1
00:00:07,920 --> 00:00:11,130
S1: Hey, I'm Osman Farooqui and this is the drop a

2
00:00:11,130 --> 00:00:13,620
S1: culture show from the Sydney Morning Herald and The Age,

3
00:00:13,620 --> 00:00:15,780
S1: where we dive into the latest in the world of

4
00:00:15,780 --> 00:00:19,590
S1: pop culture and entertainment. I'm here with Thomas Mitchell and

5
00:00:19,590 --> 00:00:23,160
S1: Mel Cambrai. Guys, it's Ari's day. Thomas and I are

6
00:00:23,160 --> 00:00:26,310
S1: heading along to the ceremony tonight. It's Wednesday as we're

7
00:00:26,310 --> 00:00:28,350
S1: recording this, but by the time the episode is out,

8
00:00:28,350 --> 00:00:32,400
S1: all the winners will be announced. Any vibes? Any tips?

9
00:00:32,400 --> 00:00:33,720
S1: Are you feeling the rush?

10
00:00:33,870 --> 00:00:38,010
S2: I am feeling the rush, which could be a medical thing,

11
00:00:38,010 --> 00:00:41,460
S2: but yeah, I mean, look, obviously Troy, he's like one

12
00:00:41,460 --> 00:00:43,440
S2: of the biggest pop stars in the world right now,

13
00:00:43,440 --> 00:00:45,360
S2: so I don't doubt it'll be a big night for

14
00:00:45,360 --> 00:00:46,800
S2: young Troye Sivan and for you.

15
00:00:46,800 --> 00:00:49,470
S3: Too, I imagine as well. That's one of my prediction.

16
00:00:49,740 --> 00:00:51,720
S2: I think we will also be feeling the rush.

17
00:00:52,260 --> 00:00:55,080
S1: At various different points. I mean, big week for Troy.

18
00:00:55,080 --> 00:00:57,810
S1: I mean, he's presenting the Arias. He's like a hot

19
00:00:57,810 --> 00:01:00,930
S1: favourite to win a swag of awards. But also over

20
00:01:00,930 --> 00:01:04,709
S1: the weekend, him and Kylie Minogue both nominated for Grammys

21
00:01:04,709 --> 00:01:07,470
S1: in the same categories. This is a new category. The

22
00:01:07,470 --> 00:01:10,589
S1: Grammys introduced this year called best Dance pop.

23
00:01:10,590 --> 00:01:11,840
S2: Most Fabulous Australian.

24
00:01:11,850 --> 00:01:15,240
S1: Yeah, basically. So there's five nominees. Two of them are

25
00:01:15,240 --> 00:01:18,209
S1: David Guetta and two of them are Australians, which is

26
00:01:18,209 --> 00:01:21,500
S1: Troye and Kylie. It's for rush and for Padam. Padam.

27
00:01:21,569 --> 00:01:24,959
S1: That's pretty exciting for for our compatriots. Yeah, that's.

28
00:01:25,110 --> 00:01:28,050
S2: Their two kind of living legends. Also, he was parodied

29
00:01:28,050 --> 00:01:30,630
S2: on Saturday Night Live by Timothee Chalamet, which is like

30
00:01:30,630 --> 00:01:34,380
S2: some kind of twink wet dream for people. But have

31
00:01:34,380 --> 00:01:36,000
S2: you seen the video? In the video? It's very funny.

32
00:01:36,090 --> 00:01:37,170
S2: Tori reposted it.

33
00:01:37,260 --> 00:01:40,110
S1: Did you guys think that like, I, you know, I've

34
00:01:40,110 --> 00:01:41,729
S1: been seeing Troy kind of bubble up for a while.

35
00:01:41,730 --> 00:01:43,740
S1: You know, the idol was was a moment for him

36
00:01:43,740 --> 00:01:46,500
S1: as well. I was a bit taken aback by the

37
00:01:46,500 --> 00:01:48,750
S1: SNL thing. And like Timothee playing him, I'm like, this

38
00:01:48,750 --> 00:01:51,090
S1: guy's entered the stratosphere now. Yeah.

39
00:01:51,090 --> 00:01:54,840
S2: He's like, that's like proper pop culture, you know, at

40
00:01:54,840 --> 00:01:55,529
S2: its finest.

41
00:01:55,530 --> 00:01:58,350
S3: Yeah, I think it's going to be Troys night, but

42
00:01:58,350 --> 00:02:00,450
S3: one of my favorite categories at the Arias that I

43
00:02:00,450 --> 00:02:02,250
S3: think is always a bit weird is the most popular

44
00:02:02,250 --> 00:02:05,820
S3: international artist category. And I saw your mate Luke Combs

45
00:02:05,820 --> 00:02:06,480
S3: is on there.

46
00:02:06,480 --> 00:02:07,350
S2: I'm sure he'll probably win.

47
00:02:07,360 --> 00:02:09,870
S1: Yeah. Luke Holmes, Morgan Wallen, Beyonce, Taylor Swift, like I'm.

48
00:02:09,870 --> 00:02:10,250
S3: Sure they're.

49
00:02:10,650 --> 00:02:12,330
S1: They're all hanging out to find out.

50
00:02:12,630 --> 00:02:14,730
S2: Sitting on zoom being like, fuck over, win this.

51
00:02:15,419 --> 00:02:18,090
S3: And I just like the idea of who the Australians love. Like,

52
00:02:18,090 --> 00:02:20,130
S3: surely Ed Sheeran. I always feel like Australians have an

53
00:02:20,130 --> 00:02:21,410
S3: obsession with Ed Sheeran.

54
00:02:21,419 --> 00:02:23,820
S1: I think Taylor just this year is the year of Taylor,

55
00:02:23,820 --> 00:02:25,950
S1: and I think the Irish want to recognize that.

56
00:02:25,950 --> 00:02:27,870
S2: All right, well, I will eat my hat if Luke

57
00:02:27,870 --> 00:02:30,840
S2: Combs doesn't win. Okay. All right. Are you wearing a

58
00:02:30,840 --> 00:02:31,800
S2: hat and wearing a.

59
00:02:32,190 --> 00:02:35,010
S1: Ten gallon hat in honor of Luke Combs? Correct. Look,

60
00:02:35,010 --> 00:02:36,989
S1: today on the show, we're going to be talking about

61
00:02:36,990 --> 00:02:39,990
S1: the killer. It's the latest film from David Fincher, the

62
00:02:39,990 --> 00:02:43,769
S1: director of Gone Girl, The Social Network, Fight Club, Zodiac, many,

63
00:02:43,770 --> 00:02:46,080
S1: many others. We're going to talk about the film, which

64
00:02:46,080 --> 00:02:49,350
S1: is number one on Netflix right now, how it sort

65
00:02:49,350 --> 00:02:52,590
S1: of fits in and relates to Fincher's wider filmography. We're

66
00:02:52,590 --> 00:02:55,050
S1: also going to discuss the new show from one of

67
00:02:55,050 --> 00:02:58,680
S1: our favorites, Nathan Fielder, the mind behind Nathan For You

68
00:02:58,680 --> 00:03:01,530
S1: and The Rehearsal. This one is called The Curse. It's

69
00:03:01,530 --> 00:03:04,440
S1: a drama kind of comedy, and it also stars the

70
00:03:04,440 --> 00:03:07,710
S1: wonderful Emma Stone, who is excellent in this as she

71
00:03:07,710 --> 00:03:10,500
S1: is in all things. All right, let's talk about the killer.

72
00:03:10,950 --> 00:03:13,200
UU: This is what it takes.

73
00:03:17,530 --> 00:03:25,040
S4: My process. It's purely logistical. If I am effective.

74
00:03:26,460 --> 00:03:33,870
UU: That's because of one simple fact I don't give a.

75
00:03:37,100 --> 00:03:40,070
S1: The 12th feature film from David Fincher. It's his second

76
00:03:40,070 --> 00:03:44,810
S1: for Netflix. It's about an unnamed hitman played by Michael Fassbender,

77
00:03:44,810 --> 00:03:49,310
S1: who's on a job in Paris. Unfortunately, the job goes wrong.

78
00:03:49,340 --> 00:03:52,340
S1: Fassbender's character's forced to go on the run, he becomes

79
00:03:52,340 --> 00:03:55,190
S1: a target himself, and we follow him on this globe

80
00:03:55,190 --> 00:03:58,100
S1: trotting journey as he tries to figure out who is

81
00:03:58,100 --> 00:04:01,280
S1: trying to kill him and why. I thought this was

82
00:04:01,280 --> 00:04:04,640
S1: a slick and fun and at moments like very, very

83
00:04:04,640 --> 00:04:07,880
S1: funny film as well, but I am curious about the

84
00:04:07,880 --> 00:04:10,340
S1: reaction to it more broadly from you guys, and also

85
00:04:10,340 --> 00:04:12,920
S1: how you think audiences will react to it, because I

86
00:04:12,920 --> 00:04:16,280
S1: think if you see something called The Killer on Netflix,

87
00:04:16,279 --> 00:04:20,420
S1: you might expect a kind of extraction style, really intense,

88
00:04:20,420 --> 00:04:23,270
S1: really violent action film with a lot of set pieces.

89
00:04:23,360 --> 00:04:27,440
S1: The killer has a couple of very extraordinary sequences that

90
00:04:27,440 --> 00:04:30,020
S1: Finch is very well known for, but it's largely like

91
00:04:30,020 --> 00:04:36,230
S1: a pretty interior melancholy, like, individually focused film. What did

92
00:04:36,230 --> 00:04:37,010
S1: you guys make of it?

93
00:04:37,750 --> 00:04:40,450
S3: Well, I guess that's kind of what David Fincher does

94
00:04:40,450 --> 00:04:42,790
S3: in a lot of his films is he takes a genre,

95
00:04:42,790 --> 00:04:45,310
S3: and then he reworks it in the David Fincher style,

96
00:04:45,310 --> 00:04:47,950
S3: and I think that's what he did here. Like on

97
00:04:47,950 --> 00:04:49,779
S3: the surface. And you guys know, I've been hitting I've

98
00:04:49,779 --> 00:04:51,910
S3: been hitting a lot of equalizer lately, so I'm a

99
00:04:51,910 --> 00:04:54,070
S3: bit of an expert in this subject. On the surface,

100
00:04:54,070 --> 00:04:57,610
S3: this is kind of a film about an assassin, which

101
00:04:57,610 --> 00:05:00,580
S3: we've which we've seen plenty of, but I think he

102
00:05:00,580 --> 00:05:04,900
S3: pares back so much. And he it is so sleek

103
00:05:04,900 --> 00:05:08,799
S3: and so methodical and cool and calculated that it is

104
00:05:08,800 --> 00:05:11,680
S3: unlike those other films. I loved it, I thought it

105
00:05:11,680 --> 00:05:14,440
S3: was fantastic. I don't think it's the best Fincher film.

106
00:05:14,440 --> 00:05:17,200
S3: I don't think it's the most interesting Fincher film. But

107
00:05:17,200 --> 00:05:20,049
S3: I think in terms of movies that are out at

108
00:05:20,050 --> 00:05:22,380
S3: the moment, it's a really great one to watch.

109
00:05:22,390 --> 00:05:25,210
S2: Yeah, I really liked it. I feel like I watched

110
00:05:25,210 --> 00:05:27,400
S2: it in what is the absolute like ideal scenario as

111
00:05:27,410 --> 00:05:30,219
S2: I watch it on Sunday morning, I had like a

112
00:05:30,220 --> 00:05:33,729
S2: very long Saturday, and I was incredibly hung over on

113
00:05:33,730 --> 00:05:36,489
S2: Sunday and it was like the perfect film. Firstly, it's

114
00:05:36,490 --> 00:05:39,849
S2: like almost exclusively narrated by Fassbender as this kind of

115
00:05:39,850 --> 00:05:42,250
S2: nameless character. So it was good to have someone just like,

116
00:05:42,250 --> 00:05:43,780
S2: talk at me. They did a really nice, you know,

117
00:05:43,779 --> 00:05:46,690
S2: he's like his voice is quite like, yeah, it's like melancholic,

118
00:05:46,690 --> 00:05:49,990
S2: but it's like calming or something. And the whole film

119
00:05:49,990 --> 00:05:52,159
S2: is kind of gloomy and just the way it, like

120
00:05:52,180 --> 00:05:55,000
S2: pours over you. It is very funny. But also it's

121
00:05:55,000 --> 00:05:58,270
S2: like it's kind of like foreboding and then you don't

122
00:05:58,270 --> 00:06:00,010
S2: know what's going on. But then there is like this

123
00:06:00,010 --> 00:06:02,080
S2: action I just like I loved it so much. I

124
00:06:02,080 --> 00:06:05,710
S2: thought it was one of Fincher's best, actually. And yeah,

125
00:06:05,710 --> 00:06:08,800
S2: I think people will definitely get sucked into the Netflix

126
00:06:08,800 --> 00:06:10,270
S2: thing of like, oh, the kill this. Probably like a

127
00:06:10,270 --> 00:06:13,450
S2: Statham film. Yeah, and it's definitely not that. But I

128
00:06:13,450 --> 00:06:14,560
S2: was very surprised by it.

129
00:06:14,710 --> 00:06:17,320
S1: Yeah, I we should talk about how it was released. Right.

130
00:06:17,320 --> 00:06:19,630
S1: So so Fincher has been making these movies for Netflix.

131
00:06:19,630 --> 00:06:21,910
S1: He made one called Mank a couple of years ago.

132
00:06:21,910 --> 00:06:23,890
S1: We'll talk about that a bit later on in the episode.

133
00:06:24,130 --> 00:06:26,350
S1: And then The Killer. And so they get this short

134
00:06:26,350 --> 00:06:28,360
S1: cinema release for a couple of weeks, and then they

135
00:06:28,360 --> 00:06:31,390
S1: go to Netflix. I'm sort of sad I didn't get

136
00:06:31,390 --> 00:06:35,770
S1: the opportunity to watch this at the theaters, partly because, like,

137
00:06:35,770 --> 00:06:38,739
S1: the sound design is one really interesting and unique part

138
00:06:38,740 --> 00:06:41,110
S1: of this. And also just like watching someone like Fincher,

139
00:06:41,110 --> 00:06:44,320
S1: who is so precise and calculating about what his shots

140
00:06:44,320 --> 00:06:46,660
S1: look like and the edits and stuff, would have been

141
00:06:46,660 --> 00:06:49,539
S1: really fun. I watch it with my housemates at home

142
00:06:49,540 --> 00:06:51,370
S1: and we like, kind of close the curtains and got

143
00:06:51,370 --> 00:06:54,460
S1: it as close to a movie experience as possible, and

144
00:06:54,460 --> 00:06:56,440
S1: that was really fun experience. And then I thought I

145
00:06:56,440 --> 00:06:59,109
S1: wanted to watch it again, and I watch on the

146
00:06:59,110 --> 00:07:02,080
S1: plane on the way up from Melbourne, which not ideal

147
00:07:02,080 --> 00:07:03,940
S1: on a phone, but I watch it with like my

148
00:07:03,940 --> 00:07:07,539
S1: fancy Bose noise cancelling headphones, and that was pretty sick

149
00:07:07,540 --> 00:07:10,240
S1: because there are a couple of really interesting sound choices

150
00:07:10,240 --> 00:07:13,180
S1: that I didn't quite clock with it. Mel, I presume

151
00:07:13,180 --> 00:07:14,500
S1: you saw it at home?

152
00:07:14,500 --> 00:07:16,420
S3: I did, I watched it on TV. I kind of

153
00:07:16,420 --> 00:07:18,070
S3: agree with you. Seeing it in a cinema would have

154
00:07:18,070 --> 00:07:19,869
S3: been the ideal way to watch it, because there are

155
00:07:19,870 --> 00:07:22,000
S3: some beautiful scenes. Like one of the ones that stands

156
00:07:22,000 --> 00:07:25,870
S3: out to me is when Fassbender's character is disposing of

157
00:07:25,870 --> 00:07:28,420
S3: a gun that he's used, and there's this kind of

158
00:07:28,420 --> 00:07:30,790
S3: tracking shot where he's on a motorbike and he's riding

159
00:07:30,790 --> 00:07:33,070
S3: through Paris, and it's just so world scene.

160
00:07:33,070 --> 00:07:35,890
S1: That's the moped. I think that is one of the most, like,

161
00:07:35,890 --> 00:07:38,170
S1: just low key, astonishing things. You just like this is

162
00:07:38,170 --> 00:07:39,970
S1: just a guy. He's kind of on the run, but

163
00:07:39,970 --> 00:07:43,330
S1: he isn't. And any other director could have done a

164
00:07:43,330 --> 00:07:45,100
S1: fine version of that. But Finch is like, no, I'm

165
00:07:45,100 --> 00:07:48,520
S1: going to make this, like, something that really stands out. Really,

166
00:07:48,520 --> 00:07:49,360
S1: really interesting. Yeah.

