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Speaker 1: It's very difficult to keep the line between the.

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Speaker 2: Past and the price.

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Speaker 3: You believe that someone out of the past, we can

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Speaker 3: enter and take possession of a living beat.

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Speaker 4: We may be through with the past, but the past

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Speaker 4: is not through with us.

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Speaker 1: Welcome back to the Next Picture Show, a movie of

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Speaker 1: the week podcast devoted to a classic film and the

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Speaker 1: way it's shaped our thoughts on a recent release. I'm

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Speaker 1: Tasha Robinson here again with Genevieve Koski and keep Pips

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Speaker 1: Scott's Buyas went walking his dog Iris along the beach

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Speaker 1: earlier today and they've both since disappeared, but we're pretty

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Speaker 1: sure they're okay. Anyway, have you seen the price of

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Speaker 1: beach closed signs lately? This podcast can't afford to have

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Speaker 1: those made up just for him. On the first half

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Speaker 1: of this episode, we discussed the happy accidents and deliberate

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Speaker 1: artistry of Steven Spielberg's Jaws. With this half, we'll look

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Speaker 1: at another movie about a giant shark hungry for an

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Speaker 1: entire beachload of people. John Turtle Toobbs The Meg. Oh okay, sorry, sorry,

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Speaker 1: I mean the Meg. Much like Jaws, The Meg is

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Speaker 1: based on a novel and it went through a whole

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Speaker 1: lot of screenwriters on its way to the screen. Also,

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Speaker 1: much like Jaws, it features a giant shark, and the

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Speaker 1: resemblance is mostly in there or do they. Unlike a

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Speaker 1: lot of shark movies, the Meg does actually try to

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Speaker 1: establish characters who matter, who are fighting their own inner

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Speaker 1: battles and have something to prove besides just killing a shark.

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Speaker 1: It takes up the capitalism problem again that it's also

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Speaker 1: back to the hubers of scientists who don't yet realize

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Speaker 1: how interfering with nature.

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Speaker 4: Is arrogant foolishness that will eventually do humanity. And yet

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Speaker 4: it's a pretty un memorable film in spite of all

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Speaker 4: its attempts to be big, serious, meaningful, and maybe even important.

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Speaker 4: That might be because it's also so clearly and obviously

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Speaker 4: calculated to be profitable. The Meg is the latest international

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Speaker 4: co production in a recent line of films designed to

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Speaker 4: straddle the line between the American market and the potentially

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Speaker 4: crucial lucrative Chinese market. The film takes place off the

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Speaker 4: coast of Shanghai and features an international cast starring several

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Speaker 4: prominent Asian actors in primary roles. It also feels like

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Speaker 4: it lands somewhere between a Chinese drama and an American

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Speaker 4: action movie. The attempt to hit the right check boxes

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Speaker 4: maybe part of the problem here, or maybe it's just

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Speaker 4: the overall alliance on a cute dog named Pippin.

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Speaker 1: We'll talk about it after the break. What you people

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Speaker 1: discovered is bigger than we ever thought possible.

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Speaker 2: How big is that thing?

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Speaker 1: What's the largest struck that ever existed?

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Speaker 2: A living fossil thoughts have been extinct over two million years? Wrong?

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Speaker 1: Oh my god, it smegalodum. He's kidding right that things

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Speaker 1: there to find and kill it. Why don't you just

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Speaker 1: put a tracker on it?

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Speaker 2: You guys?

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Speaker 1: Ever watch Shark Week.

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Speaker 2: He looks heroic, but it's.

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Speaker 1: Kind of got a negative attitude.

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Speaker 2: Sing this you ugly bad?

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Speaker 1: Okay, guys, Why wasn't the bag more fun?

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Speaker 3: I liked the meg as long as no one was

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Speaker 3: talking in it.

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Speaker 2: It was a fun ish I'm just struggling to write

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Speaker 2: all details. Just less than a week later.

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Speaker 3: At this point, I remember finding like the sort of

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Speaker 3: suspense set pieces pretty effective. I thought the scenes in

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Speaker 3: the deep deep water were fantastically creepy. But that is

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Speaker 3: also like speaking to a personal phobia I have of

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Speaker 3: like the very very deep motion. But again, I think

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Speaker 3: like there are some pretty cool sequences, some good scares,

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Speaker 3: but the just the dialogue in this movie is terrible

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Speaker 3: and like kind of all the other things you laid

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Speaker 3: out in the opening there, Tasha, just like make it

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Speaker 3: not something I could call a good movie, but it

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Speaker 3: was one that I, you know, enjoyed in the theater

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Speaker 3: for the most parts, and I could laugh at the

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Speaker 3: parts that I wasn't enjoying.

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Speaker 2: You know, not to jump to comparisons, but I mean,

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Speaker 2: you know, you look at how smoothly Jaws moves from

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Speaker 2: point A to point Z, and this is just sort

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Speaker 2: of like set piece filler, set piece filler, and now

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Speaker 2: we're here.

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Speaker 3: Yeah, it's like a big creaky contraption.

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Speaker 1: You know.

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Speaker 3: It needs to be like one of those underwater gliders.

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Speaker 2: And I thought, I think the effects were like kind

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Speaker 2: of wildly variable in terms of their affect inness Like

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Speaker 2: there's sounds like something quite effective, other ones it's very

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Speaker 2: shark nato ass. It's not great. And I don't know,

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Speaker 2: I feel like there was sort of a real esthetic

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Speaker 2: to the action scenes either, Like the most effective I

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Speaker 2: thought was not even really an action scene, but the

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Speaker 2: scene was a little girl and the shark's menacing her. Outside.

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Speaker 2: That stuff's good, but I didn't feel like there was

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Speaker 2: really a lot of artistry to the way anything was

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Speaker 2: put together, even when it was kind of effective at times.

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Speaker 3: I think, like that underwater lab setting, you know, with

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Speaker 3: like the big glass rings, like, you know, pretty effective,

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Speaker 3: cool setting, you know. Yeah, and it definitely pays off

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Speaker 3: in that part, But so much of the movie is

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Speaker 3: not that.

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Speaker 1: It's just it's very strange to me that I think

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Speaker 1: the least convincing special effect in the film is the shark.

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Speaker 1: I mean, I think all of the different ships and

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Speaker 1: gliding around underwater and these you know, the deep caverns

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Speaker 1: full of strange creatures, I found that all like pretty

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Speaker 1: visually convincing and interesting, and every time the shark enters

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Speaker 1: the picture, it doesn't look remotely real, which I guess

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Speaker 1: I complained about that with Jaws as well. But I

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Speaker 1: don't know that creepy gravitas of that scene that you

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Speaker 1: called out in Jaws of the shark, like slowly gliding

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Speaker 1: underwater towards its victim. There's nothing here that feels remotely

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Speaker 1: that convincing.

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Speaker 3: It's even though the poster for this movie like directly

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Speaker 3: apes that.

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Speaker 1: Sh Yeah, it's just just every time the shark showed up,

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Speaker 1: it was just so obviously. Like so much of this movie,

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Speaker 1: it feels very calculated. It feels like it's trying too hard.

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Speaker 1: And I feel like they maybe made a CGR shark

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Speaker 1: and then they were like, it doesn't look scary enough.

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Speaker 1: Can you make it darker and like scar it up

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Speaker 1: and just trying to make it look like really tough,

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Speaker 1: like let me make it look like a tough, mean shark,

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Speaker 1: so it doesn't look like a shark. It looks like

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Speaker 1: a CGI effect to me.

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Speaker 3: And I think it's also maybe slightly a matter of scale,

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Speaker 3: because like the Shark and Jaws is like we're told

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Speaker 3: it's big, it's a very big shark, but like you

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Speaker 3: can still position it against a human for scale, and

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Speaker 3: like I feel like the I feel like the meg

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Speaker 3: is just too big man, you know, Like I mean

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Speaker 3: it's just like a mouth, you know, like you can

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Speaker 3: position it against like oh here here it is next

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Speaker 3: to a whale that it ate, you know, But like

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Speaker 3: I just don't feel like that is something that we

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Speaker 3: as humans have as much context for scale wise as

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Speaker 3: we do the human body like, I mean, you can

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Speaker 3: look at Jaws and see how big it is compared

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Speaker 3: to a I'm calling shark Jaws, but you know what

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Speaker 3: I mean, you can like see how big the shark

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Speaker 3: is compared to a human being. With the Meg, it's

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Speaker 3: a mouth, you know, it's a giant mouth, and anything

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Speaker 3: that is attached to that mouth is just sort of

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Speaker 3: not really there.

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Speaker 2: Yeah. I think there's probably some sort of uncanny Valley

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Speaker 2: like graph with sharks above a certain size. They's not

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Speaker 2: being threatening to start being kind of just unreal and

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Speaker 2: not saying they can actually be afraid of even more

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Speaker 2: than they can be afraid of a giant dragon or something.

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Speaker 3: Okay, now here's here's where I'm going to bring up

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Speaker 3: one of probably many questions I'm going to have about

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Speaker 3: this spot. But in one of many scenes so that

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Speaker 3: it takes directly from Jaws where they catch the meg,

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Speaker 3: you know, and it's all going to be okay and

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Speaker 3: he's strung up on the ship. Was that a megalodon

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Speaker 3: or was that just like another shark?

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Speaker 1: Like should this be the megs? I think it was

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Speaker 1: a minialdon, Like I think the idea was that there

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Speaker 1: was another megalodon.

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Speaker 3: More than one, so more than one. Megaladon came up

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Speaker 3: through this.

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Speaker 2: Is a window, brief window when they could escape from there.

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Speaker 3: How many more are out there? As many sequels, I.

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Speaker 2: Think it's.

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Speaker 1: At least four, a minimum of four, each one bigger

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Speaker 1: than the last.

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Speaker 2: Uh.

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Speaker 1: And for the last one it's personal. Oh and the

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Speaker 1: third one is somehow in three D, which the other

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Speaker 1: ones are just two dimensional sharks. Yeah, I don't know

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Speaker 1: the direct ripoffs. Again, having just kind of complained a

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Speaker 1: little bit about finding out that mission impossible. Movies we're

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Speaker 1: stealing from Hitchcock. One reference to Jaws in this Melt

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Speaker 1: movie might have been cheeky, but by the time we

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Speaker 1: were like at three or four visual references or or

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Speaker 1: dogs with the same name. I guess it's Pippit versus Pippin,

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Speaker 1: but it's still it's just completely different movie. It's not Patasha.

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Speaker 1: I don't know, it just it just it really started

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Speaker 1: to feel like, if you're gonna do this much of Jaws,

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Speaker 1: this should be a better movie. You know.

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Speaker 3: What reference I did like though, was the one definding Nima.

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Speaker 2: That's funny where I like state Joice. I find him

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Speaker 2: very very solid, even in not so great movies.

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Speaker 3: Yeah. I mean yeah, I thought he was perfectly solid here.

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Speaker 3: I've liked him a lot more in other movies, but

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Speaker 3: by yes, yes, high yeah. And I think probably even

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Speaker 3: the later Fast and Furious movies, I've kind of enjoyed

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Speaker 3: him more because I feel like those movies maybe lean

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Speaker 3: a little more into their camp value than this does.

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Speaker 3: And I think a lot of people, at least a

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Speaker 3: lot of people I know, I think we're hoping the

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Speaker 3: Meg would be like Ultra can't be like verging on

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Speaker 3: Sharknado territory. But it's like she brought up Chinese dramas.

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Speaker 3: It's just like a little too serious for its own good,

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Speaker 3: but it's also too silly for its own good. It's

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Speaker 3: like in this weird tonal middle ground.

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Speaker 1: I think the thing that's always been interesting about Statham

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Speaker 1: is that he's very good at straddling that tonal middle ground,

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Speaker 1: like much like The Rock, who is I think edged

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Speaker 1: more and more into like Johnson Dwaine, The Rock Johnson,

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Speaker 1: Who's just kind of edged more and more into that

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Speaker 1: like family friendly, you know, smiling, safe kind of dude.

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Speaker 1: Like both of them kind of have a way of

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Speaker 1: bringing across like toughness but also charisma and kind of

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Speaker 1: an easygoingness and a willingness to laugh at themselves that

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Speaker 1: I think is very welcome in the kind of character

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Speaker 1: that they play very often, and Statham has always played

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Speaker 1: these like tough, glowering, mean guy roles where you can

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Speaker 1: tell that he's self aware and where there's usually just

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Speaker 1: a couple of wink wink jokes. No matter how grim

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Speaker 1: the movie is, there'll be something where he kind of

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Speaker 1: like lets you in on it.

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Speaker 3: Here.

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Speaker 1: One of those things is his like i'm sure contractually

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Speaker 1: obligated shirtless scene where the female lead walks in on

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Speaker 1: him having just gotten out of a shower and wrapped

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Speaker 1: in a towel and there's like some full on female

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Speaker 1: gaze going on there and then a bunch of like

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Speaker 1: mind whacky hygens because she's embarrassed.

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Speaker 2: But it's also the closest the film gets to any

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Speaker 2: sort of sexuality at all, because they have this, you know,

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Speaker 2: alleged romance, those two characters, but it's always just people

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Speaker 2: telling them that they like each other, and like, you know,

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Speaker 2: I don't.

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Speaker 3: Even so predicated on the kid, like that romance doesn't

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Speaker 3: exist without the kid.

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Speaker 2: I'm I'm not sure they touch each other in that movie.

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Speaker 1: Yeah, but I mean that's a very Chinese cultural thing.

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Speaker 2: I was wondering if it was sort of playing into

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Speaker 2: the sensitivities of the Chinese market by doing that.

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Speaker 1: Yeah. My understanding is that a lot of what we

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Speaker 1: consider just sort of standard PDA is like, does not

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Speaker 1: fly in the Chinese market.

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Speaker 2: But it's odd to see in a film that that's

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Speaker 2: you know, when you straddle those two cultures and try

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Speaker 2: to please them both, it makes for some odd moments.

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Speaker 2: I'm sure it makes some for odd moments for Chinese

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Speaker 2: viewers as well.

