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Transcript

Moonfall · The Bechdel Cast

• 0:00
  Speaker 1: On the Bechdelcast.
• 0:02
  Speaker 2: The questions asked if movies have.
• 0:04
  Speaker 3: Women in them, are all their discussions just boyfriends and husbands,
• 0:08
  Speaker 3: or do they have individualism? It's the patriarchy, Zephyn best
• 0:12
  Speaker 3: start changing with the Bechdel Cast.
• 0:16
  Speaker 2: Hey, Caitlin, Yes, Jamie, what's the matter with you? You're putting
• 0:20
  Speaker 2: the feet of the world in the hands of your
• 0:22
  Speaker 2: podcast partner and some has been ex astronaut.
• 0:29
  Speaker 1: My intro is gonna be Houston. We have a problem.
• 0:34
  Speaker 2: What is it?
• 0:35
  Speaker 1: The moon is falling?
• 0:37
  Speaker 4: Oh no, I okay, Welcome to the Bechdel Cast for
• 0:46
  Speaker 4: I think one of our most requested episodes.
• 0:48
  Speaker 2: Ever, one hundred percent.
• 0:50
  Speaker 1: Yeah, people have been gagging, foaming, rowling, frothing at the
• 0:56
  Speaker 1: mouth for a Moonfall episode. Frankly gross, It's disgusting.
• 1:01
  Speaker 2: It makes me sick.
• 1:03
  Speaker 1: But we're here to finally honor the request. At least
• 1:07
  Speaker 1: at least probably five hundred million people have requested this
• 1:11
  Speaker 1: movie specifically.
• 1:12
  Speaker 2: Yeah, which accounts for about twenty percent of our listeners,
• 1:16
  Speaker 2: so that's pretty big. Yeah. Yeah, yeah. If you're hearing this,
• 1:20
  Speaker 2: it's now April, which means nothing to us except that
• 1:24
  Speaker 2: International Women's Month has concluded and I think that's it.
• 1:29
  Speaker 2: I'm pretty sure. So yeah, yeah, we're here to sort
• 1:33
  Speaker 2: of give the people what they want and honor your
• 1:36
  Speaker 2: request for a Moonfall episode. If this is your first
• 1:41
  Speaker 2: episode of the Bechtel Cast, this is a great place
• 1:43
  Speaker 2: to start.
• 1:43
  Speaker 1: I think, yeah, absolutely, this is a This is a.
• 1:45
  Speaker 2: Show where we talk about your favorite movies, and we
• 1:48
  Speaker 2: mean your favorite, using the Bechtel test as a jumping
• 1:52
  Speaker 2: off point for discussion. But Caitlin, what is that, because
• 1:55
  Speaker 2: it's going to be very relevant to today's discussion.
• 1:58
  Speaker 1: Yes, it is a media metric created by friend of
• 2:01
  Speaker 1: the pod, Alison Bechdel.
• 2:03
  Speaker 2: Who is this is her favorite? But actually she's one
• 2:05
  Speaker 2: of the people who has requested it.
• 2:07
  Speaker 1: Yeah, she emails us every day, not a brag, to say,
• 2:11
  Speaker 1: where the hell is the Moonfall episode?
• 2:13
  Speaker 2: Not a brag, but she she was like And then
• 2:16
  Speaker 2: I did follow up with her once and I was like, hey, Alison,
• 2:19
  Speaker 2: what is it about Moonfall? And she emailed me back
• 2:24
  Speaker 2: fuck you, which was like whoa. But you know, people
• 2:28
  Speaker 2: feel really strongly about this movie.
• 2:31
  Speaker 1: They do, and I can see now that I've seen it,
• 2:34
  Speaker 1: I guess multiple times to prep for this episode, I
• 2:37
  Speaker 1: see why. Absolutely, absolutely so anyway a Bechdel test. Many
• 2:43
  Speaker 1: versions of this media metric. The one that we use
• 2:47
  Speaker 1: is do two characters of a marginalized gender have names?
• 2:52
  Speaker 1: Do they speak to each other? And is that conversation
• 2:55
  Speaker 1: about something other than a man?
• 2:58
  Speaker 2: And I think that you know, we're really gonna this
• 3:03
  Speaker 2: is a fascinating stress test for the Bechdel test because
• 3:07
  Speaker 2: the protagonist there is a woman in the leading role.
• 3:13
  Speaker 1: Are you talking about the moon?
• 3:15
  Speaker 2: Yes, say, I'm talking about the moon, And like most women,
• 3:19
  Speaker 2: there's more to her than meets the I and that
• 3:21
  Speaker 2: she is actually hollow and a spaceship and full of
• 3:27
  Speaker 2: some sort of convoluted AI messaging that as all women are,
• 3:34
  Speaker 2: I too, am filled with a cloud of dust that
• 3:39
  Speaker 2: does like basically just turn into a fist, right like
• 3:42
  Speaker 2: it turns into a snake or a fist like a claw.
• 3:46
  Speaker 2: These these are the two things that the nanoblot cloud
• 3:50
  Speaker 2: can do. Listen listeners, It's gonna be difficult because I
• 3:56
  Speaker 2: think that, like we want to hold space for this film.
• 4:02
  Speaker 2: I will not call it a movie. It is a film.
• 4:03
  Speaker 1: It's an incredible film.
• 4:06
  Speaker 2: It is a film. It is art house. It actually
• 4:08
  Speaker 2: genuinely is an independent film which we'll talk about twitch is.
• 4:13
  Speaker 1: What are the most expensive, like high budget independent films
• 4:17
  Speaker 1: ever made?
• 4:17
  Speaker 2: Yes, And I would say right in terms of men's
• 4:23
  Speaker 2: singular vision, right up there with Megalopolis, really with a
• 4:29
  Speaker 2: movie that no one wanted that just had to happen,
• 4:33
  Speaker 2: and we're so glad it did. Because this is we
• 4:36
  Speaker 2: will be discussing it in the context that it is
• 4:39
  Speaker 2: a feminist masterpiece. And there's also just so much going
• 4:43
  Speaker 2: on with the other woman in this movie. Who is
• 4:49
  Speaker 2: I do think it takes us maybe a half hour
• 4:53
  Speaker 2: to hear her name spoken, and I don't know that
• 4:57
  Speaker 2: it ever happens again.
• 4:59
  Speaker 1: J Cinda just her full name, Justinda. She is referred
• 5:02
  Speaker 1: to as Joe.
• 5:04
  Speaker 2: And sometimes as Fouler. But I was just struck with
• 5:08
  Speaker 2: and this is speaking to how strong of a feminist
• 5:10
  Speaker 2: hero she is. How few times her name is spoken
• 5:14
  Speaker 2: in the movie, whereas are our male protagonist, Brian. I
• 5:19
  Speaker 2: cannot stop saying his name, even and especially when it
• 5:24
  Speaker 2: sounds silly.
• 5:25
  Speaker 1: Yes, Brian Harper disgraced astronaut.
• 5:30
  Speaker 2: So hard for him. You know, when you're disgraced and
• 5:33
  Speaker 2: you just have to ride around on your motorcycle on
• 5:37
  Speaker 2: the streets of la in your in your leather jacket.
• 5:41
  Speaker 2: It's giving Larry Geely honestly.
• 5:43
  Speaker 1: Oh wow. We have not invoked the name of Geelie
• 5:49
  Speaker 1: in quite some time.
• 5:50
  Speaker 2: You can't say it three times. It's like bloody Mary
• 5:55
  Speaker 2: show up. If you say Larry Geely in the mirror
• 5:58
  Speaker 2: three times, yeah, he'll show up behind you.
• 6:03
  Speaker 1: It's candy Man all over again.
• 6:06
  Speaker 2: I don't know why that cracked me up so much.
• 6:10
  Speaker 2: I don't want to. I don't want to conjure him today.
• 6:13
  Speaker 2: Not today. No, Larry g l no, No, he doesn't
• 6:22
  Speaker 2: even kill you. He just slowly tries to convince you
• 6:27
  Speaker 2: that you're not queer, you're in love with him. Oh
• 6:30
  Speaker 2: my god, I forgot what Larry Gee's story is all about.
• 6:35
  Speaker 2: But that's for another episode you can no longer listen
• 6:38
  Speaker 2: to because we deleted it.
• 6:40
  Speaker 1: Should we recover it some day?
• 6:42
  Speaker 2: I don't know if we. I don't know. I don't
• 6:44
  Speaker 2: know if that's good for the world. But you know
• 6:47
  Speaker 2: what is good for the world?
• 6:49
  Speaker 1: Moonfall?
• 6:50
  Speaker 2: Moonfall?
• 6:51
  Speaker 1: Mm well, I was going to pitch a double feature.
• 6:54
  Speaker 1: Maybe this is a Matreon theme. Jelie and Chasing Amy?
• 7:00
  Speaker 1: Are those not two movies about a man? And maybe
• 7:03
  Speaker 1: specifically Benfleck, and in both cases there is a queer
• 7:07
  Speaker 1: woman who is not interested in men, and he's like,
• 7:12
  Speaker 1: but what if you are interested in me? I r
• 7:15
  Speaker 1: is that the plot of both of those movies.
• 7:17
  Speaker 2: I've never seen Chasing Amy. What I do know about
• 7:20
  Speaker 2: Chasing Amy is that it has a massive queer fan base,
• 7:25
  Speaker 2: which I do not believe that Jeelie can can say.
• 7:31
  Speaker 2: It would be an interesting comparison because there was a
• 7:34
  Speaker 2: documentary that came out a couple years ago that Princess
• 7:37
  Speaker 2: Weeks is talking head in I'm pretty sure called Chasing
• 7:41
  Speaker 2: Chasing Amy about the queer community's fascination with that movie specifically,
• 7:48
  Speaker 2: And as far as I know, there's no Chasing Larry.
• 7:51
  Speaker 1: And Cheezy Well. I have to imagine getting back on track,
• 7:57
  Speaker 1: this Moonfall has an enormous queer following because of all
• 8:03
  Speaker 1: the obvious queer undertones in the film.
• 8:06
  Speaker 2: It would be foolish for that to not be the case.
• 8:11
  Speaker 2: I think, yes, yeah, there's just there's just so much.
• 8:16
  Speaker 2: This is such a rich text. Oh yeah, it really is.
• 8:18
  Speaker 2: And I think, you know, don't look at the date
• 8:22
  Speaker 2: that this episode is released on. Just let it in.
• 8:25
  Speaker 2: Let I will say, I kept I listened to Skyfall
• 8:30
  Speaker 2: by Adele like three times. It's it is kind of
• 8:34
  Speaker 2: distracting for there to be a movie called Skyfall and
• 8:39
  Speaker 2: then much later a movie called Moonfall.
• 8:41
  Speaker 1: Moonfall. Maybe Adele should do a cover Moona.
• 8:48
  Speaker 2: I feel like they tried. It seems like this movie
• 8:52
  Speaker 2: was willing to do really anything for five dollars because
• 8:57
  Speaker 2: you it turns into a random only a commercial for
• 9:01
  Speaker 2: and feminist masterpiece, feminist masterpiece. It turns into a commercial
• 9:05
  Speaker 2: for Lexus for like five full.
• 9:08
  Speaker 5: Minutes, which was kind of wild, where he goes like,
• 9:12
  Speaker 5: let's go hyper drive and then he just turns like
• 9:15
  Speaker 5: his Lexus to sports mode and you're like Jesus Christ.
• 9:20
  Speaker 2: And then it like flies and survives the apocalypse, which
• 9:24
  Speaker 2: I'm sure Alexis would do or something something. So we
• 9:29
  Speaker 2: are here to talk about, you know, one of the
• 9:32
  Speaker 2: feminist modern classics to kick off the month of April.
• 9:37
  Speaker 1: April the like the first of April even maybe.
• 9:41
  Speaker 2: Well yeah, which is also oh my god, I was
• 9:43
  Speaker 2: thinking this whole time. April first is my dog's Sonny's birthday,
• 9:48
  Speaker 2: and is there anything more Moonfall than having a son
• 9:52
  Speaker 2: and being like, hmm, what should we call him?
• 9:55
  Speaker 1: Sonny?
• 9:56
  Speaker 2: And I wrote down, how foolish, And then I looked
• 9:59
  Speaker 2: to my left. I was like, wait a second, the
• 10:02
  Speaker 2: calls coming from inside the house. I too have a
• 10:06
  Speaker 2: son called Sonny, and he too is a car jacking
• 10:10
  Speaker 2: fief on an emotional journey. Wow, I know, I know. Yeah,
• 10:16
  Speaker 2: this movie is about fathers and sons. This movie is
• 10:19
  Speaker 2: about mothers and sons. This movie could be about mothers
• 10:25
  Speaker 2: and daughters, but it is more about a woman named
• 10:29
  Speaker 2: Brenda and two extras, one of whom I think gets
• 10:34
  Speaker 2: a name.
• 10:35
  Speaker 1: Well, Jamie, if you sorry, I'm sorry, hear me out.
• 10:39
  Speaker 2: I'm listening.
• 10:40
  Speaker 1: The Moon, as we've established, is a woman, yes, the mother,
• 10:44
  Speaker 1: mother to all, Mother mother Moon. And then also the
• 10:48
  Speaker 1: Earth is a woman, mother Earth and daughter Earth, which.
• 10:52
  Speaker 2: Is which is why we're killing her, because that's what
• 10:55
  Speaker 2: we do. Two women, Yes, we kill them.
• 10:57
  Speaker 6: Yeah.
• 10:58
  Speaker 1: But as this movie istides, which is one hundred percent
• 11:02
  Speaker 1: scientific fact, the Moon gave birth to Earth. So this
• 11:08
  Speaker 1: movie is about mothers and daughters, right right, So think
• 11:15
  Speaker 1: about that.
• 11:16
  Speaker 2: I'm so sorry. You're right, it's okay, it is. It
• 11:19
  Speaker 2: is a story about women and women only.
• 11:25
  Speaker 1: Yeah, Jamie, what's your history with this movie? What is
• 11:27
  Speaker 1: your relationship.
• 11:28
  Speaker 2: I had somehow never seen this. I know that everyone
• 11:32
  Speaker 2: else had, actually everyone else in the world. I will
• 11:35
  Speaker 2: qualify that saying that we've we watched this in bed together.
• 11:42
  Speaker 2: A couple of platonically watched it in bed. Okay, put
• 11:49
  Speaker 2: your fingers away or I don't know whatever, but yes,
• 11:55
  Speaker 2: we watched this in bed together on tour I think
• 11:59
  Speaker 2: in San Francisco a couple of years ago, because you're like,
• 12:01
  Speaker 2: you gotta see Moonfall. You gotta see Moonfall. I'm not kidding.
• 12:05
  Speaker 2: And then we started watching it. I think we both
• 12:07
  Speaker 2: fell asleep like twenty minutes in, so it had seen
• 12:11
  Speaker 2: the beginning of this movie. I wouldn't even say I
• 12:14
  Speaker 2: saw the first act because the first act really takes
• 12:18
  Speaker 2: its time. Yeah, yes, but I think that you know again,
• 12:22
  Speaker 2: and I mean that in a feminist, in.
• 12:25
  Speaker 1: A complimentary way way.
• 12:27
  Speaker 2: It takes its time. So this was my first full viewing,
• 12:31
  Speaker 2: and I have to say, of the two hours and
• 12:35
  Speaker 2: ten minutes that this film takes of your one life,
• 12:39
  Speaker 2: you don't get a second.
• 12:41
  Speaker 1: Unless you're case at the end of the movie getting
• 12:44
  Speaker 1: uploaded to spoilers.
• 12:45
  Speaker 2: Spoilers, spoilers, Oh my god, you know that feeling when
• 12:51
  Speaker 2: they scanned your consciousness and you're part of the moon now.
• 12:55
  Speaker 1: I know exactly that feeling.
• 12:57
  Speaker 2: I love when they scan my consciousness and I'm part
• 12:59
  Speaker 2: of the moon now. But yeah, I wouldn't shave a
• 13:04
  Speaker 2: single one of all one hundred and thirty minutes of
• 13:07
  Speaker 2: this off.
• 13:07
  Speaker 1: No. In fact, I think it should have been longer.
• 13:10
  Speaker 1: I think it should have been Titanic lengths. I feel
• 13:12
  Speaker 1: like it could have been longer. Honestly, the chemistry between
• 13:17
  Speaker 1: everyone is off the charts. Donald Sutherland definitely knows he
• 13:23
  Speaker 1: was in this movie. Sorry, that's my son, Sonny.
• 13:31
  Speaker 2: Oh, he just got I agreed to save the moon,
• 13:34
  Speaker 2: so they let him out of jail or something.
• 13:38
  Speaker 1: Mm hmm.
• 13:39
  Speaker 2: So yeah, this was my first full viewing of it.
• 13:41
  Speaker 1: Wow, what about you? I saw this movie in theaters.
• 13:46
  Speaker 2: Wow, and I was wait, really.
• 13:49
  Speaker 1: Yes, all jokes aside, I saw this movie in theaters.
• 13:53
  Speaker 2: Why. I'm genuinely curious, and I'm gonna uphold the bit
• 14:00
  Speaker 2: best I can.
• 14:00
  Speaker 1: But why Friend of the show, Catherine Leon and friend
• 14:04
  Speaker 1: to us both listeners. You might remember her from our
• 14:06
  Speaker 1: Spy Kids episode.
• 14:07
  Speaker 2: She's got to come back. It's time.
• 14:09
  Speaker 1: Yeah, we need to bring Katherine back. Yeah, she was like, Caitlyn,
• 14:13
  Speaker 1: have you seen Moonfall? And I was like, no, this.
• 14:16
  Speaker 2: Feels exactly right. I love that she was able to
• 14:20
  Speaker 2: alert you to this while it was still in theaters.
• 14:23
  Speaker 1: Yes, and it was urgent, and she said you have
• 14:26
  Speaker 1: to go see Moonfall. And I was like, are you sure,
• 14:29
  Speaker 1: because it seems like it might not be very good.
• 14:32
  Speaker 1: And she's like, well, Caitlyn, that's where you're wrong. And
• 14:35
  Speaker 1: especially as one of the hosts of the Bechdel Cast,
• 14:39
  Speaker 1: you're gonna want to see this because it's a feminist masterpiece.
• 14:41
  Speaker 1: And then I watched it and I was like, oh
• 14:43
  Speaker 1: my god, Catherine was right.
• 14:46
  Speaker 2: Yeah.
• 14:46
  Speaker 1: So I don't know why there was not more discussion
• 14:50
  Speaker 1: around how feminist this movie was. Yes, in regards to
• 14:55
  Speaker 1: how powerful and dynamic of a character the Moon is.
• 15:00
  Speaker 1: But that's what we're here for today. That's what we're
• 15:02
  Speaker 1: doing today.
• 15:03
  Speaker 2: Don't let the hollowness of this movie's moon fool you,
• 15:08
  Speaker 2: and don't let it be a metaphor for the film overall. Instead,
• 15:14
  Speaker 2: let the moon fall in because you'll I think what
• 15:17
  Speaker 2: you'll find is that it's a hollow spaceship full of
• 15:20
  Speaker 2: nanobots that turn into a big fist and then they
• 15:26
  Speaker 2: turned Samuel Tarlie into an immortal moon guy. Right.
• 15:32
  Speaker 1: Yeah.
• 15:32
  Speaker 2: Also, Michael Penya is there.
• 15:34
  Speaker 1: Michael Penia is there?
• 15:36
  Speaker 2: Michael Pania. Okay, this does not pass the Bechdel test,
• 15:38
  Speaker 2: and so we'll be talking about women any second now.
• 15:41
  Speaker 2: But and this movie is gonna make it easy.
• 15:44
  Speaker 1: Yeah.
• 15:45
  Speaker 2: Michael Pania first of all, was not supposed to be
• 15:47
  Speaker 2: in this movie. Yes, I read this supposed to be
• 15:49
  Speaker 2: I think Stanley Tucci. Stanley Tucci, which is such a
• 15:53
  Speaker 2: bizarre swap of actor. I would not say similar energies
• 15:59
  Speaker 2: at all. But lucky for Michael Paiya that he was
• 16:02
  Speaker 2: in this movie. The two things I associate Michael well,
• 16:05
  Speaker 2: other than like, Michael Panya is a very charismatic actor.
