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EP155 - Pulp Fiction · Thirsty For More - Movie Review

• 0:04
  Mother. I need the goal. I need the goal Planet Bruce. Hello
• 0:23
  everyone, and welcome to Planet Bruce. I of course you'm your host Malenko.
• 0:28
  Nice to media, and uh, today we have any of you fuckers
• 0:33
  move, any of your motherfuckers, any of you fucking friends, execute every
• 0:45
  mother fucking last one. Yeah, dude, holy shit. Um, like
• 0:51
  I've been kind of like nervously anticipating this one. Uh, nineteen four is
• 0:58
  pulp fiction, of course, of course. Yeah, do you want to
• 1:02
  tell me why I've nervously been anticipating this one. I'm assuming you've been nervously
• 1:06
  anticipating it because it has, like now just a bad reputation of No,
• 1:11
  not at all. I like this movie and nereously anticipating it because of just
• 1:18
  the reputation of the movie in general. Like it's it's such a huge movie.
• 1:22
  It feels like it's like it's been talked it's also like a talked about
• 1:25
  movie and it's been talked to death. Yeah, so I'm like, I
• 1:29
  don't know, what can you contribute? What can we contribute? What could
• 1:30
  we possibly contribute? Like it's a Bruce episode, Like we're talking about Bruce
• 1:34
  Willis in this movie. Who you want to just talk about his portion of
• 1:38
  it. No, No, Like, if we're gonna talk about the movie,
• 1:41
  do you do you want to talk about this movie? Yeah? I
• 1:45
  mean yeah, it's I mean, it's cute. Yeah. That's what's annoying
• 1:49
  about this movie is watching it. I don't see the movie anymore. I
• 1:55
  see like twenty to twenty five years ago, other people talking about this movie
• 2:00
  and quoting it, and like, I see all of the media that's been
• 2:06
  like and like, it's it's heart. It's sorry, it's easy to forget
• 2:12
  how well, like then, how influential it was because it was so influential,
• 2:19
  you know what I mean. Yeah, yeah, I mean basically it
• 2:21
  started a whole It's you know, it's interesting about movies like this in general
• 2:27
  is that on the fucking Pricks, Eddie, if you fucking pricks, change
• 2:35
  the lens later in the movie. Uh sorry, any if you fucking pre
• 2:39
  excuse a different take. Um, clearly totally. But what I find interesting
• 2:46
  about movies like this and this movie in general is that movies like this and
• 2:53
  later on in general get canonized in a way where it's like, oh,
• 2:58
  this started this type of movie, and then you look back at those movies
• 3:02
  not having like them because you're like, oh, this is too Quinta.
• 3:07
  But a different generation of those people who've never seen pulp fiction will watch those
• 3:12
  movies and be like, oh, this is awesome. Why wasn't this a
• 3:15
  bigger movie? And it's like, oh, it was all because of Quentin's
• 3:19
  influence. Yeah, I mean yeah, dude. Yeah. Also, what
• 3:24
  I notice about every time going back to this movie and being in my thirties
• 3:30
  is very different than being in your twenties because you understand way more of everything
• 3:34
  than you do in your twenties or your teens when you see this movie,
• 3:37
  because when you're in your teens is kind of boring. When you're in your
• 3:39
  twenties, it's less boring, And when you're in your thirties, it's like,
• 3:44
  oh, I understand this whole movie. It's pretty good, you know.
• 3:47
  And also the level of detail to have people feel what I feel is
• 3:55
  the best part of any sort of genre films or people taking on genre films
• 4:01
  is making those like embarrassing moments happen, which happened less and less throughout Quentin
• 4:08
  Tarantino's movies. They all become stylized to a degree where the emotions they're presented
• 4:14
  by good actors like m Thurman or Canteen or someone Jackson or any of the
• 4:18
  people post Jackie Brown. Um, but at the same time you get these
• 4:24
  things where, um, you get these things where you're never gonna have these
• 4:31
  like genuine moments of not even necessarily improvised, but like things that are clearly
• 4:38
  written in to add vulnerability to characters Honey Bunny and and um, what's his
• 4:45
  name? Ring Yeah, and that's what, that's what, that's what.
• 4:49
  Oh, oh yeah it is Ringo. Then yeah, but it's honey Buddy.
• 4:54
  They're credited. Yeah, Pumpkin, I've crossed of Pumpkins that call back.
• 5:01
  But even even within the first scene where they're like discussing Honeybody and Pumpkin
• 5:09
  are discussing like kind of being in a rut, kind of not being where
• 5:14
  they want to be in life, kind of not wanting to do the thing
• 5:17
  that they've been doing for so long. Feels very real and it feels very
• 5:21
  real to an experience, to his experience. I mean, like, that's
• 5:26
  the thing is it's interesting everybody in this movie is kind of just the voice
• 5:31
  piece for Quentin Tarantino being in his thirties and trying to figure it out and
• 5:35
  being like I lived life. Yeah, Like it's interesting because even John Travolta
• 5:44
  takes on this like weird blaffect. It's what I'm calling black affect that that
• 5:50
  Quentin Tarantino seems to like do all the time. Yeah, that film has
• 5:57
  to be like one of the most quoted movies in Hollywood with just the lines
• 6:00
  and everything. So you gotta give us. This is one of my questions
• 6:02
  for you, cube, what is the most famous, Like you have your
• 6:05
  favorite line from pop fiction. I think probably the most famous line is I'm
• 6:12
  gonna get Rahm says it and like it's like he was like, no,
• 6:21
  John, you gotta say it like this. Really, I think they're all
• 6:26
  they're all pretty Like he's in in like a gangster mode, right, He's
• 6:30
  like a guy who's like in a world where it's like okay, like he's
• 6:34
  presented in a particular kind of way. But you get like, what's his
• 6:38
  name? Actor? Johnston is a bad actor? But here but hold on,
• 6:43
  hold on, We'll get to John trevolt is bad acting. Um,
• 6:46
  but what's his name? Uh Marty McFly tho oh, I mean the original,
• 6:53
  Um, he's just a guy. You know what I mean, Like,
• 6:57
  I mean, he's no, he's definitely just the guy. But it's
• 7:02
  not like you see him in Frighteners that you're like, hey, Morty like
• 7:06
  awakens deep feelings of like emotions and nostalgia and you yeah, for sure,
• 7:12
  but but you extols and you're like, oh, yeah, it wasn't need
• 7:15
  that dirty raddy guy. Yeah totally. But like all the characters outside of
• 7:19
  like the main core group of people that we follow in each story, like
• 7:23
  they are people who are are kind of like Philamark the best best members.
• 7:30
  But um, but yeah, like I mean, the he doesn't he does
• 7:35
  a really good job at making these people very real and very vulnerable, especially
• 7:40
  at the end when Yolande's like like shut up to like because she really is
• 7:46
  scared in the moment of of like trying to like save her husband, and
• 7:50
  like, you know, there's real moments of compassion rather than like building tension
• 7:58
  in movies where it's like I know there's tension here, and they've set up
• 8:03
  the tension, but I don't really feel like it's real tension because it's a
• 8:05
  Quin Tarantina movie. Whereas I still watch this movie and I'm like, oh
• 8:09
  my God, there's real stakes, it feels. It feels because they're all
• 8:13
  so normal people in the movie and various kinds of normal people that you would
• 8:18
  encounter in your life and going through normal things and talking about their like lives
• 8:22
  and being so that's what makes the movie have a lot of stakes. But
• 8:26
  like this movie has like it's more interesting because of how One of the things
• 8:33
  I was going to say, the really interesting thing about this movie when it
• 8:37
  came out was the structure, right that was like something that people had never
• 8:41
  seen before, like showing the middle in the beginning and like for the ending
• 8:46
  kind of like revealing things narratively in a way that like allows for like what
• 8:54
  more to unfold in the character respect. And something else that was really lauded
• 8:58
  when this movie came out was the dialogue. Is that everyone was like,
• 9:01
  Oh, it's such realistic dialogue, and like I'm like, I know what
• 9:07
  they mean, but I don't think realism is what they're talking about when they
• 9:11
  talk about Yeah, they're talking about like when they're talking abou Quentin Tarantino movies,
• 9:15
  they're talking about specificity, they're talking about like idiosyncrasy, Like like it's
• 9:22
  that's what's interesting it's not it's not that it's real or realistic. It's still
• 9:28
  very hyperstylized. Yeah, it is very hyperstylized. What I think they mean
• 9:33
  by realism is the idea that they're talking about things that are are much more
• 9:39
  down to earth than what criminals generally talk about in movies or what like,
• 9:48
  Like, because all of these people are kind of shit, just really shitty
• 9:50
  people, but like they're also um, you know, none of them are
• 9:56
  at a point, none of them seem like they're at a point where they're
• 9:58
  half be with their lives, and all of them seem to be seeking meaning
• 10:03
  in that way where it's like I want something better, I want to get
• 10:07
  out, I want to be in this mode of and we're all in that
• 10:09
  mode constantly, as like Norm's right, so we like we're in a stuck
• 10:15
  at a dead a job, or or we want more money, or we
• 10:18
  want more happiness or when more sex, or when more drugs, or we
• 10:22
  want more more things to fulfill us, right, um, and and like
• 10:28
  that's that's the interesting thing about the beginning part, where it's like they're they're
• 10:33
  just like the intro quote, yeah, oh well like pulp and I mean,
• 10:37
  yeah, do you want to go through it. I don't know,
• 10:39
  like, do you think it's useful for us to go through it? Because
• 10:43
  there's a lot of amazing moments that I want to talk about. And that's
• 10:46
  the thing. Like I was watching this movie with Anna and she was watching
• 10:50
  parts of it with me, and she she loves this movie. Obviously,
• 10:52
  of course she's classic cinephile, but like, you know, she's like,
• 10:56
  it's interesting because you get all the things that happen, and what you really
• 11:01
  remember about this movie is like the like, um, the shots and the
• 11:09
  parts, the like specific parts, the specific lines. It's all it's not
• 11:13
  supposed to be. You know, it is pulp. It isn't like that's
• 11:18
  what it is, right, Like it kind of like it's what you should
• 11:20
  do at that moment where you go, it's not supposed to be it should
• 11:24
  go no no no no no no no no. Oh man. Yeah,
• 11:30
  well, I mean it's it's the iconography is amazing. All of that stuff
• 11:35
  is cool. The colors are cool. Yeah. Part of it too is
• 11:39
  that like there seemed to get to a point where the locations. I don't
• 11:43
  think people talk about this at all, is that the locations are so important
• 11:48
  in this movie, and they're all very real as well. I was thinking
• 11:52
  the exact same thing watching this, like can you imagine that like fifties game
• 11:58
  diner bar? Like wow, how much of that was already there that they
• 12:05
  were using? Was like yeah, yeah, it was made me wonder because
• 12:09
  it's a very specific like it's supposed to create this like it's supposed to like
• 12:13
  hint at the pulpiness, right, Like it's like fifties or eras, you
• 12:18
  know, it's like this kind of like idea. It's almost can't I know
• 12:22
  that we have this like like conversation with Kay's but like this it's almost camp
• 12:26
  right because it's like using a hyper stylized way and pairing it in this interesting
• 12:31
  way, contrasting you know, the movies called pulp fiction. Yeah, it's
• 12:35
  supposed to be kind of pulpy, and it's got it's got a the nostalgia
• 12:41
  for the seventies. But the missing thing in Quentin Tarantino's movies now is this
• 12:48
  inability to make something contemporary while throwing back to something else. I don't think
• 12:52
  he really likes the era's post a certain era of filmmaking, which is why
• 12:56
  I think his type of filmmaking really functions in the nineties very well. And
• 13:01
  then when something like um kill Bill comes out after that, it's just like
• 13:07
  everything's set, everything's built, everything is like and everything, everything's a period
• 13:11
  piece exactly. Um. And then I think that Jackie Brown is the last
• 13:18
  contemporary movie that he made, right, No, No, It's The Grindhouse
• 13:24
  was last contemporary movie that he made. Does that count? I Like,
• 13:28
  I mean, it's got cell phones in it. That movie is cool.
• 13:31
  The movie is cool. Cool. People make fun of that movie, and
• 13:35
  like I feel like people make fun of this movie in a similar way,
• 13:37
  like they hate that movie, but this movie it's like film people, you
• 13:43
  know, and it's like, I know, I know, like the film
• 13:46
  People part of this movie is kind of What's like, I'm like rolling my
• 13:50
  eyes at myself talking about this movie because I'm like, okay, okay,
• 13:56
  all the things, Like it's just it's just been talking today, and like
• 14:01
  I've also had so many of these conversations, you know what I mean,
• 14:05
  I don't know or overheard them or seen snippets of like think pieces on them,
• 14:11
  and I'm just like, what else is there to say? What else?
• 14:16
  Frank? Whyey dude? The guy who was the guy who kidnapped Kevin
• 14:20
  Spacey and the movie Swimming with the Sharks and Beats the Ship. I mean,
• 14:22
  classic, dude. I don't think he's the guy who's like what that
• 14:28
  guy? Oh dude, he was. He was amazing. Say one again
• 14:35
  again? Say what day? And I care your motherfucker say what one more?
• 14:41
  Goddamn? I mean Samuel Jackson, like, I don't know, famous
• 14:46
  Oscar snub for this man, he's so bad. He did you know who
• 14:52
  won that year for Best Actor before? I don't know. Oh no,
• 14:56
  I don't know. I mean, and why was it? And Samuel Jackson
• 15:00
  did this role? Yeah? Yeah, maybe because this movie was pulp fiction
• 15:05
  and man. The thing I want to say about Quickti Taranty, though,
• 15:15
  is that he relishes being able to say the N words so much and he
• 15:18
  wanted to he says, dude this movie. I think probably the most famous
• 15:22
  line is I'm gonna get me says it. He says so much, so
• 15:31
  many like slurs, and it's like it's like he's writing in the racism as
• 15:37
  an everyman thing and he's like this how people talk, But it's revealing way
• 15:41
  more about what he thinks than how people talk no no, no, no,
• 15:46
  no no, you gotta listen. And the way people talk, you
• 15:52
  don't say affirmative or some shit like that, you say no problema. No.
• 15:58
  I like, I'll give him, give him some credit because that is
• 16:00
  the classic what's it called Spike Lee criticism, And and I think it's fair,
• 16:06
  Like I really do feel like, man, like this is a little
• 16:11
  bit obsessive, like it's in every movie, and it's in every movie in
• 16:15
  a way that it's like, oh, I want to make it, you
• 16:18
  know, like he's trying the tooth with racism a lot. It's weird because
• 16:23
  he's like he thinks it's like way more of a character device than it is.
• 16:29
  I think that's that's kind of the read I get. There seems to
• 16:33
  be an obsession almost You're right. I mean, I will say just because
• 16:37
  of the fact that we can watch it all of them in tenders. He's
• 16:40
  like, yeah he is some wide eyes smiles, Yeah, totally um like
• 16:45
  nineties troll um. But the thing is it definitely works for all of the
• 16:51
  movies. And also like, like dude, I don't know, like man,
• 16:55
  we both had bosses in separate ways. I know, people like yeah
• 17:02
  and they're not either, and ironically watch these movies and they're like they're like,
• 17:07
  yeah, that's how I talk, that's how people talk and the way
• 17:10
  people talk. I mean. The thing is, too, is that like
• 17:12
  you have to sort of that's the weird thing about art in general, is
• 17:17
  that you either have to give it to the world and be okay with that
• 17:19
  or be a person who's like, well, let's just cut all the shit
• 17:22
  out and hope for the best. That It's like no, I don't.
