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Speaker 1: Cool media.

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Speaker 2: This is it could happen here, a show about things

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Speaker 2: falling apart. I'm Garrison Davis. Today we're talking about movies,

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Speaker 2: one of my favorite topics that I never get to

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Speaker 2: talk about on the show, but I'm able to talk

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Speaker 2: about it this week because I've found a way to

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Speaker 2: talk about how movies are covering the death of Woke

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Speaker 2: and to help me in this doomed endeavor, I have

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Speaker 2: recruited artists and designer Bailey new poster.

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Speaker 3: Welcome Hi, It's lovely to be here.

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Speaker 2: Bailey also is behind the new top Cup City show

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Speaker 2: art which will eventually go public maybe in a few

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Speaker 2: weeks whenever I finally finished that episode, so keep pounding

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Speaker 2: me about it. So we're going to talk about two

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Speaker 2: films that came out this past July, Superman and Eddington,

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Speaker 2: which I think are actually very closely related despite being

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Speaker 2: very different from each other. I believe they're kind of

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Speaker 2: equal and opposite films. And I realized this after I

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Speaker 2: saw Eddington at a theater in Brooklyn and walked outside

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Speaker 2: to the posters for Superman and Editing being right next

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Speaker 2: to each other, which are very different, and then I

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Speaker 2: realized this is actually kind of the same movie, but

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Speaker 2: doing like or they're they're very related films right now.

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Speaker 2: I think they really are like the equal and opposite

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Speaker 2: of each other. Both are like uber contemporary, they're very online.

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Speaker 2: They have a sort of like gestural politics, and I

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Speaker 2: think they're both reactions to a conflicting view of American decline.

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Speaker 2: Both have surprised Tucker Carlson appearances, and both have failed cancelations.

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Speaker 2: There's a lot of overlap in some of the plot

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Speaker 2: points of this film, and I think what they're actually

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Speaker 2: kind of saying about current American culture, current current American politics,

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Speaker 2: and how it relates to social media. I think we

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Speaker 2: should first talk about Superman to get over that, so

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Speaker 2: we can I discuss Eddington because I need to discuss

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Speaker 2: Eddington in relation to Superman in some ways. So I

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Speaker 2: guess people have been enjoying this film. I think a

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Speaker 2: big part of why is how the film tackles geopolitics.

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Speaker 2: Oddly enough, the geopolitical conflict in the film was most

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Speaker 2: likely based on what it was written trying to pull from,

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Speaker 2: like Russia's invasion of Ukraine. But because the film took

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Speaker 2: a long time to write, by the time they shot

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Speaker 2: the film, there was a whole other geopolitical conflict happening,

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Speaker 2: which influenced at the very least the visual language of

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Speaker 2: the film, which which pulls from Israel and Palestine.

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Speaker 4: It's nice to see it, like represented, I guess on

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Speaker 4: a blockbuster film, like that's what it feels like.

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Speaker 1: It felt like nice to see it.

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Speaker 2: You know, it's like an acknowledgment of the atrocities happening. Yes,

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Speaker 2: like essentially a Benjamin Nett and Yahoo stand in is

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Speaker 2: basically like the secondary villain of the film. And at

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Speaker 2: this point, I guess we'll just have to talk about

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Speaker 2: hashtag spoilers. If you haven't seen these and you want to,

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Speaker 2: you can. You can go see them if you're okay

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Speaker 2: with hearing us talk about it, and that might make

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Speaker 2: you want to see them more.

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Speaker 5: Then feel free. I don't think spoilers actually ruin a movie.

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Speaker 2: But yeah, like net and Yahu dying in the film

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Speaker 2: gets like a massive, a massive crowd reaction at least

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Speaker 2: when I saw it opening night, and and people definitely

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Speaker 2: feel a degree of like catharsists like watching you know,

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Speaker 2: superheroes stop the IDF from massacring you know, civilians who

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Speaker 2: are you were like you know, like like Arab civilians

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Speaker 2: like it's it's it's at that point they transcend, like

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Speaker 2: the Russia Ukraine aspect, and it's like very very clear

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Speaker 2: what they're visually pulling from.

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Speaker 4: Yeah, I think the falafel card guy is the one, like, yeah,

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Speaker 4: that's crazy.

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Speaker 2: Lets Luthor executes a falafel card owner. And I'll talk

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Speaker 2: about more about how the film like riffs on Palestine

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Speaker 2: in a bed. There's there's other aspects I think of

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Speaker 2: how Superman is reacting to what James Gunn sees as

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Speaker 2: like American decline, because I think Superman as a film

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Speaker 2: is kind of a partially vapid take on like the

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Speaker 2: corruption of sincere positive futures and like the loss of hope.

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Speaker 2: It honestly feels very like Biden twenty twenty. It's like

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Speaker 2: a battle for the soul of America type thing. And

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Speaker 2: I also see this as like a reaction to the

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Speaker 2: victory of toxic masculinity, especially among like the twitch streamer

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Speaker 2: class and like manfluencers like Andrew Tait, and instead you

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Speaker 2: have Superman as this like goody two shoes boy Scout

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Speaker 2: the way he like he should be. And this is

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Speaker 2: the aspect of the film I think works. The best is,

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Speaker 2: honestly is their characterization of Superman. The cast is phenomenal.

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Speaker 2: David Cornsweat does a really good job, and I do

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Speaker 2: like this version of masculinity. It's it's still funny to

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Speaker 2: see like post online of people being like, Wow, I'm

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Speaker 2: actually gonna try, you know, being nice to my neighbors

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Speaker 2: now that I saw Superman, Like what the fuck.

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Speaker 4: To pick up my girlfriend today and be happy when

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Speaker 4: I'm around her.

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Speaker 2: Yeah, So that feels a little odd, but like, I

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Speaker 2: guess it's good that people can feel like Superman when

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Speaker 2: they're doing good things, helping an old lady cross the

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Speaker 2: street or whatever. I think that aspect of like decline,

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Speaker 2: I sympathize with this like loss of like positive masculinity,

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Speaker 2: and I think a Superman can be a simpol for

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Speaker 2: that for new people who are addicted to watching like

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Speaker 2: sneak O or whatever.

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Speaker 5: I think that's probably good.

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Speaker 2: And in some ways I think this film, honestly, like

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Speaker 2: the exact same film would have been received a lot

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Speaker 2: worse if Kamala Harris was president. I think that the

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Speaker 2: fact that everyone feels so hopeless, like depress, hopeless and

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Speaker 2: defeated because of Trump. I think this actually contributes to

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Speaker 2: the positive reception the film is taking. And myself and

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Speaker 2: a few other people kind of even predicted this, like

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Speaker 2: back in November, trying to like forecast like the reception

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Speaker 2: of Superman and like Fantastic Four and like all these

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Speaker 2: companies who are trying to like save the superhero genre

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Speaker 2: from like eating itself right now. But for me, at least,

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Speaker 2: there is a more insidious aspect of Superman that I

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Speaker 2: do not see being discussed as much beyond you know,

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Speaker 2: James Gunn still still obviously upset that he got canceled

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Speaker 2: and is thinking that a core plot points in this

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Speaker 2: film is he's actually super bad and he shouldn't have

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Speaker 2: been canceled.

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Speaker 4: He shouldn't be canceled, and the people canceling him were

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Speaker 4: monkeys at Typewriters.

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Speaker 3: And which way, honestly that that part is true.

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Speaker 2: Yeah, people try to cancel James gun were monkeys, and

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Speaker 2: on one typewriters.

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Speaker 1: I thought that bit was great.

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Speaker 4: I thought that bit was very I was like, that's

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Speaker 4: very like one panel gag in a comic, which is

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Speaker 4: you know, wonderful, very The movie felt very great.

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Speaker 5: Morrison, totally, those are the aspects that I really liked.

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Speaker 4: Yeah, totally staying on the on the political subject, I

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Speaker 4: think you can draw a very good analogy between this

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Speaker 4: and or Not. Just this feels like this year's Barbie,

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Speaker 4: if that makes sense. Sure, like the kind of like

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Speaker 4: corporate political not girls get it done this time. Obviously,

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Speaker 4: this is like more of like anti not even anti

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Speaker 4: toxic masculinity. I think it's just pro this form of masculinity,

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Speaker 4: which I think is more productive.

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Speaker 1: Yeah, but I also.

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Speaker 4: Think, yeah, there's like neolib stuff going on, and also

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Speaker 4: the fact that the movie, because it's a blockbuster, can't

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Speaker 4: properly handle anything like it kind of has to just

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Speaker 4: leave everything at the road, yeah, on the side of

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Speaker 4: the road by the end of it.

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Speaker 1: Yeah, I don't know.

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Speaker 2: This is very much similar to Barbie, in which I

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Speaker 2: kind of had the same reaction to.

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Speaker 5: It's like they're like o K movies.

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Speaker 2: But I find the political posturing actually slightly insulting in

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Speaker 2: a certain way based on how shallow it is. And

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Speaker 2: I'm gonna I'm going to actually get into that more

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Speaker 2: on Superman here. I've seen people talking about how like

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Speaker 2: emotional they got during the scenes, like very evocative of

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Speaker 2: the Palactini and genocide like people like, you know, crying

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Speaker 2: and tearing up and feeling so seen and again. On

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Speaker 2: one hand, that's good, but that also gives me a

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Speaker 2: bit of an icky feeling. And someone else expressed this

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Speaker 2: very well, the co host of the Hit Factory podcast

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Speaker 2: at Deep Impact Crier on tweeter. She's the host of

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Speaker 2: the podcast Hit Factory. Wach was about nineties to cinema.

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Speaker 2: I think her name is Carly, and she expressed this

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Speaker 2: kind of soft disgust that was growing in me, but

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Speaker 2: both kind of during some of these scenes and frankly

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Speaker 2: watching people's reaction to it. She said, quote, that's the point,

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Speaker 2: isn't it To immerse you in a fantasy where civilian

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Speaker 2: life matters, to distract you from the reality where civilian

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Speaker 2: life does not matter, To offer you abstractions of already

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Speaker 2: abstracted images of imperial violence so that you could experience Catharsis,

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Speaker 2: escape and absolution. A movie like Superman exists to take

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Speaker 2: the literal spectacle of genocide filling our feed for two years,

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Speaker 2: and further mediate, slash, abstract the spectacle so it can

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Speaker 2: be transposed onto another product of empire and strategic interpassivity

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Speaker 2: to keep us ideologically and emotionally confined to its order.

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Speaker 2: Any empathetic impulse engendered by forms and aesthetics of imperial

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Speaker 2: violence and memetic rhythms of technology it trades in confines

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Speaker 2: us to the limits of the language of empire. It

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Speaker 2: keeps us operating on its terms. We need cinema that

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Speaker 2: ruptures familiar imperial forms and its rhythms unquote. So movies

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Speaker 2: like Superman and the way that they depict atrocities actually

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Speaker 2: like make us more indebted to the imperial system because

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Speaker 2: the imperial system can give us a product to make

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Speaker 2: us feel Catharsis about the violence that the empire actually does,

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Speaker 2: and that Catharsis keeps us going, like that's what allows

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Speaker 2: us to not like fucking destroy everything around us, because

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Speaker 2: we get enough of that Catharsis that it makes us

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Speaker 2: able to keep living. And that's in the end, what

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Speaker 2: products like Superman are kind of doing. They're making us

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Speaker 2: feel just good enough by expressing the displeasure we have

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Speaker 2: at what our government is doing, but still making us

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Speaker 2: like fully made married to the existence of that empire,

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Speaker 2: Like we can't live without it because of the comfort

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Speaker 2: it provides us. Including this cathartic comfort watching fucking Guy

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Speaker 2: Gardner stop the Palestinian genocide, which if you told me

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Speaker 2: that sentence like five years ago, I would have not

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Speaker 2: believed you. I would have not believed that a cinematic

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Speaker 2: depiction of Guy Gardner is going to stop the Palestinian genocide,

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Speaker 2: that that Hawk girl is gonna is gonna kill Netanyahu.

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Speaker 2: I would I would have not believed you for a

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Speaker 2: single second. And that kind of shows the level of

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Speaker 2: absurdity that we're kind of dealing with, and that aspect,

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Speaker 2: I think is what makes what Superman is doing actually

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Speaker 2: far more insidious than any of the controversial politics in

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Speaker 2: something like Eddington.

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Speaker 4: I also think that the whole like indebted to empire thing.

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Speaker 4: I think this is like the case in point example

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Speaker 4: of that considering Superman is literally a symbol of American values.

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Speaker 2: Or certainly has like become that, and like yeah, you know,

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Speaker 2: had a more positive version of that in some ways

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Speaker 2: during his like birth in World War Two as a

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Speaker 2: way as like a symbol of like Nazi resistance, but

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Speaker 2: instead now is you know, it very much turned into

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Speaker 2: like truth justice in the American way, to the point

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Speaker 2: where a lot of his you know, like immigrant aspects

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Speaker 2: have been have been kind of undercut in the in

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Speaker 2: the past, in the past few years.

