Latest / Everyone's A Critic / Newsies w/ Brooke Preston

Transcript

Newsies w/ Brooke Preston · Everyone's A Critic

• 0:11
  SPEAKER_02: Welcome to everyone to QuickTix.
• 0:17
  SPEAKER_02: Tells us why QuickTick got it wrong.
• 0:19
  SPEAKER_02: I'm your host, Yannis Cole, a public protected stop.
• 0:23
  SPEAKER_02: Ten years later, it's the era of its way.
• 0:26
  SPEAKER_02: My guest today is a writer and one of the founders of the Tati website, Philadelphia, Brooke Preston.
• 0:33
  SPEAKER_00: Hello, so glad to be here.
• 0:36
  SPEAKER_02: How are you today?
• 0:37
  SPEAKER_00: Oh, uh every day is a joy in 2021.
• 0:42
  SPEAKER_00: I'm doing well.
• 0:44
  SPEAKER_00: How are you?
• 0:45
  SPEAKER_02: Yeah, I'm okay.
• 0:47
  SPEAKER_02: Uh I don't know.
• 0:49
  SPEAKER_00: I don't know how to I don't know how to answer that question anymore at all.
• 0:55
  SPEAKER_00: Uh you know, then the last the events of the last year have rendered that question like useless.
• 1:02
  SPEAKER_02: I always ask it and everyone's answers always kind of just like, uh I'm here, so that's good.
• 1:12
  SPEAKER_02: But you still, you know, you're still working in everything, aren't you?
• 1:15
  SPEAKER_00: So Yes.
• 1:16
  SPEAKER_00: Things are no, it's it's wonderful.
• 1:18
  SPEAKER_00: It's good.
• 1:19
  SPEAKER_00: And I am thrilled to be here.
• 1:22
  SPEAKER_02: Uh what else have you been up to lately?
• 1:25
  SPEAKER_00: Oh gosh.
• 1:26
  SPEAKER_00: Uh, you know, just uh I work a day job and uh I'm a copywriter for my alma mater, and then I also have been writing comedy here and there.
• 1:37
  SPEAKER_00: I've kind of taken a bit of a break from teaching just because I was Oh, you have?
• 1:42
  SPEAKER_00: Yeah, just doing that for the last three years, and it's it was great, but it's good to sort of collect my thoughts and take a breath and decide what I want to do next.
• 1:52
  SPEAKER_00: I'm teaching a couple of workshops for Thurber House um online next month.
• 1:56
  SPEAKER_00: They're based here in Columbus, it's the former home of James Thurber.
• 2:01
  SPEAKER_00: Uh and so I I am teaching a couple of like one-off things, but yeah, so just kind of taking a needed breath after years of of not.
• 2:12
  SPEAKER_00: And so that's been nice.
• 2:14
  SPEAKER_00: Um, and you know, it makes me be able to be capable of having creative thoughts and ideas again, which is nice after a while.
• 2:23
  SPEAKER_02: You were doing you were doing the second city thing for a while, weren't you?
• 2:26
  SPEAKER_02: Yeah.
• 2:27
  SPEAKER_00: Um taught in that program and this in the satire writing program for Yeah, because I took I took that I took that just before I took that with Caitlin uh just before you started teaching.
• 2:38
  SPEAKER_00: Yes, and now um Amy Estes and Carlos Graves, and there's some wonderful teachers there now.
• 2:45
  SPEAKER_00: Yeah, carrying on the tradition.
• 2:47
  SPEAKER_00: And I I may very well uh you know go back and teach uh in a new program there in the future, but for now I'm just enjoying still um still one of the editors of the Belladonna, which is really gratifying and and awesome.
• 3:01
  SPEAKER_00: Um so yeah, just I always have my hands in eight or nine things at any one time, like any self-respecting comedy writer, right?
• 3:10
  SPEAKER_02: Yeah, that's the same as me.
• 3:11
  SPEAKER_02: I'm just doing like so many different things at once now.
• 3:13
  SPEAKER_02: I just like trying to figure out what works and what doesn't.
• 3:18
  SPEAKER_00: Exactly.
• 3:19
  SPEAKER_00: Yes.
• 3:21
  SPEAKER_02: But um, you've come on today to and you were very excited for this.
• 3:26
  SPEAKER_02: You wanted to talk about the movie Newsies.
• 3:29
  SPEAKER_00: It's maybe the thing I'm most excited about.
• 3:32
  SPEAKER_02: Really?
• 3:33
  SPEAKER_00: I don't know.
• 3:33
  SPEAKER_00: It's been a it's let's say it's been a a major passion in my life since the age of 14.
• 3:40
  SPEAKER_02: Wow.
• 3:42
  unknown: Yeah.
• 3:43
  SPEAKER_02: What wait, did you so did you see it when it first came out or did you were you late to it?
• 3:51
  SPEAKER_00: I don't feel like I have a memory of seeing it in the theater somehow, even though it very much would have been in the wheelhouse of something I I would have seen in the theater, but somehow it missed me.
• 4:03
  SPEAKER_00: But then very soon after that, it made the rounds of like the sleepovers of the you know, 14 and 15-year-old girls who weren't cool enough to be invited to parties.
• 4:18
  SPEAKER_00: Of which I was very much one.
• 4:20
  SPEAKER_00: And so, you know, all the girls in my all the girls in my church youth group would gather together and feel our little feelings about Christian Bale.
• 4:30
  SPEAKER_02: The ver the the young Christian Bale, but I thought he was so my my I I'd never seen this before.
• 4:36
  SPEAKER_02: I thought he was I for some reason in my head I was like, oh he's gonna be 10 years old.
• 4:41
  SPEAKER_02: And and then he was like 18.
• 4:43
  SPEAKER_00: No, yeah, fully grown.
• 4:45
  SPEAKER_00: Uh yes.
• 4:47
  SPEAKER_00: I know, yeah, yeah, young.
• 4:49
  SPEAKER_00: Young girls.
• 4:49
  SPEAKER_02: Because I knew it was about kids.
• 4:51
  SPEAKER_00: Right.
• 4:52
  SPEAKER_02: That's the thing.
• 4:52
  SPEAKER_02: Sure.
• 4:53
  SPEAKER_00: But you know, as Hollywood does, you know, he's like a 30-year-old playing a 17-year-old boy.
• 5:01
  SPEAKER_02: Um so like it it started as the movie, right?
• 5:07
  SPEAKER_02: And then it became a musical afterwards, on the show.
• 5:10
  SPEAKER_00: Oh yes, yes.
• 5:11
  SPEAKER_02: Yeah, because I thought I thought it was the other way around.
• 5:14
  SPEAKER_00: No, I mean it would be reasonable to assume that.
• 5:18
  SPEAKER_00: Uh yeah, no, this is the the less common movie musical that then is turned into a Broadway musical.
• 5:25
  SPEAKER_00: So it's they what they did is a reverse Hamilton.
• 5:29
  SPEAKER_02: So they did it's like this and hairspray.
• 5:32
  SPEAKER_00: Yes, exact exactly right.
• 5:35
  SPEAKER_00: Um pioneered the genre.
• 5:37
  SPEAKER_00: Uh but it was so it came out in what 1992?
• 5:41
  SPEAKER_00: 192, yes.
• 5:42
  SPEAKER_00: Yes.
• 5:43
  SPEAKER_00: In in the UK, it was uh, I just found this out, it was released under a different name.
• 5:47
  SPEAKER_00: It was called The News Boys.
• 5:49
  SPEAKER_02: So yes.
• 5:51
  SPEAKER_02: I've never known it as that.
• 5:52
  SPEAKER_02: I've always known it as newsies.
• 5:54
  SPEAKER_00: Well, apparently it was released as The News Boys, which here, especially in 1992, was a popular Christian contemporary musical group.
• 6:02
  SPEAKER_00: So that would have been very confusing.
• 6:05
  SPEAKER_02: Okay, now I have to look something up because I couldn't find it on Disney Plus.
• 6:09
  SPEAKER_02: And I was like, is it not just not on here?
• 6:11
  SPEAKER_02: But now I have to look up if it's under the newsboys.
• 6:13
  SPEAKER_00: Yes, I couldn't find it either.
• 6:16
  SPEAKER_00: Well, it's you can rent it on Amazon Prime.
• 6:19
  SPEAKER_02: Right, yeah.
• 6:20
  SPEAKER_02: Um Amazon Prime, yeah.
• 6:23
  SPEAKER_00: And of course I own it, but anywhere else you can't find it.
• 6:26
  SPEAKER_00: It's uh they have the the stage version on Disney Plus, but they didn't have the Yes, and I I don't want to start this podcast out on a sour note, but it is on there!
• 6:38
  SPEAKER_02: Oh no! Oh, is it?
• 6:40
  SPEAKER_02: Oh, it's under there on Newsboys.
• 6:43
  SPEAKER_00: Oh my gosh.
• 6:44
  SPEAKER_00: Okay, this is revelatory.
• 6:46
  SPEAKER_00: Uh I'm interested to know.
• 6:48
  SPEAKER_00: I I mean I can't imagine there would be any changes other than the name.
• 6:53
  SPEAKER_02: I don't think so.
• 6:54
  SPEAKER_02: I w I mean I watched your version of it, I guess.
• 6:56
  SPEAKER_02: Right.
• 6:57
  SPEAKER_00: So interesting.
• 6:59
  SPEAKER_00: Okay, so if so, UK fans of the podcast uh go to watch the news boys.
• 7:06
  SPEAKER_00: That's right.
• 7:07
  SPEAKER_00: Not to be confused with the news boys.
• 7:09
  SPEAKER_02: I've really never heard it called that.
• 7:11
  SPEAKER_02: That's so confusing.
• 7:12
  SPEAKER_00: Yeah, nor have they changed it.
• 7:14
  SPEAKER_00: It's unfortunate.
• 7:15
  SPEAKER_02: I guess like I guess because news news isn't really a term here, but is it a term?
• 7:20
  SPEAKER_00: But it's no.
• 7:21
  SPEAKER_00: Like, I mean, a hundred years ago I've drew switches when the movie is set.
• 7:26
  SPEAKER_00: But no, it's I mean, vaguely, but I mean I've heard the term, but no.
• 7:31
  SPEAKER_02: Yeah.
• 7:32
  SPEAKER_02: I think I've only heard it from this.
• 7:34
  SPEAKER_02: Uh, but at the same time, like this would this was a critical and commercial bomb.
• 7:40
  SPEAKER_00: Yes, initially.
• 7:42
  SPEAKER_00: It was not well received.
• 7:45
  SPEAKER_02: Um it's got 39% on Rotten Tomatoes.
• 7:51
  SPEAKER_02: And yes, it made no money.
• 7:55
  SPEAKER_02: 2.7 million.
• 7:58
  SPEAKER_00: No money.
• 8:00
  SPEAKER_00: And it's really bad.
• 8:02
  SPEAKER_00: You can come you can convert that into UK pounds.
• 8:05
  SPEAKER_00: It's still not no money.
• 8:06
  SPEAKER_02: Yeah, that's that's like two million pounds.
• 8:08
  SPEAKER_00: It's not good.
• 8:10
  SPEAKER_00: Um yes, it was definitely not well received, but it much like um other 90s movies like Office Space, it quickly found its cult following, which were 13 to 17-year-old girls who Well, here's the other thing.
• 8:30
  SPEAKER_02: It's 88% from the audience.
• 8:33
  SPEAKER_00: Well, let me tell you why.
• 8:36
  SPEAKER_00: Let me tell you uh all about why news is is the best.
• 8:41
  SPEAKER_00: Um first of all, this movie had no business having a cast as good as it had, right?
• 8:48
  SPEAKER_02: The cast is great.
• 8:50
  SPEAKER_02: It's a very good cast.
• 8:51
  SPEAKER_00: You hear, oh, a movie musical about newsboys, and you're like, okay, I'm not sure I'm sold.
• 8:57
  SPEAKER_00: Didn't we do this sort of thing with Oliver?
• 8:59
  SPEAKER_00: Isn't that basically what Oliver was?
• 9:01
  SPEAKER_00: Right.
• 9:02
  SPEAKER_00: And do we need another entry into this genre?
• 9:05
  SPEAKER_00: Um, but then you have young Christian Bale, yeah, you have Bill Pullman, who literally everyone loves, um, you have Robert Duvall somehow.
• 9:16
  SPEAKER_02: And very strange role.
• 9:18
  SPEAKER_00: In a in a bizarre role that he goes all in on.
• 9:22
  SPEAKER_01: Yeah.
• 9:23
  SPEAKER_00: Like, like, why is he so committed to this?
• 9:27
  SPEAKER_00: Why is he so committed to this role in this in this bomb of a movie musical?
• 9:32
  SPEAKER_00: But he's like a hundred percent, he goes full Daniel Day Lewis in this movie.
• 9:38
  SPEAKER_00: And then Ann Margaret is also in there.
• 9:40
  SPEAKER_01: Yeah.
• 9:41
  SPEAKER_00: Um, and then you had like the cast of singing and dancing newsboys, newsies, uh, who were like at the time not.
• 9:51
  SPEAKER_00: I I mean, I I think there were a lot of faces that I recognized because I watched a lot of, I don't know if you had um, we had Nickelodeon like the Saturday night for teens.
• 10:01
  SPEAKER_00: It was called Snick.
• 10:03
  SPEAKER_02: Snick, yeah.
• 10:04
  SPEAKER_00: Yes.
• 10:04
  SPEAKER_00: So Snick uh had a show called Roundhouse, the Roundhouse, and it was sort of like Saturday Night Live for teenagers.
• 10:12
  SPEAKER_00: And there was a lot of singing and dancing, and all of I think basically every uh teenage boy from Roundhouse was also in the cast of new sees.
• 10:21
  SPEAKER_00: They just they took them all, just whole cloth.
• 10:24
  SPEAKER_00: They were like, Yes, you're all in.
• 10:26
  SPEAKER_00: Uh it was a lot of the kind of people that will pop up in movies in these like the Mighty Ducks, you know, you'll be like, Oh, I recognize that guy.
• 10:34
  SPEAKER_00: Yeah.
• 10:34
  SPEAKER_02: So it's like a lot of faces that's a lot of it's um the other guy is the guy that played uh young Tom Hanks in Big.
• 10:45
  SPEAKER_00: Yes, David Moscow.
• 10:47
  SPEAKER_02: Yes.
• 10:48
  SPEAKER_00: Yes.
• 10:49
  SPEAKER_00: Um and in an equally seminal role.
• 10:56
  SPEAKER_00: Uh absolutely.
• 10:57
  SPEAKER_00: And yeah, so so the cast is incredible, and then it was directed by Kenny Ortega, who went on to like great things, right?
• 11:04
  SPEAKER_00: Like he did all the many, many things.
• 11:07
  SPEAKER_00: Absolutely.
• 11:07
  SPEAKER_00: It did like the descendants movies, and now he's kind of a Disney legend.
• 11:11
  SPEAKER_02: High school musicals.
• 11:12
  SPEAKER_00: Yes, all the high school musical movies.
• 11:14
  SPEAKER_02: He did the um the he was doing the the Michael Jackson tour before like he was directing that over here when he died.
• 11:21
  SPEAKER_00: But like basically, if you go through Kenny Ortega's resume, you'll be jealous of every of every line.
• 11:27
  SPEAKER_00: Like you'll be like, oh, that's amazing.
• 11:29
  SPEAKER_00: I wish I had done that.
• 11:30
  SPEAKER_02: He he is musical.
• 11:32
  SPEAKER_02: Yes.
• 11:33
  SPEAKER_02: He knows he knows them so well.
• 11:34
  SPEAKER_02: Yes.
• 11:35
  SPEAKER_02: And he choreo and he choreographed it as well.
• 11:38
  SPEAKER_00: Yes.
• 11:38
  SPEAKER_00: And Alan Mencken wrote all of the stories.
• 11:41
  SPEAKER_02: Alan Mencken, yeah.
• 11:42
  SPEAKER_00: A legend.
• 11:43
  SPEAKER_00: Uh, you know, I mean, which we'll get to later.
