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He Tried To Direct The Documentary From The Shower · Critique-Opolis

• 0:27
  SPEAKER_00: Oooooooe.
• 0:32
  SPEAKER_00: A hundred percent on Rotten Tomatoes.
• 0:36
  SPEAKER_00: The first time I've ever seen a documentary that I was actually on edge about seeing.
• 0:45
  SPEAKER_00: This movie is so layered.
• 0:48
  SPEAKER_00: Like not a narrative so much as a just an analysis of what people are and how to understand the truth.
• 0:56
  SPEAKER_00: Hopefully you figured it out by now.
• 0:58
  SPEAKER_00: We we try to watch movies that are a little more have some history behind them, but this one is just so groundbreaking that we had to talk about it immediately.
• 1:10
  SPEAKER_00: Of course, we are talking about Nathan Fielder and A24's blockbuster.
• 1:18
  SPEAKER_00: You can see any everything.
• 1:20
  SPEAKER_00: You can see everything.
• 1:23
  SPEAKER_00: Uh yeah, 100% on rotten tomatoes.
• 1:27
  SPEAKER_00: What do you think about that?
• 1:31
  SPEAKER_00: That's your cue, Louisa.
• 1:34
  SPEAKER_01: Well, I don't really know what to say or where to start.
• 1:41
  SPEAKER_01: Because it's a long movie.
• 1:50
  SPEAKER_01: And I was under the impression hearing from people who'd seen it before us that it didn't seem that long.
• 1:57
  SPEAKER_01: But I personally thought it dragged out or went on for a long time.
• 2:01
  SPEAKER_01: I mean, I kind of understand why, but I also Oh my gosh, it was a lot in three hours.
• 2:09
  SPEAKER_00: It's like It's almost like the movie was split between understanding.
• 2:15
  SPEAKER_01: Like chapters, kinda.
• 2:17
  SPEAKER_00: Well, for those of you who don't know, and I don't know, the only way you wouldn't know is if you've been living under a rock for the past month.
• 2:24
  SPEAKER_00: This is Nathan Fielder's documentary about the what 34 days before Elizabeth Holmes goes to prison living with her and her now husband Billy Evans in a rented where was it?
• 2:46
  SPEAKER_00: Santa Barbara not Santa Barbara House.
• 2:48
  SPEAKER_00: Del Mar.
• 2:48
  SPEAKER_00: Del Mar.
• 2:49
  SPEAKER_01: Is that a place?
• 2:50
  SPEAKER_00: Yeah, Del Mar, but the San Diego area with uh beach house with their two kids.
• 2:58
  SPEAKER_00: Fielder and the crew move in with them.
• 3:02
  SPEAKER_01: Babies who, by the way, never like talk.
• 3:05
  SPEAKER_01: I mean, one is a baby, but the other one does.
• 3:07
  SPEAKER_00: I didn't even know that the other one was a toddler.
• 3:09
  SPEAKER_00: I didn't hear one word out of them.
• 3:12
  SPEAKER_00: But this was Fielder's attempt to I guess get inside the actual person that is Elizabeth Holmes.
• 3:23
  SPEAKER_00: And again, if you don't know, Elizabeth Holmes built Theranos, the blood testing company.
• 3:29
  SPEAKER_00: She was the darling of Silicon Valley back in the uh early 2000s.
• 3:34
  SPEAKER_00: Uh the concept was to analyze over 200 different blood disorders or disorders that could be tra found in blood in one device.
• 3:44
  SPEAKER_00: She raised hundreds of millions of dollars.
• 3:47
  SPEAKER_01: Using one single drop of blood, I think, wasn't it?
• 3:50
  SPEAKER_00: Yeah, using a drop of blood.
• 3:53
  SPEAKER_00: She fabricated deals that she had with Walgreens and with the US Army to get to secure further contracts.
• 4:04
  SPEAKER_00: And she utilized, well, she was eventually convicted of wire fraud from accepting these uh investments.
• 4:15
  SPEAKER_01: Huge investments.
• 4:16
  SPEAKER_00: Of hundreds hundreds of millions of dollars.
• 4:19
  SPEAKER_00: But during the growth of her company, it became it came out that the device they built, the uh name of that thing, the Edison kept erring out and could only perform a couple of blood tests and out like three or four, and everything else it would error out on, so they had to take uh they took their tests and ran them on inferior machines or other machines from competitors like Siemens, and this compromised uh patient health.
• 5:02
  SPEAKER_00: It also compromised the you know what she was telling her what her board and employees and everybody investors, she just flat out manipulated the truth and used verbiage to cover it up for years, which was amazing that it went on as long as it did.
• 5:22
  SPEAKER_00: But this is a podcast about the the movie and the mff I feel like oh I didn't set a timer for this, damn it.
• 5:32
  SPEAKER_00: Well, we're gonna be a little backlogged.
• 5:35
  SPEAKER_00: I don't I know that we're not gonna cover everything we want to cover because as it was a three-hour movie, this is more of a God, there's so much stuff to get into here.
• 5:47
  SPEAKER_00: Where do you do you wanna what do you want to start with?
• 5:50
  SPEAKER_00: The eggs.
• 5:52
  SPEAKER_01: Sure.
• 5:54
  SPEAKER_00: So you picked up on that.
• 5:57
  SPEAKER_00: What were your thoughts in the in the egg scene?
• 6:01
  SPEAKER_01: So they're filming a scene where um what's her name?
• 6:08
  SPEAKER_01: Elizabeth Holmes and Billy Evans are making breakfast in the kitchen.
• 6:15
  SPEAKER_01: And she is beating eggs, raw eggs in a bowl.
• 6:21
  SPEAKER_00: And she is a field there's questioning around stuff.
• 6:24
  SPEAKER_01: Yes, true.
• 6:25
  SPEAKER_01: And she because he was living in a guest house, if we didn't already say that, next to them, near them, with them.
• 6:31
  SPEAKER_01: So he was with them every minute of every day or a month and a couple days, or a few days.
• 6:36
  SPEAKER_01: Um she's beating eggs, and Billy takes the bull from her and beats them in a different way.
• 6:47
  SPEAKER_01: Yeah, more vigorously and because she wasn't doing it right.
• 6:50
  SPEAKER_00: Right.
• 6:51
  SPEAKER_00: It's funny, like any other documentary might keep their mouth shut.
• 6:55
  SPEAKER_00: But Fielder jumped right in there.
• 6:56
  SPEAKER_00: He's like, What?
• 6:57
  SPEAKER_00: What is wrong with how she's beating the eggs?
• 6:59
  SPEAKER_01: I mean, there were no words exchanged or anything.
• 7:01
  SPEAKER_01: He just took the bull out of her hand.
• 7:04
  SPEAKER_00: Yeah, well, he did say he's like, she just doesn't do it right.
