Latest / Aggressive Negotiations: A Star Wars Podcast / Issue 397: Andor: We’ll Always Have Rix Road

Transcript

Issue 397: Andor: We’ll Always Have Rix Road · Aggressive Negotiations: A Star Wars Podcast

0:02
Speaker 1: Welcome to the ned Palty.
0:06
Speaker 2: Hi. This is Nick and Astasu, story editor on Star Wars,
0:10
Speaker 2: The Clone Wars and Star Wars bad Batch. And you
0:14
Speaker 2: are listening to aggressive negotiations.
0:25
Speaker 3: Well, hello, and welcome to aggressive negotiations coming at you
0:29
Speaker 3: again from Ferrex. We can't seem to get away from
0:32
Speaker 3: this place. And I am just one of your hosts,
0:35
Speaker 3: Matthew rushing and with me as he is every single
0:39
Speaker 3: week quaffing his Ferrexian Ale Jedi Master John Mills.
0:47
Speaker 1: Oh, quaffing and Ale. That sounds really, that sounds just right.
0:51
Speaker 1: It's not too high brow exactly. It makes me I
0:55
Speaker 1: feel like I'm part of the Ferris crew. Now, yeah, yeah.
0:59
Speaker 1: Ferrex is the is the Star Wars and Or version
1:02
Speaker 1: of Tatouine. It's a planet you just keep coming back to.
1:06
Speaker 1: It seems to be a nexus of activity, which is
1:10
Speaker 1: fine by me. It's fine by me, especially if you're
1:14
Speaker 1: going to build a practical set, you might as well
1:16
Speaker 1: get as much out of it as.
1:17
Speaker 3: I mean, absolutely absolutely. But before we you know, dive
1:21
Speaker 3: into the last two episodes here of and Or. As
1:26
Speaker 3: this episode will drop, everybody will be watching the second
1:31
Speaker 3: season of and Or this evening. But find us wherever
1:36
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1:38
Speaker 3: who have continued to listen to us for all these years. John,
1:42
Speaker 3: I don't know if you know this, but this is
1:43
Speaker 3: episode three ninety seven, so I.
1:48
Speaker 1: Do now I know that. Now we're almost but you
1:53
Speaker 1: know what, Hey, you know what, Disney, you did nine
1:56
Speaker 1: episodes of Star Wars. We've done three hundred and ninety seven.
2:00
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2:02
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2:04
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2:35
Speaker 3: on x Twitter for the entire network, and on Instagram
2:39
Speaker 3: at the Nerd Party. But John, as we round out
2:43
Speaker 3: the season here, one of the things that I was
2:47
Speaker 3: really struck by in in the episode Daughters of Farix
2:55
Speaker 3: was how good they have gotten at creating the practical
3:04
Speaker 3: droids so that there is so much emotion that is
3:09
Speaker 3: felt with them from all of the movement, especially with
3:13
Speaker 3: the way in which there's just something very powerful about
3:18
Speaker 3: the way be deals with Marva's death and then the
3:22
Speaker 3: performance that they give that droid to sell it to you.
3:27
Speaker 1: Yeah, I mean it's great puppetry. It reminds me of
3:32
Speaker 1: Jim Henson's style stuff where you believe in the uh,
3:37
Speaker 1: you know, the skexists and stuff like that, Like they
3:39
Speaker 1: figure out how to make the thing work really well.
3:43
Speaker 1: And yeah, I agree. I think B is a is
3:47
Speaker 1: a charming piece of practical effects work, and I think
3:53
Speaker 1: that it enhances the scenes because it gives people something
3:58
Speaker 1: physical to interact with. You know, it's all make believe.
4:03
Speaker 1: We know it's all make believe, but it's nice to
4:06
Speaker 1: see somebody talking. I mean basically it B is a
4:11
Speaker 1: dog that can talk, and it's the conversation we all
4:13
Speaker 1: think we're having with our pets when we talk to them.
4:16
Speaker 1: And you know, I think that as part of that, though,
4:22
Speaker 1: what you're calling to the front here is that can't
4:25
Speaker 1: be ignored. What is the use of sound, And I
4:32
Speaker 1: mean the voice, the servo motor sounds that they put
4:37
Speaker 1: over it, that really brings it to life as well.
4:40
Speaker 1: It's sort of like the sound of C three Po's
4:42
Speaker 1: walk helps give him weight and reality. And he's a
4:46
Speaker 1: guy in a gold suit, but I believe he's adroid
4:48
Speaker 1: because of the way he sounds when he moves, and
4:51
Speaker 1: I think that be they've they've blended that puppetry and
4:56
Speaker 1: that sound work to make it really come to life.
5:00
Speaker 3: Yeah, yeah, I mean, it's just one of those things
5:06
Speaker 3: where and I think it's just endemic of the entire series,
5:10
Speaker 3: is that they've really just been paying attention to the
5:13
Speaker 3: details of every single little thing like you just mentioned.
5:18
Speaker 3: I mean, it's not just the puppetry work, but it's
5:21
Speaker 3: all of the ways in which every single part of
5:26
Speaker 3: the production of that droid brings it to life. And
5:29
Speaker 3: they have just gotten so good at that, you know,
5:31
Speaker 3: and which also I think makes sense that they would
5:34
Speaker 3: do that, because that's how we all felt watching K
5:38
Speaker 3: two s in Rogue one. You know, he became just
5:44
Speaker 3: another character the way all of the best droids do
5:47
Speaker 3: in Star Wars. And in some ways, I feel like
5:51
Speaker 3: kind of brought that to a next level.
5:54
Speaker 1: But you know, yeah, well hold on before you go forward.
5:59
Speaker 1: This is what I want to ask, is you see
6:02
Speaker 1: B and we both agree, great job. And yes, I
6:06
Speaker 1: know that K two s O is computer generated, but
6:10
Speaker 1: you know, Alan Tudic is on set giving weight to
6:14
Speaker 1: that and it's you know, terrific work and all of
6:16
Speaker 1: those sorts of things. I want to ask you because
6:20
Speaker 1: in this era of Disney Star Wars quote unquote so called,
6:26
Speaker 1: we have droids really taking a forefront here. So where
6:29
Speaker 1: would you put B in the pantheon? Man? So I'm
6:33
Speaker 1: talking this is post C three PO and R two
6:36
Speaker 1: D two sort of time. We've got L three, we've
6:40
Speaker 1: got B, we've got BB eight, we've got Evil BB
6:46
Speaker 1: eight from the Last Jedi. But basically, where is B
6:51
Speaker 1: in that new pantheon that they're putting together? You know?
6:55
Speaker 3: I would say that for me, the epitome of the
6:59
Speaker 3: newer droid is K two s O is my favorite.
7:04
Speaker 3: I think B is kind of like right there with him,
7:08
Speaker 3: but below And I mean BB eight was just an
7:12
Speaker 3: incredible achievement as well. And regardless of what I feel
7:15
Speaker 3: about those films, really cool, very fun design. I think
7:22
Speaker 3: that was one of maybe the best designs of this
7:25
Speaker 3: equal trilogy, right, I mean, because it took something that
7:29
Speaker 3: we're so familiar with and it really did put no
7:33
Speaker 3: pun intended a fun spin on it, right, And so
7:36
Speaker 3: I think that they really did a great job. And
7:39
Speaker 3: so you know, that's that's kind of where I would
7:43
Speaker 3: land with that.
