Latest / Left of the Projector / Dredd (2012)

Transcript

Dredd (2012) · Left of the Projector

• 0:17
  Track 1: Hello and welcome to left of the projector i'm your host evan
• 0:20
  Track 1: back again with another film discussion from the left if
• 0:23
  Track 1: you'd like to support the show for as little as three dollars a month you can
• 0:25
  Track 1: go to patreon forward slash left of the projector pod if you'd like to dress
• 0:30
  Track 1: in style we've got shirts and at left of the projector pod.threadless.com you
• 0:35
  Track 1: can grab one and show everyone you've got the best taste around wherever you're
• 0:38
  Track 1: listening give us a rating and subscribe so you'll be notified of our weekly
• 0:41
  Track 1: episodes that drop every tuesday and now on to the show,
• 0:50
  Track 1: This week on Left of the Projector, we are not going to judge you too harshly
• 0:54
  Track 1: if you haven't seen the film in question.
• 0:55
  Track 1: We will be discussing the 2012 film Dread, directed by Pete Travis,
• 1:00
  Track 1: written by Alex Garland.
• 1:01
  Track 1: It stars Kyle Urban, Olivia Thirlby, Wood Harris, and Lena Headey.
• 1:06
  Track 1: Of course, there was a 1995 Sylvester Stallone movie, Judge Dread.
• 1:10
  Track 1: So this is not a remake, per se. I would call this a reimagining of the original comic book from 2000.
• 1:18
  Track 1: We will get into Dread with our guest this week, Mike from MDX Podcast. Welcome to the show.
• 1:25
  Track 3: Hey, good to be here. And I'm going
• 1:27
  Track 3: to be kind of a jerk and say you got something wrong right at the top.
• 1:29
  Track 1: Did I?
• 1:30
  Track 3: The director, this movie is famously ghost directed by Alex Garland.
• 1:35
  Track 3: The director got booted during the post-production and they actually made this
• 1:41
  Track 3: movie for the first time.
• 1:42
  Track 3: They're going, what if we shot this like a TV show where the writer has just
• 1:47
  Track 3: as much say, if not the director?
• 1:48
  Track 3: so carl urban and alex garland both confirmed that basically alex garland directed it.
• 1:54
  Track 1: Wow that is uh that that would mean it's his first directed movie then for for alex.
• 2:02
  Track 3: Garland so he's not credited as the director so technically
• 2:05
  Track 3: it is still um what was it annihilation no
• 2:08
  Track 3: no uh ex machina yeah so yeah but
• 2:11
  Track 3: anyway yeah i'm mike happy to be here and uh yeah i run a
• 2:14
  Track 3: little used to run a podcast network called mdx pods we had two podcasts remake
• 2:18
  Track 3: rewind and ruin my childhood but ruin my childhood the kind of nostalgia pod
• 2:22
  Track 3: i do with my wife is coming back this june so uh if you if you like the sound
• 2:27
  Track 3: of my voice you'll like the sound of my wife's voice better and hopefully you
• 2:30
  Track 3: will your fans will listen in in june awesome.
• 2:34
  Track 1: Well thanks for being here today and uh of.
• 2:38
  Track 3: Course in.
• 2:38
  Track 1: Some like well,
• 2:40
  Track 1: usually i send not usually in this case i did i did send you like a list of
• 2:44
  Track 1: films and you picked a few off of it including this one i know i know we sort
• 2:49
  Track 1: of narrowed it down partly for you but what was your reason for choosing dread
• 2:55
  Track 1: like as your as one of your options.
• 2:58
  Track 3: So i i'm a big fan of this movie uh carl
• 3:02
  Track 3: urban's one of my favorite actors like i i'm one of the weird people who
• 3:05
  Track 3: knew him from uh the xena and hercules days like my
• 3:08
  Track 3: dad was obsessed with that so like i knew urban before even
• 3:11
  Track 3: lord of the rings um and this this movie itself also
• 3:14
  Track 3: has kind of a place in my heart when i uh moved from i went to college at uc
• 3:19
  Track 3: davis and i had a close group of friends where we'd go to midnight movies every
• 3:22
  Track 3: thursday when midnight movies were still at midnight and this was one of the
• 3:26
  Track 3: first movies that came out after i moved away i moved about an hour north or
• 3:30
  Track 3: it doesn't matter They're an hour away from that group of friends.
• 3:33
  Track 3: So I drove an hour, watched this movie at midnight with a group of friends,
• 3:37
  Track 3: and then drove an hour home just because it was like this close group of friends
• 3:41
  Track 3: and we all really wanted to see it.
• 3:42
  Track 3: So that was a big part of it. And then it's just, it's very timely with what's
• 3:48
  Track 3: going on in not just America, but, you know, the world today.
• 3:51
  Track 3: When you look at like the first shot of this movie is like a drone over Mega
• 3:55
  Track 3: City One. And it's like, that's so crazy.
• 3:58
  Track 3: topical right now.
• 3:59
  Track 1: Yeah it's funny i had not seen this movie until now well not like when i watched
• 4:06
  Track 1: it two days ago it was the first time i'd ever seen it and uh i know that bill
• 4:09
  Track 1: and ward you both had seen it like you like you both were saying like this is
• 4:12
  Track 1: a you like this movie yeah.
• 4:14
  Track 4: I've seen it a bunch of times.
• 4:16
  Track 2: Yeah this is this is probably like my i don't know like fourth or fifth time
• 4:20
  Track 2: watching it i probably maybe might be more it's.
• 4:22
  Track 3: A rookie number.
• 4:23
  Track 2: She got to pump that up.
• 4:24
  Track 1: Listen.
• 4:25
  Track 2: I, you know, I can't, I, there's only so much you can fit in every year.
• 4:28
  Track 2: I have to watch all of Godzilla and Lord of the Rings and Planet of the Apes every year too.
• 4:32
  Track 2: And Alien and thing. All of Godzilla. Wow.
• 4:36
  Track 2: I meant monster. I meant legendary and 1954. Not all. I can't watch 35 films every year.
• 4:45
  Track 1: Not with that attitude.
• 4:46
  Track 3: That's like, that's a commitment, man.
• 4:49
  Track 2: I mean, I sprinkle other Godzilla in, you know, throughout.
• 4:53
  Track 1: Now that you say that it was not just written by Alex Garland,
• 4:57
  Track 1: but he also then basically was the director, you know, uncredited,
• 5:02
  Track 1: I don't know, like, I have my...
• 5:05
  Track 1: qualms with Alex Garland's output. Not necessarily like the quality of the movies,
• 5:11
  Track 1: but I have some questionable things to say about some of them.
• 5:15
  Track 3: So I probably are going to agree with you. I don't know what you're going to
• 5:18
  Track 3: say, but he was one of my favorite writers and directors for a long time.
• 5:21
  Track 3: And that kind of shifted a couple of years ago.
• 5:23
  Track 1: Yeah. Did it shift when he, when the movie Civil War came out?
• 5:26
  Track 3: That's exactly when it happened.
• 5:30
  Track 1: Yeah. And then, yeah. So, I mean, for people out there
• 5:33
  Track 1: people probably know him from ex machina ex makina and
• 5:36
  Track 1: annihilation i think he had one in there too um men men
• 5:40
  Track 1: civil war and then warfare also did not see that because i no longer was really
• 5:46
  Track 1: interested in seeing what he did but i just question his politics and i think
• 5:50
  Track 1: um it'll be interesting to see how they came out in this movie maybe over time
• 5:57
  Track 1: it got worse for him i don't know i.
• 5:59
  Track 2: Feel like you haven't so much in the past questioned his politics so much as
• 6:03
  Track 2: questioned his spine or backbone or.
• 6:08
  Track 1: Willingness to.
• 6:09
  Track 2: Actually have a stance.
• 6:10
  Track 1: Yes ding ding that's it i mean i mean well when you say it that way then i almost
• 6:16
  Track 1: think that dread he maybe did put you know through some of that politics in
• 6:22
  Track 1: like a less lame way that's not a very articulate way to say but it's a little
• 6:28
  Track 1: bit more like fleshed out you.
• 6:29
  Track 3: Do have to keep in mind he's he's english.
• 6:31
  Track 1: Yeah and.
• 6:32
  Track 3: That that has so like the reason civil war was
• 6:36
  Track 3: um well no specifically the civil war movie was supposed
• 6:39
  Track 3: to it was supposed to be um because
• 6:42
  Track 3: europeans don't want to watch media about
• 6:46
  Track 3: their granted uk is not technically european anymore
• 6:49
  Track 3: but they don't like to watch movies and tv shows about their politics they prefer
• 6:54
  Track 3: to do american politics and so the whole point of that movie was supposed to
• 6:58
  Track 3: be this could happen in any modern western culture but he knew that nobody outside
• 7:03
  Track 3: of the US would watch it unless it was about a US civil war and that
• 7:07
  Track 3: was part of the reason why at least he said he did that and had no real motive
• 7:12
  Track 3: as to like what caused the civil war and how texas and california paired up
• 7:16
  Track 3: in that is just kind of like yeah that's how it worked.
• 7:18
  Track 1: Yeah that is true i mean as we talk.
• 7:21
  Track 3: About the movie.
• 7:22
  Track 1: Itself i feel like the uh his it's a little bit more less kind of muddled or
• 7:28
  Track 1: it's like less cowardly in this but you know i I mean, for, for,
• 7:33
  Track 1: I mean, well, Ward, did you have any, um,
• 7:35
  Track 1: for like, I didn't let you to say what you thought about this and like.
• 7:39
  Track 4: I mean, I'm not like all well-versed on the,
• 7:48
  Track 4: Garland stuff like y'all nerds are, but, um, in the context of this film,
• 7:53
  Track 4: like it's a good action movie, but the miserable Marxist in me is all the social
• 7:59
  Track 4: commentary is way too subtle.
• 8:00
  Track 3: Oh, interesting.
• 8:01
  Track 4: Like social commentary is way too subtle there's definitely things that could
• 8:05
  Track 4: be changed to be improved from a marxist standpoint and so that's what i'm gonna
• 8:10
  Track 4: knock it for like solid action movie great cinematography pretty good character
• 8:16
  Track 4: writing it's a fucking good movie yeah.
• 8:18
  Track 2: I'm pretty much like i mean pretty much this like warden i have the same it's
• 8:22
  Track 2: like it's like we're like on the same like level on the same page um and also like,
• 8:28
  Track 2: honestly other than annihilation i don't think i've watched i mean and 28 years
• 8:33
  Track 2: later 20 years later like um for his writing you know but like other than i
• 8:38
  Track 2: think annihilation is the only what about sunshine no i've never seen it oh.
• 8:41
  Track 3: It's pretty solid it's danny boyle.
• 8:43
  Track 4: I watched clips of civil war for gunplay but that's about it.
• 8:46
  Track 2: Yeah other than annihilation which i love like i knowledge is a phenomenal movie
• 8:51
  Track 2: i don't think i've ever i don't think i've seen any of his other movies that
• 8:55
  Track 2: he actually, you know, that he on record directed.
• 8:59
  Track 2: Um, I think, I mean, I think Carl Urban for me, oddly enough,
• 9:05
  Track 2: this is actually the movie that I always associate Carl Urban with not Lord
• 9:09
  Track 2: of the Rings, despite being a huge Lord of the Rings, like being a huge Lord of the Rings fan.
• 9:15
  Track 2: I still, for some reason, I always think of this movie for Carl Urban.
• 9:19
  Track 2: I think this movie He kind of stands out as defining Carl Urban as his roles more than hard agree.
• 9:27
  Track 3: It's it's when you compare and I actually really like the 95 dread judge dread with Stallone.
• 9:33
  Track 3: It is very dread in a different way.
• 9:36
  Track 3: Like these both are very comic accurate in drastically different ways.
• 9:40
  Track 3: But the difference between like a Stallone and a urban is the lack of ego.
• 9:45
  Track 3: Like, oh, yeah, urban leans into like you don't see his face.
• 9:49
  Track 3: Like I watched this with my wife last night and it's been probably,
• 9:52
  Track 3: she hasn't seen it since it came out, you know, and she forgot it was him.
• 9:55
  Track 3: She's like, who's the guy?
• 9:56
  Track 3: And I'm like, I was like flummoxed. I was like, what do you mean?
• 9:58
  Track 3: Who's the guy? It's Carl Urban.
• 10:00
  Track 3: This is like his defining role. But yeah, there's just no ego, ego.
• 10:04
  Track 3: There's no ego there where he's just like willing to, you know,
• 10:08
  Track 3: it's all the micro expressions like Robert Pattinson's Batman.
• 10:11
  Track 3: Like it's all in those little micro expressions.
• 10:14
  Track 2: It's rad. The only thing comic accurate about the 1995 film,
• 10:20
  Track 2: in my opinion, is basically the, like,
• 10:23
  Track 2: aesthetic, like, the very, like, the more flamboyant aspects of the aesthetic
• 10:27
  Track 2: of the Dread comics, in terms of, like...
• 10:31
  Track 2: commentary philosophy like and thought process and like actual representation
• 10:39
  Track 2: not just the aesthetic but the tone and intentionality this movie is way more
• 10:46
  Track 2: accurate oh yeah a thousand percent more it's.
• 10:49
  Track 3: The robot it's it's the robots the gangs the actually going out into the wasteland
• 10:54
  Track 3: um the weird clones and stuff like that part is very comic accurate but no you're
• 10:58
  Track 3: totally right on the social commentary because dread is from 82.
• 11:01
  Track 2: 000 it's.
• 11:02
  Track 3: Very like this is a fascist world and it's it.
• 11:05
  Track 2: Sucks do.
• 11:06
  Track 3: We swear on this.
• 11:07
  Track 2: Podcast like censored.
• 11:08
  Track 3: For a second i.
• 11:09
  Track 2: Wasn't sure i.
• 11:09
  Track 3: Went i almost went it fucking sucks and i'm like i stopped at.
• 11:12
  Track 2: That i wasn't sure we actually yeah you're good we have a friend who once commented
• 11:17
  Track 2: um a friend of ours who does a podcast he has his own podcast um and he commented
• 11:21
  Track 2: in another group chat that i'm in with him that he listens to the show for many
• 11:26
  Track 2: reasons and one of them is to see inventive new ways in which i use the word fuck.