• 7:07
  SPEAKER_00: Do it right.
• 7:08
  SPEAKER_00: And this is kind of the overarching, one of the overarching elements of the dynamic between Billy and Elizabeth is that as you know, we always do a a workup in notebook.
• 7:27
  SPEAKER_00: And your slide deck here had a whole uh whole frame on this.
• 7:35
  SPEAKER_00: He had this paternal override thing going on from your deck.
• 7:40
  SPEAKER_00: Evan stops Holmes from whisking eggs, claiming she lacks Vim and vigor.
• 7:45
  SPEAKER_01: Vim and vigor.
• 7:46
  SPEAKER_01: I saw that.
• 7:48
  SPEAKER_00: It frames her as hopelessly naive and neurodivergent, requiring his direct steering.
• 7:55
  SPEAKER_00: Um is it genuine incompetence or a certified performance of helpfulness?
• 8:02
  SPEAKER_01: And this is really crafted performance.
• 8:04
  SPEAKER_00: Crafted performance.
• 8:06
  SPEAKER_01: Um of helplessness.
• 8:08
  SPEAKER_00: His uh I love these decks just because they point out some of the the things about movies that are there, but you don't initially are you're like when we talk about them, they're we're not always able to initially verbalize them.
• 8:28
  SPEAKER_01: Well, and it's uh to interrupt, sorry.
• 8:32
  SPEAKER_01: But um when you and when you asked where should we start, and you said it's adjusted the egg thing, and then I started going into explaining it because I assume that people who might listen to this um maybe haven't seen the movie yet.
• 8:45
  SPEAKER_00: Um I don't know how that's possible.
• 8:47
  SPEAKER_01: Oh, and actually too, I don't know if like do you do we do spoiler spoiler alerts or nothing?
• 8:52
  SPEAKER_00: I don't know on a documentary that you can do that.
• 8:55
  SPEAKER_00: We can probably like it.
• 8:57
  SPEAKER_01: Yeah, that's true.
• 8:58
  SPEAKER_01: It's not like a well anyway.
• 9:01
  SPEAKER_00: Spoiler alert, she does go to jail.
• 9:04
  SPEAKER_01: Um, I got off topic so.
• 9:06
  SPEAKER_00: I don't think on a movie like this you can really spoiler it, but no.
• 9:10
  SPEAKER_00: Anyway, to get to get back to this is kind of the the scene where you start to learn about they have this dichotomous relationship.
• 9:20
  SPEAKER_00: They're you don't I didn't figure this out until I talked to more people and watched more interviews after the movie, but they're both manipulators, yeah, and they do it in different ways, and you start to see that maybe this is kind of building the framework that maybe Elizabeth is neurodivergent, and when she talked to investors, she really did believe the Edison and the second generation of the Edison would do the tests she wanted them to do, but she used verbiage that she that does not mean she was transposing or transforming the meaning of certain words that had elasticity to them.
• 10:11
  SPEAKER_00: For example, when she would say the Edison could run all these tests, meaning to her, given all the chemistries were balanced properly and everything inside the machine was working, theoretically it could have done all everything, yeah.
• 10:33
  SPEAKER_00: But to anyone who would be investing or running their labs on this, when you say to them, this device can run any test, or could run any test, that means it can run any test.
• 10:49
  SPEAKER_01: Right, yeah.
• 10:51
  SPEAKER_00: But for the first half of the movie, they build this.
• 10:56
  SPEAKER_00: I won't even say that Fielder doesn't build this architecture.
• 10:59
  SPEAKER_00: You watch her through her responses, and it she leads you to believe that the way she interprets language is some way cocked up.
• 11:12
  SPEAKER_00: Mm-hmm.
• 11:13
  SPEAKER_00: And that she doesn't know what's cocked up.
• 11:17
  SPEAKER_00: Like when Nathan, he's you know, he looks at her very quizzically and he plays the who's on first comedy bit.
• 11:26
  SPEAKER_00: And he plays this for her to illustrate that people can interpret words differently, who being the name of a player as opposed to a question, and she kind of giggles a little as she's watching it, but he presses her.
• 11:47
  SPEAKER_01: And she doesn't and says, Do you why is that funny?
• 11:51
  SPEAKER_00: And she doesn't just how they go through the and she can't really she just kind of bullshits an answer.
• 11:58
  SPEAKER_01: I she didn't I would say she did not understand it, and she also can't articulate she can't even articulate what she saw, not what excuse me, he was trying to show her even just she just watched two people clip on a computer.
• 12:17
  SPEAKER_01: Yeah, she didn't it didn't register.
• 12:20
  SPEAKER_00: And that's what I thought when I first while we were sitting in the theater and watching it.
• 12:25
  SPEAKER_00: But then after a couple days, I look back and I listened to all I I've listened to a couple of FBI profilers who listen to all her testimony testimony.
• 12:35
  SPEAKER_01: Oh, interesting.
• 12:36
  SPEAKER_00: And um the eyes.
• 12:38
  SPEAKER_00: The eyes and all of her tells.
• 12:43
  SPEAKER_00: And the consensus is she has been so media trained, and her life is so media trained.
• 12:50
  SPEAKER_00: And with Evan, even with this movie, she is so trained.
• 12:55
  SPEAKER_00: Not to say that she doesn't know she's doing it, but she just almost like she looked at she knew that Fielder was showing her this comedy routine, and she had to lean into the I don't get it vibe of interpreting the joke because it would further her narrative of I use words and they mean one thing to me and something to somebody else.
• 13:30
  SPEAKER_00: Yeah.
• 13:31
  SPEAKER_00: And so when you first watch it, you're like, oh, maybe she is a little neurodivergent and fucking wack-a-doodle.
• 13:38
  SPEAKER_00: And then after you want you get additional inputs from other sources, you're like, oh my god, she is really laying it on thick in layers.
• 13:48
  SPEAKER_00: Yeah.
• 13:50
  SPEAKER_00: And like from seeing the movie without watching anything outside the movie, I probably would have been on her side a little bit.
• 13:56
  SPEAKER_01: Yep, no, I definitely could see that.
• 13:58
  SPEAKER_01: I went back and forth many times in my head while watching the movie, and um, yeah.
• 14:06
  SPEAKER_01: I mean it's it's it's so crazy and bizarre to me to watch.
• 14:13
  SPEAKER_01: Like, it just I don't even know.
• 14:19
  SPEAKER_01: Like, and this movie is selling out theaters, people are like all kinds of people are seeing it and commenting on it, and then you talk about your friends and you talk about your family and like everybody, and like you said, like we've watched things online about it, and I didn't know who to dislike less.
• 14:35
  SPEAKER_00: Everywhere, yeah, well said because you go you go back and forth throughout this movie.
• 14:41
  SPEAKER_00: Now we're gonna switch to Billy Evans.
