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Second Chance Schwartzy - Red Heat · Thirsty For More - Movie Review

• 0:03
  Speaker 1: Do it? Do it? Come on kill me here, come on.
• 0:10
  Speaker 2: Pcast show. Hello everyone, and welcome to Schwartzy the Podcast,
• 0:16
  Speaker 2: The SCHWARTZI Show.
• 0:19
  Speaker 1: I mean, are we back in time? Of course you're
• 0:24
  Speaker 1: host Malenko and I'm not like, nice to meet you
• 0:27
  Speaker 1: both of them, dude, I mean, what are we doing?
• 0:30
  Speaker 1: What are we doing second chance Schwartzy, Dude, we're trying
• 0:34
  Speaker 1: to relive our heyday after this tri star carl Co
• 0:41
  Speaker 1: and lions Gate triple feature.
• 0:44
  Speaker 2: Well, you know when you see Carlico, you're about to
• 0:46
  Speaker 2: see you probably Schwartzy and it's probably gonna be amazing,
• 0:49
  Speaker 2: you know, after the abject failure that was Bruce playing Bruce,
• 0:57
  Speaker 2: I think, uh, I think it's just which rewards.
• 1:01
  Speaker 1: I think it's time to go back and be like,
• 1:04
  Speaker 1: you know what, what was working for us? When were
• 1:06
  Speaker 1: we happier? Dude?
• 1:09
  Speaker 2: Yeah, and it's not just because of the sadness of
• 1:12
  Speaker 2: the world in twenty twenty four. But Happy New Year?
• 1:17
  Speaker 2: This is our first uh I think official New Year episode? Yeah,
• 1:22
  Speaker 2: So Happy New Year two? So Happy New Year too too.
• 1:25
  Speaker 1: I like it.
• 1:25
  Speaker 2: I didn't listen to Okay, okay, So so we're doing
• 1:29
  Speaker 2: nineteen eighty eight's Red heat of course, And man, I'm
• 1:37
  Speaker 2: like really excited to talk to you about this movie
• 1:39
  Speaker 2: because like because we didn't get a good chance to
• 1:44
  Speaker 2: talk about it the first time. I like, to me, honestly,
• 1:48
  Speaker 2: like that is and like, you know, guess notwithstanding at
• 1:52
  Speaker 2: the time we were trying out stuff, we were brand
• 1:55
  Speaker 2: new podcasts. We had no idea what we were doing.
• 1:57
  Speaker 2: We're like one hundred and fifty two hundredis So it's
• 2:00
  Speaker 2: in basically at this point, and it's like I can
• 2:03
  Speaker 2: call myself a movie critic now, I can call myself
• 2:05
  Speaker 2: a podcaster now. I feel like a Schwartzy season now
• 2:09
  Speaker 2: even would be completely different. I love what it is,
• 2:12
  Speaker 2: and it's it is what it is, and we're not
• 2:14
  Speaker 2: going to like rehash the whole season necessarily necessarily, but
• 2:19
  Speaker 2: second chance Schwartzy is here to talk about the important
• 2:23
  Speaker 2: shit because we didn't. I don't think this movie got
• 2:26
  Speaker 2: the review that it was supposed to get when we
• 2:29
  Speaker 2: reviewed it and we had a guest on and it
• 2:32
  Speaker 2: was fine. I mean, I don't want to comment on
• 2:35
  Speaker 2: anything about anybody else, but I don't want to call it.
• 2:40
  Speaker 1: You know, what's funny about the way that you're doing
• 2:43
  Speaker 1: it is.
• 2:45
  Speaker 2: It's like I used to do the podcast it started.
• 2:49
  Speaker 2: It's not it is like that roboticly like, but.
• 2:53
  Speaker 1: It's it's like one of those things where it's like
• 2:57
  Speaker 1: you spend six hours hating on person and making them
• 3:01
  Speaker 1: feel like a piece of ship, but then you're like,
• 3:03
  Speaker 1: but he's a good who it wasn't wasn't that.
• 3:07
  Speaker 2: I'm gonna blur the name, but Bronson didn't. Bronze used
• 3:10
  Speaker 2: to be a But.
• 3:12
  Speaker 1: You don't have to blurt him. He knows who he was.
• 3:16
  Speaker 1: Friend of the show.
• 3:17
  Speaker 2: Yeah, he's director of my music video is a classic.
• 3:27
  Speaker 2: But he's a good guy guy.
• 3:28
  Speaker 1: Oh yeah, he used to be he used to be
• 3:30
  Speaker 1: a But he's a good guy. But you know, I mean,
• 3:34
  Speaker 1: I'm I'm now about but he's a good guy.
• 3:36
  Speaker 2: So listen, we've all but he's a good guide someone,
• 3:40
  Speaker 2: and we're doing it to the guy. We're doing it
• 3:42
  Speaker 2: to the guy who was on our episode for Red Heat,
• 3:46
  Speaker 2: which is an episode of this podcast that you can
• 3:49
  Speaker 2: listen to, or you could listen to this episode of it.
• 3:52
  Speaker 2: Because Okay, so, like one thing that I want to
• 3:55
  Speaker 2: do with the Red Heat episode is I want to
• 3:57
  Speaker 2: make it a red Heat because since doing this movie,
• 4:01
  Speaker 2: this movie has become the template for us making movies
• 4:07
  Speaker 2: right now because of us.
• 4:08
  Speaker 1: It shuts companies pronounce us and they're looking at us
• 4:12
  Speaker 1: and using us to.
• 4:13
  Speaker 2: Make that movie in our lexicon of what it means
• 4:17
  Speaker 2: to have a kind of like unexpected win. Red Heat
• 4:21
  Speaker 2: was a movie neither of us found to be a
• 4:23
  Speaker 2: Pantheon schwartzy movie. We didn't really know it, and then
• 4:26
  Speaker 2: like when we saw it, we were so entranced by
• 4:29
  Speaker 2: it and became like new Pantheon. And it also became
• 4:32
  Speaker 2: the benchmark for what is a movie that you don't
• 4:36
  Speaker 2: expect to be as good as it's going to be
• 4:38
  Speaker 2: and that it surprised totally. And so I hope that
• 4:43
  Speaker 2: this episode for Red Heat is a Red Heat because
• 4:47
  Speaker 2: we're revisiting our glory days. We have to like make it.
• 4:55
  Speaker 2: We have to knock it out of the park for
• 4:57
  Speaker 2: this episode, which is a lot of pressure. Yes, but
• 5:00
  Speaker 2: I want to do a full episode. I think it
• 5:02
  Speaker 2: deserves to be a full episode.
• 5:04
  Speaker 1: So many things in this movie.
• 5:06
  Speaker 2: That we could talk about in a better way than
• 5:08
  Speaker 2: we talked about the first time.
• 5:09
  Speaker 1: Yeah, for sure, steroids. I got steroids. It's oh my god, dude,
• 5:14
  Speaker 1: And like just and he looked really good in this way.
• 5:17
  Speaker 1: He looked like he looked like Swark. He was built
• 5:21
  Speaker 1: like totally but I steroids. But also the weird thing
• 5:28
  Speaker 1: is like he's like almost like a leaner SCHWARTZI.
• 5:31
  Speaker 2: Wad like walks into the like bath house. Okay, okay,
• 5:35
  Speaker 2: so let's start, let's start talking about this movie. Walks
• 5:38
  Speaker 2: into the bath house and it's like the sexiest sediout vibe.
• 5:43
  Speaker 2: It's like inside you're just like, oh, man, is everyone
• 5:48
  Speaker 2: gonna fuck right now? And maybe they are. It's that
• 5:51
  Speaker 2: kind of Russian bath house dude. And there's like some handies.
• 5:56
  Speaker 1: And having a representation of Asian Russians in this where
• 6:00
  Speaker 1: he puts the hot stone in his hand, he's like, these.
• 6:03
  Speaker 2: Are not a foundry worker's hands. Schwartzy's gentle police hand.
• 6:09
  Speaker 2: And he's like he puts he puts a molten hot stone.
• 6:12
  Speaker 2: He's like, you should be able to take the heat.
• 6:14
  Speaker 2: And then Schwartzy only takes the heat for about fourteen
• 6:17
  Speaker 2: seconds and punches the guy in the face. Yeah, it's
• 6:20
  Speaker 2: not even fourteen seconds, it's like seven seconds. Schwartzy, dude. Yeah,
• 6:24
  Speaker 2: and he's, uh, he's not a foundry worker, he's a
• 6:27
  Speaker 2: police officer.
• 6:28
  Speaker 1: I'm not pleas I'm princess. They get toy back to
• 6:32
  Speaker 1: the carpet. They get fat, right.
• 6:40
  Speaker 2: Of course, and he punches him through the window and
• 6:43
  Speaker 2: then Smed jumps through the window with him, and I.
• 6:47
  Speaker 1: Got yeah, it's a it's an interesting movie in the
• 6:51
  Speaker 1: sense that like the scale, dude, the scale. Yeah, that
• 6:56
  Speaker 1: was something that I was thinking of for a lot
• 6:59
  Speaker 1: of the movie, where not just scale is in. Oh,
• 7:03
  Speaker 1: it's got a budget or whatever, because like schwartzy, how
• 7:05
  Speaker 1: did you guys go paid eight million dollars for this movie?
• 7:08
  Speaker 1: How do you guess?
• 7:09
  Speaker 2: It's film fucking Moscow?
• 7:12
  Speaker 1: Moscow? But like most of the scenes, most of the
• 7:15
  Speaker 1: scenes were filmed in Hungary, how do you guess?
• 7:18
  Speaker 2: Well, how did you guess? But but ten minutes was
• 7:21
  Speaker 2: allowed to be filmed in Moscow and they foutes it looks,
• 7:28
  Speaker 2: it looks and like it looks like documentary footage of
• 7:31
  Speaker 2: what it was like to be around at that time. Yeah, totally,
• 7:34
  Speaker 2: it's that enchanting, and it's not never not enchanting. It's
• 7:38
  Speaker 2: almost untouched too, because it's like pre Berlin wallfalling. It's
• 7:43
  Speaker 2: like right as like relations are being normalized between the
• 7:47
  Speaker 2: United States and Russia. In fact, we see this trajectory
• 7:51
  Speaker 2: in Schwartzy movies because there's this movie where Moscow is
• 7:55
  Speaker 2: like heavily featured and like it's about the Soviet Union
• 7:59
  Speaker 2: and blah blah blah, and it's about the Soviet Union
• 8:01
  Speaker 2: opening up. And then later on we watched Terminator two
• 8:05
  Speaker 2: and John Connor goes, oh, Russia, aren't they are friends?
• 8:09
  Speaker 3: Now?
• 8:10
  Speaker 1: You know what I mean?
• 8:11
  Speaker 2: So like there's this kind of like, isn't everything better now?
• 8:14
  Speaker 2: Didn't capital of capitalism win?
• 8:15
  Speaker 1: Now? Yeah? Totally. Yeah. It's it's interesting too to see
• 8:19
  Speaker 1: the like character that's Schwartzi's Schwartzi's partner be like, oh man,
• 8:31
  Speaker 1: they call you, it'll be like Miami. Now they call you.
• 8:34
  Speaker 2: No, what did they call he had a They gave
• 8:38
  Speaker 2: him like a nickname because it's implied that he's cut.
• 8:42
  Speaker 1: Schwartzy, round headed. They call you round headed.
• 8:46
  Speaker 2: They used to call you what they used to call you, jaw,
• 8:48
  Speaker 2: They used to call you iron jaw. And now they
• 8:50
  Speaker 2: call you svelt Schwartzy, like the sveltish SCHWARTZI that I've
• 8:55
  Speaker 2: ever seen, and also like jet thick brush hair SCHWARTZI,
• 9:01
  Speaker 2: like the thickest hair, fucking flat top three inch flat top.
• 9:09
  Speaker 1: Also known as.
• 9:10
  Speaker 2: Flat I mean, it's kind of amazing, dude, He's like
• 9:15
  Speaker 2: larger than life in this movie in a way that
• 9:18
  Speaker 2: like when he comes out with his muscles and everyone's
• 9:21
  Speaker 2: muscle but you believe that he's the biggest guy because
• 9:24
  Speaker 2: of how they film him from like down and how
• 9:28
  Speaker 2: like everyone's looking at him the thirstiest looks all the guys,
• 9:32
  Speaker 2: all the gals, and then been one in between wants
• 9:35
  Speaker 2: to fuck SCHWARTZI.
• 9:37
  Speaker 1: And then he goes to the This feels almost like
• 9:40
  Speaker 1: a proto Terminator two scene when he goes into the
• 9:43
  Speaker 1: cafe to get them.
• 9:47
  Speaker 2: Totally feels it totally feels like that. But it also
• 9:50
  Speaker 2: contrasted with, honestly, since I'm so a cav now, honestly,
• 9:55
  Speaker 2: when he walks in and he's so police officer and
• 9:57
  Speaker 2: it's this like cool bohemian like leave those zipsters alone.
• 10:02
  Speaker 1: They're just they're just trying to sell cocaine.
• 10:06
  Speaker 2: They're just trying to sell cocaine. And like it's funny
• 10:09
  Speaker 2: because like it looks kind of like a like a
• 10:11
  Speaker 2: proto Berlin scene, like everyone's super bohemian, but they're playing
• 10:15
  Speaker 2: like the most Russian Tom Waits is like, you know
• 10:24
  Speaker 2: what I mean, It's that kind of vibe.
• 10:27
  Speaker 1: Yeah, something that I was also thinking about throughout the movie.
• 10:30
  Speaker 1: I wonder, first of all, I wonder how many of
• 10:33
  Speaker 1: the same points I'm gonna make because I didn't listen
• 10:35
  Speaker 1: to the episode, what I did think about constantly throughout
• 10:38
  Speaker 1: the movie. I've been thinking about this quite a bit
• 10:41
  Speaker 1: because of the fact that so much of my Twitter
• 10:43
  Speaker 1: has gone from hating people who are like pretend to
• 10:47
  Speaker 1: be left wing but like just a reactionaries, to people
• 10:51
  Speaker 1: who pretend to be movie critics but are just reactionaries.
• 10:53
  Speaker 1: So now that's what your algorithms showing. That's exactly what
• 10:56
  Speaker 1: my algorithm is showing me.
• 10:57
  Speaker 2: Isn't a political bent, obviously, it's reactionary.
• 11:01
  Speaker 1: It's all just, oh, like wokeness is destroying something. Yeah, Oh,
• 11:07
  Speaker 1: the new Marvel thing is just beat the other New
• 11:10
  Speaker 1: Marvel thing for being the worst thing, and like the
• 11:13
  Speaker 1: thing is to me, all of those things are just
• 11:18
  Speaker 1: kind of mediocrity. And the shitty thing about it is
• 11:22
  Speaker 1: that even if you have a good point about it
• 11:25
  Speaker 1: being woke or whatever, the problem is is that you're
• 11:30
  Speaker 1: making it out to be so much worse than it is.
• 11:33
  Speaker 1: And ten years from now, twenty years from now, people
• 11:35
  Speaker 1: are gonna be like, you know, they're gonna write fucking
• 11:38
  Speaker 1: think pieces about how actually it wasn't that bad, and
• 11:41
  Speaker 1: people made it out to be much worse than it was,
• 11:43
  Speaker 1: and they did make it out much worse to be
• 11:45
  Speaker 1: was it's mediocre and that's shitty. What specifically, there is
• 11:50
  Speaker 1: a new show called Echo, which I haven't seen. It's
• 11:52
  Speaker 1: a sequel show to Daredevil. It doesn't matter, the new
• 11:57
  Speaker 1: Star Wars. Those aren't very good movies, but are not
• 12:00
  Speaker 1: as bad as these people say. Here's here's the interesting
• 12:05
  Speaker 1: thing and something that is correct quote unquote in the
• 12:10
  Speaker 1: in the sense that they're they're hitting on something that's right,
• 12:14
  Speaker 1: which is which this movie encapsulates really well, which is
• 12:19
  Speaker 1: it's not about politics that makes you like or dislike
• 12:24
  Speaker 1: a character. It's not your personal politics or their politics.
• 12:28
  Speaker 1: What it is and they say it at the end
• 12:30
  Speaker 1: of this movie, which is, we're not politicians. We're Pol'm princess, right,
• 12:42
  Speaker 1: So they can be friends on a different level and
• 12:44
  Speaker 1: they can be but but but even that is the politics.
• 12:51
  Speaker 1: Like take that away entirely, because when people are like
• 12:56
  Speaker 1: I don't want politics in my movies. What they're actually
• 12:59
  Speaker 1: saying is I want my movies to be written better.
• 13:03
  Speaker 1: I want my characters to have three dimension. This movie
• 13:06
  Speaker 1: is written well, this movie exactly, This movie is all well,
• 13:11
  Speaker 1: all these people are so real, they're also real. But
• 13:14
  Speaker 1: also I would hate all of them.
• 13:15
  Speaker 2: I would hate all of them. That's what I was.