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Speaker 3: It does.

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Speaker 1: But at the same time, a lot has been written

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Speaker 1: about the completely negligible sexuality in say the Marvel movies,

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Speaker 1: which are not expressly designed for the Chinese audience. But

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Speaker 1: at the same time you have the same kind of

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Speaker 1: thing of the Thor and Jane are totally in love

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Speaker 1: and they're going to express that by standing on opposite

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Speaker 1: sides of a sound stage and maybe in completely different

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Speaker 1: shots well looking at each other longingly. There's so much

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Speaker 1: of that that goes on in the Marvel movies, which

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Speaker 1: just kind of don't have sexuality, and it kind of

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Speaker 1: feels like that here. But it also feels like they

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Speaker 1: could just get away with not having it, rather than

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Speaker 1: having a character periodically remind you this is a thing.

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Speaker 3: Yeah, I was gonna say, I don't want this attorneyment

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Speaker 3: argument for more sexuality in our shark movies, Like I

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Speaker 3: think we need to go in the other direction, more

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Speaker 3: shark reality.

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Speaker 1: I mean, it just it ends up feeling like one

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Speaker 1: of those pro forma plot points where somebody said, we

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Speaker 1: have to have this, we don't have time for this,

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Speaker 1: and we don't want to do it. We'll just have

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Speaker 1: a character just as having.

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Speaker 3: I did think it was interesting, especially seeing this movie

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Speaker 3: right on the heels of Mission Impossible fallout, that this

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Speaker 3: movie also includes the ex wife character that our protagonist

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Speaker 3: is on friendly terms with and gives her blessing for

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Speaker 3: this new relationship. I don't know if that's like a

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Speaker 3: recurring thing in movies, or if this was a coincidence

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Speaker 3: that I saw these two movies more or less back

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Speaker 3: to back in.

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Speaker 2: Odd detail to include every supporting character gets their own

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Speaker 2: like the little thing you did. None of them really

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Speaker 2: go anywhere, but they all get their own little things,

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Speaker 2: you know.

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Speaker 1: To some degree to me, that particular flavor of plot

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Speaker 1: point feels sort of progressive because it feels like, first

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Speaker 1: of all, an attempt to have more female characters that

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Speaker 1: actually have some kind of backstory, And second of all,

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Speaker 1: it just sort of feels like a way for the

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Speaker 1: film to hand a male character from one romance to

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Speaker 1: another by saying, you know this, this guy is safe. Yeah,

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Speaker 1: he's like, you know, glowering action hero or whatever her,

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Speaker 1: but like he's a good man and a good husband.

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Speaker 1: I'm gonna put him in your hands. I'm gonna vouch

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Speaker 1: for him. He's a nice guy. Like it just it

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Speaker 1: feels very nice guy ism and it becomes a weird touch,

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Speaker 1: but it's also kind of humanizing. I feel like it's

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Speaker 1: maybe meant to get us around that the eighties feeling

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Speaker 1: of action hero meets girl, saves girl, saves girl again,

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Speaker 1: saves girl yet again, gets girl because girl is prized.

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Speaker 3: But this is really just dividing that between two different girls.

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Speaker 3: Because like Jason Satson scared, like he said, and some

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Speaker 3: of the dialogue that characters this movie dialogue, like the

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Speaker 3: guys come to him and he's like, I'm not gonna

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Speaker 3: do it. Nothing're gonna nothing. You can say, it's gonna

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Speaker 3: get me down there, and they're like, it's your ex wife,

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Speaker 3: and next scene he's down there, sure, and so he

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Speaker 3: has to rescue her. And then later in the movie

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Speaker 3: he has a different love interest to rescue. So I

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Speaker 3: don't know, it's.

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Speaker 2: It's one silly thing this.

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Speaker 1: Film, right, Oh yeah, yeah, that's a good point. I mean,

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Speaker 1: as a motivator for getting him in a place he

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Speaker 1: swore he'd never go back to, I'm kind of okay

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Speaker 1: with it. And it also enables that that kind of

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Speaker 1: like loosey goosey sequence where they come to him and

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Speaker 1: he's just like, hey, man, like I'm hanging out doing

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Speaker 1: my Jason Statham hippie.

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Speaker 3: Thing, which I got my feet on the table. Man,

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Speaker 3: I don't care about nothing.

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Speaker 2: I thought that set up where I was basically someone

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Speaker 2: else was fishing and I could just sit around and

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Speaker 2: drink beer all day and nice surroundings like that, going

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Speaker 2: I'm not going anywhere. I'm not going back in the water.

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Speaker 1: Well especially you're not going down to like the bottom

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Speaker 1: of the Marianna's trench in order to be eaten by

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Speaker 1: a megaladon.

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Speaker 3: But what if you have this very tragic backstory involving

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Speaker 3: the very thing that you are being asked.

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Speaker 2: To confused by the opening scene. I mean, it's all

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Speaker 2: explained a million times later, but I was confused as

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Speaker 2: to what was happening in that opening.

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Speaker 3: I didn't understand that we were on a nuclear submarine

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Speaker 3: until it exploded.

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Speaker 1: Sure, yeah, I guess I didn't catch that. I thought

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Speaker 1: it was another like scientific mission kind of thing. It

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Speaker 1: just seemed like a big underwater nome. But I definitely

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Speaker 1: got the idea that it was going apart, probably because

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Speaker 1: it had been attacked by some sort of megalodon, and

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Speaker 1: that he was trying to rescue people. And then it

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Speaker 1: became can you go back for your team or just

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Speaker 1: get these people to safety? And he made the decision

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Speaker 1: to get the people to safety, And I actually liked

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Speaker 1: that as a plot point, just the whole idea that

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Speaker 1: this thing that he's carrying around with him as his

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00:16:20,880 --> 00:16:24,360
Speaker 1: own personal drama is he couldn't save everybody, and he

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00:16:24,400 --> 00:16:27,480
Speaker 1: feels guilty about it, but he also feels incredibly angry

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Speaker 1: at people who guilt him about it. As plot points go,

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00:16:30,760 --> 00:16:33,960
Speaker 1: it beats nothing, which is what we learn about most

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Speaker 1: characters in monster movies, shark movies, animal movies.

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Speaker 2: Just sort of a random detail about This film is

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Speaker 2: based on a novel by Steve Alton, and it's been

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Speaker 2: in it. There's a really good wired story about the

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00:16:45,760 --> 00:16:48,600
Speaker 2: many possible versions of this film. It could have happened

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Speaker 2: over the years. Littorio is going to direct it at one point,

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Speaker 2: yond de Bant, I was gonna direct at one point,

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Speaker 2: and if you know, a long story, shorty got made.

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Speaker 2: But if they do sequels, I don't know if they're

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Speaker 2: going to draw from the many sequels that Alton has written,

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Speaker 2: but I do hope they keep at least one subtitle,

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Speaker 2: the one used for the third book, which is Meg

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Speaker 2: Colon Hell's Aquarium. It's a genius title.

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Speaker 3: I mean that sounds like the third Jaws, where it's

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Speaker 3: in a like a seaquarium. You know, it's following it

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Speaker 3: to the letter.

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Speaker 1: You know what. There isn't a lot of in Hell's Aquarium. Angelfish,

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Speaker 1: Scott's not here. Somebody's gonna make the dead jokes.

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Speaker 3: I mean, I'm surprised that you have not made more

356
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Speaker 3: fish Ponton Stasha. Did you just use them all up

357
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Speaker 3: on the shape of Waters?

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Speaker 1: I think I officially retired on that whole thing.

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Speaker 3: I mean, yeah, but.

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Speaker 1: Just overall, like I'll love a shark movie like I

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Speaker 1: love a cheesy shark movie. I Deep Blue c is

362
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Speaker 1: a running gag between me and my terrible movie loving sister.

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00:17:53,880 --> 00:17:57,040
Speaker 1: We've watched that movie more times than I care to count.

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Speaker 3: Sounds like you just called your movie loving sister terrible.

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Speaker 1: Her name's Tara. You know she is kind of a

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Speaker 1: terrible movie loving sister because she keeps dragging me into

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Speaker 1: watching these movies. But that's maybe she was the one

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Speaker 1: who introduced me to it. And it's like that to me.

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Speaker 1: There are two great shark movies, Jaws on the one

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Speaker 1: end of the spectrum and Deep Lucy on the cheesy

371
00:18:20,040 --> 00:18:23,520
Speaker 1: ass like ridiculous. It's made out of science and the

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Speaker 1: science is ridiculous and you don't have to worry about it.

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Speaker 1: Samuel L. Jackson gets eaten by a CGI effect that

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00:18:28,640 --> 00:18:34,000
Speaker 1: doesn't look real. Just straight up self aware comedy that

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00:18:34,080 --> 00:18:37,040
Speaker 1: also moves like. That film moves along nicely.

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Speaker 3: It really does.

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Speaker 1: There is a character in the meg that feels like

378
00:18:45,480 --> 00:18:48,760
Speaker 1: without a parrot, like his only function in the film

379
00:18:48,920 --> 00:18:52,560
Speaker 1: is to make the occasional like livening things up wise cracks.

380
00:18:52,600 --> 00:18:55,080
Speaker 1: That also function is boy, we got to get out

381
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Speaker 1: of here. Why isn't anybody aware that we need to

382
00:18:57,280 --> 00:18:57,880
Speaker 1: get out of here?

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00:18:58,000 --> 00:19:01,080
Speaker 3: That would be DJ Kennedy.

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Speaker 1: Here's the weird thing about the Meg for me. This

385
00:19:04,400 --> 00:19:07,320
Speaker 1: is a large cast. And usually when you have a

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00:19:07,359 --> 00:19:11,200
Speaker 1: horror film, that upfront is like, here's a large cast

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00:19:11,240 --> 00:19:14,440
Speaker 1: of people with one characteristic apiece. It is not here

388
00:19:14,480 --> 00:19:16,960
Speaker 1: are their jobs. We're gonna zip by them. It's not

389
00:19:17,000 --> 00:19:19,600
Speaker 1: important to what they do. But here's a large cast.

390
00:19:19,720 --> 00:19:21,440
Speaker 1: What that means is they're gonna get eaten on one

391
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Speaker 1: by one.

392
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Speaker 2: Like what two of them exactly.

393
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Speaker 1: We come at the other end with his huge cast

394
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Speaker 1: still in standing around.

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Speaker 2: So we've gotten so attached to these characters it would

396
00:19:30,720 --> 00:19:34,080
Speaker 2: just treak our hearts to part ways with Jack's or

397
00:19:34,280 --> 00:19:35,399
Speaker 2: doctor Minoy Jang.

398
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Speaker 3: I mean he dies, Sorry, Rain Wilson dies, the Yeah

399
00:19:44,560 --> 00:19:46,800
Speaker 3: and the and the large guy.

400
00:19:49,600 --> 00:19:51,359
Speaker 1: It ain't the wall Genivie. I can't believe you do.

401
00:19:51,760 --> 00:19:56,000
Speaker 2: That by ol R Darry olive Soon, who you've seen

402
00:19:56,040 --> 00:19:58,800
Speaker 2: in tons of stuff. But I like that where other

403
00:19:58,880 --> 00:20:00,840
Speaker 2: actors can probably feel that they're being brought in for

404
00:20:00,960 --> 00:20:05,680
Speaker 2: international appeal to peel their individual territories. He's from Iceland,

405
00:20:05,840 --> 00:20:08,760
Speaker 2: so he's just there. He's not there. You know, there's

406
00:20:08,760 --> 00:20:10,960
Speaker 2: not enough people to justify that he's just there because

407
00:20:11,000 --> 00:20:11,439
Speaker 2: they like him.

408
00:20:11,520 --> 00:20:15,080
Speaker 1: He's just cornering the heck out of that Icelandic shark movie.

409
00:20:15,280 --> 00:20:18,240
Speaker 3: Sure, yeah, I mean, I guess I didn't think that

410
00:20:18,359 --> 00:20:21,560
Speaker 3: the movie chickened out on killing anyone, but the dog

411
00:20:21,680 --> 00:20:24,680
Speaker 3: pretty much encapsulates it though, you know, like the dog

412
00:20:24,840 --> 00:20:25,280
Speaker 3: lives and.

413
00:20:27,920 --> 00:20:29,920
Speaker 1: Which you know, by the way, if that movie is

414
00:20:30,240 --> 00:20:33,760
Speaker 1: anything remotely representational that time that dog swimming around in

415
00:20:33,800 --> 00:20:36,280
Speaker 1: the ocean for like two hours before somebody pulls him out.

416
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Speaker 3: I mean, that's a small dog too, Like they do

417
00:20:38,600 --> 00:20:40,360
Speaker 3: not have that kind of stamping small dog.

418
00:20:40,560 --> 00:20:44,040
Speaker 1: Big ocean apparently just has its own little flotation device

419
00:20:44,119 --> 00:20:45,800
Speaker 1: that we never see. I don't know, but yeah, it

420
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Speaker 1: just it weirds me out that there's so many people

421
00:20:47,600 --> 00:20:49,840
Speaker 1: in this movie. And then by the end there's still

422
00:20:49,920 --> 00:20:52,560
Speaker 1: so many people in this movie. I mean, usually part

423
00:20:52,800 --> 00:20:57,000
Speaker 1: of the mechanic of a disaster film, a monster movie

424
00:20:57,280 --> 00:21:00,600
Speaker 1: like a killer shark movie, killer croc killer and a

425
00:21:00,680 --> 00:21:04,199
Speaker 1: conda movie whatever is big cast and as they get

426
00:21:04,240 --> 00:21:06,360
Speaker 1: whittled down by only like one by one, you get

427
00:21:06,440 --> 00:21:09,040
Speaker 1: to know the remaining cast members better, and by the

428
00:21:09,160 --> 00:21:11,840
Speaker 1: end you've got like two or three people whom their

429
00:21:11,880 --> 00:21:15,040
Speaker 1: survival matters, and you know what they're like under pressure.

