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Speaker 1: Hey, film Spotters, Josh and Adam.

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Speaker 2: Here.

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Speaker 1: Wednesdays are when we usually drop something into the feed

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Speaker 1: from the Film Spotting Archive, but this week we wanted

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Speaker 1: to celebrate our sister podcast, big milestone. The Next Picture

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Speaker 1: Show just published it's five hundredth episode, so we're going

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Speaker 1: to share it right here in our feed. Five hundred

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Speaker 1: episodes comes out to Adam, ten years of podcasting.

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Speaker 3: How about that?

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Speaker 4: So excited for these four that ten years later they

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Speaker 4: are still pumping out great podcasts, great film criticism. Talking

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Speaker 4: about the movie that inspired the name of their show,

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Speaker 4: it is Peter Bogdanovich's The Last Picture Show, and it's

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Speaker 4: a movie Josh, I've seen. I've seen even more than once.

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Speaker 4: That means I can listen. I can hear their in

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Speaker 4: depth conversation about this film, and now you can too.

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Speaker 4: Here is The Next Picture Show, number five hundred. Scott

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Speaker 4: to Bias, Tasha Robinson, Genevieve Cosky, and Keith Phipps.

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Speaker 5: Very difficult to keep the line between the past.

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Speaker 2: And the press.

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Speaker 6: You believe that someone out of the past can enter

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Speaker 6: and take possession of a living being.

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Speaker 7: We may be through with the past, but the past

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Speaker 7: is not through with us. Welcome to the Next Picture Show,

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Speaker 7: a movie the Week podcast about a classic film and

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Speaker 7: how it shaped our thoughts on a recent release.

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Speaker 3: I'm Scott Tobias here with Tasha Robinson, Keith.

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Speaker 5: Phipps, and Genevieve Cosky.

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Speaker 7: Ten years ago, in early July twenty fifteen, our beloved

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Speaker 7: movie site That Dissolve was shuttered after two years under

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Speaker 7: the Pitchfork umbrella. It was a site that was simply

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Speaker 7: too beautiful for our blighted digital media world. But we

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Speaker 7: were not ready to scatter to the winds, not after

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Speaker 7: working so closely together for so many years at the

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Speaker 7: Dissolve in the av Club. So we conceived one group

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Speaker 7: project no one could fire us from, a self produced

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Speaker 7: knee movie podcast called The Next Picture Show. And now

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Speaker 7: we have reached five hundred episodes, which to me is

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Speaker 7: kind of a miracle because it took us an eternity

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Speaker 7: just to figure out when we could all get together

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Speaker 7: for episode one. Gang, what do you all remember about

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Speaker 7: this formative time in our lives?

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Speaker 8: I mean, I remember it being easier to get together

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Speaker 8: because I was a semi employed at that point in time.

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Speaker 8: I think I was like doing some freelance work, so

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Speaker 8: it was actually much easier for me to make time

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Speaker 8: for the podcast, but also I started out in a

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Speaker 8: purely behind the scenes role. So my biggest memory of

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Speaker 8: those early days is the giant bag of chords and

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Speaker 8: cables that I lugged to the physical space where we

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Speaker 8: recorded together and had to spend a half hour setting

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Speaker 8: everything up before we could record.

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Speaker 5: It was a different time pre.

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Speaker 8: Zoom, and when we all still lived in the same

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Speaker 8: city and a very nice studio space that we could

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Speaker 8: record in together. So the setup was definitely different and

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Speaker 8: my contribution was different, but you know, we all grew

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Speaker 8: together and evolved.

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Speaker 9: I definitely remember thinking this is going to be short term,

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Speaker 9: like this is going to be something that we're going

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Speaker 9: to do for a little while, and then, like every

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Speaker 9: group of people who work together and then go elsewhere

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Speaker 9: and get separate jobs from each other, like we're going

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Speaker 9: to drift apart. We're probably going to move to other cities.

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Speaker 9: We're definitely not going to continue doing this free project

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Speaker 9: to give free entertainment to the internet, given how time

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Speaker 9: consuming it is, and given that we're all probably about

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Speaker 9: to become freelancers, which is very time consuming. So call

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Speaker 9: me wrong, I mean I still think, you know, ten years,

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Speaker 9: it's kind of a short term, probably not going to

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Speaker 9: make it to eleven.

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Speaker 2: I think, yeah, No, I mean I didn't know how

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Speaker 2: long it would last. But then, but so I wanted

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Speaker 2: to hang out with you guys and work on some

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Speaker 2: I wish we mentioned Rachel Handler or Dozoco Worker was

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Speaker 2: part of this in the early days, and then then

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Speaker 2: did leave for another city and got too busy and

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Speaker 2: too famous too. But yeah, I've always loved working with

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Speaker 2: you guys. I'm glad to keep working with you. And

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Speaker 2: I'm glad that we have, you know, plug for the Patreon.

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Speaker 2: I'm glad we have the Patreon now, so it is

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Speaker 2: like a little bit of income for us. But you know,

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Speaker 2: when the days we were doing it for free, I

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Speaker 2: still wanted to do it, you know, so, and I'm

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Speaker 2: glad we kept going. My memory of that studio space

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Speaker 2: was somewhere on my phone. I have a picture of it.

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Speaker 2: It's a fairly horrifying bluegrass band or traditional very scary

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Speaker 2: banjo player. A picture from from the studio space, like

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Speaker 2: a statue. No, it's a those people think, oh.

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Speaker 7: It was a photo of Okay, Yeah, like when did

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Speaker 7: when did zoom come along because it really felt like zoom.

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Speaker 7: Plus the pandemic actually kind of made the show possible

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Speaker 7: long term in a way because you because you moved

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Speaker 7: away Genevieve and then you know, and then and then

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Speaker 7: it woul was like, I think the idea of us

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Speaker 7: having to get together physically in the same room or

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Speaker 7: when you were away initially physically in the same room

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Speaker 7: and have some kind of an awkward camera set up,

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Speaker 7: Like getting rid of all of that and being able

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Speaker 7: to do this all remotely made it so much easier

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Speaker 7: to pull off.

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Speaker 3: When we needed to pull off, I think, I.

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Speaker 8: Mean, I do miss my giant bag of cables and

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Speaker 8: you know, setting us all up around the same table together,

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Speaker 8: but yeah, we did. We actually started with Skype as

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Speaker 8: I recall, yeah, but right around pandemic different services for this.

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Speaker 3: Yeah, I mean remember the friends to app that we used. Totally.

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Speaker 3: It was the clunkiest thing, you know, it was very clunky.

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Speaker 7: It is kind of astonishing we've made it this far

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Speaker 7: and yet not and I think about part of it

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Speaker 7: is the Patreon I mean not just the money, but

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Speaker 7: just knowing that which is obviously super helpful, but having

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Speaker 7: that support from our listeners. This whole time. Is very motivating,

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Speaker 7: you know, you do what you do this for the fans,

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Speaker 7: you know, and not.

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Speaker 9: Just motivating, you know, in the sense of reminding us

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Speaker 9: that the people out there listening and people out there

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Speaker 9: that you know, care enough to throw three bucks our way.

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Speaker 9: It's also motivating in that we pay our guests, you know,

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Speaker 9: which is something that not every podcast does. In fact,

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Speaker 9: every time we ask a colleague of ours to be

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Speaker 9: on the podcast that's never been on the podcast before

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Speaker 9: and tell them what the fee is, they say, wait

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Speaker 9: a minute, you pay your tests.

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Speaker 2: We pay them a lot.

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Speaker 9: Yeah, I mean, we don't pay them a yearly salary

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Speaker 9: or anything. But it's nice to be able to, you know,

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Speaker 9: to support people in that way and to compensate people

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Speaker 9: for the time that they give us, because it's always

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Speaker 9: a delight when somebody wants to like give up like

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Speaker 9: four hours of their time to come and sit and

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Speaker 9: talk movies with us. But everybody's schedules are very very

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Speaker 9: busy these days, so you know, it's nice to be

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Speaker 9: able to both compensate them in that way and to

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Speaker 9: lurere in some of the just incredible talent that we've

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Speaker 9: gotten to come talk movies with us, for sure, for sure.

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Speaker 7: So for this a special five hundredth episode, we have

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Speaker 7: a fun little surprise for you Dissolve podcast fans from

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Speaker 7: back in the day. Well that's for a little bit later. First,

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Speaker 7: we're going to talk about a movie that we've selected

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Speaker 7: just for this occasion. Genevieve, can you tell our listeners

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Speaker 7: about it?

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Speaker 8: Certainly the name of this podcast was inspired by Peter

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Speaker 8: Bogdanovitch's nineteen seventy one classic The Last Picture Show, but

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Speaker 8: we've never actually found the opportunity to talk about it

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Speaker 8: until now. And given that this is a standalone episode,

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Speaker 8: we don't have to wait around for a new movie

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Speaker 8: with some connection to The Last Picture Show, so we're

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Speaker 8: free to dig right into Bogdanovitch's adaptation of Larry McMurtry's

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Speaker 8: novel about a dying Texas town in the early nineteen fifties.

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Speaker 8: Timothy Bottoms, Chloris Leachman, Jeff Bridges, Ellen Burston, and Sybil

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Speaker 8: Shepherd are among the familiar faces in this slice of

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Speaker 8: life in anering Texas, where a group of high school

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Speaker 8: seniors are graduating into an uncertain future and the older

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Speaker 8: residents are presiding over a town whose best days are

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Speaker 8: long behind it.

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Speaker 7: Man that sounds depressing Genevieve. Well, at least Bogdanovich didn't

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Speaker 7: shoot it in black and white and load up the

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Speaker 7: soundtrack with old Hank Williams songs, Right, Oh Boy, do Mine.

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Speaker 9: And Melt your cold, Cold Hat.

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Speaker 6: Tony Bennett's Cold Cold Heart was on Everybody's Hip Parade.

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Speaker 6: Elizabeth Taylor was getting married, boys were duck tails. The

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Speaker 6: police action in the Far East was Korea, and Anerine, Texas,

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Speaker 6: like other small towns, is approaching the end of an era.

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Speaker 10: I reckon. The reason why I always dragged yat here

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Speaker 10: is probably I'm just as sentimental as the next fellow

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Speaker 10: when it comes to old times, old.

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Speaker 6: Times Anrene, Texas, nineteen fifty one, nothing much has.

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Speaker 10: Changed, Cold Cold.

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Speaker 7: There's no greater shame in Texas than a subpar high

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Speaker 7: school football team, especially in a small town where there's

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Speaker 7: nothing to do on the weekends and not much else

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Speaker 7: to talk about. From the very beginning of the last

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Speaker 7: picture show, we can see with our eyes, and here

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Speaker 7: with our ears, the town of Anrene, Texas is in

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Speaker 7: its death throws. Adapting Larry McMurtry's novel Peter Bogdanovitch shoots

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Speaker 7: in black and white and fills the soundtrack with a

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Speaker 7: howling northerly wind that's unbroken by any signs of life.

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Speaker 7: When Sonny and Dwyane, two best friends played by Timothy

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Speaker 7: Bottom and Jeff Bridges, turn up, the older generation in

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Speaker 7: town are unified in their open disdain for the team's performance.

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Speaker 7: The friendliest bit of mockery they get is from Sam

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Speaker 7: played by Ben Johnson, who owns most of the town's businesses,

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Speaker 7: including the diner, the pool hall, and a movie house

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Speaker 7: called the Royal. He tells Sonny quote a few football

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Speaker 7: teams have had luck with tackling keeps the other team

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Speaker 7: from scoring too often. It's a sign of Sam's decency

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Speaker 7: and love for annerine that he foolishly bet on the

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Speaker 7: team winning anyway, but otherwise Sunny's failures as a two

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Speaker 7: sport athlete, which continue later in a basketball game the

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Speaker 7: team loses one twenty one to fourteen. I like a

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Speaker 7: bell Weather for the entire town. If you're like me

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Speaker 7: and you've ever driven through small towns in Middle America

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Speaker 7: that some industry or another has left behind, anreine looks

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Speaker 7: quite familiar. You see a lot of older residents who

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Speaker 7: have stuck around their whole lives through thick and mostly thin,

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Speaker 7: and a smattering of young people who would do well

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Speaker 7: to find their way out, and in the case of Anaerine,

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Speaker 7: Sam's weakening heart is the only thing standing between him

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Speaker 7: and oblivion. They're hanging on by an artery. While the

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Speaker 7: old timers and Anareine probably reminisce about the days when

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Speaker 7: the football team won state championships, the teenagers are bored

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Speaker 7: and looking for a way out. As an aside, I

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Speaker 7: think we only see one child in the whole film,

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Speaker 7: and the context for it is alarming. Sonny and Dwayne

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Speaker 7: don't seem to have thought much about what they're going

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Speaker 7: to do after high school, so they're mostly focused on

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Speaker 7: getting a second and third base beyond with whatever girls

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Speaker 7: they have access to. Sunny has reached an impass with

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Speaker 7: his current girlfriend, while she'll go as far as topless

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Speaker 7: necking and the cab of his truck, but they're both

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Speaker 7: so bored that they break up on their anniversary. For

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Speaker 7: his part, Duwayne is dating Jayce played by Sybil Shepherd,

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Speaker 7: who's the prettiest girl in town and part of the

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Speaker 7: richest family too, which creates its own set of obstacles.

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Speaker 7: Jacey has eyes on another guy who's more in her

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Speaker 7: country club class, but getting with him is a humiliating

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Speaker 7: ordeal that starts with a midnight swimming party where she

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Speaker 7: has to disrobe, and continues with his refusal to sleep

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Speaker 7: with her until she loses her virginity. In this world,

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Speaker 7: girl's virginity is a strange and treacherous kind of currency

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Speaker 7: and perhaps the film's most complex and ultimately heartbreaking relationship.

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Speaker 7: Sonny starts seeing Ruth played by Chlorus Leachman, the deeply

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Speaker 7: dissatisfied wife of his football and basketball coach. Sonny initially

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Speaker 7: agrees to drive Ruth through an appointment as a favor

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Speaker 7: to his coach, but the two have a surprising chemistry

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Speaker 7: and a mutual interest in easing their loneliness. Soon enough,

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Speaker 7: they start having an affair, not unlike Dustin holl In

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Speaker 7: Anne Bancroft and the Graduate, with the older woman bringing

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Speaker 7: her inexperienced young partner along while addressing an itch that

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Speaker 7: her oath of a husband could never scratch. As Ruth

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Speaker 7: explains to Sonny, she was twenty years old when she

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Speaker 7: got married, and in that time quote, I thought Harry

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Speaker 7: chested football coaches were about it. There are many deaths,

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Speaker 7: literal and metaphorical in the Last Picture Show, including the

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Speaker 7: night where the movie theater finally closes down with Dwayne,

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Speaker 7: Sonny and few others watching the Howard Hawk's Western Red

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Speaker 7: River American self mythology is built on the idea of

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Speaker 7: thriving little bergs like Annaerine, which are flush with Ma

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Speaker 7: and Pa diners and movie houses, and multiple generations of

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Speaker 7: residents who have turned their hometown into a happy community.

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Speaker 7: This film is black and white like a tombstone, and

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Speaker 7: the Hank Williams Senior songs hang over every melancholy interaction.

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Speaker 7: It's like Bogdanovitch is standing by a worlitzer with a

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Speaker 7: pocket full of quarters, and he's plugging away all night.

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Speaker 7: And yet as bleak as the Last Picture Show gets,

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Speaker 7: there's some faith here in the dignity and decency of

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Speaker 7: these characters, who show each other some compassion and mercy

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Speaker 7: when they need it, whether it's Jase's mother Lois played

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Speaker 7: by Ellen Burston, consoling her after a bad night out,

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Speaker 7: or justifiably angry Ruth recognizing that Sonny's pain rivals her own.

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Speaker 7: In the film's touching final scene. They may live in

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Speaker 7: a ghost town, but they're human. We'll talk about it

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Speaker 7: after the break.

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Speaker 10: Which one of you blooded his nose. I've told you

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Speaker 10: all not to fight with Billy because he don't understand

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Speaker 10: bout fight. What happens, Sonny.

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Speaker 6: They weren't none of us saying nah, It was Jimmy Sue.

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Speaker 10: Jimmy Sue. How do you get messed up with her?

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Speaker 5: We all chipped in, bought in piece ass.

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Speaker 6: Thought he was getting tired of being a virgin.

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Speaker 10: She got mad about something and blooded his nose. You

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Speaker 10: boys can get on out of here. I don't want

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Speaker 10: to have no more to do with you scaring a poor,

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Speaker 10: unfortunate creature like Billy just so as you could have

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Speaker 10: a few laughs. I've been around that trashy behavior all

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Speaker 10: my life. I'm getting tired of putting up with it.

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Speaker 10: You can stay out of this pool, all out of

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Speaker 10: my cafe and my picture show too. I don't want

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Speaker 10: no more of your business. We didn't mean for anything

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Speaker 10: bad to have to say it. We didn't even have

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Speaker 10: the decency to WASH's face.

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Speaker 7: The funny thing is we the last Picture Show has

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Speaker 7: been part of our lore all the way back to

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Speaker 7: the Dissolve, because I was always I was attached to

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Speaker 7: the idea in many different occases, both for both for

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Speaker 7: The Dissolver and for the newsletter that Keith and I

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Speaker 7: have of calling the publication the Royal, which is the

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Speaker 7: name of the theater in The Last Picture Show. That

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Speaker 7: did not take, but it is something that it's something

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Speaker 7: that we've focused on. But I actually don't know what everybody,

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Speaker 7: anybody thinks of this movie. So I'm actually I'm just

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Speaker 7: curious to know if you know, to what degree of

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Speaker 7: folks on here share my affection and love for the

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Speaker 7: film The Last Picture Show.

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Speaker 9: I mean, i'd never seen it before this. This was

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Speaker 9: my first time with it.

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Speaker 8: Oh that's exciting. I actually I hadn't seen it before

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Speaker 8: we started this podcast, but I figured it would be

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Speaker 8: good to be familiarize myself with the movie the podcast

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Speaker 8: is named after. So this is what's my second time

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Speaker 8: seeing it. But I want to hear about Tasha's experience first.

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Speaker 9: I mean, there's kind of the emotional experience and then

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Speaker 9: the intellectual experience, and the intellectual experience. It's just it's

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Speaker 9: one of those movies where you spend every five minutes

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Speaker 9: going Oh wow, was that person ever this young? Oh wow?

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Speaker 9: Is that person in here too? How is there any

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Speaker 9: role in this movie not played by somebody whose name

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Speaker 9: I know and who I've never seen, you know, this

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Speaker 9: fresh faced, unlined and dewey before. That's sort of the

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Speaker 9: thing that was going on in the background of my

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Speaker 9: mind the entire time I was trying to quote unquote

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Speaker 9: enjoy this tremendously tremendously sad story. It's just oh, it's

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Speaker 9: such a pylon. I mean, it's it's so well done,

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Speaker 9: but it's just so grim in terms of watching this

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Speaker 9: town just lose one institution after another, in terms of

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Speaker 9: people and places and gatherings and relationships, and just like

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Speaker 9: watching it all fall apart piece by piece, I mean,

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Speaker 9: as portraits of kind of the passage of time and

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Speaker 9: what it does to people and what it does to communities.

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Speaker 9: It's really terrific as a feel good booster movie to

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Speaker 9: kind of like bring the light back into a weirdly

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Speaker 9: early Chicago winter. I don't know that I would recommend

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Speaker 9: it to many people.

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Speaker 3: In that regard.

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Speaker 7: It's grim, but we just we did they shoot horses,

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Speaker 7: don't they? It's not don't they grim?

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Speaker 2: It's not. I mean on the Audio Conventary, Peter Bardonovitch

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Speaker 2: talks about like this you know my phrase, but like

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Speaker 2: I think his idea like this kind of weird disconnect

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Speaker 2: of a film that shot in its very old Hollywood style,

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Speaker 2: but the material is so new Hollywood and so frank,

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Speaker 2: and its depiction of sexuality and it's glumness, and it's

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Speaker 2: like sort of refusal to push people toward a happy ending.

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Speaker 2: I think that's part of what makes it so. It

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Speaker 2: is kind of a one of one movie in a way,

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Speaker 2: because it is there's so much going on that, you know,

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Speaker 2: such a mix of styles and material that you just

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Speaker 2: don't really see anywhere else. I whant I think about

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Speaker 2: this movie? I think I think about the wind I

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Speaker 2: think you mentioned you mentioned that before, But it's just

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Speaker 2: just this constant, you know, soundtrack in the background. It's

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Speaker 2: sort of eerie, and and it just the sort of

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Speaker 2: the sense of emptiness. I mean, what's the most crowded

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Speaker 2: scene in the film is that the graduation scene?

