Crofton's Media Blackout: It's A Wonderful Life

In this special holiday episode, Miles and Jack are joined by Chris Crofton to watch a beloved holiday  movie that, conversely, Miles and Jack never seen before: It's A Wonderful Life

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Episode Transcript

Speaker 1 (00:00):
Hello the Internet, and welcome to this special holiday episode
of Guys, the production of iHeart Radio. This is the
podcast where we take a deep dive into American shared consciousness,
and for the holidays, we like to take a deep
dive into America's shared Christmas spirit.

Speaker 2 (00:20):
The Christmas Geist. Exactly exactly.

Speaker 1 (00:23):
I'm joined as always by my co host, mister.

Speaker 2 (00:25):
Miles graund Oh, all right, thanks for having me on, Jack.

Speaker 1 (00:31):
I can't do it.

Speaker 2 (00:33):
It's just domb part of I got to move.

Speaker 1 (00:36):
My shoulders and watching is worse than hearing to get
into Jimmy Stewart.

Speaker 3 (00:43):
You at home or missing something he's having Jimmy Stewart seizure.

Speaker 2 (00:46):
Vocal stem right now, new vocal.

Speaker 3 (00:48):
Stem Christmas seizure.

Speaker 1 (00:50):
Oh boy, let me just be it. That's called the
Christmas Spirit. Chris, for this special series of two holiday episodes,
were calling Christmas blind spots. We've got a hilarious stand
up comedian, actor, musician, one of the very faces on
mounta Zeite Moore.

Speaker 2 (01:07):
Oh yeah, you can listen to his podcast.

Speaker 1 (01:08):
Colebrew got me like anywhere the poetry window was open
because it's Chris, motherfucking craft up. Che Che, what's up? Hello, happening, Chris.

Speaker 3 (01:19):
Oh, just getting ready to talk about this movie, which
I forgot a lot of.

Speaker 1 (01:24):
Hey, Chris, for the for the poetry window, could you
just like riff a poem about how it twas the
night before Christmas?

Speaker 2 (01:31):
Before me?

Speaker 3 (01:31):
Real quick, twas the night before Christmas and all through
the house?

Speaker 1 (01:36):
Oh ship, this is good right away?

Speaker 3 (01:40):
I can't think I got a ship?

Speaker 2 (01:42):
What else? What else?

Speaker 1 (01:44):
That poem was actually originally in a cipher that was
it came up with it off off the dome. They
went freestyle, a rap battle, a rat battle.

Speaker 2 (01:54):
Yeah. Absolutely.

Speaker 1 (01:56):
So for the first episode of this series, Chris, I'd
never seen Home Alone, so we came in. Chris watched
Home Alone, and then we got his initial impressions of
the film that were better than my impressions of the
film because I've seen it so many times. It was
like burned into the fucking back of my brain, you know.

Speaker 3 (02:17):
You know, I thought I'd seen more of that movie
than I had. You know, over the years, there's so
many clips of it, but then it turns out I
really never saw most of that movie. I kind of
thought I must have seen it in pieces or something, but.

Speaker 1 (02:28):
I had the exact same experience of this movie. I
was so that this time we're doing a movie that
is a blind spot for Miles and I. It's a
wonderful life of a holiday classic that every time I've
ever told somebody I hadn't seen it, they were like,
what the fuck is that starts shaking me about the
shoulders and neck?

Speaker 2 (02:48):
What are your parents not white? Is what I heard.
I was like, yeah, exactly.

Speaker 1 (02:55):
Yeah, I just i'd never had But I thought one
of the main reasons I hadn't seen it white another reason.

Speaker 2 (03:03):
So I think it's just a black and white reason
I have. It's no, no, no, it's just black and white. Yeah, yeah,
I don't know.

Speaker 1 (03:10):
When choosing between there there's plenty of holiday movies I
haven't seen, and uh yeah, I'd rather go with one
that's colorful and cheerfully.

Speaker 2 (03:19):
I think it's to Chris's point about Home alone, it's
like I want something that's societal value when its like
I need to melt away. And I think also as
a kid, when this is always on, I considered black
and white movies homework. I b no, this is homework.
This is not enjoyable because like I have to pretend
it's in color. I can't do that, very child.

Speaker 1 (03:41):
That's not something I'm proud of. It's not something no,
get on board with this ship, So like why am
I on trial here now? And then the other reason
is I thought I knew what the movie was about.
I was like, yeah, I get it.

Speaker 2 (03:56):
What a wonderful life.

Speaker 1 (03:58):
I assumed it open and with him on the bridge,
that's what I thought was going to be happy. Oh
and that shit takes a while, but I will say
I was like pleasantly surprised by some of the shit
in here, like the the uh accuracy of the snapshot

(04:18):
of like how capitalism works. In this movie I thought
was more realistic than any like mainstream pop culture classic
that I'm aware of, where it's just like, man, this
shit will drive you crazy on purpose, relentlessly, it will
grind you down. And the first hour of the movie

(04:38):
is much more of like watching somebody just be ground
down by the forces of capital. Then I was expecting, Yeah,
it's how long is the movie again? It's uh fifty
to ten, actually to ten, yeah, to ten. And it's

(04:59):
not until it w an hour and forty minutes in
that you start to be like, oh, the movie is
actually going.

Speaker 2 (05:05):
In another direction. Oh this is the one. Yeah, the
whole time I was.

Speaker 1 (05:10):
My first note was why is everyone so worried about
George Bailey. Sounds like he's a pretty fucked up dude.
Everyone's just praying for you as a bad sign. Like again,
I have no idea what this movie was about. I
just know Jimmy Stewart in the end, he's like holding
a little girl by a Christmas tree. Those are the
only snapshots I have of the movie. Is like the
end like sort of frame.

Speaker 3 (05:29):
Yeah, I see it. I've seen it a bunch of times.
And I thought the angel gave him three wishes or something.
I had no id I totally turn out. I remember nothing.
I remember nothing about anything. I thought he was on
a bridge and the angel gave him three wishes and
he wished for to nice or something.

Speaker 2 (05:47):
Yeah.

Speaker 1 (05:47):
I thought it was all gonna be flashback, you know,
which I guess it kind of is. But instead of
like having it be like I'm George Bailey and I
bet you're wondering how I got here, about to jump
off a bridge and kill myself? Help, uh, you know,
and then flashback instead of showing that, it just shows
a bunch of people praying for George Bailey, and then

(06:09):
some stars talking to each other for like a weirdly
long period.

Speaker 2 (06:14):
I'm Joseph the Human Father of Jesus because like I feel,
at one point someone says something about Jesus Mary and
Joseph help him or something.

Speaker 1 (06:23):
It's just assuming a lot of biblical knowledge on a
modern viewer's part that I don't think is quite I mean,
you got you gotta be like give me Joseph's last
name here, like Joseph of Father Jesus or or you know,
like I would have thought like Saint Peter or somebody
like that, because my knowledge of like how Christian heaven

(06:47):
works is based on very very old memories and just
like New Yorker cartoons, where like it's always Saint Peter
at the Pearly Gates.

Speaker 2 (06:56):
You know what I mean.

Speaker 3 (06:57):
Who directed this movie?

Speaker 2 (07:00):
Capra?

Speaker 3 (07:00):
Right, So it's like I think it's it's pretty pretty
damn good. And I think Frank Capra, you know, he
must have had his reputation for some reason. You know,
everybody talks about Frank Capra, you know, or at least everybody.
Everybody everyone's talking about this Frank film. People talk about
Frank Capra, you know up there with like talking about
Capra the Greats. You know. So, like this movie is

(07:25):
pretty pretty good, you know in terms of like it's
pretty fun the way they structured it, like in the
way they also the like even the stars talking to
each other. I mean, it's some primitive special effects, I mean,
but it kind of works.

Speaker 2 (07:38):
You know.

Speaker 3 (07:38):
It's like because they're illuminum oil hanging off of a
fishing line.

Speaker 1 (07:41):
Yea with make it light up a little bit. When
that's the one that's talking right now.

Speaker 3 (07:49):
I'd rather say that than Vin Diesel. I don't know why.
You know, it's like somehow like seeing something like that
like makes me.

Speaker 1 (07:55):
Maybe I'm a little bit fucked up. But I'd rather
see this than Vin Diesel.

Speaker 3 (08:00):
But yeah, those are the two only two choices too. Yeah,
that's what it feels like. That's how I feel like
in capitalism, it's either like black and white or Vin Diesel.
I'll take black and white. And I used to think
black and white was like suck too, Like if I
saw black and white, I thought snoozefest right, you know,
you know, like because I went to fucking school and
like tried to be whatever I want to. Took a

(08:22):
film class and they showed you like Battleship Attempkin, which
is about some baby carriage going down the staircase, which
was like rocked everybody's world.

Speaker 2 (08:28):
Like in nineteen twelve from the naked Gun opening scene.

Speaker 3 (08:32):
Yeah like what yeah, oh yeah they that was supposed
to be like ill nerds who watched it.

Speaker 1 (08:37):
I was three references because thats yeah, yeah, yeah, and
then I think it was Naked Gun thirty black.

Speaker 3 (08:46):
And white with like yeah, like okay, like this is
back when an action sequence man was was was boring,
you know, like a baby carriage going downstairs like apparently
Russia went crazy, Like you gotta see this.

Speaker 2 (08:57):
This is like a this thing is crazy.

Speaker 1 (09:01):
That's another one where the baby carriage going down the
stairs is like five seconds in the middle of this
hour long film. But I was like, oh, the one
the baby carriage better be there at the beginning middle and.

Speaker 3 (09:12):
The cabinet of doctor Caligari or yeah, Metropolis or whatever.
They're fine. But but I didn't realize for a long
time that there are some black and white movies that
are worth seeing. I really action packed directors that just
happened to be around when that was like what they
were doing.

Speaker 1 (09:29):
But yeah, I'd say, I don't know, I'm a little
bit fucking weird. But I like this movie Citizen Kane, right,
that one does hold up like that. That is one
where you like watch it and you're like, this just
feels like it was shy yesterday.

