Patreon Release: Madame Web (w/ Max Wittert)

Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hi everyone, This is George. Even though we are still
on our famous summer hiatus, we have a special treat
for you this week, which is that we are unpaywalling
I repeat, unpaywalling our Patreon Movie Club episode that we
released earlier this year when the film Madam Webb came
out with our dear friend Max Twitter, and we are

(00:21):
doing it now because the movie is actually now streaming
on Netflix. So even if you chose not to support
cinema by going in person the first time around, you
can now watch along with us at home. Also, very quickly,
just wanted to say that there are just three days
left on my summer stand up tour DC this Saturday,
August seventeenth, Philly August twenty second, and Boston August twenty ninth,

(00:43):
and I think DC is about to sell out, so
get those tickets fast that I can't wait to see
you out there. And for more episodes like the one
you're about to hear, please subscribe to our Patreon at
Patreon dot com slash Stradio Lab for two extra episodes
a month, plus other surprises and goodies. I feel like
it all right, Enjoy the show.

Speaker 2 (01:20):
Patreon episode starts now exclusive, exclusive exclusive episode starts now.

Speaker 1 (01:30):
We saw a special advanced screening of the Marvel film
Madam Webb mired days after premiered wide.

Speaker 3 (01:38):
To wait to a booming six million dollars to.

Speaker 1 (01:43):
A booming six pillion dollars. From what I understand, it
was absolutely bodied by the Bob Marley biopic.

Speaker 2 (01:49):
And you would understand correctly, Madam web has been destroyed
by the Bob Marley pick. But gay guys are doing
their best to raise her back from the grave.

Speaker 3 (01:59):
And I think we're doing everything we can to stop
Bob Marley.

Speaker 1 (02:03):
We actually were mostly against Bob Marley. If anything, it
could have been any movie. If it was you know,
mister and I would also be supporting it.

Speaker 3 (02:12):
Right, Yeah, where's the like we need like a Barbenheimer,
like a Madam Barley Weekend Marley Webb, mar Marley Webber.

Speaker 2 (02:23):
So today we're joined. It's an extra social episode because
we're joined by Max Wittard Himahi, who saw the film
with us.

Speaker 3 (02:31):
I liked Madam Marley.

Speaker 1 (02:33):
Okay, we could do Madam Marley.

Speaker 2 (02:34):
Do you want to be Madam Marley?

Speaker 3 (02:36):
Or well, no one wants to be Madam Marley. What
one simply assumes the responsibility of Madam Marley.

Speaker 1 (02:45):
I'm going to write an AI generated script that's like
if Bob Marley was Madam Webb. So it's like he
goes out in the concert and then he suddenly seasoned
in the future and he's like, they're gonna like that
one song. So no one's steal that idea.

Speaker 3 (02:59):
Okay, Okay, yeah, I promise I won't.

Speaker 2 (03:02):
Okay off, fuck off. First I want to say, Max,
will you give us a summary of the film Madam web.

Speaker 3 (03:09):
Okay, So, first of all, you guys are listening to
stradio at Patreon with Max Whiddert as the special guest,
which actually has you guys just breeze right over that.

Speaker 2 (03:19):
I said your name, didn't I? No, Yeah, I did,
so I had.

Speaker 1 (03:23):
To say Max, you started talking before we had a
chance to introduce you. So then sort of the only
thing we could do is go along with it.

Speaker 3 (03:29):
It's not my fault you jumped the gun.

Speaker 2 (03:32):
There, Max, We were just yes anding your entry. Okay, sorry,
someone us have improv training that we can't just turn
on and off. Do you know that?

Speaker 3 (03:41):
Oh yeah, whereas I have improv training that is always
turned off.

Speaker 2 (03:47):
Yeah, your dormant improv training. It hasn't been awoken yet.

Speaker 3 (03:50):
Yeah, you do know that I took a bunch of improv, right,
and not an ounce of it stood.

Speaker 1 (03:56):
Do you think that the cast of Madam Webb has
improv One of the points that our friends.

Speaker 3 (04:02):
I think they could stand to take a class at
the Groundlings.

Speaker 1 (04:05):
Right, well, because one of the things we saw it
with our friend Julio, and one of the things he
was saying is that the entire middle part of the
movie seemed improvised. The dialogue was very like trying so
hard to yes and someone like where is she going?
I don't know, could be the store?

Speaker 3 (04:20):
Well, the to me, I don't even know what part
he was talking about when he said that, because I mean,
first of all, all most of the dialogue was added
in adr after the fact.

Speaker 1 (04:33):
Wait, okay, let's do let's do something, and I want
to talk about all that.

Speaker 3 (04:37):
Okay, picture this. It's two thousand and three on the dot, and.

Speaker 2 (04:43):
There's January first, two thousand and three.

Speaker 3 (04:45):
Yeah, and there's a girl with bangs who has captured
the attention of a co worker of hers through no
charm of her own, but manages somehow to maintain a
really good friendship with a man. And the issue though,

(05:13):
is that she just keeps seeing bad things that are
gonna happen. And this happens to be because her mother
was in the Amazon in Peru. No, she was in Peru. Yes,
she was in Peru, and there was a spider that
was much sought after for its curing capabilities that she

(05:34):
wasn't really privy to much of this. She doesn't really
know these things. She actually has the terms I doesn't
really know anything, And as the movie progessed, she almost
knows like less and less as the movie goes on.
That's sort of like one of her main characteristics. But
so basically, she's this girl who is she drives ambulance.

(05:55):
She does a lot of driving actually generally speaking empty.

Speaker 2 (06:00):
But driving is her favorite part.

Speaker 1 (06:01):
Driving. Yeah, well, she got into it for the driving.
She was like, God, how do I fucking drive one
of those big trucks. She's like, I guess I'll become
an empt.

Speaker 2 (06:10):
She's always driving. This movie takes places in New York
City and by the way.

