[SPEAKER_01]: Pungala FC, you vunga, Angela starts and welcome to real indigenous, where these indigenous people get real about everything on our screen and everything in between.

[SPEAKER_01]: And I've got some of our regular hosts with us today.

[SPEAKER_05]: I'm going to do it, guys.

[SPEAKER_05]: This is sunrise.

[SPEAKER_05]: I'll eat too.

[SPEAKER_05]: I'm going to show you what this is.

[SPEAKER_05]: Tell me.

[SPEAKER_02]: That's the hunter dish, Matt Bars, the deed CD.

[SPEAKER_02]: Oh, yeah, yeah, sexy.

[SPEAKER_01]: And we're talking about movies tonight.

[SPEAKER_05]: Movies are movie.

[SPEAKER_01]: I mean, do you start out talking about in drama to strain?

[SPEAKER_01]: What all's opening this weekend?

[SPEAKER_05]: Yeah, by the time this podcast reveals, it'll be long gone, but the rodeo cinema stockyards is playing in drama to strain.

[SPEAKER_05]: Which do I know that one?

[SPEAKER_05]: I mean, it's based on a Michael Creighton.

[SPEAKER_05]: It's like scientists that are trying to stop a contamination movie from like the seventies, early seventies.

[SPEAKER_05]: That's the comic guys.

[SPEAKER_05]: The coma guy that he wrote, I think he wrote a coma novel.

[SPEAKER_05]: Yeah, and I think there was a series based on that.

[SPEAKER_05]: I believe I never saw the series, but you know, obviously most famously known for writing Jurassic Park, the novel.

[SPEAKER_01]: Creighton did that.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Yeah, but yeah, I think Koma came out and Jurassic Park came out and then sphere came out and then what does a Crichton?

[SPEAKER_05]: Things came out.

[SPEAKER_05]: Oh, Congo.

[SPEAKER_05]: Yeah, Congo.

[SPEAKER_02]: Yeah, I think that was pretty quick after Jurassic.

[SPEAKER_05]: Yeah, there was such a big budget for that thing.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: And I guess there are ideas in the new Jurassic Park or the Jurassic World rebirth that have ideas that were in the original novel that were not depicted in the original Jurassic Park.

[SPEAKER_05]: That's what I read anyway.

[SPEAKER_01]: I read both.

[SPEAKER_01]: I mean, I read the book and I watched the movie and I liked the way the book ended.

[SPEAKER_05]: I don't remember out in it.

[SPEAKER_05]: What happened?

[SPEAKER_01]: Do you do spoiler alert?

[SPEAKER_05]: I for a over thirty year old book.

[SPEAKER_01]: Yeah.

[SPEAKER_01]: Well, the the park Granger, the guy that started the whole park he is killed by his coo John Hammond.

[SPEAKER_02]: Oh, yeah.

[SPEAKER_02]: He's a different character in those in both.

[SPEAKER_01]: Yes.

[SPEAKER_02]: He is not Richard Attenborough in in the book.

[SPEAKER_01]: Yeah, he's a lot more playing God.

[SPEAKER_02]: Yeah.

[SPEAKER_02]: Yeah.

[SPEAKER_01]: not left not as grandfatherly.

[SPEAKER_05]: He feels like kind of like the characters that come in the other films that are like very business.

[SPEAKER_05]: Oh, like what's his name and the artist Howard.

[SPEAKER_02]: Yeah, in world loss world.

[SPEAKER_02]: Yeah, all these worlds.

[SPEAKER_01]: Yeah, which makes more sense.

[SPEAKER_05]: It makes more sense, but also, Spielberg did something right in that.

[SPEAKER_05]: I don't think anybody's ever a fan of those characters the way that they quote Attenborough or reminded of memories that they like with him.

[SPEAKER_05]: So there's something that Spielberg did, that at least sticks in people's memory more.

[SPEAKER_05]: I don't know if it's right, but [SPEAKER_05]: Yeah, Jurassic.

[SPEAKER_05]: No, there's a franchise that is kind of missing.

[SPEAKER_05]: Indigeneity, even though it literally takes place in an indigenous space in the original film.

[SPEAKER_01]: Right.

[SPEAKER_05]: It's actually kind of weird that we're not in any of those movies.

[SPEAKER_05]: I'm trying to think.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: In any prominent way.

[SPEAKER_05]: Like white, why is there no, like even offensive depictions of like the native expert?

[SPEAKER_02]: There's nothing even getting mad about.

[SPEAKER_02]: Except for not being in it.

[SPEAKER_05]: Yeah, so it would have been cool to have lane factor in one of these movies.

[SPEAKER_05]: Do you want to tell that story?

[SPEAKER_05]: No, no, no, no.

[SPEAKER_05]: Okay.

[SPEAKER_05]: Do you?

[SPEAKER_05]: No.

[SPEAKER_05]: We'll keep it for a lane factor today.

[SPEAKER_01]: Wait, what?

[SPEAKER_05]: We just found out that lane factors a Jurassic Park had, or maybe just a dinosaur fan.

[SPEAKER_01]: You would start me as a dinosaur fan.

[SPEAKER_05]: I think when, you know, it made me reconsider his Godzilla shirt that he wears in the series.

[SPEAKER_05]: Oh, you know, okay.

[SPEAKER_05]: Now I understand where maybe this comes from because he seems to be a fan of at least the dinosaurs and the dinosaur fighting in the Jurassic Park films.

[SPEAKER_01]: That's Allen.

[SPEAKER_05]: But I'm, but that's for me.

[SPEAKER_01]: We all go through our dinosaur phase, right?

[SPEAKER_01]: And Godzilla.

[SPEAKER_01]: Miami.

[SPEAKER_05]: Maya does not know.

[SPEAKER_05]: No, not into Diana.

[SPEAKER_05]: She's like, why is this of interest?

[SPEAKER_01]: What about Zira?

[SPEAKER_05]: I mean, that's not a dinosaur.

[SPEAKER_05]: That's a lizard that's become, what do you call it?

[SPEAKER_05]: Not distorted, but genetically modified.

[SPEAKER_02]: Nuclear.

[SPEAKER_01]: Nuclear.

[SPEAKER_01]: It went nuclear.

[SPEAKER_05]: Although, you know, one of the other films that's released this week in a rerelease, Shin Godzilla.

[SPEAKER_01]: So tell me about that.

[SPEAKER_05]: Well, I think that starts a whole new kind of, it kind of, well, a reboot, I think the series, the idea that Godzilla, in the original film, Godzilla was an existing creature that nuclear waste or nuclear outcome distorts genetic material that already exists and it becomes a giant lizard.

[SPEAKER_05]: But Shindan Zilla is a version of the narrative where all these creatures are beyond reality, I guess, or like demigods, they translate in the subtitles, or gods that they are more deified.

[SPEAKER_05]: and that the outcome of their demolition and rage is something that is the result of, you know, humanity doing something wrong and it's, you know, fate or it's predestiny and or the will of deities, you know, so there's a different, I guess, they don't come from Earth in that way.

[SPEAKER_01]: I guess there's all, you know, school and after things that it should always be about nuclear war, [SPEAKER_05]: Well, you know, I mean, if you watch the original films as they come out, you know, like the original releases of like Mothra and...

Oh, my gosh, I'd left him after when I was a kid.

[SPEAKER_05]: Yeah, Mothra's awesome.

[SPEAKER_05]: I'm forgetting all the names, but like if you watch the series as they start to play out, the new creatures before they start fighting, you know, the creatures start to symbolize other issues, not necessarily nuclear fallout.

[SPEAKER_05]: That's what Godzilla represents, but...

Right.

[SPEAKER_05]: You know, these other creatures start to represent like societal jealousy or like the the impersonal nature of journalism.

[SPEAKER_05]: I think is like kind of one of them.

[SPEAKER_05]: The monsters that we become when we are out to be capitalists.

[SPEAKER_05]: These are what happens later.

[SPEAKER_05]: Not even like we're not.

[SPEAKER_05]: I'm not even talking about the eighties.

[SPEAKER_05]: I'm talking about like the original like, nineteen, fifty, sixty.

[SPEAKER_01]: Yeah.

[SPEAKER_01]: That's what I grew up watching on Sunday after news.

[SPEAKER_05]: Mm-hmm.

[SPEAKER_01]: But we're not here to talk about Godzilla.

[SPEAKER_05]: No, this is not Moana talk.

[SPEAKER_05]: We already talked about Godzilla and the Moana too, really you.

[SPEAKER_01]: Did we?

[SPEAKER_05]: I think so.

[SPEAKER_01]: We talked about the monsters.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: And I mean, in the original Moana, there is the implication that Godzilla is going by.

[SPEAKER_01]: When Moana is a dude.

[SPEAKER_05]: No, no, no, no.

[SPEAKER_05]: I'm talking about Moana, the Disney, the first Moana film.

[SPEAKER_01]: Oh.

[SPEAKER_05]: which she's like learning about the underground and all the creatures.

[SPEAKER_05]: We just see the back of Godzilla.

[SPEAKER_05]: We don't even see the head or anything, but we see like the plates and the kind of moving.

[SPEAKER_05]: The way that Godzilla moves and nobody says anything about what it is.

[SPEAKER_05]: But if you're, if you've seen any Godzilla movie, it's like, oh, that's Godzilla, which makes sense.

[SPEAKER_05]: I guess.

[SPEAKER_01]: Yeah.

[SPEAKER_05]: So it gives it context to time.

[SPEAKER_05]: Actually, you know, if Godzilla would help with that wouldn't it?

[SPEAKER_05]: If Godzilla has been affected by nuclear all out, won't want to take place after World War II.

[SPEAKER_01]: Well, that wouldn't work.

[SPEAKER_05]: And now from one to two.

[SPEAKER_01]: Nope, not from one to two.

[SPEAKER_01]: But we're also not here to talk about one.

[SPEAKER_01]: We're bringing it back to the mainland.

[SPEAKER_01]: We're talking about New Mexico.

[SPEAKER_01]: More specifically, what year was it?

[SPEAKER_01]: Twenty-twenty-one.

[SPEAKER_05]: I think it was twenty-twenty.

[SPEAKER_02]: May of twenty-twenty is what the title card says.

[SPEAKER_01]: So we're talking about Edington.

[SPEAKER_01]: Who is written and directed by Eric Ari?

[SPEAKER_04]: I believe it's Ari.

[SPEAKER_01]: Yeah.

[SPEAKER_01]: Yeah.

[SPEAKER_04]: I think it's Ari.

[SPEAKER_04]: I think you're right.

[SPEAKER_04]: Ari, Esther.

[SPEAKER_01]: Who is a film dude?

[SPEAKER_01]: Apparently.

[SPEAKER_01]: I thought you'd be more Indians in this.

[SPEAKER_01]: I went in with hopes of seeing Indians, specifically people in the res dealing with.

[SPEAKER_05]: I think you see some of them.

[SPEAKER_05]: I think you technically also see, I think you see more than two.

[SPEAKER_05]: I think they're more than two in the movie, but somehow you only saw two.

[SPEAKER_01]: Where were the other ones?

[SPEAKER_05]: There's some in the, there's one at least that's in the quote unquote like a riot sequence where like the teens are out in the streets and they're kind of like, you know, protesting and then it turns into, yeah, there's one in there.

[SPEAKER_05]: Okay.

[SPEAKER_02]: Wait times we've seen this sunrise.

[SPEAKER_05]: I've only seen a twice.

[SPEAKER_02]: Yeah, we're looking for something different in the second season.

[SPEAKER_02]: Yeah.

[SPEAKER_05]: Well, the second viewing was really in preparation for this because I, you know, I saw it.

[SPEAKER_05]: The day after it came out, which was like a month ago, basically.

[SPEAKER_05]: And I was pretty sure I had a very pretty terrible memory of it.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: And then when I re-watched, I was like, no, I remember.

[SPEAKER_05]: I remember most of it.

[SPEAKER_05]: Yeah, although I was out to look out on the lookout to see if there are more than one indigenous person on the screen or more than two and maybe it's a reach because it's, you know, I am basing it all on optics.

[SPEAKER_05]: I'm like, I'm judging a person by what they look like.

[SPEAKER_05]: Oh, no, there's a little bit of behavior.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: I found a third one.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: Where'd you go in the list, Eddie?

[SPEAKER_05]: There is definitely, there are definitely three based on what we see in the first scene where there's two tribal policemen that pull up.

[SPEAKER_05]: Next.

[SPEAKER_02]: Yeah.

[SPEAKER_02]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: Yeah.

[SPEAKER_01]: That was David Middenger and Bill Colt.

[SPEAKER_01]: How do you say his last name?

[SPEAKER_05]: I don't think, I don't think it's Middenger at the beginning, is it?

[SPEAKER_01]: It's a very first scene.

[SPEAKER_01]: And David Middenger?

[SPEAKER_05]: Because I believe that David Midthunder is one like the head of the police, but I don't think that's who is driving on the car with Officer Butterfly who's below.

[SPEAKER_05]: Will any say his name?

[SPEAKER_01]: Bill.

[SPEAKER_05]: I apologize because I don't know how to say that, but I believe there's another indigenous officer at the beginning of the film that I don't think is David Midthunder.

[SPEAKER_05]: Hmm.

[SPEAKER_05]: Do we need to synopsize this?

[SPEAKER_01]: Yes.

