WEBVTT - Armageddon

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<v Speaker 1>On the beck Dog Cast, the questions asked if movies

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<v Speaker 1>have women in them, are all their discussions just boyfriends

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<v Speaker 1>and husbands, or do they have individualism? The patriarchy zef

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<v Speaker 1>invest start changing it with the beck Del cast. How

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<v Speaker 1>does the song start? I could see awake just to

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<v Speaker 1>hear you dreaming or something like that. Why is sleeping

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<v Speaker 1>fouing dreaming? I could spend my life in this sweet surrendoum,

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<v Speaker 1>I just scared my cat, I guess last in this moment,

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<v Speaker 1>wouldn't you sing about your daughter like that? If you

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<v Speaker 1>saw raw silent footage of Ben Affleck shoving a am

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<v Speaker 1>Cracker down your daughter's pants, wouldn't you write that song?

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<v Speaker 1>To listen with you? Is a moment including the Graham

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<v Speaker 1>Cracker thing. I don't want to close man, okay twisted?

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<v Speaker 1>Is this twisted father's singing a song about his daughter

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<v Speaker 1>or is this a man singing a song about a

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<v Speaker 1>woman he's in love with? Look, my mom and I

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<v Speaker 1>have really discussed this over the years and come to

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<v Speaker 1>the conclusion that it can be read either way if

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<v Speaker 1>you don't have the context of armageddon. I don't want

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<v Speaker 1>to close my eyes. I don't want to fall asleep

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<v Speaker 1>because I miss you, babe, and I don't want to

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<v Speaker 1>miss a thing. Can't be described to describe how you

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<v Speaker 1>feel about how much you love your child. You don't

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<v Speaker 1>want to miss a moment of their childhood you love

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<v Speaker 1>them so much. Also personal history between Steven Tyler and

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<v Speaker 1>liv Tyler. She didn't know that she was his daughter,

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<v Speaker 1>and I believe he didn't know either until she was

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<v Speaker 1>like eleven or twelve, So he missed a large portion

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<v Speaker 1>of her childhood. So it perhaps even makes sense that

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<v Speaker 1>he didn't want to miss a thing. He'd already missed

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<v Speaker 1>so many things eleven years worth. I know. Damn God.

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<v Speaker 1>The Live Tyler paternity story. It lives on with our

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<v Speaker 1>greatest roller coaster band, Aerosmith. Have you ever been the

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<v Speaker 1>Aerosmith roller coaster? I have not, but I've heard you

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<v Speaker 1>tell of it many times. I won't shut up about

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<v Speaker 1>it because it's so shocking to me that they haven't,

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<v Speaker 1>like changed the band. It's like, but but they can't.

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<v Speaker 1>Where is this at again? It's at Disney World. It's

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<v Speaker 1>at Disney World. It's called the rock and roller Coaster.

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<v Speaker 1>My parents and I like made eight Well, my mom

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<v Speaker 1>my dad thinks Aerosmith is corny and for losers because

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<v Speaker 1>he's a punk, right, But my mom opposite of a punk,

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<v Speaker 1>and so went the first time we went to Disney

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<v Speaker 1>World when I was like thirteen, it was a big

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<v Speaker 1>deal for her. She doesn't like going on roller coasters,

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<v Speaker 1>but she loves Aerosmith so much, and she's like, even

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<v Speaker 1>though the roller coaster goes upside down, I'm gonna go

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<v Speaker 1>on it because I love Steven Tyler and the thing

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<v Speaker 1>is about the rock and roller coaster. I would love

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<v Speaker 1>to know more about the history of it because it

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<v Speaker 1>is so themed around the band and the lore of

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<v Speaker 1>the band Aerosmith, that it would actually be kind of

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<v Speaker 1>challenging to re theme, like it's it's so specific. I

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<v Speaker 1>don't know how they pulled it off, but I'm sure

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<v Speaker 1>there's a very long YouTube video I could watch and

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<v Speaker 1>find out. It's an awesome roller coaster. It's like Steven

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<v Speaker 1>Tyler in in the video you watch in the line

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<v Speaker 1>and he's like, come on, guys, we're gonna be late

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<v Speaker 1>to the recording studio, and you're like, yeah, exactly. Well, anyways,

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<v Speaker 1>I don't think this song plays in the roller coaster

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<v Speaker 1>because it's kind of slow but it would be funny.

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<v Speaker 1>It should It could be one of those like lazy

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<v Speaker 1>River ride songs. The Arasmith lazy river is kind of

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<v Speaker 1>a cruel, diabolical idea. How many have you ever read

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<v Speaker 1>studies about how much human ship ends up in the

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<v Speaker 1>lazy river? No, and I don't want to know. Never

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<v Speaker 1>go in a lazy river. I would. I feel confident

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<v Speaker 1>that there's a lot of pists in there, but people

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<v Speaker 1>poop and definitely, I mean the piss goes without saying,

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<v Speaker 1>there is some physical I read about it once. I'm sorry,

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<v Speaker 1>I'm a I'm a scientist about as much as Bruce

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<v Speaker 1>Willis is and Armageddon, Like, I read about it once,

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<v Speaker 1>and there is some sort of physical effect that, like

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<v Speaker 1>a lazy river has on you that like loosens up

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<v Speaker 1>that butt hole. It makes it easy to just right

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<v Speaker 1>out right out. What's the name of this show? This

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<v Speaker 1>is This is the Bechtel Cast, And I'm Caitlin Toronte.

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<v Speaker 1>Who are you? Thank you for the reminder. I'm Jamie Loftus,

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<v Speaker 1>and this is our show, um where we take a

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<v Speaker 1>look at your favorite movies or you know, impactful one

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<v Speaker 1>could say deep impactful movies. And we are bringing a

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<v Speaker 1>disaster movie to you today. We're bringing Armageddon, directed by

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<v Speaker 1>Michael Bay because Caitlin and I were looking at genres

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<v Speaker 1>we haven't covered in many moons, and action and disaster

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<v Speaker 1>have been kind of, you know, few and far between recently,

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<v Speaker 1>So we chose the biggest goofiest one we get requests for,

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<v Speaker 1>and we're going to analyze it from an intersectional feminist lens,

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<v Speaker 1>and I'm sure it's going to do great. Um, what's

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<v Speaker 1>the metric we use as a jumping off point for discussion, Caitlin,

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<v Speaker 1>It's the Bechtel cast. No, if that's the name of

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<v Speaker 1>the show, let me try again. Yep, yep, it's the

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<v Speaker 1>Bechtel Test, which is media metric created by queer cartoonist

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<v Speaker 1>Alison Bechdel, sometimes called the Bechdel Wallace Test. She included

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<v Speaker 1>it in her comic Likes to Watch Out For from

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<v Speaker 1>n originally just as a kind of one off joke,

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<v Speaker 1>which has since been used as the media metric that

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<v Speaker 1>we now know and love, which requires our version. There

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<v Speaker 1>are many versions, but ours requires that there be two

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<v Speaker 1>characters of a marginalized gender who have names, who speak

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<v Speaker 1>to each other, and whose conversation is about something other

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<v Speaker 1>than a man, and for our purposes, we like it

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<v Speaker 1>when it's a media conversation, maybe one of the size

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<v Speaker 1>of Texas even God. And you know, this movie has

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<v Speaker 1>a lot of words in it, but words spoken between women.

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<v Speaker 1>Don't be ridiculous. You're yeah right, Oh you silly billy.

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<v Speaker 1>What do you have space dementia? You'd have space dementia

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<v Speaker 1>to think that this movie would pass the back tole test.

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<v Speaker 1>But nevertheless, it made half a billion dollars and a

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<v Speaker 1>lot of people still really liked this movie. It's true

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<v Speaker 1>and I will say it is a Aerosmith got my

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<v Speaker 1>mom in the theaters, but she loved this movie. Wait, okay,

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<v Speaker 1>so let's so, Jamie, what is your relationship and your

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<v Speaker 1>mom's relationship where importantly relationship? Um, I don't have a

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<v Speaker 1>huge relationship with Armageddon. I have a huge relationship with

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<v Speaker 1>the Tyler family, more so Stephen. To be honest, because Aerosmith,

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<v Speaker 1>they're blessed in band. We're very proud of them, and well,

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<v Speaker 1>you know, but not the Boston Punks. And that's where

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<v Speaker 1>my dad comes in. But I you know, I grew

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<v Speaker 1>up around aeron Smith, posters and music. So my mom,

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<v Speaker 1>my mom loved this movie. I remember that we owned

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<v Speaker 1>it on VHS, and I remember being too young to

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<v Speaker 1>watch it and that was really long, and that I,

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<v Speaker 1>in spite of saying for a couple of years that

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<v Speaker 1>I wanted to be an astronaut, I think I said

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<v Speaker 1>it because it sounded good. Because I was stunningly disinterested

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<v Speaker 1>in space. Um, I didn't really want to watch any

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<v Speaker 1>space movies. I remember my mom being like, you can't

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<v Speaker 1>watch Armageddon. You could watch Apollo thirteen, and I was like,

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<v Speaker 1>I would I would really not want to do that.

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<v Speaker 1>Sounds sounds boring. Is actually a pretty solid movie. But anyway,

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<v Speaker 1>that's the Tom Hanks one. I also haven't seen Deep Impact.

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<v Speaker 1>I hadn't seen Contact until we watched it, and I

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<v Speaker 1>quite liked I'm more interested in space now, getting defensive.

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<v Speaker 1>I saw I saw different chunks of it growing up,

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<v Speaker 1>but I never really took the initiative to watch it

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<v Speaker 1>all the way through. Um so this is my first

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<v Speaker 1>time watching it all the way through. Oh and I

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<v Speaker 1>remember when The Army when the Ben Affleck commentary track

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<v Speaker 1>leaked a couple of years back, because that was a

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<v Speaker 1>treat more more kind of Boston Cannon present here. But um, yeah,

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<v Speaker 1>I've never seen it all the way through before. I

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<v Speaker 1>was preparing for this episode and wow, wow, wow, I

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<v Speaker 1>will say I think Michael Bay wanted me to laugh

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<v Speaker 1>and cry. I did laugh. I didn't cry. I didn't cry,

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<v Speaker 1>even when the movie said so. I didn't cry because

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<v Speaker 1>when someone was dying, I'm like, I don't know who

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<v Speaker 1>that is. You cut to them and away from them

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<v Speaker 1>so quickly that I didn't catch you mean the scene

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<v Speaker 1>and then I looked at it and I was like, oh,

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<v Speaker 1>I guess he's gone. You mean the scene where they're

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<v Speaker 1>like we lost Grouber and everyone's like, Grouper? Are we

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<v Speaker 1>supposed to care about Grouper? We haven't even met him yet?

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<v Speaker 1>And I thought it was kind of bizarre that they,

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<v Speaker 1>I mean, because Bruce Willis was always going to be

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<v Speaker 1>in this movie, even when it was being written, Like

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<v Speaker 1>why Bruce Willis there's already a Grouper associated with him,

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<v Speaker 1>Hans groupers Gruber. You're gonna put another grouper in a

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<v Speaker 1>Bruce Willis movie, bad idea. I still don't know who

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<v Speaker 1>Grouper is. I'll be honest. This movie was cutting back.

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<v Speaker 1>I mean, I think that that was like I learned

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<v Speaker 1>that that was a huge criticism of it at the time,

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<v Speaker 1>to where it was cut so quickly that it's like

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<v Speaker 1>it kind of gives you a headache and it's hard

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<v Speaker 1>to tell, yeah, because the pace. I mean, even Michael

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<v Speaker 1>Bay has admitted that the movie was edited very quickly

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<v Speaker 1>and that his visual effects supervisor had break up. He

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<v Speaker 1>gave no more information than that, which is kind of

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<v Speaker 1>a funny way about how Michael Bay talks. He'll say

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<v Speaker 1>something horrific and then just like start another sentence. But Yeah,

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<v Speaker 1>there were characters that I assumed had died in the

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<v Speaker 1>Like there's a point in the movie where you lose

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<v Speaker 1>a couple of characters, and I was like, oh, I

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<v Speaker 1>haven't seen quote unquote the woman in a while. I

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<v Speaker 1>guess that she died, but she didn't. She just disappeared

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<v Speaker 1>for thirty five minutes, but I guess she was there.

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<v Speaker 1>And fine, what's your history with this movie, Caitlin. I

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<v Speaker 1>had seen it before a couple of times. Uh. This

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<v Speaker 1>movie came out when I was twelve, so I was

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<v Speaker 1>among the many tween girls of the time where watching

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<v Speaker 1>this movie was like a rite of passage. Really, I mean,

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<v Speaker 1>it was like I didn't realize it was one of

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<v Speaker 1>those yeah yeah, interesting at least among my my friend group.

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<v Speaker 1>I believe you. I just didn't know. Oh yeah, you

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<v Speaker 1>watched it sleepovers. If you had like a boy girl hang,

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<v Speaker 1>if someone's like mom would let you have girls and

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<v Speaker 1>boys over, then you'd watch this because it's horny and

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<v Speaker 1>Ben Affleck puts an animal cracker on Live Tyler's boobs

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<v Speaker 1>and when people get all tense during that. Probably I

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<v Speaker 1>don't know. It was so many decades ago I barely

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<v Speaker 1>remembers are so twisted, um, but I do remember the

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<v Speaker 1>kids crying during the sacrificial Bruce Willis scene because she

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<v Speaker 1>does say daddy, she really does um. And the song

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<v Speaker 1>and the Aerosmith song played at every school dance from two,

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<v Speaker 1>I mean probably even after I graduated high school, which

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<v Speaker 1>was oh four, it was like the slow song. If

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<v Speaker 1>the Armageddon song came on, you better fucking fund yourself

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<v Speaker 1>a hetero dance partner and slow dance your night away.

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<v Speaker 1>I feel like it still gets like pretty decent wedding

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<v Speaker 1>play to this day. Sure, And it is my maybe

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<v Speaker 1>like number to go to karaoke song because this song

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<v Speaker 1>slaps as a karaoke song. It's hot. Tip for everybody,

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<v Speaker 1>can I shut up? The composer of this song, she's

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<v Speaker 1>kind of an icon um. She's an interest, or at

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<v Speaker 1>least an interesting character for She's also like a boomer

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<v Speaker 1>woman who occasionally tweets, and her tweets are not like offensive,

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<v Speaker 1>but they are inscrutable in a way that people seem

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<v Speaker 1>to find worthy of discussion. Anyways, her name is Diane Warren.

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<v Speaker 1>She I believe she eventually won, but she's like, she's

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<v Speaker 1>like a famous songwriter and composer, um who for a

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<v Speaker 1>very okay, so for a very very long time. She's

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<v Speaker 1>been nominated for the Academy Award for Best Original Song,

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<v Speaker 1>including this one uh one, two, three, four, five, six, seven, eight,

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<v Speaker 1>twelve thirteen times, never won, and then they gave her

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<v Speaker 1>an honorary award last year. I think because they were like,

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<v Speaker 1>oh my god, we gotta give Diane some we keep

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<v Speaker 1>snubbing her. She's written like a lot of iconic songs.

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<v Speaker 1>This one might be the most famous. But she also

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<v Speaker 1>know well she did if I could turn back time

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<v Speaker 1>by share because you loved me, Celine Dione. She's kind

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<v Speaker 1>of in charge of weddings, Um, how do I live

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<v Speaker 1>without you? Leanne Ryan Rhythm of the Night. I mean

0:14:02.440 --> 0:14:06.599
<v Speaker 1>she's bangers, she's got bops, she's got hit, But I

0:14:06.679 --> 0:14:08.640
<v Speaker 1>mean I don't want to miss a thing that's right

0:14:08.760 --> 0:14:11.400
<v Speaker 1>up there. So then we have to extend the Lord

0:14:11.440 --> 0:14:14.000
<v Speaker 1>because I didn't realize Steven Tyler didn't write that song.

0:14:15.080 --> 0:14:17.800
<v Speaker 1>Is Diane Warren? Is it a coincidence? Or is Diane

0:14:17.800 --> 0:14:21.560
<v Speaker 1>Warren writing how she thinks Steven Tyler fields when he

0:14:21.600 --> 0:14:25.280
<v Speaker 1>thinks about not being around for live Tyler's childhood? Hard

0:14:25.320 --> 0:14:29.200
<v Speaker 1>to say, hard, so hard to say. The point is

0:14:29.640 --> 0:14:33.920
<v Speaker 1>I did see this movie a couple of times as

0:14:34.080 --> 0:14:39.200
<v Speaker 1>a youth, but I never liked it because, you know why,

0:14:39.600 --> 0:14:42.640
<v Speaker 1>if there's going to be a disaster movie that I'm

0:14:42.640 --> 0:14:47.160
<v Speaker 1>going to watch a lot during this time frame of

0:14:47.200 --> 0:14:49.440
<v Speaker 1>the late nineties, it's going to be Titanic. I was

0:14:49.480 --> 0:14:52.200
<v Speaker 1>too busy watching Titanic every day to care about Armageddon.

0:14:53.000 --> 0:14:56.680
<v Speaker 1>So it's true, and this movie is clearly trying to,

0:14:57.400 --> 0:15:01.040
<v Speaker 1>you know, pull from the Titanic playbook a bit tearl

0:15:01.120 --> 0:15:05.360
<v Speaker 1>Harbor even more. Michael Bays saw Titanic and he's like, shit,

0:15:06.040 --> 0:15:08.280
<v Speaker 1>I have to do that, and then he did a

0:15:08.360 --> 0:15:13.080
<v Speaker 1>fucking terrible job. But he really did try to replicate

0:15:13.160 --> 0:15:17.040
<v Speaker 1>Titanic with Pearl Harbor, and he mentions. He mentions in

0:15:17.040 --> 0:15:20.680
<v Speaker 1>one of these interviews, he gives retrospectively, UM. I believe

0:15:20.680 --> 0:15:25.040
<v Speaker 1>it's interview where he apologizes for making the movie. Um.

0:15:25.520 --> 0:15:27.720
<v Speaker 1>But then later he's like, I was misquoted. I didn't

0:15:27.880 --> 0:15:30.240
<v Speaker 1>mean it. I do think he was misquoted because I

0:15:30.240 --> 0:15:31.760
<v Speaker 1>read the full interview and it did. It was a

0:15:31.880 --> 0:15:35.160
<v Speaker 1>very clicky title. It's like he didn't apologize, he just

0:15:35.960 --> 0:15:40.280
<v Speaker 1>contextualized why the third act is really sloppy, which it is.

0:15:40.840 --> 0:15:43.600
<v Speaker 1>But he mentions James Cameron in that interview. He says,

0:15:44.160 --> 0:15:46.360
<v Speaker 1>I called James Cameron and asked, what do you do

0:15:46.400 --> 0:15:48.880
<v Speaker 1>when you're doing all the effects yourself? But the movie

0:15:48.920 --> 0:15:51.560
<v Speaker 1>did fine, So he's sort of also admitting that the

0:15:51.640 --> 0:15:56.760
<v Speaker 1>effects look kind of like baffling and and and shitty.

0:15:56.840 --> 0:16:00.440
<v Speaker 1>They're shitty. It's pretty shifty about it. He I know

0:16:00.520 --> 0:16:02.360
<v Speaker 1>there's no fire in space, but it is a movie,

0:16:02.400 --> 0:16:04.880
<v Speaker 1>and most people don't know that he's a bad man.

0:16:05.080 --> 0:16:08.520
<v Speaker 1>But that is iconic, that's funny and it's true. I

0:16:08.600 --> 0:16:12.800
<v Speaker 1>honestly I didn't read the highlight reel from the Armageddon

0:16:12.880 --> 0:16:16.240
<v Speaker 1>commentary soundtrack, which goes viral every so often because it

0:16:16.360 --> 0:16:19.800
<v Speaker 1>is like very ridiculous. Oh, I have some quotes that

0:16:19.920 --> 0:16:23.320
<v Speaker 1>I am prepared to share when the time comes. I yeah,

0:16:23.360 --> 0:16:25.440
<v Speaker 1>I mean, there was a great round up on the

0:16:25.520 --> 0:16:28.840
<v Speaker 1>Ringer about it. But I will say that I watched

0:16:28.880 --> 0:16:31.640
<v Speaker 1>the whole movie before going through that, and it did

0:16:31.680 --> 0:16:34.400
<v Speaker 1>not ping for me. Once that there was a fire

0:16:34.440 --> 0:16:37.760
<v Speaker 1>in space. I didn't think about it because I'm a

0:16:37.800 --> 0:16:41.880
<v Speaker 1>popcorn girl, which I don't know. I have no idea.

0:16:42.080 --> 0:16:46.040
<v Speaker 1>We're not scientists, famously, not in stem. We won't even

0:16:46.040 --> 0:16:53.120
<v Speaker 1>read a book like be serious. Um, alright, should we

0:16:53.280 --> 0:16:57.440
<v Speaker 1>get into it. Let's get into it. Let's take a

0:16:57.560 --> 0:17:01.440
<v Speaker 1>break first though, really ear upe for this. All right,

0:17:01.440 --> 0:17:11.800
<v Speaker 1>we'll be right back. Okay, and we're back Kitlin. What

0:17:11.880 --> 0:17:14.200
<v Speaker 1>the hell happens in the movie? I'll again, I actually

0:17:14.240 --> 0:17:17.200
<v Speaker 1>do think I need a few things. Um, I needed

0:17:17.240 --> 0:17:21.919
<v Speaker 1>a few blanks filled because I honestly, until the credit

0:17:22.040 --> 0:17:25.680
<v Speaker 1>scene where liv Tyler has the picture of the four

0:17:25.760 --> 0:17:29.840
<v Speaker 1>characters who died at her wedding, I was not who

0:17:29.880 --> 0:17:35.199
<v Speaker 1>made it. I knew Bruce Willis died, sure, but a

0:17:35.200 --> 0:17:38.800
<v Speaker 1>few of the guys have the same haircut. I thought

0:17:38.800 --> 0:17:41.359
<v Speaker 1>the guy that was banned from seeing his son died,

0:17:41.480 --> 0:17:44.320
<v Speaker 1>and I was like, well no, but then he he didn't.

0:17:44.400 --> 0:17:47.800
<v Speaker 1>He lived, and and continued to blow off the courthorder

0:17:47.840 --> 0:17:50.399
<v Speaker 1>that he couldn't see his son, and we were cheering,

0:17:50.400 --> 0:17:53.159
<v Speaker 1>and we were cheering. So I actually don't really know

0:17:53.200 --> 0:17:56.880
<v Speaker 1>who died. All right, Well I will tell you, okay.

0:17:56.920 --> 0:18:01.760
<v Speaker 1>So we begin with voiceover from I think Charlton Heston

0:18:02.520 --> 0:18:06.480
<v Speaker 1>is what I saw in the credits, if I'm remembering correctly. Well,

0:18:06.560 --> 0:18:10.080
<v Speaker 1>let's talk about a talk about a bad person, seriously,

0:18:10.640 --> 0:18:16.439
<v Speaker 1>an iconically bad person. Yeah, he is describing a huge

0:18:17.119 --> 0:18:21.280
<v Speaker 1>meteor or meteorite or asteroid. I don't know the difference,

0:18:21.440 --> 0:18:23.960
<v Speaker 1>and I didn't look it up, but one of those

0:18:24.000 --> 0:18:28.200
<v Speaker 1>things hit the Earth millions of years ago and caused

0:18:28.359 --> 0:18:31.679
<v Speaker 1>the mass extinction of the dinosaurs. And they're like, and

0:18:31.760 --> 0:18:35.280
<v Speaker 1>it will probably happen again, it's just a matter of when.