• 11:46
  SPEAKER_00: And I believe this is the same, I mean, close to the same year as maybe Aladdin came out, which he also wrote.
• 11:52
  SPEAKER_00: So, like a huge year for Alan Mencken.
• 11:53
  SPEAKER_02: Yeah, I think it's like the same, yeah.
• 11:55
  SPEAKER_02: You might be right.
• 11:55
  SPEAKER_02: It's either the same year or like a year apart.
• 11:57
  SPEAKER_00: I mean, very close.
• 11:59
  SPEAKER_00: It's in the it's in that same time frame.
• 12:01
  SPEAKER_02: Yeah.
• 12:02
  SPEAKER_00: So I mean, this is like peak Disney.
• 12:04
  SPEAKER_00: So it's it's also strange.
• 12:07
  SPEAKER_00: I mean, we're it's in the golden age of Disney of like Aladdin, Lion King, Beauty and the Beast.
• 12:13
  SPEAKER_00: And also one of the writers, um, I also love that this had a woman co-writer, uh, Noni White.
• 12:20
  SPEAKER_00: She was she wrote for a lot of the Disney musicals like Tarzan and um Hunchback of Notre Dame and all of those.
• 12:28
  SPEAKER_00: So, yeah, so there was all the ingredients were there for a mega hit that just did not happen.
• 12:38
  SPEAKER_02: And I think it's the subject.
• 12:43
  SPEAKER_00: You think you think it's the there's you do you think Disney uh overestimated people's interest in uh sensational journalism from a hundred years ago?
• 12:58
  SPEAKER_02: I don't think it should have been a musical.
• 13:01
  SPEAKER_00: Oh oh, so I also read this in my extensive research 20 minutes ago, uh, right before it came on, which is uh when they first wrote it, it was not meant to be a musical.
• 13:14
  SPEAKER_02: Right.
• 13:16
  SPEAKER_00: About two boys, and then Jeffrey Katzenberg, the uh producer, said, I want it to be a musical.
• 13:24
  SPEAKER_00: So we have Jeffrey Katzenberg to thank for this masterpiece.
• 13:29
  SPEAKER_02: Of course.
• 13:30
  SPEAKER_00: And I don't use that term lightly, of course it did.
• 13:34
  SPEAKER_00: Uh yeah, it's a Katzenberg production.
• 13:37
  SPEAKER_00: So, yes, so we have this this movie that is um like kind of plopped right in the middle of this golden age of Disney that no one really knew what to make of it.
• 13:49
  SPEAKER_02: But I yeah, I think it's also like a golden age of Disney animation as opposed to Golden Age of Disney A small a small detail.
• 14:02
  SPEAKER_02: Which is why I also think it was like uh so they were getting Lyking, Aladdin, you know, like Little Mermaid, and then this in the middle of those.
• 14:12
  SPEAKER_02: And everyone's just like, what's this?
• 14:14
  SPEAKER_00: And then Robert Duvall.
• 14:16
  SPEAKER_00: The people want Robert Duvall playing a crazed, elderly uh newspaper magnet in mental decline.
• 14:28
  SPEAKER_00: That's what the that's what the children want to see in the theaters.
• 14:33
  SPEAKER_02: So how many times have you seen this at this point, do you think?
• 14:38
  SPEAKER_00: I don't know that there's a number.
• 14:41
  SPEAKER_00: I I know that it will seem like hyperbole, but I've seen it hundreds of times.
• 14:46
  SPEAKER_02: That's okay, yeah.
• 14:48
  SPEAKER_02: I can believe it.
• 14:49
  SPEAKER_00: Yeah, right.
• 14:50
  SPEAKER_00: I mean, I give off that energy, right?
• 14:52
  SPEAKER_00: Like I give off that energy.
• 14:53
  SPEAKER_02: Well, I mean, I I believe it in terms because like everyone that comes on this always has the move that they always have a movie that they love and they've always seen it hundreds of times.
• 15:00
  SPEAKER_00: Well, that also this became a movie for me.
• 15:03
  SPEAKER_00: Like, um, there are movies like Die Hard that people will say uh based on the content, is it a Christmas movie or not?
• 15:09
  SPEAKER_00: But then this is a different kind of movie for me, which absolutely has nothing context or or content-wise to do with Christmas or the holidays, but to me is a Christmas movie because I watched it with my mom every year at Christmas.
• 15:23
  SPEAKER_00: And so to me, I'm like, when people are like, what's your favorite Christmas movie?
• 15:27
  SPEAKER_00: I'm like, nosies.
• 15:30
  SPEAKER_02: No, we said Christmas movie.
• 15:33
  SPEAKER_00: Right.
• 15:33
  SPEAKER_00: And they're like, does it even is it, does it take place at even in winter?
• 15:38
  SPEAKER_00: And I'm like, absolutely not.
• 15:39
  SPEAKER_00: No, no, no, it doesn't.
• 15:41
  SPEAKER_00: Thank you.
• 15:42
  SPEAKER_02: It's there's like an undetermined time it takes place in.
• 15:45
  SPEAKER_00: Yes, exactly right.
• 15:47
  SPEAKER_02: Clearly, not Christmas.
• 15:48
  SPEAKER_00: Yeah, indeterminate season, not winter.
• 15:51
  SPEAKER_00: Is what it I believe it says on the first page of the script.
• 15:55
  SPEAKER_00: Exterior indeterminate season, New York.
• 16:00
  SPEAKER_02: It does tell, well, it does say 1899 New York.
• 16:03
  SPEAKER_02: That's all we learned.
• 16:04
  SPEAKER_00: Absolutely, yes.
• 16:06
  SPEAKER_00: Um and then we're just launched into their world.
• 16:11
  SPEAKER_02: Yeah, it's well, do you okay.
• 16:14
  SPEAKER_02: So since you have seen it so many times, you're probably gonna give a better explanation of what it is.
• 16:18
  SPEAKER_02: Do you want to give like the a brief uh synopsis of what this is about?
• 16:22
  SPEAKER_00: You would think so, and yeah.
• 16:24
  SPEAKER_02: Um because I've only seen it once and it was a little bit confusing, I'm not gonna lie.
• 16:30
  SPEAKER_00: Right.
• 16:31
  SPEAKER_00: Yeah, no, it is.
• 16:32
  SPEAKER_00: Um, at times it's it's baffling, even some would say.
• 16:37
  SPEAKER_00: I I would say at the in in the simplest of terms, it is the the based on a true story tale of the 1899 newsboy strike uh of news newsboys in New York City, and the struggle between two uh major New York newspapers to have increasingly sensationalistic headlines to win more business and put the other out of business.
• 17:08
  SPEAKER_00: And uh, you know, newsies is about everything.
• 17:12
  SPEAKER_00: It's about it's about unions, it's about capitalism, it's about uh yellow journalism, it's about, you know, all of all of the things everything you want in a musical.
• 17:23
  SPEAKER_00: Everything you want, all of the classic tropes of the musical.
• 17:29
  SPEAKER_00: Union busting, uh uh senility, you know all of the things that the the kids want to see in the screens.
• 17:39
  SPEAKER_00: It has it all.
• 17:40
  SPEAKER_02: Yeah, that's the other thing.
• 17:40
  SPEAKER_02: It's definitely a kid's movie.
• 17:42
  SPEAKER_00: Yeah, absolutely.
• 17:44
  SPEAKER_00: Uh absolutely it is.
• 17:46
  SPEAKER_00: It's a family film where you can teach your children about the evils of capitalism and the importance of a free press, I think.
• 17:56
  SPEAKER_00: It's uh yeah, that's what it is.
• 17:58
  SPEAKER_00: And within this tale, uh, we see this all sort of through the lens of Jack Kelly, Jack Cowboy Kelly.
• 18:06
  SPEAKER_00: Uh a sort of uh on the older end, long in the tooth for a newsboy.
• 18:12
  SPEAKER_00: The rest are maybe, you know, 12 to 16, and he's about 36.
• 18:20
  SPEAKER_00: How old is he in this, do you think?
• 18:22
  SPEAKER_02: Well, I looked it up and he was about 18 when they filmed it.
• 18:26
  SPEAKER_00: Oh, I think he looks older than that.
• 18:27
  SPEAKER_00: Wow.
• 18:28
  SPEAKER_02: He does look older.
• 18:29
  SPEAKER_00: Um, yeah.
• 18:30
  SPEAKER_02: So Because um Sarah is also 19.
• 18:34
  SPEAKER_00: Okay.
• 18:34
  SPEAKER_00: Well, I mean, kudos to them for actually casting almost age-appropriate people.
• 18:40
  SPEAKER_02: Yeah.
• 18:40
  SPEAKER_02: So he's sort of- I feel like Sarah's supposed to be younger as well, though.
• 18:43
  SPEAKER_00: Oh, yes, absolutely.
• 18:44
  SPEAKER_02: Um I feel like she's supposed to be about 15.
• 18:47
  SPEAKER_00: Right.
• 18:48
  SPEAKER_00: Right.
• 18:49
  SPEAKER_00: Um, yes.
• 18:51
  SPEAKER_00: And and then, like in the day, you know, like if they were that true to history, I'm sure by then she would have been married with two children.
• 18:59
  SPEAKER_00: Oh yeah.
• 19:00
  SPEAKER_00: By 15.
• 19:02
  SPEAKER_00: Um, but yeah, so and then it so it follows Jack and his merry band of uh, you know, sort of love, irascible, gritty newsboys through the streets of New York as they decide they're not gonna take it anymore because their their cut of the newspapers goes down and down, so the rich guys can make more money.
• 19:20
  SPEAKER_00: Something we know nothing about, of course, in modern society.
• 19:24
  SPEAKER_02: Um what's that?
• 19:25
  SPEAKER_02: What's capitalism?
• 19:26
  SPEAKER_02: That's that ended back then.
• 19:28
  SPEAKER_00: That's right.
• 19:29
  SPEAKER_00: Thankfully, we've overcome it today.
• 19:31
  SPEAKER_00: Um, but this is a good look back at how uh all the ultra-rich would push down the working class.
• 19:39
  SPEAKER_00: Uh and they they go on strike and they have a very good time doing it uh through through uh the songs of Alan Mencken.
• 19:47
  SPEAKER_02: Yeah.
• 19:48
  SPEAKER_02: Great, great synopsis.
• 19:50
  SPEAKER_00: Thank you.
• 19:52
  SPEAKER_02: No, that is that was way better than I was gonna do.
• 19:55
  SPEAKER_00: I did my best.
• 19:58
  SPEAKER_00: That is not to say that that covers even a smidge of what actually happens in the movie.
• 20:04
  SPEAKER_02: Um, because there we'll go over it, but yeah.
• 20:06
  SPEAKER_00: Yeah, there are there are a wild amount of subplots and side characters and baffling scene choices, but uh there's subplots that go nowhere.
• 20:18
  SPEAKER_00: Absolutely nowhere, yeah.
• 20:20
  SPEAKER_00: No.
• 20:20
  SPEAKER_00: Um but are delightful none the same.
• 20:24
  SPEAKER_02: Um so what is what's your feeling about the songs in this?
• 20:30
  SPEAKER_02: Because that's one of the biggest criticisms I did notice uh from other from the from the critics and everything.
• 20:36
  SPEAKER_02: Well, that the songs were the worst part.
• 20:39
  SPEAKER_00: Well, uh, I would tell those people that they should stop reviewing movies because the songs are the best part.
• 20:50
  SPEAKER_00: The songs are the best part.
• 20:52
  SPEAKER_00: Um so I was a I was a big time choir kid who has now turned into a big time choir adult.
• 21:00
  SPEAKER_00: And so I mean, this just spoke this just like hit all the right buttons for me, you know?
• 21:06
  SPEAKER_00: So uh to me, I think that is heresy.
• 21:10
  SPEAKER_00: I don't think you should criticize Alan Menckin in any public school.
• 21:13
  SPEAKER_02: I love Alan Mencken.
• 21:14
  SPEAKER_00: Yes, I think he the man knows how to write a melody and an inspiring lyric.
• 21:20
  SPEAKER_00: Um so when I earlier when I said I don't want to start the pod out on a sour note, it's because I was going to say, yes, I have seen the movie musical um adapted for the stage that that they put on Disney Plus, like the Broadway version.
• 21:35
  SPEAKER_00: And I consider that to be an abomination.
• 21:40
  SPEAKER_00: I have the strongest feelings about the about the musical.
• 21:45
  SPEAKER_02: What's what's bad about that one?
• 21:48
  SPEAKER_00: So I have very strong feelings about the musical.
• 21:50
  SPEAKER_00: Um in that I feel strongly that it is an abomination.
• 21:56
  SPEAKER_00: Um I mean, to put it in general.
• 22:01
  SPEAKER_00: So I feel like here's my issue with it.
• 22:06
  SPEAKER_00: You can either, when you adapt from the screen to the Broadway stage, you can either have total fidelity with new, you know, with the same songs and with the same lyrics and with the same characters, or you can, you know, maybe you failed to get the rights.
• 22:21
  SPEAKER_00: And so every every character's like a little bit off.
• 22:25
  SPEAKER_00: And the songs, you know, the songs are totally new.
• 22:28
  SPEAKER_00: And it's like more of just like the general concept.
• 22:31
  SPEAKER_00: They kind of tried to like split the difference where it's generally the same idea, but then like you're halfway through a beloved song from the movie, and then they just like change the lyrics, or they like skip a verse, or they add in an and it's like it's just enough that way that you can never sing along.
• 22:52
  SPEAKER_00: So you're like it would be like if you, you know, whatever your favorite song is, if they changed every fifth word of it, and so you're like trying to sing along on the radio, you know, and like instead of Miley Cycle, like Miley Cyrus Wrecking Ball, she comes on and is like, I came in like a hammer.
• 23:11
  SPEAKER_00: And you'd be like, There's no reason to change it.
• 23:14
  SPEAKER_00: There was no, it was fine.
• 23:16
  SPEAKER_00: Like it was fine the way it was.
• 23:17
  SPEAKER_00: It would be one thing if it were like, well, now, you know, this is culturally insensitive, and so we've updated some of the lyrics.
• 23:24
  SPEAKER_00: It's just nonsense.
• 23:26
  SPEAKER_00: There's nothing.
• 23:27
  SPEAKER_00: So it's just it's just sort of someone was like, you know what would sound better?
• 23:32
  SPEAKER_00: Like instead of carrying the banner, what if we carry the newspaper?
• 23:38
  SPEAKER_00: It's just it is ruins, it ruins it for me.
• 23:42
  SPEAKER_00: It's all tainted, and I can't watch it.
• 23:44
  SPEAKER_00: Um plus it no Christian bail, so forget it.
• 23:48
  SPEAKER_02: Yeah, and it that's another thing though.
• 23:50
  SPEAKER_02: He he doesn't he wants no part of newsies anymore.
• 23:52
  SPEAKER_02: He like he's ashamed to have been a part of it.
• 23:55
  SPEAKER_00: Well, I mean, what has he done since?
• 23:59
  SPEAKER_02: It's the only big thing he's ever done.
• 24:01
  SPEAKER_00: I I feel it was his career peak, but I mean, others will feel differently.
• 24:09
  SPEAKER_00: I would really like to see him do like a reunion special now.
• 24:13
  SPEAKER_00: I would pay any amount of money to see Batman era Christian Bale riding on his little horse at like 260 pounds of muscle, you know, trying to be a newsboy at age 45.
• 24:24
  SPEAKER_02: I want him as the Robert Duval character.
• 24:28
  SPEAKER_00: Oh yes, absolutely.
• 24:31
  SPEAKER_02: Oh because you know he'd like read the prosthetics as well and everything he'd go so into it.
• 24:36
  SPEAKER_00: 100%.
• 24:38
  SPEAKER_00: Um yes, I I'm gonna start a GoFundMe right directly after this, and we're gonna get this going.
• 24:45
  SPEAKER_00: I believe we can make it happen.
• 24:47
  SPEAKER_02: I did read that he was like, when he was making it though, he was ashamed to tell his friends that he was in a musical.
• 24:54
  SPEAKER_02: Which is really funny.
