0:00

Welcome to the show. I'm James. I'm David. I'm

0:02

Riley. And today, we are discussing eternal

0:04

sunshine of this spotless mind.

0:06

Well, Well, argue you might get a little too into it, but

0:08

at the end of the day, there, boys. These

0:10

are just movies. Poll alert. What in

0:12

the moment? You can hear Jim Carey's Canadian accent

0:15

in this film couple times. Yeah.

0:17

I can hear Kate when it's let's British accent

0:19

couple times. I man, I couldn't hear either.

0:21

When you're the expert, maybe I just wasn't paying

0:23

attention. Give me another spoiler alert. poison

0:26

at a lit. And

0:28

by the way, by the way, by the way, next week

0:30

-- We're done. -- train to Busan. It's

0:33

a Halloween episode. Trying to Poseidon.

0:35

Poseidon. Poseidon. He's

0:37

is this like a a pussy? It's a fishing

0:39

trip put on a train -- Oh, boss. -- park.

0:42

David give me your rating for this movie,

0:44

Charles Sunshine out of ten. Eternal Sunshine

0:46

won't ever be wiped from my memory. That's

0:49

it. because it's all you made. Nine point five

0:51

out of ten. This is one of my this

0:53

is my favorite movie all time. Really? I can

0:55

see that it's not perfect. There's no such thing as a perfect

0:57

movie, but this balances so

0:59

many elements in just the right way. It's

1:01

approachable in this first watch and you get a lot

1:03

of it, but there's so many moving elements there's so

1:05

much to think about and it's the kind of movie when you

1:07

finish kinda just wanna talk about. Mhmm. So that's what we're

1:09

gonna do. That's what we're hearing. That's right. This is a podcast.

1:14

This is an

1:14

emotional innovative, technically,

1:16

and structurally

1:17

complex work, and it's a terrific

1:19

accomplishment in the filmic arts. I hate

1:21

it. pretentious.

1:24

I give it a eight out of ten because it's

1:26

a it's objectively a great movie. Mhmm.

1:28

You actually didn't enjoy it? No. I did enjoy

1:30

it. I did. That's a joke. Oh, yes.

1:33

I don't hate it. Our resident hate

1:35

it, Riley. It bothers me for many reasons.

1:37

Definitely don't. Good. There had to be someone

1:39

here. keep the conversation going.

1:41

Imagine inception was a rom com.

1:44

Then take out most of the com and sprinkle

1:46

back in a dash of disgust for each person

1:48

involved in the ROM. Hey. This

1:50

movie rolls nine point five out of ten. Yeah.

1:52

It's it's Paul gave it nine point five. Yeah.

1:54

didn't collude either. Oh, no. Our spectrum

1:57

of of opinion is so tiny.

1:59

Eight to nine point five. It really shifted the Overton

2:01

window here. We knew we were gonna like, oh,

2:04

I knew that. I was gonna like it. Nice reference.

2:06

Thanks. I watched this movie when I was, like, fifteen

2:08

in the theater in the theater. Yeah.

2:11

Like, I saw it when it came out. think it was the

2:13

type of movie I wanted to like.

2:15

I know I wanted people to know that I liked it.

2:17

Yeah. I listened to Death Capricuity. Oh,

2:19

yeah. Yeah. Yeah. But I definitely

2:21

didn't really get it. Yeah. This

2:24

time I did, I loved it. I don't think I've

2:26

ever actually seen it all the way through.

2:29

III feel like I saw clips of

2:31

it maybe. I I definitely have

2:33

seen a big chunk of this movie. I don't

2:35

I don't remember sitting down and watching the whole thing

2:37

through. definitely have. That's great, Riley. Thanks

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What does that mean you're saying for? their

4:40

Jazzy movies, men. No.

4:43

Teenage jujitsu ninja

4:46

turtles. Men. teen.

4:48

Tina Tina, did you get you

4:50

mad? Ninja Turtles. That's

4:54

awesome. It's cursed. Alright.

4:56

Riley, did you write a synopsis? I did.

4:58

Here's what happened. What happened? It's a little confusing.

5:01

Okay. But it's quicker. After a

5:03

fight introvert Joel discovers that his

5:05

super extroverted girlfriend, Clementine,

5:07

has had her memories of him erased by a

5:09

company called La Cunha. so he decides to

5:11

undergo the same procedure, which involves

5:13

recounting their volatile relationship on

5:15

tape. Acuña employees, Stan

5:17

and Patrick performed the procedure while

5:19

Joel sleeps in his apartment, so he

5:21

doesn't remember it. Joel re experiences

5:23

his memories of clam as they're erased,

5:25

but is confused to hear Patrick

5:27

talking about clam in the real world. Midway

5:30

through the operation, Patrick Leaves,

5:32

and we see that he's he has been using Joel

5:34

and Clem's memories as a guide for

5:36

seducing clam. La Cunha

5:38

receptionist Mary arrives at Joel's apartment

5:40

and has sex with Stan. Meanwhile,

5:42

as Joel reaches earlier, happier

5:44

memories, he realizes he doesn't to forget

5:47

and attempts to hide in unrelated memories

5:49

with his mental projection of Clint.

5:51

Confused, Stan calls his boss Howard

5:53

who takes over for Stan. Joel comes to

5:55

his last remaining memory of Clem, the

5:57

day they first met on a beach in montauk. As

6:00

the memory crumbles, Clem tells Joel

6:02

to meet her in Montauk. In Joel's

6:04

apartment, Mary tells Howard she loves him and

6:06

they kiss, but they're seen by Howard's

6:08

wife. Furious, she tells Howard to tell

6:10

Mary the truth, Mary Anne Howard

6:12

previously had had an affair, and

6:14

Mary had her memories were erased.

6:17

In the morning, disgusted Mary

6:19

mails Lacunah's records to the patients. Joel

6:21

wakes up. His memory of memories of

6:23

Claire erased and impulsively goes to

6:25

montauk meeting Claire on the train home.

6:28

They are drawn to each other and go on a take a

6:30

date to the Frozen Charles River in Boston.

6:32

Back home, they both received their Lecunah

6:34

records and tapes and they're shocked by their

6:36

bitter memories and almost

6:38

leave each other, but they agreed to

6:40

try again. You know what's out of baby?

6:42

Maybe it'll work this time. And

6:45

that's the end of the movie. I was I

6:47

was screaming. One of the coolest parts

6:49

of this movie is that the beginning

6:51

isn't the beginning. Yep. Yes. And but

6:53

they don't you don't have to wait to your second viewing

6:55

of the movie to realize that. after it's

6:57

like half an hour and you're like, oh, I

6:59

thought that was their first meeting, but it's not. Yeah.

7:01

And it's great because there's like two little sub

7:03

questions that you have here. You're like, what?

7:07

And then once you find out that fact, you're like,

7:09

oh. Yeah. Like, including, like,

7:12

his car being busted. Oh, yeah. You're like, okay. I

7:14

think what I'm watching now happened after what

7:16

I just saw or it happened before what

7:18

I just saw, but the car still broke, so that can't

7:20

be. Yeah. And then it all kinda comes into place and makes

7:22

you feel like a genius. Yep. Yeah. I think I

7:25

wrote down in my notes, wait,

7:27

when did they meet, like, a minute before

7:30

the you know, it's like three quarters of the way through the

7:32

movie or something like, I get it.

7:34

Although, as I was watching this as

7:36

I was writing this synopsis, I realized that I think

7:38

there might be like a time paradox

7:40

thing going on, that So

7:44

is it implied that they went to the frozen

7:46

river twice? What do

7:48

you mean? Because so

7:50

Patrick is using their memories

7:52

and their keepsakes and stuff to try and

7:54

seduce the plan. Yeah. So he's and one

7:56

of those things that he uses is a

7:58

memory of of them going to

7:59

the frozen river and him lying down and saying, oh,

8:02

I've never been as happy or whatever. Yeah.

8:03

And that

8:04

happens and then they get their

8:07

and then Joel has his memory erased. Then they

8:09

meet again in montauk, and then they go to the

8:11

river do that same thing. Yeah. They just

8:13

do the same thing twice. Yeah. Oh, okay.

8:15

Gotcha. But actually, I do have a bit of

8:17

a nitpick. I think there is a continuity error

8:19

there where -- Mhmm. -- because when they

8:21

meet through the

8:23

second time after being wiped. It's the first

8:25

time we see it, the BNA movie. The whole thing

8:27

is he keeps describing her as nice and saying

8:29

nice and it becomes like a little meme between them.

8:31

Right? Yeah. And then we see

8:33

the Elijah Wood character, which is named

8:35

Patrick. Patrick. This

8:38

is so perfectly creepy in this movie.

8:40

he he's living through the notes

8:42

and he says nice to

8:44

her and she goes nice -- Okay. --

8:46

and, like, freaks out. I mean, that's right

8:49

before Like, she's already been wiped,

8:51

and, you know, that's

8:53

just another thing that triggers her because he's he's kind

8:55

of like bringing back all these memories that he wiped

8:57

from her the week before. and she's he

8:59

says nice. She freaks out about it. But

9:01

the nice thing was a meme

9:03

from a date that hasn't happened yet. It's from

9:05

the second meeting. Mhmm. So

9:07

why would that trigger her? Well, I

9:09

think it's just because it's like finding parts of

9:11

her brain that are missing and she's feeling

9:13

really discombobulated. and she's like

9:15

panicking because there's like just parts

9:17

of her brain, her memories that are just gone.

9:19

So it's like -- Yeah. -- reaching into the darkness. I

9:21

guess I guess maybe the movie is just

9:23

implying that both times they met

9:25

they said and did a lot of the very of the

9:27

same things. Well, it's kinda like a theme in this

9:29

movie is that, like, you kind of just

9:31

are who you you're drawn to who you're drawn

9:33

to. You love who you love. Yeah. And the the end

9:35

of the movie really makes that clear

9:37

that they're just going to keep doing

9:39

things the same way. I guess it's a big leap ending.

9:42

Yeah. They Which is weird. They're they're playing with each

9:44

other as the the camera stays in the safe

9:46

place and they're going down the beach in the snow and,

9:48

like, it repeats the same thing like three

9:50

times -- Yeah. -- implying or more. Implying

9:52

that they've do it a bunch, which is corroborated by

9:54

the original script. A parrot the original

9:56

script was set fifty years in the future. Why?

9:58

Oh, it's like Well, like a ten devices

10:01

marry writing a memoir about La

10:03

Cunha. They're trying to expose it, but

10:05

then it's revealed that Clementines had her memory

10:07

of Joel erased fifteen times. Mhmm.

10:09

And so there was, like, definitely, I think

10:11

that's the implication of the ending, and I it's

10:13

bleak. Please Louise. I think that is

10:15

one of the most interesting questions of the whole

10:17

film is just what would you do kind of

10:19

thing. Mhmm. If you're in that

10:21

situation, do you engage your

10:23

relationship again? I think it's pretty

10:25

human nature to say, yeah, they do

10:27

because the attraction's there and

10:29

people kinda just generally like to just like,

10:31

not screw it. Like, just try. We'll do

10:33

it differently this time. You know? But, like, it's yeah. Mhmm. But

10:35

if they are gonna engage Here's my question for

10:38

you folks. early kaufman. I just I

10:40

I actually intentionally didn't see who

10:42

it is, but that makes sense. Go ahead. So the writer, you

10:44

mean? Yeah. Yeah. This movie is really

10:46

like I haven't think of anything

10:48

except like a good version. I think it's

10:50

it's kind of nails the balance of

10:52

really cerebral, but also having the kind of

10:54

quirky heart part of it. It's -- Yeah. -- I

10:56

find charlie cop himself can be so

10:58

overbearing in challenge. I think that's the time the team

11:00

effort aspect. Like, there's parts of the comedy are

11:02

the big tone of this movie that you you know

11:04

Jim Carey brought to it. Yeah. Then there's the

11:06

director, and then Gothin is

11:08

just just a screenwriter. Right? Whereas, like, I

11:10

haven't think of any things as Oh, there's a bunch

11:12

of Netflix money. He has all control Well, it seems like

11:14

it's connected it's not and

11:16

anecticky. in order to hate that,

11:18

man. But anyway I derailed you.

11:20

Yeah. I'm back on the rails here. Question is if

11:22

you decide, okay, we're gonna We know it

11:24

ended poorly before, but we're gonna try it

11:26

again. Mhmm. Would you or do you think it's

11:28

ethical? Like, what is the right answer for?

11:30

Do you listen to the tapes? before you

11:32

engage in this setting. Of course, you do. And then you

11:34

decide, oh, this is why we broke up.

11:36

Let's stay broke it up. But I

11:38

feel like you you would hear the tapes and you

11:40

would feel so disconnected from

11:42

them. You it's like your your emotional brain

11:44

and your logical brain would be so separate and you'd be

11:46

like, well, like, man, better to have

11:48

loved and love until they never have loved

11:50

it all. Oh, I totally get why

11:52

they they got back together.

