:42] I didn't like this movie before this part,

[1:04:43] but this was the part that made me angry.

[1:04:45] Now I like it.

[1:04:45] I think I want to claim something at the television.

[1:04:47] This feels like Sucker Punch,

[1:04:48] where Sucker Punch is two hours of like,

[1:04:50] girls in miniskirts fighting each other

[1:04:52] and fighting monsters.

[1:04:53] And at the end it's like,

[1:04:54] don't you love this, you sick fuck?

[1:04:55] What's your problem that you love this movie?

[1:04:57] You're like, I didn't make this movie.

[1:04:58] You put her on straight, dude.

[1:04:59] Michael Hanukkah made this movie?

[1:05:01] Michael Hanukkah?

[1:05:02] Yeah.

[1:05:03] They only had enough torture porn

[1:05:05] and uncomfortable stuff for one night,

[1:05:06] but it lasted eight nights.

[1:05:07] We've been through this before.

[1:05:09] You made fun of me for this.

[1:05:11] It's how his name is pronounced.

[1:05:12] We looked it up.

[1:05:13] Yeah, that's true.

[1:05:14] Anyway, finally,

[1:05:16] the last sandwich of the movie.

[1:05:18] Last sandwich of the movie?

[1:05:19] Last sandwich.

[1:05:19] Oh!

[1:05:21] On the left.

[1:05:22] That's my ears.

[1:05:23] That's not damn.

[1:05:24] That's not ears.

[1:05:24] Cosmo is in a dump.

[1:05:26] The Christopher Cosmo.

[1:05:28] He's called the Electric State.

[1:05:31] But, you know,

[1:05:32] we see in a puddle that a dog is drinking from,

[1:05:35] that he's gotten up,

[1:05:36] suggesting that maybe Christopher

[1:05:38] lives on in some form after all.

[1:05:40] And Yoshimi battles the pink robots plays

[1:05:43] as I think about battling some pink Russos.

[1:05:47] And there we go.

[1:05:49] We did the whole movie.

[1:05:50] So they just did a search for songs

[1:05:53] with robots in them.

[1:05:54] And you know what song they didn't do?

[1:05:55] What?

[1:05:56] Mr. Roboto.

[1:05:57] I'm kind of surprised.

[1:05:58] Yeah.

[1:05:59] That is weird.

[1:05:59] Now, if it was all needle drops

[1:06:00] with songs with robots in them,

[1:06:01] or robot stuff,

[1:06:02] it was Mr. Roboto,

[1:06:03] our friend's electric,

[1:06:04] that kind of stuff.

[1:06:05] Then I'd be like,

[1:06:06] oh, you know what?

[1:06:07] This is kind of dumb,

[1:06:08] but it's okay.

[1:06:09] At least they're all themed robots.

[1:06:11] Hey guys,

[1:06:12] let's do our final judgments.

[1:06:13] Sure.

[1:06:14] We loved it, obviously.

[1:06:15] A good, bad movie,

[1:06:16] a bad, bad movie,

[1:06:18] or a movie that we kind of liked.

[1:06:20] Yeah.

[1:06:21] How do we feel?

[1:06:22] This is the unofficial bot month

[1:06:24] or whatever.

[1:06:25] Yeah.

[1:06:25] We went straight from movies without Spider-Man

[1:06:27] to bot month.

[1:06:28] We transitioned into them.

[1:06:29] Yeah.

[1:06:29] Bot month.

[1:06:30] Na, na, na, na, na, na, na, na, na, na, na, na, na, na, na.

[1:06:33] The voice cracking while he did it

[1:06:35] was the icing on the cake.

[1:06:39] Yeah.

[1:06:40] I didn't like this movie.

[1:06:42] Really, Dan?

[1:06:43] You talked about it for a while.

[1:06:44] Yeah, you did.

[1:06:45] I'm really exhausted.

[1:06:46] Thank you.

