WEBVTT - Knives Out Review (Archive)

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<v Speaker 1>This episode is brought to you by Peloton break through

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<v Speaker 2>Hey, film spotters, Josh and Adam. Here, Wednesdays are when

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<v Speaker 2>we drop something in the feed from the Film Spotting Archive,

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<v Speaker 2>and so here we go this week our twenty nineteen

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<v Speaker 2>review of Knives Out twenty nineteen. Adam, I feel like

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<v Speaker 2>there was a window when we were playfully recalling that,

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<v Speaker 2>you know, the before times. I think now we're in

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<v Speaker 2>a different period where we just pretend like twenty twenty two.

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<v Speaker 2>I don't know, twenty twenty three four didn't exist, right,

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<v Speaker 2>just don't refer to them at all. But twenty nineteen

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<v Speaker 2>sounds like a long time ago.

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<v Speaker 3>Spotting Archive goes all the way back to two thousand

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<v Speaker 3>and five. We're just going back about six years. But

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<v Speaker 3>you're right when you think about the before times, it

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<v Speaker 3>might as well be sixty years Knives Out. Ryan Johnson

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<v Speaker 3>now has the third Knives Out mystery coming out, and

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<v Speaker 3>we're highly anticipating it. We thought to get ourselves ready,

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<v Speaker 3>to get you ready for that film. Let's go back

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<v Speaker 3>and hear our discussion of that very first movie, that

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<v Speaker 3>very first, highly successful movie that launched this franchise. So

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<v Speaker 3>here is our review of Knives Out.

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<v Speaker 4>I'm Detective Attendant Elliott, and this is true for Wagner.

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<v Speaker 4>We just want to ask a few questions. We understand

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<v Speaker 4>nine of his demise. The family have gathered to celebrate

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<v Speaker 4>your father's eighty fifth birthday.

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<v Speaker 1>How was it the party.

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<v Speaker 3>Pri my dad's death?

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<v Speaker 4>That was great?

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<v Speaker 2>Jamie Lee Curtis and Leakeith Stanfield and the trailer for

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<v Speaker 2>Ryan Johnson's Knives Out, which opened Thanksgiving weekend. A lot

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<v Speaker 2>of people went to see it, judging by the box office.

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<v Speaker 2>I know I was there in the theater with Debbie

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<v Speaker 2>and we took my daughter b two. We all had

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<v Speaker 2>a great time with it. It's an Agatha Christie style

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<v Speaker 2>Who Done It? Which also stars Tony Kollette, Daniel Craig,

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<v Speaker 2>Chris Evans, Michael Shannon. I'm not done yet. Don Johnson

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<v Speaker 2>and Christopher Plumber. Ryan Johnson well known to us as

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<v Speaker 2>the namesake for our Golden Brick Award for his great

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<v Speaker 2>debut film Brick. He's also, of course, some people know

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<v Speaker 2>him as the writer director of The Last Jedi Adam.

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<v Speaker 2>I would say that though this is a fun who

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<v Speaker 2>done it? The moral burden of wealth really weighs heavily

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<v Speaker 2>on this film. According to the movie's understanding of twenty

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<v Speaker 2>nineteen America, there is a larger culprit on the loose

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<v Speaker 2>than the specific killer here, and that culprit is privilege

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<v Speaker 2>and greed. So what I'd like to know. I've heard

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<v Speaker 2>a lot of people talking about how much fun they

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<v Speaker 2>had with this movie, and it's incredibly fun. It's dexterously cunning,

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<v Speaker 2>immensely entertaining. Did you have more fun with the plot

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<v Speaker 2>or the politics, because the latter is sort of what

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<v Speaker 2>surprised me more, even though I had no idea where

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<v Speaker 2>this movie was going plot wise.

