Latest / Four Finger Discount (Simpsons Podcast) / Moe Letter Blues (S21E21)

Transcript

Moe Letter Blues (S21E21) · Four Finger Discount (Simpsons Podcast)

• 0:00
  Speaker 1: I hate Poul. I just want you to know that
• 0:02
  Speaker 1: I got one of your kids here, I is saying
• 0:04
  Speaker 1: a kidnapping thing. But if you're in a mood to
• 0:06
  Speaker 1: give me a million dollars. Yeah, that's cool. This should
• 0:09
  Speaker 1: not be interpreted by federal agents as a threat. Once again,
• 0:13
  Speaker 1: no threat, But we'll take.
• 0:14
  Speaker 2: The dough four finger discounted. Welcome to four finger Discounts,
• 0:35
  Speaker 2: where this week we are going to be celebrating Mother's
• 0:37
  Speaker 2: Day on a non Mother's Day. I am dan over
• 0:40
  Speaker 2: here to review no Letter Blues, not Better Blues, Letter Blues.
• 0:44
  Speaker 3: You wouldn't believe how many times he's made that mistake.
• 0:47
  Speaker 2: My notes literally saying no better blues. You realize that's
• 0:51
  Speaker 2: a computer and you can fix it, Hi, can you? Danus?
• 0:56
  Speaker 3: Screen has got like liquid paper stills all over this
• 0:59
  Speaker 3: by the way, guy, And yeah, this episode is called
• 1:02
  Speaker 3: no Letter Blues, or should I say do better dudes?
• 1:05
  Speaker 2: Really? Yeah? I like this one. Yeah I did not think.
• 1:08
  Speaker 3: But essentially this is about Adobe dudes and the women
• 1:12
  Speaker 3: who tolerate them and really should expect better and who
• 1:16
  Speaker 3: would be justified in maybe running off with other men.
• 1:19
  Speaker 2: Yeah, okay, I see what you're saying. I can completely
• 1:22
  Speaker 2: justified in thinking that. I just thought, with Season twenty
• 1:25
  Speaker 2: of The Simpsons, at least we're getting some sort of
• 1:26
  Speaker 2: a positive message to respect the women and appreciate the
• 1:29
  Speaker 2: women in your lives.
• 1:30
  Speaker 3: Yes, even if the men in question have really done
• 1:33
  Speaker 3: nothing to earn it.
• 1:34
  Speaker 2: Yeah, because the thing for me is, I what annoys
• 1:37
  Speaker 2: me so much about this ear of the Simpsons is
• 1:39
  Speaker 2: I say, a time and time again, Homer does things
• 1:41
  Speaker 2: wrong and nobody holds them accountable. Marge is just so
• 1:44
  Speaker 2: apathetic towards their marriage. Now, she just doesn't care. She's
• 1:47
  Speaker 2: just thrown in the towel. She just goes along for
• 1:48
  Speaker 2: the ride, because hey, ho, we're married. It's going to
• 1:51
  Speaker 2: do these things when we at least see Homer acknowledge,
• 1:54
  Speaker 2: Oh I need to be better or I need to
• 1:56
  Speaker 2: do change my ways. At least they're acknowledging that. But again,
• 1:59
  Speaker 2: like you were saying, I guess, like you pointed out,
• 2:01
  Speaker 2: why would I just bother anymore? Why? Why? What's the point?
• 2:04
  Speaker 3: And it's all very well and good to say, yeah,
• 2:07
  Speaker 3: I should do better, but there's no examples of it
• 2:10
  Speaker 3: in this I mean, it just seems like the three
• 2:13
  Speaker 3: wives in particular at the core of the story are
• 2:16
  Speaker 3: all just sort of they're doing all the heavy lifting.
• 2:19
  Speaker 3: I mean, I'm thinking particularly of Helen Lovejoy, who wants
• 2:23
  Speaker 3: to get down and yeah, the good Reverend it seems
• 2:26
  Speaker 3: to be not yeah, holding up his end of the bargain,
• 2:29
  Speaker 3: so to speak. And by the end it's like, guess what,
• 2:32
  Speaker 3: I've booked us two tickets on the most romantic train
• 2:35
  Speaker 3: that one's say, why are you going? Why are you
• 2:38
  Speaker 3: doing all this? Yeah, I mean it seems like the
• 2:41
  Speaker 3: Good Reverend has been kind of a slacker.
• 2:43
  Speaker 2: I will say, though, as someone who's been married for
• 2:46
  Speaker 2: thirteen years, there were elements of truth in each of
• 2:50
  Speaker 2: these scenarios in a sense of, you know, Homer just
• 2:52
  Speaker 2: sometimes not underappreciates but doesn't really realize how much Marge
• 2:57
  Speaker 2: is doing. Reverend is getting caught up in doing something
• 3:01
  Speaker 2: one of his hobbies hemposed to focusing on his wife
• 3:04
  Speaker 2: and what's most important. I've been guilty of that. I've
• 3:06
  Speaker 2: been guilty of I'm just going to finish this thing first,
• 3:08
  Speaker 2: and it's like, your wife's there, your kids are there,
• 3:10
  Speaker 2: what are you doing this? This isn't important, right, And
• 3:13
  Speaker 2: with a poor Manjeeler, it's just the stress of having
• 3:16
  Speaker 2: small kids in your life, and you forget at times
• 3:19
  Speaker 2: why you got married in the first place. You're at
• 3:21
  Speaker 2: each other, You at each other, you at each other,
• 3:23
  Speaker 2: You're so stressed out, you're so tired. Sometimes you need
• 3:26
  Speaker 2: to take a step back, get away from the kids,
• 3:27
  Speaker 2: and go, oh we were friends, Yeah, we we love
• 3:31
  Speaker 2: each other. We need to get back to that. So
• 3:33
  Speaker 2: I did think that all there is a bring of
• 3:35
  Speaker 2: truth to all these scenarios.
• 3:37
  Speaker 3: Yeah, oh yeah, you're one hundred percent right about that.
• 3:40
  Speaker 3: I just wish it was kind of expressed better, you
• 3:43
  Speaker 3: know what I mean. I mean, all the snipping and
• 3:47
  Speaker 3: snarking between a pool and man jeweler, it kind of
• 3:50
  Speaker 3: rang true, and it kind of felt like, oh, this
• 3:52
  Speaker 3: has got a good layer of honesty to it, and
• 3:54
  Speaker 3: you can feel the truth underneath it, if you know
• 3:57
  Speaker 3: what I mean. It's like, yes, this is a couple
• 3:59
  Speaker 3: that does love each other, but they are faced with
• 4:01
  Speaker 3: a not an untenable situation, but the situation is very,
• 4:03
  Speaker 3: very stressful.
• 4:04
  Speaker 2: Two kids is stressful, and I can't imagine eight.
• 4:06
  Speaker 3: Indeed, indeed, But I don't know, there just seemed to
• 4:09
  Speaker 3: be a lot of stuff in this that felt I
• 4:12
  Speaker 3: feel like, I'm sort of a broken record when I
• 4:14
  Speaker 3: say this, but the Simpsons wants to be family guy
• 4:16
  Speaker 3: or something along those lines. I mean some of the
• 4:18
  Speaker 3: lines at Homer is saying in this, It's like this
• 4:21
  Speaker 3: is this is not the homie Simpson.
• 4:23
  Speaker 2: They knew, Yeah, and it's just not though, it's just
• 4:25
  Speaker 2: not going to be well. I did watch this thinking
• 4:28
  Speaker 2: at times this feels like middle edged men writing an
• 4:31
  Speaker 2: episode apologizing to their wives.
• 4:34
  Speaker 3: Yeah, or venting their frustrations. It's like, oh God, I
• 4:37
  Speaker 3: had a shit day at home and I'm going to
• 4:39
  Speaker 3: take it out of my during my nine to five. Yeah,
• 4:41
  Speaker 3: I'm going to pour all the all the venom and
• 4:43
  Speaker 3: vitriol that I'm feeling into these characters.
• 4:46
  Speaker 2: So what do they do to fixing? So, so Helen
• 4:48
  Speaker 2: is the one who organizes the trip with the plane
• 4:51
  Speaker 2: at the train ride somewhere who it was just pretty
• 4:56
  Speaker 2: much Modus goes and convinces her not to leave him,
• 4:58
  Speaker 2: no real reason why. And Homer gets home and Mark.
• 5:04
  Speaker 3: Thinks he thinks that Marge's packing her bags, but she's
• 5:06
  Speaker 3: really just a painting a picture of her mother.
• 5:09
  Speaker 2: Is that right? Yeah? So was it a case of
• 5:12
  Speaker 2: she just appreciated that he took the kids away, she's
• 5:14
  Speaker 2: she'd have time to do something she wanted to do.
• 5:16
  Speaker 3: I guess, although he didn't sort of offer to do
• 5:19
  Speaker 3: that in the first place. I think she was the
• 5:20
  Speaker 3: one who said, go off on this ferry or go
• 5:23
  Speaker 3: to what was it called, we's a lilan.
• 5:25
  Speaker 2: Where were the kids by the end, because they were
• 5:27
  Speaker 2: driving home by themselves, that's right. Well, you did see
• 5:31
  Speaker 2: was making a lobster cage. Yeah, you did see that.
• 5:33
  Speaker 3: Lisa was trapped inside a busted carousel or something, that's right. Yeah,
• 5:38
  Speaker 3: and Bart was getting beaten up by Pou and Manjula's kids. Yeah, yeah,
• 5:42
  Speaker 3: for being a little slave driver.
• 5:43
  Speaker 2: He was, indeed. Yeah, so it was a weak's story.
• 5:46
  Speaker 2: I like what they were trying to say, but you're
• 5:49
  Speaker 2: right they probably could have done it. They needed to
• 5:51
  Speaker 2: have the men, Yeah, because I think that I was
• 5:53
  Speaker 2: just fooled by the story. I guess the men never
• 5:55
  Speaker 2: really did anything to change. They just got home and
• 5:58
  Speaker 2: the wife's like, he's told me not to leave you. Yeah,
• 6:00
  Speaker 2: I've booked us a flight. Oh thanks, I'm now painting
• 6:03
  Speaker 2: my mother.
• 6:04
  Speaker 3: It's like yeah, And at at which point his mother's
• 6:07
  Speaker 3: also saying, I know You're not the problem in this relationship.
• 6:09
  Speaker 2: It's Patty and Selma. Yeah, what's going on here?
• 6:14
  Speaker 3: I mean, and look, I'm no fan of art or
• 6:17
  Speaker 3: media or entertainment. That's kind of like all men bad
• 6:21
  Speaker 3: women always, right, I mean, I think that's just as
• 6:23
  Speaker 3: reductive as anything else. But yeah, these guys they behaved
• 6:27
  Speaker 3: badly and there was no sort of repercussions or consequences
• 6:30
  Speaker 3: results not behave badly, but just were they weren't fullfilling
• 6:34
  Speaker 3: their end of the bargain.
• 6:34
  Speaker 2: They don't actually change, do they? Maybe because Moe is
• 6:41
  Speaker 2: the guy who's trying to be the relationship fixer here, right, he's.
• 6:44
  Speaker 3: The love and and why I'm not exactly sure. Did
• 6:48
  Speaker 3: they ever explain why he's just I.
• 6:50
  Speaker 2: Think when he said take it that he's just a
• 6:51
  Speaker 2: good friend and he saw that his best friends were
• 6:54
  Speaker 2: going to lose their wives, I guess. Yeah.
• 6:56
  Speaker 3: What they've done here is they borrowed the core concept
• 6:59
  Speaker 3: from a movie from I think the nineteen forties called
• 7:02
  Speaker 3: A Letter to Three Wives. Oh really, Okay, yeah, I
• 7:05
  Speaker 3: remember seeing this on TV back and that this is
• 7:08
  Speaker 3: back when they show all black and white movies on
• 7:09
  Speaker 3: a TV on a Saturday night. And the plot is
• 7:12
  Speaker 3: essentially three women in this small town get letters from
• 7:16
  Speaker 3: one particular woman that says, I'm running off with one
• 7:18
  Speaker 3: of your husbands, you don't know which, and that gets
• 7:21
  Speaker 3: in thinking about their relationships, like how have I not
• 7:23
  Speaker 3: shown up? Have I not been present? How have I'd
• 7:25
  Speaker 3: maybe done wrong by my man?
• 7:27
  Speaker 2: This kind of thing.
• 7:27
  Speaker 3: It's a very melodrama and it always struck me as
• 7:30
  Speaker 3: a weird concept though, even when I was a kid,
• 7:31
  Speaker 3: I was like, can't you just tell them?
• 7:33
  Speaker 2: But I don't know.
• 7:34
  Speaker 3: The premise kind of strikes me as faulty from the
• 7:36
  Speaker 3: get go. And also these three characters as well just
• 7:40
  Speaker 3: seen kind of oddly mashed together, Reverend love Joy, Homer,
• 7:44
  Speaker 3: and our pooh.
• 7:45
  Speaker 2: Love Joy in particular. We've seen Homer and a poo
• 7:47
  Speaker 2: doo things together, yeah, several times. But yeah, Lovejoy just
• 7:50
  Speaker 2: seems kind of randomly. Yeah, And if you're gonna throw.
• 7:53
  Speaker 3: Him into the mix, then at least take the opportunity
• 7:55
  Speaker 3: to explore the relationship that he has with his wife
• 7:58
  Speaker 3: a little more. I don't feel like learned anything more
• 8:00
  Speaker 3: about them other than the Helen was occasionally hot to trot,
• 8:03
  Speaker 3: and you know, the Reverend Tim would rather paint marstaches
• 8:06
  Speaker 3: on his little figure rens down this train set.