Speaker 3 (09:44):
Well, yeah, I was wrong about this.

Speaker 2 (09:45):
I found out.

Speaker 3 (09:46):
I mean I wrote a whole column about how you
don't want to you know, I won't go on a
date if it's a black and white movie or some
shit like that. And it turns out that like A
Face in the Crowd, that movie A Face in the
Crowd directed by Elia Kazan, that movie is like so
fucking awesome and modern and incredible, And that's the one

(10:07):
that like turned me like, holy crap, am I stupid?
Like this movie's unbelievable. Talks about Trump basically, you know,
or that phenomenon of an egomaniac taking over the country,
and it's just in black and white. But just go
see that movie if you like this movie, if you
think that's something, Yeah, you like these guys talking about values,
you wait till you see this movie about this.

Speaker 2 (10:29):
Chris Andy Griffin, how often did you see this movie.
It's a wonderful, wonderful.

Speaker 3 (10:34):
I thought I'd seen it like almost like every year
for a while.

Speaker 2 (10:37):
I thought it was like, but were you tuning in,
Like I know it's a tradition on American broadcast.

Speaker 3 (10:42):
I must not have seen it that many times, because
I really did think the beginning was like the Bridge,
same kind of thing with Jack, Like I thought it
was like the angel was involved from the beginning. I
thought the I thought it was like a modern Ebenezer
Scrooge type thing, like were they take him around the
whole movie? Was I thought was that I didn't realize
the movie was like an anti Capitol hour and a
half with just like some you know, some fun stuff

(11:04):
at the end for like the kids, Yeah, some value stuff,
but mostly it's a really yeah, it's a really understandable
critique of capitalism, which I did not remember, which, of
course I didn't. I saw it when as a kid,
mostly and you're not gonna remember that part. That part's
the worst part.

Speaker 2 (11:17):
There's a lot of emotional nuance that I feel like
if I saw this as a kid, I'd be like,
this movie sucks, But as watching it now, I'm like, God,
damn like it was. The movie is so heavy to start.
I was almost like this is a lot. Yeah, but
I'm looking at it in the context of the forties
or whatever when it was made, and I'm like, okay,
this is probably like this is like laugh out loud fun.

(11:38):
They're like, oh, yeah, I think I saw the sound
yeah right, right right.

Speaker 3 (11:43):
I think I saw the Sound of Music more times,
Like I think that was more like our family thing. Yeah,
Like then it's a wonderful life. I think we watched
Sound of Music over and over again.

Speaker 1 (11:51):
Brandon editor is pointing out that there's a classic Tom
and Jerry episode that is based on this where the
cat is like once to kill himself and then like
gets saved by it and all sorts of wild shit.
I was and like, I think that is that's the
version of it that exists. Is like guy on Bridge

(12:12):
Angel visits, shows him his life without yeah, uh, shows
him the life without it, but it yeah, so it
doesn't happen until fairly late in the movie. Just a
little bit of background that I didn't know just looking
briefly into it is that this movie fucking tanked at
the box office when it came out. It like did

(12:32):
not do well, and then it was just like cheap
to put on TV, and they just put it on
TV every year and it just slowly by slowly, like
it was nominated for an Oscar. It wasn't like a
movie that like didn't exist.

Speaker 2 (12:47):
Yeah it didn't. It just didn't didn't go see it.

Speaker 1 (12:50):
And then just by putting it on TV, which is
like a new technology at the time, they were like, oh,
I guess we we like this now. It was sort
of like to America what Home Alone is to Romania.
As we covered in the last episode, Yes, were the
show at every Christmas Eve.

Speaker 3 (13:10):
How I was probably trying to think of like my
next joke or something, So we talked about that last time.

Speaker 1 (13:15):
Yeah, it was Ania and poland boat. Home Alone is
what we talked about last time. I'm like, mister President,
are you okay, sir?

Speaker 3 (13:25):
No, No, I just met that part. I like the
way certain things are popular like in only some countries.
Like there's a song called Boys Do Fall in Love
by Robin Gibb and it didn't charge anywhere except it
like went to like number one in Italy or something
in like nineteen seventy six, and it's just like, yeah,
it's like Italy had some had some screw loose for

(13:46):
that song.

Speaker 1 (13:46):
Yeah.

Speaker 2 (13:47):
Should we do the little rock through like we did
with Home Alone?

Speaker 1 (13:51):
Yeah, just like happening in the movie and our impressions
as it goes by. So you covered the opening, the
opening where it's like we see the Earth. We hadn't
been to space yet, so it kind of looks like shit,
the version of the Earth. They're like, I don't know,
it probably looks like a big ball of like Gumby,
Like Gumby was smashed into a ball. And we see

(14:13):
prayers coming out of the earth, and then the angels
are the stars and the bones are their money, and
they're they're talking to each other and they're like, we
we need to help this guy George, because he were
praying for him and the other guys like, well, what's

(14:33):
his deal? And he's like, well, journey with me, won't
you and takes him back to see some scenes from
his childhood at first where what's that?

Speaker 2 (14:45):
So the flashback to the childhood. I was so jealous
and frightened at the same time because my one of
my first and I was like, damn, look how much
fun these kids are having on a shovel yes, the shovel.

Speaker 1 (14:58):
The shovels led on a shovel.

Speaker 2 (15:01):
And the set looked like they act there was maybe
that shit looked like ice, like that they had that
they were actually sliding on. I was so into the
production value of that Winter Sing was like, okay, was
this a sound stage? And then I was like, okay,
this is at RKO Studios is where they actually shot this. Yeah.
So yeah, his brother Harry falls in, he saves them,
and it causes like just hearing loss in his left ear.

Speaker 1 (15:23):
He loses the ability to hear in his left ear,
which is going to become important later when World War
two happened exactly exactly because.

Speaker 2 (15:31):
They like people who can hear war in stereo. Yeah.
So yeah, then, like, there's just another moment that I
liked to how like him and all his friends like
walking him to his after school job. I'm like, motherfucker
ten years old. Yeah, and they're like, all right, man,
get your ass in there. Time to go to work.

Speaker 1 (15:48):
At a druggist.

Speaker 2 (15:50):
Yeah.

Speaker 1 (15:50):
Mister hours hammered both within the story and the actor
is hammered apparently while making this always actually so he
is accidentally poisoning people with the drugs that he's providing them,
and uh, Jimmy Stewart George Bailey as a child is like,

(16:14):
I think you're I didn't really follow how this all
came together, like a hard time. Yeah, he figured out
that it was because.

Speaker 2 (16:23):
He watched he watched him bag it up. He watched
him bag up the capsules and he saw the big
skull and crossbones John. He's like, wait, bro, what the fuck?

Speaker 1 (16:33):
And so he tells the druggist, Hey, you just like
poison that kid, and the druggist just starts beating the
ship out of him, which apparently was not fake. The
druggist was actually drunk and slapped that kid so much
as ears started to bleed.

Speaker 2 (16:49):
Yeah that really, are you serious? Wikipedia, Yeah, yeah, that kids.
He really was smacking the ship out of that kid.

Speaker 1 (16:58):
Yeah, he was really smacking him. And then uh, the
it's like the nineteen forties version of like a happy
ending for a child actor. He then hugged him after
the scene, so it was like, cool, wait, so.

Speaker 2 (17:10):
How did his ear start? What the fuck happened? His
ear was?

Speaker 1 (17:14):
He was his ear was leading Yeah.

Speaker 2 (17:19):
Yeah, yeah, I mean.

Speaker 1 (17:22):
And then yeah to people on the set and who
knows if they were just throwing this actor under the
bus too.

Speaker 3 (17:28):
Well, that actor was like playing that his son had
just passed away, right, that was the idea, Like his
son had passed away, and the idea was normally this
guy was a nice guy, this druggist, and he was
just having a bad day, was the idea. Right, He
just was like his son died, and so the what
are you gonna do if your son dies except for
slap the ship out of his dog?

Speaker 2 (17:49):
Boy, yeah exactly, and then poison a lady who has
dip theory or whatever.

Speaker 3 (17:52):
Yeah yeah, yeah, I mean everyone knows what happens when
druggists grieve.

Speaker 2 (17:56):
Yeah yeah, yeah, Oh I'm poisoning him.

Speaker 3 (18:00):
Put on a helmet. Don't take any of your pills.

Speaker 2 (18:03):
The one thing that I thought was very old timing
and dog died was when I think it was Mary.
He was given some ice cream too, and he's like,
you don't do you want coconuts? And he's like, you
don't know where coconuts are from?

Speaker 1 (18:16):
And my boy little George pulled out a full on
Nat Geo magazine from his pocket like it was a smartphone. Yeah,
and he's like, you had back then that's my childhood too,
pulling a magazine out and I'm like, there, you you
don't understand.

Speaker 3 (18:29):
I'm not kidding.

Speaker 2 (18:30):
No, I mean I definitely had I mean I was
carrying around Slam magazine, the Source double XL, Like, I
definitely had things like that in my back. But I
just love the idea of like how he's like, within
my pocket, I have this magazine with information about coconuts.
There's just so many of these sort of bygone era
things that I was these are really nice textures that

(18:51):
I'm like, we've lost touch with humanity completely.

Speaker 1 (18:54):
And the coconut was like this exotic thing to them.
It was like want to try coconut.

Speaker 2 (19:02):
Mary?

Speaker 3 (19:05):
Because they were starting from square one. They fucking wiped
out the Native Americans who could have told them all
about coconuts, probably, except they were starting from the scratch,
Like what I discovered, yeah exactly, Yeah, have you heard
about porn?

Speaker 1 (19:19):
Would be great if he tried to pass it off
as his own discovery.

Speaker 3 (19:23):
I mean it really was like it was like, that's
why white people are so out of controls because they
think that, Yeah, like they started with this clean slate
that was artificially cleaned by them.

Speaker 2 (19:32):
Yeah yeah, yeah, they're like, let's start the slate now, yeah,
right now.