• 17:26
  Yeah, but I don't think that he's not aware of it. Maybe he
• 17:30
  is now, but he's not I think he was before. I mean,
• 17:34
  like I feel like I said, he's part of it. I mean he's
• 17:37
  as aware of how much feet he puts in the movie and how much bear
• 17:40
  feed and Uma Thurman's feed and feed in general being discussed and massaging feet you
• 17:45
  know. Yeah, actually speaking of that, that's an interesting uh he He
• 17:49
  pulls an interesting uh Socratic method on Jewels in that scene about the feet,
• 17:56
  which is like, yeah, dude, like he he kind of like is
• 18:00
  just asking questions, yeah, which but it's fair because he's like, did
• 18:04
  you ever massage a man's feet? Like you say, it's like, it's
• 18:07
  not the same, it's not sexual, but you wouldn't do it for a
• 18:10
  man. And then he's like kidding when he's like, my fee, I'm
• 18:12
  tired, you can massage my feet right now. Yeah, he's he's giving
• 18:18
  him the smile with the white eyes and the raised eye rows. But the
• 18:22
  relationship, it is so good because you can tell that doesn't start with Royale
• 18:29
  with cheese. Is that does start with cheese? Is which is first?
• 18:33
  And you have your fucking oh that's first? Yeah, that's first, and
• 18:37
  then it goes feel fucking fret mother. I mean, I want to function
• 18:48
  a little bit under the assumption that people have already seen fiction and maybe not
• 18:53
  retail scene by scene, but let's go what happens, let's go in order.
• 18:59
  Yeah, totally, We're They're in the car talking to each other about
• 19:03
  Royal with Cheese and the Big Mac and slopping mayonnaise on on tries just like
• 19:07
  mayonnaise on fresh fries is good. Like I don't think I don't know why
• 19:11
  they think it's that correct, But in the nineties I was gross step by
• 19:14
  it and I was like, oh, grow Slavannas slopped all over it,
• 19:18
  and he was right, dude. In the nineties, Brandon Dick Camillo was
• 19:22
  absolutely classic Quentin Tarantino shot in the trunk, which is cool. Um,
• 19:30
  I don't know, like the I man, he was so young, he
• 19:33
  was so yeah, all of them are so young, and and you know
• 19:37
  what people the nineties the nineties were like, man, joke, rold is
• 19:42
  fat, and it's like, I don't know, man, he just looks
• 19:45
  like a thirty year old guy. Well it's interesting. Yeah. Like also,
• 19:48
  like the discourse around like what bodies look good is like anyway, it's
• 19:53
  it's always up for I mean, gay dudes have always thought he looks good.
• 19:56
  Um, I mean as a gay dudes himself, I'm sure he was
• 20:00
  like that. But yeah, like I don't even know where I was going
• 20:07
  with this, Like I just feel like their relationship is so naturally formed throughout
• 20:11
  the movie because it's clear that they don't know each other, but they know
• 20:15
  of each other, and they yea to like be like oh yeah, Like
• 20:22
  I mean they do know each other, they've known each other, but it's
• 20:26
  like clearly he's been gone, is what I'm saying, like for a while,
• 20:30
  and this so sort of like playing ketchup. Um, ketchup happening.
• 20:36
  Ketchup jokes have happening twice in this movie. It's weird how they have to
• 20:41
  catch up to each other in a way that's like like hey, like how
• 20:45
  were you? Where were you? Those are the things that I think add
• 20:48
  to the quote unquote realism of the movie, which is like this person is
• 20:52
  a life before, he has a life after. I think that's what's interesting
• 20:56
  about the structure of the movie as well, is that the implication of the
• 21:02
  filmmaker understanding that the audience will have enough information time jumping throughout the movie to
• 21:08
  be to feel okay about time jumps and not feel weird about may be surprised
• 21:14
  by them, rather than being like, oh, off put by them.
• 21:17
  You know what's interesting though, Like it's crazy that like you kind of forget
• 21:22
  the chronology of Bruce a little bit um in terms of like when his movies
• 21:26
  came out, because I mean, okay, at this point, he's pretty
• 21:30
  pantheon because he's done. He is I love I love his square buzz.
• 21:37
  Yeah. Yeah, but you know, so much Pantheon Bruce came after this
• 21:44
  movie. Yeah, And it's weird to think that he's already so pantheon because
• 21:48
  like he's but he's only really done like Lok who's talking and like like to
• 21:53
  die hards right, Like yeah, it also interesting how much John travolt Johnny
• 21:59
  t work famous, Yeah, totally famous, serve but she almost some chiggle,
• 22:12
  some chiggle, some chiggle. And also he's also pulling a kind of
• 22:18
  Travolta is doing kind of a like a bruise, like a distant voice back
• 22:23
  of the throat. But yeah, but but but with more of a like
• 22:27
  he's kind of oh my god, cool, he's you know, he's Yeah,
• 22:32
  he's not a very good actor. He's not a very good actor.
• 22:34
  I disagree. I think that he actually pulls this character. He's good stuff.
• 22:40
  I think he's good in stuff, but I don't think he's a good
• 22:42
  actor. Let me let me please please you ask whole Let me, uh
• 22:48
  maybe guide you and the audience through what my thinking is in terms of how
• 22:52
  he acts with Vincent versus how he acts with me, because that's an interesting
• 22:57
  contrast. That's where I think the care chacter lies, because I think he's
• 23:00
  actually really trying to be cool in putting something on. Yes, I'm gonna
• 23:04
  get because throughout the like like if you notice in don't say that again again?
• 23:17
  Say what again? I dare you? Idare you? Motherfucker? Say
• 23:21
  what one more? Goddamn sorry? Um again say what again? Um?
• 23:27
  Yeah? Like what if you notice, if you notice in this part of
• 23:32
  the movie, he really is setting himself up to be like a cool guy
• 23:37
  in front of Vincent, He's talking about drugs. How like drugs can't be
• 23:41
  she's how how like police are are like goons in in in Amsterdam who can't
• 23:48
  like do anything to you if you have fucking heroin on you. Um,
• 23:51
  and like they were talking about hash they were talking about they were talking about
• 23:55
  weed. No weed too, but like even because he goes even if you
• 23:59
  have a hair roin on you, they can't do shit, which like Haroin
• 24:03
  was never like Haro was never cool like this, No dude, it was
• 24:10
  Heroin was cool, like I guess, so yeah, I guess grunge and
• 24:12
  like grunge, but also like if you think back to the Beatnicks and stuff
• 24:17
  like that, it was like right, and it's considered such a yeah,
• 24:21
  I don't know, like a lowly drug. Now now it's even more like
• 24:25
  in style because like people fucking do heroin because they're their oxy fucking addictions,
• 24:30
  right right, Um, which is weird because like it's weird that it's weird
• 24:34
  and sad that even drugs come back into fashion in like twenty year intervals.
• 24:40
  Um oh man, But like the lines of intimacy of like touching somebody's feet,
• 24:47
  but then also the implication of uh, you know, the whisper network
• 24:51
  of people spreading rumors about like how things go with the boss's girl of course,
• 24:56
  and of course there's these rumors about these evil and and what's this.
• 25:00
  But but even that is the realism that we put on ourselves in in in
• 25:07
  life, where it's like, oh yeah, like rumors I'm sick of rumors
• 25:11
  started I'm sick and followed, Um Antoine getting thrown out of a fucking four
• 25:22
  story building? Uh, which one was Antoine? Again, Antoine was the
• 25:26
  guy who got thrown out who massaged But who was he in the movie I
• 25:30
  don't show up? I think, yeah, But then then numbers um jewels
• 25:38
  being like look keep it paralyzed my ass because I'd kill him, motherfucker.
• 25:44
  It's funny, um, because in the movie, all of the like um,
• 25:48
  you know, usually it wasn't being said with a hard er on the
• 25:53
  end, and um the caption chose to just put a hearty on to do.
• 26:03
  But it's also interesting trying to big dog each other and who seems like
• 26:07
  a celebrity in this world when when Winston Wolf comes in and juels like,
• 26:14
  oh my god, you're a like the fixer, you know what I mean?
• 26:17
  Oh yeah, Like how they're all wearing these like fucking suses. It's
• 26:21
  yeah. And the interesting thing too is that even the iconography of the suit
• 26:25
  gets gets taken away by Tarantino in this movie. And the contrast between the
• 26:30
  the what I think both uh Thomas Anderson, Paul Thomas Anderson and Tarantino Tarantino
• 26:40
  Tarantino used to and and also Um Scorsese used to do, which is clash
• 26:45
  the like big figures, the mythical figures in the film to regular people and
• 26:51
  see how they play together, because it's like, oh my god, like
• 26:55
  this shit is fucked. You have to help me. And it's like you're
• 26:57
  the professional dude, like you got a suit on. Yeah, yeah,
• 27:00
  yeah yeah, and like wanting them to act like professionals. Also like an
• 27:06
  older guy wanting the younger generation to get their shit together. It really is
• 27:10
  a movie about like being in your thirties and gen X and like figuring out
• 27:15
  your life. But I wanted to say, did you read that article that
• 27:18
  case and how Fiona Apple quit doing cocaine, because oh yeah, go with
• 27:23
  Quick Deterito and Paul Thomas Anderson. Yeah, that sounds like it would be
• 27:26
  all like two of those two egos jerking each other off awful on coke.
• 27:32
  Yeah, yeah, that sounds like I would quit cocaine too, which I
• 27:34
  don't like and I've never done and would not do because it's boring and gross
• 27:40
  and I didn't have any fun um. But also the amount of times they're
• 27:44
  like, all right, let me getting the character, you know, like
• 27:47
  people just acknowledging about it, and they're also acknowledging that there's a degree of
• 27:55
  performance you have to like take on if you're going to get through life right,
• 27:57
  Like you've got to, like I feel like an impostor you've got it,
• 28:00
  you know, like it's it's it's interesting. I like that line of
• 28:03
  thinking for this movie, Yeah, for sure. And also that's the big
• 28:07
  problem with his movies now is that there isn't a level of hiding the arts
• 28:14
  into real life characters it's all about the aesthetic. It's all about the art
• 28:18
  forms, the art, the iconography. And then it's like it's a little
• 28:22
  boy, it gets a little boring. Well, this is like like he's
• 28:26
  speaking for people in this movie, you know what I mean, Like he's
• 28:29
  speaking for a generation. Yeah, totally. And then like we get into
• 28:33
  where they're talking to Brett and he's like what he plays such a perfect what
• 28:38
  kind of guy? Dude? I love the flock of seagulls reference. Like
• 28:44
  it's also like this like sort of like sad, like all the people that
• 28:48
  were in their twenties in the eighties having a good time are now like,
• 28:52
  you know, you're getting older, and like the Yeah, it's interesting.
• 28:57
  It's interesting because also we'll get to it. So burgers for breakfast, I
• 29:06
  don't know. I don't know about that. That's kind of gross. I
• 29:08
  would never ever do that, but they've done it. But it implies.
• 29:11
  I think it implies that these guys were on the doing whatever heist they were
• 29:15
  doing the night before, went to this twenty four hour burger. You know,
• 29:18
  I grabbed a burger and are eating it now, as why haven't delivered
• 29:22
  the gold they were gonna I think they were just going to keep the diamonds,
• 29:25
  They're gonna keep the well they never say yeah, they never say it's
• 29:27
  Marcella's wallace a soul dude? Um? Is that internet theory? So why
• 29:34
  is the table but just a cover of scar? Or was it just a
• 29:40
  cover scar? Yeah? Because he's got a giant fucking scar on the which
• 29:42
  wouldn't just be cool? Why did they show that my cannon? Is that
• 29:47
  like he was shaving his head and like you see how sweaty and glistening his
• 29:52
  head is in the like one scene and I think you're shaving his heaving cut
• 29:56
  himself probably yeah, yeah, um, but yeah they get the mcguffin of
• 30:03
  the movie. Uh and the like briefcase. Yeah, the briefcase. Um,
• 30:11
  I mean do we talk about this same do we talk about the infamous
• 30:15
  I don't remember asking you a goddamn thing? Of course? What he's so
• 30:22
  good? Ain't a country? He's so good? So good English? Do
• 30:26
  they speak English? And what? Man? Yeah, he just manages to
• 30:32
  to uh not just like make this character so whole because he does know how
• 30:40
  to write Samuel al so well, Samuel knows how to take this type of
• 30:44
  role and fucking I think it's also a question of Samuel al Yeah, knowing
• 30:48
  how what what Quentin is going for more sometimes than he does. Yeah,
• 30:55
  totally, and compare like, doesn't know do you imagine? Yeah, totally
• 31:00
  speak jive at you, you're doing too much realed, But yeah. He
• 31:11
  he delivers the line in such a way where you would in real life be
• 31:18
  like, what are you talking about because this situation is so scary, but
• 31:22
  delivers it with such confidence and knows exactly what he wants to say to him
• 31:27
  and when you listen to him, he makes sense completely. He's like,
• 31:32
  tell me what you think? Who who you think Marcella s Wallace is,
• 31:36
  And then ask you does he look like a bitch um? He's like yeah
• 31:45
  yeah. And then that scene where like he obviously does his famous speech the
• 31:49
  strikes down upon me with furious anger and it's not actually in the Bible,
• 31:56
  is it not? No, it's made up. Yeah, you made it
• 32:00
  up, which is cool. It sounds like a verse. That's so funny.
• 32:06
  And then we get our first we get the first title card. Right
• 32:09
  after that, they shoot, no, that's the first, the first,
• 32:15
  that's the We get the first time card, which is Mia Wallace and the
• 32:20
  date that they're going on. Oh yeah, and we get the little flashes
• 32:24
  it says Vincent Vega and Marcella s Wallace's wife and then the I like the
• 32:30
  I like the um the like chapter headings. Yeah, dah me too.
• 32:35
  They were really cool. It's a cool it's a cool touch and something you
• 32:37
  forget about the well because it's like a novel, right, It's like a
• 32:40
  cheesy whole fiction right. Um, because like all of his movies are kind
• 32:45
  of like that, Like they're they're either like Jackie Brown is based on a
• 32:47
  novel which is also a pulp kind of like detective type put it in your
• 32:52
  back pocket thing, um, and the like weird flares that are when they're
• 32:58
  shooting at Frank Way uh and the it looks like the film is running out
• 33:02
  of the camp. Yeah. And his obsession with film is a little bit
• 33:07
  like annoying. But like with this kind of movie, it really does feel
• 33:12
  like you can't make this any retroactively annoying. It's because we know who he
• 33:17
  is and he's revealed his like it's like it would be better if he like,
• 33:21
  you know, died after he released three movies or something, you know,
• 33:23
  like you would be revered as a legend and people would wonder what kind
• 33:28
  of things he would make. Yeah, but not necessarily good. But now
• 33:30
  he's a podcaster and it's annoying. It's I mean, but we're at a
• 33:37
  different generation. We've got we've got enough art behind us to be like,
• 33:39
  oh yeah, like nobody gives a shit about our art, but like this
• 33:43
  is our art now, you know what I mean, Like we're doing this.