• 24:55
  SPEAKER_00: In total fairness, it is very unlike.
• 24:58
  SPEAKER_00: I mean, the closest thing I can think of that would be something that he like another project of his would be Swing Kids.
• 25:05
  SPEAKER_02: But even that I don't I don't even know that.
• 25:08
  SPEAKER_00: Oh, it's it's very good.
• 25:10
  SPEAKER_00: I mean, it's not a musical.
• 25:11
  SPEAKER_00: He it's it there is music in it because it's basically about um young, like teenagers in Nazi era Germany that had to uh go underground, you know, they got very into like jazz and swing music, which for obvious reasons wasn't was frowned upon by the Nazi regime.
• 25:31
  SPEAKER_00: And uh some of them were being swept along in like the uh youth movement, like the Hitler youth movement and all of this, but then secretly they're going to these like dance clubs to listen to jazz.
• 25:42
  SPEAKER_00: Like, but it was more of a drama with like some nice set piece like dancing uh that happened.
• 25:49
  SPEAKER_00: Yeah, right.
• 25:50
  SPEAKER_00: Uh but that's the closest.
• 25:52
  SPEAKER_00: How old was he in that?
• 25:53
  SPEAKER_02: Was that a long time of course?
• 25:54
  SPEAKER_00: I mean, that was that was in the same general time period.
• 25:58
  SPEAKER_00: Yeah, I'd say it was within a year or two.
• 26:01
  SPEAKER_02: Oh, right.
• 26:01
  SPEAKER_02: So then he got then a few years down the line he got big again.
• 26:05
  SPEAKER_00: Right.
• 26:06
  SPEAKER_00: Yeah.
• 26:07
  SPEAKER_00: Um and then back.
• 26:08
  SPEAKER_00: American psychotype, and then Right, and then you never look back.
• 26:12
  SPEAKER_02: Yeah.
• 26:12
  SPEAKER_00: Um, but you know, you can't you can't fight the hand that feeds you.
• 26:16
  SPEAKER_00: It's like when people win American Idol over here.
• 26:18
  SPEAKER_00: Like, you know, you can either be Kelly Clarkston and be like, you know, I'm grateful for the opportunity.
• 26:22
  SPEAKER_00: It made me who I am today, and then you kind of move on from it, but you're still like gracious, or you can be the people that like pretend like you're not famous because of it.
• 26:32
  SPEAKER_01: I know.
• 26:33
  SPEAKER_00: Um, everyone my age that I know that still loves Christian Bale, like that's how they know.
• 26:39
  SPEAKER_00: I mean, that was the first that was their first touch, right?
• 26:41
  SPEAKER_00: Like, that was the first little taste.
• 26:44
  SPEAKER_00: So, you know, maybe, maybe don't bite the hand that feeds you.
• 26:49
  SPEAKER_02: Yeah, for me, it's definitely American Psycho is where I first knew of him.
• 26:55
  SPEAKER_02: That and Shaft.
• 26:57
  SPEAKER_00: Which uh I think those are both considered um sort of emotionally connected sequels to Newsies.
• 27:05
  SPEAKER_02: Yeah, American Psycho and Shaft.
• 27:07
  SPEAKER_00: Yes, I believe they're believed they're meant to be taken as a trilogy.
• 27:14
  SPEAKER_00: That's how it's designed.
• 27:16
  SPEAKER_02: Well he's good here and then he like slowly gets worse and worse.
• 27:19
  SPEAKER_02: That's what you know.
• 27:20
  SPEAKER_00: It's sort of a breaking bad scenario.
• 27:26
  SPEAKER_00: This sort of is the prequel, and it tells a little bit about how he became how he became American psycho.
• 27:36
  SPEAKER_00: Pushed to the brink, pushed to the brink by capitalism.
• 27:44
  unknown: Okay.
• 27:45
  SPEAKER_02: Oh, that'd be so funny.
• 27:47
  SPEAKER_00: So I urge you all tonight to you know make a night of it and just watch it.
• 27:52
  SPEAKER_02: If you're gonna do a double bill, yeah.
• 27:54
  SPEAKER_02: If you're gonna do a bill, if you're gonna set up a billing of like watching a set a series of movies, make it those.
• 28:00
  SPEAKER_00: Yeah, absolutely.
• 28:01
  SPEAKER_00: Um definitely the best trilogy I've ever been a part of.
• 28:06
  SPEAKER_00: For sure.
• 28:08
  SPEAKER_00: Heads down.
• 28:09
  SPEAKER_00: I can't think of another one that would be better.
• 28:13
  SPEAKER_02: So let's let's let's talk about let's go through the movie then.
• 28:16
  SPEAKER_02: Because um so it opens and it says based on actual events, which I'm sure is a very loose term for based on uh of like what the events are based on.
• 28:30
  SPEAKER_00: I mean, so short of the singing and dancing um and the specific character names, not that much.
• 28:37
  SPEAKER_00: I mean, this newsboy strike really did happen.
• 28:41
  SPEAKER_02: Yeah, I that's the I I thought that's as far as it went.
• 28:44
  SPEAKER_00: Yeah, I mean the actual characters and and all of that were, I'm sure, amalgamations of of people, but yeah, the historical um piece of the newsboy strike was actually somewhat based in fact.
• 29:00
  SPEAKER_00: Because they were like, you know what, we really need something to ground this movie musical.
• 29:05
  SPEAKER_00: We really need to, we can't just make it up a whole cloth.
• 29:08
  SPEAKER_00: Children won't believe it.
• 29:10
  SPEAKER_00: Like children won't believe it.
• 29:11
  SPEAKER_00: They need realism.
• 29:14
  SPEAKER_00: That's right, gritty realism.
• 29:17
  SPEAKER_00: Um, so yes, it opens uh with that and with a bunch of the newsboys sort of in a boarding house where they all live as orphans and runaways.
• 29:28
  SPEAKER_00: Yes, absolutely.
• 29:30
  SPEAKER_00: Um it's yes, it is like a sequel to Annie.
• 29:35
  SPEAKER_00: I'm glad you brought that up.
• 29:36
  SPEAKER_00: So yeah, it's uh poor orphans and runaways, they say.
• 29:40
  SPEAKER_02: That's where I thought it was well, that's where I thought it was going when it opened like that.
• 29:43
  SPEAKER_02: Yes, I thought it was going like the Annie route, I guess.
• 29:46
  SPEAKER_00: Like Christian Bale would be adopted by a nice family, like try to make it out in the world.
• 29:52
  SPEAKER_02: Um they're all sleeping head to toe in their bunks.
• 29:56
  SPEAKER_02: Yes.
• 29:57
  SPEAKER_02: Um they've all got these hilarious accents.
• 30:00
  SPEAKER_00: It's so yes, it's very like they all took one drama class.
• 30:09
  SPEAKER_00: Like they took one Gotham like drama class um where about like the New York dialect, and it's it's very like Robert De Niro on steroids.
• 30:20
  SPEAKER_02: Um but it's called it's kind of like I don't know, it's very funny because Christian Bell's accent is fine until he starts singing, and then it really comes through.
• 30:35
  SPEAKER_02: You can hear the like the Welsh accent coming through.
• 30:38
  SPEAKER_00: Yes, 100%, yes.
• 30:40
  SPEAKER_00: Um, I don't I think if they were just sort of like, you know, we're asking a lot of him, like he really doesn't sing.
• 30:49
  SPEAKER_00: Um, so like let's just kind of leave it at that.
• 30:52
  SPEAKER_00: Like I think it was sort of like this was around the same time that they released Robin Hood uh Men of the uh Prince of Thieves, Prince of Thieves where like Kevin Costner couldn't pull up an English accent, so they just re-recorded it all and we're like, it's fine, just be American.
• 31:08
  SPEAKER_00: Like no one will question it.
• 31:10
  SPEAKER_00: It's fine.
• 31:11
  SPEAKER_00: Um and similarly, I mean, that had Alan Rickman in a truly brilliant over the top, he was sort of the Robert Duvall of that movie.
• 31:19
  SPEAKER_00: So that was sort of the formula of the time.
• 31:22
  SPEAKER_00: You had to have someone just completely at like a 12 out of 10 at all times in every scene, and then like a a lead sort of like trying to pull off an accent that they really had no business trying to do.
• 31:36
  SPEAKER_02: Well, speaking of which, I just did um the latest um uh what's it called, King Arthur movie.
• 31:44
  SPEAKER_02: And that have you seen it?
• 31:47
  SPEAKER_00: I have not.
• 31:48
  SPEAKER_00: I've seen the trailer.
• 31:49
  SPEAKER_02: Okay.
• 31:49
  SPEAKER_02: So Jude Law is doing a very over-the-top villain role in that, and uh the uh Charlie Hunnam is doing it like appalling, just like that his accent is just it doesn't fit.
• 32:05
  SPEAKER_02: And so that's is I don't know if it's just like something of those movies that they do.
• 32:10
  SPEAKER_00: Amazing.
• 32:11
  SPEAKER_00: Um yeah, I think Costner just really opened that door for everyone else to just kind of phone in an accent at that point.
• 32:18
  SPEAKER_00: It was sort of like whatever you can manage is fine.
• 32:22
  SPEAKER_00: Like it quits it's fine.
• 32:26
  SPEAKER_00: Yeah, yeah, it's very funny.
• 32:29
  SPEAKER_02: Yeah, um, but yeah, so they but they all talk in this movie with like Moira and all that like that's absolutely um, it's just what we think of, at least in the UK, like that's how you would like they would do a New York accent.
• 32:49
  SPEAKER_00: A hundred percent.
• 32:50
  SPEAKER_00: It was like, how would someone in another country think that you do a New York accent?
• 32:57
  SPEAKER_00: Do that.
• 32:58
  SPEAKER_00: But do it more than um, yes, it is hilarious.
• 33:03
  SPEAKER_00: Oh, it also has in that scene.
• 33:05
  SPEAKER_00: Um, I remember being so excited because uh Max Cassella is sort of his little right-hand man, and he played uh Vinny from Doogie Hauser growing up.
• 33:16
  SPEAKER_00: Oh, did you ever watch that show?
• 33:18
  SPEAKER_02: It was about like the I was I was too I was like too young three years old or something.
• 33:24
  SPEAKER_00: Yes.
• 33:25
  SPEAKER_00: Well, you missed a real classic, but it's about a young doctor.
• 33:29
  SPEAKER_00: It was about a 16-year-old kid who was a brilliant doctor, and uh Vinny was his little you know, scrap sidekick.
• 33:36
  SPEAKER_00: It was his little buddy.
• 33:37
  SPEAKER_00: Um, so he like at the time he was sort of a big name too.
• 33:42
  SPEAKER_00: Like he came in and everybody, I mean, I think people knew who he was because he'd been on a hit TV show.
• 33:48
  SPEAKER_02: That was a very it was a huge show, wasn't it?
• 33:50
  SPEAKER_00: So oh yeah.
• 33:51
  SPEAKER_00: So I think everybody was like, Vinny.
• 33:54
  SPEAKER_00: Um, so yeah, they kind of all go about their like it's sort of that classic getting ready for the day montage.
• 34:00
  SPEAKER_00: Yeah, like we're all pushing each other out of the way of our one mirror and we're shaving our one chest hair.
• 34:07
  SPEAKER_02: Well then, yeah, Christian Bale starts shaving in it.
• 34:11
  SPEAKER_02: It's very funny because it's like he's not old enough to shave.
• 34:14
  SPEAKER_00: And it's complete it's completely clean shaven to begin with.
• 34:18
  SPEAKER_00: Like they don't even bother, they didn't even bother trying to be like girl out of like a couple days worth of uh five o'clock.
• 34:26
  SPEAKER_00: I doubt it, doubtful, but uh yeah, so they're all you know getting ready for their day as then it's like the little kids smoking a cigar.
• 34:35
  SPEAKER_00: Yeah.
• 34:37
  SPEAKER_00: They really want to show that these kids they are not normal kids.
• 34:42
  SPEAKER_00: They've had they've had a rough and double life.
• 34:46
  SPEAKER_00: They smoke cheroots and say marginally bad words.
• 34:50
  SPEAKER_00: It's PG.
• 34:51
  SPEAKER_00: So they can only they can't really curse.
• 34:54
  SPEAKER_02: But the the first song, I wrote down um What a Fine Life.
• 34:58
  SPEAKER_02: I don't think that's the title of the song, though.
• 35:00
  SPEAKER_02: But like I think it's uh carrying the banner.
• 35:03
  SPEAKER_00: It's what, so yes, uh carrying the banner.
• 35:06
  SPEAKER_02: Carrying the banner, yeah.
• 35:07
  SPEAKER_00: Because the banner was like the newspaper, so you're carrying the headline, you're carrying the banner.
• 35:12
  SPEAKER_00: So, and again, a term children would be very familiar with.
• 35:17
  SPEAKER_00: Just we're speaking in the parlance of children of the day of the 90s.
• 35:22
  SPEAKER_01: Um carrying the banner.
• 35:24
  SPEAKER_00: Yes, you know, as one does.
• 35:27
  SPEAKER_00: Any kid who's had a paper root would know all about that.
• 35:30
  SPEAKER_00: No, they wouldn't.
• 35:31
  SPEAKER_00: Um, no, they would have never heard of that ever.
• 35:34
  SPEAKER_02: Uh the general theme is just like, oh, yeah, look, we're we're like these rough and humble boys.
• 35:38
  SPEAKER_02: We don't have anything.
• 35:39
  SPEAKER_02: We don't have an easy time.
• 35:41
  SPEAKER_00: We don't have it easy, we don't have parents, we're very emotionally traumatized, and we want to really point that out.
• 35:46
  SPEAKER_00: But also, like, things are pretty good.
• 35:49
  unknown: Yeah.
• 35:49
  SPEAKER_00: It's like it's such a plucky song.
• 35:52
  SPEAKER_00: Like, it's like we're gonna go out of our way to tell you how bad we have it, but still how happy we are, despite that.
• 35:58
  SPEAKER_00: So they're they're all just hanging in there together selling these papers for like uh it's a penny a pape.
• 36:04
  SPEAKER_00: So you get one penny, which I know inflation, yeah, penny a pape, because paper is too long to say.
• 36:11
  SPEAKER_00: I know.
• 36:11
  SPEAKER_00: I hate it.
• 36:12
  SPEAKER_02: It really bothered me every time they said paper, though.
• 36:15
  SPEAKER_00: Absolutely, it felt very false.
• 36:17
  SPEAKER_00: Um and like even with inflation, you have to think that like that's not a lot of money.
• 36:24
  SPEAKER_00: Like, I don't know.
• 36:26
  SPEAKER_00: I mean, I know you could buy a house back then for like four dollars, but still, it's I don't know.
• 36:32
  SPEAKER_00: It feels like like a raw deal.
• 36:34
  SPEAKER_02: I want to know how much, like, so what were they buying it for originally?
• 36:38
  SPEAKER_02: Like, because they had they had to buy it off of they had to buy like the however many papers.
• 36:43
  SPEAKER_00: Yes, that was an exchange rate.
• 36:45
  SPEAKER_00: Yeah, they have to go buy their papers and then sell them.
• 36:48
  SPEAKER_02: Sell them for a penny, yeah.
• 36:50
  SPEAKER_00: Right, and this is what causes the strike is that the rate that they have to buy the papers for goes up, yeah.
• 36:56
  SPEAKER_02: It goes up to a tenth of a penny.
• 36:58
  SPEAKER_00: Right.
• 36:58
  SPEAKER_00: I guess my my question is why can't you just sell the paper for more money?
• 37:03
  SPEAKER_00: Like, why can't you turn around and be like, papers are now a dollar?
• 37:07
  SPEAKER_00: That's it.
• 37:08
  SPEAKER_00: Like, who's to stop you?
• 37:10
  SPEAKER_02: Yeah, yeah, that's true.
• 37:12
  SPEAKER_02: That's capitalism itself.
• 37:13
  SPEAKER_00: That's capitalism, baby.
• 37:15
  SPEAKER_00: You turn around and be like, a paper's a quarter now, I'm sorry.
