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

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Speaker 1: You Did. My name is Millie de Cherco.

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Speaker 2: Daniel Henderson, Oh do Do Do? Do do? I don't

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Speaker 2: know why I said it like that and why I'm clapping.

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Speaker 2: I'm drinking coffee.

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Speaker 1: That's a great little theme song.

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Speaker 2: Just my name, Daniel Henderson, Do Do Do?

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Speaker 1: I love it? How's it going, Danielle? Happy February?

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Speaker 2: Fine, happy February. I don't know. I'm psyched for I mean,

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Speaker 2: it's it's fine. The new year started just the way

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Speaker 2: I thought it would. But it's fine.

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Speaker 1: Yeah.

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Speaker 2: Yeah.

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Speaker 1: Any movement on the uber list at all?

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Speaker 2: Yes, Okay, why am I saying everything as creepily as possible?

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Speaker 2: I'm like three sentences in and I feel like a ghoul. Yes,

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Speaker 2: there's movement on the uber list. I did a couple

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Speaker 2: of small things, but one of the bigger projects that

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Speaker 2: I wanted to take on because I have a lot

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Speaker 2: of house stuff on my list this year, and some

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Speaker 2: of it's just maintenance shit, like remember to get your

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Speaker 2: water heater drained and cleaned in October. But as soon

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Speaker 2: as you walk into my house, I feel like I

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Speaker 2: needed to do something to fix up the foyer because

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Speaker 2: it's fine. It's fine once I fixed the half wall.

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Speaker 2: So I had this lovely handyman come in a couple

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Speaker 2: months ago and really fixed that half wall. So he

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Speaker 2: repaired it. He took the ceiling beams down that weren't necessary,

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Speaker 2: smoothed everything out, moved wires. Like. It looks awesome, and

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Speaker 2: it's fully open now so when you walk in, you

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Speaker 2: just like, it's like full open to the kitchen.

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Speaker 1: Cool.

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Speaker 2: And I decided to paint, but I'm not just putting

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Speaker 2: one color on the wall like a chump. So I

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Speaker 2: did this kind of intense design in the foyer and

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Speaker 2: it looks amazing, Like when you walk into my house,

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Speaker 2: you're like, oh yeah, a total weirdo lives here.

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Speaker 1: Oh fun, that's cool.

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Speaker 2: And it came out great. But I also besides, and

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Speaker 2: I painted the back of the front door so I

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Speaker 2: could like continue the theme and it looks great. And

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Speaker 2: I have these little I painted these little quote bubbles

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Speaker 2: so that when people come to visit, they can write

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Speaker 2: me messages and stuff on the wall.

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Speaker 1: Well, well love an interactive house.

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Speaker 2: A little interactive message but my favorite thing, and I

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Speaker 2: did and I'm glad I did it right away. Because

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Speaker 2: I would have been sad to go the whole year

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Speaker 2: without having this. Is there's this little shitty closet when

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Speaker 2: you first walk in, and it has a door that sucks,

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Speaker 2: and it's just like it's just old and shitty. And

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Speaker 2: I took the door out. I took all the stuff

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Speaker 2: out of the inside, so the pole and the shelves,

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Speaker 2: I took everything out of the closet. And I did

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Speaker 2: this myself. I sanded the walls, painted the walls, or

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Speaker 2: prime the walls, I should say. I put up lamb

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Speaker 2: in it on the inside, and it's like a wood

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Speaker 2: grain lamb in it. And I built a bench, so

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Speaker 2: there's a tiny, tiny bench now at the bottom of

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Speaker 2: the closet and it lifts up so I can put

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Speaker 2: all my salt for my driveway and like my garden

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Speaker 2: cheers and all that shit in there. But you can

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Speaker 2: also just sit down and put your shoes on. Now, hey,

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Speaker 2: that's awesome, and it looks awesome, and it's like you

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Speaker 2: can hang coats in there, and it's just it looks

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Speaker 2: I'm just very proud of myself for doing it, because

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Speaker 2: I just hate I've hated that closet for like two years,

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Speaker 2: three years, and I was like, you know what, I'm

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Speaker 2: just doing it so it looks like a brand new

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Speaker 2: space down there.

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Speaker 1: I love that. That's so great. I'm excited for you.

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Speaker 1: It's nice to like take something you don't like very

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Speaker 1: much and hushit making more of your style.

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Speaker 2: Yeah, and it's the first thing you see, the same

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Speaker 2: thing you see when you walk in the house. I'm like,

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Speaker 2: I don't want to walk in my house and be

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Speaker 2: like ugh. So yeah. But I'm also cruising on work

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Speaker 2: stuff on the Uber list. Yeah, just checking stuff off.

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Speaker 2: I'm trying to get get going in a good way

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Speaker 2: this year, get started on a good foot. So I

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Speaker 2: scheduled my mammogram. I don't know, have you scheduled anything

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Speaker 2: like maintenance, like body maintenance recently, because my mammogram that

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Speaker 2: I called for this like last month is not happening

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Speaker 2: until May.

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Speaker 1: Yeah. Oh yeah, they book super far out.

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Speaker 2: What the shit is that about?

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Speaker 1: Well, I will say I actually have scheduled, sort of

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Speaker 1: scheduled a body thing.

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Speaker 2: Oh tattoo.

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Speaker 1: Maybe what?

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Speaker 2: Yeah, this is how I find out.

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Speaker 1: Yeah, I buried the lead for you for a couple months.

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Speaker 1: But anyway, I yeah, I'm actually I think I'm gonna

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Speaker 1: pull the trigger finally on getting a tattoo. You know,

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Speaker 1: oh my god, it's good to be forty five and

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Speaker 1: getting a tattoo for the first time, right, Like I

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Speaker 1: think my mom was like in her fifties when she

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Speaker 1: got her first tattoo.

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Speaker 2: So I love that your mom has a tattoo.

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Speaker 1: Yeah, Like, well, we've talked about this. It's not Yes,

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Speaker 1: it's very trashy. We love it.

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Speaker 2: It's perfect. You posted a video of her over the

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Speaker 2: holidays where she, like, your dad was in the room

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Speaker 2: fixing something and she just walked out playing a guitar,

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Speaker 2: and I'm like, I fucking love this woman so much.

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Speaker 1: Shit, my dad was installing their nest thermostat, their very

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Speaker 1: new nest thermostat, and then my mom comes out from

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Speaker 1: around the corner with a guitar. She doesn't know how

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Speaker 1: to play a guitar, by the way, she's just like strumming.

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Speaker 1: She was so cute.

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Speaker 2: Yeah, but yes, your tattoo, Like, we know your mom's

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Speaker 2: the best, but your tattoo, what made you decide to

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Speaker 2: get one? And what are you going to get and

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Speaker 2: where are you going to get it on your body?

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Speaker 2: And where are you gonna get it? Like what tattoo shop?

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Speaker 2: Just tell me everything, tell me about.

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Speaker 1: Okay, So I don't know what I'm gonna get yet

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Speaker 1: I have an idea, and I think it's just gonna

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Speaker 1: be one. It's gonna be a one and done scenario

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Speaker 1: depending on how this goes. Unless face love it, then

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Speaker 1: maybe I might. But I have a feeling it's just

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Speaker 1: gonna be a one and done scenario.

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Speaker 2: Whereas I think within a year, you're gonna look like

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Speaker 2: post Malone.

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Speaker 1: No, no, absolutely fucking not.

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Speaker 2: I really remember when really started getting face tattoos, like damn,

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Speaker 2: twenty twenty four was a real turning point for her.

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Speaker 1: No, I I have uh no, no, I can't. My

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Speaker 1: dad like speaking of like when I was at my parents'

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Speaker 1: house for the holiday, It's like, I think post Malone

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Speaker 1: was on some kind of like New Year's Eve party show.

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Speaker 1: You know how they have shows for news is like

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Speaker 1: all these bands performing, post Malone was performing, and my

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Speaker 1: dad I have never heard him be so outraged in

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Speaker 1: my life. He was like, who the Hell's that? Who

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Speaker 1: the absolute fucking hell's that?

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Speaker 2: And I'm like, wow, he was rock to the what

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Speaker 2: kind of world do we live in?

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Speaker 1: I was like, Dad, I was like just ignore it.

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Speaker 1: I was like, come on, like, this is not at

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Speaker 1: all your thing. It's not even really my thing, let

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Speaker 1: alone your thing.

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Speaker 2: And you're, oh, yeah, this is definitely not for you, dad,

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Speaker 2: this is generations beyond you.

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Speaker 1: Yeah yeah, this is like not you just walk walk

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Speaker 1: away slowly. It's not even fit to comment. But anyway,

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Speaker 1: I'm not I'm not doing face tattoos ever. But I

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Speaker 1: also just think I just you know, I don't know.

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Speaker 1: I've had kind of an epiphany obviously in twenty twenty four,

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Speaker 1: and I told myself there was going to be a

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Speaker 1: couple of changes, and of whoa one of them was said.

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Speaker 1: I said to myself, Okay, I'm gonna start wearing all

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Speaker 1: black again. I don't give it like I am ready

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Speaker 1: to be an old hip vampire.

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Speaker 2: Do you know what I mean? I can't breath like

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Speaker 2: I was like, yo, you know when you you know that.

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Speaker 1: Movie The Only Lovers left a line? Yes, I had

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Speaker 1: this moment where I was like, I'm just gonna start

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Speaker 1: doing that, Like I need to accept my middle aged ness,

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Speaker 1: but I still am a cool person, So time to

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Speaker 1: just start wearing all black. You're like, Isaac is raw,

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Speaker 1: he does Isaac israw. He wears the same black outfit

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Speaker 1: every day. He bought like ten pairs of like Lululemon

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Speaker 1: pants and he just wears them all the time.

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Speaker 2: Listen, I'm all about simplifying in general, but especially as

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Speaker 2: we get older. You think, I'm why do you think

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Speaker 2: I buy the same pairs of underwear once a year?

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Speaker 2: I streamline my underwear. It's all black. My bras are

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Speaker 2: all black. I no longer give a shit. I'm not

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Speaker 2: looking for matches. I'm not spending the time. So if

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Speaker 2: you could make that also a uniform that you wear

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Speaker 2: out of the house, I'm all for it.

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Speaker 1: Yeah. No, I think that's my thing. I just like

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Speaker 1: need a black trench coat and then I'll be good.

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Speaker 1: I need some I need some kind of But like,

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Speaker 1: that's the thing is that, like I look at all

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Speaker 1: of these like elder statesmen of like coolness that I

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Speaker 1: idolized over the years, you know, in my in my youth,

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Speaker 1: and now they're all the same person. They all wear black, yep,

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Speaker 1: and they still live in New York City and are

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Speaker 1: just cool and they don't go beyond that. So I'm like,

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Speaker 1: that's what I wanted to I'm retiring into my all black,

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Speaker 1: old vampire look, and then I was I was like,

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Speaker 1: I should get a tattoo, like just to finally do it.

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Speaker 2: Do you have any idea what you're going to get?

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Speaker 1: See? I do, but I don't. I haven't really like

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Speaker 1: finalized it yet, so I don't want to say anything. However,

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Speaker 1: I will say this, I chose the person that I

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Speaker 1: wanted from nice and it's kind of cool because she's

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Speaker 1: a huge fan of the podcast. But I have known

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Speaker 1: her since I was literally like seventeen years old, and

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Speaker 1: she was like when I was growing up in Atlanta,

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Speaker 1: she used to own this extremely cool store in Little

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Speaker 1: Five Points, which is like kind of the like Saint

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Speaker 1: Mark's Place of Atlanta, and she was this like cool.

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Speaker 1: It was like this kind of cool Western themed, kind

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Speaker 1: of rockabilly store that was in Little Five Points and

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Speaker 1: I was obsessed with it when I was in high

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Speaker 1: school and I just went there all the time. And

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Speaker 1: I befriended her and then cut to we started this podcast,

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Speaker 1: and I don't know how this happened, but we reunited

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Speaker 1: on Instagram. I think she followed me on Instagram and

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Speaker 1: was like, I was listening to your podcast every day.

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Speaker 1: Do you remember me, and I'm like, what, of course

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Speaker 1: you were like a person. She's like, you know a

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Speaker 1: person as a young you know, when you were like

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Speaker 1: a young girl. Young girl. I say this when I

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Speaker 1: was like seventeen, eighteen years old, but you know what

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Speaker 1: I mean, like that person that you meet when you're

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Speaker 1: like a young person who's like cooler, like put together,

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Speaker 1: and you just kind of like want their life. Yeah,

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Speaker 1: that's what I wanted, is that I wanted her life.

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Speaker 1: So she is now a tattoo artist in Birmingham and

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Speaker 1: I think I already reached out to her. I was like, Yo,

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Speaker 1: give me a tattoo and she's like cool.

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Speaker 2: Is she gonna draw it for you and you decide

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Speaker 2: what you want? Yes, I've even better, Yeah, even better.

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Speaker 2: I fucking love this.

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Speaker 1: So it's cool. It's kind of like a full circle thing.

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Speaker 2: Well, send me her Insta handle and I'm gonna I'm

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Speaker 2: just gonna gently slide into the DMS and be like

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Speaker 2: full fucking back piece no matter what she says.

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Speaker 1: Listen, I'm not trying to put fucking Veritas on my arm.

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Speaker 2: Okay, give her the Boondock Saints.

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Speaker 1: I know I'm not trying to go post Malone, Boondock Saints,

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Speaker 1: any other Irish hero. There's post belone Irish. I might

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Speaker 1: want to think that because Malone.

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Speaker 2: Alone is made up. His name is like Tim Post

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Speaker 2: or something like that, or maybe Post is made up.

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Speaker 2: One part of that name is made up.

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Speaker 1: Post Post is his first name.

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Speaker 2: Is that what we're saying his parents named him Post

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Speaker 2: And he was like, hmmm, I don't think post Smith

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Speaker 2: has the same ring as Post alone, but one part

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Speaker 2: of his name's made up.

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Speaker 1: So anyway, that that's what's going on with me now that.

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Speaker 2: Beautiful shared I'm fucking psyched. I only find out about

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Speaker 2: you on our podcast, Like we text all the time

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Speaker 2: and I and then you're like, by the way, I'm

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Speaker 2: getting a fucking tattoo and I'm.

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Speaker 1: Like, what that's because I love like a live reaction

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Speaker 1: from you.

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Speaker 2: This is why I fail, Skoska, because you're always trying

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Speaker 2: to fucking give me a jump scare and real time. Well,

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Speaker 2: I love it. I love this energy. You're bringing it

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Speaker 2: to the new Year of change. Yes, even though you

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Speaker 2: know we're a month into the new year, it still counts.

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Speaker 2: It still counts. You're bringing it in. I can't wait

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Speaker 2: to see this tattoo. You probably won't reveal it until

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Speaker 2: like two years from now, be like, oh yeah, By

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Speaker 2: the way, I've gotten seven tattoos since I told you

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Speaker 2: I was going to get my first one, and one

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Speaker 2: of them is a picture of post Malone's face with

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Speaker 2: his tattoos. Who's that fucking rapper I keep forgetting he

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Speaker 2: has the tattoo of the ice cream cone on his face. Oh,

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Speaker 2: it's like a three scoop ice cream coat.

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Speaker 1: Is that Gucci made Gucci maid have ice cream cone?

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Speaker 2: I don't know why I love that ice cream cone

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Speaker 2: so much.

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Speaker 1: Yeah, well, look, I mean to me, it's very happy,

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Speaker 1: Like I feel like, if you're gonna put something on

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Speaker 1: your face, do something joyous and not menacing.

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Speaker 2: Right, thank you.

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Speaker 1: Face tattoos are very extreme, like I mean, you know,

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Speaker 1: like I said, I personally am not going down that road.

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Speaker 1: I feel like the ship has fucking sailed on that

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Speaker 1: shit like many many moons ago to even think about

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Speaker 1: the possibility of getting a face tattoo. I mean, I'm

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Speaker 1: actually still debating on whether or not I should back

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Speaker 1: out of this other tattoo.

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Speaker 2: You better fucking not better fucking.

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Speaker 1: Not so anything can happen. But yeah, I'm definitely like,

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Speaker 1: I'm definitely having a metamorphosis. I will say twenty twenty

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Speaker 1: four has been pretty good, and you know, we'll see

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Speaker 1: what happens. I'm I'm up for it. I'm up for it.

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Speaker 1: I think that's kind of my theme is that's a

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Speaker 1: good theme twenty twenty four. Up for it in my

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Speaker 1: old goth outfit.

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Speaker 2: I'm very down, very and I'm finishing my sleeve this year.

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Speaker 2: I decided I've been meeting with this talking to this

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Speaker 2: tattoo artist that I like in Montreal. It's cool, We'll

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Speaker 2: be tatted the fuck up this year.

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Speaker 1: Look good for you. I can't even imagine a sleeve

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Speaker 1: that would be I mean, I just I'm thinking about

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Speaker 1: I'm not anticipating the actual pain of it, and I'm like,

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Speaker 1: I don't even know if I'll be able to deal

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Speaker 1: with it. Who knows that sensitive skin?

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Speaker 2: So you have had your whole body pride open, You're

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Speaker 2: gonna You're gonna be fine.

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Speaker 1: Uh that's true.

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Speaker 2: That is like, let's let's be real, like you've had major,

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Speaker 2: major bodily events that have taken longer to heal from

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Speaker 2: and hurt worse than a tattoo.

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Speaker 1: Will well and like I also got a lot of

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Speaker 1: mileage out of the notion that I was a person

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Speaker 1: that didn't have a tattoo, Like I thought that was

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Speaker 1: a distinction that I really wanted to make for a

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Speaker 1: long time, Like actually I don't have tattoos. I'm like

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Speaker 1: one of the only people you know that don't have

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Speaker 1: a tattoo. And now I'm like, what the fuck is that?

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Speaker 1: Like just do whatever the fuck you want, you know

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Speaker 1: what I mean, Like these affects, I'm dropping affects in

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Speaker 1: twenty twenty four. Yes, I'm up for it in twenty four.

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Speaker 2: Yeah, you're getting rid of all the gen x messaging

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Speaker 2: that we got about being singular, Yeah, and mad about it.

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Speaker 1: Yeah. The world is a fucking is a fire torch

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Speaker 1: right now. So oh yes, I know.

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Speaker 2: Read the articles about how we're gonna start seeing catastrophic

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Speaker 2: side effects of global warming in twenty twenty five. That's

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Speaker 2: in a year, So do whatever you fucking want.

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Speaker 1: Didn't they say that, like we were going to be

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Speaker 1: feeling the effects toasy of global chaos in like twenty

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Speaker 1: thirty five or is it twenty fifty, I don't remember.

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Speaker 1: There was like some marker of time that was like

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Speaker 1: this is the cutoff date? Like stop using plastic or

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Speaker 1: else the oceans will dry up envelop us. Yeah, and

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Speaker 1: it was like some now very recent thing that's happened.

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Speaker 2: Yeah, like it is going to happen in our lifetime. Yeah,

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Speaker 2: and so do whatever you want, like reading this email

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Speaker 2: that you pulled that for us?

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Speaker 1: Oh my god, what a segue. Well listen, I wanted

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Speaker 1: to pull out this email because you know, we we

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Speaker 1: have a we have a mail bag. I saw what

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Speaker 1: you did pot of Gmail dot and we do read

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Speaker 1: mails sometimes on non bonus episodes, and I liked this

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Speaker 1: one because it was just a compliment. I wanted to

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Speaker 1: just give you a compliment, give myself a compliment. It

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Speaker 1: was a very nice email we got from Martin, and

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Speaker 1: I would like to read it for you. Now, are

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Speaker 1: you ready go for it? Okay, Hi, Danielle and Millie.

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Speaker 1: Thanks for all the laughs, movie suggestions and so on.

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Speaker 1: The reason for this message is that I want to

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Speaker 1: let you know about my favorite I Saw What you

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Speaker 1: Did episode. There are so many good ones, but if

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Speaker 1: I had to choose one. November ninth, twenty twenty one,

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00:17:49,280 --> 00:17:56,600
Speaker 1: Shock Jams on Repeat, this one is priceless and permanently

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00:17:56,760 --> 00:18:00,000
Speaker 1: saved on my phone for whenever I need a lafe.