Speaker 3 (06:15):
She thinks her mom is a bitch because she died
giving birth to her.

Speaker 1 (06:20):
Yeah, she basically is like, my stupid fucking mom didn't
care about me, and all she cared about was her
spider research in the Amazon. And there you go, I
guess she died.

Speaker 2 (06:29):
Yeah, well she died because she was not near any hospitals, right,
because she was in Peru. Because she was in Peru.

Speaker 1 (06:35):
Well, at one point, she literally goes hope the spiders
were worth it, mom, like while talking to herself and
looking through her mom's old notes.

Speaker 3 (06:43):
Yeah, there's not a lot of people talking to each
other in this movie. It's a lot of people talking
to themselves or actually not talking, but then words are
like coming through the speakers anyway.

Speaker 2 (06:56):
Yeah, so she's an empty and then she gets into
an accident and then that gives her that wakes up
some powers.

Speaker 3 (07:04):
Exactly the accident, right, she has a near death experience.
It's one of men she actually.

Speaker 1 (07:09):
Kind Yeah, oh sorry, it activates her latent powers.

Speaker 2 (07:13):
Yeah. So of like Max's improbabilities are asleep within him.

Speaker 3 (07:17):
I always need you think I need to die. You
think I need to die in order to be better.

Speaker 1 (07:21):
And Max, if you could just be if you could
just be in a water based car accident, and then
I could resuscitate you by doing CPR, which was explained
literally fifteen million times. Yeah, then you can do it.

Speaker 3 (07:35):
Oh my god, I haven't even mentioned that. There's the
three teenage girls who don't know each other and don't
know what's going on, but someone knows that down the
line something's gonna happen.

Speaker 1 (07:45):
That really the villain.

Speaker 3 (07:48):
The villain, And this is where it really picks up.

Speaker 2 (07:52):
The villain keeps having a vision of getting murdered by
these three girls.

Speaker 1 (07:55):
And the villain, we should also say, was literally working
with her mind in the Amazon researching spiders, but before
she died, So.

Speaker 3 (08:04):
Before she died and killed well before she died. That's
really that's a passive burying of the lead.

Speaker 1 (08:10):
I killed her time.

Speaker 3 (08:11):
Yeah, seriously, he kills her.

Speaker 2 (08:14):
And so now we see that he's still alive, and
he's rich, and he's a womanizer, and he's like, I'm
going to kill these three girls.

Speaker 3 (08:23):
Wait, he's not a womanizer.

Speaker 1 (08:25):
Yeah.

Speaker 2 (08:26):
He has sex with a woman for information for her
NSA card.

Speaker 3 (08:29):
No, No, he has sex with her because he likes her.
But then he starts talking about some personal issues and
then she pulls out a gun and he has to
kill her.

Speaker 1 (08:38):
No, he sought her out because well they're sort of
both trying to kill each other.

Speaker 3 (08:43):
Kind of yeah, So to me, that does not qualify
as a womanizer. By the way, his one employee is
a woman. Yeah, and mostly only a woman, not only
a woman, a girl.

Speaker 1 (08:58):
A star those girls. Okay, so he basically I mean
what's important to note for everyone listening at home is
that this guy was with Dakota Johnson's mother in the Amazon,
which was researching spiders before she died. He killed the mother.
Cut to two thousand and three. He himself who has
spider abilities much like Peter Parker Spider Man. He is

(09:20):
having visions now he has totally different powers. Smacks, he
does summary, but he can sort of climb walls in
the way that Spider Man. You have to admit that's
sticks sticky.

Speaker 3 (09:32):
He's a sticky boy.

Speaker 1 (09:33):
He's a sticky boy. So he has these recurring visions
where he's like, three hot teens that are sort of
dressed as though they're in a porno are gonna kill me.
And one of them is the White Lotus is Sidney Sweeney.
And so I'm gonna hire Shoshana from Girls, give her
nsa training so that she can find the three teenage

(09:55):
girls that are gonna kill me, so I can kill
them first before they get to me.

Speaker 3 (09:58):
Okay, wait, by the way, just really quickly, I need
to correct you on that. It's he didn't give her training.
She had the training. He just stole it. He hired
all over the globe. I basically he didn't train her.

Speaker 2 (10:11):
He didn't.

Speaker 1 (10:14):
Yeah, no, no, Basically everything he does is because he
steals it from other women, Like he stole that one
woman's NSA card. He stole Shoshana from the CIA for NESSA.
I will say one of the sort of subversive parts
of this movie is that had set right after or
I guess towards the beginning of the Iraq War, and
it's about NSA surveillance, which is sort of interesting.

Speaker 2 (10:35):
It's a post nine eleven narrative.

Speaker 1 (10:37):
It's about the Patriot Act.

Speaker 2 (10:39):
Then this coworker of Madam Webb's dies because and she
saw it. She was like, it's gonna happen.

Speaker 1 (10:47):
The guy O'Neill.

Speaker 2 (10:49):
O'Neill, O'Neill dies, and she like feels bad because she
was like, I could have stopped it because I saw
the future and I saw him dying and I did nothing.
And then she's like, Okay, I'm going to go to
just then she goes to a doctor and not just
like you know what, you need to go home and
watch old movies.

Speaker 3 (11:04):
And she's like, yes, that's right, Okay, that's right. And
that's when she has really important interaction with a pigeon.

Speaker 2 (11:12):
Yeah, where she staves the pigeon's life. And then she's like, oh,
I can use my my seeing of the future for
good and I need to go to this guy's funeral.
So she goes to the train station to go to
this guy's funeral. And guess who's at the train station.

Speaker 1 (11:24):
Wait.

Speaker 3 (11:25):
Remember when she took the popcorn out and dropped on
the floor and it broke like glass.

Speaker 1 (11:29):
Yeah. Yeah, she was like, damn it, this popcorn is
made of glass.

