WEBVTT 00:02.954 --> 00:09.380 [SPEAKER_01]: Hello, everybody, and welcome back to We've got mail. 00:11.782 --> 00:12.883 [SPEAKER_01]: We have. 00:12.903 --> 00:17.608 [SPEAKER_01]: This is the podcast where you control the conversation right here at the critically claimed network. 00:17.648 --> 00:18.769 [SPEAKER_01]: My name is William DeBianne. 00:18.849 --> 00:19.690 [SPEAKER_01]: I'm a film critic. 00:19.730 --> 00:20.530 [SPEAKER_01]: I write for the wrap. 00:21.300 --> 00:22.321 [SPEAKER_01]: And everybody tells me dips. 00:22.741 --> 00:24.302 [SPEAKER_00]: My name is Whitney Sybel. 00:24.542 --> 00:25.904 [SPEAKER_00]: I contribute to slash film. 00:27.064 --> 00:32.549 [SPEAKER_00]: And for the purposes of this podcast and this podcast alone, you may call me Rock Maestro McCool. 00:33.743 --> 00:34.864 [SPEAKER_00]: and you must. 00:35.424 --> 00:35.964 [SPEAKER_00]: You need it. 00:36.125 --> 00:36.745 [SPEAKER_00]: You need it, actually. 00:36.825 --> 00:37.846 [SPEAKER_00]: But you may. 00:37.986 --> 00:38.806 [SPEAKER_01]: Here's how this works. 00:38.946 --> 00:40.267 [SPEAKER_01]: You send us correspondence. 00:40.287 --> 00:41.408 [SPEAKER_01]: We read it on the air. 00:41.568 --> 00:43.129 [SPEAKER_01]: We listen to your stories. 00:43.149 --> 00:44.110 [SPEAKER_01]: We share our own. 00:44.130 --> 00:45.271 [SPEAKER_01]: We answer your questions. 00:45.671 --> 00:46.791 [SPEAKER_01]: We listen to your criticisms. 00:46.852 --> 00:47.652 [SPEAKER_01]: We respond to that. 00:48.172 --> 00:48.993 [SPEAKER_01]: Very, very simple. 00:49.113 --> 00:53.676 [SPEAKER_01]: You send us an email or email address is letters at criticallyclamed.net. 00:54.517 --> 00:59.360 [SPEAKER_01]: Or you can send us a piece of snail mail, physical mail, right to our PO box with me. 00:59.960 --> 01:00.660 [SPEAKER_00]: What is your PO box? 01:00.680 --> 01:14.703 [SPEAKER_00]: Yeah, you can set us a postcard to the critically claimed network PO box 641 565 Los Angeles, California, 9604 and that's basically it and this floor really is yours. 01:15.343 --> 01:17.083 [SPEAKER_01]: So we're going to, we're going to yield it now. 01:17.463 --> 01:20.324 [SPEAKER_01]: Winnie, why don't you read a bit of course, Bob? 01:20.364 --> 01:22.024 [SPEAKER_01]: Well, just one of our list we've done a lot of catching up to. 01:22.104 --> 01:22.724 [SPEAKER_00]: I've right into this. 01:22.784 --> 01:25.425 [SPEAKER_00]: So here's an email from Emma. 01:25.525 --> 01:26.105 [SPEAKER_00]: Hello, Emma. 01:26.165 --> 01:26.585 [SPEAKER_00]: Hi, Emma. 01:27.625 --> 01:29.829 [SPEAKER_00]: Happy early summer, you two fine jense. 01:30.229 --> 01:30.530 [SPEAKER_00]: Hello! 01:30.730 --> 01:39.003 [SPEAKER_00]: A couple of months ago, I gave you the unfair and probably weird task of coming up with the perfect adaptation of Harlan Ellison's I have no mouth and I'm a screen. 01:39.023 --> 01:40.004 [SPEAKER_00]: Do you remember this? 01:40.024 --> 01:40.565 [SPEAKER_00]: Yeah, do you remember? 01:40.585 --> 01:41.587 [SPEAKER_00]: We're trying to like... 01:43.195 --> 01:58.608 [SPEAKER_00]: us out how a film adaptation of that short story would work because it is like one of the bleakest most depressing stories ever agree um so I'd like to start out by thanking you for playing along and kudos to you Whitney for suggesting that M should be voiced by Adam Sandler 01:59.965 --> 02:02.465 [SPEAKER_00]: That gave me a good laugh, but I actually think you might be on to something there. 02:02.846 --> 02:07.586 [SPEAKER_00]: Yeah, if you're not familiar with the short story, it takes place in the future. 02:08.166 --> 02:18.088 [SPEAKER_00]: There are five humans left that live in a cave with a spiteful computer that heats humanity and is only keeping them alive to torture them incessantly. 02:18.168 --> 02:20.189 [SPEAKER_01]: Because otherwise there would be nothing else. 02:20.289 --> 02:21.969 [SPEAKER_01]: The artificial intelligence would be bored. 02:22.389 --> 02:23.129 [SPEAKER_01]: Yeah. 02:23.549 --> 02:27.450 [SPEAKER_01]: And so they're making it so they can't die, but it's making them suffer constantly. 02:27.470 --> 02:27.670 [SPEAKER_00]: Yeah. 02:27.970 --> 02:46.783 [SPEAKER_00]: Yeah, and that's basically it and that's yeah, that's the story and yeah, it's pretty bleak Yeah, he's using like weird surgeries to like alter their bodies in these weird ways Yeah, really really terrifying Anyway, and well, I'm back for another horror fan film task for you if you're up to it before it If not just end the letter here. 02:46.823 --> 02:47.864 [SPEAKER_00]: Hope you have a good day now. 02:47.944 --> 02:48.685 [SPEAKER_00]: I'm gonna keep going 02:49.205 --> 02:55.167 [SPEAKER_00]: challenge us, but take us to the edge of known space. 02:56.147 --> 03:11.813 [SPEAKER_00]: Since the movie Michael is becoming the massive success that it is, despite the filmmakers not giving a damn about any controversy regarding Jackson's real life, other than his abuse of father, I thought this might be the perfect time for Hollywood to address a biopic that has never been made, but I would love to see none other than 03:12.437 --> 03:32.424 [SPEAKER_00]: HP Lovecraft, because let's face it, a movie about Lovecraft would be tough to make for several reasons, cough, cough, racism, cough, racism, but if Michael proved anything, it's that you can earn a shit ton of money from a dead star, so if you polish it to the point where the cloth catches on fire, but Lovecraft would be tricky no matter what. 03:32.804 --> 03:40.767 [SPEAKER_00]: Number one, the dude was not just racist, he was straight up xenophobic, everything for the way he treated strangers, even from the way he named his cat. 03:41.467 --> 04:02.963 [SPEAKER_00]: I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not going to say the name of love, I'm not 04:03.603 --> 04:10.687 [SPEAKER_00]: And, number three, the majority of his stories didn't become successes until after he had passed away, so it can't really be a film about sudden overnight fame. 04:11.187 --> 04:19.172 [SPEAKER_00]: It might sound hard to turn Lovecraft's life into a sincere film, but keep in mind we also live in a world where we have movies about the origin story of the Air Jordan and fucking Tetris. 04:20.317 --> 04:21.718 [SPEAKER_00]: So let's let's make it happen, friends. 04:21.778 --> 04:24.340 [SPEAKER_00]: I say, give Guillemolda Toro $100 million. 04:24.700 --> 04:27.002 [SPEAKER_00]: Cast Tom Holland to play Lovecraft, no joke. 04:27.322 --> 04:28.723 [SPEAKER_00]: Look at his photo, they look alike. 04:29.103 --> 04:31.865 [SPEAKER_00]: Oh, young, I suppose, you know, I can kind of see it. 04:32.445 --> 04:41.331 [SPEAKER_00]: Since you guys have been seen far more biopics than me, and also know a lot about the guy I would love to hear, how you would tackle such a biopic, if Delta the cards. 04:41.711 --> 04:43.232 [SPEAKER_00]: Thank you for many years of great entertainment. 04:43.332 --> 04:45.574 [SPEAKER_00]: One podcast episode at a time, since you're the Emma. 04:45.937 --> 04:50.581 [SPEAKER_01]: Emma, I'm going to say this right now, and I grew up reading a lot of HP Lovecraft. 04:50.601 --> 04:56.467 [SPEAKER_01]: Stephen King helped sort of pull Lovecraft out of obscurity. 04:56.547 --> 04:59.229 [SPEAKER_01]: He was a favorite amongst horror authors. 04:59.289 --> 05:07.197 [SPEAKER_01]: He was one of the first authors to create like a shared complex mythology that ran throughout his work, yet a very 05:07.797 --> 05:15.579 [SPEAKER_01]: a prosaic writing style that made everything seem very, very important and very, very mysterious. 05:16.940 --> 05:25.262 [SPEAKER_01]: He had a tendency to write horror stories starring as protagonists, people who were considered intellectuals. 05:25.983 --> 05:33.305 [SPEAKER_01]: And so ordinarily, you would trust anything that they said, this person is a historian, it's person is a scientist, surely whatever they believe 05:33.906 --> 05:38.721 [SPEAKER_01]: is at the very least what we currently understand to be true, but we also know they're in a lovecraft story, so we also know that they're 05:39.382 --> 05:39.822 [SPEAKER_01]: wrong. 05:40.203 --> 05:47.607 [SPEAKER_01]: And so he's sort of challenging our notion of reality and, uh, uh, uh, what's the expertise? 05:48.087 --> 05:50.749 [SPEAKER_01]: Uh, there's a lot of interesting things that Lovecraft did. 05:51.069 --> 05:56.172 [SPEAKER_01]: Also, huge racist and, oh, openly, virulently so. 05:56.292 --> 06:00.555 [SPEAKER_01]: And almost no female characters in any of his stories. 06:00.595 --> 06:03.397 [SPEAKER_01]: No, no female characters like, like, like, same, they did it. 06:03.417 --> 06:05.098 [SPEAKER_00]: Like, he, uh, he, he, 06:05.958 --> 06:08.601 [SPEAKER_00]: From what I understand that married part of getting married. 06:08.821 --> 06:09.141 [SPEAKER_00]: Did he? 06:09.662 --> 06:12.124 [SPEAKER_00]: Yeah, did he ever see his wife? 06:13.325 --> 06:28.279 [SPEAKER_01]: I remember hearing a story because I love craft used to do a lot of Ghost writing to pay the bills yeah, and one of the things that he wrote he wrote I believe he wrote short stories under the pen name of Harry Houdini 06:28.919 --> 06:45.552 [SPEAKER_01]: Like Harry Houdini wrote about the adventures of whatever and I think I'd remember hearing a story once about how Lovecraft had written one and it had gotten them lost in the mail and then he ended up having to spend like the entire honeymoon writing it Like doing it all over again But yeah, he was pretty sure he got married. 06:45.793 --> 06:48.074 [SPEAKER_00]: Yeah, yeah for 15 years. 06:48.114 --> 06:48.755 [SPEAKER_00]: He was married. 06:48.835 --> 06:51.257 [SPEAKER_00]: Yeah, to a Sonya green. 06:51.677 --> 06:52.298 [SPEAKER_00]: Yeah, yeah 06:52.978 --> 07:01.686 [SPEAKER_01]: It's kind of forgotten by history, so in Ukraine, that might be a good entry way, I think, but she was rich, she bankrolled a lot of magazines. 07:01.746 --> 07:02.266 [SPEAKER_00]: There you go. 07:02.466 --> 07:05.129 [SPEAKER_00]: It is just sort of like a business relationship. 07:05.149 --> 07:06.049 [SPEAKER_01]: Yeah, I don't know. 07:06.089 --> 07:06.970 [SPEAKER_01]: I don't know. 07:07.130 --> 07:07.611 [SPEAKER_00]: Who can say? 07:07.671 --> 07:09.112 [SPEAKER_01]: I don't know what their relationship is like. 07:09.132 --> 07:10.853 [SPEAKER_01]: I don't know everything about HP Lovecraft. 07:12.195 --> 07:14.977 [SPEAKER_01]: But yeah, he's enormously influential. 07:14.997 --> 07:18.079 [SPEAKER_01]: Hell, the new Minions movie has Catholic in it. 07:18.840 --> 07:22.922 [SPEAKER_00]: Yeah, people know the uh, just the iconography of the story. 07:22.942 --> 07:25.043 [SPEAKER_00]: Yeah, it's been adapted into so many other things. 07:25.823 --> 07:27.724 [SPEAKER_00]: Batman is taking a lot of Batman comics. 07:27.884 --> 07:29.924 [SPEAKER_01]: If you're taking a lot of, like, Arkham is silent. 07:29.944 --> 07:31.505 [SPEAKER_01]: There was a common lead. 07:31.525 --> 07:32.405 [SPEAKER_01]: There's a location. 07:32.445 --> 07:39.668 [SPEAKER_01]: A lot of lovecraft stories called Arkham, which has a lot of terrible things happening in and around it. 07:39.828 --> 07:42.990 [SPEAKER_01]: And they adapted that story into the Batman comics. 07:44.030 --> 07:48.533 [SPEAKER_01]: So, there's a lot of material here, but the elephant in the room is the racism. 07:48.573 --> 08:02.541 [SPEAKER_01]: And I think that if you do not address the ugliness that is behind a lot of the things that Lovecraft considered scary, his notion of the other, you're being irresponsible. 08:03.161 --> 08:05.183 [SPEAKER_01]: And so, for me, that has to be 08:06.683 --> 08:24.892 [SPEAKER_01]: foregrounded, and so my thought is that this would have to be a story about what scared lovecraft, and how that may have taken the form of eldritch terrors from beyond the stars, but what he was really, really scared of were people who were not like him. 08:25.813 --> 08:25.973 [SPEAKER_01]: And 08:27.073 --> 08:30.156 [SPEAKER_01]: You have to find a way sort of a dramatic in-row to explore that. 08:30.176 --> 08:38.765 [SPEAKER_01]: And I think the obvious idea is that you're gonna sort of Bring some of his horrible stories to life in some way. 08:38.945 --> 08:48.595 [SPEAKER_00]: What the way you could do in HP Lovecraft's biography is you have to do that Some biographies do this you have to tell it from the perspective of somebody else 08:49.736 --> 08:51.137 [SPEAKER_00]: Sometimes that works really well. 08:51.657 --> 08:52.418 [SPEAKER_00]: Often it doesn't. 08:52.478 --> 08:58.563 [SPEAKER_00]: I remember the Mr. Rogers biography It was told from the perspective of this very uninteresting reporter character. 08:58.583 --> 09:01.666 [SPEAKER_00]: The way that That's a real guy, but the way it was written was very uninteresting. 09:01.746 --> 09:02.527 [SPEAKER_00]: There was a biopic of 09:06.410 --> 09:08.031 [SPEAKER_01]: Who created Kona was a Robert E. Howard? 09:08.171 --> 09:09.032 [SPEAKER_00]: Robert E. Howard. 09:09.072 --> 09:09.692 [SPEAKER_00]: Yeah. 09:10.332 --> 09:10.512 [SPEAKER_00]: Yeah. 09:10.612 --> 09:11.333 [SPEAKER_00]: Robert E. Howard. 09:11.473 --> 09:12.153 [SPEAKER_00]: What was Robert E. Howard? 09:12.173 --> 09:12.313 [SPEAKER_01]: Okay. 09:12.333 --> 09:17.076 [SPEAKER_01]: Well, in any case, they did a biopic with Vincent Denafrio playing him. 09:17.096 --> 09:22.279 [SPEAKER_00]: And I've been resources on the perspective of his wife, who I think was played by Reynolds and when I saw what her before she was huge. 09:22.699 --> 09:26.041 [SPEAKER_01]: Really, I'm going to look that up and it's phone's being very, very slow right now. 09:26.121 --> 09:28.002 [SPEAKER_01]: Yeah, I'm going to be a full repeater. 09:28.182 --> 09:39.349 [SPEAKER_00]: But yeah, from what I understand, he, uh, uh, corresponded most frequently with another author named August Darleph, and I think that might be a good way to go about it. 09:40.830 --> 09:42.691 [SPEAKER_01]: Maybe, just a whole wide world. 09:42.931 --> 09:44.893 [SPEAKER_00]: Oh, yeah, oh, that was already powered by a pin. 09:44.913 --> 09:46.233 [SPEAKER_01]: Yeah, Vincent's a pre-played rabbit. 09:46.273 --> 09:50.616 [SPEAKER_01]: He powered and released a leger played no-veline price. 09:50.696 --> 09:51.557 [SPEAKER_01]: Oh, I guess he wasn't? 09:52.387 --> 09:53.287 [SPEAKER_01]: his wife, what do you like? 09:55.228 --> 09:56.129 [SPEAKER_00]: I don't see that one. 09:56.149 --> 09:58.229 [SPEAKER_00]: I come in the mid-90s, I remember that one. 09:58.329 --> 10:00.770 [SPEAKER_01]: I guess he had an affair with a school teacher, I don't know. 10:00.950 --> 10:03.992 [SPEAKER_01]: Oh, there it is, but like, yeah. 10:04.232 --> 10:07.713 [SPEAKER_00]: She plays, oh god, a red Sonya. 10:09.354 --> 10:11.695 [SPEAKER_00]: Yes, really is a red Sonya. 10:12.155 --> 10:13.015 [SPEAKER_01]: I would pay to see that. 10:17.041 --> 10:38.116 [SPEAKER_00]: So yeah, HP Lovecraft, now if you wanted to do the, like the Michael Jackson thing and just sort of tell this fantasy story about HP Lovecraft, well that's kind of like fake biography, there's a lot of fake stories that have been about like how we're gonna love lovecraft, so the mysteries and shit. 10:38.196 --> 10:56.975 [SPEAKER_00]: there was there's an anthology film out there called necronomacot i think it's a store gordon film or maybe so I think it was not I think it was not but it was an anthology movie that adapted lovecraft stories but the book and material was jiffy combs played lovecraft 10:57.756 --> 11:02.577 [SPEAKER_00]: And he was reading the stories out of the Necronomicon, the book of the day. 11:02.918 --> 11:11.620 [SPEAKER_01]: There was a multiple director anthology, brand use that I believe the framing device and also whispers. 11:12.060 --> 11:18.302 [SPEAKER_01]: Christophe Gans, who is best known for directing the Silent Hill movie that everyone likes so much and also the new one that nobody liked. 11:19.222 --> 11:27.427 [SPEAKER_01]: The the drowned and then Shusuke Kaneko I did the cold which I remember being the best one in that French and that's a and that film But I haven't seen it in a long time. 11:27.447 --> 11:28.068 [SPEAKER_01]: Yeah, it's been a second. 11:28.088 --> 11:41.055 [SPEAKER_01]: Yeah, there's also what but even just like characters like it named after Lovecraft cast a deadly spell starred Fred Ward yeah as director Harry love as the detective Harry love her 11:44.760 --> 11:59.768 [SPEAKER_00]: Lovecraft stories for some reason like haven't made for successful movies, even though he's like a really ubiquitous part of popular culture, there hasn't been like one big lovecraft inspired blockbuster. 12:00.960 --> 12:05.203 [SPEAKER_00]: At least not directly, there was that TV series Lovecraft country, but that's not a bout Lovecraft. 12:05.383 --> 12:06.804 [SPEAKER_00]: No. 12:06.864 --> 12:15.449 [SPEAKER_01]: And it was also taken it back as well, because it wasn't, it was mostly about, uh, Well, that does the Black experience in American Black Corps stories throughout the American history. 12:15.469 --> 12:20.513 [SPEAKER_00]: Yeah, cast a deadly spell has a good cold hot against, I'm very fond of in the mouth of madness, but that's only Lovecraft adjacent. 12:20.793 --> 12:29.038 [SPEAKER_00]: There's lots of, there's lots of reasons that are inspired by Lovecraft, and very influenced by Lovecraft, from the children's stories, the black ones and so on, but yeah, 12:31.191 --> 12:35.938 [SPEAKER_00]: But there hasn't been a call of Kathulu, like big mainstream feature. 12:35.958 --> 12:37.120 [SPEAKER_00]: There's been some indie films. 12:37.160 --> 12:38.121 [SPEAKER_00]: And there's been a talent. 12:38.181 --> 12:38.341 [SPEAKER_00]: Yeah. 12:38.361 --> 12:43.950 [SPEAKER_01]: So Gimmel Del Toro was trying to make out the mountains of madness for many, many years. 12:43.990 --> 12:45.272 [SPEAKER_01]: Tom Cruise was attached. 12:45.292 --> 12:46.593 [SPEAKER_01]: Like it was going to be a big thing. 12:46.633 --> 12:46.914 [SPEAKER_01]: And then 12:48.175 --> 13:07.022 [SPEAKER_01]: That never happened because almost everything Germal has Gil Toro has ever tried to do and it up not happening because he's not directed way more movies than he's directed But yeah, no, I remember the best received lovecraft movies or typically the ones directed by Stuart Gordon And he really cracked the code on that he did reanimator. 13:07.082 --> 13:12.884 [SPEAKER_01]: He did from beyond and then for years he was trying to get The shadow over in Smith. 13:13.465 --> 13:17.106 [SPEAKER_01]: Okay, so the shadow over in some of them was called yeah, but that's the story 13:17.718 --> 13:20.060 [SPEAKER_01]: Yeah, um, something, something, something, and stuff. 13:20.080 --> 13:21.761 [SPEAKER_01]: But um, you're trying to get that made. 13:21.982 --> 13:24.444 [SPEAKER_01]: And then he kept running into problems. 13:24.464 --> 13:39.857 [SPEAKER_01]: And if you've never read that story, it's about a guy who winds him up in like this very, like tucked away New England community, where all of the people look very wrong as if maybe somehow their DNA has been spliced with fish. 13:40.778 --> 13:41.558 [SPEAKER_00]: And it was very, very creepy. 