• 14:44
  SPEAKER_00: I have no problem saying this.
• 14:46
  SPEAKER_00: I do not like this guy.
• 14:47
  SPEAKER_00: I he's he is despicable, yeah.
• 14:51
  SPEAKER_01: With capital letters and large font.
• 14:53
  SPEAKER_00: And I I'll I don't know that I can get in trouble for saying that.
• 14:58
  SPEAKER_00: I just I didn't like anything about this guy.
• 15:01
  SPEAKER_00: Um so the first thing is he has a he has a a naked scene in this which is completely out of place.
• 15:11
  SPEAKER_00: There's no reason for it to be there, and then you find out he lobbied the directors to put it in there, which is weird because the directors could have final cut.
• 15:20
  SPEAKER_00: They're like, okay, we'll shoot this.
• 15:22
  SPEAKER_01: And then do what we want.
• 15:24
  SPEAKER_00: It's I don't know why they kept it in.
• 15:27
  SPEAKER_00: So uh I d I don't know that there was any kind of contract around that.
• 15:31
  SPEAKER_00: But we'll get to some what some of the contract stuff about the movie in a little bit, but he's showering and he I didn't see this.
• 15:39
  SPEAKER_00: I saw this in the notes.
• 15:41
  SPEAKER_00: Like he flashed his you know, his junk.
• 15:45
  SPEAKER_00: I wouldn't even call it the flash, he was straight up exposing himself.
• 15:48
  SPEAKER_01: Oh yeah, no, I mean there was no what do you say, discreet?
• 15:55
  SPEAKER_01: No, it was on purpose.
• 15:56
  SPEAKER_01: He was in, I think they said, in a glass shower with the shower curtain or whatever door open.
• 16:03
  SPEAKER_01: Yeah.
• 16:04
  SPEAKER_01: And he was, it was very weird.
• 16:06
  SPEAKER_01: He was brushing his teeth and he was in the shower and he had no nothing on.
• 16:10
  SPEAKER_01: Nothing on.
• 16:10
  SPEAKER_01: And the camera, like, did it pan or did it just be?
• 16:13
  SPEAKER_00: No, he he tilted so you could see the full package.
• 16:17
  SPEAKER_00: But the thing that was crazy was I didn't notice this, but in your file, it says Evans flashes fielder through the tempered glass.
• 16:27
  SPEAKER_00: Reverse gotcha that calls the documentary bluff on all axis.
• 16:31
  SPEAKER_00: He weaponizes vulnerability to establish territorial dominance over the filmmaker, which I I gotta tell you, on some levels I just kind of reject because he's all he is is subject.
• 16:43
  SPEAKER_00: The filmmakers decide what they keep in and throw out.
• 16:46
  SPEAKER_00: So that part the just the architecture of what filmmaking entails, I would think would draw that into question if there were some kind of contractual mandate for that.
• 17:03
  SPEAKER_00: Yeah.
• 17:03
  SPEAKER_00: Otherwise, just as a filmmaker, I'd be like, alright, fine, shoot, shoot whatever he wants, and then we're we'll we'll just take it out when we edit it, yeah.
• 17:12
  SPEAKER_01: But that was strange.
• 17:14
  SPEAKER_00: Chat for a minute, I gotta turn off the actually no, I didn't.
• 17:17
  SPEAKER_00: Alright.
• 17:18
  SPEAKER_00: Yeah.
• 17:19
  SPEAKER_00: I got ribs going.
• 17:23
  SPEAKER_00: What else do we have?
• 17:24
  SPEAKER_00: The um So we're gonna.
• 17:26
  SPEAKER_00: Oh, so wait, I I was I was talking shit about uh Billy Evans.
• 17:30
  SPEAKER_00: Billy Evans.
• 17:31
  SPEAKER_00: So the first, I would say half of this is just trying to understand the psychopathy of both of these people.
• 17:41
  SPEAKER_00: And I think Billy is he's a control freak.
• 17:48
  SPEAKER_00: You find out more about his just his wackiness as it as it goes.
• 17:57
  SPEAKER_00: I found out okay, so he his parents made all their money in those ho the like three large ritzy hotels out in California.
• 18:08
  SPEAKER_00: And it would make sense to hear someone say that he has a little bit of there's a term for this and I'm gonna mess it up.
• 18:21
  SPEAKER_00: Like legacy envy.
• 18:25
  SPEAKER_00: He needs to do his own thing because he he doesn't have that.
• 18:30
  SPEAKER_00: And instead of just spending time enjoying one another's company with your wife and your children before you go to prison, you have a documentary film crew come in, film your last month, and then while you're doing it, you're pitching prospective investors for an upgraded version of the technology your wife is going to prison for.
• 19:00
  SPEAKER_01: Yes.
• 19:01
  SPEAKER_00: Which is batshit insane.
• 19:06
  SPEAKER_01: And that, if I remember correctly, didn't come out in the movie for quite a while.
• 19:10
  SPEAKER_01: And then it appeared, and I honestly, I did not like it didn't, I didn't, it didn't register until later, and I was like, you've got to be kidding me.
• 19:21
  SPEAKER_01: Like you just said, going to jail in less than a month, and you're not you're not canoodling with your kids or nope.
• 19:29
  SPEAKER_01: You're visiting parents to say goodbye.
• 19:31
  SPEAKER_00: No, no, and it's clear, like when the parents come to visit, I don't know what is I maybe it has something to do.
• 19:38
  SPEAKER_00: Billy's into guns too.
• 19:40
  SPEAKER_00: Her parents show up, and Nathan tries to talk to the parents, and Bill Billy railroads all these conversations every time.
• 19:51
  SPEAKER_01: In weird ways.
• 19:52
  SPEAKER_00: Right.
• 19:53
  SPEAKER_01: It's like scary weird.
• 19:55
  SPEAKER_00: It's like he's trying, he tries to be the director, and he's talking with Fielder's talking with the dad, and dad mentions that that Elizabeth was raped, and you find nothing else out.
• 20:08
  SPEAKER_00: You have to read about that in other sources later to find out.
• 20:12
  SPEAKER_00: Apparently, she was assaulted in college, and that plants the seed that maybe that's where some of the neurodivergence came from, but it's net it's never really addressed.
• 20:25
  SPEAKER_00: And then as Fielder is conducting this beginning of an interview with Holmes' dad, Billy sticks his head in and is like, Well, I just thought we were gonna spend time together as a family.
• 20:36
  SPEAKER_00: I'm like, You've been pitching investors.
• 20:38
  SPEAKER_00: What do you care if this filmmaker is talking to the father?
• 20:42
  SPEAKER_00: And you figure out that dad's gonna shed some insight on the fact that Elizabeth goes for these guys who control her.
• 20:54
  SPEAKER_00: When she was running Theranos, she was with that Sonny Balwamy guy, and he behaved the exact same way.