Speaker 3 (11:32):
And then and then she was like, wait, never mind,
I was totally imagining that in the future.

Speaker 1 (11:37):
Yeah. Yeah.

Speaker 2 (11:39):
So then she's at the train station and she's sees
visions of these three teenage girls getting there shit rocked
by this guy, by the sticky guy.

Speaker 1 (11:47):
By the sticky guy.

Speaker 3 (11:48):
Yeah.

Speaker 1 (11:49):
So then she suddenly has to make a game time decision.
She's like, I'm literally seeing that. In about two and
a half minutes, all three of these teens are going
to be killed by a sticky man. So I have
to just like, basically, despite the fact that I have
no maternal instinct because I grew up in the foster
care system, I have to decide to be a chosen
mother to these three girls, even though I sort of

(12:09):
hate them and don't want to be a mother, and
keep saying and keep saying things like I cannot deal
with you girls, like this is your parents responsibility. So
basically she's.

Speaker 3 (12:19):
Sort of like, guess what none of the parents.

Speaker 1 (12:23):
Oh yeah, spoiler, none of them also have accessible parents
and are all in her words, strays what she.

Speaker 2 (12:31):
Says that as got to stick together.

Speaker 3 (12:34):
Oh I thought she said that only to the cat.

Speaker 2 (12:37):
Well, she said it to the cat, but it was
a running theme.

Speaker 3 (12:39):
I didn't notice that part.

Speaker 1 (12:41):
I didn't notice texting me. Matthews texted me from the
other room that the villain is a little sticka as
opposed to a little stinker. So that's sort of good mythology.

Speaker 2 (12:51):
That's nice, that's nice, Okay, So yes, okay, So then
she saves these girls, she gets she steals a cab, and.

Speaker 3 (13:01):
She's like, basically the movie like, we got to.

Speaker 2 (13:03):
Get out of here. She drives the cab to cut
to the middle of the woods. The cab is now
in the woods. Oh yeah, with the three girls. The
three girls are hungry. They're like, we're hungry.

Speaker 3 (13:14):
We need beef jerky, we need more jerky.

Speaker 1 (13:16):
To be clear, until now, the movie was set in Manhattan,
and she from Manhattan steals a cab and then next
thing and she's in the forest, in the middle of
the forest, side the forest the cab. So she basically
kidnaps these three girls. Is like, I'm gonna save her life,
but I'm not happy about it.

Speaker 3 (13:37):
Yeah, And she's like and she's like, stay here, I'll
be back in just a couple hours.

Speaker 1 (13:43):
She's like, I'll be back in three hours. Don't move,
you stupid seawards.

Speaker 2 (13:48):
Yeah. So then she takes the stolen cab, drives it
back to the city to what does she do?

Speaker 3 (13:55):
This is when she's like she has She's like, I
have I have some important research that I need to do.
And she literally just goes home and starts like flipping
through memoryiles.

Speaker 1 (14:04):
Home and starts flipping through her mom's old notes and
at one point goes, oh, okay, spider people, because she
reaches the section about spider people.

Speaker 3 (14:13):
Yeah, she goes loss aroun Us and then yeah, so
and then she tries to climb a wall and it
doesn't work, and she's sort of like, God, I guess
I should get back to those girls who want jerky.

Speaker 2 (14:28):
And then she goes back to the girls and guess
what they are found found they're in a diner flirting
with teen boys because teens are just gonna flirt. Yeah.

Speaker 1 (14:41):
Well, their superpower that was latent was being a horny
and as soon as they saw the teenage boys was
activated and they were like, well, we have to make
our shirts into crop tops and dance on the table
because we're horny teens in your area.

Speaker 2 (14:54):
Yeah. They were being so funny.

Speaker 3 (14:55):
It was around this point that I think I whispered
to George that this movie does not pass the Bechdel test.

Speaker 1 (15:03):
We should also mention Sydney Sweeney's. So each of the
girls has one personality trait. Yeah, one of them is
good at math yea and.

Speaker 3 (15:12):
Yeah she's a lot Yeah, she's a lot mass lete.

Speaker 1 (15:15):
And Sydney Sweeney is like poor and also has has
a schoolgirl vibe.

Speaker 2 (15:22):
She's so like a pre porn She's like she's.

Speaker 1 (15:26):
Literally made for I would say, like Verry camgirl, just
being inside the theater, you're like implicated in the global cabal.
Like she is dressed in a way that like I
didn't think was even allowed anymore. And I would say
she does say words, but the essence of what she's
saying at any given point is the following.

Speaker 3 (15:48):
Yeah, yeah, yeah, fuck me.

Speaker 1 (15:50):
Like everyone else is speaking normally and she's being like fuck.

Speaker 3 (15:54):
Me, including during the scene when she's practicing CPR and
the audio that's coming out of her thumping aways.

Speaker 1 (16:02):
Yeah, she's literally practicing CPR. She's so.

Speaker 2 (16:08):
And then the last girl is skater punk, does not
respect authority but is rich.

Speaker 3 (16:14):
Yeah, parents, black girl. That's like, yeah, the.

Speaker 1 (16:19):
Most I love when like for her to be like
my dad created a new kind of plastic that's bad
for the environment, Like it's so, you know, it's this
sort of like expositive.

Speaker 3 (16:31):
Meanwhile, meanwhile, like mere moments later after they're all like, ah,
that's fucked up. Like Madam Webb takes which, by the way,
is never said in the movie. Madam Webb is never
once said in the movie. She takes a private plane
to Peru and bath in the course of one day.

Speaker 1 (16:51):
So basically saves the three girls out.

Speaker 3 (16:54):
Sorry, she has a vision.

Speaker 1 (16:55):
She has a vision that sticky little stick up is
gonna kill them at the diner, and she saves them.
And then she's like, Okay, you guys, enough, I've done
it as much research as I can. In the suitcase,
I have to go to Peru.