[1:06:47] The movie didn't work.

[1:06:48] Likely story.

[1:06:49] It's just,

[1:06:52] it did make me curious,

[1:06:53] like I went in search of stuff about the book

[1:06:55] because I was curious

[1:06:57] and the book sounds interesting.

[1:06:59] The book sounds like sort of haunting

[1:07:01] and it's vague about what happens

[1:07:04] and sort of horrific.

[1:07:05] All the things that this is not.

[1:07:07] Maybe for the first time in cinema history,

[1:07:09] a movie was made out of a book

[1:07:10] and they failed to capture

[1:07:11] what was special about the book.

[1:07:12] Yeah.

[1:07:13] It's so antithetical to what it seems

[1:07:16] like the book's vibe is.

[1:07:17] Like there's nothing disquieting

[1:07:18] about the movie, The Electric State.

[1:07:19] No, you would think the book

[1:07:20] was Ready Player One

[1:07:21] or something like that, yeah.

[1:07:23] But yeah, I thought this was

[1:07:25] just your standard boilerplate nonsense.

[1:07:29] Ellie.

[1:07:30] Yeah, I also felt the same way.

[1:07:31] I thought it was a bad, bad movie

[1:07:32] and it felt very, for that reason,

[1:07:33] it felt very generic

[1:07:34] and very kind of like default setting.

[1:07:37] I will say this.

[1:07:39] It looks pretty good.

[1:07:40] The effects look good.

[1:07:41] They clearly spent a lot of money.

[1:07:42] There's some performances in it I like,

[1:07:43] but overall, from the writing

[1:07:46] to the way the action scenes are done

[1:07:49] to the music choices,

[1:07:51] it just feels very like,

[1:07:52] it feels like they're working off a recipe.

[1:07:55] Yeah, and after, I don't wanna

[1:07:58] start drawing correlations

[1:08:00] to the Russo brothers' other work,

[1:08:01] but it feels like that they,

[1:08:04] I guess I just have to assume

[1:08:06] that a lot of what made their,

[1:08:08] their successes comes more

[1:08:10] from pre-established characters

[1:08:14] that we already like,

[1:08:15] we're invested in these characters,

[1:08:18] so they don't have to worry

[1:08:19] about doing that work.

[1:08:21] And when they do have to,

[1:08:22] when they have to try

[1:08:23] and make us care about these characters,

[1:08:25] I can barely remember one thing

[1:08:27] about any of these characters.

[1:08:31] What's next?

[1:08:32] They definitely have strengths,

[1:08:33] and I feel like this movie

[1:08:34] does not play to those strengths.

[1:08:35] Yeah, bad, bad, bad, bad movie.

[1:08:37] I know what's next.

[1:08:38] This podcast.

[1:08:40] Oh, this podcast is next?

[1:08:41] I thought that's what we were doing.

[1:08:42] The one you're listening to right now,

[1:08:43] this podcast is brought to you

[1:08:45] in part by Squarespace.

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[1:09:38] of a website or domain.

[1:09:41] And now-

[1:09:43] Actually, Dan, can I plug a couple things?

[1:09:45] Sure, plug away.

[1:09:46] I just wanna plug a couple things of my own.

[1:09:48] One of those is, as I've said before,

[1:09:51] I write the Harley Quinn comic book

[1:09:52] for DC Comics.

[1:09:53] Comes out once a month.

[1:09:54] I'm gonna be writing it

[1:09:55] for a little while longer,

[1:09:56] which I'm excited about

[1:09:57] because I like writing it,

[1:09:58] and it's-

[1:10:00] fun funny book, very few multi-issue storylines. You can pick up an issue, you can read the story,

[1:10:05] you put it down. Of course, plot threads continue from issue to issue, but I'm trying to stay away

[1:10:09] from too many multi-issue stories so you can have a satisfying experience every single time.

