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Speaker 1: Hey, everybody, Welcome to another episode of I Saw What

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho.

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Speaker 1: I'm Daniel Henderson, and we are calmly here to discuss movies.

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Speaker 3: Speak for yourself.

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Speaker 2: Have we ever been calm? I feel like we've never

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Speaker 2: been calmly discussing.

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Speaker 3: I think we could achieve calm discussion, but it's just

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Speaker 3: so much fun to talk to you that I never

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Speaker 3: get there.

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Speaker 1: Yeah, I know, I get really jazzed, and we're just

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Speaker 1: pounding coffees and die cokes. So there's just no What

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Speaker 1: would like an ASMR version of this podcast.

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Speaker 3: Be, like, what if we did the podcast one day,

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Speaker 3: we recorded like right after we wake up, no coffee,

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Speaker 3: just press record.

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Speaker 1: Oh my god, it would have to be a bonus episode.

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Speaker 1: Would you have to be like an experimental episode? Because

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Speaker 1: I honestly think at this point, like I don't think

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Speaker 1: I can get off of caffeine one hundred percent. No, No,

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Speaker 1: I don't think so.

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Speaker 2: I think it's here to stay.

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Speaker 3: I know, I maybe we've discussed in the past. I

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Speaker 3: know there are alternatives. I've got friends who straight up

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Speaker 3: pop caffeine pills as an alternative to not drinking coffee

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Speaker 3: and I'm like, I'm okay with the drinking coffee forever.

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Speaker 3: I really am.

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Speaker 2: Yeah, me too. I love it, dude, I love it.

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Speaker 1: We're on record about all of this, so there's this

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Speaker 1: is no surprise to any of our listeners.

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Speaker 2: But I started drinking.

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Speaker 1: So when I was in Marfa, right, Texas, I went

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Speaker 1: to this restaurant and ordered a iced tea. And it

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Speaker 1: wasn't sweet tea, by the way, Southern people like I

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Speaker 1: did not order sweet tea. It was just iced tea

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Speaker 1: because I was trying to not drink the sugar. Yeah, right,

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Speaker 1: But it was delicious and I was like, whoa, what

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Speaker 1: is this like delicious kind of gingery tasting, kind of

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Speaker 1: iced tea that you'll make. And the woman who owned

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Speaker 1: the restaurant came over and said it was this brand

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Speaker 1: called Sport Tea.

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Speaker 2: Huh.

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Speaker 1: And it was kind of this like I don't know.

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Speaker 1: I could only find it on Amazon. Sorry, there's nothing

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Speaker 1: in my hometown where I could buy this tea, right,

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Speaker 1: I could only find it on Amazon. But it's like this,

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Speaker 1: I don't know what the branding is. The branding is

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Speaker 1: kind of like hippie meets like athlete or something like that.

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Speaker 2: I don't know what it is.

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Speaker 3: Those two things don't cross is market We're gonna talk

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Speaker 3: about this a lot because of my movie this week,

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Speaker 3: but like marketing people are off the chain.

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Speaker 1: Oh absolutely. The thing is is that it kind of

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Speaker 1: is this like nice extra feeling of caffeine, And I

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Speaker 1: don't know how.

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Speaker 2: It's doing it. That's fair, It's a fairly.

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Speaker 1: Doing it like naturally, even though I'm like, is it

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Speaker 1: because you know, tea is already caffeinated, but then it

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Speaker 1: kind of provides this like extra little boost of energy.

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Speaker 3: Is this drugs?

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Speaker 2: I don't know. I think it might be. Actually, I

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Speaker 2: don't know. I should look at the I should look

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Speaker 2: at the box like.

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Speaker 3: Yeah, it's uh, it's sports tea. See yeah, yeah, it's

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Speaker 3: only got an ounce of cocaine in it.

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Speaker 2: Yeah, I know.

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Speaker 1: And so I was thinking to myself, like I was like,

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Speaker 1: maybe I can switch from a coffee to this tea

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Speaker 1: once in a while, but I actually don't want to

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Speaker 1: replace the taste of coffee.

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Speaker 2: I think coffee, yeah so good.

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Speaker 3: So I'm sick of feeling bad about and I do,

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Speaker 3: but I'm sick of feeling bad about the natural, simple

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Speaker 3: pleasures in my life. I agree, like just let me

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Speaker 3: have fucking coffee. I don't do anything else. I know,

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Speaker 3: I don't do anything else. I don't go out, I

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Speaker 3: don't spend money, I don't do anything. Please let me

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Speaker 3: just have my fucking coffee without you saying, you know,

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Speaker 3: if you quit coffee, you'd be able to have enough

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Speaker 3: for a down payment for what bah blah, Yeah, let

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Speaker 3: me have it. There needs to be a workaround that

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Speaker 3: doesn't include us giving up coffee before, you know, maybe

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Speaker 3: we destroy the fucking systems that are ruining our lives. Yeah, like,

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Speaker 3: let's not go right to coffee.

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Speaker 2: Yeah, I'm with you.

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Speaker 3: I'm a pretty chaste person, like I've never had you know,

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Speaker 3: I'm lucky that I don't have any kind of genetic

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Speaker 3: issue with addiction in terms of alcohol or drugs. And

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Speaker 3: you know, I just have always shied away from that

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Speaker 3: stuff because of how I grew up, you know. But

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Speaker 3: I can tie one on trust, I can tie.

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Speaker 2: One on oh yeah, legend.

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Speaker 3: Yeah, I don't do that at home, like I don't like,

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Speaker 3: you know, I can't be at home, And it's mostly

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Speaker 3: because I am at an age where I cannot lose

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Speaker 3: time to a hangover or feeling fucked up. The next day, Like,

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Speaker 3: no matter how good a time I'm having the day before, yeah,

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Speaker 3: I'm always thinking about well tomorrow, I got a lot

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Speaker 3: of shit to do. When was the last time you

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Speaker 3: really got really drunk?

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Speaker 4: Oh?

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Speaker 1: Goodness good, I don't know. This is a good question,

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Speaker 1: Oh really drunk.

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Speaker 3: Yeah, I'll tell you what you're thinking about the last

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Speaker 3: time I got really drunk, because it was a few

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Speaker 3: months ago and I was here in town and I

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Speaker 3: went out with a friend to this bar and didn't

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Speaker 3: think I was going HAM. Didn't think I was going Ham,

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Speaker 3: just having some drinks with a buddy. And the other

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Speaker 3: thing about drinking here is that I don't do it

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Speaker 3: because you have to drive home, like you have to

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Speaker 3: drive everywhere, and I ain't about that life.

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Speaker 2: Same.

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Speaker 3: So, like, we're out for a few hours and I

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Speaker 3: had a couple of drinks and then the last drink

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Speaker 3: I had was and I usually don't do this, but

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Speaker 3: I had beer and it was like an IPA or

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Speaker 3: something or some kind of like local beer situation, and

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Speaker 3: I was like, yeah, I'll try it. And I don't

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Speaker 3: know how. There was so much the alcohol content of

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Speaker 3: this beer was so fucking intense, and so I drank

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Speaker 3: the beer and I was like, I feel fine, thankfully

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Speaker 3: got home, and within like forty minutes of getting home,

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Speaker 3: I was spinning. I was so fucking wrecked. And I'm

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Speaker 3: laying on the couch and I'm watching TV in the dark,

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Speaker 3: and it's like, you know, two o'clock in the morning,

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Speaker 3: and I'm spinning, and I'm like, I have not felt

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Speaker 3: this bad in decades, decades, because part of my drinking

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Speaker 3: life is that, you know, I can really tie one

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Speaker 3: on with minimal destruction or impact. I'm a very good

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Speaker 3: drinker in that way. But I was. Fuck. I was

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Speaker 3: started sweating and I was like, what the fuck I'm sweating?

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Speaker 3: And then I felt it, you know, that fucking little

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Speaker 3: pain that starts in the middle of your chest. And

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Speaker 3: I was like, I think I'm gonna fucking puke. I

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Speaker 3: think I'm gonna fucking puke. And as soon as I

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Speaker 3: had the thought, puked everywhere, like the oh I puke

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Speaker 3: on the rug, puke on the fucking coffee table. Yeah,

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Speaker 3: didn't make it to the bathroom, just sat up and vomited.

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Speaker 2: Oh my god.

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Speaker 3: And I hate that feeling. And then I'd had dinner

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Speaker 3: so like, and my dinner was up and like on

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Speaker 3: the fucking rug now, like I'm looking at my dinner, like, oh,

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Speaker 3: there's that not really digested lasagna shitude. It was fucking gnarly.

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Speaker 3: And I started crying because I was just like, yes,

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Speaker 3: I hate that.

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Speaker 2: I'm also a pute crier.

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Speaker 3: I fucking hate phuking so much. Oh my god, I

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Speaker 3: just start crying. And then I started crying because I

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Speaker 3: was like, and now I have to clean this up.

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Speaker 3: It's like three o'clock in the fucking morning, and I

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Speaker 3: had to like break out the steam cleaner and like

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Speaker 3: the steam cleaner like I was like fucking vacuuming up

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Speaker 3: chunks and like, oh my god, was so fucking vile.

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Speaker 3: And then then and I did, I cleaned up, went

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Speaker 3: to bed. The next morning, I was like, fuck, I

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Speaker 3: didn't clean out the steam cleaner, so now that smells

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Speaker 3: like puke, Like the hose smells like puke. I had

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Speaker 3: to replace the fucking hose on my.

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Speaker 2: Steam cleaner because like figure out how to get the.

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Speaker 3: Fucking smell out. Yeah, And I was like, this is

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Speaker 3: not this is not for me. This is not for me.

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Speaker 3: And it was beer.

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Speaker 1: Look how much collateral damage you've had to deal with

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Speaker 1: because of the drinkings crazy so much.

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Speaker 3: And I was like, this ain't right. So I'm just

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Speaker 3: like like, all right, beer has never been my thing,

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Speaker 3: and now I know why, Like I just put too

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Speaker 3: much on top of dinner and a couple of mixed drinks. Yeah,

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Speaker 3: And I was just like what the fuck? I was

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Speaker 3: very close to having to spend the night in my

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Speaker 3: car because like, again, thankfully I felt I felt fine

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Speaker 3: when I was, you know, driving home for five minutes,

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Speaker 3: but like, yah, I don't like to fuck around like that.

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Speaker 3: Usually I don't get I don't drive at all. I

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Speaker 3: I've had any drinks. So that's another reason why, Like

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Speaker 3: I don't drink here because I'm like, well, I'm not

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Speaker 3: gonna drive even if I have a glass of wine

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Speaker 3: at dinner.

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Speaker 2: Yeah. So I just I was.

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Speaker 3: Fucking wrecked, direcked, just sitting at home on my own

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Speaker 3: on my couch, sweating and pukin and the wee hours

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Speaker 3: of the morning, I'm like, this is not how I

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Speaker 3: want to go out. Yeah. And also I think it

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Speaker 3: fucked something up for me because ever since then, this

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Speaker 3: has been months now, I can no longer eat eggs,

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Speaker 3: Like when I eat scrambled eggs, I get nauseous.

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Speaker 2: Why, oh no, that would destroy me. I love eggs.

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Speaker 3: I fucking love eggs. Oh no. And even though I

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Speaker 3: eat like a mostly vegetarian vegan diet, like I will

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Speaker 3: throw an egg on a salt, like a hard boiled

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Speaker 3: egg on a salad or whatever, or like it's a

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Speaker 3: quick breakfast in the morning. I have tried it four

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Speaker 3: times in the last couple of months, and it's scrambled purely,

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Speaker 3: it is scrambled eggs. When I eat scrambled eggs, I

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Speaker 3: instantly feel nauseous. Now. And I figured that out when

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Speaker 3: I was at a restaurant having breakfast with a friend

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Speaker 3: and I was like, oh, maybe it's because like her

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Speaker 3: perfume is really intense or something. I don't know. And

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Speaker 3: then I'm like now. And then a few days later

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Speaker 3: I tried it, and I'm like, nope. At home, feeling nauseous,

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Speaker 3: ate scrambled eggs for breakfast, immediately puked, immediately ran into

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Speaker 3: the bathroom puke. I don't know what's going on.

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Speaker 1: You think you have some kind of like Pavlovian response

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Speaker 1: to the eggs thing now, because I don't know, maybe

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Speaker 1: there was some kind of association.

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Speaker 3: I don't know.

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Speaker 1: Unless it's like an actual, like physical body issue where

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Speaker 1: your body doesn't process eggs anymore.

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Speaker 3: The body keeps the score.

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Speaker 2: Maybe you're allergic.

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Speaker 3: Maybe you're allergic. Well I looked it up because I'm like,

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Speaker 3: all right, is this my body keeping the score and

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Speaker 3: being like bitch, you went too hard? Or is this

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Speaker 3: like an actual thing? And it is an actual thing

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Speaker 3: that you can develop an egg allergy.

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Speaker 2: Yeah, and then you can't get shots right, like certain shots. Yes.

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Speaker 3: So now I'm freaked out because I'm like again, like

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Speaker 3: I cook with eggs all the time. Like I made

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Speaker 3: vegan like like soy meatballs the other day and like

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Speaker 3: it's like soy and tempey it. But I put like

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Speaker 3: almond flour in an egg in there to bind it

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Speaker 3: and it was fine. I'm like, maybe it's because I

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Speaker 3: like cook the eggs with something else. I don't know.

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Speaker 3: But if anyone out there has ever developed a strong

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Speaker 3: nauseous feeling suddenly just scrambled eggs, hit me up, because

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Speaker 3: I do not want to pay my doctor to figure

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Speaker 3: out what's going on. I just stay away from scrambled eggs.

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Speaker 5: Now.

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Speaker 1: Yeah, all the you all egg allergy folks I saw

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Speaker 1: just did pottagima dot com.

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Speaker 3: But I hope it's not like a real allergy.

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Speaker 2: Yeah, I don't know.

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Speaker 3: I have to go to the doctor, don't I don't

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Speaker 3: want to go to the doctor.

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Speaker 2: Who does at this point, not in this economy.

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Speaker 1: If you get outsource it to podcast listeners, why not

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Speaker 1: the cheaper option.

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Speaker 3: Are there any doctors listening that know about this? Please

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Speaker 3: emails that I saw it at email because I don't

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Speaker 3: want to go to my shitty I hate my fucking

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Speaker 3: doctor so much. I hate my gp uh oh so much.

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Speaker 3: Because you know, I am a I'm in charge of

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Speaker 3: my physical health as much as I can be, which

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Speaker 3: is difficult in America and even more difficult for you're

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Speaker 3: a woman. But I do all the tests. I go

247
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Speaker 3: annually for all my shit, like, I keep my shit tight,

248
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Speaker 3: and I've got a good baseline and I'm healthy, you know.

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Speaker 3: So I go in and my fucking new doctor, I

250
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Speaker 3: mean new because new since I moved back here, is

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Speaker 3: so disorganized. The last time I went for an appointment,

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Speaker 3: which was the last time I decided to ever see her,

253
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Speaker 3: I had an appointment for ten thirty am. I'm still

254
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Speaker 3: sitting there waiting for her to see me. At one

255
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Speaker 3: point thirty yeah, And I'm like, what is the point

256
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Speaker 3: of an appointment if you can't keep them first and foremost?

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Speaker 3: And I'm not and I can understand a couple of

258
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Speaker 3: minutes here and there, three hours and there's no end

259
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Speaker 3: in sight. What is the point? So I was like,

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Speaker 3: you know what, I can't do this. And now I'm like, I'm,

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Speaker 3: you know, stressed out. So if my blood pressure is

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Speaker 3: up and this is all the shit she's checking that day, yeah,

263
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Speaker 3: it is like my blood pressure, my numbers, whatever. So

264
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Speaker 3: she's checking all this shit and I'm going in stress.

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Speaker 3: So they put me in the room and where I

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Speaker 3: sat for another hour, and finally I was like, what

267
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Speaker 3: is wrong with you, Danielle, get the fuck out of here.

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Speaker 3: I get up to leave and she comes in and

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Speaker 3: she's like, oh, sorry, blah blah, And I'm like, were

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Speaker 3: you in surgery? Like what is going on?

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Speaker 2: Yeah?

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Speaker 1: And you owe me as xat X because I sat

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Speaker 1: here for so long and now I'm too stressed out

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Speaker 1: to have a proper BP reading.

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Speaker 3: Yeah, And I said that to him, like I think

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Speaker 3: I should leave because I am in a state of

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Speaker 3: extreme stress right now and I don't think this is

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Speaker 3: the time, She's like, no, well you're here, we should

279
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Speaker 3: just and I was like all right, and sure enough,

280
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Speaker 3: my numbers were fucked and I'm like I can't do it.

281
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Speaker 3: So then I tried there were a couple months later

282
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Speaker 3: because she's like, we can reset the appointment. I was like, no,

283
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Speaker 3: cause you're I can't. It took me six months to

284
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Speaker 3: get disappointment, so no, I'm not resetting the appointment. But

285
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Speaker 3: I tried telehealth a couple months later because I don't

286
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Speaker 3: know if you've ever tried this, but I have this

287
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Speaker 3: ear wash thing where it's like a bottle, like a

288
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Speaker 3: squeeze bottle, and it has got a little hose on

289
00:13:20,240 --> 00:13:21,960
Speaker 3: it and you couldn't put it in your ear and like,

290
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Speaker 3: and you're not supposed to do it with cold water

291
00:13:23,880 --> 00:13:26,040
Speaker 3: because it fucks up your equilibrium. But I didn't remember

292
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Speaker 3: that part, so I was just like, just filled it

293
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Speaker 3: up with some fucking filtered water from the fridge, squirted

294
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Speaker 3: it directly into my brain and I was fucking dizzy.

295
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Speaker 3: I was fucked up. So I tried to make a

296
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Speaker 3: telehealth appointment, same fucking thing where I make the appointment

297
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Speaker 3: for eight am, thinking I'm going to be the first

298
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Speaker 3: one in, It'll be no problem. Ten fucking thirty two

299
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Speaker 3: and a half hours later, I'm still waiting for this

300
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Speaker 3: motherfucker to hop on this call.

301
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Speaker 1: No, I would hang up and find a new doctor.

302
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Speaker 1: What in the world, And that is what I've done.

303
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Speaker 1: I hung up and then her office called.

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Speaker 3: There was like and I was like, look when they called,

305
00:14:01,360 --> 00:14:03,800
Speaker 3: and they were like, oh, they tell health appointment. And

306
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Speaker 3: I was like, look, y'all need to know something first

307
00:14:06,880 --> 00:14:09,920
Speaker 3: and foremost. I am finding another doctor. Like I'm in

308
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Speaker 3: the process now. I cannot do this anymore, I said,

309
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Speaker 3: But you really need to pay attention to is this

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Speaker 3: is how people fucking die because they don't have the time.

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Speaker 3: They don't have the inclination or the energy or the

312
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Speaker 3: money to sit here and wait for y'all for fucking hours,

313
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Speaker 3: so they just don't go to the doctor ever again. Yeah,

314
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Speaker 3: like that is how people die. Yeah, Like they're not

315
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Speaker 3: just me being annoyed that, like, you know, you're a

316
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Speaker 3: little bit late. This is now making me never want

317
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Speaker 3: to go to the doctor again. If this is the

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Speaker 3: shit we have to go.

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Speaker 2: Through, Oh, absolutely.

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Speaker 1: I Mean there's so many times that I've been like

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Speaker 1: traumatized by doctors in some kind of way that have

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Speaker 1: contributed to not wanting to go. Yeah, putting off appointments

323
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Speaker 1: and that kind of stuff. Yeah, it's fucking real.

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Speaker 3: It takes a monumental effort in America to try to

325
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Speaker 3: be healthy and to try to just take control of

326
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Speaker 3: your shit because of shit like this. It fucking kills me. Yeah.

327
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Speaker 3: So the other day, this is kind of a tangent,

328
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Speaker 3: but the other day I invided a friend over and

329
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Speaker 3: I was like, oh. She was like, oh, I'll come

330
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Speaker 3: over after after work. She's going through some stuff and

331
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Speaker 3: I'm like, oh, come over, Like, you know, I just

332
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Speaker 3: made the Scottie and like we can have tea or

333
00:15:27,840 --> 00:15:29,840
Speaker 3: I you know, I made tomatoes soup with rizo and

334
00:15:29,880 --> 00:15:31,640
Speaker 3: like we can have a whole meal. Like whatever you're feeling,

335
00:15:31,680 --> 00:15:33,600
Speaker 3: but just come over and like I'll feed you and

336
00:15:33,680 --> 00:15:36,240
Speaker 3: book chat and hopefully you'll feel better. This is a

337
00:15:36,280 --> 00:15:38,720
Speaker 3: few weeks ago, so it was like right the end

338
00:15:38,760 --> 00:15:42,360
Speaker 3: of spring, before the before it starts staying light out later,

339
00:15:43,080 --> 00:15:46,360
Speaker 3: like around you know, started getting dark still around five o'clock.

340
00:15:47,560 --> 00:15:49,800
Speaker 3: So she sews up to my house and I get

341
00:15:49,800 --> 00:15:52,000
Speaker 3: a text and the text is, Hey, I see your

342
00:15:52,000 --> 00:15:55,520
Speaker 3: car in the driveway. But are you home? And I

343
00:15:55,560 --> 00:15:57,920
Speaker 3: was like, yeah, I'm upstairs reading and she's like, there's

344
00:15:58,040 --> 00:16:01,160
Speaker 3: not a single light on in your house. And I

345
00:16:01,200 --> 00:16:03,560
Speaker 3: was like, oh, well, I'm just reading in one room,

346
00:16:03,600 --> 00:16:04,960
Speaker 3: so I have the light on in one room because

347
00:16:05,000 --> 00:16:07,920
Speaker 3: that's how I do sure. And I was like, oh,

348
00:16:08,000 --> 00:16:09,480
Speaker 3: you probably can't see it because I'm in a room

349
00:16:09,480 --> 00:16:11,360
Speaker 3: where you like the windows and facing the street. Whatever.