7:44
Speaker 1: What what about you? I mean L three and K
7:49
Speaker 1: two s O are basically tied for me, Yeah, because
7:53
Speaker 1: I like the sas that they both bring. I found
7:56
Speaker 1: L three to be equally as funny two K two,
8:01
Speaker 1: So it's like they're sort of tied there. B I
8:05
Speaker 1: have more of an appreciation for after rewatching the series,
8:10
Speaker 1: I feel bad in the sense because you're right, BB
8:13
Speaker 1: eight was a charming creation and I like BB eight.
8:19
Speaker 1: I think that what's unfortunate is that BB eight is
8:25
Speaker 1: tied to a piece of the franchise that I'm least
8:29
Speaker 1: likely to rewatch. So my estimation of BB eight is
8:33
Speaker 1: going to lessen over time through no fault of the
8:37
Speaker 1: great work done there. Yeah, and I think that's a
8:39
Speaker 1: damn shame. Yeah.
8:40
Speaker 3: No, I mean I think that that's I get it,
8:46
Speaker 3: you know, I think for me, at L three, there's
8:50
Speaker 3: there's some over the topness to it that I don't
8:53
Speaker 3: love as much as my other part of the list,
8:57
Speaker 3: but still an incredible creation and just looks so. I
9:01
Speaker 3: mean again, this is one of the things I think
9:03
Speaker 3: that they're doing so well with these droids. Whether they're
9:08
Speaker 3: CGI or whether they're real, they all feel real. I
9:14
Speaker 3: never question their reality or their interaction with the other characters.
9:19
Speaker 3: And I do think a big part of that is
9:20
Speaker 3: that so many times, you know, even if they are CGI,
9:26
Speaker 3: you know a lot of times they'll try to do
9:29
Speaker 3: when they can through puppetry, right, And so yeah, I
9:33
Speaker 3: think it's great.
9:34
Speaker 1: Now.
9:34
Speaker 3: I wanted to ask you something because with Daughters of Feriks,
9:39
Speaker 3: something that stood out to me was this whole moment
9:43
Speaker 3: between Val and Man as they are watching Man's daughter
9:50
Speaker 3: with this group of chendrill and girls, and Lee has
10:02
Speaker 3: kind of glommed onto this culture and tradition from Chandrilla
10:12
Speaker 3: that many people like Man, Mathma and Val have kind
10:18
Speaker 3: of like rebuffed in many ways. And yet these kids,
10:23
Speaker 3: especially on Chorussant specifically that she mentions, you know, they
10:29
Speaker 3: this is something that you're seeing more on coreconth than
10:31
Speaker 3: you are even on Chandrilla. And I was really struck
10:37
Speaker 3: by this because of the way in which I think
10:43
Speaker 3: it just even comports with the reality that we see
10:47
Speaker 3: in our world today with the ever shifting sands. In
10:50
Speaker 3: an ever shifting world, we do see kids looking for
10:55
Speaker 3: some kind of stability, and many of them are reaching backwards,
10:59
Speaker 3: whether it's towards religion or towards a closer identification with
11:05
Speaker 3: a culture or an ideology. And I really enjoyed the
11:11
Speaker 3: way in which this show is tapping into that idea
11:15
Speaker 3: because I would suspect that again, this is a microcosm
11:20
Speaker 3: of the larger culture all over the galaxy as the
11:25
Speaker 3: Empire continues to just kind of squeeze people. Because I mean,
11:29
Speaker 3: I feel like you even seeing the same thing on Pherix, right,
11:32
Speaker 3: These people are doubling down on their own life, and
11:36
Speaker 3: we kind of see that in the speech that Marv
11:38
Speaker 3: gives in the last episode right about how we clung
11:43
Speaker 3: to ourselves here on Pherix. We clung to our way
11:47
Speaker 3: of life at the exclusion of everything else. And so
11:50
Speaker 3: I really liked the way that this plays in both
11:55
Speaker 3: of these episodes because I think, again, it feels so
12:01
Speaker 3: real without necessarily just being a one for one for
12:04
Speaker 3: necessarily anything we see in our world, but it's just
12:06
Speaker 3: a something that is kind of like a thing that
12:10
Speaker 3: you would expect to see kind of historically throughout the generation.
12:16
Speaker 1: I mean, I think, you know, I don't. I don't
12:20
Speaker 1: know how how true it is either way in the
12:26
Speaker 1: real world, but there is definitely to your point, basically,
12:32
Speaker 1: as kids are finding their identity, they're going to be
12:35
Speaker 1: reaching for anything that they can hold on to. Like
12:38
Speaker 1: you're saying with stability, absolutely agree. We all do it.
12:41
Speaker 1: We're looking for we're trying to figure out who we are.
12:45
Speaker 1: And I think that if there's any sort of meta
12:50
Speaker 1: commentary on culture or society as a whole in the show,
12:57
Speaker 1: it has specifically to do with this character because she
13:05
Speaker 1: doesn't have parents to hold on to. The parents are there,
13:12
Speaker 1: but there's a distance, there's a you know, a lack
13:16
Speaker 1: of intimacy, and so that's when somebody goes searching for belonging.
13:22
Speaker 1: And I think to your point, what should be really
13:29
Speaker 1: looked at is with with Val being critical of it
13:37
Speaker 1: and mon being critical of it, is they're looking for
13:42
Speaker 1: their tribe in the rebellion, for people who are in
13:47
Speaker 1: their own ideology, and they're being very critical of looking
13:52
Speaker 1: at the daughter going after this more traditional chandrilline lifestyle,
13:58
Speaker 1: and it's like, well, she's looking for the same thing
14:00
Speaker 1: that you're looking for. If you want her not to
14:04
Speaker 1: seek it, provide some more guidance to lead her towards that.
14:12
Speaker 1: And I think that's more. That's more what I glom
14:16
Speaker 1: onto with that stary line, where it's like, it's more
14:19
Speaker 1: of a critique of when people seek belonging, why are
14:25
Speaker 1: they seeking that thing as opposed to you know what
14:30
Speaker 1: it is, and if it's a quote unquote bad thing
14:35
Speaker 1: from your point of view, thank you, Obi wan Kenobi,
14:38
Speaker 1: then be an example to show them why they shouldn't
14:42
Speaker 1: do that.
