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EP173 - Live Free Or Die Hard · Thirsty For More - Movie Review

• 0:19
  Speaker 1: Hello, everybody, Hello, Hello everybody, Hello, Hello everyone, and welcome
• 0:23
  Speaker 1: to Planet Bruce. Hi. Of course I'm your host Malnka
• 0:27
  Speaker 1: and I'm Alex. And today we're talking about two thousand
• 0:30
  Speaker 1: and seven's Live Free or Die Hard, which is I
• 0:34
  Speaker 1: think I've said on the show before. That's the mass On, Massachusetts,
• 0:39
  Speaker 1: New Hampshire license plate. It says live free or or
• 0:43
  Speaker 1: live for or die which is yeah. Yeah, And what.
• 0:48
  Speaker 2: They mean is as hard as the penis shape that
• 0:53
  Speaker 2: Bruce is in this movie.
• 0:55
  Speaker 1: He's the most penis in this movie. Well, this is
• 0:58
  Speaker 1: also like the most obviously patriotic one. I mean, you'll see, dude,
• 1:05
  Speaker 1: you'll see. Why are we doing the next one? Well, dude,
• 1:07
  Speaker 1: you're talking about the next one? Yeah, yeah, but like
• 1:10
  Speaker 1: I don't, I don't know are we doing the next one?
• 1:15
  Speaker 1: I thought, Oh I thought we were. We are? Listen.
• 1:21
  Speaker 2: Yeah, it is definitely the most patriotic one so far.
• 1:25
  Speaker 2: Bruce is bald with a beard, not with a beard.
• 1:28
  Speaker 1: No, it looks good. He looks really good in this one.
• 1:31
  Speaker 1: He looks amazing. No, he looks really good. But he's
• 1:34
  Speaker 1: the most penis in this one. Oh, but I think
• 1:37
  Speaker 1: he looks the most good because he's the most penis.
• 1:41
  Speaker 2: I wish I wish he had a little bit more
• 1:44
  Speaker 2: gruffness to him, because I feel like he looks really good.
• 1:50
  Speaker 2: It's not a it's not a problem of him looking
• 1:52
  Speaker 2: really good. Do you want to get into it? Let's
• 1:54
  Speaker 2: get into it, Okay, I mean, you know what, did
• 1:59
  Speaker 2: you watch die Hard four point oh? Or did you
• 2:01
  Speaker 2: watch Live Live.
• 2:03
  Speaker 1: For your I think I watched four point oh. Okay,
• 2:05
  Speaker 1: I watched four point oh.
• 2:07
  Speaker 2: Not on a legal side. First off, I don't like.
• 2:14
  Speaker 2: I don't know how you want to go. Do you
• 2:15
  Speaker 2: want to go beat by Beat or.
• 2:18
  Speaker 1: I don't know. I don't know that we necessarily need to,
• 2:22
  Speaker 1: but I would like to discuss I would like to
• 2:24
  Speaker 1: discuss the film holistically, but maybe not maybe not beat
• 2:28
  Speaker 1: by Beat. Okay.
• 2:32
  Speaker 2: The problem with this movie to me in general, like
• 2:37
  Speaker 2: if we're talking holistically, isn't necessarily that it's like bad.
• 2:44
  Speaker 2: It's not a bad movie. No, it's actually like fairly watchable.
• 2:49
  Speaker 2: Bruce Willis is really good in it. I like Maggie Q,
• 2:53
  Speaker 2: I like Mary Elizabeth Winstead, I like Justin Long.
• 2:58
  Speaker 1: Yeah, I don't.
• 2:59
  Speaker 2: Like that Justin Long has nothing to do with Bruce
• 3:03
  Speaker 2: Willis at all, Yeah, he has nothing to do with
• 3:07
  Speaker 2: any of the characters. Mary Elizabeth Winstead is like, uh,
• 3:12
  Speaker 2: just not a character for like an hour like plus
• 3:17
  Speaker 2: of the movie.
• 3:18
  Speaker 3: She's she's Lucy, right, Yeah, she's Lucy.
• 3:24
  Speaker 2: Here's my plot. If I were to redo this, make
• 3:29
  Speaker 2: Justin Long his nerd fucking son who he's disappointed in
• 3:33
  Speaker 2: that he's not like an action guy, and.
• 3:37
  Speaker 1: There you go.
• 3:37
  Speaker 2: You have instant relationship between him working together with his son,
• 3:42
  Speaker 2: learning that he can be a nerd and that's cool. Uh,
• 3:47
  Speaker 2: and like or and like make her a badass so
• 3:52
  Speaker 2: that she like she as a girl has gotten more.
• 3:56
  Speaker 1: Uh. They did kind of try. They tried, but well anyway,
• 4:00
  Speaker 1: we'll get to we'll get to that. I agree with you,
• 4:03
  Speaker 1: I think. I mean, I think what I've been wanting
• 4:06
  Speaker 1: to say is I think that they already made Die
• 4:10
  Speaker 1: Hard for and it was hostage.
• 4:13
  Speaker 2: Yeah, I mean.
• 4:16
  Speaker 1: Kind of if you just made if you made hostage,
• 4:19
  Speaker 1: it's John McClain. He's disaffected. He can't do the job anymore.
• 4:22
  Speaker 1: He fucked up too many times or did too many
• 4:24
  Speaker 1: extreme measures. Yeah, like it took the law into his
• 4:29
  Speaker 1: own hands too many times, and they relegate him to
• 4:31
  Speaker 1: some like small town something somewhere.
• 4:34
  Speaker 2: Totally and that could work. I'm just saying the reason
• 4:36
  Speaker 2: I'm talking about it now in this way is because
• 4:40
  Speaker 2: this is die Hard and they missed like as opposed
• 4:43
  Speaker 2: to a movie with with I would much rather this
• 4:46
  Speaker 2: be a hostage where it's just like, oh, it's Bruce
• 4:49
  Speaker 2: Willis and he's in like kind of a neat movie,
• 4:52
  Speaker 2: like an action movie, but like just.
• 4:54
  Speaker 1: Just in the overarching kind of like story that we've
• 4:57
  Speaker 1: been doing about Bruce. With the other guys, we had
• 5:04
  Speaker 1: how many how many Like with the other guys, we
• 5:13
  Speaker 1: had sequels of their main character that they do Terminator, Rainbow, Rocky, Yeah,
• 5:22
  Speaker 1: what was Van Dam? Nothing? I guess also, but Van
• 5:25
  Speaker 1: Dam was like the same character in all the movies.
• 5:27
  Speaker 1: So it's kind of like it was like it was
• 5:29
  Speaker 1: always it's you know, like when you say, oh, let's
• 5:33
  Speaker 1: watch a Van Dam movie to you know exactly the
• 5:35
  Speaker 1: kind of movie, right, unless it's JCVD. But with Bruce,
• 5:42
  Speaker 1: we never knew what kind of movie we were gonna get.
• 5:45
  Speaker 1: And so John McClain is really kind of like such
• 5:49
  Speaker 1: a strong like place to come back to because if
• 5:55
  Speaker 1: we are going to say what the overarching thing of
• 5:58
  Speaker 1: Bruce is like in the zeitgeist, it is patriotism, it
• 6:03
  Speaker 1: is Americanism. It is taking things into your own hands
• 6:07
  Speaker 1: and solving the problem like a man, and you know,
• 6:10
  Speaker 1: like kind of like that kind of vibe. Yeah, And
• 6:12
  Speaker 1: so I think it's interesting that this movie, I think,
• 6:16
  Speaker 1: doubles down on a lot of those kinds of tropes
• 6:19
  Speaker 1: because in the last movie, we get this like almost
• 6:23
  Speaker 1: thoughtful it's not, it's a trick, but we get this
• 6:27
  Speaker 1: almost thoughtful musing on race relations in America. But the
• 6:31
  Speaker 1: only reason they do it, the only reason the movie
• 6:34
  Speaker 1: tries the tooth with race, is because it wants to
• 6:38
  Speaker 1: bring everyone back together and be like, well, see, black Americans,
• 6:41
  Speaker 1: white Americans together, we're Americans. We can solve the job together.
• 6:46
  Speaker 1: And this one, like, it doesn't have any of that.
• 6:51
  Speaker 1: And I guess because the last movie did it, it doesn't
• 6:53
  Speaker 1: need to. No, no, no, no. We're talking about Die
• 6:56
  Speaker 1: Live Free or Diehard Part four, oh, which which I
• 7:00
  Speaker 1: was talking about. I was talking about Diehard with the Revenge. Okay, Oh,
• 7:04
  Speaker 1: I'm talking about the I'm talking about the talk about
• 7:07
  Speaker 1: sorry John McClain. Yeah, And that's why I'm saying we're
• 7:12
  Speaker 1: focusing on John McClain. In this one, we're focusing on
• 7:14
  Speaker 1: the patriotism. We're focusing on like the messaging because this
• 7:18
  Speaker 1: is for all intents and purposes, this is the bruce
• 7:21
  Speaker 1: of like the arc that we want to talk about.
• 7:24
  Speaker 2: Yeah, and also this is post nine eleven, which they mention.
• 7:28
  Speaker 2: They frequently don't want to mention stuff like race because
• 7:33
  Speaker 2: it's they want to avoid a lot of things.
• 7:36
  Speaker 1: It's very clean.
• 7:37
  Speaker 2: This movie is very clean, and the other movies are
• 7:40
  Speaker 2: dirty totally.
• 7:41
  Speaker 1: You know, the other movies are willing to get dirty
• 7:44
  Speaker 1: in a way that like, yeah, I think that the
• 7:46
  Speaker 1: patriotism had to be clean post nine to eleven, you
• 7:49
  Speaker 1: know what I mean.
• 7:50
  Speaker 2: But the problem is is that the patriotism none of
• 7:54
  Speaker 2: the movie is linked to anything.
• 7:56
  Speaker 1: No, no, it is so like, yeah, not the thing
• 8:01
  Speaker 1: in New York, Like they didn't mention anything.
• 8:03
  Speaker 2: But even all of that, you don't have to by
• 8:07
  Speaker 2: just putting in Jack and Lucy from the other things
• 8:11
  Speaker 2: and making both of either both of them not like
• 8:16
  Speaker 2: their dad and have to build a relationship with their
• 8:18
  Speaker 2: dad or if they're gonna do the if they're gonna
• 8:22
  Speaker 2: do the boyfriend angle, which felt so weird, like it
• 8:25
  Speaker 2: doesn't feel like he would do this.
• 8:27
  Speaker 1: Dude, like I can't wait to talk to you about.
• 8:30
  Speaker 4: But my daughters that part, yeah nah, And like she's
• 8:36
  Speaker 4: like both like trying to be wholesome by not getting
• 8:39
  Speaker 4: her booby touched, but also being like he's my my
• 8:44
  Speaker 4: boyfriend but not my boyfriend.
• 8:46
  Speaker 1: The Madonna horror thing with the daughter is so cringey.
• 8:51
  Speaker 1: It's super so like like middle aged white man cringe
• 8:56
  Speaker 1: of just like I'm reckoning with the fact that the
• 8:59
  Speaker 1: millennials are coming of age. Yeah, the millennials are coming true.
• 9:04
  Speaker 1: And also I kind of was mad a little bit
• 9:08
  Speaker 1: of Justin Long because I like always thought Justin Long
• 9:11
  Speaker 1: was so cool and then to see him in this
• 9:14
  Speaker 1: movie be like the hapless loser sitting by the computer
• 9:18
  Speaker 1: millennial who like, yes, he proves his worth by being
• 9:21
  Speaker 1: like computers are important too, guys, but like it's so
• 9:25
  Speaker 1: like dickless millennial of like, you're such a fucking loser
• 9:30
  Speaker 1: because you're not a.
• 9:30
  Speaker 2: Man like I am, but but that like I know
• 9:33
  Speaker 2: that that bothers you. But there's at least something if
• 9:37
  Speaker 2: they're connected. If he's connected to Bruce willis to be
• 9:41
  Speaker 2: a counterpoints exactly right where but there's no connection. There's
• 9:45
  Speaker 2: like he just meets him, he's he's fairly gives him.
• 9:49
  Speaker 1: Permission to fuck his daughter because he allows him to
• 9:52
  Speaker 1: grow the kind of dick that he would want for
• 9:54
  Speaker 1: his daughter.
• 9:55
  Speaker 2: But like, that's why it's better if if it's But
• 10:00
  Speaker 2: that doesn't pay off either because they don't they have
• 10:02
  Speaker 2: no connection. Lucy has no connection to to dickless like
• 10:07
  Speaker 2: who cares. That's why it would have been better if
• 10:10
  Speaker 2: if it was her brother.
• 10:13
  Speaker 1: Because they can go not and not that they the
• 10:16
  Speaker 1: brothers each other, but that it turns into some kind
• 10:20
  Speaker 1: of weird step brother port.
• 10:21
  Speaker 2: No, I'm trusted me.
• 10:24
  Speaker 1: Hold on, hold on.
• 10:25
  Speaker 2: If you want to make it her boyfriend, you find
• 10:28
  Speaker 2: out late like either at the same time that they
• 10:32
  Speaker 2: like the audience finds out that they're a boyfriend and
• 10:34
  Speaker 2: girlfriend where Bruce gets goes to pick her up and
• 10:37
  Speaker 2: she's never introduced them. This whole weird get away from
• 10:41
  Speaker 2: my I've been following my daughter thing gets cut out entirely,
• 10:46
  Speaker 2: which is so bizarre.
• 10:47
  Speaker 1: It's just it's in there is oh you're saying.
• 10:51
  Speaker 2: I'm saying that you get rid of a lot of
• 10:54
  Speaker 2: problems if you just include justin long is the boyfriend
• 10:58
  Speaker 2: right away, and that you find out with the audience
• 11:01
  Speaker 2: that their boyfriend and girlfriend. And it's like, what you're
• 11:05
  Speaker 2: you're my daughter's boy you dickless is my daughter's boyfriend,
• 11:10
  Speaker 2: right and established that before we find out, Yes, and
• 11:14
  Speaker 2: then he.
• 11:15
  Speaker 1: Sorry, I gotta go get the croissants. And then.
• 11:20
  Speaker 2: But then you get at least an arc with him
• 11:23
  Speaker 2: proving that he's a man or whatever, because like, you
• 11:26
  Speaker 2: do need that, you need some sort of shit. Who
• 11:28
  Speaker 2: cares if he's dicking as long as he changes in
• 11:31
  Speaker 2: the movie, does matter, or he like earns the respect
• 11:34
  Speaker 2: or or whatever.
• 11:35
  Speaker 1: If you're gonna do good. Yeah, No, to make it
• 11:37
  Speaker 1: the idea of making someone tougher is a classic trope.
• 11:41
  Speaker 1: That's you get tougher throughout the thing. It's just and
• 11:43
  Speaker 1: I just hate that it plays on the whole narrative
• 11:47
  Speaker 1: of that generation Boomers towards millennials.
• 11:50
  Speaker 2: But to me that's fine too, because like at least
• 11:54
  Speaker 2: you're seeing the movie through his perspective. He does he
• 11:57
  Speaker 2: would think millennials are.
• 11:58
  Speaker 1: Death, true, and like there's the whole like maybe we
• 12:02
  Speaker 1: do see a McClean left behind in this because he
• 12:05
  Speaker 1: we've established that he never likes technology, so to make technology.
• 12:09
  Speaker 2: The like and then yeah, and then you have but
• 12:13
  Speaker 2: then you have a cipher through which somebody can teach
• 12:16
  Speaker 2: him how to do technology so that he can use
• 12:20
  Speaker 2: his action ness to do something. But we don't get
• 12:23
  Speaker 2: that either. We just get like, again, it's just too
• 12:26
  Speaker 2: clean and boring, Like that's true. But then and then
• 12:31
  Speaker 2: you get at least her doing like Lucy doing something
• 12:36
  Speaker 2: and like having agency rather than just being this boring.
• 12:39
  Speaker 1: It didn't it didn't feel like the movie had any stakes,
• 12:42
  Speaker 1: not but it was made better by the amazing casting
• 12:46
  Speaker 1: because the casting was really good, really good. We get
• 12:49
  Speaker 1: we get Timothy Oliphant, Mark Kingwell himself. Do you know
• 12:54
  Speaker 1: that he looks like Mark King?
• 12:55
  Speaker 2: Well, yeah, he does definitely look like Mark King. Well,
• 12:58
  Speaker 2: go ahead, go ahead, because.
• 12:59
  Speaker 1: I have my my professor from university, so my professor
• 13:03
  Speaker 1: from university marketingwell, philosophy professor from Toronto, University of Toronto.
• 13:10
  Speaker 1: Yeah he was. He was really good and he was
• 13:13
  Speaker 1: like slick in a way that he needed to be
• 13:16
  Speaker 1: to be this guy. The character is underwritten and like
• 13:20
  Speaker 1: there is some interest in making it like internal terrorism,
• 13:25
  Speaker 1: which is what the movie kind of does. Is like
• 13:27
  Speaker 1: he's like he's mad that, like security isn't being taken
• 13:33
  Speaker 1: seriously in the era of post nine to eleven. Yeah,
• 13:37
  Speaker 1: and so like, look, this is what the terrorists could
• 13:40
  Speaker 1: actually do, which is kind of interesting because it is
• 13:42
  Speaker 1: a pivot from the other movies. They should have used
• 13:45
  Speaker 1: the terrorism of the other movies and made it a
• 13:48
  Speaker 1: world without nine to eleven, because making it nine to
• 13:51
  Speaker 1: eleven made it too weirdly real, like the knakotomy thing
• 13:55
  Speaker 1: never happened, and suddenly we're in like you know, yeah, yeah,
• 14:01
  Speaker 1: it just felt weird. It didn't feel like John McClain
• 14:05
  Speaker 1: but you.
• 14:05
  Speaker 2: But you sort of The thing is you sort of
• 14:08
  Speaker 2: also have to do it. That's the weird thing about
• 14:11
  Speaker 2: this movie is that it has to. It feels like
• 14:12
  Speaker 2: it has to function as some sort of propaganda. But
• 14:15
  Speaker 2: the propaganda is a little muddy too, so it's like
• 14:19
  Speaker 2: it feels like, oh man, it would have been sick
• 14:22
  Speaker 2: if it was like a snowdun guy or a guy
• 14:24
  Speaker 2: pretending to be a snowdun guy and it was just
• 14:27
  Speaker 2: for money like the other guys, where it was like
• 14:29
  Speaker 2: I'm doing it because my brother died. You killed him,
• 14:33
  Speaker 2: and then it was just about money.
• 14:35
  Speaker 1: And then it was like, you know what I mean,
• 14:37
  Speaker 1: ends up being about just money too, And that's why
• 14:40
  Speaker 1: the cynical thing where Bruce is even like it's always
• 14:43
  Speaker 1: always just about money.
• 14:45
  Speaker 2: But like the thing that that would have brought it
• 14:47
  Speaker 2: better is that if it was like a more if
• 14:50
  Speaker 2: he pretended it was a more noble cause, not not
• 14:53
  Speaker 2: a noble cause for America, because that's where the propaganda
• 14:56
  Speaker 2: element comes in. And it's just not good propaganda. It's
• 14:59
  Speaker 2: not like it's not good propaty. Yeah, like it's not
• 15:01
  Speaker 2: like Maverick. Maverick is really good propaganda exactly, and it's really.