• 13:17
  Speaker 2: That's what I realized watching it this time. That was that,
• 13:20
  Speaker 2: like I was so stupid for not realizing the first time. Yeah,
• 13:24
  Speaker 2: is that there's such real cops and pieces of shit
• 13:28
  Speaker 2: the way that man, it's actually kind of amazing, and
• 13:31
  Speaker 2: like Gallagher is an amazing character, and I'm excited to
• 13:36
  Speaker 2: talk about Gallagher. I we didn't get to elaborate on
• 13:38
  Speaker 2: Gallagher enough last time. I don't think, and I think
• 13:42
  Speaker 2: that Jim Belushi's character of Ritzick is actually a brilliant
• 13:49
  Speaker 2: like portrayal and a brilliant like piece of shit cop character. Yeah,
• 13:53
  Speaker 2: he's just like such a fucking asshole.
• 13:56
  Speaker 1: Yeah, he's like, oh those Gonzagas those.
• 14:00
  Speaker 2: Not and like the most obnoxious and he's also racist.
• 14:05
  Speaker 2: He's addict is brother ex brother in law also was
• 14:10
  Speaker 2: also it's kind of amazing though it's kind of amazing
• 14:15
  Speaker 2: and that everyone's a piece of ship.
• 14:16
  Speaker 1: Wait who's Gallay? Wait are you gallaghery is the guy.
• 14:20
  Speaker 1: Gallagher is the guy who.
• 14:21
  Speaker 2: Gets He's the the partner that gets killed, which is
• 14:28
  Speaker 2: what they bond over because he becomes his new partner.
• 14:31
  Speaker 1: Everything is so well written.
• 14:33
  Speaker 2: Brother Okay, Victor's brother dies because in the scene he
• 14:39
  Speaker 2: breaks like break off rips and it's just like lose,
• 14:45
  Speaker 2: just like it's anything. It's just like, I mean, they're bohemians, dude.
• 14:50
  Speaker 2: They want to just be Sherring coca. That's what it is.
• 14:53
  Speaker 2: It's not they're just it's just a taste. It's just
• 14:55
  Speaker 2: early on. He hasn't gotten the real shipment in right,
• 14:59
  Speaker 2: he's actually just testing the market. And it's kind of
• 15:03
  Speaker 2: interesting because they tie it into the story about like
• 15:07
  Speaker 2: it sort of being what capitalism is bringing to the USSR,
• 15:11
  Speaker 2: which is like shown as bad, so it like kind
• 15:15
  Speaker 2: of does this like war on drugs thing in like
• 15:18
  Speaker 2: both Chicago and the Moscow which is interesting also with
• 15:24
  Speaker 2: no sense of like it doesn't feel.
• 15:29
  Speaker 1: Like the director wrote it for like, it doesn't feel
• 15:31
  Speaker 1: like Walter Hill wrote it that way. It feels direct time.
• 15:35
  Speaker 1: It was like that to make this kind of criticism.
• 15:39
  Speaker 2: One hund It feels like they embodied the stereotypes and
• 15:43
  Speaker 2: the ridiculousness of this amped up story so well that
• 15:46
  Speaker 2: it actually had some like impressive truths. Yeah, you know
• 15:50
  Speaker 2: what I mean, including the thing that like I wanted
• 15:53
  Speaker 2: to talk about, which was I think we touched on
• 15:55
  Speaker 2: it in the last episode. But what I really want
• 15:58
  Speaker 2: to hammer home and I thought was super interesting was
• 16:01
  Speaker 2: the kind of like, so they make it this like
• 16:05
  Speaker 2: the clean Heads, which is a fictional gang, and on
• 16:08
  Speaker 2: one hand, they're like coded like a gang, but they're
• 16:12
  Speaker 2: also just like a black liberation movement and like that
• 16:16
  Speaker 2: stuff was all rooted in, and that stuff was all
• 16:19
  Speaker 2: rooted in a lot of like Marxist politics, and so
• 16:22
  Speaker 2: like to make them like sort of like almost their
• 16:26
  Speaker 2: own faction in this whole story of like they're they're
• 16:30
  Speaker 2: like the Russians, but they're actually like this, like you know,
• 16:33
  Speaker 2: because this isn't the Russians, dude, this is the Georgians.
• 16:37
  Speaker 2: And they're shown as like, hey, you guys all treat
• 16:39
  Speaker 2: us like there's a kind of like inner discrimination and.
• 16:42
  Speaker 1: There's a bond between them in the same way that
• 16:45
  Speaker 1: there was an inner bond between Schwartzi and John Belushi.
• 16:50
  Speaker 2: As cops cops, and all of them lose a brother
• 16:53
  Speaker 2: or a partner, so like there's a kind of real
• 16:57
  Speaker 2: like family vibe and like.
• 16:59
  Speaker 1: Underrat with each other, but also.
• 17:02
  Speaker 2: Like polar opposites and like you're like me, so I
• 17:05
  Speaker 2: hate you because I know what I could have become.
• 17:08
  Speaker 1: And also the politics of having Schwartzi be a guy
• 17:15
  Speaker 1: who's part of the system but not really because he's
• 17:20
  Speaker 1: the dirty Harry society's he plays by the rules and
• 17:25
  Speaker 1: he thinks that Americans are stupid for doing things the
• 17:28
  Speaker 1: way they do. But he's still just but he's still
• 17:30
  Speaker 1: he's a young and the interesting thing about Eda ross
• 17:36
  Speaker 1: Victor is that he almost doesn't want to be Russian.
• 17:41
  Speaker 1: Well he changes his name to Victor Rossa.
• 17:45
  Speaker 2: Right Rostini or whatever, and it's interesting he's trying to
• 17:51
  Speaker 2: create his own sort of like image in this new world.
• 17:54
  Speaker 2: And it's kind of cool with like showing how somebody
• 17:57
  Speaker 2: would deal with a change in ideology, Like it's not
• 18:00
  Speaker 2: necessarily like if you're if you've been having to get
• 18:04
  Speaker 2: by by being a criminal in this society, it's sort
• 18:09
  Speaker 2: of there is a kind of like cultural commentary here
• 18:12
  Speaker 2: because it's also showing that like Black Americans have been
• 18:15
  Speaker 2: left behind. Yeah, there's a definite like like a racial
• 18:19
  Speaker 2: solidarity note even though it feels like it, Walter Hill
• 18:23
  Speaker 2: wasn't aware of writing it that way, you.
• 18:25
  Speaker 1: Know, I know, you know what I do think Walter
• 18:28
  Speaker 1: Hill was aware of that aspect. I think the racial
• 18:30
  Speaker 1: aspect was definitely an awareness, even if it's just to
• 18:35
  Speaker 1: portray it as realistically as possible. That's it doesn't matter
• 18:40
  Speaker 1: what his ideological bent was, because he wrote them really
• 18:45
  Speaker 1: really well, like like really insanely well. Yeah, in a
• 18:50
  Speaker 1: way that's just kind of like I've heard. And the
• 18:52
  Speaker 1: reason I know this is also because of Twitter, because
• 18:55
  Speaker 1: people do talk like this, they like anything sort of
• 18:59
  Speaker 1: like characters, Like it's like, oh, this is what I'm thinking,
• 19:04
  Speaker 1: this is how I'm writing, and it's like it's kind
• 19:06
  Speaker 1: of embarrassing, but it's kind of awesome.
• 19:08
  Speaker 2: But it translates well for storytelling like this because this
• 19:12
  Speaker 2: is the this is this movie is so good because
• 19:15
  Speaker 2: it it does exactly what it has to do. Yeah,
• 19:18
  Speaker 2: and like it kind of like accepts everybody's ideology in
• 19:23
  Speaker 2: a in a kind of fair and even handed like
• 19:28
  Speaker 2: un unjudgmental, judgmental. Yeah, yeah, there's no judgment. There is
• 19:33
  Speaker 2: a bias, but there's no judgment. And like all of
• 19:37
  Speaker 2: the the like ideologies are taken at like this sort
• 19:39
  Speaker 2: of like face value that that just like make you
• 19:44
  Speaker 2: as a viewer feel like you're in safe hands because
• 19:46
  Speaker 2: you're like, okay, we're all on an even playing field.
• 19:50
  Speaker 2: And it's that's what makes it such brilliant writing. And
• 19:52
  Speaker 2: that's what I think the movie making does too write
• 19:55
  Speaker 2: because it's like it shows the grandiosity of Moscow. It
• 19:59
  Speaker 2: actually shows Schwartzy in such a favorable and cool respect,
• 20:04
  Speaker 2: like give him very much huge props, you know what
• 20:07
  Speaker 2: I mean, and for like an American movie to be
• 20:10
  Speaker 2: giving like it's kind of a cool, powerful thing that
• 20:15
  Speaker 2: Schwartzy is doing for the image of the USSR.
• 20:19
  Speaker 1: Yeah, oh absolutely, yeah. It feels like a bold move, right,
• 20:22
  Speaker 1: it is a bold move.
• 20:26
  Speaker 2: Because also Schwartzy doesn't ideologically he's a part of the
• 20:31
  Speaker 2: Republican Party. So even though he's not, you know, he
• 20:34
  Speaker 2: like he's like a attas guy or whatever, right like
• 20:38
  Speaker 2: climate and stuff, but like you.
• 20:41
  Speaker 1: Know, he gives about climate, he.
• 20:43
  Speaker 2: Doesn't care about like I don't think he's like like
• 20:46
  Speaker 2: he doesn't like communism, Schwartzy.
• 20:48
  Speaker 1: He likes definitely. But that's that's also the interesting thing
• 20:52
  Speaker 1: because he also seems like he has a lot of
• 20:57
  Speaker 1: interest in the idea of any person in this society
• 21:06
  Speaker 1: can have any ideology they want and not be criminalized
• 21:12
  Speaker 1: for it, and the ones that do get criminalized for
• 21:14
  Speaker 1: it are put in jail. And it is kind of
• 21:17
  Speaker 1: a weird critique when because when they go to prison
• 21:21
  Speaker 1: and the black dude takes off the glasses and he's blind,
• 21:24
  Speaker 1: and he's like, you can't take any you can't take
• 21:27
  Speaker 1: anything from me.
• 21:28
  Speaker 2: I don't have much use what is he the lines
• 21:30
  Speaker 2: he says, I don't have much use for my testicles
• 21:32
  Speaker 2: or my or my or his eyes bench words. He's like,
• 21:35
  Speaker 2: if you don't do this, like I can take it,
• 21:38
  Speaker 2: take out your eyes and he's like, oh, your testicles
• 21:41
  Speaker 2: will end up in a jaw next to your bed.
• 21:44
  Speaker 1: He's like, I.
• 21:44
  Speaker 2: Don't know much use for my testicles and he's like, well,
• 21:47
  Speaker 2: then your eyes will take something else away from you.
• 21:49
  Speaker 2: And he's like, there's nothing you can take away from me.
• 21:52
  Speaker 2: And there's it's such.
• 21:53
  Speaker 1: Like a powerful moment, like Elijah is such an amazing
• 21:59
  Speaker 1: can we get to it? Can get to it? Well,
• 22:00
  Speaker 1: let's let's talk about it in a sec. We will.
• 22:04
  Speaker 1: The thing that I wanted to bring up because we're
• 22:06
  Speaker 1: at the scene now, is the movie does a really
• 22:12
  Speaker 1: nice job of setting up dynamics for Schwartzi and for
• 22:20
  Speaker 1: Belushi in a way that Schwartzy's This is where the
• 22:24
  Speaker 1: ideological part comes in. Schwartzy's bad. Schwartzy needs to get
• 22:29
  Speaker 1: over communism in this movie. He needs to get over
• 22:32
  Speaker 1: being a Soviet guy.
• 22:34
  Speaker 2: That's his like limit, and he kind of like the
• 22:37
  Speaker 2: parts that he really excels are the parts when he
• 22:41
  Speaker 2: gives up a little bit of that like Soviet.
• 22:43
  Speaker 1: Totally, totally.
• 22:44
  Speaker 2: He feels like a free agent here right, Like he
• 22:47
  Speaker 2: feels like he's just he's in the wild West. He's
• 22:50
  Speaker 2: it's kind of a cowboy movie.
• 22:51
  Speaker 1: Yeah, totally. And the thing that John John the good Belushieu, No, Jim,
• 22:57
  Speaker 1: Jim is pretty good too. According to him, Uh, he's
• 23:01
  Speaker 1: pretty good. No, I think he's pretty good. No, according
• 23:05
  Speaker 1: to Jim joke, we didn't get it good at court. Anyway,
• 23:07
  Speaker 1: it doesn't matter. The thing is, no, of course he's great.
• 23:14
  Speaker 1: I think he's great. No, No, he is great. But
• 23:16
  Speaker 1: the way they say he's great is that he is
• 23:20
  Speaker 1: not a good cop. He is just a terrible but
• 23:24
  Speaker 1: he's a terrible person. He's a terrible cop, and he
• 23:27
  Speaker 1: actually does need to learn some order. That's the interesting
• 23:31
  Speaker 1: thing about the buddy cop dynamics. He's too and he's
• 23:35
  Speaker 1: not orderly enough. And they together just like if you
• 23:39
  Speaker 1: meld cops and capitalism together, that's social democracy. Yeah. But
• 23:46
  Speaker 1: you know, like the thing is Laurence Fishbourne represents the
• 23:52
  Speaker 1: kind of square by the book kind of guy dude.
• 23:56
  Speaker 1: Larry Fishburne's character is amazing, so amazing and so interesting,
• 24:00
  Speaker 1: such a good looks like well this glasses at the square,
• 24:06
  Speaker 1: like perfectly tailored. You know.
• 24:08
  Speaker 2: I think that was on purpose, of course, because because
• 24:11
  Speaker 2: I think they wanted to get a law in order,
• 24:14
  Speaker 2: because the whole ideology of.
• 24:15
  Speaker 1: This movie is this, this movie has.
• 24:18
  Speaker 2: A law and order message, right, like we are actually
• 24:21
  Speaker 2: bonding through law and order. And that's why the whole
• 24:25
  Speaker 2: message at the end is like, hey, I'm actually you know,
• 24:28
  Speaker 2: we're not politicians, were cops and we all like answer
• 24:32
  Speaker 2: to the same sort of like grand uh you know,
• 24:38
  Speaker 2: like principle, and that's we have to follow law and
• 24:42
  Speaker 2: order whatever that happens to be. However, we do take
• 24:46
  Speaker 2: liberties with that, and like there's a kind of like
• 24:49
  Speaker 2: you know there, it's almost like just a libertarian message, right,
• 24:53
  Speaker 2: like a libertarian through law and order. Like I don't
• 24:56
  Speaker 2: know if that's incongruent with each other, but like Larry Bishburn,
• 25:00
  Speaker 2: I think is coded very much as like like looking
• 25:04
  Speaker 2: like a Malcolm X kind of guy or looking like
• 25:07
  Speaker 2: what really like hear me out, I think because they
• 25:12
  Speaker 2: want to be like, no, look, because we have this
• 25:16
  Speaker 2: side contingent in this movie of like black militia and
• 25:21
  Speaker 2: like black Americans that are are like in opposition to
• 25:28
  Speaker 2: law and order through socialism Marxist beliefs.
• 25:34
  Speaker 1: Wait, why would wait, why would he be a Malcolm X?
• 25:37
  Speaker 2: Then, because they want to be like, they want to
• 25:40
  Speaker 2: code a guy who is a law and order guy
• 25:42
  Speaker 2: like that, so they would be like, well, we're not
• 25:45
  Speaker 2: saying that this is bad, but we're saying that this
• 25:47
  Speaker 2: is also an option, you know what I mean. It's
• 25:49
  Speaker 2: a part of the movie trying not to be judgmental.
• 25:51
  Speaker 2: It's like being like, hey, we have a black eye too,
• 25:54
  Speaker 2: and this black eye looks like one of your black guys.
• 25:57
  Speaker 2: But he's one of our black guys. Okay, okay, feels
• 26:00
  Speaker 2: like that because he's like very much in the Law
• 26:03
  Speaker 2: and Order camp, right, Yeah, for sure, he's like also
• 26:06
  Speaker 2: represents that because he's like trying to rein in Jim
• 26:09
  Speaker 2: Belushi the whole movie, right.
• 26:11
  Speaker 1: I But what I think it is is that maybe
• 26:15
  Speaker 1: I just think that he's representing a guy who's maybe
• 26:20
  Speaker 1: I'm reading well, to me, he's representing a guy that's
• 26:24
  Speaker 1: like a square the thing that John Jim Belushi isn't,
• 26:27
  Speaker 1: which is like a fat slob who's like a loser racist,
• 26:34
  Speaker 1: like misogynist, misogynistic. But like even even like pulling that
• 26:39
  Speaker 1: guy aside and being like you look like Marvin Hagler
• 26:44
  Speaker 1: and it's like I love Yeah, It's like it's like
• 26:49
  Speaker 1: this this guy, it's actually such an interesting character study
• 26:53
  Speaker 1: if you're like looking at it as like wow, like
• 26:56
  Speaker 1: because I remember, like the first time I watched it,
• 26:58
  Speaker 1: I was like, man, this guy is such a fucking asshole.
• 27:01
  Speaker 1: Fuck this guy.
