Latest / The Kulturecast / Kulture Meltdown: Primetime (2026) — "You see how this looks, right?"

Transcript

Kulture Meltdown: Primetime (2026) — "You see how this looks, right?" · The Kulturecast

0:45
Speaker 1: Come on in.
0:46
Speaker 2: I made cookies. You sure your parents aren't home? Who
0:49
Speaker 2: are you? I'm Chris Hansen and we're doing a story
0:52
Speaker 2: on adults who try to meet teens online. Don't you
0:55
Speaker 2: ever just want to bleed them? Maybe what I do
0:58
Speaker 2: is a little worse. We're not going to get to
1:01
Speaker 2: number one without the absolute worst. Let's catch us a predator.
1:05
Speaker 2: No definition of bad.
1:14
Speaker 3: Hello everyone and welcome to yet another crossover between the
1:19
Speaker 3: culture cast and movie meltdown i am one of your
1:21
Speaker 3: hosts of the i am one of your hosts and
1:24
Speaker 3: the host of the culture cast chris dashu and i
1:26
Speaker 3: am joined by the host of movie meltdown brian renfro
1:30
Speaker 3: hello hey brian wouldn't you do me a favor and
1:33
Speaker 3: take a seat uh no no that's okay i'll just
1:35
Speaker 3: stand over here you want to tell me what you're
1:37
Speaker 3: doing here brian I just heard there were cookies.
1:40
Speaker 2: Just here for cookies.
1:42
Speaker 3: Brian, it appears that you've been caught in a sting by...
1:47
Speaker 3: Not the first time.
1:50
Speaker 2: Good Lord.
1:50
Speaker 3: On this episode of the, as Brian so lovingly referred
1:55
Speaker 3: to it, the Culture Meltdown, we are going to be
1:57
Speaker 3: taking a look at a new film that came out
2:00
Speaker 3: last Friday that is based on something that existed, well...
2:05
Speaker 3: in the mid, I guess, late 2000s, that I had
2:10
Speaker 3: the benefit of watching when it was on TV, like
2:12
Speaker 3: so many other people may have, or other people caught
2:15
Speaker 3: it after the fact. We're going to be talking about
2:17
Speaker 3: 2026's Primetime, which is a film... based on the film,
2:22
Speaker 3: or I guess the show, To Catch a Predator. So
2:25
Speaker 3: the film is directed by Lance Oppenheim on a script
2:29
Speaker 3: by A. John Singh. It is based on Tonight on Dateline,
2:32
Speaker 3: This Man Will Die, which is an article in Esquire
2:35
Speaker 3: by Luke Dietrich. And the film stars Robert Pattinson as
2:38
Speaker 3: Chris Hansen. the host of To Catch a Predator. It
2:40
Speaker 3: also stars, get this, Phoebe Bridgers, Skylar Gazzando, and Merritt Weaver,
2:46
Speaker 3: a bunch of other people as well. Alex Winter, who
2:49
Speaker 3: I talked to many moons ago, also shows up as
2:52
Speaker 3: a pedophile, which is just not a thing I had
2:55
Speaker 3: on my bingo card this year. Bokeem Woodbine's there, and
2:58
Speaker 3: Anna Faris as well. It is a film that has
3:01
Speaker 3: more in common with Zodiac than it does To Catch
3:05
Speaker 3: a Predator. It is a film about the spectacle and
3:07
Speaker 3: whether or not the spectacle is worth it in the end,
3:10
Speaker 3: or do we, in fact, become the spectacle we are
3:14
Speaker 3: so much trying to avoid? So, Brian, I am very curious.
3:18
Speaker 3: What did you think about 2026's primetime? We will be
3:22
Speaker 3: spoiling the film eventually. but maybe not immediately. So spoiler
3:26
Speaker 3: free about a thing that happened in real life 20
3:29
Speaker 3: years ago. What did you think about prime time, Brian?
3:32
Speaker 2: I mean, other than the last, like, 20 minutes or so.
3:35
Speaker 2: I'm not sure exactly how much you can spoil. Like
3:37
Speaker 2: the rest of it is just a scenario that kind
3:40
Speaker 2: of keeps happening and a life that goes on and
3:43
Speaker 2: is weird and questionable. But other than that, yeah, there's
3:46
Speaker 2: not a whole lot of spoilers really, but it's hard
3:49
Speaker 2: to tell how much of this is real to begin with.
3:51
Speaker 3: So spoiling fiction is just, I mean, again, like, yeah, I, yeah,
3:56
Speaker 3: it's the sport.
3:56
Speaker 2: Yeah.
3:57
Speaker 3: If you think there's going to be spoilers for this movie,
3:59
Speaker 3: it's probably not the movie for you to begin with.
4:03
Speaker 2: It's probably not the movie you're thinking it is. Well,
4:08
Speaker 2: my initial take on it, and this was weird because
4:11
Speaker 2: it was after I saw it, but before I started
4:14
Speaker 2: kind of even looking at any of the details of it.
4:17
Speaker 2: And then once I found out how I felt about it,
4:21
Speaker 2: I dug into it a little bit and just found out, well,
4:24
Speaker 2: it's weird because my take on it matches one other person's,
4:28
Speaker 2: Chris Hansen. Because as I got into the minor amount
4:34
Speaker 2: of digging into this, I did. There is a section
4:36
Speaker 2: that came out that is Chris Hansen talking about the
4:39
Speaker 2: movie after he's seen it. And he described it as
4:44
Speaker 2: detached from reality. And though he acknowledged that he is
4:47
Speaker 2: biased due to being the subject of the film, he said,
4:50
Speaker 2: according to Hansen, he wasn't sure what the point of
4:53
Speaker 2: it was. And that's kind of where I landed from
4:56
Speaker 2: the get-go. because I'm watching it and everything about it
5:01
Speaker 2: is top notch, like as a movie, like it is
5:05
Speaker 2: shot amazing. Performances are great. Like everything is just big
5:10
Speaker 2: budget head to the movies. This is what you want
5:12
Speaker 2: to see. But then once you get into the story
5:15
Speaker 2: and our characterization, more or less, I'm just like, By
5:18
Speaker 2: the end, I'm just like, what? What are we doing?
5:21
Speaker 2: I'm just kind of like, I'm not sure what we're
5:24
Speaker 2: supposed to take from this. So I feel like that's
5:26
Speaker 2: where we're going to have to dig into this. We
5:28
Speaker 2: can hit specific points here and there along the way,
5:30
Speaker 2: but I feel like the bigger questions are more of
5:33
Speaker 2: what we have to sort of tackle on this thing.
5:35
Speaker 2: And I don't know that we're really going to, but
5:37
Speaker 2: that was my main take is what are we doing here?
5:40
Speaker 3: Well, and I wanted to ask you kind of before
5:43
Speaker 3: I give my answer, because I think this is also
5:45
Speaker 3: the part of the question that's important to answer. What
5:48
Speaker 3: is your exposure to To Catch a Predator, to the
5:51
Speaker 3: original show, to the reality TV series, which is, I guess,
5:55
Speaker 3: the best show? explanation for what it would be called?
5:58
Speaker 3: What is your exposure to it? Because I have a
6:00
Speaker 3: very different exposure than you do, I'm assuming, but I
6:04
Speaker 3: think that also might factor into what the expectations are
6:07
Speaker 3: from watching this film.
6:09
Speaker 2: Mine is very minimal. I think I heard about it
6:13
Speaker 2: when it came out. I probably saw ads for it.
6:16
Speaker 2: I've seen clips here and there. I knew it way
6:19
Speaker 2: more in the geek world as a joke that you
6:21
Speaker 2: could always work in a version of the alien versus
6:24
Speaker 2: predator predator. And then this this weird guy would come
6:27
Speaker 2: and sit down and talk to him. And like so
6:29
Speaker 2: that joke became probably more, you know, of what I
6:33
Speaker 2: thought of over the years than the actual show itself.
6:36
Speaker 2: because I definitely did not sit down and make it
6:39
Speaker 2: appointment television to watch it. I just knew of it.
6:42
Speaker 2: I saw bits and pieces of it, but never really
6:44
Speaker 2: paid that much attention to it.
6:46
Speaker 3: I feel like, and so this was a thing I
6:49
Speaker 3: had wanted to do earlier in the year, and it
6:51
Speaker 3: might still happen. I had wanted to cover To Catch
6:53
Speaker 3: a Predator, the TV series. I wanted to cover the
6:58
Speaker 3: original run of the show, and then there was a
7:00
Speaker 3: subsequent Hanson milking his fame is what it ends up being.
7:05
Speaker 3: I mean, it's kind of what it ends up being.
7:06
Speaker 2: As he continues to do.
7:07
Speaker 3: As he kind of continues to do in his, and
7:09
Speaker 3: you know, I think the film has done nothing but
7:11
Speaker 3: keep him in the public kind of conversation far much,
7:15
Speaker 3: much so than he might have ever anticipated, thought, or
7:18
Speaker 3: prepared himself for. I guess, you know, as someone who
7:21
Speaker 3: is a, would you say, I think a phrase that
7:25
Speaker 3: is weird to say is a fan of To Catch
7:27
Speaker 3: a Predator, but I find To Catch a Predator interesting
7:30
Speaker 3: because it is a show that the show itself is
7:33
Speaker 3: weird because it is it is it is effectively entrapment.
7:38
Speaker 3: And I'm not defending pedophiles by imagination. I mean, this
7:42
Speaker 3: is kind of like the this is kind of like
7:44
Speaker 3: the I can condemn Israel without condemning.
7:47
Speaker 2: The Jewish people like that.
7:49
Speaker 3: The show itself to catch a predator is really problematic.
7:54
Speaker 3: Like it is very problematic. And the people that were
7:57
Speaker 3: involved in to catch a predator, the predators, the people
8:01
Speaker 3: that were being caught were being entrapped by Chris Hansen
8:05
Speaker 3: and his cadre of people that he either worked with
8:07
Speaker 3: or hired to do this. Like the, this was not
8:11
Speaker 3: existing in this capacity beforehand, but, And I have a
8:15
Speaker 3: really weird reaction to that because it's just, it makes
8:19
Speaker 3: what's already lurid seem even more lurid because the way
8:23
Speaker 3: we're doing things also equally seems kind of lurid. And,
8:27
Speaker 3: you know, I like that this film is kind of like, well,
8:30
Speaker 3: at the center of it, we have to have Chris
8:32
Speaker 3: Hansen being like.
8:33
Speaker 2: Guess what? I don't care.
8:35
Speaker 3: And, you know, it's kind of this like doubling, tripling,
8:39
Speaker 3: quadrupling down on what does it mean to, to have
8:44
Speaker 3: a bias, take that point of view and stick with it,
8:48
Speaker 3: regardless of the blowback or the criticism or the debate
8:53
Speaker 3: or any debacle that might come out of it. And
8:56
Speaker 3: I don't know if I personally have any strong enough
8:59
Speaker 3: held beliefs that would cause me to feel this way
9:01
Speaker 3: about something that is as not problematic, I think is
9:05
Speaker 3: the wrong word, but kind of Lurid, I think, is.
9:08
Speaker 2: The best word. It's a weird direction to take it,
9:11
Speaker 2: you know? I mean, the whole thing is weird.
9:13
Speaker 3: Like, to cover To Catch a Predator in a mainstream
9:16
Speaker 3: format is weird because To Catch a Predator is a
9:18
Speaker 3: show about catching pedophiles on TV. All the guys do
9:22
Speaker 3: themselves no favors in terms of not looking like pedophile freakazoids.
9:26
Speaker 3: Which is, I mean, that's the problem. Again, like, you know,
9:29
Speaker 3: when we talk about pedophiles and pedophilia, they're often the
9:32
Speaker 3: lowest common, like, rung of jokes because, like, they are,
9:36
Speaker 3: for most people, and I think you and I might
9:38
Speaker 3: agree on this, like, myself included they're like the worst
9:41
Speaker 3: of the worst they're treated the worst of the worst
9:43
Speaker 3: in prison like the way child molesters are treated in
9:47
Speaker 3: prison is worse than a normal prisoner because the other
9:50
Speaker 3: prisoners don't even fuck around with that and so it's
9:53
Speaker 3: what we're talking about is already pretty charged and you
9:57
Speaker 3: can see that with the chris hanton character he feels like,
10:01
Speaker 3: you know, he feels like a righteous character, right? Like
10:03
Speaker 3: what he's doing is righteous. And there's like a self-righteous,
10:08
Speaker 3: righteous and self-righteous. But I think that's the thing that
10:10
Speaker 3: makes it such an interesting movie is that I don't
10:14
Speaker 3: know about Chris Hanton, the person I've seen interviews with him.
10:18
Speaker 3: I've seen things where he talks and he just kind
10:20
Speaker 3: of seems kind of like the character in the movie.
10:24
Speaker 3: He kind of seems like he's a self-important guy who
10:26
Speaker 3: thinks what he's doing is God's work. And I don't
10:31
Speaker 3: know that it's not, but the way he's going about
10:33
Speaker 3: doing it is not... normal.
10:37
Speaker 2: It's not that it's not normal it's just it's the
10:40
Speaker 2: way he goes about doing it it's just it makes
10:43
Speaker 2: it so much ickier than it already is and it's
10:46
Speaker 2: already really icky to begin yeah it's it's already horrible
10:50
Speaker 2: in and of itself that that it exists in general
10:54
Speaker 2: that there is a need for something like this to
10:57
Speaker 2: happen in some capacity but Yeah, I think I think
11:00
Speaker 2: that was and again, I don't know if that was
11:02
Speaker 2: my initial take on the movie. I think that became
11:04
Speaker 2: more of the trying to figure out who this guy
11:07
Speaker 2: is that sort of followed it after after watching the movie.
11:11
Speaker 2: And that, I think, was my big question in like
11:14
Speaker 2: the last couple of days. It's just like it's not
11:16
Speaker 2: so much that you needing to stop this from happening
11:19
Speaker 2: because I feel like we can all get on board
11:21
Speaker 2: with that as a concept. I don't think that that's
11:24
Speaker 2: up for debate, but the problem is the way you
11:28
Speaker 2: go about doing it, it almost trivializes what is going
11:33
Speaker 2: on in reality and makes it just kind of part
11:36
Speaker 2: of the punchline almost. Well, and not even the the
11:40
Speaker 2: act of doing it or the way that he's doing it.
11:42
Speaker 2: I think it's more that's what these last couple of
11:45
Speaker 2: days of thinking about it is this led me to
11:47
Speaker 2: is the why you like that's the part I'm like,
11:50
Speaker 2: why are you like you have dubbed yourself this this
11:54
Speaker 2: superhero essentially that set out to save children? And I'm like,
11:58
Speaker 2: it'd be different, especially once then we're getting into a
12:01
Speaker 2: dramatic retelling of it. if we got to some weird
12:05
Speaker 2: dark secret about him. And like, if the, if somewhere
12:08
Speaker 2: in the middle, we had some flashback to like nine
12:11
Speaker 2: year old version of, of this guy and his weird
12:14
Speaker 2: cousin trying to take him up to the tree house
12:16
Speaker 2: or something, you'd be like, Oh.
12:19
Speaker 3: I think that would have been too much. Like, I
12:21
Speaker 3: think that would have been, I don't know, on the nose.
12:24
Speaker 2: I get it. But I guess to.
12:25
Speaker 3: Your point, like the film, I, I do feel like
12:28
Speaker 3: part of what I walked away from the.
12:30
Speaker 2: Movie with is the, why not just go watch to
12:32
Speaker 2: catch a predator? That too.
12:36
Speaker 3: I mean, I'm not like advocating people go and hunt
12:38
Speaker 3: down to catch a predator because it's pretty gross and lurid.
12:41
Speaker 3: And the things that they're saying on like national TV, like,
12:44
Speaker 3: can I rape you anally? Like Jesus fucking Christ. That
12:48
Speaker 3: was unbleaped. Chris Hansen is saying these things like that
12:52
Speaker 3: is pretty, again, like I'm not going to yuck someone's yum,
12:55
Speaker 3: but the context in which it's being said is like,
12:58
Speaker 3: pretty awful. It's hardcore. It's being said to a child.
13:04
Speaker 3: That's the problem. And it's wild to me that that
13:08
Speaker 3: was a successful television show on prime time. On prime time.
13:12
Speaker 3: I mean, the title of the movie alone sells why
13:15
Speaker 3: this movie is being made. Because if the show had
13:17
Speaker 3: never been on prime time, that meant it was not
13:20
Speaker 3: successful and that nobody would have been watching it to
13:22
Speaker 3: the extent that people were watching it, that we can
13:24
Speaker 3: have a movie about it because it was a cultural
13:26
Speaker 3: touchstone for even a brief moment. Sometimes a brief moment
13:30
Speaker 3: is better than not at all. Well, this was like, again,
13:33
Speaker 3: sticking with the like, why this guy? Like if there
13:36
Speaker 3: was some sort of, not even maybe that horrible of
13:38
Speaker 3: a story, but like if he had something that led
13:41
Speaker 3: him to that, which I did very minimal amount of checking,
13:44
Speaker 3: but at least for him, I don't think he has
13:47
Speaker 3: any personal version of a God awful story in his youth.
13:51
Speaker 2: But then I was like the best, like you want
13:53
Speaker 2: an action. I can Walsh type thing as well. And
13:55
Speaker 2: that's what I was just about to say. I was
13:57
Speaker 2: like the, the most direct contact version I could come
14:00
Speaker 2: up with. That was a similar type of a situation,
14:03
Speaker 2: but it came from a real place is John Walsh.
14:06
Speaker 2: And that was like, I was like, that is a
14:08
Speaker 2: guy who basically kind of that same thing eventually found
14:12
Speaker 2: himself in the middle of what would become reality television
14:15
Speaker 2: before we knew what reality television would become. Um, and
14:18
Speaker 2: like found himself in the center of this show and
14:22
Speaker 2: this idea. And he was, again, trying to get the
14:25
Speaker 2: bad guys in quotes there. But it was based in
14:29
Speaker 2: something real and like heart wrenching. Like it's, you know,
14:32
Speaker 2: the reason he's John Walsh is because his child was
14:35
Speaker 2: abducted and murdered. And like he spent so much time
14:39
Speaker 2: in the middle of that case that it then just
14:42
Speaker 2: sort of In the real world became like, well, then
14:45
Speaker 2: he helped them, you know, start the National Center for
14:48
Speaker 2: Missing and Exploited Children. And then that became let's turn
14:51
Speaker 2: this into a TV show, which eventually, you know, America's
14:55
Speaker 2: Most Wanted is kind of cheesy and interesting. It's not
14:58
Speaker 2: quite as creepy as to catch a predator, but like it,
15:01
Speaker 2: it definitely is very sensationalized at moments, almost kind of
15:05
Speaker 2: silly as time went on that like you're watching it
15:07
Speaker 2: more for the let's go watch him tackle this drunk guy,
15:10
Speaker 2: you know, equally as much, which became cops really. That
15:14
Speaker 2: became the spinoff version of the, the, the dumber version,
15:17
Speaker 2: but it at least was, was based in reality and
15:20
Speaker 2: based in something that you like totally understood why this
15:24
Speaker 2: guy was standing there. Like, yes, he turned it into
15:27
Speaker 2: a career and he eventually became very successful in that field.
15:30
Speaker 2: But like, it was based in reality and based in
15:34
Speaker 2: something horrible that happened to him that gave it merit,
15:37
Speaker 2: that gave it like a real reason that he felt
15:40
Speaker 2: like he needed to be standing up there and, and
15:42
Speaker 2: felt like he needed to take charge of this situation
15:45
Speaker 2: because he'd lived through something that horrible. So now we
15:48
Speaker 2: switch gears to this guy, and you're like, okay, this
15:51
Speaker 2: is not a minor thing. This is, again, you're talking
15:54
Speaker 2: about the stuff he's reading to these people. This is
15:57
Speaker 2: knee-deep in horror. Like, this is a nightmare. And it's
16:01
Speaker 2: week in and week out for all of these kids
16:03
Speaker 2: that are being thrown into this scenario. And you're willingly
16:07
Speaker 2: taking yourself there every episode. And it was like, to me,
16:10
Speaker 2: that's weird. So it's like if it came with a reason,
16:13
Speaker 2: if it came with a specific, you know, instigating situation,
16:17
Speaker 2: I would understand. But the fact that I don't know
16:20
Speaker 2: that it does is weird to me.
16:23
Speaker 3: Well, they try to make it a kind of fictional story.
16:26
Speaker 2: Let's make a fictional bridge, right?
16:28
Speaker 3: So we have the scene in the film with Skylar
16:30
Speaker 3: Gazzando and Pattinson where he's talking about, you know, when
16:34
Speaker 3: he was in India and he was, you know, investigating
16:37
Speaker 3: child disappearances, which did happen. I mean, that's real. That
16:40
Speaker 3: is a real thing.
16:41
Speaker 2: He is a real journalist.
16:42
Speaker 3: Ray is a real investigative journalist. I mean, and I
16:44
Speaker 3: think that that's What the film was trying to make
16:47
Speaker 3: the case was the inciting incident that caused Chris Hansen
16:51
Speaker 3: to feel the way that he does, which is even
16:54
Speaker 3: funnier because the framing of that is the white savior
16:57
Speaker 3: going to save the people of India.
16:59
Speaker 2: Yes, of course.
17:00
Speaker 3: And then you take the metaness of it, which is
17:02
Speaker 3: a British actor playing a white American hero. going to
17:07
Speaker 3: india to save the children and.
17:09
Speaker 1: Going to india to save them and then he doesn't
17:13
Speaker 1: which i think is the thing that is i i
17:15
Speaker 1: think for me the zodiac of the film is you
17:18
Speaker 1: know it's it's all about the pursuit of something that
17:21
Speaker 1: isn't actually there and that's the thing right i mean
17:25
Speaker 1: that's ultimately for me the thing about to catch a
17:27
Speaker 1: predator that nobody talks about at least in any sort
17:29
Speaker 1: of like high-level capacity is, yes, you are taking these
17:34
Speaker 1: predators off the street, but it is honestly, and this
17:38
Speaker 1: is the reality that nobody wants to talk about, those
17:40
Speaker 1: are but drops in a very large bucket.
17:42
Speaker 2: Oh, yeah. Unfortunately, yes. You're not doing much of anything.
17:47
Speaker 2: You are, but you aren't. I mean, you're at least
17:49
Speaker 2: calling attention to it... you're maybe raising that awareness to
17:55
Speaker 2: a kid that might be sitting there on the internet going, hey,
17:58
Speaker 2: wait a minute, I'm talking to this weird person on
18:00
Speaker 2: the internet. So I would hope somewhere... a light went
18:04
Speaker 2: off on some kid's head and he was like, oh,
18:06
Speaker 2: that closed up the, whatever chat room he was in
18:10
Speaker 2: at the moment was like, nope, this is too creepy.
18:12
Speaker 2: I'm out of here. But what kid is watching that move? Well,
18:15
Speaker 2: I'm saying in general, like, yeah.
18:17
Speaker 3: But my point is like, it's for adults. It's for like,
18:20
Speaker 3: the problem is, is you can't, it's hard to make
18:22
Speaker 3: that statement because to catch a predator is for adults.
18:25
Speaker 3: So I don't even know what to catch a predator's
18:27
Speaker 3: point was to remind adults that there are perverted adults
18:30
Speaker 3: out there. It's this- It's a lurid thing. It's like
18:34
Speaker 3: it's it's being able to get as close as you
18:36
Speaker 3: can to leer kind of into this world that's disgusting
18:40
Speaker 3: and icky and gross. I mean, it's for me to
18:43
Speaker 3: catch a predator is in a lot of ways like
18:45
Speaker 3: the original true crime like TV show of a certain kind.
18:50
Speaker 3: Like it is of a certain kind. And those things,
18:53
Speaker 3: I would say you want to talk about a comparative now.
18:56
Speaker 3: pretty much anything Ryan Murphy's in the world of like
18:59
Speaker 3: his monster series. Like that's what this is kind of
19:03
Speaker 3: the proto of. It's like, it's just going to be
19:06
Speaker 3: an icky for icky sake and engaging with the ickiness
19:09
Speaker 3: in a safe capacity is much more than people are
19:12
Speaker 3: going to want to ever do in an unsafe capacity,
19:14
Speaker 3: which is the reality.
19:16
Speaker 2: Well, and again, I feel like it's giving people who
19:19
Speaker 2: already feel very superior about their moral standings as they
19:24
Speaker 2: sit at home on their couch and watch this and
19:26
Speaker 2: then shake their head and be like, see, look at
19:28
Speaker 2: these horrible. And then again, I can just see them
19:31
Speaker 2: like pinning down the type of people that they feel
19:34
Speaker 2: do this. And again, not that the people actually doing
19:38
Speaker 2: it aren't horrible, but I feel like they're not real specific.