• 15:06
  Speaker 1: Good you need to make you need to make the
• 15:08
  Speaker 1: audience on you, like, yeah, that's exactly. And like even
• 15:12
  Speaker 1: the name of the movie, Live Free or Die Hard,
• 15:15
  Speaker 1: it's like a great title. It is a great it
• 15:17
  Speaker 1: is a great title. It is a great title. But
• 15:19
  Speaker 1: also it's it's doing the it's doing what the movie
• 15:22
  Speaker 1: is doing, and it's taking an existing slogan that is
• 15:26
  Speaker 1: a slogan for the license plate of New Hampshire, which
• 15:30
  Speaker 1: is a very red state, very Republicans stay very like
• 15:34
  Speaker 1: American state would be considered, and like, so this movie
• 15:38
  Speaker 1: wants to like kind of be like, hey, yeah, Coastal America, DC,
• 15:44
  Speaker 1: New York, you're failing us. Yeah, yeah, well a little bit,
• 15:48
  Speaker 1: you're failing us. But also like there is it was
• 15:50
  Speaker 1: an exceptional this was Bush era. Yeah, this was like
• 15:53
  Speaker 1: still like two thousand and seven, it was Bush was
• 15:55
  Speaker 1: still president. Yeah, and so it feels very like a
• 15:59
  Speaker 1: Bush era. It very much does.
• 16:01
  Speaker 2: The like filmmaking is also way too clean, but.
• 16:06
  Speaker 1: We get amazing, an amazing return to the podcast of
• 16:09
  Speaker 1: Cliff Curtis. Dude.
• 16:10
  Speaker 2: Oh yeah, Cliff Curtis was really good, not playing any
• 16:13
  Speaker 2: kind of terrorist or not playing any one of the
• 16:16
  Speaker 2: good guys, but also you know, playing seemingly not and.
• 16:23
  Speaker 1: I say good guys in quotations. Of course I need
• 16:25
  Speaker 1: to showcase to the audience. Yeah, of course.
• 16:28
  Speaker 2: But also like the movie makes no sense, Like the
• 16:33
  Speaker 2: problem with the stuff. I say this because the problem
• 16:38
  Speaker 2: with the movie not making sense is that you don't
• 16:42
  Speaker 2: have any of those internal things that we've mentioned, whether
• 16:44
  Speaker 2: it be linking justin long to make it personal with
• 16:49
  Speaker 2: him that's why, or make it his or her boyfriend.
• 16:53
  Speaker 1: Like okay, okay, this is this is what's weird. This
• 16:56
  Speaker 1: is what's weird because the how the movie unfolds, Bruce
• 16:59
  Speaker 1: Lillis is like weirdly like fucking peeping tom on his
• 17:03
  Speaker 1: daughter's daughter at three in the morning. Yeah, it's weird,
• 17:06
  Speaker 1: and it seems like he's like drunk. It seems like
• 17:08
  Speaker 1: he's totally alcoholic, bru, but he thinks so, but he's
• 17:13
  Speaker 1: They don't show that he is. But to me, I
• 17:15
  Speaker 1: have to read it that way because he kind of
• 17:17
  Speaker 1: like he shows up with his like ways, like.
• 17:22
  Speaker 5: You know what I mean, Like it's kind of weirdly
• 17:24
  Speaker 5: like boat like easy, even though even like I don't know,
• 17:28
  Speaker 5: it seems like an overreach of power, even in the
• 17:32
  Speaker 5: shitty dynamic of like what clearly this person is like
• 17:35
  Speaker 5: doing something that this woman doesn't like.
• 17:37
  Speaker 1: He's like, hey, guys, it's editorial Malenko here. I'm just
• 17:43
  Speaker 1: stopping the conversation in this part to tell you that
• 17:45
  Speaker 1: Alex and I at this point have this kind of
• 17:50
  Speaker 1: annoying argument where in order to illustrate a point about
• 17:55
  Speaker 1: this scene, I call what happens in the scene a
• 18:02
  Speaker 1: sexual assault, which isn't entirely accurate, and I wanted to
• 18:08
  Speaker 1: illustrate a larger point about the character of Lucy, the
• 18:14
  Speaker 1: daughter of John McClain and their relationship and how he
• 18:18
  Speaker 1: has kind of like a weird, sort of like controlling,
• 18:23
  Speaker 1: paternalistic and also like very traditional and hyper masculine vibe
• 18:28
  Speaker 1: where he's controlling her sexuality right in a moment where
• 18:33
  Speaker 1: it's sort of presented as there's kind of a sexual
• 18:36
  Speaker 1: threat towards her by her boyfriend, not boyfriend, is her boyfriend?
• 18:40
  Speaker 1: We don't know. She doesn't seem to think, so he does.
• 18:44
  Speaker 1: And then he also like kind of tries to like
• 18:47
  Speaker 1: do something while they're making out that she doesn't want,
• 18:52
  Speaker 1: and she stops him and he rolls his eyes, and
• 18:56
  Speaker 1: I just was, like, you know, he's exerting a kind
• 18:58
  Speaker 1: of pressure on her. I was trying to make that
• 19:00
  Speaker 1: point where like women and also like just people that
• 19:06
  Speaker 1: make out with men, straight men, but like or you
• 19:10
  Speaker 1: know whatever, masculinity toxically masculine, fucking dudes who aren't aware
• 19:16
  Speaker 1: of like boundaries and you know, this kind of shit,
• 19:21
  Speaker 1: And I was trying to make a larger point about that,
• 19:23
  Speaker 1: and in doing so, I call what happens in this
• 19:26
  Speaker 1: scene a sexual assault, which Alex takes Uxbridge with. It's
• 19:29
  Speaker 1: a classic Alex and Malenko argument dichotomy it's a classic
• 19:34
  Speaker 1: Brothers thing. It just doesn't need to be rehashed on
• 19:37
  Speaker 1: the show. You guys have heard it before. What happens
• 19:40
  Speaker 1: in the scene is not sexual assault. But I do
• 19:43
  Speaker 1: think that the movie is kind of like playing with
• 19:48
  Speaker 1: values and family values in a way that it's like
• 19:51
  Speaker 1: sort of trying the tooth with sexual assault, trying to
• 19:54
  Speaker 1: be like, you know, she could get raped or something.
• 20:00
  Speaker 1: It's you know, the dad he has to but then
• 20:03
  Speaker 1: it's also about him having to learn how to be
• 20:05
  Speaker 1: a good dad to her. I don't know. Anyway, it's
• 20:06
  Speaker 1: like kind of like weird traditionalists kind of bullshit stuff that,
• 20:12
  Speaker 1: you know, it's a conversation that spirals out of control.
• 20:16
  Speaker 1: So I just won't play it here, but I wanted
• 20:19
  Speaker 1: to let you know that it happened because it's referenced
• 20:22
  Speaker 1: later in the episode. So just for the sake of
• 20:25
  Speaker 1: brevity and the sake of you understanding what's going on,
• 20:28
  Speaker 1: I decided to put this editorial moment in enjoy the
• 20:32
  Speaker 1: rest of the episode.
• 20:33
  Speaker 2: Yeah, so, like she leaves, she gets into a huff
• 20:35
  Speaker 2: about it, doesn't show up for another hour into the movie.
• 20:39
  Speaker 2: It's not like the like the first one is just
• 20:43
  Speaker 2: like the first one is like you introduce Holly, she's
• 20:46
  Speaker 2: got she's got like she's built as a character on
• 20:50
  Speaker 2: the plane.
• 20:51
  Speaker 1: She's her character has consequences.
• 20:55
  Speaker 2: Her character even has more character in the first in
• 20:58
  Speaker 2: the third.
• 20:59
  Speaker 1: Movie, and she's not in the movie than this person.
• 21:02
  Speaker 1: It's I agree, it's insane. It's insane.
• 21:05
  Speaker 2: And then and then like outrageously at three a m.
• 21:10
  Speaker 2: Like the like the police station calls John John.
• 21:19
  Speaker 6: I know this hurts, called John to like be like, hey, dude,
• 21:25
  Speaker 6: you have to get this hacker because some ship went
• 21:28
  Speaker 6: down in d C.
• 21:29
  Speaker 1: And that all we need.
• 21:33
  Speaker 2: Yeah, and it's like it's very you owe me a favor,
• 21:37
  Speaker 2: and there's but there's a lot of stuff.
• 21:39
  Speaker 1: And it also would have been amazing if they just
• 21:41
  Speaker 1: brought back fucking from family matters and just like the police,
• 21:48
  Speaker 1: because I would I would believe him.
• 21:50
  Speaker 2: I mean honestly, maybe maybe, But then I would roll
• 21:54
  Speaker 2: my eyes at a totally different reason where it's like, God,
• 21:56
  Speaker 2: you brought him back, he's the police. She that's working
• 22:01
  Speaker 2: with It would have been two outrageous.
• 22:03
  Speaker 1: And it's like, I know your favorite, I believe that
• 22:06
  Speaker 1: the favor we could have done for you.
• 22:07
  Speaker 2: Yeah, true, true, Uh and he he goes there's some
• 22:11
  Speaker 2: mcclanisms that I like in this scene, oh where where
• 22:14
  Speaker 2: he comes in and he's going to justin long after
• 22:19
  Speaker 2: another hack nerd hacker has been blown up by pressing
• 22:22
  Speaker 2: the delete button right as ass. I love the That's
• 22:30
  Speaker 2: I thought that was like a diehardism that was like
• 22:32
  Speaker 2: fun fun, really fun fun where it was like it's goofy,
• 22:37
  Speaker 2: it's just he saved him just in time with not
• 22:40
  Speaker 2: even justin long time?
• 22:41
  Speaker 1: Of course. Can I just say that Mary Elizabeth Winstead
• 22:45
  Speaker 1: is who played Lucy Gennaro, and I like that she
• 22:48
  Speaker 1: like says, tries the tooth that that was great. That's
• 22:52
  Speaker 1: a way that Holly shows up as a character. It's
• 22:55
  Speaker 1: kind of but it is kind of trying the tooth
• 22:57
  Speaker 1: with Holly because it's like being like, hey, remember this character,
• 23:00
  Speaker 1: this is her daughter. She's taking back her last name.
• 23:03
  Speaker 1: Would you remember from the other one? Yeah, exactly exactly
• 23:05
  Speaker 1: with it's kind of like trying the tooth with Diehard.
• 23:08
  Speaker 1: But I do want to say about Lucy though, and
• 23:10
  Speaker 1: her performance specifically when she does like the McLain impression
• 23:14
  Speaker 1: where she like embodies John McClain and kind of is
• 23:17
  Speaker 1: like doing almost a caricature of it. It simultaneously serves
• 23:22
  Speaker 1: to like try the Tooth with John McClain and like
• 23:25
  Speaker 1: this franchise, and also like it's like whoa Bruce is
• 23:30
  Speaker 1: doing a thing that is like saying certain things in
• 23:35
  Speaker 1: certain ways, and then when she does it, it's like, oh.
• 23:39
  Speaker 2: That's why the contrast between Justin, that's why connecting Justin
• 23:44
  Speaker 2: long to her would have made her more made both
• 23:47
  Speaker 2: of them more interesting, which they try to do because
• 23:50
  Speaker 2: again he's a nerd. Because this dude that they had
• 23:53
  Speaker 2: that sexually assaults mister mery E Lisabith once dead. It's
• 23:56
  Speaker 2: like a jockey broie guy, and that's fun.
• 24:00
  Speaker 1: It's because she's got a bad relationship with her.
• 24:02
  Speaker 2: With her dad, and that's fine, but again, you have.
• 24:05
  Speaker 1: To talk, you have to show love, shows love by
• 24:10
  Speaker 1: so that doesn't feel like he would do that, no,
• 24:12
  Speaker 1: I know, Okay, So like that's that's the other thing
• 24:14
  Speaker 1: that's troubling about the dynamic because listen, listen, sorry, like
• 24:18
  Speaker 1: to go back to the scene because uh, pairing Bruce
• 24:24
  Speaker 1: and this like muchismo, like I'm gonna stop you from
• 24:27
  Speaker 1: doing something because you're doing something bad, but it's not
• 24:31
  Speaker 1: that bad because maybe she's his boyfriend, but maybe she's
• 24:33
  Speaker 1: the boyfriend buddy and like and it's like, what what
• 24:37
  Speaker 1: is the movie trying to say? You know, And it's
• 24:39
  Speaker 1: like doing the like concerned dad Trump yeah, where it's
• 24:43
  Speaker 1: like it's undoubtedly even if they're not doing a sexual
• 24:47
  Speaker 1: assault and it's fine, it's not it's let's say that
• 24:51
  Speaker 1: it's not like, well it's not okay, no, no, I'm
• 24:54
  Speaker 1: saying let's say that it's not like the the the
• 24:58
  Speaker 1: movie is trying the tooth with with the threat of
• 25:01
  Speaker 1: sexual assault and showing that the dad savior, the masculine
• 25:07
  Speaker 1: patriarch who is a family man who blah blah blah,
• 25:11
  Speaker 1: it's still showing the virtues of all of that, and
• 25:14
  Speaker 1: it's thus doing the it's further entrenching the Madonna whore
• 25:17
  Speaker 1: thing because it's like she's kind of a slug, but
• 25:20
  Speaker 1: she's not because she didn't give it up and like
• 25:22
  Speaker 1: you know what I mean, Like there's like a value
• 25:24
  Speaker 1: judgment don her behavior as a woman.
• 25:28
  Speaker 2: But she also asserts her boundary in the situation.
• 25:31
  Speaker 1: That's that's the thing.
• 25:32
  Speaker 2: They show that she's like her dad. She's like her
• 25:35
  Speaker 2: dad exactly. But the thing that makes no sense is
• 25:37
  Speaker 2: that throughout the first one, he's not stalking Holly. He's
• 25:42
  Speaker 2: trying to like they're trying to give their BA. They're
• 25:45
  Speaker 2: both trying to fix their relationship by like like saying, hey,
• 25:51
  Speaker 2: maybe we can you can come here and blah blah blah.
• 25:53
  Speaker 1: But and let me posit something to you. Did he
• 25:57
  Speaker 1: Are we seeing a grizzly post nine to eleven kind
• 26:02
  Speaker 1: of like almost like sad John McClain, who's pathetic, and
• 26:06
  Speaker 1: like that's why I'm saying the alcoholism could have made
• 26:09
  Speaker 1: it interesting, but that he didn't. He isn't that I know,
• 26:12
  Speaker 1: And it's like it's just like nearly repressed. Yeah, and
• 26:16
  Speaker 1: like she also isn't part of the character either, But
• 26:19
  Speaker 1: are we to believe that through all this time, like
• 26:22
  Speaker 1: he's like now divorced and like he's just become like
• 26:24
  Speaker 1: this like sad, bitter shell. Then you make him chase
• 26:28
  Speaker 1: like his daughter is important. He chases her to like
• 26:32
  Speaker 1: make sure her virtue is intact. But then make him
• 26:35
  Speaker 1: that I know, but like they don't have to do that.
• 26:37
  Speaker 1: They didn't like double down on anything interesting.
• 26:40
  Speaker 2: No, it's just like make him interesting, make him a
• 26:42
  Speaker 2: piece of shit, and then he turns into yeah, because.
• 26:46
  Speaker 1: That's all yeah, yeah, that's what all the other movies did.
• 26:49
  Speaker 2: But that's why they're The connection with Justin Long needs
• 26:52
  Speaker 2: to make more because then he accepts her boyfriend or
• 26:56
  Speaker 2: accepts her for having a sexuality.
• 26:58
  Speaker 1: Well, they try to do that because that's then by
• 27:00
  Speaker 1: accepting Justin Long, he's like, well, okay, you can fuck
• 27:03
  Speaker 1: this dickless loser, and only because I made him have
• 27:07
  Speaker 1: a dick in the kind of way I wanted him.
• 27:09
  Speaker 1: But that's the thing. They didn't even do that because
• 27:11
  Speaker 1: they didn't connect them. I mean, it's a millennium.
• 27:16
  Speaker 2: But like, there are some things that are cool, like
• 27:18
  Speaker 2: when he Justin Long almost deletes himself and Justin Long
• 27:23
  Speaker 2: knocks on the Justin Long, Bruce Willis knocks on the door.
• 27:25
  Speaker 1: It's like, hey, hey, you're a.
• 27:28
  Speaker 2: Fucking dickless loser, come on, I gotta take you.
• 27:31
  Speaker 1: What's your name?
• 27:32
  Speaker 7: Uh?
• 27:33
  Speaker 8: And not that it's day Duke and it's Daisy Duke
• 27:38
  Speaker 8: and and actually I got made fun of it a lot,
• 27:42
  Speaker 8: so it'd be really nice if you didn't add to it.
• 27:45
  Speaker 1: He's like, he's like, what what j Bruce Nell wants
• 27:49
  Speaker 1: to do? And they're like around the same age, dude.
• 27:55
  Speaker 2: I think as much as you think he's a dickless loser,
• 27:59
  Speaker 2: he is a huge I.
• 28:00
  Speaker 1: Don't think that the movie thinks that the movie wants
• 28:03
  Speaker 1: us to think.
• 28:04
  Speaker 2: I think he's kind of cool. I think he's cool
• 28:06
  Speaker 2: too because he because he is like a smarmy dick.
• 28:10
  Speaker 1: He's a smarmy dick, I know. And Bruce and the
• 28:15
  Speaker 1: winner of the Best Worst Timing Award goes really does
• 28:20
  Speaker 1: a really good job, dude.
• 28:21
  Speaker 2: But with terrible, terrible always.
• 28:24
  Speaker 1: I've always loved Justin Long. I've always loved Justin Long,
• 28:27
  Speaker 1: and I just feel like he's never been well cast. No, no,
• 28:33
  Speaker 1: he's really well gassed. Someone told me to watch It's amazing, dude,
• 28:38
  Speaker 1: Sam Sutherland, to watch it. He's really good at it
• 28:42
  Speaker 1: because he plays this guy except you're meant to hate
• 28:45
  Speaker 1: him and it's like, oh my god, this is amazing. Dude,
• 28:48
  Speaker 1: that's amazing. Okay, Well, I think and I think he's
• 28:51
  Speaker 1: really good. I think he kind of like embodies what
• 28:54
  Speaker 1: boomers think, you know, how like people are writing jen
• 28:58
  Speaker 1: Z now and like when they're in a thing and
• 29:01
  Speaker 1: you see it, it's a little cringe, but also find
• 29:03
  Speaker 1: yourself kind of as you get older and you're millennial,
• 29:06
  Speaker 1: you're kind of like, yeah, I see what they're saying,
• 29:09
  Speaker 1: you know, like you see what the other generation is
• 29:12
  Speaker 1: saying about that generation, and then you're just how they're
• 29:14
  Speaker 1: getting it wrong in the way that we can tell
• 29:17
  Speaker 1: that they were getting millennials wrong. Yeah, which is where
• 29:20
  Speaker 1: why we think he is cool, because like there is
• 29:23
  Speaker 1: that element that they got right that you're like, no,
• 29:26
  Speaker 1: you don't know why this is cool, you know what
• 29:28
  Speaker 1: I mean?