350
00:16:12,200 --> 00:16:15,120
Speaker 3: And so I go downstairs and she was like, bitch,

351
00:16:15,160 --> 00:16:17,880
Speaker 3: you could have been dead in here, Like who would

352
00:16:17,920 --> 00:16:20,040
Speaker 3: I even call? And I was like, well, I don't

353
00:16:20,080 --> 00:16:22,760
Speaker 3: have a doctor, so nobody like emergency, I don't know,

354
00:16:22,880 --> 00:16:25,480
Speaker 3: call a fucking an ambulance. I don't know. She's like, well,

355
00:16:25,760 --> 00:16:27,800
Speaker 3: she's like, first of all, you live crazy that you

356
00:16:27,880 --> 00:16:32,520
Speaker 3: have no lights on in your house. She's like, you

357
00:16:32,560 --> 00:16:35,360
Speaker 3: live like a fucking pilgrim. And I'm like yeah, but

358
00:16:35,600 --> 00:16:38,960
Speaker 3: my electricity bill last month was forty dollars. So she's like,

359
00:16:38,960 --> 00:16:41,560
Speaker 3: you live like a fucking maniac. But also, what if

360
00:16:41,560 --> 00:16:43,200
Speaker 3: you were dead in here? And I was like that's

361
00:16:43,240 --> 00:16:44,880
Speaker 3: the point. If I'm dead in here, I'm just gonna

362
00:16:45,080 --> 00:16:47,680
Speaker 3: I'm having any kind of medical issue, I'm just going

363
00:16:47,680 --> 00:16:50,160
Speaker 3: to die because I have no one to call because

364
00:16:50,200 --> 00:16:53,480
Speaker 3: I don't have a doctor, because this process is fucking

365
00:16:53,520 --> 00:16:57,760
Speaker 3: insane nowadays. So it's like nothing or fucking you're paying

366
00:16:57,800 --> 00:17:01,680
Speaker 3: ambulance and emergency room and all. It's there zero, no

367
00:17:01,680 --> 00:17:03,680
Speaker 3: no care at all, or you're going to the height

368
00:17:04,280 --> 00:17:07,440
Speaker 3: of medical costs for any minor inconvenience.

369
00:17:07,520 --> 00:17:10,159
Speaker 1: Oh yeah, Listen, when I had that medical emergency like

370
00:17:10,240 --> 00:17:12,840
Speaker 1: five or so years ago, no doctor was called. I

371
00:17:12,880 --> 00:17:17,040
Speaker 1: was seeing that stupid hippie doctor in Studio City. Remember

372
00:17:17,640 --> 00:17:19,480
Speaker 1: weren't you the one that put me onto that hippie

373
00:17:19,480 --> 00:17:22,280
Speaker 1: doctor in Studio City That was just basically like want

374
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Speaker 1: to hook me up to like electrode shock machines and shit, No.

375
00:17:27,000 --> 00:17:29,439
Speaker 3: That was that was not me. That was not me.

376
00:17:30,560 --> 00:17:33,439
Speaker 1: It was some kind of like some kind of holistic

377
00:17:33,640 --> 00:17:40,159
Speaker 1: California hippie doctor that I went for a physical, you know,

378
00:17:40,280 --> 00:17:43,719
Speaker 1: like a new patient physical, and it was like the

379
00:17:43,760 --> 00:17:48,840
Speaker 1: weirdest shit. The actual doctor was hooked up to one

380
00:17:48,880 --> 00:17:52,879
Speaker 1: of those elect you know, those like machines that they

381
00:17:52,920 --> 00:17:55,440
Speaker 1: use in physical therapy and stuff where it's like shocking,

382
00:17:55,760 --> 00:17:57,200
Speaker 1: giving you like little shocks.

383
00:17:57,480 --> 00:17:58,480
Speaker 3: Actually, this could have been me.

384
00:18:00,000 --> 00:18:03,200
Speaker 1: She was wooked up to that machine while we were

385
00:18:03,280 --> 00:18:06,080
Speaker 1: talking and I was like, are you getting massage?

386
00:18:07,600 --> 00:18:09,960
Speaker 3: As I sound familiar talking to you.

387
00:18:10,800 --> 00:18:15,480
Speaker 1: It was so so surreal, and I had just started

388
00:18:16,119 --> 00:18:18,240
Speaker 1: going there when I got sick, and then.

389
00:18:18,400 --> 00:18:20,320
Speaker 2: I ended up just going to Cedars. I didn't. I

390
00:18:20,359 --> 00:18:22,359
Speaker 2: was like, that bitch doesn't need to know shit about me.

391
00:18:22,760 --> 00:18:26,639
Speaker 1: I was like, like, don't talk to her about nothing,

392
00:18:26,920 --> 00:18:27,920
Speaker 1: and thank god you.

393
00:18:27,880 --> 00:18:29,479
Speaker 3: Did, because she would have sent you home with like

394
00:18:29,920 --> 00:18:33,159
Speaker 3: a ginger bulb and just eat some fucking ginger and

395
00:18:33,240 --> 00:18:34,920
Speaker 3: call it dude.

396
00:18:35,160 --> 00:18:38,160
Speaker 1: The money that I dropped on supplements on that place

397
00:18:38,359 --> 00:18:42,160
Speaker 1: was wild, Like she had me going like on the

398
00:18:42,200 --> 00:18:48,840
Speaker 1: weirdest websites to find the weirdest like fucking Norwegian root

399
00:18:49,680 --> 00:18:52,200
Speaker 1: fucking pills, and then the bottle was like eighty five

400
00:18:52,280 --> 00:18:53,360
Speaker 1: dollars and I was like.

401
00:18:54,240 --> 00:18:55,760
Speaker 2: For like sixty days, I was.

402
00:18:55,720 --> 00:19:00,360
Speaker 3: Like what in the world. Also, none of them did

403
00:19:00,359 --> 00:19:03,159
Speaker 3: anything to prevent or help my septic shock, so I

404
00:19:03,200 --> 00:19:03,800
Speaker 3: was and I.

405
00:19:03,840 --> 00:19:06,720
Speaker 2: Still almost died, So apparently then that shit worked.

406
00:19:07,080 --> 00:19:10,240
Speaker 1: But yeah, to your original point, though, they don't know shit,

407
00:19:10,400 --> 00:19:12,719
Speaker 1: Like I was just like, if I made here and I'm,

408
00:19:12,840 --> 00:19:14,919
Speaker 1: you know, having flu like symptoms and I have to

409
00:19:15,040 --> 00:19:18,080
Speaker 1: just take my ass to the hospital, no one call that.

410
00:19:18,080 --> 00:19:21,040
Speaker 3: Doctor who cares absolutely and looks I am I am

411
00:19:21,119 --> 00:19:24,239
Speaker 3: all about a holistic practitioner. I love it. I'm into it.

412
00:19:24,680 --> 00:19:28,320
Speaker 3: Not denigrating the holistic practitioner, but there is a moment

413
00:19:28,560 --> 00:19:31,320
Speaker 3: where your body will be like this is not the

414
00:19:31,440 --> 00:19:35,200
Speaker 3: time for jinsyng grout, Like you have to get your

415
00:19:35,240 --> 00:19:38,360
Speaker 3: shit to a western medical facility.

416
00:19:39,119 --> 00:19:42,400
Speaker 2: Well and listen, like beyond that conversation, like.

417
00:19:42,359 --> 00:19:45,439
Speaker 1: I just think that it was a bad practice, Like

418
00:19:45,560 --> 00:19:49,760
Speaker 1: it was like not again, like you said, not to

419
00:19:49,880 --> 00:19:54,080
Speaker 1: denigrate the entire world of holistic medicine, but it was

420
00:19:54,160 --> 00:19:56,600
Speaker 1: this extra weird place.

421
00:19:56,880 --> 00:20:00,960
Speaker 3: Which in La they are rife with that shit. Every

422
00:20:01,119 --> 00:20:06,080
Speaker 3: street corner is some shaman, a shaman named Greg, which

423
00:20:06,200 --> 00:20:08,280
Speaker 3: like nobody needs Greg. Greg.

424
00:20:08,600 --> 00:20:10,960
Speaker 2: Shaman have friends who are.

425
00:20:10,840 --> 00:20:14,800
Speaker 3: Like, oh, I'm doing ayahuasca and ayahuascar, Like I know

426
00:20:14,840 --> 00:20:17,240
Speaker 3: that's a thing that wealthy white people do, now, sure,

427
00:20:18,920 --> 00:20:21,000
Speaker 3: But then the way he was describing it was like

428
00:20:21,080 --> 00:20:23,720
Speaker 3: I'm like, this is like you're going to the garage

429
00:20:23,840 --> 00:20:27,680
Speaker 3: of a white man named Bob who's just like blowing

430
00:20:27,880 --> 00:20:31,119
Speaker 3: dust in your face, and like what is happening? Ye,

431
00:20:31,320 --> 00:20:33,359
Speaker 3: Like this is not to me. This is like I

432
00:20:33,440 --> 00:20:39,159
Speaker 3: know you can't anyone can become like a ayahuasca leader.

433
00:20:39,200 --> 00:20:41,280
Speaker 3: I don't know what they call them, guru. I don't

434
00:20:41,320 --> 00:20:46,199
Speaker 3: know guru, but I am not trusting a guru named Greg.

435
00:20:46,520 --> 00:20:47,840
Speaker 3: Like that is not your dude.

436
00:20:47,960 --> 00:20:48,480
Speaker 2: If you go to.

437
00:20:48,440 --> 00:20:52,719
Speaker 1: Greg's garage and he has like Asian weaponry on the

438
00:20:52,760 --> 00:20:58,680
Speaker 1: wall and like a punching bag and some like old

439
00:20:59,040 --> 00:21:01,600
Speaker 1: black belt karate trophas and shit.

440
00:21:01,440 --> 00:21:03,400
Speaker 2: In the corner, just go home.

441
00:21:03,960 --> 00:21:07,200
Speaker 3: Just go oh, just go home. Greg is not your shavin.

442
00:21:07,720 --> 00:21:09,320
Speaker 2: That is not the way to do it.

443
00:21:09,600 --> 00:21:14,320
Speaker 3: I'm taking my holistic medicine from brown people exclusively. I'm

444
00:21:14,400 --> 00:21:17,919
Speaker 3: so sorry. And this is again specific to LA. I

445
00:21:17,960 --> 00:21:22,159
Speaker 3: am not taking holistic medical advice from Greg and his

446
00:21:22,240 --> 00:21:27,920
Speaker 3: cold plunge pool. And this is like during the pandemic

447
00:21:27,920 --> 00:21:30,280
Speaker 3: where I'm like, yo, You're going to some stranger's house

448
00:21:30,359 --> 00:21:34,119
Speaker 3: with a bunch of people for days on end to

449
00:21:34,160 --> 00:21:36,399
Speaker 3: have them blow some kind of weird dust up your

450
00:21:36,440 --> 00:21:40,320
Speaker 3: nose and then give you ayahuasca and you're just cool

451
00:21:40,359 --> 00:21:42,800
Speaker 3: with that. Like this is COVID all over the place.

452
00:21:43,320 --> 00:21:47,000
Speaker 3: Minimum minimum you walk away with, COVID maximum you walk

453
00:21:47,000 --> 00:21:49,600
Speaker 3: away with like fucking of an aerial disease.

454
00:21:50,040 --> 00:21:51,880
Speaker 1: Yeah, yeah, we were all trying to stay away from

455
00:21:51,880 --> 00:21:53,359
Speaker 1: fine particulous in that era.

456
00:21:53,720 --> 00:21:56,160
Speaker 2: Don't get stuff blown in your face exactly.

457
00:21:56,160 --> 00:21:59,359
Speaker 3: And I was like, this is wild to me, but yeah,

458
00:21:59,520 --> 00:22:02,919
Speaker 3: I'm doing so. Yeah, the holistic medical practices in LA

459
00:22:03,000 --> 00:22:06,080
Speaker 3: are dicey. You gotta be real choosy about that shit.

460
00:22:06,400 --> 00:22:09,600
Speaker 3: And I would say, as much as possible, just go

461
00:22:09,680 --> 00:22:12,800
Speaker 3: to a brown person. Please start with a brown person.

462
00:22:15,119 --> 00:22:17,560
Speaker 1: Well, listen, I hate to hear that you need to

463
00:22:17,560 --> 00:22:19,720
Speaker 1: find a new doctor because you hate your doctor so much.

464
00:22:19,800 --> 00:22:22,359
Speaker 1: I have been there, I'm actually currently there. That's the

465
00:22:22,440 --> 00:22:23,400
Speaker 1: story for another time.

466
00:22:23,440 --> 00:22:24,680
Speaker 3: What about Hattie McCatty.

467
00:22:24,840 --> 00:22:27,880
Speaker 1: No, I love Hattie McCatty. He's here to stay. I'm

468
00:22:27,920 --> 00:22:33,359
Speaker 1: talking about the doctor, the oncologists that deals with the

469
00:22:33,400 --> 00:22:37,840
Speaker 1: previous septic shock scenario. Oh my god, But yeah, I

470
00:22:37,880 --> 00:22:40,640
Speaker 1: gotta find a new guy. That's a whole other story.

471
00:22:40,840 --> 00:22:41,880
Speaker 3: I hate it, you know.

472
00:22:42,160 --> 00:22:45,680
Speaker 1: When it comes down to it, Like I've been thinking

473
00:22:45,720 --> 00:22:49,720
Speaker 1: a lot about, Yeah, the medical situation here in this country,

474
00:22:49,760 --> 00:22:50,520
Speaker 1: and it ain't great.

475
00:22:50,680 --> 00:22:53,240
Speaker 2: It ain't fucking great. Even to get it.

476
00:22:53,240 --> 00:22:58,960
Speaker 1: It's annoying to have it is annoying, you know, it's

477
00:22:58,960 --> 00:23:02,240
Speaker 1: not good misery And now you wonder why people are

478
00:23:02,280 --> 00:23:04,240
Speaker 1: avoiding going to the doctor, and they just want to

479
00:23:04,280 --> 00:23:04,800
Speaker 1: go to Greg.

480
00:23:04,920 --> 00:23:07,560
Speaker 2: They just want to go to a garage because.

481
00:23:07,400 --> 00:23:11,880
Speaker 3: Oh, Greg's garage makes sense. They're like, I'd rather go

482
00:23:11,920 --> 00:23:14,560
Speaker 3: and hang out with this fucking weirdo than go to

483
00:23:14,640 --> 00:23:15,360
Speaker 3: any doctor.

484
00:23:19,880 --> 00:23:26,560
Speaker 1: Well, speaking of medicine, perhaps, oh great one. Our theme

485
00:23:26,640 --> 00:23:32,159
Speaker 1: today conceived scored Hustled by Daniel Henderson, and I was

486
00:23:32,160 --> 00:23:34,680
Speaker 1: wondering if maybe you would tell them what the theme.

487
00:23:34,520 --> 00:23:35,760
Speaker 2: Is and talk about it.

488
00:23:36,320 --> 00:23:39,320
Speaker 3: Yes, so the theme this week is take his Annex,

489
00:23:39,480 --> 00:23:44,919
Speaker 3: Calm Down, and maybe you If you are a connoisseur

490
00:23:44,960 --> 00:23:47,680
Speaker 3: of Bravo, you will know that this is a classic

491
00:23:47,760 --> 00:23:53,199
Speaker 3: line from Ramona Singer in the early days of The

492
00:23:53,280 --> 00:23:55,720
Speaker 3: Real Housewives of New York where they go to Scary

493
00:23:55,800 --> 00:23:58,600
Speaker 3: Island with Kelly ben Simone and Kelly Bensimon is in

494
00:23:58,640 --> 00:24:01,520
Speaker 3: the middle of an actual event, like mental health event,

495
00:24:02,320 --> 00:24:07,280
Speaker 3: and Ramona, who is the least cuddly friendly person of

496
00:24:07,320 --> 00:24:10,639
Speaker 3: all time, just bugs her eyes out and goes.

497
00:24:10,720 --> 00:24:16,800
Speaker 2: Take AdEx, calm down. She's like holding her hands around

498
00:24:16,840 --> 00:24:17,560
Speaker 2: her mouth.

499
00:24:17,359 --> 00:24:22,280
Speaker 3: Like shouting at this poor fucking woman. It is a

500
00:24:22,359 --> 00:24:26,159
Speaker 3: legendary scene in a legendary show. So that's what I

501
00:24:26,160 --> 00:24:27,879
Speaker 3: thought of when I thought when I was thinking about

502
00:24:27,880 --> 00:24:30,520
Speaker 3: our movies in the movie that we could pick this week,

503
00:24:30,720 --> 00:24:33,280
Speaker 3: which started with me just really wanting to finally cover

504
00:24:33,359 --> 00:24:35,840
Speaker 3: my movie, which is honestly a top five for me.

505
00:24:35,880 --> 00:24:38,040
Speaker 3: This is easily one of my all time favorite movies.

506
00:24:38,640 --> 00:24:41,200
Speaker 3: Interesting easily I think. I think it is a near

507
00:24:41,560 --> 00:24:42,480
Speaker 3: perfect film.

508
00:24:43,680 --> 00:24:47,000
Speaker 1: Yeah, this is I I've seen it a few times

509
00:24:47,040 --> 00:24:52,399
Speaker 1: and rewatching it was a treat as per usual, and

510
00:24:53,760 --> 00:24:56,920
Speaker 1: I brought my film late to the game, right because

511
00:24:56,920 --> 00:24:58,879
Speaker 1: it was like I hadn't picked my film and then

512
00:24:58,920 --> 00:25:01,560
Speaker 1: you finally like black to the group and was like,

513
00:25:01,720 --> 00:25:02,040
Speaker 1: are you.

514
00:25:01,960 --> 00:25:03,400
Speaker 2: Gonna pick a movie for this theme?

515
00:25:03,640 --> 00:25:03,720
Speaker 5: What?

516
00:25:04,960 --> 00:25:07,199
Speaker 2: And then I was like, let me just put this

517
00:25:07,240 --> 00:25:07,800
Speaker 2: movie in there.

518
00:25:07,880 --> 00:25:11,119
Speaker 1: And then I was like, oh, yeah, this movie is

519
00:25:11,600 --> 00:25:12,840
Speaker 1: good for the theme.

520
00:25:12,680 --> 00:25:15,480
Speaker 3: Like speaking of taking a Xanex and calming down. Yeah,

521
00:25:15,480 --> 00:25:18,000
Speaker 3: you pick this movie or what. But it ends up

522
00:25:18,040 --> 00:25:20,600
Speaker 3: being perfect. It's a perfect compliment. It is a perfect

523
00:25:20,880 --> 00:25:22,600
Speaker 3: addition for this theme.

524
00:25:22,800 --> 00:25:24,560
Speaker 1: I think it's kind of like I mean this, I

525
00:25:24,560 --> 00:25:28,280
Speaker 1: think the thing that binds our movies together this week

526
00:25:29,000 --> 00:25:34,600
Speaker 1: is just the idea of like middle aged men having

527
00:25:35,000 --> 00:25:41,600
Speaker 1: a freak out. I don't know if that's like what the.

528
00:25:39,560 --> 00:25:40,639
Speaker 2: The other theme is.

529
00:25:40,760 --> 00:25:43,080
Speaker 1: I mean, it is about sort of like I don't know,

530
00:25:43,280 --> 00:25:47,040
Speaker 1: just sort of needing to communicate to certain individuals to

531
00:25:47,359 --> 00:25:50,880
Speaker 1: calm the fuck down. But also in this precise way,

532
00:25:50,960 --> 00:25:54,199
Speaker 1: it's like, yeah, two people who are kind of in

533
00:25:54,240 --> 00:25:54,720
Speaker 1: a state.

534
00:25:55,200 --> 00:25:57,919
Speaker 2: Yeah, And I think it's a little bit different in

535
00:25:58,040 --> 00:26:00,400
Speaker 2: terms of the real like the reasons why they get

536
00:26:00,400 --> 00:26:01,080
Speaker 2: to that state.

537
00:26:01,760 --> 00:26:05,920
Speaker 1: Obviously, of course, but it is nothing like watching Peter

538
00:26:06,040 --> 00:26:09,359
Speaker 1: Finch like yell at some people absolutely.

539
00:26:09,200 --> 00:26:11,840
Speaker 3: Should be Ringtones Ringtone Hall of Fame.

540
00:26:12,119 --> 00:26:12,359
Speaker 2: Yeah.

541
00:26:12,400 --> 00:26:14,360
Speaker 3: Also, I feel like when I was watching it this time,

542
00:26:14,440 --> 00:26:16,600
Speaker 3: because I watched it as a true double feet and

543
00:26:17,560 --> 00:26:20,200
Speaker 3: I thought, oh, the theme could have been men fainting.

544
00:26:21,200 --> 00:26:23,639
Speaker 2: Oh, very good men.

545
00:26:25,200 --> 00:26:27,040
Speaker 3: I love a man getting so worked up that he

546
00:26:27,119 --> 00:26:28,320
Speaker 3: just passes the fuck out.

547
00:26:28,560 --> 00:26:28,919
Speaker 2: Listen.

548
00:26:29,480 --> 00:26:31,840
Speaker 1: I think that they've all they've always told us that

549
00:26:31,960 --> 00:26:36,000
Speaker 1: fainting is for for women. Uh ah, But we really

550
00:26:36,080 --> 00:26:38,359
Speaker 1: turned them on their fucking ass this week, didn't we?

551
00:26:39,040 --> 00:26:40,040
Speaker 3: Hell the fuck?

552
00:26:40,160 --> 00:26:40,800
Speaker 2: Yeah?

553
00:26:40,840 --> 00:26:42,800
Speaker 3: And I think you should just you're going first. I

554
00:26:42,840 --> 00:26:44,840
Speaker 3: think you should just jump right in. I have themes

555
00:26:45,080 --> 00:26:48,080
Speaker 3: to say about your film, but I want to hear

556
00:26:48,119 --> 00:26:49,760
Speaker 3: what you have to say first.

557
00:26:50,240 --> 00:26:52,640
Speaker 1: We're gonna we're both gonna come to the same conclusion,

558
00:26:52,680 --> 00:26:54,720
Speaker 1: I almost one hundred percent guarantee.

559
00:26:54,280 --> 00:27:01,800
Speaker 2: It if I know us. So my movie for the theme,

560
00:27:02,440 --> 00:27:02,960
Speaker 2: take a z.

561
00:27:02,960 --> 00:27:08,560
Speaker 1: Addex Calm Down, is from nineteen fifty eight. It was

562
00:27:08,600 --> 00:27:13,040
Speaker 1: written by Alec Copple and Samuel Taylor, based on a

563
00:27:13,080 --> 00:27:18,240
Speaker 1: French novel from nineteen fifty four called dntred Lemore, directed

564
00:27:19,359 --> 00:27:25,160
Speaker 1: by a little unknown named Alfred Hitchcock.

565
00:27:25,359 --> 00:27:26,320
Speaker 3: Little indie director.

566
00:27:26,840 --> 00:27:28,600
Speaker 2: Yeah, it's called.

567
00:27:28,600 --> 00:27:31,320
Speaker 6: Vertigo, The story of a love so powerful it broke

568
00:27:31,400 --> 00:27:35,200
Speaker 6: down all barriers between past and present, between life and death,

569
00:27:35,640 --> 00:27:38,320
Speaker 6: between the golden girl in the Dark Tower and the

570
00:27:38,400 --> 00:27:41,119
Speaker 6: tawdrey redhead that he tried to remake in her immage.