[SPEAKER_01]: Absolutely.

[SPEAKER_01]: I had a percent.

[SPEAKER_05]: So I mean, the audience knows now that we went because we know there was a mid-thunder and we know that bill blew.

[SPEAKER_05]: That bill below was in the film.

[SPEAKER_05]: If you are unfamiliar, he played Henry Rohn.

[SPEAKER_05]: I think that's where I really kind of knew him in a very prominent role from killer to the flower moon.

[SPEAKER_05]: But yeah, Eddington, I guess just off of IMDB, it says in May of twenty twenty a standoff between a small town sheriff and mayor, sparks a powder keg as neighbor is pitted against neighbor in Eddington, New Mexico.

[SPEAKER_05]: That's like it's the official IMDB synopsis and the lead character this said the small town sheriff in New Mexico is played by walking Phoenix.

[SPEAKER_05]: So it's kind of a star vehicle and a return for walking to be working with Ari Aster.

[SPEAKER_05]: We've also worked with him and Bo is afraid the previous feature film.

[SPEAKER_05]: So it's like a return to working together.

[SPEAKER_01]: Well, an MS stone comes in Pedro Pascal.

[SPEAKER_05]: Yeah, Patre Pascal plays the Latinx mayor of Eddington kind of like also like a this town that get the sense I don't believe Eddington is a real town, but it kind of functions like it's a small enough town where there's the mayor of this small town also happens to do lots of other things and we're first introduced to him like basically behind a bar where he's [SPEAKER_05]: both like it seems like he's tending bar to patrons that are also on the city council.

[SPEAKER_05]: And we kind of learned that he is the mayor at the same time as maybe the owner of this bar, which is a, you know, convention that we see of small town movies where it's like the sheriff does other things.

[SPEAKER_01]: Well, except I mean, the mayor noble was the owner of a restaurant.

[SPEAKER_05]: Right.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: It's not a full-time job.

[SPEAKER_05]: Right, although it seems like it's a full-time job in this movie.

[SPEAKER_02]: Well, it's always running for, yeah, well, in for action, re-relection.

[SPEAKER_05]: Because we do see them do more merely things or or being at home rather than being at the bar.

[SPEAKER_01]: Well, the bar brings in a problem because of the town.

[SPEAKER_01]: Manic.

[SPEAKER_02]: I couldn't believe who played that town.

[SPEAKER_02]: Manic.

[SPEAKER_01]: You.

[SPEAKER_01]: Who was it?

[SPEAKER_02]: I didn't.

[SPEAKER_02]: I'd saw his name in the credits and I did look look look it up because I didn't recognize them and he's usually really recognizable.

[SPEAKER_02]: Clipped in Collins Jr.

[SPEAKER_02]: That's not ringing bell.

[SPEAKER_02]: Anybody?

[SPEAKER_01]: Nope.

[SPEAKER_02]: Character actor he was in.

[SPEAKER_02]: See he was in battle.

[SPEAKER_02]: Rules of attraction.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: I feel like he was most recently known for the film Jockey.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Like on the independent circuit.

[SPEAKER_01]: He was in Veronica Mars.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: He's a Veronica Mars.

[SPEAKER_01]: Yeah.

[SPEAKER_05]: It's interesting what we all know him from.

[SPEAKER_01]: Once a part of time in Hollywood, Honey Boy, then is super super true.

[SPEAKER_02]: Yeah, I unrecognizable.

[SPEAKER_02]: Yeah, he is unrecognizable.

[SPEAKER_02]: I mean, when you've seen it twice, could you tell it was him the second time?

[SPEAKER_05]: No, I didn't even know that was him until you said it.

[SPEAKER_05]: Like I didn't.

[SPEAKER_02]: Oh, really?

[SPEAKER_05]: I didn't know.

[SPEAKER_02]: Yeah.

[SPEAKER_05]: But yeah, he's so like scruffy and there's a lot of makeup and [SPEAKER_05]: the way in which he gestures and grumbles.

[SPEAKER_05]: And the movie starts with it really.

[SPEAKER_05]: I mean, we're looking at his feet.

[SPEAKER_05]: He's walking along asphalt in the white line on the edge of his road.

[SPEAKER_01]: Yep.

[SPEAKER_01]: There's a light going on in this movie.

[SPEAKER_01]: Can I just say, there was a lot.

[SPEAKER_01]: There was the, there was the server farm or whatever it was.

[SPEAKER_03]: Yeah, server farm.

[SPEAKER_01]: And then there was the for AI processing that's coming up like down the mask mandate the the reservation being closed bordered the mayoral race all of the campaigning and then the BLM like lives matter everybody was just writing or protesting that and then [SPEAKER_02]: It was just a nice and awesome butler is.

[SPEAKER_01]: Oh yeah, there's the cult leader.

[SPEAKER_05]: The cult leader that's also driving like feels like a QAnon.

[SPEAKER_01]: Apparently on the early and on QAnon.

[SPEAKER_01]: Yeah.

[SPEAKER_05]: The crazy mother-in-law who the mother-in-law and Emma Stood.

[SPEAKER_01]: like tracking her and her sleep to be honest.

[SPEAKER_05]: But yeah, they're both tracking like the the hippest conspiracy theories that are, you know, like the first one we hear is about like listing off numbers and birth dates and the first person to dive COVID and that kind of thing.

[SPEAKER_05]: Right.

[SPEAKER_05]: This sort of numerology logic.

[SPEAKER_05]: You know, tied into Austin Butler, they're sort of like this implicit narrative.

[SPEAKER_05]: that seems to be related to his backstory that is implied, whether he's making it up or it actually happened, that is related to child slave track trafficking.

[SPEAKER_05]: And that I think the second time I've viewed it, I did really kind of listen to that a little bit more clearly because it has some longstanding subplot related to Emma Stone who leaves her husband walking for the Austin Butler [SPEAKER_05]: and the story that he tells Joaquin and his one scene that's given a lot of time, he kind of tells the story that he was a child that was [SPEAKER_05]: through, I guess, some sort of therapy revealed memories, hidden memories that he was, quote, unquote, gifted to strangers by his father.

[SPEAKER_05]: And it implies that he somehow was abused by the strangers, but then was able to get away.

[SPEAKER_05]: And there are two other individuals that are quote unquote friends.

[SPEAKER_05]: And they it seems like they're married in the same scene and they kind of revealed their story was something similar or they were like had to leave abusive circumstance and it seems like Emma Stone somehow identifies with all this she doesn't say anything about us.

[SPEAKER_05]: Yeah, heard that, but the kind of abuse is very implicit, right?

[SPEAKER_05]: But it, you know, it's very likely that she was, you know, facing sexual abuse of some sort.

[SPEAKER_05]: It definitely emotional and psychological abuse.

[SPEAKER_05]: And all those things are really, I mean, serious subjects that the film kind of only affords that one kind of moment and you know, you feel like it was doing a great disservice to [SPEAKER_05]: what seems like it was either trying to bring to the forefront in some brief way.

[SPEAKER_05]: But ultimately felt like it was just kind of this plot device where we understand why she's going with Austin Butler, but also like in my first viewing of the movie I didn't trust Austin Butler, so I felt like it was a story that was made up to kind of like game followers on his part and it works on her.

[SPEAKER_05]: And so we I feel like ultimately we don't [SPEAKER_05]: really care about her story or her background related to abuse or his.

[SPEAKER_05]: If it's true, we just care about the fact that, you know, she left Joaquin's character Sheriff Cross and not is not with them.

[SPEAKER_05]: I feel like the film positions us to not care, even though I think he's kind of an antihero.

[SPEAKER_05]: We still are, it's sort of like poorly utilized.

[SPEAKER_01]: Well, why wasn't even there?

[SPEAKER_05]: Now, I think Austin Butler does say this other thing and his sort of speech about what motivates his cult, I guess.

[SPEAKER_05]: He kind of makes the statement about how, even though you may disbelieve what I say, you may think it's extraordinary and unbelievable, but love also exists.

[SPEAKER_05]: Love is true.

[SPEAKER_05]: Even though outrageous circumstances are unbelievable, [SPEAKER_01]: Again, why is this in the movie?

[SPEAKER_01]: Well, I think, I guess I know at the end of the day, I was like, what is this about?

[SPEAKER_01]: It's just a big mess.

[SPEAKER_01]: And when the plane shows up and all of that starts happening, that's why I was ready to tap out.

[SPEAKER_01]: I was hanging in there when it was, you know, personal struggle, personal struggle, personal struggle, personal struggle.

[SPEAKER_01]: And when that plane full of the anonymous people that showed up.

[SPEAKER_01]: Oh, right.

[SPEAKER_01]: Yeah.

[SPEAKER_02]: They, they, they who seem to be.

[SPEAKER_01]: Yeah, it.

[SPEAKER_01]: This is just, this is feeding into a whole lot of these beliefs.

[SPEAKER_01]: I mean, think goodness, certain people will never see this because if they're going to be like, see, we told you and I was like, oh, no, this makes no sense.

[SPEAKER_01]: I, I was just like a so annoyed when they showed up.

[SPEAKER_05]: Yeah, and that's like maybe two thirds to the film where [SPEAKER_01]: It was like a whole different film.

[SPEAKER_05]: I think I can see how it seems like it's a whole different film.

[SPEAKER_05]: I didn't think it was a whole different film by that.

[SPEAKER_05]: I felt like that one moment where we revealed this airplane full of mass people who seem to be antagonists to the town and to the sheriff.

[SPEAKER_05]: I feel like that did feel like a new movie because the language of the film kind of changed like the camera was suddenly not looking at faces.

[SPEAKER_05]: It was not establishing people with conversation and you know, every regular daily things and it was kind of, it felt like a common brother movie where it's like emphasizing this drama with this low camera looking up with mystery characters doing strange things like sleeping on a plane and yeah.

[SPEAKER_05]: But but also seem like threat space on their demeanor and their color of the clothing.

[SPEAKER_01]: Yeah.

[SPEAKER_05]: Where is everything else is handled with like some level of more realism.

[SPEAKER_05]: Like we're walking and long takes into a the grocery store and talking about masking and.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: Yeah.

[SPEAKER_05]: That's true.

[SPEAKER_01]: The scene with there's two scenes I guess when.

[SPEAKER_01]: Walking and Pedro.

[SPEAKER_01]: like, are talking to each other outside of the grocery store and then the one with the noise complaint.

[SPEAKER_01]: I was like, okay, these are great scenes just, you know, as they're fabulous to watch.

[SPEAKER_01]: They brought their A game.

[SPEAKER_01]: It had so much subtext and I was like, why can't we have more of that in this movie?

[SPEAKER_03]: Yeah.

[SPEAKER_01]: Instead of all of this conspiracy theory, [SPEAKER_01]: I was just, I was so tense.

[SPEAKER_01]: By the end of it all, it was just like, ah.

[SPEAKER_05]: Yeah, you know, I mean, like, I think that is appropriate.

[SPEAKER_05]: And it's sort of like redundant, you know, I think that's part of the point of the film is for you to be like, oh, yeah, this is what COVID's like, or like, this is what the pandemic was like, but, you know, that's only useful for anybody who didn't experience it, which is like a very small body.

[SPEAKER_05]: Anybody, you know?

[SPEAKER_01]: Now, everybody is experienced.

[SPEAKER_05]: Well, I mean, I'm sure there are, because this is an indigenous podcast, I'm sure there are indigenous cultures that, you know, were isolated in a different way.

[SPEAKER_05]: And, you know, did not experience this sort of conspiracy theory level of political influence, you know, I don't hate that is everywhere.

[SPEAKER_05]: or like teens that are fabricating their political beliefs so they can hook up with another one.

[SPEAKER_05]: I don't know.

[SPEAKER_01]: That's pretty standard.

[SPEAKER_05]: I'm sure that's pretty standard.

[SPEAKER_01]: Even with your COVID or no COVID, some guys going to change his political views just to make time with the girl.

[SPEAKER_05]: Yeah, I would say that I think that particular aspect of the film is the strength of its observations.

[SPEAKER_05]: the fact that young people may be motivated to join a movement that is politically progressive or maybe not, but a movement because they're driven by their libido.

[SPEAKER_05]: And whether or not they actually believe it in the end, I think that's part of the question in the end.

[SPEAKER_05]: It's like does that character who's this young man who's motivated to kind of like prove that he's [SPEAKER_05]: politically valid to his love interest.

[SPEAKER_05]: I am wondering, does he believe it, regardless of how kind of ridiculous he kind of sounds?

[SPEAKER_05]: I think there is some way that I believe that he actually becomes a progressively proactive individual by the end of the film, even though he's still naive about it.

[SPEAKER_05]: I think he really is on the verge of believing it more than his initial.

[SPEAKER_02]: The kid that becomes the influencer, [SPEAKER_05]: Yeah, they kid to become the influencer by the end of the film.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: He's no progressive.

[SPEAKER_05]: I didn't, yeah, I didn't think that was fine.

[SPEAKER_05]: At the end of the film, he is not progressive.

[SPEAKER_05]: Like in the epilogue of the film, he's not progressive.

[SPEAKER_05]: He is definitely just a surface-level influencer.

[SPEAKER_05]: But I think there's a moment where he is like, utilizing his best friend that has been murdered.

[SPEAKER_05]: And there's sort of like a small crowd that has got a candle vigil happening.