13:41.878 --> 13:43.500 [SPEAKER_00]: And he would apparently- Was that day gone? 13:44.794 --> 13:45.854 [SPEAKER_01]: You're ahead of me. 13:47.075 --> 13:50.076 [SPEAKER_01]: He was trying to get that made around Hollywood and people didn't get it. 13:50.116 --> 13:51.797 [SPEAKER_01]: I'm like, well, could we make him vampires? 13:51.817 --> 13:54.198 [SPEAKER_01]: And he said, no, because then it's Salem's lot. 13:54.638 --> 13:56.158 [SPEAKER_01]: It's still Salem's lot at that point. 13:56.178 --> 13:56.839 [SPEAKER_01]: That's what you want. 13:57.319 --> 14:00.980 [SPEAKER_01]: So I believe he kind of lost that project, that project out of way from him. 14:01.080 --> 14:03.521 [SPEAKER_01]: But Lovecraft's work is in public domain. 14:03.561 --> 14:05.962 [SPEAKER_01]: And he did another story that was about something similar. 14:06.042 --> 14:08.183 [SPEAKER_01]: So he did a movie called Day Gone, which was 14:09.320 --> 14:11.201 [SPEAKER_01]: mostly the insimuth tale. 14:11.241 --> 14:13.422 [SPEAKER_01]: Okay, but that's actually quite good. 14:13.862 --> 14:15.022 [SPEAKER_01]: That's the one I haven't seen this day. 14:15.042 --> 14:19.804 [SPEAKER_01]: Really fantastic makeup effects Like they're really they really pull out of the stops on that. 14:19.824 --> 14:28.947 [SPEAKER_01]: That's a pretty solid film But yeah, no, I think it's just the trick is any lovecraft biopic if you wanted to do an actual biopic 14:30.608 --> 14:47.906 [SPEAKER_01]: if you don't address the elephant in the room people will be furious and even the fans i think i think there's not a lot of people who care enough about lovecraft to be interested in the lovecraft there's no way lovecraft biopic is going to make a billion dollars like michael is might literally do so 14:50.248 --> 14:54.091 [SPEAKER_01]: So I think they want they would they would expect you to at least address it. 14:55.191 --> 14:57.973 [SPEAKER_01]: This isn't necessarily have to be the point, but I think it should be. 14:59.854 --> 15:03.477 [SPEAKER_01]: So yeah, my thing is this depends on how old you want to cast them. 15:03.497 --> 15:08.360 [SPEAKER_01]: Clearly Emma was thinking young love craft adventures of the young love craft chronicles. 15:09.881 --> 15:12.743 [SPEAKER_01]: I would go maybe older love craft looking back on his life. 15:13.363 --> 15:16.065 [SPEAKER_01]: Yeah, kind of thing and I would get Jeremy on-white. 15:17.451 --> 15:21.033 [SPEAKER_01]: All right, I think he's kind of like a haunted gaunt expression. 15:21.053 --> 15:24.175 [SPEAKER_01]: Yeah, I think you could I think you could pull it off great. 15:24.255 --> 15:31.780 [SPEAKER_00]: I think casting is just throw it a casting call I can't think of like a big star and I know it would be just fine. 15:32.340 --> 15:39.765 [SPEAKER_00]: I remember There's a really fantastic animator film Will Vinton made of a Fell I think I think it's at the wrong guy 15:40.465 --> 15:42.526 [SPEAKER_01]: Oh, you're turning out like from the bear. 15:42.846 --> 15:43.827 [SPEAKER_01]: No, no, no, no, no. 15:43.947 --> 15:46.408 [SPEAKER_01]: Oh, it's that other guy who's in the social reckoning. 15:46.428 --> 15:49.169 [SPEAKER_00]: Oh Oh, no, the guy from succession. 15:49.870 --> 15:50.790 [SPEAKER_00]: The guy from succession. 15:50.850 --> 15:51.610 [SPEAKER_00]: The guy from succession. 15:52.551 --> 15:53.271 [SPEAKER_00]: Kieran Kolkin. 15:53.531 --> 15:54.972 [SPEAKER_00]: No, no, Brian Cox. 15:55.792 --> 15:56.793 [SPEAKER_00]: No, sir's new. 15:57.213 --> 15:58.073 [SPEAKER_01]: No, all right. 15:58.374 --> 16:00.435 [SPEAKER_01]: The other guy the one everyone liked 16:01.455 --> 16:02.096 [SPEAKER_00]: Kieran Colkan. 16:02.216 --> 16:04.058 [SPEAKER_00]: No, the other one, everyone likes. 16:04.078 --> 16:05.259 [SPEAKER_01]: Kieran Colkan, what all your words? 16:05.319 --> 16:07.601 [SPEAKER_00]: It's my God. 16:07.661 --> 16:08.802 [SPEAKER_00]: I've never seen successions. 16:08.862 --> 16:11.985 [SPEAKER_01]: I've also never seen successions, which my girlfriend is very upset about. 16:12.005 --> 16:12.946 [SPEAKER_01]: Um... 16:13.847 --> 16:14.787 [SPEAKER_01]: Hold on. 16:14.807 --> 16:16.289 [SPEAKER_01]: Man, man, man, man, man, man. 16:16.729 --> 16:17.650 [SPEAKER_01]: Jeremy's strong. 16:17.710 --> 16:18.531 [SPEAKER_01]: I knew it was a Jeremy. 16:18.591 --> 16:19.452 [SPEAKER_01]: Jeremy's strong. 16:19.472 --> 16:20.413 [SPEAKER_01]: Jeremy's strong. 16:20.453 --> 16:21.394 [SPEAKER_01]: I think we'd make a grade. 16:21.934 --> 16:22.455 [SPEAKER_01]: Lovecraft. 16:22.615 --> 16:22.815 [SPEAKER_01]: Okay. 16:25.215 --> 16:26.458 [SPEAKER_00]: I'm not cutting any of that. 16:26.718 --> 16:29.304 [SPEAKER_00]: I will just be wrong. 16:29.324 --> 16:32.551 [SPEAKER_00]: I don't feel bad about that because it's not something a familiar with 16:35.230 --> 16:38.311 [SPEAKER_00]: Will Vinton made an animated film called The Adventures of Mark Twain. 16:38.331 --> 16:42.313 [SPEAKER_00]: And that was like a fantastical rendition of the life of Mark Twain. 16:42.333 --> 16:47.255 [SPEAKER_00]: And the idea was, he was born the year, Hayley's comic came around and then died. 16:47.375 --> 16:48.876 [SPEAKER_00]: The next time Hayley's comic came around. 16:48.936 --> 16:49.116 [SPEAKER_01]: Yeah. 16:49.356 --> 16:57.940 [SPEAKER_00]: So the film is based around this idea that he actually constructed like this magical zeppelin to fly up into space and sort of merge with the comet. 16:57.980 --> 16:59.060 [SPEAKER_00]: That's how he wanted to go out. 16:59.120 --> 16:59.941 [SPEAKER_00]: Wow. 17:00.181 --> 17:00.321 [SPEAKER_00]: And 17:01.401 --> 17:06.024 [SPEAKER_00]: Tom Sawyer and Huck Finn and Becky Thatcher were like people he knew. 17:06.304 --> 17:13.547 [SPEAKER_00]: They were like real people that joined him on this adventure But on the blimp, there were actually two Mark Twains. 17:13.587 --> 17:18.330 [SPEAKER_00]: There was a Samuel Clemens and there was a Mark Twain There was the home spawn kind of folks. 17:18.350 --> 17:26.154 [SPEAKER_00]: He guy with the cigar and the white suit who would like to spend wisdom and tell these kind of folktales public image and then there was the guy who wrote 17:27.394 --> 17:32.437 [SPEAKER_00]: Um, what was it, um, the deliberate, not the deliberate stranger, the, um, the mysterious stranger. 17:32.697 --> 17:32.977 [SPEAKER_01]: Oh, yeah. 17:33.037 --> 17:36.459 [SPEAKER_00]: Like, there are some like horror stories and some darkness to a lot of his stories. 17:36.539 --> 17:42.543 [SPEAKER_00]: And that, that was actually a different Mark Twain, and they were like, alternatively stalking around. 17:42.603 --> 17:47.566 [SPEAKER_00]: I would think with a lovecraft story, you could have the public image of Lovecraft, who is this kind of, 17:48.926 --> 18:11.650 [SPEAKER_00]: hip horror author that kids of the 21st century really like and the other one is the real lovecraft the racist dick who lived in an attic and only ever spoke to his aunt and evidently it was a marriage was married you know that's the idea of like reckoning with the legacy they're like beyond the grave like later on there that's something interesting to them like there's two two lovecraft to get two different actors I think that'd be interesting 18:12.092 --> 18:14.373 [SPEAKER_01]: Well, in any case, I guess that's our take. 18:14.513 --> 18:18.515 [SPEAKER_01]: Thank you for asking a tough question, right up at the gate, and let's move on, all right? 18:18.555 --> 18:19.616 [SPEAKER_01]: This is a letter from Tofer. 18:20.076 --> 18:20.816 [SPEAKER_00]: Hi, Tofer. 18:20.876 --> 18:21.457 [SPEAKER_00]: Tofer, dear. 18:23.095 --> 18:31.121 [SPEAKER_00]: Okay, this is just the rules for a card game called StudioExecutive. 18:31.701 --> 18:34.323 [SPEAKER_00]: Ooh, StudioExecutive is a card game for two to four players. 18:34.343 --> 18:39.987 [SPEAKER_00]: Each player takes the role of a Hollywood StudioExecutive, competing to acquire, develop, and release movies for maximum profit. 18:40.427 --> 18:41.908 [SPEAKER_00]: Okay, the game is played over multiple rounds. 18:42.489 --> 18:49.034 [SPEAKER_00]: Movie cards, famous movies showing the production cost, gross earning cards, a face-down deck of outcomes. 18:50.395 --> 18:55.080 [SPEAKER_00]: such as unpromoted gross and promoted gross plus modifier cards and poison cards. 18:55.200 --> 18:55.540 [SPEAKER_00]: Oh no. 18:56.261 --> 19:03.088 [SPEAKER_00]: Play money, one million five million ten million dollar bills and tracking sheets for the players portfolio. 19:03.108 --> 19:03.448 [SPEAKER_00]: The set up. 19:03.488 --> 19:05.691 [SPEAKER_00]: Each player starts with one hundred million dollars. 19:06.572 --> 19:10.416 [SPEAKER_00]: Shuffleboats both decks and place them face down to the center of the table, randomly determine who goes first. 19:11.830 --> 19:19.658 [SPEAKER_00]: On your turn, you must draw a movie card, flip the top card of the movie deck face up so players can see its production cost, and that acquire the movie or pass it to auction. 19:19.958 --> 19:20.258 [SPEAKER_01]: Okay. 19:20.578 --> 19:28.846 [SPEAKER_00]: You can buy it directly, pay the listed production cost, and take the card into your portfolio, or send it to auction, to climb to buy it at face value, and I'll play yours minute now, bid on it. 19:30.168 --> 19:30.368 [SPEAKER_00]: Okay. 19:30.388 --> 19:32.070 [SPEAKER_00]: This is the way it works in Hollywood. 19:32.770 --> 19:37.675 [SPEAKER_00]: If no one bids the car goes into the discard pile, and number three, promote the movie optional. 19:38.196 --> 19:40.599 [SPEAKER_00]: You may promote one movie you are releasing this turn. 19:41.139 --> 19:44.363 [SPEAKER_00]: Promotion costs half of what you originally paid for the movie, you know. 19:44.783 --> 19:47.826 [SPEAKER_00]: You must decide whether to promote before drawing from the gross earnings deck. 19:48.167 --> 19:53.612 [SPEAKER_00]: This decision cannot be changed from the draw of begins, and for release up to two movies on your turn. 19:54.233 --> 19:55.253 [SPEAKER_00]: You can release to two movies. 19:55.273 --> 20:02.536 [SPEAKER_00]: The movie you're just acquired, if you choose to release it immediately, or one movie from your unreleased portfolio, movies acquired in previous turns. 20:03.276 --> 20:08.298 [SPEAKER_00]: For each movie you release, draw from the gross earnings deck and resolve the result as seen below. 20:08.558 --> 20:12.260 [SPEAKER_00]: Any movie you require, but do not release, is held in your unreleased portfolio. 20:13.140 --> 20:14.161 [SPEAKER_00]: Gross earnings card. 20:15.161 --> 20:20.043 [SPEAKER_00]: When you release a movie, draw the top card of the gross earnings deck, cards are of one of three types. 20:20.882 --> 20:21.903 [SPEAKER_00]: terminal cards. 20:22.223 --> 20:22.523 [SPEAKER_00]: Wow. 20:22.683 --> 20:27.466 [SPEAKER_00]: These end the draw chain and give you a number to resolve each card shows two layers. 20:27.506 --> 20:33.891 [SPEAKER_00]: The unprompted gross earnings released without promotion are the promoted gross earnings if you did pay to promote it. 20:34.967 --> 20:42.431 [SPEAKER_00]: Apply which other value matches the promotion decision your two values may be identical slightly different dramatically different You won't know until the card is drawn. 20:42.571 --> 20:50.154 [SPEAKER_00]: So you never know how much your movie's gonna earn Well, yeah, you get more bang if you pay into the promotion cost to that. 20:50.174 --> 20:50.674 [SPEAKER_00]: I like that. 20:50.694 --> 20:59.799 [SPEAKER_00]: That's a Your net profit for each movie is gross earnings Production cost over what you bid it auction minus production cost if applicable. 21:00.099 --> 21:02.200 [SPEAKER_00]: So there's like a yeah, how you score 21:03.330 --> 21:04.031 [SPEAKER_00]: Modifier cards? 21:04.391 --> 21:11.997 [SPEAKER_00]: These are not terminal, they apply an effect and require you to draw again, keep drawing until you reach a terminal card, all modifiers stacker and are always all together. 21:12.017 --> 21:15.300 [SPEAKER_00]: The current modifier cards does it have Oscar buzz. 21:15.420 --> 21:16.200 [SPEAKER_00]: The Oscar buzz card. 21:16.721 --> 21:23.927 [SPEAKER_00]: A word season is calling, multiply your final gross earnings, promoted or unpromoted, whichever applies by 1.25, the force of attracting your costs. 21:24.347 --> 21:24.647 [SPEAKER_00]: Okay. 21:24.928 --> 21:25.828 [UNKNOWN]: Okay. 21:25.888 --> 21:28.090 [UNKNOWN]: Ha ha ha ha ha ha ha. 21:28.430 --> 21:29.211 [SPEAKER_00]: Oh, I found a good one. 21:29.331 --> 21:31.013 [SPEAKER_00]: The Hurl and Ellison sues you card. 21:34.193 --> 21:36.136 [SPEAKER_00]: Ooh, we've got a recurring light mode date. 21:37.478 --> 21:38.499 [SPEAKER_00]: Harlan Ellison is back. 21:38.880 --> 21:41.223 [SPEAKER_00]: The legendary litigant has noticed your film. 21:41.243 --> 21:49.113 [SPEAKER_00]: You must release the movie you cannot hold it back and subtract 20 million from your final gross earnings after all, and all other modified gurus are applied. 21:50.070 --> 22:18.285 [SPEAKER_00]: uh... pose poison cards these are also not terminal they apply negative effect and required to draw again the current poison cards production hell mhm your project is mired in chaos you lose your next turn entirely and may not participate in any film options during the other players turns until you return what if occurred this chin if this chin occurs you draw again right you lost a lawsuit i guess this is uh... in addition to harlan elicin pay one hundred million dollars in damage your movie earns nothing oh god 22:18.745 --> 22:22.068 [SPEAKER_00]: or there's no distribution deal, movie earns nothing this round. 22:23.149 --> 22:25.570 [SPEAKER_01]: I think there should also be, I'm going to throw it out of a one here. 22:25.590 --> 22:43.784 [SPEAKER_01]: I think there should also be something like breaking news, where like something that your movie is very specifically about is suddenly in the news in a very, like, you know, we've done a biopic about the guy who invented Crest toothpaste and then, oh, two weeks before comes out. 22:47.727 --> 23:12.600 [SPEAKER_00]: wildly toxic and responsible for all the cancer like oh shit We're probably not gonna make a lot of money off of that acts of God and that could be there could be a positive effect as well Like yeah, we made this biography of this one famous person and that famous person happened to release a record that same Yeah, you're you're you're you're star Just Mary Zendaya 23:16.261 --> 23:22.547 [SPEAKER_00]: Anyway, resolving a chain, keep drawing until you reach a terminal card once you do apply everything needed that you accumulated in order. 23:23.028 --> 23:28.132 [SPEAKER_00]: Take the terminal card's gross value, promoted or promoted, to add any multipliers, oscobus, etc. 23:29.417 --> 23:38.706 [SPEAKER_00]: three at any flat deductions, Harlan Ellison, for a plenty poison card effects, and five subtracted production cost and promotion cost, if applicable. 23:39.486 --> 23:49.375 [SPEAKER_00]: So an example, you get the Oscar buzz card, Harlan Ellison sues you, the terminal card is 40 million, unpromoted, 55 million promoted. 23:50.136 --> 23:51.577 [SPEAKER_00]: Okay, 40 million unpromoted. 23:52.578 --> 23:59.561 [SPEAKER_00]: You can choose to promote, so the resolution will be 55 million times 1.25, that's your Oscar buzz. 23:59.741 --> 24:06.724 [SPEAKER_00]: Get your movie 68.75 million minus the 20 million that Hurl and Ellison took, so your gross is now 48.75 million. 24:08.475 --> 24:15.799 [SPEAKER_00]: subtract the production cost which is 30 million and the promotion cost is another 15 million your net profit is 3.75 million dollars. 24:16.260 --> 24:24.824 [SPEAKER_01]: Okay so here's what I like about them because a lot of people do not understand how box office numbers work. 24:24.844 --> 24:25.925 [SPEAKER_00]: Holy wood accounting. 24:26.065 --> 24:27.226 [SPEAKER_00]: Yeah it's always true. 24:27.266 --> 24:28.767 [SPEAKER_01]: It's a mysterious and a lot of it's 24:29.678 --> 24:49.930 [SPEAKER_01]: Bullshit, I think it was Ed Solomon, who wrote the original Men in Black, the screenplay, has explained at some point that he's never made money off of that, because the studio keeps saying Men in Black didn't turn a profit, well then why did you make three other movies? 24:51.462 --> 24:58.026 [SPEAKER_00]: It doesn't make any sense, but they keep, they find a way to claim ways that it doesn't make profits so they don't have to pay royalties too. 24:58.187 --> 25:10.395 [SPEAKER_01]: But even if you do make a lot of money, it's just because like you cost $60 million and you made $200 million, that doesn't necessarily mean you turned a meaningful profit for one thing. 25:11.035 --> 25:13.837 [SPEAKER_01]: Theaters take a lot of that money for another thing. 25:14.017 --> 25:18.721 [SPEAKER_01]: There may be there they usually don't Factor and promotion. 25:18.821 --> 25:19.621 [SPEAKER_01]: Yes, it's into that. 25:19.641 --> 25:24.425 [SPEAKER_01]: They usually consider that separate if only to make the movie look cheaper So it's less of an issue of it. 25:24.465 --> 25:32.570 [SPEAKER_01]: So there's probably if you spent $60 million making a movie You probably spent 10 to 20 Promoting it so that's other money that is not the table. 25:32.610 --> 25:33.411 [SPEAKER_01]: I remember when um 25:35.271 --> 25:39.157 [SPEAKER_01]: I think one of the super hero movies, I want to say it was super and it returns to the incredible Hulk. 25:39.177 --> 25:40.840 [SPEAKER_01]: I've been in development hell for so long. 25:41.341 --> 25:46.749 [SPEAKER_01]: That when the movie finally came out, even though it seemed like it turned a tidy profit, 25:47.619 --> 25:51.882 [SPEAKER_01]: It soaked up all of the costs of the previous attempts to make it. 25:52.302 --> 25:52.522 [SPEAKER_00]: Yeah. 25:52.783 --> 25:57.065 [SPEAKER_01]: So it was actually like an additional like $40 million on the budget. 25:57.386 --> 26:00.928 [SPEAKER_01]: Just because God damn it, we tried to hire these screened items. 26:01.008 --> 26:02.869 [SPEAKER_01]: That screenwriter gave money in. 26:02.949 --> 26:07.192 [SPEAKER_01]: This guy, this actor was going to get paid whether he started the movie or not. 26:07.252 --> 26:12.076 [SPEAKER_01]: Yeah, it's so like, yeah, it's Hollywood economics is bullshit. 26:12.396 --> 26:13.517 [SPEAKER_01]: It's absolute crap. 26:13.557 --> 26:16.959 [SPEAKER_01]: And I like the idea of making a game around it, even if it's a little too much math for me. 26:17.833 --> 26:19.415 [SPEAKER_00]: Well, but all the numbers are in front of you. 26:19.435 --> 26:21.558 [SPEAKER_00]: They're on the cards, which I appreciate. 26:21.638 --> 26:22.720 [SPEAKER_01]: I still have to do subtraction. 26:23.601 --> 26:24.903 [SPEAKER_01]: And that, I know about it. 26:25.043 --> 26:30.330 [SPEAKER_00]: And it finally says around ends when any players budget reaches zero or they can't afford to purchase new movies. 