• 21:05
  SPEAKER_00: So after there were a few scenes where Elizabeth breaks down, she gets really emotional about going to prison.
• 21:14
  SPEAKER_00: For a second, you feel bad.
• 21:15
  SPEAKER_00: And after the movie's over, when you go back and revisit, you're like, you defrauded people out of bit millions of and hundreds of millions of dollars.
• 21:25
  SPEAKER_00: Fuck you.
• 21:26
  SPEAKER_00: Of course you should be upset you're going to prison.
• 21:31
  SPEAKER_00: And Billy is about a day out of this.
• 21:39
  SPEAKER_00: I'm like, this guy married this woman.
• 21:42
  SPEAKER_00: He he tells people, he tells Nathan that they're get they got he bumped into her at a party and he didn't recognize who she was.
• 21:52
  SPEAKER_01: That story, that situation, that whole thing was so weird.
• 21:55
  SPEAKER_00: And we are Billy went to MIT, he was in Silicon Valley, moving and shaking, and he wanted to meet her.
• 22:04
  SPEAKER_00: He she was all over the news, and he met her at a party, and he's like, Whoa, she had a hat on, and didn't recognize her right away.
• 22:11
  SPEAKER_01: Bullshit! Yeah, it took me an hour.
• 22:15
  SPEAKER_00: And no, there's no way with those eyes and that and that clown like mouth, there's no way.
• 22:24
  SPEAKER_00: There's that's it's patently absurd.
• 22:32
  SPEAKER_00: I don't even see this is what I mean.
• 22:34
  SPEAKER_00: There's so much to this movie, I don't even know what issue to jump to next.
• 22:39
  SPEAKER_00: So Billy, it becomes obvious that Billy is kind of harvesting the concept out of Elizabeth before she gets dumped in jail, and he doesn't have to deal with her anymore because the tech that they're pitching is focused or what did they call them?
• 22:58
  SPEAKER_00: Focused laser or uh um bent lasers?
• 23:02
  SPEAKER_00: Something, yeah.
• 23:03
  SPEAKER_00: He's talking about tech that doesn't read and he was gonna use AI to underst to uh interpret the densities of blood anomalies, which I am no doctor.
• 23:18
  SPEAKER_00: I'd I would love to hear any hematologist weigh in on that and be like, that sounds absurd.
• 23:24
  SPEAKER_00: That sounds ridiculous.
• 23:25
  SPEAKER_01: I know.
• 23:25
  SPEAKER_01: I don't know how she's how she sold it to these people.
• 23:29
  SPEAKER_00: There's no way she's she's pitching these people who have well, you know, the she's pitching people with a lot of money who don't necessarily have a background in That's a good point, yeah.
• 23:40
  SPEAKER_00: Medicine right.
• 23:43
  SPEAKER_00: And after Elizabeth goes to prison, he hasn't he has a partner that he's working with, and Fielder starts interviewing the partner.
• 23:53
  SPEAKER_00: Actually, do you remember the bit before we get to that?
• 23:56
  SPEAKER_00: You remember the bit where Fielder is asking Elizabeth about just they were in the kitchen, this is after the eggs thing, and he was asking her about how she could possibly interpret the things that she's saying incorrectly about what about what the Edison could do and what it did do, and then Evans chimes in, even though he's not being spoken to.
• 24:24
  SPEAKER_00: Yes, he chimes in, he's like, I know what you're thinking, and Fielder just stops and glares at him and that exact moment.
• 24:32
  SPEAKER_00: And it was funny because the whole room, even the whole everything in the theater stopped.
• 24:38
  SPEAKER_00: Fielder just looks at him like quizzically and like audibly, just says, No, you don't.
• 24:45
  SPEAKER_01: Yeah.
• 24:46
  SPEAKER_00: And I I really like I feel like that was the moment that Fielder is pushing back against Evans's just attempt to control everything.
• 24:57
  SPEAKER_00: But then later in the film, when Fielder is interviewing his partner, the camera cuts back to Billy watching this, he gets all uncomfortable, and then he shuts the interview down.
• 25:14
  SPEAKER_01: It was that was also so bizarre.
• 25:16
  SPEAKER_01: There was no reason he was just watching, and he just walked into the room and was like, We're done.
• 25:21
  SPEAKER_01: Shut it down, we're done.
• 25:23
  SPEAKER_01: And everybody's like, What are you doing?
• 25:24
  SPEAKER_01: What are we doing?
• 25:25
  SPEAKER_01: Why?
• 25:26
  SPEAKER_01: You're not in charge.
• 25:27
  SPEAKER_01: Yeah, you're in charge.
• 25:27
  SPEAKER_01: And he's like, sh I'll t he said, I'll talk to you about it after you turn off the cameras.
• 25:33
  SPEAKER_01: And they were like, but it's not your I mean, it's not his show.
• 25:37
  SPEAKER_00: Yeah.
• 25:38
  SPEAKER_01: He just he wasn't even being interviewed at that time.
• 25:41
  SPEAKER_01: He was just standing outside the room.
• 25:43
  SPEAKER_00: Yeah, you're like nothing to do with like unless he's not gonna tell the his partner's not gonna tell him anything about the tech that can't be on camera.
• 25:52
  SPEAKER_00: So aside from that, what like I kind of want this guy to go to jail and then fielder to get interviewed to be like, what why is why did he shut that down?
• 26:06
  SPEAKER_00: Yeah, yeah.
• 26:06
  SPEAKER_00: Come on, just tell us.
• 26:11
  SPEAKER_00: But then this is what I meant earlier about the second half of the movie rolling around.
• 26:18
  SPEAKER_00: Nathan recruits Amanda Seafred.
• 26:21
  SPEAKER_00: How do you say her last name?
• 26:23
  SPEAKER_00: Seifred?
• 26:23
  SPEAKER_01: Seifred, I think.
• 26:25
  SPEAKER_01: I don't know.
• 26:27
  SPEAKER_00: Who is she's kind of the hero in my mind for this movie.
• 26:32
  SPEAKER_01: Yeah, no, I think I would agree.
• 26:36
  SPEAKER_00: There your notebook just has so much great breakdown of neural behavior that I'm only going to touch on a little bit.
• 26:50
  SPEAKER_00: But actually, here's here's the bit I like where it breaks down primary objective, weapon of choice, the facade, and the tell.
• 27:06
  SPEAKER_00: And they use Amanda because Amanda played Elizabeth Holmes in The Dropout.
• 27:16
  SPEAKER_00: It was a TV show about Elizabeth Holmes' rise.
• 27:20
  SPEAKER_01: Yep.
• 27:21
  SPEAKER_00: And eventual, you know, when everything fell apart.
• 27:30
  SPEAKER_00: And it's weird because what I find really fascinating about this movie is it takes an actor.