• 37:20
  SPEAKER_02: But the other the other question I had was that if Christian Bale is doing so well and he's setting a hundred a day or whatever he is, and the others are sending like the others are setting like twenty a day or something.
• 37:36
  SPEAKER_00: Right.
• 37:36
  SPEAKER_02: But they all they all live in the same place.
• 37:38
  SPEAKER_00: So how is it that they're spread out over the city?
• 37:43
  SPEAKER_00: They fan out.
• 37:48
  SPEAKER_00: Oh no.
• 37:49
  SPEAKER_00: I know.
• 37:50
  SPEAKER_00: I think like maybe he gets the prime, you know, the prime corner.
• 37:53
  SPEAKER_00: I don't know.
• 37:54
  SPEAKER_00: Uh it's strange to me.
• 37:57
  SPEAKER_02: Yeah, yeah.
• 37:58
  SPEAKER_02: Maybe he has to pay more to stay where he is staying.
• 38:00
  SPEAKER_02: Like he's also bid is more.
• 38:03
  SPEAKER_00: He meets uh David Moscow from Big, which is what I'm now going to call him.
• 38:07
  SPEAKER_00: He meets David Moscow from Big and his little brother, Les, and he goes out of his way to say um that Les will sell a lot of papers because he's so young.
• 38:16
  SPEAKER_00: He's maybe seven or eight, I don't know, something like that.
• 38:19
  SPEAKER_00: That's how he struck me.
• 38:20
  SPEAKER_00: And uh, you know, young young faces sell papes, and it's like, but he's selling the most papes, and he's like the oldest.
• 38:30
  SPEAKER_00: So I don't that doesn't hold water.
• 38:32
  SPEAKER_02: But he's a smooth talker.
• 38:33
  SPEAKER_02: That's what you need to learn.
• 38:34
  SPEAKER_02: That's what you learn about him.
• 38:36
  SPEAKER_00: I see.
• 38:37
  SPEAKER_02: He knows how to rewrite a headline, right?
• 38:40
  SPEAKER_00: Oh, I also noticed there's a a few little like background moments where you see that he basically like sells a paper and then takes it back from the person that just bought it, which is just stealing.
• 38:53
  SPEAKER_00: Yeah.
• 38:55
  SPEAKER_00: So like he has more papers to sell because he's just stealing them back.
• 38:58
  SPEAKER_00: So he's just a criminal.
• 39:01
  SPEAKER_00: He's just a criminal.
• 39:03
  SPEAKER_00: Oh so he's like, how how do you sell so many?
• 39:06
  SPEAKER_00: And he's like, ah, just theft, petty theft.
• 39:11
  SPEAKER_00: Smooth talking and petty theft.
• 39:14
  SPEAKER_02: Yeah.
• 39:15
  SPEAKER_02: Um, but it's like there's a scene while this while they're all singing this, there's a as a as a like a little scene where they go outside and these nuns are handing out food and water to them, they're handing out bread and water.
• 39:27
  SPEAKER_02: As they sing, as nuns, as they sing.
• 39:29
  SPEAKER_02: And all that all the the boys just like they take their caps off and like very reverent.
• 39:36
  SPEAKER_00: If Hollywood has taught us anything, it's that nuns love to sing in public.
• 39:44
  SPEAKER_00: That is something we know now, thanks to TV and film.
• 39:48
  SPEAKER_00: Um, yeah, I love how instantly uh these this like band of trouble-making boys uh becomes just like they're at church.
• 39:59
  SPEAKER_00: They just love these women so much.
• 40:01
  SPEAKER_00: They're so thankful for the spoon.
• 40:04
  SPEAKER_00: Uh, and then they're right back to it.
• 40:05
  SPEAKER_00: It's like a little interlude.
• 40:07
  SPEAKER_00: Right, yeah.
• 40:08
  SPEAKER_02: They're right back to it because they fight the DeLancey brothers at this point.
• 40:12
  SPEAKER_00: Well, they like you meet the DeLancey brothers at this point who are Oh yes, they're sort of our antagonists in a way, I guess.
• 40:19
  SPEAKER_02: It's not clear it's not entirely clear who they are.
• 40:22
  SPEAKER_02: That's for for me.
• 40:24
  SPEAKER_02: It wasn't clear.
• 40:24
  SPEAKER_02: I was like very confused.
• 40:26
  SPEAKER_00: Yes, they they work for the the paper.
• 40:30
  SPEAKER_00: They're sort of um, they're the muscle, they're sort of uh henchmen, I would say.
• 40:35
  SPEAKER_00: Like teenage henchmen, they're only slightly older than the newsboys.
• 40:40
  SPEAKER_00: We don't really know who they are or where they are.
• 40:43
  SPEAKER_02: That's the thing.
• 40:43
  SPEAKER_02: They seem they seem, if not the same age as Christian Bell, younger.
• 40:48
  SPEAKER_00: Yes, yes, and shorter, and yet we are to fear them, um, for some reason.
• 40:55
  SPEAKER_00: And yeah, they're they're there to help the interests of the paper, not the interests of the newsboys for some reason, which feels very like uh to me, like that that feels very like you're going against the family.
• 41:09
  SPEAKER_00: Like they obviously did not come from means, they obviously also were sort of like street rat children that grew up to become these evil bouncers of the newspaper for some reason, which it's like they probably were newsboys, yeah, and then they just turn right around and uh they're sort of like the Benny and Rent character.
• 41:29
  SPEAKER_00: Like they're the person that like used to be cool and now sold out, and now they're working for the other side.
• 41:36
  SPEAKER_02: Although I will say about Benny and Rent, I I I get it.
• 41:41
  SPEAKER_00: Like he I get it now, right?
• 41:43
  SPEAKER_02: Yeah, now I get it for him.
• 41:45
  SPEAKER_00: Watching Rent as a 41-year-old woman, I'm now like, is like now is Benny.
• 41:52
  SPEAKER_00: He's not a bad person when you actually not a bad person.
• 41:55
  SPEAKER_00: He's just trying to grow up and live his life.
• 41:57
  SPEAKER_02: Because he also like, he's not bad to them.
• 42:01
  SPEAKER_00: No, he's quite good to them.
• 42:02
  SPEAKER_02: You can stay.
• 42:03
  SPEAKER_02: You just we just need to like Right.
• 42:06
  unknown: Yeah.
• 42:07
  SPEAKER_02: We have no problem with any of you staying.
• 42:09
  SPEAKER_00: He's like, guys, can we just stop doing heroin for one minute and just like try to get a job?
• 42:15
  SPEAKER_00: And they're like, no, capitalism.
• 42:17
  SPEAKER_00: And he's like, it's it's not.
• 42:19
  SPEAKER_02: I just I really need you to I don't have a problem with you staying in, like, and also I'm not gonna up for anything of you, but I just want other people to live here as well.
• 42:28
  SPEAKER_00: Right.
• 42:29
  SPEAKER_00: I guys, I need to make a living on this building.
• 42:32
  SPEAKER_00: Like, you really need to stop leaving your dirty needles out.
• 42:35
  SPEAKER_00: They're like, they're like, you're hurting our art.
• 42:40
  SPEAKER_00: Yes, seeing rent through the through a parent's lens is a different experience.
• 42:46
  SPEAKER_00: But that's so funny.
• 42:49
  SPEAKER_00: But we digress.
• 42:50
  SPEAKER_02: Yeah.
• 42:50
  SPEAKER_02: I I wanted to say about the Delancey brothers as well.
• 42:53
  SPEAKER_02: Like, the funny thing is, like uh yeah, they're clearly like of Delancey Street in New York.
• 43:00
  SPEAKER_02: That's uh but the and the funny thing is like Delancey Street was not nice back then.
• 43:08
  SPEAKER_00: It wasn't uh uh they yeah, you also have to say it like they say it in the movie the Delancey Brabbus.
• 43:17
  SPEAKER_00: The Delancey Brabus.
• 43:19
  SPEAKER_00: The Delancey Brabus for some reason.
• 43:23
  SPEAKER_02: Yeah.
• 43:24
  SPEAKER_00: Uh which is not how anyone has talked ever in the history of the world.
• 43:30
  SPEAKER_02: Just imagining going back in time and hearing everyone speaking like that.
• 43:34
  SPEAKER_02: Yes.
• 43:34
  SPEAKER_00: And well, they they work for the man that sells the papers to distributes the papers to the newsboys, and his name is Weasel for some reason.
• 43:43
  SPEAKER_00: Who I thought was Harvey Feisteen, and it's not it does look like it does look like him.
• 43:49
  SPEAKER_00: Um it should be.
• 43:52
  SPEAKER_00: It should have been.
• 43:54
  SPEAKER_00: It was a miscast.
• 43:55
  SPEAKER_02: Yeah, it makes sense to have him in a musical.
• 43:56
  SPEAKER_02: Yeah.
• 43:57
  SPEAKER_00: It was a miscast, yeah.
• 43:58
  SPEAKER_00: And he sort of plays the role like If you've seen the latest Star Wars movies where Ray has to sell her junk back and get her portion, he sort of plays the role of like the person that doles out the portions, right?
• 44:12
  SPEAKER_00: And he's sort of uh grumpy and uh yeah, just he's he's not having it with these newsboys.
• 44:20
  SPEAKER_00: Yeah, he he doesn't like it.
• 44:22
  SPEAKER_00: He's very put upon.
• 44:24
  SPEAKER_00: Like you kind of get the impression that like he's not really pro-newspaper, he's just he's just sort of tired.
• 44:31
  SPEAKER_02: Yeah.
• 44:32
  SPEAKER_00: He's just tired.
• 44:33
  SPEAKER_02: Just wants to make his money and be done.
• 44:35
  SPEAKER_00: That's right.
• 44:36
  SPEAKER_00: You know, maybe he's the Benny.
• 44:38
  SPEAKER_02: Yeah.
• 44:39
  SPEAKER_00: You know, now maybe on on Rewatch, maybe we're like, you know, Weasel's not wrong.
• 44:45
  SPEAKER_00: He's just trying to sell his papers and go home.
• 44:48
  SPEAKER_02: The only thing, the only way there are things that he does wrong, though.
• 44:51
  SPEAKER_02: Like he's he'll um he hands out less papers to certain people, even though they've paid for them the certain amount, like he'll hand out 19 on tw instead of 20.
• 45:00
  SPEAKER_02: Right.
• 45:01
  SPEAKER_02: So like he is a little bit of a sneak.
• 45:03
  SPEAKER_00: Oh, yeah.
• 45:04
  SPEAKER_00: A little bit of a weasel.
• 45:05
  SPEAKER_00: You have to watch out for a weasel.
• 45:07
  SPEAKER_00: It's not just a clever name.
• 45:09
  SPEAKER_00: He lives up to it.
• 45:11
  SPEAKER_02: I wrote I wrote down here that like this seems just funny on reflection, given like everything you said about the stage.
• 45:18
  SPEAKER_02: I wrote down this looks this would this seem like it'd be so fun on stage.
• 45:22
  SPEAKER_00: Yes, but and yet it's not.
• 45:26
  SPEAKER_00: Uh oh, I will also say that they call him Weasel because his name is Mr.
• 45:31
  SPEAKER_00: Yzel, which now in 2021, I'm like, it is vaguely anti-Semitic that they call him Weasel.
• 45:39
  SPEAKER_00: I think it's more because of his behavior is sneaky, but it's they could have done better.
• 45:45
  SPEAKER_02: There's a little bit of it's a little icky.
• 45:48
  SPEAKER_00: It's a little icky.
• 45:49
  SPEAKER_00: I mean, as as movies from 1992 have aged, I feel this one does generally okay, other than the fact that it is, and maybe this is historically accurate, but it's just all it's as white as can be, right?
• 46:04
  SPEAKER_00: Like everyone is uh all the newsboys are white.
• 46:07
  SPEAKER_00: Yeah, there is one black kid, uh, and I think maybe one like half Asian person, but only because they were on Roundhouse, and they had invited everyone from Roundhouse, and it was too late to say no.
• 46:23
  SPEAKER_02: Yeah, there's one black kid, he gets, I think, one line slower.
• 46:27
  SPEAKER_02: Yeah, other than that.
• 46:29
  SPEAKER_00: That was sort of like the 90s version of diversity.
• 46:31
  SPEAKER_00: They were like, see, like, look what we did.
• 46:35
  SPEAKER_02: And then there's uh maybe three women in the entire movie as well.
• 46:40
  SPEAKER_00: Yeah, this movie 100% does not pass the Bechtel test.
• 46:48
  SPEAKER_00: It is, I don't even think, I mean, that would be like a woman talking to a woman about something other than a man.
• 46:54
  SPEAKER_00: I don't even know that there's a scene where a woman talks to a woman.
• 46:57
  SPEAKER_02: No, there's not.
• 46:59
  SPEAKER_00: There's not because like Sarah maybe and her mother, but they're Sarah and her mother, but they're talking, they're definitely talking about the the men.
• 47:07
  SPEAKER_00: Absolutely, absolutely.
• 47:09
  SPEAKER_00: So yeah, not it's it's not gonna win any um, you know, trailblazing awards for feminism.
• 47:16
  SPEAKER_00: Uh it's not, but but it's uh yeah, it's a lot of it's a lot of action and a lot of fun.
• 47:25
  SPEAKER_02: Yeah.
• 47:26
  SPEAKER_02: I mean, like so basically that uh Christian Bell's character, um I'm gonna call him Cow.
• 47:34
  SPEAKER_02: I've written Cowboy at the start here, because that's how they refer to it.
• 47:37
  SPEAKER_02: I've forgotten his name already.
• 47:38
  SPEAKER_02: Yes.
• 47:39
  SPEAKER_01: Yes.
• 47:41
  SPEAKER_01: Jack Kelly.
• 47:42
  SPEAKER_02: Jack Kelly, yes.
• 47:43
  SPEAKER_02: Jack spots uh Danny.
• 47:45
  SPEAKER_02: Uh sorry, he sees Danny and he's like, oh this uh Davy, sorry.
• 47:49
  SPEAKER_02: And he's like, this is yeah, this is this new guy and his little brother.
• 47:53
  SPEAKER_02: Um and I'm gonna spot because he Davy asks for 20 papes, and he said, uh and he's like, uh spot me some money, he says to another kid, and he's like, and he's like, give give him 50 papes.
• 48:06
  SPEAKER_02: Basically, just give him take take 50.
• 48:09
  SPEAKER_00: Just give him 50.
• 48:10
  SPEAKER_02: He's like, no, I don't want 50.
• 48:11
  SPEAKER_02: I like it.
• 48:12
  SPEAKER_00: Yeah, he's like, I can't do 50.
• 48:14
  SPEAKER_00: That's right.
• 48:15
  SPEAKER_00: He's like, you're gonna ruin my family.
• 48:16
  SPEAKER_00: That's I think 30 cents could be the difference between being thrown out on the street or not.
• 48:22
  SPEAKER_00: Yeah, um, yeah.
• 48:23
  SPEAKER_00: So Christian Bell makes him take more papes and says, basically says, I'm gonna take you under my wing.
• 48:29
  SPEAKER_00: Yeah, I I think you have something, you've got the fresh face, and with my with my smooth talking and petty theft and your youth, we can sell you know a hundred papes today.
• 48:41
  SPEAKER_02: Um and he's like, But when there's a bad headline today, we're not gonna sell that.
• 48:46
  unknown: Right.
• 48:47
  SPEAKER_02: Well, no, that's what you gotta do.
• 48:48
  SPEAKER_02: You just gotta reword it.
• 48:49
  SPEAKER_02: And he starts like telling all these lies, not lies, but like rewording.
• 48:53
  SPEAKER_00: Uh he says, like, there's a fire or something, and it's like he was basically a very early American PR executive.
• 49:01
  SPEAKER_00: He just kind of knows how to spin it.
• 49:03
  SPEAKER_00: Yeah, yeah.
• 49:04
  SPEAKER_00: So instead of like there's a fire in a trash can, he says, like, big conflagration, you know, uh, and sells papers that way.
• 49:13
  SPEAKER_00: Uh, and so they're they're off on this on this adventure.
• 49:17
  SPEAKER_00: And also, he he calls David Davy, and David so many times is like, I don't, I'm not called that.