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<v Speaker 3>Yeah, I'm with you. It definitely was a big surprise

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<v Speaker 3>to me. I think there is a balance of it,

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<v Speaker 3>but I think maybe I did, in the end have

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<v Speaker 3>the most fun with the political commentary that we get

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<v Speaker 3>in this film. And maybe if at some point, either

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<v Speaker 3>this week or next, we get into a little bit

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<v Speaker 3>of spoiler talk, I would love to talk about the

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<v Speaker 3>final shot of this film, which is among the best

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<v Speaker 3>shots of the year. It's a shot that's set it

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<v Speaker 3>perfectly by the script and it expresses visually a titanic

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<v Speaker 3>shift that has taken place, and honestly, it's just as

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<v Speaker 3>thrilling a moment as I had in the theater all year.

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<v Speaker 3>But it gets to the heart of what we're discussing.

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<v Speaker 3>And you may recall this is a month or two

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<v Speaker 3>ago I posted in our film spotting Slack for You

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<v Speaker 3>and Sam a comment that I heard from Ryan Johnson

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<v Speaker 3>on another podcast that really surprised me. And it was

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<v Speaker 3>an interview with Joseph Gordon Levitt, the star of Ryan's

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<v Speaker 3>film Brick and of course also Looper. He's got a

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<v Speaker 3>new podcast called Creative Processing with Joseph Gordon Levitt, and

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<v Speaker 3>Ryan was on the first episode. The first episode, appropriately

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<v Speaker 3>was all about originality and imitation because Ryan has always

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<v Speaker 3>worked within genres. And at one point the interview and

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<v Speaker 3>actually in this moment, they're talking about Looper and Ryan says,

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<v Speaker 3>you have to be kind of angry about something to

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<v Speaker 3>write a script. I think if the thing you're angry

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<v Speaker 3>about is not something you identify in yourself, I'm always

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<v Speaker 3>wary of that. So he kind of goes on to

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<v Speaker 3>say that when he's writing a film and if it

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<v Speaker 3>has villains in it, he's thinking that it's good to

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<v Speaker 3>always start from a place where you're not identifying with

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<v Speaker 3>the good guy, but you're actually identifying with the bad guy.

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<v Speaker 3>Which doesn't mean obviously that you're supporting the bad guy,

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<v Speaker 3>that you agree with the bad guy, that you want

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<v Speaker 3>others to agree with the bad guy. But I think

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<v Speaker 3>Ryan's saying there that you're not really doing the work

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<v Speaker 3>of an artist if you're not self aware and if

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<v Speaker 3>you aren't willing to be harshly introspective and consider all

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<v Speaker 3>your faults and perhaps reckon with him in a film.

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<v Speaker 3>And it was just such a striking answer for a

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<v Speaker 3>lot of reasons, one of them being too that if

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<v Speaker 3>you have ever met Ryan Johnson, or even if you haven't,

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<v Speaker 3>if you just know his kind of persona publicly and

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<v Speaker 3>you've heard him on shows like this or others, you

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<v Speaker 3>know that he seems utterly incapable of anger, even an

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<v Speaker 3>ounce of anger. So it really was kind of a

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<v Speaker 3>profound statement coming from him. And again he wasn't talking

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<v Speaker 3>about Knives Out, but now having seen Knives Out, I

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<v Speaker 3>realized he absolutely could have been. Because there are two

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<v Speaker 3>feelings that my sense is clearly coalesced together for this film.

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<v Speaker 3>One is Ryan's appreciation of genre, especially the who done it,

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<v Speaker 3>and the need to express his frustration with the state

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<v Speaker 3>of things in America. There is political context that the

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<v Speaker 3>movie directly draws on. There is a mention of our president,

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<v Speaker 3>although not by name. There's a mention of kids being

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<v Speaker 3>kept in cages. There's talk of keeping immigrants like the

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<v Speaker 3>main character in the film, Marda, who is played by

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<v Speaker 3>Anna day Armis, and she's the caretaker, the nurse for

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<v Speaker 3>the patriarch who is killed. There's a sense that she

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<v Speaker 3>should at least stay in her place. And yet, saying

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<v Speaker 3>all of that, I feel like what he's really critiquing

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<v Speaker 3>is a general lack of compassion, a lack of humanity

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<v Speaker 3>that shouldn't be political at all, but sadly really is.