• 11:31
  Track 1: Hell.
• 11:31
  Track 3: Yeah i mean fuck yeah.
• 11:34
  Track 1: This is something since speaking
• 11:37
  Track 1: of carl urban i don't know if anyone else noticed this
• 11:40
  Track 1: and i it's been a while since i've seen the original one but
• 11:43
  Track 1: you mentioned sort of like you don't really see his face that much you kind
• 11:46
  Track 1: of just see sort of the facial expressions there were moments in it where i
• 11:49
  Track 1: felt like he was doing a stallone impression like the way his mouth moved but
• 11:54
  Track 1: not in any other way and maybe it just i don't know why i viewed it that way
• 11:58
  Track 1: but he like kept it kept feeling like it was stallone but he was not stallone.
• 12:02
  Track 2: I think i don't know that it's just inherent to the character like if you're
• 12:07
  Track 2: gonna have a mask on if you're gonna have if you're gonna have a helmet on that
• 12:10
  Track 2: covers your entire face is up your mouth like you're going to have to accentuate those things you're.
• 12:14
  Track 3: Gonna have to do that grimace.
• 12:15
  Track 2: Yeah what you're i can't do.
• 12:16
  Track 3: It i can't get the lion's like,
• 12:18
  Track 3: I can't do the premise, but I mean, he nails it.
• 12:21
  Track 2: He literally put dirt on his face to highlight those shadows.
• 12:24
  Track 2: It's pretty wild, the stuff.
• 12:26
  Track 2: That is, you know, the one thing I did want to say, one that we were talking
• 12:29
  Track 2: about, like, you know, the practical effects of this movie are,
• 12:34
  Track 2: like you mentioned the cinematography.
• 12:37
  Track 2: This is one of those movies, like, let's talk about practical effects right now.
• 12:43
  Track 2: Let's talk about effects. Because the practical effects in this movie are phenomenal.
• 12:46
  Track 2: The craft that went into making it, Absolutely next level. Absolutely incredible.
• 12:52
  Track 3: No, for sure. The costumes, that motorcycle at the beginning, the gun.
• 12:57
  Track 2: The gun, which is an accurate, it's a fully functional, all of that is on screen.
• 13:02
  Track 2: They don't change out ever. It's made to fire and eject casings and have all
• 13:08
  Track 2: that stuff in there on a functioning nine millimeter.
• 13:12
  Track 2: Like, that's incredible. Like, he's firing an actual nine millimeter in the
• 13:16
  Track 2: movie and changing clips and doing all that shit. Like, and they just,
• 13:20
  Track 2: they made, manufactured, it's a look like the law giver. It's incredible.
• 13:24
  Track 3: It takes Glock mags.
• 13:25
  Track 4: It's so sick.
• 13:26
  Track 1: Ward, do you have any comments on the gun?
• 13:27
  Track 4: Yeah, it takes Glock mags.
• 13:29
  Track 2: It's awesome. It's so good.
• 13:33
  Track 3: So Ward, I'm assuming you're like, you're the, the, the Socius Rifle Club guy in the group.
• 13:38
  Track 4: Yeah, I'm definitely the gun guy.
• 13:40
  Track 3: Got it.
• 13:41
  Track 4: Like, I'll definitely suspend like reality for like, how do they get all that
• 13:46
  Track 4: ammo in there? and how do they change it all out?
• 13:50
  Track 4: Because it's just so sick, especially the fact that they got it functioning
• 13:54
  Track 4: for the movie instead of just some prop gun with CGI effects. That's sick.
• 13:59
  Track 2: I was waiting to talk about that. I was waiting until the episode to talk to you about that, Ward.
• 14:05
  Track 2: I was like, I can't wait for Ward to talk about the gun because it's so cool.
• 14:11
  Track 3: What about the minigun?
• 14:12
  Track 4: Oh, dude, the minigun is so sick. like kind of confusing because it's like super
• 14:18
  Track 4: destructive for what it actually is but like still super 16 hey this is like 80 years.
• 14:24
  Track 3: In the future man you don't know where miniguns are gonna go in 80 years.
• 14:27
  Track 4: Yeah but like that's true it does like damage like you think you'd be shooting
• 14:32
  Track 4: something like a 20 millimeter or above but then it's just ejecting brass casings
• 14:36
  Track 4: that are like 50 cal or below and you're like hmm that many layers of concrete
• 14:41
  Track 4: i don't know i didn't I didn't use.
• 14:43
  Track 1: Any of that.
• 14:43
  Track 2: Maybe they were explosive.
• 14:44
  Track 4: Mm-hmm.
• 14:45
  Track 4: Even then, that many layers of concrete?
• 14:48
  Track 2: Would that work? I don't know. You tell me. Does that... I don't know. Does that work?
• 14:52
  Track 4: It, like, helps a little bit more. But when you're talking, like,
• 14:56
  Track 4: what is it, like, 12 layers of concrete plus for, like, that whole quadrant of the tower?
• 15:03
  Track 2: All right, all right, all right. How about this? Okay. What about this?
• 15:06
  Track 2: What if those are 50 cows?
• 15:09
  Track 2: Their concrete's just shittier.
• 15:12
  Track 4: Oh. Well, if you think about it, you can't. because like dude safety over like
• 15:18
  Track 4: safety oversight in this universe not good totally missing i mean yeah there's.
• 15:23
  Track 1: No ocean half.
• 15:24
  Track 4: Pipe with no net on the 79th floor what the fuck i.
• 15:29
  Track 1: Mean if you think about it this way this is like it's actually a good segue
• 15:33
  Track 1: so like this the plot of this the sketching of the plaza movie it's in a future
• 15:37
  Track 1: period of the united states when most of the Earth is now an irradiated wasteland.
• 15:43
  Track 1: And they have one megacity that has 800 million residents. I think it's from,
• 15:47
  Track 1: what, New York to Boston or some massive- Boston to Washington.
• 15:51
  Track 3: D.C.
• 15:51
  Track 1: Right, so just this megacity. And
• 15:54
  Track 1: think of how much concrete that will be required to do that in the future.
• 15:57
  Track 1: So I could see them kind of skimping on the quality of the concrete to make that gigantic.
• 16:02
  Track 3: Like the Industrial Revolution putting plaster in bread.
• 16:05
  Track 2: Yeah.
• 16:05
  Track 3: Yeah.
• 16:07
  Track 4: I find it's accurate. I'm back on board.
• 16:12
  Track 1: The plot obviously is about the only force that carries out law on this are
• 16:18
  Track 1: judges, and they act as judge, jury, executioner.
• 16:21
  Track 1: They have their judge, obviously played by Carl Urban.
• 16:24
  Track 1: and he is after like a kick-ass uh motorcycle scene
• 16:28
  Track 1: you have are introduced to the olivia thorley character which is a rookie who
• 16:34
  Track 1: they're going to be assessing as like a a new judge and we also learned at the
• 16:40
  Track 1: beginning that she has psychic abilities which is is that in the comic by the
• 16:44
  Track 1: way like is that a thing so.
• 16:45
  Track 3: There's comic there's psychics there's mutants there's uh there's judge death
• 16:50
  Track 3: there's all kind like he's like a zombie-esque kind of.
• 16:52
  Track 1: No the comics.
• 16:53
  Track 3: Get weird yeah.
• 16:54
  Track 1: Okay i was thinking about that because it does kind of make sense in a scenario
• 16:58
  Track 1: hundreds of years in the future the world has been all these chemicals and things
• 17:02
  Track 1: i mean i think they mentioned that she had lived partly outside of the you know the wall she lived.
• 17:07
  Track 3: Right inside the containment of where the blasts were so she got some it's it's
• 17:12
  Track 3: like um it's like a total recall where like.
• 17:14
  Track 1: The first generation.
• 17:15
  Track 3: Of people who are on mars were mutated and then the people who came later.
• 17:18
  Track 1: Yeah so she has this you know psychic power and
• 17:21
  Track 1: then it basically they go to respond to
• 17:25
  Track 1: uh this uh to uh like
• 17:28
  Track 1: a slum called peach trees it's a 200 story building it seems like all these
• 17:32
  Track 1: you know and they do show you the like shots from above it's just these massive
• 17:36
  Track 1: skyscrapers and i was thinking too i get the sense that the people who live
• 17:40
  Track 1: in one of those skyscrapers they might never leave that no yeah.
• 17:45
  Track 3: Well they said it's like 80 000 people in that one building.
• 17:49
  Track 1: It's crazy and.
• 17:51
  Track 3: It's like 96 percent unemployment when they were talking about how like they
• 17:55
  Track 3: only like there's i don't remember the number i didn't write it down but it
• 17:58
  Track 3: was something like 21 000 crimes an hour or a day something ridiculous.
• 18:03
  Track 1: Like 10 000 crimes a day 15 000 crimes per day.
• 18:07
  Track 3: And 6% responding rate to the said crimes. Yeah.
• 18:11
  Track 4: Which, that sounds about right.
• 18:13
  Track 2: That's accurate. Actually, I think it's a little high. I think it might be high.
• 18:16
  Track 3: Right.
• 18:17
  Track 4: That actually might be high. But don't, they got flying motorcycles.
• 18:22
  Track 4: And they only sleep for 10 minutes a night.
• 18:25
  Track 3: They do, yeah, and the comic is crazy. Well, and they also recycle the people
• 18:29
  Track 3: and eat people. It's like Soylent Green is how they survive.
• 18:31
  Track 2: Yeah, well, they walk in and it's like, you know, what is it,
• 18:34
  Track 2: what are they, perps to the isocubes, victims to the recykes.
• 18:38
  Track 3: Yep. Well, and the other thing is, like, you look at it as, you know,
• 18:41
  Track 3: you can pad that number, that 6%. Like, when they're going into Peachtree,
• 18:44
  Track 3: there's the unhoused dude, and they go, you know, get out of here,
• 18:48
  Track 3: man. And they're like, you know, if you're here, it's three weeks in the isocubes or whatever.
• 18:51
  Track 3: So it's like, they're doing all these little, like, random, you know,
• 18:54
  Track 3: they're stopping other people and doing little sentencing while they're going
• 18:57
  Track 3: after whatever they're really going after.
• 18:59
  Track 3: So, you know, they pad it a little bit.
• 19:02
  Track 2: But what they deem a crime, that is actually a really good book is like what
• 19:05
  Track 2: it is like what they deem a crime is to like what it's basically anything like what we,
• 19:13
  Track 2: what in our society, you know, they would call like a misdemeanor and it wouldn't even count as a crime.
• 19:18
  Track 2: It wouldn't even show up and like they count as like a full on like sentenceable crime.
• 19:24
  Track 4: Yeah. Dread had a quote from the comics that's a nobody's innocent citizen.
• 19:28
  Track 4: We're just here to determine the level of your guilt.
• 19:31
  Track 3: Mm hmm. Can we can we go to the opening scene just briefly?
• 19:35
  Track 3: Because that one that really hit me this week. I was telling you guys just before,
• 19:39
  Track 3: you know, we started recording, like I got laid off this week.
• 19:42
  Track 3: And, you know, I'm fortunate enough that like I'm in an industry where I'm well
• 19:45
  Track 3: liked. I've already took a bunch of meetings. I'm good. But the opening scene really hit me hard.
• 19:49
  Track 3: And I remember it hitting me hard the first time I saw it. But this time was especially egregious.
• 19:55
  Track 3: But, you know, he does the little like they're on the motorcycle chase and,
• 19:58
  Track 3: you know, going through the freeways and stuff like that.
• 20:00
  Track 3: And, you know, the guys in the band, the bad guys like hit some random person.
• 20:04
  Track 3: He's like, oh, the innocent, you know, now we really got to take him down.
• 20:06
  Track 3: Just leave the innocent guy, you know, alone, just drive off.
• 20:09
  Track 3: He doesn't matter. He's collateral.
• 20:10
  Track 3: You know, it's just an asterisk to, you know, make the charge more serious.
• 20:16
  Track 3: And then he ends up taking out the van and it flips, kills a couple of people
• 20:20
  Track 3: inside the van, potentially could have killed dozens of people where,
• 20:23
  Track 3: you know, it just happened to hit us, you know, a cinder block kind of stop and it didn't go.
• 20:27
  Track 3: And he goes and, you know, the last perp goes into like the shopping mall slash
• 20:31
  Track 3: food court, shoots a couple people.
• 20:34
  Track 3: And, you know, he goes, you know, Dredd ends up taking him out.
• 20:37
  Track 3: And then right as it stops, you see this little like robot Zumba,
• 20:40
  Track 3: you know, Roomba kind of thing go out.
• 20:42
  Track 3: I said, Zumba, that's a dance, not a robot. But, you know, the Roomba comes
• 20:45
  Track 3: out and starts like mopping it up and you hear an announcement overhead.
• 20:49
  Track 3: It's like the food court will open in 30 minutes, you know, you know,
• 20:52
  Track 3: capitalism will start again in 30 minutes.
• 20:53
  Track 3: And like that hit me so hard because I got laid off on Monday.
• 20:57
  Track 3: And like an hour later, they like somebody calls me and they're like,
• 20:59
  Track 3: you need to do your expense report by the end of today or you're responsible for all this.
• 21:02
  Track 3: I'm like, you just fired me 20 minutes ago and you're telling me I got to do this expense report.
• 21:07
  Track 3: Fuck off. Like that just really hit me this time is just the immediate need
• 21:11
  Track 3: to go back to capitalism or that Amazon worker died in Southern California in
• 21:16
  Track 3: the warehouse. And they're just like, no, you guys need to keep working. Go, go, go. Like
• 21:20
  Track 3: It's so relevant to what's happening in today's society. It's crazy.
• 21:25
  Track 1: It actually reminds me of the Simpsons quote where Homer is,
• 21:29
  Track 1: I think it's when a deal is like this exchange student.
• 21:32
  Track 1: And he says, maybe Lisa's right about America being the land of opportunity.
• 21:36
  Track 1: And maybe a deal has a point about the machinery of capitalism being oiled with
• 21:40
  Track 1: the blood of the workers.