Speaker 3 (19:36):
Just like when they're already rich and you want to
You're like, now, now everybody should be able to fend
a marriage.

Speaker 1 (19:47):
Now yeah yeah, yeah, true truly, like they wrote out
of history the fact that everybody had just died from
the plague. They were like, it's it's amazing, like America
has these had avenues in the middle of the forest
just naturally, Like uh no, you're walking through a post
apocalyptic city right now. It's amazing. Like we we pulled

(20:10):
up to Plymouth Rock and there were all these houses
with like dishware, They're just like there for us to use.
It was so cool of God to do that for us.

Speaker 3 (20:19):
All this imagine like a black like because the people
in this movie that are black are well there's very
barely any at all, and there are all certain things
and they have to listen to these kids lecture about
coconuts from like their fucking home country.

Speaker 2 (20:34):
Yeah, was like, are you listening, Like, yeah, I don't
know if there's anything worth listening to. I know she
was giving but then but then, but then Harry was
smacking Annie's ass. I'm like this is all the fucking
mess y'all. I was so mad that fucking Annie was
giving this motherfucker her money. At the end, I was like,
do not give George Bailey your money.

Speaker 3 (20:55):
And that's true.

Speaker 1 (20:56):
I thought that there was another there was another black
woman too who like when every even when she's like, oh,
this is Freez, I'm like, no, this girl not for
fucking man's plains.

Speaker 3 (21:07):
That guy man's plains. Coconuts.

Speaker 1 (21:09):
I remind you, remind me to tell you where licorice
comes from. Oh you're gonna believe this, but apparently there's
a tree called the rubber tree. Mary, there's sugar as
a cane. All right, let's take a quick break and yeah,
we'll be right back, and we're back.

Speaker 2 (21:33):
We're back.

Speaker 1 (21:34):
So uh cut cut forward to high school and this is.

Speaker 2 (21:38):
The weirdest depiction of high school, A good.

Speaker 1 (21:41):
Early example of some ship we would be doing to
this day, where they got someone who's forty playing eighteen.

Speaker 2 (21:50):
I think he's supposed to be right, Harry's graduating high
school in that scene. Yea his little brother yeah yeah, yeah, oh.

Speaker 1 (21:56):
His brother is I thought he was about to go
off to college.

Speaker 2 (21:59):
Yeah yeah, But all so, if you Remember there's also
that that big party that starts off is Harry's going
to his high school gradus his younger brother. Oh okay,
so he's like twenty then, Yeah, yeah, he's just a
little bit older. Yeah he's he's.

Speaker 1 (22:14):
You know, this is the first time we get James
Stewart playing the role who is thirty eight when this
movie's made, playing serious, yeah, playing twenty playing twenty.

Speaker 2 (22:24):
Yeah.

Speaker 1 (22:24):
I was like, is this because everybody back then looked
like shit or like drinking and spoken all the time,
Like is this just what like twenty year olds looked like?
But now he was thirty eight when when they made this,
this was after the war, and apparently like he and
Peter Fonda couldn't find work for some reason. So he

(22:46):
was like, yeah, heck ca, you'll do your movie.

Speaker 2 (22:49):
Oh yeah.

Speaker 1 (22:49):
This is also where he's he's talking about how he
has big dreams to get out of this Yeah one
one horse town. Yea, and at one point utters the line,
I feel.

Speaker 2 (23:00):
Like, if I didn't get away, i'd bust.

Speaker 3 (23:04):
Bro.

Speaker 2 (23:05):
He can bust at home, you know what I mean?
That's right, he does.

Speaker 1 (23:08):
He can. He can ultimately bust at home.

Speaker 2 (23:10):
You can bust where I want anytime.

Speaker 3 (23:13):
You could say that at any time back then, you know,
you could say you want to bust, You're about to
bust nobody, I'm about to bust.

Speaker 1 (23:19):
Yeah, everybody's like I know, yeah, well, like because this
is like the theme with George is that he has
these dreams of seeing the world, but at every moment
he has to sort of seize that moment.

Speaker 2 (23:30):
He takes the road to sort of choose stability, to
choose what's better for the group than the individual. So
the first one is his dad dies of a stroke.

Speaker 1 (23:39):
Yeah, right, is he's about to go away?

Speaker 2 (23:42):
Yeah, Like truly he's like, all right, I'm off to
what dad? And then you got this asshole mister Potter
in here and be like, I want to dissolve the
fucking company. Interesting fact, I didn't realize that guy is
like Drew Barrymore is like great grandfather Barrymore, the guy
who plays like mister Potter. Oh is that John Barrymore,

(24:03):
That Lionel Barry.

Speaker 3 (24:04):
Lionel Barry.

Speaker 2 (24:05):
You're going further back. We're going further back in Acting Dynasty.

Speaker 1 (24:09):
So Mary goes away to college, his brother goes away
to college, he stays back.

Speaker 3 (24:15):
Just run to run the building and love. So his
dad owns this runs this building and loan, which is like,
I don't even know, you know, I know so little
about economics that I even this was like hard just
even the basics of this movie trying to explain a
building and loan. But it's some kind of community owned bank.
So anyway, he stays in town because his dad dies,

(24:36):
and so he stays to run the building and loan,
even though he wanted to go look for coconuts.

Speaker 2 (24:41):
Right, And also he gives all of his touch like
college money to his brother. He's sort of like, hey man,
I'm gonna have to sit back and like hold down
the family business. You go and get an education and
you go do your thing.

Speaker 1 (24:53):
Yeah, he's out into the world and bust for the
both of us.

Speaker 3 (24:56):
He's the opposite of every person alive now.

Speaker 2 (24:59):
Yeah, yeah, he is a good man.

Speaker 1 (25:02):
He is a good speaking of like the level of
biblical literacy of the people then compared to now, they're
like I was reading about the casting of James Stewart
and Frank Capra was like, you know, I was like
thinking about who would be the best person to play
a good sam. I was like, good Sam, and he
was using that for short for good because they were

(25:24):
talking so much about good Samaritans and other like biblical
figures that they have, like shorthand for it.

Speaker 2 (25:31):
Yeah, like if you said recommendation, they'd be like, what
what the hell did you just say? Good Sam? What
that guy's bats? So yeah, he's says, Harry, you go
live a life, and the agreement being look, bro, you
go get educated.

Speaker 1 (25:47):
When you come back, I have to get the fuck
out of here. Okay, like I have to get the
fuck you will run that. He's like, yeah, run the business.
Maybe you don't worry. And then Harry comes back to
married Yeah, with the job from his new father in law.
George now resigns himself to running the building and Loan
and George and Mary begin to rekindle their relationship.

Speaker 2 (26:09):
Yeah in a in a scene.

Speaker 1 (26:10):
So he's like, what a lot of his big moments
come from just like drunkenly wandering around the town. Yeah yeah, yeah,
Like he's like drunken wanders over to his future wife's
house and it's an interesting so like it's a time
of like weird morality around like kissing and sex. Like

(26:31):
the it's much looser when it comes to being able
to criticize capitalism, I guess. But the movie takes place
in an alternate universe where kissing like hasn't been invented yet,
so they like push their faces together, like do you do.

Speaker 3 (26:46):
A face kissing? Yeah, but they're just like like at
first kiss, you kiss first, you kiss like someone's cheeks
like six times, and then you move over to the mouth.

Speaker 2 (26:53):
Yeah.

Speaker 1 (26:53):
Yeah, I think gets you arrested.

Speaker 3 (26:55):
I don't know.

Speaker 1 (26:56):
Yeah, it's like starting much grosser than just like kissing.

Speaker 3 (27:01):
Up with someone, start kissing their head.

Speaker 1 (27:03):
Yeah, Like so they are while they have this moment
where they're like fighting and then they're like getting together
and then like yeah, they just like do this like
animalistic like hug where he's like starts kissing like the
side of her eye and like her forehead and then
like moves down to her mouth.

Speaker 2 (27:23):
And I wrote my note was what in the Jim
Crow was that kissing style? Because it was like but
also there was a moment when her mother is like,
what are you doing down there? Marriage's like having violent sex. Mother,
I think she said violent. Yeah.

Speaker 1 (27:43):
I was like, oh, I must have got their attention.
I must have gotten Hayes's attention Haze code Yo.

Speaker 3 (27:50):
But that scene, I will say, the scene where they're
on the phone together, you know, and the kissing like
they're on the same phone, one of those phones you
got a hold two parts. Oh yeah, one part goes
up against your ear and the other part you hold
and talking to That scene made me cry because I
thought it was It was so kind of like I

(28:10):
really thought it was effective, like the two of them
like being in love with each other, but they she
was like with somebody.

Speaker 2 (28:16):
You know, it was on the phone.

Speaker 3 (28:17):
I just maybe cry, You're not trying to steal my girl,
are you. It was just sort of like, I don't know.
I thought it was fun that they dwelled on that,
aside from like, yeah, like being like why are you
kissing in the back of her head or whatever?

Speaker 1 (28:28):
Before before before it looks like they're making up kissing.
Like if I had to, if I had to guess,
like the first time someone kissed someone for like the
when it was invented, probably looked like that, you know,
like it was just like, I don't know what if
we did this, it was probably some form of eating, right,

(28:49):
like I'm eating your face? Yeah, and someone was like, Okay, yeah,
that leaves marks that scene. For me, I had a
different reaction. I felt like if I didn't get away
from that scene, I would I'd bust.

Speaker 2 (28:59):
Oh man.

Speaker 3 (29:00):
I seriously I was crying because I was like, I
don't know, probably because I'm having a nervous breakdown, but
but I just there's something about it was romantic to me,
just like the idea of that mark.

Speaker 2 (29:12):
I thought it was there, you know what I mean.
George trying to get the other Wayne Wright or what
was the guy's name was? That guy's not named George, right,
whatever his the other guy? They're crazy, dude say.

Speaker 1 (29:28):
I was like, Zam the rich yeah guy, the guy
I need all your money, George, I tell you right now,
this is the next big thing.

Speaker 2 (29:35):
And he was like getting into plastics. I was like, hey, George,
you know that he's not fucking lying. You know you
better get in plastics.

