Latest / High n' Dry Podcast / Tactics for Defeating The Invisible Man: Episode #78

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Tactics for Defeating The Invisible Man: Episode #78 · High n' Dry Podcast

• 0:15
  Speaker 2: this uh review of the biopic of john invisible man good old john invisible man oh man, hey, everybody, before we get started, today we're going to be doing the invisible man 2020, which, you know, covers some kind of nasty things.
• 0:33
  Speaker 2: So if you or anyone you know is going through any sort of domestic violence, uh always, you can reach out to 1-800-799-SAFE, and that's a national domestic violence hotline.
• 0:44
  Speaker 2: And because this show still gets its main audience from Vegas, vegas offers SafeNest, the crisis support services in Nevada, the Shade Tree and Safe House, and so we'll just knock that out of the way.
• 0:57
  Speaker 1: Yeah.
• 0:57
  Speaker 1: And so let's say that one of the greatest things of our time is that there are a lot of resources to help people in need.
• 1:07
  Speaker 1: You know, in the past we didn't have a lot of ways to connect, but with the Internet, you know, you can Google up ways to get help in lots of different ways.
• 1:17
  Speaker 2: It's really good, hell, yeah, so let's dive on into it.
• 1:20
  Speaker 2: Hey everybody, I'm your host, ryan Barron North, with me, as always, james Crossland.
• 1:25
  Speaker 2: This is High and Dry Podcast, james, what's going on?
• 1:28
  Speaker 1: Not much, just avoiding the shimmers and whirs in my periphery since watching this movie last night.
• 1:39
  Speaker 1: I don't know if I've pissed off some tech billionaire it's very possible.
• 1:47
  Speaker 2: It's very possible.
• 1:48
  Speaker 2: So this is high and dry podcast, the only podcast keeping alive the fandom of quantum leap, because I still got to do my little bit uh, this is quantum leap.
• 1:58
  Speaker 1: already I already I already said Scott Bakula.
• 2:02
  Speaker 2: That's right has a following.
• 2:04
  Speaker 2: You were right.
• 2:06
  Speaker 2: You were right.
• 2:06
  Speaker 2: Whatever, whatever, we skipped over it last time, let's just do Quantum.
• 2:09
  Speaker 2: Leap now.
• 2:10
  Speaker 1: There are 100% people who still watch Quantum Leap and reruns, but whatever, I don't believe it.
• 2:14
  Speaker 2: I don't believe it.
• 2:18
  Speaker 1: It probably reruns on like cbs or something.
• 2:20
  Speaker 1: They're 80 years old, they're like what's going on?
• 2:24
  Speaker 2: something out there.
• 2:25
  Speaker 2: All right, so, um, so this is what we're going to do today.
• 2:28
  Speaker 2: So, uh, high and dry podcast.
• 2:30
  Speaker 2: What we do is we're going to take a movie and we're going to dissect the philosophy, we're going to dive into the pop culture of it and we're gonna do that into a three-part segment here.
• 2:38
  Speaker 2: First we're going to go over our sober thoughts, then we're going to go into our enlightened thoughts and we're going to finish it off with a what if?
• 2:44
  Speaker 2: And we're going to make it so fun and enjoyable because we're doing it drunk and high.
• 2:49
  Speaker 2: So, james, what are you smoking this week?
• 2:54
  Speaker 1: This week I've got I think it's pineapple diesel, which the diesel ones are always good for for a for a nice euphoric head high.
• 3:06
  Speaker 2: Okay, yeah, no, and I think that could really work for the invisible man 20, I and myself.
• 3:11
  Speaker 2: I'm just glad that finally two men are talking about this yeah, I, uh.
• 3:18
  Speaker 1: I think it's about time that that men take the spotlight when it comes to women facing domestic violence, because just gotta say we know better, it's biological that was satire.
• 3:37
  Speaker 2: everybody, everybody, dear God.
• 3:38
  Speaker 2: But yeah, I'll be joining you.
• 3:42
  Speaker 1: Women don't know how to dress themselves.
• 3:45
  Speaker 1: What to eat?
• 3:50
  Speaker 2: You gotta let them know when to leave the house.
• 3:52
  Speaker 2: It's hard.
• 3:52
  Speaker 2: It's hard being a man, oh God.
• 3:55
  Speaker 2: And welcome to our final episode.
• 3:59
  Speaker 1: And then they, they try to kill you about it.
• 4:01
  Speaker 2: I don't know I didn't understand this film.
• 4:04
  Speaker 1: I did not understand it was a real horror from that poor tech billionaire's perspective dude was just trying to take care of everybody, I swear, even his fucking brother.
• 4:17
  Speaker 2: But um, so anyway.
• 4:19
  Speaker 2: Uh, I'll be joining you.
• 4:21
  Speaker 2: I'm just going to be rocking uh old Forrester again.
• 4:24
  Speaker 2: I still got that uh standard, uh hundred proof barrel.
• 4:28
  Speaker 2: I'm working through a hundred horsepower and I feel it really got me there last time, so hopefully it'll do this.
• 4:34
  Speaker 2: Do the trick this time.
• 4:35
  Speaker 2: Oh, nice this first one.
• 4:41
  Speaker 2: It's going out to uh the film and uh, I guess, the lessons they're in cheers this one goes out to domestic violence we are a comedy podcast, but anyway, oh, that was, that was pretty smooth.
• 5:07
  Speaker 2: That was pretty smooth.
• 5:07
  Speaker 2: I enjoyed that one.
• 5:08
  Speaker 2: It uh, let's see, it's always that second shot that gets me it, just something changes yeah, I gotta tell you, this one doesn't taste anything like pineapple I'm getting more.
• 5:20
  Speaker 2: I'm getting way more diesel well, this second shot, second hit, second toast, this one goes out to our newest listeners, coming to us from the russian federation, moscow oh nice yeah, yeah, so we're still coming through there.
• 5:38
  Speaker 2: It's probably all the thoughts we had just a moment ago oh nice, yeah, yeah, so we're still coming through there.
• 5:41
  Speaker 2: It's probably all the thoughts we had just a moment ago, allowing us to break through the good old Russian censors.
• 5:48
  Speaker 1: Yeah.
• 5:51
  Speaker 2: Blat To Moscow, cheers, cheers.
• 5:59
  Speaker 2: I saw that Putin just recently won his fifth election.
• 6:05
  Speaker 2: Congratulations.
• 6:05
  Speaker 2: I know that was a hard-fought campaign.
• 6:06
  Speaker 2: He was probably up late the night before just fucking panicking over it.
• 6:14
  Speaker 1: I'm sure he was furiously masturbating to the scenes in this movie where she's being terrorized.
• 6:25
  Speaker 2: Sounds about right.
• 6:25
  Speaker 2: Sounds about right, and goodbye to our Moscovian listeners.
• 6:32
  Speaker 1: I can't imagine that someone listening to a podcast where someone is smoking marijuana is a supporter of food.
• 6:42
  Speaker 1: It's true.
• 6:43
  Speaker 1: Like his regime.
• 6:44
  Speaker 1: His regime is like way over zealous about, about prosecuting, uh, you know, minor drug use.
• 6:53
  Speaker 1: What was her name, um?
• 6:55
  Speaker 1: Is she still in?
• 6:56
  Speaker 2: prison.
• 6:57
  Speaker 2: No, she's out, she's out.
• 6:58
  Speaker 2: Uh, she actually just had a new documentary come out on Hulu.
• 7:03
  Speaker 1: Yeah.
• 7:04
  Speaker 2: I said Brittany Ger, that's not coming to me now.
• 7:08
  Speaker 2: Griner, there it is.
• 7:12
  Speaker 1: Brittany Griner.
• 7:13
  Speaker 1: Yes, she was in prison in Russia for nearly 300 days.
• 7:18
  Speaker 1: Brittany Griner, Big shout out.
• 7:19
  Speaker 1: She was in a prison in Russia for nearly 300 days.
• 7:20
  Speaker 1: Uh, Brittany Griner, big shout out.
• 7:22
  Speaker 1: Fellow fellow pot smoker, Brittany Griner.
• 7:27
  Speaker 2: Well, our, our one viewer in Moscow, it's it's actually Putin.
• 7:31
  Speaker 2: He's like all right, it's about time I I checked this out, make sure it's safe for my new, uh, my people.
• 7:43
  Speaker 1: And it's like, oh heavens.