• 8:08
  Speaker 2: I feel like there's a genuine story just in their relationship,
• 8:12
  Speaker 2: and because we've always seen Helen Lovejoy as the won't
• 8:15
  Speaker 2: somebody please think of the children? Yeah, the town gossip
• 8:18
  Speaker 2: or whatnot. We've seen them at odds over the years,
• 8:21
  Speaker 2: in recent years every characters odds on The Simpsons these
• 8:24
  Speaker 2: Days and in the season twenty one era. But I
• 8:26
  Speaker 2: feel like there's a genuine relationship story that we could
• 8:29
  Speaker 2: tap into that that we haven't tapped into before, where
• 8:32
  Speaker 2: Helen Lovejoy wants more out of their marriage in regards
• 8:35
  Speaker 2: to sex life and just spending time with each other.
• 8:37
  Speaker 2: And you could tap into maybe saying that Lovejoy was
• 8:40
  Speaker 2: so bored of the gossiping and all that aspect of
• 8:43
  Speaker 2: the way she used to behave that he sought refuge elsewhere,
• 8:47
  Speaker 2: refuge and comfort in these trains, because we've seen that
• 8:50
  Speaker 2: he loved these trains in the episode in Marjor We
• 8:52
  Speaker 2: trust and like that he's always been a trained guy,
• 8:54
  Speaker 2: loves his trains in the basement, But why does he
• 8:56
  Speaker 2: do it? And to explain that I did it to
• 8:59
  Speaker 2: get away from you, it sounds horrible on the surface,
• 9:02
  Speaker 2: and that's about to say but why though, and what
• 9:04
  Speaker 2: can we do to fix that? I think that's a
• 9:05
  Speaker 2: story you can really work with.
• 9:07
  Speaker 3: You've got to find some way to inject humoran because
• 9:09
  Speaker 3: it doesn't sound right. It sounds very grim. I wrote
• 9:13
  Speaker 3: down about this episode. This is chaotic, and not in
• 9:15
  Speaker 3: a good way. It seems like it's combined, made up
• 9:18
  Speaker 3: of so many different bits and pieces that are just
• 9:20
  Speaker 3: sort of thrown together.
• 9:21
  Speaker 2: Well, it's also a clic case of it's like one
• 9:24
  Speaker 2: of the Simpsons writers. I didn't realize it was based
• 9:26
  Speaker 2: on a film, so that makes more sense, right, Yeah,
• 9:28
  Speaker 2: But they founder a concept that they like and they've
• 9:30
  Speaker 2: just simpsonized it essentially no real reason to do so.
• 9:34
  Speaker 2: He who can be the person that finds knows? All
• 9:37
  Speaker 2: these guys just make it Mo. Yeah, everyone likes Mo. Right, Well,
• 9:41
  Speaker 2: what's the what's that? Oh? I don't know mo.
• 9:44
  Speaker 3: Yeah. It seems like that's a guiding principle in the writers.
• 9:48
  Speaker 2: But when they did that though, that was we know
• 9:50
  Speaker 2: this is stupid, that's the that's the joke for that. Yeah. Here,
• 9:53
  Speaker 2: it's like, oh, of course would they would do this.
• 9:55
  Speaker 3: I mean, there's humor in that Mo, who is supposedly
• 9:58
  Speaker 3: the most insensitive and uncharismatic and unlovable person in Springfield,
• 10:04
  Speaker 3: is the one who's sort of pulling the strings and
• 10:06
  Speaker 3: guiding people in the right direction when it comes to
• 10:08
  Speaker 3: love and relations. That's it's not unfunny again, just needs
• 10:12
  Speaker 3: to be executed a little better. I liked Moe in
• 10:15
  Speaker 3: this a whole lot. I mean, just having him as
• 10:16
  Speaker 3: the narrator and stuff and just getting a good dose
• 10:19
  Speaker 3: of Mo throughout the episode.
• 10:20
  Speaker 2: That was good fun. I would have liked to have
• 10:22
  Speaker 2: maybe had them confront most and why did you do this?
• 10:24
  Speaker 2: And he goes, I haven't got what you've got yet.
• 10:27
  Speaker 2: I'm going to be lonely for the rest of my life.
• 10:29
  Speaker 2: Would and you don't want to be like me? And
• 10:30
  Speaker 2: I don't want you, guys. I know what it's like
• 10:32
  Speaker 2: to be me, and I don't want you guys, my
• 10:34
  Speaker 2: best friends, to be like me. Yeah. I want you
• 10:36
  Speaker 2: guys to start realizing what you've got because I wish
• 10:38
  Speaker 2: I had it and I'm never going to get it.
• 10:40
  Speaker 3: Well, that's the I mean. There were many little bits
• 10:43
  Speaker 3: and pieces you cut out of this episode, and then
• 10:44
  Speaker 3: you sort of front loaded the start with having these
• 10:47
  Speaker 3: guys in various situations, either Homer at the bar is
• 10:50
  Speaker 3: or ah, my marriage sucks, or Moe in church and
• 10:54
  Speaker 3: sort of overhearing Reverend love Joy praying saying why can't
• 10:57
  Speaker 3: I spend more time with my trains? And he goes
• 11:00
  Speaker 3: into the QUICKI Marty's und to get something from Upoo
• 11:02
  Speaker 3: and Apoo was grassing about his marriage or whatever. That's
• 11:05
  Speaker 3: the motivation, and you know, you also have I'm say,
• 11:08
  Speaker 3: just you know, he's walking around the streets lonely.
• 11:10
  Speaker 2: He's like, you're seeing.
• 11:10
  Speaker 3: Couples going, well, that's never going to be me. Yeah,
• 11:13
  Speaker 3: And he's seeing his friends or his you know, the
• 11:16
  Speaker 3: fellow members of community not appreciating what they have, and
• 11:20
  Speaker 3: then hatching a plot to saying, okay, well, if I
• 11:22
  Speaker 3: can't be happy, at least I'll make you guys happy. Now,
• 11:25
  Speaker 3: maybe that's what they wanted to do with this episode.
• 11:27
  Speaker 3: I don't think they expressed it very well if that
• 11:29
  Speaker 3: was the case.
• 11:29
  Speaker 2: No, because I think again, I've watched this episode twice.
• 11:32
  Speaker 2: I'm a big Simpsons fan. I had no idea that
• 11:35
  Speaker 2: there was a film that this was based on, right,
• 11:37
  Speaker 2: I think this is one of those episodes that you
• 11:39
  Speaker 2: need to understand the subject matter. They're basically you don't
• 11:41
  Speaker 2: just sort of get the story and go, oh, it's
• 11:43
  Speaker 2: a mos that person. Ah, yes, yeah, because you watched
• 11:46
  Speaker 2: this and you're like, why is he doing that? Why
• 11:48
  Speaker 2: is she saying this? Ah, because it's because you know
• 11:50
  Speaker 2: that movie that was in the forties.
• 11:52
  Speaker 3: Yeah, Three Women is not necessarily that well known.
• 11:55
  Speaker 2: Oh well, I had no idea. Yeah, and I don't
• 11:57
  Speaker 2: think it's even on the wiki page, is it. I
• 11:59
  Speaker 2: think it might baa.
• 12:00
  Speaker 3: But the other thing, I mean, I feel a little
• 12:03
  Speaker 3: hypocritical because we talk so many times about our favorite
• 12:05
  Speaker 3: episode of The Simpsons, and one of the best things
• 12:07
  Speaker 3: that Vintage Simpsons does was is like, hey, it's referring
• 12:11
  Speaker 3: this thing that maybe not a lot of people know about,
• 12:13
  Speaker 3: but if you know, you know, and you get a
• 12:15
  Speaker 3: bit of a kick out of going that's from Vertigo
• 12:18
  Speaker 3: or whatever.
• 12:19
  Speaker 2: Yeah.
• 12:19
  Speaker 3: The references in this, like I said, a Letter to
• 12:21
  Speaker 3: the Women is not necessarily a household name. And there's
• 12:24
  Speaker 3: also stuff in here where Reverend Lovejoy's like spiritual counselor.
• 12:29
  Speaker 3: I think it is meant to be.
• 12:30
  Speaker 2: Being crosby what he's been in episodes before. Yeah, he's
• 12:34
  Speaker 2: been Yeah, remember him, I don't really know he's going
• 12:37
  Speaker 2: to carry guys opening golf and I talk.
• 12:40
  Speaker 3: I'm I've seen him once before. But then Louis Armstrong
• 12:43
  Speaker 3: sort of rocks up as well. It's like, I can
• 12:46
  Speaker 3: maybe get these references in the early nineties or something,
• 12:49
  Speaker 3: but in a where are we up to?
• 12:50
  Speaker 2: Whether what year are we in twenty one or what
• 12:52
  Speaker 2: year was his released? Twenty ten?
• 12:53
  Speaker 3: Yeah, in twenty ten. This kind of feels almost desperately
• 12:57
  Speaker 3: random and influence or a reference.
• 13:00
  Speaker 2: But the thing is, it's not the first time he's appear,
• 13:02
  Speaker 2: I guess, so. Yeah, but even still, Yeah, when he
• 13:05
  Speaker 2: first aired, were like, what is his character about? Yeah,
• 13:08
  Speaker 2: it's kind of weird. Yeah, do you remember when he
• 13:10
  Speaker 2: was helping he was helping the vague. I think the
• 13:13
  Speaker 2: reverend like was selling the church or something was happening
• 13:15
  Speaker 2: to the reverend wasn't happy, and this guy came in
• 13:17
  Speaker 2: to sort of help him.
• 13:18
  Speaker 3: Okay, Yeah, and I think Yeah, I mean I say
• 13:20
  Speaker 3: the name Ben Crosby, I mean it's gonna sort of
• 13:23
  Speaker 3: ring a bell ever so slightly in a few people's heads,
• 13:26
  Speaker 3: But it just feels kind of sort of weirdly out
• 13:28
  Speaker 3: of date.
• 13:29
  Speaker 2: Yeah, fair enough, not so much.
• 13:30
  Speaker 3: Oh, I sort of know where that is, or I've
• 13:32
  Speaker 3: got a vague idea where that is. Like more sort
• 13:34
  Speaker 3: of frustrated, like why.
• 13:35
  Speaker 2: Is this here? I just realized that this wasn't written
• 13:38
  Speaker 2: by a middle aged man trying to apologize to their wives.
• 13:40
  Speaker 2: Is written by a female Stephanie Gillis, who I believe
• 13:43
  Speaker 2: is the wife of al Jean. Yeah, yeah, yeah, Algeane's wife. Yes,
• 13:48
  Speaker 2: So this was written by a woman, which is interesting
• 13:51
  Speaker 2: when you think about it. So this episode here, so
• 13:53
  Speaker 2: they're given the mother's episode to a woman, Stephanie. Obviously
• 13:56
  Speaker 2: he has been rewrites with other male men in the writer's room,
• 13:59
  Speaker 2: but I feel like she should have written more from
• 14:01
  Speaker 2: the women's perspective. We don't really get when the men
• 14:03
  Speaker 2: are away. We don't really see them changing their way
• 14:07
  Speaker 2: or explaining why they're angry at their husbands or anything
• 14:10
  Speaker 2: like that. It's just at the end, it's like, Oh, Tob,
• 14:11
  Speaker 2: we not to leave you. Yeah, how though? What did
• 14:13
  Speaker 2: he say?
• 14:14
  Speaker 1: No?
• 14:14
  Speaker 2: I'm just that's it. I'm not going to leave you
• 14:16
  Speaker 2: because mob we do Like you've never seen the man,
• 14:18
  Speaker 2: Jeweler and Moe hang out before. It doesn't make sense
• 14:21
  Speaker 2: that's right, but I guess at least she explains that
• 14:24
  Speaker 2: they were hanging out at the bar. That's right, because
• 14:26
  Speaker 2: that's why he did it was Yeah, so they sort
• 14:28
  Speaker 2: of they bonded there doing the dance condesct, so she
• 14:30
  Speaker 2: she would trust him in that way. That's okay, that
• 14:32
  Speaker 2: makes sense. Why did she was at the party? Yeah?
• 14:36
  Speaker 2: And Mo saw the red or he did he saw
• 14:40
  Speaker 2: the thumb thing. Put your thumb over her mouth because
• 14:42
  Speaker 2: that guy, that bing Crosby guy whatever put and Helen
• 14:45
  Speaker 2: Ladjow was angry on the inside. They never really doved
• 14:48
  Speaker 2: into why she touched his leg She touched his legs
• 14:53
  Speaker 2: and then nothing. That was it.
• 14:55
  Speaker 3: It feels like a very mad Libs kind of episode.
• 14:57
  Speaker 3: It's like we're grabbing little bits and pieces and just
• 15:00
  Speaker 3: trying to assemble it into something. Very positive reviews from
• 15:03
  Speaker 3: critics apparently not these ones, well not this one. I
• 15:06
  Speaker 3: mean my first note is actually I thought this episode
• 15:09
  Speaker 3: is delightful. This is what I've said originally my notes.
• 15:11
  Speaker 3: This was delightful, no silliness for the most part, just
• 15:15
  Speaker 3: a positive message of not taking the women in your lives.
• 15:17
  Speaker 3: Your mum's included, for granted, and the great episode to
• 15:19
  Speaker 3: celebrate mother's date. That's what I had as my notes
• 15:20
  Speaker 3: when I first watched it.