19:41
Speaker 2: They're going to be generalizing about who these people are
19:44
Speaker 2: and why they should judge them. I feel like it's
19:47
Speaker 2: a very sit at home and judge people sort of
19:49
Speaker 2: a situation, which again, the specifics, yes, they need to
19:54
Speaker 2: be judged and punished and taken off the streets. But
19:57
Speaker 2: in the grand sense, it seems like a very self-righteous
20:00
Speaker 2: situation of like, I am so much better than them
20:03
Speaker 2: as I sit here on my couch and drink my
20:05
Speaker 2: soda and like, pass judgment on these horrible people on TV,
20:09
Speaker 2: where meanwhile, they're probably doing equally as horrible things in
20:13
Speaker 2: their home. You know, everybody who wants to be that judgy,
20:17
Speaker 2: I feel like a lot of times is doing something
20:19
Speaker 2: horrible of their own at home and doesn't talk about it.
20:22
Speaker 2: So I don't know. I just always have issues with
20:25
Speaker 2: people that are that are that self-righteous and like are
20:28
Speaker 2: so ready to pass judgment on anybody before they even
20:31
Speaker 2: hear what the scenario is. They've already made up their
20:34
Speaker 2: mind before they walk into that kitchen. Before they even
20:38
Speaker 2: bust this person, they already know how they feel about it,
20:41
Speaker 2: which granted in this case, it's always a horrible scenario.
20:44
Speaker 2: But I don't know. I feel like that's the type
20:46
Speaker 2: of grown up person. Again, I'm kind of using quotes there.
20:50
Speaker 2: adult that is sitting at home watching this is somebody
20:52
Speaker 2: who has already totally made up their mind about how
20:56
Speaker 2: they feel and how much better they are than the
20:59
Speaker 2: people that are out there in the world versus the
21:02
Speaker 2: handful of other people that are also there just for
21:04
Speaker 2: the salaciousness of it. And they kind of want to
21:07
Speaker 2: feed off of the lurid situation that you're knee deep
21:11
Speaker 2: in in the middle of this thing.
21:14
Speaker 3: And I 100% agree because it, I don't know, I
21:17
Speaker 3: guess the show always felt so weird to me because, again,
21:23
Speaker 3: I can't understand which side.
21:26
Speaker 2: Of the aisle I'm supposed to be on with the show.
21:29
Speaker 3: Because again, as someone watching the show in 2026, it's
21:32
Speaker 3: hard when we now have this weird relationship with cops
21:36
Speaker 3: and law enforcement. And I think the film does a
21:39
Speaker 3: really good job of reinforcing our kind of weird relationship
21:43
Speaker 3: with law enforcement in 2026. Because Bokeem Woodbine's character in
21:47
Speaker 3: all of that is very much what did end up happening.
21:51
Speaker 3: I mean, they were very gung-ho about... We're going to
21:53
Speaker 3: go to this guy's house and we're going to be
21:55
Speaker 3: there and we're going to go against protocol here of
21:57
Speaker 3: what we had normally been doing, like not to defend
22:00
Speaker 3: their initial practices of like essentially constructing a mousetrap for
22:04
Speaker 3: pedophiles that we get to. I mean, it's a mousetrap.
22:07
Speaker 2: It's a mousetrap. It definitely is. It's a mousetrap. It's
22:09
Speaker 2: a trap through and through. By design, it is a trap. Right.
22:13
Speaker 2: The people who are getting trapped need to be trapped.
22:16
Speaker 2: I understand that. And I agree with that. But it
22:19
Speaker 2: is definitely a trap from the get go. Right.
22:22
Speaker 3: And that's and again, you know, when we talk about,
22:24
Speaker 3: you know, if you want to talk about a mouse trap,
22:26
Speaker 3: there are better ways to catch mice. If you're trying
22:28
Speaker 3: to catch mice, people try tend to people who are
22:32
Speaker 3: trying to be humane about catching mice don't catch mice
22:35
Speaker 3: with glue traps. because those are the most inhumane way possible.
22:39
Speaker 3: And as far as I'm concerned, to catch a predator
22:42
Speaker 3: is a glue trap. I mean, it is a very
22:45
Speaker 3: crude way of doing things, but at the same time,
22:48
Speaker 3: it does get things done. For all the harm that
22:52
Speaker 3: it causes, which it does cause harm in a lot
22:55
Speaker 3: of ways, it did get people that were you know, quote,
22:59
Speaker 3: looking for sex with minors, unquote, off the street. Again,
23:03
Speaker 3: then you go into the idea of a thought crime. And,
23:06
Speaker 3: you know, the crimes that are committed are the ones
23:08
Speaker 3: that get sent to prison and jail were the ones
23:11
Speaker 3: sending naked pictures of themselves. None of them got to
23:13
Speaker 3: do anything. That's the other thing that's kind of entrapment
23:17
Speaker 3: is there is no real world of anything that was
23:21
Speaker 3: going to happen. There was never a minor on the
23:23
Speaker 3: other end of things. which is the part that's entrapment
23:26
Speaker 3: and weird and it's the weird optics of adults chatting
23:29
Speaker 3: with other adults pretending to be 14 year olds and
23:32
Speaker 3: then sharing pictures of real 14 year olds sometimes fake
23:36
Speaker 3: 14 year olds other times to get those adults to
23:39
Speaker 3: do certain things that's weird i mean just describing that
23:42
Speaker 3: is weird it's it's all weird yeah.
23:44
Speaker 2: It's all weird and layers of weird It is.
23:47
Speaker 3: And again, it's a question of how much of that
23:50
Speaker 3: weirdness are you willing to accept and be okay with?
23:54
Speaker 3: And in Chris Hansen's case, kind of internalized, and I
23:57
Speaker 3: think that that's the other kind of thing I want
23:59
Speaker 3: to talk about here just at the opening of this episode.
24:02
Speaker 3: Robert Pattinson is just... Talk about a guy who... I mean,
24:06
Speaker 3: I love him as an actor. He genuinely has been
24:09
Speaker 3: one of my favorite actors for quite some time. But...
24:12
Speaker 3: This movie, I think this movie would be a joke
24:14
Speaker 3: without an actor of his capabilities in it, because I
24:17
Speaker 3: just don't think that the main role works without someone
24:20
Speaker 3: who is able to kind of evoke Chris Hansen without
24:24
Speaker 3: doing a spot like spot on dead up imitation. but
24:28
Speaker 3: also be thoughtful enough to take this role in kind
24:32
Speaker 3: of a direction that understands that this is a kind
24:35
Speaker 3: of nuanced, complex situation that isn't necessarily just cut and dry. Which,
24:40
Speaker 3: I mean, obviously, that is why this movie is getting made,
24:43
Speaker 3: is because there is a lot of nuance to this situation.
24:45
Speaker 3: But I think having someone like Robert Pattinson as your
24:48
Speaker 3: lead helps, because he is just an immensely talented actor.
24:52
Speaker 2: Well, and he's not afraid to make it weird. Like,
24:56
Speaker 2: that's such an important part of what this movie becomes anyway.
25:00
Speaker 2: I don't know that it even makes sense, really, in
25:02
Speaker 2: the movie, the way that they present everything. But if
25:06
Speaker 2: it were just cut and dry... I don't think it does, actually.
25:09
Speaker 2: This movie's kind of nonsensical in a lot of ways. Yeah,
25:12
Speaker 2: I definitely will get to that eventually. But just as
25:15
Speaker 2: his performance, like, if it was just cut and dry
25:17
Speaker 2: and you could get a very, you know, upstanding... clean-cut
25:21
Speaker 2: actor and put him in there and he's just gonna
25:23
Speaker 2: be like Mr. All-America and try to, you know, be
25:27
Speaker 2: the hero that he thinks that he is the whole time.
25:29
Speaker 2: That's one thing. But you get into the way, like,
25:33
Speaker 2: from the first frame we're spending time with this version
25:37
Speaker 2: of him. Like, he is just weird and creepy and
25:41
Speaker 2: self-centered and, like, just, like, all of the trappings of
25:44
Speaker 2: your normal, like, person that would be hosting a TV
25:47
Speaker 2: show anyway... But then you add in all the layers
25:50
Speaker 2: of the creepy crime element and the entrapment and all
25:54
Speaker 2: of this other stuff on top of that. And he
25:57
Speaker 2: just seems, like, extra skeezy. Like, he's just so creepy
26:01
Speaker 2: about it all. And yet, that's our, in quotes once again,
26:05
Speaker 2: our hero. Like, that's the one we're supposed to, certainly
26:08
Speaker 2: our protagonist. And, like, you're like, I don't know how
26:11
Speaker 2: I'm supposed to feel about this guy. I'm certainly not
26:14
Speaker 2: comfortable with him. He's a weird guy. Like, so... That's
26:17
Speaker 2: that's a strange place to set your movie. But I
26:21
Speaker 2: will give credit that like Robert Pattinson is an amazing
26:24
Speaker 2: actor and like it has taken me a long time
26:27
Speaker 2: to get over. You know, he came from a weird
26:29
Speaker 2: place and it was an uphill battle for people to
26:32
Speaker 2: take him seriously. And I was one of those that
26:34
Speaker 2: kind of wrote him off early on. And then. time
26:36
Speaker 2: after time he kept proving himself i'm like no this
26:39
Speaker 2: guy i mean he's a legit actor and like above
26:43
Speaker 2: and beyond a lot of other actors out there he
26:45
Speaker 2: has just turned into one of our better you know
26:48
Speaker 2: i guess now not even that young of an actor
26:50
Speaker 2: anymore but of his generation he's kind of right there
26:54
Speaker 2: at the top of the of the glass.
26:56
Speaker 3: Which is very funny given who i would consider is
26:58
Speaker 3: also at the top who is also kind of i
27:01
Speaker 3: guess just kind of dismissed on based on what they
27:04
Speaker 3: worked on i mean his other you know the other
27:06
Speaker 3: star from Twilight that he was opposite I mean Kristen
27:09
Speaker 3: Stewart also amazing actress like it's very funny because yeah
27:13
Speaker 3: when you think about the two or three of them
27:16
Speaker 3: if you want to count Taylor Lautner who I think.
27:18
Speaker 2: Is Who disappeared?
27:19
Speaker 3: Well, to be fair, Taylor Lautner is the one of
27:22
Speaker 3: the three, right? Like he's the, he is the one
27:25
Speaker 3: of the three. There had to be one of them
27:27
Speaker 3: that was percentage wise.
27:28
Speaker 2: This is too much. I can't do this.
27:31
Speaker 3: Well, and I think he, I think he was the
27:32
Speaker 3: one who is that. I mean, he did what, a
27:34
Speaker 3: couple movies afterwards and then he's, He was in something
27:37
Speaker 3: recently and that was about it. Like it's, it's very,
27:40
Speaker 3: it's very weird to me that Taylor Laudner is the
27:44
Speaker 3: one that wasn't the blow up star. Cause he's the
27:47
Speaker 3: one that is like the traditionally good looking one.
27:49
Speaker 2: Yeah. It seems like if, if you looked at those
27:52
Speaker 2: three at the time, we're like, well, obviously this guy,
27:54
Speaker 2: you know, he's going to be an action star two
27:56
Speaker 2: years from now.
27:56
Speaker 3: Like, you know, And no, it's Robert Pattinson. And I think,
28:00
Speaker 3: you know, when I think of Robert Pattinson's career post-Twilight,
28:04
Speaker 3: and again, you know, to be fair, he was also
28:05
Speaker 3: in Harry Potter before Twilight, which I think is.
28:07
Speaker 2: Yeah, yeah. Which again, I will include that as one
28:10
Speaker 2: of his up-and-coming kid roles. But again, it took a
28:13
Speaker 2: long time for all of those Harry Potter kids to
28:15
Speaker 2: be taken seriously too. It's true, yeah.
28:18
Speaker 3: And again, some of them still haven't been and maybe
28:21
Speaker 3: are more so than they deserve to. Emma Watson, unquote.
28:26
Speaker 2: What has she been good in? Well, she's retired now
28:29
Speaker 2: for that very reason because she couldn't really... catch a
28:33
Speaker 2: break and like wouldn't be taken seriously and wouldn't be
28:36
Speaker 2: left alone about the Harry Potter nonsense of it all
28:39
Speaker 2: to the point that now she's kind of half retired
28:42
Speaker 2: for the moment. So I don't know. I think she
28:45
Speaker 2: had talent and just again, it came at a bad way.
28:49
Speaker 2: Like all of these kid actors have stuff thrown at
28:52
Speaker 2: them and like not everybody survives.
28:54
Speaker 3: It's just it's a lot to deal with. I, I
28:57
Speaker 3: guess I had seen her in enough stuff post Harry Potter.
29:01
Speaker 3: I was not, I was not impressed with her in
29:03
Speaker 3: beauty and the beast and other similar things. I mean, again,
29:07
Speaker 3: like it's whatever, like that's, That's a me issue. You know,
29:09
Speaker 3: that's a me thing. I can readily admit that. But
29:12
Speaker 3: at the same time, you know, I saw her in that.
29:14
Speaker 3: I saw her in the circle. I saw her in
29:18
Speaker 3: a handful of things where I was just like, you know,
29:19
Speaker 3: that's fine. She's fine, I guess. The only one of
29:23
Speaker 3: those three that really went anywhere and escaped that velocity was.
29:27
Speaker 2: Rupert Grint. I'm just kidding. It's Daniel Rhett. Rupert Grint
29:30
Speaker 2: didn't even, Rupert Grint did, I guess, just about as
29:33
Speaker 2: much as Emma Watson. He's trying again. Like, yeah, he
29:36
Speaker 2: kind of dropped off for a while and now I've
29:38
Speaker 2: I've seen him showing up and stuff again lately. So
29:41
Speaker 2: I think, I think they just need a breather every
29:43
Speaker 2: once in a while. I'll be like, all right, maybe,
29:44
Speaker 2: maybe we'll try to make this work again. Hold on.
29:47
Speaker 3: Which I mean, again, you know, even with someone like
29:50
Speaker 3: Robert Pattinson, you know, to go back to him, the
29:52
Speaker 3: things I think of when I think of the things
29:54
Speaker 3: that he worked on early on that are, I guess
29:58
Speaker 3: the films that resonate with me were the ones that
30:01
Speaker 3: he was doing with Cronenberg. Cause he, cause I think
30:04
Speaker 3: him working with Cronenberg really put me kind of in
30:06
Speaker 3: the mindset of like, okay, this is like a, this
30:08
Speaker 3: is a serious act.
30:10
Speaker 2: And I think that was a conscious choice with him
30:13
Speaker 2: because you saw as he was coming out of it, like,
30:15
Speaker 2: everybody trying to escape from that franchise was just like,
30:18
Speaker 2: oh man, nobody's taking it seriously. So he like stepped
30:22
Speaker 2: up and was like, no, I'm going to do like
30:24
Speaker 2: almost exclusively like art house movies, indie movies, like challenging directors,
30:30
Speaker 2: like weird roles. Like I think he specifically set out
30:33
Speaker 2: to be like, no, I want to be taken seriously
30:35
Speaker 2: as an actor, even if it means, so again, you
30:38
Speaker 2: didn't see him jump on to do a bunch of
30:40
Speaker 2: action movies that I'm sure they've Would have thrown at him.
30:43
Speaker 2: I don't know that he would have been good at it,
30:44
Speaker 2: but like he he could have become just a regular
30:48
Speaker 2: I'm a handsome leading man kind of a role and
30:50
Speaker 2: done rom coms and action movies. But like none of
30:53
Speaker 2: that is what he wanted. Like you see that lineup
30:56
Speaker 2: of movies he did after he left that that era.
30:59
Speaker 2: And he was just like everything was him trying to
31:02
Speaker 2: prove himself to people. And eventually it is.
31:04
Speaker 3: I mean, I think we know he's not an action star,
31:07
Speaker 3: given the fact that he is not being in the
31:10
Speaker 3: running for being cast for James Bond and he's a
31:12
Speaker 3: British actor.
31:13
Speaker 2: And anytime he's anything and the fact that I think
31:17
Speaker 2: the only action thing he was in other and I
31:21
Speaker 2: wouldn't even, you know, the Batman movie as we have
31:24
Speaker 2: it with his character is not very actiony. Yeah, it's
31:28
Speaker 2: the broodiest of all the Batman movies. Which is good.
31:30
Speaker 3: Like, great.
31:30
Speaker 2: Like, I'll take it. And he's great at it. Like,
31:33
Speaker 2: he is playing it the way that that version of
31:36
Speaker 2: Batman needs to be.
31:38
Speaker 3: Would you say his most action-y role is that fucking Tenant?
31:42
Speaker 3: That goddamn Chris Nolan movie that nobody saw? Movies are
31:46
Speaker 3: back in theaters, y'all. Tenant is here.
31:49
Speaker 2: If you're not counting all that vampire baseball, then yeah,
31:52
Speaker 2: probably Tenant. They're playing baseball.
31:56
Speaker 3: But go see Nosferatu playing in baseball.
32:00
Speaker 2: I mean, I would only count.
32:01
Speaker 3: Nosferatu baseball, vampire baseball. That is, that's what's missing from
32:07
Speaker 3: our timeline is a, a film comic book series of
32:12
Speaker 3: people just playing baseball, but they're all vampires. So just
32:14
Speaker 3: take that stupid scene from twilight and expound upon it
32:19
Speaker 3: even further.
32:20
Speaker 2: I mean, if you want to get people out to the,
32:22
Speaker 2: the old stadium there. I feel like that's going to
32:25
Speaker 2: do it. I don't want to go see a regular
32:26
Speaker 2: baseball game, but you had vampires in. Well, all right.
32:30
Speaker 2: Now maybe I might be on board.
32:31
Speaker 3: Now stepping up to the plate, he's the Chinese jumping vampire.
32:36
Speaker 2: By God, people, we get a grand slam. Yep.
32:39
Speaker 3: I'd watch, you know, I do like baseball though. So
32:42
Speaker 3: I guess that's a, that's a bad comparison. It's, it's
32:45
Speaker 3: funny though, because, you know, I do think Robert Pattinson
32:48
Speaker 3: has been able to evade the vampire role kind of
32:53
Speaker 3: mark that that left on him, which is not the
32:55
Speaker 3: case with all those people. I mean, there are people
32:57
Speaker 3: from those movies that I, you know, again, Taylor Lautner,
32:59
Speaker 3: I think is the one that I think of that
33:01
Speaker 3: just didn't really ever do anything. A lot of those
33:02
Speaker 3: other people were already actors before that, you know, those
33:05
Speaker 3: Twilight movies came out, you know, Jamie Campbell, Bauer, Michael Sheen,
33:09
Speaker 3: but you know.
33:09
Speaker 2: Doing totally different stuff. So I think that's what saved
33:12
Speaker 2: him too, is he, the other thing he could have
33:15
Speaker 2: done if he, other than trying to be like leading
33:18
Speaker 2: man kind of thing would be like, okay, go down
33:21
Speaker 2: the horror, like just nothing but horror. Oh, okay. I
33:24
Speaker 2: thought you were saying like go down the YA route completely. Yeah. Oh,
33:27
Speaker 2: but again, I don't even know that that would have worked.
33:30
Speaker 2: Because by the time they were done, he was kind
33:32
Speaker 2: of too old for that anymore. So at that point,
33:35
Speaker 2: he could have leaned hard into the, well, let's just
33:38
Speaker 2: go with the horror angle and like did nothing but
33:40
Speaker 2: like straight to DVD horror movies for the next 10,
33:44
Speaker 2: 12 years. And like he probably would have earned enough
33:47
Speaker 2: to scrape a living, but like he certainly wouldn't be
33:50
Speaker 2: the status he is now. So again, he made the
33:53
Speaker 2: right call of the several ways he could have gone.
33:56
Speaker 3: But Brian, what about Skylar Gazondo?
33:59
Speaker 2: He's the forever teenager.
34:00
Speaker 3: He never ages.
34:02
Speaker 2: You mean star of Rob Zombie's Halloween? Jesus Christ.
34:06
Speaker 1: I know.
34:06
Speaker 3: Isn't that funny? Isn't that just, that's the best part.
34:09
Speaker 3: It's like, how often does one get to talk about
34:12
Speaker 3: Skylar Gazondo? Well, other than getting to talk about him
34:16
Speaker 3: in Vacation, which, by the way, great movie. I don't
34:20
Speaker 3: know if you've ever seen it. Pretty good reboot, surprisingly,
34:23
Speaker 3: of a franchise that didn't need to be rebooted.
34:27
Speaker 2: Just recently watched it, actually. Somehow I missed it when
34:30
Speaker 2: it first came out. And then lately I've been like,
34:32
Speaker 2: how have I not? I've seen the whole rest of
34:34
Speaker 2: this dumb series. Like, how have I not seen this one?
34:37
Speaker 2: It was pretty good, right? I'm like, yeah. I was
34:39
Speaker 2: kind of like, I kind of agree. I was like,
34:41
Speaker 2: did I need another one? Not necessarily. Yeah. Is this terrible? No,
34:46
Speaker 2: it's not. It's actually got some really funny stuff in there. So, yeah,
34:49
Speaker 2: it's not bad.
34:50
Speaker 3: And Skylar Gazondo, I think, is one of the funnier
34:52
Speaker 3: parts of that movie because he plays such a funny
34:55
Speaker 3: straight man. And I think that that's, again, that's kind
34:58
Speaker 3: of the character he plays in this movie is he's
35:00
Speaker 3: playing kind of the straight man to Chris Hansen. which
35:04
Speaker 3: is like, I mean, he's, he's, he's the audience, his eyes.
35:08
Speaker 3: I don't like it. It's just so it's weird. Cause
35:10
Speaker 3: like you could have just made the movie about him.
35:12
Speaker 3: And like, really you could like, if you really want
35:15
Speaker 3: to make like an Oscar bait movie, that's the movie
35:17
Speaker 3: you make.
35:18
Speaker 2: Right.
35:18
Speaker 3: You make the movie about like, you take this, this,
35:21
Speaker 3: this situation, this scenario of to catch a predator or
35:24
Speaker 3: a fictional to catch predator and And you have it
35:26
Speaker 3: be about the bait person and it'd.
35:29
Speaker 2: Be about them.
35:29
Speaker 3: And like, you know, it's like, it'd be like Mickey
35:31
Speaker 3: Rourke's the wrestler. And you see what I mean? Like,
35:33
Speaker 3: it's like something like that where it's like in this
35:36
Speaker 3: icky world of weird things where maybe this is more
35:39
Speaker 3: prominent than just to catch a predator. And it's like,
35:41
Speaker 3: now this person's directly involved in it. Like something like that.
35:44
Speaker 3: Like I, I don't know.
35:45
Speaker 2: Like it's, it's weird.
35:46
Speaker 3: Cause Skylar Gazando is such a endearing actor. He's just
35:50
Speaker 3: kind of has this like endearing quality to him that
35:53
Speaker 3: I can't help, but enjoy everything that he's in. But
35:55
Speaker 3: in this movie, I'm just like you, it's almost like
35:58
Speaker 3: there's not enough of him.
35:59
Speaker 2: That's what I was. I mean, by, by the end,
36:01
Speaker 2: that's one of the takeaways I had was just like, really?
36:04
Speaker 2: I think by the end, like he's our only like
36:07
Speaker 2: real go-to character. It's like, We don't really spend enough
36:11
Speaker 2: time with the rest of them. It's like we've got
36:14
Speaker 2: a little bit on a few of them. The other
36:16
Speaker 2: ones are just kind of in the background. And then
36:18
Speaker 2: Hanson's such a weirdo that you never really get a
36:20
Speaker 2: handle on what's going on there. But like through and through,
36:24
Speaker 2: like Skylar just delivers this really like endearing performance. And
36:29
Speaker 2: you care about this character from the second he walks in.
36:32
Speaker 2: And you're like, I know this is fake, but I
36:34
Speaker 2: also don't want anything to happen to him. So like,
36:36
Speaker 2: can we make sure he's OK in this? And like
36:39
Speaker 2: he still even when it's fake is so far over
36:41
Speaker 2: his head, like the second he gets in there. And
36:44
Speaker 2: like by the end, it's like you're watching him. So
36:47
Speaker 2: he does sort of have an arc of like. coming
36:49
Speaker 2: to terms with what he's doing and trying to wrap
36:51
Speaker 2: his head around what the purpose of it is. And
36:54
Speaker 2: then by, you know, really all he wants after all
36:57
Speaker 2: of this, he just wants to be a real actor.
