Latest / Critically Acclaimed Network / We've Got Mail #187 | OMG, Heathcliff Knows Who We Are!

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We've Got Mail #187 | OMG, Heathcliff Knows Who We Are! · Critically Acclaimed Network

• 0:00
  [SPEAKER_00]: Hello everybody and welcome back to, we've got mayo.
• 0:14
  [SPEAKER_00]: the podcast where you control the conversation right here at the critically claimed network.
• 0:18
  [SPEAKER_00]: My name is William Bibby and I am a film critic right for the rap and everybody calls me bibs.
• 0:26
  [SPEAKER_02]: My name is Whitney Sybold.
• 0:27
  [SPEAKER_02]: I am a film critic.
• 0:28
  [SPEAKER_02]: I can do it to slash film.
• 0:30
  [SPEAKER_02]: I got to write about defenders of the earth today.
• 0:33
  [SPEAKER_02]: Yes.
• 0:35
  [SPEAKER_02]: If you are of a very specific age, you know what I'm talking about.
• 0:38
  [SPEAKER_00]: Yeah, that was a, that was again early attempt to like make a multi,
• 0:44
  [SPEAKER_00]: Like crossover franchise Avengers, like old IP, like Man Drake, the magician, and that's Gordon and the Phantom.
• 0:51
  [SPEAKER_02]: These characters owned by King Feature Syndicate, they put them all together in one cartoon in 1986, and also they had like hip young kids that joined them.
• 1:00
  [SPEAKER_00]: They were always merciless.
• 1:01
  [SPEAKER_00]: The only the only time action heroes were joined by hip young kids.
• 1:07
  [SPEAKER_00]: in those shows, and it was actually cool, was the secret scouts from Dino Saussers, and that's because they had bitch in jackets.
• 1:17
  [SPEAKER_00]: Well, those guys had cool fucking jackets.
• 1:20
  [SPEAKER_02]: The Dino Saussers kids stood out because they were humans, and the Dino Saussers were dinosaurs.
• 1:25
  [SPEAKER_02]: So,
• 1:26
  [SPEAKER_02]: We kind of needed both perspectives in that show if we needed them.
• 1:30
  [SPEAKER_00]: I would have I think I would have caught on I didn't feel like Thundercats needed a human for me to I suppose care about their advantage.
• 1:37
  [SPEAKER_00]: The thundercats.
• 1:37
  [SPEAKER_02]: I didn't think it's snarf to die They're an interesting case because everything about that show was alien.
• 1:43
  [SPEAKER_00]: Yeah, like there's no human element whatsoever exactly We didn't need it.
• 1:47
  [SPEAKER_00]: That's what's not anyway
• 1:49
  [SPEAKER_00]: This is our Thundercats podcast.
• 1:50
  [SPEAKER_00]: No, this is our podcast where we answer your correspondence here at the critically claimed network.
• 1:56
  [SPEAKER_00]: There are two ways the contact us and get your letters read on the show.
• 2:01
  [SPEAKER_00]: You can email us our email address is letters at criticallyaclaimed.net or
• 2:08
  [SPEAKER_00]: for those of you who are enterprising, for those of you who have free time on your hands and like to do a little bit of crafting.
• 2:15
  [SPEAKER_00]: You can always send us an old fashioned letter or postcard or any other sort of physical correspondence, you would choose to send to our PO box.
• 2:24
  [SPEAKER_00]: It stands for post office box.
• 2:27
  [SPEAKER_00]: In case you were wondering, in the case you were really young and you were like, what is that, PO box?
• 2:32
  [SPEAKER_02]: Whitney, what is our PO box?
• 2:33
  [SPEAKER_02]: Yes.
• 2:33
  [SPEAKER_02]: Send us to the critically claims network, PO box 641-565, Los Angeles, California, 9-W-640.
• 2:40
  [SPEAKER_00]: And if you want a little trick, you want a little hack, a little game pro tip.
• 2:45
  [SPEAKER_00]: If you definitely want to get your letter read on the air, send it to the PO box, we will read anything that shows up in there.
• 2:52
  [SPEAKER_02]: We're not getting so many letters that we have to sort of parse through them.
• 2:56
  [SPEAKER_02]: We'll just read it.
• 2:56
  [SPEAKER_02]: It's correct.
• 2:57
  [SPEAKER_02]: So it's not a scene or anything.
• 2:58
  [SPEAKER_00]: We get a lot of emails, but we don't get as much physical email, a physical mail.
• 3:02
  [SPEAKER_00]: And if you put in the extra effort, if you bought a stamp, we're going to have to read it.
• 3:07
  [SPEAKER_00]: So we got a few.
• 3:08
  [SPEAKER_00]: So let's see.
• 3:09
  [SPEAKER_02]: Let's crack on.
• 3:10
  [SPEAKER_02]: See, the stamp.
• 3:12
  [SPEAKER_02]: This is a...
• 3:13
  [SPEAKER_02]: just a forever stand.
• 3:15
  [SPEAKER_02]: Okay, the American flag.
• 3:16
  [SPEAKER_00]: So don't just dismiss the forever stamp because the forever stamp is like the best currency we've got.
• 3:22
  [SPEAKER_00]: That's true.
• 3:22
  [SPEAKER_00]: You can buy a stamp at a certain price and stamps could go up a hundred dollars and that stamp would still be good.
• 3:28
  [SPEAKER_00]: That is a great exchange rate.
• 3:31
  [SPEAKER_02]: And stick with stamps.
• 3:32
  [SPEAKER_02]: So I'm sick with stamps.
• 3:33
  [SPEAKER_02]: I'm crumbling so you can hear the actual like physical pain for you.
• 3:36
  [SPEAKER_02]: Oh my god, I'm gonna get off of the other multi cave.
• 3:38
  [SPEAKER_02]: Big one of this comes from Brian Brian and it says hello bibs in Whitney.
• 3:45
  [SPEAKER_02]: It's Brian.
• 3:46
  [SPEAKER_02]: Hi Brian.
• 3:47
  [SPEAKER_02]: Hi Brian.
• 3:47
  [SPEAKER_02]: Hi Brian.
• 3:48
  [UNKNOWN]: Hi Brian.
• 3:48
  [SPEAKER_02]: You may remember me from the commentary track we did on all that jazz about three years ago, I don't remember what I had for breakfast No, I remember that commentary track for head the monkey's movie head But something happened to the audio and you couldn't use it took me about three years to get at the courage to listen to the all that jazz commentary out of fear That I made an idiot myself a one-way or another, but I finally forced myself to do it and I did okay.
• 4:17
  [SPEAKER_02]: I guess you did great
• 4:18
  [SPEAKER_02]: He then self-deprecatingly says, but not as good as you too.
• 4:21
  [SPEAKER_02]: Oh, nice.
• 4:23
  [SPEAKER_02]: I'm writing because I was finally able to get an answer to something I've always wanted to know.
• 4:27
  [SPEAKER_02]: And that is, how much did Cisco and Ebert agree with other, agree with each other?
• 4:32
  [SPEAKER_00]: Ah, like what's the ratio?
• 4:33
  [SPEAKER_00]: Yeah.
• 4:33
  [SPEAKER_02]: Turns out it's a lot.
• 4:35
  [SPEAKER_02]: But the thing is back in the day, a big deal was made out of their disagreements and their arguments.
• 4:39
  [SPEAKER_02]: This is brought up on their talk show appearances.
• 4:42
  [SPEAKER_02]: Also, you might hear a line on a sitcom or someone might say, you too, argue more than Cisco and Evert, Cisco and Evert even played into themselves.
• 4:48
  [SPEAKER_02]: They should, uh, the final shot during the opening theme to their show is Cisco and Evert having a heated argument as they walked toward a movie theater.
• 4:55
  [SPEAKER_02]: That's a discussion.
• 4:56
  [SPEAKER_00]: I think they were just left to the movie theater because they just seen the movie and they were disagreeing.
• 5:00
  [SPEAKER_02]: No, they're going into the movie theater, a shoot, Cisco, and Ebert.
• 5:03
  [SPEAKER_00]: Oh, that's it.
• 5:04
  [SPEAKER_00]: Yes, you're right, that's correct.
• 5:05
  [SPEAKER_02]: Yeah.
• 5:05
  [SPEAKER_00]: However, I always felt- That's right, they were reading each other's reviews and the paper, like, how could you just like this movie?
• 5:11
  [SPEAKER_00]: Ah!
• 5:11
  [SPEAKER_02]: Cisco says, yeah, and they're kind of showing off their own bylines.
• 5:15
  [SPEAKER_02]: Read, read, Gene's Cisco, trust, Roger Ebert.
• 5:20
  [UNKNOWN]: There we go.
• 5:20
  [SPEAKER_02]: However, I always felt they agreed way more often than not and I got a chance to prove this to myself It took time to compile this info Wow, so I just had to share it with somebody so why not my two favorite film critics?
• 5:31
  [SPEAKER_02]: Let's do it And thank you, by the way, thank you so much Many, many months ago, I discovered a cache of about 800 episodes of Cisco any run on YouTube.
• 5:39
  [SPEAKER_02]: Good resource.
• 5:40
  [SPEAKER_02]: Yeah
• 5:41
  [SPEAKER_02]: It doesn't contain every episode, but it shows a vast majority of it.
• 5:44
  [SPEAKER_02]: It either has a few episodes of their first show, opening soon at a theater near you, something I've never seen before.
• 5:49
  [SPEAKER_00]: I've actually never seen that either.
• 5:50
  [SPEAKER_00]: I think I think it's in clips, but I've never actually watched it.
• 5:52
  [SPEAKER_02]: I only caught up with them when they were going, when it's at Cisco and Ebert in the corner.
• 5:56
  [UNKNOWN]: Yeah.
• 5:58
  [SPEAKER_02]: Uh, anyway, I watched all 800 of these episodes.
• 6:00
  [SPEAKER_02]: It was a real nostalgia trip as I watched their show as often as I possibly could when it first aired One of their bigger surprises was how many movies I completely forgot existed Well watching the show I kept a tally of the thumbs that it's thumbs up or thumbs down Which they copyrighted by the way.
• 6:15
  [SPEAKER_00]: Yeah, we people sometimes say like give it a thumbs up with thumbs down I'm not legally allowed to do that.
• 6:20
  [SPEAKER_02]: Yeah
• 6:21
  [SPEAKER_02]: Uh, in casual conversation, maybe I'll flippantly use it, but it's not going to happen.
• 6:26
  [SPEAKER_00]: But then it's a cultural reference.
• 6:28
  [SPEAKER_00]: We can't review films where the thumbs up thumbs down.
• 6:31
  [SPEAKER_00]: That is taken for ever, even though they're not really using it much anymore.
• 6:37
  [SPEAKER_02]: Uh, one of the biggest, uh, yeah.
• 6:39
  [SPEAKER_02]: I should that I kept telling the thumbs for 2,864 movie cheeses.
• 6:43
  [SPEAKER_02]: Here are the results.
• 6:46
  [SPEAKER_02]: Two thumbs up.
• 6:47
  [SPEAKER_02]: got the plurality with 39.66972 percent.
• 6:50
  [SPEAKER_02]: 39.672 percent.
• 6:51
  [SPEAKER_02]: 66972.
• 6:52
  [SPEAKER_02]: 66972.
• 6:58
  [SPEAKER_00]: Wow, that is very specific.
• 6:59
  [SPEAKER_00]: Okay.
• 6:59
  [SPEAKER_02]: Two thumbs down, came in at 33.55469 percent.
• 7:03
  [SPEAKER_02]: 33.55469.
• 7:03
  [SPEAKER_00]: 55469, this will be on the test.
• 7:12
  [SPEAKER_00]: 67.
• 7:13
  [SPEAKER_00]: 6,9,6,7, okay.
• 7:15
  [SPEAKER_02]: No, no, no, 6,7.
• 7:16
  [SPEAKER_02]: That was a cultural reference.
• 7:18
  [SPEAKER_02]: The kids are saying 6,7 to me.
• 7:20
  [SPEAKER_02]: Shut up, it is.
• 7:22
  [SPEAKER_02]: I'm not saying it's not all that, no, I-
• 7:25
  [SPEAKER_02]: I wrote it down wrong now.
• 7:26
  [SPEAKER_00]: Okay, fine.
• 7:27
  [SPEAKER_00]: That's fine.
• 7:28
  [SPEAKER_02]: When it came to disagreements, it came as no surprise that the majority of those were a Cisco down ebert up.
• 7:33
  [SPEAKER_02]: Well, I generally respected Cisco.
• 7:35
  [SPEAKER_02]: He always struck me as a bit of a hard ass.
• 7:37
  [SPEAKER_02]: He was a tough critic.
• 7:38
  [SPEAKER_02]: I think this is frustrated ebert too as it seems that their most heated arguments came from ebert being perturbed every now and again as to Cisco's approach to film criticism.
• 7:46
  [SPEAKER_02]: So Cisco down ebert up came in at.