26:30.951 --> 26:34.456 [SPEAKER_00]: Every other player takes one final turn, all players then tell you the net profit. 26:34.756 --> 26:41.699 [SPEAKER_00]: From every movie they've released this round, the player with the highest total profit received a $20 million bonus and adds it to their starting budget for the next round. 26:41.719 --> 26:42.319 [SPEAKER_00]: It's like monopoly. 26:42.339 --> 26:47.081 [SPEAKER_00]: You're going to have cash just by bandie about unreleased movies carry over into the next round. 26:47.261 --> 26:53.943 [SPEAKER_00]: Winning the game, the play continues for an agreed number of rounds, the player with the highest cumulative profit wins. 26:54.843 --> 26:57.244 [SPEAKER_00]: I feel like there's one thing missing through the game. 26:57.264 --> 26:58.785 [SPEAKER_01]: I feel like one thing is missing from there. 26:58.805 --> 27:01.846 [SPEAKER_01]: Like one actual bit of play, maybe this is like an expansion pack. 27:03.736 --> 27:05.237 [SPEAKER_01]: purchased by a corporation. 27:06.057 --> 27:07.738 [SPEAKER_01]: Oh, like, bought out your bought out. 27:07.918 --> 27:08.178 [SPEAKER_01]: Yeah. 27:08.198 --> 27:15.462 [SPEAKER_01]: So like, there's all of your movies have just been completely like nixed for like a max per merger. 27:15.622 --> 27:17.443 [SPEAKER_00]: You lose all of the like old projects. 27:17.523 --> 27:19.804 [SPEAKER_01]: Oh, no, my back for a movie is never going to come out. 27:19.844 --> 27:24.466 [SPEAKER_00]: I spent, I spent a whole bunch of money on anything on release gets gets lost in the merger. 27:24.526 --> 27:26.527 [SPEAKER_00]: That would be like a wild card for that. 27:26.627 --> 27:27.308 [SPEAKER_00]: Again, like that. 27:28.728 --> 27:29.489 [SPEAKER_00]: I like this idea. 27:29.929 --> 27:30.309 [SPEAKER_00]: That's fun. 27:30.629 --> 27:39.132 [SPEAKER_00]: I like the idea that we're treating movies like property and it doesn't matter what what the movies are about Yeah, it's just sort of a numbers game for a lot of money. 27:39.152 --> 27:40.752 [SPEAKER_01]: But anyway, that's that's how it is. 27:40.812 --> 27:42.153 [SPEAKER_01]: Yeah, wouldn't you hear the money guy? 27:42.393 --> 27:48.434 [SPEAKER_01]: You it used to be this industry was run by money guys who did care about the movies Like Louis B. 27:48.474 --> 27:51.255 [SPEAKER_01]: Mayor notorious asshole, but he watched the movies. 27:51.275 --> 27:52.296 [SPEAKER_01]: He watched the movies. 27:52.316 --> 27:56.777 [SPEAKER_01]: He cared about the movies and that's that was It was a very different environment 27:57.577 --> 27:59.980 [SPEAKER_01]: for the people making things behind the scenes. 28:00.501 --> 28:13.016 [SPEAKER_01]: Nowadays, you get the impression that a lot of the people who actually run Warner Bros. Disney, whatever, they don't give a fuck as long as it doesn't offend whoever they think is important not to offend. 28:13.436 --> 28:13.656 [SPEAKER_00]: Yeah. 28:13.936 --> 28:17.417 [SPEAKER_01]: And they will lose money just not to offend those people. 28:18.198 --> 28:19.078 [SPEAKER_01]: And fucking for that. 28:19.558 --> 28:22.919 [SPEAKER_01]: But yeah, no, it is a numbers game. 28:22.939 --> 28:31.842 [SPEAKER_01]: And that's one of the things that was one of the harshest lessons I learned when I started moving into the entertainment industry proper and I started becoming like a development executive and so on. 28:31.922 --> 28:32.142 [SPEAKER_01]: I was 28:33.879 --> 28:36.364 [SPEAKER_01]: that they're the push and pull of money and art. 28:36.384 --> 28:39.690 [SPEAKER_01]: You know, when you're in film school, you're entirely on the side of art. 28:40.611 --> 28:43.256 [SPEAKER_01]: When you're an executive, you're kind of entirely on the side of money. 28:43.577 --> 28:46.802 [SPEAKER_01]: And the thing is, is that both those sides need each other. 28:47.860 --> 29:09.577 [SPEAKER_01]: The only way to expensive to pretend money is in the factor if you're going to make a certain kind of movie at a certain level, then yes Well, and the stripper situation is not so funny Even if you move because money at some point you need to make it back or you can't make any more movies So that's always a factor, but your movies won't make money I mean you might get lucky once in a while, but your movies won't make money 29:10.358 --> 29:25.309 [SPEAKER_01]: if you don't make them good and that's art and that's risk and that's creativity and that is not quantifiable yeah at least it's not predictable you might think you've got like a great idea and a great filmmaker and it turns out to be a total crap and no one wants to see it. 29:26.653 --> 29:39.207 [SPEAKER_01]: you might think you have a total turkey and you put it on the back burner for forever and say, I don't know if we're even going to release this Bill and Ted's excellent adventure movie and then you finally do and it's a huge hit and sponsor franchise, which is a real thing that happened. 29:39.368 --> 29:39.548 [SPEAKER_00]: Yeah. 29:40.189 --> 29:43.012 [SPEAKER_01]: So yeah, but I think that's a really fun idea. 29:43.192 --> 29:43.753 [SPEAKER_00]: I think that a lot. 29:44.173 --> 29:48.574 [SPEAKER_00]: Alright, here is a letter from Philip F. I fell up. 29:48.614 --> 29:51.595 [SPEAKER_00]: Hello, Philip F. Hello, Whitney and William. 29:52.015 --> 29:56.156 [SPEAKER_00]: I really enjoyed your latest episode and it was inspired to come up with my own bleak all nighter. 29:57.096 --> 30:00.217 [SPEAKER_00]: This surprised me since my tastes tend to lie more with this than with Whitney. 30:00.857 --> 30:02.357 [SPEAKER_00]: This is true. 30:03.137 --> 30:06.138 [SPEAKER_00]: Most of these movies I've only seen once and most of them were quite a while ago. 30:06.538 --> 30:10.019 [SPEAKER_00]: So please forgive me if any of them show a spark of hope. 30:13.110 --> 30:16.693 [SPEAKER_00]: Uh, to start out, oh, this was based on an iron list episode we did recently. 30:16.893 --> 30:17.873 [SPEAKER_01]: No, no, no, with an all nighter. 30:18.053 --> 30:20.095 [SPEAKER_01]: Or is it all night, which is for four bleak week? 30:20.115 --> 30:21.135 [SPEAKER_01]: We did it about a month ago. 30:21.155 --> 30:29.601 [SPEAKER_00]: Oh, yeah, bleak week is something the American cinema tech has been doing for the last five years, where they just have a festival of really bleak movie. 30:29.661 --> 30:32.062 [SPEAKER_01]: It's really sad to press the mean spirit. 30:32.222 --> 30:33.563 [SPEAKER_01]: Pressing nihilistic pictures. 30:33.583 --> 30:33.723 [SPEAKER_01]: Yeah. 30:33.884 --> 30:34.684 [SPEAKER_01]: And it's really spread. 30:34.704 --> 30:36.505 [SPEAKER_01]: Because theaters all over the world are doing it now. 30:36.625 --> 30:37.086 [SPEAKER_01]: Every year. 30:37.206 --> 30:37.386 [SPEAKER_01]: Yeah. 30:38.046 --> 30:45.293 [SPEAKER_00]: So we decided to have sort of all matters of our own, these like marathons of really depressing movies, and now we have people writing in to give us their own. 30:47.034 --> 30:49.156 [SPEAKER_00]: Starting up with grief of the fireflies. 30:49.957 --> 30:51.238 [SPEAKER_00]: Directed by Yisau Takahata. 30:52.477 --> 30:54.978 [SPEAKER_00]: Yeah, that one plays it bleak week. 30:54.998 --> 31:04.121 [SPEAKER_01]: I think that's a there are certain movies that are just so bleak and so famously bleak, but so good That almost every bleak week has at least one of them. 31:04.421 --> 31:11.343 [SPEAKER_01]: Oh, like you might have maybe it's great for the fireflies Maybe it's a funny game is watershed down. 31:11.383 --> 31:14.184 [SPEAKER_00]: Yeah, those are those are frequently on a lot in our Bergman movies. 31:14.224 --> 31:21.307 [SPEAKER_00]: You'll have a lot Two Japanese children try to survive the end of World War II on their own followed by forbidden games 31:22.448 --> 31:24.849 [SPEAKER_00]: on 1952, directed by Renee Klamo. 31:24.929 --> 31:27.870 [SPEAKER_00]: That's a depressing one, two French children, also try to cope with World War II. 31:29.030 --> 31:34.191 [SPEAKER_00]: Followed by Dancer in the dark, 2000, Larissa von Ture, Larissa von Ture, shows up on Bimblick with that as well. 31:34.671 --> 31:41.973 [SPEAKER_00]: Burke stars in this musical comedy about a single mother losing her virgin vision to j-j-j-j-j-j-j-j-j-j-j-j-j-j-j-j-j-j-j-j-j-j-j-j. 31:41.993 --> 31:43.234 [SPEAKER_00]: There's a lot of vowels I can't say. 31:44.154 --> 31:51.199 [SPEAKER_00]: who is losing her vision to a degenerative eye condition while trying to save for an operation for her son, so that he will not suffer the same fate. 31:51.559 --> 31:53.721 [SPEAKER_00]: Yep, the big martyrdom movie. 31:54.141 --> 31:55.082 [SPEAKER_00]: Yeah, and it's a musical. 31:55.722 --> 31:57.184 [SPEAKER_00]: That's it with songs by Burke. 31:57.404 --> 31:57.604 [SPEAKER_00]: Yeah. 31:57.884 --> 31:59.946 [SPEAKER_00]: Burke loved working on that movie. 31:59.966 --> 32:00.986 [SPEAKER_00]: He's never acted. 32:01.246 --> 32:01.707 [SPEAKER_01]: No, she did. 32:01.727 --> 32:02.768 [SPEAKER_00]: She did finally act again. 32:03.048 --> 32:03.228 [SPEAKER_01]: She did. 32:03.248 --> 32:03.448 [SPEAKER_01]: She did. 32:03.468 --> 32:04.769 [SPEAKER_01]: She never should have been in the apartment. 32:04.789 --> 32:05.149 [SPEAKER_01]: Yeah. 32:05.570 --> 32:06.370 [SPEAKER_01]: Very small part. 32:06.790 --> 32:07.731 [SPEAKER_01]: But it was still neat to see her. 32:08.252 --> 32:08.392 [SPEAKER_01]: Yeah. 32:08.812 --> 32:09.973 [SPEAKER_01]: She's really good in that movie. 32:10.633 --> 32:11.354 [SPEAKER_01]: Yeah, she did. 32:11.514 --> 32:12.575 [SPEAKER_00]: Yeah, she's amazing in that movie. 32:13.283 --> 32:14.665 [SPEAKER_00]: Uh, followed by, oh, I love this movie. 32:14.685 --> 32:24.097 [SPEAKER_00]: Pink Floyd the wall, directed by Alan Parker in 1982, a movie adaptation of Pink Floyd's album, but isolation and alienation, the film emits the album's final song, which was a note of hope and connection. 32:25.238 --> 32:25.899 [SPEAKER_00]: Have you seen the wall? 32:26.300 --> 32:27.161 [SPEAKER_01]: Actually, never have. 32:27.221 --> 32:27.862 [SPEAKER_01]: Oh my god. 32:28.022 --> 32:29.384 [SPEAKER_00]: Yeah, watch that movie a dozen times. 32:32.663 --> 32:47.292 [SPEAKER_00]: Definitely, or you know, being a place where you can turn it up, we're going to loud at home because it is music-based, followed by Brazil, Targaryen, Phantasmagorical Exploration of bureaucracy and totalitarianism, very Kafka, which is paired with 1984. 32:48.753 --> 32:49.713 [SPEAKER_00]: Okay, so there's pairs here. 32:49.753 --> 32:52.214 [SPEAKER_00]: Grave of Fireflies for Bingames or your World War II movies. 32:52.774 --> 32:54.615 [SPEAKER_00]: Dance in the Dark Pink Floyd, those are your musicals. 32:55.215 --> 32:57.736 [SPEAKER_00]: Brazil in 1984, those are your dystopia movies. 32:57.816 --> 32:58.396 [SPEAKER_00]: Right. 32:58.416 --> 33:05.238 [SPEAKER_00]: Uh, this is just the 1984 film version of 1984 by Michael Bradford, a good-nacurate depiction of George Orwell's novel. 33:05.919 --> 33:16.042 [SPEAKER_00]: And finishing off with uh, when the wind blows from 1986, not only British couple tries to survive after a nuclear war, when they're only point of reference as the blitz. 33:16.322 --> 33:16.542 [SPEAKER_01]: Yeah. 33:16.562 --> 33:21.025 [SPEAKER_00]: The total runtime is 12 hours and 13 minutes, and I would not recommend this line up to anybody. 33:22.025 --> 33:23.226 [SPEAKER_00]: But I think it fits the remit. 33:23.286 --> 33:25.407 [SPEAKER_00]: Thanks for producing such a great podcast fillet path. 33:25.487 --> 33:26.308 [SPEAKER_00]: Yeah, that's pretty good one. 33:26.348 --> 33:27.268 [SPEAKER_00]: That's a good solid. 33:27.549 --> 33:30.690 [SPEAKER_00]: A lot of those have shown up in like previous bleak weeks. 33:30.750 --> 33:32.051 [SPEAKER_00]: So yeah, you're thinking along the same line. 33:32.091 --> 33:42.577 [SPEAKER_01]: No, those are good, and I think those are what I like about the trick with the bleak weeks is that it's very easy to fall into the trap where movies you're watching are just nothing but depression. 33:42.657 --> 33:45.179 [SPEAKER_01]: Nothing but like a blight on the human mind. 33:45.879 --> 33:56.348 [SPEAKER_01]: And for 12 hours, you want to mix it up a little bit tonally, at least, or our pacing was like Brazil, Brazil's got a cookie. 33:56.428 --> 33:59.731 [SPEAKER_00]: Yeah, it's got a sense of humor. 33:59.791 --> 34:01.793 [SPEAKER_01]: It's got, it's got like, uh, sort of... 34:02.173 --> 34:02.893 [SPEAKER_01]: Action in it. 34:02.933 --> 34:04.434 [SPEAKER_01]: It's got like all kinds of stuff in it. 34:04.894 --> 34:09.136 [SPEAKER_00]: So on that Floyd is something like animated sequences and we are like a side music video stuff. 34:09.156 --> 34:09.677 [SPEAKER_00]: Yeah, it's right. 34:09.717 --> 34:11.177 [SPEAKER_01]: No, it fits even in the dark. 34:11.337 --> 34:13.198 [SPEAKER_01]: It's a bizarre film. 34:13.298 --> 34:17.100 [SPEAKER_01]: But like I whenever it cuts to a musical number, it has an injection of energy. 34:17.160 --> 34:18.701 [SPEAKER_01]: So I think that's actually a very well. 34:19.461 --> 34:31.588 [SPEAKER_01]: programed bleak week all nighter because you're I think I think you're I think we're gonna be able to actually get through it separately in the case You know, it's that no one really does bleak week all nighters. 34:31.608 --> 34:40.533 [SPEAKER_01]: We kind of invented that or All right, yes, we were it was suggested to us, but like if it happens there's credit to go around. 34:41.093 --> 34:41.253 [SPEAKER_00]: Yeah 34:42.563 --> 34:46.066 [SPEAKER_00]: Uh, so we have on yet another letter and this is another bleak week. 34:46.307 --> 34:46.527 [SPEAKER_00]: Okay. 34:46.567 --> 34:46.747 [SPEAKER_00]: Great. 34:46.967 --> 34:47.868 [SPEAKER_00]: This one comes from Eleanor. 34:48.409 --> 34:48.669 [SPEAKER_01]: Oh, hey. 34:48.689 --> 34:48.989 [SPEAKER_01]: Eleanor. 34:49.009 --> 34:49.269 [SPEAKER_00]: Yeah. 34:49.670 --> 34:51.411 [SPEAKER_00]: Um, uh, good morning, friends. 34:51.451 --> 34:54.774 [SPEAKER_00]: It's Eleanor Gray back again with more tales of cinematic adventures. 34:55.034 --> 34:56.256 [SPEAKER_00]: Uh, I end my spouse A. 34:56.396 --> 35:01.600 [SPEAKER_00]: Have been working on starting with bleak, meek bleak, but in a night. 35:01.780 --> 35:02.021 [SPEAKER_00]: Hence. 35:02.621 --> 35:02.921 [SPEAKER_00]: Okay. 35:03.182 --> 35:03.742 [SPEAKER_01]: All right. 35:03.762 --> 35:04.283 [SPEAKER_01]: All right. 35:04.343 --> 35:04.523 [SPEAKER_01]: Yeah. 35:04.543 --> 35:05.504 [SPEAKER_01]: Let's get right. 35:05.524 --> 35:06.044 [SPEAKER_00]: We're in with that. 35:06.124 --> 35:06.585 [SPEAKER_00]: Bleak meek. 35:07.486 --> 35:13.568 [SPEAKER_00]: Uh, since I had most of these on disk and no big video file and breaks as long as needed in between films, no shorts. 35:14.288 --> 35:14.528 [SPEAKER_01]: Okay. 35:14.848 --> 35:16.949 [SPEAKER_00]: Uh, so they actually did this, it sounds. 35:17.149 --> 35:18.369 [SPEAKER_00]: Oh, God, guys. 35:18.509 --> 35:21.030 [SPEAKER_01]: Okay, I, you know what, I, I cannot complain. 35:21.630 --> 35:22.511 [SPEAKER_01]: I've set up before. 35:22.531 --> 35:26.152 [SPEAKER_01]: If you're doing it right, film criticism is a full contact sport. 35:26.432 --> 35:26.612 [SPEAKER_00]: Yeah. 35:27.717 --> 35:31.382 [SPEAKER_01]: not everyone has to play it full contact, but if you do, more power to you. 35:31.702 --> 35:32.824 [SPEAKER_00]: Okay. 35:32.964 --> 35:35.027 [SPEAKER_00]: Starting with, oh, oh, and there's like some themes. 35:35.187 --> 35:37.430 [SPEAKER_00]: So starting with a theme, gendered violence. 35:37.690 --> 35:39.612 [SPEAKER_00]: Oh, God. 35:40.033 --> 35:43.698 [SPEAKER_00]: Oh, so back to back, seven and the silence of the lambs. 35:44.113 --> 35:44.413 [SPEAKER_01]: Okay. 35:45.073 --> 35:45.454 [SPEAKER_01]: All right. 35:45.694 --> 35:45.934 [SPEAKER_01]: Yeah. 35:46.214 --> 35:46.514 [SPEAKER_01]: All right. 35:47.335 --> 36:00.521 [SPEAKER_00]: And it's, it, it, it had been about a decade for both of us since we've seen the silence of the lambs and it's, and it's, and it's long been the film we disagreed about the most, a proper discussion of the film would warrant a letter all its own in brief. 36:00.541 --> 36:02.081 [SPEAKER_00]: And this is coming from two trans people. 36:02.582 --> 36:08.965 [SPEAKER_00]: We were both surprised at how much we approved of the portrayal of Jame Gum, even though the film's text is deeply transphobic. 36:09.645 --> 36:20.429 [SPEAKER_00]: kind of the opposite of seven, which really attacks the mic condemned John Doe's ethos, but a presentation much like Fight Club indulging and implicitly validating everything the villain believes. 36:21.129 --> 36:30.232 [SPEAKER_00]: Also, A, somehow, didn't know the ending through cultural awesmosis, just by figuring out that women could only exist in this film to die. 36:30.692 --> 36:36.035 [SPEAKER_01]: Yeah, I remember when I saw seven theaters and it was pretty obvious where that was going Like really early on. 36:36.275 --> 36:37.075 [SPEAKER_01]: And now it's kind of fun. 36:37.536 --> 36:39.817 [SPEAKER_00]: I didn't see it coming, but you know, it's like, oh 36:40.531 --> 36:43.314 [SPEAKER_00]: Oh, yeah, I thought with my dad. 36:43.354 --> 36:49.239 [SPEAKER_00]: It's like the film was right and it's like yeah, it's pretty bad Us, right because I'm like a teenager at the time now. 36:49.259 --> 36:53.262 [SPEAKER_01]: It sounds a lens is a trick you want though because You know, there's so much it does wrong. 36:53.563 --> 36:53.703 [SPEAKER_01]: Mm-hmm. 36:53.723 --> 37:03.772 [SPEAKER_00]: It also so much it does right and it's not I don't think it I don't think it's an effective thriller, but it is is a transphobic touch and and many respects It is also intentionally and successfully very feminist, but at what cost? 37:04.373 --> 37:05.935 [SPEAKER_01]: Yeah, so it's one of those ones. 37:05.975 --> 37:11.822 [SPEAKER_01]: It's like it's pretty easy to sort of toss aside gone with the Wanda's like that was that was a mistake. 37:11.922 --> 37:16.187 [SPEAKER_01]: It was a lot of sense of the land is a more complicated conversation and fair enough. 37:16.227 --> 37:21.453 [SPEAKER_01]: And I think seven is you know that John Doe is kind of successful at the end for me is 37:22.354 --> 37:28.057 [SPEAKER_01]: why it's bleak, the movie argues that the world is just irre- irre- trevably fucked. 37:28.157 --> 37:30.378 [SPEAKER_00]: Yeah, yeah, yeah. 37:30.558 --> 37:32.099 [SPEAKER_00]: Anyway, that was just the prelude. 37:32.299 --> 37:32.819 [SPEAKER_00]: That's too much. 37:32.879 --> 37:33.280 [SPEAKER_00]: Oh God. 37:33.460 --> 37:38.082 [SPEAKER_00]: So Bleekneek proper, all of which were first-timers for A, vagabond, 1985. 37:38.122 --> 37:38.622 [SPEAKER_00]: Oh yeah. 37:38.662 --> 37:39.563 [SPEAKER_00]: Yeah. 37:39.903 --> 37:43.145 [SPEAKER_00]: We open with a homeless teenager frozen to death in a ditch, a classic. 