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Speaker 1: Why this episode, I'll try to be brief. We start

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Speaker 1: with a marvelous Danielle house update, including an incredible visual

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Speaker 1: via I got my mind set on you reference the

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Speaker 1: idea of offering chew toys to stop animals eating the house,

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Speaker 1: and an eye roll emoji sending tradesman asking if he

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Speaker 1: can move into the barn. Then Milly goes off on weddings,

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Speaker 1: first about herself as a Queen Carlotta type guest before

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Speaker 1: sharing her thoughts on the hell that his life as

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Speaker 1: a wedding DJ. This was flipin' gold. By the way, Millie,

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Speaker 1: if you ever accept another low ball wedding DJ gig,

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Speaker 1: I will pay a further two hundred dollars if you

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Speaker 1: let me carry your record, creates half a dozen iPods

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Speaker 1: and stand beside you to stare deadpan at the first

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Speaker 1: guest offering playlist advice. I'm taking you up on that.

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Speaker 1: Moving on, this is the historic episode where Danielle reveals

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00:19:06,920 --> 00:19:12,520
Speaker 1: she would essentially use Gregory Pegg's body like a gymnast

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00:19:12,640 --> 00:19:17,960
Speaker 1: wood a pommel horse, while Millie throws around skanky Rat

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Speaker 1: and beefy little hottie when describing Tim Holt take that fellas.

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Speaker 1: I could go on, but we'll just suggest faithful listeners

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Speaker 1: return to this episode and laugh your oursoft You two

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Speaker 1: are brilliant. If you're ever in Glasgow's Scotland, the diet

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00:19:35,240 --> 00:19:37,679
Speaker 1: Cox and walking tour of the city are on me.

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Speaker 1: All the best to you both for twenty twenty four.

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Speaker 1: Cheers Martin.

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Speaker 2: I can't breathe. This is the second time this episode

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Speaker 2: where I've lost the ability to breathe. Skanky rat, beefy

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Speaker 2: little hattie.

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Speaker 1: Isn't it funny how we immediately forget what we've said

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Speaker 1: the minute the episode is over, and then you get

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Speaker 1: reminded of the things that you say by someone like Martin,

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00:20:08,960 --> 00:20:11,119
Speaker 1: and you're like, did I really call Tim hold a

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Speaker 1: beefy little hottie? I guess I did.

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Speaker 2: I love this. I love this trip down memory lane.

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Speaker 2: But I also just I love the fact that you

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Speaker 2: have any of our epis that any of you have

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Speaker 2: any of our episodes saved when you need a laugh

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Speaker 2: is a joy to my heart me too. That's a

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Speaker 2: true compliment and I cannot thank you enough for that, Martin.

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Speaker 2: And also, I am going to be in Scotland this year. Huh.

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Speaker 2: It's on my uber list because I have a thing

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Speaker 2: I have to do there that I would like to

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Speaker 2: do there.

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Speaker 1: I should say, Okay, what ooh a mysterious thing you

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Speaker 1: have to do in a foreign country? Can I come?

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Speaker 1: I want to go to Scotland.

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Speaker 2: I've never been. Yes, you fucking can. I didn't have

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Speaker 2: a plan to stop in Glasgow, but I do now. Hmm,

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Speaker 2: that is a Scottish city I have not been to.

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Speaker 2: But we're going. Yeah, so Martin, fire out the fucking

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Speaker 2: diet Cox.

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Speaker 1: Listen. As we've talked about and teased many times before,

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Speaker 1: if you live in a town and you want to

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Speaker 1: hang out with us in some way, fine, find a way,

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Speaker 1: find a way. We will take you up on it.

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Speaker 2: Just invite us. You could murder us so easily if

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Speaker 2: you just say, hey, do you want to come to

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Speaker 2: Providence for the weekend, and then we'll show up and

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00:21:27,320 --> 00:21:29,159
Speaker 2: you can just murder us. We'll just do anything. We

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00:21:29,200 --> 00:21:30,400
Speaker 2: don't care shit.

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Speaker 1: If you're in Tekula, Georgia and are like needing two

398
00:21:36,200 --> 00:21:39,720
Speaker 1: podcasters to host your fucking square dance event, just let

399
00:21:39,840 --> 00:21:43,000
Speaker 1: us know, let us know, make some arrangements or at

400
00:21:43,080 --> 00:21:45,240
Speaker 1: least like point us in the direction of an arrangement

401
00:21:45,320 --> 00:21:47,879
Speaker 1: and you know we'll probably be there. It's like it

402
00:21:47,920 --> 00:21:50,880
Speaker 1: doesn't take much, especially if it's a place we've never

403
00:21:50,920 --> 00:21:56,360
Speaker 1: been to before. We are very like travel hungry, so.

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00:21:57,160 --> 00:21:59,639
Speaker 2: Especially if it's if it's not America, your odds have

405
00:21:59,680 --> 00:22:02,879
Speaker 2: increas tremendously, Like I will bring my credit card to

406
00:22:02,920 --> 00:22:05,720
Speaker 2: the brink of death, yeah, to go have a fun

407
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Speaker 2: experience in another country. So shoot your shot.

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Speaker 1: Yeah, if you're a person in a town that does

409
00:22:11,119 --> 00:22:14,359
Speaker 1: events regularly and you want to like book us on

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00:22:14,400 --> 00:22:17,879
Speaker 1: an event, we'll come. Dude, let's just say, Martin, you

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00:22:17,960 --> 00:22:19,160
Speaker 1: will be buying us, Dick.

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Speaker 2: Cox, I love it. There was so much in this email,

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00:22:23,920 --> 00:22:27,080
Speaker 2: and we have just latched onto the literal last sentence,

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Speaker 2: like the passing comment of if you're ever here, and

415
00:22:33,280 --> 00:22:35,960
Speaker 2: we're like, oh no, we're fucking comming there. Man, you

416
00:22:36,000 --> 00:22:37,680
Speaker 2: thought we were just gonna read this as an ending

417
00:22:37,680 --> 00:22:40,760
Speaker 2: to your email. It is now our life. We're doing it.

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Speaker 1: Yeah, I'm just Smartin. I'm just so thankful that you

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00:22:44,560 --> 00:22:48,240
Speaker 1: had a favorite episode. You knew the date and name

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00:22:48,280 --> 00:22:50,760
Speaker 1: of it, which I think is very cute. And then

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00:22:50,880 --> 00:22:53,600
Speaker 1: you know, you talked about it beat by beat pretty much,

422
00:22:53,720 --> 00:22:57,440
Speaker 1: and then offered us to come to your town. That's

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Speaker 1: the perfect email to me.

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Speaker 2: I love it, I love everything about it, and I

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00:23:01,080 --> 00:23:02,760
Speaker 2: can't wait for us to go to Scotland. I'm so say,

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00:23:02,800 --> 00:23:05,240
Speaker 2: I've been before, but I cannot wait for this particular

427
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Speaker 2: trip to Scotland.

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Speaker 1: Well, yeah, I'm excited. Thank you Martin for the email

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Speaker 1: and if you want to send us an email. I

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00:23:14,000 --> 00:23:15,920
Speaker 1: saw what you did podatgremail dot com.

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00:23:16,280 --> 00:23:17,560
Speaker 2: Oh that was great, Martin.

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Speaker 1: I love that me too. It's the beginning of February

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Speaker 1: and as faithful listeners to the pod will know, we

434
00:23:28,560 --> 00:23:32,680
Speaker 1: might be starting a little thing here, wouldn't you say, Danielle.

435
00:23:32,720 --> 00:23:34,520
Speaker 2: I think continuing a thing here. This is our fourth

436
00:23:34,600 --> 00:23:38,040
Speaker 2: year doing it, yes, but starting it for twenty twenty four?

437
00:23:38,160 --> 00:23:38,879
Speaker 1: Is I think what it? Oh?

438
00:23:38,960 --> 00:23:40,360
Speaker 2: Yes, yes, yes, yes, yeah.

439
00:23:40,600 --> 00:23:43,040
Speaker 1: So why don't we talk about the theme.

440
00:23:43,960 --> 00:23:49,679
Speaker 2: So our theme for this week is afrofuturism. As we

441
00:23:49,800 --> 00:23:55,240
Speaker 2: kick off a month's worth of movies that highlight Black

442
00:23:55,280 --> 00:23:55,920
Speaker 2: History Month.

443
00:23:56,800 --> 00:23:59,520
Speaker 1: That's right, our fourth year in a row of doing this.

444
00:24:00,240 --> 00:24:03,680
Speaker 1: I want to kind of pick or brain about afafuturism,

445
00:24:04,000 --> 00:24:06,520
Speaker 1: what it is maybe for people that don't know or

446
00:24:06,640 --> 00:24:09,359
Speaker 1: what does it mean to you? And then ultimately like

447
00:24:09,440 --> 00:24:13,440
Speaker 1: why you wanted to talk about it through the movies

448
00:24:13,480 --> 00:24:14,080
Speaker 1: that we picked.

449
00:24:14,800 --> 00:24:19,480
Speaker 2: Yeah, there is a dictionary definition for afrofuturism now. It

450
00:24:19,600 --> 00:24:23,960
Speaker 2: is a movement in literature, music, art, et cetera featuring

451
00:24:24,119 --> 00:24:28,200
Speaker 2: futuristic or science fiction themes which incorporate elements of black

452
00:24:28,320 --> 00:24:31,919
Speaker 2: history and culture. So that's the dictionary definition of it.

453
00:24:32,240 --> 00:24:35,360
Speaker 2: My definition of it is, let's let black folks get

454
00:24:35,359 --> 00:24:38,320
Speaker 2: weird in the future. Yes, like, let's literally picture black

455
00:24:38,320 --> 00:24:43,800
Speaker 2: people in the future, and like that itself is revolutionary, definitely,

456
00:24:44,359 --> 00:24:46,159
Speaker 2: but it is. I mean, we all grew up on

457
00:24:46,200 --> 00:24:49,320
Speaker 2: sci fi, and yes, we all had Uhura from Star Trek,

458
00:24:49,440 --> 00:24:52,879
Speaker 2: and you know, she was groundbreaking and revolutionary in her

459
00:24:52,880 --> 00:24:56,240
Speaker 2: own sense. But most sci fi for a very long

460
00:24:56,320 --> 00:25:01,240
Speaker 2: time was still centered on whiteness. And I think that

461
00:25:01,520 --> 00:25:05,440
Speaker 2: there's so much there's so many artists that explore after

462
00:25:05,560 --> 00:25:08,480
Speaker 2: futurism and have been doing it for such a long time.

463
00:25:09,200 --> 00:25:11,639
Speaker 2: So in music, you've got like son Raw and Parliament

464
00:25:11,720 --> 00:25:15,920
Speaker 2: Funkadelic and Janelle Monet is continuing the tradition. In writing,

465
00:25:16,000 --> 00:25:18,800
Speaker 2: you've got people, you know, authors like Octavia Butler and

466
00:25:18,880 --> 00:25:22,639
Speaker 2: Colson Whitehead. In like traditional fine art, you have people

467
00:25:22,680 --> 00:25:26,920
Speaker 2: like one Getchi Mutu. So there's always like these elements

468
00:25:26,960 --> 00:25:32,040
Speaker 2: of futurism that come into play in the movement and

469
00:25:32,080 --> 00:25:35,119
Speaker 2: in the you know, the movement in literature and art

470
00:25:35,160 --> 00:25:39,040
Speaker 2: and music. But I just love any artist willing to

471
00:25:40,200 --> 00:25:44,840
Speaker 2: get weird enough to picture a future that includes Black

472
00:25:44,880 --> 00:25:49,000
Speaker 2: history and culture, but in a new way, a new

473
00:25:49,080 --> 00:25:52,840
Speaker 2: and differently examined way. So it's to me, it's just like,

474
00:25:52,920 --> 00:25:55,640
Speaker 2: let's get weird. Like when I was a kid and

475
00:25:56,400 --> 00:25:58,720
Speaker 2: I found out who Son raw was for the first

476
00:25:58,720 --> 00:26:00,840
Speaker 2: Buck of Time and the Sun raw Archest, I was

477
00:26:00,880 --> 00:26:04,000
Speaker 2: like or Parliament, and I'm like, I can't believe this

478
00:26:04,080 --> 00:26:06,920
Speaker 2: is so weird and great, Like we're just out here

479
00:26:07,000 --> 00:26:10,840
Speaker 2: being weird and like bringing astrology into art and bringing

480
00:26:10,880 --> 00:26:15,240
Speaker 2: like fucking spaceships into shit. Yeah, like that's immense and

481
00:26:15,280 --> 00:26:18,200
Speaker 2: it's wonderful. And I just think it's it's not simple

482
00:26:18,280 --> 00:26:23,920
Speaker 2: sci fi, it's not simply fantasy. It's a whole different

483
00:26:23,960 --> 00:26:27,200
Speaker 2: culture because it's really based on Black history and black culture.

484
00:26:27,280 --> 00:26:30,879
Speaker 2: So I love after futurism in film. There are a

485
00:26:30,880 --> 00:26:32,680
Speaker 2: lot of examples. I think we picked two great ones

486
00:26:32,720 --> 00:26:35,520
Speaker 2: this week. But I just love it. I love the

487
00:26:35,560 --> 00:26:39,440
Speaker 2: fact that anyone who can say I'm going to take

488
00:26:39,480 --> 00:26:42,880
Speaker 2: this moment in time and project myself into the future

489
00:26:43,280 --> 00:26:47,800
Speaker 2: and envision what we could be doing there revolutionary. I

490
00:26:47,800 --> 00:26:48,120
Speaker 2: love it.

491
00:26:48,760 --> 00:26:50,199
Speaker 1: I think I'm going to talk about a little bit

492
00:26:50,240 --> 00:26:51,960
Speaker 1: about that when we talk about my movie. Is that

493
00:26:52,280 --> 00:26:57,080
Speaker 1: the concept of like who gets to lay out futures

494
00:26:57,560 --> 00:27:01,400
Speaker 1: right and past and that kind of and who gets

495
00:27:01,440 --> 00:27:05,040
Speaker 1: to like claim to certain genres or certain like literary

496
00:27:05,280 --> 00:27:08,120
Speaker 1: traditions and movements and stuff like that. And I think

497
00:27:08,119 --> 00:27:11,879
Speaker 1: it's great. I think this is all like positive forward movement.

498
00:27:11,960 --> 00:27:15,480
Speaker 1: I think it is disruptive to a lot of like

499
00:27:16,280 --> 00:27:22,760
Speaker 1: old traditional straight white male things, and it needs to be.

500
00:27:23,119 --> 00:27:26,040
Speaker 1: And I feel like, yeah, this is such an interesting concept.

501
00:27:26,119 --> 00:27:28,960
Speaker 1: I think, like, I hadn't seen your movie in probably

502
00:27:28,960 --> 00:27:32,680
Speaker 1: about fifteen years, and I liked it a lot more

503
00:27:32,720 --> 00:27:35,600
Speaker 1: now than I did back then. Weirdly know, yeah, same,

504
00:27:35,960 --> 00:27:39,160
Speaker 1: And in terms of my movie, I definitely have things

505
00:27:39,200 --> 00:27:42,199
Speaker 1: to say about it as per the theme. But I

506
00:27:42,240 --> 00:27:47,480
Speaker 1: also think that I'd like to propose another read into

507
00:27:47,520 --> 00:27:51,920
Speaker 1: the film, maybe that people might not have had front

508
00:27:51,960 --> 00:27:53,720
Speaker 1: and center when they first saw it, because I saw

509
00:27:53,760 --> 00:27:55,359
Speaker 1: it when it came out, and I liked it. I

510
00:27:55,400 --> 00:27:58,320
Speaker 1: actually loved it when it came out, and then I

511
00:27:58,480 --> 00:28:01,000
Speaker 1: somehow like it even more now. But I think it's

512
00:28:01,040 --> 00:28:02,960
Speaker 1: because I was thinking about it in a different way.

513
00:28:03,080 --> 00:28:05,120
Speaker 1: But anyway, we'll get to it. I I'm just really

514
00:28:05,160 --> 00:28:06,399
Speaker 1: excited to be doing this again.

515
00:28:06,640 --> 00:28:09,880
Speaker 2: I mean, obviously, we feature films by black creators all

516
00:28:09,960 --> 00:28:14,240
Speaker 2: year round, but I do particularly love February because I

517
00:28:14,280 --> 00:28:16,480
Speaker 2: think it helps us highlight things that are personal to

518
00:28:16,640 --> 00:28:20,119
Speaker 2: us in black history, which is cool. I just like

519
00:28:20,119 --> 00:28:23,719
Speaker 2: that we have the opportunity to do that. Yeah, so

520
00:28:24,400 --> 00:28:26,600
Speaker 2: thanks for riding this out.

521
00:28:26,400 --> 00:28:28,959
Speaker 1: With me anytime, Gronk, gotcha.

522
00:28:29,480 --> 00:28:30,879
Speaker 2: I mean, I like how we're presented as if you

523
00:28:30,920 --> 00:28:32,600
Speaker 2: didn't want to do this somehow, or like you're like,

524
00:28:32,640 --> 00:28:37,240
Speaker 2: I hate black people at A and I am going

525
00:28:37,280 --> 00:28:42,320
Speaker 2: first in my film h My film it was released

526
00:28:42,320 --> 00:28:48,120
Speaker 2: in nineteen eighty four, directed, written, and edited by John sALS,

527
00:28:48,160 --> 00:28:53,680
Speaker 2: who also acts in the movie. My movie is The

528
00:28:53,720 --> 00:28:57,120
Speaker 2: Brother from Another Planet. I have another magic chick for you.

529
00:28:57,120 --> 00:28:59,120
Speaker 2: You want to see me make all the white people disappear.

530
00:28:59,560 --> 00:29:02,120
Speaker 2: So not only did he write and direct and edit

531
00:29:02,160 --> 00:29:10,600
Speaker 2: this film, he's white surprise, which might be weird. For

532
00:29:11,560 --> 00:29:14,160
Speaker 2: a Black History Month pick. But I don't think so.

533
00:29:14,880 --> 00:29:15,440
Speaker 2: I don't think so.

534
00:29:15,680 --> 00:29:16,200
Speaker 1: Yeah.

535
00:29:16,240 --> 00:29:18,800
Speaker 2: So he is known for a lot of other things.

536
00:29:18,840 --> 00:29:21,840
Speaker 2: He's had an incredible career in Hollywood. He you know,

537
00:29:22,200 --> 00:29:24,920
Speaker 2: created and directed films like Passionfish and Eat Men Out.

538
00:29:25,520 --> 00:29:29,720
Speaker 2: But as per usual, we have to note that he

539
00:29:29,800 --> 00:29:32,840
Speaker 2: got his start working for Roger Corman.

540
00:29:33,000 --> 00:29:33,240
Speaker 1: Day.

541
00:29:34,080 --> 00:29:36,840
Speaker 2: I swear to fucking Godmily, if you do not write

542
00:29:36,840 --> 00:29:40,120
Speaker 2: a book called Roger Corman is the center of Hollywood,

543
00:29:40,200 --> 00:29:44,680
Speaker 2: I will be so mad. Everyone that we love has

544
00:29:44,760 --> 00:29:46,000
Speaker 2: worked for him. I know.

545
00:29:46,280 --> 00:29:49,160
Speaker 1: Isn't it like kind of an interesting idea that Roger

546
00:29:49,200 --> 00:29:54,240
Speaker 1: Corman has touched so many great people? He wrote Piranha Johnson, he.

547
00:29:54,200 --> 00:29:57,800
Speaker 2: Wrote Karana, he wrote Paranha, he wrote The Howling. And

548
00:29:57,840 --> 00:30:00,800
Speaker 2: he used the money that he made writing scripts for

549
00:30:00,920 --> 00:30:04,080
Speaker 2: Roger Corman to fund his first film. And this film,

550
00:30:04,360 --> 00:30:07,360
Speaker 2: Brother from Another Planet, was funded with money that he

551
00:30:07,480 --> 00:30:11,160
Speaker 2: received from his MacArthur Fellowship. He's a MacArthur Fellow, which,

552
00:30:11,360 --> 00:30:14,920
Speaker 2: if you don't know, is an incredibly prestigious award for

553
00:30:14,960 --> 00:30:15,920
Speaker 2: an artist to receive.