• 33:46
  He came to it like, oh yeah, I went on Joe Rogan,
• 33:50
  I can talk about movies. And it's like, dude, please,
• 33:52
  don't you're so annoying about movies. You know, write books, you know,
• 33:57
  be cool. We'll have someone edit you totally. I mean, that's
• 34:00
  the big thing too. But we get a first glimpse of in this beautiful
• 34:06
  like orange red with the blue in the background of Bruce Wallis's face talking to
• 34:13
  Marcellus's wall Marcellus's Wallace, Marcellus Wallace about throwing the fight. Right he gets
• 34:19
  he gets paid off to throw the fight. Um, he's got to drop
• 34:22
  in the fifth round. And he's like, don't have pride. Pride's not
• 34:25
  like pride. What does he say about pride? It's something very epic um
• 34:31
  man. What's annoying about Quentin Tarantino is he wants to hear black people say
• 34:37
  cool things. Yes, he wants to. I disagree with you. I
• 34:39
  think it's amazing. I want people to say cool things too. Because he's
• 34:45
  tokenizing black people by doing. No, he doesn't, dude, these are
• 34:49
  all real characters. No, they are. All of them are so three
• 34:52
  to you know, but he's tokenizing their blackness. Though your ass is gonna
• 34:58
  get to get really gonna he says, your ass is gonna have to get
• 35:01
  realistic about it to dude. No, dude, the like majesticness on black
• 35:12
  people, I don't know. Yeah, I mean like nothing all majestic,
• 35:15
  dude. They're all not not as much as Marcella as Wallace is and and
• 35:22
  but he's majestic to all of them. And Samuel, yeah, Samuel el
• 35:25
  so, Samuel el No, Samuel is way more humility in the manor.
• 35:30
  Yeah, he gets excited about shit. He's like he meets the wolf and
• 35:35
  he's like, you're fucking rock star, dude. He's like, dude,
• 35:38
  it's an honor to see market. It's like, yeah, that's and that's
• 35:43
  he's just saying that too Harvey could tell like which is which he's majestic in
• 35:49
  the movie too, You're right, You're right, that's true, oh man,
• 35:55
  And and like him trying to pacify Bruce being like hey, dude,
• 36:01
  like it's okay, You're not gonna get any better because your hold already.
• 36:07
  It's like it's like really trying to take him down a peg and I can.
• 36:10
  And Bruce Willis the stone face that he plays where he's like, I
• 36:15
  have to I have to hold back the kind of rage that I have for
• 36:19
  what he's asking me to do because I'm taking the money he's play. He's,
• 36:22
  yeah, do it through a character. He does it through a character.
• 36:28
  He's like he's accepting the money. And like he's so beautiful in this
• 36:34
  movie. He's such a good looking guy's so good and he's this is the
• 36:37
  most ripped Bruce we've seen. And like, man, like, Bruce Willis
• 36:42
  is so compelling in this and he does so much from a little with so
• 36:47
  little, yeah, so much, Like he's a really he's a really really
• 36:52
  good actor, dude. And not to be a Quentin Tarantino in the scene
• 36:55
  but when he goes when Marcellis goes, you my n word, and Bruce
• 37:01
  Willis is like, apparently that's apparently so no, He's like, are you
• 37:07
  yeah, and then he's like and he's like it would appear yeah, And
• 37:10
  it's like, yeah, Bruce being cool about which is which is yeah,
• 37:14
  cool with black people doesn't have to dry, Bruce. Fuck pride. Pride
• 37:19
  only hurts. It never helps you fight through that shit because a year from
• 37:25
  now, when you're kicking it in the Caribbean, you're gonna be You're gonna
• 37:30
  look at yourself and say Marcellus was right. And then he laughs, man
• 37:32
  ving Rings, Dude, Ving Rais is amazing, and it's just like unbelievablewhouse.
• 37:42
  Yeah, totally, even in this scene where you just see the back
• 37:44
  of his head and you're like, oh my god, that dude's so scary,
• 37:46
  but he's just like delivering it with such like calm, cool presence and
• 37:52
  and he's like, I got no problem with that, mister Wallace. Everybody's
• 37:57
  like playing the role. Respect Yeah, fifth yours goes down and Bruce Willists
• 38:05
  just like nodding, and then he goes say it and it's like, well,
• 38:10
  there's a lot of that in this movie, people saying things I made
• 38:14
  her say it. It's by the bed my dad's watch. Yeah, there's
• 38:17
  a lot of like staying true to your word, keeping your word. I
• 38:22
  do think I like you mentioning that it's like somebody like understanding this movie from
• 38:28
  the perspective of your thirties and kind of like approaching middle age or being in
• 38:32
  early middle age is like really interesting because it's like it does it does feel
• 38:40
  like that, and watching this movie from this like vantage point, it's a
• 38:45
  little like iyrolly at the kind of dog eyed um you know, sort of
• 38:51
  like I don't know, something feels so gen x about it. You know,
• 38:55
  that's a very gen X movie. Yeah, yeah, like where where
• 38:59
  it's like we don't we don't feel like this, you know, our generation
• 39:02
  like doesn't feel this way about this point in our lives. No, it
• 39:07
  feels different. It feels a different kind of uh disconnected sometimes of course,
• 39:13
  and it feels a different kind of like depressing or nihilistic. But that's a
• 39:16
  normal Like it's three generation is going to have their own version of that.
• 39:21
  I mean, like the boomers had alcohol, but the boomers hit their wives.
• 39:27
  Um man, this dude, who tell yeah, oh I respect you
• 39:35
  so much, sir, um the bartender who like brings jewels and and Vincent
• 39:45
  post having shot Marvin in the face and like laughing at their their get up.
• 39:52
  Um is amazing. He's like incredible. Danny Malroon, do you know
• 39:57
  talking about Yeah? Do you know who else gets to be a Danny well
• 40:00
  Rodd in this movie? Griffin? Yeah? And and Steve Bruschevy outrageous Yeah
• 40:08
  totally. I don't know what that means. Mulroon. I mean, I
• 40:12
  guess he was Buddy Holly, Yeah, he was Buddy Holly. Yeah.
• 40:17
  But but Kathy Griffin was definitely a Danny mull room. Yeah, totally.
• 40:21
  I'm pretty sure he just knew her though. I love her. She's so
• 40:27
  funny. Do you want her to do this? She stands out so knowing
• 40:30
  her and like her affect her like bubbly affect, like you're just like she's
• 40:36
  unmistakable. Yeah, totally, totally. And then we get the more of
• 40:38
  the sort of it's it's funny because we get Marvin getting shot in the face
• 40:45
  and we get the context of him being post that where he's like telling people
• 40:50
  he's taking Marcellus Wallace's wife out right. Oh, and then the rumor mill
• 40:53
  starts about that what are you gonna do? And people are kind of making
• 40:58
  fun of it lightly and like. But then Bruce comes up to John after
• 41:02
  and he sees him and he's like, oh, yeah, I'm gonna give
• 41:07
  it a peck cigarettes from one twenty five. But isn't he looking at something?
• 41:09
  Friend? Isn't there kind of like a little bit of a cock element
• 41:14
  to this? Like there hear me out so like Marcella s. Wallace seems
• 41:19
  to like there's always ruvers about someone fucking his wife. And then he pairs
• 41:23
  up I'm gonna marry some day, Lorraine, someday you'll pay my wife wife.
• 41:29
  It's very deliberate that he then pairs up one of those guys who's talking
• 41:34
  about this ruver in a position that he could fuck his wife. Marcella.
• 41:39
  He's Marcella s Wallas a cock. That's what I want to do. I
• 41:44
  mean give it. His reaction to the gimp and all that kind of thing,
• 41:49
  I don't know if he is dude, Like he just wasn't very Uh,
• 41:52
  he's about consent. Those people were most people clearly weren't doing weren't doing
• 41:58
  the king. They don't practice good, good kink play. They don't check
• 42:01
  it. There's no safe words or we'll get to that. But yeah,
• 42:06
  I mean they have like a clear relationship that's very different. Like they hug
• 42:09
  each other, like they greet each other in a normal way. Yeah.
• 42:15
  Whereas Bruce pays one dollar and forty cents for cigarettes, it'd be fifteen dollars
• 42:22
  now not in the States, dude, in California, it's probably like nine
• 42:25
  to fifty. Yeah right now. Yeah, she almost ten bucks a pack.
• 42:30
  Maybe it's more. I don't know, the maybe some of our frans.
• 42:34
  Frans can tell us the what's it called? The next scene is with
• 42:39
  um Patricia, not Patricia Arcatte, Rosanna Arquette, another Arquete that Quentin worked
• 42:46
  with post Patricia. So Patricia is the best arcat I mean, David is
• 42:53
  up there, but he's not in the same league as No cursed to.
• 43:00
  Yeah, and her new weird accent mock mack. This is like a weird
• 43:06
  squawk and Severance panicked a weird accent. She has a weird accent, mack
• 43:19
  mack. But she got old the best way better. She's getting even better.
• 43:27
  She's amazing, She's amazing. But yeah, same present. He goes
• 43:32
  to uh, talk to Rosanna Arquet and Eric Stolts. Of course, Marc
• 43:39
  um about getting drugs, getting heroin from Eric Stolts. Uh. And she's
• 43:46
  like telling this other chick that she wants to set up with Vincent who looks
• 43:52
  vaguely like, um, what's her name? Uh, the other one with
• 43:57
  the weird voice. She was bound, Oh, Jennifer Till, Jennifer Tilly.
• 44:01
  Yeah, Um, but isn't Jennifer Tilly if she looks like her?
• 44:06
  She does kind of look like Jennifer Tilly. Yeah. And also this movie
• 44:12
  started the wildly, wildly unfounded rumor that that, um, having your tongue
• 44:19
  pierced is good for oral sex. Never never, it's never beenfered. It's
• 44:23
  it's it's never been like anything but like maybe a mild annoyance. It's a
• 44:30
  mild annoyance. Both of us don't have to talk about the experience we've clearly
• 44:35
  both had. It's not it's not fun or good. It's dangerous around fenulums.
• 44:40
  Yeah, exactly, I've already had my freenulum cut off, so thirsty
• 44:49
  setting up the story, Yeah, do you want me to tell it?
• 44:52
  And I don't think you've told it? Where I had Uh, I don't
• 44:55
  think I could listen to a right Um, but yeah, Eric Stoltz playing
• 45:00
  the Brad Pitt character in this movie that Brad Pitt played in in Drew Romance,
• 45:06
  clearly playing the Marty Fly Marty Lyral in this that he couldn't get what
• 45:17
  you would just be a guy who was like I can't like he would that
• 45:22
  would be such a like trailblazing experience traumatic in his life. He would become
• 45:28
  a Heroin addict. I think he would become no a Heroin dealer. He
• 45:32
  would be like, it's time to cook Jesse, Jesse, It's time to
• 45:37
  cook Heroin because that's the chic thing in the nineties. Um. But I
• 45:44
  really enjoyed the introduction of the like uh rear projection aspect of this movie.
• 45:55
  Whow he's gotten high on Heroin, so he's got like a little package of
• 46:00
  like he does Heroin clearly a lot, and clearly it's been made worse by
• 46:05
  his trip to Amsterdam and it's so cash where he's just like can I shoot
• 46:09
  up here? And he's like, yeah, all right, And it's like
• 46:13
  it makes Heroin look the normal that it is in this type of way because
• 46:19
  it's not seed. No, it's it's like he's a drug he's like a
• 46:22
  weed guy and sells heroin. He might do something I don't know, but
• 46:27
  um like it's interesting the fact that like he's he's like, yeah, let
• 46:30
  me prep you here, let me like do it for you, and he
• 46:34
  like pulls out this giant fucking wad of cash. It's just like full service
• 46:39
  drug dealer. And it's post he's wearing the bolo tie to accentuate the fact
• 46:44
  that he's in a different suit now from the beginning of the movie, which
• 46:47
  is um and and the rear projection is used in a way that's like he's
• 46:53
  high. So it's like it introduces this genre element because everything is real quote
• 47:00
  quote realistic because they're all real locations. They're all real places in Hollywood.
• 47:05
  Man. The piercing the skin and the slight pull of the blood is always
• 47:13
  so like disturbing looking and like just like so beautiful too, like so wonderfully
• 47:19
  shot. It's kind of like dancing inside there, like I'll never forget that.
• 47:22
  It's also such a like a disturbing image. Yeah, but like real
• 47:29
  fucking keynoe shot. Like have we like discussed I mean we we don't really
• 47:37
  get much of a chance to discuss directors like Quentin Tarantino on this show.
• 47:43
  Yeah, like, and it's interesting that Bruce is going to bring a stere
• 47:49
  Gilliam. Bruce is gonna bring like Bruce is gonna bring us so many of
• 47:53
  these kinds of directors, right yeah, I mean it already has. I
• 47:59
  mean, like you gotta also like he brought us back to McTiernan Um,
• 48:06
  he has to work with the guys, and I can't wait for Tom Cruise
• 48:08
  because he can bring in Scorsese man Tom Cruise. But this also is interesting
• 48:16
  because the big showiness of either her place or Marcella Sallace and her place,
• 48:24
  um her like sort of it being like a swanky pad, but even a
• 48:31
  swanky pad here in the nineties was like it's like nothing in comparison to like
• 48:37
  what a swanky place is now. It's like so like people are so rich
• 48:42
  now, so few people are that they have the goddiest fucking places. But
• 48:45
  this lady is like a drug dealer's wife, right yeah, And like he
• 48:50
  comes in I think part of the reason the one with all the ship in
• 48:53
  her face, now that's Judy my wife. But he forgot um, but
• 49:05
  like, and you're right in terms of he does revel in the racism because
• 49:09
  he makes everybody racist, like her mia going by the two African gentlemen the
• 49:16
  statues, it's like, all right, dude, like okay, I know,
• 49:22
  I know, but you can again like there's a place for it because
• 49:24
  they're like, they're all kind of people that you want to dislike, and
• 49:30
  they force you like it. He forces you, like all of them because
• 49:34
  the stakes all right, of course, uh and and like her. But
• 49:37
  the way they make it so that it's very rich is that she's looking at
• 49:40
  him through a camera. There's three screens, she's talking to him through a
• 49:45
  microphone and intercom. It was very cool, weird hi techie, totally totally,
• 49:51
  but it was also very like, uh nineties genre, you know,
• 49:55
  it's like, oh yeah, this is like the Yeah, it's like Austin
• 49:59
  Powers. Yeah it's yeah, Russian intelligence. Are you mad? A lot's
• 50:04
  happened since you were frozen the Cold War was over? Well, finally those
• 50:08
  capitalist pigs will pay for the crimes. Hey, Hey, comrades, hey
• 50:13
  um. And and the fact that like she's like, oh, like let
• 50:16
  me, I'm putting on my makeup, let me come down, snort like,
• 50:29
  which is like nose powdering in this Yeah, which is great foreshadowing though,
• 50:32
  because it sets her up. She did do it twice in the movie,
• 50:37
  Yeah exactly. But what's amazing about it is that, like it's like
• 50:39
  it sets her up perfectly to get into the situation that he is he gets
• 50:45
  her into, which is getting heroine her thinking the heroine's coke, her doing
• 50:49
  coke, and then it's amazing, it's amazing, it's really it's all really
• 50:53
  well set up. And this is where I think is the really nice set
• 50:59
  up for what you said was bad acting at the beginning. But I think
• 51:04
  it is actually like him putting on a sort of front in front of jewels
• 51:07
  to be cool because he chills out so much around her, because he's like,
• 51:14
  Okay, I gotta be cool. I gotta be like the cool guy
• 51:17
  now. And then like when they're talking, it's like very flirtatious, it's
• 51:22
  very he's got games, he's got game. You're right, you know you're
• 51:25
  right. Well, but you're right, Yeah, I think, um,
• 51:30
  I think I see your point on that for sure. I really appreciate that
• 51:34
  you're you're right, And it does seem thought out. There's just something that's
• 51:37
  so kind of like cringey about his delivery. So maybe and then that's what
• 51:43
  that's supposed to be, Like I think a little bit, and even if
• 51:46
  it's post me thinking about it, because I've seen Tarantino talk to black people,
• 51:52
  um, and there's video I get it's just type in, and it's
• 51:59
  like it's like him reckoning with that in some way in in Juel what's his
• 52:06
  Vincent, I think he definitely does. He has it, yeah, because
• 52:08
  he's like there are moments where he is humbled, and this movie is a
• 52:13
  lot about like who gets humbled how and in one moment, yeah, totally
• 52:16
  um, And I'm I'm I'm gonna say I've had a five dollar milkshake.