• 29:28
  Speaker 2: Totally totally, but I do like speaking of mccleanism's Wait.
• 29:34
  Speaker 1: Wait, sorry, did you feel that as a you were
• 29:38
  Speaker 1: like just nineteen when this movie came out, did you
• 29:40
  Speaker 1: feel like this movie spoke to you? No?
• 29:43
  Speaker 2: Okay, I hated way I hated this movie.
• 29:45
  Speaker 1: I also hated this movie. I hated this movie in
• 29:47
  Speaker 1: a way that I hate it less now.
• 29:49
  Speaker 2: Yeah, I have a lot more compassion for what Bruce
• 29:52
  Speaker 2: is doing, So it's like.
• 29:54
  Speaker 1: A lot better.
• 29:55
  Speaker 2: You mentioned Timothy Oliphant earlier. I didn't like Timothy Oliphant,
• 29:59
  Speaker 2: not because I didn't don't like him. He did a
• 30:01
  Speaker 2: really good job. The character's so boring.
• 30:03
  Speaker 1: I can I make a plea for him? Yeah, I
• 30:07
  Speaker 1: just think that he had enough sort of like moments
• 30:11
  Speaker 1: of like real sort of early Gary Oldman type intent.
• 30:16
  Speaker 4: Nice.
• 30:17
  Speaker 2: Yeah, that's a good point of comparison. Well that's what
• 30:19
  Speaker 2: I'm saying. Like I like him as Timothy Oliphant, and
• 30:22
  Speaker 2: I think if Timothy Olifon was more outrageous or more mysterious,
• 30:27
  Speaker 2: it just felt a little bit like I kind.
• 30:30
  Speaker 1: Of like the veil lifted. I like the like kind
• 30:33
  Speaker 1: of patheticness of it. I like hiding behind a computer.
• 30:36
  Speaker 1: It just seemed like it was a different battle and
• 30:39
  Speaker 1: like McLean was in a different world.
• 30:41
  Speaker 2: Maybe, But like make him a Julian Assange. Then make
• 30:43
  Speaker 2: him like somebody who's like is he a bad guy?
• 30:46
  Speaker 2: Is he a good guy?
• 30:48
  Speaker 1: Right?
• 30:48
  Speaker 2: Make him more like Ed Harris in Fucking the Rock
• 30:52
  Speaker 2: or something a weird like, oh, dude, you're just on America.
• 30:57
  Speaker 1: They justified the internal terrorism with the extreme It's oh,
• 31:01
  Speaker 1: I'm gonna blow your mind. It's the guy from that
• 31:05
  Speaker 1: gets interviewed in Uh, well there's wackos out there. Oh yeah, totally.
• 31:12
  Speaker 1: That kind of make him that kind of like American
• 31:14
  Speaker 1: extremist where it's like who bowling for Colin Biden or
• 31:18
  Speaker 1: Ted Kaczynski would exactly like make him like an intern,
• 31:22
  Speaker 1: Like they didn't go far enough, like fundamentalist American like
• 31:27
  Speaker 1: believe the constitutionalists. We're making more like uh, what's it called?
• 31:34
  Speaker 2: Like in the Van dam Diehard movie like Boom powers
• 31:37
  Speaker 2: Booth in in No, yeah, exactly.
• 31:42
  Speaker 1: Which fandom powers Booth movie?
• 31:44
  Speaker 2: The Hockey one you Son of a Bitch trying.
• 31:50
  Speaker 1: Yeah.
• 31:50
  Speaker 2: The thing that I liked about I loved Justin Long
• 31:53
  Speaker 2: and John McLain's relationship. I thought it was really good.
• 31:57
  Speaker 2: That's why it just needed some more ties personally to him.
• 32:01
  Speaker 2: Either we have the overview of he's the boyfriend or
• 32:05
  Speaker 2: it's his son and he's trying to build a relationship
• 32:08
  Speaker 2: back with him.
• 32:09
  Speaker 1: What you said earlier is like the actors really make
• 32:13
  Speaker 1: it work, and there's a lot of chemistry there, so
• 32:16
  Speaker 1: much chemistry writing. The writing is like the it is
• 32:19
  Speaker 1: the weakest link, especially when you measure it against the budget,
• 32:23
  Speaker 1: because like this movie is like the most James Cameron
• 32:26
  Speaker 1: of them.
• 32:27
  Speaker 2: Like it's like Michael Michael Bay of them.
• 32:30
  Speaker 1: They tried to make it like up the stakes in
• 32:32
  Speaker 1: a way that like they're going to planes, they're going
• 32:34
  Speaker 1: to boat, They're going to every possible length, like they're
• 32:37
  Speaker 1: not trying to pare it down. They're trying to bloat it,
• 32:41
  Speaker 1: but like it feels bloated because of it. And like
• 32:43
  Speaker 1: John McClean is more tired, which they do kind of
• 32:46
  Speaker 1: like include.
• 32:47
  Speaker 2: But he is like an action star in this. It's
• 32:51
  Speaker 2: so much more excessive.
• 32:53
  Speaker 1: And like they really do seem like you get used
• 32:56
  Speaker 1: to it. They make it seem like it's like okay,
• 33:00
  Speaker 1: but it's like man like make it more interesting. He
• 33:03
  Speaker 1: has to become an alcoholic to like deal with some
• 33:06
  Speaker 1: of this stuff. Like there's like and give some explorations.
• 33:09
  Speaker 2: Some of it really works, like when Justin Long first
• 33:11
  Speaker 2: sees him, like get him out of his apartment and
• 33:14
  Speaker 2: they're like shooting at him. I love this scene with
• 33:17
  Speaker 2: the apartment was great. It's him almost deleting himself, him
• 33:20
  Speaker 2: talking to McLean and the like neighbor reveals that he's
• 33:24
  Speaker 2: Will whatever his name is, Ferrell, will No something feral
• 33:30
  Speaker 2: and it's just like it's cool because I like that
• 33:34
  Speaker 2: you get used to it once.
• 33:36
  Speaker 1: But it happened Marcus what's his name? But does he
• 33:40
  Speaker 1: have a name? Him lawyer. He has such a good name.
• 33:44
  Speaker 1: Matt Farrell, Matt Ferrell.
• 33:45
  Speaker 2: Yeah, he's such a matt He's such a mat Yeah,
• 33:49
  Speaker 2: and are you Matt Ferrell, Matthew Ferrell. I love the
• 33:53
  Speaker 2: like casualness and then fixing it right, Like I like
• 33:57
  Speaker 2: it is kind.
• 33:58
  Speaker 1: Of like a one opsmanship in a way that it's like, no,
• 34:01
  Speaker 1: I'm smarter than you. Yeah, totally, totally. And I like
• 34:04
  Speaker 1: about all this stuff.
• 34:05
  Speaker 2: Yeah, I like this, how do you know about all
• 34:07
  Speaker 2: this stuff? And I like that. That's good, that's good.
• 34:14
  Speaker 2: Just make him make him they did. They pulled a unfortunately,
• 34:20
  Speaker 2: they did a problem that Indiana Jones forehead, which is
• 34:24
  Speaker 2: they didn't make him old enough part time. They still
• 34:27
  Speaker 2: made him like do all the stunts and ship.
• 34:30
  Speaker 1: But yeah, I mean, listen, I think more egregiously than
• 34:34
  Speaker 1: the daughter because she does get some character in this
• 34:37
  Speaker 1: I think more egregiously than the daughter. Maggie Q is
• 34:41
  Speaker 1: like done pretty dirty in this movie. So cool. Yeah,
• 34:46
  Speaker 1: she's very cool. My Lynn, my Lynn, She's so good, dude.
• 34:50
  Speaker 1: And like the relationship also between her and Thomas Gabriel,
• 34:54
  Speaker 1: which is a great name for Timothy Oliphants total a
• 34:56
  Speaker 1: good die hard name. It is a good die hard name.
• 34:58
  Speaker 1: It's it's like Thomas Gabriel is the John McClain.
• 35:03
  Speaker 2: You know, yeah, yeah, and and you know, Cliff Curtis
• 35:08
  Speaker 2: is supposed to kind of be both like a chief
• 35:13
  Speaker 2: and a like sort of he's supposed to be a
• 35:17
  Speaker 2: friend but like also like yeah, it's like but they
• 35:22
  Speaker 2: they don't separate the powers enough. What I did like
• 35:25
  Speaker 2: about Cliff Curtis is the connection between Timothy Oliphant and
• 35:33
  Speaker 2: the government and him being the through line and him
• 35:35
  Speaker 2: not knowing, Fuck he created this program. You made me
• 35:38
  Speaker 2: feel like a fucking idiot. I'm taking my own, like
• 35:41
  Speaker 2: the like the law into my own hand. Like I
• 35:44
  Speaker 2: liked that stuff. They just needed things to be more
• 35:48
  Speaker 2: either more grounded or just have more connection with the
• 35:52
  Speaker 2: main character because he's John McClain is totally superfluous in
• 35:56
  Speaker 2: this movie.
• 35:56
  Speaker 1: I mean, I agree with you, I agree with you.
• 35:58
  Speaker 1: What saves it for me to is the excellent casting. Yeah,
• 36:02
  Speaker 1: the movie. The movie is so well cast. Like you
• 36:04
  Speaker 1: know who shows up in this movie, Tim Russ Tuvak
• 36:09
  Speaker 1: from a Voyager Star Trek Voyager, and like he's really good,
• 36:14
  Speaker 1: Like he's just like a side character. He's a lot
• 36:17
  Speaker 1: of Danny mulroon's but really well cast. Danny mulroons in this,
• 36:20
  Speaker 1: I don't know what that means. That did really well,
• 36:22
  Speaker 1: so like it kind of like and this guy Eduardo
• 36:25
  Speaker 1: Costa play who played Emerson, looked very stallone dude totally
• 36:30
  Speaker 1: at the end and like just like random like rag
• 36:33
  Speaker 1: like they had some like a good name. Oh this
• 36:36
  Speaker 1: like fucking uh Trey, remember like the French guy. I
• 36:42
  Speaker 1: love the French guy. It's like, guys, it's casting like
• 36:45
  Speaker 1: this that reminds me of like the first two movies
• 36:48
  Speaker 1: and like having guys like like just to stand out weirdly,
• 36:52
  Speaker 1: like Danny mulroon Bad Guys totally.
• 36:54
  Speaker 2: I love that he spoke French entirely to Timothy Oldfond
• 36:58
  Speaker 2: and Maggie Cue and they would just you like know
• 37:01
  Speaker 2: what he's saying this.
• 37:02
  Speaker 1: Very Chris Martin looking guy. Oh yeah, that's a Dynn
• 37:07
  Speaker 1: Kim eating show chain shinging shit.
• 37:20
  Speaker 2: But yeah, like I mean, like you know, justin Long
• 37:23
  Speaker 2: and Bruce Willi's Escape. I love all the New York stuff.
• 37:26
  Speaker 2: It was reminiscent of like shutting down the city doing
• 37:30
  Speaker 2: the like whatever the fire alarm or whatever the thing
• 37:35
  Speaker 2: was called.
• 37:36
  Speaker 1: Having the actual budget of Part three, because this one
• 37:40
  Speaker 1: felt like it had the budget of part three, but
• 37:42
  Speaker 1: in two thousand and seven.
• 37:43
  Speaker 2: Yeah, totally totally sat in it even it.
• 37:48
  Speaker 1: Was so good and like him is this like very
• 37:52
  Speaker 1: dug stamper character of like.
• 37:53
  Speaker 2: His hand laugh fucked up from the HG.
• 37:57
  Speaker 1: Yeah, I'm a side guy. I'm a very important side.
• 38:00
  Speaker 2: Not given enough side guy attention.
• 38:03
  Speaker 1: Unfortunately, you know he's not the top cast and he's
• 38:08
  Speaker 1: so good. Yeah, Agent Molina dude, Oh he gets a name.
• 38:12
  Speaker 1: He's not a Danny mulrude. He's a made character. But
• 38:15
  Speaker 1: like I don't know what that means. It's just weird
• 38:17
  Speaker 1: because the movie it's just too bloated.
• 38:23
  Speaker 2: The bloat is is the biggest problem, and also the
• 38:27
  Speaker 2: motivations of the biggest problem. Having Bruce Willis come into
• 38:31
  Speaker 2: this like government issue van bringing this guy and then
• 38:35
  Speaker 2: taking him out and just like oh yeah, I'm just
• 38:38
  Speaker 2: gonna take him away from where I brought him.
• 38:41
  Speaker 1: And also like it makes this stuff seem way more
• 38:45
  Speaker 1: organized and like would you would be figured out than
• 38:48
  Speaker 1: it would be, which.
• 38:49
  Speaker 2: Is the third one did really well, how nobody what
• 38:53
  Speaker 2: was happening, whereas like.
• 38:54
  Speaker 1: This one is like it's kind of got this because
• 38:57
  Speaker 1: we're like we've got this whole dec see element, there's
• 39:01
  Speaker 1: this kind of like federal They kind of try to
• 39:03
  Speaker 1: bloat it to make it like, oh, this concerns the
• 39:06
  Speaker 1: national safety because it's the the fire alarm, and the
• 39:10
  Speaker 1: fire alarm is like everything must oh fire sale, everything
• 39:13
  Speaker 1: must go like three fire sale, Yeah, three steps. Yes,
• 39:17
  Speaker 1: it's kind of cool though, because it sets up a thing,
• 39:20
  Speaker 1: but it's just it doesn't feel real.
• 39:22
  Speaker 2: It doesn't pay off. That's why it doesn't feel real
• 39:24
  Speaker 2: because in the first one you have a building with terrorists.
• 39:28
  Speaker 2: The second one you have a plane, which ups the
• 39:30
  Speaker 2: stakes because it creates like a level of internationality, but
• 39:35
  Speaker 2: it's still in the airport.
• 39:37
  Speaker 1: It's all about him. It's contained.
• 39:38
  Speaker 2: And the third one is an entire city, the city,
• 39:41
  Speaker 2: so this you have to make the entire country. So
• 39:44
  Speaker 2: like it it makes sense, but it's like if you're
• 39:47
  Speaker 2: not connecting it emotionally, for us to have U, for
• 39:52
  Speaker 2: us to have with Bruce willis then it falls flat.
• 39:56
  Speaker 2: And that's why it feels chaotic in the sense that
• 40:00
  Speaker 2: like you're seeing people who aren't connected to him in
• 40:04
  Speaker 2: any way. It's just some random dudes and the only
• 40:07
  Speaker 2: connection is, oh, we steal the daughter, and it's like
• 40:10
  Speaker 2: that could have worked, but you need to connect the
• 40:12
  Speaker 2: daughter to him more because we don't know anything about.
• 40:15
  Speaker 1: Her other than the fact that you don't want her
• 40:17
  Speaker 1: to have sex that you don't want her to have, Like, well,
• 40:20
  Speaker 1: she doesn't want to have sex. No, but you're you're
• 40:23
  Speaker 1: there to protect her from uh like physical sexual violence
• 40:28
  Speaker 1: and threat like you're you have to be that savior
• 40:32
  Speaker 1: in her. Well he has to be that No, yeah, exactly.
• 40:35
  Speaker 1: And that's not a motivation.
• 40:36
  Speaker 2: That's like that's just sad and boring.
• 40:40
  Speaker 1: It's it's just not interesting.
• 40:43
  Speaker 2: It's not interesting at all at all. Or it's like
• 40:46
  Speaker 2: if and it could have like if you want to
• 40:48
  Speaker 2: go a sexual assault angle, make her in a situation
• 40:52
  Speaker 2: where she is like her dad and she does like
• 40:55
  Speaker 2: taser him or something and then leaves and it's like
• 40:57
  Speaker 2: fuck that guy, and then like walks away.
• 40:59
  Speaker 1: They will run into each other and then they run
• 41:01
  Speaker 1: into each other.
• 41:02
  Speaker 2: Yeah, not him pulling pull guy because it's just weird.
• 41:06
  Speaker 1: It's weird. Yeah, it feels like it feels like it
• 41:09
  Speaker 1: really sets the tone for the entire movie.
• 41:12
  Speaker 2: Yeah, because like and and then the action stuff of
• 41:16
  Speaker 2: like a car or like them shutting down the lights
• 41:19
  Speaker 2: in the city and a bunch of cars going into
• 41:21
  Speaker 2: the tunnels and stuff and him pushing justin long out
• 41:24
  Speaker 2: of the way of a car flying at them, which
• 41:27
  Speaker 2: is one one scene.
• 41:28
  Speaker 1: Some of the tech of the like virtual terrorism, is
• 41:32
  Speaker 1: genuinely scary and.
• 41:33
  Speaker 2: It's very cool. That's a good place to be.
• 41:35
  Speaker 1: It's effective, and it's like, Honestly, at the time, I
• 41:39
  Speaker 1: remember it feeling a little bit like this is kind
• 41:41
  Speaker 1: of silly, but like that's pretty good, very easily happened,
• 41:45
  Speaker 1: like someone could easily like divert traffic in different ways
• 41:49
  Speaker 1: exactly create.
• 41:52
  Speaker 2: H But but the reason I bring up the car
• 41:54
  Speaker 2: flipping over and stuff is that that's one stunt, and
• 41:58
  Speaker 2: then immediately the other stunt is, uh, Bruce willis driving
• 42:03
  Speaker 2: the car into the chopper.
• 42:04
  Speaker 7: It was a great scene because she's trying so hot
• 42:06
  Speaker 7: for me not to see the news.
• 42:09
  Speaker 1: You can see here with the eye, you know, in
• 42:11
  Speaker 1: a matutter what I do, the kissing, the hugging materia.
• 42:13
  Speaker 1: I'm more interested in what's going on in moss.
• 42:15
  Speaker 2: Which is another cool stunt, but it happens way too
• 42:19
  Speaker 2: close together, and it's like, whoa dude, come on, he
• 42:22
  Speaker 2: I believe one or the other you can't have both
• 42:24
  Speaker 2: and then but then also bringing in Justin Long and
• 42:28
  Speaker 2: having Bruce willis be like, yeah, technology is scary. Yeah,
• 42:31
  Speaker 2: I've been saying that, you know, that could link them
• 42:34
  Speaker 2: both both to Justin Long, and Justin Long can build
• 42:39
  Speaker 2: a character being like, see I am important. That's where
• 42:42
  Speaker 2: the stuff is missing.
• 42:44
  Speaker 1: But that's what the movie's trying to do.
• 42:48
  Speaker 2: But it's just not working. But yeah, and and I
• 42:55
  Speaker 2: like the idea of setting up her getting kidnapped if again,
• 43:04
  Speaker 2: if it was linked somehow to Justin Long, but it's
• 43:07
  Speaker 2: just Justin Long's just a side character that.
• 43:11
  Speaker 1: Exist. He exists to be Samuel L. Jackson. But the
• 43:15
  Speaker 1: reason Samuel L. Jackson is so.
• 43:17
  Speaker 2: Important is because he's linked. He saves McLain, dude, That's
• 43:23
  Speaker 2: totally what he does. That's his importance.