430
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Speaker 1: I never really felt like I got to know these

431
00:21:17,720 --> 00:21:20,359
Speaker 1: people because there were still so many of them at

432
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Speaker 1: the end.

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Speaker 3: I don't disagree with you, but I also think that

434
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Speaker 3: by the end of the movie, the meg is like

435
00:21:26,359 --> 00:21:30,840
Speaker 3: homed in on the pairing of Jason Satam's character and

436
00:21:31,440 --> 00:21:35,000
Speaker 3: Bing Bing's character and the child maying as well, like

437
00:21:35,280 --> 00:21:38,080
Speaker 3: I think like it's really su Yin's father Jan's like

438
00:21:38,160 --> 00:21:40,960
Speaker 3: death is sort of the catalyst for that sort of

439
00:21:41,080 --> 00:21:45,560
Speaker 3: centering on that pairing. I guess so to the extent

440
00:21:45,840 --> 00:21:49,760
Speaker 3: that the movie does sort of focus in on characters

441
00:21:49,880 --> 00:21:52,920
Speaker 3: as as it continues, I think it's happening there. Like

442
00:21:53,520 --> 00:21:56,960
Speaker 3: I honestly can't remember if Jack's did die or not.

443
00:21:57,280 --> 00:21:59,800
Speaker 3: I remember there being a fake out. I can't remember

444
00:21:59,840 --> 00:22:00,280
Speaker 3: if they.

445
00:22:00,520 --> 00:22:03,760
Speaker 1: Actually if she actually did die afterwards or she doesn't.

446
00:22:04,119 --> 00:22:07,640
Speaker 1: And like I that felt to me like I wasn't

447
00:22:07,680 --> 00:22:10,880
Speaker 1: familiar with Ruby Rose, but she just got cast as Batwoman. Yeah,

448
00:22:11,000 --> 00:22:13,119
Speaker 1: so it's nice to see her on screen. But I

449
00:22:13,200 --> 00:22:15,879
Speaker 1: kept thinking, the way this movie is presenting her, this

450
00:22:16,040 --> 00:22:19,040
Speaker 1: is probably an actress or like music star that I

451
00:22:19,200 --> 00:22:22,200
Speaker 1: just don't know because she's been kind she's kind of

452
00:22:22,280 --> 00:22:23,639
Speaker 1: being given the star treatment.

453
00:22:23,760 --> 00:22:25,920
Speaker 3: Yeah, she was kind of a big deal in Orange

454
00:22:26,000 --> 00:22:29,080
Speaker 3: is a New Black and it's third, second or third season.

455
00:22:29,640 --> 00:22:31,679
Speaker 3: I think I thought I made it through the third season.

456
00:22:32,040 --> 00:22:34,680
Speaker 3: It's up to the like twenty seventh season right now,

457
00:22:35,119 --> 00:22:35,840
Speaker 3: so it's it's a.

458
00:22:35,840 --> 00:22:39,320
Speaker 1: Little hard to remember just the six I've been Yeah. Well,

459
00:22:39,480 --> 00:22:42,040
Speaker 1: I mean there's a lot to say about shark movies

460
00:22:42,119 --> 00:22:45,399
Speaker 1: in general and why we go to them, and about

461
00:22:45,480 --> 00:22:48,760
Speaker 1: the complicated mechanics of building a cast that you actually

462
00:22:48,800 --> 00:22:50,800
Speaker 1: care about. But probably the best way to do that

463
00:22:51,040 --> 00:22:54,240
Speaker 1: is to move into connections. So we'll be right back

464
00:22:54,320 --> 00:22:56,560
Speaker 1: after this break to talk about the connections between Jaws

465
00:22:56,600 --> 00:23:08,960
Speaker 1: and the Meg No time for connections. When we bring

466
00:23:09,040 --> 00:23:10,960
Speaker 1: these two films together and talk about all the things

467
00:23:11,000 --> 00:23:13,200
Speaker 1: they have in common, I want to start with the

468
00:23:13,240 --> 00:23:17,040
Speaker 1: Shark movie. I mean, obviously, these are both movies about,

469
00:23:17,320 --> 00:23:21,200
Speaker 1: you know, big fish that eat people. Like, what's what's

470
00:23:21,240 --> 00:23:23,440
Speaker 1: your take on the enduring appeal of the Shark movie?

471
00:23:23,680 --> 00:23:26,119
Speaker 2: I mean, I honestly feel like everyone is trying to

472
00:23:26,560 --> 00:23:30,600
Speaker 2: be Jaws at this point and not getting there. But

473
00:23:30,720 --> 00:23:32,560
Speaker 2: I mean, but I think you know, you can find

474
00:23:32,600 --> 00:23:35,160
Speaker 2: some interesting variations on them, Like I think Deep Lucy

475
00:23:35,280 --> 00:23:36,560
Speaker 2: is one of them. I think that movie is, as

476
00:23:36,600 --> 00:23:39,560
Speaker 2: you say, fun, not not good, but but fun. And

477
00:23:40,200 --> 00:23:42,879
Speaker 2: and I think that's part of why people enjoyed the

478
00:23:43,119 --> 00:23:46,920
Speaker 2: Shark Nado films. Beyond well, I was gonna say beyond

479
00:23:46,920 --> 00:23:48,840
Speaker 2: the camp Appeople, but that's kind of old is but

480
00:23:49,440 --> 00:23:51,879
Speaker 2: just sort of like the Jaws taking you know, Jaws

481
00:23:51,960 --> 00:23:54,919
Speaker 2: put on steroids and given terrible special effects, and they

482
00:23:55,080 --> 00:23:59,000
Speaker 2: know who they eat. Tara Reid, Jason Priestley, Ian Zerring

483
00:23:59,160 --> 00:24:03,520
Speaker 2: and Zering. Yeah, why not? I mean, I get it,

484
00:24:03,600 --> 00:24:06,160
Speaker 2: but I think, you know, if one thing this parient's confirmed,

485
00:24:06,160 --> 00:24:07,960
Speaker 2: it's like it's kind of tough to top.

486
00:24:07,840 --> 00:24:10,720
Speaker 3: As do wise enduring or reliably scary. Like I think

487
00:24:10,920 --> 00:24:15,040
Speaker 3: just the function of below the water, of something happening

488
00:24:15,200 --> 00:24:18,480
Speaker 3: below your sight line is always going to be unsettling

489
00:24:18,560 --> 00:24:21,000
Speaker 3: and scary. And I haven't seen a whole lot of

490
00:24:21,040 --> 00:24:23,359
Speaker 3: shark movies, so and it sounds like Deep Blue sy

491
00:24:23,840 --> 00:24:26,359
Speaker 3: Like did this well before The Meg did. But in

492
00:24:26,520 --> 00:24:29,080
Speaker 3: comparing these two films, I was struck by the difference

493
00:24:29,119 --> 00:24:32,160
Speaker 3: and that the Meg spends a lot of time in deep,

494
00:24:32,359 --> 00:24:35,720
Speaker 3: deep water before it comes up to the surface, kind

495
00:24:35,760 --> 00:24:38,720
Speaker 3: of exploring that space the megalodon comes from, and like

496
00:24:39,080 --> 00:24:42,359
Speaker 3: that world, as I said, like I find terrifying, and

497
00:24:42,480 --> 00:24:46,880
Speaker 3: like like deep water is like deep space sort of unscharded.

498
00:24:46,960 --> 00:24:49,240
Speaker 3: You don't know what's going to be there. It's several

499
00:24:49,320 --> 00:24:51,840
Speaker 3: atmospheres removed from what wre is to like you know,

500
00:24:51,960 --> 00:24:55,159
Speaker 3: it's a scary setting in and of itself, and then

501
00:24:55,200 --> 00:24:57,720
Speaker 3: this is a monster that comes from that scary setting

502
00:24:58,160 --> 00:25:00,840
Speaker 3: and up to our surface, but we can't see it

503
00:25:01,000 --> 00:25:03,480
Speaker 3: until it's too late. Like that is the thing about

504
00:25:03,520 --> 00:25:05,400
Speaker 3: sharks is by the time that you know it's a threat,

505
00:25:05,520 --> 00:25:08,320
Speaker 3: it is too late, I guess, other than the fin,

506
00:25:08,680 --> 00:25:10,399
Speaker 3: but they're pretty good at hiding the fin when they

507
00:25:10,440 --> 00:25:11,800
Speaker 3: need to, I guess yeah.

508
00:25:11,920 --> 00:25:14,200
Speaker 1: I mean the fin is just such a neat, little

509
00:25:14,480 --> 00:25:19,040
Speaker 1: cinematic touch of like you still can't see most of me,

510
00:25:19,160 --> 00:25:21,440
Speaker 1: but you know that I'm here. I mean that that

511
00:25:21,600 --> 00:25:23,960
Speaker 1: kind of is like the signature shot of the Shark

512
00:25:24,040 --> 00:25:27,280
Speaker 1: movie is you know, the dangerous music is playing, and

513
00:25:27,440 --> 00:25:29,440
Speaker 1: whoever doesn't want to be in the waters in the water,

514
00:25:29,640 --> 00:25:32,600
Speaker 1: and like slowly the fin emerges as well, you know,

515
00:25:32,680 --> 00:25:36,560
Speaker 1: it's moving towards them. Or the fake fin or the

516
00:25:36,600 --> 00:25:38,280
Speaker 1: fake fin pulled by small children.

517
00:25:38,359 --> 00:25:40,760
Speaker 3: The meg had a fake fin moment to write, am

518
00:25:40,800 --> 00:25:42,040
Speaker 3: I imagining that it had.

519
00:25:42,000 --> 00:25:45,320
Speaker 1: A like a roomba or something like some little device

520
00:25:45,400 --> 00:25:48,639
Speaker 1: with a little fake fin on it. It was, you know,

521
00:25:48,760 --> 00:25:50,080
Speaker 1: yet another lift from Jaws.

522
00:25:50,280 --> 00:25:51,359
Speaker 2: Yet from Jaws.

523
00:25:52,200 --> 00:25:53,960
Speaker 1: Yeah, how did you guys feel about all of the

524
00:25:54,080 --> 00:25:57,040
Speaker 1: Jaws lifts? Did any of them like work for you?

525
00:25:57,160 --> 00:25:59,760
Speaker 2: I think there's such cheeky with it. I don't know,

526
00:26:00,320 --> 00:26:03,560
Speaker 2: either they're cynically hoping that this whole generation hasn't really

527
00:26:03,680 --> 00:26:06,960
Speaker 2: seen Jaws, or just kind of being so obvious with

528
00:26:07,040 --> 00:26:10,399
Speaker 2: their homages that you know that there's on the surface

529
00:26:10,440 --> 00:26:13,639
Speaker 2: there unlike a shark. It didn't bother me, but it

530
00:26:13,760 --> 00:26:14,160
Speaker 2: was a lot.

531
00:26:14,560 --> 00:26:18,399
Speaker 1: I mean, like the dog doesn't particularly bother me. The

532
00:26:18,560 --> 00:26:22,560
Speaker 1: second Shark thing just seems like a week lift. But

533
00:26:22,680 --> 00:26:25,640
Speaker 1: the whole business where you actually have a beach full

534
00:26:25,840 --> 00:26:29,600
Speaker 1: of celebrators and then the one woman on her own

535
00:26:29,720 --> 00:26:31,320
Speaker 1: with a little boy that she allows to go in

536
00:26:31,400 --> 00:26:33,840
Speaker 1: the water by himself, and then he's out there with

537
00:26:33,920 --> 00:26:37,720
Speaker 1: them with his floaty and like you're pretty sure that

538
00:26:37,800 --> 00:26:40,160
Speaker 1: he's going to be the one that the shark specifically eats,

539
00:26:40,240 --> 00:26:42,760
Speaker 1: and then you've got the repeated shot of the sharks

540
00:26:42,760 --> 00:26:45,800
Speaker 1: swimming around underwater, which, by the way, what are all

541
00:26:45,840 --> 00:26:49,160
Speaker 1: of the bathers doing swimming in like sixty foot deep water?

542
00:26:49,440 --> 00:26:52,360
Speaker 3: Yeah? Right, Like every beach I've been to, like people

543
00:26:52,400 --> 00:26:54,280
Speaker 3: always just make a bee line for the sandbar so

544
00:26:54,359 --> 00:26:56,640
Speaker 3: they can like sit and stand in their waist to water.

545
00:26:57,720 --> 00:26:59,000
Speaker 3: Who was actually swim in the ocean?

546
00:26:59,080 --> 00:26:59,240
Speaker 2: Man?

547
00:26:59,680 --> 00:27:02,359
Speaker 1: I mean, and I like deep water, but like I

548
00:27:02,800 --> 00:27:05,680
Speaker 1: kind of top out it maybe fifteen feet, like it

549
00:27:05,800 --> 00:27:06,640
Speaker 1: is some deep water.

550
00:27:06,760 --> 00:27:08,440
Speaker 3: You know. The version of that scene in Jaws didn't

551
00:27:08,480 --> 00:27:13,919
Speaker 3: have or those giant hamster ball wheel things. Right, that's

552
00:27:13,960 --> 00:27:15,760
Speaker 3: how you really bring it into the twenty first century.

553
00:27:15,960 --> 00:27:17,600
Speaker 2: I saw that, I thought, well, there's no way that

554
00:27:18,000 --> 00:27:19,879
Speaker 2: the shark's going to engage with that in anymore.

555
00:27:21,600 --> 00:27:24,320
Speaker 1: Okay, So the shark biting that thing and it popping

556
00:27:24,840 --> 00:27:28,199
Speaker 1: was one of the most pure comedy movements. I mean,

557
00:27:28,240 --> 00:27:30,960
Speaker 1: that was like some Piranha level goofiness there. You know.

558
00:27:31,040 --> 00:27:34,040
Speaker 3: I do admire the filmmakers restraint with the meg that

559
00:27:34,160 --> 00:27:38,239
Speaker 3: there were several scenes involving helicopters, and none of those

560
00:27:38,280 --> 00:27:40,560
Speaker 3: scenes did the shark attack the helicopter.

