WEBVTT - Andor Eps 10 & 11

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<v Speaker 1>The Cricket Store just lasted a bunch of new merchant

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<v Speaker 1>this podcast contains spoiler for and or including episodes ten

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<v Speaker 1>and eleven. Hello, My name is Jason Concepcion, and welcome

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<v Speaker 1>to X ray Vision, the Cricket Podcast, where we dive

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<v Speaker 1>deep into your favorite shows, movies, comics and pop culture.

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<v Speaker 1>In this episode, in the previously on, we'll be commemorating

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<v Speaker 1>the life and work of Kevin Conroy, the iconic voice

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<v Speaker 1>of Batman and Bruce Wayne for millions of fans around

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<v Speaker 1>the globe. We will be revisiting Black Panther Waconda Forever

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<v Speaker 1>after its opening week, talking about the reaction to the

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<v Speaker 1>film now a week out, and just the general topic

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<v Speaker 1>of Marvel fatigue. Is it happening? What is it? What's

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<v Speaker 1>going on? Care In the airlock, we're back in space

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<v Speaker 1>for and Or episodes ten and eleven and in a

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<v Speaker 1>hive mind. We are absolutely delighted to welcome and Or creator, screenwriter, director,

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<v Speaker 1>showrunner extraordinary Tony Gilroyd to the program. Of course, if

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<v Speaker 1>you want to jump around, check the show notes for

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<v Speaker 1>the time stamps. In joining me today, you know it

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<v Speaker 1>is the number one Godzilla writer working in ink and

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<v Speaker 1>pages today in the digital and paper medium, the number

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<v Speaker 1>one comics historian, the number one knower of things that

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<v Speaker 1>are related to horror movies, it's Rosie night Hella.

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<v Speaker 2>It's me.

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<v Speaker 1>Rosie. How are you.

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<v Speaker 2>Yeah, I'm good. I'm good. I'm happy to be here.

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<v Speaker 3>I'm sad about you know, Kevin, but I'm happy with you.

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<v Speaker 2>We have to pay homage.

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<v Speaker 3>There is amazing impact, and I mean, I'm happy to

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<v Speaker 3>be someone my ander again because this is as everybody knows.

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<v Speaker 2>I mean, this is some of the best Star Wars.

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<v Speaker 1>It's amazing.

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<v Speaker 3>I ever put to TV, screen book, comic book like

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<v Speaker 3>this stuff is.

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<v Speaker 2>It's up there.

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<v Speaker 3>So I'm really excited and I'll chat with Tony is

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<v Speaker 3>good stuff.

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<v Speaker 1>What a guy. Okay, let's let's get into it.

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<v Speaker 4>First.

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<v Speaker 1>Up on the previously on the discussion of the impact

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<v Speaker 1>of Kevin Conray. So, Kevin Conroy passed away on November

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<v Speaker 1>tenth due to an ongoing illness intestinal cancer. Reportedly and

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<v Speaker 1>quite simply, he is Batman for millions of people, for

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<v Speaker 1>four hundred plus episodes of television, including his you know,

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<v Speaker 1>legendary run on Batman, the animated series. It's hard to

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<v Speaker 1>really overstate the impact he had. Yeah, because you're talking

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<v Speaker 1>about a time when so the Batman movies were coming

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<v Speaker 1>out obviously still at this time.

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<v Speaker 3>But.

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<v Speaker 1>They had these the animated series felt connect to the

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<v Speaker 1>quote unquote spirit of Batman. Yeah, the character in a

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<v Speaker 1>way that was unique. And it's just impossible to even

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<v Speaker 1>see a still from Batman the Animated series and not

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<v Speaker 1>hear that deep like baritone voice.

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<v Speaker 3>Yeah, I mean so often over the years, especially you know,

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<v Speaker 3>many years ago, pre MCU and Superior movies were like

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<v Speaker 3>back at the top of the game. Again, like most

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<v Speaker 3>people of a certain age, if you ask them who

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<v Speaker 3>the best Batman was, or who their Batman was, they

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<v Speaker 3>would say Kevin Conroy.

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<v Speaker 2>The animated series was.

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<v Speaker 3>This all encompassing iconic thing that so many of us experienced,

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<v Speaker 3>and that for many of us was the most regular

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<v Speaker 3>Batman that we got. It was on TV, it was

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<v Speaker 3>easy to follow, you could watch it. Also, it was

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<v Speaker 3>you know, came out around the time of Batman Returns.

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<v Speaker 3>It had a Danny Elfman score. It felt like it

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<v Speaker 3>was connected to the movies, but it also felt like

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<v Speaker 3>it was a part to the comics. It adapted everything

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<v Speaker 3>from you know, the Dark Knight Returns to like the

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<v Speaker 3>most silly, kind of playful elements of Batman. It also

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<v Speaker 3>introduced Harlequin obviously and huge. Yeah, and at the heart

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<v Speaker 3>of it is is Kevin Conroy and that performance, and

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<v Speaker 3>for so long, Batman, the animated series kept Batman alive

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<v Speaker 3>in the hearts of DC fans and people who love

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<v Speaker 3>superhero movies and people who don't, people who just like

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<v Speaker 3>that show and love Kevin. And it's kind of like

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<v Speaker 3>I would say, he's comparable to you know, Mark Hamill

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<v Speaker 3>and carry They really they kept Star Wars alive for

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<v Speaker 3>a long time when the movies weren't coming out by

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<v Speaker 3>doing cons and being present and having cameos and connecting

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<v Speaker 3>with fans and keeping that conversation going and that love going.

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<v Speaker 2>And Kevin was like that.

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<v Speaker 3>And recently he'd actually written a comic in the DC

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<v Speaker 3>Pride anthology that we talked about with Danny Fernandez called

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<v Speaker 3>Finding Batman, which is about how growing up as a

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<v Speaker 3>gay teenager was incredibly hard and how his journey to

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<v Speaker 3>Batman and becoming Batman reflects that part of his life.

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<v Speaker 2>It's absolutely amazing.

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<v Speaker 3>DC actually put it up for free for people to read,

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<v Speaker 3>so you can read it right now, and it's just, yeah,

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<v Speaker 3>what an unbelievable loss. And I'm just really one of

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<v Speaker 3>the things I think is really special is Kevin actually

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<v Speaker 3>got to play a future version of Batman in the

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<v Speaker 3>live action c dow stuff recently. So I love that

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<v Speaker 3>we got to see that Batman become you know, that

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<v Speaker 3>the Kevin's face Batman rather than.

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<v Speaker 2>Just his his incredible voice.

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<v Speaker 3>But yeah, never been a better time to go back

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<v Speaker 3>and watch Batman made series, which is such a joy

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<v Speaker 3>and still just one of the best TV shows ever made.

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<v Speaker 1>Connor Goldsmith, who hosts the Unbelievable cerebro Cast, one of

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<v Speaker 1>the one of the most indelible, unique and fun podcasts

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<v Speaker 1>about comics, specifically the X Men that is out there.

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<v Speaker 1>It's absolutely vibrant with a really fun community, tweeted the

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<v Speaker 1>other day, It's been lovely to see the whole comics

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<v Speaker 1>internet coming together to celebrate Kevin Conroy. Apart from his

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<v Speaker 1>unrivaled work as a voice actor, which will be immortal,

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<v Speaker 1>I'm so sad that in such an important gale there

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<v Speaker 1>is gone. He lived through so much and achieved so much.

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<v Speaker 1>I'm grateful it was such an important part of his story.

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<v Speaker 1>On Kevin Conray, you will be missed, all right. We're

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<v Speaker 1>a week plus away from Black Panther Wakanda Forever and

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<v Speaker 1>I've been interested to see the just to take in

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<v Speaker 1>the reaction and specifically the reaction. You know, I did this.

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<v Speaker 1>I did a guest spot on on the Recode podcast

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<v Speaker 1>with Peter Kofka for Vox, and he was asking me

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<v Speaker 1>about Marvel fatigue, and I wanted to talk to you

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<v Speaker 1>about it, Rosie, because he was like, well, you know,

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<v Speaker 1>what do you think about Marvel fatigue? Some people are

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<v Speaker 1>tired of it or they're waiting for people to be

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<v Speaker 1>tired of it. What do you think is going on?

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<v Speaker 1>And it's been interesting that it's you know, as phase

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<v Speaker 1>four is kicked off, it has been really it's been

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<v Speaker 1>a huge topic and I think there's various reasons for that.

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<v Speaker 1>And first of all, with regards to Marvel fatigue, it

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<v Speaker 1>will happen. If it's not happening now, people will get

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<v Speaker 1>people like, you know, everything that is popular will at

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<v Speaker 1>some point become less popular and stop happening. There's no

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<v Speaker 1>there's no reason to imagine that the Marvel movies will

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<v Speaker 1>remain the top box office breaking movies in the world

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<v Speaker 1>for the rest of our lives. Like they will fall

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<v Speaker 1>off at some point. But I think what's interesting to

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<v Speaker 1>me is, you know, having come from a writing background,

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<v Speaker 1>is somewhat of a criticism background is I think a

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<v Speaker 1>lot of what's happening is as Marvel was going on

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<v Speaker 1>its run all the way up through Endgame. I think

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<v Speaker 1>that there were a lot of critics and people who

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<v Speaker 1>like movies generally, just fan of movies generally, who thought,

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<v Speaker 1>oh shit, is this what movies are going to be now?

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<v Speaker 1>And and we're not particularly maybe they like two or

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<v Speaker 1>three of the MCU movies, but we're not particularly fans

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<v Speaker 1>of the movies, which is absolutely fine. Like what you

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<v Speaker 1>like and like what you don't like. But I but

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<v Speaker 1>if I can, I can also understand if I was

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<v Speaker 1>a critic who didn't like Marvel movies, I would be like, shit,

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<v Speaker 1>am I out of a job? If I tell? And

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<v Speaker 1>I think now that Phase four has come out and it,

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<v Speaker 1>you know, didn't have the kind of drive, narrative drive.

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<v Speaker 1>I think that the Marvel the somewhat disparate you know,

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<v Speaker 1>we're telling different stories about hidden societies, and there's no

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<v Speaker 1>there has been no central big bed to kind of

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<v Speaker 1>shoot for over the course of the face. I think

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<v Speaker 1>that I think that a lot of this is people

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<v Speaker 1>just feeling more comfortable now to say, you know, and

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<v Speaker 1>I don't like Marvel movies. We're in the past. It

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<v Speaker 1>would have been like you'd get you'd potentially get an

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<v Speaker 1>email from your editor like too bad.

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<v Speaker 2>Sorry. No, I'm just.

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<v Speaker 3>Saying I'm not confirming or denying if that's the case,

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<v Speaker 3>but I will say it sounds familiar.

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<v Speaker 2>I'm saying that I think that is realistic. And I

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<v Speaker 2>think there's two big things here right.

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<v Speaker 3>One is that as comic book fans, as people who

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<v Speaker 3>lived through the nineties boom when comic books were everywhere,

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<v Speaker 3>we've actually seen this before, the idea of fatigue on

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<v Speaker 3>comics or comics being the biggest thing in the world

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<v Speaker 3>and they're everywhere, and they're talking about death of Superman

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<v Speaker 3>on the news, and there's five hundred.

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<v Speaker 2>People queuing up outside a shop to meet Rob Leifeld.

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<v Speaker 2>You know, we've lived through that. We've already lived through.

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<v Speaker 3>Oh, this thing we love is now the most important

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<v Speaker 3>thing in the world in the early two thousands to

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<v Speaker 3>a certain extent, Spider Man, X men.

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<v Speaker 1>Yeah, so we know that.

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<v Speaker 2>These things are cyclical.

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<v Speaker 3>If people are tired of Marvel, that's, like you said,

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<v Speaker 3>it's to be expected. And I think the other thing

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<v Speaker 3>that you can't kind of count out about the way

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<v Speaker 3>that the conversation is going, especially on a critical lens,

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<v Speaker 3>because you know, people have to watch all these things

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<v Speaker 3>multiple movies in a year.

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<v Speaker 1>I think that's a big part of Disney critical texture.

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<v Speaker 3>I think that Disney Plus has been so influential for

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<v Speaker 3>both better and worse.

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<v Speaker 2>We love it.

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<v Speaker 3>I mean, one division to me unbelievable, Like Jonathan Major's King,

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<v Speaker 3>these are things, These are stories I never thought I

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<v Speaker 3>would get to see. And if we weren't living in

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<v Speaker 3>an age where you know, I'll put it in brackets

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<v Speaker 3>content because I don't really like calling this stuff that,

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<v Speaker 3>but like content is king, you know, we probably wouldn't

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<v Speaker 3>be getting a story based on a weird Scarlet Witch

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<v Speaker 3>and Vision mini series, or we wouldn't be venturing into

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<v Speaker 3>the world of Kang if we hadn't already spent ten

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<v Speaker 3>years digging into some of the weirder parts of Marvel.

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<v Speaker 3>But it, to me is very understandable that certain people might.

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<v Speaker 2>Be overwhelmed or tiring and even.

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<v Speaker 3>Quicker because of the fact that there are so many

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<v Speaker 3>of these things to take note of. There are multiple

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<v Speaker 3>weekly shows, and if you add Star Wars into it,

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<v Speaker 3>then you're getting and then you add all the other

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<v Speaker 3>things Disney and Pixar, you know, there's multiple different versions.

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<v Speaker 3>I will personally say the thing I think that is

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<v Speaker 3>positive about this for people who don't like it or

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<v Speaker 3>who do like it, Phase four, to me, is about

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<v Speaker 3>a certain level of choice.

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<v Speaker 1>There's absolutely agree with you for all different.

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<v Speaker 2>Kinds of people.

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<v Speaker 3>Now, look we I always I love indie movies, I

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<v Speaker 3>love World Cinema, I love horror, I love b movies,

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<v Speaker 3>I love Fantasia Fest.

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<v Speaker 2>I always want to see more kinds of movies.

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<v Speaker 3>So I understand that celebrating Disney for a certain amount

0:13:12.400 --> 0:13:16.480
<v Speaker 3>of variety is like cheering on a monopoly. But I

0:13:16.520 --> 0:13:21.440
<v Speaker 3>will say I think Phase four is actually positive, that

0:13:22.200 --> 0:13:26.439
<v Speaker 3>it's not this huge cultural beer moth that is everyone

0:13:26.480 --> 0:13:28.600
<v Speaker 3>has to like every movie. I actually think it's great

0:13:28.600 --> 0:13:33.319
<v Speaker 3>that you can like Love Eternals and not like Doctor Strange.

0:13:33.679 --> 0:13:36.480
<v Speaker 3>I like both of them just for flabibitation. I really

0:13:36.520 --> 0:13:38.480
<v Speaker 3>like Doctor Strange. But I think the fact that there's

0:13:38.520 --> 0:13:41.600
<v Speaker 3>more of this stuff and people can have varying degrees

0:13:41.600 --> 0:13:44.520
<v Speaker 3>of conversation. Also, I am very much a person who says,

0:13:44.559 --> 0:13:47.320
<v Speaker 3>if you don't like it, just that's fine, Like you

0:13:47.360 --> 0:13:49.160
<v Speaker 3>can actually just not like it, and there's been a

0:13:49.200 --> 0:13:52.520
<v Speaker 3>lot of voices who, like you said, are feeling more comfortable.

0:13:53.000 --> 0:13:56.240
<v Speaker 3>Does that relate to how people actually feel about Marvel movies.

0:13:56.679 --> 0:13:59.800
<v Speaker 3>I don't necessarily think so. I mean, just to compare

0:14:00.040 --> 0:14:04.520
<v Speaker 3>numbers in the opening weekend of Black Panther were kind

0:14:04.520 --> 0:14:07.920
<v Speaker 3>of forever arguably probably the most anticipated movie of the

0:14:08.000 --> 0:14:10.720
<v Speaker 3>year on a pop culture level.

0:14:11.360 --> 0:14:14.040
<v Speaker 1>Sure agreed, that made one.

0:14:14.040 --> 0:14:17.520
<v Speaker 3>Hundred and eighty million domestic three hundred and thirty million

0:14:17.559 --> 0:14:19.400
<v Speaker 3>worldwide in about three.

0:14:19.280 --> 0:14:19.960
<v Speaker 2>Or four days.

0:14:20.480 --> 0:14:23.960
<v Speaker 3>That is almost dollar for a dollar, the same amount

0:14:24.000 --> 0:14:27.320
<v Speaker 3>that Black Adam made in like almost a month.

0:14:28.200 --> 0:14:31.280
<v Speaker 2>So it's there's a there might be a critical fatigue.

0:14:31.880 --> 0:14:35.800
<v Speaker 3>I know that there's definitely general TV watchers who aren't

0:14:35.880 --> 0:14:39.760
<v Speaker 3>keeping up with every Marvel show, But I don't necessarily

0:14:40.600 --> 0:14:45.040
<v Speaker 3>know that Marvel fatigue means anything kind of dire for

0:14:45.120 --> 0:14:48.440
<v Speaker 3>the future of the ties.

0:14:48.040 --> 0:14:49.880
<v Speaker 1>I mean, which is interesting, which is why I want

0:14:49.920 --> 0:14:52.080
<v Speaker 1>to raise it, because whenever the question is asked, or

0:14:52.080 --> 0:14:54.640
<v Speaker 1>whenever I'm asked that, or whenever I hear that conversation,

0:14:54.720 --> 0:14:58.840
<v Speaker 1>it's always framed as it's you know, almost like when

0:14:58.920 --> 0:15:00.280
<v Speaker 1>is this is this over?

0:15:00.320 --> 0:15:00.480
<v Speaker 2>Now?

0:15:00.600 --> 0:15:02.560
<v Speaker 1>Is this whole thing over? And I and I think

0:15:02.640 --> 0:15:07.080
<v Speaker 1>that we've gotten to a point where to pick up

0:15:07.080 --> 0:15:11.720
<v Speaker 1>on something you're talking about, whether Disney intended this or not.

0:15:12.120 --> 0:15:14.160
<v Speaker 1>We've hit a point now with the movies, with the

0:15:14.160 --> 0:15:16.840
<v Speaker 1>Disney plus offerings where it's kind of like, Okay, what

0:15:16.920 --> 0:15:18.680
<v Speaker 1>kind of marvel do you like? Do you like spy ship?

0:15:18.720 --> 0:15:19.680
<v Speaker 1>Do you like shit?

0:15:19.720 --> 0:15:21.520
<v Speaker 2>Do you like do you like shit?

0:15:22.120 --> 0:15:22.800
<v Speaker 1>You like shit?

0:15:23.280 --> 0:15:23.400
<v Speaker 2>Right?

0:15:23.480 --> 0:15:24.880
<v Speaker 1>Do you want funny stuff? Do you want?

0:15:24.960 --> 0:15:25.200
<v Speaker 4>Yeah?

0:15:25.360 --> 0:15:28.560
<v Speaker 1>And it's so listen, I'm sure that Disney wants you

0:15:28.600 --> 0:15:33.720
<v Speaker 1>to watch every single It's like looking movie we are watching.

0:15:33.920 --> 0:15:35.840
<v Speaker 1>We we are those people like we are you know,

0:15:35.880 --> 0:15:37.400
<v Speaker 1>we're in the tank for it, you know, because this

0:15:37.480 --> 0:15:41.040
<v Speaker 1>is what we have loved. But I think we've also

0:15:41.280 --> 0:15:47.400
<v Speaker 1>reached a point where this popularity may wax and wane.

0:15:47.760 --> 0:15:53.880
<v Speaker 1>But as a as a proposition, these movies and shows

0:15:53.960 --> 0:15:56.640
<v Speaker 1>aren't really gonna go anywhere. Like the budgets may go

0:15:56.760 --> 0:15:59.000
<v Speaker 1>up and budgets may go up and down. They may

0:15:59.040 --> 0:16:02.320
<v Speaker 1>release less movies per year, they may release less shows

0:16:02.600 --> 0:16:06.160
<v Speaker 1>per year, which I think and more and more yeah,

0:16:06.400 --> 0:16:10.000
<v Speaker 1>or they make more animated whatever it is. But this

0:16:10.120 --> 0:16:14.880
<v Speaker 1>stuff is here, like all this this genre is here now,

0:16:15.080 --> 0:16:18.760
<v Speaker 1>and it's you know, not going anywhere for the foreseeable future,

0:16:19.400 --> 0:16:23.600
<v Speaker 1>although you know, the density and the cadence of them

0:16:23.680 --> 0:16:24.160
<v Speaker 1>may change.