• 7:49
  [SPEAKER_02]: 16.37569%, 16.37569, the fiscal down got it.
• 7:58
  [SPEAKER_02]: Meanwhile, fiscal up, Ebert down was
• 8:09
  [SPEAKER_02]: Cisco gave thumbs up 50.06983% of the time and turned it down 49.93016% of the time.
• 8:18
  [SPEAKER_02]: Okay, so Cisco was almost stupid.
• 8:21
  [SPEAKER_01]: Pretty stupid, even.
• 8:22
  [SPEAKER_01]: Yeah.
• 8:23
  [SPEAKER_02]: Ebert was thumbs up 56.06.
• 8:25
  [SPEAKER_02]: Oh, that is half of the time.
• 8:27
  [SPEAKER_02]: and down 43.9.245 per 8 percent.
• 8:32
  [SPEAKER_02]: My main question was answered by these numbers.
• 8:35
  [SPEAKER_02]: No matter which way the thumb was pointed, this is going to be agreed 73.2548 percent of the time.
• 8:42
  [SPEAKER_02]: Almost three quarters of the time.
• 8:44
  [SPEAKER_02]: So, so much for the Cisco Lindybird are always arguing and disagreeing with each other.
• 8:48
  [SPEAKER_02]: They disagreed only 26.74 percent of the time.
• 8:53
  [SPEAKER_02]: I certainly enjoyed rewatching all these reviews and came and became saddened as I approached Cisco's final episode.
• 8:59
  [SPEAKER_02]: This came far too soon as Cisco was only 53 when he died.
• 9:01
  [SPEAKER_00]: I know, that was so saddened too.
• 9:03
  [SPEAKER_00]: I mean, like 99 too.
• 9:04
  [SPEAKER_00]: Yeah, like I think we knew like a little bit ahead of time, but like yeah, it was so fucking I mean, he didn't look young.
• 9:10
  [SPEAKER_00]: He had this elder statesman kind of quality.
• 9:13
  [SPEAKER_00]: Yeah, he was younger than I thought he was at the time, but yeah, I was a real fucking bummer.
• 9:17
  [SPEAKER_00]: Yeah, and it was
• 9:20
  [SPEAKER_02]: He he perished before I could see like Really get into Cisco any bird.
• 9:27
  [SPEAKER_01]: Mm-hmm.
• 9:27
  [SPEAKER_02]: Oh really it wasn't until I you're in that huge movie guy when you were No, no, yeah, I wanted to like I would watch it occasionally, but I wasn't like in the film crew We watch that every sunday It was on sunday.
• 9:38
  [SPEAKER_00]: It was on sunday.
• 9:39
  [SPEAKER_00]: It was on sunday Like six thirty five.
• 9:41
  [SPEAKER_00]: They were never it was on for like 15 years when I was a kid.
• 9:45
  [SPEAKER_00]: Yeah
• 9:45
  [SPEAKER_02]: Uh, on a more pleasurable note, I had the pleasure of meeting, meeting Roger Ebert once.
• 9:50
  [SPEAKER_02]: Oh, I never got to be with you, I didn't realize.
• 9:52
  [SPEAKER_02]: I attended the University of New Orleans and in 1982, my film production class consisted of being part of the crew for an editing exercise, our department was creating.
• 10:01
  [SPEAKER_02]: Bibs has talked about these before.
• 10:03
  [SPEAKER_02]: We shot the raw footage of a scene and students who would edit it together.
• 10:06
  [SPEAKER_02]: We were lucky enough to get Ebert to be our on-screen presenter.
• 10:10
  [SPEAKER_02]: Oh, wow.
• 10:10
  [SPEAKER_02]: There's one time during the production when we had some downtime,
• 10:15
  [SPEAKER_02]: But it was the only one where you were shooting, so the rest of us were in a semi-circle around him literally at his feet and raptured while he answered our questions and talked about being a film critic.
• 10:24
  [SPEAKER_02]: Well, Googling around, I tried to find out how many episodes of Cisco Indy words various shows there were.
• 10:29
  [SPEAKER_02]: I discovered that someone else had already done this work, that had an even larger sample size than I did.
• 10:33
  [SPEAKER_02]: However, their numbers came out pretty similar to mine with a 74.2% agreement.
• 10:39
  [SPEAKER_02]: Okay.
• 10:40
  [SPEAKER_02]: Since I have your attention, there are some other things I want to talk about, one thing is a question for BIMS.
• 10:45
  [SPEAKER_02]: What was it like to be a student at the UCLF film program?
• 10:49
  [SPEAKER_02]: This is something I fantasized about when I was a senior in high school class of 78 But attending UCLA just seems like a pipe dream.
• 10:55
  [SPEAKER_02]: I realized you attended many years after I would have But I've always been curious about the experience for a student was
• 11:03
  [SPEAKER_02]: I don't want to answer that now because there's other questions.
• 11:06
  [SPEAKER_00]: Okay, I'll give this a second.
• 11:07
  [SPEAKER_00]: Then I do want to circle back around to this.
• 11:09
  [SPEAKER_00]: Let's just call any word conversation because I have a thought about that.
• 11:12
  [SPEAKER_00]: But yeah, I attended UCLA Film School in the early 2000s.
• 11:17
  [SPEAKER_00]: UCLA has two programs.
• 11:18
  [SPEAKER_00]: There's an undergraduate and a graduate program.
• 11:21
  [SPEAKER_00]: Yeah.
• 11:21
  [SPEAKER_00]: The graduate program is more prestigious.
• 11:23
  [SPEAKER_00]: I did not stick around for that.
• 11:24
  [SPEAKER_00]: I was in the undergraduate program.
• 11:26
  [SPEAKER_00]: They only admitted 30 people a year.
• 11:31
  [SPEAKER_00]: It was very competitive.
• 11:33
  [SPEAKER_00]: They only had a very limited number that came from within UCLA.
• 11:37
  [SPEAKER_00]: So I was already going with the full intention of going to film school.
• 11:43
  [SPEAKER_00]: And I had no backup plan.
• 11:45
  [SPEAKER_00]: If I didn't get in, I had no idea what I was going to do.
• 11:48
  [SPEAKER_00]: I'd probably fall back and I'd English to agree or something.
• 11:52
  [SPEAKER_00]: But yeah, you know, the best part about it, really, was getting to know a whole bunch of people who are equally passionate about movies, the other 29 people I went to school with.
• 12:11
  [SPEAKER_00]: They were all interested in different things.
• 12:13
  [SPEAKER_00]: They all had different expertise.
• 12:14
  [SPEAKER_00]: You're all introducing each other to different movies.
• 12:16
  [SPEAKER_00]: We were working on each other's films.
• 12:18
  [SPEAKER_00]: We got to try out different aspects of every production.
• 12:21
  [SPEAKER_00]: I've often said that I think film school isn't really necessary for anybody, but the advantages are you get to be around people who are on a similar place in your life and of similar passions.
• 12:31
  [SPEAKER_00]: And also you get to try a lot of stuff.
• 12:34
  [SPEAKER_00]: You get to fail on a lot of stuff.
• 12:35
  [SPEAKER_00]: Like I thought I may be, I'd be a really good cinematographer.
• 12:38
  [SPEAKER_00]: I did not realize how much math was involved.
• 12:40
  [SPEAKER_00]: So I wasn't, but I got to try and that was really useful because now I understand a bit more of what goes into that.
• 12:48
  [SPEAKER_00]: So that was really fun.
• 12:50
  [SPEAKER_00]: It was really exciting.
• 12:51
  [SPEAKER_00]: I got to do a couple of projects, which are not very good and I've never put them online.
• 12:55
  [SPEAKER_00]: And they were very just me experimenting.
• 12:58
  [SPEAKER_00]: Some of them were more fun than others.
• 12:59
  [SPEAKER_00]: My favorite one that I did.
• 13:00
  [SPEAKER_00]: We did one class where we were teach, we were,
• 13:07
  [SPEAKER_00]: We talked, we learned various things.
• 13:09
  [SPEAKER_00]: It was like film editing and there was like sound design, but one of the first things we learned was directing a three camera sitcom set up.
• 13:18
  [SPEAKER_00]: So we would write a sketch.
• 13:20
  [SPEAKER_00]: We would have some actors do it, and then we would be in a booth and we would be editing like camera one Camera two camera one again camera three, and then we edited it all on the fly rather than do it in post Yeah, I had a whole big thing planned.
• 13:33
  [SPEAKER_00]: I had actors that had known since high school who were going to join me all of whom dropped out the day before And I had to come up with something last minute on the fly without any actors So I came up with a sitcom idea called meat the blim visibles and it was about a invisible family
• 13:48
  [SPEAKER_00]: But it was tricky though because I had to get all of the cameras on a mark so that I could follow Invisible people who weren't didn't exist around the room so the physical space was clear.
• 13:59
  [SPEAKER_00]: Okay, that's cute.
• 14:00
  [SPEAKER_00]: It was a little it was trickier than I think some people couldn't tell what I was doing on the day when I edited together it looked really good.
• 14:06
  [SPEAKER_00]: So that was really fun.
• 14:07
  [SPEAKER_00]: But I loved doing it.
• 14:08
  [SPEAKER_00]: I learned a lot.
• 14:09
  [SPEAKER_00]: I got to try out a lot of new things.
• 14:10
  [SPEAKER_00]: I had to experience a lot of fun things.
• 14:13
  [SPEAKER_00]: I got to meet some very, very influential professors who changed my perspective.
• 14:19
  [SPEAKER_00]: It was really lovely and I wouldn't have traded for the world.
• 14:24
  [SPEAKER_00]: Um, it sounds marvelous.
• 14:26
  [SPEAKER_00]: It was, it was nice.
• 14:27
  [SPEAKER_00]: You get you can totally get into film without going to film school, but if you get in, there's, there are advantages in it is school.
• 14:33
  [SPEAKER_02]: I went to a very unconventional film school.
• 14:35
  [SPEAKER_02]: I went to the Academy of Entertainment and Technology, which was an, an adjunct of Santa Monica College.
• 14:42
  [SPEAKER_02]: And it was a lot more business oriented, so I had to take things like accounting.
• 14:46
  [SPEAKER_02]: I thought they'd talk to you to give us like classes on a smart edge on pitch meetings.
• 14:51
  [SPEAKER_02]: And if you'd want it came to learning about the ins and outs of the way movies are shot, I'd seen enough movies at that point that I knew there was no one way to do it.
• 14:58
  [SPEAKER_02]: True.
• 14:59
  [SPEAKER_02]: There were, you know, there's bad ways to do it, but there's also...
• 15:01
  [SPEAKER_02]: There's technical stuff you can learn that's true no matter what, but you're right.
• 15:05
  [SPEAKER_02]: So rather than go out there with a camera I figured how do I like make this a living like how do I actually put this into practice You know, we had to do things like gather together with a bunch of classmates and cut like brainstorm and animated series and then pitch it like a more than entire pitchfac
• 15:25
  [SPEAKER_00]: See, that was the kind of thing that they focused on more at UCLA when you were in grad school.
• 15:28
  [SPEAKER_00]: Okay.
• 15:29
  [SPEAKER_00]: There was, you could be a lot more specific and it was a lot more career oriented.
• 15:34
  [SPEAKER_00]: And you got a lot more opportunities to do bigger projects.
• 15:38
  [SPEAKER_00]: It's been a long time.
• 15:39
  [SPEAKER_00]: Yeah.
• 15:39
  [SPEAKER_00]: But yeah, that's really great.
• 15:40
  [SPEAKER_00]: Okay, we should move on to the letter.
• 15:42
  [SPEAKER_02]: Then next in the letter is, Whitney, one time, many podcasts separated to that commentary track, you said head was unwatchable.
• 15:51
  [SPEAKER_02]: I didn't think you just liked it at all.
• 15:53
  [SPEAKER_02]: So I'm curious as to why you called it unwatchable, because it's unwatchable.
• 15:58
  [SPEAKER_02]: It's in the best way.
• 15:59
  [SPEAKER_02]: And the, well, that's not necessarily a negative descriptor, but I think it's accurate.
• 16:04
  [SPEAKER_02]: It's, by the way, real fast, tell people what this movie is, Reboominant.
• 16:08
  [SPEAKER_02]: Okay, the monkeys, after the TV series ended, decided to get together with the director of the TV show, Barbara Felsen and his buddy, Jack Nicholson.
• 16:18
  [SPEAKER_00]: and uh... they went up to a cabin together they took a bunch of drugs and they wrote this really psychedelic screenplay about the artificiality of pop music for the record we will don't know the monkeys are in the bank of the beetles uh... an american television series was crafted about a beetle's esk american pop band uh... that had a lot of wacky misadventures and they were very slightly friendly and very cute but when they made the movie they wanted to issue that image
• 16:44
  [SPEAKER_02]: Well, the problem was, the beetles were the fab four.