37:43.305 --> 37:43.545 [SPEAKER_01]: Yeah. 37:43.785 --> 38:08.113 [SPEAKER_00]: uh... the assistant twenty-twenty i could be green you didn't see that one this essentially about not named but harvey Weinstein's uh... secretary we move from the countryside to the city to the horrors of the corporate workplace this this was the one that bummed a out the most followed by taxi driver okay six martins crazy same city from the white collar woman to the blue collar man more 38:15.487 --> 38:33.357 [SPEAKER_00]: uh... followed by from the life of the marion at nineteen eighteen in our bergman moving uh... a twisted german spinoff of scenes from a marriage about an investigation of how everyone in a mentally ill man's life failed to do anything about the obvious red flags and let him murder a sex worker it's one of bergman's least known and one of his best 38:34.002 --> 38:39.589 [SPEAKER_00]: He did a spin-off of scenes from a marriage? 38:39.989 --> 38:48.139 [SPEAKER_01]: It's like, there's only one character is off on their own thing, or is it just, okay, okay, all right, because I was about to say it was a prize I never heard of that, okay. 38:48.719 --> 38:50.261 [SPEAKER_00]: Followed by, ooh, this is good one. 38:50.321 --> 38:51.443 [SPEAKER_00]: Quilfattis, ayida. 38:51.763 --> 38:52.363 [SPEAKER_00]: from 20. 38:52.383 --> 38:53.084 [SPEAKER_00]: Oh, great. 38:53.364 --> 38:54.704 [SPEAKER_00]: Just mini-spinic. 38:54.864 --> 38:56.145 [SPEAKER_00]: That movie is a packed-off. 38:56.565 --> 38:56.805 [SPEAKER_01]: Yeah. 38:56.825 --> 38:56.985 [SPEAKER_01]: Yeah. 38:57.005 --> 38:58.126 [SPEAKER_01]: People should have seen that. 38:58.146 --> 38:59.686 [SPEAKER_01]: It was so fucking good. 38:59.706 --> 39:00.327 [SPEAKER_00]: Yeah. 39:00.367 --> 39:04.708 [SPEAKER_00]: The patriarchy, also, or murderers men, this one is truly fucking harrowing. 39:04.748 --> 39:05.088 [SPEAKER_00]: Yeah. 39:05.168 --> 39:07.649 [SPEAKER_00]: I can only hope we're not heading in the same direction. 39:07.910 --> 39:08.270 [SPEAKER_01]: Yeah. 39:08.370 --> 39:11.231 [SPEAKER_00]: And to cap it all off, it's such a beautiful day. 39:11.591 --> 39:12.071 [SPEAKER_01]: Yeah. 39:12.251 --> 39:13.192 [SPEAKER_00]: 2012, Don Hurtsfeld. 39:13.252 --> 39:15.493 [SPEAKER_00]: I almost included this one in mind. 39:15.753 --> 39:16.113 [SPEAKER_00]: Oh, yeah. 39:16.153 --> 39:20.095 [SPEAKER_00]: It's not really connected to the theme, but one of the best films ever made and one of 39:22.679 --> 39:25.763 [SPEAKER_01]: I mean, a lot of the other try to find a Don hurts felt that wouldn't fit. 39:25.783 --> 39:28.125 [SPEAKER_01]: I mean, even rejected, it's funny still, Blake. 39:28.526 --> 39:32.290 [SPEAKER_00]: Well, it's too funny to be considered a bleak film. 39:32.330 --> 39:34.352 [SPEAKER_00]: It's just humorous based in bleak concepts. 39:34.372 --> 39:36.434 [SPEAKER_00]: And that's true of a lot of people don't know about that. 39:36.454 --> 39:41.420 [SPEAKER_01]: I feel like that would be a very good sort of palette cleanser in between movies on a bleak week all nighter. 39:42.027 --> 39:42.648 [SPEAKER_01]: It still fits. 39:42.708 --> 39:43.008 [SPEAKER_01]: Yeah. 39:43.248 --> 39:47.092 [SPEAKER_01]: It still fits, but we're going to reset the tone a little bit, and we're going to give you a very different movie right now. 39:47.212 --> 39:48.033 [SPEAKER_00]: It's too funny. 39:48.434 --> 39:49.415 [SPEAKER_00]: I don't think bleak. 39:49.495 --> 39:49.815 [SPEAKER_00]: I don't know. 39:49.855 --> 39:51.497 [SPEAKER_01]: Bleak is antithetical to funny. 39:51.697 --> 39:53.499 [SPEAKER_00]: If you love you, you've broken the spell. 39:53.619 --> 39:54.680 [SPEAKER_01]: I don't think so. 39:54.860 --> 40:01.567 [SPEAKER_01]: I think you've never like, think about what you say in the mouth of madness is bleak. 40:01.627 --> 40:01.847 [SPEAKER_01]: Yeah. 40:01.968 --> 40:02.969 [SPEAKER_01]: I mean, it's a puzzle. 40:02.989 --> 40:03.549 [SPEAKER_01]: It's a puzzle. 40:05.230 --> 40:06.231 [SPEAKER_00]: Because he's lost his mind. 40:06.251 --> 40:07.291 [SPEAKER_00]: My point exactly. 40:07.831 --> 40:09.132 [SPEAKER_00]: It's not humorous for the audience. 40:09.272 --> 40:11.513 [SPEAKER_01]: I think that, but I thought you were his humor in that movie. 40:12.093 --> 40:13.393 [SPEAKER_01]: So I'm just saying. 40:13.673 --> 40:14.674 [SPEAKER_01]: I think laughter. 40:15.174 --> 40:19.635 [SPEAKER_01]: There's such a thing as nervous laughter of maniacal laughter. 40:19.695 --> 40:22.617 [SPEAKER_01]: I think there's a lot of different types of laughter that you can get away with. 40:22.677 --> 40:31.860 [SPEAKER_01]: And I think if you have just punished your audience enough, like after like six hours of absolutely brutal, bleak, weak stuff, 40:33.127 --> 40:48.900 [SPEAKER_00]: rejected might be the thing that pushes them over the edge and a good slash on expect all right and then and there's a more to this letter yeah I want to also says our experience with Mark Copes critically acclaimed the home game 40:49.180 --> 40:51.922 [SPEAKER_00]: Somebody came up with a plan, so I don't want to actually play it. 40:52.322 --> 40:54.204 [SPEAKER_00]: Insert explanation of the game here, which I just did. 40:54.744 --> 40:57.326 [SPEAKER_00]: For the last few weeks, A and I have been playing this lovely game. 40:57.346 --> 41:03.430 [SPEAKER_00]: We found it, it's main hurdle is that it's not exciting to bring to the table when not everybody knows every card. 41:03.470 --> 41:05.832 [SPEAKER_00]: This is like you match films together. 41:05.952 --> 41:06.733 [SPEAKER_01]: Yeah. 41:07.193 --> 41:08.794 [SPEAKER_00]: And it can make for a lot of sighted debates. 41:08.934 --> 41:17.100 [SPEAKER_00]: So much of the game is based on knowledge, not just of a film's basic premise, but of its thematic elements, character arcs, or tiny details that we use to link disparate films together. 41:18.421 --> 41:22.132 [SPEAKER_00]: How do you link to disparate films into a double feature? 41:22.333 --> 41:23.256 [SPEAKER_00]: Yeah, if I refer to it. 41:23.276 --> 41:24.981 [SPEAKER_01]: Yeah, I mean, like the connective to shit, yeah. 41:27.033 --> 41:33.917 [SPEAKER_00]: Uh, that's why we played just the two of us and our 700 plus cards are all the films that A and I have seen together. 41:33.937 --> 41:39.400 [SPEAKER_00]: Ha, uh, once we go through these, we'll add the films we've both seen, not just together and the rest of the films we own. 41:40.241 --> 41:44.663 [SPEAKER_00]: As a two player game, it's actually quite fun as we debate between ourselves who has the better double feature. 41:44.703 --> 41:48.406 [SPEAKER_00]: Sometimes we have a permacritic who decides for us. 41:49.667 --> 41:50.770 [SPEAKER_00]: Typically, we play 2-5. 41:51.752 --> 41:56.704 [SPEAKER_00]: Highlights from our first game, among many fun programs include AIDS pairing of women talking and the Wickerman. 41:59.691 --> 42:00.211 [SPEAKER_00]: That's good. 42:00.332 --> 42:01.312 [SPEAKER_00]: Yeah. 42:01.352 --> 42:05.035 [SPEAKER_00]: Do we go seeking something new when our faith fails us or do we double down? 42:05.436 --> 42:06.056 [SPEAKER_00]: That's the theme. 42:07.838 --> 42:12.321 [SPEAKER_00]: My linking goodbye dragon in to Rogue One Star Wars story. 42:13.422 --> 42:21.129 [SPEAKER_00]: Both films are about a band of people coming together for the Twilight of Cinema with the former being literally about that and the latter representing the death of cinema. 42:24.503 --> 42:31.305 [SPEAKER_00]: And it agreed upon tied for when we paired love lies bleeding with both arsenic and old lace, hiding bodies for family members. 42:31.385 --> 42:31.905 [SPEAKER_00]: There you go. 42:31.945 --> 42:32.585 [SPEAKER_00]: I'd love to ones. 42:33.065 --> 42:37.506 [SPEAKER_00]: And the new mutants, sometimes your lesbian girlfriend becomes a kaiju. 42:38.967 --> 42:40.167 [SPEAKER_00]: Does that happen on love lies bleeding? 42:41.027 --> 42:42.068 [SPEAKER_00]: Have you seen love lies bleeding? 42:42.088 --> 42:42.988 [SPEAKER_00]: She'd become a kaiju. 42:44.350 --> 42:46.851 [SPEAKER_00]: I don't want to see this movie. 42:46.871 --> 42:47.812 [SPEAKER_00]: I don't want to spoil the end. 42:51.333 --> 42:59.897 [SPEAKER_00]: The most disastrous attempted double feature so far has been my arguing for the pairing of fees inferred the movie across the second dimension with the sort of interest. 43:00.917 --> 43:02.438 [SPEAKER_01]: It's own of interest. 43:02.518 --> 43:03.798 [SPEAKER_01]: Wow. 43:03.898 --> 43:04.459 [SPEAKER_01]: Wow. 43:05.879 --> 43:07.500 [SPEAKER_01]: I've seen some finnious inferred. 43:07.520 --> 43:08.601 [SPEAKER_00]: I haven't seen that movie. 43:09.861 --> 43:11.402 [SPEAKER_00]: It's about the fun of summer vacation. 43:12.367 --> 43:35.441 [SPEAKER_00]: you know what it's it is that you know there there are fences protecting them like there's suburban ideal from the horrors of the outside world because it's children's cartoon there's there's not like a lot of horror in it so maybe finnies and fervor just living in kind of blissful ignorance or even acknowledging the horrors that go on and don't care you can't argue but then but then but then but their platypus is out there fighting those evils directly 43:36.784 --> 44:02.083 [SPEAKER_00]: uh... well and there is a young girl who is exploring the outside of ash vets and finding uh... and helping the people who i don't i don't i don't know how i feel about anything that girl is not a part of not comfortable all right we also played some very these uh... we've also played some variations on the game to various amounts of success playing on hard mode can be fun when you're not allowed to pair of films that share a franchise director genre and or year or decade 44:03.063 --> 44:23.311 [SPEAKER_00]: trying to create a triple features has proved difficult, increasing your hand size, can help when supplying two cards, can add a single prompt card, but finding a linking film between two random prompt cards is essentially impossible, playing a reverse version of the game where we try to come up with the worst double feature, quickly stop to being fun as you have to resort to tearing down the other's choice. 44:23.371 --> 44:26.572 [SPEAKER_01]: Yeah, that's competitive, not collaborative. 44:26.612 --> 44:27.032 [SPEAKER_00]: Yeah. 44:27.532 --> 44:35.198 [SPEAKER_00]: What has really worked though is starting a full with a full-hand of cards and playing it down as a no redrawing between rounds The first pairing is worth 1.2 and so on 44:37.374 --> 44:42.235 [SPEAKER_00]: And the last is worth the most, as you've, uh, you're down to only one card to choose from. 44:42.736 --> 44:47.657 [SPEAKER_00]: The game then becomes about deciding when to play your ringers and when to go for an argument that requires a lot of stretched imagination. 44:47.677 --> 44:50.438 [SPEAKER_00]: It makes for a lot of ridiculous programs and some inspired ones. 44:50.778 --> 44:50.918 [SPEAKER_01]: Mm-hmm. 44:51.658 --> 44:56.020 [SPEAKER_00]: And, uh, thirdly, uh, a challenge to exclamation points. 44:56.700 --> 45:02.601 [SPEAKER_00]: You are hereby challenged to produce an all-nighter to offset the mood of the last one, which was quite well bleak. 45:03.182 --> 45:04.122 [SPEAKER_00]: And I want you. 45:04.662 --> 45:09.231 [SPEAKER_00]: to do all-nighters of queer films, specifically happy queer films. 45:09.572 --> 45:11.335 [SPEAKER_00]: Oh, no buried gays are allowed. 45:11.956 --> 45:16.525 [SPEAKER_00]: Nor any herowing coming of ages, and naturally nothing but happy at happy endings for our queer film. 45:17.267 --> 45:20.488 [SPEAKER_00]: I have one ready to go myself, but likely I have screened it by the time you read this. 45:20.868 --> 45:22.248 [SPEAKER_00]: Ooh, that's an interesting idea. 45:22.408 --> 45:23.748 [SPEAKER_01]: I really like that a lot. 45:24.208 --> 45:29.469 [SPEAKER_01]: On one hand, I'm bummed that we didn't do that during Pride Month, on the other hand, every month should be Pride Month. 45:29.509 --> 45:30.229 [SPEAKER_00]: Every month is Pride Month. 45:30.269 --> 45:34.930 [SPEAKER_00]: So that is a good idea, and I think a happy queer, happy Pride. 45:35.070 --> 45:39.051 [SPEAKER_01]: Happy, yeah, I'm a happy Pride, but like happy queer film, all night or anything. 45:39.111 --> 45:42.151 [SPEAKER_01]: Happy Pride, but like, yeah, I think that's a really good idea. 45:42.171 --> 45:44.812 [SPEAKER_01]: Let's do that one next, because we don't have another holiday coming up for a while. 45:44.852 --> 45:45.232 [SPEAKER_01]: That's true. 45:46.072 --> 45:50.017 [SPEAKER_01]: We're going to do that in the near future, maybe not this week or the next, but we're going to do that. 45:50.898 --> 45:52.099 [SPEAKER_00]: Lastly, a life update. 45:52.599 --> 45:54.462 [SPEAKER_00]: A and I are officially Canada bound. 45:54.482 --> 46:00.789 [SPEAKER_00]: I got into my first choice, the University of British Columbia, after being weightless, did to pursue a master's in fine arts and creative writing. 46:00.829 --> 46:01.329 [SPEAKER_00]: Oh, my God. 46:02.290 --> 46:03.232 [SPEAKER_00]: I've got to congratulate you. 46:04.999 --> 46:11.005 [SPEAKER_00]: Uh, I was offered not one, but two scholarships and we'll almost certainly get a teaching assistantship position. 46:11.345 --> 46:19.473 [SPEAKER_00]: We secured housing and our visas and we'll be taking a trip in July to visit family and friends before we cross the border in August for a stay of at least two years. 46:20.134 --> 46:22.276 [SPEAKER_00]: This trip includes a stop in LA for a few days. 46:22.716 --> 46:24.278 [SPEAKER_00]: Have any recommendations for places to eat? 46:24.478 --> 46:25.319 [SPEAKER_00]: Maybe we can treat you. 46:25.799 --> 46:26.800 [SPEAKER_00]: Alright, that's all for now. 46:26.900 --> 46:28.942 [SPEAKER_00]: Thank you ever for your time, Elinore. 46:30.048 --> 46:30.829 [SPEAKER_00]: Thank you so much, Eleanor. 46:30.849 --> 46:31.930 [SPEAKER_01]: That was a lot. 46:31.990 --> 46:32.411 [SPEAKER_01]: That is a lot. 46:32.431 --> 46:34.774 [SPEAKER_01]: Yeah, but it's always good to hear from Eleanor. 46:34.814 --> 46:44.807 [SPEAKER_01]: Eleanor has been writing to us for many, many, many years and it's been wonderful to see her evolve from a young person who's interested in this predator naturally. 46:45.448 --> 46:56.252 [SPEAKER_01]: like fascinated with films and critical analysis to someone who has pursued that academically and started their own awesome podcast, some of which co-hosted by you. 46:56.312 --> 46:58.133 [SPEAKER_01]: Yeah, we were doing a podcast for a little bit. 46:58.293 --> 47:04.935 [SPEAKER_01]: Yeah, and now moving on to the world of serious academia, they've been there for a while, but they're going to keep moving forward. 47:06.796 --> 47:07.796 [SPEAKER_01]: In many ways, she's my hero. 47:07.836 --> 47:12.318 [SPEAKER_01]: I fucking love hearing from her on that is totally awesome and there's 47:13.276 --> 47:15.858 [SPEAKER_01]: You know, there's like two or three good places to eat in Los Angeles. 47:16.238 --> 47:18.020 [SPEAKER_01]: Uh, two, maybe three. 47:18.160 --> 47:18.681 [SPEAKER_00]: Two, maybe three. 47:18.701 --> 47:21.383 [SPEAKER_00]: Yeah, there's the food town. 47:21.403 --> 47:22.844 [SPEAKER_00]: We have a restaurant. 47:23.304 --> 47:26.507 [SPEAKER_01]: Yeah, yeah, yeah, yeah, yeah, it's right next to the, it's right next to the safeway. 47:28.509 --> 47:31.091 [SPEAKER_00]: We haven't, we have one Nick the Greek, and that's it. 47:33.633 --> 47:34.734 [SPEAKER_00]: But yeah, that's what we've got to do. 47:34.814 --> 47:35.435 [SPEAKER_00]: If you're in LA, 47:36.657 --> 47:42.582 [SPEAKER_00]: We're going to point you to the good Mexican food because you're not going to have to be very Mexican food. 47:42.602 --> 47:43.783 [SPEAKER_01]: There's also this. 47:43.923 --> 47:44.703 [SPEAKER_01]: There's a lot. 47:44.963 --> 47:45.204 [SPEAKER_01]: Yeah. 47:45.224 --> 47:47.866 [SPEAKER_01]: There's a lot of good Mexican food that you're drumming in LA. 47:48.006 --> 47:48.766 [SPEAKER_00]: No, in LA. 47:48.967 --> 47:50.948 [SPEAKER_00]: Well, you're going to Canada. 47:50.968 --> 47:52.049 [SPEAKER_00]: Oh, yeah. 47:52.069 --> 47:54.151 [SPEAKER_01]: You need to get good Mexican food now. 47:54.571 --> 47:55.392 [SPEAKER_00]: Yeah. 47:55.512 --> 48:00.235 [SPEAKER_00]: My wife took a trip to Ireland with a friend of hers and her friend was from the south. 48:00.355 --> 48:04.759 [SPEAKER_00]: And she said that there was a Mexican restaurant in Ireland and my wife said no. 48:05.770 --> 48:09.873 [SPEAKER_00]: We're from Los Angeles, like we can't have Mexican food in Ireland. 48:09.893 --> 48:10.674 [SPEAKER_00]: That's not right. 48:10.874 --> 48:13.596 [SPEAKER_00]: It's not the right thing LA is practically Mexico. 48:13.616 --> 48:14.437 [SPEAKER_00]: We have the good stuff. 48:14.457 --> 48:16.338 [SPEAKER_01]: Yeah, we do. 48:16.478 --> 48:16.979 [SPEAKER_01]: But thank you. 48:17.099 --> 48:17.459 [SPEAKER_01]: Thank you. 48:18.320 --> 48:20.201 [SPEAKER_01]: And by all means do head us up. 48:20.562 --> 48:21.923 [SPEAKER_01]: Okay, as we're totally going to do that. 48:22.662 --> 48:24.903 [SPEAKER_00]: Alright, here's a letter from Joe. 48:25.124 --> 48:25.964 [SPEAKER_00]: Hello Joe. 48:26.084 --> 48:26.625 [SPEAKER_00]: Hey, Joe. 48:26.665 --> 48:27.305 [SPEAKER_00]: What are you now? 48:28.045 --> 48:32.968 [SPEAKER_00]: Dear Bibles and Whitney, I have been a listener since the first podcast you uploaded to the Shmoose No Network. 48:33.429 --> 48:33.729 [SPEAKER_00]: Oh, no. 48:33.769 --> 48:34.189 [SPEAKER_00]: Oh, no. 48:34.209 --> 48:35.770 [SPEAKER_00]: He trimmed for the last couple of years. 48:35.910 --> 48:36.951 [SPEAKER_00]: Well, thank you for that. 48:37.011 --> 48:37.431 [SPEAKER_00]: My goodness. 48:38.152 --> 48:44.316 [SPEAKER_00]: Uh, somehow, despite listening this whole time and jotting notes down when something came to mind, I never actually written in, but better late than never. 48:44.536 --> 48:44.856 [SPEAKER_01]: Yay! 48:45.895 --> 48:56.233 [SPEAKER_00]: Last year, I started playing Magic the Gathering the Training Hardgame, and I'm writing because you may be interested to know that in November of 2026, they are releasing a Star Trek Magic the Gathering Set. 48:57.484 --> 48:57.704 [SPEAKER_01]: Wow! 48:58.084 --> 49:14.271 [SPEAKER_00]: I'm very excited, as not only do I absolutely love playing any new magic the gathering set when it releases, as I feel I've inherited an admiration for Star Trek, purely through listening to you both talk about it over the years on episodes of critically claimed, cancelled too soon, and of course the many Star Trek Central letters you receive. 49:14.671 --> 49:22.214 [SPEAKER_00]: I'm where you also have a Star Trek podcast, but I haven't listened any of that yet, because ellipsis, I have never watched any Star Trek. 49:22.354 --> 49:22.454 [UNKNOWN]: Wow! 49:23.415 --> 49:25.216 [SPEAKER_00]: And from there you're enough with it on a surface level. 