571
00:27:41,520 --> 00:27:44,840
Speaker 2: Okay, I'm going to do one sense the synopsis right now.

572
00:27:45,400 --> 00:27:45,879
Speaker 3: I love it.

573
00:27:46,320 --> 00:27:53,160
Speaker 2: Old Jimmy Stewart becomes totally and completely obsessed with a young, beautiful,

574
00:27:53,280 --> 00:27:58,000
Speaker 2: mysterious blonde after his college friend hires him.

575
00:27:57,760 --> 00:28:02,720
Speaker 1: To spy on her beautiful Okay, so I don't think

576
00:28:02,720 --> 00:28:06,160
Speaker 1: I have to tell anybody this, but I'm going to anyway.

577
00:28:07,520 --> 00:28:17,760
Speaker 1: Vertigo is widely considered Hitchcock's masterpiece. So in twenty twelve,

578
00:28:18,119 --> 00:28:21,760
Speaker 1: the magazine's Sitan Sound, which is published by the BFI,

579
00:28:21,800 --> 00:28:25,199
Speaker 1: the British Film Institute and sort of has this like

580
00:28:25,320 --> 00:28:29,600
Speaker 1: annual tradition where they present sort of their take on

581
00:28:29,920 --> 00:28:31,280
Speaker 1: a definitive list.

582
00:28:31,080 --> 00:28:32,960
Speaker 2: Of like the greatest movies of all time.

583
00:28:33,600 --> 00:28:37,400
Speaker 1: And it's been sort of revered by centophiles, for better or.

584
00:28:37,359 --> 00:28:38,880
Speaker 2: For worse, whatever.

585
00:28:39,880 --> 00:28:44,240
Speaker 1: But they named Vertigo as the greatest film ever made

586
00:28:44,840 --> 00:28:49,520
Speaker 1: in twenty twelve, okay, and ever since it's pretty much

587
00:28:49,560 --> 00:28:53,720
Speaker 1: been in their top five or ten, okay. And what's

588
00:28:53,760 --> 00:28:58,280
Speaker 1: interesting is that when Vertigo initially came out in nineteen

589
00:28:58,360 --> 00:29:01,960
Speaker 1: fifty eight, right, it kind of really wasn't that big

590
00:29:02,000 --> 00:29:05,480
Speaker 1: of a deal in America, Like it wasn't considered how

591
00:29:05,480 --> 00:29:10,920
Speaker 1: it's considered now. Right, It's definitely grown in reputation ever since. Then,

592
00:29:11,040 --> 00:29:14,160
Speaker 1: ever since that kind of like tepid response if you

593
00:29:14,200 --> 00:29:16,120
Speaker 1: think about it, and I think about it often because

594
00:29:16,120 --> 00:29:17,880
Speaker 1: I'm like a student of film, but you know, maybe

595
00:29:18,160 --> 00:29:23,440
Speaker 1: to people who don't really understand how film has become

596
00:29:23,600 --> 00:29:26,160
Speaker 1: so revered, like you're kind of like in the world

597
00:29:26,160 --> 00:29:27,960
Speaker 1: and maybe you're not really a film fan, and you're like,

598
00:29:28,080 --> 00:29:29,320
Speaker 1: why is this such a big deal?

599
00:29:29,320 --> 00:29:30,520
Speaker 2: Why is this movie such a big deal?

600
00:29:30,560 --> 00:29:33,280
Speaker 1: And I think it's because when you consider like a

601
00:29:33,320 --> 00:29:36,560
Speaker 1: movie like Verdigo and you think, okay, it didn't really.

602
00:29:36,640 --> 00:29:38,400
Speaker 2: Do a lot when it first came out, but then

603
00:29:39,720 --> 00:29:43,960
Speaker 2: subsequently a few years later, the French always the French.

604
00:29:44,480 --> 00:29:48,960
Speaker 1: They had, you know, basically a body of criticism of

605
00:29:49,040 --> 00:29:51,920
Speaker 1: film criticism that was kind of coming out around the

606
00:29:51,960 --> 00:29:55,640
Speaker 1: fifties and sixties, right that really like leaned into Hitchcock

607
00:29:55,920 --> 00:29:59,680
Speaker 1: and around the kind of French New Wave. And there

608
00:29:59,680 --> 00:30:02,920
Speaker 1: were makers like Francois Trufau who were kind of like

609
00:30:03,040 --> 00:30:05,840
Speaker 1: obsessed with Hitchcock. So you have this film that comes

610
00:30:05,840 --> 00:30:09,239
Speaker 1: out in the late fifties, doesn't really do well in

611
00:30:09,280 --> 00:30:13,080
Speaker 1: America or no one really gives the shit, but then suddenly,

612
00:30:13,120 --> 00:30:16,560
Speaker 1: like French people are like, this movie is brilliant, and

613
00:30:16,640 --> 00:30:20,440
Speaker 1: like why doesn't anybody know? Then you've got, at the

614
00:30:20,520 --> 00:30:24,880
Speaker 1: same time, film academics in like the seventies and eighties

615
00:30:25,040 --> 00:30:30,200
Speaker 1: who were kind of reappraising Hitchcock in a lot of ways,

616
00:30:30,280 --> 00:30:33,000
Speaker 1: and because they were a lot of them were sort

617
00:30:33,000 --> 00:30:36,760
Speaker 1: of interested in psychoanalysis, and they were studying movies like

618
00:30:36,880 --> 00:30:39,800
Speaker 1: Vertigo to kind of you know, make their points about

619
00:30:39,960 --> 00:30:42,760
Speaker 1: psychoanalytic theory and whatnot. And I'm talking about like the

620
00:30:42,840 --> 00:30:46,040
Speaker 1: Laura Moulvis and the Marianne Doones that kind of stuff, right,

621
00:30:46,160 --> 00:30:49,240
Speaker 1: And then you've got the kind of new American cinema

622
00:30:49,280 --> 00:30:52,360
Speaker 1: people like Scorsese and Brian de Palma, who are also

623
00:30:52,720 --> 00:30:55,560
Speaker 1: like kind of worshiping these like Hitchcock movies.

624
00:30:55,320 --> 00:30:56,000
Speaker 2: From the fifties.

625
00:30:56,440 --> 00:30:58,880
Speaker 1: So if you wonder why an older film like this

626
00:30:59,120 --> 00:31:01,320
Speaker 1: is now seen as a bit important movie, that's kind

627
00:31:01,400 --> 00:31:02,600
Speaker 1: of the trajectory of it.

628
00:31:03,160 --> 00:31:05,640
Speaker 2: It just gets rediscovered by certain types.

629
00:31:05,440 --> 00:31:08,720
Speaker 1: Of people and critics and filmmakers, and then all of

630
00:31:08,720 --> 00:31:12,200
Speaker 1: a sudden, Vertigo is the greatest film ever made exactly.

631
00:31:13,000 --> 00:31:18,520
Speaker 2: So to me, it's been a long time since I've.

632
00:31:18,360 --> 00:31:21,000
Speaker 1: Seen Vertigo, okay, and I have to say it's not

633
00:31:21,080 --> 00:31:25,040
Speaker 1: my favorite Hitchcock either, let's put that out there. I

634
00:31:25,080 --> 00:31:29,600
Speaker 1: feel like it's almost an extension of a movie that

635
00:31:29,640 --> 00:31:34,520
Speaker 1: we've already covered, which is called Rear Window. And because

636
00:31:34,560 --> 00:31:37,479
Speaker 1: to me, these are like two movies where you have

637
00:31:37,560 --> 00:31:40,560
Speaker 1: sort of this like older Jimmy Stewart character who's basically

638
00:31:40,640 --> 00:31:45,880
Speaker 1: gazing at a woman from afar while completely ignoring a perfectly.

639
00:31:45,800 --> 00:31:47,400
Speaker 2: Great lady who's right in front of him.

640
00:31:48,520 --> 00:31:51,320
Speaker 1: Right, So I'm kind of like, okay, so here's now

641
00:31:51,360 --> 00:31:53,960
Speaker 1: two movies that sort of have the same types of

642
00:31:54,200 --> 00:31:58,000
Speaker 1: things going on in them. It's about voyeurism and looking

643
00:31:58,120 --> 00:32:00,400
Speaker 1: and the gaze and these kinds of things, and I'm

644
00:32:00,440 --> 00:32:03,120
Speaker 1: kind of like, Okay, what, like.

645
00:32:03,120 --> 00:32:04,000
Speaker 2: What are we doing here?

646
00:32:04,480 --> 00:32:09,080
Speaker 1: I will say that Vertigo, I mean, like, it's visually stunning.

647
00:32:09,600 --> 00:32:11,760
Speaker 1: That's the thing about it, and I'm sure that's why

648
00:32:11,760 --> 00:32:13,560
Speaker 1: a lot of people like it and why it's considered

649
00:32:13,720 --> 00:32:14,920
Speaker 1: such a great movie in.

650
00:32:14,880 --> 00:32:15,520
Speaker 2: The film canon.

651
00:32:15,640 --> 00:32:18,560
Speaker 1: Right, Yeah, I watched this I think this time I

652
00:32:18,640 --> 00:32:23,080
Speaker 1: watched a UHD version of it, and in ultra high

653
00:32:23,120 --> 00:32:26,880
Speaker 1: def it was so crisp and clear that it felt

654
00:32:26,960 --> 00:32:29,120
Speaker 1: like it was a modern film. Like it was like, oh,

655
00:32:29,160 --> 00:32:31,400
Speaker 1: this looks like an episode of mad Men or something.

656
00:32:31,440 --> 00:32:34,880
Speaker 1: It was kind of insane. But there's no denying that

657
00:32:35,000 --> 00:32:38,040
Speaker 1: Vertigo is amazing looking. I mean like, there's just a

658
00:32:38,040 --> 00:32:41,760
Speaker 1: lot of great shots. The use of colors to kind

659
00:32:41,800 --> 00:32:46,280
Speaker 1: of link characters and emotions is obviously a huge technique

660
00:32:46,280 --> 00:32:49,120
Speaker 1: that's used in this movie. And the movie was the

661
00:32:49,240 --> 00:32:53,040
Speaker 1: first to actually use what's called a dolly zoom, which

662
00:32:53,080 --> 00:32:56,880
Speaker 1: is essentially when the camera is zooming in on something

663
00:32:56,920 --> 00:33:00,000
Speaker 1: while also being physically moved forward or back.

664
00:33:00,560 --> 00:33:02,120
Speaker 3: Spike Lee loves it. That's his move.

665
00:33:02,360 --> 00:33:05,080
Speaker 1: Yeah, it's a famous move now and it's all because

666
00:33:05,080 --> 00:33:05,520
Speaker 1: of Vertigo.

667
00:33:05,640 --> 00:33:07,680
Speaker 2: Is that it's actually called a Vertigo shot.

668
00:33:07,880 --> 00:33:09,640
Speaker 1: You know, a lot of the film was also shot

669
00:33:09,680 --> 00:33:12,120
Speaker 1: on location in San Francisco, and so there's a lot

670
00:33:12,160 --> 00:33:14,280
Speaker 1: of history behind it in a lot of ways.

671
00:33:14,400 --> 00:33:16,120
Speaker 2: But you know, the story of it.

672
00:33:15,960 --> 00:33:18,600
Speaker 1: Is kind of an interesting one and I would love

673
00:33:18,640 --> 00:33:20,280
Speaker 1: to talk to you more about it as we kind

674
00:33:20,280 --> 00:33:21,160
Speaker 1: of like roll the.

675
00:33:21,120 --> 00:33:22,200
Speaker 2: Beats out a little bit.

676
00:33:22,360 --> 00:33:24,960
Speaker 3: Oh by all means, So it kind of.

677
00:33:24,880 --> 00:33:27,960
Speaker 1: Goes like this. Jimmy Stewart plays a retired San franciscom

678
00:33:28,080 --> 00:33:34,480
Speaker 1: Police officer named John Scotti Ferguson, and he left the

679
00:33:34,560 --> 00:33:37,040
Speaker 1: force because he at the beginning of the film, he's

680
00:33:37,040 --> 00:33:39,959
Speaker 1: like chasing this criminal across, you know, rooftop of one

681
00:33:39,960 --> 00:33:43,200
Speaker 1: of the buildings in San Francisco, and he's with a

682
00:33:43,240 --> 00:33:46,480
Speaker 1: fellow officer. Both of them slip off the roof and

683
00:33:46,480 --> 00:33:49,040
Speaker 1: they're kind of hanging in the balance right about to

684
00:33:49,040 --> 00:33:52,360
Speaker 1: fall off this building. The officer actually does fall off

685
00:33:52,400 --> 00:33:55,360
Speaker 1: and falls to his death, and Scotty has watched this

686
00:33:55,440 --> 00:34:00,680
Speaker 1: whole thing happen. Okay, so cut to now, Scotty has acrophobia,

687
00:34:00,720 --> 00:34:02,640
Speaker 1: which as you know, as a fear of heights, and

688
00:34:02,920 --> 00:34:05,960
Speaker 1: he gets vertigo every time he like looks down from

689
00:34:05,960 --> 00:34:06,560
Speaker 1: a high place.

690
00:34:06,840 --> 00:34:09,719
Speaker 2: So that's the reason why I picked it for this theme.

691
00:34:09,520 --> 00:34:14,840
Speaker 1: Right, because here's the thing, I personally have had both

692
00:34:14,920 --> 00:34:17,120
Speaker 1: of these things at several times in my life.

693
00:34:17,640 --> 00:34:18,799
Speaker 2: Really. Yeah.

694
00:34:18,880 --> 00:34:22,200
Speaker 1: So I had vertigo during the very early days of

695
00:34:22,200 --> 00:34:24,000
Speaker 1: the pandemic. I don't know if you knew that because

696
00:34:24,000 --> 00:34:28,400
Speaker 1: we were still in La No. Yeah, So the lockdown

697
00:34:28,440 --> 00:34:32,840
Speaker 1: started in March, and like about a few weeks into

698
00:34:32,840 --> 00:34:36,880
Speaker 1: the lockdown, I was having the craziest vertigo.

699
00:34:36,640 --> 00:34:38,560
Speaker 3: Symptoms just add of nowhere.

700
00:34:39,160 --> 00:34:41,040
Speaker 2: Yeah, I mean it was really weird.

701
00:34:41,120 --> 00:34:43,680
Speaker 1: It was like I couldn't even like sleep, Like it

702
00:34:43,760 --> 00:34:46,120
Speaker 1: was just kind of I was like rocking back and forth,

703
00:34:46,160 --> 00:34:49,680
Speaker 1: and I would get really dizzy, and I got pretty

704
00:34:49,719 --> 00:34:55,759
Speaker 1: freaked out. Like I basically went to the doctor when

705
00:34:56,040 --> 00:34:58,520
Speaker 1: everybody was terrified to like go to a doctor because

706
00:34:58,560 --> 00:35:01,120
Speaker 1: everybody thought, you know, you can't go to a hospital

707
00:35:01,239 --> 00:35:02,760
Speaker 1: right now because there's COVID everywhere.

708
00:35:02,960 --> 00:35:04,320
Speaker 2: And so I went to my doctor.

709
00:35:04,719 --> 00:35:08,560
Speaker 1: We did like tests like blood work, ekg's everything, and

710
00:35:08,600 --> 00:35:10,919
Speaker 1: then she's basically made me go to an ear nose

711
00:35:10,960 --> 00:35:14,680
Speaker 1: and throat person that person made me go get a

712
00:35:14,719 --> 00:35:15,919
Speaker 1: freaking brain MRI.

713
00:35:16,160 --> 00:35:19,960
Speaker 2: So I had a brain mri. God in May like too.

714
00:35:20,200 --> 00:35:20,440
Speaker 3: You know.

715
00:35:20,880 --> 00:35:24,719
Speaker 2: Two months after COVID lockdown, I was so fucking scared.

716
00:35:24,920 --> 00:35:27,000
Speaker 1: I was like, I have to go to a hospital

717
00:35:27,080 --> 00:35:29,160
Speaker 1: and get a freaking brain scan.

718
00:35:30,000 --> 00:35:33,440
Speaker 2: Terrifying. Turns out totally nothing. It was nothing.

719
00:35:33,840 --> 00:35:36,800
Speaker 1: I feel like it was like because it's gone away, obviously.

720
00:35:37,280 --> 00:35:39,799
Speaker 1: I think it was a vestibular issue from like being

721
00:35:39,840 --> 00:35:40,480
Speaker 1: in the house.

722
00:35:40,920 --> 00:35:43,320
Speaker 3: Really, this is fascinating.

723
00:35:43,600 --> 00:35:46,360
Speaker 1: I had to do these like vestibular exercises where I

724
00:35:46,400 --> 00:35:49,120
Speaker 1: had to basically turn my head and like look in

725
00:35:49,200 --> 00:35:52,360
Speaker 1: certain directions so I could like re establish my I

726
00:35:52,400 --> 00:35:53,960
Speaker 1: think it was literally lockdown.

727
00:35:54,160 --> 00:35:56,200
Speaker 2: Like I was like, holy shit.

728
00:35:56,120 --> 00:35:58,840
Speaker 1: Dude, Yeah, I went from like being in the world

729
00:35:58,880 --> 00:36:01,759
Speaker 1: to like sitting in one room or something and I

730
00:36:01,760 --> 00:36:02,680
Speaker 1: don't know, and.

731
00:36:02,640 --> 00:36:05,080
Speaker 3: Your body was like nope, time to give you a

732
00:36:05,080 --> 00:36:05,680
Speaker 3: little party.

733
00:36:06,160 --> 00:36:08,719
Speaker 1: Yeah, there was nothing physically wrong with me though, like

734
00:36:08,760 --> 00:36:11,840
Speaker 1: I had now, the scan was fine. Blood worker was

735
00:36:11,840 --> 00:36:13,560
Speaker 1: fined the e Kjo's find so it was really weird

736
00:36:13,640 --> 00:36:15,239
Speaker 1: and it went away eventually.

737
00:36:15,320 --> 00:36:17,360
Speaker 3: Well that's what I'm curious about it. And I honest

738
00:36:17,560 --> 00:36:19,760
Speaker 3: I feel bad I didn't look this up before we recorded.

739
00:36:19,760 --> 00:36:23,320
Speaker 3: But I was curious in rewatching this movie if verdigo

740
00:36:23,560 --> 00:36:26,160
Speaker 3: is a physical issue or if it's a mental issue,

741
00:36:26,560 --> 00:36:28,920
Speaker 3: because like the treatment would be so different depending.

742
00:36:29,320 --> 00:36:32,080
Speaker 1: Yeah, I mean, I don't know, to be completely honest

743
00:36:32,080 --> 00:36:34,200
Speaker 1: with you, Like I said, I went and had all

744
00:36:34,280 --> 00:36:35,800
Speaker 1: the tests to see if it was.

745
00:36:35,719 --> 00:36:37,640
Speaker 2: Like you know, I don't know.

746
00:36:37,680 --> 00:36:40,359
Speaker 1: It could have been like a brain tumor or an

747
00:36:40,400 --> 00:36:43,480
Speaker 1: inner ear problem or like anything, and it was nothing

748
00:36:43,719 --> 00:36:44,960
Speaker 1: Like there was everything was fun.

749
00:36:44,960 --> 00:36:47,239
Speaker 3: You could have just been like cleaning your ears with

750
00:36:47,280 --> 00:36:49,640
Speaker 3: an elephant ear wash and jams of cold water in

751
00:36:49,680 --> 00:36:50,120
Speaker 3: your brain.

752
00:36:50,840 --> 00:36:57,640
Speaker 1: Yeah, exactly, I mean honestly, like I do sometimes, like

753
00:36:57,920 --> 00:36:59,680
Speaker 1: when I'm cleaning my ears on I'm like, am I

754
00:36:59,719 --> 00:37:00,399
Speaker 1: going too far?

755
00:37:00,440 --> 00:37:02,000
Speaker 2: Am I ruinning some shit?

756
00:37:02,640 --> 00:37:05,160
Speaker 3: A That's why I got this wash system, because I'm like,

757
00:37:05,200 --> 00:37:07,960
Speaker 3: it's just liquid, it's great, it'll be easy. I want

758
00:37:08,000 --> 00:37:09,640
Speaker 3: to put the Q tips in anymore, and then I'm

759
00:37:09,680 --> 00:37:11,680
Speaker 3: still I'm fucking myself up even more than I ever

760
00:37:11,719 --> 00:37:12,480
Speaker 3: did with a Q tip.

761
00:37:12,640 --> 00:37:15,960
Speaker 1: Yeah, you put some ice, cold fucking water spray in

762
00:37:16,040 --> 00:37:16,839
Speaker 1: the brain, and.

763
00:37:18,400 --> 00:37:19,160
Speaker 2: It's also like.

764
00:37:19,160 --> 00:37:21,239
Speaker 3: Nowhere near my brain. But that's of course how I

765
00:37:21,400 --> 00:37:23,880
Speaker 3: process it is, like I just shot water on my brain.

766
00:37:24,520 --> 00:37:29,120
Speaker 1: Yeah, exactly. It's very beguiling vertigo. It feels like yeah

767
00:37:29,160 --> 00:37:31,640
Speaker 1: for some people, so who knows. But the thing about

768
00:37:31,680 --> 00:37:34,520
Speaker 1: it is that in the movie Scotty, who is the

769
00:37:34,560 --> 00:37:36,920
Speaker 1: James Stewart character, these two things are kind of like

770
00:37:37,440 --> 00:37:40,560
Speaker 1: separate things that he has together. So he had the

771
00:37:40,680 --> 00:37:45,720
Speaker 1: vertigo because of the agoraphobia or I'm sorry acroaphobia.

772
00:37:46,239 --> 00:37:47,600
Speaker 2: And I've had acrophobia too.

773
00:37:47,640 --> 00:37:49,399
Speaker 1: Remember I told you that story about how I used

774
00:37:49,440 --> 00:37:51,360
Speaker 1: to take xan X to get on airplanes.

775
00:37:51,400 --> 00:37:55,680
Speaker 2: So guess what, xan X helped me with my acrophobia,

776
00:37:56,200 --> 00:37:57,520
Speaker 2: which is why I picked.

777
00:37:57,360 --> 00:37:59,319
Speaker 3: Vertigo for the fucking love it.

778
00:37:59,400 --> 00:38:02,800
Speaker 2: What a connection, a real life connection.