• 16:49
  [SPEAKER_02]: The monkeys were, they called them the prefab four because they were prefabricated.
• 16:54
  [SPEAKER_02]: They held auditions, they said, we're going to make the monkeys, you have to be like charming and also be good on TV because this is going to be a TV show, but you're also going to put out records, you have to be able to sing all of this stuff together.
• 17:07
  [SPEAKER_02]: The only real professional actor they got was Mickey Dolans, who was a child actor.
• 17:12
  [SPEAKER_02]: But they assembled, you know, Mike Nesmith, Peter Tork, and Davey Jones.
• 17:16
  [SPEAKER_00]: Yeah.
• 17:16
  [SPEAKER_00]: And we've heard they say that unique to the monkeys, like the Spice Girls, were created this way.
• 17:20
  [SPEAKER_00]: That one direction was created that way.
• 17:21
  [SPEAKER_00]: That doesn't mean they're bad bands.
• 17:24
  [SPEAKER_02]: So yeah, they, and there were some criticism that they don't play their own instruments.
• 17:27
  [SPEAKER_02]: They weren't considered like a real band at the time.
• 17:30
  [SPEAKER_02]: They weren't a band.
• 17:31
  [SPEAKER_00]: And they were about rebellion.
• 17:33
  [SPEAKER_02]: And the show, by the way, is dazzlingly fun.
• 17:36
  [SPEAKER_02]: It's a contemporary with like the Avengers and Batman.
• 17:39
  [SPEAKER_02]: It's like, you know, the British Avengers, the spy series.
• 17:43
  [SPEAKER_02]: You know, these kinds of really, really fun rock as TV shows.
• 17:47
  [SPEAKER_02]: And sadly, they started to feel the criticisms that they weren't a real band, that they were, they were less than that.
• 17:57
  [SPEAKER_02]: That they were this product of this guy, Commercial Endeavor.
• 18:00
  [SPEAKER_02]: And so they actually started to put out some specials.
• 18:03
  [SPEAKER_02]: If, look it up, this is also in watchable.
• 18:05
  [SPEAKER_02]: It's called 33 and a third revolutions per monkey.
• 18:08
  [SPEAKER_02]: The TV special they did about how they were like being manipulated by this evil mad scientist.
• 18:14
  [SPEAKER_02]: I've heard of this, I've never seen it.
• 18:16
  [SPEAKER_02]: It's a little obscure.
• 18:18
  [SPEAKER_02]: Also, they were getting way into weed.
• 18:19
  [SPEAKER_02]: If there's an episode of the monkeys called the Frodeskaper, Frodeskaper.
• 18:25
  [SPEAKER_02]: And they're being talked about the Frodo Smonstern, the Frodo Smonstern is just like a giant weed plant, it's like a triffid made of marijuana.
• 18:32
  [SPEAKER_02]: It's pretty awesome.
• 18:33
  [SPEAKER_02]: So they're going a little psychedelic at this point and they decided to make a movie in 1968.
• 18:37
  [SPEAKER_02]: It was just called Head, as in Head Shop.
• 18:41
  [SPEAKER_02]: Uh, but many other meanings, but it's, it's their most abstract thing yet.
• 18:46
  [SPEAKER_02]: The first thing that happens is there's an opening to a bridge and we see the monkeys running pan it to down the street like in a hard day's night and they jump off the bridge into the water, presumably killing themselves.
• 18:56
  [SPEAKER_00]: Uh, that is the vibe of it.
• 18:57
  [SPEAKER_02]: But then they start putting porpoison on the swim around the water.
• 19:00
  [SPEAKER_00]: Because that's how hard days night began as well.
• 19:03
  [SPEAKER_00]: The Beatles were being chased around, except the monkeys decided fuck it, it just jumped off and brought it.
• 19:07
  [SPEAKER_02]: And it's like vignette ever and vitt after vignette.
• 19:09
  [SPEAKER_02]: A lot of them were really unconnected.
• 19:11
  [SPEAKER_00]: Yeah.
• 19:12
  [SPEAKER_00]: Like, there's a section where we're just stuck where we're miniaturized and we're stuck in Victor Mechor's air.
• 19:17
  [SPEAKER_00]: Well, the victim of Chor's.
• 19:19
  [SPEAKER_00]: Was it a victim of Chor's air?
• 19:20
  [SPEAKER_00]: There were second summons here.
• 19:22
  [SPEAKER_00]: Um, that's, there's some, something like that.
• 19:24
  [SPEAKER_00]: It's my point is it's really abstract.
• 19:25
  [SPEAKER_00]: It's really abstract.
• 19:26
  [SPEAKER_02]: It's just seen where they're like French lesionaires and, you know, they're, uh, another scene where, um, Davy Jones actually has a really terrific dance with Tony Basel.
• 19:35
  [SPEAKER_00]: Oh, yeah, that's good, you know.
• 19:36
  [SPEAKER_02]: So a lot and the music is fantastic, it's a great soundtrack, but it's unless it's like midnight and your high, it's going to be hard to watch.
• 19:44
  [SPEAKER_00]: There's no through line, there's no narrative to speak of, it is actively daring you to watch it.
• 19:49
  [SPEAKER_02]: Yeah, it's really trying to push you out while also giving us message.
• 19:53
  [SPEAKER_02]: I really dig it, but I still describe it as unwatchable.
• 19:56
  [SPEAKER_00]: I think it sounds harsher than you mean it, but it is technically accurate.
• 20:00
  [SPEAKER_02]: Anyway, this letter goes on, cancelled too soon was the podcast that brought me to you and I really enjoyed it.
• 20:08
  [SPEAKER_02]: I'm sorry, it's fallen by the wayside just too much time for us right now.
• 20:12
  [SPEAKER_02]: We're picking a show that didn't have many episodes and doing one or two episodes a week be a possibility.
• 20:16
  [SPEAKER_02]: That way you don't have to watch an entire season before recording a podcast.
• 20:20
  [SPEAKER_02]: I really hope that someday you do Captain Nice.
• 20:23
  [SPEAKER_02]: Yeah, we meant to talk about that.
• 20:25
  [SPEAKER_02]: Nice.
• 20:25
  [SPEAKER_02]: Have you ever considered doing something on YouTube?
• 20:27
  [SPEAKER_02]: Maybe something like what your friends Kristy and Alonsojo.
• 20:29
  [SPEAKER_02]: Okay, I've taken up enough of your time.
• 20:32
  [SPEAKER_02]: Thanks for all the insights and great conversations.
• 20:34
  [SPEAKER_02]: You give on your podcasts to your pal Brian.
• 20:37
  [SPEAKER_02]: Well, thanks for writing in, Brian.
• 20:38
  [SPEAKER_00]: Two, a couple of those later points.
• 20:40
  [SPEAKER_00]: First off, Kristi Lemir and Alonza D'Aurolde, friends of the show.
• 20:44
  [SPEAKER_00]: We had Kristi on our previous show a long time ago.
• 20:47
  [SPEAKER_00]: Alonza D'Aurolde, we had an interview with about the latest edition of his book.
• 20:50
  [SPEAKER_00]: Have yourself a movie, a little Christmas volume two, which you should absolutely buy right now.
• 20:57
  [SPEAKER_00]: Buy his book, buy his book.
• 21:00
  [SPEAKER_00]: But we used to review movies together on the...
• 21:07
  [SPEAKER_00]: What's the flick?
• 21:08
  [SPEAKER_00]: What's the flick?
• 21:09
  [SPEAKER_00]: The young Turks know her.
• 21:09
  [SPEAKER_00]: Yeah.
• 21:10
  [SPEAKER_00]: Well, what the flick was an adjunct to that, and I'm actually really glad I left before Young Turks changed their old vibe and got kind of, I don't want to agree with what they turned into.
• 21:20
  [SPEAKER_00]: Yeah.
• 21:21
  [SPEAKER_00]: But it was really, really fun.
• 21:21
  [SPEAKER_00]: They were the main group.
• 21:25
  [SPEAKER_00]: a Lanzo, Christy, Madachity, formerly of Rotten Tomatoes, and Ben Mankowitz.
• 21:30
  [SPEAKER_00]: And then they would bring me on every once in a while if no one else was available or if it was maybe some very specific genre thing that I was more into than anyone else.
• 21:41
  [SPEAKER_00]: And I was very honored to do that, I wish I could have done it more.
• 21:44
  [SPEAKER_00]: But when that ended, they started their own YouTube series called Breakfast All Day, which
• 21:55
  [SPEAKER_00]: We could do that, but honestly, that's basically what we do now, but with a little video.
• 22:01
  [SPEAKER_00]: Yeah.
• 22:01
  [SPEAKER_00]: If we did video, and I would love to do video, I would like to do video a little more professional, not to do their own professional, but like with a little more gloss to it, I'd like to have a set.
• 22:12
  [SPEAKER_00]: I'd like to have some editing like and I just we don't have the time we don't have the money We don't have the space we don't have the equipment to do it even remotely the way we'd like to do it Yeah, if that opportunity arises we would jump at it, but we do not have
• 22:28
  [SPEAKER_00]: the capacity at the moment, but maybe someday I would love to, because I really didn't, I really didn't miss it.
• 22:35
  [SPEAKER_00]: I really was a really good time.
• 22:38
  [SPEAKER_00]: But please, watch breakfast all day.
• 22:39
  [SPEAKER_00]: I recently did an episode of it with Christy where we reviewed Shelby Oaks.
• 22:44
  [SPEAKER_00]: And we talked about a lot of stuff we reviewed.
• 22:45
  [SPEAKER_00]: We mentioned on our review, but with Christy head around ideas and that was really fun.
• 22:49
  [SPEAKER_00]: cancelled too soon was the show that kicked this whole channel off.
• 22:53
  [SPEAKER_00]: We review TV series that were only one season or less.
• 22:56
  [SPEAKER_00]: A lot of you probably remember it.
• 22:58
  [SPEAKER_00]: We occasionally bring it back.
• 23:00
  [SPEAKER_00]: It is our baby.
• 23:00
  [SPEAKER_00]: It is our love child and it is also too difficult to do on a regular basis.
• 23:04
  [SPEAKER_00]: Yes, unless we only do pilots which is fine but it gets a little old and it's not really what we intended.
• 23:10
  [SPEAKER_00]: We used to do it like an entire season a week.
• 23:12
  [SPEAKER_00]: Yeah, we were just wanting a super ambitious with that show, but now we do so many more things you know, Whitney has a family, we have a bigger, more complicated day jobs and family obligations and other podcasts we want to do as well, and they're all tricky.
• 23:28
  [SPEAKER_00]: We are trying to expand a little bit.
• 23:30
  [SPEAKER_00]: We recently started doing another occasional side podcast called This Ain't No Game,
• 23:42
  [SPEAKER_00]: tie-in board games, which is a lot of fun.
• 23:46
  [SPEAKER_00]: We've done two episodes of that so far.
• 23:47
  [SPEAKER_00]: We also just try out something called the All Nighter, in which Whitney and I both came up with competitive All Night movie Marathons for Halloween night.
• 23:57
  [SPEAKER_00]: So you can schedule a fun night with your friends and that's currently available now.
• 24:01
  [SPEAKER_00]: So we do want to do other things and we'd love to get back to cancel too soon.
• 24:04
  [SPEAKER_00]: We would need more time.
• 24:07
  [SPEAKER_00]: Yes, I was actually more than anything else.
• 24:09
  [SPEAKER_00]: We need more time.
• 24:11
  [SPEAKER_00]: Real real fast about Cisco on either though, and I think there was this perception that they argued a lot.
• 24:18
  [SPEAKER_00]: And even though I think technically they agreed a lot, either they'd give both gave a thumbs down as both gave a thumbs up a lot.
• 24:25
  [SPEAKER_00]: I think the best part about their show was that they could agree on the overall quality of a thing and still find something to talk about, which sometimes took a form of disagreement in terms of what they valued about the thing or what it meant.
• 24:39
  [SPEAKER_00]: Yes, so they could both like a thing and have a very different take on it, which could feel a little bit wine tag and this take.
• 24:46
  [SPEAKER_00]: So, I think that's, I think it's not just a simple, a rustic of up-down dust.
• 24:53
  [SPEAKER_00]: I think it's also a matter of getting into the meat of the film itself and having a conversation about it.
• 25:00
  [SPEAKER_00]: But we should move on.
• 25:00
  [SPEAKER_00]: We have another letter.
• 25:01
  [SPEAKER_00]: Don't we do?
• 25:02
  [SPEAKER_02]: We have another letter.
• 25:02
  [SPEAKER_02]: This one is on the globe.
• 25:05
  [SPEAKER_02]: These women just nice.
• 25:07
  [SPEAKER_02]: Business size envelopes.
• 25:08
  [SPEAKER_02]: Yeah, old fashioned.
• 25:09
  [SPEAKER_02]: We've got the postcards and stuff before and this one comes from Paul Kenosian.
• 25:13
  [SPEAKER_02]: Hi, Paul.