49:25.256 --> 49:30.319 [SPEAKER_00]: Thanks to you both and I think it's something that I would enjoy overall I just found it too intimidating to get into. 49:30.359 --> 49:30.899 [SPEAKER_00]: There is a lot. 49:30.919 --> 49:31.319 [SPEAKER_00]: I get it. 49:31.439 --> 49:31.679 [SPEAKER_00]: I got it. 49:31.699 --> 49:31.920 [SPEAKER_00]: I got it. 49:31.940 --> 49:38.043 [SPEAKER_01]: Finding an in-road can be tricky That's through for a lot of long running Like media like I would love to read one piece 49:38.763 --> 50:01.761 [SPEAKER_00]: I don't have time to be so strong with one much of it like this I would be nice though there was like some sort of yeah again I totally get it the AV club was very briefly doing a series of articles that was designed to bring people into very largely complex fandoms as quickly and as yeah so I think the first one was just a 50:02.301 --> 50:02.701 [SPEAKER_00]: anything. 50:02.921 --> 50:05.563 [SPEAKER_01]: The medium that we're going to go for animals. 50:05.583 --> 50:06.244 [SPEAKER_01]: That's a lie. 50:06.284 --> 50:08.045 [SPEAKER_01]: I would have divided that into subcategories. 50:08.065 --> 50:12.608 [SPEAKER_00]: Yeah, I think they eventually did that, but the second one was the grateful dead. 50:13.028 --> 50:14.509 [SPEAKER_00]: Where you start with the grateful dead. 50:14.609 --> 50:16.210 [SPEAKER_00]: And that was really great. 50:16.390 --> 50:17.111 [SPEAKER_00]: I like that series. 50:17.131 --> 50:18.051 [SPEAKER_00]: I wish it had continued. 50:18.131 --> 50:20.313 [SPEAKER_01]: Yeah, where do you start with classic Hollywood? 50:20.573 --> 50:23.175 [SPEAKER_00]: That's that's really not where you start like 40s cinema. 50:23.195 --> 50:24.456 [SPEAKER_00]: Where do you go? 50:24.876 --> 50:31.660 [SPEAKER_00]: What do I watch in the next five months as a crash course to gain more salt, a more solid understanding of the universe? 50:31.720 --> 50:37.704 [SPEAKER_00]: I know some further knowledge of the show and films well boost my enjoyment of the upcoming set plus it gives me an excuse to finally watch the track. 50:38.505 --> 50:43.708 [SPEAKER_00]: If there are any books and documentaries that come to mind outside of the course show or films, feel free to suggest those too. 50:44.088 --> 50:46.690 [SPEAKER_00]: Thank you for all that you do in keeping me company of all these years. 50:46.750 --> 50:48.471 [SPEAKER_00]: I look forward to hearing your thoughts best wishes. 50:48.952 --> 50:49.192 [SPEAKER_00]: Jo. 50:49.672 --> 50:51.113 [SPEAKER_01]: Okay, that is a great question. 50:51.153 --> 50:54.376 [SPEAKER_01]: I think we've been asked this before, but it's probably many, many, many years ago. 50:54.616 --> 50:55.297 [SPEAKER_01]: Yeah. 50:55.477 --> 50:58.019 [SPEAKER_01]: And I do think it's always worth it. 50:59.140 --> 51:03.763 [SPEAKER_01]: When it comes to trek, there's a couple of different paths you could take. 51:04.904 --> 51:12.571 [SPEAKER_01]: There obviously, multiple often long running TV shows, some of which are more independent of each other than others. 51:13.852 --> 51:17.815 [SPEAKER_01]: Some of which I think are more designed to be a good jumping on point than others. 51:19.556 --> 51:26.919 [SPEAKER_01]: And they're also the movies, which some more so than others are pretty, you know, you don't need to see the show. 51:27.359 --> 51:30.540 [SPEAKER_01]: I saw the movies long before I started watching Star Trek proper. 51:32.161 --> 51:37.443 [SPEAKER_01]: And then I had another thing, but those are basically the big ones. 51:38.263 --> 51:46.470 [SPEAKER_01]: Um, and I think you can either watch an entire series or get sort of cherry picked episodes from each Or you I think you can dive into the movies. 51:46.530 --> 51:52.875 [SPEAKER_01]: I think if you're going to dive into the movies I don't know if there's like a really perfect intro. 51:52.995 --> 51:55.637 [SPEAKER_00]: Don't don't start with the movies You don't don't start with the movie. 51:55.657 --> 51:56.718 [SPEAKER_01]: Don't even the JJ Abrams. 51:56.758 --> 52:01.882 [SPEAKER_00]: Oh, no, don't watch it any of the movies Star Trek has always had its best when it's on TV 52:04.758 --> 52:05.839 [SPEAKER_01]: there's a few good movies. 52:06.359 --> 52:07.019 [SPEAKER_00]: There's a few good movies. 52:07.039 --> 52:08.980 [SPEAKER_01]: There's a few genuinely great movies. 52:09.140 --> 52:14.063 [SPEAKER_00]: I like Star Trek the Motion Picture and Wrath of Con and I'm discovered country and the... 52:15.213 --> 52:16.814 [SPEAKER_00]: I thought I was pretty great. 52:16.934 --> 52:20.897 [SPEAKER_01]: I think a really good in-road to a lot of track would be the funny episodes. 52:21.377 --> 52:31.223 [SPEAKER_01]: Like if my, I think if I were going to introduce you to stuff, I probably introduced you to a few classic episodes per series, which usually be one and done episodes. 52:31.663 --> 52:37.167 [SPEAKER_01]: So for the original series, I think the first thing I'd show anybody is the trouble with dribbles. 52:37.827 --> 52:57.961 [SPEAKER_01]: Okay, which is a funny episode is about the crew of the USS Enterprise involved in a little bit of polyticking, a little bit of diplomacy, a little bit of subterfuge and espionage, but mostly it's dealing with an invasive species that starts overbreeding and infecting a space station on the Enterprise, even though it's actually really cute. 52:59.142 --> 53:00.964 [SPEAKER_01]: And I think it's a great introduction. 53:00.984 --> 53:04.849 [SPEAKER_01]: All the characters are fully formed by that point in the series and it was a season two. 53:05.130 --> 53:05.971 [SPEAKER_01]: Yeah, episode. 53:06.271 --> 53:10.957 [SPEAKER_01]: So everyone, all the actors are really just they understand who their plan and understand the world. 53:11.898 --> 53:16.764 [SPEAKER_01]: It's a great introduction to the overall sort of attitude of Star Trek and it also reminds you that. 53:17.805 --> 53:21.546 [SPEAKER_01]: especially when you're watching some of the older episodes and the visual effects and the sets or a little naive by today's standards, we're all having fun here. 53:21.566 --> 53:21.666 [SPEAKER_01]: Yeah. 53:21.706 --> 53:23.007 [SPEAKER_01]: So I think that would be a really really good one to start. 53:23.027 --> 53:23.567 [SPEAKER_01]: I'm, that's a great one. 53:23.587 --> 53:32.170 [SPEAKER_01]: That's a good, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh uh, uh uh, uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh uh 53:33.272 --> 53:35.913 [SPEAKER_00]: It's not emblematic of like the overall tone of the show. 53:36.013 --> 53:43.654 [SPEAKER_00]: I would have started with something that takes place on the enterprise, like the Corbomite maneuver, or not balanced. 53:43.814 --> 53:45.154 [SPEAKER_00]: Yeah, balance of terror is great. 53:45.174 --> 53:49.075 [SPEAKER_00]: Balance of terror is that that's the one that's run silent, run deep in space. 53:49.115 --> 53:52.196 [SPEAKER_01]: Yeah, it's a good, just sort of navel battle with spaceships. 53:52.216 --> 53:53.716 [SPEAKER_01]: That is so really, really cool. 53:53.796 --> 53:54.876 [SPEAKER_00]: But it's like a battle of way. 53:54.916 --> 53:55.777 [SPEAKER_01]: It's a lot of tension. 53:55.857 --> 53:56.297 [SPEAKER_01]: It's really great. 53:56.317 --> 53:57.857 [SPEAKER_00]: It's not a good ensemble piece. 53:57.897 --> 54:00.838 [SPEAKER_00]: It's more just like a Kirk center cup of soap, both of those are. 54:03.358 --> 54:06.820 [SPEAKER_00]: Just a good representation of what that show offered. 54:07.060 --> 54:11.763 [SPEAKER_01]: I think a lot of time would be a good one to focus on the two main characters of Spock and Kirk. 54:12.163 --> 54:13.063 [SPEAKER_00]: Not a fan of a muck time. 54:13.184 --> 54:14.604 [SPEAKER_01]: I don't have a muck time. 54:14.644 --> 54:28.712 [SPEAKER_01]: It's the one where Spock, the character who is sort of defined in his culture by pure logic, well it turns out his species basically goes into heat every few years and he starts acting very much unlike himself. 54:29.112 --> 54:42.603 [SPEAKER_01]: and he adds up having to go back to his home planet and through a series of admittedly huge contrivances, he ends up having to fight Captain Kirk to the death, plus them for it, and he always sounded excuse for a gladiator arena. 54:43.084 --> 54:52.692 [SPEAKER_00]: I guess I don't like that one because Spock is out of character, throughout that whole episode, not like the episodes where he's in character, like the ones where he retains his logic, not where he lets his humanity through. 54:52.752 --> 54:54.553 [SPEAKER_01]: Oh, Galileo 7, if you want to give it to me. 54:54.573 --> 54:55.034 [SPEAKER_01]: Yeah, there he is. 54:55.054 --> 54:55.654 [SPEAKER_01]: That's a good spot. 54:55.674 --> 54:56.675 [SPEAKER_01]: That's a great spot, episode. 54:57.215 --> 55:04.223 [SPEAKER_01]: Then if we're going to move on to next generation measure of a man measure of a man abs of fuck and Louie watch measure man. 55:04.243 --> 55:15.795 [SPEAKER_00]: That's the one where they put the Android data's humanity on trial Yes, and Picard has to defend him and riker the first officer of the enterprise has to be the prosecutor 55:16.035 --> 55:28.125 [SPEAKER_01]: Yeah, and has to argue that as an Android data is property not a person and you know, there's a lot that that, you know, thematically that that episode dives into and it addresses all of it. 55:28.225 --> 55:29.586 [SPEAKER_01]: It understands what it's doing. 55:29.606 --> 55:30.767 [SPEAKER_01]: And it's really, really well done. 55:31.428 --> 55:35.151 [SPEAKER_00]: We just also, there's another trial episode, the drum had. 55:35.738 --> 56:02.755 [SPEAKER_01]: which is also a good flight to solid one that's about sort of principles on that show I would argue you and I think you can watch this in a vacuum even though it's technically a sequel to a previous episode lower decks is a great episode it features a lot of characters who are either never going to be seen again or have only been seen like a couple of times before but it is a really great introduction to the idea that start track for all of its space adventures and monsters is a workplace show yeah 56:03.055 --> 56:22.713 [SPEAKER_01]: and it tells you a lot about the dynamics and also just the fact that these characters who are all in space, I think in almost any other franchise, there would be a lot of like in-fighting and snark and these are characters who actually really care about each other and support each other and that that can also be dramatic, yeah, which is one of the 56:27.660 --> 56:32.963 [SPEAKER_00]: Oh, I also like the episodes of next generation where the entire ensemble has stuff to do. 56:32.983 --> 56:33.803 [SPEAKER_00]: Yeah. 56:33.923 --> 56:41.046 [SPEAKER_00]: I think the episode disaster, the Poseidon Adventure episode, where they're just all scattered throughout the ship and they can't communicate. 56:41.527 --> 56:45.128 [SPEAKER_00]: And each group of characters has different crisis they're dealing with. 56:45.248 --> 56:45.489 [SPEAKER_01]: Yeah. 56:45.769 --> 56:48.730 [SPEAKER_00]: That's just good solid disaster filmmaking. 56:48.770 --> 56:53.112 [SPEAKER_00]: Well, I also have to deliver a baby in 10 forward, Picard is stuck in an elevator with three. 56:53.192 --> 57:00.654 [SPEAKER_00]: kids, Troy has to be in command on the bridge, and a riker and data crawling through Jeffree's tubes, trying to reconnect all the computers. 57:00.674 --> 57:06.575 [SPEAKER_00]: Like it's just, you got a good sense as to how the ship operates and who each of the characters are. 57:06.815 --> 57:13.216 [SPEAKER_01]: And it's tricky because one of the cool things about Star Trek, it much like something like Doctor Who, for example, is that it can be any type of show. 57:13.496 --> 57:14.656 [SPEAKER_01]: There can be a serious episode. 57:14.676 --> 57:15.797 [SPEAKER_01]: There can be a funny episode. 57:15.817 --> 57:17.157 [SPEAKER_01]: There can be a scary episode. 57:17.397 --> 57:19.017 [SPEAKER_01]: There can be an action-centric episode. 57:19.037 --> 57:20.798 [SPEAKER_01]: There can be an episode that's just two people talking. 57:24.259 --> 57:32.146 [SPEAKER_01]: But the thing that I think is there are a few unifying factors that most of the great Star Trek stories have. 57:32.427 --> 57:35.389 [SPEAKER_01]: One is that they're usually about solving an impossible problem. 57:35.770 --> 57:40.514 [SPEAKER_01]: Often it's an ethical problem sometimes it's a scientific problem but I think the ethical problem is more interesting. 57:41.375 --> 57:47.340 [SPEAKER_01]: But I think for me the best Star Trek stories are the ones where the entire ensemble cast is utilized well. 57:48.723 --> 58:03.488 [SPEAKER_01]: everyone gets something to do, which is why if you're going to watch the movies, I think four, six, and the first AJ Abrams ones are the best because every character gets treated with respect and has something useful to offer in the narrative. 58:04.548 --> 58:10.690 [SPEAKER_01]: So, four in particular is kind of like a sequel to things, but I watched it without knowing anything else and it was so really cool. 58:12.111 --> 58:18.836 [SPEAKER_01]: And then deep-face nine, bit more, that was when Star Trek started getting a little more serialized. 58:18.856 --> 58:24.540 [SPEAKER_00]: Yeah, it's a little bit more involved, so you actually have to watch a lot more of it to see a lot of stuff come together. 58:24.580 --> 58:25.681 [SPEAKER_00]: But watch it do wet. 58:26.122 --> 58:27.002 [SPEAKER_01]: Yeah. 58:27.102 --> 58:28.884 [SPEAKER_00]: Do that's really, really good. 58:28.964 --> 58:29.404 [SPEAKER_00]: Yeah. 58:29.484 --> 58:31.406 [SPEAKER_00]: That's curah, facing off against a card game. 58:31.426 --> 58:32.887 [SPEAKER_01]: It's a war as a criminal episode. 58:32.907 --> 58:34.348 [SPEAKER_01]: It's a really, really good one. 58:34.909 --> 58:39.012 [SPEAKER_00]: When we haven't gotten to on our podcast yet, it's called Civil Defense. 58:40.933 --> 58:59.159 [SPEAKER_00]: The premise of the show is there on a station that was built by like a Nazi like species called the Cardassians who was like Pressing the people on the planet below and they accidentally trigger an old security measure left over from the Cardassian days 58:59.899 --> 59:06.702 [SPEAKER_00]: And the security measure assumed that everybody on the station were, like, slaves that were engaging in an uprising. 59:07.363 --> 59:13.646 [SPEAKER_00]: And it starts to automatically attack the people inside of it and have to figure out ways to sort of shut this thing down. 59:14.226 --> 59:17.647 [SPEAKER_00]: And communicate to the computer that this is not a card-ass in station anymore. 59:17.708 --> 59:19.869 [SPEAKER_00]: It's under the command of Starfleet. 59:20.029 --> 59:21.429 [SPEAKER_00]: And there was no way to do that. 59:21.509 --> 59:24.651 [SPEAKER_00]: And they had to call the person who programmed it and he got trapped in the trap. 59:25.211 --> 59:26.932 [SPEAKER_00]: That's one of my favorite deuce-based nine episodes. 59:26.952 --> 59:46.448 [SPEAKER_01]: I would also say, and this is one that actually works a lot very, very well on its own, far beyond the stars, which is also a very typical episode because the captain of deuce-based nine starts envisioning himself as a sci-fi writer coming up with the idea for deuce-based nine and like the 1950s. 59:46.649 --> 59:49.991 [SPEAKER_01]: But it also really reckons with sort of the history of sci-fi and how 59:54.855 --> 59:58.938 [SPEAKER_01]: Um, you can kind of skip Voyager and Enterprise. 01:00:00.139 --> 01:00:02.300 [SPEAKER_01]: You don't need to, but you don't. 01:00:02.500 --> 01:00:07.644 [SPEAKER_01]: I don't think they're really going to help you get a better sense of the overall track. 01:00:08.384 --> 01:00:09.085 [SPEAKER_01]: I really don't. 01:00:09.485 --> 01:00:14.889 [SPEAKER_01]: I would say that the next thing you might want to consider doing, I would probably say, 01:00:15.629 --> 01:00:22.139 [SPEAKER_01]: Lower decks is full of very specific in jokes, but I do think it's accessible and it's going to give you a lot of references very, very quickly. 01:00:22.159 --> 01:00:25.785 [SPEAKER_01]: Yeah, it's the cartoon comedy series, but you also take it very, very seriously. 01:00:25.805 --> 01:00:27.147 [SPEAKER_01]: It's got great characters and stories. 01:00:27.648 --> 01:00:29.691 [SPEAKER_01]: But I would argue that I think of all the series. 01:00:31.393 --> 01:00:35.235 [SPEAKER_01]: They're two that I think are the more recent that are really accessible. 01:00:35.715 --> 01:00:39.096 [SPEAKER_01]: One is prodigy, which is kind of its own thing, but it's really good. 01:00:39.116 --> 01:00:47.900 [SPEAKER_01]: It's only a half-hour long, and it's all about teaching a young generation of characters in that universe who don't know anything about Starfleet, what Star Trek means. 01:00:48.020 --> 01:00:48.180 [SPEAKER_01]: Yeah. 01:00:48.440 --> 01:00:49.680 [SPEAKER_01]: And it does it very successfully. 01:00:49.700 --> 01:00:52.961 [SPEAKER_01]: It's a little slow going to start, but I think halfway through season one, it's starting to get stride. 01:00:54.242 --> 01:00:55.743 [SPEAKER_01]: But I would also argue that although 01:00:57.904 --> 01:01:02.086 [SPEAKER_01]: It's really tied into like Star Trek Discovery which is a really bumpy road. 01:01:02.546 --> 01:01:14.393 [SPEAKER_01]: I think you can probably start with episode one of Strange New Worlds show which again a little bumpy I think it's starting to lean a little too heavily into comedy episodes and I think that the overall season arc of like season 3 01:01:15.974 --> 01:01:18.796 [SPEAKER_01]: It was like the space, rates, or whatever the fuck it was. 01:01:18.876 --> 01:01:19.336 [SPEAKER_01]: Oh God. 01:01:19.376 --> 01:01:23.799 [SPEAKER_01]: It's a way more like Doctor Who than than Star Trek in a way that is not complementary. 01:01:23.900 --> 01:01:25.561 [SPEAKER_01]: It felt like they were trying to do their own thing. 01:01:25.921 --> 01:01:33.526 [SPEAKER_01]: But there's so many good episodes of strange new worlds that I think really do invite people into the world of Star Trek. 01:01:33.566 --> 01:01:34.147 [SPEAKER_00]: Very effective. 01:01:34.167 --> 01:01:38.690 [SPEAKER_00]: That's also really was refreshing because that's also an episodic show where it shows 01:01:42.192 --> 01:01:42.592 [SPEAKER_01]: Yeah. 01:01:43.393 --> 01:01:56.299 [SPEAKER_01]: It's common practice ever since like the later seasons of next generation for the season finale to be a cliffhanger that is then picked up later and occasionally there's a two-parter on the middle, but yeah a lot of them are done in ones. 01:01:56.379 --> 01:01:58.500 [SPEAKER_01]: Anyway, that was a lot. 01:02:00.671 --> 01:02:04.934 [SPEAKER_01]: But it's really not that much, because there's like 950 episodes of Star Trek. 01:02:05.854 --> 01:02:07.455 [SPEAKER_01]: And that's not even getting movies. 01:02:07.516 --> 01:02:09.597 [SPEAKER_01]: It's not even like 6 or 7 episodes. 01:02:09.617 --> 01:02:10.337 [SPEAKER_01]: Yeah. 01:02:10.377 --> 01:02:13.439 [SPEAKER_01]: But hopefully that'll give you, hopefully you're writing that down. 01:02:13.740 --> 01:02:15.461 [SPEAKER_01]: Hopefully that'll give you some sense of it. 01:02:16.201 --> 01:02:16.661 [SPEAKER_01]: And yeah. 01:02:16.782 --> 01:02:22.525 [SPEAKER_01]: And if there's anything that you kind of just want to crash course in, we do have a podcast on our Patreon. 