• 49:23
  SPEAKER_00: Like, I don't want to be called that.
• 49:25
  SPEAKER_00: And he just ignores that and is sort of like, no, this is your name now, which is where it fully becomes his name.
• 49:31
  SPEAKER_02: Everyone calls him.
• 49:32
  SPEAKER_00: Yes, and then everyone calls him that.
• 49:34
  SPEAKER_00: And he's like, I this is not how I choose to identify myself.
• 49:39
  SPEAKER_00: He just steamrolls him, which is such a good way to start a friendship and business partnership, just to steamroll over someone being like, that's not my name.
• 49:47
  SPEAKER_00: Uh, and so they begin selling papers.
• 49:51
  SPEAKER_02: Yeah, but at this point you learn that Mr.
• 49:52
  SPEAKER_00: Pulitzer is spending as much as he makes on everything, which is the whole reason they have to like up the right, because he's he's uh based out of fear, yes.
• 50:04
  SPEAKER_00: He is making reactionary decisions out of fear and and paranoia to beat his rival, and so they're just spending, spending, spending, spending more and more and more, and coming up with increasingly ludicrous headlines and passing down the cost cutting to the lowest common denominator, which I it's not even his idea, it's like his evil assistance idea.
• 50:28
  SPEAKER_00: Someone comes and is like, what about the newsies?
• 50:31
  SPEAKER_00: Like, yeah, like who cares?
• 50:32
  SPEAKER_00: They're already poor, make them more poor.
• 50:35
  SPEAKER_00: And he's like, Yes, great idea, wonderful.
• 50:38
  SPEAKER_00: At no point, like there are no other ideas that are really proper.
• 50:42
  SPEAKER_00: That's it.
• 50:43
  SPEAKER_00: It's not like, well, what if we went down?
• 50:45
  SPEAKER_00: What if we stopped publishing on Mondays?
• 50:48
  SPEAKER_00: Or something that would like really make a difference?
• 50:51
  SPEAKER_00: Like, what if we only had one edition every so often?
• 50:54
  SPEAKER_00: Or what if there were slightly less pages in each edition?
• 50:58
  SPEAKER_00: Like things that would be pretty reasonable.
• 51:01
  SPEAKER_00: They were like, what if we took our whole labor force and made them hate us?
• 51:07
  SPEAKER_02: But I mean, the other thing is, like, he's like you said, he's very reactionary, so uh absolutely he's like, Yes, let's do it.
• 51:16
  SPEAKER_00: Uh so they he does, and the newsboys are like not having it.
• 51:21
  SPEAKER_00: They're they're not gonna they're not gonna be pushed around.
• 51:24
  SPEAKER_02: No, but they um uh there's this whole thing going on of like a trolley strike, and um they they're seeing all that going on, and they decide basically they're deciding that like, oh, because of that, if we do the same thing and we go on strike, then we can c uh kind of pave the way for ourselves.
• 51:45
  SPEAKER_02: And uh Yes.
• 51:46
  SPEAKER_00: I call this unnecessary subplot number one, the trolley strike.
• 51:51
  SPEAKER_02: I I wouldn't call that an un unnecessary, I think it's a good lead into like to give them the idea for it.
• 51:57
  SPEAKER_00: Makes sense, but I also feel like it could have just been done in a headline.
• 52:02
  SPEAKER_00: Like they could have looked on and like, oh, the trolley strike drags on for fifth day.
• 52:06
  SPEAKER_00: Hey, that gives me an idea.
• 52:08
  SPEAKER_00: Like instead of like three scenes devoted to this trolley strike getting bigger and bigger and then never being heard from again.
• 52:16
  SPEAKER_02: Yeah, once once they decide on their strike, you never hear from the trolley strike again.
• 52:19
  SPEAKER_00: You never hear from the trolley strike again.
• 52:21
  SPEAKER_00: You have no idea if it's like resolved, and it seemed like it was getting pretty intense.
• 52:25
  SPEAKER_00: Like at some point, I was like, maybe we should be following the trolley strike because people are fires.
• 52:30
  SPEAKER_00: There's people are lighting fires, they're like bashing each other over the head in the alley, you know.
• 52:36
  SPEAKER_00: So I was like, maybe this is sort of the main story that we need to drift over to, but it didn't happen.
• 52:42
  SPEAKER_02: It definitely seems like there's gonna be like some kind of collaboration or something between.
• 52:47
  SPEAKER_00: Right.
• 52:48
  SPEAKER_00: That's what I was expecting at the end.
• 52:49
  SPEAKER_00: Like, you know who's gonna come back us up?
• 52:51
  SPEAKER_00: The trolley workers.
• 52:52
  SPEAKER_00: And they're like, no, they're a bunch of kids.
• 52:54
  SPEAKER_00: We got real problems.
• 52:55
  SPEAKER_00: Like, we're not doing that.
• 52:58
  SPEAKER_02: Um so they they find out that the price basically they find out the price is gonna be raised by one tenth of a cent uh on every on every newspaper, which is gonna like raise so like you said, Christian bells would raise by uh what's it end up being a a dollar?
• 53:15
  SPEAKER_00: No, not even.
• 53:16
  SPEAKER_00: I don't know, like ten cents?
• 53:18
  SPEAKER_02: Ten yeah, ten cents.
• 53:19
  SPEAKER_02: Yeah, sorry, you're right, ten cents on the dollar.
• 53:22
  SPEAKER_02: Yes.
• 53:22
  SPEAKER_00: Yeah, so ten cents on the dollar, and that's a deal breaker because they already can't for although I will say, I do they pay for their lodging, or I mean it seemed like they were just lodged at by the newspaper, right?
• 53:35
  SPEAKER_02: That's what I don't understand.
• 53:36
  SPEAKER_02: It's not entirely clear like what's going on, and like and why some of them are poor and some of them are not.
• 53:42
  SPEAKER_02: Right.
• 53:43
  SPEAKER_02: If they're not paying for lodging, what are they doing?
• 53:46
  SPEAKER_00: Yeah, I don't know.
• 53:47
  SPEAKER_00: And it seems like they mostly just sort of grab food on the street and sort of eat people's leftovers.
• 53:53
  SPEAKER_00: So I'm like, what's your overhead here?
• 53:54
  SPEAKER_00: Like nothing.
• 53:56
  SPEAKER_00: Like, absolutely not.
• 53:58
  SPEAKER_02: You have no overhead.
• 54:00
  SPEAKER_02: Only saving.
• 54:01
  SPEAKER_00: They don't pay utilities, they obviously don't buy new clothes.
• 54:04
  SPEAKER_00: So, like, what's the once in a while they go to that restaurant, but like again, this is back when like it's like, oh, you want some soup?
• 54:12
  SPEAKER_00: It's uh two cents.
• 54:15
  SPEAKER_00: The menu is hilarious.
• 54:16
  SPEAKER_00: It's like you can have like a roll and a soup and a steak, and it's like a dime.
• 54:21
  SPEAKER_00: And you're like, oh, I'm gonna have to sell that's 500 papers.
• 54:25
  SPEAKER_00: I can't sell that much.
• 54:29
  SPEAKER_02: But you know, the funny thing is they like right right on the corner of um of oh, what is it called?
• 54:36
  SPEAKER_02: Um if it's the Lancey, they're on the corner of uh I'm trying to think where they would be.
• 54:44
  SPEAKER_02: The when Harry met Sally restaurant.
• 54:47
  SPEAKER_00: Oh my god.
• 54:49
  SPEAKER_00: Like uh like Carnegie Delhi or something like that, or where?
• 54:52
  SPEAKER_02: Not Carnegie Delhi.
• 54:54
  SPEAKER_02: Oh, I'm completely blanking on the name.
• 54:55
  SPEAKER_02: It's where that was.
• 54:57
  SPEAKER_02: It is a deli.
• 54:58
  SPEAKER_00: It's a famous place, right?
• 54:59
  SPEAKER_00: And like the idea that you could just eat in Manhattan for no money and just loiter in this cafe.
• 55:06
  SPEAKER_02: But but the cafe is probably that.
• 55:07
  SPEAKER_02: That's what's so funny about it.
• 55:09
  SPEAKER_02: It's probably that place.
• 55:10
  SPEAKER_00: Yes.
• 55:11
  SPEAKER_00: Um, if it's not just a soundstage, which I suspect it might be.
• 55:15
  SPEAKER_00: But yeah.
• 55:15
  SPEAKER_02: Yeah, I mean, I mean like the real the Oh, yeah, yeah, yeah.
• 55:18
  SPEAKER_02: Real time.
• 55:19
  SPEAKER_00: Yes, absolutely.
• 55:21
  SPEAKER_00: And uh yes, so very this is where we get uh introduced to uh Denton, our man Denton, Brian Denton, and he's the newspaper man, but he's a good newspaper man.
• 55:35
  SPEAKER_00: He's hardworking and earnest, and he's a journalist.
• 55:38
  SPEAKER_00: He wants to write a good headline, he wants to get that scoop, yes.
• 55:42
  SPEAKER_00: And so he starts taking an interest in these newsboys, and he thinks the strike, um, the impending strike is maybe something he wants to cover.
• 55:51
  SPEAKER_00: Well, he's a little disinterested at first.
• 55:53
  SPEAKER_00: Like, I think they kind of have to win over that this is gonna be something, but he's sort of that catalyst to be like, but like, go do it so I can have something to write about.
• 56:02
  SPEAKER_00: Like he sort of stokes the fire underneath him, totally, I would argue, for his own self-interest to be like, this is nothing I can write about yet.
• 56:10
  SPEAKER_00: Go make this worthwhile, make it happen.
• 56:13
  SPEAKER_00: That's right.
• 56:14
  SPEAKER_00: Uh, and so he gives some inspiring speeches about how they should uh, you know, really stick it to the man, and then maybe, maybe then he'll write about it.
• 56:23
  SPEAKER_02: Um fun one really funny thing at this moment is um he Jack says, Uh, I'll do it, just no pictures, make sure there's no pictures.
• 56:32
  SPEAKER_02: And then five minutes later, he went, he goes and poses for a picture.
• 56:36
  SPEAKER_00: Yes, 100%.
• 56:37
  SPEAKER_02: He just what is he doing?
• 56:39
  SPEAKER_00: Well, nobody really asks that question.
• 56:42
  SPEAKER_00: He says, Hey, no pictures.
• 56:44
  SPEAKER_00: And he's like, Okay.
• 56:46
  SPEAKER_00: And no one's like, Why?
• 56:47
  SPEAKER_00: You're a nobody newsboy from New York.
• 56:51
  SPEAKER_02: He says it, but then he goes and poses, he's the one that's like in the middle of the photo.
• 56:54
  SPEAKER_00: Immediately, like you know that one of the yeah, it wasn't like a paparazzi like jumped out of some bushes and like got him.
• 57:01
  SPEAKER_00: He's like, Okay, everybody together for the picture I said I would never take.
• 57:05
  SPEAKER_00: Here we go.
• 57:06
  SPEAKER_00: And it's in the same scene, I think.
• 57:09
  SPEAKER_02: So yeah, that's it's it's minutes later.
• 57:13
  SPEAKER_02: That's why I noticed it's that's why it's so clear in my mind.
• 57:15
  SPEAKER_02: I was like, wait, you just said no pictures.
• 57:18
  SPEAKER_00: Yes, and that is of course because Jack has a secret.
• 57:21
  SPEAKER_00: Jack is not, Jack is not who he says he is.
• 57:24
  SPEAKER_00: He's not his yeah, he's a Don Draper of his time.
• 57:29
  SPEAKER_02: That's a perfect description.
• 57:31
  SPEAKER_00: Yes, he's Jack is Don drapering, um, and he is actually basically just uh a low-level juvenile delinquent who has escaped from another facility or jail, yeah, and is kind of on the run, and he's made up this whole sort of persona about himself.
• 57:51
  SPEAKER_02: And his parents are out in Santa Fe, which is a good thing.
• 57:54
  SPEAKER_00: Yeah, he's gonna join them, yeah.
• 57:56
  SPEAKER_00: And uh which ostensibly he could just hop on the back of a train anytime, right out there, but doesn't for reasons that's undetermined.
• 58:08
  SPEAKER_00: And so yeah, uh because he's all talk, that's the whole thing.
• 58:11
  SPEAKER_00: He's just a lot of talk, and they're sort of like woven into these scenes here and there, and this is subplot number two of eight.
• 58:19
  SPEAKER_00: Like, and there's sort of like occasionally, like a cop will see him and like try to chase him, or someone will sort of recognize him, or the picture say like there's always sort of this current of like I might be found out, like who I really am.
• 58:32
  SPEAKER_00: But my friends, the newsboys, they don't know, they love me and believe that we're all going to Santa Fe to open a restaurant someday.
• 58:41
  SPEAKER_00: Which isn't that also in rent?
• 58:43
  SPEAKER_00: Isn't that also a thing in rent?
• 58:46
  SPEAKER_00: I think so.
• 58:47
  SPEAKER_00: I think they talk about going to Santa Fe to open a restaurant.
• 58:50
  SPEAKER_02: I haven't seen it in a long time, I can't remember.
• 58:53
  SPEAKER_00: I'm gonna have to go back.
• 58:54
  SPEAKER_00: I'm starting to see some eerie parallels here.
• 58:58
  SPEAKER_02: Well, also, rent's only three years after this.
• 59:01
  SPEAKER_00: That's I mean, I think we all have some serious questions that we need to say how much of the source material of rent came directly from the pages of Newsies.
• 59:10
  SPEAKER_02: And hold on.
• 59:11
  SPEAKER_02: Brent is is widely beloved and widely known as one of the best musicals of all time.
• 59:19
  SPEAKER_00: I mean, there there you go.
• 59:22
  SPEAKER_00: There you go.
• 59:23
  SPEAKER_00: And it was turned into a TV special that no one really liked.
• 59:28
  SPEAKER_02: And turned into a movie as well, which no one likes.
• 59:31
  SPEAKER_00: Correct.
• 59:32
  SPEAKER_00: So, I mean, there's a lot of there's we have to do some digging.
• 59:36
  SPEAKER_00: We are gonna have to get off of here and really dive into what Jonathan Larson knew and when he knew it, and why why he stole a whole class from this movie that no one watched.
• 59:49
  SPEAKER_02: That's why he knew he could get away with it.
• 59:52
  SPEAKER_00: That's right.
• 59:52
  SPEAKER_00: He's like, this will be fine, no one knows who this is.
• 59:55
  SPEAKER_00: Um, yes.
• 59:56
  SPEAKER_02: So there's this whole plot of like um like the newsies of this area, and there's the rivalry between them and there's the ones in Brooklyn, and mainly even tougher.
• 1:00:10
  SPEAKER_00: Yeah, there's nothing.
• 1:00:11
  SPEAKER_02: I was gonna say a Brooklyn and others, but there's like, no, it's just Brooklyn.
• 1:00:15
  SPEAKER_00: They sort of mention, I think at one point, like, you'll go up to the Bronx and tell people in the Bronx.
• 1:00:20
  SPEAKER_00: We never see that happen, and we never see the people from the Bronx show up.
• 1:00:24
  SPEAKER_02: No.
• 1:00:24
  SPEAKER_00: Uh maybe then I don't know.
• 1:00:27
  SPEAKER_00: I mean, if so, as extras, as unnamed extras.
• 1:00:31
  SPEAKER_00: Yeah, he we do take another side trip to Brooklyn.
• 1:00:34
  SPEAKER_00: This is subplot number three.
• 1:00:36
  SPEAKER_02: This is the most pointless of all of them, I think.
• 1:00:38
  SPEAKER_00: This is the most pointless of all subplots, where we meet Spot Conlin, who is both smaller than any of the other news and yet more feared.
• 1:00:47
  SPEAKER_00: He's like, he looks like a he looks like a five-ole Mauskowitz from An American Tale became a person.
• 1:00:55
  SPEAKER_02: That's the perfect description.
• 1:00:57
  SPEAKER_00: That's what he looks like.
• 1:00:58
  SPEAKER_00: And then, you know, he's supposed to be very feared somehow.