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<v Speaker 3>And so I'm saying all this because I think what

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<v Speaker 3>really did strike me about Knives Out is it's the

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<v Speaker 3>first time, maybe we've seen Ryan take external anger and

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<v Speaker 3>process it on screen via just internal anger, which I

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<v Speaker 3>think is interesting. But I also don't think we can

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<v Speaker 3>discount the internal anger part completely. And maybe at some

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<v Speaker 3>point if we talked to Ryan, we can get into

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<v Speaker 3>this a little bit. But I feel like maybe he's

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<v Speaker 3>acknowledging some very small part of himself, of ourselves that

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<v Speaker 3>understands the Thrombief family and their sense of entitlement and

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<v Speaker 3>their sense of privilege and how nice it is to

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<v Speaker 3>have nice things and not have to want for anything.

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<v Speaker 3>But also maybe it comes from Ryan, again purely speculating here,

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<v Speaker 3>but maybe it's a sense of someone feeling like they're

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<v Speaker 3>not doing enough. As we all bemoan these things we

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<v Speaker 3>see occurring around us, I think we all feel a

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<v Speaker 3>little bit paralyzed and wonder should I be doing more

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<v Speaker 3>instead of sitting here on a podcast right now talking

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<v Speaker 3>about movies or radio show. Should I be out there

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<v Speaker 3>trying to make some kind of change. And he's making movies,

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<v Speaker 3>maybe he feels like he's not doing enough either, And

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<v Speaker 3>I think the brilliance of Knives Out is that balance

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<v Speaker 3>of pure entertainment that delivers completely on its mystery premise,

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<v Speaker 3>with that element of critique. It's a fun puzzle, as

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<v Speaker 3>you said, with humor and twists and turns, but it

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<v Speaker 3>also sneakily puts every single viewer in MARTA's shoes, and

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<v Speaker 3>I can't think of anything more subversive than that.

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<v Speaker 2>Yeah, you're describing me as a challenge for the audience,

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<v Speaker 2>and that's why it's doubly encouraging for me that it

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<v Speaker 2>did so well over the Thanksgiving holiday weekend, that audiences

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<v Speaker 2>are receiving it both as an entertainment and at this

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<v Speaker 2>other level that you're describing, and hopefully it'll continue to

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<v Speaker 2>reach more audiences that way. You're so right about this

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<v Speaker 2>thing being, you know, just Crackerjack put together, and half

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<v Speaker 2>of the fun is to realize how in control Ryan

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<v Speaker 2>Johnson is of this story the only way and I

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<v Speaker 2>that's how I describe my review, and I have to

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<v Speaker 2>read it because I can't get this right. But this

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<v Speaker 2>plays like an unreliable narrator's recollection of a drunken friends

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<v Speaker 2>story that they heard secondhand. But the trick is that's

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<v Speaker 2>a compliment because all of those levels are purposeful, and

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<v Speaker 2>we're getting each variation of that person's story exactly as

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<v Speaker 2>we need to to be mystified and yet still entertained.

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<v Speaker 2>So the amount of control going on in this film.

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<v Speaker 2>Here's an example. As the suspects start recoming the party

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<v Speaker 2>they've all gathered for this patriarch's eighty fifth birthday party,

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<v Speaker 2>we get a shot of a cake being put down

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<v Speaker 2>before him with lit candles. Yeah, and depending on who

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<v Speaker 2>is telling the story, the shot has them in yes focus.

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<v Speaker 3>They're telling the story of the night from them.

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<v Speaker 2>Their point of view, so their prey, So just a little,

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<v Speaker 2>you know, a little way of putting us in their heads.

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<v Speaker 2>And another example is that we get a flashback in

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<v Speaker 2>this movie, an extended flashback, in the midst of a

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<v Speaker 2>coin toss, so it's up in the air and we

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<v Speaker 2>go off in a totally different direction exactly when we

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<v Speaker 2>need to. So so there's deception and there's misperception that's

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<v Speaker 2>built into into the movies very form. That's just a

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<v Speaker 2>thrill to watch click into place.