36:59
Speaker 2: He just wants to get his SAG card. And like,
37:01
Speaker 2: there's our finale, not to jump too far ahead, but like,
37:05
Speaker 2: that's the, that's the other bookend of this story is like, well,
37:09
Speaker 2: I mean, at least that, you know, we, we got that.
37:12
Speaker 2: There's a good thing that came out of this.
37:15
Speaker 3: Which is, I mean, it's funny, like, that's the stakes
37:19
Speaker 3: of the movie. The stakes of the movie are our
37:21
Speaker 3: main character getting his sag.
37:23
Speaker 2: Yeah, it kind of is by the end of it,
37:25
Speaker 2: because I feel like everything else is a wash. Like, yeah,
37:28
Speaker 2: we kind of busted some of these guys along the way,
37:31
Speaker 2: but it still feels like, I don't know. It still
37:34
Speaker 2: feels gross and it still feels weird and it still
37:37
Speaker 2: feels like we were in such a weird scenario every
37:40
Speaker 2: step of the way that we don't know how we
37:43
Speaker 2: even feel about most of what was going on the
37:45
Speaker 2: whole rest of the time. But you want to side
37:48
Speaker 2: with this kid and you like what he's doing. And again,
37:50
Speaker 2: he didn't even have anything to do with this. He
37:52
Speaker 2: just wanted to do musical theater and become an actor. Yeah.
37:55
Speaker 2: He wanted nothing to do with any of this nonsense.
37:57
Speaker 2: So again, he was innocent of it all coming in.
38:01
Speaker 2: He seems like the most innocent person you've ever met.
38:04
Speaker 2: And then by the end, we just want him to
38:06
Speaker 2: go have a career and get a sitcom and have
38:09
Speaker 2: a nice life for God's sakes. And like, that's, that's
38:11
Speaker 2: kind of our through line through the whole thing.
38:14
Speaker 3: Well, and I also like that kind of what I
38:16
Speaker 3: would say is one of the more impactful scenes towards
38:20
Speaker 3: the end of the film where Chris Hansen is just
38:23
Speaker 3: having a breakdown.
38:24
Speaker 2: A complete breakdown. A complete breakdown.
38:27
Speaker 3: And Skylar Gazando steps in and does his job for him.
38:32
Speaker 3: I love that the film doesn't, say either way, but
38:35
Speaker 3: for me, the implication is anybody.
38:38
Speaker 2: Could have done Chris Hansen's job.
38:40
Speaker 3: Yeah, and less creepy, probably. Yeah, and less of kind
38:45
Speaker 3: of in a aggressively dickish way. And that's the thing that,
38:49
Speaker 3: you know, I think Pattinson really captures with the Chris
38:52
Speaker 3: Hansen character because it is a character I mean look
38:54
Speaker 3: he's portraying a real person but portraying a real person
38:58
Speaker 3: is not in fact play like that's not the real
39:01
Speaker 3: person like maybe he's shades of that and he kind
39:03
Speaker 3: of again the things that I've seen having more exposure
39:06
Speaker 3: to it than you do like or you've chosen to
39:09
Speaker 3: even like Chris Hansen just this kind of same kind
39:11
Speaker 3: of like he's self important but he's also a journalist
39:15
Speaker 3: and he's a like news figure and a media personality
39:18
Speaker 3: like I kind of It's not that I don't blame him,
39:20
Speaker 3: but it's one of those things where I'm like, well, yeah, like, duh.
39:24
Speaker 3: So it's I think for me, it's one of those
39:27
Speaker 3: things where Chris Hansen is. is a emotionally kind of
39:33
Speaker 3: unavailable character and That is what makes everything about Skylar
39:38
Speaker 3: Grisando's character so interesting is he is the opposite. He's
39:41
Speaker 3: like too emotionally available. And he's too kind of like
39:44
Speaker 3: willing to be, I guess, human around these people. And
39:48
Speaker 3: so many of these people are not really human in
39:50
Speaker 3: any capacity. I mean, Merritt Weaver, no. Robert Pattinson, no.
39:54
Speaker 3: phoebe bridgers sort of i mean we get one scene
39:57
Speaker 3: between her and skylar gizondo and it's it's an interesting
40:01
Speaker 3: scene but what's weird is like i i almost wish
40:03
Speaker 3: that i could have like another half hour this movie
40:06
Speaker 3: like i.
40:06
Speaker 2: Just switch gears like i i was super interested in
40:10
Speaker 2: the phoebe bridgers character right yeah like give me more
40:13
Speaker 2: of the lead up or more of the in between
40:15
Speaker 2: or it didn't i mean i appreciate needing to be
40:18
Speaker 2: a lean hour and 45 minutes but like Honestly, what
40:22
Speaker 2: the movie is doing is so interesting and weird and
40:25
Speaker 2: kind of unique and novel.
40:27
Speaker 3: I want more of it. It's so kind of unlike
40:30
Speaker 3: a lot of things that you can go and watch because, again,
40:33
Speaker 3: Lance Oppenheim is a documentarian and it's kind of documentary film.
40:39
Speaker 3: It's like documentary and film adjacent. It's kind of this
40:41
Speaker 3: weird in-between where... I don't know. I want more of it.
40:46
Speaker 3: And an hour and 45 minutes is not enough for
40:50
Speaker 3: an idea this interesting. That's essentially taking on something that, again,
40:55
Speaker 3: kind of existed in a very short period of time
40:58
Speaker 3: for only a short period of time.
41:00
Speaker 2: Well, and I feel like you could have spread it
41:02
Speaker 2: out a little more because I feel like we spend
41:04
Speaker 2: so much time With Pattinson which don't get me wrong
41:07
Speaker 2: like I said his performance is great but like we
41:10
Speaker 2: don't really get anywhere like he's just when we meet
41:12
Speaker 2: him he's acting weird and when we leave he's acting
41:15
Speaker 2: weird and like we don't we don't know anything about
41:17
Speaker 2: him really we don't like we learn so little about
41:21
Speaker 2: him as a character that I feel like we spend
41:23
Speaker 2: so much time with him and we get nothing. Versus
41:26
Speaker 2: there's just snippets of these other characters. And I'm like,
41:29
Speaker 2: where's another 15, 20 minutes with Del? Or even we
41:34
Speaker 2: spend a good amount of time with Merritt Weaver, but
41:37
Speaker 2: anything other than the other job offer would have been interesting.
41:40
Speaker 2: Because I feel like, what is she dealing with? Of
41:43
Speaker 2: knowing that she's... coming in and like acting as like
41:46
Speaker 2: producer on a lot of this stuff. And like, how
41:49
Speaker 2: does she, cause we know Anson doesn't seem to care,
41:52
Speaker 2: but like, it seems like other people in the cast
41:54
Speaker 2: should be like, well, I mean, some of what we're
41:56
Speaker 2: doing is not right. Like the way we're going about
42:00
Speaker 2: it at least. And like, so I feel like if
42:02
Speaker 2: we had a little more conflict with some of these
42:04
Speaker 2: other characters or we spent time with them where they
42:07
Speaker 2: were kind of struggling with that, I think it would
42:09
Speaker 2: be more interesting because, than just devoting all the time
42:12
Speaker 2: to our star, but not really getting there. anywhere with him.
42:16
Speaker 2: You know, it's just seems like we, we end up
42:17
Speaker 2: in the same place. We start. I don't.
42:19
Speaker 3: And I guess that's what I don't know. I don't
42:21
Speaker 3: know if, I don't know if the film doesn't want
42:25
Speaker 3: to have anything to say, or if it's afraid to
42:28
Speaker 3: have anything to say, or if it wants us as
42:31
Speaker 3: the audience to have an opinion and it kind of
42:34
Speaker 3: not get in the way of that, because it does.
42:38
Speaker 3: It's not that it's, you know, it's not that it's
42:40
Speaker 3: Switzerland and that, you know, it's neutral, but, It's not
42:43
Speaker 3: neutral by any stretch of the imagination. I mean, I
42:45
Speaker 3: think it's pretty rough with the Chris Hansen character. I
42:48
Speaker 3: don't think, you know, if anybody looks bad from this movie,
42:50
Speaker 3: other than just, again, like fake pedophiles, question mark, like
42:54
Speaker 3: actors playing roles of fake pedophiles, which is to say
42:57
Speaker 3: they're acting. Um, you know, there are some, there's one
43:00
Speaker 3: interesting choice for one of the actors playing one of
43:02
Speaker 3: the pedophiles. Did you realize that the character, the character, uh,
43:06
Speaker 3: whose penis you see that is asking to have sex
43:09
Speaker 3: with a cat is grownup Jonathan Lipnicki, which was not, I.
43:13
Speaker 2: Did see him on the list there. And I was
43:15
Speaker 2: just like, yeah, you don't get a lot of Lipnicki
43:17
Speaker 2: these days.
43:18
Speaker 3: Yeah, or Lipnicki's dick, apparently.
43:20
Speaker 2: Well, that wasn't what I was looking for in this movie,
43:22
Speaker 2: but hey, there you go. There it is.
43:24
Speaker 3: Yeah, it wasn't what I was expecting or anything. It's
43:28
Speaker 3: interesting because I think the person who looks the worst
43:31
Speaker 3: from this movie is Chris Hansen.
43:32
Speaker 2: That's intentional. I would go the other way. That's one
43:37
Speaker 2: of the things I wanted to address in general with
43:39
Speaker 2: this is the tone of this movie because I feel
43:43
Speaker 2: like overall with what it's tackling, it As we've said,
43:47
Speaker 2: it's it's icky. You know, it's like it's gross. It's
43:51
Speaker 2: it's horrifying. Like when you when you get into the
43:55
Speaker 2: reality of what was happening is happening, like what is
43:58
Speaker 2: going on in the world right now is like it's horrifying.
44:01
Speaker 2: But the way that it comes off in this movie
44:04
Speaker 2: is almost like keeping it at arm's length. And maybe
44:07
Speaker 2: it's because it knows if it took it to real,
44:11
Speaker 2: the audiences just wouldn't want to be there. They just
44:13
Speaker 2: get up and leave or not show up at all.
44:15
Speaker 2: So they have to like keep it at a distance
44:18
Speaker 2: and keep it at sort of a it's certainly not
44:20
Speaker 2: a fun version of it, but it's very light. I
44:23
Speaker 2: feel like it's very just not near the nightmare that
44:28
Speaker 2: it actually is. It just seems like it's it's a
44:31
Speaker 2: very distanced version of what's actually going on. And then
44:36
Speaker 2: also on top of that, the thing that I thought
44:38
Speaker 2: was almost weird going into this is how much it
44:41
Speaker 2: humanizes things. those guys that are playing these roles like
44:45
Speaker 2: that specifically our very first one like by the end
44:49
Speaker 2: like there's moments when you're like you don't really because
44:53
Speaker 2: you know who he is and what he's doing but
44:54
Speaker 2: like you see how scared he is and you see
44:58
Speaker 2: how like they're all just these horrible flawed people but
45:02
Speaker 2: like they give you a moment to almost feel that
45:05
Speaker 2: and it's not what you would expect in this type
45:08
Speaker 2: of that I was like really you would think they
45:09
Speaker 2: would just make them all a nightmare and they're just
45:12
Speaker 2: horror show and like you would just come in and
45:14
Speaker 2: be like oh screw this guy we're gonna send him
45:16
Speaker 2: to the chair right now but like it spends just
45:19
Speaker 2: enough time in these little snippets for you to see
45:22
Speaker 2: how sad and vulnerable and terrible they are as people
45:26
Speaker 2: but almost enough to like feel bad for them at
45:29
Speaker 2: points and I'm just like I don't I didn't think
45:32
Speaker 2: we were supposed to be feeling bad for these guys,
45:34
Speaker 2: especially in a mainstream movie like this. Like it's, it's
45:37
Speaker 2: weird that it's adding like a little humanity to these
45:41
Speaker 2: horrible characters, but at the same time bringing in these
45:45
Speaker 2: actors and like having these performances be sort of grounded,
45:50
Speaker 2: real flawed characters is, is a weird choice once again.
45:54
Speaker 2: So everything about the tone for the horrible scenario is surprising.
45:59
Speaker 2: weird and icky it's just weird well.
46:01
Speaker 3: What do you think the intention is with.
46:04
Speaker 2: That i don't know that's the thing like i don't
46:07
Speaker 2: by the end i'm not sure what we're supposed to
46:09
Speaker 2: take from so much of this movie Well, and that's
46:12
Speaker 2: the thing.
46:12
Speaker 3: I feel like, you know, maybe for me, part of
46:15
Speaker 3: it is, you know, that the spectacle that they're presenting
46:18
Speaker 3: in front of the camera is nothing like the spectacle
46:20
Speaker 3: behind the camera is part of what I feel like
46:22
Speaker 3: is kind of the message of it. And, you know,
46:24
Speaker 3: you see that because, you know, Robert Pattinson's Chris Hansen
46:27
Speaker 3: is a walking nightmare. Like he is not the kind,
46:30
Speaker 3: he's really not the kind of person you'd want to
46:32
Speaker 3: spend any time around. There's a scene in the movie
46:34
Speaker 3: where he's, he's trying to get a rice crispy treat
46:38
Speaker 3: out of a vending machine. It's fucking hilarious. And he,
46:41
Speaker 3: The number at the top of the vending machine is there,
46:44
Speaker 3: and he's like, hi, I'm Chris Hansen, and your vending
46:46
Speaker 3: machine stole my money. And it's like, that is literally
46:48
Speaker 3: a fucking meme. But it gets across exactly the kind
46:54
Speaker 3: of person that this version of Chris Hansen, this character
46:57
Speaker 3: that Robert Pattinson is playing. And, you know, we haven't
47:00
Speaker 3: mentioned it yet, but I think it's the film that
47:02
Speaker 3: this film reminds me a lot of.
47:04
Speaker 2: And.
47:05
Speaker 3: you know, to speak to Zodiac, which has an actor
47:08
Speaker 3: in this movie who ends up playing the main character
47:09
Speaker 3: in the movie and talking about Nightcrawler. I mean, this
47:12
Speaker 3: is like Nightcrawler in so many ways. It's like, again,
47:15
Speaker 3: like looking at the lurid and talking about people that
47:18
Speaker 3: are drawn to the lurid and that they're, you know,
47:21
Speaker 3: engaged in looking at the lurid or turning a mirror
47:24
Speaker 3: back onto the lurid. Like, and those people, you know,
47:26
Speaker 3: what does that mean for them? Like that is what
47:28
Speaker 3: nightcrawler was all about. Like that was that I feel
47:31
Speaker 3: like in a nutshell, and I think it's done better.
47:34
Speaker 3: Nightcrawler is, I think this is like a movie that
47:37
Speaker 3: is just not as focused as nightcrawler, because I think
47:40
Speaker 3: what this movie is, and I think what this movie
47:43
Speaker 3: has the most in common, and you're probably going to
47:45
Speaker 3: laugh because, The movie that this reminds me of is
47:47
Speaker 3: The Disaster Artist, because I'm like, what what is why
47:50
Speaker 3: not just go watch To Catch a Predator?
47:52
Speaker 2: Or I mean, if nothing else, I've seen several people
47:55
Speaker 2: mention why not watch his doc? Well, not his, but
47:58
Speaker 2: the documentary that came out like earlier this year, I
48:01
Speaker 2: think that was like about the same thing, just not
48:05
Speaker 2: the fictionalized version starring Robert Pattinson. So like they already did.
48:10
Speaker 2: a documentary about this basic idea. And some of them
48:13
Speaker 2: are like, that one is actually sort of challenging and,
48:16
Speaker 2: and like wants you as the audience to think about
48:19
Speaker 2: what it is that's going on, both from the victim
48:22
Speaker 2: end of it and from the, the TV side of
48:25
Speaker 2: it and the sensationalizing of it. And like, it kind
48:27
Speaker 2: of asked those questions that I don't know that this
48:30
Speaker 2: movie really really ask it. It presents it, but it
48:33
Speaker 2: doesn't really give you a way to feel about it.
48:35
Speaker 2: And that's what, as you were talking about the, the nightcrawler,
48:37
Speaker 2: I was like, that is a good movie, but also
48:40
Speaker 2: I know how to feel about it. Like you watch
48:42
Speaker 2: that character. You're like, Oh no, I know where I
48:44
Speaker 2: stand on this guy. Like, so like, yes, you can
48:47
Speaker 2: see there's a little presentation that he does around other people,
48:51
Speaker 2: but like from the get go, you kind of know
48:53
Speaker 2: who he is and you know where he stands and
48:56
Speaker 2: you know what's going on in his world and how
48:58
Speaker 2: terrible it is where this is. It's just so just
49:02
Speaker 2: a weird presentation across the board that not just our lead,
49:05
Speaker 2: but also the world that he lives in is so
49:08
Speaker 2: the waters are so muddy that I'm just like, I
49:11
Speaker 2: don't even know. Did you guys? I mean, I know
49:15
Speaker 2: we all pick a side, essentially, but like, do you
49:17
Speaker 2: know how you're supposed to feel about these weird? scenarios
49:20
Speaker 2: going on? Because I don't know that the audience does.
49:23
Speaker 3: And I guess that for me is kind of the ultimate, again,
49:27
Speaker 3: question that I have about this movie is, why is
49:30
Speaker 3: this the Chris Hansen story?
49:32
Speaker 2: Exactly.
49:32
Speaker 3: Like, what about.
49:33
Speaker 2: This needed to be the Chris Hansen story? Other than
49:36
Speaker 2: he's he is that cult of personality kind of a
49:39
Speaker 2: guy like that. The presentation that he puts out there
49:42
Speaker 2: does get people's attention. So I get it from like
49:45
Speaker 2: the the initial presentation standpoint, but almost maybe more for
49:50
Speaker 2: the actual TV show end of it. Like I can
49:52
Speaker 2: see him being the lead of that. But him being
49:55
Speaker 2: the center of this specific story is kind of weird,
49:59
Speaker 2: especially the way that we get the entire tale. Like
50:02
Speaker 2: I said, it doesn't really lead anywhere. So it's weird
50:05
Speaker 2: to put him at the center of it. When there's
50:07
Speaker 2: no story arc, there's no character development. He's the same
50:11
Speaker 2: asshole he was in the beginning. So like, I don't
50:15
Speaker 2: really know what the focusing again, it would make more
50:17
Speaker 2: sense if you went with with Dan Plum as our
50:20
Speaker 2: main character or. even focus on the producer or somebody
50:24
Speaker 2: else in the show and like see it from their
50:25
Speaker 2: point of view and be like, maybe it would be
50:27
Speaker 2: a little more of this. Chris Hansen is a monster angle,
50:31
Speaker 2: but like, I, I don't, I feel like it would
50:34
Speaker 2: have more of a take. It would have more of
50:35
Speaker 2: a direction that I feel like is still kind of
50:38
Speaker 2: missing in this version.
50:39
Speaker 3: And that's, I guess that's, uh, it's weird it's just
50:43
Speaker 3: weird that this is a chris hansen right i i
50:46
Speaker 3: again like it feels like we're doing that because it's
50:50
Speaker 3: because of who he is which is fine i know
50:52
Speaker 3: who chris hansen is but i guess what am i
50:54
Speaker 3: as someone who knows who chris hansen is supposed to
50:56
Speaker 3: gain from this i don't know that you do really
50:59
Speaker 3: other than a good a good acting.
51:01
Speaker 2: Role right like that's a weird movie to make is
51:05
Speaker 2: my point like I agree. That's odd.
51:08
Speaker 3: That's an odd way to make a film because I don't,
51:11
Speaker 3: I guess it's, I guess the assumption is that you
51:13
Speaker 3: know who Chris Hansen is going into this movie. And
51:15
Speaker 3: so if we take that step and let's just look
51:18
Speaker 3: at it from that direct, what I know about Chris
51:20
Speaker 3: Hansen and what you know about Chris Hansen in terms
51:22
Speaker 3: of his personal life is very little. When I was
51:24
Speaker 3: watching this film with my girlfriend, she was like, did that, like,
51:27
Speaker 3: did that, you know, affair actually happen? It's like, I
51:30
Speaker 3: don't know. And again, I don't know if it happened,
51:33
Speaker 3: but again, it's being used for dramatic effect in the
51:36
Speaker 3: film because it's like, well, look at what he's doing
51:38
Speaker 3: and look at what someone is doing to him. Like,
51:40
Speaker 3: isn't that awful? And it's like, no, it's not like
51:42
Speaker 3: I again, I don't know if the film is saying, oh,
51:44
Speaker 3: isn't that awful? I actually would not even make the
51:47
Speaker 3: wouldn't even make the case that the film is saying
51:49
Speaker 3: that I guess the film isn't saying anything. And I
51:52
Speaker 3: think it's one of those things where it's almost two
51:55
Speaker 3: hands off. with what it's saying that it may not
51:58
Speaker 3: be saying anything at all. And that I think for me,
52:02
Speaker 3: and what's very funny is if you look at who
52:04
Speaker 3: is going and seeing this 69% of the audience that
52:08
Speaker 3: made up the people that saw this movie over the
52:10
Speaker 3: under 30, y'all were like barely even alive when this
52:14
Speaker 3: was on.
52:15
Speaker 2: For probably don't know who that guy is. Yeah.
52:17
Speaker 3: Like it's, you know, exactly.
52:18
Speaker 2: And it's like, okay, So if you don't know who
52:24
Speaker 2: Robert Pattinson's character is before you see the movie, are
52:28
Speaker 2: you going to believe that this is the way he
52:30
Speaker 2: actually is?
52:30
Speaker 3: Are you going to look into it? And it doesn't matter.
52:32
Speaker 3: I don't really care. That's how much you want to
52:35
Speaker 3: engage with something outside of engaging with it to begin with.
52:38
Speaker 3: But I guess my question is, if you're younger than
52:41
Speaker 3: me and you have gone and seen this film, do
52:44
Speaker 3: you know who Chris Hansen is? If you do, are
52:46
Speaker 3: you walking away from this movie feeling less sympathetic, more sympathetic,
52:51
Speaker 3: or sympathetic at all? Were you even sympathetic at all
52:53
Speaker 3: to begin with? Because that's what I don't understand. I
52:56
Speaker 3: think it's just a shrug at that point.
52:58
Speaker 2: Like, I don't know. The guy was weird.
53:00
Speaker 3: How Gen Z is that, right?
53:03
Speaker 2: Like, I don't know.
53:03
Speaker 3: Like, not to drag the Gen Zers, because I'm not.
53:06
Speaker 2: Like, I have.
53:07
Speaker 3: plenty of Gen Z friends. Like I love the Gen
53:09
Speaker 3: Zers as like a generation, but that like, like that
53:12
Speaker 3: is very, that's like very indicative of them.
53:16
Speaker 2: I think is like a generation is like, does it
53:19
Speaker 2: have to mean anything? I saw the movie. That's like,
53:22
Speaker 2: I left the house. Damn it. I saw a movie.
53:24
Speaker 3: It's like, does it have to mean anything? And it's like,
53:26
Speaker 3: you know, I don't, I don't know if this movie
53:28
Speaker 3: has to mean anything. It could just be broadly quote
53:31
Speaker 3: a vibe unquote. And I'm not saying that like that
53:34
Speaker 3: is in and of itself an excuse, but like, More,
53:36
Speaker 3: it's just like, you know, if Chris Hansen is just
53:40
Speaker 3: the engine that drives the film along and it's him,
53:44
Speaker 3: you know, just we need someone to be our kind
53:47
Speaker 3: of Sherpa up the mountain to catch a predator. And
53:50
Speaker 3: we have this weirdo version of Chris Hansen to do so. Okay,
53:55
Speaker 3: but I agree with you like I'm struggling to understand
53:59
Speaker 3: what the takeaway with his character is other than he's
54:02
Speaker 3: a self-righteous prick who thinks what he's doing is right,
54:05
Speaker 3: which is is is the case at the beginning and
54:08
Speaker 3: is the case at the end like that. Yeah, there's
54:10
Speaker 3: there's no change there and there doesn't have to be
54:13
Speaker 3: a change. I mean, Where's my arc, Tony? Like, you know,
54:15
Speaker 3: there doesn't have to be a change per se, but
54:19
Speaker 3: if you're being given this opportunity to do this, what
54:21
Speaker 3: why aren't you saying or at.
