Latest / Under the Docs / Corporate Ghost Towns Begin Here: Roger & Me (1989) | Under the Docs 013

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Corporate Ghost Towns Begin Here: Roger & Me (1989) | Under the Docs 013 · Under the Docs

• 0:00
  Speaker 1: The fact that even GM itself had a record breaking
• 0:03
  Speaker 1: profit year. None of that really comes up directly. It's
• 0:06
  Speaker 1: it was replaced with the smarmy man on the street
• 0:09
  Speaker 1: interviews and the lady that literally clubs a rabbit to
• 0:13
  Speaker 1: death on film. That's what you get instead of some
• 0:17
  Speaker 1: of the things that answer the hypotheticals that he kind
• 0:20
  Speaker 1: of just like teases out there.
• 0:29
  Speaker 2: Under the dukes, us looks under the dukes, under the
• 0:44
  Speaker 2: du yep.
• 0:45
  Speaker 3: Under the ducks, under the docks.
• 1:12
  Speaker 1: We're back paranoid American Sean Chris from Kill the Mockingbirds,
• 1:17
  Speaker 1: Roger and Me nineteen eighty nine. This was directed and
• 1:21
  Speaker 1: narrated by Michael Moore. Why are we looking at this one?
• 1:24
  Speaker 1: We're actually gonna do three different Michael Moore movies. I
• 1:27
  Speaker 1: feel to kind of balance out some of the Alex
• 1:30
  Speaker 1: Jones stuff that we just got into. We had a
• 1:32
  Speaker 1: Alex Jones Month, so Michael Moore Month kind of felt
• 1:35
  Speaker 1: like a good way to counterbalance that.
• 1:37
  Speaker 4: I don't know, what do you think?
• 1:39
  Speaker 5: I definitely agree, And fun fact, I like Michael Moore
• 1:42
  Speaker 5: is kind of like the person that got me into
• 1:44
  Speaker 5: a lot of these documentaries because at the time I
• 1:48
  Speaker 5: was out of high school, you know, like in two
• 1:49
  Speaker 5: thousand and two or twenty and when I was like
• 1:51
  Speaker 5: eighteen around that time, so this was pretty influential. And
• 1:55
  Speaker 5: I had an AOL email address called more Madness mr.
• 2:00
  Speaker 4: Oh and it was about Michael Moore.
• 2:03
  Speaker 5: Yeah, no, I was just all because I was all
• 2:05
  Speaker 5: about Michael Moore, Like that was my email for AOL.
• 2:09
  Speaker 1: Well, hopefully no one's gonna like hack into your AOL email.
• 2:13
  Speaker 4: Now I don't even know if he just do it.
• 2:16
  Speaker 5: If they do hack it, give me the password because
• 2:18
  Speaker 5: I don't even know it.
• 2:20
  Speaker 1: So why are we talking about this movie in particular,
• 2:23
  Speaker 1: Roger me mainly because this was Michael Moore's breakout documentary.
• 2:28
  Speaker 1: This is the one that kind of put him on
• 2:30
  Speaker 1: the map. But it also kind of shows you the
• 2:33
  Speaker 1: DNA of what every Michael Moore documentary after this is
• 2:37
  Speaker 1: going to look like. It's going to have some humor
• 2:40
  Speaker 1: and some outrage. There's gonna be a lot of juxtaposition
• 2:43
  Speaker 1: where someone's saying something and then you see the exact
• 2:46
  Speaker 1: same opposite. As as the visual, it's a lot of
• 2:49
  Speaker 1: pointing out hypocrisy, a lot of dry humor and sarcasm.
• 2:53
  Speaker 1: And I would almost argue and say that without these
• 2:56
  Speaker 1: Michael Moore documentaries starting with Roger Me, you don't necessarily
• 3:00
  Speaker 1: get like a Daily Show or a Colbert Rapport, or
• 3:02
  Speaker 1: even on the other side, you don't get an Alex
• 3:04
  Speaker 1: Stein or a Stephen Crowder.
• 3:07
  Speaker 5: I agree, and I think that Michael Moore is the
• 3:10
  Speaker 5: Yen to Alex Jones yang, like they kind of live
• 3:13
  Speaker 5: in the same world. It sounds peculiar to people, but
• 3:17
  Speaker 5: they are actually more alike than you would think. They
• 3:19
  Speaker 5: may never admit that, and they have different biases in
• 3:22
  Speaker 5: different sides, but they have a lot more in common
• 3:25
  Speaker 5: than you think.
• 3:26
  Speaker 1: Well, we get to the end of Michael Moore month
• 3:29
  Speaker 1: will actually show that pretty directly about that comparison of
• 3:32
  Speaker 1: Alex Jones and Michael Moore. So anyways, the summary in
• 3:35
  Speaker 1: case you haven't seen this particular documentary yet, it's basically
• 3:39
  Speaker 1: about Michael Moore returning to his hometown of Flint, Michigan,
• 3:43
  Speaker 1: and he attempts spoiler unsuccessfully to confront the GM CEO,
• 3:50
  Speaker 1: who's this guy named Roger Smith hence the name Roger
• 3:53
  Speaker 1: and Me, about the closing of the GM plant and
• 3:57
  Speaker 1: everything that ensued after that, the base economic collapse of Flint, Michigan,
• 4:02
  Speaker 1: the rise in crime rates, just fill in all the
• 4:04
  Speaker 1: different blanks. This movie attempts to sort of paint how
• 4:09
  Speaker 1: that happened. Maybe not necessarily why it happened, but we'll
• 4:12
  Speaker 1: kind of get into that.
• 4:14
  Speaker 4: Yeah.
• 4:14
  Speaker 5: Really kind of is not I want to say, a
• 4:17
  Speaker 5: sat piece, but it really is struggling out, tugging on
• 4:20
  Speaker 5: your hard strings of like what happened to Flint and
• 4:22
  Speaker 5: living out here personally. Now, I wasn't there at the time,
• 4:25
  Speaker 5: but in the past ten years I've been in Michigan
• 4:27
  Speaker 5: and Flint is pretty dilapidated.
• 4:29
  Speaker 6: So, like, the argument makes a lot of sense.
• 4:32
  Speaker 5: I also think that with these films of us diving
• 4:35
  Speaker 5: back in time, for me, it keeps striking these chords
• 4:38
  Speaker 5: of like, man, how things have not changed as much
• 4:40
  Speaker 5: as we think they have, or how it still correlates
• 4:43
  Speaker 5: with today.