01:02:22.565 --> 01:02:24.567 [SPEAKER_01]: It's patreon.com slash critically acclaimed network. 01:02:24.947 --> 01:02:29.210 [SPEAKER_01]: We're Whitney and I have been chugging our way through every single episode of Star Trek. 01:02:29.950 --> 01:02:39.476 [SPEAKER_01]: In order, one episode or one story line who had a couple of two partners, we covered in one podcast, per podcast, and we're over 300 episodes into that. 01:02:40.799 --> 01:02:42.260 [SPEAKER_01]: So there's a huge back catalog. 01:02:42.280 --> 01:02:51.905 [SPEAKER_01]: It's a really really dense, but you can you can cherry pick just pick the ones that sound interesting to you That you kind of want to hear about and maybe you'll decide you want to watch them afterwards But thanks for asking. 01:02:52.105 --> 01:02:53.026 [SPEAKER_01]: I'm excited about it. 01:02:53.106 --> 01:02:58.489 [SPEAKER_01]: I had I think I'd heard rumblings of Star Trek Joining magic the gathering which sounds kind of fun. 01:02:58.509 --> 01:03:04.452 [SPEAKER_01]: Yeah, I don't know if I'd want to like pick up magic the gathering But if there was a way to only play the Star Trek version, I'd probably be into that 01:03:05.060 --> 01:03:06.520 [SPEAKER_01]: Well, you have to teach me Magic the Gathering. 01:03:06.720 --> 01:03:09.681 [SPEAKER_01]: I haven't played Magic the Gathering since it literally first came out. 01:03:10.041 --> 01:03:17.662 [SPEAKER_00]: I was some of my friends in college, like, met in the dorm room, play room, and they would play Magic the Gathering. 01:03:18.083 --> 01:03:22.083 [SPEAKER_01]: They tried to teach me, and I couldn't run my mind around it. 01:03:22.343 --> 01:03:30.225 [SPEAKER_01]: It's a little involved, and I remember being surprised, like Magic the Gathering and Pokemon, where both things were, I was like, I assumed those would be fads. 01:03:31.325 --> 01:03:33.746 [SPEAKER_01]: I assume that by the end of the 90s, you still are doing that. 01:03:33.826 --> 01:03:36.667 [SPEAKER_01]: You want new huge, so that's good for that. 01:03:36.827 --> 01:03:39.428 [SPEAKER_00]: I'm gonna come out with new Pokemon video games just this year. 01:03:39.588 --> 01:03:40.028 [SPEAKER_00]: Good for them. 01:03:40.328 --> 01:03:41.308 [SPEAKER_00]: All right, what are we gonna do? 01:03:41.348 --> 01:03:46.490 [SPEAKER_00]: This is a letter from Luke N. Hello, Luke N. Greetings fellow human people. 01:03:47.390 --> 01:03:52.131 [SPEAKER_00]: Hello, so far as you know, you know, sometimes there's no good way to start a letter. 01:03:52.531 --> 01:03:53.752 [SPEAKER_00]: So there you go, it started. 01:03:56.818 --> 01:03:57.459 [SPEAKER_00]: Well played. 01:03:57.599 --> 01:03:58.219 [SPEAKER_00]: Lean into it. 01:03:58.259 --> 01:04:00.320 [SPEAKER_00]: I say that it's called a paraprocedokian. 01:04:00.340 --> 01:04:01.441 [SPEAKER_00]: Is that what that's called? 01:04:01.741 --> 01:04:03.522 [SPEAKER_00]: That's that that that form of joke. 01:04:03.822 --> 01:04:09.926 [SPEAKER_00]: Like if if I could say a few words, I'd be a better speaker like oh I do that a lot of my reviews. 01:04:09.946 --> 01:04:10.986 [SPEAKER_01]: I don't know there was a name for that. 01:04:11.006 --> 01:04:13.548 [SPEAKER_00]: There's a term for that time of type of company What's it called? 01:04:13.588 --> 01:04:14.628 [SPEAKER_00]: Paraprocedokian. 01:04:14.648 --> 01:04:16.930 [SPEAKER_00]: Oh, I'm totally gonna use that from off. 01:04:17.750 --> 01:04:18.170 [SPEAKER_00]: Okay 01:04:20.988 --> 01:04:33.654 [SPEAKER_00]: We all just have to accept it for what it is and move on now a couple of random things first bibs Yeah, whenever you get dead silence or groans from Whitney for one of your puns I'm usually clapping Thank you. 01:04:34.474 --> 01:04:41.257 [SPEAKER_00]: Thank you for encouraging this Whitney's gonna love that That's why I leave the dead silence. 01:04:41.297 --> 01:04:42.138 [SPEAKER_00]: It's for the applause 01:04:43.950 --> 01:04:53.798 [SPEAKER_00]: Second, knowing that you're both faith no more fans and rightfully so I'm surprised that neither of you reply right on when the other says introduce yourself Interest yourself right on. 01:04:53.918 --> 01:04:55.119 [SPEAKER_00]: Here's your self right on. 01:04:55.139 --> 01:04:57.341 [SPEAKER_01]: Yeah, because you say it a lot. 01:04:58.181 --> 01:04:59.222 [SPEAKER_00]: Well, I mean we care a lot 01:05:03.961 --> 01:05:07.702 [SPEAKER_00]: Carol, Carol, a lot about disease, baby, rock, Hudson Rock, yeah! 01:05:08.362 --> 01:05:16.024 [SPEAKER_00]: And now for more randomness because transitions are also hard sometimes, though these are at least all related to your parodies iron list. 01:05:16.484 --> 01:05:18.064 [SPEAKER_00]: That's another iron list. 01:05:18.544 --> 01:05:23.185 [SPEAKER_00]: I actually re-watched repossessed a couple of weeks ago for the first time since I was a kid. 01:05:23.606 --> 01:05:25.246 [SPEAKER_00]: I'm happy to say that it mostly holds up. 01:05:25.346 --> 01:05:29.027 [SPEAKER_00]: There is a gay panic character, but for the time it was super mild, 01:05:34.108 --> 01:05:36.969 [SPEAKER_00]: Beyond that, the third act just kind of goes on for far too long. 01:05:37.129 --> 01:05:38.110 [SPEAKER_01]: Yeah, I expect that. 01:05:38.130 --> 01:05:50.715 [SPEAKER_01]: It's one of those things where there's so many jokes, like there's multiple jokes a minute, that the fact that they lean into a few offensive ones is disappointing, but it's a surprisingly small percentage of the film. 01:05:51.015 --> 01:05:51.215 [SPEAKER_01]: Yeah. 01:05:51.235 --> 01:05:52.416 [SPEAKER_01]: Considering the area it's wrong. 01:05:52.896 --> 01:05:56.117 [SPEAKER_01]: So it's like, yeah, that was offensive, but we're going to move on, and we're not going to talk about it again. 01:05:56.817 --> 01:05:59.839 [SPEAKER_00]: Also, well, more of a straightforward comedy that 01:06:01.305 --> 01:06:05.809 [SPEAKER_00]: Then black dynamite the follow-up outlaw Johnny Black is also damn great. 01:06:05.829 --> 01:06:12.234 [SPEAKER_00]: I didn't see outlaw Johnny Black Yeah, same filmmakers did like a spoof of westerns. 01:06:12.494 --> 01:06:12.594 [SPEAKER_00]: Ah 01:06:13.339 --> 01:06:15.721 [SPEAKER_00]: Uh, so everyone who likes black dynamite should definitely check that one out. 01:06:15.841 --> 01:06:17.782 [SPEAKER_01]: Oh, I didn't remember that came out shit. 01:06:17.802 --> 01:06:18.942 [SPEAKER_00]: Yeah, I missed it. 01:06:19.063 --> 01:06:19.743 [SPEAKER_01]: Okay. 01:06:19.783 --> 01:06:20.323 [SPEAKER_01]: Yeah, good catch. 01:06:20.503 --> 01:06:28.028 [SPEAKER_00]: Uh, you guys have mentioned it multiple times before, so I got not bringing up again, but man top secret is just hands down the funniest movie ever. 01:06:28.128 --> 01:06:29.069 [SPEAKER_00]: It gets guy. 01:06:29.089 --> 01:06:30.029 [SPEAKER_01]: There's so many great jokes. 01:06:30.089 --> 01:06:35.653 [SPEAKER_00]: So much of that while I respect Whitney making his list on hard mode, I wouldn't have been shocked if it was still his number one. 01:06:36.593 --> 01:06:45.497 [SPEAKER_00]: Yeah, I made my spoof list by exizing all Monty Python Zucker Abrams Zucker and Mel Brooks movies. 01:06:45.797 --> 01:06:49.959 [SPEAKER_00]: But I just wanted, you know those movies. 01:06:50.139 --> 01:06:51.260 [SPEAKER_00]: They're the funniest of all time. 01:06:51.340 --> 01:06:53.961 [SPEAKER_00]: I just wanted to put them all aside and go somewhere else. 01:06:54.041 --> 01:06:55.742 [SPEAKER_01]: I think it's important to make those rules for ourselves. 01:06:55.782 --> 01:06:57.823 [SPEAKER_01]: I recently published an article on 01:06:59.068 --> 01:07:02.972 [SPEAKER_01]: from the rap, which is about the 25 best movies about extra terrestrials ever. 01:07:03.892 --> 01:07:06.695 [SPEAKER_01]: And I made a rule, one film per franchise. 01:07:07.175 --> 01:07:10.118 [SPEAKER_01]: OK, you can't have that many alien movies. 01:07:10.158 --> 01:07:11.820 [SPEAKER_01]: You can't have three predators. 01:07:12.040 --> 01:07:12.400 [SPEAKER_01]: Is it? 01:07:12.841 --> 01:07:13.801 [SPEAKER_01]: You get it, right? 01:07:14.722 --> 01:07:16.464 [SPEAKER_01]: We can move on and make space for something else. 01:07:18.205 --> 01:07:22.428 [SPEAKER_01]: Another note the carry on series, oh, I've actually never seen that. 01:07:22.468 --> 01:07:25.550 [SPEAKER_00]: I've seen one Okay, so I've only seen one of them. 01:07:26.411 --> 01:07:34.236 [SPEAKER_00]: Okay, I don't know it's name and I don't care enough to look it up because it was one of the single most racist Movies I've ever seen 01:07:35.957 --> 01:07:37.839 [SPEAKER_00]: And apparently it's one of the most more popular ones. 01:07:38.179 --> 01:07:46.088 [SPEAKER_00]: I was shocked to learn that there are 31 of these things, but I was relieved in an opening to Taskmaster. 01:07:46.108 --> 01:07:50.452 [SPEAKER_00]: Right, Davis said something about England finally admitted admitting that they're not good. 01:07:51.173 --> 01:07:55.216 [SPEAKER_00]: No, there was a super popular for like two decades. 01:07:55.416 --> 01:08:03.121 [SPEAKER_01]: No, there's a bit when Greg Davies introduces Alex Horne, who's actually the creator of Tax Master, but he lets Greg Davies be the main host. 01:08:05.042 --> 01:08:17.150 [SPEAKER_01]: He introduces him, but he also introduces him in a way that makes him sense unappealing as possible, and he said something to him, I was literally going to bring this up, and with me is a man who once confessed that he thinks the carry on movies are still funny, and that some 01:08:21.732 --> 01:08:42.960 [SPEAKER_00]: It's like all Like I don't know those movies, but that is such a damning the Those movies are dated as fuck like they're not every single joke They immediately like the the racist humor the sexest humor like a most of the jokes are based on me Ladies boobies 01:08:44.181 --> 01:08:46.423 [SPEAKER_00]: They're they're that sophisticated. 01:08:46.603 --> 01:08:53.990 [SPEAKER_01]: It's it's it's lazy and then there was a time when that was like so Salacious that in and of itself Yeah, it's making the same joke. 01:08:54.030 --> 01:09:01.678 [SPEAKER_01]: It was kind of like when every episode of Benny Hill ended with him being chased around by scantily clad ladies Yeah, it's like 01:09:02.313 --> 01:09:03.995 [SPEAKER_00]: Okay, that feels a little punk at the time. 01:09:04.015 --> 01:09:05.918 [SPEAKER_01]: Yeah, that was pretty, so pretty daring. 01:09:05.978 --> 01:09:10.585 [SPEAKER_01]: After a while though, it's like the end of every episode of the man show was ladies on trampolines. 01:09:10.645 --> 01:09:17.114 [SPEAKER_00]: Yeah, it's like, which was also being sold as a satire at the time, but it was literally good to tell it the difference between that and that. 01:09:17.214 --> 01:09:19.617 [SPEAKER_01]: No, satire and that being sex was there. 01:09:20.098 --> 01:09:26.246 [SPEAKER_00]: I have a lot of issues with the man, I can write a book, I read that book. 01:09:26.286 --> 01:09:32.435 [SPEAKER_00]: Finally, a bibs description of Eric the Viking as a spoof slash parody of a genre that didn't exist. 01:09:33.196 --> 01:09:36.821 [SPEAKER_00]: Reminded me of a movie I described in a very similar way, love at stake. 01:09:37.422 --> 01:09:55.377 [SPEAKER_00]: It has all the beats and pastings of a parody movie as opposed to a comedy if that makes sense, but it's about the Salem Witch Trials, so it's a parody of the Salem Witch Trials, just a big movie, not only in that regard, but also in that it's not funny, at all, it has deep Thomas. 01:09:57.414 --> 01:09:58.435 [SPEAKER_00]: And that about wraps things up. 01:09:58.475 --> 01:09:59.136 [SPEAKER_00]: Thank you for all that. 01:09:59.416 --> 01:10:04.760 [SPEAKER_00]: I'll all that you do Luke and PS hi other fan named Luke. 01:10:05.000 --> 01:10:22.333 [SPEAKER_00]: Oh, we have two Luke's hey It is also rare for you to hear that name in the wild and so occasionally when Whitney reads one of my letters You go from hey he's reading I go from hey he's reading my letter to I don't remember writing that because that's my journey every time And they're possibly more than two of us. 01:10:23.073 --> 01:10:24.795 [SPEAKER_00]: Oh God sign to Luke so many 01:10:27.636 --> 01:10:29.758 [SPEAKER_01]: Yeah, no, um, thank you. 01:10:29.778 --> 01:10:31.140 [SPEAKER_01]: That was a very very letter. 01:10:31.240 --> 01:10:38.848 [SPEAKER_01]: Always love the always love the Mike Patton Appreciation I like faith no more a lot. 01:10:39.349 --> 01:10:45.596 [SPEAKER_00]: I love Mike Patton I love you give me some mr. Bungal and I am very fucking happy you give me the first mr. Bungal record. 01:10:45.616 --> 01:10:49.280 [SPEAKER_00]: I'm pretty happy you give me the second mr. Bungal record I'm furious 01:10:50.928 --> 01:10:55.391 [SPEAKER_00]: because it sucks, and then you give me the third one, and I don't know what the fuck is happening anymore. 01:10:55.491 --> 01:10:59.634 [SPEAKER_00]: Because my fucking brain is splattered in every direction. 01:10:59.755 --> 01:11:10.362 [SPEAKER_01]: Did you ever hear the one he did with John Zorn, the big gun down, which is like mostly, or you mean, you mean one of his 8,000 records that he's put out, no, I missed that one. 01:11:10.402 --> 01:11:16.347 [SPEAKER_01]: No, no, no, they did a really incredible, and it's mostly like covers a like spaghetti Western, and it's not like that. 01:11:16.707 --> 01:11:24.198 [SPEAKER_01]: It had a cover of the ballad of Hank McCain from machine gun McCain that lives rent free in my head Really fucking good. 01:11:24.218 --> 01:11:24.639 [SPEAKER_01]: I don't know. 01:11:24.739 --> 01:11:26.482 [SPEAKER_01]: I remember if Mike Pad and Ashley was saying that one. 01:11:26.522 --> 01:11:30.588 [SPEAKER_01]: I might have been John's on anyway Fuck yeah, good one. 01:11:30.608 --> 01:11:30.948 [SPEAKER_01]: Let's see. 01:11:31.068 --> 01:11:31.329 [SPEAKER_01]: I'm I'm 01:11:32.410 --> 01:11:46.766 [SPEAKER_00]: Just listing his back because faith no more he took over for was it rotting bottom who put I don't Superjoy Lee singer remember we took over the late 80 from we care a lot and introduced yourself and then he came in for the real thing which was like their big hit record That was the one I loved 01:11:47.366 --> 01:11:49.728 [SPEAKER_01]: That album is fucking, that doesn't have to skip that one. 01:11:49.748 --> 01:11:51.270 [SPEAKER_00]: And they're confulling the pieces. 01:11:51.310 --> 01:11:52.231 [SPEAKER_00]: Yeah, they do. 01:11:52.311 --> 01:11:56.655 [SPEAKER_01]: But I am part of it, you can't, I still sing that one, karaoke. 01:11:57.215 --> 01:12:00.739 [SPEAKER_01]: Um, that lounge song that ends at the end of the world. 01:12:00.859 --> 01:12:01.199 [SPEAKER_01]: Oh, yeah. 01:12:01.519 --> 01:12:03.621 [SPEAKER_00]: Oh, so great singing and dance. 01:12:03.661 --> 01:12:05.763 [SPEAKER_00]: How is that not in more movies? 01:12:05.783 --> 01:12:08.726 [SPEAKER_01]: That feels like that should be in like every stringer to the edge of the world. 01:12:08.886 --> 01:12:09.927 [SPEAKER_00]: Stroll to the edge of the world. 01:12:09.947 --> 01:12:10.488 [SPEAKER_00]: Oh, yeah. 01:12:11.008 --> 01:12:26.257 [SPEAKER_00]: So yeah, faith no more and then immediately they they fell off the like art Christmas and 92 they did that for that record angel lust Which is like half-licinable. 01:12:26.738 --> 01:12:35.123 [SPEAKER_00]: There's some really good songs on there Then in 95 they did Kingford a full-for-a-life time which is like a third-licinable 01:12:37.257 --> 01:12:40.822 [SPEAKER_00]: And then they did album of the year, which is not listenable at all. 01:12:40.842 --> 01:12:43.506 [SPEAKER_00]: And then it got worse from there when they did soul and Vic does. 01:12:43.566 --> 01:12:44.668 [SPEAKER_00]: And that was like way in 20, 15. 01:12:50.092 --> 01:12:52.133 [SPEAKER_00]: And that was just fake no more than it's nothing to say. 01:12:52.153 --> 01:13:07.117 [SPEAKER_00]: No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no 01:13:18.920 --> 01:13:25.122 [SPEAKER_01]: So I'm not we're not I don't think I'm ever going to be like I could guess in an episode or someone to do a music podcast, but I can ever host one. 01:13:25.142 --> 01:13:29.383 [SPEAKER_01]: I'm not qualified so I don't know if I'm ever going to have an opportunity to say this again. 01:13:29.643 --> 01:13:31.404 [SPEAKER_01]: Have you heard the new Olivia Rodrigo album? 01:13:32.584 --> 01:13:34.785 [SPEAKER_01]: It's so fucking good. 01:13:35.585 --> 01:13:38.366 [SPEAKER_01]: It is another no skip fucking masterpiece. 01:13:38.406 --> 01:13:43.467 [SPEAKER_01]: It's called you seem so you seem pretty sad for a girl so in love and it's like heavily inspired 01:13:46.628 --> 01:13:47.809 [SPEAKER_01]: It's on one of those songs. 01:13:48.009 --> 01:13:48.610 [SPEAKER_01]: Oh wow. 01:13:48.770 --> 01:13:52.573 [SPEAKER_01]: And there's some heavy influences from a few other things. 01:13:52.593 --> 01:13:56.296 [SPEAKER_01]: There's definitely a chapel row and riff in one of them. 01:13:56.396 --> 01:14:06.225 [SPEAKER_01]: One of them begins very much like ever long from food fighters, but it's just trying to make it in a round, but I wasn't able to say that on repeat for like a week. 01:14:06.345 --> 01:14:12.050 [SPEAKER_01]: If you read on the Patreon page, patreon.com slash critically acclaimed network, 01:14:13.050 --> 01:14:18.793 [SPEAKER_01]: I, the most recent newsletter as of this recording probably won't be the most recent as of when this goes out. 01:14:19.874 --> 01:14:28.518 [SPEAKER_01]: I wrote like a 3000 word review of Supergirl because I never know the place to put that and no one else would let me write it for 3000 words. 01:14:29.398 --> 01:14:36.342 [SPEAKER_01]: And I wrote that all in like one straight shot for like in like 90 minutes with just 01:14:42.439 --> 01:14:52.392 [SPEAKER_01]: that was like, you know, that scene in almost famous, we're like, Philipsy and we're half in his playing Lester bangs, and he was like, hey man, I'm just gonna set up all night listening to records and doing speed and writing. 01:14:52.992 --> 01:14:54.454 [SPEAKER_01]: That was my speed. 01:14:54.474 --> 01:14:57.078 [SPEAKER_01]: I don't know. 01:14:57.118 --> 01:14:57.538 [SPEAKER_01]: Well, let's move on. 01:14:57.558 --> 01:14:58.339 [SPEAKER_01]: What do you got? 01:14:58.399 --> 01:15:00.162 [SPEAKER_01]: Here is a letter from... 01:15:02.165 --> 01:15:06.187 [SPEAKER_00]: There it is, a CW, a CW, a CW, oh it's from the CW. 01:15:06.507 --> 01:15:13.751 [SPEAKER_00]: Hey, formerly the UPN and the WB, the single single UPN. 01:15:16.722 --> 01:15:32.872 [SPEAKER_00]: trip to over and smash them to themselves and mash them to like this one potato monster you get in my WB you're guy WVN I UPN now we're doubly shitty ah not joke um good afternoon it bids and cybold attorneys at law 01:15:34.435 --> 01:15:37.117 [SPEAKER_00]: I'm writing about a coincidence, a rabbit hole I have fallen down. 01:15:38.098 --> 01:15:44.042 [SPEAKER_00]: A coincidence, so massive, I'm certain there has to be a deeper meaning or point to being made, though in actuality, I'm sure it's just a coincidence. 