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<v Speaker 3>Yeah, you're absolutely right. I noted that scene as well,

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<v Speaker 3>because they're all talking to the detective and it makes

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<v Speaker 3>sense that at that point they may know that they

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<v Speaker 3>are potential suspects, they certainly want to paint themselves in

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<v Speaker 3>a positive light. So when they're telling the story of

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<v Speaker 3>the night. Of course they're going to put themselves in

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<v Speaker 3>the position where they're being adoring with their father, and

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<v Speaker 3>it's not at all what really happened. But I also

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<v Speaker 3>think it makes sense because it's not just that they're lying,

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<v Speaker 3>and Ryan is kind of showing us that they're lying

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<v Speaker 3>by cutting to those scenes. We know that they've all

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<v Speaker 3>said that same thing, so it can't be real. I

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<v Speaker 3>think it speaks overall to a sense of probably denial

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<v Speaker 3>on their part in their recollection of the night. That's

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<v Speaker 3>how they behaved. They've always been that adoring of their father.

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<v Speaker 3>That's who they think they are. And I think that

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<v Speaker 3>the film, You're right, how much is about misperception They

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<v Speaker 3>think they're good people or in the movie shows what

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<v Speaker 3>they really are.

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<v Speaker 2>I think it's another level. They think that's how they

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<v Speaker 2>deserve to be thought of as.

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<v Speaker 3>Okay, now my mind's blown. Well, yes, I know what

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<v Speaker 3>you're getting at, and I think it's true. I also

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<v Speaker 3>would even go back to the opening shot of the film.

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<v Speaker 3>Do you remember the very opening this film, isn't it

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<v Speaker 3>sort of in slow motion dogs and the dogs running.

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<v Speaker 3>When you see these dogs running across the lawn, of

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<v Speaker 3>the estate in slow motion, and that's the credit sequence,

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<v Speaker 3>I think essentially, or the first thing right after you're

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<v Speaker 3>watching it, going okay, that's a choice. What is the

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<v Speaker 3>point of that? But I do think maybe it gets

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<v Speaker 3>to this idea of what you see isn't always what

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<v Speaker 3>you think it is, because we see throughout the film

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<v Speaker 3>that depending on who the dogs are encountering, they are

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<v Speaker 3>either hostile and mean or they're incredibly loving. And when

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<v Speaker 3>they're running in slow motion with no sound like that,

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<v Speaker 3>we as viewers are going, okay, are these dogs attacking someone?

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<v Speaker 3>What are these dogs?

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<v Speaker 2>And what direction are they coming? Coming towards the camera exactly,

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<v Speaker 2>So that feeds back to your idea of this movie

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<v Speaker 2>being a challenge. They're coming for us.

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<v Speaker 3>They are, And there are some great performances in this film. Obviously,

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<v Speaker 3>the whole cast is really strong, but I do think

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<v Speaker 3>Dearmis in particular stands out because she's playing someone in

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<v Speaker 3>Marda who does have to have an abiding sense of

0:11:48.040 --> 0:11:51.920
<v Speaker 3>goodness and innocence, but that could also be played as

0:11:52.000 --> 0:11:55.360
<v Speaker 3>naivete and I don't think she plays that at all,

0:11:55.440 --> 0:11:57.040
<v Speaker 3>And I do think we have to see her then

0:11:57.280 --> 0:11:59.360
<v Speaker 3>as not just this kind of saintly figure. We have

0:11:59.400 --> 0:12:01.240
<v Speaker 3>to see her as a flesh and blood person, not

0:12:01.400 --> 0:12:03.920
<v Speaker 3>just some angel, and I do think there has to

0:12:03.960 --> 0:12:06.520
<v Speaker 3>be just a little bit of a shred of doubt

0:12:06.600 --> 0:12:08.760
<v Speaker 3>about her. We think we know exactly who she is,

0:12:08.920 --> 0:12:11.360
<v Speaker 3>and I don't think the movie really challenges that notion,

0:12:11.679 --> 0:12:14.439
<v Speaker 3>but it has to at least introduce the idea that

0:12:14.600 --> 0:12:17.920
<v Speaker 3>maybe she's not as pure and innocent as she purports

0:12:17.960 --> 0:12:19.640
<v Speaker 3>to be. And the fact that there's just even enough

0:12:19.679 --> 0:12:22.319
<v Speaker 3>of that hint in her performance I think is important.