• 1:01:04
  SPEAKER_00: Um, and that's it.
• 1:01:06
  SPEAKER_00: And he they go and try to win him over to to their side, join the strike.
• 1:01:11
  SPEAKER_00: Yeah um, which immediately he says no.
• 1:01:14
  SPEAKER_00: First he says no.
• 1:01:16
  SPEAKER_02: First he says no.
• 1:01:17
  SPEAKER_00: And then one minute later, he says, All right, like show me that you're serious, yeah, and uh and I'll join.
• 1:01:26
  SPEAKER_02: Which is what everyone's saying to them, I guess.
• 1:01:28
  SPEAKER_02: It's like everyone says, You need to show us something, you need to do something.
• 1:01:32
  SPEAKER_00: They don't really understand all strikes work at all, uh, the mechanism of a strike.
• 1:01:36
  SPEAKER_00: And so that it's mostly just sitting around the cafe and having no plan.
• 1:01:42
  SPEAKER_01: Yeah.
• 1:01:42
  SPEAKER_00: Um, yeah, so everyone's sort of like, what are we doing here?
• 1:01:46
  SPEAKER_00: Um yeah, I like that.
• 1:01:48
  SPEAKER_00: And but I really love that the conversation basically goes like this like spot, we're striking, um, you know, we can't do it without you.
• 1:01:56
  SPEAKER_00: And he's like, sorry, can't help ya.
• 1:01:58
  SPEAKER_00: Um, very tough.
• 1:02:00
  SPEAKER_00: And they were like, Oh, well, we really need you.
• 1:02:04
  SPEAKER_00: And he's like, fine.
• 1:02:06
  SPEAKER_02: Fine, okay.
• 1:02:07
  SPEAKER_00: There's there's really no other like reasoning or evidence given.
• 1:02:12
  SPEAKER_00: It's sort of like, we'd really like it if you joined.
• 1:02:15
  SPEAKER_00: And he's like, uh, twist my arm.
• 1:02:17
  SPEAKER_00: Like, okay.
• 1:02:19
  SPEAKER_02: But that is kind of very musical.
• 1:02:21
  SPEAKER_00: Absolutely.
• 1:02:22
  SPEAKER_02: It's like, okay, once one question, no, then fine.
• 1:02:27
  SPEAKER_02: Okay, I'll do it.
• 1:02:28
  SPEAKER_00: Then I'll do it.
• 1:02:28
  SPEAKER_02: No, we get to the songs, get to the songs.
• 1:02:30
  SPEAKER_00: Yeah, so more songs, more, and the songs are wonderful, and they kind of take us through the the strike.
• 1:02:37
  SPEAKER_00: In fact, I would say that's that is really slowing down the strike because there's a lot of choreography to be learned.
• 1:02:45
  SPEAKER_00: Yeah.
• 1:02:46
  SPEAKER_00: And they're they're mostly spending their days on that at this point.
• 1:02:49
  SPEAKER_00: Um, but the choreography's great, it's wonderful, it's very involved, except for Christian Bell Santa Faiso.
• 1:02:58
  SPEAKER_00: Yes, that is horrible.
• 1:02:59
  SPEAKER_00: Um, you can tell that he worked with a beleaguered choreographer.
• 1:03:04
  SPEAKER_00: It it looked very much like someone who is like an action star who then goes on dancing with the stars.
• 1:03:12
  SPEAKER_00: And they're like that that early week where they're sort of like, Look, I know I'm not gonna get very far, but I'm making a good faith effort here.
• 1:03:19
  SPEAKER_00: Like, and they do something that's like way out of their wheelhouse, like the cha-cha, and you're like, All right, like I suppose that I want to see Jason Statham do the cha cha.
• 1:03:29
  SPEAKER_00: That's fine.
• 1:03:30
  SPEAKER_00: Okay, energy to it.
• 1:03:34
  SPEAKER_00: I do also want to see that.
• 1:03:36
  SPEAKER_00: Um, so that was a really bad example, but yes.
• 1:03:40
  SPEAKER_00: Uh oh, there's also I want to see it, but not in a movie, right?
• 1:03:44
  SPEAKER_00: And there's also a continuity error in that song where he's on a horse, he jumps on a horse that's just there, and he rides around in this alley on this horse as he's singing, and he has uh the hat, like his sort of cowboy hat on a string like around his back, and then all of a sudden it's on his head.
• 1:04:01
  SPEAKER_00: Like it cuts, it cuts to him, and then he's wearing the hat, and it's very jarring.
• 1:04:06
  SPEAKER_02: I I did read about the scene, it was saying something like when he's like leaning back or something, you can see he's like holding on to a stunt coordinator.
• 1:04:15
  SPEAKER_00: There wasn't time to do singing and dancing and like horse lessons.
• 1:04:20
  SPEAKER_00: You can pick two.
• 1:04:22
  SPEAKER_00: Pick two out of three.
• 1:04:24
  SPEAKER_00: Look, he's a triple thread, he can't be a quadruple thread.
• 1:04:27
  SPEAKER_00: He can't do it.
• 1:04:29
  SPEAKER_00: He's only did he ever ride a horse in any other movie?
• 1:04:33
  SPEAKER_00: I can't think.
• 1:04:35
  SPEAKER_02: I feel like he must have done it in um uh 310 to humor.
• 1:04:42
  SPEAKER_00: Yes, okay, right.
• 1:04:43
  SPEAKER_00: But I mean, that's a long time that's a long time like it's like 30 years later.
• 1:04:48
  SPEAKER_00: Right.
• 1:04:48
  SPEAKER_00: I'll have to go back and see if he looks believable more believable there.
• 1:04:52
  SPEAKER_00: That'd be great.
• 1:04:54
  SPEAKER_00: I would love to watch that movie with the Santa Fe soundtrack playing over it.
• 1:05:00
  SPEAKER_00: That would be a lovely experience for me.
• 1:05:03
  SPEAKER_02: But we need to do that.
• 1:05:04
  SPEAKER_02: Um I'm gonna do that.
• 1:05:04
  SPEAKER_00: I'm gonna put it over the I would love a mashup of three tender Yuma and newsies.
• 1:05:11
  SPEAKER_00: Just the Christian bail bits.
• 1:05:14
  SPEAKER_02: We make it, but this is for nobody.
• 1:05:18
  SPEAKER_00: This is for everybody.
• 1:05:21
  SPEAKER_00: Are you kidding?
• 1:05:22
  SPEAKER_00: It'd be an instant hit.
• 1:05:25
  SPEAKER_00: Oh boy.
• 1:05:26
  SPEAKER_00: I if if you're listening, if you are out there and you have the video editing capabilities to make a supercut of Christian Bale in 310 Diuma and newsies, please do this for me.
• 1:05:40
  SPEAKER_02: Please please do it because I I have the capabilities, but I'm too lazy to do it.
• 1:05:46
  SPEAKER_00: You're like, but I also have a life.
• 1:05:48
  SPEAKER_00: And so I will not I will not be doing it.
• 1:05:52
  SPEAKER_00: Um but I I think it I think it would pay pay dividends.
• 1:05:56
  SPEAKER_00: I think it would be good.
• 1:05:58
  SPEAKER_00: Uh I'll start it.
• 1:05:59
  SPEAKER_00: I'll start an GoFundMe.
• 1:06:01
  SPEAKER_00: I've got a few going now.
• 1:06:02
  SPEAKER_02: We just get we get Christian Bale, uh, an email from Christian Bale telling telling us to take it down.
• 1:06:07
  SPEAKER_00: Thessies and desist, absolutely.
• 1:06:11
  SPEAKER_00: Um not not because it's a mashup or any copyright reasons, just because he's ashamed of newsies.
• 1:06:18
  SPEAKER_00: Yeah.
• 1:06:18
  SPEAKER_00: Yeah.
• 1:06:19
  SPEAKER_00: And like, don't you think he's big enough now to just sort of laugh about it and move on?
• 1:06:23
  SPEAKER_02: I mean, like You would hope so.
• 1:06:25
  SPEAKER_00: Right.
• 1:06:25
  SPEAKER_02: You hope so.
• 1:06:26
  SPEAKER_02: I I also I've told this story before on the podcast before, but I remember when um uh Josh Brolin came to um so he was doing a Q ⁇ A at my school and they put up posters uh and they were like listing all of his movies, but they listed all the like all the really big classic movies, and someone underneath went and wrote and Goonies because like they wouldn't list Goonies under his name, and it's like that's a shame.
• 1:06:56
  SPEAKER_02: Are you ashamed of Goonies?
• 1:06:59
  SPEAKER_00: Uh that would be that that would just be madness to be ashamed of Goonies.
• 1:07:04
  SPEAKER_00: To be ashamed of Goonies is to be ashamed of art and film.
• 1:07:09
  SPEAKER_00: Uh yeah, no, I think that's a wonderful.
• 1:07:12
  SPEAKER_00: I don't I think he's been part of things like reunions.
• 1:07:15
  SPEAKER_02: I don't think he's ashamed as much as like, yeah.
• 1:07:18
  SPEAKER_00: His agent is.
• 1:07:19
  SPEAKER_00: His agent was ashamed.
• 1:07:20
  SPEAKER_00: Yeah.
• 1:07:21
  SPEAKER_00: Well, it's a classic.
• 1:07:22
  SPEAKER_00: Yeah, no, he shouldn't be.
• 1:07:24
  SPEAKER_00: Uh yeah, so I would like to see the the three tenderyuma newsies classic.
• 1:07:29
  SPEAKER_00: I also do you also wonder if um I would love to know if Christian Bale like had some meltdowns on the newsies set the way he did on the I don't think he had the clout to do it yet.
• 1:07:41
  SPEAKER_00: But wouldn't that be amazing?
• 1:07:42
  SPEAKER_00: Like in his little cowboy get up, like just screaming at tech people.
• 1:07:49
  SPEAKER_02: I'm trying to do my dance.
• 1:07:51
  SPEAKER_00: I'm trying to do my dance.
• 1:07:54
  SPEAKER_00: I'm trying to sing in Welsh.
• 1:07:57
  SPEAKER_00: You're ruining it.
• 1:07:58
  SPEAKER_02: Yeah, but he's just doing that like the terrible New York accent.
• 1:08:01
  SPEAKER_02: Is he doing it?
• 1:08:02
  SPEAKER_02: I'm trying to do my dance.
• 1:08:03
  SPEAKER_00: Yeah, he's very method.
• 1:08:05
  SPEAKER_00: He's even like even out like craft services, he's still doing the horrible accent.
• 1:08:11
  SPEAKER_00: That's awesome.
• 1:08:13
  SPEAKER_00: This is a fun fact.
• 1:08:14
  SPEAKER_00: Everyone on Newsies was a method actor.
• 1:08:16
  SPEAKER_00: So just it was a nine-month shoot.
• 1:08:20
  SPEAKER_00: It was it was grueling.
• 1:08:21
  SPEAKER_02: Brutal.
• 1:08:22
  SPEAKER_00: Yeah, it was horrible.
• 1:08:26
  SPEAKER_02: But yeah, so like off after all this happens, like he sings, they sing the I'm the King of New York song.
• 1:08:32
  SPEAKER_02: And then again, I don't know the title, but it's that is it.
• 1:08:35
  SPEAKER_00: It's King of New York.
• 1:08:36
  SPEAKER_00: And that's I think it might be the best song in the in the bunch.
• 1:08:41
  SPEAKER_02: Really?
• 1:08:41
  SPEAKER_00: I I feel that way.
• 1:08:42
  SPEAKER_00: I've I enjoy it.
• 1:08:44
  SPEAKER_02: I can't remember it.
• 1:08:46
  SPEAKER_00: I'm not going to sing it for you now.
• 1:08:48
  SPEAKER_02: I'm not gonna ask you to sing it.
• 1:08:50
  SPEAKER_02: I just I just can't remember it.
• 1:08:52
  SPEAKER_00: Look at me, I'm the King of New York.
• 1:08:54
  SPEAKER_00: Um, suddenly I'm respectable, staring right at you, lousy with stature, which is exactly how a low-level street kid would talk.
• 1:09:05
  SPEAKER_00: Lousy with stature.
• 1:09:07
  SPEAKER_02: Lousy with stature.
• 1:09:09
  SPEAKER_00: Lousy with stature.
• 1:09:11
  SPEAKER_00: Yeah, so it's um, yes, they it's enjoyable.
• 1:09:16
  SPEAKER_00: And Bill Pullman is there, and it's yeah, it's a treat.
• 1:09:19
  SPEAKER_00: It's a delight.
• 1:09:20
  SPEAKER_00: Um and they're sort of dreaming of this life that they're going to have, right?
• 1:09:25
  SPEAKER_00: Like they're going to be kings of New York.
• 1:09:27
  SPEAKER_00: They're going to be this great life.
• 1:09:31
  SPEAKER_00: Yeah.
• 1:09:32
  SPEAKER_00: It's just they're really living their best life.
• 1:09:35
  SPEAKER_00: And uh it's I think in that way it's a little sad because don't you think it's one of those songs where like deep down they're like, no, we won't.
• 1:09:42
  SPEAKER_00: They know, they know they won't.
• 1:09:43
  SPEAKER_02: Yeah, that's right.
• 1:09:43
  SPEAKER_00: We're gonna go work in a factory and half of us are gonna die in like a shirt fire factory.
• 1:09:48
  SPEAKER_02: Like, yeah, it's very sad.
• 1:09:50
  SPEAKER_00: Yeah, it's not gonna be good.
• 1:09:52
  SPEAKER_02: Um, but then like Snyder sees Jack in the paper, obviously, because his photo is like on the head on the front page.
• 1:09:59
  SPEAKER_02: He's like, I know that guy.
• 1:10:02
  SPEAKER_00: Immediately the guy who's looking for Jack sees the picture that Jack refused to pose for and then immediately posed for it.
• 1:10:08
  SPEAKER_01: Yeah.
• 1:10:09
  SPEAKER_01: So his worst fear.
• 1:10:10
  SPEAKER_00: I mean, so he was right to say no pictures because right away this guy sees it and is like, even though it's a very low-grade photo, like it's a very grainy black and white photo in in a group, like it's like 15 newsies in a picture, and right away he's like, There he is.
• 1:10:27
  SPEAKER_00: Like you get the impression he's like combing every New York paper every day for this low-level juvenile delinquent.
• 1:10:34
  SPEAKER_00: Like, it's like there's a trolley strike, man.
• 1:10:37
  SPEAKER_00: There's bigger, there's bigger things to be had for a police officer, for a constable or whatever.
• 1:10:43
  SPEAKER_00: Yeah, he's he, but he's like it's like a Javert Jean Valjean situation.
• 1:10:48
  SPEAKER_00: I get big energy from that.
• 1:10:50
  SPEAKER_00: So it's like he's singularly focused on bringing down this kid, which is weird.
• 1:10:57
  SPEAKER_02: And so he goes to look for him, and he shows up to the uh the home where everyone is staying, and that Jack's behind him, like teasing him, like, oh, he's never gonna see me, he can't notice me, and everything, and they're all just like really annoying him.
• 1:11:10
  SPEAKER_02: Um and then it goes to like the scene of gives him the slip.
• 1:11:15
  SPEAKER_00: Yeah.
• 1:11:15
  SPEAKER_02: Yeah, give them the slip.
• 1:11:17
  SPEAKER_02: They go and then Jack goes for dinner at um at uh what's his name's house?
• 1:11:23
  SPEAKER_00: Uh oh, Davy.
• 1:11:24
  SPEAKER_00: That's Davy's house, yeah.
• 1:11:26
  SPEAKER_00: Davy and his sister Sarah.
• 1:11:28
  SPEAKER_02: And this, yeah, this sets up the a really pointless subplot of uh Jack and Sarah.
• 1:11:34
  SPEAKER_00: This is if you're counting, this is subplot number four.
• 1:11:37
  SPEAKER_00: Yes.
• 1:11:38
  SPEAKER_00: Of a needless romance.
• 1:11:40
  SPEAKER_02: I like how you're writing it down.
• 1:11:42
  SPEAKER_02: You're marking it down.