• 21:40
  Track 1: Like literally the fucking blood of the work of the, they're just on the ground.
• 21:44
  Track 1: It's like, we'll just wipe it up and continue with our day. It's a hilarious Homer quote.
• 21:51
  Track 1: It is one of the best.
• 21:54
  Track 1: Very early.
• 21:57
  Track 1: I think it's like in the second season. Anyway, that's not related to this.
• 22:01
  Track 2: I think that like, not only like it is worth commenting that like,
• 22:07
  Track 2: yeah, it is incredibly relevant, but to the movie's credit, I really do think
• 22:14
  Track 2: it deserves credit for the point that like.
• 22:17
  Track 2: And in so many movies that we just, you know, they, you know,
• 22:22
  Track 2: we depict a dystopian future or the far future.
• 22:25
  Track 2: And remember, like when this was even made, that was, you know,
• 22:29
  Track 2: even further, you know, from where it's, you know, it actually takes place.
• 22:35
  Track 2: There's always the temptation to reimagine the world, to make it look totally different.
• 22:40
  Track 2: In so many other movies, the towers, the megatowers, they would be the primary skyline.
• 22:48
  Track 2: But in this movie, it's a pointed depiction, and it is shown multiple times and commented on.
• 22:58
  Track 2: this is built in recognizable urban
• 23:01
  Track 2: centers of our like our time and
• 23:05
  Track 2: it's like it's so easy to divorce yourself from the reality of things when it
• 23:10
  Track 2: looks totally but in this you're forced to confront like no the real world that
• 23:14
  Track 2: you live in right now looks like that in places they just put a giant dystopian, you know,
• 23:23
  Track 2: you know, population tower in there. They didn't even start over.
• 23:27
  Track 3: Yeah. Well, to your point, it is exactly that. And like, I remember there's
• 23:30
  Track 3: a point where, you know, at the beginning when they're going over the pursuit,
• 23:33
  Track 3: you see various freeways and it's like three level tall freeways.
• 23:37
  Track 3: There's almost no traffic. I was like, man, that actually almost looks preferable
• 23:40
  Track 3: to like what I have to deal with in California.
• 23:43
  Track 3: But, you know, like you said, you know, the only building that looks futuristic
• 23:47
  Track 3: and fancy is the the the judge headquarters.
• 23:51
  Track 3: I don't remember what it's actually called. The I think it's called the Hall
• 23:54
  Track 3: of Judges or the Hall of Justice.
• 23:55
  Track 3: But even the cars like, you know, the judges have the futuristic motorcycle,
• 23:58
  Track 3: but there's just like a VW van that the bad guys are driving in like it's.
• 24:03
  Track 3: It's almost like Cuba, you know, having to survive 60 years with the vehicles
• 24:07
  Track 3: that were there when the embargo started.
• 24:10
  Track 3: Like, it's crazy how it's a mix of contemporary and future.
• 24:14
  Track 2: Yeah.
• 24:14
  Track 1: I mean, it feels, I think that makes it feel so much more realistic.
• 24:19
  Track 1: Because, like, the way I think about it is imagining our real world,
• 24:24
  Track 1: our timeline now, where this, you know, the seas levels start rising,
• 24:30
  Track 1: things on the coast may not be viable.
• 24:32
  Track 1: you start building mega cities because you need to all be in one area where
• 24:36
  Track 1: your food source is you can't grow things like in this movie there's no way
• 24:40
  Track 1: to grow agriculture in the,
• 24:42
  Track 1: main parts of the country so everyone has to congregate into these giant you
• 24:46
  Track 1: know 15 minute structures yeah and it's like it's,
• 24:50
  Track 1: it's it's it's crazy like the um you know the amount of people you said 80 000
• 24:55
  Track 1: people live in this 200-story, you know, slum, it's, I mean,
• 25:01
  Track 1: it's not so crazy to imagine.
• 25:03
  Track 1: And I actually, they don't ever really show you or anyone who's like wealthy
• 25:06
  Track 1: in this movie at all, anyone above sort of the people who are in these slums.
• 25:10
  Track 1: But I almost imagine them living in, you know, one or two-story houses as sort
• 25:15
  Track 1: of these independent things, like a little mansion, and then you have these
• 25:18
  Track 1: gigantic towers with all the poors.
• 25:21
  Track 3: Yeah, I don't remember what the rich, if they're, you know, what that like in
• 25:24
  Track 3: the comments. It's been a very long time since I've read any of the 82,000 stuff.
• 25:28
  Track 3: My best friend was like super into it 10 years ago. And he nerded out about
• 25:33
  Track 3: this. We talked about it a lot.
• 25:34
  Track 3: I used to know a lot more about it, but COVID destroyed my brain. So I only have like
• 25:38
  Track 3: pockets of things that i remember from these things now but yeah it's it's a weird world.
• 25:43
  Track 1: It is weird and they uh the like the thing you also learn is so i mean i'm a
• 25:47
  Track 1: huge uh lean ahead fan in this uh in this she plays like mama who's sort of
• 25:54
  Track 1: a i guess you could say she's a i don't want to say drug lord drug dealer in
• 25:59
  Track 1: this particular drug lord drug lord yeah okay She's.
• 26:03
  Track 3: The one in charge of manufacturing, distributing it. She created it.
• 26:06
  Track 3: No, she's like CEO, CTO, all of the O's.
• 26:12
  Track 1: She's the Peter Thiel of the drug industry.
• 26:15
  Track 2: She's a drug kingpin. Yeah. Drug lord is not high enough.
• 26:20
  Track 3: That's what ultimately drives the whole thing.
• 26:22
  Track 4: I was thinking kingpin as well.
• 26:23
  Track 3: That's where, because the whole movie, the first half of the movie,
• 26:27
  Track 3: Dredd is like, this is a really weird level of response
• 26:30
  Track 3: we're getting over two dead bodies you know
• 26:33
  Track 3: in this slum and you know they you know they keep getting hit you know uh i'm
• 26:37
  Track 3: gonna bring out the you know i'm sure people who listen will talk like why didn't
• 26:41
  Track 3: you guys bring this up because this came out around the same time as the raid
• 26:44
  Track 3: and very similar plots of going up the top now this was actually in development
• 26:48
  Track 3: first so no evan was gonna say the raid don't worry,
• 26:52
  Track 3: i know are you really okay yeah it's okay keep going it's
• 26:55
  Track 3: fine you know so you know they're going up this tower and you
• 26:57
  Track 3: know it's not until they get to like the 21st floor where dread's like
• 27:00
  Track 3: god what the fuck is going on why is this so goddamn hard
• 27:03
  Track 3: something's going on and then they go why don't they
• 27:06
  Track 3: want us to go higher there's got to be a reason then he's got us like ask ask
• 27:09
  Track 3: this ask this dude who we have been you know taking with us along the journey
• 27:14
  Track 3: because they abduct one of the goons and it's just like he figures out he's
• 27:17
  Track 3: like oh there's got to be fucking manufacturing here this is this is where the
• 27:21
  Track 3: buck stops and that that was his big thing so it's like yeah she can't just
• 27:24
  Track 3: be a drug lord when like the entire operation is there yeah.
• 27:28
  Track 1: That's yeah okay that's far i.
• 27:29
  Track 3: It's basically 21 jump street where it's a new drug and
• 27:32
  Track 3: it's mostly contained and it's starting to spread because the whole thing is
• 27:36
  Track 3: it's going to start spreading because he was the first one to experience it
• 27:40
  Track 3: with the goons from the first move from the beginning of the scene like that's
• 27:42
  Track 3: the first time anybody's experienced somebody on that drug so it's like 21 on
• 27:48
  Track 3: Jump Street of like they're trying to maintain the containment.
• 27:52
  Track 3: I might be the first person to link this movie to 21 Jumpstart.
• 27:57
  Track 1: You heard it here first on Left of the Projector. And the drug is called slow-mo,
• 28:02
  Track 1: and it makes you perceive time and 1% of normal.
• 28:06
  Track 1: And the scenes where they show her, and I think she's in the bathtub,
• 28:10
  Track 1: the cinematography for that is so fucking cool. What did you say, Ward?
• 28:14
  Track 4: Oh, that was like the first scene.
• 28:17
  Track 3: Oh, so good.
• 28:18
  Track 4: I like it. I like how it sets up her character, you know? she's like in.
• 28:22
  Track 3: The bubble.
• 28:23
  Track 4: Bath like a kid high as.
• 28:25
  Track 3: Hell you know just.
• 28:26
  Track 4: Trying to escape how fucking miserable everything is even though she's the fucking boss.
• 28:30
  Track 3: Doesn't one percent perception sound terrible like i have i got diagnosed with
• 28:35
  Track 3: adhd like a month ago and i'm like,
• 28:37
  Track 3: that kind of feels like what that is and it sucks like i imagine i mean like
• 28:43
  Track 3: you know and they make a point of it like when they throw them over the the
• 28:45
  Track 3: the bad guy you know what brings them to Peachtree's is they throw those two
• 28:48
  Track 3: bodies from like the 80th floor or whatever it was.
• 28:51
  Track 3: And they're like, oh, yeah, they made them take the slow-mo before.
• 28:54
  Track 3: That probably felt like an hour fall. And I'm like, yeah, that sounds terrible.
• 28:58
  Track 3: Like with the beginning scene when they're like on the freeway running away
• 29:00
  Track 3: from dread and they're high as fuck on this slow-mo and except for the driver,
• 29:04
  Track 3: like how fucking terrifying would that be?
• 29:06
  Track 3: Like a five minute chase where you're getting chased by Carl fucking Urban and
• 29:12
  Track 3: you're perceiving it at one percent.
• 29:14
  Track 3: Like that's like the pursuit chase that never ends. And it was like two minutes.
• 29:16
  Track 2: There are times when being on a drug that has time dilation effects is actually pretty great.
• 29:24
  Track 1: Yeah, yes, I could see that.
• 29:27
  Track 4: We talked about this in our group chat.
• 29:29
  Track 2: Yeah, we've already had a division of opinions on this.
• 29:34
  Track 4: This sounds terrible. Meanwhile, me and Bill, two peas in a pod over here.
• 29:39
  Track 4: Actually, there could be moments.
• 29:42
  Track 3: To be fair, in this world, in Dread 2012 world, perceiving that world would suck.
• 29:51
  Track 3: Throw on Dark Side of the Moon and experience that. you know throw on the wizard
• 29:55
  Track 3: of oz sure great what a great time but you know,
• 30:01
  Track 3: well the.
• 30:02
  Track 1: And like the like.
• 30:04
  Track 3: Amber is the color of your energy now.
• 30:07
  Track 4: It's one percent speed the uh.
• 30:12
  Track 1: And like, I was thinking about to just the, you know, there's clearly like one
• 30:16
  Track 1: of many, many drugs that are in the society.
• 30:19
  Track 1: And with 15,000 crimes a day, I mean, maybe even just being high could be like
• 30:24
  Track 1: an, you know, an offense.
• 30:27
  Track 3: Eight weeks in the ice of you.
• 30:28
  Track 1: Definitely an offense. Like just not even holding.
• 30:33
  Track 2: Just being high is definitely a crime.
• 30:35
  Track 1: Like what mama is doing is like terrible, but living in this society,
• 30:40
  Track 1: I feel like you kind of need drugs.
• 30:43
  Track 3: Well, you know, you've said it earlier, you know, anything could be a crime,
• 30:48
  Track 3: you know, there, you know, I've probably watched this movie 10 to 15 times.
• 30:52
  Track 3: You know, I love this movie. I travel for work a lot. So I watch a lot of movies on planes and stuff.
• 30:56
  Track 3: So I've watched it a lot. But one of the things I noticed this time around is
• 31:00
  Track 3: now granted, most everybody he shot was legitimately a bad guy.
• 31:05
  Track 3: And I'm, you know, none of the listeners can see me doing air quotes.
• 31:08
  Track 3: But there are times like he comes out of the elevator at one point,
• 31:11
  Track 3: and he just comes out, blam bust like there's no way he could have even perceived
• 31:14
  Track 3: that that guy like that guy had a gun now granted he had a gun but there's no
• 31:19
  Track 3: way he could have known and like the you know the scene where he gets um i don't
• 31:23
  Track 3: know the character's name but the like the black guy who ultimately helps them
• 31:27
  Track 3: unravel like everything you know and they have like the little.
• 31:31
  Track 2: Caleb, I don't know.
• 31:32
  Track 3: He's like the number three guy in the organization. He's the one that he's like
• 31:35
  Track 3: hauling him around. They're hauling him around.
• 31:37
  Track 2: He isn't even. No, he is literally just like he's basically a district manager.
• 31:44
  Track 3: But still, he's got manager in his title.
• 31:48
  Track 1: He's a piece of the PMC.
• 31:50
  Track 3: Yeah, they're hauling that guy around like the whole most of the journey.
• 31:53
  Track 3: But like when they get him, they like they bust into this room.
• 31:57
  Track 3: they know like okay the operation must be on floor 21 because that's
• 32:01
  Track 3: where these two guys started you know the guys that we find at the
• 32:04
  Track 3: beginning of the movie and they like bust in and
• 32:07
  Track 3: just immediately it's like slow motion like the whole scene is
• 32:10
  Track 3: slow motion you see so many bullets going through cheeks and necks and
• 32:13
  Track 3: it's fucking rad uh but like they just go
• 32:16
  Track 3: in blow the doors off the hinges and light everybody up
• 32:19
  Track 3: and it's like some people were legitimately just sitting there stoned that's
• 32:23
  Track 3: a crime and get fucking lit up and then at that point i mean it's a crime but
• 32:28
  Track 3: at that point like some of them like these guys didn't even fucking know they
• 32:31
  Track 3: just see a guy come and start shooting like you know i'm gonna go to ward like
• 32:35
  Track 3: if cops just came in shooting in your house you're probably,
• 32:38
  Track 3: going like what the fuck and you're pulling a gun you know just based off the
• 32:41
  Track 3: 33 minutes that i've known you uh it's just it's that's my point though it's
• 32:47
  Track 3: just like they go guns blazing and they don't even you know like that could
• 32:50
  Track 3: one of those guys could have just walked in like there's a lot of gunfire.