14:44
Speaker 3: No. I think that's a great point, and I think
14:46
Speaker 3: it makes a lot of sense because and I think
14:49
Speaker 3: it's one of the things that we're seeing. It's something
14:54
Speaker 3: that we've been seeing throughout this entire series. Right man,
14:57
Speaker 3: Mathma's own issue use in her own marriage that have
15:04
Speaker 3: her basically at odds with her husband are something that
15:10
Speaker 3: I are immediately and automatically felt by her daughter, and
15:16
Speaker 3: I think that's one of the things that is making
15:18
Speaker 3: her daughter then cling to something like this, this tradition
15:22
Speaker 3: from Chandrilla because she needs something secure, and what's more
15:29
Speaker 3: secure than a tradition in your culture that goes back
15:34
Speaker 3: you know, who knows thousands of years. Possibly we don't
15:38
Speaker 3: know a ton about Chandrilla and culture, but like if
15:40
Speaker 3: it's anything else, like the rest of the Star Wars universe,
15:43
Speaker 3: you know this is at least a thousand years old
15:45
Speaker 3: or more so.
15:48
Speaker 1: Right, you know. The thing is, though, with you mentioning
15:51
Speaker 1: man Mathma and the husband, I want to give a
15:56
Speaker 1: lot of credit to the fact that the relationship between
16:02
Speaker 1: man and her husband is very believably dysfunctional. There's not
16:08
Speaker 1: the traditional sort of dysfunction you encounter in a show.
16:11
Speaker 1: Is there's the yelling, there's the cheating, there's the throwing,
16:13
Speaker 1: there's the tears. It's this, it's it's instead this real
16:20
Speaker 1: distant iciness between them, and it's like, that's such a
16:28
Speaker 1: a I think it's relatable, not necessarily for everybody with
16:34
Speaker 1: you know, with parents's, but we have all encountered in
16:38
Speaker 1: a relationship like that, and that's how relationships go off
16:41
Speaker 1: the rails. More than anything else, I would say, is
16:44
Speaker 1: that sort of distance that grows and then it just
16:47
Speaker 1: becomes so far apart that you just can't come back
16:50
Speaker 1: from it. Yep. So I got to give them credit.
16:54
Speaker 1: It's a really well done piece of the show.
16:58
Speaker 3: I agree, because you know, that is a huge part
17:00
Speaker 3: of the second episode. And you know, I think of
17:06
Speaker 3: our discussion tonight, and it's one of those things where
17:11
Speaker 3: you know, we've known that they're kind of being watched
17:14
Speaker 3: this entire time, uh and and now we get the
17:17
Speaker 3: full confirmation as to who's watching them and why. But
17:22
Speaker 3: I also, you know, find it just so interesting because.
17:27
Speaker 1: And and.
17:29
Speaker 3: I think one of the reasons too that I really
17:31
Speaker 3: see their daughter struggling so much is because her dad
17:39
Speaker 3: is just a big man boy who's really never grown up,
17:42
Speaker 3: right and and and so and that's really the biggest issue,
17:46
Speaker 3: and in even just his and Mon's relationship as well,
17:50
Speaker 3: is that man Mathma has been senator and been doing
17:53
Speaker 3: things that are important her entire life, and he has
17:57
Speaker 3: just it seems like almost seel like he's never worked,
17:59
Speaker 3: he's never done any thing, and so he's really just bored,
18:03
Speaker 3: and so he's just kind of given into all of
18:05
Speaker 3: these vices. And you know, I find that to be
18:10
Speaker 3: incredibly fascinating because it's a very interesting commentary on manhood
18:18
Speaker 3: and how men who do nothing, I think, lack a
18:25
Speaker 3: sense of like purpose and identity and then just kind
18:29
Speaker 3: of get lost and and like, of course, you know,
18:32
Speaker 3: in our world into just things like video games and YadA, YadA, YadA,
18:35
Speaker 3: whereas here it's like, you know, it's the drinking, it's
18:38
Speaker 3: the gambling, it's it's those type of vices that are.
18:41
Speaker 1: Are I would I would argue that that's very you know,
18:45
Speaker 1: that's still very prevalent. Yeah, yeah, but you know songs.
18:51
Speaker 1: We're moving on to the second episode. Two things. One,
18:56
Speaker 1: I think that the way that man Mathma politically gives
19:01
Speaker 1: herself cover by then sacrificing her husband to the isb
19:06
Speaker 1: and painting that picture that it's his gambling that's the problem,
19:11
Speaker 1: and no matter how much he denies it, she's just
19:14
Speaker 1: hung everything on him. Yea. And what I love about
19:18
Speaker 1: Genevieve O'Reilly's performance is you can read in her face
19:22
Speaker 1: the fact that she regrets doing it. Yeah, she's you know,
19:25
Speaker 1: her whole manner is he doesn't really deserve this, but
19:29
Speaker 1: I have no other choice here. She doesn't want to
19:32
Speaker 1: do something mean for the sake of it, which you
19:34
Speaker 1: got to admire. Second though, since we're you know, we
19:37
Speaker 1: jumped forward to the second episode and everything. How do
19:41
Speaker 1: you feel about the way these episodes are split, because,
19:44
Speaker 1: you know, the thing we've gone back and forth on
19:46
Speaker 1: repeatedly is like, I feel the first three episodes, you
19:49
Speaker 1: should have put them together and just had a little
19:51
Speaker 1: mini movie sort of thing, no credit breaks or anything
19:54
Speaker 1: like that. Go dark for an extra second between chapters
19:57
Speaker 1: if you need to. I found it to work better
20:03
Speaker 1: with the whole Marquina five arc. But how do you
20:07
Speaker 1: feel about these two episodes in the way that they flow.
20:10
Speaker 1: Do you feel that this is a satisfying splitting point
20:13
Speaker 1: that they found between the two of them.
20:15
Speaker 3: Yeah, I think that this one is really interesting because
20:23
Speaker 3: it's all the stuff that needs to happen so that
20:26
Speaker 3: the next episode can happen. But in and of itself,
20:31
Speaker 3: there's so many great moments that happen in this episode.
20:36
Speaker 3: You know, I think of the whole conversation between you know,
20:41
Speaker 3: Saw and Oh and and Luthan, you know, about the sacrifices,
20:48
Speaker 3: the hard choices that we have to make in war,
20:51
Speaker 3: and that's where you know, he Saw just finally says,
20:55
Speaker 3: let's call it war. That's what we're at we're at
20:58
Speaker 3: war and we know all the way from the Clone,
21:01
Speaker 3: and it's such a great callback right to that original
21:04
Speaker 3: Clone Wars arc where we're introduced to Saul and he's
21:07
Speaker 3: taught to fight war by none other than Anakin Skywalker.
21:11
Speaker 3: Uh and so it's just it's so wonderful. But that
21:15
Speaker 3: whole discussion is fantastic. Then you have the escape by
21:20
Speaker 3: luthan in the coolest ship in Star Wars, also known
21:25
Speaker 3: as the James Bond Gadget Ship because that's exactly what
21:28
Speaker 3: they're modeling it after.
21:31
Speaker 1: Now, now hang on a second. The listening this the
21:34
Speaker 1: inverted start as Storier with three radar dishes. Okay, don't
21:39
Speaker 1: don't come at me. I want that toy.
21:41
Speaker 3: It's cool.
21:42
Speaker 1: It's very cool design.
21:44
Speaker 3: But I mean we haven't got a fon door Haullcraft yet.