11:54

Mhmm. But it's stupid. But if you listen to

11:56

the tapes, there's gonna be certain, like, self

11:58

fulfilling prophecies. too. Right? It's like,

12:00

I'm being made aware of a thing that will bug me, that

12:02

doesn't bug me yet. And then when that thing

12:04

occurs, you'll be like, oh, yeah. That's what I was

12:06

talking about. Oh. I don't know. There is They're

12:08

like yeah. And and I think I I

12:10

was looking for some sort of

12:12

like I think what I

12:14

think I would've liked the ending better if there

12:16

was some sort of promise

12:19

on their parts to like, okay, we're gonna watch out

12:21

for these things. You know, we're gonna do it better because now

12:23

we know these things upfront. Instead of

12:25

like going through a relationship, and going through all

12:27

that friction as you discover all these things about

12:29

the other person that really rubbed you the wrong way

12:31

and make you go insane, we're

12:33

going to know about that upfront and so we have a better

12:35

chance but it didn't really imply that. It

12:37

just got it did have a very fatalistic as

12:39

you as you say, David. Like, it was

12:41

like kind of a pessimistic take on the

12:43

whole thing, where it's like, Yeah. You're

12:45

gonna hate each other and you're gonna feel trapped

12:47

and blah blah blah. And he says, okay.

12:49

He says, okay. Okay.

12:51

But I think I think the movie is taking the

12:53

stance that, yes. gonna be shitty

12:55

and at the end you're gonna have all this

12:57

baggage, but it is worth it. For me, the

12:59

movie takes such a turn as soon

13:01

as Joel gets through the really shitty almost

13:04

break up memories, and he gets to the one

13:06

where Clementine's telling about how she

13:08

used to yell at the doll. Be like, be

13:10

pretty. Be pretty. Yeah. And then he's like, wanna remember

13:12

this one. He starts, like, crawling out of the blanket. Yeah.

13:14

That's when the movie takes a turn and you're, like, oh,

13:16

there is something you wanna hold on to. The

13:18

movie is expert in that where

13:20

you're, like, the scenes where you're

13:22

goddamn, and I can't wait for them to break up. They they're

13:24

so bad for each other. This is awful. I hate them both,

13:26

actually. Yeah. And then there's other scenes where you're

13:28

just, like, They're meant to beat and get it down. I

13:30

love them. For sure. And the movie is so

13:32

honest and and they're so vulnerable and you feel

13:34

like you know the character so deeply.

13:36

Yeah. So do you listen

13:38

to the tapes with your partner or

13:40

individually? because in the movie, they kinda just listen to

13:42

them on their own. You listen to it with

13:44

them, and if you can handle it,

13:46

then alright. you can try

13:48

and give it another go. What do you think? It's

13:50

tough. I feel like it'd be so hard to hear the tapes about

13:52

yourself because it would be your deepest insecurities

13:54

pulled by this person that you're attracted to, and

13:56

it'd be really I think just be so hard. I think

13:58

if you could do it though, that would be really next

14:01

level. Like, because the amount of there's no

14:03

greater transparency than It's

14:05

insane. I mean, this is, like, this type

14:07

of stuff that they're saying on the tapes or

14:09

sometimes couples don't say that

14:11

kind of thing to each other until things

14:13

get really hard and they have to go to therapy. And then,

14:15

like, they everything they lay it all out.

14:17

It's like you're you're getting a cheat code right at

14:19

the beginning of the relationship. Like, this

14:21

is all the shit that's going to hit the fan. Well, and

14:23

you can stop it from hitting the fan. The movie demonstrates

14:25

that Joel is willing in the

14:27

darkest time to throw that in her face.

14:29

Like, he taught when when she comes back drunk and he's

14:31

like, oh, I just assumed you were fucking someone

14:33

because that's the only way you can get someone to like

14:35

you. Yeah. like that's the he talks about that on the tape too. So,

14:37

like, all that stuff will come out. So I feel

14:39

like the movie would take the stance of, like, yeah, you

14:41

should you should listen. It's so interesting

14:43

too because when she hears that on the

14:45

tape, she goes, I don't know why you say that because I

14:47

don't do that. And if that's if she generally

14:49

means that and it's true, then what that means

14:51

is that he's projecting

14:53

that. Mhmm. So why does he is it because of the

14:55

way they met that he perceives her to do?

14:57

That was his own insecurity. So it's so

14:59

interesting. There's so many layers to it. that

15:01

you would have to be just sit down and have

15:03

a full, like, hour plus

15:05

conversation before you play the tapes. Just being, like,

15:07

look, there's gonna be stupid shit in

15:09

there about people's grammar and how they pronounce

15:11

library. But

15:13

those things don't matter. Yeah. They're annoying. Yeah. But

15:15

they don't matter because we love each other and that's why we're

15:17

even doing this at all. So when those things stop try

15:19

to, like, let's try to move past those things, those

15:21

adults, and then the deeper things, let's really examine

15:24

them and see if we can actually do this. This is the

15:26

other tough tough thing about this hypothetical

15:28

though is that at this point, at the point

15:30

when they're hearing the tapes and, like, learning all of

15:32

this stuff, they've only known each other for

15:34

a day, not even. Like,

15:36

they they don't they they're not committed to

15:38

each other. They don't love each other. Yeah. They

15:40

only just met. That's a great point. So it's

15:42

like, of course, you won't you probably

15:44

won't have the the,

15:46

you know, the wherewithal to not the

15:48

wherewithal. The the endurance to sit down and,

15:50

like, listen to this whole thing, like, But

15:52

With that amount, I think they should day for a couple weeks worse.

15:54

If they get to, like, the one month or three month mark,

15:56

then they should listen to the text. Do we did the

15:58

movie say how long they've been together? It doesn't

16:01

really matter. years. Okay. Yeah. I mean, you thought it

16:03

was a couple years. I think so. Probably.

16:05

I mean, they they it showed them, like,

16:07

being pretty pretty like

16:09

embedded -- Different seasons. -- lots of memorabilia.

16:12

And,

16:13

yeah, if you know that you ever in

16:15

a long term relationship with this

16:17

person, maybe that would add another level

16:19

of like, okay, it's not like I just

16:21

met you. Now I'm learning all this stuff and we have

16:23

a history. It's almost like like meeting

16:25

a long lost family member even though you

16:28

don't know who each other who

16:30

who you are, you can kind of like

16:32

feel that connect and then, like Yeah. -- and the

16:34

movie kind of one of the main themes is that

16:36

they can feel that connection they have. There's

16:38

there's other elements just bringing them

16:40

together. Yeah. man. I love that scene

16:42

even, like, on the train before they've when

16:44

they're becoming reacquainted, how she's just,

16:46

like, pushing into him and even, like, the

16:48

way they to where she's on the other side of the train and then all

16:50

of a sudden she's like two rows ahead and then one row

16:52

and then the same bench and there's pushing closer and

16:54

closer into these close ups. And by the end of

16:56

that scene, they're, like, really almost kissing. And

16:58

it's, like, there's, like, something magnetic about

17:00

their relationship that keeps drawing them

17:02

together. That's Yeah. And it's also interesting that

17:04

the Joe the Joel that we get in

17:06

that scene, he yeah

17:09

is different and then the one that she met. he's

17:11

a kind of a depressive person. When they do

17:13

meet on the beach, you know, he's sitting on his own.

17:16

But It's not the same

17:18

as when they meet on the train because he is grieving. Like,

17:20

he's really sad. He's going through a breakup,

17:23

which is different than, you know, he's living in

17:25

a loveless relationship with

17:27

this Naomi woman or something. But Izzy

17:29

grieving because she broke up in

17:31

an awful way and he he interacted with her

17:33

where she, from his point of view, just

17:36

gave him the colchula and pretend he didn't exist, and he's just like so torn

17:38

up about that. No. But on the train, he he's had our

17:40

race at that point. He's had our race, but his body

17:42

still has all the I see. You know, all

17:45

the grief. because he wakes up in a weird funk. Right? Like,

17:47

when he wakes up, which is the first shot

17:49

in the movie, you could tell he, like,

17:51

wakes up with some kind of, like, gravity.

17:53

You know? He's like, looking around. He's like, ugh. Yeah.

17:55

And then he's like, I don't know why. But today, I

17:57

just felt and I just I went this way.

17:59

And his writing is like, really Marose Journal.

18:02

No. And the other part about him choosing to

18:04

go on that train is he says, I'm

18:06

not an impulsive person, but she the time

18:09

that he has spent with her is, like, She

18:11

is an impulsive person. She had changed him. So

18:13

even after she's erased, he's -- True. -- he's

18:15

still a different person. He's all there. Maybe

18:17

I I didn't I mean, that that could be true.

18:19

I hadn't thought of that. I I just thought that he kind

18:22

of, like, had this sudden impulse to go

18:24

because her whispering his mental

18:26

projection was bring to him meet me in montage. Yeah.

18:28

He planned to that. Made made him just kind of

18:30

like I should go to montage. It was

18:32

like a sub subconscious thing instead

18:34

of like character change. But I think both can be That's that's the link to

18:36

the movie inception right there. Right

18:38

there. Inception himself. This movie is

18:40

just basically inception, but, like --

18:42

Let's blogs. -- high school drama. version.

18:44

I don't feel like it's high school drama. I feel like it's

18:46

They are they are emotionally unintelligent.

18:49

Are they meant to meant to have a

18:51

age gap between them? I don't He seems

18:53

like he's five years older. Maybe a little bit, but

18:55

I think it's like dating in your late twenties, early

18:57

thirties. It's not like it's all

18:59

kinda nebulous. She seems like twenty four,

19:02

twenty five maybe twenty six to me. And he seems

19:04

like thirty three, thirty five

19:06

ish to me. Maybe he does he does

19:08

say I saw her with a much

19:10

younger man. Yeah. I think they're supposed to like,

19:12

thirty ish. Okay. I just wonder if

19:14

that was not like, do you guys think there there

19:16

was an ages barrier or that they were meant to

19:18

be the same age? Although, maybe

19:20

Well, how old was Jim Carrey at this time? I don't know.

19:22

I mean, he's been doing a bunch of stuff. He's at least thirty

19:24

here. Late thirty's. I mean, he winslet.

19:27

I mean, She seemed like she could

19:29

be late twenties or

19:31

mid twenties, but

19:33

I

19:33

don't know. Maybe

19:33

she's just wacky. you know, it's

19:36

Anyways, they're adults and they got stuff

19:38

going on. I love the way that they play against each

19:40

other. I think, like, it's it's not a uncommon thing

19:42

in movies to have, like, these opposites. like

19:44

the, you know, the introverted man and the the introverted, the

19:46

manic pixie, dream girl, or whatever. Yeah. But they they

19:48

handle it definitely, and I think they handle it

19:50

in a way that never feels

19:53

like cliche? Well, I think the difference is

19:55

their opposites, but they're

19:58

they're simultaneously so similar

20:00

to each other. but their

20:02

offices offices in other ways. How are they

20:04

similar to each other? I don't know.

20:06

Like, their I

20:08

don't

20:08

wanna

20:08

say outlook on the world, but just

20:10

like their place in the world or

20:13

like they're in the way that they

20:15

need someone? I think they're really similar in the

20:17

fact that they act like high school children.

20:20

You're so high minded. I really am.

20:22

And it's annoying. I'm so I

20:25

like I really am. And it's a curse. When I

20:27

watch when I watch movies like these,

20:29

I'm just I'm just so frustrated

20:31

to see characters, both characters,

20:33

like getting into a relationship

20:35

and I can tell right from the get

20:37

go, I'm like, This is the guys. What are you But I

20:39

mean, not a good idea. But do you say that you think

20:42

most people are emotionally intelligent

20:44

in the way that they can enter

20:46

a relationship logically and make the right decisions

20:48

that you think most people But this is like, you

20:50

know, we've talked about this before. This is my lens that

20:52

I like. It can't help but watch these

20:55

movies through. Like, it's a it's a descriptive

20:57

movie rather than a prescriptive movie, but

20:59

I think that's what bothered me about it

21:01

on a deeper level. Is that

21:04

you know, the it it's fine for this not to be my cup

21:06

of tea. Some I'd like, I have no choice but

21:08

to I give it a eight because I have no choice

21:10

but to recognize the deafness

21:12

and skill that was put into this. Like, it's a it's

21:14

a it's a great movie. Mhmm. But

21:17

despite like, regardless of

21:19

my lens that I watch it

21:21

through, I like, willing to kinda give

21:23

it the the benefit. Like, just

21:25

just kinda turn that part of my brain off and be like,

21:27

okay. I'm just gonna experience this as is. It's

21:30

descriptive. But then at the end, they they get

21:32

back together. And I'm, like, I guess,

21:34

that could still be descriptive. I think I was just

21:36

hoping for, like, at the end there, just,

21:38

like, okay, let's let's really cinch this. They, like,

21:41

maybe, say, let's take it slow or something. You

21:43

know, like, hey, let's just go for coffee and,

21:45

like, talk about it or something. But they they

21:47

seem to just kinda go headlong into

21:49

yeah. But that's it makes so much sense. One

21:51

one more time one more time. That makes so much sense

21:53

that they would, though. It

21:56

yeah. It's true. It's true. It just bothers

21:58

me. It just bothers me. I think the movie really

22:00

succeeds as a subjective film. Like,

22:02

it really feels like you're you're you're seeing

22:04

things through the eyes of a human being. Yeah. And I

22:06

think that it's a great strength of it

22:08

to manage to

22:10

be so cereal and and

22:12

like like PoV, but also still

22:14

remain grounded in a way where you can still

22:16

connect to our world and it never

22:18

feels discombobulating in a

22:20

way that's just, like, apps, like,

22:22

hard to follow. Yeah. III

22:24

mean, it did make me ask a question because

22:26

I I was feeling this, like, sort of, like, this

22:28

is a bad idea, guys. But then as they

22:30

were kinda going on the dates and stuff,

22:34

which all takes place in the

22:38

prolog basically, Like, the the title

22:40

sequence starts at eighteen minutes,

22:42

really. So we get all of these scenes of

22:44

them like kinda meeting each other, getting together and

22:46

seven eighteen minutes later, the movie

22:48

quote unquote starts. It's like, whoa. But

22:50

anyways, I I was

22:52

thinking that, like, okay, wait. Maybe so he's

22:54

obviously kind of, like, depressed or

22:56

has issues with anxiety and

22:58

all these things. And she also

23:00

feels anxiety, but her anxiety is that

23:02

she is not going to be making use of

23:05

her time. well enough,

23:07

which is funny because they just, like, took a

23:09

scene to, like, have them both describe their

23:11

core character qualities. he's

23:13

having a drink in her apartment and he's like, I'm just not that

23:15

interesting. She's like, I do everything all the time because I'm

23:17

anxious. And he's like, oh, thanks. Now I

23:20

know. But I was thinking like I think there's enough scenes

23:22

where they just they just show

23:24

instead of tell. Yeah. Yeah. Yeah. It's

23:26

true. The rest of the movie is a little

23:29

bit. I was thinking that for a person who is

23:31

experiencing depression like this, you

23:33

know, encountering a

23:35

clam the could be

23:37

could have a positive effect on his mental health, and I

23:39

think it does. Right? Mhmm. But I think it

23:41

was just making me think about, like, you know, how people

23:43

get into relationships and how they're They're

23:46

searching for qualities and their partner

23:48

that they think can, like, fix

23:50

deficits and dam -- Mhmm. -- and whether that is

23:52

realistic. I feel like that's the most human

23:54

take on relationships. People always

23:56

are looking for that person to complete them.