• 16:07
  Speaker 2: But the two other things I associate with him is
• 16:10
  Speaker 2: number one scientologist, Yes, number two. In one of my
• 16:14
  Speaker 2: favorite clips that I like to remind people about every
• 16:17
  Speaker 2: so often, I know where this is going, Chuck E
• 16:20
  Speaker 2: Cheese's favorite actor. I just would to remind our listeners
• 16:25
  Speaker 2: that in twenty twenty, during Lockdown, Chuck E Cheese was
• 16:30
  Speaker 2: doing this bizarre YouTube content. They were spotlighting the straight
• 16:37
  Speaker 2: to HBO live action Tom and Jerry movie starring Tom, Jerry,
• 16:42
  Speaker 2: Michael Pania, and Colin Jost and Chuck E Cheese interviewed
• 16:47
  Speaker 2: Michael Penya on his YouTube channel and that Michael Pena
• 16:51
  Speaker 2: was his favorite actor.
• 16:53
  Speaker 1: Wow.
• 16:53
  Speaker 2: And so every time I see Michael Panya, I'm like,
• 16:56
  Speaker 2: oh my god, Chucky is losing it somewhere. Chuck E
• 16:59
  Speaker 2: Chee is absolutely has seen Moonfall. He loves Michael Penia.
• 17:03
  Speaker 1: Well, of course, wait is it? Because wait, which one
• 17:07
  Speaker 1: is so of Tom and Jerry, which one is the
• 17:10
  Speaker 1: cat and which one is the mouse?
• 17:12
  Speaker 2: I'm glad you asked Cat, Tom, Mouse.
• 17:15
  Speaker 1: Jerry and Michael penia voice is one of those characters?
• 17:18
  Speaker 1: Which one?
• 17:19
  Speaker 2: No? No, no, he plays Tom and Jerry's friend.
• 17:22
  Speaker 1: Okay, I thought, okay, So where my brain was going.
• 17:25
  Speaker 1: I thought maybe Michael Penia voiced the mouse character. And
• 17:28
  Speaker 1: because Chuck E Cheese is a mouse, that's why he
• 17:31
  Speaker 1: had such a strong connection to Michael Penia.
• 17:33
  Speaker 2: No, No, that would that would have made sense. No,
• 17:36
  Speaker 2: he plays the character of Terreen's Mendoza. Colin just plays
• 17:44
  Speaker 2: just Ben. No last name for Colin, just uh huh.
• 17:47
  Speaker 2: And Tom and Jerry they're at a hotel. I believe
• 17:50
  Speaker 2: that Michael Penia works at the hotel. Okay, Chloe Grace
• 17:54
  Speaker 2: Moretz is there?
• 17:56
  Speaker 1: Wow? And should we cover this movie?
• 17:59
  Speaker 2: I don't know. I don't know if the world is ready.
• 18:01
  Speaker 2: There is actually like an interesting era of like straight
• 18:05
  Speaker 2: to streaming movies that basically don't exist because they were
• 18:09
  Speaker 2: released in like eight months in twenty twenty, where you're
• 18:13
  Speaker 2: just like these And actually the pandemic meaningfully plays into
• 18:17
  Speaker 2: the production history of Moonfall, and I feel like it's
• 18:21
  Speaker 2: sort of referenced in a and I say bizarre in
• 18:26
  Speaker 2: a feminist way, in a bizarre way in the film Moonfall. Sure,
• 18:33
  Speaker 2: but so if you haven't seen this movie, please please,
• 18:36
  Speaker 2: please please go and buy it on Blu Ray.
• 18:40
  Speaker 1: Yeah, spend as much money as you can on it.
• 18:42
  Speaker 2: Please. Yeah, order it from another country on Blu Ray.
• 18:48
  Speaker 2: And really, let Roland Emeric know that you stand with Moonfall.
• 18:55
  Speaker 1: Yeah.
• 18:55
  Speaker 2: And like many feminist masterpiece, it was not recognized in
• 18:58
  Speaker 2: its time, true, but it has become a cult classic
• 19:04
  Speaker 2: indie film is alive. And well, thank you.
• 19:06
  Speaker 1: Moonfall, Thank you Moonfall. All right, Well, should we take
• 19:12
  Speaker 1: a quick break and then come back for the recap?
• 19:15
  Speaker 2: Let's do it?
• 19:25
  Speaker 1: Okay, all right, here is the recap of the most
• 19:30
  Speaker 1: feminist film of the past decade, Moonfall. We open on
• 19:36
  Speaker 1: clips and sound bites of Apollo eleven, the mission famous
• 19:43
  Speaker 1: for astronauts first landing on the Moon. We cut to
• 19:50
  Speaker 1: January twelfth, twenty eleven. Some NASA astronauts are in space.
• 19:55
  Speaker 1: Ever heard of it, repairing a satellite? So this is
• 19:59
  Speaker 1: Brian in Harper, played by Patrick Wilson.
• 20:03
  Speaker 2: And I love Patrick Wilson. I enjoy it, and it's
• 20:06
  Speaker 2: so great for his career that he's in movies like
• 20:10
  Speaker 2: Moonfall exclusively. What's your favorite Patrick Wilson performance?
• 20:15
  Speaker 1: Oh, my gosh.
• 20:18
  Speaker 2: Mine's a tie. Okay, tell me, mine's a tie between
• 20:21
  Speaker 2: Phantom of the Opera obviously, Oh right, and Hard Candy.
• 20:25
  Speaker 2: He's great. Oh yeah, he's so great.
• 20:28
  Speaker 1: Is there a movie where he has long, straggly hair?
• 20:32
  Speaker 1: Am I thinking of Opera?
• 20:34
  Speaker 2: Okay, unless you're He was also in a bunch of movies. Well,
• 20:38
  Speaker 2: I saw a Watchman when it came out. I don't
• 20:41
  Speaker 2: remember it. But he was in.
• 20:44
  Speaker 1: Little Children, Yes, I've seen that.
• 20:46
  Speaker 2: Oh, I've seen him in Insidious. I liked the first Insidious.
• 20:50
  Speaker 2: He's in the Conjure, he's mister Condrey, one of which
• 20:54
  Speaker 2: I saw Oh you know what, he's great in hmmm,
• 20:57
  Speaker 2: season two of Fargo.
• 20:59
  Speaker 1: Oh, I do the ever watched the first season.
• 21:01
  Speaker 2: It's he's really good in it. Yeah, he's great, and
• 21:05
  Speaker 2: so I think again, speaking back to the theme of
• 21:07
  Speaker 2: this episode, it's really awesome that for some reason, for
• 21:11
  Speaker 2: the last ten years he's been in movies of the
• 21:14
  Speaker 2: caliber of Moonfall and like the Conjuring the Devil maybe
• 21:20
  Speaker 2: do it right?
• 21:22
  Speaker 3: Oh?
• 21:22
  Speaker 1: That he's also in Aquaman, and I believe it's right cool?
• 21:27
  Speaker 2: Oh my god, Yeah, that sucks that he had to
• 21:30
  Speaker 2: be in Aquaman like that. Yeah, and he played Aquaman's
• 21:35
  Speaker 2: like evil brother or something.
• 21:37
  Speaker 1: Yes, I don't remember.
• 21:39
  Speaker 2: We covered Aquaman and I have to say, I don't
• 21:42
  Speaker 2: remember a bar of it.
• 21:44
  Speaker 1: Couldn't tell you.
• 21:45
  Speaker 2: I love James Wan thing. Well, I guess that's probably
• 21:47
  Speaker 2: why Patrick Wilson is in it, because he's a James Wana.
• 21:49
  Speaker 2: Oh so true, due to the conjuring of it all. Anyways,
• 21:54
  Speaker 2: his best two movies came out twenty years ago, and
• 21:57
  Speaker 2: we've gotta we've got to help him out. Except for Moonfall,
• 22:01
  Speaker 2: of course, which.
• 22:02
  Speaker 1: Is his best way his best performance. Yes, so we
• 22:05
  Speaker 1: meet him. He plays Brian Harper. We also meet Josin
• 22:10
  Speaker 1: de Fowler aka Joe aka played by Halle Berry Lee Berry.
• 22:14
  Speaker 2: And you know, again, thank god her best work since
• 22:19
  Speaker 2: The Flintstones.
• 22:22
  Speaker 1: Yeah. Really, you know, there was a large gap in
• 22:26
  Speaker 1: between those two movies where you know, I don't think
• 22:30
  Speaker 1: she did anything really certainly was never nominated for an
• 22:33
  Speaker 1: Oscar one.
• 22:35
  Speaker 2: Genuinely. I feel like in the last like ten to
• 22:37
  Speaker 2: fifteen years, Halle Berry, at least from what I can tell,
• 22:41
  Speaker 2: has has not appeared in movies as much as she
• 22:43
  Speaker 2: once did. She seems choosier about the projects that she
• 22:47
  Speaker 2: has done, and so when she agrees to do Moonfall,
• 22:51
  Speaker 2: you know, I mean something, this is gonna be good. Yes,
• 22:55
  Speaker 2: And she plays iconic feminists Justinda Joe Fower. Yeah. I
• 23:00
  Speaker 2: like that. We know that these characters like each other
• 23:02
  Speaker 2: because they state that out of nowhere, after what has
• 23:08
  Speaker 2: to be weeks, if not months in space. Don't you
• 23:12
  Speaker 2: just love to announce your relationship to another person after
• 23:15
  Speaker 2: spending months of unceasing time with them. She's just basically
• 23:20
  Speaker 2: my work it's my work wife. She's my work wife.
• 23:23
  Speaker 2: I would be saying I say that about you after
• 23:25
  Speaker 2: we've been on the road together for eleven days just
• 23:30
  Speaker 2: out of context. I just find myself saying it as
• 23:32
  Speaker 2: if there's a camera pointed on me.
• 23:33
  Speaker 1: Yeah, No, I get it, Yeah, I get it. I
• 23:36
  Speaker 1: say the same thing about you.
• 23:37
  Speaker 2: And much like just into Fowlery Brian Harper, we are
• 23:41
  Speaker 2: definitely in the same room for the entire shoot, and
• 23:46
  Speaker 2: the chemistry is off the charts, off the charts.
• 23:50
  Speaker 1: Yeah. The two of these characters are besties. And then
• 23:54
  Speaker 1: there's a third guy there too. His name is Marcus.
• 23:57
  Speaker 2: Don't get attached, do not?
• 23:59
  Speaker 1: Because so they're in space repairing a satellite when all
• 24:03
  Speaker 1: of a sudden, a bizarre space disturbance happens. It seems
• 24:08
  Speaker 1: like a large cloud of debris, which might be sentient,
• 24:14
  Speaker 1: comes crashing into them and propels.
• 24:17
  Speaker 2: Fistful and nanobots it might be.
• 24:20
  Speaker 1: I guess we'll find out. It propels Marcus into the
• 24:23
  Speaker 1: depths of space.
• 24:25
  Speaker 2: So Marcus is the guy to him.
• 24:28
  Speaker 1: Yeah.
• 24:28
  Speaker 2: I love how people die in Moonfall, but.
• 24:32
  Speaker 1: I mean my favorite is Michael Penia's death.
• 24:34
  Speaker 2: Michael pas death is awesome. He literally just lays down
• 24:38
  Speaker 2: and he goes.
• 24:40
  Speaker 5: It.
• 24:41
  Speaker 2: Really, it's it's such a and if he only could
• 24:45
  Speaker 2: have hung in there for twelve more seconds, he would
• 24:48
  Speaker 2: have been okay because iconically, and this is part of
• 24:53
  Speaker 2: the joy of Moonfall, twelve seconds after Michael Penia's plot death,
• 24:59
  Speaker 2: all of a sudd in sunny the sun. Yeah, the
• 25:02
  Speaker 2: sun takes his mask off and he's like, the air's back.
• 25:07
  Speaker 1: Why is the airback? We don't know, because the moon
• 25:11
  Speaker 1: is a woman agency and she said, airs back, airs
• 25:16
  Speaker 1: you're right.
• 25:17
  Speaker 2: You're right.
• 25:18
  Speaker 1: Yeah, Okay, we're getting ahead of ourselves.
• 25:20
  Speaker 2: Sorry, sorry, sorry, I love Michael.
• 25:24
  Speaker 1: It's so funny.
• 25:25
  Speaker 2: Keep walking. Okay.
• 25:29
  Speaker 1: So Marcus dies, Brian manages to safely get back to
• 25:34
  Speaker 1: the spaceship where Joe has been knocked unconscious, and then
• 25:38
  Speaker 1: he sees this cloud or this swarm of sentient space debris, yeah,
• 25:46
  Speaker 1: burrow into the moon and we're like, oh no, that's
• 25:50
  Speaker 1: that's a woman being violated.
• 25:53
  Speaker 2: That's so true by the masculine nano bots nanotechnology.
• 25:59
  Speaker 1: Yeah.
• 25:59
  Speaker 3: Yes.
• 26:00
  Speaker 1: Then we cut to a year and a half later.
• 26:03
  Speaker 1: Brian has been fired from NASA following this incident. They
• 26:08
  Speaker 1: blame him for Marcus's death, but he maintains that this
• 26:13
  Speaker 1: bizarre space anomaly caused the mishap, but of course no
• 26:18
  Speaker 1: one believes him, including his best friend Joe.
• 26:22
  Speaker 2: And this is an important lesson about this is that women,
• 26:28
  Speaker 2: and I'm glad Will and Emeric brought this up. Women
• 26:30
  Speaker 2: are deceitful liars who are out to get you. Regardless
• 26:35
  Speaker 2: of how much you think you can trust them, you can't.
• 26:39
  Speaker 1: Yes, that is one of the core tenants of the
• 26:44
  Speaker 1: feminism of this movie.
• 26:45
  Speaker 2: I would say, Yeah, you can't trust a woman any
• 26:48
  Speaker 2: more than you can trust the concept of the moon belief.
• 26:53
  Speaker 1: Yeah, everything you thought you knew about the moon, the
• 26:55
  Speaker 1: moon's heart. Yes again, is a moon of secrets, a
• 27:00
  Speaker 1: deep moon of secrets.
• 27:03
  Speaker 2: It's been eighty four moons, moons, eighty four tens, twelve moons.
• 27:10
  Speaker 1: Oh, because a moon equals one month. Yes, okay, I see,
• 27:13
  Speaker 1: I see the math.
• 27:15
  Speaker 2: Thank you, I okay, sorry to harp on every single
• 27:18
  Speaker 2: bit of this masterpiece, but I just I was so
• 27:21
  Speaker 2: visually captivated, Okay, like maybe maybe you were as well
• 27:25
  Speaker 2: by the gigantic, unframed, high contrast photo of Patrick Wilson
• 27:33
  Speaker 2: and his son Sonny that his future ex wife Brenda
• 27:38
  Speaker 2: is just staring at.
• 27:40
  Speaker 5: Yeah.
• 27:41
  Speaker 1: No, it was really quite remarkable.
• 27:43
  Speaker 2: I've never seen a photo like that in my life.
• 27:46
  Speaker 2: I have never seen a high contrast CPA photoshopped photo
• 27:51
  Speaker 2: of Patrick Wilson and a child before and seeing it
• 27:55
  Speaker 2: raw and unframed for some reason, I found kind of chill.
• 28:01
  Speaker 1: And you're, of course referring to his ex wife, Brenda
• 28:08
  Speaker 1: played by Carolina Bartzak, and she is his ex wife
• 28:13
  Speaker 1: because this whole incident with Brian in this mishappened space
• 28:19
  Speaker 1: has ruined his life. He's fired from NASA and it
• 28:21
  Speaker 1: seems to have caused his marriage to fall apart. So
• 28:25
  Speaker 1: he separates from Brenda and they have a son together,
• 28:28
  Speaker 1: and that son, of course, is named as we've said, Sonny.
• 28:33
  Speaker 2: It sounds ridiculous, but I did it, and so did
• 28:36
  Speaker 2: Brian and Brenda. Yeah, names, we have to admit are
• 28:40
  Speaker 2: better stated for siblings and for a married couple, but whatever.
• 28:44
  Speaker 1: Oh sure the alliteration, yeah, of Brian and Brenda. Then
• 28:48
  Speaker 1: we cut to ten years after that we meet Casey
• 28:52
  Speaker 1: Housman played by John Bradley of Game of Thrones fame, yes,
• 28:58
  Speaker 1: who works as a janitor, or at least pretends to
• 29:01
  Speaker 1: be a janitor at UC Irvine so that he can
• 29:05
  Speaker 1: break into a professor's office and hack his email so
• 29:09
  Speaker 1: that he can access satellite images and data about the
• 29:15
  Speaker 1: moon's orbital patterns right and where like exactly.
• 29:20
  Speaker 2: I will say this part was supposed to have originally
• 29:24
  Speaker 2: been played by my longtime nemesis Josh Gadd. True, and
• 29:28
  Speaker 2: I'm glad that John Bradley is doing it, not Josh Gadd.
• 29:31
  Speaker 2: I think that's fair. Some days are hard enough.
• 29:36
  Speaker 1: Yeah, imagine having to watch Moonfall and then Josh.
• 29:39
  Speaker 2: Josh gadd performance on top of everything else. It just
• 29:42
  Speaker 2: wouldn't have been It wouldn't have been right.
• 29:44
  Speaker 1: It would have taken an otherwise perfect movie and really
• 29:47
  Speaker 1: knocked it down quite a few pegs.
• 29:49
  Speaker 2: Although I will say I would have loved to see
• 29:52
  Speaker 2: Stanley Tucci. Stanley Tucci, I know in this movie, you know,
• 29:56
  Speaker 2: but let Michael Pena stay. We did the same performance
• 30:01
  Speaker 2: next to each other. They are okay.
• 30:04
  Speaker 1: Brenda is polyamorous. She has two husbands, Polly, and they
• 30:09
  Speaker 1: hang out in.
• 30:10
  Speaker 2: A wide range of tastes. Stanley Tucci and Michael Pania.
• 30:13
  Speaker 2: I genuinely would love to see a buddy movie with
• 30:17
  Speaker 2: those two.
• 30:18
  Speaker 1: Oh, that would be great, be fun. Imagine Devilwar's Prada,
• 30:21
  Speaker 1: but it's Michael Panya instead of the Stanley Tucci character.
• 30:26
  Speaker 2: Or Michael Pania doing the same performance right next to
• 30:29
  Speaker 2: Stanley Tucci and they're speaking in unison. Yeah. Wow, makes
• 30:35
  Speaker 2: it's an idea this also, I would say, you know, haters,
• 30:40
  Speaker 2: haters would say this was maybe a rough year for
• 30:42
  Speaker 2: John Bradley filmography wise, because the other big movie he's
• 30:48
  Speaker 2: in this year is Marry Me, the j Loo movie.
• 30:53
  Speaker 2: Do you remember that?
• 30:54
  Speaker 1: I remember it?
• 30:55
  Speaker 2: I didn't see it. Is Owen Wilson in that also? Yes,
• 30:58
  Speaker 2: j Lo and Owen Wilson are in it together. I
• 31:02
  Speaker 2: saw it. I saw it in theaters. That was when
• 31:04
  Speaker 2: you were saying Moonfall. I was seeing Marry Me. Wow,
• 31:07
  Speaker 2: I said, between the two of us, we saw all
• 31:10
  Speaker 2: of John Bradley's work that year. But yes, yeah, he's
• 31:12
  Speaker 2: playing a guy named k C who I thought was
• 31:17
  Speaker 2: just Casey that it turns out its case.
• 31:19
  Speaker 1: The initials k C.
• 31:21
  Speaker 2: Yeah yeah, and he says the moon is hollow. And
• 31:24
  Speaker 2: guess what. I think it's an important message that this
• 31:27
  Speaker 2: movie holds that conspiracy theorists are correct and we shouldn't
• 31:32
  Speaker 2: worry about the various restraining orders filed against them. It
• 31:38
  Speaker 2: was a mistake.