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Speaker 3: Is it?

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Speaker 2: Maybe the swimming party? I mean it's just not a place.

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Speaker 9: Yeah, I think it's a dance party before the swimming party.

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Speaker 2: Yeah, it's true. But even that you're talking like what

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Speaker 2: a few dozen characters. It's just it's almost kind of

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Speaker 2: like a Martian landscape in a way, and there's just

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Speaker 2: not that many people there.

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Speaker 9: Yeah, the moment where somebody says, you know, there's there's

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Speaker 9: only one pretty girl in town and she's taken. The

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Speaker 9: moment that you see as soon as somebody breaks up,

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Speaker 9: somebody else is going to be ready to swoop in,

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Speaker 9: and you just realize like how small the group of

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Speaker 9: young people is in this town. You know, the young,

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Speaker 9: unattached people all know each other and kind of have

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Speaker 9: an eye on each other in case anything changes, because

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Speaker 9: there are just there's so few social slots. Basically, there

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Speaker 9: are so few places to be. The whole image of

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Speaker 9: Sonny and Duane sharing a pickup just kind of to

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Speaker 9: some degree typifies the way this town just doesn't seem

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Speaker 9: to have enough of anything, and people in space and

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Speaker 9: places and things to do are all like high on

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Speaker 9: that list. But the sense of like two boys social

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Speaker 9: lives both revolving around the same truck, for me, is

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Speaker 9: just so emblematic.

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Speaker 5: The scene that.

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Speaker 8: Really stuck out to me on this viewing was the

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Speaker 8: three of them, Sunny, Dwayne and j C.

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Speaker 5: R driving and.

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Speaker 8: They start singing the school song, which I think was

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Speaker 8: actually a director's cut edition, but I think only the

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Speaker 8: director's cut is out there now, am I right? You

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Speaker 8: all watch the version.

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Speaker 2: I think there's a blu ray that has both cuts

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Speaker 2: on it, but it's the more you're more likely to

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Speaker 2: see the director's cut, which I which is not that

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Speaker 2: different but I think better in its additions.

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Speaker 8: Yeah, and I'm really glad it has that scene of

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Speaker 8: them singing the school song because it feels just to

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Speaker 8: me like it really encapsulates the almost like borderline cynical

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Speaker 8: nostalgic feeling of this movie, like because you know, they're

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Speaker 8: singing this song and they're being kind of like ironic

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Speaker 8: about it, but they're also being kind of genuine about it.

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Speaker 6: You know.

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Speaker 8: It's this really interesting middle ground of kind of what

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Speaker 8: you would expect of a you know, a nostalgic, warm

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Speaker 8: look at the past and a realistic lens on what

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Speaker 8: you know, the reality of this situation really is. And yeah,

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Speaker 8: it's I think Keith you said it's like a one

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Speaker 8: of one film, Like I can't think of any other

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Speaker 8: movie that has this sort of tonality between feeling nostalgic

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Speaker 8: but not feeling warm toward.

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Speaker 5: The nostalgia in any way. But the film.

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Speaker 8: Kicks off in you know, November December, you know, with

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Speaker 8: that wind, and people comment on how cold it is,

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Speaker 8: you know, and this is Texas, and obviously it spans

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Speaker 8: a you know, a lot of time, so it doesn't

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Speaker 8: stay that cold. But I think introducing this story in

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Speaker 8: this very like desolate, cold, black and white feeling, but

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Speaker 8: you know, on the this presumably really exciting stage of

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Speaker 8: life for all these young adults, you know, like transitioning

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Speaker 8: into the people they're going to become.

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Speaker 7: Yeah, when I see this movie, you know, I always

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Speaker 7: I think this movie anytime I you know, we're here

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Speaker 7: at Illinois.

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Speaker 3: I often have occasion.

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Speaker 7: To drive through the middle of Indiana and you go,

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Speaker 7: you go through some of the are just generally some

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Speaker 7: of it through Ohio, Ohio, Indiana machine these sort of

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Speaker 7: roust belt towns that have long since we're downtown, has

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Speaker 7: mostly shuttered.

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Speaker 3: I mean, it's a pretty common thing to see.

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Speaker 7: And I always think, think about the last picture show,

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Speaker 7: and then think again about like who populates this town.

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Speaker 7: And then also, you know, particular to this film, you know,

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Speaker 7: the burden that the you know, so the young people

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Speaker 7: have to carry, I mean just you know, and it

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Speaker 7: starts out right away with all the comments about how

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Speaker 7: bad they are in football and basketball, but like how

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Speaker 7: many can there be? I mean, like sure, this is

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Speaker 7: a town that had its glory days, where where the

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Speaker 7: older generation remembers triumphs and the grid iron, and it's

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Speaker 7: like this is that they don't have enough kids left.

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Speaker 7: I mean, you know, there's only one, I think, only

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Speaker 7: one child in the entire film, and the context in

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Speaker 7: which we see this this little girl, is rather disturbing.

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Speaker 2: You know.

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Speaker 3: So so this is a this is a town that

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Speaker 3: is you know, is literally dying off.

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Speaker 7: And then and we're we're seeing it oftentimes from the perspective,

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Speaker 7: you know of these high school seniors who are who

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Speaker 7: then have to figure out, you know, what their next

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Speaker 7: step is because the notion of staying where they are,

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Speaker 7: staying where their parents are it may be maybe comforting

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Speaker 7: to a degree, but it's it's almost like not tenable too.

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Speaker 2: There is one other child. It is the naked boy

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Speaker 2: swimming along with the in the swimming party. That's True's

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Speaker 2: by that one of the more disturbing details.

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Speaker 9: Yeah, yeah, the sense then nobody is really all that

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00:22:29,880 --> 00:22:32,840
Speaker 9: excited about graduation. The sense that it doesn't feel like,

435
00:22:32,920 --> 00:22:35,480
Speaker 9: you know, this exciting liminal state where they're going off

436
00:22:35,520 --> 00:22:39,520
Speaker 9: into into some kind of future that kind of haunts

437
00:22:39,560 --> 00:22:42,560
Speaker 9: so many high school stories. I think just comes from

438
00:22:42,600 --> 00:22:44,320
Speaker 9: the sense of, like where are they supposed to go?

439
00:22:44,600 --> 00:22:47,600
Speaker 9: We kind of watch Dwayne go through the options, you know,

440
00:22:48,520 --> 00:22:52,120
Speaker 9: leave town, get a job elsewhere, become a rough neck,

441
00:22:52,240 --> 00:22:55,280
Speaker 9: go into the military, Like those those are just kind

442
00:22:55,320 --> 00:22:58,840
Speaker 9: of he runs down the whole list. There's certainly a

443
00:22:58,880 --> 00:23:03,000
Speaker 9: sense that JC is kind of enjoying the last period

444
00:23:03,080 --> 00:23:05,439
Speaker 9: of her life where she's going to be important to

445
00:23:05,720 --> 00:23:09,320
Speaker 9: maybe anybody outside of whoever she suckers into marrying her

446
00:23:09,359 --> 00:23:13,359
Speaker 9: next and her parents. The tiny fame of like maybe

447
00:23:13,359 --> 00:23:15,280
Speaker 9: the police will come after me because my parents will

448
00:23:15,280 --> 00:23:18,520
Speaker 9: be mad at what we did is like the biggest

449
00:23:18,560 --> 00:23:20,960
Speaker 9: thrill that she's got in her life. There's just not

450
00:23:21,160 --> 00:23:24,520
Speaker 9: a whole lot going on for anybody in terms of

451
00:23:24,560 --> 00:23:26,639
Speaker 9: a future, and the fact that the whole movie is

452
00:23:26,720 --> 00:23:31,399
Speaker 9: basically about the town dying emphasizes that. Like there's certainly

453
00:23:31,440 --> 00:23:33,560
Speaker 9: a moment where you kind of feel like Sonny is

454
00:23:33,600 --> 00:23:36,879
Speaker 9: going to be the next Sam. He's going to maintain

455
00:23:37,080 --> 00:23:40,240
Speaker 9: these institutions that have kept the town alive, that have

456
00:23:40,680 --> 00:23:43,720
Speaker 9: kept the community coming together, that have meant something to people,

457
00:23:44,119 --> 00:23:47,720
Speaker 9: and the fact that like even that lasts such a

458
00:23:47,760 --> 00:23:50,520
Speaker 9: short period of time, it's just tremendously sad.

459
00:23:51,160 --> 00:23:53,199
Speaker 8: Yeah, I had the same thought about, like, you know,

460
00:23:53,320 --> 00:23:55,880
Speaker 8: Sonny could be the next Sam. But we also hear

461
00:23:56,000 --> 00:23:58,840
Speaker 8: from Sam during that lovely scene at the tank where

462
00:23:58,880 --> 00:24:01,280
Speaker 8: he's kind of telling Sonny about his past, like he

463
00:24:01,400 --> 00:24:05,040
Speaker 8: had multiple lives before he was Sam the Lion. You know,

464
00:24:06,000 --> 00:24:10,840
Speaker 8: he had other opportunities to become the person he is.

465
00:24:11,000 --> 00:24:14,480
Speaker 8: He didn't just kind of roll from adolescents into adulthood

466
00:24:14,800 --> 00:24:17,919
Speaker 8: in the same situation, which is what is happening to Sonny.

467
00:24:18,080 --> 00:24:22,760
Speaker 8: And it's depressing for Sonny to just like not have

468
00:24:23,240 --> 00:24:27,159
Speaker 8: his life expand in any way. And you get the

469
00:24:27,200 --> 00:24:31,200
Speaker 8: sense that Sam is someone who had a somewhat more

470
00:24:31,280 --> 00:24:32,560
Speaker 8: expansive life.

471
00:24:32,760 --> 00:24:34,880
Speaker 7: And I think there's kind of a sense from Sam.

472
00:24:34,920 --> 00:24:38,439
Speaker 7: I mean, you know, various characters, including Sonny and I

473
00:24:38,440 --> 00:24:40,600
Speaker 7: can't remember the woman who inherits the movie theater, but

474
00:24:40,680 --> 00:24:43,080
Speaker 7: there's there's that sense of like there's not much to

475
00:24:43,160 --> 00:24:46,959
Speaker 7: that inheritance, like like like these businesses are going to

476
00:24:47,240 --> 00:24:49,960
Speaker 7: die out pretty much with Sam. I don't think there's

477
00:24:50,240 --> 00:24:52,000
Speaker 7: you don't get a sense that he's making a profit

478
00:24:52,080 --> 00:24:55,320
Speaker 7: of any of this. It's just all of these institutions,

479
00:24:55,320 --> 00:24:58,679
Speaker 7: the cafe, the pool hall, the movie house are probably

480
00:24:58,720 --> 00:25:02,439
Speaker 7: operating at a law and then when you actually lose

481
00:25:02,800 --> 00:25:06,400
Speaker 7: Sam himself, then what you know, how can they really survive?

482
00:25:06,960 --> 00:25:09,320
Speaker 5: But at the same time, I think I believe in Genevieve.

483
00:25:09,320 --> 00:25:10,960
Speaker 5: Genevieve could have kept that tyner going.

484
00:25:12,359 --> 00:25:15,000
Speaker 3: That is true as Genevieve's do.

485
00:25:16,040 --> 00:25:18,920
Speaker 7: And then one of the things that I couldn't help

486
00:25:18,960 --> 00:25:21,920
Speaker 7: but think about is like the Last Picture Show seems like.

487
00:25:21,920 --> 00:25:23,480
Speaker 3: It's in this world of the.

488
00:25:24,040 --> 00:25:27,639
Speaker 7: Pretty comfortable slash distant past. But if you were to

489
00:25:27,680 --> 00:25:29,960
Speaker 7: make it but years wise, I mean, if you were

490
00:25:29,960 --> 00:25:32,160
Speaker 7: to make The Last Picture Show in twenty twenty five

491
00:25:32,200 --> 00:25:36,080
Speaker 7: and set it back when a comparable number of years ago,

492
00:25:36,240 --> 00:25:38,520
Speaker 7: it would be set after nine to eleven.

493
00:25:38,440 --> 00:25:38,960
Speaker 3: You know what I mean.

494
00:25:39,000 --> 00:25:42,159
Speaker 7: So it doesn't see it seems like there's this huge

495
00:25:42,200 --> 00:25:45,720
Speaker 7: distance in time between when the film was made and

496
00:25:45,720 --> 00:25:47,679
Speaker 7: when the film was set. But it's only it's it's

497
00:25:47,720 --> 00:25:51,479
Speaker 7: not even twenty years, right, What do we make of that?

498
00:25:51,520 --> 00:25:55,000
Speaker 2: It's about twenty years yeah, but I mean, I think

499
00:25:55,080 --> 00:25:58,080
Speaker 2: it's also kind of like there's certain I think, you know,

500
00:25:58,119 --> 00:25:59,480
Speaker 2: it's on the other side of the sixties. What you

501
00:25:59,520 --> 00:26:01,080
Speaker 2: think it makes to be different. I think it's why,

502
00:26:01,720 --> 00:26:05,520
Speaker 2: you know, American Graffiti feels like it's going looking back

503
00:26:05,560 --> 00:26:08,280
Speaker 2: a lot further than it actually was, which is actually

504
00:26:08,320 --> 00:26:12,040
Speaker 2: about ten years, you know. But it does seem to

505
00:26:12,080 --> 00:26:14,440
Speaker 2: be like a lost world though, doesn't it.

506
00:26:14,640 --> 00:26:19,280
Speaker 8: It also like just evokes an earlier period of film,

507
00:26:19,359 --> 00:26:24,040
Speaker 8: Like there's so much like classic Western illusion here, Ben

508
00:26:24,160 --> 00:26:26,919
Speaker 8: Jonson being one of them, but also like the final

509
00:26:26,920 --> 00:26:31,359
Speaker 8: movie that they watch and forgetting red River, yes, you know,

510
00:26:31,400 --> 00:26:35,200
Speaker 8: and just that you know, the vistas. It does feel

511
00:26:35,520 --> 00:26:39,040
Speaker 8: visually like it is calling back to an earlier era

512
00:26:39,560 --> 00:26:43,000
Speaker 8: of film as well, not just like the actual events

513
00:26:43,119 --> 00:26:44,760
Speaker 8: of our world at that time.

514
00:26:45,080 --> 00:26:47,680
Speaker 9: One other aspect I think of it technically being such

515
00:26:47,680 --> 00:26:50,080
Speaker 9: a short time period, a twenty year gap, is I

516
00:26:50,119 --> 00:26:53,400
Speaker 9: feel like this is maybe one of the more unsentimental

517
00:26:53,640 --> 00:26:56,960
Speaker 9: looks at the fifties that I've seen in terms of

518
00:26:57,280 --> 00:27:01,159
Speaker 9: especially in terms of sex and sexuality. There just isn't

519
00:27:01,240 --> 00:27:05,520
Speaker 9: any of that sort of eighties reconstitution of everything that

520
00:27:05,600 --> 00:27:08,080
Speaker 9: led to things like blue Velvet you know, scraping at

521
00:27:08,119 --> 00:27:15,000
Speaker 9: the dirty undersurface of an idealized suburban neighborhood, and you know,

522
00:27:15,040 --> 00:27:18,560
Speaker 9: the callback to the version of the fifties that we've

523
00:27:18,600 --> 00:27:21,200
Speaker 9: made up in our mind. This is just a very

524
00:27:21,640 --> 00:27:26,240
Speaker 9: i don't know, kind of like plain spoken, in realistic

525
00:27:26,440 --> 00:27:29,359
Speaker 9: kind of setting. It really took me back that first

526
00:27:29,400 --> 00:27:32,679
Speaker 9: shot of two teenagers necking in their car and the

527
00:27:32,720 --> 00:27:34,679
Speaker 9: girl's got her top off and he's got one of

528
00:27:34,680 --> 00:27:36,760
Speaker 9: her bare breasts in his hand, and I was just like,

529
00:27:37,200 --> 00:27:39,800
Speaker 9: wait a minute. You know, it's just it's so rare

530
00:27:40,520 --> 00:27:44,880
Speaker 9: to see that kind of casual sexuality in movies today.

531
00:27:44,920 --> 00:27:47,280
Speaker 9: And if we were making a movie, any movie set

532
00:27:47,280 --> 00:27:50,360
Speaker 9: in the fifties today, you wouldn't see casual topless listen

533
00:27:50,640 --> 00:27:54,119
Speaker 9: like that. But the way this movie approaches sex in

534
00:27:54,160 --> 00:27:59,040
Speaker 9: particular just seems like so of its time in terms

535
00:27:59,160 --> 00:28:03,879
Speaker 9: of a kind of like practicality, and again just so sad.

536
00:28:03,960 --> 00:28:06,520
Speaker 9: There are there are some people having really awful sex

537
00:28:06,600 --> 00:28:10,639
Speaker 9: in this movie. Oh that bed is so squeaky and

538
00:28:10,640 --> 00:28:13,919
Speaker 9: he spends they both look so uncomfortable about it. But

539
00:28:14,000 --> 00:28:16,000
Speaker 9: even more so, there's just sort of a sense that

540
00:28:16,600 --> 00:28:19,920
Speaker 9: nobody has ever taught any of these women that sex

541
00:28:19,920 --> 00:28:22,520
Speaker 9: should be pleasurable, and nobody has ever taught any of

542
00:28:22,560 --> 00:28:26,240
Speaker 9: these ment anything whatsoever. So sex is always a process

543
00:28:26,320 --> 00:28:29,960
Speaker 9: of the woman looks uncomfortable, the man climbs on top.

544
00:28:30,359 --> 00:28:32,840
Speaker 9: They both try not to look at each other, and

545
00:28:32,840 --> 00:28:36,520
Speaker 9: then there's some wiggling and uh, then they're both very,

546
00:28:36,640 --> 00:28:38,760
Speaker 9: very uncomfortable of what they've just done.

547
00:28:38,960 --> 00:28:42,040
Speaker 2: So I think Ruth and Sunny, Yeah, figure it out

548
00:28:42,040 --> 00:28:44,760
Speaker 2: as they go along. Yeah, I feel like you see

549
00:28:45,080 --> 00:28:48,000
Speaker 2: Ruth kind of blossom and and turn for like, you know,

550
00:28:48,120 --> 00:28:51,400
Speaker 2: I don't know how course course used here. I think

551
00:28:51,440 --> 00:28:53,640
Speaker 2: the character has supposed to be in her thirties.

552
00:28:53,280 --> 00:28:54,360
Speaker 9: But she she's forty.

553
00:28:54,600 --> 00:28:57,320
Speaker 2: Okay, well, yeah, that's right, forty. It's an itchy age,

554
00:28:57,320 --> 00:29:01,440
Speaker 2: I think is what is Yeah, but such she looks

555
00:29:01,760 --> 00:29:05,600
Speaker 2: she just looks looks much older and much like worn out.

556
00:29:05,640 --> 00:29:08,560
Speaker 2: And then she's kind of revived by this affair. You

557
00:29:08,560 --> 00:29:11,120
Speaker 2: could just you know, she Leechman just looks so much

558
00:29:11,120 --> 00:29:13,520
Speaker 2: more vibrant, and you know, if you get the feeling

559
00:29:13,560 --> 00:29:17,200
Speaker 2: that they figured something out, you know in the bedroom. However,

560
00:29:18,040 --> 00:29:21,680
Speaker 2: you know, awkward their relationship might be to the people

561
00:29:21,720 --> 00:29:23,320
Speaker 2: around them, though everyone knows about it.

562
00:29:23,440 --> 00:29:28,400
Speaker 9: I guess given the complete lack of like attempt to

563
00:29:28,440 --> 00:29:31,000
Speaker 9: instruct him in any way that we see in that

564
00:29:31,040 --> 00:29:34,560
Speaker 9: first encounter or even ease his discomfort, especially with the

565
00:29:34,600 --> 00:29:38,240
Speaker 9: squeaky bed, just did not lead me to to hopes

566
00:29:38,280 --> 00:29:40,240
Speaker 9: for that. Like, you look at the sexuality of something

567
00:29:40,280 --> 00:29:43,240
Speaker 9: like The Graduate and how it approaches, you know, a

568
00:29:43,320 --> 00:29:46,720
Speaker 9: relationship between an older, experienced woman and a younger man,

569
00:29:47,160 --> 00:29:51,320
Speaker 9: and there's that feeling of like of instruction of something

570
00:29:51,440 --> 00:29:56,320
Speaker 9: forbidden and maybe inappropriate, but you know, also attempting and tantalizing,

571
00:29:56,520 --> 00:29:58,640
Speaker 9: but also just sort of an opportunity for a young

572
00:29:58,640 --> 00:30:01,560
Speaker 9: man to learn and heard to that this just sort

573
00:30:01,600 --> 00:30:04,760
Speaker 9: of feels like, you know, she's carrying how sex is,

574
00:30:04,880 --> 00:30:08,200
Speaker 9: she's learned it in this just incredibly dry and depressing

575
00:30:08,200 --> 00:30:11,760
Speaker 9: an environment. I feel like that blossoming comes from attention

576
00:30:11,920 --> 00:30:15,760
Speaker 9: and connection more than you know them necessarily having achieved

577
00:30:15,760 --> 00:30:17,560
Speaker 9: any kind of satisfaction in the sack.

