Latest / Aggressive Negotiations: A Star Wars Podcast / Issue 347: Spoils of War

Transcript

Issue 347: Spoils of War · Aggressive Negotiations: A Star Wars Podcast

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We must be cautious. Welcome to the note party. Hi, this is
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Nick and Ostasu, story editor on Star Wars, the Clone Wars and Star
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Wars bad Batch. And you are listening to aggressive negotiations. Well, hello,
0:23
and welcome to aggressive negotiations, that little slice of Star Wars that you
0:28
just can't get enough of. And I am just one of the hosts here,
0:31
Jedi Master Matthew Rushing in with me as he is every single week that
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oh, wearing our own merchandise as in quote unquote and in universe Star Wars
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T shirt Jedi Master John Mills. Well, it's all about branding really in
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Star Wars as we all know. Sure, Star Wars Cola is consumed by
0:51
several of the characters, and they frequently look at the screen and wink.
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At least I've been told the characters look at the screen and wink. That's
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the same as looking just off camera apparently. But Zach, you know,
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outside of that really deep cut reference for people who will have had to have
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listened to a show that I shuttered many years ago, I am pleased to
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be here, Jedi Master Rushing, and I'm actually excited because of what we're
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going to be discussing today. I am too. We are going to be
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going through the second season of The Bad Batch. Of course, we just
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had the trailer drop as we're recording this for season three, which both John
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and I are very excited about that final season and The Bad Batch before we
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dive into that. Of course, wherever you're listening, please subscribe and that
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way you'll get our show as soon as it drops. Of course, you
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We are online at the nerd Party dot com. We're on Instagram at the
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Word of mouth is a great way for a podcast to grow. And
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you know, there's a lot of Star Wars podcasts out there, but if
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you enjoy us, let people know it by saying, hey, listen to
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aggressive negotiations. But John, the first episode of season two of The Bad
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Batch is called Spoils of War, and you know, one of the things
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that I was really struck by in this episode was how tight to the storytelling
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is is it almost always is in Stars animation, but specifically here, the
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way in which everything that they're doing is building, the fact that you know,
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this is the second season, some time has passed, Omega's grown a
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little bit, but every single part of this episode it's like nothing is wasted.
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You know, there's nothing about it that's not building towards things that are
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going to play out later in this episode and then of course throughout the rest
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of us. Really and so really just love rewatching this because you can see
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all the little places where they're kind of building in these moments that are going
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to build throughout the entire season. Yeah, I mean it's I almost use
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the word effortless, and that's untrue. I'm sure it is full of effort,
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but it they make it look, to borrow a phrase, quote unquote,
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they make it look easy. And what I mean by that is you're
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right coming back and looking at it. There were moments that I appreciated more
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on a rewatch, specifically because I saw I know where it's going to go.
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Sure, and so what seemed in this first episode with the brand new
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character voice by Wanda Sykes, flirting with Tech, thinking that's just a brash
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underworld type, trying to throw them off of his game, saying, Oh,
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this is not a wasted moment. This is not just fluff that's thrown
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in. This has purpose for the season, and even the way it opens,
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as all Great Star Wars does in Media Race, we don't see the
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precipitating event for the giant crab monsters to be chasing them, because all we
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need to know is relate to us while they're running away. Record did something
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wrong, although you know I'll defend him here. It seems like he did
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it just right. But you find out that Omega's been studying since we saw
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her last because she's sitting there studying, but like any kid, she wishes
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she wasn't studying. She wants to have fun. We even have that callback
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to the opening of Raiders at a Lost Arc when Jock is fishing and she's
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sitting there at the ship that they're running toward with the natives attacking them and
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the fishing line in the water, like it's such a clever way to go,
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and I think to get to where you're going, with it as well.
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Is the decision to go back to Sorrento is so smart because for those
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of us who are long standing Clone Wars fans, as all people should be,
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it's Oh good, I get to go back to this place. I'm
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excited. But the way that it's done, it functions, and you know,
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I'm a big stickler for this and I want to get your thoughts on
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it. I feel it functions exactly the way a sequel story should, where
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you don't have to have seen a single thing. You know why Sorrento is
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important, and you know their situation from the setup dialogue and that's it.