554
00:30:16,280 --> 00:30:17,200
Speaker 1: How do you get that?

555
00:30:17,800 --> 00:30:23,880
Speaker 2: I think cantulate MacArthur. Give me one of the MacArthur's.

556
00:30:24,040 --> 00:30:26,800
Speaker 2: How I get one of them fellows, you have to

557
00:30:26,880 --> 00:30:33,040
Speaker 2: kind of demonstrate, like an extremely it's not about popularity

558
00:30:33,160 --> 00:30:37,000
Speaker 2: like at all, but it's about your ability as an

559
00:30:37,120 --> 00:30:42,040
Speaker 2: artist to present work that is future focused or wild

560
00:30:42,160 --> 00:30:46,800
Speaker 2: or like somehow very expansive. Like you're just doing something

561
00:30:46,840 --> 00:30:49,840
Speaker 2: different that's expansive, I think, is what MacArthur looks for

562
00:30:50,960 --> 00:30:53,920
Speaker 2: so interesting. And it's writing, it's art, it's music, it's

563
00:30:53,960 --> 00:30:56,320
Speaker 2: all kinds of shit that they will fund. And right now,

564
00:30:56,360 --> 00:30:58,520
Speaker 2: I don't know what it was when John Sales was

565
00:30:58,520 --> 00:31:01,040
Speaker 2: getting it. I don't know if this year has ever changed.

566
00:31:01,880 --> 00:31:06,320
Speaker 2: But current winners, people who are granted a MacArthur fellowship

567
00:31:06,720 --> 00:31:10,000
Speaker 2: get eight hundred thousand dollars what and they can do

568
00:31:10,040 --> 00:31:12,840
Speaker 2: whatever the fuck they want with it, just eight hundred

569
00:31:12,880 --> 00:31:16,920
Speaker 2: thousand dollars, no strings attached, with the hopes that you

570
00:31:16,920 --> 00:31:18,720
Speaker 2: will use it to fund a future project.

571
00:31:18,840 --> 00:31:20,000
Speaker 1: I'm writing all this down.

572
00:31:20,440 --> 00:31:25,480
Speaker 2: Sorry, you're like, give you on them? How do I

573
00:31:25,520 --> 00:31:25,800
Speaker 2: get it?

574
00:31:27,960 --> 00:31:30,640
Speaker 1: Well, that's great that he used the money to make

575
00:31:30,720 --> 00:31:31,760
Speaker 1: this movie.

576
00:31:31,560 --> 00:31:34,760
Speaker 2: Right yeah, it's and it's like again, it's a ward

577
00:31:34,800 --> 00:31:38,280
Speaker 2: to two with like extraordinarily talented people and it's just

578
00:31:38,320 --> 00:31:41,280
Speaker 2: a way for this particular fellowship to kind of invest

579
00:31:41,440 --> 00:31:44,800
Speaker 2: in the future of the artists themselves. So it's wonderful

580
00:31:44,840 --> 00:31:46,600
Speaker 2: that he got it and that he made this film

581
00:31:46,640 --> 00:31:50,200
Speaker 2: with it, which to me is a film that lasts

582
00:31:50,520 --> 00:31:55,239
Speaker 2: that it's still relevant, it's still crucial. I love that

583
00:31:55,320 --> 00:31:58,840
Speaker 2: sales didn't really focus on the special effects of the movie.

584
00:31:58,880 --> 00:32:01,720
Speaker 2: Like the messaging of the movie is incredible. It was

585
00:32:01,720 --> 00:32:06,080
Speaker 2: incredible for its time, but it's even more prescient now.

586
00:32:06,280 --> 00:32:09,840
Speaker 2: I feel like it's just it's such a fucking good movie.

587
00:32:09,920 --> 00:32:13,080
Speaker 2: And when I first watched this movie, I was very young.

588
00:32:13,120 --> 00:32:15,640
Speaker 2: I was like eight or nine, and I was just

589
00:32:15,720 --> 00:32:18,040
Speaker 2: kind of freaked out because I think I first caught

590
00:32:18,040 --> 00:32:20,360
Speaker 2: it on TV like halfway through, and I'm like, I

591
00:32:20,360 --> 00:32:21,840
Speaker 2: don't know what's going on. I don't know what's up

592
00:32:21,840 --> 00:32:23,320
Speaker 2: with them toes, I don't know what's going on with

593
00:32:23,320 --> 00:32:26,680
Speaker 2: that eyeball. Like I was just freaked out. But I

594
00:32:26,760 --> 00:32:31,600
Speaker 2: was also fucking intrigued because I'd never seen an actor

595
00:32:31,720 --> 00:32:34,480
Speaker 2: like Joe Morton before in that kind of film. So

596
00:32:34,600 --> 00:32:37,239
Speaker 2: between that and I think it's like The Brother from

597
00:32:37,280 --> 00:32:40,120
Speaker 2: Another Planet and Enemy Mine were kind of the two

598
00:32:40,160 --> 00:32:43,520
Speaker 2: movies that I was like, the fuck, Like Lewis Gossett

599
00:32:43,560 --> 00:32:48,920
Speaker 2: Junior's planned some alien. Joe Morton is playing this other alien.

600
00:32:49,280 --> 00:32:53,520
Speaker 2: It was revolutionary to me. So Joe Morton plays the

601
00:32:53,680 --> 00:32:57,320
Speaker 2: title character, the Brother. We never learned his name, and

602
00:32:57,360 --> 00:33:01,520
Speaker 2: he's a mute alien who drops to planet Earth. And

603
00:33:01,560 --> 00:33:04,800
Speaker 2: a lot of people know Joe Morton from his more

604
00:33:04,880 --> 00:33:08,720
Speaker 2: recent work on the TV show Scandal course he was

605
00:33:09,240 --> 00:33:15,320
Speaker 2: Olivia Pope's father. But Joe Morton has had a stunning

606
00:33:15,320 --> 00:33:19,120
Speaker 2: career stage and screen. He's a really phenomenal actor. And

607
00:33:19,160 --> 00:33:21,720
Speaker 2: to see him at this point at his career where

608
00:33:22,200 --> 00:33:25,560
Speaker 2: he's so young and fresh and he's doing so much

609
00:33:25,600 --> 00:33:28,200
Speaker 2: with the movements of his body and his eyes, like

610
00:33:28,240 --> 00:33:31,840
Speaker 2: in his face to convey emotion. Since this character doesn't

611
00:33:31,880 --> 00:33:34,960
Speaker 2: ever say a word that it really to me this

612
00:33:35,000 --> 00:33:37,960
Speaker 2: time when I watched it, drilled in how fantastic of

613
00:33:37,960 --> 00:33:40,560
Speaker 2: an actor he really is. Yeah, so I love that

614
00:33:40,600 --> 00:33:43,000
Speaker 2: he's in this film. I'm going to give you a

615
00:33:43,040 --> 00:33:47,480
Speaker 2: one sentence synopsis before we jump in it. A mute

616
00:33:47,520 --> 00:33:51,360
Speaker 2: alien with three toes and drop crotch pants crashes into

617
00:33:51,440 --> 00:33:54,120
Speaker 2: New York City and quite frankly fits in just fine,

618
00:33:55,920 --> 00:34:01,320
Speaker 2: no problem, like just rolls with it. Yeah. I love

619
00:34:01,360 --> 00:34:04,320
Speaker 2: this movie. It was so at the beginning of the film,

620
00:34:04,320 --> 00:34:08,480
Speaker 2: we see this kind of guy in a spacesuit crashing

621
00:34:08,520 --> 00:34:11,960
Speaker 2: into New York City. At Ellis Island. He crashes literally

622
00:34:12,040 --> 00:34:15,880
Speaker 2: into the Ellis Island Immigration Center. One small problem is

623
00:34:15,920 --> 00:34:17,719
Speaker 2: that the bottom part of his leg is gone. It's

624
00:34:17,760 --> 00:34:20,239
Speaker 2: just like bloody tatters. But he's like, no problem. We

625
00:34:20,360 --> 00:34:22,800
Speaker 2: just hop into this building and he touches a wall,

626
00:34:22,920 --> 00:34:25,720
Speaker 2: like he leans on a wall, and here's all these voices.

627
00:34:25,760 --> 00:34:27,600
Speaker 2: So that's how we kind of start to get the

628
00:34:27,600 --> 00:34:30,440
Speaker 2: feeling of the conveyance that like he is absolutely from

629
00:34:30,480 --> 00:34:33,560
Speaker 2: another place. They don't show the space ship. They just

630
00:34:33,640 --> 00:34:35,160
Speaker 2: kind of show him in a suit, so you're like, oh,

631
00:34:35,160 --> 00:34:36,520
Speaker 2: he could have been like a pilot of some kind

632
00:34:36,520 --> 00:34:38,640
Speaker 2: that drop. Nope, he's from another planet. He touches walls

633
00:34:38,640 --> 00:34:42,200
Speaker 2: and hears voices. He also fixes his foot like we

634
00:34:42,400 --> 00:34:45,920
Speaker 2: just cut to a part where his foot is back,

635
00:34:46,480 --> 00:34:51,040
Speaker 2: and he has these three incredibly huge toes with nails

636
00:34:51,040 --> 00:34:53,919
Speaker 2: that stick straight up, like these black nails that stick

637
00:34:53,960 --> 00:34:56,799
Speaker 2: straight up. And that's the only thing about him that

638
00:34:57,239 --> 00:35:01,200
Speaker 2: conveys his alienness from the outside. So if you're not

639
00:35:01,200 --> 00:35:03,480
Speaker 2: looking at his feet, he just looks like any other

640
00:35:03,520 --> 00:35:06,160
Speaker 2: black person in New York City and he ends up

641
00:35:06,200 --> 00:35:09,239
Speaker 2: in Harlem, and we're starting to see that there are

642
00:35:09,239 --> 00:35:11,120
Speaker 2: certain noises that kind of and sounds that kind of

643
00:35:11,120 --> 00:35:14,560
Speaker 2: freak him out. But we're also starting to see how

644
00:35:14,600 --> 00:35:17,680
Speaker 2: he's learning to be part of society. So he's teaching

645
00:35:17,719 --> 00:35:21,839
Speaker 2: himself how to buy food by watching a transaction through

646
00:35:21,840 --> 00:35:24,400
Speaker 2: a bodega window. I mean, it goes wrong because he

647
00:35:24,440 --> 00:35:27,680
Speaker 2: figures out that he needs money. And we also at

648
00:35:27,719 --> 00:35:29,239
Speaker 2: this point, this is the first time that we see

649
00:35:29,280 --> 00:35:32,839
Speaker 2: that he can alter machines with his hands. He can

650
00:35:32,880 --> 00:35:35,200
Speaker 2: fix things with his hands, not just his own body,

651
00:35:35,840 --> 00:35:38,840
Speaker 2: and he can influence things with his hands. So he

652
00:35:38,840 --> 00:35:42,320
Speaker 2: waves his hand over a cash machine, no cash register,

653
00:35:44,640 --> 00:35:47,280
Speaker 2: cash machine? What it was like? Fucking remember that song

654
00:35:47,360 --> 00:35:55,520
Speaker 2: cash machine. It's like a fucking nineties rave song. Oh God,

655
00:35:57,000 --> 00:35:59,920
Speaker 2: I am slow to start this year. A cash register,

656
00:36:00,160 --> 00:36:02,880
Speaker 2: a not a cash machine, had a cash fucking register

657
00:36:04,080 --> 00:36:06,080
Speaker 2: and it opens, so he takes some of the cash out,

658
00:36:06,120 --> 00:36:07,600
Speaker 2: but he doesn't run out of the store. He's like

659
00:36:07,640 --> 00:36:10,120
Speaker 2: trying to give the money back to the woman's So

660
00:36:10,160 --> 00:36:12,320
Speaker 2: he's we're starting to see how he learns and adapts,

661
00:36:12,360 --> 00:36:15,239
Speaker 2: and you know, he's being chased by the cops and

662
00:36:15,600 --> 00:36:17,560
Speaker 2: he just jumped straight up into the sky. So it's

663
00:36:17,600 --> 00:36:21,479
Speaker 2: kind of like an immediate immersion through his POV into

664
00:36:21,520 --> 00:36:24,880
Speaker 2: what it's like to drop into our world and our

665
00:36:24,920 --> 00:36:29,200
Speaker 2: planet and specifically New York City and more specifically Harlem.

666
00:36:29,239 --> 00:36:32,799
Speaker 2: So he's really smart, like he equates his experience of

667
00:36:32,840 --> 00:36:36,200
Speaker 2: looking at things with the experience of what he's seeing

668
00:36:36,239 --> 00:36:38,480
Speaker 2: around him, So he'll look at like a you know,

669
00:36:39,040 --> 00:36:41,160
Speaker 2: there's this one scene where he's looking at a figure

670
00:36:41,200 --> 00:36:44,680
Speaker 2: of Jesus crucified on a cross, and he looks across

671
00:36:44,719 --> 00:36:47,680
Speaker 2: the street at a cop arresting somebody and they have

672
00:36:47,760 --> 00:36:50,440
Speaker 2: them on the car in kind of the same position.

673
00:36:50,840 --> 00:36:53,719
Speaker 2: So it's those kind of little details that make the

674
00:36:53,719 --> 00:36:57,040
Speaker 2: movie visually interesting. And because he doesn't talk, you really

675
00:36:57,120 --> 00:36:59,440
Speaker 2: do have to pay attention to the visuals of this film.

676
00:36:59,840 --> 00:37:02,880
Speaker 2: You could miss a lot if you're not paying attention closely.

677
00:37:04,280 --> 00:37:06,040
Speaker 2: But that I don't know, the introduction of the film,

678
00:37:06,080 --> 00:37:09,960
Speaker 2: the first five ten minutes. It's really that kind of

679
00:37:10,040 --> 00:37:14,480
Speaker 2: amazing and rare experience in film where you don't know

680
00:37:14,520 --> 00:37:19,200
Speaker 2: what's going on, but you're experiencing something with the character right,

681
00:37:19,320 --> 00:37:21,960
Speaker 2: and it instantly draws you to them and there and

682
00:37:22,000 --> 00:37:26,520
Speaker 2: it gives you this empathy for their humanity because you're

683
00:37:26,560 --> 00:37:28,080
Speaker 2: along with them on this ride of like, I don't

684
00:37:28,080 --> 00:37:29,760
Speaker 2: know what's going on, I don't know what's going to happen,

685
00:37:30,080 --> 00:37:32,920
Speaker 2: and you're kind of fearful for them, but watching them

686
00:37:32,920 --> 00:37:35,200
Speaker 2: make their way through. So I love the opening of

687
00:37:35,200 --> 00:37:37,319
Speaker 2: this film, and I also love that he just kind

688
00:37:37,320 --> 00:37:40,560
Speaker 2: of walks into a bar, and the bar is hilarious.

689
00:37:40,640 --> 00:37:44,080
Speaker 2: It's called Odell's. The owner is Odell, and he just

690
00:37:44,200 --> 00:37:49,200
Speaker 2: kind of walks it and it's like this real community

691
00:37:49,200 --> 00:37:51,080
Speaker 2: space where these guys are just like you can tell

692
00:37:51,080 --> 00:37:54,080
Speaker 2: the guys in there are in there every single day,

693
00:37:54,120 --> 00:37:56,560
Speaker 2: like it is their community hub. And it's like this

694
00:37:56,760 --> 00:37:59,759
Speaker 2: you know, of course this old guy who's like, you know,

695
00:37:59,800 --> 00:38:01,719
Speaker 2: they're they're all talking about space, which I think is

696
00:38:01,719 --> 00:38:05,400
Speaker 2: also very funny. One guy's playing a video game that's

697
00:38:05,560 --> 00:38:08,479
Speaker 2: about space, and one of the older guys is talking

698
00:38:08,520 --> 00:38:11,080
Speaker 2: about satellites and he's like, oh, yeah, those things bring

699
00:38:11,120 --> 00:38:13,840
Speaker 2: back space germs, and he's like just totally xenophobic and

700
00:38:13,880 --> 00:38:17,319
Speaker 2: horrible but hilarious. But you also again like start to

701
00:38:17,440 --> 00:38:20,239
Speaker 2: clue in or key in at this point that the

702
00:38:20,239 --> 00:38:24,120
Speaker 2: only dialogue in this movie is from the pov of

703
00:38:24,160 --> 00:38:28,440
Speaker 2: the other people surrounding this character. So I feel like

704
00:38:28,560 --> 00:38:31,359
Speaker 2: each interaction that he has with people could be its

705
00:38:31,360 --> 00:38:35,799
Speaker 2: own short film. Yeah, like him interacting with people on

706
00:38:35,840 --> 00:38:39,880
Speaker 2: his own could just be these little vignettes that comprise

707
00:38:40,000 --> 00:38:40,440
Speaker 2: this film.

708
00:38:40,440 --> 00:38:44,000
Speaker 1: But yeah, there's the character of the I guess he's

709
00:38:44,160 --> 00:38:49,120
Speaker 1: the social worker. He works for the city, and he

710
00:38:49,200 --> 00:38:51,480
Speaker 1: kind of comes in and helps him out when he

711
00:38:51,520 --> 00:38:55,000
Speaker 1: first kind of gets to Odell's bar, and then apparently

712
00:38:55,120 --> 00:38:57,200
Speaker 1: like a friend, a wife of an ex wife of

713
00:38:57,239 --> 00:39:02,000
Speaker 1: a friend is looking for a border that woman who

714
00:39:02,120 --> 00:39:06,799
Speaker 1: plays the woman who own who has that apartment with

715
00:39:06,840 --> 00:39:10,200
Speaker 1: the son. I mean to me, it's this first of all.

716
00:39:10,280 --> 00:39:13,440
Speaker 1: The one thing that I love to your points that

717
00:39:13,520 --> 00:39:19,440
Speaker 1: you've already made is that he feels protect it almost right,

718
00:39:19,480 --> 00:39:22,040
Speaker 1: because he's in this neighborhood of people that look like

719
00:39:22,160 --> 00:39:25,120
Speaker 1: him and kind of understand even though they're kind of like,

720
00:39:25,160 --> 00:39:28,240
Speaker 1: who is this guy? Why doesn't he talk? What's his deal?

721
00:39:28,840 --> 00:39:32,719
Speaker 1: They also have a network to help people in a way,

722
00:39:32,800 --> 00:39:35,080
Speaker 1: you know, so they have, you know, a guy that

723
00:39:35,120 --> 00:39:37,319
Speaker 1: works for the city that can help him out. You know,

724
00:39:37,480 --> 00:39:41,120
Speaker 1: obviously knows a woman in this apartment that he can

725
00:39:41,200 --> 00:39:46,560
Speaker 1: crash with, who talks a mile a minute, brought the South,

726
00:39:47,360 --> 00:39:50,160
Speaker 1: and that she's a very interesting character to me. I

727
00:39:50,160 --> 00:39:51,200
Speaker 1: don't know if you thought.

728
00:39:51,000 --> 00:39:53,920
Speaker 2: That, but oh, for sure, because Sam Sam is the

729
00:39:54,040 --> 00:39:56,279
Speaker 2: unemployment guy who kind of works for the city and

730
00:39:56,280 --> 00:39:59,680
Speaker 2: comes in and helps out, and Odell also fronts him

731
00:39:59,719 --> 00:40:01,560
Speaker 2: some like they kind of ask like, hey, do you

732
00:40:01,600 --> 00:40:04,480
Speaker 2: have money? Do you need anything? And Odell just pulls

733
00:40:04,520 --> 00:40:06,040
Speaker 2: money out of the register and it's like here you go,

734
00:40:06,160 --> 00:40:07,879
Speaker 2: like you can just have this, and they So when

735
00:40:07,880 --> 00:40:11,080
Speaker 2: he gets to this woman's house, she's down. She's just like,

736
00:40:11,120 --> 00:40:12,839
Speaker 2: you know what, I help people out. It's what I do,

737
00:40:13,800 --> 00:40:15,840
Speaker 2: no problem. And what I love about the scene of

738
00:40:15,880 --> 00:40:18,960
Speaker 2: meeting her and him is that you start to realize

739
00:40:19,000 --> 00:40:20,800
Speaker 2: that a lot of people, when they're surrounded by a

740
00:40:20,920 --> 00:40:23,759
Speaker 2: quiet person or somebody who is mute or somebody who

741
00:40:23,800 --> 00:40:26,799
Speaker 2: is deaf or doesn't talk, they fill the space with

742
00:40:26,840 --> 00:40:29,840
Speaker 2: their own fucking voice. Yes, there are people that just

743
00:40:29,920 --> 00:40:33,160
Speaker 2: convey how uncomfortable they are with silence by the fact

744
00:40:33,160 --> 00:40:36,759
Speaker 2: that they cannot stop talking. Yeah, at any point. So

745
00:40:36,800 --> 00:40:39,120
Speaker 2: that's kind of how she's making herself comfortable around him.