• 52:22
  I've had an eight dollar milkhol I was gonna say, like five dollars isn't
• 52:25
  that much for a milkshake anymore at all. I was like, like,
• 52:30
  I was just thinking about like five dollars for him though she's a fucking steel
• 52:36
  Yeah, dude. But what's what's cool about this scene and my favorite point
• 52:39
  of openness from Vincent is him being like pushing footing around Antoine getting thrown at
• 52:47
  the fourth floor and then trying to ask her, ask her how like what
• 52:53
  her role in it was, and her being vague, pulling back and being
• 52:58
  like, do you think that sounds reasonable? And he's like, well,
• 53:01
  at the time I heard it, and the fact that it was like he
• 53:05
  was like, um, oh, who told you that? They? Oh
• 53:07
  they talk a lot, don't they. I love those lines, you know,
• 53:12
  um, And she her being such an interesting, cool cat, like
• 53:17
  in the way that like that kind of like that dialogue would be thrown around
• 53:23
  in that era and him bringing it back in the nineties, is she's so
• 53:28
  perfect, and then asking about the what's it called pilot that she was in
• 53:32
  because he just found out he Melin could pilot, and then repeated pilot to
• 53:37
  her. He split dioptera pilot her um, and then like, um,
• 53:47
  you know her her being like so excited about that life and not kind of
• 53:52
  not getting in being a little disappointed, kind of understanding her frustration with her
• 53:58
  current life because she is, but she's very dismissive. But then after that
• 54:01
  line, she gets very excited because he gets he's asking genuinely about her,
• 54:07
  what her interests are, what she likes, right, And she was an
• 54:10
  actor but she was like and that part where she's like, and the gimmick
• 54:14
  would be I would tell a joke at the end of every episode and it
• 54:17
  would be a new, corny old joke, right um. And it's like
• 54:22
  it's cool because it's like when she's like, oh, come on, tell
• 54:25
  her, he's like, tell me about it, and she's like, ah,
• 54:28
  it's kind of embarrassing, you know what I mean. Like there's this
• 54:30
  element of like, you see the relationship for build and like, you know,
• 54:35
  so that by the time they get home and he's really trying out to
• 54:38
  fuck her after they well we'll get to like how their relationship builds more well,
• 54:43
  like I mean there's that part where she's like he's like, oh,
• 54:45
  can I have some of that milkshake? And he tries to pull the straw
• 54:49
  and he cause he's like, you don't. You don't have to take the
• 54:50
  straw out. I don't have cooties, and it's like what if I have
• 54:52
  cooties and she's like, oh, cooties, I'm not afraid of um.
• 54:55
  And then he's like it's a really good milkshake, which she does look like
• 54:59
  it's I mean definitely my drink your yeah, and then she goes to the
• 55:10
  bathroom to powder her nose, and it's great because all of the girls are
• 55:14
  just like kind of combing their hairchy hear her on the tables, things goes
• 55:20
  on mushrooms. No, I think like what's cool is the like camp that's
• 55:24
  camp to me where it's like, oh, this is just like using a
• 55:29
  trope in some way and contrasting it with with snorting blow. Everyone's doing like
• 55:35
  their own sort of tableau in the improv scene, right and total being captured
• 55:39
  on camera at once. There's like so many people in one mirror. It's
• 55:43
  really cool. It looks really good. And the fact that he points out
• 55:46
  who Maymie van Doren is versus Marilyn Monroe and yeah, and it's like it
• 55:52
  used to be a little bit more pulled back how many people watched movies in
• 55:55
  his movies, because it's fun to have scenes like the US where it's like
• 56:00
  she's an actor and he's like a movie guy whatever. Right, he's like
• 56:02
  into movies from that era. But like also him setting it up, him
• 56:06
  setting up what he wants to tell him about tell her about Anton, but
• 56:08
  like in a way where he's like, nah, it's like I don't want
• 56:12
  to embarrass you. I don't want to like kind of nagging her a little
• 56:14
  bit. He was kind of nagging. Yeah, yeah, well he is.
• 56:16
  Yeah, of course this is probably what what well Quentin Tarantino thinks flirtation
• 56:21
  is, and what all women in the ninety stock flirtation was. Um.
• 56:28
  But yeah, and then and then we get you think so or were they
• 56:31
  or were they? Did they have to think it? I mean having to
• 56:35
  think something and and like understanding a world in a perspective. I mean,
• 56:39
  think about how many women came out to be like against the me too movement
• 56:44
  because they were like and and telling stories that were like, well this happened
• 56:47
  to me, and it wasn't a big deal. And it's like all right,
• 56:50
  dude, pump the brakes a little bit, you know what I mean?
• 56:52
  People like thinks get normalized for a reason. It's not just like one
• 56:55
  group like forcing normally data. It's like a good dynamic. Right. And
• 57:00
  then it evolves from that, right, Um, But then we get to
• 57:04
  the classic scene where they form the intimate relationship. Right, Well, she
• 57:09
  takes off her flat shoes to not tower over five eight. Yeah, but
• 57:16
  no, they're like the same height. I don't know. Yeah, they're
• 57:20
  like fucking dancing. Yeah, it is cool, cool, cool, And
• 57:23
  it's a cool shot too because it's like slowly dollies into their like fifties.
• 57:29
  Also, you didn't talk about Dan Yeah, Baddy cropdy Go Cross Holy.
• 57:39
  The soundtrack in this movie O man, oh man, the death grips um.
• 57:46
  Yeah, like it's cool because the soundtrack in this movie is pretty amazing.
• 57:52
  Wilhu didn't mentioned square, the fact that she doesn't sure that bears it's
• 57:58
  cool. Like. We also didn't mention Roger Avery, the quote unquote co
• 58:01
  writer of this Roger Avery is a writer and director who we've talked about him,
• 58:10
  haven't we We've met before, haven't we? Um? He directed a
• 58:15
  movie? What other movie did he direct? He directed the movie um Rules
• 58:21
  of Attraction with where uh what's his name? James Vanderbeek plays Patrick Bateman's brother
• 58:28
  Sean Bateman. Oh, won't you're lack um? And then they have another
• 58:37
  scene where me is now wearing his duster trench coat and they come back to
• 58:45
  her place and they're like dancing. Sorry, go ahead, like did you
• 58:49
  The dance scene between them is incredible. Oh yeah, And also we didn't
• 58:52
  talk about that scene that I've turned into a meme of of him turning around
• 58:57
  and iconically because he was looking at I love it. I'm doing it right
• 59:02
  now because he doesn't understand where the voice is going from when she talks to
• 59:07
  it's it's so good and it like worked on so many things. It was
• 59:09
  early memes. Dude, yeah, dude, but yeah, she puts some
• 59:13
  music on. They win the trophy. Um, she's got his jacket on.
• 59:16
  It's very intimate. It's very intimate, and there's like he's like they're
• 59:20
  kind of go piss and she's like more information than I need. But what
• 59:23
  I love about what I love about that is the fact that he kind of
• 59:29
  is having fun with her and then she like kind of like snaps a little
• 59:31
  bit at that part, and and he's like a little bit hurt by it,
• 59:37
  yeah, because he's like I thought we were doing that, yeah,
• 59:38
  exactly. And then he goes to the washroom to like chill out. Yeah
• 59:42
  it bruised, yeah for sure. And chill out he does in the washroom,
• 59:45
  convincing himself, Yeah, convincing himself not to fuck her. Yeah,
• 59:50
  And um, he want drink. You don't want to be rude? Just
• 59:54
  wanted to drink it fast and then go say good night, go home,
• 59:59
  and he does the motion, the little motion, and she puts on go
• 1:00:04
  you'll be man soon, which is also very like yeah, very suggestive.
• 1:00:10
  Yeah, totally. But then she takes a cigarette and she pulls out the
• 1:00:15
  hair on from from his jacket pocket, which is so good the and she
• 1:00:21
  cuts it up and you're like with the credit card, no don't. But
• 1:00:24
  then also what's cool is the like panic and nose the like syn can't do
• 1:00:31
  anything and just like touching your nose. Yeah, and then the what's it
• 1:00:38
  called pushing in while zooming out creating I forget what that effect is called?
• 1:00:45
  Um but then she oh man, uh me like the sort of that's what
• 1:00:51
  I mean and like, but that's what I mean by by the little choices
• 1:00:59
  that the actors make as well to like convince the audience. And that's where
• 1:01:04
  like truly I would say, like his performance is like the panic, the
• 1:01:08
  fear, the embarrassment of oh fuck, like this situation is fucked, this
• 1:01:15
  is not good. I have I can't do anything about this in this moment.
• 1:01:21
  I have to fuck you Lance, like, oh man, I phone
• 1:01:29
  Lance, like the fucking phone. Um, I can't find any rated X
• 1:01:39
  on phone. Pick up the fucking phone. Pick up the fucking phone.
• 1:01:49
  Will you you always say you will send as you right after the show.
• 1:01:52
  Okay, I'm in big fucking trouble, man, Like, uh, whoa,
• 1:01:57
  whoa hold your horses, man, you don't bring her here? I
• 1:02:00
  don't care. And that, Like I love the fact that he's like he
• 1:02:04
  like Lance hangs up the phone and it's just like, don't bring her here,
• 1:02:09
  man, Yeah, and he's like, she's fucking tying man to take
• 1:02:16
  her to the hospital called a lawyer. I love if you're brave enough like
• 1:02:22
  that. Definitely some Marty McFly. He could have done it, dude,
• 1:02:27
  within two hours. Within two hours. There's an alternate universe where Eric Stoltz
• 1:02:31
  is and we're talking and only one part got made and it wasn't that famous.
• 1:02:37
  Yeah, totally, I'm talking about there's an alternate reality where there's a
• 1:02:40
  whole movie with Eric Stoltz. No, no, I'm saying there's a whole
• 1:02:44
  part one with Eric stolts But in any universe, in any universe that Eric
• 1:02:49
  Stoltz was Marty McFly and there was no part two. Really, I don't
• 1:02:52
  I don't think so wow, okay cool. I don't think Marty McFly is
• 1:02:55
  Eric Stolts fair enough. The Nance wakes up and wait not Nance, um
• 1:03:04
  uh sorry. Rasenna Arquette wakes up out of that and she's like, um,
• 1:03:08
  She's like, damn, I feel fucker, but no, I'm kidding
• 1:03:12
  it. They just kind of vaguely look alike. They do look alike.
• 1:03:15
  Yeah, he loved a bob a. Yeah, he loves the kind of
• 1:03:19
  kind of haircut for sure. He was like, she's gotta have a bob.
• 1:03:23
  Yeah, I don't know. Um. I love when when Rosenna Arquette
• 1:03:30
  comes out and she's like like, he's like, go get the adrenaline.
• 1:03:34
  I'm gonna go get my little black book, and he's trying to look for
• 1:03:36
  the like little surgery nurse book. It's a it's a depressing it's a depressing
• 1:03:42
  scene, but it's really funny to sweat and all the like la night sweat
• 1:03:47
  yea of getting stabbed through the chest plate, breaking the chest plate with a
• 1:03:52
  giant needle, the needle sticking out still of the chest. All of it
• 1:03:55
  was really the marker magic marker of your magic. Give me a magic magic
• 1:04:00
  marker. Of what magic Mark felt pen give me a magic worker. I
• 1:04:06
  see. That's the kind of stuff that's like written in as your wife,
• 1:04:10
  your wife, to to make the movie more realistic. Yeah, I gave
• 1:04:14
  you, I know, I know. But then also to day I bring
• 1:04:16
  a picture of your house, I'll do it. And I love the fact
• 1:04:21
  that he's like, you plunge it in her heart. I stabbed three times,
• 1:04:27
  he's like doing the most stabbed once hard. It's like, oh man,
• 1:04:31
  dude, just bring them the lock zone. Dude. I mean they
• 1:04:34
  didn't have it at the time, dude. Yea um ah, dude.
• 1:04:38
  It's so depressive. It's really when there's that wide shot of all of them
• 1:04:43
  looking at her, they're just all looking at this one person. Uh and
• 1:04:47
  and she wakes up and like panic gets out. And when when it cuts
• 1:04:53
  to the close up of the needle zooming in the close of John Travolta and
• 1:04:58
  then the close of her, it's thaults the close up of her Sannarquists smiling.
• 1:05:03
  I was so down and she's such a like creep like where it's like,
• 1:05:10
  oh man, this is amazing. What's going to happen. Anything that
• 1:05:13
  happens right now is going to be amazing. I mean yeah, it's very
• 1:05:16
  gen yeah, dude. And then and then the like hard cut to her
• 1:05:20
  wearing a different shirt and then just like them driving quietly and it's like,
• 1:05:25
  oh no, this was such a like terrible idea the whole the whole time,
• 1:05:31
  like the drive home of shame. Yeah. And then it's like worse
• 1:05:34
  than than if they had like hooked up, yeah, because it's like at
• 1:05:38
  the levels of like intimacy, took her to take her to like some like
• 1:05:42
  drug den to get like pumped full of like it's like adrenaline. Yeah yeah.
• 1:05:45
  And then and then like so how do we handle this? You know,
• 1:05:49
  like and it's like, well, I keep my mouth shut, you
• 1:05:53
  give yours shut, like and then like the like you know, shaking hands,
• 1:05:59
  but nice idea of the joke, like her finally telling him the joke
• 1:06:03
  that was in the Fox Furs five, the ketchup j Yeah, um,
• 1:06:10
  which is stupid. I mean it's not even yeah, it's really bad.
• 1:06:15
  Yeah, it's really bad. That's that's all the way. She says,
• 1:06:18
  ketchup is so annoying to be for some reason, Yeah, ketchup. And
• 1:06:23
  I'm like, it's not funny. It doesn't make sense. Let's go why
• 1:06:27
  would he kill his son? And how does he him kill his son?
• 1:06:30
  Make him ketchup? Yeah, I mean it makes him ketchup, but does
• 1:06:34
  how does it make him catch up? Which is what he wants? And
• 1:06:38
  it's just the same way. It's not good. No, it's not funny.
• 1:06:42
  And then and then they he sends her he blows her a kiss.
• 1:06:45
  Uh, and then we cut to another universe that movie is the scene in
• 1:06:49
  the movie as they fuck, and then we get Young Butch in a dream
• 1:06:57
  fade out done, Vincent's done. For now we get Young Butch. Bruce
• 1:07:01
  will you do? Bruce willy Um talking to a former pow so so.