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That's all, Like, that's all you need, Like if you know who
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Count Dooku is, and you can just have watched the prequels and come right
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into this episode and you go, oh yeah, Count Dooku, I know
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who that is. And if it's your first time here, you're like,
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oh cool, they're going to Sereno. So like it works in that layered
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fashion. Do you agree that works in that laired fashion or do you think
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it's a reference too far? No? No, I think it works in
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that layered fashion, and mainly too because like they let you know, you
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know what surrendom is just in case, you know, you haven't seen the
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Clone Wars. You know, it's it was Count Dooku's planet. This is
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his castle, this is and they let you know who he was and the
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fact that he was a Jedi that turned against the Jedi and the Republic and
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read the separatists, you know, like everything you need is there and so
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and of course, you know, longtime fans, it's like, yes,
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we're going back to this place, and you know, we kind of see
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almost, you know, somewhat the hypocrisy of the character who you know,
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has a mass to these riches, you know, and didn't really you know,
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didn't really care about the galaxy. It seems like, you know,
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it was really just all about him, which is kind of a classic Sith
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thing, right, It's really about what you're getting out of the deal.
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So I think it even builds into the Douku story long after his death at
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this point. And so I think that's all great, you know, And
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like you said, I think really the beauty here too is you know,
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yes, Omega is studying here, and that study is actually going to play
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into the rest of this episode, you know, and give them an opportunity
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to be able to escape because you remember something from her studies that you know,
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the clones, because you know, they haven't been reading the tech manuals
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in a long time, they wouldn't necessarily have readily available in their mind,
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you know, So they are all of these little bits and pieces that I
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think are are growing. I mean, even here the double entendre even of
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what Sid says, right, I think is excellent in the sense that you
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know, she talks about then you haven't been paying attention, and she mentions
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the Empire, right, But there's this undercurrent too, of this control that
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she believes she has over the Clones, and of course that plays into the
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rest of this season, right, But even that, you know, there's
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even a third layer to that, because then there's the whole discussion there with
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Hunter and Echo about the fact that they could be doing more, that they
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shouldn't just be hiding, that they should use this treasure for the greater good
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of you know, trying to free the galaxy from the Empire's clutches. And
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you know, so's what's crazy about rewatching this very short episode here is the
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way in which it is building for the entire season and this episode, and
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I think it's just really special because it shows how good the writers are,
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how good the creators are of this show, and they know exactly what they're
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doing in building this this first episode. But I think too, the fact
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that this episode doesn't resolve itself in the first you know, twenty two minutes
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also lets you know that things are getting worse. It's a it's a great
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realization that, yeah, you know, the other season, the last season,
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yeah, things mostly got resolved in one episode. Not anymore, you
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know, the rest of the season. It's going to feel like there's a
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lot more connections to two episodes and a lot of things are just not going
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to be as easy for these guys as it used to be. Well,
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I think there's there is a confidence, I think just in this first episode
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where I think that the creative team really expresses they know they got it done
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in season one and this is this is this very much has the feeling of,
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you know, I don't want to get too effusive in the praise sort
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of thing, but it's it's the feeling of a like a an NFL team
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that went to the playoffs the previous season, and the staff is pretty much
9:58
the same, and the players are all the same, and they come back
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and they have that first game and it's like, yep, this is you
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know, they have lack of a better term, there's a little bit of
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swagger in the sense that they have the confidence to the to end the episode
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the way that they do. They have the confidence to trust that everything that
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they're setting up leads to the moment where when that container is falling and the
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screen goes out at the end of twenty two minutes. My reaction is no,
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no, no, no, no, I need the next episode.
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Like on this rewatch, I'm being very disciplined and saying I'm not going to
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jump straight into the next episode. It was very difficult because it does exactly
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what a cereal is supposed to do, which is leave me on a cliffhanger
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and say, well, wait, no, what's going to happen next?
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And there's a focus. I think what we're getting at here is there's a
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focus to the episode of the same way that I don't think it hit till
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about season three in the Clone Wars. This sense of the sense of focus
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that we're getting here where right from the gate there is such an efficiency to
11:09
the storytelling that. Yeah. I mean, we keep coming back to it.