• 31:38
  Speaker 1: It was a mistake because they were right all along.
• 31:41
  Speaker 1: Yeah yeah, okay, So Casey accesses data about the Moon
• 31:46
  Speaker 1: and its orbital patterns, and he sees something really bizarre.
• 31:50
  Speaker 1: We don't know what quite yet, but he tries to
• 31:53
  Speaker 1: call NASA about it. Cut to a space center in Texas,
• 31:59
  Speaker 1: I think, where Joe, who is now the deputy director
• 32:02
  Speaker 1: of NASA, is told that the Moon's orbit is shifting
• 32:08
  Speaker 1: and the Moon is getting closer and closer to Earth
• 32:11
  Speaker 1: as it continues to circle around it, and she's like, what,
• 32:15
  Speaker 1: that's impossible.
• 32:17
  Speaker 2: And then she says, rather iconically, I think that you know,
• 32:21
  Speaker 2: for the hyper compident characters that they are, it is
• 32:24
  Speaker 2: wild that Joe and Brian do manage to be the
• 32:27
  Speaker 2: last to know that the Moon is falling because Joe
• 32:31
  Speaker 2: is in mission control or whatever this like stage in
• 32:35
  Speaker 2: Montreal there in is and she's like, we need to
• 32:39
  Speaker 2: make sure this remains contained. And then everyone in unison
• 32:42
  Speaker 2: gets a push notification from like the Times saying in
• 32:47
  Speaker 2: all caps moon is falling.
• 32:50
  Speaker 1: Yes, well that's because Casey leaked the information. But the
• 32:55
  Speaker 1: whole thing is like, we don't know the source of this,
• 32:58
  Speaker 1: and he is not a credible source. So why the
• 33:02
  Speaker 1: world devolves into mass panic after this?
• 33:06
  Speaker 2: Well, I mean, I think it could be interesting commentary on,
• 33:09
  Speaker 2: you know, the state of the news cycle, the state
• 33:11
  Speaker 2: of defunding journalism, you know, how experts are now being
• 33:16
  Speaker 2: treated as credible sources when they may not in fact
• 33:19
  Speaker 2: be credible sources. However, I would say that is undercut
• 33:22
  Speaker 2: by the fact that this conspiracy theorist Casey Houseman, of
• 33:25
  Speaker 2: course his last name being Houseman because he's a man
• 33:27
  Speaker 2: and he lives in a house.
• 33:30
  Speaker 1: Just like how when you're a son, your name is son,
• 33:33
  Speaker 1: name is sunny.
• 33:37
  Speaker 2: And this movie went through descriptment, through many drafts, I'm sure,
• 33:41
  Speaker 2: but it's why Casey Houseman. It's tricky because you know,
• 33:45
  Speaker 2: it's like, it's one thing to say, oh, we are
• 33:47
  Speaker 2: now treating conspiracy theorists with no accreditation as the arbiters
• 33:53
  Speaker 2: of truth. This movie bravely asks, but what if they're right?
• 33:58
  Speaker 2: But what if Casey house what if every Casey Houseman
• 34:01
  Speaker 2: prediction is right and the moon is hollow.
• 34:04
  Speaker 1: It's the equivalent of if there was a movie about
• 34:08
  Speaker 1: how like a flat earther was like the Earth is flat,
• 34:12
  Speaker 1: and then the big reveal is that the Earth is flat.
• 34:15
  Speaker 2: Maybe that was what the sequel that tragically hasn't been
• 34:20
  Speaker 2: realized yet yet is There is a cliffhanger at the
• 34:24
  Speaker 2: end that is very confusing in a feminist way because
• 34:30
  Speaker 2: it is delivered by a woman. And she says to
• 34:33
  Speaker 2: Casey Houseman, more like Casey middle of the moonman now
• 34:40
  Speaker 2: because they copied his consciousness and now he's a part
• 34:43
  Speaker 2: of the moon famous. She says, your work is just
• 34:46
  Speaker 2: beginning or something like that. I hope you're ready or
• 34:49
  Speaker 2: get ready. So there's a lot of work to do.
• 34:52
  Speaker 2: So maybe this sequel to the moonfall is earth flat.
• 34:58
  Speaker 2: Maybe maybe we're just going to kind of keep going
• 35:01
  Speaker 2: through the big hits in terms of conspiracy theories of
• 35:07
  Speaker 2: the late twenty tens, moonfall, earth flat, vaccine, fake you know,
• 35:15
  Speaker 2: and so on and so forth.
• 35:16
  Speaker 1: Yes, I hope, so, I hope, so me too, I
• 35:20
  Speaker 1: really hope. So. Okay, So, speaking of Casey, he cannot
• 35:26
  Speaker 1: get through to NASA. No one will take him seriously,
• 35:29
  Speaker 1: so he has to come up with a different plan.
• 35:32
  Speaker 1: And he says out loud to no one, what would
• 35:35
  Speaker 1: Elon Musk do?
• 35:37
  Speaker 2: Now, this is interesting because Elon Musk, you know, obviously
• 35:42
  Speaker 2: at the time you're listening to this is a full blown,
• 35:46
  Speaker 2: out and out proud fascist yes, and you know, for
• 35:50
  Speaker 2: those that have had had eyes on him for years,
• 35:53
  Speaker 2: this will come as no surprise. It is just ideology
• 35:55
  Speaker 2: that has grown louder and louder as time goes on.
• 35:58
  Speaker 2: I wouldn't say that his position has meaningfully shifted. It
• 36:01
  Speaker 2: has just increased in volume spree exactly. But there is
• 36:04
  Speaker 2: this period, and it makes sense because this movie took
• 36:07
  Speaker 2: so long to come out. But in the late twenty ten's,
• 36:11
  Speaker 2: early twenty twenties where Elon Musk is getting a lot
• 36:15
  Speaker 2: of pr in film, I'm thinking of that Lindsay Lohan movie. Yes,
• 36:20
  Speaker 2: we watched on Netflix too, where it just and I
• 36:23
  Speaker 2: wouldn't say it's free press. I would heavily speculate that
• 36:26
  Speaker 2: he is paying for it in some way. Sure, But yeah,
• 36:29
  Speaker 2: about how he was for some time sort of positioned
• 36:33
  Speaker 2: as the man who could save the world with vaguely
• 36:38
  Speaker 2: conspiracy theory adjacent ideas. I don't know, I don't know.
• 36:45
  Speaker 2: I think the first time I got into an argument
• 36:47
  Speaker 2: about Elon Musk was in twenty eighteen in the writer's
• 36:52
  Speaker 2: room for Robot Chicken, in which I got into a
• 36:55
  Speaker 2: shouting match with another writer, a man, a man older
• 37:00
  Speaker 2: than myself, who was really infuriated that I didn't think
• 37:04
  Speaker 2: Elon Musk was cool, and that really was the basis
• 37:07
  Speaker 2: of the argument. And so for those of us who
• 37:11
  Speaker 2: have been beating this drum for a long time, you
• 37:13
  Speaker 2: hear that line and you wonder where is this going?
• 37:17
  Speaker 2: And it's going to a later line that says our
• 37:21
  Speaker 2: friends over at SpaceX. Yeah, and then I kind of
• 37:25
  Speaker 2: lost the thread of where it was supposed to have
• 37:27
  Speaker 2: been going other than saying that conspiracies are real, which
• 37:31
  Speaker 2: is a feminist idea.
• 37:34
  Speaker 1: The thread kids cut right then and there. Pretty much
• 37:38
  Speaker 1: it doesn't go elsewhere.
• 37:40
  Speaker 2: Movies don't need to answer every question, No, but it
• 37:45
  Speaker 2: would be cool. I do feel like most movies answer
• 37:48
  Speaker 2: at least one a question or presents you with potential
• 37:54
  Speaker 2: answers and choose which you choose to believe. But some
• 38:00
  Speaker 2: movies are just different, and these are mysterious. So yeah,
• 38:04
  Speaker 2: what what what would Elon Musk do? And honestly, I
• 38:09
  Speaker 2: wouldn't be surprised if Elon Musk did something similar to Brian,
• 38:12
  Speaker 2: which is like wear an embarrassing jacket and complain loudly
• 38:18
  Speaker 2: to no one. Yeah, yeah, I wanted to take a
• 38:22
  Speaker 2: moment to appreciate how children's dialogue is written in this film.
• 38:27
  Speaker 1: Oh let's let's do that.
• 38:29
  Speaker 2: Yeah, the way children talk in this movie is so
• 38:33
  Speaker 2: true to life. You you would think you're just walking
• 38:36
  Speaker 2: through a kmart. It is just really a amazing.
• 38:40
  Speaker 1: Are there children a kmart?
• 38:43
  Speaker 2: Well, there's you're just walking through the world, you know,
• 38:46
  Speaker 2: you're just listen. I don't know why cam art came down.
• 38:49
  Speaker 2: I don't even think kmart exists. No, You're just you're
• 38:52
  Speaker 2: just you're just walking around a playground, like, because it's
• 38:55
  Speaker 2: everything else that's perverted. You're like, well, I'm not just
• 38:58
  Speaker 2: walking around a playground. Yeah, any kid would be saying
• 39:02
  Speaker 2: things like I hate New Jersey. Any kid. There's a
• 39:07
  Speaker 2: great scene that I really appreciated where Casey is Casey
• 39:12
  Speaker 2: Houseman is impersonating Brian at the Griffith Observatory, Yes, which
• 39:19
  Speaker 2: is iconic in many ways. And there's what is okay
• 39:24
  Speaker 2: wait I wrote this down because.
• 39:26
  Speaker 1: The kid who says, well, are you going to teach
• 39:28
  Speaker 1: us about the moon or not? Yeah, and he says
• 39:31
  Speaker 1: it exactly like that.
• 39:33
  Speaker 2: Yes, that is exactly what I was talking about. I
• 39:38
  Speaker 2: don't know where it went, but yeah, I wrote down
• 39:42
  Speaker 2: the entire thing because it was so powerful to me.
• 39:47
  Speaker 2: And then there's like another kid who shockingly talks to
• 39:50
  Speaker 2: the exact same cadence as the first kid, almost as
• 39:53
  Speaker 2: if no one was thinking about that. I just really,
• 39:58
  Speaker 2: I really really loved it.
• 40:00
  Speaker 1: There's a scene where when the earth suddenly starts running
• 40:03
  Speaker 1: out of air.
• 40:05
  Speaker 2: One look out, Michael Penia, watch out, targeting Michael Penia,
• 40:10
  Speaker 2: only impending doom for him, just him though his and
• 40:15
  Speaker 2: Brenda's daughter, one of them.
• 40:18
  Speaker 1: There's like a there's a news cast and it says
• 40:22
  Speaker 1: something like atmospheric dissipation is about to begin, and one
• 40:27
  Speaker 1: of the daughters says, what's that? And then the other daughter,
• 40:31
  Speaker 1: who's I don't know, maybe nine years old, says the
• 40:34
  Speaker 1: earth is running out of air. Sully feminism, as if
• 40:38
  Speaker 1: a nine year old child knows what atmospheric dissipation means.
• 40:41
  Speaker 2: I don't know what that means. And I'm a hundred
• 40:45
  Speaker 2: and don't get me started on Joe Fowler's son, who
• 40:51
  Speaker 2: one are the weirdest kids ever committed to film? Okay,
• 40:53
  Speaker 2: so here's that exchange of the students yelling at Samwell
• 40:58
  Speaker 2: Tarli Shah grif Ritory, Yes, Okay, he's not two steps
• 41:03
  Speaker 2: into the observatory when this kid clocks him and says,
• 41:08
  Speaker 2: at volume one thousand, our teacher says, you're a wash
• 41:10
  Speaker 2: up no show, and she's complaining to someone. You're like, oh.
• 41:15
  Speaker 2: A second child says, you really don't look like an astronaut,
• 41:18
  Speaker 2: and then the first kid says, calling back to you, well,
• 41:22
  Speaker 2: are you going to teach us about space or what?
• 41:25
  Speaker 2: And it just makes you wonder does Roland Emmericks have
• 41:29
  Speaker 2: children and does.
• 41:31
  Speaker 1: He he ever interacted with a child.
• 41:34
  Speaker 2: And met them? And then the other kid is Joe's son,
• 41:40
  Speaker 2: his father, because that is ultimately what the movie is about. Yes,
• 41:44
  Speaker 2: And if fathers and sons are separated, well they just
• 41:47
  Speaker 2: are like, well, here's Michael Panya and he's a new father,
• 41:50
  Speaker 2: so okay, Joe follow her son a great one. And
• 41:52
  Speaker 2: I really liked that his father, mister Military industrial Complex
• 41:56
  Speaker 2: HIMSELFEP is calling hallebar on the phone and saying, how
• 42:02
  Speaker 2: can you say I'm not spending time with our son.
• 42:06
  Speaker 2: I talked to him on the phone all the time.
• 42:08
  Speaker 2: And then you cut like talking about him as if
• 42:10
  Speaker 2: he is not six, and then you see a six
• 42:14
  Speaker 2: year old, I'm like, what are you talking on the
• 42:16
  Speaker 2: phone about with this guy, like he talks about his
• 42:19
  Speaker 2: six year old son like he's a full blown adult, consistently,
• 42:21
  Speaker 2: to the point where maybe at some point in the
• 42:23
  Speaker 2: script he was I find the way they talk about
• 42:27
  Speaker 2: the kid very weird. Well, okay, sorry, sorry, I'm being
• 42:32
  Speaker 2: so negative.
• 42:33
  Speaker 1: Well yeah, Jamie Howell, I'm being a huge bitch. You're
• 42:36
  Speaker 1: being an enormous bitch, and I can't believe it. No,
• 42:39
  Speaker 1: But like, let's be let's think about this, Okay. Halle
• 42:43
  Speaker 1: Berry she was I think in her mid fifties when
• 42:46
  Speaker 1: she was very is Joe Fowler. Joe Fowler, she was
• 42:50
  Speaker 1: in her mid fifties when this movie was being filmed
• 42:55
  Speaker 1: and released. Sure, her son is, yeah, like six years old.
• 43:02
  Speaker 1: Not to say that you cannot have a baby.
• 43:06
  Speaker 2: You can. You can.
• 43:07
  Speaker 1: Yeah, But I think it's one of those cases where
• 43:10
  Speaker 1: they've cast an older actor to play a younger character,
• 43:16
  Speaker 1: because heaven forbid, we have a like fifty five year
• 43:19
  Speaker 1: old woman character on screen.
• 43:22
  Speaker 2: And I would say that that's feminists in addition to
• 43:24
  Speaker 2: the pressure that is put on women to look much
• 43:31
  Speaker 2: younger than they actually are in order to retain employment
• 43:35
  Speaker 2: in entertainment, And I think it's equally feminist. How people
• 43:39
  Speaker 2: will attack said women for merely responding to how society
• 43:45
  Speaker 2: is insisting they behave in order to.
• 43:49
  Speaker 1: Work, and then they will attack other women who are
• 43:55
  Speaker 1: less willing to adhere to those societal pressures and say, ooh,
• 44:00
  Speaker 1: why do you look so old and gross?
• 44:03
  Speaker 2: Or they will, you know, regard women who are you know,
• 44:09
  Speaker 2: choosing to age naturally and infantilize them by saying they're brave.
• 44:16
  Speaker 2: And there's just a million incredible ways to navigate talking
• 44:21
  Speaker 2: about women. And they're all normal and they're all really nice. Yeah.
• 44:27
  Speaker 2: There's also a character we meet who I think takes
• 44:31
  Speaker 2: again in a way that it's like women are so
• 44:33
  Speaker 2: complicated in a way that I think takes a very
• 44:36
  Speaker 2: long time to determine who is this character and what
• 44:40
  Speaker 2: is she doing? The character Michelle.
• 44:43
  Speaker 1: Oh my gosh, Yeah, I was.
• 44:46
  Speaker 2: Wrong about who Michelle was in relation to the other
• 44:49
  Speaker 2: characters about five times before I learned that she is
• 44:52
  Speaker 2: an exchange student who is a nanny and perhaps a tutor.
• 44:58
  Speaker 2: I'm maybe still not sure what mische Helle is doing.
• 45:01
  Speaker 1: It is very unclear.
• 45:03
  Speaker 2: I first thought she was dating Halle Berry Yes, Barry, yes,
• 45:09
  Speaker 2: But then it turns.
• 45:09
  Speaker 1: Out halle Berry is her boss.
• 45:12
  Speaker 2: Right, and that she's like a nanny who's teaching her
• 45:17
  Speaker 2: son Mandarin Mandarin.
• 45:21
  Speaker 1: Yeah.
• 45:21
  Speaker 2: But before we can decide who is Michelle, what's going
• 45:25
  Speaker 2: on with Michelle? Well, she's Sonny's girlfriend. And so then
• 45:30
  Speaker 2: you're like, oh, thank god, Okay, I was this woman
• 45:33
  Speaker 2: was getting too complicated. So it's good that she's just
• 45:36
  Speaker 2: Sonny's girlfriend. Yes, But I did I do. I mean
• 45:41
  Speaker 2: I did genuinely feel like she and halle Berry. I
• 45:43
  Speaker 2: thought that, like, you know, because you meet her at
• 45:45
  Speaker 2: the house and they have this like conversation about what
• 45:50
  Speaker 2: seemed like their shared child. Yeah, and I was like, wow,
• 45:54
  Speaker 2: queer representation, but that you find out several scenes later
• 45:57
  Speaker 2: actually not no, no queer representation. No, the scene was
• 46:01
  Speaker 2: just written weird.
• 46:02
  Speaker 1: Yes, So glad we got that out of the way.
• 46:08
  Speaker 2: I felt silly because I was like, wait, it was
• 46:10
  Speaker 2: I like, but then I rewatched the scene. I was like, no,
• 46:13
  Speaker 2: that's the way that they're talking to each other is
• 46:16
  Speaker 2: very unclear. It was not giving professional relationship.
• 46:21
  Speaker 1: No, because like the first time you see Michelle on screen,
• 46:24
  Speaker 1: she has okay, actually this is hilarious. It's early in
• 46:27
  Speaker 1: the morning, she has a cup of coffee that she
• 46:30
  Speaker 1: has made for Joe. And it seems the way it's written,
• 46:34
  Speaker 1: in the way it's acted, it seems like here is
• 46:38
  Speaker 1: a tender gesture, a loving gesture that one partner is
• 46:44
  Speaker 1: doing for another partner. Romantic partner. Yes, Nope, it's just
• 46:48
  Speaker 1: that Michelle wakes up at four o'clock in the morning
• 46:52
  Speaker 1: to make coffee for Joe. Also, she says.
• 46:55
  Speaker 2: She's like a living nanny, but like, yeah, she's just
• 46:58
  Speaker 2: very romantic. I don't know. Maybe it's just like these
• 47:01
  Speaker 2: these actresses are just so like compelling that I mean,
• 47:05
  Speaker 2: I mean they are they're they're beautiful, and so you
• 47:07
  Speaker 2: want them to be married. I want them to like yeah.
• 47:10
  Speaker 1: But the funniest thing about that scene is that Michelle
• 47:13
  Speaker 1: hands Joe a coffee and she says, black two sugars. Now,
• 47:19
  Speaker 1: if it's a black coffee, there isn't any sugar in it.
• 47:23
  Speaker 2: Whoa.
• 47:24
  Speaker 1: But she says, I made coffee just the way you
• 47:26
  Speaker 1: like it, black two sugars.
• 47:29
  Speaker 2: And that's feminism, and that's feminism, and that passes the
• 47:34
  Speaker 2: Bexel test.
• 47:35
  Speaker 1: Yes, it does so.