167
00:07:49,360 --> 00:07:51,820
S3: Completely agree. And even the details, it kind of opens

168
00:07:51,820 --> 00:07:56,500
S3: with him in this abandoned rework office and the details

169
00:07:56,500 --> 00:07:58,720
S3: of his life and the routines, and there's just so

170
00:07:58,720 --> 00:08:01,210
S3: much crammed into every shot. And, you know, it's all

171
00:08:01,210 --> 00:08:03,820
S3: so deliberate because we know how Fincher works and how

172
00:08:03,820 --> 00:08:06,190
S3: meticulous he is as a director that I do think

173
00:08:06,190 --> 00:08:08,619
S3: seeing on a big screen, just purely because of the

174
00:08:08,620 --> 00:08:10,930
S3: lighting setting, the sound setting, and the absence of kind

175
00:08:10,930 --> 00:08:13,360
S3: of noise around you would have made for an even

176
00:08:13,360 --> 00:08:14,170
S3: better viewing.

177
00:08:14,380 --> 00:08:18,730
S1: Let's talk about some of the specific, I guess, choices

178
00:08:18,730 --> 00:08:21,340
S1: in the movie that have made it like feel a

179
00:08:21,340 --> 00:08:23,110
S1: bit different because like you said at the start, I

180
00:08:23,110 --> 00:08:25,540
S1: think you nailed it, that this is like a genre movie.

181
00:08:25,540 --> 00:08:26,800
S1: It has a lot in common with a lot of

182
00:08:26,800 --> 00:08:31,210
S1: movies about assassins. Also, that sort of samurai revenge kind

183
00:08:31,210 --> 00:08:34,209
S1: of kind of genre. But he's done some things that

184
00:08:34,210 --> 00:08:39,100
S1: make this feel very new and interesting as well. And Thomas,

185
00:08:39,100 --> 00:08:41,710
S1: you mentioned that the vast majority of the movie is

186
00:08:41,710 --> 00:08:45,489
S1: just the perspective of the killer, the unnamed guy played

187
00:08:45,490 --> 00:08:50,439
S1: by Fassbender, and the overwhelming majority of the script, like

188
00:08:50,440 --> 00:08:52,990
S1: the dialogue, is not really dialogue. It's a monologue and

189
00:08:52,990 --> 00:08:55,450
S1: a narration by him. He has this mantra that he

190
00:08:55,450 --> 00:08:58,300
S1: repeats again and again. Stick to the plan.

191
00:08:59,710 --> 00:09:10,660
UU: Trust no one. Stick to the plan. Forbid empathy. Stick

192
00:09:10,660 --> 00:09:14,780
UU: to the plan. Anticipate. Don't improvise.

193
00:09:15,410 --> 00:09:17,090
S1: Which is what you say, Mel, every time you come

194
00:09:17,090 --> 00:09:17,780
S1: on the show.

195
00:09:18,380 --> 00:09:18,800
S2: Basically.

196
00:09:18,809 --> 00:09:20,210
S3: Absolutely. Guys, hold it together.

197
00:09:20,929 --> 00:09:23,360
S1: I thought that was a really interesting choice. And it's

198
00:09:23,360 --> 00:09:26,540
S1: it's one that it's done so well that you don't

199
00:09:26,540 --> 00:09:29,480
S1: really notice it because the story's so propulsive and the

200
00:09:29,480 --> 00:09:32,630
S1: plot is really interesting until the very end and you realize, wow,

201
00:09:32,630 --> 00:09:34,069
S1: I don't really remember the last time I saw a

202
00:09:34,070 --> 00:09:36,650
S1: movie where every single thing I saw was just from

203
00:09:36,650 --> 00:09:39,559
S1: the perspective of one character, and almost everything that was

204
00:09:39,559 --> 00:09:41,630
S1: said was narration in a guy's head.

205
00:09:41,630 --> 00:09:44,090
S3: Yeah, totally. He has like, it's got to be only

206
00:09:44,090 --> 00:09:46,880
S3: a handful of lines spoken out loud, and they kind

207
00:09:46,880 --> 00:09:49,460
S3: of drive this home because repeatedly to create the sense

208
00:09:49,460 --> 00:09:52,400
S3: of movement and fleeing. He's always at check ins for airports,

209
00:09:52,400 --> 00:09:55,130
S3: train stations, blah, blah, blah, and they're always speaking to him.

210
00:09:55,130 --> 00:09:57,470
S3: And he is never replying. He's always just taking his

211
00:09:57,470 --> 00:10:00,560
S3: passport off them. And I think it just builds up,

212
00:10:00,559 --> 00:10:03,140
S3: doesn't it, that you are so in his head and

213
00:10:03,140 --> 00:10:03,930
S3: that's it.

214
00:10:03,950 --> 00:10:05,590
S1: Did that ever get tiring for you, Thomas?

215
00:10:05,660 --> 00:10:07,429
S2: I thought it was so cool and like, it was

216
00:10:07,429 --> 00:10:10,520
S2: funny how basically he obviously narrates the entire film, but

217
00:10:10,520 --> 00:10:12,890
S2: also you don't. There's never really a scene with like,

218
00:10:12,890 --> 00:10:15,410
S2: two other characters that aren't the killer, so it's very

219
00:10:15,410 --> 00:10:17,570
S2: like it is. I mean, again, this could have been

220
00:10:17,570 --> 00:10:20,120
S2: like the crippling hangover. It was like slightly claustrophobic for me,

221
00:10:20,120 --> 00:10:22,609
S2: but I still really did appreciate it. And I think

222
00:10:22,610 --> 00:10:25,750
S2: Fassbinder is like so watchable and so like, yeah, you're

223
00:10:25,760 --> 00:10:27,530
S2: basically just like in this head. And you kind of

224
00:10:27,530 --> 00:10:29,000
S2: touched on the sound design and we see it at

225
00:10:29,000 --> 00:10:30,410
S2: the very start. So like, you know how the film

226
00:10:30,410 --> 00:10:32,660
S2: opens at the we work and he's like about to

227
00:10:32,660 --> 00:10:35,630
S2: do this assassination. And then like this is again we

228
00:10:35,630 --> 00:10:36,949
S2: talked about how it's funny. This is like one of

229
00:10:36,950 --> 00:10:38,839
S2: the funniest things to me. Like The Smiths being his

230
00:10:38,840 --> 00:10:41,510
S2: like favorite band, which he has on like he's like

231
00:10:41,510 --> 00:10:42,920
S2: killing playlist. Yeah, I.

232
00:10:42,920 --> 00:10:44,630
S1: Put Nano as well, I know, which is.

233
00:10:45,080 --> 00:10:48,020
S2: Weird. Yeah. And like the way the music cuts in

234
00:10:48,020 --> 00:10:49,970
S2: and out there. So it goes from being like, we're

235
00:10:49,970 --> 00:10:53,120
S2: hearing it like in his head, basically as this is

236
00:10:53,120 --> 00:10:54,800
S2: about to take place, then it cuts into like his

237
00:10:54,800 --> 00:10:57,550
S2: earphone and stuff. So it really does like you're like

238
00:10:57,590 --> 00:11:01,010
S2: you're basically like almost like Being John Malkovich into the

239
00:11:01,010 --> 00:11:02,870
S2: killer's head, which I thought was great. But then I.

240
00:11:02,870 --> 00:11:04,790
S3: Feel like it doesn't get tiring. And the thing that

241
00:11:04,790 --> 00:11:07,130
S3: saves it from getting tiring is that it is a

242
00:11:07,130 --> 00:11:10,069
S3: very funny movie. And even the idea of using The

243
00:11:10,070 --> 00:11:13,670
S3: Smiths as his soundtrack. This band that is so synonymous

244
00:11:13,670 --> 00:11:17,900
S3: with alienation and disconnected like it's so funny that that

245
00:11:17,900 --> 00:11:19,370
S3: is his band of choice.

246
00:11:20,240 --> 00:11:28,929
UU: Like, do you hear me when you say. I hoarsely cried.

247
00:11:34,550 --> 00:11:39,470
UU: You want to learn? Do you see me when we pass?

248
00:11:41,150 --> 00:11:45,050
UU: I have died.

249
00:11:46,640 --> 00:11:48,590
S3: Even when he talks about the MacDonalds, you know he

250
00:11:48,590 --> 00:11:50,630
S3: buys McDonald's every day and he says something like ten

251
00:11:50,630 --> 00:11:53,990
S3: grams of protein for €1. Like, the narration is really

252
00:11:53,990 --> 00:11:56,000
S3: funny because I think it's easy to see. And when

253
00:11:56,000 --> 00:11:57,290
S3: we talk about it, to make it sound like it's

254
00:11:57,290 --> 00:12:00,199
S3: a dark film because it's so kind of it is

255
00:12:00,200 --> 00:12:03,290
S3: very cynical, kind of pared back film, but it is

256
00:12:03,290 --> 00:12:05,270
S3: also very funny, and I think that stops it from

257
00:12:05,270 --> 00:12:08,689
S3: being overwhelmingly grim or putting people off too much.

258
00:12:08,690 --> 00:12:10,069
S2: Yeah, that's what I think. It also would be quite

259
00:12:10,070 --> 00:12:12,170
S2: a good cinematic experience, because I reckon those lines would

260
00:12:12,170 --> 00:12:14,090
S2: land really hard in like a packed cinema. You know,

261
00:12:14,090 --> 00:12:16,520
S2: he talks about he goes to New Orleans for a

262
00:12:16,520 --> 00:12:20,480
S2: job and he's like 10,000 menus, 1 or 10,000 restaurants.

263
00:12:20,480 --> 00:12:21,140
S2: One menu.

264
00:12:21,140 --> 00:12:23,179
S1: Which is like, I love New Orleans. I love the food,

265
00:12:23,270 --> 00:12:26,030
S1: but it is really true. Completely. Yeah. And speaking of food,

266
00:12:26,030 --> 00:12:28,010
S1: in that McDonald's scene, I kind of get the sense

267
00:12:28,010 --> 00:12:30,320
S1: as to why you guys like this movie so much. Matthew.

268
00:12:30,320 --> 00:12:32,059
S1: It's the mantras and Thomas for you. You sing a

269
00:12:32,059 --> 00:12:34,100
S1: guy do what you do, which is get a sausage

270
00:12:34,100 --> 00:12:36,620
S1: and egg McMuffin and take take the muffin. Just get.

271
00:12:36,620 --> 00:12:37,459
S2: The protein to eat.

272
00:12:37,460 --> 00:12:40,280
S1: The protein, you know, through the trill in terms of

273
00:12:40,280 --> 00:12:43,520
S1: that sound bit like I also like I think I've

274
00:12:43,520 --> 00:12:45,110
S1: said this once already about this movie, but I'd never

275
00:12:45,110 --> 00:12:47,480
S1: really seen that done before in a movie. The sound

276
00:12:47,480 --> 00:12:50,990
S1: designer Ren Klyce, the way that he cuts between was

277
00:12:50,990 --> 00:12:53,720
S1: sort of hearing it through the headphones, like the calories,

278
00:12:53,720 --> 00:12:57,080
S1: and then it just blasts like a soundtrack. And the

279
00:12:57,080 --> 00:13:00,319
S1: way that sort of gets quicker and quicker those edits.

280
00:13:00,320 --> 00:13:01,969
S1: And this is the bit that I clocked when I

281
00:13:01,970 --> 00:13:05,060
S1: was listening to it on my headphones rather than on

282
00:13:05,059 --> 00:13:08,390
S1: a television, sort of, you know, without shitty TV speakers,

283
00:13:08,390 --> 00:13:11,420
S1: the sound sort of pans from left to right as well.

284
00:13:11,420 --> 00:13:14,059
S1: So in some scenes, when you're hearing what he's hearing,

285
00:13:14,059 --> 00:13:16,309
S1: it's just the left channel, and then otherwise hearing it

286
00:13:16,309 --> 00:13:19,130
S1: on the right, it's like really just interesting small choices

287
00:13:19,130 --> 00:13:24,200
S1: that help you both get the perspective from the character,

288
00:13:24,200 --> 00:13:26,810
S1: whilst also getting a broader lens on what's going on

289
00:13:26,809 --> 00:13:29,210
S1: as well. Even though we are just following this one

290
00:13:29,210 --> 00:13:32,750
S1: character around is really, really smart and really well done.

291
00:13:32,750 --> 00:13:34,490
S1: And like, you know, I thought the Smith stuff is

292
00:13:34,490 --> 00:13:38,090
S1: so funny and it keeps coming back again and again

293
00:13:38,090 --> 00:13:40,429
S1: and again. And I'm like, surely this guy's got other songs.

294
00:13:40,429 --> 00:13:43,250
S1: I actually did a freeze frame on his Nano. When

295
00:13:43,250 --> 00:13:45,800
S1: he's going through his playlists, he's got like a a

296
00:13:45,800 --> 00:13:49,280
S1: yoga meditation playlist and a yoga workout playlist, as well

297
00:13:49,280 --> 00:13:52,280
S1: as like on the job playlists, which is really, really good.

298
00:13:52,429 --> 00:13:54,709
S3: The yoga thing actually, too, is a very funny part

299
00:13:54,710 --> 00:13:58,220
S3: of this, because he's doing yoga consistently throughout it and

300
00:13:58,220 --> 00:14:01,550
S3: it's a strengthening for his emotion in his brain. But again,

301
00:14:01,550 --> 00:14:04,040
S3: it's just the irony of using something which is about

302
00:14:04,040 --> 00:14:07,340
S3: spirituality when he spirituality is kind of a kind of

303
00:14:07,340 --> 00:14:09,069
S3: killer creed. Totally, very.

304
00:14:09,390 --> 00:14:10,730
S1: Very ruthless approach.

305
00:14:10,730 --> 00:14:12,470
S3: Yeah. There are all kinds of moments like that. The

306
00:14:12,470 --> 00:14:15,380
S3: other thing I really enjoyed too was I know watching

307
00:14:15,380 --> 00:14:17,870
S3: a Fincher film, you kind of know that there's no mercy.

308
00:14:17,870 --> 00:14:21,200
S3: But multiple times in this film, civilians are killed. And

309
00:14:21,200 --> 00:14:23,720
S3: I found myself thinking, oh, no, he's going to show

310
00:14:23,720 --> 00:14:25,220
S3: a bit of soul here and a bit of heart.

311
00:14:25,220 --> 00:14:27,979
S3: He's not going to kill this very nice civilian who

312
00:14:27,980 --> 00:14:30,980
S3: they are often set up as completely innocent people, completely

313
00:14:30,980 --> 00:14:32,420
S3: well-meaning people, and then.

314
00:14:32,780 --> 00:14:34,280
S1: Go out of their way to tell us that they

315
00:14:34,280 --> 00:14:39,590
S1: have families and stuff. Yeah, but male famously, empathy is weakness, weakness, ability. Yeah.

316
00:14:39,590 --> 00:14:40,610
S2: I think the thing I really liked about it as

317
00:14:40,610 --> 00:14:42,770
S2: well is that the structure of the film, I think

318
00:14:42,770 --> 00:14:45,590
S2: Fincher famously structured his films really well, but he plays

319
00:14:45,590 --> 00:14:47,150
S2: around with it. But in this one it's quite like

320
00:14:47,150 --> 00:14:49,760
S2: linear and nice, but it's basically like split up into chapters.

321
00:14:49,760 --> 00:14:51,739
S2: So it's like chapter one begins at the start with

322
00:14:51,740 --> 00:14:54,290
S2: the assassination, and then we kind of follow the fallout

323
00:14:54,290 --> 00:14:56,480
S2: as the killer looks to kind of, I guess, clean

324
00:14:56,480 --> 00:14:58,880
S2: up what happens and takes him all over the world.

325
00:14:58,880 --> 00:15:01,130
S2: We go to the Dominican Republic, we go to New Orleans,

326
00:15:01,130 --> 00:15:04,340
S2: and it's really good because like you basically it's almost

327
00:15:04,340 --> 00:15:06,950
S2: like this. It's like Fincher has set himself up to

328
00:15:06,950 --> 00:15:08,900
S2: do these set pieces that he's so good at. And

329
00:15:08,900 --> 00:15:11,270
S2: it's like, this is exercise. It's like this chapter, this chapter,

330
00:15:11,270 --> 00:15:13,670
S2: this chapter, and just the movie just plods along so well,

331
00:15:13,790 --> 00:15:14,600
S2: very episodic.

332
00:15:14,600 --> 00:15:16,820
S1: And like he has made shows, you know, he famously

333
00:15:17,090 --> 00:15:19,700
S1: brought a House of Cards to Netflix and he's worked

334
00:15:19,700 --> 00:15:22,910
S1: on Mindhunter. So he's very familiar going through that genre.