779
00:38:02,960 --> 00:38:07,480
Speaker 3: I had a lifelong fear of heights up until not

780
00:38:07,600 --> 00:38:10,040
Speaker 3: too recently. Well I'm not too long ago, i should say,

781
00:38:10,080 --> 00:38:13,680
Speaker 3: like I, but I, as a child was terrified of heights,

782
00:38:14,440 --> 00:38:17,120
Speaker 3: and I got through it. I think I've I started

783
00:38:17,120 --> 00:38:20,799
Speaker 3: to address it through meditation and honestly just going up

784
00:38:20,800 --> 00:38:23,480
Speaker 3: in tall places like hiking and being in planes and

785
00:38:23,520 --> 00:38:27,520
Speaker 3: things like just forcing myself to confront my fear. And

786
00:38:27,680 --> 00:38:29,440
Speaker 3: I guess it's kind of word because I don't feel

787
00:38:29,440 --> 00:38:32,560
Speaker 3: that intense fear anymore. But it is an all consuming

788
00:38:32,600 --> 00:38:36,040
Speaker 3: fear because you don't realize how often you are up

789
00:38:36,080 --> 00:38:39,000
Speaker 3: on top of something, or you know you're driving down

790
00:38:39,040 --> 00:38:40,759
Speaker 3: a hill or up a hill or whatever. You don't

791
00:38:40,800 --> 00:38:43,480
Speaker 3: realize it until you have this fear. Yeah, and so

792
00:38:43,520 --> 00:38:46,520
Speaker 3: I can't imagine that, coupled with vertigo, I would have

793
00:38:46,560 --> 00:38:48,160
Speaker 3: been down for the damn count.

794
00:38:48,440 --> 00:38:48,720
Speaker 2: Yeah.

795
00:38:48,800 --> 00:38:51,400
Speaker 1: That is to say, even though Xanax helped me be

796
00:38:51,400 --> 00:38:53,880
Speaker 1: able to get back on airplanes again, I'm still not

797
00:38:53,960 --> 00:38:55,279
Speaker 1: skydiver any of that shit.

798
00:38:55,560 --> 00:38:56,200
Speaker 2: Are you kidding me?

799
00:38:56,360 --> 00:38:59,440
Speaker 1: Like I'm when I went to the Grand Canyon, I

800
00:38:59,520 --> 00:39:02,399
Speaker 1: was like, no pump out dangling out on the edge.

801
00:39:02,520 --> 00:39:04,880
Speaker 1: I would see like couples who were like trying to

802
00:39:04,880 --> 00:39:07,880
Speaker 1: do selfie sticks on the edge of the fricking Grand Cannon,

803
00:39:07,920 --> 00:39:08,440
Speaker 1: and I'm.

804
00:39:08,280 --> 00:39:12,960
Speaker 3: Like, absolutely not. I still have I don't know if

805
00:39:12,960 --> 00:39:16,560
Speaker 3: it's exactly acrophobia fear of heights, but it feels like

806
00:39:16,600 --> 00:39:20,719
Speaker 3: it's related where nowadays I can't look at images or

807
00:39:20,800 --> 00:39:23,320
Speaker 3: videos of people being up in high places like I

808
00:39:23,360 --> 00:39:25,399
Speaker 3: don't know if you've ever seen these videos where there's

809
00:39:25,440 --> 00:39:27,320
Speaker 3: this I don't know what the name of the place

810
00:39:27,360 --> 00:39:28,879
Speaker 3: is or where it is, but you can look it up.

811
00:39:29,640 --> 00:39:32,200
Speaker 3: There's something called like a stairway to Heaven, and it's

812
00:39:32,360 --> 00:39:35,040
Speaker 3: this thing that influencers go to in a certain country

813
00:39:35,080 --> 00:39:37,840
Speaker 3: where they just free climb up a set of stairs

814
00:39:37,840 --> 00:39:39,920
Speaker 3: that was built on the edge of a like of

815
00:39:39,960 --> 00:39:42,560
Speaker 3: a cliff. Oh, I see, So they're literally hanging out

816
00:39:42,600 --> 00:39:43,920
Speaker 3: and they go if you go to the top, you're

817
00:39:44,000 --> 00:39:45,880
Speaker 3: just hanging out in mid air. There are no railings,

818
00:39:46,640 --> 00:39:49,200
Speaker 3: there is no safety. You were just climbing a little

819
00:39:49,440 --> 00:39:53,080
Speaker 3: literal staircase to the sky. And it is the most

820
00:39:53,160 --> 00:39:55,000
Speaker 3: terrifying thing I've ever seen. Or when you see those

821
00:39:55,120 --> 00:39:57,000
Speaker 3: those people who are like, oh, I'm just gonna, like,

822
00:39:57,040 --> 00:39:59,239
Speaker 3: you know, climb to the top of the spire on

823
00:39:59,280 --> 00:40:01,880
Speaker 3: the Empire State Building for fun and take a picture

824
00:40:02,800 --> 00:40:05,040
Speaker 3: like that. Shit still gives me the willies for sure.

825
00:40:05,360 --> 00:40:07,879
Speaker 2: In Hawaii, Yeah, I just looked it up.

826
00:40:08,280 --> 00:40:12,200
Speaker 3: Yeah, maybe Hawaii. There's some somewhere somewhere else, maybe Japan,

827
00:40:12,480 --> 00:40:14,120
Speaker 3: But like that, shit freaks me out.

828
00:40:14,600 --> 00:40:15,319
Speaker 2: Yeah.

829
00:40:15,360 --> 00:40:17,880
Speaker 1: Listen, I can't even watch the opening scene from A

830
00:40:18,000 --> 00:40:21,439
Speaker 1: Year a Wrath of god By because I'm I can't

831
00:40:21,480 --> 00:40:25,360
Speaker 1: watch these these people like hike down a freaking mountain.

832
00:40:25,480 --> 00:40:28,440
Speaker 1: It looks very steep. How come these people aren't falling.

833
00:40:29,239 --> 00:40:29,880
Speaker 1: It's scary.

834
00:40:30,040 --> 00:40:32,040
Speaker 3: Everybody ever seen thoseeps, Like I think they're they're mostly

835
00:40:32,120 --> 00:40:34,880
Speaker 3: free climbers, but like they will sleep on the side

836
00:40:34,920 --> 00:40:36,560
Speaker 3: of a fucking cliff face.

837
00:40:37,080 --> 00:40:40,640
Speaker 2: Yeah, in a hammock or something. Yeah, yeah, no, thank you.

838
00:40:40,920 --> 00:40:42,239
Speaker 3: Ain't about it. Ain't about it.

839
00:40:42,800 --> 00:40:47,359
Speaker 1: This this whole thing for Scottie in Vertigo is like

840
00:40:47,480 --> 00:40:50,879
Speaker 1: he he's so badly freaked out that he can't even

841
00:40:50,960 --> 00:40:51,800
Speaker 1: get on a stool.

842
00:40:53,760 --> 00:40:57,520
Speaker 2: Like I'm not that I have been. I'm more just like.

843
00:40:57,440 --> 00:41:02,760
Speaker 1: The generic, like I'm not dangling out on the edge

844
00:41:02,760 --> 00:41:03,720
Speaker 1: of the Grand Canyon.

845
00:41:03,800 --> 00:41:05,720
Speaker 2: That's kind of my fear at this point.

846
00:41:06,400 --> 00:41:07,360
Speaker 3: I can hang a curtain.

847
00:41:07,920 --> 00:41:11,400
Speaker 1: Yeah, I could definitely change a light bulb. Maybe not

848
00:41:11,440 --> 00:41:13,160
Speaker 1: in your house, but in my house.

849
00:41:14,400 --> 00:41:17,360
Speaker 2: You've got that. Like father John Misty vaulted ceiling.

850
00:41:17,440 --> 00:41:20,799
Speaker 1: Jam I couldn't do that, perhaps, but in my ten

851
00:41:20,840 --> 00:41:26,120
Speaker 1: foot ceiling house, I'm good. So okay, here's the thing

852
00:41:26,120 --> 00:41:30,520
Speaker 1: about Vertigo. Okay, so you've got Scottie aka Jimmy Stewart,

853
00:41:30,560 --> 00:41:33,480
Speaker 1: who's freaked out because he saw this guy followed his

854
00:41:33,560 --> 00:41:37,120
Speaker 1: death while he was being a cop. Now he's retired

855
00:41:37,239 --> 00:41:40,160
Speaker 1: because he's like physically unable to do the job.

856
00:41:40,320 --> 00:41:40,800
Speaker 2: I guess.

857
00:41:41,360 --> 00:41:44,279
Speaker 1: So he's kind of being looked after, I guess by

858
00:41:44,400 --> 00:41:47,600
Speaker 1: his ex fiance, Midge, who is played by Barbara Belkins.

859
00:41:47,840 --> 00:41:50,680
Speaker 2: And guess what. She's a nice lady. She's a nice,

860
00:41:50,719 --> 00:41:52,600
Speaker 2: cute lady. Yeah.

861
00:41:52,920 --> 00:41:56,879
Speaker 1: She paints, she designs, she's got great style, great sense

862
00:41:56,920 --> 00:41:57,360
Speaker 1: of humor.

863
00:41:57,480 --> 00:41:58,360
Speaker 3: She makes underwear.

864
00:41:59,000 --> 00:42:03,920
Speaker 2: She makes like candileaver Brons or something. Is that what

865
00:42:04,000 --> 00:42:04,480
Speaker 2: the thing was.

866
00:42:04,480 --> 00:42:07,440
Speaker 4: I was kind trying to figure it's like an underwear designer. Yeah,

867
00:42:08,120 --> 00:42:11,480
Speaker 4: broad she's kind of the dream. It makes you wonder

868
00:42:11,600 --> 00:42:13,960
Speaker 4: what happened. How come it didn't work out between her

869
00:42:14,000 --> 00:42:14,600
Speaker 4: and Scottie.

870
00:42:14,840 --> 00:42:17,120
Speaker 3: Yeah, home, those crazy kids couldn't work. Make it work.

871
00:42:17,120 --> 00:42:21,920
Speaker 3: And I'll tell you my theory. It's because Scotty Ferguson

872
00:42:22,160 --> 00:42:26,520
Speaker 3: slash James Stewart is so fucking annoying. You spend ten

873
00:42:26,560 --> 00:42:30,480
Speaker 3: minutes with that dude, I can't with the voice and

874
00:42:30,520 --> 00:42:35,040
Speaker 3: the fucking just his everything about his countenance. He's just annoying.

875
00:42:35,560 --> 00:42:38,920
Speaker 1: This is okay Again, We're gonna talk about rear window

876
00:42:38,960 --> 00:42:43,960
Speaker 1: a bit. It's the same idea of like Jimmy Stewart's

877
00:42:44,040 --> 00:42:49,799
Speaker 1: character has Grace fucking Kelly in his house and she's like,

878
00:42:49,960 --> 00:42:52,320
Speaker 1: I want to hang more, and he's like, I'm sorry,

879
00:42:52,680 --> 00:42:56,160
Speaker 1: I'm trying to look out the window at this woman

880
00:42:56,200 --> 00:42:57,080
Speaker 1: who's changing.

881
00:42:57,320 --> 00:42:59,040
Speaker 2: I don't want to deal with you right now.

882
00:42:59,200 --> 00:43:02,359
Speaker 3: Yeah, I'm busy, per of the most beautiful woman categorically

883
00:43:02,360 --> 00:43:04,000
Speaker 3: in the world at the time.

884
00:43:04,560 --> 00:43:09,000
Speaker 2: This is why I'm like, oh, here we go again.

885
00:43:09,480 --> 00:43:12,280
Speaker 3: I feel bad that I find Jimmy Stewart so annoying

886
00:43:12,320 --> 00:43:14,719
Speaker 3: because I know, again he's like classic actor, one of

887
00:43:14,719 --> 00:43:17,480
Speaker 3: the greats of all time. I find him deeply annoying

888
00:43:17,840 --> 00:43:19,480
Speaker 3: in almost every fucking movie.

889
00:43:19,840 --> 00:43:22,880
Speaker 1: Look, I've got on record to say that I would

890
00:43:22,880 --> 00:43:27,239
Speaker 1: like definitely like George Bailey, and it's a wonderful life

891
00:43:27,280 --> 00:43:32,440
Speaker 1: as an f for me. Young Jimmy Stewart, I actually

892
00:43:32,440 --> 00:43:36,239
Speaker 1: think is super cute. But I also think too that

893
00:43:36,600 --> 00:43:41,080
Speaker 1: generally there's this like thing that was happening in classic Hollywood,

894
00:43:41,400 --> 00:43:43,239
Speaker 1: and a lot of it was in Hitchcock movies where

895
00:43:43,280 --> 00:43:46,759
Speaker 1: you had this like much older gentleman paired.

896
00:43:46,400 --> 00:43:50,160
Speaker 2: With this like young ange do right, you know.

897
00:43:50,280 --> 00:43:52,720
Speaker 1: And it just was sort of like that eye rolly

898
00:43:52,840 --> 00:43:56,799
Speaker 1: thing of like, oh yeah whatever. Like Grace Kelly is

899
00:43:56,800 --> 00:44:00,120
Speaker 1: this young girl in her twenties and then her grumpy

900
00:44:00,000 --> 00:44:05,240
Speaker 1: the older boyfriend played by Jimmy Stewart, and like pancake makeup.

901
00:44:06,480 --> 00:44:09,000
Speaker 2: I'm just like, ugh, who.

902
00:44:08,800 --> 00:44:15,799
Speaker 3: Is not popping a boner through that cast exactly? I

903
00:44:15,840 --> 00:44:17,759
Speaker 3: think the way he described.

904
00:44:18,760 --> 00:44:22,560
Speaker 1: Yeah, he shattered his lower body cast because of the

905
00:44:22,560 --> 00:44:26,200
Speaker 1: boner that he was having for a stranger in another apartment.

906
00:44:30,440 --> 00:44:33,480
Speaker 3: Yeah, Mitch is great. Mitch is awesome, great sense of humor.

907
00:44:33,760 --> 00:44:37,040
Speaker 2: Mitch is amazing. Like, what's up with this? Here's the thing.

908
00:44:37,120 --> 00:44:39,840
Speaker 1: Scotty one day gets a call from his old college

909
00:44:39,880 --> 00:44:42,760
Speaker 1: buddy named Gavin Elster, who was played by the actor

910
00:44:42,800 --> 00:44:46,719
Speaker 1: Tom Hellmore. And Gavin is like, listen, I know he

911
00:44:46,800 --> 00:44:51,120
Speaker 1: used to be a cop, right, So my wife Madeleine

912
00:44:51,400 --> 00:44:56,239
Speaker 1: is acting super weird. She's like wandering off and I

913
00:44:56,560 --> 00:44:59,360
Speaker 1: just was thinking, hey, maybe you know you're a detective.

914
00:44:59,400 --> 00:45:01,440
Speaker 1: Maybe you could just like you know, follow her for

915
00:45:01,440 --> 00:45:03,759
Speaker 1: a while and figure out what's going on with her.

916
00:45:04,200 --> 00:45:05,200
Speaker 2: So that's the setup.

917
00:45:05,400 --> 00:45:08,440
Speaker 3: He's like, oh, I think she's and I love this

918
00:45:08,440 --> 00:45:10,640
Speaker 3: this line. That the way he delivers this line where

919
00:45:10,640 --> 00:45:14,520
Speaker 3: he's like, I think she's possessed me something did like

920
00:45:14,560 --> 00:45:16,759
Speaker 3: he was like Australian for a minute. And he's like,

921
00:45:17,560 --> 00:45:19,360
Speaker 3: she's fucking haunted by something did.

922
00:45:19,640 --> 00:45:24,160
Speaker 1: Yeah, and you know, so here's the one last job

923
00:45:24,239 --> 00:45:27,120
Speaker 1: for Scotti. Okay, So now he's like been tasked to

924
00:45:27,320 --> 00:45:32,400
Speaker 1: like follow this wife around. So of course Scotty finds

925
00:45:32,400 --> 00:45:38,320
Speaker 1: out that Madeleine Elster is the beautiful and enigmatic Kim Novak,

926
00:45:40,200 --> 00:45:44,279
Speaker 1: and he's like already immediately taken with her beauty and

927
00:45:44,800 --> 00:45:45,279
Speaker 1: is kind of.

928
00:45:45,239 --> 00:45:46,239
Speaker 2: Following her around town.

929
00:45:47,080 --> 00:45:52,880
Speaker 1: She finds out that Madeleine has this obsession with this

930
00:45:52,960 --> 00:45:55,120
Speaker 1: dead woman named Carlotta Veldez.

931
00:45:56,200 --> 00:45:58,880
Speaker 3: What was the nineties band that had the song Carlotta

932
00:45:59,440 --> 00:46:02,399
Speaker 3: Harvey Dame. Yeah, it's Harvey Danger, which is a very

933
00:46:02,480 --> 00:46:05,680
Speaker 3: nineties thing where it's like, let's take this weird uh

934
00:46:06,040 --> 00:46:08,600
Speaker 3: fact from a classic film and make a whole jam

935
00:46:08,719 --> 00:46:09,120
Speaker 3: about it.

936
00:46:09,440 --> 00:46:11,800
Speaker 2: Let's talk about Carlotta Valdez. Okay.

937
00:46:12,560 --> 00:46:15,960
Speaker 1: So Madeline is like spending her entire day is like

938
00:46:16,120 --> 00:46:22,080
Speaker 1: wandering silently from like Carlotta's grave to a portrait that's

939
00:46:22,080 --> 00:46:24,400
Speaker 1: painted of her that's hanging in an art gallery.

940
00:46:25,160 --> 00:46:26,040
Speaker 2: And here's the thing.

941
00:46:26,400 --> 00:46:31,520
Speaker 1: It turns out, completely unbeknownst to Madeline, Carloada Valdez is

942
00:46:31,600 --> 00:46:37,279
Speaker 1: actually her great grandmother, and Carlotta Valdez died by suicide

943
00:46:37,360 --> 00:46:42,239
Speaker 1: after having her baby stolen by a rich, merry guy

944
00:46:42,280 --> 00:46:44,080
Speaker 1: that she was having an affair with.

945
00:46:44,600 --> 00:46:48,200
Speaker 3: I mean, Carlotta went through it in her short life.

946
00:46:48,719 --> 00:46:52,680
Speaker 2: Yes. So here's the thing. Scotti is like, I don't know.

947
00:46:52,760 --> 00:46:56,960
Speaker 1: Madeline is possessed by the spirit of Carlotta, and so

948
00:46:57,120 --> 00:46:59,839
Speaker 1: much so that one day when he's following her, Matt

949
00:47:00,600 --> 00:47:04,160
Speaker 1: throws herself in the bay, I guess, in an effort

950
00:47:04,200 --> 00:47:08,759
Speaker 1: to end her life, Okay, and then Scotty is like,

951
00:47:08,880 --> 00:47:11,439
Speaker 1: oh shit, I got a savor. He jumps in the bay,

952
00:47:11,560 --> 00:47:14,640
Speaker 1: saves her life. This, I feel like is the inflection

953
00:47:14,760 --> 00:47:18,279
Speaker 1: point for him to becoming like totally obsessed with her,

954
00:47:18,520 --> 00:47:21,520
Speaker 1: right Okay. So Scotty is like, I saved this beautiful

955
00:47:21,520 --> 00:47:25,080
Speaker 1: woman's life that I've been peeping from afar, and I'm

956
00:47:25,120 --> 00:47:28,000
Speaker 1: just now I'm in love with her. And at some

957
00:47:28,120 --> 00:47:31,120
Speaker 1: point they start an affair. So Madeleine starts an affair

958
00:47:31,200 --> 00:47:34,719
Speaker 1: with Scotty. So they're hanging out one day, you know,

959
00:47:34,920 --> 00:47:38,000
Speaker 1: unbeknownst to her husband Gavin, obviously. So they're hanging out

960
00:47:38,040 --> 00:47:41,120
Speaker 1: one day they decide to visit the site where Carlotta

961
00:47:41,239 --> 00:47:44,359
Speaker 1: lived as a child. And I don't know how this

962
00:47:44,440 --> 00:47:49,400
Speaker 1: gets worked up. But basically Madeline in a fit of emotion,

963
00:47:49,560 --> 00:47:53,160
Speaker 1: like runs up the bell tower of this site, okay,

964
00:47:53,640 --> 00:47:58,080
Speaker 1: and jumps off the top of the bell tower while

965
00:47:58,480 --> 00:48:01,720
Speaker 1: Scotty is watching because he ain't going up that bell tower.

966
00:48:02,080 --> 00:48:02,919
Speaker 2: He's scared of heights.

967
00:48:03,000 --> 00:48:05,040
Speaker 3: He can't do it. He can't do it. It's a

968
00:48:05,080 --> 00:48:08,960
Speaker 3: fucked up first date. Yes, fucked up first date. Also,

969
00:48:09,200 --> 00:48:13,480
Speaker 3: it is so weird to realize that this happens and

970
00:48:13,520 --> 00:48:15,200
Speaker 3: there's still like an hour and a half left in

971
00:48:15,200 --> 00:48:15,520
Speaker 3: the movie.

972
00:48:15,800 --> 00:48:18,759
Speaker 1: Oh, totally, totally totally where I'm like, Okay, cool, well

973
00:48:18,760 --> 00:48:22,279
Speaker 1: that just happened. And maybe if Scotty had taken a

974
00:48:22,400 --> 00:48:24,960
Speaker 1: xanax as prescribed by a doctor, he.

975
00:48:24,920 --> 00:48:26,680
Speaker 2: Would have maybe been able to do something.

976
00:48:26,800 --> 00:48:31,040
Speaker 1: But he was catatonic from his acrophobia that he watched

977
00:48:31,120 --> 00:48:34,880
Speaker 1: another person dive from a high up place. Okay, So

978
00:48:35,320 --> 00:48:39,320
Speaker 1: here's the problem. Now, Scotty completely traumatized.

979
00:48:38,640 --> 00:48:41,759
Speaker 2: By this event. He's sent to an institution.

980
00:48:42,840 --> 00:48:45,719
Speaker 1: When he gets out of the institution, he's seeing the

981
00:48:45,840 --> 00:48:49,239
Speaker 1: vision of Madeline everywhere, Like he's like going back to

982
00:48:49,320 --> 00:48:51,600
Speaker 1: the old restaurants, going back to the old places where

983
00:48:51,600 --> 00:48:52,840
Speaker 1: they used to hang out, and he's like, is it

984
00:48:52,960 --> 00:48:54,600
Speaker 1: her it's a woman in a gray suit.

985
00:48:54,640 --> 00:48:55,719
Speaker 2: Oh no, it's a woman, you know.

986
00:48:55,920 --> 00:49:02,720
Speaker 1: So he's like completely consumed by this obsession with Madeline. Okay,

987
00:49:03,360 --> 00:49:09,360
Speaker 1: so he's out. He sees this woman who basically walks

988
00:49:09,400 --> 00:49:12,480
Speaker 1: into the same hotel room where Madeleine used to go,

989
00:49:12,880 --> 00:49:16,279
Speaker 1: and she looks exactly like Madeleine, except she's got brown hair.

990
00:49:16,680 --> 00:49:17,600
Speaker 2: So what happens.