[1:10:15] At the same time, this episode's coming out in April. At the end of April, April 22nd,

[1:10:20] my new picture book comes out. It's called Sadie Mouse Wrecks the House from Harper Kids.

[1:10:24] The artist on it is Tim Miller, who did Horse Meets Dog with me, and I think it's super fun.

[1:10:29] It's about a girl, Sadie Mouse. She is the good mouse in the family. She always has to do all

[1:10:32] the chores, and she's tired of it. So she's going to be the bad mouse and do those chores as

[1:10:37] destructive as possible. And it's a super fun book. So it's called Sadie Mouse Wrecks the House

[1:10:41] on bookstore shelves, April 22nd. Pre-order it now if you want to

[1:10:45] through your local independent bookstore.

[1:10:52] Dr. Game Show is a podcast where we play games submitted by listeners with callers

[1:10:55] from all around the world. And this is a game to get you to listen. Name three reasons to listen

[1:11:02] to Dr. Game Show. Kyla and Lunar from Freedom, Maine. Dishes, folding the laundry, doing cat

[1:11:09] grooming. Okay, thank you. Great. Oh, things you could do while listening. Yeah. I love that. I'm

[1:11:17] like, why do you listen to this show? And Lunar's like, dishes. Fantastic. Manolo. Number one is

[1:11:24] that it'll inspire you. You're going to be like, oh, I could do that. That's all we have time for,

[1:11:31] but you'll just have to find Dr. Game Show on Maximum Fun to find out for yourself.

[1:11:37] Say you like video games. And who doesn't? I mean, some people probably don't. Okay, but a lot of

[1:11:42] people do. So say you're one of those people, and you feel like you don't really have anyone to talk

[1:11:47] to about the games that you like. Well, you should get some better friends. Yes, you should get some

[1:11:52] better friends, but you could also listen to TripleClick, a weekly podcast about video games

[1:11:57] hosted by me, Kirk Hamilton. Me, Maddie Myers. And me, Jason Schreier. We talk about new releases,

[1:12:04] old classics, industry news, and whatever, really. We'll show you new things to love about games and

[1:12:09] maybe even help you find new friends to talk to you about them. TripleClick. It's kind of like

[1:12:15] we're your friends. Find us at MaximumFun.org or wherever you get your podcasts. Let's answer

[1:12:22] a few letters from listeners. Listeners. Like who? Like you. Me? Yeah, well, I mean, you're

[1:12:30] currently hosting. Oh, so we're not answering letters from listeners. We're currently hosting

[1:12:34] the show. No, no, no, no, no. Dear Dan, how's it going? Pretty good, thanks. It's good to see you.

[1:12:39] I didn't finish. Love, Elliot. Thank you, Elliot. This is from... P.S. Stewart, how's it going?

[1:12:46] Uh, pretty good. All right, so we finished this segment, right? Yeah, that's it. Let's just pick

[1:12:52] it up. Lettuce from listeners. This is from Mac. Mac. Mac Tonight. Famous for his giant

[1:12:58] crescent moon-shaped head. You know what? The person made a guess that said Mac's last name,

[1:13:03] The Knife. So they guessed the thing. That is a play on. Yeah. I know him by his German name of

[1:13:10] Mackey Messer. Mac says, Hey, Peaches, I consider myself a Quentin Tarantino fan, but unlike most

[1:13:17] Tarantino fans, I don't like Reservoir Dogs because I didn't like the infamous ear scene.

[1:13:23] It was too gruesome for me and took me out of the movie. The camera pans away. Yeah, I mean,

[1:13:30] that's the anticipation. Your brain supplies the camera does pan away. Do you have an example of

[1:13:36] a movie that you would have otherwise loved, say, for one scene that you wish was cut or different?

[1:13:45] Yeah, I mean, there's like sort of easy, like 80s, you know, like stuff that was like

[1:13:56] insulting shit that I wish wasn't in movies that I otherwise liked, like either either

[1:14:02] The Monster Squad or Bill and Ted's Excellent Adventure. They both have like

[1:14:07] gay slurs in them. I would love to just not be there, but that's not a whole scene.