Speaker 2 (17:08):
Yeah, So she drops the girls off with her co
Adam Scott, who plays and by the way, whose sister
is Emma Roberts, Yeah, whose sister is Emma Roberts who's
pregnant and her whole thing is pregnant.

Speaker 3 (17:20):
Wait. Yeah, that's because you said, wait, whose sister is
it his sister? Yeah, Emma Roberts. Yeah wait, but I
thought that they were to and that's his baby.

Speaker 1 (17:34):
No.

Speaker 2 (17:34):
So this is where it's confusing, because so Ben, this
is what I meant. Ben. Okay, So Adam Scott is Ben.
Ben says in the first conversation he met someone and
it's serious. We never see that woman the entire movie. Similarly,
Emma Roberts is pregnant, having a baby shower.

Speaker 3 (17:51):
And the only person taking care of her is him.

Speaker 2 (17:54):
Yeah, and we never see her husband.

Speaker 1 (17:56):
And so he's meant to be his uncle.

Speaker 2 (17:59):
Ben's baby is supposed to be.

Speaker 1 (18:01):
Baby Spider Man, but we don't meet Aunt May, and
Aunt May is not obviously Madam Webb.

Speaker 2 (18:06):
No, Aunt May is supposed to be Ben's.

Speaker 1 (18:08):
Partner, Ben's partner that we don't meet because they haven't
like decided who to cast her as to be like
a bigger.

Speaker 3 (18:14):
Oh and that's why we he can never we okay.
He So when he was like he when he in
the beginning of the movie, when he's like I met
someone serious, it's he's like, I've just met aunt May. Yeah,
I've just met aunt May, and it's gonna be serious
later on. Basically not as well, we won't get to
that yet.

Speaker 1 (18:31):
He basically, I just met aunt May, you know from
Spider Man. Yeah yeah, yeah, okay, so okay.

Speaker 2 (18:38):
So she saves them from mister Stick and then we go.

Speaker 1 (18:43):
She goes to.

Speaker 2 (18:44):
Peru for a little day trip to rediscover this ancient tribe.

Speaker 1 (18:50):
Which we haven't actually mentioned yet. The ancient tribe.

Speaker 3 (18:53):
No we did.

Speaker 1 (18:53):
The is a tribe of spider people who in fact,
ultimately say Madam Webb's life because the mom was about
to die while giving birth and so they had a
spider bite her so that the baby would have superpowers
and be able to survive, but they weren't able to
save her mother, and.

Speaker 3 (19:14):
Which by the way, they also didn't need to do
because like at that point, like if she's about to
give birth any I mean, it's very common for women
to die in child die in childhood, which is mentioned abundantly,
yeah in the movie.

Speaker 1 (19:31):
Yeah, well the movie is about motherhood and chosen family.
But we can get to that later and I'm not
kidding no, no, okay, very much, but I do. But
very quickly what she discovers she learns how to appropriately
use her powers, which are basically just sort of like
being able to kind of travel in space and time
a little bit.

Speaker 2 (19:49):
Well, this was what was so iconic was that, like
she didn't get up by the spider, her mom did,
so she only got some power.

Speaker 1 (19:56):
Yeah, like, she only got some power.

Speaker 2 (19:57):
She can only sort of see in the future and
sometimes is able to quote unquote use the web, to.

Speaker 3 (20:04):
Which I'm sort of like, why didn't they Okay, if
the people knew that the mother was going to die,
but they're like but they're like medically savvy enough to
like still facilitate a birth. Why didn't they just like
take the baby and give the baby the spider so

(20:24):
that the baby have all the powers as opposed to
like biding the mother during her last moments on Earth,
having her break out, die, give birth, and then the
baby only gets a fraction of the powers.

Speaker 2 (20:36):
That was what was This was one of the one
of the many iconic choices from this film was that
to give to have a superhero movie where the powers
aren't even that good. I was like, like, you're addressing that,
like there's no like severe power to be reached.

Speaker 1 (20:52):
But I also think that is why the casting of
Dakota Johnson is so perfect, because she is so a
girl who has half powers.

Speaker 3 (21:01):
She's a girl with half powers who is like half acting. Yeah,
the whole movie like her power, her.

Speaker 1 (21:07):
Half power is being an actor, like she is half
she got the gift, but only fifty percent.

Speaker 3 (21:13):
Yeah, so it was sort of extraordinary.

Speaker 1 (21:16):
Yeah, I mean, it was an incredible performance, which we'll
get you, but I just basically I do want to
mention that she finds out obviously her entire life, she
hates her mom. Her mom's a huge bitch because she
only cares about spiders and come to find out the
reason she cares so much about this spider is because
she found out her daughter has a rare genetic disorder
that could only be cured by a radio active spider.

(21:36):
So the reason why she was researching on Amazon.

Speaker 3 (21:39):
Yeah, is that the neurological issue that she then has
later in the movie.

Speaker 2 (21:46):
No, that's because she got hit by a.

Speaker 3 (21:48):
Firework in the hand.

Speaker 1 (21:49):
She got literally her hand.

Speaker 3 (21:51):
I got hit by a firework and.

Speaker 1 (21:56):
Okay, so she it feels better about her mom. She
goes back to York. Obviously, this takes place within the
span of maybe five and a half hours for taking
her cab to Peru, learning about her past, and then going.

Speaker 2 (22:08):
Back to she left the stolen cab in the parking
lot of j Okay, she got back into the She
gets back into the cab, drives back to like, you know,
Astoria where Adam Scott lives.

Speaker 1 (22:21):
Oh, yeah, they're all in Queen's by the way. Yeah,
it's it's giving Aquafina, which is Nora and Queen.

Speaker 3 (22:26):
Yeah.