• 27:02
  Speaker 2: But like actually what makes the like trajectory of his
• 27:06
  Speaker 2: like sort of lovability and like relationship to Schwartzy is
• 27:12
  Speaker 2: that he's a bad person and a bad cop.
• 27:14
  Speaker 1: Yeah, exactly, And that's what I think they're trying to
• 27:17
  Speaker 1: contrast with Larry Freshburne and the other dude. That's that'scause
• 27:20
  Speaker 1: they're good, because they're because they're like they're all of
• 27:25
  Speaker 1: their ties are perfectly in line, their suits fit, they're
• 27:28
  Speaker 1: they're both talking to each other like they're gonna solve
• 27:32
  Speaker 1: this problem by the book or I don't think it's.
• 27:36
  Speaker 2: Sorry, you don't think it's like by design that like
• 27:40
  Speaker 2: we have a very sort of authoritative law and order
• 27:44
  Speaker 2: black guy in this Larry Fishburne role, contrasting the like
• 27:49
  Speaker 2: kind of like more revolutionary radical black group. Oh no,
• 27:54
  Speaker 2: I think that's portrayed as drug dealers, but they're portrayed
• 27:57
  Speaker 2: as drug dealers funding a more revolutionary kind like they
• 28:00
  Speaker 2: have their own section in Peace. Yeah, yeah, totally, and
• 28:03
  Speaker 2: it's fictional. They're called the clean Heads, which is like
• 28:06
  Speaker 2: associating them with skinheads. It's kind of interesting, like black skinheads.
• 28:10
  Speaker 1: Well, no, I think I think the clean Heads is
• 28:13
  Speaker 1: that they don't do drugs because they're purre and that,
• 28:17
  Speaker 1: and that they're selling drugs to America.
• 28:21
  Speaker 2: Yeah, the oppressor to ruined white America. And then he's
• 28:24
  Speaker 2: all that's why he's like as far as I'm.
• 28:26
  Speaker 1: Concerned, it can go to Russia. It can go to
• 28:28
  Speaker 1: Russia too. Exactly, Yeah, exactly, I don't I.
• 28:32
  Speaker 2: Hear you don't treat your own people. He kind of
• 28:34
  Speaker 2: says that there's that whole area where he's like, I'm
• 28:36
  Speaker 2: the real Marxist.
• 28:37
  Speaker 1: Yeah, exactly exactly. That's why I think the the like
• 28:42
  Speaker 1: idea that having a clean quote unquote, clean cut black
• 28:49
  Speaker 1: eye on the force is that contrast. That's why I
• 28:51
  Speaker 1: don't see interesting but Malcolm x stuff or the well, they.
• 28:55
  Speaker 2: Wanted to make it seem like I don't know, maybe
• 28:58
  Speaker 2: they wanted to make it seem like or just likery.
• 29:00
  Speaker 2: Fishburn just looked like himself.
• 29:01
  Speaker 1: I mean, also Larry Fishbourne is he does look good.
• 29:04
  Speaker 1: He looks really good in the movie.
• 29:06
  Speaker 2: He looks amazing, He looks amazing, and like he's also
• 29:10
  Speaker 2: just such a I don't think we talked about him
• 29:12
  Speaker 2: enough last time, Like he's such a good presence in
• 29:15
  Speaker 2: the movie, Like he's such a good role. Like there
• 29:18
  Speaker 2: really is a vibe the whole time with his interaction
• 29:22
  Speaker 2: with Art Ritzick where it's like, also, I think that
• 29:28
  Speaker 2: Art Ritzick, he I think he's got a Polish last name.
• 29:31
  Speaker 2: On purpose to be like people that escaped communism. So
• 29:35
  Speaker 2: it's like it's got this like old Polish immigration where
• 29:39
  Speaker 2: they hated being under Russian rule or USSR rule and
• 29:43
  Speaker 2: so they left communism. It feels like there's that like, hey,
• 29:47
  Speaker 2: America is the land of opportunity for immigrants who get
• 29:50
  Speaker 2: to be police officers, working class guys, real guys.
• 29:53
  Speaker 1: Yeah, real guys, Chicago guy.
• 29:56
  Speaker 2: It feels felt very like every man, you know what
• 29:59
  Speaker 2: I mean. Man, it's such an interesting movie. It's such
• 30:02
  Speaker 2: an interesting and like watching it in these kind of
• 30:05
  Speaker 2: like just with thinking about the signifiers and signs that
• 30:10
  Speaker 2: they're using in the movie actually makes it such a
• 30:13
  Speaker 2: brilliant experience and actually makes me make it feel like
• 30:17
  Speaker 2: a Western dude.
• 30:18
  Speaker 1: Yeah, yeah, totally. And when they get introduced and and
• 30:23
  Speaker 1: to like emphasize this difference not just between Schwartzi and
• 30:29
  Speaker 1: and Jim Belushi, but between Gallagher and Schwartzi, where Gallagher
• 30:37
  Speaker 1: goes like he's trying to be nice, he's trying to
• 30:40
  Speaker 1: like and he's relations with the Russians.
• 30:43
  Speaker 2: Dude, it's amazing, and it's he's doing it in the
• 30:45
  Speaker 2: most Americans in the American way, where like sometimes Americans
• 30:50
  Speaker 2: think if they're just like super sincere with their emotions.
• 30:54
  Speaker 2: This is what's so interesting about this contrast, too, is
• 30:56
  Speaker 2: like I don't think Walter Hill even knew how well
• 30:59
  Speaker 2: he was writing Russians, of course, you know what I mean,
• 31:01
  Speaker 2: Like this is such a Slavic vibe and like Serbians
• 31:04
  Speaker 2: and like Balkan stuff. It's a little different than Russians
• 31:07
  Speaker 2: in terms of the vibe, but I get the whole. Like,
• 31:11
  Speaker 2: you don't come to someone with your emotions like this,
• 31:14
  Speaker 2: You don't come to someone so sincerely like this, because
• 31:17
  Speaker 2: it's considered a weakness, you.
• 31:19
  Speaker 1: Know what I mean.
• 31:20
  Speaker 2: And like he actually wrote that really well. I know
• 31:22
  Speaker 2: he just thought he was writing like a rigid Russian,
• 31:25
  Speaker 2: but like, actually it's done so well. It's such a
• 31:28
  Speaker 2: brilliant contract.
• 31:29
  Speaker 1: And the funny thing is is that it totally brings
• 31:33
  Speaker 1: the similarities also out in both of them, because they're
• 31:37
  Speaker 1: both standoffish, they're both arrogant, they're a Jim Belushi and Schwartzky.
• 31:42
  Speaker 1: They're different cores exactly. That's what's interesting about my experience
• 31:48
  Speaker 1: of I don't know what your experience having gone to Russia,
• 31:51
  Speaker 1: but like there is something about because to Russian. Yeah,
• 31:56
  Speaker 1: there is something about the type of Russian exceptionalism that
• 32:00
  Speaker 1: exists like American Yes, and and also the entitlement. Yes.
• 32:07
  Speaker 2: Anytime I've seen like Russian tourists anywhere, they act like
• 32:11
  Speaker 2: they're they don't act like Americans, do it in a
• 32:14
  Speaker 2: way that they're loud and obnoxious, and that's what this
• 32:17
  Speaker 2: movie is showing, like where they're just like, well, we
• 32:19
  Speaker 2: don't think you care, buddy, because we're Americans, you know,
• 32:23
  Speaker 2: and like and and with Russians, it's there's kind of
• 32:26
  Speaker 2: like a dignifiedness of like they think that that that
• 32:29
  Speaker 2: is very brutish and simple, and they're more kind of
• 32:33
  Speaker 2: like reserved, but they're also kind of like a little
• 32:36
  Speaker 2: vulgar with their kind of like I don't care, you're arrogant,
• 32:41
  Speaker 2: and I'm better than you.
• 32:42
  Speaker 1: You know, Like there's I don't care, but also and
• 32:45
  Speaker 1: I'm I'm arrogant, but also like and that's vulgar.
• 32:51
  Speaker 2: And morally I'm somehow superior superior to you no matter what.
• 32:56
  Speaker 2: There's a kind of I think that that's something that
• 33:00
  Speaker 2: eighties movies and nineties movies captured about Russians is there's
• 33:04
  Speaker 2: a kind of like indignation to like, you Americans think
• 33:09
  Speaker 2: that you're all that shit and you're actually fucking hypocrites
• 33:13
  Speaker 2: and stupid. Yeah, And Americans are like, well, we may
• 33:16
  Speaker 2: be hypocrites and we may be stupid, but we're the
• 33:19
  Speaker 2: best of hypocrits hip. And so there's a kind of
• 33:23
  Speaker 2: like nobody's gonna tell us what to fucking do. Yeah,
• 33:26
  Speaker 2: I'm American. Yeah, And it's kind of amazing because like
• 33:30
  Speaker 2: they're both so arrogant and like unaware of the way
• 33:33
  Speaker 2: in which they're they're arrogant and vulgar. There's a vulgarity
• 33:37
  Speaker 2: to it, and there's a kind of like brutishness of like, hey,
• 33:41
  Speaker 2: how's it going. And even that's shown in this way
• 33:43
  Speaker 2: of like it's received by Schwartzy is like wow, that's
• 33:47
  Speaker 2: a lot like yeah, totally calm down, we're just colleagues.
• 33:52
  Speaker 2: You're just picking me up. And he's like fine, I'm fine. Yeah,
• 33:56
  Speaker 2: And that's totally contrasted with that kind of like square.
• 34:00
  Speaker 1: Schwartzy, Yeah totally, And it's like they want to do
• 34:03
  Speaker 1: this thing of like oh, they're both he's such a
• 34:06
  Speaker 1: square and he's such a loose guy, but really such a.
• 34:10
  Speaker 2: Mel gives in loaded weapon type lethal weapon. Yeah, totally.
• 34:17
  Speaker 1: They love the eighties, loved like a loose cannon guy. Yeah,
• 34:23
  Speaker 1: loose cannon. Yeah. So they get like, you know, Schwartzy
• 34:28
  Speaker 1: gets picked up. You know, he's like, oh, yeah, you know,
• 34:33
  Speaker 1: Chicago has been hot lately, hotter than usual. The humidity
• 34:36
  Speaker 1: gets to you.
• 34:39
  Speaker 2: Like hot, no humidity, humidity, you know, moisture. He kind
• 34:45
  Speaker 2: of condescends to him in a way that Schwartzy picks
• 34:49
  Speaker 2: up on. And like the brilliance of Schwartzy's performance in
• 34:54
  Speaker 2: this movie is how subdued it is. It felt like
• 34:58
  Speaker 2: he was channeling a terminator thing, but with more awareness
• 35:03
  Speaker 2: and with more calculation. It was speaking of Mel Gibson.
• 35:06
  Speaker 2: It was like Mel Gibson and dragged across concrete because
• 35:08
  Speaker 2: mel Gibson knows.
• 35:09
  Speaker 1: How much power he has just being being a police officer,
• 35:14
  Speaker 1: quiet and but like being like low key and intense.
• 35:18
  Speaker 2: Right right, Oh, you're saying Schwartzy's performance, Yeah, Schwartze's performances
• 35:23
  Speaker 2: is similar to that, where it's like no, no, no, just
• 35:26
  Speaker 2: pull back, don't don't put it up to ten, Well,
• 35:29
  Speaker 2: put it down to two.
• 35:30
  Speaker 1: I would argue.
• 35:31
  Speaker 2: I would argue that Mel Gibson's performance in Dragged Across
• 35:35
  Speaker 2: Concrete is way more like an enlightened art ridsick. Yeah,
• 35:40
  Speaker 2: it could be totally still has that brash American dickness,
• 35:44
  Speaker 2: He's not Schwartzy levels of like there's kind of like
• 35:48
  Speaker 2: a method to Schwartzy almost they want to show that
• 35:51
  Speaker 2: he's principled totally. I'm just saying, as in Law and Order,
• 35:55
  Speaker 2: as an actor, like when you direct somebody, it's like, oh, okay,
• 36:00
  Speaker 2: there are levels to this performance that you're going to
• 36:03
  Speaker 2: be totally that that as a Walter Hill, I'm gonna
• 36:08
  Speaker 2: be like all the other ones, Especially when you're yelling
• 36:12
  Speaker 2: or when you're being intense in a way where it's
• 36:14
  Speaker 2: like you're showing emotion.
• 36:16
  Speaker 1: This is like, well, let's pull that back.
• 36:18
  Speaker 2: Well, because Schwartzy does a lot of really amazing eye
• 36:21
  Speaker 2: communication in this movie, and a lot of eye acting
• 36:24
  Speaker 2: and a lot of sort of like acting also with
• 36:29
  Speaker 2: body and posture and kind of like you can see
• 36:34
  Speaker 2: this as like a one note like sort of brutish performance,
• 36:38
  Speaker 2: but I really think that this is a quite a
• 36:40
  Speaker 2: nuanced performance, like a lot of eye acting, a lot
• 36:44
  Speaker 2: of like heavy lifting with his like Schwartzy eyes and
• 36:48
  Speaker 2: like forehead, dude. Yeah, like Schwartzy did some good but
• 36:55
  Speaker 2: like turned down, like if someone told me how to
• 36:59
  Speaker 2: be subtle?
• 37:00
  Speaker 1: Yeah, exactly. I like that.
• 37:04
  Speaker 2: We get also little snippets of information here and there
• 37:08
  Speaker 2: that just like complete the story so well. Like earlier
• 37:12
  Speaker 2: the cop comes to schwartzeens like Victor escaped with two
• 37:17
  Speaker 2: associates Tatamovich and I forget what the other guy's they was,
• 37:21
  Speaker 2: but they're such good names and they and there's kind
• 37:24
  Speaker 2: of like an emotional response towards he has of like
• 37:27
  Speaker 2: he's not allowed to get away with this.
• 37:29
  Speaker 1: He killed my partner. Yeah, and man, we didn't.
• 37:34
  Speaker 2: Talk what is it Stepanovic and Tatamovich?
• 37:38
  Speaker 1: Maybe, dude, can.
• 37:40
  Speaker 2: We also talk for a second about the amazing Victor's brother.
• 37:45
  Speaker 1: The balding guy with oh, yeah.
• 37:47
  Speaker 2: Totally like such good faces, such good Russian face casting
• 37:52
  Speaker 2: in this.
• 37:53
  Speaker 1: Yeah. There there's a nice thing about also, these these
• 37:57
  Speaker 1: kinds of movies where they contrast, compare and contrast some
• 38:03
  Speaker 1: people's that are just like, oh, this is great. This
• 38:06
  Speaker 1: feels like real life but heightened real life. What's the
• 38:11
  Speaker 1: actor's name again? Who played Victor? Drossah, oh Eda Ross. Yeah,
• 38:21
  Speaker 1: he's a really good actor. He's a really good actor.
• 38:23
  Speaker 1: He does look very Russian, even though I think he's
• 38:27
  Speaker 1: just American. Yeah, I think he's just totally American. Yeah.
• 38:33
  Speaker 2: And he's great, he's great. He's he's like such a
• 38:38
  Speaker 2: good villain. And I think he's actually such an interesting
• 38:42
  Speaker 2: villain because I think there's the movie wants us to
• 38:45
  Speaker 2: be able to understand his perspective as well.
• 38:48
  Speaker 1: It doesn't leave really well, right. Yeah. In fact, even
• 38:52
  Speaker 1: the comparisons between going to Russia to the cafe at
• 38:58
  Speaker 1: the beginning of the movie where Schwartzy comes, and then
• 39:02
  Speaker 1: Schwartzy asking Art like where did Victor stay? And then
• 39:08
  Speaker 1: he's like, oh, in this hotel, it's like a shithole.
• 39:11
  Speaker 1: It's got pimps and and pushers, the classic and the like.
• 39:16
  Speaker 2: Just like doesn't realize how much information he's giving away freely,
• 39:20
  Speaker 2: and Schwartzy's like, take me there, Like he just immediately
• 39:24
  Speaker 2: knows that he wants to go there, because he's like
• 39:27
  Speaker 2: he's he wastes no time. It shows the efficiency of
• 39:31
  Speaker 2: his methods.
• 39:31
  Speaker 1: And not just that, but like also going to the
• 39:34
  Speaker 1: same types of places, but the American equivalent of those
• 39:38
  Speaker 1: types of places.
• 39:39
  Speaker 2: Exactly the bohemia vibes.
• 39:42
  Speaker 1: And stuff like that, right, and it's like, oh, this
• 39:45
  Speaker 1: is where this is the American equivalent of this, except
• 39:49
  Speaker 1: it's grosser. It's ceder. It's not it's not it feels it's.
• 39:54
  Speaker 2: Not Tom Waits.
• 39:57
  Speaker 1: It's like, the interesting thing is that here, it's down under. Here,
• 40:03
  Speaker 1: it's like subdued. And and because in america's exactly whereas it's
• 40:09
  Speaker 1: all corruption in the us R. Yeah, it's all just
• 40:14
  Speaker 1: a yeah, exactly.
• 40:17
  Speaker 2: Everybody's called cult corsom steroids.