• 4:50
  Speaker 1: The first key claim in this movie is that General
• 4:54
  Speaker 1: Motor closes these eleven plans in Flint, Michigan, while opening
• 4:58
  Speaker 1: up new factories and Mexico where people were basically getting
• 5:02
  Speaker 1: paid about seventy cents an hour versus the fifteen to
• 5:05
  Speaker 1: twenty dollars an hour roughly that were all union jobs
• 5:08
  Speaker 1: that were there in Flint, Michigan, and that over the
• 5:12
  Speaker 1: course of time this leads to about thirty thousand different
• 5:15
  Speaker 1: jobs being lost in Flint, which completely guts the economy.
• 5:19
  Speaker 1: And Michael Moore, I guess, sort of shows that this
• 5:22
  Speaker 1: wasn't a move of desperation, that it was just for profitability.
• 5:27
  Speaker 1: So those shocked that a glocal conglomerate would work towards profitability.
• 5:32
  Speaker 1: But I guess that's the first major claim is that
• 5:35
  Speaker 1: they closed these factories when they didn't necessarily have to.
• 5:38
  Speaker 4: They didn't have to go to Mexico.
• 5:42
  Speaker 5: Yeah, and he even has a and during the film
• 5:44
  Speaker 5: a lobbyist for GM, and he kind of coaches it
• 5:47
  Speaker 5: to where he's saying like, well, they had to do
• 5:50
  Speaker 5: this for the bottom line, right, because like things would
• 5:53
  Speaker 5: go bad. But then Michael Moore kind of presses throughout
• 5:56
  Speaker 5: the film of like, no, you didn't have to do this,
• 5:58
  Speaker 5: You guys were thriving.
• 6:01
  Speaker 4: Right.
• 6:01
  Speaker 1: Well, he makes a couple different examples in this. First
• 6:04
  Speaker 1: the GM perspective, the reason that they say, like we
• 6:07
  Speaker 1: have to do this was because there was competition from
• 6:10
  Speaker 1: Japan and Japan was kind of crushing it with their
• 6:13
  Speaker 1: car sales versus American sales during this time period, they
• 6:17
  Speaker 1: also needed They claimed they had to cut their labor
• 6:20
  Speaker 1: costs in order to remain competitive with Japan and all
• 6:22
  Speaker 1: these other countries and that move into Mexico, that even
• 6:25
  Speaker 1: though their wages were under a dollar an hour, it
• 6:28
  Speaker 1: was necessary for financial survival. And that guy that you're
• 6:31
  Speaker 1: talking about, who's actually working for GM, while Michael Moore
• 6:34
  Speaker 1: is interviewing him, he basically makes that claim, Well, it's
• 6:39
  Speaker 1: either that or we go bankrupt and everyone loses all
• 6:42
  Speaker 1: of their jobs and it's not just people in this
• 6:45
  Speaker 1: one city, which turns out wasn't necessarily true.
• 6:49
  Speaker 4: I mean, hindsight being.
• 6:51
  Speaker 1: Twenty twenty, but they were profitable. In fact, that was
• 6:55
  Speaker 1: one of their most profitable years to date. When he
• 6:57
  Speaker 1: was interviewing this guy as they're shutting down, they had
• 6:59
  Speaker 1: made four billion dollars. But four billion, shure, doesn't sound
• 7:03
  Speaker 1: as nice as six billion, and six billion doesn't sound
• 7:06
  Speaker 1: as good as twenty billions. So what are you gonna do?
• 7:09
  Speaker 5: Hey, you gotta get that seventy cents an hour, seventy
• 7:12
  Speaker 5: seven cents an hour I think they claimed you were
• 7:15
  Speaker 5: making in Mexico compared to fifteen It does sound pretty tempting.
• 7:20
  Speaker 4: It gets worse too, We'll get there.
• 7:23
  Speaker 1: So the second claim was that while they're outsourcing these jobs,
• 7:28
  Speaker 1: GM told the American unions that they were completely broke,
• 7:32
  Speaker 1: and they use this to negotiate wage cuts. And there's
• 7:35
  Speaker 1: even a few different interviews with ex employees that worked
• 7:40
  Speaker 1: at the GM plan and they're saying the reason why
• 7:43
  Speaker 1: wages got cut was because the union was weak, and
• 7:47
  Speaker 1: the union was weak because there were a lot of
• 7:49
  Speaker 1: union members that were very cozy with management. That was
• 7:53
  Speaker 1: a direct quote from one of the ex workers that
• 7:56
  Speaker 1: they were talking to, so that they had already been
• 7:59
  Speaker 1: cutting ages back, they were already trying to drive it down.
• 8:03
  Speaker 4: But because the union existed, they weren't.
• 8:05
  Speaker 1: Able to push it much farther down than fifteen dollars
• 8:08
  Speaker 1: an hour, which I looked up the equivalent is about
• 8:11
  Speaker 1: forty dollars an hour now considered inflation, which makes this
• 8:16
  Speaker 1: movie kind of topical too, right, because we are also
• 8:20
  Speaker 1: looking at a whole bunch of layoffs in all different
• 8:23
  Speaker 1: types of industries right now.
• 8:25
  Speaker 5: I also thought the reason that it kind of sticks
• 8:28
  Speaker 5: out today, and to your point, not just to layoffs,
• 8:30
  Speaker 5: but everybody talking about tariffs, right and the point of
• 8:34
  Speaker 5: kind of this tariff thing of like, well, yeah, a
• 8:36
  Speaker 5: lot of these big corporations did move overseas or moved
• 8:39
  Speaker 5: to other countries for cheaper labor, and it destroyed cities.
• 8:44
  Speaker 5: This is the one they're talking about here at Flint,
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  Speaker 5: but there's plenty other cities that this has happened to.
• 8:49
  Speaker 1: That's a great example for let's take this exact movie.
• 8:53
  Speaker 1: The premise I'm understanding the very simplified premise of these tariffs.
• 8:58
  Speaker 1: Our GM says, you know what, we're gonna move to Mexico.
• 9:01
  Speaker 1: We're going to move to whatever the country is. And
• 9:04
  Speaker 1: the government comes in and says, okay, that's fine, but
• 9:06
  Speaker 1: we're going to charge you triple the cost of goods
• 9:09
  Speaker 1: when it, you know, comes back into the country. And
• 9:12
  Speaker 1: then they say, oh, well, that's technically not going to
• 9:15
  Speaker 1: save us any real money or change the bottom line.