• 32:53
  Track 3: Can I hide here for a minute?
• 32:54
  Track 3: And then you just get blown away by a judge, which is.
• 32:57
  Track 2: To the credit of the movie, it is never shown that Dredd would have cared or
• 33:08
  Track 2: wouldn't have found something to say.
• 33:11
  Track 2: It wouldn't matter at all. And that's really-
• 33:13
  Track 3: Are you saying he'd plant evidence?
• 33:16
  Track 2: He wouldn't need to. It's just like what Ward said, that quote.
• 33:20
  Track 2: What was that quote again, Ward?
• 33:21
  Track 4: Oh, that nobody's innocent citizen.
• 33:24
  Track 2: Yeah.
• 33:25
  Track 4: Yeah. we're just here to determine the level of your guilt yeah everyone in
• 33:30
  Track 4: that room is guilty yeah like.
• 33:34
  Track 1: There's a point later when they come across I think it's that guy what is it
• 33:40
  Track 1: K played by Wood Harris yeah so or I think it was her him when you know when,
• 33:47
  Track 1: when Cassandra or Olivia Thelby says that she's 99% sure that he like he was
• 33:55
  Track 1: guilty he's like that's not good enough like we need to be 100 it's.
• 33:59
  Track 3: Not good enough to execute him.
• 34:00
  Track 1: Yeah okay fair enough but but the cube sure you can go to the cube for eight
• 34:05
  Track 1: years but yeah for sure okay yeah that that is a good qualifier but i guess
• 34:10
  Track 1: the idea is that he like her being her being psychic and being able to be pretty
• 34:16
  Track 1: sure isn't enough for him to just execute you but if he sees you there.
• 34:20
  Track 2: Is a difference between there is there this really is like essentially the way
• 34:28
  Track 2: american police at this point behave which is like,
• 34:33
  Track 2: entirely the the whole premise of this when this was written what you know when
• 34:40
  Track 2: it was originally And by that, I mean, the comic, um, was written during,
• 34:44
  Track 2: you know, during the time and in Britain, uh,
• 34:49
  Track 2: in which society is wildly different in terms of these things,
• 34:52
  Track 2: especially at that time, um,
• 34:55
  Track 2: It is so, the entire, this is the way United States police officers are trained
• 35:01
  Track 2: and made to think that they are separate from civilians, they are set apart,
• 35:07
  Track 2: and that they are judge, jury, and executioner.
• 35:10
  Track 2: That they have the right to make those decisions.
• 35:13
  Track 2: That the Americans are collateral, basically.
• 35:17
  Track 3: Well, to your point, I don't remember the officer's name, but the man who killed
• 35:22
  Track 3: Renee Good went back to work today. You know, I don't know when this episode
• 35:25
  Track 3: is going to air, but April 29th, 2026, the guy who killed Rene Good went back to work.
• 35:31
  Track 3: And, you know, during that, I remember like something I say all the time whenever
• 35:34
  Track 3: there's a major police shooting, whether it was I must have said this a thousand
• 35:38
  Track 3: times online when George Floyd was killed in same place, Minnesota in 2020.
• 35:43
  Track 3: you know everyone's oh you resisted arrest or he did this
• 35:46
  Track 3: or you know he was a criminal you know whatever their excuse was i would always
• 35:49
  Track 3: say like if you go on my timeline and type dread you
• 35:52
  Track 3: will probably find dozens of comments going yeah i don't know if you guys know
• 35:56
  Track 3: this but cops aren't supposed to kill guilty people either this isn't judge
• 35:59
  Track 3: dread i've probably said that a thousand times on social media and it's it's
• 36:03
  Track 3: again so relevant because qualified immunity is exactly what all of these judges basically have yeah.
• 36:09
  Track 1: I mean i think it's maybe it's more apparent in the comic and i think it's also
• 36:13
  Track 1: more apparent even in the first the original stallone movie is that part of
• 36:16
  Track 1: the reason for doing this is it simply just it's cheaper and more cost effective
• 36:20
  Track 1: to just have like one guy doing the whole being the judge and everything like like oh yeah we.
• 36:25
  Track 3: Can just save some.
• 36:25
  Track 1: Money if one guy just is everything.
• 36:27
  Track 3: 800 million people and from boston to to dc so yeah you don't have time for
• 36:32
  Track 3: all those courts cases yeah.
• 36:33
  Track 4: How much are you gonna save on costuming alone like well you're gonna have like
• 36:41
  Track 4: hundreds of judges that's a lot in costuming all right.
• 36:46
  Track 2: And you know in the we can have a few and in the original comic they all wear
• 36:50
  Track 2: solid gold shoulder epilates that's a lot of gold and.
• 36:55
  Track 3: They have it on.
• 36:56
  Track 2: The bikes and they have it on.
• 36:57
  Track 3: The guns and they have it on the vehicles.
• 36:59
  Track 1: Wait adds up quick is it and actually i'm gonna i'm gonna bring it back so i
• 37:06
  Track 1: i didn't like in the screenshot of i'm a huge back the future fan too i assume
• 37:09
  Track 1: you are too as well mike yeah you got a tattoo on your okay so the it reminds
• 37:14
  Track 1: me in back the future part too,
• 37:16
  Track 1: when they go into the future and they,
• 37:20
  Track 1: you know, the Biff goes or Biff's, uh, you know, junior goes through the clock tower and is arrested.
• 37:25
  Track 1: They say like, Oh, how was he already arraigned and like arrested?
• 37:28
  Track 1: And like, they banned all lawyers in the future.
• 37:31
  Track 1: And so it's like, there's no lawyers in this. They've banned,
• 37:35
  Track 1: they essentially banned lawyers. Like, yeah, that's, yeah.
• 37:37
  Track 3: He gets sentenced to prison and he's going to go to prison literally the next day. Right.
• 37:42
  Track 1: Exactly. I mean, the only difference in this is it's, you know,
• 37:44
  Track 1: a cube, which I don't know what that means but maybe they freeze you i don't even know.
• 37:47
  Track 4: I wonder if lawyer is even like a job yeah not in this like it can't be it's
• 37:53
  Track 4: gotta be or unless it's like corporate law,
• 37:56
  Track 4: maybe even then like anything like lawyer like that's that's probably only for
• 38:02
  Track 4: like the rich people who have free time and it's taken like a uh like uh self-defense
• 38:08
  Track 4: classes are taken now or it's like oh i gotta protect myself and it's like oh
• 38:12
  Track 4: i gotta protect myself from judges so i gotta become a lawyer.
• 38:15
  Track 3: Unless they have lawyers specifically to be like, how do we make sure that this
• 38:18
  Track 3: isn't even remotely something that a judge can get me on? I don't know.
• 38:22
  Track 3: But again, it would be like the ultra wealthy Peter Thiel types that would be
• 38:26
  Track 3: able to like, okay, how do we make this to the letter of the law?
• 38:30
  Track 1: According to the Judge Dredd Wiki, it says that they learn to become judges at the Academy of Law.
• 38:38
  Track 1: So presumably there's no law schools. It's just this Academy of Law.
• 38:42
  Track 1: I guess they don't need a different judge.
• 38:44
  Track 1: I mean, I would imagine if you're really rich in this timeline,
• 38:47
  Track 1: you don't really have to worry about being arrested or anything like that.
• 38:50
  Track 3: Probably not. You're not moving anywhere. You're just in your suite.
• 38:54
  Track 4: And it's fascism anyways. What's the fucking need for lawyers?
• 38:57
  Track 2: Like i the idea the
• 39:01
  Track 2: the way you described people taking law rich people taking law the way people
• 39:07
  Track 2: take self-defense that is such an incredibly like cutting commentary on the
• 39:17
  Track 2: lifestyle of those people.
• 39:19
  Track 2: And the, it makes me think of Robert E.
• 39:22
  Track 2: Howard's, um, quote. Um, if you're not familiar, Robert E.
• 39:27
  Track 2: Howard wrote Conan, the Conan the Barnabian.
• 39:30
  Track 2: Um, and one of the things that he said at one point is that basically,
• 39:35
  Track 2: you know, um, the civilized man acts the way he does because he has,
• 39:43
  Track 2: Because he has no fear of, like, violence. Civilized men are more discourteous
• 39:47
  Track 2: than savages because they know they can be impolite without having their skulls
• 39:52
  Track 2: split as a general thing.
• 39:54
  Track 2: And it's, like, the entire, like, the way they have, like, isolated themselves
• 40:02
  Track 2: from any notion of physicality.
• 40:05
  Track 2: Like, because it's everything. thing it's even like you know
• 40:08
  Track 2: because the only reason they take self-defense courses is because they're afraid
• 40:12
  Track 2: of the pores you know and it's like all they've done is like totally like they
• 40:18
  Track 2: isolate themselves completely and they do nothing physical you know unless it
• 40:22
  Track 2: is to tune their body so they can look good uh but you know that's.
• 40:27
  Track 3: Ultimately what it.
• 40:27
  Track 2: Is it's the male gaze it's well i'm talking it doesn't matter
• 40:30
  Track 2: it's all the whole thing um it doesn't matter man you know
• 40:33
  Track 2: whatever all these capitalist bourgeois you know they'll
• 40:36
  Track 2: do a goddamn thing and you know so that in the end it's just like oh well i
• 40:40
  Track 2: just take because that's the way civilized people do things we we just contract
• 40:45
  Track 2: law it's you know they've nothing to be they have nothing to fear but someone
• 40:49
  Track 2: coming after them through a legal system to impose upon their lives that's.
• 40:54
  Track 3: It until we get more.
• 40:55
  Track 2: Luigi's allegedly allegedly allegedly.
• 40:58
  Track 3: I mean like if you notice they've stopped talking about all the warehouse fires,
• 41:02
  Track 3: but you know, it's dozens at this point, you know, that's, that's pretty, pretty crazy.
• 41:07
  Track 3: And you had, um, Sam Altman's house got attacked a couple of times and all of
• 41:11
  Track 3: a sudden he's like, you know what guys, maybe UBI is not a bad idea.
• 41:14
  Track 3: And you know what? Universal healthcare is probably, yeah, let's do it guys.
• 41:18
  Track 3: And you know, you know, it's, it's crazy. And then Musk, you know,
• 41:21
  Track 3: for a while keeping his, uh,
• 41:23
  Track 3: kid with him i i was calling him amber sand bullet sponge during that era because
• 41:27
  Track 3: because he had like the weird symbol names but but i digress this.
• 41:32
  Track 1: Is more of this is just like a uh like a continuity like
• 41:36
  Track 1: nitpick i had how come so early on when they've gone
• 41:39
  Track 1: to the to the peach trees and they have that hostage the uh the guy um k and
• 41:46
  Track 1: it's like walking around with him they don't like they don't put a gag in his
• 41:50
  Track 1: mouth or anything and they're trying to find them how come is he didn't decide
• 41:53
  Track 1: to you know like try and signal them to his location by yelling because.
• 41:57
  Track 2: They would have shot him.
• 41:58
  Track 3: Well they knew where they were the whole time no they knew um
• 42:01
  Track 3: well because throughout the movie there's a couple times where
• 42:04
  Track 3: dread shoots the cameras yeah like they knew where dread was the entire film
• 42:08
  Track 3: because mama talks to him a couple different times throughout the movie whether
• 42:11
  Track 3: it's on the intercoms or through radios or whatever so it's because they have
• 42:15
  Track 3: total control of the you know that's one of the things i think is funny like
• 42:19
  Track 3: i never really they never really bother me. It's not that it bothers me.
• 42:22
  Track 3: It's just, you know, another example of a fascist world.
• 42:24
  Track 3: Like we, we notice even in today's fascism in the U.S., there's a lot of incompetence in fascism.
• 42:31
  Track 3: You know, it's all the projection of strength. You saw that in,
• 42:34
  Track 3: in, uh, and or as well, where it's just like, oh, they're so full of themselves.
• 42:38
  Track 3: They think that nothing could possibly happen.
• 42:40
  Track 3: And like the whole, the only reason mama's able to do any of the stuff she's
• 42:43
  Track 3: doing in this is, uh, you know, this is kind of the beginning of Donald.
• 42:46
  Track 3: I never know how to actually say his first name, but Donald Gleason,
• 42:49
  Track 3: um, like this was the start of him being in fucking everything in America for like a decade.
• 42:53
  Track 3: And he's in it playing like the nerdy little hacker guy.
• 42:56
  Track 3: And he just bluffs his way with like the head of the city operations going like,
• 43:01
  Track 3: oh, no, we're totally supposed to have an emergency lockdown drill.
• 43:04
  Track 3: And everybody's so grossly incompetent. He goes, oh, OK, yeah,
• 43:07
  Track 3: that's probably legit. I'm not going to ask you who you are, what your idea is.
• 43:11
  Track 3: You just say you need to put the building on lockdown. Go for it. And it's just like.
• 43:15
  Track 3: that's how fucking fascism works like it's a bunch of people just assuming like
• 43:19
  Track 3: well i've got this job and i'm in charge and there's no way i could be tricked
• 43:22
  Track 3: so you know this person must be my my fascist buddy too.
• 43:25
  Track 1: Yeah as you were saying that before you said and or that was the first thing
• 43:28
  Track 1: that came to my mind was like nemec's uh you know the unnatural need for control
• 43:33
  Track 1: and their you know their hubris is above all else like uh it's like the the idea that they can also,
• 43:40
  Track 1: close the roof of the building and just sort of like lock it down is also pretty insane.
• 43:45
  Track 1: They could just basically say like you're locked in. There's no more food coming
• 43:49
  Track 1: into your building and we can just starve you out.
• 43:51
  Track 3: Well, it's because more nukes could come. That's the idea.
• 43:54
  Track 4: That and like block wars.
• 43:57
  Track 3: Yeah.
• 43:58
  Track 4: Block wars and several nuclear holocausts and apocalypses that have happened in the Dread universe.
• 44:04
  Track 3: Because yeah, that's the start of the 95 Dread is literally a block war going
• 44:08
  Track 3: like we need to lock down these buildings before the violence spreads throughout
• 44:12
  Track 3: the various blocks. So yeah, they got to do it.