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There's not a single wasted moment here. There's not a moment where I
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say, oh, that was a great episode, but you know, I
11:18
didn't really care for that. Like everything with everything seemed to be the right
11:22
length, the right amount of time, and even the conversation between Echo and
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Hunter didn't be labor itself. It's set up everything. Hey, we should
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be doing more. Hey, she deserves a better life than this. Hey
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what exactly is it we're doing with our lives? And so we know already
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the whole season is going to be focused on those three things from one conversation
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in a twenty two minute episode, And frankly, let's set aside what was
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a big hit? What wasn't a big hit? With us? In terms
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of the live action. It's something where once again I look at this episode
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and I say, why, why, Why is live action struggle seeming to
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be struggling with this? Sometimes to get like I got so much in twenty
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two minutes here, Why is it that sometimes I'm watching like a forty five
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minute episode of live action and I'm saying, I'm like, well, what
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really happened? You know, Like I'm like tuning out. I might be
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looking at my phone, but this I'm there the whole time. So sorry
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to ramble, but that's no no, because I was just I was taking
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in what you're saying, and I think, you know, it's one of
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those things. Obviously, I think everybody knows that I'm going to agree with
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everything you just said, because we're on the same page in that. But
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I think one of the things that you know this does is that the beauty
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of where we are here with the Bad Batch is the way in which it's
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also creating synergy with other things that that you know Star Wars is doing.
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And you know, this pairs so well with and Or right in the sense
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that this is the beginning of the Empire and and Or then and everything we're
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doing here is then really even building into what you're going to see in that
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right, It builds into the world you see in Solo and Rowe one of
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course, and so uh and then of course it helps build uh and and
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further explain the universe that you are in when you get to a new hope,
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you know. And so I think that's one of the things here is,
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you know, animation in so many ways has become the way to bind
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things together. Animation is almost like the force of the Star Wars galaxy in
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in that way, and I think that that's the way you put that.
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I was just you know what I was saying, and I was like,
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Oh, that that's that's exactly what opi Wan says. You know about the
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force and everything, and so it's like, but I think that there's such
14:11
a it's so intentional, right, Like you're talking about the intentionality here of
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the episode and what they're doing and how it's playing together and how it's all
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working together. But then when I think about this in the larger context,
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I think that's what makes it so great is because I enjoy the bad Batch
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for what it is, but then as a larger fan of all of Star
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Wars, I get to enjoy it in the way in which it informs all
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of these other areas that I enjoy, especially with what comes next. And
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when you're when you're ever you're adding to a universe, you always want to
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make sure that the thing that you're you're adding to it with does give you
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a new perspective on the rest of things, you know, give you a
14:58
from a certain point of view. You can see things differently because now you
15:01
have this new point of view that you've just been given. It's like writing
15:05
a good Star Wars book, right, both of us, what I think
15:09
would agree, the best Star Wars books make us look at the overall saga
15:15
and different parts of that saga and new and fresh in different ways, and
15:20
they then make you excited to go back and rewatch those things. And I
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think that's the thing that I'm finding and thinking about with this episode is just
15:26
that I love how this is making me think, Oh, I kind of
15:31
want to do an and or rewatch as well, you know, I kind
15:33
of want to go back now. And I'm actually interested in diving into the
15:39
original trilogy again, you know, and digging into two Star Wars as we
15:45
go through this. And so there's just I think that's what makes this,
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you know, where we enjoy the animation. I think it's because in so
15:56
many ways you know that that's what animation at its best in Star Wars does.
16:03
Well. Speaking of at its best, there are two things there,
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one of them being I think that the cinematic nature of not just the editing,
16:11
but the way that the shots are chosen. This this is something where
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I think you and I have agreed that with the volume, things struggle sometimes
16:25
because in a sense, the volume has to operate like animation, but it
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isn't animation, so it there's this odd restriction that like, yeah, choosing
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choosing live camera focus polls, and and shots, like I think there's one
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shot, and there are a lot of shots in this that I think are
16:48
great, but like even looking at one moment when Hunter and Recker, you
16:56
know, land on the top of the castle and Hunter looks up at the
17:00
cargo ship going and he's you know, in the foreground a little out of
17:03
focus, and you see the cargo ship up there, and it looks exactly
17:07
the way you would see like a live action composition that frees up animation and
17:15
makes it feel more real, whereas it almost seems like there's this inversion with
17:18
the live action stuff, sometimes not all the time, sometimes where the planning
17:25
necessary for that shot to happen with the fake background, it's like the live
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action people aren't it's not processing in their brains the same way. It feels
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like a limitation as opposed to something that frees them. Right. But then
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the other thing, and I think this is incredibly subtle is even with the
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changes in costume and everything. I think one of the reasons that you or
17:48
even me looks at it and says, oh, this feels a little bit
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more like and or a little bit more like Solo, a little bit more
17:52
like a new hope is the color palette shifts a little bit, the filters
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shift a little bit, and it I think it makes a difference because even
18:07
just with the way the colors come across, it conveys a It conveys a
18:15
sense of mood and spirit that that really sets you up for what you're going
18:21
to get. But you were trying to say something, I'm sorry, I
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no, no, no about it, because it was just you you spark
18:26
something in my brain. It's like, you know. One of the things
18:29
about the volume, right, is that everything has to be perfectly lined up
18:33
so that everything works in camera, and the moment you move the camera,
18:38
everything then has to shift again so that all of the compositing on the screens
18:44
looks correct and gives you the right depth perception. Right. But the beauty
18:48
of the animated world is that it's more like live action in the sense that
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everything's real quote unquote inside the computer, so you can find the best angles
19:03
you're getting in. And yes, they're using the same type of angles that
19:07
you would use if you were using real camera work. They're they're not cheating,
19:12
right that. That's one of the things that's made Star Wars animation so
19:15
great, right, is that they've used the same type of camera angles that
19:19
you know, George would have used throughout the entire saga that he directed.