• 1:11:44
  SPEAKER_00: I want to meet, I want to be sure I have it correct.
• 1:11:46
  SPEAKER_00: Um, yeah, so that's subplot number four.
• 1:11:49
  SPEAKER_00: Uh and yeah, they sort of embark on like a I would say like a half-hearted romance.
• 1:11:55
  SPEAKER_00: Like they're not really like that.
• 1:11:57
  SPEAKER_02: It's like, yeah, they flirt a little bit, but it's like it's mainly.
• 1:12:01
  SPEAKER_00: Like if it was today, they would go on like two Tinder dates and then that would be it.
• 1:12:05
  SPEAKER_02: Yeah.
• 1:12:06
  SPEAKER_00: Like it doesn't feel like it's really a love connection.
• 1:12:10
  SPEAKER_02: I don't feel like we really need to talk about it that much, to be honest.
• 1:12:13
  SPEAKER_02: It's like not really essential to the plot.
• 1:12:16
  SPEAKER_00: Yeah, that's true.
• 1:12:17
  SPEAKER_00: I will say something else interesting in that scene.
• 1:12:20
  SPEAKER_00: The mom uh of Sarah and Davy and Les is uh Deborah Lee Furnace is uh Hugh Jackman's wife.
• 1:12:30
  SPEAKER_02: What?
• 1:12:31
  SPEAKER_00: Yeah.
• 1:12:33
  SPEAKER_00: Go back and watch.
• 1:12:36
  SPEAKER_00: So there, so that happened.
• 1:12:40
  SPEAKER_02: The mom in 1992 is Hugh Jackman's wife.
• 1:12:46
  SPEAKER_00: Correct.
• 1:12:46
  SPEAKER_00: She is the same age as the newsboys in that movie.
• 1:12:51
  SPEAKER_00: She how old can she be?
• 1:12:52
  SPEAKER_02: I know she's older than Hugh Jackman, but I know I already Yeah, I know she was older than Hugh Jackman.
• 1:12:56
  SPEAKER_02: But that was.
• 1:12:58
  SPEAKER_00: She's the mom of teenagers at this point.
• 1:13:02
  SPEAKER_00: I don't I can't do that math, but it's not uh it's not very realistic.
• 1:13:08
  SPEAKER_02: Um yes.
• 1:13:10
  SPEAKER_02: The the other subplot I didn't mention earlier was when they go to uh where is it?
• 1:13:16
  SPEAKER_02: They go to Medea Medea?
• 1:13:20
  SPEAKER_02: Meta Meta's house.
• 1:13:22
  SPEAKER_02: Meta Lost.
• 1:13:23
  SPEAKER_02: Yes, yes.
• 1:13:24
  SPEAKER_02: Not her house, they're her like uh her cabaret.
• 1:13:28
  SPEAKER_02: Her cabaret, yeah.
• 1:13:29
  SPEAKER_00: Yes.
• 1:13:29
  SPEAKER_02: And that's another subplot that's just like Yeah, that's number five.
• 1:13:34
  SPEAKER_00: Yes, this is subplot number five.
• 1:13:35
  SPEAKER_00: They they hide out in this uh sort of like I wouldn't even say vaudeville star, right?
• 1:13:41
  SPEAKER_00: Like she's a sort of this cabaret star.
• 1:13:44
  SPEAKER_00: Like it's not all the way smutty, but it's she's there to give a little leg.
• 1:13:48
  SPEAKER_00: Yeah, it's PG smut.
• 1:13:50
  SPEAKER_00: Yeah, she's there to give a little leg and sell the boys a cigar, yeah, and and good clean fun.
• 1:13:56
  SPEAKER_00: Yeah, yeah.
• 1:13:56
  SPEAKER_00: And so she sings a song because she's Anne Margaret and they can let her do that.
• 1:14:02
  SPEAKER_00: And they all fall in love with her, and they all fall in love with her, even though she.
• 1:14:06
  SPEAKER_00: I mean, I love Anne Margaret, but she was a good bit older in this movie than they were.
• 1:14:12
  SPEAKER_00: They're like 18-year-old boys fawning over her, and she was like 60.
• 1:14:18
  SPEAKER_00: Right?
• 1:14:19
  SPEAKER_02: Yeah.
• 1:14:21
  SPEAKER_00: I didn't understand that.
• 1:14:23
  SPEAKER_00: But they love her, and then that's it.
• 1:14:27
  SPEAKER_00: They'd leave.
• 1:14:28
  SPEAKER_00: End of plot.
• 1:14:29
  SPEAKER_02: Well, uh, it does come back, kind of come back later, comes back later because they go to see her.
• 1:14:35
  SPEAKER_02: Um they go to see her perform, and she performs for all the newsies, and while that's going on, the police are standing outside and they all run up, and then Snyder comes inside and they spot him and they make her run.
• 1:14:47
  SPEAKER_02: Jack makes her.
• 1:14:48
  SPEAKER_00: I feel like that's the the only reason they do the first scene is so they can have the second scene.
• 1:14:53
  SPEAKER_00: They're like, we won't know who this lady is unless we introduce her earlier.
• 1:14:57
  SPEAKER_02: Yeah, and so she hides Yes, so they get into this big fight, and um Jack gets like punched and he ends up like getting arrested by the police.
• 1:15:07
  SPEAKER_00: And so they the police punch a child, is what you're saying.
• 1:15:13
  SPEAKER_00: Yes.
• 1:15:14
  SPEAKER_02: Yes.
• 1:15:14
  SPEAKER_02: Well, they don't only punch Jack, but they punch they punch a lot of children, but yeah.
• 1:15:18
  SPEAKER_00: Yes, there's a it's a scene full of police punching children.
• 1:15:22
  SPEAKER_00: Yeah.
• 1:15:23
  SPEAKER_00: Which again is another thing that thankfully doesn't happen anymore.
• 1:15:26
  SPEAKER_02: Yeah.
• 1:15:27
  SPEAKER_02: Scene holds up well.
• 1:15:29
  SPEAKER_00: Yes, scene holds up very well.
• 1:15:31
  SPEAKER_02: Uh so they all go to court and uh they're all getting in trouble, but um Denton pays off all of their fines, except for Jax, who he can't pay off because Jack is uh now arrested now is gonna go to jail for until he's 21, they decide.
• 1:15:49
  SPEAKER_02: Right.
• 1:15:49
  SPEAKER_02: He gets sentenced to jail until 21 because he's also he's already been arrested before.
• 1:15:54
  SPEAKER_02: And he's already got a record and everything.
• 1:15:56
  SPEAKER_00: Right.
• 1:15:56
  SPEAKER_00: Um and while all that's what do you think in in total, what do you think?
• 1:16:01
  SPEAKER_00: How many um like what's the total amount of bail that you think he paid for like all 80 of those newsboys?
• 1:16:08
  SPEAKER_00: Yeah, I was wondering that because like four dollars and seventy-five cents.
• 1:16:12
  SPEAKER_02: Yeah.
• 1:16:14
  SPEAKER_00: Like I don't know what that would work out to today, but he's just like, oh yeah, I paid it all.
• 1:16:18
  SPEAKER_00: And I'm like, that feels kind of like a slap in the face to these newsboys.
• 1:16:21
  SPEAKER_00: But they're like, you just you paid like six months of our salary right out of your pocket.
• 1:16:29
  SPEAKER_00: And and it wasn't anything to you, and it was nothing to you, yeah.
• 1:16:33
  SPEAKER_00: Like it was just a sandwich.
• 1:16:36
  SPEAKER_02: But because of all this, he gets um blackballed from the papers as well.
• 1:16:40
  SPEAKER_00: Yes.
• 1:16:41
  SPEAKER_02: Um is it because of that or is it because of the headline that he writes?
• 1:16:44
  SPEAKER_02: I can't remember.
• 1:16:46
  SPEAKER_00: They're just done with him, they're just done.
• 1:16:49
  SPEAKER_00: And he he is suddenly known to his newsboy friends as bad news.
• 1:16:57
  SPEAKER_00: So, you know, he he's been revealed.
• 1:16:59
  SPEAKER_00: This is the moment in Mad Men where Don Draper is revealed uh to be Dick Whitman.
• 1:17:04
  SPEAKER_00: And uh so he's having he's at a low point.
• 1:17:08
  SPEAKER_02: Yeah.
• 1:17:10
  SPEAKER_02: And so he gives uh Davey the story.
• 1:17:14
  SPEAKER_00: Yes.
• 1:17:15
  SPEAKER_00: Yes.
• 1:17:16
  SPEAKER_02: Um, but this is when Joe offers a bri he starts bri he decides he's gonna bribe Jack.
• 1:17:24
  SPEAKER_00: Yes, he decides uh he's now realized there's they built basically like a Trump-like cult of personality around Jack, and then if you control Jack, you control the news voice.
• 1:17:36
  SPEAKER_00: Which you'd think he would have realized earlier and saved himself a lot of trouble.
• 1:17:39
  SPEAKER_01: Yeah.
• 1:17:40
  SPEAKER_00: But um, but at this point he's like, oh, I'll just instead I don't have to turn them all, I'll just turn Jack, and then that's it.
• 1:17:50
  SPEAKER_00: Uh and so Jack does, yeah.
• 1:17:53
  SPEAKER_02: Jack gets employed as like a fancy newsboy.
• 1:17:56
  SPEAKER_02: I don't know what he's doing.
• 1:17:57
  SPEAKER_00: Yes, he's doing exactly the same thing just in nicer clothing.
• 1:18:01
  SPEAKER_02: Yeah.
• 1:18:02
  SPEAKER_00: Yeah, I that's that's the baffling part, is it's like you're we're gonna send you right back out there to do exactly what we do anyway, but just now you're you're dressed better.
• 1:18:15
  SPEAKER_02: They will get furious at him for that.
• 1:18:17
  SPEAKER_02: Of course, because he's a scab.
• 1:18:18
  SPEAKER_02: Yeah, and they're like, you you've lied about everything.
• 1:18:22
  SPEAKER_00: Which I like, even though they don't know how strikes work and they don't know how unions work at all.
• 1:18:27
  SPEAKER_00: And and like many people call them out on this throughout the movie.
• 1:18:31
  SPEAKER_00: Suddenly they are furious that he has crossed the line.
• 1:18:35
  SPEAKER_00: Like they're like, you scab! Like they know all the terminology now.
• 1:18:38
  SPEAKER_02: Like they've been doing their research and reading they yes, they've been reading theory.
• 1:18:44
  SPEAKER_00: They've been reading the papes, and they now are well versed in uh the union parlance, and they're yeah, they're ready to do it.
• 1:18:53
  SPEAKER_00: So now they're furious with him that he's become a scab and crossed the line.
• 1:18:56
  SPEAKER_00: But he was forced to do so.
• 1:18:58
  SPEAKER_00: He was basically like given an ultimatum, right?
• 1:19:01
  SPEAKER_00: He didn't just do it out of yeah, he didn't he wasn't just like, oh yeah, that sounds good.
• 1:19:07
  SPEAKER_00: Like he was threatened.
• 1:19:09
  SPEAKER_00: Um yeah.
• 1:19:11
  SPEAKER_02: Yeah, so then Sarah is just like walking down the street casually and she gets attacked by um who?
• 1:19:19
  SPEAKER_00: I don't know if it's it one of the Delancey brothers?
• 1:19:21
  SPEAKER_02: I don't know if it's the Delancey brothers.
• 1:19:23
  SPEAKER_02: I don't think it is them.
• 1:19:25
  SPEAKER_00: I thought it was one of the Delancey brothers.
• 1:19:27
  SPEAKER_02: It might be, it must be.
• 1:19:28
  SPEAKER_02: That was that's the only thing that would make sense.
• 1:19:30
  SPEAKER_02: But anyway, like Jack, Jack comes and saves the day from all of the like because he fights Davy, one of the guys, and Davy's getting beaten up, and so Jack comes and saves the day, and then uh they immediately like forgive him.
• 1:19:44
  SPEAKER_00: Yeah.
• 1:19:44
  SPEAKER_00: His his stunt as a scab lasts about 28 minutes.
• 1:19:48
  SPEAKER_02: Like even though they threatened them with in real time, yeah, 28 minutes in the movie, about 30 seconds.
• 1:19:54
  SPEAKER_00: Oh, absolutely, yes, yeah, absolutely.
• 1:19:56
  SPEAKER_00: Like, it's just like fine, you threatened my life and my freedom, so I'll do this.
• 1:20:01
  SPEAKER_00: Nah, yeah.
• 1:20:03
  SPEAKER_00: No thanks.
• 1:20:04
  SPEAKER_00: Can't do it.
• 1:20:06
  SPEAKER_02: Um, so they go to Denton and like he's uh because they're gonna get the story printed and everything.
• 1:20:11
  SPEAKER_02: He's like, I know uh and uh Jack's like, I know where we can get it printed, and they go to they sneak into Pulitzer's office of like equipment and they manage to print it out on his printing press.
• 1:20:21
  SPEAKER_00: They have no knowledge of how to print, uh how to use a printing press.
• 1:20:25
  SPEAKER_00: No, but Denton does.
• 1:20:26
  SPEAKER_00: Denton does.
• 1:20:28
  SPEAKER_00: I I guess.
• 1:20:28
  SPEAKER_00: I mean, would a journalist at that time use the printing press?
• 1:20:32
  SPEAKER_00: Right?
• 1:20:33
  SPEAKER_02: Is it the equivalent of us using a printer?
• 1:20:36
  SPEAKER_00: Yes, I don't know.
• 1:20:38
  SPEAKER_00: So like they somehow get this like old printing press operational again in his own basement and sort of like use his own equipment against him.
• 1:20:46
  SPEAKER_02: The funniest thing is they like they go in, they're like, shh, gotta be really quiet.
• 1:20:49
  SPEAKER_02: And then they set up a whole printing press.
• 1:20:51
  SPEAKER_00: Yeah.
• 1:20:52
  SPEAKER_02: Which must be the loudest thing.
• 1:20:54
  SPEAKER_00: Absolutely just like a racket.
• 1:20:57
  SPEAKER_00: And also, like, it's the middle of the night, and you get the sense that they're in this, like, I mean, a skyscraper.
• 1:21:02
  SPEAKER_00: You know, if they're in the bottom of his huge empire of you know, his business, he's like a hundred floors up, and they're like, Shh, they still mustn't wake him.
• 1:21:12
  SPEAKER_00: And you're like, I don't think he can hear you.
• 1:21:14
  SPEAKER_00: I think you're good.
• 1:21:16
  SPEAKER_02: But yeah, so they get they they print out the headline and everything, and they just like distribute it to everyone.
• 1:21:22
  SPEAKER_02: They just start chucking it from the from the uh news of things, and like everyone finds out what's going on.
• 1:21:28
  SPEAKER_00: It's a tremendous amount of pollution, it's so much pollution.
• 1:21:34
  SPEAKER_00: Yeah, they don't care, there's no litter laws.
• 1:21:36
  SPEAKER_00: Um, and so yeah, they they tell their story, and I mean it's sort of an early version of social media in a way.
• 1:21:43
  SPEAKER_00: They're like, we're gonna go direct to the people, right?
• 1:21:45
  SPEAKER_02: Yeah, we go to straight to the people.
• 1:21:47
  SPEAKER_00: Newsies is the story of the first tweet.
• 1:21:52
  SPEAKER_02: What a tweet.
• 1:21:53
  SPEAKER_00: And what a tweet it was.
• 1:21:56
  SPEAKER_00: Um this sort of rallies everyone to do it.
• 1:22:00
  SPEAKER_00: Well, of course, they don't think so.
• 1:22:02
  SPEAKER_02: No, they don't think so.
• 1:22:03
  SPEAKER_02: They're all standing in the street and they're like, oh, nobody's come.
• 1:22:05
  SPEAKER_02: And then suddenly everyone comes together at once.
• 1:22:09
  SPEAKER_00: At once.
• 1:22:10
  SPEAKER_02: Yeah.
• 1:22:10
  SPEAKER_00: Like everyone from every borough.
• 1:22:13
  SPEAKER_02: They all arrive at the same time.