• 9:17
  Speaker 1: So I guess we're going to have to just innovate
• 9:20
  Speaker 1: or offer some other value rather than just completely decimating
• 9:25
  Speaker 1: the hourly wages of the people that are going into
• 9:28
  Speaker 1: creating this stuff. So, uh, that was the decision, and
• 9:31
  Speaker 1: they made the decision, and it worked out for GM,
• 9:34
  Speaker 1: but it kind of didn't work out for Flint. The
• 9:38
  Speaker 1: third point that he kind of conveys are that local
• 9:42
  Speaker 1: officials responded to the closure of this huge, you know,
• 9:47
  Speaker 1: GM industry that employed almost everyone in town. Instead of
• 9:52
  Speaker 1: figuring out some way to get the economy bounced back,
• 9:54
  Speaker 1: they invest almost all of their budget into advertising campaigns
• 9:59
  Speaker 1: to turn Flint now into a tourist attraction, and the
• 10:03
  Speaker 1: slogan was something like come check out the new Spark
• 10:07
  Speaker 1: in Flint, Michigan, or like we haven't left last stars
• 10:10
  Speaker 1: Spark or something. They build a brand new shopping mall,
• 10:13
  Speaker 1: they build the world's first and only indoor carousel ride
• 10:19
  Speaker 1: I guess or Ferris Wheel. Rather, they run a whole
• 10:24
  Speaker 1: bunch of different campaigns where they're trying to throw concerts
• 10:27
  Speaker 1: and music. They get Pat Boone in, they get the
• 10:29
  Speaker 1: previous Miss America to come in and just kind of
• 10:33
  Speaker 1: boost people's morale and tell them, hey, it could always
• 10:36
  Speaker 1: be worse.
• 10:36
  Speaker 4: You could be starving on the street or something.
• 10:39
  Speaker 1: But that was sort of funny to see how the
• 10:43
  Speaker 1: town is trying to react by just throwing just literally
• 10:46
  Speaker 1: burning money. And at one point they even have this
• 10:49
  Speaker 1: magazine called Money Magazine that the clars Flint the worst
• 10:53
  Speaker 1: place in the country to live, so they are they
• 10:56
  Speaker 1: actually show people literally burning money magazine. But it was
• 10:59
  Speaker 1: just of very well done juxtaposition by Michael Moore.
• 11:04
  Speaker 5: Yeah, and to bring some of the jobs they were
• 11:07
  Speaker 5: kind of introducing, like, hey, well there's all these great
• 11:09
  Speaker 5: jobs like taco bell, like you know they had. They
• 11:12
  Speaker 5: were like, this is why people keep quitting a taco
• 11:14
  Speaker 5: bell that used to work at GM. They say, taco
• 11:16
  Speaker 5: bell is much harder, And they were kind of like
• 11:18
  Speaker 5: kind of poking fun at the GM people. But I
• 11:20
  Speaker 5: think my favorite part was when they were talking about,
• 11:23
  Speaker 5: you know, the crime rate growing and they had to
• 11:26
  Speaker 5: build a new jail, And I found this fascinating that
• 11:30
  Speaker 5: people they had a grand opening for a jail. First
• 11:32
  Speaker 5: of all, I didn't even know they did that, Like
• 11:34
  Speaker 5: I think of it like a ribbon cup cutting ceremony,
• 11:36
  Speaker 5: but no, they had a grand opening and people paid
• 11:39
  Speaker 5: one hundred dollars to stay the night couples at the jail.
• 11:43
  Speaker 5: That to me, just like that was like the epitome
• 11:46
  Speaker 5: of America. I was like, Yeah, what a country.
• 11:50
  Speaker 1: A large portion of this movie is talking to out
• 11:54
  Speaker 1: of touch rich I want to say, seventy to eighty
• 11:57
  Speaker 1: year old people that are at these country clubs in Flint,
• 12:00
  Speaker 1: Michigan are clearly separated from society. Waldorf Astoria. He goes
• 12:05
  Speaker 1: to these ritzy places and he just asks old ladies
• 12:08
  Speaker 1: that are englfing what they think about the economy and
• 12:11
  Speaker 1: what they think about Flint, and of course they're just like.
• 12:13
  Speaker 4: Oh, I love it. Everything's great.
• 12:15
  Speaker 1: But he's showing people getting evicted from their homes. He's
• 12:18
  Speaker 1: showing all sorts of the effects of these things that
• 12:21
  Speaker 1: aren't touching this community. So that's one way that you
• 12:24
  Speaker 1: can start to see Michael Moore displaying his narrative a
• 12:28
  Speaker 1: little bit. He doesn't say a lot, He just shows
• 12:30
  Speaker 1: you the exact opposite of what someone else is saying,
• 12:34
  Speaker 1: as as like these kind of little gotcha scenes, and
• 12:36
  Speaker 1: that one in particular was very surreal. And the reason
• 12:40
  Speaker 1: for that this was one of the other key points
• 12:42
  Speaker 1: of this movie makes was that Flint starts to become
• 12:46
  Speaker 1: a murder capital of America, one of them, and that
• 12:50
  Speaker 1: the crime surged in almost direct proportion with the job losses.
• 12:55
  Speaker 1: And I just wanted to look into this just to
• 12:57
  Speaker 1: see how accurate this was, and this is pretty pretty true.
• 13:00
  Speaker 1: I mean, the crime rate that you can track back
• 13:05
  Speaker 1: to the nineteen sixties basically with FBI database, and they
• 13:09
  Speaker 1: don't really get kind of to this to the city
• 13:13
  Speaker 1: level of Flint until about nineteen seventy or nineteen eighty,
• 13:17
  Speaker 1: So in nineteen eighty there was something like twelve hundred
• 13:22
  Speaker 1: crimes per one hundred thousand citizens. And then you can
• 13:25
  Speaker 1: see after the closing of this plan in this movie,
• 13:28
  Speaker 1: I think it happens around like nineteen eighty nine or so.
• 13:32
  Speaker 1: As soon as that happens, the crime doubles, and then
• 13:35
  Speaker 1: it doubles again, and it's getting so incredible that they
• 13:38
  Speaker 1: have to build more jails and brenton new jails, five
• 13:42
  Speaker 1: story jails in order to house all these different criminals
• 13:45
  Speaker 1: that the movie implies but never actually shows direct correlation
• 13:50
  Speaker 1: that all these new criminals came from this GM plan
• 13:53
  Speaker 1: or anything like that, but just that it's a depressed
• 13:55
  Speaker 1: community and people are struggling, and of course these rich
• 13:58
  Speaker 1: people come back in and they buy one hundred dollar
• 14:00
  Speaker 1: a night tickets in order to stay, which would be
• 14:03
  Speaker 1: like a you know, a very nice hotel, especially in Flint, Michigan.