19:26
And so therefore you you're you're getting that sense that you're almost in a live
19:32
action type of shot that whereas there is no play on the volume because everything
19:41
has to hit that mark and there's no movement in the sense of like you
19:47
you can't again referencing and Or, right, they built the whole town there,
19:52
and so the actors could go whatever way they wanted and the camera would
19:56
just follow them like real people would do. And so that's the beauty of
20:02
animation because that's the feeling you get, right, because it has that reality
20:07
because in that world everything is real. You know, something you said is
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Lucas cheated a little bit once he got he got access to the cameras.
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And so I think the reason that you keep going to and Or and I
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mentally keep going to a new hope is because even though animation can cheat that
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way, the choice is being made here to have the same visual language in
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a large sense that was there in the original trilogy, which is appropriate because
20:45
as we're approaching that time period, it's like the decision in Rebels to make
20:49
the Sabers look more nineteen seventy seven than what they can do now, Like
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the Sabers now look, you know, like they actually exist, whereas that,
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you know, is the glowing rod with the you know, the ronoscoping
21:04
and stuff like that. Right, So I think that's that's definitely something where
21:11
the visual language works so well. But I know that the production on this
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had it's had some challenges with the voice work because they had to do a
21:22
lot more remote work for this. What I find amazing, and I think
21:29
this is a huge tip of the hat to everybody that was you know,
21:33
behind the scenes or you know, isn't isn't you know in the starring credits
21:40
sort of thing, is that there are live action productions that happened during the
21:47
restrictions where you could tell Obi Wan for instance, the Obi Wan Kenobi series.
21:53
Oh yes, the sets aren't as populated as we want them to be.
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We could tell that they're the restrictions had an effect. Maybe this is
22:00
something that animation benefited from. But there's no difference in performance or anything like
22:07
that. And I know it's you know, oh well, you know,
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visually they can do that, but voice acting would have been so easy for
22:14
that to be a little bit different. It would have been so easy for
22:17
the direction, for the editing, for all of those things to be a
22:19
little bit off. But instead it seems to have tightened, right, it
22:23
seems to have like really brought you know, like it's almost as if some
22:30
of the remote challenges made this team even better. Like is that weird?
22:37
Am I am? I off base on that? No? I don't think
22:40
you're off base on that. I think the blessing for them is that,
22:45
you know, so much of this show is done by deep Bradley Baker,
22:49
right, yeah, true, So him playing those characters is him playing off
22:53
himself, right, and remembering what he did in that last take when you
22:57
know he was wrecker and now he's a hunter and everything. And so I
23:03
think I think they're blessed in that sense. Uh, and and therefore and
23:10
and and two. I think the other beauty in this is that you know,
23:14
I know that especially with the Clone Wars and and and Rebels and stuff,
23:18
they would do those cast recordings together. They would try to be in
23:22
the room. But one of the beauties of voiceover work is that they are
23:29
used to being in the studio by themselves and then having the director give them
23:33
the direction, and the director getting exactly what they want for the scene,
23:38
and and and so I think there's that that's the key. But really I
23:44
think, you know, you can't say enough of just how good Dee Bradley
23:48
Baker is as these characters, so that it feels so effortless, and I
23:55
think everybody else then is really at the top of their game. And you
23:59
know, I never feel there being a difference in the performances whatsoever, even
24:04
though they were probably having to be you know, outside, you know,
24:08
with themselves more often. What I think is also a very big tribute to
24:15
the you know, the the staff that puts everything together, the direction,
24:21
all that sort of thing. Is Wanda Sykes is not somebody that I would
24:26
have said, oh yeah, that's a voice talent I would bring in.