• 15:21
  Speaker 2: That's what I thought, Yeah, I've got moh he was
• 15:23
  Speaker 2: a true friend and acted in their best interest, even
• 15:25
  Speaker 2: though it doesn't really make sense. I guess if you've
• 15:27
  Speaker 2: just taken each episode in the vacum, at least Moe
• 15:29
  Speaker 2: was acting in his friend's best interest. And I've also
• 15:32
  Speaker 2: got here. I appreciate and a per centric story because
• 15:34
  Speaker 2: I know he's not long for this world. Well, that's true.
• 15:37
  Speaker 3: I appreciate Moe. Why you've got him?
• 15:39
  Speaker 2: And I was also he had nice seeing a freaky
• 15:41
  Speaker 2: aside of Helen Lovejoy. There's more to her than just gossip.
• 15:43
  Speaker 2: Well true, here's another thing. Well here my notes I've
• 15:47
  Speaker 2: got to tap into. So their lives are missing something
• 15:49
  Speaker 2: or their relationship is missing something. Right, So he seeks
• 15:51
  Speaker 2: as a refuge in the trains because maybe he's just
• 15:53
  Speaker 2: had enough of the gossiping because he's always sort of gone, oh, really,
• 15:56
  Speaker 2: Helen enough of the gossip? Right? But is she feeling
• 15:59
  Speaker 2: the whole her life with the gossip because he's not
• 16:01
  Speaker 2: giving her any attention? Is it like a cash twenty
• 16:04
  Speaker 2: two that makes a bit of sense.
• 16:05
  Speaker 3: Yeah, and I guess what I would like to see
• 16:08
  Speaker 3: when you know, she's like, I bought his tickets on
• 16:09
  Speaker 3: this train for him to make a few sort of
• 16:12
  Speaker 3: even just a little overture.
• 16:13
  Speaker 2: And oh the train is not the only thing that's
• 16:15
  Speaker 2: going to be moving, or something like we doesn't share?
• 16:17
  Speaker 2: Are you excited? See me? Was that you train? Oh?
• 16:19
  Speaker 2: That's right?
• 16:19
  Speaker 3: And it's like, sorry, yeah, okay, I stand corrected. Much
• 16:23
  Speaker 3: like the Reverend Lovejo. Does you know what I'm talking about?
• 16:26
  Speaker 2: Anyway, it's kind of like we're here. The Simpsons needs
• 16:29
  Speaker 2: more of that style. But there's been several times this
• 16:31
  Speaker 2: review so far we've gone, they really need to do this.
• 16:33
  Speaker 2: Oh shit, they did it. I really wish she focused
• 16:36
  Speaker 2: Oh wait, she did focus on it. Why did Manjeelo mope?
• 16:39
  Speaker 2: But they never hangait? Oh wait?
• 16:43
  Speaker 3: Tune into four figure discount for some really inside commentary
• 16:46
  Speaker 3: on the Simpsons four figure discount.
• 16:49
  Speaker 2: We pay attention, not gonna lie like you have changed
• 16:51
  Speaker 2: my way of thinking that there was lots to improve on.
• 16:54
  Speaker 2: But as I said my notes, my initial notes were
• 16:57
  Speaker 2: I really enjoyed this. Well, I hate to be I
• 17:00
  Speaker 2: hate to be a Debbie down. My favorite did you
• 17:05
  Speaker 2: have any favorite moments in the episode.
• 17:06
  Speaker 3: I did have one or two. Actually, I was almost
• 17:11
  Speaker 3: I'd say this, having just said the words Debbie down,
• 17:13
  Speaker 3: I was like, we should create a new category called
• 17:15
  Speaker 3: non favorite moments, because I certainly had some. But in
• 17:18
  Speaker 3: terms of this, I thought this was such a great
• 17:21
  Speaker 3: burn by our Poo. When they're having their fight in
• 17:23
  Speaker 3: the car, it's like, oh, you're just like that breakfast
• 17:25
  Speaker 3: radio do your own non stop chattered during time. That's like,
• 17:31
  Speaker 3: if you can get away with saying.
• 17:33
  Speaker 2: That you take it back to take it back, I
• 17:35
  Speaker 2: take it back, take it back. But it's a pretty
• 17:39
  Speaker 2: solid burd by.
• 17:41
  Speaker 3: I like my when he was on the phone to
• 17:42
  Speaker 3: I Poo and you're saying, oh, you've left twenty of
• 17:44
  Speaker 3: your kids here, they're any kidnapping thing, but if you
• 17:46
  Speaker 3: do want to give me a million dollars was good
• 17:49
  Speaker 3: And just one of the line from missus Boom, Yeah,
• 17:53
  Speaker 3: I guess is when she's sort of throwing Patty and
• 17:55
  Speaker 3: Selm we're under the bus I smoked while I was pregnant.
• 17:58
  Speaker 2: Yes, it's pretty good, that's what. It's stupid, but it's funny.
• 18:02
  Speaker 2: It's pretty fun. That's what I've got. What do you enjoy, well,
• 18:05
  Speaker 2: if you have taken two of mine already. I just
• 18:07
  Speaker 2: really liked that the burns that people was thrown and
• 18:09
  Speaker 2: Manduel back into each other in the in the car there.
• 18:11
  Speaker 2: I just you're talking about the radio stations with their names.
• 18:14
  Speaker 2: I was just like, it's like the Fitzy and Whipper
• 18:16
  Speaker 2: of India I called Robber and the Weasel. Yeah, yes,
• 18:27
  Speaker 2: the station is called something something the dot. Oh yes,
• 18:30
  Speaker 2: yeah yeah, and what did you say? Sometimes we wished
• 18:32
  Speaker 2: that Dodd in your head wasn't off button damn. But
• 18:36
  Speaker 2: again like the take it back, I take it back
• 18:39
  Speaker 2: because there's been times where you already say something you're
• 18:41
  Speaker 2: like instantly regret it. Yeah, I'm sorry. Here the moment
• 18:46
  Speaker 2: next question you there eating the paste. Trivia time hit
• 18:50
  Speaker 2: me with your first question.
• 18:51
  Speaker 3: How much would you pay for a Quickie March CD
• 18:54
  Speaker 3: that has five hundred lullabys on it.
• 18:56
  Speaker 2: Ah, that was about five dollars. It was no eight sense.
• 19:01
  Speaker 2: Those things are actually amazing. So you can go on
• 19:04
  Speaker 2: Spotify and ever on Spotify. But we had a couple
• 19:06
  Speaker 2: of cities purchased for us when Elliott was first born,
• 19:08
  Speaker 2: and it was Guns n' Roses. It's called rock a
• 19:11
  Speaker 2: Bye or Nirvana rockabye, and it's just certain classic songs
• 19:16
  Speaker 2: of those of those bands, but in lullaby form. So
• 19:18
  Speaker 2: it's like Doo doo Do Do Do Do Do Do
• 19:22
  Speaker 2: Do Do doo, and it's just like it's really sweet
• 19:24
  Speaker 2: to the playground. This is really sweet. Worser every day.
• 19:30
  Speaker 2: It's just really sweet versions of it. And like a
• 19:33
  Speaker 2: c DC ones that the thunderstroke onhe I put on
• 19:36
  Speaker 2: for Alliott the other night, like put him on, put
• 19:37
  Speaker 2: them on. I put like like keep playing on axylophone.
• 19:43
  Speaker 2: It was quite hilarious. Yeah, actually quite good the lullaby
• 19:46
  Speaker 2: versions of classic songs xylophon. I really respect someone who
• 19:49
  Speaker 2: can rock the ship out of a xylophone. And that's great.
• 19:52
  Speaker 2: Do you know what, We're not one of the best
• 19:53
  Speaker 2: bands for lullabye versions of their songs rock bands Nirvana
• 19:57
  Speaker 2: really Yeah, because and it's true because I remember watching
• 19:59
  Speaker 2: and with Dave Grohl once and he goes, the lyrics
• 20:03
  Speaker 2: to our songs don't necessard make sense, but all of
• 20:05
  Speaker 2: our songs it's all about the melodies. And he goes
• 20:08
  Speaker 2: and he literally says in this interviewm like nineteen ninety two,
• 20:10
  Speaker 2: he goes, you can sing all of our versions as
• 20:12
  Speaker 2: like kid form, So like this song in Bloom, he's
• 20:15
  Speaker 2: the one that in lullaby form is absolutely delightful.
• 20:20
  Speaker 3: Oh my goodness, yeah, sweet, Yes, your first question.
• 20:24
  Speaker 2: My first question for you is who is the voiceover
• 20:26
  Speaker 2: man who makes a guest cameo in this episode?
• 20:28
  Speaker 3: It's Don Paro getting.
• 20:30
  Speaker 2: Peaked quite well, Yeah, I think it's Don Parto's actual voice.
• 20:35
  Speaker 2: Medium you're getting into radio, shoulders up, chest out.
• 20:41
  Speaker 3: Like a medium quarter pounder meal vanilla shake.
• 20:45
  Speaker 2: Everyone who talks on radio has their radio voice. So
• 20:49
  Speaker 2: when I'm just talking, I'm just talking like this. But
• 20:50
  Speaker 2: when I talk on radio, I talk, it's just a
• 20:52
  Speaker 2: little bit more oomph to it. It's just the way
• 20:54
  Speaker 2: it happens, of course. Yeah, so I think radio voiceovers
• 20:58
  Speaker 2: that's never their natural voice. It's their natural voice. Slightly tweaked.
• 21:02
  Speaker 3: I wrote this essay recently for our friends at Umbrella
• 21:05
  Speaker 3: Entertainment coming in the drive in Delirium set that's coming
• 21:07
  Speaker 3: out in September. We order through Umbrella Entertainment. But about
• 21:11
  Speaker 3: the golden age of movie trailer narration, because we don't
• 21:14
  Speaker 3: really have it anymore, do we. You don't have the
• 21:16
  Speaker 3: summer in a world guy.
• 21:18
  Speaker 2: And we need to and having classic songs slowed down
• 21:22
  Speaker 2: over track.
• 21:23
  Speaker 3: Yeah that's what it is now or yeah or bromyeah
• 21:28
  Speaker 3: but yeah. One of the Kings was this guy named
• 21:29
  Speaker 3: Don Lafontaine.
• 21:31
  Speaker 2: What a name.
• 21:32
  Speaker 3: Oh yeah, and he looked like a real character, but
• 21:34
  Speaker 3: he sort of looked like he almost looked a bit
• 21:36
  Speaker 3: like the.
• 21:38
  Speaker 2: Yeah, but I watched.
• 21:39
  Speaker 3: Some interviews with him on YouTube and he was just talking, yeah,
• 21:43
  Speaker 3: not doing his in a world, but he sort of
• 21:46
  Speaker 3: it's like you said, it was in a world, but
• 21:49
  Speaker 3: dialed down a little bit.
• 21:50
  Speaker 2: So you just imagine, like you tell, it's him. Yeah,
• 21:53
  Speaker 2: absolutely the voice.
• 21:55
  Speaker 3: Yeah, I just want to hang out with this guy
• 21:56
  Speaker 3: down listen to read the phone book of recite a
• 21:59
  Speaker 3: shopping list to be great. But you're Don Parlo. He's
• 22:02
  Speaker 3: the voice of Saturday Night Live?
• 22:04
  Speaker 2: Is he? Yeah? Okay, Tonight's musical guest Wheezer. What does
• 22:12
  Speaker 2: Patrick Stewart say? Salt and Papa? But yeah, that's Don Pardo,
• 22:18
  Speaker 2: Don Pardo? All right, hit me with your next question.
• 22:20
  Speaker 3: What is on the logo of O Glums the non
• 22:25
  Speaker 3: beer that served at the party.
• 22:27
  Speaker 2: The logo, Yeah that was gonna be true? What is
• 22:29
  Speaker 2: the beer so you've got my question. Yeah, oh, glums,
• 22:36
  Speaker 2: is it a woman? Sad? No, it's a guy on
• 22:38
  Speaker 2: a treadmill. A treadmill. Heka, Well that was my second question.
• 22:42
  Speaker 2: Let's have a little bit. That's all good. What birthday
• 22:44
  Speaker 2: is she celebrating her?
• 22:45
  Speaker 1: What?
• 22:46
  Speaker 2: Oh?
• 22:47
  Speaker 3: No, I don't, I don't eightieth eightieth. I was about
• 22:49
  Speaker 3: to say seventieth, but no, eightieth makes more sense.
• 22:51
  Speaker 2: Over the closing.
• 22:52
  Speaker 3: Credits, you've got various characters sort of celebrating their mothers
• 22:56
  Speaker 3: for Mother's Day, and Frank has a computer that m
• 23:00
  Speaker 3: O M. What does that m O M stand for?
• 23:02
  Speaker 2: Oh, I'm some mother is one of those words? It
• 23:05
  Speaker 2: is not, it is not, it is not. I have
• 23:09
  Speaker 2: no idea.
• 23:10
  Speaker 3: Then it sounds for multi platform optical mainframe.
• 23:13
  Speaker 2: Okay, then that's a nice a nice gagger.
• 23:16
  Speaker 3: By the way, Can I jump ahead to something. Over
• 23:18
  Speaker 3: the closing credits, they've got a song called I'll Always
• 23:21
  Speaker 3: Love My Mama.
• 23:22
  Speaker 2: Yeah, that's a good song. It's a good song.
• 23:23
  Speaker 3: Do you know the name of the band. The name
• 23:25
  Speaker 3: of the band is the Intruders. What can name is
• 23:27
  Speaker 3: that for a band?
• 23:28
  Speaker 2: The Intruders? I like it not this style of music though,
• 23:32
  Speaker 2: that's where the Intruders Welcome to the Big Round. There's
• 23:39
  Speaker 2: sort of like a soul ever. You just imagine she's
• 23:41
  Speaker 2: like doing a bunch of these gentlemen were the Intruders
• 23:46
  Speaker 2: were danced just as good as we walk Respect your Mama.