54:23
Speaker 2: Least a revelation like either he has a change within
54:26
Speaker 2: the story or he doesn't and we take something away
54:29
Speaker 2: because of that. But I don't feel like we get
54:32
Speaker 2: either in this scenario like. And you brought up the affair,
54:37
Speaker 2: and that's another one of those things that just feels
54:39
Speaker 2: weird in its presentation, specifically in this story, because, like,
54:44
Speaker 2: it keeps, like, coming back to that as, like, this
54:47
Speaker 2: damning thing. Ah, see, look at him and what he's doing.
54:52
Speaker 2: I'm like, well, yeah, but, like, I was like, you know, I... I,
54:59
Speaker 2: more than most people, am not cool with infidelity. Like,
55:02
Speaker 2: I don't like people who cheat. Like, I'm not on
55:05
Speaker 2: board with any of that. But comparatively, with the other
55:09
Speaker 2: things going on in this story, that is pretty minimal. Like, yeah.
55:14
Speaker 2: You're a horrible husband. But compared to the other things
55:17
Speaker 2: that we aren't really focusing on on the other side
55:20
Speaker 2: of the story, it's very unbalanced and it really presents
55:25
Speaker 2: it as this big damning aspect of his life. And
55:28
Speaker 2: I'm like, yeah, it's wrong, but we're not focusing on
55:32
Speaker 2: its other stuff over here that is horrifying enough And
55:35
Speaker 2: we're spending a lot of time on this thing over
55:37
Speaker 2: here that is, you know, a bad part of his
55:40
Speaker 2: marriage that maybe he doesn't need to be married. But again,
55:44
Speaker 2: it's just weird to even have them on the same scale.
55:47
Speaker 2: And like, it's kind of the worst thing they throw
55:49
Speaker 2: at him in this movie other than him just being
55:51
Speaker 2: an asshole. But like, there's no other. But that's the
55:55
Speaker 2: other one. Like, if there was something different. waiting that
55:57
Speaker 2: like by the end of it, you could, you could
56:00
Speaker 2: unleash this. And then we found on his computer, all
56:03
Speaker 2: this kiddie board. Aha. See, he was the worst of
56:06
Speaker 2: all then. Okay. Well, there's your story, like even more horrifying,
56:10
Speaker 2: but at least you've got an aha moment at the
56:12
Speaker 2: end to like bust out and have a big horrifying
56:15
Speaker 2: twist at the end of this movie. But we don't
56:18
Speaker 2: at best. if you want to call it that he's
56:20
Speaker 2: cheating on his wife. Like that's the only really officially
56:24
Speaker 2: damning thing we had to throw at him other than
56:27
Speaker 2: he's not really a great guy. But I was just like,
56:29
Speaker 2: that's weird that we focus that much. I mean, I
56:32
Speaker 2: guess it came out in the national inquirer. So it's
56:35
Speaker 2: a real thing that they had to throw in there
56:37
Speaker 2: just to have some sort of warts and all, but
56:40
Speaker 2: I'm like, he's got plenty of warts. He doesn't need
56:42
Speaker 2: the affair. Like, Just as a character, he's got plenty.
56:46
Speaker 2: So the fact that they spent as much time and
56:49
Speaker 2: sort of dramatic effect of the affair that could be
56:53
Speaker 2: leaked at any moment, I was like, yeah, I get it.
56:56
Speaker 2: I don't like it about him, but it's just like
56:58
Speaker 2: it's so minor compared to the other horrors going on
57:01
Speaker 2: in this movie.
57:03
Speaker 3: And that, I think, I guess, is maybe the problem
57:06
Speaker 3: with a movie like this, ultimately, is the subject material,
57:10
Speaker 3: because they don't focus on it enough, does kind of
57:12
Speaker 3: feel secondary.
57:14
Speaker 2: But I think it is because, like you just said,
57:17
Speaker 2: it's hard for that not to just be like, well,
57:19
Speaker 2: Jesus Christ, this is a movie about men trying to
57:22
Speaker 2: have sex with children that they met on the internet.
57:26
Speaker 2: There's no getting around it. This isn't like, oh, you
57:28
Speaker 2: know what we're going to do? We're going to do
57:30
Speaker 2: a Serbian film. And a Serbian film is really about
57:33
Speaker 2: the treatment of the Serbian people by the Serbian government.
57:35
Speaker 2: But it's a film with all this really awful stuff
57:38
Speaker 2: in it. So it's metaphorical. No, this is what this was.
57:43
Speaker 2: This was called To Catch a Predator. It was a
57:46
Speaker 2: show about a group that had deputized themselves, seemingly. And
57:50
Speaker 2: that's the other thing. It's weird.
57:53
Speaker 3: I talked with my dad about this when we watched
57:55
Speaker 3: it when I saw them last time they came up
57:57
Speaker 3: to visit. And we were talking about kind of the
58:01
Speaker 3: weirdness of it. The characters in this movie do the
58:05
Speaker 3: same thing that the human beings did on the show,
58:08
Speaker 3: which is they never say that they're police. But they
58:10
Speaker 3: have this weird relationship with the police where they're kind
58:14
Speaker 3: of like spending time with them. And when they go
58:16
Speaker 3: to Murphy, the cops are like, you know, throwing a
58:19
Speaker 3: party and a barbecue for them.
58:21
Speaker 2: And it's like these.
58:22
Speaker 3: Things that blur the line between what is the cops
58:28
Speaker 3: doing this and what is these people being deputized seemingly
58:32
Speaker 3: to do this. And then the cops show up because
58:35
Speaker 3: if the cops were doing this, then it is entrapment.
58:37
Speaker 3: But if it's these guys doing it and then the
58:39
Speaker 3: cops are waiting outside, it's not somehow that's not entrapment,
58:44
Speaker 3: which is, again, the most like you know, splitting of
58:46
Speaker 3: hairs of splitting of hairs, anything possible. But at the
58:50
Speaker 3: same time, that's where, again, we come back to this
58:52
Speaker 3: whole thing with what, what ultimately was the point of
58:56
Speaker 3: to catch a predator, the show to begin with, it
58:58
Speaker 3: was to catch predators. Well, again, small drop in a bucket.
59:01
Speaker 3: The movie makes, makes note of that because again, we
59:04
Speaker 3: see that character of this kind of man wearing a
59:07
Speaker 3: mask when he's in India, Chris Hansen sees his character
59:10
Speaker 3: and then he sees him at the end of the movie.
59:12
Speaker 3: still in the bushes and he never caught him and
59:14
Speaker 3: he never caught him because you can't catch that which
59:17
Speaker 3: is uh you know amorphous i want to say uh
59:21
Speaker 3: is i think it's in the empty man he says
59:23
Speaker 3: you can't indict the cosmos like you can't like the
59:27
Speaker 3: predators pedophilia is an amorphous being it is an entity
59:31
Speaker 3: unto itself like it's not.
59:32
Speaker 2: The ultimate evil that's been there since the dawn of
59:35
Speaker 2: time like anything else like stop it yeah yeah it's.
59:39
Speaker 3: It's a drop in the fucking bucket like literally And
59:42
Speaker 3: that's the thing. Like, I think the movie is wanting
59:44
Speaker 3: to have that conversation. And I think for me, the
59:46
Speaker 3: most interesting part of the movie is that monologue that
59:50
Speaker 3: Chris Hansen has with Skylar Gazanda, where he's talking about
59:53
Speaker 3: India and, you know, going to India and, you know,
59:56
Speaker 3: this this whole idea of like, well, when I was there,
59:58
Speaker 3: there was this, you know. There was this child predator
1:00:00
Speaker 3: that was killing people and he was, you know, ripping
1:00:02
Speaker 3: the children apart and.
1:00:04
Speaker 2: All this stuff.
1:00:04
Speaker 3: And it was like it was like an animal. And again,
1:00:06
Speaker 3: it's that's the most interesting part, because, again, it's like
1:00:09
Speaker 3: this is this is what I wanted from the movie,
1:00:13
Speaker 3: which is I wanted something that was examining Chris Hansen
1:00:17
Speaker 3: as a character. And the movie is afraid to do that,
1:00:20
Speaker 3: which is a shame because like the one time it
1:00:22
Speaker 3: does it in the movie in terms of like an
1:00:24
Speaker 3: actual extended monologue, it's really interesting. But the movie does
1:00:28
Speaker 3: it one time. Like, really only does it one time.
1:00:31
Speaker 3: I don't even know that it's afraid. It feels like
1:00:33
Speaker 3: it's afraid to touch the other, creepier stuff. But it
1:00:37
Speaker 3: seems almost disinterested in his motivation. Like, it's almost like, yeah, yeah, yeah,
1:00:43
Speaker 3: but he's like this. And we like him playing this
1:00:45
Speaker 3: asshole part here. Like, let's not dig into it.
1:00:48
Speaker 2: We don't need to know. That's our thing with the villains.
1:00:50
Speaker 2: We don't need to know why the villains are villains.
1:00:52
Speaker 2: I'm like, well... He's not exactly the villain of this,
1:00:54
Speaker 2: and it probably would be nice if we knew some
1:00:57
Speaker 2: of the reasons he's doing the things he's doing. It
1:01:00
Speaker 2: would at least be more of an interesting character for
1:01:03
Speaker 2: us to watch. But yeah, the movie almost seems disinterested
1:01:06
Speaker 2: in who he is as a character.
1:01:08
Speaker 3: And what's weird is, to your point, it does kind
1:01:10
Speaker 3: of treat him like the villain, but.
1:01:13
Speaker 2: He's not the villain.
1:01:15
Speaker 3: It's again, it's one of these like, well, he's.
1:01:17
Speaker 2: An emotionally complicated and, you know, complex, narratively complex character.
1:01:22
Speaker 3: And it's like, yes, he is. But he's not unique
1:01:25
Speaker 3: in that regard. Like we've seen care again to go
1:01:28
Speaker 3: back to Zodiac or to go back to Nightcrawler like
1:01:32
Speaker 3: Jake Gyllenhaal technically plays two very similar characters in both
1:01:35
Speaker 3: of those movies, and they're very similar to Chris Hansen
1:01:38
Speaker 3: in terms of like this. I wouldn't say misplaced, but
1:01:41
Speaker 3: they're like weird, self-righteous feeling of like what I am
1:01:45
Speaker 3: doing is important and the importance will will out in
1:01:48
Speaker 3: the end. Like that is done so much better in
1:01:50
Speaker 3: those movies. And it's like it's not the space is
1:01:53
Speaker 3: not so crowded anymore. that you can't do that. So
1:01:56
Speaker 3: I don't know why you didn't do it because it's
1:01:58
Speaker 3: like every, it's like a movie like this comes out
1:02:01
Speaker 3: every year and we're so sick and tired of these
1:02:04
Speaker 3: kinds of movies. Like the last kind of movie that
1:02:06
Speaker 3: came out like this one was nightcrawler. And that movie
1:02:08
Speaker 3: came out a fair while ago. And before that was Zodiac,
1:02:12
Speaker 3: which came out in like 2007. It came out pre
1:02:13
Speaker 3: Iron Man at this point. Jesus Christ.
1:02:19
Speaker 2: But those guys are villains. Those guys are killing people. Like,
1:02:24
Speaker 2: one of them's a murderer. The other one goes out
1:02:26
Speaker 2: of his way to let people die sometimes and then
1:02:28
Speaker 2: eventually is killing people, if I'm remembering. It's been a
1:02:30
Speaker 2: while since I've seen that one. And then you've got
1:02:33
Speaker 2: those type of characters that truly are villains. And then
1:02:36
Speaker 2: you've got the other people in this same movie that
1:02:39
Speaker 2: are legitimately villains that are doing... horrible things and it's
1:02:43
Speaker 2: premeditated and it's planned and they're showing up waiting to
1:02:47
Speaker 2: do this to these kids. And again, we kind of
1:02:50
Speaker 2: gloss over all of that and almost villainize this guy
1:02:53
Speaker 2: who's like, again, comparatively, the worst thing he's doing is
1:02:57
Speaker 2: cheating on his wife. That's, that's what's so uneven about
1:03:01
Speaker 2: this movie that like, There's so many aspects of it
1:03:04
Speaker 2: that are so well made and so well done, but
1:03:07
Speaker 2: like it's that overall like just unbalancedness of it all
1:03:12
Speaker 2: that I can't I can't like it just didn't sit
1:03:14
Speaker 2: right by the time I was done because it just
1:03:16
Speaker 2: seems off.
1:03:17
Speaker 3: I just I can't help but feel like it's intentional.
1:03:20
Speaker 2: Probably to some extent. Like, I think it's part of
1:03:23
Speaker 2: and I think as we were saying earlier of like,
1:03:26
Speaker 2: how how do you put, you know, this guy is
1:03:28
Speaker 2: the center of the movie. And I'm like, I think
1:03:30
Speaker 2: the real world answer is because that's how you get
1:03:32
Speaker 2: this made. Like you get your Robert Pattinson. who was like,
1:03:37
Speaker 2: I saw on here, he was just gonna be producer.
1:03:39
Speaker 2: He was just gonna be producer, yeah. And then you're like, well,
1:03:43
Speaker 2: but you should play this guy. So now you've got
1:03:46
Speaker 2: Robert Pattinson in the lead, you're already halfway there of
1:03:50
Speaker 2: getting this thing greenlit, so then you put this really
1:03:53
Speaker 2: creepy spin on it, and you're like, Again, that that
1:03:56
Speaker 2: trailer that we watched looked like a horror movie like
1:03:59
Speaker 2: in it. The movie itself actually doesn't feel near as
1:04:02
Speaker 2: as horrifying and creepy as what was portrayed in that trailer.
1:04:07
Speaker 2: Like it's like I said, it's a lot lighter about
1:04:10
Speaker 2: the horrible things going on than it should be, probably.
1:04:13
Speaker 2: But like if you present it like it's got this weird,
1:04:17
Speaker 2: eerie tone and like we've got this guy who is
1:04:20
Speaker 2: he the bad guy? Which, you know, as we find out, no,
1:04:23
Speaker 2: not at all, really, compared to what else is going
1:04:26
Speaker 2: on in this world. He's just kind of an asshole
1:04:28
Speaker 2: is what he is. But like, I think that's the
1:04:31
Speaker 2: real world answer is you have to bring in this
1:04:33
Speaker 2: big recognizable star and you had to put this spin
1:04:36
Speaker 2: on it to get this story made as a movie.
1:04:39
Speaker 2: Because otherwise, what are you left with? Like, if you're
1:04:42
Speaker 2: just looking at the script, it's like you don't even
1:04:44
Speaker 2: have a revelation to bring to these people. So it's like,
1:04:48
Speaker 2: if you don't have some sort of angle to it,
1:04:50
Speaker 2: like what do you even do with this movie as
1:04:53
Speaker 2: it is?
1:04:53
Speaker 3: So, and you know, if, if the film, when I
1:04:56
Speaker 3: don't think it, I, you know, I don't think the
1:04:58
Speaker 3: film is, is, is going to win. Well, I don't know.
1:05:00
Speaker 3: It's going to not win any Oscars. It might win
1:05:02
Speaker 3: some Oscars. It does have some of those things that
1:05:05
Speaker 3: could lead to an Oscar, but, I want to mention
1:05:07
Speaker 3: something that we haven't really talked in terms of the film.
1:05:10
Speaker 3: And I think it's definitely something worth talking. This film
1:05:13
Speaker 3: looks amazing.
1:05:14
Speaker 2: Oh yeah. I, again, I mentioned like the, the look
1:05:17
Speaker 2: of it, but like we have not dug into it.
1:05:19
Speaker 2: Cause yeah, it is so well done just visually design wise,
1:05:24
Speaker 2: you know, cinematography, like, you know, even just the sets,
1:05:29
Speaker 2: the kitchen that they're in, you know, it's like, it's
1:05:31
Speaker 2: so well put together. And so like, tacky in its
1:05:36
Speaker 2: own way. It digs into the creepiness of this scenario
1:05:41
Speaker 2: more so than the story does sometimes. It's just the
1:05:43
Speaker 2: presentation of it all. It's a very DV-coded film.
1:05:47
Speaker 3: I mean, it does. It definitely looks like a time
1:05:50
Speaker 3: and a place, the mid-2000s, where.
1:05:53
Speaker 3: This was the kind of footage, I mean, if you
1:05:55
Speaker 3: go watch To Catch a Predator, the one thing I
1:05:57
Speaker 3: think of is the grungy nature of the footage because
1:06:00
Speaker 3: it was in a time where HD was not where
1:06:04
Speaker 3: it is now. And it's just not, it's not, I
1:06:08
Speaker 3: don't know, it's just not what it is now. I mean,
1:06:10
Speaker 3: you just have to watch it. You can see if
1:06:12
Speaker 3: you watch it.
1:06:13
Speaker 2: I was finding quotes about it. One of them, it
1:06:16
Speaker 2: mentions the sleazy, douchey vibe of early 2000s videotape and
1:06:20
Speaker 2: closed circuit four quadrant TV. I was like, yeah, exactly.
1:06:25
Speaker 2: Like that's the feel of so much of what's going on.
1:06:28
Speaker 2: Once they get in the house there, the bait that
1:06:31
Speaker 2: goes on there and the, the creepy aspect of all that,
1:06:35
Speaker 2: that like, again, it's like, it's right there. Like it
1:06:38
Speaker 2: goes right up to the point of like having just
1:06:41
Speaker 2: that house and that the, the layout and bringing out
1:06:45
Speaker 2: cookies and sweet tea and like having the kid be
1:06:48
Speaker 2: all shucks, hang on, let me go check and see.
1:06:51
Speaker 2: And I think I spilled something on my shirt. Like
1:06:53
Speaker 2: it's so, it's so creepy in all of that presentation,
1:06:58
Speaker 2: but then it gets right up to, which again, maybe
1:07:00
Speaker 2: because of the show, it may be the show's fault
1:07:03
Speaker 2: that the show itself initially, then, then pulls the rug
1:07:06
Speaker 2: out from under them. And us, the viewer, when Chris
1:07:09
Speaker 2: comes walking out, it's like, Hey, how's it going? I'm
1:07:12
Speaker 2: here to mess up your whole evening. Oh, and kind
1:07:15
Speaker 2: of the vibe of what's going on in this movie.
1:07:17
Speaker 2: So I don't know. It's just such a weird, again, weird,
1:07:21
Speaker 2: unbalanced of what's going on there because the look of
1:07:23
Speaker 2: it is so good. And that the creepiness of the,
1:07:26
Speaker 2: the way that it looks and the way that it
1:07:28
Speaker 2: feels otherwise is so well done. And then it just
1:07:32
Speaker 2: sort of doesn't deliver on the rest of it, which
1:07:35
Speaker 2: again is, is hard to say because you don't want that.
1:07:38
Speaker 2: It's not like you signed up to watch anything creepier
1:07:41
Speaker 2: in that area, but at the same time, if you're
1:07:44
Speaker 2: not going to go down that road, why make this movie?
1:07:46
Speaker 2: Like that's kind of the point of this movie is, Like,
1:07:49
Speaker 2: that's the thing. I don't want to make this movie. Like,
1:07:51
Speaker 2: if I'm them and, like, you throw this idea at me,
1:07:54
Speaker 2: I'm like, ew, gross. No, no, no. Thank you.
1:07:56
Speaker 3: No.
1:07:57
Speaker 2: I'll go find something I want to be passionate about.
1:07:59
Speaker 2: This is just, it's icky and I don't want to
1:08:02
Speaker 2: devote my time to it as a filmmaker. But if
1:08:05
Speaker 2: you're going to, like, isn't that what you do? See,
1:08:08
Speaker 2: here's the thing.
1:08:09
Speaker 3: I would do a film like this. That's why I
1:08:12
Speaker 3: enjoy it.
1:08:13
Speaker 2: I think I.
1:08:14
Speaker 3: Enjoyed this movie more than you did. Because I do
1:08:16
Speaker 3: enjoy the ickiness of this movie. The kind of icky
1:08:19
Speaker 3: core of this movie. I do enjoy it. Because I
1:08:21
Speaker 3: think that's the thing. Robert Pattinson, clearly an ickmeister like me.
1:08:28
Speaker 3: He's reveling in it in this movie. Here's the thing
1:08:30
Speaker 3: that we haven't talked about. For all intents and purposes,
1:08:32
Speaker 3: this is a biopic. I fucking hate biopics. for the
1:08:37
Speaker 3: most part like imagine a biopic but not this one
1:08:41
Speaker 3: like just a normal one and it's like okay any
1:08:44
Speaker 3: other biopic and i'm not even interested i'm not even
1:08:47
Speaker 3: engaged i'm not even watching it and this film it's
1:08:49
Speaker 3: like well it's a biopic masquerading as like an investigative
1:08:53
Speaker 3: journalism mockumentary like again i don't even it's what's weird
1:08:57
Speaker 3: about this movie is it i can't even class it
1:09:00
Speaker 3: as something because it is so its own thing. I mean,
1:09:03
Speaker 3: in a, in, in both a good way and a
1:09:05
Speaker 3: bad way. And I think that that, and that hurts
1:09:07
Speaker 3: and helps the film because there are very few films
1:09:09
Speaker 3: like it, And there are very few films like it,
1:09:12
Speaker 3: which means it occupies kind of a spot of good
1:09:15
Speaker 3: and bad because I can't really compare it to anything.
1:09:17
Speaker 3: But that's not a bad thing for most of watching films.
1:09:20
Speaker 2: Most of the time, yeah.
1:09:21
Speaker 3: Most of the time. But there are a lot of
1:09:23
Speaker 3: people that will not watch weird things.
1:09:24
Speaker 2: That's true. And I don't blame them. This lands in
1:09:27
Speaker 2: a weird spot that I feel like regular audiences are
1:09:30
Speaker 2: going to tune out. Like if they're watching this when
1:09:33
Speaker 2: it ends up streaming at home, I feel like there's
1:09:36
Speaker 2: going to be a lot of people that turn it
1:09:37
Speaker 2: off midway in because they're either weirded out by the
1:09:40
Speaker 2: subject matter, which, duh, why are you here? Like you
1:09:43
Speaker 2: should know better before you even start it, really. But
1:09:46
Speaker 2: even then, I mean, once you get into it, it's
1:09:48
Speaker 2: not even a traditional like they're probably the kind of
1:09:50
Speaker 2: people who might watch the show and have been, you know,
1:09:54
Speaker 2: I'm on my high horse and I can get on.
1:09:56
Speaker 2: I can pick a side. I can be like these
1:09:57
Speaker 2: horrible people. Look at them. Whereas you don't. It's harder
1:10:00
Speaker 2: to do that with this movie because everything's so muddy
1:10:03
Speaker 2: and everybody's so weird and creepy. That you don't even
1:10:06
Speaker 2: get to do that as much as just watching the show.
1:10:09
Speaker 2: So I feel like it's going to be a harder
1:10:11
Speaker 2: sell for even the audience that once watched the show
1:10:14
Speaker 2: will watch this and be like, wait, what is this? So, yeah.
1:10:18
Speaker 3: That's why I compared it to the disaster artist, because
1:10:21
Speaker 3: I feel like the only other thing I can compare
1:10:23
Speaker 3: this to in terms of what it's trying to do
1:10:25
Speaker 3: in terms of recreating something in a higher def version
1:10:29
Speaker 3: than the version we get is the disaster. And if
1:10:32
Speaker 3: that movie could, it would just have remade the room.
1:10:35
Speaker 3: And I don't know why it just didn't remake. I
1:10:37
Speaker 3: don't know why it wasn't just let's remake. And I'm
1:10:40
Speaker 3: not because you can't really.
1:10:42
Speaker 2: I mean.
1:10:43
Speaker 3: Well, other than the fact that they've also gone and
1:10:45
Speaker 3: just done that now recently, too, which is fine. So
1:10:49
Speaker 3: it's I guess my point being, you know, that's the
1:10:51
Speaker 3: only reason I am feeling like I can compare it
1:10:53
Speaker 3: to that, because I similarly to that film, like nobody
1:10:58
Speaker 3: in the disaster artist comes out looking good. I think
1:11:01
Speaker 3: everybody in that looks icky and weird.
1:11:03
Speaker 2: Both the people.
1:11:05
Speaker 3: In front of the camera and the people behind the camera.