• 47:36
  Speaker 2: Early in the movie passes the Bechel test in women
• 47:38
  Speaker 2: who do have names. Although they're spoken very infrequently, and
• 47:43
  Speaker 2: their relationship to each other is completely incoherent. Because then
• 47:48
  Speaker 2: I went on this journey where I went back to
• 47:50
  Speaker 2: thinking that Michelle was actually dating Joe, just into Joe
• 47:55
  Speaker 2: Fowler because you find out her husband. But then it
• 47:59
  Speaker 2: said much later on, no, it's her ex husband, and
• 48:02
  Speaker 2: I was like, okay, so she is with Michelle. But
• 48:05
  Speaker 2: then Michelle shows up and a scene very much acting
• 48:07
  Speaker 2: like a nanny. And by that We're well over an
• 48:10
  Speaker 2: hour into the movie and I'm still trying to glean
• 48:13
  Speaker 2: the relationships between basic who lived together. I still don't
• 48:20
  Speaker 2: know who these people are to each other. And then
• 48:24
  Speaker 2: it turns out no, Michelle is straight single and looking
• 48:28
  Speaker 2: to date Patrick Wilson's car thief son named Sonny.
• 48:36
  Speaker 3: Dug.
• 48:36
  Speaker 2: Yeah.
• 48:37
  Speaker 1: Yes, Okay, back to the thing we were on. Casey
• 48:43
  Speaker 1: he's trying to come up with a plan to let
• 48:46
  Speaker 1: people know that there's something wacky going on with the moon,
• 48:51
  Speaker 1: so he goes to disgraced former astronaut Brian Harper, hoping
• 48:57
  Speaker 1: that he will help. Through various inters, including the one
• 49:01
  Speaker 1: where Casey is loudly blathering on about his moon conspiracy
• 49:07
  Speaker 1: theories to children, we learn that case believes that the
• 49:12
  Speaker 1: moon is what's called a megastructure, which is an enormous
• 49:17
  Speaker 1: artificial construction built by aliens. And then he tells he
• 49:23
  Speaker 1: tells Brian Harper that the Moon's orbit has shifted and
• 49:28
  Speaker 1: the moon is about to fall into Earth. And so
• 49:32
  Speaker 1: Brian thinks that Kse is a lunatic get it, lunatic
• 49:41
  Speaker 1: lunar 're.
• 49:42
  Speaker 2: Like a moona tig.
• 49:46
  Speaker 1: Moonatick? Yes? Okay, So then the movie takes a detour
• 49:53
  Speaker 1: from the urgent moon situation to introduce a few subplots,
• 49:59
  Speaker 1: including Casey taking care of his mother who seems to
• 50:02
  Speaker 1: have Alzheimer's and Brian's now eighteen year old son whose
• 50:09
  Speaker 1: name is still Sunny, getting arrested after being in a
• 50:13
  Speaker 1: high speed car chase.
• 50:15
  Speaker 2: Yeah, like an OJ Simpson style high speed televised car chase. Yes,
• 50:20
  Speaker 2: as all car chases are televised like their OJ Simpson correct.
• 50:27
  Speaker 1: Yeah, we cut back to Joe. The NASA scientists have
• 50:31
  Speaker 1: concluded that in three weeks, the Moon will get too
• 50:36
  Speaker 1: close to the Earth and it will basically fall apart
• 50:40
  Speaker 1: and fling huge moon chunks into the Earth.
• 50:44
  Speaker 2: Moon will fall, Moon will fall. The fall of the Moon,
• 50:48
  Speaker 2: The dark, dark of the Moon. I remember that.
• 50:51
  Speaker 1: I do remember that. Yeah. I think there is some
• 50:55
  Speaker 1: weird conspiratorial moon thing in that Transformers movie too.
• 51:00
  Speaker 2: Really. I mean I've only seen the first one, but
• 51:02
  Speaker 2: that that would track for me. Yeah, I believe that
• 51:06
  Speaker 2: Michael Bay believes and conspiracors.
• 51:08
  Speaker 1: Yeah, listeners who are familiar with Transformers Dark of the Moon.
• 51:13
  Speaker 1: Is the Moon a Transformer or something?
• 51:18
  Speaker 2: Okay? See, that actually sounds way more fun than Moonfall,
• 51:21
  Speaker 2: to be honest, I mean, a Moon being a Transformer
• 51:25
  Speaker 2: would be would be fun.
• 51:27
  Speaker 1: I don't know if that's what that movie is about,
• 51:30
  Speaker 1: but there is. I feel like there is something weird
• 51:32
  Speaker 1: about the Moon in that one anyway. So the stakes
• 51:37
  Speaker 1: are very high. The moon will fall.
• 51:39
  Speaker 2: The moon is very low.
• 51:40
  Speaker 1: The moon is The stakes are high, but the moon
• 51:43
  Speaker 1: is low exactly. Yeah, and so they need to send
• 51:46
  Speaker 1: a team of astronauts to the Moon to fix it.
• 51:52
  Speaker 2: Or something to to tell the Moon to knock it out,
• 51:58
  Speaker 2: to say stop falling, get up, pull yourself up by
• 52:02
  Speaker 2: your bootstraps. Moon. Yeah.
• 52:06
  Speaker 1: Then the scene where we were just talking about, where
• 52:08
  Speaker 1: Casey leaks the info about the Moon's orbit changing and
• 52:13
  Speaker 1: now it's trending on Twitter, which everyone believes even though
• 52:16
  Speaker 1: no one knows the source of this information.
• 52:19
  Speaker 2: It is wild how that line of dialogue that exists
• 52:22
  Speaker 2: in so many movies now sounds wild they dated, like
• 52:27
  Speaker 2: it's going viral on Twitter, which now would mean kind
• 52:30
  Speaker 2: of less than nothing. And it's ironic that whose fault
• 52:33
  Speaker 2: is that, Well Elon Musk. Yeah, well what Elon Musk
• 52:36
  Speaker 2: do amongst other things make it so that that line
• 52:40
  Speaker 2: sounds very dated.
• 52:43
  Speaker 1: Yes, anyways, so there's like now mass public panic, people
• 52:49
  Speaker 1: are fleeing from cities, people are looting, all that kind
• 52:53
  Speaker 1: of stuff.
• 52:53
  Speaker 2: Which again feels like a weird amalgamation and like it
• 52:58
  Speaker 2: felt to me based on when this movie was written
• 53:00
  Speaker 2: and produced, felt like a dishonest conflating many issues at once.
• 53:07
  Speaker 2: Reflection on twenty twenty and in a way that I
• 53:11
  Speaker 2: found frustrating in a movie I otherwise love.
• 53:16
  Speaker 1: And otherwise perfect movie. Yes, yeah, I can definitely see that,
• 53:21
  Speaker 1: But we see so little because like a lot of
• 53:24
  Speaker 1: disaster movies, where there's like a global disaster, you see
• 53:28
  Speaker 1: a lot more of the chaos that the world has
• 53:32
  Speaker 1: descended into. In this movie, there's only like very very
• 53:36
  Speaker 1: very quick cuts, mostly as like news coverage. Yeah, you
• 53:41
  Speaker 1: barely see anything well and in.
• 53:44
  Speaker 2: The interesting way. And again, this is an episode coming
• 53:47
  Speaker 2: out in early April, so we're gonna be doing extra
• 53:50
  Speaker 2: care in the discussion. But like, it is interesting that
• 53:53
  Speaker 2: like Roland Emeric is sort of playing on some of
• 53:56
  Speaker 2: the disaster movie tropes that he helped popular, which are
• 54:00
  Speaker 2: like anyone in the lower class is kind of like uh,
• 54:05
  Speaker 2: violent and bass.
• 54:07
  Speaker 1: Yeah and uncivilized, et cetera.
• 54:11
  Speaker 2: But with regard to not showing that the disaster and
• 54:14
  Speaker 2: the Disaster movie, I would say, Caitlin, you know, in
• 54:17
  Speaker 2: their defense, they only had one hundred and fifty million dollars,
• 54:21
  Speaker 2: and so would you be able to show a compelling
• 54:24
  Speaker 2: image for one hundred and fifty million dollars.
• 54:27
  Speaker 1: No, not me. I would blow that entire budget on
• 54:30
  Speaker 1: craft services. Yeah, yes, say what you will about this movie.
• 54:37
  Speaker 1: I actually think the special effects are decent, which I
• 54:42
  Speaker 1: don't think they're amazing, but I think it looks like
• 54:45
  Speaker 1: inexpensive movie because it is an expensive movie for sure,
• 54:48
  Speaker 1: So it's not like the effects look shitty the way
• 54:50
  Speaker 1: that a lot of B movie effects are really like
• 54:53
  Speaker 1: shitty looking, Like this movie looks like they spent money
• 54:57
  Speaker 1: on it, but it's just that the story is.
• 55:00
  Speaker 2: And if I'm being critical and I wouldn't know if
• 55:02
  Speaker 2: I was playing Devil's advocate here, sure sure, I would
• 55:04
  Speaker 2: say it definitely does look expensive. What I don't think
• 55:08
  Speaker 2: is that you can you can maybe get the sense
• 55:11
  Speaker 2: that the actors, more often than that not don't know
• 55:15
  Speaker 2: what they're supposed to be looking at because the reaction.
• 55:20
  Speaker 2: And this is not a fault of the actors, because
• 55:22
  Speaker 2: these effects were probably not even conceived of yet much
• 55:27
  Speaker 2: less executed, but you can sort of tell that there's
• 55:30
  Speaker 2: a moment with halle Berry I'm thinking about specifically, that
• 55:34
  Speaker 2: the reaction just feels a little low temperature. For what
• 55:38
  Speaker 2: she is looking at on a screen is astronauts being
• 55:43
  Speaker 2: eaten by nanobots like a snake, and she's sort of like,
• 55:47
  Speaker 2: oh that is that's really too bad, like it's really dead, kind.
• 55:52
  Speaker 1: Of stone faced, no reaction whatsoever.
• 55:56
  Speaker 2: It's almost as if she were directed to say, like,
• 56:00
  Speaker 2: make a facial expression that could mean anything, And halle
• 56:04
  Speaker 2: Berry is an incredible expressive actor, so I'm assuming she
• 56:09
  Speaker 2: was told to do that. But it's so weird because
• 56:14
  Speaker 2: what she ends up looking at is like really a
• 56:19
  Speaker 2: good effect, but very graphically horrific. Yeah, it's like her,
• 56:24
  Speaker 2: she's the head of NASA. These are we are to
• 56:27
  Speaker 2: think some of her like best and brightest astronauts, astronauts
• 56:31
  Speaker 2: she would know personally getting eaten by nanobots on camera
• 56:37
  Speaker 2: and she's like she's just like, oh no, wow, well
• 56:41
  Speaker 2: we should probably we should probably should probably the moose
• 56:46
  Speaker 2: this moon. I will say, women in power, this is
• 56:50
  Speaker 2: a great I think that Roland Emeric is bringing up
• 56:53
  Speaker 2: another feminist idea here, which is that women in power
• 56:55
  Speaker 2: is a bad idea because Joe Fowler, I will say it.
• 57:00
  Speaker 2: I'll say it. She is not really killing it running NASA.
• 57:04
  Speaker 1: She makes a lot of bad calls.
• 57:06
  Speaker 2: I would say, there is like a small fuel leak,
• 57:09
  Speaker 2: and she disbands NASA.
• 57:13
  Speaker 1: She said, never mind, we're gonna get there.
• 57:15
  Speaker 2: But I was really kind of stunned at how They're like, well,
• 57:19
  Speaker 2: there's a fuel, we don't have the thing to put
• 57:23
  Speaker 2: in the thing, and she's like, well, I guess we
• 57:25
  Speaker 2: better disband NASA, and then she does. Moments later, consulting,
• 57:31
  Speaker 2: no one disbands NASA and everyone in NASA's like, we're
• 57:35
  Speaker 2: going to Colorado. Okay, Colorado? Colorado is like, I mean,
• 57:40
  Speaker 2: is it like some Denver Airport shit, Like I know
• 57:42
  Speaker 2: that there's a lot of I was thinking of Birasy
• 57:44
  Speaker 2: theories in Colorado. Yeah, but it also gets you also
• 57:48
  Speaker 2: sort of get the feeling that, like the Tourism Bureau
• 57:51
  Speaker 2: of Colorado maybe through a couple bucks at this movie,
• 57:54
  Speaker 2: like Colorado comes up, Colorado, Lexus, Elon Musk. These are
• 57:58
  Speaker 2: just things that keep coming up up.
• 58:00
  Speaker 1: Everyone evacuates to Colorado in this movie, or at least
• 58:05
  Speaker 1: all the main characters. Yeah, okay, so actually we're about
• 58:08
  Speaker 1: to get there. So there's this like mass public panic.
• 58:11
  Speaker 1: Brian's ex wife, Brenda's new rich Lexus dealership owning husband
• 58:18
  Speaker 1: Tom Lopez played by Michael Penia, wants his family to
• 58:23
  Speaker 1: go to Aspen, Colorado for reasons that never become clear,
• 58:28
  Speaker 1: so he starts evacuating the family to Aspen. Brian, meanwhile,
• 58:34
  Speaker 1: is trying desperately to get his son, Sonny released from
• 58:38
  Speaker 1: jail in La Right, his son's Sonny, Son's Sonny.
• 58:44
  Speaker 2: There should be the daughter's named Dottery. Yes, it should
• 58:51
  Speaker 2: be that easy for us to I know, Dottie maybe Dottie.
• 58:55
  Speaker 2: Oh maybe that's it. Wow, Dorothy more like dot Dorothy.
• 59:01
  Speaker 1: Yeah, okay, so then Brian sees something on the news
• 59:05
  Speaker 1: about how maybe the Moon is a megastructure, and he's like,
• 59:11
  Speaker 1: wait a minute, that guy who I thought and who
• 59:15
  Speaker 1: belongs in the looney bin, get.
• 59:18
  Speaker 2: It more Luner, the mooney bin things, the looney Bend
• 59:22
  Speaker 2: or the mooney Bin.
• 59:22
  Speaker 1: Yeah, yes, He's like, that guy said something about the
• 59:27
  Speaker 1: Moon being a megastructure. So Brian goes to find Casey,
• 59:32
  Speaker 1: who continues to carry on about how something must have
• 59:37
  Speaker 1: gone wrong inside the hollow megastructure that is the Moon
• 59:43
  Speaker 1: and that's why it's veering off course. Now. Meanwhile, a
• 59:48
  Speaker 1: NASA spaceship goes to the Moon discovers that there's a
• 59:52
  Speaker 1: huge hole in one of the craters, so they drop
• 59:55
  Speaker 1: a probe inside, which prompts the sentient swor of spiky
• 1:00:02
  Speaker 1: technology nanobots to come out and kill the three astronauts
• 1:00:07
  Speaker 1: who are on this mission which we were just talking about,
• 1:00:09
  Speaker 1: which halle Berry's character has absolutely no reaction to. Her
• 1:00:14
  Speaker 1: boss is like, fuck this, I'm out. I quit NASA.
• 1:00:20
  Speaker 1: So now Joe is in charge of NASA, and so
• 1:00:23
  Speaker 1: with her new security clearance, she starts digging through some
• 1:00:27
  Speaker 1: classified records, which I guess as the deputy director of
• 1:00:31
  Speaker 1: NASA she had no access to. But now that she's
• 1:00:34
  Speaker 1: in like one step promoted, she has all the clearance
• 1:00:38
  Speaker 1: and she goes to this guy named Holdenfield played by
• 1:00:42
  Speaker 1: Donald Sutherland, who.
• 1:00:45
  Speaker 2: He's literally he reminds me, you know who he reminds
• 1:00:49
  Speaker 2: me of. Do you know that scene in Aladdin where
• 1:00:55
  Speaker 2: there's like that old man in the ja I think
• 1:00:59
  Speaker 2: it's like Jaffar in disguises. Yes, Donald Sutherland's character was
• 1:01:04
  Speaker 2: kind of reminding me of that guy where he just
• 1:01:06
  Speaker 2: comes out of the shadow, reveals some plot and disappears,
• 1:01:11
  Speaker 2: and then the protagonist is like, whoa that it's kind
• 1:01:13
  Speaker 2: of weird. That's kind of what happens.
• 1:01:15
  Speaker 1: That is kind of what happens. Except the thing with
• 1:01:18
  Speaker 1: Donald Sutherland's character is that it is implied that he's
• 1:01:21
  Speaker 1: about to go end his own life right after this, right.
• 1:01:25
  Speaker 2: Jaffar doesn't do that. It is it is bizarre. It
• 1:01:29
  Speaker 2: is bizarre because again we're met with yet another halle
• 1:01:33
  Speaker 2: Berry reaction that is very low temperature given the information
• 1:01:40
  Speaker 2: that's just been conveyed to her. For sure, that scene
• 1:01:43
  Speaker 2: sort of ends with her being like, well, these things
• 1:01:46
  Speaker 2: will happen like it, These moons will fall moons will fall.
• 1:01:53
  Speaker 2: It's like Vanessa Hudgens during COVID, people die, Like it's
• 1:01:57
  Speaker 2: just it's do you remember that. I don't know why
• 1:01:59
  Speaker 2: that that lives in my head, rent Free. It was
• 1:02:05
  Speaker 2: like such a horrific thing to say, and not that
• 1:02:10
  Speaker 2: anyone should be thinking about what Vanessa Haudgens said during COVID,
• 1:02:13
  Speaker 2: but I still think about it. That's kind of halle
• 1:02:16
  Speaker 2: Berry's vibe. She's sort of like, people are gonna die
• 1:02:19
  Speaker 2: and that's sad.
• 1:02:21
  Speaker 1: Yeah. So she now has all this new information, including
• 1:02:25
  Speaker 1: that NASA covered up the nanobot video footage that they
• 1:02:31
  Speaker 1: did get from Brian's helmet cam from the scene that
• 1:02:36
  Speaker 1: we saw at the very beginning of the movie. So
• 1:02:38
  Speaker 1: she's like, oh my gosh, I believe Brian now. So
• 1:02:42
  Speaker 1: she's about to go recruit him. But first, the moon's
• 1:02:47
  Speaker 1: orbit is affecting the tides and the ocean and stuff,
• 1:02:52
  Speaker 1: so water comes gushing on to land and it starts
• 1:02:56
  Speaker 1: destroying La where Brian and cac are. They end up
• 1:03:00
  Speaker 1: trapped in a hotel, so they're just sort of like
• 1:03:03
  Speaker 1: chilling in this hotel. They're like sleeping, hanging out hotel beds.
• 1:03:08
  Speaker 2: There's some like hippie friends of Casey Houseman. Yea there,
• 1:03:15
  Speaker 2: and it's like starting to feel like a movie from
• 1:03:17
  Speaker 2: nineteen ninety seven. And it's like that's because it's Rollin
• 1:03:20
  Speaker 2: Emerick directing it. So in many ways it is a
• 1:03:23
  Speaker 2: movie from nineteen ninety seven. But yeah, they're just kind
• 1:03:26
  Speaker 2: of hanging out.
• 1:03:27
  Speaker 1: They're just chilling. Yeah, yeah, who cares if the moon's falling,
• 1:03:31
  Speaker 1: We're just chilling.
• 1:03:32
  Speaker 2: Just two feminist allies hanging out at a hotel. Nothing
• 1:03:35
  Speaker 2: to see here.
• 1:03:36
  Speaker 1: Yes. Then there's a part where Joe's ex husband, Doug.
• 1:03:41
  Speaker 2: Who only appears in conference rooms the entire movie.
• 1:03:46
  Speaker 1: Yes, and like you said, he is military industrial complex
• 1:03:50
  Speaker 1: the man. He wants to take Joe and their son Jimmy,
• 1:03:56
  Speaker 1: also to Colorado for some reason.
• 1:03:59
  Speaker 2: Well, because that's where it's safe visit Colorado.
• 1:04:05
  Speaker 1: Yes, but Joe is like, I can't go to Colorado.
• 1:04:09
  Speaker 1: I have to go to the moon.
• 1:04:11
  Speaker 7: No.