21:48
Speaker 1: The fact that they called it a can't well class
21:52
Speaker 1: as a callback to Colin can't Well Like, that's the
21:55
Speaker 1: type of thing I salute because it's like, yes, calling
21:59
Speaker 1: back to the legend. Thank you for doing that, because
22:02
Speaker 1: it definitely did look like a can't well designed You
22:05
Speaker 1: know that that that more you know, fifty sixty sci
22:09
Speaker 1: fi type of design. Sorry, I'm sorry to cut you off,
22:12
Speaker 1: but you mentioned because you're absolutely just badass.
22:17
Speaker 3: Yes, because that whole sequence is just incredible, right, And
22:22
Speaker 3: and then there's that there's such an incredibly small moment
22:26
Speaker 3: in that scene though, where they have registered his ship
22:31
Speaker 3: right as Alderanian, and yet what do they do. They say, No,
22:37
Speaker 3: we're gonna We're gonna search him anyway, because it's good practice.
22:41
Speaker 3: It's that imperial overreach. And this show has done such
22:45
Speaker 3: a great job of continuing to show how the Empire
22:50
Speaker 3: doesn't care anymore because it doesn't think anybody can stop them.
22:54
Speaker 3: And that's just a tiny little moment there, but it
22:56
Speaker 3: reminds you of exactly why Lutha is out there in
23:00
Speaker 3: the first place, and why they're willing basically to be
23:07
Speaker 3: at war.
23:08
Speaker 1: Uh.
23:09
Speaker 3: And it's just so good. So I actually think that
23:12
Speaker 3: the breakup of the episode is really work because the
23:15
Speaker 3: other thing is coming into the final episode of Rick's Road.
23:22
Speaker 3: That whole piece is just a movement that does need
23:27
Speaker 3: to sit on its own, I believe, because it is
23:33
Speaker 3: marvelously crafted. Uh and uh, it's it's it's like the
23:42
Speaker 3: final movement of a dirge, which that's what is being
23:47
Speaker 3: played at of course for the funeral and and the
23:50
Speaker 3: music of course, having such an incredible uh part to this.
23:54
Speaker 3: I mean it it is the episode is defined by
23:58
Speaker 3: the music as well, and so so I think it
24:01
Speaker 3: needs it does need to stand alone by itself, because
24:05
Speaker 3: the way that they crafted it is incredibly moving, and
24:11
Speaker 3: I would say picture perfect. But I don't know what
24:14
Speaker 3: did you think, because I know that you know for
24:16
Speaker 3: you that editing has been a little more up and
24:19
Speaker 3: down of course than it has been for me.
24:22
Speaker 1: I was fine with the split point that they had.
24:26
Speaker 1: I think I think it works. This is I think
24:28
Speaker 1: this is an example of when a series splits the
24:31
Speaker 1: episodes right. If I were to quibble with the individual episodes,
24:36
Speaker 1: I think there are certain things that could have moved
24:38
Speaker 1: a little bit quicker, been a little bit tighter, But
24:42
Speaker 1: that's me. I'm impatient. I guess there are certain things
24:46
Speaker 1: where I would have, you know, maybe cut some of
24:49
Speaker 1: the bridge moments. I would have leaving alone something like
24:55
Speaker 1: the funeral scene that functions the way it needs to.
24:58
Speaker 1: Maybe there's some other stuff, ships landing, people walking on
25:02
Speaker 1: like they could be tightened up a little bit more,
25:04
Speaker 1: you know, like and I would point back to something
25:07
Speaker 1: like how a return of the Jedi handles Vader going
25:10
Speaker 1: from the Death Star down to Endoor. That's pretty quick
25:16
Speaker 1: compared to the shuttle landing here with Deirdre. I'm not
25:22
Speaker 1: trashing it. I'm just saying, like, just just a little
25:25
Speaker 1: bit quicker in those type of moments is where I
25:27
Speaker 1: would throw the flag on that. But overall, I think
25:30
Speaker 1: the two episodes work right in terms of the way
25:34
Speaker 1: that they're cut. So I guess a lot of my
25:39
Speaker 1: stuff winds up being anchored to the way the show
25:42
Speaker 1: began with a lot of those complaints, but it really
25:47
Speaker 1: seems like they figured it out by the time they
25:49
Speaker 1: got to hear But the thing is, I'm going to
25:51
Speaker 1: move backwards for a second because mon Mathma is going
25:55
Speaker 1: to a lot of effort to frame her husband as
25:58
Speaker 1: the reason for their money troubles, and I think that
26:03
Speaker 1: I want to ask you, do you think they've done
26:06
Speaker 1: a good enough job establishing that the Emperor is not
26:12
Speaker 1: in a position to make a move against any senators
26:15
Speaker 1: at this point because man Mathma, and with how powerful
26:20
Speaker 1: the ISP is, they could they could get her no problem,
26:26
Speaker 1: They could make it look worse than it is. They
26:29
Speaker 1: could do whatever they wanted to what do you think
26:32
Speaker 1: holds the Emperor's hand? Because you know, I have my
26:34
Speaker 1: head cannon about it. You know, where do you land
26:37
Speaker 1: with that? Yeah?
26:39
Speaker 3: I putting it all into context of where we are.
26:47
Speaker 3: I believe that the Emperor is basically waiting until he
26:53
Speaker 3: thinks he has ultimate power, which is going to be
26:57
Speaker 3: the Death Star.
26:59
Speaker 1: Yeah, well, I mean that in the original Star Wars exactly.
27:02
Speaker 1: But but but it's not just that.
27:03
Speaker 3: But it's like and hence that's why you know, they
27:09
Speaker 3: are specifically looking for a way to discredit Mond Mathmah financially.
27:17
Speaker 1: You know, they are.
27:18
Speaker 3: They are looking into her life. They're trying to find
27:20
Speaker 3: a way to discredit her because what they need to
27:22
Speaker 3: do is they need to be able to paint her
27:24
Speaker 3: to the hollow net. As you know this she portrays
27:29
Speaker 3: herself as being this great you know, uh person who
27:33
Speaker 3: cares about liberty and justice for all. And look what
27:35
Speaker 3: she's been doing, you know, with her own finances. You know,
27:38
Speaker 3: they need that kind of scandal so they can completely
27:40
Speaker 3: smear her, ruin her, and discredit her in a way that.
27:44
Speaker 1: You know, and and.
27:47
Speaker 3: Which terrifyingly feels so real in our world, right like
27:51
Speaker 3: like that the same type of thing is happening here.
27:54
Speaker 1: So so that's how I care that she becomes a mark.
27:57
Speaker 1: She becomes a martyr if you arrest herself. But if
28:02
Speaker 1: you character assassinate her, you plan enough doubt in everybody's
28:05
Speaker 1: mind with like, oh, she's just another corrupt politician. Exactly. Yeah,
28:09
Speaker 1: I agree with that. And yes, obviously, once the death
28:14
Speaker 1: Star has made the emperors like, hey, I don't got
28:16
Speaker 1: to worry about this anymore. Womp wamp, sorry Luke Skywalker
28:20
Speaker 1: shows up. Yeah, yeah, I accept that. I mean, it's
28:26
Speaker 1: it's like any other KGB style thing exactly where it's like,
28:32
Speaker 1: you know, it's it's more worthwhile to discredit the person
28:36
Speaker 1: in the public's eye so that their value as a
28:39
Speaker 1: symbol is is is tarnished.