• 1:07:09
  Yeah, Christopher Watkin plays you know in this legendary scene where he has like
• 1:07:13
  one monologue in its very Terry Gilliam style like shot, Like he just delivers
• 1:07:19
  this monologue about um this like watch the significance in Bruce Willis's family of this
• 1:07:30
  watch it being a war watch that like men had to face set like a
• 1:07:39
  turning point in their lives, which is what this movie is about. It's
• 1:07:42
  being a man with a turning point in your life. And like it's very
• 1:07:47
  significant in all of those all of those moments, and it's like passed down
• 1:07:51
  from patriarch to patriarch. It's also interesting wartime situation, in wartime situations or
• 1:07:57
  just in general turning point situations because he's like because they used to carry pocket
• 1:08:02
  watches, so you know, like it's like the first company that started to
• 1:08:05
  make wristwatch. It makes it about like American exceptionalism too kind of Yeah,
• 1:08:11
  totally, um Knoxville, Tennessee. Yeah, I mean, like at the
• 1:08:15
  speech is like iconic and it's delivered really well, and it's funny, and
• 1:08:19
  it's also like very sad and weird and little man as a friend of your
• 1:08:27
  dad, yeah exactly his ass um. But yeah, it's just like and
• 1:08:33
  put it in an old coffee tin and when your your grandfather went to World
• 1:08:38
  War two. And then it's also like the direct metaphor of like sometimes life
• 1:08:43
  fucks you in the ass. He lool. That kind of seems like what
• 1:08:46
  really, Quinta Tarantino is like, hint to get in this a little bit
• 1:08:50
  is like sometimes you gotta put shit up your ass. Really, I don't
• 1:08:57
  think it's like that. I think that I think that I mean it's fun,
• 1:09:00
  Quentin fun, really Harris is the greatest. Well, like I mean,
• 1:09:03
  I think what's what's I think it's obviously funny, Like it was obviously
• 1:09:08
  funny in a homophobic way, but like I really do think that, like
• 1:09:13
  in the moment that he's telling it, like you get the sense that he
• 1:09:16
  needs to tell him the whole story because of the fact that it's like ants
• 1:09:21
  to the significant between two especially between two men who had to like go and
• 1:09:28
  fight some useless war that like was horrible. Yeah, and this is like
• 1:09:31
  the son of the guy. It's it's more for the pow, it's more
• 1:09:34
  for Christopher because but it's for the kid too, because he wants to pass
• 1:09:40
  on. He feels bad that like that lineage of of like dads has like
• 1:09:45
  stopped and yeah, totally and he and he says even like if it were
• 1:09:49
  me, I would be he would be doing it for my son, you
• 1:09:51
  know. And it's like, man, five years, dude, like that's
• 1:09:57
  scary and sad and sucks. Then two years, so seven years altogether.
• 1:10:01
  Yeah, that's that's that's the kind of guy. That's the kind of weirdo
• 1:10:09
  this guy would be, you know what I mean. Jean McKay and then
• 1:10:15
  Bruce wakes up in his like cool yellow robe and the boxing gloves so so
• 1:10:21
  much cool like iconography, and he's like, it's time butch and then he
• 1:10:27
  like the and all the like boxing movie nods because like how many boxing movies
• 1:10:30
  we've done talking on this show, and like all the boxing movie nods.
• 1:10:34
  That was cool. I like that didn't show any of the fights. The
• 1:10:36
  actual fight fades out, and then it just says comes up the goal to
• 1:10:41
  watch and then he come. He just runs out of the he jumps out
• 1:10:45
  of the building waiting for the where the taxicab is waiting for him. And
• 1:10:50
  this woman is outrageous, outrageous, just it's such a good Daniel round.
• 1:10:58
  I forgot about because I conflated her with the other women with accents in this
• 1:11:02
  movie, because it's almost as if every woman has an accent to this.
• 1:11:06
  Yeah, totally, um but she's like a Colombian woman or something, and
• 1:11:12
  she and she she's she's like telling she has like a mini flirtation with him
• 1:11:15
  to show us the audience. And and Bruce willis that he's still vital.
• 1:11:20
  Yes, forties of course. And then we see that shot of um Vincent
• 1:11:28
  coming down and seeing Mia and her being like, oh, I never thanked
• 1:11:30
  you for the other night, and it closes up on Marcellus Wallace's back of
• 1:11:36
  the head and their soul has been cut out. Yeah, exactly. And
• 1:11:41
  then it's like his his bouncer didn't know, his not bouncer, his uh
• 1:11:46
  trainer or whatever didn't know anything. Like they interrogated the trainer and he's like
• 1:11:53
  that fucking go torture him. Like he's like, go put him with the
• 1:11:57
  dogs, and then see what he says. It's that talks like whoa too,
• 1:12:02
  That's so scary. Um. And then Bruce is in the car like
• 1:12:06
  taking all off his clothes um, and the ladies like mister, you're the
• 1:12:12
  one who killed the man, didn't you, and him being like yeah,
• 1:12:16
  her being like like, oh, how does it feel to kill a man?
• 1:12:20
  You give me one of those cigarettes, I'll tell you, And then
• 1:12:24
  he like takes the cigarette. She's like and then she's like, how does
• 1:12:29
  it feel? Well? I don't know. I just found out, dude
• 1:12:36
  versus. So, Bruce is so good in this movie, and his part
• 1:12:43
  is interesting in this movie. It's an interesting addition. I see what it
• 1:12:47
  was there for. It's the worst part of the movie. I would say,
• 1:12:53
  what, really, I think it's the part of the movie that has
• 1:12:59
  the like sort of like least legs to stand on really interesting. Tell me
• 1:13:03
  well, because it's a little slap dash in comparison, it's a little sandwiched
• 1:13:10
  between these other things. And I don't think his need of bow is wrapped
• 1:13:15
  on it as like all of the other plot lines interesting. And there's also
• 1:13:18
  something that's left more hanging with it. Where it's thought it was the most
• 1:13:23
  complete story, I guess it is pretty complete. They do leave, he
• 1:13:30
  leaves, he gets what he wants from Marcellus. Marcellus is like, all
• 1:13:32
  right, we're cool. Well we got to talk about so he's going to
• 1:13:36
  meet This is the part that will make it interesting, I think. And
• 1:13:42
  it's apropos what we've been talking about the movie being a turning point in one's
• 1:13:45
  life. Right, he gets this whole legacy talk about his life and dad's
• 1:13:51
  and generations. Right, what's an exit? And then she starts talking his
• 1:13:57
  partner who's waiting for him in a motel room, starts talking about she has
• 1:14:00
  like this pot belly monologue where she wants to like have skinny everything else but
• 1:14:06
  just the big old pop belly, which is like pretty obviously like her saying
• 1:14:13
  that she's probably pregnant or wants to be pregnant, and it's talking about that
• 1:14:17
  generational move. But he doesn't. He can't move until he's got to watch
• 1:14:23
  the mcguffin. Yeah, so he's got to go do an arbitrary thing that
• 1:14:28
  puts his life at risk, go to war, his war, so to
• 1:14:30
  speak, totally to get this watch so that he can pass it on to
• 1:14:34
  his project and not just like go to war, but exactly get captured,
• 1:14:40
  get tortured and then escape, which his father never got. He's got to
• 1:14:44
  pay his dues in a way, right, totally, So I don't know,
• 1:14:48
  it's his part of it. Says a very interesting thing in the movie,
• 1:14:54
  and I got that courtesy of Case that that reading, um, but
• 1:14:59
  he definitely makes it's wrapping a nice bow up on our conversation. Yeah,
• 1:15:01
  I just don't feel like, I don't know, maybe like because it's so
• 1:15:06
  nominally tied to the other things watch. Sorry, I just had to do
• 1:15:11
  it. It's a little bit marty like that's where I'm getting these because no,
• 1:15:18
  no, it's I noticed it before, like anyway, go ahead,
• 1:15:24
  no, no, no, yeah, so yeah, like did you did
• 1:15:30
  you get that from the pop Ellie talk all the generational stuff and the and
• 1:15:33
  the birth and like, yeah, yeah, but I had assumed like she
• 1:15:38
  she either was pregnant or what. And then like it makes sense with the
• 1:15:43
  normalize the idea. It makes sense with the idea that like he figures out
• 1:15:47
  that he doesn't have to watch the next day, um, especially after they
• 1:15:51
  bang, don't. Yeah, exactly exactly, but his like cte anger in
• 1:16:00
  the part where he doesn't have the watch and it's just like this, this
• 1:16:02
  person's life is going to be like this, not just for this watch,
• 1:16:06
  dude, Like it's gonna be weird and scary like this, Um, would
• 1:16:11
  you give me oral please? That's a very sweet moment. Yeah, or
• 1:16:15
  her asking for oral sex, and then it really really seeming to enjoy Bruce
• 1:16:19
  Willis's oral sex skills. Yeah, and then again dick again. Bruce Willis
• 1:16:26
  hands down the sexiest guy of all of the guys we've talked about, and
• 1:16:30
  most sensual, more sensual than dam Van DEM's got this kind of like euro
• 1:16:34
  constant sensuality. Yeah, like Bruce Willis, it just like can turn it
• 1:16:40
  on. But here's the thing about Bruce Wills. Bruce Willis is the seems
• 1:16:45
  like the type of guy who would like be in the moment of asking and
• 1:16:50
  being asked what they want, whereas Van dem seems like he'd be a good
• 1:16:57
  lover. But he's not asking, you know what I mean. Never seen
• 1:17:00
  We've never seen as much dick from any of the other guys. No,
• 1:17:02
  we've only seen We've seen we've seen schwartzy Penisina and we've seen d when when
• 1:17:13
  uh he got when less they have built backs the ghost I start for a
• 1:17:16
  walk, Okay, he's taking it out for a log dad um yeah,
• 1:17:24
  so oh man, But dude, when he doesn't see the watch and he's
• 1:17:27
  frantically looking for it and it's slowly closing in on him, and she's like
• 1:17:31
  welling up where you just hissy fits Yeah, and over his legacy legacy Bruce
• 1:17:38
  oh Man. And but then when the apology comes, the abuse of apology
• 1:17:41
  comes, Well, his legacy has to come from he's not made it out
• 1:17:45
  of film school, and he hasn't made a good movie, and his career
• 1:17:47
  in film is over, his boxing career AKA And as a result, he
• 1:17:53
  all he has to hang on his legacy and that's why he has to get
• 1:17:56
  the dad's watch maybe Joe watch. Um, but he gets the film legacy
• 1:18:01
  by making pulp fiction. Well yeah, I mean he died, he has
• 1:18:05
  he has it just enough to go away and live in like bo Boga boga
• 1:18:11
  or whatever. Um yeah, totally um. But yeah, she her her
• 1:18:15
  also also her like you either didn't or you didn't and and her being like
• 1:18:23
  scary aggressive. He goes, he goes to mel Gibson tapes on him.
• 1:18:29
  Are you sure no? And then he throws the TV uh and then and
• 1:18:33
  then like the idea that that's how gen X experienced their violence. Yeah,
• 1:18:43
  totally and panicked giving yeah, and and then like I didn't explain the importance
• 1:18:49
  of this watch too, and then cutting to the car. But you could
• 1:18:53
  have watched, you know, like I told you I was right. But
• 1:18:56
  the pets our tail. Yeah, her father's watch to repeat it. Yeah,
• 1:19:00
  violent made her repeat it. So that's what a good man does.
• 1:19:03
  That's what a good gen X man does. He expresses his rage afterwards,
• 1:19:09
  after having been condescending and kind of controlling about it, frankly, kind of
• 1:19:15
  scary controlling mel Gibson type about it. And then yeah, he definitely went
• 1:19:20
  to Jacuzi after uh. And then he goes to his apartment, goes to
• 1:19:25
  kind of like a shady neighborhood. This is also something you don't really see
• 1:19:29
  in Quentin Tarantino movies anymore, which is like normal, well normal kinds of
• 1:19:31
  places. Um. Yeah, because it's all period pieces. Yeah, it's
• 1:19:35
  true. It's all it's all built or it's all like it's so it's all
• 1:19:41
  fucking Leo Dicabrio, Holy little Glass. That's true. Um. And he
• 1:19:46
  goes into his place. Uh, and he sees that a cool gun,
• 1:19:51
  that really cool gun that he shoots. He puts a pop tart in first,
• 1:19:56
  and he's like that like giant to silenced. Uh. And then with
• 1:20:01
  a third different tie and a different suit, reading the same book he was
• 1:20:06
  reading in the other place with jewels, but further along in the book.
• 1:20:12
  Yeah, well I don't know that for affect. And then the pop tarts
• 1:20:15
  pop out and he shoots him. Uh. And it's very sad death.
• 1:20:20
  It's a very sad It's like, yeah, it's like you really saw him
• 1:20:26
  go through something harrowing and like survive Heroin, you definitely saw him go through
• 1:20:30
  something Heroin. And and then you survive and he just gets shot like in
• 1:20:35
  this freak moment. It's like it's some shows you that sometimes you bite the
• 1:20:40
  bar and sometimes the bar bites here exactly. That's exactly what it is too.
• 1:20:44
  And and the contrast between these two characters in particular, who are like
• 1:20:48
  the white analog for Quentin Tarantino. I guess in this movie other than other
• 1:20:56
  than because it's quote unquote not intend because he's married and he's got all of
• 1:21:00
  his life in place. YEA, like thin, how do you think he
• 1:21:05
  feels? How do you think he feels? Do you think he feels embarrassment
• 1:21:10
  having written that dialogue and having black people read it and then know that like
• 1:21:15
  he wrote it and he's there saying it to their face. Um, I
• 1:21:19
  don't think so. He's like a really cocky guy. He knows how talented
• 1:21:23
  he is. It's just think how it earns him the privilege. I mean,
• 1:21:28
  it's like, I'm it earns him to Louis k. Rights. I'm
• 1:21:33
  sure he's not like out there saying in the N word to people, you
• 1:21:39
  know what I mean? Character? Yeah, I mean, like you know,
• 1:21:43
  he's I'm pretty sure he's like his like I think his mom remarried a
• 1:21:48
  black guy, and that guy took him to a bunch of movies and stuff
• 1:21:51
  and like took him to areas that were like, oh quote unquote cool,
• 1:21:56
  which were just like poor black neighborhoods probably, but like it's one of those
• 1:21:59
  things where I think that what he thinks is like an earned experience is like
• 1:22:04
  being friends with black people, are being cool with black or cool black people
• 1:22:08
  being cool with you, which you know what does some degree, yeah happens,
• 1:22:12
  right, yeah, yeah, yeah. And and definitely I think like
• 1:22:15
  Quentin Tarantino is one of those guys that, like I think gets a pass
• 1:22:19
  or whatever, Like I mean, I don't think so, but you know,
• 1:22:24
  like it's not also for me to say so, yeah exactly. But
• 1:22:28
  I love also that um man Bruce Willis is so happy that he got away.
• 1:22:35
  He's so happy, he's being relieved in such a real his eyes,
• 1:22:42
  the wacky eyes, the slight wacky eyes he does when he drives away,
• 1:22:45
  where he's like, yeah, I got away with it, dude. I
• 1:22:48
  like I noticed that moment. And I like anyone who says that Bruce Willis
• 1:22:53
  is like overlooked in this movie or not like an important part of this movie.