1:11:07
Speaker 3: I mean, just talking about, again, James Franco, my God. Again,
1:11:11
Speaker 3: anybody involved in a movie about the worst movie ever,
1:11:15
Speaker 3: which is just like a, such a self-aggrandizing, like, pat
1:11:19
Speaker 3: on the back of it all. Like, it's not even
1:11:21
Speaker 3: the worst movie ever made. It's not even close to
1:11:23
Speaker 3: the worst movie ever made. Like, it's... I could give
1:11:26
Speaker 3: you a movie that came out this year that's worse
1:11:28
Speaker 3: than that, just based on the fact that it, again,
1:11:30
Speaker 3: is much more expensive, made way less money, and was
1:11:33
Speaker 3: being sad. Way more time and effort put into it
1:11:36
Speaker 3: in a soulless way than The Room, which is a
1:11:39
Speaker 3: small indie pic made by a fucking weirdo that someone
1:11:43
Speaker 3: in Hollywood resonated with, and then someone else did, and
1:11:45
Speaker 3: then that caught on. I mean, there were small films
1:11:48
Speaker 3: like The Room that were like similar to it like
1:11:51
Speaker 3: Birdemic you remember Birdemic that was another like I've seen
1:11:54
Speaker 3: Birdemic in the vein of the room like again there
1:11:57
Speaker 3: was a time when those kinds of movies came out
1:11:59
Speaker 3: like this movie I think is more about like doing
1:12:02
Speaker 3: that same reappraisal of a thing that was done in
1:12:05
Speaker 3: low def or low or shitty high def and turning
1:12:09
Speaker 3: it into like again navel gazing of a different kind. Like, well, we're,
1:12:14
Speaker 3: we're our tours and we're going to, we're going to
1:12:16
Speaker 3: our tour of fi to catch a predator, which is
1:12:19
Speaker 3: like the lowest of lowbrow shit. It really is like,
1:12:22
Speaker 3: and that's the thing. Like I love to catch a predator,
1:12:24
Speaker 3: but I love the meme of to catch a predator.
1:12:26
Speaker 3: Like the meme culture around to catch a predator is funny.
1:12:29
Speaker 3: There's a lot of like weird, like follow up with
1:12:33
Speaker 3: these fucking weirdos after the fact. And like, they are
1:12:36
Speaker 3: just weirdos and perverts and like, pedophiles and all like,
1:12:41
Speaker 3: and again, like, but that's what is so strange is
1:12:45
Speaker 3: this is taking place in a pre social media era
1:12:48
Speaker 3: because again, they're, they're talking on aim for God's sakes.
1:12:51
Speaker 3: And like an internet chat room.
1:12:53
Speaker 2: Um, it's weird because this is taking place.
1:12:56
Speaker 3: In a time and a place that the people who
1:12:58
Speaker 3: are watching this movie in 69% nice droves didn't even
1:13:03
Speaker 3: grow up.
1:13:04
Speaker 2: They grew up with the, like Gen Z grew up
1:13:06
Speaker 2: with the internet.
1:13:07
Speaker 3: My generation, the millennials are like the last generation to
1:13:10
Speaker 3: grow up kind of on the cusp of without the Internet.
1:13:12
Speaker 3: Gen Zers have had it the whole time. And it's
1:13:16
Speaker 3: the movie is set in a time and place which
1:13:18
Speaker 3: is like it didn't look like this. It didn't look
1:13:21
Speaker 3: like some like, you know, DV, you know, you know,
1:13:25
Speaker 3: washed out expressionistic dream like this movie is so, you know,
1:13:29
Speaker 3: it's so funny when you look at the scenes. of
1:13:31
Speaker 3: them like recreating the kitchen or these rooms where these
1:13:36
Speaker 3: predators are caught. It's like, oh my God, look at
1:13:38
Speaker 3: the set value now. Versus like the original, like, It's
1:13:41
Speaker 3: fucking like, it's like the Arrested Development House. Fucking, you know,
1:13:45
Speaker 3: you open up the cabinet and there's nothing there. Where
1:13:48
Speaker 3: there's a bowl of fucking fake fruit on the table. Like,
1:13:51
Speaker 3: you see it in that first scene where the guy
1:13:53
Speaker 3: is wise to what's going on immediately when he looks
1:13:55
Speaker 3: at the cookies and they're like fucking two weeks old.
1:13:58
Speaker 3: And it's like, what the fuck? Like, these are not
1:14:00
Speaker 3: fresh baked cookies.
1:14:01
Speaker 2: Like, it's funny because it almost feels like people that
1:14:05
Speaker 2: were there, because Lance Oppenheim, I want to say, is
1:14:08
Speaker 2: around my age. which would be like mid thirties.
1:14:12
Speaker 3: So someone who was there in as much as you
1:14:14
Speaker 3: could have been.
1:14:15
Speaker 2: Yeah, he's 30.
1:14:16
Speaker 3: So he's been, I am reappraising something that it's not
1:14:20
Speaker 3: that he wasn't there for it, but the people that
1:14:23
Speaker 3: are resonating with it weren't there for it, which is
1:14:26
Speaker 3: so weird. And it's again, it's like, It's not that
1:14:29
Speaker 3: they aren't watching to catch a predator. The only reason
1:14:31
Speaker 3: they're watching this movie is because of to catch. I
1:14:34
Speaker 3: think a lot of people who are watching this, it's
1:14:35
Speaker 3: because they've like watched to catch a predator because there's
1:14:38
Speaker 3: a shocking, a large amount of to catch a predator
1:14:41
Speaker 3: content on YouTube outside of just the show itself.
1:14:45
Speaker 2: Kind of being a thing that people watch.
1:14:47
Speaker 3: I mean, it's a thing that it is a thing
1:14:49
Speaker 3: that I watch from time to time. Like it is like,
1:14:52
Speaker 3: it is, I'm going to say this and I don't
1:14:53
Speaker 3: want to like out myself here as like a fucking weirdo,
1:14:56
Speaker 3: but it is a very funny show.
1:14:58
Speaker 2: I've heard this just. I've heard this described as a
1:15:02
Speaker 2: black comedy by some people. And I was like, it
1:15:05
Speaker 2: kind of is like, what a weird place to park
1:15:09
Speaker 2: your flag. I was just like, yeah, I'm going to
1:15:11
Speaker 2: make a comedy about this. I was like, ah, once again,
1:15:16
Speaker 2: I'm like, this is, this is a unsteady land that
1:15:19
Speaker 2: you're building. I was like, what are you doing?
1:15:23
Speaker 3: I think that the film is a rather black comedy
1:15:27
Speaker 3: for a couple reasons. I think we have this kind
1:15:29
Speaker 3: of hero creation myth that Chris Hansen clearly in the
1:15:33
Speaker 3: movie believes in because we have him We have him
1:15:36
Speaker 3: freaking out in a scene that is better suited for
1:15:39
Speaker 3: an actual action film, including him wearing a bulletproof vest,
1:15:46
Speaker 3: which makes it look like if you were watching this movie,
1:15:48
Speaker 3: any other like, you know, actual serious action movie. But
1:15:52
Speaker 3: it turns out it's just this guy harassing like pedophiles.
1:15:57
Speaker 3: and screaming at them and then having the cops come
1:15:59
Speaker 3: and arrest them.
1:16:00
Speaker 2: Like, that's the thing. If you boil this down, I mean,
1:16:03
Speaker 2: that is what the movie is effectively saying that Chris
1:16:05
Speaker 2: Hansen was doing is like, he's just harassing. Well, and
1:16:08
Speaker 2: it's so funny watching the one time the guy like
1:16:12
Speaker 2: puts his hands on him and he, it freaks him out. Like,
1:16:14
Speaker 2: he's just like, he's not, he wants to be the
1:16:17
Speaker 2: one in charge. He wants to be the one that's
1:16:19
Speaker 2: like so self-righteous, but even when it comes into like
1:16:22
Speaker 2: human contact, he like freaks out. And I'm not sure
1:16:26
Speaker 2: if it was because it was these creepy guys, but
1:16:28
Speaker 2: it feel like it feels like it was just like
1:16:30
Speaker 2: general human contact. Like he's so in his bubble and
1:16:34
Speaker 2: so in his role that anything that breaks that it
1:16:37
Speaker 2: sort of breaks the myth of all of it. And
1:16:40
Speaker 2: he's just like, oh, like he doesn't know how to
1:16:42
Speaker 2: handle anything at that point. Once the guy like touches him,
1:16:47
Speaker 2: it freaks him out on like a basic level.
1:16:50
Speaker 3: Which is very funny because again, like it's it, I
1:16:53
Speaker 3: think it's this, this movie, I think really does speak
1:16:57
Speaker 3: to the idea of like, what, what is the myth
1:17:00
Speaker 3: that we create for ourselves in terms of what are
1:17:03
Speaker 3: we willing to allow ourselves to believe is our own
1:17:06
Speaker 3: self importance. And I think it's, I think the movie
1:17:09
Speaker 3: kind of gets ahead of itself by making Chris Hansen
1:17:11
Speaker 3: like an asshole from the start. I think it should have.
1:17:14
Speaker 3: I mean, if it if it hadn't had him been
1:17:16
Speaker 3: being an asshole from the start and it had him
1:17:18
Speaker 3: building up to that, which is perfectly fine, like just
1:17:21
Speaker 3: having a character kind of degrade and erode into this
1:17:24
Speaker 3: kind of just egotistical maniac monster of a human being. Like, I,
1:17:29
Speaker 3: I think it would have worked better because I think
1:17:31
Speaker 3: by the end of the movie, we have this This
1:17:34
Speaker 3: person who has completely bought into their own myth, their
1:17:38
Speaker 3: own importance, their own kind of like, well, I can
1:17:41
Speaker 3: change the world and what I'm doing is important. And
1:17:44
Speaker 3: I think that the film, if you if you were
1:17:45
Speaker 3: to start at a point lower than the one it
1:17:48
Speaker 3: begins at and get to the point where the film
1:17:50
Speaker 3: does get to, I think that could have been a
1:17:53
Speaker 3: more earned moment for the film.
1:17:55
Speaker 2: It's doing such a limited amount of time. That's the thing.
1:17:58
Speaker 2: It's just when this show becomes a show, essentially, if
1:18:02
Speaker 2: you started back when he was still an investigative journalist
1:18:05
Speaker 2: and he's like dealing with that stuff, even if we
1:18:08
Speaker 2: just got snippets of that at the beginning, it, he
1:18:11
Speaker 2: might've been more of a human being back then. So like,
1:18:13
Speaker 2: it might be his origin story as this guy. We
1:18:16
Speaker 2: don't get that in this movie, but like we, we
1:18:19
Speaker 2: might have had somewhere for him to go. Whereas in
1:18:22
Speaker 2: this amount of time, he's already there. So like, there's
1:18:24
Speaker 2: no progression. There's no regression. There's just like, yeah, this
1:18:28
Speaker 2: is who this guy is. This is what he does,
1:18:30
Speaker 2: which is such a weird choice. But again, I think
1:18:33
Speaker 2: it does speak more to, and there's this weird moment
1:18:36
Speaker 2: in the movie that I think is intentionally mirroring 2001,
1:18:40
Speaker 2: a space odyssey. I mean, I, you tell me if
1:18:44
Speaker 2: that's what it's mirroring, but again, like, I feel like
1:18:46
Speaker 2: this movie is trying to have a bigger conversation with
1:18:50
Speaker 2: about the human experience than maybe it's even capable of having.
1:18:54
Speaker 2: I don't know. You tell me.
1:18:55
Speaker 3: I'm not trying to say this movie is super heady
1:18:58
Speaker 3: in what it's doing. But you tell me if the
1:19:00
Speaker 3: movie does kind of seem like it's trying to be
1:19:02
Speaker 3: a little bit more than just, oh, this is just
1:19:06
Speaker 3: a movie about Chris Hansen, the guy who was catching
1:19:08
Speaker 3: all the pedophiles.
1:19:09
Speaker 2: And again, you tell me if I'm wrong.
1:19:13
Speaker 3: But it does feel like it's trying to have a
1:19:15
Speaker 3: bigger conversation.
1:19:16
Speaker 2: I mean, that scene where Robert Pattinson throws the bone
1:19:19
Speaker 2: in the air, that seemed a little far, but I mean...
1:19:22
Speaker 2: That's what I was going to say. A new spaceship
1:19:24
Speaker 2: is going to show up in this movie. God damn you,
1:19:26
Speaker 2: son of a bitch. Fine. Never mind. I take this seriously,
1:19:31
Speaker 2: Brian Redfoe, don't you? That's the thing. I think that's
1:19:35
Speaker 2: part of what is so uneven, as I've said, so
1:19:39
Speaker 2: unbalanced about it, because I feel like... ideally you want
1:19:43
Speaker 2: it to be about something like that and you want
1:19:45
Speaker 2: it to present like the real evil of what's going
1:19:49
Speaker 2: on and not pull back from that. But at the
1:19:51
Speaker 2: same time question, like, why is this guy being such
1:19:55
Speaker 2: a lech about it? Like, why is he, why is
1:19:58
Speaker 2: he so concerned with promoting himself in this process? It's
1:20:03
Speaker 2: not about him saving these kids. It's about him putting
1:20:07
Speaker 2: himself in front of a camera and, And making himself
1:20:10
Speaker 2: the star of a primetime television show. Oh, and by
1:20:13
Speaker 2: the way, we busted these guys too. Which I'm okay
1:20:16
Speaker 2: with though. Him front and center is the most important part.
1:20:19
Speaker 2: And that I feel like is something they also need
1:20:22
Speaker 2: to question a little more. And I feel like they don't.
1:20:25
Speaker 3: I guess I guess for me, my takeaway is if
1:20:28
Speaker 3: the movie is just about showing how fucked up the
1:20:32
Speaker 3: people on the other side of the again, if you
1:20:36
Speaker 3: take this movie and take a step back and you say, look,
1:20:38
Speaker 3: the show was about, you know, publicly condemning because he
1:20:41
Speaker 3: even says it in the movie.
1:20:43
Speaker 2: Right. He's like back in days of your life. There
1:20:46
Speaker 2: were pillories in the towns, which makes me think of
1:20:49
Speaker 2: that fucking bit from Celebrity Jeopardy where David Duchovny is
1:20:53
Speaker 2: portraying Jeff Goldblum. And he's like, what is it I
1:20:56
Speaker 2: have here? It's like, is it's a what do you.
1:20:59
Speaker 3: Call it in days of yore when they would put people? Oh,
1:21:02
Speaker 3: you mean a stockade or a pillory? Ah, yes. No,
1:21:05
Speaker 3: it's a fucking hammer.
1:21:06
Speaker 2: Like it's.
1:21:07
Speaker 3: I think the movie is taking upon itself to say
1:21:11
Speaker 3: the people that are on the one side of the
1:21:14
Speaker 3: finger pointing are really no better in terms of the
1:21:17
Speaker 3: judging than the people. The people judging are no better
1:21:20
Speaker 3: than the people being judged in terms of having their
1:21:23
Speaker 3: own foibles. It's just obviously we have this foible of,
1:21:28
Speaker 3: I'm not going to say the Trump card, but it
1:21:31
Speaker 3: is the Trump card that one plays in terms of
1:21:33
Speaker 3: bad foibles. It's the one where you have to register
1:21:35
Speaker 3: foibles Even if you murder someone, you don't have to
1:21:38
Speaker 3: register with a state government body or national government body
1:21:44
Speaker 3: that doesn't allow you to live near schools. I'd like
1:21:47
Speaker 3: to point that out. You can kill someone, and that
1:21:49
Speaker 3: is not a thing that follows you the way being
1:21:52
Speaker 3: a sex offender is.
1:21:53
Speaker 2: Yeah, I don't think you move into the neighborhood and
1:21:55
Speaker 2: have to go door to door and be like, hi,
1:21:57
Speaker 2: I murdered a guy a couple of years back and
1:21:59
Speaker 2: just wanted to let you guys know I murdered some people.
1:22:01
Speaker 3: No, there's none of that.
1:22:03
Speaker 2: And that's the thing.
1:22:03
Speaker 3: It's like that, the Trump card in this movie is like,
1:22:06
Speaker 3: we'll see like Chris Hansen's terrible and Merritt Weaver, who
1:22:10
Speaker 3: we've barely even talked about, is also terrible. And Phoebe Bridger, eh,
1:22:14
Speaker 3: maybe not terrible. And Skylar Gazzando, eh, probably not terrible.
1:22:17
Speaker 3: They're the kind of innocents here. but seemingly everybody else
1:22:21
Speaker 3: is kind of like involved in the kind of lurid
1:22:24
Speaker 3: lascivious nature. And like, we, we have the one guy
1:22:27
Speaker 3: who's just, I mean, you know, he, we have Chris Hansen,
1:22:30
Speaker 3: who's terrible.
1:22:31
Speaker 2: We have Merritt Weaver's character. Who's terrible.
1:22:33
Speaker 3: And then we have Matthew Maher's character, the kind of
1:22:37
Speaker 3: the founder of perverted justice. So I think looks the
1:22:39
Speaker 3: worst of anybody in the movie.
1:22:42
Speaker 2: He's very excited about what he does. And I'm like,
1:22:45
Speaker 2: that's weird. But that's the thing, right?
1:22:47
Speaker 3: Like, and we see it in that scene with Phoebe
1:22:49
Speaker 3: Bridger's character where she.
1:22:50
Speaker 2: Is like, you know what?
1:22:52
Speaker 3: I am not going to go on screen if we
1:22:53
Speaker 3: are selling these like perverted justice underwear. These like a
1:22:57
Speaker 3: thong that's making a joke about like contents inside have
1:23:00
Speaker 3: been aged to 18 years or older. Which is funny
1:23:03
Speaker 3: because that's the bridge that you're not willing to cross.
1:23:06
Speaker 3: Like this, you're willing to do all these other things,
1:23:08
Speaker 3: including entrapping people and all this other stuff, which again,
1:23:12
Speaker 3: not defending the people they're entrapping, but just saying like,
1:23:14
Speaker 3: you're willing to do kind of questionable things of their
1:23:17
Speaker 3: own right. But that's the thing that's the bridge too far.
1:23:20
Speaker 2: Marketing and merchandising, it's crossing a line. The marketing rights
1:23:25
Speaker 2: alone will make us rich beyond our wildest dreams.
1:23:29
Speaker 3: That's the thing. It's very funny to me because, again,
1:23:32
Speaker 3: it's making light of and asking the people that are
1:23:36
Speaker 3: involved in this, where are they coming from this morally?
1:23:39
Speaker 3: And I do like that everyone on the production side
1:23:43
Speaker 3: of things are as, I wouldn't say fucked up, but
1:23:46
Speaker 3: they're as morally ambiguous, if not... morally like negative characters
1:23:51
Speaker 3: just about as much as the characters that are the
1:23:54
Speaker 3: pedophiles and like you said it in a way it
1:23:57
Speaker 3: humanizes the pedophiles more which it does what a weird
1:24:01
Speaker 3: choice but at the same weird joy but at the
1:24:03
Speaker 3: same time.
1:24:04
Speaker 2: Like i kind of respect it because that's the intention
1:24:06
Speaker 2: of the filmmaker it has I mean, the one I
1:24:08
Speaker 2: would have liked to have spent more time with, and
1:24:10
Speaker 2: only because of the performance. Again, he's the big whale
1:24:14
Speaker 2: at the end of this they're trying to land. But
1:24:16
Speaker 2: when you get to Alex Winter, and I'm like, I
1:24:19
Speaker 2: will give him, when you're the big bad of the movie,
1:24:22
Speaker 2: you'd sign on for that. These other guys, I'm like,
1:24:24
Speaker 2: I don't know why you guys signed on for these roles.
1:24:26
Speaker 2: This is not a good place to be. But when
1:24:29
Speaker 2: you're like that, like you're the big finale of it.
1:24:32
Speaker 2: I'm like, I can see that being a role that
1:24:34
Speaker 2: you would be like, you'd get the script. You'd be like,
1:24:36
Speaker 2: all right, this is, this is it. This is my role.
1:24:39
Speaker 2: But we really don't like he's, he's so good. What
1:24:42
Speaker 2: little time we spend with him, but we don't even
1:24:45
Speaker 2: get like, we don't get a handle on who he
1:24:48
Speaker 2: is in his career. We don't really know what it
1:24:51
Speaker 2: is that that's drawn him to that. Like, again, it
1:24:54
Speaker 2: keeps him like sort of in the dark, which I
1:24:56
Speaker 2: guess would if it were a different type of presentation
1:24:59
Speaker 2: would make sense. But I feel like there's so much
1:25:02
Speaker 2: there that could be interesting. Just from dramatic standpoint, you know,
1:25:06
Speaker 2: obviously the character and the story itself is horrible. But
1:25:10
Speaker 2: like from from an acting standpoint of like you could
1:25:12
Speaker 2: really kind of bring something to that when you're bringing
1:25:15
Speaker 2: in a really good actor, which Alex is. And like
1:25:18
Speaker 2: I kind of would have liked to have seen a
1:25:20
Speaker 2: little more time with our big villain at the end there.
1:25:23
Speaker 2: But we don't get much with him. Which is wild
1:25:26
Speaker 2: that it's Alex Wintour. He's having a renaissance these days.
1:25:29
Speaker 2: He's coming off his big dramatic play. And, you know,
1:25:33
Speaker 2: now he's got a big dramatic role that I'm sure.
1:25:35
Speaker 2: And once again, seeing the screenplay being the big finale
1:25:39
Speaker 2: that it is, this could be like the supporting Oscar
1:25:43
Speaker 2: role kind of a thing if it were the right
1:25:45
Speaker 2: movie in the right hands. I think these are good
1:25:48
Speaker 2: hands as far as the filmmakers go, but I don't.
1:25:51
Speaker 2: he's not really got enough screen time to do that.
1:25:54
Speaker 2: I don't think it's going to come with this role
1:25:56
Speaker 2: because he just doesn't get a chance to deliver. But
1:25:59
Speaker 2: I can see that being the lure from the acting
1:26:02
Speaker 2: standpoint of like, this is, this is heavy and dramatic.
1:26:05
Speaker 2: And this is the kind of thing that you could,
1:26:07
Speaker 2: you could get recognition over, especially somebody who's not had
1:26:10
Speaker 2: as much, you know, for, for where he came from.
1:26:13
Speaker 2: So like he was very popular, but he didn't get
1:26:15
Speaker 2: a lot of props for his acting over the years,
1:26:19
Speaker 2: which is sad because he is a really good actor.
1:26:21
Speaker 2: He's a great actor. Yeah. It's such a shame.
1:26:23
Speaker 3: No, I, I'm a huge, I am a huge Alex
1:26:26
Speaker 3: winter guy. I, you know, again, as someone who loves
1:26:29
Speaker 3: freak and we'll go too bad. And, you know, I
1:26:33
Speaker 3: will die on the Hill of that movie any day
1:26:35
Speaker 3: of the week. It's what it's, it's one of, I mean,
1:26:37
Speaker 3: it's one of my favorite movies.
1:26:38
Speaker 2: I don't know.
1:26:39
Speaker 3: Just something about it resonates with me. It's just dumb
1:26:42
Speaker 3: and it's practical effects. And it has the sense of
1:26:45
Speaker 3: humor of like a, a smart 10 year old, I guess.
1:26:48
Speaker 2: I don't know.
1:26:49
Speaker 3: Like it's, it's so much fun and if you've never
1:26:51
Speaker 3: seen it like it's just that's the other thing for
1:26:54
Speaker 3: me that I appreciate about this movie is the involvement
1:26:57
Speaker 3: of someone like Alex Winter because it's like okay he
1:27:00
Speaker 3: I know that he doesn't get involved with things just
1:27:03
Speaker 3: for no reason.
1:27:04
Speaker 2: Yeah not not these days you know he's very selective
1:27:07
Speaker 2: what he does these days 100% 100% and you know
1:27:11
Speaker 2: I think that you know I think that his involvement
1:27:13
Speaker 2: at the end I'm curious what did you think about
1:27:16
Speaker 2: him at the end because it's He's obviously playing, he's
1:27:18
Speaker 2: playing a real person and he's playing again, the biggest pedophile.
1:27:22
Speaker 3: Again, you know, again, I don't even want to, I
1:27:24
Speaker 3: don't even know how to talk about it.
1:27:25
Speaker 2: He's the, he shows the largest, the most hope, the
1:27:28
Speaker 2: most high profile of what they've been bringing in. The
1:27:31
Speaker 2: rest of these are just normal working class guys. This
1:27:34
Speaker 2: is a big deal when.
1:27:35
Speaker 3: They, all the other ones are jokey. And then it's
1:27:37
Speaker 3: like at the end, the movie pivots into something else
1:27:39
Speaker 3: completely and becomes a completely different kind of movie. So
1:27:43
Speaker 3: what did you think of.
1:27:44
Speaker 2: What the movie was doing with that? Again, I think
1:27:48
Speaker 2: that's that's the part they really had to end on
1:27:52
Speaker 2: because that's the real again, it's based on that article.