28:41
Speaker 3: Yeah, exactly, Like, and I think I think you just
28:44
Speaker 3: you know, you said that really well because you can't, Yeah,
28:47
Speaker 3: you can't make this person a martyr that that people
28:50
Speaker 3: then want to to follow and and and to prop
28:55
Speaker 3: up as being then another reason for people to rebel right.
29:01
Speaker 3: And so especially since you know, all of mon Mathma's
29:05
Speaker 3: actions have been ones to which you can kind of
29:09
Speaker 3: see the ways where if it's not done correctly, she
29:15
Speaker 3: she would become a beacon of rebellion and that's the
29:21
Speaker 3: last thing obviously that they want. And so I wanted
29:25
Speaker 3: to ask you to you know, this last episode, right,
29:31
Speaker 3: will always have Feryx, Like it all comes back to
29:35
Speaker 3: Feryx here. And the entire season has slowly been building
29:39
Speaker 3: to this moment where all of our characters come together.
29:43
Speaker 3: They're literally all you know, on the same street, right
29:48
Speaker 3: and even if sometimes they don't know that the other
29:51
Speaker 3: is there. And how does that play out for you?
29:54
Speaker 3: Do you feel like that moment of having all of
29:57
Speaker 3: these characters in the same space is actually earned?
30:04
Speaker 1: Yeah, because they're all there to try to kill and Or.
30:07
Speaker 1: So I'm like, okay, that works, and they give they
30:11
Speaker 1: they write the right reason for and Or to ever
30:14
Speaker 1: come back, right, Well, I mean he has two reasons.
30:17
Speaker 1: You know that there's the death of his mom, but
30:18
Speaker 1: there's also Bicks there and you know she's going to
30:21
Speaker 1: be on his mind. What I'll give them credit for
30:25
Speaker 1: bringing everybody together in one spot. Really well done. Thought
30:28
Speaker 1: it was very slick. But I have to I haven't
30:32
Speaker 1: done a lot of watching of behind the scenes stuff.
30:37
Speaker 1: It's just attrition of time, folks. It's it's not in
30:39
Speaker 1: personal since the show, but there's a specific shot when
30:46
Speaker 1: they're just starting to march down the road and the
30:48
Speaker 1: empires on the other side. It's like a you know,
30:50
Speaker 1: the building in the center and everybody's marching toward this
30:55
Speaker 1: climactic point. It very much evoked and I have to
30:58
Speaker 1: find out if this is on perpose the gunfight that
31:02
Speaker 1: kicks off The Wild Bunch by Sam pecketfah, yeah, And
31:06
Speaker 1: it's a really great way to build tension. But when
31:10
Speaker 1: I saw it this time, I was like, oh, that
31:12
Speaker 1: feels like The Wild Bunch. I have to find out
31:16
Speaker 1: if I'm inventing a connection in my brain or if
31:19
Speaker 1: that's on purpose, because that's a good question. Feels like
31:22
Speaker 1: it asked beyond purpose.
31:23
Speaker 3: And I can't remember because I did I did watch
31:26
Speaker 3: the behind the scenes extras, and I can't remember if
31:28
Speaker 3: they said that that was one of one of their inspirations.
31:33
Speaker 3: But you know, honestly, from what we know of Gilroy,
31:37
Speaker 3: I can't imagine something like that wouldn't be one of
31:39
Speaker 3: their inspirations, you know. And so because you know these
31:45
Speaker 3: guys are very steeped and you know that type of
31:51
Speaker 3: lore from film.
31:52
Speaker 1: Well, let me ask you this question. You know, obviously
31:56
Speaker 1: it boils over. We have a big you know, the
31:58
Speaker 1: big riot and and pacification scene and everything like that.
32:04
Speaker 1: How do you feel that plays out? Do you ever
32:07
Speaker 1: lose your sense of place in the edit of all
32:12
Speaker 1: of the mayhem going around? Do you ever lose your
32:14
Speaker 1: sense of place? You ever say, wait, how did he
32:16
Speaker 1: get over there? Like? Does it ever not track for you?
32:20
Speaker 3: I will say that it doesn't feel like that. I
32:23
Speaker 3: feel like it intentionally sometimes feels discombobulating because you are
32:30
Speaker 3: right in the action. Like there's that moment, you know,
32:32
Speaker 3: where Deirdre's on the ground and you know then she
32:35
Speaker 3: gets saved by Cyril, and you're with her in that
32:40
Speaker 3: moment of feeling her try to crawl for her gun
32:43
Speaker 3: and basically almost kind of in a space where you
32:46
Speaker 3: can see a little bit more than she can, but
32:48
Speaker 3: in many ways her view is kind of your view,
32:52
Speaker 3: and so you don't get a sense of the greater
32:56
Speaker 3: goings on. And I thought that was really well done.
33:00
Speaker 3: And I loved the way in which this and a
33:05
Speaker 3: lot of it pulled from you know, I think some
33:08
Speaker 3: more modern filmmaking when it comes to like the films
33:12
Speaker 3: you would see like black hawk down or something like that,
33:15
Speaker 3: where there's just that ultra confusion of the moment, so
33:20
Speaker 3: that you really do feel that fog of war when
33:24
Speaker 3: you're literally in the moment.
33:26
Speaker 1: Oh yeah, well, I'm not talking about that in specific.
33:28
Speaker 1: I'm talking about when like Cyril is on the steps
33:31
Speaker 1: and he gets to hurt, like building up to that.
33:35
Speaker 1: Do you ever feel that the pieces of where people
33:39
Speaker 1: are I mean, yeah, that's a good question. Yeah. I'm
33:42
Speaker 1: not trying to I'm not trying to lead the witness here. No, No,
33:45
Speaker 1: I think there are certain moments where I'm like, wait,
33:46
Speaker 1: how are they looking at that there?
33:48
Speaker 3: I think that's a good question. I don't honestly. I
33:53
Speaker 3: mean for myself personally, I don't think I put too
33:55
Speaker 3: much thought into it. And I think so I I
34:00
Speaker 3: would say I wasn't personally bothered by anything like that,
34:05
Speaker 3: And so, but were you Did you find yourself pulled
34:08
Speaker 3: out or did you find yourself a little bit lost
34:10
Speaker 3: in the edit at all?
34:13
Speaker 1: Bothered? Is not? Is that's too big a word for me?