24:30
I'm taking nothing away from Wanda Sykes's career. I've always enjoyed her. I
24:34
think she's funny, She's been a great comedic actress. Her stint on Curb
24:41
Your Enthusiasm was wonderful, all of that sort of stuff. I didn't but
24:47
I would not have sat there and said, oh, yeah, bring her
24:49
in the same way I wouldn't have said that with Ria Pearlman. It wouldn't
24:52
have occurred to me. So, you know, I think the real tip
24:56
of the hat has to be too her, but also to the people that
25:03
recognized she would work in this situation. It's incredibly difficult. I agree with
25:11
you. I mean, when you think about it, there's a significant stretch
25:15
of this show where it is literally just D Bradley Baker talking to himself.
25:21
But it feels like every distinct character talking, whether it's a clone, Commander,
25:27
Wrecker, Hunter, Echo Tech, everybody feels different. But it's literally
25:34
just one guy being given a script and me like, a d Yeah,
25:41
if you got a couple hours, we gotta we gotta knock this out.
25:44
And he's like, yeah, I got you, you know, but you
25:48
know, I even though it's a very small piece of the episode here Wanda
25:53
Sykes the vocal work, it's effective, Like I don't I don't hear it
26:00
and go, eh, stunt casting. I don't want to hear this character
26:03
again. It's Oh I like this character. I like what's happening here.
26:07
Did you have a positive reaction to Want of Psykes two? Yeah? I
26:11
think the thing about her is that you know, she has it's like Rio
26:17
Perlman in some ways. She has a fun voice, you know, that
26:19
kind of gives the character life. And I think one of the things you
26:23
know when you're casting somebody who maybe has a more recognizable name, is you
26:29
want them to have a voice that kind of gives you a sense of who
26:34
that character is right away. And I like that she's mysterious. She's a
26:42
little bit mischievous sounding in this episode, and we're not quite sure what to
26:48
make of her yet, and that's a great thing, you know. I
26:52
think one of the the questions I love about the episode and when it leaves
26:57
me at with is the question, Okay, is this this person who's a
27:03
friend of Sid's and Sid who I'm getting some not so great vibes off of.
27:07
Is she going to turn out to be a foil in a bad way
27:11
for the bad batch or will she just be a one off? Or will
27:18
she turn out to be somebody who's going to be helpful for them, And
27:22
I love that in the performance here, I don't know yet and it leaves
27:27
me intrigued though, so no I thought that, you know, she was
27:32
a great addition. I think. Another beautiful thing about this episode two.
27:36
You know, just what we see here with our Clone Force ninety nine is
27:41
their reluctance to you know, use force against the clones. Thank you,
27:49
yes, mm hmm, yep. I love that the stun blasts are in
27:56
play, that they are like the clones that are in the service of the
28:00
Empire are trying to kill them, but they still cannot bring themselves to hurt
28:07
their brothers specifically because they can't hold them accountable for it. They understand,
28:14
they're like, these guys are just doing their duty and it Yes, I
28:21
like, I couldn't agree more. I mean up to an including like,
28:23
it's such a wonderful gag that the first person they stun when he goes limp
28:32
like his head is inside the container. But like you see the rest,
28:34
it's a beautiful moment because that's natural comedy. It's not forced, it's not
28:41
in over the top sort of thing. And then you even have the comic
28:45
thing, you know, following up with it where you know, records like
28:48
what I did a quiet like there's a Han solo quality to him where he's
28:52
like, what it's quiet, I'll do it real quiet, like you know,
28:56
and and everybody else is like no, but yeah, under stand,
29:00
you've actually just made life worse for us, right, you get that,
29:03
right? Like it's it's a natural comedic moment though, which I think again
29:11
gets back to what we started the whole conversation with about the efficiency and the
29:15
focus of the storytelling that it's not a forced comic moment. There are so
29:21
many movies, including and I'm not going to reprosecute anything here, but including
29:26
a couple of more recent Star Wars movies where there are forced comic moments and
29:32
it's just like they're growners. It's like, eh, you know, you
29:36
try it, like you grafted that on. Whereas the humor in this from
29:42
that stun Blast moment from you know, Recker as they're running away in the
29:48
beginning being like what I got it? You know like it there's a legitimate
29:53
comedy to it that endears these characters to you. No, I mean,
30:03
it's it's funny because you know, as you were saying, you know you're
30:04
not cheating, you know you're not moving forward. Uh, you know you're
30:10
We're going to be watching this. Uh you know, one episode at a
30:12
time. I'm doing the same thing. And I was almost tempted, you
30:15
know, to to let the the Disney plus let me go to the next
30:21
episode. And so but you know, I think also watching this, well,
30:26
the one thing, you know, they just brought out the Mandalorian seasons
30:29
one and two on four K. Yeah, and it makes me hope that
30:34
we are going to get the final season to the Clone Wars in four K.