• 14:07
  Speaker 1: You probably could have stayed at the Four Seasons or
• 14:10
  Speaker 1: at a brand new Hiatt that they built also to
• 14:13
  Speaker 1: try and spare tourism that immediately had to shut six
• 14:16
  Speaker 1: months later. And you know, all the different things that
• 14:19
  Speaker 1: they tried, none of it worked except for I guess
• 14:21
  Speaker 1: the jail.
• 14:21
  Speaker 4: The jail probably did great.
• 14:23
  Speaker 6: Yeah, no, the jail did do great.
• 14:24
  Speaker 5: And they even showed, like some of the GM employees,
• 14:27
  Speaker 5: now he's a prison guard.
• 14:28
  Speaker 1: And that was that one was one of the sadder
• 14:32
  Speaker 1: ones because the guy is saying, he's convincing himself that
• 14:37
  Speaker 1: everything's working out for the best.
• 14:38
  Speaker 4: And this this is really.
• 14:40
  Speaker 1: Weird because when they're doing the tourism campaign, they bring
• 14:43
  Speaker 1: in Pat Boon, they bring in you know, Miss American,
• 14:45
  Speaker 1: all this stuff, and the whole message really is over
• 14:50
  Speaker 1: and over where fighters were survivors, We'll get back there. Hey,
• 14:55
  Speaker 1: it could always be worse. At least it's not black,
• 14:57
  Speaker 1: black black. And then none of those sounded.
• 15:00
  Speaker 4: Like rallying cries.
• 15:01
  Speaker 1: Those were all like, hey, at least you're not dying
• 15:03
  Speaker 1: right now, you know, that was kind of what a
• 15:05
  Speaker 1: lot of those amounted to. And this one guy that
• 15:07
  Speaker 1: Michael Moore interviews that it's now a prison guard and
• 15:11
  Speaker 1: he's saying, yeah, I'm making less than half of what
• 15:14
  Speaker 1: I was the GM plant. But I'm working on my
• 15:17
  Speaker 1: morals and I know that even though I'm going through
• 15:19
  Speaker 1: this little downturn, it's going to lead to bigger and
• 15:22
  Speaker 1: better things. And as he's trying to finish his thought,
• 15:25
  Speaker 1: there's a verbal altercation between an inmate and another one
• 15:29
  Speaker 1: of these guards, and it just kind of overpowers everything
• 15:32
  Speaker 1: that they're saying. So, yeah, you can clearly see that
• 15:36
  Speaker 1: the economy took an enormous hit. They go from interviewing
• 15:39
  Speaker 1: GM workers to the same people that are now working
• 15:43
  Speaker 1: at Taco Bell working as prison guards, or in one case,
• 15:47
  Speaker 1: this lady's just straight up killing rabbits and trying to
• 15:50
  Speaker 1: sell trying to make her own rabbit fur coats, and
• 15:53
  Speaker 1: it gets kind of wild.
• 15:55
  Speaker 6: Yeah, once you say a pet or food, right.
• 15:59
  Speaker 5: You could shoes either or And when you go back
• 16:02
  Speaker 5: to like what you were saying about the statistics. This
• 16:05
  Speaker 5: also happened to Gary, Indiana, and there's other cities too
• 16:08
  Speaker 5: where it has proven that like when these huge corporations
• 16:11
  Speaker 5: leave because they get a lot of tax breaks and
• 16:14
  Speaker 5: the whole communities tied within them, that they do collapse.
• 16:17
  Speaker 5: Because that's like the pretty much backbone of the whole community.
• 16:21
  Speaker 5: And also when you were talking about I thought one
• 16:23
  Speaker 5: of the funnier scenes too, when you kind of get
• 16:26
  Speaker 5: a peek into who Michael Moore is as his like
• 16:30
  Speaker 5: antagonist passive aggressiveness. Right, he's not like as in your
• 16:34
  Speaker 5: face as Alex Jones per se, but he's kind of like,
• 16:37
  Speaker 5: you know, more like you said, like backhanded.
• 16:39
  Speaker 6: When he goes into the.
• 16:40
  Speaker 5: One they're having some kind of like it's at a
• 16:42
  Speaker 5: rich country club and they're having like some kind of
• 16:45
  Speaker 5: feast and he's like yeah, and they even let some
• 16:47
  Speaker 5: of the locals work there. They were statues like they
• 16:50
  Speaker 5: were supposed to be human statues, where he's painting the
• 16:52
  Speaker 5: picture of like, hey, look at these elitists that are
• 16:55
  Speaker 5: just like mocking you and they think of you as like,
• 16:58
  Speaker 5: you know, human cattle and they're just having a good
• 17:01
  Speaker 5: old time eating their caviare and they're.
• 17:03
  Speaker 6: Like, oh, we'll make it. It's not too bad.
• 17:05
  Speaker 5: And I thought that was a big key point of
• 17:07
  Speaker 5: kind of like you said, this film shows who Michael
• 17:10
  Speaker 5: Moore is, and it really brings out every other film
• 17:13
  Speaker 5: after this.
• 17:15
  Speaker 1: The last point and maybe the first point that Michael
• 17:19
  Speaker 1: Moore actually makes himself in this movie, aside from just
• 17:22
  Speaker 1: putting footage and you know, hypocritical visuals next to each other.
• 17:27
  Speaker 1: He kind of he asks a question of this guy
• 17:30
  Speaker 1: that's actually working for GM, which he later kind of gloats,
• 17:32
  Speaker 1: and he's like, this guy got fired three months later
• 17:34
  Speaker 1: or something. But this guy was making a counterclaim to
• 17:39
  Speaker 1: something that Michael Moore was only implying. So I'm gonna
• 17:42
  Speaker 1: treat this as if it were a claim that Michael
• 17:44
  Speaker 1: Moore had actually made, because the guy's like, what do
• 17:46
  Speaker 1: you expect us to do? What do you think that
• 17:48
  Speaker 1: just because GM was born out of Flint, Michigan, that
• 17:52
  Speaker 1: it has some sort of duty to, you know, main
• 17:55
  Speaker 1: like stay in Flint, Michigan and.
• 17:57
  Speaker 4: Give it its proper dues and honor it.