1:27:55
Speaker 2: So like it's sort of finale almost has to be
1:27:58
Speaker 2: what happened there if you're going to build it around
1:28:01
Speaker 2: this article, because that's that's, I guess, the most high
1:28:04
Speaker 2: profile event that happened around this show. It's like other
1:28:08
Speaker 2: than that, it just had good ratings and, you know,
1:28:11
Speaker 2: it made a name out of Chris Hansen. But like
1:28:13
Speaker 2: that's the one real world thing that they had that
1:28:16
Speaker 2: happened and came out of this that they had to
1:28:18
Speaker 2: sort of and also shows like if you're going to
1:28:21
Speaker 2: see like the real potential evil of what was going
1:28:24
Speaker 2: on behind the scenes that's the end result is it
1:28:27
Speaker 2: ends in someone's death now was he a horrible person
1:28:31
Speaker 2: yeah but like was it by his own hand yeah
1:28:34
Speaker 2: but like it still is not the way that you
1:28:37
Speaker 2: want things to go when you're trying to put the
1:28:40
Speaker 2: you know, it's a dumb TV show. So it shouldn't
1:28:42
Speaker 2: end in someone's death. Like, that's just not how you
1:28:45
Speaker 2: want to handle things. And that's what happened with this.
1:28:48
Speaker 2: So it's it's them misbehaving. sort of misjudging how these
1:28:53
Speaker 2: things were going to go, misjudging how important they felt
1:28:57
Speaker 2: that they were, leaving a lot up to the cops
1:29:00
Speaker 2: who were very... For the fact that our guy's bohemian,
1:29:04
Speaker 2: like Bokeem Woodbine, I mean, he's a very good old boy,
1:29:10
Speaker 2: and he is ready to take care of things the
1:29:12
Speaker 2: way that they do... In the good old boy world
1:29:15
Speaker 2: and like so when you have the police that also
1:29:19
Speaker 2: aren't really concerned about how you're officially supposed to do
1:29:22
Speaker 2: things because this is so evil that it outweighs that
1:29:26
Speaker 2: you know it's like this is so terrible that I'm
1:29:28
Speaker 2: going to take this person down because they're evil. not
1:29:31
Speaker 2: because it's my job, not because it's right or wrong.
1:29:34
Speaker 2: It's they are evil and they must be destroyed. And
1:29:37
Speaker 2: that was their goal, period. So this guy just sort
1:29:39
Speaker 2: of beat him to the punch because, you know, one
1:29:42
Speaker 2: of the cops would have shot him before he got,
1:29:44
Speaker 2: you know, into the cop car. Like it would have
1:29:46
Speaker 2: been it would have ended badly no matter what. He
1:29:49
Speaker 2: just took it upon himself to take himself out of
1:29:52
Speaker 2: the scenario before it got to that point. But that's
1:29:55
Speaker 2: where it had to end. I think they did as
1:29:58
Speaker 2: good a job as they could as far as the
1:30:00
Speaker 2: movie end of it and it sort of leaves that
1:30:03
Speaker 2: gray area there for you to see like if you
1:30:05
Speaker 2: didn't know what to think about it before it's definitely
1:30:08
Speaker 2: in a bad place by the time we get to
1:30:10
Speaker 2: the finale here as far as once again this is
1:30:13
Speaker 2: a dumb tv show it does not need to be
1:30:16
Speaker 2: escalated to this level and into the way that it
1:30:19
Speaker 2: does And again, it's that question of, you know, do
1:30:21
Speaker 2: the ends justify the means?
1:30:23
Speaker 3: And I don't I don't think the film is.
1:30:26
Speaker 2: Unbiased in that question.
1:30:28
Speaker 3: I think the film makes that kind of feeling pretty
1:30:31
Speaker 3: clear by the end of it, which is like the
1:30:33
Speaker 3: ends do not justify the means. And by the end
1:30:35
Speaker 3: of it, by the end of it, I do think
1:30:38
Speaker 3: we see Chris Hansen is just broken. He has just brought,
1:30:40
Speaker 3: which I think if we're talking about a character arc,
1:30:44
Speaker 3: you know, where's my arc again, Tony? I think that's,
1:30:47
Speaker 3: I think that is the character arc. I think is
1:30:49
Speaker 3: this man pushes himself to the absolute limit and in
1:30:52
Speaker 3: the end breaks, just breaks. I mean, and then the
1:30:55
Speaker 3: film kind of just ends with him saying his, his
1:30:58
Speaker 3: like catchphrases over and over again, like babbling like a
1:31:01
Speaker 3: fucking idiot. I mean, that is the end of the
1:31:03
Speaker 3: film is him just, and the, and the, and the
1:31:05
Speaker 3: four quadrants of, of the screen shutting down while he's
1:31:09
Speaker 3: doing it. And it's, I don't know if it's meant
1:31:11
Speaker 3: to mimic like his brain shutting down or, or what
1:31:14
Speaker 3: have you, or our, or our tie with him as
1:31:16
Speaker 3: a character shutting down. But he literally is just broken
1:31:20
Speaker 3: by the end of the film. And I, I think
1:31:22
Speaker 3: what's interesting is there's so much more runway here that
1:31:25
Speaker 3: this film could have like used. And instead of taking
1:31:29
Speaker 3: advantage of it, it, it seemingly just wanted to be like,
1:31:32
Speaker 3: this like shortened kind of, and I've, I've seen that they,
1:31:35
Speaker 3: I think the director described the original script as a
1:31:39
Speaker 3: fever dream. And it does have these kinds of weird
1:31:41
Speaker 3: dreamlike qualities.
1:31:42
Speaker 2: And I think that that's the, the usage of the
1:31:45
Speaker 2: static camera.
1:31:46
Speaker 3: And the, you know, the digital video. I think some
1:31:49
Speaker 3: of that adds to that. And also, you know, hearkening
1:31:52
Speaker 3: back to a time that is not, it's not like now.
1:31:55
Speaker 2: Because it's just before now. 2006 is just before, I think,
1:32:00
Speaker 2: what most people can remember in terms of of a
1:32:03
Speaker 2: lot of things, but... Certainly in modern technology-wise. Yeah, it's very...
1:32:07
Speaker 2: Just before all of that changes, yeah. Yeah.
1:32:10
Speaker 3: And what's funny is, and I want your thoughts on this,
1:32:13
Speaker 3: in the movie, we have a lot of these scenes
1:32:15
Speaker 3: that are shot with this, you know, again, like, the
1:32:19
Speaker 3: kind of warm... you know digital video look but then
1:32:23
Speaker 3: we have these these shots that are close up high
1:32:26
Speaker 3: resolution like really like washed out and it's almost like
1:32:31
Speaker 3: that is the future or like the now having a
1:32:35
Speaker 3: conversation in the present of the movie's reality with the
1:32:39
Speaker 3: movie itself.
1:32:40
Speaker 2: You know what I mean?
1:32:41
Speaker 3: Cause like, again, it's like such a weird stylistic choice
1:32:44
Speaker 3: and they do it a couple times in the movie.
1:32:46
Speaker 3: And it's almost like, again, like the movie is understandingly
1:32:49
Speaker 3: knowing that that is it's, it is judging the characters
1:32:53
Speaker 3: in those moments and kind of giving a, like, this
1:32:56
Speaker 3: is what and how this could be perceived as time
1:32:59
Speaker 3: goes on. And like, again, like what gives you the right,
1:33:02
Speaker 3: like one of the characters says that like, what gives
1:33:03
Speaker 3: you the right to this? And it's like, again, like,
1:33:05
Speaker 3: I don't know what your perception of that was, but again,
1:33:07
Speaker 3: it's another kind of like stylistic choice of, And maybe
1:33:10
Speaker 3: I'm overanalyzing the movie. But again, like this feels like
1:33:13
Speaker 3: one of those kinds of movies.
1:33:14
Speaker 2: Well, it has that. Yeah. I mean, just the visual
1:33:16
Speaker 2: presentation and the other things that kind of works in
1:33:19
Speaker 2: along the way does have that weird dreamy quality or
1:33:23
Speaker 2: nightmare imagery, depending on how you or where you're at.
1:33:26
Speaker 2: I think it's supposed to be nightmarish, like more or
1:33:28
Speaker 2: less throughout. I mean, even when it's the guy who
1:33:31
Speaker 2: plays Creed from The Office and Robert Pattinson on the plane,
1:33:35
Speaker 2: the way that he's shot in that scene in the
1:33:37
Speaker 2: lighting makes it look like a horror movie. But the
1:33:39
Speaker 2: thing that's interesting is, and how you were describing it there,
1:33:43
Speaker 2: I was like, yeah, within the context of this movie,
1:33:45
Speaker 2: I guess that's as close as we get to it
1:33:48
Speaker 2: having some sort of effect on the character and having
1:33:52
Speaker 2: maybe not a real arc, but at least has impact
1:33:55
Speaker 2: on him that he's pushed himself so far that he's
1:33:58
Speaker 2: kind of broken by the end of it. The sad
1:34:00
Speaker 2: thing is that's just the movie version, because in the
1:34:03
Speaker 2: real world, he just seems like he continued on and
1:34:06
Speaker 2: kept doing more of the same. And almost bought into
1:34:11
Speaker 2: his own real life. Never learn their lesson. We know. Well, yeah,
1:34:16
Speaker 2: bought into his own legend so much that like now
1:34:19
Speaker 2: he just banks on it. And like, that was one
1:34:21
Speaker 2: of the things I thought was really funny because I
1:34:23
Speaker 2: didn't realize this was going on. And one of the
1:34:26
Speaker 2: first things in, in after the movie, I went to
1:34:28
Speaker 2: go kind of see, Oh, let's, let's learn more about
1:34:31
Speaker 2: Chris Hansen. And the first thing that popped up, was
1:34:34
Speaker 2: the fact that you can get him to do a
1:34:37
Speaker 2: video for you on uh whatever the stupid services yeah
1:34:42
Speaker 2: you can get him to do a cameo for you.
1:34:44
Speaker 3: Of course because it's a fucking lark this whole thing
1:34:47
Speaker 3: is a lark.
1:34:48
Speaker 2: But that's also how and that you were saying like
1:34:50
Speaker 2: whether or not lance was involved beforehand with this he
1:34:54
Speaker 2: lance oppenheimer didn't watch oppenheim but lance didn't Lance didn't
1:34:59
Speaker 2: watch to catch a predator. He said he really wasn't.
1:35:03
Speaker 2: He only knew it from the parodies, like when South
1:35:06
Speaker 2: Park made fun of him. And then only recently did
1:35:09
Speaker 2: he become familiar with him because his wife ordered him
1:35:12
Speaker 2: a cameo video when he was congratulating him on his
1:35:16
Speaker 2: last movie. And he came out and did his, why
1:35:20
Speaker 2: don't you have a seat? And like he went into
1:35:22
Speaker 2: his whole bit and he's like, wait, what? So like
1:35:25
Speaker 2: he's really like this is like or or he's self-aware
1:35:29
Speaker 2: enough to present himself this way now. And I think
1:35:32
Speaker 2: that's so weird because, again, it's showing that like he
1:35:36
Speaker 2: hadn't learned anything like he's exactly the same person he
1:35:39
Speaker 2: was when he was doing the show. And he's maybe
1:35:42
Speaker 2: a little worse now because now he's playing it up
1:35:44
Speaker 2: for the joke of it as a cameo video. So
1:35:47
Speaker 2: like it's I don't know, like it makes it even
1:35:50
Speaker 2: cheaper knowing that he's just selling it now even more
1:35:54
Speaker 2: than he was at least in a network. was giving
1:35:57
Speaker 2: him a check every week. It was probably a pretty
1:35:59
Speaker 2: decent paycheck. But now for a minimal amount of money,
1:36:02
Speaker 2: you can get him to wish you a happy birthday
1:36:04
Speaker 2: selling the same bullshit. And I'm just like, That's kind
1:36:08
Speaker 2: of sad on a whole different level now for all
1:36:11
Speaker 2: parties involved, maybe.
1:36:13
Speaker 3: But isn't that kind of isn't that kind of the point, though,
1:36:16
Speaker 3: of this movie? Wouldn't you say like the movie is
1:36:18
Speaker 3: hopeful that something like this, doing something like this would
1:36:22
Speaker 3: cause you to maybe hopefully goddamn change and be a
1:36:26
Speaker 3: better person or hold yourself more accountable? And it's like,
1:36:29
Speaker 3: but not in real life. That's not what happened. It's like, well,
1:36:32
Speaker 3: of course, that's not what happened in real life. Because
1:36:34
Speaker 3: in real life, Donald Trump got elected president, the world's
1:36:37
Speaker 3: most famous pedophile in quotations, however much you believe in
1:36:41
Speaker 3: the Epstein files, which should be all of it.
1:36:43
Speaker 2: I don't know.
1:36:44
Speaker 3: It's weird to have a conversation about pedophilia in 2026
1:36:48
Speaker 3: when the Epstein files, which was in a lot of
1:36:51
Speaker 3: ways similar to when Edward Snowden leaked all of the
1:36:56
Speaker 3: stuff about the spying.
1:36:58
Speaker 2: Yeah.
1:36:58
Speaker 3: I was like, well, that was just a thing that
1:37:00
Speaker 3: people were joking about. Like, well, the government's spying on you.
1:37:02
Speaker 3: It's like, no, they fucking are.
1:37:04
Speaker 2: No, they really were.
1:37:05
Speaker 3: And it's like, the Epstein files are no different. It's
1:37:07
Speaker 3: like the Epstein files are literally, oh, we just think
1:37:10
Speaker 3: that all the rich and powerful are butt fucking kids
1:37:12
Speaker 3: on an Island somewhere where the rich and powerful get
1:37:15
Speaker 3: away with everything. It's like, funny joke it's like no
1:37:17
Speaker 3: that's literally what's happening like and again it's like fiction
1:37:20
Speaker 3: is fiction is sometimes more strange than reality but sometimes
1:37:25
Speaker 3: reality is fucked up way beyond what fiction.
1:37:28
Speaker 2: Reality is way more horrifying than any fictionalized version of
1:37:32
Speaker 2: it is of.
1:37:33
Speaker 3: Course chris hansen didn't like a movie where by the
1:37:35
Speaker 3: end of it he actually learned a lesson from his
1:37:37
Speaker 3: bad behavior I mean, that's the thing. That's the thing
1:37:40
Speaker 3: that's hard about this movie is we don't see the
1:37:43
Speaker 3: next frame after Alex Winter's character kills himself. We don't
1:37:48
Speaker 3: see what happens like five minutes after. We see Chris
1:37:50
Speaker 3: Hansen standing there just like fucking babbling like his brain
1:37:55
Speaker 3: is broken. and and that's the end of the movie
1:37:58
Speaker 3: and we see that you know the producer is the
1:38:02
Speaker 3: actual like she might be the actual cutthroat one who's
1:38:05
Speaker 3: you know like well we can make this work you
1:38:07
Speaker 3: know we can work.
1:38:08
Speaker 2: With that it's like we can interview the cops we'll
1:38:10
Speaker 2: make it happen which is which is so fucked because
1:38:12
Speaker 2: like we know we're talking about chris hansen we're indicting
1:38:15
Speaker 2: chris hansen and But the movie is less of an
1:38:17
Speaker 2: indictment of Chris Hansen and more of an indictment of,
1:38:19
Speaker 2: and I think it reminds me a lot of Jordan
1:38:22
Speaker 2: Peele's Nope, it's more of an indictment of the system itself,
1:38:25
Speaker 2: because the producer is more of a stand in broadly
1:38:29
Speaker 2: for the industry.
1:38:31
Speaker 3: I mean, yeah, we have Jeff Zucker in the film,
1:38:33
Speaker 3: but like even I think Jeff Zucker like washes his hands.
1:38:36
Speaker 3: He's like, I don't understand. I'm just here to make money.
1:38:38
Speaker 3: It's like honest. OK, like I don't like it, but
1:38:42
Speaker 3: it makes money.
1:38:43
Speaker 2: It's like, you know what?
1:38:43
Speaker 3: Like, OK, I bet that is the conversation he had
1:38:46
Speaker 3: more or less. But the producer that Merritt Weaver plays
1:38:49
Speaker 3: is she is the real. I mean, if you don't
1:38:51
Speaker 3: want to talk about the villain of the movie, right?
1:38:53
Speaker 3: Like she's the villain of the movie. She's the evil
1:38:56
Speaker 3: of the movie because by the end of it, she
1:38:58
Speaker 3: has learned nothing. And the system does continue the way,
1:39:02
Speaker 3: like you said, Chris Hansen went in real life. The
1:39:05
Speaker 3: way the movie is like, well, maybe, maybe just maybe
1:39:08
Speaker 3: it's like, but no, maybe like, no, maybe, sorry.
1:39:10
Speaker 2: That's not what happened. Yeah. And she does give a
1:39:12
Speaker 2: great performance, but that's, that's what I said earlier. It's like,
1:39:15
Speaker 2: I wanted more of that really, because just again, not
1:39:20
Speaker 2: because she's a great person, but at least there's some
1:39:23
Speaker 2: interesting drama there. Like there's, there's definitely her. I feel
1:39:27
Speaker 2: like all we get is just that. Am I going
1:39:29
Speaker 2: to get taken away by another show? Yes. No, maybe, but,
1:39:32
Speaker 2: But like there if you dug in more with the
1:39:35
Speaker 2: bigger questions of like, wait, why am I doing this?
1:39:38
Speaker 2: Should I be doing this? Like, I feel like there's
1:39:41
Speaker 2: she does seem like she still has a conscience, but
1:39:44
Speaker 2: she's like wrestling with it. And like, I feel like
1:39:46
Speaker 2: if we got into that a little more, it would
1:39:48
Speaker 2: definitely be more interesting than going through a loop of
1:39:51
Speaker 2: the same type of scenes with Chris Hansen over and
1:39:54
Speaker 2: over again. Whereas I feel like we could give her
1:39:56
Speaker 2: another 10 minutes here or there and like give her
1:39:59
Speaker 2: her character a little more that we don't really get.
1:40:02
Speaker 2: But yeah, I mean, again, the final takeaway is not
1:40:06
Speaker 2: only did he not learn a lesson, but He liked
1:40:09
Speaker 2: the fact that this movie came out because he bought
1:40:11
Speaker 2: time to pitch his True Blue streaming service because of
1:40:16
Speaker 2: this movie. No matter how much they tried to make
1:40:19
Speaker 2: him a villain, no matter how much they showed what
1:40:21
Speaker 2: an asshole he was, he was like, yeah, but this
1:40:23
Speaker 2: is a good promotion for my thing that I'm still
1:40:25
Speaker 2: doing because I haven't learned a damn thing.
1:40:27
Speaker 3: And that I think is, you know, I think the
1:40:29
Speaker 3: movie is more hopeful in that regard than the real
1:40:32
Speaker 3: life Chris Hansen, which is the funny part. I mean,
1:40:35
Speaker 3: for me about the movie is, you know, like, well,
1:40:37
Speaker 3: Chris Hansen in real life is, is a, you know,
1:40:40
Speaker 3: he's not a great guy.
1:40:41
Speaker 2: And it's like, well, yeah, of course he's not a
1:40:42
Speaker 2: great guy.
1:40:43
Speaker 3: I'm not surprised to learn that. I'm not saying anyone
1:40:46
Speaker 3: should or shouldn't be surprised, but it is one of
1:40:48
Speaker 3: those things where he's.
1:40:50
Speaker 2: Not a great guy. Yeah. You know what I mean?
1:40:53
Speaker 2: That's why our hero is Skyler and we end the
1:40:56
Speaker 2: movie on him. The only good character and the one
1:41:01
Speaker 2: that came through on the other side and got something
1:41:03
Speaker 2: out of it, his sidecar.
1:41:04
Speaker 3: And it's very funny to me that that is the
1:41:07
Speaker 3: main character of the movie is is our kind of,
1:41:12
Speaker 3: you know, the ingenue, as it were, as played by
1:41:16
Speaker 3: Skylar Gazzando, a role that could have been played by
1:41:19
Speaker 3: Phoebe Bridger, but instead they gave Phoebe Bridger They gave
1:41:22
Speaker 3: Phoebe Bridger the smarter role, which is she has to
1:41:24
Speaker 3: play the male and the female kind of character, the actor,
1:41:29
Speaker 3: because that was the case on the original show. The character,
1:41:32
Speaker 3: the actor, Del, played the male and female.
1:41:34
Speaker 2: Just put on the hat. The hat backwards was enough
1:41:37
Speaker 2: to signal male. Good enough. Good enough for the.
1:41:41
Speaker 3: for the perverts who didn't, uh, who weren't paying attention.
1:41:44
Speaker 2: I love the one guy's like, Oh, you look very different. Oh,
1:41:47
Speaker 2: you're way hotter. It's like, okay. Like, well, you know what?
1:41:50
Speaker 3: Unrepentant to the end, I guess. But it's, it's your,
1:41:53
Speaker 3: to your point, like Skylar Gazondo is the hero of
1:41:56
Speaker 3: the East. because he is just he is the innocent
1:41:59
Speaker 3: you know he's the final he is the he survives
1:42:02
Speaker 3: because he walks away in the end like he literally
1:42:04
Speaker 3: walks away and then at the end of the movie
1:42:06
Speaker 3: he gets his SAG card and it's like well you
1:42:08
Speaker 3: know what awesome like and it's it's it's such a
1:42:11
Speaker 3: it's I think the movie is a comedy because like
1:42:13
Speaker 3: it ends on a funny note like that is there's
1:42:15
Speaker 3: like there's no in that last scene where it's like
1:42:18
Speaker 3: and he got his SAG card like there's nothing else
1:42:20
Speaker 3: like there's no like follow up anything it's like and
1:42:22
Speaker 3: he got his SAG card But I'm like, that's it.
1:42:25
Speaker 3: Like and and the and the only person who came
1:42:28
Speaker 3: out in the end is the act who was pretending
1:42:30
Speaker 3: to be a 13 year not Chris. Because again, like
1:42:32
Speaker 3: you said, we don't follow Chris Hansen after the Alex
1:42:37
Speaker 3: Winters character kills himself. We don't see what happens. We'd
1:42:39
Speaker 3: like to believe.
1:42:40
Speaker 2: That he changes, but we know in real life he doesn't.
1:42:43
Speaker 2: He does.
1:42:44
Speaker 3: But the character in the movie, who knows, right? But
1:42:46
Speaker 3: the character in real life continues his kind of unrepentant
1:42:50
Speaker 3: celebratory of his own accomplishments ways.
1:42:53
Speaker 2: And you know what?
1:42:53
Speaker 3: Like we live in a time and a place, like
1:42:55
Speaker 3: I said, to go back to the kind of real
1:42:56
Speaker 3: world of it all. we live in a time and
1:42:58
Speaker 3: a place now where nobody is accountability is not a thing.
1:43:01
Speaker 3: Cancel culture. I hate that phrase. It's accountability and accountability is,
1:43:05
Speaker 3: isn't in this, isn't low supply in and of itself.
1:43:08
Speaker 2: So, you know, and you see people that, that walk away,
1:43:12
Speaker 2: like literally get away with doing stuff as horrible as
1:43:16
Speaker 2: the things going on here. And nobody even cares anymore.
1:43:19
Speaker 2: So like they're, They're really not only are there no
1:43:22
Speaker 2: consequences for a lot of these people, especially people with power,
1:43:26
Speaker 2: but also that it seems like nobody cares. Like even
1:43:29
Speaker 2: the people like there's no self governing of these things either.
1:43:33
Speaker 2: It's like you should know better than to do some
1:43:35
Speaker 2: of the things you're doing and you don't. And then
1:43:37
Speaker 2: on top of that, the society is broken down so
1:43:40
Speaker 2: much that we're like, oh, well, and they just walk away. So, like, again,
1:43:44
Speaker 2: the only consequences were self-governed by Alex Winter's character. Like,
1:43:49
Speaker 2: he took himself out because maybe, hopefully, he felt guilty
1:43:53
Speaker 2: enough to do it. In reality, he just didn't want
1:43:55
Speaker 2: to get busted and go through all the shame of
1:43:57
Speaker 2: being outed. But, like, that's the closest we get to somebody, like,
1:44:01
Speaker 2: learning a lesson is like, oh, I was wrong. I
1:44:03
Speaker 2: have to punish myself now. But again, real world, eh,
1:44:07
Speaker 2: that usually doesn't even happen anymore.
1:44:09
Speaker 3: No, it's it's there is a stunning lack of real
1:44:13
Speaker 3: world punishment. And like you said, it's weird that we
1:44:15
Speaker 3: live in a time and place now where a show
1:44:18
Speaker 3: like this feels pastoral. I mean, we talk about like, oh,
1:44:21
Speaker 3: like we talk about the Epstein files on a daily basis,
1:44:24
Speaker 3: which is alluding to multitudinous levels of child molestation, rape
1:44:29
Speaker 3: and assault and trafficking in a way that, you know,
1:44:32
Speaker 3: Chris Hansen could only dream of.