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Speaker 4: Yeah, I saw an article I didn't actually end up

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Speaker 4: fully reading because it was on the I forgot what

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Speaker 4: it was then the Washington Post or maybe it was

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Speaker 4: the New York Times where it was it was.

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Speaker 5: Like blocked or something, one of the big two.

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Speaker 3: Yeah.

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Speaker 4: Yeah, it was an author who I think was an immigrant,

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Speaker 4: and it was like talking about how Superman undercuts the

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Speaker 4: the immigrant experience and that he is like literally born

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Speaker 4: on the planet anyway, so it's not really like an

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Speaker 4: it's not necessarily he doesn't go through any like cultural conflict.

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Speaker 1: I guess, you know, totally.

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Speaker 4: I also wondered about, well, you know, I get I

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Speaker 4: guess it doesn't.

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Speaker 1: I guess it doesn't.

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Speaker 4: I was gonna I was gonna think about the taking

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Speaker 4: the immigrant aspect and then talking about one of the

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Speaker 4: main parts of the movie, which was his parents are

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Speaker 4: like you need to go and make a harem on

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Speaker 4: Earth or whatever, is sort of interesting.

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Speaker 2: Yes, the aspect that his immigrant background has been very

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Speaker 2: corrupted in this film, like there's like a certainly like

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Speaker 2: foreign evilness associating with Superman.

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Speaker 4: Now, Yeah, you're an immigrant, and like that's good and

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Speaker 4: that's great and very American, but you shouldn't be what

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Speaker 4: your parents were, your like foreign parents because they wanted

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Speaker 4: a harem of lovers and to like conquer the West

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Speaker 4: or whatever. Yeah, which, you know, considering the fact that

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Speaker 4: this was written during the Russia Ukraine thing and not

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Speaker 4: mainly during the Israel Palestine thing, I don't know if

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Speaker 4: that's like, but because that's in the movie, I have

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Speaker 4: to think about it, you know.

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Speaker 2: Yeah, I don't think James Gunn was conceptualizing of that

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Speaker 2: when he wrote it.

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Speaker 4: I think it's an unfortunate product of what happened aesthetically,

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Speaker 4: but it's not that big of a deal, but it

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Speaker 4: is weird, Like it's something to think about.

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Speaker 2: That aspect did not bother me as much as it

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Speaker 2: did for some other people. For my overall thoughts in

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Speaker 2: the film, I think it's basically as good as every

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Speaker 2: other James gun film, which frankly just is not my

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Speaker 2: cup of tea. I've never really loved the Guardians films.

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Speaker 2: I don't think James Gun's a very compelling filmmaker. I

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Speaker 2: thought it was just fine. It definitely felt like episode

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Speaker 2: thirteen of a TV show that doesn't exist, which as

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Speaker 2: a comic book appreciator I like. As a film appreciator

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Speaker 2: I don't like, But certainly the more campy aspects I

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Speaker 2: enjoyed a lot. I think now is time to go

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Speaker 2: on a quick break, and then we will return to

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Speaker 2: discuss the anti woke cinematic masterpiece of the twenty twenties Eddington.

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Speaker 2: All right, we're back, So I would like to now

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Speaker 2: talk about Eddington for the rest of the episode essentially,

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Speaker 2: But like I said before, Eddington is the equal and

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Speaker 2: opposite of Superman. Both are both are very contemporary, very online.

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Speaker 2: Both their politics gesture and I think they're they're reactionary,

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Speaker 2: but they're specifically reactionary in very different ways. I think

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Speaker 2: they're they're reacting to two very different types of decline

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Speaker 2: in America, or like perceived decline in America. So Eddington

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Speaker 2: is directed by Ariastor, who made Hereditary, Midsummer and Both Afraid.

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Speaker 2: I'll talk more about my thoughts on ari Astor at

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Speaker 2: the end in a conversation with Jennie Danger. But I

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Speaker 2: think Eddington is not anti woke. Actually I was lying.

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Speaker 2: I think anything is a post woke expression of kind

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Speaker 2: of scared nihilism, or like like a depiction of the

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Speaker 2: nihilism inherent to American politics right now, like every everything

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Speaker 2: is a conspiracy theory, there's this specter of cancelation around

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Speaker 2: the corner, and like speaking specters, I think so so

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Speaker 2: much of both Superman and Eddington for me is like

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Speaker 2: there's this specter of wokeism that's haunting America, and both

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Speaker 2: films are trying to deal with that specter. I think

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Speaker 2: Superman partially mourns that wokeness, and Eddington deals with its

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Speaker 2: more like actual and like haunting and like in like

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Speaker 2: a ghostly quality, some of its more like uncanny qualities.

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Speaker 5: Sometimes more than.

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Speaker 2: Anything, Eddington digs into how we have created a profoundly

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Speaker 2: anti social culture, which even leftists contribute to and in

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Speaker 2: some cases actually conceptualize that as a form of like

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Speaker 2: based process, and how we've all become just reflections of

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Speaker 2: our Internet feeds and used politics as a justification for

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Speaker 2: personal cruelty, or the very least, use politics as an

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Speaker 2: outlet to channel anti social behavior in a way that

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Speaker 2: you can self perceive as being morally good. And I

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Speaker 2: think both the left and the right do this obviously,

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Speaker 2: Like the right does this with their like pedophile crusader shit,

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Speaker 2: never mind the whole Epstein thing, just just ignore that,

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Speaker 2: ignore all of the actual right wing pedophiles.

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Speaker 1: But well, it's entirely about aesthetics.

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Speaker 4: It's about absolutely Yeah, who looks like a pedophile to me?

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Speaker 1: And it's the gay person.

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Speaker 2: Ascetisized politics, right, it's because huge on I think political

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Speaker 2: extremism in general politics start developing more aestheticized forms. You know,

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Speaker 2: this is true among anarchists, and I think fascism more

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Speaker 2: more purely, I think is actually like politics ascetisize to

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Speaker 2: the point we are aesthetisizing, you know, like like people

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Speaker 2: and like culture and like race. Right, Like that is

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Speaker 2: a whole a way different version than you know, like

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Speaker 2: crust punks or like yeah, like like you know, black Bloc.

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Speaker 4: Did you see the uh? I don't remember what the

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Speaker 4: account was. It was like something of defense tweeted like

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Speaker 4: some AI like from one of those like mill military

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Speaker 4: fiction like accounts or something, And it was like a

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Speaker 4: picture of like a white dude holding like a fucked

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Speaker 4: up looking m for because it was AI generated and

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Speaker 4: he's got like a bald eagle.

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Speaker 3: On his head.

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Speaker 5: No, but that sounds great.

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Speaker 1: It got tweeted today.

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Speaker 4: It's like the fucking lamest thing I've ever seen, and

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Speaker 4: like I just don't even know, like not only the

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Speaker 4: fact that he's like obviously he's using a photo of

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Speaker 4: somebody else, but it's not even a real picture of anybody.

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Speaker 1: It's like a fake image of somebody that somebody.

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Speaker 4: Else made, like that he got off of like one

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Speaker 4: of those like gun larp aesthetic accounts.

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Speaker 1: I just found that very interesting.

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Speaker 5: I don't know, Bailey, what did you think of Eddington?

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Speaker 1: I adored it. I loved it.

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Speaker 4: The moment that I knew that I was going to

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Speaker 4: enjoy it was probably where it's revealed the energy plant

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Speaker 4: is called perfect Gold Magic carp or whatever, which is

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Speaker 4: like so funny, like all those AI guys making all

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Speaker 4: their products, like they're calling it Sourn's eye or whatever.

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Speaker 3: Yeah, yeah, yeah, so good.

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Speaker 4: But I adored it. I think that Joaquin Phoenix is

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Speaker 4: wonderful in it. He's a great actor. I think Ari

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Speaker 4: Astor is like one of the few directors that can

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Speaker 4: perfectly slot him into this like just neurotic impotent man role,

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Speaker 4: you know, very impotent you have, Yes, So the scene

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Speaker 4: that I really like that I think about probably the most,

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Speaker 4: or the character I think of probably the most is

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Speaker 4: the homeless guy. Yeah, the homeless guy who wanders into

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Speaker 4: the film and is the you know, he's a stranger,

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Speaker 4: walks into a strange town like opening of the film,

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Speaker 4: and then all of the scenes where he's like he

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Speaker 4: kind of bothers everybody, like he's you know, like in

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Speaker 4: Gavin Newsom's like anti homeless policies. You know, it's a

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Speaker 4: it's a very bipartisan we have a bipartisan anti.

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Speaker 1: Homeless thing going on, obviously.

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Speaker 4: And he is also like even when his character like

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Speaker 4: snaps and kills somebody, he like kills the homeless guy first,

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Speaker 4: which I found very interesting.

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Speaker 2: Yes, I think this is really crucial that when the

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Speaker 2: sheriff starts his murder rampage, the first expression of violence

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Speaker 2: that he feels personally justified in doing or feels CATHARSI

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Speaker 2: isn't doing, isn't isn't like the fake woke mayor, it's

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Speaker 2: not Antifa. It's the homeless guy that is the first

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Speaker 2: target of acceptable violence in the mind of the sheriff.

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Speaker 2: And I think that is a very accurate look at

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Speaker 2: American politics, and that's not something I've seen discussed very

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Speaker 2: much in relation to the film.

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Speaker 4: No, and I in a way, he's still impotent after that,

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Speaker 4: He's like he's he's not even enacting. I wouldn't even

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Speaker 4: label that as political violence. I just label that as violence, right.

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Speaker 4: Like earlier in the movie, all the like teen woke

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Speaker 4: protesters are like sitting out in the street, and the

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Speaker 4: homeless guy's kind of just standing and like he's.

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Speaker 1: Like, hey, man, I don't have any money. Like he's

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Speaker 1: not even asking for anything. He's just kind of standing

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Speaker 1: there and making them all uncomfortable.

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Speaker 4: You know, he is the specter of the other wandering

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Speaker 4: into this town and then everybody has to like and

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Speaker 4: he's like the you know, the beginning of conflict.

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Speaker 3: You know.

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Speaker 4: Yeah, they're they're like the easiest group to other is

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Speaker 4: the homeless and the mentally unwell.

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Speaker 2: No, I think that that part of the film works

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Speaker 2: really well. And I guess this film is received a

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Speaker 2: mixed reaction, which I talk a little bit about with

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Speaker 2: with jan which you'll you'll hear in a sec. And

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Speaker 2: I guess I'll start by talking about how I believe

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Speaker 2: Eddington works as a as a piece of post woke

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Speaker 2: cinema and I was talking about this with someone and

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Speaker 2: they asked me what post woke was, and I was

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Speaker 2: a little confused, because that's a term that I feel

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Speaker 2: like I understand really well, but then I failed to

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Speaker 2: accurately describe it to them. And I think it relates

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Speaker 2: to this whole cultural moment that we're in now, especially

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Speaker 2: after the twenty twenty four election, where we're facing this

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Speaker 2: larger cultural backlash against you know, woke TM and how

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Speaker 2: that highlights like the limits of diversity representation and complicated

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Speaker 2: language to explain topics that might actually be you know, reasonable,

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Speaker 2: but by expressing them you sound very unreasonable. And I

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Speaker 2: think what post woke is and the reason why Eddington

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Speaker 2: is post woke and is not anti woke like like

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Speaker 2: Eddington's centrist movie. I think it actually is fairly political,

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Speaker 2: but it's post woke in such that it is a

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Speaker 2: continuation of radical politics, which incorporates critiques of the woke era,

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Speaker 2: what critics would describe as an overreach or excessive focus

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Speaker 2: on language or singular identity, trading inaccessible education in favor

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Speaker 2: of in group signaling to prove personal political purity. I

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00:21:23,720 --> 00:21:28,399
Speaker 2: think post woke hues a shallow performative politics adopted to

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Speaker 2: provide social capital, and instead may deliberately flaunt humor, camp,

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Speaker 2: or irreverence in ways that may have been labeled problematic

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Speaker 2: or taboo during the peak of twenty tens online activism,

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Speaker 2: but often in a way that signals both accurate awareness

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Speaker 2: of social issues as well as an exhaustion with or

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Speaker 2: a playful rebellion against socially alienating language and ideas. And

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Speaker 2: this can include using irony, parity, and camp to engage

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Speaker 2: with social issues without the existential gravity or earnestness of

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Speaker 2: prior education focus eras, there may now be jokes, themes,

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Speaker 2: or performances that skirt or playfully violate previous norms of

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Speaker 2: cultural sensitivity, but not out of ignorance, but as a

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Speaker 2: conscious reversal or escalation, while actually emphasizing material support over

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Speaker 2: linguistic gestures and systematic pressure over individual personal action.

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Speaker 5: So that's what I mean by post woke.