746
00:40:39,120 --> 00:40:42,200
Speaker 2: And she's just going off about her ex and this son,

747
00:40:42,280 --> 00:40:45,080
Speaker 2: and she lives with his mother, and she's like, I

748
00:40:45,080 --> 00:40:46,759
Speaker 2: don't know, I wouldn't go back to the South, but like,

749
00:40:47,360 --> 00:40:49,920
Speaker 2: what am I doing here? This is crazy? So I

750
00:40:50,000 --> 00:40:52,239
Speaker 2: love that and she's just so kind. And I think

751
00:40:52,280 --> 00:40:54,919
Speaker 2: that those two scenes, to me, set up the theme

752
00:40:54,960 --> 00:40:59,040
Speaker 2: of the movie, which is that there is a commonality

753
00:40:59,840 --> 00:41:04,839
Speaker 2: and a communal feeling amongst black people where we will

754
00:41:04,880 --> 00:41:07,400
Speaker 2: take care of each other. Yeah where, and that is

755
00:41:07,440 --> 00:41:09,480
Speaker 2: not specific to black people. I think a lot of

756
00:41:10,120 --> 00:41:13,040
Speaker 2: you know, marginalized communities do that. And that's how a

757
00:41:13,080 --> 00:41:15,239
Speaker 2: lot of people survive when they, you know, first come

758
00:41:15,280 --> 00:41:18,440
Speaker 2: to America, as they survive and family or family friends,

759
00:41:18,560 --> 00:41:21,360
Speaker 2: or they work in an area where they are surrounded

760
00:41:21,360 --> 00:41:23,640
Speaker 2: by people who speak their language or like. That, to

761
00:41:23,680 --> 00:41:25,640
Speaker 2: me is the beauty of a place like New York City,

762
00:41:25,680 --> 00:41:29,160
Speaker 2: where somebody can come to New York and fit in

763
00:41:29,640 --> 00:41:32,280
Speaker 2: and just like find that something that will support them

764
00:41:32,640 --> 00:41:35,800
Speaker 2: in a communal way. And the importance of that becomes

765
00:41:36,320 --> 00:41:39,640
Speaker 2: so much more evident as the movie goes on, because

766
00:41:39,680 --> 00:41:42,920
Speaker 2: he gets jobs through these people he meets randomly by

767
00:41:42,920 --> 00:41:45,560
Speaker 2: walking into this bar, and you get the feeling that

768
00:41:45,600 --> 00:41:47,840
Speaker 2: if he had walked into any other bar or restaurant,

769
00:41:47,840 --> 00:41:49,399
Speaker 2: he would have been treated the same way, like people

770
00:41:49,400 --> 00:41:52,799
Speaker 2: would just kind of rally around to help. So he

771
00:41:52,840 --> 00:41:55,880
Speaker 2: gets this job because he fixes the He fixes the

772
00:41:55,960 --> 00:41:58,600
Speaker 2: video game in the bar just by touching it, and

773
00:41:58,640 --> 00:42:00,399
Speaker 2: they're like, oh man, you can fix things. It's cool.

774
00:42:00,840 --> 00:42:03,400
Speaker 2: So as he's moving through the world, he's like making

775
00:42:03,400 --> 00:42:05,399
Speaker 2: money and he has a place to live and doing

776
00:42:05,440 --> 00:42:07,080
Speaker 2: things that I couldn't even do. What if I were

777
00:42:07,160 --> 00:42:09,440
Speaker 2: to go to New York City right now, I'd be

778
00:42:09,520 --> 00:42:12,439
Speaker 2: like here I am. They'd be like, great, good luck.

779
00:42:13,560 --> 00:42:18,040
Speaker 2: But there was this importance of looking at how people

780
00:42:18,560 --> 00:42:20,960
Speaker 2: treat him and react to him, and it's not treated

781
00:42:21,000 --> 00:42:24,480
Speaker 2: with fear, and it's not that typical alien narrative either

782
00:42:24,560 --> 00:42:27,400
Speaker 2: of like he's coming here to save the world or

783
00:42:27,960 --> 00:42:31,200
Speaker 2: coming here to save himself. He's just existing in this

784
00:42:31,280 --> 00:42:34,839
Speaker 2: space and we do find out why eventually, but he's

785
00:42:34,880 --> 00:42:37,000
Speaker 2: just existing in this space. So I love that there's

786
00:42:37,080 --> 00:42:39,440
Speaker 2: not The focus of the film is not look at

787
00:42:39,480 --> 00:42:42,960
Speaker 2: all the shiny sci fi stuff. It's look at this

788
00:42:43,440 --> 00:42:47,280
Speaker 2: being and how they interact with our world. It shines

789
00:42:47,320 --> 00:42:50,000
Speaker 2: the light on us to look at how we treat

790
00:42:50,000 --> 00:42:54,320
Speaker 2: people who are not from here, who try to join

791
00:42:54,440 --> 00:42:55,960
Speaker 2: our cultures and communities.

792
00:42:56,320 --> 00:42:59,160
Speaker 1: Yeah, that's interesting that you say that, because I was like,

793
00:42:59,600 --> 00:43:02,759
Speaker 1: you know, you put this kind of story up against say,

794
00:43:03,520 --> 00:43:05,320
Speaker 1: trying to think of a movie that we've done recently,

795
00:43:06,520 --> 00:43:09,920
Speaker 1: like a Earth Girls Are Easy, right, and like a

796
00:43:09,960 --> 00:43:12,400
Speaker 1: lot of the comedy of that movie is like a

797
00:43:12,480 --> 00:43:14,880
Speaker 1: fish out of water, like an alien that crash lands

798
00:43:14,920 --> 00:43:18,759
Speaker 1: into Earth and is like what are bikini models? What

799
00:43:19,040 --> 00:43:23,080
Speaker 1: are you know malls in la And they get a

800
00:43:23,080 --> 00:43:25,840
Speaker 1: lot of mileage out of that in that movie. But

801
00:43:26,000 --> 00:43:30,840
Speaker 1: this movie is more about the alien coming to America

802
00:43:31,640 --> 00:43:35,560
Speaker 1: being put into a you know, a center, like a

803
00:43:35,719 --> 00:43:39,399
Speaker 1: huge city in America, and it's the story about how

804
00:43:39,400 --> 00:43:43,000
Speaker 1: the other people react to him and how you know,

805
00:43:43,080 --> 00:43:47,080
Speaker 1: he's kind of like a person that is experiencing kind

806
00:43:47,120 --> 00:43:50,960
Speaker 1: of an immigration story, right, and it's more about like

807
00:43:51,320 --> 00:43:57,239
Speaker 1: how do people react towards that that other that like immigrant?

808
00:43:57,600 --> 00:44:00,759
Speaker 2: You know, it's interesting exactly. Yeah, I love it. I

809
00:44:00,760 --> 00:44:02,439
Speaker 2: love it because I love it because again, it takes

810
00:44:02,480 --> 00:44:05,200
Speaker 2: away when you take that space element out of it, like, yes,

811
00:44:05,239 --> 00:44:07,399
Speaker 2: you know, he's an alien, but when you take where

812
00:44:07,440 --> 00:44:12,040
Speaker 2: he came from away from his central focus as a character,

813
00:44:12,840 --> 00:44:15,280
Speaker 2: it's just it is an immigrant experience, and it really

814
00:44:15,360 --> 00:44:18,520
Speaker 2: is a positive immigrant experience, which is something that I

815
00:44:19,000 --> 00:44:22,759
Speaker 2: think we don't also see a lot on film, And

816
00:44:22,800 --> 00:44:24,880
Speaker 2: I love it, and I just love watching him interact

817
00:44:24,880 --> 00:44:28,120
Speaker 2: with people. Like I said, it's there's something about each

818
00:44:28,120 --> 00:44:31,839
Speaker 2: interaction that could that's just a beautiful vignette. So there's

819
00:44:31,880 --> 00:44:35,800
Speaker 2: something also very delightful about this movie that I didn't

820
00:44:35,840 --> 00:44:37,919
Speaker 2: catch when I was younger, or like in other times

821
00:44:37,920 --> 00:44:40,920
Speaker 2: that i'd seen it. This movie is funny and it's

822
00:44:41,560 --> 00:44:44,120
Speaker 2: a true delight Like it's there are yes, there are

823
00:44:44,200 --> 00:44:49,640
Speaker 2: scary moments and then moments of uncertainty, but it's really funny.

824
00:44:49,960 --> 00:44:51,719
Speaker 2: For example, there's a scene where he gets on the

825
00:44:51,760 --> 00:44:55,799
Speaker 2: subway and Fish or Stevens of all people, is like

826
00:44:56,880 --> 00:44:58,920
Speaker 2: talking a mile a minute and he's like, let me

827
00:44:58,920 --> 00:45:01,520
Speaker 2: show you a car trick and he's just doing this insane,

828
00:45:01,920 --> 00:45:06,560
Speaker 2: complicated like card trick and you're watching the Joe Morton character,

829
00:45:06,640 --> 00:45:09,080
Speaker 2: the brother kind of like not even knowing if he's

830
00:45:09,480 --> 00:45:11,239
Speaker 2: can cut the cards, and he's like, now I'm not

831
00:45:11,239 --> 00:45:13,520
Speaker 2: doing that, Like I don't know what this guy he's

832
00:45:13,560 --> 00:45:16,080
Speaker 2: given me, but the vibe is off. But it's just

833
00:45:16,120 --> 00:45:19,920
Speaker 2: a funny moment that is so typical subway moment. In

834
00:45:19,960 --> 00:45:23,719
Speaker 2: New York, and they just emphasize how he's kind of

835
00:45:23,760 --> 00:45:27,960
Speaker 2: scared to interact with this man who's not threatening but

836
00:45:28,080 --> 00:45:30,640
Speaker 2: just too much. He's just a little bit too much.

837
00:45:31,640 --> 00:45:33,960
Speaker 2: And there's this other scene where these two white guys

838
00:45:34,600 --> 00:45:37,200
Speaker 2: go into the bar and they're like, oh my god,

839
00:45:37,239 --> 00:45:40,040
Speaker 2: we're lost in Harlem, which first and foremost, how how

840
00:45:40,080 --> 00:45:42,600
Speaker 2: are you lost? On the grid? Get a grip? And

841
00:45:42,640 --> 00:45:46,080
Speaker 2: they're in town for a self actualization conference, which is

842
00:45:46,120 --> 00:45:48,960
Speaker 2: so funny, and they just are they're looking for the subway,

843
00:45:49,000 --> 00:45:50,920
Speaker 2: they can't find it, and they just sit there and

844
00:45:50,960 --> 00:45:53,520
Speaker 2: instead of Odell immediately helping them, he just lets him

845
00:45:53,560 --> 00:45:55,200
Speaker 2: get drunk and then he's like, yeah, go two blocks

846
00:45:55,200 --> 00:45:58,000
Speaker 2: that way, three blocks that way, help find it. The

847
00:45:58,040 --> 00:46:02,640
Speaker 2: way that that conversation goes down is they're very afraid

848
00:46:02,680 --> 00:46:05,359
Speaker 2: when they first realize that they're lost and that they're

849
00:46:05,360 --> 00:46:09,000
Speaker 2: in Harlem. They're freaked out by the time they're drunk

850
00:46:09,040 --> 00:46:12,280
Speaker 2: in this bar. The way that they're kind of communicating

851
00:46:12,320 --> 00:46:16,560
Speaker 2: and trying to empathize with the brother is by telling

852
00:46:16,560 --> 00:46:20,120
Speaker 2: them about how much they love a black sports guy

853
00:46:21,080 --> 00:46:22,480
Speaker 2: and like, you know, oh, I just wanted to be

854
00:46:22,600 --> 00:46:24,440
Speaker 2: him when I was a kid, and that happens all

855
00:46:24,480 --> 00:46:26,600
Speaker 2: the time, where like people who try to empathize with

856
00:46:26,640 --> 00:46:30,240
Speaker 2: your experience tend to try to put yourself put themselves

857
00:46:30,280 --> 00:46:32,360
Speaker 2: in your place, and that's not needed. I think this

858
00:46:32,440 --> 00:46:35,200
Speaker 2: movie does a really good job of emphasizing how unnecessary

859
00:46:35,239 --> 00:46:38,440
Speaker 2: that is, Like you don't have to have our experience

860
00:46:38,560 --> 00:46:41,920
Speaker 2: to treat us like human beings. And I just I

861
00:46:41,920 --> 00:46:43,840
Speaker 2: don't know, I just love it, like these little moments

862
00:46:43,880 --> 00:46:46,040
Speaker 2: where like he's walking down the street, he's a dog

863
00:46:46,080 --> 00:46:47,600
Speaker 2: tied up outside of a store and he just like

864
00:46:47,680 --> 00:46:50,880
Speaker 2: lets it loose. He's like, oh, that's not cool. And

865
00:46:50,920 --> 00:46:53,279
Speaker 2: then as he's walking down the street, he's just eating

866
00:46:53,280 --> 00:46:58,080
Speaker 2: a head of lettuce, just as you do, straight up

867
00:46:58,120 --> 00:47:01,919
Speaker 2: had a lettuce at a tomato. And he also has

868
00:47:02,239 --> 00:47:05,000
Speaker 2: a couple of negative experiences, like he gets mugged and

869
00:47:05,160 --> 00:47:07,359
Speaker 2: in his building the sterile of his building, and they

870
00:47:07,360 --> 00:47:09,960
Speaker 2: cut his hand, but he fixes it by waving his

871
00:47:10,000 --> 00:47:12,920
Speaker 2: other hand over it, and he sees the mugger again

872
00:47:13,480 --> 00:47:16,399
Speaker 2: and one of them has o deed and he kind

873
00:47:16,400 --> 00:47:18,279
Speaker 2: of when they mug him, he kind of grabs a

874
00:47:18,320 --> 00:47:21,279
Speaker 2: guy's arm and sees track marks on it. So then

875
00:47:21,320 --> 00:47:24,040
Speaker 2: when he sees him in kind of this empty lot

876
00:47:24,200 --> 00:47:29,280
Speaker 2: having died and odeed. He is confounded by what happened.

877
00:47:29,280 --> 00:47:31,719
Speaker 2: So he takes the needle and the drugs, and like,

878
00:47:32,239 --> 00:47:34,680
Speaker 2: he takes the drugs and he gets super fucked up,

879
00:47:35,280 --> 00:47:37,759
Speaker 2: and he kind of sees the sea deier underbelly of

880
00:47:37,800 --> 00:47:40,200
Speaker 2: that part of New York and of the world, and

881
00:47:40,239 --> 00:47:43,080
Speaker 2: he's he's a passenger on the ship being guided by

882
00:47:43,120 --> 00:47:48,879
Speaker 2: this Rastafarian man who's telling this incredible story about what

883
00:47:49,000 --> 00:47:51,520
Speaker 2: nightlife is like in New York and how everyone kind

884
00:47:51,520 --> 00:47:54,319
Speaker 2: of sheds the terror of the day and all the

885
00:47:54,360 --> 00:47:56,440
Speaker 2: feelings that they carry throughout the day to just come

886
00:47:56,440 --> 00:47:59,160
Speaker 2: out and be weird at night. And it's just it's

887
00:47:59,280 --> 00:48:03,480
Speaker 2: a beautiful scene that's infused with so much. There's a

888
00:48:03,600 --> 00:48:06,880
Speaker 2: terror lurking underneath, for sure, but it's just so interesting

889
00:48:06,920 --> 00:48:09,960
Speaker 2: and artistic and wonderful and vibrant, and the colors and

890
00:48:10,000 --> 00:48:13,279
Speaker 2: the graffiti, it's just it's beautiful. It's a beautiful way

891
00:48:13,320 --> 00:48:16,120
Speaker 2: to look at that part of the world and the city.

892
00:48:16,160 --> 00:48:18,120
Speaker 2: Even though he is fucked up and he's on drugs.

893
00:48:18,440 --> 00:48:22,120
Speaker 2: But he eventually takes the little boy that he lives with, Earl,

894
00:48:22,160 --> 00:48:25,400
Speaker 2: and he goes to a museum and we see him

895
00:48:25,480 --> 00:48:31,040
Speaker 2: learning about slavery. What's amazing about this scene is he's

896
00:48:31,120 --> 00:48:34,440
Speaker 2: able to communicate to Earl that he was a slave

897
00:48:34,480 --> 00:48:38,799
Speaker 2: on his own planet. So we're starting to see these

898
00:48:38,840 --> 00:48:42,640
Speaker 2: two guys in black, John sALS and David Stratharne, a

899
00:48:42,800 --> 00:48:47,239
Speaker 2: very young Davishtratharne who John Sales went to college with.