• 1:04:12
  Speaker 2: Well she does not really tell him that. He finds
• 1:04:15
  Speaker 2: out from Sunny later, right, And that is one of
• 1:04:20
  Speaker 2: my favorite non reactions in the movie, Like Joe and
• 1:04:23
  Speaker 2: her ex husband really found each other because they stay
• 1:04:26
  Speaker 2: not reacting to gigantic pieces of news like that's how
• 1:04:30
  Speaker 2: they became so powerful in the American government by not
• 1:04:33
  Speaker 2: knowing what anyone is saying and being stonefaced in the
• 1:04:36
  Speaker 2: face of absolute horrors. Where she never informs him that
• 1:04:42
  Speaker 2: she is not coming to Colorado. She's given her son
• 1:04:46
  Speaker 2: over with her not girlfriend, it turns out nanny and
• 1:04:51
  Speaker 2: lets her get into this car with a known car
• 1:04:54
  Speaker 2: thief who said, by the way, my license is suspended,
• 1:05:00
  Speaker 2: So showing no regard for her own child safety, even
• 1:05:03
  Speaker 2: though we're told but whatever, it's all about telling, it's
• 1:05:06
  Speaker 2: not about showing. So even though her actions would indicate
• 1:05:09
  Speaker 2: she doesn't care about her son's safety, we're told she
• 1:05:12
  Speaker 2: does care, so she does, so she does. A half
• 1:05:15
  Speaker 2: hour later. A half hour later, the husband calls, or
• 1:05:19
  Speaker 2: the ex husband calls, because they do even a big
• 1:05:22
  Speaker 2: government meetings specify they are no longer married, as if
• 1:05:25
  Speaker 2: there's a camera on them, as if there were studio
• 1:05:28
  Speaker 2: notes saying it's unclear who anyone is to each other
• 1:05:31
  Speaker 2: in this movie. But Sonny, a character this man does
• 1:05:36
  Speaker 2: not know, calls them and says, oh, sorry, your ex
• 1:05:40
  Speaker 2: wife didn't go to Colorado. She actually went to the moon.
• 1:05:45
  Speaker 2: I've got your son. And he's like, oh, okay, well,
• 1:05:48
  Speaker 2: when are you gonna get to Colorado? I was like, what, Okay,
• 1:05:54
  Speaker 2: also consider this, so okay, sorry, you're right this huge bitch,
• 1:05:58
  Speaker 2: huge betch huge bitch. Yeah, damn it, Jamie, I'm sorry,
• 1:06:02
  Speaker 2: stop criticizing this perfect movie. No, I'm about to do
• 1:06:05
  Speaker 2: the same thing. So okay, the moon is famously falling. Yeah,
• 1:06:10
  Speaker 2: and it's affecting gravity on Earth. Well, depending on what
• 1:06:16
  Speaker 2: the plot requires, sure, well exactly. Yeah, but somehow it
• 1:06:20
  Speaker 2: is not affecting the satellites that are orbiting Earth that
• 1:06:25
  Speaker 2: would affect people being able to.
• 1:06:29
  Speaker 1: Make cell phone calls. Oh yeah, because everyone just keeps
• 1:06:33
  Speaker 1: making so many phone calls even though the satellites would
• 1:06:36
  Speaker 1: be so fucked.
• 1:06:36
  Speaker 2: Up gravity affected cell phone reception. Perfect. Yeah, Verizon really
• 1:06:43
  Speaker 2: should have gotten in on this, like.
• 1:06:45
  Speaker 1: Oh my gosh, they should.
• 1:06:46
  Speaker 2: Have missed opportunity. I'm sure they were reached out to.
• 1:06:50
  Speaker 1: Yeah.
• 1:06:50
  Speaker 2: Yeah, that honestly didn't even occur to me. Yeah, everyone
• 1:06:53
  Speaker 2: is making crystal clear phone calls.
• 1:06:55
  Speaker 1: The whole the whole movie. Satellites are working perfectly even
• 1:06:59
  Speaker 1: though the is crashing into all of them.
• 1:07:03
  Speaker 2: Probably it is really fascinating because it's like disaster movies,
• 1:07:07
  Speaker 2: all disaster movies good, Bad, or not have these kinds
• 1:07:11
  Speaker 2: of plot holes present. But if the movie, if you
• 1:07:14
  Speaker 2: like the characters enough and like the visuals are exciting enough,
• 1:07:19
  Speaker 2: you're willing to forget about a lot.
• 1:07:21
  Speaker 1: Yeah, suspension of disbelief, baby.
• 1:07:23
  Speaker 2: But it's interesting that we're noticing these plot holes and.
• 1:07:26
  Speaker 1: Plot holes more like a hole in the moon's crater.
• 1:07:33
  Speaker 2: Moon holes moon hole. Also, they keep saying crater and
• 1:07:37
  Speaker 2: I was like, wow, that's that's great fiance his last name. Yeah,
• 1:07:40
  Speaker 2: people are actually in sci fi movies they're saying his
• 1:07:44
  Speaker 2: last name, and then in movies in the movie Twisters,
• 1:07:48
  Speaker 2: they're saying his first name a lot because there's the
• 1:07:51
  Speaker 2: Daisy what's her name, Daisy? I forget what is act
• 1:07:56
  Speaker 2: name is, but there's a whole thing between her and
• 1:07:59
  Speaker 2: Glenn Power. I remember me and my brother laughed so
• 1:08:02
  Speaker 2: heart in theaters at Grant because there's a repeated line
• 1:08:06
  Speaker 2: of she is like, I need to go get a
• 1:08:08
  Speaker 2: big fat Grant. It's fun by research.
• 1:08:13
  Speaker 1: Oh yeah, wow, both of Grant's names are nouns.
• 1:08:17
  Speaker 2: I know, I know it's weird that it is his
• 1:08:19
  Speaker 2: actual government name, because I was like, it sounds fake,
• 1:08:22
  Speaker 2: but it's real. Anyways, Moonfall. Sorry, I keep getting distracted,
• 1:08:25
  Speaker 2: which is wild because the plot is so riveting.
• 1:08:28
  Speaker 1: Yeah, yes, okay. So then Joe goes to recruit Brian
• 1:08:35
  Speaker 1: and by default because Brian and Casey are buddies. Now,
• 1:08:38
  Speaker 1: so Brian and Casey get recruited to help Joe, but
• 1:08:44
  Speaker 1: they're not sure how they're going to get to the
• 1:08:48
  Speaker 1: moon because according to this movie, all of the spaceships
• 1:08:52
  Speaker 1: are in museums.
• 1:08:54
  Speaker 2: And don't worry about what that means, why that is
• 1:09:01
  Speaker 2: or who made that decision, because you do get the
• 1:09:05
  Speaker 2: feeling that well, I guess it would be halle Berry's boss,
• 1:09:09
  Speaker 2: kind of a patriarchy, the guy kind of guy who
• 1:09:12
  Speaker 2: does quit his job. You know you said earlier he
• 1:09:16
  Speaker 2: quits his job so he could of course go to Colorado. Yeah,
• 1:09:20
  Speaker 2: and then just like hands halle Berry a key card
• 1:09:22
  Speaker 2: and says, you want to be the head of NASA
• 1:09:25
  Speaker 2: so bad? Well you are. Now you go, Now, why
• 1:09:29
  Speaker 2: did that? Assuming that's the guy who put all the
• 1:09:32
  Speaker 2: spaceships in museums, what has NASA been up to? Well,
• 1:09:36
  Speaker 2: all the spaceships are in museums.
• 1:09:38
  Speaker 1: We keep cutting to present day NASA, and they seem
• 1:09:43
  Speaker 1: to be fully operational.
• 1:09:45
  Speaker 2: But then you find out actually all the space ships
• 1:09:47
  Speaker 2: are in museums, which is interesting because we've seen astronauts
• 1:09:50
  Speaker 2: gotten eaten by nanobots today today. Yes, so it's safe
• 1:09:55
  Speaker 2: to assume we were in a spaceship, but maybe that
• 1:09:59
  Speaker 2: was the last space that wasn't in a museum. Follow
• 1:10:02
  Speaker 2: up question, why are the space ships that are in
• 1:10:04
  Speaker 2: museums so loosely secure that there's graffiti on them that
• 1:10:10
  Speaker 2: say fuck the Moon. That's a great question. What museum
• 1:10:14
  Speaker 2: are they in that security is that low?
• 1:10:18
  Speaker 1: It's a museum in La Also.
• 1:10:21
  Speaker 2: Well, clearly they didn't give roll in Emeric any money
• 1:10:24
  Speaker 2: because they made the whole place like pretty low rent.
• 1:10:26
  Speaker 1: Well and then they and they flooded the whole city.
• 1:10:29
  Speaker 2: It's true.
• 1:10:30
  Speaker 1: They said, they said, fuck La Denver is the only
• 1:10:33
  Speaker 1: safe place in the US or Colorado in general.
• 1:10:38
  Speaker 2: Yeah.
• 1:10:38
  Speaker 1: Okay, so they're like, yeah, all the spaceships are in
• 1:10:42
  Speaker 1: museum except for the Endeavor, which is the ship that
• 1:10:46
  Speaker 1: they were on at the very beginning of the movie.
• 1:10:48
  Speaker 2: Oh wait, that's the graffiti ship that says fucked the most.
• 1:10:51
  Speaker 1: Okay, so yeah, it's not in a museum. It was
• 1:10:54
  Speaker 1: just in storage or something.
• 1:10:56
  Speaker 2: It was just at like public storage.
• 1:11:01
  Speaker 1: Yeah. Yeah, So Brian and a few other astronauts prep
• 1:11:06
  Speaker 1: for this mission where they're gonna go to the Moon
• 1:11:09
  Speaker 1: to stop it from falling.
• 1:11:11
  Speaker 2: Well, and it's not a few other astronauts, it's like
• 1:11:14
  Speaker 2: a lot of that, it's most of NASA is preparing
• 1:11:17
  Speaker 2: for this mission.
• 1:11:19
  Speaker 1: A lot of people are there on the ground, and
• 1:11:21
  Speaker 1: then like a handful are actually gonna go into space.
• 1:11:23
  Speaker 2: Is actually gonna go, but it's a big thing.
• 1:11:26
  Speaker 1: Yeah, until of course.
• 1:11:27
  Speaker 2: Operates some sort of like coolant issue, and then NASA
• 1:11:31
  Speaker 2: has to be disbanded, disbanded so that you can all
• 1:11:34
  Speaker 2: go to Colorado.
• 1:11:36
  Speaker 1: So in the meantime, though they're they're prepping for this mission,
• 1:11:39
  Speaker 1: SpaceX gets mentioned. Casey continues to have a raging hard
• 1:11:45
  Speaker 1: on for Elon Musk. Their plan is unclear, but it
• 1:11:51
  Speaker 1: seems like basically they're going to lure the evil spiky
• 1:11:57
  Speaker 1: nanotechnology bots out of the Moon and then blow up
• 1:12:03
  Speaker 1: that swarm with a bomb. I think I wasn't clear.
• 1:12:09
  Speaker 2: Are they gonna blow up the Moon or are they
• 1:12:11
  Speaker 2: just gonna blow up something like near the moo.
• 1:12:13
  Speaker 1: That's such a good question. We're just not too sure.
• 1:12:17
  Speaker 2: I wasn't able to get. But again, it's not the
• 1:12:21
  Speaker 2: movies that is actually one of my favorite things that
• 1:12:25
  Speaker 2: because this is true, but I do think it's overused
• 1:12:28
  Speaker 2: by a certain type of letterbox user who will be like,
• 1:12:32
  Speaker 2: it's not the movie's job to tell you all the answers,
• 1:12:35
  Speaker 2: and then you're like, I do feel like it is
• 1:12:37
  Speaker 2: the movie's job to tell me if the objective of
• 1:12:41
  Speaker 2: most of the movie is to blow the moon up
• 1:12:44
  Speaker 2: or not. There are certain questions that I don't feel
• 1:12:48
  Speaker 2: are pedantic, and in Moonfall, I would like to know
• 1:12:53
  Speaker 2: if they are trying to blow up the moon or
• 1:12:55
  Speaker 2: if they're like trying to do something else. But luckily
• 1:13:01
  Speaker 2: there's like a plot room inside of the moon in
• 1:13:05
  Speaker 2: which things will become even more confusing. But that's we're
• 1:13:08
  Speaker 2: a ways away. First, halle Berry disbands NASA.
• 1:13:12
  Speaker 1: And also before Brian leaves on this mission, he reunites
• 1:13:17
  Speaker 1: with his son Sonny.
• 1:13:19
  Speaker 2: Oh yeah, because that's that's the agreement. He will come
• 1:13:23
  Speaker 2: back for one last hurrah blowing the moon up, possibly
• 1:13:28
  Speaker 2: as long as his son Sonny is let.
• 1:13:32
  Speaker 1: Out of jail. Yeah, yeah, yes, it all makes sense.
• 1:13:38
  Speaker 1: Then what you're referring to happens where an earthquake or
• 1:13:42
  Speaker 1: something destroys one of the spaceship's engines and coolant is
• 1:13:47
  Speaker 1: leaking or something, but they can't go to space anymore
• 1:13:51
  Speaker 1: because there's only two engines left.
• 1:13:53
  Speaker 2: That's like saying, Josh Gadd is no longer available. We
• 1:13:56
  Speaker 2: can't make moonfall. We all have to go to Colorade.
• 1:14:00
  Speaker 2: Come on, right, where's your spirit?
• 1:14:03
  Speaker 1: Well? Kse steps in with some new calculations.
• 1:14:08
  Speaker 2: Much like John Bradley for Josh Gad precisely okay, and
• 1:14:12
  Speaker 2: he's like, wait a minute, if we wait until the moon,
• 1:14:17
  Speaker 2: which is falling, it is directly above us, the gravitational
• 1:14:23
  Speaker 2: pull from the Moon will pull the spaceship up to.
• 1:14:28
  Speaker 1: The Moon, so we don't even need engines, really, we
• 1:14:31
  Speaker 1: just need the Moon's gravity. And everyone's like, yeah, I
• 1:14:36
  Speaker 1: will be honest, I'm so glad that.
• 1:14:39
  Speaker 2: That came through to you, because I was like, I
• 1:14:43
  Speaker 2: was really not sure what his justification for going through
• 1:14:47
  Speaker 2: with it, because it seemed like to me, what it
• 1:14:49
  Speaker 2: seemed like is like, oh no, this issue with the
• 1:14:53
  Speaker 2: cool ANDT is so bad that we have to disband
• 1:14:55
  Speaker 2: an entire government agency. But then an hour later, the
• 1:15:02
  Speaker 2: same person who disbanded said government agency. Halle Berry is like, actually,
• 1:15:09
  Speaker 2: never mind, let's go to space. Let's go to space
• 1:15:12
  Speaker 2: right now. Even though, like I think, canonically NASA and
• 1:15:17
  Speaker 2: by NASA, I mean every employee of NASA who is
• 1:15:19
  Speaker 2: just dismissed from NASA wouldn't have even had time to
• 1:15:22
  Speaker 2: make it to the airport, like they could have come
• 1:15:24
  Speaker 2: back right. She could have been like, sorry, guys, faalse along,
• 1:15:28
  Speaker 2: I shouldn't have disbanded NASA just there. But she's like, no, no, no, no, no, no,
• 1:15:33
  Speaker 2: never mind. Actually could your son? Who Again, this is
• 1:15:37
  Speaker 2: an anti Curst rule show, but like some I would
• 1:15:40
  Speaker 2: not let my young child in the car with an
• 1:15:44
  Speaker 2: eighteen year old who had just been in a very
• 1:15:49
  Speaker 2: dangerous car chase. Agree. I don't think that's good parenting.
• 1:15:54
  Speaker 1: I think no.
• 1:15:55
  Speaker 2: But that's where Joe Fowler has me beat. I just
• 1:15:59
  Speaker 2: like she's playing a game of chess. I'm not well.
• 1:16:03
  Speaker 2: She's amazing, she's trying to have it all. She's a
• 1:16:05
  Speaker 2: woman in stem it's hard to have the director of NASA.
• 1:16:08
  Speaker 2: She's got to got a little moon.
• 1:16:10
  Speaker 1: She's a mom. She's just trying to make it all work.
• 1:16:13
  Speaker 2: You know, her ex husband can't get out of that
• 1:16:15
  Speaker 2: weird room in Colorado he's in anymore than Michael Payna
• 1:16:19
  Speaker 2: can get out of the weird room he's in in Aspen,
• 1:16:22
  Speaker 2: which is also in Colorado. They're already in Colorado.
• 1:16:25
  Speaker 1: Yeah, why are they going elsewhere in Colorado?
• 1:16:27
  Speaker 2: They're all in Colorado.
• 1:16:29
  Speaker 1: So confusing. Okay, So they're waiting for the Moon to
• 1:16:32
  Speaker 1: position itself so that the gravity because somehow, because even
• 1:16:36
  Speaker 1: though the Moon is smaller than Earth, the Moon's gravity
• 1:16:42
  Speaker 1: is strong, and so it's gonna pull the spaceship up
• 1:16:47
  Speaker 1: to the Moon. Maybe that's real science. I don't I'm
• 1:16:51
  Speaker 1: not a I'm not a person in stem. I think
• 1:16:54
  Speaker 1: we can safely say no. But if listeners have dissenting
• 1:16:59
  Speaker 1: opinions and this act comes together quite beautifully, please let
• 1:17:02
  Speaker 1: us know. Okay, So their plans to go into space
• 1:17:08
  Speaker 1: to the Moon are going to move forward. Meanwhile, Sonny,
• 1:17:13
  Speaker 1: little Jimmy, and then this woman Michelle, who we've been
• 1:17:17
  Speaker 1: talking about, played by Kelly You. She is Jimmy's nanny,
• 1:17:21
  Speaker 1: although sometimes it seems like she is Joe's girlfriend also,
• 1:17:25
  Speaker 1: but yes, but no, but yes, but no.
• 1:17:28
  Speaker 2: She's also an exchange student. I don't even know why
• 1:17:32
  Speaker 2: they mentioned that.
• 1:17:33
  Speaker 1: She loudly blurts it out.
• 1:17:36
  Speaker 2: People people did that sometimes I just am like, I'm
• 1:17:40
  Speaker 2: from massive choosett Like you just can't your place of
• 1:17:46
  Speaker 2: origin and occupation. It's just yes, human nature.
• 1:17:50
  Speaker 1: So true. Okay, So the three of them get in
• 1:17:53
  Speaker 1: a truck with sunny driving and they head to you
• 1:17:58
  Speaker 1: guessed it, call Colorado. Sure, they have to outrun a
• 1:18:03
  Speaker 1: huge gravity wave of water that's coming from the ocean.
• 1:18:08
  Speaker 1: They drive for a while, then some hijackers steal their truck,
• 1:18:12
  Speaker 1: so they set off on foot. Yeah, in the middle
• 1:18:15
  Speaker 1: of winter, presum it seems like, because it's snowing.
• 1:18:20
  Speaker 2: And and to be clear, the carjackers, what we know
• 1:18:23
  Speaker 2: about them is that they're.
• 1:18:24
  Speaker 1: They're they're poor, Yeah, and therefore scary violence trust them.
• 1:18:31
  Speaker 1: Right then chunks of the moon start barreling down around them. Sure,
• 1:18:38
  Speaker 1: Back in space, Brian, Joe and Case set a trap
• 1:18:42
  Speaker 1: for the evil nanotechnology monster swarm thing, but it doesn't
• 1:18:51
  Speaker 1: take the bait, so the astronauts decide to take a
• 1:18:55
  Speaker 1: smaller space vessel inside of the Moon. They discover that,
• 1:19:01
  Speaker 1: sure enough, it is a megastructure, and they're like, whoa, so.
• 1:19:06
  Speaker 2: Which means the moon is hollow. The moon is fake.
• 1:19:11
  Speaker 2: The moon landing was fake. Elon Musk is awesome that yes,
• 1:19:19
  Speaker 2: I never Yeah, well whatever, I don't. I can't think
• 1:19:22
  Speaker 2: about Elon Musk anymore today. On our joke episode, Sorry.
• 1:19:26
  Speaker 1: What wait, Genie, what what?
• 1:19:29
  Speaker 2: I'm sorry? I'm sorry, I'm sorry.