Speaker 3 (29:42):
The nice guy needs to borrow money is the message
of this movie, sadly, and I'm living it.

Speaker 1 (29:48):
Wasn't there also a bean's this story where like somebody
was going to a bean factory or something. I feel
like it was just kind of funny. It was like
everything was just being discovered for the first time. I
thought there was like a bean thing, a bean subplot.

Speaker 3 (30:03):
Maybe that was another opportunity he had to make money.
Maybe that's where it's get rich.

Speaker 2 (30:08):
Was going.

Speaker 1 (30:09):
So he was going to like work for his well
father in law's bean.

Speaker 2 (30:13):
No, he was because he's really good at research. That's
what it was. He's doing research for her father's company.
It's not gonna touch now, but it has a good future.

Speaker 3 (30:20):
That was what the beans.

Speaker 1 (30:22):
I thought there were beans in the goddamn movie. They're crazy,
but he did.

Speaker 3 (30:28):
I will say also, like the reason why that thirty
eight year old thing isn't it works because I think
the other actor is thirty eight too. They look aged appropriate.

Speaker 2 (30:36):
She was like twenty five or something.

Speaker 3 (30:39):
Okay, so they've all looked older than death. I looked
older than eighteen or whatever.

Speaker 2 (30:43):
This is when you're also like years old. Damn. This
is what like lead and pollution and all these other
things and like child labor due to a person's face
at that age. We were like, fuck, bro, I thought
you were forty eight.

Speaker 3 (30:56):
Somehow they were saner than us. They all knew the
Nazis were bad.

Speaker 2 (31:00):
Yeah, like that, we need more.

Speaker 3 (31:03):
We need to put lead back in gasoline so we can.

Speaker 2 (31:05):
All So we got enough fucking violent streaking and stuff.
I should all start.

Speaker 3 (31:11):
Smoking again immediately so we can be nice.

Speaker 2 (31:14):
The one thing that was really funny was before he
goes drunkenly over to Mary's house. Is when he sees
Violet in the street and she's like, oh, hold on, Fellows,
I think I got a date, and that one guy's like,
we'll be waiting for your baby. I was like, I've
heard that as like a non sequitor a lot, and
I'm like, god, so much, Like I realize how influential
this film is because I have friends who say that.
I'm like, oh, this is they they're funny baby, yeah,

(31:36):
waiting for your baby. But then Violet, she's just trying
to hook up with George in that scene and he's like, oh, well,
I got an idea of Violet, why don't we go
up to the mountains to take our shoes off? And
well and she's like, bro, what the fuck? Yeah?

Speaker 3 (31:48):
Yeah, that was just that was his fault. They made
that seem like she was the weird one. He was
the one who was.

Speaker 1 (31:54):
The first part of all the times George fumbles the bag.

Speaker 2 (31:58):
All right, George, you're scaring the hose. George, you were
scaring the hose.

Speaker 1 (32:05):
Scaring these fumbling the score board.

Speaker 3 (32:08):
You need a scoreboard behind Jack with the how anytime bumbles.

Speaker 1 (32:12):
The guy from the movie Plastic could have gone in
plastics at a time he would have been fucking making bills.

Speaker 2 (32:17):
Okay, you could have them. You could have owned the
first Lambo brodang, both.

Speaker 1 (32:22):
Of those chicks. Ding yeah, Fumble says something weird about
running through the fucking grass. Be talking about touch grass.
Fuck out of here.

Speaker 2 (32:32):
There was So then they get married, right, there's a
kind of a smash cut. They're getting married. They're about
to go on their hose. See the smash cut of
this movie.

Speaker 1 (32:40):
You know what I'm saying, Jesus shows and kissing. Huh
m hmthing animalistic? Are you looking at someone on your phone?
You're just watching the kissing. My hands are right here,
My hands are I didn't ask about that. Why you
only put one at.

Speaker 2 (32:56):
A time, like you.

Speaker 1 (32:58):
It's not as good in black and one. I yeah,
well I don't know. I actually wouldn't know. I've never
seen sex in black and white.

Speaker 3 (33:05):
All those porn sites wherever, like sometimes yeah, like they
could yeah, turn porn, you know, or something like that. Yeah,
I don't know why vintage would. I don't know with me,
I don't know why someone would google vintage porn. But
if they did, there's an acceptable area like you know,
like the seventies and eighties, and then there's like, you know,
you don't want to see nineteen twenties.

Speaker 2 (33:27):
Yeah, yeah, yeah, I like dagera type pornography if possible.

Speaker 3 (33:31):
Yeah, you can't see that. You can't see what's what's
what's happening? Really, there's too many shadows.

Speaker 1 (33:36):
So again another moment shows up. George is about to
hebe we're gonna go everywhere. We're gonna go to Timbuctoo
in Paris, the oldest shade, and they've got all this
fucking cat.

Speaker 2 (33:48):
Saying the way you do that, you're going, You're gone,
Like there's why looks he looks like an actually human.

Speaker 3 (33:57):
He is inhabited.

Speaker 2 (33:59):
You gotta throw ahead to get that, by my fucking
boah god boy. So they're about to go on their honeymoon.
They got all this cash, and then they look there's
a fucking bank run on a bank, on his bank. Yeah,
because again this is some shit with mister evil fucking
potter owning the bank, calling in a loan and being like,

(34:22):
you've got that money on you, bro, No detected, No
lies detected.

Speaker 1 (34:27):
I mean, do they specifically say that he's waiting for
him to go out of town to do to do
some shit like, because that would that does seem like
what would actually happen is he'd be like, all right,
this motherfucker's out of our hair. Let's go. Yeah.

Speaker 2 (34:39):
I don't know, I don't know, another moment shows up.
He could have gone and drank the oldest champagne and
just say, you know.

Speaker 1 (34:44):
What, brother, maybe the building a loan just needs to
go down and I don't give a fuck about these
people houses.

Speaker 2 (34:48):
But he did. It came back doldash.

Speaker 1 (34:52):
So they have their honeymoon and an old like burnt
out the spooky haunted house.

Speaker 2 (34:57):
What are the what are the tendency then?

Speaker 1 (35:00):
Because it just felt like they're like, yeah, you know what,
I'm having this old abandoned house, honey, put up the
fucking wallpaper.

Speaker 2 (35:06):
It was kind of like the next bit of that
whole season.

Speaker 3 (35:09):
I was thinking they bought it, but I guess they never.

Speaker 2 (35:11):
Really, I'm sure they did.

Speaker 3 (35:12):
They did never established where they bought it, but.

Speaker 2 (35:14):
I guess it was yeah. Yeah, when the cops that
you have your honeymoon in there, I gotta say that technology.
They deployed the record player rotisserie. Did you catch that?
Like the turntable, like the needle was hooked up to
another cable that was rotating fucking two chickens on a rotisserie.
I was like, this is this was peak technology.

Speaker 3 (35:36):
Yeah, they couldn't get in. They couldn't go on their honeymoon.
So the towns people who are they were all friends
with because it was a small town, you know, really
small town, and they knew everybody. So everybody knew he
couldn't go on his honeymoon. So they all got together
and and like turned their house into a hotel like
with the with the local people pretending to be the
bell boys and the concierge, and and then like you know,

(35:59):
it was like all and that made me cry again.

Speaker 2 (36:02):
It was very nice because you yeah, I was also
I was. There was a moment at the end. I
was actually the most moved.

Speaker 4 (36:08):
Yeah.

Speaker 2 (36:08):
Then whole time, Yeah, I mean, yeah, it's beating out
of us till our ears bled until that last turn
and then they gave us a hug, and we're like, oh, okay.

Speaker 4 (36:20):
Yeah.

Speaker 3 (36:20):
The movies about like this guy named Potter who's like
a modern billionaire, except smaller. Back then there were just
billionaires that ran towns as opposed to the whole Earth's.

Speaker 1 (36:29):
Yeah, he was doing the original work so that our
billionaires could be billionaires. You know. Yes, he was consolidate.

Speaker 3 (36:37):
He was doing evil bootstrapping, but he ran the town
in the sense that he had so much money hoarded
that he could just interrupt any plans, like he could
offer like when the when there was a run on
the run on the bank, he just offered cash to
the people who needed their money. He offered fifty cents

(36:57):
on the dollar, and they almost took it. But he
had to make it each George had to make a
speech to all his neighbors and say, listen, if we
if we go get our quick money from this billionaire
or this millionaire in this case, this evil guy, we're
gonna ruin our chances for the whole future. This is
a moment we have to like side with each other
and we have to like rely on each other because

(37:18):
because if you take this easy money, there's no turning back.

Speaker 1 (37:21):
And uh, that's I just think that was that was
one of the scenes. I knew about the run on
the bank, and I thought it was like run on
the bank straight to the bridge.

Speaker 2 (37:31):
Then we get like you really just kind of poked
your head in from this movie. Yeah exactly, all right, cool, cool,
and who's this guy? But so then then you kind
of get George starts to kind of win because the
next sort of shift you see is that he started
Bailey Park. It's like a whole housing development. And then
like fucking evil mister Potter's like money goons like, hey man,
you should look into this Bailey Park place. You know,

(37:53):
like there you're doing better than your fucking slums. So
Potter hatches a scheme to basically I clows the building.
He's like, hey, let me just give you this job
offers I can shut down your building and loan operation
and force people for my slum.

Speaker 1 (38:09):
That slow movie like it's just like very much about
finance for a big stretch of this movie. It's really
just like yeah, and so it's like watching someone play monopoly,
where it was like all right, then he bought this
and then this guy tried to buy him out, all right,
all right, Well, you have to understand is this is
a leveraged buyout and he's actually gonna give him bad rates.

Speaker 2 (38:31):
Yeah.

Speaker 1 (38:32):
This was around the time when I was writing in
my notes, I can't believe how long it's taken to
get to the attempted suicide.

Speaker 3 (38:39):
Yeah.