0:12:22.400 --> 0:12:25.080
<v Speaker 2>Well, it's definitely the most layered performance, and that's, you know,

0:12:25.160 --> 0:12:28.880
<v Speaker 2>by virtue of the construction here, every other character gets

0:12:28.960 --> 0:12:32.400
<v Speaker 2>less time, except for maybe Daniel Craig's private investigator. But

0:12:32.440 --> 0:12:33.839
<v Speaker 2>one thing she has to do, the trick she has

0:12:33.880 --> 0:12:36.880
<v Speaker 2>to pull that she completely manages to pull off, is

0:12:36.880 --> 0:12:39.839
<v Speaker 2>she has to project the fact that she has as much,

0:12:39.840 --> 0:12:43.080
<v Speaker 2>if not more intelligence than anyone else who's acting like

0:12:43.120 --> 0:12:46.440
<v Speaker 2>she doesn't. But at the same time she has to

0:12:46.440 --> 0:12:48.880
<v Speaker 2>make it clear that she's legitimately at a loss in

0:12:48.920 --> 0:12:53.760
<v Speaker 2>this elite world. So there's a combination of being a

0:12:53.840 --> 0:12:57.480
<v Speaker 2>step ahead of them, potentially a step ahead of them,

0:12:57.559 --> 0:13:00.920
<v Speaker 2>while still being a step behind in other ways because

0:13:00.920 --> 0:13:03.680
<v Speaker 2>of the class issues that play in the film, and

0:13:03.679 --> 0:13:06.520
<v Speaker 2>I think she manages that wonderfully. It's a great performance,

0:13:06.559 --> 0:13:08.920
<v Speaker 2>and the others mostly just have you know, it's one

0:13:08.920 --> 0:13:10.800
<v Speaker 2>of these films where you just if you're having have

0:13:10.920 --> 0:13:13.160
<v Speaker 2>as much fun in your seat in the theater as

0:13:13.200 --> 0:13:16.240
<v Speaker 2>the actors probably were doing these scenes. Yeah, sure, you're

0:13:16.240 --> 0:13:17.920
<v Speaker 2>going to be having a great time. And they have

0:13:18.040 --> 0:13:23.959
<v Speaker 2>to this family, They have to project malevolence, disingenuousness, malice

0:13:24.160 --> 0:13:27.400
<v Speaker 2>all and you know, and then get really dark as

0:13:27.480 --> 0:13:30.480
<v Speaker 2>things start to turn and they feel more threatened, and

0:13:30.600 --> 0:13:32.600
<v Speaker 2>everyone in the cast is just great at Chris Evans.

0:13:32.640 --> 0:13:34.959
<v Speaker 3>Chris Evans another standout.

0:13:34.600 --> 0:13:37.840
<v Speaker 2>Another standout, only again because of the construction. He's kind

0:13:37.880 --> 0:13:40.400
<v Speaker 2>of teased at the beginning, and then he finally comes

0:13:40.440 --> 0:13:44.560
<v Speaker 2>in for a big scene and it's a fantastically funny

0:13:44.600 --> 0:13:48.040
<v Speaker 2>scene with great lines, and yeah, Captain America, I can't

0:13:48.040 --> 0:13:49.280
<v Speaker 2>get enough Captain America.