0:16:24.160 --> 0:16:26.600
<v Speaker 3>And also like this is something that I've talked about

0:16:26.760 --> 0:16:31.880
<v Speaker 3>with you guys, But like these patterns have been seen before, right,

0:16:32.040 --> 0:16:34.200
<v Speaker 3>Like the X Men movies X one x two. People

0:16:34.280 --> 0:16:37.120
<v Speaker 3>love those, Sam raym Spider Man one and two, they

0:16:37.200 --> 0:16:41.720
<v Speaker 3>loved them. Then you had like Tim Stories Fantastic Four,

0:16:41.760 --> 0:16:45.200
<v Speaker 3>which I think are very fun, even though they disrespected Galactus.

0:16:45.200 --> 0:16:47.360
<v Speaker 3>So I've never forgiven that in the second one. But

0:16:47.480 --> 0:16:51.320
<v Speaker 3>like I feel like movies like Morbius, like there's always

0:16:51.400 --> 0:16:56.040
<v Speaker 3>gonna be a dilution of quality when something becomes so saturated.

0:16:56.640 --> 0:17:02.160
<v Speaker 3>So that's gonna happen. And the real truth is that

0:17:02.800 --> 0:17:07.840
<v Speaker 3>until a new movie comes out that has almost one

0:17:07.920 --> 0:17:10.320
<v Speaker 3>hundred years of source material for people to be like,

0:17:10.320 --> 0:17:13.520
<v Speaker 3>oh I can make one of those two, these movies

0:17:13.560 --> 0:17:14.640
<v Speaker 3>are going to keep being here.

0:17:14.680 --> 0:17:17.600
<v Speaker 2>It's like, whenever I try and think about it, like

0:17:17.960 --> 0:17:18.840
<v Speaker 2>you know, action.

0:17:18.760 --> 0:17:21.800
<v Speaker 3>Movies, the trends, the blockbusters, the things that have happened before,

0:17:22.400 --> 0:17:27.240
<v Speaker 3>it's hard to predict what that kind of zeitgeist shifting.

0:17:27.680 --> 0:17:32.000
<v Speaker 1>It's unpredictable. It's it's this is when I was working

0:17:32.000 --> 0:17:34.000
<v Speaker 1>at the Ringer Reader in binge mode, and Game of

0:17:34.040 --> 0:17:36.680
<v Speaker 1>Thrones was coming to an end, Like a major part

0:17:36.720 --> 0:17:39.639
<v Speaker 1>of the conversation was monoculture and is this the end

0:17:39.680 --> 0:17:41.640
<v Speaker 1>of monoculture with the end of Game of Thrones? Will

0:17:41.640 --> 0:17:44.680
<v Speaker 1>there ever be anything that captures the imagination like this?

0:17:44.840 --> 0:17:47.680
<v Speaker 1>And similar to end, you know, endgame was coming on

0:17:47.840 --> 0:17:49.240
<v Speaker 1>the heels of the end of Game of Thrones, So

0:17:49.280 --> 0:17:51.000
<v Speaker 1>it was like this feeling of oh have we have

0:17:51.160 --> 0:17:56.880
<v Speaker 1>we exited the era of this huge, you know, piece

0:17:56.920 --> 0:18:01.960
<v Speaker 1>of cultural content that everybody takes part in, and no

0:18:02.080 --> 0:18:05.320
<v Speaker 1>one again, as you said, no one can predict what

0:18:05.440 --> 0:18:07.120
<v Speaker 1>that thing is going to be. But if there's one

0:18:07.160 --> 0:18:09.240
<v Speaker 1>thing I'm sure of is that there will be another

0:18:09.359 --> 0:18:12.359
<v Speaker 1>thing like that again and again and again. Because we

0:18:12.560 --> 0:18:17.040
<v Speaker 1>create people, human beings crave it. We crave this massive

0:18:17.200 --> 0:18:20.480
<v Speaker 1>story that we can all talk about with our friends

0:18:20.760 --> 0:18:24.320
<v Speaker 1>or argue about and say, did you notice this? I

0:18:24.480 --> 0:18:26.960
<v Speaker 1>noticed this. The whole world is based on stories.

0:18:27.160 --> 0:18:27.560
<v Speaker 2>Culture.

0:18:27.680 --> 0:18:30.160
<v Speaker 3>Human culture has been based on stories, from the traditions

0:18:30.200 --> 0:18:34.480
<v Speaker 3>of oral storytelling to religious texts to you know, comic

0:18:34.560 --> 0:18:37.639
<v Speaker 3>books like I always remember I went to this unbelievable

0:18:38.040 --> 0:18:39.600
<v Speaker 3>is one of the best days of my life. Still

0:18:39.640 --> 0:18:42.600
<v Speaker 3>it was like a Mike carry how to make comics

0:18:43.320 --> 0:18:46.800
<v Speaker 3>like Little Class and it was so cool and I

0:18:46.880 --> 0:18:47.359
<v Speaker 3>love the stuff.

0:18:47.359 --> 0:18:49.320
<v Speaker 2>I yet with Apocalypse, so I'm super into it.

0:18:49.560 --> 0:18:53.719
<v Speaker 3>Yeah, and he said, you know, if somebody just found

0:18:54.600 --> 0:18:58.560
<v Speaker 3>like an entire run of the X Men comics in

0:18:59.640 --> 0:19:02.680
<v Speaker 3>five hundred years, they would probably think that was like

0:19:03.000 --> 0:19:07.600
<v Speaker 3>our Odyssey or some kind of real folk law that's shaped.

0:19:07.920 --> 0:19:11.680
<v Speaker 3>That is fifty thousand plus issues. You know, it's it's

0:19:12.320 --> 0:19:16.920
<v Speaker 3>decades of human storytelling. It's analogous, it's not real, but

0:19:17.840 --> 0:19:20.960
<v Speaker 3>stories really matter. And whether it's comic book stories, whether

0:19:21.000 --> 0:19:24.880
<v Speaker 3>it's adaptations of Michael Crichton books like Jurassic Park, whether

0:19:25.000 --> 0:19:28.760
<v Speaker 3>it's biographical films, whatever, that next thing is going to

0:19:28.800 --> 0:19:32.040
<v Speaker 3>be that kind of blows up the world.

0:19:32.080 --> 0:19:33.240
<v Speaker 2>It's gonna be about stories.

0:19:33.240 --> 0:19:35.960
<v Speaker 3>And like you said, we're always going to find something else,

0:19:36.119 --> 0:19:38.640
<v Speaker 3>especially with the Internet, because that allows us to connect

0:19:38.720 --> 0:19:41.320
<v Speaker 3>over these things in a way that was never possible

0:19:41.359 --> 0:19:43.000
<v Speaker 3>for and that's part of why we want the commune

0:19:43.040 --> 0:19:46.360
<v Speaker 3>or storytelling, the water cooler moments of Game of Fans.

0:19:46.600 --> 0:19:49.400
<v Speaker 1>Okay, up next, we return to a galaxy far far

0:19:49.520 --> 0:19:55.159
<v Speaker 1>away to discuss and or episodes ten and eleven X

0:19:55.280 --> 0:19:58.240
<v Speaker 1>ray Vision has brought to you, Ay, Doomlings, The world

0:19:58.359 --> 0:20:02.639
<v Speaker 1>is ending. If you think this is some sort of game,

0:20:04.760 --> 0:20:07.840
<v Speaker 1>well good because it is. Doomlings is a delightful card

0:20:07.960 --> 0:20:09.879
<v Speaker 1>game for the end of the world.

0:20:10.920 --> 0:20:15.679
<v Speaker 5>Somewhere on a doomed and distant planet, life has emerged,

0:20:15.840 --> 0:20:17.879
<v Speaker 5>competing for dominance.

0:20:17.680 --> 0:20:20.640
<v Speaker 1>Until the world's inervitable structure.

0:20:21.359 --> 0:20:25.600
<v Speaker 5>Score points by playing traits for your doomling species, making

0:20:25.680 --> 0:20:31.760
<v Speaker 5>them more adaptable, resilient, and mischievous. Evolve your doom links

0:20:32.080 --> 0:20:36.240
<v Speaker 5>throughout ages and catastrophes, which are special rounds that befall

0:20:36.320 --> 0:20:38.880
<v Speaker 5>the planet, forcing you to adapt your strategy until the end.

0:20:38.840 --> 0:20:41.400
<v Speaker 1>Of the world. Doomalings is a card game for two

0:20:41.440 --> 0:20:45.720
<v Speaker 1>to six players, ages ten plus and takes about twenty

0:20:45.840 --> 0:20:48.679
<v Speaker 1>to forty five minutes to play. It's perfect for dinner parties,

0:20:48.720 --> 0:20:51.400
<v Speaker 1>family game light, or when you just needed to take

0:20:51.440 --> 0:20:55.080
<v Speaker 1>a break from prepping your underground bunker. Doomling sets itself

0:20:55.160 --> 0:20:57.639
<v Speaker 1>apart from other card games because it's like a hybrid

0:20:57.720 --> 0:21:00.919
<v Speaker 1>game for tabletop enthusiasts and non gamers alike. What does

0:21:01.000 --> 0:21:04.159
<v Speaker 1>that mean. It means it's easy to get into and

0:21:04.280 --> 0:21:07.920
<v Speaker 1>easy to play. It's accessible, there's a lot of gameplay

0:21:08.040 --> 0:21:11.840
<v Speaker 1>depth and replayability. It's not like other card games that

0:21:12.640 --> 0:21:14.440
<v Speaker 1>might have a lot of rules and a lot of

0:21:14.480 --> 0:21:16.640
<v Speaker 1>specialized decks that might take a long time to learn.

0:21:16.960 --> 0:21:19.359
<v Speaker 1>This is because of doom links randomized setup and also

0:21:19.560 --> 0:21:21.440
<v Speaker 1>the fact that there are one hundred and sixty seven

0:21:21.520 --> 0:21:24.040
<v Speaker 1>unique cards in the box. No duplicates are fill as.

0:21:24.080 --> 0:21:26.320
<v Speaker 1>It feels like a trading card game, but you don't

0:21:26.359 --> 0:21:28.760
<v Speaker 1>need to build a deck like other games out there.

0:21:28.800 --> 0:21:32.000
<v Speaker 1>Wink Wink wink gig and it can be played fast.

0:21:32.680 --> 0:21:35.679
<v Speaker 1>Doom Links was funded on Kickstart in forty nine minutes

0:21:35.760 --> 0:21:37.920
<v Speaker 1>and catapulted into one of the fastest growing games on

0:21:38.000 --> 0:21:40.879
<v Speaker 1>the planet. Doom Links has over twenty five hundred and

0:21:40.880 --> 0:21:44.800
<v Speaker 1>five star reviews and has received the Dice Towers Seal

0:21:44.920 --> 0:21:47.560
<v Speaker 1>of Approval, and has also been played in over eighty

0:21:47.600 --> 0:21:52.720
<v Speaker 1>countries and America, which doesn't count because we're the best.

0:21:53.359 --> 0:21:56.080
<v Speaker 1>People say, I don't know. Get twenty percent off your

0:21:56.160 --> 0:21:58.320
<v Speaker 1>first order when you use code x ray at doom

0:21:58.359 --> 0:22:01.720
<v Speaker 1>links dot com. That's d O m l I on

0:22:01.880 --> 0:22:04.399
<v Speaker 1>GS dot com and use code x ray that's do

0:22:05.680 --> 0:22:10.520
<v Speaker 1>m l I NNGS dot com. Code x ray. X

0:22:10.640 --> 0:22:14.119
<v Speaker 1>ray vision is brought to you by z biotics. The

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<v Speaker 1>for sponsoring this episode. Glug Glug, Glug, Glug glug. Can

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<v Speaker 1>you swim? Can you swim?

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<v Speaker 3>Rosie? I can swim, but I am very scared of

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<v Speaker 3>large swaths of water, So I was really having a

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<v Speaker 3>lot of empathy, uh for.

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<v Speaker 1>Our good friend Keino Lloyd. Well, we are stepping off

0:25:32.080 --> 0:25:35.000
<v Speaker 1>of the balcony in the prison, the industrial prison of

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<v Speaker 1>Nartina five, into the water, and we're swimming away to

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<v Speaker 1>talk about and Or episodes ten and eleven.

0:25:41.160 --> 0:25:41.320
<v Speaker 3>Uh.

0:25:42.080 --> 0:25:44.680
<v Speaker 1>Episode ten titled One Way Out written by bo Willhelmon

0:25:44.800 --> 0:25:47.840
<v Speaker 1>and directed by Toby Haynes, and episode eleven Daughter of

0:25:47.920 --> 0:25:51.639
<v Speaker 1>Ferris written by Tony Gilroy and directed by Benjamin Karen.

0:25:51.680 --> 0:25:54.960
<v Speaker 1>We start with and Or ten. Wow Wulf's body is

0:25:55.000 --> 0:25:58.919
<v Speaker 1>wheeled out of the facility after he has been euthanized

0:25:59.040 --> 0:26:03.720
<v Speaker 1>by the medical tech there. Cassian tells, you know that, listen,

0:26:03.760 --> 0:26:05.800
<v Speaker 1>we got to make our move now. They can't wait.

0:26:06.359 --> 0:26:09.480
<v Speaker 1>They you know, they there, We're not leaving here. You

0:26:09.560 --> 0:26:12.879
<v Speaker 1>can see that now, can't you. And Cassian tells them

0:26:12.960 --> 0:26:16.280
<v Speaker 1>like they don't have enough guards to watch us. They

0:26:16.440 --> 0:26:18.440
<v Speaker 1>know it. They're scared of us. We need to act.

0:26:19.000 --> 0:26:22.359
<v Speaker 1>When they bring a new person down to replace Ulaf,

0:26:22.640 --> 0:26:25.800
<v Speaker 1>that's when we have to move. Cassian and Keina returned

0:26:25.800 --> 0:26:27.920
<v Speaker 1>to the barracks. They tell the men that they what

0:26:28.040 --> 0:26:31.879
<v Speaker 1>they know. There's been a massacre on two. Then Ulaf

0:26:32.040 --> 0:26:35.240
<v Speaker 1>was euthanized, and the bottom line is, we're not leaving

0:26:35.280 --> 0:26:37.359
<v Speaker 1>this place. It doesn't matter what your sentence says, doesn't

0:26:37.359 --> 0:26:40.480
<v Speaker 1>matter how many shifts you have left. You're gonna die here, yeah,

0:26:40.680 --> 0:26:42.600
<v Speaker 1>or some other place that's exactly like this.

0:26:42.800 --> 0:26:46.760
<v Speaker 3>Yeah. And there's a there's a great moment where Cassian

0:26:46.840 --> 0:26:48.520
<v Speaker 3>says it and they kind of they go oh, and

0:26:48.600 --> 0:26:51.760
<v Speaker 3>they try and explain it away. But then Keino realizes

0:26:51.840 --> 0:26:54.200
<v Speaker 3>in that moment that he has to be the one

0:26:54.280 --> 0:26:55.400
<v Speaker 3>to tell them, and he's.

0:26:55.320 --> 0:26:58.000
<v Speaker 1>Like, it's true, Like nobody's getting out.

0:26:57.840 --> 0:27:00.280
<v Speaker 2>And that's their boss, that's the man who's steered them

0:27:00.440 --> 0:27:01.919
<v Speaker 2>through and so.

0:27:02.000 --> 0:27:05.760
<v Speaker 1>They know in that moment, what a fucking great Andy

0:27:05.880 --> 0:27:06.840
<v Speaker 1>serkis you just did?

0:27:08.280 --> 0:27:13.159
<v Speaker 2>And I love and I wish I hope that this.

0:27:13.560 --> 0:27:14.800
<v Speaker 2>I hope this will get him.

0:27:15.520 --> 0:27:18.639
<v Speaker 3>I hope that this will get him more non CG roles,

0:27:18.840 --> 0:27:21.040
<v Speaker 3>because I feel like he's he's selling it in this.

0:27:21.240 --> 0:27:24.560
<v Speaker 2>He's just like absolutely delivering at every level. But yeah,

0:27:24.600 --> 0:27:25.960
<v Speaker 2>I think he's my secret talent.

0:27:26.680 --> 0:27:26.920
<v Speaker 3>He was.

0:27:27.119 --> 0:27:31.840
<v Speaker 1>He's a legitimately mesmerizing actor on screen. You know obviously,

0:27:32.359 --> 0:27:36.560
<v Speaker 1>you know, you know, connected to his CG work, his

0:27:36.680 --> 0:27:38.640
<v Speaker 1>MO cap work, but like a great actor, and he's

0:27:38.880 --> 0:27:39.960
<v Speaker 1>he's mesmerizing in this.

0:27:40.119 --> 0:27:40.280
<v Speaker 3>Yeah.

0:27:42.040 --> 0:27:48.960
<v Speaker 1>At back at ib Boo, Deirdre has been tracking Anton Kreeger,

0:27:49.080 --> 0:27:53.320
<v Speaker 1>this rebel leader, uh and he's they're waiting for him

0:27:54.000 --> 0:27:58.119
<v Speaker 1>to take this bait that they've laid out there, and

0:27:59.040 --> 0:28:01.760
<v Speaker 1>he's taken the bait. So the ISB is on the

0:28:02.119 --> 0:28:05.280
<v Speaker 1>on the track right of the Anton Kreeker they're watching him.

0:28:05.720 --> 0:28:10.080
<v Speaker 1>Next morning, Keino Loy gets the men ready for what

0:28:10.200 --> 0:28:12.320
<v Speaker 1>they're going to have to face that day. They go

0:28:12.400 --> 0:28:14.520
<v Speaker 1>through the motions as if it's a normal shift and

0:28:14.560 --> 0:28:16.520
<v Speaker 1>they're just waiting for the moment that the guards bringing

0:28:16.520 --> 0:28:20.760
<v Speaker 1>the lift's replacement. Down on Corssant, Mathma and Tay meet

0:28:20.840 --> 0:28:25.480
<v Speaker 1>the gangster Davos. He he's there to hear what it

0:28:25.640 --> 0:28:31.960
<v Speaker 1>is that mathmaonte need. Basically, they need money. Wondering, Davos

0:28:32.040 --> 0:28:34.720
<v Speaker 1>sees through this kind of like cover story that they're

0:28:34.720 --> 0:28:38.280
<v Speaker 1>spinning about a charitable organization that just needs, you know, liquidity.

0:28:38.360 --> 0:28:41.480
<v Speaker 1>They need an injection of cash to carry on with

0:28:41.600 --> 0:28:44.280
<v Speaker 1>their charitable works. He sees through this. He says, listen,

0:28:44.360 --> 0:28:47.280
<v Speaker 1>I'll do I'll loan you some four hundred thousand credits,

0:28:48.560 --> 0:28:53.240
<v Speaker 1>but I don't want anything in return. You just owe me.

0:28:53.520 --> 0:28:55.880
<v Speaker 1>Don't worry about it, like you know some kind of

0:28:55.880 --> 0:28:59.320
<v Speaker 1>schedule to pay back. You just will owe me a favor.