Speaker 2 (38:40):
Uh so then you get Christmas Eve and there's gonna
be a heroes welcome for his brother, who was like,
now a Navy Ace like fucking star. He was like,
as if being a football star wasn't enough, this fucking
guy prevented a Kamakazi attack and the Navy Ace and
he got the fucking Medal of Honor and you're like, oh,

(39:03):
one thing. I was like, that must have been You
must have been so popping if you were like a
football like a college football star, then like i'mbat ace. Right.
They were like, bro, this is this guy can do
a fucking all. He killed He was like Charles Lindberg.

Speaker 3 (39:16):
Oh yeah, was he a big He was the biggest
celebrity in the world. That guy. He had secret families
all over the world. He was the eugenics guy who
he went crazy like Elon Musk and tried to have
as many children as he could. Because he was like,
I am of the superior race because I flew an
airplane across the ocean.

Speaker 2 (39:31):
Oh I love it.

Speaker 3 (39:33):
Charles Lindberg was like, that was how he got famous
back then, was like pioneer crap.

Speaker 1 (39:38):
Jimmy Stewart was a decorated naval aviator military he flew
missions and oh.

Speaker 2 (39:45):
Great, the crowds man, the do you know who's wow, Jimmy,
thanks for thanks for the restraint there. Then we get
to like, this is where it starts getting wobbly because
uncle Billy who didn't realize, like I, I noticed late
in the film that he had a pet raven.

Speaker 1 (40:02):
Like I was like, yeah, oh that he's got birds loose.
He's got loose birds.

Speaker 2 (40:07):
Oh yeah, yeah yeah.

Speaker 1 (40:08):
That was that inspired to my old age. Just have
a raven, Raven's following me around.

Speaker 2 (40:15):
I was reading about that raven. That raven was like
in according to the handler, like over a thousand things
because the raven was so like useful and could do anything.
And he described that raven as being able to do
anything an eight year old child could do and knew
about like five hundred words to say. So, look, they
didn't give that raven a speaking part what they could have.

(40:35):
So then this uncle Billy scene, he's trying to go
to the Potter's bank to drop off an eight thousand
dollars bag of the building and loan's money.

Speaker 1 (40:44):
And there's a moment where he's like, hey, look, mister
Potter Fumble number seventeen. He tries to just smear in
mister Potter's face that Bailey Park is doing so well,
but in the process drops the fucking eight thousand dollars
bag with the fucking newspaper. He wraps it in the
newspaper and then it's like, here's your fucking you think

(41:06):
that Bailey's aren't cool, well check this out and like
gives it.

Speaker 2 (41:09):
To him and then can't remember that he did that. Yeah, yep.
So then he's the doddy old man who's friends with Ravens.
Yeah yeah, exactly. Uh So, then obviously mister PBDT keeps
some money. Evil piece of shit Billy can't find the money.
The fucking bank forensics expert is there to be like,
where's your fucking money, And that's when your money. This

(41:30):
is when it gets fucking wobbly. Now for George Bailey.
They try and find the money. They can't find the money.
And you know that's when I think mister Potter is like, oh,
you're being loose with my money. You know, I'm actually
a board member. I'm gonna call the fucking cops on
you and we get to see how you know that
Just just that the way he's putting pressure on old

(41:50):
George by being like this is kind of like a
hostile takeover. But I'm also gonna use my board position
to pisure legal jeopardy.

Speaker 1 (41:56):
And just like the gas and it comes along with
capitalism where you're just like they make you feel crazy, but.

Speaker 2 (42:03):
Yeah, would you spend it? Spend some women? He got
a secret family, George playing the market? Oh honest, I wasn't.

Speaker 1 (42:12):
Yeah, George is just too earnest Steven like think about that.
He's like, oh, I know you think that I did,
but I didn't.

Speaker 3 (42:20):
He was showing the headline about George's brother getting the
congressional Metah. Not only is the building a loan kicking ass,
but the Bailey boys are at it again. Yeah, Bailey,
George Jailey, then Bailey Boys, Bailey what's his name, Harry Harry.

Speaker 2 (42:42):
Bailey FONTI uh so then okay, He's like completely destitute.
He's like, fuck, We've completely fucked this up. What am
I going to do? George is like he's getting drunk
at the bar. He's trying to figure out what he
can do. He realizes he's got a life insurance policy
that maybe he can offer his collateral and Potter he
has in his pocket. I think, yeah, yeah, yeah, yeah,

(43:03):
I care. That's so desperate. He's like, what do I have, Yester? Potter?

Speaker 4 (43:07):
You can take this? And he's like, well, how much
have you in rested already? He's like five hundred dollars
a fifteenth housard right right, right, right right, and he
basically says, you're worth more dad than you are alive, Potter.
And this is where the spiral really really begins. On
this dark Christmas for him.

Speaker 1 (43:25):
He goes home and he's like real mean to his
kids and then he like balls out his kid's teacher
on the.

Speaker 2 (43:31):
Phone, like, oh think you use the term that her
husband did? Yeah, my wife's ever been balled out like
that in her life. U the that seemed kind of
fucked me up because I was like, damn, bro, like
that was that's kind of that was that was real,
regardless of like what a specific situation is like parents
under financial stress, completely unable to be present because of

(43:52):
like the fucking crushing weight of having to toil and survive. Yeah,
just be like, oh and you kids don't know anything's
going on. I don't know. I don't know shit about
money bro lambball uh and yeah, so then.

Speaker 3 (44:06):
He know that scene was like that scene was like
I said to the person I was watching with, and
I said, that was like my house like every day.

Speaker 1 (44:15):
God, it really was.

Speaker 2 (44:16):
It really was.

Speaker 3 (44:17):
It was like my father had kids and had no idea.
He just had this idea my father, father and mother.
But my mother had some idea of what she was
getting into. My dad had none. And so once he
was in that situation, he just acted like George Bailey
on his worst day. Every day he just came home
from work and was just like this is a disaster

(44:39):
and I have no money and you guys are all
like annoying and and why did this happen and all
that sort of stuff, except he didn't like seriously like
every day. So it was like I was like, Wow,
that made me actually feel like like kind of like
some stuff. Oh, that scene really made me feel like
I had not seen that, like play.

Speaker 2 (45:00):
Yeah, that's what I mean. If I watch it as
a kid, I'd be like whatever. Whatever. Now, being older,
being a parent, all this other stuff, I'm like, oh,
so much of it. I was like, this ship is
so fucking heavy. Like, this guy's life sucks. Okay, He's
like every time he's trying, you think he's gonna do
the thing he wants, he ends up fucking like putting
it off, kicking it in the future. More resentment builds

(45:22):
up to the point that he just like resents his
own family and then ends up going to a bridge
about to jump, but then Clarents dives into the river
and George rescues him.

Speaker 1 (45:34):
Who rescued He's like, this is his this is his
one superpower. He jumps into water and saves people. So
I'm gonna take advantage of that.

Speaker 2 (45:42):
Do you know what? Did you see him dive into
the water? I was like, that was nice. He's kind
of nice with it, for sure. Do you do you
do your own stunts? Jimmy, That had to have been Jimmy, right.
They didn't stunt people to die. Oh well, I can
dive with the best of them, and he probably did.

Speaker 1 (46:01):
That was probably not the best idea. I would go
feet first if I'm jumping off a bridge.

Speaker 2 (46:05):
If it's on a soundstage too, it's like, Jimmy, you're
six four, this tank is only five feet deep.

Speaker 3 (46:10):
Back when there was a middle class, like you know,
it was like there was a lot of time to
talk about like which like teach kids, like which salad
work was for the sald you know which work was
for the salad? How to dive dive properly. It was
like a big thing, like you don't want to be
caught diving improperly. I would have done tried to dive
in head first, but like over rotated and landed on

(46:30):
my back and just been paralyzed.

Speaker 1 (46:32):
Yeah, Angel has to.

Speaker 2 (46:33):
Like it's like fuck, or you just kill Clarence because
you land on him, Like reason not.

Speaker 3 (46:39):
To date somebody Like I was going to marry George,
but I noticed that his diving is his diving, and
that makes me think that he's not going to be
a good provider.

Speaker 1 (46:49):
There are the glimpses of a better world, like the
gym is on top of a pool, like that, there's
a there's a part like the meat cute with George
and Mary is like the night of a big dance,
and like, these guys prank them by opening up the
gymnasium floor which has like a beautiful pool underneath it.

(47:11):
That's Beverly Hills High. Yeah, which is in Beverly Hills High.
But they're just like, yeah, I mean sure this this
makes sense of the normal high school thing.

Speaker 3 (47:18):
Yeah too.

Speaker 2 (47:19):
I was like, what the fuck is that? It's like
this is smart, dude, yeah, very fuck.

Speaker 3 (47:24):
Is this relatable? Is this relatable?

Speaker 2 (47:27):
Shit? Do I want to fall in a pool doing
the fucking Charleston?

Speaker 1 (47:31):
Yeah?

Speaker 3 (47:31):
I thought about how many tuxedos that just like they
must have had on standby. But then I realized that
like everyone back there then wore tuxedo all.

Speaker 1 (47:38):
You were a tuxedo. It was not casual Fridays. It
was a tuxedo Friday. They wear a suit Monday through Thursday. Fridays.
You wear you're dining outfit, your piece of ship.

Speaker 2 (47:50):
So yeah, that's when Clarence saves our. You know, Clarence
goes in the water, he gets out, and you he's
Clarence slowly starts to reveal that he is is an angel,
but like everyone's like, shut the fuck up, your weird
piece of shit with your weird underwear.

Speaker 3 (48:05):
Yeah, you're drunk as it looks like a cartoon drunk.

Speaker 1 (48:08):
It looks like a cartoon drunk.

Speaker 2 (48:09):
It looks like W. C.

Speaker 1 (48:10):
Fields all right, rummy for current reference, but that like
weird his underwear that he roes like, oh my wife
got me this.

Speaker 2 (48:19):
I'm like in the fucking eighteen seventies, what the fuck
is that? But again, that's just me looking at it
from twenty twenty five and not understanding anything. And that's
when sort of like the whole thing of like George saying, look, bro,
i I'm probably just I wish I wish I wasn't
around anymore.