0:13:49.320 --> 0:13:51.120
<v Speaker 3>He's really good in it. I did want to ask you,

0:13:51.160 --> 0:13:53.480
<v Speaker 3>as we're talking about the politics and how overall that

0:13:53.520 --> 0:13:55.240
<v Speaker 3>seemed to be a real strength of the film, what

0:13:55.320 --> 0:13:57.480
<v Speaker 3>did you make of the fact that he made it

0:13:57.520 --> 0:14:01.280
<v Speaker 3>timely something I didn't necessarily expect from this film in

0:14:01.400 --> 0:14:04.360
<v Speaker 3>terms of there being at least one conversation kind of

0:14:04.440 --> 0:14:08.120
<v Speaker 3>right in the middle of this movie where the politics

0:14:08.320 --> 0:14:11.440
<v Speaker 3>of the family, well it seemed appropriate for Thanksgiving, maybe

0:14:11.480 --> 0:14:14.760
<v Speaker 3>that within this family, Yeah, there's a squabble about a

0:14:14.920 --> 0:14:17.520
<v Speaker 3>president and certain decisions that are being made, just like

0:14:17.640 --> 0:14:19.840
<v Speaker 3>is probably playing out at a lot of dinner tables

0:14:20.200 --> 0:14:24.280
<v Speaker 3>around the country. We see different shades of perspectives and

0:14:24.360 --> 0:14:27.840
<v Speaker 3>politics within that family. But instead of just making this

0:14:28.080 --> 0:14:32.080
<v Speaker 3>sort of a political allegory, which Ryan Johnson could have, yeah,

0:14:32.080 --> 0:14:33.360
<v Speaker 3>he decides to make it blatant.

0:14:33.440 --> 0:14:38.200
<v Speaker 2>I'm gonna say, you use the word subversive. And although overall,

0:14:38.680 --> 0:14:41.000
<v Speaker 2>as I said, it surprised me that it got this political,

0:14:41.040 --> 0:14:42.920
<v Speaker 2>and I appreciated that about it, and I'm certainly on

0:14:42.920 --> 0:14:45.480
<v Speaker 2>the side of the movie's politics, so it's not that,

0:14:45.880 --> 0:14:49.080
<v Speaker 2>but I think if he had pulled back on some

0:14:49.240 --> 0:14:51.600
<v Speaker 2>of those particularly that scene you're talking about, the family

0:14:51.640 --> 0:14:54.680
<v Speaker 2>discussion scene where it almost does get to a point

0:14:54.760 --> 0:14:57.320
<v Speaker 2>like we're gonna hit this hot topic. We're gonna hit

0:14:57.360 --> 0:14:59.280
<v Speaker 2>this hot topic, or we're gonna hit this hot topic.

0:15:00.000 --> 0:15:02.040
<v Speaker 2>Think if you let that bubble under the surface a

0:15:02.040 --> 0:15:06.600
<v Speaker 2>little more, then you're getting subversive it's still challenging as is.

0:15:06.640 --> 0:15:09.080
<v Speaker 2>So your description is apt and I agree with that,

0:15:09.320 --> 0:15:11.840
<v Speaker 2>and I think that's definitely to the movie's credit. But

0:15:11.920 --> 0:15:14.440
<v Speaker 2>I think pulling back on the reins a little bit

0:15:14.720 --> 0:15:18.080
<v Speaker 2>and again letting that simmer and letting it sort of

0:15:18.720 --> 0:15:23.240
<v Speaker 2>sink in underneath, and not maybe put certain audience members

0:15:23.240 --> 0:15:27.240
<v Speaker 2>on edge quite so directly, sometimes it's a little more effective.

0:15:27.400 --> 0:15:29.480
<v Speaker 2>Now I'm more than happy to sit back and watch

0:15:29.480 --> 0:15:33.320
<v Speaker 2>the fireworks, sure, if that's what happens with the film,

0:15:33.560 --> 0:15:35.840
<v Speaker 2>But yeah, I think it's a yeah. Obviously, it's a

0:15:35.920 --> 0:15:38.000
<v Speaker 2>choice of modulation that the movie.