01:15:44.863 --> 01:15:48.685 [SPEAKER_00]: It starts with May, Lucky McKeys, great horror film. 01:15:49.446 --> 01:15:53.309 [SPEAKER_00]: May is about a social outcast who works in a veterinary clinic. 01:15:54.229 --> 01:15:59.493 [SPEAKER_00]: The employee we see her work most closely with is played by Anna Ferris, who unfortunately meets her end. 01:16:00.894 --> 01:16:02.155 [SPEAKER_00]: Fast forward to the film, MAH. 01:16:04.317 --> 01:16:09.662 [SPEAKER_00]: What you will note is an occasional vowel away from the title of May. 01:16:10.323 --> 01:16:12.705 [SPEAKER_00]: In it, a social outcast works in the veterinary clinic. 01:16:13.046 --> 01:16:18.151 [SPEAKER_00]: The employee we see are in interact with most is played by Alice and Jenny, who unfortunately meets her aunt. 01:16:18.952 --> 01:16:20.453 [SPEAKER_00]: Both of them have their throat slit. 01:16:21.294 --> 01:16:28.361 [SPEAKER_00]: The final name, Nail being that Ana Ferris and Alice and Jenny, start together in a sitcom called, 01:16:29.310 --> 01:16:34.214 [SPEAKER_00]: Mom, your case, and my case, do the same case. 01:16:36.716 --> 01:16:41.059 [SPEAKER_00]: A synonym for ma and only one y away from me. 01:16:42.080 --> 01:16:47.625 [SPEAKER_00]: Yeah, uh, if any of you have any further information to inform this lately, consider us ethereum to hear it. 01:16:48.448 --> 01:16:53.011 [SPEAKER_00]: Boring that any particular favorite massive coincidences media that you're a particular fan of. 01:16:53.111 --> 01:16:54.953 [SPEAKER_00]: Love and well wishes to you and yours. 01:16:55.513 --> 01:16:55.993 [SPEAKER_00]: CW. 01:16:57.254 --> 01:16:58.155 [SPEAKER_01]: Uh, well, that's going on. 01:16:58.175 --> 01:16:58.835 [SPEAKER_01]: I didn't know about that one. 01:16:58.855 --> 01:16:59.216 [SPEAKER_01]: That's fun. 01:16:59.776 --> 01:17:03.859 [SPEAKER_01]: That is, that's a sort of thing you find out when you accidentally watch two movies back to back. 01:17:04.039 --> 01:17:04.259 [SPEAKER_00]: Yes. 01:17:04.799 --> 01:17:06.421 [SPEAKER_01]: And it's just like, hey, wait a minute. 01:17:06.441 --> 01:17:07.341 [SPEAKER_00]: That's a dental double feed. 01:17:07.361 --> 01:17:09.423 [SPEAKER_00]: Yeah, that's all I can think about for forever. 01:17:09.543 --> 01:17:12.525 [SPEAKER_01]: I was hoping that you would somehow find your way back to Fritz Long's M. 01:17:13.225 --> 01:17:19.430 [SPEAKER_01]: And that it turns out that like Peter Laurie's character was a veterinarian, maybe, or something, but I guess not. 01:17:19.450 --> 01:17:28.276 [SPEAKER_00]: There was one that I sort of put together and I, I'm not a weed guy, but this was like the most pot-smokey thought I ever had. 01:17:28.857 --> 01:17:29.937 [SPEAKER_00]: I don't know. 01:17:29.957 --> 01:17:33.780 [SPEAKER_00]: I've had weed a couple of times, and this was not one of the times, but I still put this together. 01:17:34.000 --> 01:17:34.160 [SPEAKER_01]: Yeah. 01:17:34.380 --> 01:17:35.381 [SPEAKER_00]: I was watching the, um, 01:17:37.585 --> 01:17:45.849 [SPEAKER_00]: I think it was Psycho4, which is the one that has like the flashbacks to the young Norman Bates, and we actually meet his mother while she's still alive, and she's played by Olivia Icy. 01:17:45.889 --> 01:17:46.950 [SPEAKER_01]: That's an underrated movie. 01:17:46.970 --> 01:17:47.770 [SPEAKER_01]: I like the movie a lot. 01:17:47.790 --> 01:17:48.070 [SPEAKER_00]: Yeah. 01:17:48.090 --> 01:17:48.911 [SPEAKER_00]: Psycho4 is all right. 01:17:48.931 --> 01:17:50.852 [SPEAKER_00]: I think Anthony Perkins directed that one. 01:17:50.992 --> 01:17:55.054 [SPEAKER_01]: And he directed it, and Henry Thomas from ET played the young Norman Bates. 01:17:55.214 --> 01:17:55.494 [SPEAKER_01]: That's right. 01:17:55.514 --> 01:17:57.155 [SPEAKER_01]: He's phenomenal. 01:17:57.195 --> 01:17:58.115 [SPEAKER_00]: Oh, he's huge, really good. 01:17:58.155 --> 01:18:00.256 [SPEAKER_00]: Henry Thomas is still a good actor to this day. 01:18:00.296 --> 01:18:05.159 [SPEAKER_01]: I think the framing device isn't amazing, but other than that, that movie is to spot on one of the best movies that franchise. 01:18:07.401 --> 01:18:16.312 [SPEAKER_00]: Not saying much because Psycho2 and 3 are great, Psycho2's all right, but we never meet Norman's father. 01:18:17.213 --> 01:18:39.344 [SPEAKER_00]: Yeah, like what is happening with Norman's father and they do like show that he did have a father They find his body at one point and they like open up like a little file and they never say what his first name is But if you look closely at like some sort of coroner's report and in that movie You'll see that his name was Jay Bates Like Norman Bates father's first initial was Jay. 01:18:39.444 --> 01:18:39.644 [SPEAKER_01]: Okay 01:18:40.064 --> 01:18:50.313 [SPEAKER_00]: And for some reason I put together that J-Bates, the letters and J-Bates are the first initials of the chipmunks and the chipats. 01:18:51.934 --> 01:18:55.898 [SPEAKER_01]: Alvin Simon Theodore Jeanette Eleanor Brittney 01:18:57.551 --> 01:18:59.051 [SPEAKER_00]: J.B.A.T.E.S. 01:18:59.552 --> 01:19:02.212 [SPEAKER_01]: There's no way that we'll answer this. 01:19:03.533 --> 01:19:07.894 [SPEAKER_01]: That's not like they'd be one thing if it was numbers because there's only like 10 digits. 01:19:08.414 --> 01:19:09.954 [SPEAKER_01]: Like each digit can be. 01:19:09.974 --> 01:19:10.454 [SPEAKER_01]: Yeah. 01:19:10.474 --> 01:19:12.635 [SPEAKER_01]: But that's like 20. 01:19:14.055 --> 01:19:15.676 [SPEAKER_01]: Six later than the alphabet is done. 01:19:16.056 --> 01:19:16.916 [SPEAKER_01]: That's like one out of 10. 01:19:16.936 --> 01:19:17.976 [SPEAKER_01]: So that's like 26 times six. 01:19:22.635 --> 01:19:30.979 [SPEAKER_01]: Probably times like a million because I'm a bit of math out of like one percent Uh-uh odds like there's no way that's coincidence. 01:19:30.999 --> 01:19:34.141 [SPEAKER_01]: That's just like perfect J-bates. 01:19:34.341 --> 01:19:45.006 [SPEAKER_00]: J-bates and so the chipmunks and the chip adds are somehow linked to psycho I can't tell you how Dude, I don't know how somebody used to write us in dude to say yeah Dave 01:19:46.557 --> 01:19:54.205 [SPEAKER_01]: Oh, David was Norman Bates's father, the original day, the original day, first day, I'm not the first day! 01:19:55.566 --> 01:20:01.271 [SPEAKER_01]: Well, not the Jason Lee Dave, obviously, the original Dave, the Dave Seville. 01:20:01.291 --> 01:20:02.172 [SPEAKER_01]: Dave Seville. 01:20:02.352 --> 01:20:02.653 [SPEAKER_01]: Yes. 01:20:05.855 --> 01:20:06.656 [SPEAKER_00]: That's really good. 01:20:06.676 --> 01:20:08.677 [SPEAKER_00]: So Dave Seville is Norman Bates father. 01:20:08.797 --> 01:20:10.158 [SPEAKER_00]: That's what we're saying here. 01:20:10.678 --> 01:20:17.463 [SPEAKER_01]: There was one thing, there's one I remember running into, and I'm feel like I'm gonna mess this up a little bit, but in the hunt for Red October. 01:20:17.783 --> 01:20:18.463 [SPEAKER_00]: Okay. 01:20:18.623 --> 01:20:21.766 [SPEAKER_01]: Sam Neal plays a guy on the Russian submarine. 01:20:22.686 --> 01:20:34.274 [SPEAKER_01]: And the whole point of that movie is this Russian submarine is like they think it's gone rogue and it might attack the U.S., but Jack Ryan, I played it in that movie by Alec Baldwin, is convinced that they're actually trying to defect, 01:20:35.134 --> 01:20:37.656 [SPEAKER_01]: But they can't let us the US know. 01:20:37.676 --> 01:21:02.654 [SPEAKER_01]: We're trying to hint at it and Sam Neil is one of the defecting Russians and there's a bit towards the end of the movie where I think he dies or something like one of his last words is like I always wanted to see Montana and then I think in the horse whisperer he plays a guy that lives in Montana and I was like oh good for him he made it that's great I'm so happy 01:21:03.322 --> 01:21:14.813 [SPEAKER_00]: I wrote a really dumb article at one point where I kind of did some number crunching and figured out that both Jason Voorhees and Charles Lee Ray Chucky are both from New Jersey. 01:21:14.933 --> 01:21:22.860 [SPEAKER_00]: So I can try this reason to think that when Charles Lee Ray was a teenager, he fathered Jason Voorhees. 01:21:24.060 --> 01:21:38.492 [SPEAKER_00]: Yeah, but that doesn't really play because they're actually like the the years keep changing in those series because they're really inconsistent, but yeah, yeah, if you if you squint and tilt your head a little bit, maybe that can work out, but that was just a dumb fan theory. 01:21:38.572 --> 01:21:41.735 [SPEAKER_01]: So there is a fountains of Wayne song called Hackensack. 01:21:42.496 --> 01:21:43.737 [SPEAKER_01]: Okay, it's not one of the more famous songs. 01:21:44.370 --> 01:21:46.372 [SPEAKER_01]: Uh, but that about, trust me, right? 01:21:46.532 --> 01:21:46.692 [SPEAKER_01]: No. 01:21:47.352 --> 01:21:57.059 [SPEAKER_01]: It's a different kind of thing where hack and sack is a song about a guy who lives in hack and sack and there was a girl get a crush on all throughout like elementary school on high school. 01:21:57.079 --> 01:21:57.439 [SPEAKER_00]: Okay. 01:21:57.620 --> 01:22:01.082 [SPEAKER_01]: Who left hack and sack and made it big and Hollywood? 01:22:01.322 --> 01:22:16.361 [SPEAKER_01]: Okay, and he's just thanks to himself, he missed his shot, and the line and the chorus is, and if you ever get back to Hackensack, I'll be there for you, and it's like really seconds is never gonna happen. 01:22:16.681 --> 01:22:19.665 [SPEAKER_01]: But if you look at the things, if you listen to the lyrics, 01:22:20.562 --> 01:22:24.243 [SPEAKER_01]: There are a few specifics that he gives. 01:22:25.023 --> 01:22:31.605 [SPEAKER_01]: He never says who it is, and ever says who it's about, but there are a few clues that I ran the numbers. 01:22:31.985 --> 01:22:34.486 [SPEAKER_01]: I did the fucking research. 01:22:35.046 --> 01:22:43.388 [SPEAKER_01]: It's like when people figured out like that one ice cube song a good day, like what the day they figured out what the day was, it's like, okay, so I figured out who hack and sack is about. 01:22:43.868 --> 01:22:47.109 [SPEAKER_01]: And I'm just gonna speed run you through it, but basically based on, 01:22:47.989 --> 01:23:09.167 [SPEAKER_01]: the age of the lead singer and the specifics about the who we know that like she was in a movie with like I saw you talk into Christopher walkin okay she was in a movie Christopher walkin so sure an actress of a certain age there more clues but that's just giving me the sense that I did have actual stuff to work with that song is about Britney Murphy 01:23:10.315 --> 01:23:10.595 [SPEAKER_00]: Okay. 01:23:10.916 --> 01:23:11.076 [SPEAKER_01]: Yeah. 01:23:11.676 --> 01:23:13.558 [SPEAKER_01]: I mean, Tane that that song is about Britney Murphy. 01:23:13.658 --> 01:23:16.100 [SPEAKER_00]: I don't know if she went with Christopher Walker. 01:23:16.120 --> 01:23:18.222 [SPEAKER_00]: The prophecy to that's right. 01:23:18.322 --> 01:23:19.323 [SPEAKER_00]: She was in a prophecy too. 01:23:19.543 --> 01:23:19.763 [SPEAKER_01]: Yeah. 01:23:21.204 --> 01:23:21.645 [SPEAKER_01]: It makes sense. 01:23:21.665 --> 01:23:22.766 [SPEAKER_01]: That would be on TV. 01:23:23.366 --> 01:23:24.808 [SPEAKER_01]: You didn't see that one over here. 01:23:25.949 --> 01:23:26.969 [SPEAKER_01]: I think it would be, actually. 01:23:26.989 --> 01:23:28.671 [SPEAKER_01]: The prophecy to that page is to choose, okay. 01:23:28.711 --> 01:23:32.634 [SPEAKER_01]: For straight to video, sequel to the prophecy, prophecy to his brain. 01:23:32.654 --> 01:23:33.095 [SPEAKER_01]: It's both so. 01:23:33.335 --> 01:23:35.096 [SPEAKER_00]: Wait, does the prophecy took him to theaters, actually? 01:23:35.237 --> 01:23:35.477 [SPEAKER_00]: It did. 01:23:36.117 --> 01:23:37.238 [SPEAKER_00]: Okay, prophecy 3. 01:23:37.258 --> 01:23:38.038 [SPEAKER_00]: I think was straight to video. 01:23:38.058 --> 01:23:38.679 [SPEAKER_01]: Yeah, prophecy 3. 01:23:38.699 --> 01:23:39.059 [SPEAKER_01]: There I go. 01:23:39.079 --> 01:23:42.641 [SPEAKER_01]: That was when they started having um Because we're all I can wasn't in that one. 01:23:42.781 --> 01:23:44.142 [SPEAKER_01]: No, but that didn't them. 01:23:44.302 --> 01:23:46.763 [SPEAKER_01]: Oh, who took that over there wasn't there like some um 01:23:48.230 --> 01:23:48.991 [SPEAKER_01]: It's just some bloke. 01:23:49.251 --> 01:23:51.072 [SPEAKER_01]: Oh, it's just some god. 01:23:51.172 --> 01:23:53.834 [SPEAKER_00]: Yeah, it's been a while. 01:23:53.854 --> 01:23:57.177 [SPEAKER_00]: So I'm going to have to look up the details of the prophecy three colon the assent. 01:23:57.197 --> 01:23:58.858 [SPEAKER_00]: Oh, hey, no, Christopher Walker was in that one. 01:23:58.878 --> 01:23:59.879 [SPEAKER_00]: Christopher Walker was in that one. 01:23:59.899 --> 01:24:02.021 [SPEAKER_00]: Christopher Walker was in that one for a while, yeah. 01:24:02.381 --> 01:24:04.263 [SPEAKER_01]: Yeah, that was a fourth one that he was in. 01:24:04.323 --> 01:24:08.446 [SPEAKER_01]: That's the one where he plays an evil, like a fallen angel and he's trying to bring about the end of the world. 01:24:08.466 --> 01:24:12.829 [SPEAKER_00]: Please, Archangel Gabriel, but the angels in that move, I love the way they envisioned it. 01:24:12.849 --> 01:24:13.690 [SPEAKER_00]: They said they were like long. 01:24:13.950 --> 01:24:17.433 [SPEAKER_00]: Black coats and slick back hair was very 90s, but they don't sit on chairs normal. 01:24:17.453 --> 01:24:19.735 [SPEAKER_01]: They sit on the back of chairs They probably perching birds. 01:24:19.775 --> 01:24:34.847 [SPEAKER_01]: Yeah, and they're like really unusual like biology We have somebody dissecting an angel and before he was super famous Place Satan yeah, place Lucifer and there's a bit where I've never heard of them He like grab a bird out of the air and eat it and like mid-speech or something 01:24:35.547 --> 01:24:36.108 [SPEAKER_00]: I don't think so. 01:24:36.128 --> 01:24:36.608 [SPEAKER_00]: See do that? 01:24:36.688 --> 01:24:37.029 [SPEAKER_00]: See do that? 01:24:37.049 --> 01:24:37.429 [SPEAKER_01]: See do that? 01:24:37.449 --> 01:24:37.809 [SPEAKER_01]: See do that? 01:24:37.829 --> 01:24:38.250 [SPEAKER_01]: See do that? 01:24:38.310 --> 01:24:38.630 [SPEAKER_01]: See do that? 01:24:39.631 --> 01:24:39.891 [SPEAKER_01]: See do that? 01:24:39.911 --> 01:24:40.232 [SPEAKER_01]: See do that? 01:24:40.252 --> 01:24:40.532 [SPEAKER_01]: See do that? 01:24:40.552 --> 01:24:41.413 [SPEAKER_00]: See do that? 01:24:41.433 --> 01:24:41.913 [SPEAKER_00]: See do that? 01:24:41.933 --> 01:24:42.414 [SPEAKER_00]: See do that? 01:24:42.434 --> 01:24:42.854 [SPEAKER_00]: See do that? 01:24:42.874 --> 01:24:43.255 [SPEAKER_00]: See do that? 01:24:43.275 --> 01:24:43.615 [SPEAKER_00]: See do that? 01:24:43.635 --> 01:24:44.036 [SPEAKER_00]: See do that? 01:24:44.056 --> 01:24:44.456 [SPEAKER_00]: See do that? 01:24:44.476 --> 01:24:44.776 [SPEAKER_00]: See do that? 01:24:44.796 --> 01:24:45.277 [SPEAKER_00]: See do that? 01:24:45.297 --> 01:24:45.737 [SPEAKER_00]: See do that? 01:24:53.247 --> 01:24:54.809 [SPEAKER_01]: The first prophecy is pretty fucking cool. 01:24:54.910 --> 01:24:57.513 [SPEAKER_01]: Yeah, Patrick Lucie did, I forgot that. 01:24:57.794 --> 01:25:04.803 [SPEAKER_01]: Yeah, Patrick Lucie did like a ton of like an interesting like better than it should be like straight to video, see wall type stuff. 01:25:05.584 --> 01:25:06.185 [SPEAKER_01]: I'm a big fan. 01:25:08.177 --> 01:25:27.753 [SPEAKER_00]: all right we got we have one more sure we can do one more more this one comes from Anthony uh... hello bibles and we did this is Anthony jay Drake writing to you guys once again i wanted to write in about something else that and i felt this was more more important question for where i'm currently at right now i'm currently in the midst of one of the hardest months of my life i'm sorry 01:25:28.574 --> 01:25:35.641 [SPEAKER_00]: Film has been there to comfort me when I need it the most, so with that being said, what are your guys' favorite films to watch when you're feeling particularly anxious? 01:25:35.661 --> 01:25:36.742 [SPEAKER_00]: I'm very depressed. 01:25:37.362 --> 01:25:41.707 [SPEAKER_00]: All of you both so much and thank you for helping me navigate another tough situations, sincerely, Anthony. 01:25:42.322 --> 01:25:43.063 [SPEAKER_01]: That's a great question. 01:25:43.223 --> 01:25:47.147 [SPEAKER_01]: I usually don't gravitate towards movies when I'm feeling depressed. 01:25:47.167 --> 01:25:59.379 [SPEAKER_01]: I usually tend to go for more of a comfort TV show, where I can kind of sit with the same characters for a while if I'm like if I need more than like a two-hour hit they're there for me. 01:26:00.020 --> 01:26:00.941 [SPEAKER_01]: Like that kind of things. 01:26:00.961 --> 01:26:02.062 [SPEAKER_01]: I'll like watch a columboe. 01:26:02.082 --> 01:26:08.631 [SPEAKER_01]: Okay, or I'll watch lately I've been watching with my girlfriend the good wife I would've hadn't seen before and it's great. 01:26:08.671 --> 01:26:09.913 [SPEAKER_01]: It's a really really great show. 01:26:09.933 --> 01:26:11.655 [SPEAKER_01]: I like I'm bummed I didn't see at the time. 01:26:11.695 --> 01:26:14.939 [SPEAKER_01]: It's totally up my alley But when it comes to movies 01:26:17.283 --> 01:26:22.628 [SPEAKER_01]: Probably my go-to is a studio jibbly film. 01:26:22.668 --> 01:26:23.789 [SPEAKER_01]: It's not always the same one though. 01:26:23.809 --> 01:26:25.330 [SPEAKER_01]: I used to have my never-to-to-ro. 01:26:26.171 --> 01:26:27.732 [SPEAKER_00]: That was, he's the Livre service. 01:26:27.752 --> 01:26:29.394 [SPEAKER_00]: I think right now it's a Pro-roso. 01:26:29.454 --> 01:26:31.315 [SPEAKER_00]: It's like just pleasant gentle movies. 01:26:31.475 --> 01:26:36.720 [SPEAKER_01]: Pretty pleasant, pretty gentle, little adventure, little romance, but they're usually mild. 01:26:36.740 --> 01:26:42.305 [SPEAKER_01]: Like I wouldn't put on spirit in a way that gave my anxiety a break because there's actually a lot of intensity to that. 01:26:42.846 --> 01:26:52.037 [SPEAKER_01]: But Kiki's library service, my neighborhood owner on pork aroso, in particular, I feel are just very pleasant films without being, you know, in substantial. 01:26:53.058 --> 01:26:54.159 [SPEAKER_01]: So that's something that comes to mind. 01:26:54.239 --> 01:26:55.241 [SPEAKER_01]: A local hero. 01:26:55.945 --> 01:26:56.585 [SPEAKER_00]: You actually look all here. 01:26:56.645 --> 01:27:01.786 [SPEAKER_01]: Local hero will pick you up in a very mild way. 01:27:02.427 --> 01:27:09.288 [SPEAKER_01]: It's not like you're taking a shot of caffeine and then you feel like you can run out there and deal with the world. 