[SPEAKER_05]: And he's sort of like proclaiming how he's hypocrite.

[SPEAKER_05]: But he also is there to make sure that his friend is validated and has some worth.

[SPEAKER_05]: And I feel like in that moment, there's some earnest belief, but it gets, you know, distorted by what happens next after that.

[SPEAKER_01]: Yeah.

[SPEAKER_05]: You know, and I think that's, I think that's also like, there's something very poignant about how even though youth are naive and easily manipulated and maybe don't comprehend the complexity of the issues they're fighting for.

[SPEAKER_05]: Even though that happens, I think there's still some moment in their life where they believe their beliefs align with what they're saying, even though if it's clunky and even if it's for a moment.

[SPEAKER_05]: And that's where it really resonated with this Austin Butler saying, you know, everything might be crazy and unbelievable, but somehow there's a truth and love that that one moment of him saying that earlier.

[SPEAKER_05]: resonated because that of that other scene later and vice versa.

[SPEAKER_01]: I was like the whole thing was negative by the end of the whole thing because the kid goes off to be an influencer.

[SPEAKER_01]: The the share the guys elected as mayor, but he's a [SPEAKER_01]: in a assisted chair and can't function physically.

[SPEAKER_01]: I mean, again, what was the point?

[SPEAKER_01]: I mean, he ends up having a horrible life.

[SPEAKER_03]: Yeah.

[SPEAKER_01]: And I we'd supposed to be happy for Emma Stone because she found happiness and is procreating.

[SPEAKER_05]: I don't think that's...

I don't think so.

[SPEAKER_01]: I don't think so.

[SPEAKER_01]: She's gonna have a miserable life too.

[SPEAKER_01]: They're all...

Yeah, I don't think miserable.

[SPEAKER_05]: Yeah, I think everyone is in misery, except the mother-in-law.

[SPEAKER_01]: Yes, the mother-in-law is very happy.

[SPEAKER_05]: Mother-in-law gets everything she wants.

[SPEAKER_05]: She gets a young man in bed with her.

[SPEAKER_05]: She gets to have agency over the house and what we find out to be the head of this AI farm and the town is at her back in call.

[SPEAKER_05]: and the world functions the way that she wants.

[SPEAKER_05]: Like, she's also an influencer by the end of the film, right?

[SPEAKER_05]: She's like talking on the cell phone about her conspiracy beliefs, but in more like, you know, grounded vocabulary, it sounds like she's an authority.

[SPEAKER_02]: I mean, you're kind of describing pastors, entire filmography, just everything that happens in each individual movie.

[SPEAKER_02]: In a way.

[SPEAKER_01]: All of his characters are miserable.

[SPEAKER_02]: Yeah.

[SPEAKER_02]: Yeah, it was miserable.

[SPEAKER_02]: And we're made to feel really uncomfortable watching all of this unfold.

[SPEAKER_02]: But what you're saying is there is someone like in hereditary.

[SPEAKER_02]: It's I guess the grandmother who's getting her way.

[SPEAKER_02]: Is that the grandmother?

[SPEAKER_05]: Yeah, the the the the matriarch.

[SPEAKER_05]: Yeah, I believe it's been headed by the end of the film.

[SPEAKER_02]: But it's, but it still really will.

[SPEAKER_02]: Yeah.

[SPEAKER_02]: Yeah.

[SPEAKER_02]: Yeah.

[SPEAKER_02]: Yeah.

[SPEAKER_02]: Yeah.

[SPEAKER_02]: Mid summer.

[SPEAKER_02]: You've got the community who we're getting what they want.

[SPEAKER_02]: Demo ladies.

[SPEAKER_02]: The what?

[SPEAKER_06]: Demo ladies.

[SPEAKER_02]: Yeah.

[SPEAKER_06]: Punching that one dude.

[SPEAKER_06]: That was such a funny scene.

[SPEAKER_06]: That cracked me up so much.

[SPEAKER_02]: Sorry.

[SPEAKER_06]: What if I got what they wanted?

[SPEAKER_02]: Yeah, just from where we're put through these really uncomfortable situations and unfortunately reminded of what it was like to go through a breakup or go through in a summer or go through a death in the family and hereditary or the entirety of those afraid just like being in a living nightmare.

[SPEAKER_05]: Yeah, that's your worst, your worst fears will come true and then the even [SPEAKER_05]: Like the Murphy's Law that even then something will be worse comes true.

[SPEAKER_05]: And even there, again, a matriarch kind of gets her way at the end of the day and it's not the protagonist.

[SPEAKER_01]: Well, I ran his interview in the Times and I mean, he is afraid of everything.

[SPEAKER_01]: And so he elaborate.

[SPEAKER_01]: What do you mean?

[SPEAKER_01]: The writer, director thinks that every bad thing is going to happen to him.

[SPEAKER_01]: and that translates into his films.

[SPEAKER_05]: Although what's interesting is in this film versus those other films, a redotary mid-summer, but was afraid, this particular film doesn't go to the extremes of those other films.

[SPEAKER_05]: And I think it's because at least the first two are kind of horrors.

[SPEAKER_05]: And I think the third one the way I look at it is more like a Greek tragedy.

[SPEAKER_05]: And all of those, you can push the circumstances to an extreme that's still like accepted by an audience.

[SPEAKER_05]: But this one, it's pretty much a Western.

[SPEAKER_05]: And it doesn't go to the extremes that are potentially more interesting, especially if we've all lived through this.

[SPEAKER_05]: You know, I mean, we all probably came into contact with some scare of COVID of family members or friends that were going into places because of the isolation and because what they were reading online.

[SPEAKER_05]: And there's some version of that in our mind that's scarier or more excessive and probably more interesting to see.

[SPEAKER_05]: And if this were a Western horror, [SPEAKER_05]: I could see him pushing it into a place where we probably would be more engaged and more interesting.

[SPEAKER_05]: It's interested and then the the meaning of it would be a little bit more meaningful that it actually is it was a horror in the West.

[SPEAKER_05]: But for whatever reason the film doesn't really.

[SPEAKER_05]: He didn't take that approach with this material.

[SPEAKER_05]: It's pretty grounded.

[SPEAKER_05]: in a realism with some minimal moments where it seems like excess happens, like the ending.

[SPEAKER_05]: Or there's like a moment where Joaquin comes home, think, you know, he after a long day of violence and being chased by these mystery antagonists, you know, he comes home to find a taxi waiting outside and a taxi driver or Uber driver looking at him.

[SPEAKER_05]: and thinking that his wife has come home to gather her things before she goes back to Austin Butler.

[SPEAKER_05]: That's the way I perceived it and what I think he's thinking.

[SPEAKER_05]: And so when he goes inside, [SPEAKER_05]: There's a moment where he's interacting with a woman digging through her belongings, putting them in a suitcase, and it is Emma Stone for a moment.

[SPEAKER_05]: But then the light comes on, and it turns out it's the mother-in-law, not Emma Stone.

[SPEAKER_05]: And there's kind of a use of shooting and cutting that seems to replicate a mind state rather than realism.

[SPEAKER_05]: and I thought that was interesting because I think somehow in the rest of the film there is a doubling that happens where we mistake characters for other characters and he mistakes things for other things and you know that's thematically related to Emma Stone's character mistaken conspiracy theory for fact and I think you know somehow Ari is finding a way to articulate how we made mistakes about one thing because of our anxieties in this time period [SPEAKER_05]: I don't necessarily think they're the most interesting and I think they could be better communicated, but I think that's what he's doing.

[SPEAKER_05]: And I think there's, you know, there's a parallelism between like these two teenage boys that are kind of competing for the love interest of this female who's, you know, kind of vocalizing a belief system that happens to be very political and very progressive.

[SPEAKER_05]: That's very similar to kind of [SPEAKER_05]: Joe Cross, the walking sheriff who is jealous of Pedro Pascal's mayor because of some historic relationship that, you know, Pedro went out with his wife and a stone when they were in high school or something.

[SPEAKER_05]: And Joaquin's actions and the choices he makes to basically break the law and run for mayor on an impulse, kind of break the law to hide evidence that may convict him all because he's trying to prove that his wife is maybe still a valid option for his love life.

[SPEAKER_05]: There's something that those two stories parallel each other, especially if Emma Stone is like, [SPEAKER_05]: You know, falling in love with somebody who's like, that's bouncing these beliefs.

[SPEAKER_05]: That's very similar to the young man who falls in love with the young political activists who's also spouting beliefs.

[SPEAKER_05]: And so in that way, you know, like us, well, King is driven by libido to son of a agree.

[SPEAKER_05]: Or lack there up.

[SPEAKER_05]: Or lack there up.

[SPEAKER_05]: I mean, yeah, certainly.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: But then it gets into the weird dolls and then it gets into the weird dolls.

[SPEAKER_01]: The kid that gets blown up, who was unjustly accused of.

[SPEAKER_05]: But then become sheriff by the end of the film.

[SPEAKER_01]: I don't know.

[SPEAKER_01]: It was just a mess.

[SPEAKER_01]: To me, it was just a mess.

[SPEAKER_01]: It was life is messy and I get that.

[SPEAKER_01]: I don't necessarily need to see that on the screen for three hours.

[SPEAKER_05]: Especially if most of us live live through it.

[SPEAKER_05]: Yeah, that's valid.

[SPEAKER_06]: Did you guys talk about the reason while we're talking about it tonight?

[SPEAKER_05]: No, I don't think we've gotten there.

[SPEAKER_05]: We kind of introduced it, but I think we're kind of talking maybe about the point of the film.

[SPEAKER_05]: Okay.

[SPEAKER_05]: So to maybe give context of like why we care about the indigenous depiction.

[SPEAKER_01]: or like they're at.

[SPEAKER_06]: Because I've mad at you sunrise for making it watch this movie.

[SPEAKER_06]: You know, I didn't make you watch this movie.

[SPEAKER_06]: I mean, you said there's Indian Senate.

[SPEAKER_06]: There are.

[SPEAKER_06]: He said, should we talk about us?

[SPEAKER_06]: Yeah, let's talk about it.

[SPEAKER_05]: Yeah.

[SPEAKER_06]: I think that.

[SPEAKER_06]: Yeah, let's talk about it.

[SPEAKER_04]: Yeah, let's talk about it.

[SPEAKER_06]: Yeah, let's talk about it.

[SPEAKER_06]: Yeah, let's talk about it.

[SPEAKER_06]: Yeah, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it.

[SPEAKER_05]: I mean, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it.

[SPEAKER_06]: I mean, let's talk about it [SPEAKER_06]: Exactly, I looked at how long it's going to be.

[SPEAKER_06]: Oh, this is a two and a half hour movie.

[SPEAKER_06]: This movie should be an hour and a half.

[SPEAKER_06]: Is movie could have been an email.

[SPEAKER_06]: And it's leaning to like comedy where it could have just been a straightforward comedy.

[SPEAKER_06]: And it would still got the points across, but even better.

[SPEAKER_05]: Yeah, so let's, I mean, we should talk about, you know, the native elements that are in here.

[SPEAKER_01]: Well, the fact that the bill below you always gets killed.

[SPEAKER_01]: and some shocking violent way.

[SPEAKER_02]: What else was he killed him?

[SPEAKER_01]: Pillars of the Fire Moon.

[SPEAKER_02]: Oh, okay.

[SPEAKER_02]: Yeah.

[SPEAKER_05]: One that's it comes to one of the killers.

[SPEAKER_01]: Oh, he was going to make it for a minute.

[SPEAKER_01]: That's right.

[SPEAKER_01]: They're just going to kill him too.

[SPEAKER_01]: Tell him again.

[SPEAKER_05]: Yeah, so yeah, so I mean, there is, you know, in this hypothetical town of Edington in New Mexico, there is this hypothetical reservation, which I believe these were reservation, hypothetical reservation of the Santa Lupe Pueblo.

[SPEAKER_01]: And there's your additional issues that they discussed, from singers.

[SPEAKER_05]: Yeah, from the early scene, from scene two.

[SPEAKER_01]: And so why, why was that just, I mean, there was another thing that was just kind of like glossed over.

[SPEAKER_01]: And the natives trying to save their people from this disease that was wiping them out.

[SPEAKER_01]: And then how?

[SPEAKER_01]: But then we don't hear anything about that.

[SPEAKER_05]: Yeah, I mean, like so yeah, I mean, the first that first interaction of like walking in his his cop car, his sheriff car without a mask on on tribal land and the tribal police come up and they're like, you're just jurisdiction is over.

[SPEAKER_05]: You need to follow the rules and put on your mask.

[SPEAKER_05]: I mean, of course, like in a conventional use of privilege is trying to defy it, but ultimately kind of gives in very half-heartedly or not putting it up pulling on his face.

[SPEAKER_05]: Halfway office knows resistant despite the fact that, you know, it's it's one sheriff looking at the lawn, you know, there's no equity clearly.

[SPEAKER_01]: And then when they're investigating the murders and you know, who's land is it and who has jurisdiction over it?

[SPEAKER_01]: And I don't think that that ever really comes to fruition just because of the crazy guys that show up in the middle of the night and shoot the town up for no good reason.

[SPEAKER_05]: It does.

[SPEAKER_05]: It's in the epilogue.

[SPEAKER_05]: So I mean, I will say that I think the first scene is very interesting.

[SPEAKER_05]: I think the second scene that we're talking about with the murder sequence.