578
00:30:17,960 --> 00:30:20,080
Speaker 2: Well, here's something. One of the things that just strikes

579
00:30:20,080 --> 00:30:22,160
Speaker 2: me in this movie every time I watch it about

580
00:30:22,720 --> 00:30:25,520
Speaker 2: this time is like when Leechin's character says when he's

581
00:30:25,560 --> 00:30:27,560
Speaker 2: when he when Suddy's saying, you know you must miss coach,

582
00:30:27,600 --> 00:30:29,160
Speaker 2: you must be looked forward to the seasons sitting so

583
00:30:29,200 --> 00:30:31,280
Speaker 2: you can spend more time with them. And she says,

584
00:30:31,760 --> 00:30:33,920
Speaker 2: my god, you don't know a thing about it, do you.

585
00:30:34,440 --> 00:30:36,040
Speaker 2: And I was to me, that's just sort of like

586
00:30:36,160 --> 00:30:39,120
Speaker 2: she's talking about life, right, I was just talking about

587
00:30:39,160 --> 00:30:42,320
Speaker 2: how you know, how you know their marriage is soured

588
00:30:42,320 --> 00:30:44,640
Speaker 2: and you know a lot of marriages, you know do

589
00:30:44,840 --> 00:30:47,479
Speaker 2: And but one thing that that Bogdana I haven't read

590
00:30:47,520 --> 00:30:49,040
Speaker 2: the book. I really should want these days. But one

591
00:30:49,080 --> 00:30:54,040
Speaker 2: thing but Bogdanovitch suggests is that Coach is gay. M Yeah,

592
00:30:54,040 --> 00:30:56,640
Speaker 2: which I came across. Yeah, I'd never picked up with

593
00:30:56,640 --> 00:30:57,600
Speaker 2: that at all watching this.

594
00:30:57,800 --> 00:31:00,520
Speaker 8: Yeah, I think it's more from the book maybe than

595
00:31:00,560 --> 00:31:03,479
Speaker 8: in the movie. But but yeah, I think that, you know,

596
00:31:03,560 --> 00:31:06,880
Speaker 8: talking about sexuality in this movie, it kind of goes

597
00:31:06,880 --> 00:31:09,880
Speaker 8: hand in hand with this movie's view of marriage, which

598
00:31:10,040 --> 00:31:14,040
Speaker 8: there is not a really successful or happy.

599
00:31:13,800 --> 00:31:15,440
Speaker 5: Marriage in this movie.

600
00:31:15,520 --> 00:31:19,560
Speaker 8: And it almost feels like sex is something that stops

601
00:31:19,600 --> 00:31:23,080
Speaker 8: happening when you get married, you know, and jac is

602
00:31:23,120 --> 00:31:27,560
Speaker 8: certainly like kind of positioning marriage is something that you

603
00:31:27,600 --> 00:31:30,600
Speaker 8: know has to happen in order for there to be sex.

604
00:31:31,120 --> 00:31:35,000
Speaker 8: But it's all moved from the idea of desire and

605
00:31:35,280 --> 00:31:37,560
Speaker 8: you know, like people, you know, all these characters are

606
00:31:37,600 --> 00:31:40,720
Speaker 8: sort of chasing the idea of desire and to the

607
00:31:40,800 --> 00:31:44,200
Speaker 8: extent that they you know, achieve it or pleasure as

608
00:31:44,240 --> 00:31:47,360
Speaker 8: a result of it, is like outside of marriage, you know,

609
00:31:47,480 --> 00:31:49,960
Speaker 8: And I think we do. I think Ruth and Sunny

610
00:31:50,200 --> 00:31:53,960
Speaker 8: do get there. We don't see them actually experience like

611
00:31:54,000 --> 00:31:56,760
Speaker 8: a sexual connection like that, but I think you know,

612
00:31:56,920 --> 00:31:59,400
Speaker 8: her wearing his shirt and then you know, kind of

613
00:31:59,440 --> 00:32:03,360
Speaker 8: like being on the floor casually together, like ixtrapolated them

614
00:32:03,400 --> 00:32:05,440
Speaker 8: out that out to like like you said, Keith them

615
00:32:05,480 --> 00:32:08,920
Speaker 8: figuring it out, you know. But again it happens like

616
00:32:09,000 --> 00:32:12,800
Speaker 8: outside of a context where marriage is even a question,

617
00:32:13,120 --> 00:32:16,680
Speaker 8: you know. And I think just the idea of the

618
00:32:16,760 --> 00:32:20,280
Speaker 8: nuclear family is like entirely is the other thing that

619
00:32:20,280 --> 00:32:22,640
Speaker 8: has like died in this town, you know, Like neither

620
00:32:22,720 --> 00:32:25,880
Speaker 8: Sunny nor Dwayne have both of their parents around. Sort

621
00:32:25,880 --> 00:32:30,920
Speaker 8: of the only traditional family structure we see is the Pharaohs.

622
00:32:31,080 --> 00:32:34,240
Speaker 8: But you know that's a big old mess, you know,

623
00:32:34,480 --> 00:32:37,400
Speaker 8: in its own way. So it kind of feels like

624
00:32:37,480 --> 00:32:40,840
Speaker 8: again to go back to the time period of this

625
00:32:41,000 --> 00:32:45,680
Speaker 8: sort of that classic fifty idea of the fifties nuclear

626
00:32:45,880 --> 00:32:51,240
Speaker 8: family is also just deteriorated and wasted away in this movie.

627
00:32:51,480 --> 00:32:54,360
Speaker 9: I mean, it just kind of feels like nothing is

628
00:32:54,880 --> 00:32:58,520
Speaker 9: left in this town. Nothing is holding together, no no institution,

629
00:32:58,800 --> 00:33:04,360
Speaker 9: no relationship, no sense of community, no connection. That dreadful

630
00:33:04,440 --> 00:33:07,680
Speaker 9: scene at the end with the trucker and a bunch

631
00:33:07,720 --> 00:33:10,720
Speaker 9: of people like standing around Billy's body, you get the

632
00:33:10,760 --> 00:33:14,600
Speaker 9: impression as they're talking about him, you know, the the

633
00:33:14,640 --> 00:33:18,200
Speaker 9: out of towner who has just killed a child and

634
00:33:18,240 --> 00:33:20,880
Speaker 9: doesn't feel guilty about it, and the rest of the

635
00:33:20,920 --> 00:33:23,760
Speaker 9: community just kind of standing there shrugging and saying, you know, well,

636
00:33:23,840 --> 00:33:26,440
Speaker 9: you know he was always he was always dumb and slow,

637
00:33:26,480 --> 00:33:28,160
Speaker 9: and we don't really know what he was doing out

638
00:33:28,160 --> 00:33:30,880
Speaker 9: in the middle of the road, like it's no big deal.

639
00:33:31,280 --> 00:33:33,200
Speaker 9: I think that's where maybe you just get a sense

640
00:33:33,240 --> 00:33:36,480
Speaker 9: that there's no human feeling left in this town anymore,

641
00:33:36,920 --> 00:33:37,200
Speaker 9: you know.

642
00:33:37,360 --> 00:33:39,560
Speaker 8: If I think that's where Sunny gets that sense too.

643
00:33:39,760 --> 00:33:41,560
Speaker 8: I think that's like the final straw for.

644
00:33:41,560 --> 00:33:44,080
Speaker 9: Him, oh for sure, which you know he and he

645
00:33:44,160 --> 00:33:46,840
Speaker 9: pushes back against it, you know, he comes in with

646
00:33:46,920 --> 00:33:52,560
Speaker 9: this level of emotion and anger against their complete inhumanity.

647
00:33:52,920 --> 00:33:54,959
Speaker 9: But I mean in the end, if like if a

648
00:33:55,080 --> 00:33:57,920
Speaker 9: small town can't rally around one of their own, what,

649
00:33:58,680 --> 00:34:02,640
Speaker 9: you know, whose life was carelessly lost. If if they can't,

650
00:34:02,840 --> 00:34:06,040
Speaker 9: if a small Texas town can't rise up against an

651
00:34:06,080 --> 00:34:09,520
Speaker 9: outsider that killed one of their own, like what even

652
00:34:09,640 --> 00:34:10,760
Speaker 9: is this town anymore?

653
00:34:11,520 --> 00:34:12,160
Speaker 3: That's a good point.

654
00:34:12,160 --> 00:34:15,279
Speaker 7: I would make somewhat of a distinction here because I

655
00:34:15,280 --> 00:34:19,400
Speaker 7: think you're absolutely right about the town as this organism.

656
00:34:19,719 --> 00:34:22,239
Speaker 7: But I think that the film is also has so

657
00:34:22,280 --> 00:34:27,719
Speaker 7: many moments of great humanity where characters as individuals, you know,

658
00:34:27,880 --> 00:34:32,840
Speaker 7: show each other some mercy and some sympathy and affection.

659
00:34:32,880 --> 00:34:35,120
Speaker 7: I mean, obviously, you know, I think that the key

660
00:34:35,160 --> 00:34:38,680
Speaker 7: scene being that last scene that we get with Sonny

661
00:34:38,680 --> 00:34:41,160
Speaker 7: and Ruth, where Sonny, you know, is about to leave

662
00:34:41,200 --> 00:34:43,480
Speaker 7: town and he gets to the city limits and comes

663
00:34:43,520 --> 00:34:47,040
Speaker 7: back and sees her, and she's of course furious at

664
00:34:47,120 --> 00:34:50,520
Speaker 7: him for you know, abandoning her, and and and then

665
00:34:50,600 --> 00:34:53,719
Speaker 7: kind of start slowly kind of it comes to recognize

666
00:34:53,760 --> 00:34:57,040
Speaker 7: that that he is feeling a degree of pain that

667
00:34:57,160 --> 00:34:59,440
Speaker 7: she recognizes, and the scene kind of takes on this

668
00:34:59,600 --> 00:35:01,840
Speaker 7: other tone. And then and then I think also you

669
00:35:01,880 --> 00:35:04,000
Speaker 7: get a you know, on a smaller scale, I think

670
00:35:04,040 --> 00:35:08,880
Speaker 7: the scene when Jace returns home from losing her virginity

671
00:35:08,960 --> 00:35:12,680
Speaker 7: to her mother's lover, and like there's a there's a

672
00:35:12,680 --> 00:35:16,560
Speaker 7: certain amount of care that her mother shows her at

673
00:35:16,560 --> 00:35:19,640
Speaker 7: that moment of kind of knowing what that feels like.

674
00:35:20,080 --> 00:35:20,279
Speaker 3: You know.

675
00:35:20,640 --> 00:35:24,239
Speaker 7: Again, it's it's all, it's all incredibly sad, but at

676
00:35:24,320 --> 00:35:28,120
Speaker 7: least there's a certain amount of warmth that's present in

677
00:35:28,120 --> 00:35:28,520
Speaker 7: the film.

678
00:35:28,560 --> 00:35:31,360
Speaker 9: Still, Okay, wait, back up, I don't think she loses

679
00:35:31,400 --> 00:35:34,920
Speaker 9: her virginity to Abilene. Like there. First of all, we

680
00:35:34,960 --> 00:35:37,600
Speaker 9: see her going like back to the hotel with Dwayne

681
00:35:38,239 --> 00:35:40,640
Speaker 9: and saying that, you know, she still doesn't think he

682
00:35:40,680 --> 00:35:42,239
Speaker 9: did it right, and she should he shouldn't be proud

683
00:35:42,239 --> 00:35:46,080
Speaker 9: of himself, but he seems pretty smug and she needed

684
00:35:46,080 --> 00:35:48,720
Speaker 9: to lose her virginity in order to go be with Bobby.

685
00:35:49,160 --> 00:35:50,759
Speaker 9: So that she goes to be with Bobby, but then

686
00:35:50,800 --> 00:35:54,200
Speaker 9: eventually he leaves. But I think we're meant to take

687
00:35:54,239 --> 00:35:56,960
Speaker 9: from her smugness that she's been him with him for

688
00:35:57,000 --> 00:35:59,480
Speaker 9: a little while before he runs off. Oh I don't.

689
00:35:59,520 --> 00:36:01,560
Speaker 9: I don't think she losing her virginity to Abilene.

690
00:36:01,600 --> 00:36:05,360
Speaker 8: I mean, it's still it's still a pretty upsetting scenario.

691
00:36:07,239 --> 00:36:09,840
Speaker 9: That said, when she does have sex with Abilene, I

692
00:36:09,880 --> 00:36:13,040
Speaker 9: wish there was a little more grace from him, because again,

693
00:36:13,120 --> 00:36:16,880
Speaker 9: this is somebody who you know is coming to the table,

694
00:36:17,200 --> 00:36:20,920
Speaker 9: the pool table, as it were, with with sexual experience,

695
00:36:20,960 --> 00:36:23,480
Speaker 9: and with sexual experience with her mother. Who if if

696
00:36:23,480 --> 00:36:27,919
Speaker 9: there's anybody in this movie that one would think would

697
00:36:27,920 --> 00:36:31,520
Speaker 9: demand pleasure out of sex, it would be her mom.

698
00:36:32,080 --> 00:36:34,799
Speaker 9: And yet he really treats her like a wooden doll,

699
00:36:34,840 --> 00:36:38,120
Speaker 9: and she responds like a wooden doll. It's again, just

700
00:36:38,200 --> 00:36:42,520
Speaker 9: like a breakdown of social norms and human feeling. I certainly,

701
00:36:42,560 --> 00:36:44,480
Speaker 9: I mean, I agree with you about that last scene

702
00:36:44,480 --> 00:36:48,239
Speaker 9: between Sonny and Ruth, which it's just incredible to watch

703
00:36:48,360 --> 00:36:52,000
Speaker 9: the journey she goes on during that encounter while he

704
00:36:52,080 --> 00:36:56,480
Speaker 9: stays in the same place the entire time, physically, emotionally, mentally,

705
00:36:56,960 --> 00:37:00,640
Speaker 9: just you know, inert as she travels through all of

706
00:37:00,680 --> 00:37:04,560
Speaker 9: the different steps on her personal journey through the stages

707
00:37:04,560 --> 00:37:07,439
Speaker 9: of grief over their relationship, I think, and the fact

708
00:37:07,440 --> 00:37:10,640
Speaker 9: that she's then able to come around and you know,

709
00:37:10,800 --> 00:37:14,320
Speaker 9: take his hand when he takes hers is a moment

710
00:37:14,400 --> 00:37:18,080
Speaker 9: of sweetness. But it's such a parroic moment of sweetness

711
00:37:18,600 --> 00:37:22,000
Speaker 9: just given everything that she says that's true and all

712
00:37:22,040 --> 00:37:24,800
Speaker 9: the water under the bridge. I think there are moments

713
00:37:24,800 --> 00:37:28,040
Speaker 9: of human connection. I think we see, you know, Sonny's

714
00:37:28,760 --> 00:37:31,200
Speaker 9: delight at jac reaching out to him, even if she's

715
00:37:31,239 --> 00:37:34,319
Speaker 9: doing it for all the wrong reasons. There is just,

716
00:37:34,400 --> 00:37:36,640
Speaker 9: over and over kind of a little spark left in

717
00:37:36,719 --> 00:37:42,160
Speaker 9: him of friendship for Dwayne, I love for jac I

718
00:37:42,640 --> 00:37:46,600
Speaker 9: hope for Ruth. He keeps trying to reconnect to people,

719
00:37:46,680 --> 00:37:50,680
Speaker 9: grief for Billy, anger at those drivers, like almost everything

720
00:37:50,719 --> 00:37:53,759
Speaker 9: has died in this town and he hasn't, and maybe

721
00:37:53,800 --> 00:37:57,000
Speaker 9: that's the ultimate tragedy as movies. By the end, he's

722
00:37:57,040 --> 00:38:00,840
Speaker 9: so broken down because there's just so little left that

723
00:38:01,000 --> 00:38:02,719
Speaker 9: responds to that spark in him.

724
00:38:03,120 --> 00:38:07,200
Speaker 8: I also want to highlight an earlier scene, which is

725
00:38:08,040 --> 00:38:13,200
Speaker 8: when Genevieve welcomes Sonny back into the diner and gives

726
00:38:13,239 --> 00:38:17,000
Speaker 8: him a hamburger after Sam bans them for you know,

727
00:38:17,239 --> 00:38:20,680
Speaker 8: messing with Billy that night, and you know, it's just

728
00:38:20,719 --> 00:38:24,719
Speaker 8: sort of the forgiveness that Genevieve and then by extension,

729
00:38:24,960 --> 00:38:29,160
Speaker 8: Sam gives him and sort of the recognition of him

730
00:38:29,600 --> 00:38:33,000
Speaker 8: having messed up and realizing he's messed up, and recognizing

731
00:38:33,000 --> 00:38:37,000
Speaker 8: this moment of growth in this young man and rewarding it,

732
00:38:37,120 --> 00:38:40,360
Speaker 8: I guess, and I kind of feel like the last

733
00:38:40,360 --> 00:38:45,520
Speaker 8: scene with Ruth is a much sadder mirror of that scene,

734
00:38:45,560 --> 00:38:48,600
Speaker 8: that recognition of a young man sort of facing his

735
00:38:48,640 --> 00:38:49,960
Speaker 8: own failures.

736
00:38:50,440 --> 00:38:52,680
Speaker 9: Man as a Jenny, if you and I have talked

737
00:38:52,680 --> 00:38:56,400
Speaker 9: about the experience of getting emotional over structure or just

738
00:38:56,520 --> 00:39:00,120
Speaker 9: over quality, I'm getting a little emotional thinking about that

739
00:39:00,239 --> 00:39:02,880
Speaker 9: Sam moment because it's just it's so well done. You know,

740
00:39:03,040 --> 00:39:06,960
Speaker 9: there isn't a big confrontation. He basically just says, your

741
00:39:06,960 --> 00:39:09,759
Speaker 9: band get out. You don't have access to the any

742
00:39:09,840 --> 00:39:12,160
Speaker 9: of the community things that I run, which is all

743
00:39:12,200 --> 00:39:20,759
Speaker 9: of them in like just realizing how completely they could

744
00:39:20,840 --> 00:39:22,719
Speaker 9: be shut out of the life of the town. And

745
00:39:22,760 --> 00:39:26,239
Speaker 9: then the fact that Sonny comes back not to protest

746
00:39:26,320 --> 00:39:29,759
Speaker 9: to that, but kind of to see Billy again, and

747
00:39:29,800 --> 00:39:32,319
Speaker 9: then the way Sam is ready to kick him out,

748
00:39:32,520 --> 00:39:34,880
Speaker 9: and then he just looks at Billy and Billy is

749
00:39:35,040 --> 00:39:37,960
Speaker 9: still smiling at Sonny, and Sonny has done the taking

750
00:39:37,960 --> 00:39:40,560
Speaker 9: his hat and turning it around backwards thing, and Billy

751
00:39:40,640 --> 00:39:42,880
Speaker 9: responds to that with the warmth he always does, and

752
00:39:42,960 --> 00:39:46,200
Speaker 9: Sam just very clearly, like without any dialogue, sees in

753
00:39:46,200 --> 00:39:49,960
Speaker 9: that moment whatever I was angry about Billy isn't angry

754
00:39:49,960 --> 00:39:53,440
Speaker 9: about it, Like Billy still loves and trusts this other boy.

755
00:39:54,200 --> 00:39:57,120
Speaker 9: And if I cut him out of the community and

756
00:39:57,360 --> 00:40:01,040
Speaker 9: separate him from Billy, I'm punishing Billy for what Sonny

757
00:40:01,080 --> 00:40:03,480
Speaker 9: and the boys did and I can't do that. And

758
00:40:03,520 --> 00:40:07,680
Speaker 9: then he just says, your sandwich is getting cold.