• 7:44
  Speaker 1: Truly, they are representative of the moral decay of the west cheers here's to that.
• 7:51
  Speaker 2: So our third one to being that moral decay.
• 7:54
  Speaker 2: That's how I've always viewed myself an agent of decay.
• 7:59
  Speaker 1: yeah, yeah, that's how I've always viewed myself An agent of decay.
• 8:01
  Speaker 1: Yeah yeah, that's how I've always viewed you too.
• 8:10
  Speaker 2: I know what I'm about All right, so it's time to dive into it.
• 8:15
  Speaker 2: I know we've said it a few times, but we're tackling the Invisible man 2020.
• 8:19
  Speaker 2: This one is starring Elizabeth.
• 8:22
  Speaker 1: Oh, oh my god, it's already gone elizabeth moss.
• 8:26
  Speaker 2: Um, first, you know sober thought.
• 8:29
  Speaker 2: I love her, I think she's great in pretty much everything I've seen of hers.
• 8:33
  Speaker 2: Um, and you know, that's just where I was going to start.
• 8:36
  Speaker 2: But, james, uh, what are your sober thoughts on this?
• 8:39
  Speaker 1: Well, no, I think that's a great place to start.
• 8:41
  Speaker 1: She does a great job of being oppressed and then getting revenge, like that seems to be her.
• 8:46
  Speaker 1: That seems to be her typecast now.
• 8:50
  Speaker 2: Yeah, now she handmade and tailed the shit out of it.
• 8:54
  Speaker 1: Yeah yeah, Elizabeth Moss is great.
• 8:57
  Speaker 1: I feel like this was a really good domestic violence movie.
• 9:01
  Speaker 1: I feel I'm well.
• 9:04
  Speaker 1: No, there's domestic, it's my favorite genre.
• 9:06
  Speaker 1: I think about domestic violence about a thousand times a day.
• 9:16
  Speaker 2: Um, those are rookie numbers, man.
• 9:24
  Speaker 1: But, uh, like domestic violence movies are like a whole genre.
• 9:27
  Speaker 1: There's like so many.
• 9:27
  Speaker 1: There's so many movies that like I think like gothica, or uh, let me think, what are some other domestic violence movies?
• 9:33
  Speaker 1: There's the ones that are like uh, in the home, like that one with shia labeouf and and john travolta do you remember that one?
• 9:43
  Speaker 1: Yeah, but there's like, uh, there's domestic violence.
• 9:48
  Speaker 1: Swim fan was like domestic violence.
• 9:51
  Speaker 1: What was that?
• 9:51
  Speaker 2: one with vince vaughn where he's like the stepdad, and then that was the one with john travolta, wasn't it?
• 9:57
  Speaker 2: Maybe, maybe they're.
• 9:58
  Speaker 2: John travolta was the one with John Travolta wasn't it?
• 9:59
  Speaker 1: Maybe, maybe they were the same.
• 10:00
  Speaker 2: Yeah, and John Travolta was the estranged divorced father who realizes that the man his bitch of an ex-wife brought into their home is now hurting his kids Was pretty much what I gathered from that movie.
• 10:13
  Speaker 2: It looked like that's what they were going for.
• 10:17
  Speaker 1: I think in that movie she was also being deceived, right?
• 10:20
  Speaker 1: Yeah, she was the victim as well and then but it was also like divorce debt.
• 10:24
  Speaker 1: It's like a divorce oh, it was divorce for sure yeah, some someday they're gonna realize that I was right all along and my family is gonna come running back to me being, like we love you, competent and successful.
• 10:42
  Speaker 2: And I get to solve this whole situation with violence.
• 10:47
  Speaker 1: I get to kill my replacement.
• 10:51
  Speaker 2: Oh yeah, no, it was definitely.
• 10:53
  Speaker 2: It was definitely divorced dad porn, you know.
• 10:56
  Speaker 2: He turned down the creed in his motel and rushed to save the day, and luckily he's always a better fighter than the man who replaced him yeah yeah, good the invisible man this little man good, a very good domestic violence type movie.
• 11:18
  Speaker 1: You know well when do I talk about how it's shot.
• 11:21
  Speaker 1: Is that in the next section?
• 11:23
  Speaker 2: well, no, I would say, that's that.
• 11:24
  Speaker 2: That's definitely a sober thought.
• 11:25
  Speaker 1: Just talking about the cinematography oh, amazing cinematography in this movie.
• 11:30
  Speaker 1: So the way that they position their cameras and when they choose to use like narrow views versus wide views, long shots versus wide shots, like.
• 11:45
  Speaker 1: A few scenes that pop out to me are when she's making breakfast, they start off the scene where she's off to the side cooking breakfast and they have the whole kitchen open because she's paranoid, right, she believes there's something in her periphery.
• 12:01
  Speaker 1: It's almost like.
• 12:02
  Speaker 1: It's almost like the paranormal activity series where they have the static camera, right.
• 12:08
  Speaker 1: They're kind of showing you a room and you're like what's gonna happen?
• 12:11
  Speaker 1: Like you're waiting for something to happen, and there's this empty space and it leaves you with this sense of anxiety about like not knowing what's going to happen.
• 12:20
  Speaker 1: Yeah, and they did that in the scene with the kitchen.
• 12:24
  Speaker 1: They did that in the scene where she's folding laundry.
• 12:26
  Speaker 1: I didn't catch anything in the folding laundry scene, did you Like?
• 12:30
  Speaker 1: I was like.
• 12:30
  Speaker 1: I watched that scene twice where I was like is there something?
• 12:34
  Speaker 1: Is there something?
• 12:35
  Speaker 2: I think it was just a red herring and that's good.
• 12:38
  Speaker 1: They did a great job.
• 12:39
  Speaker 1: They really built the suspense and made me feel paranoid.
• 12:43
  Speaker 1: Yes, they also chose to do shots like from like at the entrance to hallways at an angle, like voyeuristic shots.
• 12:54
  Speaker 1: They did so many voyeuristic shots of her like living her life and it makes you you're like, even when she's not thinking about the paranoia.
• 13:04
  Speaker 1: There's that voyeuristic kind of someone spying on you feeling just hanging around.
• 13:18
  Speaker 2: They did good with the suit's noises, yeah, so they would sort of every once in a while they would confirm it with those little clicks that his suit does.
• 13:26
  Speaker 2: Yeah, I enjoyed that.
• 13:27
  Speaker 2: I don't understand why he installed a growl function on the suit.
• 13:32
  Speaker 2: What do you mean?
• 13:34
  Speaker 2: So they're like, especially in like the violent scenes and things like that, would growl and I'm like is that the guy?
• 13:44
  Speaker 2: Is that the suit?
• 13:45
  Speaker 2: Does he have a button for that?
• 13:47
  Speaker 2: I think that's the guy.
• 13:49
  Speaker 2: It's just the guy, all right, and he's just.
• 13:51
  Speaker 2: He's just a fucking dog.
• 13:52
  Speaker 2: Yeah he's?
• 13:55
  Speaker 1: well, I guess he he's.
• 13:57
  Speaker 1: So he's like devolved as soon as he couldn't be seen anymore.
• 14:01
  Speaker 1: He like kind of devolved into like he was already.
• 14:04
  Speaker 1: We already have stories of his cruelty, right, but he becomes like unhingely cruel once he becomes unable to be seen well.
• 14:16
  Speaker 2: With that being said, I think we should.
• 14:18
  Speaker 2: Movie was fantastic, cinematography was great.
• 14:22
  Speaker 2: Uh, elizabeth moss obviously awesome, but I feel like we were slamming right into some more golden path thoughts here and I I don't want to like, I don't want to edge us, I kind of want to just dive on in, are you, are you down?
• 14:34
  Speaker 2: Yeah, sure, all, let's load them up.
• 14:37
  Speaker 2: So, this last shot here, this one, let's do this one to Elizabeth Moss, okay sure.
• 14:53
  Speaker 1: Good job, Elizabeth Moss.
• 14:55
  Speaker 1: Great job being a well-recognized great actress.
• 15:05
  Speaker 2: Yeah, she kills it.
• 15:05
  Speaker 2: Uh, cheers, cheers.
• 15:08
  Speaker 2: So I uh, when I'm doing the editing for these things, I'm pretty sure the uh, the ai program that I run it through automatically maintains focus on me while you're smoking weed.