• 23:51
  Speaker 2: You just imagine that was the Intruders with I'll Always
• 23:55
  Speaker 2: Love My Mama. Wait a minute, getting commit dissonancy. Is
• 24:00
  Speaker 2: there a movie called the Intruders?
• 24:02
  Speaker 3: There's a many a movie called the Intruders.
• 24:03
  Speaker 2: Yeah, I feel like I've seen one of them. Was terrifying. Yeah.
• 24:06
  Speaker 3: One of them stars a young Millie Bobby Brown, which
• 24:09
  Speaker 3: was just going by Milli Brown.
• 24:11
  Speaker 2: She's she's still young, well.
• 24:12
  Speaker 3: Man, she's about like twenty three or four now.
• 24:14
  Speaker 2: It's still pretty young. She's marriage she started so young,
• 24:17
  Speaker 2: that's true.
• 24:17
  Speaker 3: She's married to John bon Joby Junior or Jake bon
• 24:20
  Speaker 3: job I believe.
• 24:21
  Speaker 2: Yeah, people don't like her for some reason. Yeah, it's weird,
• 24:24
  Speaker 2: isn't this. She's a pretty good actor.
• 24:27
  Speaker 3: But yeah, I think if you look at yeah Intruders, yeah,
• 24:30
  Speaker 3: Clive Owen and I.
• 24:31
  Speaker 2: Think, yeah, Clive, oh my man, is that.
• 24:33
  Speaker 3: The one with Milli Brown? Or it might have been
• 24:34
  Speaker 3: a TV series, but it was a TV series called Intruders,
• 24:37
  Speaker 3: and I think that.
• 24:37
  Speaker 2: The Intruders Intruders and the Intruders was twenty seventeen. Intruders
• 24:41
  Speaker 2: was when who gets anyway?
• 24:44
  Speaker 3: Yeah, intruder but anyway, Yeah, we've sort of My.
• 24:46
  Speaker 2: Next question for you is Mandula says, my eyes have
• 24:49
  Speaker 2: more bags than something, and then I think most of
• 24:52
  Speaker 2: that's probably a good one. Ivanus with the reference. Yeah,
• 24:54
  Speaker 2: the Daddeeling Limited. Yeah, good enough for you right there,
• 24:56
  Speaker 2: which is more bags than that?
• 24:59
  Speaker 3: What's well, yeah, Jillian is like a train. It's supposedly
• 25:05
  Speaker 3: a train. It's also the name of a movie by
• 25:07
  Speaker 3: Wes Anderson, which is about train.
• 25:09
  Speaker 2: I'm looking at the so maybe that she means bags
• 25:11
  Speaker 2: like luggage bags. Yes, that's it.
• 25:13
  Speaker 3: Yeah, one of my favorite was Anderson movies.
• 25:15
  Speaker 2: I quite liked the way they handled that bit because
• 25:18
  Speaker 2: she makes this joke and I'm sitting there going, oh,
• 25:20
  Speaker 2: I'm sure that's funny, and that's probably a good one.
• 25:22
  Speaker 2: That's literally it because I didn't get the reference.
• 25:25
  Speaker 3: Well, I think when you're making sort of reference on that,
• 25:27
  Speaker 3: you occasionally need to have a carriacter.
• 25:29
  Speaker 2: Go. That's probably a good one. Yeah. The thing is,
• 25:31
  Speaker 2: I find though with a poor Man jeweler, and they
• 25:34
  Speaker 2: don't do it for any other characters, or they don't
• 25:37
  Speaker 2: do it as much with other characters, like doing poor manjour.
• 25:40
  Speaker 2: All of their references are Indian. True, they live in America,
• 25:43
  Speaker 2: they love America, but all their references are like so
• 25:46
  Speaker 2: India specific. Yeah, like we make curry jokes and the
• 25:50
  Speaker 2: jokes it's all about. I get that, that's the Indian
• 25:53
  Speaker 2: I get that. But every one of their jokes is
• 25:55
  Speaker 2: based on an Indian parody of some kind.
• 25:58
  Speaker 3: Yeah, it's almost enough to sort of make your side
• 26:01
  Speaker 3: with the people who are like, you're going a little
• 26:03
  Speaker 3: heavy on the Indian stuff here.
• 26:04
  Speaker 2: Yeah, you can still have a pooh and if Hank
• 26:06
  Speaker 2: doesn't voice it, then so be it. Right, But there
• 26:08
  Speaker 2: was no need to remove a poo from the show.
• 26:10
  Speaker 2: You watch these episodes and it's like a pool is
• 26:11
  Speaker 2: such a beloved character exactly? Yeah. Agree, um, and more
• 26:16
  Speaker 2: questions for me. I have one more. If you want,
• 26:18
  Speaker 2: please hit me with it bit, just not too hard.
• 26:20
  Speaker 3: It's your baby. One more time. They are traveling to
• 26:24
  Speaker 3: Weasel Island on a ferry called the Island Queen Island.
• 26:28
  Speaker 3: Queen is missing one letter from its logo. Do you
• 26:31
  Speaker 3: remember which one is it?
• 26:32
  Speaker 2: Because it's just an old boat, you mean, yes, I'm
• 26:34
  Speaker 2: gonna say it is the N. It's the E. It's
• 26:38
  Speaker 2: one of the e's and Queen. Okay, so the island
• 26:40
  Speaker 2: Quen Queen. Essentially, there we go. It is now time
• 26:52
  Speaker 2: for stone cut a shot out. Oh my god, my
• 26:54
  Speaker 2: favorite part of the show is it because we get
• 26:56
  Speaker 2: to say Katyg's name. It is Katy JTG, as well
• 27:00
  Speaker 2: as David Stewart, Glenn Gomez, Justin Parker, Zach prewittt Shanny Macker, Elliot,
• 27:04
  Speaker 2: j O'Neil, Isabella Murphy, Reached Beasley, Stephen Roberts, Sewan, dev
• 27:08
  Speaker 2: Pete Anderson, Timothy bels And, Andrew Davis, Kevin Dental, Planned
• 27:11
  Speaker 2: Flood Bellow, Windo Bank, Jack McFadden, Heap will Be, Adria McLeod, March,
• 27:14
  Speaker 2: Eleven Ginger and People, Preston Murray Tala and Enriquez, Declan Phoenix,
• 27:18
  Speaker 2: Brian McCoy, Logan b James Sheppard, Joe Read and Said,
• 27:20
  Speaker 2: Dave Pretzels mcneally, Gavin Lang, Dami Miller, Charlie Joe, Abigail
• 27:23
  Speaker 2: b Sharpcater and Craig Alti, smash Glosstar. I think you
• 27:26
  Speaker 2: for being Stonecutter supporters here at four finger Discount, genuinely
• 27:29
  Speaker 2: keeping the lights on here.
• 27:29
  Speaker 3: Indeed, look, it's great, but I'm saying Katie G's name.
• 27:32
  Speaker 3: It's almost as good hearing all those other names.
• 27:34
  Speaker 2: About ninety two percent. Really really close, pretty close, so close,
• 27:37
  Speaker 2: it is very close indeed. All right. So the original
• 27:40
  Speaker 2: aired of this episode was May ninth, twenty ten. Take
• 27:43
  Speaker 2: a stab at It in the Dark twenty ten, May ninth,
• 27:46
  Speaker 2: Top three films at us Boxer. This could be a
• 27:48
  Speaker 2: film from twenty ten, and we'll see how close you are.
• 27:51
  Speaker 2: Another hurt Locker, hurt Locker. We'll see how we go.
• 27:53
  Speaker 2: All right, So May ninth, twenty ten, I'm looking it
• 27:56
  Speaker 2: up right now. The next one film was Iron Man Too.
• 28:00
  Speaker 3: Two Okay, actually hurt like I might have come out
• 28:02
  Speaker 3: here before.
• 28:02
  Speaker 2: I think it was here before. Yeah, And number two
• 28:04
  Speaker 2: was a Nightmare in Elm Street, which was down from
• 28:06
  Speaker 2: number one. And number three is how to Train Your
• 28:10
  Speaker 2: Drag and still hanging around No one good one toothless
• 28:12
  Speaker 2: night Mare on Alm Street reboot worth watching.
• 28:14
  Speaker 3: Or not not really?
• 28:16
  Speaker 2: No, I think we might discussed this last episode. I
• 28:17
  Speaker 2: think it was number one last Yeah, Iroman too, though
• 28:21
  Speaker 2: debuting at number one, it was there for a while.
• 28:22
  Speaker 2: I'm assuming, oh guessing as such, I likes IMN three
• 28:25
  Speaker 2: the best, apparently Spider Man two, IMN three.
• 28:28
  Speaker 3: I like IMAN three a lot. It's written directed by
• 28:31
  Speaker 3: my man Shane Black.
• 28:32
  Speaker 2: I like that a lot.
• 28:33
  Speaker 3: Iman two it gets a bad rap, but I like
• 28:37
  Speaker 3: Mickey Rourke and it as Whiplash does some interesting stuff.
• 28:39
  Speaker 3: And it's also got by boys. Sam Rockwell in there
• 28:42
  Speaker 3: as like the the beta Tony Stark and he's doing
• 28:45
  Speaker 3: his Sam Rockwell dance moves. And no, it's pretty rad.
• 28:48
  Speaker 2: Do you think IMN was the closest thing we had
• 28:50
  Speaker 2: to sort of like the Batman hyper the late eighties
• 28:52
  Speaker 2: when when I remember when I Men came out, it
• 28:54
  Speaker 2: was like superhero movies are back, and I hadn't felt
• 28:58
  Speaker 2: that way since. Maybe this maybe the Spider Man movies
• 29:00
  Speaker 2: of the early possibly, yeah, other movies that were only
• 29:04
  Speaker 2: a decade before this there went that much earlier. I
• 29:06
  Speaker 2: suppose a decade is a long time. But Spider Man
• 29:08
  Speaker 2: was two thousand, right, two thousand and two, I think
• 29:11
  Speaker 2: two Actually, you're right, yeah, Two X Men was two thousand, Yes, yeah,
• 29:15
  Speaker 2: X Men was pretty big deal.
• 29:16
  Speaker 3: Yeah, it's funny. We was, Oh yeah, Superera movies didn't
• 29:19
  Speaker 3: really come in until the twenty first century, and you
• 29:21
  Speaker 3: know all that kind of stuff. It's like, I know,
• 29:23
  Speaker 3: you go aback a couple years before that, and there's
• 29:24
  Speaker 3: Blade and of course they are all the Batman movies
• 29:26
  Speaker 3: throughout the nineties.
• 29:28
  Speaker 2: Batman was the superhero of the nineties. As a kid,
• 29:31
  Speaker 2: no one wanted to be Superman. Everyone wanted to be Batman. Correct,
• 29:35
  Speaker 2: Superman would have been a big deal. I'm shureing the
• 29:36
  Speaker 2: seventies and eighties because of the Superman movies Christopher Reef.
• 29:39
  Speaker 2: But by the time the nineties came around, like those movies,
• 29:43
  Speaker 2: they looked old, man, And when you're a kid, when
• 29:45
  Speaker 2: things look old, you don't really appreciate it as much.
• 29:47
  Speaker 2: That's true. And the older I get, the more I
• 29:49
  Speaker 2: appreciate the Superman movies. But when I was watching the
• 29:52
  Speaker 2: Batman movies and I watched the Superman movie, I was like,
• 29:54
  Speaker 2: this looks old. Yeah, yeah, it had been like what
• 29:57
  Speaker 2: twenty years, I think, so, yeah, But what's your favorite
• 30:00
  Speaker 2: superhero franchise? Hmmm, it's a tough one. Would you go
• 30:05
  Speaker 2: the Superman films of the seventies and go by eras
• 30:08
  Speaker 2: like the Batman films of the early nineties, Batman films
• 30:11
  Speaker 2: of the late nineties. The look I kind of like
• 30:14
  Speaker 2: the Dark Knight trilogy. They all seem very it seems
• 30:17
  Speaker 2: like one big cohesive story. It does. Yeah, it feels
• 30:20
  Speaker 2: like you can watch it one and.
• 30:21
  Speaker 3: It feels like they sort of stuck around. I know
• 30:23
  Speaker 3: a lot of people think Dark Knight Rises kind of
• 30:25
  Speaker 3: drops the ball.
• 30:25
  Speaker 2: I don't think it does.
• 30:26
  Speaker 3: I think it kind of. I think it works pretty well.
• 30:27
  Speaker 2: I think Bain goes out pretty soft in the end.
• 30:30
  Speaker 2: The way he goes out, I'm like, ah, does all
• 30:32
  Speaker 2: that and that's how he got Okay, that's true. I
• 30:36
  Speaker 2: tend to like, I'm not sure what before she pushed up.
• 30:42
  Speaker 3: But like they say, Sam Raimi Spider Man movie, it's like,
• 30:44
  Speaker 3: first one's pretty good, second one is fantastic, third one
• 30:47
  Speaker 3: not so much. It's fine, Yeah, I need to rewatch
• 30:51
  Speaker 3: the third one. What the X Men two and three, Like,
• 30:53
  Speaker 3: are they any good?
• 30:54
  Speaker 2: X Men two is fantastic.
• 30:55
  Speaker 3: X Men was like almost like a high watermark for
• 30:58
  Speaker 3: superhero movies. I think three is kind of a drag.
• 31:02
  Speaker 2: The X Men movies is real sort of topsy turvy
• 31:05
  Speaker 2: because I've got like Days of Future passing there, which
• 31:07
  Speaker 2: is fantastic, But then they're the reboot ones, aren't they
• 31:11
  Speaker 2: sort of? Oh?