23:58

They're looking for like, she has that

24:00

line that she she'll repeat where it's like,

24:03

Like, I'm just a I'm just a fucked up girl

24:05

looking for my peace of mind. Don't come to me

24:07

for yours or whatever. Yeah. Which she says twice.

24:10

Yeah. Which I I think is, like, to your

24:12

earlier point about them repeating

24:14

-- Yeah. -- themselves. Yeah. That's clearly a

24:16

core value for her because even though she's

24:18

had a memory race, it comes back. And I

24:20

think that that's Or she just said that to every

24:22

guy? Well, no, exactly. I think I but

24:24

III think that that's

24:26

an essential kind of piece of analyzing

24:28

this movie is that perspective of

24:30

they're both looking for something in the other person

24:33

to complete them. And when they're taken away, they

24:35

have to go looking for it again and they get caught in this

24:37

cycle. I almost think it's

24:39

better Like, for a relationship health

24:41

though, I almost feel like it's better for

24:43

people to like, I think that it's

24:45

worse when people look for

24:48

someone who will fix them.

24:50

That's more that's more as toxic. Yeah. Or

24:52

look for someone to fix. Yeah. Right?

24:54

They're like, oh, I have these deficits. I'm

24:56

sad. I want someone who is

24:58

is default happy. So then it'll bleed over to me,

25:00

and that'll fix my happiness. I think that

25:02

it's like, you know, that

25:05

that because with my with my relationship,

25:07

Lauren has definitely changed things

25:09

in me and helped me to realize things

25:11

that I was doing that were that were bad and

25:13

vice versa with her. You know? I've, like, we we

25:15

we The other and chapter one. You guys said, oh, rather

25:18

used to believe in it. It was Milliman. I

25:20

thought it was an evil corporate trying to the

25:22

corporation trying to poison me. No.

25:24

I think that,

25:26

like, you you you should pair

25:28

up with somebody because you

25:30

have, like, you know, because you have fun with

25:32

them and it's That shouldn't be the primary

25:35

goal. What if you're, like, fix your personality.

25:37

I mean, let's get into therapy, guys. Let's do

25:39

it. Yeah. Let's do I feel

25:41

like that's the biggest mistake

25:43

that we carry from pop culture romance

25:46

is -- Mhmm. -- you complete me.

25:48

Right. You are the missing part from me. And it's

25:50

like, absolutely not. You should be a complete person, finding another complete

25:52

person, and you you are compatible, and you work together,

25:54

and you are more than the sum of your parts. Yeah. And

25:56

your partner doesn't need to be all things.

25:58

You know? Yeah. I mean, you can have friends for that to

26:00

fill those other gaps, you know? Like, oh, I really

26:03

like this person, but they're not an

26:05

they're not an artist. You're

26:07

like, well, just hang out with smartest

26:09

friends then, you know, like, that's almost

26:11

kinda cringe when people have these, like, rigid Like,

26:13

a checklist. Yeah. That's such a that's

26:15

a very young person dating thing. Mhmm.

26:17

Mhmm. Not us. We're wise. Yeah.

26:19

And we're under six feet. I mean --

26:21

Really? -- he's not real. I mean,

26:24

wonderings I'm I'm six one. I'm six one, bitch.

26:26

We're manless. But let's

26:28

talk about the style of this movie. Yeah. because

26:30

that is definitely one of its

26:33

strengths. This is an old movie. It's almost

26:35

twenty years old now, but it's it does

26:37

not feel old. It feels very Two thousand

26:39

four, hey. Two thousand four. So Kerrigan was

26:41

in Spider Man two and then this. That's

26:43

a pretty good transition. Microprofitable hadn't been the hulk yet.

26:46

Mhmm. Then Elizabethtown. I'm

26:53

only saying that because I googled manic

26:55

pixie dream girl to find what the first one

26:57

was and it was like, It was coined

26:59

after observing Kirsten Dunst character

27:01

in Elizabethtown in two thousand five. Is that

27:03

the one with the critic Nathan

27:06

Ravin coined

27:06

it.

27:07

Ravin? I don't know. didn't know it was such a Is

27:09

that the one that was with that that guy

27:11

from Scruggs? That everyone's

27:14

compared compared to Garden State. Yeah.

27:16

So Orlando Bloom. Yeah. Yeah. Everyone was like, it like garden state.

27:19

Oh, I'm sure. Well, it was yeah. It's a Oh, yeah.

27:21

No. Not necessarily for the same. Yeah.

27:23

Manukpicks the dream girl too. archetype. I

27:25

never saw either of those movies, but I worked at the theater when it

27:27

was going on. Northeast, coast

27:30

of of America,

27:32

sad times, indie music. The

27:34

shins probably. Gray filters on the But

27:37

those movies really feel of their time.

27:39

Yeah. This one I think outside of some of the

27:41

technology or whatever, feels

27:43

pretty pretty good with the the

27:45

FX too. Got it. Because a lot of them are

27:47

simple, just like Wipes and Roto, and and

27:49

some of them like, something will get

27:51

rodeoed out and, like, vanish. Yeah. But then they

27:53

actually do a cut, like, half a second

27:55

after a vancher, so you don't even get time

27:57

to scrutinize how well they

27:59

pull of the VFX part. It was And it works really well. Totally.

28:01

And when they they try to do as much practically

28:03

as they could, like, the beach scene, I

28:05

didn't I actually didn't know this. I was researching

28:07

it for this, where they're like, I was like, how do

28:09

they get the water into the house and stuff? They just built a

28:11

house on the beach and, like, let the, like, where

28:13

the tide would be, and they let the time the

28:15

tide went in and filmed it. And I was like, my inspiration.

28:18

then yeah. So there are some, like,

28:20

that whole all of those little tricks they do

28:22

are so cool. And I feel like I I

28:24

started trying to write some stuff down, but

28:26

they were happening so quickly. that couldn't

28:28

even write it down before like something

28:30

else happened. It's so chaotic and

28:32

so frenetic. Yeah. Well, I like,

28:34

I can I wrote down a couple I love them.

28:36

I think one of my favorite is when it's close to the end of

28:38

his memories being erased, and he's in the bookstore with

28:41

clam. And the books are just kinda turning

28:43

to white. all around them. Like, it's

28:45

slowly in the background. They're just kinda fading to white. And by

28:47

the end of the scene, the entire book source is filled

28:49

with white books. Yeah. And it's such a,

28:51

like, good effect and it's subtle until, like, the movie wants you

28:53

to notice and it's like I and like

28:55

so that one of my favorite transitions is when he's in

28:57

the bookstore early on and he's running he's

28:59

trying to get out of it and the light turn

29:01

off behind him and then he steps into the room that he's having. Yeah. I wrote

29:03

that down to us. That's such a cool little

29:05

transition. There's a ton of, like, whipp pants that work really

29:07

well. And that actually goes

29:10

back to the thing that I that I noticed in this movie

29:12

was how they revealed information to you. Like, they

29:14

get it more and more complex, where at

29:16

first, you're just watching what you think

29:18

is real time. And then you're watching, like, you watch memories.

29:21

In this case, you're watching a

29:23

flashback, and then you kinda

29:25

learn that it's a memory. I

29:27

guess all flashbacks or memories, but

29:29

it's it's that you're you're watching it

29:31

as a as a flashback. And because he

29:33

walks back into that physical space where he's

29:35

telling the story from. You're like, oh, yeah. Okay.

29:37

because you ever know in a movie, if you're like, when a

29:39

cut happens, what's happening? What does that mean? What

29:41

do we just move in place and time in

29:44

someone's mind? Right. And so it's just

29:46

interesting as the movie goes

29:48

on, you get more and more, like, kind of subversion

29:50

of the rules. Yep. That's like, Okay. Now

29:52

it's a memory, but he is

29:54

conscious in the memory. He's an active agent in

29:56

the memory. Yeah. And then later on,

29:58

still, it's like, Okay. He's in the memory and

30:00

he's an active agent in the memory and show so

30:02

is she? She's podcasting the memory and she

30:04

can change things too. And then now they're from

30:06

memory to memory. It just kinda gets more and more complex. Yeah.

30:08

And the movie is a good variety of stuff too because

30:10

there's that sequence when they're constantly running away from

30:12

being erased or whatever. And there's like the constant

30:14

fun stuff where when when she leaves

30:16

the apartment, he chases after on the street, he parks his car,

30:19

and he's walking back and forth on the block. And as

30:21

it's going, there's a car both ends and

30:23

things are being wiped. But then so cool. And they do

30:25

that for many, many scenes, and then they go back to

30:27

the real world, whereas grounded, it gives

30:29

your brain a little chance to kind of reconnect

30:31

with reality. and then you get

30:33

the when your brain is relaxed, you get to go back into the mind

30:35

more of the surreal. Yeah. It's just like a

30:37

balance of both. I really appreciated how the

30:39

movie would kind of like give you these like

30:42

bursts of just, like, black manic crazy,

30:45

like, you know, dream logic and then it would

30:47

pull you back out in the real world and you're like, okay.

30:49

Okay. Take your breath. Okay. Are

30:51

we ready? Are we ready? Okay. We're going back in.

30:53

No. Kinda reminds me of everything

30:55

everywhere. Oh, totally totally. In so

30:57

far as it being, like, this was the

30:59

best movie of the year that maybe

31:01

not not that many people saw. Like,

31:03

both both these movies. Actually, I don't know how much money this

31:05

one made, but not very much. But a lot of people have heard

31:07

of this movie. A lot. A lot of it ended up winning

31:09

an Oscar for best original screenplay,

31:11

which I think is well deserved. But I think that it's a

31:13

shame that it didn't get, like, awards for its

31:15

visual storytelling. I think that is its greatest strength. I

31:17

think that's the greatest strength. Yeah. But they seem

31:20

similar and Well, also, I had a kind of a little epiphany

31:22

I was watching. This is like, this is like a multiverse

31:24

movie, but it's not they're not

31:26

different timelines. They're all just in

31:28

his mind. different versions of the

31:30

people are all him. Like --

31:32

Yeah. -- there's there's memory, Jim

31:34

Carrey, and or memory Joel,

31:36

and, like, active real now

31:38

Joel. Yeah. And there's also memory

31:40

clam. And then the

31:42

the active clam is actually

31:44

still Joel. And I was -- Right. -- it's it's all

31:46

him because it's in his brain. And I was really thinking

31:48

about that response to certain points. It's all inside

31:50

his mind. So what do you mean? saying

31:52

this whole movie? No. No. No. No. Whenever they're in

31:54

his mind. Oh, sure. Yeah. So for example, when

31:56

he when she's, like, meet

31:58

me in montauk, it's, like, he's

32:00

saying that to him. Yeah. She never said that. But

32:02

it does get weird because she

32:04

does say the line, I feel like I'm

32:06

disappearing. when? She says it

32:08

when she's getting kind of freaked out

32:10

about with Patrick and she's

32:12

starting to feel the effects of something's wrong because

32:14

she's been wiped and it's all kind of Yeah. I

32:16

think that's more because Patrick

32:19

is fucking everything up by

32:21

reintroducing these memories that

32:25

What a scuzzy dude? I know. Elijah

32:28

Jesus. Dude, I love that. I love that

32:30

character so much and so funny. I like how

32:32

they did it where he's

32:34

he's just, like, out of frame. Like, you just don't

32:36

see his face. And then the faces are obscured.