335
00:15:22,910 --> 00:15:26,270
S1: But to create like kind of distinct episodes and distinct locations,

336
00:15:26,270 --> 00:15:28,910
S1: and each of those has a new character and almost

337
00:15:28,910 --> 00:15:31,670
S1: its own internal storyline, and to do it in like

338
00:15:31,670 --> 00:15:33,950
S1: just under two hours is pretty exciting.

339
00:15:33,950 --> 00:15:35,450
S2: Yeah. It's amazing. So well done.

340
00:15:35,450 --> 00:15:38,510
S3: Yeah. And those scenes with like those standout scenes you're

341
00:15:38,510 --> 00:15:41,510
S3: talking about, and there's one with Tilda Swinton. I found

342
00:15:41,510 --> 00:15:44,420
S3: that they were really remarkable pieces, and the film really

343
00:15:44,420 --> 00:15:46,070
S3: needed those, and they were kind of the highlights of

344
00:15:46,070 --> 00:15:47,090
S3: the film for me.

345
00:15:47,090 --> 00:15:48,620
S2: One thing I thought was funny and I kind of

346
00:15:48,620 --> 00:15:51,290
S2: read about this somewhere else, and I didn't clock it initially,

347
00:15:51,290 --> 00:15:53,900
S2: but like this whole because obviously the the narration is

348
00:15:53,900 --> 00:15:55,400
S2: like such a big part of the film and like

349
00:15:55,400 --> 00:15:58,340
S2: the whole idea of the unreliable narrator and like I

350
00:15:58,340 --> 00:16:00,440
S2: think again, because I was just like letting it wash

351
00:16:00,440 --> 00:16:02,990
S2: over me. I just took everything he said as like, oh,

352
00:16:02,990 --> 00:16:05,240
S2: this is narrator's just like telling us what's what. But

353
00:16:05,240 --> 00:16:06,860
S2: then I read like a review about it that talked about, well,

354
00:16:06,860 --> 00:16:09,830
S2: he's actually not the most truthful narrator, and he does

355
00:16:09,830 --> 00:16:11,180
S2: like make a lot of mistakes and some of the

356
00:16:11,180 --> 00:16:13,490
S2: stuff he says is like, untrue. And I get then like,

357
00:16:13,490 --> 00:16:16,010
S2: having read that, maybe I want to revisit the film

358
00:16:16,010 --> 00:16:18,440
S2: now and be like, now that I know that this guy,

359
00:16:18,440 --> 00:16:20,480
S2: I'm not just like taking everything he says as truth,

360
00:16:20,600 --> 00:16:21,680
S2: like different experience.

361
00:16:21,680 --> 00:16:25,070
S1: I think also what the movie does quite well is

362
00:16:25,070 --> 00:16:29,210
S1: we see him unravel throughout the like the way that

363
00:16:29,210 --> 00:16:31,610
S1: the plot progresses, like at the start, we're convinced that

364
00:16:31,610 --> 00:16:34,870
S1: he is so precise, so perfect, so. Like his method

365
00:16:34,870 --> 00:16:38,250
S1: is amazing. The way he assembles his rifle Disassembles his rifle.

366
00:16:38,260 --> 00:16:40,330
S1: One of the really funny bit in that process when

367
00:16:40,330 --> 00:16:43,450
S1: he's about to do that first assassination and he's in

368
00:16:43,450 --> 00:16:45,700
S1: the we work. As you guys have mentioned, he uses

369
00:16:45,700 --> 00:16:49,840
S1: the standing desk to like, raise up the gun. I'm like,

370
00:16:49,840 --> 00:16:52,360
S1: that is so funny. Like standing desks as a concept

371
00:16:52,360 --> 00:16:55,240
S1: are hilarious. And for Fincher to be like, I'm going to, like,

372
00:16:55,240 --> 00:16:58,090
S1: turn them into a weapon of like, murder is pretty,

373
00:16:58,090 --> 00:17:00,220
S1: pretty cool. And then as as this story kind of

374
00:17:00,220 --> 00:17:03,820
S1: goes on, you see him repeat his mantras about never improvise,

375
00:17:03,820 --> 00:17:07,090
S1: never do this. But there's this uncertainty that starts to

376
00:17:07,090 --> 00:17:09,370
S1: creep in as he, you know, we hear him say,

377
00:17:09,369 --> 00:17:12,100
S1: never improvise as he's like in a Home Depot, buying

378
00:17:12,100 --> 00:17:14,710
S1: a bunch of random shit to do an improvised sort

379
00:17:14,710 --> 00:17:16,750
S1: of a job. And and you realize that this guy

380
00:17:16,750 --> 00:17:19,630
S1: maybe isn't quite as good as we thought he was.

381
00:17:19,630 --> 00:17:22,690
S1: He's realizing he's not quite as good. The unreliability kicks

382
00:17:22,690 --> 00:17:24,850
S1: in as quite, quite a lot of like, I think,

383
00:17:24,850 --> 00:17:26,530
S1: complexity to the story. Yeah, I.

384
00:17:26,530 --> 00:17:28,060
S3: Agree, I got the sense that he was trying to

385
00:17:28,060 --> 00:17:30,520
S3: convince himself that those are the mantras that he could

386
00:17:30,520 --> 00:17:33,550
S3: live by and should live by, but was always falling short.

387
00:17:33,550 --> 00:17:35,950
S3: There's also another really brilliant moment talking about the standing

388
00:17:35,950 --> 00:17:39,010
S3: desk when he's wearing kind of some kind of Fitbit watch,

389
00:17:39,010 --> 00:17:41,350
S3: and he's monitoring his heart rate because he thinks it

390
00:17:41,350 --> 00:17:43,750
S3: needs to be below 60 to have the perfect kill.

391
00:17:43,750 --> 00:17:45,609
S3: So there are all kinds of moments of where he's

392
00:17:45,609 --> 00:17:48,220
S3: seeking control. I think in this kind of game that

393
00:17:48,220 --> 00:17:49,979
S3: he really can't control.

394
00:17:49,990 --> 00:17:52,450
S1: Absolutely. I want to talk a bit about some of

395
00:17:52,450 --> 00:17:55,690
S1: the different readings around this movie, and I think to

396
00:17:55,690 --> 00:17:59,110
S1: do so, probably we need to wade into spoiler territory

397
00:17:59,109 --> 00:18:00,850
S1: a bit. So I think, you know, if you haven't

398
00:18:00,850 --> 00:18:03,070
S1: seen the movie, hit pause in the podcast, go watch

399
00:18:03,070 --> 00:18:05,290
S1: the movie. It's on Netflix. You can do it. Oh, otherwise,

400
00:18:05,290 --> 00:18:06,820
S1: you know, if you want to skip ahead, we'll probably

401
00:18:06,820 --> 00:18:09,490
S1: be about five minutes on this bit. Scrub through. Don't

402
00:18:09,490 --> 00:18:11,710
S1: yell at us if you get bored. We've warned you

403
00:18:11,710 --> 00:18:15,399
S1: about it. So there are a few different, I guess,

404
00:18:15,400 --> 00:18:20,770
S1: analyses to this film in various reviews. There's one that

405
00:18:20,770 --> 00:18:23,200
S1: seems to be like kind of getting the most traction.

406
00:18:23,200 --> 00:18:25,930
S1: It's this idea that the story of the killer is

407
00:18:25,930 --> 00:18:28,810
S1: a bit of a metaphor for Finch's own career, or

408
00:18:28,810 --> 00:18:31,840
S1: the idea of directors generally. Right? The idea of this

409
00:18:31,840 --> 00:18:35,350
S1: mercenary filmmaker who is hired to work on everything from

410
00:18:35,350 --> 00:18:38,770
S1: film to TV to music videos to ads for giant

411
00:18:38,770 --> 00:18:41,500
S1: companies which, like Fincher famously, has done brands like The

412
00:18:41,500 --> 00:18:44,620
S1: Gap and Nike. There are these lines at the start

413
00:18:44,619 --> 00:18:48,100
S1: of The Killer in particular, where Fassbender's explaining to us

414
00:18:48,100 --> 00:18:50,590
S1: his lack of ideology. He's like, you know, if you're

415
00:18:50,590 --> 00:18:52,270
S1: trying to hire me for a job and you can

416
00:18:52,270 --> 00:18:54,369
S1: afford to pay me, you don't have to convince me

417
00:18:54,369 --> 00:18:57,369
S1: about ideology or like your worldview. I'll just do the

418
00:18:57,369 --> 00:18:59,530
S1: job and I'll get the money. And I think, you know,

419
00:18:59,560 --> 00:19:02,320
S1: it's quite possible that Fincher is having a bit of

420
00:19:02,320 --> 00:19:05,410
S1: fun with his own life and career there. He's also

421
00:19:05,410 --> 00:19:09,220
S1: himself extremely meticulous in the way that he makes movies,

422
00:19:09,220 --> 00:19:11,140
S1: not just in the way, as you mentioned, Mel, the

423
00:19:11,140 --> 00:19:14,800
S1: way he sort of frames and edits and sequences shots,

424
00:19:14,800 --> 00:19:18,639
S1: but he's known for doing hundreds of takes on his films,

425
00:19:18,640 --> 00:19:22,389
S1: like that opening scene in The Social Network with Rooney

426
00:19:22,390 --> 00:19:26,590
S1: Mara and Jesse Eisenberg, which is just like two kids

427
00:19:26,590 --> 00:19:29,409
S1: in a pub having a breakup. There are probably 94

428
00:19:29,410 --> 00:19:33,130
S1: takes or something like that. And Jake Gyllenhaal has talked

429
00:19:33,130 --> 00:19:36,700
S1: about on Zodiac, the horrific experience he had filming takes

430
00:19:36,700 --> 00:19:40,150
S1: hundreds and hundreds of times. So we're talking about a

431
00:19:40,150 --> 00:19:43,660
S1: director who is very meticulous, who has these mantras, who

432
00:19:43,660 --> 00:19:47,140
S1: just has this process. He follows making a movie about

433
00:19:47,140 --> 00:19:50,230
S1: a hired gun who was following a lot of interesting

434
00:19:50,230 --> 00:19:54,460
S1: specific processes as well. You guys think about that sort

435
00:19:54,460 --> 00:19:55,060
S1: of rate.

436
00:19:55,480 --> 00:19:58,389
S2: Yeah. I mean, well, he obviously is a control freak

437
00:19:58,390 --> 00:20:01,119
S2: and this is about a control freak. I think he

438
00:20:01,119 --> 00:20:02,980
S2: did a Q&A because he's been doing like most of

439
00:20:02,980 --> 00:20:05,590
S2: the press, because this is like falling in the the

440
00:20:05,590 --> 00:20:08,860
S2: kind of strike window which is over now. But I

441
00:20:08,859 --> 00:20:11,050
S2: think he's specifically said, oh, no, like, this is not

442
00:20:11,050 --> 00:20:13,960
S2: me navel gazing, but like I really think it is.

443
00:20:13,960 --> 00:20:16,540
S1: I mean, every director and writer says that. And it's

444
00:20:16,540 --> 00:20:18,720
S1: like even when they're literally like.

445
00:20:18,850 --> 00:20:20,949
S2: Yeah, like, I mean, you kind of have to say

446
00:20:20,950 --> 00:20:22,270
S2: it's weirder. I think if you come in and be like, yeah,

447
00:20:22,270 --> 00:20:22,750
S2: this is yeah.

448
00:20:22,750 --> 00:20:23,500
S1: This is about me, man.

449
00:20:23,500 --> 00:20:26,590
S2: Yeah. But yeah, like I do think it is, it

450
00:20:26,590 --> 00:20:29,380
S2: is pretty clear. And I guess especially when you are

451
00:20:29,380 --> 00:20:32,139
S2: like when you are the director of a film that

452
00:20:32,140 --> 00:20:34,060
S2: most people know, I just have a vague idea of

453
00:20:34,060 --> 00:20:36,130
S2: how film works. But like, there's so the director is

454
00:20:36,130 --> 00:20:39,070
S2: like the trickle down effect of, like, if something goes wrong,

455
00:20:39,070 --> 00:20:41,290
S2: the amount of people that can be affected by that.

456
00:20:41,290 --> 00:20:43,510
S2: And that's very much what happens in this film, like

457
00:20:43,510 --> 00:20:46,510
S2: a single mistake has such a domino effect where, like,

458
00:20:46,510 --> 00:20:48,340
S2: all these things unravel. And I think that's like a

459
00:20:48,340 --> 00:20:51,910
S2: very much reflected in how the filmmaking process goes.

460
00:20:52,270 --> 00:20:54,790
S3: Yeah. I don't think this film is any more autobiographical

461
00:20:54,790 --> 00:20:58,270
S3: than any of his others. Like he's always interested in

462
00:20:58,270 --> 00:21:02,620
S3: people who feel disaffected from their lives and feel like

463
00:21:02,619 --> 00:21:05,470
S3: they are cogs in the machine. You know, I think

464
00:21:05,470 --> 00:21:07,690
S3: the character in this says something like, I serve no God,

465
00:21:07,690 --> 00:21:10,300
S3: I serve no country. And that is a is a

466
00:21:10,300 --> 00:21:12,790
S3: motto that could apply to so many of the characters

467
00:21:12,790 --> 00:21:15,370
S3: in his films. And I think he probably Fincher has

468
00:21:15,369 --> 00:21:18,070
S3: a really dark worldview. And yeah, I guess you could

469
00:21:18,070 --> 00:21:19,540
S3: read it into this film, but I also think you

470
00:21:19,540 --> 00:21:22,240
S3: could probably read it into Fight Club, into Zodiac, into

471
00:21:22,240 --> 00:21:24,639
S3: a lot of his other films about men who don't

472
00:21:24,640 --> 00:21:27,459
S3: really know what their point is and what they're serving.

473
00:21:27,550 --> 00:21:31,720
S2: Fincher also does dress a lot like the killer, though, right?

474
00:21:32,380 --> 00:21:34,640
S1: Yeah. We haven't talked about. To kill his fit, which

475
00:21:34,640 --> 00:21:36,889
S1: is extraordinary. Like this bit early on in the movie,

476
00:21:36,890 --> 00:21:40,370
S1: where he describes his camouflage as like a German tourist

477
00:21:40,369 --> 00:21:42,230
S1: because he's like, no one in Paris wants to talk

478
00:21:42,230 --> 00:21:45,590
S1: to German. There's a lot of very funny memes about, like,

479
00:21:45,590 --> 00:21:47,420
S1: where to get the bucket hat and the glasses.

480
00:21:47,420 --> 00:21:49,570
S2: Yeah, the cocky, but I think, I mean, Finch is

481
00:21:49,580 --> 00:21:52,490
S2: like Finch's looks are normally pretty. Like he could just

482
00:21:52,490 --> 00:21:53,449
S2: blend in. Yeah.

483
00:21:53,570 --> 00:21:54,980
S1: Look, I think I think.

484
00:21:55,160 --> 00:21:56,900
S2: I could see him eating a single egg.

485
00:21:56,900 --> 00:21:58,370
S1: Yeah, yeah, yeah, exactly. That's why. I mean, I agree

486
00:21:58,369 --> 00:21:59,929
S1: with you, Matt. I don't think this is like a

487
00:21:59,930 --> 00:22:03,770
S1: deviation or like, radically new ideas in terms of finches

488
00:22:03,770 --> 00:22:05,359
S1: or thing and in fact, like the way the killer

489
00:22:05,359 --> 00:22:09,830
S1: monologues and talks about that kind of like, slogan style

490
00:22:09,830 --> 00:22:12,380
S1: critiques of capitalism is very like Fight Club, right? Which

491
00:22:12,380 --> 00:22:14,750
S1: is more than 20 years old now. But I feel

492
00:22:14,750 --> 00:22:17,359
S1: like there's maybe a little bit more of himself and

493
00:22:17,359 --> 00:22:20,450
S1: his own experiences in this than we've seen in other films.

494
00:22:20,450 --> 00:22:22,520
S1: This occurred to me on the first viewing, but it

495
00:22:22,520 --> 00:22:25,790
S1: became even more obvious to me on my second viewing

496
00:22:25,790 --> 00:22:28,700
S1: that I think there is like another layer to this movie,

497
00:22:28,700 --> 00:22:30,950
S1: and Mel's already laughing, because this is what I try

498
00:22:30,950 --> 00:22:34,550
S1: to shoehorn into, like, every film, basically. But there's just

499
00:22:34,550 --> 00:22:37,909
S1: one too many deliberate references to certain things going on.

500
00:22:37,910 --> 00:22:40,220
S1: So can I can I lay out my take for

501
00:22:40,220 --> 00:22:41,090
S1: you guys on this?

502
00:22:41,090 --> 00:22:43,340
S3: I love it, I just feel, I hope everyone's back

503
00:22:43,340 --> 00:22:45,859
S3: who was who really wanted to avoid the spoilers. I

504
00:22:45,859 --> 00:22:46,760
S3: hope they're back for this.