• 43:26
  Speaker 1: But the kid in this movie saves Bruce. Just In
• 43:30
  Speaker 1: not as satisfying and like realistic a way the other
• 43:34
  Speaker 1: movie like the power of using like tying in the
• 43:40
  Speaker 1: race into the sequalification is it adds this different kind
• 43:44
  Speaker 1: of like social element that this movie just doesn't care
• 43:47
  Speaker 1: to have.
• 43:48
  Speaker 2: Like, well, the social element is supposed to be the text.
• 43:50
  Speaker 1: Its supposed to be the text stuff, and it's supposed
• 43:52
  Speaker 1: to be like the like a security of country stuff. Ye,
• 43:55
  Speaker 1: it's just like I don't really believe the patriotism of
• 43:58
  Speaker 1: it like that, like at least the other ones like
• 44:01
  Speaker 1: to me, it's like using race and like bringing people together.
• 44:05
  Speaker 2: But the emotional aspect is why you don't believe it.
• 44:08
  Speaker 1: But I also do you think this movie is like
• 44:11
  Speaker 1: anti revolutionary because it's also like being like see this
• 44:15
  Speaker 1: because of what the state, Yes, the state is like
• 44:18
  Speaker 1: the supremacy of the like hardline conservative, right wing state.
• 44:24
  Speaker 2: Yeah, I mean I could you could see. I could
• 44:28
  Speaker 2: definitely see that, But that would make it a more
• 44:29
  Speaker 2: interesting movie, which it isn't. That's why I said the
• 44:32
  Speaker 2: the what's it called the Assange connection or the Snowden
• 44:35
  Speaker 2: connection would have made that more interesting because if you're
• 44:38
  Speaker 2: going to go for like chaos and like I'm going
• 44:41
  Speaker 2: to revolutionize things, that would make it a more interesting movie.
• 44:45
  Speaker 2: But there's no character in there for that. He has
• 44:48
  Speaker 2: a personal like anger towards the United States because they
• 44:52
  Speaker 2: betrayed him because he was trying to help them.
• 44:54
  Speaker 1: It's not about revolution, yeah, it's it kind of picks
• 44:57
  Speaker 1: and chooses where it wants to be naive. Yeah exactly,
• 45:00
  Speaker 1: because it's like it's like, yeah, okay, fine, like make
• 45:04
  Speaker 1: it a post nine eleven world. Let's not be naive.
• 45:06
  Speaker 1: Fine yet then do everything that goes with me with
• 45:08
  Speaker 1: don't exactly make it still like I want to just
• 45:13
  Speaker 1: like cause terror to get money.
• 45:16
  Speaker 2: Because they like the thing is I'm like a big statist.
• 45:19
  Speaker 6: Right.
• 45:19
  Speaker 2: So it's like when when somebody says like anti state stuff,
• 45:23
  Speaker 2: now I'm just like, you know what I mean, because
• 45:27
  Speaker 2: it all links too much together for me where it's
• 45:30
  Speaker 2: like I'm anti police and it's like, yeah, but what
• 45:33
  Speaker 2: kind of anti police are you?
• 45:34
  Speaker 1: You know what I mean?
• 45:35
  Speaker 2: Are you like a Libertatian? I don't know, like what
• 45:39
  Speaker 2: kind of anti I'm anti government? Are you like a
• 45:41
  Speaker 2: Tucker Carlson anti government?
• 45:44
  Speaker 1: You know what I mean?
• 45:45
  Speaker 2: Like yeah, okay, that's what That's why I'm like like, yeah,
• 45:50
  Speaker 2: this like anti state is fine as an exploration in
• 45:54
  Speaker 2: a movie, but you have to have like good strong
• 45:57
  Speaker 2: moral backbone for why you're an anti state guy, rather
• 46:00
  Speaker 2: than like.
• 46:01
  Speaker 1: Atriotism, which is what the movie does. Right. It's like
• 46:05
  Speaker 1: it's like this is why you should be for the
• 46:08
  Speaker 1: state is because.
• 46:08
  Speaker 2: Patriots patriotism, But like like he's always been an anti
• 46:12
  Speaker 2: state guy, Like he's always like the government, you know
• 46:16
  Speaker 2: what I mean, Like we we haven't known, right, it's
• 46:19
  Speaker 2: weird to see him going.
• 46:20
  Speaker 1: So hard federally in this movie.
• 46:22
  Speaker 2: Yeah, so it's like he didn't solve the problem, but.
• 46:25
  Speaker 1: He's again the one saving the.
• 46:27
  Speaker 2: World, or he is, but but Cliff Curtis also ends
• 46:31
  Speaker 2: up being like I'm taking this into my own hands,
• 46:34
  Speaker 2: and it's like what type of movie is that? That's
• 46:37
  Speaker 2: why the propaganda fails, because.
• 46:38
  Speaker 1: It's like, you're right, you're right. There's just nothing to
• 46:41
  Speaker 1: really latch on.
• 46:41
  Speaker 2: There's no sexual muddled whereas the other ones had such
• 46:45
  Speaker 2: strong even the second one, the bad one of the
• 46:48
  Speaker 2: original trilogy, well, to.
• 46:49
  Speaker 1: Me, it's more the Temple of Doom of the trilogy.
• 46:52
  Speaker 1: It is good, it's just the least the least good.
• 46:54
  Speaker 2: Yeah, And it's like it's like even that one had
• 46:56
  Speaker 2: like fuck these guys, you know what I mean? And
• 47:00
  Speaker 2: even then they were tricking them into believing that the
• 47:03
  Speaker 2: federal government was working, they were working for terror.
• 47:06
  Speaker 1: This is very much Indiana Jones four.
• 47:08
  Speaker 2: This is very much a hard time, hard time definitely,
• 47:12
  Speaker 2: and like you can't have anti government while being government
• 47:18
  Speaker 2: that I know, it's such a missed opportunity.
• 47:21
  Speaker 1: I know, I know, like they just think, yeah, yeah,
• 47:23
  Speaker 1: they didn't. They didn't the movie struggles to find a
• 47:26
  Speaker 1: political identity that works.
• 47:29
  Speaker 2: Yeah, and like because post nine eleven people were raw,
• 47:32
  Speaker 2: raw America.
• 47:33
  Speaker 1: And I don't know, like if I necessarily agree with
• 47:36
  Speaker 1: you like completely on like anti state stuff. Like I
• 47:40
  Speaker 1: think that I know what you're saying, because I know
• 47:43
  Speaker 1: that you are a statist, but like I think that
• 47:46
  Speaker 1: sometimes not allowing yourself to see things from a perspective
• 47:51
  Speaker 1: of like a and I'm just saying that we only
• 47:54
  Speaker 1: have like fifteen minutes, not allowing you to yourself to
• 47:58
  Speaker 1: see things from a perspective of like your what am
• 48:06
  Speaker 1: I trying to say here, like like like allowing yourself
• 48:09
  Speaker 1: to see the point that that an anti statist point,
• 48:13
  Speaker 1: you know what I mean? Of course?
• 48:15
  Speaker 2: I mean like like I didn't get to a state
• 48:20
  Speaker 2: point of view overnight. I like what had my own
• 48:24
  Speaker 2: versions of like oh I'm a Marxist now after being
• 48:27
  Speaker 2: a libertarian. But like it's like the shifts in those
• 48:31
  Speaker 2: kinds of political ideologies happen over like time, right, whereas
• 48:39
  Speaker 2: we already have like a really established character that doesn't
• 48:44
  Speaker 2: feel like he's properly expressing himself through the writing.
• 48:51
  Speaker 1: So it's like the movie has John McLean is having
• 48:54
  Speaker 1: an identity crisis.
• 48:55
  Speaker 2: Yeah, and it's like, but it's like not even a
• 48:57
  Speaker 2: well written identity crisis.
• 48:59
  Speaker 1: You know.
• 49:00
  Speaker 2: Yeah, we can also when we finished this, I can go,
• 49:05
  Speaker 2: you can do do like whatever you need to do,
• 49:07
  Speaker 2: and then we can continue later in the day you
• 49:09
  Speaker 2: want to. I mean, I'm having a good time. I'm
• 49:12
  Speaker 2: int' having.
• 49:14
  Speaker 1: Conversation is okay, Okay, well so let's get to where
• 49:17
  Speaker 1: we get to.
• 49:18
  Speaker 2: Yeah, but I will say the the effects like kind
• 49:23
  Speaker 2: of hold up in the movie, Oh dude, it was
• 49:26
  Speaker 2: like pretty impressed.
• 49:27
  Speaker 1: It looked really good. It looks really good, and like
• 49:30
  Speaker 1: it was. It was honestly a pleasure to watch it.
• 49:33
  Speaker 1: Like I really enjoyed it. I really enjoyed thinking about
• 49:36
  Speaker 1: the conversation that we were going to have about it,
• 49:39
  Speaker 1: because I feel like it is, despite being a failure,
• 49:43
  Speaker 1: which I do think it is as a John McClain movie,
• 49:45
  Speaker 1: I think it's rich for things to talk about. It
• 49:49
  Speaker 1: just really unfortunately kind of misses the mark because it
• 49:53
  Speaker 1: could have been better than it was.
• 49:56
  Speaker 2: Man, it's a missed opportunity and like, I do you
• 50:00
  Speaker 2: feel like it is Indiana Jones in the sense that
• 50:04
  Speaker 2: I was pleasantly surprised after not only seeing it once,
• 50:09
  Speaker 2: not seeing it since two thousand and seven, so almost
• 50:13
  Speaker 2: twenty years ago.
• 50:14
  Speaker 1: I was less surprised because I had recently watched it
• 50:19
  Speaker 1: and I was like, Okay, it felt the same way
• 50:21
  Speaker 1: as like watching what's it called Part four of Indiana Jones? Yeah,
• 50:28
  Speaker 1: what's that one called again, Crystal Skull? Crystal Skull? It
• 50:31
  Speaker 1: felt like watching Crystal Skull when it came out versus
• 50:33
  Speaker 1: watching it now, Yeah, exactly where it's like I okay, yeah,
• 50:36
  Speaker 1: I see the ways in which this movie tried and
• 50:39
  Speaker 1: failed in a way that I wasn't able to like
• 50:42
  Speaker 1: allow myself to appreciate when it first came out.
• 50:44
  Speaker 2: Absolutely because as a fan, as a toxic fan, I
• 50:48
  Speaker 2: very much was like I deserve my movie, right, Oh no.
• 50:53
  Speaker 1: But you understand the like knee your creaction of a
• 50:55
  Speaker 1: toxic fan, Like it's not like you're a toxic fan
• 50:58
  Speaker 1: if you go out and you're like propagating that shit.
• 51:00
  Speaker 1: I think like the fact that we allow ourselves to
• 51:03
  Speaker 1: be like yeah at the time when it came out,
• 51:05
  Speaker 1: we were like, eh, this movie didn't do the thing
• 51:09
  Speaker 1: that I like about. You kind of have like a
• 51:11
  Speaker 1: reaction because it's like something's weird, you know, like absolutely,
• 51:16
  Speaker 1: so you're just mad to the air. You're you don't
• 51:18
  Speaker 1: know why.
• 51:19
  Speaker 2: And then you blame feminism, which is the problem, of course.
• 51:23
  Speaker 1: I mean, where where are we? We are? I have
• 51:26
  Speaker 1: to like wrap up soon? Do you want to wrap
• 51:29
  Speaker 1: up now? Let's wrap up.
• 51:30
  Speaker 2: Now, okay, and then we can eat and then we
• 51:32
  Speaker 2: can we'll continue later.
• 51:35
  Speaker 1: I'll just stop it, yeah, just stop it.
• 51:40
  Speaker 2: There was a thing that I wanted to talk to
• 51:42
  Speaker 2: you about pre are stopping, which was this is the
• 51:46
  Speaker 2: first there was the word PG thirteen.
• 51:50
  Speaker 1: First, first PG thirteen.
• 51:52
  Speaker 2: In fact, I heard four point zero, which is the
• 51:55
  Speaker 2: one I watched, and which is the one you watched?
• 51:57
  Speaker 2: That is the PG thirteen version, which I was happy
• 52:00
  Speaker 2: about because in the director's cut are unrated cut, they
• 52:06
  Speaker 2: cgied a bunch of blood into the movie and gave
• 52:11
  Speaker 2: him a bunch of weird swear words that he says
• 52:15
  Speaker 2: off camera, so he doesn't actually say.
• 52:18
  Speaker 1: Those floating kind of like yeah, like miss non digetic,
• 52:22
  Speaker 1: non dig yeah, exactly, floating over the top of the
• 52:27
  Speaker 1: the movie ad.
• 52:30
  Speaker 2: Yeah, it's a dard bad, it's bad.
• 52:33
  Speaker 1: What do you know what some of the lines were.
• 52:36
  Speaker 2: They're all kind of like Russia, Yeah, exactly, it's all
• 52:41
  Speaker 2: kind of like that. The the most egregious thing about
• 52:44
  Speaker 2: it is is the CGI blood because it all looks
• 52:46
  Speaker 2: terrible because I didn't shoot it that way. It's just
• 52:48
  Speaker 2: kind of like, oh, let's just add this for people
• 52:51
  Speaker 2: who wanted to be rated R and that's it.
• 52:53
  Speaker 1: But that's like not good. Yeah, it's not good. It's
• 52:58
  Speaker 1: better that they shoot the R stuff and then put
• 53:01
  Speaker 1: it back in exactly exactly, like try and make the
• 53:04
  Speaker 1: BEG stuff are.
• 53:05
  Speaker 2: Exactly and we basically get to the point. I liked
• 53:09
  Speaker 2: the scene a lot actually, where it's like John McClean
• 53:15
  Speaker 2: is trying to hotwire a car and justin long realizes
• 53:20
  Speaker 2: that he can get the car to get turned on
• 53:23
  Speaker 2: by the like automation in the car, being like.
• 53:28
  Speaker 1: There's like some kind of like security feature that's connected
• 53:33
  Speaker 1: to like some dispatcher that like it's like we're sending
• 53:37
  Speaker 1: help right away. It's like, no, my dad doesn't have help.
• 53:41
  Speaker 2: He doesn't he needs to get to the hospital.
• 53:43
  Speaker 1: Now.
• 53:43
  Speaker 2: I can't stop listen.
• 53:44
  Speaker 1: To me, lady, my dad's name is uh and then
• 53:48
  Speaker 1: takes as long as we sometimes take to figure out
• 53:50
  Speaker 1: the on the day of the podcast and like kind it, dude,
• 53:53
  Speaker 1: I mean, of course, but in the movie they don't,
• 53:56
  Speaker 1: and it's kind of funny because he like takes them
• 53:57
  Speaker 1: so long and that it's like some Eastern when he
• 54:01
  Speaker 1: tries he pronounces it, I think pretty good, and and
• 54:05
  Speaker 1: then he's like, do just fucking turn the car on.
• 54:08
  Speaker 2: He goes like kind of nuts on her and it's
• 54:10
  Speaker 2: like yeah, totally, and Bruce Willis is like, yeah, yeah,
• 54:14
  Speaker 2: he actually doesn't do yeah, yeah, because something that else
• 54:18
  Speaker 2: that I noticed, And I want you to back me
• 54:21
  Speaker 2: up on this, or back me up in the sense
• 54:24
  Speaker 2: that like, maybe I'm wrong.
• 54:26
  Speaker 1: But this feels like part of what.
• 54:30
  Speaker 2: Makes Diehard so unique as a franchise and less as
• 54:34
  Speaker 2: a like an action movie franchise is that it really
• 54:39
  Speaker 2: does feel like he's mostly thinking on his feet, he's
• 54:42
  Speaker 2: mostly improvising, whereas in this movie it doesn't feel like
• 54:46
  Speaker 2: he's improvising. It feels like he's an action star who
• 54:48
  Speaker 2: can just do anything.
• 54:51
  Speaker 1: Totally, you know what I mean. There's no there's no
• 54:53
  Speaker 1: like discovering a thing. There's no not knowing a thing
• 54:56
  Speaker 1: and then finding it out there is, but like it's
• 54:59
  Speaker 1: just it's just kind of played flatly. Yeah, there's no
• 55:02
  Speaker 1: arc to it. There's no like it's actually important that
• 55:05
  Speaker 1: I figured this out. Yeah, you know, it's like kind
• 55:07
  Speaker 1: of like, oh, okay, the kid got it. Yeah, Oh,
• 55:09
  Speaker 1: I'm realizing he's not such a fucking loser, you know, Yeah, exactly.
• 55:12
  Speaker 2: And something that dovetails nicely into this next scene where
• 55:16
  Speaker 2: Maggie Hugh goes to the like water treatment plant thing
• 55:21
  Speaker 2: or whatever, whatever, the technology that's outside of Internet that
• 55:26
  Speaker 2: she has to like go into and like turn off
• 55:30
  Speaker 2: manually or whatever, or it's got like a closed circuit.
• 55:33
  Speaker 2: She comes in, they're dressed as FBI. The one guy
• 55:36
  Speaker 2: comes up to her and he's like, hey, we didn't
• 55:38
  Speaker 2: have a scheduled FBI and everybody's just murdering people immediately.
• 55:44
  Speaker 2: There's no sense of like, it's not like we got
• 55:48
  Speaker 2: to this point and now we have to use excessive force.
• 55:50
  Speaker 2: It's all just kind of well, you.
• 55:54
  Speaker 1: Know, but no, like, okay, some of the other movies
• 55:57
  Speaker 1: do that though at all, but they do it in
• 55:59
  Speaker 1: a different way. What's different about who directed this one? Uh,
• 56:05
  Speaker 1: less whining. It's the same guy.
• 56:09
  Speaker 2: I'm pretty sure it's the same guy who did Tears
• 56:10
  Speaker 2: of the Sun.
• 56:13
  Speaker 1: I don't know who that is. Hold on, there's no
• 56:18
  Speaker 1: candidate less whining, that's that's what. Yeah, obscure since the joke,
• 56:24
  Speaker 1: I'm glad. I'm glad you got it though. That's funny.
• 56:32
  Speaker 1: Director less whining lehnn Weisman. It is less less less,
• 56:37
  Speaker 1: which he's done. Let's see. Oh, he's actually like a
• 56:42
  Speaker 1: he was a young director at the time, like he's
• 56:44
  Speaker 1: born in nineteen seventy three. Yeah, that's I mean, that's
• 56:48
  Speaker 1: a pretty He did the new Total Recall for which
• 56:52
  Speaker 1: he'll never be forgiven. Definitely. Yeah. I mean it's interesting
• 56:57
  Speaker 1: that it's a very gen X perspective. It feels like
• 56:59
  Speaker 1: a very perspective the movie. Yeah, definitely, And it feels
• 57:02
  Speaker 1: kind of like a gen X take on Definitely. Yeah.
• 57:07
  Speaker 1: I don't know if he knows what makes what makes
• 57:10
  Speaker 1: this character good. I don't know if this director treated
• 57:14
  Speaker 1: this character with care. No, I don't think he did.
• 57:17
  Speaker 2: I think he made a movie that was much more
• 57:20
  Speaker 2: an action movie than it was a diehard movie. McTiernan
• 57:25
  Speaker 2: is somebody who's not who could do this movie?
• 57:29
  Speaker 1: Who could do this movie? Now that I could think of?