1:44:34
Speaker 2: I mean, that's the joke, right? Like, you know, hello, Donald,
1:44:37
Speaker 2: or hello, Jeffrey, take a seat, please. Would you like
1:44:39
Speaker 2: a cookie? Like it's.
1:44:40
Speaker 3: It's that's like the Chris, Chris Hansen should go bust
1:44:43
Speaker 3: those people, but he can't and won't because I'm not
1:44:45
Speaker 3: saying he's as bad as them, but it's like those
1:44:48
Speaker 3: people have insulated themselves so far away from being any
1:44:52
Speaker 3: from accountability that there is going to never be accountability
1:44:55
Speaker 3: for any of those people in any capacity ever.
1:44:58
Speaker 2: And yeah, these are just one little guy that walks
1:45:01
Speaker 2: into one kitchen, you know, versus the entire operation that's
1:45:05
Speaker 2: functioning out there. That's allowing these things to happen.
1:45:08
Speaker 3: And it's hard to pat ourselves on the back for that.
1:45:11
Speaker 3: It's like killing the small fish doesn't matter when the
1:45:14
Speaker 3: big fish continues to thrive. And that's the thing.
1:45:17
Speaker 2: There's an entire school out there waiting to just tear
1:45:20
Speaker 2: apart these children. Yeah.
1:45:22
Speaker 3: And that's the thing that it's like the movie. It's
1:45:25
Speaker 3: not that the movie doesn't have that conversation, but that's
1:45:27
Speaker 3: the scary part of the conversation to have. The scary
1:45:30
Speaker 3: part of the conversation is, in this day and age,
1:45:33
Speaker 3: nobody's held accountable for anything anymore, especially the pervert. And
1:45:37
Speaker 3: I'm talking about the perverts doing stuff like this, and
1:45:39
Speaker 3: it's like, well, in this society where nobody is held
1:45:42
Speaker 3: accountable anymore, this show doesn't even seem that bad in reality.
1:45:47
Speaker 3: Because this show is actually trying to do something then
1:45:50
Speaker 3: like no one does anything now. So it's almost, it's
1:45:54
Speaker 3: almost insane to think about something like this existing where
1:45:57
Speaker 3: like someone was being found to do something like this
1:46:00
Speaker 3: online and they were being called to sit and be
1:46:03
Speaker 3: accosted in a room and, you know, given a hard time.
1:46:07
Speaker 3: And again, like, you know, verbally assaulted in some of
1:46:10
Speaker 3: their cases. Like in this day and age, it's hard
1:46:13
Speaker 3: to think about that.
1:46:13
Speaker 2: You don't even get that now. Oh, it is. Again,
1:46:17
Speaker 2: it's weird.
1:46:17
Speaker 3: Like there's so many layers as to what's going on
1:46:20
Speaker 3: with this movie. And I think the movie has some
1:46:22
Speaker 3: of the conversation, but I also think that the movie
1:46:25
Speaker 3: doesn't have the conversations it needs to have. And I
1:46:27
Speaker 3: think that that's smart in some ways, because I think
1:46:30
Speaker 3: it puts it on the audience to have that conversation
1:46:32
Speaker 3: with themselves.
1:46:33
Speaker 1: Yeah.
1:46:34
Speaker 3: Because I do think and this is kind of the
1:46:35
Speaker 3: weird thing about to catch a predator that I've noticed
1:46:38
Speaker 3: when I talk about it with people, because I like
1:46:40
Speaker 3: I said, I did try to do a more extended
1:46:43
Speaker 3: to catch a predator thing. And I might still do
1:46:45
Speaker 3: it in the future because it I do think it's
1:46:47
Speaker 3: a it's a weird thing in and of itself. But
1:46:50
Speaker 3: people have mixed feelings about because it's not that people
1:46:53
Speaker 3: empathize or sympathize with. the predators but because of the
1:46:57
Speaker 3: cops of it all and the way copaganda exists now
1:47:01
Speaker 3: and the kind of adulation given to law enforcement and
1:47:05
Speaker 3: the levels we've seen of law enforcement doing bad things
1:47:08
Speaker 3: and not holding people accountable and again us living in
1:47:11
Speaker 3: a society where we see people operating at high levels
1:47:14
Speaker 3: of power that are doing similar, if not identical things
1:47:18
Speaker 3: to things that people were, you know, that's the thing
1:47:20
Speaker 3: about to catch a predator. None of these guys ever
1:47:22
Speaker 3: did any, not to the extent that we know that
1:47:24
Speaker 3: some of these people in the Epstein files were doing,
1:47:27
Speaker 3: they didn't.
1:47:27
Speaker 2: Get a chance to like, they don't even let it
1:47:29
Speaker 2: play out that like by the second they walk in,
1:47:33
Speaker 2: like he leaves the room and here comes Chris Hansen.
1:47:35
Speaker 2: So like, we don't get, Even to the point of
1:47:38
Speaker 2: it getting that level of creepy. It's just you see
1:47:40
Speaker 2: them show up and you're like, oh, God, look at
1:47:42
Speaker 2: this guy. And then it's already over. He's already busted.
1:47:45
Speaker 2: So it's like he doesn't get a chance to do
1:47:47
Speaker 2: which is good. But at the same time, it's like
1:47:50
Speaker 2: it's just such a weird way to treat something like that. Well,
1:47:53
Speaker 2: and that's the thing.
1:47:53
Speaker 3: I mean, that's the interesting part about the Skylar Gazondo
1:47:56
Speaker 3: character is we have a scene where he does his
1:48:00
Speaker 3: best Chris Hansen, does his best Robert Pattinson as Chris
1:48:05
Speaker 3: Hansen impersonation. And we see the way that the Predator
1:48:10
Speaker 3: reacts to it. And then we see the way Skylar
1:48:12
Speaker 3: Gazondo reacts to doing it. And I think it's really
1:48:17
Speaker 3: interesting because we get to, in that scene, understand both
1:48:20
Speaker 3: the power that the person doing it has, which is
1:48:24
Speaker 3: an immense amount of power because you're ruining the life
1:48:26
Speaker 3: of the person who's there, but also the power that
1:48:28
Speaker 3: the person doing it has. you get to see the
1:48:29
Speaker 3: immense amount of weight it has on the person who's
1:48:33
Speaker 3: doing it. Because again, we are led to believe that
1:48:36
Speaker 3: this Robert Pattinson version of Chris Hansen is a sociopath.
1:48:40
Speaker 3: and has no capacity to have this break him in
1:48:44
Speaker 3: any regard. And when Skylar Gazando does it one time,
1:48:48
Speaker 3: it's too much.
1:48:49
Speaker 2: It's too much for him to one time. It takes
1:48:50
Speaker 2: its toll on him already, yeah. Because he's a real
1:48:53
Speaker 2: human being.
1:48:54
Speaker 3: And what's interesting is, again, I think it speaks to
1:48:57
Speaker 3: the pursuit of fame and fortune and being in prime
1:49:01
Speaker 3: time that people are. And again- I think the movie
1:49:04
Speaker 3: wisely doesn't make a point. I think it maybe makes
1:49:08
Speaker 3: too much of a point that he's already an asshole
1:49:10
Speaker 3: at the beginning. He's already kind of going down that path.
1:49:13
Speaker 3: But I wish the film had given itself a little
1:49:15
Speaker 3: bit more space to have the conversation about what are
1:49:18
Speaker 3: the lengths people are willing to go to ignore what's
1:49:21
Speaker 3: best for them to try and get what they think
1:49:24
Speaker 3: they need. Fame, fortune, power. Because that's the interesting conversation here.
1:49:28
Speaker 3: Because if Chris Hansen hadn't been... an asshole to begin
1:49:32
Speaker 3: with and was more idealistic or more any number of things,
1:49:37
Speaker 3: we would have an arc of that character and it
1:49:38
Speaker 3: would show him like truly breaking.
1:49:40
Speaker 2: As a character.
1:49:41
Speaker 3: But instead, we have him kind of just being terrible
1:49:44
Speaker 3: from the get go, which I think is an interesting choice.
1:49:47
Speaker 3: I just don't you don't get as much room to
1:49:49
Speaker 3: play with. But I do think and to be fair,
1:49:51
Speaker 3: we've kind of already talked about this a little bit.
1:49:53
Speaker 3: The length of the movie almost necessitates you to have
1:49:56
Speaker 3: a truncated character arc. We're seeing like two thirds of
1:50:00
Speaker 3: a character arc. He was already on the rise. We're
1:50:02
Speaker 3: on like the front hand side of the rise already,
1:50:05
Speaker 3: or maybe near the top. Like we're nowhere near at
1:50:07
Speaker 3: the beginning. We do not see the rising action in
1:50:11
Speaker 3: this movie because we are coming into this with to
1:50:13
Speaker 3: catch a predator already existing in the world.
1:50:16
Speaker 2: Of the Well, and also, he might not have even
1:50:18
Speaker 2: gotten to this point without being an asshole. Like, if
1:50:23
Speaker 2: he had stayed as the up-and-coming investigative journalist that he
1:50:28
Speaker 2: was and he saw the wrong going on and tried
1:50:30
Speaker 2: to do, like, a normal, let me get the police involved,
1:50:34
Speaker 2: let me do a traditional try to, you know... put
1:50:36
Speaker 2: together a parents group and try to help these kids.
1:50:39
Speaker 2: You know, how much of an impact would that have
1:50:41
Speaker 2: really made? I don't know. It might've helped kids more truthfully,
1:50:45
Speaker 2: but how much of a impact as far as him
1:50:48
Speaker 2: being famous and him getting a show, like none of
1:50:52
Speaker 2: that would have led to, to catch a predator as
1:50:55
Speaker 2: we knew it. So it's like all of that came
1:50:58
Speaker 2: from the fact that he was kind of an asshole.
1:51:00
Speaker 2: He had this idea that's arguably not a good idea, but,
1:51:03
Speaker 2: and doesn't really accomplish much of anything in the grand
1:51:06
Speaker 2: scheme of things, but it made him a household name
1:51:09
Speaker 2: and it got him on prime time. And like, that
1:51:12
Speaker 2: was the more important thing to him, obviously, because that's
1:51:14
Speaker 2: where he ended up. So I don't know. I feel
1:51:17
Speaker 2: like that's also factored in to some extent is he
1:51:20
Speaker 2: had to be an asshole to get to this point, period. Well,
1:51:23
Speaker 2: and that's the thing.
1:51:24
Speaker 3: It's like you said, it, I don't, I don't think
1:51:27
Speaker 3: that the version of Chris Hansen that's in India, that's
1:51:30
Speaker 3: this idealistic version of him. That's, you know, trying to,
1:51:32
Speaker 3: I don't think that that version exists. I think that
1:51:34
Speaker 3: that's the other thing about this movie that is so
1:51:37
Speaker 3: important is it is a film ultimately. And again, I
1:51:40
Speaker 3: think those shots towards the end of the film where
1:51:42
Speaker 3: we have Robert Pattinson kind of standing with his back
1:51:45
Speaker 3: to the camera in front of this giant plate glass window.
1:51:49
Speaker 3: And it's like, you know, uh, lightning is going off
1:51:51
Speaker 3: in front of him. And it's really interesting, like just
1:51:53
Speaker 3: really well shot, but it's not for this kind of movie.
1:51:56
Speaker 3: Like that's for like an action. And I think that
1:51:58
Speaker 3: so much of this movie is about like the, the,
1:52:00
Speaker 3: the stories we tell ourselves about why we do things
1:52:04
Speaker 3: and our level of importance in the world and how
1:52:06
Speaker 3: much or how little the things that we do actually
1:52:09
Speaker 3: have an impact on things. Because like we've already talked about,
1:52:13
Speaker 3: Chris Hansen effectively did nothing. Oh, you got like 12
1:52:15
Speaker 3: pedophiles off the street.
1:52:17
Speaker 2: OK, true.
1:52:18
Speaker 3: That's more than I've gotten off the street or more
1:52:20
Speaker 3: than you've gotten off the street fair. Not something I've
1:52:22
Speaker 3: ever wanted to do. So I'm going to factor that
1:52:25
Speaker 3: in because that is something I never wanted to do.
1:52:28
Speaker 3: So the amount I have not gotten off the street
1:52:30
Speaker 3: does not bother me. But the thing that he did
1:52:32
Speaker 3: do in the end was have a movie made about him.
1:52:36
Speaker 3: That ends up being the thing that's like the big
1:52:38
Speaker 3: takeaway is that Chris Hansen is the person he is
1:52:41
Speaker 3: now because of To Catch a Predator, which means Chris
1:52:44
Speaker 3: Hansen made a living off of and notoriety off of
1:52:49
Speaker 3: and fame off of the backs of pedophiles. Well, and
1:52:51
Speaker 3: that that India story may be a construction of this
1:52:55
Speaker 3: movie or it may be a real thing that he
1:52:59
Speaker 3: told people because he more than anybody seemed to buy
1:53:02
Speaker 3: into the creating the legend thing. So maybe that was
1:53:06
Speaker 3: the story that he told people, whether it happened or not.
1:53:09
Speaker 2: Like it was maybe part of just him building up
1:53:12
Speaker 2: this narrative that got him to this point, whether it
1:53:15
Speaker 2: actually did or not. But it could also be part
1:53:18
Speaker 2: of that that he just presented knowing who he needed
1:53:21
Speaker 2: to present himself to be. And by the way, if
1:53:24
Speaker 2: I'm going to, you know, get crime off the streets,
1:53:27
Speaker 2: I'd rather do it the other Pattinson way and dress
1:53:29
Speaker 2: like a giant bat and just go punch people in
1:53:31
Speaker 2: the face. Yeah, that's the way to handle crime as
1:53:34
Speaker 2: far as I'm concerned with a Batmobile.
1:53:36
Speaker 3: Even though that character is as kind of problematic as
1:53:39
Speaker 3: Chris Hansen.
1:53:40
Speaker 2: Which is also a sociopath.
1:53:42
Speaker 3: It's also very funny that, you know, Robert Pattinson has
1:53:44
Speaker 3: now played effectively two law and order adjacent sociopaths, or
1:53:49
Speaker 3: at least, you know, film portrayals of them. Because again,
1:53:51
Speaker 3: you know, Chris Hansen as a real person, whether or
1:53:53
Speaker 3: not he's actually like this, this is very much a
1:53:56
Speaker 3: inflated version of the person he probably wishes he could
1:53:59
Speaker 3: be at the end of the day. I think nobody
1:54:02
Speaker 3: likes that presentation of him as much as he will
1:54:05
Speaker 3: publicly disagree with, oh, I don't think you got this
1:54:08
Speaker 3: right or that. But the fact that it mythologizes him
1:54:12
Speaker 3: this much, he has to be feeding off that.
1:54:14
Speaker 2: Just knowing the type of person he is, he has
1:54:17
Speaker 2: to just be loving that a little bit.
1:54:20
Speaker 3: And again, he, you know, part of the movie does
1:54:22
Speaker 3: talk about the self-mythologizing that goes into, you know, feeling
1:54:28
Speaker 3: like the things that you do are not heaven sent, but,
1:54:32
Speaker 3: you know, run a mission from God. I mean, there
1:54:35
Speaker 3: is part of that in this movie. Like, Chris Hansen
1:54:38
Speaker 3: feels like what he is doing is... on on another
1:54:42
Speaker 3: plane of calling from just making television you know we
1:54:46
Speaker 3: have merit weaver's character being asked you know to go
1:54:49
Speaker 3: and do a show which it's so funny because again
1:54:52
Speaker 3: like merit weaver is not a real person she is
1:54:55
Speaker 3: being based on a a like handful of or a
1:54:59
Speaker 3: amalgamation of other people but the show that she is
1:55:02
Speaker 3: being asked to go and work on was a real
1:55:04
Speaker 3: show what would.
1:55:05
Speaker 2: You do Which is a real show. Still is a
1:55:07
Speaker 2: real show.
1:55:08
Speaker 3: And it's very funny because in one scene she goes,
1:55:10
Speaker 3: I don't like people that copy my fucking show. And
1:55:12
Speaker 3: it's like, I'd like to point out that that show
1:55:15
Speaker 3: is not the same because that show is a uplifting,
1:55:17
Speaker 3: positive show. Yes, it is emotionally manipulative and weird, but
1:55:22
Speaker 3: it is nowhere near as fucking weird and fucked up
1:55:25
Speaker 3: as what to catch a predator.
1:55:27
Speaker 2: It's like, yeah, I was like, I, as they pitched that,
1:55:29
Speaker 2: I was like, oh, well, that's the reason that show
1:55:31
Speaker 2: is still a show. It's because it's the nice version. It's,
1:55:35
Speaker 2: it's the, it's taking the same scenario of like, well,
1:55:39
Speaker 2: we've got a hidden camera and we've got this weird
1:55:41
Speaker 2: scenario that we're setting up, but we're not spending time
1:55:44
Speaker 2: with pedophiles. Instead, we're giving you the story of like,
1:55:49
Speaker 2: look at these poor characters and like, we've got people
1:55:51
Speaker 2: defending them and you know, it is uplifting and that's
1:55:54
Speaker 2: why it's still on right now.
1:55:56
Speaker 3: And instead, you know, she goes like, I don't like
1:56:00
Speaker 3: when people copy my fucking idea. And I love that
1:56:03
Speaker 3: about this movie, because this is the kind of movie
1:56:05
Speaker 3: that needs a character like that, that is willing to
1:56:08
Speaker 3: go that length and be like, you're like, again, like
1:56:12
Speaker 3: stoop beyond where you would think a character could go
1:56:15
Speaker 3: to in this movie. And that's why I think like
1:56:16
Speaker 3: the producer, the character that Merritt Weaver plays really is
1:56:19
Speaker 3: the villain of the piece because it's like by the
1:56:21
Speaker 3: end of it, it's just about getting the footage and
1:56:23
Speaker 3: nothing else.
1:56:24
Speaker 2: She's just not delusional. Like you've got your other character
1:56:28
Speaker 2: who thinks that he's a hero and thinks what he's
1:56:31
Speaker 2: doing makes a difference. She's realistic enough. to know, no,
1:56:35
Speaker 2: we've just got to get this episode done. We've got
1:56:37
Speaker 2: to get the rating. Because it's entertainment. Because that's our job.
1:56:42
Speaker 2: And I want to keep my job because I make
1:56:43
Speaker 2: a lot of money. She's just a realistic person.
1:56:47
Speaker 3: And I also think, you know, the movie takes the task.
1:56:51
Speaker 3: And again, it's a question of, you know, if you're
1:56:53
Speaker 3: someone who makes content for a living, Is the content
1:56:56
Speaker 3: that you're making, are you expecting it to make a
1:56:59
Speaker 3: change in the world or are you just obligated to
1:57:02
Speaker 3: entertain people? And I think, you know, this idea of
1:57:04
Speaker 3: why I'm making something because I have a higher calling
1:57:07
Speaker 3: or my higher calling justifies the way I do things
1:57:11
Speaker 3: or the treatment of people. I mean, you always hear
1:57:13
Speaker 3: about someone like Hitchcock. Well, he got such good performances
1:57:15
Speaker 3: out of people. The ends did not justify the means.
1:57:18
Speaker 3: Treating people that way did not justify anything. Like, the
1:57:20
Speaker 3: great movie, sure, but it doesn't justify treating people. Like,
1:57:23
Speaker 3: and that's, again, to go back to, like, To Catch
1:57:25
Speaker 3: a Predator, like, I think the Chris Hansen character by
1:57:28
Speaker 3: the end of the movie has that kind of, like,
1:57:30
Speaker 3: epiphany moment of, like, my crusade is for naught, because
1:57:35
Speaker 3: even now when I feel like I'm taking down the whale,
1:57:38
Speaker 3: I'm not, in fact, actually doing anything, and I have
1:57:40
Speaker 3: not made a dent in anything.
1:57:42
Speaker 2: And I like that the.
1:57:43
Speaker 3: Movie is willing to say that, because that is not
1:57:46
Speaker 3: a comfortable part of this conversation, to say, like, well,
1:57:48
Speaker 3: you effectively... other than make yourself more famous, which nobody
1:57:52
Speaker 3: wants to hear that. Of course, nobody wants to hear that.
1:57:55
Speaker 3: I wouldn't want to hear that. I wouldn't want to
1:57:57
Speaker 3: hear that the thing that I did didn't do anything
1:57:59
Speaker 3: other than make me money when the thing that I
1:58:01
Speaker 3: was doing was something I thought was of a higher
1:58:03
Speaker 3: calling or more noble purpose.
1:58:06
Speaker 2: Who would want to hear that? I don't know. At
1:58:08
Speaker 2: this point, I think we're getting a lot of people
1:58:10
Speaker 2: like that. But you know what I.
1:58:12
Speaker 3: Mean in terms of Chris Hansen.
1:58:14
Speaker 2: Ideally, yes.
1:58:16
Speaker 3: Again, to go back to the Chris Hansen of it
1:58:18
Speaker 3: all and him feeling offended by this movie or not
1:58:22
Speaker 3: a fan of it. I don't think this movie was
1:58:24
Speaker 3: being made for him to be a fan of it.
1:58:27
Speaker 3: I think it was being made intentionally for him to
1:58:30
Speaker 3: not resonate with this movie.
1:58:32
Speaker 2: It's weird that he likes it as much as he does. Right. Oh, yeah. No, totally.
1:58:38
Speaker 3: And that's the other like for me, that's the other
1:58:39
Speaker 3: thing that is mildly hilarious about this movie is if
1:58:42
Speaker 3: I were Chris Hansen, I would not have said a
1:58:44
Speaker 3: damn word about this. I would have let this movie
1:58:47
Speaker 3: just come out and ride the wave of the fact
1:58:49
Speaker 3: that this movie has come out and nothing else, because
1:58:51
Speaker 3: why would you talk about this movie openly like what?
1:58:54
Speaker 3: To say it does not paint a positive picture of
1:58:59
Speaker 3: you is being kind. It is like, again, it is
1:59:03
Speaker 3: a biopic. It takes him to task and says, you
1:59:06
Speaker 3: effectively wasted your time. You did nothing of value other
1:59:11
Speaker 3: than make yourself famous. At the end of the day,
1:59:12
Speaker 3: that is what the movie is saying. you know, regardless
1:59:16
Speaker 3: of the moral implications of Skylar, what Skylar Gazando's character
1:59:20
Speaker 3: is doing or Phoebe Bridger or anyone else by the
1:59:23
Speaker 3: end of the movie, it is saying all you did
1:59:25
Speaker 3: was make yourself famous.
1:59:26
Speaker 2: Like it is saying that. So I, yeah. But in actuality,
1:59:30
Speaker 2: Chris Hansen liked Robert Pattinson getting his voice down and
1:59:35
Speaker 2: thought it was a very dramatic movie. Like he still
1:59:38
Speaker 2: has good things to say about it. Which is fucking hilarious. Like,
1:59:42
Speaker 2: it's just, of course.
1:59:43
Speaker 3: And again, maybe that speaks to the person that Chris
1:59:45
Speaker 3: Hansen actually is at the core of things, which is
1:59:48
Speaker 3: maybe he is more like this version of the Robert
1:59:51
Speaker 3: Pattinson character than anyone else would like to give him
1:59:54
Speaker 3: credit for, himself included.
1:59:56
Speaker 2: And you know what?
1:59:57
Speaker 3: That might be the case.
1:59:58
Speaker 2: I don't know.
1:59:58
Speaker 3: I've never met the guy, and I don't want to.
2:00:00
Speaker 3: Because frankly, again, someone who goes to the lengths that
2:00:03
Speaker 3: he went to to do the things that he did
2:00:06
Speaker 3: only for the betterment of himself it's not someone that
2:00:09
Speaker 3: you know it would be like me in the position
2:00:12
Speaker 3: that I am in as a pot as someone who
2:00:14
Speaker 3: helped you know found a podcast network talking about my
2:00:18
Speaker 3: success on the network and no one else's because mine
2:00:20
Speaker 3: is the only one that matters and it's like dude
2:00:22
Speaker 3: come on like what the fuck are you doing like
2:00:24
Speaker 3: this is not a single per person operation this is
2:00:27
Speaker 3: not a single focus operation it does not all start
2:00:31
Speaker 3: and stop with me And Chris Hansen, in this movie
2:00:34
Speaker 3: at least, and maybe the real person, is seemingly that way.