• 40:19
  Speaker 1: Yeah, totally. I mean they have to do. They have
• 40:22
  Speaker 1: to be in that bath house and the fuck. And
• 40:25
  Speaker 1: then we get introduced to Peter Boyle, who is taller
• 40:29
  Speaker 1: than Twartzy and has some kind of sore on the
• 40:32
  Speaker 1: back of his head. It's like I was watching it.
• 40:34
  Speaker 2: At the h D and I was like, oh my god, Peter,
• 40:38
  Speaker 2: into your head. It's I got my skin cancer treatment.
• 40:41
  Speaker 2: It's just it's it's not healed yet.
• 40:44
  Speaker 1: He is do you want to peace, dude? Amaze. He
• 40:49
  Speaker 1: is amazing. He is way taller than TWARTZI.
• 40:54
  Speaker 2: He's so good. He's so so good. He's such a
• 40:57
  Speaker 2: good actor. And like it's interesting because he does a
• 41:02
  Speaker 2: very everybody loves Raymond kind of performance. But what I
• 41:05
  Speaker 2: realized is that he's just a really good actor, and
• 41:08
  Speaker 2: he was really good acting as Frank in Everybody Loves
• 41:11
  Speaker 2: the Raymond. It's just the show around him that is
• 41:14
  Speaker 2: kind of silly.
• 41:16
  Speaker 1: Oh yeah, totally, and it makes it weird. That's such
• 41:18
  Speaker 1: a good actor. Raymond was. Actually, everybody was good on
• 41:22
  Speaker 1: that show. Everybody was right right, I'm your brother. But
• 41:27
  Speaker 1: the also what I love Moscow. What I also really
• 41:32
  Speaker 1: really like that adds to the sort of reality of
• 41:37
  Speaker 1: the movie, and the realism of the movie is eda
• 41:41
  Speaker 1: Ross Victor getting caught.
• 41:43
  Speaker 2: Immediately, immediately getting caught.
• 41:45
  Speaker 1: Yeah, like we're like twenty minutes into the movie and
• 41:48
  Speaker 1: he was caught by regular guys.
• 41:50
  Speaker 2: Who's caught without a license? Well, it shows because he's
• 41:53
  Speaker 2: not on his own turf, right, he's flouting the law
• 41:55
  Speaker 2: in a way that he knows that.
• 41:59
  Speaker 1: Light. It fits the character and also in it, like
• 42:02
  Speaker 1: traffic stuff is more overlooked in the Eastern Blot totally sure,
• 42:06
  Speaker 1: totally the way it is. And also the subdued performance
• 42:10
  Speaker 1: of Peter Boyle is great in part because he functions
• 42:15
  Speaker 1: like an American diplomat. He doesn't function like a cop
• 42:18
  Speaker 1: one hundred. He's like, well, if this goes wrong, it's
• 42:22
  Speaker 1: his fucking fault, and if it goes wrong on our side,
• 42:25
  Speaker 1: it's fucking arts fault. I'm come clean, I'm golden.
• 42:28
  Speaker 2: And it's kind of like it kind of sets up
• 42:31
  Speaker 2: the motivation everyone's motivations so well that it's actually so believable.
• 42:37
  Speaker 2: It makes the plot so believable and flows so nicely,
• 42:41
  Speaker 2: like it doesn't stop. Every moment in this movie is
• 42:44
  Speaker 2: a writerly moment.
• 42:45
  Speaker 1: Absolutely, yeah, totally, And it's it's nice because the little
• 42:50
  Speaker 1: jabs that Jim Belushi has feel so natural. When SCHWARTZI
• 42:58
  Speaker 1: is like beating the shit out of this is the
• 43:00
  Speaker 1: showing the parallels between them too, because Art would do
• 43:03
  Speaker 1: the same thing, even though like he sorry, let me
• 43:08
  Speaker 1: pull back. Victor and Schwartzy are in the cell together
• 43:13
  Speaker 1: and Schwartzy like throws Victor against the wall and Art
• 43:17
  Speaker 1: is just like makes like a snippy, like shitty remark
• 43:22
  Speaker 1: of like, yeah, I mean whatever, fuck this guy, right.
• 43:24
  Speaker 1: But then later on when he's interrogating Brion James and
• 43:30
  Speaker 1: he's like, I smell Heroin on you. To be dirty,
• 43:38
  Speaker 1: to be dirty, but in different ways, judge each other
• 43:41
  Speaker 1: for those dieparate ways.
• 43:43
  Speaker 2: It's amazing. But then Schwartzy brings it together because he's like, no, dude,
• 43:48
  Speaker 2: you did this thing and I did this thing. We
• 43:51
  Speaker 2: both wanted to get the same thing.
• 43:53
  Speaker 1: Yeah.
• 43:53
  Speaker 2: Total, So it's cool. It's cool, but like, but it's true.
• 43:56
  Speaker 2: Oh dude, the Brion Jays moment. But it's kind of
• 44:00
  Speaker 2: amazing at this scene because Victor goes to to Jim Belushi,
• 44:04
  Speaker 2: he's like, hey, fuck you, and he's like, what did
• 44:12
  Speaker 2: you say to me? And he's like, he said to
• 44:14
  Speaker 2: kiss your mother's ass, which you actually he said to
• 44:17
  Speaker 2: fund your mother. And it was so funny, dude, it
• 44:20
  Speaker 2: was so funny that we understood it.
• 44:21
  Speaker 1: Yeah.
• 44:22
  Speaker 2: Absolutely, it's the parts of that we understand, dude.
• 44:25
  Speaker 1: Yeah. The best words, the war.
• 44:27
  Speaker 2: Words, the wards are all the same, dude, They're all
• 44:30
  Speaker 2: the same.
• 44:31
  Speaker 4: If you go across Slavic nations, they're all there's all
• 44:37
  Speaker 4: that's the way I heard it's the word k.
• 44:45
  Speaker 1: But yeah, it's he he Also they're they're about to
• 44:50
  Speaker 1: part ways, Jim Belushi and Art and there is Jim Belution, Art,
• 44:56
  Speaker 1: Art and SCHWARTZI uh, And we had seen a couple
• 45:01
  Speaker 1: of scenes before where SCHWARTZI explains to him the moves
• 45:05
  Speaker 1: that he'll he'll win, and then in this moment he
• 45:11
  Speaker 1: has Art points to Schwartze and he's like, hey, you
• 45:15
  Speaker 1: were right about those two moves, which is one of
• 45:17
  Speaker 1: the first times we get where it's like.
• 45:21
  Speaker 2: Russians know a thing or two about Hey, I knew
• 45:23
  Speaker 2: this Russian guy. He knew a thing or too.
• 45:25
  Speaker 1: Exactly.
• 45:26
  Speaker 2: It's the way that like this kind of guy would
• 45:30
  Speaker 2: be able to relate to this other guy. On is like,
• 45:32
  Speaker 2: he needs to see the Yahoo in him.
• 45:35
  Speaker 1: Yeah, well, he needs to see the the parallels, the cleverness.
• 45:39
  Speaker 5: The the then diorram of whatever men consider to be
• 45:47
  Speaker 5: worthwhile exactly, which like a manly man movie, there's also
• 45:51
  Speaker 5: so many references to manly manism because like Schwartzy later
• 45:55
  Speaker 5: On is like.
• 45:56
  Speaker 2: I have to feed my parakeet, and then he's like,
• 45:59
  Speaker 2: h well, that's fine. My sister had a parakeet. What
• 46:02
  Speaker 2: are you saying that's feminine?
• 46:04
  Speaker 1: No? No, no, no, of course not, it's fine. What
• 46:06
  Speaker 1: do I know? What do I know? Yeah, it's kind
• 46:09
  Speaker 1: of like it's.
• 46:10
  Speaker 2: Kind of like it's like thinking about like it's like
• 46:13
  Speaker 2: as if he told him he was having anal sex
• 46:15
  Speaker 2: and he's like, oh, I don't know. I it's not
• 46:18
  Speaker 2: what I do. It's it's it's not what I do. Listen, listen,
• 46:21
  Speaker 2: I don't know what you do. It's it's not what
• 46:23
  Speaker 2: I do.
• 46:24
  Speaker 1: It's that kind of right, And then we get the like, uh,
• 46:30
  Speaker 1: I'm pretty sure this is the like group in the
• 46:35
  Speaker 1: movie the clean Heads that break them out. They come
• 46:37
  Speaker 1: out from a like a one of those bank trucks
• 46:42
  Speaker 1: or whatever.
• 46:44
  Speaker 2: Ye like, man, the cleaned Heads are like well funded,
• 46:48
  Speaker 2: Like I know, I mean, I guess they're doing international
• 46:50
  Speaker 2: drug trade, so they must have like a stranglehold.
• 46:54
  Speaker 1: But like if they have like like elite levels of
• 46:58
  Speaker 1: like training, like but it's like still it's still kill
• 47:03
  Speaker 1: a little bit. Yeah, Yeah, it still feels like they're
• 47:06
  Speaker 1: they're like it's not like the way modern American movies
• 47:12
  Speaker 1: kind of make everybody a superhero. It's a little bit
• 47:15
  Speaker 1: more slapped ash and a little bit more like I'm
• 47:18
  Speaker 1: jumping through a window, uh and getting into a car.
• 47:22
  Speaker 1: And then but then we seem like like Schwartzy is
• 47:28
  Speaker 1: taken down in that moment, and then he gets the key.
• 47:33
  Speaker 1: He gets the key because he realizes the Yeah, he
• 47:37
  Speaker 1: realizes that the key is something important because Victor was
• 47:42
  Speaker 1: trying to claimer for it. Yeah, exactly. And what's interesting
• 47:48
  Speaker 1: about Art in this moment is that he takes the
• 47:51
  Speaker 1: lead and because he's away from everything and Schwartz has
• 47:54
  Speaker 1: been taking down by five dudes, uh, and he like
• 47:57
  Speaker 1: crawls to get the key while Art goes outside to
• 48:00
  Speaker 1: get at the clean heads and start shooting at them.
• 48:03
  Speaker 1: So and then he takes him to the doctor and.
• 48:05
  Speaker 2: Also just saying like Art has no problem at shooting
• 48:08
  Speaker 2: at black people, like he's pretty excited to like, the whole.
• 48:12
  Speaker 1: Movie seems really excited, like he's.
• 48:15
  Speaker 2: Like kind of really flagrantly shooting at black people, and
• 48:18
  Speaker 2: also makes several race racial jokes. And I don't think
• 48:22
  Speaker 2: I think that was on purpose. I think those lines
• 48:25
  Speaker 2: are meant to make him be seen as more relatable.
• 48:28
  Speaker 1: Yeah oh yeah yeah, which I found to be like
• 48:32
  Speaker 1: such an interesting move.
• 48:34
  Speaker 2: I'm like, is this like fully just like a racist
• 48:37
  Speaker 2: choice or did this movie correctically assess at the time
• 48:42
  Speaker 2: that it would be totally okay and relatable and in
• 48:45
  Speaker 2: some places still totally okay and relatable for this.
• 48:48
  Speaker 1: To see a problem with it too, So I'm so
• 48:52
  Speaker 1: related to but yeah, and and that. But then what's
• 48:59
  Speaker 1: interesting is we get the downfall of SCHWARTZI being like
• 49:04
  Speaker 1: in the mode of he's super excellent at everything because
• 49:08
  Speaker 1: the Russians come and they're like, you fuck this up.
• 49:12
  Speaker 1: You let him go, dude, We're gonna blame you. But
• 49:16
  Speaker 1: this is the American part comes in. We're gonna blame
• 49:20
  Speaker 1: you the individual, for our thing that we sent you
• 49:24
  Speaker 1: here to do, and you're gonna be the scapegut. You're
• 49:27
  Speaker 1: gonna be the scapegoat. And it kind of like radicalizes Swartz.
• 49:30
  Speaker 1: It's kind of interesting, yeah, because like he's like, oh, ship, well,
• 49:37
  Speaker 1: I'm gonna take care of this and I'm gonna go
• 49:39
  Speaker 1: back a hero no matter what.
• 49:40
  Speaker 2: Yeah, totally realizes he realizes capitalism is man and him
• 49:46
  Speaker 2: call Jim should call him Gumby for.
• 49:48
  Speaker 1: Some reason, maybe laughs so much just because of the
• 49:52
  Speaker 1: fact that he's so not gumby. Well, you know what
• 49:55
  Speaker 1: I think it is. I mean it's the suit. No,
• 49:57
  Speaker 1: it's the green it's the large green alert suit. And
• 50:00
  Speaker 1: it looks so goofy and silly on him because it's
• 50:04
  Speaker 1: so massive that I think he looks awkward and gumby ish,
• 50:07
  Speaker 1: and it does that feels like it might might have
• 50:11
  Speaker 1: even been like an improvised line. It could be. And
• 50:15
  Speaker 1: this is also the interesting thing is very syncratic that
• 50:18
  Speaker 1: bonds both of them too, and that parallels both capitalism
• 50:23
  Speaker 1: and communism I guess like Americanism and USSRSM in a way.
• 50:31
  Speaker 1: That's interesting too is that the regime, whatever it is,
• 50:37
  Speaker 1: will always throw the individual under the bus totally.
• 50:40
  Speaker 2: And we see that through the kind of like bureaucracy
• 50:44
  Speaker 2: of there is a kind of bureaucracy that Art is
• 50:48
  Speaker 2: railing against that the movie is like, well, Art has
• 50:51
  Speaker 2: a point, you know, he's a little too by the
• 50:54
  Speaker 2: book or like this is a little too like a stringent.
• 50:58
  Speaker 2: We need to be a little looser when dealing with
• 51:00
  Speaker 2: these types.
• 51:01
  Speaker 1: You know, yeah, absolutely absolutely, And then that's proven by
• 51:06
  Speaker 1: the fact that Art in the in this scene is
• 51:09
  Speaker 1: talking to after like getting taken back to the same
• 51:13
  Speaker 1: hotel or like demands that Chartzy wants to go back
• 51:17
  Speaker 1: to the same hotel. He Art takes him back to
• 51:21
  Speaker 1: the police station. And this is where what's his name,
• 51:28
  Speaker 1: Peter Boyle is like trying to play politics where he's like, yeah,
• 51:32
  Speaker 1: we're gonna be all friends. It's all cool. You'll go
• 51:35
  Speaker 1: back and nothing will everything will be fine whatever, right, Yeah, exactly.
• 51:41
  Speaker 2: Definitely docks it. He's like he docks his cock with that.
• 51:46
  Speaker 1: He's like, yeah, he even says, departmentally speaking, there's no downside.
• 51:57
  Speaker 1: And he's telling the where who is Laurence Fishburne?
• 52:03
  Speaker 2: Right, And this also kind of bonding over their supremacy
• 52:07
  Speaker 2: in law and order. They're like, we're better at this.
• 52:10
  Speaker 2: This guy's a fucking loose cannon. We'll just throw him
• 52:12
  Speaker 2: under the bus. Who fucking cares, he's already almost fired. Yeah, exactly,
• 52:17
  Speaker 2: And like Schwartzy like takes pity on him.
• 52:22
  Speaker 1: Oh you mean, yeah, he takes He does because because
• 52:27
  Speaker 1: he's like, you fat, you're old, even probably the same age, fat,
• 52:34
  Speaker 1: you're old. He judges him, he does. But it's also
• 52:38
  Speaker 1: this is where he this is also it's.
• 52:42
  Speaker 2: Not their fault. The economy is falling upon them. This is.
• 52:46
  Speaker 1: But this is also the interesting thing about he doesn't
• 52:48
  Speaker 1: even have a health care Americanism versus Russianism in this
• 52:54
  Speaker 1: movie is that even Pimpson scumbags have fucking something called Miranda, right,
• 53:00
  Speaker 1: It's right, And it's like, so you resent the thing
• 53:02
  Speaker 1: that makes you an American country. Like, this is the
• 53:06
  Speaker 1: weird irony of Americans is that they're they're so like
• 53:13
  Speaker 1: geared towards this thing of like, yeah, we're American, we're
• 53:17
  Speaker 1: the best, and they flout their own thing that makes
• 53:20
  Speaker 1: them American and the best, which is things like mirandam
• 53:24
  Speaker 1: the thing why that's exactly but freedoms of speech and
• 53:28
  Speaker 1: all that kind of stuff. But even though they would
• 53:30
  Speaker 1: instantly take it away if it got them what they
• 53:33
  Speaker 1: wanted as individuals, It's crazy.
• 53:36
  Speaker 2: This is integral to the American identity. This what you're
• 53:40
  Speaker 2: talking about now is integral to their identity as people.
• 53:43
  Speaker 2: They they the reason that they're so about freedom and
• 53:48
  Speaker 2: why they talk about freedom so much is that they
• 53:50
  Speaker 2: know that they don't have freedom and that it's not
• 53:53
  Speaker 2: evenly distributed, and that's why they flout it like some
• 53:56
  Speaker 2: some threat almost like when American talks about freedom, it
• 54:00
  Speaker 2: sounds threatening. Yeah it does.