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Speaker 2: I had to workshop this definition with a friend earlier

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Speaker 2: this morning, but I think that works for both. Like

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Speaker 2: what Eddington is doing, I think that works for what

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Speaker 2: events like Twins Versus Dolls is doing. How it's it's

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Speaker 2: it's it's not anti woke, but and it's not purely

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Speaker 2: reactionary against woke it is it is actually a continuation

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Speaker 2: and an escalation while adapting to fit the current political

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Speaker 2: climate and still like reflecting on some of the shortcomings

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Speaker 2: of the quote unquote woke era, which we see throughout

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Speaker 2: Eddington a lot in the form of like, you know,

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Speaker 2: performative politics, especially that like one like zoomer guy character,

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Speaker 2: oh ye who you know, goes on that whole rant

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Speaker 2: about like abolishing whiteness to his parents based on like

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Speaker 2: googling these concepts like thirty minutes ago, and now feels

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Speaker 2: like he has like an academic level understanding of whiteness

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Speaker 2: as a concept.

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Speaker 4: The intro to him, I guess it's the second it's

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Speaker 4: the second time you see him.

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Speaker 1: But he's at the he's.

436
00:23:16,720 --> 00:23:21,120
Speaker 4: At the party or whatever, and like he gives kind

437
00:23:21,160 --> 00:23:22,960
Speaker 4: of an opinion to this.

438
00:23:22,920 --> 00:23:24,160
Speaker 1: Girl that he has a crush on.

439
00:23:24,359 --> 00:23:28,000
Speaker 4: They're talking about like you know, whiteness and like privilege

440
00:23:28,040 --> 00:23:30,600
Speaker 4: and stuff like that, and he class yeah, and class

441
00:23:31,040 --> 00:23:34,919
Speaker 4: is the really like because clearly he I think I

442
00:23:35,040 --> 00:23:37,600
Speaker 4: think he's supposed to kind of be like a lower

443
00:23:37,720 --> 00:23:41,240
Speaker 4: class like character that then yeah, jumps up the ranks

444
00:23:41,280 --> 00:23:45,159
Speaker 4: through political opportunism. Right, yeah, yeah, he brings up class

445
00:23:45,160 --> 00:23:46,720
Speaker 4: and is immediately shut down.

446
00:23:46,560 --> 00:23:50,920
Speaker 2: And googles Angela Davis seconds before, but only but only

447
00:23:51,040 --> 00:23:53,439
Speaker 2: so that he can flirt with a girl more effectively,

448
00:23:53,880 --> 00:23:58,200
Speaker 2: which is very funny, incredible, It's so good. Other small

449
00:23:58,240 --> 00:24:02,200
Speaker 2: bits like that. I really enjoy that. The like fake

450
00:24:02,240 --> 00:24:04,440
Speaker 2: woke Mayor who's actually just like a tech company shill

451
00:24:04,920 --> 00:24:09,119
Speaker 2: has he him pronouns on his Zoom profile, very very

452
00:24:09,160 --> 00:24:09,760
Speaker 2: funny to me.

453
00:24:11,000 --> 00:24:13,840
Speaker 1: There are so many little things in this movie.

454
00:24:14,080 --> 00:24:15,359
Speaker 3: It's a lot of little stuff.

455
00:24:15,440 --> 00:24:18,239
Speaker 2: Yeah, and like very obviously this is a film that

456
00:24:18,320 --> 00:24:22,080
Speaker 2: Ariasta wrote well like way too online during twenty twenty,

457
00:24:22,119 --> 00:24:24,320
Speaker 2: like he was in specifically Twitter, right, this is an

458
00:24:24,560 --> 00:24:27,960
Speaker 2: extremely Twitter movie, which is both works for the movie

459
00:24:28,000 --> 00:24:29,560
Speaker 2: and sometimes works against the movie.

460
00:24:29,840 --> 00:24:31,800
Speaker 5: I have no idea how this film is going to age.

461
00:24:32,000 --> 00:24:33,879
Speaker 2: Maybe it'll age very well because we'll use it as

462
00:24:33,880 --> 00:24:36,119
Speaker 2: like a cultural artifact to like look back on and

463
00:24:36,160 --> 00:24:38,560
Speaker 2: be like, yeah, that's kind of what twenty twenty felt like.

464
00:24:41,080 --> 00:24:42,600
Speaker 4: In a couple of years, we're all going to be

465
00:24:42,640 --> 00:24:44,640
Speaker 4: looking back on it and saying, how dare they made

466
00:24:44,640 --> 00:24:48,120
Speaker 4: fun of our new currency crypto, our new bitcoins.

467
00:24:48,200 --> 00:24:49,440
Speaker 1: Everybody has bitcoins.

468
00:24:49,520 --> 00:24:53,560
Speaker 3: All of the bitcoin stuff is really good, like I do.

469
00:24:53,720 --> 00:24:57,240
Speaker 4: Also, I like that they gave the I don't remember

470
00:24:57,280 --> 00:25:00,560
Speaker 4: his name, the black police officer, who's like kind of

471
00:25:00,960 --> 00:25:02,640
Speaker 4: another like main through line.

472
00:25:02,400 --> 00:25:02,920
Speaker 1: For the movie.

473
00:25:03,040 --> 00:25:06,600
Speaker 4: Yeah, but he his only other thing is that he's

474
00:25:06,640 --> 00:25:07,520
Speaker 4: really into crypto.

475
00:25:07,960 --> 00:25:10,159
Speaker 3: He's so funny, so good.

476
00:25:10,359 --> 00:25:16,080
Speaker 2: If anything, I think Eddington is really good at showcasing

477
00:25:16,280 --> 00:25:19,480
Speaker 2: types of guy. There's so many like type of guys

478
00:25:19,520 --> 00:25:21,960
Speaker 2: in this film, and I think that's that's one of

479
00:25:21,960 --> 00:25:24,400
Speaker 2: the real highlights. And at least for me, Like I'm

480
00:25:24,520 --> 00:25:28,879
Speaker 2: obviously been very politically aware and engaged since you know,

481
00:25:29,160 --> 00:25:34,040
Speaker 2: twenty eighteen or so, especially starting in twenty twenty, So

482
00:25:34,119 --> 00:25:36,880
Speaker 2: like knowing this film is set in twenty twenty and

483
00:25:37,000 --> 00:25:39,919
Speaker 2: knowing it kind of gets into what that year was.

484
00:25:40,000 --> 00:25:41,720
Speaker 5: Like, I actually was able.

485
00:25:41,560 --> 00:25:44,719
Speaker 2: To go into the film pretty pretty blind, and I

486
00:25:44,840 --> 00:25:48,360
Speaker 2: was able to start calling shots really fast as soon

487
00:25:48,400 --> 00:25:51,160
Speaker 2: as as soon as I realized like what Ari was doing.

488
00:25:51,960 --> 00:25:54,080
Speaker 2: So like, the film starts off as this like political

489
00:25:54,080 --> 00:25:58,359
Speaker 2: satire on like the absurdity of COVID lockdown America, and

490
00:25:58,400 --> 00:26:01,760
Speaker 2: then we get into this like crime thriller genre. Then

491
00:26:01,760 --> 00:26:04,560
Speaker 2: it concludes with this action genre, but at the very

492
00:26:04,560 --> 00:26:06,320
Speaker 2: start of the film, when it's just like this kind

493
00:26:06,320 --> 00:26:09,240
Speaker 2: of kind of quaint like like like parody of Lockdown America,

494
00:26:09,560 --> 00:26:12,800
Speaker 2: I was like, okay, so at like forty five minute mark,

495
00:26:12,840 --> 00:26:15,560
Speaker 2: we're gonna get George Floyd. Right at at one hour

496
00:26:15,600 --> 00:26:18,760
Speaker 2: in there's gonna be riots our you know, hour fifteen,

497
00:26:18,800 --> 00:26:22,440
Speaker 2: there's gonna be some like ANTIFA type situation. And I

498
00:26:22,800 --> 00:26:25,560
Speaker 2: called so many things. They just started happening like exactly

499
00:26:25,560 --> 00:26:27,800
Speaker 2: what I thought they were going to. So I was

500
00:26:27,840 --> 00:26:31,000
Speaker 2: not really surprised by anything in this film necessarily. I

501
00:26:31,119 --> 00:26:34,320
Speaker 2: saw everything it was doing like I saw it coming,

502
00:26:34,359 --> 00:26:37,560
Speaker 2: because I, you know, lived that for so much of

503
00:26:37,640 --> 00:26:40,520
Speaker 2: twenty twenty, especially like the twenty twenty protests in Portland,

504
00:26:41,000 --> 00:26:43,200
Speaker 2: but also my familiarity with it was also I was

505
00:26:43,200 --> 00:26:45,800
Speaker 2: also able to then like diagnose how the film was

506
00:26:45,920 --> 00:26:49,560
Speaker 2: subtly like diverting from reality and just showcasing what twenty

507
00:26:49,600 --> 00:26:51,719
Speaker 2: twenty felt like, and like what twenty twenty was the

508
00:26:51,760 --> 00:26:54,680
Speaker 2: minds of, like people who believed in conspiracy theories more

509
00:26:54,720 --> 00:26:56,639
Speaker 2: so than the actual reality of twenty twenty, which I

510
00:26:56,800 --> 00:26:59,800
Speaker 2: also discussed more with Jennie Danger later. But I think

511
00:27:00,400 --> 00:27:03,919
Speaker 2: like the genre switching and then setting up all of

512
00:27:03,960 --> 00:27:06,240
Speaker 2: these like twenty twenty hallmarks. I think the film does

513
00:27:06,280 --> 00:27:09,800
Speaker 2: really well doing like pretty solid foreshadowing and hitting all

514
00:27:09,800 --> 00:27:11,320
Speaker 2: the points you're going to have to hit if you're

515
00:27:11,320 --> 00:27:12,800
Speaker 2: gonna make a film about twenty twenty.

516
00:27:13,119 --> 00:27:13,479
Speaker 3: Yeah.

517
00:27:13,640 --> 00:27:18,679
Speaker 4: Yeah, we have the Wayfarer pedophile closets.

518
00:27:18,400 --> 00:27:21,280
Speaker 5: Totally qan on cults, child trafficking.

519
00:27:21,400 --> 00:27:21,960
Speaker 3: Yeah.

520
00:27:22,040 --> 00:27:25,440
Speaker 4: So I watched the movie Network like for four days

521
00:27:25,480 --> 00:27:26,320
Speaker 4: before I watched this.

522
00:27:26,800 --> 00:27:30,320
Speaker 2: Need I need to see Networks. Oh my god, Robert's

523
00:27:30,320 --> 00:27:31,720
Speaker 2: been trying to get me to watch it for years.

524
00:27:31,760 --> 00:27:33,480
Speaker 5: I just have never found the time. I guess I

525
00:27:33,480 --> 00:27:33,800
Speaker 5: don't know.

526
00:27:34,040 --> 00:27:36,800
Speaker 4: Ari Astro like explicitly brought up Network and said like

527
00:27:36,880 --> 00:27:39,439
Speaker 4: he was thinking about it while making this movie, but

528
00:27:39,480 --> 00:27:42,479
Speaker 4: that he wanted it to be more because the Network

529
00:27:42,600 --> 00:27:44,879
Speaker 4: is definitely more like it tells you what it means

530
00:27:44,920 --> 00:27:47,040
Speaker 4: sure kind of thing, and like what it thinks is

531
00:27:47,080 --> 00:27:48,280
Speaker 4: the right way to do things.

532
00:27:48,520 --> 00:27:51,719
Speaker 2: And this film purposely does not get into that too much.

533
00:27:51,920 --> 00:27:54,440
Speaker 2: It lets its own depiction tell you.

534
00:27:54,960 --> 00:27:55,320
Speaker 3: It doesn't.

535
00:27:55,359 --> 00:27:58,679
Speaker 2: It doesn't like stop you and explain whatever, like you know,

536
00:27:58,920 --> 00:28:01,840
Speaker 2: like what it's politics are. I think the movie does

537
00:28:01,880 --> 00:28:03,240
Speaker 2: the politics.

538
00:28:02,880 --> 00:28:07,280
Speaker 4: Yes, But I also I thought, in comparing it to network,

539
00:28:07,280 --> 00:28:09,479
Speaker 4: which I will try my heart is not to spoil

540
00:28:09,520 --> 00:28:14,199
Speaker 4: the network, but there there is definitely a theme in

541
00:28:14,240 --> 00:28:18,560
Speaker 4: this and in the network of like forces above this.

542
00:28:18,560 --> 00:28:23,480
Speaker 4: This movie is about political puppets about like non political actors,

543
00:28:23,560 --> 00:28:27,000
Speaker 4: right walkin Phoenix's character talks about how like he's not

544
00:28:27,119 --> 00:28:29,160
Speaker 4: for the government, he's for the people kind of thing,

545
00:28:29,200 --> 00:28:32,400
Speaker 4: so he's clearly doing like a populist thing. And then

546
00:28:32,720 --> 00:28:35,560
Speaker 4: by the end of the movie he's all the more

547
00:28:35,960 --> 00:28:39,200
Speaker 4: like he's literally a puppet, right Like he's he's like

548
00:28:39,520 --> 00:28:42,320
Speaker 4: just a sack of meat that is like it has

549
00:28:42,400 --> 00:28:45,760
Speaker 4: to watch his mom is not even his mom, mom

550
00:28:46,080 --> 00:28:47,920
Speaker 4: mother in law, mother in law, has.