[1:14:12] There's stuff in a movie that I know Elliot doesn't like at all, but like in Licorice Pizza,

[1:14:18] I don't know. I don't know what like the racist character played by John Michael Higgins

[1:14:25] is doing in the movie at all. Like it's the one element where I'm like, I don't even understand.

[1:14:32] And so I would love for that to be excised. But I get that. I mean, there's a lot of movies that

[1:14:37] I love where there's a scene that I don't. My favorite movie of all time, The Taking of Pelham

[1:14:40] 123, has that as similarly as that scene with Walter Matthau being insulting to the Japanese

[1:14:45] subway guys. Yeah, I wish that scene was not in there and something else like it was in there.

[1:14:49] And I think your second favorite movie of all time, The Kingsmen, has that weird anal sex bit

[1:14:53] at the end. That is my second favorite for the record. My second favorite movie all time is

[1:14:58] Shadow of a Doubt. I mean, they both seem into it. I don't understand what it's just kind of

[1:15:02] weird that that's like it like it's transactional. It's kind of weird. But there's a there definitely

[1:15:08] I was having trouble with this question because I because there are movies, I think, that have

[1:15:12] a scene. There's a lot of movies that have a similarly to the letter writer at tonight.

[1:15:16] The a scene of violence that I find goes too far for me or that makes it like the makes me

[1:15:22] uncomfortable in a way that the rest of the movie doesn't necessarily. But I'm having trouble

[1:15:24] thinking of specific ones right now. There's definitely like there's lots of movies. I mean,

[1:15:30] there's so many old movies I love that have a scene in it where it's like, oh,

[1:15:33] that's a racist sound like that or that line I don't like. But I feel like for the most part,

[1:15:38] when there's a when there's a scene in a movie that is just just out of tone, brutal,

[1:15:43] then I that often gets to me. Although that being said, then sometimes you have a movie like The

[1:15:47] Silent Partner where there's a murder scene in that that is so much more brutal and intense

[1:15:52] than I expected. And it is great. It's an amazing scene because it suddenly like shifts the movie

[1:15:56] into a different gear. It becomes the movie becomes so much harsher. Yeah, I mean, I think

[1:16:00] it's like last year, I would say probably the horror movie that stuck with me the most from

[1:16:05] last year was Smile 2 of all things, which is not a movie that like I like that much. But there but

[1:16:11] there is some like genuinely interesting stuff in it. But there was just so many rug pulls.

[1:16:16] And it's such like a like it's such just like a mean spirited movie. It had I had trouble like

[1:16:22] really enjoying it. There's too many rug pulls at the end. I would argue that like

[1:16:28] the mean spirited in this movie feels so sort of Sam Raimi ask almost where it's like,

[1:16:35] well, like a drag me to hell type. Yeah, like the fun of it. It's like I'm gonna be

[1:16:39] just like more mean than you expect. Yeah, it is some of the fun of drag me to hell where

[1:16:45] it really doesn't deserve to be dragged. When you think she's figured out it's like,

[1:16:49] I get it. I get it. Speaking of Sam Raimi, I think a lot of people feel this way about the

[1:16:53] tree scene and Evil Dead. Yeah, that just goes a little too far. You know,

[1:16:58] Sophie last name withheld rights. Hey, guys, there's a fairly well known term in film criticism,

[1:17:04] the idiot plot where the plot only works if every character is an idiot. I was considering the idea

[1:17:10] of a genius plot where the plot only works if all or at least the pivotal characters are geniuses

[1:17:17] in a way that's equally as infuriating to watch. You think of any examples? Love your work,

[1:17:22] et cetera, et cetera. Goodbye from out to you or out to aura New Zealand. Oh, I Sophie,

[1:17:29] I say without I this is more a scene that I feel like is maybe it's not the exact same thing.