0:28:59.560 --> 0:29:01.160
<v Speaker 1>And was like, no, no, no, no, no no no,

0:29:01.200 --> 0:29:03.240
<v Speaker 1>I don't want to owe a gangster a favor. No,

0:29:03.920 --> 0:29:07.440
<v Speaker 1>Like we'll just work something out like monetarily. And Dallas

0:29:07.560 --> 0:29:10.600
<v Speaker 1>is like, no, well, instead of that, what about this

0:29:11.280 --> 0:29:14.280
<v Speaker 1>introduce my son to your daughter? He wants to. He

0:29:14.400 --> 0:29:17.160
<v Speaker 1>wants to set up a love match. He says, two

0:29:17.200 --> 0:29:22.959
<v Speaker 1>young people, attractive and privileged Chandrilline citizens. Mathma is aghast,

0:29:23.320 --> 0:29:25.600
<v Speaker 1>but Davas is like, take it or leave it. Mathma

0:29:25.680 --> 0:29:30.280
<v Speaker 1>declines Claya, Luthan's assistant at the shop on Coussant, brings

0:29:30.360 --> 0:29:34.720
<v Speaker 1>news that there are marks on a fountain out in

0:29:34.800 --> 0:29:37.240
<v Speaker 1>the town, which is like a sign that there's a

0:29:37.360 --> 0:29:39.920
<v Speaker 1>meaning to be set up, but she doesn't like the

0:29:40.000 --> 0:29:44.480
<v Speaker 1>timing of this could be a trap. Back on Narcina five,

0:29:44.560 --> 0:29:47.360
<v Speaker 1>the guards bring the new man down, Cassian and the

0:29:47.440 --> 0:29:51.720
<v Speaker 1>rest of the prisoners spring into action, and long story short,

0:29:52.840 --> 0:29:56.760
<v Speaker 1>everybody fucking gets out. It is false pounding, you know.

0:29:57.080 --> 0:30:00.320
<v Speaker 1>Keno gives this incredible speech. He gets the men all

0:30:00.440 --> 0:30:01.760
<v Speaker 1>chanting one way out.

0:30:02.840 --> 0:30:06.120
<v Speaker 3>He has this moment again, it's this thing of they

0:30:06.200 --> 0:30:08.959
<v Speaker 3>get to the control room, he takes over the speaker

0:30:09.000 --> 0:30:12.680
<v Speaker 3>and Cassian's like, it has to be you and just

0:30:12.840 --> 0:30:13.440
<v Speaker 3>coach him.

0:30:14.000 --> 0:30:17.840
<v Speaker 2>He's like, you've been doing this, You've been for five

0:30:18.000 --> 0:30:20.000
<v Speaker 2>hundred shifts, two thousand shifts.

0:30:20.120 --> 0:30:24.320
<v Speaker 3>You've been the one whose voice has sparked them into action,

0:30:24.520 --> 0:30:27.360
<v Speaker 3>and you have to do it now. And they turn

0:30:27.400 --> 0:30:29.480
<v Speaker 3>off all the power and it is just it's a

0:30:29.600 --> 0:30:33.440
<v Speaker 3>prison breakout. They get blasters, they are taken down and

0:30:33.960 --> 0:30:37.640
<v Speaker 3>guess what, Cassian was right. They did not have enough guards.

0:30:37.760 --> 0:30:42.280
<v Speaker 3>This is running on a very i'll say tight ship

0:30:42.400 --> 0:30:45.200
<v Speaker 3>but cheap. The empire is cheap, and they've been using

0:30:45.680 --> 0:30:50.400
<v Speaker 3>the flaws and the electrocution to not have to put

0:30:50.520 --> 0:30:53.880
<v Speaker 3>money into actually starffing this prison.

0:30:54.240 --> 0:30:57.920
<v Speaker 1>When Cassian is laying that all out to Keino, he

0:30:58.760 --> 0:31:01.280
<v Speaker 1>he says, and I think it's a fascinating thing to

0:31:01.360 --> 0:31:07.320
<v Speaker 1>think about, how how brutality is actually an indicator of

0:31:08.040 --> 0:31:10.680
<v Speaker 1>fear and weakness. He says. Listen, if they had enough,

0:31:11.080 --> 0:31:15.520
<v Speaker 1>if they weren't scared of us, why why wouldn't they

0:31:16.360 --> 0:31:21.640
<v Speaker 1>just you know, keep everybody alive there. They are terrified.

0:31:22.120 --> 0:31:26.640
<v Speaker 1>That's why they wiped out the entire floor of two

0:31:27.080 --> 0:31:30.280
<v Speaker 1>because they're scared and they know that they can't handle

0:31:30.360 --> 0:31:32.360
<v Speaker 1>us if we all rise up. And then there's this

0:31:32.720 --> 0:31:36.080
<v Speaker 1>It's a small moment, but it was so powerful when

0:31:36.120 --> 0:31:39.800
<v Speaker 1>you're seeing these prisoners, you know, fighting their way to

0:31:39.920 --> 0:31:42.760
<v Speaker 1>the top of the facility, rampaging through it and killing

0:31:42.840 --> 0:31:46.400
<v Speaker 1>guards and you know, moving to the top taking their revenge.

0:31:47.000 --> 0:31:52.320
<v Speaker 1>There is a small scene of these guards like cowering

0:31:52.840 --> 0:31:57.080
<v Speaker 1>in like a closet somewhere, just terrified, and it was

0:31:57.840 --> 0:32:01.720
<v Speaker 1>it really kind of closed the loop on that thing

0:32:01.840 --> 0:32:04.360
<v Speaker 1>that Cassian was saying up front, which was they're scared

0:32:04.360 --> 0:32:07.400
<v Speaker 1>of us. Yes they're brutal, but it's their brutal methods

0:32:07.440 --> 0:32:09.360
<v Speaker 1>that let you know that they're scared.

0:32:09.560 --> 0:32:09.760
<v Speaker 4>Yeah.

0:32:10.520 --> 0:32:12.120
<v Speaker 3>Yeah, And I want to say as well, this is

0:32:12.240 --> 0:32:14.840
<v Speaker 3>like another We talked about this a lot when we

0:32:14.920 --> 0:32:18.440
<v Speaker 3>were talking about this arc on Naquina five, but like,

0:32:19.000 --> 0:32:22.760
<v Speaker 3>this is a show where Tony Gilroy has put you

0:32:23.160 --> 0:32:27.040
<v Speaker 3>in the position of empathizing with prisoners, prisoners who were

0:32:27.080 --> 0:32:30.920
<v Speaker 3>doing labor like prisoners do every day in this country,

0:32:31.560 --> 0:32:35.480
<v Speaker 3>and he is then getting you to support them when

0:32:35.520 --> 0:32:38.840
<v Speaker 3>they riot against their conditions and against the fact in

0:32:38.920 --> 0:32:42.120
<v Speaker 3>an unjust system. He is saying, you agree with this,

0:32:42.680 --> 0:32:45.200
<v Speaker 3>You there is no question that what you are watching

0:32:45.320 --> 0:32:48.280
<v Speaker 3>is right. And I just think that's so powerful in

0:32:48.440 --> 0:32:51.960
<v Speaker 3>the context the conversations that we have about the prison

0:32:52.040 --> 0:32:56.040
<v Speaker 3>industrial complex, and it was this is a very special

0:32:56.120 --> 0:32:58.360
<v Speaker 3>episode out of all of the and not in like.

0:32:58.840 --> 0:33:00.720
<v Speaker 2>That Don't do Drugs kind of espials.

0:33:01.280 --> 0:33:05.120
<v Speaker 1>I love those two, but like, I mean, it's it

0:33:05.280 --> 0:33:08.600
<v Speaker 1>is after all the build up of this, in particular

0:33:08.720 --> 0:33:13.040
<v Speaker 1>the last two the previous two episodes, you know, uh,

0:33:13.520 --> 0:33:17.240
<v Speaker 1>post al Donnie Cassian's arrest on the vacation World of

0:33:17.280 --> 0:33:20.160
<v Speaker 1>Namos and kind of like you know, the the trumped

0:33:20.240 --> 0:33:23.280
<v Speaker 1>up charges by which he is arrested. This is such

0:33:23.320 --> 0:33:27.040
<v Speaker 1>a cathartic episode because you're absolutely right. It's it's it's

0:33:28.240 --> 0:33:30.560
<v Speaker 1>put you in their shoes to such a degree that

0:33:30.680 --> 0:33:33.120
<v Speaker 1>you understand that this is right, and we.

0:33:33.160 --> 0:33:35.640
<v Speaker 2>Know that right right, there's no question this is what

0:33:35.880 --> 0:33:36.520
<v Speaker 2>they need to do.

0:33:36.720 --> 0:33:40.240
<v Speaker 3>This is an unjust system that has imprisoned them so

0:33:40.320 --> 0:33:42.800
<v Speaker 3>their bodies can be exploited for labor, and they're never

0:33:42.920 --> 0:33:46.880
<v Speaker 3>gonna leave if they don't do this. It's it's heartbreaking

0:33:47.040 --> 0:33:51.880
<v Speaker 3>and amazing. And Andy Serkis gives this unbelievable performance as

0:33:51.920 --> 0:33:55.240
<v Speaker 3>this kind of reluctant leader turned man who knows that

0:33:55.360 --> 0:33:57.360
<v Speaker 3>this is like the one good thing. He has been

0:33:57.400 --> 0:34:00.520
<v Speaker 3>complicit in this system for so long, absolutely and he

0:34:00.640 --> 0:34:02.640
<v Speaker 3>knows this is one thing he can do. It's it's

0:34:02.720 --> 0:34:04.960
<v Speaker 3>not a true complicity because he didn't have a choice,

0:34:05.400 --> 0:34:10.080
<v Speaker 3>but in his role as being the floor manager, every

0:34:10.239 --> 0:34:13.480
<v Speaker 3>day one of his crews was getting electrocuted.

0:34:14.120 --> 0:34:16.440
<v Speaker 2>You know, he played the game in line exactly.

0:34:16.880 --> 0:34:19.399
<v Speaker 1>People will play the game for a long time until

0:34:19.440 --> 0:34:23.120
<v Speaker 1>it's revealed that actually there's no and to the game.

0:34:23.320 --> 0:34:25.439
<v Speaker 1>You know, yeah, that even the rules that are laid

0:34:25.480 --> 0:34:28.960
<v Speaker 1>out for you or fake. The men fight their way

0:34:28.960 --> 0:34:33.160
<v Speaker 1>to the top and they find themselves, you know, high

0:34:33.280 --> 0:34:37.600
<v Speaker 1>above a body of water, and men are hurling themselves

0:34:37.680 --> 0:34:40.560
<v Speaker 1>off into the water. They're swimming away, the screaming one

0:34:40.600 --> 0:34:43.560
<v Speaker 1>way out, yeah, one way out, and Cassie in terms

0:34:43.560 --> 0:34:45.680
<v Speaker 1>of Keno, let's go, let's jump, and Keno's just like

0:34:45.760 --> 0:34:49.120
<v Speaker 1>I can't. I can't swim. And it is a heartbreaking moment.

0:34:49.160 --> 0:34:51.759
<v Speaker 1>Now we don't know what happens. We don't, but I

0:34:51.840 --> 0:34:55.800
<v Speaker 1>think we're led to believe, and certainly because of episode eleven,

0:34:56.840 --> 0:34:59.000
<v Speaker 1>we're led to believe that keno does not mean yeah

0:34:59.120 --> 0:34:59.840
<v Speaker 1>and something.

0:34:59.640 --> 0:35:02.880
<v Speaker 3>Really important and like if you're someone who loved when

0:35:02.920 --> 0:35:05.000
<v Speaker 3>we used to do really deep dive easter egg kind

0:35:05.040 --> 0:35:07.600
<v Speaker 3>of breakdowns into stuff. Episode ten is the first episode

0:35:07.600 --> 0:35:09.959
<v Speaker 3>where we get some little things that are a little

0:35:10.000 --> 0:35:13.280
<v Speaker 3>bit more than like visual nods. So something very interesting

0:35:13.360 --> 0:35:16.600
<v Speaker 3>here is that when they show the prison and out

0:35:16.640 --> 0:35:19.279
<v Speaker 3>of each of the bays where the ships would dock,

0:35:19.920 --> 0:35:22.800
<v Speaker 3>people are throwing themselves out and swimming away. It's this

0:35:23.120 --> 0:35:25.440
<v Speaker 3>it's the shape of an Imperial logo as we know

0:35:25.520 --> 0:35:28.200
<v Speaker 3>them now, you know. So there's these little touches that

0:35:28.280 --> 0:35:31.439
<v Speaker 3>are yeah, just unbelievable, and it's kind of this really

0:35:31.560 --> 0:35:37.120
<v Speaker 3>interesting visual way of showing these people freeing themselves from

0:35:37.120 --> 0:35:39.719
<v Speaker 3>the grips of the empire, like and the imperial this

0:35:39.800 --> 0:35:41.319
<v Speaker 3>imperial prison on Narqina five.

0:35:41.440 --> 0:35:44.319
<v Speaker 2>So for irp Qino, you are a real one.

0:35:45.640 --> 0:35:49.160
<v Speaker 1>Yeah, I mean there's a there's a there's a quick

0:35:49.360 --> 0:35:52.719
<v Speaker 1>moment in Luthen's shop. I was gonna say, where you

0:35:52.840 --> 0:35:56.800
<v Speaker 1>see Padme's head piece. Yeah, her head dress, their ceremonial

0:35:56.840 --> 0:36:00.560
<v Speaker 1>headdress that she wears. That's the first like prequels technical

0:36:00.719 --> 0:36:03.520
<v Speaker 1>like easter egg that we that we have and it's

0:36:03.560 --> 0:36:07.800
<v Speaker 1>an easter egg, but it's like it is emblematic of

0:36:07.960 --> 0:36:11.600
<v Speaker 1>how ruthless the world and this system is. Now here

0:36:11.760 --> 0:36:16.680
<v Speaker 1>is something that is a hallmark of you know, the

0:36:16.840 --> 0:36:21.040
<v Speaker 1>culture of Naboo and of a beloved leader of that

0:36:21.600 --> 0:36:26.200
<v Speaker 1>of that place, and her regalia is just like up

0:36:26.280 --> 0:36:32.040
<v Speaker 1>for sale even ye can just go buy it. Yeah no,

0:36:32.360 --> 0:36:36.600
<v Speaker 1>not even forget even in a museum people. This is yeah,

0:36:36.680 --> 0:36:39.640
<v Speaker 1>this is just for private collectors, for rich people. It

0:36:39.760 --> 0:36:41.800
<v Speaker 1>is just up for the highest bid or if you

0:36:41.880 --> 0:36:43.840
<v Speaker 1>want to just walk into Luthen's and buy it. It

0:36:43.920 --> 0:36:49.080
<v Speaker 1>is It's a heartbreaking display of what has happened to

0:36:49.239 --> 0:36:52.840
<v Speaker 1>a lot of the galaxy. Luthen goes to this meeting.

0:36:53.280 --> 0:36:56.200
<v Speaker 1>It's in some industrial kind of like area, of course

0:36:56.600 --> 0:37:02.120
<v Speaker 1>far away and uh Luthen's contact is Lonnie, one of

0:37:02.560 --> 0:37:06.200
<v Speaker 1>the ISB investigators that has been working closely with Deirdre.

0:37:06.680 --> 0:37:10.600
<v Speaker 1>He has been apparently steadily burrowing into the ISB at

0:37:10.719 --> 0:37:14.759
<v Speaker 1>Luthen's behest, steadily, you know, providing information to Luthen, who

0:37:14.800 --> 0:37:19.200
<v Speaker 1>in turn has been we are guessing holding the man's

0:37:20.400 --> 0:37:23.800
<v Speaker 1>family hostage somehow or at least threatening.

0:37:23.880 --> 0:37:26.800
<v Speaker 3>I don't know knowledge he knows a lot about this

0:37:26.960 --> 0:37:31.239
<v Speaker 3>man's family, and there is a lot of implied threats, yes,

0:37:31.400 --> 0:37:34.520
<v Speaker 3>in what he is saying to to Lonnie.

0:37:34.719 --> 0:37:38.040
<v Speaker 2>And it's unclear. It doesn't seem like Lutheren thinks Lonnie

0:37:38.120 --> 0:37:39.440
<v Speaker 2>is a particularly good person.

0:37:39.960 --> 0:37:42.320
<v Speaker 1>So it's uncare if this is he's just a valuable

0:37:42.360 --> 0:37:43.640
<v Speaker 1>he's a valuable asset.

0:37:43.840 --> 0:37:45.560
<v Speaker 3>I don't think this is a rebel who did a

0:37:45.640 --> 0:37:48.960
<v Speaker 3>great job at weaseling his way in. I think this

0:37:49.080 --> 0:37:52.759
<v Speaker 3>is an ISB agent that Lutheran is exploiting. And yes,

0:37:52.880 --> 0:37:54.800
<v Speaker 3>he's about to find out something very useful, so like

0:37:54.880 --> 0:37:55.480
<v Speaker 3>good for him.

0:37:55.960 --> 0:37:58.560
<v Speaker 1>Right, So Luthen, of course, has been you know, front

0:37:58.600 --> 0:38:03.200
<v Speaker 1>and center for Deirdre's investigation into Anton Kreeger and the

0:38:03.280 --> 0:38:09.600
<v Speaker 1>spread of imperial kind of contraband stolen by rebels across

0:38:09.760 --> 0:38:15.239
<v Speaker 1>the galaxy. He tells Luthen that okay, Uh, Deirdre is

0:38:15.320 --> 0:38:18.960
<v Speaker 1>on Kreeger, and they know that Kreeger is planning a

0:38:19.080 --> 0:38:22.040
<v Speaker 1>raid on spell House and the ISP is watching. They

0:38:22.200 --> 0:38:24.360
<v Speaker 1>want him to raid it because they're going to sweep

0:38:24.480 --> 0:38:25.720
<v Speaker 1>up that entire network.

0:38:26.480 --> 0:38:26.600
<v Speaker 6>Uh.

0:38:26.840 --> 0:38:28.960
<v Speaker 1>And he's like, okay, so I've given you this and

0:38:29.080 --> 0:38:31.600
<v Speaker 1>I want out. That's what I'm done. It's getting too dangerous,

0:38:31.920 --> 0:38:38.839
<v Speaker 1>like let me out, and h He's like, I've sacrificed

0:38:39.000 --> 0:38:42.400
<v Speaker 1>so much for this, you know, Like, what have you sacrificed?

0:38:42.480 --> 0:38:46.080
<v Speaker 1>If you gives one of the great beach in Star

0:38:46.120 --> 0:38:49.080
<v Speaker 1>Wars ever ever, ever, he just is, what have I sacrificed?

0:38:49.680 --> 0:38:52.560
<v Speaker 1>And he then goes on a monologue about I've you know,

0:38:52.719 --> 0:38:58.120
<v Speaker 1>I've sacrificed my life. I'm sacrificing right now everything that

0:38:58.239 --> 0:39:01.439
<v Speaker 1>I have for a sun that I'm never gonna see.

0:39:01.960 --> 0:39:03.280
<v Speaker 1>He's psychology.

0:39:04.080 --> 0:39:07.440
<v Speaker 3>Yeah, he's acknowledging that he has become a man who

0:39:07.520 --> 0:39:11.600
<v Speaker 3>would and someone's fan by Master, he has become the

0:39:11.680 --> 0:39:16.799
<v Speaker 3>thing that he hates, the thing he's trying to take down.

0:39:16.880 --> 0:39:20.120
<v Speaker 3>He's you know, his morals, his values, everything gone, and

0:39:20.239 --> 0:39:23.800
<v Speaker 3>he's basically living the worst kind of life in the

0:39:23.920 --> 0:39:27.200
<v Speaker 3>hope that someone in the future can have a better life.

0:39:27.200 --> 0:39:29.359
<v Speaker 3>And it's this is a really that line you said

0:39:29.360 --> 0:39:32.719
<v Speaker 3>about where it's like, you know, I sacrificed everything. I've

0:39:32.719 --> 0:39:36.279
<v Speaker 3>sacrificed hope for like a sunrise I'll never see. You know,

0:39:36.440 --> 0:39:41.440
<v Speaker 3>that's such great foreshadowing of that moment in Rogue one

0:39:41.520 --> 0:39:44.080
<v Speaker 3>at the end when Cassie and and Jin watched the

0:39:44.200 --> 0:39:46.160
<v Speaker 3>sun you know, before it looks like the sun's coming

0:39:46.200 --> 0:39:49.920
<v Speaker 3>up before everything kind of explodes. And yeah, that it's

0:39:50.000 --> 0:39:53.120
<v Speaker 3>so funny because that circus has really had two of

0:39:53.200 --> 0:39:55.080
<v Speaker 3>my favorite lines in this whole show, which is the

0:39:55.520 --> 0:39:58.560
<v Speaker 3>still my favorite is the never more than twelve about

0:39:58.600 --> 0:39:59.080
<v Speaker 3>the gods.