Speaker 2 (22:28):
So then but she goes back, She gets back to
Adam Scott's house and Queen's they're gone again because there
because Emma Roberts is giving birth to now know is
Peter Parker. So then she gets a vision of them
getting attacked, goes and saves them. It's hits Spider Guy
with her car again. She's hit him with her car twice.

Speaker 1 (22:51):
How did she even get up there? How is she
able to? I mean that makes nose. The point is
whatever it all results in, like a big chase scene,
final battle, final bat that is at the Pepsi Cola headquarters.
And we should mention the full title of this film
is Pepsi Presents Madam Web. Yeah.

Speaker 2 (23:07):
Yeah, it's at the Pepsi headquarters. It's full of weapons
and explosives and they use it to destroy the bad guy.

Speaker 1 (23:16):
And she's finally able to use her powers as Madam
Web by basically splitting into three little ghost versions of herself,
each of which saves one of the teens that she
is now mothering.

Speaker 3 (23:30):
Did you guys want a Pepsi after this movie? Or
where you sort of scared of Pepsi's.

Speaker 2 (23:35):
I was actually so grossed out by Pepsi after.

Speaker 3 (23:36):
It really kind of freaking me out.

Speaker 1 (23:38):
Well, you know what's interesting is that we went there
and I had this dream that I was going to
get a diet Pepsi because that's all that's available at
Regal cinemas. And unfortunately the line was so long that
I wasn't able to And I don't even remember, honestly,
the last time I went to a movie without aesta
like it might it might be like six years. So
the fact that this movie happened to be quite literally
sponsored by Pepsi and there was a Pepsi in every scene.

Speaker 3 (23:59):
And we could not get it, and we could not
and we.

Speaker 1 (24:01):
Could not get a Pepsi. I'm like, I'm being convinced
by this advertising and I want one, but it is
impossible for me to get one.

Speaker 2 (24:08):
Yeah. That yeah.

Speaker 3 (24:10):
Oh and by the way, the final part, Yeah, the
final part.

Speaker 2 (24:14):
So she has this battle, she gets injured. In the
big battle, he dies, She gets injured. She wakes up
in the hospital, her eyes are covered. She uh. The
person the nurse comes in is like, do you need
anything or oh, are you immediate family? And she goes, yeah,
we are, and I have everything I need right here
in this room.

Speaker 3 (24:32):
And then it turns out absolutely nothing.

Speaker 1 (24:35):
Yeah. So now she's surrogate mother to the three teens.
They all live together as a chosen family in an
attic space in an attic space and it actually is
sort of like amazing, like steampunk williamsburg lofft mind.

Speaker 3 (24:49):
You, mind you? If I recall correctly, I think the
three girls take stairs to get up. Meanwhile, she's in
a wheel chair in an attic space that is only
accessible by chair by stairs.

Speaker 1 (25:01):
The girls are doing fully like elder abuse of a
person with disabilities. They don't let her leave the house.

Speaker 3 (25:08):
Yeah, it's like moonshouse in by proxy, by proxy.

Speaker 2 (25:11):
And then she's just wearing Gucci sunglasses.

Speaker 1 (25:14):
Well yes, I mean, and then at the end she's like,
now I'm gonna be like fashion icon wheelchair blind wheelchair
fashion icon. So I'm gonna have like crooked love sunglasses.
I'm going to be in a wheelchair that is approximately
sixteen feet tall.

Speaker 3 (25:31):
Oh and by the way, they bring in Chinese food
and they're like, we got takeout, and she's like, and
mind you with her like blind sungnglasses on, she turns
around and she goes cut chicken, right, and they're like,
how did you know? And she's like, and the implications
because she can see the future in your future, but
of course she could also hypothetically probably smell the present,

(25:51):
right right.

Speaker 1 (25:52):
Yeah, well, her other senses are also heightened.

Speaker 2 (25:55):
I also love when she's like bless you and the
girls like I didn't thank you.

Speaker 3 (26:00):
Yeah.

Speaker 1 (26:01):
Also, by the way, that is annoying, Like that's annoying
to say that before someone sneeze. You're making things more complicated,
just like wait for and then you can say it
just wait right.

Speaker 3 (26:10):
Well, she's still I mean ultimately, you guys have to
remember that she was in the foster care system, so
she's still trying to prove herself on some sort of
like existential level that she's worthy. You know, she has
a lot of she has a lot of problems.

Speaker 2 (26:22):
Well, this movie, this movie was basically about how women
should be.

Speaker 1 (26:27):
Mothers exactly or daughters or daughters.

Speaker 2 (26:31):
That's the binary. Yeah, are you a mother a mother
or are your daughter?

Speaker 1 (26:35):
We should say at the end, there's a split truly,
like thirty second part where we see what they will
ultimately become with the superheroes, and we see them with
their costumes and they're fighting crime and they're fighting immoral
men as powerful women.

Speaker 3 (26:49):
You know, what's do you know what's so interesting that
I kept thinking about is that like a lot of
the most high voltage, high production moments of this movie
happened in like less in a second during like flash
forwards to totally totally future. And so I think that
probably the majority of the production budget went into moments

(27:10):
that I didn't last forwards cumulatively for more than like
five seconds. Yet the movie interspersed.

Speaker 1 (27:16):
Well, it is so like a prequel to a prequel,
Like it.

Speaker 2 (27:19):
Was insane to show like what will come and not
have it like they show what will come very early
on and you're like, oh, cool, that's where we will
be by the end of this movie. That is not
the case at all being of this movie now.

Speaker 1 (27:34):
Because the visions that Sticky Man has are of the
three teens in costume and actually Sidney Sweeney looks sort
of amazing in her It's.

Speaker 2 (27:43):
Great, she looks incredible. What well, what did we What
did we think of the film?

Speaker 1 (27:53):
I don't I loved it.

Speaker 2 (27:55):
Yeah, I loved it as well. I was so deeply tickled.
I like was thinking about it all day yesterday after.