• 27:36
  SPEAKER_00: The actors and the filmmaker are part of the movie.
• 27:41
  SPEAKER_00: They're really involved in it.
• 27:44
  SPEAKER_00: They're not like characters, they're actual people who are involved in this thing.
• 27:49
  SPEAKER_00: Because Amanda kind of she even grapples with this in the movie that I am to some degree responsible for how the zeitgeist and how the world sees this woman.
• 28:06
  SPEAKER_00: And they go over to Billy's house to have dinner with him and just talk a little bit more, and they're filming it, and I won't give this away because I can't remember all of it, but Billy clearly has demons.
• 28:26
  SPEAKER_00: He's an angry guy.
• 28:29
  SPEAKER_00: He has what would you call that?
• 28:35
  SPEAKER_00: Just not delusions of grandeur, but just he has a he does, but he just believes that he's owed something in this world because his parents made a lot of money, so he's like, I have to make my mark, and you know, anybody who gets in my way, I'll kill anybody who gets in my way.
• 28:57
  SPEAKER_00: He makes these wild, like, tough guy claims, and Manda Seafrid's having like no part of it, and they get into it, and it's awesome.
• 29:06
  SPEAKER_02: It's awesome.
• 29:08
  SPEAKER_00: And I think what makes it so compelling is that she is an actor who played this guy's wife, yeah, and now she's just a person talking to him.
• 29:18
  SPEAKER_00: I'm like, and I don't know what about that dynamic, just it just wrapped, it just pulled me in.
• 29:27
  SPEAKER_00: And Billy just seemed like a MAGA lunatic.
• 29:31
  SPEAKER_00: Oh, they start talking about Charlie Kirk.
• 29:33
  SPEAKER_00: I mean the They started talking about Charlie Kirk, and she's like, hell with that guy.
• 29:38
  SPEAKER_01: She was like, Don't you even dare.
• 29:40
  SPEAKER_00: Yeah.
• 29:41
  SPEAKER_00: Oh.
• 29:42
  SPEAKER_00: It's such a great scene.
• 29:45
  SPEAKER_00: And then what was that?
• 29:48
  SPEAKER_01: I don't know.
• 29:50
  SPEAKER_01: Was that me?
• 29:51
  SPEAKER_00: I don't was that on your I don't know, whatever.
• 29:55
  SPEAKER_00: We're still rolling.
• 29:56
  SPEAKER_01: Mm-hmm.
• 29:59
  SPEAKER_01: Sorry, but it's no no no no.
• 30:01
  SPEAKER_00: So at the Nathan Fielder and Siefred go back and forth a bit about oh, you know what else we haven't talked about?
• 30:13
  SPEAKER_01: Yes, I know.
• 30:13
  SPEAKER_01: Is in the back of my head.
• 30:15
  SPEAKER_00: Yeah, these are these are all there's these little events that happen throughout the movie that are and they and they don't let up, which is why this is so compelling.
• 30:27
  SPEAKER_00: So because Billy tries to exert control, and you don't really understand why he's able to do this, and then to get around it, or this is what it felt like to me.
• 30:38
  SPEAKER_00: You can tell me if I don't know what if what was in the contract, but I think to get around Billy's involvement is they use Amanda to play Elizabeth again in a constructed narrative inside the documentary.
• 30:57
  SPEAKER_00: And Billy insists on the producers and a couple executives, and Nathan Fielder coming over to their home to discuss this project, and Elizabeth slash Amanda leaves to go take care of the kids, and Billy lays out these demands that he wants to get paid or he wants a piece, yeah, he wants a piece of the profit from the movie.
• 31:26
  SPEAKER_00: And Fielder and the and the other Lance Oppenheim and the other executives are like, what are you talking about?
• 31:34
  SPEAKER_00: That's that's not how a documentary works.
• 31:37
  SPEAKER_00: That's gonna blow a hole through all credibility about not just us making this, but your any story that anything that you try to establish as a legitimate business person or that this is an honest story about you, no one's gonna buy any of this.
• 32:01
  SPEAKER_00: And he presses them hard for a payday, which is just kind of like a it's like a huckster move.
• 32:10
  SPEAKER_00: And he's telling people that he has this business he's trying to build on the back of Elizabeth's technology.
• 32:18
  SPEAKER_00: It's like he has nothing of his own, he's just like tries to cheat his way into money, which I think that's the thing that's sad is I think that Billy doesn't really understand what a business is.
• 32:31
  SPEAKER_00: He's he's just looking for these for this big payday.
• 32:38
  SPEAKER_00: And what's sad is A24 guys agree to it because they're they're kind of over a barrel.
• 32:45
  SPEAKER_01: Yeah.
• 32:46
  SPEAKER_01: I mean, what are they gonna do?
• 32:47
  SPEAKER_00: Or they have to scrap the project entirely.
• 32:52
  SPEAKER_00: So from then on you're you're Nathan is wrestling with did Elizabeth know that he did that?
• 33:02
  SPEAKER_00: Or is he operating on his own?
• 33:04
  SPEAKER_02: Right.
• 33:06
  SPEAKER_00: And is she complicit in it or what?
• 33:11
  SPEAKER_00: You find out that Nathan goes through a breakup.
• 33:14
  SPEAKER_01: Yes.
• 33:14
  SPEAKER_00: And this is the other complicated thing is it it seems like Nathan sympathizes with Elizabeth and he tries to communicate with her because during the dinner with Amanda Seifrid, they find out that he is that Billy has exercised or has retained power of attorney for Elizabeth, and he has taken over her Twitter account and is writing for her writing for her and posting horrendous things, things that she would never say.
• 33:52
  SPEAKER_01: Ever.
• 33:55
  SPEAKER_00: I mean, this guy is just insidious.
• 33:57
  SPEAKER_00: You know what I found interesting?
• 33:59
  SPEAKER_00: There was that scene where they go to his house when Elizabeth has been locked away for about a year and he just has lizards all over the house.
• 34:09
  SPEAKER_00: I'm like, that is fitting.
• 34:13
  SPEAKER_00: She can't even talk.
• 34:14
  SPEAKER_00: She's like, because you were so uncomfortable.
• 34:16
  SPEAKER_00: I'm like, that is that that like just the the subtext in that was thick.
• 34:24
  SPEAKER_01: There were three shots.
• 34:25
  SPEAKER_01: There was one of that lizard on his like dining room table.
• 34:29
  SPEAKER_01: Yeah.
• 34:29
  SPEAKER_01: And it's huge.
• 34:30
  SPEAKER_01: It takes up the whole width of the table.
• 34:32
  SPEAKER_01: Then there was another one where it was crawling around on the floor, I think by its kids' toys.
• 34:36
  SPEAKER_01: And then there was another shot of a of a um thick big snake.