• 25:14
  [SPEAKER_02]: Paul long time.
• 25:15
  [SPEAKER_02]: Listen.
• 25:15
  [SPEAKER_02]: Long time for the show.
• 25:17
  [SPEAKER_02]: He's he's we love it.
• 25:19
  [SPEAKER_02]: Yeah, long time list.
• 25:20
  [SPEAKER_02]: I'm a big fan of his anyway.
• 25:21
  [SPEAKER_02]: It says Dearbibs and Whitney.
• 25:22
  [SPEAKER_02]: Hi.
• 25:23
  [SPEAKER_02]: I've tried watching one flier of the coocus nest with one eye toward McMurphy being asshole and nurse Ratchet being the heroin.
• 25:31
  [SPEAKER_02]: But that take just doesn't work.
• 25:33
  [SPEAKER_02]: This is based on a conversation we had about Cookers Nest.
• 25:37
  [SPEAKER_00]: I can't remember what exactly, but it wasn't that long ago.
• 25:39
  [SPEAKER_02]: It wasn't that long ago.
• 25:40
  [SPEAKER_02]: And I remember, speaking of Cisco in Hebrew, I remember reading Roger Ebert's essay on Cookers Nest.
• 25:47
  [SPEAKER_02]: Yeah.
• 25:47
  [SPEAKER_02]: And how we said when he was a young man, he watched Cookers Nest.
• 25:50
  [SPEAKER_02]: And he really loved Mac Murphy's.
• 25:51
  [SPEAKER_02]: Like he's like the rebel who's kind of the hero.
• 25:53
  [SPEAKER_02]: And nurse ratchet is this villain.
• 25:55
  [SPEAKER_02]: and then he ended up watching it again when he was much older and he felt that McMurphy was this awful person.
• 26:01
  [SPEAKER_02]: This is like a terrible upstart in how nurse ratchet was actually a little bit more sympathetic.
• 26:06
  [SPEAKER_00]: Yeah, if anyone here has never seen one of the coos nest in a nutshell, it was directed by Milish Forman, it's one of only three films to win the top five Academy Awards, a picture director, actor, actress, and screenplay.
• 26:18
  [SPEAKER_00]: And it starts Jack Nicholson as a prisoner who decides he's going to get like an easier go of his time in jail by pretending he has mental health issues So that he will be put on like psychiatric leave and he gets a kind of an easier life in a mental institution surrounded by people with more serious problems But it all backfires on him really hard and nurse ratchet played by the great Louise Fletcher That's probably what we were talking about in the past nine
• 26:46
  [SPEAKER_00]: because she ended up on that show, but there's this nursing nurse ratchet who is very much, if she's not the villain, she's at least his antagonist.
• 26:56
  [SPEAKER_00]: Yeah.
• 26:56
  [SPEAKER_00]: And different takes of the film, demonize her, and he bird apparently had a shift at some point.
• 27:02
  [SPEAKER_02]: And it's like, anyway, um,
• 27:04
  [SPEAKER_02]: But the take doesn't work that McMurphy is an asshole in her trash trash it is the heroine just because she drives Billy Babitt to kill himself in the end now Netflix even had a serious called ratchet about how evil and can I think she is but ignoring that I just don't see how you could see nurse ratchet as the put upon saintly figure You seem to make her out to be I don't think just saintly.
• 27:25
  [SPEAKER_00]: I just think she's sympathetic I think I think the argument is that she's a more complicated figure than that also
• 27:32
  [SPEAKER_00]: Ratchet was a Ryan Murphy show and I don't look to Ryan Murphy for listen Ryan Murphy has done some good stuff.
• 27:39
  [SPEAKER_00]: Ryan Murphy is also extremely prolific and I think one of the reasons why he's prolific is a lot of his stuff is very sensational and not necessarily very deep.
• 27:48
  [SPEAKER_02]: He has ideas that I'm drawn to and the execution just always sucks.
• 27:53
  [SPEAKER_02]: I've tried more than once to get into American Horror Story.
• 27:56
  [SPEAKER_02]: It's just cool idea.
• 27:59
  [SPEAKER_00]: It always starts great for me.
• 28:01
  [SPEAKER_00]: Like the first few episodes.
• 28:02
  [SPEAKER_00]: Oh, this is so intriguing.
• 28:03
  [SPEAKER_00]: They're setting up so many things.
• 28:04
  [SPEAKER_00]: And then I find out that the things that I was most interested in are the least important things to Ryan Murphy.
• 28:09
  [SPEAKER_00]: And they fall by the wayside and the ends of following should I didn't care about.
• 28:13
  [SPEAKER_02]: he's got a knack for something he clearly has he hits his eye guys but I wouldn't look to ratchet as a definitive take on one of the characters but you know it is a take to be fair back to the letter as as for the best film scores this is something we did on the down list recently I suppose it's personal preference and subjective but curl zippers score for children shouldn't play with dead things is one of my all-time phase
• 28:41
  [SPEAKER_02]: It has that weird electronic circuit self-destruction that forbidden planet has, death dream, and the creepy church organ score from deranged as well.
• 28:53
  [SPEAKER_02]: I haven't gotten to the end of your greatest vampire movies podcast yet, but if the name genre land doesn't appear so that they're there, then my friends, there is a hole in your vampire, film education, the size of the grand canyon.
• 29:05
  [SPEAKER_00]: Okay, I've educated in genre land.
• 29:07
  [SPEAKER_00]: I think I like humor a little less than you guys.
• 29:11
  [SPEAKER_00]: That's a big, big, big chunk of vampire film lore.
• 29:15
  [SPEAKER_02]: He made the weirdest, hideous, most psychedelic vampire dramas in this dream-like stylish way that belight a ton of pot smoking on the part of the gas can grow.
• 29:23
  [SPEAKER_02]: Run don't walk to canopy, or hoopla, where you can see a thrill of the vampires, lips of blood, rape of the vampire, the iron rows, etc.
• 29:33
  [SPEAKER_02]: Yeah.
• 29:34
  [SPEAKER_00]: These are subtle things.
• 29:35
  [SPEAKER_00]: Yeah.
• 29:35
  [SPEAKER_00]: Yeah.
• 29:35
  [SPEAKER_00]: Can't sell from the title.
• 29:37
  [SPEAKER_02]: Jesus Christ.
• 29:39
  [SPEAKER_02]: Also, daughters of darkness, 1971, if you haven't seen it, see it.
• 29:42
  [SPEAKER_02]: Hmm.
• 29:42
  [SPEAKER_02]: I think I have seen daughters of darkness.
• 29:44
  [SPEAKER_00]: But definitely seen daughters of darkness.
• 29:45
  [SPEAKER_00]: I think I've seen lips of the vampire on one of the other ones.
• 29:47
  [SPEAKER_02]: Yeah.
• 29:48
  [SPEAKER_02]: Delphine Seyrig is just amazing in it and it's the samely stylish.
• 29:52
  [SPEAKER_02]: Some accidental discoveries I made in my psychotronic journey after sitting through a pile of stinkers is the final war, 1960, which is like Gojita, only with the H bomb and impending world war standing in for a giant lizard.
• 30:06
  [SPEAKER_02]: Fun!
• 30:06
  [SPEAKER_02]: I don't know that film.
• 30:07
  [SPEAKER_00]: Yeah, I'm afraid of it, never saw.
• 30:09
  [SPEAKER_02]: Yeah, also good on you for having a, you know, a psychotronic education.
• 30:11
  [SPEAKER_02]: There's always more to discover.
• 30:13
  [SPEAKER_00]: Honestly, I don't care how much it is.
• 30:15
  [SPEAKER_00]: Find yourself a psychotronic film guide and study it.
• 30:18
  [SPEAKER_02]: Yeah, it doesn't matter if it's, if it's a 30 40 year old book.
• 30:21
  [SPEAKER_02]: Just get it because it's going to have this.
• 30:23
  [SPEAKER_02]: The movies are still relevant.
• 30:25
  [SPEAKER_02]: Yeah.
• 30:25
  [SPEAKER_02]: This movie pulls no punches of being grim, just bearing into pressing his head.
• 30:28
  [SPEAKER_02]: Oh, that's, that's my jam.
• 30:31
  [SPEAKER_02]: Now I'm onto the Frankenstein's and,
• 30:37
  [SPEAKER_02]: Frank is that and sorry can't carry the handwriting here and you will and will you quit calling him Frank and Dr. Frankenstein's monster
• 30:46
  [SPEAKER_02]: But Dr. Frankenstein made him.
• 30:48
  [SPEAKER_00]: He's Dr. Frankenstein's mind.
• 30:49
  [SPEAKER_02]: I know it's not technically correct, but if he doesn't have a square head and bolts in his neck, he's not Frankenstein.
• 30:55
  [SPEAKER_02]: I recently read the book again and found it so fucking overwrought and no dramatic that it is truly one of those cases where the movie is better than the book.
• 31:03
  [SPEAKER_02]: Oh wow, I think we can agree to disagree on that, yeah.
• 31:06
  [SPEAKER_02]: I can't wait until Jack Pierce's original design, which universal copyrighted falls into the public domain so they can start making Frankenstein
• 31:16
  [SPEAKER_02]: Well, you know, I do feel that all Dracula's need to look at least a little bit like Bill of the guy say.
• 31:23
  [SPEAKER_02]: Or counter a lot.
• 31:24
  [SPEAKER_02]: Or counter a lot.
• 31:25
  [SPEAKER_02]: I'm fine with that.
• 31:26
  [SPEAKER_02]: Yeah.
• 31:27
  [SPEAKER_02]: But I'm okay with different interpretations.
• 31:30
  [SPEAKER_00]: I think different interpretations are good, but sometimes they're so iconic that all you can do is either follow it or intentionally reject it.
• 31:38
  [SPEAKER_00]: Yeah.
• 31:38
  [SPEAKER_00]: And I think at some point it should be, I think we should just be allowed to do the car off version.
• 31:42
  [SPEAKER_00]: That's true.
• 31:44
  [SPEAKER_02]: Anyway, thanks for early great reviews and recommendations.
• 31:47
  [SPEAKER_02]: Singapore sling had me going, this is fucked up the whole way through it, and breakfast in America rules, cheers, Paul Kenosian, and the backward running vomit.
• 31:55
  [SPEAKER_02]: That is a reference to a canceled two soon episode, we'll let you look that way.
• 32:00
  [SPEAKER_02]: I love dinner in America.
• 32:02
  [SPEAKER_02]: That's really fantastic and Singapore slang is pretty fucked up.
• 32:06
  [SPEAKER_00]: Children shouldn't play with dead things as a hell of a pick for the best film scores ever.
• 32:10
  [SPEAKER_00]: I haven't seen that movie since I was in college and I had, okay, so one of my friends in high school, very nice guy.
• 32:20
  [SPEAKER_00]: very good drug dealer, and as a graduation presence to me, and this was back when it was still illegal in California, he gave me a brick of weed, a whole fucking brick which was a lot.
• 32:36
  [SPEAKER_00]: Especially at the time and I think I probably saw half the trauma catalog under the influence of that break of weed So I haven't seen it since and I don't remember it terribly well, but still though I know what you're getting out and that's a really really really fun pick But yeah, thank you for that you're always always a pleasure Paul.
• 32:57
  [SPEAKER_00]: Thank you for writing in yeah, that's for so long And now we have emails
• 33:02
  [SPEAKER_02]: We do have emails.
• 33:03
  [SPEAKER_02]: Let's see here.
• 33:05
  [SPEAKER_02]: Let's switch over to the emails.
• 33:06
  [SPEAKER_02]: Let's do it.
• 33:07
  [SPEAKER_02]: Here.
• 33:07
  [SPEAKER_02]: Here's a letter from Lauren.
• 33:09
  [SPEAKER_02]: Hello, Lauren.
• 33:10
  [SPEAKER_02]: Lauren.
• 33:11
  [SPEAKER_02]: Hello, Bibs and McCool.
• 33:12
  [SPEAKER_02]: Oh, that's, that's my letters.
• 33:14
  [SPEAKER_02]: Nick, man.
• 33:14
  [SPEAKER_00]: You may call him rock my school.
• 33:16
  [SPEAKER_02]: Cool.
• 33:16
  [SPEAKER_02]: I didn't say it at this podcast.
• 33:17
  [SPEAKER_02]: That's the coolest Nick name anyone's ever had.
• 33:19
  [SPEAKER_02]: And I'm very happy before.
• 33:21
  [SPEAKER_02]: And we got a few letters in this batch about one battle after another because you are the only critics who gave it kind of a negative review.
• 33:29
  [SPEAKER_02]: But we're definitely in the minority.
• 33:33
  [SPEAKER_02]: I wanted to push a little bit on your reviews of one battle after another.
• 33:36
  [SPEAKER_02]: I totally respect your opinions but wanted to ask him follow questions.
• 33:39
  [SPEAKER_02]: Listening to your reviews, you seem to have pretty substantial issues with the screenplay, and while it personally worked for me in ways that it didn't for you, I can see where your arguments are coming from.