• 54:04
  Speaker 1: Yeah, it's not liberated in the same way we're spreading democracy,
• 54:09
  Speaker 1: but it's not freedom in the I mean like realistically
• 54:13
  Speaker 1: that what we're talking about doesn't exist. But like like
• 54:17
  Speaker 1: the idea, you're right, the idea of freedom being sort
• 54:20
  Speaker 1: of wielded as this weapon.
• 54:22
  Speaker 2: Well, it's like all a part of a social contract, right,
• 54:25
  Speaker 2: and like they're show this movie is showing how these
• 54:27
  Speaker 2: social contracts are written differently for different.
• 54:30
  Speaker 1: Different groups of people exactly.
• 54:31
  Speaker 2: Like that's what's kind of brilliant about it. It seems
• 54:34
  Speaker 2: almost like The Warriors, which is another movie that Walter Hill.
• 54:37
  Speaker 1: May we actually just recently watched. The Warriors of four
• 54:40
  Speaker 1: K still holds up really fucking awesome movie. But doesn't
• 54:43
  Speaker 1: it feel like it's also factions? Oh yeah, it's one
• 54:46
  Speaker 1: hundred percent feels like it could be this could be
• 54:49
  Speaker 1: warring countries, or this could be a metaphor for warring countries,
• 54:53
  Speaker 1: or like he don't touch his ass.
• 54:56
  Speaker 2: You played a really enthusiastic game of Settlers of yeah, exactly,
• 55:01
  Speaker 2: and then wrote a movie based on it.
• 55:04
  Speaker 1: Yeah.
• 55:05
  Speaker 2: Like it's really interesting though, like the way that influences
• 55:08
  Speaker 2: wielded and like giving Schwartzy. I'm so glad you mentioned
• 55:12
  Speaker 2: that scene where like those Russian guys come and thread
• 55:15
  Speaker 2: SCHWARTZI because it does give him so much motivation to
• 55:19
  Speaker 2: kind of be like, well, I'm just gonna be a bit.
• 55:21
  Speaker 1: On America now. Yeah, he doesn't go to become the
• 55:25
  Speaker 1: governor of California. But he does he does.
• 55:28
  Speaker 2: Do insane things. He makes insane choices.
• 55:31
  Speaker 1: In choices like that Art is a little bit supportive
• 55:35
  Speaker 1: of It's like it's kind of cool, but he's almost
• 55:38
  Speaker 1: scared of him, Like he's like, hey, you weren't actually
• 55:40
  Speaker 1: gonna do that, were you? That's what I thought.
• 55:43
  Speaker 2: Like there's these funny moments where like Art plays it
• 55:46
  Speaker 2: comedically because he's a comedian and he's a comedic actor,
• 55:49
  Speaker 2: but like, yeah, it's actually so sincere and such a
• 55:52
  Speaker 2: serious performance, like this is way more a serious movie
• 55:56
  Speaker 2: than a comedy, but like it does function that buddy
• 55:59
  Speaker 2: cop kind of like reality.
• 56:02
  Speaker 1: Well, the buddy cop reality seemed to move from from
• 56:06
  Speaker 1: the eighties into the nineties into the two thousand's with
• 56:10
  Speaker 1: like you know, Robert de Niro acting with Eddie Murphy
• 56:14
  Speaker 1: and it's like so goofy or like you know, Will
• 56:18
  Speaker 1: Ferrell and Marky Mark being buddy cops as like a
• 56:24
  Speaker 1: parody of that format. This used to be, Like forty
• 56:27
  Speaker 1: eight Hours was like a pretty straightforward movie with some
• 56:32
  Speaker 1: comedic elements, cause Eddie Murphy, right, well, what about Chow
• 56:35
  Speaker 1: Young Fat with Marky Mark? But even that was like
• 56:39
  Speaker 1: that kind of slightly comedic comedic, but that was the
• 56:41
  Speaker 1: nineties where it was like still aiming towards like middle comedic, right,
• 56:48
  Speaker 1: whereas like this, Yeah, there was an ability to be
• 56:53
  Speaker 1: funny and there wasn't ability to be goofy in a
• 56:57
  Speaker 1: serious movie. That's also something that's interesting about Dragged Across Concrete,
• 57:01
  Speaker 1: which is almost like a nihilistic version of a buddy
• 57:04
  Speaker 1: cop movie where it's like dead eyed and it's funny,
• 57:08
  Speaker 1: but it's funny and weird ways. Even that those parts
• 57:12
  Speaker 1: where you know, the crunching sounds of food is like
• 57:17
  Speaker 1: way too loud and you're like, what is this? What
• 57:20
  Speaker 1: is this reality?
• 57:22
  Speaker 2: But I think that's what's really cool about it. It
• 57:24
  Speaker 2: kind of like addresses and like brings certain things to question,
• 57:29
  Speaker 2: Like it brings certain things up in or heightens certain
• 57:33
  Speaker 2: elements in order to tell you about something. Yeah, and
• 57:37
  Speaker 2: this movie does that too, with like the contrast of
• 57:40
  Speaker 2: the free jazz and the Russian music. And I don't
• 57:43
  Speaker 2: think it was an accident to use an American form.
• 57:46
  Speaker 2: Hear me out here, so free jazz it's like such
• 57:51
  Speaker 2: kind of almost libertarian music because it's so exciting. It's
• 57:57
  Speaker 2: rooted in black music. It's rooted in black culture, which
• 57:59
  Speaker 2: is in extricably linked to Americanism, as is the American
• 58:04
  Speaker 2: Black revolutionaries in this movie. Like it's kind of like
• 58:09
  Speaker 2: inextricably makes them a part of the same culture and
• 58:13
  Speaker 2: an interesting way. So I feel like it's using free
• 58:15
  Speaker 2: jazz kind of in a in this signifier way by
• 58:17
  Speaker 2: like unifying all of these forces, like showing the freedom
• 58:21
  Speaker 2: of America. You know, listen to how free this.
• 58:25
  Speaker 1: It's very but not in a David Lynch. But this
• 58:33
  Speaker 1: is the interesting thing too, is that when they interrogate
• 58:36
  Speaker 1: Brian James and he's like, this is how capitalism works,
• 58:40
  Speaker 1: and he puts some.
• 58:41
  Speaker 2: Money into but he does does it to slip in
• 58:45
  Speaker 2: some cocain, some heroin.
• 58:48
  Speaker 1: And it's it's interesting because it's like, yeah, what's that,
• 58:51
  Speaker 1: I smell some heroin. It's interesting that even in that
• 58:55
  Speaker 1: mode there is still a reality where we could be
• 59:00
  Speaker 1: kind of a right wing side go because Walterer Hill
• 59:02
  Speaker 1: is in that mold. But but it's interesting that he
• 59:07
  Speaker 1: could be in that mold and at the same time
• 59:12
  Speaker 1: still have the wherewithal to criticize it, still have the
• 59:15
  Speaker 1: wherewith a stone, right, and like, but like, what's his face?
• 59:21
  Speaker 2: The other guy, like the guy that I got his
• 59:24
  Speaker 2: name wrong, John Millias.
• 59:29
  Speaker 1: Yeah, absolutely, yeah, so yeah.
• 59:33
  Speaker 2: It's like these people who make right wing cinema or
• 59:37
  Speaker 2: who are right wingers who make cinema and thereby like
• 59:40
  Speaker 2: kind of string through this right wing message. It's interesting
• 59:44
  Speaker 2: seeing their ideologies and their takes boiled down to kind
• 59:48
  Speaker 2: of like types and like and sort of uh, what's
• 59:57
  Speaker 2: the word I'm looking for? Sorry, signs and signifiers boiled
• 1:00:01
  Speaker 2: down to signs and signifiers, because it kind of gives
• 1:00:04
  Speaker 2: you a window into their What makes their storytelling so
• 1:00:09
  Speaker 2: good is what makes their ideology terrible. It's like the
• 1:00:12
  Speaker 2: world doesn't work that way.
• 1:00:13
  Speaker 1: Well, like there, what it expresses is their feelings about
• 1:00:17
  Speaker 1: the world. And the reason the feelings are important is
• 1:00:21
  Speaker 1: because we all feel them to some degree. We all
• 1:00:24
  Speaker 1: feel the We can relate to them through feelings, through feelings,
• 1:00:28
  Speaker 1: but the exactly exactly their their answers. The things are wrong,
• 1:00:35
  Speaker 1: but the feeling is still there and still right.
• 1:00:38
  Speaker 2: Makes it a good movie because you're you're actually not
• 1:00:41
  Speaker 2: wrong about the feelings. Your feelings aren't wrong. It's just
• 1:00:44
  Speaker 2: for you're exact placing where you're choosing to place your
• 1:00:49
  Speaker 2: reactions to those feelings.
• 1:00:51
  Speaker 1: Yeah, and then we get to the scene of Abdullah Elijah,
• 1:00:54
  Speaker 1: which is the scene we're talking about with the Eyes
• 1:00:57
  Speaker 1: and the real Marxist, which is this is where the
• 1:01:02
  Speaker 1: he manages to imbue so much of the criticism of
• 1:01:08
  Speaker 1: his own system.
• 1:01:11
  Speaker 2: But he doesn't realize how much he's criticizing his own system.
• 1:01:15
  Speaker 1: I don't. I think he does. I think he does
• 1:01:18
  Speaker 1: realize it because this character is like, yeah, dude, Like
• 1:01:23
  Speaker 1: I'm a black guy in America, Like, it's not easy.
• 1:01:27
  Speaker 1: It's never going to be easy, not in my lifetime,
• 1:01:31
  Speaker 1: not in a live generation's lefetime. Yeah, exactly. And and
• 1:01:35
  Speaker 1: I think this my crime is being born, dude, that's
• 1:01:39
  Speaker 1: his crime.
• 1:01:40
  Speaker 2: I just like and like, you know, he's magical about it,
• 1:01:44
  Speaker 2: but twenty six years he's been in years old. It's
• 1:01:49
  Speaker 2: like it's he's magical. He educated himself in there. It's
• 1:01:53
  Speaker 2: not magical though, that is this stuff that happens.
• 1:01:58
  Speaker 1: He is a little magical in them, That's what I'm saying.
• 1:02:01
  Speaker 2: And like, I actually, I actually like got to say
• 1:02:05
  Speaker 2: I found the performance to be quite moving because it
• 1:02:09
  Speaker 2: was a little magical, like and.
• 1:02:12
  Speaker 1: Not in a way because you don't know how to
• 1:02:13
  Speaker 1: talk well, no, no, I feel no, I feel like
• 1:02:16
  Speaker 1: I feel like it's I feel like it's.
• 1:02:18
  Speaker 2: The movie is trying to play in on that some
• 1:02:23
  Speaker 2: of that. I think it's like trying to be like listen,
• 1:02:25
  Speaker 2: like this is something that I don't understand, and I
• 1:02:29
  Speaker 2: think like it is a use of the magical black
• 1:02:32
  Speaker 2: eyed trope, but in a way that's actually communicating what
• 1:02:37
  Speaker 2: like the like plight and difficulty of black people in America,
• 1:02:41
  Speaker 2: black Americans is and like, I think in a way
• 1:02:45
  Speaker 2: that's pretty actually insightful and intriguing and like it I
• 1:02:51
  Speaker 2: think that like the movie.
• 1:02:52
  Speaker 1: Does like a decent job.
• 1:02:55
  Speaker 2: I mean, the movie does. It doesn't the like the
• 1:02:58
  Speaker 2: main characters aren't agreeing with this, but it's a story
• 1:03:01
  Speaker 2: that's given like full fruition.
• 1:03:03
  Speaker 1: Absolutely absolutely, and it's given scope and scale and spam
• 1:03:07
  Speaker 1: and the interesting and there's context, yeah exactly. And the
• 1:03:11
  Speaker 1: thing about him as a character too, is that he's
• 1:03:16
  Speaker 1: not a person. He's not a person who is it's
• 1:03:26
  Speaker 1: not he's not showing he's not trying to not show fear.
• 1:03:30
  Speaker 1: Whereas the other characters in the movie that are against Schwartzy,
• 1:03:34
  Speaker 1: whether it be John Belushi, Jim Belushi, Sorry, Peter Boyle
• 1:03:40
  Speaker 1: or Victor or any of Victor's goons. They're trying not
• 1:03:44
  Speaker 1: to show fear to Schwartzy because they're trying to do
• 1:03:48
  Speaker 1: their job. This guy is just not afraid.
• 1:03:51
  Speaker 2: He's like he's thing you can do to me. I've
• 1:03:55
  Speaker 2: like I've It's interesting because he's like I've had my
• 1:03:58
  Speaker 2: whole life taken away and he's radicalized. And actually that's
• 1:04:02
  Speaker 2: what's one of the things that I thought was really
• 1:04:04
  Speaker 2: interesting is like the idea of if you had to
• 1:04:10
  Speaker 2: live like this, what would you do?
• 1:04:13
  Speaker 1: Yeah? Question?
• 1:04:14
  Speaker 2: And then it was like I would be exactly like this.
• 1:04:16
  Speaker 1: Yeah. Right. So it's like.
• 1:04:18
  Speaker 2: Kind of shows beautifully like this like circumstantial thing of
• 1:04:22
  Speaker 2: like listen, like you can't do anything to me. I
• 1:04:26
  Speaker 2: don't have my freedom, so like, and the freedom that
• 1:04:28
  Speaker 2: I do have is the power of knowledge and the
• 1:04:31
  Speaker 2: power of my mind. So like, he has educated himself
• 1:04:34
  Speaker 2: as as a tool and as in this case, as
• 1:04:38
  Speaker 2: a revolutionary weapon to like protect himself and his own interests.
• 1:04:43
  Speaker 2: And it's like sad to show an American society that
• 1:04:47
  Speaker 2: sets up society in such dire ways that a group
• 1:04:51
  Speaker 2: of people would have to choose to be like this.
• 1:04:53
  Speaker 1: You know what I mean.
• 1:04:54
  Speaker 2: So, like it's kind of pretty insightful. It's about as
• 1:04:59
  Speaker 2: much insight as a right winger writing something like this
• 1:05:02
  Speaker 2: could have about this. It seems like a like a
• 1:05:05
  Speaker 2: just observation.
• 1:05:07
  Speaker 1: Yeah, totally. It feels like somewhat detached, totally detached, Ye,
• 1:05:14
  Speaker 1: totally detached, because like, well you're not totally detached because
• 1:05:17
  Speaker 1: he's still got the feelings. Remember the feelings that he
• 1:05:20
  Speaker 1: has are still there, which is why they're written in
• 1:05:23
  Speaker 1: the characters. Yeah, but who cares, He's just the jazz
• 1:05:27
  Speaker 1: bo dude, right, So like also insane like that, like
• 1:05:32
  Speaker 1: he says, he said, there's the line an entire what
• 1:05:38
  Speaker 1: was that real? Is that a real? An entire basketball team? Well?
• 1:05:43
  Speaker 1: I think like oh yeah, oh yeah.
• 1:05:46
  Speaker 2: It's like he's like talking about a group of black
• 1:05:48
  Speaker 2: guys and he's like a basketball team is coming towards us,
• 1:05:50
  Speaker 2: and he like he's he's not coded as racist, he's
• 1:05:53
  Speaker 2: just racist.
• 1:05:54
  Speaker 1: It's just racist.
• 1:05:55
  Speaker 2: Yeah, it's not even like it's not even and he's
• 1:05:58
  Speaker 2: but like they're the late ability of him from like
• 1:06:01
  Speaker 2: the working class angle is really like what America.
• 1:06:05
  Speaker 1: Thinks that it is.
• 1:06:07
  Speaker 2: Yeah, oh yeah, you know, white America thinks that it is, yeah, and.
• 1:06:11
  Speaker 1: That this is where the like Chicago, they're not writing
• 1:06:15
  Speaker 1: him right, he's too woke, That's what they mean. That's
• 1:06:19
  Speaker 1: what they mean is that it's not he's not racist enough,
• 1:06:22
  Speaker 1: he's not racist enough. But it's also interesting because it's
• 1:06:25
  Speaker 1: like what would be yeah exactly, so like we as
• 1:06:29
  Speaker 1: people who are quote unquote woke, would see it. It'd be
• 1:06:32
  Speaker 1: like that's not realistic enough, and they would see it as.
• 1:06:35
  Speaker 2: That's not racist. That's exactly what we're talking about with
• 1:06:38
  Speaker 2: the right wing and left wing perspective. And that's what's
• 1:06:40
  Speaker 2: been interesting about this conversation is the is the perspective
• 1:06:43
  Speaker 2: is what it is like the movie has actually does
• 1:06:46
  Speaker 2: such a great job of just giving us information.
• 1:06:49
  Speaker 1: But the thing that that sucks is that and the
• 1:06:54
  Speaker 1: thing that that the anti woke's anti wokes golds do
• 1:06:58
  Speaker 1: get right is that it is infuriating when everything is
• 1:07:03
  Speaker 1: a little too clean in a way that it's like, no,
• 1:07:06
  Speaker 1: you can't like this racist character. He has to be racist,
• 1:07:10
  Speaker 1: and it's like yeah, sure, but like that's not really
• 1:07:13
  Speaker 1: how the world works. There are I agree with you?