[1:17:33] There's that stupid, dumb ass scene in the now you see me now. Yeah, yeah, yeah. Like this scene

[1:17:41] only works if they are the most amazing magician like cool people in the world. And it's so stupid

[1:17:47] that it's so totally removed from reality. I was going to mention the now you see movies,

[1:17:54] which absolutely do not work unless everyone in it is like a robot program to understand

[1:18:01] every possible move that anyone could make. Yeah, but I do think that somehow it also

[1:18:07] shoots the moon in terms of stupidity where I start liking that about movies.

[1:18:12] I think that that's I guess that was a movie where you reveal that the characters have kind

[1:18:16] of like seen through every angle and we're never in any danger where they always were going to pull

[1:18:20] it off. Like that's as opposed to something like a movie like The Hot Rock or something

[1:18:24] where it's a it's a heist, but they keep screwing it up, you know? Yeah, I feel this way often about

[1:18:30] like mastermind serial killer movies. Yeah, yeah. I was 12 steps ahead the whole time.

[1:18:36] How would you know that any of this was going to happen? It's a plot version of when a character

[1:18:41] has to be in exactly the right spot for a cool move to take like in First Blood when he looks

[1:18:47] he makes himself look like a tree and it's like, oh, it's a good thing that the deputy

[1:18:50] walked right by that tree. Or there's like the which was the James Bond movie where like the

[1:18:54] train crashes through the wall exactly the right place. Like the one with Javier Bardem. Yeah,

[1:18:59] Skyfall. Yeah. Yeah. He timed it. He timed his escape from the courtroom exactly so that that

[1:19:04] train would get. Yeah. I mean, that was also during the long period where every bad guy

[1:19:08] wanted to get caught as part of his plan. It's like, you know what is it's easier to pull off

[1:19:11] a plan if you're not in jail with a plan that doesn't involve being taken into custody. Guys,

[1:19:16] at this rate, I don't think we should capture any bad guys. They just want to get caught.

[1:19:20] They all want to get caught. It's just playing into their hands.

[1:19:25] So let's get on to recommendations of movies that we've seen recently. Okay, I'll do it. Okay,

[1:19:33] well, why don't you do it first? Sure. Oh, hell yeah. I'm going to recommend, you know,

[1:19:38] like a big action adventure movie, a lot like Electric State. I'm going to recommend

[1:19:42] Lynn Ramsey's Morvern Kahler. This is a movie. There are a lot of robots in Morvern.

[1:19:51] I just got around to watching it. And it's really beautiful and sad. It's about a young woman in

[1:19:58] Scotland who wakes up on Christmas.

[1:20:00] this morning to find that her live-in boyfriend has committed suicide and she then spends

[1:20:05] the rest of the movie doing everything possible to avoid dealing with that grief.

[1:20:12] And it's like, I feel like it's really interesting character portrait.

[1:20:16] It's a interesting portrait of two friends.

[1:20:20] And it also uses music, music so beautifully, whether and it feels almost all diegetic.

[1:20:27] What's diegetic or diegenic?

[1:20:28] Diegetic.

[1:20:29] Diegetic.

[1:20:30] Yeah.

[1:20:31] When it's coming from within the scene.

[1:20:32] And I feel like Lynne Ramsey has, like, seems to have a talent with using audio in her movies.

[1:20:39] And I think this is a perfect example.

[1:20:42] It's great.

[1:20:43] Yeah.

[1:20:44] She is one of my faves, despite never making a movie that you would call, like, a feel-good

[1:20:52] picture.

[1:20:53] You never throw them on just as comfort, you know, when you're sick.

[1:20:55] I mean, that was the thing.

[1:20:56] Sitting on, I borrowed this Blu-ray, the Fun City Editions Blu-ray from one of my bartenders,

[1:21:03] Margaret Barton-Fuomo, who is a film critic.