• 18:00
  Speaker 1: And that seems like one of the biggest contentious points
• 18:04
  Speaker 1: that was one of the big disagreements between the people
• 18:07
  Speaker 1: on the side of GM that he keeps running up
• 18:10
  Speaker 1: into and what Michael Moore keeps implying, and I just
• 18:13
  Speaker 1: I don't even know the answer to that question. It's
• 18:15
  Speaker 1: actually an interesting question. If you start a business in
• 18:18
  Speaker 1: a certain town and your business does amazingly well, and
• 18:22
  Speaker 1: you know that you now outgrowing that town or leaving
• 18:25
  Speaker 1: that town would would decimate it. Do you have an
• 18:28
  Speaker 1: obligation to stay there even if it would just run
• 18:31
  Speaker 1: it a loss, or even if it weren't as profitable
• 18:34
  Speaker 1: as and I'm not talking about moving to Mexico, which
• 18:38
  Speaker 1: is fairly dramatic, right, but the town in particular. Does
• 18:42
  Speaker 1: a company have an obligation to the town that they
• 18:45
  Speaker 1: started in.
• 18:47
  Speaker 5: I think that's a moral issue of different for every person.
• 18:53
  Speaker 5: I think that's what the film is kind of like,
• 18:55
  Speaker 5: contrasting like the wealthy verse the poor the middle class, right,
• 19:00
  Speaker 5: who owes who like we help build this company? The
• 19:03
  Speaker 5: companies like we help build this town. I think that
• 19:06
  Speaker 5: in some senses there has to be some loyalty. But yeah,
• 19:09
  Speaker 5: it's one of those questions that it's hard to answer
• 19:13
  Speaker 5: because it depends on your moral compass.
• 19:15
  Speaker 6: Like to some people, if it's just make money, then
• 19:17
  Speaker 6: who cares?
• 19:18
  Speaker 4: Right?
• 19:19
  Speaker 5: But I do think there is a fact of like
• 19:22
  Speaker 5: you built it there, and that town you can keep expanding.
• 19:25
  Speaker 5: I don't know why you have to leave, but I
• 19:27
  Speaker 5: think it's because once it comes corporatized, which they kind
• 19:29
  Speaker 5: of also allude to this in this movie as that
• 19:32
  Speaker 5: when things become corporate that there is no more looking
• 19:36
  Speaker 5: at it through a human perspective. It's only looking at
• 19:38
  Speaker 5: the bottom line and how can we make more profits?
• 19:48
  Speaker 1: All right, let's start with you first on the hidden
• 19:51
  Speaker 1: treasures of this particular movie.
• 19:54
  Speaker 4: What were the key things that stood out to you?
• 19:58
  Speaker 5: To me, some of the key highlights were the actual
• 20:03
  Speaker 5: interactions with the people, like seeing people back then, you know,
• 20:08
  Speaker 5: like in eighty nine, I was like.
• 20:10
  Speaker 6: Six years old or seven years old or something like.
• 20:12
  Speaker 5: That, and to seize people's perspective of the town like
• 20:16
  Speaker 5: once it got gutted, right, Like you saw people just
• 20:19
  Speaker 5: kind of living their new lives and trying to pick
• 20:22
  Speaker 5: up the pieces. And how easily it was for them
• 20:27
  Speaker 5: to leave the GM, but how hard it was for
• 20:30
  Speaker 5: the people that can't just leave, right You're kind of
• 20:32
  Speaker 5: stuck there and you have to find your exits some
• 20:35
  Speaker 5: way and going through like every just the heartache, like
• 20:39
  Speaker 5: I know, like it could have been like it was
• 20:41
  Speaker 5: obviously intentional for them to put all this sappy stuff
• 20:43
  Speaker 5: to like, well, they got me, you know what I mean,
• 20:46
  Speaker 5: Like I'm like, dang, man, I was. I guess I'm
• 20:48
  Speaker 5: pretty easy triggered, Like I'm already.
• 20:50
  Speaker 6: Like man, GM man. I never mind it. I could
• 20:53
  Speaker 6: all like pumped up.
• 20:55
  Speaker 5: I just liked all the stories that they follow, people
• 20:58
  Speaker 5: like the detective that.
• 21:00
  Speaker 6: Was evicting people.
• 21:02
  Speaker 5: You know, he was throwing people out, and it was
• 21:04
  Speaker 5: just like they're like, you know, who is doing good
• 21:06
  Speaker 5: the sheriff, and they just see him throwing people out,
• 21:10
  Speaker 5: and it's just like, dang, man, this is pretty relevant today.
• 21:13
  Speaker 5: And so I guess because of the atmosphere that we're
• 21:16
  Speaker 5: in right now, the political culture of like what corporations
• 21:20
  Speaker 5: are doing. Like I felt like, oh my god, I'm
• 21:22
  Speaker 5: watching the beginning of all this stuff we talk about now,
• 21:26
  Speaker 5: Like it felt like that was a beginning point for me.
• 21:30
  Speaker 1: I got a small handful of ones that really stood
• 21:33
  Speaker 1: out for me. One of them was they actually had
• 21:35
  Speaker 1: footage of the last truck being produced on the line
• 21:39
  Speaker 1: at this GM factory and as it goes off the line,
• 21:43
  Speaker 1: it's the last truck that they're ever gonna make. Everyone
• 21:45
  Speaker 1: kind of stands around like clapping and cheering, and this
• 21:48
  Speaker 1: one guy that's getting interviewed says, I don't know what.
• 21:51
  Speaker 4: Everyone's clapping for.
• 21:53
  Speaker 1: Everyone just lost their jobs and he's kind of standing
• 21:56
  Speaker 1: there and it is just weird.
• 21:58
  Speaker 4: I mean, I can.
• 21:59
  Speaker 1: See it from both sides too, though it's almost like
• 22:01
  Speaker 1: an applaud to yourself of like, I'm sure it wasn't
• 22:04
  Speaker 1: a happy applause, but it was just like, hey, look
• 22:07
  Speaker 1: at everything that we've accomplished. Let's, you know, pat ourselves
• 22:10
  Speaker 1: on the back for everything that we did. And this
• 22:12
  Speaker 1: is the mentality of like one of the line workers.
• 22:15
  Speaker 1: But it was kind of crazy, like everyone's cheering and
• 22:19
  Speaker 1: congratulating each other. And then you see as time progresses,
• 22:23
  Speaker 1: you know that nothing really good came out of this,
• 22:25
  Speaker 1: at least for Flint. Another one was that the guy
• 22:29
  Speaker 1: that he's talking to from GM, this guy named Tom Kay,
• 22:33
  Speaker 1: and he starts it out talking about how Roger Smith's CEOGM.
• 22:36
  Speaker 1: He's like, he's not in human and that's a weird
• 22:39
  Speaker 1: thing to just if someone's like, hey, tell me about
• 22:41
  Speaker 1: Sean Chris and I was like, oh, he's not inhuman.