01:27:09.568 --> 01:27:12.029 [SPEAKER_01]: It just makes you feel like it's my POK. 01:27:12.589 --> 01:27:14.950 [SPEAKER_00]: Even if they're kind of a bummer sometimes, things might be okay. 01:27:15.550 --> 01:27:16.410 [SPEAKER_00]: But people are nice. 01:27:17.548 --> 01:27:23.450 [SPEAKER_01]: I really like local here a lot of Peter Rieger and I've seen it, but I don't know people at home know what it is. 01:27:23.550 --> 01:27:33.414 [SPEAKER_01]: Okay, it used to be very popular now, I think it's kind of falling into relative obscurity, but Peter Rieger plays an American business man who is sent to small town in Ireland. 01:27:33.434 --> 01:27:34.054 [SPEAKER_01]: I think it's all done. 01:27:34.094 --> 01:27:36.975 [SPEAKER_01]: I was in Scotland or one of those, but like he's sent to a small town. 01:27:37.575 --> 01:27:43.876 [SPEAKER_01]: Um, and he's trying to convince them to sell their land to this big corporation. 01:27:44.676 --> 01:27:52.178 [SPEAKER_01]: And he thinks he's going to have to like really play hardball with these guys and try to get them to whatever and what he doesn't realize is that they all want to sell. 01:27:52.938 --> 01:27:54.318 [SPEAKER_01]: They're just like, we don't care. 01:27:54.338 --> 01:27:55.838 [SPEAKER_01]: We are not married to this place. 01:27:56.078 --> 01:27:57.359 [SPEAKER_01]: We'd rather have the money. 01:27:57.379 --> 01:27:59.639 [SPEAKER_01]: It's so fucking cute because they don't. 01:27:59.919 --> 01:28:00.539 [SPEAKER_01]: They don't know that. 01:28:00.879 --> 01:28:02.079 [SPEAKER_00]: Yes. 01:28:02.099 --> 01:28:03.560 [SPEAKER_00]: It takes a while for all that to kind of link that. 01:28:03.580 --> 01:28:04.540 [SPEAKER_01]: Yeah, it's so good. 01:28:05.561 --> 01:28:06.461 [SPEAKER_00]: I like local here. 01:28:06.501 --> 01:28:07.582 [SPEAKER_00]: It's so good. 01:28:07.622 --> 01:28:08.143 [SPEAKER_00]: It's real three. 01:28:08.283 --> 01:28:09.644 [SPEAKER_01]: Anything else? 01:28:09.744 --> 01:28:10.365 [SPEAKER_01]: I mean, yeah. 01:28:10.425 --> 01:28:13.847 [SPEAKER_01]: I mean, certainly like an old comedy, like I married a witch. 01:28:14.268 --> 01:28:16.510 [SPEAKER_01]: That's always been really happy. 01:28:16.590 --> 01:28:19.712 [SPEAKER_01]: Palm Beach stories, one of my favorites, and I'm talking about that. 01:28:20.053 --> 01:28:20.873 [SPEAKER_01]: Oh, it's so good. 01:28:22.174 --> 01:28:24.276 [SPEAKER_01]: It's um, it's fun or click, right? 01:28:24.757 --> 01:28:26.938 [SPEAKER_01]: No, no, Veronica Lake was in my married a witch. 01:28:26.978 --> 01:28:28.500 [SPEAKER_01]: Palm Beach story was um, 01:28:30.080 --> 01:28:33.401 [SPEAKER_01]: Who's in it happened one night besides Clark Gable, who was the product copus. 01:28:33.421 --> 01:28:34.021 [SPEAKER_01]: It's called a colbert. 01:28:34.041 --> 01:28:41.664 [SPEAKER_01]: It's called a colbert in Joel McCray and they are married, but they're really struggling financially. 01:28:41.704 --> 01:28:45.605 [SPEAKER_01]: Like they're just, they're totally in love, but they're totally struggling financially. 01:28:45.945 --> 01:28:53.327 [SPEAKER_01]: And she is convinced that his commitment to being a good husband has prevented him from succeeding in his career. 01:28:53.888 --> 01:28:58.189 [SPEAKER_01]: So out of nothing but love for him, she runs off to get a divorce. 01:28:58.729 --> 01:29:18.814 [SPEAKER_01]: and he chases her like across the country to stop her from trying to divorce him along the way she starts to do sing like a billionaire because if she does that he might invest in her soon to be ex-husband's business and it's so fucking cute and quirky and so good and I love that movie a lot. 01:29:18.934 --> 01:29:19.174 [SPEAKER_01]: Nice. 01:29:19.234 --> 01:29:19.554 [SPEAKER_01]: What about you? 01:29:20.537 --> 01:29:43.755 [SPEAKER_00]: uh... i don't have any you don't have any way you would watch if you were different when i'm depressed or anxious if i put on any movie it ruins the movie i will now associate that with my sadness and depression and then when i watch it when i'm in a good mood it depresses me even if it's a happy move even if it's a movie you've seen before that was a happy it it my depression shades the movie and not the other way around so uh that's 01:29:43.975 --> 01:29:51.317 [SPEAKER_00]: So what I'm really sad or anxious or depressed, I tend not to listen to or watch anything. 01:29:52.257 --> 01:29:54.998 [SPEAKER_00]: I just sort of sit in a dark room and feel sorry for myself. 01:29:55.819 --> 01:29:58.759 [SPEAKER_00]: So do you listen to like something? 01:29:58.839 --> 01:30:00.740 [SPEAKER_00]: No, I specifically don't listen to music. 01:30:01.400 --> 01:30:03.261 [SPEAKER_01]: Okay, whatever works for you, I guess. 01:30:03.301 --> 01:30:08.022 [SPEAKER_01]: I think a lot of people use arts to help process their emotions. 01:30:08.042 --> 01:30:11.584 [SPEAKER_01]: I know a lot of people when they're sad, they want to listen to sad music. 01:30:11.604 --> 01:30:12.964 [SPEAKER_01]: It helps them like get it all out. 01:30:13.584 --> 01:30:17.065 [SPEAKER_01]: I've never really been that way, except sometimes by accident. 01:30:17.686 --> 01:30:21.347 [SPEAKER_01]: Like, oh, my marriage is ending. 01:30:21.407 --> 01:30:27.149 [SPEAKER_01]: And I'm kind of holding it together, and holding it together, and then fuck, radio heads, creep comes on, radio. 01:30:27.269 --> 01:30:30.110 [SPEAKER_01]: Fuck, I will be singing to this and crying for the next four minutes. 01:30:30.910 --> 01:30:31.471 [SPEAKER_00]: I'll say this. 01:30:31.631 --> 01:30:35.915 [SPEAKER_00]: I did have like in the early 2000s. 01:30:35.935 --> 01:30:36.296 [SPEAKER_00]: I had a- 01:30:40.150 --> 01:30:41.832 [SPEAKER_00]: A bad breakup to a bad relationship. 01:30:41.912 --> 01:30:42.873 [SPEAKER_00]: It was going poorly. 01:30:42.913 --> 01:30:43.393 [SPEAKER_00]: We broke up. 01:30:43.433 --> 01:30:44.835 [SPEAKER_00]: It was just the most order the best. 01:30:44.935 --> 01:30:47.077 [SPEAKER_00]: It was for the best, but it was still emotionally devastating. 01:30:47.097 --> 01:30:50.079 [SPEAKER_00]: And I've found myself trying to keep myself busy. 01:30:50.099 --> 01:30:55.404 [SPEAKER_00]: I started volunteering at like the Braille Institute and just sort of doing things to keep myself busy because I also got fuck you're a good person. 01:30:55.424 --> 01:30:58.747 [SPEAKER_00]: Fired around the same time, so I just started listening to a lot of books. 01:30:59.107 --> 01:31:01.490 [SPEAKER_01]: What did you do when you went a bad relationship at it? 01:31:01.590 --> 01:31:02.891 [SPEAKER_01]: Oh, I got drunk for a week. 01:31:02.911 --> 01:31:03.612 [SPEAKER_01]: What do you want me to do? 01:31:03.632 --> 01:31:04.272 [SPEAKER_01]: He fought. 01:31:08.097 --> 01:31:09.559 [SPEAKER_00]: But last you're fucking hard. 01:31:09.619 --> 01:31:15.949 [SPEAKER_00]: I love you so much when when I was going like to and fro I started like thumbing around on the radio. 01:31:15.989 --> 01:31:21.317 [SPEAKER_00]: It's like what's I I was just reaching that age where I was kind of disconnecting from popular music sure 01:31:21.617 --> 01:31:43.756 [SPEAKER_00]: So it was just trying what's what's popular, what's out there and somehow I landed on radio Disney which is like the most saccharine upbeat Santa time In sufferable pop music you could ever hope to hear and yeah, it's like if bubble gum chewed bubble gum like it was just so unbelievably frothy Remember when like ever the Simpsons made fun of it once where there was like now on radio Disney 01:31:44.216 --> 01:32:03.730 [SPEAKER_00]: who left the toys out and they did that they tried to Santa to like they play a pop song but clearly some like personality parent called in so they sanitized it there's a mombot number five with Disney characters yeah cuz you know mombot number five is about drinking and sleeping with a bunch of women and they don't want your old listening to it 01:32:05.442 --> 01:32:18.441 [SPEAKER_00]: But yeah, I started listening to that and that kind of stuff made me feel better Because I had a bad breakup and these are all about like oh, I'm in the eighth grade and I've my first crush And I saw you in my home room and it was all really sweet like okay. 01:32:18.461 --> 01:32:19.122 [SPEAKER_00]: Yeah, there's there's 01:32:20.343 --> 01:32:22.345 [SPEAKER_00]: I hate this, but there's light in the world, you know? 01:32:23.606 --> 01:32:30.751 [SPEAKER_00]: So I've gotten to know bands like BWITCHed or the Ateens or elements spelled LMNT. 01:32:30.991 --> 01:32:33.673 [SPEAKER_01]: You can really, you can, you can speedrun through all of that. 01:32:33.693 --> 01:32:34.874 [SPEAKER_01]: I don't know what's all of those songs. 01:32:35.274 --> 01:32:37.676 [SPEAKER_01]: Just listen to the cars for kids theme music. 01:32:37.796 --> 01:32:38.457 [SPEAKER_01]: Oh my God. 01:32:38.477 --> 01:32:39.137 [SPEAKER_01]: Oh my God. 01:32:39.778 --> 01:32:44.121 [SPEAKER_01]: And then, you know, that's the kind of hell, but it's a bit more upbeat. 01:32:44.481 --> 01:32:50.029 [SPEAKER_00]: But here's the weird through line that kind of got me through because there's some weird shit that started leaking into radio Disney. 01:32:50.469 --> 01:32:54.895 [SPEAKER_00]: Like you'd think this is all really sanitized Disney music and you hear like covers of the tide is high. 01:32:55.616 --> 01:32:58.120 [SPEAKER_00]: Uh, instead, there was... 01:32:59.017 --> 01:33:20.806 [SPEAKER_00]: The 18s led to this really weird, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, uh, 01:33:29.229 --> 01:33:45.275 [SPEAKER_00]: Indeed they are, Disney owned the 18s, they produced all of their music, they bought their catalog and they thought, well, we're having a lot of success with this pop band from a previous decade sunk but covered by teenage artists, who else can we do this with? 01:33:45.955 --> 01:33:47.275 [SPEAKER_00]: Now what would your first thought be? 01:33:47.576 --> 01:33:52.297 [SPEAKER_00]: We want to do a teen version of a classic band that only covers that one band songs. 01:33:53.178 --> 01:33:53.798 [SPEAKER_01]: The Beach Boys. 01:33:53.978 --> 01:33:56.079 [SPEAKER_00]: Beach Boys Easy, Beatles Rolling Stones. 01:33:57.559 --> 01:33:58.519 [SPEAKER_01]: Rowling sounds you couldn't afford. 01:33:58.559 --> 01:34:00.060 [SPEAKER_01]: Beach Boys probably couldn't afford it. 01:34:00.080 --> 01:34:00.300 [SPEAKER_00]: Yeah. 01:34:00.520 --> 01:34:06.163 [SPEAKER_01]: Like, Abba wasn't like, Abba would like wained in popularity just enough in the 90s they could probably get Abba. 01:34:06.383 --> 01:34:06.623 [SPEAKER_01]: Yeah. 01:34:07.043 --> 01:34:08.584 [SPEAKER_01]: But I don't think you would never get the beat. 01:34:08.604 --> 01:34:09.665 [SPEAKER_01]: Yeah, you couldn't get the beat. 01:34:09.685 --> 01:34:10.465 [SPEAKER_01]: Beach Boys is a strategy. 01:34:10.485 --> 01:34:11.746 [SPEAKER_00]: You could do teen blondie. 01:34:11.766 --> 01:34:13.086 [SPEAKER_00]: You know, there's like some hot bands. 01:34:13.486 --> 01:34:14.647 [SPEAKER_00]: I'd love to hear teen blondie. 01:34:16.183 --> 01:34:17.964 [SPEAKER_01]: That would be, that would be pretty fucking great. 01:34:18.004 --> 01:34:23.289 [SPEAKER_00]: The band they decided to actually do this with, though, and actually made a record and shot music videos for with Diva. 01:34:23.469 --> 01:34:24.369 [SPEAKER_01]: Yeah, we're choice. 01:34:24.409 --> 01:34:27.312 [SPEAKER_00]: Diva 2.0 with a team band. 01:34:27.512 --> 01:34:28.493 [SPEAKER_00]: Yeah. 01:34:28.513 --> 01:34:29.974 [SPEAKER_00]: They cast the team actors. 01:34:29.994 --> 01:34:31.035 [SPEAKER_00]: They didn't play their own instruments. 01:34:31.115 --> 01:34:32.476 [SPEAKER_00]: That lead singer did do all this stuff. 01:34:32.496 --> 01:34:33.797 [SPEAKER_01]: So they did just on the monkeys then. 01:34:34.117 --> 01:34:34.497 [SPEAKER_00]: More or less. 01:34:34.557 --> 01:34:35.758 [SPEAKER_00]: Yeah, like team monkeys. 01:34:35.778 --> 01:34:36.138 [SPEAKER_00]: What a great. 01:34:36.158 --> 01:34:39.401 [SPEAKER_00]: Yeah, we'd have been better than that new monkeys aberration from the mid 80s. 01:34:39.421 --> 01:34:40.641 [SPEAKER_00]: I didn't even remember that. 01:34:41.222 --> 01:34:46.846 [SPEAKER_00]: But a team devo was remixed by Devo and they approached Devo that said, hey, we're Disney. 01:34:47.086 --> 01:34:50.988 [SPEAKER_00]: We want to do Disney versions of Devo and they said, what the fuck are you talking about? 01:34:51.008 --> 01:34:52.790 [SPEAKER_00]: Have you listened to Devo? 01:34:53.270 --> 01:34:56.692 [SPEAKER_00]: We're like one of the most cynical nihilistic bands out there. 01:34:56.712 --> 01:34:57.553 [SPEAKER_00]: We hate you. 01:34:59.059 --> 01:35:04.526 [SPEAKER_00]: And they said, no, no, we'll give you a pile of money and Mark Mother's boss said, no fucking way, and Jerry Kassale like, hold him a site, wait a minute, wait a minute. 01:35:04.986 --> 01:35:06.168 [SPEAKER_00]: Everything devils, right? 01:35:06.889 --> 01:35:08.331 [SPEAKER_00]: That, that happens to us now. 01:35:09.031 --> 01:35:10.854 [SPEAKER_00]: Yeah, we get to devolve. 01:35:10.874 --> 01:35:13.938 [SPEAKER_00]: We get to see what happens when Devo itself is Devo. 01:35:14.098 --> 01:35:15.059 [SPEAKER_01]: No, my, here's my question. 01:35:15.199 --> 01:35:15.399 [SPEAKER_01]: Well. 01:35:16.410 --> 01:35:17.271 [SPEAKER_01]: Did they take the money? 01:35:17.712 --> 01:35:18.453 [SPEAKER_00]: Oh, so little say they did. 01:35:18.573 --> 01:35:27.967 [SPEAKER_01]: Okay, yeah, because there's one world in which we were so fucking cool, that we're going to, because it's thematically program, we're going to let you do it, but we're going to take the money, I'd principle up. 01:35:27.987 --> 01:35:28.127 [SPEAKER_01]: Yeah. 01:35:28.207 --> 01:35:30.390 [SPEAKER_01]: And then there's, no, we're going to take the money. 01:35:30.410 --> 01:35:31.592 [SPEAKER_01]: Yeah, that's what I'm taking. 01:35:31.812 --> 01:35:39.014 [SPEAKER_00]: I'm gonna take Disney's honey Disney should have less money and and Devo themselves remixed their own music. 01:35:39.034 --> 01:35:47.136 [SPEAKER_01]: They brought in these teen singers who just imagined that must have been like in the recording studio When they're like doing the mixing on these teens. 01:35:47.676 --> 01:35:49.397 [SPEAKER_01]: Yeah doing with it like 01:35:50.804 --> 01:36:17.858 [SPEAKER_01]: How does that feel like imagine try to imagine like try to imagine more well there's was just taking shots in the back of the story imagine just try to imagine for a second here okay try to imagine like I'm trying to think of like a good example here try to imagine like all of her stone right volunteers to add it like a kid's movie version of JFK 01:36:19.694 --> 01:36:36.314 [SPEAKER_01]: like it's it's it's technically shot for shot totally it is all wrong and you just and it just can't loches shruck right like it just imagine like and he's but like it's a remake of something he did so like how does that feel like 01:36:39.249 --> 01:36:40.830 [SPEAKER_01]: back and to the left. 01:36:41.211 --> 01:36:42.692 [SPEAKER_01]: Oh god, I'm in the movie. 01:36:43.632 --> 01:36:44.253 [SPEAKER_00]: Oh no. 01:36:44.493 --> 01:36:45.554 [SPEAKER_01]: The movie is me. 01:36:45.914 --> 01:36:46.555 [SPEAKER_01]: Oh god. 01:36:46.635 --> 01:36:49.717 [SPEAKER_00]: So yeah, Needless to say, Dvo 2.0, crashed and burned by. 01:36:49.737 --> 01:36:50.778 [SPEAKER_00]: It was fascinated. 01:36:51.238 --> 01:36:52.419 [SPEAKER_00]: I bought the record. 01:36:52.680 --> 01:36:54.301 [SPEAKER_00]: I wrote some articles about it. 01:36:54.381 --> 01:36:56.463 [SPEAKER_00]: It's like, I want to drag down the lead singer. 01:36:56.523 --> 01:36:57.143 [SPEAKER_00]: Where's she? 01:36:57.383 --> 01:36:58.604 [SPEAKER_01]: Yeah, what's she up to right now? 01:36:58.664 --> 01:37:00.626 [SPEAKER_01]: I bet she's doing something like really cool. 01:37:01.086 --> 01:37:03.348 [SPEAKER_01]: Like she's got her own like bookstore. 01:37:04.989 --> 01:37:13.175 [SPEAKER_00]: Yeah, she did show up at the devotionals like the divot that's not a tribute concert like she would sing songs there. 01:37:13.256 --> 01:37:13.696 [SPEAKER_00]: That's cool. 01:37:13.796 --> 01:37:16.358 [SPEAKER_01]: Yeah Um, or why don't we thank you for listening. 01:37:16.378 --> 01:37:17.679 [SPEAKER_01]: Thank you for writing in 01:37:20.613 --> 01:37:21.534 [SPEAKER_01]: Yeah, thank you for listening. 01:37:21.554 --> 01:37:22.694 [SPEAKER_01]: Thank you for writing it. 01:37:22.755 --> 01:37:34.363 [SPEAKER_01]: If you've got mail, if you want to send us an email and have it answered in a future podcast, far if we didn't get to yours today, our email address is letters at criticallyclamed.net, Whitney Wooders are PO Box. 01:37:34.443 --> 01:37:38.446 [SPEAKER_00]: Yeah, send us a physical letter or postcard to the critically acclaimed network PO Box 641565. 01:37:38.506 --> 01:37:41.968 [SPEAKER_00]: Los Angeles, California at 9.0064. 01:37:42.088 --> 01:37:48.593 [SPEAKER_01]: A special reminder if you want to make sure that your correspondence is guaranteed to be read on the show, you send it to the PO Box. 01:37:49.273 --> 01:37:51.075 [SPEAKER_01]: That's your one way to take it to the top of the hour. 01:37:51.316 --> 01:37:52.397 [SPEAKER_00]: That's where we're going to handle. 01:37:52.457 --> 01:37:54.340 [SPEAKER_00]: That's when we're going to read those. 01:37:55.281 --> 01:37:55.601 [SPEAKER_00]: That's right. 01:37:55.742 --> 01:37:55.902 [SPEAKER_01]: Yeah. 01:37:56.122 --> 01:37:57.304 [SPEAKER_01]: Anyway, well, boy. 01:37:57.604 --> 01:37:58.065 [SPEAKER_01]: Thank you. 01:37:58.145 --> 01:38:02.010 [SPEAKER_01]: It's, it's, look, it's, it's, it's after midnight. 01:38:02.030 --> 01:38:02.330 [SPEAKER_01]: I'm talking. 01:38:02.851 --> 01:38:04.593 [SPEAKER_01]: And I saw them move me to watching review before bed. 01:38:04.713 --> 01:38:05.274 [SPEAKER_01]: Oh my god. 01:38:05.494 --> 01:38:07.735 [SPEAKER_01]: But thank you for listening. 01:38:07.815 --> 01:38:15.201 [SPEAKER_01]: If you have please, huge shout out to our patrons over patreon.com slash critically acclaimed network where we have a lot of exclusive shows. 01:38:15.561 --> 01:38:17.163 [SPEAKER_01]: We have our exclusive Star Trek show. 01:38:17.623 --> 01:38:22.166 [SPEAKER_01]: We have our Oscars podcast, which we are currently researching to do the next episode on. 01:38:22.186 --> 01:38:28.051 [SPEAKER_01]: I'm hoping within the week and of a newsletter, that's free. 01:38:28.471 --> 01:38:33.315 [SPEAKER_01]: If you just want to subscribe for free to our Patreon, you're going to get a weekly newsletter with a original writing from me. 01:38:34.579 --> 01:38:44.682 [SPEAKER_01]: Possibly written well mainlining Olivia Rodrigo And I bet you should start including what I'm listening to when I'm writing it like in the news later I don't know if that'd be fun or not. 01:38:44.702 --> 01:38:48.383 [SPEAKER_01]: Let me know And yeah, so who shout out to our patrons? 01:38:48.403 --> 01:38:49.124 [SPEAKER_01]: Thank you everybody. 01:38:49.144 --> 01:38:56.786 [SPEAKER_01]: We're on social media I'm at Wayne to be on a I'm at Whitney Sybold and Yes, sincerely yours us I guess