[SPEAKER_06]: What's the first scene?

[SPEAKER_05]: The first scene is literally like the second scene where Joaquin is in his vehicle unmasked and the two tribal police pull up to him and they're like put your mask on.

[SPEAKER_06]: Yeah, which is also like an interesting thing that was said was like so Joaquin sitting by himself in a car.

[SPEAKER_06]: who in now in our retrospect, or where we want to call it, should not be, doesn't need to be wearing a mask because he's not around anyone.

[SPEAKER_06]: And then there's two cops in their car who are both wearing mask, but he questions them.

[SPEAKER_06]: But you guys are together in a car.

[SPEAKER_06]: Why aren't you both separated?

[SPEAKER_06]: or something like that, he says, which was something that made you guess with what the stuff was going on and like the absurdity of how we handled code with is how I kind of read it.

[SPEAKER_05]: Yeah, I mean, like that's definitely like the like without thinking about any indigenous politics.

[SPEAKER_05]: It is just about maybe absurdity of the rules that we made despite the knowledge that we had.

[SPEAKER_01]: Well, at that point, we had none.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: Right.

[SPEAKER_06]: I mean, we had, we were doing the best of what we're doing with science.

[SPEAKER_05]: Absolutely.

[SPEAKER_05]: But I mean, what we did know is that there were nations that were, you know, dying very quickly, without an understanding of why, and the mask was curbing that.

[SPEAKER_06]: And I don't know, and that might be what the movie was addressing too, if they were using natives, is because [SPEAKER_06]: by the standards and the practices, the natives were the better ones who took on COVID than the rest of the United States.

[SPEAKER_06]: It's what we're finding out, state that they handled it in a very quick way.

[SPEAKER_06]: They followed the rules the way they should have, because at the beginning, we were all dying.

[SPEAKER_01]: Yeah.

[SPEAKER_05]: Yeah, and that's, I mean, that's, that's the most interesting thing in the film.

[SPEAKER_05]: I think it is, but that particular scene, what's interesting to me is that there is a non-indigenous person, a writer, director, is affording us a position in which we are our actions are validated.

[SPEAKER_05]: and the fact that we are held as a community that knows the right thing to be doing.

[SPEAKER_05]: And the fact that I think, you know, all of that is really establishes this sort of like white privilege that Joaquin character has, that it does.

[SPEAKER_05]: I think that's a main objective of the scene.

[SPEAKER_05]: But on the other hand, it also puts this in a position where it validates [SPEAKER_05]: the power that we have as tribal people in our own song.

[SPEAKER_05]: It's sort of like doesn't have to set up and explain the fact that tribal nations have their own [SPEAKER_05]: policing system, which I think some other films would try to do, that are like non-indigenous filmmaker, I feel like would try to explain that to a non, like a wider audience, it's non-indigenous.

[SPEAKER_05]: But like here, it's just sort of fact, I think that was really interesting, that it's just like their tribal police.

[SPEAKER_05]: And we take it for granted because we know that, but I think the fact that this isn't like a very large movie by a very well-known director and with a big star, [SPEAKER_05]: kind of taking the time to understand how jurisdictions play out in real in the real world and that it's not like like there are things in dark winds where it doesn't kind of make some sense sometimes based on what what they know what they don't know how they interact with the FBI how they don't [SPEAKER_05]: And the fact that the BIA is not involved in that show is kind of weird to me, because all those things are how it functions.

[SPEAKER_05]: But in this movie, it functions the way that the real life jurisdiction functions.

[SPEAKER_05]: And the second scene related to this, [SPEAKER_05]: You know, the second scene is about a crime scene.

[SPEAKER_05]: I don't know if you got this far where there was like, you know, a father and a child that had been murdered in their home and walking walks in and he's trying to piece together evidence and kind of put together the story of what happened.

[SPEAKER_05]: Did you get that far?

[SPEAKER_06]: I guess not.

[SPEAKER_06]: I don't remember.

[SPEAKER_05]: Okay, so you probably would remember it.

[SPEAKER_01]: Yes, because I will say I appreciated that same Martin Scorsese use of just violence.

[SPEAKER_05]: There's a punctuation that happens and it's kind of over.

[SPEAKER_01]: Yeah.

[SPEAKER_01]: Yeah.

[SPEAKER_05]: We don't linger.

[SPEAKER_04]: Yeah.

[SPEAKER_05]: And I do think that like the the bodies for the most part or not.

[SPEAKER_05]: I feel like we were concerned about the harm.

[SPEAKER_05]: We were concerned about their death and its implications.

[SPEAKER_05]: I think we're concerned about the loss of life.

[SPEAKER_05]: And I don't think it was, you know, the camera wasn't lingering in a way that was really exploited my feel like.

[SPEAKER_05]: I feel like, you know, but just to get to this point about jurisdiction in that sequence, you know, walking and his like two officers are trying to piece together the scene and the butterfly, the tribal officer comes walking in and he's got a bullet in the in a bag.

[SPEAKER_05]: and Joaquin and he kind of have a face off a little bit like the other the tribal officer does not walk in the building and affect the crime scene but Joaquin's like you're you're destroying the crime scene and and he's like I found a bullet from the weapon and Joaquin's like okay yeah great you got it leave this is our crime scene [SPEAKER_05]: And there is a question about who's crime scene it is, and there's sort of like this assumption that, you know, the, do Mexico, I guess, or Edington police forces, the authority here, but what the tribal officer mentions, butterfly says that the, the weapon was discharged on tribal land.

[SPEAKER_05]: Right, the perpetrator was on tribal land.

[SPEAKER_05]: And this does make it legitimately a concern for the tribal police.

[SPEAKER_05]: And I feel like I've, I have never, of all the shows and movies I've seen where it's like we have non tribal police and tribal police depicted, I have never seen this particular conflict happen.

[SPEAKER_05]: And this I think is a realistic issue.

[SPEAKER_05]: The fact that maybe non-indigenous police may have limited understanding of how a tribal law enforcement might operate what the distinctions are between these two nations, and the FBI would get involved, or the BIA, which is something that butterfly articulates, he clearly understands [SPEAKER_05]: the structure and the relationships between these authorities.

[SPEAKER_05]: Again, this is a scene where I feel like the writing and the research that went into the writing thing of Ford's art particular characters, a position of authority, of knowledge and it's valid in the scene.

[SPEAKER_05]: I think I don't know anybody who's been confused that like butterfly is knowledgeable.

[SPEAKER_05]: He knows what he's doing.

[SPEAKER_05]: He holds some authority and walking is wrong.

[SPEAKER_05]: And that I think is worth talking about when even though we're on screen for two minutes, I feel like there's two minutes.

[SPEAKER_05]: put us into place, we are a contemporary, and it functions the way that I think it functions in the world.

[SPEAKER_05]: And it's not some hypothetical guess, and it's not just some assumptions, and that the writer went into a process where he figured it out.

[SPEAKER_05]: He did the research.

[SPEAKER_05]: He probably talked to the right people to figure out how it actually works.

[SPEAKER_01]: Well, he grew up out there.

[SPEAKER_01]: So he grew up.

[SPEAKER_06]: Yeah, you probably can handle some of the native cats out there.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: I understand the jurisdictional stuff.

[SPEAKER_05]: And yeah, I mean, like, you know, Spielberg also grew up with natives.

[SPEAKER_05]: But, you know, like that's not of that's in the family moments.

[SPEAKER_05]: I feel like, you know, I don't think I understand Spielberg understanding the complexities of our governance.

[SPEAKER_01]: Demo isn't he in Phoenix.

[SPEAKER_01]: I mean, it's big.

[SPEAKER_01]: And we're the Phoenix, you know, but a little, but dusty Western town on the border of a res.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: I think that is a good.

[SPEAKER_06]: thing to happen in a story, and it's unfortunately, it's in this movie, because Indians will turn it off by the time they find out, oh, there was just this is the only Indians in power, like I did where I was like, all right, I guess there's not coming back.

[SPEAKER_06]: And so, because that, you tell me that, oh shit, I missed a really cool part.

[SPEAKER_06]: And I think the problem with this movie is that it is two different movies.

[SPEAKER_06]: And you probably want to watch the second half or all that, all the exciting stuff.

[SPEAKER_06]: And so the concept of this jurisdictional things is a good idea.

[SPEAKER_06]: And you're right, I can't think about another film or television show that has kind of done that where we're crossing boundaries.

[SPEAKER_06]: We know how it is in our own travel world to some degree.

[SPEAKER_06]: And so I would like to see somebody export it in a TV show or a movie of, yeah, yeah.

[SPEAKER_06]: almost kind of like what's that movie LA confidential?

[SPEAKER_06]: Yeah, I never read the book.

[SPEAKER_06]: But you remember how it's like these different departments are investigating the same story and they're all add odds to each other and they're having to work together when they finally figure everything out.

[SPEAKER_06]: That would be out of a cool idea for this type of story of these native guys who are [SPEAKER_06]: on this part of this murder that happened because a sharp shooter killed these two people killed somebody on a whatever a township.

[SPEAKER_06]: And so then there's all this conflict and all this stuff that has to happen.

[SPEAKER_06]: That would be a cool movie to me.

[SPEAKER_06]: I agree.

[SPEAKER_06]: Are yoster to make that movie now or somebody else.

[SPEAKER_06]: Yeah, probably not are you asked.

[SPEAKER_06]: But I think just the fact that that was on screen, maybe math, bars, sunrise, typically are Angela.

[SPEAKER_05]: Yeah, maybe.

[SPEAKER_05]: But the fact that it's in like this very large opening movie with like a, you know, Joaquin Phoenix.

[SPEAKER_05]: It's going to put people in a place where they're going to confront this for the first time.

[SPEAKER_05]: You know, I'm sure there's going to be many people who watch this film that don't know anything about tribal politics or authority or police.

[SPEAKER_05]: And they're going to be confronted by this depiction.

[SPEAKER_05]: And it's, I feel safe saying they would know more from this than they will from, you know, like the original Dark Winds release or even like Dark Winds border town episodes.

[SPEAKER_06]: I mean, that's true.

[SPEAKER_06]: I mean, even thinking about when my gut came into effect, remember how scared all the non-natives were of like, right, zinder their homes or losing their job or having to be kicked out.

[SPEAKER_06]: When we all know, you know, I mean, just north of them is an O stage reservation where [SPEAKER_06]: different crimes and races of people live, and no one even thinks about that.

[SPEAKER_06]: And there's other places that have a whole nation is a big asset, a reservation where all kinds of people live.

[SPEAKER_06]: But it's just ignorance and not knowing that kind of makes it kind of problematic.

[SPEAKER_06]: And so I do agree with you.

[SPEAKER_06]: I think it is good that we have these kind of things.

[SPEAKER_06]: If somebody wants to catch that, if they're watching it, that don't already know about it, that I don't know.

[SPEAKER_01]: Yeah, I think I think it was overshadowed by the latter half.

[SPEAKER_05]: I mean, even in the scene itself, it's overshadowed by Joaquin and it's his character, you know.

[SPEAKER_05]: Which is why I felt like it was important to talk about all this because I think there's a lot of important things that are going on very quickly.

[SPEAKER_05]: And it's easy to overlook that this is possible to have a film about characters like this.

[SPEAKER_05]: Oh, good.

[SPEAKER_05]: No good.

[SPEAKER_02]: Is Joe Cross a likable character?

[SPEAKER_02]: Is he a good protagonist?

[SPEAKER_06]: No.

[SPEAKER_05]: I don't think he's likable.

[SPEAKER_05]: No.

[SPEAKER_02]: Who is Joe Crawf?

[SPEAKER_02]: Walking.

[SPEAKER_06]: Oh, okay.

[SPEAKER_02]: Should have been, should have been, should have been, should this movie have been about someone else?

[SPEAKER_01]: The question is who's the protagonist of this film?

[SPEAKER_01]: Because it's not Pedro Pascal.

[SPEAKER_06]: He is the protagonist, but he's not, he's the anti-whatever.

[SPEAKER_06]: Anti-hero kind of.

[SPEAKER_06]: And he's, Joaquin is definitely an anti-hero.

[SPEAKER_06]: Yeah, or something like that.

[SPEAKER_06]: Whatever that term is.

[SPEAKER_06]: It's that thing that Angela and I had talked off screen about, about like, [SPEAKER_06]: Well, unlockable characters and movies can be in movies.

[SPEAKER_06]: It's just, can't we follow these people and sometimes we can't sometimes we can't.

[SPEAKER_06]: And I have to talk about Adam Sandler movies.

[SPEAKER_06]: He's actually really a jerk in a lot of his movies, but we've watched it for the comedy stuff.

[SPEAKER_06]: And so there's, well, these kind of characters.

[SPEAKER_01]: I'm not a, [SPEAKER_01]: real besides Angela.

[SPEAKER_05]: Yeah, I mean, I would say, I mean, Adam said there's a unique circumstance where he kind of grows a heart or the heart underneath like this jerk reveals itself by most of the films.

[SPEAKER_05]: I don't think that happens in all of them.

[SPEAKER_05]: Like, right.

[SPEAKER_05]: Funny people.

[SPEAKER_05]: He's still a jerk by the end of the movie.

[SPEAKER_05]: Yeah.

[SPEAKER_06]: But in everybody's unlockable in that movie.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Except for Seth Rogan.