• 1:07:15
  Speaker 2: You know, I agree with you. I think there's like
• 1:07:17
  Speaker 2: a there I think there's like a more nuanced perspective
• 1:07:19
  Speaker 2: in there where like there definitely used to be way
• 1:07:22
  Speaker 2: more growth in movies, and like I've seen markedly uh
• 1:07:27
  Speaker 2: sort of trajectories of characters in mainstream movies, like not
• 1:07:31
  Speaker 2: complicated movies. Yeah, another of which we'll talk about today,
• 1:07:35
  Speaker 2: but it's a different movie. But some movies like that
• 1:07:40
  Speaker 2: still are made. But it just feels like a big budget,
• 1:07:46
  Speaker 2: exciting blockbuster like this isn't necessarily going to have that
• 1:07:49
  Speaker 2: growth spectrum because it will, like the initial writing of
• 1:07:54
  Speaker 2: someone being racist will cause everyone to have a knee
• 1:07:57
  Speaker 2: jerk reaction to absolutely yeah and to like be like,
• 1:08:00
  Speaker 2: you know, instead of allowing people the freedom to learn
• 1:08:03
  Speaker 2: because it's kind of an open door when you were like, hey,
• 1:08:07
  Speaker 2: you can be racist and have a redemption arc because
• 1:08:10
  Speaker 2: we all come from somewhere, we all come from perspectives
• 1:08:13
  Speaker 2: that we didn't necessarily want to have.
• 1:08:16
  Speaker 1: And we're not all better than each other because we
• 1:08:18
  Speaker 1: all have faults that we are we're not aware of
• 1:08:20
  Speaker 1: them that we're not aware of. Yeah, And it's not
• 1:08:22
  Speaker 1: about like judging you for doing X racist thing or
• 1:08:27
  Speaker 1: you permanently being in a permanent state of like badness.
• 1:08:32
  Speaker 1: It's that like the growth and change that you experience
• 1:08:39
  Speaker 1: should be to be part of, like a better society
• 1:08:42
  Speaker 1: for everybody and treating other people better and not demonizing
• 1:08:46
  Speaker 1: and so on and so on. But we get to
• 1:08:49
  Speaker 1: another schwartzy actor, Gina gershan who is such a swartzy actor.
• 1:08:54
  Speaker 2: Like just doing the most Paula Abdual moves and like,
• 1:09:02
  Speaker 2: you know when sometimes somebody was just born to like
• 1:09:06
  Speaker 2: dominate an era, and like it feels like Gina Gershaan
• 1:09:11
  Speaker 2: just embodies the eighties even throughout the rest of her career,
• 1:09:14
  Speaker 2: Like even when she shows up in Showgirls, like it
• 1:09:17
  Speaker 2: just embodies this, like yeah, I've got this face, Yeah
• 1:09:22
  Speaker 2: I've got this hair, I've got these moves. You know,
• 1:09:25
  Speaker 2: Like she's just unbelievable and she's such an amazing presence
• 1:09:30
  Speaker 2: and just like showed up in this movie and just
• 1:09:33
  Speaker 2: tore it up like every fucking scene she was in,
• 1:09:37
  Speaker 2: and she was another person that signifies a level of
• 1:09:40
  Speaker 2: America that America has failed, and that's like working class women,
• 1:09:45
  Speaker 2: women who have to be sex workers in order to survive.
• 1:09:47
  Speaker 2: And like there's a kind of judgment from the other
• 1:09:50
  Speaker 2: male characters in this movie, but it never seems like
• 1:09:54
  Speaker 2: the movie is judging. The movie is like She's amazing.
• 1:09:56
  Speaker 2: The movie is like she's her own person. She is
• 1:09:59
  Speaker 2: a character. She did things because she decided to do things.
• 1:10:03
  Speaker 2: And socioeconomically, you do the math. The city pays me
• 1:10:07
  Speaker 2: six dollars an hour to teach kids not to be
• 1:10:09
  Speaker 2: on drugs and I had to fucking like and Victor
• 1:10:12
  Speaker 2: offered me ten thousand dollars just to marry him. You
• 1:10:15
  Speaker 2: do the math, and it's like, yeah, dude, for somebody
• 1:10:18
  Speaker 2: living in her conditions, and like, you know, presumably an immigrant,
• 1:10:23
  Speaker 2: like she's coded as an immigrant in this country, you
• 1:10:26
  Speaker 2: know what I mean, or something.
• 1:10:27
  Speaker 1: Well, she would definitely have a millennial kid that would
• 1:10:31
  Speaker 1: say I'm loud because I'm Italian.
• 1:10:38
  Speaker 2: But just when we're like, we get together as a
• 1:10:40
  Speaker 2: family and that's just what we talk, that's just how
• 1:10:42
  Speaker 2: we talk. Yeah, oh, well have you ever considered that
• 1:10:47
  Speaker 2: other people don't?
• 1:10:53
  Speaker 1: Yeah? And then and then uh yeah they do the
• 1:10:56
  Speaker 1: classic stakeout. Uh yeah. But like SCHWARTZI also seems to
• 1:11:01
  Speaker 1: like SCHWARTZI seems to respect her, but also is like
• 1:11:07
  Speaker 1: ever the pragmatist and is always like I don't care,
• 1:11:12
  Speaker 1: like so much of it is real republicanism of like
• 1:11:17
  Speaker 1: there's this, Yeah, there's like weird lack of judgment. But
• 1:11:20
  Speaker 1: I have to do my work, so I have to
• 1:11:24
  Speaker 1: get the information from her, do you know what I mean?
• 1:11:27
  Speaker 1: There's my personal feelings don't matter about this. Well, this
• 1:11:30
  Speaker 1: is where I think his.
• 1:11:34
  Speaker 2: He's being influenced by the fact that his country is
• 1:11:37
  Speaker 2: going to like single him out as a fucking loser.
• 1:11:41
  Speaker 1: Yeah, totally, And he's worried.
• 1:11:43
  Speaker 2: About his like reputation back home. You know, he doesn't
• 1:11:45
  Speaker 2: want to get canceled in Russia, and.
• 1:11:48
  Speaker 1: Like, yeah, he is totally gonna get canceled.
• 1:11:52
  Speaker 2: To get canceled all the time. Like if you're if
• 1:11:54
  Speaker 2: you were in Serbia, in Belgrade, in former yugous.
• 1:11:57
  Speaker 4: Fami Yugoslavia, that's what we used to call it Yugoslavia.
• 1:12:02
  Speaker 2: If you were if you were kicked out of the
• 1:12:04
  Speaker 2: Communist Party, you were effectively canceled, like you have to
• 1:12:07
  Speaker 2: get like a shittier job, and like you wouldn't get
• 1:12:09
  Speaker 2: the pension.
• 1:12:11
  Speaker 1: Do you know, Miranda, never heard of the bitch? The
• 1:12:15
  Speaker 1: fucking meat slap sounds of the punches.
• 1:12:20
  Speaker 2: Never heard of the bitch. Yeah, there's also kind of
• 1:12:24
  Speaker 2: like an inherent like in this world, an inherent violence
• 1:12:29
  Speaker 2: towards women, like indirectly but like I mean directly, I
• 1:12:33
  Speaker 2: mean directly and indirectly, but just like never heard of
• 1:12:37
  Speaker 2: the bitch, just like feminized slur punch in the vase,
• 1:12:42
  Speaker 2: like just threats to bodily autonomy at all times. It's
• 1:12:46
  Speaker 2: the wild West, like nobody's there's no there's no law
• 1:12:50
  Speaker 2: and on it. That's what I will be your law
• 1:12:53
  Speaker 2: on a president. Sorry, do you think Chwartzy will be
• 1:12:59
  Speaker 2: our law president?
• 1:13:00
  Speaker 1: I mean when they change the constitution. Yeah, absolutely, that's
• 1:13:03
  Speaker 1: what Alex Chance predicted. But they follow her. They followed
• 1:13:08
  Speaker 1: Gina Gershon back home in order to try and get
• 1:13:11
  Speaker 1: back to really start the clean heads.
• 1:13:14
  Speaker 2: Driving the taxi. Yeah, and they're luring. She's like, shit,
• 1:13:19
  Speaker 2: they're right behind us. He's like, that's exactly what we want.
• 1:13:22
  Speaker 1: And this guy was so.
• 1:13:23
  Speaker 2: Cool, this Danny wel roone side main character, bad Guy
• 1:13:27
  Speaker 2: the movie. What's cool about it is like it manages
• 1:13:31
  Speaker 2: to tell such a complicated story without feeling like a
• 1:13:34
  Speaker 2: B movie because it's so well directed and so well
• 1:13:37
  Speaker 2: written that it feels like the story kind of home
• 1:13:41
  Speaker 2: alone unfolds. But like every scene has a point, and
• 1:13:45
  Speaker 2: every character has a point, even the Danny Mulroons. So
• 1:13:48
  Speaker 2: like this guy who's like, I know he has a name,
• 1:13:51
  Speaker 2: but I forget what his name is. But like this
• 1:13:54
  Speaker 2: kind of like militant, kind of cool guy doesn't give
• 1:13:57
  Speaker 2: a fuss.
• 1:13:58
  Speaker 1: Name is it? So he's amazing.
• 1:14:01
  Speaker 2: He's amazing because he's like he is like, all right,
• 1:14:05
  Speaker 2: Victor wants to meet you, and he puts a gun
• 1:14:07
  Speaker 2: to the hand of Jim Belushi and Jim's like, all right,
• 1:14:11
  Speaker 2: don't leave me hanging like, but he's kind of doing
• 1:14:16
  Speaker 2: it in a way where it's like white solidarity too,
• 1:14:20
  Speaker 2: did you notice it? It's cop solidarity. But he's like,
• 1:14:24
  Speaker 2: hey man. He comments on the fact that it's a
• 1:14:26
  Speaker 2: basketball team and he's like, hey man, don't leave me
• 1:14:29
  Speaker 2: with these guys. And it's like this guy's Russian, so
• 1:14:33
  Speaker 2: like it kind of is playing with these interests, you
• 1:14:35
  Speaker 2: know what I mean.
• 1:14:37
  Speaker 1: I don't know.
• 1:14:38
  Speaker 2: It feels very much like the movie is.
• 1:14:41
  Speaker 1: Communicating that, but I think so too. Schwartze walks over
• 1:14:44
  Speaker 1: to Victor and he's like, hey, what's what's what's the story?
• 1:14:51
  Speaker 1: And Victor's like, dude, you're a fucking idiot. You're fucking idiot.
• 1:14:55
  Speaker 1: The world is changing, Why are you sticking to these principles?
• 1:14:59
  Speaker 1: But Schwartz, he has his own Harry's code. He does
• 1:15:02
  Speaker 1: have his own principles, which is what also parallels both
• 1:15:05
  Speaker 1: Victor and him and John Jim Belushi and him and
• 1:15:10
  Speaker 1: Anti being anti Russia. Like it's like, oh, I have
• 1:15:14
  Speaker 1: my own code.
• 1:15:15
  Speaker 2: I don't need I don't need Russia's code. He's like,
• 1:15:18
  Speaker 2: I'm fighting for.
• 1:15:19
  Speaker 1: My own things.
• 1:15:20
  Speaker 2: You killed my partner and he said, you killed my brother,
• 1:15:23
  Speaker 2: and he's like, he's like, listen, we've all lost in this.
• 1:15:26
  Speaker 2: Why don't we gain. Yeah, He's like, he wants capitalism,
• 1:15:31
  Speaker 2: but he wants an unrestricted, unrefined version of Capitalism's true,
• 1:15:35
  Speaker 2: and that's why Jim Belushi's style of law and Order
• 1:15:39
  Speaker 2: needs to come in to show you that you can
• 1:15:42
  Speaker 2: still have rules. Guys, they're loose rules. But I don't know,
• 1:15:46
  Speaker 2: it's the movie so unjudgmental about any of the ideologies
• 1:15:49
  Speaker 2: that like, you could just kind of make a choose
• 1:15:51
  Speaker 2: who you want to like side with.
• 1:15:53
  Speaker 1: Yeah, totally. And I love the fact that John Belushi
• 1:15:56
  Speaker 1: Jim Belue. Fuck, I'm just gonna keep saying it. I
• 1:15:59
  Speaker 1: because I know. Ever, say Jim Belushi, ever, Well, why
• 1:16:02
  Speaker 1: would you? But he's the guy who survived. People say,
• 1:16:06
  Speaker 1: people know Jim Belushi more than John Blue. I know,
• 1:16:09
  Speaker 1: but Blues Brothers, dude, I know, I know, but yeah,
• 1:16:12
  Speaker 1: it's it's it's interesting how all of a sudden the
• 1:16:19
  Speaker 1: tension between Jim Belushi and Schwartzy rises because of the
• 1:16:23
  Speaker 1: fact that he points the gun at his ear and
• 1:16:25
  Speaker 1: he's like, you never leave your partner outside of blah
• 1:16:28
  Speaker 1: blah blah, you know what I mean. We also didn't
• 1:16:30
  Speaker 1: mention Kiev, that that he did his military training in
• 1:16:35
  Speaker 1: right now what's now called Kiev, Ukraine. Yeah, and yeah,
• 1:16:40
  Speaker 1: it was like he's like something that I picked up
• 1:16:42
  Speaker 1: in Kiev. But yeah, they go to the hospital to
• 1:16:48
  Speaker 1: interrogate to Tamovich. Uh and he's dead and yeah, some
• 1:16:57
  Speaker 1: Russian guy addressed as a lady runs and well and
• 1:17:03
  Speaker 1: like a lot is made. Like again, it's interesting that
• 1:17:07
  Speaker 1: Art's character, who's again not a likable or good person
• 1:17:12
  Speaker 1: and as a cop is there's a lot of very
• 1:17:15
  Speaker 1: dehumanizing like like language used about like trans people in
• 1:17:21
  Speaker 1: a way that like is conflating, like somebody just dressed
• 1:17:24
  Speaker 1: in drag, you know, also clear the air from the
• 1:17:29
  Speaker 1: last episode of like it is drag. I don't know
• 1:17:33
  Speaker 1: why I sided with Adam in that moment, and we'll
• 1:17:37
  Speaker 1: never talk about it again. This is a way better
• 1:17:39
  Speaker 1: episode than that ever was, so it doesn't even matter
• 1:17:42
  Speaker 1: at this point. But like, yeah, like it was kind
• 1:17:48
  Speaker 1: of weird to like just see everybody sort of be
• 1:17:52
  Speaker 1: on board with that. It's not commented on by everyone,
• 1:17:55
  Speaker 1: but like there's like some like ha, so what's like,
• 1:18:01
  Speaker 1: what's what happened when the transvestite came and stuff? Like
• 1:18:05
  Speaker 1: there's a lot of like just like kind of like
• 1:18:09
  Speaker 1: gross language that you would expect from police, but also
• 1:18:13
  Speaker 1: is like shown in this way of like they all
• 1:18:16
  Speaker 1: had solidarity towards each other. But what's interesting about it
• 1:18:21
  Speaker 1: is that he he's such a pig and such a
• 1:18:24
  Speaker 1: misogynist that he's walking around just being like, h I
• 1:18:28
  Speaker 1: fuck this woman, yes, and then like he says he
• 1:18:32
  Speaker 1: I should have been a doctor when he sees her, yeah,
• 1:18:34
  Speaker 1: and then like and then yeah, he finds.
• 1:18:39
  Speaker 2: Out and he's like, fuck she's a guy.
• 1:18:42
  Speaker 1: Yeah.
• 1:18:42
  Speaker 2: Like it's such a he's so disgusted with himself that
• 1:18:47
  Speaker 2: then they need to be violent afterwards, which is like
• 1:18:50
  Speaker 2: familiar to anyone who has had this kind of experience
• 1:18:54
  Speaker 2: happened to them.
• 1:18:54
  Speaker 1: Of like it was.
• 1:18:56
  Speaker 2: All okay when it was feminine and y'all knew or
• 1:19:01
  Speaker 2: we all didn't know, but like feminized or whatever, like
• 1:19:04
  Speaker 2: we you know, it's like when when that when the
• 1:19:10
  Speaker 2: veil is lifted. It's a really interesting moment to me.
• 1:19:14
  Speaker 2: It's a small moment, and I know it's pretty insignificant,
• 1:19:16
  Speaker 2: but it's like there's a veil lifting that like there's
• 1:19:19
  Speaker 2: a kind of like panic and disgust and that that's
• 1:19:22
  Speaker 2: so sincere and so earnest and so honest. That's really
• 1:19:26
  Speaker 2: his reaction. That's really how shitty he is.
• 1:19:30
  Speaker 1: It's more just like.
• 1:19:31
  Speaker 2: A reflection of like what a fucking horrible dude this guy?
• 1:19:35
  Speaker 1: Yeah, absolutely absolutely, And then basically they both lose their
• 1:19:43
  Speaker 1: jobs kind of.
• 1:19:46
  Speaker 2: Well they get relegated to like desk duty, yeah, because
• 1:19:49
  Speaker 2: they're like they've gone too far at this point. And
• 1:19:52
  Speaker 2: like Gina Gershan, we didn't mention the moment where runs away.