0:15:37.760 --> 0:15:40.840
<v Speaker 3>Makes well, but it makes it, and we're dancing around

0:15:40.840 --> 0:15:43.360
<v Speaker 3>things a little bit in terms of understanding what side

0:15:43.640 --> 0:15:46.240
<v Speaker 3>the filmmaker may or may not be on. I don't

0:15:46.240 --> 0:15:48.320
<v Speaker 3>think we really know that for sure until the end

0:15:48.320 --> 0:15:49.760
<v Speaker 3>of the film. I think there are probably a lot

0:15:49.760 --> 0:15:52.400
<v Speaker 3>of people in the theater who maybe even share the

0:15:52.400 --> 0:15:54.560
<v Speaker 3>perspective of some of the characters like Don Johnson. Oh,

0:15:54.640 --> 0:15:57.880
<v Speaker 3>and watching watching the scene felt like, oh, I like

0:15:57.920 --> 0:16:01.480
<v Speaker 3>that my voice speaking for me. The movie isn't necessarily

0:16:01.480 --> 0:16:03.600
<v Speaker 3>critiquing him here, but I think it's important within the

0:16:03.600 --> 0:16:07.200
<v Speaker 3>context of the entire film that that scene does play

0:16:07.200 --> 0:16:11.239
<v Speaker 3>out the way it does because it does establish hypocrisy,

0:16:11.800 --> 0:16:15.000
<v Speaker 3>and not just of the characters with that particularly, there's

0:16:15.040 --> 0:16:15.760
<v Speaker 3>point of view.

0:16:15.720 --> 0:16:20.120
<v Speaker 2>There's a hip the most potently hypocritical character. And again

0:16:20.120 --> 0:16:21.960
<v Speaker 2>we're dancing around, we don't want to get into spoilers,

0:16:21.960 --> 0:16:25.200
<v Speaker 2>but is someone who and and this speaks, you know,

0:16:25.320 --> 0:16:28.840
<v Speaker 2>to the subversive point. I think someone who is on

0:16:29.720 --> 0:16:33.360
<v Speaker 2>the film's political side, or who claims to be yes, well,

0:16:33.480 --> 0:16:38.440
<v Speaker 2>yes to a point. Yeah, I think we're thinking about

0:16:38.440 --> 0:16:41.360
<v Speaker 2>the same when something of hers is threat until yeah,

0:16:41.720 --> 0:16:47.760
<v Speaker 2>and is let's just say ostensibly an ally until personal costs.

0:16:47.800 --> 0:16:51.240
<v Speaker 2>That's exactly right, and those are that's to me, that's

0:16:51.360 --> 0:16:54.440
<v Speaker 2>like a subversive needle. That that, I.

0:16:54.480 --> 0:16:57.480
<v Speaker 3>Think is where I think we needed to know first

0:16:57.600 --> 0:17:02.440
<v Speaker 3>where his so called politics lie, where so called politics were,

0:17:02.640 --> 0:17:05.960
<v Speaker 3>or how he showed himself to the world, and then

0:17:05.960 --> 0:17:09.040
<v Speaker 3>how he shows himself when it really matters, and when

0:17:09.560 --> 0:17:11.840
<v Speaker 3>you recognize that they might be coming for the stuff

0:17:12.119 --> 0:17:13.840
<v Speaker 3>that is his. So in that scene, we have all

0:17:13.840 --> 0:17:16.760
<v Speaker 3>the people who are talking about how, you know, real

0:17:16.800 --> 0:17:20.040
<v Speaker 3>Americans pull themselves up by their bootstraps and they shouldn't

0:17:20.040 --> 0:17:22.840
<v Speaker 3>want any handouts and all that stuff. Well, then when

0:17:22.880 --> 0:17:24.800
<v Speaker 3>it comes time to divide up the old man's money.

0:17:24.800 --> 0:17:27.760
<v Speaker 3>They seem to love the idea of them getting something

0:17:27.840 --> 0:17:30.200
<v Speaker 3>that they didn't earn at all. They feel like they're

0:17:30.359 --> 0:17:33.560
<v Speaker 3>entitled to a share of it. Yeah, right, there's hypocrisy there.