30:37
We're going to get the seasons of the Bat Bad Batch in four K.
30:41
In fact, please, you're smart. What you do is, you
30:45
know season three is about to come out, and by the end of this
30:48
year, maybe around Christmas. Uh you're you're smart, and you put out
30:52
a big old bad Batch box set of all three seasons. Uh and behind
30:57
the scenes interviews, actively behind the scenes interviews. Yes, so you do
31:03
you do that? And uh, it's going to be on every Star Wars
31:06
fans Christmas list and so but I mean this is this is a great start
31:12
of the season. But I think one of the things that you mentioned,
31:15
and I kind of love is that when they go back to Ordvendel, there's
31:21
like a moodiness there that you can just it's it's almost palpable, right,
31:27
And I think it lets us know that this season we're kind of in for
31:34
basically the Empire strikes back season of The Bad Batch and I like that.
31:41
I like the subtlety of it, and I can't wait to continue, you
31:47
know, watching through this show. You know, as we're going, you
31:51
know we're gonna hit of course, uh, the third season and we'll be
31:56
continuing this sea you know, the second season little bit into that, but
32:00
you know, we hope you enjoy us talking through the episodes as we get
32:04
ready and John, you know, if people wanted to catch up with you,
32:08
of course, see what else you've got going on, maybe talk about
32:12
excitement for Bad Batch season three, where would they find you? Well,
32:15
you can send me messages online to help my wife be okay with the idea
32:22
that I want to get a ninety nine in the Clone Force ninety nine style
32:27
tattoo. She's not a fan of tattoos. I have to she's sort of
32:30
draw on the line. Help me out, folks, Help me out.
32:35
Convince her. I need that ninety nine like record has on his helmet.
32:37
Please. You can find me online as Cassel Junkie, and you can also
32:40
find me right here on the network co hosting a show called house Lights where
32:45
we talk about different movies, wow podcasts about movies who Who Figured? And
32:51
I co host that with Sa Tristan. You know, we're blazing new Yeah,
32:55
we're blazing new ground with that, you know, like we're going out,
32:59
we're doing something novel. We think the time is right to talk about
33:02
movies on podcasts. Honestly, that's really you know, we knew there was
33:07
a market for it and it just was untapped. But I do that with
33:12
Tristan Riddell and Darren Moser. You can also find me occasionally sitting in the
33:19
you know, it's either the Norm Stool or the Jim J. Bullock Square
33:23
over on the six oh two Club on the TFM network, which you know,
33:29
I know is one of the four hundred and fifty three thousand podcasts that
33:32
you're on, mister Matthew Rushing Jedi Master Matthew. Yes, yes, and
33:37
I hope people will check that out. We always have a blast over there,
33:40
and it's been a lot of fun. In fact, we start off
33:44
the year together. They're talking about Zack Snyder's Rebel Moon, so that was
33:47
a blast. You course find me all over social media and the name Matt
33:51
Rushing zero two. When I'm not here on the Nerve Party Network doing aggressive
33:58
negotiations, you can find me doing owl post with Dray Kaufman as we're talking
34:00
through and talked through every single chapter of the Harry Potter series over on the
34:05
TFM Network, doing a bunch of other shows as well, Literary Treks,
34:08
the Orb Warp, five, Saddle Up, and The Artificial Tango. But
34:13
John, you know, I am starting to hear some rumblings that they are
34:20
giving away free lightsaber crystals at the Jedi Temple, So I think it's time
34:24
to close these negotiations. Oh my gosh, I want to get whatever crazy
34:31
colors aren't cannon anymore. I want to get them. I want to get
34:34
them while they're giving them away. So Master Rushing, these negotiations are closed.
34:38
Join the Revolution, Join the nerd Party,