34:18
Speaker 1: I think it. I think it gets to something so
34:20
Speaker 1: basic as there are a couple of moments where the
34:24
Speaker 1: guy who stabs them in the back and goes to
34:27
Speaker 1: the Imperials to tell them that he's seen the guy
34:30
Speaker 1: and or has got to be in that building, Like
34:34
Speaker 1: where that building is in relation to everything else? You know,
34:39
Speaker 1: I couldn't draw a map on the street of where
34:42
Speaker 1: it was in relation to everything. That's the type of
34:44
Speaker 1: thing I'm talking about. Is it enough for me to
34:47
Speaker 1: be like this show sucks, not in the least, but
34:50
Speaker 1: there are moments where it feels a little bit, oh okay, yeah,
34:54
Speaker 1: when you're in the riot scene absolutely should feel exactly
34:57
Speaker 1: the way that it did. Absolutely appropriate. Nobody knows what's
35:00
Speaker 1: going on. There's the literal fog of war everywhere. What
35:06
Speaker 1: do you think of Marv's speech though? Do you think
35:08
Speaker 1: that was well done? Was that a great way to
35:12
Speaker 1: kick it off? What do you think.
35:15
Speaker 3: It's I think it's it's perfect. It's incredibly moving, I
35:21
Speaker 3: think I especially even watching that whole scene again, the
35:28
Speaker 3: moment that she begins the speech, I just found myself
35:32
Speaker 3: being moved by this moment. And because it really does
35:38
Speaker 3: feel in a lot of ways like this series is
35:46
Speaker 3: kicking off the true birth of the rebellion. This this
35:51
Speaker 3: this moment on Faryx, in this this call by Marva
35:56
Speaker 3: is legitimately the call of those under this type of oppression,
36:03
Speaker 3: which is wake up from your sleep and see what's
36:08
Speaker 3: going on and be willing to do something about it.
36:11
Speaker 3: And I think that it's great. I also think that,
36:16
Speaker 3: you know, we don't really praise Disney very much on
36:20
Speaker 3: this show for the choices that they make, maybe notes
36:23
Speaker 3: wise for the series, but I do believe that their
36:29
Speaker 3: call to not have her say f the Empire was
36:33
Speaker 3: one hundred percent the right call because I think that
36:36
Speaker 3: word puts this in a place that does not work
36:39
Speaker 3: for Star Wars and pulls you out of the episode
36:42
Speaker 3: in a way you wouldn't want that to happen. So yeah,
36:45
Speaker 3: I thought it all works because they didn't allow them
36:50
Speaker 3: to do that. And even Gilroy at this point agrees
36:53
Speaker 3: with Disney and saying, yes, they made the right call there.
36:57
Speaker 3: That would have been too far.
36:59
Speaker 1: So for somebody like me who's too lazy to look
37:02
Speaker 1: at the behind the scenes stuff. They actually filmed this, Yeah,
37:06
Speaker 1: did they actually film it and then cut it or
37:07
Speaker 1: did they just write it and they looked at the
37:09
Speaker 1: script and they were like.
37:11
Speaker 3: And they cut it and they changed it to fight
37:13
Speaker 3: the Empire?
37:15
Speaker 1: But see, this is this is something that's crazy to me, right,
37:20
Speaker 1: is we all have in our brains this idea that
37:27
Speaker 1: the studios, whether it's for a Marvel movie, whether it's
37:30
Speaker 1: for a DC movie, whether it's for Star Wars, and
37:33
Speaker 1: or that there's somebody on set at all times from
37:38
Speaker 1: the board like this evil. You know, it's almost like
37:42
Speaker 1: Cancer Man from the X Files. They're standing in shadow
37:46
Speaker 1: behind the production team, like you can't put that in there.
37:49
Speaker 1: It's so fascinating to me that something like that made
37:51
Speaker 1: it all the way to the point where like here's
37:53
Speaker 1: our finished episode and somebody's sitting in the room like, yeah,
37:58
Speaker 1: one note, let's just change She's already saying, yeah, yeah,
38:02
Speaker 1: the f sound is already coming out. She's changed that
38:04
Speaker 1: to height.
38:05
Speaker 3: Yeah yeah.
38:07
Speaker 1: So I think it's crazy that it made it that far.
38:10
Speaker 1: I agree before they made that.
38:12
Speaker 3: Change one of the things because you know, it plays
38:16
Speaker 3: with both of the episodes. But we learn here and
38:19
Speaker 3: it seems to do the very thing that Luthen wanted
38:25
Speaker 3: it to. By Saul not going to help Krieger, the
38:29
Speaker 3: empire feels like it's one. And yet the only person
38:33
Speaker 3: who seems to not think that is Dedra, and that
38:38
Speaker 3: is because she seems to be the only one who's
38:41
Speaker 3: thinking with the mind of a scalpel, and the rest
38:45
Speaker 3: of the empire is thinking as a bludgeoning hammer.
38:51
Speaker 1: And well, you see, you see the politics come in.
38:53
Speaker 1: I'm sorry to catch off, but yeah, yeah, you see
38:56
Speaker 1: the politics come in. It's about wiping the taste of
38:59
Speaker 1: al Dan from the Emperor's mouth.
39:02
Speaker 3: Yeah, which is interesting because I think that's a nuance
39:08
Speaker 3: that we haven't necessarily gotten a ton in Star Wars
39:11
Speaker 3: is showing that side of the undermining of the rebellion
39:16
Speaker 3: because you're all beholden to this one all powerful person
39:21
Speaker 3: who you're trying to make happy, and trying to make
39:24
Speaker 3: them happy isn't always the best thing for the best thing, right, Like,
39:32
Speaker 3: I find that to be incredibly fascinating.
39:35
Speaker 1: I think there are a lot of people that work
39:37
Speaker 1: for companies that are relating to the feeling of that
39:43
Speaker 1: scene where yea, it's like, but this is what we
39:46
Speaker 1: should do. No, this is not about what we should do.
39:48
Speaker 1: It's about keeping you know, the c suite or the
39:51
Speaker 1: execs happy. That's basically this conversation. Yeah, And I guarantee
39:56
Speaker 1: you there are tons of people who watch that scene
39:58
Speaker 1: and they're like, oh yeah, this is I get this one.
40:04
Speaker 1: A beautifully played scene though, I really, I really love
40:08
Speaker 1: the way the scene is played. But you know what,
40:10
Speaker 1: I want to go back to the inciting thing with that,
40:12
Speaker 1: because what really really stuck with me is two things
40:19
Speaker 1: about Forrest Whittaker, you know as Sawgerera. Three things. One,
40:26
Speaker 1: I mean, one of the best casting decisions they've ever
40:29
Speaker 1: made in high gred I mean his casting is Sawgerera.
40:33
Speaker 1: They didn't know they were going to make this series
40:35
Speaker 1: at the time, but this goes up there with Ian
40:39
Speaker 1: mcjarmidge stepping in as the Emperor in Return of the Jedi.
40:42
Speaker 1: It works so well that you're like, this is literally
40:48
Speaker 1: no other person on the planet could have played this
40:50
Speaker 1: this way. Item number two, I want an episode in
40:57
Speaker 1: season two explaining how he goes from having hair to
41:00
Speaker 1: being shaved at the beginning of Rogue one to having
41:04
Speaker 1: hair again. Just put it out there. Although no weight,
41:08
Speaker 1: he would have no Rogue one, that teaser in Rogue
41:12
Speaker 1: one would have been before this. Ah, there you go.