• 15:20
  Speaker 2: That's cool, yeah, I think, like because I was watching it, I'm like, wow, it hasn't jumped back for me in a minute, and then he's even talking, but it still hasn't jumped to him and I realized that you got a pipe, like oh damn so it knows, it knows not to do that yeah, so, so that's pretty cool.
• 15:40
  Speaker 1: Taking away the jobs of hardworking editors.
• 15:43
  Speaker 2: Right, oh, thank God, who has time?
• 15:51
  Speaker 2: So, anyway, it's time for the second part of this podcast.
• 15:54
  Speaker 2: It is time to dive in onto the golden path and discuss our high thoughts.
• 15:59
  Speaker 2: So, james, I think you're on the.
• 16:01
  Speaker 2: You're just about to dive into one.
• 16:03
  Speaker 1: actually, I'm not sure Was I just saying that the way this was shot was really voyeuristic, or what was I?
• 16:11
  Speaker 2: saying no, we had moved past that.
• 16:13
  Speaker 2: Oh, we were talking about how he has devolved Right and he starts fucking growling.
• 16:19
  Speaker 2: Even my subtitles were like growolved Right and he starts.
• 16:20
  Speaker 2: He starts fucking growling.
• 16:21
  Speaker 2: Um, even my subtitles were like growls.
• 16:24
  Speaker 1: Yeah.
• 16:24
  Speaker 1: So I think this is a really clear, a really clear conversation about power and about how those who seek power and control are never satisfied.
• 16:42
  Speaker 1: They're never satisfied, and as your power increases, so does your dissociation from the subjects of your power.
• 16:57
  Speaker 1: Yes, the greater the power imbalance, the less you can identify with who you're expressing that power upon.
• 17:07
  Speaker 1: And so he likes, after he is essentially invisible, he can no longer be seen, he can do anything.
• 17:15
  Speaker 1: Yeah, he, he drops any semblance of of being a person.
• 17:22
  Speaker 1: He like he dies.
• 17:23
  Speaker 1: Essentially.
• 17:24
  Speaker 1: That like the, the part where he fakes his own death.
• 17:27
  Speaker 2: He's removed himself from the world to be this thing no, especially in the uh, I guess the hospital scene where he just decides it's time to go on a rampage because what the fuck are are you going to do about it?
• 17:39
  Speaker 2: I could do whatever I want.
• 17:40
  Speaker 2: I like um.
• 17:42
  Speaker 1: I mean, I wrote down that invisibility is a super OP power.
• 17:47
  Speaker 2: Oh yeah, no, invisibility is terrifying, and I mean this whole thing stretches off of, you know, hg Wells, the invisible man, and that's what they're keeping here, and I mean the original message of that was just when a human being lacks any sort of accountability for his actions, he becomes a monster.
• 18:13
  Speaker 2: Yeah depressing take on it and I thought it was particularly an interesting take to move it into the realm of domestic violence.
• 18:24
  Speaker 2: You know, take it away from the generality of just humanity and how we'd be monsters if no one was watching us.
• 18:30
  Speaker 2: And then to kind of put it in this and for a lot of, you know, domestic abuse survivors like what they showed in the film, like everyone was just sort of not trusting her or turning against her and they, they really were able to kind of drive that home with the concept of invisibility.
• 18:52
  Speaker 1: Yeah, yeah, people are very willing to trust what they see and distrust what they can't see, which I think is important.
• 19:00
  Speaker 1: You know, it's important to have like verifiable things, and I also, I, I, I do, I, you know, all of this stuff is really good, but I think now it has to be brought up that this that cecilia elizabeth moss's character, made some stupid fucking decisions throughout oh yeah and I hate when that happens in movies, where it's like why do you have to make the the person who's fleeing incompetent?
• 19:29
  Speaker 2: well, I'm glad you brought it up because I felt, um, the abuser was a bitch, like it was very rudimentary abuse, like it was stuff that I feel like a lot of people see right away.
• 19:45
  Speaker 2: But then I would also say that experiences I've had recently and being in a different part of the world that this movie is a good conversation to have.
• 19:55
  Speaker 2: Like I mean, they described the invisible man, the billionaire dude, as someone who's able to get in your head no matter what, but then when they showed his abusive tactics, it was very juvenile ones.
• 20:10
  Speaker 2: But I feel that to a general they're effective, yes, and I feel that to the general audience, I think it's good to showcase them because they're so widely utilized and they're so widely just around, and there are groups within our culture that argue in favor of them that he was a bitch abuser, but it's a good conversation to have regardless.
• 20:38
  Speaker 2: But I agree with you, though.
• 20:39
  Speaker 2: I feel that if you're writing something, your antagonist should rise to a level where they're competent.
• 20:48
  Speaker 2: You should not bring down or degrade your protagonist to fit.
• 20:55
  Speaker 1: Yeah, there were a bunch of just like really poor sections of really poor communication, and I don't know if I mean people like that exist.
• 21:04
  Speaker 1: Right, there are people out there who communicate poorly and people who, people who, when they're stressed, you know, have a breakdown in their ability to function.
• 21:16
  Speaker 1: But I don't feel like that was shown enough.
• 21:21
  Speaker 1: It I just it just had me screaming at the television, tell them, show them the, the phone, as the pictures of you asleep, yeah, like number one.
• 21:34
  Speaker 1: You have like a bunch of evidence.
• 21:36
  Speaker 1: You have so much evidence by a thermal camera, by figure, figure something out.
• 21:45
  Speaker 1: Lady, yeah, and and she, uh, after the incident where the, where the little girl got hit, and it was, it was the invisible man, of course, but he blamed, but the girl didn't see anyone else in the room blamed it on cecilia.
• 22:00
  Speaker 1: In that scene I was like how the fuck are you gonna go back to that house without some plan already?
• 22:12
  Speaker 2: right, I can't believe you're going back?
• 22:14
  Speaker 2: Yeah, straight, leave the house yeah, well, I guess I'll get back to bed.
• 22:20
  Speaker 2: What the fuck, what a weird night this was, huh guys it's, it's fucking crazy yeah, I don't know I feel like they're.
• 22:32
  Speaker 1: I think that made the movie a little too long.
• 22:35
  Speaker 1: There were there were some times where it was wasted like that, where she we could have moved, we could have segued between sections of her being competent, where she set remember, she set up this whole plan to beat him and stuff and eventually she got to the point where she beat him at the end, where she utilized the, the uh suit that she hid away originally.
• 22:55
  Speaker 1: She utilized that and she planned and beat him.
• 22:58
  Speaker 1: But we saw lots of not planning, which, okay, I'm sure people who have been in domestic violence relationships will be like.
• 23:05
  Speaker 1: Sometimes you're not thinking straight and I get it.
• 23:07
  Speaker 2: I get that she's not thinking straight.
• 23:09
  Speaker 2: But she's got so much evidence and she she proved that she got out of this relationship before oh yeah, and not to delve too deeply into the inserting ourselves into it, but like the email that was sent to her sister, the email you could just be like like literally I dude like this is really weird, because I did not send you an email.
• 23:32
  Speaker 1: I have no idea what the contents of that email are dude like so like I know.
• 23:37
  Speaker 2: I know if reese, can I please?
• 23:38
  Speaker 2: Sit and talk with you, right, right, I know if reese, my brother, got an sit and talk with you, right, I know if Rhys, my brother, got an email like that, first he wouldn't be waiting for me to knock on the door, then to just unload how angry he is about me, this email.
• 23:50
  Speaker 2: And then, when I'm like yo, that wasn't me, we gotta figure this out.
• 23:54
  Speaker 2: He's like, oh shit, alright, yeah, war room time, let's figure this out.
• 24:04
  Speaker 2: You know, like they, they portrayed these sisters as girls who were looking out for each other.
• 24:08
  Speaker 2: But then the second, the second, an email is sent.
• 24:09
  Speaker 2: It's like no, no, I hope you die, I hope you're in another abuse situation.
• 24:14
  Speaker 1: So there was clearly.
• 24:16
  Speaker 1: They talked about the history of them or when she got into relationship with this guy, they broke contact because he was super controlling right.
• 24:25
  Speaker 1: It was from Kate Moss's Cecilia side, so they do have history.
• 24:28
  Speaker 1: But despite that history I mean sure there's spiteful people out there.
• 24:33
  Speaker 2: I I just hate.
• 24:35
  Speaker 1: I hate when movies you didn't highlight the spitefulness enough.
• 24:39
  Speaker 2: He didn't there there was something missing there, where it was just like portrayed as this is how it happens, where it's not really yeah.