• 33:48
  [SPEAKER_02]: Oh, it can ask Bob.
• 33:49
  [SPEAKER_02]: That's the, uh, Leonardo DiCaprio character.
• 33:52
  [SPEAKER_02]: Bob is not a traditional protagonist, and the film doesn't follow a traditional screenplay logic.
• 33:56
  [SPEAKER_02]: To me, it felt a lot like the Big Lebowski.
• 33:58
  [SPEAKER_02]: Uh-huh.
• 33:59
  [SPEAKER_02]: Where?
• 33:59
  [SPEAKER_02]: We compared it to a stone or a con.
• 34:00
  [SPEAKER_00]: I think we did.
• 34:00
  [SPEAKER_00]: Yeah.
• 34:01
  [SPEAKER_00]: I definitely converted a little basket in my room in review.
• 34:03
  [SPEAKER_02]: Where our protagonist is technically in the middle of a story that seems passive and rather unimportant.
• 34:07
  [SPEAKER_02]: That works for me, but I fully admit that it's pretty messy.
• 34:11
  [SPEAKER_02]: I think a large part of why it didn't work for me, though, is why I wanted to push on it.
• 34:15
  [SPEAKER_02]: A little.
• 34:16
  [SPEAKER_02]: You both poked plenty of justifiable holes in the screenplay and characters, and
• 34:19
  [SPEAKER_02]: But a film is not a book, that's the sum of the total experience films I've visual in Auditoria components as well.
• 34:25
  [SPEAKER_02]: And in my personal opinion, one battle after another is exceptional in those aspects.
• 34:29
  [SPEAKER_02]: When I saw the film I had a grin on my face the entire time because the craft on the screen showed a prowess that is increasingly rare in the studio system.
• 34:36
  [SPEAKER_02]: Johnny Greenwood's score was mastered for all and created the ideal atmosphere of the chaotic nature of the film.
• 34:42
  [SPEAKER_02]: I also love the cinematography with a special callout to the car chase
• 34:46
  [SPEAKER_02]: It's was at least two induced terror.
• 34:49
  [SPEAKER_02]: Likewise, I like to think the film's editing was superb, it created a flow that was really easy to slip into and outstates, and jumped between perspectives at a pace that nothing outstates welcome for me.
• 35:01
  [SPEAKER_02]: All of these things below the line, craft center pieces sold me on the film, even the screenplay was a little messy.
• 35:07
  [SPEAKER_02]: I just especially enjoy parts of filmmaking that are unique to the medium and thus maybe
• 35:12
  [SPEAKER_02]: Maybe I weigh those parts more than you do, question mark, or do you disagree with my take on that aspect of a film?
• 35:18
  [SPEAKER_02]: Do you think a film can succeed with great craft even if you dislike the screenplay?
• 35:22
  [SPEAKER_02]: Hope that doesn't come off as to a accusatory.
• 35:24
  [SPEAKER_02]: I really enjoy listening to your opinions even when I disagree with you Lauren.
• 35:27
  [SPEAKER_00]: Thank you Lauren, that means a lot to me.
• 35:29
  [SPEAKER_02]: The question was, I may reread it.
• 35:33
  [SPEAKER_00]: Well, it's basically...
• 35:34
  [SPEAKER_02]: Can do you think a phone can succeed with a great craft even if you just like the screen play?
• 35:39
  [SPEAKER_02]: Yes, 100%.
• 35:40
  [SPEAKER_00]: That doesn't necessarily mean it will, but it absolutely can.
• 35:44
  [SPEAKER_02]: And in fact, part of what I've been trying to do is a critic, like since the start, is deemphasize the...
• 35:52
  [SPEAKER_02]: the importance we place on story.
• 35:55
  [SPEAKER_02]: I've heard a lot of screen a lot of teachers, a lot of professors, a lot of fellow critics that I greatly respected admire.
• 36:01
  [SPEAKER_00]: I'm the same way I tend to be very story-forward.
• 36:03
  [SPEAKER_02]: Yeah, try to focus on the story and they see the story is really an important thing and my argument is when you walk away from a movie, it depends on the kind of screenplay you're watching but it's rare that the story is the thing that you went to see or the thing that you're even going to take away from that movie.
• 36:18
  [SPEAKER_02]: What is the story of most, like big action spectaculars?
• 36:23
  [SPEAKER_02]: You might be able to remember sort of the plot of some of these things.
• 36:26
  [SPEAKER_00]: Because there's a lot of story.
• 36:28
  [SPEAKER_00]: Why does the stuff that happens?
• 36:29
  [SPEAKER_00]: The story is the overall sort of arc and change.
• 36:33
  [SPEAKER_00]: And what important happened, not like... How did we find the password to get into the bankfall?
• 36:39
  [SPEAKER_00]: That's relevant.
• 36:40
  [SPEAKER_00]: The important thing that happens.
• 36:41
  [SPEAKER_00]: Exactly.
• 36:42
  [SPEAKER_02]: What is the Mac often?
• 36:43
  [SPEAKER_02]: Who are the cares?
• 36:44
  [SPEAKER_02]: What we remember when we walk away from movies
• 36:46
  [SPEAKER_02]: moments we remember a tone more than anything.
• 36:49
  [SPEAKER_02]: I think tone is far more important than story.
• 36:51
  [SPEAKER_02]: We remember some fun characters.
• 36:53
  [SPEAKER_02]: Remember funny lines of dialogue.
• 36:54
  [SPEAKER_02]: We remember an action set piece.
• 36:56
  [SPEAKER_02]: Remember the highlights of the film.
• 36:58
  [SPEAKER_02]: The story is the thing that we hang all that stuff on, and it needs to function to hang that stuff on, but it's the stuff that we want.
• 37:04
  [SPEAKER_00]: Well, and I think that's where you and I differ slightly, and that I think I really focus on the fact that the story, if the story doesn't function, those great moments don't work as well.
• 37:16
  [SPEAKER_00]: There are exceptions to this, but usually because a lot of other things are working in a very different way.
• 37:20
  [SPEAKER_00]: Typically speaking, we remember a big dramatic moment, like big goal without
• 37:25
  [SPEAKER_00]: father reconnected with his son and it meant so much and oh I keep rocky one that big match those things connect because the story let us there if we only saw that scene they wouldn't have never been much power yeah the the metaphor this very strange metaphor that i've I've used is um a story as a clothesline and the film is like a really elaborate quilt get hang on it
• 37:47
  [SPEAKER_02]: You're not here to see the clothes line.
• 37:50
  [SPEAKER_02]: You're here to see the quilt, but the clothes line has to be tight so you can actually see the quilt.
• 37:54
  [SPEAKER_02]: Yeah, it's necessary, but it's not the vital aspect.
• 37:58
  [SPEAKER_02]: It's not the art history there.
• 38:00
  [SPEAKER_00]: I'm definitely experimental films with the shoe this entirely and may or may not get away with it.
• 38:05
  [SPEAKER_00]: And I think, and I think,
• 38:07
  [SPEAKER_00]: When we're talking about a film where maybe one person doesn't like the story, but another person loves the more soup, as it is a superficial element, but like the more stylistic elements.
• 38:20
  [SPEAKER_00]: Think of like a Michael Bay movie, for example.
• 38:21
  [SPEAKER_00]: The plot usually not that great, but a lot of people love his exuberance and his
• 38:28
  [SPEAKER_00]: The theoretical quality of him.
• 38:30
  [SPEAKER_00]: There's a certain ecstatic cinema to Michael Bay when he's firing on all cylinders, which isn't all the time, but when he is, I get my people dig it.
• 38:38
  [SPEAKER_00]: I get swept up in it, even if the story is junk.
• 38:41
  [SPEAKER_00]: I think the difference is not that true or not true.
• 38:46
  [SPEAKER_00]: I think it's a matter of deciding where the line is, because that doesn't necessarily mean that the script is bad.
• 38:53
  [SPEAKER_00]: But the style is good, and that saves it.
• 38:56
  [SPEAKER_00]: The style can be good, but not good enough to save it.
• 38:59
  [SPEAKER_00]: For example, that is also very possible.
• 39:01
  [SPEAKER_02]: And I have an issue like, I'm very fond of, I recently bought the Criterion Box set for the Jacques Totti movie.
• 39:09
  [SPEAKER_02]: Yeah.
• 39:09
  [SPEAKER_02]: You watch most of your Hulu's holiday.
• 39:10
  [SPEAKER_02]: What's the story of that?
• 39:11
  [SPEAKER_02]: There's no story.
• 39:12
  [SPEAKER_01]: It goes on holiday.
• 39:13
  [SPEAKER_02]: He goes on holiday and has cute little, relatable moments.
• 39:17
  [SPEAKER_02]: There's not like an arc.
• 39:18
  [SPEAKER_02]: There's not a slice of life.
• 39:19
  [SPEAKER_01]: Yeah.
• 39:20
  [SPEAKER_02]: This little, little comedic set pieces.
• 39:21
  [SPEAKER_02]: And that's the whole movie that's it.
• 39:23
  [SPEAKER_02]: And if a movie is like that, I'm just going to be sort of swept up in the mood of it.
• 39:27
  [SPEAKER_02]: I love that.
• 39:28
  [UNKNOWN]: Yeah.
• 39:28
  [SPEAKER_02]: Um, but the movie tells you that's what it is.
• 39:31
  [SPEAKER_00]: That's true.
• 39:32
  [SPEAKER_02]: Yeah, I thought you're surprised by that pretty clear Yeah, um, I tried watching that with with my wife and she was totally frustrated.
• 39:38
  [SPEAKER_02]: She's we ended the moves like I like things that happen in my movies A lot of people don't know them the problem my issue with a film like one battle after another is yes The artistry and the actual technique in the filmmaking and the craft of it was pretty impeccable
• 39:53
  [SPEAKER_02]: But if it were a little bit less pointed, if there was less going on in a story way, and I could just sort of leave with these characters, and it was about just sort of a slice of life that they were going through, and they weren't like stakes or chases, then I would probably be kinder to it, because I would get to know those characters and live with them and understand sort of the tone of their lives.
• 40:17
  [SPEAKER_02]: And I trust a filmmaker like Paul Thomas Anderson to make that intriguing.
• 40:21
  [SPEAKER_02]: Or you make it really propulsive, you make it like a mission impossible film where the plot is the thing that's driving me forward, and I understand where the characters are and where they need to go, and I'm actually going to be swept along in the story, and we've got to get character moments along the way, like a mission impossible film.
• 40:41
  [SPEAKER_00]: Right.
• 40:42
  [SPEAKER_02]: Most action heroes don't have a lot of character.
• 40:44
  [SPEAKER_02]: They're stealing determination as they're default, and we get little bits of character along the way during a chase.
• 40:50
  [SPEAKER_02]: yeah or during like a down moment where they reveal something about themselves that's typical yeah one battle after another was neither fish nor foul for me I appreciate it a lot of the smaller character moments but then it started to pick up in this story way and expected me to get propelled all of a sudden to new story elements that were introduced dead felt like they weren't thinking things through there was
• 41:14
  [SPEAKER_02]: It just needed a better editor.
• 41:16
  [SPEAKER_02]: You need to cut out a lot of that stuff.
• 41:18
  [SPEAKER_00]: For me, I think I alluded to this earlier, but I think if you pay attention to a film, and the filmmaker knows what they're doing, the filmmaker is gonna tell you how to watch their movie.
• 41:28
  [SPEAKER_00]: Yeah.
• 41:29
  [SPEAKER_00]: They're gonna tell you they're gonna give you a hint early on, sometimes just flat out say, this is the kind of film we're watching.
• 41:34
  [SPEAKER_00]: We're watching Superficial Entertainment, we're watching something with depth, we're watching something that's complicated, we're watching something challenging, we're watching something stylish, honestly, not stylish.
• 41:43
  [SPEAKER_00]: They'll tell you, and it's actually helps if you know some film history, for example, a one battle after another.
• 41:49
  [SPEAKER_00]: There's a scene where Leonardo DiCaprio watched the movie The Battle of Algiers, which I don't think is a coincidence.
• 41:56
  [SPEAKER_00]: That's a highly political movie about political dissidents that are very much bonded.
• 42:02
  [SPEAKER_00]: The reason why for me, the style doesn't rescue one bad left or another, and I totally get that it did for some people and fair enough.
• 42:10
  [SPEAKER_00]: But the reason why for me didn't work is because Paul Thomas Anderson isn't making escapist entertainment.
• 42:16
  [SPEAKER_00]: He is actively engaging in the text.
• 42:20
  [SPEAKER_00]: I haven't even subtexted the text.
• 42:22
  [SPEAKER_00]: The super text really, because he's so word about it.
• 42:25
  [SPEAKER_02]: What's that thing on top of the text that they never talk about that or what's that thing on top of the subtext?
• 42:30
  [SPEAKER_00]: Yeah, the text.