759
00:40:08,160 --> 00:40:11,719
Speaker 3: The thing about Sam generally is that obviously kind of

760
00:40:11,719 --> 00:40:14,560
Speaker 3: holding the town together financially, I mean in the sense

761
00:40:14,600 --> 00:40:16,560
Speaker 3: that he's got these you know, he's got these.

762
00:40:16,600 --> 00:40:19,839
Speaker 7: Whatever vitality he can claim to have is because these

763
00:40:19,840 --> 00:40:23,839
Speaker 7: businesses that he owns and keeps open. But also he's

764
00:40:23,880 --> 00:40:27,520
Speaker 7: also the glue, you know, emotionally as well. And you know,

765
00:40:28,200 --> 00:40:30,440
Speaker 7: you think about a moment like that, or a moment

766
00:40:30,520 --> 00:40:33,040
Speaker 7: when he gives Dwayne and Sonny a little bit of

767
00:40:33,040 --> 00:40:38,360
Speaker 7: money and some good advice for the little trip to Mexico.

768
00:40:38,480 --> 00:40:40,439
Speaker 3: I mean, he's able to just.

769
00:40:40,480 --> 00:40:44,840
Speaker 7: See people in a deep way, like really understand where

770
00:40:44,880 --> 00:40:48,160
Speaker 7: their head is at and and kind of respond accordingly,

771
00:40:48,239 --> 00:40:51,080
Speaker 7: like he he like like that gesture, you know, I

772
00:40:51,080 --> 00:40:54,319
Speaker 7: think speaks to his insight, you know, into how these

773
00:40:54,760 --> 00:40:58,040
Speaker 7: boys are feeling at this specific moment in their lives.

774
00:40:58,239 --> 00:41:01,440
Speaker 9: It's also just a very you know, giving you some

775
00:41:01,640 --> 00:41:04,480
Speaker 9: money to make sure you have a good trip is

776
00:41:04,520 --> 00:41:07,640
Speaker 9: also just a very dad move. And given what we

777
00:41:07,680 --> 00:41:10,960
Speaker 9: see of, you know, the relationships that those boys have

778
00:41:11,040 --> 00:41:15,319
Speaker 9: with their families, the relationships families have in general, Sam

779
00:41:15,480 --> 00:41:19,040
Speaker 9: stepping in as kind of an everybody's dad figure in

780
00:41:19,200 --> 00:41:22,520
Speaker 9: general just kind of leads us back to the point where,

781
00:41:22,560 --> 00:41:26,080
Speaker 9: you know, when he dies, the town loses. It's not

782
00:41:26,160 --> 00:41:28,320
Speaker 9: just its central figure, but kind of its father figure.

783
00:41:28,560 --> 00:41:31,080
Speaker 8: I was thinking this while watching at this time, is that,

784
00:41:31,200 --> 00:41:33,319
Speaker 8: like this actually is a really good movie for us

785
00:41:33,400 --> 00:41:36,359
Speaker 8: to have named ourselves after, because so much of this

786
00:41:36,560 --> 00:41:40,279
Speaker 8: movie is just built around, like the relationship between the

787
00:41:40,360 --> 00:41:42,880
Speaker 8: old generation and the new generation. You know, like obviously

788
00:41:42,880 --> 00:41:45,040
Speaker 8: it's a story about these young kids, but I feel

789
00:41:45,040 --> 00:41:47,399
Speaker 8: like all of the most meaningful scenes, the ones we're

790
00:41:47,440 --> 00:41:51,120
Speaker 8: all talking about, are between the older generation and the

791
00:41:51,120 --> 00:41:57,200
Speaker 8: younger generation, and maybe the older generation, you know, recognizing

792
00:41:57,719 --> 00:41:59,799
Speaker 8: the echoes between them, but also sort of like this

793
00:42:00,080 --> 00:42:03,680
Speaker 8: if something is being lost in the new generation or

794
00:42:03,680 --> 00:42:04,600
Speaker 8: in the younger generation.

795
00:42:04,760 --> 00:42:07,239
Speaker 7: I don't know, I love it, Like you know, JC

796
00:42:07,360 --> 00:42:09,560
Speaker 7: and her Mom. It's like the like a classic film

797
00:42:09,640 --> 00:42:13,920
Speaker 7: and a new release, those two right, lots of connections

798
00:42:13,920 --> 00:42:17,919
Speaker 7: between those two right, good good good contrasts and then

799
00:42:17,960 --> 00:42:20,320
Speaker 7: and then experiences that mirror each.

800
00:42:20,160 --> 00:42:23,160
Speaker 8: Other and Sonny and Sam. You know that's a good pairing.

801
00:42:24,440 --> 00:42:25,960
Speaker 8: Lots of connections.

802
00:42:25,440 --> 00:42:28,000
Speaker 5: There, did ye see?

803
00:42:28,680 --> 00:42:30,680
Speaker 9: I was just thinking in terms of, yeah, this is

804
00:42:30,640 --> 00:42:33,839
Speaker 9: a very appropriate movie for like the death of an

805
00:42:33,880 --> 00:42:38,440
Speaker 9: era and what comes next for the people involved. This

806
00:42:38,560 --> 00:42:41,520
Speaker 9: is a pretty trenchant movie to have named ourselves after.

807
00:42:41,719 --> 00:42:43,680
Speaker 7: Well, so, which brings me kind of this question, was

808
00:42:43,680 --> 00:42:45,799
Speaker 7: it was it a good idea for us to name

809
00:42:45,840 --> 00:42:49,000
Speaker 7: our film site after an editing process where image disappears

810
00:42:49,440 --> 00:42:52,399
Speaker 7: in the name of our podcast after a movie where

811
00:42:52,400 --> 00:42:54,120
Speaker 7: the only theater in town shuts down.

812
00:42:55,080 --> 00:43:00,439
Speaker 8: What usolve isn't is it something disappearing? It's something transitioning

813
00:43:00,640 --> 00:43:02,840
Speaker 8: into the next stage exactly.

814
00:43:02,800 --> 00:43:05,720
Speaker 3: What's what's another? What's another? What's the other? What's another

815
00:43:05,719 --> 00:43:08,239
Speaker 3: word for death? Transitioning?

816
00:43:08,719 --> 00:43:11,520
Speaker 8: Well, and okay, I'm I'm I'm going I'm going to

817
00:43:11,920 --> 00:43:14,440
Speaker 8: be firm that, like I think this this is not

818
00:43:14,800 --> 00:43:18,239
Speaker 8: as cynical a connection as we are making it out

819
00:43:18,280 --> 00:43:20,880
Speaker 8: to be, because you know, the in the end, Sonny

820
00:43:20,880 --> 00:43:22,799
Speaker 8: and Duayane they do go see a movie together and

821
00:43:22,840 --> 00:43:25,839
Speaker 8: it's a movie they've seen before, you know, a good, good,

822
00:43:25,920 --> 00:43:28,319
Speaker 8: good movie. Yeah, I've seen it here before, you know.

823
00:43:28,440 --> 00:43:34,799
Speaker 8: And they do connect at the movies, you know, and repeatedly,

824
00:43:35,320 --> 00:43:39,759
Speaker 8: and it's not necessarily even about the quality of the

825
00:43:39,800 --> 00:43:43,680
Speaker 8: movie that they're seeing. It's just the shared experience of

826
00:43:43,760 --> 00:43:47,360
Speaker 8: the movie. So I think it is a great choice

827
00:43:47,400 --> 00:43:48,000
Speaker 8: on our parts.

828
00:43:48,080 --> 00:43:50,160
Speaker 2: You know, they're behind us. Details for the making of

829
00:43:50,200 --> 00:43:55,160
Speaker 2: this movie is that Baldanavich said that that McMurty doesn't

830
00:43:55,320 --> 00:43:59,160
Speaker 2: like movies, and in the novel it was just some

831
00:43:59,160 --> 00:44:03,040
Speaker 2: some crappy bee Western and he, you know, Bodanovitch, wanted

832
00:44:03,120 --> 00:44:05,279
Speaker 2: to be something really good. So that's why it's red

833
00:44:05,360 --> 00:44:06,560
Speaker 2: River in the film.

834
00:44:06,920 --> 00:44:10,320
Speaker 7: Well, The Last Picture Show is available for digital rental

835
00:44:10,360 --> 00:44:13,799
Speaker 7: on Apple TV, Amazon, and weirdly no place else. It's

836
00:44:13,840 --> 00:44:17,600
Speaker 7: also on Criterion DVD and Blu Ray. We'll be right

837
00:44:17,640 --> 00:44:30,160
Speaker 7: back with a game, all right.

838
00:44:30,280 --> 00:44:32,120
Speaker 3: So we would normally.

839
00:44:31,800 --> 00:44:34,800
Speaker 7: Wrap up our episode about a classic film with feedback,

840
00:44:35,120 --> 00:44:38,520
Speaker 7: but this isn't any old episode, so we're doing something else. Genevieve,

841
00:44:39,120 --> 00:44:41,280
Speaker 7: let me pass the mic over to you on this one.

842
00:44:41,480 --> 00:44:44,040
Speaker 8: So those of you who have been with us since

843
00:44:44,120 --> 00:44:47,080
Speaker 8: the Dissolved days may recall that on the podcast we

844
00:44:47,160 --> 00:44:50,120
Speaker 8: did at the Dissolve, the cleverly named the Dissolved Podcast.

845
00:44:50,440 --> 00:44:55,960
Speaker 8: We would frequently engage in some games, trivia based games,

846
00:44:56,239 --> 00:44:57,959
Speaker 8: and back in those days, we were all like sitting

847
00:44:58,000 --> 00:45:00,719
Speaker 8: around a table together, you know, and we had these

848
00:45:01,080 --> 00:45:04,799
Speaker 8: lovely barnyard buzzers that we used to ring in for

849
00:45:04,920 --> 00:45:09,200
Speaker 8: the game. And so in honor of our very first

850
00:45:09,239 --> 00:45:11,680
Speaker 8: podcast together, we have not only brought back again, we

851
00:45:11,800 --> 00:45:14,919
Speaker 8: have brought back the barnyard buzzers fresh, a fresh set

852
00:45:14,960 --> 00:45:18,759
Speaker 8: of barnyard buzzers. So can everyone please check in?

853
00:45:18,920 --> 00:45:19,360
Speaker 5: Scott?

854
00:45:19,560 --> 00:45:24,120
Speaker 3: Okay, this is I am a cow. Here we go, Tasha.

855
00:45:24,719 --> 00:45:27,000
Speaker 9: I'm not saying what I'm I am. If you can't

856
00:45:27,000 --> 00:45:31,160
Speaker 9: get it from the sound, I want. I want everybody

857
00:45:31,160 --> 00:45:33,000
Speaker 9: to be sure to like hear that sound, because they

858
00:45:33,200 --> 00:45:35,799
Speaker 9: might not hear it again because I'm terrible at these games.

859
00:45:37,040 --> 00:45:38,799
Speaker 5: All right. And of course Keith.

860
00:45:38,640 --> 00:45:41,520
Speaker 2: So a little behind the scenes detail jenf who ordered

861
00:45:41,520 --> 00:45:44,040
Speaker 2: these for us, like, yeah, I drove over to Scott

862
00:45:44,040 --> 00:45:46,760
Speaker 2: to drop off his and and and he's taking Tasha's

863
00:45:46,920 --> 00:45:48,200
Speaker 2: and I was like, well, I don't need to choose one.

864
00:45:48,200 --> 00:45:51,200
Speaker 2: I realized I always chose. I had forgotten this until

865
00:45:51,200 --> 00:45:52,200
Speaker 2: I looked at it. I was like, no, I have

866
00:45:52,239 --> 00:45:55,560
Speaker 2: a favorite. I always chose the horse, so I have

867
00:45:55,680 --> 00:45:56,479
Speaker 2: now the horse again.

868
00:45:56,800 --> 00:45:59,960
Speaker 9: So you should maybe specify, like we always referred to

869
00:46:00,080 --> 00:46:03,360
Speaker 9: these as the barnyard buzzers. I assume that this is

870
00:46:03,440 --> 00:46:06,400
Speaker 9: a brand name. Like the box sitting on the floor

871
00:46:06,400 --> 00:46:10,080
Speaker 9: behind me is completely unmarked. You know, it might have

872
00:46:10,160 --> 00:46:13,360
Speaker 9: come from like any wharehouse anywhere. It's as anonymous as possible.

873
00:46:13,600 --> 00:46:16,200
Speaker 9: But I assume that you call them the barnyard buzzers

874
00:46:16,239 --> 00:46:18,719
Speaker 9: because that's like what they what they are on the

875
00:46:18,800 --> 00:46:20,160
Speaker 9: listing when you buy them.

876
00:46:20,480 --> 00:46:23,000
Speaker 8: That's what they were when I bought them the first time.

877
00:46:23,080 --> 00:46:25,760
Speaker 8: And then when I looked them up for this, I

878
00:46:25,760 --> 00:46:29,200
Speaker 8: wrote in barnyard buzzers, and this is what came up.

879
00:46:30,000 --> 00:46:33,440
Speaker 8: So but I think it's like they are very much

880
00:46:33,440 --> 00:46:35,680
Speaker 8: the same ones, but but they came in like an eight.

881
00:46:35,560 --> 00:46:40,240
Speaker 9: Pack, right, so like original additional barnyard buzzers for people

882
00:46:40,239 --> 00:46:41,080
Speaker 9: to potentially buzz in.

883
00:46:41,239 --> 00:46:43,600
Speaker 8: I think like the generic name is just like learning

884
00:46:43,719 --> 00:46:46,760
Speaker 8: aid or something like classroom learning aid.

885
00:46:47,200 --> 00:46:49,279
Speaker 9: Oh geez, you know what really helps me learn?

886
00:46:50,960 --> 00:46:53,439
Speaker 7: I would love to have, Like, yeah, just I wish

887
00:46:53,480 --> 00:46:56,439
Speaker 7: this were You're almost heading towards the story about having

888
00:46:56,480 --> 00:46:59,080
Speaker 7: gotten these on the black market, like black market Barnyard

889
00:46:59,080 --> 00:47:02,520
Speaker 7: buzzers that would have been cool, like you on the

890
00:47:02,600 --> 00:47:03,120
Speaker 7: dark web.

891
00:47:03,200 --> 00:47:07,640
Speaker 9: Somehow whatever Chinese factory is churning these out like it's

892
00:47:07,760 --> 00:47:09,719
Speaker 9: very clearly using the same pattern, because I, I mean,

893
00:47:09,800 --> 00:47:12,839
Speaker 9: I remember the rooster was read previously, and this has

894
00:47:12,880 --> 00:47:15,720
Speaker 9: to be the same, the exact same, like very simple

895
00:47:15,760 --> 00:47:18,880
Speaker 9: line art cartoon of a rooster on it. I definitely

896
00:47:18,920 --> 00:47:21,760
Speaker 9: recognize Scott's like simple smiling.

897
00:47:21,400 --> 00:47:25,759
Speaker 8: Cow yeah, And I recognize Keith's buzzer stands too, like

898
00:47:26,040 --> 00:47:29,880
Speaker 8: he always always held it right right there. But that

899
00:47:30,000 --> 00:47:31,880
Speaker 8: means that we are ready to play a game. I

900
00:47:31,960 --> 00:47:35,799
Speaker 8: have created a game based on this podcast, on the

901
00:47:35,840 --> 00:47:39,600
Speaker 8: history of our podcast. I have scoured through five hundred

902
00:47:39,640 --> 00:47:43,560
Speaker 8: for well four hundred and ninety nine episodes to come

903
00:47:43,640 --> 00:47:46,440
Speaker 8: up with a ray of questions.

904
00:47:46,600 --> 00:47:51,800
Speaker 5: So bear with me. I tried to make this difficult,

905
00:47:51,880 --> 00:47:52,840
Speaker 5: but not too difficult.

906
00:47:53,080 --> 00:47:57,640
Speaker 8: So I'm aware that none of our memories are what

907
00:47:57,719 --> 00:48:01,120
Speaker 8: they once were, but hopefully, hopefully we'll be able to

908
00:48:01,160 --> 00:48:03,640
Speaker 8: squeeze a point or two out out of each of you.

909
00:48:03,880 --> 00:48:07,440
Speaker 8: So everyone ready, Barnyard Buzzer is locked and loaded.

910
00:48:07,640 --> 00:48:09,000
Speaker 3: Locked and all right.

911
00:48:09,239 --> 00:48:15,759
Speaker 9: So we're gonna have mine is cocked and loaded, all.

912
00:48:15,719 --> 00:48:18,759
Speaker 8: Right, So we're gonna have a few different rounds here.

913
00:48:18,800 --> 00:48:21,320
Speaker 8: And for this first round, I will ask you a question.

914
00:48:21,719 --> 00:48:24,120
Speaker 8: I will give you all five seconds to buzz in

915
00:48:24,200 --> 00:48:27,600
Speaker 8: and answer the question for two points. If no one

916
00:48:27,640 --> 00:48:30,080
Speaker 8: buzzes in, then I will give you multiple choice options

917
00:48:30,120 --> 00:48:31,839
Speaker 8: and if you get it for that, if you get

918
00:48:31,880 --> 00:48:34,120
Speaker 8: the multiple choice, then you get one point. Makes sense,

919
00:48:34,400 --> 00:48:36,520
Speaker 8: So yeah, yeah, five seconds to answer off the top

920
00:48:36,520 --> 00:48:38,680
Speaker 8: of your head for two points, and then you can

921
00:48:38,680 --> 00:48:39,360
Speaker 8: try again.

922
00:48:39,160 --> 00:48:40,680
Speaker 5: With multiple choice for one point.

923
00:48:41,160 --> 00:48:45,040
Speaker 8: Okay, first question, what is the oldest classic film we

924
00:48:45,080 --> 00:48:46,719
Speaker 8: have covered on this podcast?

925
00:48:48,960 --> 00:48:52,520
Speaker 9: Tasha, I'm gonna guess it might be Carnival of Souls.

926
00:48:53,160 --> 00:48:57,120
Speaker 5: No, it is not, Tasha.

927
00:48:57,400 --> 00:49:00,800
Speaker 9: Did we do the original Frankenstein at once and didn't

928
00:49:00,800 --> 00:49:03,320
Speaker 9: I pronounce it Frankenstein like every single time?

929
00:49:04,760 --> 00:49:06,040
Speaker 5: That is it Frankenstein?

930
00:49:06,200 --> 00:49:09,480
Speaker 9: I truly don't know Frankenstein. Frankenstein?

931
00:49:11,520 --> 00:49:14,480
Speaker 5: It is? It is not Frankenstein, Tasha.

932
00:49:14,200 --> 00:49:15,919
Speaker 3: Scott invisible man.

933
00:49:16,440 --> 00:49:17,520
Speaker 5: Nope, Oh my.

934
00:49:17,560 --> 00:49:19,200
Speaker 2: God, we haven't done any silence.

935
00:49:19,520 --> 00:49:21,080
Speaker 8: All right, I'm gonna get I'm gonna give you guys

936
00:49:21,120 --> 00:49:26,720
Speaker 8: multiple choice now a Frankenstein, B King Kong C. M.

937
00:49:27,080 --> 00:49:31,240
Speaker 5: D The Thin Man Tasha.

938
00:49:31,440 --> 00:49:35,319
Speaker 9: Of those four, if it isn't Frankenstein, I think King

939
00:49:35,400 --> 00:49:38,560
Speaker 9: Kong is the earliest. It is not you know, I

940
00:49:38,560 --> 00:49:40,840
Speaker 9: said nobody was going to hear this rooster again, and

941
00:49:40,840 --> 00:49:43,200
Speaker 9: then I've buzzed in like three times and been wrong

942
00:49:43,280 --> 00:49:43,719
Speaker 9: every time.

943
00:49:44,280 --> 00:49:44,759
Speaker 3: Am I am?

944
00:49:44,760 --> 00:49:46,200
Speaker 9: I cruing negative points.

945
00:49:47,239 --> 00:49:51,360
Speaker 5: The Thin Man, guys, it's m and is the oldest

946
00:49:51,400 --> 00:49:52,040
Speaker 5: movie on that.

947
00:49:53,600 --> 00:49:57,640
Speaker 8: Older I'm pre dates Frankenstein by a few months.

948
00:49:58,520 --> 00:50:00,439
Speaker 5: Yeah, yep, I'm was in.

949
00:50:00,360 --> 00:50:03,080
Speaker 8: May of nineteen thirty one and Frankenstein was in November

950
00:50:03,160 --> 00:50:04,480
Speaker 8: of nineteen thirty one.