• 44:15
  Track 1: Oh, that makes sense. Okay. Well, that makes it a little more not like they're
• 44:19
  Track 1: protecting that in quotes.
• 44:21
  Track 2: There's actually no plot holes in this movie.
• 44:24
  Track 3: Protecting or containing, however you're looking at it. Peace through strength.
• 44:28
  Track 1: What'd you say, Bill?
• 44:29
  Track 2: I said, there are no plot holes in trend.
• 44:33
  Track 3: He said there's no plot holes.
• 44:36
  Track 1: Okay that was the only one.
• 44:37
  Track 4: That's the only.
• 44:38
  Track 1: Thing that i noticed as.
• 44:39
  Track 4: Like what about okay but.
• 44:40
  Track 1: Now it makes sense.
• 44:41
  Track 4: What about when he gets uh anderson to kill that guy for like the first time
• 44:46
  Track 4: and she's like hesitant to do it and he's like hey attempt like attempted murder
• 44:51
  Track 4: on and off like on a judge is a murderable like.
• 44:55
  Track 3: Yeah i'm glad you brought up the scene because i did want to talk why.
• 45:00
  Track 4: Did he wait until an innocent was killed in the very beginning until for him
• 45:05
  Track 4: to kill those guys when they had already attempted to murder him.
• 45:09
  Track 3: So that's the thing that's tricky about him like that
• 45:12
  Track 3: quote that um you had about the you know it's the level of guilt there are other
• 45:16
  Track 3: parts in the comic books and this is the part that um the stallone version did
• 45:19
  Track 3: really well is that dread himself is very much like you do not deviate from
• 45:25
  Track 3: the letter of the law at all so you know and And it's kind of like what you said, that 99% thing.
• 45:29
  Track 3: He goes, if there's even a fraction of a percent, he's not going to do a thing.
• 45:33
  Track 3: But as soon as it happens, like it's it's weird. It's like the Uvaldi cops,
• 45:37
  Track 3: like just sitting there, like they know something's going on,
• 45:40
  Track 3: but they're not going to react until they absolutely have to,
• 45:42
  Track 3: which they never actually did.
• 45:44
  Track 3: But the thing that struck me with that, and I noticed that the first time it's
• 45:47
  Track 3: like she clearly she's psychic.
• 45:49
  Track 3: She can feel their thoughts and the fear. And like I picked up on it a lot more
• 45:54
  Track 3: this time, like I've always noticed it with that particular scene.
• 45:57
  Track 3: And when they find that guy's wife and she kind of like, oh,
• 46:00
  Track 3: the elevator is not actually broken and you can see her being like, like feeling like shit.
• 46:04
  Track 3: But like this time around, one of my notes was Anderson is a total liberal,
• 46:10
  Track 3: ultimately willing to be fascist under the idea that maybe she can slightly be better.
• 46:14
  Track 3: And, you know, and that's like the whole argument of letting her go.
• 46:17
  Track 3: It's like she's a psychic.
• 46:18
  Track 3: So like she can potentially prevent things from happening. But when push comes
• 46:21
  Track 3: to shove, like she ultimately knows the guy that she was killed,
• 46:24
  Track 3: who was ended up being the husband of that woman who helped them was like,
• 46:28
  Track 3: he didn't want to be a criminal.
• 46:29
  Track 3: He was born there. And I think, was it you, Ward, who said like,
• 46:32
  Track 3: they never leave the tower? One of you guys mentioned like, they probably never leave.
• 46:35
  Track 3: You know, that's what she basically said. Like, this is a guy who was born and
• 46:39
  Track 3: raised in this building.
• 46:40
  Track 3: has never left, doesn't have any options, but to listen to who's in charge of the building.
• 46:45
  Track 3: Like some of these people, it's like, you know, gangs in the inner cities.
• 46:48
  Track 3: It's like, sometimes this is the only way that these people can get any kind
• 46:52
  Track 3: of income, any kind of food, any kind of protection.
• 46:55
  Track 3: And like, she can know this, like she can, she absolutely knows this.
• 47:00
  Track 3: And just like, ah, fuck it.
• 47:01
  Track 3: And she ends up ultimately having no problem killing him. And then throughout
• 47:03
  Track 3: the rest of the movie, like she gets colder throughout the movie after that moment.
• 47:08
  Track 3: So it's like, ultimately it's like, you know, goes back to the.
• 47:10
  Track 1: You know, Her first kill, right?
• 47:11
  Track 3: No, she killed plenty before that, but it was more like the first cold-blooded
• 47:16
  Track 3: where it's like the guy's just sitting there basically.
• 47:17
  Track 3: He doesn't beg her, but he's begging her with his eyes. You can see he's terrified.
• 47:22
  Track 3: And this time around, I've looked at it as like, he knows that they're having
• 47:26
  Track 3: a moment and connecting.
• 47:27
  Track 3: The way they look at each other, it's very clear she's in his brain and he knows
• 47:32
  Track 3: and he's just like, you're still going to fucking kill me when you know how
• 47:35
  Track 3: fucking scared I am and how I didn't want to do this, but you have to kill me.
• 47:39
  Track 3: And it's just like, you know, it's, it's, it's a little crazy,
• 47:42
  Track 3: but that's like the idealism of like, you know, you're liberal and you're blue,
• 47:46
  Track 3: no matter who type in our society is just like, well, as long as we do it,
• 47:50
  Track 3: you know, just say we're better.
• 47:52
  Track 3: And, you know, if 1% of the time we do slightly better than,
• 47:55
  Track 3: you know, the normal people, at least, at least we're trying. And it's like.
• 47:59
  Track 2: Thoughts and prayers. It's the ideology of thoughts and prayers.
• 48:02
  Track 2: Or the witnessing, how it's like the witness, as long as you,
• 48:05
  Track 2: as long as you, uh, you stand, you stand witness and, and testify.
• 48:10
  Track 2: That's all that matters.
• 48:12
  Track 1: Do you think that when she can kind of, Anderson can kind of,
• 48:15
  Track 1: later when she goes into Kay's mind and sort of, you know, is in her,
• 48:19
  Track 1: in his head, like more than just like hearing, thinking of what he's doing,
• 48:23
  Track 1: do you think she has the ability to influence their actions?
• 48:27
  Track 3: Yes i think so i think it ultimately is just a matter of who has the stronger
• 48:30
  Track 3: will but most people have probably never dealt with a psychic because she tells
• 48:35
  Track 3: him outright like like get me out of these cuffs and she's like you're not in
• 48:38
  Track 3: cuffs if you don't want to be like it's just a matter of who has the stronger
• 48:41
  Track 3: willpower is my assumption but i'm no psychic yeah.
• 48:46
  Track 1: Like the idea of being able to influence people's minds you could theoretically
• 48:49
  Track 1: you know she feels like she can do this like little bit of good of helping you
• 48:53
  Track 1: know one person here one person there but ultimately she's part of the system
• 48:57
  Track 1: that is systematically killing and executing people,
• 49:01
  Track 1: who have no other choice because the material conditions that they live in are just fucked.
• 49:06
  Track 1: They have no way out of this.
• 49:08
  Track 1: Presumably, I don't know if there are schools for the kids in this building? Presumably not.
• 49:12
  Track 2: Yes, there are.
• 49:12
  Track 1: They're just, okay.
• 49:13
  Track 2: We actually see a school, a classroom.
• 49:16
  Track 1: Oh, it's like when they go out the window and there's the skate park?
• 49:19
  Track 2: No, they're actually in a classroom.
• 49:21
  Track 3: No, it's lower level.
• 49:21
  Track 2: No, they're actually in a classroom at one point. One of the first rooms they
• 49:24
  Track 2: go into is a classroom there's like kids desks and shit oh you're.
• 49:28
  Track 1: Right you're right okay so they do so they.
• 49:30
  Track 2: Do go.
• 49:31
  Track 1: To school but inside of this building.
• 49:32
  Track 2: I do think that the reason dread
• 49:36
  Track 2: said that is partly because of like character stuff for her basically like you
• 49:43
  Track 2: have to do this like if it was up or you fail yeah it was if it was like up
• 49:47
  Track 2: to him like he you know because he is the superior officer and he has the right
• 49:51
  Track 2: to like make his own decisions. Whereas, you know, it's like.
• 49:55
  Track 2: In that case, like with the guy that, you know, he chased or whatever.
• 49:59
  Track 2: I also think that he was like stalling that guy in the beginning because of
• 50:03
  Track 2: all the other, you know, because he had the woman hostage.
• 50:06
  Track 2: But like, I think part of it was just like, he said that to her because he was
• 50:09
  Track 2: like, basically telling her, it's like, you have to do this.
• 50:11
  Track 2: So it's like, it's a gang initiation. That's basically what it is. It's a gang initiation.
• 50:15
  Track 3: Yeah. You mentioned the hostage and now we're going all the way back to the beginning of the movie.
• 50:19
  Track 3: But one of the things that struck me this time around, like,
• 50:21
  Track 3: you know, it's, you know, it's meant to be, it's cool showing off the gun and
• 50:24
  Track 3: the future tech. But, you know, she has the hostage and he's like,
• 50:26
  Track 3: oh, there's nothing you can do, Dredd. You've got no fucking leverage.
• 50:29
  Track 3: I'll blow her brains out. And he's like, you're right.
• 50:31
  Track 3: Hot shot. And then the gun changes to like the flare.
• 50:33
  Track 2: It's not a flare.
• 50:34
  Track 3: It's actually shoots it anyway.
• 50:35
  Track 2: It's actually a heat seeking round. It specifically goes for like the hottest like.
• 50:41
  Track 3: OK, so that thank you. So that actually was going to answer my question because
• 50:44
  Track 3: I like I always bothered me. It's like, why would you not just shoot him in
• 50:47
  Track 3: the head? Like, you're so accurate.
• 50:49
  Track 3: You're so good at this. You know, why would you risk the thing that's bigger
• 50:52
  Track 3: than a bullet going into an open thing that you're not likely to hit.
• 50:55
  Track 3: And, you know, even after he goes in his mouth, like his face is glowing and
• 50:58
  Track 3: he's like active for a few seconds. Like he still could have shot the woman.
• 51:01
  Track 4: Yeah, it's like white phosphorus. It's crazy.
• 51:03
  Track 3: Yeah, so that confused me. But the fact that it's heat seeking,
• 51:06
  Track 3: no plot holes, like you said, Bill. There's no plot holes in this movie.
• 51:10
  Track 4: So I will say like you thought it was like risky taking that shot.
• 51:14
  Track 4: If you watch, he starts stalling him. And then he starts walking back the way
• 51:17
  Track 4: he came from towards like the opposite side that the woman is on.
• 51:22
  Track 4: So he has a cleaner shot at the guy's head.
• 51:24
  Track 2: No bottles.
• 51:25
  Track 4: It's well thought out.
• 51:28
  Track 3: He's got a real situational awareness going on.
• 51:31
  Track 4: Dude, he used white phosphorus twice. Is Dredd Israeli?
• 51:37
  Track 3: Spiritually, definitely. Spiritually, he is.
• 51:40
  Track 2: He is a fascist.
• 51:44
  Track 3: Oh, man.
• 51:45
  Track 2: Which I just, to go back to the whole nature of police and how this reflects things,
• 51:55
  Track 2: i what i can never
• 51:58
  Track 2: get out of my head is how what
• 52:02
  Track 2: do we we see police in america all the time with
• 52:05
  Track 2: you know punisher stuff no but
• 52:08
  Track 2: i've never seen and what dread has been around and dread was popular in america
• 52:14
  Track 2: for a while you know like people knew and there was a whole silvestre stallone
• 52:18
  Track 2: movie you've never seen a cop where you know where dread dread iconography uh unironically.
• 52:26
  Track 3: Like even yeah even if it was just like the badge kind of thing that is never been.
• 52:30
  Track 2: Adopted by and it's like and it's just do they not.
• 52:35
  Track 3: Maybe it's because the the the um satire
• 52:39
  Track 3: is so much more obvious because like you know you you would think yeah they would
• 52:42
  Track 3: because you look at like starship troopers and nobody ever recognizes that
• 52:45
  Track 3: like that's a satire or any of paul of
• 52:47
  Track 3: paul verhoeven's movies or satires like most people don't get that or even predator
• 52:51
  Track 3: was a satire film like most americans don't get that so it is surprising they
• 52:56
  Track 3: didn't adopt maybe it's just too hard like in the 90s people weren't really
• 52:59
  Track 3: cosplaying yet we didn't have 3d printers and we didn't know how to use eva foam yet so.
• 53:07
  Track 2: Interesting to me that it's just never been you.
• 53:09
  Track 1: Know the punisher logo is just cooler.
• 53:11
  Track 3: Well, and it's easier. Yeah, it's just white. You don't have to do it.
• 53:14
  Track 3: What is the definitive thing that you would use?
• 53:17
  Track 3: You think Judge Dredd, you think of the visor. You can't, you know,
• 53:20
  Track 3: what are you going to do? Have them walk around helmets?
• 53:22
  Track 2: How do you do that 2D image on a windshield? Yeah, totally.
• 53:25
  Track 4: Yeah, try to make a custom helmet.
• 53:27
  Track 1: Do you think they sell Judge Dredd costumes?
• 53:30
  Track 4: Go get surplus right here.
• 53:31
  Track 1: Spirit Halloween?
• 53:32
  Track 3: I don't remember seeing them in the era of this movie.
• 53:36
  Track 3: I mean, this movie did not do well financially.
• 53:39
  Track 3: This was a cult classic. It did really well after the fact. They almost did
• 53:43
  Track 3: a revival as a TV show five or six years ago, and then it,
• 53:46
  Track 3: puttered out um so no but and even
• 53:49
  Track 3: the first one in the 90s like it was profitable but
• 53:52
  Track 3: like it didn't hit the zeitgeist like a lot of people thought it was
• 53:55
  Track 3: a bad movie for like like i thought it was a really bad movie until i covered it
• 53:57
  Track 3: on my old podcast like 10 years ago and i was like actually this
• 54:00
  Track 3: movie kind of rips like i didn't remember being kind of
• 54:03
  Track 3: good like you know i think it took the time to go away and recognize like it
• 54:08
  Track 3: is very much of the time but also like took some big swings like as i get older
• 54:12
  Track 3: i appreciate a big swing in a movie and that movie did take some swings but
• 54:16
  Track 3: yeah i don't i don't see why people would have adopted it in the 90s like it
• 54:19
  Track 3: wasn't a zeitgeist kind of thing yeah.