551
00:28:48,680 --> 00:28:49,720
Speaker 3: Ex mother in law.

552
00:28:49,960 --> 00:28:54,600
Speaker 4: It's just incredible, one of the most horrifying concepts. But

553
00:28:55,080 --> 00:28:58,240
Speaker 4: this movie is about like, yeah, a bunch of stuff happens,

554
00:28:58,560 --> 00:29:00,840
Speaker 4: like stuff that's like they're trying to kind of throw

555
00:29:00,920 --> 00:29:01,720
Speaker 4: off the balance.

556
00:29:01,920 --> 00:29:05,719
Speaker 2: Yeah, people are trying to make political change while dealing

557
00:29:05,760 --> 00:29:10,200
Speaker 2: with this problem that politics is both very real, it's physical,

558
00:29:10,320 --> 00:29:13,600
Speaker 2: it determines almost everything about our lives, but it's also

559
00:29:14,200 --> 00:29:18,200
Speaker 2: very vague and nebulous and removed. So like, how do

560
00:29:18,240 --> 00:29:21,520
Speaker 2: you exert agency over something that is both real and

561
00:29:21,760 --> 00:29:24,800
Speaker 2: non real? To be a political actor, do you have

562
00:29:24,880 --> 00:29:29,280
Speaker 2: to literally be like an astroturfed paid actor. The people

563
00:29:29,320 --> 00:29:32,920
Speaker 2: that seemingly have the most political agency aren't even acting

564
00:29:32,960 --> 00:29:36,520
Speaker 2: on any personal agency but instead of just furthering the

565
00:29:36,560 --> 00:29:38,760
Speaker 2: interests of other entities.

566
00:29:39,080 --> 00:29:43,520
Speaker 4: Yeah, but the corporation's the big money people. Whoever's like

567
00:29:43,600 --> 00:29:47,480
Speaker 4: in the background, right the playing with the giant hand

568
00:29:47,600 --> 00:29:50,000
Speaker 4: holding the globe and the.

569
00:29:50,760 --> 00:29:52,520
Speaker 3: Antiva globe jet. Yeah.

570
00:29:52,600 --> 00:29:56,400
Speaker 4: Yeah, So Okay, here's a question because because when I

571
00:29:56,480 --> 00:30:01,280
Speaker 4: watched it, I thought that it was it's like paid actors, right,

572
00:30:01,440 --> 00:30:03,360
Speaker 4: Like they're paid like a paid clisson group.

573
00:30:03,600 --> 00:30:05,120
Speaker 3: That's what That's what I write it as.

574
00:30:05,320 --> 00:30:08,480
Speaker 2: I think it's left for audience interpretation whether whether or

575
00:30:08,480 --> 00:30:11,880
Speaker 2: not this is like the George Soros funded Antifa like

576
00:30:12,000 --> 00:30:15,360
Speaker 2: Specop's crew, who are genuine about their beliefs, or if

577
00:30:15,400 --> 00:30:17,800
Speaker 2: they're like a false flag crew who's just going around

578
00:30:18,120 --> 00:30:21,880
Speaker 2: so in chaos to promote like political discord, but not

579
00:30:21,920 --> 00:30:24,840
Speaker 2: for like ideological reasons, like just just through like false

580
00:30:24,840 --> 00:30:27,840
Speaker 2: flag attacks. I think it's intentionally left up to the audience,

581
00:30:28,240 --> 00:30:30,280
Speaker 2: and I think it's it's depicting that because of all

582
00:30:30,320 --> 00:30:33,560
Speaker 2: of like the Antifa conspiracy theories going around in twenty twenty,

583
00:30:34,080 --> 00:30:36,080
Speaker 2: and I view that as a it's like a manifestation

584
00:30:36,400 --> 00:30:40,640
Speaker 2: of how the right wing viewed this concept of Antifa,

585
00:30:40,680 --> 00:30:44,080
Speaker 2: even though Antifa is actually just teenagers wearing black hoodies. Yeah,

586
00:30:44,200 --> 00:30:46,040
Speaker 2: but they treated it as if it was this like

587
00:30:46,240 --> 00:30:48,360
Speaker 2: organized group going around.

588
00:30:48,480 --> 00:30:54,400
Speaker 4: Doing push ups on their private chat, smoking big cigars,

589
00:30:54,800 --> 00:30:58,680
Speaker 4: getting air dropped into into small towns to go exactly

590
00:30:58,800 --> 00:30:59,640
Speaker 4: blow things up.

591
00:30:59,800 --> 00:31:04,360
Speaker 3: Is exactly so funny of Antifa are coming in.

592
00:31:04,680 --> 00:31:08,800
Speaker 4: Yeah, And then that leads into what I think is

593
00:31:08,840 --> 00:31:12,000
Speaker 4: the best joke in the movie, the TikTok zoomer guy

594
00:31:12,600 --> 00:31:16,240
Speaker 4: shooting while holding his phone, and then like it cuts

595
00:31:16,360 --> 00:31:19,560
Speaker 4: immediately into like a now this uh like.

596
00:31:19,520 --> 00:31:24,440
Speaker 1: TikTok about the Antifa. It's like militia time is And

597
00:31:24,480 --> 00:31:25,200
Speaker 1: then he's like a.

598
00:31:25,240 --> 00:31:27,600
Speaker 4: Hype guy and he's got like a podcast where he's

599
00:31:27,600 --> 00:31:30,320
Speaker 4: talking about if Michelle Obama's going to run for president

600
00:31:30,560 --> 00:31:34,080
Speaker 4: or whatever, like so good, what did.

601
00:31:34,000 --> 00:31:34,760
Speaker 3: You what did you think of?

602
00:31:35,120 --> 00:31:40,160
Speaker 4: Kind of the the semi cliffhanger conclusion of some of

603
00:31:40,240 --> 00:31:44,400
Speaker 4: the threads, I guess because and I'm only thinking about

604
00:31:44,400 --> 00:31:47,320
Speaker 4: this as a cliffhanger because he's talked about it him

605
00:31:47,360 --> 00:31:49,400
Speaker 4: making a sequel if that makes sense.

606
00:31:50,160 --> 00:31:52,120
Speaker 5: Yeah, like a like like a loose sequel.

607
00:31:52,520 --> 00:31:55,400
Speaker 1: Yeah yeah, with like some of the same characters.

608
00:31:55,440 --> 00:31:56,800
Speaker 3: I guess, I don't know.

609
00:31:56,800 --> 00:31:59,239
Speaker 2: I have felt pretty satisfied with how this wrapped up,

610
00:31:59,280 --> 00:32:02,960
Speaker 2: because I mean, twenty twenty did not have a real ending.

611
00:32:03,000 --> 00:32:05,040
Speaker 5: We are still living in the shadow of twenty and twenty.

612
00:32:05,080 --> 00:32:08,239
Speaker 2: There still is loose threads, like COVID still is a

613
00:32:08,280 --> 00:32:11,320
Speaker 2: thing that exists of We're still living with, like the

614
00:32:11,360 --> 00:32:14,480
Speaker 2: way political violence escalated and never fully went away with,

615
00:32:14,680 --> 00:32:19,280
Speaker 2: especially like January sixth, and how even the concept of

616
00:32:19,280 --> 00:32:22,920
Speaker 2: pedophilia still runs almost all of politics. Like this is

617
00:32:22,920 --> 00:32:25,280
Speaker 2: what politics is about, is like deciding who is and

618
00:32:25,400 --> 00:32:28,840
Speaker 2: isn't a pedophile. Yeah, like the whole conspiracy theory angle.

619
00:32:28,960 --> 00:32:30,680
Speaker 2: More people are conspiracy theorists now than I think they

620
00:32:30,680 --> 00:32:33,120
Speaker 2: were in twenty twenty, including like liberals. Oh yeah, no,

621
00:32:33,280 --> 00:32:37,320
Speaker 2: the whole like blue and on conspiracy theories, the alt

622
00:32:37,440 --> 00:32:42,080
Speaker 2: National Park, Blue Sky accounts, the Trump assassination was staged,

623
00:32:42,440 --> 00:32:44,680
Speaker 2: like all of that kind of stuff. Is like this

624
00:32:44,720 --> 00:32:47,720
Speaker 2: has just become all of what politics is.

625
00:32:47,960 --> 00:32:48,960
Speaker 1: It's what your mom does.

626
00:32:49,120 --> 00:32:52,200
Speaker 4: It's what like your mom or like your every one

627
00:32:52,240 --> 00:32:53,240
Speaker 4: of your parents.

628
00:32:52,920 --> 00:32:55,120
Speaker 2: Does and not just your right wing mom now like

629
00:32:55,160 --> 00:32:57,720
Speaker 2: this is like everybody's mom. Yeah, And I think that's

630
00:32:57,760 --> 00:33:00,760
Speaker 2: the sort of American decline that are Yeah is depicting.

631
00:33:00,840 --> 00:33:02,880
Speaker 2: As opposed to the type that James Gunn is depicting.

632
00:33:03,000 --> 00:33:04,640
Speaker 1: I think it's much more accurate.

633
00:33:04,280 --> 00:33:06,160
Speaker 5: I agree, and it's much more holistic.

634
00:33:06,440 --> 00:33:07,760
Speaker 1: Yes, I don't think you could.

635
00:33:07,880 --> 00:33:10,760
Speaker 4: I obviously, I don't think you could kind of really

636
00:33:10,840 --> 00:33:16,200
Speaker 4: hold the schizophrenia that the post twenty twenty post lockdown

637
00:33:16,600 --> 00:33:20,320
Speaker 4: political schizophrenia that we exist and currently I agree, where

638
00:33:20,360 --> 00:33:23,640
Speaker 4: like everything is ungrounded. You know, you can't do a

639
00:33:23,720 --> 00:33:26,000
Speaker 4: superhero story like that. I don't think there's like no

640
00:33:26,080 --> 00:33:26,760
Speaker 4: way to do that.

641
00:33:27,000 --> 00:33:31,400
Speaker 2: No, unless you use my favorite superhero, the Question Yes,

642
00:33:31,920 --> 00:33:34,680
Speaker 2: in which you could do that, and James Gutt if

643
00:33:34,680 --> 00:33:36,920
Speaker 2: you're listening, I will write to a Question film and

644
00:33:36,960 --> 00:33:41,960
Speaker 2: it will be crazy. But like in terms of like

645
00:33:41,960 --> 00:33:44,960
Speaker 2: like filmmaking, I think I think post woke as like

646
00:33:44,960 --> 00:33:47,000
Speaker 2: a filmmaking style, and like what our aster is doing

647
00:33:47,000 --> 00:33:50,120
Speaker 2: here is a reaction to the past, like ten years

648
00:33:50,160 --> 00:33:55,720
Speaker 2: of liberal self aggrandizing movies as content slop right, which

649
00:33:55,760 --> 00:33:59,280
Speaker 2: tries to get points for like diversity casting without having

650
00:33:59,280 --> 00:34:02,760
Speaker 2: any actual substance of politics or will like gesture to

651
00:34:02,800 --> 00:34:05,640
Speaker 2: things relating to class, even though it's made by these big,

652
00:34:05,680 --> 00:34:08,400
Speaker 2: you know, multi billion dollar corporations. And I think that

653
00:34:08,440 --> 00:34:12,640
Speaker 2: whole era produced this sort of schizophrenia because everything feels

654
00:34:12,680 --> 00:34:16,520
Speaker 2: so paradoxical and self contradictory. And I think part of

655
00:34:16,560 --> 00:34:19,360
Speaker 2: the feelings that evokes is what Eddington is trying to

656
00:34:19,400 --> 00:34:23,440
Speaker 2: pull on and depicting those feelings as a subject itself,

657
00:34:23,480 --> 00:34:25,879
Speaker 2: not just as like a background thing that we try

658
00:34:25,880 --> 00:34:29,000
Speaker 2: to either like acknowledge sort of or try to like

659
00:34:29,080 --> 00:34:32,440
Speaker 2: not acknowledge and like ignore. I think viewing that that

660
00:34:32,520 --> 00:34:36,040
Speaker 2: cultural schizophrenia as a subject, if anything, that's like the

661
00:34:36,080 --> 00:34:39,399
Speaker 2: main character of Eddington. And I think that's the part

662
00:34:39,480 --> 00:34:41,040
Speaker 2: that that worked the most for me.

663
00:34:41,360 --> 00:34:44,440
Speaker 4: I I yeah, I think it structure wise, A lot

664
00:34:44,440 --> 00:34:46,959
Speaker 4: of people were talking about like it feels like too.

665
00:34:46,920 --> 00:34:48,040
Speaker 3: Scattered of a movie.