0:18:36.080 --> 0:18:40.120
<v Speaker 1>It's so dramatic and also completely unnecessary. And that's how

0:18:40.160 --> 0:18:43.280
<v Speaker 1>you know you just started watching a Michael Bay movie

0:18:43.840 --> 0:18:47.439
<v Speaker 1>right exposition there, And I bet it cost a million

0:18:47.440 --> 0:18:50.400
<v Speaker 1>dollars studio for a reason. Okay, So then we cut

0:18:50.440 --> 0:18:55.720
<v Speaker 1>to present day. Ak we are in space ever heard

0:18:55.760 --> 0:19:00.720
<v Speaker 1>of it? Suddenly a meteor shower strikes and blows up

0:19:00.720 --> 0:19:05.320
<v Speaker 1>a space shuttle, and then New York City gets pummeled

0:19:05.359 --> 0:19:10.080
<v Speaker 1>by these meteors or meteorites or asteroids. Did you did

0:19:10.080 --> 0:19:13.280
<v Speaker 1>you know? Simply don't know. There's like a dog in

0:19:13.320 --> 0:19:16.840
<v Speaker 1>the New York scene, and for some reason, whatever happened

0:19:16.840 --> 0:19:18.760
<v Speaker 1>with the dog, which I think the dog just like

0:19:18.800 --> 0:19:24.359
<v Speaker 1>bites a Godzilla toy. Yes, that costs what That's what

0:19:24.440 --> 0:19:26.840
<v Speaker 1>Michael Bay said in the commentary. He's well, he's not

0:19:26.840 --> 0:19:28.800
<v Speaker 1>gonna tell you why, He's just gonna tell you it costs.

0:19:29.960 --> 0:19:34.080
<v Speaker 1>He also said Ben Afflex, Oh, Ben Affleck's teeth cost

0:19:34.119 --> 0:19:37.719
<v Speaker 1>twenty dollars. This is a movie much like an Angel

0:19:37.760 --> 0:19:42.040
<v Speaker 1>gets gets its wings and after gets their teeth. When

0:19:42.160 --> 0:19:45.119
<v Speaker 1>Jerry Bruckheimer and Michael Bay say, I hate looking at

0:19:45.119 --> 0:19:49.280
<v Speaker 1>your mouth. It looks disgusting from an up angle. According

0:19:49.320 --> 0:19:53.080
<v Speaker 1>to me, he keeps saying in the commentary and in

0:19:53.160 --> 0:19:57.399
<v Speaker 1>other interviews that like I had these little baby teeth,

0:19:58.840 --> 0:20:01.280
<v Speaker 1>and you know, Jerry Bruckheimer, we've talked about on the

0:20:01.320 --> 0:20:03.919
<v Speaker 1>show for years, for the better part of a decade

0:20:03.920 --> 0:20:06.240
<v Speaker 1>at this point, we talked about if you're in a

0:20:06.320 --> 0:20:09.199
<v Speaker 1>j Jerry Bruckheimer movie and you're going to get a

0:20:09.240 --> 0:20:12.560
<v Speaker 1>close up. Guess what, babe, you need a new set

0:20:12.560 --> 0:20:15.480
<v Speaker 1>of choppers. You're you're gonna get new teeth, and they're

0:20:15.520 --> 0:20:18.480
<v Speaker 1>gonna be big. They're about a foot tall. They're gonna

0:20:18.480 --> 0:20:21.520
<v Speaker 1>be all the same length. We're gonna be blindingly white.

0:20:22.119 --> 0:20:25.760
<v Speaker 1>And so Ben Affleck got his teeth for this one,

0:20:25.840 --> 0:20:29.600
<v Speaker 1>and they sent him to Tom Cruise's teeth guy. Oh sure.

0:20:31.800 --> 0:20:34.800
<v Speaker 1>Michael Bays says in the interview that he that Jerry

0:20:34.800 --> 0:20:37.880
<v Speaker 1>Bruckheimer had worked on a quote unquote plane movie, which

0:20:37.920 --> 0:20:41.840
<v Speaker 1>is how he described Top Gun, which is weird. He

0:20:41.880 --> 0:20:44.560
<v Speaker 1>said Bruckheimer had worked on a orse Jerry had worked

0:20:44.560 --> 0:20:48.760
<v Speaker 1>on a plane movie. When Michael Bay talks about Jerry Bruckheimer,

0:20:48.920 --> 0:20:54.880
<v Speaker 1>it does sound like Seinfeld episode descriptions because of how

0:20:55.000 --> 0:20:59.280
<v Speaker 1>he talks. He kind of talks like Jason Alexander does

0:20:59.600 --> 0:21:02.960
<v Speaker 1>and I weld, and he's always talking about a guy

0:21:03.040 --> 0:21:08.080
<v Speaker 1>named Jerry who's doing something, um weird. So I told Jerry, God,

0:21:08.119 --> 0:21:10.040
<v Speaker 1>he's got those baby teeth. Jerry, I don't know what

0:21:10.119 --> 0:21:14.920
<v Speaker 1>to do. You're like, that sounds like SEINFELDT. Yeah, anyways,

0:21:14.960 --> 0:21:20.119
<v Speaker 1>it's true. Okay, So the movie what happens we cut

0:21:20.160 --> 0:21:26.040
<v Speaker 1>two various like government and military officials such as the

0:21:26.240 --> 0:21:29.520
<v Speaker 1>head of NASA, this guy named Truman played by Billy

0:21:29.520 --> 0:21:32.920
<v Speaker 1>Bob Thornton I love when he's serious, as well as

0:21:33.640 --> 0:21:38.320
<v Speaker 1>General Kimsey played by Keith David. There's also a guy

0:21:38.680 --> 0:21:43.399
<v Speaker 1>with a huge telescope named Carl who is extremely verbally

0:21:43.400 --> 0:21:48.880
<v Speaker 1>abusive to his wife and his wife Dottie. Yeah, but

0:21:48.880 --> 0:21:51.760
<v Speaker 1>but it's Michael Bay movie, so his verbal abuse is

0:21:51.800 --> 0:21:55.960
<v Speaker 1>a joke. It's supposed to be funny. Yeah, And everyone's like,

0:21:56.000 --> 0:22:00.600
<v Speaker 1>what is what the hell is going on? And soon

0:22:00.640 --> 0:22:04.679
<v Speaker 1>they figure out that an asteroid the size of Texas

0:22:05.160 --> 0:22:09.080
<v Speaker 1>is on a collision course to Earth. No matter where

0:22:09.160 --> 0:22:11.800
<v Speaker 1>it hits, it will wipe out all of life as

0:22:11.800 --> 0:22:15.720
<v Speaker 1>we know it, and it will hit Earth in eighteen days.

0:22:17.160 --> 0:22:21.880
<v Speaker 1>Cut to Harry Stamper that's Bruce Willis. He is the

0:22:21.920 --> 0:22:27.239
<v Speaker 1>owner of an oil rig. He discovers that one of

0:22:27.280 --> 0:22:31.520
<v Speaker 1>his employees, a j that's been affleck and his teeth

0:22:31.600 --> 0:22:37.159
<v Speaker 1>and his teeth credited separately. Yeah, the whole package has

0:22:37.240 --> 0:22:41.920
<v Speaker 1>had sex with Harry's daughter Grace, that's Live Tyler. And

0:22:42.280 --> 0:22:45.560
<v Speaker 1>he pulls out a gun and starts shooting at a

0:22:45.720 --> 0:22:50.359
<v Speaker 1>j on an oil rig. Okay, just a second. It

0:22:50.560 --> 0:22:56.360
<v Speaker 1>is very silly and action movie and testosterone. Michael bay

0:22:56.720 --> 0:23:03.359
<v Speaker 1>choice to make Bruce this open fire on an oil

0:23:03.440 --> 0:23:06.359
<v Speaker 1>rig that he owns to protect his daughter, who he

0:23:06.400 --> 0:23:09.600
<v Speaker 1>would absolutely kill along with everyone he knows if he

0:23:10.000 --> 0:23:13.199
<v Speaker 1>shot the wrong area of the oil rig, which is

0:23:13.240 --> 0:23:15.280
<v Speaker 1>most areas you really shouldn't shoot a gun on an

0:23:15.280 --> 0:23:18.240
<v Speaker 1>oil rigue. What I find more interesting and like a

0:23:18.240 --> 0:23:21.320
<v Speaker 1>lot of what I thought was like interesting about watching

0:23:21.320 --> 0:23:24.320
<v Speaker 1>this movie was like the very I don't know, Like

0:23:24.359 --> 0:23:30.000
<v Speaker 1>Michael Bay does a lot of like hypernationalistic imagery and

0:23:30.160 --> 0:23:32.600
<v Speaker 1>ideas that he pushes in his movies, and I don't

0:23:32.600 --> 0:23:36.800
<v Speaker 1>think he wrote this. I mean there's like credited writers.

0:23:36.840 --> 0:23:39.280
<v Speaker 1>It's kind of like we don't really know who wrote

0:23:39.280 --> 0:23:43.000
<v Speaker 1>this boofy. That's part of the mystery, But I don't know.

0:23:43.160 --> 0:23:48.320
<v Speaker 1>Just like thinking about how it was very plausible to

0:23:48.480 --> 0:23:52.600
<v Speaker 1>have the hero of your movie be the owner of

0:23:52.640 --> 0:23:56.000
<v Speaker 1>an oil rig. I don't think that that would happen,

0:23:56.160 --> 0:23:58.679
<v Speaker 1>at least in a way that would be mass appealing today,

0:23:58.800 --> 0:24:01.679
<v Speaker 1>because I like Bruce Willis character is very much like

0:24:01.920 --> 0:24:05.359
<v Speaker 1>a working class hero, which is a part he plays

0:24:05.480 --> 0:24:08.480
<v Speaker 1>very well. But the fact that they choose and that

0:24:08.560 --> 0:24:12.960
<v Speaker 1>it's important to the plot that he is like not tycoon,

0:24:13.040 --> 0:24:16.160
<v Speaker 1>I guess, but like he's certainly doing fine. He owns

0:24:16.160 --> 0:24:19.479
<v Speaker 1>a fucking oil rig. Like I mean, I think he

0:24:19.560 --> 0:24:23.280
<v Speaker 1>might be a tycoon because he's the best driller in

0:24:23.400 --> 0:24:26.680
<v Speaker 1>the world. So Ben Affleck has some thoughts on that.

0:24:26.880 --> 0:24:30.080
<v Speaker 1>I can't wait to talk about it. But no, I

0:24:30.080 --> 0:24:34.520
<v Speaker 1>I wrote down like the irony of these oil drillers

0:24:34.680 --> 0:24:37.720
<v Speaker 1>saving the planet from an asteroid only to go back

0:24:37.720 --> 0:24:42.240
<v Speaker 1>to Earth and absolutely destroy our planet via oil drilling.

0:24:42.640 --> 0:24:45.679
<v Speaker 1>That's like that's what he has returned. I mean, I mean,

0:24:45.720 --> 0:24:48.360
<v Speaker 1>I guess he doesn't return, but you as I mean

0:24:48.400 --> 0:24:51.520
<v Speaker 1>as Bushemy just going back on the oil rig. Also,

0:24:51.800 --> 0:24:54.880
<v Speaker 1>Bushem's character diabolical for a lot of reasons because there's

0:24:54.920 --> 0:24:59.280
<v Speaker 1>a lot of heavy Like they're insinuating that he is

0:24:59.320 --> 0:25:02.280
<v Speaker 1>a child set offender correct over and over as a joke,

0:25:02.400 --> 0:25:07.360
<v Speaker 1>which is I was not particularly surprised that this director

0:25:07.680 --> 0:25:10.600
<v Speaker 1>had no issue with that. But in any case, on

0:25:10.760 --> 0:25:15.840
<v Speaker 1>top of the nudge nudge wink wink about that, he's

0:25:15.920 --> 0:25:19.119
<v Speaker 1>also they're like they're like Steve Bushemi's character is a genius,

0:25:19.760 --> 0:25:23.520
<v Speaker 1>which means he knows better than to do what he's doing, right,

0:25:23.800 --> 0:25:28.160
<v Speaker 1>which is diabolically plunge the Earth for its natural resources. Yeah,

0:25:28.160 --> 0:25:29.560
<v Speaker 1>so they saved the world, but they're going to come

0:25:29.560 --> 0:25:32.800
<v Speaker 1>back and kill it somewhere. Thanks guys, It'll just take

0:25:32.840 --> 0:25:35.840
<v Speaker 1>a little longer than an asteroid would. They killed Owen Wilson,

0:25:35.880 --> 0:25:40.360
<v Speaker 1>that was bald. He is one of the ones who die. Yes,

0:25:40.520 --> 0:25:45.840
<v Speaker 1>they got his ass. Yeah. Okay, so we meet harry A.

0:25:46.080 --> 0:25:49.560
<v Speaker 1>J and Grace. We cut back to I don't know,

0:25:49.680 --> 0:25:53.359
<v Speaker 1>they're at the Pentagon or something. All these officials are

0:25:53.400 --> 0:25:56.160
<v Speaker 1>trying to figure out what to do about this asteroid

0:25:56.280 --> 0:26:01.719
<v Speaker 1>and how to save humanity, and they're like, well, we

0:26:01.760 --> 0:26:05.400
<v Speaker 1>can't blow it up from the outside, but we can

0:26:05.480 --> 0:26:09.920
<v Speaker 1>blow it up from the inside. Fun idea if we

0:26:10.680 --> 0:26:16.000
<v Speaker 1>drill into the asteroid and plant the nuclear weapons inside.

0:26:16.359 --> 0:26:20.320
<v Speaker 1>Not as fun an idea. Yeah, and there. I guess

0:26:20.320 --> 0:26:22.760
<v Speaker 1>should we wait to share Ben Afflecks thoughts on this,

0:26:22.800 --> 0:26:26.560
<v Speaker 1>because he does point out in the DVD commentary something

0:26:26.600 --> 0:26:28.480
<v Speaker 1>that I don't know, like, it never occurred to you

0:26:28.480 --> 0:26:30.439
<v Speaker 1>when you're a kid, right, Like it wouldn't have occurred

0:26:30.480 --> 0:26:32.639
<v Speaker 1>to me. I guess maybe it would have occurred to

0:26:32.640 --> 0:26:36.159
<v Speaker 1>me now, But I Bennett already said it. I wonder

0:26:36.320 --> 0:26:39.600
<v Speaker 1>if I had that thought even as a youth. I

0:26:39.600 --> 0:26:44.280
<v Speaker 1>don't know what Ben says on this infamous, famous and

0:26:44.400 --> 0:26:49.800
<v Speaker 1>infamous DVD audio commentary, but it's the audio commentary for

0:26:49.880 --> 0:26:55.080
<v Speaker 1>the Criterion Collection. Addition, because he's in the Criterion Collection,

0:26:55.359 --> 0:26:57.880
<v Speaker 1>which so many people have pointed out, what a bizarre

0:26:57.960 --> 0:27:02.479
<v Speaker 1>choice that is, because is the Criterion Collection is usually

0:27:02.520 --> 0:27:06.600
<v Speaker 1>like art house films, forgotten classics, you know, stuff that's

0:27:06.760 --> 0:27:12.280
<v Speaker 1>usually a little more obscure, definitely not mainstream blockbusters like this.

0:27:12.960 --> 0:27:17.479
<v Speaker 1>What did Michael Bay do? Like I do not know.

0:27:17.640 --> 0:27:22.600
<v Speaker 1>Jerry Bruckheimer promised the president of Criterion Collection, New Teeth

0:27:22.760 --> 0:27:25.320
<v Speaker 1>if they put Army get In in in the collection, come

0:27:25.320 --> 0:27:29.800
<v Speaker 1>on right. So the commentary is I think I have

0:27:29.880 --> 0:27:32.800
<v Speaker 1>this right. It's Michael Bay, Jerry Bruckheimer, Bruce Willis, and

0:27:33.119 --> 0:27:39.560
<v Speaker 1>Ben Affleck. Ben Affleck's portions are him like roasting the film.

0:27:39.600 --> 0:27:44.720
<v Speaker 1>Apparently he's doing an extended parody of the film Sling Blade,

0:27:44.760 --> 0:27:48.359
<v Speaker 1>which stars Blay Bob Thornton. He's also making silly sound

0:27:48.359 --> 0:27:53.000
<v Speaker 1>effects during any elaborate stunt scenes, which my favorite example

0:27:53.119 --> 0:27:55.560
<v Speaker 1>is when he makes like a bunch of slurpy sounds

0:27:55.560 --> 0:27:58.240
<v Speaker 1>when someone's going down the oil rig and then Prucess

0:27:58.320 --> 0:28:04.960
<v Speaker 1>like two stunt men almost making this. So he's roasting it.

0:28:05.240 --> 0:28:08.240
<v Speaker 1>And there's one part where he says, I asked Michael

0:28:08.320 --> 0:28:11.080
<v Speaker 1>why it was easier to train oil drillers to become

0:28:11.119 --> 0:28:15.560
<v Speaker 1>astronauts than it was to train astronauts to become oil drillers,

0:28:15.800 --> 0:28:18.359
<v Speaker 1>and he told me to shut the funk up. So

0:28:18.440 --> 0:28:22.919
<v Speaker 1>that was the end of that talk. I love, and

0:28:22.960 --> 0:28:26.520
<v Speaker 1>he does a great Michael Bay impression. Maybe I actually

0:28:26.520 --> 0:28:28.480
<v Speaker 1>don't really know what Michael Bay sounds like. I would

0:28:28.520 --> 0:28:30.480
<v Speaker 1>never listen to him. It makes him sound like a

0:28:30.520 --> 0:28:32.920
<v Speaker 1>fucking creep, so I'm like, yeah, it's probably what he

0:28:32.960 --> 0:28:37.320
<v Speaker 1>sounds like. Yeah, what does he say? He says, I

0:28:37.400 --> 0:28:39.840
<v Speaker 1>was like, you mean it's a real plan at NASA

0:28:39.920 --> 0:28:42.440
<v Speaker 1>to train oil drillers and he was like, just shut

0:28:42.480 --> 0:28:46.800
<v Speaker 1>your mouth. It's great. Yes. So what happens in the

0:28:46.840 --> 0:28:52.320
<v Speaker 1>movie is that NASA recruits the world's best driller, Harry

0:28:52.360 --> 0:28:57.520
<v Speaker 1>Stamper Bruce Willis, who is gonna like train the team

0:28:57.560 --> 0:28:59.920
<v Speaker 1>of ast So originally he's going to train the team

0:29:00.040 --> 0:29:04.320
<v Speaker 1>Fasternots to be drillers and to use a drill of

0:29:04.600 --> 0:29:08.680
<v Speaker 1>Harry's patented design to drill into the asteroid plant. These

0:29:08.720 --> 0:29:12.080
<v Speaker 1>nukes take off and then detonate the bomb from Afar

0:29:12.960 --> 0:29:16.440
<v Speaker 1>and Harry's like, you, you guys can't do it. I

0:29:16.480 --> 0:29:18.560
<v Speaker 1>need to do it, and my team needs to be

0:29:18.680 --> 0:29:22.880
<v Speaker 1>up there with me, and they say okey dokey, They're like,

0:29:23.280 --> 0:29:27.200
<v Speaker 1>sounds great. Bruce. I'm not saying the oil drilling is easy.

0:29:27.240 --> 0:29:29.560
<v Speaker 1>I know it's not. I disagree with it politically, but

0:29:29.600 --> 0:29:31.320
<v Speaker 1>I know it's not an easy thing to do. But

0:29:31.360 --> 0:29:34.280
<v Speaker 1>I think Ben Affleck is correct to point out that

0:29:35.240 --> 0:29:38.480
<v Speaker 1>the reverse would be much easier, or to say, no,

0:29:38.720 --> 0:29:42.200
<v Speaker 1>Bruce Willis, go fuck yourself. We're going to have you know,

0:29:42.480 --> 0:29:45.680
<v Speaker 1>an even you can't bring all of your weird friends

0:29:45.760 --> 0:29:48.760
<v Speaker 1>to space. But Billy Bob Thornton is like, all right,

0:29:48.800 --> 0:29:51.400
<v Speaker 1>I guess you can bring all of your weird friends

0:29:51.440 --> 0:29:55.160
<v Speaker 1>to every last one, but not your daughter for reasons unclear,

0:29:55.280 --> 0:29:57.960
<v Speaker 1>even though we're like, oh, she's so smart, she's so capable,

0:29:58.080 --> 0:30:00.520
<v Speaker 1>but it's not even considered that you would be able

0:30:00.560 --> 0:30:05.240
<v Speaker 1>to go. No. What happens next is what I found

0:30:05.240 --> 0:30:08.680
<v Speaker 1>to be one of the most baffling scenes, because Bruce

0:30:08.720 --> 0:30:10.840
<v Speaker 1>Willis is like, I'm doing this and I'm doing it

0:30:10.880 --> 0:30:14.600
<v Speaker 1>with my friends. So then the government goes around and

0:30:14.680 --> 0:30:19.840
<v Speaker 1>starts rounding up the team, which is Michael Clark Duncan.

0:30:19.960 --> 0:30:22.959
<v Speaker 1>He plays a character named Bear Steve Bush Emmy is

0:30:23.720 --> 0:30:27.680
<v Speaker 1>Roundhouse or something. What's his name hound dog? I don't know, rockhound?

0:30:28.120 --> 0:30:31.800
<v Speaker 1>Um is that true? I think his name is Rockhound.

0:30:32.320 --> 0:30:35.240
<v Speaker 1>And then liv Tyler is like, we call him that

0:30:35.360 --> 0:30:39.880
<v Speaker 1>because he's a hound, because he's horny. I thought, oh,

0:30:39.960 --> 0:30:43.720
<v Speaker 1>that is what the Steve Bushey character. I know that

0:30:43.760 --> 0:30:48.240
<v Speaker 1>we've somewhat retired the bushemy test, however, the name of it,

0:30:48.640 --> 0:30:52.040
<v Speaker 1>the name of it. However, for this one episode, I

0:30:52.080 --> 0:30:58.280
<v Speaker 1>feel like the idea of the original term is pretty

0:30:58.560 --> 0:31:01.960
<v Speaker 1>spot on correct where we'll talk about that later, but

0:31:02.000 --> 0:31:04.920
<v Speaker 1>I was like, jeez, Louise, there was like that. I

0:31:04.920 --> 0:31:08.360
<v Speaker 1>think we've referenced it in every episode we've discussed Michael Bay.

0:31:08.400 --> 0:31:10.640
<v Speaker 1>But there's that oral history that came out in g

0:31:10.800 --> 0:31:15.160
<v Speaker 1>Q years ago now, and there's like, I forget who

0:31:15.160 --> 0:31:19.960
<v Speaker 1>it is, Um, yeah, it's Billy Bob Thornton who mentions

0:31:20.200 --> 0:31:23.080
<v Speaker 1>Steve BUSHEMI looking around the table read for this movie

0:31:23.080 --> 0:31:26.680
<v Speaker 1>and saying, what the funk are we doing here? Which

0:31:27.520 --> 0:31:29.640
<v Speaker 1>is fair. I just hope that they. I mean, I'm

0:31:29.680 --> 0:31:32.560
<v Speaker 1>guessing that they, you know, we're all able to to

0:31:32.640 --> 0:31:35.560
<v Speaker 1>get get a nice little house out of this and

0:31:35.640 --> 0:31:38.960
<v Speaker 1>hopefully they don't think about it too much. They tied

0:31:39.040 --> 0:31:44.080
<v Speaker 1>Steve Bushemy up, they taped my boy up. Well he

0:31:44.160 --> 0:31:49.200
<v Speaker 1>had space dement charge Jamie, but then like he didn't right,

0:31:49.440 --> 0:31:52.680
<v Speaker 1>like did he? I think he got over it pretty quickly.

0:31:53.640 --> 0:31:56.440
<v Speaker 1>I don't know, sneezed. It was gone unclear what was

0:31:56.480 --> 0:31:59.040
<v Speaker 1>going I have just like I don't know what is

0:31:59.080 --> 0:32:01.960
<v Speaker 1>going on in for the entire last hour of this movie.

0:32:02.040 --> 0:32:06.800
<v Speaker 1>My gosh. I also only that's cannon. Yeah. I went

0:32:06.960 --> 0:32:12.440
<v Speaker 1>on an Instagram stories tirade about this movie, but mostly

0:32:12.440 --> 0:32:16.160
<v Speaker 1>about how the third act of this movie. So they

0:32:16.200 --> 0:32:19.719
<v Speaker 1>start drilling on the asteroid, which is effectively the beginning

0:32:19.760 --> 0:32:23.040
<v Speaker 1>of the third act. But when they start drilling, there

0:32:23.080 --> 0:32:27.640
<v Speaker 1>are fifty minutes left of the movie, which means there's

0:32:27.680 --> 0:32:32.040
<v Speaker 1>a fifty minute third act, which is absolutely obscene. That's

0:32:32.440 --> 0:32:36.720
<v Speaker 1>so long for a third act. I can't fathom it,

0:32:36.800 --> 0:32:41.560
<v Speaker 1>and yet it happened. Um Okay, So they're rounding up

0:32:41.600 --> 0:32:43.680
<v Speaker 1>the team. It's all these guys. It's also Owen Wilson.