0:39:59.160 --> 0:40:02.800
<v Speaker 2>Yeah, in episode ten when he says I can't swim.

0:40:02.920 --> 0:40:05.840
<v Speaker 3>That is just like heartbreaking and you think that nothing

0:40:05.920 --> 0:40:10.120
<v Speaker 3>can like outdo that performance wise, and then Stellan Skarsgd

0:40:10.280 --> 0:40:15.279
<v Speaker 3>just comes through at the like grimmest realist, most heartbreaking

0:40:15.360 --> 0:40:18.240
<v Speaker 3>speech about like the realities and toil that it takes

0:40:18.360 --> 0:40:20.520
<v Speaker 3>to make concrete change.

0:40:20.719 --> 0:40:23.919
<v Speaker 1>And also so clear eyed in understanding that the game

0:40:24.000 --> 0:40:25.879
<v Speaker 1>he is playing is so dangerous that there's no way

0:40:25.920 --> 0:40:28.560
<v Speaker 1>he lives. No's I'm not going to live through this.

0:40:28.719 --> 0:40:31.760
<v Speaker 2>And also it takes a long time. He's doing something

0:40:31.800 --> 0:40:34.520
<v Speaker 2>that might happen twenty years from now. He sees it

0:40:34.680 --> 0:40:35.800
<v Speaker 2>that things could change.

0:40:36.760 --> 0:40:44.600
<v Speaker 1>And it ties back to the smallest moment in Return

0:40:44.680 --> 0:40:48.440
<v Speaker 1>of the Jedi when mon Matha is talking about the

0:40:48.560 --> 0:40:50.319
<v Speaker 1>raid on End or what they have to do, how

0:40:50.360 --> 0:40:52.080
<v Speaker 1>they got these plans, and she says, you know, the

0:40:52.120 --> 0:40:55.200
<v Speaker 1>many Bothams died to bring us this information, and it

0:40:55.360 --> 0:41:00.200
<v Speaker 1>was like this window into this like bottomless tragedy that

0:41:00.360 --> 0:41:03.680
<v Speaker 1>had had to take place in order to deliver this

0:41:03.840 --> 0:41:08.280
<v Speaker 1>information to the to the rebel pilots in their leaders.

0:41:08.680 --> 0:41:11.560
<v Speaker 1>And here we're getting, you know, looks like we're going

0:41:11.640 --> 0:41:17.560
<v Speaker 1>through that window and seeing the smallest piece of that story,

0:41:19.160 --> 0:41:21.440
<v Speaker 1>a version of that story where all these spies have

0:41:21.640 --> 0:41:24.560
<v Speaker 1>like laid down their lives to overturn the Empire. And

0:41:24.760 --> 0:41:28.000
<v Speaker 1>it's thrilling. It was just an it's incredible monologue. It

0:41:28.160 --> 0:41:29.839
<v Speaker 1>just is like brings you to the edge of your seat.

0:41:29.920 --> 0:41:34.520
<v Speaker 3>Yeah, this episode is just such a powerhouse turn for

0:41:34.640 --> 0:41:39.320
<v Speaker 3>everyone involved, the writers, the directors, the cast's it's so

0:41:39.520 --> 0:41:42.040
<v Speaker 3>good and Diego does such a brilliant job the entire

0:41:42.160 --> 0:41:46.880
<v Speaker 3>way through. He essentially has to. He's somebody having an

0:41:46.920 --> 0:41:50.160
<v Speaker 3>awakening of what needs to be done, still not necessarily

0:41:50.239 --> 0:41:52.319
<v Speaker 3>for the right reasons. He just wants to get back,

0:41:52.440 --> 0:41:55.560
<v Speaker 3>see his family and get his money and escape. He

0:41:55.760 --> 0:41:57.960
<v Speaker 3>is not all in on the rebellion, but at the

0:41:58.080 --> 0:42:04.400
<v Speaker 3>same time, he hastes and he knows enough about what

0:42:04.600 --> 0:42:06.759
<v Speaker 3>is right and wrong to know that he didn't just

0:42:06.840 --> 0:42:09.760
<v Speaker 3>try and escape himself. He wanted everyone in the prison

0:42:09.880 --> 0:42:12.400
<v Speaker 3>to get out. He wanted everyone to be freed. He

0:42:12.520 --> 0:42:15.520
<v Speaker 3>wanted Keino to become the leader he could be. We're

0:42:15.560 --> 0:42:20.040
<v Speaker 3>seeing the awakening of this angry, furious man that we

0:42:20.200 --> 0:42:22.560
<v Speaker 3>meet in Rogue one, and it's it's very special. I

0:42:22.680 --> 0:42:26.239
<v Speaker 3>love how much this series is also setting up that,

0:42:26.480 --> 0:42:29.399
<v Speaker 3>remember how annoying Gin is to everyone because she's like, oh.

0:42:29.360 --> 0:42:30.160
<v Speaker 2>You need his hope.

0:42:30.280 --> 0:42:32.800
<v Speaker 3>All rebellions need a hope, and everyone's like, actually, no,

0:42:33.440 --> 0:42:35.759
<v Speaker 3>like rebellions need a lot more than that. And it's

0:42:35.800 --> 0:42:39.040
<v Speaker 3>been like really fucking hard to like make this happen.

0:42:39.520 --> 0:42:43.000
<v Speaker 3>And I love how much context and kind of emotional.

0:42:43.160 --> 0:42:45.759
<v Speaker 3>Hef this is bringing I'm waiting every week I watch this.

0:42:45.840 --> 0:42:48.040
<v Speaker 3>I want to watch Rogue again, but I'm waiting till

0:42:48.080 --> 0:42:49.120
<v Speaker 3>the finale next week.

0:42:49.239 --> 0:42:53.279
<v Speaker 1>I'm saying I feel the same exact way, and I

0:42:53.840 --> 0:42:56.759
<v Speaker 1>I too, have been holding off on watching it. So

0:42:57.200 --> 0:43:00.919
<v Speaker 1>that brings us to episode eleven, Daughter of Ferikh, after

0:43:01.000 --> 0:43:04.760
<v Speaker 1>their escape from the prison, Cassie and Andor and future

0:43:04.840 --> 0:43:07.279
<v Speaker 1>Sergeant Melchie, who we will see in Rogue one as

0:43:07.320 --> 0:43:09.759
<v Speaker 1>one of the one of the many soldiers that gave

0:43:09.800 --> 0:43:12.960
<v Speaker 1>their lives, and the raid on scaiff cling to the

0:43:13.040 --> 0:43:15.640
<v Speaker 1>side of a cliff, they're trying to evade Imperial patrols,

0:43:15.840 --> 0:43:20.040
<v Speaker 1>and eventually the patrol goes away and they haul themselves up.

0:43:20.480 --> 0:43:23.040
<v Speaker 1>But it just gives you a taste of the many,

0:43:23.160 --> 0:43:27.879
<v Speaker 1>many risks that they are taking and continue to take

0:43:27.960 --> 0:43:30.960
<v Speaker 1>as they flee from the prison on ur Kina FIV. Meanwhile,

0:43:31.040 --> 0:43:35.399
<v Speaker 1>on Ferres, we learned that Marva has passed, and Or's

0:43:35.560 --> 0:43:41.560
<v Speaker 1>adopted mother, tib is be kidnapper also, which we should

0:43:41.600 --> 0:43:42.919
<v Speaker 1>talk about, and we will talk about.

0:43:43.000 --> 0:43:43.680
<v Speaker 2>She died.

0:43:46.320 --> 0:43:49.279
<v Speaker 1>I mean, it's you know what, though, it is one

0:43:49.360 --> 0:43:52.319
<v Speaker 1>thing I've been thinking about in this as we've been

0:43:52.360 --> 0:43:56.200
<v Speaker 1>watching this like early days of the fight against the

0:43:56.280 --> 0:44:02.279
<v Speaker 1>Empire kind of unfold. Is the fact that what we're

0:44:02.400 --> 0:44:04.880
<v Speaker 1>kind of what you know, there's a Senate, there's a

0:44:04.920 --> 0:44:09.920
<v Speaker 1>galactic Senate, right, but that I think we also shouldn't assume,

0:44:10.520 --> 0:44:12.440
<v Speaker 1>even though we only know about the governments of a

0:44:12.520 --> 0:44:16.200
<v Speaker 1>few of these places, that it's that we're talking about democracies.

0:44:16.440 --> 0:44:19.560
<v Speaker 1>It's like it's a Senate made up of you know,

0:44:20.040 --> 0:44:26.279
<v Speaker 1>mainly like nobles, royal houses, corporate interests. Yeah, like court

0:44:26.800 --> 0:44:30.320
<v Speaker 1>planets that are completely run by corporations, like you know,

0:44:31.920 --> 0:44:34.359
<v Speaker 1>God love them, but you're talking about like a royal

0:44:34.440 --> 0:44:39.160
<v Speaker 1>lineage Like this is there's no actual democracy on a

0:44:39.200 --> 0:44:42.840
<v Speaker 1>planet to planet level, and it's one of like because

0:44:42.880 --> 0:44:44.359
<v Speaker 1>that's one of the one of the things I've been

0:44:44.400 --> 0:44:48.960
<v Speaker 1>thinking about is, other than some of the flashbacks on phericks,

0:44:50.920 --> 0:44:56.040
<v Speaker 1>you don't see protests, like mass protests against the Empire.

0:44:56.200 --> 0:44:58.279
<v Speaker 1>I know that the Empire can blow up your fucking plant,

0:44:58.280 --> 0:45:02.560
<v Speaker 1>I get it, but they're not everywhere at once, and

0:45:02.760 --> 0:45:05.719
<v Speaker 1>you just don't see this kind of like mass uprising

0:45:06.080 --> 0:45:09.279
<v Speaker 1>against the Empire. And part of you know, and I

0:45:10.239 --> 0:45:12.160
<v Speaker 1>guess I've just been like asking myself why. And I

0:45:12.239 --> 0:45:14.800
<v Speaker 1>think part of where I've come to is part of

0:45:14.880 --> 0:45:19.239
<v Speaker 1>the reason why is the governments that the Empire supplanted

0:45:20.040 --> 0:45:23.719
<v Speaker 1>were not in and of themselves the kind of governments

0:45:23.760 --> 0:45:26.080
<v Speaker 1>that you could really protest safely against.

0:45:26.160 --> 0:45:28.880
<v Speaker 3>Also definitely I agree, And I think that also the

0:45:28.960 --> 0:45:31.239
<v Speaker 3>thing that's been really interesting to see about this and

0:45:31.440 --> 0:45:36.960
<v Speaker 3>is very real to real world struggle is to get

0:45:37.040 --> 0:45:39.960
<v Speaker 3>to that place where you have the million people marching

0:45:40.080 --> 0:45:43.680
<v Speaker 3>against something kind of protest, you have to have multiple

0:45:43.840 --> 0:45:46.960
<v Speaker 3>different people all around the world, the galaxy, the country,

0:45:48.000 --> 0:45:50.640
<v Speaker 3>these little hubs of people who want to make where

0:45:50.680 --> 0:45:52.520
<v Speaker 3>they live better, who want to make things better. And

0:45:52.640 --> 0:45:55.680
<v Speaker 3>I think that and that can come together and coalesce

0:45:55.760 --> 0:45:57.799
<v Speaker 3>it in a moment and a movement. But I think

0:45:58.320 --> 0:46:02.840
<v Speaker 3>that kind of the interesting thing about Marva is like everyone,

0:46:03.000 --> 0:46:05.080
<v Speaker 3>I would say, like the Mottrow of pretty much about

0:46:05.080 --> 0:46:07.160
<v Speaker 3>every character in this show is like they're.

0:46:07.040 --> 0:46:07.879
<v Speaker 2>Just trying their best.

0:46:08.480 --> 0:46:11.520
<v Speaker 3>Like she she made a bad decision, but in the moment,

0:46:11.640 --> 0:46:14.560
<v Speaker 3>it was the decision that she thought was best, and

0:46:14.760 --> 0:46:18.440
<v Speaker 3>that Ficassian kind of ended up being a good thing.

0:46:18.680 --> 0:46:21.799
<v Speaker 2>Even though I do think there's more to dig into, well,

0:46:21.840 --> 0:46:22.400
<v Speaker 2>I well, I.

0:46:22.480 --> 0:46:25.520
<v Speaker 1>Bring up I bring up the democracy angle and the

0:46:25.880 --> 0:46:29.319
<v Speaker 1>lack of protest angle to say, and not in any

0:46:29.440 --> 0:46:35.440
<v Speaker 1>kind of like what aboutism way that we the Republic

0:46:36.080 --> 0:46:41.279
<v Speaker 1>was clearly imperfect. Look at Marva and you know, and

0:46:41.480 --> 0:46:45.279
<v Speaker 1>her stealing a child from from a planet because of

0:46:45.680 --> 0:46:48.560
<v Speaker 1>you know, the depredations of some kind of corporate power

0:46:48.760 --> 0:46:51.120
<v Speaker 1>that was working under the aeges of the Republic on

0:46:51.200 --> 0:46:58.520
<v Speaker 1>this planet. But it was better than the Empire. And

0:46:58.680 --> 0:47:02.439
<v Speaker 1>we have yet to really dig into, other than those

0:47:02.520 --> 0:47:08.000
<v Speaker 1>early episodes of this series, exactly how fucked up the

0:47:08.160 --> 0:47:12.720
<v Speaker 1>Republic was. Like, we don't actually know exactly how fucked

0:47:12.800 --> 0:47:15.439
<v Speaker 1>up the Republic was, and some like and as Saul

0:47:15.520 --> 0:47:19.640
<v Speaker 1>super brittor Saul is noting the the kind of uh,

0:47:20.680 --> 0:47:25.000
<v Speaker 1>the the early episodes of Tales of the Jedi in

0:47:25.040 --> 0:47:28.759
<v Speaker 1>which we see like Count Dooku and and Qui gon

0:47:28.840 --> 0:47:31.560
<v Speaker 1>Jin take down a corrupt center, we did. We we

0:47:32.719 --> 0:47:35.280
<v Speaker 1>have yet to really get a real taste.

0:47:35.080 --> 0:47:38.680
<v Speaker 3>Of that feels like something, It feels like something that

0:47:38.800 --> 0:47:41.080
<v Speaker 3>they're leaning into that they want to get to, that

0:47:41.160 --> 0:47:43.920
<v Speaker 3>they want to talk about. I mean, also, if we

0:47:44.000 --> 0:47:46.800
<v Speaker 3>look at every character in Star Wars, they've gone against

0:47:47.760 --> 0:47:51.280
<v Speaker 3>usually yeah, they're obviously against the Empire, the Empire is evil.

0:47:51.320 --> 0:47:53.560
<v Speaker 3>They are like Nazis, Like that's bad.

0:47:53.719 --> 0:47:59.000
<v Speaker 1>I mean, legitimately, they're blowing up entire planets.

0:47:59.040 --> 0:48:01.160
<v Speaker 2>The well off our heroes.

0:48:00.760 --> 0:48:04.520
<v Speaker 3>Will have that moment where they also everyone from amidala Qui,

0:48:04.600 --> 0:48:08.719
<v Speaker 3>gon jin Obi wan Luke, you know, even like raym

0:48:08.840 --> 0:48:12.320
<v Speaker 3>Finn Finn especially obviously as a somebody who left the stormshoopers.

0:48:12.520 --> 0:48:14.239
<v Speaker 3>But they will also have that moment where they turn

0:48:14.320 --> 0:48:19.239
<v Speaker 3>against the other side because they know that that's also

0:48:19.640 --> 0:48:22.359
<v Speaker 3>not an immediate solution, like the solution has to come

0:48:22.400 --> 0:48:25.800
<v Speaker 3>from the people rather than the republic or the empire

0:48:25.960 --> 0:48:26.759
<v Speaker 3>or imperialism.

0:48:27.160 --> 0:48:30.839
<v Speaker 1>Well, I mean the imperfect again. I think that one

0:48:30.880 --> 0:48:33.759
<v Speaker 1>of the things that and Or brings forth is that

0:48:34.440 --> 0:48:37.560
<v Speaker 1>one of the primary differences between the Empire and the

0:48:37.680 --> 0:48:42.560
<v Speaker 1>Republic is while the Republic maybe would prey on a

0:48:42.680 --> 0:48:46.080
<v Speaker 1>planet and destroy its ecosystem like a bit at a time,

0:48:46.520 --> 0:48:48.080
<v Speaker 1>the Empire will just do it all alone.

0:48:47.920 --> 0:48:48.080
<v Speaker 2>Ye.

0:48:50.719 --> 0:48:54.239
<v Speaker 1>Right, And that and while they're both and that's not

0:48:54.480 --> 0:48:57.240
<v Speaker 1>a small distinction, like that's a real that's an actually

0:48:57.360 --> 0:49:03.680
<v Speaker 1>that's like a major difference. Okay, continuing, so back on Ferix,

0:49:03.719 --> 0:49:06.880
<v Speaker 1>Marva has passed. B is absolutely fucking distraught does not

0:49:06.960 --> 0:49:09.520
<v Speaker 1>want to be left alone, wants Marva back. Is actually

0:49:09.640 --> 0:49:12.800
<v Speaker 1>kind of doesn't truly believe that Marva's passed, seems like

0:49:12.920 --> 0:49:15.600
<v Speaker 1>she's He's kind of like expecting her to walk back

0:49:15.640 --> 0:49:19.200
<v Speaker 1>in through the door. Bee watches as Marva's body is

0:49:19.280 --> 0:49:23.440
<v Speaker 1>taken away, trailed by well wishers from the community. Meanwhile,

0:49:24.080 --> 0:49:27.600
<v Speaker 1>Sinta from the Aldanni crew and members of the ISB

0:49:27.719 --> 0:49:29.719
<v Speaker 1>are also watching. They're not aware of each other, but

0:49:29.760 --> 0:49:32.239
<v Speaker 1>they're both watching, and they're all watching and waiting for

0:49:32.440 --> 0:49:36.279
<v Speaker 1>Cassian and Or to show up. Cassian and melchie back

0:49:36.320 --> 0:49:40.480
<v Speaker 1>on Narkeina spot a ship. There's a couple of aliens nearby.

0:49:40.680 --> 0:49:44.040
<v Speaker 1>They're working a fishing hole. Cassian is like, well, that's

0:49:44.040 --> 0:49:45.920
<v Speaker 1>an older quad jumper, but I think I can fly it.

0:49:46.280 --> 0:49:47.920
<v Speaker 1>Mel She's like great. He makes a run for the

0:49:47.960 --> 0:49:50.800
<v Speaker 1>ship and Cassian has no choice but to follow, but

0:49:50.920 --> 0:49:54.000
<v Speaker 1>the aliens are canny and they trigger a booby trap

0:49:54.040 --> 0:49:56.560
<v Speaker 1>which capture the pair in this like gross kind of

0:49:56.680 --> 0:50:01.120
<v Speaker 1>like snot net Deirdre at ISB he learns of Marve's death.

0:50:03.120 --> 0:50:05.759
<v Speaker 1>The local Imperials that are stationed there on Pariks are

0:50:05.800 --> 0:50:07.920
<v Speaker 1>like so the local townspeople are asking for a permit

0:50:08.000 --> 0:50:10.040
<v Speaker 1>to have a parade for a funeral, a funeral parade,

0:50:11.360 --> 0:50:15.120
<v Speaker 1>and like should be given to him, and Deirdre is like, yes,

0:50:15.360 --> 0:50:20.520
<v Speaker 1>give them the permit, because I want bait to lure

0:50:20.640 --> 0:50:22.800
<v Speaker 1>Cassian and or in. I know that he won't be

0:50:22.920 --> 0:50:26.200
<v Speaker 1>able to resist going to his mother's funeral, So yes,

0:50:26.239 --> 0:50:31.560
<v Speaker 1>give them the permit. Back on on Narkina, the Aliens

0:50:31.600 --> 0:50:35.359
<v Speaker 1>are discussing what to do with Andor and Melchi. They

0:50:36.320 --> 0:50:40.720
<v Speaker 1>realize that these two are escaped convicts from an imperial

0:50:40.800 --> 0:50:44.080
<v Speaker 1>prison and that they all share a hatred of the Empire,

0:50:44.239 --> 0:50:45.839
<v Speaker 1>so they let him loose and they're like, okay, where

0:50:45.880 --> 0:50:47.880
<v Speaker 1>you want to go? And Or is like, take me

0:50:48.000 --> 0:50:53.359
<v Speaker 1>back to Namos, the vacation planet. Val arrives at Lusen's shop,

0:50:53.520 --> 0:50:55.640
<v Speaker 1>vow one of the Aldanni, you know that, leader of

0:50:55.680 --> 0:51:00.720
<v Speaker 1>the al Donnie crew. So his girlfriend goes to Luthen's

0:51:00.719 --> 0:51:05.080
<v Speaker 1>shop on Coruscant and wants to talk to Luthen. Claia

0:51:05.760 --> 0:51:07.839
<v Speaker 1>is like, get the fuck out it. You shouldn't be here.