951
00:50:05,239 --> 00:50:09,960
Speaker 7: Wow, that's really hard, Holy cow hard. It's really hard

952
00:50:09,960 --> 00:50:11,840
Speaker 7: to crap out, to crap out as badly as we

953
00:50:11,840 --> 00:50:12,319
Speaker 7: did on that.

954
00:50:12,400 --> 00:50:16,839
Speaker 3: We just literally guess everything. But I'm so excited about

955
00:50:16,840 --> 00:50:17,240
Speaker 3: the visible.

956
00:50:17,320 --> 00:50:19,560
Speaker 2: Nay, we gonna do some silence at some point, I

957
00:50:19,600 --> 00:50:20,400
Speaker 2: get what we haven't.

958
00:50:20,719 --> 00:50:22,600
Speaker 5: It's kind of hard to come up with clips for

959
00:50:22,640 --> 00:50:23,120
Speaker 5: a silence.

960
00:50:23,440 --> 00:50:24,680
Speaker 1: True, this is true.

961
00:50:25,080 --> 00:50:28,120
Speaker 9: Yeah, that opening montage is difficult, and it's just some

962
00:50:28,120 --> 00:50:32,120
Speaker 9: some rollicking piano music and then dead dead air.

963
00:50:33,200 --> 00:50:35,520
Speaker 8: All right, moving on to the next question. Let's hope

964
00:50:35,520 --> 00:50:38,960
Speaker 8: this goes a little better. Among our classic films, what

965
00:50:39,120 --> 00:50:42,440
Speaker 8: has been the most frequent release theater five seconds to

966
00:50:42,480 --> 00:50:42,840
Speaker 8: buzz in.

967
00:50:44,280 --> 00:50:48,759
Speaker 2: Wow, Keith, I'm just shot at d say, nineteen seventy two,

968
00:50:49,200 --> 00:50:50,640
Speaker 2: No I was born.

969
00:50:52,360 --> 00:50:55,360
Speaker 9: Just to clarify once again, we're not getting negative points

970
00:50:55,400 --> 00:50:56,600
Speaker 9: for well, yes, that's.

971
00:50:56,520 --> 00:50:59,320
Speaker 5: Right, you can, Tasha.

972
00:51:00,440 --> 00:51:04,080
Speaker 9: Wasn't it nineteen fifty five that Scott wrote up for

973
00:51:04,200 --> 00:51:06,760
Speaker 9: like the greatest movie year of all time? For the Dissolve?

974
00:51:07,120 --> 00:51:08,719
Speaker 7: I did, But I don't know if we I don't

975
00:51:08,719 --> 00:51:11,240
Speaker 7: know if we ever if we cover that. We've covered

976
00:51:11,239 --> 00:51:15,000
Speaker 7: that as much from that from that year, I.

977
00:51:14,920 --> 00:51:16,680
Speaker 2: Think I did, you know, I think I did seventy

978
00:51:16,680 --> 00:51:18,319
Speaker 2: two for that. Actually, I think I was pretty eighty

979
00:51:18,320 --> 00:51:20,239
Speaker 2: club actually that now that I think about it.

980
00:51:20,320 --> 00:51:23,040
Speaker 8: Okay, we have covered one We have covered one film

981
00:51:23,040 --> 00:51:26,160
Speaker 8: from nineteen fifty five, and we have covered three films

982
00:51:26,160 --> 00:51:29,400
Speaker 8: from nineteen seventy two. Okay, I made a whole spreadsheet.

983
00:51:29,440 --> 00:51:32,000
Speaker 9: Guys, Oh my god, you.

984
00:51:32,160 --> 00:51:34,000
Speaker 2: Way too much. If you said, how many films we

985
00:51:34,080 --> 00:51:35,080
Speaker 2: cover it from this year?

986
00:51:35,120 --> 00:51:35,600
Speaker 3: In question?

987
00:51:36,360 --> 00:51:38,080
Speaker 5: I can do that or I can give you multiple choice.

988
00:51:38,280 --> 00:51:38,960
Speaker 2: Yeah, let's do that.

989
00:51:39,000 --> 00:51:41,759
Speaker 5: The most frequently release year, was it nineteen eighty two,

990
00:51:42,200 --> 00:51:46,360
Speaker 5: two thousand and one, nineteen seventy three or nineteen ninety.

991
00:51:46,239 --> 00:51:50,759
Speaker 3: Nine, Scott, which one was not eighty two?

992
00:51:51,440 --> 00:51:53,000
Speaker 5: Noe, Jennery?

993
00:51:53,040 --> 00:51:55,720
Speaker 9: If you just broke my heart. You you are saying

994
00:51:55,800 --> 00:51:59,440
Speaker 9: that movies released in two thousand and one are now

995
00:51:59,480 --> 00:52:01,240
Speaker 9: considered classic movies.

996
00:52:02,280 --> 00:52:05,200
Speaker 2: I'm gonna say. I'm going to say nineteen ninety nine. Nope,

997
00:52:05,280 --> 00:52:07,720
Speaker 2: the subject of a book called the best movie year ever,

998
00:52:07,960 --> 00:52:10,320
Speaker 2: but apparently not by our standards.

999
00:52:10,400 --> 00:52:12,319
Speaker 5: Wow, Tasha, would you care?

1000
00:52:12,400 --> 00:52:12,520
Speaker 9: Two?

1001
00:52:12,960 --> 00:52:14,880
Speaker 3: Yes, it's one of us.

1002
00:52:14,920 --> 00:52:16,880
Speaker 9: What was the what was the nineteen eighties?

1003
00:52:17,040 --> 00:52:17,239
Speaker 2: It was?

1004
00:52:17,280 --> 00:52:18,200
Speaker 9: It was an eighties?

1005
00:52:18,480 --> 00:52:20,479
Speaker 3: I guess that one. That was wrong.

1006
00:52:21,120 --> 00:52:23,080
Speaker 9: What are retaining choices?

1007
00:52:23,560 --> 00:52:25,759
Speaker 5: Nineteen seventy three or two thousand and one?

1008
00:52:26,760 --> 00:52:29,919
Speaker 9: Knowing us, I'm going to say two thousand and.

1009
00:52:29,840 --> 00:52:34,080
Speaker 5: One, it is two thousand and one, with a heavy heart.

1010
00:52:34,560 --> 00:52:35,840
Speaker 2: Classic films.

1011
00:52:36,400 --> 00:52:40,680
Speaker 8: We have covered eleven films from two thousand and one.

1012
00:52:41,200 --> 00:52:42,520
Speaker 8: I'm not going to tell you what they are, though,

1013
00:52:42,560 --> 00:52:44,360
Speaker 8: because they might come up in other questions.

1014
00:52:44,440 --> 00:52:46,480
Speaker 2: Okay, wow, eleven.

1015
00:52:47,320 --> 00:52:52,800
Speaker 8: Tasha is on the board, barely going.

1016
00:52:51,640 --> 00:52:55,560
Speaker 9: Great like this point two thousand and one classic movies.

1017
00:52:55,600 --> 00:52:57,800
Speaker 9: This is this is like when I'm in the grocery

1018
00:52:57,800 --> 00:53:00,839
Speaker 9: store and I hear a ninety song and then some

1019
00:53:00,960 --> 00:53:03,760
Speaker 9: DJ comes on and says, you know, classics one oh one,

1020
00:53:03,840 --> 00:53:05,640
Speaker 9: playing the classics, I.

1021
00:53:05,680 --> 00:53:07,200
Speaker 5: Mean, if it makes you feel better.

1022
00:53:07,440 --> 00:53:10,359
Speaker 8: Nineteen ninety nine, we did ten, so we only have

1023
00:53:10,600 --> 00:53:13,520
Speaker 8: one fewer from nineteen ninety nine, so at least you know,

1024
00:53:14,200 --> 00:53:15,120
Speaker 8: oh yeah.

1025
00:53:14,840 --> 00:53:16,560
Speaker 2: Well that's that's two years older than.

1026
00:53:17,440 --> 00:53:19,520
Speaker 7: I think in another ten years nineteen nine, I don't

1027
00:53:19,520 --> 00:53:21,520
Speaker 7: catch up because there's a ton for that from that year.

1028
00:53:21,880 --> 00:53:22,239
Speaker 3: All right.

1029
00:53:22,800 --> 00:53:26,360
Speaker 8: Next question, which of our pairings had the shortest span

1030
00:53:26,440 --> 00:53:30,960
Speaker 8: of time in between the classic and new film?

1031
00:53:31,160 --> 00:53:32,400
Speaker 3: Scott John Carter?

1032
00:53:33,520 --> 00:53:36,840
Speaker 5: That is it? John Carter and the Martials. Oh nice,

1033
00:53:37,360 --> 00:53:39,400
Speaker 5: one of our very first pairings.

1034
00:53:40,080 --> 00:53:42,880
Speaker 7: It was very, very controversial for us to call that

1035
00:53:42,880 --> 00:53:44,320
Speaker 7: a classic film come back.

1036
00:53:45,000 --> 00:53:50,000
Speaker 2: We probably could have done, could have done better Carter Defender,

1037
00:53:50,080 --> 00:53:51,840
Speaker 2: but but yeah, that was a little that was a

1038
00:53:51,840 --> 00:53:52,520
Speaker 2: bit of a stretch.

1039
00:53:52,600 --> 00:53:54,600
Speaker 9: Yeah, so we just wanted to talk about John Carter

1040
00:53:54,680 --> 00:53:55,080
Speaker 9: of Mars.

1041
00:53:55,120 --> 00:53:55,359
Speaker 3: It was.

1042
00:53:55,440 --> 00:53:56,919
Speaker 9: It was a fun discussion, it.

1043
00:53:56,880 --> 00:53:59,919
Speaker 8: Was, and for fun, I will share the other one

1044
00:54:00,239 --> 00:54:03,680
Speaker 8: on the multiple choice and how far apart they were,

1045
00:54:04,080 --> 00:54:06,839
Speaker 8: because they're the next smallest span of time. Dog Tooth

1046
00:54:06,880 --> 00:54:10,760
Speaker 8: and Kajillionaire had eleven years between them. Rachel getting married

1047
00:54:10,760 --> 00:54:14,080
Speaker 8: and Shiva Baby have twelve years between them and Under

1048
00:54:14,080 --> 00:54:15,560
Speaker 8: the Skin and No One Will Save You.

1049
00:54:15,560 --> 00:54:16,839
Speaker 5: Has ten years between them?

1050
00:54:17,000 --> 00:54:18,960
Speaker 9: Oh wow, not even close.

1051
00:54:19,120 --> 00:54:22,120
Speaker 5: Really, the John Carter in The Martian at a three

1052
00:54:22,200 --> 00:54:23,360
Speaker 5: year separation.

1053
00:54:23,520 --> 00:54:26,840
Speaker 3: Okay, three years? Oh my god, I'm all right myself.

1054
00:54:27,280 --> 00:54:27,600
Speaker 2: All right.

1055
00:54:27,640 --> 00:54:30,120
Speaker 8: Now, this next question you can get a lot of points.

1056
00:54:30,160 --> 00:54:33,279
Speaker 8: This is a two part question. If you answer the

1057
00:54:33,280 --> 00:54:37,080
Speaker 8: first part correctly, you have first shot at accruing bonus points.

1058
00:54:37,200 --> 00:54:40,200
Speaker 8: But the second part of the question, okay, part one,

1059
00:54:40,840 --> 00:54:43,799
Speaker 8: which director is responsible for the most films covered on

1060
00:54:43,840 --> 00:54:46,000
Speaker 8: the podcast, both classic and recent?

1061
00:54:48,320 --> 00:54:53,320
Speaker 2: I got Spielberg given that description. Nope, hmmm Steven Spielberg.

1062
00:54:53,400 --> 00:54:59,479
Speaker 8: To clarify, nope, No, you're close though, Okay a long

1063
00:54:59,560 --> 00:55:04,160
Speaker 8: June ho B, Spike Lee, C Steven Spielberg or D

1064
00:55:04,480 --> 00:55:06,840
Speaker 8: Steven Soderbergh.

1065
00:55:07,680 --> 00:55:10,840
Speaker 9: Tasha, Well, only one of those is close to Steven Spielberg.

1066
00:55:11,120 --> 00:55:12,040
Speaker 9: Steven Soderberg.

1067
00:55:12,760 --> 00:55:14,520
Speaker 5: That is it. It is Steven Soderberg.

1068
00:55:14,840 --> 00:55:17,600
Speaker 8: So now, Tasha, you get first chance at the bonus

1069
00:55:17,600 --> 00:55:21,680
Speaker 8: points question, which, for one point each name as many

1070
00:55:21,760 --> 00:55:25,120
Speaker 8: of the nine Soderberg films we've covered as you can.

1071
00:55:25,680 --> 00:55:29,160
Speaker 8: If you guess incorrectly or go five seconds without guessing

1072
00:55:29,200 --> 00:55:30,840
Speaker 8: another film, it opens up to the rest of the

1073
00:55:30,880 --> 00:55:32,239
Speaker 8: group to buzz Benny Lee.

1074
00:55:33,280 --> 00:55:38,319
Speaker 9: And go, I know we did presence recently. Didn't we

1075
00:55:38,440 --> 00:55:40,360
Speaker 9: do Logan Lucky?

1076
00:55:40,920 --> 00:55:41,279
Speaker 2: We did?

1077
00:55:42,160 --> 00:55:44,040
Speaker 9: Did we do sex liizes in videotape?

1078
00:55:44,320 --> 00:55:44,720
Speaker 5: Nope?

1079
00:55:44,920 --> 00:55:46,160
Speaker 2: You're out all right?

1080
00:55:46,160 --> 00:55:55,080
Speaker 11: All right, Keith Scott, all right, okay, the limey Yes,

1081
00:55:55,520 --> 00:55:59,719
Speaker 11: that's three mm hmm, Oceans eleven, Yes.

1082
00:56:00,080 --> 00:56:04,240
Speaker 2: That's for I got five seconds. Huh, but they keep talking.

1083
00:56:04,320 --> 00:56:07,640
Speaker 2: It's fine, right. Do we do King to Hill? Do

1084
00:56:07,640 --> 00:56:08,439
Speaker 2: we do King of the Hill?

1085
00:56:09,080 --> 00:56:09,440
Speaker 5: We did not?

1086
00:56:09,640 --> 00:56:10,799
Speaker 2: Incura, did you do that some day?

1087
00:56:11,520 --> 00:56:12,560
Speaker 3: Can I Can I do some stuff?

1088
00:56:12,640 --> 00:56:18,200
Speaker 7: Yep, yep, Scott Magic, Mike XXL Mike last Dance.

1089
00:56:18,120 --> 00:56:20,919
Speaker 5: Yes, I'll give it to you and uh.

1090
00:56:20,960 --> 00:56:23,920
Speaker 3: And then also Aaron Brokovic.

1091
00:56:24,040 --> 00:56:25,520
Speaker 5: Nope, we never did Aaron brock.

1092
00:56:27,440 --> 00:56:28,600
Speaker 9: Does it come back around to me?

1093
00:56:29,760 --> 00:56:29,840
Speaker 4: No?

1094
00:56:29,960 --> 00:56:33,840
Speaker 5: I think I think for the sake, Sorry, I've got angry.

1095
00:56:33,920 --> 00:56:36,920
Speaker 3: I've got a very angry Coyle right now. I thought

1096
00:56:36,960 --> 00:56:38,560
Speaker 3: we did some sort of like thing with.

1097
00:56:38,480 --> 00:56:42,759
Speaker 7: That and maybe the uh the Todd Haynes uh environment environmental.

1098
00:56:43,440 --> 00:56:45,000
Speaker 9: No, That's why I wanted to we talked back in

1099
00:56:45,040 --> 00:56:45,880
Speaker 9: because what didn't we do?

1100
00:56:46,080 --> 00:56:46,239
Speaker 7: Uh?

1101
00:56:46,560 --> 00:56:48,279
Speaker 9: Didn't we do? I'm not there, but.

1102
00:56:48,239 --> 00:56:51,040
Speaker 7: I mean, I mean connecting with the Haynes though, which

1103
00:56:51,040 --> 00:56:52,160
Speaker 7: is more recent anyway.

1104
00:56:52,600 --> 00:56:55,120
Speaker 8: No, well, you we talked. I believe we entertained that,

1105
00:56:55,800 --> 00:56:59,600
Speaker 8: but we never actually did it. So in the interest

1106
00:56:59,719 --> 00:57:02,319
Speaker 8: of moving on, I'm gonna call it there. But the

1107
00:57:02,320 --> 00:57:03,920
Speaker 8: ones you missed are contagion.

1108
00:57:07,239 --> 00:57:10,680
Speaker 9: Nothing that happened during COVID counts for anything. Nobody's expected

1109
00:57:10,680 --> 00:57:13,520
Speaker 9: to remember anything that happened during a two year time period.

1110
00:57:14,920 --> 00:57:16,080
Speaker 5: High Flying Bird.

1111
00:57:18,160 --> 00:57:24,640
Speaker 3: Kimmy Jimmy damn it experiments black bag stuff not the

1112
00:57:24,640 --> 00:57:26,080
Speaker 3: old stuff facility. Geez.

1113
00:57:28,480 --> 00:57:32,760
Speaker 8: All right, all right, so current score bonus points helped

1114
00:57:32,760 --> 00:57:35,280
Speaker 8: a little. Tasha's in the lead with four, Scott is

1115
00:57:35,320 --> 00:57:37,040
Speaker 8: at two, and Keith is also at two.

1116
00:57:37,600 --> 00:57:38,560
Speaker 3: I have three, I have three.

1117
00:57:38,920 --> 00:57:41,919
Speaker 7: I buzz didn't for one without going to multiple choice,

1118
00:57:41,960 --> 00:57:44,160
Speaker 7: and then I did one of the sods three.

1119
00:57:45,320 --> 00:57:48,080
Speaker 8: All right, now we're moving into around. There are multiple

1120
00:57:48,120 --> 00:57:51,040
Speaker 8: answers to each of these questions. You get one point

1121
00:57:51,040 --> 00:57:53,400
Speaker 8: per correct answer. Once you buzz, you have ten seconds

1122
00:57:53,400 --> 00:57:55,200
Speaker 8: to answer as many as you can, and then it

1123
00:57:55,240 --> 00:57:55,840
Speaker 8: opens back.

1124
00:57:55,720 --> 00:57:56,840
Speaker 5: Up to the others to buzz.

1125
00:57:57,160 --> 00:58:00,800
Speaker 8: We have done three pairings based on a new TV show.

1126
00:58:00,960 --> 00:58:02,919
Speaker 8: You at one point for each TV show you can name.

1127
00:58:03,400 --> 00:58:04,240
Speaker 2: It's been a while.

1128
00:58:07,680 --> 00:58:13,480
Speaker 7: It's west World, yes, and then also a new television

1129
00:58:13,520 --> 00:58:14,720
Speaker 7: show called.

1130
00:58:15,280 --> 00:58:17,880
Speaker 3: Nope, that's I got nothing. I got west World.

1131
00:58:18,280 --> 00:58:18,720
Speaker 5: All right.

1132
00:58:18,800 --> 00:58:22,240
Speaker 2: We've done three yep, and it's been a while. I

1133
00:58:22,240 --> 00:58:24,680
Speaker 2: think we kind of like let that idea fut the wayside.

1134
00:58:25,320 --> 00:58:27,480
Speaker 5: Not that long, Keith, you should be getting one of these.

1135
00:58:33,040 --> 00:58:34,960
Speaker 9: Maybe West World was the only one of those that

1136
00:58:35,040 --> 00:58:35,640
Speaker 9: I was on.

1137
00:58:36,200 --> 00:58:41,720
Speaker 2: All right, yay, wait, wait, no, we did. We did

1138
00:58:41,800 --> 00:58:44,360
Speaker 2: the the uh Lord of the Rings TV show.

1139
00:58:44,920 --> 00:58:46,040
Speaker 5: We did do the Rings of.

1140
00:58:46,000 --> 00:58:49,400
Speaker 2: Power, Rings of Power, right, Rings of Power. That's that's two.

1141
00:58:50,240 --> 00:58:50,760
Speaker 4: All right.

1142
00:58:51,040 --> 00:58:54,000
Speaker 5: I'll give it to you even though time is very expired.

1143
00:58:56,080 --> 00:58:59,720
Speaker 5: Sorry slipt Okay.

1144
00:59:00,160 --> 00:59:04,880
Speaker 7: This is this is like old people playing game shows

1145
00:59:05,360 --> 00:59:06,200
Speaker 7: very slow.