0:32:43.880 --> 0:32:47.120
<v Speaker 1>It's a j that's been Affleck's character in this like

0:32:47.400 --> 0:32:51.680
<v Speaker 1>getting the team together montage. And here's what's baffling. They

0:32:51.720 --> 0:32:56.520
<v Speaker 1>were all just on Harry's oil rig the day before.

0:32:56.600 --> 0:33:00.360
<v Speaker 1>Basically no time has passed since Harry was like rooted

0:33:00.360 --> 0:33:04.720
<v Speaker 1>for this project. Somehow these guys have dispersed all over

0:33:04.800 --> 0:33:06.880
<v Speaker 1>the country and the whole thing with this movie is

0:33:06.880 --> 0:33:09.800
<v Speaker 1>like there's not enough time. There's only eighteen days until

0:33:09.960 --> 0:33:12.960
<v Speaker 1>the asteroid's going to hit the earth, so like, how

0:33:12.960 --> 0:33:16.120
<v Speaker 1>did they have to? Also, Ben Affleck has started his

0:33:16.200 --> 0:33:21.520
<v Speaker 1>own oil drilling company in the interim in a single day. Yeah,

0:33:21.560 --> 0:33:26.280
<v Speaker 1>any questions, Yeah any? He's like, I love that. He's

0:33:26.320 --> 0:33:31.160
<v Speaker 1>like even though Ben Affleck even like with workers rights,

0:33:32.040 --> 0:33:35.080
<v Speaker 1>you could ruin Bruce will As his life if he

0:33:35.360 --> 0:33:40.160
<v Speaker 1>shot you in the leg at work, right, But he's like,

0:33:41.080 --> 0:33:45.880
<v Speaker 1>best move on and start my own oil company overnight. Uh,

0:33:46.040 --> 0:33:47.880
<v Speaker 1>no one will shoot me in the leg. That no

0:33:47.920 --> 0:33:50.320
<v Speaker 1>one can shoot you if you own the business, which

0:33:50.400 --> 0:33:54.280
<v Speaker 1>I which is not true. People can still shoot you

0:33:54.360 --> 0:33:57.120
<v Speaker 1>if you own the business. True. All the gun play

0:33:57.160 --> 0:34:00.520
<v Speaker 1>in this movie is so fucking goofy. I mean, like

0:34:00.560 --> 0:34:04.600
<v Speaker 1>the lines where I laughed out loud il Weld to

0:34:04.680 --> 0:34:08.800
<v Speaker 1>borrow a term. Someone says someone in like the NASA

0:34:09.120 --> 0:34:11.840
<v Speaker 1>brain Trust is like, how bad is it going to be?

0:34:12.040 --> 0:34:14.920
<v Speaker 1>And someone's like, basically the worst part of the Bible.

0:34:15.120 --> 0:34:19.280
<v Speaker 1>I was laughing when Bruce or no, it's it's maybe

0:34:19.280 --> 0:34:21.520
<v Speaker 1>Steve bushevy he says, man, why do you got a

0:34:21.520 --> 0:34:26.880
<v Speaker 1>gun in space? Laughing he's got space dementia? Of course

0:34:26.960 --> 0:34:31.560
<v Speaker 1>I'm laughing. And it's when when Steve Bushey has space dementia?

0:34:31.880 --> 0:34:35.000
<v Speaker 1>Is when he he has this machine gun which they've

0:34:35.000 --> 0:34:38.040
<v Speaker 1>brought to space for some reason, different from the like

0:34:38.080 --> 0:34:42.520
<v Speaker 1>the handgun that's behind this like lock and key, secret, oh,

0:34:42.600 --> 0:34:45.480
<v Speaker 1>top secret. Only use this handgun if you need to

0:34:45.640 --> 0:34:50.760
<v Speaker 1>shoot the oil drillers or something. Chekhov's full ass artillery

0:34:50.800 --> 0:34:54.400
<v Speaker 1>is Checkov's militia is in this. But they have these

0:34:54.440 --> 0:34:59.600
<v Speaker 1>like enormous guns that they bring to space for what

0:35:00.600 --> 0:35:04.360
<v Speaker 1>for the for the movie, for the big movie, for

0:35:04.440 --> 0:35:08.640
<v Speaker 1>the big scene. Oh my god, it's so goofy. I mean,

0:35:08.680 --> 0:35:11.040
<v Speaker 1>I can be mad. It's to be clear, we're going

0:35:11.080 --> 0:35:12.480
<v Speaker 1>to be joking around for a lot of this movie.

0:35:12.520 --> 0:35:14.560
<v Speaker 1>It's a horrible movie. I mean it's like the worst

0:35:15.160 --> 0:35:18.120
<v Speaker 1>and we're not even like pushing back against really many

0:35:18.160 --> 0:35:21.640
<v Speaker 1>opinions by saying that people hated it when it came out.

0:35:21.880 --> 0:35:27.799
<v Speaker 1>It's still suck shit. But but the Criterion collection loved it.

0:35:27.920 --> 0:35:32.920
<v Speaker 1>Someone help someone held Mr Criterion at you know, Space

0:35:32.960 --> 0:35:37.319
<v Speaker 1>Bazooka point and they're like put it in who knows?

0:35:37.400 --> 0:35:41.800
<v Speaker 1>And and this movie, and I think the most forced

0:35:41.880 --> 0:35:45.520
<v Speaker 1>way that we've covered in a while is about fathers

0:35:45.520 --> 0:35:47.799
<v Speaker 1>and sons when it very much does not have to be.

0:35:48.120 --> 0:35:51.359
<v Speaker 1>You can cut out Ben Affleck's character and just let

0:35:51.400 --> 0:35:54.640
<v Speaker 1>live Tyler got But but they would never do that,

0:35:54.719 --> 0:35:57.440
<v Speaker 1>and so they have to create a convoluted b boopy

0:35:57.520 --> 0:36:01.200
<v Speaker 1>boopy boop. And now it's still about fathers. Since unbelievable,

0:36:01.239 --> 0:36:06.600
<v Speaker 1>we'll talk about it. So the team assembles and they

0:36:06.600 --> 0:36:10.480
<v Speaker 1>start prepping for this job and this journey through space

0:36:10.760 --> 0:36:16.160
<v Speaker 1>fun montage. They get medical and psych evaluations, they start

0:36:16.239 --> 0:36:20.399
<v Speaker 1>training for how to be in space. Billy Bob explains

0:36:20.760 --> 0:36:24.600
<v Speaker 1>the plan for how they're going to go into space.

0:36:25.200 --> 0:36:29.640
<v Speaker 1>Stop at a Russian space station to refuel, then slingshot

0:36:29.680 --> 0:36:33.800
<v Speaker 1>around the moon, catch up with the asteroid from behind,

0:36:34.560 --> 0:36:39.000
<v Speaker 1>land on it, and then drill baby, drill to eight

0:36:39.080 --> 0:36:45.840
<v Speaker 1>hundred feet. This is the most like American sounding bizarro

0:36:46.040 --> 0:36:49.399
<v Speaker 1>nonsense in the entire world, and you're just like, yeah,

0:36:49.480 --> 0:36:52.400
<v Speaker 1>we're gonna shot around the moon. Honestly, I was like,

0:36:52.560 --> 0:36:54.680
<v Speaker 1>all right, I guess that's I'm sure they're going to

0:36:54.800 --> 0:36:59.640
<v Speaker 1>do it. Yeah, And they did. The Wikipedia, uh scholarly

0:36:59.680 --> 0:37:03.800
<v Speaker 1>Journal of course page for this movie is mostly about

0:37:03.840 --> 0:37:07.279
<v Speaker 1>how a bunch of scientists have debunked all of the

0:37:07.480 --> 0:37:10.960
<v Speaker 1>like quote unquote science in this movie. Sure well, And

0:37:11.000 --> 0:37:16.200
<v Speaker 1>it also sounded like per affleck that Michael Bay, because

0:37:16.400 --> 0:37:19.560
<v Speaker 1>his movies are so needlessly expensive, he had a number

0:37:19.600 --> 0:37:24.479
<v Speaker 1>of NASA consultants on set and just ignored them all

0:37:24.600 --> 0:37:26.960
<v Speaker 1>the time. So it's like not surprising at all that

0:37:27.040 --> 0:37:29.000
<v Speaker 1>nothing makes sense. But I also thought it was funny

0:37:29.000 --> 0:37:31.920
<v Speaker 1>where we're always like, you know, you have to build

0:37:31.920 --> 0:37:33.959
<v Speaker 1>consulting into your budget if you're going to do something

0:37:34.000 --> 0:37:36.800
<v Speaker 1>you don't know, but he did, and then he was

0:37:36.840 --> 0:37:40.680
<v Speaker 1>just like, shut up, don't need to shut the funk up.

0:37:41.640 --> 0:37:44.280
<v Speaker 1>His fire is happening in fire is happening in space,

0:37:44.400 --> 0:37:51.760
<v Speaker 1>You NASA fucking dorks, Like it was yeah, yes, um, okay,

0:37:51.760 --> 0:37:54.719
<v Speaker 1>So they're going to do this whole plan to shuttles

0:37:54.719 --> 0:37:57.680
<v Speaker 1>are going to go to the asteroid and once they

0:37:57.880 --> 0:38:03.320
<v Speaker 1>freedom and independence come on perfect writing no notes. Once

0:38:03.520 --> 0:38:06.440
<v Speaker 1>they land, they will have eight hours to plant the

0:38:06.520 --> 0:38:10.920
<v Speaker 1>nuclear bomb and leave before it's too late and the

0:38:10.960 --> 0:38:16.480
<v Speaker 1>asteroid hits the earth. Meanwhile, A J is like, hey, Grace,

0:38:17.080 --> 0:38:20.160
<v Speaker 1>marry me. In a scene where Bruce Willis is watching

0:38:20.200 --> 0:38:24.520
<v Speaker 1>them make out, watching from behind a oil rag. I

0:38:24.520 --> 0:38:27.799
<v Speaker 1>don't know what the set is that they're on. They're

0:38:27.800 --> 0:38:30.920
<v Speaker 1>sitting in an oil contraption. He's peeking from behind a

0:38:31.000 --> 0:38:34.200
<v Speaker 1>curtain like he's Cia Knightly and Pride and prejudice watching

0:38:34.200 --> 0:38:36.800
<v Speaker 1>them make out. And then he's like, all right, I

0:38:36.800 --> 0:38:38.799
<v Speaker 1>guess they're making out, and he walks away. And then

0:38:38.840 --> 0:38:42.120
<v Speaker 1>two seconds later ben Affleck is like, will you marry me?

0:38:42.280 --> 0:38:44.520
<v Speaker 1>And she just smiles and then he puts the ring on.

0:38:44.560 --> 0:38:49.000
<v Speaker 1>She doesn't even say yes. She does not say yes. Okay,

0:38:49.160 --> 0:38:53.799
<v Speaker 1>So that happens. Then we get more scenes of like

0:38:54.080 --> 0:38:59.000
<v Speaker 1>training and space simulations. Now it's only like twelve days

0:38:59.080 --> 0:39:04.480
<v Speaker 1>before the ask terroid makes impact. Tension is high. Harry

0:39:04.760 --> 0:39:07.960
<v Speaker 1>is like, hey, Billy, Bob Thornton, you gotta let these

0:39:07.960 --> 0:39:12.040
<v Speaker 1>guys spend time with their families. We gotta get morale up.

0:39:12.600 --> 0:39:14.359
<v Speaker 1>And this is when we get the scene where Ben

0:39:14.360 --> 0:39:19.640
<v Speaker 1>Affleck puts animal crackers on liv Tyler down her pants

0:39:19.800 --> 0:39:23.600
<v Speaker 1>on her boobs, and it's supposed to be sexy, and

0:39:23.640 --> 0:39:25.320
<v Speaker 1>a lot of people felt that way. I don't know

0:39:25.320 --> 0:39:28.120
<v Speaker 1>if people didn't think that, yes, and this is around

0:39:28.160 --> 0:39:31.280
<v Speaker 1>the time I would say that the character of Grace

0:39:31.400 --> 0:39:36.840
<v Speaker 1>that is established disappears goes away. They did. I was

0:39:36.880 --> 0:39:39.480
<v Speaker 1>interested in because I mean, and I do think this

0:39:39.560 --> 0:39:42.319
<v Speaker 1>is like looking back at Michael bay movies we've covered,

0:39:42.360 --> 0:39:44.759
<v Speaker 1>I think this is kind of like Serial Behavior for

0:39:44.840 --> 0:39:46.759
<v Speaker 1>his movie, where I feel like he almost tries to

0:39:46.800 --> 0:39:49.880
<v Speaker 1>trick you by setting up a woman at the beginning

0:39:49.920 --> 0:39:52.799
<v Speaker 1>of the movie who like there's stakes to her. It

0:39:52.800 --> 0:39:55.120
<v Speaker 1>seems like she might be able to do something. But

0:39:55.239 --> 0:39:58.680
<v Speaker 1>then sometime early in the second act they're like, well

0:39:58.800 --> 0:40:02.000
<v Speaker 1>but but that's not gonna happen. She's she's daughter and

0:40:02.040 --> 0:40:04.400
<v Speaker 1>she's wife, and that's sort of how the rest of

0:40:04.400 --> 0:40:06.600
<v Speaker 1>the movie goes. But I was surprised at how much

0:40:06.760 --> 0:40:11.400
<v Speaker 1>they established Grace at the beginning and for how little

0:40:11.440 --> 0:40:13.640
<v Speaker 1>they did with her, because she could speak Mandarin, like,

0:40:14.040 --> 0:40:17.440
<v Speaker 1>she was like well respected at her like at the job,

0:40:17.719 --> 0:40:20.680
<v Speaker 1>she had all of these like well, we'll talk about

0:40:20.680 --> 0:40:22.600
<v Speaker 1>that in the characters. Actually, I was just like so

0:40:22.680 --> 0:40:24.719
<v Speaker 1>frustrating that they're like but by the time you get

0:40:24.760 --> 0:40:28.759
<v Speaker 1>to animal Crackers, she's gone, She's left the building. Yeah,

0:40:29.320 --> 0:40:34.400
<v Speaker 1>she's girlfriend forever now. So the boys are enjoying their

0:40:34.520 --> 0:40:39.920
<v Speaker 1>night off. Meanwhile, a small asteroid or several of them

0:40:40.160 --> 0:40:46.800
<v Speaker 1>hit East Asia, which promptly in Shanghai, Shanghai, which prompts Dottie,

0:40:46.880 --> 0:40:50.520
<v Speaker 1>the woman married to the very verbally abuse of guy Carl.

0:40:51.440 --> 0:40:55.880
<v Speaker 1>It prompts her to leak the information about the huge

0:40:56.080 --> 0:40:59.120
<v Speaker 1>asteroid that's you know, that's global killer that's coming to

0:40:59.239 --> 0:41:02.320
<v Speaker 1>Earth to kill every one. She leaks this to the press,

0:41:02.600 --> 0:41:06.319
<v Speaker 1>so now everyone in the world knows about this impending doom.

0:41:06.360 --> 0:41:09.640
<v Speaker 1>And I will say Dottie outside of what is the

0:41:09.760 --> 0:41:14.280
<v Speaker 1>name of the woman astronaut Watts? Watts? Okay, So Dottie

0:41:14.320 --> 0:41:16.920
<v Speaker 1>and Watts are neck and neck for most active women

0:41:16.960 --> 0:41:18.880
<v Speaker 1>in the story. You think it's going to be Grace,

0:41:19.000 --> 0:41:20.840
<v Speaker 1>and the movie wants you to think it's Grace, but

0:41:20.920 --> 0:41:23.160
<v Speaker 1>it isn't. I would say Dottie has the most narrative

0:41:23.160 --> 0:41:26.120
<v Speaker 1>impact of any woman in the story, but the least

0:41:26.160 --> 0:41:29.920
<v Speaker 1>amount of screen time. Oddly so, she made she made

0:41:29.960 --> 0:41:32.880
<v Speaker 1>a meal of what she was given because if she

0:41:32.920 --> 0:41:34.759
<v Speaker 1>hadn't told And I'm like, also, I was trying to

0:41:34.800 --> 0:41:36.400
<v Speaker 1>put myself in her shoes. And then I was like,

0:41:36.440 --> 0:41:39.319
<v Speaker 1>this movie is so convoluted. I'm going to stop thinking

0:41:39.360 --> 0:41:41.160
<v Speaker 1>about this. I was like, what would I have done

0:41:41.239 --> 0:41:43.800
<v Speaker 1>in Dottie's position, because you don't want to cause mass panic,

0:41:43.800 --> 0:41:46.799
<v Speaker 1>which she kind of does, but she does. But then

0:41:46.840 --> 0:41:49.279
<v Speaker 1>also you don't want to the world to not have

0:41:49.360 --> 0:41:52.839
<v Speaker 1>the chance to make their peace and say they love

0:41:53.040 --> 0:41:57.160
<v Speaker 1>you know, So where I burdened with Dottie's burden, I

0:41:57.200 --> 0:41:58.960
<v Speaker 1>don't know what I would do. I hope I never

0:41:59.000 --> 0:42:00.480
<v Speaker 1>have to think of I hope I never have to

0:42:01.360 --> 0:42:05.760
<v Speaker 1>do that. Fingers crossed. Also, by this time, we've already

0:42:05.760 --> 0:42:09.960
<v Speaker 1>gotten like a lot of like chosen one narratives with Harry,

0:42:10.040 --> 0:42:12.840
<v Speaker 1>and it's like there's I mean, you do need to

0:42:12.880 --> 0:42:16.359
<v Speaker 1>think that he is like so the protagonist because he's

0:42:16.360 --> 0:42:18.839
<v Speaker 1>Bruce willis like, of course he's the protagonist. He has

0:42:19.560 --> 0:42:22.800
<v Speaker 1>he has the energy for it, right, But like there's

0:42:22.800 --> 0:42:26.520
<v Speaker 1>all these like lines where he's like six billion people

0:42:26.560 --> 0:42:29.719
<v Speaker 1>in the world, why me? But no one really is

0:42:29.719 --> 0:42:32.399
<v Speaker 1>able to answer that question. I don't know what like

0:42:32.880 --> 0:42:35.360
<v Speaker 1>we simply don't know. Ben Affleck doesn't have the answer

0:42:35.400 --> 0:42:41.920
<v Speaker 1>to that question, and it sounds like it really haunts him. Okay,

0:42:42.040 --> 0:42:45.400
<v Speaker 1>so Harry and a J and the rest of the

0:42:45.440 --> 0:42:49.880
<v Speaker 1>team plus several astronauts. I think Gruber might be one

0:42:49.920 --> 0:42:52.640
<v Speaker 1>of the astronauts. But even so when they're like we

0:42:52.760 --> 0:42:56.680
<v Speaker 1>lost Gruber, we're still I think so. But which of

0:42:56.760 --> 0:42:59.160
<v Speaker 1>Bruce willis his friends? Is that? Because Bruce Willis has

0:42:59.200 --> 0:43:02.959
<v Speaker 1>like two either two or three, don't really know, two

0:43:03.040 --> 0:43:07.680
<v Speaker 1>or three guys that have kind of like marine haircuts

0:43:07.719 --> 0:43:10.319
<v Speaker 1>that all kind of look like the same guy, and

0:43:10.600 --> 0:43:13.640
<v Speaker 1>one of them is Gruber. I'm pretty sure. No. I

0:43:13.680 --> 0:43:17.040
<v Speaker 1>think Gruber is one of the like NASA guys who

0:43:17.200 --> 0:43:20.560
<v Speaker 1>is like not even really introduced. That's another interesting thing

0:43:20.560 --> 0:43:23.680
<v Speaker 1>about Michael bay movies is they well, actually not exclusively,

0:43:24.040 --> 0:43:27.480
<v Speaker 1>but there are ones that have kind of this I

0:43:27.520 --> 0:43:29.319
<v Speaker 1>don't know, I feel like you can view it like

0:43:29.400 --> 0:43:31.840
<v Speaker 1>there's there's different ways to view it where you know,

0:43:31.880 --> 0:43:34.680
<v Speaker 1>he's very like this movie in particular is very like

0:43:35.000 --> 0:43:38.799
<v Speaker 1>pro working man and pro working class, and like they're

0:43:38.920 --> 0:43:41.520
<v Speaker 1>very much the heroes. But then you can also view

0:43:41.520 --> 0:43:45.959
<v Speaker 1>it as like kind of really anti intellectual, um where

0:43:46.040 --> 0:43:51.120
<v Speaker 1>the NASA astronauts, who logistically would know more than Bruce

0:43:51.120 --> 0:43:53.319
<v Speaker 1>Willis who started being trained as an astronaut less than

0:43:53.360 --> 0:43:57.320
<v Speaker 1>two weeks ago. They're like framed as like the villains

0:43:58.000 --> 0:44:01.920
<v Speaker 1>at many points, so like the losers don't know what

0:44:01.960 --> 0:44:06.040
<v Speaker 1>they're doing. They all die in space even though they

0:44:06.040 --> 0:44:08.680
<v Speaker 1>are trained astronauts. I don't know. Yeah, I mean there's

0:44:08.760 --> 0:44:13.520
<v Speaker 1>there's definitely it's a complex text because I am like

0:44:13.719 --> 0:44:16.759
<v Speaker 1>working class heroes, like that's that's great, you know, I

0:44:16.840 --> 0:44:20.120
<v Speaker 1>love that. But also, just because your hero is a

0:44:20.160 --> 0:44:24.360
<v Speaker 1>working class person doesn't mean that all scientists are also evil.

0:44:24.840 --> 0:44:31.560
<v Speaker 1>It just feels like maybe oversimplified anyways. Whatever, So everyone

0:44:31.800 --> 0:44:34.319
<v Speaker 1>gets on the two space shuttles and they take off

0:44:34.320 --> 0:44:37.839
<v Speaker 1>into space, Harry on one shuttle and a j on

0:44:37.920 --> 0:44:42.120
<v Speaker 1>the other. They stop at the Russian space station to refuel,

0:44:42.440 --> 0:44:46.800
<v Speaker 1>where they meet Lev played by Peter Stormare who I

0:44:46.840 --> 0:44:55.680
<v Speaker 1>think is doing a Grew impression. Okay thoughts, Okay, I

0:44:55.760 --> 0:44:59.200
<v Speaker 1>didn't think of that, I thought because I was like, clearly,

0:44:59.400 --> 0:45:04.640
<v Speaker 1>you know, there's like some Cold War hangover vibes to yeah,

0:45:04.960 --> 0:45:08.560
<v Speaker 1>the Peter Storm character, And I was like, but I

0:45:08.800 --> 0:45:12.960
<v Speaker 1>assumed he was an American doing a Russian accent. He's

0:45:13.000 --> 0:45:18.680
<v Speaker 1>actually Swedish doing a Russian accent. Anyways, no matter, either way,

0:45:18.800 --> 0:45:23.400
<v Speaker 1>it's pretty weird. Um but Grew, Yeah, but Grew's but

0:45:23.440 --> 0:45:27.359
<v Speaker 1>Grew's a hero. That's implying that Grew is playing I mean,

0:45:27.480 --> 0:45:30.719
<v Speaker 1>I guess Grew is actually playing second fiddle too, the

0:45:31.040 --> 0:45:34.239
<v Speaker 1>kind of a lot of characters. Yeah, he is. But

0:45:34.920 --> 0:45:38.000
<v Speaker 1>you know, you would never hear, you know, minions the

0:45:38.080 --> 0:45:42.120
<v Speaker 1>rise of Lev Andropov. You wouldn't hear that. True, it's

0:45:42.160 --> 0:45:46.120
<v Speaker 1>not going to happen. True. Sorry, So grew even and

0:45:46.160 --> 0:45:54.239
<v Speaker 1>that's the growth, the cold hard growth grew false this. Yes,

0:45:54.400 --> 0:45:57.680
<v Speaker 1>I think that um Steve Carell was robbed. He really

0:45:57.680 --> 0:46:01.640
<v Speaker 1>could have He really could have shown his stuff. But

0:46:01.760 --> 0:46:05.640
<v Speaker 1>it could have been a long audition for Grew. True. Anyway,

0:46:05.760 --> 0:46:10.200
<v Speaker 1>So Lev is on the space station and he's helping

0:46:10.239 --> 0:46:14.520
<v Speaker 1>them refuel. But there's a leak and an explosion with

0:46:14.640 --> 0:46:18.400
<v Speaker 1>lots of fire in space, and the whole Russian space

0:46:18.440 --> 0:46:23.839
<v Speaker 1>station explodes. Then they sling shot around the Moon and

0:46:23.920 --> 0:46:27.960
<v Speaker 1>approached the asteroid from behind, but one of the shuttles

0:46:28.200 --> 0:46:32.280
<v Speaker 1>hits debris from the asteroid and loses control and crashes.