• 1:22:15
  SPEAKER_00: Yeah, they all arrive to the street at the same moment.
• 1:22:17
  SPEAKER_00: Like they all took the same trolley there.
• 1:22:20
  SPEAKER_02: My favorite would do like the the ones at the front in their red coats on the bike.
• 1:22:24
  SPEAKER_00: Yes.
• 1:22:25
  SPEAKER_00: That's a fancy.
• 1:22:26
  SPEAKER_02: They're the fancy ones.
• 1:22:28
  SPEAKER_00: And like again, you would be like, wait, we could be doing that.
• 1:22:32
  SPEAKER_00: Like they get bikes and fancy news.
• 1:22:34
  SPEAKER_02: Those are the midtown ones.
• 1:22:36
  SPEAKER_00: Right.
• 1:22:36
  SPEAKER_00: Like, just go up there and do that.
• 1:22:39
  SPEAKER_00: Oh, that's so funny.
• 1:22:40
  SPEAKER_00: Yeah, that's so the fancy, the fancy newsboys on bikes come and save the day.
• 1:22:45
  SPEAKER_00: And even the girls, we do see some girls.
• 1:22:47
  SPEAKER_00: Yeah.
• 1:22:48
  SPEAKER_00: Uh the girls come from the sweatshops to help.
• 1:22:52
  SPEAKER_00: That's what it's literally what it is.
• 1:22:55
  SPEAKER_02: Um, and so they beat they beat them, and then Snyder gets arrested.
• 1:23:01
  SPEAKER_00: Yes, somehow.
• 1:23:03
  SPEAKER_02: I don't know why he gets arrested.
• 1:23:05
  SPEAKER_00: It's unclear.
• 1:23:06
  SPEAKER_00: Maybe for punching all the children in the previous scene.
• 1:23:09
  SPEAKER_00: I'm not sure.
• 1:23:09
  SPEAKER_00: Well, I hope so.
• 1:23:10
  SPEAKER_00: Maybe I mean I know there weren't strict laws around how we treat children back then, but uh it seems like it would be frowned upon.
• 1:23:17
  SPEAKER_00: I don't know.
• 1:23:18
  SPEAKER_00: So yeah, I think just because like they've sort of been like, you know what, we've come to the end of the movie, and so now something has to happen to him.
• 1:23:26
  SPEAKER_00: Yeah, like so.
• 1:23:27
  SPEAKER_00: I I guarantee there was like a meeting in a in a room somewhere where like they're all gathered around like a conference table and they're like, so we can't kill him.
• 1:23:37
  SPEAKER_00: Like that feels like it would be right, like somebody's like, Can we kill him?
• 1:23:41
  SPEAKER_00: And they're like, No, no, and they're like, Can we like hit him over the head with a gun?
• 1:23:46
  SPEAKER_00: And they're like, No.
• 1:23:49
  SPEAKER_02: He can't just shake his fist.
• 1:23:50
  SPEAKER_02: That's not enough.
• 1:23:52
  SPEAKER_00: That's not enough, that's not big enough.
• 1:23:53
  SPEAKER_00: And so they went through like 12 iterations, and finally they're like, let's just arrest him.
• 1:23:57
  SPEAKER_00: And they're like, for what?
• 1:23:58
  SPEAKER_00: And they're like, eh.
• 1:23:59
  SPEAKER_00: It just doesn't matter.
• 1:24:01
  SPEAKER_02: He's the evil one.
• 1:24:02
  SPEAKER_00: Because he is bad, and justice has prevailed.
• 1:24:05
  SPEAKER_02: Yeah, yeah.
• 1:24:06
  SPEAKER_02: And then the funny the funniest thing happens.
• 1:24:09
  SPEAKER_02: What sorry?
• 1:24:10
  SPEAKER_00: Oh, I just said, and then justice prevails.
• 1:24:13
  SPEAKER_02: Oh, yeah, yeah.
• 1:24:14
  SPEAKER_02: And then the funniest thing happens, which is Teddy Roosevelt shows up.
• 1:24:19
  SPEAKER_00: As of course, Tony Russell.
• 1:24:22
  SPEAKER_00: Like there's only one, there's only one end of this movie, and that is that Teddy Roosevelt shows up out of nowhere and carries Jack off to his new life.
• 1:24:33
  SPEAKER_00: Oh god.
• 1:24:34
  SPEAKER_00: I mean, he's maybe the funny movie.
• 1:24:36
  SPEAKER_00: Okay, so this is because he's he vaguely mentions once offhand, much earlier, when he's sort of weaving all of his big fish, you know, big tales about like the his life that are mostly false, that he met Teddy Roosevelt once and that Teddy Roosevelt like helped him out of his scrape, or that he wrote off in Teddy Roosevelt's script.
• 1:24:55
  SPEAKER_00: And then like that proves to be true.
• 1:24:58
  SPEAKER_00: I I don't even think it's that Teddy Roosevelt remembers him.
• 1:25:01
  SPEAKER_00: I think it's just happenstance that he happened to be there and that it sort of helped him politically to be seen helping these children.
• 1:25:10
  SPEAKER_02: I think one of them says I think uh Denton says something about like oh he heard your story and he wanted to show up.
• 1:25:17
  SPEAKER_00: Yes, yes, he heard your story and he wanted to show up, which is like very self-serving.
• 1:25:21
  SPEAKER_00: Like he showed up because like he knew it would like get him a few points in the polls, basically.
• 1:25:27
  SPEAKER_02: But the whole thing is Jack's about to leave to go to Santa Fe.
• 1:25:31
  SPEAKER_02: He's gonna go to the train train trek.
• 1:25:33
  SPEAKER_00: He's he's leaving his milk toast romance too for Santa Fe.
• 1:25:38
  SPEAKER_02: And uh while all that's going on, we see Davy and he's finally buying a hundred papes.
• 1:25:45
  SPEAKER_00: Because he's gonna take over.
• 1:25:47
  SPEAKER_00: He's now the king of the street.
• 1:25:48
  SPEAKER_02: Yeah, now he's the king of all until Jack turns around and comes back and he decides he's gonna stay.
• 1:25:55
  SPEAKER_00: 30 seconds later.
• 1:25:56
  SPEAKER_02: Yeah, he's like around the block on the horse and come back.
• 1:25:59
  SPEAKER_00: And and everyone's cheering for him, and everyone's like, bye, goodbye.
• 1:26:03
  SPEAKER_00: This seems like a pretty good ending, right?
• 1:26:05
  SPEAKER_00: Like he's gonna finally get to go to Santa Fe, and then he turns around and he's like, No, I'm not gonna do any of that.
• 1:26:11
  SPEAKER_00: And he makes the he makes Teddy Roosevelt drive him around in a circle back and drop him off.
• 1:26:16
  SPEAKER_00: He's like, I'm not an Uber driver.
• 1:26:18
  SPEAKER_00: Like, I'm the president.
• 1:26:21
  SPEAKER_02: What are you doing?
• 1:26:21
  SPEAKER_00: I'm the president.
• 1:26:24
  SPEAKER_00: Oh, it's so wonderful.
• 1:26:27
  SPEAKER_02: He uh kisses Sarah, uh, and then they the four yeah, I know, and then the four of them hug together, and then that's the end of the movie.
• 1:26:35
  SPEAKER_00: Yeah, and that's it.
• 1:26:36
  SPEAKER_00: And that's and then journalism is saved.
• 1:26:39
  SPEAKER_02: Journalism is saved, and now we have uh now we have amazing journalism that is working really well for everyone.
• 1:26:47
  SPEAKER_00: Capitalism and journalism work because the system works and not no bad precedents ever happened again.
• 1:26:54
  SPEAKER_02: Yeah, if the last four years have taught us anything, journalism is working well.
• 1:26:58
  SPEAKER_00: Journalism is perfect and it's fine, and and it's very trusted at this point by by the general populace.
• 1:27:06
  SPEAKER_00: Uh yes, and of course now, yeah, and that was the end of print journalism.
• 1:27:14
  SPEAKER_00: Um I love to make fun of it, but like so much heart.
• 1:27:20
  SPEAKER_00: Yeah, it's just it's fun, and the the music is awesome, the core the choreography is awesome, young Christian Bale.
• 1:27:28
  SPEAKER_00: And it I don't know, I just like it's kind of a feel-good movie that you can watch with your family, and it's yeah, you don't have to think too hard about it, and it everything resolves semi well in the end.
• 1:27:42
  SPEAKER_00: And yeah, I don't know.
• 1:27:43
  SPEAKER_00: Sometimes there's like I think we have those movies from our youth that it's not necessarily because they're award winning or so great, but but they're just like something that feels very satisfying.
• 1:27:55
  SPEAKER_00: It's like a comfort food, and newsies is very much comfort food, like it's all heart you know it just wears its heart on its sleeve so for me like I will never accept news slander on my timeline do you ever see slander on your timeline about newsies?
• 1:28:11
  SPEAKER_00: Oh yes really I mean like now it's generally accepted as like a cult classic right like it's definitely a cult classic yeah I feel like now there you can find your like you can find newsies Twitter to sort of back you up and be like yeah but like it's almost bad to dig into it this deeply it's a little like dissecting a joke where you're like oh yeah it's not very good but like but that won't ruin it for me I won't no no nor should it no but yeah it's like if you look too closely at it you're gonna be like oh this is this is full of plot holes terrible terrible elements oh yeah but uh but as a whole it hold it holds up and you love it's a joy it's a joy forever and one of my favorite musicals and yeah I think it's your favorite must watch I don't know uh of all time probably Le Miz.
• 1:29:08
  SPEAKER_00: Okay I would say now newsies make sense right I have a straw I have an overly developed sense of justice that's this and it speaks to me and you know and Hamilton too but that's like that's such a overpopular answer that I feel like it can't can't be the real answer anymore.
• 1:29:29
  SPEAKER_00: And rent everyone's like hey rent was like another one of those for me where it's like it was just a time a moment in time right that was the 90s was Rent.
• 1:29:41
  SPEAKER_02: Yeah I'm just like that they're all collectively like very similar themes that's what I want to add yeah they are well I mean so many musicals are kind of like a version of that just set in a different thing right yeah that's true.
• 1:29:54
  SPEAKER_02: Yeah so I don't know I kind of love that that whole genre a hundred percent but yes okay so moving on to the final segment then um do you have a reverse of this which is a movie that you um that is well reviewed and loved by people that you think is actually a bad movie yes I do and thank you for asking um so um now that I have spent so much time defending newsies I will tell you that the movie that everyone loves that I hate is No Country for Old Men by the Cohen brothers a far superior movie in every respect and yet I hate it what do you hate about it okay so all of the things I love about newsies I hate about no country for old men.
• 1:30:45
  SPEAKER_00: So like not a musical it's not a musical number one based on true story.
• 1:30:50
  SPEAKER_00: Not based on a true story no Christian bail at all like um yeah so bad.
• 1:30:56
  SPEAKER_00: No mostly I don't like that it I don't like movies that just have no heart like where everyone's unlikable and everyone's bad and it's just like bleak bleak vision of the universe where it's sort of like if if given the chance people will stab you or whatever and I like to me I'm like I I love gritty I love action movies I love you know like peaky blinders and things like that.
• 1:31:18
  SPEAKER_00: But like you have to give me something in that person that's like but deep down something or even if they're very unlikable but they're tortured in their unlikability these people were just like yeah everything sucks and we're bad like yeah and so I don't know I feel like to some degree that's celebrated that sort of like Cormic McCarthy the road kind of feeling that gets very celebrated in Hollywood that's like I don't know I just I can always see that it's yeah good it's good in the sense of like production values and acting and writing and all of that but it just leaves me feeling like I I went to the movies to like escape from all of that not to you know like feel like there's no hope and humanity left you know I get like that did come up a lot around that time like you said the road as well I think there's also um uh there will be blood all of those were kind of like similar in that yes um in that vein of just yeah there's also a Liam movie yes there's a Liam Newson movie called The Grey and it's like where the wolves are chasing them.
• 1:32:29
  SPEAKER_00: If you haven't seen it I'm gonna spoil it so turn it off like at the end like you just think like oh well one you know it's like they're slowly the wolves are eating all of them or they're dying in different ways after this like what plane crash or something and then like at the very end like it it leaves it a bit open but it's sort of implied that like the wolf kills the last survivor from the plane and you're like what have we been doing so what's the point of this movie what like so they all just suffered after the plane crash and died and that's it that's it and you're like I don't understand what I was supposed to get from that you know uh and so unless you're like a wolf enthusiast I would say that's in that same vein where you're just like I I don't know what we're like what was the message like don't be in a plane crash because you'll get eaten by wolves eventually well I don't think that's I don't think that's as well reviewed as No Country for Old Men though so that's like a very different good point.
• 1:33:27
  SPEAKER_02: Yeah that's not a Cohen brothers classic but do are you a fan of the Cohen brothers in general then because they do a lot of they're very talented.
• 1:33:33
  SPEAKER_00: I liked um oh brother oh brother where art though I think that was them and I I thought that and that had music right I like that I thought that you know it had more charm and and heart mixed in so yeah like I think and did they also do um the one set in the hotel more recently was that them uh why can't I think of the title Chris Hemsworth and No that wasn't them oh it kind of felt like them the like the it had a long title yeah um uh like something times at the something something hotel bad times at the El Royale yes thank you that wasn't going from that wasn't them but that yeah you're right that does feel like them that was a good movie it kind of feels like it was a good movie I did I kind of did like it too but they were that was a little more like uh I don't know like the characters at least were there's something to yeah there's something to something oh boy so yeah I would say like that that sort of brand of of hopelessness kind of gets to me because I'm just like oh boy I feel like I just took a downer like what was the point so gritty I will do like I love the Godfather I love Mad Max I love you know like anything like that great but it has to have some some like comment on humanity other than just it's all bad and people can't be trusted.
• 1:34:59
  SPEAKER_02: Yeah I get that well yeah and bonus points if it's a musical and yeah so you need it you needed to be a musical with hope yeah basically that's what I'm saying.
• 1:35:11
  SPEAKER_00: Now if they will make Mad Max the musical finally my hope all my dreams will come true.
• 1:35:18
  SPEAKER_02: That would be more insane than Spider-Man turn off the dark and I would I would be so there for it.
• 1:35:23
  SPEAKER_00: I would 100% be there on opening night um it's just like Tom Hardy grunting the music for three hours I would be there all with his guitar.
• 1:35:34
  SPEAKER_02: Yes it writes itself it does yeah uh okay well this has been great um do you have any final thoughts uh you want to bring up the on the mus on newsies or anything I think we've covered pretty much everything I mean I think we've hit all the high notes I think we have yeah and the low notes um of which there are many and most of the subplots um thank you so much for having me on and how uh so do you have anything you want to plug at the moment and how can we find you online?
• 1:36:05
  SPEAKER_00: Oh excellent question uh I am writing all over the the worldwide internets and I am gonna point you toward the Belladonna who is doing some of our best work ever right now we just celebrated four years.
• 1:36:18
  SPEAKER_00: Congratulations and yeah and then you know many projects sort of half in the works right now that I'm excited to see what comes next for me once we all sort of come out of hiding.
• 1:36:30
  SPEAKER_02: Yeah definitely go and read all the Belladonna stuff because it's it's so good.
• 1:36:34
  SPEAKER_02: Thanks so many great writers coming out of that.
• 1:36:38
  SPEAKER_00: Our current yeah our crop of managing editors has done just like a tremendous job both contributing and um editing the site and then um so many amazing writers and a lot of new writers like um you know a lot of they're sort of right now is this fresh crop of people that I think have come out of uh are slowly coming out of the the COVID quarantine and are like maybe I'll try this weird thing.
• 1:37:02
  SPEAKER_00: I'm tired of baking bread I'll try writing satire and so there's so much just like really sharp funny fresh um material coming out and we love it.
• 1:37:11
  SPEAKER_02: Yeah well thanks so much for coming on Brooke thank you so much for having me this is uh amazing that's the end of the podcast if you enjoyed it please leave us a review and rate us a like too so we can end up making more episodes and I'll see you next week for more movies that critics.com