[1:21:05] And she actually has an essay in this DVD copy.

[1:21:09] And I borrowed it from her, like, a year and a half ago.

[1:21:12] And I was like, OK, I think I'm in the right place emotionally to watch this.

[1:21:17] I think I, Margaret and Kyler, though, I do think is weirdly, like, the closest she's

[1:21:22] just, like, a comforting movie just because the vibe is sort of cool.

[1:21:25] Yeah, you should get Ratcatcher, too, right?

[1:21:27] Yeah, Ratcatcher is bleak.

[1:21:28] I turned that, I was like, oh, you know, like, Audrey's going out this afternoon.

[1:21:34] Let me pick a movie that I've never seen before off-criterion.

[1:21:39] Let me, like, do, like, see a good movie for a change.

[1:21:42] And I'm like, Ratcatcher.

[1:21:43] Oh, my God.

[1:21:44] Why is that?

[1:21:45] Yeah, yeah.

[1:21:46] It's a movie where you're like, why couldn't there just be a killer kid with a bow and

[1:21:49] arrow?

[1:21:50] I wish they were fighting a robot, Mr. Peanut.

[1:21:56] I'm going to recommend a movie I watched today just before we all gathered together.

[1:22:00] I watched...

[1:22:01] Well, Dan, when I walked in, you were watching Daredevil Born Again.

[1:22:03] That's not a movie.

[1:22:04] No.

[1:22:05] Well, and I also was more dozing to it.

[1:22:07] But I watched The Rule.

[1:22:10] I do got to say, one thing I like about Daredevil Born Again is it does feature a courtroom

[1:22:14] scene where he's like, the defendant...

[1:22:17] And the defendant wasn't wearing his magical amulet that gives him increased strength and

[1:22:22] power.

[1:22:23] I'm like, hell, yes.

[1:22:24] This is what I want out of this show, a courtroom where they talk about this shit.

[1:22:28] Yeah.

[1:22:29] I watched The Rule of Jitty Pin.

[1:22:31] Oh, how's that?

[1:22:33] It's good.

[1:22:34] It just showed up on Shudder after, like, a small theatrical run.

[1:22:39] It's a New Zealand horror movie that stars Geoffrey Rush and John Lithgow.

[1:22:43] Oh.

[1:22:44] Casanova Frankenstein.

[1:22:45] Yeah, yeah.

[1:22:46] Yeah.

[1:22:47] And...

[1:22:48] Best known for his role is Casanova Frankenstein.

[1:22:50] Finally, Casanova Frankenstein and Dr. Lizardo are in a movie together.

[1:22:56] It's about...

[1:22:59] Rush plays a, you know, he's a judge who has a stroke and has to go live in assisted living.

[1:23:07] But he still, you know, has all his, like, mental acuity.

[1:23:10] He's just, you know, his body's not working well.

[1:23:13] He needs help.

[1:23:15] And he's a very, like, dignified man and kind of a dick.

[1:23:20] So, like, having to live there is hard on him.

[1:23:24] And he discovers that sort of everyone there is being terrorized by John Lithgow, who has

[1:23:31] this doll, this baby doll puppet that he goes around with.

[1:23:37] And he's just a bully to all these people.

[1:23:40] And it's, you know, but it goes beyond bullying.

[1:23:43] He's a sort of a sadistic, evil man.

[1:23:46] And it's about their...

[1:23:48] Falling in love?

[1:23:50] It's about a battle of wills.

[1:23:52] And it's kind of, you know, the modern, not female-led version of a Baby Jane, whatever

[1:24:02] happened to Baby Jane style, like, hagsploitation, as they called them, picture.

[1:24:08] And, you know, Rush and Lithgow are great.

[1:24:12] It's just a lot.

[1:24:15] If there's both elder abuse in it and...

[1:24:19] Keep talking.

[1:24:20] Joe Bob Riggs over here, senior foo, geezer foo.