• 1:19:57
  Speaker 1: She tries to protect the Russian guy. He was dressed
• 1:20:00
  Speaker 1: in drag. Why was she Why because she didn't want
• 1:20:05
  Speaker 1: anyone to die? No, I don't think she she wanted
• 1:20:08
  Speaker 1: any anyone to die, but she was. She's working for
• 1:20:11
  Speaker 1: victor emotions. Yeah no, but but she's protecting him because
• 1:20:17
  Speaker 1: if if he dies, she might die because Victor might
• 1:20:21
  Speaker 1: blame her for the death. Uh. And she runs away
• 1:20:26
  Speaker 1: and then SCHWARTZI fucking tells her to go and that
• 1:20:31
  Speaker 1: she's stupid because Victor has ten at home and he
• 1:20:36
  Speaker 1: feels a solidarity with her too, because.
• 1:20:39
  Speaker 2: But does he cause her death? This is my question
• 1:20:42
  Speaker 2: to you.
• 1:20:44
  Speaker 1: Yeah, inadvertently, Yeah, I think so.
• 1:20:46
  Speaker 2: Yeah, so he thought he was doing her a favor,
• 1:20:48
  Speaker 2: but she would have been, like, I don't know, accessory
• 1:20:51
  Speaker 2: to murder or something, because she was at the scene
• 1:20:53
  Speaker 2: of a crime. She knows this guy. She's like married
• 1:20:57
  Speaker 2: to the to the main see like the application of
• 1:21:01
  Speaker 2: the law in this Like at this point Victor would
• 1:21:04
  Speaker 2: be like somebody that the Americans wanted. They wouldn't at
• 1:21:07
  Speaker 2: this point want to extradite him. Yeah, he's committed crimes.
• 1:21:11
  Speaker 1: Of course, but he Schwartzy is the one who wants him, right.
• 1:21:17
  Speaker 1: And then the questioning of dirty Harry being cool, whereas
• 1:21:21
  Speaker 1: Schwartzy is actually cool. He needs a gun, Art gives
• 1:21:26
  Speaker 1: him a gun, and he's like magnum.
• 1:21:28
  Speaker 2: It's the biggest, baddest boy on the block. Everybody knows
• 1:21:31
  Speaker 2: that the nine. I forget what gun it was that
• 1:21:34
  Speaker 2: he says something. He's like, that's the best gun, and
• 1:21:37
  Speaker 2: he was like, oh, no way. Everyone knows that this
• 1:21:40
  Speaker 2: bad boy is the best buddy on the.
• 1:21:42
  Speaker 1: Block, on the block. But when they get relegated to
• 1:21:48
  Speaker 1: Judy not as quite as sharping as his brother.
• 1:21:52
  Speaker 2: He that's what it is, dude. It's his brother was
• 1:21:56
  Speaker 2: everything that he is, but a little bit better than him.
• 1:21:59
  Speaker 1: I think so too.
• 1:22:00
  Speaker 2: And it's kind of like he's left with this legacy
• 1:22:03
  Speaker 2: of being the lesser brother that survived. And it's kind
• 1:22:06
  Speaker 2: of shitty because he's not seen as his own person.
• 1:22:09
  Speaker 1: No he is. He is. He had his own show.
• 1:22:11
  Speaker 1: He had a good career. I don't feel that bad
• 1:22:13
  Speaker 1: for Jim. He's great at this. He's great in the movie.
• 1:22:16
  Speaker 1: And also but also this is he gets mad, he
• 1:22:20
  Speaker 1: feels betrayed by Schwartzy and then when he gets feel betrayed, dude,
• 1:22:25
  Speaker 1: but then they get relegated to desk duty, he gives
• 1:22:29
  Speaker 1: him the gun. He gets relegated to destuty. They're doing
• 1:22:33
  Speaker 1: the ship uh in a in a cafe where Schwartzy
• 1:22:38
  Speaker 1: is just fingering French fries, he's not actually eating them.
• 1:22:41
  Speaker 2: To come on, sweet cheeks, Yeah, bring me a fucking coffee, honey, Yeah,
• 1:22:47
  Speaker 2: like coffee, sweet cheeks.
• 1:22:48
  Speaker 1: But then but then he has the line they start talking. Yeah,
• 1:22:53
  Speaker 1: they start talking to each other and they're like, oh, man.
• 1:22:56
  Speaker 2: Likewartzy is kind of gently defusing his misogyny, which is
• 1:23:00
  Speaker 2: what a good friend in the eighties would have done.
• 1:23:02
  Speaker 1: One hundred percent totally. He is Schwartzy so woke in
• 1:23:05
  Speaker 1: this era. He is. He is you can tell he's
• 1:23:08
  Speaker 1: got more of a gentleness. But then he's like tea please,
• 1:23:16
  Speaker 1: in a glass with lemon and he like he's Schwartzy's
• 1:23:19
  Speaker 1: like yes, he does that like a gentle yes. And
• 1:23:25
  Speaker 1: they start talking about their lives and stuff, and it
• 1:23:28
  Speaker 1: brings them back closer together because they've been through this
• 1:23:32
  Speaker 1: intense thing and then they were funny with each other,
• 1:23:35
  Speaker 1: and then they lost respect for each other, and now
• 1:23:37
  Speaker 1: they're trying to build it again, which is really nice.
• 1:23:39
  Speaker 2: Yeah, there's nothing better than like, you know, you need
• 1:23:43
  Speaker 2: to go through a thing with someone in order to
• 1:23:46
  Speaker 2: like it's it's Darmark and Jela at Tanagra, you know,
• 1:23:50
  Speaker 2: what I mean. Like, it's like it's that episode of
• 1:23:52
  Speaker 2: Star Trek where the whole point of it is, like,
• 1:23:57
  Speaker 2: you know, this society that only talks and memes has
• 1:24:00
  Speaker 2: to explain their meme culture to another race, and that's
• 1:24:03
  Speaker 2: the only way that you'll be able to like understand
• 1:24:05
  Speaker 2: their language. And like Picard understands the language by the
• 1:24:10
  Speaker 2: end because they go through a thing together and that's
• 1:24:13
  Speaker 2: how they teach you. They have to teach you their culture.
• 1:24:15
  Speaker 2: And the odd coupleness of this movie is like it's
• 1:24:20
  Speaker 2: they're teaching each other their culture, right. It's it's kind
• 1:24:24
  Speaker 2: of cool. It's like the odd coupling. It really makes
• 1:24:27
  Speaker 2: the story work really well because like you believe that
• 1:24:30
  Speaker 2: they're going to be in it at least together, at
• 1:24:32
  Speaker 2: least for.
• 1:24:32
  Speaker 1: Now, for now exactly, and then.
• 1:24:37
  Speaker 2: They overcome their differences. Dude, that's a classic story.
• 1:24:40
  Speaker 1: And Denko gets a call from Gina Garshawan and she's like,
• 1:24:46
  Speaker 1: I need help. I need you to catch Victor. And
• 1:24:49
  Speaker 1: if you catch Victor, I get to go free from everything.
• 1:24:52
  Speaker 2: I get immunity, got it. And he's like, I don't understand. Yeah,
• 1:24:56
  Speaker 2: drag Race hasn't had community is.
• 1:24:57
  Speaker 1: Season five excuse me. But then they come back to
• 1:25:10
  Speaker 1: the CD hotel that Schwartzy's staying at and the clean
• 1:25:15
  Speaker 1: Heads break and Schwartzy hides the key in the light.
• 1:25:21
  Speaker 1: I was looking at the light exactly. Oh God for he.
• 1:25:25
  Speaker 2: Victory sees him looking at the light.
• 1:25:28
  Speaker 1: Yeah, and he's like, oh God for you, I can
• 1:25:31
  Speaker 1: steal it. But then the Cleanheads shoot a different guy
• 1:25:38
  Speaker 1: who's sleeping with a black lady.
• 1:25:40
  Speaker 2: So it was in room three h three, and we
• 1:25:42
  Speaker 2: didn't mention at all, which we did in the first
• 1:25:44
  Speaker 2: time that we talked about it, but we didn't at
• 1:25:46
  Speaker 2: all mention this amazing, amazing Motel CD motel clerk.
• 1:25:52
  Speaker 1: Did we mention him? Oh? Yeah, he's so good? Is
• 1:25:54
  Speaker 1: he blind? No? He Pruit Taylor. Vince is that guy
• 1:25:59
  Speaker 1: who has the like and like the older he got
• 1:26:04
  Speaker 1: the less like control he had of those motor skills
• 1:26:07
  Speaker 1: that he just it just happens now. But he's great.
• 1:26:11
  Speaker 1: He's so perfect, such a.
• 1:26:13
  Speaker 2: Good he's like such a good job in this movie.
• 1:26:16
  Speaker 2: And he's like so sarcastic and he actually does a
• 1:26:19
  Speaker 2: really good job of being very American in this like
• 1:26:22
  Speaker 2: how sarcastic he is. He's like, please come in and
• 1:26:25
  Speaker 2: use my phone. It's like the kind of sarcasm that
• 1:26:28
  Speaker 2: a Russian wouldn't understand. Yeah, totally, but yeah, and he
• 1:26:33
  Speaker 2: gets beat up by Victor, and Victor finds out that
• 1:26:37
  Speaker 2: Schwartzi's in room three or three, that Ivan Tanco is
• 1:26:40
  Speaker 2: Danko memes he's smoking some Danco cush in his motel room.
• 1:26:49
  Speaker 2: And they like the clean Heads along with well not
• 1:26:53
  Speaker 2: with Victor. Victor goes separate, but the clean Heads go
• 1:26:56
  Speaker 2: and they shoot into this room where there's a sex
• 1:27:00
  Speaker 2: who like gets temporary elevated. Danny maulroof this very Danny
• 1:27:05
  Speaker 2: moul room. It's Danny mullroom. It's great. And like the
• 1:27:09
  Speaker 2: fact that it's like, where'd you get the gun? Everybody's
• 1:27:12
  Speaker 2: got a gun around here, Like what are you talking about?
• 1:27:15
  Speaker 1: That's also such a like also like a very telling line.
• 1:27:19
  Speaker 1: You meet a lot of weirdos, which is hilarious.
• 1:27:22
  Speaker 2: Yeah, Like, but it also says a lot about the
• 1:27:25
  Speaker 2: society that he's writing, you know what I mean. Like
• 1:27:27
  Speaker 2: it's like, this is a society that like has led
• 1:27:30
  Speaker 2: its people down so much that some like a sex
• 1:27:33
  Speaker 2: worker is not safe and needs to carry a gun,
• 1:27:36
  Speaker 2: and everybody carries a gun and it's a normal thing,
• 1:27:39
  Speaker 2: you know what I mean.
• 1:27:40
  Speaker 1: And then Kurt Fuller makes an appearance, which the second.
• 1:27:45
  Speaker 2: Kurb Fuller Danny ol Rune SCHWARTZI appearance.
• 1:27:50
  Speaker 1: Yeah totally, and Victor is like getting the secret gun,
• 1:27:58
  Speaker 1: slide gun whatever. Yes, the thing we didn't talk about
• 1:28:01
  Speaker 1: is Risk just shooting out risk gud, which is amazing.
• 1:28:10
  Speaker 1: Gina Gershom dies off screen, which is sad but also
• 1:28:15
  Speaker 1: kind of like poetic in this movie. I agree with
• 1:28:20
  Speaker 1: you because.
• 1:28:24
  Speaker 2: I agree with you. I think that it's because I
• 1:28:32
  Speaker 2: think the movie wanted to show like the disposability of
• 1:28:35
  Speaker 2: this character in a way, yeah, like and wanted to
• 1:28:38
  Speaker 2: make a comment on it in a in a sad
• 1:28:40
  Speaker 2: kind of like throwaway away because it's not like this
• 1:28:43
  Speaker 2: character doesn't have a character, she fully has her own character.
• 1:28:48
  Speaker 1: Yeah, for sure. Art picks up. They go to his
• 1:28:54
  Speaker 1: ex brother in laws and he's like, what do you
• 1:28:58
  Speaker 1: got these foreigners goose stepping in here? Oh?
• 1:29:01
  Speaker 2: Man, He's so like he's skeptical in a way way
• 1:29:06
  Speaker 2: that you can tell Art also is.
• 1:29:08
  Speaker 1: Skeptical of but educated.
• 1:29:12
  Speaker 2: Yeah, he's like, come on, man, sick to Dick, I
• 1:29:14
  Speaker 2: know this guy. Yeah, totally, we bonded over parakeet. He
• 1:29:21
  Speaker 2: mentions his sister quite a bit. Actually his kid's sister
• 1:29:24
  Speaker 2: had the parakeet, who's also the sister who's just off screen.
• 1:29:27
  Speaker 2: But this guy's not paying his alimony to her. Yea.
• 1:29:31
  Speaker 1: And they find out that the key belongs to a
• 1:29:33
  Speaker 1: bus station terminal where they can like open it.
• 1:29:37
  Speaker 2: Up, and Schwartze does actually a lot of the most
• 1:29:40
  Speaker 2: amazing kind of police work in this movie, like the
• 1:29:43
  Speaker 2: investigative kind of work.
• 1:29:45
  Speaker 1: Schwartzy, Yeah, totally. Uh, And they get the the was
• 1:29:49
  Speaker 1: it money? You know, it's what is it? What is
• 1:29:53
  Speaker 1: it cocaine? I think it's.
• 1:29:56
  Speaker 2: Well, Victor has a locker that has money in it
• 1:29:58
  Speaker 2: that he's exchanging for.
• 1:30:00
  Speaker 1: Oh okay, okay, and oh and then the stuff is
• 1:30:02
  Speaker 1: coming from El Paso, right, okay, okay, yeah yeah uh
• 1:30:05
  Speaker 1: and then he shoots he betrays uh what's his name,
• 1:30:10
  Speaker 1: Selim and shoots him, which I was like, I felt
• 1:30:14
  Speaker 1: like a little bit angry about the like lack of
• 1:30:16
  Speaker 1: solidarity there. It definitely I think it's meant to solidify
• 1:30:22
  Speaker 1: Victor as a villain. I think it's meant to stify
• 1:30:25
  Speaker 1: that it's it's like, these guys have an ideology that
• 1:30:28
  Speaker 1: they actually believe in and that they have been radicalized towards,
• 1:30:32
  Speaker 1: whereas this dude doesn't have an ideology at all. He's
• 1:30:35
  Speaker 1: in it for himself.
• 1:30:37
  Speaker 2: The most American when he comes from he comes from oppression.
• 1:30:40
  Speaker 2: Also because he's a Georgian, I mean, they all he's
• 1:30:45
  Speaker 2: capitalism as a as a way out exactly. So he's
• 1:30:49
  Speaker 2: like trying to make He's like the guys in the
• 1:30:52
  Speaker 2: nineties in Serbia that made their millions, right like so
• 1:30:54
  Speaker 2: like that illegally made their millions through crime rings.
• 1:30:58
  Speaker 1: Basically, oh man, and then he's like, oh, like he
• 1:31:04
  Speaker 1: killed a Chicago police officer. He's Chicago's now uh. And
• 1:31:08
  Speaker 1: then what's his name? Danko points the gun at Jim
• 1:31:12
  Speaker 1: Belushi instead of instead of Victor. Yeah, but then an
• 1:31:21
  Speaker 1: old lady comes in between them, and he's.
• 1:31:23
  Speaker 2: Like, oh man, the way he like points his gun
• 1:31:29
  Speaker 2: in Victor or at at at Art, he's kind of
• 1:31:34
  Speaker 2: amazing because Art is he's genuinely hurt by this in
• 1:31:39
  Speaker 2: this moment totally because because they bonded, they bonded and
• 1:31:42
  Speaker 2: Art is like very sincere. It shows like how like
• 1:31:46
  Speaker 2: how good sincerity is like their weakness. Also, Yeah, totally
• 1:31:52
  Speaker 2: because Victory, because vic I keep calling Victor, because fucking Ivan.
• 1:31:55
  Speaker 2: Schwartzy's character is like, get in the fucking bus. These
• 1:32:00
  Speaker 2: buses are so cool. It's such a great it's such
• 1:32:03
  Speaker 2: a great scene. And it also reminds me of Terminator totally.
• 1:32:07
  Speaker 2: And like, so was this like they actually hit a
• 1:32:10
  Speaker 2: train with a bus, like you usually would never see
• 1:32:13
  Speaker 2: that in a movie.
• 1:32:14
  Speaker 1: Ever again never, ever.
• 1:32:16
  Speaker 2: I don't know the logistics of having to do this,
• 1:32:19
  Speaker 2: Like was that Ariaette or Marionette?
• 1:32:24
  Speaker 1: It is a Verette. But this, this scene, the subdued
• 1:32:27
  Speaker 1: performance of Schwartzi in this makes this scene payoff at
• 1:32:31
  Speaker 1: the end.
• 1:32:34
  Speaker 2: Because he lets loose.
• 1:32:35
  Speaker 1: Yeah, dude, this is.
• 1:32:36
  Speaker 2: Him being like I'm getting whatever, I'm finishing the job.
• 1:32:40
  Speaker 2: I'm finishing the job. I'm like here, I'm in America.