Speaker 1 (28:02):
Watching me how fun I really had such had such
a good time. I I was like, I read him. Yeah.
And it also, by the way, like I'm you know,
obviously it is a bad movie. So to speak. I'm
not like claiming it's Cosablanca, but like it. I read
some headline that was like, Madam Webb unfortunately is not

(28:24):
one of those movies that's so bad it's good, and
I'm like, yes it is.

Speaker 3 (28:27):
Oh yeah, I know, it's exactly there.

Speaker 1 (28:29):
This is exactly the kind of movie that is so bad.
It's good. Also, it is a very good screenplay in
terms of just like one thing leading to another, like
I was always engaged, I knew exactly where I was.
I well, that's it was. It was sort of tight.
I would say it's like an hour and forty five minutes.
So I'm not saying it's a good but you know
what I mean like it. Yes, there were parts that

(28:51):
didn't make sense if you thought about them too much,
but it is clear what is going on at every
given moment, what conflict was trying to be resolved.

Speaker 2 (29:00):
Macare almost felt like it was written by children, Like
that's kind of how I feel where it was like.

Speaker 3 (29:06):
I feel like it was written by us right now
on this pod.

Speaker 1 (29:08):
Totally totally like yeah, but that's why I liked it.

Speaker 2 (29:11):
It definitely felt like oh so then they like like
you know how like when you're writing, a problem comes
up and you're like, oh, how can I get that
from from there to there? It's like, Oh, they just
drive the cab they stole and yeah. Like they were
like really not sitting with the problems in the script
and just being like, oh, who cares? Who cares?

Speaker 1 (29:28):
No, of course, I will say the part in the
train where she like keeps having many visions and is like,
how do I save these girls? I was like at
the edge of my seat. I was like, that.

Speaker 3 (29:38):
Was like the best part of the movie.

Speaker 1 (29:40):
Yes, agreed. I thought the dialogue just has this really
amazing wooden quality to it.

Speaker 2 (29:52):
It's like people who have never heard people talk before
writing dialogue in a way that was so funny. It
was like hearing like a tried to speak English. Like
I was like like, like, this is so when she
does the line Okay, well we'll talk about some of
our some of the big ones, when she's like I
just want to go home and watch Idole, and it

(30:14):
was like, what, Like they're trying to get like the
two thousand and three specific of like people were loving
American Idol then, but I was like, but it's been
long enough that I don't remember people referring to it
as just idle, and I actually still feel like people said,
I want to watch American idol yeat.

Speaker 3 (30:28):
George was really upset by the incessant use of the
word hangary.

Speaker 1 (30:31):
Well, I was so annoyed by that.

Speaker 2 (30:33):
Grey was so bad.

Speaker 1 (30:35):
Hangary was invented in twenty fifteen, Like that is simply
not something people said in two thousand and three, and
it was said multiple times.

Speaker 2 (30:43):
And it was Yeah, there was so much of that.

Speaker 1 (30:46):
But also another thing with da coda with Madam Webb
is for approximately ninety percent of the movie, her answer
to everything is literally, I don't I don't know. Girls,
I don't know. Girls.

Speaker 2 (30:57):
That was They're like, who's doing this? Like I do,
I don't know.

Speaker 1 (31:02):
She was like, shut up, girls, I don't know.

Speaker 2 (31:06):
When she rescues them from the diner, they were almost killed.
She just ran her stolen car through the window of
a diner. And then she's like, they're like, we're so sorry.
That was crazy. She's like, yeah, that was crazy.

Speaker 1 (31:20):
Shut up.

Speaker 3 (31:22):
Yeah wait, I actually.

Speaker 1 (31:23):
Want to in terms of Sam what you were saying about,
how like if there's a problem, okay, what's the easiest
way out of it? One thing they did was she
would have a question about something and then she would
just have a vision that answered it. Like do you
remember when she sort of had like half a conversation
with Sticky Man where he just like explained the entire
plot of the movie. But it was sort of ghosts.
It was like, it's not like she even had a

(31:45):
flash forward or a flashback. She just sort of had
a vision of him being like, Okay, I'm Adam Webs,
so here's the deal, Like i'd at your mom.

Speaker 3 (31:53):
Yeah, I'll just shout out to mister miss yours Dicky
who like who? During like his final scene, like okay,
she had during the final battle, they're on top of
the factory and he's in his like you know, little

(32:17):
like billionaire outfit where he's like, oh, I'm so powerful,
I can punch out any of these women easily. And
then she is having this vision of the s in
the PEPSI sign falling on him and she's like and
she keeps beckoning him literally saying come on, come on,
come on to a space. While he's like, what are

(32:37):
you doing. You're being so weird. I'm going to kill you.
She's like and she goes, come on, come on, and
she keeps looking at the s. She keeps looking up
at the s. He never once even thinks to glance
at what she's glancing at, you know, and just continues
to follow her, being like, I'm gonna kill you. Why
do you keep walking away?

Speaker 1 (32:56):
Why she's literally crawling away? He could kill her in
that moment.

Speaker 2 (33:01):
I mean, she's the way they think so slowly. He
had really strong powers. The scene in the transtation when
the girls are like running away from him and he's
literally killing every single police officer in the transation instantaneously
without hesitation, and then these girls He's like, well, I
can't touch them until I've killed every cop within a

(33:22):
mile radius. It's sort of like, just kill the girls.
Just stop focusing on the cops and kill the girls.
It seems like it's pretty easy for you.

Speaker 1 (33:28):
By the way, for this to be essentially an origin
story for I mean both Madam Webb of course, but
also her three teens. We never see the three teens
gain their powers. We know that at some point she will, like,
you know, do an ayahuasca ceremony as their mother and
have the spiders bite them, but we don't see that
at all, and when they're in trouble, they're not empowered

(33:49):
to save themselves as Madam Web with the power.