900
00:48:47,920 --> 00:48:50,160
Speaker 2: We're starting to see these two guys showing up and

901
00:48:50,280 --> 00:48:53,880
Speaker 2: following the path of where the brother has been. So

902
00:48:54,080 --> 00:48:56,520
Speaker 2: they're going into the bar, they're going into the you know,

903
00:48:56,560 --> 00:48:59,440
Speaker 2: the video games shop where he's fixing things. They're kind

904
00:48:59,480 --> 00:49:02,440
Speaker 2: of following his footsteps, so you know he's being chased

905
00:49:02,480 --> 00:49:04,680
Speaker 2: by them, even if you don't know who they are,

906
00:49:04,760 --> 00:49:07,560
Speaker 2: what they want, but you eventually learned that they have

907
00:49:07,760 --> 00:49:10,280
Speaker 2: come to find him because he is an escaped slave

908
00:49:10,320 --> 00:49:13,919
Speaker 2: from his own planet. So the fact that he's able

909
00:49:13,920 --> 00:49:16,320
Speaker 2: to communicate that to this little kid, and it's just

910
00:49:16,400 --> 00:49:18,480
Speaker 2: such a quick moment, and again if you're not looking,

911
00:49:18,520 --> 00:49:21,239
Speaker 2: you will miss it, but it's a quick moment where

912
00:49:21,239 --> 00:49:24,200
Speaker 2: he kind of thumbs up and points to like when

913
00:49:24,239 --> 00:49:25,799
Speaker 2: I was up there, and then he points to one

914
00:49:25,840 --> 00:49:27,680
Speaker 2: of the pictures and he's like that was me. Like

915
00:49:27,719 --> 00:49:31,040
Speaker 2: the chain's breaking for he that was me. So he's

916
00:49:31,040 --> 00:49:32,680
Speaker 2: being chased by these guys who are trying to bring

917
00:49:32,760 --> 00:49:36,280
Speaker 2: him back in enslave him. And again, what John Sales

918
00:49:36,280 --> 00:49:39,360
Speaker 2: says beautifully is he doesn't go deep into the history

919
00:49:39,360 --> 00:49:41,480
Speaker 2: of what slavery looks like on that planet. You just

920
00:49:41,560 --> 00:49:44,760
Speaker 2: have to be able to understand that it wasn't great,

921
00:49:45,280 --> 00:49:49,080
Speaker 2: like there was a reason for him to escape, And

922
00:49:49,120 --> 00:49:53,359
Speaker 2: regardless of what integalactic slavery looks like, this character can

923
00:49:53,400 --> 00:49:58,440
Speaker 2: empathize with our culture knowing that he looks exactly like

924
00:49:58,480 --> 00:50:01,600
Speaker 2: the people who were enslaved on our plant. So he

925
00:50:01,719 --> 00:50:04,239
Speaker 2: gets it. And I don't know, it's just it's a

926
00:50:04,280 --> 00:50:08,120
Speaker 2: beautiful small moment. But I feel like this movie is

927
00:50:08,160 --> 00:50:11,359
Speaker 2: filled with beautiful small moments that really encapsulate kind of

928
00:50:11,400 --> 00:50:15,440
Speaker 2: how we care for each other, how we fail to

929
00:50:15,440 --> 00:50:19,279
Speaker 2: care for each other, how delightful the world can be

930
00:50:20,120 --> 00:50:24,839
Speaker 2: when you let strangers into it, when you open your

931
00:50:24,840 --> 00:50:27,759
Speaker 2: eyes to what's around you and who's around you. It's

932
00:50:27,800 --> 00:50:30,400
Speaker 2: a really amazing look at what Harlan was like in

933
00:50:30,440 --> 00:50:36,479
Speaker 2: the eighties and how the community that created that part

934
00:50:36,480 --> 00:50:40,880
Speaker 2: of the city is sustained by blackness. There's also I

935
00:50:40,960 --> 00:50:44,560
Speaker 2: read an article on It's on the Roger Ebert site,

936
00:50:44,600 --> 00:50:48,080
Speaker 2: written by Jessica Ritchie, and she wrote it in twenty

937
00:50:48,120 --> 00:50:51,920
Speaker 2: seventeen and was talking about how necessary the film is

938
00:50:52,080 --> 00:50:55,719
Speaker 2: even now, and she encapsulated this in such a way

939
00:50:55,719 --> 00:50:58,120
Speaker 2: that I have to quote it directly because she just

940
00:50:58,160 --> 00:51:02,200
Speaker 2: said it beautifully, and I quote the Brother from Another

941
00:51:02,239 --> 00:51:04,640
Speaker 2: Planet is not a blueprint on how to save the world,

942
00:51:05,200 --> 00:51:08,080
Speaker 2: but a warm, humane guide on how to live in it,

943
00:51:08,640 --> 00:51:12,000
Speaker 2: not passively accepting injustice and looking the other way, but

944
00:51:12,160 --> 00:51:14,640
Speaker 2: rather how to get through the day to day business

945
00:51:14,680 --> 00:51:17,280
Speaker 2: of living and surviving, how to know who to trust

946
00:51:17,320 --> 00:51:19,279
Speaker 2: and who can be counted on, how to send a

947
00:51:19,280 --> 00:51:23,000
Speaker 2: message for help, how to find and build communities. That

948
00:51:23,120 --> 00:51:26,399
Speaker 2: the cast is predominantly people of color is no coincidence,

949
00:51:26,760 --> 00:51:30,120
Speaker 2: where until recently, questions of survival and oppressive systems or

950
00:51:30,160 --> 00:51:33,759
Speaker 2: fun bits of escapism for white audiences have become an

951
00:51:33,800 --> 00:51:38,399
Speaker 2: uncomfortable reality. The film is vital and illustrating how paying

952
00:51:38,440 --> 00:51:42,080
Speaker 2: attention to, listening to and following people of color will

953
00:51:42,120 --> 00:51:45,320
Speaker 2: be essential in the fight for everyone's future. End quote.

954
00:51:46,280 --> 00:51:48,440
Speaker 2: So I just love it. She's right, She's totally right,

955
00:51:48,480 --> 00:51:50,200
Speaker 2: and I love it. Movies about the day to day

956
00:51:50,200 --> 00:51:53,160
Speaker 2: business of living and surviving. It's about your ability to

957
00:51:53,160 --> 00:51:55,040
Speaker 2: pop out your eyeball and treat it like a security

958
00:51:55,040 --> 00:51:57,479
Speaker 2: camera and pop it in a plant and start looking

959
00:51:57,480 --> 00:52:00,920
Speaker 2: at people. It's about having three toes and still being

960
00:52:00,920 --> 00:52:02,839
Speaker 2: able to go to a club and pick someone up

961
00:52:02,920 --> 00:52:06,400
Speaker 2: and have sex and just fit in. And it's just

962
00:52:06,560 --> 00:52:09,680
Speaker 2: but again, like that last sentence of how paying attention

963
00:52:09,719 --> 00:52:11,840
Speaker 2: to listening to and following people of color will be

964
00:52:11,920 --> 00:52:14,760
Speaker 2: essential in the fight for everyone's future just really resonated

965
00:52:14,760 --> 00:52:16,920
Speaker 2: with me, and I think it's amazing that this movie

966
00:52:16,960 --> 00:52:22,600
Speaker 2: is still so incredibly important and timely. Yeah, you know,

967
00:52:22,760 --> 00:52:24,520
Speaker 2: thirty eight years later.

968
00:52:24,880 --> 00:52:27,759
Speaker 1: Yeah, totally. I like it so much more now than

969
00:52:27,760 --> 00:52:29,399
Speaker 1: I think I did when I first saw it. I mean,

970
00:52:30,160 --> 00:52:32,879
Speaker 1: I will say that I think that just I think

971
00:52:33,120 --> 00:52:36,680
Speaker 1: title might suggest that this is some kind of you know,

972
00:52:36,880 --> 00:52:39,040
Speaker 1: kind of I don't know, an exploitation movie or something

973
00:52:39,080 --> 00:52:41,720
Speaker 1: like that, and it's totally not. I mean, it's totally

974
00:52:41,840 --> 00:52:45,719
Speaker 1: got a lot to say. There's so many good like

975
00:52:45,840 --> 00:52:49,399
Speaker 1: character actors and people involved. I mean John Sales being

976
00:52:49,440 --> 00:52:52,839
Speaker 1: one of them, but also Ernest Dickerson, who was the cinematographer.

977
00:52:52,880 --> 00:52:55,600
Speaker 1: I mean, obviously he shot all the Spike Lee movies.

978
00:52:55,640 --> 00:52:58,440
Speaker 1: He's a director himself. But then just like, yeah, Steve

979
00:52:58,560 --> 00:53:00,480
Speaker 1: James is Odell, I mean he was and to Live

980
00:53:00,520 --> 00:53:04,840
Speaker 1: and Die in la amongst many many other things. But

981
00:53:04,960 --> 00:53:11,000
Speaker 1: also like, yeah, the David Strathairne pop up, the Bill Cobbs, Yeah,

982
00:53:11,120 --> 00:53:16,560
Speaker 1: the Fisher Stevens. Like Leanne Curtis, who plays the girl

983
00:53:16,640 --> 00:53:20,600
Speaker 1: in the Arcade. She was Molly Ringwald's best friend in

984
00:53:20,680 --> 00:53:23,480
Speaker 1: sixteen Kendles and is a great actress.

985
00:53:23,520 --> 00:53:26,120
Speaker 2: And you know, it's really weird my friend popped up

986
00:53:26,120 --> 00:53:28,640
Speaker 2: in here. I didn't even realize he was in this movie. Wait,

987
00:53:28,680 --> 00:53:33,360
Speaker 2: who Reggie rock Bythewood No way, Yeah, I did a

988
00:53:33,400 --> 00:53:36,880
Speaker 2: little bit of a development project with Reggie and Gina

989
00:53:37,160 --> 00:53:40,080
Speaker 2: Prince Bythewood. Yeah, And it was so wild to see

990
00:53:40,120 --> 00:53:42,840
Speaker 2: him in this film as a young man, because he

991
00:53:42,880 --> 00:53:44,080
Speaker 2: still looks the same. It's wild.

992
00:53:44,360 --> 00:53:47,759
Speaker 1: Wow, I mean, freaking DeeDee Bridgewaters in this movie. It's

993
00:53:47,800 --> 00:53:52,200
Speaker 1: so like, I don't know, it's such a great film.

994
00:53:52,680 --> 00:53:58,759
Speaker 1: I like that it is a movie about immigration, and

995
00:53:59,120 --> 00:54:02,719
Speaker 1: you know what happens when somebody comes from somewhere else

996
00:54:02,719 --> 00:54:05,919
Speaker 1: into this like you know, kind of melting pot type

997
00:54:05,960 --> 00:54:09,480
Speaker 1: of place, and you know, certain people kind of blow

998
00:54:09,560 --> 00:54:11,600
Speaker 1: him off, but for the most part he's protected and

999
00:54:11,680 --> 00:54:14,759
Speaker 1: taken care of and that just feels very positive to me.

1000
00:54:15,680 --> 00:54:18,200
Speaker 1: And there's like, I mean, the woman who gives him

1001
00:54:18,200 --> 00:54:20,440
Speaker 1: a place to stay has one of the biggest speeches

1002
00:54:20,440 --> 00:54:23,279
Speaker 1: in the film about immigration about you know these two

1003
00:54:23,400 --> 00:54:26,680
Speaker 1: you know, the two I don't know, the men in

1004
00:54:26,760 --> 00:54:29,560
Speaker 1: black I guess the David Stratharn and the John Sales

1005
00:54:29,640 --> 00:54:33,040
Speaker 1: characters looking for him, saying that they're from immigration. And

1006
00:54:33,120 --> 00:54:35,719
Speaker 1: there's many people that are like, hey, you know, we've

1007
00:54:35,760 --> 00:54:38,600
Speaker 1: got like an addict that died in the in the stairwell,

1008
00:54:38,640 --> 00:54:42,520
Speaker 1: and you're coming here like worrying about this guy being illegal,

1009
00:54:42,800 --> 00:54:48,120
Speaker 1: Like fuck you, you know exactly, we have bigger problems here. Yeah.

1010
00:54:48,840 --> 00:54:51,160
Speaker 1: Such a great movie and I'm so glad that you

1011
00:54:51,200 --> 00:54:51,680
Speaker 1: picked it.

1012
00:54:51,560 --> 00:54:53,319
Speaker 2: Thank you. I think it's also a great definition of

1013
00:54:53,320 --> 00:54:56,080
Speaker 2: a fi futurism, Like before that term was even coined,

1014
00:54:56,160 --> 00:54:59,239
Speaker 2: this movie was a stunning example of what it could be.

1015
00:54:59,440 --> 00:55:02,040
Speaker 2: So I'm so I think it's a classic yeah in

1016
00:55:02,080 --> 00:55:06,160
Speaker 2: the genre, and it's a musty no matter what kind

1017
00:55:06,160 --> 00:55:07,800
Speaker 2: of films you're into, I think it's I think you

1018
00:55:07,840 --> 00:55:10,320
Speaker 2: will be surprised this will be one of those films

1019
00:55:10,320 --> 00:55:14,040
Speaker 2: that really rounds out your knowledge of film if you're

1020
00:55:14,040 --> 00:55:15,880
Speaker 2: able to access.

1021
00:55:15,520 --> 00:55:19,799
Speaker 1: It, and not for nothing. I'm just gonna throw this

1022
00:55:19,840 --> 00:55:24,120
Speaker 1: out there. I don't know why I think this necessarily,

1023
00:55:25,200 --> 00:55:29,799
Speaker 1: but I also think that you and John Sales would

1024
00:55:29,840 --> 00:55:36,160
Speaker 1: be a great couple. I don't know his status, I

1025
00:55:36,200 --> 00:55:39,880
Speaker 1: don't know his anything. To be honest, Oh no, is

1026
00:55:39,880 --> 00:55:43,120
Speaker 1: that he's hot and he's seventy, and he's creative.

1027
00:55:43,160 --> 00:55:46,520
Speaker 2: Hot, he's seventy, he's tall and he's creative. Yes, bing

1028
00:55:46,600 --> 00:55:52,080
Speaker 2: bing bing bing bing, And he has his own uniform.

1029
00:55:52,840 --> 00:55:59,520
Speaker 2: This motherfucker still wears a short sleeve, button down sleeves

1030
00:55:59,600 --> 00:56:04,080
Speaker 2: rolled up up, unbuttoned, at least three at least three unbuttoned.

1031
00:56:04,800 --> 00:56:07,520
Speaker 2: Oh yea to this day. I love the confidence of that. However,

1032
00:56:07,880 --> 00:56:10,319
Speaker 2: he does have a long term partner, Maggie Renzi, who

1033
00:56:10,440 --> 00:56:11,400
Speaker 2: is also in this film.

1034
00:56:11,520 --> 00:56:15,200
Speaker 1: Oh well, Maggie, I'm sorry. I know I was matchmaking

1035
00:56:15,320 --> 00:56:17,560
Speaker 1: when I didn't know the details, but hey, who knows

1036
00:56:17,800 --> 00:56:20,560
Speaker 1: who knows the situation. All I'm saying is that, Danielle,

1037
00:56:21,320 --> 00:56:24,800
Speaker 1: you should be dating John Sales or somebody like John Sales.

1038
00:56:27,400 --> 00:56:28,880
Speaker 1: I feel like it's a good match. I feel like

1039
00:56:28,920 --> 00:56:29,560
Speaker 1: it's a good match.

1040
00:56:29,640 --> 00:56:33,680
Speaker 2: Truly. That makes my heart sing because I didn't want

1041
00:56:33,719 --> 00:56:39,480
Speaker 2: to say it. I will, but you're looking for myself.

1042
00:56:40,480 --> 00:56:42,879
Speaker 2: I don't again, don't have a type. I don't think,

1043
00:56:43,480 --> 00:56:47,880
Speaker 2: but seventy creative, hot, great place to start.

1044
00:56:48,160 --> 00:56:50,920
Speaker 1: Yeah. Look, I'm on record on the internet talking about

1045
00:56:50,960 --> 00:56:53,360
Speaker 1: my crush on Sean Sales. Okay, I think there was

1046
00:56:53,400 --> 00:56:57,200
Speaker 1: a video of Tcmslunderground where all four of us were like,

1047
00:56:57,680 --> 00:57:01,279
Speaker 1: we love John Sales. We think he's hot. Like, what's

1048
00:57:01,280 --> 00:57:03,799
Speaker 1: going on? Call us? So I'm just saying I feel like,

1049
00:57:03,920 --> 00:57:08,120
Speaker 1: you know, he's an attractive man, he's super cool. He

1050
00:57:08,200 --> 00:57:11,280
Speaker 1: has had such a creative life. He made this incredible movie,

1051
00:57:11,320 --> 00:57:13,400
Speaker 1: and that just seems like your type if you have.

1052
00:57:13,560 --> 00:57:15,920
Speaker 2: Maybe he has friends, Maybe he has like sixty year

1053
00:57:15,960 --> 00:57:16,480
Speaker 2: old friends.

1054
00:57:16,640 --> 00:57:18,920
Speaker 1: Maybe he knows Steve Buscemi. I mean you never know,

1055
00:57:19,680 --> 00:57:20,320
Speaker 1: you never know.

1056
00:57:20,480 --> 00:57:26,240
Speaker 2: Get him on the podcast right now, Get him on

1057
00:57:26,280 --> 00:57:28,040
Speaker 2: this pod, because even if he does it, he could

1058
00:57:28,040 --> 00:57:30,120
Speaker 2: be like, hey, dropping out. I don't know why I'm

1059
00:57:30,120 --> 00:57:33,520
Speaker 2: so intent on breaking up Steve Sami with his girlfriend

1060
00:57:33,560 --> 00:57:36,760
Speaker 2: because really not really not.

1061
00:57:37,000 --> 00:57:40,240
Speaker 1: We're not break up homes. We just star horny all.

1062
00:57:40,320 --> 00:57:43,479
Speaker 2: I'm just saying, maybe he knows some people who would

1063
00:57:43,520 --> 00:57:47,160
Speaker 2: be within that range of like older than me, won't

1064
00:57:47,200 --> 00:57:50,520
Speaker 2: be in my face all the time, creative tall. Yeah,

1065
00:57:50,560 --> 00:57:53,120
Speaker 2: I mean that's really the criteria. I have no other

1066
00:57:53,360 --> 00:58:00,480
Speaker 2: criteria beyond that. And I was actually LEAs like to

1067
00:58:00,480 --> 00:58:02,640
Speaker 2: watch your movie. This was the first time watch for me.

1068
00:58:02,680 --> 00:58:04,360
Speaker 2: I didn't see it when it came out.

1069
00:58:04,720 --> 00:58:05,520
Speaker 1: I'm shocked.

1070
00:58:05,760 --> 00:58:09,800
Speaker 2: I'm shocked out, I know, especially because I love this creator. Yes,

1071
00:58:10,040 --> 00:58:11,920
Speaker 2: but I think this was an when I was deep

1072
00:58:11,960 --> 00:58:17,200
Speaker 2: in my extra long isolation, so I was not going

1073
00:58:17,200 --> 00:58:19,080
Speaker 2: to the movies when this came out.

1074
00:58:19,360 --> 00:58:23,160
Speaker 1: Well, this was a pandemic baby. Apparently, this movie this idea.

1075
00:58:23,400 --> 00:58:25,760
Speaker 1: So we're going to talk about it right now. I

1076
00:58:25,800 --> 00:58:30,960
Speaker 1: mean it's a classic in my mind, and actually maybe

1077
00:58:31,440 --> 00:58:34,320
Speaker 1: the most recent movie we've ever done on this podcast,

1078
00:58:34,600 --> 00:58:37,520
Speaker 1: I think, So can a two year old movie be

1079
00:58:37,520 --> 00:58:41,680
Speaker 1: a classic? We'll see. But for the theme Black History

1080
00:58:41,720 --> 00:58:47,400
Speaker 1: Month after Futurism from twenty twenty two, written and directed

1081
00:58:47,400 --> 00:58:49,320
Speaker 1: by Jordan Peele. It's called Nope.

1082
00:58:49,880 --> 00:58:54,400
Speaker 2: Yeah, no, no, no, It's called Nope.

1083
00:58:56,720 --> 00:59:01,960
Speaker 1: Pretty much the best name for a movie. It's very simple.

1084
00:59:02,360 --> 00:59:05,040
Speaker 2: Fucking love it, and I love because I have. I'm

1085
00:59:05,080 --> 00:59:07,320
Speaker 2: sure going to but I've read a lot of articles

1086
00:59:07,320 --> 00:59:09,880
Speaker 2: about After I watched this, I was like, Oh, I

1087
00:59:09,920 --> 00:59:12,160
Speaker 2: wonder what if the title means something because a lot

1088
00:59:12,160 --> 00:59:13,640
Speaker 2: of people were putting a I remember that a lot

1089
00:59:13,640 --> 00:59:15,280
Speaker 2: of people were putting a lot of emphasis on what

1090
00:59:15,320 --> 00:59:17,840
Speaker 2: it could mean. And so to kind of go in

1091
00:59:18,960 --> 00:59:23,240
Speaker 2: and hear from Jordan Peele directly why he named it

1092
00:59:23,280 --> 00:59:24,360
Speaker 2: Nope was very funny.

1093
00:59:24,480 --> 00:59:27,520
Speaker 1: Yeah. So I'm going to do a one sentence synopsis

1094
00:59:27,600 --> 00:59:32,480
Speaker 1: right now so that we can clear the space to

1095
00:59:32,520 --> 00:59:34,120
Speaker 1: dissect this film.

1096
00:59:34,360 --> 00:59:35,000
Speaker 2: A brother and.