• 1:19:32
  Speaker 1: Happy aprifolds everyone. Okay, Back on Earth, Sonny, Jimmy, and
• 1:19:41
  Speaker 1: Michelle link up with Brenda and Tom. They have to
• 1:19:47
  Speaker 1: go find some oxygen tanks because all of a sudden,
• 1:19:51
  Speaker 1: the Earth is running out of breathable air. The hijackers
• 1:19:56
  Speaker 1: from earlier show up with guns, and so they're hassling
• 1:20:00
  Speaker 1: Sonny and friends, but they're able to get away, and
• 1:20:03
  Speaker 1: there's a chase and blah blah blah elsewhere in Colorado. Meanwhile,
• 1:20:08
  Speaker 1: the military is about to launch a nuclear attack at
• 1:20:12
  Speaker 1: the Moon.
• 1:20:13
  Speaker 2: Yeah, which I do appreciate is repeatedly referred to as
• 1:20:17
  Speaker 2: nuking the Moon. That's the kind of disaster movie shorthand
• 1:20:21
  Speaker 2: I show up to hear in the movie noona Moonfall
• 1:20:26
  Speaker 2: is that if halle Berry isn't expeditious in getting the
• 1:20:31
  Speaker 2: Moon saved or exposing the Moon, or whatever the hell
• 1:20:35
  Speaker 2: it is she's supposed to be doing, they're gonna nuke
• 1:20:38
  Speaker 2: the moon.
• 1:20:39
  Speaker 1: Nuke the moon. Yeah, that's a tagline if I've ever
• 1:20:42
  Speaker 1: heard one.
• 1:20:43
  Speaker 2: Now, that's what I call steaks. They're gonna nuke the moon,
• 1:20:47
  Speaker 2: all right, we better get moving.
• 1:20:49
  Speaker 1: Yeah, and really they do because Brian, Joe, and Casey
• 1:20:53
  Speaker 1: are good so fast. They're still inside the Hollow Moon
• 1:20:57
  Speaker 1: Mega structure, where the swarm of nanobots start to go
• 1:21:03
  Speaker 1: after them, but then something seems to save them and
• 1:21:08
  Speaker 1: kind of pull their spaceship to safety. Brian, who has
• 1:21:13
  Speaker 1: gotten separated from the other two, finds himself in a
• 1:21:17
  Speaker 1: room a plot void, a plot void with the Moon's
• 1:21:22
  Speaker 1: operating system, which has taken the form of Sonny when
• 1:21:27
  Speaker 1: he was a little son when he hated New Jersey,
• 1:21:31
  Speaker 1: hated New Jersey. And this is something that the movie
• 1:21:35
  Speaker 1: Moonfall seems to have lifted directly from the movie Contact,
• 1:21:40
  Speaker 1: because do you remember at the end of that movie
• 1:21:42
  Speaker 1: when Jodie Foster is like talking to the alien and
• 1:21:46
  Speaker 1: it takes the form of her father and it's like, yeah,
• 1:21:50
  Speaker 1: this is a form that will be easier to communicate
• 1:21:52
  Speaker 1: with you. In Moonfall does the same exact thing, except
• 1:21:55
  Speaker 1: for its except it's sunny.
• 1:21:58
  Speaker 2: Except it doesn't work. Yeah, it is very confusing this movie. Again,
• 1:22:03
  Speaker 2: I think probably politically it falls on its attitude toward
• 1:22:09
  Speaker 2: I just think because attitudes towards Ai have changed and clarified,
• 1:22:16
  Speaker 2: and I include myself in this too, where like I
• 1:22:19
  Speaker 2: think in twenty twenty two, I don't know how many
• 1:22:22
  Speaker 2: like cogent thoughts I had on Ai other than I
• 1:22:26
  Speaker 2: don't like it. So I wasn't shocked to see a
• 1:22:30
  Speaker 2: sort of bizarre, incoherent view on Ai.
• 1:22:36
  Speaker 1: It's just so coherent.
• 1:22:37
  Speaker 2: It's really confusing because it does seem to be basically
• 1:22:41
  Speaker 2: anti but.
• 1:22:43
  Speaker 1: Except for when it's pro Ai in the movie, right,
• 1:22:46
  Speaker 1: not decide where it lands on Ai.
• 1:22:48
  Speaker 2: Because they're like, because of Ai, well this is what Okay,
• 1:22:51
  Speaker 2: so this is actually going in sequence, Like we learn
• 1:22:53
  Speaker 2: in the plot void that due to Ai there was
• 1:22:58
  Speaker 2: an amazing Utope. Yeah, so AI was good, but then
• 1:23:02
  Speaker 2: AI became sentient, and then AI was bad and now
• 1:23:07
  Speaker 2: there's two. It reminded me a lot of I Frankenstein,
• 1:23:10
  Speaker 2: where you find out deep into the movie there's a
• 1:23:12
  Speaker 2: war between demons and gargoyles, and you're like, there's a
• 1:23:15
  Speaker 2: war between demons and gargoyles. It feels like that, except
• 1:23:19
  Speaker 2: there's like a war between two AI.
• 1:23:22
  Speaker 1: There's benevolent AI and evil AI according to this movie.
• 1:23:27
  Speaker 2: So it really does refuse to choose a side as
• 1:23:30
  Speaker 2: to are we pro AI, and they're like, well, we're
• 1:23:33
  Speaker 2: pro the good AI, and we cannot be more specific
• 1:23:36
  Speaker 2: about what that means.
• 1:23:38
  Speaker 1: Yeah, correct, Yeah, yeah, we can talk more about that, but.
• 1:23:43
  Speaker 2: I really don't want to. But okay, but we can.
• 1:23:48
  Speaker 1: Yeah, I mean I suppose we don't have to. But
• 1:23:52
  Speaker 1: what happens here in the story is this construct of Sonny,
• 1:23:58
  Speaker 1: This AI manifestation of this little boy explains that billions
• 1:24:04
  Speaker 1: of years ago, the ancestors of humans lived in a
• 1:24:10
  Speaker 1: hyper advanced utopian society.
• 1:24:14
  Speaker 2: That like AI made for them.
• 1:24:16
  Speaker 1: It was either AI made for them or they made
• 1:24:19
  Speaker 1: the AI, but we made.
• 1:24:21
  Speaker 2: It for them, we don't know, or that like maintained
• 1:24:25
  Speaker 2: the world, yeah, it says.
• 1:24:27
  Speaker 1: The movie says that this utopian society was controlled by
• 1:24:32
  Speaker 1: a central self learning computer system aka AI. For a while,
• 1:24:39
  Speaker 1: this went great. Human ancestors expanded and built other planets
• 1:24:44
  Speaker 1: which they lived on. They were like doing space colonialism
• 1:24:51
  Speaker 1: and they yeah, but then one day everything changed when
• 1:24:56
  Speaker 1: the AI became self aware and it turned into this
• 1:25:00
  Speaker 1: warm of evil spiky nanotechnology that we have been seeing
• 1:25:03
  Speaker 1: throughout the movie, and that started a war against all
• 1:25:07
  Speaker 1: biological life. Because of that, the ancestors built structures like
• 1:25:13
  Speaker 1: the Moon, which was operated by benevolent AI to try
• 1:25:19
  Speaker 1: to keep them safe from the evil AI, and they
• 1:25:22
  Speaker 1: would send these megastructures to various solar systems looking for
• 1:25:27
  Speaker 1: a new place to inhabit, and one of them being
• 1:25:30
  Speaker 1: our moon. So the Moon gets shot off to our
• 1:25:35
  Speaker 1: solar system. But meanwhile, the evil AI killed all of
• 1:25:39
  Speaker 1: the ancestors. So now it was up to the Moon
• 1:25:43
  Speaker 1: to create Earth from space dust, and it gives birth
• 1:25:48
  Speaker 1: to the Earth, and it puts the DNA for humans
• 1:25:52
  Speaker 1: onto Earth so that humans would eventually evolve.
• 1:25:58
  Speaker 2: I guess I got to my eyes glazed over when
• 1:26:02
  Speaker 2: I heard it in the movie, and I my eyes
• 1:26:05
  Speaker 2: glazed over. Just now, I have no idea what the
• 1:26:07
  Speaker 2: hell happened in that plot. Void they were like like
• 1:26:10
  Speaker 2: to me, my takeaway was like, Okay, so there's a
• 1:26:14
  Speaker 2: war between demons and gargoyles basically pretty much, and both
• 1:26:20
  Speaker 2: sides sound bad, but for some reason, we're on the
• 1:26:23
  Speaker 2: side of gargoyles. Yeah. Using my big I Frankenstein brain,
• 1:26:27
  Speaker 2: I think I was able to basically get there, but
• 1:26:30
  Speaker 2: the AI messaging was completely incoherent, nonsensical, could mean I mean,
• 1:26:37
  Speaker 2: like I think a lot of movies that are trying
• 1:26:39
  Speaker 2: to make a ton of money globally, the messages that
• 1:26:42
  Speaker 2: are supposed to be specific are extremely vague, so that
• 1:26:46
  Speaker 2: they could mean anything to anyone in the hopes that
• 1:26:49
  Speaker 2: everyone will like this movie. And what sometimes happens is
• 1:26:53
  Speaker 2: no one likes it.
• 1:26:55
  Speaker 1: Not us, though we love us.
• 1:26:59
  Speaker 2: We're geniuses. Yeah, we understood that in the War of
• 1:27:03
  Speaker 2: Demons versus Gargoyles, we were of course siding with gargoyles.
• 1:27:07
  Speaker 1: Gargoles. No, but I know what you mean. There were
• 1:27:09
  Speaker 1: several so I watched this movie twice to prep for
• 1:27:11
  Speaker 1: the episode, as I always do. There were specific moments,
• 1:27:16
  Speaker 1: you know, when you're like trying to watch a movie
• 1:27:19
  Speaker 1: or like read a book as you're falling asleep, and
• 1:27:22
  Speaker 1: then you fall asleep at the same exact moment, but
• 1:27:25
  Speaker 1: then you kind of wake up and you rewind because
• 1:27:27
  Speaker 1: you missed it, and then you watch it again and
• 1:27:29
  Speaker 1: then you fall asleep at the same exact moment again.
• 1:27:33
  Speaker 1: This kept happening. While I was watching this movie. I
• 1:27:35
  Speaker 1: would just black out sometimes during specific moments.
• 1:27:39
  Speaker 2: I'm really proud of you that, for our sorry listeners,
• 1:27:43
  Speaker 2: our April Fools episode, which is supposed to be a
• 1:27:46
  Speaker 2: lightlift for us at the show, that you have taken
• 1:27:51
  Speaker 2: it upon yourself to fully understand what happens in this movie,
• 1:27:54
  Speaker 2: because I was like, there's no First of all, with
• 1:27:58
  Speaker 2: all due respect to our listeners, there was no chance
• 1:28:00
  Speaker 2: in hell. I was watching this a second time, and yeah,
• 1:28:04
  Speaker 2: I did rewatch certain scenes to be like, oh my god, wait.
• 1:28:07
  Speaker 2: I totally stopped paying attention in the middle of that
• 1:28:09
  Speaker 2: because it was so confusing and like bizarre. So I
• 1:28:12
  Speaker 2: would like, go, you know, try to keep pace with it.
• 1:28:15
  Speaker 2: But it was like certain sequences like this, I'm like,
• 1:28:18
  Speaker 2: it's not gonna happen. Yeah, Like, ah, I have no
• 1:28:23
  Speaker 2: fucking clue.
• 1:28:24
  Speaker 1: It's utter nonsense. I had to like really force myself.
• 1:28:29
  Speaker 1: I had to like pry my eyes open Clockwork Orange
• 1:28:32
  Speaker 1: style at certain points because I was like, wait, what happens.
• 1:28:37
  Speaker 2: That's sort of like what it feels like with this
• 1:28:39
  Speaker 2: movie and the concept of going to Colorado. You're being
• 1:28:42
  Speaker 2: Clockwork Orange into going to Colorado, the only safe place
• 1:28:45
  Speaker 2: that exist on Earth.
• 1:28:47
  Speaker 1: Yeah, yeah, Okay, So the movie is pretty close to
• 1:28:51
  Speaker 1: being done. Wait, no, I have like so many more
• 1:28:53
  Speaker 1: paragraphs of this recap changing.
• 1:28:55
  Speaker 8: No, Actually a lot of stuff happens at the end,
• 1:28:58
  Speaker 8: but it's like staged in such an abrupt and boring
• 1:29:02
  Speaker 8: I'm kind of dropping the premise of our April Foll's episode,
• 1:29:05
  Speaker 8: but it's like it's staged in such.
• 1:29:06
  Speaker 2: An abrupt and boring way that you kind of forget
• 1:29:10
  Speaker 2: how much happens in comparison to how interesting it is
• 1:29:13
  Speaker 2: to watch and take in.
• 1:29:15
  Speaker 1: So true, yeah, so.
• 1:29:18
  Speaker 2: Sunny.
• 1:29:19
  Speaker 1: The benevolent AI construct explains that they need a human
• 1:29:27
  Speaker 1: to lure the evil AI swarm away from the Moon's
• 1:29:33
  Speaker 1: power core or something which is destroying and that's why
• 1:29:38
  Speaker 1: the Moon is veering off course. They need to destroy
• 1:29:42
  Speaker 1: the AI swarm so that the Moon can return to
• 1:29:46
  Speaker 1: its original orbit, and it's up to Brian and friends
• 1:29:50
  Speaker 1: to do this because for some reason, the super technologically
• 1:29:54
  Speaker 1: advanced Moon doesn't have the technology to save itself. Sure,
• 1:30:01
  Speaker 1: and so Brian, who by the way, has Moon Jedi
• 1:30:06
  Speaker 1: powers now and just can open doors with the wave
• 1:30:09
  Speaker 1: of his hand. Doug Caln sorry sorry, he, Joe and
• 1:30:16
  Speaker 1: Casey get into their once broken spaceship that the moon fixed. Okay,
• 1:30:23
  Speaker 1: to destroy the AI swarm. We cut back to Earth
• 1:30:27
  Speaker 1: where Sunny and company are walking to whatever part of
• 1:30:32
  Speaker 1: Colorado has the military bunker where Doug is. Oh, Doug,
• 1:30:37
  Speaker 1: by the way, uh huh that's her ex husband. Who
• 1:30:40
  Speaker 1: oh yeah.
• 1:30:41
  Speaker 2: Some point they just say the name Doug. And then
• 1:30:43
  Speaker 2: the guy who is always like, I love talking to
• 1:30:47
  Speaker 2: my son on the phone. He's in first grade, like
• 1:30:50
  Speaker 2: Doug a weird guy, a weird, weird guy, but like
• 1:30:55
  Speaker 2: but slayh you know, good for Doug, but good for him?
• 1:30:58
  Speaker 2: Why not? So I look at Dog, I say why not?
• 1:31:00
  Speaker 2: Why not him?
• 1:31:03
  Speaker 1: Okay? Now the Earth is almost out of air, all
• 1:31:08
  Speaker 1: the air leaked out while the Moon was falling into it.
• 1:31:12
  Speaker 1: Oh God, and Michael Penia suffocates and he fucking croaks.
• 1:31:20
  Speaker 2: He I really, and with all due respect to those
• 1:31:23
  Speaker 2: who have lost a loved one in this manner, yes, because.
• 1:31:27
  Speaker 1: Of this manner being the Moon falling into the Earth,
• 1:31:30
  Speaker 1: the Earth's atmosphere.
• 1:31:32
  Speaker 2: It really is implied that Michael Penia is among a
• 1:31:36
  Speaker 2: maximum of ten casualties in this mass disaster. And it
• 1:31:44
  Speaker 2: really I've never seen a death that you're like, oh,
• 1:31:47
  Speaker 2: that's what the word keel over me and.
• 1:31:50
  Speaker 7: He he just kind of falls to the side, and yeah,
• 1:31:58
  Speaker 7: rough rough break from Michael Pina in this one, because
• 1:32:01
  Speaker 7: you're just like, what is going on?
• 1:32:05
  Speaker 2: Like what am I looking at? And the answer is,
• 1:32:08
  Speaker 2: don't worry about it.
• 1:32:08
  Speaker 1: Don't even worry about it.
• 1:32:10
  Speaker 2: I don't worry about it. I just did this. Let
• 1:32:14
  Speaker 2: people enjoy things, just kidding. Please don't let people enjoy things.
• 1:32:21
  Speaker 2: This sucks.
• 1:32:23
  Speaker 1: Yeah, don't don't like what I mean here, Okay, here's
• 1:32:26
  Speaker 1: what I'll say about Moonfall. Please say it.
• 1:32:29
  Speaker 2: Someone has to. As much as this movie blows ass
• 1:32:34
  Speaker 2: in a feminist way.
• 1:32:35
  Speaker 9: In a feminist way, women.
• 1:32:39
  Speaker 2: Can blow ass to or something I do kind of love.
• 1:32:45
  Speaker 1: It's what it's. Moonfall to Me is as I Frankenstein
• 1:32:50
  Speaker 1: is to you.
• 1:32:52
  Speaker 2: Fair enough, fair enough, I I Frankenstein to me is
• 1:32:58
  Speaker 2: the perfect bad movie because at least it focuses on
• 1:33:04
  Speaker 2: one confusing guy and not twenty confusing guys. Sure, and
• 1:33:09
  Speaker 2: say what you will about Adam Frankenstein and I let's
• 1:33:13
  Speaker 2: forget that is his name. We know who this guy is.
• 1:33:18
  Speaker 2: He just is the fucking weirdest guy to ever live.
• 1:33:21
  Speaker 2: For a thing, how it is incredible, just thinking, Wow,
• 1:33:27
  Speaker 2: there are so many ways that you could portray two
• 1:33:31
  Speaker 2: hundred years passing, but the way I Frankenstein does it
• 1:33:35
  Speaker 2: is the best, which is just Aaron Eckhart swinging nunchucks
• 1:33:38
  Speaker 2: at the top of a mountain, and then it fades.
• 1:33:42
  Speaker 2: His outfit changes and all of a sudden, it's twenty fourteen.
• 1:33:44
  Speaker 1: Yeah, he gets a haircut, and it's two hundred years later.
• 1:33:47
  Speaker 1: Oh you know, some would say that I Frankenstein walked
• 1:33:52
  Speaker 1: so that Ghirrimo del Toro's Frankenstein could run.
• 1:33:56
  Speaker 2: Let's talk about that. That's so true. Yeah, that's so true. Okay,
• 1:34:02
  Speaker 2: So so yeah, Michael Panya keels over and dies. This
• 1:34:07
  Speaker 2: I will say, Patrick Wilson shortly will have really no, no, actually,
• 1:34:15
  Speaker 2: there is an iconic scene at the end where they
• 1:34:17
  Speaker 2: all meet at the tip of the Chrysler building. Very
• 1:34:19
  Speaker 2: unclear where this actually is.
• 1:34:22
  Speaker 1: No, this is still in Colorado.
• 1:34:23
  Speaker 2: They're still in Colorado, okay, because they theoretically, I don't
• 1:34:26
  Speaker 2: know how they would have gotten out of Colorado. But
• 1:34:30
  Speaker 2: they they all meet up and then they just sort
• 1:34:32
  Speaker 2: of state what their relationships to each other are at
• 1:34:36
  Speaker 2: the end of the movie, much like they did going Okay,
• 1:34:39
  Speaker 2: so this guy died. Oh that's sad. This guy died.
• 1:34:42
  Speaker 2: Oh that's sad. But we're friends, and you're my son,
• 1:34:46
  Speaker 2: and you're my ex wife, and here's oh and here's
• 1:34:49
  Speaker 2: little Jimmy. And my ex husband is nearby but he's
• 1:34:54
  Speaker 2: not here, and we're friends and oh yeah and Kate.
• 1:35:00
  Speaker 2: Oh wait, well we need to talk about how Casey dies.
• 1:35:02
  Speaker 1: Okay, yeah, yeah, yeah, sorry, let me oh, well, we
• 1:35:04
  Speaker 1: need to get to the climax.
• 1:35:06
  Speaker 2: Of the movie. So what would you say is the
• 1:35:09
  Speaker 2: climax of the movie really?