Speaker 3 (33:52):
Is Madam Webb? Is she canonically the one that causes
Spider Man to be bitten by Spider too?

Speaker 2 (34:01):
Oh?

Speaker 3 (34:01):
Is she?

Speaker 2 (34:02):
I only remember like from the cartoons her just sort
of being like a wise oracle type.

Speaker 1 (34:08):
Oh, she's a wise oracle. Well, we should also say
that her name is Cassandra and her power is that
she can see the future. And not only that, but
her name is in fact Cassandra Web, and her powers
are seeing the future and being Madam Web.

Speaker 3 (34:22):
Her power is being.

Speaker 2 (34:25):
Well, this is the other thing kept saying is like
use the web, almost as if it's like like something.

Speaker 1 (34:30):
Being is the Web sort of like it's this sixth sense. Yeah,
it's the world Wide Web literally like.

Speaker 3 (34:38):
You literally she is the Internet.

Speaker 1 (34:41):
She is the Internet. Is the Web sort of like
basically being able to travel through time and space kind
of I.

Speaker 2 (34:48):
Felt like the web was like, yeah, I think time
and space.

Speaker 1 (34:52):
I guess like time.

Speaker 2 (34:53):
Yeah, yeah, like seeing time differently.

Speaker 1 (34:55):
Seeing time differently, it's the sixth Then she has where
she sees time differently, so sure so sure, yeah, So
it's interesting though, because I have to say, like the
connection between spider a spider web, and her web which
connects them all is purely metaphorical. She has no there's
nothing about her that is similar to Spider Man in

(35:16):
the sense that he can like actually act like a
spider Yeah.

Speaker 2 (35:21):
No, is a sense of time.

Speaker 1 (35:23):
Yeah, it's only the sense of time. And so what
the connection is just that they use the word web
to describe her unrelated non spider like power.

Speaker 3 (35:35):
Well, but I mean they do both have a spider as,
their as the origin of their I guess you're.

Speaker 2 (35:40):
Right, that's true.

Speaker 1 (35:42):
But here's the question.

Speaker 3 (35:44):
And also they mentioned early on that like some theas
have a sixth sense, which is the ability to almost
it seems, look into the future or something.

Speaker 1 (35:57):
Spider Man though, just to go, so, Spider Man can
be Spider like but doesn't have the future sense.

Speaker 2 (36:04):
He has very good reflexes. He has the Spider sense.

Speaker 1 (36:07):
I see, I see, I see, so the.

Speaker 3 (36:09):
Spider senses when.

Speaker 1 (36:13):
It's a little bit related. Okay, okay, all right, well
then it checks out for me. We didn't even I
want to talk a little bit. Well, the two things
I had on that I just wrote were the two
thousand and three of it all, and then also the
ADR situation.

Speaker 2 (36:30):
Yeah, I want to talk about the two and three
of it all. First of all, was like so clunky.

Speaker 1 (36:35):
So I read there's a rumor that it was initially
set in the nineties, and they made a two thousand
and three in post, so all of the like the
giant poster for Beyonce's Dangerously in Love was very clearly
like photoshopped in after the fact. Obviously the line no
that was hand painted painted by Beyonce, The part where

(36:57):
she says, I'm going to go home and watch idle
clearly adr. The costumes I would not say are are
necessarily early odds or really anything, but.

Speaker 2 (37:05):
Yeah, they're not really nineties either.

Speaker 1 (37:06):
They're not really easy.

Speaker 3 (37:07):
But there was a part where she was in these
high waisted, tight jeans that were very early like American apparel.

Speaker 1 (37:16):
That's true a lot of but I think two thousand
and three would be like low waisted jeans.

Speaker 3 (37:22):
Oh you would think that's true. That's the thing. It's
very confused.

Speaker 1 (37:26):
Because American apparel to me is a little later. It's
not no, you're right, yea, yeah, yeah, No, I think
it was actually very much not two thousand and three. Wow,
what else? So Beyonce Dangerously in Love poster? There was
an old like Calvin kleinad I think or that was
like some sort of iconic two those three ad.

Speaker 2 (37:47):
Well, when the girls were dancing on the table at
the Diamon, it was too toxic and the radio guy says,
and we done a new one from Britney Spears, and
I think you're gonna like it.

Speaker 1 (37:56):
Okay, So maybe that's an art And unless that was
a reshoot, I guess that would be a sort of
counter argument to what I'm saying, because if toxic was
already in the script, that means it was always going
to be true.

Speaker 3 (38:06):
Oh yeah, and she does say, she does say like
you love Britney Spears.

Speaker 2 (38:10):
Come on, that's right, that's true.

Speaker 1 (38:11):
That's true. But ad I want to say about the
ADR because you know, if you haven't seen this movie,
you think we're exaggerating. But I am being completely one
hundred honest when I say to you, you see someone
facing the camera and speaking, and they're they're the only
person you're seeing, and their lips are saying something different

(38:31):
than what is being said.

Speaker 3 (38:32):
And in addition to that, and in addition to that
there there is a like plethora of scenes in which
someone is talking to someone else and the person that
is being shown on the screen is the recipient of

(38:54):
the information, not reacting at all to what's being said
to them by someone off green. For an extended period
of time.

Speaker 1 (39:02):
This screenplay was essentially like not written until after the
film was shot.

Speaker 3 (39:06):
Yeah, yeah, I mean, which is why when Julio said
that he thought that it was all that a portion
of it was improvised. To me, it seemed like the
entire thing was improvised. It's like they had to shoot
the movie in order to pitch it to someone to
write it.

Speaker 2 (39:21):
Yes, yeah, you know, yeah, I mean the villain in particular,
so many of his lines were adr where I kind
of was like, I was like, one, am I going crazy?
Like is there something wrong with the movie? I was
like very very confused. And then I was like, oh,
maybe it's like a character choice where they're like he
maybe that's like part of his power?