32:38

They never say it, but it seems like they're

32:41

they've actively edited them out. Like -- Yeah. -- when

32:43

they're going into Joel's mind, they're like,

32:45

okay, he saw he saw Patrick's face, he

32:47

saw Howard's face. Let's just, like, zip that

32:50

out. Yeah. Well, I think I the movie early on. I think

32:52

some of the impact of that scene is lesson because

32:54

we're so hyper aware of

32:56

Elijah Wood when he's around. So there's

32:58

a shot in the bookstore when he

33:00

goes to bring her the the necklace, but

33:02

she's had him erased. So she she's, like,

33:04

brutally doesn't remember him. But you can see

33:06

Elijah Wood just for a second going for

33:08

the kiss. Yeah. I think when you watched in thousand four, you wouldn't be

33:10

as like, oh, there's a lot of wood. You'd be

33:12

like, oh, this is some random guy or whatever. And

33:14

then the reveal of it being Patrick is a

33:16

bigger deal. But I I think the whole

33:18

journey is so fun. Like, even when he grabs him, like, can't

33:20

turn his head. Or

33:22

I I think the joke I don't know why I think it's

33:24

so funny when His memory's being erased and

33:26

he's talking to Tom Wilkinson in the dream.

33:29

And he's like, he's like, I can't

33:31

remember about why, but he's like Yeah.

33:33

That's true. Who is that guy?

33:35

Oh, he works for us. Yes. What's his name? Oh, his name

33:37

is Badger. Yeah.

33:40

Oh, it kills me. But I

33:42

think the slow play of him

33:44

is great. I wonder what you guys

33:46

think, and I I was kind of wondering that on this

33:48

watch, what the purpose thematically

33:52

of Patrick's character is. because, like,

33:54

clearly, he serves a story purpose and he kind of

33:56

like move through and it helps Clint kind of like

33:58

confront these things and and get her

34:00

conflict to be able to get to Jolene. It helps

34:02

identify to the audience that her and Jol are

34:04

a better match -- Very first. -- authentic love.

34:06

They're an authentic love. But

34:08

outside of that, do you think he serves a bigger purpose? Or do

34:10

you think that it's kinda more contained into,

34:13

like, a utility?

34:16

Yeah. I don't know. It's hard to think of, like, a purpose

34:18

that he serves because I mean, story

34:20

wise, obviously, the perfect the purpose

34:22

that he serves is to

34:24

screw, clam up so that she Create a reason for

34:26

her to be. Yeah. I think I'm literally

34:29

schismed. Yeah. Yeah. Exactly.

34:32

But right I

34:34

think Yeah. The there's also just we like these characters

34:36

more. We'd I think their love is more

34:38

deserved because it's authentic because we

34:42

see this this example of inauthentic love next to it. So and I

34:44

think it works, I guess, to because

34:46

there's, like, this weird three tier

34:48

level of, like,

34:50

respect for alleged, went up to Mark

34:52

Ruffalo, up to Tom Wilkinson's

34:54

character. Howard Howard. Where they're

34:56

kinda like, they each have the thing that the other

34:58

person wants. but Elijah was kind of like used to

35:00

grab it. Well, but this He

35:02

looks so funny. You go ahead. No. because he just,

35:04

like, looks

35:06

up to something that Mark Ruffalo hasn't. Mark Ruffalo clearly looks down on

35:08

him. Right. But I think it's a really fun scene as well.

35:10

I mean, he's, like, he's, like, I have a girlfriend. I

35:12

tell you have a girlfriend. I

35:16

love his characterization is like a

35:18

weirdo, like, sort of

35:20

a sex pervert loser. I

35:22

I don't know. Because, like, because

35:25

it is a really dumb thing. Like, his plan is dumb. Mhmm. He's like

35:27

a teenager. It's like, hey, these people broke up because they

35:29

had a horribly toxic and volatile

35:31

relationship. I'm gonna do

35:35

the same steps. Like and maybe she'll fall in love with me. He's

35:37

like, it didn't work out. Yes. Like, it

35:39

doesn't make sense. That is that is so

35:41

stupid. You're not following

35:44

a step by step process for

35:46

success. It's it's failure. But maybe that's that

35:48

helps to serve the oh,

35:50

shit. I kinda lost it.

35:52

Never mind. Sorry. Yeah. He's just

35:54

dumb. He knows that he's, you know,

35:56

getting here to fall in love with

35:58

him through

35:59

made up

35:59

cheating ways. Yeah. So

36:02

because, wait, what does he even do? He

36:04

he doesn't have anything going for him

36:06

in terms of, like, Like, he alters

36:09

her brain so that she's attracted to him or places a

36:11

memory of him being awesome. He doesn't do anything like

36:13

that. All he has is this

36:15

person she really like, this is what he said to get

36:18

him get her to like him. Mhmm. So if I do

36:20

that stuff, she'll

36:22

like me. Maybe this is what bothers me a little bit about this

36:24

movie other than the, you know, just

36:26

the the the bad relationship

36:28

advice thing

36:30

or whatever. fact

36:32

that, like, every care there's no

36:34

characters in here who are, like, you're

36:38

you're fundamentally They're all

36:40

flawed. Routing of Routing. It's

36:42

like the show girls. It's not about but it's

36:44

not like, obviously, characters need to have

36:46

flaws. But I think that, like, there's

36:48

a difference between being flawed and being just fucked

36:51

up all the way. You know,

36:53

like, every character every character is fucked

36:55

up all the way. And

36:57

I think that makes it a great movie though. because I

36:59

hate inner rom com especially they do this all the

37:02

time. Like, I'm a Conigay level of

37:04

rom com. it's like they have a

37:06

catastrophic breakdown that makes

37:08

them break apart at the end of

37:10

act two before they, like, eventually

37:12

get back together. Mhmm. But that breakdown is

37:14

always just stupid communication. A communication issue

37:16

where it's like, well, I saw your ex

37:18

girlfriend naked in through

37:20

your window. you obviously got back

37:22

together with her. It was like, no, I came home and she was

37:24

already naked there, but I just can't say that too because

37:26

I don't make the movie too easy. So it's like, but I'm

37:28

not actually a shitty person because

37:30

we need the audience to love both members

37:32

of this relationship by the end. But that's

37:34

why this is awesome because you're like,

37:36

yeah, I don't wanna date them.

37:38

Well, these are, like, to me, what it works

37:40

is that it feels very authentically. It doesn't feel like a heightened level of

37:42

shitty. It feels like the toxicity that

37:44

people that don't do therapy or that

37:46

haven't done that self examination carry

37:48

within the Or got caught up in a really

37:50

shitty argument. Like, it was three in the

37:52

morning and your cars grew up and you're --

37:54

Yeah. -- waiting for your girlfriend in a

37:56

moment. She's drunk again. Like, I could see why he would be at so

37:58

shitty in that situation. I guess I what

38:00

I'm looking for is, like, a a middle ground

38:02

between what you described, which is basically

38:04

just like, oh,

38:06

no. It's stereo circumstances happened and now there's a miscommunication and

38:08

now we're we're we're angry at each other

38:10

and we have to heal that. Something

38:12

between that and what we get here, which is just

38:14

the, like, one knows

38:16

how to do anything

38:18

properly and everyone's fucked up and they're selfish

38:20

and narcissistic and they're only looking

38:22

after themselves and they're

38:24

trying to like, looking for other people to fix this. That's life, baby.

38:26

Yeah. We always looking for something in the

38:28

middle where you're we have a character

38:30

that characters that

38:32

are generally you

38:34

know, respectable in some

38:36

dimension and they make mistakes and then

38:38

we go through an arc and they learn from their

38:40

mistakes and they learn that, oh, I did make

38:42

a mistake now I'm gonna change.

38:44

But that doesn't really happen here. It's just everyone is

38:46

still fucked up at the end. I think they are fucked up,

38:48

but I think it's they do learn

38:50

that you can't Like, it's worse

38:52

to erase the memories than to carry the

38:54

pain that comes with them. And I think that's the

38:56

lesson that they they learn. Like Joel

38:58

is fighting for most of the movie. Yeah.

39:00

No. You're defend that

39:02

that lesson. He's looking. That is the

39:04

lesson for happiness as well. I think. For

39:06

me, one one of his, like, completed

39:08

arcs is when he first goes

39:10

to ice, he can't walk on it because what if we fall through and

39:12

die? And then later,

39:14

maybe hours later, he lays

39:16

beside her being, like, I

39:19

could die right now. Yeah. Yeah. And

39:21

that's really weird too. Like, when you're happy, you

39:23

could die. When you're unhappy, you're

39:26

afraid of death. Yeah. because Arnd isn't out. But if you just see

39:28

that as his, like, arc, then

39:30

that's not something that he, like,

39:32

learns and then acts that way

39:34

forever again. It's

39:36

a state that he wants to be

39:38

in. Mhmm. So at the end of the movie, he's not happy,

39:40

and he wants to be happy. And

39:42

she is like a vehicle for happiness.

39:46

So From that Well, that's the idea. make sense that they get they

39:48

get back together. Yeah. We're because we're just back at the

39:50

beginning of the movie again where they get they get

39:52

together. The literal beginning of the

39:54

movie. Yeah. It's a it's a big

39:56

circle, which is, you know, that's fine. That's

39:58

part of the appeal of this movie. Yeah. And I think, like, that's

39:59

an authentically human thing. Most people are

40:02

gonna have these toxic relationships

40:04

that are basically the same one. Even though with

40:06

though with different people, it's like, unless

40:08

they're doing the work, they're gonna just do the same

40:10

thing over and over and over. Can you imagine if they were

40:12

like, Yeah. That tape. I guess we've been through some stuff. Hey.

40:14

Well, that'd be stupid to you again. See

40:16

you? Do you have any friends right now?

40:20

I just like I said, like I said, obviously

40:22

The most robotic autistic practical thing to

40:24

do at the end of the movie would be to say,

40:26

oh, dare you. This did not work.

40:30

let's let's the the practical thing is to not get back together.

40:32

But I think I would have accepted and

40:34

obviously, that would be not a worse movie if that

40:36

was the ending. But I think I would have accepted,

40:40

like, some sort of, like, explicit

40:42

statement that, alright, we know

40:44

that we're not we might not be good

40:46

for each other. This might not work, but

40:49

we love each other a lot. So let's really make

40:51

a go at this. Let's, like, try to

40:53

make it better this time. I feel like this kind

40:55

of circles around on a big hole that you

40:57

you have often, which is, like, the moral

40:59

responsibility of the movie to make it clear what

41:01

its intentions is. And I don't think We've

41:04

we've talked about it. It's not something wrong. So

41:06

man. We know what? I don't think this movie runs once. I

41:08

will say I think this movie ever stays on

41:10

the opposite where it's, like, it's not

41:12

interested in in a moral objectivity.

41:16

It's just interested in, like you said, personal -- Yeah. --

41:18

just describing And as that, it

41:20

certainly succeeds. It's a painting. They'll shut

41:22

out to her hair

41:24

color telling the story, though. I love

41:26

it. Late on us. Yeah. I knew that I

41:28

got it. something there, but I did not. It's okay.

41:30

So she goes from green to red to orange to

41:32

blue. But Oh, okay. Yeah. because the

41:34

first thing is blue, but yeah.

41:36

But there's lots to it. I know some analysis

41:38

I've seen. It's like, green is the

41:40

color of new life and red is the color of

41:42

passion. Mhmm. But I think for me,

41:44

the the biggest ones that I

41:46

really carry forward with me is that she's

41:48

kind of a more she's always given the orange hoodie. She's given warm

41:50

colors, and he's generally gray and blue

41:52

and kind of these colder things. And

41:56

so when you see her, when she has her blue hair,

41:58

she's had him erased. And

42:00

so she still has him, like, on the

42:02

mind. She's still thinking of him

42:05

she's still, like, carrying this thing, this

42:07

want of him. And, like, when things are like,

42:09

I think the rest of her version of being

42:11

impulsive and taking the train. Exactly. And she

42:13

yeah. Exactly. Like, the wisp of Joel -- Yeah.

42:15

-- her. And I think that's that's really cool. And I think, like, her her orange

42:18

hair is, like, it's

42:20

what did I write? it's

42:23

just, like, it's faded. And so she's, like, lost

42:25

the the steam. And, like, the way that her roots

42:27

are exposed in different levels with the different wigs, which

42:29

I I thought it looks so real. I thought it was so dark. star wigs. They

42:31

were they were they were dark wigs because it like, they they chatted all

42:33

out of sequence because it's a low budget movie. So, like,

42:35

she tried to change hair color, like, five times in a

42:38

day. Geez. That

42:40

sucks. But she yeah. But the whigs are

42:42

fantastic. Yeah. Apparently, she kept

42:44

them. But yeah. So

42:46

red, we know she's

42:48

a Kleptomeneac. It's it's not just made that up. So actually You know, it could be but

42:50

then the red is, like, a full to the root. Like, this

42:52

probably the best die job, and that's when, like, things

42:54

are good and even the the memories are positive. It's

42:56

when it goes back to the seventy

42:59

sees a child. She has, like, this beautiful red wig, and it all works.

43:01

And it tells a story there. And then it's, like,

43:03

yeah. As the passion fades, it turns like this orange,

43:05

but with her natural color threes, so

43:07

it's, like, her authentic self is kind of peeking through in

43:09

the way that she's, like, running out

43:12

of, like, that that

43:14

original attraction. And so Right. -- I I'm

43:16

sure there's a bigger analysis we could do, but I think

43:18

that it's it's cool that the hair tells

43:20

a story. Yeah. There's lots of, like,

43:22

little things like that.

43:24

I

43:25

like the when he goes back and he's a child. I

43:27

like that when he's surfing through the dreams,

43:29

even though he has agency, he

43:32

also is who he is. in that memory.

43:34

I love that. Right? Like who he is in that

43:36

memory sticks with him and and kind of,

43:38

like, it it kind of informs what he

43:40

can do in that memory.