• 1:32:42
  Speaker 2: There's no stakes for me. If I go back without you,
• 1:32:47
  Speaker 2: I lose my career. I get canceled in Russia, dude, Yeah,
• 1:32:49
  Speaker 2: I get canceled from the Communist Party, I get canceled
• 1:32:52
  Speaker 2: from the police force. And like, yeah, he's just like
• 1:32:57
  Speaker 2: he's he's got nothing to lose, he's nothing to news.
• 1:33:02
  Speaker 1: Know, your name are nothing to gain, you know. Yeah, exactly.
• 1:33:10
  Speaker 1: I mean that era of music is coming back. It's
• 1:33:15
  Speaker 1: not only coming back, but it's also it's also Canadian popular.
• 1:33:18
  Speaker 1: It's also going to be in movies really soon. Dude.
• 1:33:22
  Speaker 2: The way that's going to be used in movies is
• 1:33:24
  Speaker 2: amazing because it will show the profundity of those.
• 1:33:26
  Speaker 1: Oh yeah percent And then they get out there, they
• 1:33:31
  Speaker 1: wipe themselves of the wounds that they probably would have
• 1:33:36
  Speaker 1: gotten from flipping over a bus and crashing.
• 1:33:39
  Speaker 2: You know, it's kind of actually realistic in a way,
• 1:33:42
  Speaker 2: like people do get out of these things this sun scared.
• 1:33:45
  Speaker 1: Yeah. Sometimes I see those videos of people just get
• 1:33:49
  Speaker 1: hit by a car. Their pants fly off, their pants
• 1:33:54
  Speaker 1: fly off, and you're like, whoa dude is that? Go okay?
• 1:33:56
  Speaker 1: And they they kind of get dazed and the hurt
• 1:33:59
  Speaker 1: only feels her days yeah, days later or sometimes decades later.
• 1:34:05
  Speaker 1: With what's his name singing a nine Inch Nails song,
• 1:34:11
  Speaker 1: but yeah, you know what, Jim Belushi lets go of
• 1:34:17
  Speaker 1: and becomes friends real friends with SWARTZI in this moment
• 1:34:20
  Speaker 1: because he's like, you know what, he killed a cop
• 1:34:23
  Speaker 1: in Chicago and I want to catch him for this,
• 1:34:25
  Speaker 1: but this is I'm tired of this whole Russian thing
• 1:34:27
  Speaker 1: you you can take care.
• 1:34:28
  Speaker 2: Of, yeah, which is kind of cool, Like it's like.
• 1:34:33
  Speaker 1: Hey, gumby hunk, me hunk if you need me, And
• 1:34:36
  Speaker 1: it's like he knows he doesn't need him.
• 1:34:38
  Speaker 2: And if he was, if he was a more by
• 1:34:40
  Speaker 2: the book cop, he would have booked Schwartzy and he
• 1:34:43
  Speaker 2: would not have let this happen a long time ago.
• 1:34:46
  Speaker 2: So it's kind of like it allows for this story
• 1:34:48
  Speaker 2: to happen, right, like the fact that he is a
• 1:34:51
  Speaker 2: quote bad cop, you know or whatever whatever that means.
• 1:34:55
  Speaker 2: There are no good there are no good they're no
• 1:34:57
  Speaker 2: good cops. Hey, it's all a caf.
• 1:35:02
  Speaker 1: No.
• 1:35:02
  Speaker 2: But what I'm saying is Schwartzy he goes and takes
• 1:35:09
  Speaker 2: care of it, and he just shoots and he just
• 1:35:11
  Speaker 2: shoots him.
• 1:35:11
  Speaker 1: And it's kind of an awesome ending because it doesn't
• 1:35:14
  Speaker 1: feel anti climactic because we got a nice climax the
• 1:35:17
  Speaker 1: crash he had the crash and like him killing him,
• 1:35:21
  Speaker 1: they both shoot at each other and you still kind
• 1:35:23
  Speaker 1: of don't know what's gonna happen, even though you know
• 1:35:24
  Speaker 1: it's your Schwartz is gonna win. Yeah, But I think
• 1:35:28
  Speaker 1: it's really fascinating how they they did it. In this
• 1:35:32
  Speaker 1: in this way where it's like not even like an epilogue.
• 1:35:38
  Speaker 1: It's like, uh, we got to get rid of the
• 1:35:40
  Speaker 1: guy and SCHWARTZI he's not a superhuman in this. It's
• 1:35:45
  Speaker 1: it's set up in a way where he's just he's
• 1:35:50
  Speaker 1: must cop, which is fine, which is amazing. And the
• 1:35:53
  Speaker 1: fact that we get this guy who is like capable
• 1:35:58
  Speaker 1: of getting out of this just because of the fact
• 1:36:00
  Speaker 1: that it's like a combination of things like luck, some
• 1:36:03
  Speaker 1: street smarts, some like like things that he's willing to
• 1:36:07
  Speaker 1: do the cops aren't willing to do, and so on.
• 1:36:10
  Speaker 2: And and then there's also just like the adherence to
• 1:36:13
  Speaker 2: some kind of code and that is this nebulous sort
• 1:36:17
  Speaker 2: of like hey, listen, we're both cops.
• 1:36:19
  Speaker 1: Law and order. Yeah, totally. And then they do have
• 1:36:21
  Speaker 1: an epilogue, which is which is nice. And like, I
• 1:36:26
  Speaker 1: do not understand the sport you're not supposed to It's
• 1:36:31
  Speaker 1: totally American. I love that, It's totally. I love it.
• 1:36:35
  Speaker 1: It was amazing and baseball American, Yeah it is. And
• 1:36:38
  Speaker 1: it kind of doesn't make any sense. You know, do
• 1:36:43
  Speaker 1: do things you're good at, like knee dancing and training
• 1:36:46
  Speaker 1: those cute little bears, you mean torturing.
• 1:36:48
  Speaker 2: Those circus acts, and Twartzy then gives him a.
• 1:36:54
  Speaker 1: Toy dog we played we play baseball now in.
• 1:36:57
  Speaker 2: Like, oh, it'd be a hell of a world series though,
• 1:37:00
  Speaker 2: he's like, fuck, we'd wipe the floor with you. It'd
• 1:37:02
  Speaker 2: be a hell of a world series though, So he
• 1:37:04
  Speaker 2: kind of gives it to.
• 1:37:05
  Speaker 1: Him and he's like, we would win.
• 1:37:07
  Speaker 2: We will wait, yeah, and there's an assurance to Schwartzy
• 1:37:12
  Speaker 2: about them winning. It was this was sweet and like
• 1:37:16
  Speaker 2: the the like genuine reaction of him giving him a
• 1:37:19
  Speaker 2: thousand dollars watch.
• 1:37:20
  Speaker 1: Versus because he felt like both bad he and also
• 1:37:27
  Speaker 1: a little bit like the fuck but I did.
• 1:37:30
  Speaker 2: I want to go and he'll have a story and
• 1:37:36
  Speaker 2: he'll be like, give that sucker a thousand dollars watch. Yeah,
• 1:37:39
  Speaker 2: he doesn't know what he has. Yeah, absolutely, man, And
• 1:37:44
  Speaker 2: then Schwartzy leaves.
• 1:37:46
  Speaker 1: Is that how it ends? Well, he goes, he says
• 1:37:49
  Speaker 1: goodbye and Russian and good luck or whatever, and then
• 1:37:53
  Speaker 1: he's like farewell, and there is like a real respect
• 1:37:59
  Speaker 1: to both of them and the idea of like not
• 1:38:03
  Speaker 1: politics but police, like we're in solidarity with each other
• 1:38:06
  Speaker 1: because we do the same job, which is interesting. But
• 1:38:09
  Speaker 1: then it ends with that fucking he turns around and
• 1:38:12
  Speaker 1: gives him the salute, and then it cuts to him
• 1:38:14
  Speaker 1: saluting in awesome. It pulls out and get this scale
• 1:38:21
  Speaker 1: and the whole fucking anywhere. The suit that he wears
• 1:38:26
  Speaker 1: is amazing, Like they make fun of the suit in
• 1:38:29
  Speaker 1: the movie, but it's amazing. It's so cool, it's so bright. Yeah,
• 1:38:33
  Speaker 1: and then the credits roll and you know what, I
• 1:38:38
  Speaker 1: think I gave this a seven last time. Fucking nine. Yeah, dude,
• 1:38:43
  Speaker 1: it's easily a nine. It's intere Pantheon. It's Pantheon, it's
• 1:38:47
  Speaker 1: new Pantheon. It's what did you feel talking about this?
• 1:38:51
  Speaker 1: Getting to do this episode with me again? I mean
• 1:38:55
  Speaker 1: it was fun. It was fun, dude. Yeah.
• 1:38:59
  Speaker 2: Okay, So a couple of things I want to cover
• 1:39:01
  Speaker 2: with you. Second second Chance Schwartzy's is something that we're
• 1:39:05
  Speaker 2: doing in lieu of the last few episodes of Bruce.
• 1:39:09
  Speaker 2: We don't want to do Bruce anymore. We're done with Bruce.
• 1:39:12
  Speaker 2: Thank you guys for listening. Thank you for being loyal.
• 1:39:14
  Speaker 2: Loyal we knew who was loyal. You well loyal. You
• 1:39:18
  Speaker 2: will be rewarded greatly in the afterlife. Thank you. But
• 1:39:24
  Speaker 2: what I wanted to say is, dude, we like we've
• 1:39:30
  Speaker 2: been through many episodes and it's nice to get to
• 1:39:33
  Speaker 2: go back. How does it feel to go back to
• 1:39:35
  Speaker 2: Schwartzy after having this entire career of doing this every
• 1:39:40
  Speaker 2: week for the past like five years.
• 1:39:44
  Speaker 1: Yeah, it's a I wish we had more money, Yeah, dude,
• 1:39:49
  Speaker 1: I mean yeah, I wish we had a bigger fan base.
• 1:39:53
  Speaker 1: I mean, like honestly, like I don't really it's not
• 1:39:59
  Speaker 1: even about money or like fan base or anything like that.
• 1:40:02
  Speaker 1: It's just like about things being easier, things being like
• 1:40:07
  Speaker 1: easier to make or easier to like like not feeling
• 1:40:12
  Speaker 1: like yeah, like it's it's a time commitment. It's not
• 1:40:22
  Speaker 1: in that like it's just like a thing of like, hey, dude, like, dude,
• 1:40:27
  Speaker 1: why doesn't any of us feel easy? You know, I
• 1:40:31
  Speaker 1: know what you mean.
• 1:40:32
  Speaker 2: But all of that being said, do you want to
• 1:40:35
  Speaker 2: are you excited to continue?
• 1:40:37
  Speaker 1: Yeah?
• 1:40:38
  Speaker 2: What movies are we doing? Do we want to tell
• 1:40:40
  Speaker 2: the audience? So we've come up with like two phrases,
• 1:40:48
  Speaker 2: like Schwartzy helped us coin two phrases that we now
• 1:40:51
  Speaker 2: use regularly to describe movies. And one of those phrases
• 1:40:54
  Speaker 2: is a red Heat, which is a surprisingly good movie,
• 1:40:58
  Speaker 2: and a Raw Deal with is a surprisingly bad movie,
• 1:41:02
  Speaker 2: and they're both SCHWARTZI movies, and we wanted to maybe
• 1:41:05
  Speaker 2: cover Raw Deal next to see if Raw Deal might
• 1:41:08
  Speaker 2: be a red Heat.
• 1:41:09
  Speaker 1: I mean, it's not gonna it never is, and it
• 1:41:13
  Speaker 1: always tricks you into believing that it might be. Dude,
• 1:41:15
  Speaker 1: do you think that this movie, this episode that we
• 1:41:18
  Speaker 1: did is a red heat episode? I think so, And
• 1:41:22
  Speaker 1: I wanted to what would you rate this episode too?
• 1:41:25
  Speaker 2: I would read this episode of nine out of ten,
• 1:41:28
  Speaker 2: like the movie, a solid nine. But I wanted to
• 1:41:31
  Speaker 2: give an opportunity right now for a friend of the show, Brandy,
• 1:41:35
  Speaker 2: to say something because she's been my schwartzy correspondent for
• 1:41:39
  Speaker 2: a while, just sending me tons of great schwartzy content
• 1:41:42
  Speaker 2: and beams and send me a several interesting how did
• 1:41:46
  Speaker 2: you guess?
• 1:41:46
  Speaker 1: Is?
• 1:41:47
  Speaker 2: And I think there were some that she really wanted
• 1:41:49
  Speaker 2: to talk about. So I'm gonna like give Brandy like
• 1:41:53
  Speaker 2: a little like a like a correspondence corner to discuss
• 1:41:58
  Speaker 2: whatever schwartzy how did you guess? So I take it
• 1:42:04
  Speaker 2: away our schwartzy correspondent, Brandy.
• 1:42:07
  Speaker 3: Hello, everyone, this is Brandy, your schwartzy correspondent coming to
• 1:42:11
  Speaker 3: you with a how did you guess?
• 1:42:13
  Speaker 1: How did you guess?
• 1:42:14
  Speaker 3: Schwartzy and Jim made three film appearances together. They worked
• 1:42:18
  Speaker 3: together here in Red Heat, and then Jim made an
• 1:42:21
  Speaker 3: appearance in nineteen ninety three's Last Action Hero, and then
• 1:42:25
  Speaker 3: they started together again in nineteen ninety six's Jingle All
• 1:42:28
  Speaker 3: the Way. That little jingle was not for effect, but
• 1:42:32
  Speaker 3: it came at the perfect time. My cat came in
• 1:42:35
  Speaker 3: and his collar jingled when I said Jingle all the Way,
• 1:42:38
  Speaker 3: So thank you for that, mister Matthew, my cat's name.
• 1:42:41
  Speaker 3: In other Schwartzy news, if you are looking for some
• 1:42:45
  Speaker 3: fitness motivation, a way to track your workouts, and even
• 1:42:49
  Speaker 3: an online fitness community, my friends Schwartzy's god us covered.
• 1:42:53
  Speaker 3: He has rolled out an app called the Pump appropriately
• 1:42:57
  Speaker 3: enough where you can sign up and get personalized workouts
• 1:43:01
  Speaker 3: depending on your goals, and you also get a lot
• 1:43:05
  Speaker 3: of information from him and his team about fitness, nutrition,
• 1:43:08
  Speaker 3: and wellness, all of that, and you get to participate
• 1:43:11
  Speaker 3: in what he calls the positive corner of the Internet.
• 1:43:14
  Speaker 3: And I agree it's really great, and so I would
• 1:43:18
  Speaker 3: totally recommend checking that out no matter what your fitness level.
• 1:43:21
  Speaker 3: Is if you're a beginner, you've been working out for years,
• 1:43:24
  Speaker 3: you've started, stopped, restarted, you know, been there, totally understand.
• 1:43:29
  Speaker 3: Schwartzey's app is a lot of fun and you even
• 1:43:33
  Speaker 3: have the chance to talk with other people in the community,
• 1:43:37
  Speaker 3: and Schwartzy's pretty active on there, so you know, you
• 1:43:39
  Speaker 3: may even get a like or response from Schwartzy himself.
• 1:43:43
  Speaker 3: And believe me, if I ever do, you all will
• 1:43:46
  Speaker 3: be the first to know. So I highly recommend checking
• 1:43:50
  Speaker 3: out the pump. It's a fun app, and you can
• 1:43:53
  Speaker 3: also sign up for his daily newsletters that he will
• 1:43:56
  Speaker 3: roll out that he also puts on the app. But
• 1:43:58
  Speaker 3: if you're not interested in app, you can still go
• 1:44:01
  Speaker 3: to a social media and sign up for his newsletters
• 1:44:05
  Speaker 3: to get some encouragement, motivation, inspiration, and you know, thirsty
• 1:44:09
  Speaker 3: for mores from Schwartzy himself. Highly recommend. Well, that's it
• 1:44:13
  Speaker 3: from your Schwartzy correspondent for today and until I think
• 1:44:16
  Speaker 3: of a cool way to sign off from this portion
• 1:44:19
  Speaker 3: of the podcast here sending it back to you Malenko and.
• 1:44:22
  Speaker 2: Alex Wow, I mean, I think that's interesting. Well, we'll
• 1:44:26
  Speaker 2: be able to talk about it after when we get
• 1:44:28
  Speaker 2: to hear it. But Yeah, excited to do these second
• 1:44:32
  Speaker 2: chance Schwartzi's going to talk to correspondent Brandy at the
• 1:44:36
  Speaker 2: end of every episode and just get to get a
• 1:44:40
  Speaker 2: fuller picture of Schwartzy. It feels like we have more,
• 1:44:44
  Speaker 2: you know, like we've have more show, you know behind us. Yeah,
• 1:44:49
  Speaker 2: there's more of a lore now, you know. Yeah, So
• 1:44:52
  Speaker 2: it felt like we could talk more deeply about this.
• 1:44:55
  Speaker 2: I felt like it was a red heat. Yeah, I'm
• 1:45:00
  Speaker 2: excited to do the next episode.
• 1:45:02
  Speaker 1: See you next week, see you next week.
• 1:45:05
  Speaker 3: Mm hmm.