• 34:44
  SPEAKER_01: Like in some kind of I don't know, like it looked like you know, like a like if you went to the zoo or the museum or something and that's what you saw.
• 34:54
  SPEAKER_01: It was in his house.
• 34:56
  SPEAKER_01: Around his little it was very it was very unfortunately fitting.
• 35:00
  SPEAKER_01: Ugh.
• 35:01
  SPEAKER_01: I can't.
• 35:02
  SPEAKER_01: Yeah, the I gotta tell you that there's so many of those moments in this movie.
• 35:10
  SPEAKER_00: Every time this guy is on screen, it just feels like he's just this evil, insidious presence who's looking to take advantage of something.
• 35:22
  SPEAKER_01: And you know what?
• 35:23
  SPEAKER_01: While I was watching it, I was like, when is he gonna get off the screen?
• 35:27
  SPEAKER_01: Why do we always have to see him?
• 35:28
  SPEAKER_01: We had to see him a lot in this movie.
• 35:31
  SPEAKER_01: I mean, I don't think that there was very much time on screen when he wasn't there.
• 35:36
  SPEAKER_01: And if he wasn't like, if he wasn't on screen, you know he was right there next to it, next to Elizabeth or, you know, sitting on the couch or whatever.
• 35:46
  SPEAKER_00: Yeah, yeah, he was always trying, he was the proximity to the thing he wanted to control was always shrunk down.
• 35:53
  SPEAKER_00: Like if he wanted to make sure Elizabeth was saying the right thing, they got close.
• 35:58
  SPEAKER_00: And you also find out that they this is a choreographed manipulated thing because they use that terminol, they both use that terminology.
• 36:08
  SPEAKER_01: They talk the same.
• 36:09
  SPEAKER_00: What is that thing they say?
• 36:11
  SPEAKER_00: It it was in your notes that I don't know.
• 36:19
  SPEAKER_00: Oh he said something about, you know, since you went to prison, I've been laid in the house.
• 36:25
  SPEAKER_01: Oh, 900 days, he said.
• 36:27
  SPEAKER_01: He's been counting.
• 36:28
  SPEAKER_00: Yeah, but there was something else, something they use about about their love.
• 36:35
  SPEAKER_01: Did they say that in my thing?
• 36:36
  SPEAKER_00: Yeah.
• 36:40
  SPEAKER_00: Um, this is gonna drive me nuts.
• 36:47
  SPEAKER_00: I really want to find this.
• 36:48
  SPEAKER_01: Are you talking about how they know what each other's always thinking?
• 36:52
  SPEAKER_00: It was i it was in that in that conversation.
• 36:59
  SPEAKER_00: Oh, this is driving me bananas.
• 37:04
  SPEAKER_00: It was kind of a tell to the fact that they are operating on a script and they're not being genuine.
• 37:13
  SPEAKER_01: Yeah.
• 37:15
  SPEAKER_00: It was this, I'm gonna find this.
• 37:17
  SPEAKER_00: This is Building Monuments to Love.
• 37:24
  SPEAKER_01: Oh, nice, nice.
• 37:27
  SPEAKER_00: They both said that at different times in the movie.
• 37:30
  SPEAKER_01: They did, didn't they?
• 37:31
  SPEAKER_00: That's a constructed thing.
• 37:34
  SPEAKER_01: You say it and I'll say it.
• 37:36
  SPEAKER_00: Right.
• 37:36
  SPEAKER_00: Holmes and Evans living their corrupted, heavily scripted life.
• 37:40
  SPEAKER_00: The quote, building monuments to love.
• 37:43
  SPEAKER_00: Even Fielder was like, what the hell does that mean?
• 37:45
  SPEAKER_01: Mm-hmm.
• 37:46
  SPEAKER_01: What that nobody.
• 37:50
  SPEAKER_01: It was really bizarre.
• 37:51
  SPEAKER_01: I know I've said that a lot, but this movie is all of it.
• 37:56
  SPEAKER_00: Meta act, uh, let's see, what else?
• 38:00
  SPEAKER_00: So you find well, I don't want to say what you find out about his compensation and that, and that his deal and the the fate of the deal, which which is it's fitting, but the fallout, I did I don't know if I told you this.
• 38:16
  SPEAKER_00: I looked up what the fallout has been for him since this movie release was released.
• 38:21
  SPEAKER_00: Not great.
• 38:22
  SPEAKER_02: Yeah.
• 38:23
  SPEAKER_00: I can tell you right now, that company is never getting off the ground.
• 38:29
  SPEAKER_01: Right.
• 38:29
  SPEAKER_00: Never ever.
• 38:32
  SPEAKER_00: I can't imagine well, you know what?
• 38:35
  SPEAKER_00: Not to say that he could never find a job because there's people like that out there who want to work with people like that.
• 38:40
  SPEAKER_02: Right, right, right.
• 38:43
  SPEAKER_00: But wow, what a good movie.
• 38:47
  SPEAKER_01: Yeah, it was, yeah.
• 38:50
  SPEAKER_01: I mean, you definitely like, are I wouldn't say you're on the edge of your seat, but there's something there that you that you're doing.
• 38:57
  SPEAKER_01: Because you just can't take your eyes away.
• 38:59
  SPEAKER_00: I can't remember the I can't remember the last time I yelled at the screen.
• 39:06
  SPEAKER_01: Yeah, and you did that multiple times.
• 39:08
  SPEAKER_00: I did like four or five times.
• 39:10
  SPEAKER_00: I'm like, oh god, you suck.
• 39:12
  SPEAKER_01: And other people in the theater did too.
• 39:14
  SPEAKER_01: Oh, yeah.
• 39:14
  SPEAKER_01: I mean, people couldn't you couldn't sit there quietly and watch, you could watch it quietly with your mouth open.
• 39:19
  SPEAKER_01: Like, really?
• 39:21
  SPEAKER_01: Really?
• 39:22
  SPEAKER_01: And then there was other times when, yeah.
• 39:24
  SPEAKER_01: You know what the so hard to believe.
• 39:27
  SPEAKER_00: You know what the other thing about this movie is, not once, not once did she express remorse for what she did.
• 39:35
  SPEAKER_01: Not once, I know.
• 39:36
  SPEAKER_01: Right.
• 39:37
  SPEAKER_01: She never, she just kept going um in the future.
• 39:41
  SPEAKER_01: Like, yeah, there wasn't any.
• 39:43
  SPEAKER_00: Yeah, she has this, that's another thing they touch on is the delusion she has.
• 39:48
  SPEAKER_00: I don't know if it's fair to call it a delusion, but she sees herself as this put upon founder.
• 39:53
  SPEAKER_01: Mm-hmm.
• 39:54
  SPEAKER_01: Yeah.
• 39:55
  SPEAKER_01: People are being mean to her.
• 39:56
  SPEAKER_00: Yeah, and yeah.