• 42:31
  [SPEAKER_00]: The text.
• 42:31
  [SPEAKER_00]: The line from birth a lot of great moving.
• 42:34
  [SPEAKER_00]: But he's telling you this is important.
• 42:36
  [SPEAKER_00]: He's telling you this is significant.
• 42:38
  [SPEAKER_00]: He's telling you this is about life supremacy.
• 42:39
  [SPEAKER_00]: He's telling you this is about ice.
• 42:42
  [SPEAKER_00]: He's telling you this is about immigration.
• 42:43
  [SPEAKER_00]: He's telling you this is about racism and sexism.
• 42:46
  [SPEAKER_00]: And all of these really significant important issues.
• 42:52
  [SPEAKER_00]: if those aren't explored well, then the fact that he brought them up.
• 42:58
  [SPEAKER_00]: is potentially to the film's detriment.
• 42:59
  [SPEAKER_00]: And the fact that it has superficially exciting elements, I could say, a photography, and I agree, Johnny Greenwood's course fantastic.
• 43:06
  [SPEAKER_00]: And that's Cartier said the end is very, very cool, but in service of what?
• 43:09
  [SPEAKER_00]: If it was in service of fun, that would be fine.
• 43:11
  [SPEAKER_00]: But it's in service of a narrative that is telling us it's important.
• 43:14
  [SPEAKER_00]: And I think overall the storytelling choices he makes undermines that it makes it less significant.
• 43:20
  [SPEAKER_02]: 100%.
• 43:21
  [SPEAKER_02]: There's this element in one battle after another, where
• 43:25
  [SPEAKER_02]: he is watching the Battle of Algiers and we're getting all of these images and iconography and a lot of genuine righteous anger against the injustices of the world, against problems of immigration, of gangstresses, of against sexism, against white supremacy.
• 43:38
  [SPEAKER_00]: When you film issues like that and you're moving again, you're telling people what the context is.
• 43:43
  [SPEAKER_02]: And there's at least one character who is very openly righteous and is very confident about fighting against these systems.
• 43:51
  [SPEAKER_02]: But then we shift focus to Bob, who starts to
• 43:54
  [SPEAKER_02]: like kind of believes in it but kind of
• 43:57
  [SPEAKER_02]: Now only guys kind of over and he's kind of he believes in it is kind of an affect now.
• 44:03
  [SPEAKER_02]: It's almost like a style now And again, it's the thing he did when he was young.
• 44:06
  [SPEAKER_02]: Yeah, yeah, like he might still sort of have that in the back of his mind But now he's just sort of like a burned out hippie.
• 44:12
  [SPEAKER_02]: Yeah, and if it had been about specifically his burnout That would have also been an interesting story, but then it gets swept up in the action Yeah, and it tries to make me feel that this is significant when the character himself is kind of burnt out on it
• 44:25
  [SPEAKER_02]: Am I supposed to be laughing at his efforts towards justice, or am I supposed to be fighting for him to break through again and start believing in this stuff again?
• 44:36
  [SPEAKER_02]: I don't see either of those things happen.
• 44:37
  [SPEAKER_00]: And I think whatever interpretation you take, I don't think the story is particularly satisfying.
• 44:42
  [SPEAKER_00]: Think of Paris in the Big Lebowski as well as the significant, not just because the Caprio is playing a stoner in a bathrobe who was swept up in a story that's like bigger than him.
• 44:50
  [SPEAKER_02]: I compared it to inherent vise, which is really similar to a very high specific example too.
• 44:53
  [SPEAKER_00]: But I think the more obvious touchstone for a lot of people is the Big Lebowski, thinking here vise is a little bit more arc-pointed, but there's more point to the guys, I think it's the same filmmaker and same base on the similar work by Thomas Pension.
• 45:08
  [SPEAKER_00]: But the Big Lebowski is similar in some respects, but I think it's very different in other respects.
• 45:14
  [SPEAKER_00]: Theoretically, the Big Lebowski is not about the very serious social issues.
• 45:20
  [SPEAKER_00]: It's got class issues involved in that here.
• 45:22
  [SPEAKER_00]: There are two Lebowskis.
• 45:24
  [SPEAKER_00]: One of whom is a stoner who is can barely afford milk.
• 45:27
  [SPEAKER_00]: And another one is a rich guy.
• 45:29
  [SPEAKER_00]: And they get confused with each other very briefly and the intersection of their lives.
• 45:34
  [SPEAKER_00]: ends up kind of screwing one of the moment.
• 45:36
  [SPEAKER_00]: Both of them over and in a different way.
• 45:38
  [SPEAKER_02]: But what I like about the Big Lebowski and I know it's everybody loves the Big Lebowski, but I do like the film.
• 45:45
  [SPEAKER_02]: That we're so focused on the Jeff Lebowski character, the dude, the dude.
• 45:51
  [SPEAKER_02]: like he is just concerned and whenever we meet him he's only concerned about his immediate creature comforts he wants to bowl he wants to smoke weed he wants to get his rug like that he wants to he has very simple needs yeah and when we see the crime happening everybody is acting in this really overrought fashion but the joke is that we it's juxtaposed with the attitude of the dude who is silly back he can barely perceive the seriousness of what's going on
• 46:15
  [SPEAKER_00]: The narrator of the Big Lebowski looks up to the dude, not because he's a great hero, but because he's above the superficial concerns of humanity, you know, things like avarice and lust, and all of these things that other people will lose their soul over, the Big Lebowski kind of like, he might roll with it, but he shrugs.
• 46:34
  [SPEAKER_02]: He's yeah, well, and it's not just that he's affected the zen state.
• 46:38
  [SPEAKER_02]: He's just so out of it, like his perceptions are off.
• 46:42
  [SPEAKER_02]: So kids, there's, I love in the beginning of the Big Lebowski.
• 46:44
  [SPEAKER_02]: There's the narrations like sometimes there's a man.
• 46:46
  [SPEAKER_02]: Wait, sometimes I lost my train of thought.
• 46:49
  [SPEAKER_02]: Like the narrator board dancing sometimes there's a man.
• 46:51
  [SPEAKER_00]: Yeah.
• 46:52
  [SPEAKER_00]: But like, again, the Big Lebowski is about a guy who is separate from all the stuff everyone else cares about.
• 46:58
  [SPEAKER_00]: Bob in one battle after another is not.
• 47:01
  [SPEAKER_00]: He's directly involved as daughter is missing, his girlfriend, I don't think they got married, but his girlfriend, the mother of his child, was a revolutionary leader who betrayed them, like he is in it.
• 47:14
  [SPEAKER_00]: in a way that the dude never was.
• 47:16
  [SPEAKER_00]: So I think it's not a, it's not a one to one comparison.
• 47:20
  [SPEAKER_00]: Yeah.
• 47:20
  [SPEAKER_00]: And I think they're going after very different things even though they would see previous similarities.
• 47:23
  [SPEAKER_00]: We should move on.
• 47:24
  [SPEAKER_00]: I think we've, we've addressed the basic point.
• 47:26
  [SPEAKER_00]: But again, a lot of you love this movie and I think I understand why I disagree, but I understand why I'm not selling you your rod.
• 47:33
  [SPEAKER_00]: We have another letter about one battle after another, and this is from Jesse.
• 47:37
  [SPEAKER_02]: It says, Hello, Bibles and Whitney.
• 47:40
  [SPEAKER_02]: I just listened to your review of Paul Tomas Anderson's one battle after another, and I wanted to share my thoughts on why I think the movie works.
• 47:45
  [SPEAKER_02]: Okay, spoiler to head, probably.
• 47:47
  [SPEAKER_02]: To start the first of it all, I think that the ridiculous this and things like Colonel Lockjaw and the Christmas adventures is on purpose to highlight how strange the current political climate is.
• 47:58
  [SPEAKER_02]: The government is dominated by a personality cult revolving around a game show host trying to put the face of a podcast or uncurrency.
• 48:05
  [SPEAKER_02]: For my end, it doesn't feel like the Christmas adventurers are too far off as an analog.
• 48:09
  [SPEAKER_02]: I also think that putting all the political ideas in there worked the main point.
• 48:13
  [SPEAKER_02]: The movie, how I see it, is supposed to make you feel overwhelmed by all the things happening in the world.
• 48:17
  [SPEAKER_02]: There is a desire and necessary desire to enact some change in the world because it's awful.
• 48:22
  [SPEAKER_02]: However, the idea is that you can't just try to enact change, you also have to live your own life.
• 48:27
  [SPEAKER_02]: It's the tension between Tiana Taylor and Leonardo DiCaprio's characters in the beginning.
• 48:31
  [SPEAKER_02]: Taylor is so committed to the cause that she's willing to ditch her life her daughter to go out and protest.
• 48:37
  [SPEAKER_02]: It even feels like her dedication to the French 75 drives her away from her principles.
• 48:41
  [SPEAKER_02]: The act that ends up getting them caught, the bank robbery is stated to have been carried out because of the money pays for their transportation.
• 48:48
  [SPEAKER_02]: That doesn't seem right nor is it all what they were fighting for when liberating the immigrant camp.
• 48:53
  [SPEAKER_02]: On the other hand, Leonardo DiCaprio's character doesn't seem to care about making change any more after a certain point, his actions are self-serving, and we were just talking about that.
• 49:00
  [SPEAKER_02]: Sure, the drugs in alcohol are an obvious example, but the way he treats the chase infinity character is also feeding into his own paranoia.
• 49:08
  [SPEAKER_02]: The only character that seems to have figured out, figured everything out, is the beneath of the Toro character, who balances his karate school with the housing of his immigrants.
• 49:17
  [SPEAKER_02]: We see that on both fronts, he's actually helping people, helping infinity's character learn karate, as well as helping the immigrants escape persecution.
• 49:25
  [SPEAKER_02]: I think that balance is something every character is trying to strike.
• 49:28
  [SPEAKER_02]: I think that we see that through profitee as letter at the end of the film, where it certainly seems like she's really wetting ready to welcome her personal,
• 49:36
  [SPEAKER_02]: personal life back into her life.
• 49:39
  [SPEAKER_02]: Also, as for why the movie decides to follow DiCaprio's character, I was going back to say, if that's, that sounds great, follow the Benny Seas of the Croix, don't talk to her.
• 49:48
  [SPEAKER_02]: As for the why the movie decides to follow to Caprio's character, it fell to me a lot like the framing of Jesse Eisenberg's a real pain, I didn't see that one.
• 49:55
  [SPEAKER_00]: Oh yeah, okay, I'm curious what they're going with it.
• 49:57
  [SPEAKER_02]: Yeah, we're following the pain and the journey of Eisenberg's character, but every other character in the movie is carrying pain that explicitly impats the main characters, Journey.
• 50:06
  [SPEAKER_02]: Yet we never fully understand the pain of the other characters, even Kieran Kolken, who we spend a lot of time with.
• 50:12
  [SPEAKER_02]: We can never really understand the extent to which other people's pain
• 50:17
  [SPEAKER_02]: One battle after another seems to me to be doing the same thing, but with battles we fight against ourselves and our actions.
• 50:24
  [SPEAKER_02]: Chase Infinity also spends much of the movie writing in the back seat of different cars, probably not the most exciting character, Fala.
• 50:32
  [SPEAKER_02]: I don't know if you got this from the movie, I didn't hear a lot of it in your review, so I felt inclined to write in with my thoughts.
• 50:38
  [SPEAKER_02]: I don't disagree with a lot of your criticisms, but I think that a lot of the things you criticized worked a little better for me.
• 50:43
  [SPEAKER_02]: Thanks for reading this very long email, Jess.
• 50:45
  [SPEAKER_00]: Well, and again, just so we're 100% clear, Whitney and I make speak with confidence about our opinions.
• 50:51
  [SPEAKER_00]: They are opinions.
• 50:53
  [SPEAKER_00]: Yeah.
• 50:53
  [SPEAKER_00]: And your opinion is no less valid than ours.
• 50:58
  [SPEAKER_00]: And not that I got that take from this letter.
• 50:59
  [SPEAKER_00]: I just want to make that abundantly clear.
• 51:01
  [SPEAKER_00]: We welcome disagreement.
• 51:03
  [SPEAKER_00]: And these are really, really great letters that are expressing your points, really articulate lately, even if I don't disagree with them.
• 51:08
  [SPEAKER_00]: But I am intrigued by some of this.
• 51:11
  [SPEAKER_00]: I'll respond to there's there's three things that you brought up that I think are particularly interesting to me and speak to me and then I don't necessarily agree with.
• 51:20
  [SPEAKER_00]: First off, the first of it all.
• 51:22
  [SPEAKER_00]: The Christmas adventurers.
• 51:24
  [SPEAKER_00]: We say that is this absurdist white supremacist aluminum nutty that far off from reality.
• 51:32
  [SPEAKER_00]: My argument is that it is so not far off from reality that no longer works as far as.
