1 00:00:00,960 --> 00:00:03,760 Speaker 1: On the beck Dog Cast, the questions asked if movies 2 00:00:03,840 --> 00:00:07,480 Speaker 1: have women in them, are all their discussions just boyfriends 3 00:00:07,480 --> 00:00:11,639 Speaker 1: and husbands, or do they have individualism? The patriarchy zef 4 00:00:11,800 --> 00:00:16,880 Speaker 1: invest start changing it with the beck Del cast. How 5 00:00:16,920 --> 00:00:21,919 Speaker 1: does the song start? I could see awake just to 6 00:00:21,960 --> 00:00:30,560 Speaker 1: hear you dreaming or something like that. Why is sleeping 7 00:00:32,200 --> 00:00:43,159 Speaker 1: fouing dreaming? I could spend my life in this sweet surrendoum, 8 00:00:43,320 --> 00:00:47,599 Speaker 1: I just scared my cat, I guess last in this moment, 9 00:00:50,479 --> 00:00:54,280 Speaker 1: wouldn't you sing about your daughter like that? If you 10 00:00:54,360 --> 00:01:00,240 Speaker 1: saw raw silent footage of Ben Affleck shoving a am 11 00:01:00,280 --> 00:01:04,839 Speaker 1: Cracker down your daughter's pants, wouldn't you write that song? 12 00:01:04,959 --> 00:01:14,720 Speaker 1: To listen with you? Is a moment including the Graham 13 00:01:14,760 --> 00:01:19,759 Speaker 1: Cracker thing. I don't want to close man, okay twisted? 14 00:01:20,160 --> 00:01:23,639 Speaker 1: Is this twisted father's singing a song about his daughter 15 00:01:23,880 --> 00:01:28,320 Speaker 1: or is this a man singing a song about a 16 00:01:28,440 --> 00:01:32,119 Speaker 1: woman he's in love with? Look, my mom and I 17 00:01:32,160 --> 00:01:35,679 Speaker 1: have really discussed this over the years and come to 18 00:01:35,760 --> 00:01:40,000 Speaker 1: the conclusion that it can be read either way if 19 00:01:40,000 --> 00:01:43,520 Speaker 1: you don't have the context of armageddon. I don't want 20 00:01:43,520 --> 00:01:45,640 Speaker 1: to close my eyes. I don't want to fall asleep 21 00:01:45,880 --> 00:01:47,440 Speaker 1: because I miss you, babe, and I don't want to 22 00:01:47,480 --> 00:01:50,600 Speaker 1: miss a thing. Can't be described to describe how you 23 00:01:50,640 --> 00:01:52,560 Speaker 1: feel about how much you love your child. You don't 24 00:01:52,560 --> 00:01:55,080 Speaker 1: want to miss a moment of their childhood you love 25 00:01:55,120 --> 00:01:58,760 Speaker 1: them so much. Also personal history between Steven Tyler and 26 00:01:58,920 --> 00:02:01,720 Speaker 1: liv Tyler. She didn't know that she was his daughter, 27 00:02:01,760 --> 00:02:03,920 Speaker 1: and I believe he didn't know either until she was 28 00:02:03,960 --> 00:02:06,320 Speaker 1: like eleven or twelve, So he missed a large portion 29 00:02:06,360 --> 00:02:10,000 Speaker 1: of her childhood. So it perhaps even makes sense that 30 00:02:10,040 --> 00:02:11,880 Speaker 1: he didn't want to miss a thing. He'd already missed 31 00:02:11,919 --> 00:02:16,280 Speaker 1: so many things eleven years worth. I know. Damn God. 32 00:02:17,240 --> 00:02:20,320 Speaker 1: The Live Tyler paternity story. It lives on with our 33 00:02:20,320 --> 00:02:23,840 Speaker 1: greatest roller coaster band, Aerosmith. Have you ever been the 34 00:02:23,880 --> 00:02:27,280 Speaker 1: Aerosmith roller coaster? I have not, but I've heard you 35 00:02:27,320 --> 00:02:30,400 Speaker 1: tell of it many times. I won't shut up about 36 00:02:30,400 --> 00:02:34,080 Speaker 1: it because it's so shocking to me that they haven't, 37 00:02:34,240 --> 00:02:38,960 Speaker 1: like changed the band. It's like, but but they can't. 38 00:02:38,960 --> 00:02:43,120 Speaker 1: Where is this at again? It's at Disney World. It's 39 00:02:43,160 --> 00:02:45,519 Speaker 1: at Disney World. It's called the rock and roller Coaster. 40 00:02:45,840 --> 00:02:49,160 Speaker 1: My parents and I like made eight Well, my mom 41 00:02:49,160 --> 00:02:51,880 Speaker 1: my dad thinks Aerosmith is corny and for losers because 42 00:02:52,040 --> 00:02:55,919 Speaker 1: he's a punk, right, But my mom opposite of a punk, 43 00:02:56,320 --> 00:02:58,600 Speaker 1: and so went the first time we went to Disney 44 00:02:58,600 --> 00:03:01,680 Speaker 1: World when I was like thirteen, it was a big 45 00:03:01,720 --> 00:03:04,079 Speaker 1: deal for her. She doesn't like going on roller coasters, 46 00:03:04,200 --> 00:03:07,520 Speaker 1: but she loves Aerosmith so much, and she's like, even 47 00:03:07,600 --> 00:03:10,200 Speaker 1: though the roller coaster goes upside down, I'm gonna go 48 00:03:10,240 --> 00:03:13,440 Speaker 1: on it because I love Steven Tyler and the thing 49 00:03:13,639 --> 00:03:15,400 Speaker 1: is about the rock and roller coaster. I would love 50 00:03:15,480 --> 00:03:19,600 Speaker 1: to know more about the history of it because it 51 00:03:19,680 --> 00:03:23,400 Speaker 1: is so themed around the band and the lore of 52 00:03:23,440 --> 00:03:26,040 Speaker 1: the band Aerosmith, that it would actually be kind of 53 00:03:26,160 --> 00:03:31,080 Speaker 1: challenging to re theme, like it's it's so specific. I 54 00:03:31,120 --> 00:03:33,919 Speaker 1: don't know how they pulled it off, but I'm sure 55 00:03:33,919 --> 00:03:36,160 Speaker 1: there's a very long YouTube video I could watch and 56 00:03:36,200 --> 00:03:41,320 Speaker 1: find out. It's an awesome roller coaster. It's like Steven 57 00:03:41,360 --> 00:03:43,680 Speaker 1: Tyler in in the video you watch in the line 58 00:03:43,680 --> 00:03:46,000 Speaker 1: and he's like, come on, guys, we're gonna be late 59 00:03:46,040 --> 00:03:52,440 Speaker 1: to the recording studio, and you're like, yeah, exactly. Well, anyways, 60 00:03:52,560 --> 00:03:54,840 Speaker 1: I don't think this song plays in the roller coaster 61 00:03:54,960 --> 00:03:59,080 Speaker 1: because it's kind of slow but it would be funny. 62 00:03:59,280 --> 00:04:01,560 Speaker 1: It should It could be one of those like lazy 63 00:04:01,680 --> 00:04:07,520 Speaker 1: River ride songs. The Arasmith lazy river is kind of 64 00:04:07,560 --> 00:04:12,320 Speaker 1: a cruel, diabolical idea. How many have you ever read 65 00:04:12,360 --> 00:04:15,040 Speaker 1: studies about how much human ship ends up in the 66 00:04:15,120 --> 00:04:19,320 Speaker 1: lazy river? No, and I don't want to know. Never 67 00:04:19,480 --> 00:04:23,000 Speaker 1: go in a lazy river. I would. I feel confident 68 00:04:23,040 --> 00:04:25,239 Speaker 1: that there's a lot of pists in there, but people 69 00:04:25,320 --> 00:04:28,159 Speaker 1: poop and definitely, I mean the piss goes without saying, 70 00:04:28,360 --> 00:04:33,080 Speaker 1: there is some physical I read about it once. I'm sorry, 71 00:04:33,080 --> 00:04:36,200 Speaker 1: I'm a I'm a scientist about as much as Bruce 72 00:04:36,240 --> 00:04:40,120 Speaker 1: Willis is and Armageddon, Like, I read about it once, 73 00:04:40,440 --> 00:04:43,600 Speaker 1: and there is some sort of physical effect that, like 74 00:04:43,960 --> 00:04:46,520 Speaker 1: a lazy river has on you that like loosens up 75 00:04:46,560 --> 00:04:51,360 Speaker 1: that butt hole. It makes it easy to just right 76 00:04:51,440 --> 00:04:56,320 Speaker 1: out right out. What's the name of this show? This 77 00:04:56,400 --> 00:05:04,640 Speaker 1: is This is the Bechtel Cast, And I'm Caitlin Toronte. 78 00:05:04,760 --> 00:05:09,600 Speaker 1: Who are you? Thank you for the reminder. I'm Jamie Loftus, 79 00:05:10,240 --> 00:05:12,800 Speaker 1: and this is our show, um where we take a 80 00:05:12,800 --> 00:05:16,760 Speaker 1: look at your favorite movies or you know, impactful one 81 00:05:16,760 --> 00:05:22,280 Speaker 1: could say deep impactful movies. And we are bringing a 82 00:05:22,320 --> 00:05:26,360 Speaker 1: disaster movie to you today. We're bringing Armageddon, directed by 83 00:05:26,400 --> 00:05:29,479 Speaker 1: Michael Bay because Caitlin and I were looking at genres 84 00:05:29,480 --> 00:05:32,760 Speaker 1: we haven't covered in many moons, and action and disaster 85 00:05:33,279 --> 00:05:35,960 Speaker 1: have been kind of, you know, few and far between recently, 86 00:05:36,080 --> 00:05:40,360 Speaker 1: So we chose the biggest goofiest one we get requests for, 87 00:05:41,080 --> 00:05:44,559 Speaker 1: and we're going to analyze it from an intersectional feminist lens, 88 00:05:44,880 --> 00:05:47,920 Speaker 1: and I'm sure it's going to do great. Um, what's 89 00:05:47,960 --> 00:05:50,800 Speaker 1: the metric we use as a jumping off point for discussion, Caitlin, 90 00:05:51,279 --> 00:05:53,800 Speaker 1: It's the Bechtel cast. No, if that's the name of 91 00:05:53,920 --> 00:05:57,680 Speaker 1: the show, let me try again. Yep, yep, it's the 92 00:05:57,720 --> 00:06:02,240 Speaker 1: Bechtel Test, which is media metric created by queer cartoonist 93 00:06:02,279 --> 00:06:06,800 Speaker 1: Alison Bechdel, sometimes called the Bechdel Wallace Test. She included 94 00:06:06,839 --> 00:06:10,640 Speaker 1: it in her comic Likes to Watch Out For from 95 00:06:10,800 --> 00:06:14,520 Speaker 1: n originally just as a kind of one off joke, 96 00:06:15,160 --> 00:06:20,039 Speaker 1: which has since been used as the media metric that 97 00:06:20,160 --> 00:06:25,360 Speaker 1: we now know and love, which requires our version. There 98 00:06:25,360 --> 00:06:29,520 Speaker 1: are many versions, but ours requires that there be two 99 00:06:29,680 --> 00:06:34,240 Speaker 1: characters of a marginalized gender who have names, who speak 100 00:06:34,240 --> 00:06:38,440 Speaker 1: to each other, and whose conversation is about something other 101 00:06:38,480 --> 00:06:41,359 Speaker 1: than a man, and for our purposes, we like it 102 00:06:41,440 --> 00:06:44,600 Speaker 1: when it's a media conversation, maybe one of the size 103 00:06:44,600 --> 00:06:49,159 Speaker 1: of Texas even God. And you know, this movie has 104 00:06:49,200 --> 00:06:52,640 Speaker 1: a lot of words in it, but words spoken between women. 105 00:06:53,480 --> 00:06:57,840 Speaker 1: Don't be ridiculous. You're yeah right, Oh you silly billy. 106 00:06:57,920 --> 00:07:01,919 Speaker 1: What do you have space dementia? You'd have space dementia 107 00:07:02,279 --> 00:07:04,440 Speaker 1: to think that this movie would pass the back tole test. 108 00:07:04,560 --> 00:07:07,800 Speaker 1: But nevertheless, it made half a billion dollars and a 109 00:07:07,839 --> 00:07:10,480 Speaker 1: lot of people still really liked this movie. It's true 110 00:07:10,720 --> 00:07:13,920 Speaker 1: and I will say it is a Aerosmith got my 111 00:07:13,920 --> 00:07:17,560 Speaker 1: mom in the theaters, but she loved this movie. Wait, okay, 112 00:07:17,640 --> 00:07:21,480 Speaker 1: so let's so, Jamie, what is your relationship and your 113 00:07:21,560 --> 00:07:28,640 Speaker 1: mom's relationship where importantly relationship? Um, I don't have a 114 00:07:28,720 --> 00:07:32,400 Speaker 1: huge relationship with Armageddon. I have a huge relationship with 115 00:07:32,560 --> 00:07:38,160 Speaker 1: the Tyler family, more so Stephen. To be honest, because Aerosmith, 116 00:07:38,200 --> 00:07:42,000 Speaker 1: they're blessed in band. We're very proud of them, and well, 117 00:07:42,200 --> 00:07:44,200 Speaker 1: you know, but not the Boston Punks. And that's where 118 00:07:44,240 --> 00:07:46,560 Speaker 1: my dad comes in. But I you know, I grew 119 00:07:46,640 --> 00:07:53,040 Speaker 1: up around aeron Smith, posters and music. So my mom, 120 00:07:53,080 --> 00:07:55,160 Speaker 1: my mom loved this movie. I remember that we owned 121 00:07:55,160 --> 00:07:58,880 Speaker 1: it on VHS, and I remember being too young to 122 00:07:58,920 --> 00:08:02,560 Speaker 1: watch it and that was really long, and that I, 123 00:08:03,240 --> 00:08:05,040 Speaker 1: in spite of saying for a couple of years that 124 00:08:05,080 --> 00:08:07,120 Speaker 1: I wanted to be an astronaut, I think I said 125 00:08:07,120 --> 00:08:11,000 Speaker 1: it because it sounded good. Because I was stunningly disinterested 126 00:08:11,040 --> 00:08:14,920 Speaker 1: in space. Um, I didn't really want to watch any 127 00:08:14,920 --> 00:08:16,960 Speaker 1: space movies. I remember my mom being like, you can't 128 00:08:16,960 --> 00:08:20,440 Speaker 1: watch Armageddon. You could watch Apollo thirteen, and I was like, 129 00:08:20,800 --> 00:08:24,280 Speaker 1: I would I would really not want to do that. 130 00:08:24,920 --> 00:08:29,920 Speaker 1: Sounds sounds boring. Is actually a pretty solid movie. But anyway, 131 00:08:30,560 --> 00:08:33,400 Speaker 1: that's the Tom Hanks one. I also haven't seen Deep Impact. 132 00:08:33,480 --> 00:08:36,040 Speaker 1: I hadn't seen Contact until we watched it, and I 133 00:08:36,120 --> 00:08:40,160 Speaker 1: quite liked I'm more interested in space now, getting defensive. 134 00:08:40,559 --> 00:08:43,920 Speaker 1: I saw I saw different chunks of it growing up, 135 00:08:44,040 --> 00:08:46,560 Speaker 1: but I never really took the initiative to watch it 136 00:08:46,640 --> 00:08:49,760 Speaker 1: all the way through. Um so this is my first 137 00:08:49,760 --> 00:08:52,679 Speaker 1: time watching it all the way through. Oh and I 138 00:08:52,720 --> 00:08:55,720 Speaker 1: remember when The Army when the Ben Affleck commentary track 139 00:08:55,800 --> 00:08:57,920 Speaker 1: leaked a couple of years back, because that was a 140 00:08:58,080 --> 00:09:03,840 Speaker 1: treat more more kind of Boston Cannon present here. But um, yeah, 141 00:09:03,840 --> 00:09:05,880 Speaker 1: I've never seen it all the way through before. I 142 00:09:05,920 --> 00:09:10,960 Speaker 1: was preparing for this episode and wow, wow, wow, I 143 00:09:11,040 --> 00:09:14,120 Speaker 1: will say I think Michael Bay wanted me to laugh 144 00:09:14,160 --> 00:09:20,400 Speaker 1: and cry. I did laugh. I didn't cry. I didn't cry, 145 00:09:20,640 --> 00:09:22,760 Speaker 1: even when the movie said so. I didn't cry because 146 00:09:22,800 --> 00:09:25,480 Speaker 1: when someone was dying, I'm like, I don't know who 147 00:09:25,520 --> 00:09:28,080 Speaker 1: that is. You cut to them and away from them 148 00:09:28,160 --> 00:09:31,840 Speaker 1: so quickly that I didn't catch you mean the scene 149 00:09:31,920 --> 00:09:34,319 Speaker 1: and then I looked at it and I was like, oh, 150 00:09:34,400 --> 00:09:36,800 Speaker 1: I guess he's gone. You mean the scene where they're 151 00:09:36,840 --> 00:09:42,640 Speaker 1: like we lost Grouber and everyone's like, Grouper? Are we 152 00:09:42,679 --> 00:09:45,760 Speaker 1: supposed to care about Grouper? We haven't even met him yet? 153 00:09:45,880 --> 00:09:47,880 Speaker 1: And I thought it was kind of bizarre that they, 154 00:09:47,920 --> 00:09:50,520 Speaker 1: I mean, because Bruce Willis was always going to be 155 00:09:50,559 --> 00:09:52,600 Speaker 1: in this movie, even when it was being written, Like 156 00:09:52,640 --> 00:09:58,079 Speaker 1: why Bruce Willis there's already a Grouper associated with him, 157 00:09:58,480 --> 00:10:01,560 Speaker 1: Hans groupers Gruber. You're gonna put another grouper in a 158 00:10:01,600 --> 00:10:04,959 Speaker 1: Bruce Willis movie, bad idea. I still don't know who 159 00:10:04,960 --> 00:10:08,439 Speaker 1: Grouper is. I'll be honest. This movie was cutting back. 160 00:10:08,480 --> 00:10:10,720 Speaker 1: I mean, I think that that was like I learned 161 00:10:10,840 --> 00:10:12,960 Speaker 1: that that was a huge criticism of it at the time, 162 00:10:12,960 --> 00:10:14,880 Speaker 1: to where it was cut so quickly that it's like 163 00:10:15,240 --> 00:10:16,800 Speaker 1: it kind of gives you a headache and it's hard 164 00:10:16,800 --> 00:10:20,720 Speaker 1: to tell, yeah, because the pace. I mean, even Michael 165 00:10:20,720 --> 00:10:25,680 Speaker 1: Bay has admitted that the movie was edited very quickly 166 00:10:26,120 --> 00:10:31,640 Speaker 1: and that his visual effects supervisor had break up. He 167 00:10:31,720 --> 00:10:34,640 Speaker 1: gave no more information than that, which is kind of 168 00:10:34,640 --> 00:10:36,760 Speaker 1: a funny way about how Michael Bay talks. He'll say 169 00:10:36,800 --> 00:10:40,720 Speaker 1: something horrific and then just like start another sentence. But Yeah, 170 00:10:40,720 --> 00:10:43,680 Speaker 1: there were characters that I assumed had died in the 171 00:10:43,880 --> 00:10:46,000 Speaker 1: Like there's a point in the movie where you lose 172 00:10:46,000 --> 00:10:47,520 Speaker 1: a couple of characters, and I was like, oh, I 173 00:10:47,520 --> 00:10:51,000 Speaker 1: haven't seen quote unquote the woman in a while. I 174 00:10:51,040 --> 00:10:54,920 Speaker 1: guess that she died, but she didn't. She just disappeared 175 00:10:54,960 --> 00:10:58,360 Speaker 1: for thirty five minutes, but I guess she was there. 176 00:10:58,520 --> 00:11:02,240 Speaker 1: And fine, what's your history with this movie, Caitlin. I 177 00:11:02,280 --> 00:11:05,200 Speaker 1: had seen it before a couple of times. Uh. This 178 00:11:05,240 --> 00:11:10,760 Speaker 1: movie came out when I was twelve, so I was 179 00:11:11,360 --> 00:11:18,640 Speaker 1: among the many tween girls of the time where watching 180 00:11:18,679 --> 00:11:22,600 Speaker 1: this movie was like a rite of passage. Really, I mean, 181 00:11:22,679 --> 00:11:24,360 Speaker 1: it was like I didn't realize it was one of 182 00:11:24,360 --> 00:11:29,040 Speaker 1: those yeah yeah, interesting at least among my my friend group. 183 00:11:29,280 --> 00:11:32,080 Speaker 1: I believe you. I just didn't know. Oh yeah, you 184 00:11:32,120 --> 00:11:36,440 Speaker 1: watched it sleepovers. If you had like a boy girl hang, 185 00:11:36,559 --> 00:11:40,200 Speaker 1: if someone's like mom would let you have girls and 186 00:11:40,400 --> 00:11:43,920 Speaker 1: boys over, then you'd watch this because it's horny and 187 00:11:44,320 --> 00:11:48,040 Speaker 1: Ben Affleck puts an animal cracker on Live Tyler's boobs 188 00:11:48,559 --> 00:11:52,160 Speaker 1: and when people get all tense during that. Probably I 189 00:11:52,160 --> 00:11:54,880 Speaker 1: don't know. It was so many decades ago I barely 190 00:11:54,880 --> 00:11:59,439 Speaker 1: remembers are so twisted, um, but I do remember the 191 00:11:59,520 --> 00:12:07,200 Speaker 1: kids crying during the sacrificial Bruce Willis scene because she 192 00:12:07,320 --> 00:12:11,440 Speaker 1: does say daddy, she really does um. And the song 193 00:12:11,520 --> 00:12:18,320 Speaker 1: and the Aerosmith song played at every school dance from two, 194 00:12:18,720 --> 00:12:21,280 Speaker 1: I mean probably even after I graduated high school, which 195 00:12:21,360 --> 00:12:25,640 Speaker 1: was oh four, it was like the slow song. If 196 00:12:25,679 --> 00:12:30,160 Speaker 1: the Armageddon song came on, you better fucking fund yourself 197 00:12:30,200 --> 00:12:36,319 Speaker 1: a hetero dance partner and slow dance your night away. 198 00:12:36,400 --> 00:12:38,840 Speaker 1: I feel like it still gets like pretty decent wedding 199 00:12:38,880 --> 00:12:43,480 Speaker 1: play to this day. Sure, And it is my maybe 200 00:12:43,559 --> 00:12:48,480 Speaker 1: like number to go to karaoke song because this song 201 00:12:48,920 --> 00:12:52,920 Speaker 1: slaps as a karaoke song. It's hot. Tip for everybody, 202 00:12:53,000 --> 00:12:55,760 Speaker 1: can I shut up? The composer of this song, she's 203 00:12:55,840 --> 00:12:59,280 Speaker 1: kind of an icon um. She's an interest, or at 204 00:12:59,360 --> 00:13:02,200 Speaker 1: least an interesting character for She's also like a boomer 205 00:13:02,280 --> 00:13:06,359 Speaker 1: woman who occasionally tweets, and her tweets are not like offensive, 206 00:13:06,400 --> 00:13:08,679 Speaker 1: but they are inscrutable in a way that people seem 207 00:13:08,760 --> 00:13:14,320 Speaker 1: to find worthy of discussion. Anyways, her name is Diane Warren. 208 00:13:15,160 --> 00:13:18,600 Speaker 1: She I believe she eventually won, but she's like, she's 209 00:13:18,640 --> 00:13:23,040 Speaker 1: like a famous songwriter and composer, um who for a 210 00:13:23,240 --> 00:13:25,640 Speaker 1: very okay, so for a very very long time. She's 211 00:13:25,679 --> 00:13:29,280 Speaker 1: been nominated for the Academy Award for Best Original Song, 212 00:13:29,400 --> 00:13:34,240 Speaker 1: including this one uh one, two, three, four, five, six, seven, eight, 213 00:13:35,520 --> 00:13:40,120 Speaker 1: twelve thirteen times, never won, and then they gave her 214 00:13:40,240 --> 00:13:42,600 Speaker 1: an honorary award last year. I think because they were like, 215 00:13:42,640 --> 00:13:45,040 Speaker 1: oh my god, we gotta give Diane some we keep 216 00:13:45,120 --> 00:13:49,240 Speaker 1: snubbing her. She's written like a lot of iconic songs. 217 00:13:49,440 --> 00:13:51,080 Speaker 1: This one might be the most famous. But she also 218 00:13:51,120 --> 00:13:53,040 Speaker 1: know well she did if I could turn back time 219 00:13:53,080 --> 00:13:56,240 Speaker 1: by share because you loved me, Celine Dione. She's kind 220 00:13:56,240 --> 00:13:58,719 Speaker 1: of in charge of weddings, Um, how do I live 221 00:13:58,760 --> 00:14:02,160 Speaker 1: without you? Leanne Ryan Rhythm of the Night. I mean 222 00:14:02,440 --> 00:14:06,599 Speaker 1: she's bangers, she's got bops, she's got hit, But I 223 00:14:06,679 --> 00:14:08,640 Speaker 1: mean I don't want to miss a thing that's right 224 00:14:08,760 --> 00:14:11,400 Speaker 1: up there. So then we have to extend the Lord 225 00:14:11,440 --> 00:14:14,000 Speaker 1: because I didn't realize Steven Tyler didn't write that song. 226 00:14:15,080 --> 00:14:17,800 Speaker 1: Is Diane Warren? Is it a coincidence? Or is Diane 227 00:14:17,800 --> 00:14:21,560 Speaker 1: Warren writing how she thinks Steven Tyler fields when he 228 00:14:21,600 --> 00:14:25,280 Speaker 1: thinks about not being around for live Tyler's childhood? Hard 229 00:14:25,320 --> 00:14:29,200 Speaker 1: to say, hard, so hard to say. The point is 230 00:14:29,640 --> 00:14:33,920 Speaker 1: I did see this movie a couple of times as 231 00:14:34,080 --> 00:14:39,200 Speaker 1: a youth, but I never liked it because, you know why, 232 00:14:39,600 --> 00:14:42,640 Speaker 1: if there's going to be a disaster movie that I'm 233 00:14:42,640 --> 00:14:47,160 Speaker 1: going to watch a lot during this time frame of 234 00:14:47,200 --> 00:14:49,440 Speaker 1: the late nineties, it's going to be Titanic. I was 235 00:14:49,480 --> 00:14:52,200 Speaker 1: too busy watching Titanic every day to care about Armageddon. 