505
00:22:46,760 --> 00:22:48,530
S1: I think like we talked about the we work a

506
00:22:48,530 --> 00:22:52,220
S1: bit at the start, right? And we work is synonymous

507
00:22:52,220 --> 00:22:56,600
S1: with this idea of venture capitalism and startup culture. And,

508
00:22:56,600 --> 00:23:00,170
S1: you know, it is a home for gig workers alienated

509
00:23:00,170 --> 00:23:04,670
S1: from traditional businesses trying to create something in this disconnected, alienated,

510
00:23:04,670 --> 00:23:08,600
S1: complicated world that is like the opening basically set up

511
00:23:08,600 --> 00:23:11,419
S1: of the movie. But then we talk about a bunch

512
00:23:11,420 --> 00:23:16,070
S1: of other giant companies very deliberately, as you mentioned, McDonald's.

513
00:23:16,070 --> 00:23:18,890
S1: We have a whole thing to do with Amazon as well.

514
00:23:18,890 --> 00:23:21,710
S1: Like there is a point in which he uses Amazon

515
00:23:21,710 --> 00:23:24,679
S1: to help get this product that he needs to to

516
00:23:24,680 --> 00:23:29,810
S1: break into a building and like basically confront someone. And

517
00:23:29,810 --> 00:23:33,950
S1: he himself, like, is described as a subcontractor, right? Like

518
00:23:33,950 --> 00:23:37,160
S1: he is a gig worker who was relying on these

519
00:23:37,160 --> 00:23:42,530
S1: kind of tools of current American corporate structures to execute

520
00:23:42,530 --> 00:23:45,679
S1: his job. He's working on behalf of powerful, shadowy figures.

521
00:23:45,680 --> 00:23:48,590
S1: He doesn't really understand. He thinks he's in control. But

522
00:23:48,590 --> 00:23:52,220
S1: as the movie goes on, he realizes he isn't. At

523
00:23:52,220 --> 00:23:54,350
S1: the start of the film, he talks about the world

524
00:23:54,350 --> 00:23:57,500
S1: being divided into the few and the many and says,

525
00:23:57,500 --> 00:23:59,630
S1: no matter what you do, be part of the few.

526
00:23:59,630 --> 00:24:03,650
S1: But as the film progresses, we see him kill a

527
00:24:03,650 --> 00:24:07,100
S1: series of people who are basically avatars of himself, other

528
00:24:07,100 --> 00:24:11,150
S1: gig workers in the kind of assassin underground world, and

529
00:24:11,150 --> 00:24:14,570
S1: each time he does, he realizes more and more that

530
00:24:14,570 --> 00:24:17,359
S1: they're basically just like him. And I think that culminates

531
00:24:17,359 --> 00:24:20,720
S1: in him realizing that he no longer wants to participate

532
00:24:20,720 --> 00:24:26,180
S1: in that structure. And the movie ends with him literally saying,

533
00:24:26,180 --> 00:24:29,419
S1: I'm now part of the many, not the few. And

534
00:24:29,420 --> 00:24:35,300
S1: I think that is a pretty sharp analysis. Or I guess,

535
00:24:35,300 --> 00:24:38,989
S1: Fincher trying to take a swing at how. Even though

536
00:24:38,990 --> 00:24:40,429
S1: we've always been like this and these ideas have been

537
00:24:40,430 --> 00:24:44,659
S1: there since Fight Club, we are now even more like alienated,

538
00:24:44,660 --> 00:24:47,300
S1: disconnected than ever. Most of us who feel angry about

539
00:24:47,300 --> 00:24:49,430
S1: the state of the world are taking it out on

540
00:24:49,430 --> 00:24:52,160
S1: people at our same level, rather than the people at

541
00:24:52,160 --> 00:24:55,430
S1: the top. And I don't think I don't think this

542
00:24:55,430 --> 00:24:58,490
S1: is like Fincher being like, I'm trying to make a

543
00:24:58,490 --> 00:25:02,180
S1: movie about this stuff. I think he's just found interesting

544
00:25:02,180 --> 00:25:05,840
S1: ways in this film to take some swings at the

545
00:25:05,840 --> 00:25:10,190
S1: way the economic structures operate in America right now.

546
00:25:10,190 --> 00:25:12,980
S3: So did you. That was a great take. Actually, I

547
00:25:12,980 --> 00:25:13,609
S3: think we can all.

548
00:25:13,640 --> 00:25:16,159
S2: Well, it really makes me like, think twice now about

549
00:25:16,160 --> 00:25:18,470
S2: the UberEats guy that delivered my meal that mid.

550
00:25:18,740 --> 00:25:19,940
S3: When you were hung over.

551
00:25:20,950 --> 00:25:23,180
S2: I broke where a half a heart is it, man? Like,

552
00:25:23,180 --> 00:25:25,340
S2: how hard is it? You come here every week.

553
00:25:25,520 --> 00:25:27,350
S1: I mean, even in being on the moped, it's like

554
00:25:27,350 --> 00:25:29,270
S1: you know who's on mopeds most of the time in

555
00:25:29,270 --> 00:25:30,290
S1: our cities these days.

556
00:25:30,290 --> 00:25:31,220
S2: Hot Italians.

557
00:25:32,300 --> 00:25:34,010
S1: Or Uber Eats delivery drivers, you.

558
00:25:34,010 --> 00:25:34,340
S5: Know.

559
00:25:35,510 --> 00:25:38,630
S3: Okay, wait. So I have you. Did you find this

560
00:25:38,630 --> 00:25:43,190
S3: a narrative of redemption or futility to speak? To your point? Yeah,

561
00:25:43,190 --> 00:25:43,669
S3: a little bit of.

562
00:25:43,670 --> 00:25:45,950
S1: Both, to be honest. And I actually think the end

563
00:25:45,980 --> 00:25:48,650
S1: is maybe the weakest bit of the movie.

564
00:25:48,830 --> 00:25:50,480
S2: A little bit hopeful. Yeah. It's a bit.

565
00:25:50,850 --> 00:25:52,430
S1: Just like a little bit unclear. Like, I think there's

566
00:25:52,430 --> 00:25:54,590
S1: a lot of stuff that is super sharp and it's

567
00:25:54,590 --> 00:25:56,810
S1: super intentional. And I think at the end it's a

568
00:25:56,810 --> 00:26:01,310
S1: bit like, why did he not make that choice? And

569
00:26:01,310 --> 00:26:05,210
S1: then why has it just ended with like, it's optimistic

570
00:26:05,210 --> 00:26:07,399
S1: but confusing. That's my ride on the end. So I

571
00:26:07,400 --> 00:26:10,189
S1: don't know. I'm not trying to suggest that there's a

572
00:26:10,190 --> 00:26:12,740
S1: whole big thesis that he delivers at the end, because

573
00:26:12,740 --> 00:26:15,590
S1: I just not quite convinced that that is the case.

574
00:26:15,590 --> 00:26:17,570
S1: And I think it's unfair to sort of hold him

575
00:26:17,570 --> 00:26:19,010
S1: to a standard that I don't think he's trying to

576
00:26:19,010 --> 00:26:21,200
S1: go for. I think it's more in the the kind

577
00:26:21,200 --> 00:26:23,330
S1: of middle part of the movie is where I think

578
00:26:23,330 --> 00:26:25,460
S1: a lot of this stuff comes up. The subtext arises

579
00:26:25,460 --> 00:26:25,939
S1: for me.

580
00:26:26,240 --> 00:26:29,990
S3: Yeah, I think I probably don't see Fincher as having

581
00:26:29,990 --> 00:26:33,380
S3: such a political message in this film. Like, I think

582
00:26:33,380 --> 00:26:36,110
S3: maybe he thinks it's all bullshit. And that is kind

583
00:26:36,109 --> 00:26:39,290
S3: of where I saw the film as ending, not kind

584
00:26:39,290 --> 00:26:41,030
S3: of a not a real call to action. I know

585
00:26:41,030 --> 00:26:42,560
S3: you're not saying it was a call to action, but

586
00:26:42,560 --> 00:26:44,810
S3: I feel it's less a takedown of the man and

587
00:26:44,810 --> 00:26:48,200
S3: just what matters. Nothing matters like that is how I

588
00:26:48,200 --> 00:26:48,650
S3: read it.

589
00:26:48,650 --> 00:26:50,930
S1: The, um, the reason why I think I'm sort of

590
00:26:50,930 --> 00:26:53,570
S1: pushing myself to this position. Because I hear you. Because

591
00:26:53,570 --> 00:26:55,580
S1: I think generally you watch Fincher movies and the take

592
00:26:55,580 --> 00:26:58,639
S1: on him, he's like this Gen-X nihilist who's very influenced

593
00:26:58,640 --> 00:27:01,850
S1: by the kind of Seattle grunge world and like this

594
00:27:01,850 --> 00:27:04,190
S1: idea of just the corporations one. And we've got to

595
00:27:04,190 --> 00:27:05,720
S1: make what we've got to make. And I think that

596
00:27:05,720 --> 00:27:08,930
S1: is the overwhelming bulk of his films, the one movie

597
00:27:08,930 --> 00:27:10,609
S1: that is not like that, that has a lot of

598
00:27:10,609 --> 00:27:12,440
S1: heart and sentimentality and politics.

599
00:27:12,440 --> 00:27:14,810
S5: Seven Benjamin Button No.

600
00:27:14,990 --> 00:27:17,540
S1: Is the one no one's seen Mank, right? Which no

601
00:27:17,540 --> 00:27:20,030
S1: one is saying, which is a Gary Oldman and Amanda Seyfried.

602
00:27:20,030 --> 00:27:22,790
S1: It's it's a really good movie, and it is about

603
00:27:22,880 --> 00:27:26,419
S1: Herman Mankiewicz, who's the guy who wrote Citizen Kane. Heard

604
00:27:26,420 --> 00:27:28,610
S1: of it. Very big movie, Orson Welles. That movie is

605
00:27:28,609 --> 00:27:33,110
S1: obviously extremely political in and of itself, about powerful billionaire

606
00:27:33,109 --> 00:27:35,540
S1: industrialist media barons in the way that they kind of

607
00:27:35,540 --> 00:27:39,500
S1: control America. And this movie goes into the politics of that.

608
00:27:39,500 --> 00:27:43,340
S1: But it also has like a significant storyline that has

609
00:27:43,340 --> 00:27:46,070
S1: to do with the socialist writer Upton Sinclair and his

610
00:27:46,070 --> 00:27:49,550
S1: socialist campaign for governor of California in the 1930. And

611
00:27:49,550 --> 00:27:52,730
S1: I'm like, you're not just putting that stuff in a

612
00:27:52,730 --> 00:27:55,340
S1: film for the sake of it. You're doing it because

613
00:27:55,340 --> 00:27:58,310
S1: you are trying to either remind people of a time

614
00:27:58,310 --> 00:28:00,950
S1: where Hollywood and America debated these kinds of ideas and

615
00:28:00,950 --> 00:28:04,760
S1: how distinct that is, and almost if you if you

616
00:28:04,760 --> 00:28:07,070
S1: go from like Mank to this and these are the

617
00:28:07,070 --> 00:28:09,830
S1: two movies that are back to back, you have Fincher

618
00:28:09,830 --> 00:28:13,310
S1: talking about a world that used to exist that was

619
00:28:13,310 --> 00:28:16,340
S1: a bit more hopeful, a bit more us working together

620
00:28:16,340 --> 00:28:19,430
S1: as actors, as writers. There's stuff about Hollywood strikes going

621
00:28:19,430 --> 00:28:23,119
S1: on when there was power to organize through art or

622
00:28:23,119 --> 00:28:25,910
S1: through society against the people that controlled it. You have

623
00:28:25,910 --> 00:28:28,250
S1: that and you follow that up with the killer, which

624
00:28:28,250 --> 00:28:32,000
S1: is super cynical. Basically, 100 years on from the Mank story,

625
00:28:32,000 --> 00:28:34,399
S1: we're fucked. We're all turning against each other. We have

626
00:28:34,400 --> 00:28:38,630
S1: no power. We works. Destroyed society, Amazon destroyed society. McDonald's

627
00:28:38,630 --> 00:28:42,920
S1: is destroying society. So I think there is some coherence

628
00:28:42,920 --> 00:28:44,270
S1: in his ideology across those films.

629
00:28:44,300 --> 00:28:46,250
S3: Yeah, I think that's actually quite true. And I think

630
00:28:46,250 --> 00:28:49,670
S3: you're right about Mank having that kind of that kind

631
00:28:49,670 --> 00:28:51,680
S3: of ambition. And yeah, I guess I hadn't thought of

632
00:28:51,680 --> 00:28:54,440
S3: seeing the killer in direct light of Mank. But yeah,

633
00:28:54,440 --> 00:28:56,570
S3: when you read it like that, that does make sense.

634
00:28:56,570 --> 00:28:58,910
S3: Mank I wasn't talking about it earlier. It's such an

635
00:28:58,910 --> 00:29:01,700
S3: underrated film. I think a lot of people were put

636
00:29:01,700 --> 00:29:04,610
S3: off by the black and white of it, like Mank.

637
00:29:04,940 --> 00:29:06,800
S2: Very exciting. I must have been. I haven't seen it.

638
00:29:06,800 --> 00:29:07,220
S5: Citizen.

639
00:29:07,220 --> 00:29:09,890
S3: Kane, I think the way people thought, but it is

640
00:29:09,890 --> 00:29:13,280
S3: so funny. I actually think it's one of Fincher's funniest films, and.

641
00:29:13,460 --> 00:29:15,260
S1: Fincher is a funny guy for a guy who is

642
00:29:15,260 --> 00:29:17,270
S1: seen as like a dark out of circular stuff, he's

643
00:29:17,270 --> 00:29:17,960
S1: very funny.

644
00:29:17,960 --> 00:29:20,150
S2: It's such a it's so funny looking at his filmography, though,

645
00:29:20,150 --> 00:29:22,940
S2: because it's like he goes through waves. Like obviously pre

646
00:29:22,970 --> 00:29:25,370
S2: Mank was Gone Girl, which is like, yeah, kind of like,

647
00:29:25,370 --> 00:29:27,080
S2: you know, also a great film, but like more of

648
00:29:27,080 --> 00:29:29,570
S2: a big studio film like Ben Affleck. It's based on

649
00:29:29,570 --> 00:29:33,260
S2: a bestselling book. And then within that same period you

650
00:29:33,260 --> 00:29:36,110
S2: have Girl with the Dragon Tattoo, which again, similar kind

651
00:29:36,110 --> 00:29:39,400
S2: of source material. Curious case of Benjamin Button like. It's

652
00:29:39,400 --> 00:29:41,890
S2: he really kind of like, flutters between like, this is

653
00:29:41,890 --> 00:29:43,810
S2: everything that's consuming me right now. And here's a film

654
00:29:43,810 --> 00:29:46,360
S2: that reflects it. And then I guess, like, here's another

655
00:29:46,360 --> 00:29:48,070
S2: film I was thinking of making based on a best

656
00:29:48,070 --> 00:29:48,520
S2: selling book.

657
00:29:48,580 --> 00:29:50,350
S1: We are getting into what I want to talk about next,

658
00:29:50,350 --> 00:29:53,170
S1: which is just the general Fincher of it all. But

659
00:29:53,170 --> 00:29:55,510
S1: the one thing I just wanted to say on On

660
00:29:55,510 --> 00:29:58,480
S1: the Killer, that only I just was reminded of now

661
00:29:58,570 --> 00:30:01,500
S1: when I spoke to Steven Soderbergh earlier in the year.

662
00:30:01,510 --> 00:30:03,970
S1: So Steven Soderbergh does this thing every year where he

663
00:30:03,970 --> 00:30:08,470
S1: lists everything he's watched. And at the end of last year,

664
00:30:08,500 --> 00:30:12,430
S1: he had the killer like 5 or 6 times. And

665
00:30:12,430 --> 00:30:16,410
S1: I asked him, I'm like, is this the unreleased Fincher film?

666
00:30:16,420 --> 00:30:18,870
S1: And he's like, yes. And I'm like, what's going on there?

667
00:30:18,880 --> 00:30:22,660
S1: And he's like, well, Fincher and I like very close friends,

668
00:30:22,660 --> 00:30:25,210
S1: and we give each other notes on movies a lot.

669
00:30:25,210 --> 00:30:27,820
S1: So basically David's been showing me cuts of this film,

670
00:30:27,820 --> 00:30:30,400
S1: and then I'll give him notes, and I find that

671
00:30:30,400 --> 00:30:33,910
S1: really fascinating. Interesting. These are two amazing directors who I

672
00:30:33,910 --> 00:30:36,370
S1: think they're similar in ways. They make these very stylish,

673
00:30:36,370 --> 00:30:39,880
S1: interesting movies that very rarely have obvious politics in them.