561
00:27:40,800 --> 00:27:43,159
Speaker 2: Right, So that's well the Jaws too. They're gonna here for.

562
00:27:43,160 --> 00:27:45,720
Speaker 1: The same right, Although they did have a straight up

563
00:27:45,840 --> 00:27:48,200
Speaker 1: Jaws two shot where somebody's being pulled out of the

564
00:27:48,280 --> 00:27:50,680
Speaker 1: water as the shark b lines in and they do

565
00:27:50,880 --> 00:27:54,200
Speaker 1: the emergent swape along the side of the boat like

566
00:27:54,280 --> 00:27:56,920
Speaker 1: that's straight out of Jaws too. It does feel like

567
00:27:57,000 --> 00:27:59,480
Speaker 1: the whole helicopter thing does feel like a fairly funny

568
00:27:59,640 --> 00:28:02,560
Speaker 1: tea in a way. I mean, I am convinced that

569
00:28:02,680 --> 00:28:07,920
Speaker 1: the filmmakers here were being reasonably like self conscious about

570
00:28:07,960 --> 00:28:10,200
Speaker 1: the tropes and kind of making fun of them. Yeah,

571
00:28:10,440 --> 00:28:12,600
Speaker 1: I just wish the movie was either funny.

572
00:28:12,359 --> 00:28:14,520
Speaker 3: Or better since you brought it up in that opening. Now,

573
00:28:14,560 --> 00:28:18,360
Speaker 3: I'm kind of dwelling on the international co production element

574
00:28:18,680 --> 00:28:22,000
Speaker 3: there and wondering to what extent, if any, the desire

575
00:28:22,040 --> 00:28:23,520
Speaker 3: to have this movie be able to play in other

576
00:28:23,640 --> 00:28:26,560
Speaker 3: markets was it all responsible for any sort of like

577
00:28:27,000 --> 00:28:31,280
Speaker 3: self awareness or overt referentiality or camp factor being kind

578
00:28:31,280 --> 00:28:33,960
Speaker 3: of dialed back because comedy is one of those things

579
00:28:34,040 --> 00:28:37,320
Speaker 3: that famously doesn't translate, you know, and like, if you

580
00:28:37,560 --> 00:28:42,560
Speaker 3: wanted to make a hyper self aware camp be shark

581
00:28:42,640 --> 00:28:47,560
Speaker 3: movie that lives liberally and knowingly from the ultimate American

582
00:28:47,680 --> 00:28:52,640
Speaker 3: blockbuster that is maybe not going to play in China

583
00:28:53,000 --> 00:28:54,000
Speaker 3: the way it would hear.

584
00:28:54,240 --> 00:28:56,080
Speaker 1: So I do wonder if this is one of those

585
00:28:56,200 --> 00:28:58,680
Speaker 1: like Iron Man three situations where there'll be a different

586
00:28:58,720 --> 00:29:01,920
Speaker 1: cut in China, you know, because there's definitely a lot

587
00:29:02,040 --> 00:29:04,680
Speaker 1: of threads that could potentially be pulled on in terms

588
00:29:04,720 --> 00:29:07,600
Speaker 1: of the relationship between two Yen and her father and

589
00:29:07,720 --> 00:29:11,640
Speaker 1: her daughter and just that whole the whole sense of

590
00:29:12,400 --> 00:29:14,520
Speaker 1: like dad's gone away to be a soldier, Like he's

591
00:29:14,520 --> 00:29:16,680
Speaker 1: gone away to do his duty, and like in the meantime,

592
00:29:16,800 --> 00:29:19,400
Speaker 1: we're left behind and it's sort of a tragedy, but

593
00:29:19,480 --> 00:29:22,720
Speaker 1: we're also doing our duty, and part of that duty

594
00:29:22,880 --> 00:29:25,600
Speaker 1: is like a relationship to my father and like serving

595
00:29:25,680 --> 00:29:29,800
Speaker 1: his goals. Like all of that feels like the material

596
00:29:29,880 --> 00:29:33,480
Speaker 1: of Chinese dramas that could perhaps be drawn out a little.

597
00:29:33,320 --> 00:29:35,440
Speaker 2: More, maybe a little more. There's a lot in there

598
00:29:35,480 --> 00:29:36,320
Speaker 2: that already.

599
00:29:35,960 --> 00:29:38,560
Speaker 1: Are well, there's a lot implied there. There's a lot

600
00:29:38,680 --> 00:29:41,720
Speaker 1: of structure there, but it's not structure that's taken advantage of,

601
00:29:42,120 --> 00:29:43,760
Speaker 1: like in any way with the drama.

602
00:29:43,920 --> 00:29:48,000
Speaker 3: I hope that that cut explains who stayed behind on

603
00:29:48,160 --> 00:29:51,000
Speaker 3: the you know, exploration station with the kid. While literally

604
00:29:51,080 --> 00:29:53,200
Speaker 3: everyone else in the movie went on the ship to

605
00:29:53,720 --> 00:29:58,320
Speaker 3: hunt the shark, she was just there alone, right, So yeah, yeah,

606
00:29:58,360 --> 00:30:00,680
Speaker 3: the places has just been attacked by shark and has

607
00:30:00,680 --> 00:30:02,800
Speaker 3: a bunch of cracks in the glass facade.

608
00:30:03,520 --> 00:30:05,920
Speaker 2: It just looks like cracks. There's so many layers to

609
00:30:06,000 --> 00:30:06,479
Speaker 2: that glass.

610
00:30:06,640 --> 00:30:10,800
Speaker 1: I mean, she's very plucky. The undersea thing is not

611
00:30:10,880 --> 00:30:13,880
Speaker 1: going to collapse from shark bites. That happens in Jaws three.

612
00:30:14,120 --> 00:30:17,320
Speaker 1: We need to save it for the second sequel. But yeah,

613
00:30:17,400 --> 00:30:21,240
Speaker 1: that's and that also felt like very much yet another

614
00:30:21,360 --> 00:30:24,600
Speaker 1: reference to the Jaws franchise, even if it doesn't fully

615
00:30:24,680 --> 00:30:25,120
Speaker 1: play out.

616
00:30:25,400 --> 00:30:28,200
Speaker 3: So, wait, what do you mean the plucky oh oh, the.

617
00:30:28,280 --> 00:30:32,720
Speaker 1: Whole undersea scienceium that is being attacked by a shark.

618
00:30:32,760 --> 00:30:36,160
Speaker 3: I thought you meant the plucky kid, which Jos has

619
00:30:36,160 --> 00:30:37,920
Speaker 3: some kids, but I don't think any of them are

620
00:30:38,000 --> 00:30:42,120
Speaker 3: the capital p plucky kid character the way that the

621
00:30:42,400 --> 00:30:43,160
Speaker 3: girl here is.

622
00:30:43,760 --> 00:30:46,800
Speaker 1: Yeah, I mean, Josh two has a character who's a

623
00:30:46,920 --> 00:30:50,520
Speaker 1: little like that, but definitely not just to that that.

624
00:30:50,760 --> 00:30:54,320
Speaker 1: We're like, bright eyed, bushy tailed, super cute, running around

625
00:30:54,400 --> 00:30:56,520
Speaker 1: arranging her mother's romances kind of wit.

626
00:30:56,840 --> 00:30:59,040
Speaker 3: I like that kid as far as like plucky kid

627
00:30:59,080 --> 00:31:01,440
Speaker 3: actors go. She was, it's pretty good. I liked your

628
00:31:01,440 --> 00:31:02,239
Speaker 3: shoes they lit up.

629
00:31:04,080 --> 00:31:06,520
Speaker 1: Now there's something we don't see enough of in shark movies,

630
00:31:06,760 --> 00:31:10,200
Speaker 1: light up shoes. Why don't we talk about the exposition

631
00:31:10,360 --> 00:31:13,160
Speaker 1: in these movies, Keith, You seemed a pretty eager to

632
00:31:13,200 --> 00:31:13,880
Speaker 1: talk about that one.

633
00:31:14,040 --> 00:31:16,320
Speaker 2: Yeah, I mean kind of about how graceful it is

634
00:31:16,560 --> 00:31:18,880
Speaker 2: in Jaws and how it's sort of sort of seamlessly

635
00:31:18,920 --> 00:31:21,040
Speaker 2: integrated into the action of the film and it moves

636
00:31:21,120 --> 00:31:22,680
Speaker 2: right along. And I think we can say the same

637
00:31:22,720 --> 00:31:27,000
Speaker 2: with the meg Right, there is a.

638
00:31:27,120 --> 00:31:31,040
Speaker 1: Lot of especially when they first get onto the science station,

639
00:31:31,200 --> 00:31:34,280
Speaker 1: there's a lot of here is the current experiment, let

640
00:31:34,360 --> 00:31:37,120
Speaker 1: us walk you through it. How fortunate that you don't

641
00:31:37,160 --> 00:31:40,040
Speaker 1: know what we're doing on this billion dollar project that

642
00:31:40,160 --> 00:31:41,960
Speaker 1: you set up for us.

643
00:31:42,160 --> 00:31:45,840
Speaker 3: And also like with filling in state them's character's backstory,

644
00:31:46,080 --> 00:31:49,800
Speaker 3: like the doctor showing Lee by Bing's character, I'm assuming,

645
00:31:50,200 --> 00:31:53,640
Speaker 3: like confidential interview footage of him, like explaining what happened

646
00:31:53,640 --> 00:31:56,040
Speaker 3: on the nuclear submarine, like just to prove a point

647
00:31:56,120 --> 00:31:56,480
Speaker 3: I don't know.

648
00:31:57,080 --> 00:31:59,920
Speaker 1: Doctor doesn't like him. Yeah, it's willing to undermine it

649
00:32:00,360 --> 00:32:02,360
Speaker 1: and apparently keeps that footage on him and all, yeah,

650
00:32:02,360 --> 00:32:06,600
Speaker 1: so like we because like Satan's character is this like stoic,

651
00:32:07,080 --> 00:32:08,400
Speaker 1: damaged type whatever.

652
00:32:08,440 --> 00:32:12,000
Speaker 3: Who does you know? A Quinn character perhaps, but who

653
00:32:12,040 --> 00:32:14,880
Speaker 3: would never give a monologue that Quinn gave in Jaws.

654
00:32:15,320 --> 00:32:18,520
Speaker 3: So like other characters have to tell us why he

655
00:32:18,840 --> 00:32:22,080
Speaker 3: is and what he is and why we should care,

656
00:32:22,920 --> 00:32:25,360
Speaker 3: and it just happens like in so many different ways,

657
00:32:25,440 --> 00:32:28,440
Speaker 3: and none of them feel it all natural, and like

658
00:32:28,560 --> 00:32:31,280
Speaker 3: compared to Jaws, I'm sure we could share a bunch

659
00:32:31,320 --> 00:32:34,160
Speaker 3: of dialogue that does a ton of expository heavy lifting.

660
00:32:34,760 --> 00:32:37,120
Speaker 3: But I'll just point to one that I have pulled

661
00:32:37,200 --> 00:32:40,280
Speaker 3: up in my notes right now. When Brody and Hooper

662
00:32:40,320 --> 00:32:43,200
Speaker 3: are on the boat before they find Ben Garrison's boat,

663
00:32:43,760 --> 00:32:46,640
Speaker 3: and Brody asks Hooper you rich and he says yeah,

664
00:32:46,960 --> 00:32:49,040
Speaker 3: and then Brody says how much? And he goes personally

665
00:32:49,160 --> 00:32:51,240
Speaker 3: or the whole family, and like that just tells you

666
00:32:51,560 --> 00:32:54,720
Speaker 3: so much about that character and like why he's able

667
00:32:54,800 --> 00:32:57,480
Speaker 3: to do the thing he's doing, what sort of chip

668
00:32:57,600 --> 00:32:59,800
Speaker 3: he has on his shoulder about it, you know, what

669
00:33:00,200 --> 00:33:01,800
Speaker 3: motivating him, and.

670
00:33:02,920 --> 00:33:06,719
Speaker 1: How he's expressly different from anybody else on that island.

671
00:33:06,800 --> 00:33:09,920
Speaker 3: This working class hero stuff is as he says of Quint,

672
00:33:10,040 --> 00:33:14,320
Speaker 3: So yeah, and that's literally like what less than ten

673
00:33:14,440 --> 00:33:17,680
Speaker 3: words of dialogue, you know, and it tells you what

674
00:33:18,160 --> 00:33:22,480
Speaker 3: the meg would take a whole scene involving some suripiciously

675
00:33:22,800 --> 00:33:24,440
Speaker 3: video footage.

676
00:33:24,680 --> 00:33:25,360
Speaker 2: You know, to do.

677
00:33:25,680 --> 00:33:28,120
Speaker 1: There's also that scene you kind of referenced in Passing

678
00:33:28,240 --> 00:33:32,000
Speaker 1: where Quint crushes a can in one hand and Hooper

679
00:33:32,080 --> 00:33:35,320
Speaker 1: responds by crushing his styrofoam coffee cup in his hand,

680
00:33:35,720 --> 00:33:37,920
Speaker 1: and that does it without any words, Like that's him

681
00:33:38,640 --> 00:33:43,160
Speaker 1: like mocking Quint's pretensions to masculinity, but also kind of

682
00:33:43,240 --> 00:33:46,520
Speaker 1: acknowledging that he himself isn't nearly as tough. He's like

683
00:33:46,640 --> 00:33:48,920
Speaker 1: making a joke both at Quint's expense and his own,

684
00:33:49,080 --> 00:33:52,000
Speaker 1: and like that gesture tells you so much more about

685
00:33:52,040 --> 00:33:54,400
Speaker 1: his character than I think we ever really learned about

686
00:33:54,480 --> 00:33:57,240
Speaker 1: Jason's staatethum. I suppose it is useful to be informed

687
00:33:57,320 --> 00:33:59,520
Speaker 1: that he and his wife are both good people but

688
00:33:59,720 --> 00:34:03,400
Speaker 1: didn't work well together as a relationship, which is there

689
00:34:03,520 --> 00:34:06,920
Speaker 1: is the one little exchange that I did like character

690
00:34:07,040 --> 00:34:10,040
Speaker 1: wise where once he gets comes down to the bottom

691
00:34:10,040 --> 00:34:11,880
Speaker 1: of the seat to rescue her and like at that

692
00:34:12,000 --> 00:34:16,200
Speaker 1: point she's had a spar through her abdomen. She's in pain.