• 57:33
  Speaker 2: That's like, uh, whoa do you want to hear this?
• 57:38
  Speaker 1: How did you guess? Tell me? So? The movie is
• 57:42
  Speaker 1: based on a nineteen ninety seven article, a Farewell to
• 57:45
  Speaker 1: Arms written by written for Wired magazine by John Carlin,
• 57:49
  Speaker 1: and the film's name is an is adapted from the
• 57:52
  Speaker 1: New Hampshire state motto, which I was saying earlier, ye
• 57:54
  Speaker 1: live free or die. That's cool. I mean, it's kind
• 57:57
  Speaker 1: of interesting. Yeah, Like it's interesting that used an article.
• 58:03
  Speaker 2: That's cool though, that's kind of more interesting. Yeah, it's
• 58:07
  Speaker 2: a shame that it wasn't like more grittier and like
• 58:12
  Speaker 2: stuck to like the real life of the stakes of
• 58:15
  Speaker 2: the article.
• 58:16
  Speaker 1: But whatever. I mean. The movie debuted number two behind
• 58:18
  Speaker 1: rat Tattoo at the US box office.
• 58:20
  Speaker 2: I mean, yeah, dude, Like, who doesn't want to see
• 58:22
  Speaker 2: fucking uh a new die Hard? I would see a
• 58:26
  Speaker 2: new die Hard with Aphasia of Bruce Willis.
• 58:28
  Speaker 1: But it's got It's got eighty two percent on Rotten
• 58:31
  Speaker 1: Tomatoes based on two hundred and ten reviews. That's pretty good.
• 58:34
  Speaker 1: It's pretty good. Yeah, I don't know if that's how
• 58:36
  Speaker 1: much I'm gonna get Yeah, I mean definitely not.
• 58:39
  Speaker 2: But yeah, they get into this like factory or whatever.
• 58:43
  Speaker 2: I really liked the scene where he like gets up
• 58:46
  Speaker 2: the stairs and one of the guards comes out and
• 58:48
  Speaker 2: he punches him and the guard punches him back, and
• 58:50
  Speaker 2: it seems like like a and then he grabs his
• 58:53
  Speaker 2: gun and shoots him in the foot.
• 58:55
  Speaker 1: Oh dude, move that move with the callback later on.
• 58:58
  Speaker 1: It's so good. Like it's moments like that where this
• 59:01
  Speaker 1: movie is kind of like shines. It's just like it's
• 59:03
  Speaker 1: got all the stuff, it's just like the substance is missing.
• 59:06
  Speaker 1: I know, I guess we keep repeating.
• 59:07
  Speaker 2: Yeah, we keep repeating that it's just not connected to him. Yeah,
• 59:11
  Speaker 2: because he's the most important part. But when him and
• 59:14
  Speaker 2: Maggie cu are fighting, it's a great scene.
• 59:16
  Speaker 1: It him being like.
• 59:17
  Speaker 2: Like, uh, it's not like oh no, she's a woman,
• 59:21
  Speaker 2: it's I have to stop this.
• 59:23
  Speaker 1: Person from totally. It seems like they're like also pretty
• 59:26
  Speaker 1: evenly matched, and like when he she.
• 59:28
  Speaker 2: Fucking throws him at his old man body, well, it's
• 59:33
  Speaker 2: like pretty pretty good good physically.
• 59:36
  Speaker 1: Yeah, I like I liked it because like they show
• 59:38
  Speaker 1: that she's really like she's got really good fighting skills
• 59:42
  Speaker 1: and also she's like very fast, like she seems like
• 59:45
  Speaker 1: she's got tactical skills. Yeah, and Bruce is kind of
• 59:48
  Speaker 1: just like brute Force. He's brute Bruce Brute Willis. He's
• 59:57
  Speaker 1: kind of got like you know, like he's like a
• 59:59
  Speaker 1: cop and he's strong and he's got good instincts, but
• 1:00:01
  Speaker 1: he's not fighting as well as she is. So it's
• 1:00:04
  Speaker 1: it's kind of interesting.
• 1:00:05
  Speaker 2: I love it, Yeah, but then but then it gets
• 1:00:07
  Speaker 2: to the parts that I hate, which is immediately they
• 1:00:11
  Speaker 2: fight each other and he like throws her and gets
• 1:00:14
  Speaker 2: her down, and then she fights him and throws him
• 1:00:18
  Speaker 2: out a window and he fucking falls.
• 1:00:22
  Speaker 1: Like a terminator or into an alien's two things.
• 1:00:24
  Speaker 2: Yeah, totally, And it's like and then she walks up
• 1:00:27
  Speaker 2: to just just the long and he tries to buncher
• 1:00:31
  Speaker 2: and she immediately twists his arm and he's like, okay,
• 1:00:34
  Speaker 2: all right, I give up, and she's like, immediately reverse
• 1:00:38
  Speaker 2: all of the things you did. I thought that was incredible,
• 1:00:42
  Speaker 2: and it's like, okay, okay, I will And it's it's.
• 1:00:45
  Speaker 1: Moments like that that that are cool in this movie.
• 1:00:48
  Speaker 1: But like, also, can I ask you something. This is
• 1:00:51
  Speaker 1: supposed to be some kind of like I guess like
• 1:00:54
  Speaker 1: place that gas is routed. Yeah, something like that. It's
• 1:00:58
  Speaker 1: like where like all the natural gas as is going
• 1:01:00
  Speaker 1: to And it just I didn't like the location of
• 1:01:04
  Speaker 1: this scene. I didn't like the location of the film,
• 1:01:06
  Speaker 1: Like it didn't match what they wanted it to be,
• 1:01:09
  Speaker 1: Like it didn't feel like it was a plant that
• 1:01:11
  Speaker 1: could realistic, Like it just felt like a terminator. It
• 1:01:14
  Speaker 1: totally felt just like terminator steam room, Yeah, totally. And
• 1:01:17
  Speaker 1: I was just like, it's like, does the steam room
• 1:01:20
  Speaker 1: come on? I know, I know.
• 1:01:21
  Speaker 2: And then when he like it's on the first floor,
• 1:01:24
  Speaker 2: but he drives up with a car and crashes.
• 1:01:27
  Speaker 1: Through because he drives it though, he like hits her,
• 1:01:33
  Speaker 1: And at first I didn't like that that she was
• 1:01:35
  Speaker 1: just normal and alive and like were ready to fight him.
• 1:01:39
  Speaker 1: On top of even though she would be like she
• 1:01:41
  Speaker 1: would have like several vertebrates, she.
• 1:01:44
  Speaker 2: Would just be dead.
• 1:01:46
  Speaker 1: She would be meat. Suck a car hitting you at
• 1:01:50
  Speaker 1: what looks like he's driving sixty kilometers per hour and
• 1:01:53
  Speaker 1: like he just would like I don't know if he
• 1:01:56
  Speaker 1: would be dead. You might not be dead, but you
• 1:01:58
  Speaker 1: would definitely be really really, you would need a law.
• 1:02:02
  Speaker 2: You'd be adrenaline trying to get up, and you would
• 1:02:05
  Speaker 2: like your body would be like.
• 1:02:07
  Speaker 1: Morphed giving and it would be giving way in a
• 1:02:10
  Speaker 1: way that you would like kind of fall underneath the
• 1:02:12
  Speaker 1: car and go, and it would just drive. Instead, he
• 1:02:16
  Speaker 1: drives all the way elevator to an elevator chef and
• 1:02:19
  Speaker 1: after her back is used to rip open this elevator cheft.
• 1:02:24
  Speaker 2: Yes, she's still totally five.
• 1:02:26
  Speaker 1: Capable of pulling herself up with her own strength. But
• 1:02:30
  Speaker 1: all of that being said, I think Maggie Q like
• 1:02:34
  Speaker 1: the performance is like does the job. I believe the performance.
• 1:02:41
  Speaker 2: I believe the performance too, I just don't believe that
• 1:02:43
  Speaker 2: it's a die hard performance.
• 1:02:45
  Speaker 1: I don't believe die Hard.
• 1:02:48
  Speaker 2: Four is more a fast and furious movie than it
• 1:02:52
  Speaker 2: is a die hard movie.
• 1:02:53
  Speaker 1: That's what man totally more fast and furious.
• 1:02:56
  Speaker 2: Because I enjoy this in Fast and Furious. If this
• 1:02:59
  Speaker 2: was a fast and furious movie and it was with
• 1:03:01
  Speaker 2: Bruce Willis, I'd be like, oh, I mean that was
• 1:03:04
  Speaker 2: easily one of the best fast and furious movies, you know,
• 1:03:06
  Speaker 2: But this as a die hard movie is like nah.
• 1:03:10
  Speaker 1: I think the director thinks of himself as Timothy Oliphant's character. Yeah,
• 1:03:16
  Speaker 1: I really feel like he tried to make him extra cool,
• 1:03:20
  Speaker 1: but he's not cool in the way he thinks that
• 1:03:22
  Speaker 1: it's cool, you know what I mean. No, I just
• 1:03:24
  Speaker 1: feel like this movie doesn't get why it's good, and
• 1:03:27
  Speaker 1: it doesn't get why John McLean is good. Yeah, totally.
• 1:03:29
  Speaker 2: One thing that I really loved about this scene too,
• 1:03:34
  Speaker 2: the elevator shaft, the elevator shaft stuff. But when the
• 1:03:37
  Speaker 2: guard comes up and justin Long fucking hits the guard
• 1:03:41
  Speaker 2: in the back and his body is just like.
• 1:03:45
  Speaker 1: Man, where's the scene where someone falls through? Like the
• 1:03:50
  Speaker 1: the guard falls down the terminator, elevator shaft like twisty
• 1:03:55
  Speaker 1: thing and there's two twisty things. Yeah, totally. What was
• 1:03:59
  Speaker 1: that come on? The steam rooms? I don't know.
• 1:04:02
  Speaker 2: But then the car falls and Maggie h just explodes
• 1:04:06
  Speaker 2: as the car falls down, and then Bruce Willis is like,
• 1:04:09
  Speaker 2: I fucking killed your girlfriend.
• 1:04:11
  Speaker 1: When when when he's okay. So that was the other weird.
• 1:04:14
  Speaker 1: It was this part and the part where he's with
• 1:04:16
  Speaker 1: his daughter where it was like weird sinister vibes towards
• 1:04:20
  Speaker 1: women of like I killed that Asian whore. He's like
• 1:04:25
  Speaker 1: something like it's like whoa, like you're you're also like
• 1:04:30
  Speaker 1: being racist, like and like there's no way that that's
• 1:04:33
  Speaker 1: not raped, like to call someone an Asian who is.
• 1:04:36
  Speaker 2: Like yeah, like question, it was like something like that.
• 1:04:41
  Speaker 1: Or Asian bitch. It was like just like both a
• 1:04:45
  Speaker 1: racist a racist kind of like because say.
• 1:04:54
  Speaker 2: For a really long time, I mean that was a
• 1:04:59
  Speaker 2: pretty good lie.
• 1:05:00
  Speaker 1: See that. That's fine, but like it's like it's just
• 1:05:03
  Speaker 1: taunting someone's masculinity by diminishing their their woman is so
• 1:05:10
  Speaker 1: weird and very boomer leary fire. Oh yeah, oh Asian chick.
• 1:05:28
  Speaker 1: Like but no, it's before he says something after too.
• 1:05:32
  Speaker 1: It's not just that, dude, this is an alternative take.
• 1:05:43
  Speaker 1: I remember I was. I turned to Anna when it happened,
• 1:05:46
  Speaker 1: and I was like it was like Asian bitch or
• 1:05:49
  Speaker 1: Asian whore. It was something like very like geared towards
• 1:05:54
  Speaker 1: her femininity and slut shaming her, like being like she's
• 1:05:58
  Speaker 1: like or like or diminishing the like the fact that
• 1:06:00
  Speaker 1: she's a woman, like a femme slur. And there was
• 1:06:05
  Speaker 1: that and then and also prefaced by Asian. Yeah, and
• 1:06:08
  Speaker 1: not just Asian chick, because that anyway, but like it
• 1:06:12
  Speaker 1: just it felt like I was like, okay, like I
• 1:06:18
  Speaker 1: don't know, I just never noticed anything with any of
• 1:06:21
  Speaker 1: the other guys that they I don't know that they
• 1:06:25
  Speaker 1: did stuff like this in movies, especially not this late
• 1:06:28
  Speaker 1: in the game. It felt like very like I don't know,
• 1:06:32
  Speaker 1: the kind of like tone death for the time even.
• 1:06:35
  Speaker 2: Maybe like yeah, probably like I can't I can't speak
• 1:06:39
  Speaker 2: to it because I don't know, but I do remember
• 1:06:41
  Speaker 2: feeling weird about it anyway because of the fact that
• 1:06:44
  Speaker 2: it was.
• 1:06:47
  Speaker 1: I don't know, like.
• 1:06:50
  Speaker 2: It didn't feel right for John McClain.
• 1:06:53
  Speaker 1: That's the other thing too, is like I don't think
• 1:06:55
  Speaker 1: he's a racist guy. Like I think he's like a
• 1:06:57
  Speaker 1: guy who thinks he's not racist, and like, but maybe
• 1:07:02
  Speaker 1: that's what it is though, because no, maybe that is
• 1:07:05
  Speaker 1: John McClain's character because he is kind of like we
• 1:07:08
  Speaker 1: don't get any indication that he's not thinking these.
• 1:07:11
  Speaker 7: Things because he's like, I'm a white guy, right, everything
• 1:07:14
  Speaker 7: I do is wrong, Like he doesn't get he's kind
• 1:07:17
  Speaker 7: of doing a little bit of reverse racism to the
• 1:07:19
  Speaker 7: guy in the moment to Samuel L.
• 1:07:21
  Speaker 1: Jackson's character, what was it, Oh yeah, Zeus, Zeus No,
• 1:07:26
  Speaker 1: it's Zeus. Is it the god of Thunder? I just
• 1:07:30
  Speaker 1: maybe this is in line with John McClain's character.
• 1:07:32
  Speaker 2: I think I think may it just something about it
• 1:07:36
  Speaker 2: seemed seemed weird, the the Asian Asian stuff was was.
• 1:07:46
  Speaker 1: It's besides the point, I understand, but but but the
• 1:07:50
  Speaker 1: fact that it is racial makes it makes the sinister
• 1:07:53
  Speaker 1: feel of what he's saying. Also, Rachel, No, No, that
• 1:07:57
  Speaker 1: that is fine. I like, I'm not. I'm not arguing
• 1:07:59
  Speaker 1: with that.
• 1:08:00
  Speaker 2: I'm it's just something about it seems off him, kind
• 1:08:03
  Speaker 2: of taking pleasure.
• 1:08:04
  Speaker 1: I don't know. It's the kind of I don't know.
• 1:08:07
  Speaker 2: But then the factory just fucking explodes, like every It's
• 1:08:11
  Speaker 2: just like a giant explosion.
• 1:08:14
  Speaker 1: That both of them somehow survived. They they reverse the gas,
• 1:08:18
  Speaker 1: the computers the gas into the place because all the
• 1:08:22
  Speaker 1: gas goes there, everything.
• 1:08:24
  Speaker 2: Explodes, Yeah, exactly, and then all like all the power
• 1:08:28
  Speaker 2: gets shut off in the city. It's getting there an
• 1:08:34
  Speaker 2: hour and nineteen minutes, an hour, nineteen minutes, we get.
• 1:08:42
  Speaker 1: Fuck, what's Lucy Lucy?
• 1:08:44
  Speaker 2: Yeah, Lucy trapped in the fucking elevator.
• 1:08:49
  Speaker 1: That's it. And then it's like, well before we get
• 1:08:52
  Speaker 1: Kevin Smith.
• 1:08:54
  Speaker 2: Yes, this is where we're getting Kevin Smith. I actually
• 1:08:57
  Speaker 2: really liked uh is it Warlord Warlock? Yeah, I really
• 1:09:02
  Speaker 2: liked the scene where he's like, uh, we.
• 1:09:06
  Speaker 1: Could just drive there.
• 1:09:07
  Speaker 2: Yeah, I've been digging helicopter listens.
• 1:09:09
  Speaker 1: Oh it's kind of funny because it's like it's almost
• 1:09:12
  Speaker 1: playing on the like hilarity of him just being able
• 1:09:15
  Speaker 1: to do able to do things.
• 1:09:17
  Speaker 2: Yeah, that's actually what I really liked hibout it because
• 1:09:19
  Speaker 2: he's like.
• 1:09:20
  Speaker 1: Are you are are you fread flying?
• 1:09:22
  Speaker 2: It's like, yeah, I am, and he's like I used
• 1:09:25
  Speaker 2: to be too, and I still got him.
• 1:09:28
  Speaker 1: I actually like this. It's pretty cool, like because we
• 1:09:31
  Speaker 1: do know he has plain experience and he brings back
• 1:09:35
  Speaker 1: in this movie two times.
• 1:09:36
  Speaker 2: And I like the fact that he's like this guy
• 1:09:39
  Speaker 2: totally does seem like a guy who would be like.
• 1:09:41
  Speaker 1: No, no, no, I'm gonna take for lessons. I agree,
• 1:09:45
  Speaker 1: I agree. I think it's fitting with the character. And
• 1:09:49
  Speaker 1: so he kind of like takes off and it is
• 1:09:51
  Speaker 1: funny and he's like taking off the biggest problem, taking
• 1:09:55
  Speaker 1: off the biggest problem, because yeah, landing isn't but they
• 1:09:59
  Speaker 1: don't show how they land and they went they go
• 1:10:01
  Speaker 1: to Warlock's house, and the mom's like she she opens
• 1:10:04
  Speaker 1: the this is kind of funny too, like the like
• 1:10:06
  Speaker 1: mom being like, what are your on? She's kind of
• 1:10:10
  Speaker 1: scary just.
• 1:10:10
  Speaker 2: Think of But but think about it this way. Fine,
• 1:10:14
  Speaker 2: let's let not make it brother and sister. Let's not
• 1:10:17
  Speaker 2: make Justin Justin long and and Lucy. Uh, brother and sister.
• 1:10:23
  Speaker 2: Let's make it so that they are boyfriend and girlfriend
• 1:10:26
  Speaker 2: and then it's like, I guess we me and the family,
• 1:10:29
  Speaker 2: you know what I mean? And then they meet what
• 1:10:31
  Speaker 2: if he met her dad or her mom and she's
• 1:10:33
  Speaker 2: actually like super cool and a badass, uh, And it's like,
• 1:10:38
  Speaker 2: oh yeah, it's actually kind of a nice family.
• 1:10:41
  Speaker 1: Or you can streamline it completely and avoid the creepy
• 1:10:44
  Speaker 1: weirdness by asking asking John McClain to go pick up
• 1:10:51
  Speaker 1: the kid and it happens that it's her boyfriend and
• 1:10:53
  Speaker 1: he's a computer nerd. Yeah, that's what I mean that
• 1:10:55
  Speaker 1: he's already her boyfriend, right? Is that what you're saying?
• 1:10:57
  Speaker 1: That's what I was saying earlier.
• 1:10:58
  Speaker 2: Ye?
• 1:10:58
  Speaker 1: Yeah? Where where he?