236 00:14:53,000 --> 00:14:56,680 Speaker 1: So it's true, and this movie is clearly trying to, 237 00:14:57,400 --> 00:15:01,040 Speaker 1: you know, pull from the Titanic playbook a bit tearl 238 00:15:01,120 --> 00:15:05,360 Speaker 1: Harbor even more. Michael Bays saw Titanic and he's like, shit, 239 00:15:06,040 --> 00:15:08,280 Speaker 1: I have to do that, and then he did a 240 00:15:08,360 --> 00:15:13,080 Speaker 1: fucking terrible job. But he really did try to replicate 241 00:15:13,160 --> 00:15:17,040 Speaker 1: Titanic with Pearl Harbor, and he mentions. He mentions in 242 00:15:17,040 --> 00:15:20,680 Speaker 1: one of these interviews, he gives retrospectively, UM. I believe 243 00:15:20,680 --> 00:15:25,040 Speaker 1: it's interview where he apologizes for making the movie. Um. 244 00:15:25,520 --> 00:15:27,720 Speaker 1: But then later he's like, I was misquoted. I didn't 245 00:15:27,880 --> 00:15:30,240 Speaker 1: mean it. I do think he was misquoted because I 246 00:15:30,240 --> 00:15:31,760 Speaker 1: read the full interview and it did. It was a 247 00:15:31,880 --> 00:15:35,160 Speaker 1: very clicky title. It's like he didn't apologize, he just 248 00:15:35,960 --> 00:15:40,280 Speaker 1: contextualized why the third act is really sloppy, which it is. 249 00:15:40,840 --> 00:15:43,600 Speaker 1: But he mentions James Cameron in that interview. He says, 250 00:15:44,160 --> 00:15:46,360 Speaker 1: I called James Cameron and asked, what do you do 251 00:15:46,400 --> 00:15:48,880 Speaker 1: when you're doing all the effects yourself? But the movie 252 00:15:48,920 --> 00:15:51,560 Speaker 1: did fine, So he's sort of also admitting that the 253 00:15:51,640 --> 00:15:56,760 Speaker 1: effects look kind of like baffling and and and shitty. 254 00:15:56,840 --> 00:16:00,440 Speaker 1: They're shitty. It's pretty shifty about it. He I know 255 00:16:00,520 --> 00:16:02,360 Speaker 1: there's no fire in space, but it is a movie, 256 00:16:02,400 --> 00:16:04,880 Speaker 1: and most people don't know that he's a bad man. 257 00:16:05,080 --> 00:16:08,520 Speaker 1: But that is iconic, that's funny and it's true. I 258 00:16:08,600 --> 00:16:12,800 Speaker 1: honestly I didn't read the highlight reel from the Armageddon 259 00:16:12,880 --> 00:16:16,240 Speaker 1: commentary soundtrack, which goes viral every so often because it 260 00:16:16,360 --> 00:16:19,800 Speaker 1: is like very ridiculous. Oh, I have some quotes that 261 00:16:19,920 --> 00:16:23,320 Speaker 1: I am prepared to share when the time comes. I yeah, 262 00:16:23,360 --> 00:16:25,440 Speaker 1: I mean, there was a great round up on the 263 00:16:25,520 --> 00:16:28,840 Speaker 1: Ringer about it. But I will say that I watched 264 00:16:28,880 --> 00:16:31,640 Speaker 1: the whole movie before going through that, and it did 265 00:16:31,680 --> 00:16:34,400 Speaker 1: not ping for me. Once that there was a fire 266 00:16:34,440 --> 00:16:37,760 Speaker 1: in space. I didn't think about it because I'm a 267 00:16:37,800 --> 00:16:41,880 Speaker 1: popcorn girl, which I don't know. I have no idea. 268 00:16:42,080 --> 00:16:46,040 Speaker 1: We're not scientists, famously, not in stem. We won't even 269 00:16:46,040 --> 00:16:53,120 Speaker 1: read a book like be serious. Um, alright, should we 270 00:16:53,280 --> 00:16:57,440 Speaker 1: get into it. Let's get into it. Let's take a 271 00:16:57,560 --> 00:17:01,440 Speaker 1: break first though, really ear upe for this. All right, 272 00:17:01,440 --> 00:17:11,800 Speaker 1: we'll be right back. Okay, and we're back Kitlin. What 273 00:17:11,880 --> 00:17:14,200 Speaker 1: the hell happens in the movie? I'll again, I actually 274 00:17:14,240 --> 00:17:17,200 Speaker 1: do think I need a few things. Um, I needed 275 00:17:17,240 --> 00:17:21,919 Speaker 1: a few blanks filled because I honestly, until the credit 276 00:17:22,040 --> 00:17:25,680 Speaker 1: scene where liv Tyler has the picture of the four 277 00:17:25,760 --> 00:17:29,840 Speaker 1: characters who died at her wedding, I was not who 278 00:17:29,880 --> 00:17:35,199 Speaker 1: made it. I knew Bruce Willis died, sure, but a 279 00:17:35,200 --> 00:17:38,800 Speaker 1: few of the guys have the same haircut. I thought 280 00:17:38,800 --> 00:17:41,359 Speaker 1: the guy that was banned from seeing his son died, 281 00:17:41,480 --> 00:17:44,320 Speaker 1: and I was like, well no, but then he he didn't. 282 00:17:44,400 --> 00:17:47,800 Speaker 1: He lived, and and continued to blow off the courthorder 283 00:17:47,840 --> 00:17:50,399 Speaker 1: that he couldn't see his son, and we were cheering, 284 00:17:50,400 --> 00:17:53,159 Speaker 1: and we were cheering. So I actually don't really know 285 00:17:53,200 --> 00:17:56,880 Speaker 1: who died. All right, Well I will tell you, okay. 286 00:17:56,920 --> 00:18:01,760 Speaker 1: So we begin with voiceover from I think Charlton Heston 287 00:18:02,520 --> 00:18:06,480 Speaker 1: is what I saw in the credits, if I'm remembering correctly. Well, 288 00:18:06,560 --> 00:18:10,080 Speaker 1: let's talk about a talk about a bad person, seriously, 289 00:18:10,640 --> 00:18:16,439 Speaker 1: an iconically bad person. Yeah, he is describing a huge 290 00:18:17,119 --> 00:18:21,280 Speaker 1: meteor or meteorite or asteroid. I don't know the difference, 291 00:18:21,440 --> 00:18:23,960 Speaker 1: and I didn't look it up, but one of those 292 00:18:24,000 --> 00:18:28,200 Speaker 1: things hit the Earth millions of years ago and caused 293 00:18:28,359 --> 00:18:31,679 Speaker 1: the mass extinction of the dinosaurs. And they're like, and 294 00:18:31,760 --> 00:18:35,280 Speaker 1: it will probably happen again, it's just a matter of when. 295 00:18:36,080 --> 00:18:40,120 Speaker 1: It's so dramatic and also completely unnecessary. And that's how 296 00:18:40,160 --> 00:18:43,280 Speaker 1: you know you just started watching a Michael Bay movie 297 00:18:43,840 --> 00:18:47,439 Speaker 1: right exposition there, And I bet it cost a million 298 00:18:47,440 --> 00:18:50,400 Speaker 1: dollars studio for a reason. Okay, So then we cut 299 00:18:50,440 --> 00:18:55,720 Speaker 1: to present day. Ak we are in space ever heard 300 00:18:55,760 --> 00:19:00,720 Speaker 1: of it? Suddenly a meteor shower strikes and blows up 301 00:19:00,720 --> 00:19:05,320 Speaker 1: a space shuttle, and then New York City gets pummeled 302 00:19:05,359 --> 00:19:10,080 Speaker 1: by these meteors or meteorites or asteroids. Did you did 303 00:19:10,080 --> 00:19:13,280 Speaker 1: you know? Simply don't know. There's like a dog in 304 00:19:13,320 --> 00:19:16,840 Speaker 1: the New York scene, and for some reason, whatever happened 305 00:19:16,840 --> 00:19:18,760 Speaker 1: with the dog, which I think the dog just like 306 00:19:18,800 --> 00:19:24,359 Speaker 1: bites a Godzilla toy. Yes, that costs what That's what 307 00:19:24,440 --> 00:19:26,840 Speaker 1: Michael Bay said in the commentary. He's well, he's not 308 00:19:26,840 --> 00:19:28,800 Speaker 1: gonna tell you why, He's just gonna tell you it costs. 309 00:19:29,960 --> 00:19:34,080 Speaker 1: He also said Ben Afflex, Oh, Ben Affleck's teeth cost 310 00:19:34,119 --> 00:19:37,719 Speaker 1: twenty dollars. This is a movie much like an Angel 311 00:19:37,760 --> 00:19:42,040 Speaker 1: gets gets its wings and after gets their teeth. When 312 00:19:42,160 --> 00:19:45,119 Speaker 1: Jerry Bruckheimer and Michael Bay say, I hate looking at 313 00:19:45,119 --> 00:19:49,280 Speaker 1: your mouth. It looks disgusting from an up angle. According 314 00:19:49,320 --> 00:19:53,080 Speaker 1: to me, he keeps saying in the commentary and in 315 00:19:53,160 --> 00:19:57,399 Speaker 1: other interviews that like I had these little baby teeth, 316 00:19:58,840 --> 00:20:01,280 Speaker 1: and you know, Jerry Bruckheimer, we've talked about on the 317 00:20:01,320 --> 00:20:03,919 Speaker 1: show for years, for the better part of a decade 318 00:20:03,920 --> 00:20:06,240 Speaker 1: at this point, we talked about if you're in a 319 00:20:06,320 --> 00:20:09,199 Speaker 1: j Jerry Bruckheimer movie and you're going to get a 320 00:20:09,240 --> 00:20:12,560 Speaker 1: close up. Guess what, babe, you need a new set 321 00:20:12,560 --> 00:20:15,480 Speaker 1: of choppers. You're you're gonna get new teeth, and they're 322 00:20:15,520 --> 00:20:18,480 Speaker 1: gonna be big. They're about a foot tall. They're gonna 323 00:20:18,480 --> 00:20:21,520 Speaker 1: be all the same length. We're gonna be blindingly white. 324 00:20:22,119 --> 00:20:25,760 Speaker 1: And so Ben Affleck got his teeth for this one, 325 00:20:25,840 --> 00:20:29,600 Speaker 1: and they sent him to Tom Cruise's teeth guy. Oh sure. 326 00:20:31,800 --> 00:20:34,800 Speaker 1: Michael Bays says in the interview that he that Jerry 327 00:20:34,800 --> 00:20:37,880 Speaker 1: Bruckheimer had worked on a quote unquote plane movie, which 328 00:20:37,920 --> 00:20:41,840 Speaker 1: is how he described Top Gun, which is weird. He 329 00:20:41,880 --> 00:20:44,560 Speaker 1: said Bruckheimer had worked on a orse Jerry had worked 330 00:20:44,560 --> 00:20:48,760 Speaker 1: on a plane movie. When Michael Bay talks about Jerry Bruckheimer, 331 00:20:48,920 --> 00:20:54,880 Speaker 1: it does sound like Seinfeld episode descriptions because of how 332 00:20:55,000 --> 00:20:59,280 Speaker 1: he talks. He kind of talks like Jason Alexander does 333 00:20:59,600 --> 00:21:02,960 Speaker 1: and I weld, and he's always talking about a guy 334 00:21:03,040 --> 00:21:08,080 Speaker 1: named Jerry who's doing something, um weird. So I told Jerry, God, 335 00:21:08,119 --> 00:21:10,040 Speaker 1: he's got those baby teeth. Jerry, I don't know what 336 00:21:10,119 --> 00:21:14,920 Speaker 1: to do. You're like, that sounds like SEINFELDT. Yeah, anyways, 337 00:21:14,960 --> 00:21:20,119 Speaker 1: it's true. Okay, So the movie what happens we cut 338 00:21:20,160 --> 00:21:26,040 Speaker 1: two various like government and military officials such as the 339 00:21:26,240 --> 00:21:29,520 Speaker 1: head of NASA, this guy named Truman played by Billy 340 00:21:29,520 --> 00:21:32,920 Speaker 1: Bob Thornton I love when he's serious, as well as 341 00:21:33,640 --> 00:21:38,320 Speaker 1: General Kimsey played by Keith David. There's also a guy 342 00:21:38,680 --> 00:21:43,399 Speaker 1: with a huge telescope named Carl who is extremely verbally 343 00:21:43,400 --> 00:21:48,880 Speaker 1: abusive to his wife and his wife Dottie. Yeah, but 344 00:21:48,880 --> 00:21:51,760 Speaker 1: but it's Michael Bay movie, so his verbal abuse is 345 00:21:51,800 --> 00:21:55,960 Speaker 1: a joke. It's supposed to be funny. Yeah, And everyone's like, 346 00:21:56,000 --> 00:22:00,600 Speaker 1: what is what the hell is going on? And soon 347 00:22:00,640 --> 00:22:04,679 Speaker 1: they figure out that an asteroid the size of Texas 348 00:22:05,160 --> 00:22:09,080 Speaker 1: is on a collision course to Earth. No matter where 349 00:22:09,160 --> 00:22:11,800 Speaker 1: it hits, it will wipe out all of life as 350 00:22:11,800 --> 00:22:15,720 Speaker 1: we know it, and it will hit Earth in eighteen days. 351 00:22:17,160 --> 00:22:21,880 Speaker 1: Cut to Harry Stamper that's Bruce Willis. He is the 352 00:22:21,920 --> 00:22:27,239 Speaker 1: owner of an oil rig. He discovers that one of 353 00:22:27,280 --> 00:22:31,520 Speaker 1: his employees, a j that's been affleck and his teeth 354 00:22:31,600 --> 00:22:37,159 Speaker 1: and his teeth credited separately. Yeah, the whole package has 355 00:22:37,240 --> 00:22:41,920 Speaker 1: had sex with Harry's daughter Grace, that's Live Tyler. And 356 00:22:42,280 --> 00:22:45,560 Speaker 1: he pulls out a gun and starts shooting at a 357 00:22:45,720 --> 00:22:50,359 Speaker 1: j on an oil rig. Okay, just a second. It 358 00:22:50,560 --> 00:22:56,360 Speaker 1: is very silly and action movie and testosterone. Michael bay 359 00:22:56,720 --> 00:23:03,359 Speaker 1: choice to make Bruce this open fire on an oil 360 00:23:03,440 --> 00:23:06,359 Speaker 1: rig that he owns to protect his daughter, who he 361 00:23:06,400 --> 00:23:09,600 Speaker 1: would absolutely kill along with everyone he knows if he 362 00:23:10,000 --> 00:23:13,199 Speaker 1: shot the wrong area of the oil rig, which is 363 00:23:13,240 --> 00:23:15,280 Speaker 1: most areas you really shouldn't shoot a gun on an 364 00:23:15,280 --> 00:23:18,240 Speaker 1: oil rigue. What I find more interesting and like a 365 00:23:18,240 --> 00:23:21,320 Speaker 1: lot of what I thought was like interesting about watching 366 00:23:21,320 --> 00:23:24,320 Speaker 1: this movie was like the very I don't know, Like 367 00:23:24,359 --> 00:23:30,000 Speaker 1: Michael Bay does a lot of like hypernationalistic imagery and 368 00:23:30,160 --> 00:23:32,600 Speaker 1: ideas that he pushes in his movies, and I don't 369 00:23:32,600 --> 00:23:36,800 Speaker 1: think he wrote this. I mean there's like credited writers. 370 00:23:36,840 --> 00:23:39,280 Speaker 1: It's kind of like we don't really know who wrote 371 00:23:39,280 --> 00:23:43,000 Speaker 1: this boofy. That's part of the mystery, But I don't know. 372 00:23:43,160 --> 00:23:48,320 Speaker 1: Just like thinking about how it was very plausible to 373 00:23:48,480 --> 00:23:52,600 Speaker 1: have the hero of your movie be the owner of 374 00:23:52,640 --> 00:23:56,000 Speaker 1: an oil rig. I don't think that that would happen, 375 00:23:56,160 --> 00:23:58,679 Speaker 1: at least in a way that would be mass appealing today, 376 00:23:58,800 --> 00:24:01,679 Speaker 1: because I like Bruce Willis character is very much like 377 00:24:01,920 --> 00:24:05,359 Speaker 1: a working class hero, which is a part he plays 378 00:24:05,480 --> 00:24:08,480 Speaker 1: very well. But the fact that they choose and that 379 00:24:08,560 --> 00:24:12,960 Speaker 1: it's important to the plot that he is like not tycoon, 380 00:24:13,040 --> 00:24:16,160 Speaker 1: I guess, but like he's certainly doing fine. He owns 381 00:24:16,160 --> 00:24:19,479 Speaker 1: a fucking oil rig. Like I mean, I think he 382 00:24:19,560 --> 00:24:23,280 Speaker 1: might be a tycoon because he's the best driller in 383 00:24:23,400 --> 00:24:26,680 Speaker 1: the world. So Ben Affleck has some thoughts on that. 384 00:24:26,880 --> 00:24:30,080 Speaker 1: I can't wait to talk about it. But no, I 385 00:24:30,080 --> 00:24:34,520 Speaker 1: I wrote down like the irony of these oil drillers 386 00:24:34,680 --> 00:24:37,720 Speaker 1: saving the planet from an asteroid only to go back 387 00:24:37,720 --> 00:24:42,240 Speaker 1: to Earth and absolutely destroy our planet via oil drilling. 388 00:24:42,640 --> 00:24:45,679 Speaker 1: That's like that's what he has returned. I mean, I mean, 389 00:24:45,720 --> 00:24:48,360 Speaker 1: I guess he doesn't return, but you as I mean 390 00:24:48,400 --> 00:24:51,520 Speaker 1: as Bushemy just going back on the oil rig. Also, 391 00:24:51,800 --> 00:24:54,880 Speaker 1: Bushem's character diabolical for a lot of reasons because there's 392 00:24:54,920 --> 00:24:59,280 Speaker 1: a lot of heavy Like they're insinuating that he is 393 00:24:59,320 --> 00:25:02,280 Speaker 1: a child set offender correct over and over as a joke, 394 00:25:02,400 --> 00:25:07,360 Speaker 1: which is I was not particularly surprised that this director 395 00:25:07,680 --> 00:25:10,600 Speaker 1: had no issue with that. But in any case, on 396 00:25:10,760 --> 00:25:15,840 Speaker 1: top of the nudge nudge wink wink about that, he's 397 00:25:15,920 --> 00:25:19,119 Speaker 1: also they're like they're like Steve Bushemi's character is a genius, 398 00:25:19,760 --> 00:25:23,520 Speaker 1: which means he knows better than to do what he's doing, right, 399 00:25:23,800 --> 00:25:28,160 Speaker 1: which is diabolically plunge the Earth for its natural resources. Yeah, 400 00:25:28,160 --> 00:25:29,560 Speaker 1: so they saved the world, but they're going to come 401 00:25:29,560 --> 00:25:32,800 Speaker 1: back and kill it somewhere. Thanks guys, It'll just take 402 00:25:32,840 --> 00:25:35,840 Speaker 1: a little longer than an asteroid would. They killed Owen Wilson, 403 00:25:35,880 --> 00:25:40,360 Speaker 1: that was bald. He is one of the ones who die. Yes, 404 00:25:40,520 --> 00:25:45,840 Speaker 1: they got his ass. Yeah. Okay, so we meet harry A. 405 00:25:46,080 --> 00:25:49,560 Speaker 1: J and Grace. We cut back to I don't know, 406 00:25:49,680 --> 00:25:53,359 Speaker 1: they're at the Pentagon or something. All these officials are 407 00:25:53,400 --> 00:25:56,160 Speaker 1: trying to figure out what to do about this asteroid 408 00:25:56,280 --> 00:26:01,719 Speaker 1: and how to save humanity, and they're like, well, we 409 00:26:01,760 --> 00:26:05,400 Speaker 1: can't blow it up from the outside, but we can 410 00:26:05,480 --> 00:26:09,920 Speaker 1: blow it up from the inside. Fun idea if we 411 00:26:10,680 --> 00:26:16,000 Speaker 1: drill into the asteroid and plant the nuclear weapons inside. 412 00:26:16,359 --> 00:26:20,320 Speaker 1: Not as fun an idea. Yeah, and there. I guess 413 00:26:20,320 --> 00:26:22,760 Speaker 1: should we wait to share Ben Afflecks thoughts on this, 414 00:26:22,800 --> 00:26:26,560 Speaker 1: because he does point out in the DVD commentary something 415 00:26:26,600 --> 00:26:28,480 Speaker 1: that I don't know, like, it never occurred to you 416 00:26:28,480 --> 00:26:30,439 Speaker 1: when you're a kid, right, Like it wouldn't have occurred 417 00:26:30,480 --> 00:26:32,639 Speaker 1: to me. I guess maybe it would have occurred to 418 00:26:32,640 --> 00:26:36,159 Speaker 1: me now, But I Bennett already said it. I wonder 419 00:26:36,320 --> 00:26:39,600 Speaker 1: if I had that thought even as a youth. I 420 00:26:39,600 --> 00:26:44,280 Speaker 1: don't know what Ben says on this infamous, famous and 421 00:26:44,400 --> 00:26:49,800 Speaker 1: infamous DVD audio commentary, but it's the audio commentary for 422 00:26:49,880 --> 00:26:55,080 Speaker 1: the Criterion Collection. Addition, because he's in the Criterion Collection, 423 00:26:55,359 --> 00:26:57,880 Speaker 1: which so many people have pointed out, what a bizarre 424 00:26:57,960 --> 00:27:02,479 Speaker 1: choice that is, because is the Criterion Collection is usually 425 00:27:02,520 --> 00:27:06,600 Speaker 1: like art house films, forgotten classics, you know, stuff that's 426 00:27:06,760 --> 00:27:12,280 Speaker 1: usually a little more obscure, definitely not mainstream blockbusters like this. 427 00:27:12,960 --> 00:27:17,479 Speaker 1: What did Michael Bay do? Like I do not know. 428 00:27:17,640 --> 00:27:22,600 Speaker 1: Jerry Bruckheimer promised the president of Criterion Collection, New Teeth 429 00:27:22,760 --> 00:27:25,320 Speaker 1: if they put Army get In in in the collection, come 430 00:27:25,320 --> 00:27:29,800 Speaker 1: on right. So the commentary is I think I have 431 00:27:29,880 --> 00:27:32,800 Speaker 1: this right. It's Michael Bay, Jerry Bruckheimer, Bruce Willis, and 432 00:27:33,119 --> 00:27:39,560 Speaker 1: Ben Affleck. Ben Affleck's portions are him like roasting the film. 433 00:27:39,600 --> 00:27:44,720 Speaker 1: Apparently he's doing an extended parody of the film Sling Blade, 434 00:27:44,760 --> 00:27:48,359 Speaker 1: which stars Blay Bob Thornton. He's also making silly sound 435 00:27:48,359 --> 00:27:53,000 Speaker 1: effects during any elaborate stunt scenes, which my favorite example 436 00:27:53,119 --> 00:27:55,560 Speaker 1: is when he makes like a bunch of slurpy sounds 437 00:27:55,560 --> 00:27:58,240 Speaker 1: when someone's going down the oil rig and then Prucess 438 00:27:58,320 --> 00:28:04,960 Speaker 1: like two stunt men almost making this. So he's roasting it. 439 00:28:05,240 --> 00:28:08,240 Speaker 1: And there's one part where he says, I asked Michael 440 00:28:08,320 --> 00:28:11,080 Speaker 1: why it was easier to train oil drillers to become 441 00:28:11,119 --> 00:28:15,560 Speaker 1: astronauts than it was to train astronauts to become oil drillers, 442 00:28:15,800 --> 00:28:18,359 Speaker 1: and he told me to shut the funk up. So 443 00:28:18,440 --> 00:28:22,919 Speaker 1: that was the end of that talk. I love, and 444 00:28:22,960 --> 00:28:26,520 Speaker 1: he does a great Michael Bay impression. Maybe I actually 445 00:28:26,520 --> 00:28:28,480 Speaker 1: don't really know what Michael Bay sounds like. I would 446 00:28:28,520 --> 00:28:30,480 Speaker 1: never listen to him. It makes him sound like a 447 00:28:30,520 --> 00:28:32,920 Speaker 1: fucking creep, so I'm like, yeah, it's probably what he 448 00:28:32,960 --> 00:28:37,320 Speaker 1: sounds like. Yeah, what does he say? He says, I 449 00:28:37,400 --> 00:28:39,840 Speaker 1: was like, you mean it's a real plan at NASA 450 00:28:39,920 --> 00:28:42,440 Speaker 1: to train oil drillers and he was like, just shut 451 00:28:42,480 --> 00:28:46,800 Speaker 1: your mouth. It's great. Yes. So what happens in the 452 00:28:46,840 --> 00:28:52,320 Speaker 1: movie is that NASA recruits the world's best driller, Harry 453 00:28:52,360 --> 00:28:57,520 Speaker 1: Stamper Bruce Willis, who is gonna like train the team 454 00:28:57,560 --> 00:28:59,920 Speaker 1: of ast So originally he's going to train the team 455 00:29:00,040 --> 00:29:04,320 Speaker 1: Fasternots to be drillers and to use a drill of 456 00:29:04,600 --> 00:29:08,680 Speaker 1: Harry's patented design to drill into the asteroid plant. These 457 00:29:08,720 --> 00:29:12,080 Speaker 1: nukes take off and then detonate the bomb from Afar 458 00:29:12,960 --> 00:29:16,440 Speaker 1: and Harry's like, you, you guys can't do it. I 459 00:29:16,480 --> 00:29:18,560 Speaker 1: need to do it, and my team needs to be 460 00:29:18,680 --> 00:29:22,880 Speaker 1: up there with me, and they say okey dokey, They're like, 461 00:29:23,280 --> 00:29:27,200 Speaker 1: sounds great. Bruce. I'm not saying the oil drilling is easy. 462 00:29:27,240 --> 00:29:29,560 Speaker 1: I know it's not. I disagree with it politically, but 463 00:29:29,600 --> 00:29:31,320 Speaker 1: I know it's not an easy thing to do. But 464 00:29:31,360 --> 00:29:34,280 Speaker 1: I think Ben Affleck is correct to point out that 465 00:29:35,240 --> 00:29:38,480 Speaker 1: the reverse would be much easier, or to say, no, 466 00:29:38,720 --> 00:29:42,200 Speaker 1: Bruce Willis, go fuck yourself. We're going to have you know, 467 00:29:42,480 --> 00:29:45,680 Speaker 1: an even you can't bring all of your weird friends 468 00:29:45,760 --> 00:29:48,760 Speaker 1: to space. But Billy Bob Thornton is like, all right, 469 00:29:48,800 --> 00:29:51,400 Speaker 1: I guess you can bring all of your weird friends 470 00:29:51,440 --> 00:29:55,160 Speaker 1: to every last one, but not your daughter for reasons unclear, 471 00:29:55,280 --> 00:29:57,960 Speaker 1: even though we're like, oh, she's so smart, she's so capable, 472 00:29:58,080 --> 00:30:00,520 Speaker 1: but it's not even considered that you would be able 473 00:30:00,560 --> 00:30:05,240 Speaker 1: to go. No. What happens next is what I found 474 00:30:05,240 --> 00:30:08,680 Speaker 1: to be one of the most baffling scenes, because Bruce 475 00:30:08,720 --> 00:30:10,840 Speaker 1: Willis is like, I'm doing this and I'm doing it 476 00:30:10,880 --> 00:30:14,600 Speaker 1: with my friends. So then the government goes around and 477 00:30:14,680 --> 00:30:19,840 Speaker 1: starts rounding up the team, which is Michael Clark Duncan. 