2:00:37
Speaker 3: He is a believer of his own bullshit. And when
2:00:41
Speaker 3: you start believing your own bullshit is when things start
2:00:44
Speaker 3: to kind of become dicey. When you start calling the
2:00:47
Speaker 3: vending machine company because your $ 1. 50 got lost in the
2:00:50
Speaker 3: Rice Krispie machine and it got stuck. You've kind of
2:00:55
Speaker 3: gone past where most people are. Most people aren't going
2:00:58
Speaker 3: to do, but you're Chris.
2:00:59
Speaker 2: I shouldn't be treated this way. I am Chris Hansen. Exactly.
2:01:02
Speaker 3: And it's, and it's, and it's kind of, again, I
2:01:05
Speaker 3: think it's a, it's interesting that it's an indictment of
2:01:07
Speaker 3: that kind of behavior on top of everything. Maybe not direct,
2:01:11
Speaker 3: but I think just by the way Robert Pattinson plays
2:01:13
Speaker 3: that Chris Hansen character, it is definitely, it's still.
2:01:17
Speaker 2: A good amount of it. I feel like. Yeah. Yeah.
2:01:19
Speaker 3: And you know, I, I do think if you're trying
2:01:22
Speaker 3: to describe this movie to someone, I do think it's
2:01:24
Speaker 3: kind of a horror movie. or horror movie adjacent. It
2:01:28
Speaker 3: uses horror movie tropes. I mean, there's literally a jump
2:01:32
Speaker 3: scare at one point where he shows up soaking wet
2:01:35
Speaker 3: in a doorway, and everyone reacts to him like he's
2:01:38
Speaker 3: a serial killer, like Michael Myers.
2:01:40
Speaker 2: And again, they're.
2:01:41
Speaker 3: Playing with those conventions, but it is kind of this weird,
2:01:44
Speaker 3: I'm not going to say A24 movie, but it definitely
2:01:47
Speaker 3: is an A24.
2:01:48
Speaker 2: But it is.
2:01:49
Speaker 3: But it definitely is. There are A24 movies that come
2:01:52
Speaker 3: out that don't feel like A24 movies. This is smack
2:01:55
Speaker 3: dab right in the middle of that A24 oomph. I mean,
2:01:58
Speaker 3: even the aspect ratio of the film is shot in.
2:02:01
Speaker 3: We didn't even talk about that, but again, it's just
2:02:05
Speaker 3: the film, I think, I guess the spot I wanted
2:02:09
Speaker 3: to end in terms of talking about the film specifically
2:02:11
Speaker 3: was How much legs does this film have, in your opinion?
2:02:14
Speaker 3: Having seen a lot of these kinds of movies in
2:02:17
Speaker 3: our lifetime, where does this one land? Does it have
2:02:19
Speaker 3: long legs or no?
2:02:20
Speaker 2: In what sense? Because I feel like it had a
2:02:23
Speaker 2: decent opening, especially for a movie type of this. But
2:02:27
Speaker 2: do I think it's going to make a difference in
2:02:30
Speaker 2: any way? Not really. Do I think people are going
2:02:32
Speaker 2: to be talking about it in even a year or two?
2:02:36
Speaker 2: Probably not. If anything, maybe that was a really good
2:02:39
Speaker 2: Pattinson performance, but as far as like impact of the story,
2:02:43
Speaker 2: probably not. Yeah.
2:02:45
Speaker 3: I don't, I, I don't know if Pattinson, cause I
2:02:47
Speaker 3: know that it got a lot of, uh, you know,
2:02:49
Speaker 3: good reviews at can, but I don't know. I don't
2:02:53
Speaker 3: know if come award season, this ends up moving the needle.
2:02:56
Speaker 2: Well, especially not for him because he's got so many
2:02:58
Speaker 2: other things he's already got four other movies that are
2:03:02
Speaker 2: in the running. So he's, If anything, he's canceling himself
2:03:06
Speaker 2: out with each new movie that comes out.
2:03:09
Speaker 3: I was going to say, what is better than this?
2:03:11
Speaker 3: I don't... Well, I don't know. What would you put
2:03:15
Speaker 3: as better than this that he has been in this year?
2:03:17
Speaker 2: I just recently watched the drama. I really liked it.
2:03:21
Speaker 2: I think everybody's giving a great performance. So that one,
2:03:25
Speaker 2: I don't know that it showcases him more than her
2:03:28
Speaker 2: or anybody else, but like he's definitely really good in that. Um,
2:03:32
Speaker 2: the spectacle of, of the, our, our giant medieval tale there.
2:03:38
Speaker 2: I mean, we're, we're, That one just has so much pull.
2:03:41
Speaker 2: I think we're going to have a lot of nominations
2:03:44
Speaker 2: coming out of that period. I don't know if he
2:03:46
Speaker 2: gets supporting actor because I don't know if he's got
2:03:48
Speaker 2: that much screen time, but I don't know. Again, I
2:03:52
Speaker 2: think I like the drama performance better, but that's just
2:03:55
Speaker 2: because at least it it has like a place to
2:03:59
Speaker 2: land where this one just feels like it's good moment
2:04:01
Speaker 2: to moment. But by the end, you're like, I don't
2:04:03
Speaker 2: know what to do with it.
2:04:05
Speaker 3: Well, I was going to say I completely 100% agree.
2:04:10
Speaker 3: I loved him in the drama. Yeah, about as I
2:04:13
Speaker 3: would say about as much as I could love a
2:04:15
Speaker 3: performance from Robert Pattinson, which is to say, like, this
2:04:18
Speaker 3: is close, but it's not it is not to the
2:04:21
Speaker 3: level of his performance in the drama. I think for me,
2:04:24
Speaker 3: the drama might still be my favorite movie of the
2:04:27
Speaker 3: year so far.
2:04:28
Speaker 2: It was really good.
2:04:29
Speaker 3: It's it was amazing. And, you know, I know that
2:04:31
Speaker 3: there are some people that are like the school shooting.
2:04:34
Speaker 2: They shut the fuck up.
2:04:35
Speaker 3: Like, that's literally the point of the goddamn movie. It's
2:04:37
Speaker 3: a movie about being alive in the time of oversharing,
2:04:41
Speaker 3: where it's like the fucking... Again, I think it's an
2:04:43
Speaker 3: interesting co-piece to this, because again, it's a movie kind
2:04:46
Speaker 3: of about thought crimes, the way that this one is, again,
2:04:48
Speaker 3: somewhat about thought crimes of a different variety, but maybe
2:04:52
Speaker 3: also of a similar kind. I think Robert Pattinson is
2:04:55
Speaker 3: much better in that movie in terms of, like you said,
2:04:58
Speaker 3: giving a performance that has... an ending and.
2:05:01
Speaker 2: It's balanced it gives you different aspects of him there
2:05:04
Speaker 2: are times when you're like oh i can't believe he's
2:05:06
Speaker 2: going down this road but at the same time there's
2:05:09
Speaker 2: other times when i'm like no he's a he's a
2:05:11
Speaker 2: pretty great guy here so it's like it gives him
2:05:14
Speaker 2: a lot more room to kind of give a balanced
2:05:17
Speaker 2: performance whereas here you know it's just how much lower
2:05:20
Speaker 2: can this guy.
2:05:21
Speaker 3: Go Well, and that's my thing. I think for me,
2:05:23
Speaker 3: Skylar Gazando in this movie is the one who should
2:05:27
Speaker 3: be actually given some kind of reappraisal around award time.
2:05:32
Speaker 3: And I don't like talking about awards, but this is
2:05:34
Speaker 3: an awardee style movie. Definitely wants to be anyway.
2:05:38
Speaker 2: Yeah, definitely.
2:05:40
Speaker 3: And I think for me, if you talk about the
2:05:42
Speaker 3: people who could get nominated out of this movie, Skylar
2:05:45
Speaker 3: Gazando should be up there.
2:05:46
Speaker 2: I mean, he's great.
2:05:47
Speaker 3: He is such a different kind of character. such a
2:05:51
Speaker 3: tonally tonal 180 from Robert Pattinson in this movie. And
2:05:55
Speaker 3: I really enjoyed what he brought to the film. And
2:05:59
Speaker 3: I also think, you know, you already mentioned it. Alex
2:06:01
Speaker 3: Winter is really good in this movie. Yeah, it could
2:06:03
Speaker 3: be one of those like he's in it for five
2:06:05
Speaker 3: minutes and gets the supporting actor nomination. I don't know
2:06:08
Speaker 3: if it's that good, but it's pretty good. And for
2:06:11
Speaker 3: someone who kind of like a key cake one type
2:06:14
Speaker 3: situation where, you know, he was in a movie in
2:06:16
Speaker 3: the eighties that a bunch of people saw, but kind
2:06:19
Speaker 3: of hasn't moved the needle with anybody other than up
2:06:22
Speaker 3: until recently with something like this, or, you know, everything
2:06:24
Speaker 3: everywhere all at once in his, you know, in his
2:06:27
Speaker 3: kind of case, like maybe that's what it would, you know,
2:06:30
Speaker 3: there's always a, an extra spot for a kind of
2:06:32
Speaker 3: dark horse and just getting nominated would give Alex winter
2:06:35
Speaker 3: a lot of Yeah. You know, I mean, he's a
2:06:37
Speaker 3: he's a director now, so he doesn't really like stars
2:06:40
Speaker 3: a lot.
2:06:41
Speaker 2: He's not normally worried about that. Yeah. Yeah.
2:06:43
Speaker 3: But, you know, I don't know.
2:06:45
Speaker 2: He's it's weird.
2:06:46
Speaker 3: Like the humanization in this movie is given to the
2:06:48
Speaker 3: characters one would not think. And and the actors who
2:06:53
Speaker 3: are given those opportunities to do that really rise to
2:06:56
Speaker 3: the occasion in a way that I was again, not
2:07:00
Speaker 3: that I wasn't expecting, but I you know, I didn't
2:07:02
Speaker 3: know Alex Winter was in this movie.
2:07:04
Speaker 2: Yeah, I didn't until I sat down. Right, same. I
2:07:08
Speaker 2: just feel like he doesn't have enough time, but Skyler does.
2:07:11
Speaker 2: I could definitely see, if they push for best supporting actor,
2:07:15
Speaker 2: I could see him getting a nomination at least.
2:07:18
Speaker 3: Yeah, and I think it would be well-deserved, because he
2:07:22
Speaker 3: really is the emotional core of this movie, and that's...
2:07:26
Speaker 3: you know, it's, it's arguable that he's more of a
2:07:28
Speaker 3: lead truthfully, but I mean, they should push, they should
2:07:33
Speaker 3: push for supporting if you're going to get it. So yeah, he,
2:07:37
Speaker 3: he 100% is the lead of the movie, but yeah, no, he, uh, he,
2:07:41
Speaker 3: I don't know. He just isn't because the film is
2:07:43
Speaker 3: a film about Chris Hansen. He just isn't billed as
2:07:46
Speaker 3: the lead, but he is 100.
2:07:47
Speaker 2: And he would never get nominated at that point.
2:07:50
Speaker 3: Yeah, no, no. I, uh, I really enjoyed this movie
2:07:53
Speaker 3: and I'm glad that I'm glad that we decided to
2:07:55
Speaker 3: watch it. It does kind of ask some interesting questions
2:07:58
Speaker 3: of the audience. but I do kind of agree with you.
2:08:03
Speaker 3: I think I probably liked it a little bit more
2:08:05
Speaker 3: than you did, but I can concede that this movie
2:08:07
Speaker 3: does miss some opportunities that I think if I had
2:08:10
Speaker 3: been writing this movie, I would have taken.
2:08:13
Speaker 2: I'm glad I rose. I would have gone down. I'm
2:08:15
Speaker 2: glad I saw it. I'm impressed with so much of it,
2:08:18
Speaker 2: as I said. I just feel like it doesn't push
2:08:22
Speaker 2: as far as it needs to in some areas, and
2:08:24
Speaker 2: it just sort of keeps beating the horse over here.
2:08:26
Speaker 2: So I would like it to be a little more
2:08:29
Speaker 2: balanced in certain ways. I was going to say, as
2:08:32
Speaker 2: a follow-up to this movie, did you get the trailer
2:08:36
Speaker 2: for Lance's next movie? I did not. I got the
2:08:40
Speaker 2: trailer for You Can See Everything, which is pretty amazing
2:08:44
Speaker 2: just as a trailer. Have you seen the trailer for it? Yeah,
2:08:47
Speaker 2: that's the that's the one for the documentary. The one
2:08:52
Speaker 2: with Nathan Fielder. Yes. Who that's a weird take on
2:08:55
Speaker 2: it too, because I don't know that you see Lance,
2:08:58
Speaker 2: but Nathan Fielder is like, he's Michael Moore in this thing.
2:09:01
Speaker 2: Like he is co-lead of his own documentary in this thing.
2:09:06
Speaker 2: It is surprising how much screen time he has in
2:09:09
Speaker 2: a documentary about someone else. But like, he has definitely
2:09:12
Speaker 2: put himself right in the middle of the story and
2:09:15
Speaker 2: it seems super tense and super weird. And it's really interesting. I'm,
2:09:21
Speaker 2: More concerned that it's a three hour documentary. But as
2:09:25
Speaker 2: you said earlier, sometimes you want more time spent with
2:09:28
Speaker 2: these people to figure out what's going on. And if so,
2:09:31
Speaker 2: this is the one that's going to deliver it because, yeah,
2:09:33
Speaker 2: it is damn near three hours to one of those.
2:09:37
Speaker 3: It sounds like it's going to be like a hangout piece. which,
2:09:40
Speaker 3: which like, okay, like, you know what? Like if it's
2:09:42
Speaker 3: a vibe movie, I would definitely say like, Jen's ears
2:09:45
Speaker 3: are of a vibe. Like they do love a good vibe.
2:09:48
Speaker 3: They love a vibe thing. Like they like to use
2:09:51
Speaker 3: the term vibe. Vibes are a thing that they care about.
2:09:54
Speaker 3: And I'm with them like this movie. And I definitely think,
2:09:57
Speaker 3: you know, you can see everything. Like, I think it is,
2:10:00
Speaker 3: it is a vibe or trying to in a create
2:10:04
Speaker 3: a vibe or in this film's case in, uh, primetime's
2:10:07
Speaker 3: case live within a vibe um.
2:10:09
Speaker 2: I think both are super creepy and it's gonna be
2:10:12
Speaker 2: an uncomfortable vibe if you're hanging out for three hours
2:10:15
Speaker 2: with elizabeth holmes because it is just those snippets in
2:10:19
Speaker 2: the trailer i'm like yeah this is weird this is
2:10:22
Speaker 2: uncomfortable right now and we're just like five minutes of
2:10:25
Speaker 2: it so yeah it'll be interesting.
2:10:28
Speaker 3: She's She's a weird one, and I'm excited to see...
2:10:32
Speaker 3: Nathan Fielder has a... He's very Andy Kaufman. He just
2:10:36
Speaker 3: kind of exists as this weird... I'm doing performance art,
2:10:40
Speaker 3: but sort of, but not really.
2:10:42
Speaker 2: But this is a documentary, but I'm sort of doing
2:10:45
Speaker 2: a performance.
2:10:46
Speaker 3: Yeah, it's fucking weird. But I love him as... kind
2:10:50
Speaker 3: of a mind and the things that he comes up with. So,
2:10:53
Speaker 3: you know, and I would say, you know, Lance Oppenheim,
2:10:55
Speaker 3: I'm excited to see what he does as a director
2:10:57
Speaker 3: as well.
2:10:58
Speaker 2: You know, it's a prime.
2:10:59
Speaker 3: Time is interesting. And I, you know, he didn't write
2:11:03
Speaker 3: the script. So that's the other thing, you know, a
2:11:05
Speaker 3: John Singh, I'm excited to see what they write next
2:11:08
Speaker 3: as well. They have an interesting eye and mind for things.
2:11:12
Speaker 3: And this is not your everyday Chris Hansen.
2:11:15
Speaker 2: This is not your everyday movie, period. No, which is
2:11:18
Speaker 2: even better. It'll be interesting, yeah, to see where you
2:11:20
Speaker 2: go with a more traditional story, I guess. If you
2:11:24
Speaker 2: go with a traditional story. If you do. Yeah, because it's,
2:11:29
Speaker 2: to call the film a psycho thriller crime film is like,
2:11:34
Speaker 2: it's just, it's like none of those things really but
2:11:36
Speaker 2: at the same time yeah it's all of those things
2:11:39
Speaker 2: and also a weird like pseudo horror movie like it's
2:11:42
Speaker 2: yeah I would implore anyone who's a fan of To
2:11:45
Speaker 2: Catch a Predator to watch the film but I also
2:11:48
Speaker 2: understand how people would watch this film and just be
2:11:50
Speaker 2: like I don't get it and I'm not sure that
2:11:53
Speaker 2: It needs to be understood as anything other than like, again,
2:11:56
Speaker 2: a kind of piece of film talking about something that
2:12:00
Speaker 2: other things have also talked about. Maybe better and probably
2:12:04
Speaker 2: better in some cases, but it's of a piece of
2:12:07
Speaker 2: a kind of thing. And those kinds of things come
2:12:10
Speaker 2: out every couple years. And there will be another one
2:12:13
Speaker 2: here in the 10 years that does something similar. And
2:12:16
Speaker 2: this one maybe isn't as good as those, but it's
2:12:18
Speaker 2: different because it has its own trappings and vibe and
2:12:22
Speaker 2: look and aesthetic and the aesthetic is drives a lot
2:12:25
Speaker 2: of what makes this film kind of so interesting and
2:12:27
Speaker 2: I don't know I'm excited to see where everybody involved
2:12:31
Speaker 2: in this film goes but definitely the director and the
2:12:33
Speaker 2: screenwriter and you know obviously Robert Pattinson I think you
2:12:37
Speaker 2: know I i just he's had such a downer year
2:12:40
Speaker 2: i don't know how he's gonna come back next.
2:12:41
Speaker 3: I just hope he doesn't like pedro pascal himself where
2:12:44
Speaker 3: he's just like fucking in everything and i'm just like
2:12:47
Speaker 3: i'm sick and tired.
2:12:47
Speaker 2: Of everybody is sick of him unfortunately so yeah but
2:12:50
Speaker 2: that's also because i think pedro pascal has.
2:12:53
Speaker 3: A limited range like as a and i think it's
2:12:56
Speaker 3: like been made very apparent by all the things he's
2:12:59
Speaker 3: been in where i'm like you being in this does
2:13:01
Speaker 3: not add anything like.
2:13:02
Speaker 2: Yeah, Robert is very different in different roles. He brings
2:13:06
Speaker 2: a lot to the table as far as characterization. So yeah,
2:13:10
Speaker 2: I don't think he should run into that as easy,
2:13:13
Speaker 2: but you got to factor that stuff in when you're
2:13:15
Speaker 2: making these decisions.
2:13:17
Speaker 3: Yeah, Pedro Pascal is just charming. And you can get
2:13:20
Speaker 3: away with that. I'm not saying that there's anything wrong
2:13:22
Speaker 3: with that, but it's like Ryan Reynolds, right? You're just
2:13:25
Speaker 3: always doing the same thing.
2:13:27
Speaker 2: You.
2:13:28
Speaker 3: have you as a personality have exceeded what you can
2:13:31
Speaker 3: bring to the screen and now you're just being cast
2:13:33
Speaker 3: in things because of who you are.
2:13:36
Speaker 2: As you. Yeah, as you. And you hit a wall
2:13:38
Speaker 2: with people. Everybody loves Ryan Reynolds until they're sick of
2:13:41
Speaker 2: him and then they're just done with him no matter
2:13:43
Speaker 2: what he does. So you paint yourself in that corner too. Like, well,
2:13:47
Speaker 2: now I can't do anything good or bad because people
2:13:49
Speaker 2: just don't want to watch me, period. And Pedro Pascal
2:13:52
Speaker 2: has been on that kind of kick since what? The Mandalorian?
2:13:55
Speaker 2: Like the first... second season of the mandalorian something like
2:13:58
Speaker 2: that where it's just like definitely every definitely by the
2:14:01
Speaker 2: time he's in fantastic four people are like really this
2:14:04
Speaker 2: guy all right fine yeah yeah yeah i feel like
2:14:07
Speaker 2: that was the bridge too far for most people like
2:14:10
Speaker 2: you could have cast anybody and you cast this guy
2:14:13
Speaker 2: this guy again nothing wrong with this guy but like
2:14:17
Speaker 2: i like him but here We have to eat steak
2:14:20
Speaker 2: three nights this week. God damn. So much steak. Well,
2:14:24
Speaker 2: that's the problem.
2:14:25
Speaker 3: Like he's so, the problem is like, he's so fucking charming.
2:14:27
Speaker 3: That's like, it's complaining about a riches of things. Like
2:14:31
Speaker 3: with Robert Pattinson, like, please don't go make another good movie.
2:14:34
Speaker 3: Robert Pattinson, like, And that's the thing, like Pedro Pascal,
2:14:37
Speaker 3: looking at the things he was in, it's not like
2:14:39
Speaker 3: any of them were particularly terrible or awful. It's just like,
2:14:42
Speaker 3: I don't need to see you in like every big thing.
2:14:45
Speaker 3: And that's, you know, my concern with Robert Pattinson is
2:14:47
Speaker 3: that same like, well, is he going to be in
2:14:49
Speaker 3: like five million goddamn things from here until eternity? It's like, well,
2:14:53
Speaker 3: he's been in a ton of stuff in 2026. That's
2:14:55
Speaker 3: for sure.
2:14:55
Speaker 2: So he said no more good stuff. So now it's
2:14:57
Speaker 2: time to bust out that straight to streaming vampire movie
2:15:02
Speaker 2: he's got in him. Yeah, my God. Work of a
2:15:04
Speaker 2: David Goyer or somebody like that. My God, can you
2:15:07
Speaker 2: fucking imagine Robert Pattinson lowering himself to the status of
2:15:13
Speaker 2: a B-tier actor like Jai Courtney? I've seen a lot
2:15:16
Speaker 2: of stuff that pops up on Netflix. I'm like, wait,
2:15:18
Speaker 2: what the hell is this? I've never even heard of it.
2:15:20
Speaker 3: Things just come out now and just don't go anywhere.
2:15:22
Speaker 2: That's the name of the game. Oh, Lord. Well, Brian,
2:15:28
Speaker 2: when you and I aren't sitting and doing crossover episodes
2:15:31
Speaker 2: of the Culture Meltdown, where can people find the things
2:15:34
Speaker 2: that you work on? Audio. Well, I am now... happily
2:15:40
Speaker 2: part of the, the weirding way family. So definitely go
2:15:44
Speaker 2: hit that on speaker and all of us are there
2:15:47
Speaker 2: and I'm thrown in the middle of that now. So
2:15:49
Speaker 2: I'm glad to be there. Um, if you don't know
2:15:52
Speaker 2: how to find your way there, uh, movie meltdown.com always
2:15:55
Speaker 2: kind of has the links to lead you to everything.
2:15:58
Speaker 2: So yeah, go see what is in the running or
2:16:01
Speaker 2: follow us on the social medias and I'll put something
2:16:04
Speaker 2: up telling you what's coming next.
2:16:05
Speaker 3: And as for me, like Brian said, weirdingwaymedia.com is where
2:16:08
Speaker 3: you can go to find this show and so many
2:16:10
Speaker 3: other great shows like The Projection Booth or The Feminine
2:16:14
Speaker 3: Critique or Midnight Viewing or 80s TV Ladies or Filmentaries
2:16:21
Speaker 3: or I could keep going, but you should just go
2:16:22
Speaker 3: on over to Weirding Way Media where there are a
2:16:24
Speaker 3: lot of shows that you should be listening to.
2:16:26
Speaker 2: If you're not... Well, what's stopping you? Nothing, because they're free.
2:16:29
Speaker 2: If you want to engage financially with this show, patreon.com
2:16:33
Speaker 2: slash culturecast is where you can do that. Kick a
2:16:35
Speaker 2: couple dollars my way if you want to, but like, rate,
2:16:38
Speaker 2: and review any Weirding Way Media show on iTunes, then Spotify,
2:16:42
Speaker 2: in that order, because that's the order that helps, because shockingly,
2:16:45
Speaker 2: people still use iTunes for podcasts. So that's where you
2:16:48
Speaker 2: can go to do that.
2:16:49
Speaker 3: And yeah, come on back for the next episode where
2:16:51
Speaker 3: we're not talking about Chris Hansen, I promise.
2:16:54
Speaker 2: He'll worm his way in there, don't you worry. That's
2:16:56
Speaker 2: what he does best.