• 39:59
  SPEAKER_00: And that this is what she was born to do.
• 40:02
  SPEAKER_00: And, you know, she's gonna go away for a while, but she's gonna be back.
• 40:08
  SPEAKER_00: Like you ruin I I shouldn't say she ruined it.
• 40:13
  SPEAKER_00: I don't know what the the fallout was from the patients that had their samples messed up.
• 40:21
  SPEAKER_00: Or the people who invested bazillions with her, but uh this movie works so well to like just keep me frustrated.
• 40:36
  SPEAKER_00: Like I couldn't I couldn't stomach to see that guy.
• 40:42
  SPEAKER_00: He's just an absolute nar and I hate using the word narcissist, but I think I feel it's so overused, but his behavior was just so disgusting.
• 40:54
  SPEAKER_00: And it's especially disgusting because you know he's a real person and not an actor.
• 41:02
  SPEAKER_01: Right.
• 41:05
  SPEAKER_00: I mean, not like we love doing this podcast and we don't have a bazillion listeners or anything, so I'm not you know, I don't feel it's like a libel issue.
• 41:18
  SPEAKER_00: His I did I did not like this person at all.
• 41:25
  SPEAKER_01: No.
• 41:26
  SPEAKER_01: No.
• 41:27
  SPEAKER_00: And uh don't get me wrong, there's no love loss for Elizabeth Holmes, but I I'd have to say between the two, I like him less.
• 41:34
  SPEAKER_01: Mm-hmm.
• 41:35
  SPEAKER_01: Yeah.
• 41:37
  SPEAKER_00: And I feel I look I I want to know what ends up.
• 41:42
  SPEAKER_00: I feel like it towards the end there, Fielder got caught up in the web.
• 41:47
  SPEAKER_00: Like he was sympathizing with her.
• 41:49
  SPEAKER_00: He modified that script, you know, to the word something when he was asking her, and Seafred was they were trying to come up with a script, and he Fielder was asking Holmes if she was part of the deal or if she would knew what Billy and A24 were talking about.
• 42:15
  SPEAKER_00: Yeah.
• 42:16
  SPEAKER_00: And from what I recall and what I saw in the notes, she said Billy was going to talk to A-24 about it.
• 42:28
  SPEAKER_00: And instead, Fielder changed the script and said something.
• 42:35
  SPEAKER_02: Yeah.
• 42:36
  SPEAKER_00: They were gonna talk about something because it comes up later that Fielder tries to approach Elizabeth in prison to tell her, are you aware that Billy is taking is using power of attorney to answer on your behalf on Twitter and that he's building this stuff without you in your name?
• 43:00
  SPEAKER_01: Mm-hmm.
• 43:03
  SPEAKER_01: It's like it's okay with her.
• 43:05
  SPEAKER_00: Right, and she's like, he's we're building monuments of love together, and this is something we're doing together.
• 43:11
  SPEAKER_00: And you're like, you are you delusional or are you are you manipulating him?
• 43:16
  SPEAKER_00: Like, you walk away from this movie not sure what the I think that the reason why it gets such high marks is because you walk away questioning the ability to under to to interpret truth.
• 43:34
  SPEAKER_00: Because thing two things can be true at the same time, or two things two things can be false, and you might you don't know what the truth is.
• 43:49
  SPEAKER_01: Such a bizarre movie.
• 43:50
  SPEAKER_01: That's the only word I can come up with all the time.
• 43:53
  SPEAKER_01: Should definitely see it.
• 43:57
  SPEAKER_01: Again, I think you said in the beginning, like, there's never been a documentary like this.
• 44:02
  SPEAKER_01: I mean I realize the subject is definitely there's never been that either, but like wow.
• 44:08
  SPEAKER_00: Did you notice, and I saw this in the the pod the uh podcast that you built.
• 44:15
  SPEAKER_01: If you look at the poster I just heard this today because I listened to the rest of it when you were out for a minute.
• 44:20
  SPEAKER_01: Yeah.
• 44:21
  SPEAKER_00: If you look at the poster Uh there's a poster for the movie of just Elizabeth's face, like half of her face, and the poster says you can see everything, but it is constructed.
• 44:41
  SPEAKER_00: The words you can see are on the top, and then everything is on the bottom.
• 44:46
  SPEAKER_00: But everything is justified to the left.
• 44:50
  SPEAKER_02: Yes.
• 44:51
  SPEAKER_00: Which means if you're reading side to side like a normal person, you see the word everything first.
• 44:58
  SPEAKER_00: And then you see you can see.
• 45:01
  SPEAKER_01: Yeah.
• 45:02
  SPEAKER_00: So it's a very subtle nudge.
• 45:07
  SPEAKER_02: Mm-hmm.
• 45:08
  SPEAKER_00: The title of the movie is You Can See Everything, but the way you read it, if you weren't paying attention to what was stacked on what verbiage was stacked on top of what, if you were just reading the verbiage, it would read everything you can see.
• 45:24
  SPEAKER_01: Yeah.
• 45:24
  SPEAKER_01: Mm-hmm.
• 45:26
  SPEAKER_01: Very interesting to me.
• 45:28
  SPEAKER_00: Which is I don't know if that qualifies as a it's not really a double entendre, but it's a way to make you really question are you really seeing everything?
• 45:43
  SPEAKER_00: Or are you only seeing what these people want you to see?
• 45:46
  SPEAKER_01: Right.
• 45:50
  SPEAKER_00: And I've seen two FBI people analyze her behavior.
• 45:56
  SPEAKER_00: Like when she's talking to Fielder and she's like, and he asks you if she asks, Good God, I don't know what's the matter with my tongue.
• 46:05
  SPEAKER_00: Fielder asks her, Are you being real right now?
• 46:09
  SPEAKER_00: And she's like, I'm always being real.
• 46:10
  SPEAKER_00: Right, yeah.
• 46:11
  SPEAKER_00: And she gives that protracted stare that she doesn't blink and she never moves her head.
• 46:18
  SPEAKER_00: She just like it's like she's challenging him with the stare.
• 46:23
  SPEAKER_00: And you can maintain eye contact with a person, but your head moves around.
• 46:28
  SPEAKER_00: You you you're you blink, your eyes move a little bit around.
• 46:32
  SPEAKER_00: She she was bobbing her kid.
• 46:34
  SPEAKER_00: She had her foot on that on that thing with the baby that was just kind of like helping it rock.
• 46:40
  SPEAKER_00: She didn't even look over at the baby.
• 46:42
  SPEAKER_00: Nope.
• 46:42
  SPEAKER_01: And that detail that you brought up, um, I don't know that it's worth commenting on really, but it that really struck me because there were several scenes where Elizabeth was doing that or um Billy Evans was doing that.
• 46:59
  SPEAKER_01: Um, and and every single time they showed them I bouncing the baby in that bouncy seat, they were not even engaged with that baby.