• 1:11:01
  Speaker 2: And what if what if the hacker part was a
• 1:11:04
  Speaker 2: total like happenstance.
• 1:11:06
  Speaker 1: And he didn't know?
• 1:11:08
  Speaker 2: What if he had a different name or something, and
• 1:11:10
  Speaker 2: then he sees the boyfriend. He's like, you're the guy
• 1:11:14
  Speaker 2: I have to pick up. You're a fucking criminal too,
• 1:11:17
  Speaker 2: on top of being a nerd. That's a good idea.
• 1:11:21
  Speaker 2: It's a good and then we find out that like it.
• 1:11:25
  Speaker 1: Offers more realistic stakes and it allows you to include
• 1:11:28
  Speaker 1: the daughter in a more realistic way because then the
• 1:11:31
  Speaker 1: taking her hostage makes sense. Double the steaks exactly.
• 1:11:37
  Speaker 2: That makes sense, and then she can like get out
• 1:11:40
  Speaker 2: of it somehow, and he has to.
• 1:11:42
  Speaker 1: Prove himself to John McClain that he's not a fucking loser.
• 1:11:45
  Speaker 1: That makes sense. Yes, yeah, okay, ye.
• 1:11:48
  Speaker 2: Are you just getting this?
• 1:11:49
  Speaker 1: That was just not slating it from No, No, I
• 1:11:51
  Speaker 1: just wasn't getting it. Well, I mean I just was
• 1:11:53
  Speaker 1: high earlier. I mean I'm still lying out.
• 1:11:57
  Speaker 2: What did you think of the Warlock scene?
• 1:12:00
  Speaker 1: Well, it's like it's out of a different movie, but
• 1:12:03
  Speaker 1: it also just makes me think about Okay, so like
• 1:12:09
  Speaker 1: this is what I think about it. Kevin Smith playing
• 1:12:12
  Speaker 1: kind of himself weirdly in this movie where it's like
• 1:12:15
  Speaker 1: he's a fucking nerd. But this was like at a
• 1:12:18
  Speaker 1: time when it's like, oh, the nerds are taking over
• 1:12:21
  Speaker 1: I'm showing that nerds are cool, and then like all
• 1:12:23
  Speaker 1: of the like fandom stuff that was there, like the
• 1:12:27
  Speaker 1: sequalified stuff like the Boba fettes and the like consolo
• 1:12:31
  Speaker 1: kind of shit, Like just like the kind of gamer
• 1:12:35
  Speaker 1: kind of vibe around. It just feels like it's from
• 1:12:38
  Speaker 1: a little bit of a toxic dude culture number one
• 1:12:41
  Speaker 1: to that, like this movie is trying to be like, hey,
• 1:12:44
  Speaker 1: look we're in a self aware sequel too. We got
• 1:12:47
  Speaker 1: Kevin Smith who likes all this nerds stuff. Yeah, this
• 1:12:49
  Speaker 1: movie's about nerds stuff. And it's like, I don't know,
• 1:12:52
  Speaker 1: I just like I find that stuff kind of cringey.
• 1:12:56
  Speaker 1: I just don't think it's like I think it's super purfluis.
• 1:13:00
  Speaker 1: I think they're trying this the tooth with Kevin Smith.
• 1:13:03
  Speaker 2: Well, what's interesting about it is a lot of the
• 1:13:06
  Speaker 2: same kinds of problems that people are complaining about now,
• 1:13:10
  Speaker 2: saying that wokeness is in everything. It was in everything
• 1:13:16
  Speaker 2: at the time exactly, and so it's so toxic. It
• 1:13:19
  Speaker 2: comes from such toxic fandom. Sorry to interrupt, And I
• 1:13:23
  Speaker 2: think also, like.
• 1:13:24
  Speaker 1: I mean, you took my point, but that's okay. Oh
• 1:13:27
  Speaker 1: I'm sorry. I think that like you know the fact
• 1:13:30
  Speaker 1: that like it just feels very right for this generation,
• 1:13:37
  Speaker 1: like this is the like John McClain of its time.
• 1:13:42
  Speaker 1: And it also makes me think about Kevin Smith and
• 1:13:45
  Speaker 1: him directing cop Out and him directing Bruce Willison cop
• 1:13:49
  Speaker 1: Out and that whole like kind of very mean spirited tirade.
• 1:13:55
  Speaker 1: It feels like it kind of revealed a little bit
• 1:13:57
  Speaker 1: of what Kevin Smith. Some of Kevin Smith's humor is
• 1:14:01
  Speaker 1: all about. It's kind of punching down sometimes, and I
• 1:14:04
  Speaker 1: think maybe he got some more self awareness from it.
• 1:14:06
  Speaker 1: But like him just like telling this joke about how
• 1:14:10
  Speaker 1: Bruce was so stupid when I filmed this movie, and
• 1:14:13
  Speaker 1: it's like then us getting context. I know, I know,
• 1:14:17
  Speaker 1: hard I agree, it's just like like telling the anecdote, Well,
• 1:14:21
  Speaker 1: he was a dick too, It's not like he wasn't
• 1:14:23
  Speaker 1: just like like it's not just like Bruce was a dick, right,
• 1:14:27
  Speaker 1: and he made things difficult without the context of like
• 1:14:32
  Speaker 1: having a phasia.
• 1:14:33
  Speaker 2: And I don't know how much like when was that movie,
• 1:14:36
  Speaker 2: when was he diagnosed?
• 1:14:37
  Speaker 1: Twenty ten? I think it was the beginning of the
• 1:14:39
  Speaker 1: noticeable decline in terms of like his delaulity is an action. Yeah, yeah,
• 1:14:44
  Speaker 1: which is like maybe can be also, but it.
• 1:14:47
  Speaker 2: Can't just justify everything right, like like it's like it
• 1:14:50
  Speaker 2: would be like, oh man, like you know, like what
• 1:14:54
  Speaker 2: if what if? Like I found out that Charles Manson
• 1:14:58
  Speaker 2: had like some sort of asia now and I was like,
• 1:15:01
  Speaker 2: a man, I know, but also I was like, oh man,
• 1:15:05
  Speaker 2: that affects so much of the music that he did
• 1:15:07
  Speaker 2: that was so awesome and you know, the murders or whatever.
• 1:15:11
  Speaker 2: But I'm just saying that Charles Manson is awesome, dude,
• 1:15:14
  Speaker 2: no kidding, I'm just saying that, Like you pick any
• 1:15:17
  Speaker 2: number of people that have like done shitty things, extreme
• 1:15:21
  Speaker 2: or not. It's like it doesn't necessarily make it good.
• 1:15:24
  Speaker 2: But at the same time, it's like Mama being crazy
• 1:15:27
  Speaker 2: doesn't make any of the shitty things she did better, you.
• 1:15:31
  Speaker 1: Know, I know, I know, I know, but like I don't, like,
• 1:15:34
  Speaker 1: I don't know if Bruce was like a notorious dick.
• 1:15:37
  Speaker 1: I don't know how much. I haven't really followed that
• 1:15:40
  Speaker 1: part of it. Like it's interesting he's kind of an enigma,
• 1:15:44
  Speaker 1: like taken just as an actor, he really does embody.
• 1:15:49
  Speaker 1: You don't really get like the personality of Bruce other
• 1:15:53
  Speaker 1: than like these small kind of body moments. He really is.
• 1:15:57
  Speaker 1: He has a good way of like a stare a
• 1:16:00
  Speaker 1: side look like he is very embodied. And that's the
• 1:16:03
  Speaker 1: Bruce that like you see and you're like, man, this
• 1:16:06
  Speaker 1: is what he was still resting on. Like it's beautiful
• 1:16:09
  Speaker 1: to see because it's him, But the rest of it
• 1:16:12
  Speaker 1: is like, I don't know, I don't know what to
• 1:16:14
  Speaker 1: make of this actor, you know, and I don't know
• 1:16:18
  Speaker 1: what to bring to a conversation about Bruce in general.
• 1:16:24
  Speaker 2: No, I disagree. We've had so many conversations.
• 1:16:26
  Speaker 1: No, I know, but it's it's ever changing. That's true.
• 1:16:30
  Speaker 2: He is much more There is much more distance, it
• 1:16:34
  Speaker 2: seems like, between characters, between his own personality.
• 1:16:38
  Speaker 1: He seems to.
• 1:16:38
  Speaker 2: Have that much much more of a wide ranging arc.
• 1:16:43
  Speaker 2: Even if the movies aren't bad, his characters are really
• 1:16:48
  Speaker 2: really nice characterizations of what he's trying to do. Him
• 1:16:54
  Speaker 2: being like getting Warlock and trying to trying to cover
• 1:17:04
  Speaker 2: the camera when when to the old Faunt season, you know.
• 1:17:09
  Speaker 1: I could still hear you even though you covered the cameras, Like, man, okay,
• 1:17:13
  Speaker 1: he kind of feels stupid.
• 1:17:15
  Speaker 2: That's there needed to be more of that kind of
• 1:17:17
  Speaker 2: stuff where where like he's not totally dumb, but he's
• 1:17:21
  Speaker 2: like just not of the time, right, And if you
• 1:17:24
  Speaker 2: want to do that kind of thing, then you play
• 1:17:27
  Speaker 2: on that a little more.
• 1:17:28
  Speaker 1: Well, you can't make him that cool, but also kind
• 1:17:31
  Speaker 1: of thought the confused. Yeah, totally like make him cool
• 1:17:35
  Speaker 1: because he's thought the confused, that's what, yeah, exactly.
• 1:17:38
  Speaker 2: And then when he's like showing off that he sees
• 1:17:41
  Speaker 2: Lucy in the elevator and he's like pretending to be
• 1:17:45
  Speaker 2: a what's his name, Oliphant is pretending to be a technician,
• 1:17:48
  Speaker 2: being like, oh, we're.
• 1:17:49
  Speaker 1: Going to get you out soon. Oh man, like the
• 1:17:53
  Speaker 1: the the like dead eyed kind of like characterizations some
• 1:17:57
  Speaker 1: of these people take on when they're like playing dispatch
• 1:18:00
  Speaker 1: and stuff. Yeah, it kind of like sinister a cool
• 1:18:03
  Speaker 1: part in this because it seems like they're like, yes,
• 1:18:07
  Speaker 1: just turn right.
• 1:18:08
  Speaker 2: Yeah, when I when I do my on the phone,
• 1:18:11
  Speaker 2: pretending to be a nice person.
• 1:18:14
  Speaker 1: Why do you do that?
• 1:18:15
  Speaker 2: Because that's who I am with those people. I want
• 1:18:17
  Speaker 2: them to have a good customers customer experience, I know.
• 1:18:20
  Speaker 1: But like why don't you take on like more of
• 1:18:23
  Speaker 1: a neutrality. Sometimes it feels like your niceness like almost
• 1:18:27
  Speaker 1: requires work, Like it's like, okay, it does require work, well,
• 1:18:30
  Speaker 1: it requires work to receive you know, Like it's like, okay,
• 1:18:34
  Speaker 1: you don't need to do all this, you.
• 1:18:35
  Speaker 2: Know, well, you don't know who I'm fucking talking to.
• 1:18:38
  Speaker 2: They seem to enjoy it. They're like working people work
• 1:18:41
  Speaker 2: on phones. Dude, have terrible people all the time. I don't.
• 1:18:46
  Speaker 1: I try not to be terrible, but I also try
• 1:18:47
  Speaker 1: and be efficient in the in like the interaction. I'm
• 1:18:51
  Speaker 1: also like I don't want to like do like and
• 1:18:53
  Speaker 1: how are you today? Because I'm like, I don't like
• 1:18:55
  Speaker 1: they don't want to talk to me. They're working, they
• 1:18:58
  Speaker 1: want to get their job done, they want to go.
• 1:18:59
  Speaker 2: To the new they're they're definitely like, oh awesome, I'm
• 1:19:02
  Speaker 2: having a good day.
• 1:19:03
  Speaker 1: Like yeah, like if I know that, I can have
• 1:19:06
  Speaker 1: a good conversation, Like I'm not burdening them with more work.
• 1:19:11
  Speaker 1: I mean, they ask me how I was.
• 1:19:13
  Speaker 2: I'm not going to be like, oh good, tell me
• 1:19:17
  Speaker 2: what I need right now.
• 1:19:18
  Speaker 1: I'm like, oh how are you? Yeah, okay, yeah, they're
• 1:19:21
  Speaker 1: asking me a thing. Yeah okay, don't be addict to
• 1:19:24
  Speaker 1: those people. I've never addicted to those people.
• 1:19:27
  Speaker 2: Yeah, you're neutral and when when there's more dicks neutral
• 1:19:31
  Speaker 2: seems like a dick.
• 1:19:32
  Speaker 1: No, but I disagree. I think like there's an efficiency
• 1:19:35
  Speaker 1: and like complete. I'm never rude, and there's an efficiency
• 1:19:38
  Speaker 1: in completing something fast where I'm like and then I'll
• 1:19:41
  Speaker 1: warmly say thank you at the end to be like, hey,
• 1:19:44
  Speaker 1: I did this fast for you to make your job easy.
• 1:19:47
  Speaker 1: I'm like, I do that kind of communication. I just like,
• 1:19:50
  Speaker 1: I feel like it's like when something is like it
• 1:19:52
  Speaker 1: just feels like there's an artifice to it that I'm like,
• 1:19:55
  Speaker 1: I don't.
• 1:19:55
  Speaker 9: Think they need that, but they don't know who I am, right,
• 1:19:59
  Speaker 9: I guess you see the artifice because you see the artifice,
• 1:20:03
  Speaker 9: they don't know who I am, and they just go
• 1:20:06
  Speaker 9: and it's like, oh, that was a pleasant person and
• 1:20:08
  Speaker 9: they move on with I.
• 1:20:09
  Speaker 1: Guess, so, I guess. So sorry. What were you saying about?
• 1:20:11
  Speaker 1: The next scene is why are we talking about that?
• 1:20:14
  Speaker 1: Was it related to the movie? Yeah?
• 1:20:19
  Speaker 2: They somebody goes into check on Lucy while Bruce Willis.
• 1:20:25
  Speaker 1: And Justin Long go on.
• 1:20:27
  Speaker 2: Yet another road trip. There's too much driving in the
• 1:20:30
  Speaker 2: movie too, going from place to place the niceness of
• 1:20:37
  Speaker 2: New York. As a New York these guys seem like
• 1:20:39
  Speaker 2: they're going to different states.
• 1:20:40
  Speaker 1: That's the thing is like the there was never this
• 1:20:43
  Speaker 1: much traveling in like he's always like he's at the airport,
• 1:20:47
  Speaker 1: he's at the airplane. It's all like still tied to
• 1:20:50
  Speaker 1: like a localized thing. In New York, he's in the city.
• 1:20:53
  Speaker 1: He's like in Nakatomi. He's in Nakatomi.
• 1:20:57
  Speaker 2: And they use the city that they have to raise
• 1:20:59
  Speaker 2: this thing. The nice use about the city too is
• 1:21:02
  Speaker 2: that it's like you get different kinds of travel, So
• 1:21:05
  Speaker 2: it's like trains driving through the city, two people going
• 1:21:09
  Speaker 2: to separate parts of the city and then communicating with
• 1:21:11
  Speaker 2: each other like stuff like that is like way more
• 1:21:15
  Speaker 2: interesting as a character building for both Zeus and for
• 1:21:23
  Speaker 2: fucking McLean, whereas this is just like, oh, we're going
• 1:21:27
  Speaker 2: to this station and now it's this military base, and.
• 1:21:32
  Speaker 1: You know, it's just kind of like.
• 1:21:36
  Speaker 2: I don't know, they get to like wherever they need
• 1:21:38
  Speaker 2: to go this military base that they've hidden Lucy in,
• 1:21:43
  Speaker 2: and like it's the sidekick. Dynamics would be upped if
• 1:21:50
  Speaker 2: if he had again had a personal relationship with Justin Long.
• 1:21:54
  Speaker 1: You're right that not making it a personal relationship robs
• 1:21:57
  Speaker 1: it of so much.
• 1:21:58
  Speaker 2: So much because the the banter and all the cuteness
• 1:22:02
  Speaker 2: that comes with their relationship means something.
• 1:22:05
  Speaker 1: Exactly, and like just changing the dynamics of their relationship
• 1:22:09
  Speaker 1: alone would give.
• 1:22:10
  Speaker 2: Us that exactly, just adding that one little bit. But
• 1:22:14
  Speaker 2: you know, now it's like Justin Long is the hacker
• 1:22:18
  Speaker 2: and he's hacking the thing that this other dude, the
• 1:22:23
  Speaker 2: what's his name, Timothy Oliphant's sidekick hacker is also hacking
• 1:22:29
  Speaker 2: and they're like figuring things out. And then at this point,
• 1:22:32
  Speaker 2: too many characters, too many characters, Cliff Curtis speaking of
• 1:22:35
  Speaker 2: too many characters, Cliff Curtis, who's useful. He's could have
• 1:22:39
  Speaker 2: been a good character if there wasn't so many. He
• 1:22:42
  Speaker 2: finds out at this point that the building that they
• 1:22:45
  Speaker 2: are in is built by him, Timothy Oliphant.
• 1:22:49
  Speaker 1: Yeah, and it's like he finds out from Tim Russ,
• 1:22:52
  Speaker 1: Yeah exactly, Who's like, I'm tuva, Yeah, janeway Kill, did
• 1:22:59
  Speaker 1: you see that. I'll talk to you about it. We'll Yeah,
• 1:23:03
  Speaker 1: Janewaye did nothing wrong, dude, she just brought back two officers.
• 1:23:10
  Speaker 2: So yeah, then it's it's a lot of like now
• 1:23:13
  Speaker 2: there's like a freezing thing when there's that he's fighting
• 1:23:16
  Speaker 2: one of John McClain is fighting one of the guards
• 1:23:19
  Speaker 2: and then freezes him to death or whatever.
• 1:23:21
  Speaker 1: Like that was weird. That was a very terminator. It
• 1:23:28
  Speaker 1: was a turnator moment. It was. Yeah, like some of
• 1:23:33
  Speaker 1: the like it's less interesting to talk about the action
• 1:23:36
  Speaker 1: stuff because it all just flies by in a way
• 1:23:39
  Speaker 1: that like it's like pretty inconsequential. There's some like standout
• 1:23:43
  Speaker 1: scenes that we'll talk about, but like, like I really
• 1:23:46
  Speaker 1: like the end when they're driving those trucks and they're
• 1:23:48
  Speaker 1: the plane is chasing them. That stuff's cool. Him falling
• 1:23:52
  Speaker 1: on the plane it felt very like fucking what's it called?
• 1:23:56
  Speaker 1: It felt like uh, true lies, Yeah totally, And I
• 1:24:00
  Speaker 1: was like, this is this is cool as a reminding
• 1:24:02
  Speaker 1: of true lies.
• 1:24:03
  Speaker 2: Like but that's what I was saying about the like
• 1:24:07
  Speaker 2: a Michael Bay style of because some of it felt
• 1:24:10
  Speaker 2: very James Cameron.
• 1:24:12
  Speaker 1: Other stuff felt very Michael.