• 1:23:00
  Man, there's there's such a like relief that he has in this,
• 1:23:03
  in this moment that doesn't exist in the throughout the movie, even even at
• 1:23:09
  the point at where he's with his girlfriend. Yeah right, it's like okay,
• 1:23:14
  like like it's fun for him, but he's still a little bit like
• 1:23:17
  tired, a little bit like we're not out of this yet. Now he
• 1:23:21
  feels like he's out of it. He's just like totally, I'm going to
• 1:23:25
  get my gal and we're going to drive away. We're entering into the scene
• 1:23:29
  with that level of ease and then just much chest the street, like doughnuts
• 1:23:36
  and a coffee. It's so funny, dude, And like the way the
• 1:23:41
  weights was delivered, and like seeing that joy leave from Bruce Willis's face and
• 1:23:46
  the crazy the sad crazy eyes, the scary crazy eyes, and like him
• 1:23:50
  just hammering into being raves, him being like blow be damned, just pull
• 1:23:58
  the gunuts like yeah, I love it, I love it. And then
• 1:24:01
  what's her name? Gady Graffin would be like it was that guy over there,
• 1:24:08
  and then he like lumbers out of the car and I forgot I forgot
• 1:24:13
  that he shoots a woman. Yeah, he shot who's trying to love,
• 1:24:16
  who's trying to help Bruce Willis, and then he shoots this woman and their
• 1:24:20
  reactions are so genuinely terrified and confused. It's kind of amazing because like it
• 1:24:27
  seems like the movie is happening around them. Yeah, and they're got in
• 1:24:30
  the movie. That's just real people that that happened to ye. And then
• 1:24:34
  he follows him into this like music store. So he follows them into this
• 1:24:39
  like hick, um, it's not a music store. It's like one of
• 1:24:43
  those like shops. Yeah, totally, and like and with the Okay,
• 1:24:47
  this is the most gen x. This is racism that Quentin Tarantino has,
• 1:24:54
  which is like you have to have two hicks. They have to be weird,
• 1:24:57
  and the weirdness is fucking dudes, Well the weird them. The weirdness
• 1:25:01
  comes from kink again, which is weird because like in this other movie that
• 1:25:05
  we just talked about the Color of the Night, where like that movie also
• 1:25:12
  has like such like kink things in it, and so like to make these
• 1:25:16
  guys like both like Nazis, but like they're Nazis who are keeping like a
• 1:25:24
  gimp guy, like a guy in a gimp suit. So they have a
• 1:25:27
  Confederate flag. They have a Confederate flag, like they're keeping him like locked
• 1:25:30
  up like twenty four seven seemingly like no one that's entering into like a consensual
• 1:25:36
  like this guy seemed pretty consensual domination scene, Like okay, so maybe he's
• 1:25:43
  being dominated consensually, but there's no consent among what's going on. Like it's
• 1:25:46
  just like it's just it just kind of pathologizes homosexuality and kink in a way
• 1:25:53
  that like is weird, like it like makes it, it ties it with
• 1:25:58
  racism and like on not like violence, not consent. Well, the thing
• 1:26:03
  is which those things, like those things do happen quite a bit. It's
• 1:26:06
  like that guy who's like they definitely do. They definitely do. But those
• 1:26:11
  those communities are very much about talking about things and like knowing about a thing
• 1:26:16
  and not doing a thing, Like like there's a big conversation that happens in
• 1:26:24
  those circles and just like to see like this movie just kind of like completely
• 1:26:28
  disregard that and use it as just like a lazy sort of like I don't
• 1:26:32
  know, they're fucking free. I don't think so. I don't think it's
• 1:26:35
  late. What makes you say it's lazy. It's lazy because like it's just
• 1:26:40
  like they can be scary people and do scary, transgressive things without tying it
• 1:26:47
  to all of these other things that they don't clearly that whoever wrote about this
• 1:26:51
  doesn't know about you know what I mean, Like I mean PSM thing is
• 1:26:56
  like you have to like talk to like in order to like have like late
• 1:27:00
  text and leather and like shit that like, and like you need to know
• 1:27:03
  what's going to be happening, and you know, like it's like, of
• 1:27:05
  course there's like I don't know things like consensual non consent and things like that,
• 1:27:10
  but I'm just like, like the thing that I find interesting is is
• 1:27:15
  like the use of the word late, Like I would when people say,
• 1:27:18
  for example, like rape is a lazy thing in movies. I think that's
• 1:27:23
  like a pretty valid thing because it's like you know, you don't really you
• 1:27:27
  really see that quite a bit as like a a thing that's that's just kind
• 1:27:34
  of overused in a way that's just kind of like this doesn't number one,
• 1:27:40
  it's not really adding anything, and number two, like there are different ways
• 1:27:43
  to do this. I don't think this is lazy. I think it's like
• 1:27:45
  really interesting to to like clash what you assume is like kind of weird clear
• 1:27:54
  racism and a clear like right wing like motive and then using sex as domination
• 1:28:02
  in that way because they do, like right warriors do do that, and
• 1:28:05
  they do get exposed in weird ways where it's like, oh, this guy
• 1:28:10
  was hiring gay prostitutes and snorting meth with them. It's like you can do
• 1:28:15
  that consensually. You could hire a sex worker and be like, hey,
• 1:28:19
  do you want to do some meth with me? It's like that sounds like
• 1:28:21
  a good time for those people, you know what I mean. But in
• 1:28:24
  the in that context where it's like a person who's like using it as like
• 1:28:29
  a weird under the table for them thing, I think that's more what it
• 1:28:32
  was looking like to me. But maybe like I mean, hey, maybe
• 1:28:36
  you're right, yeah, interesting in a sort of in a sort of like
• 1:28:43
  like we watched The Deliverance. Yeah, that's like a squeal piggy thing,
• 1:28:47
  right, that's like, oh no, no, they're you know what I
• 1:28:49
  mean? Like to me, that's a pathologizing sociality for sure. There's a
• 1:28:55
  no, no, that's that. But that's what I'm saying. I'm like
• 1:28:57
  saying they're using specifically sort of like kink tropes in gear. Yeah. Yeah,
• 1:29:03
  but you can use kink gear badly. It's so weird that the guy
• 1:29:09
  who works with Z calls zed over so that he could be cocked. Yeah,
• 1:29:15
  like very weird. It's a very no. I think they're gonna fuck.
• 1:29:17
  They're both they're gonna take turns. Yeah, I think that was the
• 1:29:20
  whole point. I mean maybe he was okay, yeah, but then the
• 1:29:24
  guy the gimp was the guy who was I guess he's the he's the cock,
• 1:29:29
  but also like the tiered cucks, he's not even the same room.
• 1:29:33
  But like Bruce being like putting his foot on Marcella's well man, the whole
• 1:29:39
  scene is so scary, like when when he's like going to blow his head
• 1:29:42
  off and then and then he's like this, there's nothing to do with you,
• 1:29:45
  pal. Yeah. And it's interesting the power dynamics shift so suddenly in
• 1:29:50
  that scene as well, because you're also kind of pulling for Bruce and then
• 1:29:55
  suddenly like, oh, this is a completely different situation. It's it's weird.
• 1:30:00
  It's also it's interesting something this being like sometimes life bites, sometimes you
• 1:30:05
  bite the bar. Sometimes bites here, Yeah, totally. And then and
• 1:30:09
  then I will say it was like a very easy and convenient way to get
• 1:30:16
  past um certain kinds of problems. It does feel a little bit like,
• 1:30:21
  oh, PC's Marcellus randomly. Oh, they randomly get into this weird dungeon
• 1:30:28
  place, you know, which is also like an odd It's like too many
• 1:30:34
  coincidence. There's no big coincidences or small coincident, only coincidence, you know
• 1:30:39
  what I mean. So I do think that that aspect is lazy, But
• 1:30:42
  the individual scenes don't necessarily bother me in terms of, like they don't make
• 1:30:45
  me think of people that I know that I'm like, oh, yeah,
• 1:30:48
  these people are kinky, right, Like I would never think like I would
• 1:30:53
  never tell those things together. Maybe in the nineties people did, but people
• 1:30:56
  thought people like most people were free. People thought gay people were freaks in
• 1:31:00
  the nineties, you know what I mean. Um, and they were like
• 1:31:02
  we'd either weird sexless beings or they were like pediphied, like that was the
• 1:31:08
  thing. That's still yeah, that's it. Yeah, that's groomer conversation.
• 1:31:13
  Yeah of course. Um, but yeah, they wake them up and they're
• 1:31:15
  ball gagged. It's also I think a very like like iconography was the big
• 1:31:21
  thing for him in this for he wanted it. He wanted these like colors
• 1:31:26
  in particular black and red ball gag. Yeah yeah, and inadvertently creates some
• 1:31:31
  new kinks. Um, I mean, yeah, it's interesting. It's well,
• 1:31:36
  it's just also interesting that quinchin Tarantin, you know, being a kinky,
• 1:31:41
  fucking freak with feet. Well, we don't know, we don't know,
• 1:31:45
  we do know, are you kidding? I was like I was listening
• 1:31:48
  to a thing on on him. I think it was on Howard Really paris
• 1:31:53
  Um, and he was like, he was like, I mean they're just
• 1:31:56
  good shots. Like they're good shots, you know what I mean? And
• 1:31:59
  it's like fair, what's it like to go on a day with Paris really
• 1:32:03
  paris Um? Fun? But yeah, like I will say that, like
• 1:32:09
  there are a lot of people who do have fetishes, and the best directors
• 1:32:13
  just put their fetishes on on screen. So like maybe, but he was
• 1:32:16
  like, I don't know whatever. And it's like if somebody called, like
• 1:32:21
  he seems like a pretty open guy, he seems like he would admit to
• 1:32:25
  something like that, but maybe he didn't. Maybe he is does have that
• 1:32:28
  shame around it him. Um, like like like he king shames BDSM people.
• 1:32:34
  Yeah, you know a band Peter Green's performance talk about like Peter Green's
• 1:32:41
  the coz uh time you mean Dorian from The Mask. I love Dorian from
• 1:32:48
  the Mask. I'm gonna get him, dude, I'm gonna get him in
• 1:32:51
  a movie time to be played by a different actor. He's I love his
• 1:32:59
  kind of floaty balding that he has with his slicked backed hair. Oh yeah,
• 1:33:02
  totally dude, it's still floaty balding now, I love it. Um
• 1:33:06
  yeah. But then then it's it is a weird. It's a scary scene
• 1:33:11
  where they take Marcellus to the back and they lean the chair over and pull
• 1:33:15
  him back and Bruce Willis just looks behind him. Um, and man,
• 1:33:19
  Bruce Willis is letting that fucking go on for a really long time. Like
• 1:33:25
  Bruce Willis almost like wants ving Races to get fucked and like he's like does
• 1:33:30
  he does he get fucked like a bitch? He also that was like foreshadows,
• 1:33:34
  does he look like a bitch? Why are you trying fuck him like
• 1:33:36
  a bit? Well, he gets fucked and like man, like Bruce Willis
• 1:33:43
  like is going to look for his eventual katana, but like choosing a baseball
• 1:33:46
  bat and like other weapons, go for the gun. He's like torturing uh
• 1:33:53
  Dorian in a way. He's like, why'n't you go for the gun?
• 1:33:57
  Yeah, go for the can. Honestly, the like there is that torcharous
• 1:34:00
  Bruce there. There is that moment where he like closes the door and he's
• 1:34:05
  like, no, I gotta I gotta make this ride. I did fuck
• 1:34:10
  him over in a bad way. He did make He did take his took
• 1:34:15
  his money, and he took his word that he would do it. And
• 1:34:16
  yeah, I was quote unquote bad. But like this guy, this guy
• 1:34:21
  is gonna be have morals now, you know what I mean. That was
• 1:34:25
  the interesting thing. That's the dichotomy in this character who was like he wants
• 1:34:29
  to go to war. Yeah, he wants to go to war. He
• 1:34:31
  um, he needs to earn. He doesn't feel like he's earned what he
• 1:34:36
  has in his life. Yeah, And there's a lot it's like imposter syndrome.
• 1:34:41
  I think a lot of people have it. Um and and the iconic
• 1:34:45
  shirt covered in blood blue pants man dude. When Bruce Willis tucks the white
• 1:34:50
  shirt into the like size twenty eight jeans and like and like where's that like
• 1:34:57
  really cropped square brow jacket. It's such a good with the like crew cut
• 1:35:03
  balding. Crew cut in balding is kind of perfect. Maybe it's gonna be
• 1:35:08
  the next hair style. I dude, dude, O man, yeah,
• 1:35:11
  dude, you should. You absolutely should. A man and the guy the
• 1:35:13
  gross guy being like yeah, like sweaty being a cook to go into it,
• 1:35:18
  like yeah, yeah, he's just like Dorian is cucking him with someone
• 1:35:25
  who's not in a relationship with him, and Dorian is like pulls out and
• 1:35:29
  is like standing and he just when Doan pulls us, Dorian definitely does the
• 1:35:32
  motion of pulling out into Yeah. Man, it's a really it's a really
• 1:35:39
  disturbing scene, but it's so iconic. Yeah, everything about it is so
• 1:35:43
  iconic. The pick it up, I know, you want to pick up
• 1:35:46
  the gun, and I feel like the seediness of it is iconic. Like
• 1:35:50
  this was also the nineties and gen X loved CD. Of course, they
• 1:35:56
  loved they loved ceed and they also loved like kind of alishing and sensationalism and
• 1:36:00
  also relishing in their version, like everything's got to be so edgy yeah,
• 1:36:05
  it's so hype. Yeah yeah, and and step aside butch I love dude
• 1:36:12
  his voice, like stooming voice and like kind of really upset but like emboldened
• 1:36:19
  by the power switch in the situation. Yeah totally. And then getting shot
• 1:36:24
  in the dick Dorian shooting him if like shot gunning him in the dick.
• 1:36:29
  Oh man, dude, and he's like okay, nah, I'm not okay,
• 1:36:36
  oh man, dude. It's such a great line. And Bruce Willi
• 1:36:40
  is kind of like the slinky in the car trying to sprink himself in the
• 1:36:45
  corn. Yeah, and then the what now what now? Oh man,
• 1:36:50
  They're gonna keep give a talking to to hillbilly boy and get medieval on his
• 1:36:56
  ass, and he's like, I'm in with us. Yeah, I mean
• 1:37:00
  Bruce Willis wants to know if he's okay, and then like you know,
• 1:37:03
  sometimes what what what gen X? The lesson gen X learned was sometimes you
• 1:37:08
  got to move cities. But uh, ultimately he'll be okay, yeah totally
• 1:37:13
  yeah, and he's lost your la privileges. Yeah, he's lost his all
• 1:37:15
  privilege. I love though that he's like he tells him, he's like giving
• 1:37:18
  him the respect of like being like deal, like it's up to you.
• 1:37:24
  But if you come back here, this is what I'm gonna do, right,
• 1:37:27
  and and like but like so staying his ground and also like man,
• 1:37:32
  dude, it's and Zed's being like oh and then the wave, the not
• 1:37:41
  turning around and the wave to Bruce and it's like all right, cool uh
• 1:37:45
  and then he steals Zed's chopper. It's not a motorcycle, baby, it's
• 1:37:50
  a chopper. Um, it's dead baby, yeah yeah, and her crying
• 1:38:00
  too, her being like they didn't have the pancakes. I thought you were
• 1:38:04
  gone for so long. Yeah. Um yeah, trying the tooth with the
• 1:38:11
  pregnancy. Yeah, it's really you know, you can tell that Quentin Tarantino
• 1:38:15
  wants this to be his ending. Yeah, and it is his ending.
• 1:38:18
  He gets He's in a fucking mansion, he's got a pool. He works
• 1:38:21
  with Leo DiCaprio all the time, and and Jimmy Fox and pieces gets to
• 1:38:28
  make period pieces forever. One more dude, Um, he's got one more
• 1:38:31
  movie. Good for him. He did mostly get Communion. We could do
• 1:38:35
  a season. We could do we could do a season and it would be
• 1:38:38
  a mostly good season. But I just don't, you know, it's it's
• 1:38:43
  one of those guys that, like, it's what you said, It's like,
• 1:38:45
  when you transcend a certain level in cinema, you can no longer be
• 1:38:49
  someone's favorite guy because it's too basics top. Yeah, like what are you
• 1:38:54
  like, you know, like Lynch is your top guy? Like yeah,
• 1:38:57
  of course, okay, sure, yeah, And we've all had spices thrown
• 1:39:00
  in like that. But it's like, I just feel like when those guys
• 1:39:03
  reach that top shelf, it's just like their flavor, their seasonings. Let's
• 1:39:09
  go for other people, even even like for me, Like I got to
• 1:39:14
  a point where I watched um, the House of Jack Built again, and
• 1:39:19
  I was like, oh man, I can't I can't say Lars is my
• 1:39:23
  my favorite guy anymore. Like I still pull up He's he likes Hitler.