666
00:34:48,120 --> 00:34:49,640
Speaker 4: I think I saw that a lot, and like the

667
00:34:49,680 --> 00:34:53,080
Speaker 4: critiques of it, and I think, like, sure, if we're

668
00:34:53,120 --> 00:34:56,920
Speaker 4: talking about like just you know, does it become a

669
00:34:56,960 --> 00:34:59,719
Speaker 4: little confusing to follow. Maybe, but it's like that's the

670
00:34:59,719 --> 00:35:02,520
Speaker 4: point and not to say like that's the point, so

671
00:35:02,560 --> 00:35:04,480
Speaker 4: it washes that away. But like I don't think you

672
00:35:04,480 --> 00:35:07,440
Speaker 4: can I don't think you can make a movie accurately.

673
00:35:07,680 --> 00:35:09,880
Speaker 2: You can't make a movie about that era without it

674
00:35:09,960 --> 00:35:11,040
Speaker 2: feeling scattered like that.

675
00:35:11,280 --> 00:35:14,640
Speaker 1: Yeah, that's why I really respect our astor. I think

676
00:35:15,440 --> 00:35:17,400
Speaker 1: I was talking to my partner.

677
00:35:17,200 --> 00:35:20,880
Speaker 4: Yesterday about who's the guy that made like Nosferatu and

678
00:35:20,920 --> 00:35:21,600
Speaker 4: all those movies.

679
00:35:22,400 --> 00:35:23,160
Speaker 1: Robert Eggers.

680
00:35:23,280 --> 00:35:27,640
Speaker 4: Robert Eggers very good filmmaker, but he's explicitly talked about

681
00:35:27,800 --> 00:35:28,920
Speaker 4: how he doesn't ever.

682
00:35:28,800 --> 00:35:30,480
Speaker 5: Want want to do modern films.

683
00:35:30,520 --> 00:35:33,719
Speaker 4: Yeah, a modern film, I guess. I haven't seen The Shrouds,

684
00:35:34,000 --> 00:35:35,560
Speaker 4: but I've heard very good things about it.

685
00:35:35,640 --> 00:35:36,600
Speaker 3: Me neither me neither.

686
00:35:36,960 --> 00:35:37,959
Speaker 1: Yeah, I want to see that.

687
00:35:37,880 --> 00:35:40,200
Speaker 4: Movie because I think Cronenberg is another one who's like

688
00:35:40,239 --> 00:35:41,239
Speaker 4: I also want.

689
00:35:41,440 --> 00:35:43,320
Speaker 1: I watched a great lineup for this movie.

690
00:35:43,320 --> 00:35:48,200
Speaker 4: I watched Cronenberg's What's the Video Drome recently?

691
00:35:48,360 --> 00:35:48,680
Speaker 3: That's good.

692
00:35:49,320 --> 00:35:53,320
Speaker 2: I can definitely see Eddington kind of being a grandchild

693
00:35:53,360 --> 00:35:54,960
Speaker 2: of video drone in some ways.

694
00:35:55,080 --> 00:35:58,160
Speaker 4: I would also recommend. I've also I've been reading Mark

695
00:35:58,200 --> 00:36:00,000
Speaker 4: Fischer's Flatline Constructs.

696
00:36:00,320 --> 00:36:01,640
Speaker 5: This is a very Fisher movie.

697
00:36:01,840 --> 00:36:02,960
Speaker 1: Yeah, very Fisher.

698
00:36:03,360 --> 00:36:03,560
Speaker 3: Yeah.

699
00:36:03,560 --> 00:36:07,680
Speaker 4: I literally I listened to the stupid Russell Brand audiobook

700
00:36:07,840 --> 00:36:10,319
Speaker 4: of Capitalist Real No.

701
00:36:11,120 --> 00:36:12,160
Speaker 3: Oh, that sucks.

702
00:36:12,280 --> 00:36:15,600
Speaker 4: I know, Russell Brand sucks, but I was at work

703
00:36:15,640 --> 00:36:17,719
Speaker 4: and I just needed something to listen to, so I

704
00:36:17,719 --> 00:36:20,080
Speaker 4: didn't like blow my head off and it didn't end

705
00:36:20,160 --> 00:36:22,920
Speaker 4: up working out actually because I was working my shitty

706
00:36:23,000 --> 00:36:24,040
Speaker 4: job and listening to.

707
00:36:24,719 --> 00:36:29,920
Speaker 2: Capitalists Brandy Russell Brand, Russell Brands capitalist realism.

708
00:36:30,120 --> 00:36:31,760
Speaker 3: Oh god, what a bummer.

709
00:36:32,040 --> 00:36:36,320
Speaker 5: Yeah, truly, Mark Fisher is only l Yeah.

710
00:36:35,640 --> 00:36:38,000
Speaker 4: It is unbearable to have to listen to his voice.

711
00:36:38,000 --> 00:36:40,680
Speaker 4: But it's a great book. I would definitely recommend reading

712
00:36:40,680 --> 00:36:44,040
Speaker 4: that if you want to go into Eddington even more

713
00:36:44,120 --> 00:36:47,600
Speaker 4: like locked In, I guess, but this is a very

714
00:36:47,640 --> 00:36:51,360
Speaker 4: like yeah, like uh you know, capital can convert anything

715
00:36:51,600 --> 00:36:56,080
Speaker 4: into the image of something else. There was one shot

716
00:36:56,120 --> 00:36:58,839
Speaker 4: that I really I found very evocative, which was the

717
00:36:59,360 --> 00:37:04,000
Speaker 4: shot of him walking Phoenix's characters having his haircut by

718
00:37:04,160 --> 00:37:09,759
Speaker 4: his whatever stepmom ex stepmom, and she's talking about like

719
00:37:09,800 --> 00:37:13,560
Speaker 4: conspiracy theory while filming it. That's good for TikTok, And

720
00:37:13,600 --> 00:37:17,480
Speaker 4: it's like this is so perfect and so morbid and.

721
00:37:17,400 --> 00:37:21,440
Speaker 2: Like, yeah, no, there's a little bit of like Butdriard's

722
00:37:21,600 --> 00:37:25,320
Speaker 2: book on America here, there's certainly a lot of Gedaboard

723
00:37:25,320 --> 00:37:27,120
Speaker 2: in this, and I think that also was part of

724
00:37:27,120 --> 00:37:30,239
Speaker 2: what relates it to me to Superman is how much

725
00:37:30,680 --> 00:37:35,480
Speaker 2: like Superman is accidentally doing gedaboard regarding the genocide and Palestine,

726
00:37:35,920 --> 00:37:38,560
Speaker 2: and how much I think that critique is actually built

727
00:37:38,640 --> 00:37:39,480
Speaker 2: into Eddington.

728
00:37:40,840 --> 00:37:41,000
Speaker 1: No.

729
00:37:41,160 --> 00:37:46,840
Speaker 4: Absolutely, yeah, I Superman is such an an interesting movie

730
00:37:46,880 --> 00:37:49,319
Speaker 4: to take on that subject because obviously, in a way

731
00:37:49,360 --> 00:37:51,840
Speaker 4: you're kind of like, well, good for James Gunn for

732
00:37:51,960 --> 00:37:53,640
Speaker 4: doing something daring.

733
00:37:53,800 --> 00:37:55,880
Speaker 1: I guess daring, I say with air quotes.

734
00:37:56,040 --> 00:37:59,680
Speaker 4: But it's also like you have the Israel Palestine stuff

735
00:38:00,360 --> 00:38:03,320
Speaker 4: right after a scene where Superman saves a green baby

736
00:38:03,840 --> 00:38:07,480
Speaker 4: from a river of like cosmic sludge.

737
00:38:07,280 --> 00:38:09,080
Speaker 3: Of like CGI squares.

738
00:38:09,160 --> 00:38:12,719
Speaker 4: Yeah, which, by the way, I'm sure I don't know

739
00:38:12,760 --> 00:38:15,120
Speaker 4: if this is the general consensus, but I thought that

740
00:38:15,120 --> 00:38:16,800
Speaker 4: that scene was ugliest sin.

741
00:38:16,760 --> 00:38:17,879
Speaker 1: And I kind of hated it.

742
00:38:18,520 --> 00:38:21,920
Speaker 2: Also, I hated the whole Pocket dimension. Yeah, aspect I

743
00:38:21,960 --> 00:38:23,759
Speaker 2: don't I don't know why they didn't do a quick,

744
00:38:23,840 --> 00:38:26,840
Speaker 2: like ten minute interlude into the Phantom Zone keep it that.

745
00:38:27,480 --> 00:38:30,600
Speaker 2: But no, I think that that whole Pocket Dimension like

746
00:38:30,680 --> 00:38:33,279
Speaker 2: forty minutes like derailed and stagnated a lot of the

747
00:38:33,280 --> 00:38:35,879
Speaker 2: film for me and did not look very good.

748
00:38:36,280 --> 00:38:39,239
Speaker 4: He's doing like Lex Luthor's Peter Teal, Lex Luthor is

749
00:38:39,239 --> 00:38:43,319
Speaker 4: Elon Musk Lex Luthor's which could work. Yeah, yeah, which

750
00:38:43,360 --> 00:38:45,319
Speaker 4: I think. I think I found it funny at least

751
00:38:45,320 --> 00:38:47,960
Speaker 4: I've said, like totally. I watched it and I thought like, oh,

752
00:38:48,000 --> 00:38:50,799
Speaker 4: I know what he's doing. You know that he's Peter Teal,

753
00:38:50,880 --> 00:38:52,160
Speaker 4: shut down Gawker.

754
00:38:51,880 --> 00:38:53,720
Speaker 5: Or whatever, crying men baby.

755
00:38:54,000 --> 00:38:54,320
Speaker 1: Yeah.

756
00:38:54,440 --> 00:38:57,680
Speaker 4: Yeah, so it's like I get it, but I also,

757
00:38:58,200 --> 00:39:00,239
Speaker 4: I mean, it's been done before kind of thing, like

758
00:39:00,280 --> 00:39:03,359
Speaker 4: I don't find it, you know that I don't know,

759
00:39:03,440 --> 00:39:06,120
Speaker 4: but he hey, his performance is great. But then the

760
00:39:06,160 --> 00:39:08,799
Speaker 4: whole Palestine stuff is also capped off with a scene

761
00:39:08,800 --> 00:39:11,799
Speaker 4: where Lex Luthor gets like bullied by a dog. You know,

762
00:39:12,360 --> 00:39:14,920
Speaker 4: it's sandwiched between two things that are just like I

763
00:39:15,000 --> 00:39:17,440
Speaker 4: don't know if you can do this or if you

764
00:39:17,440 --> 00:39:18,960
Speaker 4: should do this, Like I don't know.

765
00:39:20,640 --> 00:39:22,360
Speaker 2: No, it is I think it's it's part of that

766
00:39:22,920 --> 00:39:26,000
Speaker 2: sort of cultural schizophrenia that I think that Eddington is

767
00:39:26,400 --> 00:39:30,279
Speaker 2: pulling on. Yeah, is moments like that in the David

768
00:39:30,360 --> 00:39:34,800
Speaker 2: Zaslov Winner Brothers Discovery Superman twenty twenty five.

769
00:39:36,280 --> 00:39:39,000
Speaker 4: Eddington just is you know, it's a film that is

770
00:39:39,000 --> 00:39:42,319
Speaker 4: like its entire thesis is that is the is the

771
00:39:42,480 --> 00:39:46,520
Speaker 4: jumping around, the just ret like his car is covered

772
00:39:46,560 --> 00:39:48,440
Speaker 4: in shit for the entire movie.

773
00:39:48,480 --> 00:39:50,320
Speaker 1: I love it so funny.

774
00:39:50,560 --> 00:39:53,439
Speaker 4: All the slogans are like kind of like they're all

775
00:39:53,600 --> 00:39:56,000
Speaker 4: trying to put in their own little thing, you know,

776
00:39:56,160 --> 00:39:57,800
Speaker 4: Like he's like, can we make it about bitcoin?

777
00:39:58,360 --> 00:39:59,480
Speaker 1: Can we make it about.

778
00:39:59,280 --> 00:40:02,880
Speaker 2: It's like a twenty twenty conservative Facebook feed brought to life.

779
00:40:02,960 --> 00:40:06,520
Speaker 4: Yes, Yes, it's a great movie. I love Eddington. I

780
00:40:06,560 --> 00:40:08,720
Speaker 4: think that this movie will age very well.

781
00:40:09,239 --> 00:40:13,120
Speaker 5: Well, what would you like to plug daily new Poster?

782
00:40:13,800 --> 00:40:15,719
Speaker 1: I think you should follow me.

783
00:40:16,160 --> 00:40:19,400
Speaker 4: If you have an X, you should follow me on

784
00:40:20,000 --> 00:40:21,239
Speaker 4: at what is it called?

785
00:40:21,840 --> 00:40:22,959
Speaker 1: At New Poster two?

786
00:40:23,200 --> 00:40:26,880
Speaker 4: On X. If you're on Instagram, you should follow me

787
00:40:26,920 --> 00:40:30,480
Speaker 4: at postalytical blame, which is a terrible username, but I

788
00:40:30,560 --> 00:40:33,560
Speaker 4: made it's my writing username, like ages ago, I think.

789
00:40:34,239 --> 00:40:37,360
Speaker 4: And then on Blue Sky if you use that, you

790
00:40:37,400 --> 00:40:39,919
Speaker 4: should follow me at what even is micha blue Sky?