• 31:11
  Speaker 3: Days of Future Past? I think has got a bit
• 31:13
  Speaker 3: of both.
• 31:14
  Speaker 2: Then I said, the same universe, So are they because
• 31:16
  Speaker 2: they're people playing the characters, and I think they've.
• 31:19
  Speaker 3: Got have Sir Patrick Stewart and McKellen's best rest of Magneto.
• 31:23
  Speaker 3: And then they've also they've gone back in time and
• 31:25
  Speaker 3: they've got James McAboy and Michael Fassbender playing the same characters.
• 31:29
  Speaker 2: I really like Days of the Future Past, but so
• 31:31
  Speaker 2: they sat way in the past. I've never watched those
• 31:33
  Speaker 2: X Men films. They're all over the shop. Yeah yeah,
• 31:36
  Speaker 2: I just I was like, ah, yeah, I've had my
• 31:38
  Speaker 2: X Men film. What else you got? But you're right,
• 31:42
  Speaker 2: you've brought a Blade. But I never saw Blade as
• 31:44
  Speaker 2: a superhero movie. I saw it a vampires. It's more
• 31:46
  Speaker 2: an action movie in a vampire movie. Yeah, I never
• 31:48
  Speaker 2: saw him as a superhero. He is badass film, Yeah,
• 31:55
  Speaker 2: damn mad and so good. Who's the big bad in
• 31:59
  Speaker 2: that film? But the one he's sort of like the
• 32:00
  Speaker 2: one that keeps regenerating. Oh, and he's been in so
• 32:03
  Speaker 2: many things I've seen, but I don't know his name.
• 32:05
  Speaker 2: His name is Donald log like yeah, because he had
• 32:07
  Speaker 2: his own sitcom for a while. Yeah yeah, what was
• 32:09
  Speaker 2: his sitcom called?
• 32:10
  Speaker 3: Oh, I've forgotten. But he's an interesting guy. I'm quite
• 32:13
  Speaker 3: unquote friends with him on Facebook.
• 32:14
  Speaker 2: Granted for Life? Was your show? Okay? Yeah, I think
• 32:17
  Speaker 2: he's a friend with him on Facebook. Yeah. Yeah, he's
• 32:20
  Speaker 2: a really good writer. Let's review blatant have him on,
• 32:22
  Speaker 2: give it a try and you continue. Sorry, but he will.
• 32:26
  Speaker 3: Write these sort of really long stories about various things,
• 32:30
  Speaker 3: and like, wow, you're incredibly talented at this.
• 32:34
  Speaker 2: We had a sitcom went for five seasons. It's what Donald.
• 32:37
  Speaker 2: We used to watch it on Fox eight. Yes, two
• 32:41
  Speaker 2: days of one all right, so yeah, but they're the
• 32:43
  Speaker 2: movies that were the movies that were number three, top one,
• 32:45
  Speaker 2: two and three. So we had had a Train of Dragon,
• 32:47
  Speaker 2: not Mare, Num Street the reboot, and Iron Man two.
• 32:50
  Speaker 2: The episode was written by Stephanie A. Gillis and directed
• 32:52
  Speaker 2: by Matthewness. Stuck and Don Pardo starts himself. The chopboard
• 32:56
  Speaker 2: gag eating my vegetables is not a Mother's Day present.
• 32:58
  Speaker 2: What is the billboard gag?
• 33:00
  Speaker 3: The billboard gag is please abduct this child.
• 33:04
  Speaker 2: Call Homer.
• 33:05
  Speaker 3: You've also got bumble mean man floating through at the
• 33:07
  Speaker 3: very start as well.
• 33:08
  Speaker 2: And the cash gag is the family is a model
• 33:10
  Speaker 2: constructed and subsequently destroyed by Nelson Monks channeling he's inner sid.
• 33:14
  Speaker 3: Indeed, also time for God to put on his movie
• 33:16
  Speaker 3: nerd hat for a moment. This episode is titled Moe
• 33:19
  Speaker 3: Letter Blues.
• 33:19
  Speaker 2: That's a play on.
• 33:21
  Speaker 3: The Spike Lee movie No Better Blues from the early
• 33:24
  Speaker 3: nineties starring Denzel Washington and Wesley Snipes.
• 33:26
  Speaker 2: I'm sure that's why I kept saying No Better Blues
• 33:28
  Speaker 2: that is. But that's m O, isn't it m O? Apostrophe? Apostrophe?
• 33:32
  Speaker 2: More money, the more better blues, No Better makes it
• 33:34
  Speaker 2: more better. It's a good movie.
• 33:36
  Speaker 3: Yeah, yeah, it's good stuff.
• 33:38
  Speaker 2: Alright. So the episode kicks off with we're in Springfield's
• 33:41
  Speaker 2: doing a voice over here, and is this how the
• 33:43
  Speaker 2: film plays out? Is?
• 33:44
  Speaker 3: I'm sure you must have. It's a forties melodrama. It's
• 33:48
  Speaker 3: gonna have voice over, But there's a lot of sort
• 33:50
  Speaker 3: of shout outs as what I think the family Stephane
• 33:52
  Speaker 3: Gillis is a fan of old movies. Yeah, it's talking
• 33:55
  Speaker 3: about it. It's a it's Freevield, USA town where everyone's.
• 33:57
  Speaker 2: Got a story and She's and Moe's in his narration says,
• 34:02
  Speaker 2: there's this, there's this, but everybody comes to Mo's. The
• 34:05
  Speaker 2: movie Castle Blanca that we reference occasionally here and occasionally
• 34:09
  Speaker 2: on the movie Guard with Morlton Davis. We'll cover it
• 34:11
  Speaker 2: on that show one of these days. That's based on
• 34:13
  Speaker 2: a play called Everybody Comes to Rix. Shortly after the
• 34:16
  Speaker 2: beginning of the episode, Moe advertises is Barber stating, and
• 34:18
  Speaker 2: Everybody comes to Moe's, which mirror is the introduction of
• 34:20
  Speaker 2: Ricks Cafe in Castle Blanca. What who said that? The
• 34:25
  Speaker 2: wiki cultural references But you knew it already, so his
• 34:30
  Speaker 2: corect Yes, but I was just yeah, you are one
• 34:31
  Speaker 2: hundred percent correction with that. Yes, So he says that
• 34:34
  Speaker 2: the zip code spells out boobs, which means that the
• 34:36
  Speaker 2: zip code is eight zero zero eighty five, a zip
• 34:39
  Speaker 2: code that, according to the US Postal Service, is not
• 34:41
  Speaker 2: assigned to any existing town.
• 34:43
  Speaker 3: Ah, Simpsons, you've done it again.
• 34:45
  Speaker 2: Yeah, works out. Well. You just imagine when she was
• 34:48
  Speaker 2: wide and it's we've ever come with that gag like
• 34:49
  Speaker 2: boobs speaking. We can use it. It's not a real place.
• 34:54
  Speaker 2: The sinners and skinners. Of course, we have Agnes saying
• 34:56
  Speaker 2: that she wishes that he was dead? Why are we
• 34:59
  Speaker 2: doing this? We do it?
• 35:00
  Speaker 3: Why is there this constant undercurrent of just meanness?
• 35:05
  Speaker 2: I know she has always been like disappointed by him,
• 35:09
  Speaker 2: but every time, every that's all you've got for her?
• 35:12
  Speaker 2: Now is I wish you were dead? It's like, come on.
• 35:17
  Speaker 2: We had the cut to Mose and then Barfly roteo
• 35:21
  Speaker 2: going on my home is writing writing Barney, and then
• 35:24
  Speaker 2: who's the clown? It's Lenny.
• 35:25
  Speaker 3: It's Lenny, is the rodeo clown.
• 35:27
  Speaker 2: The camera cuts to most it's get the camera. Family's
• 35:29
  Speaker 2: narrating here, and he knows of everyone's problems because they
• 35:32
  Speaker 2: all come to the bar to vent their frustrations, and
• 35:34
  Speaker 2: especially the married ones. And we see the love joys
• 35:37
  Speaker 2: and pooh.
• 35:39
  Speaker 1: Here's the kind of lullaby my sweet mother sang to me.
• 35:42
  Speaker 3: Maybe, why do you always change it to Sanskriet ninety
• 35:49
  Speaker 3: three point seven?
• 35:51
  Speaker 1: I like her Ajeebrew Baba and big Brahma in the morning,
• 35:54
  Speaker 1: not castice safe from them.
• 35:56
  Speaker 2: Many jeeps having a mahatma or man not. My contest
• 35:59
  Speaker 2: is not that jip, it is sex is sacrilege. I
• 36:02
  Speaker 2: hate that channel, But do you have so much in
• 36:05
  Speaker 2: common with them?
• 36:05
  Speaker 1: Non stop chapter doing drive time? Dick, take it back.
• 36:10
  Speaker 2: I take it back. I really liked that. Yeah, I
• 36:13
  Speaker 2: thought that was I say, relatable, because you know, you
• 36:16
  Speaker 2: just at times you're just you're bickering and it comes
• 36:18
  Speaker 2: to the point where you're just like, why we're bickering. Oh,
• 36:20
  Speaker 2: we're bickering because we're tired. Yes, let's just take take
• 36:23
  Speaker 2: a deep breath and refresh. Marchin sleep cuts to Marge.
• 36:27
  Speaker 2: I like the animation here. It reminded me of like
• 36:29
  Speaker 2: an old school video game where it was sort of
• 36:31
  Speaker 2: like a little bit jittery, and it was cutting to
• 36:33
  Speaker 2: the front of when it was going to various locations,
• 36:35
  Speaker 2: so it was like a point of view shop, but
• 36:36
  Speaker 2: it was turning to the front of the building. We're
• 36:38
  Speaker 2: looking to the front of the Simpsons house and marches
• 36:41
  Speaker 2: out in the tower. It's like hot, damn March. But
• 36:44
  Speaker 2: then the mos annoy that she puts a gown on,
• 36:47
  Speaker 2: and it's just before Mother's Day and the family of
• 36:48
  Speaker 2: watching crusty to his mother Day special. I des drove
• 36:51
  Speaker 2: my buddy to give birth to you, and he give
• 36:55
  Speaker 2: her a break tug dad to take and then we
• 36:57
  Speaker 2: get the commercial here or maybe it's chusty. I can't remember.
• 36:59
  Speaker 2: Someone's in vatorial or something. Yeah, give your mother a
• 37:02
  Speaker 2: break and tell your dad to take you to a
• 37:05
  Speaker 2: weasel island. It's got some kind of amusement park. I
• 37:07
  Speaker 2: love that warning. May not be a music, it's like.
• 37:10
  Speaker 2: It's also voted one of America's ten roundest islands. Yes,
• 37:13
  Speaker 2: Marginals is a good idea. Get all the kids and
• 37:15
  Speaker 2: Homer out of the house so she can finally do
• 37:17
  Speaker 2: something that she's been putting off for a long time,
• 37:19
  Speaker 2: like cleaning the gutters. No, that's what home has been
• 37:20
  Speaker 2: putting off for a long time. And then they watch
• 37:23
  Speaker 2: an old fashioned itching and scratchy cartoon which was a
• 37:25
  Speaker 2: play on what uh and the moon Yeah, the moon yeah,
• 37:31
  Speaker 2: George mel Yes, one of the pioneers of cinema. The
• 37:34
  Speaker 2: rocket in the eye yep. And then you're pretty ingenious
• 37:38
  Speaker 2: those early guys again here, though you're touched on earlier
• 37:41
  Speaker 2: homd just being a joke for no reason. Marge's trying
• 37:43
  Speaker 2: to say something. I forgot what you were saying marchin. Sorry,
• 37:45
  Speaker 2: I wasn't listening to that either. I'm not even listening now.
• 37:47
  Speaker 3: Yeah, sorry, honey, I wasn't listening and I won't be
• 37:50
  Speaker 3: listening now. It's like, what the fuck?
• 37:52
  Speaker 2: Yeah, yeah, that's not cool. Yeah, I mean it's not
• 37:55
  Speaker 2: even funny.
• 37:57
  Speaker 3: We shouldn't be judging our cartoon characters by you know,
• 38:00
  Speaker 3: Uman's standards, or particularly our sort of wife guy slash
• 38:02
  Speaker 3: Simps standards. But as I said before, it was like,
• 38:05
  Speaker 3: this show wants to be family guys. Like that's a
• 38:07
  Speaker 3: Peter greffriend line.
• 38:08
  Speaker 2: So I put out a few clips of us ranting
• 38:10
  Speaker 2: about the way Simpsons has changed and evolved in the
• 38:14
  Speaker 2: era of reviewing here today, and some people are commenting saying,
• 38:17
  Speaker 2: it's just a cartoon. It's not that deep, And I'm like,
• 38:19
  Speaker 2: you know what fucking people wouldn't say about season three
• 38:21
  Speaker 2: The Simpsons, it's just a cartoon. Knowing the people writing
• 38:24
  Speaker 2: the show wouldn't say it's just a cartoon. You're not
• 38:27
  Speaker 2: supposed to go, who fucking cares, it's just a cartoon.
• 38:29
  Speaker 2: It's the Simpsons. Simpsons has set a standard. It is
• 38:32
  Speaker 2: not just a fucking cartoon.
• 38:34
  Speaker 3: Anything you put out in the world should be you know,
• 38:37
  Speaker 3: have a little thought, never put into it, especially something
• 38:40
  Speaker 3: that's a bit of a name brand like the Simpsons.
• 38:41
  Speaker 3: But yeah, I mean, that's just sorry, miss Gillis, that's
• 38:45
  Speaker 3: that's just not good enough.