[SPEAKER_06]: No, he's unlockable too.

[SPEAKER_06]: Yes.

[SPEAKER_06]: Me.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: I didn't think he was [SPEAKER_06]: redeemable and are a good art.

[SPEAKER_06]: Like it.

[SPEAKER_06]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: I mean, he makes them ethical.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Questionable ethical choices.

[SPEAKER_06]: So, and so this may be awesome.

[SPEAKER_06]: I don't think there was really any lackable character.

[SPEAKER_06]: Not even Elvis Jesus.

[SPEAKER_06]: I don't think.

[SPEAKER_06]: I think Officer Buff Butterfly is likable.

[SPEAKER_05]: Oh, yeah.

[SPEAKER_06]: Okay.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: And so he, we in two scenes, three scenes and then dies.

[SPEAKER_02]: Are we supposed to, what about the, is it the deputy?

[SPEAKER_02]: Michael?

[SPEAKER_01]: I think that the deputy is your protagonist.

[SPEAKER_05]: I don't think he's a protagonist, but I think he's likable.

[SPEAKER_01]: He is likable and he kind of learns less and about trusting.

[SPEAKER_05]: Yeah, but I think he becomes an anti-hero by the end of the film.

[SPEAKER_01]: Trusting races, I should say.

[SPEAKER_05]: Yeah, right.

[SPEAKER_05]: Yeah, but I don't think, I don't think Joe Cross is likable.

[SPEAKER_05]: Yeah, I think he's the protagonist because the film pretty much sees from his perspective.

[SPEAKER_05]: And again, like literally through his eyes, like when he mistakes, Emma Stone.

[SPEAKER_05]: And he's sort of Louise.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: And it seems like we're concerned, or at least the film designs is so that we're concerned about his [SPEAKER_05]: Whether he's going to get caught or not, which is very like, you know, most doars.

[SPEAKER_05]: In this case, it's sort of like a Western noir where he's like hiding evidence.

[SPEAKER_05]: He's, you know, maybe doing things for the wrong reasons.

[SPEAKER_05]: He's trying to outwit fate and breaking the law when he should know better.

[SPEAKER_05]: And maybe for reasons that are not noble for selfish reasons, I think all those reasons may come in anti-hero.

[SPEAKER_02]: Well, and it's complicated because he helps out that guy at the grocery store who won't put a mask on.

[SPEAKER_02]: And so it's weird.

[SPEAKER_02]: We're putting a position where this guy is, we're seeing it through his eyes, but are we rooting for him to do the wrong thing?

[SPEAKER_02]: I don't know if we're rooting for, I'm never rooting for him.

[SPEAKER_02]: I mean, that's portrays the words, but do we, he's doing something that's, we're, we're told is, which is, which is wrong, but I don't know where we're following him.

[SPEAKER_02]: And I guess where, moments were sympathize with him a little bit.

[SPEAKER_02]: I guess when he's going through his marital problems, I don't know.

[SPEAKER_02]: I don't know.

[SPEAKER_02]: It's complicated.

[SPEAKER_02]: It's very complicated.

[SPEAKER_01]: So I think just sympathize with him when he was going through his, [SPEAKER_01]: Where do you think, because I was not?

[SPEAKER_02]: Maybe, again, maybe sympathy.

[SPEAKER_02]: I just, things keep happening to me and we're like, gosh, he's making these bad choices stop doing that.

[SPEAKER_05]: Yeah, I would say I kind of sympathize with him to some degree because they felt like the one thing that was earnest and maybe moral was the fact that he was trying to keep his relationship working.

[SPEAKER_05]: Now, how that plays out and why I don't necessarily sympathize with or even identify with, just the fact that he is motivated to, because, again, back to this sort of statement that Austin Butler makes, it's ridiculous, but somehow there's a truth in love in there that's possible.

[SPEAKER_05]: I really think that he loves his wife.

[SPEAKER_05]: I think he's misguided in how he tries to address it.

[SPEAKER_05]: And I think he doesn't give for enough attention until it's too late.

[SPEAKER_05]: And I don't think that those are admiral qualities.

[SPEAKER_05]: And I don't, that doesn't make me sympathize for him.

[SPEAKER_05]: But his care makes me sympathize with his want to have a working relationship.

[SPEAKER_01]: He's so himself absorbed.

[SPEAKER_05]: He is.

[SPEAKER_01]: He doesn't pay any attention to her.

[SPEAKER_05]: No.

[SPEAKER_05]: Well, he, he does on his terms.

[SPEAKER_05]: I think, you know, when he looks at her artwork, I think he's genuinely interested in it.

[SPEAKER_05]: I don't know if he understands.

[SPEAKER_06]: Oh, yeah, that was probably what he called a sympathizing moment, because where he's telling people to buy that art, otherwise no one would.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: And he comes home when he first comes home.

[SPEAKER_05]: He's asking about the artwork and he's listening.

[SPEAKER_05]: And I think he actually is trying to validate her artwork and validate what she believes about her expression in that artwork.

[SPEAKER_05]: I don't think he likes it.

[SPEAKER_05]: You know, but I, you know, that's a redeeming quality to me that he's supporting this wife and her art.

[SPEAKER_05]: But otherwise, yeah, he's very selfish everywhere else.

[SPEAKER_05]: You know, like, these are, these are attributes of an anti-hero.

[SPEAKER_05]: I mean, like, this is what happens in every episode of breaking bad is like, you know, Walter will do despicable things.

[SPEAKER_05]: But in the end, we understand he's trying to do it because he loves his family, even as, you know, disturbing as how it plays out.

[SPEAKER_05]: You know, I think that's what keeps a lot of people in the first few seasons engaged with him as a protagonist.

[SPEAKER_02]: Army like with any western really.

[SPEAKER_02]: Yeah.

[SPEAKER_02]: Many, any like, I guess classic.

[SPEAKER_02]: I'm thinking of like, man with no name or.

[SPEAKER_05]: No, I mean, like, you know, like that's, you know, I would qualify that as a revisionist Western.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: A classic Western would be Roy Rogers.

[SPEAKER_00]: Sure.

[SPEAKER_05]: Good guy and the saving the town from invaders, usually in a different race.

[SPEAKER_05]: Sometimes that's sometimes.

[SPEAKER_05]: You know, I have seen narratives where it's like, you know, it's like Latin.

[SPEAKER_05]: It's like foreigners that are from Ireland.

[SPEAKER_05]: It's like, you know, Asians that are there to like make the railroad.

[SPEAKER_05]: I've seen different races.

[SPEAKER_05]: It's certainly we are the most depicted.

[SPEAKER_01]: And this script on that.

[SPEAKER_01]: I mean, it does.

[SPEAKER_01]: Yeah.

[SPEAKER_01]: Yeah, this is true.

[SPEAKER_05]: Yeah, I mean, and again, I think this film was a Western.

[SPEAKER_05]: It's a small town.

[SPEAKER_05]: He's the sheriff as a small town.

[SPEAKER_05]: and there are Indians on the border of the small town.

[SPEAKER_05]: And I really think that, you know, this is a satire and we're trying, I think he's trying to get us to think about how the land that we've been told is of the West doesn't really exist.

[SPEAKER_05]: And that's what McCain seems to be functioning on is this belief that, you know, Indians are wrong and they're antagonists that Hispanics are wrong and antagonists are trying to take over that, you know, the youth should be listening to him and [SPEAKER_05]: that women should be his wife should be abiding by him.

[SPEAKER_05]: And I think he's looking for the classic antagonists in the movie.

[SPEAKER_05]: And I think he's wrong.

[SPEAKER_05]: And I think we know he's wrong.

[SPEAKER_05]: And I think it's just, again, another story like Killers of the Flower Moon, or it's like, you know, the whole community is waiting for this one Caucasian guy to figure it out so that we can all move forward.

[SPEAKER_05]: And he doesn't learn that lesson.

[SPEAKER_01]: Then didn't why did we have that whole second half or second or last third.

[SPEAKER_01]: Well, because I think that's everything up.

[SPEAKER_05]: Yeah, because I think that's the real antagonist.

[SPEAKER_05]: He wanted an antagonist and an antagonist came.

[SPEAKER_05]: He calls them out and they come.

[SPEAKER_05]: And you know what, it's classic Western antagonists are wearing black they're from out of town.

[SPEAKER_05]: They're coming.

[SPEAKER_05]: And it has a group, is one against a group.

[SPEAKER_05]: And it kind of plays out like a spaghetti Western.

[SPEAKER_01]: I was going to say, you know, it's no spaghetti Western.

[SPEAKER_01]: It did not do that well.

[SPEAKER_05]: I would say when he comes out of the gun shop with with the particular gun that he's using at the end.

[SPEAKER_01]: I brought my eyes so hard at that.

[SPEAKER_05]: Yeah, but you know, I mean, that's a direct reference to Django, you know.

[SPEAKER_01]: I know, big.

[SPEAKER_01]: Oh, Django.

[SPEAKER_05]: original original yeah original it's ridiculous I kind of rolled my eye is the first time the second time I knew it's coming but you know like I kind of see it seems like it shifts from like classic western into like spaghetti well western there they're not well not well I don't think well I agree [SPEAKER_05]: But I think that's what's happening in that moment.

[SPEAKER_01]: Because there was, I mean, going back to what?

[SPEAKER_01]: Good bad ugly with the, with the clinging of the boots and the buildup of the, you know, being chased.

[SPEAKER_01]: There was, I didn't feel any of that.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: I mean, like, yeah, that whole like suspense.

[SPEAKER_02]: Oh, yeah.

[SPEAKER_02]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: I don't think that's there.

[SPEAKER_01]: I'm going to shoot some guns.

[SPEAKER_01]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: But I, I think he got his antagonist in the end.

[SPEAKER_05]: And what we do know about those antagonists, once you watch the film, if you watch React Electors, we're trying to avoid spoilers, I guess.

[SPEAKER_05]: But once you watch the film, if you do, you know who those antagonists are.

[SPEAKER_05]: And those antagonists are not who he thinks they are.

[SPEAKER_05]: They're not minorities.

[SPEAKER_05]: They're not young, politically progressive protesters.

[SPEAKER_01]: You know, like a corporation.

[SPEAKER_05]: Yeah, I mean, the corporation definitely is like the real one of the real villains here.

[SPEAKER_06]: So I'll probably be asked for spoilers.

[SPEAKER_06]: So if somebody don't want to know, don't stop listening.

[SPEAKER_06]: Okay, so in the, so like I said, I walked out by halfway in, but I did read like the synopsis.

[SPEAKER_06]: And it looked like it was batshit crazy towards the end.

[SPEAKER_06]: And I said, Oh my god, this one crazy did it.

[SPEAKER_06]: And so the bad guys who come in, he called them in or how did it happen.

[SPEAKER_06]: What happened?

[SPEAKER_05]: Well, I mean, he, there's a mercy.

[SPEAKER_05]: So for its boiler territory here.

[SPEAKER_05]: Yeah, I'll say that.

[SPEAKER_05]: He murders the mayor and the mayor's son.

[SPEAKER_05]: He's the one that's on tribal land with a scope and a shooting them from a great distance.

[SPEAKER_05]: And they die.

[SPEAKER_05]: And so when he gets to the crime scene, he's kind of controlling the crime scene.

[SPEAKER_05]: So he can find alternative motives and alternative, you know, you can blame it on your BLM people.

[SPEAKER_05]: Right.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: And that's what he does.

[SPEAKER_05]: When he does a news press, he's like, you know, who did this?

[SPEAKER_05]: Antifa.

[SPEAKER_05]: And that's what he says directly to the camera.

[SPEAKER_05]: It's like on, you know, live news, talk into the nation.

[SPEAKER_05]: And he calls them out.

[SPEAKER_05]: And we, I think we kind of see, you know, like these antifa characters, like over the shoulder and dark, watching the screen.

[SPEAKER_05]: And then, and then that's where we go to this shot that Angela doesn't like or the movie shifts into this other movie, where it's somewhere on a plane.

[SPEAKER_05]: And there's like these antifa people in their regard already, like on the plane.

[SPEAKER_06]: holding guns and everything like.

[SPEAKER_06]: Yeah, the swords I had to guns.

[SPEAKER_05]: Right.

[SPEAKER_05]: Yeah, exactly.

[SPEAKER_01]: Oh, my God.

[SPEAKER_01]: Oh, my God.

[SPEAKER_01]: Oh, my God.

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[SPEAKER_01]: Oh, my God.

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[SPEAKER_01]: Oh, my God.

[SPEAKER_05]: Oh, my God.

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[SPEAKER_05]: Oh, my God.

[SPEAKER_05]: They're not real people.

[SPEAKER_01]: It's not scary because you don't know who they are because it's just not scary.

[SPEAKER_05]: I think the only thing is that they are a menace in the last scene.

[SPEAKER_05]: We kind of don't know how many there are where they really are.

[SPEAKER_05]: But it's it's not a spaghetti Western.

[SPEAKER_05]: It's like a war movie.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: And reading this sound like it's all of a sudden came out of the blue.

[SPEAKER_06]: Is that how it kind of felt when you all watched it.

[SPEAKER_06]: Yeah, I think so.

[SPEAKER_01]: That's how I felt.

[SPEAKER_01]: I don't know if anything else.

[SPEAKER_01]: But I was just like, what the fuck?