[1:24:24] I'm warning people that, like, I'm warning people that there are things in it that, like,

[1:24:30] might disturb beyond, like, the regular horror thrills.

[1:24:34] There's that.

[1:24:35] There's, like, an attempted sexual assault that, you know, gets, you know, gets thwarted.

[1:24:43] But there are things in there that might bother you if you know that they're going to bother

[1:24:48] you, don't watch it.

[1:24:49] But otherwise, it's good.

[1:24:50] I'm going to recommend a movie that's not very easy to find.

[1:24:53] I wonder if I've recommended it before.

[1:24:55] I don't remember.

[1:24:56] But I saw a little bit of it today.

[1:24:57] And that is The Clock by Christian Marclay.

[1:25:00] This is a movie I've not seen all of, because if you're not familiar with it, I'll tell

[1:25:03] you, it is a 24-hour long movie that is a supercut of scenes from movies where you can

[1:25:09] see a clock in them where the time is mentioned.

[1:25:12] And it is synchronized with the time you're watching it if you see it in a museum.

[1:25:16] So the movie functions like a clock.

[1:25:19] And the way that the clips are put together is really masterful at times.

[1:25:22] And it creates this sort of idea of kind of a movie universe where all these movies are

[1:25:26] kind of happening at the same time.

[1:25:28] It's this massive variety of different movies with different feels about them and different

[1:25:33] tones.

[1:25:34] But it's 24 hours, right?

[1:25:35] It's 24 hours.

[1:25:36] So I've only ever seen at most like an hour and a half of it.

[1:25:38] I was going to say, because like you never have time to watch shit, dude.

[1:25:41] How do you watch this thing?

[1:25:42] And it's also an art piece.

[1:25:43] So you have to go to a museum to see it.

[1:25:45] Like you can't get it at home.

[1:25:46] And so I was at the Museum of Modern Art today.

[1:25:48] And it's playing right now.

[1:25:49] Because your kids were like, I want to see this, Daddy.

[1:25:51] I want to see The Clock.

[1:25:53] So my younger son really wanted to see Starry Night, which they have at Museum of Modern

[1:25:56] Art.

[1:25:57] He was surprised it was so small.

[1:25:58] The clock was playing.

[1:25:59] I'm like, I really want to see some of this.

[1:26:00] Like, I've only seen a little bit of it.

[1:26:02] If we're there and there's no line, we got to see some of my kids were like, oh, my older

[1:26:06] son got really into it.

[1:26:07] And so it was there's something kind of it puts you almost in a trance in a way.

[1:26:11] You could I could easily have seen the two of us sitting there for 10 hours if we had

[1:26:14] had the time.

[1:26:15] Were you guys pointing at the screen to point at the clock each time like the Leonardo DiCaprio

[1:26:18] meme?

[1:26:19] That's where the clock is.

[1:26:21] But it's a but if you ever get the chance to see it at a museum, try to see it any any

[1:26:25] time of day.

[1:26:26] I hope I hope it someday is available in some way for home viewing so I can see the middle

[1:26:30] of the night parts, because then what part of the fun of it is that because you're seeing

[1:26:34] scenes from throughout the day from different movies, time of day affects what the kind

[1:26:38] of content is.

[1:26:39] So, like, yeah, a lot of stuff today was people getting up and going to work, you know?

[1:26:43] Yeah.

[1:26:44] And but in night, I've heard there's a lot of like dream stuff and strange things.

[1:26:47] But around like five, six o'clock is a lot of characters having dinner.

[1:26:50] So it's a all you're you're seeing scenes that are set at the time of the time where

[1:26:54] you are.

[1:26:55] I remember my son was walking out of it.

[1:26:56] My son goes, what time is it?

[1:26:57] I'm like, oh, it's eleven.

[1:26:58] Seventeen.

[1:26:59] We just walked.

[1:27:00] It's good.