• 24:49
  Speaker 2: Yeah, I mean, I don't think, yeah, I agree and I mean I think it did play.
• 24:51
  Speaker 2: They.
• 24:51
  Speaker 2: I know what they were trying to do.
• 24:52
  Speaker 2: They were trying to illustrate the isolation that people who are dealing with a situation like this can feel.
• 24:59
  Speaker 1: Oh, oh yeah, for sure.
• 25:01
  Speaker 1: I just think they made her look like an idiot in the process, which is unnecessary.
• 25:05
  Speaker 2: Yeah, which the writer should have done a little bit better on that, I believe, but I do.
• 25:12
  Speaker 2: Kate Moss needs brain for smart making Give it to her, not Kate Moss, elizabeth Moss, elizabeth Moss.
• 25:22
  Speaker 1: Damn the Mosses.
• 25:23
  Speaker 2: The Mosses.
• 25:24
  Speaker 2: I will give it to Elizabeth Moss, though.
• 25:27
  Speaker 2: I love that she gets into these roles that are just showing very base level things of abuse.
• 25:36
  Speaker 2: And then I love that her films are these perfect excuses for the pieces of shit in our society to tell on themselves, right, I love.
• 25:49
  Speaker 2: I loved the response to handmaiden's tale when all of a sudden, right-wingers across the country were like that's not what it would be like if trump was elected and like yo dude, yo dude.
• 26:02
  Speaker 2: No one said that.
• 26:03
  Speaker 1: It's hilarious that you brought that up unprovoked though this was written way before Trump, Like it has nothing to do with Donald Trump.
• 26:12
  Speaker 1: You are inserting yourself into the role of villain.
• 26:19
  Speaker 2: Yeah, oh, and they, oh, my God, and they just feed into it.
• 26:23
  Speaker 2: It's, oh, it's.
• 26:25
  Speaker 2: It is a joy to watch it.
• 26:28
  Speaker 2: I mean like it sucks, but like if you step back for a second and just watch these people tell on themselves uh, it's hilarious.
• 26:38
  Speaker 1: Yeah, I people talking about.
• 26:39
  Speaker 1: We need to ban the handmaid's tale Just like they're trying to.
• 26:43
  Speaker 1: They're trying to ban protests for Palestine.
• 26:46
  Speaker 1: It's like, oh, why?
• 26:47
  Speaker 1: What the fuck you're telling on?
• 26:50
  Speaker 2: yourself.
• 26:50
  Speaker 2: Yeah, no, you're saying some.
• 26:52
  Speaker 2: And hands made in tail, hands maidens to handmaid's tale was written in 1985.
• 27:01
  Speaker 2: Yeah, it's not what we were talking about.
• 27:05
  Speaker 2: But thank you for identifying yourself.
• 27:05
  Speaker 2: I hope every young woman around you saw that and now knows better than to be anywhere in your fucking orbit no, they're, uh, they're just happy that.
• 27:18
  Speaker 1: They happy that their strong man is crushing the libs and fighting off those blue-haired, tattooed alpha people, transsexuals, yeah so fucking stupid.
• 27:34
  Speaker 1: I hate these people so much so fucking stupid.
• 27:41
  Speaker 1: Oh shit, it's a shame because they're so self-destructive, it's like you want to help these poor women who have been brainwashed since birth about why they need to be a part of the Jesus cult and do things that way or else they'll burn in hell forever.
• 28:01
  Speaker 1: From a very young age told that and and you want to help them.
• 28:07
  Speaker 1: But the the disdain that they show to people who are like I listen, I just, I'm just trying to explain.
• 28:18
  Speaker 1: You can't teach me nothing.
• 28:24
  Speaker 2: Oh, it's rough, it's rough.
• 28:25
  Speaker 2: It's definitely a sad state of affairs.
• 28:28
  Speaker 1: You will never teach me.
• 28:31
  Speaker 2: Oh my God.
• 28:32
  Speaker 2: I mean, at the end of the day, we're just a bunch of half monkeys on a cooled down ball, and it's hurtling through nothingness.
• 28:37
  Speaker 2: So not every idea is going to be a good one, I suppose.
• 28:40
  Speaker 2: But, elizabeth Moss, yeah, that's true, hurtling through nothingness so not every idea is going to be a good one, I suppose.
• 28:45
  Speaker 2: But uh, elizabeth moss, yeah, that's true, what a revelation.
• 28:49
  Speaker 1: Yeah, too late for the revelation.
• 28:51
  Speaker 1: She's been going strong?
• 28:53
  Speaker 2: yeah, no, and she's got a new one coming out, but uh, this isn't the elizabeth moss podcast.
• 28:57
  Speaker 2: So, um, what other, uh, what other high thoughts today?
• 28:58
  Speaker 2: It is, why don't you?
• 28:59
  Speaker 1: yeah, well, fuck it, but uh, well what other, uh, what other high thoughts for today it is?
• 29:00
  Speaker 1: Why don't?
• 29:01
  Speaker 2: yeah, fuck it, but uh, well, what other, uh enlightened thoughts do you have on this, on your, on your golden path?
• 29:08
  Speaker 1: well, over the course of the movie it has has so many shots of elizabeth boss, like I mentioned this earlier about, uh, her like off to the side of frames, but as she begins to take control of of the situation, she starts to move closer to the center of the frame and then finally, at the end, the final shot is just a full frontal view of her in center frame with no periphery.
• 29:37
  Speaker 1: Yeah, which I which I think is a was a really great visual journey toward her being able to focus on herself freely, be it be freely the focus of the, of the camera.
• 29:52
  Speaker 2: Well, speaking of her finally being free, I would like to kind of bring up how, in order to do so, she totally used her friend, the dude who was with her like from the get-go, and she like uses him and unwittingly makes him accomplice and accessory Accomplice to murder, fucking murder.
• 30:22
  Speaker 2: And it's like holy shit and it's like, I know we're supposed to think that she's, you know, can do no wrong right now.
• 30:32
  Speaker 2: She's killing this piece of shit and he's a piece of shit, but damn.
• 30:37
  Speaker 1: It's a piece of shit.
• 30:38
  Speaker 1: Murder, yeah, like.
• 30:41
  Speaker 1: I don't know it was pretty thoughtless.
• 30:44
  Speaker 1: It was pretty thoughtless of her to do that to her friend.
• 30:49
  Speaker 2: And she didn't even try and like, for his sake, hide it.
• 30:53
  Speaker 2: You know, just here's the invisible suit.
• 30:57
  Speaker 2: I had a second one.
• 30:58
  Speaker 2: It's in my bag.
• 30:59
  Speaker 2: I didn't even try and close that on you.
• 31:01
  Speaker 2: I want you to know that you're accessory to my murder.
• 31:07
  Speaker 1: Oh, and he's a cop, and he's a cop, and while I, have no love for police officers.
• 31:14
  Speaker 1: It puts him who was trying to help her and gave her a place to stay, and stuff puts him in a really shitty situation.
• 31:21
  Speaker 2: Yeah, he's now.
• 31:22
  Speaker 2: He is now.
• 31:23
  Speaker 2: So I mean, and they go into that early with the champagne where his underage daughter, who he has the power to arrest the rest of us for, is drinking champagne, and now, at the end of this movie, he is a cop who has looked the other way to murder.
• 31:45
  Speaker 1: So that happens in a lot of movies.
• 31:47
  Speaker 1: By the way, there's so many movies about about renegade cops that were like, yeah, renegade cops, yeah, shoot those criminals, shoot them all Don't worry about the law.
• 32:01
  Speaker 1: You don't need the law.
• 32:03
  Speaker 1: You got a gun.
• 32:04
  Speaker 1: Get out there and shoot them.
• 32:09
  Speaker 2: Shoot them all.
• 32:10
  Speaker 2: Yeah, and it's like all right.
• 32:13
  Speaker 2: So hopefully, when I kill my abuser this cop right here he's like well, it's no longer a law as long as I'm here, so off you go.
• 32:22
  Speaker 2: I'm glad you got him there have.
• 32:25
  Speaker 1: There have been instances recently of like people killing their abusers.
• 32:30
  Speaker 1: There was, um, do you remember the one of the like 16 year old girl who was forced into prostitution, who killed her rapist, yeah, and.
• 32:38
  Speaker 1: And then she was convicted of his murder, which is fucking crazy?
• 32:43
  Speaker 1: Oh yeah, it's fucking crazy, without a doubt without I just so maybe she was just protecting herself by forcing this other cop.