791
00:40:39,960 --> 00:40:41,560
Speaker 1: I don't even use I'm gonna be honest, I don't

792
00:40:41,640 --> 00:40:42,239
Speaker 1: use Blue Sky.

793
00:40:42,360 --> 00:40:44,680
Speaker 2: But if you if we got to fix the vibes

794
00:40:44,719 --> 00:40:46,480
Speaker 2: on there, Bailey, we got it, we got we got

795
00:40:46,800 --> 00:40:49,799
Speaker 2: we got to get more like crazy crazy unhinged art

796
00:40:49,840 --> 00:40:50,399
Speaker 2: on Blue Sky.

797
00:40:50,600 --> 00:40:55,080
Speaker 4: Right, it's it's new poster dot, blue sky, dot social

798
00:40:55,160 --> 00:40:55,560
Speaker 4: or whatever.

799
00:40:56,000 --> 00:40:58,160
Speaker 3: So there you go if you need that.

800
00:40:58,520 --> 00:41:00,719
Speaker 1: There, there's the there's the plugs.

801
00:41:00,880 --> 00:41:02,760
Speaker 5: Well, thank you for coming on to talk about Eddington

802
00:41:02,960 --> 00:41:03,640
Speaker 5: and Superman.

803
00:41:03,880 --> 00:41:06,680
Speaker 4: Thank you so much for inviting me. This has been wonderful.

804
00:41:06,800 --> 00:41:09,600
Speaker 4: I love Eddington. I enjoyed Superman. So this is a

805
00:41:10,360 --> 00:41:11,040
Speaker 4: good talk.

806
00:41:11,560 --> 00:41:13,080
Speaker 5: There you go, Lovely Lovely.

807
00:41:23,719 --> 00:41:27,719
Speaker 2: For the last segment of our post Woke Cinema episode,

808
00:41:28,000 --> 00:41:31,040
Speaker 2: I'm gonna play a conversation I had with Atlanta musician

809
00:41:31,480 --> 00:41:35,080
Speaker 2: Jane Danger, who we talk about her thoughts on the

810
00:41:35,120 --> 00:41:40,760
Speaker 2: film Eddington and the way it manifests twenty twenties hyperreality.

811
00:41:42,040 --> 00:41:45,160
Speaker 3: Just a little background, I guess, like I really like

812
00:41:45,280 --> 00:41:48,120
Speaker 3: ari Asta. I remember talking with you about Bo's Afraid

813
00:41:48,160 --> 00:41:51,279
Speaker 3: a while ago. I remember you weren't a huge fan

814
00:41:51,360 --> 00:41:52,640
Speaker 3: of it, not so hot.

815
00:41:52,680 --> 00:41:54,280
Speaker 5: I'm Bo's Afraid. I'm Afraid.

816
00:41:54,520 --> 00:41:57,520
Speaker 2: I wanted to like it too, because whenever people talk

817
00:41:57,560 --> 00:42:00,600
Speaker 2: about this like like like off putting long slows in

818
00:42:00,680 --> 00:42:04,399
Speaker 2: him up about like anxiety, like I want to like that.

819
00:42:04,520 --> 00:42:07,520
Speaker 2: Like Inland Empayer is one of the best films ever,

820
00:42:07,600 --> 00:42:09,960
Speaker 2: there's other other other films that do is that that

821
00:42:09,960 --> 00:42:13,320
Speaker 2: that also tackle its not just like David Lynch. Yeah,

822
00:42:13,360 --> 00:42:16,239
Speaker 2: and like the rest of Ariaster, I was always like

823
00:42:16,480 --> 00:42:19,400
Speaker 2: lukewarm to kind of positive on Like, I don't hate

824
00:42:19,520 --> 00:42:22,200
Speaker 2: him as a filmmaker. I don't have that as part

825
00:42:22,239 --> 00:42:25,400
Speaker 2: of my personality the way some people do. Yeah, I

826
00:42:25,440 --> 00:42:27,399
Speaker 2: think his movies are just fine. I think he does

827
00:42:27,520 --> 00:42:30,000
Speaker 2: dabble in or I guess he like overlies on a

828
00:42:30,040 --> 00:42:31,560
Speaker 2: degree of shalk value, which you could even see in

829
00:42:31,560 --> 00:42:33,799
Speaker 2: his earlier like Student films. Yeah, I think are like

830
00:42:34,200 --> 00:42:37,920
Speaker 2: very juvenile and not interesting. I think Hereditary is fine.

831
00:42:38,440 --> 00:42:40,799
Speaker 2: So ari Aster has always like been there, but I've

832
00:42:40,800 --> 00:42:42,720
Speaker 2: never been like a Ariaster in bio.

833
00:42:43,120 --> 00:42:45,480
Speaker 3: I think he's kind of cool to hate now, Like

834
00:42:45,560 --> 00:42:46,279
Speaker 3: I think with.

835
00:42:46,719 --> 00:42:49,120
Speaker 2: He's very cool to hate now people people people really

836
00:42:49,120 --> 00:42:51,160
Speaker 2: like hating him. But Eddington I think has done him

837
00:42:51,200 --> 00:42:53,399
Speaker 2: a lot of favors though among the people who used

838
00:42:53,400 --> 00:42:53,919
Speaker 2: to hate him.

839
00:42:54,000 --> 00:42:57,160
Speaker 3: I've kind of noticed that it seems like with Hereditary

840
00:42:57,160 --> 00:43:00,799
Speaker 3: in Midsommer, those were generally like very well received by

841
00:43:00,880 --> 00:43:03,600
Speaker 3: like the a twenty four crowd yea, and it was

842
00:43:03,680 --> 00:43:05,840
Speaker 3: kind of like, I guess the cool opinion would be

843
00:43:05,920 --> 00:43:08,359
Speaker 3: to be like those movies are mid and then like

844
00:43:08,680 --> 00:43:12,040
Speaker 3: Bo was Afraid is a masterpiece or whatever. I like

845
00:43:12,400 --> 00:43:15,400
Speaker 3: his horror movies. I think they're slick, well made films

846
00:43:15,480 --> 00:43:19,560
Speaker 3: with good stories. I love bo Was Afraid though, I

847
00:43:19,600 --> 00:43:22,239
Speaker 3: think it's incredible, but it is not the kind of

848
00:43:22,400 --> 00:43:24,120
Speaker 3: it's the kind of movie that like, as much as

849
00:43:24,120 --> 00:43:25,840
Speaker 3: I love it, as much as it means to me,

850
00:43:26,360 --> 00:43:29,480
Speaker 3: as seen as I feel by that film, it's not

851
00:43:29,560 --> 00:43:31,920
Speaker 3: the kind of thing that, like, if you don't like it,

852
00:43:32,239 --> 00:43:35,359
Speaker 3: I'm not gonna like convince you. You know, Like there's

853
00:43:35,360 --> 00:43:37,600
Speaker 3: probably like if you told me you didn't like Maholland Drive,

854
00:43:37,719 --> 00:43:40,759
Speaker 3: like I'd be like, you're fucking stupid and wrong, You're dumb.

855
00:43:40,960 --> 00:43:42,560
Speaker 3: If you tell me you don't like Bo Was Afraid,

856
00:43:42,640 --> 00:43:45,839
Speaker 3: it's like fair enough. It's it's sure certainly the kind

857
00:43:45,840 --> 00:43:48,680
Speaker 3: of thing that's not for everyone. I bring it up

858
00:43:48,880 --> 00:43:53,560
Speaker 3: mostly because I think with Bo and Eddington, it's a

859
00:43:53,640 --> 00:43:57,520
Speaker 3: very interesting thing he does that is kind of I

860
00:43:57,560 --> 00:44:01,000
Speaker 3: guess I compared to maybe like a French new wave directors,

861
00:44:01,040 --> 00:44:04,520
Speaker 3: maybe like something like Selene and Julie go Boding, where

862
00:44:05,360 --> 00:44:12,360
Speaker 3: the like protagonists are living in like a fake insane reality,

863
00:44:12,920 --> 00:44:17,160
Speaker 3: where in other directors, like most other films, like you'd

864
00:44:17,239 --> 00:44:21,719
Speaker 3: have someone who's like going insane and hallucinating and like

865
00:44:22,000 --> 00:44:25,080
Speaker 3: everyone's trying to kill them, et cetera. And then maybe

866
00:44:25,120 --> 00:44:26,480
Speaker 3: there would be like a cut.

867
00:44:26,239 --> 00:44:28,000
Speaker 5: Which is kind of what happens to Bow Is Afraid.

868
00:44:28,120 --> 00:44:30,799
Speaker 3: Yeah, but in other movies there would maybe be like

869
00:44:30,840 --> 00:44:33,920
Speaker 3: a cut away for someone else where they see like

870
00:44:34,000 --> 00:44:36,719
Speaker 3: the character like arguing to a shadow like the quote

871
00:44:36,760 --> 00:44:40,120
Speaker 3: unquote real perspective. Yeah, yeah, yeah, exactly. And I think

872
00:44:40,200 --> 00:44:44,040
Speaker 3: that bo Is Afraid it's like, it's no, this is real.

873
00:44:44,719 --> 00:44:48,160
Speaker 3: And I think Eddington does a very similar thing where

874
00:44:48,800 --> 00:44:54,520
Speaker 3: the beliefs of the characters are real. And that's why, like,

875
00:44:54,920 --> 00:44:57,279
Speaker 3: you know, all the conservatives, like I mean, if you

876
00:44:57,280 --> 00:45:00,080
Speaker 3: remember twenty twenty, they're like there's Antipho super soldiers that

877
00:45:00,120 --> 00:45:02,960
Speaker 3: are going out and doing terrorism. It's like so in

878
00:45:03,000 --> 00:45:06,040
Speaker 3: this world, in the Eddington universe, it's like what if

879
00:45:06,040 --> 00:45:09,240
Speaker 3: that was real? Like what if Fox News was actually

880
00:45:09,520 --> 00:45:12,400
Speaker 3: in motion here? And I think that's very interesting.

881
00:45:13,080 --> 00:45:14,600
Speaker 2: The approach that he does in Eddington, I think is

882
00:45:14,600 --> 00:45:15,960
Speaker 2: a little bit more subtle than the way there's in

883
00:45:16,000 --> 00:45:19,319
Speaker 2: Bo's Afraid, because you start the film way way more

884
00:45:19,360 --> 00:45:21,960
Speaker 2: as like as like you know, a political satire on

885
00:45:21,960 --> 00:45:26,759
Speaker 2: the absurdity of like pandemic era America, and then the

886
00:45:26,760 --> 00:45:31,920
Speaker 2: reality starts diverting from what we can agree as like

887
00:45:32,000 --> 00:45:35,080
Speaker 2: as like a shared consensus reality, and then it diverts

888
00:45:35,080 --> 00:45:37,400
Speaker 2: from that the same way reality diverted away from that

889
00:45:37,440 --> 00:45:40,120
Speaker 2: in twenty twenty for people, and we created this like yeah,

890
00:45:40,280 --> 00:45:42,280
Speaker 2: massive like reality fracture point.

891
00:45:42,600 --> 00:45:42,920
Speaker 3: Yeah.

892
00:45:43,120 --> 00:45:45,799
Speaker 2: Like the first time I noticed this in the filmmaking

893
00:45:46,000 --> 00:45:49,000
Speaker 2: was there was like a news clip about like a

894
00:45:49,120 --> 00:45:51,719
Speaker 2: Portland riot in twenty twenty, and it had people like

895
00:45:51,760 --> 00:45:56,000
Speaker 2: exchanging gunfire on rooftops and it was played next to

896
00:45:56,239 --> 00:45:58,560
Speaker 2: actual news clips of like the Third Precinct burning down,

897
00:45:58,560 --> 00:46:00,480
Speaker 2: Like it was played off as like a real, legitimate

898
00:46:00,520 --> 00:46:02,719
Speaker 2: news clip. Yeah, and like I was, I lived in

899
00:46:02,719 --> 00:46:04,719
Speaker 2: Important in twenty twenty. I know that's not real, but

900
00:46:04,800 --> 00:46:07,280
Speaker 2: to many people viewing, they might not catch that. Yeah,

901
00:46:07,560 --> 00:46:09,600
Speaker 2: that might just be like that might just go into

902
00:46:09,640 --> 00:46:12,240
Speaker 2: the background. So at that point I realized that actually

903
00:46:12,320 --> 00:46:14,799
Speaker 2: the way that reality is getting diverted into film is

904
00:46:14,840 --> 00:46:16,800
Speaker 2: way more subtle. And then of course you get like

905
00:46:16,840 --> 00:46:19,720
Speaker 2: the Antifa super soldier private jet later and it's more obvious,

906
00:46:19,840 --> 00:46:24,080
Speaker 2: like what he's doing, But even like small things like that,

907
00:46:24,120 --> 00:46:26,359
Speaker 2: I started to really appreciate you, Like, no, you're like

908
00:46:26,480 --> 00:46:29,200
Speaker 2: getting into the mind of people who believe these things,

909
00:46:29,719 --> 00:46:32,400
Speaker 2: and that's what we're that's what's being depicted, Like the

910
00:46:32,440 --> 00:46:35,160
Speaker 2: feelings of twenty twenty are more important than the reality

911
00:46:35,160 --> 00:46:39,080
Speaker 2: of twenty twenty, and that is what he's trying to show.