• 38:49
  Speaker 2: Was I talking?
• 38:50
  Speaker 3: I was talking to my friend last night. We were
• 38:52
  Speaker 3: sort of talking about art and entertainment and ethnic It
• 38:56
  Speaker 3: was my good friend Anthony, and talking about hecklers. Some
• 39:04
  Speaker 3: guy just came up with the best heckle ever, I
• 39:07
  Speaker 3: think it was there was some guy from the TV
• 39:09
  Speaker 3: show Red Dwarf. He was trying his handed stand up
• 39:12
  Speaker 3: and someone in the audiens said, I'm sorry, this just
• 39:14
  Speaker 3: isn't good enough. So that just cracked me out. It's
• 39:18
  Speaker 3: not like you.
• 39:19
  Speaker 2: I'm sorry, this justin't good nough be better. I am
• 39:23
  Speaker 2: disappointed in this. I would like a partial refund, but
• 39:27
  Speaker 2: just a very level headed I'm sorry this does not
• 39:30
  Speaker 2: pass muster. I trusted you.
• 39:36
  Speaker 1: So.
• 39:37
  Speaker 2: But essentially, what we're saying to you, do you want
• 39:38
  Speaker 2: to start? Do you want to start again? Would you
• 39:41
  Speaker 2: like a duo? Would you like a mulligan? Anyway, for
• 39:45
  Speaker 2: some reason asked what Marge meant by something in Homer says,
• 39:47
  Speaker 2: I'm an expert. Women don't mean anything by anything at least,
• 39:50
  Speaker 2: is like that's a bleak way of looking at things.
• 39:51
  Speaker 2: He's like, sure, Lisa, like just dimissing, dismissing women in
• 39:55
  Speaker 2: his life.
• 39:56
  Speaker 3: Yeah, look we're simps, but we're not simps. I mean,
• 40:00
  Speaker 3: this is just we're not saying this is bad writing
• 40:02
  Speaker 3: because it's like demeaning to women. It is that, but
• 40:04
  Speaker 3: it's also it's just shiit writing. Well, it's just it's
• 40:07
  Speaker 3: dismissive for the sake of dismissed. Like this is the
• 40:09
  Speaker 3: episode where they realize they've been really dismissive to their wife.
• 40:11
  Speaker 3: So you're gonna make them really extra dismissive.
• 40:13
  Speaker 2: That's the thing.
• 40:13
  Speaker 3: If you're going to make a Homer and the Other
• 40:16
  Speaker 3: male garriage and there's insensitive, at least do it in
• 40:19
  Speaker 3: a funny way. Yeah, just like Blonde Force Trauma.
• 40:22
  Speaker 2: Yep. The dads are all leaving now because they are
• 40:27
  Speaker 2: taking the kids away because they've realized they've got a Also,
• 40:29
  Speaker 2: this strikes me as a weird Why is Reverend going?
• 40:32
  Speaker 2: It's a weird plot. Why is Lovejoy going? That's right,
• 40:36
  Speaker 2: they're not a mother's love Joy yeah, because you got Yeah,
• 40:39
  Speaker 2: she was there when when you got home. Oh that's right. Yeah, okay.
• 40:42
  Speaker 3: But at the same time this strikes me as odd. Okay,
• 40:46
  Speaker 3: take the kids, give mom a little time to yourself.
• 40:48
  Speaker 2: It's like, why don't you.
• 40:48
  Speaker 3: Take him wife and mother somewhere nice?
• 40:52
  Speaker 2: The wives want them gone. Okay, trust me, when you've
• 40:55
  Speaker 2: lived in the house, there's something about having time to
• 40:58
  Speaker 2: yourself to just do anything.
• 41:00
  Speaker 3: Believe me, I get it, but I don't know. Mother's
• 41:02
  Speaker 3: Day feels like the kind of thing where it's like,
• 41:04
  Speaker 3: treat your mother, do something nice. A nice bit of
• 41:06
  Speaker 3: R and R should be for any time, not necessarily
• 41:08
  Speaker 3: another's day.
• 41:08
  Speaker 2: Well, they actually tackle that in an episode we're going
• 41:10
  Speaker 2: to be reviewing after this the Unified Theory of four
• 41:12
  Speaker 2: Finger Discount for our patrons, we're going to be reviewing
• 41:15
  Speaker 2: King of the Hills episode Peggy's Turtle Song. Yeah, towards
• 41:18
  Speaker 2: the end of season two, which is actually the Mother's
• 41:20
  Speaker 2: Day episode, and in that day tackle of the issue
• 41:23
  Speaker 2: of what's Mother's Day. We're going to spoil you, We're
• 41:24
  Speaker 2: going to do everything for you, and she's like, I'd
• 41:26
  Speaker 2: rather just do what I want to do, and he's like, no, no, No,
• 41:29
  Speaker 2: you're going to do what we've planned for you. And
• 41:30
  Speaker 2: she's like, but it's my day. Why can't I do
• 41:32
  Speaker 2: what I want to do? And that's sort of the
• 41:34
  Speaker 2: argument here. It's like Marge wants to do what she
• 41:37
  Speaker 2: wants to do. Yes, I get the idea of spoiling,
• 41:39
  Speaker 2: buying presents, do and all that things. But sometimes I
• 41:41
  Speaker 2: sometimes I say to Nicola, what do you want to
• 41:43
  Speaker 2: do on Mother's Day? Do you want us to want
• 41:45
  Speaker 2: to go do something nice? Or it's not a case
• 41:47
  Speaker 2: of I've planned something for it. What do you want
• 41:50
  Speaker 2: to do? If you want to go out as a family,
• 41:52
  Speaker 2: do something, we'll do that. If you want to take
• 41:53
  Speaker 2: the kids out so you can have some time home
• 41:55
  Speaker 2: to yourself, do that. If you want me to watch
• 41:56
  Speaker 2: the kids home so you can go out and do something,
• 41:58
  Speaker 2: tell me what you want to do on your day? Sure,
• 42:02
  Speaker 2: sip what a wife? Guy. Homer then puts Maggie in
• 42:06
  Speaker 2: the lobster cage. Then the Squeaky Voice team drops the letter.
• 42:12
  Speaker 2: Got a letter hear from you and it's from Mo.
• 42:14
  Speaker 1: It's from more dear friends. I have some news that
• 42:17
  Speaker 1: is doubly said. First off, I am leaving town forever,
• 42:22
  Speaker 1: and by going away present, one of your wives is
• 42:25
  Speaker 1: running off with me. One of our wives is leaving
• 42:28
  Speaker 1: us for.
• 42:28
  Speaker 2: More, most leaving town.
• 42:30
  Speaker 1: Perhaps I should have told you in person, but there's
• 42:32
  Speaker 1: no easy way to say goodbye forever. So I'll say
• 42:35
  Speaker 1: it the hardest way I can in Mandarin Chinese cyanongen.
• 42:40
  Speaker 1: And now, as our tea kettle starts to ute, I'm
• 42:43
  Speaker 1: gonna take a little break. Boy, this voiceover thing is
• 42:46
  Speaker 1: killing me. Whenever that don Poto gets paid, it ain't.
• 42:49
  Speaker 2: And off I make.
• 42:50
  Speaker 3: More than you can possibly imagine, and I'm making it
• 42:53
  Speaker 3: right now.
• 42:55
  Speaker 2: Where are you? Then tries calling March's. She's like, what's
• 42:59
  Speaker 2: going on? Because get a hold of their wives. Homak
• 43:01
  Speaker 2: gets a hold of Marge, but we're breaking up. We're
• 43:03
  Speaker 2: breaking up, throws the phone in the water, and in
• 43:06
  Speaker 2: a fit of rage, and then, realizing she's still there,
• 43:07
  Speaker 2: tries typing with the harpoon thing. It doesn't work. He
• 43:11
  Speaker 2: then throws the pole and then for no absolutely no
• 43:14
  Speaker 2: reason at all, the guys like we need that pole
• 43:16
  Speaker 2: to dot. It crashes, explodes. It's like the way we're
• 43:20
  Speaker 2: carrying explosives. Well, most most of our cargo was explosive.
• 43:23
  Speaker 2: But then the boats like it got a bit exploded
• 43:25
  Speaker 2: from them, like that was a massive explosion. Did anyone die? Like?
• 43:30
  Speaker 2: What was the point of the explosion? Gag?
• 43:32
  Speaker 3: Do you want to do? You want to say it?
• 43:34
  Speaker 3: What are we even doing?
• 43:35
  Speaker 2: Yeah? What are we doing here? What was the what
• 43:37
  Speaker 2: was that? So we go back to park on a stone,
• 43:40
  Speaker 2: don't do and then yeah, what point that explosion? Therefore
• 43:45
  Speaker 2: all but yeah, and then the ship exploded and then
• 43:50
  Speaker 2: they went off like that. There was no need for
• 43:51
  Speaker 2: the explosion. There was no need. It wasn't even funny.
• 43:54
  Speaker 2: It just doesn't make sense. But the crash is fine.
• 43:56
  Speaker 2: Homerd used the pole. They crashed so bit, oh, we're
• 43:59
  Speaker 2: gonna throw an extra have exploited it as well? Can
• 44:01
  Speaker 2: you believe it? No? Shouldn't the kids be dead? Anyway?
• 44:05
  Speaker 2: We're now on the island and there's got the Civil
• 44:07
  Speaker 2: War museum, the prison prison with Sideburns or something, the
• 44:11
  Speaker 2: Prison of Sideburns or something something. Sydeburns is a sight
• 44:14
  Speaker 2: gag there. But Bart locks up a who's kids in
• 44:17
  Speaker 2: the prison and he says he's going to be treating
• 44:20
  Speaker 2: them like not slaves, But I think he's just slaves.
• 44:25
  Speaker 2: Just to keep them wrangled up, like you staying here,
• 44:26
  Speaker 2: I'm going to be in control of you. Lovejoy thinks that
• 44:29
  Speaker 2: it can't possibly be helen because we just started a
• 44:31
  Speaker 2: jigsaw puzzle up to the to the edges. I like
• 44:34
  Speaker 2: the idea of jigsaw puzzle. It reminds me of being
• 44:36
  Speaker 2: a kid on school holidays. We'd always do jigsaws with
• 44:38
  Speaker 2: Now you're a jigsaw, but we haven't known jigsaw for
• 44:40
  Speaker 2: a long time. But the kids now at the age
• 44:42
  Speaker 2: where they can actually start grasping the concept of corner
• 44:45
  Speaker 2: pieces first, make sure like that. For example, Holly, she
• 44:49
  Speaker 2: would always just see that the four prongs and go, well,
• 44:51
  Speaker 2: that's going to fit in here. It's like, no, look
• 44:53
  Speaker 2: in the shape of the prong. She's starting to work
• 44:55
  Speaker 2: that out.
• 44:55
  Speaker 3: Ah okay, just good. Jigsaw is not just fun. Also
• 44:59
  Speaker 3: teach spatial res.
• 45:00
  Speaker 2: And we started playing scrabble with Elliott as well, and
• 45:03
  Speaker 2: he drew with Nicola nice. Yeah, so I was I
• 45:07
  Speaker 2: was teeming with him and that sort of helping him
• 45:09
  Speaker 2: on the way. But he came up with words like
• 45:11
  Speaker 2: dura and we're like, and I didn't see It's like
• 45:14
  Speaker 2: what about this one? I was like, dura and Nicola goes,
• 45:18
  Speaker 2: she goes, what's a jew? And he goes, isn't it
• 45:20
  Speaker 2: the honestly, he goes, it's the people in the court
• 45:23
  Speaker 2: that say yes or no. I'm like, that's pretty much it.
• 45:26
  Speaker 3: WHOA, We're going to be working early at one of
• 45:29
  Speaker 3: these days.
• 45:33
  Speaker 2: But yeah, So so he thinks that it can't possibly
• 45:36
  Speaker 2: be Halem because they've just started the jigsaw puzzle. Homer says,
• 45:39
  Speaker 2: we never fight anymore, and that's never a good sign
• 45:41
  Speaker 2: because if they're never fighting anymore, that's just a ticking
• 45:43
  Speaker 2: time I'm waiting to explode. I'm like, you guys fight
• 45:46
  Speaker 2: all the time. We've watched an entire season of Fight.
• 45:51
  Speaker 3: Well maybe this is meant to indicate Homer's ignorance or disinterested.
• 45:55
  Speaker 2: But I did actually say at the start though, because
• 45:57
  Speaker 2: I think it's what Reverence says here. It means she's
• 45:59
  Speaker 2: checked out, like a Harry A book at the library. Marge,
• 46:01
  Speaker 2: the character has checked out. It feels like she has
• 46:03
  Speaker 2: checked out on everything. Yeah, everyone's checked out, not us.
• 46:09
  Speaker 3: We'll keep talking about these episodes.
• 46:10
  Speaker 2: So he thinks back. He says, think back, think back,
• 46:12
  Speaker 2: think back. Thinks back too far because he's a baby
• 46:14
  Speaker 2: not that far, you idiot, And it cuts to the
• 46:16
  Speaker 2: party for Marge's mum asked for a drink that helps
• 46:19
  Speaker 2: me forget that he hates he's in laws, but enough
• 46:21
  Speaker 2: to tell him that I love him.
• 46:22
  Speaker 3: I need something strong enough to that I forget I
• 46:24
  Speaker 3: hate them, but not so strong that I tell them
• 46:26
  Speaker 3: I love them.
• 46:26
  Speaker 2: Yep, he goes a prick in, saying that I thought
• 46:31
  Speaker 2: that was actually not there. Not a bad life. They're
• 46:33
  Speaker 2: a prick to each other. They've always had that antagonistic relationship.