991
00:49:17,760 --> 00:49:21,640
Speaker 1: Jimmy Stewart does like the creepiest fucking thing possible, and

992
00:49:21,680 --> 00:49:24,359
Speaker 1: it's like knocks on her door and is like, what's up,

993
00:49:24,560 --> 00:49:25,160
Speaker 1: what's your name?

994
00:49:25,400 --> 00:49:29,279
Speaker 2: What are you doing? Who you knowing? And she's like,

995
00:49:29,640 --> 00:49:30,279
Speaker 2: excuse me.

996
00:49:32,560 --> 00:49:35,000
Speaker 3: She's like, my name is fucking Judy and I'm from Kansas,

997
00:49:35,000 --> 00:49:37,399
Speaker 3: and what the fuck are you talking about? Yeah, here's

998
00:49:37,440 --> 00:49:39,479
Speaker 3: my fucking driver's life. Like what more do you need? Dude?

999
00:49:39,480 --> 00:49:40,080
Speaker 3: Get out of here.

1000
00:49:40,320 --> 00:49:42,320
Speaker 1: So I know that this movie was made in nineteen

1001
00:49:42,360 --> 00:49:44,400
Speaker 1: fifty eight, and we don't like to put like modern

1002
00:49:44,480 --> 00:49:48,240
Speaker 1: sensibilities on old timey things, but I was like feeling

1003
00:49:48,840 --> 00:49:52,759
Speaker 1: very concerned for Jude at any point in history, this

1004
00:49:52,840 --> 00:49:53,839
Speaker 1: is not the move.

1005
00:49:54,040 --> 00:49:56,399
Speaker 3: Yes, Like you didn't have to put a modern lens

1006
00:49:56,400 --> 00:49:58,520
Speaker 3: on any point in history. Some dudes coming to your

1007
00:49:58,600 --> 00:50:05,160
Speaker 3: like sr Hotel room hovering in a doorway and be like,

1008
00:50:05,200 --> 00:50:08,080
Speaker 3: who are you? What's going on? That is always a

1009
00:50:08,120 --> 00:50:11,440
Speaker 3: creep move for like the eighteen hundreds and beyond.

1010
00:50:11,719 --> 00:50:14,960
Speaker 1: And I think this is where like my disconnect with

1011
00:50:16,160 --> 00:50:19,360
Speaker 1: the plot starts happening, because I'm just like, this is

1012
00:50:19,480 --> 00:50:20,400
Speaker 1: fucking creepy.

1013
00:50:21,120 --> 00:50:23,360
Speaker 2: Like I understand.

1014
00:50:22,680 --> 00:50:26,360
Speaker 1: Why it's happening once you watched the entire movie. However,

1015
00:50:26,880 --> 00:50:27,719
Speaker 1: I don't like this.

1016
00:50:28,000 --> 00:50:31,279
Speaker 3: He's also going down this road eventually with her where

1017
00:50:31,320 --> 00:50:33,160
Speaker 3: he's I don't know if it's a spoiler or not,

1018
00:50:33,239 --> 00:50:37,560
Speaker 3: but like where he's basically trying to make her into Madeline.

1019
00:50:37,719 --> 00:50:39,960
Speaker 3: You know, I will dress you like her, do your

1020
00:50:40,000 --> 00:50:41,359
Speaker 3: hair like you have to do your hair like her.

1021
00:50:41,480 --> 00:50:43,480
Speaker 3: And she's going along with it, which is where I

1022
00:50:43,560 --> 00:50:44,479
Speaker 3: disconnect as well.

1023
00:50:44,719 --> 00:50:48,160
Speaker 1: Right, well, she goes along with it because she feels

1024
00:50:48,239 --> 00:50:51,000
Speaker 1: that it's gonna keep him around.

1025
00:50:51,560 --> 00:50:56,680
Speaker 3: That is a very generous description for psychotic behavior, Like

1026
00:50:56,760 --> 00:50:58,480
Speaker 3: I have never been so lonely that I'm like, you

1027
00:50:58,520 --> 00:51:00,399
Speaker 3: know what I'm gonna do. I'm gonna cosplay is your

1028
00:51:00,480 --> 00:51:04,000
Speaker 3: dead lover to make you feel better. I get nothing

1029
00:51:04,040 --> 00:51:06,080
Speaker 3: out of this. I'm still getting nothing here.

1030
00:51:06,320 --> 00:51:08,040
Speaker 2: I had to pull in the big guns bitch.

1031
00:51:08,160 --> 00:51:10,600
Speaker 1: I went to my library and pulled out all of

1032
00:51:10,600 --> 00:51:15,120
Speaker 1: my film theory books about Vertigo, because every freaking film

1033
00:51:15,160 --> 00:51:16,600
Speaker 1: writer has written about Vertigo.

1034
00:51:16,920 --> 00:51:18,440
Speaker 2: I went to Molly Haskell.

1035
00:51:18,840 --> 00:51:21,360
Speaker 1: This is I'm showing you this book right now in

1036
00:51:21,400 --> 00:51:23,080
Speaker 1: the camera, and I know you can't see it, because

1037
00:51:23,360 --> 00:51:25,279
Speaker 1: but I was like, I want to see what Molly

1038
00:51:25,360 --> 00:51:28,720
Speaker 1: Haskell had to say about Vertigo in From Reverence to Rape,

1039
00:51:28,760 --> 00:51:31,799
Speaker 1: which is her you know, classic text, her classic text

1040
00:51:31,800 --> 00:51:35,640
Speaker 1: about movies. This is what Molly Haskell said about And

1041
00:51:35,719 --> 00:51:38,759
Speaker 1: I know that this is just a clipped opinion that

1042
00:51:38,800 --> 00:51:41,920
Speaker 1: she talks about this movie a lot, and also Hitchcock

1043
00:51:42,000 --> 00:51:45,759
Speaker 1: and also Blondes versus Brunette's, which is a very important

1044
00:51:45,800 --> 00:51:51,320
Speaker 1: conversation to have in Vertigo and in Hitchcock. But she says,

1045
00:51:51,719 --> 00:51:56,560
Speaker 1: in Stuart's desperate efforts to remake Judy over in Madeline's

1046
00:51:56,560 --> 00:52:01,919
Speaker 1: image and our own sympathy with the attempt, Hitchcock exposes

1047
00:52:02,520 --> 00:52:06,400
Speaker 1: the romantic impulse to turn woman into an art object.

1048
00:52:07,000 --> 00:52:09,440
Speaker 2: Here's the thing. I totally agree with that. I'm also like,

1049
00:52:10,200 --> 00:52:14,759
Speaker 2: I don't have sympathy for she to be Stewart doing this.

1050
00:52:15,080 --> 00:52:15,480
Speaker 5: Do you.

1051
00:52:17,520 --> 00:52:19,600
Speaker 1: I know the woman that he loved threw herself off

1052
00:52:19,600 --> 00:52:23,040
Speaker 1: of a bell tower. But am I feeling sorry for

1053
00:52:23,160 --> 00:52:26,640
Speaker 1: him that he's like taking this woman's life and trying

1054
00:52:26,680 --> 00:52:31,200
Speaker 1: to change it to make her be the dead woman

1055
00:52:31,239 --> 00:52:32,000
Speaker 1: that he's in love with.

1056
00:52:32,200 --> 00:52:33,719
Speaker 2: I don't know if I feel sorry for him.

1057
00:52:33,760 --> 00:52:37,040
Speaker 3: There's no way my sympathy runs that deep. And I

1058
00:52:37,080 --> 00:52:40,759
Speaker 3: also kept thinking that there was at one point when

1059
00:52:40,760 --> 00:52:43,560
Speaker 3: he was in his like catatonic state in the institution.

1060
00:52:44,400 --> 00:52:46,080
Speaker 3: I think it was before that, even when he was

1061
00:52:46,120 --> 00:52:48,600
Speaker 3: talking to Midge and she's like, well, I don't think

1062
00:52:48,640 --> 00:52:50,680
Speaker 3: you can cure for vertigo. I asked my doctor about it,

1063
00:52:50,680 --> 00:52:52,480
Speaker 3: and he's like, no, I can figure it out. And

1064
00:52:52,560 --> 00:52:55,680
Speaker 3: he actually says like or she says to him, my

1065
00:52:55,800 --> 00:52:58,399
Speaker 3: doctor thinks that it would if it's curable at all.

1066
00:52:58,480 --> 00:53:02,719
Speaker 3: It might take another shocking emotional event to cure you

1067
00:53:02,760 --> 00:53:04,719
Speaker 3: of your vertico. And I'm like, how about the fact

1068
00:53:04,920 --> 00:53:07,120
Speaker 3: is it not a shocking emotional event that you are

1069
00:53:07,160 --> 00:53:11,759
Speaker 3: obsessed with a dead X and trying to make other

1070
00:53:11,840 --> 00:53:14,160
Speaker 3: women into her, like that should have cleared that vertigo

1071
00:53:14,280 --> 00:53:17,760
Speaker 3: right the fuck up, because you're having a totally different

1072
00:53:17,760 --> 00:53:19,240
Speaker 3: psychotic break right now.

1073
00:53:19,640 --> 00:53:21,439
Speaker 2: Yeah, oh one percent.

1074
00:53:21,840 --> 00:53:27,960
Speaker 1: It's so interesting the varying opinions about a movie like this,

1075
00:53:28,080 --> 00:53:32,080
Speaker 1: right because I'm just like, this is fucked up, and.

1076
00:53:31,960 --> 00:53:34,200
Speaker 2: Then other people like that's romantic.

1077
00:53:34,280 --> 00:53:38,000
Speaker 1: I'm like, really nice movie of all time, the greatest

1078
00:53:38,000 --> 00:53:38,920
Speaker 1: film ever made.

1079
00:53:39,040 --> 00:53:41,320
Speaker 2: Now again, I'm definitely not one.

1080
00:53:41,200 --> 00:53:44,360
Speaker 1: Of these like trolls that loves to like do like

1081
00:53:44,480 --> 00:53:47,839
Speaker 1: really big takedowns of like no popular movies that everybody loves.

1082
00:53:48,000 --> 00:53:49,600
Speaker 2: That's this is not where this is coming from.

1083
00:53:49,640 --> 00:53:54,239
Speaker 1: This is just simply an inquiry into the plot of

1084
00:53:54,400 --> 00:53:57,680
Speaker 1: Vertigo and whether or not I'm down for it. Like

1085
00:53:57,719 --> 00:53:59,799
Speaker 1: I'm just kind of like, yeah, I don't know, And

1086
00:53:59,840 --> 00:54:02,279
Speaker 1: I love Molly Haskell by the way, She's like one

1087
00:54:02,280 --> 00:54:04,160
Speaker 1: of my heroes. But I'm like, I don't feel sympathy

1088
00:54:04,160 --> 00:54:05,640
Speaker 1: for Jimmy Stewart's character.

1089
00:54:06,200 --> 00:54:06,920
Speaker 2: Sorry about that.

1090
00:54:07,280 --> 00:54:10,280
Speaker 3: No, Well, there's also there's something to be said about

1091
00:54:10,280 --> 00:54:13,000
Speaker 3: the fact that the whole premise of this movie, with

1092
00:54:13,080 --> 00:54:15,759
Speaker 3: its twist turns. It's expertly done in that it keeps

1093
00:54:15,760 --> 00:54:17,560
Speaker 3: you guessing and you don't quite know where you're going.

1094
00:54:17,560 --> 00:54:20,160
Speaker 3: Like I get all of that, but there's something that

1095
00:54:20,239 --> 00:54:25,000
Speaker 3: needs to be discussed fundamentally about how the entire premise

1096
00:54:25,080 --> 00:54:29,279
Speaker 3: of this movie is built around a severely mentally ill

1097
00:54:29,400 --> 00:54:30,279
Speaker 3: or struggling man.

1098
00:54:30,800 --> 00:54:31,880
Speaker 2: Yes, and no one.

1099
00:54:31,719 --> 00:54:34,520
Speaker 3: Is addressing his core fucking issues, including him.

1100
00:54:34,680 --> 00:54:35,959
Speaker 2: Yeah, it's very true.

1101
00:54:36,040 --> 00:54:38,080
Speaker 3: Like that is maybe a too modern of a take

1102
00:54:38,120 --> 00:54:41,960
Speaker 3: around it, but like everything stems from his inability to

1103
00:54:42,120 --> 00:54:47,000
Speaker 3: recognize that he is having a massive mental health event

1104
00:54:47,200 --> 00:54:50,399
Speaker 3: happening to him. Yeah. That is built around his job.

1105
00:54:50,480 --> 00:54:52,920
Speaker 3: His career is everything, and no one is addressing it.

1106
00:54:53,080 --> 00:54:53,360
Speaker 5: Yeah.

1107
00:54:53,440 --> 00:54:56,680
Speaker 1: I mean I suppose that if the movie wasn't set

1108
00:54:56,719 --> 00:55:01,319
Speaker 1: about his journey to mental health, is his obsession with

1109
00:55:01,440 --> 00:55:05,600
Speaker 1: Kim Novak, maybe it wouldn't be the greatest movie ever made.

1110
00:55:06,000 --> 00:55:08,080
Speaker 3: Probably not, Probably not different film.

1111
00:55:08,760 --> 00:55:11,359
Speaker 1: However, I feel like at the end of the day

1112
00:55:11,400 --> 00:55:16,080
Speaker 1: or right, like, no one addressed shit in nineteen fifty eight.

1113
00:55:16,080 --> 00:55:18,680
Speaker 1: I get it, So we're not really following him on

1114
00:55:18,719 --> 00:55:22,160
Speaker 1: that road, but like, yeah, I feel like the idea

1115
00:55:22,320 --> 00:55:27,360
Speaker 1: that he's sort of stalking this woman and is like

1116
00:55:28,160 --> 00:55:33,719
Speaker 1: so annoying and pushy and insistent about literally changing everything about.

1117
00:55:33,480 --> 00:55:35,080
Speaker 2: Her her hair, color, her look.

1118
00:55:35,440 --> 00:55:37,879
Speaker 1: And this is the thing that Molly Haskell actually talks

1119
00:55:37,880 --> 00:55:41,160
Speaker 1: about later or around this movie in the book Reverence

1120
00:55:41,200 --> 00:55:44,080
Speaker 1: to Rape, which is the concept of like what is

1121
00:55:44,120 --> 00:55:46,880
Speaker 1: a blonde? What is the brunette in the context of

1122
00:55:47,040 --> 00:55:50,160
Speaker 1: like these films in the context of Hitchcock's sort of

1123
00:55:50,200 --> 00:55:55,840
Speaker 1: cinematic universe, right, Like, why is the blonde, distant, cold,

1124
00:55:56,160 --> 00:56:02,480
Speaker 1: emotionless woman appealing from afar versus like the actual woman

1125
00:56:02,520 --> 00:56:05,000
Speaker 1: that he's got in his life that cares about him, right,

1126
00:56:05,320 --> 00:56:07,759
Speaker 1: you know, and is right attending to him, you know?

1127
00:56:08,160 --> 00:56:12,000
Speaker 1: But also why is Judy, who's a pretty much the

1128
00:56:12,120 --> 00:56:14,960
Speaker 1: exact opposite of Madeline right in a lot of ways,

1129
00:56:14,960 --> 00:56:20,800
Speaker 1: Like she's actually like chattier, more direct, less mysterious, direct

1130
00:56:21,200 --> 00:56:26,160
Speaker 1: she's got baby hairs, she has wispy flyaways. She's like,

1131
00:56:26,800 --> 00:56:29,840
Speaker 1: really has the number on guys, by the way, because meanwhile,

1132
00:56:29,880 --> 00:56:31,480
Speaker 1: when he's at the door and he's like, what's up,

1133
00:56:31,520 --> 00:56:32,120
Speaker 1: what's going on?

1134
00:56:32,239 --> 00:56:32,719
Speaker 3: Who are you?

1135
00:56:32,840 --> 00:56:35,719
Speaker 1: She's like, uh, who the fuck are you? Also, I

1136
00:56:35,760 --> 00:56:38,160
Speaker 1: don't like when guys come up to me and start

1137
00:56:38,160 --> 00:56:40,440
Speaker 1: pushing themselves on me, so like, why don't you change

1138
00:56:40,440 --> 00:56:44,719
Speaker 1: your tone? She's more assertive, she's more real, and for

1139
00:56:44,800 --> 00:56:48,239
Speaker 1: some reason, you know, that ain't right for him either, Right,

1140
00:56:48,360 --> 00:56:51,120
Speaker 1: So he's got to he's gotta have this like vision

1141
00:56:51,200 --> 00:56:53,680
Speaker 1: of the perfect woman in his mind, and he has

1142
00:56:53,680 --> 00:56:56,000
Speaker 1: to work towards it the entire film. That's what Molly

1143
00:56:56,040 --> 00:56:58,600
Speaker 1: Haskell talks about, which is great and I encourage everybody

1144
00:56:58,640 --> 00:57:01,200
Speaker 1: to read it. But that, yeah, that to me is interesting.

1145
00:57:01,280 --> 00:57:03,799
Speaker 1: That's an interesting conversation to have. And I'm just sitting

1146
00:57:03,800 --> 00:57:06,799
Speaker 1: here going like, yeah, I don't like this vibe whatsoever.

1147
00:57:06,960 --> 00:57:09,479
Speaker 3: Well, No, that's and I think that's the larger point

1148
00:57:09,520 --> 00:57:11,880
Speaker 3: for me too, is that it's not even about putting again.

1149
00:57:11,880 --> 00:57:13,680
Speaker 3: Maybe it is a too modern of a spin, but

1150
00:57:13,719 --> 00:57:15,960
Speaker 3: I think that I can't find sympathy for the character

1151
00:57:16,880 --> 00:57:20,320
Speaker 3: of Scotti Ferguson in that way that Molly Haskell was

1152
00:57:20,320 --> 00:57:22,040
Speaker 3: talking about. Each time I watch it, I find that

1153
00:57:22,080 --> 00:57:25,280
Speaker 3: I'm just not connected to his character because of his

1154
00:57:25,360 --> 00:57:28,640
Speaker 3: inability to kind of do any kind of self reflection.

1155
00:57:28,800 --> 00:57:31,000
Speaker 3: Even though there is that scene, that kind of nightmare

1156
00:57:31,000 --> 00:57:33,960
Speaker 3: scene that people talk about a lot with you know,

1157
00:57:33,960 --> 00:57:36,280
Speaker 3: it's animated and it's got you know again, this movie

1158
00:57:36,280 --> 00:57:38,800
Speaker 3: has these great credits by Saul Bass, and like, there's

1159
00:57:38,800 --> 00:57:41,080
Speaker 3: a lot of visually stunning things in the in the

1160
00:57:41,080 --> 00:57:44,400
Speaker 3: film that are remarkable. Yeah, but the closest we get

1161
00:57:44,440 --> 00:57:48,160
Speaker 3: to him interrogating his own involvement in his own life

1162
00:57:48,200 --> 00:57:53,040
Speaker 3: at all is that nightmare scene, Yeah, which is an

1163
00:57:53,120 --> 00:57:54,400
Speaker 3: unconscious event.

1164
00:57:55,080 --> 00:57:56,440
Speaker 2: Yes, of course.

1165
00:57:56,600 --> 00:57:59,080
Speaker 3: So it's very interesting to me that that's I think

1166
00:57:59,120 --> 00:58:00,840
Speaker 3: what removes me from the sympathy, not to say that

1167
00:58:00,880 --> 00:58:03,360
Speaker 3: he's not this isn't a great movie or the you know,

1168
00:58:03,400 --> 00:58:05,640
Speaker 3: the story would definitely be different if it was just

1169
00:58:05,720 --> 00:58:08,640
Speaker 3: him thinking about his own brain for two hours. Yeah,

1170
00:58:08,680 --> 00:58:12,080
Speaker 3: But I do think that it creates a disconnect enough

1171
00:58:12,080 --> 00:58:14,720
Speaker 3: for me that this has never been my favorite Hitchcock film,

1172
00:58:14,720 --> 00:58:17,480
Speaker 3: only because this is one of those films where I

1173
00:58:17,520 --> 00:58:19,720
Speaker 3: feel the least connected to any of the characters.

1174
00:58:19,960 --> 00:58:22,120
Speaker 1: Yeah, I could live in a world where a movie

1175
00:58:22,200 --> 00:58:25,920
Speaker 1: might be considered great, but also I think it's annoying.

1176
00:58:26,120 --> 00:58:27,600
Speaker 1: I'm not going to give away the ending because I

1177
00:58:27,600 --> 00:58:29,960
Speaker 1: actually I feel like everybody should see Verdergo at least

1178
00:58:29,960 --> 00:58:30,720
Speaker 1: once in their lives.

1179
00:58:30,800 --> 00:58:33,200
Speaker 3: Yeah. Yeah, absolutely absolutely.

1180
00:58:33,520 --> 00:58:38,280
Speaker 1: But obviously from this point, from the Judy point, the drama,

1181
00:58:38,480 --> 00:58:41,440
Speaker 1: the plot gets kicked up a notch and everything starts

1182
00:58:41,520 --> 00:58:43,600
Speaker 1: just more or less makes sense, even though I feel

1183
00:58:43,680 --> 00:58:47,080
Speaker 1: like some of it is a little I think it's

1184
00:58:47,120 --> 00:58:49,200
Speaker 1: I don't know, some of it is just not doesn't

1185
00:58:49,240 --> 00:58:51,000
Speaker 1: really sit entirely well with me.

1186
00:58:51,080 --> 00:58:53,760
Speaker 2: But you know what, when it comes down to it.

1187
00:58:54,200 --> 00:58:57,720
Speaker 1: I think the look and that sort of formalist element

1188
00:58:57,760 --> 00:59:00,560
Speaker 1: to the film is breathtaking, the way that a shot,

1189
00:59:00,680 --> 00:59:03,400
Speaker 1: the colors, the general Mison scent of everything, I mean,

1190
00:59:03,440 --> 00:59:05,880
Speaker 1: like the apartments and the restaurants, I mean, all that

1191
00:59:05,880 --> 00:59:10,160
Speaker 1: looks incredible. But I do think that sometimes this movie,

1192
00:59:10,200 --> 00:59:13,560
Speaker 1: when watching it, leaves me wanting something different or something more.

1193
00:59:14,040 --> 00:59:15,640
Speaker 2: And that's just kind of the way I feel.