41:15
Speaker 1: I just explained it for myself. All right, I'm gonna
41:18
Speaker 1: pull that note back, all right, Sorry, mister Gilroy. Continuity
41:22
Speaker 1: is okay on that one. You heard me correct myself
41:24
Speaker 1: in real time. But third, what I thought was a
41:29
Speaker 1: really interesting thing was with Saw. Obviously, what's breaking him
41:35
Speaker 1: is Luthen has proven to you know, not necessarily trustworthy,
41:39
Speaker 1: not dealing with them on the level. But you see
41:43
Speaker 1: Saws fear when he's basically piecing together. So if you
41:49
Speaker 1: suddenly thought I was expendable, would you just take me it?
41:52
Speaker 1: Would you just let me go die? Like? Bro hey? Right?
41:58
Speaker 1: So I mean, you know, like, is that the best
42:04
Speaker 1: conversational scene in both of these episodes or is there
42:07
Speaker 1: one that's in contention with it?
42:09
Speaker 3: I think that's one of the best conversations in the series.
42:16
Speaker 3: And the reason for that is is because I think
42:20
Speaker 3: the reason that Saw actually ends up choosing to not
42:24
Speaker 3: go save Krieger is that he realizes, if I truly
42:29
Speaker 3: believe that this is worth fighting, then whether I survive
42:38
Speaker 3: or not is not the point. Whether I'm expendable or
42:42
Speaker 3: not is not even the point, because the point is
42:47
Speaker 3: us freeing the galaxy from the Empire. And to me,
42:52
Speaker 3: that's the rationale that allows me to understand. Then why
42:56
Speaker 3: he chooses to do what he does is because that
43:01
Speaker 3: clicks for him. Does he like it?
43:03
Speaker 1: Probably not?
43:04
Speaker 3: But does he I think he get it. Yeah, I
43:06
Speaker 3: think he gets that. And I also think though, that
43:11
Speaker 3: it builds into the idea of, you know, when we
43:14
Speaker 3: see Saw in Rogue one, is it's just one more
43:21
Speaker 3: you know, brick in the wall for him of his
43:25
Speaker 3: paranoia to the point where he's almost completely paralyzed in
43:31
Speaker 3: inque Can.
43:32
Speaker 1: I be honest with you that what I sincerely hope
43:35
Speaker 1: does not happen in season two is I hope they
43:39
Speaker 1: don't spend screen time showing him hanging out with or
43:43
Speaker 1: getting or capturing the poor gullet. Oh. I don't think
43:47
Speaker 1: they're gonna have time with that moment, you know, Yeah,
43:49
Speaker 1: I sincerely hope not. I don't like that. That's the
43:54
Speaker 1: one thing I'll give the show credit for is there
43:56
Speaker 1: are other shows that would waste that scene of you know,
44:00
Speaker 1: here is my due pet the boor gut right. I'm
44:04
Speaker 1: just hoping that doesn't agree.
44:06
Speaker 3: So yeah, So we we talked just a little bit
44:11
Speaker 3: about this. But on the other side of the choice
44:17
Speaker 3: that Mon makes is that yes, she sells out her
44:23
Speaker 3: husband basically yep, but she's also still moving forward with
44:33
Speaker 3: Davos in his offer for her daughter, And so I
44:39
Speaker 3: wanted to ask you about how you felt about that,
44:42
Speaker 3: because if she does this thing where she sells out
44:46
Speaker 3: her husband, you know, I mean, is it necessary for
44:49
Speaker 3: her to necessarily go down this route or is she
44:51
Speaker 3: doing this just because she also still needs to have access,
44:57
Speaker 3: you know, to the money.
45:00
Speaker 1: I think it's more noble than that. Honestly, I think
45:03
Speaker 1: that mon Mathma sees the way things can go, the
45:08
Speaker 1: way things are pointing, and I think she is sacrificing
45:12
Speaker 1: her husband to buy herself time, but she understands her
45:16
Speaker 1: daughter at least has to be taken care of if
45:19
Speaker 1: things go south as okay, the possible escape routs shrink,
45:24
Speaker 1: she's at least got her daughter in a spot where
45:27
Speaker 1: she's going to be safe. So she's making one of
45:31
Speaker 1: those like really noble choices that you never get credit
45:36
Speaker 1: for making, because that's just how the world works sometimes,
45:38
Speaker 1: where you just don't get credit for taking the right
45:41
Speaker 1: path or protecting someone because they just don't see it
45:46
Speaker 1: and you'll ruin everything if you tip your hand.
45:48
Speaker 3: Well, and I mean, her daughter is not actually against this, right,
45:54
Speaker 3: her daughter is actually into the idea of the traditional
45:59
Speaker 3: ways on chin and so therefore this might actually be
46:03
Speaker 3: the first thing that her daughter sees her doing for
46:06
Speaker 3: her that she's appreciative of, which is interesting, right even
46:10
Speaker 3: though my Mathma clearly isn't excited about this still and
46:14
Speaker 3: you know, yeah, we the episode culminates obviously in rebellion,
46:26
Speaker 3: and then well we have our favorite characters escape, and
46:35
Speaker 3: we have then the end where and Or selflessly offers
46:43
Speaker 3: himself to Luthen saying, take me in, Or, let's do
46:49
Speaker 3: this thing. And so I wanted to ask you about
46:52
Speaker 3: how you felt about that, as you know, kind of
46:55
Speaker 3: the end of the season, because I don't know, coming
47:00
Speaker 3: end of the season if we would all think of
47:02
Speaker 3: I mean, obviously we know and Or's going to survive,
47:05
Speaker 3: but all these other people, it's like, I don't expect
47:07
Speaker 3: there to really to be a happy ending for a
47:09
Speaker 3: lot of people at the end of the season, and
47:11
Speaker 3: there was a way happier ending for a lot of
47:13
Speaker 3: them that I was glad that they did survive than
47:15
Speaker 3: I thought might.
47:18
Speaker 1: Yeah. I think I think it's a very good ending.
47:21
Speaker 1: I like the fact that they have that quasi cliffhanger
47:29
Speaker 1: because it feels right that even if they didn't have
47:34
Speaker 1: a season two, if I go from this and pick
47:38
Speaker 1: up and or in rogue one. I'm okay with that.
47:42
Speaker 1: It works. It still works, you know, kill me or
47:46
Speaker 1: take me in boom and the next time you see him,
47:49
Speaker 1: Oh okay, Well it's like that whole serial mentality. Maybe
47:53
Speaker 1: I'll get an episode that fills in those too late
47:57
Speaker 1: or something like that. Yeah. Yeah, I mean I think
48:00
Speaker 1: it's very effective. I think that the part of it
48:05
Speaker 1: that I still I don't know. I mean, this is
48:09
Speaker 1: the thing that I'm trying to sort of like hold
48:10
Speaker 1: on to here is, you know, as we're talking about
48:16
Speaker 1: the ending and everything, and we're coming to the close
48:18
Speaker 1: of the discussion and everything, how do you feel about
48:21
Speaker 1: the quasi sexual energy that Dider and Cyril are given
48:26
Speaker 1: off at the end of this Like it just feels weird.