• 46:37
  Speaker 2: He says he's only serving non alcoholic oak glums. So
• 46:41
  Speaker 2: is it eightieth birthday or was at the eighteenth end
• 46:42
  Speaker 2: of it? I've got eightieth after oak lums. Anyway, eightieth
• 46:44
  Speaker 2: must be a birthday. And he invited Flanners to keep
• 46:47
  Speaker 2: him company, and he says it's also to help you
• 46:50
  Speaker 2: listen to the angel on your head and not the
• 46:51
  Speaker 2: four hundred devils on the other side. Then Patty and
• 46:54
  Speaker 2: someone asked Homer to take a photo of them, and
• 46:56
  Speaker 2: they's been really annoying.
• 46:58
  Speaker 3: Mye was closed, and they referred to as chunky with
• 47:00
  Speaker 3: the pants of meat balls.
• 47:01
  Speaker 2: Yes, I've reference that. It's kind of lost now, but
• 47:05
  Speaker 2: glad with a chance to meet both my kids enjoy
• 47:07
  Speaker 2: those movies. Yeah, So the question here, do you have
• 47:11
  Speaker 2: anyone in your life who was terrible at having their
• 47:13
  Speaker 2: photo taken. I've got an auntie who just cannot take
• 47:18
  Speaker 2: a good photo in the sense of she always talks
• 47:20
  Speaker 2: well saying like she's always going, I don't take a
• 47:23
  Speaker 2: good photo because you're always fucking talking. Just say cheese, spark,
• 47:28
  Speaker 2: just keep your mouth, stop your mouth from moving. Her
• 47:30
  Speaker 2: mouth and every photo her mouth is like this. She
• 47:34
  Speaker 2: talks the entire time.
• 47:37
  Speaker 3: I would say it's me. I don't think I'm very photogenic.
• 47:40
  Speaker 2: No, no, I don't think many people think they're photogenic.
• 47:43
  Speaker 2: The Lovely Jesus, the Lovely Louise is incredibly photogenic. No
• 47:48
  Speaker 2: bad photos of Louise. As much as you pay your
• 47:50
  Speaker 2: isn't it that.
• 47:53
  Speaker 3: Not a single scent.
• 47:54
  Speaker 2: I do find it quite funny though, when you go
• 47:56
  Speaker 2: on social media and you've got a few friends where
• 47:59
  Speaker 2: it's like like, oh, you've found your side, and every
• 48:02
  Speaker 2: photo they put up is the same face, same tilt,
• 48:06
  Speaker 2: the same sort of movement with their mouth. It's like
• 48:08
  Speaker 2: every photo because they're like, I know I look good
• 48:10
  Speaker 2: in this post. That's the post I'm doing for every.
• 48:11
  Speaker 3: Photo, you've got to work your angles.
• 48:15
  Speaker 2: Yeah, I want to do a little real about. I mean,
• 48:19
  Speaker 2: I know why they do it. But women in photos
• 48:21
  Speaker 2: when it's full body right, they'll be standing there, you say,
• 48:24
  Speaker 2: all right, say cheese. All of a sudden their legs
• 48:26
  Speaker 2: go like spaghetti like they're leaning forward and looking It's
• 48:29
  Speaker 2: like the legs can't they can't stand it straight. They've
• 48:31
  Speaker 2: got to turn their legs so that the hips look different.
• 48:34
  Speaker 2: Angelina a lean. Yeah. I did it in England, Nicholas
• 48:37
  Speaker 2: with their friends and they will standing against the fence
• 48:39
  Speaker 2: and I was like, all right, ready three to one,
• 48:41
  Speaker 2: and all of a sudden the legs go all the change.
• 48:45
  Speaker 2: I was like, but why why, I know why they
• 48:49
  Speaker 2: do it. I just want it funny. But guys just
• 48:51
  Speaker 2: like whatever, we're just standing here, but all the women
• 48:52
  Speaker 2: are just like, well, that's the patriarchy if we But
• 49:00
  Speaker 2: that's a patriarchy for you. So he refused to take
• 49:03
  Speaker 2: the photo in the air because of it's being horrible to him,
• 49:05
  Speaker 2: and then he sets off the car alarm with his
• 49:06
  Speaker 2: fat feet and he calls them penis curling. She devils. Yeah,
• 49:10
  Speaker 2: March says, why is it whenever we do something that
• 49:12
  Speaker 2: means something to me, you have to ruin it. At
• 49:15
  Speaker 2: the present day, and Bart is putting all of his
• 49:18
  Speaker 2: money into a fortune teller Zultan. Yeah, from big Big,
• 49:21
  Speaker 2: from Big Yes, we come up a commercial. The kids
• 49:24
  Speaker 2: are now getting on a ride which is just randomly
• 49:26
  Speaker 2: run by a criminal, a convict.
• 49:29
  Speaker 3: On MS Carney was super annoying.
• 49:32
  Speaker 2: You get that scar before you got on by scar,
• 49:34
  Speaker 2: you'll see that part was all right, but then the
• 49:37
  Speaker 2: walks off. We should have mattered to himself, what's the
• 49:40
  Speaker 2: point of any of this?
• 49:41
  Speaker 3: Yeah, what are we even doing here?
• 49:42
  Speaker 2: Yeah? Poo? Then really because this seems like a nice eyland?
• 49:45
  Speaker 2: So why is it when I get there it's a
• 49:46
  Speaker 2: shittold It's is that the joke I guess.
• 49:49
  Speaker 3: I guess it's the joke that's like, oh, come to
• 49:50
  Speaker 3: whe Isisland's fantastic. I'm like, oh, that's not.
• 49:53
  Speaker 2: Poo realizes that he once cheated on her. I'm a
• 49:55
  Speaker 2: jula so and then he thinks back again and they
• 49:58
  Speaker 2: arrive at mos. I think this might be the first
• 50:00
  Speaker 2: cricket reference in the history of The Simpsons. Okay, it's
• 50:02
  Speaker 2: interesting because I touched on how I wish they should
• 50:04
  Speaker 2: do a cricket episode. But yeah, they seeing them in
• 50:06
  Speaker 2: their cricket gearl I was like, ah, finally acknowledge that
• 50:09
  Speaker 2: there actually there is another sort friends love cricket, yep,
• 50:12
  Speaker 2: And they got caught in the rain because he wasn't
• 50:14
  Speaker 2: wouldn't use the International short Form rules? Now, when was
• 50:17
  Speaker 2: the first T twenty game? Oh whereasuring unshouted territory for
• 50:21
  Speaker 2: guy two thousand and four. Yeah, so she would never
• 50:23
  Speaker 2: refer to it as the International short form rules. She
• 50:26
  Speaker 2: would say he wouldn't play T twenty rules. But American
• 50:29
  Speaker 2: fans viewers having no idea what that means because they
• 50:32
  Speaker 2: don't play cricket over there. Well they do now, but yeah, but.
• 50:35
  Speaker 3: Would they even know what the International short Form rules are?
• 50:38
  Speaker 2: Well, explain it explained, saying that it's a shorter version
• 50:41
  Speaker 2: of the game, and that's why we got stuck in
• 50:42
  Speaker 2: the rain. I guess so because she couldn't say because
• 50:46
  Speaker 2: he had to play a test match. It wouldn't make
• 50:47
  Speaker 2: sense anyway. He's playing the world's smallest satar. Yes, because
• 50:52
  Speaker 2: you know she's crying. What is it that she's just winging?
• 50:55
  Speaker 2: I guess he's just sort of ye, And there's no
• 50:57
  Speaker 2: sympathy for her, and then they realized that they've left.
• 51:00
  Speaker 2: I'll back at Mo's when they get home, and she says,
• 51:02
  Speaker 2: what my grandfather saw on your grandfather, I'll never know.
• 51:04
  Speaker 2: Just playing up the arranged marriage because you know they're Indian,
• 51:08
  Speaker 2: but at least we've seen that their marriage legitately was arranged.
• 51:12
  Speaker 2: But then says, I've got the kid here, makes the
• 51:14
  Speaker 2: phone call you're mentioning earlier. It's not a kidnapping. I've
• 51:16
  Speaker 2: got a million. I will take the million. But then
• 51:18
  Speaker 2: Mandula she bales. She says, I'm taking you stay he
• 51:22
  Speaker 2: with bit of the kids. He says, yeah, if only
• 51:24
  Speaker 2: that mark on your head wasn't off button and Homie
• 51:27
  Speaker 2: was there when she got there. That's how we can
• 51:28
  Speaker 2: confirm this actually did happen, because I was there when
• 51:30
  Speaker 2: she arrived. And she thanks him for saving Geat by
• 51:33
  Speaker 2: checking the tag because even she doesn't even know what
• 51:34
  Speaker 2: the name of her children by looking at them. Yes,
• 51:38
  Speaker 2: and then she says, my eyes have more bags than
• 51:39
  Speaker 2: dargellily limited. That's probably a good one. More then shows
• 51:42
  Speaker 2: off the z which he bought for the kids and
• 51:44
  Speaker 2: their wives and the men. The boxing low bow boxing
• 51:47
  Speaker 2: blow boxing or whatever, but they start playing the dancing
• 51:50
  Speaker 2: I've never been good at these dancing games. I've never
• 51:52
  Speaker 2: understood them. Really. No, you watch people at time Zone.
• 51:56
  Speaker 2: Not so much now, but I reckon. Twenty years ago
• 51:58
  Speaker 2: there were some people who took it seriously. Its revolutions, Yeah,
• 52:01
  Speaker 2: and they were really fucking good at this game. Yeah.
• 52:03
  Speaker 2: I've never been good at it.
• 52:04
  Speaker 3: Yeah, I've never been good at it because my dance
• 52:06
  Speaker 3: moves a very freestyle are they?
• 52:08
  Speaker 2: Oh yeah, on style, unpredictable. We don't know what this
• 52:12
  Speaker 2: guy's gonna do next. We're going to give them some room,
• 52:14
  Speaker 2: do you know what. Some of the kids are loving
• 52:16
  Speaker 2: it at the moment. My kids what a lot of
• 52:18
  Speaker 2: the video clip for it. It's like that, Oh, and
• 52:20
  Speaker 2: that's the way it is. And the whole thing is
• 52:22
  Speaker 2: just people freestyle dancing. Yeah, the kids love it. They
• 52:29
  Speaker 2: get they're grasping the concept of video clips for songs
• 52:32
  Speaker 2: because today kids now they just listen to songs for
• 52:34
  Speaker 2: Spotify it. They don't really go on YouTube often and
• 52:37
  Speaker 2: watch videos. Let's let's just listen to the song on Spotify.
• 52:40
  Speaker 2: But they're like, oh, so there used to be clips
• 52:42
  Speaker 2: for songs and they still do it for songs. But
• 52:44
  Speaker 2: it's like kids today, I don't think go on to
• 52:46
  Speaker 2: YouTube to access music. They just pull out their phones
• 52:48
  Speaker 2: and devices and look at Spotify. But they're taken away
• 52:50
  Speaker 2: by these videos, like, ah, that's right, there's a story,
• 52:54
  Speaker 2: visual story to go with the audio. Yeah, and I
• 52:57
  Speaker 2: think it makes them like the songs more like, oh, yes,
• 52:59
  Speaker 2: that's song has the cool dance again? Yeah? Which one
• 53:01
  Speaker 2: you were saying about your dad's generation was pretty cool? Yeah,
• 53:07
  Speaker 2: the time that the future is now? Old man Lovejoy
• 53:12
  Speaker 2: then denies that it could be him and the fairy
• 53:14
  Speaker 2: is leaving in ten minutes. They won't there for very long?
• 53:16
  Speaker 2: Were they was it? Was it a day trip? Was
• 53:18
  Speaker 2: it must have been a day trip. I think it
• 53:19
  Speaker 2: was a day trip. Yeah, okay, And he remembers the
• 53:21
  Speaker 2: Simpsons were arguing on the way to church one day
• 53:23
  Speaker 2: and much as that was yesterday, Mama says, yesterday was
• 53:26
  Speaker 2: last month, which means you're being ridiculous because Homer is
• 53:28
  Speaker 2: just a joke. And he says, I'm glad we don't fight,
• 53:32
  Speaker 2: and then you'd have to be talking to each other
• 53:34
  Speaker 2: to fight, and then wait to bitch up the conversation.
• 53:36
  Speaker 2: Helen so they're clearly everyone's everyone's angry at it. But
• 53:40
  Speaker 2: this this sort of scene here surmises the Simpsons in
• 53:43
  Speaker 2: general as a vibe. I think in season twenty one,
• 53:46
  Speaker 2: it just feels like everyone's just a generally petty petty
• 53:50
  Speaker 2: petty is the right word. Yeah, everyone's petty towards each other. Yeap.
• 53:53
  Speaker 2: Then the spiritual advice of the past and arrives says
• 53:56
  Speaker 2: uses the thumb method of holding over her face and
• 53:58
  Speaker 2: over her mouth to see that she's actually she cano
• 54:01
  Speaker 2: about to blow. Then Mora approaches Helen in church, so
• 54:04
  Speaker 2: this is where he comes, and he explains to Helen
• 54:06
  Speaker 2: here that he has the hots for someone's wife, so
• 54:08
  Speaker 2: which is obviously Marge, and she's like, oh, gossip, gossip, gossip,
• 54:11
  Speaker 2: and a pooh overhears the conversation and she he sees
• 54:13
  Speaker 2: that she touched him on the knee, and then that's
• 54:15
  Speaker 2: just forgotten about. It's so happy, a random thing.
• 54:19
  Speaker 3: Random.