1097
00:59:35,000 --> 00:59:38,760
Speaker 1: Sister tasked with saving the family horse training business receive

1098
00:59:39,320 --> 00:59:45,280
Speaker 1: a strange visitor to their ranch. That's it. It's that's

1099
00:59:45,320 --> 00:59:49,760
Speaker 1: the basis of the film. So I saw this when

1100
00:59:49,760 --> 00:59:53,640
Speaker 1: it came out. I loved it. I think I liked

1101
00:59:53,640 --> 00:59:58,480
Speaker 1: it better than his previous films. I have to say, really, Yeah,

1102
00:59:58,560 --> 01:00:01,479
Speaker 1: I mean maybe I think I like get Out because

1103
01:00:01,480 --> 01:00:03,960
Speaker 1: I just recently saw get Out again. I think I

1104
01:00:04,080 --> 01:00:06,160
Speaker 1: like it as much as get Out, but I think

1105
01:00:06,200 --> 01:00:11,920
Speaker 1: I like it more than us. And here's why. I

1106
01:00:11,960 --> 01:00:13,520
Speaker 1: was like thinking about it, as like, why do I

1107
01:00:13,640 --> 01:00:15,680
Speaker 1: like this one more? And I think it's because I

1108
01:00:15,720 --> 01:00:18,000
Speaker 1: feel like this is a hybrid movie. I mean, this

1109
01:00:18,200 --> 01:00:23,880
Speaker 1: is a science fiction film. Obviously, that's why I picked

1110
01:00:23,880 --> 01:00:28,440
Speaker 1: it for the theme, but it's also a Western. Yeah,

1111
01:00:29,440 --> 01:00:33,120
Speaker 1: And like I said, I know, we're doing this movie

1112
01:00:33,280 --> 01:00:38,600
Speaker 1: for alfha futurism science fiction, but it's actually more of

1113
01:00:38,640 --> 01:00:42,080
Speaker 1: a Western than I ever thought after rewatching it. And

1114
01:00:43,600 --> 01:00:48,160
Speaker 1: I think that the juxtaposition of it being a Western

1115
01:00:48,400 --> 01:00:52,680
Speaker 1: and a science fiction film at the same time, especially

1116
01:00:53,800 --> 01:00:57,760
Speaker 1: as it pertains to blackness or race, is just really

1117
01:00:57,800 --> 01:00:58,440
Speaker 1: interesting to me.

1118
01:00:58,840 --> 01:01:02,040
Speaker 2: I have to agree. And I think that it's it

1119
01:01:02,080 --> 01:01:06,720
Speaker 2: doesn't do anything to give the impression that it's taking

1120
01:01:06,760 --> 01:01:09,120
Speaker 2: place in the future, like it's very much rooted in

1121
01:01:09,400 --> 01:01:13,560
Speaker 2: the now, but it feels futuristic because of what's happening. Yes,

1122
01:01:14,160 --> 01:01:15,840
Speaker 2: So I kind of love that they even though it's

1123
01:01:15,920 --> 01:01:19,280
Speaker 2: it's current science fiction movie, it still feels far reaching.

1124
01:01:19,320 --> 01:01:21,439
Speaker 2: I don't know, I just I really love that, yeah,

1125
01:01:21,560 --> 01:01:23,080
Speaker 2: feeling that I got from watching it.

1126
01:01:23,440 --> 01:01:25,560
Speaker 1: Well, yeah, and that's why I think the Western and

1127
01:01:25,760 --> 01:01:28,440
Speaker 1: the science fiction Western, which again there's been a tradition

1128
01:01:28,480 --> 01:01:30,360
Speaker 1: of this, I mean, West World being one of them,

1129
01:01:30,560 --> 01:01:34,640
Speaker 1: but it's that thing of like taking a genre that

1130
01:01:35,000 --> 01:01:40,600
Speaker 1: is primarily about the past and another genre which is

1131
01:01:40,880 --> 01:01:44,080
Speaker 1: primarily about the future, and kind of meshing them together.

1132
01:01:45,000 --> 01:01:47,480
Speaker 1: Is really cool to me. I think it's a really

1133
01:01:47,520 --> 01:01:50,880
Speaker 1: smart way to tell story. And like you said, yeah,

1134
01:01:50,920 --> 01:01:53,520
Speaker 1: it feels current in a lot of ways, but it

1135
01:01:53,560 --> 01:01:56,240
Speaker 1: also feels like it could be happening in the future

1136
01:01:56,320 --> 01:01:58,280
Speaker 1: for reasons we'll talk about in just a second. But

1137
01:01:58,360 --> 01:02:02,440
Speaker 1: there's also these stories about the past. There's history is involved,

1138
01:02:02,800 --> 01:02:05,040
Speaker 1: and I don't know, I just love that combo and

1139
01:02:05,080 --> 01:02:08,320
Speaker 1: I feel like that. I feel like that's probably why

1140
01:02:08,320 --> 01:02:11,400
Speaker 1: I like this one more than his previous two. But

1141
01:02:11,480 --> 01:02:13,040
Speaker 1: you know, I like them all, but you know what

1142
01:02:13,120 --> 01:02:15,680
Speaker 1: I mean, It's like this one kind of spoke to

1143
01:02:15,720 --> 01:02:18,680
Speaker 1: me a lot more, especially after the rewatch. So the

1144
01:02:18,760 --> 01:02:22,360
Speaker 1: basis of the story is this. So Keith David, whom

1145
01:02:22,400 --> 01:02:26,760
Speaker 1: you know, very famous actor Keith David, plays the patriarch

1146
01:02:26,920 --> 01:02:32,680
Speaker 1: of this Hollywood family that primarily deals with horses, and they,

1147
01:02:33,200 --> 01:02:36,480
Speaker 1: you know, train horses for the movies, and they're called

1148
01:02:36,480 --> 01:02:43,840
Speaker 1: the Heywoods. They were the descendants of the jockey that

1149
01:02:44,760 --> 01:02:48,000
Speaker 1: was in this very famous series of photos. This is

1150
01:02:48,040 --> 01:02:52,760
Speaker 1: real by the way that the motion picture pioneer Edward

1151
01:02:52,840 --> 01:02:57,240
Speaker 1: my Bridge used to create one of the very first

1152
01:02:57,640 --> 01:03:00,680
Speaker 1: movies in the eighteen eighties. Okay, And the reason why

1153
01:03:00,720 --> 01:03:02,760
Speaker 1: I'm saying it's very fresh in the brain because I

1154
01:03:02,880 --> 01:03:06,200
Speaker 1: just taught film one oh one recently, so I've I've

1155
01:03:06,240 --> 01:03:09,200
Speaker 1: had Edward meyer Bridge on the brain. But if you

1156
01:03:09,240 --> 01:03:13,560
Speaker 1: don't know who this person is, he was a movie pioneer.

1157
01:03:14,800 --> 01:03:18,920
Speaker 1: How this photo was involved in what he was doing

1158
01:03:19,120 --> 01:03:22,439
Speaker 1: back in the eighteen eighties was that he was doing

1159
01:03:22,480 --> 01:03:27,000
Speaker 1: a project to see the motion of a horse, right,

1160
01:03:27,640 --> 01:03:31,640
Speaker 1: and he basically set up a series of cameras and

1161
01:03:31,760 --> 01:03:35,600
Speaker 1: had this jockey ride a horse across him and then

1162
01:03:36,160 --> 01:03:39,440
Speaker 1: tripped the cameras as it was moving to take a

1163
01:03:39,440 --> 01:03:42,480
Speaker 1: series of photographs. And then he basically took his invention,

1164
01:03:42,560 --> 01:03:46,440
Speaker 1: which is called the zoopractice scope, and it's kind of

1165
01:03:46,480 --> 01:03:50,560
Speaker 1: like a carousel, you know, like early projection if you will,

1166
01:03:51,000 --> 01:03:54,400
Speaker 1: and it's it looks kind of like a Viewmaster slide

1167
01:03:54,440 --> 01:03:56,800
Speaker 1: like it's kind of goes around and around, and that's

1168
01:03:57,280 --> 01:04:00,640
Speaker 1: basically the carousel created the movement of the photographs and

1169
01:04:00,640 --> 01:04:03,880
Speaker 1: that's why it looks like the horse is galloping. And

1170
01:04:03,920 --> 01:04:08,520
Speaker 1: there was you know, early film technology. Yes, So in Nope,

1171
01:04:08,720 --> 01:04:13,920
Speaker 1: basically the Haywoodsard descendants of the Jockey and the jockeys

1172
01:04:14,000 --> 01:04:17,000
Speaker 1: kind of you know, represents kind of this film history

1173
01:04:17,040 --> 01:04:19,360
Speaker 1: that's been lost, like no one knows much about the jockey,

1174
01:04:19,720 --> 01:04:23,360
Speaker 1: and they are here to make people remember where they

1175
01:04:23,360 --> 01:04:23,760
Speaker 1: came from.

1176
01:04:23,800 --> 01:04:25,520
Speaker 2: The film is real, the film of the Black Man

1177
01:04:25,560 --> 01:04:27,640
Speaker 2: on the Horse is real, but the spinning it out

1178
01:04:27,680 --> 01:04:29,439
Speaker 2: as this is his family is the fictional part.

1179
01:04:29,840 --> 01:04:36,000
Speaker 1: Correct. Absolutely so. At the very beginning of this movie,

1180
01:04:36,120 --> 01:04:41,919
Speaker 1: Keith David basically dies mysteriously and it is following this

1181
01:04:42,480 --> 01:04:47,480
Speaker 1: very powerful surge of energy or electricity that's happening outside

1182
01:04:47,560 --> 01:04:51,440
Speaker 1: of their ranch, right, and you find out that basically

1183
01:04:51,480 --> 01:04:54,000
Speaker 1: he had like what a nickel that was lodged in

1184
01:04:54,000 --> 01:04:58,480
Speaker 1: his skull? Yeah, and you're like, holy fucking shit, how

1185
01:04:58,480 --> 01:05:01,960
Speaker 1: did that happen? He was just literally on his horse.

1186
01:05:02,680 --> 01:05:08,120
Speaker 1: The horse has a key like dropped into his freaking back.

1187
01:05:08,240 --> 01:05:10,880
Speaker 1: I mean it's saying, you're like, what could have done this? Right,

1188
01:05:11,120 --> 01:05:15,920
Speaker 1: freak accident. But after his death, his son Otis Junior

1189
01:05:16,120 --> 01:05:20,520
Speaker 1: otherwise own as OJ was played by Jordan peel Muse

1190
01:05:20,600 --> 01:05:22,400
Speaker 1: himself Daniel Kluia.

1191
01:05:23,240 --> 01:05:27,000
Speaker 2: Who we have accosted. Well, I have a costed in person.

1192
01:05:27,840 --> 01:05:30,200
Speaker 2: I was there, That's what I mean, Like I said,

1193
01:05:30,240 --> 01:05:32,400
Speaker 2: we but like it was really just like.

1194
01:05:35,640 --> 01:05:41,480
Speaker 1: And yeah, because I was like shaking was like at

1195
01:05:41,520 --> 01:05:45,400
Speaker 1: freaking Jones on third being like, uh, that's a famous

1196
01:05:45,400 --> 01:05:47,680
Speaker 1: guy sitting right next to us and he's so cute

1197
01:05:48,640 --> 01:05:50,120
Speaker 1: and you were like what Wow.

1198
01:05:50,680 --> 01:05:52,680
Speaker 2: Yeah, I was laid over and I was like yo,

1199
01:05:52,720 --> 01:05:56,080
Speaker 2: because he was sitting with another actress that I really liked,

1200
01:05:56,360 --> 01:06:00,480
Speaker 2: who I think I told this on them before. It's

1201
01:06:00,560 --> 01:06:02,520
Speaker 2: don't have to dig into it. But he was sitting

1202
01:06:02,560 --> 01:06:05,360
Speaker 2: with another actress that I really liked, a British black,

1203
01:06:05,400 --> 01:06:07,720
Speaker 2: British actress who is on broad Church and a bunch

1204
01:06:07,720 --> 01:06:10,400
Speaker 2: of other things. And I was like, hey, you guys

1205
01:06:10,440 --> 01:06:13,479
Speaker 2: are great, and they both looked at me like huh

1206
01:06:13,720 --> 01:06:15,680
Speaker 2: and I was like yeah bye, Like they were not

1207
01:06:16,200 --> 01:06:18,000
Speaker 2: down for the chat, but that's all right. I didn't

1208
01:06:18,000 --> 01:06:18,480
Speaker 2: need the chat.

1209
01:06:18,840 --> 01:06:21,160
Speaker 1: They were nice. They were definitely nice.

1210
01:06:21,600 --> 01:06:23,800
Speaker 2: I think they were surprised. I think they were surprised.

1211
01:06:24,680 --> 01:06:29,440
Speaker 1: I was like literally shoving like a croissant in my

1212
01:06:29,520 --> 01:06:33,240
Speaker 1: mouth because I was like, I'm listening to the accent

1213
01:06:33,920 --> 01:06:35,760
Speaker 1: hot guy with a British accent.

1214
01:06:37,320 --> 01:06:39,640
Speaker 2: I know, I know, And I think I think they

1215
01:06:39,640 --> 01:06:41,959
Speaker 2: were really surprised that I knew who she was as well.

1216
01:06:42,280 --> 01:06:45,040
Speaker 1: Oh yeah, that's you in a nutshell though? Is that

1217
01:06:45,080 --> 01:06:49,160
Speaker 1: you're just very friendly. I'm like a nervous wreck around

1218
01:06:49,400 --> 01:06:53,560
Speaker 1: famous people, but I'm glad to I'm glad to be

1219
01:06:53,600 --> 01:06:55,520
Speaker 1: your friend because you're the one that like, yeah, you're

1220
01:06:55,520 --> 01:06:58,640
Speaker 1: a legend, you get it done. And I'm just a nic.

1221
01:06:59,440 --> 01:07:02,080
Speaker 2: I just I just loved. I just he's he's in

1222
01:07:02,160 --> 01:07:04,160
Speaker 2: such a great little face. I love Daniel Khalua.

1223
01:07:04,200 --> 01:07:10,080
Speaker 1: He showed me too, and not for nothing, horny alert, sorry,

1224
01:07:11,720 --> 01:07:14,040
Speaker 1: but he is thick in this movie in a way

1225
01:07:14,080 --> 01:07:16,920
Speaker 1: that I love. He is like a country boy in

1226
01:07:16,920 --> 01:07:20,240
Speaker 1: this movie, and I cannot take it now.

1227
01:07:20,360 --> 01:07:23,640
Speaker 2: Listen. I've been a Daniel Khalujah fan for a long time,

1228
01:07:24,240 --> 01:07:27,080
Speaker 2: even before Get Out, because he was in an episode

1229
01:07:27,080 --> 01:07:29,880
Speaker 2: of Doctor a couple of episodes of Doctor Who, and

1230
01:07:29,920 --> 01:07:32,280
Speaker 2: he was thick back then. And I feel like he

1231
01:07:32,400 --> 01:07:35,040
Speaker 2: brought back some thickness and it looks good on him.

1232
01:07:35,120 --> 01:07:39,000
Speaker 1: Oh my god, love it. I mean, listen, I'm from Georgia, y'all.

1233
01:07:39,440 --> 01:07:40,960
Speaker 1: You know what I feel about a guy with like

1234
01:07:41,040 --> 01:07:43,440
Speaker 1: kind of baggy jeans and like work boots and like

1235
01:07:43,520 --> 01:07:47,840
Speaker 1: you know, like a car heart T shirt in a

1236
01:07:47,920 --> 01:07:52,360
Speaker 1: mesh hat, like a guy that like works on a ranch.

1237
01:07:53,520 --> 01:07:59,160
Speaker 1: Like those types. Ah, beefy country boys are my thing.

1238
01:07:59,560 --> 01:08:04,320
Speaker 1: And oh he's a baby little haughty in this movie.

1239
01:08:05,000 --> 01:08:08,120
Speaker 1: Daniel Coluia is a baby, little haughty. I love it

1240
01:08:12,560 --> 01:08:19,759
Speaker 1: all right. End of hardy Rant. So, Okay, Keith David

1241
01:08:20,360 --> 01:08:24,519
Speaker 1: has died, his son OJ Daniel Koluia is left to

1242
01:08:24,560 --> 01:08:29,160
Speaker 1: take care of this business. But here's the thing. Times

1243
01:08:29,160 --> 01:08:32,439
Speaker 1: are hard right now for them. The animals that they keep,

1244
01:08:32,479 --> 01:08:38,160
Speaker 1: the horses, are getting increasingly harder to manage on set. Okay,

1245
01:08:39,000 --> 01:08:42,559
Speaker 1: we don't particularly know why, but we sort of also

1246
01:08:42,880 --> 01:08:46,960
Speaker 1: know why generally, and that's because they're wild animals. Okay.

1247
01:08:47,200 --> 01:08:50,880
Speaker 1: But all this is to say that they're not bringing

1248
01:08:50,920 --> 01:08:53,760
Speaker 1: in enough money to support the family, and so they're

1249
01:08:53,800 --> 01:08:56,320
Speaker 1: forced to sell some of them to this wild West

1250
01:08:56,320 --> 01:09:01,639
Speaker 1: theme park operator name Jupe, and that stands for Jupiter's Claim,

1251
01:09:01,760 --> 01:09:04,599
Speaker 1: which is the name of this kind of like middle

1252
01:09:04,640 --> 01:09:07,080
Speaker 1: of the nowhere. It kind of reminded me of this

1253
01:09:07,240 --> 01:09:11,479
Speaker 1: place in Maggie Valley, North Carolina called ghost Town in

1254
01:09:11,560 --> 01:09:16,040
Speaker 1: the Sky. If you're a Southern kid, you may remember

1255
01:09:16,200 --> 01:09:21,920
Speaker 1: this Wild West theme park that had this roller coaster

1256
01:09:22,000 --> 01:09:23,880
Speaker 1: called the Red Devil and it went off the side

1257
01:09:23,920 --> 01:09:24,479
Speaker 1: of a mountain.

1258
01:09:25,040 --> 01:09:25,920
Speaker 2: Fuck off.

1259
01:09:26,760 --> 01:09:29,800
Speaker 1: Yes, And when I was growing up in the late

1260
01:09:29,800 --> 01:09:32,080
Speaker 1: eighties early nineties, they used to play this commercial for

1261
01:09:32,120 --> 01:09:35,000
Speaker 1: ghost Town the Sky in Maggie Valley, North Carolina, all

1262
01:09:35,040 --> 01:09:37,200
Speaker 1: the time, all the time on TV, and I was

1263
01:09:37,320 --> 01:09:39,680
Speaker 1: like begging my dad. I was like, take us to

1264
01:09:39,720 --> 01:09:41,679
Speaker 1: the Red Devil. I want to ride the Red Devil

1265
01:09:41,760 --> 01:09:44,320
Speaker 1: roller coaster. My Dad's like, there's no fucking way I'm

1266
01:09:44,360 --> 01:09:48,000
Speaker 1: taking you to like this crappy theme park that's in

1267
01:09:48,040 --> 01:09:50,520
Speaker 1: a mountain in rural North Carolina.

1268
01:09:52,439 --> 01:09:54,880
Speaker 2: I'm not signing your death warrant. While I watched my

1269
01:09:55,040 --> 01:09:56,600
Speaker 2: child Koreena off the side of a.

1270
01:09:56,600 --> 01:10:00,519
Speaker 1: C and let me tell you a story like a

1271
01:10:00,600 --> 01:10:03,400
Speaker 1: sidebar about ghost Town in the Sky. When I was

1272
01:10:03,439 --> 01:10:06,800
Speaker 1: a fully grown adult, meaning I was in college, me

1273
01:10:06,880 --> 01:10:08,639
Speaker 1: and a group of my friends were like, let's go

1274
01:10:08,800 --> 01:10:11,200
Speaker 1: to ghost Town. It's got to be open.

1275
01:10:12,320 --> 01:10:12,840
Speaker 2: It wasn't.

1276
01:10:13,160 --> 01:10:16,800
Speaker 1: It was closed. And I drove three and a half

1277
01:10:16,840 --> 01:10:19,280
Speaker 1: hours to find out that this place that I'd always

1278
01:10:19,280 --> 01:10:21,200
Speaker 1: wanted to go to as a kid was now fucking closed.

1279
01:10:21,200 --> 01:10:26,000
Speaker 1: Except there was like a guy there and a son

1280
01:10:26,439 --> 01:10:28,599
Speaker 1: who opened up the gift shop for us, and they

1281
01:10:28,760 --> 01:10:31,240
Speaker 1: so we got to buy all this old ghost town merch.

1282
01:10:31,600 --> 01:10:34,040
Speaker 1: We could not get up to the mountain. We could not.

1283
01:10:34,640 --> 01:10:36,400
Speaker 1: The whole park had been shut down, so it was

1284
01:10:36,439 --> 01:10:36,880
Speaker 1: a bummer.

1285
01:10:36,920 --> 01:10:38,840
Speaker 2: But oh, I wonder what it looks like now. I

1286
01:10:38,960 --> 01:10:44,640
Speaker 2: love love abandoned theme park photos. Yeah, I'm dying to

1287
01:10:44,720 --> 01:10:45,719
Speaker 2: know what it looks like now.