• 22:44
  Speaker 1: I know you're it's for that to be one of
• 22:47
  Speaker 1: the first things you go to. It already makes me think, well,
• 22:50
  Speaker 1: I wasn't thinking he wasn't human before, but now I
• 22:53
  Speaker 1: kind of want to ask you specifically is he human?
• 22:57
  Speaker 1: But one of the other things that he's meant is well,
• 23:01
  Speaker 1: I don't think Flynn, this is the end of Flint.
• 23:04
  Speaker 1: It just is going to require another you know, boom,
• 23:07
  Speaker 1: some other entrepreneur that puts this town back on the map.
• 23:10
  Speaker 1: And he notes that these lint rollers are getting really popular,
• 23:15
  Speaker 1: and Michael Moore stops him and he's like Tom, Tom,
• 23:18
  Speaker 1: like the way that he says it, and he's like,
• 23:20
  Speaker 1: are you telling me lint rollers are going to pull
• 23:23
  Speaker 1: Flint out of a depression?
• 23:24
  Speaker 4: He's like, I don't know, could be, it might happen.
• 23:27
  Speaker 1: And I just think that his ability to stop him
• 23:31
  Speaker 1: and just be like, dude, come on, I know, I
• 23:33
  Speaker 1: know that you're kind of sniffing your own farts right now,
• 23:36
  Speaker 1: but let's bring this back to reality. And I do
• 23:39
  Speaker 1: like that he had the balls to do that. And
• 23:41
  Speaker 1: that even gets escalated one extra step because he goes
• 23:45
  Speaker 1: to see Roger Smith at this Waldorf Astoria meeting and
• 23:50
  Speaker 1: he is given this talk or he's going to be there,
• 23:52
  Speaker 1: but apparently someone on Michael Morri's crew was a relative
• 23:56
  Speaker 1: of Ralph Nader. I'm sure there's a story there, but
• 23:59
  Speaker 1: they end up escorting him out. They just pick up
• 24:02
  Speaker 1: his chair with the cops and they bring him outside
• 24:04
  Speaker 1: and Michael Moore makes the sound that they carry him
• 24:07
  Speaker 1: all the way to the precting you probably get stuffed
• 24:08
  Speaker 1: into a patty wagon, but he doesn't back down. I'll
• 24:13
  Speaker 1: say for the credit that's one of the biggest shining
• 24:15
  Speaker 1: moments is that he does. When he gets an interaction
• 24:18
  Speaker 1: with someone, he does seem to ask them questions and
• 24:21
  Speaker 1: then stop them when they start to say something that
• 24:23
  Speaker 1: doesn't make sense, which you don't see very often. And
• 24:26
  Speaker 1: I'm sure he's probably burnt off his bridge at this point.
• 24:30
  Speaker 5: And he was pretty relentless throughout the film because he
• 24:33
  Speaker 5: finally does you know spoiler alert, finally gets a hold
• 24:37
  Speaker 5: of Roger. First they have the one where he's at
• 24:40
  Speaker 5: the GM meeting and then like they're like any more
• 24:43
  Speaker 5: questions and they're like, we have Michael Moore, that's where
• 24:46
  Speaker 5: he They they kind of shut him down, and then
• 24:48
  Speaker 5: he finally talks him at the end, you kind of
• 24:51
  Speaker 5: do get the payoff and you know, he's like, hey,
• 24:54
  Speaker 5: will you want to go see Flint because the whole
• 24:55
  Speaker 5: movie is he's like, I want to take Roger Smith
• 24:58
  Speaker 5: to see what's happening to Flint. Miss again from this
• 25:01
  Speaker 5: pullout and then he's like, I'm not going to flint.
• 25:03
  Speaker 4: Like.
• 25:03
  Speaker 6: That's one of my favorite moments.
• 25:05
  Speaker 5: Because he gets pretty agitated because he has this ability
• 25:08
  Speaker 5: to get under your skin, but without really yelling or
• 25:12
  Speaker 5: like using vulgar language. He just really this kind of
• 25:17
  Speaker 5: like the only way I could say is like he's
• 25:20
  Speaker 5: just like passive aggressive. Like he's very passive aggressive, and
• 25:23
  Speaker 5: he's relentless. He'll keep coming at you, and he kind
• 25:26
  Speaker 5: of plays that dumb Oh really, I can't. Like he
• 25:28
  Speaker 5: goes at the one scene and he's like trying to
• 25:31
  Speaker 5: go to the top floor of the GM building and
• 25:33
  Speaker 5: he's like pressing it, like hm, this is weird, and
• 25:35
  Speaker 5: he's like, oh, we just trying to get a meeting
• 25:37
  Speaker 5: with Roger Smith and he's like no, bro, Like you
• 25:40
  Speaker 5: can't just come in here. This is like you know,
• 25:42
  Speaker 5: private property and stuff. But like you said, to his credit,
• 25:45
  Speaker 5: he's very persistent.
• 25:48
  Speaker 1: So it's not all treasures in this whole movie. There's
• 25:52
  Speaker 1: quite a few kind of overboard moments that I would say,
• 25:54
  Speaker 1: so a small handful of these the sarcasm kind of
• 25:59
  Speaker 1: defines them movie, although I'm not gonna hold that against
• 26:01
  Speaker 1: it because that was sort of his trademark. That was
• 26:04
  Speaker 1: the Michael Moore trademark of a documentary. You know you're
• 26:07
  Speaker 1: gonna get some sarcasm. One of the biggest sort of
• 26:11
  Speaker 1: things of issues that I've got with it is that
• 26:14
  Speaker 1: the movie's called Roger and Me. We never actually see
• 26:18
  Speaker 1: Roger Smith, aside from that tiny little clip as he's
• 26:21
  Speaker 1: getting like shoot out, But did you know that he
• 26:24
  Speaker 1: actually did get a full ten questions back and forth
• 26:29
  Speaker 1: with Roger Smith and it just got edited out of
• 26:32
  Speaker 1: the movie because the responses that Roger Smith was giving
• 26:36
  Speaker 1: weren't as entertaining as they would have wanted for this movie.
• 26:40
  Speaker 1: So I feel like that's burying the lead. The whole
• 26:43
  Speaker 1: premise of the movie is trying to paint this metaphor
• 26:46
  Speaker 1: about Roger Smith's dodging me and ducking me, and of
• 26:49
  Speaker 1: course he's never gonna talk to me because he can't
• 26:52
  Speaker 1: justify himself. Only to hear that he actually got a
• 26:55
  Speaker 1: full ten questions back and forth and it just never
• 26:57
  Speaker 1: made the movie.