• 54:19
  Speaker 2: I know it's designed to be cause it's the commercial break,
• 54:21
  Speaker 2: so it's designed to make you think, will she leave
• 54:23
  Speaker 2: the Reverend. We come back and they're asking Otto to
• 54:26
  Speaker 2: drive back, but he's had some mistimed. He's miss times
• 54:29
  Speaker 2: some substance abuse or whatever. Yeah, he has a visual
• 54:31
  Speaker 2: the vision of the cars miss yeah, all the all
• 54:34
  Speaker 2: the cars are little monsters, yeah, from the Pixar film Cars.
• 54:37
  Speaker 2: And arrive home and it's a silhouette of Marge. It
• 54:41
  Speaker 2: looks like she's packing up suitcase, but she's not actually
• 54:43
  Speaker 2: doing that. And Peuh says, well, what age are you?
• 54:46
  Speaker 2: And he says thirty nine. He's like, I thought you're
• 54:48
  Speaker 2: sixty five. And it turns out she's actually painting her mum.
• 54:51
  Speaker 2: She and then her mum explains it's actually Patty and
• 54:53
  Speaker 2: someone's fault. You know, they were spoken when I was pregnant.
• 54:55
  Speaker 2: They're the problem, not you home. You've got nothing wrong.
• 54:57
  Speaker 2: It's not you, Homer, it's there. It's like, how am
• 55:00
  Speaker 2: I supposed to warn anything?
• 55:01
  Speaker 3: Yeah, as I've written here, what is with these unearned resolutions?
• 55:05
  Speaker 2: That's true? Then the reverend's next he says he's got
• 55:07
  Speaker 2: a job of kirk next or whatever. Some reference here
• 55:10
  Speaker 2: about a Pooh so Otto screwing Luann van Houghton that
• 55:13
  Speaker 2: says you are my favorite uncle Otto. Yeah.
• 55:16
  Speaker 3: Sure, he's had a little more spice to the mix.
• 55:20
  Speaker 2: They get home to the Lovejoy's house, Helen them has
• 55:22
  Speaker 2: booked tickets on a romantic train ride. Now he's very
• 55:25
  Speaker 2: thankful for her because she's booked this train ride. But
• 55:27
  Speaker 2: it's like, what did you what did you do? Yeah? Whatever,
• 55:32
  Speaker 2: Sure he got a stiffy but great, there's now a
• 55:35
  Speaker 2: Pooh's turn and he feels the pain of a thousand
• 55:37
  Speaker 2: squishy headaches, which is a brave freeze, I guess you
• 55:40
  Speaker 2: could say. And Moe has he's in there and he's
• 55:42
  Speaker 2: convinced her to stay.
• 55:45
  Speaker 3: This man has come here to convince me to do
• 55:47
  Speaker 3: something I never thought I would do.
• 55:49
  Speaker 2: Stay with you. You mean you are not leaving me
• 55:52
  Speaker 2: for him? Don't be ridiculous?
• 55:54
  Speaker 3: What am I blind and noseless?
• 55:56
  Speaker 1: Hey, hey, I'm right here.
• 55:58
  Speaker 2: Believe me. I know again, because you know, everyone's horrible.
• 56:02
  Speaker 2: He's just done a nice thing. Let's be mean to him.
• 56:03
  Speaker 2: Being mean is funny, guys. And it's getting more and
• 56:09
  Speaker 2: more like an old school sick on the sense of
• 56:12
  Speaker 2: it's married with children vibe, where everyone's just mean to
• 56:14
  Speaker 2: each other. I thought the Simpsons has become married with children. Yeah,
• 56:18
  Speaker 2: but in marriag to Children the meanness was the point. Yeah,
• 56:21
  Speaker 2: And they were able to find sort of interesting variations
• 56:25
  Speaker 2: within the whole meanness of the and the whole misery
• 56:28
  Speaker 2: of the situation. Yeah, he was like, nah, this is
• 56:31
  Speaker 2: not your laying guys, you should not be here. I
• 56:33
  Speaker 2: know how we're touching it at the start, how we're all
• 56:34
  Speaker 2: like they should have had Mo explain why he did
• 56:36
  Speaker 2: the letter. We actually kind of did that at the
• 56:38
  Speaker 2: end because they were in the bar at the end,
• 56:40
  Speaker 2: all three of them, and he explains that he saw
• 56:42
  Speaker 2: what was going on with his friend's marriages and yet
• 56:43
  Speaker 2: to act fast because coming from a man who's got
• 56:46
  Speaker 2: nothing but a blow up doll and even she left me,
• 56:48
  Speaker 2: I shouldn't use helium. He didn't want that to happen
• 56:51
  Speaker 2: to his friends, So at least they kind of explained
• 56:53
  Speaker 2: at the end. But I think it needed to be
• 56:54
  Speaker 2: done at the start. But I guess now because at
• 56:57
  Speaker 2: the start it's good that.
• 56:59
  Speaker 3: It's a resolution, but it's just no, it doesn't feel again,
• 57:03
  Speaker 3: n't earn.
• 57:03
  Speaker 2: Yeah, what was the point of it all besides the
• 57:05
  Speaker 2: fact that was a reference anyway, the.
• 57:06
  Speaker 3: Voice you need to sort of a hangerzeris.
• 57:08
  Speaker 2: That's fantastic work as Mo, But I mean this need
• 57:11
  Speaker 2: to be sort of more empathetic and more sort of
• 57:14
  Speaker 2: emphatic in the way he was like, I ain't got nothing.
• 57:17
  Speaker 2: It was just everything was resolved, but there was no
• 57:20
  Speaker 2: need for it to be resolved. That the men didn't
• 57:21
  Speaker 2: really do anything. That they went out for a day
• 57:23
  Speaker 2: and came home. So and the women realized, you, no, what,
• 57:26
  Speaker 2: I need to start appreciating him more. That's sort of
• 57:28
  Speaker 2: the vibe, isn't it. That's what it sort of feels like.
• 57:31
  Speaker 2: It's like Mo made them realize, Oh, you need to
• 57:33
  Speaker 2: appreciate your husband's more. Okay, Yeah, sure, anyway, and with
• 57:38
  Speaker 2: doing your voice over saying it's Mother's Day, taking my
• 57:40
  Speaker 2: mummy out for a rye rose on fruit up on
• 57:45
  Speaker 2: the site. Yeah, and that's the end of the episode.
• 57:47
  Speaker 2: So I like, what's definitely was trying to do here
• 57:49
  Speaker 2: with this episode. Lots to work on.
• 57:52
  Speaker 3: Yes, appreciate your partner.
• 57:56
  Speaker 2: Yes.
• 57:56
  Speaker 3: Times can be tough. Relations Yeah, relationships can be hard.
• 58:01
  Speaker 3: If you are committed, show that commitment, show up, listen,
• 58:04
  Speaker 3: don't ignore listen, start listening, and yeah, and keep listening.
• 58:10
  Speaker 2: And if she comes down the stairs with a dressing
• 58:12
  Speaker 2: gown on or the nightgann on like that, go for it. Yes, indeed, man,
• 58:15
  Speaker 2: you can pay mustaches later. What do we learn, Bomber?
• 58:20
  Speaker 2: What'd you learn from the episode, mister Davis? Not a
• 58:21
  Speaker 2: whole lot. I think I didn't learn marriage advice. We're
• 58:27
  Speaker 2: giving them marriage advice like Simpsons. What'd you learn from
• 58:31
  Speaker 2: Dan Dawn? Guy? I'm trying to think of something that
• 58:33
  Speaker 2: I did learn. Whenever you say something to your wife
• 58:35
  Speaker 2: that you're a great just take it back, take it
• 58:36
  Speaker 2: back a meal, take it back a mealing. What about you?
• 58:40
  Speaker 3: Well, if it's going to rain, just don't play a tesla. Yeah,
• 58:42
  Speaker 3: play international thort form play ten twenty.
• 58:44
  Speaker 2: From this day forward, your names will be. It's time
• 58:47
  Speaker 2: for the Guy Davis new Nan Championship. The current need
• 58:49
  Speaker 2: the board stands at this in third position we have
• 58:52
  Speaker 2: Clever Kyle on fifteen points, in second position Nathan Briggs
• 58:55
  Speaker 2: and mcbriggs on seventeen points, and in first position Philip
• 58:58
  Speaker 2: Jay Hawgans on twenty four points. Take it away, okay,
• 59:02
  Speaker 2: don parto away. One point goes to love and Mowridge.
• 59:07
  Speaker 2: That's Dave Randall McNally, Randall McNally, rand McNally, Okay, d McNelly, I've.
• 59:15
  Speaker 3: Heard of rad McNally. If your nickname is pretzels. It's
• 59:19
  Speaker 3: kid saying that at any opportunity, anyway you get through
• 59:22
  Speaker 3: me for a loop there. But hey, good work, Dave.
• 59:24
  Speaker 3: These pretzels are getting me one point two points. And
• 59:29
  Speaker 3: by the way, folks who may sense a pattern forming
• 59:31
  Speaker 3: with some of these names. Two points goes to scenes
• 59:35
  Speaker 3: from a Mowridge that would be Heath Applebee.
• 59:37
  Speaker 2: How do you like them?
• 59:38
  Speaker 3: Applebee's oh god, damn, you beat me to it. I
• 59:42
  Speaker 3: like him enough to give him two points, uh, And
• 59:44
  Speaker 3: three points goes to Mowridge counseling.
• 59:48
  Speaker 2: That's Mike Salter. He's climbing up the leaderboard. He is
• 59:51
  Speaker 2: now equal third with Clever Kyle on fifteen points.
• 59:54
  Speaker 3: Hey, you know what, Those pretzels are making me thirsty?
• 59:56
  Speaker 3: And so is that Salter?
• 59:58
  Speaker 2: Yeah, I did it, Salter and Papa.
• 1:00:04
  Speaker 3: If someone's listening to show for the first what the
• 1:00:06
  Speaker 3: fuck are these guys talking about, They've.
• 1:00:07
  Speaker 2: Got to rets.
• 1:00:10
  Speaker 3: So you think that the patrons are like, we appreciate.
• 1:00:13
  Speaker 2: It, it's only the patrins listening at this point. Third position,
• 1:00:17
  Speaker 2: we have Yeah, Clever Kyle and Mike Sualtron fifteen nah
• 1:00:20
  Speaker 2: and Briggs on seventeen and Philip J. Hawk and still
• 1:00:22
  Speaker 2: in first position on twenty four. Alright, there we go.
• 1:00:26
  Speaker 2: So that is our review of Mo Letter Blues. The
• 1:00:29
  Speaker 2: next season twenty one episode we shall be reviewing is
• 1:00:32
  Speaker 2: called The Bob next Door. Oh, this is a sideshow
• 1:00:35
  Speaker 2: Bob episode, always like Sidejo Bob one.
• 1:00:38
  Speaker 3: Indeed, we'll see how we go with that totally.
• 1:00:39
  Speaker 2: This is the one where we get to see his
• 1:00:41
  Speaker 2: full family, not the kid and the wife. But he's
• 1:00:44
  Speaker 2: I think Cecil returns. Okay, I thought you were a
• 1:00:46
  Speaker 2: better Say he's full of something else? No, no, like wow, Yes,
• 1:00:49
  Speaker 2: it's walking a little blue. So The Bob next Door
• 1:00:52
  Speaker 2: is next season twenty one episode we shall be reviewing.
• 1:00:55
  Speaker 2: How many more episodes are left in the seasons we've
• 1:00:56
  Speaker 2: got The Bob next Door?
• 1:00:57
  Speaker 3: I imagine there's something maybe two more?
• 1:00:59
  Speaker 2: Yes, Judge me tender? Is the finale? I believe? Yeah?
• 1:01:02
  Speaker 2: Because then season I know we've got one more? Is it?
• 1:01:05
  Speaker 2: What the heck Elementary School Musical is that season one?
• 1:01:09
  Speaker 2: It's the twenty second season PROMI year, So you have
• 1:01:11
  Speaker 2: two more episodes of season twenty on The Bob next
• 1:01:13
  Speaker 2: Door and Judge Me tender s looking for those ones
• 1:01:15
  Speaker 2: in your fees. Still got some great classic reviews coming
• 1:01:18
  Speaker 2: up as well with we have gotten to throw out
• 1:01:20
  Speaker 2: the Lemon of Troy with the writer of the episode
• 1:01:24
  Speaker 2: Print Forester Cool. I don't work for that one, as
• 1:01:26
  Speaker 2: well as I've got Aaron Goxy coming back on the
• 1:01:28
  Speaker 2: show as well, the Little Metal cameo stuff by Geelonda,
• 1:01:31
  Speaker 2: do a bonus podcast, and so much more, and don't
• 1:01:33
  Speaker 2: forget if you want to hear season eleven reviews of
• 1:01:36
  Speaker 2: Mitch and Dana. That's available on our Patreon as well
• 1:01:38
  Speaker 2: as early in ad free access. We also do Speaking
• 1:01:40
  Speaker 2: of the Hill, You and I, we do Tis of Futurama,
• 1:01:43
  Speaker 2: we do Talking Seinfeld, and we do What's the Other
• 1:01:45
  Speaker 2: on Video Bob's Pods. Yes, all that exclusive podcast on
• 1:01:48
  Speaker 2: our Patreon. Support the show a sportypals Guy and Dana,
• 1:01:51
  Speaker 2: But for now, mistevs any final words for first incredible
• 1:01:53
  Speaker 2: listeners out there?
• 1:01:54
  Speaker 3: Well, the incredible listeners weren't listening and they won't be
• 1:01:56
  Speaker 3: listening now.