1194
00:59:15,640 --> 00:59:18,480
Speaker 1: And I you know, like I said, I understand that

1195
00:59:18,520 --> 00:59:20,440
Speaker 1: people love it and consider it a masterpiece. I mean,

1196
00:59:20,480 --> 00:59:23,320
Speaker 1: you definitely wouldn't have like Brian de Palma's entire career

1197
00:59:23,360 --> 00:59:27,439
Speaker 1: without Vertigo or you know, even like this. This movie

1198
00:59:27,480 --> 00:59:29,120
Speaker 1: reminds me a lot of like sort of like the

1199
00:59:29,240 --> 00:59:32,440
Speaker 1: David Lynch stuff, which you know is is I'm a

1200
00:59:32,520 --> 00:59:34,360
Speaker 1: huge fan of So it's this thing where I'm like,

1201
00:59:34,360 --> 00:59:35,600
Speaker 1: I get the reputation.

1202
00:59:36,000 --> 00:59:39,120
Speaker 2: I'm obviously a film person. I understand why people love it.

1203
00:59:39,640 --> 00:59:45,040
Speaker 7: But for me, take his annex Calm down, Calm down, Scottie,

1204
00:59:45,560 --> 00:59:48,680
Speaker 7: you don't need to be this keyed up, like, get

1205
00:59:48,720 --> 00:59:50,120
Speaker 7: off that stool.

1206
00:59:50,480 --> 00:59:54,360
Speaker 3: Get off that step stool and realize that Midge is

1207
00:59:54,360 --> 00:59:55,280
Speaker 3: the love of your life.

1208
00:59:55,560 --> 00:59:58,360
Speaker 2: Yes, exactly, exactly.

1209
00:59:58,640 --> 01:00:03,000
Speaker 3: All means Midge is played Barbara Belgetti's and I feel like,

1210
01:00:03,560 --> 01:00:05,320
Speaker 3: where do I know her from? She was in something

1211
01:00:05,360 --> 01:00:08,880
Speaker 3: in the eighties. Oh, she was in Dallas. She was

1212
01:00:08,960 --> 01:00:11,280
Speaker 3: Ellie Ewing in Dallas, and I kept like, it's so

1213
01:00:11,320 --> 01:00:13,440
Speaker 3: strange to see her. I don't know, her face has

1214
01:00:13,480 --> 01:00:16,040
Speaker 3: always been the same, but I was like, that's fucking

1215
01:00:16,120 --> 01:00:18,320
Speaker 3: Ellie from Dallas. She's always been.

1216
01:00:18,200 --> 01:00:20,640
Speaker 2: A g Yeah, she's been in a lot of stuff.

1217
01:00:20,680 --> 01:00:23,040
Speaker 1: I mean, she was in I Remember Mama, and you know,

1218
01:00:23,160 --> 01:00:26,320
Speaker 1: like she was a classic film actress. But yeah, I

1219
01:00:26,320 --> 01:00:29,360
Speaker 1: think that it's that thing where like people of our

1220
01:00:29,400 --> 01:00:32,880
Speaker 1: generation probably know her from her TV work more.

1221
01:00:33,080 --> 01:00:35,160
Speaker 3: So, she was a g Mitche's trying to set you

1222
01:00:35,200 --> 01:00:37,160
Speaker 3: straight in every possible way. She's like, get your fucking

1223
01:00:37,200 --> 01:00:39,560
Speaker 3: brain together. You may not ever get over this vertigo,

1224
01:00:39,600 --> 01:00:43,240
Speaker 3: but you can probably get over your acrophobia and maybe

1225
01:00:43,480 --> 01:00:47,360
Speaker 3: don't be obsessed with this strange woman who you've been.

1226
01:00:47,760 --> 01:00:52,919
Speaker 3: You're also transgressing all kinds of boundaries of private eyework. Yeah,

1227
01:00:53,160 --> 01:00:54,520
Speaker 3: she's trying to get them to get a shit together.

1228
01:00:54,680 --> 01:00:54,919
Speaker 2: Yeah.

1229
01:00:54,960 --> 01:00:58,400
Speaker 1: Also, I painted myself in your favorite painting in town

1230
01:00:58,480 --> 01:01:00,560
Speaker 1: and you just on it.

1231
01:01:01,240 --> 01:01:05,280
Speaker 3: You shit on that whole joke. You sensitive prick, you

1232
01:01:05,480 --> 01:01:08,800
Speaker 3: overly sensitive prick. That one the funniest. It is the

1233
01:01:08,880 --> 01:01:11,560
Speaker 3: one of the funniest scenes in any movie. And she's like,

1234
01:01:13,000 --> 01:01:15,440
Speaker 3: check me out. He was like, this is this is

1235
01:01:15,480 --> 01:01:18,400
Speaker 3: not funny. I'm like, that is where we go our

1236
01:01:18,400 --> 01:01:20,320
Speaker 3: separate ways, because that is the funniest thing. I would

1237
01:01:20,320 --> 01:01:22,520
Speaker 3: have married her on the spot. That is the funniest

1238
01:01:22,520 --> 01:01:23,680
Speaker 3: fucking thing I've ever seen.

1239
01:01:23,880 --> 01:01:27,200
Speaker 2: Yeah, you cannot bomb that hard and still be with someone.

1240
01:01:27,680 --> 01:01:30,400
Speaker 1: It would be like goodbye, Like that's it. There was

1241
01:01:30,440 --> 01:01:35,120
Speaker 1: an Oppenheimer like explosion in the desert aka this living room,

1242
01:01:35,560 --> 01:01:36,000
Speaker 1: and you.

1243
01:01:35,960 --> 01:01:37,040
Speaker 2: Don't get my jokes.

1244
01:01:38,600 --> 01:01:43,040
Speaker 3: Bye, good bye, No I again, I'm still I was

1245
01:01:43,240 --> 01:01:45,680
Speaker 3: so glad to rewatch it. Even though it's not my

1246
01:01:45,680 --> 01:01:49,040
Speaker 3: favorite Hitchcock, it's not my least favorite film. I like it.

1247
01:01:49,040 --> 01:01:50,840
Speaker 3: It's always interesting to watch and kind of pick up

1248
01:01:50,840 --> 01:01:52,800
Speaker 3: on different things depending on where I am in my

1249
01:01:52,840 --> 01:01:55,000
Speaker 3: own life. And I just I loved it and it's

1250
01:01:55,000 --> 01:01:56,400
Speaker 3: a perfect fit for this fucking theme.

1251
01:01:56,600 --> 01:02:05,360
Speaker 2: Yeah, thank you well. Speaking of movies that have a

1252
01:02:05,440 --> 01:02:09,040
Speaker 2: lasting effect, whoa.

1253
01:02:10,920 --> 01:02:14,680
Speaker 3: My movie was released in nineteen seventy six, is written

1254
01:02:14,720 --> 01:02:19,000
Speaker 3: by Patty Chafsky. The director is Sidney Lumett and my

1255
01:02:19,080 --> 01:02:21,000
Speaker 3: movie is Network.

1256
01:02:21,880 --> 01:02:26,840
Speaker 5: So I want you to get up now. I want

1257
01:02:26,920 --> 01:02:28,720
Speaker 5: all of you to get up out of your chairs.

1258
01:02:29,840 --> 01:02:31,960
Speaker 5: I want you to get up right now and go

1259
01:02:32,000 --> 01:02:35,560
Speaker 5: to the window, open it and stick your head out

1260
01:02:35,600 --> 01:02:38,160
Speaker 5: and yells mad as hell.

1261
01:02:38,520 --> 01:02:40,360
Speaker 2: And I'm not trying to take this anymore.

1262
01:02:40,800 --> 01:02:42,960
Speaker 3: I am not kidding when I say this is one

1263
01:02:42,960 --> 01:02:48,440
Speaker 3: of my top fives. And I think it's a prophetic movie.

1264
01:02:49,240 --> 01:02:52,760
Speaker 3: And it's always been so deeply affecting to me. And

1265
01:02:52,800 --> 01:02:56,480
Speaker 3: it is one of the smartest screenplays you will ever read.

1266
01:02:57,280 --> 01:03:00,080
Speaker 3: And you can get your hands on it online. I

1267
01:03:00,080 --> 01:03:02,720
Speaker 3: recommend reading it. It is the kind of screenplay where

1268
01:03:02,720 --> 01:03:05,440
Speaker 3: there are entire sentences that make me stop and think

1269
01:03:06,280 --> 01:03:10,080
Speaker 3: for days on end. It is so fucking smart. So

1270
01:03:10,600 --> 01:03:13,240
Speaker 3: the movie was written by Patty Chesky, who has a

1271
01:03:13,280 --> 01:03:17,240
Speaker 3: grand career. He died in two thousand, but he was

1272
01:03:17,280 --> 01:03:20,720
Speaker 3: just a really incredible playwright who moved into film. I

1273
01:03:20,760 --> 01:03:23,640
Speaker 3: highly recommend looking up his career and reading about him,

1274
01:03:24,120 --> 01:03:27,880
Speaker 3: especially reading the things that people have to say about him.

1275
01:03:28,760 --> 01:03:31,640
Speaker 3: Born and raised in New York City, just like you know,

1276
01:03:32,160 --> 01:03:35,080
Speaker 3: kind of a wonder kind I want to say, you know,

1277
01:03:35,120 --> 01:03:36,560
Speaker 3: you just kind of came out of this, you know

1278
01:03:36,600 --> 01:03:39,720
Speaker 3: the Actors Studio School, and was just one of the

1279
01:03:39,720 --> 01:03:44,640
Speaker 3: most successful and well regarded writers. Speaking of successful and

1280
01:03:44,640 --> 01:03:48,440
Speaker 3: well regarded, we've got our director and I usually say

1281
01:03:48,720 --> 01:03:50,600
Speaker 3: I used to say loom May, but I think it's Lumet.

1282
01:03:50,680 --> 01:03:56,920
Speaker 3: So it's Sydney Lumet, who was born where Philadelphia h

1283
01:03:57,080 --> 01:04:01,760
Speaker 3: a g from day one. Don't fuck with him. And

1284
01:04:01,840 --> 01:04:06,200
Speaker 3: Sydney Lumett has won so many Academy Awards. He's been

1285
01:04:06,200 --> 01:04:08,160
Speaker 3: nominated a bunch of times, but he's also won a

1286
01:04:08,160 --> 01:04:11,760
Speaker 3: few times. He's done films that you know, even if

1287
01:04:11,760 --> 01:04:13,560
Speaker 3: you haven't watched them, you know the names of You've

1288
01:04:13,600 --> 01:04:16,320
Speaker 3: heard of Twelve Angry Men, You've heard we covered Dog

1289
01:04:16,400 --> 01:04:17,960
Speaker 3: Day Afternoons, so I won't got too much into his

1290
01:04:18,000 --> 01:04:19,760
Speaker 3: background because we talked about him a lot during that.

1291
01:04:20,960 --> 01:04:23,320
Speaker 3: He adapted A Long Day's Journey in Tonight, which is

1292
01:04:23,320 --> 01:04:26,520
Speaker 3: one of my favorite. Eugeno O'Neil plays Serpico like he's

1293
01:04:26,600 --> 01:04:28,760
Speaker 3: a murder on the Orient Express, like he's just had

1294
01:04:29,840 --> 01:04:35,439
Speaker 3: an incredible filmography, including running on Empty a river feeder.

1295
01:04:35,560 --> 01:04:38,240
Speaker 3: I love that movie on from nineteen eighty eight. We

1296
01:04:38,280 --> 01:04:39,280
Speaker 3: should cover it on the pod.

1297
01:04:39,600 --> 01:04:40,040
Speaker 2: We should.

1298
01:04:40,360 --> 01:04:42,320
Speaker 3: I haven't seen that one in a long time.

1299
01:04:42,480 --> 01:04:43,320
Speaker 2: Martha Plimpton.

1300
01:04:43,840 --> 01:04:47,040
Speaker 3: I mean, come on, Martha Plimpton, come on. He was

1301
01:04:47,080 --> 01:04:49,040
Speaker 3: married to a bunch of women, but one of them

1302
01:04:49,080 --> 01:04:50,200
Speaker 3: was Gloria Vanderbilt.

1303
01:04:52,640 --> 01:04:54,360
Speaker 2: Is that Anderson Cooper's mama?

1304
01:04:54,680 --> 01:04:57,640
Speaker 3: Yeah, yeah, I don't know. He's just had a bunch

1305
01:04:57,680 --> 01:05:01,080
Speaker 3: of fascinating there a bunch of fascinatings stories about him.

1306
01:05:01,120 --> 01:05:03,480
Speaker 3: His directing technique has been studied by a bunch of people,

1307
01:05:03,880 --> 01:05:06,760
Speaker 3: and again just think it's worth looking into. But he

1308
01:05:06,880 --> 01:05:10,400
Speaker 3: died at age eighty six in twenty eleven from the Boma,

1309
01:05:10,440 --> 01:05:12,880
Speaker 3: so we lived a very long life. And he said

1310
01:05:12,880 --> 01:05:16,960
Speaker 3: something that really makes me laugh. He said, when I die,

1311
01:05:17,440 --> 01:05:18,840
Speaker 3: I don't want to take up any space, So just

1312
01:05:18,840 --> 01:05:21,360
Speaker 3: like burn me up and scatter my ashes over Kats's Delhi.

1313
01:05:22,720 --> 01:05:24,960
Speaker 3: And my grandma used to say that constantly, where she's like,

1314
01:05:25,040 --> 01:05:27,320
Speaker 3: just take me to the city and like shake my

1315
01:05:27,360 --> 01:05:29,920
Speaker 3: ashes out as you walk down the street in Harlem,

1316
01:05:29,920 --> 01:05:32,880
Speaker 3: and I'm like, that is illegal. We can't be doing that.

1317
01:05:32,320 --> 01:05:35,080
Speaker 3: Do that again. Credible filmography, A lot of things have

1318
01:05:35,160 --> 01:05:37,880
Speaker 3: been written about him. And then we also have some

1319
01:05:38,000 --> 01:05:42,920
Speaker 3: incredible actors in this film. So William Holden, who plays.

1320
01:05:43,280 --> 01:05:47,040
Speaker 3: Max has had a classic classic film actor has been

1321
01:05:47,080 --> 01:05:52,560
Speaker 3: in everything. Also Academy Award winner for stalag seventeen. But

1322
01:05:52,600 --> 01:05:56,040
Speaker 3: you know, he was in Sunset Boulevard, Sabrina, The Wild Bunch,

1323
01:05:56,440 --> 01:05:58,600
Speaker 3: Bridge on the River, Kwai, like he's been in almost

1324
01:05:58,640 --> 01:06:02,960
Speaker 3: every well regarded classic film. Did you talk about him

1325
01:06:03,000 --> 01:06:05,439
Speaker 3: in an episode? I feel like you've talked about him

1326
01:06:05,760 --> 01:06:06,240
Speaker 3: as well.

1327
01:06:06,640 --> 01:06:09,960
Speaker 1: I might have brought up that movie Picnic before he

1328
01:06:10,040 --> 01:06:13,320
Speaker 1: was in Picnic. I feel like we've never done Sunset Boulevard,

1329
01:06:13,360 --> 01:06:16,640
Speaker 1: have we? We need to fix that too.

1330
01:06:16,080 --> 01:06:21,640
Speaker 3: Yeah, maybe we do it a double a running on empty.

1331
01:06:23,360 --> 01:06:29,040
Speaker 1: Parent will I would consider William Hold him to be

1332
01:06:29,080 --> 01:06:31,640
Speaker 1: craggy hot though, I just have to say.

1333
01:06:31,520 --> 01:06:33,760
Speaker 3: He's pretty craggy hot, which comes up in the film,

1334
01:06:34,040 --> 01:06:37,240
Speaker 3: which comes up in the film. And he's had again

1335
01:06:37,400 --> 01:06:40,160
Speaker 3: very interesting life. He was the best man at Ronald

1336
01:06:40,200 --> 01:06:43,480
Speaker 3: Reagan and Nancy Reagan's wedding, which don't love that.

1337
01:06:43,880 --> 01:06:45,919
Speaker 2: What a blast that wedding probably.

1338
01:06:45,760 --> 01:06:48,720
Speaker 3: What a fucking wild time that would have been. And

1339
01:06:48,920 --> 01:06:58,000
Speaker 3: uh he also in nineteen sixty six he committed vehicular manslaughter. Es. Yeah,

1340
01:06:58,040 --> 01:07:00,240
Speaker 3: he like had gotten a drunk driving accent and he

1341
01:07:00,320 --> 01:07:04,080
Speaker 3: killed another driver in nineteen sixty six, So shit, he

1342
01:07:04,160 --> 01:07:07,680
Speaker 3: got sentence, but they suspended the sentence. But he fucking

1343
01:07:07,720 --> 01:07:11,520
Speaker 3: killed somebody in his car when he was drunk, so

1344
01:07:12,280 --> 01:07:15,640
Speaker 3: he Also there's a lot of weird lore about his death.

1345
01:07:16,200 --> 01:07:20,280
Speaker 3: So according to his autopsy report, he died in nineteen

1346
01:07:20,280 --> 01:07:22,880
Speaker 3: eighty one by slipping on a rug while he was

1347
01:07:22,960 --> 01:07:25,560
Speaker 3: drunk and hitting his head on a bedside table.

1348
01:07:25,760 --> 01:07:27,280
Speaker 2: Oh yeah, which.

1349
01:07:27,080 --> 01:07:29,000
Speaker 3: Is like, what a fucking way to go. And like

1350
01:07:29,080 --> 01:07:31,520
Speaker 3: the reports indicate that he was conscious for a while

1351
01:07:31,640 --> 01:07:34,240
Speaker 3: after he fell and his body was found days later.

1352
01:07:34,360 --> 01:07:36,560
Speaker 3: Like it's just one of those really tragic endings to

1353
01:07:37,280 --> 01:07:39,880
Speaker 3: a kind of storied career. But I didn't realize this

1354
01:07:39,960 --> 01:07:42,840
Speaker 3: until I was doing research for this episode. He is

1355
01:07:42,920 --> 01:07:47,800
Speaker 3: the person mentioned in Suzanne Vega's classic banger Tom's Diner.

1356
01:07:48,040 --> 01:07:50,240
Speaker 3: Oh shit, she has a line about an actor who

1357
01:07:50,240 --> 01:07:53,360
Speaker 3: had died while he was drinking. It was no and

1358
01:07:53,400 --> 01:07:56,880
Speaker 3: I had heard of and it's about William bucking Holden.

1359
01:07:56,920 --> 01:07:58,640
Speaker 2: So there you go go, there we go.

1360
01:07:59,040 --> 01:08:02,320
Speaker 3: The other prime I'm mary fucking dude in this movie

1361
01:08:02,760 --> 01:08:06,000
Speaker 3: is Peter Finch, And Peter Finch has had a goddamn

1362
01:08:06,040 --> 01:08:10,040
Speaker 3: life again, great career, stage and screen, you know, he

1363
01:08:10,120 --> 01:08:12,280
Speaker 3: used to do plays at the Old VIC and like,

1364
01:08:12,400 --> 01:08:14,600
Speaker 3: just you know, he's won BAF does he want an

1365
01:08:14,600 --> 01:08:18,120
Speaker 3: Academy Award for this film? Was in Wars, Like all

1366
01:08:18,160 --> 01:08:22,160
Speaker 3: these guys were in Wars. There were just you know,

1367
01:08:22,640 --> 01:08:26,000
Speaker 3: like soldiers who became actors. You know, he was active

1368
01:08:26,040 --> 01:08:28,479
Speaker 3: at a time when you know, contract acting was was

1369
01:08:28,520 --> 01:08:31,720
Speaker 3: a big deal. And just has had again an incredible

1370
01:08:32,160 --> 01:08:35,679
Speaker 3: body of work. He was a poet apparently, like he

1371
01:08:35,880 --> 01:08:39,240
Speaker 3: group poemes. Another guy who's been married a bunch. He

1372
01:08:39,560 --> 01:08:42,280
Speaker 3: has children and probably grandchildren, great grandchildren who might be

1373
01:08:42,280 --> 01:08:45,840
Speaker 3: listening right now. But he had an affair with the

1374
01:08:45,880 --> 01:08:49,599
Speaker 3: British singer Shirley Bassey, which I find fascinating, and they

1375
01:08:49,600 --> 01:08:53,240
Speaker 3: had a daughter. And his death is also weird, and

1376
01:08:53,240 --> 01:08:58,040
Speaker 3: that I don't know why I'm laughing. It's weird, but

1377
01:08:58,200 --> 01:09:01,760
Speaker 3: he basically was. He died in nineteen seventy seven, which

1378
01:09:01,760 --> 01:09:03,320
Speaker 3: is a year after this movie came out, So he

1379
01:09:03,400 --> 01:09:07,080
Speaker 3: died very young. And he was doing a promotional tour

1380
01:09:07,160 --> 01:09:09,960
Speaker 3: for his final film, and he was on the Tonight

1381
01:09:10,000 --> 01:09:13,799
Speaker 3: Show with Johnny Carson at the time, and George Carlin

1382
01:09:13,880 --> 01:09:16,960
Speaker 3: was a comedian on the show that night, and George

1383
01:09:17,000 --> 01:09:20,479
Speaker 3: Carlin had a big joke about death, and then Peter

1384
01:09:20,560 --> 01:09:22,720
Speaker 3: Finch died the next day of a heart attack in

1385
01:09:22,760 --> 01:09:25,519
Speaker 3: the lobby of the Beverly Hills Hotel. He was sixty

1386
01:09:25,600 --> 01:09:29,480
Speaker 3: years old. Oh shit, So his Oscar was awarded posthumously.

1387
01:09:29,520 --> 01:09:32,920
Speaker 3: He was the first people who had been nominated posthumously before,

1388
01:09:32,960 --> 01:09:36,080
Speaker 3: but he was the first person to win a POSTUMO

1389
01:09:36,760 --> 01:09:39,720
Speaker 3: Best Actor Oscar. Yeah, because he died a year after

1390
01:09:39,760 --> 01:09:45,200
Speaker 3: this came out. It's fucking weird. Ugh so again, fantastic film.

1391
01:09:45,600 --> 01:09:50,519
Speaker 3: Rounding out the amazing cast is Faye Dunaway who plays

1392
01:09:50,560 --> 01:09:54,680
Speaker 3: Diana Christensen. She's like the programmer producer of this TV network.