674
00:30:39,880 --> 00:30:41,800
S1: But then when you drill down, there is a bit

675
00:30:41,800 --> 00:30:44,440
S1: about the world and how it all works there. So

676
00:30:44,440 --> 00:30:46,900
S1: I love the idea of Soderbergh kind of secretly being

677
00:30:46,900 --> 00:30:48,219
S1: involved in putting this together. That is.

678
00:30:48,220 --> 00:30:50,140
S2: Very cool. I love that he keeps like a list

679
00:30:50,140 --> 00:30:51,880
S2: as well. Yeah, yeah. What else was on there? Do

680
00:30:51,880 --> 00:30:52,360
S2: you remember.

681
00:30:52,900 --> 00:30:55,360
S1: We talked about like Below Deck. He loves Below Deck,

682
00:30:55,510 --> 00:30:58,750
S1: like the reality show. It's a really good list. But yeah,

683
00:30:58,750 --> 00:31:02,320
S1: I wanted to ask you maybe the first obvious question

684
00:31:02,320 --> 00:31:07,000
S1: in terms of, like, David Fincher as a director, how

685
00:31:07,000 --> 00:31:09,160
S1: do you think this movie fits in? Like, does it

686
00:31:09,160 --> 00:31:11,890
S1: feel did it feel familiar to you straight away? You're like,

687
00:31:11,890 --> 00:31:15,430
S1: I see the touchstones of David Fincher in this movie.

688
00:31:15,430 --> 00:31:18,340
S1: And are there any particular previous films he's made that

689
00:31:18,340 --> 00:31:20,380
S1: this one reminded you guys of?

690
00:31:20,560 --> 00:31:24,130
S3: Yeah, to me, it was quite recognizably Fincher, but not

691
00:31:24,130 --> 00:31:28,180
S3: in in a bad way. I love his style, and

692
00:31:28,180 --> 00:31:30,850
S3: it's not as kind of it is. Well, it's kind

693
00:31:30,850 --> 00:31:33,460
S3: of this very distinct style. It's not an over-the-top style

694
00:31:33,460 --> 00:31:35,560
S3: in the way of Baz Luhrmann. Like, I think when

695
00:31:35,560 --> 00:31:37,150
S3: you look at his filmography and you were just kind

696
00:31:37,150 --> 00:31:39,760
S3: of going through it. Thomas like you, it's hard sometimes

697
00:31:39,760 --> 00:31:42,520
S3: to think that the guy who did Benjamin Button also

698
00:31:42,520 --> 00:31:45,160
S3: did this film, like very different films. But yeah, it

699
00:31:45,160 --> 00:31:47,110
S3: kind of The Girl With the Dragon Tattoo, I guess

700
00:31:47,110 --> 00:31:51,880
S3: that reminded me of Zodiac, of course. Seven. I mean,

701
00:31:51,880 --> 00:31:54,730
S3: even elements of Gone Girl in a I think it's

702
00:31:54,730 --> 00:31:57,670
S3: that kind of it's both the stylistic way, the actual

703
00:31:57,670 --> 00:32:02,290
S3: construction of really careful shots and scenes, but also the

704
00:32:02,290 --> 00:32:05,680
S3: way that his characters are kind of lost in the

705
00:32:05,680 --> 00:32:09,220
S3: world and that profound sense of cynicism about the world.

706
00:32:09,400 --> 00:32:11,230
S3: And I will say, like, for all the talk of Fincher,

707
00:32:11,230 --> 00:32:15,370
S3: kind of he's he's meticulousness on set. He does collaborate

708
00:32:15,370 --> 00:32:17,890
S3: with the same people again and again and again. And

709
00:32:17,890 --> 00:32:20,170
S3: I think the sound designer for The Killer is one

710
00:32:20,170 --> 00:32:23,560
S3: that he has used consistently. So sometimes I think when

711
00:32:23,560 --> 00:32:26,350
S3: people have those constant collaborators, they just get better and

712
00:32:26,350 --> 00:32:27,490
S3: better at working together.

713
00:32:27,490 --> 00:32:29,500
S1: I mean, we should, in that vein, mention Trent Reznor

714
00:32:29,500 --> 00:32:31,780
S1: and Atticus Ross, Nine Inch Nails, who have been doing

715
00:32:31,780 --> 00:32:35,120
S1: Fincher soundtracks, I think, since The Social Network and, you know,

716
00:32:35,200 --> 00:32:37,750
S1: Gone Girl and Dragon Tattoo. There is a Nine Inch

717
00:32:37,750 --> 00:32:40,420
S1: Nails reference in this movie. Did you guys catch it

718
00:32:40,420 --> 00:32:44,890
S1: when he the assassin, the killer uses a nail gun

719
00:32:44,890 --> 00:32:48,640
S1: to kill someone? He says in his head, you know,

720
00:32:48,640 --> 00:32:52,580
S1: 45 year old man X number of kilos, three Nine

721
00:32:52,580 --> 00:32:54,910
S1: Inch Nails, like he's got seven minutes to live or.

722
00:32:54,910 --> 00:32:55,600
S5: Something like that.

723
00:32:55,690 --> 00:32:58,900
S2: And he dies in like a minute. Yeah, yeah, I

724
00:32:58,900 --> 00:33:01,960
S2: think it definitely felt recognizably Fincher. He's just. Yeah. I mean,

725
00:33:01,960 --> 00:33:03,459
S2: Mel just said it way more eloquently, but he's just

726
00:33:03,460 --> 00:33:05,800
S2: got such a specific mood to his films. Like, you

727
00:33:05,800 --> 00:33:07,480
S2: watch a film and you're like, even like, I remember

728
00:33:07,570 --> 00:33:09,700
S2: there's a really specific scene in Gone Girl when they

729
00:33:09,700 --> 00:33:12,100
S2: do the press conference after Ben Affleck's wife has gone missing,

730
00:33:12,100 --> 00:33:14,860
S2: and the way it's lit is just so like, it

731
00:33:14,860 --> 00:33:16,450
S2: feels like House of cards. It feels like this movie.

732
00:33:16,450 --> 00:33:20,050
S2: He just he's so good at creating these kind of, like, unnerving, like,

733
00:33:20,050 --> 00:33:23,530
S2: scenarios and scenes. I mean, we haven't really spoken that

734
00:33:23,530 --> 00:33:25,600
S2: much about Fight Club. I feel like Fight Club. I

735
00:33:25,600 --> 00:33:28,900
S2: know her eyes are rolling in her head. The first

736
00:33:28,900 --> 00:33:31,360
S2: rule of Fight Club is that Mel hates it. I

737
00:33:31,360 --> 00:33:34,120
S2: think it's the movie itself has become like almost like

738
00:33:34,120 --> 00:33:36,520
S2: a parody or a punch line for a certain type

739
00:33:36,520 --> 00:33:40,060
S2: of particularly certain type of young man. And you know,

740
00:33:40,060 --> 00:33:43,360
S2: that all makes sense. But it's still an interesting film,

741
00:33:43,360 --> 00:33:44,830
S2: and I still think there is a lot of like

742
00:33:44,830 --> 00:33:48,820
S2: Fight Club DNA in this, and, you know, Tyler Durden

743
00:33:48,820 --> 00:33:51,970
S2: and that whole character and everything he stood for has

744
00:33:51,970 --> 00:33:54,370
S2: become so manipulated. But there is a lot of that,

745
00:33:54,370 --> 00:33:57,670
S2: like same soul and messaging I think has been transplanted

746
00:33:57,670 --> 00:33:58,210
S2: to this film.

747
00:33:58,210 --> 00:34:00,440
S1: I agree, and I think sort of Fight Club, it's

748
00:34:00,460 --> 00:34:02,860
S1: sort of unfair. It's like American Psycho, right? Where the

749
00:34:02,860 --> 00:34:07,270
S1: people making these books or movies knew what they were critiquing.

750
00:34:07,270 --> 00:34:10,750
S1: And unfortunately, a lot of the audience just missed that

751
00:34:10,750 --> 00:34:13,600
S1: and has taken like the text at face value and

752
00:34:13,600 --> 00:34:15,850
S1: missed the subtext. And I almost wonder whether that could

753
00:34:15,850 --> 00:34:17,710
S1: happen with the killer as well, where a whole bunch

754
00:34:17,710 --> 00:34:20,800
S1: of like, Reddit bros just start like tattooing his mantra

755
00:34:20,800 --> 00:34:23,710
S1: on themselves and being like, empathy is weakness, right? And

756
00:34:23,710 --> 00:34:26,380
S1: not understanding that that's all deconstructed by the end of

757
00:34:26,380 --> 00:34:26,830
S1: the film.

758
00:34:26,830 --> 00:34:29,230
S3: And in defense of me being the complicated person that

759
00:34:29,230 --> 00:34:32,170
S3: I am, who will shock you? My club is my

760
00:34:32,170 --> 00:34:35,739
S3: favorite Fincher film by far. I love it.

761
00:34:35,739 --> 00:34:39,540
S5: I hate women. Up. I went.

762
00:34:39,540 --> 00:34:42,540
S3: Through a phase of watching American Psycho Fight Club, a

763
00:34:42,540 --> 00:34:43,379
S3: kind of, oh, you.

764
00:34:43,380 --> 00:34:44,310
S1: Do hate women, okay.

765
00:34:45,000 --> 00:34:47,310
S3: No, but I mean, as we were just saying, obviously

766
00:34:47,310 --> 00:34:50,129
S3: read it as, like a critique and a satire and like,

767
00:34:50,130 --> 00:34:53,580
S3: the fact that men exist who are like that in

768
00:34:53,580 --> 00:34:56,880
S3: the world is probably, you know, something we should investigate

769
00:34:56,880 --> 00:34:58,319
S3: and be interested in.

770
00:34:58,320 --> 00:34:58,680
S5: Yeah. Yeah.

771
00:34:58,950 --> 00:35:01,710
S3: I think Fight Club is so good, I watch it. Maybe,

772
00:35:01,710 --> 00:35:04,090
S3: maybe that's my once a year watch. Really? Yeah. Mean,

773
00:35:04,110 --> 00:35:05,580
S3: I was talking about Raging Bull the other day in

774
00:35:05,580 --> 00:35:07,770
S3: Taxi Driver two, and I've got a bit of a

775
00:35:07,770 --> 00:35:10,980
S3: genre there. But yeah, I think in my head, you

776
00:35:10,980 --> 00:35:14,160
S3: know that line where Edward Norton's character like, really bashes

777
00:35:14,160 --> 00:35:16,620
S3: someone and he's like bloody and bleeding and Brad Pitt's like,

778
00:35:16,620 --> 00:35:18,149
S3: why do you do that? And he said, I felt

779
00:35:18,150 --> 00:35:20,760
S3: like destroying something beautiful. I think that once a day.

780
00:35:21,719 --> 00:35:22,410
S2: As you edit my.

781
00:35:22,410 --> 00:35:24,420
S5: Column, yes, I edit your column.

782
00:35:25,410 --> 00:35:27,840
S1: So if I clubbed your favorite Fincher, that's like a

783
00:35:27,840 --> 00:35:30,030
S1: good a good pick, like I sideways one. But I

784
00:35:30,030 --> 00:35:30,960
S1: back it, I back it, I feel.

785
00:35:30,960 --> 00:35:33,209
S3: Like it's kind of it's a bit obvious, maybe, but

786
00:35:33,210 --> 00:35:33,930
S3: I don't know something.

787
00:35:33,930 --> 00:35:35,400
S5: About it at all. Yeah, yeah.

788
00:35:35,400 --> 00:35:37,740
S3: And the soundtrack to I will say yeah.

789
00:35:37,739 --> 00:35:40,739
S1: When, Where is my mind comes on. Yeah. It's pretty sick. Thomas,

790
00:35:40,739 --> 00:35:42,300
S1: do you have a favorite Fincher?

791
00:35:42,390 --> 00:35:47,280
S2: I do, it's probably I loved seven like. And I

792
00:35:47,280 --> 00:35:49,980
S2: think we can all agree seeing Guinness head in the box.

793
00:35:50,250 --> 00:35:50,790
S5: It's like a.

794
00:35:50,790 --> 00:35:54,180
S2: Pretty special moment in film. But I love The Social Network.

795
00:35:54,540 --> 00:35:57,299
S2: I think it came at a time when I was

796
00:35:57,300 --> 00:35:59,520
S2: like going through a big film phase. I was like,

797
00:35:59,520 --> 00:36:01,800
S2: I'm going to be a film guy, and it's like,

798
00:36:01,800 --> 00:36:04,050
S2: it's a very talky film, which I love. The script

799
00:36:04,050 --> 00:36:07,440
S2: is amazing. It was a story that was so reflective

800
00:36:07,440 --> 00:36:09,810
S2: of our time because we all grew up on Facebook,

801
00:36:09,810 --> 00:36:12,210
S2: and so I just thought it like brought together so much.

802
00:36:12,210 --> 00:36:15,009
S2: And the performances are amazing. Like, Timberlake is great. Yeah,

803
00:36:15,030 --> 00:36:18,600
S2: the Winklevoss twins and Jesse Eisenberg being like, fool, Jesse Eisenberg.

804
00:36:18,600 --> 00:36:20,850
S2: So yeah, The Social Network, I think like plucked a

805
00:36:20,850 --> 00:36:22,980
S2: lot of my favorite things and like put them in

806
00:36:22,980 --> 00:36:24,240
S2: one film. So that's one of my favorite.

807
00:36:24,239 --> 00:36:25,650
S3: And how did being a film guy go?

808
00:36:26,710 --> 00:36:27,759
S5: Here was a short phase.

809
00:36:28,510 --> 00:36:30,820
S2: And then I became a guy, obviously for a bit.

810
00:36:31,020 --> 00:36:31,719
S5: Yeah, I.

811
00:36:31,719 --> 00:36:33,759
S1: Love The Social Network. I think it's one of the

812
00:36:33,760 --> 00:36:38,080
S1: best movies, like ever. Honestly, I think it's in that conversation.

813
00:36:38,080 --> 00:36:43,030
S1: It's my number two, though. My favorite Fincher film is Zodiac. Yes.

814
00:36:43,030 --> 00:36:45,970
S1: Which I think is also like a little bit underrated. Like,

815
00:36:45,969 --> 00:36:48,879
S1: I think film bro's like really go for this movie,

816
00:36:48,880 --> 00:36:51,219
S1: but I think it came out in 2007. It didn't

817
00:36:51,219 --> 00:36:53,680
S1: have a huge box office, and that was the year

818
00:36:53,680 --> 00:36:56,859
S1: where the Oscars will I completely dominated by there Will

819
00:36:56,860 --> 00:36:59,020
S1: Be Blood and No Country for Old Men Like This.

820
00:36:59,020 --> 00:37:03,070
S1: Just Zodiac didn't quite get the reception that it deserves.

821
00:37:03,070 --> 00:37:06,310
S1: So you think? Look at its cost. Jake Gyllenhaal, Mark Ruffalo,

822
00:37:06,310 --> 00:37:10,840
S1: Robert Downey Jr, Anthony Edwards, Brian Cox, Chloe Sevigny, John

823
00:37:10,840 --> 00:37:13,330
S1: Carroll Lynch, Dermot Mulroney like, there's a lot of stuff

824
00:37:13,330 --> 00:37:16,480
S1: going on in this movie. It is about the Zodiac Killer,

825
00:37:16,480 --> 00:37:20,200
S1: the murders in San Francisco in the late 1960s, in

826
00:37:20,200 --> 00:37:24,190
S1: the 1970s. It is a journalism movie. It is about

827
00:37:24,190 --> 00:37:28,900
S1: journalists trying to solve the crime. It is a police procedural.

828
00:37:28,900 --> 00:37:31,870
S1: It is about the kind of, you know, influence of

829
00:37:31,870 --> 00:37:33,580
S1: the hippie movement and the death of the hippie movement

830
00:37:33,580 --> 00:37:38,350
S1: and how America went from those ideas to a much

831
00:37:38,350 --> 00:37:42,759
S1: more scared, insular sense of itself, partly egged on, by

832
00:37:42,760 --> 00:37:45,219
S1: the way that media and and films were being constructed

833
00:37:45,219 --> 00:37:48,399
S1: in response to the Zodiac Killer. It's also like an

834
00:37:48,400 --> 00:37:52,420
S1: incredible whodunit as you try to figure out the clues

835
00:37:52,420 --> 00:37:56,500
S1: and piece it all together. It's a really astonishingly well-made film,

836
00:37:56,500 --> 00:37:56,980
S1: I think.

837
00:37:56,980 --> 00:37:57,489
S5: Yeah, I think.

838
00:37:57,489 --> 00:37:59,589
S3: It is so good, and I'll throw in another one.