[SPEAKER_06]: It's gone stupid to more ridiculous.

[SPEAKER_06]: Yeah.

[SPEAKER_01]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Because if I were set up earlier, I would have been less willing to accept it.

[SPEAKER_01]: Right.

[SPEAKER_06]: Because this was like a three hour movie.

[SPEAKER_06]: And so it seems like he could have either made the first half of a movie.

[SPEAKER_06]: are the second half revival films.

[SPEAKER_06]: But combined together, it seemed like it just was a mess.

[SPEAKER_06]: It was just like just silliness.

[SPEAKER_06]: And it almost felt like that.

[SPEAKER_06]: We'll Pharaoh maybe where he's written for mayor and [SPEAKER_06]: that guy from the campaign.

[SPEAKER_06]: Yeah, the campaign.

[SPEAKER_06]: That first path felt like the campaign.

[SPEAKER_06]: I was like, this is basically the campaign.

[SPEAKER_06]: But the campaign was better and I didn't really care for the campaign.

[SPEAKER_06]: That's what that was.

[SPEAKER_06]: And that's why I said, it should have just leaned more into the comedy of it because it almost felt like they were trying to be deep.

[SPEAKER_06]: But they didn't do it.

[SPEAKER_06]: It was just so surface.

[SPEAKER_06]: Everything was so stereotypical.

[SPEAKER_06]: Every single character was a stereotype.

[SPEAKER_06]: And that's kind of, I think what he was trying to do.

[SPEAKER_06]: to make it be this absurd thing, but it just didn't do it way all I don't think.

[SPEAKER_06]: Like the campaign did it way all, because you got people just being crazy and stupid, whereas this one is like, we're trying to be grounded, but we're also trying to be clownish.

[SPEAKER_02]: So it's like, it couldn't dive into the satire.

[SPEAKER_02]: You couldn't decide one way or the other if you wanted to be full on campaign or, I don't know.

[SPEAKER_05]: one of the best of both worlds yeah yeah yeah that's that's why i was saying earlier like his other films he's able to go into the extremes and he pushes the realism into place where it's like obviously distorted you know like the mother floating in the air in hereditary or like the the [SPEAKER_05]: the kind of like trippy experience and maybe excessive violence that happens in bursts and mid-summer or, you know, I mean, those afraid it just continually like increases in its absurdity slowly.

[SPEAKER_05]: I guess there's like an initial scene where he like goes outside.

[SPEAKER_05]: That's amazing sequence.

[SPEAKER_05]: So it's like everything in the world that could be happening.

[SPEAKER_05]: That's bad on the streets is happening simultaneously.

[SPEAKER_02]: Oh, like like early on.

[SPEAKER_05]: Yeah, but for the most part, everything else after that is like slowly kind of increasing in its absurdity.

[SPEAKER_01]: Yeah, that's when he's driving to town in it and like turns the quarter and hits a protester and then there's the rioters and then [SPEAKER_05]: Oh, that, yeah, this film, yes, yeah.

[SPEAKER_01]: Oh, this film.

[SPEAKER_05]: But I was talking about Boe's afraid, but.

[SPEAKER_01]: Well, he recruited here.

[SPEAKER_05]: Yeah, I mean, there was a version of it.

[SPEAKER_05]: Yeah, yeah.

[SPEAKER_05]: I don't think it's as effective like the, I was expecting that protein's protesting to get more extreme somehow.

[SPEAKER_05]: more protesters coming.

[SPEAKER_05]: There's more things going on left and right and up and down and it was really just kind of like that one guy complaining about it's window being broken.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: Everything was just kind of visited for a second and then moved on.

[SPEAKER_01]: Yeah.

[SPEAKER_01]: It's like the new cycle.

[SPEAKER_01]: It's like today's new cycle.

[SPEAKER_05]: Mm-hmm.

[SPEAKER_05]: Yeah.

[SPEAKER_00]: Yeah.

[SPEAKER_05]: I mean, like one day.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: One critic compared it to doom scrolling.

[SPEAKER_05]: It's like, this is exactly what happens.

[SPEAKER_05]: It's like you look at one thing you move on and you look at another thing you move on, which is interesting, but also like what's original or what's really, is that enough to sustain a two and a half hour movie and I'll think so.

[SPEAKER_05]: Not this movie at least.

[SPEAKER_01]: I'm going to say no.

[SPEAKER_06]: I don't wish I liked it.

[SPEAKER_06]: What would, did you talk about who liked it or who didn't like it?

[SPEAKER_06]: We didn't.

[SPEAKER_06]: You guys, obviously, Angela did not.

[SPEAKER_01]: I am firmly in the, no, I didn't like it.

[SPEAKER_06]: Done where I saw it twice, so there must be something interesting.

[SPEAKER_05]: Well, I said I saw it twice, so I could remember what to talk about.

[SPEAKER_05]: I didn't watch it because I wanted to watch it at another time.

[SPEAKER_05]: I was obligated.

[SPEAKER_06]: to take in one for a team, you see that?

[SPEAKER_06]: That's a true.

[SPEAKER_06]: I'm taking a two for the team.

[SPEAKER_06]: Two for the team.

[SPEAKER_01]: Oh, so you didn't like it much for you there, huh?

[SPEAKER_05]: I mean, you know, I didn't hate it because I felt ultimately I feel like he was, again, I think he's making interesting statement about young people in their naivety when it comes to, you know, taking it to the streets.

[SPEAKER_05]: I feel like that's a real thing that [SPEAKER_05]: I haven't seen as clearly articulated about our time period, which I think is that is a reality.

[SPEAKER_05]: Not for everybody, but I think that happens.

[SPEAKER_05]: And I think that movie captured it.

[SPEAKER_05]: That's really the movie to me.

[SPEAKER_05]: I was like, you know, if he were to make this over, get rid of Joaquin, get rid of the mayor, maybe maybe their side characters, but it's about those teens.

[SPEAKER_05]: It's about that one kid or those two kids.

[SPEAKER_05]: That would be an interesting movie to me.

[SPEAKER_05]: It would lose the tribal police, which is my favorite part.

[SPEAKER_06]: Yeah, yeah, don't.

[SPEAKER_06]: Again, there's like interesting elements, but nothing to sustain.

[SPEAKER_06]: Yeah, what did you feel about this movie?

[SPEAKER_02]: Had a lot of great moments, but I was just all over the place.

[SPEAKER_02]: Yeah, I just say everything we've been saying, the Katy Perry moment was, I love that moment.

[SPEAKER_02]: For sure, the two movies, the midpoint is, that's where I kind of came alive when at the murder scene.

[SPEAKER_02]: going up into it like okay there was these interesting things happening but I'm kind of it's losing me it's an hour and a half into the movie now but then yeah that five minute scene happens and I'm really interested and then it gets kind of crazy again so just super uneven [SPEAKER_05]: Yeah, you know, like even if he just streamlined it so that like Emma Stone was not as much in the film.

[SPEAKER_05]: I feel like it would be a better movie because it would kind of focus on that a little bit more in the fact that he's running for mayor.

[SPEAKER_05]: He hates the mayor.

[SPEAKER_05]: He kills the mayor and then he's got to cover it up.

[SPEAKER_01]: I mean, like that's like a.

I wouldn't know what stopped him from killing his mother in law because Lord have mercy.

[SPEAKER_01]: I would have been like a hundred percent behind that.

[SPEAKER_05]: I think it's because he loved his wife.

[SPEAKER_01]: His wife loved him.

[SPEAKER_01]: He could have killed his mother in law.

[SPEAKER_02]: that she was, he was holding on.

[SPEAKER_01]: For what?

[SPEAKER_01]: So she could make his life miserable later by crawling into bed with him and with her boyfriend.

[SPEAKER_05]: Well, I don't think he wants to be around the mother a lot.

[SPEAKER_05]: I think the mother a lot, as long as the mother a lot is around, that means the wife is no.

[SPEAKER_02]: She's totally a burden to him.

[SPEAKER_05]: It also could be, you know, like what's interesting at the end is that it's revealed the mother a lot is basically, I guess, the CEO of that, that AI farm.

[SPEAKER_05]: And only in hindsight, did I think, oh, that was her house that they were living in and not, not Joaquin's house.

[SPEAKER_01]: Oh, I thought that was the mayor's house.

[SPEAKER_05]: No, no, no, no, no, no, no, the one that we're Joaquin and Emma Stone live.

[SPEAKER_05]: And, and he's like, how long is she gonna live here for?

[SPEAKER_05]: It occurred to me that maybe she's paying for the house.

[SPEAKER_01]: Oh, huh.

[SPEAKER_05]: because she's like this CEO of this company and it's kind of like logic.

[SPEAKER_01]: Major props to this set.

[SPEAKER_01]: Yeah, set deck.

[SPEAKER_01]: Yeah, yeah.

[SPEAKER_01]: This was spun on.

[SPEAKER_05]: Yeah, incredible.

[SPEAKER_06]: Okay, this is a part of this.

[SPEAKER_06]: And so the AI form.

[SPEAKER_06]: How did that resolve?

[SPEAKER_06]: What happened with that?

[SPEAKER_06]: So it got built there, I guess, right?

[SPEAKER_05]: Yeah, the last scene.

[SPEAKER_05]: It like jumps forward in time.

[SPEAKER_05]: Now, one thing you don't know is that walking in his final like sequence of like fight and Tifa, one of the anti-fab members runs up to him while his gun is jammed and knives him in the head.

[SPEAKER_01]: In the brain.

[SPEAKER_01]: And the higher written house kid comes running up.

[SPEAKER_01]: Right?

[SPEAKER_05]: And shoots the saves him quote unquote.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Okay, but shooting the antifa guy, but you know, so Joaquin's like, actually he's got two bullet holes, I think, and then he gets nived in the brain.

[SPEAKER_05]: So like time passes, you know, time passes forward, that young man who's saved and becomes a social media influencer who's got his own girlfriend who seems to be of minority.

[SPEAKER_05]: And, and then we also like, we see he Joaquin, [SPEAKER_05]: It's like over shoulder or something and we see the mother-in-law addressing the town leadership, including like, you know, the, the, I guess all the people of the town of the voting board members and business owners and whatever.

[SPEAKER_05]: And she's talking about how on shared land, I think this is important.

[SPEAKER_05]: I think this ties into like jurisdiction.

[SPEAKER_05]: She says, we finally got this building of this farm to be on [SPEAKER_05]: shared land.

[SPEAKER_05]: And there's like the line, a white line that divides the seats into what I believe to be like, Eddington and tribal land.

[SPEAKER_05]: And so there are like, you know, I think there are tribal people in that audience, you know, probably tribal leadership.

[SPEAKER_05]: And then it's revealed that Joaquin is lost all motor control.

[SPEAKER_05]: He's sitting in a chair that controls his ability to move.

[SPEAKER_05]: He's got to go to the bathroom, like being kind of walked through it.

[SPEAKER_01]: Kerry, he has to be placed on the toilet.

[SPEAKER_01]: That comes afterwards though, but during this ribbon cutting or whatever, that's when it's revealed that there's always been this conspiracy.

[SPEAKER_01]: to get this server farmer whenever it is built.

[SPEAKER_01]: Because the town was, was it the town against it?

[SPEAKER_01]: Because it was going to take up all their water.

[SPEAKER_01]: I mean, they're able to a little bit desert.

[SPEAKER_06]: I thought they came on in the tribe against it.

[SPEAKER_05]: I think the tribes okay with it.

[SPEAKER_05]: Oh, okay.

[SPEAKER_05]: And I think, yeah, they wanted the jobs.

[SPEAKER_05]: Definitely.

[SPEAKER_05]: And Pedro Pascal is the one that's for the farm also like he's making an argument to those board members at the bar of the first scene.

[SPEAKER_05]: Oh yeah, I remember that and I think yeah, and I think walk keen is against it at the beginning.

[SPEAKER_01]: Yeah, but like everything he wanted to happen the opposite happened like these outsiders came in and they built this thing.

[SPEAKER_01]: They're taking out the water all of the people that were attacking him were [SPEAKER_01]: Puppets or working for this star version.

[SPEAKER_05]: Oh, there's also like David Midson.

[SPEAKER_05]: It seems to me like he's no longer the sheriff and he's like the head of the tribe or something.

[SPEAKER_05]: He's up at the front.

[SPEAKER_05]: Oh, David Midson.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Oh, shit.

[SPEAKER_05]: He plays the the one of the tribal officers.

[SPEAKER_05]: Nice.

[SPEAKER_01]: So then they motor back after this big opening and they motor back to this big beautiful Adobe house.

[SPEAKER_01]: And then you see how miserable his life has become.

[SPEAKER_01]: Because the mail.

[SPEAKER_01]: Watching watching a John for him and putting my gosh, I was like, well, there you go.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Yeah, he's got a nurse that helps and go to the bathroom.

[SPEAKER_05]: We see everything full frontal nudity as he's trying to get him to urinate.

[SPEAKER_06]: I don't like that.

[SPEAKER_02]: Well then, and then, you think that mom's getting into bed with them, but then the nurse.

[SPEAKER_01]: Then there's nurse joins.

[SPEAKER_05]: Yeah, the nurse takes off the shirt and then gets into bed next to her.

[SPEAKER_01]: Yeah.

[SPEAKER_01]: And he's on over because he's been drinking all day, the nurse.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: So you're just like, oh, OK.