Speaker 1 (48:37):
Carl Havoc, Yeah, I'd just rather not be around.

Speaker 3 (48:40):
My favorite thing is that in the favorite part of
the whole movie or favorite actor in the movie is
the guy who's trying to spit tobacco but he keeps
like doing a double take because the angel keeps doing
supernatural shit. Like the guy who's in charge of like
taking money at the bridge.

Speaker 2 (48:57):
Oh oh yeah that guy.

Speaker 3 (48:58):
Yeah, that guy's the fuck for me.

Speaker 1 (49:00):
He deserves an the killing ward that guy ruled.

Speaker 3 (49:04):
If anyone wants to watch it again, a breakout comedic performance.
In my opinion, he just because because Clarence is revealing
he's an angel to George, and George is like, I
don't believe you, and he's like George had been punched
in the mouth when he was drunk and so like
he had blood coming out of his lip. And then
the angel's like, check to see if the blood is
still on your lip. You've never been born. You've got

(49:24):
your wish, you were never born, and so he checks
his lip for the blood and there's no blood. And
then the bridge guy keeps trying to the bridge tender,
which first of all, is another missed opportunity for me,
born too late. I would love to be a guy
bridge you.

Speaker 1 (49:38):
Know, no what's coming by at night, just making sure
that nothing goes down on the bridge.

Speaker 3 (49:42):
Sitting in there and chewing tobacco and that's what are
we going.

Speaker 1 (49:45):
To leave this bridge unattended all night?

Speaker 3 (49:47):
But yeah, that guy's like that guy's performance where he
keeps being about to split the tobacco, but then he
double takes when something else crazy happens, and the eventually
runs credited.

Speaker 2 (50:00):
I'm Sad is his name, And he was like a
vaudevillian guy. So makes sense, no joke.

Speaker 3 (50:05):
I was like that guy, Holy shit, what a great job.

Speaker 2 (50:09):
Also, he really he really cast. He really earns that check.
When Clarence is like Irons as two, He's like, what's
as too? Man, he's like Angel second class. That's yeah,
there's like it couldn't have just made that up.

Speaker 1 (50:23):
Yes, I there were a couple more moments of like
morality that probably wouldn't make it in a modern movie.
One was I'm not a pray like when Jimmy Stewart
before he goes to the bridge to kill himself, says
like I'm not a praying man, but like I don't know,
like help me out here, which like I feel like

(50:43):
there's no way that a modern movie would have the
person be like in a movie that's like this much
based on like him being like I'm not a praying man.
But then also when he's like checking his pockets to
be like where's my age, he says no four F car,
which is the card that said you weren't fit for
military service, which maybe, like I think the only way

(51:05):
they got away with this is because Jimmy Stewart was
an actual war hero. But like the fact that he
has to stay home because of like his ear from
the war. I'm just like, are they trying to make me,
as an American hate this guy, you know, doesn't believe
in God, doesn't fight the Nazis because of his ear.
But I do feel like those details feel like an

(51:29):
interesting window into like a pre Cold War world before
the US went completely insane, where you could just be interesting,
slightly godless and not has like been a war heroism.

Speaker 2 (51:44):
Yeah, you know what year was this, forty six? I
think forty six?

Speaker 3 (51:49):
Yeah, okay, so yeah, it was before the Cold War
kicked in full cold The Cold War really created a
great opportunity for introducing caricatures of how to be Yeah,
Like it was a great moment, and I don't think
people realized that. That's that's an interesting point. I didn't
think about that, But you're right, there were these moments

(52:09):
between wars, like after World War One, when people were like, well,
we're not going to do that anymore. We're gonna we're
gonna have to We're gonna be nice because we know
what the opposite of that is. We know what being
mean leads to. It leads to what we just went through,
and we're not doing that again. No, way, you know,
But then these same bad actors like create these calamities

(52:31):
like fucking what's his name? Does in this movie? This
rich guy, like he basically keeps trying to cause trouble.
He doesn't want there to be stability. He wants people
to be unstable so they can create emergencies and then drain.

Speaker 2 (52:42):
Like a run on the bank. It's a run on
the bank.

Speaker 3 (52:44):
I'll give you fifty cents on the dollar for everything
you own. And they're like, ohkay, opportunity and we're going
through that right now. We're going through that right fucking now.
I mean, we're being sold this fake fucking emergency that's
convincing everybody to be mean. And yeah, that's a very
good point. I didn't think about that, but you're right.
There's a moment there where people are like, listen, I
don't care if you believe in God or not. We
all thought this war together. We fucking did it. We're

(53:06):
now going to be good to each other.

Speaker 2 (53:07):
Yeah.

Speaker 1 (53:08):
It's in many ways like watching Home Alone and then this,
like we were talking about like how is the family
from Home Alone so rich? It's like the dad from
Home Alone might as well be like mister Potter's grandson,
you know, right, Like it's just but it's just like
this is where we'd rather live now. We'd rather live
with the really rich people who've like succeeded and are

(53:32):
isolated from the realities of day to day life, and
we'd rather like sit with them and laugh at the
working class people as opposed to like having a movie
where the guy believes this absurd dream that he can
like help his town and the people who work there
like live a normal life, right.

Speaker 3 (53:49):
Yes, And that was a dream that was like when
these were smaller scale problems at least somewhat believable, like
when it was like a local millionaire against like somebody
who was trying to do something good. But now I'm
such a jam because we're dealing with like forces that
are not surmountable by some just good natured person. It
has to be like a billion good natured people having

(54:12):
some weight awakening.

Speaker 1 (54:13):
Yeah right, yeah, all right, let's take a quick break
and yeah, we'll be right back, and we're back, We're back.
I did have that question of like because of like
how small scale it is that an eight thousand dollars

(54:35):
getting lost like sinks the bank essentially was like, what
what is that in today's money comparison? It's one hundred
and forty thousand dollars, which seems low to sink a bank.
But it's also like, oh, but also we don't have
banks like that anymore, Like I have no frame of
reference for like a what a local bank would be

(54:56):
sunk by?

Speaker 2 (54:57):
Yeah? Right, because Potter won, right right.

Speaker 1 (55:01):
It's like, you're not going to pull your money together
to fucking help each other? What are you fucking dumb?
Welcome to city bank. I also do think our inflation
because they were like in one hundred forty dollars and
twenty twenty four, it's probably like two hundred.

Speaker 2 (55:14):
And five years. I call that seven million. Now for
sure it's a.

Speaker 1 (55:18):
Bed a bed year of people who aren't billionaires.

Speaker 2 (55:22):
So then he's we're now in this alternate time where.

Speaker 1 (55:25):
The alternate timeline where he's never existed.

Speaker 2 (55:29):
And I think one of the first stops he takes
is what he's just kind of, uh, where do they go?
I think they go. I don't know, I don't have
it in order.

Speaker 1 (55:40):
I think he goes to the bar at some point
that used to be Martini's and now it's Nicks and
Now the guy behind the bar is oh y yep,
is like, hey, I don't know you buster her, Why
are you talking to me? All familiar?

Speaker 2 (55:52):
See yeah, yeah, it's like no one knows him. That
Martini is like fucking gone. He's like an afterthought.

Speaker 3 (55:59):
And the evil his name is the first thing he
hears is the name of the town is Pottersville.

Speaker 2 (56:03):
Now, yeah, it's called Pottersville.

Speaker 3 (56:05):
Yeah, so he knows it's like being called Trumpville. So
so everybody in trump Bill is in a in a
corresponding mood. They're all in a horrible mood, and they're
all mean as snakes.

Speaker 2 (56:16):
Yeah. I do like though, just how cruel they were.
Like when old man Gower came in, he's like, get
out of here.

Speaker 1 (56:22):
You're drunk and hits him with the seltzer and I
was like, he lost his son to the flu twenty
years ago and he was playing this.

Speaker 3 (56:32):
Help this man, this ice it's ice agent shit.

Speaker 2 (56:35):
Yeah yeah yeah. And then also to the point about
the tuxedo. I loved how divy Nick's bar was, like
the door man was the one guy in a tuxedo
when he's like show on the door, yeah, and he's
like of course and a guy in a tuxedos like
grabbing him by the collar. I'm like, oh, well he
got a tuxedo on. So you know, they keep it formal.
They keep it formal.

Speaker 1 (56:54):
I will say, the time travel rules they're pretty loose
in terms of like his brother drown without him there
to save him. But he was at that same sledding
hill on that same day even though he didn't exist. Yeah, Like,
I feel like if I had found that out, I'd
be like, man, maybe I don't matter. So he ended

(57:16):
up doing all the same shit, and it's just like
I was just there to save.

Speaker 2 (57:20):
His ass kind of. Yeah.

Speaker 1 (57:22):
Yeah, that's one way to look at it. That's one
way to look at it. But this is the nineteen
forties Jack, So let's just let's not you have enough,
you have too much contact with time travel. And then
he goes to his house and he sits in a
cuckchair and watches his wife wife fuck her successful husband

(57:43):
from the plastics factory. Uh.

Speaker 3 (57:46):
No, cuckchair is a cup chair, just any chair that
faces a bed.

Speaker 2 (57:50):
Yeah, yeah, so you can watch, so the partners watch.

Speaker 3 (57:53):
It's not especially design chair or anything.

Speaker 2 (57:56):
No, I mean, he doesn't need to be Okay, Yeah.

Speaker 1 (57:59):
I don't know if you see the chair and burn
after reading, but that can that can make it a
little more fun.

Speaker 3 (58:04):
Finitely, I haven't seen that either.

Speaker 2 (58:05):
But yeah, so mister Gower, he's he went to jail
for manslaughter. His mom doesn't know him. The city of
Pottersville now looks like a Christian person's version of Hell
because it's just like it's all dancing and music. Yeah,
a lot of girls, girls, girls sense yeah, oh buffalo gals,
won't you come out?

Speaker 1 (58:26):
And I.