• 51:37
  [SPEAKER_00]: It's just kind of true and you've changed some of the symbology but by changing the symbology, it's kind of your, it's kind of your complaint with Hydra in the Marvel universe.
• 51:48
  [SPEAKER_00]: It's like we're not actually talking about the real thing.
• 51:51
  [SPEAKER_00]: You're making it separate from the real conversation that we're having.
• 51:55
  [SPEAKER_00]: I don't think anyone, I'd be surprised if anyone sees this movie and sees the Christmas adventure as it goes, Oh, Trump is bad!
• 52:02
  [SPEAKER_00]: I don't think we're really going to, like, I don't think we're blowing the lid off of anything so I don't think that has, I'm not saying that about wasn't funny or pointed, I just don't, it didn't have the power for me to really affect anything.
• 52:14
  [SPEAKER_00]: We're going to tell you a tale of, I disagree with the interpretation that her downfall was her over commitment.
• 52:20
  [SPEAKER_00]: I think her downfall was her lack of commitment, because ultimately what brought down, this is in the first act of the movie, the revolutionary movement, wasn't the fact that she was so committed that she left her daughter behind.
• 52:32
  [SPEAKER_00]: It was the fact that she was so addicted to sex, that she willingly sabotaged the entire movement.
• 52:41
  [SPEAKER_00]: The whole opening, like, raid they have on an immigration concentration camp, could have been easily undermined by the fact that she decided to take the time to sexually assault Sean Penn, which was not part of the plan.
• 52:57
  [SPEAKER_00]: And then when that comes back around to her, she continues to have an extremely ill-conceived affair with him that ends up disastrously destroying everybody.
• 53:07
  [SPEAKER_00]: I think it is her lack of commitment.
• 53:09
  [SPEAKER_00]: And for me, that meant that the letter at the end that shows like, oh, she's come around.
• 53:13
  [SPEAKER_00]: I don't think she's been on a journey.
• 53:14
  [SPEAKER_00]: And I think the most important part of that journey if she did change was entirely off camera.
• 53:19
  [SPEAKER_00]: So that did more for me.
• 53:20
  [SPEAKER_00]: But I see your point.
• 53:22
  [SPEAKER_00]: The comparison to a real pain is interesting.
• 53:24
  [SPEAKER_00]: I really do like that movie a lot.
• 53:28
  [SPEAKER_00]: What the difference is a real pain is that Jesse Eisenberg's character, it's not a great comparison, I don't know how much I can really get into this without going to my new ship, but
• 53:40
  [SPEAKER_00]: Real pain is about Jesse Eisenberg and Kiran Kolken.
• 53:44
  [SPEAKER_00]: They play cousins who are visiting various sites from the Holocaust because their grandmother had died and they wanted to revisit her past.
• 53:53
  [SPEAKER_00]: And they're reliving not just the pain of their culture, but also their pain together as individuals.
• 54:01
  [SPEAKER_00]: Kiran Kolken is the scene-stealer of but Jesse Eisenberg is very much our eyes and ears.
• 54:06
  [SPEAKER_00]: He's not so much a witness.
• 54:08
  [SPEAKER_00]: He's not like the reporter in Citizen Kane.
• 54:10
  [SPEAKER_00]: He's just there to be there to catalog everything.
• 54:12
  [SPEAKER_00]: He is directly involved in everything.
• 54:15
  [SPEAKER_00]: And he does have a really great speech at a dinner table in which he elaborates on how all of this really does affect him, even though Kirin Kolkin is stealing every scene.
• 54:24
  [SPEAKER_00]: I don't really see that level of input from Bob.
• 54:29
  [SPEAKER_00]: When Bob is interacting with beneath Seldal Toro's character,
• 54:34
  [SPEAKER_00]: Bob isn't really getting anything from beneath, he'll tell Toro's character, and beneath he'll tell Toro's character is getting entirely distracted from as much more important work just to look after Bob.
• 54:44
  [SPEAKER_00]: And I get it, he cares about chasing Fennedy and he wants to protect her, but the over-emphasis on Bob at his significance reads less like, here's someone who is maybe a meaningful witness and more like
• 54:56
  [SPEAKER_00]: He's just kind of there, man, a lot of the time.
• 54:59
  [SPEAKER_00]: Especially, that's in the very, I would love to read like a paper comparing that, because I feel like that could be really interesting conversation whether I agree with it or not.
• 55:10
  [SPEAKER_00]: But I don't know if I can get into that terribly well on a podcast off the top of the conversation, because I'm the one who saw it, a real pain, I mean.
• 55:17
  [SPEAKER_00]: Okay, but that's a good time for one of you.
• 55:18
  [SPEAKER_00]: One more one, one more one.
• 55:19
  [SPEAKER_02]: Okay, let's see here.
• 55:22
  [SPEAKER_02]: Um, this one comes from neighbor-dacted.
• 55:25
  [SPEAKER_02]: If you don't sign off, I'm not gonna read who it's from, but um, you'll respect it.
• 55:28
  [SPEAKER_02]: This comes from somebody who says, uh, I, I've known Pete Gallagher since college.
• 55:34
  [SPEAKER_02]: Pete Gallagher is the leader of Heathcliff.
• 55:37
  [SPEAKER_00]: Oh, I thought you were talking about Peter Gallagher, Peter Gallagher, and I'll peat Gallagher.
• 55:41
  [SPEAKER_00]: Okay, I love him and step up for, but okay, Peter Gallagher, Peter Gallagher.
• 55:45
  [SPEAKER_02]: He said your comments in the game episode made his day.
• 55:48
  [SPEAKER_02]: What?
• 55:48
  [SPEAKER_02]: Brotherhood is attention.
• 55:50
  [SPEAKER_02]: We were talking about how Heathcliffe back in the 80s, when we discovered Heathcliffe's kids, was a non-descript, not very interesting strip.
• 55:58
  [SPEAKER_01]: Yeah.
• 55:59
  [SPEAKER_02]: But Heathcliffe in recent years has become a surrealist masterpiece.
• 56:03
  [SPEAKER_02]: Yes, it's, it's so good.
• 56:04
  [SPEAKER_02]: Oh my God.
• 56:07
  [SPEAKER_02]: uh... and how like we were talking about how uh... he's cliff will be wearing a helmet that says bro or me or or meet or something and the what the one i like is uh... he's going to helmet that says bro and he's walking with uh... like a frog it's also wearing a helmet this is bro and there's two birds watching the action and one of them is speaking and the caption is just bro uh... like it's like that's the level we're working on
• 56:32
  [SPEAKER_02]: or a wow the giant robots back like this is so weird and so yeah we talked about you you can follow Heathcliff on all the socials now and Heathcliff has gotten so great here this is the current Heathcliff comic you just looked it up I just looked it up uh it is night time
• 56:49
  [SPEAKER_00]: Heathcliff at a bunch of cats are celebrating and a couple of terrifying purple blobs with weird faces with eyes, a skew, and gaping mouths are just trudging down the street.
• 57:03
  [SPEAKER_00]: And two owls are talking, and the caption is, the annual blob migration.
• 57:10
  [SPEAKER_00]: That's genius, that's genius, that's genius, I've seriously been considering getting a Heathcliff tattoo.
• 57:20
  [SPEAKER_00]: Like this one particular pose he does when he leaps on somebody.
• 57:23
  [SPEAKER_02]: Yeah, yes, well, it's funny that you should mention that because the next line in this letter is, how would you like an original Heathcliff drawing for your tattoo?
• 57:31
  [SPEAKER_02]: Yes, I asked him to be said he'd be glad to do it.
• 57:36
  [SPEAKER_02]: So would you like an Aboriginal Heathcliff tattoo designed by Pete Gallagher?
• 57:40
  [SPEAKER_02]: Yes, I would.
• 57:42
  [SPEAKER_02]: Yes, I would.
• 57:42
  [SPEAKER_02]: Pass on to Pete Gallagher.
• 57:43
  [SPEAKER_02]: Eight, he's a genius.
• 57:45
  [SPEAKER_00]: Yes.
• 57:45
  [SPEAKER_02]: We love Heathcliff.
• 57:47
  [SPEAKER_02]: It would really work.
• 57:48
  [SPEAKER_02]: Heathcliff is like, and Gary Larson's back.
• 57:50
  [SPEAKER_02]: So Heathcliff and the far side are now the best strips in the paper.
• 57:54
  [SPEAKER_02]: Yeah.
• 57:56
  [SPEAKER_02]: Yes.
• 57:57
  [SPEAKER_02]: Yes.
• 57:59
  [SPEAKER_02]: Yes, I will absolutely.
• 58:01
  [SPEAKER_02]: Yes, like how much how much would that cost?
• 58:04
  [SPEAKER_00]: Like what do we have to do?
• 58:05
  [SPEAKER_00]: We have to do we have to pay fieldy.
• 58:07
  [SPEAKER_00]: Does he do we need to like I mean we give them some kind of I mean how many pounds of blood do I have to say like I'll do what I have to do.
• 58:15
  [SPEAKER_00]: Oh my god, that's really amazing.
• 58:17
  [SPEAKER_00]: And listen, if nothing else, it really makes my date and know that he heard what we said.
• 58:22
  [SPEAKER_00]: That we give him cuddles, because we mean every fucking word he's a genius.
• 58:28
  [SPEAKER_02]: I'm a very old man.
• 58:29
  [SPEAKER_02]: I was raised on the days before 40.
• 58:31
  [SPEAKER_02]: I'm in my late 40s, but on.
• 58:33
  [SPEAKER_02]: I, but I grew up reading newspaper strips.
• 58:36
  [SPEAKER_02]: That was like my language.
• 58:37
  [SPEAKER_02]: I was one of my earliest career ambitions.
• 58:39
  [SPEAKER_02]: This is via a newspaper comic strip artist.
• 58:41
  [SPEAKER_02]: I drew my own comic when I was a kid.
• 58:44
  [SPEAKER_02]: I never came up with a good title.
• 58:46
  [SPEAKER_02]: I ended up calling it fooling around, but then somebody pointed out that fooling around is code for sex.
• 58:51
  [SPEAKER_02]: So I had to change that.
• 58:52
  [SPEAKER_02]: I never came up with a good
• 58:53
  [SPEAKER_02]: It could have got away with it, but maybe so and it was just about two brothers and the comedic adventures they went on But but I started to get really weird with it really early on like as these two kids and that's like usual and they live with their mom And they have just usual little kid adventures, but one of their kid one of their friends had a quarter for a head.
• 59:11
  [SPEAKER_02]: Yeah, like like a coin That's what and his name was quarter head.
• 59:15
  [SPEAKER_00]: That's really a well, it's aptly tied in
• 59:17
  [SPEAKER_00]: Yeah, that's a name you don't plan before they're born and then you say like, oh, that's corduette.
• 59:22
  [SPEAKER_00]: It's like, you've like, you come up with a name for a cat and then you meet the cat and you realize your name is wrong and the cat will name itself two like two days ago, Heathcliffe comic, they're in a cemetery and a bunch of ghosts are floating around and they're all saying, bro, bro, bro is a big one.
• 59:38
  [SPEAKER_00]: And the caption is a little kid's sentence to Heathcliffe and he says, it's way worse than boo.
• 59:45
  [SPEAKER_00]: Can we do a podcast that's just us reading Heathcliff comics?
• 59:49
  [SPEAKER_02]: That's something we're just describing Heathcliff.
• 59:51
  [SPEAKER_02]: I'm sure that would.
• 59:52
  [SPEAKER_00]: No, no, no, I'm not.
• 59:53
  [SPEAKER_00]: I'm kidding.
• 59:55
  [SPEAKER_00]: I'm kidding.
• 59:55
  [SPEAKER_02]: I would do it.
• 59:56
  [SPEAKER_02]: Let Pete Gallagher have his jokes.
• 59:59
  [SPEAKER_00]: No, no, please.
• 1:00:00
  [SPEAKER_00]: Please read what Pete Gallagher's doing in Heathcliff.
• 1:00:02
  [SPEAKER_00]: Yes, I would absolutely love it of being gouging her.
• 1:00:05
  [SPEAKER_00]: I mean, it's a tattoo.
• 1:00:07
  [SPEAKER_00]: I would get that tattoo.
• 1:00:08
  [SPEAKER_00]: I'm the needy of it.
• 1:00:09
  [SPEAKER_00]: The jumping heaf clin.
• 1:00:10
  [SPEAKER_00]: I mean, that would be cool, but I'll do whatever he wants.
• 1:00:12
  [SPEAKER_00]: If he was once the meat had, I'll do it.
• 1:00:14
  [SPEAKER_00]: Like, that's so fucking cool.
• 1:00:16
  [SPEAKER_02]: But absolutely, do that.
• 1:00:18
  [SPEAKER_02]: Oh, that's actually a good last minute Halloween costume.
• 1:00:20
  [SPEAKER_02]: Oh, the meat had.
• 1:00:21
  [SPEAKER_02]: Just get a helmet and write the word meat on it and see if anybody gets it.