693
00:34:16,840 --> 00:34:18,880
Speaker 1: They hook the two things up. He opens it up

694
00:34:19,200 --> 00:34:21,719
Speaker 1: and she sees him, and she just has this clear

695
00:34:21,840 --> 00:34:26,719
Speaker 1: moment of ugh you, and then she smiles at him,

696
00:34:26,920 --> 00:34:29,439
Speaker 1: and it's It's just I thought it was a really

697
00:34:29,520 --> 00:34:32,839
Speaker 1: expressive little moment of what it feels like to both

698
00:34:32,920 --> 00:34:36,759
Speaker 1: see your ex and have a like you're gonna say

699
00:34:36,760 --> 00:34:39,800
Speaker 1: you told me so kind of feeling, but also you know,

700
00:34:39,960 --> 00:34:42,839
Speaker 1: relief because she doesn't hate him and now she maybe

701
00:34:42,880 --> 00:34:43,399
Speaker 1: she won't die.

702
00:34:43,640 --> 00:34:45,480
Speaker 2: I feel it was very unmeg like to not have

703
00:34:45,760 --> 00:34:49,440
Speaker 2: thought that explained that moment three more times just to

704
00:34:49,520 --> 00:34:50,080
Speaker 2: make it clear.

705
00:34:50,840 --> 00:34:52,759
Speaker 3: I just I just briefly want to shout out the

706
00:34:52,920 --> 00:34:57,400
Speaker 3: actress who plays that character, Laurie Jessica McNamee, who I

707
00:34:57,600 --> 00:35:00,799
Speaker 3: was very distracted by the whole first part of the movie,

708
00:35:00,840 --> 00:35:03,759
Speaker 3: wondering if she was Rebecca Romain, like with some weird

709
00:35:03,840 --> 00:35:06,160
Speaker 3: like cgi on her face. But no, she has a

710
00:35:06,200 --> 00:35:08,760
Speaker 3: different actress who just looks a lot like Rebecca Romaine.

711
00:35:09,200 --> 00:35:11,640
Speaker 3: But yeah, I mean, like it's kind of a thankless part,

712
00:35:12,120 --> 00:35:14,960
Speaker 3: but I liked her. I mean, I don't know, maybe

713
00:35:15,000 --> 00:35:17,040
Speaker 3: I was just captivated by her because I thought she

714
00:35:17,120 --> 00:35:18,719
Speaker 3: looked like another actress, but I don't think so. I

715
00:35:18,760 --> 00:35:20,960
Speaker 3: think like she acquitted herself well in a small, not

716
00:35:21,080 --> 00:35:22,719
Speaker 3: particularly meaty part.

717
00:35:22,800 --> 00:35:25,200
Speaker 1: I mean, she has a nice, tough girl energy about her.

718
00:35:25,480 --> 00:35:27,160
Speaker 1: Like you, girl, that's a good way to pay you.

719
00:35:27,160 --> 00:35:29,440
Speaker 1: I can absolutely believe that. Like you know, she has

720
00:35:29,520 --> 00:35:33,240
Speaker 1: a serious green Peace past where she did illegal stuff

721
00:35:33,360 --> 00:35:34,160
Speaker 1: for her beliefs.

722
00:35:34,280 --> 00:35:36,719
Speaker 3: Oh yeah, we know that because she told us that explicitly.

723
00:35:36,960 --> 00:35:40,719
Speaker 1: Shes in fact, explain it and spell it out. Also,

724
00:35:40,800 --> 00:35:42,839
Speaker 1: I don't think I'm ever going to be tired of Masioca.

725
00:35:43,120 --> 00:35:43,719
Speaker 1: He's just fun.

726
00:35:43,840 --> 00:35:44,000
Speaker 3: Yeah.

727
00:35:44,040 --> 00:35:46,000
Speaker 2: I hadn't seen him in a while, seeing anything like

728
00:35:46,040 --> 00:35:47,360
Speaker 2: recently and forgotten about him or.

729
00:35:47,520 --> 00:35:49,960
Speaker 1: Or you know, if possible, he was just like lying

730
00:35:50,000 --> 00:35:52,279
Speaker 1: on a bed made entirely out of heroes money, I'm

731
00:35:52,320 --> 00:35:52,600
Speaker 1: not sure.

732
00:35:52,800 --> 00:35:54,720
Speaker 2: Yeah, he was in Death Note which I missed.

733
00:35:55,040 --> 00:35:56,640
Speaker 3: Is that the note that he wrote out and put

734
00:35:56,719 --> 00:35:57,640
Speaker 3: in the wall.

735
00:35:59,239 --> 00:35:59,439
Speaker 2: Death?

736
00:35:59,760 --> 00:36:02,879
Speaker 1: Yeah, Well apparently he's in Mozart in the Jungle, which

737
00:36:02,920 --> 00:36:03,759
Speaker 1: I still haven't seen.

738
00:36:04,640 --> 00:36:07,360
Speaker 2: Nobody has is that's just a theoretical show that may

739
00:36:07,440 --> 00:36:08,200
Speaker 2: not actually exist.

740
00:36:08,440 --> 00:36:09,480
Speaker 3: I know a couple of people.

741
00:36:09,239 --> 00:36:13,320
Speaker 1: Who say it's good, so, including Emmy voters.

742
00:36:13,440 --> 00:36:16,000
Speaker 2: I believe a friend of a friend in Canada.

743
00:36:17,600 --> 00:36:20,920
Speaker 3: One Alyssa Wilkinson is a real person, yes, a critic

744
00:36:21,080 --> 00:36:23,360
Speaker 3: even not just a real person or real Alissa.

745
00:36:23,719 --> 00:36:27,200
Speaker 2: Yeah, all right. One thing also, we have we've touched

746
00:36:27,200 --> 00:36:29,279
Speaker 2: on it before. We have Jaws at the beginning of

747
00:36:29,560 --> 00:36:33,480
Speaker 2: the blockbuster as we know it, and the Meg is

748
00:36:34,320 --> 00:36:37,520
Speaker 2: also a Blockbusters in a more you know later form,

749
00:36:37,880 --> 00:36:40,759
Speaker 2: although you know it's it's worth noting it is you know,

750
00:36:41,440 --> 00:36:43,319
Speaker 2: you know, maybe a matter of small victory is given.

751
00:36:43,480 --> 00:36:45,719
Speaker 2: The original is a little tough to apply to the Meg,

752
00:36:45,840 --> 00:36:49,160
Speaker 2: but it is a pretty big hit. That's not a

753
00:36:49,280 --> 00:36:53,000
Speaker 2: sequel or a reboot or or a spin off or

754
00:36:53,160 --> 00:36:55,879
Speaker 2: a what are the other terms you did all people?

755
00:36:55,960 --> 00:36:59,600
Speaker 3: Yeah, reboot, while revival is in TV reimagining.

756
00:37:00,080 --> 00:37:03,000
Speaker 2: Yeah, it's it's it's an original franchise starter.

757
00:37:05,160 --> 00:37:08,719
Speaker 3: But but it is drawing on a very well established

758
00:37:08,960 --> 00:37:11,719
Speaker 3: film lineage that even if it is not like a

759
00:37:12,040 --> 00:37:15,480
Speaker 3: direct sequel to any movies, it's still like playing on

760
00:37:15,640 --> 00:37:19,800
Speaker 3: our familiarity with those movies in a way that you know,

761
00:37:20,120 --> 00:37:23,560
Speaker 3: franchise movies are playing with our familiarity with the franchise

762
00:37:23,680 --> 00:37:27,239
Speaker 3: like it is an original property, but it feels very

763
00:37:27,320 --> 00:37:30,760
Speaker 3: much like a property as opposed to like an original story.

764
00:37:31,080 --> 00:37:33,920
Speaker 2: It feels also like so we have we talked about Jaws,

765
00:37:34,040 --> 00:37:35,759
Speaker 2: you know, creating a whole box or season in the

766
00:37:35,760 --> 00:37:38,080
Speaker 2: summer movie season in some ways, and this is feels

767
00:37:38,160 --> 00:37:41,439
Speaker 2: like since there's been stratifications and of that, there's films,

768
00:37:41,480 --> 00:37:43,200
Speaker 2: types of films that come out in May, there's types

769
00:37:43,200 --> 00:37:44,880
Speaker 2: of films that come out in other months, but this

770
00:37:44,960 --> 00:37:46,800
Speaker 2: is very much a type film that comes out in August.

771
00:37:46,880 --> 00:37:49,840
Speaker 2: It's sort of like, we'll see if this works, kind.

772
00:37:49,719 --> 00:37:51,880
Speaker 3: Of slot and released it during the hottest month of

773
00:37:51,880 --> 00:37:53,720
Speaker 3: the year when people really want the air condition.

774
00:37:53,880 --> 00:37:56,200
Speaker 2: Yeah, but also when like maybe you've tired of the familiar.

775
00:37:56,280 --> 00:37:58,920
Speaker 2: If you take a chance of saying to me, one

776
00:37:58,920 --> 00:38:01,200
Speaker 2: of the quintessential and a good movie, but the quintessential

777
00:38:01,360 --> 00:38:04,520
Speaker 2: August movie is dark Man. It's like, you know, beginning

778
00:38:04,560 --> 00:38:07,200
Speaker 2: of the summer, you had Dick Tracy's nineteen ninety you

779
00:38:07,280 --> 00:38:11,879
Speaker 2: know recently but again somebody you had this super hyped,

780
00:38:12,000 --> 00:38:14,320
Speaker 2: very familiar property, Dick Tracy, you can not escape it.

781
00:38:14,440 --> 00:38:16,560
Speaker 2: And then in August you had dark Man in this

782
00:38:16,680 --> 00:38:18,600
Speaker 2: campaign like who is dark Man? And then you know,

783
00:38:18,880 --> 00:38:20,520
Speaker 2: answer the question to go see the movie. I feel

784
00:38:20,520 --> 00:38:23,080
Speaker 2: like that's kind of the August thing. It's like, take

785
00:38:23,080 --> 00:38:23,640
Speaker 2: a chance on this.

786
00:38:24,000 --> 00:38:26,480
Speaker 1: There's also that end of summer feeling of you know,

787
00:38:26,600 --> 00:38:28,759
Speaker 1: maybe you spent the whole summer looking forward to this

788
00:38:28,920 --> 00:38:31,759
Speaker 1: particular top pole movie or these three or these five,

789
00:38:31,920 --> 00:38:34,399
Speaker 1: depending on your bent. At this point, they're all out,

790
00:38:34,920 --> 00:38:38,279
Speaker 1: and you know you are probably still jonesing for some

791
00:38:38,440 --> 00:38:41,560
Speaker 1: more sugar. We've got some more sugar. It's not something

792
00:38:41,640 --> 00:38:44,800
Speaker 1: that you recognize, but you know you want another refill

793
00:38:44,880 --> 00:38:45,359
Speaker 1: on that coke.

794
00:38:45,520 --> 00:38:49,160
Speaker 2: Right, It's unfamiliar packaging. This might be slightly irregular sugar,

795
00:38:49,280 --> 00:38:50,640
Speaker 2: but it is still sugar.

796
00:38:52,160 --> 00:38:55,120
Speaker 1: I want to just refer to all weird August movies

797
00:38:55,280 --> 00:38:58,759
Speaker 1: from now on as irregular sugar sugar. I just want

798
00:38:58,800 --> 00:39:02,480
Speaker 1: to talk briefly about the endings of giant shark movies,

799
00:39:02,640 --> 00:39:04,719
Speaker 1: and you know, giant monster movies in general, but I

800
00:39:04,760 --> 00:39:08,040
Speaker 1: think shark movies in particular, maybe because there are so

801
00:39:08,200 --> 00:39:11,560
Speaker 1: many of them it is, and because you know, sharks

802
00:39:11,600 --> 00:39:15,960
Speaker 1: are pretty relentless and implacable. Like your giant anaconda, you

803
00:39:16,120 --> 00:39:18,160
Speaker 1: probably just cut its head off or whatever. You know,

804
00:39:18,239 --> 00:39:20,560
Speaker 1: they get kind of narrow in the neck, but like

805
00:39:20,760 --> 00:39:24,440
Speaker 1: a shark is a big, simple killing machine that you

806
00:39:24,520 --> 00:39:26,680
Speaker 1: can do a lot of damage to and it might

807
00:39:26,800 --> 00:39:29,400
Speaker 1: not realize it enough to stop eating you before you

808
00:39:29,480 --> 00:39:31,879
Speaker 1: get eaten. So there's always the thing in the giant

809
00:39:31,920 --> 00:39:34,680
Speaker 1: shark movies, like how do you kill this giant shark

810
00:39:34,840 --> 00:39:37,160
Speaker 1: in a way that we haven't already seen a giant

811
00:39:37,239 --> 00:39:40,239
Speaker 1: shark be killed before? And that's kind of become like,

812
00:39:41,200 --> 00:39:43,560
Speaker 1: I don't know the way other people go to horror movies,

813
00:39:43,680 --> 00:39:47,719
Speaker 1: like hoping for a good, memorable, gruesome kill. Somewhere in

814
00:39:47,719 --> 00:39:49,920
Speaker 1: the back of my head is always just how are

815
00:39:49,920 --> 00:39:52,680
Speaker 1: they gonna do this shark that hasn't already been done

816
00:39:52,760 --> 00:39:54,360
Speaker 1: in Umpty Jillian shark movies?

817
00:39:54,680 --> 00:39:56,640
Speaker 3: Real quick, remind me, how does how do they actually

818
00:39:56,760 --> 00:39:57,920
Speaker 3: kill the actual Meg?