• 54:21
  Track 1: Somehow it just wasn't uh as
• 54:23
  Track 1: catchy i mean the solo movie did pretty well right i'm pretty sure it did.
• 54:26
  Track 3: Financially it did well like it just you know it's one of those movies like
• 54:29
  Track 3: it made its money and more but you know wasn't something that like took off
• 54:34
  Track 3: that people were talking about for years after yeah.
• 54:36
  Track 1: What you said for this one so this yeah this movie cost between 30 and 45 million
• 54:40
  Track 1: and it says it made 41 and a half million to the box office that's pretty dreadful haha.
• 54:45
  Track 3: And i was probably 40 bucks of that because i saw it twice evan.
• 54:49
  Track 4: I'm judging you.
• 54:50
  Track 1: But the first movie cost 90 million and made 113 so like it did okay it's still not great i mean.
• 54:58
  Track 3: Yeah but in the 90s they weren't doing the budget of the movie for marketing
• 55:02
  Track 3: like back then they would that's true there was no youtube it was just would
• 55:05
  Track 3: back then they would have a trailer maybe two months before and then 30 days
• 55:09
  Track 3: before they would drop a ton of ads on abc at 8 p.m.
• 55:13
  Track 1: Yeah they weren't doing yeah youtube and like social
• 55:17
  Track 1: media blasts and putting them on taxi cab
• 55:20
  Track 1: things and shit yeah that reminds me of that movie that just came out from saudi
• 55:25
  Track 1: arabia with um that was the most expensive saudi arabian film ever 150 million
• 55:30
  Track 1: and it's anthony mackie yeah and it's made 89 000 or something in the box office
• 55:35
  Track 1: it's lost basically 150 million dollars you'll.
• 55:38
  Track 2: Love to see it.
• 55:39
  Track 3: Incredible you mean my mic definitely peaked on that laugh.
• 55:47
  Track 2: Now oh i see here you know
• 55:50
  Track 2: um i believe evan you made it up at that
• 55:53
  Track 2: this um that our reviews have said this
• 55:56
  Track 2: movie passed the bechdel test yeah but
• 55:59
  Track 2: no two females talk and that is inaccurate
• 56:03
  Track 2: mama and anderson have
• 56:06
  Track 2: a conversation and that is like honestly probably
• 56:09
  Track 2: one of the most like when you really think about
• 56:12
  Track 2: it other than when and he really dread
• 56:16
  Track 2: barely talks to mama that is the
• 56:19
  Track 2: two sides of the coin of like the
• 56:22
  Track 2: fascism and like the the girl bossing of
• 56:25
  Track 2: this whole system the movie you know mama is
• 56:29
  Track 2: because it's very you know is made a point that she was
• 56:32
  Track 2: a sex worker was abused you know now so she's and
• 56:35
  Track 2: it's like she's presented it's like you know this powerful woman she is
• 56:38
  Track 2: you know she's the drug kingpin she runs the fucking place you
• 56:42
  Track 2: know and then it's like and then anderson who
• 56:46
  Track 2: is a woman that came up in a
• 56:49
  Track 2: magazine you know on the the very border of the
• 56:52
  Track 2: area no family orphaned you
• 56:55
  Track 2: know and now the two of them they're on the opposite sides of that system and
• 57:01
  Track 2: both having achieved points of like power you know well anderson is you know
• 57:06
  Track 2: attempting to um taking power you know within a system that oppresses and becoming
• 57:12
  Track 2: oppressors in their own right well.
• 57:14
  Track 3: And both have men afraid of.
• 57:16
  Track 2: Them like.
• 57:17
  Track 3: For obvious reasons mama bit a dude's dick off.
• 57:20
  Track 2: And skins up.
• 57:22
  Track 3: Yeah and skins up.
• 57:23
  Track 2: Actually and skins.
• 57:24
  Track 3: A bunch of men yeah and then anderson like freaks a bunch of people like dread
• 57:29
  Track 3: himself is not comfortable around her and then you know you know all the times
• 57:33
  Track 3: that she enters the various goons minds they're just like what the fuck is going
• 57:37
  Track 3: on like they are everybody is uncomfortable around both anderson and mama,
• 57:44
  Track 3: That never occurred to me. Good observation, man.
• 57:48
  Track 1: It was from a review that was listed on Wikipedia, and it says their reasoning
• 57:54
  Track 1: for why it passes was because it's lacking in sexism or misogyny,
• 57:57
  Track 1: positively portrays female characters who are no weaker,
• 58:01
  Track 1: more sexualized, or shown less than their male counterparts.
• 58:04
  Track 1: And that's exactly what you just said.
• 58:04
  Track 2: There's nothing sexual about this movie.
• 58:07
  Track 2: The only way, at the only point in which sexuality is used in this movie is
• 58:17
  Track 2: to discuss Mama's history and point out,
• 58:22
  Track 2: like, make it clear that that behavior was bad, is bad, and, like, it's almost like,
• 58:31
  Track 2: her vengeance and like you know like the way she you know is actually one of
• 58:35
  Track 2: the only things it's like yeah no she was she was right this is a positive judgment like you.
• 58:41
  Track 1: Missed one other point when uh when anderson and k and he's going.
• 58:44
  Track 2: Into her mind.
• 58:45
  Track 3: Yep he has.
• 58:47
  Track 4: This fantasy of her yeah but then well that's because he can't like hurt her at first and.
• 58:53
  Track 3: She's just trying to shock her yeah.
• 58:54
  Track 4: He's trying to shock her and fuck with her because he's like oh i'm a fucked
• 58:58
  Track 4: up piece of shit like if like it's my mind i can fucking control it and make
• 59:02
  Track 4: whatever happened happen i totally forgot that's not how it works like she's the psychic but.
• 59:08
  Track 1: Even still i still like think the point stands i think that it's still.
• 59:12
  Track 4: Oh yeah.
• 59:12
  Track 3: No i think well and there's another scene um where
• 59:16
  Track 3: mama and the the i don't know that
• 59:18
  Track 3: you know four other cops show up at the end um you
• 59:22
  Track 3: know as backup but they're actually there to take out dread and anderson um
• 59:25
  Track 3: there's a woman cop and she goes around and
• 59:28
  Track 3: mama's like what are you going to do like well i'm going to go get anderson
• 59:31
  Track 3: they're like well how like how's that going to work she goes well i
• 59:34
  Track 3: either see her first and i kill her or she sees
• 59:37
  Track 3: me first sees me as a cop she hesitates and then i kill her so there's another
• 59:41
  Track 3: conversation of two women talking about another women again all three of them
• 59:47
  Track 3: acknowledging the power that all of them have in the dangerous situation they're
• 59:51
  Track 3: in and how all three of them are potentially threats so look at that this movie's feminist look at that,
• 59:57
  Track 3: four four men declaring now wait wait now.
• 1:00:01
  Track 1: I know why that the conservatives don't dress up as dread because this movie
• 1:00:05
  Track 1: is woke for them yeah dread is i.
• 1:00:07
  Track 2: Mean in reality dread is actually literally.
• 1:00:10
  Track 1: I know.
• 1:00:11
  Track 3: Well and it's in a joke dread is anti-dei he was really upset when anderson
• 1:00:18
  Track 3: came up because she she missed uh,
• 1:00:22
  Track 3: one or two it was like three questions on her it's.
• 1:00:24
  Track 2: Anti-di because she's a mutant she's a minority yeah she's.
• 1:00:28
  Track 3: A she's a
• 1:00:31
  Track 3: woman mutant but in this world like
• 1:00:34
  Track 3: this this is almost like maga's wet room because it's
• 1:00:37
  Track 3: like they were going to give her the gig because of
• 1:00:40
  Track 3: her special abilities and they were willing to lower
• 1:00:43
  Track 3: the threshold and dread was like no fuck that we're
• 1:00:46
  Track 3: not lowering the threshold she needs to get out in the fucking field
• 1:00:49
  Track 3: and fucking do it by the book and then even by the end
• 1:00:51
  Track 3: he's like nah she's a pass even though like
• 1:00:54
  Track 3: she did technically fail like she got her gun taken
• 1:00:57
  Track 3: away she let somebody she let donald gleason off the
• 1:01:00
  Track 3: hook she basically that argument of like look man
• 1:01:03
  Track 3: he's a little kid he was abducted as a boy he's been a slave to mama for his
• 1:01:07
  Track 3: whole life like i already failed so i'm gonna let this creep go so like she
• 1:01:12
  Track 3: absolutely failed but still gets in so she is a dei hire and i'm not opposed
• 1:01:16
  Track 3: to dei just for the record so this is like kind of related.
• 1:01:21
  Track 1: To this but one of the things that um that
• 1:01:24
  Track 1: the alex garland said as part of sort of his development
• 1:01:27
  Track 1: this is in the wikipedia page but he's sort of referencing the original
• 1:01:31
  Track 1: comic book storyline and then how he tried to
• 1:01:33
  Track 1: write the character into this is that he thinks do you think that dread has
• 1:01:40
  Track 1: any kind of character change or like well in the movie or do you think it's
• 1:01:45
  Track 1: sort of he because alex garland was saying he was trying to give him some course
• 1:01:50
  Track 1: of change but not like a great epiphany is what he says.
• 1:01:52
  Track 3: I i think he gets a little bit of gray so there's not 50 shades of gray in this
• 1:01:56
  Track 3: but maybe one shade of gray yeah because he was very black and white but the
• 1:02:00
  Track 3: fact that he signs off on anderson at the end shows that he's willing to have
• 1:02:06
  Track 3: a little bit of gray area i think that's it it's like a half a percent character change i'd.
• 1:02:10
  Track 4: Say also the fact that he didn't just like murk those two fucking kids that try to.
• 1:02:15
  Track 3: Shoot at him.
• 1:02:16
  Track 4: Yeah you know i
• 1:02:18
  Track 4: Could have easily just been like high explosive. Wow.
• 1:02:23
  Track 1: He doesn't exactly give her like a glowing review. It's basically says,
• 1:02:27
  Track 1: you know, does she, she passed was basically like the, I think that's a man.
• 1:02:32
  Track 4: Of few words.
• 1:02:34
  Track 2: He said a whole sentence.
• 1:02:35
  Track 3: That's like getting a medal of freedom.
• 1:02:36
  Track 2: He said a whole sentence.
• 1:02:38
  Track 4: That's ranting and raving for that man.
• 1:02:42
  Track 3: It's a five-star Yelp review. he she was in that situation where like if he
• 1:02:48
  Track 3: was the hr manager like you were our top performer you got you did such a great
• 1:02:52
  Track 3: job but i can still only give you a 3.5 and no raise.
• 1:02:56
  Track 2: He didn't even grimace when he said it.
• 1:02:59
  Track 3: That's true.
• 1:02:59
  Track 1: He did say it pretty politely neutral i had any other notes some of mine were
• 1:03:06
  Track 1: like more like joke like not necessarily serious thing we've already talked
• 1:03:09
  Track 1: about the cinematography which is great.
• 1:03:10
  Track 3: Yeah you have to keep in mind with the cinematography
• 1:03:14
  Track 3: you know um with this is this movie
• 1:03:17
  Track 3: was filmed in 3d in 2012 like this
• 1:03:20
  Track 3: was designed and i think that's a big part like slow-mo makes a ton of
• 1:03:23
  Track 3: sense for that aspect of it was
• 1:03:26
  Track 3: actually shot and filmed in 3d like i saw this in 3d the first time and you
• 1:03:30
  Track 3: know this was 2012 era where they were making fucking everything in 3d most
• 1:03:34
  Track 3: of it was slop but this one i was actually saw like i remember this was solid
• 1:03:38
  Track 3: um amazing spider-man was came out the same year that was shot in 3D on dual
• 1:03:43
  Track 3: red camera systems and looked good.
• 1:03:46
  Track 3: Like, this was an era if somebody put some love into the movie in the 3D,
• 1:03:50
  Track 3: it could be good and this was one of the few.
• 1:03:52
  Track 2: This is one of the examples of those movies. There's, in my experience,
• 1:03:57
  Track 2: there's two ways that directors make,
• 1:04:00
  Track 2: 3d films where the movie comes at you
• 1:04:03
  Track 2: or when you go in the movie avatar is
• 1:04:07
  Track 2: similarly was similarly filmed 3d
• 1:04:10
  Track 2: and filmed for you to go in
• 1:04:13
  Track 2: as opposed for it to come out to you this movie never has any of those moments
• 1:04:17
  Track 2: where it's like bam comes out screaming at you you know it's like because even
• 1:04:21
  Track 2: in a non-3d film you could tell when they do that you know so it's like for
• 1:04:26
  Track 2: this in 3d the intention was to draw you in,
• 1:04:30
  Track 2: to pull you in, not for the movie to come out to you.
• 1:04:33
  Track 1: Yeah, you're like the POV person navigating through the building.
• 1:04:39
  Track 2: I think that's a huge... That's what makes it work.
• 1:04:43
  Track 2: And why does it feel like D.A.D. has so many of those films do?
• 1:04:47
  Track 1: The person who was the cinematographer, Anthony Dodd-Mantle,
• 1:04:51
  Track 1: I was just looking at his Wikipedia.
• 1:04:52
  Track 1: So he also filmed, or
• 1:04:55
  Track 1: the cinematographer for Danny Boyle's 28 years later and
• 1:04:58
  Track 1: apparently i didn't this is just a random fact it says
• 1:05:01
  Track 1: that he was the cinematographer for slumdog millionaire which
• 1:05:04
  Track 1: was the first movie that was shot on digital to
• 1:05:07
  Track 1: win an oscar so 2008 was sort
• 1:05:11
  Track 1: of like the turning point for you know digital not as being the standard and
• 1:05:15
  Track 1: not using film cameras but he has a pretty extensive career of some like really
• 1:05:20
  Track 1: good movies he did 28 days later dogville which is a good movie people haven't
• 1:05:24
  Track 1: seen that lars von trier i I think it's Nicole Kidman. He's got a lot of good ones.