0:46:33.040 --> 0:46:37.440
<v Speaker 1>We think maybe a J died back on Earth. Grace

0:46:37.560 --> 0:46:40.320
<v Speaker 1>is sad because it was the shuttle that A J

0:46:40.560 --> 0:46:43.319
<v Speaker 1>was on. But it turns out there are a few

0:46:43.360 --> 0:46:50.240
<v Speaker 1>survivors A J. Lev and Bear. That's Michael Clarke, Duncan

0:46:50.800 --> 0:46:54.759
<v Speaker 1>um Owen Wilson dead dead r I P. I guess

0:46:54.800 --> 0:46:58.280
<v Speaker 1>that Michael basa bottle rocket And it was like, yeah,

0:46:58.680 --> 0:47:02.799
<v Speaker 1>let's get this guy. That's fun. But also I kind

0:47:02.840 --> 0:47:08.640
<v Speaker 1>of forgot that he was in the movie, so did I? Um? Meanwhile, oh,

0:47:09.040 --> 0:47:13.600
<v Speaker 1>the other shuttle overshot their landing by twenty six miles

0:47:14.520 --> 0:47:20.640
<v Speaker 1>and the Boston marathon just the Boston one, though other

0:47:20.719 --> 0:47:28.520
<v Speaker 1>marathons different. Me and Ben Affleck agree it's and Arrowsmith

0:47:28.840 --> 0:47:32.200
<v Speaker 1>of course. Um. Yeah, So they landed on part of

0:47:32.200 --> 0:47:35.239
<v Speaker 1>the asteroid that's like an iron plate, which means it's

0:47:35.239 --> 0:47:37.600
<v Speaker 1>going to be very hard to drill through. I don't

0:47:37.640 --> 0:47:44.279
<v Speaker 1>know how NASA knew the like elemental compounds of the

0:47:44.320 --> 0:47:47.759
<v Speaker 1>different parts of the asteroid, but they knew. Was this

0:47:47.800 --> 0:47:51.040
<v Speaker 1>one of the contested science points of Like, now this

0:47:51.120 --> 0:47:53.000
<v Speaker 1>is one of my questions. I mean, maybe it was,

0:47:53.160 --> 0:47:56.759
<v Speaker 1>but I was like, did they send scouts to the

0:47:56.800 --> 0:48:00.080
<v Speaker 1>asteroid to check it out? Like I don't like a

0:48:00.120 --> 0:48:03.799
<v Speaker 1>basketball like a basketball playing teenager. I don't know. I mean,

0:48:03.840 --> 0:48:06.040
<v Speaker 1>I honestly, I think I went so smooth brain on

0:48:06.080 --> 0:48:08.880
<v Speaker 1>this viewing experience where I'm like, whatever Michael Bay is

0:48:08.880 --> 0:48:11.600
<v Speaker 1>going to tell me about space will be wrong, but

0:48:12.440 --> 0:48:15.440
<v Speaker 1>I'm going to proceed as if it is true. And

0:48:15.600 --> 0:48:18.120
<v Speaker 1>what By the time they arrived and they're like exactly,

0:48:18.239 --> 0:48:22.000
<v Speaker 1>I was like, yeah, I mean they're yeah, they're astronauts.

0:48:22.600 --> 0:48:25.680
<v Speaker 1>I just if you think about like things that take

0:48:26.080 --> 0:48:29.399
<v Speaker 1>like what if you spent twelve days on and how

0:48:29.440 --> 0:48:32.799
<v Speaker 1>good were you at it? It's like, yeah, I have

0:48:32.880 --> 0:48:35.720
<v Speaker 1>not been able to learn the you know, steps in

0:48:35.880 --> 0:48:40.000
<v Speaker 1>like one song of anything goes in twelve days, you know,

0:48:40.040 --> 0:48:42.880
<v Speaker 1>like high school theater productions don't come together that quickly.

0:48:42.920 --> 0:48:45.680
<v Speaker 1>How are we saving the world? I've been learning Spanish

0:48:45.719 --> 0:48:48.840
<v Speaker 1>for three years and I can still barely string a

0:48:48.920 --> 0:48:52.799
<v Speaker 1>sentence together, Like these things take time. I guess you're

0:48:52.840 --> 0:48:57.040
<v Speaker 1>no Owen Wilson, but except actually he flopped, he died.

0:48:57.080 --> 0:49:00.120
<v Speaker 1>He flopped. That's how I described people who die in

0:49:00.200 --> 0:49:04.759
<v Speaker 1>a rocket accident. They flopped, flopped ship trying harder. Um,

0:49:04.800 --> 0:49:07.520
<v Speaker 1>so it's gonna be really hard to drill because they're

0:49:07.600 --> 0:49:12.120
<v Speaker 1>drilling through iron, and it makes sense their machinery is

0:49:12.200 --> 0:49:15.719
<v Speaker 1>breaking and their way behind schedule with how deep they're

0:49:15.719 --> 0:49:20.080
<v Speaker 1>supposed to be at this point, and Harry and the

0:49:20.120 --> 0:49:25.600
<v Speaker 1>astronaut guy in charge, Colonel Sharp played by William Fichtner,

0:49:26.040 --> 0:49:29.000
<v Speaker 1>is how you say, it looks like um Killian Murphy

0:49:29.000 --> 0:49:33.759
<v Speaker 1>a little bit. He yes, they have similar eyeballs, um

0:49:34.360 --> 0:49:38.959
<v Speaker 1>big sad eyes. So he Colonel Sharp and Harry are

0:49:39.560 --> 0:49:43.640
<v Speaker 1>screaming at each other. And if the stakes weren't high enough,

0:49:44.520 --> 0:49:51.560
<v Speaker 1>some gravitational space stuff happens and messes with a communication

0:49:51.680 --> 0:49:55.919
<v Speaker 1>between NASA and the guys in space, and they only

0:49:55.960 --> 0:49:59.279
<v Speaker 1>have a few minutes left before they can detonate the

0:49:59.320 --> 0:50:02.880
<v Speaker 1>nuclear ball remotely, and then they'll lose their chance, sucker

0:50:03.080 --> 0:50:07.239
<v Speaker 1>freaking blue. So the President of the US gives an

0:50:07.360 --> 0:50:12.200
<v Speaker 1>order to detonate the nuclear bomb while they still can,

0:50:12.360 --> 0:50:15.560
<v Speaker 1>while they still are in contact and like have the communication,

0:50:16.200 --> 0:50:18.520
<v Speaker 1>even though the whole has only been drilled to fifty

0:50:18.560 --> 0:50:21.520
<v Speaker 1>seven ft when they needed to be eight hundred, and

0:50:21.600 --> 0:50:24.319
<v Speaker 1>Billy Bob Thornton's like, oh no, this is a horrible plan.

0:50:24.920 --> 0:50:28.040
<v Speaker 1>The clock on the bomb starts taking down. Lift Tyler

0:50:28.160 --> 0:50:32.960
<v Speaker 1>tackles somebody. Yeah, yeah, she's like, that's my father up there,

0:50:33.360 --> 0:50:35.200
<v Speaker 1>and you're like, yep, that is her role at this

0:50:35.239 --> 0:50:38.880
<v Speaker 1>time in the plot. If she just has to loudly

0:50:39.040 --> 0:50:42.720
<v Speaker 1>reminders other people of her relationship to the men in space,

0:50:42.960 --> 0:50:45.480
<v Speaker 1>it's true. But yeah, Billy Bob Thornton, he's kind of

0:50:45.560 --> 0:50:50.359
<v Speaker 1>unequivocally like he's like lawful good. I feel like, as

0:50:50.400 --> 0:50:54.400
<v Speaker 1>the movie presents it, Yeah, or maybe a lawful neutral

0:50:54.400 --> 0:50:56.239
<v Speaker 1>because he does go wrong. No love well, I guess

0:50:56.280 --> 0:50:58.960
<v Speaker 1>lawful good because he does eventually make the right decision,

0:50:59.040 --> 0:51:03.080
<v Speaker 1>but he needs to be talked into it. Yeah. I

0:51:03.120 --> 0:51:05.759
<v Speaker 1>can't remember exactly how that plays out. He's yelling at

0:51:05.920 --> 0:51:08.440
<v Speaker 1>Keith David though, and he's like, this is the fucking

0:51:08.480 --> 0:51:11.000
<v Speaker 1>wrong thing to do and you know it. Yeah, and

0:51:11.000 --> 0:51:13.960
<v Speaker 1>then Keith David's like, I don't know all the freaking

0:51:13.960 --> 0:51:19.040
<v Speaker 1>president so much so, the clock on the bomb starts

0:51:19.080 --> 0:51:22.240
<v Speaker 1>ticking down. They have five minutes to get the shuttle

0:51:22.320 --> 0:51:26.040
<v Speaker 1>off the asteroid before the bomb detonates, and then back

0:51:26.080 --> 0:51:29.400
<v Speaker 1>on Earth like people are stopping the countdown, they're overriding

0:51:29.520 --> 0:51:35.640
<v Speaker 1>the overrides, until finally Colonel Sharp on the asteroid stops

0:51:35.640 --> 0:51:42.440
<v Speaker 1>the countdown so that the drillers can get the job done. Meanwhile,

0:51:43.000 --> 0:51:48.400
<v Speaker 1>A J. Bear and Lev are in a space vehicle

0:51:49.040 --> 0:51:53.800
<v Speaker 1>called the Armadillo. They are driving to the drill site.

0:51:54.560 --> 0:51:59.120
<v Speaker 1>They're like crashing around, it's chaos. The asteroid is very spiky.

0:51:59.440 --> 0:52:03.200
<v Speaker 1>They're like, think a lot of spikes. Back the drill site,

0:52:03.400 --> 0:52:08.640
<v Speaker 1>Steve Bushemy develops what I think it's Colonel Sharp calls

0:52:08.800 --> 0:52:15.040
<v Speaker 1>space dementia, and then there's like and then there's an

0:52:15.120 --> 0:52:20.920
<v Speaker 1>earthquake on the asteroid and their drill blows away into

0:52:20.920 --> 0:52:26.360
<v Speaker 1>outer space, so it seems like the mission is a failure. Meanwhile,

0:52:27.239 --> 0:52:31.440
<v Speaker 1>smaller bits of the asteroid are hitting Earth. Paris gets

0:52:31.480 --> 0:52:37.400
<v Speaker 1>completely wiped out, chaos erupts on Earth. All hope is lost.

0:52:38.160 --> 0:52:44.040
<v Speaker 1>But then a J shows up in the Armadillo, which

0:52:44.080 --> 0:52:47.440
<v Speaker 1>has the other drill on it. They keep drilling. They

0:52:47.480 --> 0:52:52.960
<v Speaker 1>get to eight hundred feet, but then there is a

0:52:53.000 --> 0:53:00.680
<v Speaker 1>meteor shower on the asteroid, and any question and then

0:53:01.120 --> 0:53:04.800
<v Speaker 1>and it crashes into everybody and it damages the bomb's

0:53:04.960 --> 0:53:07.800
<v Speaker 1>remote detonator, which means that someone has to stay behind

0:53:07.920 --> 0:53:11.879
<v Speaker 1>to detonate the bomb. They draw straws, which they just

0:53:12.000 --> 0:53:16.200
<v Speaker 1>happened to have on the Space Shuttle, and a J

0:53:16.640 --> 0:53:19.600
<v Speaker 1>draws the short one, which I only knew because everyone

0:53:19.680 --> 0:53:22.680
<v Speaker 1>told me that. Not because there's any clear visual information

0:53:22.800 --> 0:53:25.600
<v Speaker 1>that shows that he has the short one. No, because

0:53:25.680 --> 0:53:28.320
<v Speaker 1>they don't. They can't keep a shot on anyone for

0:53:28.400 --> 0:53:35.080
<v Speaker 1>more than like point two seconds sevens And and in

0:53:35.120 --> 0:53:38.520
<v Speaker 1>the music, it's so loud and so fast, and I mean,

0:53:38.800 --> 0:53:40.879
<v Speaker 1>it would be kind of fun to have seen this

0:53:40.920 --> 0:53:43.640
<v Speaker 1>movie in theaters because you're just like, how would you

0:53:43.680 --> 0:53:45.120
<v Speaker 1>know what was going on? But it has to be

0:53:45.160 --> 0:53:49.399
<v Speaker 1>like consuming to not know what's happening. I do want

0:53:49.400 --> 0:53:53.600
<v Speaker 1>to take a moment to point out the rare instance

0:53:53.960 --> 0:53:58.560
<v Speaker 1>where I agree with Roger Ebert in his review of

0:53:58.600 --> 0:54:03.080
<v Speaker 1>the movie. He says, quote, the movie is an assault

0:54:03.360 --> 0:54:07.200
<v Speaker 1>on the eyes, the ears, the brain, the common sense,

0:54:07.480 --> 0:54:11.040
<v Speaker 1>and the human desire to be entertained. Yeah. I mean

0:54:11.080 --> 0:54:15.160
<v Speaker 1>when he when he hit, he hit, you know, he

0:54:15.239 --> 0:54:18.000
<v Speaker 1>wasn't always wrong. I thought it was funny that Siskell

0:54:18.040 --> 0:54:19.360
<v Speaker 1>gave it a thumbs up, and he was like, I

0:54:19.400 --> 0:54:21.600
<v Speaker 1>don't know, it's kind of fun. I think that's also

0:54:21.840 --> 0:54:26.800
<v Speaker 1>a completely reasonable take on its short Okay, so someone

0:54:26.920 --> 0:54:30.040
<v Speaker 1>has to stay behind to detonate the bomb, and A

0:54:30.200 --> 0:54:34.560
<v Speaker 1>J has drawn the short straw. But Harry had promised

0:54:34.800 --> 0:54:40.400
<v Speaker 1>Grace that he would bring back her fiance safely to earth.

0:54:41.640 --> 0:54:45.279
<v Speaker 1>Did you mean my fiance, my fiance. That's how they

0:54:45.320 --> 0:54:51.120
<v Speaker 1>set it back then? Yeah, exactly. Um. And so Harry

0:54:51.280 --> 0:54:54.120
<v Speaker 1>volunteers his tribute to be the one to stay behind,

0:54:54.400 --> 0:54:57.799
<v Speaker 1>and he saves a J. And he's like, take care

0:54:57.800 --> 0:55:01.319
<v Speaker 1>of my little girl, by the way, I always thought

0:55:01.360 --> 0:55:07.120
<v Speaker 1>of you as my son. And a J Is like, no, Daddy,

0:55:07.200 --> 0:55:10.680
<v Speaker 1>I love you. Don't do this. Everyone has to scream

0:55:10.800 --> 0:55:13.920
<v Speaker 1>daddy of Bruce Willis before he before his spirit could

0:55:13.920 --> 0:55:16.960
<v Speaker 1>be released to Christian heaven, where he clearly wants it

0:55:17.000 --> 0:55:22.000
<v Speaker 1>to go. Like it's so much I did love. Okay,

0:55:22.400 --> 0:55:24.560
<v Speaker 1>one thing I liked about this. I don't know if

0:55:24.560 --> 0:55:27.120
<v Speaker 1>this is a performance choice or it was written in

0:55:27.120 --> 0:55:31.000
<v Speaker 1>the script. I have no idea, but a J not

0:55:31.040 --> 0:55:32.760
<v Speaker 1>a character I love a character I think we should

0:55:32.760 --> 0:55:36.000
<v Speaker 1>write out and replace with Grace. Right. However, I will

0:55:36.000 --> 0:55:38.399
<v Speaker 1>say that he is the most you know. I feel

0:55:38.400 --> 0:55:40.879
<v Speaker 1>like a lot of the male characters on this crew

0:55:40.920 --> 0:55:45.680
<v Speaker 1>specifically are defined by their creepiness and emotional repression. A

0:55:45.880 --> 0:55:50.319
<v Speaker 1>J not like that. He is not creepy, and he

0:55:50.760 --> 0:55:53.400
<v Speaker 1>openly expresses his emotions almost all the time. He's a

0:55:53.440 --> 0:55:56.000
<v Speaker 1>pretty straight shooter when it comes to his emotions, including

0:55:56.320 --> 0:55:58.719
<v Speaker 1>telling a grown man that he loves him, which is

0:55:58.760 --> 0:56:02.120
<v Speaker 1>like this weird verb boating thing for a lot of

0:56:02.480 --> 0:56:07.320
<v Speaker 1>adult men in movies and sometimes in the world as well.

0:56:07.719 --> 0:56:10.880
<v Speaker 1>So I did like that, like he was openly crying

0:56:10.920 --> 0:56:13.680
<v Speaker 1>when he was upset, and like it was easy for

0:56:13.800 --> 0:56:16.279
<v Speaker 1>him to tell Grace that he loved her, like just

0:56:16.640 --> 0:56:19.919
<v Speaker 1>stuff that. Like, I mean, again, the bar is eight

0:56:20.000 --> 0:56:24.160
<v Speaker 1>hundred feet inside of an asteroid. But I did like

0:56:24.280 --> 0:56:28.280
<v Speaker 1>that there was like a hero that was like and

0:56:28.280 --> 0:56:31.240
<v Speaker 1>and Owen Wilson as well, like Owen, like the younger

0:56:31.280 --> 0:56:34.040
<v Speaker 1>guys on this crew were more in touch with their emotions,

0:56:34.160 --> 0:56:38.160
<v Speaker 1>and it wasn't, you know, universally positioned as like this

0:56:38.200 --> 0:56:41.759
<v Speaker 1>really negative thing. I was surprised by that too, because

0:56:41.920 --> 0:56:47.960
<v Speaker 1>it seems in direct contradiction to the toxic masculinity that

0:56:48.520 --> 0:56:54.040
<v Speaker 1>Michael Bay layers so deeply into all of his movies. Yeah,

0:56:54.080 --> 0:56:55.840
<v Speaker 1>I mean, I thought that there were a few elements

0:56:55.840 --> 0:56:57.480
<v Speaker 1>of this movie that I'm like, well, I don't know

0:56:57.520 --> 0:57:00.680
<v Speaker 1>who was creatively responsible for that, because that could have

0:57:00.680 --> 0:57:03.760
<v Speaker 1>been a Ben Affleck performance choice, that could have been

0:57:03.800 --> 0:57:06.640
<v Speaker 1>like one of the nine credited writers adding it in,

0:57:06.800 --> 0:57:10.480
<v Speaker 1>but there was at least one or two male characters

0:57:10.520 --> 0:57:14.480
<v Speaker 1>with like basic emotional intelligence, which I don't expect to

0:57:14.560 --> 0:57:17.320
<v Speaker 1>Michael Bay movie. It's true, so I feel the need

0:57:17.360 --> 0:57:20.280
<v Speaker 1>to point it out. At the same time, though, when

0:57:20.920 --> 0:57:23.400
<v Speaker 1>Bruce Willis is like, I've always thought of you as

0:57:23.840 --> 0:57:27.520
<v Speaker 1>my son, even though you were shooting at him with

0:57:27.560 --> 0:57:32.120
<v Speaker 1>a gun on an oil rig two days ago. Yeah,

0:57:32.280 --> 0:57:35.080
<v Speaker 1>and then you know, a J's like, Daddy, I love you.

0:57:35.200 --> 0:57:39.240
<v Speaker 1>Don't do this. So even though the movie is more

0:57:39.400 --> 0:57:43.560
<v Speaker 1>about a relationship between a father and daughter, it's still

0:57:43.680 --> 0:57:47.040
<v Speaker 1>manages to end up being about fathers and sons. We'll

0:57:47.080 --> 0:57:50.880
<v Speaker 1>get into that because I was truly, really fucking frustrated

0:57:50.880 --> 0:57:53.760
<v Speaker 1>by that, and like, I feel like sometimes it's like

0:57:53.960 --> 0:57:56.520
<v Speaker 1>the movie is about fathers and sons because they don't

0:57:56.800 --> 0:58:02.200
<v Speaker 1>bother to introduce a woman, just the absence of an alternative.

0:58:03.040 --> 0:58:07.160
<v Speaker 1>But in this they spend so much time introducing liv

0:58:07.240 --> 0:58:11.600
<v Speaker 1>Tyler's character, and then you know, like the like it

0:58:11.600 --> 0:58:15.360
<v Speaker 1>reminds me of Pacific Room the end where Marco Moury

0:58:15.640 --> 0:58:19.480
<v Speaker 1>Marco Morey, Yeah, she's launched out of the climax to

0:58:19.520 --> 0:58:21.600
<v Speaker 1>the movie, And it felt like they had, they didn't

0:58:21.600 --> 0:58:23.960
<v Speaker 1>have to graze. At the beginning of Act two, they're like,

0:58:24.000 --> 0:58:26.600
<v Speaker 1>you're not going to space. I don't know why. In

0:58:26.680 --> 0:58:28.680
<v Speaker 1>my I mean, I didn't have a strong memory of this.

0:58:28.840 --> 0:58:32.160
<v Speaker 1>I sort of like I was hoping because of how

0:58:32.200 --> 0:58:36.320
<v Speaker 1>strong her introduction was, not like writing wise, but like,

0:58:36.520 --> 0:58:38.160
<v Speaker 1>you learn a lot about her. You learn that she

0:58:38.160 --> 0:58:40.240
<v Speaker 1>has a difficult relationship with her father. I'm like, oh

0:58:40.280 --> 0:58:42.560
<v Speaker 1>my god, they might let her go to space. It

0:58:42.680 --> 0:58:46.880
<v Speaker 1>doesn't happen. No, no, no, because she has a lady job,

0:58:47.000 --> 0:58:51.240
<v Speaker 1>which is to talk to people. That was a question

0:58:51.280 --> 0:58:54.960
<v Speaker 1>I had when she's in She's in Houston and they

0:58:54.960 --> 0:58:59.800
<v Speaker 1>have a problem classic Houston famously get it together, right?

0:59:00.200 --> 0:59:03.480
<v Speaker 1>But is she working? Is she there in the capacity

0:59:03.520 --> 0:59:06.000
<v Speaker 1>of work or is she in there in the capacity

0:59:06.040 --> 0:59:10.400
<v Speaker 1>of daughter wife. I don't know, because all that happens

0:59:10.600 --> 0:59:13.240
<v Speaker 1>is Bruce Willis being like, yeah, I'll come on your

0:59:13.320 --> 0:59:16.520
<v Speaker 1>NASA mission if my daughter Grace can go with me.

0:59:16.800 --> 0:59:19.360
<v Speaker 1>But we don't know in what capacity because we don't

0:59:19.400 --> 0:59:22.600
<v Speaker 1>actually know what her job is, right do we just

0:59:22.640 --> 0:59:27.760
<v Speaker 1>know that whatever it is, she's good at it. She

0:59:27.920 --> 0:59:31.800
<v Speaker 1>keeps saying it, and we we agree, I'm sure she is.

0:59:31.840 --> 0:59:33.960
<v Speaker 1>But it's like, what do you mean by that? Oh?