819
00:39:58,160 --> 00:40:01,640
Speaker 1: So Jason stathum or spoiler for the Meg guys of

820
00:40:01,680 --> 00:40:03,480
Speaker 1: you you haven't seen it by now, I'm about to

821
00:40:03,880 --> 00:40:07,000
Speaker 1: give away the Meg's tragic death. Jason Statham guts it

822
00:40:07,080 --> 00:40:09,520
Speaker 1: with his ship and then goes flying into the air

823
00:40:09,560 --> 00:40:11,880
Speaker 1: and stabs it in the air the poison spear, and

824
00:40:11,920 --> 00:40:14,120
Speaker 1: then all of these other sharks eat it. So it's

825
00:40:14,200 --> 00:40:15,839
Speaker 1: kind of like we couldn't decide which one of these

826
00:40:15,920 --> 00:40:16,919
Speaker 1: to go with, so we did them.

827
00:40:16,840 --> 00:40:18,640
Speaker 2: All That was a good moment too, because that's where

828
00:40:18,640 --> 00:40:20,440
Speaker 2: you got a sense of scale. You had all these

829
00:40:20,600 --> 00:40:23,520
Speaker 2: pretty big sharks that like like like little minnows.

830
00:40:24,680 --> 00:40:27,839
Speaker 3: I asked that to make sure that I wasn't misremembering.

831
00:40:28,040 --> 00:40:30,920
Speaker 3: The two sort of like fake out shark deaths we get,

832
00:40:30,960 --> 00:40:34,960
Speaker 3: which both I feel drawed directly on how Jaws kills

833
00:40:35,040 --> 00:40:37,080
Speaker 3: its shark or plans to kill it shark. And like,

834
00:40:37,360 --> 00:40:40,839
Speaker 3: first we have the harpoon injection of the strict nine

835
00:40:40,920 --> 00:40:44,480
Speaker 3: or whatever it is that works on the first Meg

836
00:40:44,760 --> 00:40:46,640
Speaker 3: that it turns out is not the real mag, and

837
00:40:46,880 --> 00:40:49,239
Speaker 3: jury's out whether it actually is a Meg, but you

838
00:40:49,360 --> 00:40:51,239
Speaker 3: know that that guy and I got it is such

839
00:40:51,239 --> 00:40:53,640
Speaker 3: a mag. And then we get the fake out with

840
00:40:53,840 --> 00:40:56,600
Speaker 3: the blowing the what we think is a shark up

841
00:40:56,760 --> 00:40:59,160
Speaker 3: a lla Jaws and it turns out to actually be

842
00:40:59,360 --> 00:41:02,560
Speaker 3: a whale that they blew up, and there's whale chunks everywhere.

843
00:41:02,840 --> 00:41:05,200
Speaker 3: But I just thought it was interesting in comparing this

844
00:41:05,320 --> 00:41:08,960
Speaker 3: film to Jaws, that it used two of the devices

845
00:41:09,120 --> 00:41:12,360
Speaker 3: that Jaws use to kill its shark to kill not

846
00:41:12,600 --> 00:41:13,879
Speaker 3: its shark in the bank.

847
00:41:14,400 --> 00:41:17,800
Speaker 1: I mean, that is sort of a very sequel esque

848
00:41:18,040 --> 00:41:20,759
Speaker 1: kind of way to go. And here it's an homage.

849
00:41:20,960 --> 00:41:24,080
Speaker 1: I guess, like, hey, remember all those things that got

850
00:41:24,120 --> 00:41:26,920
Speaker 1: that other shark you were scared of? Not gonna work here, bro,

851
00:41:27,600 --> 00:41:29,480
Speaker 1: Gonna have to up your game yet even still more,

852
00:41:29,560 --> 00:41:32,160
Speaker 1: what you need is a stathum. You need a stathum

853
00:41:32,560 --> 00:41:35,359
Speaker 1: flying through the air well. I mean that the whole

854
00:41:35,400 --> 00:41:37,879
Speaker 1: thing where he's uh, it leaps up in the air

855
00:41:37,960 --> 00:41:40,400
Speaker 1: and he's kind of being semi blasted up with it,

856
00:41:40,480 --> 00:41:42,680
Speaker 1: and then he like leans over and stabs it in

857
00:41:42,719 --> 00:41:45,800
Speaker 1: the eye like that is a very Ahab moment, you know,

858
00:41:45,880 --> 00:41:49,680
Speaker 1: the original Jaws very much depending on this idea of

859
00:41:50,120 --> 00:41:54,240
Speaker 1: Quint as Captain Ahab forever in search of his white whale,

860
00:41:54,840 --> 00:41:57,200
Speaker 1: although in his case it doesn't feel like a specific

861
00:41:57,280 --> 00:42:00,839
Speaker 1: white whale. It feels like, you know, shark, like he's

862
00:42:01,000 --> 00:42:05,560
Speaker 1: just perpetually revenging himself for what he went through and

863
00:42:05,719 --> 00:42:09,360
Speaker 1: here instead, we don't really get Stathum like building up

864
00:42:09,400 --> 00:42:12,600
Speaker 1: that kind of like lifelong grudge, but we do kind

865
00:42:12,640 --> 00:42:14,080
Speaker 1: of get an end of Moby Dick moment.

866
00:42:14,200 --> 00:42:16,200
Speaker 2: It's very much like Bobe Dick in other ways as well.

867
00:42:16,680 --> 00:42:20,960
Speaker 2: I don't think you know what the grossest moment is.

868
00:42:21,000 --> 00:42:23,560
Speaker 2: I think the grossest moment is that whale blowing up.

869
00:42:23,640 --> 00:42:26,480
Speaker 2: That's that's the whale meat everywhere. And I think the

870
00:42:26,520 --> 00:42:28,919
Speaker 2: grossest moment in Jaws, I've decided, is the part where

871
00:42:29,360 --> 00:42:31,480
Speaker 2: Brody has that glass of beer that's almost empty and

872
00:42:31,520 --> 00:42:34,080
Speaker 2: he dumps all that wine in it. I can't imagine what.

873
00:42:34,120 --> 00:42:36,800
Speaker 1: That tastes like. I think it probably tastes like Scotchka

874
00:42:36,920 --> 00:42:40,640
Speaker 1: in the room, I guess, yeah. Probably That scene in

875
00:42:40,680 --> 00:42:43,320
Speaker 1: and of itself is just so funny because he's, you know,

876
00:42:43,440 --> 00:42:45,719
Speaker 1: he's got the bottle of wine that's uh Hooper gives

877
00:42:45,800 --> 00:42:46,040
Speaker 1: him and.

878
00:42:46,040 --> 00:42:47,480
Speaker 2: He's clearly a nice bottle of wine.

879
00:42:47,640 --> 00:42:50,400
Speaker 1: Yeah, and he's just like, I dump fifty percent of

880
00:42:50,480 --> 00:42:53,360
Speaker 1: this straight into my water glass. You two can have

881
00:42:53,719 --> 00:42:56,399
Speaker 1: like Hooper and his wife can like have a little

882
00:42:56,600 --> 00:42:59,160
Speaker 1: wine glass each. But I mean, he's just come back

883
00:42:59,200 --> 00:43:03,640
Speaker 1: from the the day of the entire town like loathing

884
00:43:03,800 --> 00:43:07,280
Speaker 1: him for not doing something about the thing he desperately

885
00:43:07,320 --> 00:43:07,960
Speaker 1: tried to do something.

886
00:43:07,960 --> 00:43:10,440
Speaker 2: That right, that's stuff with the mom lost her kid

887
00:43:10,640 --> 00:43:13,040
Speaker 2: in front of him, that really grounds that story, and

888
00:43:13,560 --> 00:43:15,920
Speaker 2: the Meg doesn't have that. I'm sorry, I'm sorry the Meg.

889
00:43:16,680 --> 00:43:16,879
Speaker 3: Yeah.

890
00:43:17,000 --> 00:43:20,160
Speaker 1: It's also I mean, we talked a little about Robert

891
00:43:20,200 --> 00:43:24,480
Speaker 1: Shaw's big monologue versus Statham's background. I mean, if you

892
00:43:24,600 --> 00:43:27,040
Speaker 1: told me that there were two movies and one of

893
00:43:27,120 --> 00:43:31,960
Speaker 1: them gave you somebody's tragic backstory entirely through action, and

894
00:43:32,080 --> 00:43:34,200
Speaker 1: the other one just had him sit at a table

895
00:43:34,400 --> 00:43:36,800
Speaker 1: and give you like a five minute speech about what

896
00:43:36,880 --> 00:43:39,200
Speaker 1: happened to him, I would definitely assume that the action

897
00:43:39,360 --> 00:43:42,799
Speaker 1: one was the better one. But that speech, man, I mean,

898
00:43:42,880 --> 00:43:44,880
Speaker 1: part of it is the delivery, part of it is

899
00:43:45,000 --> 00:43:47,960
Speaker 1: the grimness, part of it is knowing that it's based

900
00:43:48,400 --> 00:43:51,719
Speaker 1: fairly closely on history, and part of it is just

901
00:43:51,920 --> 00:43:55,080
Speaker 1: I think the familiarity of anybody who's kind of sat

902
00:43:55,160 --> 00:43:58,879
Speaker 1: around with friends drinking and knows that, like transition into

903
00:43:58,960 --> 00:44:02,359
Speaker 1: the stage of the night where things stop being rambunctious

904
00:44:02,400 --> 00:44:06,080
Speaker 1: and sort of get calm and tired, like that moment

905
00:44:06,280 --> 00:44:09,800
Speaker 1: is so humanly familiar in a way that literally nothing

906
00:44:09,840 --> 00:44:11,040
Speaker 1: in the mag is familiar to me.

907
00:44:11,120 --> 00:44:13,720
Speaker 3: But everything else in the meg is very, very familiar.

908
00:44:14,160 --> 00:44:16,080
Speaker 1: Oh sure, I mean, like, who hasn't gone flying through

909
00:44:16,120 --> 00:44:19,719
Speaker 1: the airta like harpoon a giant neolithic shark in the face.

910
00:44:20,320 --> 00:44:22,560
Speaker 3: I'm booked to do that this weekend. I have an

911
00:44:22,600 --> 00:44:23,239
Speaker 3: excursion plan.

912
00:44:23,360 --> 00:44:25,200
Speaker 1: Oh did you are you doing this pop package where

913
00:44:25,239 --> 00:44:26,200
Speaker 1: you get that in your nails done?

914
00:44:26,239 --> 00:44:26,439
Speaker 3: Yeah?

915
00:44:26,480 --> 00:44:28,640
Speaker 1: Oh, that's awesome. Get the nails done after.

916
00:44:28,920 --> 00:44:31,000
Speaker 3: Oh yeah, I've done this before.

917
00:44:32,680 --> 00:44:36,560
Speaker 1: Wait, how many giant prehistoric megalodons have you killed? Genevieve?

918
00:44:37,040 --> 00:44:38,839
Speaker 1: All right, we don't want to know about that. There's

919
00:44:38,880 --> 00:44:41,480
Speaker 1: probably some kind of hunting lemon on them. Jaws is

920
00:44:41,520 --> 00:44:45,200
Speaker 1: widely available on streaming services and to Amazon Prime Video members,

921
00:44:45,320 --> 00:44:47,840
Speaker 1: and it's available in your choice of cheap DVDs or

922
00:44:47,960 --> 00:44:51,719
Speaker 1: expensive Blu rays. The meg is currently in theaters. Skeptical

923
00:44:51,840 --> 00:44:54,279
Speaker 1: question mark. We'll see if it still is by the

924
00:44:54,360 --> 00:44:56,440
Speaker 1: time this comes out, but it seems to be doing

925
00:44:56,480 --> 00:45:00,440
Speaker 1: reasonably well so far, and it's still August. Right back

926
00:45:00,520 --> 00:45:12,839
Speaker 1: with Your Next Picture Show. Finally, it's time to catch

927
00:45:12,880 --> 00:45:15,120
Speaker 1: each other up on films or film related items we've

928
00:45:15,120 --> 00:45:17,520
Speaker 1: seen in the interim since our last podcast. We call

929
00:45:17,560 --> 00:45:19,759
Speaker 1: this Your Next Picture Show in the hopes that it'll

930
00:45:19,840 --> 00:45:22,759
Speaker 1: put some interesting choices on your radar. Keith, what in

931
00:45:22,800 --> 00:45:24,239
Speaker 1: the film world has been good for you lately?

932
00:45:24,400 --> 00:45:27,680
Speaker 2: I'm going to promote a website by way of promoting

933
00:45:27,680 --> 00:45:30,160
Speaker 2: an article I wrote by a way of promoting Tasha's

934
00:45:30,840 --> 00:45:33,080
Speaker 2: employer of the Verge. For The Verge, I wrote a

935
00:45:33,239 --> 00:45:38,560
Speaker 2: piece about Nicholas winning Refin's new streaming service by INWR,

936
00:45:39,040 --> 00:45:40,960
Speaker 2: which we knew was coming and we didn't know exactly

937
00:45:41,040 --> 00:45:43,600
Speaker 2: what kind of form it would take. We know that

938
00:45:43,719 --> 00:45:46,880
Speaker 2: Refin bought up a lot of old exploitation films and

939
00:45:47,080 --> 00:45:50,080
Speaker 2: was going to be streaming them for free, and this

940
00:45:50,200 --> 00:45:52,560
Speaker 2: first selection kind of gives you a sense of the

941
00:45:52,640 --> 00:45:55,200
Speaker 2: fairly exciting shape that the site is going to take.

942
00:45:55,320 --> 00:45:58,160
Speaker 2: They have a guest editing Jimmy McDonough who's written about

943
00:45:58,160 --> 00:46:00,960
Speaker 2: exploitation films, thet on biographies of Alcum Green and Neil Young.