• 26:59
  Speaker 5: He has heavy buy in all his films that do
• 27:02
  Speaker 5: leak out and I didn't know that, but knowing him,
• 27:06
  Speaker 5: I do not put it past him, because You're right, like,
• 27:09
  Speaker 5: it's like the meat and potatoes of the film, you're like, yeah,
• 27:12
  Speaker 5: let's just take that, just keep the carrots like.
• 27:16
  Speaker 1: And then the other thing too that I noticed immediately
• 27:19
  Speaker 1: in this movie is that since he can't get Roger Smith,
• 27:24
  Speaker 1: and I say can't, knowing that he did get him,
• 27:26
  Speaker 1: he just edited all that footage out, but that he's
• 27:29
  Speaker 1: pretending like he can't get Roger Smith. It's all about
• 27:32
  Speaker 1: gotcha questions of going into the GM headquarters and giving
• 27:36
  Speaker 1: the security guard a hard time and then given a
• 27:38
  Speaker 1: secretary of the hard time, and then going inside of
• 27:40
  Speaker 1: a country club that Roger Smith is part of and
• 27:43
  Speaker 1: kind of doing that well, I'm not gonna leave, you know,
• 27:45
  Speaker 1: and they're kind of he's kind of being a dick
• 27:48
  Speaker 1: about all of this. And it was very similar to
• 27:50
  Speaker 1: some of the other movies that we had seen documentaries
• 27:53
  Speaker 1: where someone just goes and harasses I can't remember it
• 27:56
  Speaker 1: was Aaron Russo just goes and harasses some security guard
• 27:59
  Speaker 1: outside the Federal Reserve in DC, and it's like.
• 28:02
  Speaker 4: This is what's wrong with Washington.
• 28:04
  Speaker 1: And this guy's getting paid, you know, eight dollars an
• 28:06
  Speaker 1: hour or something. He's he's not getting paid to be
• 28:09
  Speaker 1: in this Aaron Russo film, so there's almost entirely that.
• 28:13
  Speaker 1: In fact, he's talking to the taco bell shift manager,
• 28:16
  Speaker 1: he's talking to some lady that breeds and kills rabbits
• 28:21
  Speaker 1: either for food or for pets throughout the whole movie,
• 28:25
  Speaker 1: and then he's tagging along with the sheriff doing evictions.
• 28:28
  Speaker 1: That's ninety percent of the movie in my opinion, or
• 28:31
  Speaker 1: him just hanging out with these other people. The lady
• 28:34
  Speaker 1: that's killing rabbits didn't even work at GM. She's got
• 28:37
  Speaker 1: a brother or something that maybe worked there, but as
• 28:39
  Speaker 1: far as I can tell, she's always been a rabbit
• 28:42
  Speaker 1: lady and nothing to do with GM or Flint or
• 28:46
  Speaker 1: any of that. And the way that it gets edited together,
• 28:50
  Speaker 1: the feeling is like, oh, she must have got laid
• 28:52
  Speaker 1: off from the line and she's directly affected. No, it
• 28:54
  Speaker 1: was just you know, entertaining footage that he's.
• 28:56
  Speaker 4: Spiced into this movie.
• 28:57
  Speaker 1: So that's a majority of the movie. Are things that
• 29:01
  Speaker 1: feel somewhat unrelated to the premise it self.
• 29:04
  Speaker 6: Yeah, it's Karenden stick throughout the movie.
• 29:06
  Speaker 5: You're being dragged along to this, Okay, I'm gonna see
• 29:10
  Speaker 5: him versus Roger, and every time it's like you know,
• 29:14
  Speaker 5: wah wah law until the end where you get a
• 29:17
  Speaker 5: little bit of it, But that's because he kind of
• 29:19
  Speaker 5: caught him off guard. And I think that's also kind
• 29:22
  Speaker 5: of like one of the overboard moments is that he
• 29:25
  Speaker 5: only ask questions that benefit his bias, right. He doesn't
• 29:30
  Speaker 5: actually look for truth necessarily. He looks for questions that
• 29:35
  Speaker 5: are gonna validate his already thoughts, and that, like you said,
• 29:40
  Speaker 5: gotcha moments every time.
• 29:48
  Speaker 1: The cultural impact of this movie is actually really significant,
• 29:52
  Speaker 1: in my opinion. Usually when this topic comes up about
• 29:56
  Speaker 1: how much a particular documentary affected everything, only a handful
• 30:00
  Speaker 1: seemed to have been obvious. This is one of those
• 30:03
  Speaker 1: really obvious ones because I was mentioning without Michael Moore
• 30:09
  Speaker 1: and without Roger and Me, we don't get Michael Moore necessarily,
• 30:12
  Speaker 1: and without Michael Moore, we don't get Daily Show and
• 30:16
  Speaker 1: Stephen Colbert's sarcasm mixed with politics. But we also have
• 30:21
  Speaker 1: this man on the Street segments, the juxtaposition of someone
• 30:25
  Speaker 1: saying something and then putting the exact opposite up to it,
• 30:29
  Speaker 1: and this satirical what you said, passive aggressive nature. This
• 30:34
  Speaker 1: was seen as unprofessional usually in a documentary or in
• 30:38
  Speaker 1: sort of like a news environment, so it kind of
• 30:41
  Speaker 1: flips a lot of that on its head. Here's a
• 30:42
  Speaker 1: guy that's like, I'm not going to dress up. I'm
• 30:45
  Speaker 1: just gonna turn into a slob and just ask you
• 30:47
  Speaker 1: annoying questions and refuse to leave. But he sort of
• 30:50
  Speaker 1: owns that, and without that, without this movie in particular,
• 30:55
  Speaker 1: we don't get everything else that he produces afterwards. And
• 30:59
  Speaker 1: whether you like it or not, Michael Moore is kind
• 31:01
  Speaker 1: of a cultural icon, like he can say something and
• 31:04
  Speaker 1: people will do the thing that he said, and some
• 31:06
  Speaker 1: even credited him with like Trump's first victory in some
• 31:11
  Speaker 1: of these cases.
• 31:13
  Speaker 5: And I think he also gave birth to the citizen journalists, right,
• 31:16
  Speaker 5: like going and knocking on doors and getting the opinion
• 31:20
  Speaker 5: of people in the towns like that. Like you said,
• 31:22
  Speaker 5: that was unheard of, especially because this was a major film.
• 31:25
  Speaker 5: This was with Warner Brothers. It wasn't just like, oh,
• 31:28
  Speaker 5: I'm putting it out on Info Wars, you know what
• 31:31
  Speaker 5: I mean. He's actually had a big studio behind him,
• 31:34
  Speaker 5: and he's dealt with Hollywood, and he's very influential, like
• 31:37
  Speaker 5: you said, of not just like the main people in
• 31:39
  Speaker 5: Hollywood or people doing this political satire kind of stuff.