0:59:34.080 --> 0:59:37.120
<v Speaker 1>I mean, to be fair, that isn't necessarily a gender

0:59:37.160 --> 0:59:40.080
<v Speaker 1>specific problem in this movie. I don't know what anyone's doing.

0:59:40.520 --> 0:59:43.760
<v Speaker 1>I mean, we know that the oil drillers drill oil,

0:59:44.240 --> 0:59:46.640
<v Speaker 1>but we don't know why they're allowed to be astronauts.

0:59:48.400 --> 0:59:50.760
<v Speaker 1>And if you ask Michael Bay that question, he will

0:59:50.760 --> 0:59:53.440
<v Speaker 1>tell you to shut the fuck up. I feel like,

0:59:53.640 --> 0:59:56.320
<v Speaker 1>if it was legal, he would have actually shot Ben

0:59:56.360 --> 0:59:59.200
<v Speaker 1>Affleck in the leg for running his mouth like that.

1:00:00.080 --> 1:00:03.320
<v Speaker 1>I think so yeah, um, okay. So the final thing

1:00:03.360 --> 1:00:08.720
<v Speaker 1>that happens is Harry does this like video satellite call

1:00:08.920 --> 1:00:12.760
<v Speaker 1>to Grace. He faced times Grace, and he's like, he does,

1:00:12.880 --> 1:00:18.280
<v Speaker 1>I love you, but sorry Spacetimes Grace, I never get

1:00:18.280 --> 1:00:22.120
<v Speaker 1>a pun in. I feel good. That was incredible, Jamie, thanks,

1:00:22.200 --> 1:00:24.800
<v Speaker 1>I loved it. Um. But yeah, he's like, Grace, I

1:00:24.840 --> 1:00:28.800
<v Speaker 1>love you, by the way, I'm about to die by

1:00:29.080 --> 1:00:33.280
<v Speaker 1>and then the she does daddy, no, daddy, no daddy.

1:00:33.720 --> 1:00:36.000
<v Speaker 1>She and Ben Affleck get to go no daddy no,

1:00:37.920 --> 1:00:41.680
<v Speaker 1>it's true. Be serious. Yeah, well, good for them, um,

1:00:41.920 --> 1:00:44.920
<v Speaker 1>and then the shuttle takes off from the asteroid. Harry

1:00:45.040 --> 1:00:47.800
<v Speaker 1>detonates the bomb just in the Nick of time, he

1:00:47.960 --> 1:00:52.320
<v Speaker 1>saves humanity. The shuttle returns to Earth. You know, everyone

1:00:52.360 --> 1:00:58.040
<v Speaker 1>on board are heroes. A J and Grace reunite and

1:00:58.120 --> 1:01:03.200
<v Speaker 1>get married. The and get married during the credit sequence

1:01:03.240 --> 1:01:07.880
<v Speaker 1>because it's been such a long movie. But with that,

1:01:07.960 --> 1:01:12.560
<v Speaker 1>let's take a little break because I'm exhausted. Exhausted, Caitlin.

1:01:13.880 --> 1:01:24.000
<v Speaker 1>We'll be right back. And we are back. Well, it's

1:01:24.040 --> 1:01:27.480
<v Speaker 1>like we've touched on a lot of things, and I

1:01:27.520 --> 1:01:30.120
<v Speaker 1>feel good about that. I think that we were We

1:01:30.120 --> 1:01:32.560
<v Speaker 1>were right to do it. We were so good at

1:01:32.560 --> 1:01:35.280
<v Speaker 1>our jobs. Yeah, I agree, I agree, But where do

1:01:35.360 --> 1:01:39.400
<v Speaker 1>we begin? I would like to go back to Grace

1:01:40.320 --> 1:01:43.320
<v Speaker 1>and some of this stuff we've, like you said, touched

1:01:43.400 --> 1:01:47.960
<v Speaker 1>on already. But she is there because she is the

1:01:48.240 --> 1:01:52.720
<v Speaker 1>daughter and the love interest of two men who are

1:01:52.840 --> 1:01:58.800
<v Speaker 1>far more important to the events and outcome of the story. Yeah.

1:01:58.960 --> 1:02:02.800
<v Speaker 1>So she's not allowed to go into space, which makes sense.

1:02:02.960 --> 1:02:07.440
<v Speaker 1>She's not a driller, and it seems like that's not

1:02:07.480 --> 1:02:11.280
<v Speaker 1>what she wanted to do, which is fine. Fair. Maybe

1:02:11.320 --> 1:02:16.439
<v Speaker 1>she's environmentalist that maybe, But then Bruce Willis would hit

1:02:16.520 --> 1:02:20.280
<v Speaker 1>golf balls at her because there's that boat full of

1:02:20.320 --> 1:02:23.760
<v Speaker 1>protesters who were like stopped drilling for oil and Bruce

1:02:23.760 --> 1:02:26.960
<v Speaker 1>Willis is like, I'm gonna throw golf balls at you,

1:02:27.480 --> 1:02:31.240
<v Speaker 1>and that's supposed to be hilarious and awesome. But her

1:02:31.360 --> 1:02:33.640
<v Speaker 1>not going to space, as we've talked about, means that

1:02:33.680 --> 1:02:37.080
<v Speaker 1>there's no chance that she can participate in this mission

1:02:37.120 --> 1:02:41.080
<v Speaker 1>of saving the world, and she's just relegated to the

1:02:41.320 --> 1:02:45.400
<v Speaker 1>daughter and girlfriend. And it really just exists mostly in

1:02:45.400 --> 1:02:50.800
<v Speaker 1>the story to be motivation for Bruce Willis and Ben Affleck.

1:02:51.480 --> 1:02:53.600
<v Speaker 1>It's like, Oh, I have to succeed so that I

1:02:53.640 --> 1:02:58.640
<v Speaker 1>can see her again, And she's a tool to drive

1:02:58.760 --> 1:03:01.840
<v Speaker 1>a wedge between that because for some reason there needs

1:03:01.880 --> 1:03:05.800
<v Speaker 1>to be conflict between these two guys, which just means

1:03:05.840 --> 1:03:09.560
<v Speaker 1>that she is basically a plot tool and a way

1:03:09.560 --> 1:03:14.080
<v Speaker 1>to further characterize the men and has given no real

1:03:14.320 --> 1:03:18.720
<v Speaker 1>characterization of her own beyond that. Yeah. No, I mean

1:03:18.760 --> 1:03:22.560
<v Speaker 1>I think that is the biggest betrayal of the movie,

1:03:22.880 --> 1:03:26.800
<v Speaker 1>because I mean there's always like in some Michael Bay movies,

1:03:26.840 --> 1:03:29.960
<v Speaker 1>and I am thinking of like how MICHAELA in Transformers

1:03:30.000 --> 1:03:33.360
<v Speaker 1>is set up versus how what happens with your character?

1:03:33.400 --> 1:03:36.840
<v Speaker 1>Where she is set up as a character you may

1:03:36.920 --> 1:03:39.800
<v Speaker 1>or may not like the traits she has given, but

1:03:40.240 --> 1:03:44.680
<v Speaker 1>she has skills, she has interests, she has motivation, and

1:03:44.720 --> 1:03:47.960
<v Speaker 1>she has ability. The way she is shot do not

1:03:48.120 --> 1:03:51.920
<v Speaker 1>quite square with that, but like there is information there

1:03:51.960 --> 1:03:55.120
<v Speaker 1>that is interesting and it's like makes michaela compelling character.

1:03:55.440 --> 1:03:58.120
<v Speaker 1>I feel like Grace kind of falls into that where

1:03:58.800 --> 1:04:04.439
<v Speaker 1>and she isn't shot as exploitatively as later Michael Bay installments. Yeah,

1:04:04.520 --> 1:04:06.400
<v Speaker 1>I kind of wonder what the cinematogra if that's like

1:04:06.640 --> 1:04:10.439
<v Speaker 1>Michael Bay brain rot or a cinematography shot. I don't.

1:04:10.480 --> 1:04:13.360
<v Speaker 1>I don't really know, but I will say that, you know,

1:04:13.440 --> 1:04:16.439
<v Speaker 1>while her body is certainly lingered on, especially in the

1:04:16.480 --> 1:04:18.640
<v Speaker 1>animal cracker scene, I feel like it's the worst offender

1:04:18.680 --> 1:04:20.760
<v Speaker 1>of it, so of course, and the fact that that

1:04:20.880 --> 1:04:23.200
<v Speaker 1>is a phrase in itself, but like for the I

1:04:23.240 --> 1:04:26.000
<v Speaker 1>feel like, you know, as opposed to other Michael Bay

1:04:26.240 --> 1:04:31.560
<v Speaker 1>female characters, she is treated less horrifically, I agree, And

1:04:31.640 --> 1:04:34.880
<v Speaker 1>she's set up as a really like I just can't

1:04:34.920 --> 1:04:37.800
<v Speaker 1>get over. Like, there's three whole scenes in the first

1:04:37.800 --> 1:04:41.360
<v Speaker 1>half hour of this movie devoted to how complicated her

1:04:41.400 --> 1:04:45.440
<v Speaker 1>relationship is with her father and her upbringing. We get

1:04:45.480 --> 1:04:49.360
<v Speaker 1>all kinds of information, we get um the fact that

1:04:49.400 --> 1:04:53.600
<v Speaker 1>she's in this relationship that her father is like irrationally

1:04:53.640 --> 1:04:57.360
<v Speaker 1>hateful towards which is like a whole whatever that million

1:04:57.480 --> 1:05:00.160
<v Speaker 1>times of like if you touch my daughter, I'll kill you,

1:05:00.320 --> 1:05:04.320
<v Speaker 1>and you know, possessive fathership that's very, very toxic and harmful,

1:05:04.760 --> 1:05:08.280
<v Speaker 1>and you know, Grace reasonably saying like these are the

1:05:08.320 --> 1:05:10.600
<v Speaker 1>kind of people I grew up around. Why would you

1:05:10.680 --> 1:05:13.400
<v Speaker 1>be shocked that I would end up with someone like this?

1:05:13.680 --> 1:05:17.320
<v Speaker 1>It's all, I know, a fair point. You also find

1:05:17.360 --> 1:05:20.800
<v Speaker 1>out that there's some sort of resentment regarding like she

1:05:20.960 --> 1:05:25.760
<v Speaker 1>hasn't been dead mom. Her mom left. We don't know why,

1:05:25.840 --> 1:05:28.680
<v Speaker 1>but she left, and it seems like liv Tyler holds

1:05:28.720 --> 1:05:32.080
<v Speaker 1>onto some resentment about why her mom left, which would

1:05:32.120 --> 1:05:35.280
<v Speaker 1>make sense because we've only seen Bruce Willis be an asshole.

1:05:36.040 --> 1:05:39.240
<v Speaker 1>So there's that. We know that she doesn't really want

1:05:39.280 --> 1:05:41.840
<v Speaker 1>to work on the oil rig, but she does, and

1:05:41.880 --> 1:05:44.360
<v Speaker 1>she's very good at it, and she's ready to leave,

1:05:45.000 --> 1:05:48.280
<v Speaker 1>and her dad is desperately clinging to her. It doesn't

1:05:48.320 --> 1:05:50.880
<v Speaker 1>want her to leave. Like, we get all this really

1:05:50.920 --> 1:05:55.360
<v Speaker 1>kind of rich information, and I'm assuming, if I'm giving

1:05:55.400 --> 1:05:57.520
<v Speaker 1>the movie the benefit of the doubt, the only reason

1:05:57.560 --> 1:06:02.600
<v Speaker 1>she's staying is because her to be fiancee also lives

1:06:02.600 --> 1:06:06.040
<v Speaker 1>and works there. Otherwise it's possible she may have already left.

1:06:07.160 --> 1:06:09.840
<v Speaker 1>What is her job? Is she like a liaison between

1:06:10.680 --> 1:06:15.480
<v Speaker 1>the clients who are buying the oil question mark, I

1:06:15.520 --> 1:06:18.760
<v Speaker 1>don't know why the business people come onto the oil rig,

1:06:18.840 --> 1:06:21.000
<v Speaker 1>and I don't know what Bruce Willis means when he

1:06:21.040 --> 1:06:24.000
<v Speaker 1>threatens to send her back to quote unquote the office,

1:06:24.520 --> 1:06:28.960
<v Speaker 1>because great questions all around, what is why does the

1:06:29.000 --> 1:06:31.560
<v Speaker 1>oil rig have the office? It seems like the oil

1:06:31.640 --> 1:06:34.680
<v Speaker 1>rig is the office, that's how when everything else implies,

1:06:35.600 --> 1:06:37.360
<v Speaker 1>But he threatens to sent her back to the office.

1:06:37.800 --> 1:06:41.320
<v Speaker 1>That does not make sense. But even in like the

1:06:41.400 --> 1:06:45.680
<v Speaker 1>fucking maze of not making sense, there's a lot we

1:06:45.760 --> 1:06:49.200
<v Speaker 1>learned about Grace right away, and it sets up at

1:06:49.280 --> 1:06:53.880
<v Speaker 1>least a semi cogent reason for her and her father

1:06:54.080 --> 1:06:57.680
<v Speaker 1>to go on some sort of journey together. And then

1:06:58.000 --> 1:07:02.160
<v Speaker 1>that just doesn't how happen? The thing that made me

1:07:02.240 --> 1:07:05.640
<v Speaker 1>most frustrated from like I mean, from like a Bechtel

1:07:05.680 --> 1:07:08.360
<v Speaker 1>cast standpoint and also a writing standpoint, because I'm just like,

1:07:09.240 --> 1:07:11.920
<v Speaker 1>why would you do this? Like, first of all, it

1:07:12.000 --> 1:07:16.040
<v Speaker 1>becomes clear immediately that what Grace's narrative should be is

1:07:16.120 --> 1:07:19.160
<v Speaker 1>offloaded to Ben Affleck pretty early in the movie. The

1:07:19.200 --> 1:07:22.480
<v Speaker 1>second she agrees to marry him. The plot that belongs

1:07:22.480 --> 1:07:26.440
<v Speaker 1>to Grace is then, uh, that's the dowry that she

1:07:26.560 --> 1:07:29.720
<v Speaker 1>gives to her husband is her entire plot line, and

1:07:29.920 --> 1:07:33.720
<v Speaker 1>she is like severely reduced in screen time. But even

1:07:33.800 --> 1:07:39.120
<v Speaker 1>before Bruce Willis leaves for space, which he does in

1:07:39.240 --> 1:07:43.720
<v Speaker 1>many at least two movies, you know what a legend um.

1:07:43.760 --> 1:07:49.200
<v Speaker 1>But anyways, before he leaves, she forgives him for everything,

1:07:49.720 --> 1:07:51.720
<v Speaker 1>to the point where I was like, then why even

1:07:51.800 --> 1:07:54.760
<v Speaker 1>like I felt like from a like a writing standpoint,

1:07:54.800 --> 1:07:59.120
<v Speaker 1>that undercuts such a large chunk of the movie, because

1:07:59.120 --> 1:08:01.920
<v Speaker 1>if she forgives him before he leaves, and then she

1:08:02.040 --> 1:08:06.960
<v Speaker 1>forgives him again before he dies, why why not just

1:08:07.240 --> 1:08:09.880
<v Speaker 1>not forgive him before he leaves and then it would

1:08:09.920 --> 1:08:13.520
<v Speaker 1>be more like narratively impactful, no matter what the gender

1:08:13.560 --> 1:08:16.639
<v Speaker 1>dynamics are, It's just like, why would you have her

1:08:16.640 --> 1:08:20.479
<v Speaker 1>forgive him twice? So the whole time that he's in space,

1:08:20.920 --> 1:08:23.439
<v Speaker 1>she feels the exact same way, like she hasn't changed

1:08:23.479 --> 1:08:26.120
<v Speaker 1>at all. She's just like, I love my dad, I'm

1:08:26.200 --> 1:08:29.240
<v Speaker 1>not upset about whatever vague thing happened to my mom

1:08:30.360 --> 1:08:35.160
<v Speaker 1>and it's all good like that, I was so frustrated, right,

1:08:35.479 --> 1:08:41.400
<v Speaker 1>that eliminates an opportunity for tension in that relationship. And

1:08:41.600 --> 1:08:44.320
<v Speaker 1>when you're writing a story, you want to like capitalize

1:08:44.360 --> 1:08:49.040
<v Speaker 1>on opportunities for tension, not eliminate them. Number one. Number two,

1:08:49.880 --> 1:08:54.240
<v Speaker 1>I thought what she was forgiving him for, or like

1:08:54.280 --> 1:09:00.320
<v Speaker 1>what she was angry with him for, was his treatment

1:09:00.400 --> 1:09:03.759
<v Speaker 1>of her as it relates to her relationship with ben Affleck,

1:09:03.880 --> 1:09:06.960
<v Speaker 1>which is this whole other thing that we hinted at,

1:09:07.000 --> 1:09:11.960
<v Speaker 1>but it's the like overprotective of a daughter's chastity and

1:09:12.120 --> 1:09:15.759
<v Speaker 1>daddy being like, no, my daughter can't have stuch with anyone.

1:09:16.960 --> 1:09:20.960
<v Speaker 1>And you have all these scenes where she's pushing back

1:09:21.000 --> 1:09:26.439
<v Speaker 1>against her dad, being like, AJ is my choice, not yours.

1:09:26.520 --> 1:09:28.559
<v Speaker 1>You can't tell me what to do anymore. I've been

1:09:28.560 --> 1:09:31.120
<v Speaker 1>more mature than you since I was ten years old, Like,

1:09:31.240 --> 1:09:33.559
<v Speaker 1>I'm an adult, Let me live my life. And then

1:09:33.680 --> 1:09:37.040
<v Speaker 1>Prince Willis literally says kind of an iconic line. He says, sure,

1:09:37.080 --> 1:09:41.240
<v Speaker 1>I may be an immateur father, but I'm also your employer.

1:09:41.400 --> 1:09:44.640
<v Speaker 1>I was like, do you hear yourself talk like that?

1:09:44.800 --> 1:09:46.880
<v Speaker 1>Is what? I guess that that is what Roger Ebert

1:09:46.960 --> 1:09:49.240
<v Speaker 1>is talking about, where you're just like you're just like

1:09:49.280 --> 1:09:52.160
<v Speaker 1>your brain cells are dying as you're hearing it, because

1:09:52.680 --> 1:09:54.920
<v Speaker 1>I'm supposed to believe someone said that out loud and

1:09:54.960 --> 1:09:58.200
<v Speaker 1>they're like, yeah, oh, I'm a terrible father. Well guess

1:09:58.200 --> 1:10:04.519
<v Speaker 1>what I'm your boss to, so take that. It's funny, um,

1:10:04.640 --> 1:10:08.000
<v Speaker 1>but you know, horrible, horrible. And then there's another scene

1:10:08.000 --> 1:10:11.840
<v Speaker 1>because this is this becomes the like conflict between them

1:10:11.880 --> 1:10:14.920
<v Speaker 1>or they like the source of tension in this father

1:10:15.000 --> 1:10:19.479
<v Speaker 1>daughter relationship where he has this arc where he needs

1:10:19.520 --> 1:10:24.680
<v Speaker 1>to accept that his daughter is an adult with her

1:10:24.800 --> 1:10:28.400
<v Speaker 1>own life. But before he gets there and accepts this,

1:10:29.479 --> 1:10:33.880
<v Speaker 1>which he I feel like accepts this to a j

1:10:34.080 --> 1:10:37.960
<v Speaker 1>and not even to her because he's like, you're my son.

1:10:39.000 --> 1:10:41.479
<v Speaker 1>I've always thought of you was my son. And it's like, no,

1:10:41.640 --> 1:10:43.960
<v Speaker 1>you need to be having a conversation with Grace about

1:10:44.000 --> 1:10:48.000
<v Speaker 1>this anyway. It's really fs It's like it's total horseship,

1:10:48.160 --> 1:10:51.320
<v Speaker 1>like the way that yeah, like her plot, and I mean,

1:10:51.360 --> 1:10:56.080
<v Speaker 1>I do wonder it would be probably impossible to actually trace,

1:10:56.560 --> 1:10:59.200
<v Speaker 1>but just to like know at what point, like I

1:10:59.439 --> 1:11:01.800
<v Speaker 1>am can vince that there is a version of this

1:11:01.880 --> 1:11:07.760
<v Speaker 1>script that Grace went to space and you know, I

1:11:07.880 --> 1:11:10.439
<v Speaker 1>just I mean could be again. There there are many

1:11:10.479 --> 1:11:13.439
<v Speaker 1>credited writers and then many others who weren't credited. There

1:11:13.520 --> 1:11:19.960
<v Speaker 1>was something like nine nine writers total, including uh. Credited

1:11:20.000 --> 1:11:24.519
<v Speaker 1>ones are Jonathan Hensley J. J. Abrams. There's also story

1:11:24.560 --> 1:11:29.759
<v Speaker 1>by credits that include Robert roy Pool. There's adaptation credits.

1:11:29.760 --> 1:11:33.880
<v Speaker 1>I don't even know what they're adapting, but um, Tony Gilroy,

1:11:33.960 --> 1:11:37.160
<v Speaker 1>who I'm a huge fan of Mr. And Or I mean, yeah, no,

1:11:37.200 --> 1:11:40.920
<v Speaker 1>Tony Tony Gilroy is amazing. It's um almost rude that

1:11:40.960 --> 1:11:47.559
<v Speaker 1>he implicated in this um and then Shane Solerno and

1:11:47.600 --> 1:11:53.000
<v Speaker 1>then uncredited writers include a guy named Paul, a woman

1:11:53.560 --> 1:11:58.880
<v Speaker 1>named Ann Okay, and Biderman. We've got Scott Rosenberg and

1:11:58.960 --> 1:12:03.680
<v Speaker 1>Robert Town, so a whole slew of people working on

1:12:03.760 --> 1:12:08.680
<v Speaker 1>this project. And Robert town is very famous. Yeah, no,

1:12:08.800 --> 1:12:11.400
<v Speaker 1>you can't blame any one person for what's happening here.

1:12:11.400 --> 1:12:14.120
<v Speaker 1>I feel like, honestly, Michael Bay is kind of probably

1:12:14.160 --> 1:12:16.599
<v Speaker 1>the most likely culprit for things that we don't like,

1:12:17.479 --> 1:12:19.240
<v Speaker 1>but I don't know. It also sounds like he lets

1:12:19.280 --> 1:12:21.559
<v Speaker 1>actors do a lot of improv in his movies too,

1:12:21.600 --> 1:12:23.360
<v Speaker 1>so there's a lot of lines in this movie where

1:12:23.360 --> 1:12:25.240
<v Speaker 1>they're like that was Bruce and you're like, well, I

1:12:25.280 --> 1:12:29.360
<v Speaker 1>guess that that's Bruce Willis's fault. You know it's but

1:12:29.479 --> 1:12:32.000
<v Speaker 1>I what they don't tell you about the Bruckheimer teeth

1:12:32.600 --> 1:12:35.679
<v Speaker 1>is that, you know, they're kind of like, what's the test?

1:12:35.840 --> 1:12:39.720
<v Speaker 1>They they've passed the sentient there, like sentient as humans,

1:12:39.840 --> 1:12:43.360
<v Speaker 1>and so they can make Ben Afflecks Turing test. Yeah,

1:12:43.520 --> 1:12:46.519
<v Speaker 1>the Brockheimer teeth have passed the Turing test, and so

1:12:47.120 --> 1:12:50.320
<v Speaker 1>the Brockheimer teeth can just make Ben Afflecks say literally

1:12:50.320 --> 1:12:53.600
<v Speaker 1>whatever whatever they want. Yeah, that will come out in

1:12:53.720 --> 1:12:57.040
<v Speaker 1>his voice. And that's that's the teeth. They're like, you know,

1:12:57.080 --> 1:12:59.120
<v Speaker 1>they're rooted into your mouth and then just kind of

1:12:59.120 --> 1:13:04.920
<v Speaker 1>wired directly to your brain. Yeah, they cost they they're

1:13:05.120 --> 1:13:11.080
<v Speaker 1>equipped with AI the turning teeth. Um. Wow, Jamie, you're

1:13:11.120 --> 1:13:16.280
<v Speaker 1>on a roll. Um anyway, So Harry's arc as it

1:13:16.320 --> 1:13:18.880
<v Speaker 1>relates to Grace is all about, oh, he has to

1:13:19.760 --> 1:13:23.880
<v Speaker 1>accept that his daughter is an adult. There's a scene

1:13:23.880 --> 1:13:28.560
<v Speaker 1>where and this happens after Harry has seen a J

1:13:29.160 --> 1:13:33.680
<v Speaker 1>and Grace kiss, like right before a J proposes, and

1:13:33.800 --> 1:13:38.439
<v Speaker 1>it makes Harry mad that his daughter is in love,

1:13:39.240 --> 1:13:43.720
<v Speaker 1>and there is one of the wildest exchanges of dialogue

1:13:43.920 --> 1:13:46.240
<v Speaker 1>in a movie that I have ever seen. I just

1:13:46.280 --> 1:13:49.439
<v Speaker 1>want to go quickly through this, where Harry is very

1:13:49.439 --> 1:13:53.759
<v Speaker 1>piste off. Steve Bushemy is like, look, Grace is an adult.