1288
01:10:45,960 --> 01:10:46,400
Speaker 1: Yeah.

1289
01:10:46,520 --> 01:10:47,120
Speaker 2: Oh I was.

1290
01:10:47,240 --> 01:10:50,320
Speaker 1: I was like, I was trying to haggle this guy

1291
01:10:50,360 --> 01:10:52,479
Speaker 1: in the parking lot. You know. He was also a

1292
01:10:52,479 --> 01:10:55,280
Speaker 1: thick country boy, I have to say. But I was like, sir,

1293
01:10:55,800 --> 01:10:57,519
Speaker 1: what would it take you to, like turn on that

1294
01:10:57,640 --> 01:11:00,200
Speaker 1: ski lift up there and just let us go up

1295
01:11:00,240 --> 01:11:02,160
Speaker 1: there and take a bunch of photos of an abandoned

1296
01:11:02,200 --> 01:11:03,719
Speaker 1: name park. And he's like, nope.

1297
01:11:06,320 --> 01:11:08,719
Speaker 2: So there's not an nda that exists in the world

1298
01:11:10,520 --> 01:11:12,760
Speaker 2: that will clear me of what will certainly be your

1299
01:11:12,800 --> 01:11:13,840
Speaker 2: death if I let you go.

1300
01:11:13,880 --> 01:11:19,559
Speaker 1: Up Yeah, but this Jupiter's Claim is ghost town to me.

1301
01:11:19,640 --> 01:11:22,720
Speaker 1: It's basically like Old West gun shows and a bunch

1302
01:11:22,760 --> 01:11:26,760
Speaker 1: of like hokey like cowboys stuff. And I would be

1303
01:11:26,840 --> 01:11:30,000
Speaker 1: obsessed with it if it was open. But it's run

1304
01:11:30,040 --> 01:11:33,000
Speaker 1: by this guy Jupe, who is, like I said, Steven Yong.

1305
01:11:33,439 --> 01:11:36,280
Speaker 1: So the story with Jupe is that he was a

1306
01:11:36,360 --> 01:11:40,599
Speaker 1: child actor and he appeared on this alf like TV

1307
01:11:40,720 --> 01:11:45,040
Speaker 1: show in the nineties, where a chimp that was the

1308
01:11:45,080 --> 01:11:48,240
Speaker 1: main character of the show went rogue on set and

1309
01:11:48,360 --> 01:11:52,760
Speaker 1: murdered a bunch of people while he watched trembling underneath.

1310
01:11:52,240 --> 01:11:55,679
Speaker 2: A table, just murdering and maymon, yes, you know how chimps?

1311
01:11:55,680 --> 01:11:59,840
Speaker 1: Do you know? And this is a runner throughout the film,

1312
01:12:00,120 --> 01:12:04,519
Speaker 1: by the way, this concept of this rogue chimp okay,

1313
01:12:05,240 --> 01:12:06,880
Speaker 1: And I think that there's a reason for that.

1314
01:12:06,960 --> 01:12:07,080
Speaker 2: Now.

1315
01:12:07,080 --> 01:12:10,280
Speaker 1: I've read a few reviews of this movie that thought

1316
01:12:10,320 --> 01:12:16,080
Speaker 1: that that storyline was kind of confusing or maybe wasn't

1317
01:12:16,120 --> 01:12:17,680
Speaker 1: needed in the story.

1318
01:12:17,880 --> 01:12:19,960
Speaker 2: It did seem unnecessary to me, I gotta.

1319
01:12:19,720 --> 01:12:24,559
Speaker 1: Say, but I'll posit this. I think it's actually related

1320
01:12:24,600 --> 01:12:27,760
Speaker 1: to a theme of the movie, which is that the

1321
01:12:27,880 --> 01:12:30,439
Speaker 1: Edibles are not going to behave in the way that

1322
01:12:30,479 --> 01:12:35,120
Speaker 1: you want them to hm. Okay, And I think it

1323
01:12:35,160 --> 01:12:38,639
Speaker 1: extends to a lot of things in this film, because

1324
01:12:39,200 --> 01:12:43,799
Speaker 1: we're seeing multiple instances of animals who cannot be controlled

1325
01:12:44,160 --> 01:12:49,040
Speaker 1: right in the scope of whatever is happening, like within

1326
01:12:49,120 --> 01:12:52,960
Speaker 1: this television show from the nineties, within this horse training

1327
01:12:53,000 --> 01:12:56,559
Speaker 1: scenario that OJ and his sister go to at the

1328
01:12:56,560 --> 01:12:59,479
Speaker 1: beginning of the film, and maybe even further on in

1329
01:12:59,520 --> 01:13:02,960
Speaker 1: the film. But there's many, many instances where people are

1330
01:13:03,000 --> 01:13:05,479
Speaker 1: talking about this concept. Like they're talking about some of

1331
01:13:05,520 --> 01:13:10,000
Speaker 1: the animals in the film. I think Oja talks about

1332
01:13:10,000 --> 01:13:12,640
Speaker 1: one of his horses and he says, the horse is

1333
01:13:12,680 --> 01:13:15,639
Speaker 1: not listening, he's not trained. He does whatever the fuck

1334
01:13:15,680 --> 01:13:19,559
Speaker 1: he wants, right, They keep talking about how some animals

1335
01:13:19,560 --> 01:13:21,439
Speaker 1: are not fit to be trained. So I feel like

1336
01:13:21,479 --> 01:13:23,559
Speaker 1: that's part of it. I feel like, you know, as

1337
01:13:23,640 --> 01:13:26,600
Speaker 1: much as yeah, maybe that is a side, you know,

1338
01:13:27,160 --> 01:13:30,200
Speaker 1: bit of information that doesn't really serve the whole story

1339
01:13:30,240 --> 01:13:32,680
Speaker 1: as much as maybe people wanted, I do feel like

1340
01:13:32,760 --> 01:13:36,000
Speaker 1: it adds to the overall theme of the film, or

1341
01:13:36,040 --> 01:13:37,320
Speaker 1: one of the overall themes in the film.

1342
01:13:37,400 --> 01:13:39,559
Speaker 2: In my mind, Yeah, I can see that. I can

1343
01:13:39,560 --> 01:13:39,880
Speaker 2: get there.

1344
01:13:40,280 --> 01:13:44,040
Speaker 1: Yeah. So OJ has this sister. The sister is name

1345
01:13:44,120 --> 01:13:50,880
Speaker 1: Emerald Heywood, and she's played by Kekey Palmer, the legendary actress, podcaster,

1346
01:13:51,920 --> 01:13:58,320
Speaker 1: et cetera. And Emerald's attitude towards this family business, towards

1347
01:13:58,360 --> 01:14:01,240
Speaker 1: like kind of the horse stuff is like she's just

1348
01:14:01,360 --> 01:14:03,800
Speaker 1: kind of like, eh, whatever. She doesn't have the same

1349
01:14:03,920 --> 01:14:07,479
Speaker 1: sense of responsibility to it that OJ does.

1350
01:14:07,880 --> 01:14:10,720
Speaker 2: Yeah, she's not as invested at all, at.

1351
01:14:10,720 --> 01:14:15,000
Speaker 1: Least at first, because now this is exactly why I

1352
01:14:15,040 --> 01:14:19,640
Speaker 1: think this film is very Western, because I feel like

1353
01:14:19,680 --> 01:14:23,519
Speaker 1: OJ to me is a very Western movie character. Right.

1354
01:14:24,160 --> 01:14:28,360
Speaker 1: He has respect for the land and the animals. He's

1355
01:14:28,479 --> 01:14:34,479
Speaker 1: got a gentleness and intuitiveness about animals, right, he knows

1356
01:14:34,640 --> 01:14:36,599
Speaker 1: how to take care of them. He wants to take

1357
01:14:36,600 --> 01:14:39,559
Speaker 1: care of him. He's not going to leave them, and

1358
01:14:39,800 --> 01:14:42,920
Speaker 1: he wants to keep the family business alive. He's got

1359
01:14:43,040 --> 01:14:45,559
Speaker 1: pride in his work. That to me is a very

1360
01:14:45,760 --> 01:14:48,360
Speaker 1: Western movie character. Do you know what I mean?

1361
01:14:48,439 --> 01:14:52,080
Speaker 2: Completely, completely, yeah, And it.

1362
01:14:52,080 --> 01:14:55,240
Speaker 1: Is underscored by the fact that his sister just like

1363
01:14:55,280 --> 01:14:58,599
Speaker 1: wants to smoke weed and like hang out with chicks

1364
01:14:58,640 --> 01:15:02,040
Speaker 1: and atwater stuff. Like she's just like whatever, dude.

1365
01:15:02,280 --> 01:15:05,080
Speaker 2: She's such an LA character to me because she's like, I, yeah,

1366
01:15:05,120 --> 01:15:06,760
Speaker 2: I have this horse stuff, but I'm really a writer

1367
01:15:06,880 --> 01:15:08,880
Speaker 2: and a producer and an actor and a DJ and

1368
01:15:08,920 --> 01:15:11,360
Speaker 2: a motorcycle rider, and like she's gonna just list like

1369
01:15:11,400 --> 01:15:13,800
Speaker 2: twenty different jobs. She's like, hit me up, I'll do anything.

1370
01:15:13,840 --> 01:15:16,000
Speaker 2: I'll even do catering. And You're like, oh my god.

1371
01:15:16,240 --> 01:15:19,800
Speaker 1: Yeah, she's kind of like an influencer meets like, you know,

1372
01:15:20,040 --> 01:15:24,080
Speaker 1: Jack Fall trades, right, So here's the thing. She's at home.

1373
01:15:24,200 --> 01:15:27,400
Speaker 1: They're on the ranch. The weird power searches keep happening.

1374
01:15:27,560 --> 01:15:30,280
Speaker 1: This the thing that killed their dad. And so one

1375
01:15:30,360 --> 01:15:33,439
Speaker 1: day they actually look up into the sky and they

1376
01:15:33,439 --> 01:15:36,840
Speaker 1: see something weird. At first, it's a cloud that hasn't

1377
01:15:36,880 --> 01:15:40,479
Speaker 1: moved at all, and everyone's like, huh, weird that cloud

1378
01:15:40,520 --> 01:15:44,040
Speaker 1: hasn't moved in like two weeks. So then they decide

1379
01:15:44,040 --> 01:15:46,439
Speaker 1: to outfit the ranch with some surveillance equipment. And then

1380
01:15:46,439 --> 01:15:52,960
Speaker 1: it in comes this very helpful Fries electronic employee who

1381
01:15:52,960 --> 01:15:54,920
Speaker 1: works apparently at the Fries in Burbank. I don't know

1382
01:15:54,920 --> 01:15:58,559
Speaker 1: if it's still around, but the you know fries the

1383
01:15:58,600 --> 01:16:03,280
Speaker 1: store an you got have fries where you live? There's

1384
01:16:03,360 --> 01:16:05,960
Speaker 1: one where I live. Do you have a fries?

1385
01:16:06,320 --> 01:16:08,000
Speaker 2: And no? But I know what they are because I

1386
01:16:08,040 --> 01:16:08,639
Speaker 2: lived in the West.

1387
01:16:08,880 --> 01:16:15,960
Speaker 1: Yeah yeah, yeah. But anyway, this employee is named Angel

1388
01:16:16,000 --> 01:16:19,360
Speaker 1: and he's played by Brandon Prea. So you've got like

1389
01:16:19,439 --> 01:16:22,760
Speaker 1: this trio now of people who are and let me

1390
01:16:22,800 --> 01:16:25,439
Speaker 1: tell you, Angel was obsessed with like ancient aliens on

1391
01:16:25,479 --> 01:16:29,720
Speaker 1: the History Channel. He is very keyed into the UFO phenomenon.

1392
01:16:30,240 --> 01:16:33,400
Speaker 1: He's kind of a UFO truther. So you've got this

1393
01:16:33,520 --> 01:16:36,120
Speaker 1: scenario where the three people are on the ranch, they

1394
01:16:36,120 --> 01:16:38,400
Speaker 1: look up in the sky, they see something is fucked up,

1395
01:16:38,439 --> 01:16:40,360
Speaker 1: and now they're like, uh, we're going to try to

1396
01:16:40,479 --> 01:16:44,320
Speaker 1: figure out what this is, okay, And because the family

1397
01:16:44,479 --> 01:16:47,800
Speaker 1: the Haywoods, need money, they're like, we're going to try

1398
01:16:47,840 --> 01:16:53,960
Speaker 1: to capture video or photography of this thing that we

1399
01:16:54,080 --> 01:16:57,240
Speaker 1: keep seeing, which is now kind of revealing itself to

1400
01:16:57,320 --> 01:17:01,200
Speaker 1: be like maybe a spacecraft. Right. At the same time,

1401
01:17:01,920 --> 01:17:06,080
Speaker 1: Joop from Jupiter's Claim is also noticing it, and he's like,

1402
01:17:06,120 --> 01:17:08,760
Speaker 1: guess what, I've got a side show. We can make

1403
01:17:08,800 --> 01:17:11,400
Speaker 1: it into a side show thing, right, Let's try to

1404
01:17:11,439 --> 01:17:15,639
Speaker 1: take the thing in the sky and try to make

1405
01:17:15,800 --> 01:17:21,320
Speaker 1: money off of it too, right, And it has disastrous results,

1406
01:17:21,720 --> 01:17:25,120
Speaker 1: as you may know if you've seen this film. Eventually,

1407
01:17:25,120 --> 01:17:27,760
Speaker 1: oj and this might be a spoiler alert if you

1408
01:17:27,760 --> 01:17:29,840
Speaker 1: haven't seen this movie, I'm just got to say it now,

1409
01:17:29,920 --> 01:17:32,280
Speaker 1: I'm gonna maybe spoil this movie a little bit for you.

1410
01:17:32,720 --> 01:17:39,720
Speaker 1: But Ojay eventually astutely realizes that it's actually not a

1411
01:17:39,720 --> 01:17:43,439
Speaker 1: spaceship that's up in the sky. It's actually an animal.

1412
01:17:44,479 --> 01:17:50,400
Speaker 1: It's a creature. And remember that intuition and that gentleness

1413
01:17:50,439 --> 01:17:53,760
Speaker 1: with taming and understanding animals. It ends up being the

1414
01:17:53,880 --> 01:17:59,760
Speaker 1: key to their survival. So think about that.

1415
01:18:02,000 --> 01:18:03,479
Speaker 2: But that in your pipe and smoke it.

1416
01:18:03,680 --> 01:18:09,080
Speaker 1: Take it. So that's the movie is that basically you've

1417
01:18:09,120 --> 01:18:12,400
Speaker 1: got these people of color, by the way, it has

1418
01:18:12,439 --> 01:18:16,639
Speaker 1: to be said, who are landowners, ranch owners, and they're

1419
01:18:16,680 --> 01:18:22,760
Speaker 1: protecting their property and their livelihood from this animal that's

1420
01:18:23,560 --> 01:18:28,800
Speaker 1: essentially sucking up everything it sees through its weird butthole

1421
01:18:29,200 --> 01:18:35,320
Speaker 1: or whatever that is, whatever the creature is. Ah, it

1422
01:18:35,479 --> 01:18:37,680
Speaker 1: seems like a butthole, but we don't know.

1423
01:18:39,200 --> 01:18:45,320
Speaker 2: Love how you went to butthole and not mouth immediately

1424
01:18:45,320 --> 01:18:48,120
Speaker 2: butthole didn't even consider it could be a mouth.

1425
01:18:48,200 --> 01:18:53,200
Speaker 1: Nope, Hey, but I think butthole is definitely a word

1426
01:18:53,280 --> 01:18:56,920
Speaker 1: that is understood very clearly on this podcast. You've said

1427
01:18:56,920 --> 01:19:01,000
Speaker 1: it many times. I mean, this is so this is

1428
01:19:01,040 --> 01:19:04,200
Speaker 1: the sci fi component, right, This is the science fiction

1429
01:19:04,560 --> 01:19:07,320
Speaker 1: out for futuristic element of the film is that it is,

1430
01:19:07,880 --> 01:19:11,479
Speaker 1: you know, a creature, a creature that maybe coming from

1431
01:19:11,520 --> 01:19:12,200
Speaker 1: another planet.

1432
01:19:12,360 --> 01:19:12,960
Speaker 2: We don't know.

1433
01:19:13,320 --> 01:19:18,519
Speaker 1: It's kind of TVD, but you know, it's it's basically here.

1434
01:19:20,160 --> 01:19:25,519
Speaker 1: So they need to understand how it works, what to

1435
01:19:25,560 --> 01:19:31,120
Speaker 1: do with it, and it takes basically the empathy of

1436
01:19:31,439 --> 01:19:34,160
Speaker 1: OJ to figure it out, which I think is again

1437
01:19:34,200 --> 01:19:37,760
Speaker 1: a very kind of Western concept completely. But you know,

1438
01:19:38,080 --> 01:19:40,680
Speaker 1: I think obviously when you watch this movie, I mean,

1439
01:19:40,680 --> 01:19:43,599
Speaker 1: this was like I think that Nope was seen as

1440
01:19:43,640 --> 01:19:46,240
Speaker 1: kind of Jordan Peele's kind of like big budget blockbuster

1441
01:19:46,400 --> 01:19:49,160
Speaker 1: type of movie, because you know, he's gone on a

1442
01:19:49,160 --> 01:19:51,599
Speaker 1: record to talk about how Steven Spielberg was an influence.

1443
01:19:51,680 --> 01:19:54,040
Speaker 1: But obviously you think of stuff like Close Encounters and

1444
01:19:54,520 --> 01:19:57,080
Speaker 1: but also you know you think of the kind of

1445
01:19:57,080 --> 01:20:00,320
Speaker 1: big monster movies too, like King Kong or Dress Park

1446
01:20:00,400 --> 01:20:03,000
Speaker 1: or like Godzilla and stuff like that. So it's kind

1447
01:20:03,040 --> 01:20:07,840
Speaker 1: of like when Jordan Peele you know, made his kind

1448
01:20:07,840 --> 01:20:10,360
Speaker 1: of Steven Spielberg movie, I think to a lot of people,

1449
01:20:11,080 --> 01:20:13,360
Speaker 1: like I mentioned, it was a pandemic film for him

1450
01:20:13,400 --> 01:20:17,080
Speaker 1: because he was taught. He has talked about how the

1451
01:20:17,120 --> 01:20:20,200
Speaker 1: Pandemic was a huge influence when he was writing it.

1452
01:20:20,400 --> 01:20:23,840
Speaker 1: You know, he talks a lot about how this movie

1453
01:20:24,120 --> 01:20:29,639
Speaker 1: is essentially about like big events, like unprecedented situations, right,

1454
01:20:30,520 --> 01:20:34,679
Speaker 1: you know, maybe the pandemic also being like a bad miracle.

1455
01:20:34,760 --> 01:20:38,639
Speaker 1: They use this term bad miracle in the film, right, right,

1456
01:20:39,200 --> 01:20:41,720
Speaker 1: And so yeah, I mean, it doesn't surprise me that

1457
01:20:41,880 --> 01:20:46,200
Speaker 1: somebody would write a science fiction film about this being

1458
01:20:46,200 --> 01:20:47,719
Speaker 1: in a lockdown, right.