• 1:35:10
  Speaker 1: Well, actually, I think it's pretty I think it's clear.
• 1:35:15
  Speaker 2: Okay, Okay, No, I'm sorry, I'm being a bitch, bitche
• 1:35:18
  Speaker 2: Sorry sorry, sorry, sorry, sorry, all right.
• 1:35:20
  Speaker 1: So whatever, Michael Penia dies, Sonny goes looking for him.
• 1:35:26
  Speaker 1: Michelle goes looking for Sonny. Moonchunks are plummeting to the earth.
• 1:35:33
  Speaker 2: He said it like Moonchunks is the name of a character,
• 1:35:37
  Speaker 2: is it not? I think we should write a character
• 1:35:40
  Speaker 2: named moonchunks. But okay, no, sorry, we're back. We're okay.
• 1:35:45
  Speaker 1: So New York City ever heard of it?
• 1:35:49
  Speaker 2: All right?
• 1:35:50
  Speaker 1: Is being ripped apart. The military is minutes away from
• 1:35:55
  Speaker 1: launching their nuclear attack on the Moon. So the steaks
• 1:35:59
  Speaker 1: are higher. The farther the moon falls down, the further
• 1:36:03
  Speaker 1: the stakes rise up.
• 1:36:05
  Speaker 2: Yeah, well, to the people of Colorado, we're really not
• 1:36:08
  Speaker 2: sure we're going out outside of Colorado elsewhere. We don't
• 1:36:10
  Speaker 2: give a shitla freak it out.
• 1:36:12
  Speaker 1: Yeah, okay, So back inside of the moon, Brian in front,
• 1:36:18
  Speaker 1: and let's just pause for a minute to really reflect.
• 1:36:21
  Speaker 2: I'm not laughing, Sorry, that was rude to that.
• 1:36:25
  Speaker 1: Statement of being inside of the moon. Brian and friends
• 1:36:29
  Speaker 1: are flying around in their ship. The evil AI swarm
• 1:36:34
  Speaker 1: is chasing it. Brian reveals his plan that he is
• 1:36:38
  Speaker 1: going to act as bait and sacrifice himself to destroy
• 1:36:41
  Speaker 1: the swarm, but Casey is like, no, I will be
• 1:36:47
  Speaker 1: the one to sacrifice myself. And I have a whole
• 1:36:50
  Speaker 1: spiel on why I think that is. We'll get to it.
• 1:36:54
  Speaker 2: But caitlinus are even two hours in this episode. How
• 1:36:57
  Speaker 2: much are we going to talk about it?
• 1:36:58
  Speaker 1: Okay, fine, all right, I'll okay. So the other two
• 1:37:03
  Speaker 1: astronauts on this mission are Brian and Joe. They each
• 1:37:09
  Speaker 1: have a kid. Casey does not have a kid, and
• 1:37:13
  Speaker 1: I feel like the movie basically suggests that it has
• 1:37:16
  Speaker 1: to be him who sacrifices himself and dies because he
• 1:37:19
  Speaker 1: doesn't have any children. Therefore he is quote unquote expendable.
• 1:37:24
  Speaker 1: The only family he has is a mom with Alzheimer's.
• 1:37:28
  Speaker 2: Well that's also like, right, so he's a caretaker. I mean,
• 1:37:33
  Speaker 2: it's so hard to like because I think I totally agree.
• 1:37:36
  Speaker 2: I think that's one of the reasons. But there's also
• 1:37:39
  Speaker 2: this movie is so playing on so many broad tropes
• 1:37:42
  Speaker 2: that it's like so many reasons. I feel like it
• 1:37:45
  Speaker 2: has to do with like, the least famous person in
• 1:37:48
  Speaker 2: the scene has to die, the least Western beauty standards
• 1:37:51
  Speaker 2: attractive person in the scene has to die, the comic
• 1:37:55
  Speaker 2: relief as opposed to the dramatic hero has to die.
• 1:37:58
  Speaker 2: There's like a Jillian tropes at play here, all at once,
• 1:38:03
  Speaker 2: and all of them, unfortunately indicate that John Bradley must die, but.
• 1:38:07
  Speaker 1: But John Tucker must die.
• 1:38:09
  Speaker 2: But but John Bradley does not die. His consciousness is
• 1:38:12
  Speaker 2: melded with the moon and then he's a part of
• 1:38:14
  Speaker 2: the moon. So no, okay, is it is bad. It's
• 1:38:21
  Speaker 2: like playing on every trope and I mean it just
• 1:38:25
  Speaker 2: and and it's playing on a number of fat phobic tropes.
• 1:38:29
  Speaker 2: It's playing on so many tropes are present here, except
• 1:38:35
  Speaker 2: really with our two protagonists, who are so bland that.
• 1:38:40
  Speaker 1: You're like that there's sort of nothing going on.
• 1:38:43
  Speaker 2: There's they're just dead behind the eyes and they don't
• 1:38:46
  Speaker 2: even bother to imply that maybe these and again I'm
• 1:38:49
  Speaker 2: not saying I honestly, this is actually the rare, the
• 1:38:53
  Speaker 2: rare story where I think that having some romantic chemistry
• 1:38:57
  Speaker 2: between these two actors would have helped me them be
• 1:39:00
  Speaker 2: more interesting to watch. Where I know that, like it's
• 1:39:02
  Speaker 2: the Bechdel Cast and we're not like not every like
• 1:39:05
  Speaker 2: man woman pairing needs to be romantically interested. But it's like,
• 1:39:09
  Speaker 2: what is there between these two people. I'm not feeling
• 1:39:13
  Speaker 2: the friendship, I'm not feeling the resentment of the betrayal.
• 1:39:18
  Speaker 2: We might as well just make the hot people kiss,
• 1:39:21
  Speaker 2: but they don't even touch at the end of the movie.
• 1:39:23
  Speaker 2: There's not even a friendly handshake, Like there is nothing
• 1:39:27
  Speaker 2: between these two people. Well, it feels like Arrested Development
• 1:39:30
  Speaker 2: season four. It's like they're not even like in the
• 1:39:33
  Speaker 2: same room together.
• 1:39:35
  Speaker 1: Wow, so true. Well you're forgetting that they have a
• 1:39:38
  Speaker 1: running inside joke about the lyrics.
• 1:39:42
  Speaker 2: About two Totos Africa.
• 1:39:44
  Speaker 1: Yeah, that is referenced.
• 1:39:45
  Speaker 2: Twice fifteen years apart, and they're like, haha, yes, remember that.
• 1:39:53
  Speaker 2: Remember that he's also referencing the wedding of a failed marriage,
• 1:39:58
  Speaker 2: which I wouldn't necessarily bring up in in front of
• 1:40:00
  Speaker 2: my dear friend, but whatever. Yeah.
• 1:40:05
  Speaker 1: Yeah, if these two characters had been kind of like
• 1:40:08
  Speaker 1: forced together in a romantic kiss at the end or something,
• 1:40:11
  Speaker 1: I would have been like boo. But also, but it's
• 1:40:14
  Speaker 1: like there's nothing between them, so I'm also like between
• 1:40:17
  Speaker 1: two characters.
• 1:40:19
  Speaker 2: Yeah, I just was like, you know, romantic interest. It
• 1:40:22
  Speaker 2: would have been half asked, it would have been trite,
• 1:40:26
  Speaker 2: it would have been vaguely sexist. Yeah, but it also
• 1:40:29
  Speaker 2: would have been something.
• 1:40:33
  Speaker 1: What happens is nothing, absolutely nothing, including when Casey is like, no,
• 1:40:40
  Speaker 1: I'm gonna be the one to sacrifice myself and Brian
• 1:40:43
  Speaker 1: and Joe are like, no, stop, Okay, you can go
• 1:40:49
  Speaker 1: ahead and do it.
• 1:40:50
  Speaker 2: Well, I mean, to be fair, they've known this guy,
• 1:40:52
  Speaker 2: they've been allegedly best friends for a decade, and they
• 1:40:56
  Speaker 2: just met this guy. And also, not for nothing, halle
• 1:40:59
  Speaker 2: Berry's character allegedly has an active restraining order against John
• 1:41:04
  Speaker 2: Bradley's character Oh yeah, which is referenced once in Passing,
• 1:41:09
  Speaker 2: but is said basically as a joke. So yeah, I
• 1:41:16
  Speaker 2: don't know. They all should have blown up. Honestly, the moon.
• 1:41:21
  Speaker 1: Should have just fallen all the way. Yeah. Okay, So
• 1:41:27
  Speaker 1: back on Earth, Sonny has been trapped under a fallen
• 1:41:32
  Speaker 1: tree because the Moon isn't the only thing that's falling.
• 1:41:35
  Speaker 1: Trees are also falling, and he's lightly dying. And then
• 1:41:39
  Speaker 1: Michelle finds him. But then we cut back to space
• 1:41:43
  Speaker 1: and this is the climax. Casey does the sacrificial act
• 1:41:48
  Speaker 1: of being the human bait and he hits the button
• 1:41:51
  Speaker 1: for the bomb, the electromagnetic pulse thing do and it
• 1:41:58
  Speaker 1: destroys the evil swarm. Back to Earth, Michelle saves Sonny,
• 1:42:05
  Speaker 1: but it's mostly gravity doing the heavy lifting. And talk
• 1:42:10
  Speaker 1: about irony.
• 1:42:12
  Speaker 2: Ha ha ha ha. So yeah, Michael Penya and John
• 1:42:15
  Speaker 2: Bradley are the only ones who die, and honestly, John
• 1:42:18
  Speaker 2: Bradley doesn't die. O. Michael Paya is the only character
• 1:42:21
  Speaker 2: who dies, yes, permanently. Rip. Michael Paya does not become
• 1:42:26
  Speaker 2: one with the Moon.
• 1:42:28
  Speaker 1: No, no, he doesn't. No, sad but true. Okay, we
• 1:42:32
  Speaker 1: cut back to space. Brian has passed out, so Joe
• 1:42:36
  Speaker 1: flies her and Brian back to Earth. So I mean,
• 1:42:41
  Speaker 1: look at all these women saving men. Michelle save Sonny,
• 1:42:45
  Speaker 1: Joe saves Brian, and that's feminism. Then Brian and Joe,
• 1:42:55
  Speaker 1: who have conveniently landed in Colorado, of course, reunite with
• 1:42:59
  Speaker 1: their families. There's a scene when you're just describing where
• 1:43:03
  Speaker 1: they just kind of list all the people that they
• 1:43:05
  Speaker 1: know who have also died.
• 1:43:07
  Speaker 2: They're like, all right, so movie's over. Movie is over.
• 1:43:11
  Speaker 1: The moon is returning to its regular orbit, and then
• 1:43:14
  Speaker 1: we cut back inside the moon where an AI construct
• 1:43:19
  Speaker 1: of k C appears and avoid as well as his
• 1:43:23
  Speaker 1: mom and his cat, whose name is fuzz Aldrin. Okay, see,
• 1:43:33
  Speaker 1: I here's what I wrote down. Of all the attempts
• 1:43:37
  Speaker 1: at comedy in this movie, which there are a lot,
• 1:43:41
  Speaker 1: I think that fuzz Aldrin is maybe the cleverest one.
• 1:43:45
  Speaker 1: And that's saying something because it's like pretty good.
• 1:43:49
  Speaker 2: If true, is what I'll say. But it's because but
• 1:43:52
  Speaker 2: it's because a Lizzie Maguire as joke.
• 1:43:56
  Speaker 1: But but but listen to this. It's because the jokes
• 1:44:01
  Speaker 1: keep falling.
• 1:44:02
  Speaker 9: Flat moonflat moonfall more like joke fall joke flat gravity
• 1:44:09
  Speaker 9: is fucking with the jokes and how they land.
• 1:44:14
  Speaker 2: Ay. But yeah, there, So it's something something His mom
• 1:44:20
  Speaker 2: and his cat appear in the Ai Hollow Moon and
• 1:44:24
  Speaker 2: set up a sequel.
• 1:44:25
  Speaker 1: That will never be produced. Because this movie was produced
• 1:44:30
  Speaker 1: on a budget of one hundred and fifty million dollars.
• 1:44:33
  Speaker 2: And independently redependently, which is actually pretty impressive. It isn't
• 1:44:38
  Speaker 2: really speaks to because if you're not familiar, you don't
• 1:44:41
  Speaker 2: remember who Roland Emmerick is. He is a German director
• 1:44:45
  Speaker 2: who is most famous for disaster movies like Independence Day,
• 1:44:49
  Speaker 2: The Day After Tomorrow, twenty twelve, et cetera. And so
• 1:44:53
  Speaker 2: there is a lot of goodwill for him. Yeah, and
• 1:44:57
  Speaker 2: he is like a proven talent at you know, at
• 1:45:02
  Speaker 2: making iconic movies that make a lot of money that
• 1:45:06
  Speaker 2: generally glorify the war industrial complex. But so like he
• 1:45:13
  Speaker 2: raised this money independently after it sounds like years in
• 1:45:16
  Speaker 2: development hell on this and in a rarer situation of
• 1:45:20
  Speaker 2: the Hollywood machine being totally correct, he should not have
• 1:45:23
  Speaker 2: made this movie.
• 1:45:24
  Speaker 1: He should not have made this.
• 1:45:25
  Speaker 2: He hasn't made a movie since. Yeah, it seems like
• 1:45:28
  Speaker 2: it's really.
• 1:45:29
  Speaker 1: Kind of and and it was a huge flop at
• 1:45:32
  Speaker 1: the box office. It only earned sixty seven million dollars.
• 1:45:36
  Speaker 2: It didn't even come out in Canada. Canada said they
• 1:45:40
  Speaker 2: didn't even bother.
• 1:45:42
  Speaker 1: They said, we our theaters are closed due to COVID
• 1:45:45
  Speaker 1: pass yikes.
• 1:45:48
  Speaker 2: Although I mean, what I will say about Rolodemeric outside
• 1:45:51
  Speaker 2: of Moonfall not being good, it's he he is a
• 1:45:54
  Speaker 2: queer icon. He does have a you know, a pretty
• 1:46:00
  Speaker 2: you know, solid record in terms of his politics, especially
• 1:46:06
  Speaker 2: for someone that's powerful. I mean, he has repeatedly advocated
• 1:46:11
  Speaker 2: for In two of his disaster movies, Independence Day and
• 1:46:14
  Speaker 2: The Day After Tomorrow, there are interracial couples that the
• 1:46:16
  Speaker 2: studios did not want him to have, and in Moonfall
• 1:46:20
  Speaker 2: for some reason, he's like, I don't die either, but well,
• 1:46:25
  Speaker 2: I guess Michael Panya and Brenda. But either way, either way,
• 1:46:31
  Speaker 2: I'm just saying, like Roland Ewick seems like a totally
• 1:46:34
  Speaker 2: lovely person.
• 1:46:35
  Speaker 1: Hmmm.
• 1:46:36
  Speaker 2: And also he made Moonfall.
• 1:46:38
  Speaker 1: And he made Moonfall, which I mean, there's not a
• 1:46:42
  Speaker 1: whole lot else that we need to spend time talking about.
• 1:46:48
  Speaker 2: Yeah, I think that, like, at the end of the day,
• 1:46:51
  Speaker 2: there are women in this movie.
• 1:46:53
  Speaker 1: There are one of them is a woman in Stem.
• 1:46:56
  Speaker 2: One of them is a woman in Stem. The rest
• 1:46:58
  Speaker 2: of them are why and girlfriends or acting in a
• 1:47:03
  Speaker 2: maternal acting as mother.
• 1:47:06
  Speaker 1: Their mothers or mother figures or caretakers of some kind,
• 1:47:10
  Speaker 1: including the Moon, who, let's not forget, is the mother
• 1:47:13
  Speaker 1: of the Earth.
• 1:47:15
  Speaker 2: Yes, And in the case of Joe Fowler and the Moon,
• 1:47:18
  Speaker 2: they are liars.
• 1:47:22
  Speaker 1: So they're deceitful. They I'll push back on Joe being
• 1:47:28
  Speaker 1: a liar because.
• 1:47:29
  Speaker 2: She I guess she was gaslt She was.
• 1:47:33
  Speaker 1: Gas lit by NASA, which you know, unsurprising that a
• 1:47:37
  Speaker 1: federal agency of the United States government would be doing
• 1:47:42
  Speaker 1: some fuck shit. And honestly, she doesn't just automatically come
• 1:47:47
  Speaker 1: to a man's defense, and that's actually feminism, So.
• 1:47:52
  Speaker 2: I guess, I don't know. I mean, she and her
• 1:47:55
  Speaker 2: husband are interesting in that. And again it's our April
• 1:47:59
  Speaker 2: Fol's episode, so this isn't going to be the degree
• 1:48:01
  Speaker 2: of analysis he would normally get. But this episode is
• 1:48:04
  Speaker 2: two hours long, so you're welcome. The plot is simply
• 1:48:08
  Speaker 2: that convoluted. Like I think that she NASA has always
• 1:48:12
  Speaker 2: been an interesting branch of the American government, where like
• 1:48:15
  Speaker 2: it is a military industrial complex tool, but I don't
• 1:48:19
  Speaker 2: think it is publicly perceived as being so it has
• 1:48:23
  Speaker 2: been very effectively marketed and I think to some extent,
• 1:48:26
  Speaker 2: I still kind of drink the kool aid on NASA
• 1:48:29
  Speaker 2: of like space exploration is cool, like it's people like
• 1:48:34
  Speaker 2: in my mind, it's people like Elon Musku ruin it
• 1:48:36
  Speaker 2: where they're turning it into colonization and not just learning
• 1:48:40
  Speaker 2: more about the universe that we exist in that is
• 1:48:43
  Speaker 2: very exciting and cool. But here we have and I
• 1:48:46
  Speaker 2: think that this is more effectively done in other role
• 1:48:49
  Speaker 2: in emeric movies like Independence Day, where it almost feels
• 1:48:54
  Speaker 2: like he's like reheating his own nachos a little bit
• 1:48:57
  Speaker 2: of like Okay, so there is like this big industrial
• 1:49:01
  Speaker 2: judicial or whatever executive branch the war Cabinet, and that
• 1:49:08
  Speaker 2: is represented by Doug question marked. And then they are
• 1:49:14
  Speaker 2: the scientists, and they are government scientists, and they are
• 1:49:17
  Speaker 2: patriots and they love America so much, but they're not
• 1:49:22
  Speaker 2: that and it is an interesting sort of tool to
• 1:49:27
  Speaker 2: encourage kind of unquestioning patriotism while seeming counter cultural. I
• 1:49:35
  Speaker 2: think it's like how astronauts are very frequently portrayed in film,
• 1:49:40
  Speaker 2: and we've talked about this in other episodes, but I
• 1:49:42
  Speaker 2: do think it's like an interesting kind of tool that
• 1:49:45
  Speaker 2: is used that is I guess not really worth talking
• 1:49:48
  Speaker 2: about here because it's not effective and it doesn't make
• 1:49:51
  Speaker 2: any sense. But I was thinking about it because there
• 1:49:54
  Speaker 2: are a few lines that either Patrick Wilson or halle
• 1:49:58
  Speaker 2: Berry say that are like, we're not this, we're scientists,
• 1:50:03
  Speaker 2: and yeah, well, I do think that a lot of
• 1:50:05
  Speaker 2: halle Berry's actions do sort of lightly push back or
• 1:50:09
  Speaker 2: like push back on an idea of the government versus
• 1:50:13
  Speaker 2: what I don't know. Do you know what I mean?
• 1:50:15
  Speaker 2: Do you know what I'm saying is like, for sure,
• 1:50:17
  Speaker 2: do I believe that the American government, particularly at present,
• 1:50:21
  Speaker 2: would say We're just gonna nuke the moon? Yes?
• 1:50:23
  Speaker 1: I do.
• 1:50:24
  Speaker 2: Yeah, But I feel like it's like whatever, presented in
• 1:50:28
  Speaker 2: a cartoonish way so that we are not to question
• 1:50:31
  Speaker 2: an institution like NASA.