0:51:08.120 --> 0:51:10.760
<v Speaker 1>This is not on schedule, this is against the rules.

0:51:10.840 --> 0:51:13.040
<v Speaker 1>You're being very, very sloppy right now, get out of here.

0:51:13.719 --> 0:51:16.120
<v Speaker 1>And VAL's like, I got important information I need to

0:51:16.160 --> 0:51:18.200
<v Speaker 1>speak to Luthen right away, and she's trying to pull

0:51:18.280 --> 0:51:20.480
<v Speaker 1>rank like I did fucking I did, al Donnie, what

0:51:20.560 --> 0:51:23.480
<v Speaker 1>the hell have you done? And then Claya gives another

0:51:23.560 --> 0:51:27.520
<v Speaker 1>one of these like great great monologues where you know

0:51:27.640 --> 0:51:31.640
<v Speaker 1>where She's like, uh, I don't have lately, I have always.

0:51:31.680 --> 0:51:33.840
<v Speaker 1>I have a constant blur of plate spinning and knives

0:51:33.880 --> 0:51:36.160
<v Speaker 1>on the floor and needy, panicked faces at the window,

0:51:36.239 --> 0:51:40.560
<v Speaker 1>of which you are but one of many. And she's like,

0:51:40.760 --> 0:51:43.880
<v Speaker 1>but listen, what do you have with your information? And

0:51:43.920 --> 0:51:47.239
<v Speaker 1>then val tell's with it, Marvit Cassian, and Or's mother

0:51:47.360 --> 0:51:51.000
<v Speaker 1>has died. Tell Luthen, and Clay is like, I promise,

0:51:51.080 --> 0:51:53.840
<v Speaker 1>I will let Luthan know. Meanwhile, on Ferrex, the ISP

0:51:54.040 --> 0:51:58.400
<v Speaker 1>is tightening its surveillance of the and Or Home. Brasso,

0:51:59.239 --> 0:52:04.000
<v Speaker 1>one of bix and and Ors colleagues on Feryx, is

0:52:04.120 --> 0:52:06.160
<v Speaker 1>in the and Or home, straightening up, trying to comfort be.

0:52:06.920 --> 0:52:11.440
<v Speaker 1>The droid again doesn't is unable to like process what

0:52:11.640 --> 0:52:15.120
<v Speaker 1>is happening, has gone completely emotionally to pieces, and Brasso agrees,

0:52:15.200 --> 0:52:17.400
<v Speaker 1>I'll stay here at the and Or home with you

0:52:18.080 --> 0:52:21.320
<v Speaker 1>just for one night. This comsby a little bit elsewhere

0:52:21.400 --> 0:52:24.680
<v Speaker 1>on Ferrex, Bix is reeling from the effects of the

0:52:24.840 --> 0:52:31.279
<v Speaker 1>horrific interrogation that she was undergoing. The ISB take her

0:52:31.320 --> 0:52:33.680
<v Speaker 1>to another room where they question her again, this time,

0:52:34.080 --> 0:52:37.400
<v Speaker 1>you know, not under the kind of like genocide the

0:52:37.760 --> 0:52:42.800
<v Speaker 1>sound treatment that they had been giving her previously, and

0:52:42.960 --> 0:52:46.640
<v Speaker 1>they want to know if they show her a picture

0:52:46.920 --> 0:52:49.480
<v Speaker 1>if Anton Creeker, this man that they're showing her is

0:52:49.680 --> 0:52:51.680
<v Speaker 1>the man that she introduced Cassie and and or to

0:52:51.800 --> 0:52:54.960
<v Speaker 1>and that he met with numerous times. Back on Coruscant,

0:52:55.040 --> 0:52:57.279
<v Speaker 1>we don't actually know if she says yes, but you

0:52:57.320 --> 0:52:59.879
<v Speaker 1>would imagine, I mean, like I would just probably.

0:52:59.680 --> 0:53:02.000
<v Speaker 2>Just say yes. Also as well, it's not so you're

0:53:02.320 --> 0:53:04.960
<v Speaker 2>sorry to that man actual saving.

0:53:05.840 --> 0:53:07.879
<v Speaker 1>Although you wonder, I guess the other thing that would

0:53:07.880 --> 0:53:09.719
<v Speaker 1>be going through your mind, right is if I give

0:53:09.760 --> 0:53:11.000
<v Speaker 1>them this, do they need me anything?

0:53:11.320 --> 0:53:11.759
<v Speaker 2>I da.

0:53:14.040 --> 0:53:19.120
<v Speaker 1>Back on Coruscant, Val arrives at Mon Masma's house. Lda.

0:53:19.960 --> 0:53:23.680
<v Speaker 1>Mon's daughter is apparently a budding young fascist, and we

0:53:23.800 --> 0:53:27.040
<v Speaker 1>see her, you know, with the rest of her like schoolmates,

0:53:27.080 --> 0:53:29.640
<v Speaker 1>doing some shit that is very troubling to Mon Mathma.

0:53:30.160 --> 0:53:33.799
<v Speaker 1>Mon shares with Val the details of the particular buying

0:53:33.880 --> 0:53:37.080
<v Speaker 1>she's in with regards to the money. Imperial inspectors are

0:53:37.160 --> 0:53:42.000
<v Speaker 1>nosing around the various Chandriline accounts that that mon has managed,

0:53:42.480 --> 0:53:44.560
<v Speaker 1>and at some point they're going to discover that there's

0:53:44.600 --> 0:53:47.440
<v Speaker 1>four hundred thousand credits missing, that she moved, you know,

0:53:47.600 --> 0:53:51.320
<v Speaker 1>to she moved to the rebels. She tells val that,

0:53:51.760 --> 0:53:54.560
<v Speaker 1>you know, I reached out to Tay for help, and

0:53:55.080 --> 0:53:56.920
<v Speaker 1>you know, we've been working to cover up the monies.

0:53:57.000 --> 0:53:59.800
<v Speaker 1>She doesn't tell her tell her about Davos, which is

0:53:59.840 --> 0:54:03.760
<v Speaker 1>probably wise, and then she said, but after all, Donnie,

0:54:04.520 --> 0:54:07.200
<v Speaker 1>everything just got impossible and it's only a matter of

0:54:07.280 --> 0:54:09.360
<v Speaker 1>time before the imperials figure out what's going on.

0:54:10.400 --> 0:54:10.520
<v Speaker 4>Uh.

0:54:10.800 --> 0:54:13.520
<v Speaker 1>And VALA's like, does Lucan know, like how much trouble

0:54:13.520 --> 0:54:16.279
<v Speaker 1>you're in? And she's like, no, but I don't know.

0:54:16.480 --> 0:54:19.279
<v Speaker 1>I you know, I don't think so. Mon then tells

0:54:19.400 --> 0:54:22.600
<v Speaker 1>val that she's kind of found another way out, and

0:54:22.680 --> 0:54:24.719
<v Speaker 1>she doesn't say his name, but we know that she's

0:54:24.719 --> 0:54:26.200
<v Speaker 1>because she went down to rocket.

0:54:26.160 --> 0:54:28.600
<v Speaker 2>By Fascist data coming through the door.

0:54:30.840 --> 0:54:34.400
<v Speaker 1>Cyril gets to call at his mother's house from sergent Linus,

0:54:34.480 --> 0:54:39.520
<v Speaker 1>his old buddy back to the corporation. Cyril's former colleague

0:54:40.080 --> 0:54:44.040
<v Speaker 1>tells him that Okay, Cassie Ander's mother has died, and

0:54:44.160 --> 0:54:51.160
<v Speaker 1>that the ISB and various groups on Coroissant, but probably

0:54:51.200 --> 0:54:54.400
<v Speaker 1>the ies B appear to be taken an interest in

0:54:54.440 --> 0:54:56.120
<v Speaker 1>this because a lot of calls back and forth from

0:54:56.160 --> 0:54:59.480
<v Speaker 1>Ferris to Coroissant, and it seems like ANDERI might show

0:54:59.560 --> 0:55:02.800
<v Speaker 1>up at the funeral back on Niamos and or sneaks

0:55:02.800 --> 0:55:06.200
<v Speaker 1>into his former hotel room to retrieve his credits blaster

0:55:06.360 --> 0:55:10.000
<v Speaker 1>and Keris's manifesto, which helpfully the various people who have

0:55:10.080 --> 0:55:12.000
<v Speaker 1>been staying in this room have not found because he

0:55:12.080 --> 0:55:16.080
<v Speaker 1>hit it like on a top shelf elsewhere in the galaxy.

0:55:16.200 --> 0:55:20.799
<v Speaker 1>Luthen arrives at Sawgreer's hideout and guess what, Saw has

0:55:20.920 --> 0:55:24.120
<v Speaker 1>changed his mind. Saun now wants to join Kreeger on

0:55:24.160 --> 0:55:24.680
<v Speaker 1>the Spellhouse.

0:55:24.760 --> 0:55:24.880
<v Speaker 2>Right.

0:55:24.960 --> 0:55:26.680
<v Speaker 1>He was against it. He was like, I don't know

0:55:26.800 --> 0:55:29.800
<v Speaker 1>this guy. Kreeger used to be a separatist back in

0:55:29.880 --> 0:55:31.719
<v Speaker 1>the fucking Clone War days. I don't want to lie

0:55:31.880 --> 0:55:33.320
<v Speaker 1>like with the guy likes up at Now He's like,

0:55:33.360 --> 0:55:35.840
<v Speaker 1>you know what, let's fucking do it. We get the booty,

0:55:35.960 --> 0:55:38.160
<v Speaker 1>we get to steal as much as we can from

0:55:38.200 --> 0:55:41.759
<v Speaker 1>this imperial facility, and as long as Kreeger, you know,

0:55:42.000 --> 0:55:44.879
<v Speaker 1>follows my rules, We're in on it. Tell him we're

0:55:44.960 --> 0:55:47.960
<v Speaker 1>doing it, and Luthen's like, no, we can't, and so

0:55:48.040 --> 0:55:49.279
<v Speaker 1>I was like, no, no, we're doing it, and he's

0:55:49.320 --> 0:55:52.080
<v Speaker 1>like Lusen's like no, no, no, it's going tomorrow, like

0:55:52.120 --> 0:55:54.160
<v Speaker 1>it's way too late, and so I was like no, no, no,

0:55:54.360 --> 0:55:55.960
<v Speaker 1>we're ready now, like we can go. If it's in

0:55:56.040 --> 0:55:59.120
<v Speaker 1>five minutes, we can go. We're locked and loaded, we're

0:55:59.160 --> 0:56:02.759
<v Speaker 1>ready to go, and eventually is forced to say, listen,

0:56:02.880 --> 0:56:06.759
<v Speaker 1>here's why the ISB are waiting on this rate. It's

0:56:06.760 --> 0:56:10.640
<v Speaker 1>a fucking trap. And he's and Saw's like wait, so

0:56:10.760 --> 0:56:14.680
<v Speaker 1>Kreeger doesn't know, and he's like no, so Sau said,

0:56:14.719 --> 0:56:18.800
<v Speaker 1>you're willing to burn him. It's thirty men plus Kreeger,

0:56:18.880 --> 0:56:23.160
<v Speaker 1>Luthern says, absolutely cold bloodedly, and this ruthless is absolutely

0:56:23.200 --> 0:56:25.360
<v Speaker 1>shocked Saw, and he says, what if it was me?

0:56:25.480 --> 0:56:29.200
<v Speaker 1>What if I was going? Luthern says, that'd be different.

0:56:29.280 --> 0:56:31.600
<v Speaker 1>Kreeger doesn't know who I am, he has no connections

0:56:31.680 --> 0:56:35.560
<v Speaker 1>to me. ISB can't track Kreeger back to me. He's

0:56:35.719 --> 0:56:39.440
<v Speaker 1>fucking disposable. And Saw says, okay, well, what if I

0:56:40.000 --> 0:56:42.680
<v Speaker 1>want to Warren Kreeger. What if I What if I

0:56:42.800 --> 0:56:45.279
<v Speaker 1>do that? Luthern says, that's your choice, but it would

0:56:45.320 --> 0:56:47.640
<v Speaker 1>risk everything else that we want to do. It would

0:56:47.680 --> 0:56:49.200
<v Speaker 1>blow up everything. Think about it.

0:56:49.960 --> 0:56:50.560
<v Speaker 4>The is B.

0:56:50.760 --> 0:56:53.319
<v Speaker 1>If they take down Kreeger, they're gonna be arrogant. They're

0:56:53.360 --> 0:56:55.319
<v Speaker 1>gonna be confident. There's gonna be a lot of space

0:56:55.600 --> 0:56:57.200
<v Speaker 1>for us to operate because they're not going to know

0:56:57.280 --> 0:56:59.480
<v Speaker 1>about us. They're going to think they have everything under control.

0:57:00.080 --> 0:57:03.080
<v Speaker 1>If we warn Kreeger and he pulls off, they're gonna

0:57:03.200 --> 0:57:06.000
<v Speaker 1>know that they have a leak somewhere in their information network,

0:57:06.040 --> 0:57:08.120
<v Speaker 1>and they're gonna tighten up. They're gonna get They're gonna

0:57:08.200 --> 0:57:10.359
<v Speaker 1>just batten down the hatches. It's gonna be very it's

0:57:10.680 --> 0:57:13.479
<v Speaker 1>very very difficult. Saw gets paranoid. Now he's like, okay,

0:57:14.520 --> 0:57:17.840
<v Speaker 1>if you have you have someone with Kreeger at isb

0:57:18.760 --> 0:57:20.840
<v Speaker 1>Do you have someone here? And he's like, you know,

0:57:20.960 --> 0:57:23.320
<v Speaker 1>he's wondering, like, dude, do you have someone in my group?

0:57:23.840 --> 0:57:27.200
<v Speaker 1>Who is it? And Lusan says, yeah, it's Tubes. It's

0:57:27.240 --> 0:57:31.080
<v Speaker 1>Bensic who otherwise known as Bensic but is nickname too. Yeah,

0:57:31.120 --> 0:57:33.360
<v Speaker 1>two Tubes and he's like he tells, He tells me everything,

0:57:33.840 --> 0:57:35.680
<v Speaker 1>but of course this is all a ploy to get

0:57:35.720 --> 0:57:40.680
<v Speaker 1>everybody excited so that he can then steal Tubes's blaster

0:57:40.880 --> 0:57:45.480
<v Speaker 1>and point it at at Saw, and Saw is amazed

0:57:46.000 --> 0:57:49.600
<v Speaker 1>and he's and it is incredible display of Luthen's resolve

0:57:49.680 --> 0:57:53.360
<v Speaker 1>because Luthen saw it, Nos has to know that he

0:57:53.480 --> 0:57:55.880
<v Speaker 1>can't get out of this, like, yeah, maybe you kill Saw,

0:57:56.040 --> 0:57:58.120
<v Speaker 1>maybe you killed two Tubes, but you're not walking out

0:57:58.120 --> 0:58:01.680
<v Speaker 1>of this place if you do that. And then is like, listen,

0:58:01.960 --> 0:58:04.600
<v Speaker 1>this is just so you'll listen. Here's all the angles,

0:58:05.160 --> 0:58:09.280
<v Speaker 1>and he again says all the reasons why they have

0:58:09.480 --> 0:58:15.160
<v Speaker 1>to let Kreeger go down, and he says anyway, and

0:58:15.360 --> 0:58:18.920
<v Speaker 1>he finishes up by saying, anyway, if I was ISB

0:58:19.240 --> 0:58:21.760
<v Speaker 1>wouldn't I just let you go on the raid saw,

0:58:23.120 --> 0:58:26.440
<v Speaker 1>and Saw says again thirty men plus Kreeger a marching

0:58:26.480 --> 0:58:30.080
<v Speaker 1>to their desks for the greater good whatever you want

0:58:30.160 --> 0:58:33.040
<v Speaker 1>to call it, let's call it war, which is a

0:58:33.200 --> 0:58:34.480
<v Speaker 1>just a chilling fucking le.

0:58:34.560 --> 0:58:37.200
<v Speaker 2>The writing of this, we learn so much as well

0:58:37.240 --> 0:58:37.760
<v Speaker 2>about Saw.

0:58:37.840 --> 0:58:39.840
<v Speaker 3>This is a this is a big Sow episode because

0:58:39.880 --> 0:58:42.200
<v Speaker 3>not only do we get this, but one of the

0:58:42.320 --> 0:58:48.520
<v Speaker 3>aliens that and Or gets captured by is one of

0:58:48.560 --> 0:58:52.520
<v Speaker 3>the Partisans who ends up being part of Source Partisans.

0:58:52.560 --> 0:58:54.360
<v Speaker 2>At Sy said, OK, so you.

0:58:54.440 --> 0:58:57.320
<v Speaker 3>Get a lot of we're learning not only why Saw

0:58:58.040 --> 0:58:59.960
<v Speaker 3>hates everyone and is a part and it's just like

0:59:00.160 --> 0:59:03.720
<v Speaker 3>off by himself, which understandable to be honest, but also

0:59:04.640 --> 0:59:07.120
<v Speaker 3>kind of who he may be taking with him. So

0:59:07.200 --> 0:59:10.800
<v Speaker 3>it's it's very interesting to see the way that the

0:59:10.920 --> 0:59:15.439
<v Speaker 3>Empire and also people like Luthan can kind of push

0:59:15.560 --> 0:59:16.600
<v Speaker 3>people into action.

0:59:17.720 --> 0:59:21.800
<v Speaker 1>Well, it's it's it is a reflection of something that

0:59:21.960 --> 0:59:24.880
<v Speaker 1>goes on like in real life. You know, we're used

0:59:24.880 --> 0:59:28.760
<v Speaker 1>to Star Wars framing it as you know, rebels versus Empire,

0:59:29.880 --> 0:59:33.760
<v Speaker 1>but here we're understanding and through the Clone Wars and Rebels,

0:59:33.800 --> 0:59:36.720
<v Speaker 1>we're understanding that there were factions, there were schisms, there

0:59:36.760 --> 0:59:38.920
<v Speaker 1>were different factions that had to team up. Like here

0:59:39.000 --> 0:59:42.440
<v Speaker 1>saw his having to make the decision of going against

0:59:42.920 --> 0:59:46.160
<v Speaker 1>some of his ideals in order to team up with

0:59:46.280 --> 0:59:50.720
<v Speaker 1>someone Krieger, who politically he was absolutely against during the

0:59:50.760 --> 0:59:52.840
<v Speaker 1>Clone Wars days, who was a separatist who was like

0:59:53.000 --> 0:59:56.280
<v Speaker 1>not pro republic. And this is you know, I'm reading

0:59:56.360 --> 0:59:59.919
<v Speaker 1>this book Opposing Power by Elvin Ong, and it's about

1:00:00.040 --> 1:00:05.520
<v Speaker 1>out how opposition forces build alliances in the face of

1:00:06.240 --> 1:00:12.160
<v Speaker 1>like autocracies and dictatorships. And it talks about like, you know,

1:00:12.240 --> 1:00:16.680
<v Speaker 1>successful protest movements in the Philippines and the eighties and

1:00:16.720 --> 1:00:19.480
<v Speaker 1>Korea also in the eighties, and how these groups, these

1:00:19.480 --> 1:00:26.320
<v Speaker 1>opposition groups managed to to you know, revitalized democracy in

1:00:26.360 --> 1:00:29.880
<v Speaker 1>those countries and over throw dictators because all of these

1:00:29.920 --> 1:00:35.600
<v Speaker 1>opposition groups that didn't necessarily agree with each other politically decided, Okay,

1:00:36.240 --> 1:00:39.240
<v Speaker 1>we actually need you have a good get out the

1:00:39.360 --> 1:00:44.200
<v Speaker 1>vote network, I have like the ability to communicate to

1:00:45.040 --> 1:00:49.640
<v Speaker 1>people on television. Therefore, and we both agree that this

1:00:49.760 --> 1:00:52.800
<v Speaker 1>dictator needs to go. Therefore, we need to team up.