• 1:00:24
  [SPEAKER_00]: Oh, that's actually really funny again.
• 1:00:26
  [SPEAKER_00]: That's really funny.
• 1:00:27
  [SPEAKER_02]: Is there a plain solid colored helmet?
• 1:00:30
  [SPEAKER_02]: Just get a big thing.
• 1:00:31
  [SPEAKER_00]: I think it's usually pink.
• 1:00:33
  [SPEAKER_00]: I think it's usually pink.
• 1:00:34
  [SPEAKER_00]: I could be wrong.
• 1:00:35
  [SPEAKER_02]: The meat helmet, perhaps, might be wrong.
• 1:00:37
  [SPEAKER_02]: Yeah.
• 1:00:38
  [SPEAKER_02]: I also love the way you draw his frogs.
• 1:00:40
  [SPEAKER_02]: You just really cute frogs are really cute.
• 1:00:43
  [SPEAKER_00]: Yeah.
• 1:00:43
  [SPEAKER_00]: No, God damn it.
• 1:00:45
  [SPEAKER_00]: That is the coolest fucking thing.
• 1:00:46
  [SPEAKER_00]: I'm so, honestly, though, regardless, I'm just really, really happy that here, what we had this reality, that our confidence made is made.
• 1:00:54
  [SPEAKER_00]: I think that works my heart, I'm really glad.
• 1:00:57
  [SPEAKER_00]: But yes, please, tell him.
• 1:00:59
  [SPEAKER_00]: All right.
• 1:01:00
  [SPEAKER_00]: Next letter.
• 1:01:01
  [SPEAKER_00]: I don't know, we can top that being able to do one more.
• 1:01:03
  [SPEAKER_02]: Because this is comes from Dorewk, hello Dorewk.
• 1:01:06
  [SPEAKER_02]: Hi Dorewk.
• 1:01:08
  [SPEAKER_02]: Uh, hello Ace Trainer Whitney and Youngster Bibs.
• 1:01:10
  [SPEAKER_02]: Ooh.
• 1:01:12
  [SPEAKER_02]: Recently on your Vampire Movies list of Vampire Movies Episode of the Iron List, you've shown how much unnecessarily knowledge I have about the Pokemon franchise.
• 1:01:21
  [SPEAKER_02]: And I'm here to spread this knowledge with you.
• 1:01:24
  [SPEAKER_02]: Yes, this promise me you'll Google each of the Pokemon I'm about to mention so you get a picture of what they are Oh, hang on.
• 1:01:29
  [SPEAKER_02]: I got I know a little bit too much about Pokemon What things gonna be better off than I I know some Pokemon, but I wasn't really big Yeah, I got really into Pokemon when I was like in my early 20s Like a way too old to be into it.
• 1:01:40
  [SPEAKER_02]: I promise I will Google every Pokemon that's about to get mentioned to certains off the reason Bulbasaur is the nickname of a bold PBS because it's the first entry in the Pokédex
• 1:01:49
  [SPEAKER_00]: Oh, okay.
• 1:01:49
  [SPEAKER_02]: That makes sense.
• 1:01:50
  [SPEAKER_02]: That tracks, I know what a bulbous are looks like fair enough.
• 1:01:52
  [SPEAKER_02]: And your Pokédex is just the database of Pokémon.
• 1:01:54
  [SPEAKER_02]: Yeah, the Pokémon.
• 1:01:56
  [SPEAKER_02]: Yeah, the deck of Pokémon cards, Pokédex here.
• 1:01:58
  [SPEAKER_00]: Yeah, but was it the most, was it the first Pokémon who was ever discovered by man?
• 1:02:02
  [SPEAKER_00]: I don't know why it's first.
• 1:02:04
  [SPEAKER_00]: It's not alphabetically fair enough.
• 1:02:05
  [SPEAKER_02]: I don't know the history of Pokémon taxonomy, but so I don't know why bulbous.
• 1:02:10
  [SPEAKER_00]: I'm curious.
• 1:02:10
  [SPEAKER_00]: That's my follow-up question, but I realize you can't answer like is it some email?
• 1:02:13
  [SPEAKER_02]: Okay.
• 1:02:14
  [SPEAKER_02]: It's literally the number one registry in the list and therefore it gets the name to webs, the gets the name the website after itself.
• 1:02:19
  [SPEAKER_02]: Fair enough.
• 1:02:20
  [SPEAKER_02]: Fun, there are actually several interpretations of the first Pokemon.
• 1:02:23
  [SPEAKER_02]: Here they are.
• 1:02:24
  [SPEAKER_02]: Our case, the Pokemon World's God.
• 1:02:28
  [SPEAKER_02]: Our case is the powerful one that created all the Pokemon.
• 1:02:30
  [SPEAKER_02]: The creator of all things and that can change into all types.
• 1:02:33
  [SPEAKER_02]: You can still catch him, which is fun.
• 1:02:35
  [SPEAKER_02]: You can catch God and all things.
• 1:02:36
  [SPEAKER_00]: I love that you can do that in Pokemon.
• 1:02:38
  [SPEAKER_00]: Like God is just like,
• 1:02:41
  [SPEAKER_02]: I do love, it's like, here's a Pokemon, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's a, it's
• 1:03:09
  [SPEAKER_02]: My guess is like in a Star Trek way, there's something about like their molecular makeup or their biological construction that makes them more easily able to be reduced into energy.
• 1:03:23
  [SPEAKER_00]: So I always figured someone found like a magic lamp from like a genie and they used their wishes but now they only have to have the lamp and they said reverse engineered how that tech works.
• 1:03:31
  [SPEAKER_00]: Okay.
• 1:03:32
  [SPEAKER_00]: So they just trap it and there's little, it's a basic principle.
• 1:03:35
  [SPEAKER_00]: It's a tech technological genie.
• 1:03:38
  [SPEAKER_00]: Throwing the pokeball, rubbing it with like a, you know, cloth, whatever.
• 1:03:42
  [SPEAKER_00]: It's super visually different.
• 1:03:44
  [SPEAKER_00]: Okay, we're going.
• 1:03:45
  [SPEAKER_02]: All right.
• 1:03:45
  [SPEAKER_02]: So there's our case, the Pokemon God.
• 1:03:47
  [SPEAKER_02]: I see.
• 1:03:47
  [SPEAKER_02]: Here's his looks very pretty.
• 1:03:48
  [SPEAKER_02]: There's new.
• 1:03:49
  [SPEAKER_02]: I'm familiar with me.
• 1:03:50
  [SPEAKER_02]: It's familiar with me.
• 1:03:51
  [SPEAKER_02]: It was the start of the first movie.
• 1:03:52
  [SPEAKER_02]: Um, new is called the ancestor of all Pokemon, meaning all of the known species have evolved from it at some point.
• 1:03:58
  [SPEAKER_02]: So genetically lost.
• 1:04:00
  [SPEAKER_02]: It's like the genetic catalyst.
• 1:04:02
  [SPEAKER_02]: Okay, all right, good.
• 1:04:03
  [SPEAKER_02]: That's good.
• 1:04:03
  [SPEAKER_00]: That's interesting.
• 1:04:04
  [SPEAKER_02]: Right on was the first Pokemon designed like in the franchise, it's history.
• 1:04:10
  [SPEAKER_02]: It is somewhat simple design.
• 1:04:11
  [SPEAKER_02]: It has been around since the absolute beginning of the franchise.
• 1:04:13
  [SPEAKER_02]: Yeah, it's had a big drill on a big bipedal over in all sorts of things.
• 1:04:17
  [SPEAKER_00]: He looks like a bit like a triceratops.
• 1:04:20
  [SPEAKER_02]: Oh, wait, I was thinking of Ryan Horan, the thing that we've all been doing.
• 1:04:23
  [SPEAKER_02]: Yeah, it's going on.
• 1:04:24
  [SPEAKER_02]: This Horan looks a little bit like a triceratops.
• 1:04:26
  [SPEAKER_02]: Yeah, it works.
• 1:04:27
  [SPEAKER_02]: And Bulbasaur, as a form engine, the first Pokemon in the Pokemon X.
• 1:04:30
  [SPEAKER_02]: Yes.
• 1:04:31
  [SPEAKER_02]: So those are the four, quote, first Pokemon.
• 1:04:33
  [SPEAKER_00]: Those are the, those are the, that's a Mount Rushmore of Pokemon.
• 1:04:37
  [SPEAKER_02]: Uh, as for the snorting part.
• 1:04:41
  [SPEAKER_02]: I think we talked about, like, how would you consume a Pokemon?
• 1:04:45
  [SPEAKER_02]: And I think maybe joked about like reducing a Pokemon to powder and snorting.
• 1:04:50
  [SPEAKER_02]: No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no,
• 1:05:07
  [SPEAKER_02]: Docs, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks, bucks,
• 1:05:38
  [SPEAKER_00]: I want to keep you guys.
• 1:05:40
  [SPEAKER_02]: One looks like a tea cup, one looks like a teapot.
• 1:05:42
  [SPEAKER_00]: Okay, there you go.
• 1:05:43
  [SPEAKER_02]: So they're up to their friends.
• 1:05:44
  [SPEAKER_02]: No, one evolves into the other.
• 1:05:46
  [SPEAKER_02]: Oh.
• 1:05:48
  [SPEAKER_00]: Yeah.
• 1:05:48
  [SPEAKER_00]: No, no.
• 1:05:48
  [SPEAKER_02]: Friends.
• 1:05:49
  [SPEAKER_02]: Maybe two could meet, and they would be friends.
• 1:05:51
  [SPEAKER_02]: Yes.
• 1:05:53
  [SPEAKER_02]: Oh, no.
• 1:05:54
  [SPEAKER_02]: And it, as for snorting a Pokemon goes, your best bet for a good time is either a Pokemon that produces Holy Sinogenic, such as a File Clareum.
• 1:06:02
  [SPEAKER_02]: a psychic type like Drosy or a magical fairy type like Togatek who is known to spread joy even without being a powder for a Togatek T-O-G-E-T-I-C.
• 1:06:14
  [SPEAKER_02]: It's the evolution of Togatek.
• 1:06:16
  [SPEAKER_00]: Oh, oh!
• 1:06:17
  [SPEAKER_02]: Okay, yeah, I see you've got the little triangle, it's nice and fun.
• 1:06:20
  [SPEAKER_02]: And finally, Vampire Pokemon.
• 1:06:23
  [SPEAKER_02]: Yes!
• 1:06:24
  [SPEAKER_02]: There are lots of Pokemon that resemble vampire bats or different creatures who feed on prey tonight.
• 1:06:30
  [SPEAKER_02]: But the one you wanna check out is called Glee Sword, GLISCOR.
• 1:06:35
  [SPEAKER_02]: Gliscore.
• 1:06:37
  [SPEAKER_02]: According to the Pokédex quote, it observes prey while hanging inverted from branches, and when the chance presents itself, it swoops.
• 1:06:44
  [SPEAKER_02]: It uses its lengthy tale to carry off prey, after reducing its elongated things to do the rest.
• 1:06:49
  [SPEAKER_02]: That sounds like a vampire to me.
• 1:06:51
  [SPEAKER_02]: And it's got little funny things.
• 1:06:53
  [SPEAKER_02]: Yeah, I know that guy.
• 1:06:55
  [SPEAKER_00]: It's got like a vampire robot bat really, but yeah.
• 1:06:58
  [SPEAKER_02]: Anyway, thanks for letting me spew my Pokemon.
• 1:07:00
  [SPEAKER_00]: Thank you.
• 1:07:01
  [SPEAKER_02]: I've got a chuckle out of you.
• 1:07:02
  [SPEAKER_02]: Stay as happy as you can with all the stuff going on in the world.
• 1:07:04
  [SPEAKER_02]: Love from trickier.
• 1:07:06
  [SPEAKER_00]: Thank you so much.
• 1:07:07
  [SPEAKER_00]: That's really fun and I'm glad you wrote it.
• 1:07:09
  [SPEAKER_00]: And I'm glad we took one more email.
• 1:07:11
  [SPEAKER_00]: Yeah.
• 1:07:12
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• 1:07:13
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• 1:07:15
  [SPEAKER_02]: And we got more, I'd be more.
• 1:07:16
  [SPEAKER_02]: Yeah, there's plenty of emails still.
• 1:07:18
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• 1:07:27
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• 1:07:32
  [SPEAKER_02]: Yes.
• 1:07:33
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• 1:07:41
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• 1:07:43
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• 1:07:44
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• 1:07:47
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• 1:07:49
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• 1:07:49
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• 1:08:14
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• 1:08:21
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• 1:08:22
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• 1:08:25
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• 1:08:32
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• 1:08:44
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• 1:08:46
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• 1:08:50
  [SPEAKER_00]: Yeah, so that would really help a lot if you did Either way, uh, thank you everybody once again who wrote in and That's that's the end of the podcast Thank you sincerely yours bibs and Whitney