• 32:55
  Speaker 2: She's like the only thing I can do is force an agent of the state to be complicit so that he he can't share which, like damn, like like don't get me wrong, I was rooting for her when, uh, she slices his throat open Like hell yeah, get that piece of shit.
• 33:12
  Speaker 1: But yeah, it was great to see the it was.
• 33:15
  Speaker 1: It was great to see the surprise expression when, upon seeing a floating knife a second time, god he was against him.
• 33:24
  Speaker 1: I liked, I like that they gave him like a divine karmic punishment yeah, which I was like hell, yeah, fucking, get it.
• 33:32
  Speaker 2: you know this piece of shit's gotta go.
• 33:34
  Speaker 2: But but now I, as the viewer, am an accomplice to this shit because of that scene with your cop friend and like you didn't give him a heads up, a whoop, whoop, nothing, you just fucking.
• 33:47
  Speaker 2: Hey, dude, you and I committed murder tonight and she pats him on the shoulder and walks off a free woman and he's just left with that.
• 33:56
  Speaker 2: He's got to go home to his daughter knowing like yo, auntie cc just slid a homie's throat.
• 34:04
  Speaker 2: I walked in and did my, do my job, fuck is?
• 34:12
  Speaker 1: is she?
• 34:13
  Speaker 1: Is she becoming a monster from the suit?
• 34:17
  Speaker 1: Is she going to be the invisible woman next?
• 34:22
  Speaker 2: which, if we're going to stick to uh hg wells, the invisible man, if we're going to stick to the theme, then yeah, and I would enjoy that.
• 34:32
  Speaker 2: I would have liked to have that be a more clearer message that it doesn't matter Victim punisher, abuser, whoever this power falls into the hands of they themselves will become a monster.
• 34:48
  Speaker 1: I would have liked her to give a almost, like you know, a Frodo type.
• 34:55
  Speaker 1: Stare at the, at the suit, at the end, like you know, like like on my end, like, yeah you know, like like on my precious, or you know, yeah, yeah like her eyes, like light up with the possibilities of freedom right in this suit.
• 35:11
  Speaker 1: I would have liked to have seen that she walks off with that suit that's just hers now.
• 35:18
  Speaker 1: She does not throw that thing away.
• 35:21
  Speaker 2: Yeah, yeah, like fuck.
• 35:25
  Speaker 2: And uh, there's a lot of shit you could do with that suit.
• 35:29
  Speaker 2: None of them are good.
• 35:31
  Speaker 2: Right there, there's absolutely nothing good that could come of that.
• 35:36
  Speaker 2: Did adrian lose track of this suit?
• 35:40
  Speaker 2: That's also a solid question.
• 35:42
  Speaker 2: It was clearly linked via bluetooth to the fucking thing on the wall.
• 35:50
  Speaker 1: Yeah, your ipad like has a camera.
• 35:52
  Speaker 1: You can see like it shows a camera of whatever.
• 35:55
  Speaker 1: So so he probably he should have been able to find this suit or I was like I said, it was like a tracking device on it.
• 36:02
  Speaker 1: That would probably be right or well I mean like you can make it do its worrying.
• 36:08
  Speaker 2: this is worth billions to a defense contractor.
• 36:11
  Speaker 2: There's no way His iPad wasn't tracking it and he saw her hiding in the closet.
• 36:18
  Speaker 2: A plus B equals the things in the closet.
• 36:22
  Speaker 2: Somewhere.
• 36:22
  Speaker 2: My billion dollar suit is in the closet.
• 36:27
  Speaker 1: Yeah, I said at that point of the movie put the suit on.
• 36:31
  Speaker 1: I was yelling, put the suit on, put the suit on, put the suit on, because then they could have done something really cool with two invisible people.
• 36:40
  Speaker 2: Fighting each other in a billion dollar house.
• 36:42
  Speaker 2: That'd be pretty cool.
• 36:45
  Speaker 1: Marvel, that would be pretty cool, right, the scenery just starts crashing and flipping over and shit oh yeah, that would be great.
• 36:55
  Speaker 2: That'd be a great time, um, and I loved how the suit was one size fits all but um like I.
• 37:03
  Speaker 2: I would have liked to have seen you know how she and like she mastered clothing change in that final scene there.
• 37:10
  Speaker 2: It took her, yeah, 10 seconds to dress to invisible suit she's never put on before, and so I would have loved to have seen her in the bathroom where, like the feet are going a foot out from her toes and like it's hanging off her hands yeah, like there's wrinkles in it.
• 37:33
  Speaker 1: The, the, the hem is rolled up.
• 37:36
  Speaker 1: You can just see the inside of the suit.
• 37:38
  Speaker 1: She rolled it up like she also became super.
• 37:44
  Speaker 1: She became super comfortable with killing a man, like really quickly.
• 37:49
  Speaker 1: Dude especially with a man's overpowering a man's, yeah.
• 37:55
  Speaker 2: Yeah.
• 37:55
  Speaker 1: Overpowering a man to slit his throat.
• 37:58
  Speaker 2: Yeah, like there's murder.
• 37:59
  Speaker 2: And then there's murder, holy shit.
• 38:03
  Speaker 2: Like yeah, yeah, she's good at premeditating.
• 38:07
  Speaker 2: Yeah, no, she thought that whole.
• 38:09
  Speaker 2: Thing through.
• 38:09
  Speaker 1: She built a whole plan.
• 38:11
  Speaker 2: I'm going to walk in here tonight.
• 38:12
  Speaker 2: I'm going to slit a man's throat, fucking ear to ear.
• 38:15
  Speaker 2: Joker, smile, let's fucking go, and that's it.
• 38:19
  Speaker 2: Dude, like you heard the squeak of his fucking bones and shit, that jugular just snapped Like yeah, no, that was brutal, yeah, just snap like yeah, no, that was brutal yeah that was brutal, yeah, well.
• 38:32
  Speaker 2: Well, with that being said, let's let's dive into our what ifs.
• 38:34
  Speaker 2: So I'm excited is that whiskey?
• 38:43
  Speaker 2: So, james, you've been inserted into the Invisible man 2020.
• 38:47
  Speaker 2: What's this movie look like?
• 38:50
  Speaker 2: Now I'm going to pour a little something for myself for this one.
• 38:58
  Speaker 1: Let's see what would happen if I was inserted into the movie.
• 39:02
  Speaker 1: I would be.
• 39:04
  Speaker 1: I assume that my role would be the little girl.
• 39:10
  Speaker 1: The bill is who I associate with most.
• 39:14
  Speaker 2: Yeah, no, the little girl I just want to go to school, man that's who I associate with the most.
• 39:18
  Speaker 1: I'd be the girl who's like going off to college and she like she's the one who runs in the kitchen.
• 39:24
  Speaker 1: No, no, no, no, you don't put water on a grease fire and she grabs the fire extinguisher and sprays the grease fire because it's like great, good job, kid, good job knowing what to do this.
• 39:36
  Speaker 1: This fucking adult lady doesn't know what to do when a grease fire happens right, good job.
• 39:42
  Speaker 2: Well, that's how.
• 39:43
  Speaker 2: That's why she didn't recognize these rudimentary abuse styles that this dude was employing.
• 39:48
  Speaker 2: No one told her yeah, yeah.
• 39:52
  Speaker 1: And she, after she, after she gets hit, she, she sets a strong boundary.
• 39:56
  Speaker 1: She's like I want to go, I want to leave.
• 39:58
  Speaker 1: You know, I want to figure this out.
• 40:00
  Speaker 1: And then later in the movie she comes back and she's like she, she's like I missed you, I missed you, you know, even even when they haven't resolved it yet, like shown that there's like an invisible guy.
• 40:10
  Speaker 1: She already is back to you know, she's like I think that something happened.
• 40:15
  Speaker 1: You know, she took a second and she thinks, she stops and thinks and figures it out.
• 40:19
  Speaker 1: Yeah, and she makes good decisions.
• 40:21
  Speaker 1: This, this little girl.
• 40:23
  Speaker 1: If I, if I was in the place of Elizabeth Moss, I would have not gone back to the house.
• 40:30
  Speaker 1: No, I would have not gone back to the house after the first one or two instances.
• 40:38
  Speaker 1: There are times where I've been like in my own life, where I've been like something's weird and I leave immediately.
• 40:43
  Speaker 1: You know, we were talking I don't know if it was on the last podcast or just personally I was at like a small party.