• 1:39:30
  He said he understood Hitler. That was the difference. He compared himself to
• 1:39:32
  Hitler, said, he's myself like Hitler. Ah yeah, but it was
• 1:39:36
  like like again it was cheeks like very euro raised eyebrows, smile, grinning,
• 1:39:45
  Yeah, jen X as opposed to as opposed to Yay, who's definitely
• 1:39:51
  having a breakdown of some kind. Um. But yeah, we get to
• 1:39:58
  the Bonnie situation. They drive off into the sunset, Bruce and Um,
• 1:40:03
  I forget her name. There's another Bonnie situation in this movie, dude,
• 1:40:06
  the Bonnie situation. There was a Bondy situation in the last movie too,
• 1:40:11
  that's true, Yeah, there was. Um and I like this scene where
• 1:40:16
  it's Jules story really because we've been introduced to him, we know who he
• 1:40:21
  is. And then he has his like revelation where he's like, I don't
• 1:40:25
  want to do this anymore, Like this is dumb and bad. I could
• 1:40:28
  have died. And then he realizes, like I could have died so many
• 1:40:31
  fucking times. So he's interpreting sort of like this like situation that happens where
• 1:40:36
  it's a freak accident that there was a guy in the bathroom when they were
• 1:40:42
  trying to get the package from Marcel, of course, and then the guy
• 1:40:49
  who's wearing a very Seinfeld outfit who was deep faked into Seinfeld um comes out
• 1:40:55
  and starts to shoot at them, misses them entirely and like from point blank
• 1:41:00
  range with like a magnum Yeah, and then they kill him and he's he
• 1:41:06
  Samuel L. Jackson takes this as a epiphany. Yeah, he needs to
• 1:41:13
  like like a sign from God, a miracle that he needs to go straight.
• 1:41:17
  Yeah, and Vincent doesn't believe this because Vincent is Yeah, he's an
• 1:41:24
  atheist. Yeah, God hates f words that whole thing. Um. Do
• 1:41:30
  you think Vincent might be closeted? Maybe he is, Maybe he is,
• 1:41:31
  dude, No, he really wanted to fuck um Marcella's Wallace's wife. Yeah,
• 1:41:35
  it's true Marvin who they take the best of. Did you say mtvm?
• 1:41:48
  Um? And they go to Jimmy's house, who's Quinn Tarantino? Uh?
• 1:41:53
  And and man like Jimmy's the poster boy for the generation. Yeah,
• 1:42:00
  totally totally uh and um, I love that Samuel kind of takes the reins
• 1:42:09
  in this this scene in the Big Rains, he takes the bing rams uh
• 1:42:15
  and is like, you know, like kind of it is like, man,
• 1:42:19
  this is my friend, Like you need to behave Like he's like,
• 1:42:25
  uh and he grabs the towel and he's like, when I've washed my hands
• 1:42:29
  and wiped them, that tells like goddamn maxipad Um. Yeah, he's like
• 1:42:34
  he's like, um, man, well did we we didn't mention that that
• 1:42:40
  As they're having the God talk Vincent turns around to Marvin and he's like,
• 1:42:43
  do you think that God came down? And then he shoots him in the
• 1:42:46
  face. He could they go over a bump. They do go over a
• 1:42:48
  bump and he shoots he shoots him, So it's both. It is both
• 1:42:53
  their fault in a way, but like definitely more Vincent's fault. Yeah,
• 1:42:58
  but yeah, he's like, oh, shot Marsh. But also the kind
• 1:43:02
  of callousness they treat the body and everybody who's like a man the wolf when
• 1:43:09
  he comes in, he's like, no one that'll be missed, you know,
• 1:43:13
  like that kind of like man, when a when a boomer like that
• 1:43:16
  says something so cutting where it's like the dismissal of life, like that says
• 1:43:26
  we're gonna be okay, what do you say what a boomer like that says
• 1:43:30
  something a cutting line like you are not serious people? Right? Yeah,
• 1:43:36
  totally. When's that from again? It's from Succession to oh yeah, yeah
• 1:43:42
  you are not serious. That's the last words he ever says to them,
• 1:43:45
  Yeah you are not serious people. It's one of the best lines I've ever
• 1:43:49
  seen delivered, so well, yeah, totally. The spoiler alert for Succession
• 1:43:55
  if you haven't seen it. I mean whatever, I haven't seen it.
• 1:43:58
  You saw that. I saw that. Not serious people, yeah, he
• 1:44:02
  dies, I mean cremoniously the perfect we are not serious people. Such a
• 1:44:10
  thing that Mamma thought to have and would say, would say, I'm gonna
• 1:44:15
  get fucking divorce. I love that line. I know that that. Obviously
• 1:44:18
  he's got the like you know, classic lines which I won't repeat, but
• 1:44:23
  my favorite lines that he Um does Quintarantino does is no trial separation. That
• 1:44:30
  shit, I'm gonna have fucking divorce. The like the like panic and fear
• 1:44:34
  that he has of his wife rather than this situation is so funny. As
• 1:44:40
  a guy who seems like he's u like the guy who seems he's very afraid
• 1:44:45
  of being middle aged. Well, I definitely afraid of being middle aged,
• 1:44:48
  Um, but also a guy who feels like he is like a slinky from
• 1:44:56
  from Benny Benny, Yeah, yeah, where he's just it's kind of like
• 1:45:00
  I've gotten out of the life. I don't need this, Like why is
• 1:45:02
  there a dead guy in my garage? Like you have to get rid of
• 1:45:04
  this, you know, Except he doesn't say dead guy. Yeah, he
• 1:45:10
  says, well, goodtitut duo always wants to say yeah, it's true and
• 1:45:14
  things that he can don't fucking jimmy me me man. He's such a like
• 1:45:20
  like he does he for for for all his n words, he does like
• 1:45:27
  a really good job. He's a really he's really good at showing up and
• 1:45:30
  he knows how to direct himself. Yeah, but he was not good in
• 1:45:34
  Django. He was not good as the Australian guy in Django. I don't
• 1:45:38
  even remember that. It's so bad Australian. Yeah. And I like how
• 1:45:45
  Jewels responds to calling Marcellus and and being like, no, you're gonna be
• 1:45:54
  like Jewels, I'm on this, and he's like, Jewels, I'm on
• 1:45:58
  the motherfucker. And then he calls the Wolf, who's at some sort of
• 1:46:01
  like party, which is amazing. It looks like so sort and it's so
• 1:46:06
  amazing because he's like, my nephew's baptism. Yeah, no, no,
• 1:46:12
  no, he's definitely Catholic. He's definitely like a baptism. Oh oh yeah,
• 1:46:18
  for I thought you said something else. Yeah yeah, well I said
• 1:46:23
  Christening, didn't I Yeah? Then you said baptism. Yeah, And he's
• 1:46:26
  like it's thirty minutes away. I'll be there in ten and then it says
• 1:46:29
  nine minutes and thirty seven seconds later, which I love, the very persisive,
• 1:46:33
  precise, like a professional. He's like a boomer, he's silent generation.
• 1:46:38
  Yeah he's got really he's got really good handwriting. Yeah he is,
• 1:46:42
  Yeah, he's His penmanship is remote fantastic. He's like a little I think,
• 1:46:46
  a little bit older than um. And like the nice the aggressive niceness
• 1:46:55
  that boomers often are when they're trying to like, listen something. I have
• 1:47:00
  to handle everything for your generation, so you better be good. Yeah,
• 1:47:02
  exactly, exactly. You like the handouts I give you? Yeah? Do
• 1:47:08
  you like the handouts? Like give? Then you'll be quiet and be good
• 1:47:11
  about it? Yeah, okay, pretty please with sugar on top. Exactly.
• 1:47:15
  This is the way we have to handle you with gloves your generation.
• 1:47:17
  I love also, So Jimmy, I smelled some coffee in there? Would
• 1:47:23
  you get me some? Oh? How do you take its? Lots of
• 1:47:27
  sugar? So good? Has all the comforts, Yeah for sure. And
• 1:47:34
  I love the like uh ping up like pieces of brain matter and whatever,
• 1:47:41
  just describing the situation to them in such blister um. And then the quilts
• 1:47:47
  telling him to give the quilts and then hinting at I love this because he
• 1:47:53
  Jimmy does such an impressively smart thing, which is hinting at, like,
• 1:48:00
  you know, these linens are my uncle Ginny and whatever, and he's like
• 1:48:04
  your uncle. Yeah, well, uh, you know, Marcellus is like
• 1:48:09
  an uncle too. He'll replace all this furniture with oak. You like oak?
• 1:48:14
  I like oak, you know, I like ok oh man. And
• 1:48:20
  then he just hands him giant wad of cash. And I love the fact
• 1:48:26
  that what's his name, Samuel Jackson is in the back while while Vincent is
• 1:48:30
  in the front, and he's like, why want in the back? Joe
• 1:48:33
  shot him you should be here cleaning up braids. Oh I love that.
• 1:48:38
  I love that part. And then the way it looks after looks so good.
• 1:48:42
  Yeah, it looks so neat, like how things are supposed to look
• 1:48:45
  when a boomer tells you to clean up your room. Yeah, exactly where
• 1:48:47
  where the it has to be military making the bed. There's can be novel
• 1:48:53
  like bumps or raises. The clothes have to be ironed when it was Have
• 1:49:00
  you ever ironed an item of clothing in your life for yourself? No?
• 1:49:08
  I don't think so. I think maybe once for like like a dance or
• 1:49:13
  something where I wanted to wear something dance. But yeah, and they spray
• 1:49:20
  them both down and to John Travolta puts his hand through that wig that he's
• 1:49:27
  wearing. Man, that like widow's peak, that sharp widow's peak wig he
• 1:49:30
  became known for. I mean it looked much more real in the nineties than
• 1:49:34
  it did ever and than it ever did. Yeah, yeah, yeah,
• 1:49:40
  absolutely, dude. And then they're wearing a goofy clothing that they're both laughing
• 1:49:44
  at. Georges looks like like vintage clothing for right now. Yeah, totally.
• 1:49:51
  And then we're introduced to one of the hottest women in the movie,
• 1:49:56
  Roquel, who clearly the wolf is fucking for some reason. You know,
• 1:50:02
  the lady that they take to the dump where they dump the body in the
• 1:50:06
  car. Oh dude, I loved that that he was a fucking here and
• 1:50:12
  yeah, and like he's just like, see respect your eldest, Like he's
• 1:50:15
  like tried it, Like I don't know, yeah he shaved because because both
• 1:50:19
  of them want to shake his hand for helping them, and also like it
• 1:50:24
  was a pleasure watching you work, and it's like there's like this passing of
• 1:50:28
  the buck and I love the uh call me Winston because they're respecting each other
• 1:50:33
  because he showed they showed him respect, and they, um, see,
• 1:50:39
  character, that's what you need. Just because you are a character. I
• 1:50:44
  have character. Just because you have a character. It doesn't mean you know,
• 1:50:46
  just because you are a character doesn't even have a character. And then
• 1:50:49
  they go to get food at the diner from the beginning of the movie and
• 1:50:53
  I have you fucking bricks. Oh yeah, yeah, I love this scene.
• 1:51:03
  Yeah. Like the idea of like feeling the touch of God is an
• 1:51:09
  interesting line delivered by Samuel l because it's like it's it's nice to have characters
• 1:51:19
  go through having like epiphonic moments and like really leaning into even like the religious
• 1:51:29
  aspect of it. I really like that as a tool in storytelling because it's
• 1:51:33
  like, yeah, he seems like a guy who was might have been once
• 1:51:38
  a religious person in his youth, and then as he grew into a criminal,
• 1:51:43
  became cynical. Yeah, it became cynical. He's probably seen a lot
• 1:51:45
  of people die needlessly, and then to have this moment of like being saved
• 1:51:53
  is like fascinating to me. Yeah, But what's cool is that he is
• 1:51:57
  saved in his own way, and he handled his ship in his own way
• 1:52:00
  the way he knows how right, And um, we get a reprise of
• 1:52:04
  the beginning scene where Honey, Bunny and and Pumpkin they're not going to cross
• 1:52:14
  over because they'll survive the situation. But um, yeah, it becomes a
• 1:52:19
  really tense situation. And this is like Jules is sort of like reckoning,
• 1:52:27
  right, yeah, even even him challenging Vincent in the moment where he's like,
• 1:52:31
  are my question scaring you? And he's like, I'm gonna go take
• 1:52:35
  a shit, And that was the same way he died. He died coming
• 1:52:39
  out of the bathroom. And it's interesting because of the fact that like Vincent
• 1:52:45
  as went through a change, but his change really didn't change his character.
• 1:52:49
  It just what was. Yeah, he was, Well, his status quo
• 1:52:55
  remained the same, right, he went through like a panic, he went
• 1:52:58
  through his Mickey moves, man, Yeah, exactly to excel in life.
• 1:53:01
  Yeah, you gotta make moves to excel in life. Well, yeah,
• 1:53:03
  he's and he wants to be like he's clearly right hand man to Marcellus,
• 1:53:08
  right, like if he's getting hugs from like the big boss, right,
• 1:53:12
  Um, And and like him being like Jewels being like I had what alcohol
• 1:53:18
  is called a moment of clarity is fascinating, um because that's when manny of
• 1:53:25
  you fucking bricks move um. And then we get their ending too, which
• 1:53:31
  is like also a like Jewels becoming a shepherd and offering a guiding path to
• 1:53:38
  people who are in trouble, immediately changing his life, trying to change it
• 1:53:42
  right away, and like understanding what these guys are going through in their life
• 1:53:47
  and understanding that he because he can change obviously these people. He says some
• 1:53:53
  line like you know, like there'll go do you give me a fucking problem?
• 1:53:57
  I love him being a British guy, and this is I mean,
• 1:54:00
  he had to be right. He's so bad at covering his eyes. But
• 1:54:03
  um, you know, even Vincent says to to um Jewels, like he's
• 1:54:11
  like you want to walk the earth? What do you want to be a
• 1:54:13
  bum? That's like a bum and like this whole idea of like being a
• 1:54:16
  loser not having anything. It's like maybe Vincent doesn't see the big picture,
• 1:54:20
  right, Yeah, totally you're a bum rock exactly. But yeah, they
• 1:54:28
  steal everybody's wallet. Um, It's it's kind of I understand the plan,
• 1:54:34
  you know what I mean, because it's like, oh, Okay, they
• 1:54:36
  don't want to do bank robberies. They don't want to get caught because it's
• 1:54:39
  like so high. But like this is like, oh, yeah, you
• 1:54:42
  steal a bunch of wallets, and you know the take from that is yeah.
• 1:54:45
  And what's what's cool is um when he, you know, Jewels,
• 1:54:49
  pulls out the gun because he knows they're gonna want the bag, the like
• 1:54:53
  thing with Marcellus Wallace's um soul in it. Uh and uh he pulls Tim
• 1:55:00
  Roth down and like has that conversation with him and is really empathetic. And
• 1:55:08
  that's that's a kind of kind of what's missing from the rest of Tarantino's movies.
• 1:55:12
  Post I would say Kill Bill even doesn't really function in this world anymore.
• 1:55:17
  It's all in Tarantino's world. We all get to play in his playground,
• 1:55:20
  and it's fun to go sometimes. But it just the first three or
• 1:55:26
  were the best because of the fact that they were all on this earth and
• 1:55:30
  we all get to experience it together, rather than Oh, I'm a rich
• 1:55:34
  guy who loved movies and I get to make whatever movie I want, you
• 1:55:39
  know, like the earlier movies of people always seem to be more down to
• 1:55:45
  earth because they have limitations and they have to work with what they have.
• 1:55:48
  And we know what we have and that's what's on screen. Right, There's
• 1:55:54
  only a few people who can like transport you to a magic place. I
• 1:55:58
  think Spielberg does it all. Tarantino, It's like he's inviting you to his
• 1:56:03
  playground rather than like you being whisked away into a different world. Yeah,
• 1:56:10
  you know, well, so is that that? That's is that the movie?