1:00:52.800 --> 1:00:55.560
<v Speaker 1>And here we're seeing that happen in this fictional Star Wars,

1:00:55.640 --> 1:00:59.160
<v Speaker 1>these these groups, you know, Sagrera saying, Okay, I can't

1:00:59.240 --> 1:01:02.000
<v Speaker 1>do it alone. Fine, I'll team up with Kreeger. He's

1:01:02.000 --> 1:01:03.960
<v Speaker 1>got to follow my rules, but we can do this.

1:01:04.080 --> 1:01:07.800
<v Speaker 1>And that that's how we're seeing this rebellion kind of

1:01:07.840 --> 1:01:12.800
<v Speaker 1>like slowly knit itself together. It's aristocratic people like Monnema

1:01:13.200 --> 1:01:18.160
<v Speaker 1>and rich folks like Luthen, and these hard scrabble idealists

1:01:18.400 --> 1:01:21.880
<v Speaker 1>like Saw and other people from who knows where, like Krieger,

1:01:21.960 --> 1:01:25.000
<v Speaker 1>who politically, probably during the Clone Wars, could not have

1:01:25.080 --> 1:01:28.880
<v Speaker 1>agreed on one single thing, all coming together now because

1:01:28.920 --> 1:01:31.440
<v Speaker 1>they agree that the Empire's just got to fucking go.

1:01:31.800 --> 1:01:34.960
<v Speaker 3>Yeah, it's really interesting to see them pushing this message

1:01:35.120 --> 1:01:40.920
<v Speaker 3>of solidarity across like boundaries and the reality of how

1:01:41.000 --> 1:01:44.400
<v Speaker 3>many people there are who agree on the problems with

1:01:44.480 --> 1:01:47.440
<v Speaker 3>people in power, and how few people in power they

1:01:47.480 --> 1:01:52.520
<v Speaker 3>actually are. That is the nature of the Nachina five escape.

1:01:52.560 --> 1:01:56.960
<v Speaker 3>There's five thousand prisoners that should even could have happened

1:01:57.080 --> 1:02:01.160
<v Speaker 3>any time, but they separate people so that they can't

1:02:01.480 --> 1:02:01.720
<v Speaker 3>do it.

1:02:01.840 --> 1:02:02.600
<v Speaker 2>They fight again.

1:02:02.640 --> 1:02:05.400
<v Speaker 3>They made them fight against each other in this horrific

1:02:05.480 --> 1:02:08.360
<v Speaker 3>idea of like, this person is doing well, so you're

1:02:08.440 --> 1:02:10.200
<v Speaker 3>going to be punished for it, which we see in

1:02:10.280 --> 1:02:10.840
<v Speaker 3>our real life.

1:02:10.880 --> 1:02:12.040
<v Speaker 2>So I love that idea of.

1:02:13.680 --> 1:02:17.280
<v Speaker 3>Reminding people that if you come together, even if you

1:02:17.360 --> 1:02:21.280
<v Speaker 3>don't completely agree, you may be able to make things

1:02:21.320 --> 1:02:22.040
<v Speaker 3>a little bit bad.

1:02:22.120 --> 1:02:23.280
<v Speaker 2>It's a good message.

1:02:23.880 --> 1:02:26.920
<v Speaker 1>There's also a really interesting subtext to this entire series

1:02:26.960 --> 1:02:31.880
<v Speaker 1>that hasn't really been explored that much now, and it

1:02:32.040 --> 1:02:36.600
<v Speaker 1>is the human supremacist angle to both the Empire. The

1:02:36.640 --> 1:02:39.320
<v Speaker 1>Empire in particular, but also this kind of nascent rebellion

1:02:39.440 --> 1:02:43.400
<v Speaker 1>less so with obviously saus partisans which include you know,

1:02:43.680 --> 1:02:48.760
<v Speaker 1>alien fighters in that group, but you don't the empire

1:02:49.000 --> 1:02:54.560
<v Speaker 1>is just humans, like it is, humans in prison, even

1:02:54.640 --> 1:02:58.040
<v Speaker 1>the people they put in prison. They are not interested

1:02:58.520 --> 1:03:02.960
<v Speaker 1>at all in aliens having any kind of agency in

1:03:03.040 --> 1:03:06.120
<v Speaker 1>the upper levels of their leadership. And you know, it

1:03:06.280 --> 1:03:12.480
<v Speaker 1>really underlines how impressive throngs rise in the imperial leadership

1:03:12.640 --> 1:03:15.880
<v Speaker 1>is because this is not a group that is interested

1:03:16.200 --> 1:03:22.720
<v Speaker 1>in anything that alien species have to do, or says

1:03:25.080 --> 1:03:27.800
<v Speaker 1>that's it and can you help us smuggle shit? That's

1:03:28.000 --> 1:03:29.240
<v Speaker 1>like that's basically it.

1:03:29.560 --> 1:03:30.720
<v Speaker 2>Yeah, that's really interesting.

1:03:30.800 --> 1:03:34.919
<v Speaker 1>Actually, now there's the cynical side of me can also

1:03:35.000 --> 1:03:38.280
<v Speaker 1>say maybe it's budgetary, they just end of the budget fact,

1:03:38.320 --> 1:03:41.600
<v Speaker 1>but I don't think that's the case because of how

1:03:41.880 --> 1:03:45.160
<v Speaker 1>thought out this show really feels, and knowing what we

1:03:45.240 --> 1:03:47.480
<v Speaker 1>know about Tony Gilder's writing, it seems like a very

1:03:47.520 --> 1:03:51.360
<v Speaker 1>specific choice to highlight the human supremacist angle of the Empire,

1:03:51.360 --> 1:03:56.280
<v Speaker 1>in particular. In space above Sauce Hideout, Luthen makes contact

1:03:56.280 --> 1:03:59.480
<v Speaker 1>with Clea. They're speaking in code here because they they

1:03:59.600 --> 1:04:01.960
<v Speaker 1>you know, they're they're unsure if they've been listened to,

1:04:02.560 --> 1:04:08.000
<v Speaker 1>so they're using this kind of a dialogue to make

1:04:08.080 --> 1:04:10.360
<v Speaker 1>it sound as if they're just talking about the shop

1:04:10.560 --> 1:04:12.880
<v Speaker 1>and talking about the various things that they sell there.

1:04:13.280 --> 1:04:17.040
<v Speaker 1>She is basically telling him that something is kind of

1:04:17.200 --> 1:04:19.440
<v Speaker 1>off and you should come home as soon as possible

1:04:19.560 --> 1:04:22.680
<v Speaker 1>because we need to adjust our plans a little bit.

1:04:22.760 --> 1:04:24.720
<v Speaker 1>Then the signal breaks off, and it's because it's being

1:04:24.800 --> 1:04:28.560
<v Speaker 1>jammed by an imperial patrol. Luthen is trying to talk

1:04:28.640 --> 1:04:30.320
<v Speaker 1>his way out of it as the as the Empire

1:04:30.400 --> 1:04:34.200
<v Speaker 1>is making contact with him, he gives a phony transponder

1:04:34.320 --> 1:04:37.920
<v Speaker 1>scan out of Aldron. The ide absolutely checks out, but

1:04:37.960 --> 1:04:40.200
<v Speaker 1>the imperiors are like, fuck it, we need the practice

1:04:40.440 --> 1:04:43.520
<v Speaker 1>we need for They're so arrogant. This is like what

1:04:43.600 --> 1:04:45.640
<v Speaker 1>we saw in Narcina five, where it's just like fuck it,

1:04:45.720 --> 1:04:48.000
<v Speaker 1>arrest anybody who's going to stop them.

1:04:48.680 --> 1:04:52.120
<v Speaker 2>Yeah, who's going to still involved? At this point. They're masochists.

1:04:52.200 --> 1:04:56.800
<v Speaker 1>They want to have absolutely, so Luthan preps his ship

1:04:56.880 --> 1:04:59.360
<v Speaker 1>to make a run for it. He engages his countermeasures,

1:04:59.400 --> 1:05:02.960
<v Speaker 1>shreds the Imperial tractor Dish takes out a handful of

1:05:03.040 --> 1:05:05.640
<v Speaker 1>tie fighters on his way to hyperspace. It's absolutely its

1:05:05.640 --> 1:05:07.640
<v Speaker 1>action scene, it's so good.

1:05:07.720 --> 1:05:10.160
<v Speaker 3>And what he does is like a it's an EU

1:05:10.560 --> 1:05:15.800
<v Speaker 3>staple where it's he he lets shrapnel out and it

1:05:16.160 --> 1:05:18.440
<v Speaker 3>is caught in the track to be a minute, destroys

1:05:19.960 --> 1:05:25.360
<v Speaker 3>the Imperial tractor, which is so cool, like so it's yeah, shrapnel.

1:05:25.000 --> 1:05:30.880
<v Speaker 1>Just it's fucking great. And his it's his ship.

1:05:31.200 --> 1:05:34.600
<v Speaker 3>Oh yeah, and the the Imperial ship is the they

1:05:34.680 --> 1:05:38.560
<v Speaker 3>call it a Campwell Class, which is based on Colin

1:05:38.640 --> 1:05:42.240
<v Speaker 3>Campwell art. So that's a cool nod, which I think

1:05:42.360 --> 1:05:44.960
<v Speaker 3>our Discord will really like that one because they've been

1:05:45.000 --> 1:05:48.800
<v Speaker 3>having a lot of fun with ships during this show.

1:05:49.000 --> 1:05:51.200
<v Speaker 1>I mean, it's just it's just like a really really

1:05:51.440 --> 1:05:55.160
<v Speaker 1>great action scene and it lets you know also that

1:05:55.680 --> 1:05:59.520
<v Speaker 1>Luthen is not surviving all of this time because he's gone.

1:05:59.680 --> 1:06:03.959
<v Speaker 1>He's got lucky obviously, but he's also he's also thought

1:06:04.200 --> 1:06:08.000
<v Speaker 1>all of this shit through. He's been doing this a while. Absolutely.

1:06:09.200 --> 1:06:13.920
<v Speaker 1>Cassian contacts Zen on Feryx and learns sadly that his

1:06:14.080 --> 1:06:17.600
<v Speaker 1>mother is passed. He's absolutely stunned, and it's an incredible

1:06:17.680 --> 1:06:20.920
<v Speaker 1>contrast to like the background of Niamo's through on this

1:06:21.000 --> 1:06:23.880
<v Speaker 1>beautiful beach. The waves are crashing against the beach, this

1:06:24.120 --> 1:06:27.000
<v Speaker 1>gentle kind of a shushing sound, and he walks over

1:06:27.080 --> 1:06:30.439
<v Speaker 1>to Melchie and Melchi asks him, like about the call,

1:06:30.520 --> 1:06:34.640
<v Speaker 1>and Cassian doesn't tell him what happened. Melchie is soaking

1:06:34.720 --> 1:06:38.800
<v Speaker 1>in freedom, but also Melchie has become radicalized by this,

1:06:39.400 --> 1:06:42.320
<v Speaker 1>by this whole thing, this the ordeal that they've been through.

1:06:42.400 --> 1:06:45.240
<v Speaker 1>He says, like, you know, first he asks how many

1:06:45.240 --> 1:06:47.160
<v Speaker 1>people do you think made it out? And they're like,

1:06:47.400 --> 1:06:50.120
<v Speaker 1>and Cassian is like, not enough. And then mel She says, Okay,

1:06:50.600 --> 1:06:52.880
<v Speaker 1>we have to tell people what's going on here. People

1:06:52.960 --> 1:06:55.440
<v Speaker 1>have to know. We need to split up, double our

1:06:55.520 --> 1:06:57.880
<v Speaker 1>chances of getting out and getting to someplace where we

1:06:57.960 --> 1:07:01.440
<v Speaker 1>can speak the truth of what happened and here and

1:07:01.520 --> 1:07:03.960
<v Speaker 1>let's get out of here. And they bid each other goodbye.

1:07:04.440 --> 1:07:07.680
<v Speaker 1>Cassie and gives Melschie a blaster and they give this

1:07:08.160 --> 1:07:11.040
<v Speaker 1>really like, I mean, I got choked up a little

1:07:11.080 --> 1:07:13.000
<v Speaker 1>the way they part, because you just know that they're

1:07:13.040 --> 1:07:17.080
<v Speaker 1>going to be together again. You understand also like how

1:07:17.200 --> 1:07:20.320
<v Speaker 1>meaningful it is that they're fighting together on scaif in

1:07:20.440 --> 1:07:23.760
<v Speaker 1>rogue one. And then they part and that's it that

1:07:23.920 --> 1:07:28.439
<v Speaker 1>leads us, that leaves us the finale. What a show.

1:07:28.600 --> 1:07:32.160
<v Speaker 1>This continues to be some of the best Star Wars

1:07:32.240 --> 1:07:33.720
<v Speaker 1>any one has ever seen.

1:07:34.640 --> 1:07:37.960
<v Speaker 3>Yeah, it's so good and okay, so let's think about it.

1:07:38.000 --> 1:07:39.880
<v Speaker 3>The finale's coming up. Seems like it's going to take

1:07:39.920 --> 1:07:44.080
<v Speaker 3>place at Marv's funeral. That seems like the most likely option.

1:07:44.840 --> 1:07:45.800
<v Speaker 2>I wonder.

1:07:48.480 --> 1:07:53.000
<v Speaker 3>Do you think, what do you think they're building in

1:07:53.160 --> 1:07:55.880
<v Speaker 3>Nacina five? Because I think a lot of people were

1:07:55.920 --> 1:07:58.200
<v Speaker 3>kind of in this space where they were like, is

1:07:58.240 --> 1:07:59.040
<v Speaker 3>it the Death Star?

1:07:59.800 --> 1:08:02.800
<v Speaker 2>Is it you know, something really important? Is it irrelevant?

1:08:03.360 --> 1:08:06.840
<v Speaker 3>Tony Gilroy has recently in a couple of interviews basically

1:08:06.960 --> 1:08:11.600
<v Speaker 3>kind of said it's not irrelevant. It's actually incredibly relevant

1:08:11.640 --> 1:08:12.360
<v Speaker 3>to season two.

1:08:13.160 --> 1:08:17.240
<v Speaker 2>And it does. Yeah, he was interviewed in.

1:08:19.120 --> 1:08:22.080
<v Speaker 3>The Hollywood Reporter and he said, they're building season two.

1:08:22.280 --> 1:08:25.679
<v Speaker 3>It's the spine of season two. I've heard all kinds

1:08:25.720 --> 1:08:28.360
<v Speaker 3>of things, and it's great, all of the material that

1:08:28.439 --> 1:08:31.320
<v Speaker 3>the Empire has. I look at everything and think economically,

1:08:31.439 --> 1:08:33.320
<v Speaker 3>how does this work? Who built Scariff?

1:08:33.400 --> 1:08:34.240
<v Speaker 2>How do you build that?

1:08:34.400 --> 1:08:36.560
<v Speaker 3>How do you build ether? How do you build the

1:08:36.640 --> 1:08:39.200
<v Speaker 3>Death Star? And the armada of ships? There's a lot

1:08:39.240 --> 1:08:40.720
<v Speaker 3>of things that need to be built, and there's an

1:08:40.720 --> 1:08:43.639
<v Speaker 3>incredible amount of material, So to me, what they're building

1:08:43.760 --> 1:08:47.600
<v Speaker 3>is not as important as the scale of it. But

1:08:47.760 --> 1:08:49.600
<v Speaker 3>he said they're building the spine of season two, so

1:08:49.680 --> 1:08:50.760
<v Speaker 3>I'm very interested.

1:08:52.120 --> 1:08:56.639
<v Speaker 1>Well, I this I've been wondering all season as well.

1:08:56.720 --> 1:09:04.200
<v Speaker 1>And the ship that intercepts luth and made me wonder. Obviously,

1:09:04.280 --> 1:09:05.880
<v Speaker 1>it could be anything, and it could be the Death

1:09:05.920 --> 1:09:08.479
<v Speaker 1>Star and it could be ad Ats, but I'm I

1:09:08.640 --> 1:09:11.120
<v Speaker 1>was wondering if it's not because we haven't seen them yet,

1:09:11.479 --> 1:09:14.600
<v Speaker 1>some kind of star destroyer class. Oh, that would be

1:09:14.800 --> 1:09:17.639
<v Speaker 1>really interesting and could be because we haven't seen them yet.

1:09:17.720 --> 1:09:21.240
<v Speaker 2>That's a huge high stakes, but it's not the Death Star. Yeah.

1:09:22.160 --> 1:09:26.120
<v Speaker 3>Tony actually like debunked one of the theories that I

1:09:26.280 --> 1:09:29.160
<v Speaker 3>loved the most, which was so bleak and definitely was

1:09:29.240 --> 1:09:31.960
<v Speaker 3>like one, I just think it's so good because it's

1:09:32.000 --> 1:09:32.920
<v Speaker 3>so in tone of the show.

1:09:33.840 --> 1:09:37.840
<v Speaker 2>Somebody a lot of really popular fan theory was that

1:09:38.120 --> 1:09:41.200
<v Speaker 2>every room is just building the next room.

1:09:43.080 --> 1:09:47.360
<v Speaker 1>How that is like legitimately the bleakest thing, so.

1:09:47.640 --> 1:09:50.680
<v Speaker 3>Sad, and Tony was like, that's so bleak but so

1:09:50.800 --> 1:09:53.200
<v Speaker 3>good paraphrasing, But yeah, that was not the case.

1:09:53.360 --> 1:09:55.360
<v Speaker 2>So I love that idea. I think the Star. I

1:09:55.439 --> 1:09:57.599
<v Speaker 2>think tm x ray looking at the chats, I think

1:09:57.640 --> 1:09:59.160
<v Speaker 2>we're all in on the Star Destroyer.

1:09:59.280 --> 1:10:02.360
<v Speaker 3>I think that is I think that's a really great

1:10:02.439 --> 1:10:08.639
<v Speaker 3>call because also one Star destroyer building, one Star destroyer,

1:10:08.760 --> 1:10:11.559
<v Speaker 3>destroying one Star destroyer trying to stop a Star destroyer.

1:10:11.960 --> 1:10:15.679
<v Speaker 3>That is a very doable twelve episode arc. I would

1:10:15.720 --> 1:10:18.680
<v Speaker 3>be very interested to see if that's what it is,

1:10:18.840 --> 1:10:22.760
<v Speaker 3>especially the reading that we've done the books that we love,

1:10:22.920 --> 1:10:23.960
<v Speaker 3>like Claudia Gray.

1:10:25.320 --> 1:10:25.920
<v Speaker 2>Lost Stars.