• 40:51
  Speaker 1: I was at a small party one time and and people were drinking and a guy pulled out a gun and I, to the people around me who seemed concerned, but also not concerned enough to leave, I was like I'm going to, I'm going to get the fuck out of here.
• 41:07
  Speaker 1: Yeah, it'd be great if'm going to.
• 41:08
  Speaker 1: I'm going to get the fuck out of here.
• 41:09
  Speaker 1: Yeah, it'd be great if you came along, cause I'm driving, uh, so I'm going to get the fuck out of here.
• 41:15
  Speaker 2: Yeah, no, the last thing I need is to fucking get shot.
• 41:18
  Speaker 2: It's ridiculous, jesus Christ, but yeah, no, I feel you for sure.
• 41:24
  Speaker 2: Yeah.
• 41:26
  Speaker 1: And for sure, yeah and uh.
• 41:27
  Speaker 1: And then I put on the suit.
• 41:29
  Speaker 1: After uh, after I found the suit, the first thing I do is put it on.
• 41:34
  Speaker 1: There's a guy hunting me who's invisible.
• 41:37
  Speaker 2: It's time to be invisible, to be invisible.
• 41:40
  Speaker 1: Yeah, put the suit on no, I'm with you there.
• 41:44
  Speaker 1: Yeah, no, insert me as soon as I discovered this, I'd be like oh, this, I'm, I'm, I, I was right in the suit, suit immediately oh yeah, and I'm glad that it immediately stretches down to any size I require.
• 41:59
  Speaker 2: No, I uh, yeah, no, so I mean, if I was in it, I mean, insert me in any of these positions, things are going to go vastly different.
• 42:09
  Speaker 2: Um, I mean, like, make me the fucking billionaire.
• 42:12
  Speaker 2: Uh, elizabeth Moss wants to leave.
• 42:14
  Speaker 2: I'm like, well, that breaks my heart and I'm sorry it didn't work.
• 42:16
  Speaker 2: Goodbye.
• 42:17
  Speaker 2: Uh, I'm going to go sell my billion dollar defense contract here.
• 42:22
  Speaker 2: Um, and that would be it.
• 42:24
  Speaker 2: There'd be no movie, um, but then so let's make it more interesting.
• 42:28
  Speaker 2: Let's say that I'm someone else.
• 42:29
  Speaker 2: I guess I'm.
• 42:31
  Speaker 2: I'm now elizabeth moss.
• 42:34
  Speaker 2: I'm going to.
• 42:36
  Speaker 2: Yeah, I'm the first fucking thing I'm going to do as soon as I find this suit is.
• 42:39
  Speaker 2: Put it on hands down, jesus christ, what the fuck?
• 42:46
  Speaker 2: And then it?
• 42:48
  Speaker 2: What would I do with an invisible suit it become?
• 42:52
  Speaker 2: It turns then into hg wells of invisible man.
• 42:56
  Speaker 2: How long can I maintain my morality with no scrutiny?
• 43:03
  Speaker 2: I don't know.
• 43:04
  Speaker 2: 30 seconds, 40?
• 43:08
  Speaker 1: I don't know you know, when you it's a, it's a, it's an idea that doesn't really hold up with this suit.
• 43:17
  Speaker 1: Uh, because, like what happens if you're like stalking a person inside their home and stuff and you can't just like open.
• 43:24
  Speaker 1: Our viewers are going to want to hear this one yeah, if you're stalking people inside their home and you're invisible and you, the whole point is that, like maybe you're not there, right?
• 43:37
  Speaker 1: How do you eat and how do you shit?
• 43:45
  Speaker 2: could you imagine she makes it up into the fucking attic and it's just fucking curled shits that he's or she's in the in the bedroom late at night and just the toilet flushes right, it smells like someone took a huge dump in here she said wait a minute.
• 44:05
  Speaker 2: I reckon I lived with him for five years.
• 44:07
  Speaker 2: She's explaining to the cop like no, he took his shit in your bathroom.
• 44:14
  Speaker 2: I could recognize that stench from anywhere where and when do you sleep?
• 44:22
  Speaker 1: wait, how do you read?
• 44:23
  Speaker 1: When do you recharge your suit, right, do you?
• 44:29
  Speaker 2: good questions.
• 44:30
  Speaker 2: Good questions uh, these are.
• 44:32
  Speaker 2: This is what our viewers want to know where does the?
• 44:35
  Speaker 2: Man shit.
• 44:36
  Speaker 2: Well, he's got a uh, visible shits, yeah.
• 44:43
  Speaker 2: So you can amazon prime it like as accessory.
• 44:46
  Speaker 2: It's the invisible shit napkin where you throw it over any of your excrement and it acts just as a suit for it.
• 44:55
  Speaker 2: It's the cutting edge of fiber optics.
• 45:02
  Speaker 1: Oh, my God $29.95.
• 45:07
  Speaker 2: Package 3.
• 45:08
  Speaker 1: The point is the suit is untenable.
• 45:10
  Speaker 1: Living in this suit is not a thing that you can do for more than like four hours.
• 45:19
  Speaker 1: Then you've got to go to the bathroom.
• 45:23
  Speaker 2: Well, and I feel that they lost something here.
• 45:28
  Speaker 2: That the HGG Wells one and even the Kevin Bacon one maintained was that he could not go back.
• 45:36
  Speaker 2: Right, this guy, he could switch back and forth, and you know, we saw him then just decimate a hospital, various orderlies, all very well armed also, but Well, those are police officers.
• 45:50
  Speaker 1: The the orderlies weren't armed.
• 45:52
  Speaker 1: It was, it was, it was security, who's well?
• 45:54
  Speaker 2: I don't know why there were so many armed security officers in a psychiatric shit, like I love the john wickian style that they would run into the headlong, into the danger they didn't know.
• 46:06
  Speaker 2: See, I liked that.
• 46:07
  Speaker 2: They didn't know there was the danger, right.
• 46:08
  Speaker 1: It's the only time where it the danger they didn't know.
• 46:09
  Speaker 1: See, I liked that they didn't know there was the danger, right.
• 46:11
  Speaker 1: It's the only time where it makes sense, where you can't see the other person.
• 46:14
  Speaker 1: This is why you run headlong, and people were really hesitant to believe that there was some force other than Elizabeth Moss in that hallway, which is realistic.
• 46:25
  Speaker 2: And in that scene I also like that they showed that a few of the guards were sort of empathetic towards her yeah, like the one who's like Cecilia, don't do something just put your hands and he like tries to look around.
• 46:38
  Speaker 2: I thought that was cool, like so there was things like the writers realized that there'd be stuff that happened off camera.
• 46:44
  Speaker 2: They didn't need to spoon feed us three scenes of this guard talking to her.
• 46:49
  Speaker 2: We were just able to pick that up.
• 46:51
  Speaker 2: So I did appreciate that.
• 46:52
  Speaker 2: Um, and then he just got fucking john wicked, yeah sure did.
• 47:00
  Speaker 1: Yeah, that was really brutal scene.
• 47:02
  Speaker 1: It was, it was.
• 47:03
  Speaker 1: But I'm down for the billionaires versus cops war, go for it.
• 47:08
  Speaker 1: Oh yeah, I'd watch that all fucking day let's do it.
• 47:11
  Speaker 2: Yeah, like hey, uh, elizabeth moss, uh, you did it billionaires versus cops, let's go, let's go, and I'm happy the ratio is turning out that way, because what?
• 47:28
  Speaker 2: There's only so many billionaires, but we got a fuckload of cops.
• 47:32
  Speaker 2: So Right, let's keep it going.
• 47:34
  Speaker 2: Yeah, it's good for all of us.
• 47:37
  Speaker 2: It's good for all.
• 47:38
  Speaker 2: Good, good for this family.
• 47:39
  Speaker 2: Oh, what a weird show.
• 47:46
  Speaker 2: Yeah, yeah, no, you got any final.
• 47:50
  Speaker 2: What ifs then?
• 47:52
  Speaker 1: Let's see other what ifs?
• 47:54
  Speaker 1: Let me see, do I have anything else here?
• 47:55
  Speaker 1: I would have?
• 47:57
  Speaker 1: I would have taken care of Zeus immediately.
• 48:00
  Speaker 1: She goes back to that house and she goes hey, zeus, who?
• 48:05
  Speaker 1: Who the fuck is taking care of Zeus, right?