1:13:53.800 --> 1:13:56.160
<v Speaker 1>She can make her own choices. She grew up to

1:13:56.200 --> 1:13:59.640
<v Speaker 1>be a hottie. And then another guy chimes in and

1:13:59.680 --> 1:14:03.480
<v Speaker 1>his yeah, she's so freaking hot. And then Owen Wilson

1:14:04.400 --> 1:14:07.280
<v Speaker 1>is like, look, she's a kid coming into her own

1:14:07.760 --> 1:14:11.599
<v Speaker 1>She's exploring her sexuality, she's getting curious about her body.

1:14:11.920 --> 1:14:15.000
<v Speaker 1>Her hormones are pulling her in a thousand different directions,

1:14:15.439 --> 1:14:19.000
<v Speaker 1>talking about her as if she's a teenager, when when

1:14:19.400 --> 1:14:23.439
<v Speaker 1>it's stated just after that that they're the same age,

1:14:23.880 --> 1:14:28.920
<v Speaker 1>and then and then Bear kind of put put the

1:14:28.920 --> 1:14:31.519
<v Speaker 1>pen on everything by saying yeah, so, I mean, it's

1:14:31.520 --> 1:14:33.400
<v Speaker 1>like it's always as if Bear has not listened to

1:14:33.439 --> 1:14:38.120
<v Speaker 1>the entire conversation, because he puts the pin in the

1:14:38.160 --> 1:14:40.759
<v Speaker 1>conversation by saying, yeah, I think we can all agree

1:14:40.920 --> 1:14:43.800
<v Speaker 1>that we all feel like we are her father. And

1:14:43.840 --> 1:14:46.880
<v Speaker 1>I'm like, but they would just say really disgusting things

1:14:46.880 --> 1:14:48.960
<v Speaker 1>about her for a whole minute, Bear, were you listening

1:14:49.040 --> 1:14:52.439
<v Speaker 1>he says, and I quote, we all feel like a

1:14:52.520 --> 1:14:57.000
<v Speaker 1>bunch of daddy's. Yeah, they do say that. They do

1:14:57.120 --> 1:15:01.960
<v Speaker 1>say that, and we and then have no saying that

1:15:02.680 --> 1:15:07.160
<v Speaker 1>we can't do anything about it now. Um so yeah,

1:15:07.240 --> 1:15:09.360
<v Speaker 1>it's like she's so hot, she's so hot what a

1:15:09.400 --> 1:15:14.200
<v Speaker 1>certified hottie bear is like, and we are her daddy also,

1:15:14.800 --> 1:15:18.080
<v Speaker 1>and like because we're hitting on her, were her. No,

1:15:18.320 --> 1:15:20.360
<v Speaker 1>that's not the cause and effect he's describing. But it's

1:15:20.400 --> 1:15:23.320
<v Speaker 1>like shocking that he could hear that whole conversation and

1:15:23.400 --> 1:15:26.000
<v Speaker 1>be like, yes, we all have paternal feelings towards this

1:15:26.320 --> 1:15:31.559
<v Speaker 1>young woman truly, And then Harry goes on a pretty

1:15:31.600 --> 1:15:35.439
<v Speaker 1>classist tirade where he's like, I'm not gonna let my

1:15:35.520 --> 1:15:39.000
<v Speaker 1>daughter marry some rough nick. She's better than that, She's

1:15:39.040 --> 1:15:42.280
<v Speaker 1>better than all of us. We'll see. That didn't bother

1:15:42.439 --> 1:15:46.599
<v Speaker 1>me as much because that felt like a because you know,

1:15:46.680 --> 1:15:49.120
<v Speaker 1>because we know where the story goes, Like that was

1:15:49.240 --> 1:15:53.880
<v Speaker 1>one of the more effective things for me, because his

1:15:54.160 --> 1:15:57.080
<v Speaker 1>mind does change about that where I feel like there

1:15:57.080 --> 1:16:00.600
<v Speaker 1>are these generational anxieties of like I don't want my

1:16:00.720 --> 1:16:02.760
<v Speaker 1>kid to end up with someone who reminds me of

1:16:02.800 --> 1:16:06.439
<v Speaker 1>myself because I hate myself and I want whatever, like

1:16:06.479 --> 1:16:08.679
<v Speaker 1>the generation, like I want my kid to do better

1:16:08.760 --> 1:16:11.680
<v Speaker 1>than I did. So that didn't super bother me as like,

1:16:11.800 --> 1:16:14.719
<v Speaker 1>I don't think that he was an inherently classist character,

1:16:14.880 --> 1:16:18.120
<v Speaker 1>because he was advocating for the men he'd worked with

1:16:18.200 --> 1:16:20.680
<v Speaker 1>forever who were of the same class as him the

1:16:20.720 --> 1:16:23.400
<v Speaker 1>whole movie. But I just I felt like that was

1:16:23.400 --> 1:16:26.000
<v Speaker 1>something that he came around on. So that felt like

1:16:26.439 --> 1:16:29.320
<v Speaker 1>one of the only elements of Harry's character that grew,

1:16:29.680 --> 1:16:36.360
<v Speaker 1>not that grew anyways, not that I like, I don't

1:16:36.400 --> 1:16:39.280
<v Speaker 1>like that like him. I think that it should have

1:16:39.320 --> 1:16:44.240
<v Speaker 1>been Harry learning to accept his daughter as an autonomous

1:16:44.439 --> 1:16:47.040
<v Speaker 1>person who wanted to do her own thing, and like,

1:16:47.240 --> 1:16:48.800
<v Speaker 1>there's so many ways you can take that. It's like,

1:16:49.280 --> 1:16:54.639
<v Speaker 1>maybe like live Tyler wants to like work for NASA

1:16:54.760 --> 1:16:57.400
<v Speaker 1>or work as something that he considers to be elitist,

1:16:57.520 --> 1:17:00.559
<v Speaker 1>and he's like, why you're like abandoning your root, fuck you.

1:17:00.680 --> 1:17:02.439
<v Speaker 1>And then they go on this space mission together and

1:17:02.439 --> 1:17:04.200
<v Speaker 1>he's like, all right, I accept that you want to

1:17:04.280 --> 1:17:07.400
<v Speaker 1>do something different than me, but it's still like we

1:17:07.439 --> 1:17:11.639
<v Speaker 1>still love each other and whatever. Do it that way.

1:17:12.400 --> 1:17:14.800
<v Speaker 1>There's a million different ways to do it, but because

1:17:14.840 --> 1:17:16.560
<v Speaker 1>it goes that way, I don't know. I didn't, but

1:17:16.680 --> 1:17:21.120
<v Speaker 1>I didn't mind that because he comes around on it

1:17:21.160 --> 1:17:23.200
<v Speaker 1>and I feel like he was more just like projecting

1:17:23.200 --> 1:17:25.240
<v Speaker 1>of like I don't want my daughter to marry someone

1:17:25.280 --> 1:17:27.639
<v Speaker 1>like me because I suck, and it's like, well, yeah,

1:17:27.720 --> 1:17:31.000
<v Speaker 1>you do, suck, you do. But Ben Affleck knows how

1:17:31.040 --> 1:17:33.599
<v Speaker 1>to cry and say I love you, which you don't,

1:17:33.920 --> 1:17:40.200
<v Speaker 1>so he is better than you. Yeah. Um any other

1:17:40.280 --> 1:17:46.160
<v Speaker 1>thoughts on Grace, Um, No, it was just a big disappointment.

1:17:46.200 --> 1:17:50.080
<v Speaker 1>I didn't like how she was reduced to steaks for men,

1:17:51.120 --> 1:17:56.360
<v Speaker 1>literally a like physical steak and movie stakes for the

1:17:56.439 --> 1:18:00.240
<v Speaker 1>two main guys when she was because it, don't know,

1:18:00.240 --> 1:18:03.559
<v Speaker 1>it always just feels like a knife twist to even

1:18:03.640 --> 1:18:05.720
<v Speaker 1>bother to set up the character if you're just going

1:18:05.760 --> 1:18:10.080
<v Speaker 1>to do that. So I was disappointed, and I wish

1:18:10.160 --> 1:18:13.320
<v Speaker 1>that Live Tayler' gotten to do more because I like her,

1:18:14.200 --> 1:18:16.479
<v Speaker 1>and that's all I have to say. I want to

1:18:16.479 --> 1:18:22.960
<v Speaker 1>talk about Dottie and Watts a quick but powerful conversation

1:18:23.280 --> 1:18:26.360
<v Speaker 1>because she's I think the first woman we really meet

1:18:26.720 --> 1:18:31.360
<v Speaker 1>in the movie. Dottie Yes, Yes. Dottie is played by

1:18:31.560 --> 1:18:38.160
<v Speaker 1>Grace Zabriski, who I need to look her up, um,

1:18:38.240 --> 1:18:40.680
<v Speaker 1>because when I was like talking about when I was

1:18:40.720 --> 1:18:44.519
<v Speaker 1>like posting Instagram stories about armaged, everyone's like, I love

1:18:44.560 --> 1:18:48.479
<v Speaker 1>Grace Zabritsky really, but um, I was like, I don't

1:18:48.479 --> 1:18:54.000
<v Speaker 1>know who that is. Um. Anyway, So she is married

1:18:54.040 --> 1:18:59.680
<v Speaker 1>to Carl, who, in a number of scenes is extremely

1:18:59.800 --> 1:19:04.479
<v Speaker 1>verb really and emotionally abusive to Dottie, which, in true

1:19:04.520 --> 1:19:08.439
<v Speaker 1>Michael Bay fashion, is played as a joke. I like

1:19:08.600 --> 1:19:14.559
<v Speaker 1>hesitate to even quote this because it's so horrible. But

1:19:14.600 --> 1:19:17.559
<v Speaker 1>there's a scene that happened. There's a scene where Carl

1:19:18.200 --> 1:19:20.400
<v Speaker 1>is on the phone with Billy Bob and he's like,

1:19:20.720 --> 1:19:23.800
<v Speaker 1>I discovered the asteroid, so I went to name it,

1:19:24.040 --> 1:19:26.560
<v Speaker 1>and Billy Bob's like, okay, He's like, I want to

1:19:26.640 --> 1:19:31.000
<v Speaker 1>name it after my wife, Dottie because she's a vicious,

1:19:31.120 --> 1:19:35.240
<v Speaker 1>life sucking bitch from which there is no escape. And

1:19:35.240 --> 1:19:37.960
<v Speaker 1>then he's like smiling, Michael Bay wants you to go

1:19:38.040 --> 1:19:40.360
<v Speaker 1>ha ha ha ha ha, because that's how he feels

1:19:40.400 --> 1:19:47.400
<v Speaker 1>about women. And we know this and there's proof. So yeah,

1:19:47.439 --> 1:19:51.879
<v Speaker 1>I don't love that. However, I think that we cannot

1:19:51.920 --> 1:19:56.960
<v Speaker 1>hold how Dottie's spiteful evil jackass of a husband talks

1:19:56.960 --> 1:20:02.360
<v Speaker 1>about her against Dottie herself because I like Donnie. I

1:20:02.400 --> 1:20:05.759
<v Speaker 1>think she is the most impactful woman in the plot,

1:20:06.280 --> 1:20:08.880
<v Speaker 1>and I hate how the movie wants us to see

1:20:08.920 --> 1:20:11.120
<v Speaker 1>her because I want to see her a different way.

1:20:11.479 --> 1:20:14.360
<v Speaker 1>She comes out. She only speaks. I think that it

1:20:14.439 --> 1:20:18.400
<v Speaker 1>does speak to the actor because she only speaks in

1:20:19.160 --> 1:20:23.360
<v Speaker 1>really like hack gendered tropes. But the actor does sell

1:20:23.439 --> 1:20:26.840
<v Speaker 1>it as if like there's like a deep resentment under it,

1:20:27.000 --> 1:20:29.040
<v Speaker 1>because you could just walk out and say those lines

1:20:29.080 --> 1:20:32.160
<v Speaker 1>like Carl, I made dinner ten hours ago, where are you?

1:20:32.280 --> 1:20:35.240
<v Speaker 1>But she says it with like a fury, you know,

1:20:35.360 --> 1:20:37.360
<v Speaker 1>And then she says, do I have a sign on

1:20:37.400 --> 1:20:40.400
<v Speaker 1>me that says Carl's slave? Like she really is, Like

1:20:41.080 --> 1:20:44.040
<v Speaker 1>in my head, Dottie is trapped in this marriage for

1:20:44.080 --> 1:20:46.920
<v Speaker 1>whatever reason. She's going to have an asteroid named after her,

1:20:47.080 --> 1:20:49.519
<v Speaker 1>and then she's going to divorce him, take all of

1:20:49.560 --> 1:20:54.920
<v Speaker 1>his weird FBI money, and um kill him. M yes,

1:20:55.040 --> 1:20:57.280
<v Speaker 1>I like that for her. I don't think the script

1:20:57.320 --> 1:20:59.440
<v Speaker 1>is thinking that hard about it, but I do appreciate

1:20:59.439 --> 1:21:02.759
<v Speaker 1>when that's like there is an underwritten woman in a movie,

1:21:02.840 --> 1:21:07.879
<v Speaker 1>which Dottie very much is, and an actor manages to

1:21:07.920 --> 1:21:12.000
<v Speaker 1>make it feel impactful in like a memorable way, because

1:21:12.040 --> 1:21:13.960
<v Speaker 1>Michael Bay is like not going to give you fucking

1:21:14.040 --> 1:21:18.680
<v Speaker 1>anything ever, because he's evil is evil. And then the

1:21:18.720 --> 1:21:23.559
<v Speaker 1>final Dottie related scene, which happens off screen, but someone

1:21:23.560 --> 1:21:25.920
<v Speaker 1>I don't know if it's Billy Bob receives a text

1:21:25.920 --> 1:21:31.839
<v Speaker 1>message on his Nokia phone from UM that Dottie leaked

1:21:32.400 --> 1:21:36.920
<v Speaker 1>the info about the asteroid to the press. It's not

1:21:37.040 --> 1:21:40.679
<v Speaker 1>clear why she does this, why she leaks the info,

1:21:40.920 --> 1:21:43.280
<v Speaker 1>because the movie doesn't care enough to check back in

1:21:43.320 --> 1:21:46.400
<v Speaker 1>with her and show us her motivation for doing that.

1:21:46.880 --> 1:21:49.080
<v Speaker 1>But I feel like what we're supposed to think in

1:21:49.080 --> 1:21:52.080
<v Speaker 1>the movie is that she did it out of spite,

1:21:52.600 --> 1:21:56.680
<v Speaker 1>which is maybe ridiculous, like to spite her husband. I

1:21:56.720 --> 1:21:59.240
<v Speaker 1>don't know. And there's a there's another woman that I

1:21:59.280 --> 1:22:00.760
<v Speaker 1>don't think we ever get a name for, and I

1:22:00.840 --> 1:22:04.559
<v Speaker 1>honestly could not figure out which guy it was. It's

1:22:04.600 --> 1:22:07.000
<v Speaker 1>the guy that shouldn't be near his son, but is Oh,

1:22:07.120 --> 1:22:10.920
<v Speaker 1>his name is Chick fine. I felt like, I mean

1:22:11.120 --> 1:22:14.200
<v Speaker 1>Chick's wife who we never get a name for. She

1:22:14.280 --> 1:22:17.439
<v Speaker 1>doesn't have the same emotional impact or screen time or

1:22:17.880 --> 1:22:21.920
<v Speaker 1>whatever that that Dottie does. But that's another woman who

1:22:21.960 --> 1:22:25.799
<v Speaker 1>has sort of presented to us as like she's you know, oh,

1:22:25.840 --> 1:22:28.320
<v Speaker 1>this guy's made mistakes in his past. Why won't she

1:22:28.560 --> 1:22:32.320
<v Speaker 1>just forgive him? You know? And because he comes to

1:22:33.080 --> 1:22:37.080
<v Speaker 1>the house apparently illegally, so she tells, you're not supposed

1:22:37.120 --> 1:22:39.160
<v Speaker 1>to be here, you're not supposed to have contact, which

1:22:39.200 --> 1:22:42.040
<v Speaker 1>probably means there's some sort of like restraining order situation

1:22:42.080 --> 1:22:45.759
<v Speaker 1>going on as well. But she still like comes around

1:22:45.880 --> 1:22:48.040
<v Speaker 1>and it's very like We cut back to her two

1:22:48.080 --> 1:22:50.880
<v Speaker 1>more times. The first time is when she finds out

1:22:51.120 --> 1:22:54.160
<v Speaker 1>he is the Space Cowboy hero and she's like, that's

1:22:54.240 --> 1:22:58.920
<v Speaker 1>your daddy, and it's like and then she's like, let's

1:22:58.920 --> 1:23:01.519
<v Speaker 1>get back together. And I'm like, well, hold on, what

1:23:01.560 --> 1:23:04.880
<v Speaker 1>did he do that you broke up with him? Like,

1:23:05.720 --> 1:23:08.559
<v Speaker 1>what did he do? Going to space with Bruce Willis

1:23:08.560 --> 1:23:11.440
<v Speaker 1>will not solve your relationship. And I've always said that

1:23:11.439 --> 1:23:17.160
<v Speaker 1>that doesn't redeem your broken marriage. Yeah, that was frustrating.

1:23:17.920 --> 1:23:24.559
<v Speaker 1>And then there's Watts, the one lady astronaut played by

1:23:24.800 --> 1:23:30.200
<v Speaker 1>Jessica Steen. We really know nothing about her aside from

1:23:30.200 --> 1:23:33.840
<v Speaker 1>her being an astronaut. Um. The way the men talk

1:23:33.920 --> 1:23:37.760
<v Speaker 1>about her is one of the few like focal points

1:23:37.880 --> 1:23:41.840
<v Speaker 1>she gets before they like land on the asteroid and

1:23:41.880 --> 1:23:43.880
<v Speaker 1>start drilling. But there's a scene when they're still on

1:23:43.960 --> 1:23:48.839
<v Speaker 1>Earth and she's like explaining gravity to the oil drillers.

1:23:49.560 --> 1:23:52.160
<v Speaker 1>They're not paying attention, and Owen Wilson is like, is

1:23:52.160 --> 1:23:55.719
<v Speaker 1>it just me? Or is what's really hot? And then

1:23:55.920 --> 1:23:59.640
<v Speaker 1>a few of the guys go like, Oh, yeah she is,

1:24:00.800 --> 1:24:04.439
<v Speaker 1>which is wow, because you never learn anything about her.

1:24:04.840 --> 1:24:08.679
<v Speaker 1>She disappears for large swaths of the movie. I thought

1:24:08.720 --> 1:24:11.679
<v Speaker 1>that she had died. At one point, I was like, Oh,

1:24:11.680 --> 1:24:13.720
<v Speaker 1>she must have been on the Independence because I haven't

1:24:13.720 --> 1:24:15.479
<v Speaker 1>seen her in a half hour, so I guess r

1:24:15.560 --> 1:24:18.000
<v Speaker 1>I P. But like, she didn't even die. They just

1:24:18.080 --> 1:24:21.479
<v Speaker 1>forgot about her. I just forgot about her until one

1:24:21.560 --> 1:24:25.919
<v Speaker 1>scene towards the end where they have drilled the whole,

1:24:26.000 --> 1:24:28.719
<v Speaker 1>they have planted the nuclear bomb. They are trying to

1:24:28.760 --> 1:24:32.360
<v Speaker 1>take back off in the shuttle but the engine won't

1:24:32.360 --> 1:24:34.799
<v Speaker 1>fire up and she's trying to fix it. She's running around,

1:24:35.160 --> 1:24:39.240
<v Speaker 1>she cannot fix it. Then Lev he's like, I'll do it.

1:24:39.360 --> 1:24:44.360
<v Speaker 1>He shoves her out of the way, hits something with

1:24:44.640 --> 1:24:50.160
<v Speaker 1>a wrench or whatever. He was introduced after her. I'm like, yeah, stop,

1:24:51.640 --> 1:24:54.880
<v Speaker 1>that somehow fixes the problem. So basically, the one chance

1:24:54.960 --> 1:24:58.479
<v Speaker 1>the movie had to let a woman do something, the

1:24:58.560 --> 1:25:01.639
<v Speaker 1>movie didn't let her do it. It makes her seem

1:25:01.680 --> 1:25:05.200
<v Speaker 1>incompetent and bad at her job, has her be violently

1:25:05.320 --> 1:25:08.760
<v Speaker 1>shoved out of the way by a man, and it's

1:25:08.800 --> 1:25:13.680
<v Speaker 1>a man who fixes the problem by bashing an expensive

1:25:13.720 --> 1:25:17.920
<v Speaker 1>piece of equipment with a metal pipe and saves the day.

1:25:18.160 --> 1:25:21.200
<v Speaker 1>We don't know, we don't know why is happening in

1:25:21.200 --> 1:25:24.519
<v Speaker 1>this fashion, but it is and it feels bad to

1:25:24.560 --> 1:25:27.920
<v Speaker 1>look at, Like, yeah, I was, I was quite frustrated.

1:25:28.320 --> 1:25:31.920
<v Speaker 1>I feel like every time there is an opportunity to

1:25:32.240 --> 1:25:37.200
<v Speaker 1>further develop a woman introduced into the story, the story

1:25:37.520 --> 1:25:42.839
<v Speaker 1>instead introduces three more men and you're and that happens

1:25:42.880 --> 1:25:45.439
<v Speaker 1>almost without fail because I think with Grace we get

1:25:45.479 --> 1:25:47.000
<v Speaker 1>to know great like I mean, I guess we do

1:25:47.080 --> 1:25:50.120
<v Speaker 1>meet a j before we meet Grace, but like Grace

1:25:50.200 --> 1:25:53.400
<v Speaker 1>is introduces like a big character. She's so large on

1:25:53.439 --> 1:25:55.559
<v Speaker 1>the poster for Armageddon that you think that she's doing

1:25:55.640 --> 1:25:59.280
<v Speaker 1>much more than she actually does. But then everything that

1:25:59.439 --> 1:26:02.680
<v Speaker 1>is interesting about her is weirdly transferred in a way

1:26:02.680 --> 1:26:07.120
<v Speaker 1>that doesn't quite translate onto a J and then with

1:26:07.439 --> 1:26:12.120
<v Speaker 1>what's her name? What's what with what you see? Like

1:26:12.280 --> 1:26:14.360
<v Speaker 1>she's I mean, I feel like she's kind of she's

1:26:14.400 --> 1:26:19.320
<v Speaker 1>not quite like a shrewd stereotype, but she's very like strict,

1:26:19.439 --> 1:26:22.160
<v Speaker 1>She's very like no bullshit um in the way that

1:26:22.200 --> 1:26:26.240
<v Speaker 1>I think professional women are often broadly characterized. And it's

1:26:26.240 --> 1:26:28.320
<v Speaker 1>like the women who are good at their job can

1:26:28.360 --> 1:26:30.320
<v Speaker 1>also be fun to be around. Not that you know

1:26:30.360 --> 1:26:33.960
<v Speaker 1>it from watching a movie, but whatever. Um, but she's

1:26:34.040 --> 1:26:36.719
<v Speaker 1>you know whatever, she's like a type A like doesn't

1:26:36.720 --> 1:26:40.040
<v Speaker 1>have patience for these guys that makes logical sense they suck,

1:26:40.680 --> 1:26:43.800
<v Speaker 1>but instead is to teach them about gravity. She's the

1:26:43.840 --> 1:26:48.120
<v Speaker 1>only scientist. There's a bunch of like random. I mean,

1:26:48.320 --> 1:26:52.880
<v Speaker 1>you've got like someone who is rumored to hang out

1:26:52.920 --> 1:26:57.400
<v Speaker 1>with underage women and a creep and a bunch of

1:26:57.439 --> 1:27:00.240
<v Speaker 1>other guys that don't know anything about space like I,

1:27:00.240 --> 1:27:03.720
<v Speaker 1>I too would be frustrated. But instead of exploring that

1:27:03.760 --> 1:27:06.800
<v Speaker 1>even remotely, instead of even bothering to build a relationship

1:27:06.840 --> 1:27:11.599
<v Speaker 1>between her and anybody, we build out love instead, because

1:27:11.720 --> 1:27:15.519
<v Speaker 1>reasons like love is a far more memorable character than

1:27:15.600 --> 1:27:18.519
<v Speaker 1>she is, and it doesn't need to be that way.