1459
01:20:48,240 --> 01:20:52,599
Speaker 2: Absolutely, And there's there's also there's like a real something

1460
01:20:52,640 --> 01:20:54,559
Speaker 2: that I noticed, and I when I went and read

1461
01:20:54,600 --> 01:20:57,320
Speaker 2: about it, a lot of people noticed and commented on

1462
01:20:57,360 --> 01:21:01,480
Speaker 2: the fact that this film is about looking and spectacle

1463
01:21:01,680 --> 01:21:04,000
Speaker 2: and kind of seeing. Like there's a quote in the

1464
01:21:04,040 --> 01:21:06,880
Speaker 2: beginning from the Bible that I'd never heard. It's something about, like,

1465
01:21:06,920 --> 01:21:09,160
Speaker 2: you know what, we'll make you a spectacle, And this

1466
01:21:09,360 --> 01:21:11,600
Speaker 2: movie is so much about like even to me, the

1467
01:21:11,640 --> 01:21:13,920
Speaker 2: spaceship looks like an eyeball, or like that what you

1468
01:21:13,960 --> 01:21:18,320
Speaker 2: think is a spaceship looks like an eyeball. But everyone

1469
01:21:18,360 --> 01:21:20,640
Speaker 2: in the film is obsessed with capturing the image of

1470
01:21:20,680 --> 01:21:23,920
Speaker 2: it instead of actually experiencing it, like it is doing

1471
01:21:24,439 --> 01:21:28,400
Speaker 2: disastrous things to this land, this town, these people, and

1472
01:21:28,560 --> 01:21:30,439
Speaker 2: everyone is like, we got to get it on screen,

1473
01:21:31,080 --> 01:21:33,200
Speaker 2: And some people want to get it on film before

1474
01:21:33,960 --> 01:21:36,040
Speaker 2: financial gains. Some people want to get it on film

1475
01:21:36,080 --> 01:21:39,080
Speaker 2: for proof of, you know, the concept of life on

1476
01:21:39,120 --> 01:21:43,160
Speaker 2: other planets. There's that weird. The director of the commercial

1477
01:21:43,200 --> 01:21:45,120
Speaker 2: that they're working on the beginning of the film makes

1478
01:21:45,320 --> 01:21:49,800
Speaker 2: another appearance and I love that the character name is Antlers. Yeah,

1479
01:21:49,960 --> 01:21:53,400
Speaker 2: but he makes another appearance and he's obsessed with capturing

1480
01:21:53,479 --> 01:21:56,960
Speaker 2: the image of it to a disastrous result. But there's

1481
01:21:57,000 --> 01:21:59,599
Speaker 2: something about that, the modernity of that too, like where

1482
01:21:59,680 --> 01:22:02,479
Speaker 2: it's so much about like, yes, there is a fucking

1483
01:22:02,560 --> 01:22:05,080
Speaker 2: spaceship in the sky, and all you care about is

1484
01:22:05,120 --> 01:22:09,040
Speaker 2: getting a picture of it right and not the wonder

1485
01:22:09,080 --> 01:22:10,640
Speaker 2: and majesty and weirdness of it.

1486
01:22:12,000 --> 01:22:16,080
Speaker 1: Well and like and to that point, the antidote is

1487
01:22:16,120 --> 01:22:19,519
Speaker 1: not looking right exactly. The way to tame it is

1488
01:22:19,560 --> 01:22:20,040
Speaker 1: by not.

1489
01:22:20,000 --> 01:22:22,440
Speaker 2: Looking at it right exactly.

1490
01:22:23,120 --> 01:22:25,680
Speaker 1: I gotta say, there's a lot of interesting ideas in

1491
01:22:25,720 --> 01:22:30,240
Speaker 1: this film for me. I've read reviews of it from

1492
01:22:30,320 --> 01:22:33,439
Speaker 1: some people, some people that I know that think that

1493
01:22:33,479 --> 01:22:37,519
Speaker 1: there's too many ideas. I don't think that, actually, I

1494
01:22:37,600 --> 01:22:42,320
Speaker 1: really don't. I think the Jupe storyline works. I think

1495
01:22:42,520 --> 01:22:45,599
Speaker 1: a lot of what's going on works throughout the entire film,

1496
01:22:45,640 --> 01:22:47,599
Speaker 1: not just like the beginning of the end. I mean,

1497
01:22:47,680 --> 01:22:53,400
Speaker 1: it's super suspenseful, beautiful. It's a beautiful film because and

1498
01:22:53,400 --> 01:22:55,320
Speaker 1: that's just because I love the fucking desert and I

1499
01:22:55,360 --> 01:22:59,160
Speaker 1: love California. I'm just saying it's a beautifully shot film.

1500
01:22:59,439 --> 01:23:03,240
Speaker 1: It's shot like a Western. It looks incredible.

1501
01:23:03,800 --> 01:23:07,519
Speaker 2: It's like it's gorgeous oranges and just the colors and

1502
01:23:07,560 --> 01:23:09,599
Speaker 2: the Yeah, I love it.

1503
01:23:10,080 --> 01:23:12,880
Speaker 1: Yeah, And like I also think too, And now I

1504
01:23:12,920 --> 01:23:15,840
Speaker 1: think you can tie this to the pandemic as well.

1505
01:23:16,120 --> 01:23:18,960
Speaker 1: I will say, I think this film is about nature,

1506
01:23:19,040 --> 01:23:22,040
Speaker 1: and I also think again, when it comes to this

1507
01:23:22,120 --> 01:23:25,760
Speaker 1: theme of the animals, I think it means that we

1508
01:23:25,880 --> 01:23:31,400
Speaker 1: are powerless against nature. Okay, we cannot stop it. The

1509
01:23:31,439 --> 01:23:33,760
Speaker 1: only thing you can do is try to understand it, right,

1510
01:23:34,320 --> 01:23:39,280
Speaker 1: because all throughout this film there are animals or creatures

1511
01:23:40,280 --> 01:23:45,040
Speaker 1: who are reacting negatively because they're in the hands of

1512
01:23:45,200 --> 01:23:48,720
Speaker 1: people that don't care about them and don't take the

1513
01:23:48,840 --> 01:23:53,559
Speaker 1: time to figure them out right, right, absolutely, And when

1514
01:23:53,600 --> 01:23:56,800
Speaker 1: you think about this as a movie that is taking

1515
01:23:56,840 --> 01:24:00,560
Speaker 1: place very close to Hollywood, it's also a movie about Hollywood.

1516
01:24:00,640 --> 01:24:05,240
Speaker 1: By the way, in this movie, Hollywood is trying to

1517
01:24:05,320 --> 01:24:09,280
Speaker 1: take animals and tame them in order to make entertainment

1518
01:24:09,479 --> 01:24:11,840
Speaker 1: out of them. And that to me feels like a

1519
01:24:11,920 --> 01:24:16,799
Speaker 1: very political statement I have to say. And maybe something

1520
01:24:17,920 --> 01:24:21,760
Speaker 1: about Jordan Peele himself being a black talent in Hollywood, like,

1521
01:24:21,840 --> 01:24:25,480
Speaker 1: how are people of color treated in this business. Right.

1522
01:24:25,640 --> 01:24:27,920
Speaker 1: I don't know just themes that I think about when

1523
01:24:27,960 --> 01:24:30,840
Speaker 1: I watch this movie again, But yeah, I think the

1524
01:24:30,920 --> 01:24:35,160
Speaker 1: animals situation that is happening in the film, I think

1525
01:24:36,320 --> 01:24:39,840
Speaker 1: is representative of a lot of things, like a lot

1526
01:24:39,840 --> 01:24:44,880
Speaker 1: of the way we acted during COVID, you know, the

1527
01:24:44,880 --> 01:24:47,800
Speaker 1: way that things kind of pan out during COVID with

1528
01:24:48,840 --> 01:24:51,479
Speaker 1: the different you know, the George Floyd's and like the

1529
01:24:51,600 --> 01:24:54,479
Speaker 1: me Too movement and everything that happened, like all of

1530
01:24:54,520 --> 01:25:01,240
Speaker 1: these political events that were happening while this humongous, life

1531
01:25:01,280 --> 01:25:05,800
Speaker 1: altering you know, pandemic was happening. I don't know. This

1532
01:25:05,880 --> 01:25:09,759
Speaker 1: to me is like a movie that is absolutely rooted

1533
01:25:09,800 --> 01:25:14,680
Speaker 1: in this era. Yeah, right, But I also think it's

1534
01:25:14,720 --> 01:25:18,640
Speaker 1: a Western. I think it's there's even like a Western

1535
01:25:18,720 --> 01:25:22,519
Speaker 1: style standoff between oj and the creature. It's it's a

1536
01:25:22,560 --> 01:25:26,080
Speaker 1: fucking Western. It's a science fiction Western. And the thing

1537
01:25:26,120 --> 01:25:29,080
Speaker 1: that I love about it in reference of Jordan Peel

1538
01:25:29,120 --> 01:25:32,000
Speaker 1: making a Western, you know, is that the Western genre

1539
01:25:32,120 --> 01:25:35,720
Speaker 1: has traditionally been very white. Right. We've talked about this

1540
01:25:35,760 --> 01:25:38,360
Speaker 1: in previous episodes, like it's very American. It has a

1541
01:25:38,439 --> 01:25:43,680
Speaker 1: history of promoting a very you know, traditional straight white

1542
01:25:43,680 --> 01:25:47,320
Speaker 1: male ideology, right, but I think that the Western is

1543
01:25:47,320 --> 01:25:50,519
Speaker 1: actually really malleable, right, like we can fuck with it

1544
01:25:50,560 --> 01:25:53,920
Speaker 1: and it doesn't belong to anybody, you know, because we've

1545
01:25:53,960 --> 01:25:57,479
Speaker 1: seen all these revisionous westerns from the nineteen sixties and

1546
01:25:57,560 --> 01:26:01,160
Speaker 1: on where people are taking it and they're using the

1547
01:26:01,160 --> 01:26:04,479
Speaker 1: construct of the genre to make their own films.

1548
01:26:05,160 --> 01:26:07,160
Speaker 2: Even when we looked at we covered on the show

1549
01:26:07,200 --> 01:26:10,920
Speaker 2: Girl Walks Home Alone at Night exactly a Western, yep.

1550
01:26:11,960 --> 01:26:14,240
Speaker 1: And I actually think that in recent years, I mean,

1551
01:26:14,280 --> 01:26:17,280
Speaker 1: like I think about this too, about country music and

1552
01:26:17,320 --> 01:26:19,720
Speaker 1: the whole thing with like Little mas X and Orville Peck,

1553
01:26:19,840 --> 01:26:24,080
Speaker 1: And to me, it's it's these very kind of traditional

1554
01:26:24,120 --> 01:26:28,639
Speaker 1: American spaces like the Western, like country music, and other

1555
01:26:28,720 --> 01:26:33,280
Speaker 1: people are now using it right because it it's ours too,

1556
01:26:33,640 --> 01:26:34,320
Speaker 1: do you know what I mean?

1557
01:26:35,040 --> 01:26:37,880
Speaker 2: Completely, It's it's not even a reclamation, it's a it's

1558
01:26:37,920 --> 01:26:44,200
Speaker 2: an active claiming, constant claiming, which is the unknown sequel

1559
01:26:44,320 --> 01:26:53,160
Speaker 2: song to that kJ laying constant, constant claiming of a culture.

1560
01:26:53,640 --> 01:27:01,120
Speaker 1: Constant claiming has always been. But like, isn't it sort

1561
01:27:01,120 --> 01:27:05,519
Speaker 1: of an afrofuturistic concept where you have created a Western

1562
01:27:05,560 --> 01:27:08,559
Speaker 1: about a black family who owns land, who owns a ranch,

1563
01:27:08,880 --> 01:27:12,960
Speaker 1: has to defend themselves against an alien monster. Right, This

1564
01:27:13,080 --> 01:27:16,200
Speaker 1: to me is all tied together. And maybe I'm the

1565
01:27:16,320 --> 01:27:20,240
Speaker 1: UFO person. Maybe I'm like infusing this movie with all

1566
01:27:20,280 --> 01:27:26,080
Speaker 1: of my ideas and my theories like some maniac on

1567
01:27:26,120 --> 01:27:28,160
Speaker 1: the internet. But this is I mean, I think this

1568
01:27:28,200 --> 01:27:30,160
Speaker 1: movie is such a rich text because of it.

1569
01:27:30,400 --> 01:27:33,240
Speaker 2: You know, it is, it really is. And it's weird

1570
01:27:33,280 --> 01:27:36,280
Speaker 2: that it's part of afrofuturism because just simply because we

1571
01:27:36,320 --> 01:27:40,479
Speaker 2: don't see enough imagery of the reality, which is that

1572
01:27:40,560 --> 01:27:44,639
Speaker 2: a lot of black people own land and farm and racehorses, race,

1573
01:27:44,880 --> 01:27:50,000
Speaker 2: A lot of us do that, and and it's becomes

1574
01:27:50,000 --> 01:27:52,679
Speaker 2: this futuristic notion because we just don't see it represented

1575
01:27:52,680 --> 01:27:55,400
Speaker 2: in film, which is another commentary, a deeper commentary than

1576
01:27:55,439 --> 01:27:57,240
Speaker 2: I think Jordan Peele is trying to make, like it

1577
01:27:57,320 --> 01:27:59,439
Speaker 2: should not be abnormal to you to see this.

1578
01:28:01,160 --> 01:28:04,240
Speaker 1: It's like, you know again, I think that's why I

1579
01:28:04,280 --> 01:28:06,680
Speaker 1: like this movie so much, is because it's taking you know,

1580
01:28:06,720 --> 01:28:12,920
Speaker 1: these two seemingly disparate film genres or literary devices or

1581
01:28:12,960 --> 01:28:15,160
Speaker 1: whatever you want to call it, and like putting them

1582
01:28:15,160 --> 01:28:18,519
Speaker 1: in the same movie. Yeah, you know, the past is

1583
01:28:18,560 --> 01:28:19,560
Speaker 1: the future.

1584
01:28:19,640 --> 01:28:23,840
Speaker 2: So absolutely, I I fucking loved it. I fucking love

1585
01:28:24,040 --> 01:28:26,280
Speaker 2: I think Us is still my favorite Jordan Peel movie.

1586
01:28:26,280 --> 01:28:28,479
Speaker 2: But I absolutely love that. I'm glad I finally saw it.

1587
01:28:28,479 --> 01:28:30,880
Speaker 2: It's been on my list for a long time. Yeah,

1588
01:28:31,040 --> 01:28:35,040
Speaker 2: and this is perfect time to watch it. It was fantastic,

1589
01:28:35,840 --> 01:28:36,679
Speaker 2: perfect for the theme.

1590
01:28:36,760 --> 01:28:38,720
Speaker 1: Yeah, loved it more than I did when I saw

1591
01:28:38,720 --> 01:28:41,280
Speaker 1: it when it came out. And the acting is great,

1592
01:28:41,360 --> 01:28:47,920
Speaker 1: It looks great. I love a little beb hotty like.

1593
01:28:48,800 --> 01:28:52,479
Speaker 1: The music is fantastic, great soundtrack.

1594
01:28:53,320 --> 01:28:54,760
Speaker 2: Phenomenal soundtrack.

1595
01:28:55,040 --> 01:28:57,880
Speaker 1: Yeah, that's my That's that's it for this week. That's

1596
01:28:57,920 --> 01:29:00,880
Speaker 1: what I picked. And I'm glad you find like to

1597
01:29:00,880 --> 01:29:01,200
Speaker 1: see it.

1598
01:29:01,280 --> 01:29:03,479
Speaker 2: I love it. Oh, I'm so glad we got to

1599
01:29:03,520 --> 01:29:05,760
Speaker 2: do this for sure. This is going to be a

1600
01:29:05,800 --> 01:29:07,800
Speaker 2: good month. But I'm glad we started out with sci

1601
01:29:07,880 --> 01:29:11,880
Speaker 2: fi afrofuturism, something a little bit different, and there are

1602
01:29:11,880 --> 01:29:14,240
Speaker 2: so many films out there within that genre. If you'd

1603
01:29:14,280 --> 01:29:17,920
Speaker 2: like this kind of exploration, there's so many films, So

1604
01:29:18,080 --> 01:29:22,400
Speaker 2: hop on letterboxed or you know, just start digging in

1605
01:29:22,479 --> 01:29:24,800
Speaker 2: and looking in your search terms for movies like this

1606
01:29:24,840 --> 01:29:25,599
Speaker 2: because there are a lot.

1607
01:29:26,560 --> 01:29:30,320
Speaker 1: Absolutely well, if we would like to email us, we

1608
01:29:30,360 --> 01:29:32,400
Speaker 1: are at a sawage did pod at gmail dot com

1609
01:29:32,880 --> 01:29:35,559
Speaker 1: send us short questions for the bonus episodes, we'd really

1610
01:29:35,600 --> 01:29:37,519
Speaker 1: appreciate it. We also have a PO box if you

1611
01:29:37,520 --> 01:29:40,439
Speaker 1: want to send us handwritten letters.

1612
01:29:40,400 --> 01:29:42,400
Speaker 2: And you can find the address for our PO box

1613
01:29:42,439 --> 01:29:44,959
Speaker 2: on our link tree, which is on our Instagram account,

1614
01:29:45,439 --> 01:29:47,519
Speaker 2: and you can find us on all our social media

1615
01:29:47,640 --> 01:29:50,320
Speaker 2: at I saw Pod on Instagram, Blue Sky, and Twitter,

1616
01:29:50,640 --> 01:29:52,639
Speaker 2: and you can also leave us a voicemail for the show. Now,

1617
01:29:52,960 --> 01:29:54,599
Speaker 2: all you have to do is record a sixty second

1618
01:29:54,640 --> 01:29:57,439
Speaker 2: voice memo and record it on your phone and email

1619
01:29:57,479 --> 01:29:59,519
Speaker 2: it to I Saw What you Did Pod at gmail

1620
01:29:59,560 --> 01:30:03,400
Speaker 2: dot com. We're serious about sixty seconds, and please record

1621
01:30:03,439 --> 01:30:04,360
Speaker 2: it in a quiet space.

1622
01:30:04,800 --> 01:30:07,479
Speaker 1: That's right. Also, if you would like merch, go to

1623
01:30:07,520 --> 01:30:11,120
Speaker 1: the Exactly Right Store dot com to find or give

1624
01:30:11,360 --> 01:30:14,080
Speaker 1: me the b of the Ded T shirt and crewd

1625
01:30:14,120 --> 01:30:16,800
Speaker 1: Nex sweatshirt. I feel like there's a few left, just

1626
01:30:16,920 --> 01:30:19,280
Speaker 1: grab them if you can. And we've got some other

1627
01:30:19,320 --> 01:30:20,639
Speaker 1: stuff on there too, so check it out.

1628
01:30:20,800 --> 01:30:23,280
Speaker 2: And our bonus episodes are coming at you on the

1629
01:30:23,280 --> 01:30:26,080
Speaker 2: main feed every third Thursday of the month, so there'll

1630
01:30:26,080 --> 01:30:28,120
Speaker 2: be at least one point during the month where you

1631
01:30:28,120 --> 01:30:29,000
Speaker 2: get to hear us twice.

1632
01:30:29,320 --> 01:30:33,920
Speaker 1: Absolutely, Danielle, would you like to tease the folks with

1633
01:30:34,040 --> 01:30:35,759
Speaker 1: the movies for next week?

1634
01:30:36,200 --> 01:30:40,559
Speaker 2: Ah? Cannot wait for next week. Our movies next week

1635
01:30:40,600 --> 01:30:43,720
Speaker 2: are Daughters of the Dust from nineteen ninety one and

1636
01:30:43,840 --> 01:30:46,320
Speaker 2: East Bayou from nineteen ninety seven.

1637
01:30:47,080 --> 01:30:51,960
Speaker 1: Dudes, I am so excited about this. Oh my gosh,

1638
01:30:52,080 --> 01:30:52,680
Speaker 1: contain it.

1639
01:30:52,720 --> 01:30:54,439
Speaker 2: Try to contain it to next week.

1640
01:30:55,160 --> 01:30:59,000
Speaker 1: I will try. Danielle as always a fucking pleasure doing

1641
01:30:59,080 --> 01:30:59,679
Speaker 1: this podcast.

1642
01:31:00,600 --> 01:31:10,599
Speaker 2: I got sam love it. I'm this has been an

1643
01:31:10,640 --> 01:31:14,479
Speaker 2: exactly right production. Produced by Casey O'Brien, episode mixing and

1644
01:31:14,520 --> 01:31:18,200
Speaker 2: theme music by Tom Bryfogel, artwork by Garrett Ross. Our

1645
01:31:18,240 --> 01:31:21,799
Speaker 2: executive producers are Georgia Hartstart caringkle Gareff, and Daniel Kramer.

1646
01:31:22,160 --> 01:31:24,519
Speaker 2: You can follow us on Instagram and Twitter at I

1647
01:31:24,600 --> 01:31:27,320
Speaker 2: Saw Pod, and you can email us at I Saw

1648
01:31:27,360 --> 01:31:28,799
Speaker 2: What You Did Pod at Gmail