839
00:37:59,590 --> 00:38:02,050
S3: Gone girl as well, I think is fantastic. And Ben

840
00:38:02,050 --> 00:38:06,760
S3: Affleck's character in that is just an incredible oh yeah, true.

841
00:38:06,760 --> 00:38:07,780
S5: That was her first no.

842
00:38:07,870 --> 00:38:10,270
S2: Love for Panic Room, then Jodie Foster. Panic room is good.

843
00:38:10,270 --> 00:38:12,070
S1: Panic room is good. It's probably not in the top

844
00:38:12,070 --> 00:38:13,219
S1: five for me. Yeah, I.

845
00:38:13,270 --> 00:38:14,230
S2: Watched it a lot growing up.

846
00:38:14,830 --> 00:38:16,810
S3: And it's maybe worth noting, too, that given we were

847
00:38:16,810 --> 00:38:19,989
S3: talking about all the David's making prestige TV last week,

848
00:38:19,989 --> 00:38:21,970
S3: that David Fincher was one of the first kind of

849
00:38:21,969 --> 00:38:25,750
S3: big name directors to cross over into TV making with

850
00:38:25,750 --> 00:38:26,380
S3: House of cards.

851
00:38:26,380 --> 00:38:27,820
S2: Yeah, he's basically responsible for Netflix.

852
00:38:27,820 --> 00:38:28,930
S5: Yeah, yeah, totally.

853
00:38:28,930 --> 00:38:30,370
S3: And I like to I like per season of House

854
00:38:30,370 --> 00:38:32,080
S3: of cards really good. I think it kind of lost

855
00:38:32,080 --> 00:38:34,810
S3: its way, but yeah, also a great TV series.

856
00:38:34,810 --> 00:38:38,410
S1: He was briefly attached to this 20,000 Leagues Under the

857
00:38:38,440 --> 00:38:41,980
S1: Sea adaptation. So Fincher's like famously been attached to heaps

858
00:38:41,980 --> 00:38:44,230
S1: of stuff that just never come through. I think it

859
00:38:44,230 --> 00:38:46,480
S1: was going to adapt, like the Bourdain book, and that

860
00:38:46,480 --> 00:38:49,420
S1: ended up becoming like either Burnt or Chef, like one

861
00:38:49,420 --> 00:38:51,730
S1: of those weird movies, terrible movies. Yeah, I think.

862
00:38:51,730 --> 00:38:53,590
S2: If I was a famous director, I would take that approach.

863
00:38:53,710 --> 00:38:55,719
S2: I would just say like, it's like shotgunning stuff. Yeah,

864
00:38:55,719 --> 00:38:56,169
S2: I would attach.

865
00:38:56,170 --> 00:38:57,690
S5: Myself to loads of projects, so like.

866
00:38:57,700 --> 00:38:58,620
S2: No one else could get it and be like, oh,

867
00:38:58,660 --> 00:39:01,420
S2: Thomas Mitchell is attached to like the you know.

868
00:39:01,420 --> 00:39:03,790
S1: That's really funny. Mel, you and I were talking before

869
00:39:03,790 --> 00:39:08,830
S1: about how Fincher's like non film TV work is also

870
00:39:08,830 --> 00:39:11,440
S1: pretty astonishing. Like the ads and the music videos.

871
00:39:11,440 --> 00:39:15,129
S3: Oh he's gap ads around 2014. Have you seen any

872
00:39:15,130 --> 00:39:17,200
S3: of them? They are incredible works of art and I

873
00:39:17,200 --> 00:39:20,230
S3: feel sad that we don't have that advertising anymore. There's

874
00:39:20,230 --> 00:39:22,540
S3: like one particular gap ad that I love where there's

875
00:39:22,540 --> 00:39:25,629
S3: a woman kind of dancing in gap clothes. It's all

876
00:39:25,630 --> 00:39:28,569
S3: in black and white, and there's a guy taking a

877
00:39:28,570 --> 00:39:31,719
S3: shot of golf, if that's what you do with golf,

878
00:39:31,719 --> 00:39:32,590
S3: a shot of golf.

879
00:39:33,250 --> 00:39:34,540
S5: I guess. You take a shot. Yeah. He's at a.

880
00:39:34,540 --> 00:39:38,290
S3: Driving range, just like paying her no attention. And it's

881
00:39:38,290 --> 00:39:40,810
S3: so funny. And it's kind of the humor we're talking

882
00:39:40,810 --> 00:39:43,270
S3: about from his films are so obvious in these ads

883
00:39:43,270 --> 00:39:46,060
S3: where he's kind of making fun of it all at

884
00:39:46,060 --> 00:39:48,100
S3: the same time, as he's obviously participating in a.

885
00:39:48,400 --> 00:39:49,450
S5: Lot of money from it as well.

886
00:39:49,450 --> 00:39:53,140
S1: Yeah. And music video wise, he's responsible for George Michael's

887
00:39:53,140 --> 00:39:57,430
S1: Freedom 90 with all the supermodels and Madonna's Vogue, which

888
00:39:57,430 --> 00:40:01,120
S1: is pretty iconic, so very eclectic. Like. List of achievements.

889
00:40:01,120 --> 00:40:01,680
S2: Freedom nine.

890
00:40:01,719 --> 00:40:03,970
S1: Great film clip, great song. Your guy.

891
00:40:03,969 --> 00:40:06,180
S2: Yeah I know you all. It goes all right.

892
00:40:17,280 --> 00:40:19,650
S1: Let's pivot to the curse.

893
00:40:21,550 --> 00:40:24,640
S6: There's no such thing as a perfect city. But to me,

894
00:40:24,640 --> 00:40:27,370
S6: this city is as close as it comes. That's why

895
00:40:27,370 --> 00:40:29,560
S6: we're proud to call Espanola my home.

896
00:40:29,590 --> 00:40:30,730
S7: Oh, shit.

897
00:40:31,270 --> 00:40:32,290
S6: Our home.

898
00:40:32,860 --> 00:40:34,680
S8: All right, you got it. It's okay.

899
00:40:37,600 --> 00:40:41,290
S6: This isn't your typical home flipping show. My homes are

900
00:40:41,290 --> 00:40:45,460
S6: reflecting the local community and we're husband and wife. This

901
00:40:45,460 --> 00:40:49,120
S6: is care for them. So what could go wrong?

902
00:40:51,460 --> 00:40:54,460
S8: Let's grab a quick shot of you. Thomas, you.

903
00:40:54,460 --> 00:40:56,290
S1: Want to talk us through, give us a bit of

904
00:40:56,290 --> 00:40:59,469
S1: a refresh on Nathan Fielder and tell us what the

905
00:40:59,469 --> 00:41:00,549
S1: curse is all about.

906
00:41:00,700 --> 00:41:04,450
S2: Yeah, so Nathan Fielder is. I mean, for those unfamiliar,

907
00:41:04,450 --> 00:41:07,780
S2: he's a very strange comedic talent. That's really like. I

908
00:41:07,780 --> 00:41:09,940
S2: start making a lot of waves lately. He's first kind

909
00:41:09,940 --> 00:41:11,980
S2: of big project was Nathan for you, which I think

910
00:41:11,980 --> 00:41:14,259
S2: you both watched. Yeah, I love Nathan. He basically plays

911
00:41:14,260 --> 00:41:17,589
S2: like a fictionalized, weird version of himself that uses his

912
00:41:17,590 --> 00:41:20,350
S2: background in business to kind of help these ailing companies

913
00:41:20,350 --> 00:41:23,469
S2: with absolutely batshit insane ideas that are never going to work.

914
00:41:23,469 --> 00:41:25,330
S2: And it very much is the introduction of the Nathan

915
00:41:25,330 --> 00:41:27,730
S2: Fielder method, where it's like, is this real? Like is

916
00:41:27,730 --> 00:41:29,719
S2: what I'm seeing actually happening at these people, you know,

917
00:41:29,860 --> 00:41:31,630
S2: are they not in on it? And that is kind

918
00:41:31,630 --> 00:41:33,490
S2: of like the vortex you get trapped in, but it

919
00:41:33,489 --> 00:41:37,570
S2: makes for such uncomfortable cringe viewing. But you can't look away.

920
00:41:37,570 --> 00:41:39,930
S2: And that's the kind of come the fields are calling card.

921
00:41:39,940 --> 00:41:41,800
S2: We have the next iteration of that last year with

922
00:41:41,800 --> 00:41:45,370
S2: The Rehearsal, which was available to screen here on binge.

923
00:41:45,910 --> 00:41:48,940
S2: And basically the rehearsal was a similar concept. It was

924
00:41:48,940 --> 00:41:52,600
S2: Nathan Fielder, kind of like taking these ordinary subjects that

925
00:41:52,600 --> 00:41:54,310
S2: had issues in their life, whether it was, you know,

926
00:41:54,310 --> 00:41:56,410
S2: they'd lied to some of their friends about their university

927
00:41:56,410 --> 00:41:58,600
S2: degree or they were unsure if they wanted to have kids,

928
00:41:58,600 --> 00:42:01,060
S2: and he would set up like a full wide scale

929
00:42:01,060 --> 00:42:04,270
S2: rehearsal using actors in order for people to kind of, like,

930
00:42:04,270 --> 00:42:07,120
S2: prep themselves to tackle this moment in their lives. And again,

931
00:42:07,120 --> 00:42:08,860
S2: it really put you in this mindspace of like, is

932
00:42:08,860 --> 00:42:12,490
S2: this real? Are these real subjects actually being used by

933
00:42:12,489 --> 00:42:14,290
S2: Nathan Fielder? Are they in on the act?

934
00:42:14,890 --> 00:42:17,860
S1: Because it's so I mean, it's like it's almost borderline

935
00:42:17,860 --> 00:42:21,009
S1: like abuse in a way. So you're like, is this real?

936
00:42:21,010 --> 00:42:22,930
S1: Is it not because it's so intense? Well, that's the thing.

937
00:42:22,930 --> 00:42:24,830
S2: And it's like, it's not quite like a Borat thing. Well,

938
00:42:24,880 --> 00:42:26,049
S2: this is mostly funny. It's like there was a lot

939
00:42:26,050 --> 00:42:29,020
S2: of ethical questions, especially around the rehearsal. And I think

940
00:42:29,020 --> 00:42:31,149
S2: a lot of people were unsure how to take it.

941
00:42:31,150 --> 00:42:33,520
S2: You know, fielder is seen by many as like this

942
00:42:33,520 --> 00:42:37,090
S2: kind of genius, like absolutely off the wall kind of guy,

943
00:42:37,090 --> 00:42:39,850
S2: but others that have big question marks around his methods.

944
00:42:39,850 --> 00:42:41,739
S2: And then that brings us to The Curse, which is

945
00:42:41,739 --> 00:42:43,960
S2: airing here on Paramount. One episode is available now. They

946
00:42:43,960 --> 00:42:48,370
S2: dropped weekly. The curse is probably more I mean, I

947
00:42:48,370 --> 00:42:50,980
S2: use this with air quotes conventional for fielder, and it's

948
00:42:50,980 --> 00:42:52,840
S2: not conventional at all, but it is more of a

949
00:42:52,840 --> 00:42:56,200
S2: TV show. He directs it and it stars a married couple.

950
00:42:56,200 --> 00:42:59,020
S2: So he plays Asher and he's married to Whitney, who

951
00:42:59,020 --> 00:43:01,360
S2: played by Emma Stone. And basically they're this kind of

952
00:43:01,360 --> 00:43:04,300
S2: like white savior couple who are launching a reality show

953
00:43:04,300 --> 00:43:08,140
S2: called Flip Anthropology, which is like almost like a renovation

954
00:43:08,140 --> 00:43:10,989
S2: reality style show. Imagine, like, you know, a couple go

955
00:43:10,989 --> 00:43:13,870
S2: into a community and they plan to turn things around.

956
00:43:13,870 --> 00:43:16,060
S2: And that's kind of where we find ourselves there in

957
00:43:16,060 --> 00:43:19,480
S2: Espanol or in New Mexico. And they're basically going to

958
00:43:19,719 --> 00:43:22,660
S2: help the town, like, regenerate itself. They're going to sell

959
00:43:22,660 --> 00:43:25,660
S2: a bunch of these kind of eco homes that are

960
00:43:25,660 --> 00:43:28,720
S2: totally reflective and, you know, don't use any energy, but

961
00:43:28,719 --> 00:43:31,480
S2: essentially that, you know, this couple, while seeming to present

962
00:43:31,480 --> 00:43:33,790
S2: as good people, are not really they have kind of

963
00:43:33,790 --> 00:43:36,819
S2: nefarious intentions. And, and they basically want to use these

964
00:43:36,820 --> 00:43:39,130
S2: cheap properties and flip them for a massive profit and,

965
00:43:39,130 --> 00:43:41,290
S2: and basically get out of this community before they've done

966
00:43:41,290 --> 00:43:44,890
S2: any good. And that's kind of where we meet them.

967
00:43:44,890 --> 00:43:48,069
S2: They're accompanied by a very dodgy producer who basically will

968
00:43:48,070 --> 00:43:49,780
S2: do anything to get the shot, and he's probably the

969
00:43:49,780 --> 00:43:51,880
S2: best character in the show for me. His name is Doogie,

970
00:43:51,880 --> 00:43:54,759
S2: played by Benny Safdie of the Safdie brothers fame, and

971
00:43:54,760 --> 00:43:55,180
S2: I think Benny.

972
00:43:55,180 --> 00:43:58,239
S1: Safdie is also like a producer or co-writer as well.

973
00:43:58,239 --> 00:44:00,279
S2: Yeah. So he's he's part of the creative team of

974
00:44:00,280 --> 00:44:03,430
S2: this show, and basically the first episode sets up that

975
00:44:03,430 --> 00:44:05,230
S2: they're in this community, they're there to do good. And

976
00:44:05,230 --> 00:44:07,840
S2: then during this altercation with a young girl in a

977
00:44:07,840 --> 00:44:10,630
S2: car park where Asha, which is played by Nathan Fielder,

978
00:44:10,630 --> 00:44:13,569
S2: his character, you know, gives her $100 in this kind

979
00:44:13,570 --> 00:44:15,969
S2: of like show of faith that be caught on camera

980
00:44:15,969 --> 00:44:18,340
S2: to make himself look good. He then rescinds the offer,

981
00:44:18,340 --> 00:44:19,960
S2: takes the money back, and then she puts a curse

982
00:44:19,960 --> 00:44:22,210
S2: on him. And then from there, it kind of all

983
00:44:22,210 --> 00:44:24,910
S2: unfolds the show.

984
00:44:26,350 --> 00:44:29,049
S1: What do you start with this show? It's like there's

985
00:44:29,050 --> 00:44:31,780
S1: heaps going on and it's all pretty good, I think.

986
00:44:31,780 --> 00:44:34,420
S1: And I think the start of it, as you described,

987
00:44:34,420 --> 00:44:36,969
S1: it's like the satire of these shows that they're more

988
00:44:36,969 --> 00:44:39,310
S1: popular in America than they are here, like this network

989
00:44:39,310 --> 00:44:42,040
S1: that they reference HGTV. It is a real network. Yeah.

990
00:44:42,340 --> 00:44:42,610
S5: Home and.

991
00:44:42,610 --> 00:44:45,760
S1: Garden TV. It's. Yeah, flippers. And like, you know, this

992
00:44:45,760 --> 00:44:48,610
S1: idea of these couples going into town seems to be

993
00:44:48,610 --> 00:44:51,010
S1: a real thing that is going on. One of my

994
00:44:51,010 --> 00:44:53,319
S1: favorite bits from that sort of side of things is

995
00:44:53,320 --> 00:44:56,200
S1: they're talking about this like cafe that's coming in, that's

996
00:44:56,200 --> 00:44:59,740
S1: going to like help create jobs. And, you know, they're

997
00:44:59,739 --> 00:45:02,950
S1: being accused of gentrifying. So there's this conversation. And of course,

998
00:45:02,950 --> 00:45:05,890
S1: when you go into the cafe and it's a cafe

999
00:45:05,890 --> 00:45:09,310
S1: selling like drip filter coffee and flat whites in America,

1000
00:45:09,310 --> 00:45:11,230
S1: it is run by a white Australian woman.

1001
00:45:11,230 --> 00:45:11,950
S5: Which is.

1002
00:45:11,950 --> 00:45:14,200
S1: Astonishing. Like, I love that. And that comes up a

1003
00:45:14,200 --> 00:45:18,009
S1: couple of times. I found that whole satire bit really,

1004
00:45:18,010 --> 00:45:20,110
S1: really good, and it reminded me of that show unreal,

1005
00:45:20,110 --> 00:45:23,230
S1: which was a similar sort of dark satire on dating

1006
00:45:23,230 --> 00:45:27,370
S1: reality shows. But then the show, like, changes gears, like, like,

1007
00:45:27,550 --> 00:45:31,210
S1: like really hard and becomes something completely else.