43:42

And that's No. No worries that more important apparent than in

43:44

the childhood scenes. Yeah. He's like Oh, he

43:46

says I'm honored to pick me up. I can't believe how

43:48

strong or compulsion

43:50

it is. That's amazing. That's great. I think

43:52

a a broad thing that I loved about the

43:54

movie is is seeing Jim

43:56

Carrey play more of like a

43:58

straight awkward

44:00

character next to Kate Winslet who generally

44:02

has played more normal to,

44:04

quote unquote characters, like being

44:08

the being the funny person or being the, like, the more outlandish person, you know? I

44:10

thought that was great. I I feel like this was one

44:12

of the first examples of him

44:14

trying to do, like, a more

44:16

serious dramatic thing. Yeah. This is really early on because after the golden age of

44:19

Jim Carrey. Yeah. Yeah. But it doesn't fine.

44:21

Yeah. Apparently so what

44:24

is it? The number twenty three was two thousand and seven. Yeah. So Michelle

44:26

Gandria was very acutely aware

44:28

of the fact that he was working with

44:29

a big comedian. And

44:32

apparently, he encouraged everyone to improvise and be loose and he

44:34

would take Kate Wills in into another room and he'd be

44:36

like, it's not a drama, it's a comedy,

44:38

play big. then he would go to

44:40

Jim Carrey and be like, it's not a drama. Or it's

44:42

not a comedy. It's a drama. Right. Play it small.

44:44

And so he was very purposeful and, like, didn't let him

44:46

improvise, made sure that he played it this awkward kind

44:48

of, like,

44:49

nonimpulsive person -- Yeah. -- and

44:51

then allowed everyone else to cut loose. And

44:53

I think that it works to make Jim Carrey

44:55

feel so small and depressed.

44:57

Yeah. In a real way. I think that,

45:00

like, it's almost it's it's

45:02

sad, but I feel like there there is

45:04

an element where I it's hard to let go of Jim

45:06

Carrey, like your conception of Jim

45:08

Carrey as this, like, funny

45:10

guy. So

45:12

then when he delivers

45:14

these deadpan lines, a lot of the time I'm

45:16

like, Jim Care is doing an okay job, but

45:18

at the same time, I'm kind of like, I

45:20

can see him restraining himself and see, like,

45:22

trying to be, like, I'm just a normal guy. I

45:24

wanna read it the opposite way where,

45:27

like, I know that the warm

45:29

funny Jim Carrey is on the inside, but there's something diminishing him. There's

45:31

something that, like, is missing that's allowing him to

45:33

come out and, like, you get

45:35

the snippets of him

45:37

being funny. You know? Like, him putting the pillow on or

45:39

him Caitlin is putting the the pillow on his

45:42

face, you know, on him being silly. Yeah. Yeah. There's

45:44

the way he is silly.

45:46

He's almost he goes back to being Jim Carey, who's really funny, and you're like,

45:48

he's almost unrealistic because he's like, how could

45:50

you be that funny? Yeah. Yeah. Yeah.

45:52

Right. He

45:54

gotta be press a person walking around like that and then be that funny -- Yeah. --

45:56

when you're in a good shape. Yep. At the same

45:58

time, I loved Kate Winslet's, like,

46:00

delivery of some of her lines. It was

46:02

just so Like, it's almost

46:04

like you she starts saying the line, you expect

46:06

her to deliver it one way, and then she kinda like

46:08

twist something mid mid delivery. And I was like,

46:10

oh, okay. Nice. Like, I believe that

46:12

you're this, like, unstable

46:14

extrovert type person. I just wanna go back to what I just said

46:16

because I could see people, like, quoting me and it

46:18

being so so not true.

46:20

I think for, like, said, you can't walk

46:22

around as a depressive person like that and then be bad

46:24

funny. And then I'm thinking, like, what about Robin Williams?

46:26

So you definitely can. Yeah. That's true. I so

46:28

That's not the way to say what I said. Like, I guess the

46:31

personality that Joel has most

46:33

of the time put beside,

46:35

like, when he's being his funniest in this movie. Yeah.

46:37

So this doesn't seem realistic to me. And that's kinda what

46:39

you're talking about, like, a giant here. Yeah. Like, there's a bit

46:41

of a fourth wall breaking, like, instinct where you're

46:44

like, oh, he's he's he's

46:46

playing a

46:48

child now, a four year old in his memory. And this is the real

46:50

Jim Carrey. Yeah. I want your dream. Yeah.

46:52

Yeah. Exactly. I love I love him and him

46:55

and the the and then the transition of them

46:57

being centering or garburated or whatever. Yeah.

46:59

Yeah. Yeah. I love that. That was powerful. Yeah.

47:01

And then, man, I love

47:04

the scene when

47:05

just after that, when they're kids and it's the two actual kid actors and he

47:07

has to smash the bird and she carries

47:09

them away and stuff. Apparently, how they did it

47:11

was I just assumed that it

47:14

was narrated after. But they had both kitt wins at engine carry on scene,

47:16

and they were narrating as the kids were

47:18

doing the acting. So it kinda like informed each

47:20

other and it has this weird energy

47:22

to it. That's an impromptu

47:24

game. Yeah. But it's a it's a cool scene.

47:26

I love what they

47:28

do where they kind of just like

47:30

change the way that

47:32

things are Like,

47:32

they changed the I don't know what you call it.format vibe,

47:34

like, the the the the

47:37

production angle. Like, they're in

47:40

one sense, we have we're watching this, you know, we're

47:42

watching Joel go through the

47:45

dreams or whatever. And

47:46

and in

47:47

the dream world will rapidly switch between

47:50

it's like they didn't it's like they threw continuity

47:52

out the window and they're like it's fine because it's

47:54

dreaming. Mhmm. And it works. In another movie,

47:56

it would be really annoying that, you know, on

47:58

the scene where he's, like, on the ice and he's, like,

48:00

screaming at the sky. On

48:02

from the front shot, the light is

48:04

Oh, yeah. A lot less. And from the top shot, it's blinding. Yeah. And it

48:07

keeps switching back between those and the lighting is

48:09

different. But it doesn't bother you

48:11

because you're like, It's

48:13

a dream and it also enhances it. Yeah. And that

48:16

scene that the the scene with the kids where they're

48:18

like, they escaped from the bullies

48:20

or whatever. is another example

48:22

of that. It just kinda cuts

48:24

to to them as kids and then we

48:26

see their voices -- Yeah. -- because

48:28

you're like, oh, wait. I saw we were looking at

48:30

a four year old Joel as

48:32

Jim Carey. And now we're looking at the four

48:34

year old Joel as a child actor. What's

48:36

the difference? What's the deal? I mean, it doesn't matter at

48:38

all. Yeah. Yeah. And then it cuts back to Jim

48:40

but the the kids are still kids. And and then the lights in

48:43

the ice scene, they're so harsh

48:45

that you can tell this just like

48:47

a there's films spotlight,

48:49

like, yeah. So it's probably, like,

48:51

right there. But it it just totally fits

48:53

in the movie because we're already just, like,

48:56

observing these memories.

48:58

We're not You know what I mean? Like, they're they're not the natural environment. We're all kind of like

49:00

invading these memories together. So it works. I think the

49:02

movie does a good job transitioning you from

49:04

objective reality into the subjective reality

49:06

when he's back in the office as

49:08

is being erased, the lighting has shifted so much

49:10

from what the real world was. It looks like this

49:12

dark dark room and there's just a

49:14

light on the camera. So it's really saucy and it's

49:16

almost feels like horror movie, you

49:18

know, standing around the room. I love that

49:20

motif or whatever. Like Yeah. There's a lot of, like,

49:22

really saucy lights in it. Yeah. Like,

49:24

when they're all the ice scenes when they're running it's someone just a on

49:26

them. You know, it's like, where's that guy with something moonlight?

49:28

No one's pretending -- Yeah. -- they're not trying

49:30

to, like, act

49:32

like it's all naturalistic at all in that way. Right. But you don't even think about it? It

49:34

doesn't matter because there's just the dialogue is so

49:37

realistic and I thought the

49:39

whole idea of using the spotlight in

49:42

the dream sequence. And some of them was so perfect because,

49:45

like, in dreams when you are

49:47

like, you it's like

49:49

you there's a point of view camera. Yeah. The thing that you're

49:51

paying attention to can can sometimes

49:53

seem really stable. But if you look away and

49:55

then look back, it could be

49:58

completely different. And I feel like having them walk through, like, dark

50:00

rooms and hallways with a spotlight on them

50:02

and, like, seeing random things playing

50:04

out in the back in the to the side and

50:06

then it comes back. Yeah. I was like, this is like a

50:08

dream. This is like a really smart idea. And it's

50:10

really spotlight. You can really tell that it it it

50:12

I think it intentionally feels like they're

50:14

being sought by the machine or whatever like that. The machine is seeking them out. And so

50:16

I really like that one. And that kid's seen that, I

50:19

really liked running. He's like, you know what, Freddie? You

50:21

don't scare me anymore. He walks back

50:24

over. Oh, Oh, it is. Yeah. That's awesome. Yeah. I feel

50:26

like that might have been a Jim Carrey, improvise.

50:28

Yeah. I think a Jim Carrey,

50:30

for sure.

50:31

the I think while we're on the

50:33

look, I think I'd really appreciate the the natural look

50:35

of the movie outside of outside of the

50:37

kind of more surreal bits. Like, when you're in

50:39

the real world,

50:42

it's dimly lit and it feels like it's all like, you can see all the sources

50:44

of light. You you feel the shittiness of the

50:46

apartment -- Yeah. Exactly. -- the presentness of winter

50:48

and And even the fact that

50:50

they chose to do. It's it's such a handheld movie and I can often be

50:53

annoying, but they do it just the right

50:55

amount where, like, in the dreams it's, like, really

50:57

whipping around and swing there's

50:59

like more like PO Venus to

51:01

it. But in the real world, it's still it's still

51:03

a handheld camera, but

51:06

it's it's never

51:08

distracting. Mhmm. Well, I really

51:09

like how you think you got the movie figured

51:11

out in terms of, okay, that was like

51:13

the beginning, but it wasn't

51:15

actually the beginning. and you understand how

51:17

all the brain stuff works and you're flying around for the memories

51:19

and you you've got it figured out. And

51:22

then you think the movies would be over

51:24

and then they do the whole thing where

51:26

the person done's character, like, mails everyone's

51:28

team. So they do the whole thing with their relationship, like,

51:30

hearing each other's confessions and stuff.

51:32

Yeah. And that was just, like,

51:34

I didn't see that something at all, and it's so awesome that it

51:37

makes you think this was the whole movie. Like, they they

51:39

thought of what if that

51:42

happened And then reverse engineer

51:44

the whole person done character to, like,

51:46

make that happen. Well, apparently, the

51:48

whole inspiration for the movie was one of

51:50

Michelle Gondry's, the directors, friends who's an

51:52

artist had this idea of sending people just

51:54

that postcard that they send out of, like,

51:56

like, clementine, whatever,

51:57

has had you erase

51:59

guys, like, get a response part. Yeah.

52:01

Exactly. You know, I mean, you show the mystery was

52:03

so fascinated by that that they kinda, like, started working on and eventually

52:05

they brought Charlie Kaufman and then worked out this idea

52:07

into a full movie. And it's

52:09

it's funny because, like, just that postcard is such an

52:12

interesting idea of -- Yeah. -- this person's had

52:14

to erase you are erased from their

52:16

memories. And what do you do? Yeah. You're are

52:18

you just, like, Okay. Moving on.

52:20

Yeah. It's kinda like that at the

52:22

Christmas special episode was like season

52:24

two of

52:26

Black Mirror. or you that guy

52:28

gets blocked as long as John him. He gets blocked. His his ex girlfriend

52:30

or whoever blocks him so that he

52:34

can't in her vision, he appears as just like like a like

52:36

a blacked out fuzzy. I don't think that sensor

52:38

bar. I don't think that's John Ham one, but

52:40

yeah. I think the John Ham one is where he's

52:42

like stuck in at. It's part of the same episode, but it's

52:44

like an hour and a half long episode or something like that.

52:46

Is that? I believe so. It's part of the it's

52:48

a Christmas special. It's like a big long one. Okay.

52:51

Whatever. don't know. But that one's so,

52:53

like, dystopian and, like, and

52:55

just eery. Like, it doesn't matter what I say,

52:57

what I can come up with, like, I'm just I

52:59

can't apologize and completely power this because if I

53:02

try to speak to this person all the hears from from from from

53:04

from from. Yeah. If I try to wave my arms in

53:06

front of them, I'm just I'm just a

53:08

smudge. Yep. gross.

53:10

Yeah. Back

53:12

mirror. Back mirror was good. Yeah.

53:14

Oh, day. Yeah. That did.

53:16

Shout out to this movie. Just never never stops with, like, new tricks with how

53:18

they communicate stuff. Like, even when he's

53:20

first in the chair and he kinda has

53:24

he's having his memory of being in the chair erased and he's glowing

53:26

orange. Like, it's like his body, there's like this

53:28

effect of like almost like a light leak on his body glowing

53:30

orange. And it makes sense he's having

53:33

like Covington, who's like orange, are

53:35

pulled out from his body, like pull

53:37

the rest of them. Love that. Yeah. Okay.