478 00:30:19,960 --> 00:30:22,959 Speaker 1: He plays a character named Bear Steve Bush Emmy is 479 00:30:23,720 --> 00:30:27,680 Speaker 1: Roundhouse or something. What's his name hound dog? I don't know, rockhound? 480 00:30:28,120 --> 00:30:31,800 Speaker 1: Um is that true? I think his name is Rockhound. 481 00:30:32,320 --> 00:30:35,240 Speaker 1: And then liv Tyler is like, we call him that 482 00:30:35,360 --> 00:30:39,880 Speaker 1: because he's a hound, because he's horny. I thought, oh, 483 00:30:39,960 --> 00:30:43,720 Speaker 1: that is what the Steve Bushey character. I know that 484 00:30:43,760 --> 00:30:48,240 Speaker 1: we've somewhat retired the bushemy test, however, the name of it, 485 00:30:48,640 --> 00:30:52,040 Speaker 1: the name of it. However, for this one episode, I 486 00:30:52,080 --> 00:30:58,280 Speaker 1: feel like the idea of the original term is pretty 487 00:30:58,560 --> 00:31:01,960 Speaker 1: spot on correct where we'll talk about that later, but 488 00:31:02,000 --> 00:31:04,920 Speaker 1: I was like, jeez, Louise, there was like that. I 489 00:31:04,920 --> 00:31:08,360 Speaker 1: think we've referenced it in every episode we've discussed Michael Bay. 490 00:31:08,400 --> 00:31:10,640 Speaker 1: But there's that oral history that came out in g 491 00:31:10,800 --> 00:31:15,160 Speaker 1: Q years ago now, and there's like, I forget who 492 00:31:15,160 --> 00:31:19,960 Speaker 1: it is, Um, yeah, it's Billy Bob Thornton who mentions 493 00:31:20,200 --> 00:31:23,080 Speaker 1: Steve BUSHEMI looking around the table read for this movie 494 00:31:23,080 --> 00:31:26,680 Speaker 1: and saying, what the funk are we doing here? Which 495 00:31:27,520 --> 00:31:29,640 Speaker 1: is fair. I just hope that they. I mean, I'm 496 00:31:29,680 --> 00:31:32,560 Speaker 1: guessing that they, you know, we're all able to to 497 00:31:32,640 --> 00:31:35,560 Speaker 1: get get a nice little house out of this and 498 00:31:35,640 --> 00:31:38,960 Speaker 1: hopefully they don't think about it too much. They tied 499 00:31:39,040 --> 00:31:44,080 Speaker 1: Steve Bushemy up, they taped my boy up. Well he 500 00:31:44,160 --> 00:31:49,200 Speaker 1: had space dement charge Jamie, but then like he didn't right, 501 00:31:49,440 --> 00:31:52,680 Speaker 1: like did he? I think he got over it pretty quickly. 502 00:31:53,640 --> 00:31:56,440 Speaker 1: I don't know, sneezed. It was gone unclear what was 503 00:31:56,480 --> 00:31:59,040 Speaker 1: going I have just like I don't know what is 504 00:31:59,080 --> 00:32:01,960 Speaker 1: going on in for the entire last hour of this movie. 505 00:32:02,040 --> 00:32:06,800 Speaker 1: My gosh. I also only that's cannon. Yeah. I went 506 00:32:06,960 --> 00:32:12,440 Speaker 1: on an Instagram stories tirade about this movie, but mostly 507 00:32:12,440 --> 00:32:16,160 Speaker 1: about how the third act of this movie. So they 508 00:32:16,200 --> 00:32:19,719 Speaker 1: start drilling on the asteroid, which is effectively the beginning 509 00:32:19,760 --> 00:32:23,040 Speaker 1: of the third act. But when they start drilling, there 510 00:32:23,080 --> 00:32:27,640 Speaker 1: are fifty minutes left of the movie, which means there's 511 00:32:27,680 --> 00:32:32,040 Speaker 1: a fifty minute third act, which is absolutely obscene. That's 512 00:32:32,440 --> 00:32:36,720 Speaker 1: so long for a third act. I can't fathom it, 513 00:32:36,800 --> 00:32:41,560 Speaker 1: and yet it happened. Um Okay, So they're rounding up 514 00:32:41,600 --> 00:32:43,680 Speaker 1: the team. It's all these guys. It's also Owen Wilson. 515 00:32:43,880 --> 00:32:47,120 Speaker 1: It's a j that's been Affleck's character in this like 516 00:32:47,400 --> 00:32:51,680 Speaker 1: getting the team together montage. And here's what's baffling. They 517 00:32:51,720 --> 00:32:56,520 Speaker 1: were all just on Harry's oil rig the day before. 518 00:32:56,600 --> 00:33:00,360 Speaker 1: Basically no time has passed since Harry was like rooted 519 00:33:00,360 --> 00:33:04,720 Speaker 1: for this project. Somehow these guys have dispersed all over 520 00:33:04,800 --> 00:33:06,880 Speaker 1: the country and the whole thing with this movie is 521 00:33:06,880 --> 00:33:09,800 Speaker 1: like there's not enough time. There's only eighteen days until 522 00:33:09,960 --> 00:33:12,960 Speaker 1: the asteroid's going to hit the earth, so like, how 523 00:33:12,960 --> 00:33:16,120 Speaker 1: did they have to? Also, Ben Affleck has started his 524 00:33:16,200 --> 00:33:21,520 Speaker 1: own oil drilling company in the interim in a single day. Yeah, 525 00:33:21,560 --> 00:33:26,280 Speaker 1: any questions, Yeah any? He's like, I love that. He's 526 00:33:26,320 --> 00:33:31,160 Speaker 1: like even though Ben Affleck even like with workers rights, 527 00:33:32,040 --> 00:33:35,080 Speaker 1: you could ruin Bruce will As his life if he 528 00:33:35,360 --> 00:33:40,160 Speaker 1: shot you in the leg at work, right, But he's like, 529 00:33:41,080 --> 00:33:45,880 Speaker 1: best move on and start my own oil company overnight. Uh, 530 00:33:46,040 --> 00:33:47,880 Speaker 1: no one will shoot me in the leg. That no 531 00:33:47,920 --> 00:33:50,320 Speaker 1: one can shoot you if you own the business, which 532 00:33:50,400 --> 00:33:54,280 Speaker 1: I which is not true. People can still shoot you 533 00:33:54,360 --> 00:33:57,120 Speaker 1: if you own the business. True. All the gun play 534 00:33:57,160 --> 00:34:00,520 Speaker 1: in this movie is so fucking goofy. I mean, like 535 00:34:00,560 --> 00:34:04,600 Speaker 1: the lines where I laughed out loud il Weld to 536 00:34:04,680 --> 00:34:08,800 Speaker 1: borrow a term. Someone says someone in like the NASA 537 00:34:09,120 --> 00:34:11,840 Speaker 1: brain Trust is like, how bad is it going to be? 538 00:34:12,040 --> 00:34:14,920 Speaker 1: And someone's like, basically the worst part of the Bible. 539 00:34:15,120 --> 00:34:19,280 Speaker 1: I was laughing when Bruce or no, it's it's maybe 540 00:34:19,280 --> 00:34:21,520 Speaker 1: Steve bushevy he says, man, why do you got a 541 00:34:21,520 --> 00:34:26,880 Speaker 1: gun in space? Laughing he's got space dementia? Of course 542 00:34:26,960 --> 00:34:31,560 Speaker 1: I'm laughing. And it's when when Steve Bushey has space dementia? 543 00:34:31,880 --> 00:34:35,000 Speaker 1: Is when he he has this machine gun which they've 544 00:34:35,000 --> 00:34:38,040 Speaker 1: brought to space for some reason, different from the like 545 00:34:38,080 --> 00:34:42,520 Speaker 1: the handgun that's behind this like lock and key, secret, oh, 546 00:34:42,600 --> 00:34:45,480 Speaker 1: top secret. Only use this handgun if you need to 547 00:34:45,640 --> 00:34:50,760 Speaker 1: shoot the oil drillers or something. Chekhov's full ass artillery 548 00:34:50,800 --> 00:34:54,400 Speaker 1: is Checkov's militia is in this. But they have these 549 00:34:54,440 --> 00:34:59,600 Speaker 1: like enormous guns that they bring to space for what 550 00:35:00,600 --> 00:35:04,360 Speaker 1: for the for the movie, for the big movie, for 551 00:35:04,440 --> 00:35:08,640 Speaker 1: the big scene. Oh my god, it's so goofy. I mean, 552 00:35:08,680 --> 00:35:11,040 Speaker 1: I can be mad. It's to be clear, we're going 553 00:35:11,080 --> 00:35:12,480 Speaker 1: to be joking around for a lot of this movie. 554 00:35:12,520 --> 00:35:14,560 Speaker 1: It's a horrible movie. I mean it's like the worst 555 00:35:15,160 --> 00:35:18,120 Speaker 1: and we're not even like pushing back against really many 556 00:35:18,160 --> 00:35:21,640 Speaker 1: opinions by saying that people hated it when it came out. 557 00:35:21,880 --> 00:35:27,799 Speaker 1: It's still suck shit. But but the Criterion collection loved it. 558 00:35:27,920 --> 00:35:32,920 Speaker 1: Someone help someone held Mr Criterion at you know, Space 559 00:35:32,960 --> 00:35:37,319 Speaker 1: Bazooka point and they're like put it in who knows? 560 00:35:37,400 --> 00:35:41,800 Speaker 1: And and this movie, and I think the most forced 561 00:35:41,880 --> 00:35:45,520 Speaker 1: way that we've covered in a while is about fathers 562 00:35:45,520 --> 00:35:47,799 Speaker 1: and sons when it very much does not have to be. 563 00:35:48,120 --> 00:35:51,359 Speaker 1: You can cut out Ben Affleck's character and just let 564 00:35:51,400 --> 00:35:54,640 Speaker 1: live Tyler got But but they would never do that, 565 00:35:54,719 --> 00:35:57,440 Speaker 1: and so they have to create a convoluted b boopy 566 00:35:57,520 --> 00:36:01,200 Speaker 1: boopy boop. And now it's still about fathers. Since unbelievable, 567 00:36:01,239 --> 00:36:06,600 Speaker 1: we'll talk about it. So the team assembles and they 568 00:36:06,600 --> 00:36:10,480 Speaker 1: start prepping for this job and this journey through space 569 00:36:10,760 --> 00:36:16,160 Speaker 1: fun montage. They get medical and psych evaluations, they start 570 00:36:16,239 --> 00:36:20,399 Speaker 1: training for how to be in space. Billy Bob explains 571 00:36:20,760 --> 00:36:24,600 Speaker 1: the plan for how they're going to go into space. 572 00:36:25,200 --> 00:36:29,640 Speaker 1: Stop at a Russian space station to refuel, then slingshot 573 00:36:29,680 --> 00:36:33,800 Speaker 1: around the moon, catch up with the asteroid from behind, 574 00:36:34,560 --> 00:36:39,000 Speaker 1: land on it, and then drill baby, drill to eight 575 00:36:39,080 --> 00:36:45,840 Speaker 1: hundred feet. This is the most like American sounding bizarro 576 00:36:46,040 --> 00:36:49,399 Speaker 1: nonsense in the entire world, and you're just like, yeah, 577 00:36:49,480 --> 00:36:52,400 Speaker 1: we're gonna shot around the moon. Honestly, I was like, 578 00:36:52,560 --> 00:36:54,680 Speaker 1: all right, I guess that's I'm sure they're going to 579 00:36:54,800 --> 00:36:59,640 Speaker 1: do it. Yeah, And they did. The Wikipedia, uh scholarly 580 00:36:59,680 --> 00:37:03,800 Speaker 1: Journal of course page for this movie is mostly about 581 00:37:03,840 --> 00:37:07,279 Speaker 1: how a bunch of scientists have debunked all of the 582 00:37:07,480 --> 00:37:10,960 Speaker 1: like quote unquote science in this movie. Sure well, And 583 00:37:11,000 --> 00:37:16,200 Speaker 1: it also sounded like per affleck that Michael Bay, because 584 00:37:16,400 --> 00:37:19,560 Speaker 1: his movies are so needlessly expensive, he had a number 585 00:37:19,600 --> 00:37:24,479 Speaker 1: of NASA consultants on set and just ignored them all 586 00:37:24,600 --> 00:37:26,960 Speaker 1: the time. So it's like not surprising at all that 587 00:37:27,040 --> 00:37:29,000 Speaker 1: nothing makes sense. But I also thought it was funny 588 00:37:29,000 --> 00:37:31,920 Speaker 1: where we're always like, you know, you have to build 589 00:37:31,920 --> 00:37:33,959 Speaker 1: consulting into your budget if you're going to do something 590 00:37:34,000 --> 00:37:36,800 Speaker 1: you don't know, but he did, and then he was 591 00:37:36,840 --> 00:37:40,680 Speaker 1: just like, shut up, don't need to shut the funk up. 592 00:37:41,640 --> 00:37:44,280 Speaker 1: His fire is happening in fire is happening in space, 593 00:37:44,400 --> 00:37:51,760 Speaker 1: You NASA fucking dorks, Like it was yeah, yes, um, okay, 594 00:37:51,760 --> 00:37:54,719 Speaker 1: So they're going to do this whole plan to shuttles 595 00:37:54,719 --> 00:37:57,680 Speaker 1: are going to go to the asteroid and once they 596 00:37:57,880 --> 00:38:03,320 Speaker 1: freedom and independence come on perfect writing no notes. Once 597 00:38:03,520 --> 00:38:06,440 Speaker 1: they land, they will have eight hours to plant the 598 00:38:06,520 --> 00:38:10,920 Speaker 1: nuclear bomb and leave before it's too late and the 599 00:38:10,960 --> 00:38:16,480 Speaker 1: asteroid hits the earth. Meanwhile, A J is like, hey, Grace, 600 00:38:17,080 --> 00:38:20,160 Speaker 1: marry me. In a scene where Bruce Willis is watching 601 00:38:20,200 --> 00:38:24,520 Speaker 1: them make out, watching from behind a oil rag. I 602 00:38:24,520 --> 00:38:27,799 Speaker 1: don't know what the set is that they're on. They're 603 00:38:27,800 --> 00:38:30,920 Speaker 1: sitting in an oil contraption. He's peeking from behind a 604 00:38:31,000 --> 00:38:34,200 Speaker 1: curtain like he's Cia Knightly and Pride and prejudice watching 605 00:38:34,200 --> 00:38:36,800 Speaker 1: them make out. And then he's like, all right, I 606 00:38:36,800 --> 00:38:38,799 Speaker 1: guess they're making out, and he walks away. And then 607 00:38:38,840 --> 00:38:42,120 Speaker 1: two seconds later ben Affleck is like, will you marry me? 608 00:38:42,280 --> 00:38:44,520 Speaker 1: And she just smiles and then he puts the ring on. 609 00:38:44,560 --> 00:38:49,000 Speaker 1: She doesn't even say yes. She does not say yes. Okay, 610 00:38:49,160 --> 00:38:53,799 Speaker 1: So that happens. Then we get more scenes of like 611 00:38:54,080 --> 00:38:59,000 Speaker 1: training and space simulations. Now it's only like twelve days 612 00:38:59,080 --> 00:39:04,480 Speaker 1: before the ask terroid makes impact. Tension is high. Harry 613 00:39:04,760 --> 00:39:07,960 Speaker 1: is like, hey, Billy, Bob Thornton, you gotta let these 614 00:39:07,960 --> 00:39:12,040 Speaker 1: guys spend time with their families. We gotta get morale up. 615 00:39:12,600 --> 00:39:14,359 Speaker 1: And this is when we get the scene where Ben 616 00:39:14,360 --> 00:39:19,640 Speaker 1: Affleck puts animal crackers on liv Tyler down her pants 617 00:39:19,800 --> 00:39:23,600 Speaker 1: on her boobs, and it's supposed to be sexy, and 618 00:39:23,640 --> 00:39:25,320 Speaker 1: a lot of people felt that way. I don't know 619 00:39:25,320 --> 00:39:28,120 Speaker 1: if people didn't think that, yes, and this is around 620 00:39:28,160 --> 00:39:31,280 Speaker 1: the time I would say that the character of Grace 621 00:39:31,400 --> 00:39:36,840 Speaker 1: that is established disappears goes away. They did. I was 622 00:39:36,880 --> 00:39:39,480 Speaker 1: interested in because I mean, and I do think this 623 00:39:39,560 --> 00:39:42,319 Speaker 1: is like looking back at Michael bay movies we've covered, 624 00:39:42,360 --> 00:39:44,759 Speaker 1: I think this is kind of like Serial Behavior for 625 00:39:44,840 --> 00:39:46,759 Speaker 1: his movie, where I feel like he almost tries to 626 00:39:46,800 --> 00:39:49,880 Speaker 1: trick you by setting up a woman at the beginning 627 00:39:49,920 --> 00:39:52,799 Speaker 1: of the movie who like there's stakes to her. It 628 00:39:52,800 --> 00:39:55,120 Speaker 1: seems like she might be able to do something. But 629 00:39:55,239 --> 00:39:58,680 Speaker 1: then sometime early in the second act they're like, well 630 00:39:58,800 --> 00:40:02,000 Speaker 1: but but that's not gonna happen. She's she's daughter and 631 00:40:02,040 --> 00:40:04,400 Speaker 1: she's wife, and that's sort of how the rest of 632 00:40:04,400 --> 00:40:06,600 Speaker 1: the movie goes. But I was surprised at how much 633 00:40:06,760 --> 00:40:11,400 Speaker 1: they established Grace at the beginning and for how little 634 00:40:11,440 --> 00:40:13,640 Speaker 1: they did with her, because she could speak Mandarin, like, 635 00:40:14,040 --> 00:40:17,440 Speaker 1: she was like well respected at her like at the job, 636 00:40:17,719 --> 00:40:20,680 Speaker 1: she had all of these like well, we'll talk about 637 00:40:20,680 --> 00:40:22,600 Speaker 1: that in the characters. Actually, I was just like so 638 00:40:22,680 --> 00:40:24,719 Speaker 1: frustrating that they're like but by the time you get 639 00:40:24,760 --> 00:40:28,759 Speaker 1: to animal Crackers, she's gone, She's left the building. Yeah, 640 00:40:29,320 --> 00:40:34,400 Speaker 1: she's girlfriend forever now. So the boys are enjoying their 641 00:40:34,520 --> 00:40:39,920 Speaker 1: night off. Meanwhile, a small asteroid or several of them 642 00:40:40,160 --> 00:40:46,800 Speaker 1: hit East Asia, which promptly in Shanghai, Shanghai, which prompts Dottie, 643 00:40:46,880 --> 00:40:50,520 Speaker 1: the woman married to the very verbally abuse of guy Carl. 644 00:40:51,440 --> 00:40:55,880 Speaker 1: It prompts her to leak the information about the huge 645 00:40:56,080 --> 00:40:59,120 Speaker 1: asteroid that's you know, that's global killer that's coming to 646 00:40:59,239 --> 00:41:02,320 Speaker 1: Earth to kill every one. She leaks this to the press, 647 00:41:02,600 --> 00:41:06,319 Speaker 1: so now everyone in the world knows about this impending doom. 648 00:41:06,360 --> 00:41:09,640 Speaker 1: And I will say Dottie outside of what is the 649 00:41:09,760 --> 00:41:14,280 Speaker 1: name of the woman astronaut Watts? Watts? Okay, So Dottie 650 00:41:14,320 --> 00:41:16,920 Speaker 1: and Watts are neck and neck for most active women 651 00:41:16,960 --> 00:41:18,880 Speaker 1: in the story. You think it's going to be Grace, 652 00:41:19,000 --> 00:41:20,840 Speaker 1: and the movie wants you to think it's Grace, but 653 00:41:20,920 --> 00:41:23,160 Speaker 1: it isn't. I would say Dottie has the most narrative 654 00:41:23,160 --> 00:41:26,120 Speaker 1: impact of any woman in the story, but the least 655 00:41:26,160 --> 00:41:29,920 Speaker 1: amount of screen time. Oddly so, she made she made 656 00:41:29,960 --> 00:41:32,880 Speaker 1: a meal of what she was given because if she 657 00:41:32,920 --> 00:41:34,759 Speaker 1: hadn't told And I'm like, also, I was trying to 658 00:41:34,800 --> 00:41:36,400 Speaker 1: put myself in her shoes. And then I was like, 659 00:41:36,440 --> 00:41:39,319 Speaker 1: this movie is so convoluted. I'm going to stop thinking 660 00:41:39,360 --> 00:41:41,160 Speaker 1: about this. I was like, what would I have done 661 00:41:41,239 --> 00:41:43,800 Speaker 1: in Dottie's position, because you don't want to cause mass panic, 662 00:41:43,800 --> 00:41:46,799 Speaker 1: which she kind of does, but she does. But then 663 00:41:46,840 --> 00:41:49,279 Speaker 1: also you don't want to the world to not have 664 00:41:49,360 --> 00:41:52,839 Speaker 1: the chance to make their peace and say they love 665 00:41:53,040 --> 00:41:57,160 Speaker 1: you know, So where I burdened with Dottie's burden, I 666 00:41:57,200 --> 00:41:58,960 Speaker 1: don't know what I would do. I hope I never 667 00:41:59,000 --> 00:42:00,480 Speaker 1: have to think of I hope I never have to 668 00:42:01,360 --> 00:42:05,760 Speaker 1: do that. Fingers crossed. Also, by this time, we've already 669 00:42:05,760 --> 00:42:09,960 Speaker 1: gotten like a lot of like chosen one narratives with Harry, 670 00:42:10,040 --> 00:42:12,840 Speaker 1: and it's like there's I mean, you do need to 671 00:42:12,880 --> 00:42:16,359 Speaker 1: think that he is like so the protagonist because he's 672 00:42:16,360 --> 00:42:18,839 Speaker 1: Bruce willis like, of course he's the protagonist. He has 673 00:42:19,560 --> 00:42:22,800 Speaker 1: he has the energy for it, right, But like there's 674 00:42:22,800 --> 00:42:26,520 Speaker 1: all these like lines where he's like six billion people 675 00:42:26,560 --> 00:42:29,719 Speaker 1: in the world, why me? But no one really is 676 00:42:29,719 --> 00:42:32,399 Speaker 1: able to answer that question. I don't know what like 677 00:42:32,880 --> 00:42:35,360 Speaker 1: we simply don't know. Ben Affleck doesn't have the answer 678 00:42:35,400 --> 00:42:41,920 Speaker 1: to that question, and it sounds like it really haunts him. Okay, 679 00:42:42,040 --> 00:42:45,400 Speaker 1: so Harry and a J and the rest of the 680 00:42:45,440 --> 00:42:49,880 Speaker 1: team plus several astronauts. I think Gruber might be one 681 00:42:49,920 --> 00:42:52,640 Speaker 1: of the astronauts. But even so when they're like we 682 