912
00:46:39,800 --> 00:46:42,400
Speaker 3: That's even kind of like a meta in a sense,

913
00:46:42,480 --> 00:46:45,680
Speaker 3: because it's like if you watch that scene of like

914
00:46:45,760 --> 00:46:49,759
Speaker 3: the footage of the Portland like shooting and stuff, and

915
00:46:49,880 --> 00:46:52,800
Speaker 3: you as the audience are like questioning if that was real,

916
00:46:53,320 --> 00:46:58,480
Speaker 3: then it's like your consensus reality is also diverging from

917
00:46:58,640 --> 00:47:01,440
Speaker 3: the regular consensus reality. It's like it kind of makes

918
00:47:01,480 --> 00:47:05,440
Speaker 3: you a cipher for the characters, which which also leads

919
00:47:05,440 --> 00:47:08,960
Speaker 3: me to something something else, So something I don't see

920
00:47:09,000 --> 00:47:12,760
Speaker 3: a lot of people talking about. But the vagrant character

921
00:47:13,000 --> 00:47:16,560
Speaker 3: that starts the film where he comes in and he's

922
00:47:16,640 --> 00:47:20,279
Speaker 3: just like mumbling like messages, and if you've ever been

923
00:47:20,320 --> 00:47:22,920
Speaker 3: around like a you know, like a homeless person on

924
00:47:22,960 --> 00:47:28,160
Speaker 3: a bus or something, they like to mumble. And it's

925
00:47:28,640 --> 00:47:32,800
Speaker 3: I read that as someone who's like just essentially doing

926
00:47:32,920 --> 00:47:36,920
Speaker 3: what everyone else in this movie eventually comes to do

927
00:47:37,200 --> 00:47:40,440
Speaker 3: totally yes, which is just taking all of your like

928
00:47:40,600 --> 00:47:45,960
Speaker 3: internalized like messages, traumas like things you've heard, things you believe,

929
00:47:46,320 --> 00:47:49,520
Speaker 3: and just like grumbling it, spitting it out and to

930
00:47:49,680 --> 00:47:54,400
Speaker 3: anyone who talks to you, just incessantly, just like messages, messages, messages.

931
00:47:54,840 --> 00:47:57,960
Speaker 2: The similarity of that character to like the mom character

932
00:47:58,400 --> 00:48:00,520
Speaker 2: who does the same thing but is seen in a

933
00:48:00,600 --> 00:48:01,440
Speaker 2: very different way.

934
00:48:01,680 --> 00:48:03,120
Speaker 3: Yeah, because a house she.

935
00:48:03,080 --> 00:48:05,080
Speaker 5: Has like a home to live in and has like family.

936
00:48:05,280 --> 00:48:05,600
Speaker 1: Yeah.

937
00:48:05,640 --> 00:48:09,360
Speaker 3: Absolutely, And there's no there's no place for a person

938
00:48:09,640 --> 00:48:12,040
Speaker 3: like the vagrant in this world, but there is a

939
00:48:12,080 --> 00:48:15,719
Speaker 3: place for all these other types of insane people, and

940
00:48:15,920 --> 00:48:20,400
Speaker 3: they're all able to find their little little niches and such,

941
00:48:20,800 --> 00:48:24,080
Speaker 3: when maybe in a world before that, in a world

942
00:48:24,120 --> 00:48:29,920
Speaker 3: before it was so easy to find such niches, maybe

943
00:48:29,960 --> 00:48:32,920
Speaker 3: like you would, I don't know, go to therapy, maybe

944
00:48:32,960 --> 00:48:36,960
Speaker 3: like maybe your family would would be concerned. It is

945
00:48:37,080 --> 00:48:41,080
Speaker 3: very interesting because people very are are very prone now

946
00:48:41,120 --> 00:48:44,279
Speaker 3: and it's like that's because they're able to like get

947
00:48:44,320 --> 00:48:47,160
Speaker 3: pulled into these cults. They find their own kind of

948
00:48:47,200 --> 00:48:51,480
Speaker 3: Austin Butler figure who's able to talk to them directly

949
00:48:51,600 --> 00:48:54,919
Speaker 3: and be like, no, come with me, You're okay. And

950
00:48:56,040 --> 00:48:58,240
Speaker 3: just to go back to the point of like messages

951
00:48:58,280 --> 00:49:02,240
Speaker 3: and stuff. I think that the uh, the Joaquin Phoenix character.

952
00:49:02,840 --> 00:49:05,040
Speaker 3: I think he starts out as a very like uh

953
00:49:05,160 --> 00:49:08,080
Speaker 3: like Hank Hill, like very I mean, he doesn't he

954
00:49:08,080 --> 00:49:09,960
Speaker 3: doesn't want to wear a mask. He's obviously leans a

955
00:49:09,960 --> 00:49:11,840
Speaker 3: bit conservative, but.

956
00:49:11,560 --> 00:49:13,239
Speaker 2: But he's like trying to kind of be like a

957
00:49:13,239 --> 00:49:15,279
Speaker 2: reasonable guy, right, And I.

958
00:49:15,960 --> 00:49:18,799
Speaker 3: See him as someone who's trying to like avoid the

959
00:49:18,920 --> 00:49:22,440
Speaker 3: messaging from everyone. Like even when people tell him about

960
00:49:22,480 --> 00:49:25,640
Speaker 3: like certain news stories and stuff, he's like, I don't know,

961
00:49:25,880 --> 00:49:30,440
Speaker 3: like he just doesn't know. And Yeah, in the process

962
00:49:30,520 --> 00:49:33,160
Speaker 3: of him like avoiding all these messages, what does he do.

963
00:49:33,320 --> 00:49:37,400
Speaker 3: He buys a truck and covers it in fucking messages.

964
00:49:37,600 --> 00:49:40,760
Speaker 2: In messages he starts broadcasting his reality to everyone around

965
00:49:40,840 --> 00:49:41,680
Speaker 2: him exactly.

966
00:49:41,880 --> 00:49:44,560
Speaker 3: It's like, uh, I don't know. I think that Normally,

967
00:49:44,800 --> 00:49:47,000
Speaker 3: normally I would call it bad writing for like every

968
00:49:47,120 --> 00:49:50,319
Speaker 3: character to be like a cipher. But I think what

969
00:49:50,320 --> 00:49:53,040
Speaker 3: what he does in this is is really really interesting.

970
00:49:53,200 --> 00:49:56,360
Speaker 3: Like I think it's uh, I don't know. I guess

971
00:49:56,400 --> 00:49:59,319
Speaker 3: like one more thing that I really like, do want

972
00:49:59,320 --> 00:50:02,319
Speaker 3: to say is like Ari Astor did an interview with

973
00:50:02,600 --> 00:50:07,720
Speaker 3: Will Miniker and Hesse of like Chapo, and he said

974
00:50:07,960 --> 00:50:11,200
Speaker 3: that he kind of wanted to make this movie like

975
00:50:11,239 --> 00:50:17,240
Speaker 3: a Rorshack test of sorts, and I think he maybe

976
00:50:17,600 --> 00:50:21,319
Speaker 3: overly succeeded in that definitely. And in fact, if I

977
00:50:21,360 --> 00:50:24,360
Speaker 3: had one criticism, it's that maybe I wish there was

978
00:50:24,440 --> 00:50:27,880
Speaker 3: like a few things like tied together that and I

979
00:50:27,920 --> 00:50:30,080
Speaker 3: just wish Austin Butler and Emma Stone got a little

980
00:50:30,160 --> 00:50:33,000
Speaker 3: more meat to do things. But aside from that, one

981
00:50:33,040 --> 00:50:35,799
Speaker 3: of the biggest criticisms that I'm honestly just going to

982
00:50:35,920 --> 00:50:38,799
Speaker 3: dismiss outright as people saying that this is like a

983
00:50:38,840 --> 00:50:42,799
Speaker 3: centrist movie totally, or comparing this to South Park or

984
00:50:42,840 --> 00:50:45,520
Speaker 3: something like that. And if you view this as a

985
00:50:45,560 --> 00:50:49,400
Speaker 3: centrist movie, I mean the liberals in this are like

986
00:50:49,920 --> 00:50:53,200
Speaker 3: kind of annoying, ineffectual. A lot of them don't really

987
00:50:53,239 --> 00:50:55,600
Speaker 3: believe what they do. Some of them do. I think

988
00:50:55,600 --> 00:50:58,439
Speaker 3: the girl character is very sympathetic, but like the younger girl.

989
00:50:58,760 --> 00:51:02,120
Speaker 3: But Joaquin Phoenix, the ostensible like you know, right wing

990
00:51:02,520 --> 00:51:07,040
Speaker 3: version of this, kills a child like he kills three people,

991
00:51:07,160 --> 00:51:08,520
Speaker 3: including like a teenager.

992
00:51:08,920 --> 00:51:12,840
Speaker 2: Like the woke characters engage with politics in a that

993
00:51:13,040 --> 00:51:16,720
Speaker 2: but and self serving way to mask their own insecurities

994
00:51:16,719 --> 00:51:20,000
Speaker 2: and shortcomings and for their own personal benefit. The right

995
00:51:20,040 --> 00:51:24,520
Speaker 2: wing characters murder and have rape cults, and.

996
00:51:24,640 --> 00:51:29,320
Speaker 3: Yeah, right, Like, I don't see how you could look

997
00:51:29,480 --> 00:51:32,200
Speaker 3: at the actions of the characters in this film and

998
00:51:32,320 --> 00:51:35,680
Speaker 3: just be like, yeah, I guess everyone is stupid. I

999
00:51:35,680 --> 00:51:39,480
Speaker 3: guess everyone is wrong, because it's like no, like I mean,

1000
00:51:39,760 --> 00:51:42,120
Speaker 3: I guess everyone is a little stupid and everyone is

1001
00:51:42,440 --> 00:51:44,759
Speaker 3: kind of wrong about things. But like, that's not like

1002
00:51:44,880 --> 00:51:47,760
Speaker 3: what it's getting across. I think that's a very shallow

1003
00:51:48,000 --> 00:51:48,920
Speaker 3: read of the film.

1004
00:51:49,400 --> 00:51:52,719
Speaker 2: This is what people outside of the Brooklyn theater were

1005
00:51:52,719 --> 00:51:56,120
Speaker 2: complaining about when I eavesdropped for like nearly forty five

1006
00:51:56,120 --> 00:51:58,200
Speaker 2: minutes after the film, just to hear what people were

1007
00:51:58,200 --> 00:52:01,560
Speaker 2: talking about. I love eavesdropping, I love snooping, So I

1008
00:52:01,600 --> 00:52:03,560
Speaker 2: was really feasting out there, and yeah, a lot of

1009
00:52:03,560 --> 00:52:06,680
Speaker 2: people upset at how quote unquote little this film had

1010
00:52:06,680 --> 00:52:08,960
Speaker 2: to say. It's just it's just depicting these things but

1011
00:52:09,239 --> 00:52:13,439
Speaker 2: doesn't have the audacity to actually like say anything about

1012
00:52:13,480 --> 00:52:15,920
Speaker 2: them or like take a quote unquote stance, and like, yeah,

1013
00:52:15,960 --> 00:52:18,919
Speaker 2: that's so not what the film is trying to do.

1014
00:52:19,360 --> 00:52:22,640
Speaker 2: That the film is pointing out, like the social media

1015
00:52:22,680 --> 00:52:26,640
Speaker 2: style engagement with politics is this incredibly self serving thing.

1016
00:52:26,719 --> 00:52:28,640
Speaker 2: And it's this performance that we put on for other

1017
00:52:28,719 --> 00:52:32,280
Speaker 2: people and sometimes put on even for ourselves. And twenty

1018
00:52:32,320 --> 00:52:35,719
Speaker 2: twenty was a way because of the conditions of the lockdown,

1019
00:52:36,000 --> 00:52:38,920
Speaker 2: the internet and real life combined in a way more

1020
00:52:39,040 --> 00:52:41,960
Speaker 2: like totalistically than they have ever before. And then that

1021
00:52:42,000 --> 00:52:47,319
Speaker 2: combination grew pressure and shot outwards into physical reality in

1022
00:52:47,360 --> 00:52:50,120
Speaker 2: a very bombastic way, both for the twenty twenty protests

1023
00:52:50,120 --> 00:52:52,799
Speaker 2: and eventually something like January sixth, Right, both these things, Yeah,

1024
00:52:52,840 --> 00:52:54,440
Speaker 2: I think you can you can look at a similar

1025
00:52:54,840 --> 00:52:57,839
Speaker 2: like political pressure like building and manifesting.

1026
00:52:58,480 --> 00:53:00,760
Speaker 3: And it's not saying these things are equal.