1146
00:59:06,880 --> 00:59:07,280
Speaker 5: All right.

1147
00:59:07,680 --> 00:59:10,760
Speaker 8: The last one was The Last of Us, which we

1148
00:59:10,840 --> 00:59:15,480
Speaker 8: paired with Children of Men. Oh yeah, oh wow, I

1149
00:59:15,520 --> 00:59:18,720
Speaker 8: would if anyone had guessed Watchman, I would have given

1150
00:59:18,760 --> 00:59:21,320
Speaker 8: it to you on a technicality because we also did

1151
00:59:21,360 --> 00:59:25,040
Speaker 8: a bonus like third episode with our Dark Knight.

1152
00:59:24,920 --> 00:59:27,360
Speaker 5: And the Joker pairing of the Watchman TV show.

1153
00:59:27,800 --> 00:59:32,760
Speaker 9: Oh wow, I'm so proud of that version of us

1154
00:59:32,800 --> 00:59:34,600
Speaker 9: from the past that I don't remember at all.

1155
00:59:36,240 --> 00:59:40,840
Speaker 8: All right, next question, There are quotes from three films

1156
00:59:40,880 --> 00:59:44,360
Speaker 8: in our intro music for one point each. Name those films.

1157
00:59:44,840 --> 00:59:46,960
Speaker 2: I haven't actually listened to a live episode in a

1158
00:59:47,000 --> 00:59:47,680
Speaker 2: long time.

1159
00:59:51,160 --> 00:59:53,080
Speaker 9: You know what, I don't know that I couldn't. I could.

1160
00:59:53,160 --> 00:59:54,960
Speaker 9: I think I could name all three quotes, but I

1161
00:59:54,960 --> 00:59:55,360
Speaker 9: don't think.

1162
00:59:56,480 --> 01:00:00,040
Speaker 5: Don't get any One is from Buzz Buzz.

1163
01:00:01,560 --> 01:00:02,200
Speaker 3: Magnolia.

1164
01:00:02,680 --> 01:00:06,280
Speaker 2: Correct the Graduate where he goes we're going to talk

1165
01:00:06,280 --> 01:00:08,440
Speaker 2: about art? Oh no, this film's funny. Never mind.

1166
01:00:11,600 --> 01:00:13,320
Speaker 9: What kind of a show are you running here?

1167
01:00:16,440 --> 01:00:19,120
Speaker 3: Damn? That's all I got, all right.

1168
01:00:19,520 --> 01:00:22,520
Speaker 5: The other two are Gray Gardens and Vertigo.

1169
01:00:22,920 --> 01:00:27,120
Speaker 2: Yes, it's great, but I love her intro, but I

1170
01:00:27,120 --> 01:00:28,400
Speaker 2: haven't listened to it, so.

1171
01:00:29,760 --> 01:00:31,720
Speaker 5: It's almost like you guys don't listen to it every

1172
01:00:31,720 --> 01:00:33,360
Speaker 5: single week when you medd the podcast.

1173
01:00:33,480 --> 01:00:37,320
Speaker 2: True, true, All right.

1174
01:00:37,400 --> 01:00:39,640
Speaker 8: Well, Scott has pulled into the lead with five points,

1175
01:00:39,880 --> 01:00:42,320
Speaker 8: and Keith and Tasha are tied at four. I'm almost

1176
01:00:42,320 --> 01:00:43,960
Speaker 8: afraid to ask this question.

1177
01:00:43,880 --> 01:00:44,040
Speaker 7: But.

1178
01:00:45,680 --> 01:00:47,880
Speaker 9: If they go up in complexity, were doomed.

1179
01:00:48,800 --> 01:00:50,480
Speaker 8: This is pretty complex, but I do want to ask

1180
01:00:50,520 --> 01:00:52,720
Speaker 8: it because I think it's an interesting data point. There

1181
01:00:52,720 --> 01:00:55,800
Speaker 8: are three directors who have made more than one feature

1182
01:00:55,840 --> 01:00:58,960
Speaker 8: film who have had all of those films be part

1183
01:00:58,960 --> 01:01:02,600
Speaker 8: of appairing on this podcast. So we have covered their

1184
01:01:02,600 --> 01:01:04,880
Speaker 8: filmography and they have made more than one movie.

1185
01:01:05,280 --> 01:01:08,320
Speaker 5: Name those directors. There are three of them.

1186
01:01:08,160 --> 01:01:10,800
Speaker 3: That we've covered, all of their movies.

1187
01:01:10,720 --> 01:01:12,440
Speaker 5: All of their future films, all of.

1188
01:01:12,480 --> 01:01:16,959
Speaker 2: Their feature films made more than one mm. Hmmm mmm, wow,

1189
01:01:17,000 --> 01:01:18,840
Speaker 2: it's interesting data point. You're correct.

1190
01:01:19,040 --> 01:01:21,680
Speaker 3: It has to be at least three films that they've.

1191
01:01:21,440 --> 01:01:22,840
Speaker 5: Made, no, just more than one.

1192
01:01:23,000 --> 01:01:24,640
Speaker 9: More than one, so at least two.

1193
01:01:24,760 --> 01:01:26,640
Speaker 2: There aren't a lot of like two film wonders out

1194
01:01:26,640 --> 01:01:27,560
Speaker 2: there that I can think of.

1195
01:01:28,520 --> 01:01:33,200
Speaker 8: I guess Scott Gerwig.

1196
01:01:33,720 --> 01:01:38,120
Speaker 7: Nope, oh really, shoot, I should have guessed the one

1197
01:01:38,120 --> 01:01:39,840
Speaker 7: that I thought that the other one that I.

1198
01:01:39,800 --> 01:01:41,000
Speaker 3: Knew thought I knew.

1199
01:01:41,320 --> 01:01:41,760
Speaker 2: Damn it.

1200
01:01:41,840 --> 01:01:43,760
Speaker 3: What do we not do with Gerwig's.

1201
01:01:43,440 --> 01:01:45,080
Speaker 5: All right, I'm cutting you guys off there?

1202
01:01:45,120 --> 01:01:47,760
Speaker 7: Oh, no kind of guess one just now that I

1203
01:01:48,080 --> 01:01:49,800
Speaker 7: know I eliminated myself by Buzzy.

1204
01:01:50,160 --> 01:01:52,840
Speaker 3: Is Emerald Fennel one of them? Nope, we do need

1205
01:01:52,840 --> 01:01:55,840
Speaker 3: to sell Burned, all right.

1206
01:01:56,320 --> 01:02:01,280
Speaker 5: They are Jordan Peele Okay, oh sure, Celine.

1207
01:02:01,000 --> 01:02:04,240
Speaker 8: Song who has only done who has only done two films,

1208
01:02:04,280 --> 01:02:06,840
Speaker 8: and Emma Seligman, who has also only done two films.

1209
01:02:07,040 --> 01:02:09,720
Speaker 3: Wow, is that interesting? Yeah, that would have been a

1210
01:02:09,760 --> 01:02:11,080
Speaker 3: real poll. Yeah.

1211
01:02:11,320 --> 01:02:13,360
Speaker 5: I thought I thought you guys might get Jordan Peel.

1212
01:02:13,840 --> 01:02:15,640
Speaker 9: Yeah, that would have been good. I was stuck on

1213
01:02:15,680 --> 01:02:19,920
Speaker 9: Cogonata and trying to remember what his first film was,

1214
01:02:20,000 --> 01:02:22,560
Speaker 9: because I knew it was, you know, much beloved to

1215
01:02:22,600 --> 01:02:24,120
Speaker 9: some people here. But I don't think we ever did

1216
01:02:24,160 --> 01:02:25,520
Speaker 9: Columbus Columbus, and we.

1217
01:02:25,680 --> 01:02:27,560
Speaker 3: Do the big, big Beautiful Journey either.

1218
01:02:28,320 --> 01:02:31,400
Speaker 9: Yeah, but no, that's that's only been out for three seconds.

1219
01:02:31,080 --> 01:02:32,920
Speaker 3: To Beautiful Journey.

1220
01:02:33,280 --> 01:02:37,360
Speaker 8: All right, Well, this is a multiple choice question, multiple

1221
01:02:37,400 --> 01:02:40,880
Speaker 8: choice only for one point, and it's hopefully an easier

1222
01:02:41,000 --> 01:02:42,480
Speaker 8: version of that last question.

1223
01:02:43,040 --> 01:02:44,360
Speaker 5: So taking those.

1224
01:02:44,160 --> 01:02:47,280
Speaker 8: Three filmmakers in our one hundred percent club out of

1225
01:02:47,280 --> 01:02:50,680
Speaker 8: the equation, as well as again filmmakers with only one film,

1226
01:02:50,720 --> 01:02:54,080
Speaker 8: which filmmaker has had the highest percentage of their overall

1227
01:02:54,080 --> 01:02:59,360
Speaker 8: filmography discussed on the show A David Lowry, b Akiva Shaffer,

1228
01:02:59,720 --> 01:03:02,200
Speaker 8: see Chloe Joo or d Greta Gerwig.

1229
01:03:02,640 --> 01:03:07,440
Speaker 9: Oh my god, Tasha, I'm gonna go with David Lowry.

1230
01:03:07,800 --> 01:03:09,840
Speaker 5: Nope, we've only done four out of his eight.

1231
01:03:12,160 --> 01:03:12,920
Speaker 9: Oh my goodness.

1232
01:03:13,200 --> 01:03:17,120
Speaker 7: Uh, I'm just trying to think of percentages here.

1233
01:03:18,160 --> 01:03:21,120
Speaker 2: I'm gonna say, I think we've done two.

1234
01:03:20,960 --> 01:03:26,280
Speaker 8: Thirds of we've done three fourths four, three out of

1235
01:03:26,280 --> 01:03:28,680
Speaker 8: four and it is it is Gwig. We have done

1236
01:03:28,720 --> 01:03:31,439
Speaker 8: Little Little Woman, Ladybird, and Barbie Movie.

1237
01:03:31,520 --> 01:03:33,840
Speaker 2: And we're not counting nights and weekends when she co directed.

1238
01:03:33,880 --> 01:03:36,960
Speaker 2: I guess, but yeah, yeah, man, I know trivia. I

1239
01:03:37,000 --> 01:03:37,480
Speaker 2: know trivia.

1240
01:03:37,640 --> 01:03:37,800
Speaker 10: There.

1241
01:03:37,880 --> 01:03:39,360
Speaker 3: I was there for that. I was there. I was

1242
01:03:39,360 --> 01:03:41,280
Speaker 3: there for that. The last answer, I just didn't realize that.

1243
01:03:41,760 --> 01:03:43,520
Speaker 9: And we were there for all of this. That's the

1244
01:03:43,520 --> 01:03:44,160
Speaker 9: whole point of this.

1245
01:03:45,080 --> 01:03:45,840
Speaker 3: You know what I'm saying.

1246
01:03:46,320 --> 01:03:51,040
Speaker 8: All right, Next question, This requires less memory on your

1247
01:03:51,040 --> 01:03:56,240
Speaker 8: guys's part. More more vibes. Another multiple choice. Which of

1248
01:03:56,280 --> 01:04:00,320
Speaker 8: the following pairings has the biggest differential in Rotten Toto's

1249
01:04:00,400 --> 01:04:06,240
Speaker 8: score between the old and new film oh A Rear

1250
01:04:06,280 --> 01:04:10,560
Speaker 8: Window and The Woman in the Window, B, Jaws and

1251
01:04:10,600 --> 01:04:15,400
Speaker 8: the Meg C, Jurassic Park in Jurassic World, Dominion or

1252
01:04:15,480 --> 01:04:17,760
Speaker 8: D The Brady Bunch Movie and Baywatch.

1253
01:04:20,960 --> 01:04:22,440
Speaker 9: Keith, I think it's.

1254
01:04:22,480 --> 01:04:24,880
Speaker 2: A because everyone hated Woman in the Window.

1255
01:04:25,360 --> 01:04:27,760
Speaker 5: It is a too rare.

1256
01:04:27,800 --> 01:04:30,680
Speaker 8: Window has ninety nine percent on Rotten Tomatoes and Woman

1257
01:04:30,680 --> 01:04:36,360
Speaker 8: in the Window has twenty five percent. All Right, Keith

1258
01:04:36,400 --> 01:04:37,200
Speaker 8: pulls ahead.

1259
01:04:37,480 --> 01:04:40,120
Speaker 2: Hey, it feels like old times. All right.

1260
01:04:40,320 --> 01:04:43,800
Speaker 9: Yeah, I can't remember any movies that we've ever covered,

1261
01:04:43,800 --> 01:04:45,800
Speaker 9: but I do remember Keith running away with every game

1262
01:04:45,840 --> 01:04:46,440
Speaker 9: we would report.

1263
01:04:46,480 --> 01:04:48,800
Speaker 8: Oh all right, all right, Well, now we are moving

1264
01:04:48,840 --> 01:04:52,200
Speaker 8: into the lightning round. This is the Rotten Tomatoes lightning round.

1265
01:04:52,240 --> 01:04:54,760
Speaker 8: And I would like to issue a disclaimer up front.

1266
01:04:55,000 --> 01:04:57,640
Speaker 8: I know we do not love Rotten Tomatoes.

1267
01:04:58,560 --> 01:04:59,200
Speaker 5: In this house.

1268
01:04:59,240 --> 01:05:03,919
Speaker 8: We observe a critic, but Metacritic does not have as

1269
01:05:04,120 --> 01:05:06,200
Speaker 8: many reviews of older films.

1270
01:05:06,680 --> 01:05:09,200
Speaker 2: What you know, what though, I am a top critic

1271
01:05:09,280 --> 01:05:13,440
Speaker 2: on Rotten Tomatoes and Metacritic does not host the reviewals reviews,

1272
01:05:13,480 --> 01:05:16,440
Speaker 2: so I have I've switched my allegiance on pro A

1273
01:05:16,560 --> 01:05:17,720
Speaker 2: great Prota.

1274
01:05:18,040 --> 01:05:20,280
Speaker 5: All right, all right, well then screw that disclaimer.

1275
01:05:20,320 --> 01:05:22,840
Speaker 9: This is the just out of curious, just out of curiosity?

1276
01:05:22,840 --> 01:05:25,440
Speaker 9: Are we all top critics on Rotten Tomatoes?

1277
01:05:25,760 --> 01:05:28,640
Speaker 3: I don't. I'm a top critic? No you're not, top,

1278
01:05:28,840 --> 01:05:29,560
Speaker 3: Tasha Robinson?

1279
01:05:29,600 --> 01:05:33,840
Speaker 9: No, No I am, we are, But Metacritic also hostsmiring

1280
01:05:33,920 --> 01:05:34,520
Speaker 9: my reviews.

1281
01:05:36,600 --> 01:05:39,439
Speaker 7: They just got to get with a newsletter revolution. Here

1282
01:05:39,960 --> 01:05:42,200
Speaker 7: we are leading the Keith and I are up front on.

1283
01:05:42,520 --> 01:05:44,320
Speaker 8: All right, So this one you are not going to

1284
01:05:44,320 --> 01:05:46,240
Speaker 8: need the buzzers for because we are just going around

1285
01:05:46,280 --> 01:05:48,040
Speaker 8: the horn. Okay, okay, what I am going to do

1286
01:05:48,560 --> 01:05:51,280
Speaker 8: this is dedicated to our director director pairing. So we

1287
01:05:51,280 --> 01:05:53,720
Speaker 8: do two films by the same director, and I am

1288
01:05:53,720 --> 01:05:55,640
Speaker 8: going to give you the two films in that pairing

1289
01:05:55,680 --> 01:05:58,120
Speaker 8: by the same director, and you tell me which has

1290
01:05:58,160 --> 01:05:59,640
Speaker 8: the higher Rotten Tomatoes score.

1291
01:06:00,120 --> 01:06:02,320
Speaker 3: Oh okay, all.

1292
01:06:02,280 --> 01:06:03,120
Speaker 5: Right, Keith.

1293
01:06:03,120 --> 01:06:04,840
Speaker 8: Since you're in the lead, we'll start with you from

1294
01:06:04,840 --> 01:06:08,360
Speaker 8: our Sam Raimi pairing. Does Army of Darkness or Doctor

1295
01:06:08,440 --> 01:06:11,400
Speaker 8: Strange and the Multiverse of Madness have a higher Rotten

1296
01:06:11,400 --> 01:06:12,080
Speaker 8: Tomatoes score.

1297
01:06:12,240 --> 01:06:14,520
Speaker 2: I'm going to say based on I think Army of

1298
01:06:14,560 --> 01:06:17,000
Speaker 2: Darkness got fairly mixed reviews of the time, so I

1299
01:06:17,040 --> 01:06:19,120
Speaker 2: think it's going to be Doctor Strange in the Multiverse

1300
01:06:19,160 --> 01:06:19,800
Speaker 2: of Madness.

1301
01:06:20,120 --> 01:06:21,960
Speaker 9: You are correct, that's good.

1302
01:06:22,000 --> 01:06:22,600
Speaker 3: That's good. Touff.

1303
01:06:22,640 --> 01:06:27,720
Speaker 9: Keith, all right, deduction bad result though, yeah, yeah.

1304
01:06:28,440 --> 01:06:29,360
Speaker 5: And it was close.

1305
01:06:29,800 --> 01:06:32,760
Speaker 8: Army of Darkness has sixty nine percent and Multiverse has

1306
01:06:32,960 --> 01:06:38,200
Speaker 8: seventy three percent. That's all right, Scott, Moving on to

1307
01:06:38,240 --> 01:06:40,600
Speaker 8: you our bos Lureman pairing.

1308
01:06:41,280 --> 01:06:44,080
Speaker 5: Okay, Mulan Rouge or Elvis.

1309
01:06:44,400 --> 01:06:45,880
Speaker 3: Oh no, I think Elvis.

1310
01:06:46,200 --> 01:06:46,960
Speaker 5: You are correct.

1311
01:06:48,320 --> 01:06:52,400
Speaker 2: Critics have gotten softer between a lot.

1312
01:06:52,720 --> 01:06:54,720
Speaker 9: I mean, they've definitely gotten more numerous.

1313
01:06:55,080 --> 01:06:57,680
Speaker 3: Yeah, there's that too, all.

1314
01:06:57,680 --> 01:07:03,000
Speaker 8: Right, Tasha, from our David Cronenberg pairing, the Fly or

1315
01:07:03,120 --> 01:07:03,880
Speaker 8: the shrouds.

1316
01:07:04,600 --> 01:07:07,000
Speaker 9: Oh, now, see, I'm going to feel like such a

1317
01:07:07,120 --> 01:07:10,200
Speaker 9: sucker if I if I if I go with my

1318
01:07:10,240 --> 01:07:13,880
Speaker 9: heart here and it turns out that I should have

1319
01:07:13,960 --> 01:07:17,520
Speaker 9: learned from like the last two examples. But I think

1320
01:07:17,560 --> 01:07:21,400
Speaker 9: the shrouds critics were kind of like pro on it,

1321
01:07:21,440 --> 01:07:24,760
Speaker 9: but also kind of baffled, whereas the fly was was

1322
01:07:24,800 --> 01:07:27,200
Speaker 9: met with just such enthusiasm. I'm going to say the

1323
01:07:27,200 --> 01:07:28,320
Speaker 9: fly on this one.

1324
01:07:28,440 --> 01:07:29,280
Speaker 5: You are correct.

1325
01:07:29,440 --> 01:07:32,840
Speaker 8: The fly has ninety three percent to the shrouds seventy six.

1326
01:07:33,360 --> 01:07:35,440
Speaker 3: Yeah, I didn't see it was it seemed like a

1327
01:07:35,440 --> 01:07:36,400
Speaker 3: trick question just to ask.

1328
01:07:36,480 --> 01:07:38,960
Speaker 7: It was like, I pretty much, look, people like the fly,

1329
01:07:39,080 --> 01:07:40,640
Speaker 7: this chroud founds a little more mixed.

1330
01:07:41,360 --> 01:07:41,760
Speaker 5: All right.

1331
01:07:42,080 --> 01:07:44,880
Speaker 8: This one will also probably be pretty easy. But Keith,

1332
01:07:45,040 --> 01:07:48,360
Speaker 8: back to you from our m Night Shyamalan pairing. We've

1333
01:07:48,400 --> 01:07:51,600
Speaker 8: done a few of them, but this one was unbreakable

1334
01:07:51,760 --> 01:07:52,840
Speaker 8: and glass.