944
00:46:01,200 --> 00:46:03,399
Speaker 2: He's done a lot of stuff. He's left at three

945
00:46:03,520 --> 00:46:06,640
Speaker 2: films under the heading of regional renegade, so all like

946
00:46:06,800 --> 00:46:09,840
Speaker 2: low budget films from the mid sixties from regional directors,

947
00:46:09,880 --> 00:46:11,960
Speaker 2: and they're really quite different. And if you want to

948
00:46:12,000 --> 00:46:14,440
Speaker 2: go into details of it, my article is up on

949
00:46:14,480 --> 00:46:17,640
Speaker 2: the on the Verge. But I think what's kind of

950
00:46:17,719 --> 00:46:19,560
Speaker 2: been buried in here is, yeah, you can stream these

951
00:46:19,560 --> 00:46:21,880
Speaker 2: films and they're really interesting, and they've been restored, and

952
00:46:21,960 --> 00:46:24,480
Speaker 2: they look as great as films that have pretty low

953
00:46:24,520 --> 00:46:27,080
Speaker 2: production values to begin with. I can look, but they're

954
00:46:27,320 --> 00:46:32,000
Speaker 2: all supplement by this article after article about both the films,

955
00:46:32,480 --> 00:46:34,840
Speaker 2: the filmmakers, the kind of the world of the films,

956
00:46:34,840 --> 00:46:38,640
Speaker 2: and sort of like tangentially related articles like sort of

957
00:46:38,640 --> 00:46:41,800
Speaker 2: an article on a New Orleans based magician, a magician

958
00:46:41,960 --> 00:46:45,040
Speaker 2: musician the other other one. And it's just there's it

959
00:46:45,239 --> 00:46:47,680
Speaker 2: goes deep. There's just tons, and there's you know, there's

960
00:46:48,000 --> 00:46:51,520
Speaker 2: short films. And one of the refin actually bought not

961
00:46:51,680 --> 00:46:53,360
Speaker 2: just the films but the wardrobe of one of the

962
00:46:53,400 --> 00:46:55,719
Speaker 2: directors who has a collection of nudy suits, and he

963
00:46:55,840 --> 00:46:59,480
Speaker 2: brought in Darius Kanji to photograph them. It's just it's

964
00:46:59,560 --> 00:47:01,799
Speaker 2: it's a really place you can kind of get lost,

965
00:47:01,840 --> 00:47:04,000
Speaker 2: and I definitely recommend. I'm looking forward to seeing what

966
00:47:04,120 --> 00:47:07,360
Speaker 2: they do next. The next guest editor is Guest editors

967
00:47:07,480 --> 00:47:10,280
Speaker 2: is the British mangazine Little White Lies. Social be interesting

968
00:47:10,360 --> 00:47:12,680
Speaker 2: to see what they do, and I think, for some reason,

969
00:47:13,280 --> 00:47:17,160
Speaker 2: I like it when film focused websites that go deep

970
00:47:17,280 --> 00:47:23,040
Speaker 2: into film history and explore obscure corners and aren't a

971
00:47:23,080 --> 00:47:26,000
Speaker 2: sleigh driven by the latest news and traffic grabs. For

972
00:47:26,080 --> 00:47:27,920
Speaker 2: some reason, I like it when those succeeds. So definitely

973
00:47:28,360 --> 00:47:31,200
Speaker 2: I'm rooting for this one Jenny you have about you.

974
00:47:31,960 --> 00:47:35,360
Speaker 3: Yeah, I'm going to recommend a movie that when you

975
00:47:35,440 --> 00:47:38,200
Speaker 3: hear this will not be in theaters yet, but it

976
00:47:38,280 --> 00:47:41,040
Speaker 3: will be in a few days. It comes out August thirty. First,

977
00:47:41,360 --> 00:47:44,160
Speaker 3: the movie is a Little Stranger. This is a new

978
00:47:44,200 --> 00:47:47,760
Speaker 3: one from Lenny Abramson, who directed Room and before that Frank,

979
00:47:47,880 --> 00:47:51,319
Speaker 3: And it's based on a novel by Sarah Waters, who

980
00:47:51,600 --> 00:47:54,640
Speaker 3: is a writer that I really like as tes Tasha

981
00:47:55,120 --> 00:47:59,359
Speaker 3: and was responsible for The Fingersmith, which turned into Park

982
00:47:59,440 --> 00:48:02,200
Speaker 3: Chamwooks Handmaiden a couple of years ago, which we also

983
00:48:02,280 --> 00:48:04,600
Speaker 3: all really like. So there's a lot going into this

984
00:48:04,840 --> 00:48:08,360
Speaker 3: movie that I really like, and I actually really like

985
00:48:08,400 --> 00:48:10,920
Speaker 3: the resulting movie quite a bit. It stars Doninald Gleason,

986
00:48:11,120 --> 00:48:12,880
Speaker 3: or Nominal Policement as I call him.

987
00:48:14,000 --> 00:48:15,560
Speaker 1: I still don't get it, but okay.

988
00:48:16,440 --> 00:48:20,080
Speaker 3: It stars Donald Gleason as this sort of country doctor

989
00:48:20,239 --> 00:48:24,799
Speaker 3: in post war Britain who takes an interest in an

990
00:48:24,880 --> 00:48:29,439
Speaker 3: aristocratic family down on their luck living in a dilapidated

991
00:48:29,600 --> 00:48:31,880
Speaker 3: old estate and sort of takes the shape of a

992
00:48:31,960 --> 00:48:35,560
Speaker 3: haunted house movie. It's very explicitly on house movie, I

993
00:48:35,560 --> 00:48:38,360
Speaker 3: should say, but it is like most haunted house movies

994
00:48:38,440 --> 00:48:43,000
Speaker 3: sort of dealing with a deeper underlying story about class

995
00:48:43,400 --> 00:48:46,480
Speaker 3: and to a slightly lesser extent, gender and the death

996
00:48:46,520 --> 00:48:50,240
Speaker 3: of the aristocracy, and there's a lot going on underneath

997
00:48:50,239 --> 00:48:52,200
Speaker 3: the surface of this movie. It is a very creepy

998
00:48:52,360 --> 00:48:56,480
Speaker 3: surface as well. I think this I'm a little surprised

999
00:48:56,680 --> 00:48:59,920
Speaker 3: to be recommending this film, which I think does slow

1000
00:49:00,640 --> 00:49:05,520
Speaker 3: pretty squarely into the horror genre while also being not

1001
00:49:06,000 --> 00:49:08,280
Speaker 3: necessarily what you would think of as a quote unquote

1002
00:49:08,320 --> 00:49:11,120
Speaker 3: typical horror movie, which is to say, it's very creepy

1003
00:49:11,160 --> 00:49:13,480
Speaker 3: and there are some definite scares in it, but there's

1004
00:49:13,520 --> 00:49:17,000
Speaker 3: also a lot of very interesting thematic stuff happening. And

1005
00:49:17,160 --> 00:49:19,839
Speaker 3: what I really like about it is what it does

1006
00:49:19,960 --> 00:49:23,279
Speaker 3: with its narrator, with its central character, and who that

1007
00:49:23,520 --> 00:49:27,920
Speaker 3: character reveals himself to be, and what his interactions with

1008
00:49:28,040 --> 00:49:30,040
Speaker 3: the family of mostly women. He takes an interest in

1009
00:49:30,160 --> 00:49:32,680
Speaker 3: what those interactions turn out to be. It's a movie that,

1010
00:49:32,840 --> 00:49:36,439
Speaker 3: like I don't really want to spoil too much about,

1011
00:49:36,480 --> 00:49:38,800
Speaker 3: particularly because I think one of its biggest flaws is

1012
00:49:38,880 --> 00:49:41,520
Speaker 3: that it does maybe hold your hand a little too

1013
00:49:41,600 --> 00:49:44,560
Speaker 3: much in terms of where it goes with its ending.

1014
00:49:45,239 --> 00:49:47,239
Speaker 3: When I think it's the story's probably better served by

1015
00:49:47,320 --> 00:49:50,279
Speaker 3: leaving it more ambiguous than the movie does. But I

1016
00:49:50,360 --> 00:49:54,600
Speaker 3: still think it was pretty successful and a very interesting

1017
00:49:54,680 --> 00:49:57,359
Speaker 3: movie that I kind of wish we would be able

1018
00:49:57,400 --> 00:49:59,839
Speaker 3: to talk about on this podcast, but I don't think

1019
00:49:59,840 --> 00:50:01,239
Speaker 3: we're going to be able to. So I will just

1020
00:50:01,800 --> 00:50:04,360
Speaker 3: suggest you see The Little Stranger that should be in

1021
00:50:04,480 --> 00:50:05,480
Speaker 3: theaters this weekend.

1022
00:50:06,080 --> 00:50:09,160
Speaker 1: Yeah, second that one. It was a really interesting film.

1023
00:50:09,239 --> 00:50:12,520
Speaker 1: I saw it entirely for this Aarra Waters connection, just

1024
00:50:12,560 --> 00:50:15,680
Speaker 1: because I'm such a fan of her books, and it

1025
00:50:15,880 --> 00:50:18,359
Speaker 1: was there was just a lot unexpected to it. I mean,

1026
00:50:18,400 --> 00:50:22,200
Speaker 1: it feels like a quiet period drama and then it

1027
00:50:22,440 --> 00:50:25,600
Speaker 1: kind of becomes something else, and then the ending kind

1028
00:50:25,600 --> 00:50:29,920
Speaker 1: of takes a direction that I won't say I didn't foresee,

1029
00:50:30,680 --> 00:50:32,200
Speaker 1: but that I think is interesting. It's going to be

1030
00:50:32,239 --> 00:50:35,000
Speaker 1: interesting to talk about. I suspect that it's going to

1031
00:50:35,080 --> 00:50:38,520
Speaker 1: leave some people going I don't understand what and like

1032
00:50:38,640 --> 00:50:41,040
Speaker 1: looking on the internet. So if you watch it and

1033
00:50:41,160 --> 00:50:43,040
Speaker 1: you have thoughts about that ending, I think if you

1034
00:50:43,160 --> 00:50:45,440
Speaker 1: get on the internet and hold the hand of somebody

1035
00:50:45,480 --> 00:50:47,480
Speaker 1: who is confused, they will perhaps appreciate it.

1036
00:50:47,640 --> 00:50:50,400
Speaker 3: It's also very nice looking film, so I would suggest

1037
00:50:50,440 --> 00:50:50,719
Speaker 3: seeing it.

1038
00:50:50,960 --> 00:50:52,000
Speaker 1: Yeah, it's very handsome.

1039
00:50:52,120 --> 00:50:54,120
Speaker 3: Yes it is, Tasha, what about you.

1040
00:50:54,400 --> 00:50:56,239
Speaker 1: I don't think there's any chance that we're actually going

1041
00:50:56,320 --> 00:50:59,360
Speaker 1: to get to this one, So I'm going to go

1042
00:50:59,520 --> 00:51:03,400
Speaker 1: for something that I think by the time this podcast drops,

1043
00:51:03,400 --> 00:51:06,960
Speaker 1: it will already have become immensely popular, which is crazy

1044
00:51:07,040 --> 00:51:10,680
Speaker 1: rich Asians based on the Kevin Kwan, the best selling book,

1045
00:51:11,200 --> 00:51:14,200
Speaker 1: and it was just it was lining up so obviously

1046
00:51:14,320 --> 00:51:16,680
Speaker 1: to be like a huge hit even before it came out,

1047
00:51:16,800 --> 00:51:19,200
Speaker 1: Like the excitement for it was very high. It's a

1048
00:51:19,280 --> 00:51:21,680
Speaker 1: major movie with an all Asian cast, and it is

1049
00:51:21,800 --> 00:51:25,000
Speaker 1: mostly set in Singapore, and it deals very specifically with

1050
00:51:25,440 --> 00:51:26,920
Speaker 1: some of the issues that I was talking about not

1051
00:51:27,040 --> 00:51:30,800
Speaker 1: seeing in the meg in terms of family solidarity and

1052
00:51:31,080 --> 00:51:36,160
Speaker 1: what is expected in like a Chinese expact culture versus

1053
00:51:36,800 --> 00:51:40,400
Speaker 1: what is expected in other cultures, and just like a

1054
00:51:40,800 --> 00:51:44,719
Speaker 1: confluence and conflict of alignments. But it doesn't really feel

1055
00:51:44,760 --> 00:51:47,640
Speaker 1: like any of those things. It feels like a great, big,

1056
00:51:48,080 --> 00:51:51,960
Speaker 1: cheery hangout. Movie is unabashedly a wealth porn movie, a

1057
00:51:52,120 --> 00:51:55,560
Speaker 1: food porn movie, a surroundings porn movie. It is a

1058
00:51:55,680 --> 00:51:59,000
Speaker 1: lifestyles of the rich and famous fantasy, and it kind

1059
00:51:59,000 --> 00:52:02,640
Speaker 1: of fills that seem niche that I saw in like

1060
00:52:02,960 --> 00:52:08,160
Speaker 1: Bride and Prejudice, for instance, of just surrounding yourself with big, bright,

1061
00:52:08,320 --> 00:52:12,240
Speaker 1: simple fun emotions and sad emotions but not sad emotions,

1062
00:52:12,760 --> 00:52:18,040
Speaker 1: sad emotions, and it's just a very safe, candy colored environment.

1063
00:52:18,800 --> 00:52:23,279
Speaker 1: Aquafina is delightful. She's a huge highlight of the film,

1064
00:52:23,680 --> 00:52:25,400
Speaker 1: and the rest of it, I don't know. It feels

1065
00:52:25,640 --> 00:52:29,440
Speaker 1: very pat and predictable in a way that I think

1066
00:52:29,520 --> 00:52:32,360
Speaker 1: a lot of people find comfortable in cinema, and a

1067
00:52:32,440 --> 00:52:35,000
Speaker 1: lot of like serious cinema fans, you know, like me

1068
00:52:35,120 --> 00:52:39,239
Speaker 1: and the people around this table don't always like key

1069
00:52:39,320 --> 00:52:41,600
Speaker 1: into but gentlemen. Then I saw it at the same

1070
00:52:41,640 --> 00:52:43,120
Speaker 1: time and you had fun with it.