1393
01:09:55,080 --> 01:09:58,400
Speaker 3: She is all business. She is totally on fire the

1394
01:09:58,400 --> 01:10:03,439
Speaker 3: whole film. She is such a weirdo, such a they're

1395
01:10:03,760 --> 01:10:05,560
Speaker 3: all weirdos. There's so many weirdos in this movie. She

1396
01:10:05,600 --> 01:10:09,240
Speaker 3: has such a weirdo. And Robert Duval who plays Frank

1397
01:10:09,640 --> 01:10:13,120
Speaker 3: Frank Hackett, he's the head of the network. And again,

1398
01:10:13,120 --> 01:10:15,160
Speaker 3: like you're noticing as you're watching the film, you're like,

1399
01:10:15,200 --> 01:10:17,160
Speaker 3: that person looks familiar. That person looks familiar. There's all

1400
01:10:17,200 --> 01:10:21,240
Speaker 3: these bit parts that come out. Walter Cronkite's daughter is

1401
01:10:21,280 --> 01:10:25,759
Speaker 3: in it. You see Conchata Farrell, Yes, classic character actor

1402
01:10:26,000 --> 01:10:29,080
Speaker 3: Conchata Farrell. But then you also there are points in

1403
01:10:29,120 --> 01:10:33,400
Speaker 3: the movie where like Ned Beatty pops up in a

1404
01:10:33,479 --> 01:10:36,960
Speaker 3: stunning role. Also there's like a young Lance Hendrickson Lou

1405
01:10:37,080 --> 01:10:39,840
Speaker 3: Rawls is in the movie, like it just basically if

1406
01:10:39,880 --> 01:10:42,040
Speaker 3: Ned Beatty shows up and there's a conference table filled

1407
01:10:42,080 --> 01:10:45,479
Speaker 3: with banker's lamps, like you're fucked. And this film is

1408
01:10:45,479 --> 01:10:50,599
Speaker 3: comprised of several amazing monologues and Ned Beattie's monologue, even

1409
01:10:50,600 --> 01:10:52,400
Speaker 3: the way it's a small part in the film itself,

1410
01:10:52,479 --> 01:10:56,160
Speaker 3: his monologue is one of the best I've ever heard. Yeah,

1411
01:10:56,720 --> 01:11:00,519
Speaker 3: it's so good, is unreal, and I feel like maybe

1412
01:11:00,560 --> 01:11:04,080
Speaker 3: it should be my intellectual hobby this year to memorize

1413
01:11:04,120 --> 01:11:07,320
Speaker 3: some monologues from network. Get away from Shakespeare for a

1414
01:11:07,320 --> 01:11:08,519
Speaker 3: minute and jump into.

1415
01:11:08,760 --> 01:11:12,240
Speaker 2: Yeah why not? There is very prescient to do, so.

1416
01:11:12,760 --> 01:11:16,040
Speaker 3: I would love it. So my one sentence synopsis. After all,

1417
01:11:16,040 --> 01:11:21,000
Speaker 3: that is, after eleven years working in a network and

1418
01:11:21,040 --> 01:11:25,080
Speaker 3: a lifetime of building a career, a veteran anchorman loses

1419
01:11:25,160 --> 01:11:26,840
Speaker 3: his job and loses his mind.

1420
01:11:27,240 --> 01:11:28,520
Speaker 2: That's perfect.

1421
01:11:29,320 --> 01:11:32,439
Speaker 3: So Peter Finch plays Howard Beale, and Howard Beale is

1422
01:11:32,479 --> 01:11:34,720
Speaker 3: this kind of old man of the news. So there's

1423
01:11:34,920 --> 01:11:37,960
Speaker 3: some intermittent narration at there's narration at the beginning, there's

1424
01:11:38,040 --> 01:11:39,600
Speaker 3: narration at the end, and then a couple points in

1425
01:11:39,600 --> 01:11:42,479
Speaker 3: the middle. So we learn about who Howard Beale is

1426
01:11:42,560 --> 01:11:45,320
Speaker 3: at the start of the film. In quick succession, we

1427
01:11:45,439 --> 01:11:48,320
Speaker 3: learned that it's nineteen sixty nine and his wife has died,

1428
01:11:48,400 --> 01:11:52,920
Speaker 3: his ratings have dropped, he's drinking heavily, and now he's

1429
01:11:53,000 --> 01:11:56,800
Speaker 3: just gotten fired one of his last programs. After he

1430
01:11:56,880 --> 01:11:59,400
Speaker 3: realizes that he's been fired nearly has two weeks left

1431
01:11:59,439 --> 01:12:03,519
Speaker 3: on his contract, he basically says on air that he's

1432
01:12:03,560 --> 01:12:05,479
Speaker 3: going to kill himself. He's going to blow his brains

1433
01:12:05,479 --> 01:12:07,080
Speaker 3: out right on the air in the middle of the

1434
01:12:07,120 --> 01:12:09,960
Speaker 3: seven o'clock news. And there are a couple of things

1435
01:12:10,000 --> 01:12:12,080
Speaker 3: that are stunning about this kind of opening. One, we've

1436
01:12:12,080 --> 01:12:14,559
Speaker 3: already discussed this and that it was based on the

1437
01:12:14,640 --> 01:12:18,479
Speaker 3: real life events of Christine Chubbuck, who was the first

1438
01:12:18,479 --> 01:12:21,960
Speaker 3: person to commit suicide life on air. This film is

1439
01:12:22,000 --> 01:12:25,320
Speaker 3: based on that experience, on that not her life per se,

1440
01:12:25,400 --> 01:12:29,040
Speaker 3: but that experience of suicide on air. But what's also

1441
01:12:29,120 --> 01:12:32,839
Speaker 3: shocking about this opening scene is that hardly anyone's listening

1442
01:12:32,840 --> 01:12:35,519
Speaker 3: to him. Nobody is taking him seriously. I think everyone

1443
01:12:35,520 --> 01:12:38,479
Speaker 3: in the room is like zoned out. All the producers,

1444
01:12:38,520 --> 01:12:42,479
Speaker 3: everyone is zoned out. There's only one woman who basically

1445
01:12:42,520 --> 01:12:44,719
Speaker 3: is like, yo, did you just hear that? Because Howard

1446
01:12:44,720 --> 01:12:47,840
Speaker 3: said he's going to kill himself live on air to

1447
01:12:47,960 --> 01:12:51,240
Speaker 3: increase ratings. And once they do realize that he has

1448
01:12:51,240 --> 01:12:54,240
Speaker 3: said this, they try to forcibly remove him from the desk,

1449
01:12:54,320 --> 01:12:57,519
Speaker 3: and it's just mayhem. But in the midst of him

1450
01:12:57,680 --> 01:13:00,240
Speaker 3: setting up this character and setting up this film, we're

1451
01:13:00,280 --> 01:13:03,439
Speaker 3: also getting a lot of real history in the background.

1452
01:13:03,520 --> 01:13:05,519
Speaker 3: So I say, if you haven't ever watched this film before,

1453
01:13:05,560 --> 01:13:07,160
Speaker 3: or even if you have and you're watching it again

1454
01:13:07,200 --> 01:13:09,240
Speaker 3: for the first time in a long time, it's really

1455
01:13:09,280 --> 01:13:12,439
Speaker 3: important to pay attention to everything happening in the background.

1456
01:13:12,520 --> 01:13:15,599
Speaker 3: Because they're talking about Squeaky from They're talking about Patty Hurst,

1457
01:13:15,760 --> 01:13:19,040
Speaker 3: they're talking about the attempted assassination of Gerald Ford. They're

1458
01:13:19,040 --> 01:13:24,600
Speaker 3: talking about this moment in time where sensationalism was becoming

1459
01:13:24,760 --> 01:13:29,760
Speaker 3: the primary push for news programs, And that's kind of

1460
01:13:29,800 --> 01:13:32,840
Speaker 3: the central friction of the film, is that in order

1461
01:13:32,880 --> 01:13:35,560
Speaker 3: to raise ratings they have to do some really deplorable

1462
01:13:35,560 --> 01:13:38,440
Speaker 3: things and focus on the most deplorable aspects of society

1463
01:13:38,800 --> 01:13:40,920
Speaker 3: while someone in their myths is going through a real

1464
01:13:40,960 --> 01:13:45,280
Speaker 3: life traumatic mental health event. So that's all fascinating to me,

1465
01:13:45,840 --> 01:13:49,200
Speaker 3: and that kind of kicks off the momentum of the film.

1466
01:13:49,520 --> 01:13:53,160
Speaker 3: But there's a lot that happens in the interim. So basically,

1467
01:13:54,240 --> 01:13:57,720
Speaker 3: Howard and his old buddy Max, who used to run

1468
01:13:57,760 --> 01:14:01,800
Speaker 3: the network and subsequently gets eventually gets fired, they're kind

1469
01:14:01,800 --> 01:14:04,320
Speaker 3: of they've worked together at different networks, they've been around

1470
01:14:04,880 --> 01:14:08,040
Speaker 3: in news for a long time together, so they're kind

1471
01:14:08,080 --> 01:14:11,200
Speaker 3: of pals like their buddies. But then this thing happens

1472
01:14:11,200 --> 01:14:14,240
Speaker 3: where Howard starts becoming a different person and it affects

1473
01:14:14,280 --> 01:14:16,840
Speaker 3: their friendship and Max is eventually one of the only

1474
01:14:16,880 --> 01:14:20,639
Speaker 3: people who actually cares about his friend and not ratings

1475
01:14:20,800 --> 01:14:22,800
Speaker 3: right because they take Howard off the air. They're like,

1476
01:14:22,840 --> 01:14:24,439
Speaker 3: this is we're taking him off the air. We're not

1477
01:14:24,479 --> 01:14:27,000
Speaker 3: honoring this two weeks that he has left, like we're

1478
01:14:27,000 --> 01:14:30,720
Speaker 3: taking him off the air. But then brand new on

1479
01:14:30,760 --> 01:14:33,840
Speaker 3: the scene, Diana Christiansen played by Faye Dunaway, who's a

1480
01:14:33,960 --> 01:14:37,559
Speaker 3: programmer or producer, is like, no, well, all this stuff

1481
01:14:37,600 --> 01:14:39,400
Speaker 3: that's going on in the world, like we're in a recession.

1482
01:14:39,400 --> 01:14:41,719
Speaker 3: All this stuff's going on in the world, and Howard

1483
01:14:42,280 --> 01:14:45,320
Speaker 3: Beal is front page news because he said bullshit while

1484
01:14:45,320 --> 01:14:46,920
Speaker 3: he was telling people he was going to blow his

1485
01:14:46,920 --> 01:14:49,320
Speaker 3: brains out live on air. So she is the first

1486
01:14:49,360 --> 01:14:52,200
Speaker 3: person to kind of key into the possibility of this

1487
01:14:52,320 --> 01:14:55,920
Speaker 3: being a thing. And what I mean by that is

1488
01:14:55,920 --> 01:14:59,000
Speaker 3: that she's kind of at the cusp of this new

1489
01:14:59,439 --> 01:15:04,760
Speaker 3: way of u using television to reflect reality, and to

1490
01:15:04,800 --> 01:15:07,200
Speaker 3: say that she's excited about this is the understatement of

1491
01:15:07,200 --> 01:15:11,800
Speaker 3: the century. She is permanently jazzed about trying to get

1492
01:15:11,840 --> 01:15:16,040
Speaker 3: shows on air that are about the most pressing and

1493
01:15:16,200 --> 01:15:21,639
Speaker 3: dark and dangerous aspects of modern American life. So during

1494
01:15:21,640 --> 01:15:24,280
Speaker 3: a meeting, like she's kind of doing a meeting with

1495
01:15:24,439 --> 01:15:28,679
Speaker 3: a fellow producer and they're learning about the Ecumenical Liberation Army.

1496
01:15:28,840 --> 01:15:30,880
Speaker 3: It's kind of a funny moment where they're arguing about

1497
01:15:30,880 --> 01:15:33,519
Speaker 3: the differences between all the different liberation armies that are

1498
01:15:33,840 --> 01:15:40,480
Speaker 3: out there nowadays. And this one particular faction has presented

1499
01:15:40,520 --> 01:15:43,240
Speaker 3: a live film while they were in the middle of

1500
01:15:43,280 --> 01:15:46,280
Speaker 3: ripping off a bank. So they're filming themselves committing a

1501
01:15:46,320 --> 01:15:49,360
Speaker 3: crime and Diane's like, we got to get this on air.

1502
01:15:49,600 --> 01:15:52,000
Speaker 3: This is amazing. And in the midst of this, we

1503
01:15:52,040 --> 01:15:54,479
Speaker 3: have Howard who wants to come back and give a

1504
01:15:54,479 --> 01:15:57,360
Speaker 3: proper farewell, and the president of the network finally agrees.

1505
01:15:57,360 --> 01:15:58,560
Speaker 3: He's like, all right, it could take some of the

1506
01:15:58,600 --> 01:16:00,760
Speaker 3: strain off of everyone focusing on and the fact that

1507
01:16:00,760 --> 01:16:03,160
Speaker 3: he said bullshit and has kind of lost the plot

1508
01:16:03,200 --> 01:16:08,519
Speaker 3: a little bit. But Faye Dunaway's character Diana Christensen, is like, yeah,

1509
01:16:08,600 --> 01:16:11,680
Speaker 3: let's get him back on the air, because I'm over

1510
01:16:11,720 --> 01:16:13,960
Speaker 3: here looking at this authentic footage that could lead to

1511
01:16:14,000 --> 01:16:15,840
Speaker 3: a series, because this is exactly the kind of thing

1512
01:16:15,880 --> 01:16:17,880
Speaker 3: I want to do, is focus on the reality of

1513
01:16:17,920 --> 01:16:20,599
Speaker 3: the dark underbelly, and we have someone in our midst

1514
01:16:20,640 --> 01:16:21,840
Speaker 3: who is actually doing that.

1515
01:16:22,479 --> 01:16:22,599
Speaker 5: Right.

1516
01:16:22,880 --> 01:16:25,920
Speaker 3: She has again this great speech about how checked out

1517
01:16:25,960 --> 01:16:28,840
Speaker 3: Americans are, and I quote at one point she says

1518
01:16:28,880 --> 01:16:33,000
Speaker 3: they've turned off, shot up, and fucked themselves limp and like, basically,

1519
01:16:33,040 --> 01:16:35,599
Speaker 3: we're still not happy. So she is looking for someone

1520
01:16:35,640 --> 01:16:39,720
Speaker 3: to articulate American rage, like this current sense of American rage,

1521
01:16:39,760 --> 01:16:42,760
Speaker 3: and she wants counterculture, she wants anger, she only wants

1522
01:16:42,840 --> 01:16:46,280
Speaker 3: ideas in this vein. At the same time, You've got

1523
01:16:46,280 --> 01:16:50,240
Speaker 3: the shareholders of this network who are saying that News

1524
01:16:50,320 --> 01:16:52,559
Speaker 3: is kind of a lost leader, doesn't make us any money,

1525
01:16:52,600 --> 01:16:55,799
Speaker 3: it's really fucking bleak, so we're going to restructure the management.

1526
01:16:55,880 --> 01:16:58,800
Speaker 3: So that's why Max is like, how about fuck this,

1527
01:16:59,040 --> 01:17:03,200
Speaker 3: I will resign, and he kind of decides to put

1528
01:17:03,240 --> 01:17:05,080
Speaker 3: Howard back on the air as a big fuck you

1529
01:17:05,240 --> 01:17:08,840
Speaker 3: to the shareholders. It's like this perfect storm of things

1530
01:17:08,880 --> 01:17:12,759
Speaker 3: happening behind the scenes, and he's concerned about his friend,

1531
01:17:13,160 --> 01:17:16,479
Speaker 3: but he's also concerned about what's happening to the state

1532
01:17:16,560 --> 01:17:21,320
Speaker 3: of News and what's happening specifically to UBS, his own network,

1533
01:17:21,880 --> 01:17:24,640
Speaker 3: So he's kind of in this retaliatory position. Diane is

1534
01:17:24,680 --> 01:17:27,800
Speaker 3: in this very jazz position. The shareholders don't know what's

1535
01:17:27,840 --> 01:17:29,439
Speaker 3: going on. They like, we can't have this man on

1536
01:17:29,479 --> 01:17:32,920
Speaker 3: the air saying bullshit, But no one's really paying attention

1537
01:17:33,000 --> 01:17:37,120
Speaker 3: to the main thing, which is Howard Beale is saying

1538
01:17:37,439 --> 01:17:41,880
Speaker 3: some incredibly prescient and real and prophetic things about the

1539
01:17:41,920 --> 01:17:44,080
Speaker 3: world that they lived in and the world that we

1540
01:17:44,160 --> 01:17:48,759
Speaker 3: currently live in today. So Diana's getting pitched all these shows.

1541
01:17:48,760 --> 01:17:52,400
Speaker 3: There's this really funny scene where every show, Concatta Ferrell

1542
01:17:52,520 --> 01:17:56,080
Speaker 3: is describing starts with, well, there's this krusty but benign

1543
01:17:56,400 --> 01:17:59,120
Speaker 3: you know, police officer, doctor or whatever, like all the

1544
01:17:59,120 --> 01:18:01,800
Speaker 3: shows are the same. So Diana is really pushing this

1545
01:18:01,920 --> 01:18:05,160
Speaker 3: behind the scenes. And again, what I love about this

1546
01:18:05,280 --> 01:18:08,000
Speaker 3: movie is just within the first thirty minutes you're seeing

1547
01:18:08,080 --> 01:18:14,520
Speaker 3: this balance of executives wanting to protect their brand, broadcast respectability, politics,

1548
01:18:15,120 --> 01:18:20,280
Speaker 3: a motivated producer, and a completely unhinged news anchor. And

1549
01:18:20,360 --> 01:18:22,400
Speaker 3: Howard's loving it. By the way. He's in a meeting

1550
01:18:22,400 --> 01:18:25,000
Speaker 3: with all of his friends and people in the building

1551
01:18:25,000 --> 01:18:27,559
Speaker 3: and he's like, yeah, this is a total bastardization of

1552
01:18:27,600 --> 01:18:30,839
Speaker 3: the news. But people are calling him an angry prophet

1553
01:18:30,960 --> 01:18:35,360
Speaker 3: who denounces the hypocrisies of our time. So he's into it.

1554
01:18:35,840 --> 01:18:38,000
Speaker 3: And so this power play is happening. And there's so

1555
01:18:38,040 --> 01:18:40,400
Speaker 3: many people who think that this experiment of putting Howard

1556
01:18:40,479 --> 01:18:43,160
Speaker 3: on air is going to fail, even though there are

1557
01:18:43,160 --> 01:18:46,120
Speaker 3: also people who think it's good for ratings, and there

1558
01:18:46,120 --> 01:18:49,120
Speaker 3: are people who are concerned that news is becoming entertainment,

1559
01:18:49,200 --> 01:18:53,200
Speaker 3: but absolutely no one is considering Howard Biel's actual mental health.

1560
01:18:53,400 --> 01:18:56,160
Speaker 3: And Homeboy is losing it. He's laying awake at night

1561
01:18:56,200 --> 01:18:59,479
Speaker 3: in bed hearing voices. He's talking about being imbued with

1562
01:18:59,479 --> 01:19:02,920
Speaker 3: a spirit like this is not a psychological breakdown, it's

1563
01:19:02,920 --> 01:19:06,439
Speaker 3: a cleansing moment of clarity. He is genuinely ranting and raving.

1564
01:19:06,840 --> 01:19:08,759
Speaker 3: At one point, he wakes up from a dead sleep,

1565
01:19:08,880 --> 01:19:11,080
Speaker 3: puts a coat over his pajamas, and just walks out

1566
01:19:11,080 --> 01:19:15,120
Speaker 3: into the night, into the rain. Eventually he starts fainting

1567
01:19:15,240 --> 01:19:18,320
Speaker 3: after some of these rants. Yeah, so they put him

1568
01:19:18,320 --> 01:19:20,719
Speaker 3: on air and it's you know, he does the same

1569
01:19:20,760 --> 01:19:23,120
Speaker 3: thing where he kind of rants and raves, but the

1570
01:19:23,160 --> 01:19:26,360
Speaker 3: novelty of it wears off almost immediately. So the movie

1571
01:19:26,400 --> 01:19:31,639
Speaker 3: becomes this constantly increasing stress and tension of this man

1572
01:19:31,680 --> 01:19:35,040
Speaker 3: who's willing to rant and rave and to be at

1573
01:19:35,120 --> 01:19:38,240
Speaker 3: kind of the height of testing his own mental barriers

1574
01:19:38,600 --> 01:19:42,479
Speaker 3: in order to convey this message about the world, and

1575
01:19:42,560 --> 01:19:45,400
Speaker 3: a bunch of people who are like constantly talking about

1576
01:19:45,439 --> 01:19:49,200
Speaker 3: how good this is for their bottom line, and this

1577
01:19:49,280 --> 01:19:51,000
Speaker 3: I think comes to the forefront. There are a lot

1578
01:19:51,040 --> 01:19:52,479
Speaker 3: of scenes where this comes to the forefront, but I

1579
01:19:52,479 --> 01:19:55,800
Speaker 3: think for me, the primary scene where this becomes increasingly

1580
01:19:55,840 --> 01:20:01,040
Speaker 3: clear just how truly fucked and unfocused these executives is

1581
01:20:01,040 --> 01:20:02,880
Speaker 3: when Diana and Max go on a date because she

1582
01:20:02,880 --> 01:20:04,719
Speaker 3: talks about like kind of has she had a crush

1583
01:20:04,760 --> 01:20:07,120
Speaker 3: on him in college and even though he's married, she's

1584
01:20:07,160 --> 01:20:09,400
Speaker 3: like down for it. Throughout the film, they have this

1585
01:20:09,680 --> 01:20:12,840
Speaker 3: brewing love affair that is an amazing thing to work

1586
01:20:12,840 --> 01:20:16,920
Speaker 3: into a movie that's about news and the future of

1587
01:20:18,160 --> 01:20:22,400
Speaker 3: entertainment and the future of American sanity. But they go

1588
01:20:22,439 --> 01:20:26,720
Speaker 3: on this date and the breakdown of their issues is incredible.

1589
01:20:26,840 --> 01:20:31,839
Speaker 3: It's immediate. But then they eventually get together and have sex,

1590
01:20:32,720 --> 01:20:37,400
Speaker 3: and literally all she talks about in that scene is ratings. God, Like,

1591
01:20:37,439 --> 01:20:41,719
Speaker 3: she is so turned on by her own ratings push

1592
01:20:41,840 --> 01:20:43,040
Speaker 3: it is wild.

1593
01:20:43,320 --> 01:20:43,840
Speaker 5: Yeah.

1594
01:20:43,920 --> 01:20:45,880
Speaker 1: I was like, I hate people who work in TV

1595
01:20:46,080 --> 01:20:50,600
Speaker 1: so bad, like it just like her talking about the

1596
01:20:50,640 --> 01:20:53,840
Speaker 1: shares and you know, all like the ratings information and

1597
01:20:53,880 --> 01:20:56,240
Speaker 1: like the programming strategy.

1598
01:20:56,280 --> 01:20:59,559
Speaker 2: I was like, this is my worst nightmare, right.

1599
01:21:00,479 --> 01:21:03,559
Speaker 3: Right, And it's again, this is the beginning this movie

1600
01:21:03,600 --> 01:21:06,439
Speaker 3: was made when this was new. Yeah, why this film

1601
01:21:06,520 --> 01:21:09,240
Speaker 3: is so prophetic as we're seeing everything that was laid

1602
01:21:09,280 --> 01:21:12,320
Speaker 3: out in this film has actually come true.