53:39

One of my last the bigger things that

53:41

I wanna say about the movie is basically, like, to go back

53:43

to my my core to take her problem

53:45

with it is the fact that halfway through, I was kinda

53:47

trying to ask myself

53:50

the question Is this is this movie trying

53:51

to say things

53:53

about relationships

53:56

in general? or is it trying to

53:58

say things about, like,

54:00

this specific type of fucked up

54:02

relationship? And I think that I I

54:04

was, like, if this is trying to

54:06

describe because it did really feel as if Charlie Gutman

54:08

or the filmmaker or whoever the

54:10

the originators of this story.

54:13

We're trying we're making this movie sort of as therapy. Like, it's like you

54:15

go through a breakup. You're thinking you

54:17

wish you're wishing that you could forget it and

54:19

just kinda move on

54:22

and like god so painful. And so they make this movie and it's kind of just

54:24

like a reflection on

54:26

on relationships and their

54:28

histories and how they play

54:30

out and and and

54:32

looking at all the momentos and stuff and

54:34

remembering things. And I'm like, okay, if it's

54:36

just like reflection on a

54:38

particular relationship and someone made this look

54:40

as therapy, I have no

54:42

problem with that. But the main

54:44

thing that I was trying like, I was I was like, is this

54:46

trying to say things about relationships in

54:48

general? If so, that bother. I think it is

54:50

trying to be a universal thing. I don't think

54:52

it's specific about this relationship too. But

54:54

I think that the the

54:55

the takeaway and we've talked

54:57

about it is just Like, you yeah.

54:59

You broke up and you have all this pain, but the beauty

55:01

of the experience is is important. Yeah. And,

55:03

like, the mistake they make at the end for this

55:05

tragic ending is that

55:08

they erase the memories and they try and start again, but, like, you can't,

55:10

like, you need to carry forward the lessons

55:12

that you learned in that relationship. Right.

55:15

And I think I think I I'm, like, down

55:17

with that. I'm down with the lesson

55:19

of, you can't just block

55:22

out parts of your own

55:24

history and your relationships. Like,

55:26

it happened. You can't just it like, that it's

55:28

too easy. You can't look for too

55:30

easy of a solution to your problems. Mhmm. You know,

55:32

this one doesn't happen to exist in our

55:34

universe. But I think it's like,

55:37

it's a it's an interesting goal to

55:40

to to let people realize

55:42

that you gotta move on. You

55:44

gotta you gotta Because if you even

55:46

if you forget where you've been, you're just gonna end up

55:48

there again. Well, I think I think that's a real human

55:50

thing too where, like, you forget you you're

55:52

breaking the people that break up over

55:54

three years, you know. Mhmm. When they break up with someone, like, yeah, I'm done with them. And then they

55:56

like, too much later, they get back. Yeah. Yeah.

55:59

I think they use a

56:01

particular relationship to

56:03

here to show

56:04

us things that are that exist in general relationships.

56:06

Mhmm. I think they use this one heightened

56:09

crazy relationship to show us things

56:11

that apply to everybody in

56:13

general. example, there's always gonna be things that

56:16

you memories you wanna hold on

56:18

to and things you wanna vanish.

56:20

Mhmm. There's certain patterns you're gonna

56:22

go into. but the

56:24

relationship itself is particular and

56:26

-- Yeah. -- and it's great for a movie

56:28

too. Right? Like, the kind of love

56:30

for, like, you spend you

56:32

meet and then on a train and you spend the whole

56:34

night together. And then, can I sleep at your

56:36

house even though you're gonna work? Can I just bring my feet up to

56:38

your house? Like, it's a really intense kind of,

56:40

like, young love -- Yeah. -- kinda feel. Even

56:42

at that point, I was like, what? Wait.

56:45

Why? But she's not so bad. He's

56:47

saying what? Wait. Why? Right. But he's so,

56:49

like I don't know. He's been so far from anything to, like,

56:51

real and exciting that he's, like,

56:53

for sure. Okay. I

56:55

don't I don't fault them in that moment, which is why

56:58

it feels really high schooling to me because it's

57:00

like you're doing things that don't

57:02

really make

57:04

sense because you're into the person. But I I think we we touched on it

57:06

earlier where Joel has had a

57:08

growth because of that relationship even if he

57:10

doesn't have the memories where he is

57:12

willing to

57:14

take chances. Like, we Well, even in his childhood, he wants to get picked up by his mom.

57:16

Yeah. And what does she give him? Lots of attention? She

57:18

wants to be with him -- Yeah. -- go to his

57:20

house, bring his her toothbrush. So

57:22

he's gonna take it. Right.

57:24

Please come sleep at my house. Alright. nitpicks.

57:30

Hit pick,

57:32

David Cross, and his wife. Oh,

57:34

let me know what the character's names

57:36

are, but they're they're never seen there

57:38

on soccer. I'm building a birdhouse.

57:44

It's so funny. Like, why?

57:46

Like, why are you building a courthouse right there? But in the way

57:48

he says it, it's like, Obviously, if I'm

57:50

building a birdhouse -- I hate things.

57:52

-- our truth. I have to use

57:54

your self evident. Yeah. I think that's

57:57

a I like that they're an example of not a great

57:59

relationship too. Like,

57:59

the way they speak to each other is so

58:02

awful. Yeah. But when he's, like,

58:03

you realize that David Cross has kinda hit the

58:05

point where it's, like, there's nothing left to do, but tell you what happened,

58:07

like, tell that she's had her her race, but the wife is,

58:10

like, reluctant. She's, like, no. No. We we talk about

58:12

this. We're not

58:14

doing this. Then you eventually just throws the laundry on in. Love it. You do your

58:16

laundry. You do your laundry. Yeah.

58:18

Nice. But actually, you would

58:20

want that seems kinda crazy to

58:22

not the

58:24

ex boyfriend, that the girlfriend, that the ex girlfriend,

58:26

erased him. I feel

58:28

like you'd you'd wanna know.

58:31

I wonder Yeah. I don't know. Wait.

58:33

They sent that card to David Cross

58:35

and his and his wife,

58:37

but not to Joel. should wouldn't wouldn't you say one

58:39

to Joel? I'd be like, oh, she's erased you. You

58:41

think that. But then you wouldn't have a great movie. I

58:43

don't think. Maybe he just hadn't gotten

58:45

the card yet. Oh, maybe. Maybe he doesn't look like he

58:47

kinda got a check of the mail there. But the movie acts as if they're,

58:49

like, trying not to tell him -- Yeah. For sure.

58:51

-- she writes them,

58:53

which was I don't know why they would do nice. That's a nitpick now. It

58:56

was a nitpick and now it's a nitpick. Oh, I have a

58:58

nitpick right now. I don't even understand. Mhmm.

59:00

Just a cut that I really liked, I guess. That's the

59:02

best. just says when she asked to

59:04

come in, she closes the car door and

59:06

cut to the apartment. I had them down. I had

59:08

them down. What am I talking about? I had them written down

59:10

too. She she's like, Do you wanna come

59:12

in? And he's like, no, I better work or work? Oh, yeah. That was awesome.

59:15

Yeah. He's like, no, I better work. And she's like, oh,

59:17

yeah. I shouldn't have asked him. He's well,

59:19

actually, we'll hold on to and then just cuts him inside.

59:21

No. He doesn't even do that last part. They both

59:23

just agree no. Yeah. He cuts to her being in

59:25

there. Like, that was that

59:28

was awesome. I thought that was funny. I thought it was hilarious and very

59:30

of the time when was she, like,

59:32

whispers. It's in the scene

59:34

when he's a

59:36

baby. And she's wearing the

59:38

seventies outfit and everything, and then she's just like,

59:40

this is kinda warbed.

59:43

Like, warbed. Warbed on

59:45

says anywhere they should, though. And

59:47

then, you know, it's it's like a weird thing because, like, he's a kid under the

59:49

table and she's like, look, my crotch is still

59:51

here. Oh, he was kinda like,

59:53

he's like, yep. Yeah.

59:58

That was great. I like when early

1:00:00

on in the movie, it comes back a couple times. He almost

1:00:02

he's walking across the street with his memories of clam.

1:00:05

and the truck almost hits him and the guy's

1:00:07

like wake up, buddy. Yeah. I

1:00:09

was like, wait. It was my other one. You guys

1:00:11

are taking my nitpicks. I only the

1:00:14

only thing I have remaining is one nitpick, actually, which is the whole force

1:00:16

perspective thing to make him look small in that big

1:00:18

kitchen. It's all

1:00:20

great until clam

1:00:22

gets under the table with him, and then they're both just the same side. No. But that's

1:00:24

fine. I think, like, that's the kind of the point. Yeah.

1:00:26

When he's when she's, like, breaking the

1:00:30

memory, she can be the same. Oh, okay. Okay. That dream love. The other thing for

1:00:32

me is that he was in the foreground. So

1:00:34

if you're trying to make her look bigger, then

1:00:36

she should be in the foreground.

1:00:39

But yeah. I think it may mostly

1:00:41

works. And it's certainly a very

1:00:43

fun scene. Mhmm. Mhmm. So

1:00:45

I yeah. Do you

1:00:46

guys know that they basically never stopped shooting

1:00:49

on these film sets? Apparently

1:00:52

Michelle

1:00:52

Gondry was just

1:00:54

like, keep

1:00:55

shooting. Even when they were kind of in between takes

1:00:57

and you got like these weird authentic takes from

1:00:59

people like Mark Ruffalo told the story where they would just

1:01:01

be like hanging out and then he would look

1:01:03

around and realize that there's a bunch of cameras pointed at them and they're like,

1:01:05

hello? Hello? And so they shot thirty six thousand

1:01:08

feet of film each day. And the film is

1:01:10

very expensive

1:01:12

even when it was more prominent. And that's about six

1:01:14

hours and forty minutes every day

1:01:16

of film rolling. Ugh.

1:01:18

It'd be so obnoxious

1:01:22

to have film camera point that you And and you're saying they used some of

1:01:24

those? Yeah. I don't know. A hundred

1:01:26

percent. Probably not much. They cut a lot of stuff.

1:01:28

Like, there was scenes with

1:01:30

Naomi, like, Joel's ex.

1:01:32

There was scenes with her that they cut because they

1:01:34

just didn't have time for it, but apparently Kaufman was

1:01:36

fighting for them very hard. It's weird that she's

1:01:38

not in the movie at all. ahead. His

1:01:40

extra offer that

1:01:41

he mentions about not the woman he was living with.

1:01:43

No. Yeah. I I feel like totally works with her.

1:01:45

Yeah. We we can imagine what

1:01:47

they were like. They cut a sex scene. They cut

1:01:49

the sex scene between Mark Ruffalo and Christmas. Apparently, they

1:01:52

shot it, but -- Oh. -- doesn't doesn't

1:01:54

add anything. Yeah. We did not

1:01:56

need that. What

1:01:58

was the what what what the hell

1:01:59

was that with the with the

1:02:03

Social justice. He says the words.

1:02:05

Two thousand four baby. Does he? Yeah.

1:02:08

I was gonna say, what what was that pretending to

1:02:10

kill each other with a pillow thing? I didn't understand

1:02:12

that. Just be weird together. Be

1:02:15

weird, but, like, she puts the pillow out his head and then

1:02:17

she brings it up and he's like

1:02:19

like pretending he's dead and she's like, oh, no.

1:02:21

Are you okay? And then he wakes up

1:02:23

and she's like, that wasn't even that good. Let's do it again,

1:02:25

and then and then he and then it's implied that he's gonna and

1:02:27

I'm gonna stretch, and then he's gonna go. And

1:02:30

I'm like, the

1:02:32

objectives? What is the objective of the game?

1:02:34

You and Lauren probably play really weird games.

1:02:38

I

1:02:38

mean, You

1:02:39

got idiosyncrasies. But

1:02:41

you got memes. I don't understand what

1:02:43

they're doing. Don't try to

1:02:46

understand. It's just love. Wow. crazy

1:02:48

love. But, like, there was obviously an

1:02:50

objective. Like, how long can you Have you

1:02:52

been to be in Howard's wife before or

1:02:54

moving on? He when you do this. He when you

1:02:56

don't see objective. We don't know. It doesn't matter. It's just fun. already

1:02:58

told you our answers. Alright. I'll love it.

1:03:00

Have we seen Howard's wife before? She seems

1:03:02

vaguely familiar when she shows up like did

1:03:04

they an scene.

1:03:06

Like, you see her beside Howard when

1:03:08

the the phone, he answers the phone in the

1:03:10

middle night, and she looks kinda suspicious. But before

1:03:12

that, have we ever seen her? No.

1:03:15

Right. Alright. Maybe not. to

1:03:17

how disgusting that story line makes me feel

1:03:19

when you realize that he had erased your memory

1:03:21

and, like, still allowed it to

1:03:24

happen. That was, like, It's made me

1:03:26

so mad. Yeah. Yeah.

1:03:28

You can see because you're like He's the

1:03:30

good guy for a while there. What you can see is.

1:03:32

You can see him just, like, glancing off. He's like, oh,

1:03:34

this this pork or I'll leave me alone kind of thing. And then he

1:03:36

he makes a very, you know, pathetic

1:03:38

attempts to to kind of,

1:03:42

like, stave it off a little

1:03:44

bit and he's like, Mary Mary Mary, we can't do this. It's not good.

1:03:48

Power of

1:03:50

Redheads. love microphone. This one

1:03:52

is She's Mary Jane Watts.

1:03:54

That's a real that's a real name.

1:03:56

That's a real name. And

1:03:58

then this guy was in Batman.