1:27:18.560 --> 1:27:20.519
<v Speaker 1>I don't think it's like a fault of performance that

1:27:20.800 --> 1:27:25.080
<v Speaker 1>it's like that's what the script does. So I don't know,

1:27:25.120 --> 1:27:28.400
<v Speaker 1>I feel like I'm curious, I guess if that is

1:27:28.439 --> 1:27:31.880
<v Speaker 1>something that is Like it feels like a blend of

1:27:32.800 --> 1:27:39.040
<v Speaker 1>this wave of representation of women and just a blind

1:27:39.080 --> 1:27:43.280
<v Speaker 1>of like how Michael Bay is as a creator. It

1:27:43.320 --> 1:27:45.559
<v Speaker 1>feel like there's definitely overlap. But I do think that

1:27:45.800 --> 1:27:48.479
<v Speaker 1>in the late nineties you could really easily get away

1:27:48.520 --> 1:27:52.320
<v Speaker 1>with like early third wave girl power feminism of like

1:27:52.920 --> 1:27:56.200
<v Speaker 1>in the corporate sense of like having women say all

1:27:56.240 --> 1:27:59.599
<v Speaker 1>the right things but ultimately do nothing, which I think

1:27:59.640 --> 1:28:02.120
<v Speaker 1>that like Grace says a lot of the right things

1:28:02.160 --> 1:28:04.160
<v Speaker 1>in the first thirty minutes of this movie. She says,

1:28:04.200 --> 1:28:06.080
<v Speaker 1>like you're not in charge of my life. I want

1:28:06.080 --> 1:28:08.679
<v Speaker 1>to be liberated from you, like fuck you all this stuff,

1:28:09.000 --> 1:28:13.360
<v Speaker 1>but then the right choice is to be daughter to daddy,

1:28:13.720 --> 1:28:16.040
<v Speaker 1>and I mean, and like Watts says a lot of

1:28:16.040 --> 1:28:19.360
<v Speaker 1>the same things where she pushes back on these ridiculous

1:28:19.360 --> 1:28:23.719
<v Speaker 1>men she's surrounded by, but you know, ultimately it doesn't

1:28:23.760 --> 1:28:30.479
<v Speaker 1>mean anything in the story. Absolutely, um, real quick. Yeah,

1:28:30.600 --> 1:28:34.240
<v Speaker 1>we've touched on some of these already, but there is

1:28:35.200 --> 1:28:41.840
<v Speaker 1>as Michael Bay does, which is too treat things like racism, sexism,

1:28:41.920 --> 1:28:48.320
<v Speaker 1>able is, m etcetera as a punchline. Um many examples.

1:28:48.320 --> 1:28:51.960
<v Speaker 1>I won't even go through specific ones, but there's a

1:28:52.040 --> 1:28:58.200
<v Speaker 1>handful of racist stereotypes being employed there which she did

1:28:58.240 --> 1:29:00.760
<v Speaker 1>not learn from after this movie, which we talked about

1:29:00.760 --> 1:29:06.080
<v Speaker 1>in our Transformers episode keeps doing it. There's ablest language

1:29:06.640 --> 1:29:10.959
<v Speaker 1>there is, Like we mentioned the like what is intended

1:29:11.000 --> 1:29:14.679
<v Speaker 1>to be a joke of the Steve Boushemi character being

1:29:14.720 --> 1:29:19.200
<v Speaker 1>a statutory rapist. There is what I felt were some

1:29:19.400 --> 1:29:24.200
<v Speaker 1>like gay panic jokes when with the butt shots, right,

1:29:24.240 --> 1:29:27.519
<v Speaker 1>they were like being medically examined, and there was all

1:29:27.560 --> 1:29:30.360
<v Speaker 1>these like we're gonna stick this probe in you and

1:29:30.400 --> 1:29:36.120
<v Speaker 1>they're like just fucking ridiculous, Like you're just like grow up.

1:29:36.760 --> 1:29:39.519
<v Speaker 1>Don't forget the woman in the cab at the beginning

1:29:39.560 --> 1:29:42.719
<v Speaker 1>of the movie, who is like, why aren't we moving?

1:29:42.920 --> 1:29:47.800
<v Speaker 1>I want to go shopping because yeah, women be shopping well.

1:29:47.840 --> 1:29:50.360
<v Speaker 1>And then on top of that, I mean like yeah,

1:29:50.400 --> 1:29:53.160
<v Speaker 1>Michael bay Is so I mean I feel like this

1:29:53.280 --> 1:29:58.040
<v Speaker 1>kind of ties into the undercurrent of nationalism, and like

1:29:58.120 --> 1:30:01.680
<v Speaker 1>by that, I mean like white em Arian nationalism that

1:30:01.880 --> 1:30:05.439
<v Speaker 1>is like tied into this movie because in all Michael

1:30:05.439 --> 1:30:08.360
<v Speaker 1>Bay movies, because he loves a disaster movie, and I

1:30:08.360 --> 1:30:11.000
<v Speaker 1>don't hate a disaster movie, but the tropes that he

1:30:11.120 --> 1:30:14.120
<v Speaker 1>invokes inside of them are like really frustrating because he like,

1:30:15.160 --> 1:30:20.760
<v Speaker 1>I feel like there's like the vineer Veneers, there's the

1:30:20.920 --> 1:30:26.759
<v Speaker 1>veneer of like being like an international, global, multicultural movie.

1:30:26.840 --> 1:30:29.400
<v Speaker 1>Because you do see a lot of people of a

1:30:29.400 --> 1:30:32.599
<v Speaker 1>lot of different races in this movie, and a lot

1:30:32.640 --> 1:30:37.000
<v Speaker 1>of Michael Bay movies, however, non white characters in general,

1:30:37.160 --> 1:30:40.599
<v Speaker 1>with some exceptions, but in this movie, I would mainly

1:30:40.640 --> 1:30:44.200
<v Speaker 1>just say the General and Bear are exceptions. Those are

1:30:44.400 --> 1:30:48.840
<v Speaker 1>really the only non white characters of narrative impact in

1:30:48.880 --> 1:30:52.519
<v Speaker 1>the movie. But like you see scenes that are supposed

1:30:52.560 --> 1:30:55.280
<v Speaker 1>to be taking place in Shanghai, you see scenes that

1:30:55.320 --> 1:30:58.920
<v Speaker 1>are supposed to be taking place all over the world,

1:30:59.600 --> 1:31:04.040
<v Speaker 1>but Michael Bay, without fail will show you and he

1:31:04.600 --> 1:31:07.240
<v Speaker 1>Michael Bay does show you a very diverse New York,

1:31:07.720 --> 1:31:09.640
<v Speaker 1>but only because he's about to hit it with a

1:31:09.720 --> 1:31:13.760
<v Speaker 1>fucking asteroid, and like he will show you, you know,

1:31:13.800 --> 1:31:16.840
<v Speaker 1>people of color, but he will not develop Like just

1:31:16.920 --> 1:31:20.800
<v Speaker 1>I just feel like his movies treat anyone who isn't

1:31:20.800 --> 1:31:25.439
<v Speaker 1>white as extremely disposable, and so it's like you can't

1:31:25.520 --> 1:31:28.280
<v Speaker 1>like you can hand nothing to him because he's about

1:31:28.280 --> 1:31:33.280
<v Speaker 1>to fucking blow people up, like it's without fail. He

1:31:33.360 --> 1:31:35.519
<v Speaker 1>will do that. He does it in the Transformers movies,

1:31:35.800 --> 1:31:37.880
<v Speaker 1>he does it in The Rock, he does in this movie.

1:31:37.880 --> 1:31:39.840
<v Speaker 1>He does it all the fucking time, like it's what

1:31:39.960 --> 1:31:43.240
<v Speaker 1>he does. I also feel like when he cuts to

1:31:44.080 --> 1:31:48.439
<v Speaker 1>other cities across the globe, and I'm thinking particularly of

1:31:48.520 --> 1:31:52.480
<v Speaker 1>the shots of Shanghai, they look like they're fucking Epcot,

1:31:53.000 --> 1:31:56.599
<v Speaker 1>Like it looks like it looks like not real. It

1:31:56.800 --> 1:32:00.840
<v Speaker 1>looks Yeah, the production design of those scenes, you would

1:32:00.840 --> 1:32:06.519
<v Speaker 1>never know that Shanghai is a modern city because the

1:32:06.600 --> 1:32:12.719
<v Speaker 1>way that it's designed, it looks I don't know, it's like, yeah,

1:32:13.000 --> 1:32:16.680
<v Speaker 1>it's like Michael Baby being like it's still feudal times

1:32:16.800 --> 1:32:20.240
<v Speaker 1>in China, right, It's not a modern country with a

1:32:20.280 --> 1:32:24.200
<v Speaker 1>modern economy, of course not, which is pretty hilarious given

1:32:24.280 --> 1:32:28.200
<v Speaker 1>how dependent the global movie economy is on the Chinese

1:32:28.200 --> 1:32:31.439
<v Speaker 1>movie economy. Now, that would absolutely not happen now, not

1:32:31.560 --> 1:32:33.320
<v Speaker 1>that it should have happened then, but it's like it

1:32:33.360 --> 1:32:37.720
<v Speaker 1>would be logistically impossible to happen now. Um, It's just

1:32:37.800 --> 1:32:40.320
<v Speaker 1>like I mean, it's disrespectful. I feel like it's it's

1:32:40.520 --> 1:32:45.000
<v Speaker 1>so USA centric and because it's like half the time

1:32:45.000 --> 1:32:48.280
<v Speaker 1>when you hear or half the time when you see sorry,

1:32:48.360 --> 1:32:53.519
<v Speaker 1>when you see other countries, so not always non white people,

1:32:53.600 --> 1:32:56.200
<v Speaker 1>but like often whatever. It's like I think you're supposed

1:32:56.240 --> 1:33:00.439
<v Speaker 1>to believe. You go to Africa, you go to South Erica,

1:33:00.680 --> 1:33:03.000
<v Speaker 1>you go to Asia, you go all over the world

1:33:03.640 --> 1:33:08.360
<v Speaker 1>listening to people being inspired by the American president, and

1:33:08.400 --> 1:33:11.240
<v Speaker 1>then the last shot is always like a white family

1:33:11.520 --> 1:33:15.519
<v Speaker 1>or live Tyler like standing up against an American flag

1:33:15.600 --> 1:33:18.120
<v Speaker 1>and like nodding their head, like it's very very clear

1:33:19.040 --> 1:33:22.000
<v Speaker 1>what's being done. It's like a low simmering propaganda. And

1:33:22.080 --> 1:33:25.280
<v Speaker 1>that's why, you know, like it's part of why the

1:33:25.360 --> 1:33:28.720
<v Speaker 1>movies getting made at the like at least at this

1:33:28.800 --> 1:33:31.760
<v Speaker 1>point in the late nineties, like that was a great

1:33:31.800 --> 1:33:34.360
<v Speaker 1>way to make a really expensive movie, Like that was

1:33:34.400 --> 1:33:37.040
<v Speaker 1>how you made a shipload of money. Is just adding

1:33:37.080 --> 1:33:40.720
<v Speaker 1>in this, you know a lot of nationalistic stuff and

1:33:40.760 --> 1:33:44.120
<v Speaker 1>like a lot of it is in the imagery and

1:33:44.240 --> 1:33:47.240
<v Speaker 1>like who fucking knows if that's in the script. A

1:33:47.280 --> 1:33:50.440
<v Speaker 1>lot of it is kind of the Bruce Willis cowboy

1:33:50.600 --> 1:33:54.200
<v Speaker 1>image where it feels kind of very American dreamy that like,

1:33:54.280 --> 1:33:58.280
<v Speaker 1>it's just a regular guy, a regular American guy saved

1:33:58.320 --> 1:34:01.040
<v Speaker 1>the world. And then even at the end when they

1:34:01.040 --> 1:34:03.200
<v Speaker 1>blow up the asteroid, they do that whole sequence again

1:34:03.240 --> 1:34:06.240
<v Speaker 1>of people all over the world, of all racist creeds

1:34:06.280 --> 1:34:12.400
<v Speaker 1>and genders, celebrating the heroicism of Bruce Willis, cut to

1:34:12.479 --> 1:34:15.559
<v Speaker 1>the American flag, cut to a kid holding a spaceship

1:34:15.600 --> 1:34:18.920
<v Speaker 1>in front of a mural of JFK. And it's like, yeah,

1:34:18.960 --> 1:34:23.120
<v Speaker 1>we fucking get it, Like it's no surprise that this

1:34:23.240 --> 1:34:27.160
<v Speaker 1>director goes on to work closely with the American military

1:34:27.240 --> 1:34:31.200
<v Speaker 1>to make his shitty robot movies. Also, they're constantly like

1:34:31.360 --> 1:34:34.360
<v Speaker 1>as the movie goes on, they are just more and

1:34:34.400 --> 1:34:38.479
<v Speaker 1>more invoking a Christian God, and you're like, oh, fucking

1:34:38.640 --> 1:34:43.200
<v Speaker 1>king man, Sorry, I just pernicious nationalism and movies is

1:34:43.240 --> 1:34:45.880
<v Speaker 1>a very interesting topic to me. Everyone should read the

1:34:45.920 --> 1:34:52.040
<v Speaker 1>book Red Carpet. Um. Okay, yeah, we talked about this

1:34:52.160 --> 1:34:55.439
<v Speaker 1>on I want to say the Arrival episode which is

1:34:55.479 --> 1:34:57.599
<v Speaker 1>on the Matreon, and I think we might have discussed

1:34:57.600 --> 1:35:01.679
<v Speaker 1>this to some extent on the Dependence Day episode two.

1:35:02.960 --> 1:35:10.360
<v Speaker 1>The phenomenon of Hollywood disaster movies, where a disaster happens

1:35:10.400 --> 1:35:14.640
<v Speaker 1>that would affect the entire planet, but will be a

1:35:14.760 --> 1:35:18.639
<v Speaker 1>story only told from the American perspective, where we see

1:35:19.240 --> 1:35:22.080
<v Speaker 1>Americans are the ones to do the thing to solve

1:35:22.120 --> 1:35:27.599
<v Speaker 1>the problem, the implication being only Americans are smart enough

1:35:27.760 --> 1:35:32.200
<v Speaker 1>and equipped enough to handle something like this, to the

1:35:32.280 --> 1:35:37.120
<v Speaker 1>point where in this movie they do have contact with

1:35:37.200 --> 1:35:41.080
<v Speaker 1>someone from another country, Lev on the Russian space station,

1:35:41.680 --> 1:35:45.880
<v Speaker 1>but the Russian space station has this huge malfunction. Things

1:35:45.920 --> 1:35:49.559
<v Speaker 1>go horribly wrong, people almost die, and it's like, hey,

1:35:49.600 --> 1:35:53.160
<v Speaker 1>if you needed a reminder that Russia lost the space race,

1:35:53.439 --> 1:35:57.120
<v Speaker 1>and remember, here's a Swedish guy doing a weird accent

1:35:58.320 --> 1:36:00.720
<v Speaker 1>in person. I think grew. I'm and it literally, I

1:36:00.760 --> 1:36:04.960
<v Speaker 1>mean it is. It is propaganda, like it absolutely is propaganda,

1:36:05.360 --> 1:36:08.200
<v Speaker 1>and it's not subtle. And that's why I think Michael

1:36:08.320 --> 1:36:12.160
<v Speaker 1>bay for a period of time and not anymore, which

1:36:12.160 --> 1:36:14.479
<v Speaker 1>I don't think it's a coincidence given the shift in

1:36:14.520 --> 1:36:18.880
<v Speaker 1>global politics, Like why he was such a successful international

1:36:18.920 --> 1:36:23.880
<v Speaker 1>American filmmaker when he was because it was intense American

1:36:23.920 --> 1:36:28.800
<v Speaker 1>propaganda at a time where that worked. It shouldn't have

1:36:29.040 --> 1:36:32.439
<v Speaker 1>but it did. And that's why I need to find

1:36:32.560 --> 1:36:34.600
<v Speaker 1>the name of the author, because it really is. It

1:36:34.680 --> 1:36:36.559
<v Speaker 1>was like one of the best books they read last year.

1:36:36.600 --> 1:36:38.120
<v Speaker 1>And I know we don't read books, but I actually

1:36:38.160 --> 1:36:42.120
<v Speaker 1>Donna say, Jamie, have you betrayed me? Here's the thing.

1:36:42.200 --> 1:36:44.360
<v Speaker 1>I do actually read books all the fun time. And

1:36:44.400 --> 1:36:47.840
<v Speaker 1>sometimes I'm like, why am I joking around so much?

1:36:48.640 --> 1:36:51.639
<v Speaker 1>Because then people are like, oh, you have one brain cell?

1:36:51.760 --> 1:36:54.360
<v Speaker 1>Like actually, don't, okay. Um. It's a book called Red

1:36:54.400 --> 1:36:58.680
<v Speaker 1>Carpet Hollywood, China and the Global Battle for Cultural Supremacy

1:36:58.880 --> 1:37:01.760
<v Speaker 1>came out last year by Eric Schwartzel. I think I

1:37:01.840 --> 1:37:03.400
<v Speaker 1>brought it up. I think it maybe brought it up

1:37:03.400 --> 1:37:06.160
<v Speaker 1>in our Top Gun episode, which is I think over

1:37:06.160 --> 1:37:09.439
<v Speaker 1>in our Matreon. But it's a really interesting book about

1:37:10.080 --> 1:37:14.639
<v Speaker 1>how kind of the cultural capital has over a period

1:37:14.680 --> 1:37:21.120
<v Speaker 1>of years shifted from Hollywood over to China and how,

1:37:21.240 --> 1:37:24.760
<v Speaker 1>you know, how global politics kind of influenced that. But

1:37:25.240 --> 1:37:27.559
<v Speaker 1>I feel like these late nineties movies are kind of

1:37:27.600 --> 1:37:32.040
<v Speaker 1>where Hollywood influence is at. I don't know if it's

1:37:32.040 --> 1:37:35.799
<v Speaker 1>like a complete peak, but certainly like a high of

1:37:36.000 --> 1:37:42.519
<v Speaker 1>like pushing aggressive white American values was a way to

1:37:42.640 --> 1:37:46.439
<v Speaker 1>become really really successful in a way that already feels

1:37:46.560 --> 1:37:49.840
<v Speaker 1>very very dated. And that's why we talked about it

1:37:49.840 --> 1:37:52.840
<v Speaker 1>in the Top Gun episode, because in Top Gun it's

1:37:52.880 --> 1:37:56.559
<v Speaker 1>so pro America and there is a very clear like

1:37:56.640 --> 1:38:00.200
<v Speaker 1>they name quote unquote the enemy in a way no

1:38:00.280 --> 1:38:03.919
<v Speaker 1>longer happens in American movies because poting in Top Gun Maverick,

1:38:04.160 --> 1:38:07.040
<v Speaker 1>where they're like, there's an enemy. We're not going to

1:38:07.160 --> 1:38:10.679
<v Speaker 1>tell where it is or who it is, but there's

1:38:10.720 --> 1:38:13.879
<v Speaker 1>an enemy. Because America is no longer the most powerful

1:38:13.920 --> 1:38:16.360
<v Speaker 1>country in the world, you can't just randomly name an

1:38:16.479 --> 1:38:21.280
<v Speaker 1>enemy and not experience a consequence. And anyways, it's a

1:38:21.280 --> 1:38:24.880
<v Speaker 1>really fascinating book. It's very depressing. But in that book, oh,

1:38:24.920 --> 1:38:26.439
<v Speaker 1>that's what I was going to say. In that book,

1:38:26.840 --> 1:38:30.640
<v Speaker 1>there was a high up official. I don't remember what

1:38:30.720 --> 1:38:32.479
<v Speaker 1>their name or position was, but there was a high

1:38:32.560 --> 1:38:37.280
<v Speaker 1>up official in the Chinese Communist government. And normally I

1:38:37.320 --> 1:38:40.000
<v Speaker 1>say communists as a compliment, in this case, I would

1:38:40.040 --> 1:38:42.800
<v Speaker 1>not um, but there was a higher up in the

1:38:42.840 --> 1:38:48.799
<v Speaker 1>government that said like a lot of current blockbuster Chinese movies,

1:38:49.040 --> 1:38:51.960
<v Speaker 1>so like Michael Bay movies of the late nineties, there's

1:38:52.000 --> 1:38:55.280
<v Speaker 1>a lot of heavy nationalist themes. Whether the movie is

1:38:55.320 --> 1:38:57.599
<v Speaker 1>good or not, you know, it depends on the artists,

1:38:57.600 --> 1:39:01.720
<v Speaker 1>but there the nationalism is inherent to it. But um,

1:39:01.760 --> 1:39:05.920
<v Speaker 1>a lot of current Chinese filmmakers were influenced heavily by

1:39:06.000 --> 1:39:09.960
<v Speaker 1>this era in American movies because of how heavily the

1:39:10.040 --> 1:39:13.200
<v Speaker 1>Michael Bays of the world. And everyone points out Titanic

1:39:13.280 --> 1:39:19.759
<v Speaker 1>as like the best American propaganda ever produced because it

1:39:19.840 --> 1:39:23.200
<v Speaker 1>is the best. They're not wrong because we like it

1:39:23.439 --> 1:39:26.439
<v Speaker 1>like it's and everyone likes it, and that's like, I mean,

1:39:26.479 --> 1:39:29.400
<v Speaker 1>that's the most effective propagandists like to build in the

1:39:29.479 --> 1:39:32.400
<v Speaker 1>pernicious values that you're trying to push on people in

1:39:32.439 --> 1:39:37.040
<v Speaker 1>a really appealing, sexy, fun, narratively fun way, like makes

1:39:37.080 --> 1:39:41.560
<v Speaker 1>it a really effective way to deliver a message. But

1:39:41.560 --> 1:39:43.320
<v Speaker 1>but I mean, it's just I think it is kind

1:39:43.360 --> 1:39:45.960
<v Speaker 1>of funny with movies like Armageddon because Michael Bay, I

1:39:45.960 --> 1:39:47.760
<v Speaker 1>think is trying to do that, but he's just like

1:39:47.840 --> 1:39:52.080
<v Speaker 1>not good at it because he's so he's bad at it.

1:39:52.200 --> 1:39:56.360
<v Speaker 1>He's like not a good movie maker. He's not a

1:39:56.360 --> 1:39:59.800
<v Speaker 1>good Windows movie maker. And I don't I think he

1:40:00.000 --> 1:40:01.960
<v Speaker 1>wants to be able to do what James Cameron did,

1:40:02.000 --> 1:40:09.520
<v Speaker 1>but he just like can't, so he ha ha whatever. Yeah, Um,

1:40:09.560 --> 1:40:13.599
<v Speaker 1>I will say maybe the one redeeming thing about this

1:40:13.880 --> 1:40:17.360
<v Speaker 1>movie that I don't think actually ends up being very

1:40:17.439 --> 1:40:24.640
<v Speaker 1>redeeming because of the different context and implications. But I

1:40:24.640 --> 1:40:27.160
<v Speaker 1>do appreciate that this is a movie that like champions

1:40:27.800 --> 1:40:32.439
<v Speaker 1>the working class, a champions, you know, blue collar work.