1335
01:07:53,120 --> 01:07:56,200
Speaker 2: I mean, I know Unbreakable wasn't as warmly received as

1336
01:07:56,200 --> 01:07:58,560
Speaker 2: sixth Sense, but it definitely. I think I got better

1337
01:07:58,600 --> 01:08:00,000
Speaker 2: reviews overaw than class.

1338
01:08:00,040 --> 01:08:01,360
Speaker 5: Yes, you are correct.

1339
01:08:01,720 --> 01:08:07,120
Speaker 8: Unbreakablle has seventy two glasses thirty seven.

1340
01:08:07,240 --> 01:08:11,280
Speaker 9: I don't care how so yeah, all right, Scott R.

1341
01:08:11,400 --> 01:08:15,720
Speaker 8: Nicole Holli Center pairing Yay Lovely and Amazing versus you

1342
01:08:15,800 --> 01:08:16,960
Speaker 8: Hurt my feelings?

1343
01:08:17,280 --> 01:08:19,880
Speaker 3: Oh wow, that's tougher. That is tough.

1344
01:08:20,280 --> 01:08:23,720
Speaker 7: I actually just wrote about you hurt my feelings in

1345
01:08:23,800 --> 01:08:28,280
Speaker 7: reference to Pluribus, believe it or not. But I am

1346
01:08:28,320 --> 01:08:31,200
Speaker 7: going to say, boy, this is really tough because I

1347
01:08:31,200 --> 01:08:32,719
Speaker 7: think they're probably pretty damn close.

1348
01:08:33,040 --> 01:08:35,800
Speaker 3: I'm going to say, you hurt my feelings.

1349
01:08:36,200 --> 01:08:41,040
Speaker 7: You are correct, that's close, though, right, They're tight, not

1350
01:08:41,120 --> 01:08:42,200
Speaker 7: as close as I would have thought.

1351
01:08:42,439 --> 01:08:44,519
Speaker 5: Lovely and Amazing is eighty six to you Hurt my

1352
01:08:44,520 --> 01:08:45,599
Speaker 5: Feelings ninety five?

1353
01:08:45,960 --> 01:08:46,439
Speaker 3: Oh whoa.

1354
01:08:47,160 --> 01:08:49,200
Speaker 7: I think I think respect for her just generally has

1355
01:08:49,320 --> 01:08:51,040
Speaker 7: as climbed as people have gotten to know her, Like

1356
01:08:51,080 --> 01:08:53,200
Speaker 7: Lovely Amazing was just like was a pretty early one

1357
01:08:53,200 --> 01:08:53,599
Speaker 7: from her.

1358
01:08:54,000 --> 01:08:57,160
Speaker 8: Yeah, all right, Tasha, this is a gimme from our

1359
01:08:57,200 --> 01:08:57,960
Speaker 8: Pixar pairing.

1360
01:08:58,240 --> 01:09:00,000
Speaker 9: I will take you can give me.

1361
01:09:00,560 --> 01:09:03,360
Speaker 8: This is not a director This is a Pixar pairing

1362
01:09:03,760 --> 01:09:05,680
Speaker 8: toy story versus the Good Dinosaur.

1363
01:09:08,240 --> 01:09:10,639
Speaker 9: Okay, let me let me, let me let me go

1364
01:09:10,720 --> 01:09:15,200
Speaker 9: back historically, think about like different aspects of this, like

1365
01:09:15,600 --> 01:09:19,880
Speaker 9: you know, leading critics, so like like believe, what do

1366
01:09:19,920 --> 01:09:23,479
Speaker 9: I remember about the reviews? My own feelings at the Yes,

1367
01:09:23,520 --> 01:09:24,080
Speaker 9: we can move on.

1368
01:09:24,280 --> 01:09:28,439
Speaker 5: Now you gotta say it Toy Story Okay, yes, slightly,

1369
01:09:28,600 --> 01:09:28,840
Speaker 5: I am.

1370
01:09:28,880 --> 01:09:31,800
Speaker 9: I am assuming like one or two points higher than Good.

1371
01:09:31,880 --> 01:09:35,600
Speaker 8: Toy Story has on Rotten Tomatoes to the Good Dinosaurs

1372
01:09:35,600 --> 01:09:36,280
Speaker 8: seventy six.

1373
01:09:38,120 --> 01:09:39,959
Speaker 3: Wow, it's generous to the Good Dinosaur.

1374
01:09:40,240 --> 01:09:46,080
Speaker 8: Keith are A George Miller pairing Mad Max versus Furiosa.

1375
01:09:46,040 --> 01:09:50,360
Speaker 2: Original Mad Max huh hm, okay, okay, I think it's

1376
01:09:50,360 --> 01:09:52,880
Speaker 2: going to be the whole like more review. I know

1377
01:09:52,920 --> 01:09:57,800
Speaker 2: Furiosa wasn't as warmly received as as Fury Road, but

1378
01:09:58,080 --> 01:10:00,799
Speaker 2: I think Mad Max wasn't really taken all that seriously

1379
01:10:00,840 --> 01:10:03,280
Speaker 2: with the initial reviews. But then Rotten Tomato does like

1380
01:10:03,320 --> 01:10:06,679
Speaker 2: retrospective reviews. Oh that's tough, this is tough. I'm gonna

1381
01:10:06,680 --> 01:10:08,960
Speaker 2: go with my gut and say that furios Is rating

1382
01:10:09,040 --> 01:10:13,320
Speaker 2: is higher even if Mad Max is more revered as

1383
01:10:13,439 --> 01:10:17,720
Speaker 2: a classic filmic.

1384
01:10:16,280 --> 01:10:19,839
Speaker 8: Correct you correct, Furiosa has ninety percent to Mad Max's

1385
01:10:19,880 --> 01:10:20,960
Speaker 8: eighty nine percent.

1386
01:10:21,120 --> 01:10:25,040
Speaker 3: Oh wow, Well gimme though, was it?

1387
01:10:25,240 --> 01:10:25,439
Speaker 5: Yeah?

1388
01:10:25,479 --> 01:10:26,000
Speaker 9: Impressive?

1389
01:10:26,760 --> 01:10:28,280
Speaker 5: All right, Scott?

1390
01:10:28,560 --> 01:10:28,880
Speaker 3: Yes?

1391
01:10:29,439 --> 01:10:34,280
Speaker 8: Are Chris Smith pairing okay, nice American movie versus Fire?

1392
01:10:34,680 --> 01:10:37,920
Speaker 3: Wow? Damn the fire.

1393
01:10:38,080 --> 01:10:40,360
Speaker 7: I'm gonna say fire because there was always like people

1394
01:10:40,360 --> 01:10:42,880
Speaker 7: are making fun of those guys in an American movie.

1395
01:10:43,040 --> 01:10:46,280
Speaker 8: American movie has ninety four to fires ninety three?

1396
01:10:46,520 --> 01:10:49,760
Speaker 3: Oh all right?

1397
01:10:50,520 --> 01:10:54,200
Speaker 8: And last last one, Tasha, I actually don't think you

1398
01:10:54,200 --> 01:10:57,160
Speaker 8: were on this pairing unfortunately, but you might still be

1399
01:10:57,200 --> 01:11:00,519
Speaker 8: able to figure it out. Are Jonathan Demi cont movie

1400
01:11:00,560 --> 01:11:05,320
Speaker 8: pairing Stop Making Sense versus Justin Timberlake and the Tennessee Kids.

1401
01:11:05,600 --> 01:11:05,880
Speaker 10: See.

1402
01:11:06,200 --> 01:11:08,719
Speaker 9: Based on how these questions have been going, it feels

1403
01:11:08,760 --> 01:11:10,840
Speaker 9: like the margins have been narrowing, so I'm going to

1404
01:11:10,840 --> 01:11:13,479
Speaker 9: assume that this one is like half a point between

1405
01:11:13,479 --> 01:11:17,240
Speaker 9: them or less. But the fact that Stopped Making Sense

1406
01:11:17,400 --> 01:11:21,840
Speaker 9: recently got a retrospective release, like an anniversary release that

1407
01:11:22,000 --> 01:11:25,960
Speaker 9: would have been an excuse for a lot of current

1408
01:11:26,000 --> 01:11:28,400
Speaker 9: people who didn't review it back in the day to

1409
01:11:28,720 --> 01:11:30,639
Speaker 9: review it from the perspective of this is an all

1410
01:11:30,680 --> 01:11:34,000
Speaker 9: time classic makes me think stop Stop making Sense.

1411
01:11:34,439 --> 01:11:39,840
Speaker 8: You are correct, although both have on Rotten Tomatoes, But

1412
01:11:39,960 --> 01:11:45,360
Speaker 8: stop making Sense has seventy reviews to Justin Timberlakes fourteen reviews.

1413
01:11:45,680 --> 01:11:47,280
Speaker 9: So when I said they were only half a point

1414
01:11:48,160 --> 01:11:50,439
Speaker 9: apart from each other, I was actually more accurate than

1415
01:11:50,439 --> 01:11:55,519
Speaker 9: I realized. It's great, congratulations narrowing.

1416
01:11:57,000 --> 01:11:58,639
Speaker 3: People disliked either one of those.

1417
01:12:00,360 --> 01:12:03,840
Speaker 2: I like themblike movie the Youth. I do, I do.

1418
01:12:04,040 --> 01:12:06,360
Speaker 2: It's just it's not something I think.

1419
01:12:06,400 --> 01:12:08,519
Speaker 7: What we were right, What we revealed here is how

1420
01:12:08,560 --> 01:12:12,280
Speaker 7: flawed a metric Rotten Tomatoes is because I think if

1421
01:12:12,280 --> 01:12:14,599
Speaker 7: you actually go on the it doesn't do a good

1422
01:12:14,640 --> 01:12:16,040
Speaker 7: job of measuring passion.

1423
01:12:16,479 --> 01:12:17,679
Speaker 3: And I think, and I think.

1424
01:12:18,200 --> 01:12:22,440
Speaker 8: There were only fourteen of reviews.

1425
01:12:21,200 --> 01:12:23,200
Speaker 7: But just like in terms of like, but even stuff

1426
01:12:23,280 --> 01:12:25,960
Speaker 7: like like if you were to say, I wonder what

1427
01:12:26,040 --> 01:12:29,800
Speaker 7: Metacritic would say was the difference between those two films.

1428
01:12:29,800 --> 01:12:32,200
Speaker 7: I think it would be more significant because because people

1429
01:12:32,240 --> 01:12:35,599
Speaker 7: feel more passionately in favor. But everyone likes both films.

1430
01:12:35,640 --> 01:12:37,800
Speaker 7: You know which you should? They're good films, all right.

1431
01:12:38,000 --> 01:12:41,719
Speaker 5: So that was the Ron Tomatoes lightning round. That was interesting.

1432
01:12:41,800 --> 01:12:44,240
Speaker 8: Keith is still in the lead with nine points and

1433
01:12:44,320 --> 01:12:47,599
Speaker 8: Scott and Tasha are tied at seven apiece. Oh man,

1434
01:12:48,400 --> 01:12:52,200
Speaker 8: So now we have individual bonus questions, one for each

1435
01:12:52,240 --> 01:12:54,760
Speaker 8: of you, each worth three points. These our tailor to

1436
01:12:54,840 --> 01:12:55,960
Speaker 8: you specifically.

1437
01:12:56,280 --> 01:12:56,679
Speaker 7: Wow.

1438
01:12:57,320 --> 01:12:59,320
Speaker 5: So I'm going to start.

1439
01:12:59,080 --> 01:13:01,400
Speaker 3: With Scott scot I know about myself.

1440
01:13:01,600 --> 01:13:04,559
Speaker 8: Which of the following Martin Scorsese films have we not

1441
01:13:04,800 --> 01:13:10,400
Speaker 8: covered on the show? A Taxi Driver, b Silence, see Casino,

1442
01:13:11,000 --> 01:13:15,080
Speaker 8: d Rolling Thunder Review, A Bob Dylan's Story.

1443
01:13:15,280 --> 01:13:17,160
Speaker 3: Okay, go go through those again.

1444
01:13:16,960 --> 01:13:22,120
Speaker 8: Please, Taxi Driver, Silence, Casino, and Rolling Thunder Review.

1445
01:13:22,200 --> 01:13:27,240
Speaker 3: Okay, we've definitely done. Shoot, have we done it? I

1446
01:13:27,280 --> 01:13:29,160
Speaker 3: know we've done it. Rolling Thunder Review. I can't.

1447
01:13:29,240 --> 01:13:32,000
Speaker 7: I can say that that that has happened. Why it

1448
01:13:32,000 --> 01:13:33,960
Speaker 7: feels like we've done casino?

1449
01:13:34,320 --> 01:13:34,799
Speaker 3: Maybe?

1450
01:13:35,479 --> 01:13:39,720
Speaker 7: Holy Cow, taxi Driver, it seems yes, surely, surely we've

1451
01:13:39,720 --> 01:13:43,200
Speaker 7: had it some occasion to do that. I'm gonna say Casino.

1452
01:13:43,439 --> 01:13:45,760
Speaker 5: That is wrong. We have done Casino.

1453
01:13:46,280 --> 01:13:48,760
Speaker 3: No, what's the one we haven't done?

1454
01:13:49,320 --> 01:13:49,840
Speaker 5: Silence?

1455
01:13:50,400 --> 01:13:50,719
Speaker 3: Okay?

1456
01:13:50,880 --> 01:13:52,720
Speaker 7: Shoot, I thought maybe we would have found something to

1457
01:13:52,720 --> 01:13:54,320
Speaker 7: pair out with when it came out we just.

1458
01:13:56,040 --> 01:13:58,520
Speaker 5: We paired casino with hustlers.

1459
01:13:58,720 --> 01:14:00,560
Speaker 2: Oh, okay, there you go. Thought about that.

1460
01:14:01,400 --> 01:14:04,000
Speaker 3: Okay, shoot, I didn't didn't know my own guy.

1461
01:14:03,960 --> 01:14:08,760
Speaker 8: Yeh, all right, Keith, which of the following, thank you.

1462
01:14:09,360 --> 01:14:12,360
Speaker 8: Which of the following Nicholas Cage films have we not

1463
01:14:12,479 --> 01:14:13,320
Speaker 8: covered on the show?

1464
01:14:14,560 --> 01:14:14,760
Speaker 5: Wait?

1465
01:14:14,800 --> 01:14:18,559
Speaker 9: Wait, wait, why is Keith's question regarding Nicholas Cage.

1466
01:14:18,680 --> 01:14:21,519
Speaker 2: It's still in stores Age Caged. You know, there was

1467
01:14:21,560 --> 01:14:23,120
Speaker 2: a rumor that it was pulled from the shelves. You

1468
01:14:23,120 --> 01:14:25,280
Speaker 2: couldn't buy any more. That's not true.

1469
01:14:25,840 --> 01:14:28,200
Speaker 9: Banned in thirteen states so far, but the rest you

1470
01:14:28,240 --> 01:14:30,280
Speaker 9: can still you can still get it or get it.

1471
01:14:30,240 --> 01:14:30,719
Speaker 3: Through the mail.

1472
01:14:30,840 --> 01:14:33,840
Speaker 2: And add to our Japanese listeners, there's a Japanese version

1473
01:14:33,880 --> 01:14:36,240
Speaker 2: coming out at some point. I've been I've been seeing

1474
01:14:36,280 --> 01:14:39,000
Speaker 2: them corrections and things like that, so that's super cool.

1475
01:14:39,640 --> 01:14:42,800
Speaker 8: All right, Well, let's see if you can tell me

1476
01:14:43,000 --> 01:14:45,240
Speaker 8: which of the following Nicholas cagels we have not covered

1477
01:14:45,280 --> 01:14:49,880
Speaker 8: on the show. A Raising Arizona, B adaptation see Long

1478
01:14:50,000 --> 01:14:51,760
Speaker 8: Legs D The Wickerman.

1479
01:14:54,080 --> 01:14:57,759
Speaker 2: All right, I know we did Long Legs. Yes, looking, okay,

1480
01:14:58,160 --> 01:15:02,160
Speaker 2: I know we did Raising Arizona. Mhm. And what was

1481
01:15:02,760 --> 01:15:11,000
Speaker 2: that leaves the other one? Right? The adaptation we've never

1482
01:15:11,000 --> 01:15:11,760
Speaker 2: done the wicker Man.

1483
01:15:11,920 --> 01:15:15,240
Speaker 8: We've done the original wicker Man, not the Nicholas Cage.

1484
01:15:16,120 --> 01:15:20,000
Speaker 7: Yeah, there would be really absolutely He's interview a pairing

1485
01:15:20,040 --> 01:15:23,640
Speaker 7: with the Uh.

1486
01:15:24,200 --> 01:15:27,720
Speaker 9: All right, all right, Tasha, but the memes? All right,

1487
01:15:27,800 --> 01:15:28,920
Speaker 9: let me guess, is this Pixar?

1488
01:15:29,439 --> 01:15:29,920
Speaker 5: It is.

1489
01:15:32,000 --> 01:15:34,920
Speaker 8: Which of the following Pixar films have we not covered

1490
01:15:35,000 --> 01:15:38,800
Speaker 8: on the show? The Incredibles to, Inside Out, to, Toy

1491
01:15:38,880 --> 01:15:41,720
Speaker 8: Story two or Finding Dory Toy Story two?

1492
01:15:42,360 --> 01:15:42,920
Speaker 5: Correct?

1493
01:15:43,320 --> 01:15:44,880
Speaker 3: Damn yeah?

1494
01:15:44,920 --> 01:15:48,800
Speaker 9: I feel like if we like, I know, we covered

1495
01:15:48,800 --> 01:15:53,880
Speaker 9: the original Toy Story as a pairing, and like the

1496
01:15:53,920 --> 01:15:56,360
Speaker 9: more recent ones would have been within our window. But

1497
01:15:56,479 --> 01:15:59,880
Speaker 9: I the kind of circumstances that would be necessary for

1498
01:16:00,120 --> 01:16:03,000
Speaker 9: to come up with a movie that we would then

1499
01:16:03,040 --> 01:16:07,719
Speaker 9: pair with the second movie in a series that would

1500
01:16:07,720 --> 01:16:08,400
Speaker 9: be complicated.

1501
01:16:08,600 --> 01:16:11,720
Speaker 8: I mean, we've we've done Incredibles, to, Inside Out, to

1502
01:16:12,000 --> 01:16:18,440
Speaker 8: and Finding Dory. So this was the Pixar sequels.

1503
01:16:16,840 --> 01:16:23,080
Speaker 12: Memento, Mementa, No, it was right, But I think the

1504
01:16:23,200 --> 01:16:27,200
Speaker 12: other three we covered as they came out, as each.

1505
01:16:27,080 --> 01:16:31,000
Speaker 9: Of them came out. And I don't remember when Toy

1506
01:16:31,040 --> 01:16:34,479
Speaker 9: Story two was, but it was before twenty fifteen, I believe,

1507
01:16:35,240 --> 01:16:39,040
Speaker 9: So I would say, God are covering it new.

1508
01:16:39,080 --> 01:16:42,519
Speaker 8: Good deduction all right. So our current score is Keith

1509
01:16:42,560 --> 01:16:45,840
Speaker 8: with twelve points, Tasha with ten points, and Scott still

1510
01:16:45,840 --> 01:16:49,559
Speaker 8: with seven all right, this is our last question. Final

1511
01:16:49,640 --> 01:16:54,320
Speaker 8: question A questions. This is our final question. It is

1512
01:16:54,439 --> 01:16:58,040
Speaker 8: a winner takes all catch the snitch situation.

1513
01:16:59,040 --> 01:16:59,240
Speaker 5: Point.

1514
01:16:59,400 --> 01:17:01,240
Speaker 2: Guys, it's five.

1515
01:17:01,320 --> 01:17:04,080
Speaker 8: It's five hundred points in honor of our five hundredth episode.

1516
01:17:04,240 --> 01:17:08,000
Speaker 8: Oh nice, without looking at the script, please tell me

1517
01:17:08,040 --> 01:17:10,040
Speaker 8: the phone number. Listeners can call to leave us a

1518
01:17:10,080 --> 01:17:11,240
Speaker 8: voicemail for feedback.

1519
01:17:11,920 --> 01:17:15,360
Speaker 9: Oh, I hate you. I barely know my own phone

1520
01:17:15,400 --> 01:17:16,880
Speaker 9: numberge monster.

1521
01:17:17,160 --> 01:17:20,160
Speaker 2: Oh well, I don't know my daughter's phone number. By

1522
01:17:20,200 --> 01:17:23,519
Speaker 2: the way, she didn't she has a phone writer. Put

1523
01:17:23,520 --> 01:17:24,200
Speaker 2: it in the contact.