00:42:52,760 --> 00:42:56,680 Speaker 1: lost Gruber, we're still I think so. But which of 683 00:42:56,760 --> 00:42:59,160 Speaker 1: Bruce willis his friends? Is that? Because Bruce Willis has 684 00:42:59,200 --> 00:43:02,959 Speaker 1: like two either two or three, don't really know, two 685 00:43:03,040 --> 00:43:07,680 Speaker 1: or three guys that have kind of like marine haircuts 686 00:43:07,719 --> 00:43:10,319 Speaker 1: that all kind of look like the same guy, and 687 00:43:10,600 --> 00:43:13,640 Speaker 1: one of them is Gruber. I'm pretty sure. No. I 688 00:43:13,680 --> 00:43:17,040 Speaker 1: think Gruber is one of the like NASA guys who 689 00:43:17,200 --> 00:43:20,560 Speaker 1: is like not even really introduced. That's another interesting thing 690 00:43:20,560 --> 00:43:23,680 Speaker 1: about Michael bay movies is they well, actually not exclusively, 691 00:43:24,040 --> 00:43:27,480 Speaker 1: but there are ones that have kind of this I 692 00:43:27,520 --> 00:43:29,319 Speaker 1: don't know, I feel like you can view it like 693 00:43:29,400 --> 00:43:31,840 Speaker 1: there's there's different ways to view it where you know, 694 00:43:31,880 --> 00:43:34,680 Speaker 1: he's very like this movie in particular is very like 695 00:43:35,000 --> 00:43:38,799 Speaker 1: pro working man and pro working class, and like they're 696 00:43:38,920 --> 00:43:41,520 Speaker 1: very much the heroes. But then you can also view 697 00:43:41,520 --> 00:43:45,959 Speaker 1: it as like kind of really anti intellectual, um where 698 00:43:46,040 --> 00:43:51,120 Speaker 1: the NASA astronauts, who logistically would know more than Bruce 699 00:43:51,120 --> 00:43:53,319 Speaker 1: Willis who started being trained as an astronaut less than 700 00:43:53,360 --> 00:43:57,320 Speaker 1: two weeks ago. They're like framed as like the villains 701 00:43:58,000 --> 00:44:01,920 Speaker 1: at many points, so like the losers don't know what 702 00:44:01,960 --> 00:44:06,040 Speaker 1: they're doing. They all die in space even though they 703 00:44:06,040 --> 00:44:08,680 Speaker 1: are trained astronauts. I don't know. Yeah, I mean there's 704 00:44:08,760 --> 00:44:13,520 Speaker 1: there's definitely it's a complex text because I am like 705 00:44:13,719 --> 00:44:16,759 Speaker 1: working class heroes, like that's that's great, you know, I 706 00:44:16,840 --> 00:44:20,120 Speaker 1: love that. But also, just because your hero is a 707 00:44:20,160 --> 00:44:24,360 Speaker 1: working class person doesn't mean that all scientists are also evil. 708 00:44:24,840 --> 00:44:31,560 Speaker 1: It just feels like maybe oversimplified anyways. Whatever, So everyone 709 00:44:31,800 --> 00:44:34,319 Speaker 1: gets on the two space shuttles and they take off 710 00:44:34,320 --> 00:44:37,839 Speaker 1: into space, Harry on one shuttle and a j on 711 00:44:37,920 --> 00:44:42,120 Speaker 1: the other. They stop at the Russian space station to refuel, 712 00:44:42,440 --> 00:44:46,800 Speaker 1: where they meet Lev played by Peter Stormare who I 713 00:44:46,840 --> 00:44:55,680 Speaker 1: think is doing a Grew impression. Okay thoughts, Okay, I 714 00:44:55,760 --> 00:44:59,200 Speaker 1: didn't think of that, I thought because I was like, clearly, 715 00:44:59,400 --> 00:45:04,640 Speaker 1: you know, there's like some Cold War hangover vibes to yeah, 716 00:45:04,960 --> 00:45:08,560 Speaker 1: the Peter Storm character, And I was like, but I 717 00:45:08,800 --> 00:45:12,960 Speaker 1: assumed he was an American doing a Russian accent. He's 718 00:45:13,000 --> 00:45:18,680 Speaker 1: actually Swedish doing a Russian accent. Anyways, no matter, either way, 719 00:45:18,800 --> 00:45:23,400 Speaker 1: it's pretty weird. Um but Grew, Yeah, but Grew's but 720 00:45:23,440 --> 00:45:27,359 Speaker 1: Grew's a hero. That's implying that Grew is playing I mean, 721 00:45:27,480 --> 00:45:30,719 Speaker 1: I guess Grew is actually playing second fiddle too, the 722 00:45:31,040 --> 00:45:34,239 Speaker 1: kind of a lot of characters. Yeah, he is. But 723 00:45:34,920 --> 00:45:38,000 Speaker 1: you know, you would never hear, you know, minions the 724 00:45:38,080 --> 00:45:42,120 Speaker 1: rise of Lev Andropov. You wouldn't hear that. True, it's 725 00:45:42,160 --> 00:45:46,120 Speaker 1: not going to happen. True. Sorry, So grew even and 726 00:45:46,160 --> 00:45:54,239 Speaker 1: that's the growth, the cold hard growth grew false this. Yes, 727 00:45:54,400 --> 00:45:57,680 Speaker 1: I think that um Steve Carell was robbed. He really 728 00:45:57,680 --> 00:46:01,640 Speaker 1: could have He really could have shown his stuff. But 729 00:46:01,760 --> 00:46:05,640 Speaker 1: it could have been a long audition for Grew. True. Anyway, 730 00:46:05,760 --> 00:46:10,200 Speaker 1: So Lev is on the space station and he's helping 731 00:46:10,239 --> 00:46:14,520 Speaker 1: them refuel. But there's a leak and an explosion with 732 00:46:14,640 --> 00:46:18,400 Speaker 1: lots of fire in space, and the whole Russian space 733 00:46:18,440 --> 00:46:23,839 Speaker 1: station explodes. Then they sling shot around the Moon and 734 00:46:23,920 --> 00:46:27,960 Speaker 1: approached the asteroid from behind, but one of the shuttles 735 00:46:28,200 --> 00:46:32,280 Speaker 1: hits debris from the asteroid and loses control and crashes. 736 00:46:33,040 --> 00:46:37,440 Speaker 1: We think maybe a J died back on Earth. Grace 737 00:46:37,560 --> 00:46:40,320 Speaker 1: is sad because it was the shuttle that A J 738 00:46:40,560 --> 00:46:43,319 Speaker 1: was on. But it turns out there are a few 739 00:46:43,360 --> 00:46:50,240 Speaker 1: survivors A J. Lev and Bear. That's Michael Clarke, Duncan 740 00:46:50,800 --> 00:46:54,759 Speaker 1: um Owen Wilson dead dead r I P. I guess 741 00:46:54,800 --> 00:46:58,280 Speaker 1: that Michael basa bottle rocket And it was like, yeah, 742 00:46:58,680 --> 00:47:02,799 Speaker 1: let's get this guy. That's fun. But also I kind 743 00:47:02,840 --> 00:47:08,640 Speaker 1: of forgot that he was in the movie, so did I? Um? Meanwhile, oh, 744 00:47:09,040 --> 00:47:13,600 Speaker 1: the other shuttle overshot their landing by twenty six miles 745 00:47:14,520 --> 00:47:20,640 Speaker 1: and the Boston marathon just the Boston one, though other 746 00:47:20,719 --> 00:47:28,520 Speaker 1: marathons different. Me and Ben Affleck agree it's and Arrowsmith 747 00:47:28,840 --> 00:47:32,200 Speaker 1: of course. Um. Yeah, So they landed on part of 748 00:47:32,200 --> 00:47:35,239 Speaker 1: the asteroid that's like an iron plate, which means it's 749 00:47:35,239 --> 00:47:37,600 Speaker 1: going to be very hard to drill through. I don't 750 00:47:37,640 --> 00:47:44,279 Speaker 1: know how NASA knew the like elemental compounds of the 751 00:47:44,320 --> 00:47:47,759 Speaker 1: different parts of the asteroid, but they knew. Was this 752 00:47:47,800 --> 00:47:51,040 Speaker 1: one of the contested science points of Like, now this 753 00:47:51,120 --> 00:47:53,000 Speaker 1: is one of my questions. I mean, maybe it was, 754 00:47:53,160 --> 00:47:56,759 Speaker 1: but I was like, did they send scouts to the 755 00:47:56,800 --> 00:48:00,080 Speaker 1: asteroid to check it out? Like I don't like a 756 00:48:00,120 --> 00:48:03,799 Speaker 1: basketball like a basketball playing teenager. I don't know. I mean, 757 00:48:03,840 --> 00:48:06,040 Speaker 1: I honestly, I think I went so smooth brain on 758 00:48:06,080 --> 00:48:08,880 Speaker 1: this viewing experience where I'm like, whatever Michael Bay is 759 00:48:08,880 --> 00:48:11,600 Speaker 1: going to tell me about space will be wrong, but 760 00:48:12,440 --> 00:48:15,440 Speaker 1: I'm going to proceed as if it is true. And 761 00:48:15,600 --> 00:48:18,120 Speaker 1: what By the time they arrived and they're like exactly, 762 00:48:18,239 --> 00:48:22,000 Speaker 1: I was like, yeah, I mean they're yeah, they're astronauts. 763 00:48:22,600 --> 00:48:25,680 Speaker 1: I just if you think about like things that take 764 00:48:26,080 --> 00:48:29,399 Speaker 1: like what if you spent twelve days on and how 765 00:48:29,440 --> 00:48:32,799 Speaker 1: good were you at it? It's like, yeah, I have 766 00:48:32,880 --> 00:48:35,720 Speaker 1: not been able to learn the you know, steps in 767 00:48:35,880 --> 00:48:40,000 Speaker 1: like one song of anything goes in twelve days, you know, 768 00:48:40,040 --> 00:48:42,880 Speaker 1: like high school theater productions don't come together that quickly. 769 00:48:42,920 --> 00:48:45,680 Speaker 1: How are we saving the world? I've been learning Spanish 770 00:48:45,719 --> 00:48:48,840 Speaker 1: for three years and I can still barely string a 771 00:48:48,920 --> 00:48:52,799 Speaker 1: sentence together, Like these things take time. I guess you're 772 00:48:52,840 --> 00:48:57,040 Speaker 1: no Owen Wilson, but except actually he flopped, he died. 773 00:48:57,080 --> 00:49:00,120 Speaker 1: He flopped. That's how I described people who die in 774 00:49:00,200 --> 00:49:04,759 Speaker 1: a rocket accident. They flopped, flopped ship trying harder. Um, 775 00:49:04,800 --> 00:49:07,520 Speaker 1: so it's gonna be really hard to drill because they're 776 00:49:07,600 --> 00:49:12,120 Speaker 1: drilling through iron, and it makes sense their machinery is 777 00:49:12,200 --> 00:49:15,719 Speaker 1: breaking and their way behind schedule with how deep they're 778 00:49:15,719 --> 00:49:20,080 Speaker 1: supposed to be at this point, and Harry and the 779 00:49:20,120 --> 00:49:25,600 Speaker 1: astronaut guy in charge, Colonel Sharp played by William Fichtner, 780 00:49:26,040 --> 00:49:29,000 Speaker 1: is how you say, it looks like um Killian Murphy 781 00:49:29,000 --> 00:49:33,759 Speaker 1: a little bit. He yes, they have similar eyeballs, um 782 00:49:34,360 --> 00:49:38,959 Speaker 1: big sad eyes. So he Colonel Sharp and Harry are 783 00:49:39,560 --> 00:49:43,640 Speaker 1: screaming at each other. And if the stakes weren't high enough, 784 00:49:44,520 --> 00:49:51,560 Speaker 1: some gravitational space stuff happens and messes with a communication 785 00:49:51,680 --> 00:49:55,919 Speaker 1: between NASA and the guys in space, and they only 786 00:49:55,960 --> 00:49:59,279 Speaker 1: have a few minutes left before they can detonate the 787 00:49:59,320 --> 00:50:02,880 Speaker 1: nuclear ball remotely, and then they'll lose their chance, sucker 788 00:50:03,080 --> 00:50:07,239 Speaker 1: freaking blue. So the President of the US gives an 789 00:50:07,360 --> 00:50:12,200 Speaker 1: order to detonate the nuclear bomb while they still can, 790 00:50:12,360 --> 00:50:15,560 Speaker 1: while they still are in contact and like have the communication, 791 00:50:16,200 --> 00:50:18,520 Speaker 1: even though the whole has only been drilled to fifty 792 00:50:18,560 --> 00:50:21,520 Speaker 1: seven ft when they needed to be eight hundred, and 793 00:50:21,600 --> 00:50:24,319 Speaker 1: Billy Bob Thornton's like, oh no, this is a horrible plan. 794 00:50:24,920 --> 00:50:28,040 Speaker 1: The clock on the bomb starts taking down. Lift Tyler 795 00:50:28,160 --> 00:50:32,960 Speaker 1: tackles somebody. Yeah, yeah, she's like, that's my father up there, 796 00:50:33,360 --> 00:50:35,200 Speaker 1: and you're like, yep, that is her role at this 797 00:50:35,239 --> 00:50:38,880 Speaker 1: time in the plot. If she just has to loudly 798 00:50:39,040 --> 00:50:42,720 Speaker 1: reminders other people of her relationship to the men in space, 799 00:50:42,960 --> 00:50:45,480 Speaker 1: it's true. But yeah, Billy Bob Thornton, he's kind of 800 00:50:45,560 --> 00:50:50,359 Speaker 1: unequivocally like he's like lawful good. I feel like, as 801 00:50:50,400 --> 00:50:54,400 Speaker 1: the movie presents it, Yeah, or maybe a lawful neutral 802 00:50:54,400 --> 00:50:56,239 Speaker 1: because he does go wrong. No love well, I guess 803 00:50:56,280 --> 00:50:58,960 Speaker 1: lawful good because he does eventually make the right decision, 804 00:50:59,040 --> 00:51:03,080 Speaker 1: but he needs to be talked into it. Yeah. I 805 00:51:03,120 --> 00:51:05,759 Speaker 1: can't remember exactly how that plays out. He's yelling at 806 00:51:05,920 --> 00:51:08,440 Speaker 1: Keith David though, and he's like, this is the fucking 807 00:51:08,480 --> 00:51:11,000 Speaker 1: wrong thing to do and you know it. Yeah, and 808 00:51:11,000 --> 00:51:13,960 Speaker 1: then Keith David's like, I don't know all the freaking 809 00:51:13,960 --> 00:51:19,040 Speaker 1: president so much so, the clock on the bomb starts 810 00:51:19,080 --> 00:51:22,240 Speaker 1: ticking down. They have five minutes to get the shuttle 811 00:51:22,320 --> 00:51:26,040 Speaker 1: off the asteroid before the bomb detonates, and then back 812 00:51:26,080 --> 00:51:29,400 Speaker 1: on Earth like people are stopping the countdown, they're overriding 813 00:51:29,520 --> 00:51:35,640 Speaker 1: the overrides, until finally Colonel Sharp on the asteroid stops 814 00:51:35,640 --> 00:51:42,440 Speaker 1: the countdown so that the drillers can get the job done. Meanwhile, 815 00:51:43,000 --> 00:51:48,400 Speaker 1: A J. Bear and Lev are in a space vehicle 816 00:51:49,040 --> 00:51:53,800 Speaker 1: called the Armadillo. They are driving to the drill site. 817 00:51:54,560 --> 00:51:59,120 Speaker 1: They're like crashing around, it's chaos. The asteroid is very spiky. 818 00:51:59,440 --> 00:52:03,200 Speaker 1: They're like, think a lot of spikes. Back the drill site, 819 00:52:03,400 --> 00:52:08,640 Speaker 1: Steve Bushemy develops what I think it's Colonel Sharp calls 820 00:52:08,800 --> 00:52:15,040 Speaker 1: space dementia, and then there's like and then there's an 821 00:52:15,120 --> 00:52:20,920 Speaker 1: earthquake on the asteroid and their drill blows away into 822 00:52:20,920 --> 00:52:26,360 Speaker 1: outer space, so it seems like the mission is a failure. Meanwhile, 823 00:52:27,239 --> 00:52:31,440 Speaker 1: smaller bits of the asteroid are hitting Earth. Paris gets 824 00:52:31,480 --> 00:52:37,400 Speaker 1: completely wiped out, chaos erupts on Earth. All hope is lost. 825 00:52:38,160 --> 00:52:44,040 Speaker 1: But then a J shows up in the Armadillo, which 826 00:52:44,080 --> 00:52:47,440 Speaker 1: has the other drill on it. They keep drilling. They 827 00:52:47,480 --> 00:52:52,960 Speaker 1: get to eight hundred feet, but then there is a 828 00:52:53,000 --> 00:53:00,680 Speaker 1: meteor shower on the asteroid, and any question and then 829 00:53:01,120 --> 00:53:04,800 Speaker 1: and it crashes into everybody and it damages the bomb's 830 00:53:04,960 --> 00:53:07,800 Speaker 1: remote detonator, which means that someone has to stay behind 831 00:53:07,920 --> 00:53:11,879 Speaker 1: to detonate the bomb. They draw straws, which they just 832 00:53:12,000 --> 00:53:16,200 Speaker 1: happened to have on the Space Shuttle, and a J 833 00:53:16,640 --> 00:53:19,600 Speaker 1: draws the short one, which I only knew because everyone 834 00:53:19,680 --> 00:53:22,680 Speaker 1: told me that. Not because there's any clear visual information 835 00:53:22,800 --> 00:53:25,600 Speaker 1: that shows that he has the short one. No, because 836 00:53:25,680 --> 00:53:28,320 Speaker 1: they don't. They can't keep a shot on anyone for 837 00:53:28,400 --> 00:53:35,080 Speaker 1: more than like point two seconds sevens And and in 838 00:53:35,120 --> 00:53:38,520 Speaker 1: the music, it's so loud and so fast, and I mean, 839 00:53:38,800 --> 00:53:40,879 Speaker 1: it would be kind of fun to have seen this 840 00:53:40,920 --> 00:53:43,640 Speaker 1: movie in theaters because you're just like, how would you 841 00:53:43,680 --> 00:53:45,120 Speaker 1: know what was going on? But it has to be 842 00:53:45,160 --> 00:53:49,399 Speaker 1: like consuming to not know what's happening. I do want 843 00:53:49,400 --> 00:53:53,600 Speaker 1: to take a moment to point out the rare instance 844 00:53:53,960 --> 00:53:58,560 Speaker 1: where I agree with Roger Ebert in his review of 845 00:53:58,600 --> 00:54:03,080 Speaker 1: the movie. He says, quote, the movie is an assault 846 00:54:03,360 --> 00:54:07,200 Speaker 1: on the eyes, the ears, the brain, the common sense, 847 00:54:07,480 --> 00:54:11,040 Speaker 1: and the human desire to be entertained. Yeah. I mean 848 00:54:11,080 --> 00:54:15,160 Speaker 1: when he when he hit, he hit, you know, he 849 00:54:15,239 --> 00:54:18,000 Speaker 1: wasn't always wrong. I thought it was funny that Siskell 850 00:54:18,040 --> 00:54:19,360 Speaker 1: gave it a thumbs up, and he was like, I 851 00:54:19,400 --> 00:54:21,600 Speaker 1: don't know, it's kind of fun. I think that's also 852 00:54:21,840 --> 00:54:26,800 Speaker 1: a completely reasonable take on its short Okay, so someone 853 00:54:26,920 --> 00:54:30,040 Speaker 1: has to stay behind to detonate the bomb, and A 854 00:54:30,200 --> 00:54:34,560 Speaker 1: J has drawn the short straw. But Harry had promised 855 00:54:34,800 --> 00:54:40,400 Speaker 1: Grace that he would bring back her fiance safely to earth. 856 00:54:41,640 --> 00:54:45,279 Speaker 1: Did you mean my fiance, my fiance. That's how they 857 00:54:45,320 --> 00:54:51,120 Speaker 1: set it back then? Yeah, exactly. Um. And so Harry 858 00:54:51,280 --> 00:54:54,120 Speaker 1: volunteers his tribute to be the one to stay behind, 859 00:54:54,400 --> 00:54:57,799 Speaker 1: and he saves a J. And he's like, take care 860 00:54:57,800 --> 00:55:01,319 Speaker 1: of my little girl, by the way, I always thought 861 00:55:01,360 --> 00:55:07,120 Speaker 1: of you as my son. And a J Is like, no, Daddy, 862 00:55:07,200 --> 00:55:10,680 Speaker 1: I love you. Don't do this. Everyone has to scream 863 00:55:10,800 --> 00:55:13,920 Speaker 1: daddy of Bruce Willis before he before his spirit could 864 00:55:13,920 --> 00:55:16,960 Speaker 1: be released to Christian heaven, where he clearly wants it 865 00:55:17,000 --> 00:55:22,000 Speaker 1: to go. Like it's so much I did love. Okay, 866 00:55:22,400 --> 00:55:24,560 Speaker 1: one thing I liked about this. I don't know if 867 00:55:24,560 --> 00:55:27,120 Speaker 1: this is a performance choice or it was written in 868 00:55:27,120 --> 00:55:31,000 Speaker 1: the script. I have no idea, but a J not 869 00:55:31,040 --> 00:55:32,760 Speaker 1: a character I love a character I think we should 870 00:55:32,760 --> 00:55:36,000 Speaker 1: write out and replace with Grace. Right. However, I will 871 00:55:36,000 --> 00:55:38,399 Speaker 1: say that he is the most you know. I feel 872 00:55:38,400 --> 00:55:40,879 Speaker 1: like a lot of the male characters on this crew 873 00:55:40,920 --> 00:55:45,680 Speaker 1: specifically are defined by their creepiness and emotional repression. A 874 00:55:45,880 --> 00:55:50,319 Speaker 1: J not like that. He is not creepy, and he 875 00:55:50,760 --> 00:55:53,400 Speaker 1: openly expresses his emotions almost all the time. He's a 876 00:55:53,440 --> 00:55:56,000 Speaker 1: pretty straight shooter when it comes to his emotions, including 877 00:55:56,320 --> 00:55:58,719 Speaker 1: telling a grown man that he loves him, which is 878 00:55:58,760 --> 00:56:02,120 Speaker 1: like this weird verb boating thing for a lot of 879 00:56:02,480 --> 00:56:07,320 Speaker 1: adult men in movies and sometimes in the world as well. 880 00:56:07,719 --> 00:56:10,880 Speaker 1: So I did like that, like he was openly crying 881 00:56:10,920 --> 00:56:13,680 Speaker 1: when he was upset, and like it was easy for 882 00:56:13,800 --> 00:56:16,279 Speaker 1: him to tell Grace that he loved her, like just 883 00:56:16,640 --> 00:56:19,919 Speaker 1: stuff that. Like, I mean, again, the bar is eight 884 00:56:20,000 --> 00:56:24,160 Speaker 1: hundred feet inside of an asteroid. But I did like 885 00:56:24,280 --> 00:56:28,280 Speaker 1: that there was like a hero that was like and 886 00:56:28,280 --> 00:56:31,240 Speaker 1: and Owen Wilson as well, like Owen, like the younger 887 00:56:31,280 --> 00:56:34,040 Speaker 1: guys on this crew were more in touch with their emotions, 888 00:56:34,160 --> 00:56:38,160 Speaker 1: and it wasn't, you know, universally positioned as like this 889 00:56:38,200 --> 00:56:41,759 Speaker 1: really negative thing. I was surprised by that too, because 890 00:56:41,920 --> 00:56:47,960 Speaker 1: it seems in direct contradiction to the toxic masculinity that 891 00:56:48,520 --> 00:56:54,040 Speaker 1: Michael Bay layers so deeply into all of his movies. Yeah, 892 00:56:54,080 --> 00:56:55,840 Speaker 1: I mean, I thought that there were a few elements 893 00:56:55,840 --> 00:56:57,480 Speaker 1: of this movie that I'm like, well, I don't know 894 00:56:57,520 --> 00:57:00,680 Speaker 1: who was creatively responsible for that, because that could have 895 00:57:00,680 --> 00:57:03,760 Speaker 1: been a Ben Affleck performance choice, that could have been 896 00:57:03,800 --> 00:57:06,640 Speaker 1: like one of the nine credited writers adding it in, 897 00:57:06,800 --> 00:57:10,480 Speaker 1: but there was at least one or two male characters 898 00:57:10,520 --> 00:57:14,480 Speaker 1: with like basic emotional intelligence, which I don't expect to 899 00:57:14,560 --> 00:57:17,320 Speaker 1: Michael Bay movie. It's true, so I feel the need 900 00:57:17,360 --> 00:57:20,280 Speaker 1: to point it out. At the same time, though, when 901 00:57:20,920 --> 00:57:23,400 Speaker 1: Bruce Willis is like, I've always thought of you as 902 00:57:23,840 --> 00:57:27,520 Speaker 1: my son, even though you were shooting at him with 903 00:57:27,560 --> 00:57:32,120 Speaker 1: a gun on an oil rig two days ago. Yeah, 904 00:57:32,280 --> 00:57:35,080 Speaker 1: and then you know, a J's like, Daddy, I love you. 905 00:57:35,200 --> 00:57:39,240 Speaker 1: Don't do this. So even though the movie is more 906 00:57:39,400 --> 00:57:43,560 Speaker 1: about a relationship between a father and daughter, it's still 907 00:57:43,680 --> 00:57:47,040 Speaker 1: manages to end up being about fathers and sons. We'll 908 00:57:47,080 --> 00:57:50,880 Speaker 1: get into that because I was truly, really fucking frustrated 909 00:57:50,880 --> 00:57:53,760 Speaker 1: by that, and like, I feel like sometimes it's like 910 00:57:53,960 --> 00:57:56,520 Speaker 1: the movie is about fathers and sons because they don't 911 00:57:56,800 --> 00:58:02,200 Speaker 1: bother to introduce a woman, just the absence of an alternative. 