1008
00:45:31,630 --> 00:45:34,150
S3: Yeah. Agree the second half of the first episode and

1009
00:45:34,150 --> 00:45:37,380
S3: I won't give too much away. Is such an unexpected

1010
00:45:37,380 --> 00:45:39,540
S3: tone shift. Do you think you know where you're going

1011
00:45:39,540 --> 00:45:41,550
S3: with this? And you think you've kind of got the genre?

1012
00:45:41,550 --> 00:45:43,950
S3: And then I guess, as is Nathan Fielder's want, he

1013
00:45:43,950 --> 00:45:46,919
S3: kind of shifts the gear and that second half is

1014
00:45:46,920 --> 00:45:49,830
S3: just wacky. I was watching it in the office at

1015
00:45:49,830 --> 00:45:52,739
S3: my desk, actually, and then suddenly I felt, maybe this

1016
00:45:52,739 --> 00:45:55,510
S3: is not an appropriate office. Watching this.

1017
00:45:55,620 --> 00:45:56,430
S5: Watching several.

1018
00:45:56,430 --> 00:45:56,879
S2: Prosthetic.

1019
00:45:56,880 --> 00:45:57,510
S5: Penises.

1020
00:45:57,510 --> 00:46:01,650
S3: Yeah, yeah, I've been blacklisted at work, but I've read

1021
00:46:01,650 --> 00:46:03,419
S3: a few reviews of this beforehand, and maybe we should

1022
00:46:03,420 --> 00:46:05,520
S3: check in as we keep watching it. And it was like,

1023
00:46:05,520 --> 00:46:07,739
S3: people will love this or loathe this, but in that

1024
00:46:07,739 --> 00:46:10,620
S3: first episode is I loved it and I think, I

1025
00:46:10,620 --> 00:46:13,290
S3: do think it will be pretty generally loved.

1026
00:46:13,290 --> 00:46:13,770
S5: I think it's a.

1027
00:46:13,770 --> 00:46:16,109
S1: Very well-made show. I think there are some people seem

1028
00:46:16,110 --> 00:46:18,240
S1: to be finding it hard to watch, like a lot

1029
00:46:18,239 --> 00:46:21,300
S1: of field is stuff, because it's a bit cringe, I guess.

1030
00:46:21,300 --> 00:46:23,339
S1: And I think what's interesting about this show is we

1031
00:46:23,340 --> 00:46:25,919
S1: haven't talked about Emma Stone much yet. She's quite good

1032
00:46:25,920 --> 00:46:28,620
S1: in it. I think if she wasn't in it, I

1033
00:46:28,620 --> 00:46:31,080
S1: would almost think this is like the Rehearsal or Nathan

1034
00:46:31,080 --> 00:46:34,200
S1: for you, that it's not a scripted show, that this

1035
00:46:34,200 --> 00:46:38,190
S1: is just like him doing a reality show and satirizing it.

1036
00:46:38,190 --> 00:46:40,469
S1: But obviously her involvement makes it more clear that this

1037
00:46:40,469 --> 00:46:44,040
S1: is like a drama and that adds a whole layer.

1038
00:46:44,040 --> 00:46:44,819
S5: To it as well. And I agree.

1039
00:46:44,820 --> 00:46:46,440
S3: And I think they are still playing with the idea

1040
00:46:46,440 --> 00:46:48,239
S3: of whether it's scripted or not, because a lot of

1041
00:46:48,239 --> 00:46:50,430
S3: the kind of other actors in it are supporting.

1042
00:46:50,430 --> 00:46:52,469
S5: So many of these characters. You're like, can't be actors. Yeah,

1043
00:46:52,469 --> 00:46:53,130
S5: you're not actors.

1044
00:46:53,130 --> 00:46:56,850
S3: And even Nathan Fielder kind of plays Nathan Fielder, really.

1045
00:46:56,850 --> 00:46:59,070
S3: So I think even though Emma Stone's got her lines,

1046
00:46:59,070 --> 00:47:01,500
S3: they're still kind of questioning what is fake and what

1047
00:47:01,500 --> 00:47:03,900
S3: is real in this, which I think at the heart,

1048
00:47:03,900 --> 00:47:06,540
S3: this is like a good extension of what he's been doing,

1049
00:47:06,540 --> 00:47:09,290
S3: because to me, while it does have this interesting like

1050
00:47:09,300 --> 00:47:12,270
S3: white savior complex and like environmental kind of do good

1051
00:47:12,270 --> 00:47:14,310
S3: ism and all of that and it's hard. It's kind

1052
00:47:14,310 --> 00:47:17,340
S3: of to me about how TV and documentaries are made,

1053
00:47:17,340 --> 00:47:19,590
S3: which is kind of what he has explored in his

1054
00:47:19,590 --> 00:47:21,839
S3: last two works as well. He's just kind of doing

1055
00:47:21,840 --> 00:47:23,370
S3: it in a slightly different form.

1056
00:47:23,460 --> 00:47:26,580
S2: Yeah, it really does start out as you think you

1057
00:47:26,580 --> 00:47:28,350
S2: have an idea of what they're kind of satirizing. And

1058
00:47:28,350 --> 00:47:30,870
S2: then just like he fully like opens up and it

1059
00:47:30,870 --> 00:47:33,839
S2: just takes on everything. I thought it was hilarious, like

1060
00:47:33,840 --> 00:47:35,549
S2: very way funnier than I thought it was going to

1061
00:47:35,550 --> 00:47:38,040
S2: be as well. I do understand why some people are like,

1062
00:47:38,040 --> 00:47:40,320
S2: this is way too fucking weird for me. But yeah,

1063
00:47:40,320 --> 00:47:42,810
S2: I definitely I reckon people should stick with this one

1064
00:47:42,810 --> 00:47:45,719
S2: because it's probably one of the most unique shows on TV,

1065
00:47:45,840 --> 00:47:46,140
S2: I think.

1066
00:47:46,140 --> 00:47:48,750
S1: So I was thinking about our our conversation last week

1067
00:47:48,750 --> 00:47:51,180
S1: about prestige TV and what it is. And one of

1068
00:47:51,180 --> 00:47:53,490
S1: the things we discussed that Mel shut it down, but

1069
00:47:53,640 --> 00:47:56,219
S1: I think everyone else agreed on was this idea that,

1070
00:47:56,219 --> 00:47:59,280
S1: you know, shows that do something new or like push

1071
00:47:59,280 --> 00:48:01,890
S1: the medium forward. And I think a lot of fielder

1072
00:48:01,920 --> 00:48:05,130
S1: shows have done that. This one certainly does that to me.

1073
00:48:05,130 --> 00:48:07,529
S1: And I think that's great. Like, it's cool to get

1074
00:48:07,530 --> 00:48:11,310
S1: some smart people together to get a really interesting and

1075
00:48:11,310 --> 00:48:13,380
S1: amazing actress who's an Oscar winner, who is in the

1076
00:48:13,380 --> 00:48:16,259
S1: conversation for the Oscars again for her role in Poor

1077
00:48:16,260 --> 00:48:19,410
S1: Things and You, Yorgos Lanthimos film that's coming out soon,

1078
00:48:19,410 --> 00:48:23,040
S1: and just do something completely insane with it.

1079
00:48:23,100 --> 00:48:23,670
S5: So you've actually.

1080
00:48:23,670 --> 00:48:25,910
S3: Come round to my point of view that prestige TV

1081
00:48:25,920 --> 00:48:26,910
S3: is not dead.

1082
00:48:27,390 --> 00:48:28,440
S5: I mean, fair, yeah.

1083
00:48:28,440 --> 00:48:29,250
S1: I guess I have I'm.

1084
00:48:29,250 --> 00:48:30,060
S5: Like, well, we.

1085
00:48:30,060 --> 00:48:31,620
S1: Called it dead. And then now we're back with a

1086
00:48:31,620 --> 00:48:32,100
S1: great show.

1087
00:48:32,130 --> 00:48:32,790
S5: The week after.

1088
00:48:32,790 --> 00:48:34,319
S1: Maybe they heard, maybe they heard, you.

1089
00:48:34,350 --> 00:48:34,589
S5: Know.

1090
00:48:34,920 --> 00:48:37,379
S3: Just like Nathan Fielder and Emma Stone, like, because part

1091
00:48:37,380 --> 00:48:38,819
S3: of this is as well as all this other stuff

1092
00:48:38,820 --> 00:48:42,810
S3: we're talking about, their their marriage and their dynamic, I

1093
00:48:42,810 --> 00:48:45,239
S3: think is kind of at the heart of this show

1094
00:48:45,239 --> 00:48:48,509
S3: as well. And they are so good together. I saw

1095
00:48:48,510 --> 00:48:51,270
S3: a Guardian review called Emma Stone the greatest mouth actor

1096
00:48:51,270 --> 00:48:54,509
S3: of our generation, and what she does with her face.

1097
00:48:54,810 --> 00:48:57,120
S3: It's like it's worth watching just for Emma Stone, even

1098
00:48:57,120 --> 00:48:58,920
S3: if you kind of find the rest of it too kooky.

1099
00:48:58,920 --> 00:49:01,230
S2: It's so funny that you saw that Guardian article, whereas

1100
00:49:01,230 --> 00:49:04,020
S2: I read a news article that's headline was like Oscar

1101
00:49:04,020 --> 00:49:07,650
S2: winners wacky sex scene. I was so shocked that news.com.au

1102
00:49:07,650 --> 00:49:08,940
S2: covering love you guys.

1103
00:49:08,940 --> 00:49:09,520
S5: Yeah yeah.

1104
00:49:09,520 --> 00:49:10,920
S2: Yeah. And then I was like that's weird. Oh okay.

1105
00:49:10,920 --> 00:49:12,690
S2: It's yeah, it's this scene.

1106
00:49:13,260 --> 00:49:16,440
S1: All right. Time for our Impress Your Friends segment where

1107
00:49:16,440 --> 00:49:18,839
S1: we share a bit of pop culture that caught our

1108
00:49:18,840 --> 00:49:21,600
S1: eye this week. Might go first with this one treading

1109
00:49:21,600 --> 00:49:25,739
S1: on your territory. Well, Melanie, I've just finished reading a

1110
00:49:25,739 --> 00:49:29,610
S1: book called MCU Cullen The Reign of Marvel Studios. It's

1111
00:49:29,610 --> 00:49:33,359
S1: written by Dave Gonzalez, Gavin Edwards, and Joanna Robinson. I've

1112
00:49:33,360 --> 00:49:35,339
S1: been a big fan of Joanna Robinson since she used

1113
00:49:35,340 --> 00:49:38,650
S1: to write and podcast for Vanity Fair. She's now a

1114
00:49:38,670 --> 00:49:41,700
S1: great podcast at The Ringer, talking about all things kind

1115
00:49:41,700 --> 00:49:44,250
S1: of pop culture and awards. I feel like this is

1116
00:49:44,250 --> 00:49:45,780
S1: the second week in a row I've talked about Marvel,

1117
00:49:45,780 --> 00:49:48,390
S1: but this is not really a book. I mean, if

1118
00:49:48,390 --> 00:49:50,279
S1: you're a big Marvel fan, you'll probably get more out

1119
00:49:50,280 --> 00:49:52,770
S1: of it. But to me, this this book, which is

1120
00:49:52,770 --> 00:49:55,500
S1: essentially a history and a behind the scenes, it's done

1121
00:49:55,500 --> 00:49:57,780
S1: with lots and lots of interviews and really great storytelling

1122
00:49:57,780 --> 00:50:01,710
S1: of how, from Iron Man to now, this company built

1123
00:50:01,710 --> 00:50:05,969
S1: up the biggest thing in film in the last like

1124
00:50:05,969 --> 00:50:08,489
S1: couple of decades, if not ever. And as someone who

1125
00:50:08,489 --> 00:50:10,859
S1: is really interested in the history of Hollywood and how

1126
00:50:10,860 --> 00:50:12,870
S1: these stories get made and that kind of behind the

1127
00:50:12,870 --> 00:50:15,690
S1: scenes stuff, I found it fascinating and really gripping. It's

1128
00:50:15,690 --> 00:50:18,719
S1: really well written. It's really, really interesting. And I just

1129
00:50:18,719 --> 00:50:22,680
S1: think if you're vaguely interested in the movies and vaguely

1130
00:50:22,680 --> 00:50:25,980
S1: interested in how Hollywood works and where it is all going,

1131
00:50:25,980 --> 00:50:29,160
S1: there's conversation around consolidation that we were having last week

1132
00:50:29,160 --> 00:50:32,009
S1: as well, and the Disney ification of everything. It's a

1133
00:50:32,010 --> 00:50:35,070
S1: pretty good text and I think it is a very good.

1134
00:50:35,920 --> 00:50:38,440
S1: To why we are in the state we're in when

1135
00:50:38,440 --> 00:50:41,049
S1: it comes to films, and hoping to actually get Joyner

1136
00:50:41,050 --> 00:50:43,419
S1: on the podcast in the next week to talk about

1137
00:50:43,420 --> 00:50:44,770
S1: it a bit more, which would be really exciting.

1138
00:50:45,160 --> 00:50:47,050
S3: Can I put you on the spot and ask, favorite

1139
00:50:47,050 --> 00:50:47,770
S3: Marvel film?

1140
00:50:48,280 --> 00:50:49,990
S2: I also have a follow up on the spot question

1141
00:50:49,989 --> 00:50:51,730
S2: for oh my gosh, favorite film?

1142
00:50:51,730 --> 00:50:53,740
S1: I mean, I think it's Black Panther, like the first

1143
00:50:53,739 --> 00:50:56,950
S1: Black Panther, I think, but that was like a really

1144
00:50:56,950 --> 00:51:00,730
S1: good film that had like the fun action stuff. Great performances, obviously,

1145
00:51:00,730 --> 00:51:03,490
S1: from Michael Jordan, Chadwick Boseman and had really interesting politics

1146
00:51:03,489 --> 00:51:04,480
S1: compared to a lot of them.

1147
00:51:04,750 --> 00:51:06,580
S2: Yeah, I don't I'm not really a marvel guy. That's

1148
00:51:06,580 --> 00:51:08,860
S2: my favorite. Followed by Iron Man. My follow up question

1149
00:51:08,860 --> 00:51:11,080
S2: for you is, do you think and this may be

1150
00:51:11,080 --> 00:51:14,049
S2: worthy of a whole separate pod? So I read the

1151
00:51:14,050 --> 00:51:17,890
S2: big Jacob Elordi GQ chat yesterday, and he talked about

1152
00:51:17,890 --> 00:51:22,170
S2: how he read for Superman and was like, not a chance.

1153
00:51:22,180 --> 00:51:24,279
S2: Do you think the pendulum is almost swung the other

1154
00:51:24,280 --> 00:51:26,590
S2: way now? And a similar thing recently with Jeremy on White,

1155
00:51:26,590 --> 00:51:29,170
S2: where it's no longer cool to be attached to Marvel,

1156
00:51:29,170 --> 00:51:31,180
S2: even though it used to be like a career maker.

1157
00:51:31,180 --> 00:51:33,609
S2: And we may almost see, like all these new up

1158
00:51:33,610 --> 00:51:35,830
S2: and comers be like, there's not a fucking chance I'm

1159
00:51:35,830 --> 00:51:38,379
S2: doing a marvel movie because I don't want to. Chris

1160
00:51:38,380 --> 00:51:39,880
S2: Hemsworth did it when he was on the up and

1161
00:51:39,880 --> 00:51:42,129
S2: it like, set him up for life, but now, like,

1162
00:51:42,130 --> 00:51:43,540
S2: Marvel is a bit tainted.

1163
00:51:43,810 --> 00:51:46,390
S1: I think that's 100% the case. I think there's a

1164
00:51:46,390 --> 00:51:49,600
S1: few reasons behind. I think one, the shine of Marvel

1165
00:51:49,600 --> 00:51:52,150
S1: has worn off, and so it's not what it was like.

1166
00:51:52,150 --> 00:51:55,360
S1: Signing up to Marvel was a guaranteed ticket to stardom

1167
00:51:55,360 --> 00:51:57,730
S1: and like, lots and lots of money. And now it

1168
00:51:57,730 --> 00:52:00,460
S1: seems to be a ticket to a bunch of mediocre

1169
00:52:00,460 --> 00:52:02,980
S1: movies that a lot of people don't like. And you're

1170
00:52:02,980 --> 00:52:06,009
S1: locked into a system that means you can't do interesting

1171
00:52:06,010 --> 00:52:07,360
S1: projects that you'd really want to do.