1524
01:17:24,280 --> 01:17:25,840
Speaker 5: That's why it's a five hundred point question.

1525
01:17:25,920 --> 01:17:29,519
Speaker 3: Guys, can I can I guess five? Five?

1526
01:17:29,640 --> 01:17:29,920
Speaker 10: Five?

1527
01:17:30,640 --> 01:17:30,880
Speaker 3: Shall?

1528
01:17:31,080 --> 01:17:31,120
Speaker 7: No?

1529
01:17:31,560 --> 01:17:32,120
Speaker 3: I got it wrong?

1530
01:17:32,479 --> 01:17:36,240
Speaker 2: Wait, all right, just do random, Just do random. Nine.

1531
01:17:37,560 --> 01:17:40,160
Speaker 2: I'm gonna say the number and if I beep it

1532
01:17:40,160 --> 01:17:42,720
Speaker 2: out if I get it wrong enough, beause somebody's phone

1533
01:17:42,760 --> 01:17:44,759
Speaker 2: number in my life? Is it seventh?

1534
01:17:44,840 --> 01:17:44,960
Speaker 9: Oh?

1535
01:17:45,000 --> 01:17:46,240
Speaker 2: You know what? I think it's scott'stubborn.

1536
01:17:48,680 --> 01:17:52,080
Speaker 9: No, definitely put Scott's personal sell on the podcast.

1537
01:17:53,320 --> 01:17:54,599
Speaker 2: Positive Scott's all right.

1538
01:17:54,640 --> 01:17:56,400
Speaker 8: I feel sorry for you, guys, so I'm going to

1539
01:17:56,479 --> 01:17:58,200
Speaker 8: give you. I'm going to give you the first the

1540
01:17:58,240 --> 01:17:59,759
Speaker 8: area code and the first three numbers.

1541
01:17:59,760 --> 01:18:07,599
Speaker 5: If you can talk me about.

1542
01:18:04,040 --> 01:18:05,840
Speaker 3: It's a rhythm thing. It's a rhythm thing. I wrote this.

1543
01:18:05,960 --> 01:18:09,320
Speaker 8: Okay, all right, you can leave us voicemail at seven

1544
01:18:09,400 --> 01:18:11,479
Speaker 8: seven three two three four.

1545
01:18:12,840 --> 01:18:20,519
Speaker 7: Nine seven three zero Scott you us, Oh baby, yeah,

1546
01:18:21,640 --> 01:18:25,600
Speaker 7: yeah I was. I was just feeding the little hamsters

1547
01:18:25,640 --> 01:18:27,680
Speaker 7: in my brain. The wheels started moving.

1548
01:18:28,479 --> 01:18:29,560
Speaker 5: Thank you guys.

1549
01:18:31,320 --> 01:18:33,599
Speaker 2: Wait wait wait wait wait wait you know the round

1550
01:18:33,640 --> 01:18:35,680
Speaker 2: of buzzers real quickly. Just let him fly.

1551
01:18:40,680 --> 01:18:43,479
Speaker 7: So my my own little, my own, little uh piece

1552
01:18:43,479 --> 01:18:47,719
Speaker 7: of trivia. What classic film divided us most along gender lines? Actually,

1553
01:18:49,320 --> 01:18:51,120
Speaker 7: because I think we all know that one.

1554
01:18:51,520 --> 01:18:54,200
Speaker 8: I actually did write a question about this. I did

1555
01:18:54,200 --> 01:18:57,439
Speaker 8: write a question about this and decided not to include it.

1556
01:18:57,479 --> 01:18:59,720
Speaker 8: But why not, we'll do it now. As we all know,

1557
01:19:00,200 --> 01:19:05,000
Speaker 8: mash was early and early divisive film. Name the other

1558
01:19:05,080 --> 01:19:07,400
Speaker 8: film in that pairing, and at least two people who

1559
01:19:07,439 --> 01:19:08,080
Speaker 8: starred in it.

1560
01:19:08,520 --> 01:19:11,240
Speaker 9: Oh, I think I could get to the film.

1561
01:19:14,960 --> 01:19:19,559
Speaker 2: It was with Tango Fox Trot, starring Tina Fey and

1562
01:19:19,920 --> 01:19:24,960
Speaker 2: Christopher Abbott as a Middle Eastern man like the whole

1563
01:19:25,000 --> 01:19:27,000
Speaker 2: like you know, which which is like this whole thing

1564
01:19:27,040 --> 01:19:29,400
Speaker 2: where it's like, I love Christopher Abbot's really good performance,

1565
01:19:29,439 --> 01:19:30,879
Speaker 2: but I don't think it actually exists.

1566
01:19:30,920 --> 01:19:36,400
Speaker 9: You know, I would not have gotten to Christopher Abbot if.

1567
01:19:36,280 --> 01:19:40,360
Speaker 2: You remember I think its remember it because of the

1568
01:19:40,360 --> 01:19:42,840
Speaker 2: whole like sort of like you know, that sort of

1569
01:19:42,920 --> 01:19:44,080
Speaker 2: uncomfortable to it.

1570
01:19:45,520 --> 01:19:48,720
Speaker 9: We were also accepted a we could also accept a

1571
01:19:48,760 --> 01:19:52,519
Speaker 9: trivia question. What is the letterboxed review that Tasha still

1572
01:19:52,560 --> 01:19:55,519
Speaker 9: gets the most absolute shop for on a week to

1573
01:19:55,600 --> 01:19:59,960
Speaker 9: week basis? Oh, it's it's mash. I mean, it's interesting.

1574
01:20:00,160 --> 01:20:02,439
Speaker 9: It's really I feel like I've talked about this before.

1575
01:20:02,479 --> 01:20:05,080
Speaker 9: It's about a two thirds split between you know, thank

1576
01:20:05,120 --> 01:20:07,519
Speaker 9: you for being the person who finally said it. This

1577
01:20:07,600 --> 01:20:10,880
Speaker 9: movie is terrible and you need to die. Here's a

1578
01:20:10,920 --> 01:20:14,519
Speaker 9: description of how you should die. Like I probably get

1579
01:20:15,040 --> 01:20:19,439
Speaker 9: you know, some like creepy bit of hatred out of

1580
01:20:19,439 --> 01:20:22,160
Speaker 9: that thing about once a month. It is still to

1581
01:20:22,240 --> 01:20:23,840
Speaker 9: this day and it kind of makes me laugh.

1582
01:20:24,240 --> 01:20:25,320
Speaker 3: Wow.

1583
01:20:25,320 --> 01:20:27,040
Speaker 5: Well, I'm glad you can laugh about it, Tasha.

1584
01:20:28,320 --> 01:20:32,080
Speaker 9: It's just so you know, there there have been movies

1585
01:20:32,120 --> 01:20:35,760
Speaker 9: that I have felt, I guess more hesitant in my

1586
01:20:35,800 --> 01:20:38,799
Speaker 9: response to, or you know, movies while where I felt

1587
01:20:38,800 --> 01:20:42,080
Speaker 9: intimidated to speak my truth to in the face of

1588
01:20:42,479 --> 01:20:45,160
Speaker 9: other people's strong disagreement. But I know how I feel

1589
01:20:45,200 --> 01:20:48,960
Speaker 9: about that movie and why, and I know why a

1590
01:20:49,000 --> 01:20:50,840
Speaker 9: lot of the haters are coming for me on it,

1591
01:20:50,880 --> 01:20:53,400
Speaker 9: and I have no sympathy for them. So I'm all good.

1592
01:20:53,720 --> 01:20:55,600
Speaker 2: Jenevieve. I have a question for you to be a

1593
01:20:55,720 --> 01:20:58,160
Speaker 2: question time the fact that you're drinking at Doctor Pepper.

1594
01:20:58,280 --> 01:21:01,559
Speaker 2: You got Doctor Pepper figures problem and last picture show

1595
01:21:02,080 --> 01:21:06,160
Speaker 2: what three numbers are on the vintage Doctor Pepper bottles

1596
01:21:06,200 --> 01:21:07,599
Speaker 2: and why what do they mean?

1597
01:21:08,120 --> 01:21:08,880
Speaker 5: I have no idea.

1598
01:21:09,080 --> 01:21:11,400
Speaker 8: Okay, well, why would I know that it's not on

1599
01:21:11,400 --> 01:21:12,599
Speaker 8: my spreadsheet of all of our.

1600
01:21:15,280 --> 01:21:18,760
Speaker 2: Ten two and four because the advertising campaign was you

1601
01:21:18,760 --> 01:21:20,479
Speaker 2: were supposed to have a Doctor Pepper three times a

1602
01:21:20,560 --> 01:21:27,800
Speaker 2: day ten at two four zero zero dentist. Actually that

1603
01:21:28,000 --> 01:21:29,720
Speaker 2: as as.

1604
01:21:29,479 --> 01:21:34,280
Speaker 7: I had, I have never, even even in my darkest moments,

1605
01:21:35,000 --> 01:21:38,519
Speaker 7: have not considered cracking open to dr Pepper at ten

1606
01:21:38,520 --> 01:21:39,080
Speaker 7: o'clock in the.

1607
01:21:39,000 --> 01:21:42,880
Speaker 2: Morment man, well, you know dropping coke zero and I

1608
01:21:42,920 --> 01:21:45,360
Speaker 2: cannot make that same, cannot say I.

1609
01:21:45,880 --> 01:21:49,200
Speaker 9: Have definitely had that. As somebody who does not drink

1610
01:21:49,200 --> 01:21:52,840
Speaker 9: coffee and never has, and whose only caffeine consumption pretty

1611
01:21:52,880 --> 01:21:55,519
Speaker 9: much comes in the form of diet Doctor Pepper, there

1612
01:21:55,600 --> 01:21:58,760
Speaker 9: have been days when I actually want a ten am

1613
01:21:58,800 --> 01:22:01,479
Speaker 9: Doctor Pepper. I don't let myself have that. I have

1614
01:22:01,600 --> 01:22:03,720
Speaker 9: never had a piping hot Doctor Pepper at ten in

1615
01:22:03,800 --> 01:22:04,639
Speaker 9: the morning or otherwise.

1616
01:22:05,160 --> 01:22:09,160
Speaker 8: Piping hot Werners, which is a local brand of ginger Ale,

1617
01:22:09,400 --> 01:22:13,960
Speaker 8: is an old wives cure here in Michigan. It's supposed

1618
01:22:14,000 --> 01:22:15,400
Speaker 8: to help an upset stomach.

1619
01:22:16,520 --> 01:22:17,160
Speaker 5: Offers.

1620
01:22:19,400 --> 01:22:22,599
Speaker 7: You kind of just don't necessarily know where this podcast

1621
01:22:22,680 --> 01:22:26,559
Speaker 7: is going to go sometimes, Geneviev, thank you for that quiz.

1622
01:22:26,600 --> 01:22:28,920
Speaker 7: It was elaborate and impressive and exciting and it was

1623
01:22:29,160 --> 01:22:32,080
Speaker 7: fun to do that again. And that actually is it

1624
01:22:32,360 --> 01:22:34,719
Speaker 7: for this very special edition of The Next Picture Show.

1625
01:22:35,000 --> 01:22:36,960
Speaker 7: But we'll be back next week with a new set

1626
01:22:36,960 --> 01:22:39,920
Speaker 7: of episodes. Genevieve, can you tell us about our next pairing?

1627
01:22:40,280 --> 01:22:43,320
Speaker 5: Set in the Pacific Northwest during the early twentieth century,

1628
01:22:43,400 --> 01:22:46,400
Speaker 5: the new film Train Dreams, based on Dennis Johnson's novella,

1629
01:22:46,760 --> 01:22:50,200
Speaker 5: is an American epic told on an intimate scale, following

1630
01:22:50,240 --> 01:22:53,479
Speaker 5: a logger and railway worker from Idaho played by Joel Edgerton.

1631
01:22:53,880 --> 01:22:56,479
Speaker 5: The film is about an ordinary man who lives quietly

1632
01:22:56,520 --> 01:22:59,360
Speaker 5: and in obscurity, but nonetheless has a hand in shaping

1633
01:22:59,360 --> 01:23:01,559
Speaker 5: the country. He is like a dot in a point

1634
01:23:01,560 --> 01:23:04,799
Speaker 5: to list. Painting the scope and beauty of train Dreams,

1635
01:23:04,880 --> 01:23:07,040
Speaker 5: along with its down to earth point of view, calls

1636
01:23:07,080 --> 01:23:10,960
Speaker 5: to mind Terrence Malick, specifically nineteen seventy eight Days of Heaven,

1637
01:23:11,120 --> 01:23:14,639
Speaker 5: his depression era romance about transient laborer is doing seasonal

1638
01:23:14,680 --> 01:23:17,200
Speaker 5: work on a farm in the Texas Panhandle. So for

1639
01:23:17,240 --> 01:23:19,960
Speaker 5: our next set of episodes, we'll step outside and experience

1640
01:23:20,080 --> 01:23:21,559
Speaker 5: magic Hour along with them.

1641
01:23:21,840 --> 01:23:24,160
Speaker 7: For now, we welcome your feedback on the Last Picture Show,

1642
01:23:24,360 --> 01:23:26,920
Speaker 7: the Next Picture Show, and anything else firm related. Do

1643
01:23:26,920 --> 01:23:29,120
Speaker 7: you like to talk about Email us at comments at

1644
01:23:29,160 --> 01:23:31,439
Speaker 7: next pictureshow dot net, or leave us a voicemail at

1645
01:23:31,439 --> 01:23:34,840
Speaker 7: seven seven three two three four nine seven three zero

1646
01:23:35,040 --> 01:23:37,120
Speaker 7: that number that you've memorized.

1647
01:23:38,680 --> 01:23:41,200
Speaker 3: Before we close out this week's episode. Where can we

1648
01:23:41,200 --> 01:23:42,080
Speaker 3: find everyone these days?

1649
01:23:42,120 --> 01:23:44,599
Speaker 9: Tasha Robinson, Well, you can find me at the phone

1650
01:23:44,680 --> 01:23:49,080
Speaker 9: number seven seven three. I am the entertainment editor at

1651
01:23:49,120 --> 01:23:52,760
Speaker 9: Polygon dot com. You can find my my writing and

1652
01:23:52,800 --> 01:23:55,639
Speaker 9: my curation of other people's writing there. You can find

1653
01:23:55,640 --> 01:24:00,000
Speaker 9: me on Blue Sky at Tasha Robinson Keith what about you?

1654
01:24:00,000 --> 01:24:01,760
Speaker 2: You can find We'll start with social media first. You

1655
01:24:01,760 --> 01:24:04,040
Speaker 2: can find me at mostly at blue Kay at k

1656
01:24:04,080 --> 01:24:08,120
Speaker 2: fifth three thousand. I'm on other social media sites there

1657
01:24:08,240 --> 01:24:12,000
Speaker 2: as well, uh, under that handle as well. You can

1658
01:24:12,040 --> 01:24:15,200
Speaker 2: find me contributing sometimes to places like TV Guide and

1659
01:24:15,240 --> 01:24:20,760
Speaker 2: The Ringer and Vulture and Slate recently, but you can

1660
01:24:20,760 --> 01:24:23,400
Speaker 2: mostly find me at the Reveal the Reveal dot film,

1661
01:24:23,400 --> 01:24:27,880
Speaker 2: which is the movies newsletter that I co author with

1662
01:24:28,200 --> 01:24:30,160
Speaker 2: Scott Tobias. Oh, and one quick plog I can talk

1663
01:24:30,160 --> 01:24:33,960
Speaker 2: about it now. I assisted in the creation of a

1664
01:24:34,040 --> 01:24:38,880
Speaker 2: book called Reflections on Cinematography by Roger Deacons which is

1665
01:24:38,880 --> 01:24:42,400
Speaker 2: now in stores. It is Roger Deakins, the famed cinematographer's

1666
01:24:43,400 --> 01:24:45,759
Speaker 2: a story of his life and career in his own words.

1667
01:24:46,600 --> 01:24:48,960
Speaker 2: I contribute some to the some to the words end

1668
01:24:48,960 --> 01:24:51,240
Speaker 2: of it. But I've seen the finished book now with

1669
01:24:51,280 --> 01:24:53,400
Speaker 2: the pictures of it and everything, and it's and it's

1670
01:24:53,400 --> 01:24:56,719
Speaker 2: really cool. So that is a good good gift item

1671
01:24:56,880 --> 01:24:59,680
Speaker 2: for uh for people. Scott, you can find me at

1672
01:24:59,680 --> 01:25:01,479
Speaker 2: the Review film. Where can we find you?

1673
01:25:01,960 --> 01:25:04,000
Speaker 3: Same place? Yeah, That's where I'm doing a lot of

1674
01:25:04,040 --> 01:25:06,719
Speaker 3: my writing. Of course. You can find me on Blue

1675
01:25:06,720 --> 01:25:08,439
Speaker 3: Sky at Scott Tobias.

1676
01:25:08,479 --> 01:25:10,519
Speaker 7: You can find me on GeoCities. Now you can't find

1677
01:25:10,520 --> 01:25:14,920
Speaker 7: me there MySpace. You can find me also in a

1678
01:25:15,000 --> 01:25:19,479
Speaker 7: Vulture or the New York Times or a Guardians, also

1679
01:25:19,520 --> 01:25:21,160
Speaker 7: the Los Angeles Times. I've done a couple of things

1680
01:25:21,200 --> 01:25:23,920
Speaker 7: for Los Angeles Times and other other fine publications. What

1681
01:25:23,960 --> 01:25:25,439
Speaker 7: about you, Genevieve, I am the.

1682
01:25:25,680 --> 01:25:30,320
Speaker 5: TV editor at Vulture, editing TV things and occasional movie things,

1683
01:25:30,360 --> 01:25:35,400
Speaker 5: and I am on social media posting rarely as Genevieve Kowski.

1684
01:25:35,720 --> 01:25:38,040
Speaker 7: You can stay updated on the Next Picture Show at

1685
01:25:38,040 --> 01:25:40,080
Speaker 7: Next Picture Show dot net and I'm Blue Sky at

1686
01:25:40,120 --> 01:25:43,320
Speaker 7: the Next Picture Show. Get bonus content and opendiscussion at

1687
01:25:43,320 --> 01:25:47,160
Speaker 7: Patreon dot com slash Next Picture Show, and as always

1688
01:25:47,160 --> 01:25:50,720
Speaker 7: we appreciate your rating and reviews on Apple Podcasts or

1689
01:25:50,760 --> 01:25:53,559
Speaker 7: Spotify or wherever you listen to the show. Thanks to

1690
01:25:53,640 --> 01:25:56,760
Speaker 7: Dan the Bake Jakes for his assistants producing this podcast,

1691
01:25:57,160 --> 01:25:59,200
Speaker 7: The Next Picture Show is proud to be part of

1692
01:25:59,240 --> 01:26:03,479
Speaker 7: the Film spot family of podcasts. Please tune in next time.

1693
01:26:07,080 --> 01:26:10,160
Speaker 1: Congratulations again to the Next Picture Show. As someone who

1694
01:26:10,160 --> 01:26:13,400
Speaker 1: listens to every episode, I can say here is to

1695
01:26:14,240 --> 01:26:18,160
Speaker 1: another five hundred now access to the film Spotting archive,

1696
01:26:18,640 --> 01:26:22,639
Speaker 1: which we usually share in this feed, plus monthly bonus

1697
01:26:22,680 --> 01:26:26,519
Speaker 1: shows and even more. Those are some of the benefits

1698
01:26:26,520 --> 01:26:29,760
Speaker 1: of joining the film Spotting Family. So if you would

1699
01:26:29,800 --> 01:26:32,640
Speaker 1: like to support the show by joining the family, you

1700
01:26:32,680 --> 01:26:35,839
Speaker 1: can do that at film spottingfamily dot com.

1701
01:26:35,880 --> 01:26:38,880
Speaker 6: This conversation can serve no purpose anymore.

1702
01:26:39,720 --> 01:26:59,360
Speaker 4: The film Spotting is listeners supported. Join the film Spotting

1703
01:26:59,400 --> 01:27:02,280
Speaker 4: Family and filmspotting family dot com and get access to

1704
01:27:02,439 --> 01:27:05,920
Speaker 4: ad free episodes, monthly bonus shows, our weekly newsletter, and,

1705
01:27:06,040 --> 01:27:08,320
Speaker 4: for the first time, all in one place, the entire

1706
01:27:08,600 --> 01:27:11,040
Speaker 4: film spotting archive going back to two thousand and five.

1707
01:27:11,360 --> 01:27:16,760
Speaker 4: That's a film Spotting Family dot com panicly