[SPEAKER_05]: And then we go to the white shot of the town with the, with the bright lights from the server farm.

[SPEAKER_06]: Yeah, ruining all of the night sky.

[SPEAKER_06]: So the mom is the mom is ahead of the AI company.

[SPEAKER_06]: And while King Phoenix did not want it to be there, is that correct?

[SPEAKER_05]: I think it's very implicit.

[SPEAKER_05]: I think it's ever really articulated, but I think she wants the farm to be there.

[SPEAKER_05]: I think she's the CEO of the server farm.

[SPEAKER_01]: But is that before after it's built?

[SPEAKER_05]: I think it's after it's built, but I think she's I think she's there because they're trying to get it built and she's going to be there until it's finished.

[SPEAKER_01]: That's why she's speaking.

[SPEAKER_01]: I thought she was speaking on behalf of the mayor, which is Joe Cross.

[SPEAKER_01]: who was pity elected, I guess, to be mayor.

[SPEAKER_05]: Yeah, I mean, like that might make sense.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: Yeah.

[SPEAKER_01]: That was my takeaway.

[SPEAKER_05]: Yeah, I mean, that would make sense.

[SPEAKER_06]: But it's, I mean, she's the only one, right?

[SPEAKER_06]: Because the other mayor is dead.

[SPEAKER_06]: Who was Randy?

[SPEAKER_05]: Yeah, I mean, he killed the mayor.

[SPEAKER_06]: So he'd be the only one.

[SPEAKER_06]: He'd be the only one.

[SPEAKER_05]: He won the race because he's, there's no, there was no, no opponent.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: It's true, too.

[SPEAKER_05]: Yeah.

[SPEAKER_06]: And that's happened before right in somebody like die and become mayor once and in real real world somewhere.

[SPEAKER_01]: Oh, I'm sure or their wife becomes mayor.

[SPEAKER_01]: I mean, there's a lot of succession plans for those elected positions in the world.

[SPEAKER_05]: Oh, so one thing also is that the his deputy, I guess that [SPEAKER_05]: Also gets explodes because he's been cashier by antifuzz like as bait Michael Michael he lives and at the end in this ribbon cutting sequence we see him like quietly brooding his faces all scarred not as scarred as any man blown up probably should be but he's scarred [SPEAKER_05]: and quiet.

[SPEAKER_05]: He's got the sheriff star on him.

[SPEAKER_05]: And he's like looking at a phone where he's like zooming in on walk, teens, you know, drooling body.

[SPEAKER_05]: But it seems like he's plotting revenge.

[SPEAKER_05]: And in the sequence, the Angela just talked about where they go back home and like the mother-in-law sitting there and like, you know, scrolling through social media on the laptop or whatever.

[SPEAKER_05]: And while teens like sitting there watching dawn forward, we hear the sort of like, [SPEAKER_05]: pop pop happening.

[SPEAKER_05]: And then we see the Michael in the dark, like basically aiming at like a, you know, a human target range and he's shooting a human target, getting better at shooting.

[SPEAKER_05]: So implies that he's going to probably do the same of like assassinating and walking and then maybe he'll be major.

[SPEAKER_05]: Interesting.

[SPEAKER_05]: And then maybe, yeah, that's, you know, thatington too.

[SPEAKER_06]: What happened with the the protester girl.

[SPEAKER_05]: That's a good question.

[SPEAKER_05]: She kind of just disappears.

[SPEAKER_01]: What happened to her?

[SPEAKER_05]: Okay.

[SPEAKER_05]: Well, she gets him like walking goes to her and mock investigates asking her like, you know, who are you talking to?

[SPEAKER_05]: Or what did you know?

[SPEAKER_05]: Or why was your purse at the crime scene?

[SPEAKER_05]: Right.

[SPEAKER_05]: But nothing ever happens after that.

[SPEAKER_05]: Right.

[SPEAKER_05]: So that's the photograph of her.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: You know, one thing that does happen is like, what gets lost in all of this, one thing we didn't mention is that Joaquin has COVID.

[SPEAKER_05]: Like, you know, one day he's like waking up, but he's like clearly, you know, sick and he shouldn't be going to work.

[SPEAKER_05]: He's sweaty.

[SPEAKER_05]: And he's probably moving around on a little bit slowly the next day.

[SPEAKER_05]: And I think all of the starts from that, the initial scene with like the crazy guy.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: Yeah, he infected the whole town.

[SPEAKER_05]: He infected the whole town.

[SPEAKER_05]: Clifton Collins.

[SPEAKER_01]: Yeah.

[SPEAKER_05]: But, you know, like this second time I viewed it, it was like kind of tracking, you know, if he's got COVID, who's got COVID, he's got COVID.

[SPEAKER_05]: probably the young man has got COVID because he's like not wearing his mask while he's like in that moment.

[SPEAKER_05]: And you know, then he's also kissing that girl and photographing it to like make his friend jealous and she's got COVID then.

[SPEAKER_01]: And yeah, but remember young people weren't getting COVID as much.

[SPEAKER_05]: Well, I mean, even if they were getting ill in the same way as older people, they're still, they still have the virus and they're still passing it around.

[SPEAKER_06]: And so the dude that walks in a town [SPEAKER_06]: So he had COVID.

[SPEAKER_06]: Is that what his problem was?

[SPEAKER_01]: Yeah, he's patient cereal was what I figured.

[SPEAKER_06]: Okay.

[SPEAKER_06]: Did he ever show up again afterwards?

[SPEAKER_01]: He gets murdered.

[SPEAKER_05]: Okay.

[SPEAKER_05]: By walking.

[SPEAKER_05]: But he's also in that protest scene.

[SPEAKER_05]: He like he walks up in the daytime.

[SPEAKER_05]: I'm protesting.

[SPEAKER_05]: And yeah, he's sort of like the end.

[SPEAKER_05]: He's been the reason to break up.

[SPEAKER_05]: Yeah.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: Yeah, so I guess people watch this fast forward to the second half because that's where the better stuff happens sounds like.

[SPEAKER_06]: Well, I mean, don't miss don't miss all the tribal policing.

[SPEAKER_06]: Oh, that's when he's like the first five minutes of the movie.

[SPEAKER_06]: So you know, also a part of it.

[SPEAKER_06]: That's where you pass over to.

[SPEAKER_06]: That's like the second.

[SPEAKER_01]: Officer Butterfly has solved the whole case.

[SPEAKER_01]: I mean, he's actually.

[SPEAKER_01]: He has all day things.

[SPEAKER_05]: He has.

[SPEAKER_05]: Yeah, and you know, like there was a sequence.

[SPEAKER_05]: There's a sequence in the crime scene where Joaquin fakes like, you know, spray-pray-and-and-and-and-and-Betterfly doesn't make the statement.

[SPEAKER_05]: He's like, hmm, we got to figure out how to match that handwriting.

[SPEAKER_05]: And there's a moment where like he comes over to Joaquin's office and they like seize the scroll on the board of the plans.

[SPEAKER_05]: And he's like, oh, there's the match.

[SPEAKER_05]: And then he races to go get information about whether there's a weapon inside his home.

[SPEAKER_05]: You know, like that competent police work and who does it is the native.

[SPEAKER_05]: Like that's awesome.

[SPEAKER_01]: What are their spoilers?

[SPEAKER_01]: Do you need, Tully?

[SPEAKER_06]: I just need you to tell me what I'm missed.

[SPEAKER_06]: Just in case it sounds like I do want to see the second half just as I'd watched on TV or on my phone because that way I can do other stuff on doing it.

[SPEAKER_05]: Yeah, I would say that's probably a good way to watch this movie is like.

[SPEAKER_05]: Want to do another stuff.

[SPEAKER_05]: Yeah, doom scroll.

[SPEAKER_05]: Well, the doom scroll movies happening.

[SPEAKER_05]: And then make sure whenever you hear butterfly, you look up and you watch.

[SPEAKER_05]: All right, that sounds good.

[SPEAKER_06]: So, what's your favorite COVID story?

[SPEAKER_06]: Did you have any good COVID experiences?

[SPEAKER_01]: Yeah, actually.

[SPEAKER_02]: A good one.

[SPEAKER_01]: I share.

[SPEAKER_01]: That's when I got hobbies.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: That's when I got better at cooking.

[SPEAKER_01]: Yeah.

[SPEAKER_06]: Nice.

[SPEAKER_06]: What's your what your go to sunrise you go to meal a bullgogi beef dish.

[SPEAKER_06]: Oh, you should that sounds fancy.

[SPEAKER_05]: I know it's my name.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: It's pretty good.

[SPEAKER_05]: It's secrets.

[SPEAKER_05]: I'm not really it's just it's just whisking up.

[SPEAKER_05]: What is it?

[SPEAKER_05]: Soy sauce, some honey, some fish sauce, and sesame seeds.

[SPEAKER_05]: It's all it is.

[SPEAKER_05]: So you make that sauce, you whip it up, and then you marinate your meat in it.

[SPEAKER_05]: You know, it should be like really thin cuts of beef.

[SPEAKER_00]: Right.

[SPEAKER_05]: You know, ideally, you know, like middle of the cow beef, which you let it sit, and then you stir fry it.

[SPEAKER_05]: And that's it.

[SPEAKER_05]: Get some rice, get some noodles.

[SPEAKER_05]: It's so good.

[SPEAKER_06]: Nice.

[SPEAKER_06]: Yep, Sunrise, all right.

[SPEAKER_06]: He's going to be opening up his restaurant soon.

[SPEAKER_06]: People look out for one.

[SPEAKER_06]: Sunrise Cafe.

[SPEAKER_06]: Right in the heart of Oklahoma City.

[SPEAKER_06]: An angel, what hobbies did you take up?

[SPEAKER_01]: Stowing and baking.

[SPEAKER_01]: I learned how to make some really good cinnamon rolls.

[SPEAKER_06]: Ooh, God dang, Sunrise.

[SPEAKER_06]: An angel again together.

[SPEAKER_06]: Oh, oh, oh, meal.

[SPEAKER_06]: Together.

[SPEAKER_06]: It's going to be a [SPEAKER_06]: What's a thing that everybody just says, the high quality David Beard or whatever James Beard Award?

[SPEAKER_06]: James Beard or David Beard.

[SPEAKER_06]: David Beard's catfish king.

[SPEAKER_06]: You don't put him on the David Beard.

[SPEAKER_01]: The brother is James Steppard.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: Yeah, if you got David Beard or Lord, you sure what's the winner.

[SPEAKER_01]: What about Matt, what'd you do during quarantine?

[SPEAKER_02]: I was in school, so I had a lot of quality time to read and study.

[SPEAKER_02]: And I did watch the office from beginning to end all nine seasons of that.

[SPEAKER_02]: The American American American, the American, the British is only like five episodes, I think.

[SPEAKER_06]: I've ever thought to five seasons.

[SPEAKER_05]: And it's special.

[SPEAKER_02]: I don't know how many.

[SPEAKER_02]: It's not very looks like one short season.

[SPEAKER_02]: Yeah, and a special.

[SPEAKER_06]: Okay.

[SPEAKER_06]: Not never knew that.

[SPEAKER_06]: I've been putting it off because I've been wanting to watch it.

[SPEAKER_02]: Get on it.

[SPEAKER_06]: But it sounds like it's something you could do in the weekend.

[SPEAKER_06]: Are during COVID or next year.

[SPEAKER_06]: What ever is coming next?

[SPEAKER_06]: In the world experience.

[SPEAKER_05]: Although Maya just told me that they're like casting for the reboot or like another version of it.

[SPEAKER_06]: Yeah, the paper.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_02]: Yeah.

[SPEAKER_05]: That's right.

[SPEAKER_05]: Oh, that's right.

[SPEAKER_05]: Or.

[SPEAKER_05]: I still don't wish.

[SPEAKER_06]: It's been on paper.

[SPEAKER_06]: P-A-P-E-R.

[SPEAKER_05]: Oh, prequel.

[SPEAKER_05]: No.

[SPEAKER_05]: No.

[SPEAKER_06]: It's been off.

[SPEAKER_05]: It's been off.

[SPEAKER_06]: It's been off.

[SPEAKER_05]: It's called the paper.

[SPEAKER_05]: Oh, it's the paper company that makes the paper.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: Which is weird.

[SPEAKER_06]: Oh, I think they call it Dunder Mifflin, if anything.

[SPEAKER_05]: Wait, yeah, Dunder Mifflin made the paper.

[SPEAKER_06]: Yeah.

[SPEAKER_05]: Or no, they just sold the paper.

[SPEAKER_06]: Oh, now we're learning the people who make the paper.

[SPEAKER_06]: Well, I suppose I was that true.

[SPEAKER_06]: Matt, sound like you know, more than I do.

[SPEAKER_02]: I just saw a trailer for it the other day.

[SPEAKER_02]: That's the Oscar.

[SPEAKER_02]: What's the name?

[SPEAKER_06]: Oscar.

[SPEAKER_02]: He's in it from the from the from the office.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Oscar Nugues.

[SPEAKER_02]: Yes.

[SPEAKER_02]: As a I think supporting player.

[SPEAKER_05]: And he's still playing Oscar.

[SPEAKER_02]: Yeah, he's Oscar.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Can you believe that that show is like over a decade old?

[SPEAKER_05]: Yep.

[SPEAKER_04]: Right.