1:10:25.960 --> 1:10:28.200
<v Speaker 3>I always shout it out, but that's a really interesting

1:10:28.240 --> 1:10:32.160
<v Speaker 3>book takes place over the three original trilogy films with

1:10:32.439 --> 1:10:34.960
<v Speaker 3>new characters and kind of what the day to day

1:10:34.960 --> 1:10:38.600
<v Speaker 3>of their lives looks like in the Rebellion and in

1:10:38.680 --> 1:10:41.200
<v Speaker 3>the Empire, and I can kind of imagine them going

1:10:41.280 --> 1:10:44.439
<v Speaker 3>for that kind of like here's what, you know, digging

1:10:44.479 --> 1:10:47.880
<v Speaker 3>into what Andor's done, so while showing the bureaucracy and

1:10:48.040 --> 1:10:50.960
<v Speaker 3>the little people who are behind these things, the people

1:10:51.080 --> 1:10:53.639
<v Speaker 3>like Cyril who work doing one job that seems totally

1:10:53.720 --> 1:10:56.759
<v Speaker 3>disconnected to the horrors of the Empire, but are exactly

1:10:56.880 --> 1:10:58.720
<v Speaker 3>still tools of it. And the one person in the

1:10:58.800 --> 1:11:02.040
<v Speaker 3>Rebellion who does even know they're in the Rebellion, who

1:11:02.160 --> 1:11:04.000
<v Speaker 3>just helps someone out because they think it's the right

1:11:04.080 --> 1:11:05.680
<v Speaker 3>thing to do, and then that person goes on to

1:11:05.800 --> 1:11:07.840
<v Speaker 3>lead it. I mean, I think that's so interesting, and

1:11:07.880 --> 1:11:11.400
<v Speaker 3>I think the Start Destroyer could be a great landscape

1:11:12.040 --> 1:11:15.120
<v Speaker 3>for that to take place in season two.

1:11:15.960 --> 1:11:18.519
<v Speaker 1>Well, we've got more and Or coming up up next,

1:11:19.439 --> 1:11:24.720
<v Speaker 1>a conversation with and Or creator Tony Gilroy. X ray

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<v Speaker 1>you need Indeed. Welcome to the High Mind, where we

1:15:08.040 --> 1:15:09.960
<v Speaker 1>explore a topic in more detail with the help of

1:15:10.040 --> 1:15:12.439
<v Speaker 1>expert guests. This week we are thrilled to have Tony

1:15:12.479 --> 1:15:15.920
<v Speaker 1>gilroy Oscar nominated writer and director and the creator of

1:15:16.200 --> 1:15:20.280
<v Speaker 1>and Or. Note. We recorded this interview while Rosie and

1:15:20.360 --> 1:15:23.720
<v Speaker 1>I were on the road. Apologies in advance if the

1:15:23.880 --> 1:15:27.519
<v Speaker 1>audio quality is not quite up to x ray vision

1:15:27.680 --> 1:15:30.640
<v Speaker 1>top top standards. Tony, thanks so much for joining us.

1:15:30.960 --> 1:15:33.360
<v Speaker 1>I think one of the things that's really knocked Rosie

1:15:33.360 --> 1:15:37.799
<v Speaker 1>and I out about your story is how it shows

1:15:37.960 --> 1:15:43.840
<v Speaker 1>how regular people, not necessarily you know, Jedi, space wizards, etc.

1:15:44.760 --> 1:15:47.840
<v Speaker 1>Would get enmeshed in a fight like this would either

1:15:47.920 --> 1:15:51.559
<v Speaker 1>rebel or decide to join the forces that would oppress

1:15:51.600 --> 1:15:53.639
<v Speaker 1>the rebellion. What was the genesis of this story?

1:15:55.080 --> 1:15:57.920
<v Speaker 4>Well, I mean it started from, you know, the concept

1:15:58.000 --> 1:16:01.760
<v Speaker 4>from lucasfilm, which was that they were interested in doing

1:16:01.800 --> 1:16:04.439
<v Speaker 4>a prequel from Rogue one and doing you know, the

1:16:04.520 --> 1:16:07.160
<v Speaker 4>five years of Cassian and or story before Rogue one,

1:16:07.960 --> 1:16:11.680
<v Speaker 4>and so that was that was the very first That

1:16:11.920 --> 1:16:14.880
<v Speaker 4>was the that was the buy in, and then you know,

1:16:14.960 --> 1:16:16.760
<v Speaker 4>what's your version of that? I think they tried. They

1:16:16.800 --> 1:16:19.240
<v Speaker 4>did try a couple other versions of it with different approaches.

1:16:19.479 --> 1:16:22.960
<v Speaker 4>My attitude about it, sort of from the sidelines along

1:16:23.000 --> 1:16:26.080
<v Speaker 4>the way, was it seems to me it's pretty obvious

1:16:26.120 --> 1:16:27.960
<v Speaker 4>what you have to do if you have this incredibly

1:16:28.000 --> 1:16:34.600
<v Speaker 4>accomplished character in Rogue one, who is, you know, the

1:16:34.760 --> 1:16:40.800
<v Speaker 4>tactical leader, the person that the Alliance trusts to go

1:16:40.880 --> 1:16:43.680
<v Speaker 4>on the most important mission possible, and a guy who

1:16:43.760 --> 1:16:47.040
<v Speaker 4>exhibits all these incredible leadership skills along the way tactically

1:16:47.200 --> 1:16:49.680
<v Speaker 4>and he changes his mind and he lies and he

1:16:49.720 --> 1:16:51.160
<v Speaker 4>does all the things that a leader has to do

1:16:51.240 --> 1:16:53.120
<v Speaker 4>on a mission like that, and then the guy gives

1:16:53.160 --> 1:16:58.200
<v Speaker 4>his life for every willingly, But who is that person?

1:16:58.520 --> 1:17:00.519
<v Speaker 4>So my idea is I said, well, you want if

1:17:00.520 --> 1:17:01.880
<v Speaker 4>you're gonna do a show about that person, you know,

1:17:01.960 --> 1:17:03.400
<v Speaker 4>either going what's going to happen to, then you want

1:17:03.439 --> 1:17:05.839
<v Speaker 4>to take them as far away from that as possible

1:17:05.880 --> 1:17:09.800
<v Speaker 4>five years ago. You want to have a show about becoming. Yeah,

1:17:10.040 --> 1:17:12.120
<v Speaker 4>on our show in in many ways is about becoming.

1:17:12.240 --> 1:17:15.759
<v Speaker 4>It's a revolution becoming a revolution. It's about Cacinando becoming

1:17:15.800 --> 1:17:18.479
<v Speaker 4>a revolutionary and then becoming a leader. It's about a

1:17:18.520 --> 1:17:20.120
<v Speaker 4>lot of people becoming different things.

1:17:20.479 --> 1:17:24.160
<v Speaker 3>So and when it came to you knew you were

1:17:24.200 --> 1:17:26.040
<v Speaker 3>going to show the becoming. So when it came to

1:17:26.160 --> 1:17:28.080
<v Speaker 3>building the world, one of the things that's kind of

1:17:28.120 --> 1:17:30.240
<v Speaker 3>blown us away. Star Wars has always been analogous, but

1:17:30.360 --> 1:17:33.720
<v Speaker 3>this feels like a show that has a lot of

1:17:33.800 --> 1:17:36.960
<v Speaker 3>very radical things to stay about building a rebellion and

1:17:37.000 --> 1:17:39.240
<v Speaker 3>the becoming of a rebellion, and the kind of world

1:17:39.320 --> 1:17:42.799
<v Speaker 3>that encourages a rebellion, a world with horrific prison labor,

1:17:42.960 --> 1:17:45.080
<v Speaker 3>you know, a world that oppresses the most vulnerable.

1:17:45.120 --> 1:17:47.360
<v Speaker 2>Could you speak a little bit about building that world

1:17:47.439 --> 1:17:50.439
<v Speaker 2>that would encourage Cassian to become the person that we see.

1:17:50.360 --> 1:17:54.800
<v Speaker 4>In Rogue Wan Well, canonically in Star Wars, in the

1:17:54.880 --> 1:17:57.800
<v Speaker 4>five years, I have a five year tranche of history

1:17:57.880 --> 1:17:59.519
<v Speaker 4>to take care of. I have a five year calendar,

1:17:59.600 --> 1:18:01.360
<v Speaker 4>so I know what happens in those five years. I

1:18:01.400 --> 1:18:03.880
<v Speaker 4>don't really have to spend very much time thinking about

1:18:03.920 --> 1:18:06.559
<v Speaker 4>anything else. It's and so I have to Those five

1:18:06.640 --> 1:18:10.600
<v Speaker 4>years are canonically clear to me. There's no question of

1:18:10.800 --> 1:18:15.880
<v Speaker 4>the established atrocities and motivations of an empire, right, I mean,

1:18:16.040 --> 1:18:19.439
<v Speaker 4>that's you know, and we know we know how how

1:18:19.520 --> 1:18:23.040
<v Speaker 4>bitter and horrifying and genocidal the battle will ultimately be,

1:18:23.880 --> 1:18:25.960
<v Speaker 4>and how you know, devastating it will be to Alderon

1:18:26.040 --> 1:18:30.200
<v Speaker 4>and everything else. So you know all that. But all

1:18:30.280 --> 1:18:35.120
<v Speaker 4>that said, I do never start anything with an agenda.

1:18:35.520 --> 1:18:39.360
<v Speaker 4>I start with characters, and I have my still beliefs

1:18:39.439 --> 1:18:44.080
<v Speaker 4>that I hope will you know, in some way osmodically

1:18:44.520 --> 1:18:46.439
<v Speaker 4>you know, work their way through. But I don't ever

1:18:47.280 --> 1:18:49.320
<v Speaker 4>think about, oh, I have an extra grind about this,

1:18:49.439 --> 1:18:51.519
<v Speaker 4>I'm going to talk about this or I didn't start

1:18:51.560 --> 1:18:53.840
<v Speaker 4>Michael Clayton because I wanted to do a story about

1:18:54.280 --> 1:19:00.080
<v Speaker 4>industrial uh you know industrial uh, you know, atrocity. I

1:19:00.120 --> 1:19:01.519
<v Speaker 4>started because I was like, oh, the guy is a

1:19:01.560 --> 1:19:03.760
<v Speaker 4>fixture and what happens is so I'm really interested in

1:19:03.840 --> 1:19:06.680
<v Speaker 4>the characters and I and I've learned over time that

1:19:06.760 --> 1:19:08.679
<v Speaker 4>it works for me and it's just what I'm interested.

1:19:08.840 --> 1:19:11.760
<v Speaker 4>I start very very small, and I build my way out.

1:19:13.640 --> 1:19:15.320
<v Speaker 4>I know there's been a lot of you know, there's

1:19:15.320 --> 1:19:17.120
<v Speaker 4>a lot of political I've been watching. You know, the

1:19:17.200 --> 1:19:19.519
<v Speaker 4>conversation is fascinating to watch all the conversations that the

1:19:19.600 --> 1:19:23.320
<v Speaker 4>show is you know, engendered over the past couple of months.

1:19:23.400 --> 1:19:26.280
<v Speaker 4>But and I know the show there's all kinds of

1:19:26.320 --> 1:19:29.439
<v Speaker 4>people that trying to lay claim in different ways to

1:19:29.560 --> 1:19:33.840
<v Speaker 4>the politics of the show. But you know, to me,

1:19:35.320 --> 1:19:37.680
<v Speaker 4>I've been studying history just as an amateur, as an

1:19:37.720 --> 1:19:42.759
<v Speaker 4>idiot Amazon, you know, a idiots home, a DIY historian

1:19:43.200 --> 1:19:46.120
<v Speaker 4>for years. And you know, there isn't anything in our

1:19:46.160 --> 1:19:48.400
<v Speaker 4>show that hasn't been going on for three thousand years.

1:19:48.400 --> 1:19:53.080
<v Speaker 4>I mean, colonialism, it's same oppression, harm, behavior, torture or whatever.

1:19:53.240 --> 1:19:55.479
<v Speaker 4>It's all there. So the great thing about this show

1:19:55.520 --> 1:19:57.800
<v Speaker 4>is you can sort of needle drop and do a

1:19:58.200 --> 1:20:00.720
<v Speaker 4>I could take we can take something from the it

1:20:00.760 --> 1:20:04.000
<v Speaker 4>takes something from heres, the Russian Revolution. So that's all.

1:20:05.120 --> 1:20:07.720
<v Speaker 4>That's the beauty of it, and that's but my way

1:20:07.760 --> 1:20:10.600
<v Speaker 4>in is really through character, what happens next to the

1:20:10.640 --> 1:20:12.560
<v Speaker 4>people you care about, and making you care about.

1:20:12.280 --> 1:20:16.200
<v Speaker 1>Them, thinking about your work, you know, from the cutting

1:20:16.280 --> 1:20:18.920
<v Speaker 1>edge all the way up through the board. I love

1:20:19.000 --> 1:20:20.880
<v Speaker 1>the cutting edge. Just ye, come on, why I.

1:20:26.760 --> 1:20:29.280
<v Speaker 4>Don't think that's been fully analyzed. Yeah, I don't think.

1:20:31.000 --> 1:20:33.880
<v Speaker 1>That's the episode. But you know, like thinking about your

1:20:33.920 --> 1:20:37.520
<v Speaker 1>working that way. It's often these characters who find themselves,

1:20:37.600 --> 1:20:40.519
<v Speaker 1>for one reason or another, in a context that they

1:20:40.600 --> 1:20:43.240
<v Speaker 1>were not necessarily prepared for, and now they have to

1:20:43.320 --> 1:20:45.240
<v Speaker 1>make do with what they have. You have the ice

1:20:45.280 --> 1:20:47.720
<v Speaker 1>skater that you know, the hockey player who now can

1:20:47.800 --> 1:20:50.040
<v Speaker 1>no longer play hockey, now has to do figure skating.

1:20:50.640 --> 1:20:54.280
<v Speaker 1>You have the spy who you know was brainwashed but

1:20:54.360 --> 1:20:57.040
<v Speaker 1>now has their agency back and they're cut loose in

1:20:57.120 --> 1:21:00.320
<v Speaker 1>the world. In Michael Clayton, you have a guy who's

1:21:00.680 --> 1:21:02.960
<v Speaker 1>you know, the scales fall from his eyes. He's a

1:21:03.040 --> 1:21:07.160
<v Speaker 1>fixer for much bigger figures and realizes he's caught between

1:21:07.200 --> 1:21:11.720
<v Speaker 1>these two worlds of power and powerlessness and his morality

1:21:13.520 --> 1:21:15.920
<v Speaker 1>looking at looking at and or in that in that

1:21:16.200 --> 1:21:20.040
<v Speaker 1>kind of context, I'm really struck by how it's uh

1:21:20.560 --> 1:21:22.360
<v Speaker 1>it seems like and I know you say you don't

1:21:22.400 --> 1:21:24.960
<v Speaker 1>you know, start with you know, with any with any

1:21:25.040 --> 1:21:27.679
<v Speaker 1>kind of like agenda. But I wonder if you might say,

1:21:27.800 --> 1:21:31.240
<v Speaker 1>if you might talk about how you build a character

1:21:31.960 --> 1:21:34.680
<v Speaker 1>and you know where this kind of character falls, and

1:21:34.760 --> 1:21:37.000
<v Speaker 1>the kind of characters that you've that you've that you've

1:21:37.320 --> 1:21:39.679
<v Speaker 1>built in the past. I love cutting edge again.

1:21:42.160 --> 1:21:44.519
<v Speaker 4>I mean, hopefully they're all unique. I mean, every single

1:21:44.600 --> 1:21:46.840
<v Speaker 4>one of them wants to be you know, bespoke and

1:21:47.360 --> 1:21:48.760
<v Speaker 4>and they want to be their own thing. I mean

1:21:48.840 --> 1:21:51.880
<v Speaker 4>I think that, uh, I think I've come to believe

1:21:52.160 --> 1:21:57.559
<v Speaker 4>over time that uh that, uh, the single most important

1:21:57.600 --> 1:22:00.400
<v Speaker 4>part of this is empathy. And you really you have

1:22:00.600 --> 1:22:04.800
<v Speaker 4>to be ridiculously empathetic to all of the people that

1:22:04.920 --> 1:22:08.960
<v Speaker 4>you're building and very and really care about them. Doesn't

1:22:09.000 --> 1:22:12.519
<v Speaker 4>matter if they're you know, or synchronic or or or

1:22:12.800 --> 1:22:15.400
<v Speaker 4>or or you know or Doug Dorsey in the in

1:22:16.200 --> 1:22:21.439
<v Speaker 4>the you gotta get in there, you know, you got

1:22:21.560 --> 1:22:24.160
<v Speaker 4>to really live it with them, and you gotta really so.

1:22:26.640 --> 1:22:29.439
<v Speaker 4>I I don't have a holistic answer to that. I

1:22:29.520 --> 1:22:32.200
<v Speaker 4>have a very personal every one of them is a

1:22:32.240 --> 1:22:34.320
<v Speaker 4>little temple and they're all you know, that makes it

1:22:34.400 --> 1:22:37.680
<v Speaker 4>sound pretentious and bullshitty, but like they're all they're all

1:22:37.800 --> 1:22:41.559
<v Speaker 4>real to me, and and and they all they couldn't

1:22:41.600 --> 1:22:43.720
<v Speaker 4>sound like anybody other than themselves. And I think you

1:22:43.760 --> 1:22:46.080
<v Speaker 4>can always tell that when you read someone's writing. You know,

1:22:46.120 --> 1:22:48.000
<v Speaker 4>if you read a writer and if all the characters

1:22:48.040 --> 1:22:50.200
<v Speaker 4>sort of sound the same, or if someone's IQ goes

1:22:50.280 --> 1:22:52.320
<v Speaker 4>up and down based on what they want the story

1:22:52.400 --> 1:22:54.320
<v Speaker 4>to do or whatever, then you know you're with somebody

1:22:54.320 --> 1:22:59.200
<v Speaker 4>who's not maybe maybe not. Uh, I'm not not sticking

1:22:59.240 --> 1:23:01.920
<v Speaker 4>to the rigor of that. Good writing is really where

1:23:01.960 --> 1:23:04.320
<v Speaker 4>the writers are invested in the people so much that

1:23:04.400 --> 1:23:05.240
<v Speaker 4>they could only.

1:23:05.120 --> 1:23:05.680
<v Speaker 1>Do what they do.

1:23:06.120 --> 1:23:10.200
<v Speaker 3>Yeah. And something that I found like really unique as

1:23:10.320 --> 1:23:13.040
<v Speaker 3>from a writing standpoint of Ander is this choice of

1:23:13.120 --> 1:23:17.160
<v Speaker 3>the arcs and kind of telling these small stories within

1:23:18.400 --> 1:23:21.719
<v Speaker 3>the bigger kind of season. Could you talk a little

1:23:21.720 --> 1:23:24.840
<v Speaker 3>bit about that choice and kind of the why that

1:23:24.920 --> 1:23:26.760
<v Speaker 3>felt like the best route to go.

1:23:27.320 --> 1:23:30.000
<v Speaker 4>Well, a lot of people, do you know, I mean,

1:23:30.120 --> 1:23:31.640
<v Speaker 4>we started out there with people I remember, you know,

1:23:31.640 --> 1:23:34.360
<v Speaker 4>it used to be I did my tone to television

1:23:34.640 --> 1:23:36.880
<v Speaker 4>over the last twenty thirty years, and network television a

1:23:36.920 --> 1:23:38.560
<v Speaker 4>couple of times try to do things and then the

1:23:38.960 --> 1:23:41.240
<v Speaker 4>dictum always was, Oh, your first episode has to be

1:23:41.280 --> 1:23:44.200
<v Speaker 4>your twentieth episode, Your first episode has to be I mean,

1:23:44.280 --> 1:23:46.920
<v Speaker 4>that was really what the old system was. And then

1:23:47.320 --> 1:23:49.240
<v Speaker 4>you know, and then you move into a more you know,

1:23:49.320 --> 1:23:52.920
<v Speaker 4>as the stories have gotten more long term and you know,

1:23:53.960 --> 1:23:57.200
<v Speaker 4>and more complicated, there's a different kind of structure for

1:23:57.320 --> 1:24:00.000
<v Speaker 4>how they work. But I don't think that there's any

1:24:00.000 --> 1:24:02.920
<v Speaker 4>any clear I think everybody's doing everything for the first

1:24:03.000 --> 1:24:05.160
<v Speaker 4>time now. In many ways, I think we're just at

1:24:05.200 --> 1:24:08.599
<v Speaker 4>the frontier of streaming and we're watching these huge shows.

1:24:08.640 --> 1:24:11.800
<v Speaker 4>I mean, these are the beginning of something really new.

1:24:12.680 --> 1:24:16.120
<v Speaker 4>I don't think there's any rule about what to do.