1027
00:53:00,840 --> 00:53:03,279
Speaker 2: It's not the centrist I'm better than thou for you

1028
00:53:03,719 --> 00:53:07,320
Speaker 2: look at all these crazy guys, But it's it's talking

1029
00:53:07,320 --> 00:53:10,719
Speaker 2: about how we as a culture associate with politics now

1030
00:53:10,760 --> 00:53:13,600
Speaker 2: and like how as like American culture we associate with

1031
00:53:13,640 --> 00:53:17,200
Speaker 2: politics now, and maybe that's kind of troubling and kind

1032
00:53:17,200 --> 00:53:19,600
Speaker 2: of scary. That's like the horror of the film is, Yeah,

1033
00:53:19,680 --> 00:53:22,120
Speaker 2: the way that we associate with social media politics now

1034
00:53:22,160 --> 00:53:25,279
Speaker 2: is really frightening. Which isn't like a revolutionary thing to say, right,

1035
00:53:25,320 --> 00:53:27,840
Speaker 2: This isn't like, you know, breaking new ground here, but

1036
00:53:27,920 --> 00:53:30,600
Speaker 2: he is expressing something that everyone I think has felt

1037
00:53:30,600 --> 00:53:34,600
Speaker 2: at a certain point. Sure, but it's it's presented in

1038
00:53:34,640 --> 00:53:37,200
Speaker 2: a way that I think is it very much is

1039
00:53:37,239 --> 00:53:38,680
Speaker 2: a Rorschack test for a lot of people.

1040
00:53:39,120 --> 00:53:42,160
Speaker 3: I think a lot of people are uncomfortable. I think

1041
00:53:42,239 --> 00:53:45,239
Speaker 3: some people just see too much of themselves, and like

1042
00:53:45,480 --> 00:53:48,400
Speaker 3: I was speaking specifically to like liberal audiences, I think

1043
00:53:48,680 --> 00:53:50,880
Speaker 3: a lot of them are seeing something of themselves and

1044
00:53:50,920 --> 00:53:52,719
Speaker 3: they feel like they're being made fun of and they

1045
00:53:52,719 --> 00:53:55,960
Speaker 3: don't appreciate that. I'll just say I was at the

1046
00:53:55,960 --> 00:53:57,840
Speaker 3: Black Lives Matter protests and stuff.

1047
00:53:58,360 --> 00:54:01,560
Speaker 2: I was there, and I don't feel that way. No,

1048
00:54:01,600 --> 00:54:03,319
Speaker 2: I don't think I was being made fun of.

1049
00:54:03,640 --> 00:54:07,000
Speaker 3: Yeah, I don't like Like I think that, like that's

1050
00:54:07,080 --> 00:54:09,759
Speaker 3: kind of on you as a viewer for like expecting

1051
00:54:09,800 --> 00:54:13,040
Speaker 3: a movie to like look directly in the camera and

1052
00:54:13,080 --> 00:54:17,000
Speaker 3: be like, I believe the same things you believe, you know,

1053
00:54:17,200 --> 00:54:20,759
Speaker 3: because that's I mean, that's bad filmmaking, that's bad Riding.

1054
00:54:20,680 --> 00:54:23,480
Speaker 5: Explains the exact type of communist that I am.

1055
00:54:23,640 --> 00:54:26,120
Speaker 3: Right, Yes, I'm the exact kind of leftist you are.

1056
00:54:26,239 --> 00:54:28,240
Speaker 3: We are on the same side and we're all laughing

1057
00:54:28,239 --> 00:54:29,520
Speaker 3: at the same things together.

1058
00:54:29,680 --> 00:54:32,640
Speaker 2: It's like, no, and if if your engagement with like

1059
00:54:32,960 --> 00:54:36,520
Speaker 2: social justice and anti police brutality protests is shallow enough

1060
00:54:36,560 --> 00:54:39,520
Speaker 2: to feel called out in a film like this. I

1061
00:54:39,520 --> 00:54:42,440
Speaker 2: think that is cause more for self reflection for why

1062
00:54:42,480 --> 00:54:46,080
Speaker 2: you participated in those things. Yeah, I agree, not a

1063
00:54:46,239 --> 00:54:48,279
Speaker 2: fault of the film where it's not the film taking

1064
00:54:48,320 --> 00:54:51,959
Speaker 2: a stance against those things. I think it's it's showing

1065
00:54:52,000 --> 00:54:55,320
Speaker 2: there's certain types of people who participated in an extremely

1066
00:54:55,360 --> 00:54:59,960
Speaker 2: performative and like self serving manner. Yeah, and like specifically

1067
00:55:00,360 --> 00:55:02,880
Speaker 2: the way that like the main like like like zoomer

1068
00:55:03,080 --> 00:55:05,759
Speaker 2: guy character who in the end becomes a right wing

1069
00:55:05,800 --> 00:55:09,680
Speaker 2: grifter kylet. It's like it's I think this manifests this

1070
00:55:09,840 --> 00:55:13,400
Speaker 2: like like like perfectly. Like I think his his character,

1071
00:55:13,840 --> 00:55:16,800
Speaker 2: I think is one of the funniest characters in the film.

1072
00:55:17,560 --> 00:55:19,600
Speaker 2: One of the best jokes is just him like liking

1073
00:55:19,680 --> 00:55:24,719
Speaker 2: a tweet googling Angela Davos. So I think that kind

1074
00:55:24,760 --> 00:55:27,399
Speaker 2: of stuff is more what it's talking about. And when

1075
00:55:27,440 --> 00:55:29,320
Speaker 2: you have those types of people being some of the

1076
00:55:29,360 --> 00:55:32,640
Speaker 2: most vocal people at these events, it contributes to this

1077
00:55:32,760 --> 00:55:36,640
Speaker 2: like kind of psychosis. Yeah, and that I think that's

1078
00:55:36,640 --> 00:55:38,520
Speaker 2: what the film is specifically saying.

1079
00:55:39,280 --> 00:55:41,759
Speaker 3: I mean, do we forget that people like Sean King

1080
00:55:41,840 --> 00:55:45,399
Speaker 3: were like popular in twenty twenty. Look, if you see

1081
00:55:45,440 --> 00:55:49,640
Speaker 3: this and like the portrayal of like these liberal characters

1082
00:55:49,640 --> 00:55:52,000
Speaker 3: doesn't apply to you. I don't know why you're mad.

1083
00:55:52,560 --> 00:55:55,000
Speaker 3: I don't know why you would like look at that

1084
00:55:55,040 --> 00:55:57,640
Speaker 3: and being like, oh, they're making fun of me and everything.

1085
00:55:57,680 --> 00:56:00,920
Speaker 3: I believe because if it doesn't apply to you, then

1086
00:56:00,920 --> 00:56:04,080
Speaker 3: it doesn't apply to you. And that was how I

1087
00:56:04,120 --> 00:56:06,319
Speaker 3: watched the film, Like I didn't feel like any of

1088
00:56:06,320 --> 00:56:10,479
Speaker 3: these characters applied to me, so I don't really care.

1089
00:56:11,320 --> 00:56:14,839
Speaker 3: And I guess a final point is like I haven't

1090
00:56:15,080 --> 00:56:18,520
Speaker 3: heard anyone else say this, but like Shriff Joe at

1091
00:56:18,520 --> 00:56:21,640
Speaker 3: the end of the film is I feel like it's

1092
00:56:21,840 --> 00:56:28,319
Speaker 3: very unsubtle symbolism to say that he's lobotomized with if

1093
00:56:28,360 --> 00:56:30,640
Speaker 3: Ice stabbed in the in the head with a knife.

1094
00:56:30,760 --> 00:56:32,319
Speaker 3: That's what happened to all of us in a way.

1095
00:56:32,560 --> 00:56:36,520
Speaker 3: And I mean, it's funny that Ariastra avoided a lot

1096
00:56:36,520 --> 00:56:40,399
Speaker 3: of mother related trauma up until the very very end

1097
00:56:40,440 --> 00:56:42,920
Speaker 3: of the movie. The very last seed he had just

1098
00:56:42,960 --> 00:56:46,440
Speaker 3: squeezed it in there. I know, I know which it was.

1099
00:56:46,640 --> 00:56:49,919
Speaker 3: I know, and he's being like raised in the bed

1100
00:56:49,960 --> 00:56:53,839
Speaker 3: and this kind of like angelic like ascension kind of thing.

1101
00:56:54,480 --> 00:56:57,879
Speaker 3: I don't know. I think that it's I think it's

1102
00:56:57,880 --> 00:57:00,920
Speaker 3: a pretty unsubtle and funny way of saying that, like

1103
00:57:01,520 --> 00:57:06,399
Speaker 3: there's really for some people after going fully there in

1104
00:57:06,520 --> 00:57:10,920
Speaker 3: like being insane, after like just plunging yourself into the

1105
00:57:10,920 --> 00:57:16,760
Speaker 3: heart of all of this like chaos and unreality, that

1106
00:57:16,960 --> 00:57:19,240
Speaker 3: the only thing that is going to save you is

1107
00:57:19,240 --> 00:57:23,160
Speaker 3: a lobotomy, if nothing else. I think that's very funny.

1108
00:57:23,480 --> 00:57:28,640
Speaker 3: So yeah, I enjoyed it a lot. I've wondered after

1109
00:57:28,720 --> 00:57:31,439
Speaker 3: about a week after I saw it, I was kicking

1110
00:57:31,480 --> 00:57:34,160
Speaker 3: it around in my head more and I was wondering,

1111
00:57:34,240 --> 00:57:36,439
Speaker 3: like will this grow on me? Will this age well?

1112
00:57:36,480 --> 00:57:38,840
Speaker 3: And I think it definitely has grown on me the

1113
00:57:39,440 --> 00:57:40,640
Speaker 3: more I've thought about it.

1114
00:57:40,720 --> 00:57:42,720
Speaker 2: Same it has also grown me more over time. Once

1115
00:57:42,720 --> 00:57:44,720
Speaker 2: I got out of the theater, I was storting through

1116
00:57:44,720 --> 00:57:46,400
Speaker 2: a lot of different feelings about what I just saw,

1117
00:57:46,840 --> 00:57:50,480
Speaker 2: and it has definitely grown me over time. Where can

1118
00:57:50,600 --> 00:57:53,080
Speaker 2: people find you and your work?

1119
00:57:54,440 --> 00:57:57,040
Speaker 3: Yeah, so I'm a musician. You can go to Jenidanger

1120
00:57:57,080 --> 00:57:59,600
Speaker 3: dot com and find most of my links and stuff.

1121
00:58:00,120 --> 00:58:02,600
Speaker 3: I have a new song and video out. I'm working

1122
00:58:02,600 --> 00:58:04,200
Speaker 3: on a new album that should come out later this year,

1123
00:58:04,200 --> 00:58:08,080
Speaker 3: and if you're in the Atlanta area, I'm playing a

1124
00:58:08,120 --> 00:58:11,680
Speaker 3: show at the end of August at Bogs Social and

1125
00:58:11,880 --> 00:58:17,240
Speaker 3: the Mainline Music Festival in September. But if you follow

1126
00:58:17,280 --> 00:58:20,760
Speaker 3: me on like Instagram or whatever, you should have all

1127
00:58:20,800 --> 00:58:23,120
Speaker 3: your updates there, and you can follow me on letterbox

1128
00:58:23,200 --> 00:58:25,920
Speaker 3: at Jenny Danger. So yeah, thanks for having me.

1129
00:58:26,480 --> 00:58:27,000
Speaker 5: Thank you Jane.

1130
00:58:28,000 --> 00:58:29,919
Speaker 2: That does it for us at It Could Happen Here.

1131
00:58:30,000 --> 00:58:33,360
Speaker 2: Thanks once again to Jane Danger and Bailey new Poster.

1132
00:58:33,520 --> 00:58:36,160
Speaker 2: Follow them both online. They do great work. If you

1133
00:58:36,240 --> 00:58:38,360
Speaker 2: want some good music, listen to Jane. If you want

1134
00:58:38,400 --> 00:58:42,200
Speaker 2: some cool art, look up a Bailey new Poster. Oh boy,

1135
00:58:42,560 --> 00:58:45,200
Speaker 2: I guess I will hopefully see you on the other

1136
00:58:45,320 --> 00:58:52,280
Speaker 2: side of this post. Woke Nightmare, Bye bye.

1137
00:58:53,640 --> 00:58:56,160
Speaker 3: It Could Happen Here is a production of cool Zone Media.

1138
00:58:56,320 --> 00:58:59,400
Speaker 2: For more podcasts from cool Zone Media, visit our website

1139
00:58:59,440 --> 00:59:01,920
Speaker 2: cools one media dot com, or check us out on

1140
00:59:01,960 --> 00:59:06,040
Speaker 2: the iHeartRadio app, Apple Podcasts, or wherever you listen to podcasts.

1141
00:59:06,440 --> 00:59:08,360
Speaker 2: You can now find sources for It Could Happen Here

1142
00:59:08,400 --> 00:59:10,200
Speaker 2: listed directly in episode descriptions.

1143
00:59:10,560 --> 00:59:11,360
Speaker 5: Thanks for listening.