• 1:24:14
  Speaker 2: Bay and I and the Michael Bay's ship felt inconsequential.
• 1:24:18
  Speaker 1: Maybe the combination of the two just kind of cheapened
• 1:24:20
  Speaker 1: everything altogether. But but like there are there were cool scenes.
• 1:24:26
  Speaker 1: There were there when the bridge kind of collapses and
• 1:24:29
  Speaker 1: he drives up the bridge, But like it like everything
• 1:24:32
  Speaker 1: else kind of collapses around. Yeah. I like that the
• 1:24:35
  Speaker 1: truck is like falling. I don't know. That was like
• 1:24:38
  Speaker 1: that was exciting.
• 1:24:40
  Speaker 2: And when when they when he's trying to get McLean
• 1:24:44
  Speaker 2: to timically Oliphant's trying to get McClain to kind of
• 1:24:46
  Speaker 2: calm down, and he's like he hands the thing to
• 1:24:50
  Speaker 2: Lucy the lackey and she's he's he's like, talk to him,
• 1:24:55
  Speaker 2: make him stop.
• 1:24:55
  Speaker 1: And that was great.
• 1:24:58
  Speaker 2: That was like it's like more of that like cleverness, intuitiveness,
• 1:25:03
  Speaker 2: fighting whatever.
• 1:25:05
  Speaker 1: Something because then it earns her giving the like the
• 1:25:08
  Speaker 1: like kind of log lines, delivering them and also doing
• 1:25:10
  Speaker 1: the shooting the guy in the foot move which she
• 1:25:13
  Speaker 1: does later Like or what if what if she said
• 1:25:17
  Speaker 1: you be KaiA motherfighter? That would be cool? That would
• 1:25:20
  Speaker 1: be cool. Or I think she was good. I think
• 1:25:23
  Speaker 1: she was well cast. She was cast.
• 1:25:25
  Speaker 2: It was just like a badly used or like if
• 1:25:28
  Speaker 2: if we brought it back to them being siblings and
• 1:25:32
  Speaker 2: and he he like Justin Long.
• 1:25:34
  Speaker 1: Was a nerd.
• 1:25:36
  Speaker 2: If if and John he was a nerd and then
• 1:25:39
  Speaker 2: he fucking shoots the final guy he goes you be
• 1:25:42
  Speaker 2: kind of that would have been cool. That would have
• 1:25:44
  Speaker 2: been It would have been cute, it would have been sweet,
• 1:25:47
  Speaker 2: Like it would have added like a family dynamic or something.
• 1:25:50
  Speaker 1: I don't know. This just doesn't do the trick. It
• 1:25:54
  Speaker 1: just doesn't. It doesn't do it.
• 1:25:56
  Speaker 2: No, because then Justin Long gets captured and they have
• 1:25:58
  Speaker 2: like kind of a flirty moment. But there's only like
• 1:26:01
  Speaker 2: twenty minutes to the movie left, and it's like, how
• 1:26:04
  Speaker 2: is this guy gonna like fuck this this girl in
• 1:26:07
  Speaker 2: this time too?
• 1:26:10
  Speaker 1: You know, he's still a nerd, but like she wants
• 1:26:13
  Speaker 1: to go with the hot jock dude. Yeah, but like
• 1:26:16
  Speaker 1: what did you make of Like Okay, so we get
• 1:26:19
  Speaker 1: that like stallone looking guy and he's like protecting her
• 1:26:22
  Speaker 1: and like they're captured and he's like, okay, make this
• 1:26:25
  Speaker 1: like punch all the codes in, dude, press the lead please.
• 1:26:30
  Speaker 1: And and then and then like Bruce comes and he's
• 1:26:33
  Speaker 1: like hurt and like he's like taunting him.
• 1:26:36
  Speaker 2: Wait, why is he hurt? Because he did parkour with
• 1:26:40
  Speaker 2: that guy in the Steam Cold Room, which I was down.
• 1:26:43
  Speaker 1: With the parkour in this movie. Yeah, I like the
• 1:26:46
  Speaker 1: parkour and I like the like the airplane that that
• 1:26:50
  Speaker 1: was cool too. Yeah, it felt weirdly believable. I was like, Okay,
• 1:26:54
  Speaker 1: John McLean, I've seen him stand on a plane before. Yeah,
• 1:26:56
  Speaker 1: for sure, Like it felt more like a callback than
• 1:26:59
  Speaker 1: any thing. But he's hurt and then he like grabs
• 1:27:05
  Speaker 1: a gun and like shoots.
• 1:27:08
  Speaker 2: Oh he's already shot in the shoulder, and then shoots
• 1:27:11
  Speaker 2: himself through the shoulder again.
• 1:27:15
  Speaker 1: Or calling back the shoulder scar.
• 1:27:17
  Speaker 2: I think, so, yeah, giving us like a.
• 1:27:19
  Speaker 1: Redcon in world post explanation for the shoulders. I'm sure, Yeah,
• 1:27:26
  Speaker 1: that's kind of cool. It is kind of cool. But
• 1:27:29
  Speaker 1: also the the got a tattoo on it shoots himself
• 1:27:34
  Speaker 1: through the problem with the ending is that he shoots
• 1:27:40
  Speaker 1: the guy the olephone through himself. He I mean, it's
• 1:27:45
  Speaker 1: so like it's contured lung, Bruce.
• 1:27:51
  Speaker 2: It's the furthest thing from die Hard ones like Climax,
• 1:27:56
  Speaker 2: where you get that like a amazing shot of like
• 1:28:02
  Speaker 2: the fear in the eyes of Hans Gruber, like getting
• 1:28:06
  Speaker 2: let go.
• 1:28:08
  Speaker 1: But what more could you do? Like what what bigger
• 1:28:15
  Speaker 1: event could we have from a guy falling off a building.
• 1:28:17
  Speaker 1: It's the problem so like this, I understand why they
• 1:28:21
  Speaker 1: wanted to make it intimate, like he shoots himself to
• 1:28:24
  Speaker 1: shave him so it's kind of like a self sacrifice thing.
• 1:28:28
  Speaker 1: But I'm also like, yeah, but like I don't know,
• 1:28:30
  Speaker 1: I've seen this guy drop a guy off a fucking building. Yeah, totally.
• 1:28:34
  Speaker 2: And it's like it's like we get another scene that's
• 1:28:37
  Speaker 2: really weird that like tries to utilize Kevin Smith again
• 1:28:40
  Speaker 2: because he's like a cab or whatever, and he's like
• 1:28:44
  Speaker 2: he messages him on the radio because he knows the
• 1:28:48
  Speaker 2: frequency of his radio because he wants to have the
• 1:28:51
  Speaker 2: final radio when the zombie apocalypse happens.
• 1:28:54
  Speaker 1: And he calls.
• 1:28:55
  Speaker 3: Him and he's like program six six six, Yeah, I
• 1:28:58
  Speaker 3: got it. Yeah, and he's like, but my daughter has
• 1:29:02
  Speaker 3: important Kevin Smith, you have a daughter in real life?
• 1:29:06
  Speaker 1: Kevin Smith is such a father of daughters. Dude. He's
• 1:29:10
  Speaker 1: such a guy who was like I used to think
• 1:29:12
  Speaker 1: like this, but ever since I had a daughter, totally
• 1:29:15
  Speaker 1: I realized that's but that's every gen xer.
• 1:29:17
  Speaker 2: That's everyd that's and like, you know, Timothy Oliphant sends
• 1:29:23
  Speaker 2: the plane after John McLain. It's very terminator John McClain McLane. Yeah,
• 1:29:30
  Speaker 2: not John McTiernan, but John McClain. And you know, it's
• 1:29:35
  Speaker 2: like the plane is fucking destroying like this military dude.
• 1:29:40
  Speaker 2: I mean, maybe he would destroy critical infrastructure in this city,
• 1:29:44
  Speaker 2: but he's like fucking sending mixile's.
• 1:29:47
  Speaker 1: Critical infrastructure because totally critical infrastructure.
• 1:29:51
  Speaker 2: It just it makes no sense. And like this whole
• 1:29:54
  Speaker 2: last thirty minutes is like it's very terminator rather than
• 1:30:00
  Speaker 2: then and it's bad terminator, like terminator three or four.
• 1:30:05
  Speaker 1: Oh totally, dude, Can I just ask you something like
• 1:30:08
  Speaker 1: just also the fact that they pulled back from the
• 1:30:11
  Speaker 1: heroism of John MacLean because he's kind of got a
• 1:30:14
  Speaker 1: reputation still in the third one, where when like Samuel
• 1:30:18
  Speaker 1: Jackson finds out who he is, it's like, oh okay,
• 1:30:22
  Speaker 1: and like there's not as much of a reverence in
• 1:30:24
  Speaker 1: this one, Like everyone just kind of thinks he's a
• 1:30:26
  Speaker 1: fucking loser.
• 1:30:27
  Speaker 2: Which I mean, I'm down with it. Kind I'm I'm
• 1:30:30
  Speaker 2: totally down with that because of the fact that he
• 1:30:35
  Speaker 2: needs to be brought back down to something, but he's not.
• 1:30:40
  Speaker 1: He's always cool in this That's that's true. I don't know,
• 1:30:44
  Speaker 1: I just oh shit, oh my god, what a chain
• 1:30:49
  Speaker 1: of events. Yeah, oh jeez, okay, we're good.
• 1:30:53
  Speaker 2: Okay, So yeah, anti climactic wasn't with the climax.
• 1:31:03
  Speaker 1: Disappointing. How do you feel about it overall? Disappointing? Like
• 1:31:06
  Speaker 1: I am. I'm disappointed because like I can't help but
• 1:31:11
  Speaker 1: notice the potential.
• 1:31:13
  Speaker 2: That's the big thing for me. That's what brings my disappointment.
• 1:31:16
  Speaker 2: My my raw deal is the raw dealing with the
• 1:31:24
  Speaker 2: kind of potentiality of the movie. But my red heat
• 1:31:28
  Speaker 2: was that I enjoyed it more than I enjoyed it
• 1:31:30
  Speaker 2: the first time.
• 1:31:31
  Speaker 1: Yeah, it's definitely a red heat in the sense that
• 1:31:34
  Speaker 1: it's not as bad as everyone remembers it being. It's
• 1:31:37
  Speaker 1: just not good enough. Yeah, I think that everyone was
• 1:31:42
  Speaker 1: too mad at this movie.
• 1:31:43
  Speaker 2: We're really harsh. There were toxic fandoms at this movie.
• 1:31:46
  Speaker 1: I agree. It's like kind of like what Indiana Jones got,
• 1:31:49
  Speaker 1: and I don't agree with it for Crystal Skull, and
• 1:31:51
  Speaker 1: I don't agree with it for this one. It doesn't
• 1:31:53
  Speaker 1: deserve the vitriol. It's just like things are allowed to
• 1:31:57
  Speaker 1: be mid you know what I mean, And like it's
• 1:31:59
  Speaker 1: okay sometimes to get a mid thing because it's like
• 1:32:01
  Speaker 1: you can just treat it less seriously.
• 1:32:04
  Speaker 2: That's the thing, and that's my big problem with the
• 1:32:07
  Speaker 2: conversation around wokeness and Disney movies is that it creates
• 1:32:12
  Speaker 2: this fantasy world of movies that are way worse than
• 1:32:17
  Speaker 2: they actually are, because none of the big problem with
• 1:32:20
  Speaker 2: Marvel isn't that it's woke, it's that the conversation.
• 1:32:24
  Speaker 1: That conversation serves those that company so well, That conversation
• 1:32:29
  Speaker 1: serves that company so well, and they use it in
• 1:32:31
  Speaker 1: such a nihilistic way, and it completely like the way
• 1:32:35
  Speaker 1: that that everyone knows this, everyone knows that, like the
• 1:32:39
  Speaker 1: way that identity is used to try the tooth with
• 1:32:43
  Speaker 1: these like corporations that are just bottom line focused. If
• 1:32:48
  Speaker 1: racismone get the money, they would in a heartbeat if
• 1:32:52
  Speaker 1: like the cultural wind was like strong enough to push
• 1:32:56
  Speaker 1: them in any other direction, going mindlessly, going diction and
• 1:33:01
  Speaker 1: they do. They try, and they try and dolly parton
• 1:33:04
  Speaker 1: things where like they're like, it's still the thing you remember,
• 1:33:08
  Speaker 1: wish I could be part of that, And it's like
• 1:33:13
  Speaker 1: it's there, the song is there. It's fucking there. Yeah,
• 1:33:17
  Speaker 1: it's but it's also something different. Yeah, And it's just
• 1:33:21
  Speaker 1: like guys, like everyone sees right through this, everyone feels
• 1:33:27
  Speaker 1: right through.
• 1:33:28
  Speaker 2: Well, that's the thing. People do see through it, but
• 1:33:31
  Speaker 2: they see what they want to see and want what
• 1:33:33
  Speaker 2: they want to blame.
• 1:33:33
  Speaker 1: And you know what it and honestly like that can
• 1:33:36
  Speaker 1: also exist completely separately from it. For sure means a
• 1:33:40
  Speaker 1: lot for for black kids to see themselves represented on
• 1:33:44
  Speaker 1: a TV, roles represented on TV. That can exist. Like
• 1:33:48
  Speaker 1: on the side with that, it's just unfortunate that we
• 1:33:51
  Speaker 1: live in such a tragically nihilistic consumer culture that like
• 1:33:56
  Speaker 1: only values that kind of thing, you know, and only
• 1:33:58
  Speaker 1: values like it's like, well, it's just hold on, you
• 1:34:01
  Speaker 1: know what.
• 1:34:01
  Speaker 2: Though it's for them to watch and look back on
• 1:34:07
  Speaker 2: and be like that was actually not that great.
• 1:34:09
  Speaker 1: But I have a lot of this.
• 1:34:10
  Speaker 2: We watched a ton of shit that was one of
• 1:34:12
  Speaker 2: mediocre and and like when people honestly, when people look
• 1:34:16
  Speaker 2: back at watch shit, like they're like, yeah, dude, there
• 1:34:20
  Speaker 2: was I got into a Twitter argument with some guy
• 1:34:22
  Speaker 2: who was like who kept trying to be like like, well,
• 1:34:26
  Speaker 2: movies back then, movies back then. It's like, bro, you
• 1:34:28
  Speaker 2: don't remember the bad movies, or you remember some of
• 1:34:32
  Speaker 2: them and they're not good and you have nostalgia for them.
• 1:34:35
  Speaker 1: Let people have that too. And also also boomers were
• 1:34:38
  Speaker 1: saying the same things about movies when they started to
• 1:34:40
  Speaker 1: notice them change. Yeah, and like everybody has like this
• 1:34:43
  Speaker 1: like weird reaction to like something that they think is
• 1:34:48
  Speaker 1: like you know, like it's just it's yeah, like the
• 1:34:52
  Speaker 1: conversation about like it the conversation about identity. And actually,
• 1:34:57
  Speaker 1: like when you look at movies in the nineties, there
• 1:34:59
  Speaker 1: were a lot of extremely diverse casting. Of course it
• 1:35:03
  Speaker 1: had they had their own problems with like kind of
• 1:35:06
  Speaker 1: myopic writing that like didn't really know how to explore
• 1:35:09
  Speaker 1: certain like other kind of cultures or viewpoints or identities.
• 1:35:14
  Speaker 1: Like it was always a lot of like white man
• 1:35:17
  Speaker 1: kind of like shit, and like that's what like the
• 1:35:22
  Speaker 1: diversification needs to be a diversity of like viewpoints and
• 1:35:26
  Speaker 1: kind of like I hesitate to say it because it's
• 1:35:29
  Speaker 1: also something that these people have co opted and that's
• 1:35:32
  Speaker 1: like authenticity and authentic storytelling. And I see them also
• 1:35:37
  Speaker 1: taking that phrase and like being like even the concept
• 1:35:40
  Speaker 1: of like authenticity story and it's like, man, like leave
• 1:35:44
  Speaker 1: authenticity alone.
• 1:35:45
  Speaker 2: Like I was actually really I was listening to talking
• 1:35:49
  Speaker 2: about dude. I was this is different, this is a
• 1:35:53
  Speaker 2: different thing. Dude, I was listening to on a Croatian channel,
• 1:35:56
  Speaker 2: and it.
• 1:35:59
  Speaker 1: Was it was so weird because of like it was
• 1:36:02
  Speaker 1: so Weird's like, it's because because you see and you
• 1:36:05
  Speaker 1: hear some of the ways he wants to express himself
• 1:36:08
  Speaker 1: so much so much it was due it's amazing because
• 1:36:16
  Speaker 1: it's not like getting off on so many tangents. It's like, oh,
• 1:36:23
  Speaker 1: it makes more sense. But it was hilarious.
• 1:36:30
  Speaker 2: It was also so funny because there was a confidence
• 1:36:33
  Speaker 2: that wasn't like yeah, yeah, yeah, it's it's so funny anyway.
• 1:36:42
  Speaker 2: But the reason he he was talking about I don't
• 1:36:47
  Speaker 2: believe in authenticity, like where it was like I know
• 1:36:52
  Speaker 2: the sort of but but I know what you mean.
• 1:36:54
  Speaker 2: It's that sort of dead eyed authenticity where you're telling
• 1:36:57
  Speaker 2: the truth about something, but it's like you're using it
• 1:37:00
  Speaker 2: to manipulate people.
• 1:37:02
  Speaker 1: Yeah, well it's I do think that a lot of
• 1:37:05
  Speaker 1: these viewpoints are kind of symptomatic of capitalism in a way.
• 1:37:09
  Speaker 1: And hear me out like, I think that they're trying
• 1:37:12
  Speaker 1: to like kind of give us these pre made ideals,
• 1:37:17
  Speaker 1: Like the movie is really serving us a kind of
• 1:37:20
  Speaker 1: like ideology, and like it seems like at this point
• 1:37:23
  Speaker 1: in history, it's like, well, we're admitting that most of
• 1:37:26
  Speaker 1: what we have to offer is kind of like this idea,
• 1:37:30
  Speaker 1: so like just which I just buy into this idea
• 1:37:33
  Speaker 1: that like you can do it yourself. You know, someone
• 1:37:38
  Speaker 1: may attack you and may attack the state, but like
• 1:37:41
  Speaker 1: ultimately like we've got you. And like it's like there's
• 1:37:44
  Speaker 1: this viewpoint of like the hegemony and the kind of
• 1:37:47
  Speaker 1: like it's like an almost like an anti revolutionary like
• 1:37:52
  Speaker 1: a viewpoint. It's like don't try and like change what
• 1:37:56
  Speaker 1: is here. We we're you know, like cause like Timothy
• 1:38:00
  Speaker 1: Dafon's character is like you know, I was showing them
• 1:38:02
  Speaker 1: the cracks and the blah blah blah, and like we
• 1:38:04
  Speaker 1: can say what we want about his like weird you know,
• 1:38:08
  Speaker 1: libertarianism and like this kind of like not really wanting
• 1:38:13
  Speaker 1: to double down on the like conviction of a of
• 1:38:17
  Speaker 1: an Ed Harris in the raw, Yeah you know what
• 1:38:20
  Speaker 1: I mean, but like kind of so like that, say
• 1:38:22
  Speaker 1: what you want about that. But they're they're almost humiliating
• 1:38:26
  Speaker 1: that viewpoint. I understand Ed Harris more because he's kind
• 1:38:30
  Speaker 1: of like he's dogmatic. Well yeah, he's ideology. He's ideologic exactly,
• 1:38:37
  Speaker 1: and this is way more dead eyed. It's way more
• 1:38:41
  Speaker 1: the thing that wins is also not like neither viewpoint
• 1:38:45
  Speaker 1: is really offering me any kind of like world utopia
• 1:38:51
  Speaker 1: of the world that I care to like participate in.