1:04:01

Oh, wow. I

1:04:04

love I love I

1:04:06

love the suit. I love Mark Ruffalo's look. The

1:04:08

like He's

1:04:09

got, like, the FOHawk. And

1:04:11

then Yeah. I love his hair, actually. It's awesome.

1:04:13

I've only really I I don't think I've seen a

1:04:15

whole lot of early Mark Ruffalo movies. I think

1:04:17

I've only really seen him as, like, you know,

1:04:19

the middle aged guy. I just watched

1:04:22

thirteen going on thirty, so he was a

1:04:24

very young man. No. I have seen that. And

1:04:26

he's great and it's It's not even a Mohawk. It's

1:04:28

like a wide grown out

1:04:30

Mohawk. Yeah. Yeah. It's cool. Mhmm.

1:04:32

I like his I mean, I believed that he was

1:04:34

this character. It's kinda like, home's kinda

1:04:36

like a stoner pizza hack or

1:04:38

computer guy, dude. Yeah. That's what they

1:04:40

sound like. Yeah. I will say that it annoys

1:04:42

me a little bit how

1:04:44

irresponsible they are. Like, what's what

1:04:46

I feel like it's so obnoxious how little

1:04:48

they care about their work. I think

1:04:50

it's just it's just so easy.

1:04:53

It's like prison guards,

1:04:55

like watching movies, on night shift. That's like they all do it

1:04:57

because then you don't have you don't have to work for, like, every

1:05:00

forty minutes. You have to do a check or something like that.

1:05:02

So it's It did, like,

1:05:04

reduce my immersion. Or if something was

1:05:06

crazy, like, Epstein tries to kill

1:05:08

himself or something. It did, like,

1:05:10

reduce my immersion a little bit though because

1:05:12

I'm, like, okay, this is futuristic

1:05:14

technology. I mean, like, we don't we

1:05:16

don't see in any other aspect of

1:05:18

the world that things are,

1:05:20

like, futuristic So we have the like,

1:05:22

suddenly there's this futuristic technology and instead of being, like and and it's widely

1:05:24

available, anyone you can just walk in and people

1:05:27

know about it. And Well, it's not that what?

1:05:29

Like, you know, Jim Carey's character says, that's not

1:05:32

the thing. You can't do that. Yeah. I guess

1:05:34

so. But then there was a clinic and, you know, there were

1:05:36

other people

1:05:38

waiting in It's not like it's like, oh, it's highly secretive. I think if they tried to make it

1:05:40

like a far future thing, like they like the

1:05:42

original script was -- Yeah. -- it would just

1:05:44

be like, it would just be distracting.

1:05:46

And it doesn't serve the story. Well, no. Because it has

1:05:48

to be kind of secretive.

1:05:50

Otherwise, if it if you live in a world where everyone's doing

1:05:52

it, you take a lot of the cashier out of the

1:05:54

movie. True. Yeah. I guess so. But

1:05:56

I guess that the fact that it is

1:05:58

a secretive thing and

1:05:59

it's implied

1:06:00

to be kind of a futuristic tech

1:06:02

that not many people know about, it should be exciting,

1:06:04

you know. And it and instead, we get, like, engineers who

1:06:07

are kinda just, like, taking it

1:06:09

seriously. And I was kinda, like, this

1:06:11

wouldn't be the case. Yeah. Well,

1:06:13

that's the thing with tech though. A few people understand how it

1:06:15

works and can design it, and then everyone else

1:06:17

is supposed to just use it, know nothing about

1:06:19

it. So I think

1:06:22

it's just It's kinda like that. Like, alright. You went to a

1:06:24

technical college for two years. You know enough programming

1:06:26

and you can sit in front of this terminal. And here's

1:06:28

what you do when you see. It's kinda like in

1:06:30

in severance. where, sit front

1:06:32

those terminals and all they have to do is, like, yeah. If

1:06:34

you feel weird, do you get the button on that number?

1:06:36

They're not gonna really know what the numbers

1:06:38

are. Well, I feel like

1:06:40

that's like a severance specific thing. I think that but I

1:06:42

think the movie tries to say that Mark Ruffalo's

1:06:44

character is a good technique. Like, he

1:06:46

he knows He's smart. And he's a guy. Yeah. And I think but I think this is something But

1:06:48

it's also an easy job. That's fair.

1:06:50

Yeah. Normally, it's hard for him. But I

1:06:52

think this this is something

1:06:54

specifically that bothers me in movies when there's like a highly

1:06:56

advanced technology and someone's doing it.

1:06:58

But the technician doing the technology

1:07:00

is like, whatever, man. So, like, whatever we do this all the time and it's

1:07:02

like totally chill. And I feel

1:07:04

like for a technology like this, there should be

1:07:06

more of a sense of like, oh, like, oh, we can

1:07:08

actually erase

1:07:10

your memory. Yeah. And it makes you know, it it it gives

1:07:12

opportunities to have these funny moments with the beer and the

1:07:14

pizza and whatnot. But everything gets like that when you've

1:07:16

done it a

1:07:18

lot, though. So this Sure.

1:07:20

But to to not to the

1:07:22

audience? I don't know. I

1:07:24

don't mind it. I could see it

1:07:26

both ways. I

1:07:28

don't know why I hit. Yeah. I got nothing

1:07:30

else for this. Mhmm. I'm done. Got some airplanes.

1:07:32

How's it like? What does that mean? Okay. Let's do

1:07:35

that. Okay.

1:07:36

What do y'all

1:07:40

watch in?

1:07:43

It's many. It's been a while I didn't finish rings of power. So we Yeah.

1:07:45

That's one of the next week. We we

1:07:47

screwed up the promise of, like, giving a review

1:07:49

of rings of power. I finished it. You did?

1:07:52

Yeah. I have not. Either I Jared

1:07:54

and I have both not finished. Very curious as

1:07:56

we guys think. My friend was like, there's spoilers everywhere.

1:07:58

Watch out on the Internet. Yeah. I feel like the discussion

1:07:59

kind of faded away pretty quick on

1:08:02

that show. Like, it's not like, how's the dragon? I feel like I've seen me a

1:08:04

lot more people are bringing up House of Directors. It

1:08:06

brings the power sort of faded away. I haven't

1:08:08

watched House of Directors. I

1:08:10

heard that I

1:08:12

heard that the ending of rings of power is slightly lackluster. It's someone in

1:08:14

my Dolph's group chat last night was, like, if

1:08:17

you're having trouble sleeping, put on

1:08:19

the newest episode of of --

1:08:21

Oh. -- how's the dragon? Oh, yeah. That makes sense. Oh, I was talking about Ring's

1:08:23

power, but Yeah. How's the dragon? I got bored and

1:08:25

clicked out of that in the

1:08:28

first episode. That's

1:08:31

dragon? Yeah. Not enough space lasers. Not enough

1:08:33

boobs. Not enough. Isn't there boobs in that

1:08:35

show? I'm sure there is. There's

1:08:37

gotta be. Probably in sis

1:08:39

boobs. Horse boobs. Something that I'm watching that

1:08:41

I wanted to briefly mention that I've mentioned before is a hand door. Nice.

1:08:44

And I've said

1:08:47

that it's good. I'm up to date with

1:08:49

it now, but there was a post on the r slash saltier than

1:08:51

create subreddit, which

1:08:54

I'm subscribed to. That's salty. salty Star Wars fans upset about

1:08:57

Disney. And somebody tweeted

1:08:59

audience numbers for

1:09:02

the show. They're like andor is the wait. What's the tweet?

1:09:04

I got

1:09:06

it here.

1:09:07

Andor is the Most

1:09:10

disappointing trend I've come across recently is

1:09:12

how audience demand for Andor is overwhelmingly

1:09:14

lower than the Mandalorian season one to

1:09:16

two. the book of princess and Obi wan despite the

1:09:18

fact that it's easily the best Star Wars series by far. The league. Everybody every

1:09:21

it seems like I don't

1:09:23

think I've ever I've

1:09:25

seen anyone claiming that like Obi wan or Mandalorian or whatever is better than Andor. I think it's

1:09:27

like everyone is understanding that

1:09:31

it's the best of the

1:09:33

Star Wars TV shows. And at the same time, it's one of the least watched.

1:09:35

Oh, yeah. It's fully fully

1:09:38

one shame on me. Yeah.

1:09:42

Like, because when Man and Lauren came out, that was, like,

1:09:44

the first Disney Star Wars show. Yeah. So I was, like,

1:09:46

gotta see what that's gonna be, like and

1:09:48

then that was a disappointment. then when Obi wan came

1:09:50

out, I was like, okay. Okay. I I'm back for no chance because

1:09:52

it's Obi wan. Yeah. Yeah. You gotta check that out. And it was what it was. So then

1:09:55

you're like, wow. Okay. And there was a hard sell.

1:09:59

You're like, remember that guy in that sort of prequel movie? They did a

1:10:01

whole TV show on him. Yeah. I I thought

1:10:03

it was such a strange

1:10:05

decision for them to put

1:10:08

so much so many resources into this show,

1:10:10

but they did, and it's a really good show. Maybe what happened is, like, there's fewer executives

1:10:15

putting their finger on the scale, and that's why

1:10:18

it's good. They just let the filmmakers do their jobs. Well, and and also it's not

1:10:22

they bologna and John Ferrell. Who

1:10:24

are fine? Yeah. You know, like, I don't I don't hate them, but,

1:10:26

like, I think after seeing a ton of their content,

1:10:28

I'm just kinda like, okay.

1:10:31

I'm kinda over it. But

1:10:33

this is the same guy. It's what

1:10:35

is Gilroy, the Gilroy brothers? Dan Gilroy and the other guy.

1:10:37

He always gotta have,

1:10:39

like, a brothership. and

1:10:42

they're like they have other people

1:10:44

directing and stuff, but they're writing it

1:10:46

and show running it together. And

1:10:49

the top comment on this Reddit

1:10:51

post is the watching who cares about quality has stopped watching

1:10:53

Star Wars. Yes. And I was just like, oh,

1:10:55

it hurts. But

1:10:58

I I also think that people Star Wars

1:11:00

are only interested in the spectacle. And

1:11:02

they want to, like, the big the big

1:11:04

boy. I tweeted about it.

1:11:06

I tweeted about it and someone

1:11:09

slide just saying, didn't look interesting to me. I want Jedi and Sith in

1:11:11

my ear. No problem. Yeah. I plan

1:11:13

on watching it, but I'm

1:11:16

like, I'm mean,

1:11:18

I'd watch it in, like, couple days, you know, I'll just put it on,

1:11:20

so I'm gonna wait for it all to be done.

1:11:22

Yeah. That's a good idea. Speaking of shows that

1:11:24

are being watched by you. Being watched

1:11:26

by me, I finished She Hulk, Mhmm. It's it's

1:11:28

pretty good. There's some good episodes in there. The ending's kinda weird. They do

1:11:31

a weird meta thing spoilers for She hulk you guys.

1:11:33

I actually press and play on

1:11:35

it. So, you know I'm gonna check with

1:11:37

the first episode, post play on it yesterday with the

1:11:39

Marvel, like, the thing at the

1:11:42

beginning. Yeah. Hadn't even like, this is a real thing. Hadn't even finish

1:11:45

my kid was like, this is

1:11:47

a cartoon. I wanna kid

1:11:50

show. I was like, not today. It's

1:11:52

not happening, I guess. Sorry. Yeah. They do I

1:11:54

won't spoil the time. They do a a meta thing

1:11:56

in the final episode. I think it's

1:11:58

kinda fun, but it really undercuts the drama of

1:12:01

it. In a way, I think that cerebraly I enjoyed,

1:12:03

but my emotional impact was just like just

1:12:05

like my emotional investment

1:12:08

was just out of the room.

1:12:10

Yeah. I I saw a hard article headline saying she hulk has succeeded by being the most

1:12:13

MCU

1:12:16

thing ever. And

1:12:16

I was like, yeah. But I I think I've

1:12:18

watched does it two or three episodes? I've watched something

1:12:20

like that. And I think I was like, this

1:12:23

is, you know, this is fine. but

1:12:26

it just didn't really, like, compel me to continue

1:12:28

on. And hit the stride like every TV show. I

1:12:30

hit the strides a little later in once

1:12:33

they've done the introduction work and stuff and there's

1:12:35

just fun stuff. Like, there's some good fan service y stuff where

1:12:37

I was like, nice. This is fucking

1:12:39

awesome. Yeah. But it's

1:12:42

not amazing. It's you'll know if you wanna watch it. I wouldn't highly recommend it, but

1:12:44

if you're, like, mildly interested, it's worth it's worth

1:12:46

putting it together. Crazy they can even use

1:12:50

that. name of a show, hey. She's Hulk. Woman

1:12:52

version. Yeah. Well, that's the character's name. I

1:12:54

know. Well, it was just it's

1:12:57

it's a woman version of man. Well,

1:12:59

so You took a derivative handlebars. Cassie's playing dragon quest, and

1:13:01

there's a there's like a a hulk

1:13:03

looking person. They have like, you know, armor. They're

1:13:05

all green, and Zooey her kid walks in. And

1:13:08

he's like, Oh, it's

1:13:10

like a man she hulk. It's like he hulk. It's a man she hulk. You

1:13:12

mean the hulk? Absolutely.

1:13:14

That is amazing. That restore

1:13:19

as my faith in humanity. Yay. Yeah.

1:13:21

I also watched Hocus

1:13:24

Pocus two. Oh, that came out. Yeah.