[1:27:01] But if you get the chance to see the clock by Christian Markley, I highly recommend it.

[1:27:04] It's a really fantastic experience and not one that's easy to get because the museum's

[1:27:08] got to own this piece and then show it, you know?

[1:27:11] Mm hmm.

[1:27:12] Yeah, it's a good thing that HBO Max doesn't have have that because they just shelve it

[1:27:16] forever.

[1:27:17] Well, HBO Max said that they would they would cut it up into into like 15 pieces and they'd

[1:27:21] take random 10 of them away the way that I mean, now HBO Max has no Looney Tunes on

[1:27:26] it at all, basically.

[1:27:27] But at one point they had like all they had so many Looney Tunes and then they were like,

[1:27:31] and we're just going to take away the later seasons.

[1:27:32] It's like, well, you know that these are the classic ones from the 50s, right?

[1:27:36] Like now what we have is the early ones from the 30s with with Egbert and Porky Pig before

[1:27:40] he was a character.

[1:27:41] Yes.

[1:27:42] So the anyway, HBO Max put up the clock so I can see the whole thing.

[1:27:47] Hey, this was the first full episode post-Max Von Drive.

[1:27:53] We did have a mini, but I just want to say thanks to everyone who supported us.

[1:27:57] I'm glad you just appeased the straw man who was laughing at you.

[1:28:00] Actually, Daniel.

[1:28:01] I had no lister in my mind.

[1:28:05] I just said it for accuracy.

[1:28:07] This is the first full episode afterwards.

[1:28:12] Thank you to everyone who supports the show.

[1:28:16] I was worried about this year because the world is scary in so many other ways.

[1:28:21] So it's easy to be anxious.

[1:28:22] But what's going on really showed up.

[1:28:26] Thank you to our producer, Alex Smith.

[1:28:29] He knows he goes by the name.

[1:28:30] He also knows he knows the name.

[1:28:33] He goes by.

[1:28:34] He goes by the name Howell Donnie.

[1:28:36] They say the shadow knows what works evil works in the hearts of men.

[1:28:39] But does he know his own name?

[1:28:41] Do any of us truly know our own names?

[1:28:43] Oh, yeah.

[1:28:45] We should think.

[1:28:46] Rumble feels good.

[1:28:47] All right.

[1:28:48] I need somebody else.

[1:28:49] They're always saying that shit to him.

[1:28:50] He's like, damn it.

[1:28:51] Minds.

[1:28:52] Damn.

[1:28:53] Boy.

[1:28:54] My.

[1:28:55] I imagine.

[1:28:56] He's like the moment when she realizes your name.

[1:29:02] And I'm Ellie Kalin.

[1:29:04] Maximum listeners and members.

[1:29:05] We really appreciate it.

[1:29:06] Thanks for listening.

[1:29:07] Just talk about nonsense.

[1:29:08] Bye.

[1:29:14] This is not we'll get into it.

[1:29:20] It's not very good movie.

[1:29:21] Hmm.

[1:29:22] It's a bad movie.

[1:29:23] Man.

[1:29:24] Sing.

[1:29:25] I detect man singer and let him know that we watched it.

[1:29:26] And he was proud that we that we followed up on his and his demand.

[1:29:30] What?

[1:29:31] Now we now we've given into him.

[1:29:33] He'll know.

[1:29:34] He knows it will capitulate.

[1:29:35] Yeah.

[1:29:36] He's got a he's got a one way ticket to flop house control.

[1:29:39] Yeah.

[1:29:40] But he's he's not long for this world because they're going to have a like a some kind of

[1:29:44] like Smurfs Denny's meal where it's like a thousand different blue pancakes.

[1:29:48] I eat them all.

[1:29:49] It's funny that my two friends with the tenderest tummies are the ones who do those things.

[1:29:57] Maximum fun.

[1:29:58] A workaround network.

[1:30:00] artists own shows supported directly by you.

Ep.#449 - The Electric State

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