1071
00:52:43,400 --> 00:52:46,320
Speaker 3: Yeah, I mean I actually like DM Tasha today and

1072
00:52:46,480 --> 00:52:49,719
Speaker 3: she was gonna do it or not because I was

1073
00:52:49,960 --> 00:52:53,160
Speaker 3: considering making it your next picture show for all the

1074
00:52:53,440 --> 00:52:57,160
Speaker 3: same reasons you know it And also like watching that

1075
00:52:57,280 --> 00:53:00,440
Speaker 3: movie in the theater gave me serious flashbacks to Twilight,

1076
00:53:00,600 --> 00:53:04,120
Speaker 3: like peak Twilight era, just in terms of the audience reaction,

1077
00:53:04,280 --> 00:53:07,040
Speaker 3: because like Crazy Rich Asians is a first of a

1078
00:53:07,120 --> 00:53:10,480
Speaker 3: trilogy of books that are very, very popular, and like

1079
00:53:10,760 --> 00:53:12,680
Speaker 3: a lot of people who are seeing this movie are

1080
00:53:12,840 --> 00:53:16,040
Speaker 3: very excited because of the books and the reactions we

1081
00:53:16,120 --> 00:53:18,319
Speaker 3: were getting to just like moments that were clearly taken

1082
00:53:18,400 --> 00:53:22,279
Speaker 3: directly from the book, or character introductions of someone who

1083
00:53:22,360 --> 00:53:24,800
Speaker 3: is obviously going to become a big character, just like

1084
00:53:25,400 --> 00:53:28,160
Speaker 3: gasps and squeals, and you know, just it was. It

1085
00:53:28,239 --> 00:53:31,880
Speaker 3: was a very exciting movie going experience while also being

1086
00:53:31,920 --> 00:53:33,680
Speaker 3: like kind of annoying because a lot of people were talking,

1087
00:53:33,880 --> 00:53:36,320
Speaker 3: but they were talking because they were excited, and I

1088
00:53:36,400 --> 00:53:37,360
Speaker 3: can't be upset about that.

1089
00:53:37,640 --> 00:53:40,360
Speaker 1: Yeah, I mean it was the kind of audience engagement

1090
00:53:40,760 --> 00:53:43,120
Speaker 1: where you can tell that people are expecting this to

1091
00:53:43,239 --> 00:53:46,000
Speaker 1: be like a hangout movie where you're all hanging out

1092
00:53:46,000 --> 00:53:48,440
Speaker 1: with your friends in the theater, like watching your other

1093
00:53:48,480 --> 00:53:51,800
Speaker 1: friends on the screen, Like it's that kind of environment.

1094
00:53:52,640 --> 00:53:55,480
Speaker 3: You're much wealthier, more beautiful friends.

1095
00:53:56,360 --> 00:53:59,600
Speaker 1: Well, you're aspirational friends, yes, And you know there's a

1096
00:53:59,600 --> 00:54:02,360
Speaker 1: little about that, I think in the movie, particularly with

1097
00:54:02,480 --> 00:54:06,080
Speaker 1: Aquapheni's character of you know, her family is really rich,

1098
00:54:06,239 --> 00:54:09,239
Speaker 1: but they're apparently not insanely over the moon rich. She

1099
00:54:09,320 --> 00:54:11,400
Speaker 1: gets to hang out with insanely over the boot rich.

1100
00:54:12,000 --> 00:54:14,239
Speaker 1: Ha I see what you did there. When she gets

1101
00:54:14,280 --> 00:54:16,960
Speaker 1: to hang out with the crazy rich people she's she

1102
00:54:17,160 --> 00:54:21,600
Speaker 1: behaves like any other social climber. And it's really the

1103
00:54:21,640 --> 00:54:24,400
Speaker 1: whole movie I would describe as a whot. It's definitely

1104
00:54:24,520 --> 00:54:28,600
Speaker 1: not going to challenge the Kubrick fans among us, and

1105
00:54:28,719 --> 00:54:31,560
Speaker 1: it doesn't have to. It's fun, but it's also really

1106
00:54:31,600 --> 00:54:36,359
Speaker 1: important just in terms of representation. Like there a lot

1107
00:54:36,440 --> 00:54:40,680
Speaker 1: has been written already about what it's like as somebody

1108
00:54:40,840 --> 00:54:45,719
Speaker 1: from like the Singapore, like Malaysian area. There's a lot

1109
00:54:45,760 --> 00:54:49,200
Speaker 1: of different cultures and classes and clashes represented in this movie.

1110
00:54:49,600 --> 00:54:52,320
Speaker 1: There's a lot of different ways of speaking, like cloaquialisms

1111
00:54:52,360 --> 00:54:54,560
Speaker 1: and slang represented in this movie. And a lot of

1112
00:54:54,560 --> 00:54:56,880
Speaker 1: people have already written about what it feels like to

1113
00:54:56,960 --> 00:54:59,840
Speaker 1: see like their culture, their their people specifically on.

1114
00:55:00,719 --> 00:55:02,839
Speaker 3: Or to see themselves as objects of affection.

1115
00:55:02,920 --> 00:55:07,200
Speaker 1: Objections of affection, objects of desire, and objects of aspiration.

1116
00:55:07,840 --> 00:55:11,200
Speaker 3: Yeah, its import is all extra textual, I would say.

1117
00:55:11,360 --> 00:55:15,120
Speaker 3: And the movie itself is very frothy, but a good

1118
00:55:15,160 --> 00:55:17,160
Speaker 3: time nonetheless fun.

1119
00:55:17,320 --> 00:55:25,000
Speaker 1: It's a fun froth Well, that's it for this edition

1120
00:55:25,080 --> 00:55:26,960
Speaker 1: of the Next Picture Show. Our next pairing will come

1121
00:55:27,000 --> 00:55:30,360
Speaker 1: out September fourth and eleventh. Genevi, what are we discussing the.

1122
00:55:30,360 --> 00:55:32,560
Speaker 3: Specter of white supremacy has been a recurring theme in

1123
00:55:32,640 --> 00:55:34,839
Speaker 3: Spike Lee's work since Mooky through a trash can through

1124
00:55:34,880 --> 00:55:37,960
Speaker 3: the window of sALS Pizzeria, igniting a national conversation that

1125
00:55:38,080 --> 00:55:41,719
Speaker 3: some critics all White considered genuinely dangerous. But Lee has

1126
00:55:41,800 --> 00:55:43,920
Speaker 3: never addressed that theme more directly than he does in

1127
00:55:43,960 --> 00:55:47,359
Speaker 3: his latest film, Black Clansman, a provocative comedy drama about

1128
00:55:47,400 --> 00:55:50,880
Speaker 3: Ron Stalworth, an African American police detective in Colorado Springs

1129
00:55:50,920 --> 00:55:53,520
Speaker 3: in the nineteen seventies who was involved in an undercover

1130
00:55:53,640 --> 00:55:57,200
Speaker 3: operation to infiltrate and expose the Ku Klux Klan. Stalworth's

1131
00:55:57,200 --> 00:55:59,520
Speaker 3: difficulty finding a place for himself in an all white,

1132
00:55:59,600 --> 00:56:03,960
Speaker 3: often hostile department recalls Lee's nineteen ninety two biopic Malcolm X,

1133
00:56:04,280 --> 00:56:06,880
Speaker 3: about the life and death of the great African American activist,

1134
00:56:07,160 --> 00:56:09,840
Speaker 3: from his criminal past to his incarceration and conversion to

1135
00:56:09,960 --> 00:56:12,520
Speaker 3: Islam to his rise as an uncompromising voice in the

1136
00:56:12,560 --> 00:56:15,520
Speaker 3: civil rights movement. The central questions in both films are

1137
00:56:15,560 --> 00:56:18,040
Speaker 3: the same, how do African Americans find a place for

1138
00:56:18,120 --> 00:56:20,600
Speaker 3: themselves in a hostile culture. Over the next two weeks,

1139
00:56:20,640 --> 00:56:23,200
Speaker 3: we'll discuss Lee's varied approaches to this question. And the

1140
00:56:23,280 --> 00:56:25,120
Speaker 3: controversies both films have drummed up.

1141
00:56:25,400 --> 00:56:27,640
Speaker 1: Would love to hear your feedback on this week's discussion

1142
00:56:27,680 --> 00:56:30,520
Speaker 1: of Jaws, the Meg and anything else film related you'd

1143
00:56:30,560 --> 00:56:32,720
Speaker 1: like to talk about. We want to include your thoughts

1144
00:56:32,760 --> 00:56:35,080
Speaker 1: on future episodes of the show. You can leave a

1145
00:56:35,120 --> 00:56:38,359
Speaker 1: short voicemail at seven seven three two three four nine

1146
00:56:38,440 --> 00:56:41,319
Speaker 1: seven three zero or email us at comments at next

1147
00:56:41,360 --> 00:56:44,240
Speaker 1: pictureshow dot net. We may post your response on Facebook

1148
00:56:44,239 --> 00:56:46,320
Speaker 1: for discussion or read it on a future episode of

1149
00:56:46,360 --> 00:56:48,960
Speaker 1: the show. Finally, before we close out this week's episode,

1150
00:56:49,000 --> 00:56:51,440
Speaker 1: where can we find everyone these days? He Keith Oh,

1151
00:56:51,520 --> 00:56:51,759
Speaker 1: you can.

1152
00:56:51,719 --> 00:56:53,759
Speaker 2: Find me all over the place. I'm our freelance writer, guys,

1153
00:56:54,480 --> 00:56:57,920
Speaker 2: I'm a rolling Stone, I'm at the Verge, I'm at Vulture.

1154
00:56:58,520 --> 00:56:59,800
Speaker 2: I should have a piece up the ring by the

1155
00:56:59,800 --> 00:57:03,920
Speaker 2: time this runs. And you can my clips at Keith

1156
00:57:03,960 --> 00:57:05,719
Speaker 2: fips dot com and you can find me on Twitter

1157
00:57:05,760 --> 00:57:06,840
Speaker 2: at kfips three thousand.

1158
00:57:07,080 --> 00:57:09,399
Speaker 1: Tasha, you can find me over at the Verge dot com,

1159
00:57:09,600 --> 00:57:12,480
Speaker 1: where I'm the film and TV editor these days, I

1160
00:57:13,239 --> 00:57:15,399
Speaker 1: edit a little more than I write, but I also

1161
00:57:15,480 --> 00:57:18,240
Speaker 1: write some and you can find me talking about stuff

1162
00:57:18,280 --> 00:57:20,400
Speaker 1: I'm writing, stuff I'm editing and just stuff in general

1163
00:57:20,480 --> 00:57:22,880
Speaker 1: on Twitter at Tasha Robinson Genevieve.

1164
00:57:23,000 --> 00:57:25,080
Speaker 3: You can find me at vox dot com, where I

1165
00:57:25,360 --> 00:57:28,640
Speaker 3: am also doing more editing than writing these days and

1166
00:57:28,680 --> 00:57:32,320
Speaker 3: most days, and you can find me on Twitter at Genevievkaski.

1167
00:57:32,560 --> 00:57:35,480
Speaker 1: You can find our absent co hosts, Scott Tobias in

1168
00:57:35,600 --> 00:57:38,880
Speaker 1: Pieces on a beach somewhere covered with crabs, or alternately

1169
00:57:39,040 --> 00:57:41,640
Speaker 1: back here for our next podcast, and you can find

1170
00:57:41,720 --> 00:57:43,760
Speaker 1: him online all over the place. He's the editor in

1171
00:57:43,840 --> 00:57:46,680
Speaker 1: chief of Asilioscopes Musings. He writes for The New York Times,

1172
00:57:46,760 --> 00:57:50,760
Speaker 1: for Vulture, for pretty much, Washington Post, The Washington Post,

1173
00:57:51,200 --> 00:57:54,520
Speaker 1: many other places, and he's on Twitter at Scott Underscore Tobias.

1174
00:57:54,680 --> 00:57:56,640
Speaker 1: You can stay updated on the Next Picture Show by

1175
00:57:56,720 --> 00:57:59,480
Speaker 1: visiting Next Picture Show dot Net, via Twitter at Next

1176
00:57:59,520 --> 00:58:02,520
Speaker 1: Picture pot and via Facebook at Facebook dot com slash

1177
00:58:02,720 --> 00:58:05,200
Speaker 1: Next Picture Show. And if you haven't subscribe to the

1178
00:58:05,240 --> 00:58:09,520
Speaker 1: show on Apple Podcasts already, please do. Apple Podcasts subscriptions

1179
00:58:09,640 --> 00:58:13,640
Speaker 1: help podcasts gain more prominence and more listeners. While you're there,

1180
00:58:13,880 --> 00:58:16,640
Speaker 1: we appreciate every rating and every review, every thumbs up

1181
00:58:16,680 --> 00:58:19,200
Speaker 1: helps us find new listeners and keep the show going

1182
00:58:19,400 --> 00:58:23,080
Speaker 1: and growing, and it makes us happy. That is also

1183
00:58:23,400 --> 00:58:26,880
Speaker 1: very important, apparently, according to how crazy rich Asis thinks

1184
00:58:26,880 --> 00:58:29,800
Speaker 1: about Americans. Thanks to Dan the Snake Jakes for his

1185
00:58:29,880 --> 00:58:32,920
Speaker 1: assistants producing this podcast, and thanks to Genevieve Koski for

1186
00:58:33,040 --> 00:58:36,520
Speaker 1: providing recording space in her homebase, Genevieve Cosky's apartment. The

1187
00:58:36,600 --> 00:58:38,040
Speaker 1: Next Picture Show is proud to be part of a

1188
00:58:38,080 --> 00:58:41,240
Speaker 1: film spotting family of podcasts and the Panoply Network. Please

1189
00:58:41,280 --> 00:58:42,040
Speaker 1: tune in next time.

1190
00:58:55,560 --> 00:58:58,600
Speaker 2: How do you know that the girl from Jaws had dandruff?

1191
00:58:59,520 --> 00:59:01,160
Speaker 1: They found head and shelters on the beach.

1192
00:59:02,320 --> 00:59:03,640
Speaker 2: Yeah, I