• 48:08
  Speaker 1: If you, who is taking care of Zeus?
• 48:09
  Speaker 1: Right?
• 48:09
  Speaker 1: Who is taking care of Zeus?
• 48:11
  Speaker 1: You essentially abandoned that dog.
• 48:14
  Speaker 1: Yeah, who's taking care of Zeus?
• 48:21
  Speaker 2: No, and you brought it up that fucking I hate him, I hate him, I hate them, though, and so, like listeners, I get that they're culturally acceptable, but those fucking bark collars just know that if I see your dog is wearing a bark collar, I empathize that it's culturally acceptable, but I'm also kind of thinking about putting it on you.
• 48:43
  Speaker 2: Um, just so you're aware.
• 48:46
  Speaker 2: Yeah, that's where I'm at with those.
• 48:49
  Speaker 1: Yeah, continue please train your dog.
• 48:51
  Speaker 1: Train your dog instead of using a constant negative reinforcement.
• 48:56
  Speaker 1: Constant negative reinforcement is bad yes, yeah, yeah.
• 49:04
  Speaker 2: If you wouldn't throw a bark collar on your kid, you probably shouldn't put one on the animal either.
• 49:08
  Speaker 2: But then a lot of people would, a lot of people would, a lot of people would, yeah.
• 49:12
  Speaker 2: So I retract my statement.
• 49:15
  Speaker 2: So you're about to go into another point.
• 49:24
  Speaker 1: I would have reacted a lot more quickly to everything.
• 49:26
  Speaker 1: I would have reacted a lot more quickly to everything.
• 49:30
  Speaker 1: And did you get really annoyed in this movie and how Elizabeth Moss did everything incredibly slowly?
• 49:35
  Speaker 2: Uh, just for a minute.
• 49:37
  Speaker 1: Man to woman, uh audience here, let me explain what you should have done Didn't you need to act with a fucking sense of urgency.
• 49:45
  Speaker 1: You have no concept of urgency, no no, she was super chill about it and when she slowly walks in the room and slowly turns off the faucet of the sink full of paint and then slowly turns around.
• 50:05
  Speaker 1: It's like what the fuck lady?
• 50:07
  Speaker 2: I would have been stabbing shadows.
• 50:08
  Speaker 2: I would have been stabbing shadows.
• 50:13
  Speaker 1: Exactly.
• 50:13
  Speaker 1: I would have been slashing everywhere I walked.
• 50:15
  Speaker 1: I would have been swinging around.
• 50:17
  Speaker 2: Yeah, you're going to get cut and leaving.
• 50:21
  Speaker 2: And so in the kitchen.
• 50:23
  Speaker 2: She was much more safe in a confined space versus going outside into the intersection, where he could fucking be anywhere in the kitchen.
• 50:34
  Speaker 2: You got a what a 12 foot by eight foot to work with here and I'm just fucking hurricaning a knife around this goddamn kitchen.
• 50:41
  Speaker 2: I'm a catch him Eventually, you, you fucking bet on it, but I just goes, it goes and watches you from the hallway now that I'm moving out in the hallway after after she, she poured the coffee everywhere, which was smart to put something.
• 50:57
  Speaker 1: Yeah, that was flour would have been better.
• 50:58
  Speaker 1: Yeah, I would have done flour for sure something she never saw paranormal activity?
• 51:03
  Speaker 2: obviously yeah, paranormal activity.
• 51:05
  Speaker 2: They use the flour.
• 51:06
  Speaker 2: When he had those fucking really obvious's really obvious it's white.
• 51:10
  Speaker 1: Yeah, the contrast ratio with her floors.
• 51:17
  Speaker 2: They were dark floors and you put a dark powder, I don't know Whatever.
• 51:19
  Speaker 2: Well, it's also impressive that his suit that utilized just cameras to essentially show you the other side of him, we're able to cancel out his shadow yeah, exactly yeah, like he was able to bend light around himself.
• 51:36
  Speaker 1: I don't know if that's like.
• 51:37
  Speaker 1: I don't know if that's reasonable when we're talking about a theoretical invisible suit that cancels out shadow, because what he is is he is intercepting light and then projecting light.
• 51:49
  Speaker 1: He's intercepting and then projecting light, so maybe the light projection behind him takes care of that shadow, but that means he has to have cameras on the soles of his feet.
• 51:59
  Speaker 1: I don't know.
• 52:02
  Speaker 2: It's a fantasy.
• 52:03
  Speaker 2: It's a fantasy, no.
• 52:05
  Speaker 1: Yeah Well, it's nonsense.
• 52:07
  Speaker 2: It's total nonsense, it is.
• 52:08
  Speaker 2: It is.
• 52:08
  Speaker 2: See, no, yeah, well.
• 52:08
  Speaker 2: Well, that's nonsense.
• 52:09
  Speaker 2: It's total nonsense it is.
• 52:09
  Speaker 2: It is that he would have a shadow.
• 52:10
  Speaker 2: He'd have a shadow and yeah, that's enough.
• 52:14
  Speaker 2: That's also a reason why I I will appreciate hg wells version more, because he didn't try to explain it.
• 52:23
  Speaker 2: It's like I'm not a scientist, it's just the premise of we have an invisible person and we go over this.
• 52:29
  Speaker 2: A bunch in this show is if you're introducing a fantasy element, don't try and explain it, because then you're going to poke holes in yourself, and so by just putting all those cameras everywhere, trying to make it as realistic as possible, they created their own plot hole.
• 52:46
  Speaker 1: Yeah, yeah, I still think this is a really good domestic violence movie.
• 52:50
  Speaker 1: Yes, yeah, but but it's not a good like science fiction movie because it's not really.
• 52:56
  Speaker 1: I think it's.
• 52:57
  Speaker 1: I think it's still a good invisible man movie in that.
• 53:00
  Speaker 1: Well, it's not about the invisible man first off, which I think is really important it's not about the invisiblevisible man.
• 53:06
  Speaker 1: But it's almost like when we talk about a Dracula movie.
• 53:11
  Speaker 1: Those movies usually don't follow Dracula.
• 53:15
  Speaker 1: Some of them do, some of them don't.
• 53:17
  Speaker 1: Some of them follow Harkness, you know, or Harker John Harker.
• 53:22
  Speaker 1: Right, yes, yes, yes, well I would have loved for Keanu Reeves.
• 53:33
  Speaker 2: I would have loved for counter-reeves.
• 53:34
  Speaker 2: I would have loved, speaking of which, we need to do the dracula episode with kind of leaves, just because I want to talk about the train ride home, but sure I um want, uh, I think it would have been cool if warner brothers was able to pull it off, because every once in a while, warner brothers puts, puts out a Dracula film and they put out an invisible man and they put out a werewolf, just to maintain the copyright and everything like that.
• 53:56
  Speaker 2: I think it would have been cool to see Adrian standing next to the Dracula that they created in Dracula Untold, standing next to the Dracula that they created in Dracula Untold, and to see that play out, because Dracula Untold created a Dracula.
• 54:19
  Speaker 2: That was a good guy, yeah, and I would.
• 54:23
  Speaker 2: I would have loved to have seen that, where the Dracula Untold is gathering these people, he runs into Adrian a fucking, a optics billionaire, um, and realizes what kind of a person he is that would be like I'm still good.
• 54:35
  Speaker 1: I'm good if they do that, with that, with elizabeth moss, if they take that direction.
• 54:39
  Speaker 2: Oh yeah, because she's the one who has the suit now yeah, she's now the invisible man.
• 54:45
  Speaker 1: Oh my god, why aren't we?
• 54:46
  Speaker 2: working at one warner brothers.
• 54:47
  Speaker 2: Jesus christ, we could just save the whole fucking world.
• 54:52
  Speaker 1: Is it Warner brothers or universal?
• 54:54
  Speaker 1: Are those the same company.
• 54:55
  Speaker 2: Yes, yeah they're.
• 54:56
  Speaker 2: I'm pretty sure they were the unit universal monsters.
• 54:59
  Speaker 2: Well, yeah, universal studios, but that's owned by Warner brothers.
• 55:03
  Speaker 2: Um, it's all in the same thing Animaniacs, superman, it's all all right there.
• 55:11
  Speaker 2: Yeah, we're all owned by the same fucking two people that's right yeah, but we have steamboat mickey now, so that's hooray, but you can't use the gloves because disney has a patent on menstrual racism from the.
• 55:24
  Speaker 2: From the 1800s, early 1900s, yeah, no.