Speaker 2 (58:28):
Was I've heard that melody. I had to google it
and just be like, what the fuck is?

Speaker 1 (58:33):
And so it's it's like a it's a runner from
the it's what I think. It's what they're dancing to
when they go in the pool, and then it's what
they're singing as he's walking her home. That scene is
also probably worth mentioning that she loses the uh robe
that she's in because she had gone to the pool,
and so she's naked hiding in a bush and he's like, wow,

(58:56):
before I could tell tickets here, hold on, maybe I'm
a piece of ship, come on out. And but but yeah,
so she she's singing it. They're singing it together, and
then when he goes to see her, she's like got
it playing on the She's like kind of holding it
for him, and so she's got it playing on the record,
and then when she gets mad at him, she breaks it.

(59:17):
So it's like their song in a way that's like deep.

Speaker 2 (59:21):
Buffalo Gals was sung by minstrels, and it was talking
about the dancers because Buffalo was the western terminus of
the Eerie Canal, so all the port men had their
cash by the time they got to Buffalo, so they're
all like, Buffalo girl, let'd you come out tonight. It's basically,
and then apparently in these minstrel shows they would it

(59:44):
was like local comedy. So if they're in New York,
then they'd be like New York. She'd be like New
York girls, why don't you come or like Mississip girls,
why don't you come out tonight? And it just became
that kind of a thing, and I was like, of
course it's minstrels. See, yes, yes, yes, yes, of course
I knew that was the deal here.

Speaker 3 (01:00:00):
Yeah, Buffalo Gals is like I'll tell you one thing.
You know some of some of the things that were
good back then, you know, some of those things were
like maybe you could the local businessman can still fight
the junior oligarch. There's one thing that has improved, and

(01:00:21):
that is fucking music, because man, oh man, imagine trying
to have sex to that song, which obviously it would
be implied that they would crank up the victrola.

Speaker 2 (01:00:35):
Yeah right, right right, and they would listen to that
while they fucked.

Speaker 1 (01:00:39):
I'm getting hot, I mean, for God's sake.

Speaker 2 (01:00:41):
Yeah, I mean, we've seen the way they kiss.

Speaker 1 (01:00:43):
So if they're putting on buffalo gals and bumping uglies,
I don't know what the fuck that looks like, but.

Speaker 3 (01:00:49):
But we yeah, like think about I mean, just how
much better off we are sexually speaking?

Speaker 2 (01:00:56):
Yeah, well, I think once they let black people perform
as themselves, that helped a lot. I would say, yeah, yeah, yeah,
that would help a lot.

Speaker 3 (01:01:04):
Like and really for a long time, like we are in,
we are lucky to be around for some fucking rock
and roll and some fucking funk, because for a long
time people had to fuck. Just She'll be coming around.

Speaker 2 (01:01:16):
The mountain, Old Gray Mayor.

Speaker 3 (01:01:21):
She and they were pumped because I mean, it's still
sex and it's still gonna be.

Speaker 1 (01:01:26):
Good, but you had your kids play the piano downstairs.
My pianola, Mom and I are upstairs for a little bit.

Speaker 3 (01:01:34):
Like, if you're listening to a song like that and
fucking you're probably okay with sawdust being on the floor.
But if you're listening to like pony by Genuine, then
you say, let's clean up in here.

Speaker 2 (01:01:43):
Yeah, yeah, yeah, yeah, it can't be a total nightmare
in here.

Speaker 3 (01:01:46):
If I'm got genuine, rag over the light and throw
on buffalo gals.

Speaker 1 (01:01:53):
If it starts smoking, they'll get the rag off the
lamp because it'll sort of fire.

Speaker 3 (01:01:58):
Are there any better rhythms than that?

Speaker 1 (01:02:00):
Yes?

Speaker 2 (01:02:00):
No, this is the only one we found so far.
Loop Yet what you're not an engine? What were you
doing that for?

Speaker 1 (01:02:14):
Uh? So, then we find out other things. The building
and loan has failed, Uncle Billy. As a result of
the building and loan failing was institutionalized. Bailey Park is
not a neighborhood anymore. It's a cemetery. And then he
also discovers again like you said, brother gone, the other
died was that same? Yeah exactly, and the druggist poisoned

(01:02:39):
that kid. Yeah, so again he really might as well
not have existed. Everything went exactly the same, except for
like the two good deeds that he did. But like otherwise,
nobody fucking noticed he wasn't there at all.

Speaker 3 (01:02:52):
I didn't think about it that way.

Speaker 2 (01:02:54):
He was just yeah, right, I mean.

Speaker 1 (01:02:56):
They hadn't discovered chaos there yet, so they didn't know
that that wasn't realistic. I was wondering maybe the angel
could like snap and take him around with the magic
of film editing instead of having to wander around everywhere.
But it's effective, he gets. They pack it with all
sorts of details he does. He does ask where his
wife is, and they're like, well, why that old spinstress.

(01:03:19):
She's out at the library closed closing it down. And
we get the first that I'm aware of, probably not
the first. One example of hot babe and glasses is
no longer pretty and it's just like an I'll go,
Everyone's just like she never married, she's a loser. Her
cornea is a odd shape, so why she's nearsighted?

Speaker 2 (01:03:39):
Okay, corny is what the is this? But I do
that scene when he sees like very spray search come.

Speaker 1 (01:03:48):
He's not getting it, by the way, he's not really
not getting it.

Speaker 2 (01:03:50):
And she is freaked the fuck out.

Speaker 1 (01:03:53):
She's like, runs to the fucking bar, and again I
like that he's crashing out in this bars, like that's
my why, and all these like dudes surround him. One
guy in the crowd, just an odd line in the crowd,
and like they're trying to restrain George Bailey from going
at Mary who.

Speaker 2 (01:04:09):
She's like, I don't know this man.

Speaker 1 (01:04:10):
One guy's like, it's a crazy guy. Hit him in
the head with a bottle. That's what we do here.

Speaker 2 (01:04:17):
Yeah, it's like we still aren't past our conflict resolution
methods with people having some kind of caras like fucking
attack them. This guy's lost it. And then I love
that the cop pulls up and just starts blasting from
the hip, blasting shot again. Again.

Speaker 1 (01:04:33):
It has everything bad about America, predatory capitalism, police who
shoot wildly onto a crowded street, except in this case
the police officer is like his old friend.

Speaker 2 (01:04:44):
Yeah, yeah, yeah, yeah, yeah. It was really really something.

Speaker 3 (01:04:48):
And being associated with being alone, right right.

Speaker 2 (01:04:51):
A librarian, yeah, exactly, the worst thing.

Speaker 1 (01:04:55):
Why she's the worst thing.

Speaker 2 (01:04:56):
She could be institutionalized a librarian.

Speaker 3 (01:04:59):
Oh my god.

Speaker 2 (01:05:00):
But that was like kind of Georgia's thing too, Like,
wasn't he headed to the library one of those scenes.

Speaker 1 (01:05:04):
Like we're yeah, that's what he's the library, Like all right,
fucking loser, dork library, all right, bag fumble number ninety,
fucking I fucking hate this guy.

Speaker 2 (01:05:15):
Fucking George dude, fucking loser.

Speaker 1 (01:05:18):
Round. It does give me hope that this is like
an American classic because it is so anti capitalist. It's
just like the that sentiment is there in people's hearts.
They know what's happening, they know that there are potters
out there and they're fucking people up. But yeah, it's
it's just wild. It's really laying dormant and has been

(01:05:39):
for eighty years now.

Speaker 3 (01:05:42):
Yeah, that reminds me of something I thought of when
I was watching this, which was when I grew up.
I was in this play in first grade called Stanley,
and I played a caveman that was like shunned by
the other cavemen because he liked like to decorate and
he wanted to sleep on a pillow instead of using

(01:06:03):
a rock, and he danced with a mouse like in
the play, I danced with a mouse, you know, and
like the other cavemen were like you know thought that
was stupid. Mice are something we squashed, Like what are
you talking about? What are you dancing around with the money?
And I'm like the mouse is nice, you know what
I mean? And so like the message of the play
was obvious. Then the message of the book, which is

(01:06:24):
a book called by sid Hoff called Stanley, and it's
about being nice and the main thing and being nice. Also,
all the cavemen come around at the end because it
turns out like he builds a house and they're all
used to living in a cave and they go in
the house and they're like this rules. Turns out Stanley's
a smart one and we're a bunch of idiots.

Speaker 2 (01:06:42):
And so that is what you learn.

Speaker 3 (01:06:44):
Right then seven years later, if you were good at
playing lacrosse in my town, you were above the law.
Like how did that?

Speaker 2 (01:06:59):
What is the first part for?

Speaker 3 (01:07:01):
If we throw it all out the window? And that's
what's happening to me every day in America now, I
feel so sad because I just feel like, what is
all this talk about being all this stuff we were
raised on?

Speaker 2 (01:07:17):
What was it all for?

Speaker 3 (01:07:18):
And how could we all be so easily just from
eight years of this idiot you know, be have that
all shaken out of us?

Speaker 2 (01:07:27):
Right?

Speaker 3 (01:07:28):
I mean, I know it's more complicated than that, but
the basics of you know, Ice is wrong. What they're
doing is wrong. What what Trump is doing is wrong.
Trump's way of speaking is wrong. Trump saying that he's
going to take people out of things, out of campaign
rallies on stretchers is wrong. How did we manage to
shrug off a million years of not really but you know,

(01:07:50):
fifty sixty years of like like what we supposedly celebrated,
which was the morality of the United States, which is
of course always questionable. But there is at least the
idea that if you see someone on the street, you
help them out. You don't you don't say that they're
a security risk or you know, call the cops because
you want them taking away to guantanamo. You you go

(01:08:11):
and see if they need help. Like, how did that change?

Speaker 2 (01:08:14):
You know, what's the rhetoric that's changed? Right? To describe
those people Now it's not like someone down and out,
it's like a potential threat or these other things. You
completely see.