• 31:43
  Speaker 5: But I think citizen journalism, which is huge now this
• 31:46
  Speaker 5: all these independent YouTube channels are doing the same things
• 31:51
  Speaker 5: man on the Street interviews, when at that time it
• 31:54
  Speaker 5: was like the first of its kind.
• 31:57
  Speaker 4: It's like a swim Where are you at?
• 32:00
  Speaker 6: I'm on a swim man. I really like the film,
• 32:02
  Speaker 6: I know.
• 32:03
  Speaker 5: I think it's because I like the way that Michael
• 32:05
  Speaker 5: Moore puts films together, even though there's so much like
• 32:10
  Speaker 5: b Roland unnecessary, Like it could have been twenty thirty
• 32:12
  Speaker 5: minutes right, Like it could have been a short film
• 32:14
  Speaker 5: of like, hey, this is what happened in Flint.
• 32:18
  Speaker 6: It's all destroyed, but he stretches it out. But the
• 32:20
  Speaker 6: way that he.
• 32:21
  Speaker 5: Transitions his little humor and his music choices, he's really
• 32:25
  Speaker 5: good at picking music choices. I think it's something that
• 32:27
  Speaker 5: people will enjoy to watch and you can relate to
• 32:31
  Speaker 5: what's going on today a little bit to what went on.
• 32:33
  Speaker 1: Then we're gonna differ for just the littlest bit here.
• 32:37
  Speaker 1: This was a hard decision. I was like totally on
• 32:39
  Speaker 1: the fence on this one. I gotta call it a
• 32:41
  Speaker 1: sink just because it doesn't really present any new information
• 32:49
  Speaker 1: what it is. Though it is a true documentary. I
• 32:51
  Speaker 1: don't think that it's not a documentary. Can find a
• 32:53
  Speaker 1: lot of people that say anything that Michael Moore does
• 32:56
  Speaker 1: is just straight up propaganda doesn't count as documentary.
• 32:59
  Speaker 4: That's not true. Man.
• 33:00
  Speaker 1: This is a guy that actually went boots on the
• 33:02
  Speaker 1: ground and talked to normal people, talk to that taco
• 33:05
  Speaker 1: bell manager, hung out with that sheriff's deputy, and followed
• 33:09
  Speaker 1: around and doing all these evictions, got footage of the
• 33:12
  Speaker 1: last truck leaving the line and everyone's opinions on it.
• 33:15
  Speaker 1: Like he went and talked to the people that you
• 33:18
  Speaker 1: would talk to to document something happening. So this is
• 33:22
  Speaker 1: absolutely an American documentary, and I do think that it's
• 33:26
  Speaker 1: probably worthy watching if you're even slightly interested in how
• 33:30
  Speaker 1: GM leaving this town and closing the factories affected this
• 33:33
  Speaker 1: entire city for decades to come afterwards. One hundred percent
• 33:37
  Speaker 1: watch it. But on our really tight scale of like
• 33:40
  Speaker 1: it either you know sings or it swims, I gotta
• 33:43
  Speaker 1: say it sings. Just for that reason is that this
• 33:46
  Speaker 1: could have been about any sort of economic collapse in
• 33:49
  Speaker 1: any city. And Michael Moore, also in this particular movie,
• 33:53
  Speaker 1: doesn't kind of present any specific claims. He never says
• 33:57
  Speaker 1: and here's what I think, or here's what could have
• 33:59
  Speaker 1: been done better, or here like even the point that
• 34:03
  Speaker 1: other auto companies didn't have to move to Mexico and
• 34:06
  Speaker 1: were able to remain competitive and incredibly profitable, and the
• 34:09
  Speaker 1: fact that even GM itself had a record breaking profit year,
• 34:14
  Speaker 1: none of that really comes up directly. It was replaced
• 34:17
  Speaker 1: with the smarmy man on the street interviews and the
• 34:20
  Speaker 1: lady that literally clubs a rabbit to death on film.
• 34:24
  Speaker 1: That's what you get instead of some of the things
• 34:27
  Speaker 1: that answer the hypotheticals that he kind of just like
• 34:31
  Speaker 1: teases out there. So you have to understand that there's
• 34:34
  Speaker 1: such a strict bias in that. But yeah, I mean
• 34:36
  Speaker 1: it was a hard call for me because I do
• 34:38
  Speaker 1: recommend watching it, but I still don't think that it
• 34:41
  Speaker 1: meets my personal scale of This is, like you know,
• 34:44
  Speaker 1: goes in the Criterion collection, this is Michael Moore month.
• 34:56
  Speaker 1: So we're gonna do another Michael Moore movie and then
• 34:59
  Speaker 1: another one after that, but I think three is probably
• 35:02
  Speaker 1: as much as I can take. The next one we're
• 35:05
  Speaker 1: gonna watch is Bowling for Columbine, which is way bigger
• 35:09
  Speaker 1: than any of the other documentaries I believe he's ever produced.
• 35:12
  Speaker 4: So I don't know. Have you seen Bowling for Columbine before? Yeah?
• 35:16
  Speaker 6: I have, I've seen it more.
• 35:17
  Speaker 5: Like I said, Michael Moore kind of got me into
• 35:20
  Speaker 5: this down the path, Like you said, he's pretty influential.
• 35:24
  Speaker 5: Like maybe I don't agree with him, like, but he
• 35:27
  Speaker 5: is one of the people that kind of propelled me
• 35:28
  Speaker 5: into like looking into more of these topics.
• 35:33
  Speaker 1: All right, well we're gonna get into that one. Let
• 35:35
  Speaker 1: us know, do you love Michael Moore? Do you hate him?
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  Speaker 1: Are you the number one fan like Sean Chris over
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  Speaker 1: here that donates money to him just to make You're
• 35:43
  Speaker 1: on his Patreon I believe he said before we started recording.
• 35:46
  Speaker 4: Yeah, let us know what you.
• 35:48
  Speaker 1: Think about Michael Moore and look out for the next one.
• 36:00
  Speaker 3: Yeah.
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  Speaker 7: Under the docks very people were breaking the locks. You
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  Speaker 8: Yeah, under the docks, under the docks.
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  Speaker 10: Tell No, No, I.
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  Speaker 12: ookular bombs distributed a war. Rather cruise with my eyes
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• 39:00
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• 39:01
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• 39:07
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  Speaker 3: They ain't ever had a deal.
• 39:12
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• 39:15
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