• 55:30
  Speaker 2: Well, there's my final.
• 55:32
  Speaker 2: What if, though, dracula, portrayed by what's the actor's name?
• 55:39
  Speaker 2: Dracula, untold the guy?
• 55:42
  Speaker 2: He was in Lord of the Rings?
• 55:43
  Speaker 2: Well, not Lord of the Rings, he was in the Hobbit.
• 55:44
  Speaker 2: He was the human in Hobbit.
• 55:47
  Speaker 2: Yeah, I know.
• 55:49
  Speaker 1: I just don't remember his name.
• 55:50
  Speaker 1: He has.
• 55:50
  Speaker 1: He been doing much lately luke evans has he been doing much lately.
• 55:55
  Speaker 1: He was a.
• 55:55
  Speaker 1: He was an up-and-comer during he was told, which I think dracula untold killed his career, even though I thought it it was, I loved it.
• 56:04
  Speaker 1: You, you have a.
• 56:05
  Speaker 1: You do have a predisposition to vampire.
• 56:08
  Speaker 1: It's media.
• 56:09
  Speaker 1: It's true, it's my blood I enjoyed it as well, but a lot of people did not enjoy this movie I thought it was.
• 56:18
  Speaker 2: You know what?
• 56:18
  Speaker 2: I'm gonna go fucking watch it right after this show is done.
• 56:20
  Speaker 2: I'll tell you that right now I'm gonna watch it.
• 56:22
  Speaker 1: Drag on until fuck y'all give luke evans a you know 10 cents and residuals or whatever.
• 56:28
  Speaker 1: Yeah.
• 56:29
  Speaker 2: Elizabeth Moss, luke Evans, let's bring Invisible man and Dracula together again on the silver screen.
• 56:37
  Speaker 2: But yeah, that would be my final.
• 56:40
  Speaker 2: What if?
• 56:41
  Speaker 2: Is Elizabeth Moss walks off with the Invisible man suit, she obviously enters into a morally gray area.
• 56:51
  Speaker 2: We find her at a men's fucking walmart bathroom, just killing dudes she saw be um abusive in the parking lot because I I feel like that's where I would go, sure.
• 57:05
  Speaker 2: And then dracula finds her and he's like sure.
• 57:12
  Speaker 2: And then dracula finds her and he's like you could be useful, because I have an older vampire than me that needs to go down.
• 57:17
  Speaker 2: And then they find, they find, uh, fucking uh, benicio del toro's wolf man.
• 57:21
  Speaker 2: And they, they fucking marvel it up and take on the bad father from game of thrones as a vampire.
• 57:31
  Speaker 2: It's going to be awesome, charles dance, that's the guy.
• 57:37
  Speaker 1: Yeah, yeah, I know Charles dance.
• 57:40
  Speaker 2: Great, yeah, I, that's.
• 57:42
  Speaker 2: That's my what if.
• 57:43
  Speaker 2: And Warner brothers I know, if you go to our buzzsprout link now you can text the podcast.
• 57:50
  Speaker 1: So, uh, warner, warner brothers feel free to hit me up.
• 57:53
  Speaker 1: Fans, don't touch it.
• 57:56
  Speaker 1: I would come come murder you.
• 57:58
  Speaker 2: If you know I'm just kidding, please put on my invisible suit and slice your fucking throat only warner brothers, executives or their peons.
• 58:08
  Speaker 2: And we'll save Superman too while we're at it.
• 58:11
  Speaker 2: I see you guys went with a really weird choice on that.
• 58:13
  Speaker 2: So yeah, hit us up, we'll figure this out, we'll fix everything.
• 58:18
  Speaker 1: I'm not kidding you.
• 58:19
  Speaker 1: Luke Evans has been working like nonstop for the past decade.
• 58:25
  Speaker 1: He has like 35 movies in the past 10 years.
• 58:29
  Speaker 1: Oh, that poor bastard.
• 58:31
  Speaker 1: I swear to God.
• 58:32
  Speaker 1: And I knew he was doing that too.
• 58:35
  Speaker 2: Oh my God, he still looks great.
• 58:37
  Speaker 2: We just got to dye his hair a little bit.
• 58:40
  Speaker 1: I did not know how many movies he was doing.
• 58:43
  Speaker 1: I had no fucking idea he was in Beauty and the Beast in 2017.
• 58:48
  Speaker 2: Anna 2019.
• 58:49
  Speaker 2: Holy shit.
• 58:51
  Speaker 1: Murder Mystery I've heard of that one, but didn't watch Murder Mystery, oh my.
• 58:54
  Speaker 2: God.
• 58:54
  Speaker 2: He even did a in 2023, he did a fucking gay father adoption piece.
• 59:02
  Speaker 2: Yeah, I see that.
• 59:03
  Speaker 2: He's just fucking throwing it at the wall.
• 59:06
  Speaker 2: All right, yeah, luke Evans, man, I know you're listening to everyone that ats you.
• 59:11
  Speaker 2: I'm at you.
• 59:12
  Speaker 2: Fucking, text us, man, we'll figure this out.
• 59:14
  Speaker 2: We'll get you back in there.
• 59:16
  Speaker 1: Oh, he was in Ma.
• 59:17
  Speaker 1: I didn't see Ma either, but he seems to be in movies like, where he comes in and is like a dad.
• 59:23
  Speaker 1: He's a great dad huh.
• 59:26
  Speaker 1: He's a great dad.
• 59:31
  Speaker 1: Huh, he's a great dad.
• 59:31
  Speaker 1: He's a great dad, and he was a dad in dracula.
• 59:32
  Speaker 1: Yeah, I'd love for him to be my dad.
• 59:33
  Speaker 1: He, yeah, the dads.
• 59:34
  Speaker 2: He portrayed pretty good dads.
• 59:35
  Speaker 2: I'd let luke evans be my dad.
• 59:37
  Speaker 2: How old are you, luke evans?
• 59:38
  Speaker 1: hold on real quick 45 years old not old enough to be my dad, stepdad and I'd be down.
• 59:45
  Speaker 1: Yeah, so luke evans is my stepdad.
• 59:47
  Speaker 1: Yeah, you want to be my stepdad and I'd be down.
• 59:48
  Speaker 2: Yeah so you want to be my stepdaddy, but that means he could still fucking be dracula.
• 59:52
  Speaker 2: We can make this happen, luke evans, reach out high and dry podcast, we'll figure this out.
• 59:57
  Speaker 2: Man, you're younger than keanu reeves and keanu reeves is doing uh, fucking, uh, constantine two 60 years old yeah, luke evans, reach out, we'll figure this out.
• 1:00:09
  Speaker 2: We'll use our backdoor into Warner Brothers.
• 1:00:12
  Speaker 2: We'll get this done.
• 1:00:15
  Speaker 1: Yeah, Keanu Reeves is 59 years old.
• 1:00:17
  Speaker 1: He's still shuffling around, having people run at him and shooting him in the head.
• 1:00:23
  Speaker 2: Yeah, Luke Evans, we got 15 years to make this happen.
• 1:00:26
  Speaker 1: Hit us up, man.
• 1:00:28
  Speaker 2: For you to be Dracula.
• 1:00:29
  Speaker 2: Hit us up, we'll get this done.
• 1:00:32
  Speaker 2: Fucking Bela Lugosi did it until he was a corpse they just painted his corpse and put him on screen.
• 1:00:41
  Speaker 2: I'm pretty sure he's buried in the Dracula outfit.
• 1:00:43
  Speaker 2: We'll get this done, shit alright.
• 1:00:47
  Speaker 2: Well, there you have it, folks.
• 1:00:48
  Speaker 2: We're High and dry podcast.
• 1:00:51
  Speaker 2: Uh, thank you all for listening.
• 1:00:53
  Speaker 2: Uh, I'm your host, ryan barron north, with me, as always, james crossland.
• 1:00:56
  Speaker 2: I still gotta finish what I got left here.
• 1:00:58
  Speaker 2: This last one goes out to you guys listening.
• 1:01:00
  Speaker 2: Um, thank you so much for listening to two dudes talk about, uh, women stuck in domestic violence situations.
• 1:01:08
  Speaker 1: It had to happen sometime.
• 1:01:09
  Speaker 1: I'm glad it's now.
• 1:01:11
  Speaker 1: It's about time.
• 1:01:12
  Speaker 2: It's about time.
• 1:01:13
  Speaker 2: Thank you everybody, bye, bye.