912 00:58:03,040 --> 00:58:07,160 Speaker 1: But in this they spend so much time introducing liv 913 00:58:07,240 --> 00:58:11,600 Speaker 1: Tyler's character, and then you know, like the like it 914 00:58:11,600 --> 00:58:15,360 Speaker 1: reminds me of Pacific Room the end where Marco Moury 915 00:58:15,640 --> 00:58:19,480 Speaker 1: Marco Morey, Yeah, she's launched out of the climax to 916 00:58:19,520 --> 00:58:21,600 Speaker 1: the movie, And it felt like they had, they didn't 917 00:58:21,600 --> 00:58:23,960 Speaker 1: have to graze. At the beginning of Act two, they're like, 918 00:58:24,000 --> 00:58:26,600 Speaker 1: you're not going to space. I don't know why. In 919 00:58:26,680 --> 00:58:28,680 Speaker 1: my I mean, I didn't have a strong memory of this. 920 00:58:28,840 --> 00:58:32,160 Speaker 1: I sort of like I was hoping because of how 921 00:58:32,200 --> 00:58:36,320 Speaker 1: strong her introduction was, not like writing wise, but like, 922 00:58:36,520 --> 00:58:38,160 Speaker 1: you learn a lot about her. You learn that she 923 00:58:38,160 --> 00:58:40,240 Speaker 1: has a difficult relationship with her father. I'm like, oh 924 00:58:40,280 --> 00:58:42,560 Speaker 1: my god, they might let her go to space. It 925 00:58:42,680 --> 00:58:46,880 Speaker 1: doesn't happen. No, no, no, because she has a lady job, 926 00:58:47,000 --> 00:58:51,240 Speaker 1: which is to talk to people. That was a question 927 00:58:51,280 --> 00:58:54,960 Speaker 1: I had when she's in She's in Houston and they 928 00:58:54,960 --> 00:58:59,800 Speaker 1: have a problem classic Houston famously get it together, right? 929 00:59:00,200 --> 00:59:03,480 Speaker 1: But is she working? Is she there in the capacity 930 00:59:03,520 --> 00:59:06,000 Speaker 1: of work or is she in there in the capacity 931 00:59:06,040 --> 00:59:10,400 Speaker 1: of daughter wife. I don't know, because all that happens 932 00:59:10,600 --> 00:59:13,240 Speaker 1: is Bruce Willis being like, yeah, I'll come on your 933 00:59:13,320 --> 00:59:16,520 Speaker 1: NASA mission if my daughter Grace can go with me. 934 00:59:16,800 --> 00:59:19,360 Speaker 1: But we don't know in what capacity because we don't 935 00:59:19,400 --> 00:59:22,600 Speaker 1: actually know what her job is, right do we just 936 00:59:22,640 --> 00:59:27,760 Speaker 1: know that whatever it is, she's good at it. She 937 00:59:27,920 --> 00:59:31,800 Speaker 1: keeps saying it, and we we agree, I'm sure she is. 938 00:59:31,840 --> 00:59:33,960 Speaker 1: But it's like, what do you mean by that? Oh? 939 00:59:34,080 --> 00:59:37,120 Speaker 1: I mean, to be fair, that isn't necessarily a gender 940 00:59:37,160 --> 00:59:40,080 Speaker 1: specific problem in this movie. I don't know what anyone's doing. 941 00:59:40,520 --> 00:59:43,760 Speaker 1: I mean, we know that the oil drillers drill oil, 942 00:59:44,240 --> 00:59:46,640 Speaker 1: but we don't know why they're allowed to be astronauts. 943 00:59:48,400 --> 00:59:50,760 Speaker 1: And if you ask Michael Bay that question, he will 944 00:59:50,760 --> 00:59:53,440 Speaker 1: tell you to shut the fuck up. I feel like, 945 00:59:53,640 --> 00:59:56,320 Speaker 1: if it was legal, he would have actually shot Ben 946 00:59:56,360 --> 00:59:59,200 Speaker 1: Affleck in the leg for running his mouth like that. 947 01:00:00,080 --> 01:00:03,320 Speaker 1: I think so yeah, um, okay. So the final thing 948 01:00:03,360 --> 01:00:08,720 Speaker 1: that happens is Harry does this like video satellite call 949 01:00:08,920 --> 01:00:12,760 Speaker 1: to Grace. He faced times Grace, and he's like, he does, 950 01:00:12,880 --> 01:00:18,280 Speaker 1: I love you, but sorry Spacetimes Grace, I never get 951 01:00:18,280 --> 01:00:22,120 Speaker 1: a pun in. I feel good. That was incredible, Jamie, thanks, 952 01:00:22,200 --> 01:00:24,800 Speaker 1: I loved it. Um. But yeah, he's like, Grace, I 953 01:00:24,840 --> 01:00:28,800 Speaker 1: love you, by the way, I'm about to die by 954 01:00:29,080 --> 01:00:33,280 Speaker 1: and then the she does daddy, no, daddy, no daddy. 955 01:00:33,720 --> 01:00:36,000 Speaker 1: She and Ben Affleck get to go no daddy no, 956 01:00:37,920 --> 01:00:41,680 Speaker 1: it's true. Be serious. Yeah, well, good for them, um, 957 01:00:41,920 --> 01:00:44,920 Speaker 1: and then the shuttle takes off from the asteroid. Harry 958 01:00:45,040 --> 01:00:47,800 Speaker 1: detonates the bomb just in the Nick of time, he 959 01:00:47,960 --> 01:00:52,320 Speaker 1: saves humanity. The shuttle returns to Earth. You know, everyone 960 01:00:52,360 --> 01:00:58,040 Speaker 1: on board are heroes. A J and Grace reunite and 961 01:00:58,120 --> 01:01:03,200 Speaker 1: get married. The and get married during the credit sequence 962 01:01:03,240 --> 01:01:07,880 Speaker 1: because it's been such a long movie. But with that, 963 01:01:07,960 --> 01:01:12,560 Speaker 1: let's take a little break because I'm exhausted. Exhausted, Caitlin. 964 01:01:13,880 --> 01:01:24,000 Speaker 1: We'll be right back. And we are back. Well, it's 965 01:01:24,040 --> 01:01:27,480 Speaker 1: like we've touched on a lot of things, and I 966 01:01:27,520 --> 01:01:30,120 Speaker 1: feel good about that. I think that we were We 967 01:01:30,120 --> 01:01:32,560 Speaker 1: were right to do it. We were so good at 968 01:01:32,560 --> 01:01:35,280 Speaker 1: our jobs. Yeah, I agree, I agree, But where do 969 01:01:35,360 --> 01:01:39,400 Speaker 1: we begin? I would like to go back to Grace 970 01:01:40,320 --> 01:01:43,320 Speaker 1: and some of this stuff we've, like you said, touched 971 01:01:43,400 --> 01:01:47,960 Speaker 1: on already. But she is there because she is the 972 01:01:48,240 --> 01:01:52,720 Speaker 1: daughter and the love interest of two men who are 973 01:01:52,840 --> 01:01:58,800 Speaker 1: far more important to the events and outcome of the story. Yeah. 974 01:01:58,960 --> 01:02:02,800 Speaker 1: So she's not allowed to go into space, which makes sense. 975 01:02:02,960 --> 01:02:07,440 Speaker 1: She's not a driller, and it seems like that's not 976 01:02:07,480 --> 01:02:11,280 Speaker 1: what she wanted to do, which is fine. Fair. Maybe 977 01:02:11,320 --> 01:02:16,439 Speaker 1: she's environmentalist that maybe, But then Bruce Willis would hit 978 01:02:16,520 --> 01:02:20,280 Speaker 1: golf balls at her because there's that boat full of 979 01:02:20,320 --> 01:02:23,760 Speaker 1: protesters who were like stopped drilling for oil and Bruce 980 01:02:23,760 --> 01:02:26,960 Speaker 1: Willis is like, I'm gonna throw golf balls at you, 981 01:02:27,480 --> 01:02:31,240 Speaker 1: and that's supposed to be hilarious and awesome. But her 982 01:02:31,360 --> 01:02:33,640 Speaker 1: not going to space, as we've talked about, means that 983 01:02:33,680 --> 01:02:37,080 Speaker 1: there's no chance that she can participate in this mission 984 01:02:37,120 --> 01:02:41,080 Speaker 1: of saving the world, and she's just relegated to the 985 01:02:41,320 --> 01:02:45,400 Speaker 1: daughter and girlfriend. And it really just exists mostly in 986 01:02:45,400 --> 01:02:50,800 Speaker 1: the story to be motivation for Bruce Willis and Ben Affleck. 987 01:02:51,480 --> 01:02:53,600 Speaker 1: It's like, Oh, I have to succeed so that I 988 01:02:53,640 --> 01:02:58,640 Speaker 1: can see her again, And she's a tool to drive 989 01:02:58,760 --> 01:03:01,840 Speaker 1: a wedge between that because for some reason there needs 990 01:03:01,880 --> 01:03:05,800 Speaker 1: to be conflict between these two guys, which just means 991 01:03:05,840 --> 01:03:09,560 Speaker 1: that she is basically a plot tool and a way 992 01:03:09,560 --> 01:03:14,080 Speaker 1: to further characterize the men and has given no real 993 01:03:14,320 --> 01:03:18,720 Speaker 1: characterization of her own beyond that. Yeah. No, I mean 994 01:03:18,760 --> 01:03:22,560 Speaker 1: I think that is the biggest betrayal of the movie, 995 01:03:22,880 --> 01:03:26,800 Speaker 1: because I mean there's always like in some Michael Bay movies, 996 01:03:26,840 --> 01:03:29,960 Speaker 1: and I am thinking of like how MICHAELA in Transformers 997 01:03:30,000 --> 01:03:33,360 Speaker 1: is set up versus how what happens with your character? 998 01:03:33,400 --> 01:03:36,840 Speaker 1: Where she is set up as a character you may 999 01:03:36,920 --> 01:03:39,800 Speaker 1: or may not like the traits she has given, but 1000 01:03:40,240 --> 01:03:44,680 Speaker 1: she has skills, she has interests, she has motivation, and 1001 01:03:44,720 --> 01:03:47,960 Speaker 1: she has ability. The way she is shot do not 1002 01:03:48,120 --> 01:03:51,920 Speaker 1: quite square with that, but like there is information there 1003 01:03:51,960 --> 01:03:55,120 Speaker 1: that is interesting and it's like makes michaela compelling character. 1004 01:03:55,440 --> 01:03:58,120 Speaker 1: I feel like Grace kind of falls into that where 1005 01:03:58,800 --> 01:04:04,439 Speaker 1: and she isn't shot as exploitatively as later Michael Bay installments. Yeah, 1006 01:04:04,520 --> 01:04:06,400 Speaker 1: I kind of wonder what the cinematogra if that's like 1007 01:04:06,640 --> 01:04:10,439 Speaker 1: Michael Bay brain rot or a cinematography shot. I don't. 1008 01:04:10,480 --> 01:04:13,360 Speaker 1: I don't really know, but I will say that, you know, 1009 01:04:13,440 --> 01:04:16,439 Speaker 1: while her body is certainly lingered on, especially in the 1010 01:04:16,480 --> 01:04:18,640 Speaker 1: animal cracker scene, I feel like it's the worst offender 1011 01:04:18,680 --> 01:04:20,760 Speaker 1: of it, so of course, and the fact that that 1012 01:04:20,880 --> 01:04:23,200 Speaker 1: is a phrase in itself, but like for the I 1013 01:04:23,240 --> 01:04:26,000 Speaker 1: feel like, you know, as opposed to other Michael Bay 1014 01:04:26,240 --> 01:04:31,560 Speaker 1: female characters, she is treated less horrifically, I agree, And 1015 01:04:31,640 --> 01:04:34,880 Speaker 1: she's set up as a really like I just can't 1016 01:04:34,920 --> 01:04:37,800 Speaker 1: get over. Like, there's three whole scenes in the first 1017 01:04:37,800 --> 01:04:41,360 Speaker 1: half hour of this movie devoted to how complicated her 1018 01:04:41,400 --> 01:04:45,440 Speaker 1: relationship is with her father and her upbringing. We get 1019 01:04:45,480 --> 01:04:49,360 Speaker 1: all kinds of information, we get um the fact that 1020 01:04:49,400 --> 01:04:53,600 Speaker 1: she's in this relationship that her father is like irrationally 1021 01:04:53,640 --> 01:04:57,360 Speaker 1: hateful towards which is like a whole whatever that million 1022 01:04:57,480 --> 01:05:00,160 Speaker 1: times of like if you touch my daughter, I'll kill you, 1023 01:05:00,320 --> 01:05:04,320 Speaker 1: and you know, possessive fathership that's very, very toxic and harmful, 1024 01:05:04,760 --> 01:05:08,280 Speaker 1: and you know, Grace reasonably saying like these are the 1025 01:05:08,320 --> 01:05:10,600 Speaker 1: kind of people I grew up around. Why would you 1026 01:05:10,680 --> 01:05:13,400 Speaker 1: be shocked that I would end up with someone like this? 1027 01:05:13,680 --> 01:05:17,320 Speaker 1: It's all, I know, a fair point. You also find 1028 01:05:17,360 --> 01:05:20,800 Speaker 1: out that there's some sort of resentment regarding like she 1029 01:05:20,960 --> 01:05:25,760 Speaker 1: hasn't been dead mom. Her mom left. We don't know why, 1030 01:05:25,840 --> 01:05:28,680 Speaker 1: but she left, and it seems like liv Tyler holds 1031 01:05:28,720 --> 01:05:32,080 Speaker 1: onto some resentment about why her mom left, which would 1032 01:05:32,120 --> 01:05:35,280 Speaker 1: make sense because we've only seen Bruce Willis be an asshole. 1033 01:05:36,040 --> 01:05:39,240 Speaker 1: So there's that. We know that she doesn't really want 1034 01:05:39,280 --> 01:05:41,840 Speaker 1: to work on the oil rig, but she does, and 1035 01:05:41,880 --> 01:05:44,360 Speaker 1: she's very good at it, and she's ready to leave, 1036 01:05:45,000 --> 01:05:48,280 Speaker 1: and her dad is desperately clinging to her. It doesn't 1037 01:05:48,320 --> 01:05:50,880 Speaker 1: want her to leave. Like, we get all this really 1038 01:05:50,920 --> 01:05:55,360 Speaker 1: kind of rich information, and I'm assuming, if I'm giving 1039 01:05:55,400 --> 01:05:57,520 Speaker 1: the movie the benefit of the doubt, the only reason 1040 01:05:57,560 --> 01:06:02,600 Speaker 1: she's staying is because her to be fiancee also lives 1041 01:06:02,600 --> 01:06:06,040 Speaker 1: and works there. Otherwise it's possible she may have already left. 1042 01:06:07,160 --> 01:06:09,840 Speaker 1: What is her job? Is she like a liaison between 1043 01:06:10,680 --> 01:06:15,480 Speaker 1: the clients who are buying the oil question mark, I 1044 01:06:15,520 --> 01:06:18,760 Speaker 1: don't know why the business people come onto the oil rig, 1045 01:06:18,840 --> 01:06:21,000 Speaker 1: and I don't know what Bruce Willis means when he 1046 01:06:21,040 --> 01:06:24,000 Speaker 1: threatens to send her back to quote unquote the office, 1047 01:06:24,520 --> 01:06:28,960 Speaker 1: because great questions all around, what is why does the 1048 01:06:29,000 --> 01:06:31,560 Speaker 1: oil rig have the office? It seems like the oil 1049 01:06:31,640 --> 01:06:34,680 Speaker 1: rig is the office, that's how when everything else implies, 1050 01:06:35,600 --> 01:06:37,360 Speaker 1: But he threatens to sent her back to the office. 1051 01:06:37,800 --> 01:06:41,320 Speaker 1: That does not make sense. But even in like the 1052 01:06:41,400 --> 01:06:45,680 Speaker 1: fucking maze of not making sense, there's a lot we 1053 01:06:45,760 --> 01:06:49,200 Speaker 1: learned about Grace right away, and it sets up at 1054 01:06:49,280 --> 01:06:53,880 Speaker 1: least a semi cogent reason for her and her father 1055 01:06:54,080 --> 01:06:57,680 Speaker 1: to go on some sort of journey together. And then 1056 01:06:58,000 --> 01:07:02,160 Speaker 1: that just doesn't how happen? The thing that made me 1057 01:07:02,240 --> 01:07:05,640 Speaker 1: most frustrated from like I mean, from like a Bechtel 1058 01:07:05,680 --> 01:07:08,360 Speaker 1: cast standpoint and also a writing standpoint, because I'm just like, 1059 01:07:09,240 --> 01:07:11,920 Speaker 1: why would you do this? Like, first of all, it 1060 01:07:12,000 --> 01:07:16,040 Speaker 1: becomes clear immediately that what Grace's narrative should be is 1061 01:07:16,120 --> 01:07:19,160 Speaker 1: offloaded to Ben Affleck pretty early in the movie. The 1062 01:07:19,200 --> 01:07:22,480 Speaker 1: second she agrees to marry him. The plot that belongs 1063 01:07:22,480 --> 01:07:26,440 Speaker 1: to Grace is then, uh, that's the dowry that she 1064 01:07:26,560 --> 01:07:29,720 Speaker 1: gives to her husband is her entire plot line, and 1065 01:07:29,920 --> 01:07:33,720 Speaker 1: she is like severely reduced in screen time. But even 1066 01:07:33,800 --> 01:07:39,120 Speaker 1: before Bruce Willis leaves for space, which he does in 1067 01:07:39,240 --> 01:07:43,720 Speaker 1: many at least two movies, you know what a legend um. 1068 01:07:43,760 --> 01:07:49,200 Speaker 1: But anyways, before he leaves, she forgives him for everything, 1069 01:07:49,720 --> 01:07:51,720 Speaker 1: to the point where I was like, then why even 1070 01:07:51,800 --> 01:07:54,760 Speaker 1: like I felt like from a like a writing standpoint, 1071 01:07:54,800 --> 01:07:59,120 Speaker 1: that undercuts such a large chunk of the movie, because 1072 01:07:59,120 --> 01:08:01,920 Speaker 1: if she forgives him before he leaves, and then she 1073 01:08:02,040 --> 01:08:06,960 Speaker 1: forgives him again before he dies, why why not just 1074 01:08:07,240 --> 01:08:09,880 Speaker 1: not forgive him before he leaves and then it would 1075 01:08:09,920 --> 01:08:13,520 Speaker 1: be more like narratively impactful, no matter what the gender 1076 01:08:13,560 --> 01:08:16,639 Speaker 1: dynamics are, It's just like, why would you have her 1077 01:08:16,640 --> 01:08:20,479 Speaker 1: forgive him twice? So the whole time that he's in space, 1078 01:08:20,920 --> 01:08:23,439 Speaker 1: she feels the exact same way, like she hasn't changed 1079 01:08:23,479 --> 01:08:26,120 Speaker 1: at all. She's just like, I love my dad, I'm 1080 01:08:26,200 --> 01:08:29,240 Speaker 1: not upset about whatever vague thing happened to my mom 1081 01:08:30,360 --> 01:08:35,160 Speaker 1: and it's all good like that, I was so frustrated, right, 1082 01:08:35,479 --> 01:08:41,400 Speaker 1: that eliminates an opportunity for tension in that relationship. And 1083 01:08:41,600 --> 01:08:44,320 Speaker 1: when you're writing a story, you want to like capitalize 1084 01:08:44,360 --> 01:08:49,040 Speaker 1: on opportunities for tension, not eliminate them. Number one. Number two, 1085 01:08:49,880 --> 01:08:54,240 Speaker 1: I thought what she was forgiving him for, or like 1086 01:08:54,280 --> 01:09:00,320 Speaker 1: what she was angry with him for, was his treatment 1087 01:09:00,400 --> 01:09:03,759 Speaker 1: of her as it relates to her relationship with ben Affleck, 1088 01:09:03,880 --> 01:09:06,960 Speaker 1: which is this whole other thing that we hinted at, 1089 01:09:07,000 --> 01:09:11,960 Speaker 1: but it's the like overprotective of a daughter's chastity and 1090 01:09:12,120 --> 01:09:15,759 Speaker 1: daddy being like, no, my daughter can't have stuch with anyone. 1091 01:09:16,960 --> 01:09:20,960 Speaker 1: And you have all these scenes where she's pushing back 1092 01:09:21,000 --> 01:09:26,439 Speaker 1: against her dad, being like, AJ is my choice, not yours. 1093 01:09:26,520 --> 01:09:28,559 Speaker 1: You can't tell me what to do anymore. I've been 1094 01:09:28,560 --> 01:09:31,120 Speaker 1: more mature than you since I was ten years old, Like, 1095 01:09:31,240 --> 01:09:33,559 Speaker 1: I'm an adult, Let me live my life. And then 1096 01:09:33,680 --> 01:09:37,040 Speaker 1: Prince Willis literally says kind of an iconic line. He says, sure, 1097 01:09:37,080 --> 01:09:41,240 Speaker 1: I may be an immateur father, but I'm also your employer. 1098 01:09:41,400 --> 01:09:44,640 Speaker 1: I was like, do you hear yourself talk like that? 1099 01:09:44,800 --> 01:09:46,880 Speaker 1: Is what? I guess that that is what Roger Ebert 1100 01:09:46,960 --> 01:09:49,240 Speaker 1: is talking about, where you're just like you're just like 1101 01:09:49,280 --> 01:09:52,160 Speaker 1: your brain cells are dying as you're hearing it, because 1102 01:09:52,680 --> 01:09:54,920 Speaker 1: I'm supposed to believe someone said that out loud and 1103 01:09:54,960 --> 01:09:58,200 Speaker 1: they're like, yeah, oh, I'm a terrible father. Well guess 1104 01:09:58,200 --> 01:10:04,519 Speaker 1: what I'm your boss to, so take that. It's funny, um, 1105 01:10:04,640 --> 01:10:08,000 Speaker 1: but you know, horrible, horrible. And then there's another scene 1106 01:10:08,000 --> 01:10:11,840 Speaker 1: because this is this becomes the like conflict between them 1107 01:10:11,880 --> 01:10:14,920 Speaker 1: or they like the source of tension in this father 1108 01:10:15,000 --> 01:10:19,479 Speaker 1: daughter relationship where he has this arc where he needs 1109 01:10:19,520 --> 01:10:24,680 Speaker 1: to accept that his daughter is an adult with her 1110 01:10:24,800 --> 01:10:28,400 Speaker 1: own life. But before he gets there and accepts this, 1111 01:10:29,479 --> 01:10:33,880 Speaker 1: which he I feel like accepts this to a j 1112 01:10:34,080 --> 01:10:37,960 Speaker 1: and not even to her because he's like, you're my son. 1113 01:10:39,000 --> 01:10:41,479 Speaker 1: I've always thought of you was my son. And it's like, no, 1114 01:10:41,640 --> 01:10:43,960 Speaker 1: you need to be having a conversation with Grace about 1115 01:10:44,000 --> 01:10:48,000 Speaker 1: this anyway. It's really fs It's like it's total horseship, 1116 01:10:48,160 --> 01:10:51,320 Speaker 1: like the way that yeah, like her plot, and I mean, 1117 01:10:51,360 --> 01:10:56,080 Speaker 1: I do wonder it would be probably impossible to actually trace, 1118 01:10:56,560 --> 01:10:59,200 Speaker 1: but just to like know at what point, like I 1119 01:10:59,439 --> 01:11:01,800 Speaker 1: am can vince that there is a version of this 1120 01:11:01,880 --> 01:11:07,760 Speaker 1: script that Grace went to space and you know, I 1121 01:11:07,880 --> 01:11:10,439 Speaker 1: just I mean could be again. There there are many 1122 01:11:10,479 --> 01:11:13,439 Speaker 1: credited writers and then many others who weren't credited. There 1123 01:11:13,520 --> 01:11:19,960 Speaker 1: was something like nine nine writers total, including uh. Credited 1124 01:11:20,000 --> 01:11:24,519 Speaker 1: ones are Jonathan Hensley J. J. Abrams. There's also story 1125 01:11:24,560 --> 01:11:29,759 Speaker 1: by credits that include Robert roy Pool. There's adaptation credits. 