Speaker 3 (01:08:24):
All you need to get is the media on board
with that, and then it just takes away all that
stuff we learned, but I mean, I also know that
like it. It was very like, I don't know what
the point of it all is. I guess just to
make people feel better once they start doing the bad stuff.
They said, well, a long time ago, I talked about
what was right to do.

Speaker 2 (01:08:42):
Yeah right, welcome to Pottersville, motherfucker.

Speaker 3 (01:08:45):
Yeah yeah right.

Speaker 2 (01:08:46):
Interesting. So at that point we've reached the part where
George bed is like, I actually want to live. God,
I can't stand there's anymore. You got to bring me back.

Speaker 4 (01:08:55):
I'm my family.

Speaker 2 (01:08:57):
And here comes Burt in the cop pri and he's like, George,
you're looking all over for you. And he's like, birs,
you recognize me. He's like, of course I do. Anyway,
So he's back, he exists, his mouth is bleeding, he
can't hear out his left ear. His fucking drunk driving
accident is still there. And it's okay because your friend
is the cop. And let's not forget George is technically
a banker, so it's not like he's also sitting pretty.

Speaker 1 (01:09:19):
It's like just because he's a community. But he's like,
hey mom, I'm sitting on all this capital. Let's be real, Okay,
they're waiting back at his house with the media because
it is two bankers by definition also if you kind
of think about that. But again, the values are still
I think the point is still there. And then he
gets home.

Speaker 2 (01:09:38):
He's like, he's so happy that he doesn't even give
a shit that the cops are going to fucking arrest him,
that he doesn't have the money to fucking keep the
home and loan solve it. He's just so thankful that
you know, he's here and he gets to enjoy this.
He gets home, and then we come to find out
that his uncle has been going around telling people we're
in trouble, and everybody in town came through with the

(01:09:59):
cash that he needed for thing to work out, and he.

Speaker 1 (01:10:03):
Had done that when there was a run on the bank.
He had given them the money from his wedding.

Speaker 2 (01:10:08):
And that's when I got really touched by that part
was because he I think he began to realize too.
He's like, damn, like, I my life, I've actually been
doing so much good. I just there hasn't been a
moment where that was like reflected back to me and
with such clarity that I could understand what that was.
And I felt like I was similar. I felt similarly
when I lost my house in the fire and like

(01:10:29):
all these people were helping me out. I was so
I was at it. It helped me understand I'm like, shit, bro,
like people give a fuck and people have a reason
to because I'm trying to be a good person, as
it were. And I just thought it was a very
I was like, I was really touched by that. I
was like, damn, they can't do it. But I was
also like, and you do not give him a fucking
cent of your money. You don't owe him shit. Oh man.

Speaker 3 (01:10:53):
I had a nice experience with that scene too because
or just like his general joy because I under financial
pressure right now, you know, as I think anybody or
most people, not anybody, but a lot of people are.
It really is an effective way of like his joy
at just simply being like alive again even with a

(01:11:16):
huge amount of debt. Was like, I don't know, it
felt heartening to me. I mean it felt heartening to me.
It really does. And those are the parts of that
movie where I feel like it's a really great movie
because it really manages to get these things across in
a way that's pretty entertaining and light really. I mean,
you still mostly are laughing or maybe not laughing, but

(01:11:37):
you're certainly engaged in the story and you don't think
of it as a morality play. But then there's moments
like that where it's like, wow, I am, like what
if I do what if I am in credit card
debt or whatever, like it doesn't make any fucking difference,
And when I let it get too big in my
head and you know, it's so that's pretty serious stuff
for a black and white movie, you know.

Speaker 2 (01:11:59):
Yeah, yeah, So one thing I was looking into is
that the FBI did have their eye on under j
Edgar Hoover.

Speaker 1 (01:12:11):
Yes, I mean I have to assume like the fact
that it was it's been an American classic, like you know,
since you know a few years after it came out,
once it started like rerunning, I think so like it
was it was on TV during the Red Scare.

Speaker 2 (01:12:26):
Yeah, so this is what happened at quote This is
from Smithsonian Mac. An unnamed FBI agent who watched the
film as part of a larger FBI program aimed at
detecting and neutralizing common influences in Hollywood. Hoover said it
was quote very entertaining However, writes scholar Johnny Noakes, that
the agent quote also identified that they considered a malignant
undercurrent in the film. As a result of this report,

(01:12:48):
the film underwent further industry probes that uncovered that quote.
Those responsible for making Its a Wonderful Life had employed
two common tricks used by communists to inject propaganda into
the film. These two common quote devices is, as applied
by the Los Angeles branch of the Bureau, we're smearing
quote values or institutions judged to be particularly the American
in this case, mister Potter is portrayed by scroogey misanthrope

(01:13:10):
and glorifying quote values or institutions judge to be particularly
anti American or pro Communists in this case, depression and
existential crisis, an issue that the FBI report characterized as
a quote subtle attempt to magnify the problems of the
so called common man in society. Huh.

Speaker 1 (01:13:28):
And the FBI and the people with all the money
proceeded to win that battle, to use those suspicions to
make it so that now you look back and you're like, man,
it's weird, how like decent the values are, and how
instinctively anti capital. The people are in this mood, you know. Now,
We're just like, huh, this seems seems weird that they

(01:13:49):
got away with that. How can you make a movie
so iconoclastic and you know, anti establishment as it's a
wonderful life right now, right.

Speaker 3 (01:13:59):
I really recommend a Face in the Crowd by Elia
Kazand to anybody in terms of like another movie that
I wrote off because it was black and white and
has a really heavy message that's applicable to now and
also makes you feel better because you realize this shit is.
It's like one hundred times worse now. But it's never
been good in this country, and it's always been a

(01:14:22):
battle between the people who run the FBI and the
New York Times just constantly sewing doubt whenever anyone says
let's be nice and they say, well, we can't do
that because that would ruin the whole project, you know,
is that this is some grand project rather than a
labor extraction pyramid scheme.

Speaker 2 (01:14:42):
There's an interesting thing though, that a copyright lapse enabled
royalty free repeats of the film, which is why it
was played so much.

Speaker 1 (01:14:49):
Yeah, it was just an accidents out of.

Speaker 3 (01:14:52):
This fucking jag Hoover dropped the ball on that, Yeah,
you should have jacked up those rights costs.

Speaker 2 (01:14:58):
Because other people were just pointing out to some people
were saying, it's actually too capitalists with different visions of capitalism.
So it wasn't because apparently Hoover's whole thing was it
had it was a black or white thing, like is
it subversive or is it not? And I think there
was enough nuance that he didn't send it to the
Unamerican Activities Commission, basically, but this was the like sort

(01:15:21):
of beginnings of the Hollywood witch hunts, and.

Speaker 1 (01:15:25):
Was it ordered everybody who made it followed for the
rest of their lives and probably gas lit and to
things they're crazy.

Speaker 3 (01:15:31):
And Elia Kazan actually did. I think Ilia Kazan did
end up naming names, which ruined his reputation in front
of the committee, the Joe McCarthy Hollywood hearings, he reported
on people because he was a communist. But it's just
so funny the communist turns out to be the good guy,
you know, I mean, not the communists like in the
cartoon way that they try and scare us, but the

(01:15:52):
idea that of just like one person can have all
the resources, just simple.

Speaker 1 (01:15:56):
Just the idea of being slightly suspicious of the institution
of capital. Chris crofton, thank you so much for showing
us this Christmas classic, because I truly, had this not
been for an assignment, I don't know that I would
have gotten through it. But then I was rewarded. I
really they stuck the landing. I was tearing up when

(01:16:17):
his when he was like, you know, back with his
kids and his family and his wife, and I did
have the question like once he a little quick to
be like I might as well just kill myself after
he's like done his whole his whole thing, and like
had this amazing community around him, Like shouldn't you have
just talked to a couple more people.

Speaker 2 (01:16:35):
And be like, hey, man, could you get me out
of this? Damn dude. Men would rather be haunted by
an angel on Christmas Eve than say that they need help.
So that's that's that was very American. He's like, well,
I'm not going to share this without anyone.

Speaker 1 (01:16:49):
Yeah, but overall, you know, a plus ending, well done.

Speaker 2 (01:16:54):
I get it.

Speaker 1 (01:16:54):
I get why people love this movie. I enjoyed it too,
And you.

Speaker 2 (01:16:59):
Know, same about if I can watch it again.

Speaker 3 (01:17:01):
I feel the same about Home Alone. I mean I
thought for a long time I thought it was you know, uh,
I didn't really get it, like I thought it was
just like I was like just consumed with how much
stuff this kid had. But then then by the end
I was like, oh, I get it. Like it's sort
of it's just a thing you can go watch and
feel like a sense of place when you watch it,

(01:17:22):
and that's that's that's the best art really is somewhere
where you can go visit, you know, and feel like better.

Speaker 1 (01:17:28):
Yeah, they do nail like just the you know where
every room in that house is, and like the geography,
and you kind of do in this town too a
little bit like you kind of know where everything is.

Speaker 2 (01:17:39):
And I feel like it was Arcaves r KO Studios
in Sino, California and Laka YadA, Flint Bridge. I think
really the main shoot here.

Speaker 1 (01:17:47):
You go, Well, thank you for joining us, Chris, thank
you guys for joining us. Merry Christmas to all, unto
all good night, or you.

Speaker 3 (01:17:56):
Got to keep an eye on Miles. That's about to
say he's gonna say he's this is gonna spill over
all regular Daily Zeite guy.

Speaker 2 (01:18:03):
Funked up off the Jimmy Stowar and everyone. I'm brung
off that Jimmy. All right, I can face an l
right now outside.

Speaker 3 (01:18:14):
Yeah, this isn't gonna stop.

Speaker 2 (01:18:15):
No no, it's not no, no no, I'm bye bye,
bye bye. The Daily Zeite guys his executive produced by
Catherine Law.

Speaker 1 (01:18:23):
Co produced by Bae Wag, co produced by Victor Wright.

Speaker 3 (01:18:27):
Co written by jam McNabb, and edited and engineered by
Brian Jeffries.

Speaker 1 (01:18:34):
Jimmy