1:24:16.200 --> 1:24:19.600
<v Speaker 4>And the way our show laid out, it was like, well, coincidentally,

1:24:19.720 --> 1:24:23.120
<v Speaker 4>directors direct three episodes for us, the directors come in

1:24:23.200 --> 1:24:25.320
<v Speaker 4>and they direct a block of three. So it sort

1:24:25.360 --> 1:24:27.960
<v Speaker 4>of became a weird organizing principle in its own way,

1:24:28.479 --> 1:24:30.160
<v Speaker 4>and you kind of lean into it a little bit.

1:24:30.479 --> 1:24:32.760
<v Speaker 4>We're not perfect because you see in seven we drop

1:24:32.880 --> 1:24:36.280
<v Speaker 4>and seven is a standalone that episode and then a

1:24:36.400 --> 1:24:38.479
<v Speaker 4>kine and ten and then our last two episodes will

1:24:38.520 --> 1:24:40.439
<v Speaker 4>be sort of of a piece a little bit. I

1:24:40.520 --> 1:24:43.040
<v Speaker 4>guess we're not I don't think we're like, we're not.

1:24:44.000 --> 1:24:46.760
<v Speaker 4>You know, it's not it's not this rigorous, strict thing.

1:24:46.800 --> 1:24:48.360
<v Speaker 4>It's kind of the way it laid out and kind

1:24:48.360 --> 1:24:51.320
<v Speaker 4>of the way it worked for the directors. And I

1:24:51.439 --> 1:24:53.960
<v Speaker 4>think that there are no rules. I think the main

1:24:54.040 --> 1:24:56.479
<v Speaker 4>rule is do you want to see what happens next?

1:24:56.800 --> 1:24:59.680
<v Speaker 4>That's yeah, yeah, that's the rule that matters, right.

1:25:00.240 --> 1:25:04.559
<v Speaker 1>Yeah, Well, you mentioned dipping your toe on TV before.

1:25:04.640 --> 1:25:09.680
<v Speaker 1>Obviously this is a TV property. You've moved from screenwriting

1:25:09.760 --> 1:25:13.360
<v Speaker 1>to directing and now you're showrunner working with directors. What's

1:25:13.400 --> 1:25:16.160
<v Speaker 1>that transition been like and how does it change your

1:25:16.200 --> 1:25:18.120
<v Speaker 1>perspective as a person who's telling stories.

1:25:18.840 --> 1:25:21.000
<v Speaker 4>Yeah, I'll talk about I want to talk about the

1:25:21.000 --> 1:25:22.800
<v Speaker 4>directing thing, because that's an old story for you. But

1:25:23.320 --> 1:25:25.240
<v Speaker 4>the show running thing is nastly because I was going

1:25:25.320 --> 1:25:27.080
<v Speaker 4>to direct the first three episodes of this and I

1:25:27.160 --> 1:25:28.880
<v Speaker 4>was like, Okay, that's what I'm here for, and I'll

1:25:28.920 --> 1:25:31.400
<v Speaker 4>do this and then I'll get them, and then you know,

1:25:31.479 --> 1:25:33.240
<v Speaker 4>you realize what the gig is. And it was just

1:25:33.360 --> 1:25:37.320
<v Speaker 4>incredibly naive and and COVID really saved our show because

1:25:37.360 --> 1:25:40.559
<v Speaker 4>we got we got completely shut down and just everything

1:25:40.680 --> 1:25:42.840
<v Speaker 4>just went on hold. For six or seven months and

1:25:43.000 --> 1:25:44.680
<v Speaker 4>I couldn't come back to London. I didn't want to

1:25:44.720 --> 1:25:46.280
<v Speaker 4>come back to London and direct in the midst. There

1:25:46.360 --> 1:25:48.040
<v Speaker 4>was no vaccine or anything like that at that point,

1:25:48.640 --> 1:25:51.120
<v Speaker 4>and it just turned into like, okay, let's and I

1:25:51.200 --> 1:25:54.320
<v Speaker 4>started rewriting my episodes and rewriting everybody else's episodes and

1:25:54.360 --> 1:25:58.680
<v Speaker 4>tuning everything up. And came time to hire directors, and

1:25:58.720 --> 1:26:01.599
<v Speaker 4>it's I've never hired director before. And that's a really

1:26:01.960 --> 1:26:04.559
<v Speaker 4>that's a really fascinating I didn't take it quite as

1:26:04.640 --> 1:26:06.320
<v Speaker 4>seriously in the beginning as I think I thought it

1:26:06.360 --> 1:26:09.080
<v Speaker 4>would be easier. It's very very difficult. You have to

1:26:09.280 --> 1:26:11.960
<v Speaker 4>watch lots of stuff, incredible amount of stuff. You have

1:26:12.040 --> 1:26:13.560
<v Speaker 4>to find a way to parse your way through it.

1:26:15.000 --> 1:26:18.200
<v Speaker 4>There's an incredible amount of competition between shows because there's

1:26:18.240 --> 1:26:21.920
<v Speaker 4>so many shows. Really hard to get directors, and it's

1:26:21.960 --> 1:26:25.400
<v Speaker 4>really there's a limited number of directors who have you know,

1:26:25.520 --> 1:26:28.200
<v Speaker 4>we need directors who have a certain amount of flight time.

1:26:28.320 --> 1:26:30.240
<v Speaker 4>You know, you can't this is like flying a seven

1:26:30.360 --> 1:26:33.320
<v Speaker 4>forty seven. You can't just get so so we have

1:26:33.439 --> 1:26:36.120
<v Speaker 4>a different criteria than they had to be. It was,

1:26:36.600 --> 1:26:43.160
<v Speaker 4>it was it's very unanticipatedly difficult. We lucked out the

1:26:43.280 --> 1:26:45.840
<v Speaker 4>first time around. I think we've lucked out this time around.

1:26:46.200 --> 1:26:48.240
<v Speaker 4>We have we have three new directors that are coming

1:26:48.320 --> 1:26:50.559
<v Speaker 4>back for this for this the second half. We start

1:26:50.600 --> 1:26:55.200
<v Speaker 4>shooting in November. But man, it's it's I'll tell you

1:26:55.280 --> 1:26:58.479
<v Speaker 4>one thing, it's the competition is really really tough to

1:26:58.560 --> 1:27:01.320
<v Speaker 4>find that not to if you have a smaller show

1:27:01.960 --> 1:27:03.960
<v Speaker 4>where you could swing away and be loose, you know,

1:27:04.600 --> 1:27:07.160
<v Speaker 4>but you can't figure out how to do this show

1:27:07.240 --> 1:27:11.920
<v Speaker 4>on the job, right, It's just like too many people

1:27:12.000 --> 1:27:12.639
<v Speaker 4>have just drowned.

1:27:12.680 --> 1:27:13.760
<v Speaker 1>So the.

1:27:15.320 --> 1:27:18.040
<v Speaker 4>Then diagram of what you're looking for, it's and then

1:27:18.120 --> 1:27:19.799
<v Speaker 4>everybody's after the same people.

1:27:20.240 --> 1:27:23.040
<v Speaker 2>So it was very tricky and it was such a

1:27:23.200 --> 1:27:25.400
<v Speaker 2>like long like you talked about, you know, being shut

1:27:25.439 --> 1:27:27.320
<v Speaker 2>down by COVID, this new experience of a show where

1:27:27.439 --> 1:27:30.320
<v Speaker 2>a searching for these directors. How did it? And obviously

1:27:30.439 --> 1:27:32.320
<v Speaker 2>the nature of filming a show like this is very

1:27:32.400 --> 1:27:34.720
<v Speaker 2>different to a smaller film or a smaller show. How

1:27:34.800 --> 1:27:37.680
<v Speaker 2>did it feel once you started to see the fully.

1:27:37.520 --> 1:27:41.240
<v Speaker 3>Finished episodes and kind of see the end of that

1:27:41.800 --> 1:27:44.120
<v Speaker 3>first part of the journey of making the first season?

1:27:44.520 --> 1:27:46.880
<v Speaker 4>Well, I mean, quite honestly, I have to I mean,

1:27:47.120 --> 1:27:49.439
<v Speaker 4>I've been on it for three years now, and in

1:27:49.479 --> 1:27:52.680
<v Speaker 4>the middle of it, you know, I'll be honest, you

1:27:52.880 --> 1:27:54.760
<v Speaker 4>just wondering what did I do to my life?

1:27:55.680 --> 1:27:56.800
<v Speaker 1>Yeah?

1:27:56.960 --> 1:28:01.080
<v Speaker 4>Yeah, yeah, I mean, and I mean, seriously, is it

1:28:01.200 --> 1:28:04.320
<v Speaker 4>worth it? I mean, many days agoing like what have

1:28:04.439 --> 1:28:06.120
<v Speaker 4>I done? I could be doing anything I want to do,

1:28:06.640 --> 1:28:08.599
<v Speaker 4>I can do to right and to play, I could

1:28:08.640 --> 1:28:10.920
<v Speaker 4>make a movie. What am I doing? What did I

1:28:11.120 --> 1:28:13.519
<v Speaker 4>do to my life? Is it worth it? And it

1:28:13.600 --> 1:28:17.559
<v Speaker 4>really really wasn't until you know, about a year ago

1:28:18.479 --> 1:28:20.640
<v Speaker 4>we really did start to put the episodes together in

1:28:20.920 --> 1:28:22.640
<v Speaker 4>a kind of way that we could actually sort of

1:28:22.840 --> 1:28:25.519
<v Speaker 4>and solve some of the you know, really some of

1:28:25.560 --> 1:28:27.880
<v Speaker 4>the visual effects started coming in, we started do stuff,

1:28:27.920 --> 1:28:30.479
<v Speaker 4>and my brother John is sort of the over the

1:28:30.560 --> 1:28:35.759
<v Speaker 4>post production overlord. So you know, once the show started

1:28:35.760 --> 1:28:37.280
<v Speaker 4>to come together and we could look at them in

1:28:37.320 --> 1:28:39.640
<v Speaker 4>a whole piece and have other people outside of our

1:28:39.680 --> 1:28:42.200
<v Speaker 4>little tiny community look at them, it started to be like,

1:28:42.240 --> 1:28:44.120
<v Speaker 4>oh my god, maybe this was really worth it. And

1:28:45.000 --> 1:28:47.400
<v Speaker 4>that's the feeling more than anything else, of like, oh

1:28:47.439 --> 1:28:49.760
<v Speaker 4>my god, I haven't wasted the last three years, because

1:28:49.800 --> 1:28:52.200
<v Speaker 4>it really there's times along the way where you you

1:28:52.240 --> 1:28:54.720
<v Speaker 4>could get on a movie. You could be on a

1:28:54.800 --> 1:28:56.360
<v Speaker 4>movie and you could hate the people that you're in

1:28:56.439 --> 1:28:58.720
<v Speaker 4>business with, or you could whatever. You could survive it.

1:28:58.800 --> 1:29:02.720
<v Speaker 4>Now it seems making a movie seem nothing. This is

1:29:02.840 --> 1:29:04.639
<v Speaker 4>like you're just oh my god, I'm on a whaling

1:29:04.800 --> 1:29:09.920
<v Speaker 4>version a whaling pot by eighty and how am I

1:29:10.120 --> 1:29:12.440
<v Speaker 4>ever going to get back to Nantucket?

1:29:12.560 --> 1:29:18.720
<v Speaker 1>You know? Well, Tony, you've made something really really incredible. Yeah,

1:29:18.880 --> 1:29:21.800
<v Speaker 1>we're big fans of your work, and congratulations on the show.

1:29:22.439 --> 1:29:24.360
<v Speaker 1>We can't wait to see how it ends. All right,

1:29:26.600 --> 1:29:32.120
<v Speaker 1>thank you, have a good day. Big thank you to

1:29:32.200 --> 1:29:34.400
<v Speaker 1>Tony Gilroy and Rosie Knight for joining us on X

1:29:34.479 --> 1:29:38.200
<v Speaker 1>ray Vision. Rosie, what do you have to plug? Plug?

1:29:38.400 --> 1:29:38.599
<v Speaker 3>Plug?

1:29:38.640 --> 1:29:39.160
<v Speaker 1>Plug plugs.

1:29:39.280 --> 1:29:41.680
<v Speaker 2>Tony's not here, so I will say watch and Or,

1:29:41.800 --> 1:29:45.519
<v Speaker 2>and the and the Cutting Edge because we talked about

1:29:45.560 --> 1:29:48.320
<v Speaker 2>so much on that interview. For me, you can find

1:29:48.360 --> 1:29:51.680
<v Speaker 2>me Rosie Marx at Instagram and letterbox.

1:29:52.000 --> 1:29:55.960
<v Speaker 3>I am here every week. I will be having some

1:29:56.080 --> 1:29:58.120
<v Speaker 3>cool comment but news to talk about. You can read

1:29:58.160 --> 1:30:03.360
<v Speaker 3>my writing at Polygon, of Geek, ign, Nudice, a bunch

1:30:03.400 --> 1:30:07.400
<v Speaker 3>of different places, and I now have officially migrated my website.

1:30:07.439 --> 1:30:10.439
<v Speaker 2>So my website is Rosienight dot com. If you want

1:30:10.479 --> 1:30:11.759
<v Speaker 2>to look at some check.

1:30:11.640 --> 1:30:12.000
<v Speaker 3>It out.

1:30:13.520 --> 1:30:22.920
<v Speaker 1>Crash Sash web press some quick updates and news. Xtra

1:30:23.000 --> 1:30:25.240
<v Speaker 1>Vision will be taking a well earned break for Thanksgiving

1:30:25.360 --> 1:30:27.800
<v Speaker 1>next week. We hope you're all able to do that

1:30:27.920 --> 1:30:31.320
<v Speaker 1>as well, so catch the next episode on December second,

1:30:31.360 --> 1:30:33.960
<v Speaker 1>where we'll be diving into the finale of and or

1:30:34.160 --> 1:30:38.240
<v Speaker 1>lots of and or discussion that week. Plus, we're gonna

1:30:38.240 --> 1:30:40.600
<v Speaker 1>be hosting a panel and a live podcast recording at

1:30:40.800 --> 1:30:44.000
<v Speaker 1>LA Comic Con on Saturday, December third, from eleven thirty

1:30:44.320 --> 1:30:47.240
<v Speaker 1>to one pm Pacific and Panel Room four or two.

1:30:47.720 --> 1:30:50.160
<v Speaker 1>More information on that to come, and you can find

1:30:50.200 --> 1:30:52.400
<v Speaker 1>that through the show notes. But again, if you're in

1:30:52.600 --> 1:30:56.240
<v Speaker 1>LA in the first week of December and you want

1:30:56.280 --> 1:30:58.160
<v Speaker 1>to come through, come check it out, Come meet us,

1:30:58.479 --> 1:31:01.720
<v Speaker 1>come talk to us. It'll be fun. Check out the

1:31:01.960 --> 1:31:04.960
<v Speaker 1>La Comic Con app website plus the show notes for

1:31:05.040 --> 1:31:07.280
<v Speaker 1>specifics again and tickets if you want to come see

1:31:07.840 --> 1:31:13.120
<v Speaker 1>the live taping of x ray Vision. Five star reviews.

1:31:13.160 --> 1:31:15.040
<v Speaker 1>We gotta have them, we love them, we need them,

1:31:15.200 --> 1:31:19.679
<v Speaker 1>we can't live without them. Here is Matt Morichie Rosie

1:31:19.760 --> 1:31:22.640
<v Speaker 1>Night is amazing there, great tandem and really appreciate the

1:31:22.720 --> 1:31:24.400
<v Speaker 1>branding as well. Five stars.

1:31:24.520 --> 1:31:26.680
<v Speaker 3>Thank you Matt, Thank you Matt, and thank you to

1:31:26.840 --> 1:31:29.120
<v Speaker 3>the people who designed off branding, which is really cool.

1:31:29.640 --> 1:31:33.320
<v Speaker 1>And then finally some other housekeeping notes. X Ravision is

1:31:33.320 --> 1:31:35.960
<v Speaker 1>going to be going to two episodes at an undisclosed

1:31:36.040 --> 1:31:37.880
<v Speaker 1>data in the future. We're figuring that out right now,

1:31:38.360 --> 1:31:41.240
<v Speaker 1>but it's going to be in the more medium term

1:31:41.400 --> 1:31:44.920
<v Speaker 1>than the longer term, certainly. And thanks to all of

1:31:45.000 --> 1:31:49.599
<v Speaker 1>you reached out and have expressed sadness at the ending

1:31:49.680 --> 1:31:54.160
<v Speaker 1>of takeline. It's so delighted that everybody listened to it,

1:31:54.320 --> 1:31:56.600
<v Speaker 1>and it was a pleasure to give all of you

1:31:56.960 --> 1:31:59.760
<v Speaker 1>some of the most fun sports content I thought out there,

1:32:01.160 --> 1:32:05.080
<v Speaker 1>and it will free up time for all of us

1:32:05.160 --> 1:32:08.840
<v Speaker 1>to do other stuff. Thank you for your kind words.

1:32:09.360 --> 1:32:12.240
<v Speaker 1>Also thanks for everyone who wished me a happy birthday

1:32:12.880 --> 1:32:15.800
<v Speaker 1>a couple of weeks ago. That was so delightful, That

1:32:16.000 --> 1:32:18.920
<v Speaker 1>was so nice. X ray Vision is a Crooked Media production.

1:32:18.960 --> 1:32:20.720
<v Speaker 1>The show is produced by Chris Lord and Saul Rubin.

1:32:20.760 --> 1:32:23.680
<v Speaker 1>The show is executive produced by myself and Sandy's Rhard Are.

1:32:23.760 --> 1:32:27.760
<v Speaker 1>Editing and sound designers by Vascillis Fatopoulos, Dilon Villanueva and

1:32:27.840 --> 1:32:31.080
<v Speaker 1>Matt to group provide video production support. Alex Rollaford handle

1:32:31.160 --> 1:32:33.800
<v Speaker 1>social media. Thank you Brian Vasquez for a theme music.

1:32:34.360 --> 1:32:35.439
<v Speaker 1>See it in two weeks.

1:32:38.320 --> 1:32:41.479
<v Speaker 6>Hey, Mike, it's Hisenough for Marine. I want to talking

1:32:41.479 --> 1:32:44.240
<v Speaker 6>about not Tina five today. First of all, absolutely is

1:32:44.400 --> 1:32:46.760
<v Speaker 6>despicle what was going on? Then, Mike, you know, we

1:32:47.479 --> 1:32:49.479
<v Speaker 6>the Galaxy's got to know about the things that are

1:32:49.520 --> 1:32:53.240
<v Speaker 6>going on. That's absolutely terrible. But I just gotta say this, Keino,

1:32:53.880 --> 1:32:55.840
<v Speaker 6>First of all, I hope you survived. I don't know

1:32:55.880 --> 1:32:58.640
<v Speaker 6>if you survived. But just to anybody who's watching this

1:32:58.840 --> 1:33:02.280
<v Speaker 6>is hearing this right now, swim is not that hard. Guys, like,

1:33:02.400 --> 1:33:04.240
<v Speaker 6>don't be so nervous about it. He's getting this.

1:33:04.720 --> 1:33:07.720
<v Speaker 1>Here's what it is. Kick your legs and then just

1:33:07.840 --> 1:33:10.680
<v Speaker 1>like move your arms. That's it. That's it.

1:33:10.960 --> 1:33:13.519
<v Speaker 6>You did it for nine months in your mother's womb.

1:33:13.560 --> 1:33:15.280
<v Speaker 6>You could do it again. It's not that hard.

1:33:15.600 --> 1:33:15.760
<v Speaker 1>You know.

1:33:15.840 --> 1:33:18.360
<v Speaker 6>I'm not saying it's not a lot a long distance

1:33:18.840 --> 1:33:21.640
<v Speaker 6>to swim. But Keino, don't be scared of it. You

1:33:21.800 --> 1:33:25.280
<v Speaker 6>survive not Keenu five. You can survive this. Just kick

1:33:25.320 --> 1:33:27.439
<v Speaker 6>your legs, all right. I'll take my hands off to you.

1:33:27.600 --> 1:33:27.840
<v Speaker 2>Thank you,