1:40:32.880 --> 1:40:35.840
<v Speaker 1>It's these. But then it's also, like you said, it's

1:40:35.880 --> 1:40:39.760
<v Speaker 1>kind of like, well, these fancy astronaut boys can't do

1:40:39.920 --> 1:40:45.160
<v Speaker 1>the job, so you need a statutory rapist, right, and

1:40:45.640 --> 1:40:49.439
<v Speaker 1>oil drillers who are actively fucking up the planet. We

1:40:49.520 --> 1:40:52.479
<v Speaker 1>need them to come in and save the day, and

1:40:52.560 --> 1:40:56.160
<v Speaker 1>they're like actively implying that these Like I think that

1:40:56.240 --> 1:40:59.080
<v Speaker 1>it's like you have working class heroes and they are

1:40:59.320 --> 1:41:04.080
<v Speaker 1>like not well written, but like entertainingly written characters. They're

1:41:04.120 --> 1:41:08.200
<v Speaker 1>distinguishable from one another, which a lot of movies cannot

1:41:08.280 --> 1:41:11.600
<v Speaker 1>do right. And you have a creep and a statutory

1:41:11.720 --> 1:41:14.519
<v Speaker 1>rapist in a group of like eight guys. Amazing great,

1:41:14.960 --> 1:41:17.160
<v Speaker 1>But I do think that all of those men are

1:41:17.240 --> 1:41:21.040
<v Speaker 1>characterized as kind of buffoons, and so it's like it's

1:41:21.040 --> 1:41:24.160
<v Speaker 1>a like, yea, we have everyone except for Bruce Willis

1:41:24.320 --> 1:41:28.479
<v Speaker 1>is like, well, the working class. They're incompetent, but like

1:41:28.520 --> 1:41:31.040
<v Speaker 1>they really pulled it together. This one time in space

1:41:31.200 --> 1:41:34.640
<v Speaker 1>due to the one guy who is smart, which is

1:41:34.680 --> 1:41:39.479
<v Speaker 1>wild because it's like Steve Bushey's character is eventually revealed

1:41:39.479 --> 1:41:43.479
<v Speaker 1>to be like extremely like a product. He has like

1:41:43.640 --> 1:41:46.120
<v Speaker 1>two doctorates by the time he's twenty two or like

1:41:46.160 --> 1:41:49.720
<v Speaker 1>whatever that Bizarrow writing thing was, and you know, I

1:41:49.720 --> 1:41:53.040
<v Speaker 1>feel like they're heavily like I don't even know what

1:41:53.080 --> 1:41:55.639
<v Speaker 1>they were doing with that character, but I didn't like it.

1:41:55.920 --> 1:41:58.040
<v Speaker 1>I didn't like it. I hope he made an idea

1:41:58.160 --> 1:42:00.840
<v Speaker 1>all one forty million dollars of the ut for saying

1:42:00.840 --> 1:42:05.920
<v Speaker 1>those things out loud. But yeah, to your point, it's

1:42:06.560 --> 1:42:10.679
<v Speaker 1>this movie that's like championing these working class people who

1:42:11.720 --> 1:42:19.479
<v Speaker 1>are characterized largely in stereotypes of working class people because

1:42:19.520 --> 1:42:25.240
<v Speaker 1>they are characterized as being sex offenders and deadbeat dads

1:42:25.360 --> 1:42:29.519
<v Speaker 1>and like people with gambling addictions and like all this stuff.

1:42:30.240 --> 1:42:34.040
<v Speaker 1>So it's like, you're not championing working class people if

1:42:34.080 --> 1:42:38.360
<v Speaker 1>you're just applying all these negative stereotypes to them. No,

1:42:39.160 --> 1:42:42.640
<v Speaker 1>So that doesn't work. Yeah, No, It's like it's the

1:42:42.760 --> 1:42:45.639
<v Speaker 1>classic like Michael Bay trying to have it all sorts

1:42:45.640 --> 1:42:48.479
<v Speaker 1>of ways at once, which I think, yeah, again, like

1:42:48.640 --> 1:42:52.800
<v Speaker 1>gives you like the sheen of well, I represented this

1:42:52.960 --> 1:42:56.439
<v Speaker 1>class not well. And that's how I would say that, Like,

1:42:56.640 --> 1:42:58.760
<v Speaker 1>that's how he treats people across the gender and race

1:42:58.840 --> 1:43:01.719
<v Speaker 1>spectrum as well, of like, yeah, I did represent people

1:43:01.720 --> 1:43:04.240
<v Speaker 1>from across the gender and race spectrum in most of

1:43:04.240 --> 1:43:08.360
<v Speaker 1>my movies, not well. But were they not there? And

1:43:08.400 --> 1:43:12.400
<v Speaker 1>you're like, yeah, that's actually not that's not helpful. It's

1:43:12.439 --> 1:43:15.040
<v Speaker 1>not helpful at all. Yeah, And I guess that that's

1:43:15.040 --> 1:43:17.080
<v Speaker 1>what I have to say about it. I do think

1:43:17.120 --> 1:43:21.360
<v Speaker 1>it's funny that Michael Bay was at least advertised as

1:43:21.920 --> 1:43:24.840
<v Speaker 1>apologizing for it Armageddon. He didn't actually apologize for it,

1:43:24.880 --> 1:43:27.839
<v Speaker 1>but he said, yeah, I was made pretty quickly, and

1:43:28.760 --> 1:43:33.080
<v Speaker 1>my visual effects supervisor had a mental breakdown. Can I

1:43:33.120 --> 1:43:35.320
<v Speaker 1>share a few of the quotes from and can we

1:43:35.360 --> 1:43:39.160
<v Speaker 1>swap our favorite quotes from the commentary track? Yes, okay,

1:43:39.200 --> 1:43:42.920
<v Speaker 1>I mean first iconically, Michael Bay, I know there's no

1:43:42.960 --> 1:43:44.960
<v Speaker 1>fire in space, but it is a movie, and most

1:43:45.000 --> 1:43:49.960
<v Speaker 1>people don't know that that is a good one and

1:43:50.000 --> 1:43:53.679
<v Speaker 1>he's not wrong. Most people probably don't know that. Here's

1:43:53.680 --> 1:43:56.280
<v Speaker 1>another phone one. I was very unimpressed when I went

1:43:56.320 --> 1:43:59.200
<v Speaker 1>to NASA, and it shows Michael Bay said that, yes

1:43:59.240 --> 1:44:03.720
<v Speaker 1>you did. He was not. He was like, wait, there's

1:44:03.760 --> 1:44:06.639
<v Speaker 1>no fires in space. Boom, we gotta put him there.

1:44:07.520 --> 1:44:13.120
<v Speaker 1>Here's one from Ben Affleck talking about I've seen I

1:44:13.120 --> 1:44:17.439
<v Speaker 1>don't know which one. I think it was a big

1:44:17.479 --> 1:44:22.640
<v Speaker 1>action set piece, he says, quote it cuts together pretty seamlessly.

1:44:22.720 --> 1:44:25.360
<v Speaker 1>I must say, for something that I thought would look

1:44:25.400 --> 1:44:33.040
<v Speaker 1>like total hoke Um, he says, after remembering how chintzy

1:44:33.280 --> 1:44:36.760
<v Speaker 1>it seemed on set. Um, A lot of boomer were

1:44:36.880 --> 1:44:42.800
<v Speaker 1>two kind of paraphrase David Sims Palavars from blank Check,

1:44:43.160 --> 1:44:49.280
<v Speaker 1>who wrote an Atlantic piece on the Armageddon commentary. So

1:44:49.520 --> 1:44:54.160
<v Speaker 1>shout out to that, David. Let's see, Okay, two other

1:44:54.200 --> 1:44:56.880
<v Speaker 1>Michael Bay things I'll say, He says, making films as

1:44:56.920 --> 1:44:59.080
<v Speaker 1>like a war. I think we've referenced that quote before.

1:44:59.680 --> 1:45:01.639
<v Speaker 1>He sa as, I'm the kind of director who doesn't

1:45:01.680 --> 1:45:07.760
<v Speaker 1>like effects. He says over a sequence of terrible effects. Um.

1:45:07.800 --> 1:45:10.200
<v Speaker 1>And then finally, I wanted to just provide the full

1:45:10.439 --> 1:45:14.720
<v Speaker 1>Ben Affleck teeth anecdote because as a Veneers scout and

1:45:14.840 --> 1:45:17.920
<v Speaker 1>and you know, enthusiast of many years, I truly it

1:45:18.040 --> 1:45:20.640
<v Speaker 1>is my dream that someday Jerry Bruckheimer will walk up

1:45:20.680 --> 1:45:23.439
<v Speaker 1>to me and say it's your time kid, we're getting

1:45:23.479 --> 1:45:26.920
<v Speaker 1>your new teeth. So I say this with love. Michael

1:45:26.960 --> 1:45:31.439
<v Speaker 1>Bay describing how he realized Beneffle teeth wouldn't do. I

1:45:31.520 --> 1:45:33.800
<v Speaker 1>always like low shots that kind of come right under

1:45:33.840 --> 1:45:36.320
<v Speaker 1>your chin and make you a little bit heroic. And

1:45:36.439 --> 1:45:39.479
<v Speaker 1>he kind of had these baby teeth. So I told

1:45:39.520 --> 1:45:43.240
<v Speaker 1>Jerry Bruckheimer, God, he's got these baby teeth. Jerry, I

1:45:43.280 --> 1:45:46.720
<v Speaker 1>don't know what to do. Jerry, he used a very

1:45:46.720 --> 1:45:49.960
<v Speaker 1>famous start in a plane movie that he replaced teeth with,

1:45:50.400 --> 1:45:53.040
<v Speaker 1>so he said, we did it to him, why not

1:45:53.160 --> 1:45:56.000
<v Speaker 1>do it to Ben? So my dentist had been sitting

1:45:56.000 --> 1:46:00.160
<v Speaker 1>in a dentist chair for a week, eight hours a day.

1:46:00.200 --> 1:46:02.559
<v Speaker 1>Oh my gosh. And what they're talking about is top

1:46:02.600 --> 1:46:04.920
<v Speaker 1>gun in Tom Cruise. But for some reason Michael Bay

1:46:04.920 --> 1:46:08.320
<v Speaker 1>doesn't feel comfortable thing that. But like I've seen it

1:46:08.360 --> 1:46:11.240
<v Speaker 1>before and after Tom Cruise teeth picks. Tom Cruise is

1:46:11.280 --> 1:46:14.760
<v Speaker 1>a poster boy for dentists that want to give you

1:46:14.800 --> 1:46:18.160
<v Speaker 1>expensive teeth. Ben Affleck I kind of wonder as of

1:46:18.240 --> 1:46:20.439
<v Speaker 1>Veneer's enthusiasts, like how long did they hold up? Do

1:46:20.479 --> 1:46:22.200
<v Speaker 1>you have to get them like tuned up like a car?

1:46:22.280 --> 1:46:25.160
<v Speaker 1>I don't know, but they still you know, it's been

1:46:25.160 --> 1:46:27.120
<v Speaker 1>twenty five years since this movie came out, and they're

1:46:27.160 --> 1:46:31.599
<v Speaker 1>fucking chilling there. You know, the same firm. They've lasted

1:46:31.640 --> 1:46:37.040
<v Speaker 1>a few marriages. I'll say, uh true, So you know,

1:46:37.560 --> 1:46:42.120
<v Speaker 1>this is movie definitely sucks. And also I just the

1:46:42.200 --> 1:46:45.880
<v Speaker 1>last production note is that um that I thought was funny,

1:46:45.960 --> 1:46:49.080
<v Speaker 1>and it's like, I guess a pretty well circulated saying was.

1:46:49.479 --> 1:46:51.680
<v Speaker 1>I just always think it's funny when like movies with

1:46:51.760 --> 1:46:55.280
<v Speaker 1>the exact same themes come out at the exact same time.

1:46:55.560 --> 1:46:59.840
<v Speaker 1>Because this movie came out very very close to the

1:47:00.439 --> 1:47:06.600
<v Speaker 1>movie Deep Impact, which was I believe directed by a

1:47:06.640 --> 1:47:11.240
<v Speaker 1>woman and was also successful but made less money than

1:47:11.560 --> 1:47:17.080
<v Speaker 1>Armageddon and sharing from scholarly journal Wikipedia, these movies came

1:47:17.080 --> 1:47:20.120
<v Speaker 1>out two months apart. They're both about blowing up an

1:47:20.120 --> 1:47:23.120
<v Speaker 1>asteroid that's about to hit Earth. It's not a coincidence

1:47:23.160 --> 1:47:25.400
<v Speaker 1>that they come out around the same time, it says.

1:47:25.840 --> 1:47:28.559
<v Speaker 1>According to Bruce jel Reuben, writer of Deep Impact, a

1:47:28.560 --> 1:47:31.960
<v Speaker 1>production president at Disney took notes on everything the writer

1:47:32.160 --> 1:47:36.280
<v Speaker 1>said during a lunch about his script and initiated Armageddon

1:47:36.360 --> 1:47:40.559
<v Speaker 1>as a counter film at Disney, and then nine writes.

1:47:40.600 --> 1:47:42.720
<v Speaker 1>That's why nine writers worked on the script because the

1:47:42.720 --> 1:47:45.920
<v Speaker 1>story had basically been written by another person and they

1:47:45.960 --> 1:47:48.400
<v Speaker 1>just had to kind of shape the same story into

1:47:48.400 --> 1:47:53.120
<v Speaker 1>a Bruce Willis, Jerry Bruckheimer, Michael Bay vehicle of that story.

1:47:53.439 --> 1:47:55.800
<v Speaker 1>And then they just better at the box office than

1:47:55.880 --> 1:47:58.879
<v Speaker 1>Deep Impact. So they just straight up stole the idea

1:47:59.240 --> 1:48:01.840
<v Speaker 1>from another it or yeah, took it to a different

1:48:01.880 --> 1:48:05.519
<v Speaker 1>studio and was like this is our movie now, yeah,

1:48:05.560 --> 1:48:07.920
<v Speaker 1>and they took and like to add insult to injury,

1:48:08.160 --> 1:48:10.760
<v Speaker 1>Deep Impact was directed by a woman, and very few

1:48:10.800 --> 1:48:17.040
<v Speaker 1>movies in were directed by women. And just like Michael Bay,

1:48:17.200 --> 1:48:21.320
<v Speaker 1>just like is fucking evil and lawless, which we knew

1:48:21.640 --> 1:48:23.680
<v Speaker 1>I've not seen and I will say I have not.

1:48:23.800 --> 1:48:25.640
<v Speaker 1>I mean I guess I hadn't seen Armagedon either, but

1:48:25.720 --> 1:48:28.400
<v Speaker 1>like I kind of forgot the Deep Impact existed. I

1:48:28.479 --> 1:48:32.679
<v Speaker 1>knew Armageddon existed. And that's bad. It reminds me of

1:48:33.200 --> 1:48:34.519
<v Speaker 1>this is the last thing I'll say in the episode,

1:48:34.560 --> 1:48:37.120
<v Speaker 1>because we gotta go, We gotta go. It reminds me,

1:48:37.120 --> 1:48:40.040
<v Speaker 1>I mean those stories. Movies are like littered with stories

1:48:40.080 --> 1:48:44.280
<v Speaker 1>like that. But there was this amazing animator named Richard

1:48:44.320 --> 1:48:47.799
<v Speaker 1>Williams who was the animation director on who frame Roger Rabbit.

1:48:48.080 --> 1:48:50.680
<v Speaker 1>He did all of these famous like animations in the

1:48:50.760 --> 1:48:54.400
<v Speaker 1>back half of the twentieth century, and his magnum opus

1:48:54.960 --> 1:48:58.519
<v Speaker 1>was this story called The Thief and the Cobbler, which

1:48:58.800 --> 1:49:01.760
<v Speaker 1>there's a lot of resemble and says in story and

1:49:01.800 --> 1:49:07.680
<v Speaker 1>in setting to Aladdin. He worked on this movie decades

1:49:07.960 --> 1:49:11.400
<v Speaker 1>and decades, and then Disney got wind of it in

1:49:11.439 --> 1:49:13.719
<v Speaker 1>the last couple of years and they're like, oh, let's

1:49:13.800 --> 1:49:16.479
<v Speaker 1>kill that, and then they made Aladdin and no one

1:49:16.560 --> 1:49:19.720
<v Speaker 1>has ever seen the Thief in the Cobbler and everyone

1:49:19.840 --> 1:49:23.280
<v Speaker 1>is seeing Aladdin. Business is evil, kind of like how

1:49:23.360 --> 1:49:29.120
<v Speaker 1>Disney was like, oh, Kimba the White Lion exists, Well,

1:49:29.160 --> 1:49:31.719
<v Speaker 1>we're just going to steal that and make the Lion King.

1:49:32.600 --> 1:49:34.400
<v Speaker 1>I've heard a lot of different versions of that story,

1:49:34.400 --> 1:49:36.080
<v Speaker 1>but yeah, like it. It does feel like it's like

1:49:36.120 --> 1:49:39.519
<v Speaker 1>the same spirit of just like, let's steal that, say

1:49:39.720 --> 1:49:42.760
<v Speaker 1>it was on our idea in a way that we

1:49:42.800 --> 1:49:46.040
<v Speaker 1>don't need to pay anyone or credit anyone, and then

1:49:46.080 --> 1:49:51.080
<v Speaker 1>make billions of dollars forever, and and we love that. Awesome.

1:49:52.520 --> 1:49:58.080
<v Speaker 1>So does this pass the backtel test, Caitlin, Now women

1:49:58.080 --> 1:50:01.200
<v Speaker 1>aren't in the same room to get there. That's illegal.

1:50:01.960 --> 1:50:04.360
<v Speaker 1>Yeah no, that would be nasty, and I'm glad they

1:50:04.360 --> 1:50:08.280
<v Speaker 1>didn't do it. Yeah. No, like, not even fucking close that.

1:50:08.320 --> 1:50:10.200
<v Speaker 1>I don't. I truly don't. Think. We got two women

1:50:10.240 --> 1:50:13.479
<v Speaker 1>in the same room and it's a half hour movie.

1:50:13.680 --> 1:50:17.559
<v Speaker 1>It's obscenely long. Are we going to cover that movie

1:50:18.000 --> 1:50:22.000
<v Speaker 1>women Talking? What? Because? Yeah, I mean, I think that

1:50:22.040 --> 1:50:24.800
<v Speaker 1>would be a fun Matreon thing. I would love to

1:50:24.840 --> 1:50:28.880
<v Speaker 1>cover Women Talking and The Women Okay as a theme,

1:50:29.000 --> 1:50:32.519
<v Speaker 1>because those are both movies that I think are it

1:50:32.560 --> 1:50:35.360
<v Speaker 1>sounds like you know whatever released eighty years apart, but

1:50:35.760 --> 1:50:39.400
<v Speaker 1>similar premises. As far as I understand, I haven't done

1:50:39.439 --> 1:50:42.559
<v Speaker 1>a ton of research on women talking anyway. That was

1:50:42.600 --> 1:50:45.599
<v Speaker 1>just a sidebar. What about our nipples scale, in which

1:50:45.760 --> 1:50:49.600
<v Speaker 1>we evaluate the movie on a scale of zero to

1:50:49.640 --> 1:50:54.800
<v Speaker 1>five nipples based on how it fares from an intersectional

1:50:54.920 --> 1:50:59.920
<v Speaker 1>feminist lens. I will give this movie zero nipples. Yeah,

1:51:00.400 --> 1:51:03.240
<v Speaker 1>I cannot, in good conscience give it more than nothing.

1:51:04.600 --> 1:51:07.880
<v Speaker 1>I won't give it negative. But because we have done

1:51:07.920 --> 1:51:11.719
<v Speaker 1>that before, Yeah, I think maybe even for Michael Bay movies, Yeah,

1:51:11.800 --> 1:51:13.439
<v Speaker 1>I mean, this is I would say this is not

1:51:13.479 --> 1:51:15.800
<v Speaker 1>the worst Michael Bay movie I've seen by a long shot.

1:51:16.520 --> 1:51:19.920
<v Speaker 1>Um it's one of the better Michael Bay movies I've seen,

1:51:20.000 --> 1:51:23.759
<v Speaker 1>and it's so bad and it sucks and it's sucking sex.

1:51:24.120 --> 1:51:27.519
<v Speaker 1>But um I I think in terms of visual language,

1:51:28.120 --> 1:51:32.320
<v Speaker 1>the movie does not aggressively objectify the women who are

1:51:32.360 --> 1:51:36.320
<v Speaker 1>in the story. It just simply elects to ignore them

1:51:36.360 --> 1:51:41.200
<v Speaker 1>and turn them into wives and daughters. I don't like

1:51:41.360 --> 1:51:44.439
<v Speaker 1>this movie, but there were parts of it that I

1:51:44.520 --> 1:51:47.360
<v Speaker 1>was like, well, I had to watch this movie and

1:51:47.479 --> 1:51:49.439
<v Speaker 1>it wasn't the worst thing that ever happened to me.

1:51:49.960 --> 1:51:52.240
<v Speaker 1>And that's brave. I mean, it does end on a

1:51:52.320 --> 1:51:55.920
<v Speaker 1>high note, and by that I mean it ends could

1:51:56.000 --> 1:52:08.920
<v Speaker 1>still anyway, so you're when it thills across the board. Hey,

1:52:08.960 --> 1:52:12.800
<v Speaker 1>thanks for listening. Listeners, Thank you for listening. This is

1:52:13.040 --> 1:52:14.840
<v Speaker 1>This is the main feat episode. But if you enjoy

1:52:14.880 --> 1:52:17.320
<v Speaker 1>the episodes with just the two of us, we do

1:52:17.400 --> 1:52:20.600
<v Speaker 1>this all the time over in the Patreon ak Matreon

1:52:21.160 --> 1:52:24.360
<v Speaker 1>that's patreon dot com, slash becktel Cast five dollars a month,

1:52:24.479 --> 1:52:28.000
<v Speaker 1>we'll get you two additional episodes from the two of

1:52:28.040 --> 1:52:30.080
<v Speaker 1>us a month. We usually do fun themes, just like

1:52:30.200 --> 1:52:35.160
<v Speaker 1>the women talking theme we just discussed. I can't wait.

1:52:35.840 --> 1:52:39.559
<v Speaker 1>And you can also go to t public dot com

1:52:39.600 --> 1:52:44.360
<v Speaker 1>slash the Bechtel Cast for all of your merchandizing needs

1:52:44.360 --> 1:52:48.720
<v Speaker 1>such as new designs designed by a one Jamie Loftus

1:52:49.160 --> 1:52:53.479
<v Speaker 1>like shrek Ian feminist icon, Paddington and the flobber Mombo

1:52:53.600 --> 1:52:58.360
<v Speaker 1>by Danny Elfman, among all the classics such as feminist icon,

1:52:58.479 --> 1:53:02.519
<v Speaker 1>queer icon, at scabs, dry scabs, you name it, we

1:53:02.800 --> 1:53:08.000
<v Speaker 1>got it. We've absolutely got it. And with that, we

1:53:08.040 --> 1:53:10.680
<v Speaker 1>hope you enjoyed this. We we wanted to kind of

1:53:10.720 --> 1:53:13.759
<v Speaker 1>straight into a genre we hadn't been in for a while.

1:53:14.640 --> 1:53:19.400
<v Speaker 1>And with what we'll be back with another episode on

1:53:19.520 --> 1:53:23.439
<v Speaker 1>Titanic in a couple of weeks. So you're going to

1:53:23.560 --> 1:53:27.160
<v Speaker 1>tell them that, oh my gosh, should we not? I'll

1:53:27.200 --> 1:53:32.920
<v Speaker 1>cut it. Um. Well, thank you for listening. We we

1:53:33.000 --> 1:53:35.479
<v Speaker 1>love you, and we'll be back next week with your

1:53:35.600 --> 1:53:42.480
<v Speaker 1>normally scheduled programming. Yeah. Bye bye