1:13:26

It's alright. If you like the first

1:13:28

one, worth watching. It's about the same

1:13:30

quality as the first one, which is not a good thing. Hocus. Hocus. Hocus. Where should I call? Lauren was

1:13:32

asking if I she saw all these

1:13:34

stuff for Hocus Pocus too, and she's like,

1:13:38

Let's just, like, throw that on. I don't know. I've I've never seen it. I'm like,

1:13:41

I haven't either. So we throw and we watch, like, half

1:13:43

of it. And I'm like, this is a

1:13:45

weird movie. But tonally? Yeah.

1:13:48

It's weird because they're

1:13:50

like they're like cookey

1:13:52

witches and they're wacky

1:13:54

and weird and they're funny. They

1:13:56

are funny. I enjoy them. It's a

1:13:58

movie or anti pig. There's also the antagonists, and they're trying to eat

1:13:59

children. Yes. And so

1:14:02

the whole movie, you're kinda

1:14:04

like, What

1:14:06

are we

1:14:06

what's going on here? Like, who

1:14:09

am I rooting for? Yeah. Is this funny?

1:14:11

Is it horrifying? They sort of struggle with that

1:14:13

to to bring it home because clearly, those

1:14:15

three women are the stars of the show. Like,

1:14:17

it's the reason why the sequel exists because no

1:14:19

one loves them,

1:14:21

but their vile witches And so the

1:14:23

movie tries to play it both ways, and the

1:14:26

ending is a very rich positive

1:14:28

ending. Oh,

1:14:30

yeah. And it's remembers

1:14:32

that they ate children. But

1:14:34

Yeah. Yeah. It's fun and it's

1:14:36

fun in the same way that the

1:14:39

first one was where it's can't be stupid teenage

1:14:41

stuff mixed with fun cookie whiz stuff. And it it works, but it's If

1:14:43

you like the first one, you like this, if

1:14:45

you have no interest in the first

1:14:47

one, don't bother. Hey. Didn't

1:14:49

you go to, like, Disney roller something?

1:14:51

I sure did. In Florida. I in

1:14:54

Orlando. Orlando. Is that their theme song? No.

1:14:56

That's fun. That's fun. That sort of says

1:14:58

on the on the license plates. Oh oh, land it with a no. There's a little button

1:15:03

you can press. My review of Orlando is it's a one out

1:15:05

of ten. Orlando is the biggest hole

1:15:07

in this fucking planet. Yeah.

1:15:11

Went to Universal Studios, Florida Man kills David.

1:15:13

Went to Universal Studios, it's

1:15:16

alright. Some good rides. I will I

1:15:18

went I walked through your hair powder world,

1:15:20

sucks. It's not nearly as good as people say

1:15:22

it was, don't go. Save your money. Mhmm. So just two

1:15:24

muggles. Yeah. Well, and

1:15:27

it's you walked and the first impact

1:15:29

is kinda cool. You're like, oh, let's meet. But

1:15:31

then it's just stores with kind of normal merch. And it's

1:15:33

like the illusion is very quickly broken

1:15:35

and it kinda just sucks. Right.

1:15:38

My review of Disney World

1:15:39

is fucking tenant out of ten. Oh, dang.

1:15:40

I and Disney

1:15:43

World is insane. shell. It's

1:15:45

insane how much work goes into that park. Like, the amount of detail on every corner. Like, you

1:15:47

go behind a building that's

1:15:50

like everything is just like

1:15:52

flavor, and it feels

1:15:54

like you're absolutely transported into this world. This the rides are all really fun. Obviously,

1:15:56

some of this thrilling is universal. There's

1:15:58

more roller coasters kind of

1:15:59

bigger rides Right.

1:16:03

At Universal, but Disney World, they commit to creating

1:16:05

this illusion. Like, the biggest

1:16:08

the two best rides

1:16:09

are the Star Wars one and

1:16:11

the avatar one. One of the Avatar ones Abana, is you you the

1:16:13

line is you're inside the military base,

1:16:15

the human military base, and then they played videos

1:16:17

as you go in. And you get a briefing

1:16:20

being like, we need

1:16:22

you to be an avatarsal. Avatarsal. Avatarsal, and then you just mow down. You're like,

1:16:24

you don't you stand

1:16:26

on these circles and they're like,

1:16:29

k. Stand on these pressure plates. We're gonna get your

1:16:31

info, and then they, like, look, we need your your biology, and they blow on air on you. And they do this illusion of, like, connecting

1:16:33

you to the Avidar. Avidar.

1:16:35

And they're, like, you

1:16:38

know, we're gonna put you in the, like, symbiosis chair or whatever

1:16:40

it is, and that's gonna connect you to your average charge.

1:16:42

You go and it takes like a video of you

1:16:44

and stuff. Right. Right up your butt. It,

1:16:46

like, morphs your face on it. anyways. And then

1:16:48

I'll But, like, your own face? Like, your own face onto the thing. Oh. And it

1:16:51

pairs you to like an avatar, but it's like it doesn't look like you, but

1:16:53

it's just like it pretends like it is.

1:16:55

But the illusion is there. but

1:16:57

then all of a sudden that room you're in

1:16:59

up and like fifty foot like, feet away you three And you're just all of a

1:17:01

sudden fucking flying through Pandora and

1:17:04

it's like, is

1:17:07

wild. The illusion is there. They're blowing air on you, and it's

1:17:09

it's like a it's you're

1:17:11

just I

1:17:12

haven't had the

1:17:14

illusion of flight like that in my entire life. Are you in a

1:17:16

chair at this point? She's still a motorcycle thing and

1:17:18

it's like it's supposed to be the symbiosis chair

1:17:21

that connects you mentally to the Avatar and, like, it and

1:17:23

then you're flying one of those dragon things? Yeah. Exactly. And it's like this whole

1:17:25

ride. And it's like it's seven, eight minutes. No. Maybe like

1:17:27

five minutes of actual ride. It feels like

1:17:29

a long time compared to a lot

1:17:31

of the other ones. absolutely thrilling. If you come

1:17:33

out from it, you're just like, you're you feel so alive. It's wild. It's

1:17:35

I I had never experienced a

1:17:39

wild immersion. Yeah. Wow. That was my second favorite

1:17:41

ride. My favorite ride as much as I hate Star Wars. Is the fucking Star

1:17:43

Wars experience? It

1:17:47

is the rebellion one. I can't remember. There's a lineup. We went Rise

1:17:49

of the morning. Rise of the resistance. Yeah.

1:17:51

Rebellion. Don't say rebellion. It's

1:17:54

the resistance. They're completely different. but it's the lineup first morning is is

1:17:56

for both these rides, it's like two, three hours. because

1:17:58

there's ways there's ways to get

1:17:59

around it. You don't have to do it. It

1:18:02

and they always overestimate the weights. But anyways, this

1:18:04

one you go in

1:18:06

your waiting line and you're walking through kind of like tunnels like

1:18:08

the Star Wars Rebel tunnels or whatever and you can see how it's been like

1:18:10

dug out and it's really cool. And eventually before you know it,

1:18:14

you're

1:18:14

gonna put into a room with other people. And

1:18:16

then when Phoebe eight comes out and he's, like, talking to

1:18:18

you, like, okay. And then there's, like, a hologram

1:18:20

pad with a ray. So there's no clear listing

1:18:22

distinction between lineup and ride has begun. No. I didn't know that

1:18:25

we were, like, in the experience, but people are just, like, oh,

1:18:27

into here, into here, and then they close the doors,

1:18:29

and then, like, you're in a room with

1:18:31

people instead of in and then it's just like

1:18:33

it starts. They they give you like, oh, you're on the resistance. You gotta help us do

1:18:35

these things. You then you they walk you

1:18:38

to a ship. Ship takes off. and like it you're in a little dogfight to survive, and

1:18:40

then you get captured by the by the

1:18:42

first order that and then the

1:18:44

ship opens up and then you're

1:18:47

inside a star destroyer. Oh. and

1:18:49

you open up and you can see space

1:18:51

and there's like a hundred stormtroopers and there's like

1:18:54

it's just this huge room and you're like, okay,

1:18:56

shit. And then, like, alright, we're gonna tear you

1:18:58

and you can walk over. Are you physically in a huge room? You're physically in this huge room, and you're like, this is

1:19:00

so fucking cool. You're like

1:19:02

on the set. Yeah. And it's

1:19:05

huge. But then there's screens that look like space and stuff. And then there's stuff going

1:19:07

by. And the stormtroopers are all, like, some of them are animatronics, some of them are just, like,

1:19:09

saw it's

1:19:12

not people. are there any people? There is

1:19:14

some people around. There's, like, the person that first greets you outside of the ship is a officer,

1:19:16

and they're, like, like, you've been captured. Go over there

1:19:18

for interrogation and then you go wait in line for

1:19:22

next experience. And then you go into the interrogation room where

1:19:24

Kylo Ren, there's like a whole experience

1:19:27

with a bunch of people, but

1:19:29

you actually go into a room and that that's great

1:19:31

about this right to wrap your butt again. You're

1:19:33

you're actually going through these spaces and

1:19:35

then you're put in the interrogation room and you're

1:19:37

put in the chair. Oh, no. You're there. and then all of

1:19:39

a sudden the there's, like, a, like, a laser bolt going through, like, the laser cutter

1:19:41

opening through the wall, and then the wall falls

1:19:43

off. No. And they're, like, come with

1:19:46

us. Like, the resistance valve? It pulls

1:19:48

out. like, like, a physical, like, a piece

1:19:50

of a piece of wall goes, like Okay. And then the guy's, like, come on and then you get in the chairs and, like, like,

1:19:52

a real human is, like, dressed up, like,

1:19:54

cool. Come on. And then there's an

1:19:57

five droid on a little thing and you they're like, the our our five's gonna get you out of here. Our five's gonna sit down and you get locked

1:19:59

in, and then sudden you're going through the ship. And

1:20:02

it's like these huge cavernous rooms, these

1:20:04

hallways, there's

1:20:07

you're drive going and then of sudden, their stormtroops, like, shooting at you. Whoa. And they

1:20:10

do this crazy light projector thing where it looks

1:20:12

like the the

1:20:14

metal is being shot

1:20:16

off. and it's so immersive. I I like,

1:20:18

I'm actively I have an active distaste for Star Wars, and all of a sudden the magic

1:20:20

was so fucking real. Imagine

1:20:22

you were on acid. I thought

1:20:25

I wish I was so much merchandise. I wish I was so high. I would have been so

1:20:27

but anyways, I don't wanna spoil too much. You have to be a child

1:20:29

or high. They're kind of the

1:20:32

same. Yeah. and

1:20:34

everyone in the right is just going like, whoa.

1:20:36

Cool. And he's just

1:20:38

like, I probably give no way

1:20:41

too much. I would highly recommend

1:20:43

both of those ride. Disney World is definitely worth the money. If I

1:20:45

ever go to Orlando again, I'll get off the plane,

1:20:47

take a shuttle, Disney World,

1:20:49

spend all my time there, shuttle back to the airport.

1:20:51

don't see anything else. It is a horrible, miserable segue, dude. But

1:20:53

Disney World is fucking awesome. Are you -- Oh.

1:20:55

-- stoked out of your

1:20:58

mind for Avatar too. I'm gonna

1:21:00

And with the I was definitely more excited

1:21:02

because, like, they in that Pandora one, they do a bunch of, like, they've they've created

1:21:04

creatures, you

1:21:05

know, world building,

1:21:08

stuff, and it's like, you're, like, flying over and

1:21:10

seeing all these different parts of the planet. Like, it was pretty cool. It's pretty cool. Dude, or did they show the because

1:21:12

in the new one, they

1:21:14

have the dragon flying things, but they're

1:21:17

in the water too. What's it called fish? Yeah. If they didn't

1:21:19

show you fly over the water and they they spray water on you, whatever. Like, it's

1:21:21

like there's like the giant megalodons that come

1:21:23

out or whatever, got

1:21:27

megaladons. Whatever they're called to that. I have to just take

1:21:29

a moment to talk with the Abinar thing because I0I

1:21:31

had a friend who had not seen it.

1:21:33

This is just in the last week. And I was like, oh, you haven't

1:21:35

seen how Swartzinger does it? I think I might have been a wife, and I

1:21:37

showed her. And the thing that's so dope about it is he's

1:21:39

reading from a

1:21:42

teleprompter and he says, Abana, like, five different times. So

1:21:44

it's not a slip up. He sees

1:21:46

it's just a peculiarity of his accent.

1:21:49

He sees those letters and that's how he

1:21:51

does it. It's it's repeatable. It's repeatable.

1:21:54

It's repeatable bug. It's so

1:21:56

funny. I love

1:21:58

it. He's a

1:21:59

national treasure. internationally. Of Austria. Yeah. Cool. Disney

1:22:01

Thanks, David.

1:22:02

That's so cool. I could go in

1:22:04

for a long time, but I won't. Did

1:22:06

we decide what we're doing next week?

1:22:08

forget -- Yeah. -- train the

1:22:11

busan. Oh, train the train. Busan. Busan. Busan Americans? What is

1:22:13

it? Busan. Trand Busan?

1:22:16

Trand Busan. is

1:22:18

a French word, so it should be I'm sure that's how they pronounce it the

1:22:20

movie. See

1:22:25

you later, you can tweet at us at TJM pod. You can email us

1:22:27

hello at their just movies dot com. It might take me a

1:22:29

couple of months, but I'll give you one word

1:22:31

reply at some point. and

1:22:34

it

1:22:34

means everything. Love you.

1:22:40

Alright.