• 1:38:53
  Speaker 1: And I don't know that it's necessarily wanting to, but
• 1:38:56
  Speaker 1: it definitely does have like it does have a political
• 1:39:01
  Speaker 1: a stance, you know.
• 1:39:02
  Speaker 2: Yeah, it feels like the same kind of political stance
• 1:39:07
  Speaker 2: that bothers me about The Dark Knight, where it's the
• 1:39:12
  Speaker 2: Bush era trying to spy on everybody, but I'm doing
• 1:39:15
  Speaker 2: it for moral reasons, That's fine, but like trying to
• 1:39:20
  Speaker 2: make Batman that guy and be like, I'm actually leaving
• 1:39:26
  Speaker 2: the thing to Lucius Fox because he's more responsible than
• 1:39:29
  Speaker 2: I am. It's like that kind of wishy washiness not
• 1:39:36
  Speaker 2: you know, staking a place in that is like a
• 1:39:39
  Speaker 2: little bit of a wooss move. And this movie doesn't
• 1:39:44
  Speaker 2: want to take a stance. It doesn't want to be
• 1:39:47
  Speaker 2: raw raw America, but it also wants to be We're
• 1:39:53
  Speaker 2: patriotic because of this. But John McLain doesn't fit in
• 1:39:57
  Speaker 2: that world, and they didn't play with that enough where
• 1:39:59
  Speaker 2: he does and fit in that world anymore well.
• 1:40:02
  Speaker 1: And they kind of have almost like the side story
• 1:40:04
  Speaker 1: of like the NSA coming in and trying to figure out.
• 1:40:07
  Speaker 2: Like something that they could have used. And that's why
• 1:40:10
  Speaker 2: I bring up the assage thing and the Snowman thing.
• 1:40:15
  Speaker 1: They could have like included like more intell It could
• 1:40:18
  Speaker 1: have been more intelligently written, Yeah, for sure, And so
• 1:40:22
  Speaker 1: like there's a lot of missed opportunities. But I do
• 1:40:24
  Speaker 1: like I've recently watched all of the Hunger Games and
• 1:40:28
  Speaker 1: I want to watch the new one. I'm excited to
• 1:40:30
  Speaker 1: see the new one, but like that movie. Also like
• 1:40:33
  Speaker 1: the movie. The first movie is amazing.
• 1:40:35
  Speaker 2: Yeah you told me about that. I've still never seen it.
• 1:40:37
  Speaker 1: You've never seen it? No, Oh, okay, okay, I've really
• 1:40:40
  Speaker 1: I'd love to. We should watch it. Yeah, we should
• 1:40:42
  Speaker 1: talk about it. I want to. I want to pose
• 1:40:43
  Speaker 1: something to you before you go into it. And I
• 1:40:47
  Speaker 1: feel like the movie the series ultimately up to what
• 1:40:51
  Speaker 1: I've seen, because the new one's a prequel, but like
• 1:40:55
  Speaker 1: it ultimately has kind of an anti revolutionary stance. Interesting,
• 1:40:59
  Speaker 1: and I would be interested to know what you think
• 1:41:02
  Speaker 1: and to know what you think the movie is trying
• 1:41:06
  Speaker 1: to say to us about revolution because it wants to
• 1:41:09
  Speaker 1: use the bravery of revolution and it wants to use
• 1:41:13
  Speaker 1: the like radicalness of revolution, but it also wants to
• 1:41:17
  Speaker 1: kind of deflate it at the same time, well.
• 1:41:19
  Speaker 2: It depends on like, like in terms of revolution in
• 1:41:24
  Speaker 2: general as sort of a neutral term.
• 1:41:28
  Speaker 1: Like it's.
• 1:41:32
  Speaker 2: It's a thing of like where do you stand on
• 1:41:35
  Speaker 2: like some revolution means right and what like what people,
• 1:41:39
  Speaker 2: because there are certain revolutions that you're like, oh no,
• 1:41:42
  Speaker 2: I don't I don't think I want that.
• 1:41:44
  Speaker 7: You know what I mean?
• 1:41:44
  Speaker 2: And then there are other revolutions that are like, you know,
• 1:41:47
  Speaker 2: it depends on what you like, what overarching revolution you mean,
• 1:41:52
  Speaker 2: but like you know, things like abolishing slavery as revolution
• 1:41:56
  Speaker 2: that's a good thing, or or further into American history,
• 1:42:01
  Speaker 2: a yeah, things like that. Those are the things. But
• 1:42:05
  Speaker 2: then there are other things that.
• 1:42:06
  Speaker 1: Are just like revolution can be like totally totally awful
• 1:42:10
  Speaker 1: and bring horrible things, especially like when information is like
• 1:42:14
  Speaker 1: so malleable and like truth is malleable. But like I
• 1:42:19
  Speaker 1: what I want to say though, is I I just
• 1:42:24
  Speaker 1: also have been watching this BBC documentary series about the
• 1:42:33
  Speaker 1: Northern Ireland conflict and it's been really interesting the troubles, Yeah,
• 1:42:38
  Speaker 1: and it's been really interesting watching that and getting both
• 1:42:43
  Speaker 1: perspectives in a very raw way, Like it's like people
• 1:42:46
  Speaker 1: who are straight up in both paramilitary armies, and I
• 1:42:50
  Speaker 1: don't know how much.
• 1:42:51
  Speaker 2: No, I don't know anything about it.
• 1:42:52
  Speaker 1: So like basically in short, because it's a long history.
• 1:42:57
  Speaker 1: But but it's interesting just looking at it through like
• 1:43:00
  Speaker 1: kind of this lens. And I'll tie it back to this,
• 1:43:01
  Speaker 1: I promise. But in Northern Ireland it's basically a divide
• 1:43:10
  Speaker 1: in a lot of places between the Loyalists, the people
• 1:43:14
  Speaker 1: who are loyal to the British crown, and then the Republicans,
• 1:43:19
  Speaker 1: the people who are loyal to Ireland and want a
• 1:43:22
  Speaker 1: reunified Ireland, right, And and it's the difference is seen
• 1:43:27
  Speaker 1: between in religion between Protestantism, which the Loyalists are, and Catholics,
• 1:43:32
  Speaker 1: which the Republicans are. And and if this isn't Republicans
• 1:43:38
  Speaker 1: in America and it's the Republic of Ireland. There was
• 1:43:41
  Speaker 1: like the IRA which was literally just militias of young kids, dude,
• 1:43:49
  Speaker 1: of literally literally young kids who like don't have like
• 1:43:53
  Speaker 1: their prefrontal cortex developed. They've grown up in like a
• 1:43:58
  Speaker 1: divided society and they're like extremely like at all times
• 1:44:05
  Speaker 1: traumatized and in a trauma response, like triggered completely and
• 1:44:09
  Speaker 1: so like they're like doing insane things and you don't
• 1:44:12
  Speaker 1: ask questions, like you were just told what to do.
• 1:44:16
  Speaker 1: And then because so many killings were happening, the Loyalists
• 1:44:21
  Speaker 1: created their own paramilitary militia to protect themselves, and they
• 1:44:25
  Speaker 1: also did insane things. And then they were like basically
• 1:44:30
  Speaker 1: like killing each other and it was like two for two,
• 1:44:32
  Speaker 1: like they like, if two of ours died, we would
• 1:44:34
  Speaker 1: kill two of theirs automatically. And like they're talking to
• 1:44:37
  Speaker 1: like former people who are like they're like, I don't
• 1:44:39
  Speaker 1: I don't know why. I like, I can't tell you.
• 1:44:42
  Speaker 1: They look back at old footage of themselves. It's it's
• 1:44:46
  Speaker 1: incredibly Like it's incredible yea, like actually confronting people on
• 1:44:50
  Speaker 1: what they did and they're like, I don't know. At
• 1:44:53
  Speaker 1: the time, it was that was all that mattered. Yeah,
• 1:44:56
  Speaker 1: Like I was a kid and I had no idea,
• 1:44:58
  Speaker 1: and like I feel bad that I did those things.
• 1:45:01
  Speaker 1: Like I'm like, I'm sad that I killed those people,
• 1:45:04
  Speaker 1: but like I just like did it, and like and
• 1:45:07
  Speaker 1: then like zooming out to like other world conflicts that
• 1:45:09
  Speaker 1: we won't get into. But like it's like that kind
• 1:45:13
  Speaker 1: of trauma, Like begets that kind of trauma, right, It's
• 1:45:16
  Speaker 1: like yeah, and so like you have people believing things
• 1:45:21
  Speaker 1: and thinking things from a perspective that's like, well, the
• 1:45:25
  Speaker 1: super intense and charged and not like rational.
• 1:45:28
  Speaker 2: Well, the complexity comes from the fact that you can
• 1:45:31
  Speaker 2: you say the trauma comes from the trauma and and
• 1:45:32
  Speaker 2: to somebody where you're right, but at the same time,
• 1:45:35
  Speaker 2: sometimes you're wrong. Sometimes it doesn't. Sometimes people are traumatized
• 1:45:38
  Speaker 2: and they don't do those things.
• 1:45:40
  Speaker 1: That's what's complex thing it comes from. No, that's absolutely
• 1:45:43
  Speaker 1: where you're just like, fuck, dude, like how do we
• 1:45:45
  Speaker 1: deal with these people? You can I tell you an
• 1:45:47
  Speaker 1: anecdote about that. So the great thing about this documentary
• 1:45:52
  Speaker 1: about the troubles in Northern Ireland is is that it
• 1:45:55
  Speaker 1: actually does like show moments of that. It's like these
• 1:45:58
  Speaker 1: soldiers to they come to Dairy, they come to Dairy,
• 1:46:03
  Speaker 1: which is like it's the divided town. So the Republicans
• 1:46:07
  Speaker 1: or sorry, the the Irish, the Catholics they call it,
• 1:46:12
  Speaker 1: they call it Dairy and the Protestants call it Londonderry.
• 1:46:16
  Speaker 1: So they want to like be close to the Queen.
• 1:46:18
  Speaker 1: They're way more patriotic than any Brits are. They like
• 1:46:23
  Speaker 1: they stand for the Queen. They like they're the joke
• 1:46:25
  Speaker 1: goes the way that you know it's a it's a
• 1:46:28
  Speaker 1: Protestant family is if they have a photo of the
• 1:46:30
  Speaker 1: Queen of the war, because they will. And so it
• 1:46:34
  Speaker 1: was interesting seeing that perspective and then seeing like they
• 1:46:40
  Speaker 1: sent all these soldiers, these British soldiers when the troubles
• 1:46:44
  Speaker 1: were starting, they sent them to dairy and like all
• 1:46:47
  Speaker 1: the like ladies, like the Catholic ladies, they like were like, oh,
• 1:46:52
  Speaker 1: like let's let's give them food. Let's give them food.
• 1:46:55
  Speaker 1: They're they're they're here, they're here. They didn't understand that
• 1:46:58
  Speaker 1: they were there to like police them. They didn't understand that.
• 1:47:02
  Speaker 1: So like there was this real like kind of sad,
• 1:47:05
  Speaker 1: confused moment of tenderness where like the entire town like
• 1:47:09
  Speaker 1: got together and was like bringing them food, and they
• 1:47:11
  Speaker 1: gave them so much food. They were like they had
• 1:47:14
  Speaker 1: like they were so full from like everybody feeding them.
• 1:47:17
  Speaker 1: They were like I would turn around and like somebody
• 1:47:19
  Speaker 1: else would be trying to give me more food. And
• 1:47:21
  Speaker 1: like it's such a like a beautiful story of like
• 1:47:24
  Speaker 1: people they want to be connected and they don't understand
• 1:47:28
  Speaker 1: why they're being pitted against each other. And they don't understand,
• 1:47:31
  Speaker 1: you know, what I mean, like they don't understand the
• 1:47:33
  Speaker 1: systems of oppression that are in place.
• 1:47:35
  Speaker 2: But that's the thing too, is that that taking those
• 1:47:39
  Speaker 2: things apart of like, oh, like they want to be connected.
• 1:47:44
  Speaker 2: You're right, they do, but they also want to do
• 1:47:47
  Speaker 2: the other thing. They do astic too, And that's why
• 1:47:50
  Speaker 2: that's why I really loved Wait, bring it back to
• 1:47:54
  Speaker 2: the thing because so.
• 1:47:55
  Speaker 1: They're they're tribalistic too, and the movie does the the
• 1:47:59
  Speaker 1: documentary does all so deal with that. No, bring it
• 1:48:02
  Speaker 1: back to well, I'll bring it back like because I
• 1:48:04
  Speaker 1: think that like this movie doesn't want to imagine that
• 1:48:11
  Speaker 1: the sides can kind of like come together like people
• 1:48:14
  Speaker 1: did in Northern Ireland, like people really like there was
• 1:48:17
  Speaker 1: a lot of like forgiveness that happened. There was a
• 1:48:19
  Speaker 1: lot of like and I think that the movie ultimately
• 1:48:24
  Speaker 1: takes a viewpoint that's like, no, we're staying in charge
• 1:48:29
  Speaker 1: and Papa's got to be in charge, like the big
• 1:48:32
  Speaker 1: force has to be in charge. It's it feels ultimately
• 1:48:35
  Speaker 1: like very like woah, yeah, deflate.
• 1:48:40
  Speaker 2: It's it is not just based on like a kind
• 1:48:44
  Speaker 2: of villain that doesn't have an imposing quality and can't
• 1:48:49
  Speaker 2: be a big, bad because Maggie Cue is the big
• 1:48:53
  Speaker 2: bad and she just gets killed and then it's like, oh, well, then.
• 1:48:57
  Speaker 1: You see, isn't going to pose any kind of threat,
• 1:49:00
  Speaker 1: which I like.
• 1:49:01
  Speaker 2: I like the shooting through the arm. I think that's
• 1:49:03
  Speaker 2: a cool It could have been done in an interesting way.
• 1:49:05
  Speaker 2: But again, there feels like.
• 1:49:06
  Speaker 1: There's no steaks. There's no snakes.
• 1:49:09
  Speaker 2: And when it comes to stakes that exist in movies,
• 1:49:15
  Speaker 2: even movies that I disagree with ideologically, as long as
• 1:49:18
  Speaker 2: the stakes are there, it doesn't matter.
• 1:49:21
  Speaker 1: I agree with you completely because then you can have
• 1:49:23
  Speaker 1: like a holistic reading of exactly and you can kind
• 1:49:26
  Speaker 1: of whereas this movie it's trying to present you with
• 1:49:29
  Speaker 1: some kind of ideo ideological thing, but it's confused itself.
• 1:49:33
  Speaker 2: As to what that totally confused itself.
• 1:49:35
  Speaker 1: And that's why I feel like it's anti revolutionary, because
• 1:49:38
  Speaker 1: there is this element of like, it's interesting that Timothy
• 1:49:42
  Speaker 1: Olafont is unhappy with the way that think, you know
• 1:49:45
  Speaker 1: what I mean, Like, there's something that could be mind there,
• 1:49:47
  Speaker 1: but it just doesn't really give us anything.
• 1:49:50
  Speaker 2: No, but we can give it a rating, which I'm
• 1:49:53
  Speaker 2: going to give it a six.
• 1:49:55
  Speaker 1: I would give it a six too because of the watchability.
• 1:49:58
  Speaker 2: Super watchable. Plane is good to see. All the actors
• 1:50:02
  Speaker 2: are good to see and all.
• 1:50:03
  Speaker 1: The things, and four marks off for all of the
• 1:50:06
  Speaker 1: things that we said. Yeah, it's both somehow a raw
• 1:50:10
  Speaker 1: deal and and.
• 1:50:11
  Speaker 2: I'm gonna say six for plan Yeah.
• 1:50:16
  Speaker 1: Bruce's yeah, yeah, because because he's he doesn't you know
• 1:50:22
  Speaker 1: what I'll say this, He's doing a lot of heavy lifting.
• 1:50:25
  Speaker 1: He makes the movie better. But because he makes the
• 1:50:28
  Speaker 1: movie better, he gets less.
• 1:50:29
  Speaker 2: Yeah, it's it's he's doing a lot less. He doesn't
• 1:50:32
  Speaker 2: feel like he's improvising. He doesn't feel like.
• 1:50:36
  Speaker 1: There's no spontaneaty.
• 1:50:37
  Speaker 2: There's no spot exactly. That's what it is. It's not
• 1:50:40
  Speaker 2: not even improv it's spawn. It doesn't feel spontaneous, it
• 1:50:45
  Speaker 2: doesn't feel he feels like he's tired of the role. Yeah,
• 1:50:49
  Speaker 2: it feels very tired. Justin long was pretty good. Didn't
• 1:50:55
  Speaker 2: get enough to do, Nobody got enough to do in
• 1:50:58
  Speaker 2: this and somehow it's it still feels bloated somehow.
• 1:51:02
  Speaker 1: Yeah, you know, follow us ad there's more presents on
• 1:51:07
  Speaker 1: Instagram at more Thirsty on Twitter, and guys, please join
• 1:51:11
  Speaker 1: the Patreon where we discuss a lot more and we
• 1:51:15
  Speaker 1: have like cool collections like the S. Craigsolar season where
• 1:51:18
  Speaker 1: we talk about right wing cinema. We have which we're
• 1:51:22
  Speaker 1: going to do the newest episode of soon with Ks
• 1:51:24
  Speaker 1: vanderst And then we also have like like you can
• 1:51:29
  Speaker 1: listen to the Samuel L. Jackson season, like Isolated with
• 1:51:32
  Speaker 1: all the Samuel episodes.
• 1:51:34
  Speaker 2: Nightmarre and Elmas three, the franchise, which is a great series.
• 1:51:41
  Speaker 2: One of the best series is I would.
• 1:51:42
  Speaker 1: Say Prometheus, most famous episode, the best one.
• 1:51:47
  Speaker 2: Anyway, great review and subscribe, please please please.
• 1:51:50
  Speaker 1: Tell you about it. We want to try and push
• 1:51:52
  Speaker 1: the show a bit more and like you know, like
• 1:51:55
  Speaker 1: we we we love the content that that we bring
• 1:51:58
  Speaker 1: you guys, and we don't want to stop doing it.
• 1:51:59
  Speaker 1: We loved talking about this every week, you know, like
• 1:52:03
  Speaker 1: I know a lot of people have been enjoying Bruce.
• 1:52:06
  Speaker 1: I'm glad that it's coming to an end. It feels
• 1:52:08
  Speaker 1: right that it's coming to an end. And you know,
• 1:52:11
  Speaker 1: like you all should be listening to us because you
• 1:52:13
  Speaker 1: should be thirsty for more. See you next week.
• 1:52:19
  Speaker 8: M hm m hmmm.