• 1:05:30
  Track 4: Dope i really like the slow-mo scenes i really
• 1:05:33
  Track 4: appreciated that they didn't do a fuck ton of them like they
• 1:05:36
  Track 4: easily could have same with like a mechanic anderson's
• 1:05:40
  Track 4: like psychic ability it's like that shit
• 1:05:43
  Track 4: could have been like over the top like that scene you're saying like when they
• 1:05:46
  Track 4: bust in that room immediately and just start shooting everybody it's like i
• 1:05:50
  Track 4: would take that over like a whole like two three minute scene of anderson being
• 1:05:55
  Track 4: like oh there's a guy in the room there's like five men in the room to one in this corner,
• 1:06:00
  Track 4: one in the other corner, both will have weapons.
• 1:06:03
  Track 4: Like, I don't need that. Like, let's just get into this.
• 1:06:05
  Track 3: Like, yeah, they could have easily gone like the Sherlock Holmes,
• 1:06:09
  Track 3: you know, from 2011 route where it's like paints the picture of what's going to happen.
• 1:06:12
  Track 3: And then, you know, you see it one way where they get killed or whatever,
• 1:06:14
  Track 3: and then they go back through and do it again.
• 1:06:16
  Track 3: You know? Yeah. It could have been a really stupid mechanic,
• 1:06:18
  Track 3: but no, you're right. They, they were subtle. Like they, they played it right.
• 1:06:22
  Track 4: It was well done.
• 1:06:23
  Track 1: I also want to call out the, uh, mama's.
• 1:06:26
  Track 1: steel fortress room that she has is fucking insane and like that goes back to
• 1:06:32
  Track 1: the beginning where you're saying you know she's like a kingpin i think only
• 1:06:35
  Track 1: a kingpin would have like that kind of place you just reinforce steel you know uh also.
• 1:06:41
  Track 4: Rigged to explode yeah and take down the entire building.
• 1:06:44
  Track 3: We did not talk about the end of the movie like at all at all like what how
• 1:06:49
  Track 3: it actually ends because like ultimately like dread gambles with a lot of people's
• 1:06:55
  Track 3: lives because they don't matter she's got a heart monitor uh where like if she
• 1:07:00
  Track 3: dies like there's apparently,
• 1:07:02
  Track 3: bombs all over the building you know 86 story building
• 1:07:05
  Track 3: however tall it is and i i think she
• 1:07:08
  Track 3: said it's like the top part of it so it'll all collapse in and kill everybody
• 1:07:11
  Track 3: yeah so you know it's it's all bad and he's just like yeah you're you know you
• 1:07:18
  Track 3: might be a drug lord but you're you're kind of poor i imagine you don't have
• 1:07:21
  Track 3: the best you know telecommunication products and your stuff So I'm just going
• 1:07:24
  Track 3: to gamble that if I throw you over the edge.
• 1:07:26
  Track 4: She's got a whole hacker room with the hacker guy.
• 1:07:29
  Track 3: You are going to.
• 1:07:30
  Track 1: Uh, true.
• 1:07:31
  Track 3: You know, they act like he's like, yeah, your technology sucks.
• 1:07:35
  Track 3: I'm going to throw you over the edge and just assume the radio transmitter is
• 1:07:38
  Track 3: not strong enough to actually make the bombs go off. And that's fucking risky.
• 1:07:41
  Track 1: No, the, the building is 200 stories. Yeah.
• 1:07:44
  Track 4: It's 200 stories and it's something like the top 50 stories that she'd blow up.
• 1:07:50
  Track 4: But like, she's got a hacker guy with a whole hacker room and he's all,
• 1:07:55
  Track 4: his whole theory is like, oh, it won't go through 200 floors of fucking concrete.
• 1:08:00
  Track 4: But like, there's a giant column of air that goes all the way up that a signal could go.
• 1:08:08
  Track 2: Yeah. I forgot that when he threw her, he threw her like in the building.
• 1:08:13
  Track 2: I was like, I thought, so this is the only thing I'm willing to,
• 1:08:16
  Track 2: I'm willing to concede this. maybe either this is either a plot or like or really
• 1:08:20
  Track 2: just evidence like he does not give a fuck i don't.
• 1:08:24
  Track 4: Know he's straight doesn't.
• 1:08:26
  Track 2: Give a fuck.
• 1:08:26
  Track 3: Maybe he likes it because what my last note that i had on
• 1:08:30
  Track 3: you know like the last 20 30 minutes of the movie ripped so
• 1:08:33
  Track 3: hard i stopped taking notes um so you
• 1:08:35
  Track 3: know they go to the building because the two guys get killed and
• 1:08:39
  Track 3: they go to investigate it and then he throws k off
• 1:08:42
  Track 3: the ledge at one point so a third body falls yeah most
• 1:08:45
  Track 3: of that way as well because the first two guys only fell like 21 stories or
• 1:08:48
  Track 3: whatever and then k fell from i think somewhere in the 70 range because they
• 1:08:52
  Track 3: only go up to like the 86th floor there's still tons of floors above them that
• 1:08:56
  Track 3: we never get to um but he throws what k over the edge so a third person goes
• 1:09:01
  Track 3: re-traumatizing everybody on
• 1:09:04
  Track 3: the ground floor that's a fourth person and then at the end of the movie,
• 1:09:06
  Track 3: Yeah, so Mama's the fourth person.
• 1:09:09
  Track 2: She's the fifth person.
• 1:09:10
  Track 3: You know, this movie takes place. Oh, is she the fifth? Who's the fourth?
• 1:09:13
  Track 4: There's three people initially in the very beginning.
• 1:09:15
  Track 2: Oh, it was the three at the beginning. Oh, K is four.
• 1:09:17
  Track 3: Okay. So K is four.
• 1:09:19
  Track 2: Oh, wait.
• 1:09:19
  Track 4: You drop and then one almost lands on a mom.
• 1:09:22
  Track 2: I'm sorry. Actually, she's the sixth because he throws her lieutenant down halfway through the movie.
• 1:09:29
  Track 3: That's what it was. Yeah, it was him. That's who I was talking about.
• 1:09:32
  Track 3: It wasn't K. I forget. So it was K and the head of security.
• 1:09:35
  Track 3: Yeah. so it's like six times or i guess we'll say four times three times because
• 1:09:39
  Track 3: the first one was three that's traumatizing but then three more times of just
• 1:09:43
  Track 3: traumatizing all these people on the bottom floor.
• 1:09:45
  Track 2: And like dude.
• 1:09:46
  Track 3: There's no way he could have known that a little child wasn't walking by and get.
• 1:09:49
  Track 2: Squished lockdown like.
• 1:09:50
  Track 4: Uh so initially little child almost did get squished by that third body coming
• 1:09:56
  Track 4: down but then they went into lockdown and like to mama's credit she did say
• 1:10:02
  Track 4: like if you're not gonna hunt these motherfuckers down for me get the fuck out of the.
• 1:10:06
  Track 2: Way that's fair hide some mama's credit she to mama's.
• 1:10:12
  Track 4: Credit fuck i gotta get mama.
• 1:10:14
  Track 2: And like so this is
• 1:10:18
  Track 2: mama is played by lena hetty um and for those of you know lena hetty is well
• 1:10:23
  Track 2: known as cersei stark from game of thrones um this was way before game of thrones
• 1:10:29
  Track 2: um and this really she is an incredible actor and she does villain so good.
• 1:10:38
  Track 4: It's so good.
• 1:10:39
  Track 3: I said this was this she probably filmed this between season one and season two,
• 1:10:43
  Track 3: of um i almost said lord of the rings was an idiot
• 1:10:46
  Track 3: um game of thrones yeah because game
• 1:10:49
  Track 3: of thrones season one was 2011 this came out 2012 so she
• 1:10:52
  Track 3: probably filmed this in 2011 yeah so
• 1:10:56
  Track 3: this was probably between yeah well what's interesting i'm glad
• 1:10:59
  Track 3: you brought her up though is like this is one of those movies where they're
• 1:11:02
  Track 3: able to do a lot of action and special effects at
• 1:11:06
  Track 3: a lower budget because you know Carl Urban is
• 1:11:08
  Track 3: obviously the biggest name in this but like he's not an A-list
• 1:11:11
  Track 3: or even today like he's very popular people know who
• 1:11:14
  Track 3: he is but he's not getting millions of dollars in these
• 1:11:17
  Track 3: movies like Lena Heading even back then you know of course
• 1:11:20
  Track 3: she was in um 300 like she had been around she
• 1:11:23
  Track 3: probably got like a hundred grand for this movie if even that like she
• 1:11:26
  Track 3: wasn't blowing up yet no from from Game of
• 1:11:28
  Track 3: Thrones yet like she was just starting to get recognized from that and then
• 1:11:31
  Track 3: you look at um oh I don't remember
• 1:11:34
  Track 3: the actress's name who plays anderson but same thing like she had
• 1:11:37
  Track 3: done like what yeah she's done like one or two things a
• 1:11:40
  Track 3: year nothing big nothing is the lead going up to this like
• 1:11:42
  Track 3: there's nobody in this movie that's a name other than
• 1:11:46
  Track 3: urban at the time so it's like i i
• 1:11:48
  Track 3: miss this type of movie like i like i miss character actors like if this movie
• 1:11:53
  Track 3: you know i watched the martian like a month or so back and i was telling my
• 1:11:57
  Track 3: wife about i'm like if this movie was made in the 90s it would have had you
• 1:12:00
  Track 3: know matt damon-esque type person would be there the head of nasa would have
• 1:12:04
  Track 3: been you know jeff Daniel still would have been there.
• 1:12:06
  Track 3: Maybe Sean Bean, but all of the other astronauts would have been character actors
• 1:12:10
  Track 3: that you would have seen in like Volcano or Dante's Peak or whatever.
• 1:12:14
  Track 3: They would have just been like whatever, you know, working class actors.
• 1:12:17
  Track 3: And nowadays, like everything's an A-lister. So like this was kind of the end of that era.
• 1:12:23
  Track 2: My one, I mean, it felt unnecessary to kill all the guys in that control room.
• 1:12:28
  Track 4: Yeah i i do agree with that yeah i i expected them to just come in with guns
• 1:12:34
  Track 4: and be like get the fuck out and they would be like oh it's mama's guys all
• 1:12:39
  Track 4: right time to get up and out of here like time to fuck off all right i didn't.
• 1:12:43
  Track 2: Think they i don't think.
• 1:12:43
  Track 4: They would that was an early shift but no they get gunned the fuck down unnecessary unnecessary.
• 1:12:50
  Track 2: Come on gang members show some decorum.
• 1:12:55
  Track 4: Yeah no respect for workers these days that's.
• 1:12:59
  Track 2: Some class trainer shit right there.
• 1:13:02
  Track 4: Really is i.
• 1:13:04
  Track 2: Don't know why like i mean i've watched.
• 1:13:06
  Track 4: This so.
• 1:13:06
  Track 2: Many times and this time i was like that just seems over the top.
• 1:13:10
  Track 4: I had the exact same thoughts coming from the same movie where they set up like
• 1:13:18
  Track 4: three mini guns and mow down a whole like sector of the building.
• 1:13:25
  Track 4: I didn't think that that was over the top. But the guys getting shot in the control room,
• 1:13:33
  Track 4: That was over the top.
• 1:13:34
  Track 1: We were just talking about the gratuitous violence.
• 1:13:40
  Track 2: Against the working class.
• 1:13:43
  Track 4: The unnecessary gratuitous violence enacted upon the working class proletarians
• 1:13:50
  Track 4: working in the engineering control room that got gunned down by mama's thugs.
• 1:13:57
  Track 3: Well, just all of the innocence in the minigun part. Like she takes out like
• 1:14:03
  Track 3: 20 people who are just like, oh, we're way up on the 70th floor. We should be fine.
• 1:14:07
  Track 3: And then like fucking machine guns, all of them.
• 1:14:09
  Track 4: Funny you say that. I didn't think that that was over the top.
• 1:14:15
  Track 4: But that control room.
• 1:14:16
  Track 3: I mean, I get using a minigun to take out two judges, including a psychic one.
• 1:14:20
  Track 3: But I meant like wiping out all the civilians kind of sucks.
• 1:14:23
  Track 2: Yeah, no, we just like.
• 1:14:23
  Track 4: Oh, yeah, no, definitely suck. But I didn't think it was over the top.
• 1:14:26
  Track 2: Which is for some reason, for some reason, we, for some reason,
• 1:14:31
  Track 2: I don't like, we were both just saying how, like, we've watched this so many
• 1:14:33
  Track 2: times and like, for some reason this time when they walked through the control
• 1:14:36
  Track 2: room and shot those people,
• 1:14:38
  Track 2: like both of us were just like, apparently independently opposite sides of the country going, Hey,
• 1:14:43
  Track 2: that wasn't cool. You didn't need to do that.
• 1:14:46
  Track 2: But you know, the mini gun. I'm trying to like find the scene right now. No questions.
• 1:14:50
  Track 4: Yeah. I see them mounting mini guns and I'm like, man, that checks out.
• 1:14:54
  Track 2: It's.
• 1:14:54
  Track 4: Dread and a psychic judge like i'd i'd probably do the same.
• 1:15:00
  Track 2: I'm not alting her for.
• 1:15:00
  Track 3: Losing it like i.
• 1:15:01
  Track 2: Get the i get the calculus when when the when the corrupt cop shows up and he's
• 1:15:07
  Track 2: like how much to kill a judge you're like oh whatever it's 10 million or whatever
• 1:15:11
  Track 2: and she's like that much he's like well what's the judge dread yeah 10 million
• 1:15:15
  Track 2: so he's he has a reputation.
• 1:15:18
  Track 1: Yeah oh very much so.
• 1:15:20
  Track 4: Yeah it's the judge dread as one of the judges says later they're like.