1126 01:11:29,760 --> 01:11:33,880 Speaker 1: I don't even know what they're adapting, but um, Tony Gilroy, 1127 01:11:33,960 --> 01:11:37,160 Speaker 1: who I'm a huge fan of Mr. And Or I mean, yeah, no, 1128 01:11:37,200 --> 01:11:40,920 Speaker 1: Tony Tony Gilroy is amazing. It's um almost rude that 1129 01:11:40,960 --> 01:11:47,559 Speaker 1: he implicated in this um and then Shane Solerno and 1130 01:11:47,600 --> 01:11:53,000 Speaker 1: then uncredited writers include a guy named Paul, a woman 1131 01:11:53,560 --> 01:11:58,880 Speaker 1: named Ann Okay, and Biderman. We've got Scott Rosenberg and 1132 01:11:58,960 --> 01:12:03,680 Speaker 1: Robert Town, so a whole slew of people working on 1133 01:12:03,760 --> 01:12:08,680 Speaker 1: this project. And Robert town is very famous. Yeah, no, 1134 01:12:08,800 --> 01:12:11,400 Speaker 1: you can't blame any one person for what's happening here. 1135 01:12:11,400 --> 01:12:14,120 Speaker 1: I feel like, honestly, Michael Bay is kind of probably 1136 01:12:14,160 --> 01:12:16,599 Speaker 1: the most likely culprit for things that we don't like, 1137 01:12:17,479 --> 01:12:19,240 Speaker 1: but I don't know. It also sounds like he lets 1138 01:12:19,280 --> 01:12:21,559 Speaker 1: actors do a lot of improv in his movies too, 1139 01:12:21,600 --> 01:12:23,360 Speaker 1: so there's a lot of lines in this movie where 1140 01:12:23,360 --> 01:12:25,240 Speaker 1: they're like that was Bruce and you're like, well, I 1141 01:12:25,280 --> 01:12:29,360 Speaker 1: guess that that's Bruce Willis's fault. You know it's but 1142 01:12:29,479 --> 01:12:32,000 Speaker 1: I what they don't tell you about the Bruckheimer teeth 1143 01:12:32,600 --> 01:12:35,679 Speaker 1: is that, you know, they're kind of like, what's the test? 1144 01:12:35,840 --> 01:12:39,720 Speaker 1: They they've passed the sentient there, like sentient as humans, 1145 01:12:39,840 --> 01:12:43,360 Speaker 1: and so they can make Ben Afflecks Turing test. Yeah, 1146 01:12:43,520 --> 01:12:46,519 Speaker 1: the Brockheimer teeth have passed the Turing test, and so 1147 01:12:47,120 --> 01:12:50,320 Speaker 1: the Brockheimer teeth can just make Ben Afflecks say literally 1148 01:12:50,320 --> 01:12:53,600 Speaker 1: whatever whatever they want. Yeah, that will come out in 1149 01:12:53,720 --> 01:12:57,040 Speaker 1: his voice. And that's that's the teeth. They're like, you know, 1150 01:12:57,080 --> 01:12:59,120 Speaker 1: they're rooted into your mouth and then just kind of 1151 01:12:59,120 --> 01:13:04,920 Speaker 1: wired directly to your brain. Yeah, they cost they they're 1152 01:13:05,120 --> 01:13:11,080 Speaker 1: equipped with AI the turning teeth. Um. Wow, Jamie, you're 1153 01:13:11,120 --> 01:13:16,280 Speaker 1: on a roll. Um anyway, So Harry's arc as it 1154 01:13:16,320 --> 01:13:18,880 Speaker 1: relates to Grace is all about, oh, he has to 1155 01:13:19,760 --> 01:13:23,880 Speaker 1: accept that his daughter is an adult. There's a scene 1156 01:13:23,880 --> 01:13:28,560 Speaker 1: where and this happens after Harry has seen a J 1157 01:13:29,160 --> 01:13:33,680 Speaker 1: and Grace kiss, like right before a J proposes, and 1158 01:13:33,800 --> 01:13:38,439 Speaker 1: it makes Harry mad that his daughter is in love, 1159 01:13:39,240 --> 01:13:43,720 Speaker 1: and there is one of the wildest exchanges of dialogue 1160 01:13:43,920 --> 01:13:46,240 Speaker 1: in a movie that I have ever seen. I just 1161 01:13:46,280 --> 01:13:49,439 Speaker 1: want to go quickly through this, where Harry is very 1162 01:13:49,439 --> 01:13:53,759 Speaker 1: piste off. Steve Bushemy is like, look, Grace is an adult. 1163 01:13:53,800 --> 01:13:56,160 Speaker 1: She can make her own choices. She grew up to 1164 01:13:56,200 --> 01:13:59,640 Speaker 1: be a hottie. And then another guy chimes in and 1165 01:13:59,680 --> 01:14:03,480 Speaker 1: his yeah, she's so freaking hot. And then Owen Wilson 1166 01:14:04,400 --> 01:14:07,280 Speaker 1: is like, look, she's a kid coming into her own 1167 01:14:07,760 --> 01:14:11,599 Speaker 1: She's exploring her sexuality, she's getting curious about her body. 1168 01:14:11,920 --> 01:14:15,000 Speaker 1: Her hormones are pulling her in a thousand different directions, 1169 01:14:15,439 --> 01:14:19,000 Speaker 1: talking about her as if she's a teenager, when when 1170 01:14:19,400 --> 01:14:23,439 Speaker 1: it's stated just after that that they're the same age, 1171 01:14:23,880 --> 01:14:28,920 Speaker 1: and then and then Bear kind of put put the 1172 01:14:28,920 --> 01:14:31,519 Speaker 1: pen on everything by saying yeah, so, I mean, it's 1173 01:14:31,520 --> 01:14:33,400 Speaker 1: like it's always as if Bear has not listened to 1174 01:14:33,439 --> 01:14:38,120 Speaker 1: the entire conversation, because he puts the pin in the 1175 01:14:38,160 --> 01:14:40,759 Speaker 1: conversation by saying, yeah, I think we can all agree 1176 01:14:40,920 --> 01:14:43,800 Speaker 1: that we all feel like we are her father. And 1177 01:14:43,840 --> 01:14:46,880 Speaker 1: I'm like, but they would just say really disgusting things 1178 01:14:46,880 --> 01:14:48,960 Speaker 1: about her for a whole minute, Bear, were you listening 1179 01:14:49,040 --> 01:14:52,439 Speaker 1: he says, and I quote, we all feel like a 1180 01:14:52,520 --> 01:14:57,000 Speaker 1: bunch of daddy's. Yeah, they do say that. They do 1181 01:14:57,120 --> 01:15:01,960 Speaker 1: say that, and we and then have no saying that 1182 01:15:02,680 --> 01:15:07,160 Speaker 1: we can't do anything about it now. Um so yeah, 1183 01:15:07,240 --> 01:15:09,360 Speaker 1: it's like she's so hot, she's so hot what a 1184 01:15:09,400 --> 01:15:14,200 Speaker 1: certified hottie bear is like, and we are her daddy also, 1185 01:15:14,800 --> 01:15:18,080 Speaker 1: and like because we're hitting on her, were her. No, 1186 01:15:18,320 --> 01:15:20,360 Speaker 1: that's not the cause and effect he's describing. But it's 1187 01:15:20,400 --> 01:15:23,320 Speaker 1: like shocking that he could hear that whole conversation and 1188 01:15:23,400 --> 01:15:26,000 Speaker 1: be like, yes, we all have paternal feelings towards this 1189 01:15:26,320 --> 01:15:31,559 Speaker 1: young woman truly, And then Harry goes on a pretty 1190 01:15:31,600 --> 01:15:35,439 Speaker 1: classist tirade where he's like, I'm not gonna let my 1191 01:15:35,520 --> 01:15:39,000 Speaker 1: daughter marry some rough nick. She's better than that, She's 1192 01:15:39,040 --> 01:15:42,280 Speaker 1: better than all of us. We'll see. That didn't bother 1193 01:15:42,439 --> 01:15:46,599 Speaker 1: me as much because that felt like a because you know, 1194 01:15:46,680 --> 01:15:49,120 Speaker 1: because we know where the story goes, Like that was 1195 01:15:49,240 --> 01:15:53,880 Speaker 1: one of the more effective things for me, because his 1196 01:15:54,160 --> 01:15:57,080 Speaker 1: mind does change about that where I feel like there 1197 01:15:57,080 --> 01:16:00,600 Speaker 1: are these generational anxieties of like I don't want my 1198 01:16:00,720 --> 01:16:02,760 Speaker 1: kid to end up with someone who reminds me of 1199 01:16:02,800 --> 01:16:06,439 Speaker 1: myself because I hate myself and I want whatever, like 1200 01:16:06,479 --> 01:16:08,679 Speaker 1: the generation, like I want my kid to do better 1201 01:16:08,760 --> 01:16:11,680 Speaker 1: than I did. So that didn't super bother me as like, 1202 01:16:11,800 --> 01:16:14,719 Speaker 1: I don't think that he was an inherently classist character, 1203 01:16:14,880 --> 01:16:18,120 Speaker 1: because he was advocating for the men he'd worked with 1204 01:16:18,200 --> 01:16:20,680 Speaker 1: forever who were of the same class as him the 1205 01:16:20,720 --> 01:16:23,400 Speaker 1: whole movie. But I just I felt like that was 1206 01:16:23,400 --> 01:16:26,000 Speaker 1: something that he came around on. So that felt like 1207 01:16:26,439 --> 01:16:29,320 Speaker 1: one of the only elements of Harry's character that grew, 1208 01:16:29,680 --> 01:16:36,360 Speaker 1: not that grew anyways, not that I like, I don't 1209 01:16:36,400 --> 01:16:39,280 Speaker 1: like that like him. I think that it should have 1210 01:16:39,320 --> 01:16:44,240 Speaker 1: been Harry learning to accept his daughter as an autonomous 1211 01:16:44,439 --> 01:16:47,040 Speaker 1: person who wanted to do her own thing, and like, 1212 01:16:47,240 --> 01:16:48,800 Speaker 1: there's so many ways you can take that. It's like, 1213 01:16:49,280 --> 01:16:54,639 Speaker 1: maybe like live Tyler wants to like work for NASA 1214 01:16:54,760 --> 01:16:57,400 Speaker 1: or work as something that he considers to be elitist, 1215 01:16:57,520 --> 01:17:00,559 Speaker 1: and he's like, why you're like abandoning your root, fuck you. 1216 01:17:00,680 --> 01:17:02,439 Speaker 1: And then they go on this space mission together and 1217 01:17:02,439 --> 01:17:04,200 Speaker 1: he's like, all right, I accept that you want to 1218 01:17:04,280 --> 01:17:07,400 Speaker 1: do something different than me, but it's still like we 1219 01:17:07,439 --> 01:17:11,639 Speaker 1: still love each other and whatever. Do it that way. 1220 01:17:12,400 --> 01:17:14,800 Speaker 1: There's a million different ways to do it, but because 1221 01:17:14,840 --> 01:17:16,560 Speaker 1: it goes that way, I don't know. I didn't, but 1222 01:17:16,680 --> 01:17:21,120 Speaker 1: I didn't mind that because he comes around on it 1223 01:17:21,160 --> 01:17:23,200 Speaker 1: and I feel like he was more just like projecting 1224 01:17:23,200 --> 01:17:25,240 Speaker 1: of like I don't want my daughter to marry someone 1225 01:17:25,280 --> 01:17:27,639 Speaker 1: like me because I suck, and it's like, well, yeah, 1226 01:17:27,720 --> 01:17:31,000 Speaker 1: you do, suck, you do. But Ben Affleck knows how 1227 01:17:31,040 --> 01:17:33,599 Speaker 1: to cry and say I love you, which you don't, 1228 01:17:33,920 --> 01:17:40,200 Speaker 1: so he is better than you. Yeah. Um any other 1229 01:17:40,280 --> 01:17:46,160 Speaker 1: thoughts on Grace, Um, No, it was just a big disappointment. 1230 01:17:46,200 --> 01:17:50,080 Speaker 1: I didn't like how she was reduced to steaks for men, 1231 01:17:51,120 --> 01:17:56,360 Speaker 1: literally a like physical steak and movie stakes for the 1232 01:17:56,439 --> 01:18:00,240 Speaker 1: two main guys when she was because it, don't know, 1233 01:18:00,240 --> 01:18:03,559 Speaker 1: it always just feels like a knife twist to even 1234 01:18:03,640 --> 01:18:05,720 Speaker 1: bother to set up the character if you're just going 1235 01:18:05,760 --> 01:18:10,080 Speaker 1: to do that. So I was disappointed, and I wish 1236 01:18:10,160 --> 01:18:13,320 Speaker 1: that Live Tayler' gotten to do more because I like her, 1237 01:18:14,200 --> 01:18:16,479 Speaker 1: and that's all I have to say. I want to 1238 01:18:16,479 --> 01:18:22,960 Speaker 1: talk about Dottie and Watts a quick but powerful conversation 1239 01:18:23,280 --> 01:18:26,360 Speaker 1: because she's I think the first woman we really meet 1240 01:18:26,720 --> 01:18:31,360 Speaker 1: in the movie. Dottie Yes, Yes. Dottie is played by 1241 01:18:31,560 --> 01:18:38,160 Speaker 1: Grace Zabriski, who I need to look her up, um, 1242 01:18:38,240 --> 01:18:40,680 Speaker 1: because when I was like talking about when I was 1243 01:18:40,720 --> 01:18:44,519 Speaker 1: like posting Instagram stories about armaged, everyone's like, I love 1244 01:18:44,560 --> 01:18:48,479 Speaker 1: Grace Zabritsky really, but um, I was like, I don't 1245 01:18:48,479 --> 01:18:54,000 Speaker 1: know who that is. Um. Anyway, So she is married 1246 01:18:54,040 --> 01:18:59,680 Speaker 1: to Carl, who, in a number of scenes is extremely 1247 01:18:59,800 --> 01:19:04,479 Speaker 1: verb really and emotionally abusive to Dottie, which, in true 1248 01:19:04,520 --> 01:19:08,439 Speaker 1: Michael Bay fashion, is played as a joke. I like 1249 01:19:08,600 --> 01:19:14,559 Speaker 1: hesitate to even quote this because it's so horrible. But 1250 01:19:14,600 --> 01:19:17,559 Speaker 1: there's a scene that happened. There's a scene where Carl 1251 01:19:18,200 --> 01:19:20,400 Speaker 1: is on the phone with Billy Bob and he's like, 1252 01:19:20,720 --> 01:19:23,800 Speaker 1: I discovered the asteroid, so I went to name it, 1253 01:19:24,040 --> 01:19:26,560 Speaker 1: and Billy Bob's like, okay, He's like, I want to 1254 01:19:26,640 --> 01:19:31,000 Speaker 1: name it after my wife, Dottie because she's a vicious, 1255 01:19:31,120 --> 01:19:35,240 Speaker 1: life sucking bitch from which there is no escape. And 1256 01:19:35,240 --> 01:19:37,960 Speaker 1: then he's like smiling, Michael Bay wants you to go 1257 01:19:38,040 --> 01:19:40,360 Speaker 1: ha ha ha ha ha, because that's how he feels 1258 01:19:40,400 --> 01:19:47,400 Speaker 1: about women. And we know this and there's proof. So yeah, 1259 01:19:47,439 --> 01:19:51,879 Speaker 1: I don't love that. However, I think that we cannot 1260 01:19:51,920 --> 01:19:56,960 Speaker 1: hold how Dottie's spiteful evil jackass of a husband talks 1261 01:19:56,960 --> 01:20:02,360 Speaker 1: about her against Dottie herself because I like Donnie. I 1262 01:20:02,400 --> 01:20:05,759 Speaker 1: think she is the most impactful woman in the plot, 1263 01:20:06,280 --> 01:20:08,880 Speaker 1: and I hate how the movie wants us to see 1264 01:20:08,920 --> 01:20:11,120 Speaker 1: her because I want to see her a different way. 1265 01:20:11,479 --> 01:20:14,360 Speaker 1: She comes out. She only speaks. I think that it 1266 01:20:14,439 --> 01:20:18,400 Speaker 1: does speak to the actor because she only speaks in 1267 01:20:19,160 --> 01:20:23,360 Speaker 1: really like hack gendered tropes. But the actor does sell 1268 01:20:23,439 --> 01:20:26,840 Speaker 1: it as if like there's like a deep resentment under it, 1269 01:20:27,000 --> 01:20:29,040 Speaker 1: because you could just walk out and say those lines 1270 01:20:29,080 --> 01:20:32,160 Speaker 1: like Carl, I made dinner ten hours ago, where are you? 1271 01:20:32,280 --> 01:20:35,240 Speaker 1: But she says it with like a fury, you know, 1272 01:20:35,360 --> 01:20:37,360 Speaker 1: And then she says, do I have a sign on 1273 01:20:37,400 --> 01:20:40,400 Speaker 1: me that says Carl's slave? Like she really is, Like 1274 01:20:41,080 --> 01:20:44,040 Speaker 1: in my head, Dottie is trapped in this marriage for 1275 01:20:44,080 --> 01:20:46,920 Speaker 1: whatever reason. She's going to have an asteroid named after her, 1276 01:20:47,080 --> 01:20:49,519 Speaker 1: and then she's going to divorce him, take all of 1277 01:20:49,560 --> 01:20:54,920 Speaker 1: his weird FBI money, and um kill him. M yes, 1278 01:20:55,040 --> 01:20:57,280 Speaker 1: I like that for her. I don't think the script 1279 01:20:57,320 --> 01:20:59,440 Speaker 1: is thinking that hard about it, but I do appreciate 1280 01:20:59,439 --> 01:21:02,759 Speaker 1: when that's like there is an underwritten woman in a movie, 1281 01:21:02,840 --> 01:21:07,879 Speaker 1: which Dottie very much is, and an actor manages to 1282 01:21:07,920 --> 01:21:12,000 Speaker 1: make it feel impactful in like a memorable way, because 1283 01:21:12,040 --> 01:21:13,960 Speaker 1: Michael Bay is like not going to give you fucking 1284 01:21:14,040 --> 01:21:18,680 Speaker 1: anything ever, because he's evil is evil. And then the 1285 01:21:18,720 --> 01:21:23,559 Speaker 1: final Dottie related scene, which happens off screen, but someone 1286 01:21:23,560 --> 01:21:25,920 Speaker 1: I don't know if it's Billy Bob receives a text 1287 01:21:25,920 --> 01:21:31,839 Speaker 1: message on his Nokia phone from UM that Dottie leaked 1288 01:21:32,400 --> 01:21:36,920 Speaker 1: the info about the asteroid to the press. It's not 1289 01:21:37,040 --> 01:21:40,679 Speaker 1: clear why she does this, why she leaks the info, 1290 01:21:40,920 --> 01:21:43,280 Speaker 1: because the movie doesn't care enough to check back in 1291 01:21:43,320 --> 01:21:46,400 Speaker 1: with her and show us her motivation for doing that. 1292 01:21:46,880 --> 01:21:49,080 Speaker 1: But I feel like what we're supposed to think in 1293 01:21:49,080 --> 01:21:52,080 Speaker 1: the movie is that she did it out of spite, 1294 01:21:52,600 --> 01:21:56,680 Speaker 1: which is maybe ridiculous, like to spite her husband. I 1295 01:21:56,720 --> 01:21:59,240 Speaker 1: don't know. And there's a there's another woman that I 1296 01:21:59,280 --> 01:22:00,760 Speaker 1: don't think we ever get a name for, and I 1297 01:22:00,840 --> 01:22:04,559 Speaker 1: honestly could not figure out which guy it was. It's 1298 01:22:04,600 --> 01:22:07,000 Speaker 1: the guy that shouldn't be near his son, but is Oh, 1299 01:22:07,120 --> 01:22:10,920 Speaker 1: his name is Chick fine. I felt like, I mean 1300 01:22:11,120 --> 01:22:14,200 Speaker 1: Chick's wife who we never get a name for. She 1301 01:22:14,280 --> 01:22:17,439 Speaker 1: doesn't have the same emotional impact or screen time or 1302 01:22:17,880 --> 01:22:21,920 Speaker 1: whatever that that Dottie does. But that's another woman who 1303 01:22:21,960 --> 01:22:25,799 Speaker 1: has sort of presented to us as like she's you know, oh, 1304 01:22:25,840 --> 01:22:28,320 Speaker 1: this guy's made mistakes in his past. Why won't she 1305 01:22:28,560 --> 01:22:32,320 Speaker 1: just forgive him? You know? And because he comes to 1306 01:22:33,080 --> 01:22:37,080 Speaker 1: the house apparently illegally, so she tells, you're not supposed 1307 01:22:37,120 --> 01:22:39,160 Speaker 1: to be here, you're not supposed to have contact, which 1308 01:22:39,200 --> 01:22:42,040 Speaker 1: probably means there's some sort of like restraining order situation 1309 01:22:42,080 --> 01:22:45,759 Speaker 1: going on as well. But she still like comes around 1310 01:22:45,880 --> 01:22:48,040 Speaker 1: and it's very like We cut back to her two 1311 01:22:48,080 --> 01:22:50,880 Speaker 1: more times. The first time is when she finds out 1312 01:22:51,120 --> 01:22:54,160 Speaker 1: he is the Space Cowboy hero and she's like, that's 1313 01:22:54,240 --> 01:22:58,920 Speaker 1: your daddy, and it's like and then she's like, let's 1314 01:22:58,920 --> 01:23:01,519 Speaker 1: get back together. And I'm like, well, hold on, what 1315 01:23:01,560 --> 01:23:04,880 Speaker 1: did he do that you broke up with him? Like, 1316 01:23:05,720 --> 01:23:08,559 Speaker 1: what did he do? Going to space with Bruce Willis 1317 01:23:08,560 --> 01:23:11,440 Speaker 1: will not solve your relationship. And I've always said that 1318 01:23:11,439 --> 01:23:17,160 Speaker 1: that doesn't redeem your broken marriage. Yeah, that was frustrating. 1319 01:23:17,920 --> 01:23:24,559 Speaker 1: And then there's Watts, the one lady astronaut played by 1320 01:23:24,800 --> 01:23:30,200 Speaker 1: Jessica Steen. We really know nothing about her aside from 1321 01:23:30,200 --> 01:23:33,840 Speaker 1: her being an astronaut. Um. The way the men talk 1322 01:23:33,920 --> 01:23:37,760 Speaker 1: about her is one of the few like focal points 1323 01:23:37,880 --> 01:23:41,840 Speaker 1: she gets before they like land on the asteroid and 1324 01:23:41,880 --> 01:23:43,880 Speaker 1: start drilling. But there's a scene when they're still on 1325 01:23:43,960 --> 01:23:48,839 Speaker 1: Earth and she's like explaining gravity to the oil drillers. 1326 01:23:49,560 --> 01:23:52,160 Speaker 1: They're not paying attention, and Owen Wilson is like, is 1327 01:23:52,160 --> 01:23:55,719 Speaker 1: it just me? Or is what's really hot? And then 1328 01:23:55,920 --> 01:23:59,640 Speaker 1: a few of the guys go like, Oh, yeah she is, 1329 01:24:00,800 --> 01:24:04,439 Speaker 1: which is wow, because you never learn anything about her. 1330 01:24:04,840 --> 01:24:08,679 Speaker 1: She disappears for large swaths of the movie. I thought 1331 01:24:08,720 --> 01:24:11,679 Speaker 1: that she had died. At one point, I was like, Oh, 1332 01:24:11,680 --> 01:24:13,720 Speaker 1: she must have been on the Independence because I haven't 1333 01:24:13,720 --> 01:24:15,479 Speaker 1: seen her in a half hour, so I guess r 1334 01:24:15,560 --> 01:24:18,000 Speaker 1: I P. But like, she didn't even die. They just 1335 01:24:18,080 --> 01:24:21,479 Speaker 1: forgot about her. I just forgot about her until one 1336 01:24:21,560 --> 01:24:25,919 Speaker 1: scene towards the end where they have drilled the whole, 1337 01:24:26,000 --> 01:24:28,719 Speaker 1: they have planted the nuclear bomb. They are trying to 1338 01:24:28,760 --> 01:24:32,360 Speaker 1: take back off in the shuttle but the engine won't 1339 01:24:32,360 --> 01:24:34,799 Speaker 1: fire up and she's trying to fix it. She's running around, 1340 01:24:35,160 --> 01:24:39,240 Speaker 1: she cannot fix it. Then Lev he's like, I'll do it. 1341 01:24:39,360 --> 01:24:44,360 Speaker 1: He shoves her out of the way, hits something with 1342 01:24:44,640 --> 01:24:50,160 Speaker 1: a wrench or whatever. He was introduced after her. I'm like, yeah, stop, 1343 01:24:51,640 --> 01:24:54,880 Speaker 1: that somehow fixes the problem. So basically, the one chance 1344 01:24:54,960 --> 01:24:58,479 Speaker 1: the movie had to let a woman do something, the 1345 01:24:58,560 --> 01:25:01,639 Speaker 1: movie didn't let her do it. It makes her seem 1346 01:25:01,680 --> 01:25:05,200 Speaker 1: incompetent and bad at her job, has her be violently 1347 01:25:05,320 --> 01:25:08,760 Speaker 1: shoved out of the way by a man, and it's 1348 01:25:08,800 --> 01:25:13,680 Speaker 1: a man who fixes the problem by bashing an expensive 1349 01:25:13,720 --> 01:25:17,920 Speaker 1: piece of equipment with a metal pipe and saves the day. 1350 01:25:18,160 --> 01:25:21,200 Speaker 1: We don't know, we don't know why is happening in 1351 01:25:21,200 --> 01:25:24,519 Speaker 1: this fashion, but it is and it feels bad to 1352 01:25:24,560 --> 01:25:27,920 Speaker 1: look at, Like, yeah, I was, I was quite frustrated. 