[SPEAKER_05]: Like it started in two thousand five.

[SPEAKER_05]: So it's like twenty years old from the first episode.

[SPEAKER_04]: Wow.

[SPEAKER_05]: Isn't that crazy?

[SPEAKER_05]: Mm-hmm.

[SPEAKER_02]: It is.

[SPEAKER_05]: And then like the last season is basically twelve years old.

[SPEAKER_02]: Mm-hmm.

[SPEAKER_00]: What?

[SPEAKER_05]: Where does the time go?

[SPEAKER_05]: Well, I mean, in COVID it goes to the office.

[SPEAKER_05]: and quarantine.

[SPEAKER_05]: I did remember there was one day, yeah.

[SPEAKER_01]: I watched all of the Marvel movies in chronological order, not in real life.

[SPEAKER_05]: Oh, that's cool.

[SPEAKER_01]: Nice.

[SPEAKER_05]: Did it include shorts?

[SPEAKER_01]: Yeah, I mean, it was like the whole thing.

[SPEAKER_01]: Somebody online had posted them.

[SPEAKER_01]: And so, wow.

[SPEAKER_01]: Back to Captain America, the first adventure went through [SPEAKER_01]: with agent Carter and hell of that stuff.

[SPEAKER_01]: You watch TV shows?

[SPEAKER_01]: Yeah.

[SPEAKER_01]: What?

[SPEAKER_05]: You didn't do shit.

[SPEAKER_05]: Yeah, you didn't do shit.

[SPEAKER_01]: Yeah.

[SPEAKER_01]: Oh, well, I watched agency in the field when it was on, but.

[SPEAKER_01]: But none of the stuff.

[SPEAKER_06]: That was around COVID time though.

[SPEAKER_06]: Wouldn't it want it on during COVID time?

[SPEAKER_01]: I think it was starting to wrap up around COVID time.

[SPEAKER_01]: Yeah.

[SPEAKER_01]: And it wasn't.

[SPEAKER_01]: I don't think it was in in that sequence specifically.

[SPEAKER_06]: Yeah, because they kind of fucked up because stuff was happening because they weren't able to like really tie-handed shows with the movies.

[SPEAKER_06]: So it was like, you know, weird way they did it, where they went by thematic ideas and thematic concepts.

[SPEAKER_06]: So they bring in a special guest that's like a side character from one of the Marvel shows.

[SPEAKER_05]: So I do see that the seven seasons, which is currently the last season was in twenty twenty.

[SPEAKER_06]: Yeah, so.

[SPEAKER_01]: And that's when they went to outer space and I think I'm given it by then.

[SPEAKER_05]: Everything's got to go to outer space at some point.

[SPEAKER_01]: Well, they blew up the earth and it was suddenly.

[SPEAKER_01]: It was hit.

[SPEAKER_01]: Tiger's guide to the galaxy and I was like, OK, I've been here before.

[SPEAKER_01]: There's no towel.

[SPEAKER_02]: So that's funny.

[SPEAKER_06]: I don't remember them blowing the earth.

[SPEAKER_06]: That's crazy.

[SPEAKER_02]: In shield.

[SPEAKER_06]: Didn't they?

[SPEAKER_06]: I don't.

[SPEAKER_06]: I didn't think so because they didn't in the Marvel Universe or movies.

[SPEAKER_06]: Maybe that's when Thanos was coming or whoever was the big bad at that moment in twenty twenty.

[SPEAKER_06]: Well, whenever what happened in twenty twenty in the Marvel movies.

[SPEAKER_02]: Well, nothing.

[SPEAKER_02]: I think they were trying to release black widow.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Yeah, everything was unhold because of both before black widow.

[SPEAKER_05]: and game and game.

[SPEAKER_06]: Okay, so I bet it was the in-game stuff and they got them out of Earth so that they didn't have to be a part of it in-game because that's kind of what they did with ages of shields is like that you're into universe but kind of like off because I was hoping to see that dude show up and they said, oh, you're alive.

[SPEAKER_06]: But then they were happy.

[SPEAKER_06]: Yeah.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: I was super disappointed with that game because I was expecting all of these shows to have characters come from the shows into the film.

[SPEAKER_00]: Yeah.

[SPEAKER_01]: Hey, it was destroyed.

[SPEAKER_01]: The destruction of earth was the cataclysmic outcome of the Battle of Chicago in an alternate timeline.

[SPEAKER_05]: Oh, we're.

[SPEAKER_05]: It did happen, but it's not.

[SPEAKER_06]: So they produced the multiverse first.

[SPEAKER_05]: They did.

[SPEAKER_05]: Yeah.

[SPEAKER_01]: No, they did not.

[SPEAKER_01]: Don't say that.

[SPEAKER_01]: Yeah, you just, you just said that.

[SPEAKER_01]: No, the flash did the multiverse first.

[SPEAKER_01]: No, I'm the marble universe.

[SPEAKER_01]: Oh, and the marble universe, then yes.

[SPEAKER_05]: Isn't the flash marble?

[SPEAKER_01]: No.

[SPEAKER_05]: Oh, yeah.

[SPEAKER_05]: Oh, my God.

[SPEAKER_06]: Oh, my God.

[SPEAKER_06]: Oh, no, Matt.

[SPEAKER_06]: Matt's having a great time.

[SPEAKER_06]: No.

[SPEAKER_06]: Okay, Matt.

[SPEAKER_06]: It's okay.

[SPEAKER_06]: Some people don't know.

[SPEAKER_02]: So disappointed.

[SPEAKER_05]: And I knew I knew better, because as soon as I said that I was thinking of like Superman, they're all saying the marvellous, any superhero movie at the marvellous.

[SPEAKER_05]: Although I mean, like Captain Marvel is both, both universes, right?

[SPEAKER_06]: And it's correct.

[SPEAKER_06]: But they can't call him Captain Marvel because Marvel, right?

[SPEAKER_06]: They sue them or what?

[SPEAKER_06]: probably.

[SPEAKER_06]: So something like that.

[SPEAKER_06]: So it's just shazam.

[SPEAKER_05]: But I feel like that's probably another thing that would come out just after twenty twenty right is more I mean Captain Marvel's twenty twenty one.

[SPEAKER_05]: Probably.

[SPEAKER_02]: Wait, the Marvel's.

[SPEAKER_02]: No Captain Marvel.

[SPEAKER_02]: Captain Marvel.

[SPEAKER_02]: The first one.

[SPEAKER_02]: Twenty nineteen.

[SPEAKER_05]: Yeah.

[SPEAKER_05]: Twenty two.

[SPEAKER_06]: Because Black Widow came between in game into other one.

[SPEAKER_05]: Yeah, so I mean, yeah.

[SPEAKER_01]: Oh, my gosh.

[SPEAKER_01]: Oh, we're yelling at us right now.

[SPEAKER_05]: Yeah, they are.

[SPEAKER_05]: So then, so then you probably watched Captain Marvel pretty early in this whole chronology of Marvel, right?

[SPEAKER_06]: Yeah, because that happened in the nineties, right?

[SPEAKER_06]: Yeah.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: So yeah, you're supposed to have the medical first.

[SPEAKER_06]: Then.

[SPEAKER_05]: Do we need to do you suggest watching it in story order?

[SPEAKER_01]: Yes.

[SPEAKER_01]: I really appreciated watching it in chronological order and then I also flashed here.

[SPEAKER_01]: I went back and watched all the stores and it was really interesting to see how much he was left out of.

[SPEAKER_06]: What do you mean?

[SPEAKER_01]: Because if you watched all the store movies without watching any of the other movies and all [SPEAKER_01]: he misses out on a lot of action.

[SPEAKER_01]: He just kind of comes in and he's like, oh, what are you talking about?

[SPEAKER_01]: I've been in space, you know, and so they have to kind of catch a map on what's been going on.

[SPEAKER_01]: It's kind of interesting.

[SPEAKER_05]: Wait, so you're telling me you watched, you watched all the sequences of Thor or all the Thor, so like, in order, but without one time.

[SPEAKER_05]: Okay, so like Thor is in the title of like Thor, Thor, the Dark World, but you didn't watch the Avengers, which yeah.

[SPEAKER_01]: Yes, I did.

[SPEAKER_06]: Okay.

[SPEAKER_01]: If you was in it, I would watch it.

[SPEAKER_06]: Any, okay, anything.

[SPEAKER_06]: Okay, so that's what I was asking.

[SPEAKER_01]: Yeah.

[SPEAKER_06]: So you even watched the old incredible Hulk.

[SPEAKER_06]: Okay, that's cool.

[SPEAKER_05]: Or you watch Avengers and Baby Sitting.

[SPEAKER_01]: Oh, yeah, Avengers and Baby Sitting, that's true.

[SPEAKER_01]: Listen, I don't play with Avengers and Baby Sitting.

[SPEAKER_01]: It's the best.

[SPEAKER_01]: When you, when, yeah, when, when, when, don't for you comes down with the, the smoke and the, and oh my gosh, it's so perfect.

[SPEAKER_05]: And you know, I do think that Taika is kind of making illusions to be Avengers of it, be sitting in love and thunder.

[SPEAKER_01]: Really?

[SPEAKER_05]: But the kids.

[SPEAKER_05]: Yeah.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: I didn't think about that, but yeah.

[SPEAKER_06]: I guess we're at now.

[SPEAKER_06]: That's cool.

[SPEAKER_05]: Anyway.

[SPEAKER_05]: Okay.

[SPEAKER_05]: Okay.

[SPEAKER_05]: So we've got grass.

[SPEAKER_01]: They're coming.

[SPEAKER_01]: So Eddington.

[SPEAKER_05]: Yeah, Eddington.

[SPEAKER_01]: We're all kind of mad about.

[SPEAKER_05]: Yeah, I'd watch it again though.

[SPEAKER_05]: I would only watch it for like if it's a two dollar rental.

[SPEAKER_06]: Oh my god, you pay for it.

[SPEAKER_06]: I guess we all pay for it.

[SPEAKER_06]: We just don't realize we're paying for it.

[SPEAKER_06]: Yeah, but yeah.

[SPEAKER_06]: If it pops on a screening piece, what are you called streaming device that I have?

[SPEAKER_06]: HBO.

[SPEAKER_06]: Who wants that last half?

[SPEAKER_06]: Through my phone.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: But otherwise, yeah.

[SPEAKER_06]: But my copy artist, I don't think I'm a big one, Ari Aster.

[SPEAKER_06]: I don't think I've ever liked any of his movies.

[SPEAKER_00]: That's even for it, Jerry.

[SPEAKER_06]: I've seen.

[SPEAKER_06]: I heard Terry was just okay.

[SPEAKER_06]: Like when a kid got a haircut off, that was as bad as it.

[SPEAKER_05]: She liked the violence.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: And it was another cult, right, cult movie ending kind of.

[SPEAKER_05]: Yeah.

[SPEAKER_06]: Yeah.

[SPEAKER_06]: So I was like, I was probably like sick of those because there are so many movies in that time period that would do something like that.

[SPEAKER_06]: And then I probably like mid summer, the most, but I'm not washing it again since or desire to see it again.

[SPEAKER_06]: But I think I appreciated it.

[SPEAKER_06]: And there are all good visual movies.

[SPEAKER_05]: I don't know if this is, I mean, this is a competent one.

[SPEAKER_05]: I don't, I wouldn't say this, the visuals in this are better than the other movies.

[SPEAKER_06]: That might be true.

[SPEAKER_06]: It could have been better, like Angela said, I bet, you know, because you're doing a Western, you'd want to do Western shots, you know, I would think, do those cool stuff like that, but that's not this movie.

[SPEAKER_05]: I did appreciate when Joaquin runs.

[SPEAKER_05]: There's like a moment where he's like trying to run out run the antifa before he can get a weapon.

[SPEAKER_05]: He'd like runs down a hill.

[SPEAKER_05]: He slides down a hill and it's like running into town before he can get into the ammo shop.

[SPEAKER_05]: And he's kind of doing this like.

[SPEAKER_05]: And I'm sorry to realize that like this is something that isn't a lot of Joaquin movies like that happens in Joker.

[SPEAKER_05]: It happens in the master happens in [SPEAKER_05]: A lot of his things recently.

[SPEAKER_05]: And I sort of realized that there's sort of like a walking genre.

[SPEAKER_05]: Now.

[SPEAKER_05]: But I like that.

[SPEAKER_06]: I might just just super cut walking running walking running.

[SPEAKER_01]: All right, any final thoughts?

[SPEAKER_06]: Any other topics, y'all.

[SPEAKER_06]: That grass food.

[SPEAKER_01]: Well, if you've been listening all this time, we appreciate you.

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[SPEAKER_01]: You know, I didn't think these through when we made these, they should have all been.

[SPEAKER_01]: She wrote the thing.

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[SPEAKER_05]: That's the same as Facebook.

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[SPEAKER_05]: What?

[SPEAKER_05]: Do we have a link tree?

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[SPEAKER_06]: You have failed.

[SPEAKER_06]: You're almost there, but you dropped it at the almost solo line I would return with.

[SPEAKER_06]: No.

[SPEAKER_01]: And remember to tune in next time.

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[SPEAKER_04]: Keep it real.

[SPEAKER_05]: Oh, I didn't do this.

[SPEAKER_05]: Did you say un-diginiz?

[SPEAKER_05]: Un-diginiz!