1172
00:52:07,360 --> 00:52:09,340
S2: And especially if you are someone on the cusp like

1173
00:52:09,430 --> 00:52:11,049
S2: a Jacob Elordi, you're always saying is like part of

1174
00:52:11,050 --> 00:52:12,640
S2: the problem and you don't want to. It's like bad

1175
00:52:12,640 --> 00:52:14,830
S2: optics to be like, oh, well, now you're just becoming

1176
00:52:14,830 --> 00:52:16,660
S2: a marvel guy. Like, whereas, you know, you were doing

1177
00:52:16,660 --> 00:52:17,709
S2: cool stuff before, right?

1178
00:52:17,710 --> 00:52:20,410
S1: And even with directors, there was this period where, like,

1179
00:52:20,410 --> 00:52:23,020
S1: Marvel was signing up indie directors to do films like

1180
00:52:23,020 --> 00:52:26,230
S1: Black Black Panther, like Ryan Coogler, and everyone was excited

1181
00:52:26,230 --> 00:52:28,090
S1: by that. And they made a couple of really good ones.

1182
00:52:28,090 --> 00:52:31,420
S1: But now it's like, oh, you got Nia DaCosta into

1183
00:52:31,420 --> 00:52:34,180
S1: the Marvel ecosystem that is going to ruin her and

1184
00:52:34,180 --> 00:52:36,819
S1: ruin Marvel movies because there's no match there. So look,

1185
00:52:36,820 --> 00:52:38,890
S1: the book does touch on a lot of this stuff

1186
00:52:38,890 --> 00:52:39,460
S1: as well.

1187
00:52:39,940 --> 00:52:41,620
S2: Marvel's over, Marvel's over.

1188
00:52:42,340 --> 00:52:43,629
S1: Mel, what have you got?

1189
00:52:43,750 --> 00:52:45,940
S3: Well, I've done it for all of us. I've gone

1190
00:52:45,940 --> 00:52:49,690
S3: and watch the Robbie Williams documentary four parter on Netflix,

1191
00:52:49,690 --> 00:52:53,170
S3: directed by Joe Pearlman. First thing I have to say

1192
00:52:53,170 --> 00:52:56,380
S3: is he spends, like, the entire documentary in his bed,

1193
00:52:56,380 --> 00:53:00,280
S3: in his undies. Like that is, it is. And there

1194
00:53:00,280 --> 00:53:02,229
S3: are so many shots of him just in his little

1195
00:53:02,230 --> 00:53:03,700
S3: briefs walking around.

1196
00:53:03,820 --> 00:53:05,980
S2: He's always been like a he's always been a briefs. Guys.

1197
00:53:06,489 --> 00:53:07,239
S3: I didn't know that about.

1198
00:53:07,239 --> 00:53:08,680
S2: You is like, yeah. And when he's.

1199
00:53:08,680 --> 00:53:12,190
S3: Not in his briefs, he's in this like incredible dressing

1200
00:53:12,190 --> 00:53:16,030
S3: gown Gucci thing wandering around his palatial home. So that's

1201
00:53:16,030 --> 00:53:16,840
S3: very funny. Are you a.

1202
00:53:16,840 --> 00:53:18,339
S1: Brief sky Thomas? I should have asked you that.

1203
00:53:18,340 --> 00:53:19,750
S2: Yeah, I'm a bricks guy. Yeah. Me too.

1204
00:53:19,750 --> 00:53:20,440
S5: Yeah, yeah.

1205
00:53:20,440 --> 00:53:22,540
S3: Good. Happy for you guys. You might get a bit

1206
00:53:22,540 --> 00:53:26,469
S3: of inspiration from Robbie Williams undergarment game. So it's a

1207
00:53:26,469 --> 00:53:28,720
S3: kind of interesting framing device. They've got all this footage

1208
00:53:28,719 --> 00:53:30,360
S3: of him over 30 years and they kind of see

1209
00:53:30,360 --> 00:53:32,290
S3: in his bad. He's all cozy because he's a hermit

1210
00:53:32,290 --> 00:53:35,109
S3: and an insomniac, and they show him the footage and

1211
00:53:35,110 --> 00:53:36,520
S3: you kind of see it on the screen, and then

1212
00:53:36,520 --> 00:53:39,730
S3: he speaks to it from his, from his bed, you know,

1213
00:53:39,730 --> 00:53:41,380
S3: from his time in Take That when he was a

1214
00:53:41,380 --> 00:53:43,690
S3: 16 year old kind of drop out. Joining that to

1215
00:53:43,690 --> 00:53:46,719
S3: his solo career. It's getting a lot of comparisons to

1216
00:53:46,719 --> 00:53:49,029
S3: the Beckham documentary, but I think because the only person

1217
00:53:49,030 --> 00:53:51,520
S3: who speaks in it is Robbie Williams, that you kind

1218
00:53:51,520 --> 00:53:54,460
S3: of lack the perspective on him, that speaking to other

1219
00:53:54,460 --> 00:53:58,060
S3: people you got in the Beckham documentary. But I will

1220
00:53:58,060 --> 00:54:00,520
S3: say there's some incredible footage and like the highlight of

1221
00:54:00,520 --> 00:54:03,550
S3: it for me was seeing him and Geri Halliwell, Ginger spice.

1222
00:54:03,550 --> 00:54:05,230
S3: I didn't know that they were kind of a love

1223
00:54:05,230 --> 00:54:08,020
S3: affair for a while on their Mediterranean holiday, and all

1224
00:54:08,020 --> 00:54:10,510
S3: this footage that she shot of them together. So I

1225
00:54:10,510 --> 00:54:12,850
S3: think the footage is kind of what makes this, but

1226
00:54:12,850 --> 00:54:15,100
S3: you never really get past because it's only him speaking.

1227
00:54:15,100 --> 00:54:16,750
S3: You never really get past the sense that this is

1228
00:54:16,750 --> 00:54:19,600
S3: just another act of mythmaking and propagating of a certain

1229
00:54:19,600 --> 00:54:22,239
S3: kind of myth. But the footage from that time, and

1230
00:54:22,239 --> 00:54:27,190
S3: obviously just hearing Angel about 50 times is is good.

1231
00:54:27,190 --> 00:54:29,259
S2: Yeah, I've actually checked out a bit of this and

1232
00:54:29,260 --> 00:54:31,630
S2: I thought a similar thing. Firstly, there is like a

1233
00:54:31,630 --> 00:54:33,790
S2: sick part of me that's like one day I too

1234
00:54:33,820 --> 00:54:36,010
S2: would love to be in a bed, as someone showed

1235
00:54:36,010 --> 00:54:38,229
S2: me clips from my heyday that you've kind of fucking

1236
00:54:38,230 --> 00:54:38,920
S2: made at that point.

1237
00:54:38,920 --> 00:54:40,750
S1: Just clips of us recording this podcast.

1238
00:54:41,050 --> 00:54:41,380
S5: We were.

1239
00:54:41,380 --> 00:54:42,310
S2: So, so crazy.

1240
00:54:42,460 --> 00:54:42,850
S5: Young and.

1241
00:54:42,850 --> 00:54:45,969
S1: Handsome and funny and smart. This is great stuff. Yeah, it.

1242
00:54:45,969 --> 00:54:47,730
S2: Really is like the ultimate egomaniacs.

1243
00:54:47,750 --> 00:54:49,190
S3: You guys really like yourselves.

1244
00:54:49,780 --> 00:54:50,440
S5: I remember we.

1245
00:54:50,440 --> 00:54:51,879
S1: Talked about wearing briefs. That was pretty.

1246
00:54:51,880 --> 00:54:53,590
S5: Good. That was right. What a crazy.

1247
00:54:53,590 --> 00:54:55,840
S2: Time. But I think the one thing you do take

1248
00:54:55,840 --> 00:54:59,589
S2: from this is that you forget, just like how famous

1249
00:54:59,590 --> 00:55:02,440
S2: Robbie Williams was for a while there, he really was like,

1250
00:55:02,440 --> 00:55:04,750
S2: this guy sold like 1.3 million concert tickets in a

1251
00:55:04,750 --> 00:55:07,719
S2: day or something like that. Kind of angels, like Let

1252
00:55:07,719 --> 00:55:10,000
S2: me entertain you, period. When he was playing Wembley, like,

1253
00:55:10,390 --> 00:55:12,760
S2: my mum was obsessed with Robbie Williams, as is, like

1254
00:55:12,760 --> 00:55:15,910
S2: the suburban mother. Yeah, yeah. And I don't really love him,

1255
00:55:15,910 --> 00:55:19,569
S2: but he definitely has like had a moment and it's

1256
00:55:19,570 --> 00:55:20,620
S2: interesting to reflect on that.

1257
00:55:20,620 --> 00:55:21,459
S5: Yeah I was while.

1258
00:55:21,460 --> 00:55:22,900
S3: I was watching this I was thinking that I reckon

1259
00:55:22,900 --> 00:55:26,170
S3: we're almost too young to because I think Robbie Williams

1260
00:55:26,170 --> 00:55:29,830
S3: was kind of uncool when we were kind of teenagers.

1261
00:55:29,830 --> 00:55:31,960
S3: So maybe it is like we were winning.

1262
00:55:31,960 --> 00:55:34,989
S2: Was like that record was big and like, yeah, he.

1263
00:55:35,090 --> 00:55:35,960
S1: It was duet with.

1264
00:55:35,960 --> 00:55:37,009
S5: Kylie cuz.

1265
00:55:38,300 --> 00:55:39,890
S2: Grafana with Delta. Yeah, that was.

1266
00:55:39,890 --> 00:55:42,530
S1: Actually a great performance. It was his AFL Grand Final

1267
00:55:42,530 --> 00:55:43,040
S1: performance was.

1268
00:55:43,040 --> 00:55:43,790
S5: One of the best. I mean the.

1269
00:55:43,790 --> 00:55:44,690
S2: Guys born entertainer.

1270
00:55:44,690 --> 00:55:47,030
S3: And I also enjoy during that performance. I remember he

1271
00:55:47,030 --> 00:55:48,440
S3: played one of his new songs and he was like,

1272
00:55:48,460 --> 00:55:49,790
S3: sorry guys, I got to do this like.

1273
00:55:50,330 --> 00:55:52,710
S5: Which I thought was very funny to the fans. Yeah, yeah.

1274
00:55:52,710 --> 00:55:54,739
S2: Yeah, I thought it was funny in the documentary though,

1275
00:55:54,739 --> 00:55:56,300
S2: he says, like, oh, I want it to be riding

1276
00:55:56,300 --> 00:55:58,640
S2: Karma Police, but instead I'm writing Karma Chameleon.

1277
00:55:59,150 --> 00:56:00,379
S5: I fucking shoot for the stars.

1278
00:56:00,380 --> 00:56:07,920
S2: Robbie. Yes, my recommendation this week is. The Buccaneers on Apple. Okay,

1279
00:56:08,280 --> 00:56:10,200
S2: so let me ask you a question. Do you like Bridgerton?

1280
00:56:11,560 --> 00:56:12,530
S1: The answer's no.

1281
00:56:13,330 --> 00:56:17,210
S5: Well. I'm sorry. I'm like, scurry a little bit here. Yeah. Okay.

1282
00:56:17,230 --> 00:56:17,650
S5: This is more of.

1283
00:56:17,650 --> 00:56:19,300
S2: A safe bet. Do you like Edith Wharton?

1284
00:56:19,719 --> 00:56:23,200
S3: Absolutely. Anything she's written or not finished writing?

1285
00:56:23,290 --> 00:56:25,719
S2: I'm here for so Edith Wharton. Osmond was a Pulitzer

1286
00:56:25,719 --> 00:56:28,990
S2: Prize winner, and her unfinished novel was The Buccaneers. Okay.

1287
00:56:29,140 --> 00:56:32,680
S2: This show is based on that. And basically it's essentially

1288
00:56:32,680 --> 00:56:35,950
S2: is Bridgerton again. But it's really fun. And I was

1289
00:56:35,950 --> 00:56:37,690
S2: kind of dragged into this one by my wife. She

1290
00:56:37,690 --> 00:56:39,759
S2: was like, it's like a period thing. So it's a

1291
00:56:39,760 --> 00:56:41,050
S2: period thing. I think it's like the set in the

1292
00:56:41,050 --> 00:56:45,219
S2: 1870s in New York. And basically this group of friends

1293
00:56:45,219 --> 00:56:48,040
S2: and two sisters, they're like, you know, kind of new money.

1294
00:56:48,400 --> 00:56:50,440
S2: And then one of their friends gets married to, like,

1295
00:56:50,440 --> 00:56:53,350
S2: a rich duke from London. And then essentially they all

1296
00:56:53,350 --> 00:56:55,960
S2: go to London together to find, like, you know, it's

1297
00:56:55,960 --> 00:56:58,330
S2: basically like the melding of, like, new money and old

1298
00:56:58,330 --> 00:57:00,600
S2: titles to kind of create this future, like these, like

1299
00:57:00,610 --> 00:57:03,549
S2: strong partnerships. The main character is Nan, and she's kind

1300
00:57:03,550 --> 00:57:05,980
S2: of a protagonist, and she's very much of that, like,

1301
00:57:05,980 --> 00:57:09,070
S2: you know, I guess like Jane Austen, vintage like, doesn't

1302
00:57:09,070 --> 00:57:12,489
S2: want to buy into this system. Is happy on her own.

1303
00:57:12,640 --> 00:57:16,180
S2: But yeah, it's really fun. Very funny. You know, friendship matters.

1304
00:57:16,180 --> 00:57:17,500
S2: All that type of stuff. Can I ask you a question?

1305
00:57:17,500 --> 00:57:19,540
S1: So one of the things I did like about Bridgerton

1306
00:57:19,540 --> 00:57:22,540
S1: was how they use, like, contemporary pop songs in like,

1307
00:57:22,540 --> 00:57:24,550
S1: the way they played music and stuff. Is this, like,

1308
00:57:24,550 --> 00:57:25,470
S1: fun like that?

1309
00:57:25,480 --> 00:57:26,640
S2: I'm glad you asked.

1310
00:57:26,650 --> 00:57:27,850
S5: Yes it is. Oh, right.

1311
00:57:28,570 --> 00:57:30,580
S2: In fact, I'm pretty sure Taylor recorded like a special

1312
00:57:30,580 --> 00:57:33,490
S2: song for the trailer. Wow. Olivia Rodrigo is also on

1313
00:57:33,490 --> 00:57:36,300
S2: the soundtrack, so it very much is that same brand.

1314
00:57:36,310 --> 00:57:39,220
S2: They know what they're doing here, but I really enjoyed it.

1315
00:57:39,580 --> 00:57:40,810
S2: I think great escapism.

1316
00:57:40,810 --> 00:57:43,390
S1: That's interesting because there is another show set in New

1317
00:57:43,390 --> 00:57:47,500
S1: York in like the 1870s about socialites interacting that I

1318
00:57:47,500 --> 00:57:50,170
S1: am watching. It's called The Gilded Age on HBO. That's

1319
00:57:50,170 --> 00:57:53,380
S1: like a fun, similar film. Julian Fellowes yeah, Julian Fellowes

1320
00:57:53,380 --> 00:57:58,120
S1: and stars Carrie Coon and Christine Baranski, who I really,

1321
00:57:58,120 --> 00:58:00,490
S1: really like. It's fun. But yeah, I think you've convinced

1322
00:58:00,490 --> 00:58:01,120
S1: me on the Buccaneers.

1323
00:58:01,120 --> 00:58:01,810
S5: I'll give it a go.

1324
00:58:01,810 --> 00:58:04,480
S3: And have you seen Dickinson? Because it's getting a lot

1325
00:58:04,480 --> 00:58:07,150
S3: of comparisons to Dickinson, so that might be next on

1326
00:58:07,150 --> 00:58:07,600
S3: your list.

1327
00:58:07,600 --> 00:58:10,780
S2: Perfect. I'll just make my way through all the adaptation classics.

1328
00:58:10,840 --> 00:58:12,280
S5: Film guy well, great. I feel like.

1329
00:58:12,280 --> 00:58:14,410
S1: Between the three of us, there's quite a few bits

1330
00:58:14,410 --> 00:58:17,850
S1: to watch, to read, to listen to, to enjoy. Thomas

1331
00:58:17,860 --> 00:58:19,990
S1: I'll see at the arches in a couple of hours.

1332
00:58:19,990 --> 00:58:21,850
S2: Perfect. Anticipate. Don't improvise.

1333
00:58:23,230 --> 00:58:31,140
S1: Thanks so much, Milton. Have fun. This episode of The

1334
00:58:31,140 --> 00:58:34,350
S1: Drop was produced by Kai Wong. If you enjoyed listening

1335
00:58:34,380 --> 00:58:36,780
S1: to today's episode of The Drop, make sure to follow

1336
00:58:36,780 --> 00:58:39,480
S1: us in your favorite podcast app. Leave us a review

1337
00:58:39,480 --> 00:58:42,600
S1: or better yet, share the episode with a friend. I'm

1338
00:58:42,600 --> 00:58:44,490
S1: Osman Farooqui. See you next week.