• 1:56:14
  That is the movie? Well, I mean we could talk about like
• 1:56:17
  be cool, be's be cool. That scene is really cool, and like
• 1:56:23
  the way the scene is sort of like the way Samuel l de escalates the
• 1:56:27
  situation is really um feels really realistic, like and like it seems kind of
• 1:56:32
  like he's got this commanding presence even in the he uses his commanding presence in
• 1:56:39
  a different way in this scene than he did in the scene where he's like
• 1:56:44
  giving the deliver first delivers the speech, right yeah, and then oh yeah,
• 1:56:47
  exactly, he'd redelivers the speech and and it means something different to him
• 1:56:51
  and the audience. And Yolanda is amazing because of the fact that like her
• 1:56:57
  fear is so noticed, well known in the scene in the movie, after
• 1:57:04
  being such a confident person, such a confident criminal, and then like having
• 1:57:09
  this moment of like, please don't kill the person that I care about most,
• 1:57:14
  because it doesn't the other stuff like doesn't matter. I know now that
• 1:57:17
  the other stuff doesn't matter. And it's like, that's what Jules is going
• 1:57:20
  through. That's why he knows not to do anything bad to him or to
• 1:57:27
  her, right, And I love the fact that he's like he wants to
• 1:57:30
  get his wallet back, the bad motherfucker wallet, but he gives him all
• 1:57:32
  the money, and it's like it's a pretty good take. That's a pretty
• 1:57:38
  nineties take. Um, that's a lot of money in the nineties. And
• 1:57:44
  then Vincent comes out and he's like Vincent be cool man. Yeah, yeah,
• 1:57:47
  yeah yeah, And Vincent, you know, like it's interesting because like
• 1:57:51
  Vincent, we know at this point that Vincent is dead in the future of
• 1:57:56
  the very near future of this, and his reality action in the situation sort
• 1:58:00
  of is like kind of comes from that sort of like intense hair trigger moment
• 1:58:05
  and not knowing how to conduct yourself and compose yourself when it really matters yeah,
• 1:58:11
  which is what it seems like the movie is trying to talk about,
• 1:58:14
  right, And like, do you do you ever hear any lines? I
• 1:58:17
  don't know if I can remember any lines where there's a few. I'm getting
• 1:58:21
  Tarantino post this movie, post Jackie Brown a lot of shit, because there
• 1:58:26
  is some good stuff in Tarantino movies. It just feels like when when Amanda
• 1:58:30
  Palmer goes um, he's like are we cool, Jlanda, and she's like,
• 1:58:36
  I have to pee and I want to go home. Like that's like
• 1:58:40
  a sad, vulnerable line to give somebody, you know what I mean.
• 1:58:45
  And it's and it's like we all have to pee, we all have to
• 1:58:47
  go shit, you know, yeah, exactly exactly. Um, And and
• 1:58:50
  like when he's like like I'm proud of her, come on, ring ringo,
• 1:58:56
  teller, you're proud of her, right, and she's like, I'm
• 1:58:58
  proud of you, honey, bunny, you know what I mean. Like
• 1:59:00
  it's like that kind of stuff where it's like power moves but it's like you
• 1:59:02
  have to but it feels real. He feels like, yeah, you're not
• 1:59:08
  telling this person what she needs to hear for this to be good, you
• 1:59:11
  know what I mean, um, and it's it's it's cool. It's a
• 1:59:15
  cool way of like tying everything up. Um. And he's gonna walk the
• 1:59:20
  earth like David Garrity, Yeah, it's true excited Harridan Garrety Yeah. Um.
• 1:59:27
  And and then they like walk off and Vincent and and Jules walk off
• 1:59:32
  as well, and that's like the end of the movie, which is crazy.
• 1:59:36
  Yeah. So like I don't know, you know, being that we
• 1:59:41
  said that, like there's some directors that defy sort of that, you know,
• 1:59:48
  I don't know, Like, how do you how do you how does
• 1:59:53
  one rate a movie like this? How do we rate this movie? True?
• 1:59:57
  True, We'll get to that. But did you know Kathy Riven is
• 2:00:00
  played by herself in this It's credited as hers, So Cathy agreement, He's
• 2:00:10
  in the movie. She's in the reality of which is amazing, amazing.
• 2:00:15
  So I love that. Okay, Okay, So let's do bruces first,
• 2:00:21
  because I would give I would give this movie an eight point five bruces.
• 2:00:26
  Yeah, I think I'm gonna give it. I think I'm gonna give it
• 2:00:28
  a nine. I'm gonna go for the nine. I maybe. I think
• 2:00:31
  I'm gonna give it a nine. Two. It's it's like everything that I
• 2:00:35
  really like said, there's a little bit more subdued, but like, man,
• 2:00:41
  he does so much with presence and face that is just like I'm deniable.
• 2:00:46
  Yeah, and you're like, this is this is such good acting,
• 2:00:53
  This is such good acting. Yeah, totally totally, like he makes the
• 2:00:57
  movie better. Yeah, I think he makes his own parts better. Yeah.
• 2:01:01
  Absolutely. Um, I'm gonna give it an eight point five thought of
• 2:01:05
  out of ten of the movie. Yeah, Now is that like like I
• 2:01:10
  think we should give it Tarantinos because like, would you give would you give
• 2:01:14
  it for ten Tarantinos? Would you give it a ten out of I'll probably
• 2:01:18
  give it a nine. I mean yeah, i'd probably give it a ten.
• 2:01:21
  Actually, yeah, I'd probably give a ten out of ten Tarantinos.
• 2:01:24
  Now, is there a point in your life when you would have given this
• 2:01:26
  movie a ten out of ten stars just as your enjoyment of it. No,
• 2:01:30
  there was never a time that I would give those ten stars. But
• 2:01:33
  this movie is Pantheon for you. Yeah it is too. Yeah, I
• 2:01:38
  like you know, like I have there are movies where like, oh yeah
• 2:01:44
  I would give it ten stars, but like this isn't one of them.
• 2:01:45
  This has always been sort of an eight point five because like, in different
• 2:01:48
  areas of my life, It's like, when I was young, it was
• 2:01:50
  a little boring what I said earlier in my twenties it made more sense,
• 2:01:55
  but it was like, oh my god, these references I get. But
• 2:01:58
  the feelings are like much more noticeable to me, how people are feeling,
• 2:02:03
  how people are interacting with their face. Well, what do you make of
• 2:02:08
  my my? You know thess that I took from you and rain with about
• 2:02:13
  it being like a kind of like middle aged exploration or an approaching Yeah,
• 2:02:17
  yeah, that generation's reckoning with their thirties, and yeah, I think so.
• 2:02:21
  I mean, like the reality is is that he was what thirty two
• 2:02:25
  when he made Reservoir Dogs. So, and that feels like a very I'm
• 2:02:29
  in my twenties kind of movie. And this does feel like I'm in my
• 2:02:31
  thirties kind of movie, where you have certain kinds of ways of describing the
• 2:02:42
  world that feel a little bit more like you have much more understanding about the
• 2:02:47
  world and you know a lot less than you do, or you have that
• 2:02:53
  understanding in you, and all these characters feel like that. All of these
• 2:02:56
  characters feel like they've been humbled in a way. Yeah, not and not
• 2:02:59
  aim this, but they feel like, oh I don't have all the answers,
• 2:03:02
  but I know what makes me feel good, you know what I mean?
• 2:03:05
  Yeah, and it's like a lot of what makes me feel good drugs,
• 2:03:09
  sex, yeah, violent, violent, Yeah exactly. So you know
• 2:03:12
  I feel like I feel like the did you give it a ten tarantinos?
• 2:03:18
  I gave it a ten tarantinos. Yeah, I would probably give this ten
• 2:03:23
  tarantinos. I'd give Jackie Brown ten tarantinos and I would give yeah probably Yeah.
• 2:03:30
  Would you give Kill Bill Part one ten tarantinos? I would give them.
• 2:03:35
  I would give them all eight or seven? Um, I would probably
• 2:03:41
  say, um. I actually watching this movie again, I was like,
• 2:03:46
  man, like I remember, um, Glorious Bastard's being my like top of
• 2:03:53
  his movies, but it kind of has to be this one. It has
• 2:04:00
  to be. That's a movie I'm going to watch and as impressed with the
• 2:04:03
  amount that this movie like bended cinema literally like literally like it's will yeah,
• 2:04:11
  like it's pretty, it's pretty impressive, like it's undeniable in a way that
• 2:04:14
  like you just like you know, like I mean, how can you how
• 2:04:18
  can you you know, talk about society and culture in the Western modern context
• 2:04:25
  without mentioning this movie. It like is part of the fabric of you know,
• 2:04:31
  um at least our generation, in our lives, in our upbringing and
• 2:04:36
  im parodied parodied times and times over. But you know, like as an
• 2:04:45
  experience, how does it hold up? Pretty good? Yeah? I think
• 2:04:51
  so pretty good. Like there's a lot of like things that don't hold up
• 2:04:56
  well. We didn't talk about Bruce like like mimicking like people with mental disabilities.
• 2:05:02
  We didn't like, you know, like that kind of ship where you're
• 2:05:05
  just like like again, Like for me, it's like, what do you
• 2:05:11
  mean by holding up? Like what does that mean? Holding up? Holding
• 2:05:15
  up? Yeah, I mean like in terms of like relevance and like,
• 2:05:20
  um wait what I don't know what you mean by relevance either, because it's
• 2:05:26
  like it's like it would be like like I remember when somebody was like said,
• 2:05:30
  oh, Taxi Driver, that movie is so dated, and it's like,
• 2:05:32
  but that movie is contemporary at the time, Like what do you mean
• 2:05:35
  by dated? Like yeah, I think I mean, like the things about
• 2:05:39
  it now feel like dated tropes, but yeah, you can, Like I
• 2:05:44
  mean, it's it's like it's a movie from that era. It's like like
• 2:05:46
  to me, it's like, yeah, sure he does that, but it's
• 2:05:48
  like that's not out of place for a boxer now let alone, let alone
• 2:05:53
  in the nineties, you know what I mean. Ye, Like I'm thinking
• 2:05:57
  like I don't know, like like I just do you want to I just
• 2:06:00
  in reference? No, No, I Like I'm not I'm not saying like
• 2:06:04
  I'm not saying like, oh it's bad that, like you know, it's
• 2:06:08
  just like it's things that I just like probably wouldn't be written in if it
• 2:06:14
  was like written now, it's interesting to notice, you know what I mean?
• 2:06:16
  But does that mean like it just doesn't add anything to like the character
• 2:06:20
  or like it's just like it seems like it's like yeah, just trying to
• 2:06:27
  use like it's kind of like nineties edgy. It's like trying to use like
• 2:06:32
  like I just like it's confusing to be because it's like, I don't know
• 2:06:35
  what do you want the movie to condemn it? Is that what's missing for
• 2:06:39
  you? Or is it like what like it's just confueled, Like what would
• 2:06:43
  the perfect movie for you look like? Because it seems like it would have
• 2:06:45
  all the edges stand it off completely. No. I yeah, like it's
• 2:06:53
  not that big a deal, like you know, like it's yeah, I
• 2:06:57
  don't know, Well that's what I'm saying. I'm saying it's not a big
• 2:07:00
  deal, but it is a big deal for you. I just want to
• 2:07:01
  know why. I'm just making the observation about it. I don't know.
• 2:07:08
  Like it's like I feel like when you say when you talk about how something
• 2:07:12
  like how something ages, like you know, you just like notice the things
• 2:07:16
  that it's a lot of what we do on the show. You just notice
• 2:07:18
  the things that like probably wouldn't come up now. And I'm not saying that
• 2:07:23
  like you know, like I think that movies need to be sanitized completely.
• 2:07:27
  I'm just saying that, like it's interesting how much it's it's interesting to be
• 2:07:30
  able to like observe how much culture has changed over thirty years. I don't
• 2:07:34
  see one of those years. Yeah, I mean, like I don't mean
• 2:07:38
  to like you're it seems like you're pulling back. I'm not. I'm not
• 2:07:41
  trying to like challenge you. I'm just trying to like understand what the like
• 2:07:44
  mentality is because like, like I don't know there are contemporary movies that do
• 2:07:48
  like way work like like drave to Gross Concrete was like a pretty like harsh,
• 2:07:53
  real like reality of the Yeah, like you're you're, you're sort of
• 2:07:56
  like seeing you know. I think that that movie uses that harsh reality and
• 2:08:01
  like talks about it. I think like it's like it's aware of itself.
• 2:08:05
  So that's what you want. You want it to be condemned whatever it is,
• 2:08:09
  not necessarily because yeah, sometimes things are just products of their time.
• 2:08:13
  That's what I'm saying. I'm trying to delineate between what's a product of its
• 2:08:18
  time and what's just like you know, like used as a device, right.
• 2:08:22
  I mean, but like I don't think especially like the terms that they
• 2:08:26
  use, like mongoloid, it like comes off as like the same kind of
• 2:08:31
  racism that they use throughout the movie, where it's all just kind of callous
• 2:08:35
  and casual, right, like these are bad people. Like I feel like
• 2:08:37
  the movie condemns everybody pretty equally in the movie, and like I mean it's
• 2:08:43
  like they're they or they change, they try, they're they're they're added characters
• 2:08:50
  because it's like, you know, those people are people, and that's the
• 2:08:52
  that's the it's like kind of reality that I like living in. Where it's
• 2:09:00
  like, oh, there's like a person, you know, I'm being I'm
• 2:09:03
  following a thing that's like, yeah, they might say stuff that I,
• 2:09:07
  like, I wouldn't agree with, but I guess I don't know. Yeah,
• 2:09:09
  I mean, I wasn't condemning them in a sense of like, you
• 2:09:13
  know, is that out of line with something someone might have said at the
• 2:09:16
  time. Absolutely not. Is it out of line with something that like we
• 2:09:20
  were like directly involved in growing up. Absolutely not. I'm just saying that
• 2:09:24
  people would say that now, Yeah, you know, like people would do
• 2:09:28
  that now, Like that's that's the thing, Like, I don't know,
• 2:09:33
  I don't know. I don't mean to like bring you down, dude,
• 2:09:35
  Like it's it's just it's a curiosity that I have where it's like when it's
• 2:09:43
  noticed, it's like it feels like a compulsion to have to talk about it.
• 2:09:48
  But at the same time, it's like I don't know, man,
• 2:09:50
  Like is it is it even worth mentioning? I mean, I mean I
• 2:09:52
  mentioned it as a toss away at the end. I wasn't. We didn't
• 2:09:56
  really talk about it. What I'm really excited about. I'm no, it's
• 2:10:00
  probably going to be such a long episode but um uh kay said he was
• 2:10:05
  like not down with this viewing of of watching it, and I really want
• 2:10:09
  to hear why, Well, i'd yeah, I'd really be interested in like
• 2:10:13
  getting his sort of like addendum, you know, or like getting his read
• 2:10:18
  on the movie at this point. Um, but yeah, we can.
• 2:10:24
  We can talk to him about it, right, Maybe we can get him
• 2:10:26
  to send in some some thoughts on the movie. Yeah, all right,
• 2:10:33
  Well we'll follow us at first for more percents on Instagram, have more on
• 2:10:37
  Twitter, and guys, you already know if you guys were like long time
• 2:10:41
  fans of the show, you know, we have a Patreon. Guys want
• 2:10:45
  to become patrons. You can contribute to us for for the price of less
• 2:10:48
  than a coffee a month. You can get like really can get a pack
• 2:10:52
  of cigarettes in the i DS for the dollar. Um. Yeah, and
• 2:11:00
  you know, just like like comments, tell people about the show, spread
• 2:11:05
  the word about the show. Um, and we'll see you next week. M