0:17:33.560 --> 0:17:35.480
<v Speaker 3>I know, a different character, right, but this is what

0:17:35.520 --> 0:17:38.119
<v Speaker 3>I love. We see that hypocrisy of that side. We

0:17:38.160 --> 0:17:40.600
<v Speaker 3>see the other side as well. We see the hypocrisy

0:17:40.600 --> 0:17:42.959
<v Speaker 3>of those who are the more liberal ones in the argument,

0:17:43.040 --> 0:17:47.200
<v Speaker 3>who decry the other's worldview right up until it affects them,

0:17:47.480 --> 0:17:49.200
<v Speaker 3>and once it affects them, then all of a sudden,

0:17:49.240 --> 0:17:52.480
<v Speaker 3>they turn in to those other vipers. And we even

0:17:52.520 --> 0:17:55.199
<v Speaker 3>see that in all of them, in the way that

0:17:55.200 --> 0:17:57.440
<v Speaker 3>they all claim to love Marta and that she's part

0:17:57.440 --> 0:17:59.520
<v Speaker 3>of the family, but not one of them actually knows

0:17:59.560 --> 0:18:00.000
<v Speaker 3>what country.

0:18:00.080 --> 0:18:01.760
<v Speaker 2>Sure, it keeps changing, they all get that wrong.

0:18:01.840 --> 0:18:03.600
<v Speaker 3>One of the jokes of the film, and I think

0:18:03.640 --> 0:18:06.800
<v Speaker 3>one of the best and most pointed jokes in the film.

0:18:06.920 --> 0:18:09.639
<v Speaker 3>There is more we could say about Knives Out, probably

0:18:09.640 --> 0:18:11.880
<v Speaker 3>if we were willing to really get into spoilers, including

0:18:11.920 --> 0:18:13.600
<v Speaker 3>I would love at some point to dive into the

0:18:13.680 --> 0:18:15.680
<v Speaker 3>ending of the film, and maybe that's what we'll do

0:18:15.720 --> 0:18:18.080
<v Speaker 3>with Ryan Johnson here if we get him on the

0:18:18.080 --> 0:18:20.320
<v Speaker 3>show in the near future, is kind of break down

0:18:20.760 --> 0:18:24.480
<v Speaker 3>some of those choices and specifically how he envisioned that

0:18:24.960 --> 0:18:29.840
<v Speaker 3>closing scene and what he actually captured on camera. Knives

0:18:29.840 --> 0:18:33.320
<v Speaker 3>Out is currently playing in wide release. We encourage you

0:18:33.840 --> 0:18:36.680
<v Speaker 3>to see it if you haven't done so already a

0:18:36.840 --> 0:18:37.640
<v Speaker 3>twisted whib.

0:18:38.160 --> 0:18:41.040
<v Speaker 2>We are not finished untangling it, not yet.

0:18:41.080 --> 0:18:45.520
<v Speaker 4>What is this csikfc.

0:18:47.520 --> 0:18:54.320
<v Speaker 2>On from December twenty nineteen. That was our review of

0:18:54.440 --> 0:18:57.520
<v Speaker 2>Knives Out on that same episode, would you believe it?

0:18:57.560 --> 0:19:03.560
<v Speaker 2>A review of Gretegerwig's Little Women, So pretty fun show.

0:19:04.080 --> 0:19:08.360
<v Speaker 2>What a great movie year And yeah, you can get

0:19:08.400 --> 0:19:11.760
<v Speaker 2>to that review as well in the film Spotting Archive.

0:19:12.040 --> 0:19:16.240
<v Speaker 2>If you are a film Spotting Family member, access to

0:19:16.280 --> 0:19:19.760
<v Speaker 2>the archive, monthly bonus shows, and more. Those are just

0:19:19.800 --> 0:19:22.840
<v Speaker 2>some of the benefits of joining the film Spotting Family.

0:19:23.480 --> 0:19:27.200
<v Speaker 2>You can do that at film spotting Family dot com.

0:19:27.240 --> 0:19:30.200
<v Speaker 4>This conversation can serve no purpose anymore.

0:19:31.080 --> 0:19:31.840
<v Speaker 1>The fine.

0:19:44.119 --> 0:19:47.080
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