1353 01:25:28,320 --> 01:25:31,920 Speaker 1: I feel like every time there is an opportunity to 1354 01:25:32,240 --> 01:25:37,200 Speaker 1: further develop a woman introduced into the story, the story 1355 01:25:37,520 --> 01:25:42,839 Speaker 1: instead introduces three more men and you're and that happens 1356 01:25:42,880 --> 01:25:45,439 Speaker 1: almost without fail because I think with Grace we get 1357 01:25:45,479 --> 01:25:47,000 Speaker 1: to know great like I mean, I guess we do 1358 01:25:47,080 --> 01:25:50,120 Speaker 1: meet a j before we meet Grace, but like Grace 1359 01:25:50,200 --> 01:25:53,400 Speaker 1: is introduces like a big character. She's so large on 1360 01:25:53,439 --> 01:25:55,559 Speaker 1: the poster for Armageddon that you think that she's doing 1361 01:25:55,640 --> 01:25:59,280 Speaker 1: much more than she actually does. But then everything that 1362 01:25:59,439 --> 01:26:02,680 Speaker 1: is interesting about her is weirdly transferred in a way 1363 01:26:02,680 --> 01:26:07,120 Speaker 1: that doesn't quite translate onto a J and then with 1364 01:26:07,439 --> 01:26:12,120 Speaker 1: what's her name? What's what with what you see? Like 1365 01:26:12,280 --> 01:26:14,360 Speaker 1: she's I mean, I feel like she's kind of she's 1366 01:26:14,400 --> 01:26:19,320 Speaker 1: not quite like a shrewd stereotype, but she's very like strict, 1367 01:26:19,439 --> 01:26:22,160 Speaker 1: She's very like no bullshit um in the way that 1368 01:26:22,200 --> 01:26:26,240 Speaker 1: I think professional women are often broadly characterized. And it's 1369 01:26:26,240 --> 01:26:28,320 Speaker 1: like the women who are good at their job can 1370 01:26:28,360 --> 01:26:30,320 Speaker 1: also be fun to be around. Not that you know 1371 01:26:30,360 --> 01:26:33,960 Speaker 1: it from watching a movie, but whatever. Um, but she's 1372 01:26:34,040 --> 01:26:36,719 Speaker 1: you know whatever, she's like a type A like doesn't 1373 01:26:36,720 --> 01:26:40,040 Speaker 1: have patience for these guys that makes logical sense they suck, 1374 01:26:40,680 --> 01:26:43,800 Speaker 1: but instead is to teach them about gravity. She's the 1375 01:26:43,840 --> 01:26:48,120 Speaker 1: only scientist. There's a bunch of like random. I mean, 1376 01:26:48,320 --> 01:26:52,880 Speaker 1: you've got like someone who is rumored to hang out 1377 01:26:52,920 --> 01:26:57,400 Speaker 1: with underage women and a creep and a bunch of 1378 01:26:57,439 --> 01:27:00,240 Speaker 1: other guys that don't know anything about space like I, 1379 01:27:00,240 --> 01:27:03,720 Speaker 1: I too would be frustrated. But instead of exploring that 1380 01:27:03,760 --> 01:27:06,800 Speaker 1: even remotely, instead of even bothering to build a relationship 1381 01:27:06,840 --> 01:27:11,599 Speaker 1: between her and anybody, we build out love instead, because 1382 01:27:11,720 --> 01:27:15,519 Speaker 1: reasons like love is a far more memorable character than 1383 01:27:15,600 --> 01:27:18,519 Speaker 1: she is, and it doesn't need to be that way. 1384 01:27:18,560 --> 01:27:20,519 Speaker 1: I don't think it's like a fault of performance that 1385 01:27:20,800 --> 01:27:25,080 Speaker 1: it's like that's what the script does. So I don't know, 1386 01:27:25,120 --> 01:27:28,400 Speaker 1: I feel like I'm curious, I guess if that is 1387 01:27:28,439 --> 01:27:31,880 Speaker 1: something that is Like it feels like a blend of 1388 01:27:32,800 --> 01:27:39,040 Speaker 1: this wave of representation of women and just a blind 1389 01:27:39,080 --> 01:27:43,280 Speaker 1: of like how Michael Bay is as a creator. It 1390 01:27:43,320 --> 01:27:45,559 Speaker 1: feel like there's definitely overlap. But I do think that 1391 01:27:45,800 --> 01:27:48,479 Speaker 1: in the late nineties you could really easily get away 1392 01:27:48,520 --> 01:27:52,320 Speaker 1: with like early third wave girl power feminism of like 1393 01:27:52,920 --> 01:27:56,200 Speaker 1: in the corporate sense of like having women say all 1394 01:27:56,240 --> 01:27:59,599 Speaker 1: the right things but ultimately do nothing, which I think 1395 01:27:59,640 --> 01:28:02,120 Speaker 1: that like Grace says a lot of the right things 1396 01:28:02,160 --> 01:28:04,160 Speaker 1: in the first thirty minutes of this movie. She says, 1397 01:28:04,200 --> 01:28:06,080 Speaker 1: like you're not in charge of my life. I want 1398 01:28:06,080 --> 01:28:08,679 Speaker 1: to be liberated from you, like fuck you all this stuff, 1399 01:28:09,000 --> 01:28:13,360 Speaker 1: but then the right choice is to be daughter to daddy, 1400 01:28:13,720 --> 01:28:16,040 Speaker 1: and I mean, and like Watts says a lot of 1401 01:28:16,040 --> 01:28:19,360 Speaker 1: the same things where she pushes back on these ridiculous 1402 01:28:19,360 --> 01:28:23,719 Speaker 1: men she's surrounded by, but you know, ultimately it doesn't 1403 01:28:23,760 --> 01:28:30,479 Speaker 1: mean anything in the story. Absolutely, um, real quick. Yeah, 1404 01:28:30,600 --> 01:28:34,240 Speaker 1: we've touched on some of these already, but there is 1405 01:28:35,200 --> 01:28:41,840 Speaker 1: as Michael Bay does, which is too treat things like racism, sexism, 1406 01:28:41,920 --> 01:28:48,320 Speaker 1: able is, m etcetera as a punchline. Um many examples. 1407 01:28:48,320 --> 01:28:51,960 Speaker 1: I won't even go through specific ones, but there's a 1408 01:28:52,040 --> 01:28:58,200 Speaker 1: handful of racist stereotypes being employed there which she did 1409 01:28:58,240 --> 01:29:00,760 Speaker 1: not learn from after this movie, which we talked about 1410 01:29:00,760 --> 01:29:06,080 Speaker 1: in our Transformers episode keeps doing it. There's ablest language 1411 01:29:06,640 --> 01:29:10,959 Speaker 1: there is, Like we mentioned the like what is intended 1412 01:29:11,000 --> 01:29:14,679 Speaker 1: to be a joke of the Steve Boushemi character being 1413 01:29:14,720 --> 01:29:19,200 Speaker 1: a statutory rapist. There is what I felt were some 1414 01:29:19,400 --> 01:29:24,200 Speaker 1: like gay panic jokes when with the butt shots, right, 1415 01:29:24,240 --> 01:29:27,519 Speaker 1: they were like being medically examined, and there was all 1416 01:29:27,560 --> 01:29:30,360 Speaker 1: these like we're gonna stick this probe in you and 1417 01:29:30,400 --> 01:29:36,120 Speaker 1: they're like just fucking ridiculous, Like you're just like grow up. 1418 01:29:36,760 --> 01:29:39,519 Speaker 1: Don't forget the woman in the cab at the beginning 1419 01:29:39,560 --> 01:29:42,719 Speaker 1: of the movie, who is like, why aren't we moving? 1420 01:29:42,920 --> 01:29:47,800 Speaker 1: I want to go shopping because yeah, women be shopping well. 1421 01:29:47,840 --> 01:29:50,360 Speaker 1: And then on top of that, I mean like yeah, 1422 01:29:50,400 --> 01:29:53,160 Speaker 1: Michael bay Is so I mean I feel like this 1423 01:29:53,280 --> 01:29:58,040 Speaker 1: kind of ties into the undercurrent of nationalism, and like 1424 01:29:58,120 --> 01:30:01,680 Speaker 1: by that, I mean like white em Arian nationalism that 1425 01:30:01,880 --> 01:30:05,439 Speaker 1: is like tied into this movie because in all Michael 1426 01:30:05,439 --> 01:30:08,360 Speaker 1: Bay movies, because he loves a disaster movie, and I 1427 01:30:08,360 --> 01:30:11,000 Speaker 1: don't hate a disaster movie, but the tropes that he 1428 01:30:11,120 --> 01:30:14,120 Speaker 1: invokes inside of them are like really frustrating because he like, 1429 01:30:15,160 --> 01:30:20,760 Speaker 1: I feel like there's like the vineer Veneers, there's the 1430 01:30:20,920 --> 01:30:26,759 Speaker 1: veneer of like being like an international, global, multicultural movie. 1431 01:30:26,840 --> 01:30:29,400 Speaker 1: Because you do see a lot of people of a 1432 01:30:29,400 --> 01:30:32,599 Speaker 1: lot of different races in this movie, and a lot 1433 01:30:32,640 --> 01:30:37,000 Speaker 1: of Michael Bay movies, however, non white characters in general, 1434 01:30:37,160 --> 01:30:40,599 Speaker 1: with some exceptions, but in this movie, I would mainly 1435 01:30:40,640 --> 01:30:44,200 Speaker 1: just say the General and Bear are exceptions. Those are 1436 01:30:44,400 --> 01:30:48,840 Speaker 1: really the only non white characters of narrative impact in 1437 01:30:48,880 --> 01:30:52,519 Speaker 1: the movie. But like you see scenes that are supposed 1438 01:30:52,560 --> 01:30:55,280 Speaker 1: to be taking place in Shanghai, you see scenes that 1439 01:30:55,320 --> 01:30:58,920 Speaker 1: are supposed to be taking place all over the world, 1440 01:30:59,600 --> 01:31:04,040 Speaker 1: but Michael Bay, without fail will show you and he 1441 01:31:04,600 --> 01:31:07,240 Speaker 1: Michael Bay does show you a very diverse New York, 1442 01:31:07,720 --> 01:31:09,640 Speaker 1: but only because he's about to hit it with a 1443 01:31:09,720 --> 01:31:13,760 Speaker 1: fucking asteroid, and like he will show you, you know, 1444 01:31:13,800 --> 01:31:16,840 Speaker 1: people of color, but he will not develop Like just 1445 01:31:16,920 --> 01:31:20,800 Speaker 1: I just feel like his movies treat anyone who isn't 1446 01:31:20,800 --> 01:31:25,439 Speaker 1: white as extremely disposable, and so it's like you can't 1447 01:31:25,520 --> 01:31:28,280 Speaker 1: like you can hand nothing to him because he's about 1448 01:31:28,280 --> 01:31:33,280 Speaker 1: to fucking blow people up, like it's without fail. He 1449 01:31:33,360 --> 01:31:35,519 Speaker 1: will do that. He does it in the Transformers movies, 1450 01:31:35,800 --> 01:31:37,880 Speaker 1: he does it in The Rock, he does in this movie. 1451 01:31:37,880 --> 01:31:39,840 Speaker 1: He does it all the fucking time, like it's what 1452 01:31:39,960 --> 01:31:43,240 Speaker 1: he does. I also feel like when he cuts to 1453 01:31:44,080 --> 01:31:48,439 Speaker 1: other cities across the globe, and I'm thinking particularly of 1454 01:31:48,520 --> 01:31:52,480 Speaker 1: the shots of Shanghai, they look like they're fucking Epcot, 1455 01:31:53,000 --> 01:31:56,599 Speaker 1: Like it looks like it looks like not real. It 1456 01:31:56,800 --> 01:32:00,840 Speaker 1: looks Yeah, the production design of those scenes, you would 1457 01:32:00,840 --> 01:32:06,519 Speaker 1: never know that Shanghai is a modern city because the 1458 01:32:06,600 --> 01:32:12,719 Speaker 1: way that it's designed, it looks I don't know, it's like, yeah, 1459 01:32:13,000 --> 01:32:16,680 Speaker 1: it's like Michael Baby being like it's still feudal times 1460 01:32:16,800 --> 01:32:20,240 Speaker 1: in China, right, It's not a modern country with a 1461 01:32:20,280 --> 01:32:24,200 Speaker 1: modern economy, of course not, which is pretty hilarious given 1462 01:32:24,280 --> 01:32:28,200 Speaker 1: how dependent the global movie economy is on the Chinese 1463 01:32:28,200 --> 01:32:31,439 Speaker 1: movie economy. Now, that would absolutely not happen now, not 1464 01:32:31,560 --> 01:32:33,320 Speaker 1: that it should have happened then, but it's like it 1465 01:32:33,360 --> 01:32:37,720 Speaker 1: would be logistically impossible to happen now. Um, It's just 1466 01:32:37,800 --> 01:32:40,320 Speaker 1: like I mean, it's disrespectful. I feel like it's it's 1467 01:32:40,520 --> 01:32:45,000 Speaker 1: so USA centric and because it's like half the time 1468 01:32:45,000 --> 01:32:48,280 Speaker 1: when you hear or half the time when you see sorry, 1469 01:32:48,360 --> 01:32:53,519 Speaker 1: when you see other countries, so not always non white people, 1470 01:32:53,600 --> 01:32:56,200 Speaker 1: but like often whatever. It's like I think you're supposed 1471 01:32:56,240 --> 01:33:00,439 Speaker 1: to believe. You go to Africa, you go to South Erica, 1472 01:33:00,680 --> 01:33:03,000 Speaker 1: you go to Asia, you go all over the world 1473 01:33:03,640 --> 01:33:08,360 Speaker 1: listening to people being inspired by the American president, and 1474 01:33:08,400 --> 01:33:11,240 Speaker 1: then the last shot is always like a white family 1475 01:33:11,520 --> 01:33:15,519 Speaker 1: or live Tyler like standing up against an American flag 1476 01:33:15,600 --> 01:33:18,120 Speaker 1: and like nodding their head, like it's very very clear 1477 01:33:19,040 --> 01:33:22,000 Speaker 1: what's being done. It's like a low simmering propaganda. And 1478 01:33:22,080 --> 01:33:25,280 Speaker 1: that's why, you know, like it's part of why the 1479 01:33:25,360 --> 01:33:28,720 Speaker 1: movies getting made at the like at least at this 1480 01:33:28,800 --> 01:33:31,760 Speaker 1: point in the late nineties, like that was a great 1481 01:33:31,800 --> 01:33:34,360 Speaker 1: way to make a really expensive movie, Like that was 1482 01:33:34,400 --> 01:33:37,040 Speaker 1: how you made a shipload of money. Is just adding 1483 01:33:37,080 --> 01:33:40,720 Speaker 1: in this, you know a lot of nationalistic stuff and 1484 01:33:40,760 --> 01:33:44,120 Speaker 1: like a lot of it is in the imagery and 1485 01:33:44,240 --> 01:33:47,240 Speaker 1: like who fucking knows if that's in the script. A 1486 01:33:47,280 --> 01:33:50,440 Speaker 1: lot of it is kind of the Bruce Willis cowboy 1487 01:33:50,600 --> 01:33:54,200 Speaker 1: image where it feels kind of very American dreamy that like, 1488 01:33:54,280 --> 01:33:58,280 Speaker 1: it's just a regular guy, a regular American guy saved 1489 01:33:58,320 --> 01:34:01,040 Speaker 1: the world. And then even at the end when they 1490 01:34:01,040 --> 01:34:03,200 Speaker 1: blow up the asteroid, they do that whole sequence again 1491 01:34:03,240 --> 01:34:06,240 Speaker 1: of people all over the world, of all racist creeds 1492 01:34:06,280 --> 01:34:12,400 Speaker 1: and genders, celebrating the heroicism of Bruce Willis, cut to 1493 01:34:12,479 --> 01:34:15,559 Speaker 1: the American flag, cut to a kid holding a spaceship 1494 01:34:15,600 --> 01:34:18,920 Speaker 1: in front of a mural of JFK. And it's like, yeah, 1495 01:34:18,960 --> 01:34:23,120 Speaker 1: we fucking get it, Like it's no surprise that this 1496 01:34:23,240 --> 01:34:27,160 Speaker 1: director goes on to work closely with the American military 1497 01:34:27,240 --> 01:34:31,200 Speaker 1: to make his shitty robot movies. Also, they're constantly like 1498 01:34:31,360 --> 01:34:34,360 Speaker 1: as the movie goes on, they are just more and 1499 01:34:34,400 --> 01:34:38,479 Speaker 1: more invoking a Christian God, and you're like, oh, fucking 1500 01:34:38,640 --> 01:34:43,200 Speaker 1: king man, Sorry, I just pernicious nationalism and movies is 1501 01:34:43,240 --> 01:34:45,880 Speaker 1: a very interesting topic to me. Everyone should read the 1502 01:34:45,920 --> 01:34:52,040 Speaker 1: book Red Carpet. Um. Okay, yeah, we talked about this 1503 01:34:52,160 --> 01:34:55,439 Speaker 1: on I want to say the Arrival episode which is 1504 01:34:55,479 --> 01:34:57,599 Speaker 1: on the Matreon, and I think we might have discussed 1505 01:34:57,600 --> 01:35:01,679 Speaker 1: this to some extent on the Dependence Day episode two. 1506 01:35:02,960 --> 01:35:10,360 Speaker 1: The phenomenon of Hollywood disaster movies, where a disaster happens 1507 01:35:10,400 --> 01:35:14,640 Speaker 1: that would affect the entire planet, but will be a 1508 01:35:14,760 --> 01:35:18,639 Speaker 1: story only told from the American perspective, where we see 1509 01:35:19,240 --> 01:35:22,080 Speaker 1: Americans are the ones to do the thing to solve 1510 01:35:22,120 --> 01:35:27,599 Speaker 1: the problem, the implication being only Americans are smart enough 1511 01:35:27,760 --> 01:35:32,200 Speaker 1: and equipped enough to handle something like this, to the 1512 01:35:32,280 --> 01:35:37,120 Speaker 1: point where in this movie they do have contact with 1513 01:35:37,200 --> 01:35:41,080 Speaker 1: someone from another country, Lev on the Russian space station, 1514 01:35:41,680 --> 01:35:45,880 Speaker 1: but the Russian space station has this huge malfunction. Things 1515 01:35:45,920 --> 01:35:49,559 Speaker 1: go horribly wrong, people almost die, and it's like, hey, 1516 01:35:49,600 --> 01:35:53,160 Speaker 1: if you needed a reminder that Russia lost the space race, 1517 01:35:53,439 --> 01:35:57,120 Speaker 1: and remember, here's a Swedish guy doing a weird accent 1518 01:35:58,320 --> 01:36:00,720 Speaker 1: in person. I think grew. I'm and it literally, I 1519 01:36:00,760 --> 01:36:04,960 Speaker 1: mean it is. It is propaganda, like it absolutely is propaganda, 1520 01:36:05,360 --> 01:36:08,200 Speaker 1: and it's not subtle. And that's why I think Michael 1521 01:36:08,320 --> 01:36:12,160 Speaker 1: bay for a period of time and not anymore, which 1522 01:36:12,160 --> 01:36:14,479 Speaker 1: I don't think it's a coincidence given the shift in 1523 01:36:14,520 --> 01:36:18,880 Speaker 1: global politics, Like why he was such a successful international 1524 01:36:18,920 --> 01:36:23,880 Speaker 1: American filmmaker when he was because it was intense American 1525 01:36:23,920 --> 01:36:28,800 Speaker 1: propaganda at a time where that worked. It shouldn't have 1526 01:36:29,040 --> 01:36:32,439 Speaker 1: but it did. And that's why I need to find 1527 01:36:32,560 --> 01:36:34,600 Speaker 1: the name of the author, because it really is. It 1528 01:36:34,680 --> 01:36:36,559 Speaker 1: was like one of the best books they read last year. 1529 01:36:36,600 --> 01:36:38,120 Speaker 1: And I know we don't read books, but I actually 1530 01:36:38,160 --> 01:36:42,120 Speaker 1: Donna say, Jamie, have you betrayed me? Here's the thing. 1531 01:36:42,200 --> 01:36:44,360 Speaker 1: I do actually read books all the fun time. And 1532 01:36:44,400 --> 01:36:47,840 Speaker 1: sometimes I'm like, why am I joking around so much? 1533 01:36:48,640 --> 01:36:51,639 Speaker 1: Because then people are like, oh, you have one brain cell? 1534 01:36:51,760 --> 01:36:54,360 Speaker 1: Like actually, don't, okay. Um. It's a book called Red 1535 01:36:54,400 --> 01:36:58,680 Speaker 1: Carpet Hollywood, China and the Global Battle for Cultural Supremacy 1536 01:36:58,880 --> 01:37:01,760 Speaker 1: came out last year by Eric Schwartzel. I think I 1537 01:37:01,840 --> 01:37:03,400 Speaker 1: brought it up. I think it maybe brought it up 1538 01:37:03,400 --> 01:37:06,160 Speaker 1: in our Top Gun episode, which is I think over 1539 01:37:06,160 --> 01:37:09,439 Speaker 1: in our Matreon. But it's a really interesting book about 1540 01:37:10,080 --> 01:37:14,639 Speaker 1: how kind of the cultural capital has over a period 1541 01:37:14,680 --> 01:37:21,120 Speaker 1: of years shifted from Hollywood over to China and how, 1542 01:37:21,240 --> 01:37:24,760 Speaker 1: you know, how global politics kind of influenced that. But 1543 01:37:25,240 --> 01:37:27,559 Speaker 1: I feel like these late nineties movies are kind of 1544 01:37:27,600 --> 01:37:32,040 Speaker 1: where Hollywood influence is at. I don't know if it's 1545 01:37:32,040 --> 01:37:35,799 Speaker 1: like a complete peak, but certainly like a high of 1546 01:37:36,000 --> 01:37:42,519 Speaker 1: like pushing aggressive white American values was a way to 1547 01:37:42,640 --> 01:37:46,439 Speaker 1: become really really successful in a way that already feels 1548 01:37:46,560 --> 01:37:49,840 Speaker 1: very very dated. And that's why we talked about it 1549 01:37:49,840 --> 01:37:52,840 Speaker 1: in the Top Gun episode, because in Top Gun it's 1550 01:37:52,880 --> 01:37:56,559 Speaker 1: so pro America and there is a very clear like 1551 01:37:56,640 --> 01:38:00,200 Speaker 1: they name quote unquote the enemy in a way no 1552 01:38:00,280 --> 01:38:03,919 Speaker 1: longer happens in American movies because poting in Top Gun Maverick, 1553 01:38:04,160 --> 01:38:07,040 Speaker 1: where they're like, there's an enemy. We're not going to 1554 01:38:07,160 --> 01:38:10,679 Speaker 1: tell where it is or who it is, but there's 1555 01:38:10,720 --> 01:38:13,879 Speaker 1: an enemy. Because America is no longer the most powerful 1556 01:38:13,920 --> 01:38:16,360 Speaker 1: country in the world, you can't just randomly name an 1557 01:38:16,479 --> 01:38:21,280 Speaker 1: enemy and not experience a consequence. And anyways, it's a 1558 01:38:21,280 --> 01:38:24,880 Speaker 1: really fascinating book. It's very depressing. But in that book, oh, 1559 01:38:24,920 --> 01:38:26,439 Speaker 1: that's what I was going to say. In that book, 1560 01:38:26,840 --> 01:38:30,640 Speaker 1: there was a high up official. I don't remember what 1561 01:38:30,720 --> 01:38:32,479 Speaker 1: their name or position was, but there was a high 1562 01:38:32,560 --> 01:38:37,280 Speaker 1: up official in the Chinese Communist government. And normally I 1563 01:38:37,320 --> 01:38:40,000 Speaker 1: say communists as a compliment, in this case, I would 1564 01:38:40,040 --> 01:38:42,800 Speaker 1: not um, but there was a higher up in the 1565 01:38:42,840 --> 01:38:48,799 Speaker 1: government that said like a lot of current blockbuster Chinese movies, 1566 01:38:49,040 --> 01:38:51,960 Speaker 1: so like Michael Bay movies of the late nineties, there's 1567 01:38:52,000 --> 01:38:55,280 Speaker 1: a lot of heavy nationalist themes. Whether the movie is 1568 01:38:55,320 --> 01:38:57,599 Speaker 1: good or not, you know, it depends on the artists, 1569 01:38:57,600 --> 01:39:01,720 Speaker 1: but there the nationalism is inherent to it. But um, 1570 01:39:01,760 --> 01:39:05,920 Speaker 1: a lot of current Chinese filmmakers were influenced heavily by 1571 01:39:06,000 --> 01:39:09,960 Speaker 1: this era in American movies because of how heavily the 1572 01:39:10,040 --> 01:39:13,200 Speaker 1: Michael Bays of the world. And everyone points out Titanic 1573 01:39:13,280 --> 01:39:19,759 Speaker 1: as like the best American propaganda ever produced because it 1574 01:39:19,840 --> 01:39:23,200 Speaker 1: is the best. They're not wrong because we like it 1575 01:39:23,439 --> 01:39:26,439 Speaker 1: like it's and everyone likes it, and that's like, I mean, 1576 01:39:26,479 --> 01:39:29,400 Speaker 1: that's the most effective propagandists like to build in the 1577 01:39:29,479 --> 01:39:32,400 Speaker 1: pernicious values that you're trying to push on people in 1578 01:39:32,439 --> 01:39:37,040 Speaker 1: a really appealing, sexy, fun, narratively fun way, like makes 1579 01:39:37,080 --> 01:39:41,560 Speaker 1: it a really effective way to deliver a message. But 1580 01:39:41,560 --> 01:39:43,320 Speaker 1: but I