• 1:15:25
  Track 1: Guys they named the movie.
• 1:15:26
  Track 2: After him he's obviously gonna be hard to kill.
• 1:15:30
  Track 4: Is pretty important.
• 1:15:32
  Track 2: He's got his own comic book.
• 1:15:33
  Track 3: Guys.
• 1:15:33
  Track 1: Jeez. They made this dystopia just for him.
• 1:15:37
  Track 3: It's true.
• 1:15:38
  Track 4: It's his playground. Literally, one of the workers is napping with his feet
• 1:15:42
  Track 4: up when they get fucking gunned down. That poor fucking man.
• 1:15:46
  Track 2: See, our point is that they could have just said to them, go home. They would have.
• 1:15:54
  Track 3: Oh, for sure they would have.
• 1:15:55
  Track 4: Like, they would have easily been like, oh, mama's guy's got guns. Time to leave.
• 1:16:00
  Track 3: I kept the seat work for you.
• 1:16:02
  Track 2: Yeah, exactly. Okay.
• 1:16:05
  Track 4: Help yourself to my sandwich, boys. Have a good one.
• 1:16:08
  Track 2: There's beers in the fridge.
• 1:16:10
  Track 3: There's some leftover pizza in the fridge. Have at it.
• 1:16:13
  Track 2: Go for it.
• 1:16:14
  Track 1: There's some slow-mo containers there for you, too.
• 1:16:19
  Track 2: Yeah, Soylent Green Top Pizza.
• 1:16:22
  Track 1: Yeah, Recyc pizza. It's fresh on house people.
• 1:16:28
  Track 2: Recycoroni.
• 1:16:29
  Track 1: Do you think that they, you know, like when the guy outside gets smashed by
• 1:16:33
  Track 1: the gate, like, you know, he just gets crushed.
• 1:16:36
  Track 1: Do you think they just like scrape, scoop him up off the street and they just, you know, recite, yeah.
• 1:16:40
  Track 3: Nobody's scraping. One of those robots is coming out. We saw it at the beginning of the movie.
• 1:16:44
  Track 1: Yeah, robot.
• 1:16:46
  Track 2: Do you think that in this world, they would be like, this guy got crushed by
• 1:16:50
  Track 2: a gate. He gets the dignity of a decent burial.
• 1:16:55
  Track 4: He doesn't have passed some law on his behalf, named after him,
• 1:17:00
  Track 4: to put in a censor to prevent this from happening in the future.
• 1:17:05
  Track 4: Is this the kind of universe that gives that vibe to you?
• 1:17:08
  Track 2: No. They're scraping them off the ground. They're like, you know what?
• 1:17:12
  Track 2: They're power washing them.
• 1:17:14
  Track 4: All right?
• 1:17:14
  Track 2: They got some chunks in there. You know what? That's good. That's fiber. That's good form.
• 1:17:17
  Track 3: That's a stew, baby.
• 1:17:18
  Track 2: That's good form.
• 1:17:19
  Track 4: Actually, they can't power wash. They got to recycle that.
• 1:17:22
  Track 2: Yeah. They should be appreciative.
• 1:17:23
  Track 1: That might be the best meal they got all week.
• 1:17:25
  Track 2: They should be happy they're getting extra texture.
• 1:17:29
  Track 3: Extra protein, guys.
• 1:17:30
  Track 4: That's fresh protein.
• 1:17:32
  Track 3: That's like at least eight grams. Yeah.
• 1:17:35
  Track 2: You know what's in that cheap concrete? That cheap concrete's probably at least
• 1:17:38
  Track 2: mostly flour. So, you know, scraping them up.
• 1:17:41
  Track 4: That's at least like,
• 1:17:42
  Track 4: pretty natural like it's thick it's actually a.
• 1:17:45
  Track 3: Microplastics aside compared.
• 1:17:48
  Track 4: To like the rest of the things that are grown in vats in mega city one.
• 1:17:52
  Track 3: Quite frankly he probably had the most peaceful humane death in the film like
• 1:17:58
  Track 3: instantly smashed by like a hundred thousand pound steel plate coming down like
• 1:18:05
  Track 3: we saw people getting shot through the cheeks bleeding out in slow motion and
• 1:18:09
  Track 3: this guy didn't even know. He was just sitting in this boom, gone.
• 1:18:12
  Track 3: Him and the guy at the beginning who got run over on the freeway.
• 1:18:15
  Track 3: Those guys had the most peaceful, painless deaths in the whole film.
• 1:18:18
  Track 2: Good for...
• 1:18:20
  Track 3: That's how I want to go.
• 1:18:24
  Track 4: Big old door.
• 1:18:25
  Track 3: This is going to sound terrible.
• 1:18:27
  Track 2: Big old door.
• 1:18:29
  Track 4: Big old door just thinks me out. I like it.
• 1:18:33
  Track 3: When I worked at, I'm just going to say it, I don't give a fuck.
• 1:18:36
  Track 3: I worked at Best Buy for like seven years.
• 1:18:37
  Track 3: I worked at a bunch of stores and there was one store that I worked at that
• 1:18:40
  Track 3: had so many fucking leaks.
• 1:18:43
  Track 3: And like purplish orange goo would come out of the ceilings every time it rained.
• 1:18:47
  Track 3: And I used to joke that the best thing that could ever happen to me was that
• 1:18:51
  Track 3: ceiling would collapse and turn me into jelly.
• 1:18:55
  Track 3: So my wife would get a settlement.
• 1:18:59
  Track 3: I joked about it all the time. I was like, if I die at work,
• 1:19:01
  Track 3: my life insurance pays out twice.
• 1:19:04
  Track 3: I would joke and people were like, that's a horrible thing to see.
• 1:19:07
  Track 3: I'm like, at the time I was like 27, I was still younger.
• 1:19:10
  Track 3: And I'd be like, my wife is in her 20s. She's hot.
• 1:19:14
  Track 3: She can find somebody better than me. and she's getting
• 1:19:16
  Track 3: out a payday like that's the best i still to
• 1:19:19
  Track 3: this day because you know i have you know moved up in the world a little
• 1:19:22
  Track 3: bit like i do have insurance stuff like if i die my wife can buy a house and
• 1:19:28
  Track 3: i want that for her like the best thing that could happen to my wife is me dying
• 1:19:32
  Track 3: in this capitalistic society because that's the only way she gets to own property
• 1:19:36
  Track 3: is if i fucking die i if you can hear that baby i love you i.
• 1:19:40
  Track 2: Can't.
• 1:19:41
  Track 1: Isn't it it's great.
• 1:19:43
  Track 2: Here right guys can't disagree i don't know if i i yeah yeah i can't.
• 1:19:48
  Track 3: What a great way to end the podcast talking about me dying the old door to survive capitalism big.
• 1:19:55
  Track 1: Old door preferred at least you would go out having done a podcast on dread.
• 1:20:01
  Track 3: This would be the third time i've covered this movie on a podcast my question.
• 1:20:07
  Track 2: Before we wrap though is evan has your opinion on this movie improved after this?
• 1:20:15
  Track 1: It has.
• 1:20:16
  Track 3: After talking about it, you didn't like it as much before?
• 1:20:19
  Track 1: I wouldn't say I didn't like it. I felt like I was a little bit maybe expecting it to be better.
• 1:20:26
  Track 1: But after talking about it more, I like thinking about it. There are no plot holes.
• 1:20:29
  Track 3: No plot holes.
• 1:20:30
  Track 4: No plot holes.
• 1:20:30
  Track 2: I don't know what else you could ask for.
• 1:20:34
  Track 1: It's sick action, good.
• 1:20:37
  Track 4: Solid writing, feminist.
• 1:20:40
  Track 1: Yeah. A Bechtel test 2000s action movie is a rare.
• 1:20:45
  Track 2: More cops die.
• 1:20:47
  Track 4: Yeah.
• 1:20:47
  Track 1: That is the best part.
• 1:20:48
  Track 4: Pretty sick.
• 1:20:49
  Track 3: On screen.
• 1:20:50
  Track 2: Yeah.
• 1:20:51
  Track 1: That's true. They don't hide it, do they?
• 1:20:53
  Track 2: And a fifth one at least gets shot.
• 1:20:56
  Track 4: None. One gets his fucking throat collapsed. It's awesome.
• 1:21:00
  Track 1: When the dude shoots his gun and it like explodes is probably the coolest thing that happens.
• 1:21:04
  Track 3: Oh, that scene. I meant to bring that up because you mentioned like,
• 1:21:08
  Track 3: can she manipulate people with her psychic power?
• 1:21:10
  Track 3: She tried to stop him. Like, dude, that's going to blow up in your fucking face.
• 1:21:14
  Track 3: like she said like she warned him like she tried to get him to not do it and
• 1:21:18
  Track 3: he's just like now fuck it.
• 1:21:19
  Track 2: I don't think that was any kind of psychicness that was just literally straight
• 1:21:22
  Track 2: up like that's a dumb idea.
• 1:21:24
  Track 3: I'd like to think like her face yeah because.
• 1:21:30
  Track 4: Like he because he was like oh you got any last words bitch.
• 1:21:33
  Track 3: Her face made me think that she was trying to send the message to no.
• 1:21:38
  Track 4: I don't think so i think it was her remembering in that moment like like oh
• 1:21:43
  Track 4: because he asked her You got any last words, bitch?
• 1:21:45
  Track 4: And she's like, oh, yeah, that fucking gun won't work for this asshole. You know what?
• 1:21:51
  Track 4: I was going to ask you the same shit, bitch. Like talking shit back.
• 1:21:56
  Track 4: Yeah, I don't think she was trying to warn him at all.
• 1:21:58
  Track 2: I don't. She definitely about that.
• 1:22:00
  Track 4: That's why she was so quick to get up and kick him in the fucking head.
• 1:22:03
  Track 2: Yeah. His hand blows up that she kicks him in the head.
• 1:22:06
  Track 4: Yeah. And she didn't like give it a good pause. She wasn't like shocked.
• 1:22:11
  Track 4: She wasn't surprised like, oh, no, my mind trick didn't work.
• 1:22:14
  Track 3: Of course she wasn't going to be shocked. She knew it was going to happen.
• 1:22:18
  Track 4: But, like, if she was trying to do a Jedi mind trick kind of thing.
• 1:22:20
  Track 3: Yeah, maybe I was reading. Like, I noticed a little bit more of her psychic
• 1:22:23
  Track 3: powers this time around. So, maybe that was just me reading into it a little bit more.
• 1:22:26
  Track 3: That could just be me trying to find something different on this view.
• 1:22:29
  Track 4: I appreciated how little psychic stuff that there was for how much that there
• 1:22:34
  Track 4: could have fucking been easily.
• 1:22:35
  Track 2: The fact of the matter is, like, it is made clear, like, that even in the movie,
• 1:22:42
  Track 2: like, that psychics exist.
• 1:22:45
  Track 2: but they're not like they're psychics are not fucking they're not professor
• 1:22:49
  Track 2: exodus like they're not yeah she's like she's the.
• 1:22:52
  Track 4: Most powerful they found.
• 1:22:54
  Track 2: She can basically get in people's heads she's not you know yeah she's not puppeting
• 1:23:01
  Track 2: people she's not mind controlling them she can read minds that's basically it.
• 1:23:06
  Track 3: But to be fair she didn't go to the xavier institute for gifted.
• 1:23:09
  Track 2: Children well because they don't know the limit of her power they shut that
• 1:23:13
  Track 2: down in this because Because they cut all the funding to schools.
• 1:23:17
  Track 3: Well, the fascists want to control the mutants.
• 1:23:20
  Track 2: Yeah.
• 1:23:20
  Track 4: And then it got nuked like 17 times over.
• 1:23:23
  Track 2: They actually mostly want them dead.
• 1:23:27
  Track 4: Yeah. It's surprising that she's alive right now.
• 1:23:30
  Track 3: She's one of the good ones. That's what they're saying.
• 1:23:34
  Track 2: She's one of the useful ones.
• 1:23:36
  Track 3: Yeah.
• 1:23:37
  Track 4: Exactly. That's the thing is she's useful. It's even stated in it earlier.
• 1:23:41
  Track 4: It's like, oh, we can use her as a tool.
• 1:23:43
  Track 2: That's all they care about.
• 1:23:44
  Track 1: Awesome. Well, Mike, thank you for coming on.
• 1:23:48
  Track 3: Thanks for having me. To talk about Dread.
• 1:23:49
  Track 1: Of course. And you can...
• 1:23:52
  Track 4: Oh, so good.
• 1:23:53
  Track 1: I'm glad that I did see it. It was, you know, sometimes I have this weird thing
• 1:23:57
  Track 1: about remakes. Yeah, but I don't consider this a remake.
• 1:24:00
  Track 4: Thanks for recommending it because it also got Evan to watch The Raid.
• 1:24:03
  Track 3: My other podcast was Remake Rewind. That's all we did was remakes and reboots.
• 1:24:07
  Track 3: We'd watch both of them back to back.
• 1:24:10
  Track 3: I'm the complete opposite. Like, I like doing that, but, you know,
• 1:24:13
  Track 3: that's just me. Sorry, I cut you off, Ward.
• 1:24:15
  Track 1: No, no, I mean, it's sort of like, it's one of those things where usually remakes
• 1:24:20
  Track 1: aren't as good. So I'm sort of like, I don't know.
• 1:24:23
  Track 3: True grit begs to differ.
• 1:24:25
  Track 1: Yeah. Or the thing.
• 1:24:26
  Track 3: Oh, the thing. That's my Christmas morning movie.
• 1:24:29
  Track 2: Amazing movie. It was just featured on, um, actually last night.
• 1:24:34
  Track 1: Well, uh, you can, uh, come on. Well, you can listen to let the projector wherever
• 1:24:39
  Track 1: you get your podcast. And then you can check out your podcast in the near future.
• 1:24:43
  Track 1: And you said June. So look for that. And I'll put the link to it in the, uh, description.
• 1:24:50
  Track 1: and Bill Ward. We'll catch you all next time.
• 1:24:52
  Track 4: Have a good one.
• 1:24:53
  Track 2: Have a good one.