48:33
Speaker 1: You know.
48:35
Speaker 3: It's one of those things where I pretty much remember.
48:38
Speaker 3: I was trying to remember it. I thought, I think
48:40
Speaker 3: we talked about this a little bit when we actually
48:42
Speaker 3: discussed you know, the episode for six o two club,
48:49
Speaker 3: you know, back when it came out. And look, I mean,
48:56
Speaker 3: what's weird about it is that it's not all that
49:00
Speaker 3: an ununderstandable that in this moment of incredibly heightened emotion,
49:11
Speaker 3: there's this you know, she's had this person save her,
49:14
Speaker 3: and then she has this person who seems to just
49:19
Speaker 3: be there for her when she almost could have died,
49:22
Speaker 3: right and and so yes, I think it's incredibly weird,
49:28
Speaker 3: and I agree with you on that.
49:32
Speaker 1: I don't.
49:34
Speaker 3: Other than that, though, I mean, I don't know it. Yeah,
49:37
Speaker 3: it's it's not the greatest. And again, I still, you know,
49:46
Speaker 3: the weird part about this is that I'm still left
49:51
Speaker 3: wondering as to exactly what his purpose is on the
49:57
Speaker 3: show other than the fact that he's like there to
50:00
Speaker 3: save her at the end. It still seems just incredibly
50:04
Speaker 3: strange to me.
50:05
Speaker 1: So no, that's it, you know, that's it. Cyril's a
50:14
Speaker 1: character I still struggle with. It's the one major criticism
50:17
Speaker 1: I'll have, and I'll wrap myself up with this one.
50:20
Speaker 1: Is for some reason, there's a part of me that
50:24
Speaker 1: just feels that the wrap up with the aftermath of
50:27
Speaker 1: the riot. I'm very satisfied with what they do with
50:30
Speaker 1: the Indoor, getting everybody to the ship and the way
50:32
Speaker 1: it ends with Luthen, but I don't feel that it
50:35
Speaker 1: was wrapped up neatly enough with Deirdre and the Imperial Garrison.
50:42
Speaker 1: I would have liked to see something extra there establishing Okay,
50:49
Speaker 1: we've quelled it, and like her having a moment where
50:51
Speaker 1: she's like, I'm going to have to go back and
50:53
Speaker 1: report this, and she's going to go back kind of humiliated,
50:58
Speaker 1: tail between her legs, this that she champion and was
51:01
Speaker 1: so focused on, and we don't need to see her
51:05
Speaker 1: go there, but like at least have a moment where
51:07
Speaker 1: she's like realizing, she's like, oh my career just took
51:10
Speaker 1: a massive hita. You know that I would have liked that.
51:14
Speaker 1: And also, you know, it's just a little too unresolved
51:18
Speaker 1: with her and Ceial, so you know.
51:23
Speaker 3: Yeah, I agree. I do think it's it's a strange thing.
51:30
Speaker 3: And I again I think that I said it from
51:35
Speaker 3: you know, then the beginning of our discussions that he's
51:39
Speaker 3: just the one storyline that I just don't quite understand
51:43
Speaker 3: and I don't quite get. But I think that on
51:48
Speaker 3: a whole for me, I give this season probably like two.
51:55
Speaker 3: I'd say I give this season four point seventy five
51:59
Speaker 3: out of and the reason it can't be a full
52:02
Speaker 3: on five is because the serial storyline, even by the end,
52:08
Speaker 3: still doesn't quite make sense.
52:11
Speaker 1: I wind up giving it a four because it wraps
52:15
Speaker 1: up well that if the ending of your movie is
52:20
Speaker 1: the best part of the movie, then you'll forgive a
52:22
Speaker 1: lot of stuff. If the beginning of your movie is
52:25
Speaker 1: the best part of your movie, then the ending you've
52:27
Speaker 1: burned all your goodwill. By the end. This does the
52:30
Speaker 1: right thing, which is it settles itself down and gets
52:32
Speaker 1: everything out. For me, the serial storyline is more of
52:36
Speaker 1: a detriment to it. Yeah, it never feels like it
52:40
Speaker 1: finds its place again. None of this is the fault
52:44
Speaker 1: of the actors with it. None of this is the
52:48
Speaker 1: fault of anything except they just didn't seem to know
52:54
Speaker 1: in the writer's room how to make that one work.
52:58
Speaker 1: I understand, it's the inciting blah blah blah blah. So
53:00
Speaker 1: I wound up with a four. In a crankier day,
53:05
Speaker 1: I probably wound up giving it a three and a half.
53:07
Speaker 1: But at the end of this rewatch series overall four
53:11
Speaker 1: star series.
53:11
Speaker 3: Nice man, that's great. Well, you know, if people wanted
53:15
Speaker 3: to catch up with you then and see what you've
53:18
Speaker 3: got going as we look towards and or season two,
53:23
Speaker 3: where can they find you?
53:25
Speaker 1: Well, gosh, you can find me. As Kessel Junkie out
53:27
Speaker 1: there in the wild space of the Internet, and you
53:29
Speaker 1: can find me right here on the network, co hosting
53:33
Speaker 1: a show called house Lights with Darren Moser and Tristan Radel,
53:36
Speaker 1: where we have a lot of fun talking about different
53:38
Speaker 1: directors and their movie efforts and everything. It's a time
53:42
Speaker 1: come on by and hang out. And speaking of hanging out,
53:45
Speaker 1: I find myself over the six oh two Club, which
53:49
Speaker 1: is someplace that is where people can find you online.
53:53
Speaker 1: But where else can they find you?
53:54
Speaker 3: Yeah, you can find me all over social media and
53:57
Speaker 3: the named Matt rushing Zo two. Of course, here on
54:00
Speaker 3: the network, you'll find me the show called Our Post
54:02
Speaker 3: with Drake Kaufman as we talked about every single chapter
54:04
Speaker 3: the Harry Potter series, one chapter at a time. You also
54:07
Speaker 3: find me outside of the six poho two Club on
54:09
Speaker 3: the TFM network talking about a lot of different Star
54:13
Speaker 3: Trek shows, Warp five, Artificial Tango, Saddle Up, Strange, We're
54:18
Speaker 3: talking about Strange New Worlds. You know, we've got to
54:22
Speaker 3: the Journey or the ORB. I mean, there's so many
54:26
Speaker 3: great shows over there, so I hope you'll check all
54:27
Speaker 3: of those out. But John, you know, I think it's
54:32
Speaker 3: I think it's Corelli and whiskey night over at the temple.
54:36
Speaker 3: So I think it's time to close these negotiations.
54:39
Speaker 1: Perfect timing. I also want to have them replace the
54:42
Speaker 1: chimes with a gong. Fantastic. That would be pretty cool. Good,
54:48
Speaker 1: good way to bring us back. So Master Rushing negotiations
54:51
Speaker 1: are closed.
54:59
Speaker 3: Join the Revolution, Join the Nerd Party on program