• 1:50:35
  Speaker 1: Well, I mean, this movie also does something that a
• 1:50:39
  Speaker 1: lot of other movies that are about a global disaster do.
• 1:50:46
  Speaker 1: And we've talked about this on episodes about movies where
• 1:50:50
  Speaker 1: there is a global disaster, but the movie, because it's
• 1:50:54
  Speaker 1: an American Hollywood movie, it will completely center the US
• 1:50:58
  Speaker 1: and act as though the US is the only country
• 1:51:01
  Speaker 1: with people and technology who can figure out what's going on,
• 1:51:06
  Speaker 1: who can handle the disaster that's affecting the whole world.
• 1:51:10
  Speaker 2: Specifically people in the US who live in Colorado, Like
• 1:51:14
  Speaker 2: it is wild how for a movie shot in Montreal,
• 1:51:17
  Speaker 2: which is also very funny given to this movie, I
• 1:51:19
  Speaker 2: will repeat, did not ever come out theatrically in Canada,
• 1:51:24
  Speaker 2: which had to do with COVID restrictions. But I just
• 1:51:28
  Speaker 2: think it's funny that Canada, like you could not have
• 1:51:30
  Speaker 2: seen this movie in Canada if you wanted to. And
• 1:51:34
  Speaker 2: also that this movie came in second place at the
• 1:51:36
  Speaker 2: box office behind Jackass the Jackass reboot, and Jackass made
• 1:51:43
  Speaker 2: three times more money than Moonfall did in this first weekend. Wow,
• 1:51:47
  Speaker 2: it is interesting. I wonder if I don't think there's
• 1:51:50
  Speaker 2: really an appetite for it right now. Disaster movies don't
• 1:51:54
  Speaker 2: tend to perform very well during disastrous times. There is
• 1:51:58
  Speaker 2: not an element of escape. I am not wanting to
• 1:52:01
  Speaker 2: see a disaster movie right now because I could also
• 1:52:05
  Speaker 2: just look outside, I could check the news.
• 1:52:09
  Speaker 1: So very true.
• 1:52:10
  Speaker 2: You know, disaster movies tend to be more commercially successful
• 1:52:14
  Speaker 2: during times historically where they feel more fictional, and that's
• 1:52:20
  Speaker 2: not where we're at historically, and so I was not
• 1:52:22
  Speaker 2: surprised to see that Moonfall did not perform better, which
• 1:52:28
  Speaker 2: is a shame because it is a feminist gem.
• 1:52:31
  Speaker 1: A masterpiece. We've said it before, We'll say it again. Yeah.
• 1:52:37
  Speaker 2: Yeah. Is there is there anything that's like burning in
• 1:52:39
  Speaker 2: your heart that you need to talk to talk about
• 1:52:41
  Speaker 2: with regards to Moonfall? Because I do have notes, but
• 1:52:44
  Speaker 2: I'm also like, I think a lot of them came
• 1:52:46
  Speaker 2: out in the recap.
• 1:52:49
  Speaker 1: Same. I'll just rattle off a few very quick things,
• 1:52:53
  Speaker 1: please fuzz Aldron. There are too many subplots because everyone
• 1:52:58
  Speaker 1: has a sun.
• 1:52:59
  Speaker 2: Oh my gosh, yes, I did really like that. When
• 1:53:01
  Speaker 2: Patrick Wilson can no longer be around his son named Sonny,
• 1:53:05
  Speaker 2: they're just like, so, how does Sonny feel about Michael
• 1:53:09
  Speaker 2: Penia And You're like, who cares? No one cares about
• 1:53:13
  Speaker 2: the cares. They just are like, we don't know. It's
• 1:53:16
  Speaker 2: truly like they cannot think of a quality for the
• 1:53:18
  Speaker 2: son named Sunny outside of having a father, so they
• 1:53:21
  Speaker 2: just give him a different one. And there's like one
• 1:53:24
  Speaker 2: scene between them before Michael Penall like suffocates.
• 1:53:30
  Speaker 1: He's like, there's not much time left here on earth
• 1:53:33
  Speaker 1: because the moon is falling into us. Let's not hate
• 1:53:35
  Speaker 1: each other in these last hours and then Sonny is like,
• 1:53:39
  Speaker 1: I don't hate you, and then Michael Penney's characters like
• 1:53:43
  Speaker 1: I'll take it. End of subplot.
• 1:53:45
  Speaker 2: Okay, the lining was thinking of earlier. And again, I
• 1:53:50
  Speaker 2: don't mean to come off anti NASA. I'm obviously not
• 1:53:52
  Speaker 2: anti NASA. I just mean science as a branch of
• 1:53:56
  Speaker 2: government and all the complications they're in. But there's a
• 1:53:59
  Speaker 2: line Patrick Wilson says. W he says, I'm an astronaut,
• 1:54:02
  Speaker 2: not a soldier. Oh yeah, you know. Yeah, that's more
• 1:54:05
  Speaker 2: what I was thinking of.
• 1:54:06
  Speaker 1: Anyways, there's a part where Sonny says, extremely deadpan, oh shit,
• 1:54:14
  Speaker 1: the moon is rising, and then Michelle, also very deadpan,
• 1:54:19
  Speaker 1: says gravity's gonna go crazy.
• 1:54:23
  Speaker 2: Also, we didn't talk about Sonny's gigantic tattoo.
• 1:54:27
  Speaker 1: Wait I didn't even notice it.
• 1:54:29
  Speaker 2: Oh my god. There's a whole joke about it where
• 1:54:32
  Speaker 2: Sonny shows his gigantic tattoo, which I think is supposed
• 1:54:35
  Speaker 2: to be like a Chinese character. And yeah, Michelle says, oh,
• 1:54:39
  Speaker 2: that says the Jonas brothers. And he goes, what because
• 1:54:43
  Speaker 2: this movie was almost certainly written in two thousand and nine,
• 1:54:46
  Speaker 2: and she's like, just kidding, And then I don't think
• 1:54:49
  Speaker 2: we learned what it actually says. She doesn't so we
• 1:54:52
  Speaker 2: know what it doesn't say, which.
• 1:54:53
  Speaker 1: Is it does not say Jonas brothers.
• 1:54:56
  Speaker 2: Another thing that I had a note of here that
• 1:54:57
  Speaker 2: made me laugh is when the evil people steal Sunny's car,
• 1:55:03
  Speaker 2: they come in with this like weird opening line. I
• 1:55:07
  Speaker 2: think this is when they come back. They come up
• 1:55:09
  Speaker 2: to Sonny and they say the menacing line, so are
• 1:55:13
  Speaker 2: you a college boy?
• 1:55:15
  Speaker 1: Like, okay, well no, here's what happens. He just says,
• 1:55:20
  Speaker 1: everybody calmed down, and then the then the hijackers are like,
• 1:55:24
  Speaker 1: oh okay, smart ass, are you a college boy? And
• 1:55:29
  Speaker 1: it's like he didn't say anything that would indicate literally
• 1:55:32
  Speaker 1: just said can we calm down?
• 1:55:34
  Speaker 2: It was really funny.
• 1:55:36
  Speaker 1: Oh.
• 1:55:36
  Speaker 2: Another good moment was Sonny. A lot of things happened
• 1:55:38
  Speaker 2: to Sunny. I would say, Sonny does very little. There's
• 1:55:44
  Speaker 2: and just to make sure you know who this character
• 1:55:46
  Speaker 2: is supposed to be, they do go through the trouble
• 1:55:48
  Speaker 2: of naming her Karen Ye. There's a woman who is
• 1:55:51
  Speaker 2: a neighbor to Michael Pana in this richy, rich ass
• 1:55:55
  Speaker 2: compound neighborhood that has turned into a compound overnight. Due
• 1:56:00
  Speaker 2: to the moon falling. She has an AK forty seven,
• 1:56:03
  Speaker 2: which I think could be a reference to a number
• 1:56:05
  Speaker 2: of things, clearly a riff on the Karen. Yeah, but
• 1:56:08
  Speaker 2: she has a big, gigantic AK forty seven. It almost
• 1:56:12
  Speaker 2: shoots Sonny and then Michael Pania comes out and says, hey, Karen, relaxed, stop.
• 1:56:19
  Speaker 1: Stop shooting my step son.
• 1:56:21
  Speaker 2: I think it's a joke. I don't know, but I
• 1:56:23
  Speaker 2: honestly am not sure. It is never referenced again.
• 1:56:26
  Speaker 1: Well again, the jokes fall flat because joke fall moonfall.
• 1:56:31
  Speaker 2: Also the fact that it's interesting that you reference that
• 1:56:34
  Speaker 2: everyone has perfect reception the whole time. That is true,
• 1:56:37
  Speaker 2: but they also seem to all have Nokia phones. Why
• 1:56:40
  Speaker 2: was that? Oh yeah, no one has like a no
• 1:56:43
  Speaker 2: one has a smartphone. Because I think that maybe maybe
• 1:56:46
  Speaker 2: Roland Emmerick was like, Apple, do you want to give
• 1:56:49
  Speaker 2: me money? And they said no, and he's like, fine,
• 1:56:51
  Speaker 2: then everyone has a Nokia.
• 1:56:52
  Speaker 1: Nokia gave me ten thousand dollars.
• 1:56:55
  Speaker 2: Yeah, I don't know. There are technically daughters, but they
• 1:57:00
  Speaker 2: like you're saying, like like you said earlier, one of
• 1:57:03
  Speaker 2: them says something precocious and that's it, and one of
• 1:57:06
  Speaker 2: them walks away from from a dying Michael Pani.
• 1:57:10
  Speaker 1: She said, fuck you, Dad, that's kind of all that happens. Yeah,
• 1:57:14
  Speaker 1: those characters are very undercooked. Michelle, I would say, is
• 1:57:17
  Speaker 1: one of the most undercooked characters committed to film in
• 1:57:21
  Speaker 1: recent years.
• 1:57:22
  Speaker 2: It takes us for an hour to even know what
• 1:57:26
  Speaker 2: she who does?
• 1:57:27
  Speaker 1: Truly what is she?
• 1:57:29
  Speaker 2: She's an exchange student, so you're like, Okay, she's a student,
• 1:57:32
  Speaker 2: is she?
• 1:57:32
  Speaker 1: But she works full time as a nanny and lives there.
• 1:57:36
  Speaker 1: Does she does she have time to study?
• 1:57:38
  Speaker 2: I'm curious because Roland Emmerick is a queer icon. I'm
• 1:57:42
  Speaker 2: wondering if that was supposed to be a queer relationship
• 1:57:45
  Speaker 2: and then like that was like reversed or something. That
• 1:57:51
  Speaker 2: introduction scene, I just have like it it felt like
• 1:57:54
  Speaker 2: they were together, I know, and obviously Roland Emmerick is like,
• 1:57:59
  Speaker 2: you know, very He's been very involved in queer activism
• 1:58:03
  Speaker 2: over the years. I'm just wondering if like that was
• 1:58:06
  Speaker 2: how it was originally written and then this script kept changing,
• 1:58:10
  Speaker 2: or maybe they were like, oh, we want this movie
• 1:58:12
  Speaker 2: to show everywhere, including wildly homophobic countries, so we're gonna revert.
• 1:58:16
  Speaker 2: But like, yeah, her character ends up coming off unbelievably vague,
• 1:58:19
  Speaker 2: and then they give her the worst boyfriend available, I
• 1:58:24
  Speaker 2: mean Sonny, And also what is there? What are how old?
• 1:58:26
  Speaker 2: Like Sonny is supposed to be eighteen, he's eighteen. I
• 1:58:29
  Speaker 2: have some idea how old she's supposed to be, but
• 1:58:31
  Speaker 2: the actor is in her thirties, right.
• 1:58:34
  Speaker 1: I didn't quite pick up on as much. I know that,
• 1:58:37
  Speaker 1: like she saves him and that sometimes is like a
• 1:58:41
  Speaker 1: movie telegraphing and they're gonna end up together. But I
• 1:58:44
  Speaker 1: wasn't getting any like romantic vibes between them, so.
• 1:58:48
  Speaker 2: Really, yeah, so this movie is so confusing. I thought
• 1:58:51
  Speaker 2: for sure that was what was intended. That's so interesting.
• 1:58:55
  Speaker 1: Hmmm, well again, everything about this movie is confusing and nonsense.
• 1:59:00
  Speaker 1: So honestly, you could interpret anything and it would be
• 1:59:03
  Speaker 1: both exactly right and exactly wrong.
• 1:59:05
  Speaker 2: I like that we've turned on our own episode. That
• 1:59:09
  Speaker 2: was our idea, you know what. When you said it
• 1:59:11
  Speaker 2: at one point and I was like, oh, we should
• 1:59:12
  Speaker 2: have done that for April Fools and you said the
• 1:59:14
  Speaker 2: word trap, I'm like, we should have done trap. That's
• 1:59:17
  Speaker 2: what we should have done. Oh we should do that
• 1:59:19
  Speaker 2: for Father's Day.
• 1:59:20
  Speaker 1: Trap, I mean fathers and daughters, fathers and daughters.
• 1:59:25
  Speaker 2: I love Trap. At that moment, and Trap or Josh
• 1:59:29
  Speaker 2: Hartnett points at the hole in the floor and it's like,
• 1:59:31
  Speaker 2: should we go down there? It makes me laugh so much.
• 1:59:36
  Speaker 2: I love because Trap is about fathers and daughters in
• 1:59:40
  Speaker 2: a meta way, because it's also about m Night China
• 1:59:43
  Speaker 2: trying to make his daughter's career happen, his daughter, his daughter. Anyways,
• 1:59:48
  Speaker 2: do you have anything else to say about Moonfall?
• 1:59:50
  Speaker 7: No?
• 1:59:53
  Speaker 2: Me either, Oh no.
• 1:59:55
  Speaker 1: I mean probably, but I'm I'm tired.
• 1:59:59
  Speaker 2: Thank you, Thank you all five hundred thousand people who
• 2:00:01
  Speaker 2: requested this episode, five hundred million, five hundred million, which
• 2:00:06
  Speaker 2: again half a billion people portion of our listener. You know,
• 2:00:11
  Speaker 2: if anyone, if any Hollywood power players are listening, can
• 2:00:15
  Speaker 2: someone please utilize Patrick Wilson well, like, just please halle
• 2:00:21
  Speaker 2: Berry and Halle Berry, I just like, these are two
• 2:00:26
  Speaker 2: great actors who have been given dog shit in the
• 2:00:30
  Speaker 2: last decade.
• 2:00:31
  Speaker 1: I feel like halle Berry made Catwoman, and then after
• 2:00:34
  Speaker 1: that she like could not get.
• 2:00:36
  Speaker 2: They blamed it on her. She's still an X Men
• 2:00:38
  Speaker 2: movies after that, but that but yeah, right, and she
• 2:00:41
  Speaker 2: was in Robots.
• 2:00:43
  Speaker 1: But then she was also in was it New Year's
• 2:00:45
  Speaker 1: Eve or Valentine's Day.
• 2:00:47
  Speaker 2: Oh my gosh, wait, let me she was in New
• 2:00:49
  Speaker 2: Year's Eve. She played another episode. I have absolutely no
• 2:00:53
  Speaker 2: recollection of record. She played a character named Nurse.
• 2:00:56
  Speaker 1: Amy, who I think also had a military husband.
• 2:01:00
  Speaker 2: Let her live, leave her alone. Oh my god, all right,
• 2:01:05
  Speaker 2: we gotta get out of here, We gotta get out
• 2:01:08
  Speaker 2: of here. Happy April Fool's Day to all this to
• 2:01:11
  Speaker 2: all the fathers, and Sunny is out there, to all
• 2:01:14
  Speaker 2: the Patrick Wilson's and their Sunnis. This this movie, even
• 2:01:18
  Speaker 2: if it does, does pass the Bechdel test. Oh yeah,
• 2:01:21
  Speaker 2: during it does that same where they're definitely not together,
• 2:01:24
  Speaker 2: and it's an employer and an employee having an intimate
• 2:01:27
  Speaker 2: conversation over Sunrise coffee and she.
• 2:01:29
  Speaker 1: Says, here's your black coffee. It has two sugars in.
• 2:01:33
  Speaker 2: It, women's wrongs. It passes the Bechdel test. And that's
• 2:01:37
  Speaker 2: why I'm giving it five nipples.
• 2:01:38
  Speaker 1: I'm giving it five nipples, and I'm giving it five moons.
• 2:01:42
  Speaker 1: And what is a nipple but a moon? And what
• 2:01:45
  Speaker 1: is a moon but a giant sky nipple? What do
• 2:01:50
  Speaker 1: you ever think about that they have the same shape.
• 2:01:53
  Speaker 2: That people are always Yeah, are you ever on a
• 2:01:56
  Speaker 2: romantic day and then someone puts their arm around you
• 2:01:58
  Speaker 2: and says, look at that. That the old nipple in
• 2:02:01
  Speaker 2: the sky.
• 2:02:03
  Speaker 6: Kiss when the moon hits you know, yeah, yeah, yeah,
• 2:02:10
  Speaker 6: I am gonna give it five big sky nipples, and
• 2:02:16
  Speaker 6: I'm going to give them all to Joe Fowler, feminist
• 2:02:21
  Speaker 6: icon I aspire.
• 2:02:24
  Speaker 2: She inspired me to look with an absolute distant, forty
• 2:02:29
  Speaker 2: yard glaze as I watch people I've known for years
• 2:02:32
  Speaker 2: get eaten by nanobots in high resolution.
• 2:02:37
  Speaker 1: It's it's just iconic.
• 2:02:39
  Speaker 2: It's iconic, and that's feminism. And that's our Moonfall episode.
• 2:02:44
  Speaker 2: Happy April Fools to our listeners. If you if you
• 2:02:47
  Speaker 2: enjoyed a silly one, if you enjoyed a looser episode
• 2:02:50
  Speaker 2: but just Caitlin and I, you might enjoy our Patreon
• 2:02:54
  Speaker 2: aka Matreon so True, which is linked in the description
• 2:02:57
  Speaker 2: of this in every episode. It is the best way
• 2:02:59
  Speaker 2: to support the show. It's five bucks a month and
• 2:03:02
  Speaker 2: you get access to two new episodes a month on
• 2:03:05
  Speaker 2: a theme of usually yours but sometimes ours if you're
• 2:03:10
  Speaker 2: behaving in an unruly fashion choosing, and it also gives
• 2:03:14
  Speaker 2: you access to nearly two hundred of our back catalog
• 2:03:18
  Speaker 2: episodes on the Matreon or Real Investment.
• 2:03:20
  Speaker 1: You could say, I could say that, and I will
• 2:03:22
  Speaker 1: say it, and you just said it. We just said it.
• 2:03:27
  Speaker 1: We'll be back next time with a really serious with.
• 2:03:32
  Speaker 2: A real one. We'll be back next week with the
• 2:03:35
  Speaker 2: normal show. Yeah, love you, Bye bye. The Bechdel Cast
• 2:03:43
  Speaker 2: is a production of iHeartMedia, hosted and produced by Me,
• 2:03:47
  Speaker 2: Jamie Loftus and.
• 2:03:48
  Speaker 1: Me Caitlyn Durrante. The podcast is also produced by Sophie
• 2:03:52
  Speaker 1: Lichtermann and.
• 2:03:53
  Speaker 2: Edited by Caitlyn Durrante. Ever heard of Them?
• 2:03:56
  Speaker 1: That's me and our logo and merch and all of
• 2:03:59
  Speaker 1: our artwork in fact are designed by Jamie Loftus, Ever
• 2:04:03
  Speaker 1: heard of her?
• 2:04:04
  Speaker 2: Oh My God? And our theme song, by the way,
• 2:04:07
  Speaker 2: was composed by Mike Kaplan with vocals by Katherine Voskrasinski
• 2:04:11
  Speaker 2: Iconic and a special thanks to the one and only
• 2:04:14
  Speaker 2: Aristotle Ascevedo.
• 2:04:16
  Speaker 1: For more information about the podcast, please visit linktree slash
• 2:04:20
  Speaker 1: Specdelcast