• 47:08
  SPEAKER_01: They didn't look over once, they looked at the camera with their foot like bouncing in um over here, you know, like not even yeah, I don't know.
• 47:20
  SPEAKER_00: I had a customer come up to the booth today.
• 47:22
  SPEAKER_00: I was talking to her about it.
• 47:23
  SPEAKER_00: Uh-huh.
• 47:23
  SPEAKER_00: My friend Karen.
• 47:25
  SPEAKER_00: And sh I'm like, I had just said off the cuff like people like that are are creepy and scary.
• 47:32
  SPEAKER_00: Thank God she's in prison for ten or eleven years.
• 47:35
  SPEAKER_00: And she goes, Well, she gets uh let out to a halfway house in a year.
• 47:39
  SPEAKER_01: Uh-uh.
• 47:40
  SPEAKER_00: Well, I you can look it up, but uh that that's what she said.
• 47:43
  SPEAKER_00: I'm like, if that's true.
• 47:45
  SPEAKER_01: There's no way.
• 47:47
  SPEAKER_00: Do an AI thing right now.
• 47:49
  SPEAKER_00: Just ask AI if when when if when she goes from she's in federal lockup in Bryan, Texas.
• 47:57
  SPEAKER_01: Yeah.
• 48:09
  SPEAKER_01: Um, the other thing I was thinking about randomly um about this movie is um there are moments when when when you will laugh.
• 48:18
  SPEAKER_01: And I don't even know, well, sometimes I think it's because it's so funny, because the filmmaker Nathan Fielder makes these like really funny, like when when when the subjects say things, he's like, Are you serious?
• 48:32
  SPEAKER_01: Like he questions like everything they say and do.
• 48:35
  SPEAKER_00: He's so good at leaning into uncomfortable moments, and it's like hilarious because he's forcing the thing that people want to say that most people aren't able to say.
• 48:45
  SPEAKER_01: Thank you for the words, yep.
• 48:46
  SPEAKER_00: And just yeah, he'll he's like, Are you listening to yourself?
• 48:50
  SPEAKER_00: Or even that, like, you don't know what I'm thinking.
• 48:53
  SPEAKER_00: I like I wanted to stand up and cheer at that moment.
• 48:56
  SPEAKER_00: Because you I could tell by now, like at that point in the movie, I'm like, I don't like this Billy Evans guy.
• 49:02
  SPEAKER_00: And he just pressed him on it.
• 49:04
  SPEAKER_00: He'd like he it's like he stood up to him.
• 49:08
  SPEAKER_00: Yeah, that was it was it was and I think that's clear Billy Evans clearly didn't like Nathan Fielder, and I think that's just because Fielder has has a backbone and has that deadpan resilience.
• 49:27
  SPEAKER_01: That's true, what Karen said.
• 49:30
  SPEAKER_00: What is?
• 49:30
  SPEAKER_00: Oh, she she gets out?
• 49:32
  SPEAKER_01: She does.
• 49:33
  SPEAKER_01: She will be released from prison in two thousand in August 2027 and transferred to a halfway house to serve the rest of her sentence.
• 49:41
  SPEAKER_00: Oh, that'll be interesting.
• 49:45
  SPEAKER_00: Well, I we were just so caught up in this movie I didn't give you a recipe.
• 49:52
  SPEAKER_01: Oh yeah.
• 49:53
  SPEAKER_00: But I did get, hold on.
• 49:55
  SPEAKER_00: I'm gonna give this to you real quick.
• 49:58
  SPEAKER_00: And what I'm gonna say, it's not a direct recipe.
• 50:01
  SPEAKER_00: I'm gonna have you guys do a little bit of work.
• 50:03
  SPEAKER_00: This is for, and I'm gonna put this in the where'd it go?
• 50:09
  SPEAKER_00: I'm gonna put this in the newsletter, but this is a recipe for salad dressing.
• 50:20
  SPEAKER_00: Using everyone's favorite honey, hey honey.
• 50:23
  SPEAKER_00: Also, this episode of Critique Opolis at Creteicopolis has been brought to you by Hey Honey, Southeast Michigan's favorite honey dealer, specialty flavored honeys from coconut to lemon and ginger from our clover and wildflower base.
• 50:44
  SPEAKER_00: Visit me at heyhoney.biz.
• 50:48
  SPEAKER_00: Alright, where is it?
• 50:50
  SPEAKER_00: It's in here.
• 50:51
  SPEAKER_00: Bear with me, bear with me.
• 50:54
  SPEAKER_00: There we go.
• 50:55
  SPEAKER_00: It's called the Martha's Vineyard Salad Dressing.
• 50:58
  SPEAKER_00: So if you search Martha's Vineyard Salad Dressing and then just punch in the ingredients, which are buckwheat honey, maple, maple syrup, olive oil, apple cider vinegar, lemon juice, and tarragon.
• 51:14
  SPEAKER_00: And that AI will give you the breakdown and the the uh ingredient levels, but yeah, buckwheat honey for sure.
• 51:23
  SPEAKER_00: Personally, hay honey does have buckwheat honey, but you gotta come to the booth to get it.
• 51:27
  SPEAKER_00: I haven't put it up online yet because it's only available in limited amounts.
• 51:32
  SPEAKER_00: I think that's it.
• 51:34
  SPEAKER_00: Have we got it?
• 51:35
  SPEAKER_02: Mm-hmm.
• 51:36
  SPEAKER_00: Alright.
• 51:37
  SPEAKER_01: Yeah, I didn't, yeah.
• 51:38
  SPEAKER_01: Sorry to be so heavy with.
• 51:41
  SPEAKER_00: What?
• 51:41
  SPEAKER_01: I didn't realize that your recipe was so quick.
• 51:43
  SPEAKER_00: I'm fast, man.
• 51:46
  SPEAKER_00: Alright.
• 51:48
  SPEAKER_00: Sorry for the uh I didn't mean to talk.
• 51:52
  SPEAKER_01: Perfect timing.
• 51:54
  SPEAKER_00: Didn't mean to talk over you, but uh this this one just this movie grabbed me.
• 51:59
  SPEAKER_01: Definitely.
• 52:00
  SPEAKER_00: All right, let's see.
• 52:02
  SPEAKER_00: Go see it.
• 52:02
  SPEAKER_00: Oh, I got uh the next pick is mine, is it not?
• 52:06
  SPEAKER_01: It is, yeah.
• 52:07
  SPEAKER_00: Yep.
• 52:08
  SPEAKER_00: Alright, I've got one actually it's something you showed me a week ago.
• 52:13
  SPEAKER_00: We'll get to that next week.
• 52:15
  SPEAKER_00: Hugs and kisses, see in hell, behave, talk soon.
• 52:19
  SPEAKER_01: Okay, thank you.