mean, it's just I think it is kind 1581 01:39:43,360 --> 01:39:45,960 Speaker 1: of funny with movies like Armageddon because Michael Bay, I 1582 01:39:45,960 --> 01:39:47,760 Speaker 1: think is trying to do that, but he's just like 1583 01:39:47,840 --> 01:39:52,080 Speaker 1: not good at it because he's so he's bad at it. 1584 01:39:52,200 --> 01:39:56,360 Speaker 1: He's like not a good movie maker. He's not a 1585 01:39:56,360 --> 01:39:59,800 Speaker 1: good Windows movie maker. And I don't I think he 1586 01:40:00,000 --> 01:40:01,960 Speaker 1: wants to be able to do what James Cameron did, 1587 01:40:02,000 --> 01:40:09,520 Speaker 1: but he just like can't, so he ha ha whatever. Yeah, Um, 1588 01:40:09,560 --> 01:40:13,599 Speaker 1: I will say maybe the one redeeming thing about this 1589 01:40:13,880 --> 01:40:17,360 Speaker 1: movie that I don't think actually ends up being very 1590 01:40:17,439 --> 01:40:24,640 Speaker 1: redeeming because of the different context and implications. But I 1591 01:40:24,640 --> 01:40:27,160 Speaker 1: do appreciate that this is a movie that like champions 1592 01:40:27,800 --> 01:40:32,439 Speaker 1: the working class, a champions, you know, blue collar work. 1593 01:40:32,880 --> 01:40:35,840 Speaker 1: It's these. But then it's also, like you said, it's 1594 01:40:35,880 --> 01:40:39,760 Speaker 1: kind of like, well, these fancy astronaut boys can't do 1595 01:40:39,920 --> 01:40:45,160 Speaker 1: the job, so you need a statutory rapist, right, and 1596 01:40:45,640 --> 01:40:49,439 Speaker 1: oil drillers who are actively fucking up the planet. We 1597 01:40:49,520 --> 01:40:52,479 Speaker 1: need them to come in and save the day, and 1598 01:40:52,560 --> 01:40:56,160 Speaker 1: they're like actively implying that these Like I think that 1599 01:40:56,240 --> 01:40:59,080 Speaker 1: it's like you have working class heroes and they are 1600 01:40:59,320 --> 01:41:04,080 Speaker 1: like not well written, but like entertainingly written characters. They're 1601 01:41:04,120 --> 01:41:08,200 Speaker 1: distinguishable from one another, which a lot of movies cannot 1602 01:41:08,280 --> 01:41:11,600 Speaker 1: do right. And you have a creep and a statutory 1603 01:41:11,720 --> 01:41:14,519 Speaker 1: rapist in a group of like eight guys. Amazing great, 1604 01:41:14,960 --> 01:41:17,160 Speaker 1: But I do think that all of those men are 1605 01:41:17,240 --> 01:41:21,040 Speaker 1: characterized as kind of buffoons, and so it's like it's 1606 01:41:21,040 --> 01:41:24,160 Speaker 1: a like, yea, we have everyone except for Bruce Willis 1607 01:41:24,320 --> 01:41:28,479 Speaker 1: is like, well, the working class. They're incompetent, but like 1608 01:41:28,520 --> 01:41:31,040 Speaker 1: they really pulled it together. This one time in space 1609 01:41:31,200 --> 01:41:34,640 Speaker 1: due to the one guy who is smart, which is 1610 01:41:34,680 --> 01:41:39,479 Speaker 1: wild because it's like Steve Bushey's character is eventually revealed 1611 01:41:39,479 --> 01:41:43,479 Speaker 1: to be like extremely like a product. He has like 1612 01:41:43,640 --> 01:41:46,120 Speaker 1: two doctorates by the time he's twenty two or like 1613 01:41:46,160 --> 01:41:49,720 Speaker 1: whatever that Bizarrow writing thing was, and you know, I 1614 01:41:49,720 --> 01:41:53,040 Speaker 1: feel like they're heavily like I don't even know what 1615 01:41:53,080 --> 01:41:55,639 Speaker 1: they were doing with that character, but I didn't like it. 1616 01:41:55,920 --> 01:41:58,040 Speaker 1: I didn't like it. I hope he made an idea 1617 01:41:58,160 --> 01:42:00,840 Speaker 1: all one forty million dollars of the ut for saying 1618 01:42:00,840 --> 01:42:05,920 Speaker 1: those things out loud. But yeah, to your point, it's 1619 01:42:06,560 --> 01:42:10,679 Speaker 1: this movie that's like championing these working class people who 1620 01:42:11,720 --> 01:42:19,479 Speaker 1: are characterized largely in stereotypes of working class people because 1621 01:42:19,520 --> 01:42:25,240 Speaker 1: they are characterized as being sex offenders and deadbeat dads 1622 01:42:25,360 --> 01:42:29,519 Speaker 1: and like people with gambling addictions and like all this stuff. 1623 01:42:30,240 --> 01:42:34,040 Speaker 1: So it's like, you're not championing working class people if 1624 01:42:34,080 --> 01:42:38,360 Speaker 1: you're just applying all these negative stereotypes to them. No, 1625 01:42:39,160 --> 01:42:42,640 Speaker 1: So that doesn't work. Yeah, No, It's like it's the 1626 01:42:42,760 --> 01:42:45,639 Speaker 1: classic like Michael Bay trying to have it all sorts 1627 01:42:45,640 --> 01:42:48,479 Speaker 1: of ways at once, which I think, yeah, again, like 1628 01:42:48,640 --> 01:42:52,800 Speaker 1: gives you like the sheen of well, I represented this 1629 01:42:52,960 --> 01:42:56,439 Speaker 1: class not well. And that's how I would say that, Like, 1630 01:42:56,640 --> 01:42:58,760 Speaker 1: that's how he treats people across the gender and race 1631 01:42:58,840 --> 01:43:01,719 Speaker 1: spectrum as well, of like, yeah, I did represent people 1632 01:43:01,720 --> 01:43:04,240 Speaker 1: from across the gender and race spectrum in most of 1633 01:43:04,240 --> 01:43:08,360 Speaker 1: my movies, not well. But were they not there? And 1634 01:43:08,400 --> 01:43:12,400 Speaker 1: you're like, yeah, that's actually not that's not helpful. It's 1635 01:43:12,439 --> 01:43:15,040 Speaker 1: not helpful at all. Yeah, And I guess that that's 1636 01:43:15,040 --> 01:43:17,080 Speaker 1: what I have to say about it. I do think 1637 01:43:17,120 --> 01:43:21,360 Speaker 1: it's funny that Michael Bay was at least advertised as 1638 01:43:21,920 --> 01:43:24,840 Speaker 1: apologizing for it Armageddon. He didn't actually apologize for it, 1639 01:43:24,880 --> 01:43:27,839 Speaker 1: but he said, yeah, I was made pretty quickly, and 1640 01:43:28,760 --> 01:43:33,080 Speaker 1: my visual effects supervisor had a mental breakdown. Can I 1641 01:43:33,120 --> 01:43:35,320 Speaker 1: share a few of the quotes from and can we 1642 01:43:35,360 --> 01:43:39,160 Speaker 1: swap our favorite quotes from the commentary track? Yes, okay, 1643 01:43:39,200 --> 01:43:42,920 Speaker 1: I mean first iconically, Michael Bay, I know there's no 1644 01:43:42,960 --> 01:43:44,960 Speaker 1: fire in space, but it is a movie, and most 1645 01:43:45,000 --> 01:43:49,960 Speaker 1: people don't know that that is a good one and 1646 01:43:50,000 --> 01:43:53,679 Speaker 1: he's not wrong. Most people probably don't know that. Here's 1647 01:43:53,680 --> 01:43:56,280 Speaker 1: another phone one. I was very unimpressed when I went 1648 01:43:56,320 --> 01:43:59,200 Speaker 1: to NASA, and it shows Michael Bay said that, yes 1649 01:43:59,240 --> 01:44:03,720 Speaker 1: you did. He was not. He was like, wait, there's 1650 01:44:03,760 --> 01:44:06,639 Speaker 1: no fires in space. Boom, we gotta put him there. 1651 01:44:07,520 --> 01:44:13,120 Speaker 1: Here's one from Ben Affleck talking about I've seen I 1652 01:44:13,120 --> 01:44:17,439 Speaker 1: don't know which one. I think it was a big 1653 01:44:17,479 --> 01:44:22,640 Speaker 1: action set piece, he says, quote it cuts together pretty seamlessly. 1654 01:44:22,720 --> 01:44:25,360 Speaker 1: I must say, for something that I thought would look 1655 01:44:25,400 --> 01:44:33,040 Speaker 1: like total hoke Um, he says, after remembering how chintzy 1656 01:44:33,280 --> 01:44:36,760 Speaker 1: it seemed on set. Um, A lot of boomer were 1657 01:44:36,880 --> 01:44:42,800 Speaker 1: two kind of paraphrase David Sims Palavars from blank Check, 1658 01:44:43,160 --> 01:44:49,280 Speaker 1: who wrote an Atlantic piece on the Armageddon commentary. So 1659 01:44:49,520 --> 01:44:54,160 Speaker 1: shout out to that, David. Let's see, Okay, two other 1660 01:44:54,200 --> 01:44:56,880 Speaker 1: Michael Bay things I'll say, He says, making films as 1661 01:44:56,920 --> 01:44:59,080 Speaker 1: like a war. I think we've referenced that quote before. 1662 01:44:59,680 --> 01:45:01,639 Speaker 1: He sa as, I'm the kind of director who doesn't 1663 01:45:01,680 --> 01:45:07,760 Speaker 1: like effects. He says over a sequence of terrible effects. Um. 1664 01:45:07,800 --> 01:45:10,200 Speaker 1: And then finally, I wanted to just provide the full 1665 01:45:10,439 --> 01:45:14,720 Speaker 1: Ben Affleck teeth anecdote because as a Veneers scout and 1666 01:45:14,840 --> 01:45:17,920 Speaker 1: and you know, enthusiast of many years, I truly it 1667 01:45:18,040 --> 01:45:20,640 Speaker 1: is my dream that someday Jerry Bruckheimer will walk up 1668 01:45:20,680 --> 01:45:23,439 Speaker 1: to me and say it's your time kid, we're getting 1669 01:45:23,479 --> 01:45:26,920 Speaker 1: your new teeth. So I say this with love. Michael 1670 01:45:26,960 --> 01:45:31,439 Speaker 1: Bay describing how he realized Beneffle teeth wouldn't do. I 1671 01:45:31,520 --> 01:45:33,800 Speaker 1: always like low shots that kind of come right under 1672 01:45:33,840 --> 01:45:36,320 Speaker 1: your chin and make you a little bit heroic. And 1673 01:45:36,439 --> 01:45:39,479 Speaker 1: he kind of had these baby teeth. So I told 1674 01:45:39,520 --> 01:45:43,240 Speaker 1: Jerry Bruckheimer, God, he's got these baby teeth. Jerry, I 1675 01:45:43,280 --> 01:45:46,720 Speaker 1: don't know what to do. Jerry, he used a very 1676 01:45:46,720 --> 01:45:49,960 Speaker 1: famous start in a plane movie that he replaced teeth with, 1677 01:45:50,400 --> 01:45:53,040 Speaker 1: so he said, we did it to him, why not 1678 01:45:53,160 --> 01:45:56,000 Speaker 1: do it to Ben? So my dentist had been sitting 1679 01:45:56,000 --> 01:46:00,160 Speaker 1: in a dentist chair for a week, eight hours a day. 1680 01:46:00,200 --> 01:46:02,559 Speaker 1: Oh my gosh. And what they're talking about is top 1681 01:46:02,600 --> 01:46:04,920 Speaker 1: gun in Tom Cruise. But for some reason Michael Bay 1682 01:46:04,920 --> 01:46:08,320 Speaker 1: doesn't feel comfortable thing that. But like I've seen it 1683 01:46:08,360 --> 01:46:11,240 Speaker 1: before and after Tom Cruise teeth picks. Tom Cruise is 1684 01:46:11,280 --> 01:46:14,760 Speaker 1: a poster boy for dentists that want to give you 1685 01:46:14,800 --> 01:46:18,160 Speaker 1: expensive teeth. Ben Affleck I kind of wonder as of 1686 01:46:18,240 --> 01:46:20,439 Speaker 1: Veneer's enthusiasts, like how long did they hold up? Do 1687 01:46:20,479 --> 01:46:22,200 Speaker 1: you have to get them like tuned up like a car? 1688 01:46:22,280 --> 01:46:25,160 Speaker 1: I don't know, but they still you know, it's been 1689 01:46:25,160 --> 01:46:27,120 Speaker 1: twenty five years since this movie came out, and they're 1690 01:46:27,160 --> 01:46:31,599 Speaker 1: fucking chilling there. You know, the same firm. They've lasted 1691 01:46:31,640 --> 01:46:37,040 Speaker 1: a few marriages. I'll say, uh true, So you know, 1692 01:46:37,560 --> 01:46:42,120 Speaker 1: this is movie definitely sucks. And also I just the 1693 01:46:42,200 --> 01:46:45,880 Speaker 1: last production note is that um that I thought was funny, 1694 01:46:45,960 --> 01:46:49,080 Speaker 1: and it's like, I guess a pretty well circulated saying was. 1695 01:46:49,479 --> 01:46:51,680 Speaker 1: I just always think it's funny when like movies with 1696 01:46:51,760 --> 01:46:55,280 Speaker 1: the exact same themes come out at the exact same time. 1697 01:46:55,560 --> 01:46:59,840 Speaker 1: Because this movie came out very very close to the 1698 01:47:00,439 --> 01:47:06,600 Speaker 1: movie Deep Impact, which was I believe directed by a 1699 01:47:06,640 --> 01:47:11,240 Speaker 1: woman and was also successful but made less money than 1700 01:47:11,560 --> 01:47:17,080 Speaker 1: Armageddon and sharing from scholarly journal Wikipedia, these movies came 1701 01:47:17,080 --> 01:47:20,120 Speaker 1: out two months apart. They're both about blowing up an 1702 01:47:20,120 --> 01:47:23,120 Speaker 1: asteroid that's about to hit Earth. It's not a coincidence 1703 01:47:23,160 --> 01:47:25,400 Speaker 1: that they come out around the same time, it says. 1704 01:47:25,840 --> 01:47:28,559 Speaker 1: According to Bruce jel Reuben, writer of Deep Impact, a 1705 01:47:28,560 --> 01:47:31,960 Speaker 1: production president at Disney took notes on everything the writer 1706 01:47:32,160 --> 01:47:36,280 Speaker 1: said during a lunch about his script and initiated Armageddon 1707 01:47:36,360 --> 01:47:40,559 Speaker 1: as a counter film at Disney, and then nine writes. 1708 01:47:40,600 --> 01:47:42,720 Speaker 1: That's why nine writers worked on the script because the 1709 01:47:42,720 --> 01:47:45,920 Speaker 1: story had basically been written by another person and they 1710 01:47:45,960 --> 01:47:48,400 Speaker 1: just had to kind of shape the same story into 1711 01:47:48,400 --> 01:47:53,120 Speaker 1: a Bruce Willis, Jerry Bruckheimer, Michael Bay vehicle of that story. 1712 01:47:53,439 --> 01:47:55,800 Speaker 1: And then they just better at the box office than 1713 01:47:55,880 --> 01:47:58,879 Speaker 1: Deep Impact. So they just straight up stole the idea 1714 01:47:59,240 --> 01:48:01,840 Speaker 1: from another it or yeah, took it to a different 1715 01:48:01,880 --> 01:48:05,519 Speaker 1: studio and was like this is our movie now, yeah, 1716 01:48:05,560 --> 01:48:07,920 Speaker 1: and they took and like to add insult to injury, 1717 01:48:08,160 --> 01:48:10,760 Speaker 1: Deep Impact was directed by a woman, and very few 1718 01:48:10,800 --> 01:48:17,040 Speaker 1: movies in were directed by women. And just like Michael Bay, 1719 01:48:17,200 --> 01:48:21,320 Speaker 1: just like is fucking evil and lawless, which we knew 1720 01:48:21,640 --> 01:48:23,680 Speaker 1: I've not seen and I will say I have not. 1721 01:48:23,800 --> 01:48:25,640 Speaker 1: I mean I guess I hadn't seen Armagedon either, but 1722 01:48:25,720 --> 01:48:28,400 Speaker 1: like I kind of forgot the Deep Impact existed. I 1723 01:48:28,479 --> 01:48:32,679 Speaker 1: knew Armageddon existed. And that's bad. It reminds me of 1724 01:48:33,200 --> 01:48:34,519 Speaker 1: this is the last thing I'll say in the episode, 1725 01:48:34,560 --> 01:48:37,120 Speaker 1: because we gotta go, We gotta go. It reminds me, 1726 01:48:37,120 --> 01:48:40,040 Speaker 1: I mean those stories. Movies are like littered with stories 1727 01:48:40,080 --> 01:48:44,280 Speaker 1: like that. But there was this amazing animator named Richard 1728 01:48:44,320 --> 01:48:47,799 Speaker 1: Williams who was the animation director on who frame Roger Rabbit. 1729 01:48:48,080 --> 01:48:50,680 Speaker 1: He did all of these famous like animations in the 1730 01:48:50,760 --> 01:48:54,400 Speaker 1: back half of the twentieth century, and his magnum opus 1731 01:48:54,960 --> 01:48:58,519 Speaker 1: was this story called The Thief and the Cobbler, which 1732 01:48:58,800 --> 01:49:01,760 Speaker 1: there's a lot of resemble and says in story and 1733 01:49:01,800 --> 01:49:07,680 Speaker 1: in setting to Aladdin. He worked on this movie decades 1734 01:49:07,960 --> 01:49:11,400 Speaker 1: and decades, and then Disney got wind of it in 1735 01:49:11,439 --> 01:49:13,719 Speaker 1: the last couple of years and they're like, oh, let's 1736 01:49:13,800 --> 01:49:16,479 Speaker 1: kill that, and then they made Aladdin and no one 1737 01:49:16,560 --> 01:49:19,720 Speaker 1: has ever seen the Thief in the Cobbler and everyone 1738 01:49:19,840 --> 01:49:23,280 Speaker 1: is seeing Aladdin. Business is evil, kind of like how 1739 01:49:23,360 --> 01:49:29,120 Speaker 1: Disney was like, oh, Kimba the White Lion exists, Well, 1740 01:49:29,160 --> 01:49:31,719 Speaker 1: we're just going to steal that and make the Lion King. 1741 01:49:32,600 --> 01:49:34,400 Speaker 1: I've heard a lot of different versions of that story, 1742 01:49:34,400 --> 01:49:36,080 Speaker 1: but yeah, like it. It does feel like it's like 1743 01:49:36,120 --> 01:49:39,519 Speaker 1: the same spirit of just like, let's steal that, say 1744 01:49:39,720 --> 01:49:42,760 Speaker 1: it was on our idea in a way that we 1745 01:49:42,800 --> 01:49:46,040 Speaker 1: don't need to pay anyone or credit anyone, and then 1746 01:49:46,080 --> 01:49:51,080 Speaker 1: make billions of dollars forever, and and we love that. Awesome. 1747 01:49:52,520 --> 01:49:58,080 Speaker 1: So does this pass the backtel test, Caitlin, Now women 1748 01:49:58,080 --> 01:50:01,200 Speaker 1: aren't in the same room to get there. That's illegal. 1749 01:50:01,960 --> 01:50:04,360 Speaker 1: Yeah no, that would be nasty, and I'm glad they 1750 01:50:04,360 --> 01:50:08,280 Speaker 1: didn't do it. Yeah. No, like, not even fucking close that. 1751 01:50:08,320 --> 01:50:10,200 Speaker 1: I don't. I truly don't. Think. We got two women 1752 01:50:10,240 --> 01:50:13,479 Speaker 1: in the same room and it's a half hour movie. 1753 01:50:13,680 --> 01:50:17,559 Speaker 1: It's obscenely long. Are we going to cover that movie 1754 01:50:18,000 --> 01:50:22,000 Speaker 1: women Talking? What? Because? Yeah, I mean, I think that 1755 01:50:22,040 --> 01:50:24,800 Speaker 1: would be a fun Matreon thing. I would love to 1756 01:50:24,840 --> 01:50:28,880 Speaker 1: cover Women Talking and The Women Okay as a theme, 1757 01:50:29,000 --> 01:50:32,519 Speaker 1: because those are both movies that I think are it 1758 01:50:32,560 --> 01:50:35,360 Speaker 1: sounds like you know whatever released eighty years apart, but 1759 01:50:35,760 --> 01:50:39,400 Speaker 1: similar premises. As far as I understand, I haven't done 1760 01:50:39,439 --> 01:50:42,559 Speaker 1: a ton of research on women talking anyway. That was 1761 01:50:42,600 --> 01:50:45,599 Speaker 1: just a sidebar. What about our nipples scale, in which 1762 01:50:45,760 --> 01:50:49,600 Speaker 1: we evaluate the movie on a scale of zero to 1763 01:50:49,640 --> 01:50:54,800 Speaker 1: five nipples based on how it fares from an intersectional 1764 01:50:54,920 --> 01:50:59,920 Speaker 1: feminist lens. I will give this movie zero nipples. Yeah, 1765 01:51:00,400 --> 01:51:03,240 Speaker 1: I cannot, in good conscience give it more than nothing. 1766 01:51:04,600 --> 01:51:07,880 Speaker 1: I won't give it negative. But because we have done 1767 01:51:07,920 --> 01:51:11,719 Speaker 1: that before, Yeah, I think maybe even for Michael Bay movies, Yeah, 1768 01:51:11,800 --> 01:51:13,439 Speaker 1: I mean, this is I would say this is not 1769 01:51:13,479 --> 01:51:15,800 Speaker 1: the worst Michael Bay movie I've seen by a long shot. 1770 01:51:16,520 --> 01:51:19,920 Speaker 1: Um it's one of the better Michael Bay movies I've seen, 1771 01:51:20,000 --> 01:51:23,759 Speaker 1: and it's so bad and it sucks and it's sucking sex. 1772 01:51:24,120 --> 01:51:27,519 Speaker 1: But um I I think in terms of visual language, 1773 01:51:28,120 --> 01:51:32,320 Speaker 1: the movie does not aggressively objectify the women who are 1774 01:51:32,360 --> 01:51:36,320 Speaker 1: in the story. It just simply elects to ignore them 1775 01:51:36,360 --> 01:51:41,200 Speaker 1: and turn them into wives and daughters. I don't like 1776 01:51:41,360 --> 01:51:44,439 Speaker 1: this movie, but there were parts of it that I 1777 01:51:44,520 --> 01:51:47,360 Speaker 1: was like, well, I had to watch this movie and 1778 01:51:47,479 --> 01:51:49,439 Speaker 1: it wasn't the worst thing that ever happened to me. 1779 01:51:49,960 --> 01:51:52,240 Speaker 1: And that's brave. I mean, it does end on a 1780 01:51:52,320 --> 01:51:55,920 Speaker 1: high note, and by that I mean it ends could 1781 01:51:56,000 --> 01:52:08,920 Speaker 1: still anyway, so you're when it thills across the board. Hey, 1782 01:52:08,960 --> 01:52:12,800 Speaker 1: thanks for listening. Listeners, Thank you for listening. This is 1783 01:52:13,040 --> 01:52:14,840 Speaker 1: This is the main feat episode. But if you enjoy 1784 01:52:14,880 --> 01:52:17,320 Speaker 1: the episodes with just the two of us, we do 1785 01:52:17,400 --> 01:52:20,600 Speaker 1: this all the time over in the Patreon ak Matreon 1786 01:52:21,160 --> 01:52:24,360 Speaker 1: that's patreon dot com, slash becktel Cast five dollars a month, 1787 01:52:24,479 --> 01:52:28,000 Speaker 1: we'll get you two additional episodes from the two of 1788 01:52:28,040 --> 01:52:30,080 Speaker 1: us a month. We usually do fun themes, just like 1789 01:52:30,200 --> 01:52:35,160 Speaker 1: the women talking theme we just discussed. I can't wait. 1790 01:52:35,840 --> 01:52:39,559 Speaker 1: And you can also go to t public dot com 1791 01:52:39,600 --> 01:52:44,360 Speaker 1: slash the Bechtel Cast for all of your merchandizing needs 1792 01:52:44,360 --> 01:52:48,720 Speaker 1: such as new designs designed by a one Jamie Loftus 1793 01:52:49,160 --> 01:52:53,479 Speaker 1: like shrek Ian feminist icon, Paddington and the flobber Mombo 1794 01:52:53,600 --> 01:52:58,360 Speaker 1: by Danny Elfman, among all the classics such as feminist icon, 1795 01:52:58,479 --> 01:53:02,519 Speaker 1: queer icon, at scabs, dry scabs, you name it, we 1796 01:53:02,800 --> 01:53:08,000 Speaker 1: got it. We've absolutely got it. And with that, we 1797 01:53:08,040 --> 01:53:10,680 Speaker 1: hope you enjoyed this. We we wanted to kind of 1798 01:53:10,720 --> 01:53:13,759 Speaker 1: straight into a genre we hadn't been in for a while. 1799 01:53:14,640 --> 01:53:19,400 Speaker 1: And with what we'll be back with another episode on 1800 01:53:19,520 --> 01:53:23,439 Speaker 1: Titanic in a couple of weeks. So you're going to 1801 01:53:23,560 --> 01:53:27,160 Speaker 1: tell them that, oh my gosh, should we not? I'll 1802 01:53:27,200 --> 01:53:32,920 Speaker 1: cut it. Um. Well, thank you for listening. We we 1803 01:53:33,000 --> 01:53:35,479 Speaker 1: love you, and we'll be back next week with your 1804 01:53:35,600 --> 01:53:42,480 Speaker 1: normally scheduled programming. Yeah. Bye bye