1603
01:21:12,479 --> 01:21:13,639
Speaker 2: Oh yeah, for sure.

1604
01:21:13,960 --> 01:21:16,840
Speaker 3: And so these seventies execs, you know, these execs in

1605
01:21:16,840 --> 01:21:20,559
Speaker 3: the sixties and seventies had laid the groundwork for this

1606
01:21:20,680 --> 01:21:23,840
Speaker 3: exact thing to happen, so you can't feel sympathy for

1607
01:21:23,880 --> 01:21:26,320
Speaker 3: them or feel any kind of allegiance to them, because

1608
01:21:26,400 --> 01:21:28,439
Speaker 3: we're now living in the world they created and it

1609
01:21:28,479 --> 01:21:32,360
Speaker 3: fucking blows. So it's incredible. And there's this classic scene,

1610
01:21:32,360 --> 01:21:34,719
Speaker 3: you know, after Howard's kind of been out, he leaves

1611
01:21:34,720 --> 01:21:37,320
Speaker 3: the apartment. He's staying with Max. They're trying to, you know,

1612
01:21:37,479 --> 01:21:40,720
Speaker 3: keep him stable, and they do not know how to

1613
01:21:40,760 --> 01:21:42,479
Speaker 3: lock someone into an apartment. I'll just say that first

1614
01:21:42,520 --> 01:21:44,120
Speaker 3: and foremost, you don't. You don't put somebody on a

1615
01:21:44,160 --> 01:21:46,360
Speaker 3: couch and just like go to bed if you're trying

1616
01:21:46,360 --> 01:21:50,080
Speaker 3: to lock someone down room, no windows outside, lock first

1617
01:21:50,080 --> 01:21:52,519
Speaker 3: and foremost. Yeah, And I'm not going to tell you

1618
01:21:52,520 --> 01:21:56,160
Speaker 3: how I know that. I'm just saying so. Of course,

1619
01:21:56,200 --> 01:21:57,720
Speaker 3: he gets up and wanders out, and he's kind of

1620
01:21:57,720 --> 01:21:59,960
Speaker 3: walking in the rain in his pajamas, in his slipper

1621
01:22:00,200 --> 01:22:02,680
Speaker 3: and a coat, and he just wanders right into the

1622
01:22:02,680 --> 01:22:05,600
Speaker 3: building at ubs and right to the anchor desk and

1623
01:22:05,680 --> 01:22:08,400
Speaker 3: gives this incredible speech about how awful the world is.

1624
01:22:08,439 --> 01:22:10,080
Speaker 3: You know, how the air is unfit to breathe, the

1625
01:22:10,120 --> 01:22:12,599
Speaker 3: food is unfit to eat, and it's not the way

1626
01:22:12,640 --> 01:22:16,280
Speaker 3: this is supposed to be. So he's really sympathizing with

1627
01:22:16,320 --> 01:22:18,080
Speaker 3: the fact that, of course people are like, just leave

1628
01:22:18,160 --> 01:22:19,680
Speaker 3: us alone for a minute and let us have some

1629
01:22:19,760 --> 01:22:22,320
Speaker 3: semblance of normalcy in the midst of all this craziness.

1630
01:22:22,600 --> 01:22:24,240
Speaker 3: And he's like, yeah, I get it, I get it,

1631
01:22:24,280 --> 01:22:26,280
Speaker 3: but I want you to get mad. So at some

1632
01:22:26,400 --> 01:22:29,519
Speaker 3: point he says at the end of it of this speech,

1633
01:22:30,000 --> 01:22:32,120
Speaker 3: and I quote, I'm a human being. God damn it,

1634
01:22:32,160 --> 01:22:34,519
Speaker 3: my life has value. I'm mad as hell, and I'm

1635
01:22:34,520 --> 01:22:37,040
Speaker 3: not gonna take this anymore. So he's encouraging people to

1636
01:22:37,120 --> 01:22:39,840
Speaker 3: get mad. And this is also the night that d

1637
01:22:40,040 --> 01:22:45,320
Speaker 3: Snyder of Twisted Sister was born, because he's not gonna

1638
01:22:45,360 --> 01:22:49,760
Speaker 3: take it. I was like, really, he was born in

1639
01:22:49,800 --> 01:22:54,680
Speaker 3: a rainstorm in the movie Network. But what's wild is

1640
01:22:54,720 --> 01:22:57,840
Speaker 3: it works like people are actually out screaming on their

1641
01:22:57,880 --> 01:23:01,160
Speaker 3: balconies and screaming from their fires there, and you know,

1642
01:23:01,240 --> 01:23:03,720
Speaker 3: Diana's getting jazz because she's like, oh my god, they're

1643
01:23:03,760 --> 01:23:06,320
Speaker 3: fucking they're screaming. I'm mad as hell. I'm not gonna

1644
01:23:06,320 --> 01:23:09,639
Speaker 3: take it anymore. In DC and in Colorado. But what's

1645
01:23:09,720 --> 01:23:12,559
Speaker 3: wild is that even while Howard Beale is preaching this

1646
01:23:12,680 --> 01:23:15,519
Speaker 3: intense truth. All the producers want to know is what

1647
01:23:15,600 --> 01:23:18,120
Speaker 3: are the numbers who's yelling along with him? So the

1648
01:23:18,200 --> 01:23:20,920
Speaker 3: overarching message of this film to me is how the

1649
01:23:21,000 --> 01:23:25,719
Speaker 3: spectacle becomes more important than the truth. Sure, and Diana

1650
01:23:25,880 --> 01:23:28,439
Speaker 3: pushes that hard where she is producing shows that include

1651
01:23:28,439 --> 01:23:32,000
Speaker 3: the most outrageous people, and one of them, which is fantastic,

1652
01:23:32,520 --> 01:23:38,840
Speaker 3: fantastic takedown of again modern but also the present history

1653
01:23:38,840 --> 01:23:41,479
Speaker 3: at the time, is called the mouse Toungue News Hour.

1654
01:23:41,920 --> 01:23:45,360
Speaker 3: There's this incredible scene where the executives are negotiating a

1655
01:23:45,439 --> 01:23:47,439
Speaker 3: contract with the Communist Party.

1656
01:23:48,000 --> 01:23:50,960
Speaker 2: Oh my god, in the basement. It is so freaking funny.

1657
01:23:51,400 --> 01:23:54,960
Speaker 1: Everyone's talking about there, like the you know, their percentages

1658
01:23:55,040 --> 01:23:55,439
Speaker 1: and stuff.

1659
01:23:55,479 --> 01:23:56,599
Speaker 2: Oh my god, it's so.

1660
01:23:56,680 --> 01:23:59,880
Speaker 3: It's so fucking good. And so she's like, you know,

1661
01:24:00,280 --> 01:24:03,680
Speaker 3: really pushing this notion. But in the midst of this

1662
01:24:03,720 --> 01:24:07,800
Speaker 3: we have another fantastic monologue. As you know, Max goes

1663
01:24:07,840 --> 01:24:10,320
Speaker 3: home and tells his wife that he's obsessed with Diana,

1664
01:24:10,840 --> 01:24:13,600
Speaker 3: and it's I cannot understand how the monologues in this

1665
01:24:13,680 --> 01:24:17,840
Speaker 3: film are not the focus of actors auditioning, because it

1666
01:24:17,920 --> 01:24:22,800
Speaker 3: is so emotional and so intense, and it truly is

1667
01:24:22,800 --> 01:24:24,479
Speaker 3: one of the best monologues in a film full of

1668
01:24:24,479 --> 01:24:27,679
Speaker 3: great monologues. Yeah, but yeah, Diane starts producing these shows,

1669
01:24:27,680 --> 01:24:31,080
Speaker 3: and Howard is getting his own primetime show, and they're

1670
01:24:31,080 --> 01:24:33,559
Speaker 3: calling him the mad profit of the airwaves, and he

1671
01:24:33,680 --> 01:24:36,280
Speaker 3: rants about real things, like at the point where he's

1672
01:24:36,320 --> 01:24:38,320
Speaker 3: ranting and raving, he's saying, you know, less than three

1673
01:24:38,360 --> 01:24:41,000
Speaker 3: percent of people read books, less than fifteen percent of

1674
01:24:41,000 --> 01:24:45,000
Speaker 3: people read newspapers. TV has become the most awesome, goddamn

1675
01:24:45,040 --> 01:24:47,680
Speaker 3: force in the whole world. But it's also controlled by

1676
01:24:47,720 --> 01:24:50,679
Speaker 3: the twelfth largest company in the whole world, so who

1677
01:24:50,720 --> 01:24:53,559
Speaker 3: knows what shit will be peddled for truth? And then

1678
01:24:53,560 --> 01:24:57,200
Speaker 3: he says, we're in the boredom killing business. I mean,

1679
01:24:57,240 --> 01:25:00,760
Speaker 3: it is just it's enough to make me want to Like,

1680
01:25:00,800 --> 01:25:02,320
Speaker 3: when I watched this movie, I'm like, how could I

1681
01:25:02,320 --> 01:25:05,639
Speaker 3: be complicit in this and making TV shows? Because it's

1682
01:25:05,680 --> 01:25:09,160
Speaker 3: so wild to watch this happen. This film came out

1683
01:25:09,200 --> 01:25:11,960
Speaker 3: in nineteen seventy six. Yeah, I know, it came out

1684
01:25:12,040 --> 01:25:15,559
Speaker 3: forty five years ago, and it is so there's so

1685
01:25:15,680 --> 01:25:19,040
Speaker 3: much truth embedded in it that it's hard to wrap

1686
01:25:19,080 --> 01:25:23,439
Speaker 3: your mind around. So Howard is doing great. His ratings

1687
01:25:23,439 --> 01:25:25,599
Speaker 3: are up, the network is doing great because his ratings

1688
01:25:25,600 --> 01:25:27,800
Speaker 3: are up, and he is again he is having an

1689
01:25:27,840 --> 01:25:31,240
Speaker 3: actual event where he thinks he's been possessed by a

1690
01:25:31,280 --> 01:25:34,000
Speaker 3: spirit that is making him say these things. But what

1691
01:25:34,080 --> 01:25:37,599
Speaker 3: he's saying is actually true and real. So I don't

1692
01:25:37,600 --> 01:25:39,920
Speaker 3: want to ruin the ending. But there's this again, another

1693
01:25:39,960 --> 01:25:43,040
Speaker 3: great speech by Ned Beattie about how corporations are the

1694
01:25:43,080 --> 01:25:45,599
Speaker 3: actual nations of the world today, that we don't live

1695
01:25:45,640 --> 01:25:48,720
Speaker 3: in a nation of ideology, you know, we live in

1696
01:25:48,720 --> 01:25:50,839
Speaker 3: a nation of branding and money.

1697
01:25:51,120 --> 01:25:51,519
Speaker 1: Wow.

1698
01:25:51,680 --> 01:25:55,200
Speaker 3: And there's another point where you know, Diana's looking for

1699
01:25:55,439 --> 01:25:57,400
Speaker 3: more people like Howard. She's like, you know, I need

1700
01:25:57,439 --> 01:26:00,320
Speaker 3: to because something happens. And she's like, you know, Howard

1701
01:26:00,400 --> 01:26:02,240
Speaker 3: kind of bites the hand that feeds him, so to speak.

1702
01:26:02,720 --> 01:26:06,400
Speaker 3: And she's like, well, you know, full fledged messiahs don't

1703
01:26:06,400 --> 01:26:09,280
Speaker 3: come in bunches. But you kind of watch her trying

1704
01:26:09,320 --> 01:26:12,840
Speaker 3: to replicate what she thinks is a formula but is

1705
01:26:12,880 --> 01:26:16,760
Speaker 3: actually a very singular event. You know, Howard Biel is

1706
01:26:16,760 --> 01:26:19,320
Speaker 3: a singular event, and watching people try to replicate that

1707
01:26:19,439 --> 01:26:23,519
Speaker 3: just gives me the fucking ick of that is what

1708
01:26:23,600 --> 01:26:26,920
Speaker 3: happens now, where something happens that's pure and real and

1709
01:26:26,960 --> 01:26:29,479
Speaker 3: then you see people trying to replicate the experience without

1710
01:26:29,479 --> 01:26:31,519
Speaker 3: paying attention to how special it is that we've just

1711
01:26:31,560 --> 01:26:35,080
Speaker 3: witnessed something so pure and real. So again, towards the

1712
01:26:35,160 --> 01:26:36,439
Speaker 3: end of this film, you get one of the most

1713
01:26:36,439 --> 01:26:40,599
Speaker 3: incredible breakup speeches of all time. You have a wild

1714
01:26:40,640 --> 01:26:43,920
Speaker 3: decision that the executives reach about how to deal with

1715
01:26:43,960 --> 01:26:47,559
Speaker 3: Howard eventually, And I just fucking love it. I love

1716
01:26:47,600 --> 01:26:50,280
Speaker 3: everything about this movie hits me and has hit me

1717
01:26:50,320 --> 01:26:51,920
Speaker 3: from the first time I saw it on so many

1718
01:26:51,960 --> 01:26:55,080
Speaker 3: different levels. But it is one of the smartest and

1719
01:26:55,760 --> 01:27:02,920
Speaker 3: most challenging and depressing and simultaneously invigorating films you could

1720
01:27:03,200 --> 01:27:05,120
Speaker 3: ever watch. And I know that a lot of people

1721
01:27:05,120 --> 01:27:06,960
Speaker 3: don't watch the movies we talk about, but I would

1722
01:27:07,040 --> 01:27:09,880
Speaker 3: encourage every single person to watch this one.

1723
01:27:10,280 --> 01:27:11,920
Speaker 2: Yeah, oh, I totally agree.

1724
01:27:11,920 --> 01:27:13,800
Speaker 1: I feel like both these movies this week are like,

1725
01:27:14,120 --> 01:27:16,919
Speaker 1: don't skip these, you should actually watch. I mean, Network

1726
01:27:17,040 --> 01:27:21,200
Speaker 1: is an absolute classic, so ahead of its time in

1727
01:27:21,280 --> 01:27:23,960
Speaker 1: terms of the things that it was talking about, yes,

1728
01:27:24,120 --> 01:27:27,559
Speaker 1: the ideas that it was pushing through. I mean, yeah,

1729
01:27:27,600 --> 01:27:30,519
Speaker 1: I am so glad that I got to watch this again.

1730
01:27:31,080 --> 01:27:32,680
Speaker 1: Like when I was working in TV, I was like

1731
01:27:32,720 --> 01:27:35,679
Speaker 1: I can't watch a ton of movies about the industry

1732
01:27:35,720 --> 01:27:37,320
Speaker 1: that I work in because I will just like same,

1733
01:27:37,680 --> 01:27:38,639
Speaker 1: walk into the ocean.

1734
01:27:38,840 --> 01:27:41,240
Speaker 3: Same. I haven't watched Everyone's You should watch the Morning Show.

1735
01:27:41,240 --> 01:27:42,800
Speaker 3: It's really good, and I'm like, it's too close to home.

1736
01:27:42,800 --> 01:27:44,400
Speaker 3: Even though I don't work on a network TV show,

1737
01:27:44,400 --> 01:27:45,280
Speaker 3: It's too close to home.

1738
01:27:45,520 --> 01:27:48,240
Speaker 1: But now that I'm now that I'm severed a bit

1739
01:27:48,320 --> 01:27:51,800
Speaker 1: from my old job, I'm like, Ooh, this movie is

1740
01:27:52,000 --> 01:27:52,960
Speaker 1: so good.

1741
01:27:53,720 --> 01:27:54,639
Speaker 2: Look what it's saying.

1742
01:27:55,160 --> 01:27:58,240
Speaker 3: It's so good. And again, just this kind of overarching

1743
01:27:58,320 --> 01:28:01,120
Speaker 3: theme of the spectacle becoming more important than the truth,

1744
01:28:01,240 --> 01:28:04,080
Speaker 3: Like we are living in that right now where I

1745
01:28:04,080 --> 01:28:06,160
Speaker 3: don't know if you saw this, Oh God, it's so

1746
01:28:06,520 --> 01:28:08,040
Speaker 3: and I don't know what the follow up has been,

1747
01:28:08,080 --> 01:28:09,439
Speaker 3: or if there has been any follow up. But do

1748
01:28:09,479 --> 01:28:12,719
Speaker 3: you remember a few months ago there was a video

1749
01:28:12,880 --> 01:28:17,360
Speaker 3: going around on Instagram of a very young woman standing

1750
01:28:18,080 --> 01:28:24,200
Speaker 3: behind her child's I See You crib and dancing like

1751
01:28:24,320 --> 01:28:27,679
Speaker 3: doing a TikTok dance while explaining that her child has RSV.

1752
01:28:28,000 --> 01:28:31,280
Speaker 3: It is like the most disconnected video I have ever

1753
01:28:31,320 --> 01:28:33,439
Speaker 3: seen in my life. It deserves to be studied. Again.

1754
01:28:33,479 --> 01:28:36,200
Speaker 3: I do not know what has happened. Since I don't

1755
01:28:36,200 --> 01:28:37,400
Speaker 3: know if the kid's okay, I don't know if she

1756
01:28:37,439 --> 01:28:39,720
Speaker 3: got anything, but I saw the video because people were

1757
01:28:39,760 --> 01:28:42,920
Speaker 3: giving feedback about how wow, nobody this is why nobody

1758
01:28:42,920 --> 01:28:45,840
Speaker 3: takes this generation seriously and I'm the minute I saw it,

1759
01:28:45,880 --> 01:28:47,320
Speaker 3: I was like, but this is indicative of a much

1760
01:28:47,360 --> 01:28:50,160
Speaker 3: larger problem and a much larger problem. There are so

1761
01:28:50,240 --> 01:28:54,800
Speaker 3: many things in this film that again emphasize how disastrous

1762
01:28:54,880 --> 01:28:58,960
Speaker 3: it has been to turn news into entertainment, to push

1763
01:28:59,000 --> 01:29:03,240
Speaker 3: an agenda of there no longer being facts in the world,

1764
01:29:03,320 --> 01:29:07,280
Speaker 3: that every thought is negotiable, every fact is negotiable. There

1765
01:29:07,360 --> 01:29:10,439
Speaker 3: is a true and present danger to that that. This

1766
01:29:10,560 --> 01:29:15,120
Speaker 3: film again was very prophetic in discussing.

1767
01:29:15,400 --> 01:29:20,679
Speaker 1: Yeah, yeah, man, incredible choice. Love doing this theme this week.

1768
01:29:20,880 --> 01:29:25,280
Speaker 1: Love these two heavy hitters, me too, and yeah, everybody

1769
01:29:25,320 --> 01:29:26,800
Speaker 1: should watch them for sure.

1770
01:29:27,240 --> 01:29:28,160
Speaker 3: Absolutely Okay.

1771
01:29:28,200 --> 01:29:29,439
Speaker 1: If you want to email us, we are at A

1772
01:29:29,439 --> 01:29:31,559
Speaker 1: Saw What You Did Pot at gmail dot com. Please

1773
01:29:31,640 --> 01:29:34,800
Speaker 1: send us questions for the bonus episodes. We also have

1774
01:29:34,840 --> 01:29:36,320
Speaker 1: a PO box if you want to send us hander

1775
01:29:36,360 --> 01:29:37,280
Speaker 1: in the letters.

1776
01:29:37,200 --> 01:29:39,360
Speaker 3: And you can find us on our social media at

1777
01:29:39,360 --> 01:29:42,160
Speaker 3: I Saw Pod, on Instagram, blue Sky, and Twitter. Our

1778
01:29:42,200 --> 01:29:45,240
Speaker 3: po box addresses on our link tree and Instagram, and

1779
01:29:45,320 --> 01:29:47,320
Speaker 3: you can also leave us a voicemail now. To play

1780
01:29:47,320 --> 01:29:48,880
Speaker 3: on the show, all you have to do is record

1781
01:29:48,920 --> 01:29:51,280
Speaker 3: a voice memo on your phone and email it to

1782
01:29:51,320 --> 01:29:53,160
Speaker 3: you I saw you did pot at gmail dot com.

1783
01:29:53,520 --> 01:29:56,800
Speaker 3: Please make it sixty seconds or less and please record

1784
01:29:56,800 --> 01:29:57,719
Speaker 3: it in a quiet space.

1785
01:29:57,960 --> 01:29:58,920
Speaker 2: We've also got merch.

1786
01:29:59,000 --> 01:30:01,600
Speaker 3: Go to exactly right dot com to find it, and

1787
01:30:01,680 --> 01:30:03,880
Speaker 3: our bonus episode is dropped on the main feed now

1788
01:30:04,040 --> 01:30:08,240
Speaker 3: every third Thursday of the month a MILLI. Yes, do

1789
01:30:08,320 --> 01:30:09,439
Speaker 3: you want to tell them what the movies are for

1790
01:30:09,479 --> 01:30:09,840
Speaker 3: next week?

1791
01:30:09,960 --> 01:30:11,680
Speaker 2: Sure as hell do so.

1792
01:30:11,920 --> 01:30:15,680
Speaker 1: Your h Oh my god, this is gonna this is

1793
01:30:15,720 --> 01:30:20,519
Speaker 1: so good. Your movies for next episode are slap Shot

1794
01:30:20,640 --> 01:30:24,720
Speaker 1: from nineteen seventy seven and Moneyball from twenty eleven.

1795
01:30:25,000 --> 01:30:26,479
Speaker 2: Oh my god.

1796
01:30:26,800 --> 01:30:29,479
Speaker 3: The tables of turn I'm doing the older one, you're

1797
01:30:29,479 --> 01:30:32,479
Speaker 3: doing the newer one. I like, can't wait for next week?

1798
01:30:32,560 --> 01:30:33,800
Speaker 3: Cannot wait for next week?

1799
01:30:33,840 --> 01:30:36,679
Speaker 2: Well, Daniel, as always a fucking pleasure join this podcast.

1800
01:30:37,040 --> 01:30:45,880
Speaker 3: I got damn love it ze. This has been an

1801
01:30:45,920 --> 01:30:49,720
Speaker 3: exactly right production. Produced by Casey O'Brien. Episode mixing and

1802
01:30:49,840 --> 01:30:53,479
Speaker 3: theme music by Tom Bryfogel. Artwork by Garrett Ross. Our

1803
01:30:53,520 --> 01:30:57,120
Speaker 3: executive producers are Georgia Hartstart, Karenkile, Garreff, and Daniel Kramer.

1804
01:30:57,479 --> 01:30:59,920
Speaker 3: You can follow us on Instagram and Twitter at Ia,

1805
01:31:00,840 --> 01:31:02,880
Speaker 3: and you can email us at I Saw what you

1806
01:31:02,920 --> 01:31:04,120
Speaker 3: did pod at gmail