Speaker 3 (39:40):
Is he like I thought he sort of telepossedly Yeah, yeah,
like a spider.

Speaker 1 (39:44):
Well also at first I was like, maybe it's an
aesthetic choice where like everything is happening in this dream
space where like you're sort of occupying both past, present
and future. I really like gave it the benefit of
the doubt, for I would say the first like twenty
percent of the film, and then I realized what was
going on. Also, Max, you made the point that, like
this would have been a great use of AI to

(40:05):
just like change the lips a little bit. I mean,
already the movie looks bad. It's not like you're gonna
make it look any worse. It's like, what's like.

Speaker 3 (40:10):
What and what's two more million dollars to make that work?

Speaker 1 (40:14):
Yeah?

Speaker 3 (40:15):
I mean they what was the budget was? What like
eighty million or something?

Speaker 2 (40:19):
Well, say Forrest.

Speaker 3 (40:21):
Wait, let me look it up right now.

Speaker 1 (40:23):
For a Marvel movie, the cast was you know, there
weren't necessarily a listers like this is.

Speaker 2 (40:29):
I was gonna say the complet I was like, the
cast was so iconic.

Speaker 1 (40:32):
No, No, it was iconic for I mean to I mean,
listen to have Shashana in there. Max. We can't see
your scream.

Speaker 3 (40:40):
I know, I know eighty it's eighty million dollars eight millions.

Speaker 1 (40:43):
Okay, Wow, so you guessed it perfectly or you had
already looked it up.

Speaker 3 (40:47):
I must have seen the numbers.

Speaker 1 (40:49):
Okay, No, the cast was of course iconic for our purposes.
But I think for like an actual superhero movie that
they're trying to sell with a list town like that,
just this doesn't compare to you know, the big ones.

Speaker 3 (41:02):
So what do you But here's the question, here's the
big question.

Speaker 2 (41:05):
At the end of it.

Speaker 3 (41:06):
Why do you think that this movie didn't make the money?

Speaker 2 (41:11):
Well one misogyny?

Speaker 3 (41:14):
Well, okay, because I mean ultimately right, like, none of
the Marvel movies make sense, No one is compelling.

Speaker 1 (41:22):
Yeah, So I think there's a lot of things going on.
First of all, they rushed this movie out after all
of the like animated Spider Man movies did so well
because there was like an appetite for more Spider Man
universe stuff, so they sort of rushed it out. I
think it screams to me, like, between the ad R
and the time shifting and everything, it screams to me

(41:44):
one of these movies that like there were too many
voices in the room and they just like couldn't get
it together to produce a product that makes sense. I
think there was a real misunderstanding about how bankable of
a bankable of a star Dakota Johnson is for the
average superhero audiences. Yeah, she does not. I say that I.

Speaker 3 (42:03):
Didn't know who she was until this.

Speaker 2 (42:05):
No, I knew who she was, but only from like,
I've never seen a movie she's in. I don't think where.

Speaker 3 (42:09):
WO been in.

Speaker 1 (42:11):
You guys have to see The Last Daughter.

Speaker 2 (42:13):
Oh, I have to see the Lost Daughter.

Speaker 3 (42:15):
Okay, she the daughter Max.

Speaker 1 (42:17):
Her big break well, first of all, she's famously Melanie
Griffith's daughter, and her big break was the Fifty Shades
of graand movies.

Speaker 3 (42:26):
Oh and she.

Speaker 1 (42:29):
She played on one of the shades. Yeah. Yeah, she
played one of the shades.

Speaker 2 (42:33):
Yeah she Okay. The thing watching this movie, I was like, oh,
the person they wanted to cast was Jennifer Lawrence. It's
very like I'm a fuck up, I'm like relatable queen,
I'm like hot, but like blurb about it, it felt
so like they just like wrote it for Jennifer Lawrence

(42:54):
and then like, obviously she didn't want to do it.

Speaker 1 (42:56):
Yes, of course, I think that it's an the question.

Speaker 3 (43:01):
Of no, no, she wouldn't have been. They wouldn't have
cast her in it because she was already mistake.

Speaker 1 (43:07):
Oh that's a good point. So who I'm trying to.

Speaker 3 (43:11):
Think, Wow, I came in sharp.

Speaker 1 (43:13):
There is crazy, Okay. I have a question though, like
do we, like, where are we coming out on this performance?
Not to be you know, a sort of like gay
guy podcast, but I am like, I do think it
was sort of an incredible performance because she is making
fun of what she's doing while she's doing it the

(43:33):
whole time, the.

Speaker 3 (43:34):
Entire I don't think she's making fun of it. I
think she's upset about it.

Speaker 1 (43:39):
Yeah, it's like she's like, I don't think I don't
think she.

Speaker 3 (43:41):
Has any sense of humor about him.

Speaker 1 (43:42):
Being all can you believe this ship? Yeah? Yeah?

Speaker 2 (43:45):
Yeah.

Speaker 1 (43:46):
Well it's also just like again with the whole like,
I don't know, Like that almost works on two levels.
It's like, on the one hand, the character doesn't know anything.
On the other hand, she's being like what is this?

Speaker 3 (43:56):
Yeah?

Speaker 1 (43:56):
Yeah here.

Speaker 2 (43:58):
Well, even though like the story line of like her
not wanting to be a mother and then like her
being mother to the team totally it was like her
not it was like also her not wanting to be
in a Marvel movie, and by the end she's like,
I guess I really am in a Marvel movie.

Speaker 1 (44:11):
Yeah, And also her like not wanting to spend time
with those random girls. She was like, who are you guys?
Like I don't even recognize And by the way.

Speaker 3 (44:19):
I love that you guys think of her as like
becoming a mother to these girls, because first of all,
they're taking care of her by getting her food.

Speaker 1 (44:27):
Secondly fun, she's clearly like funding, I mean, with her
giant salary as an EMT in post nine eleven New.

Speaker 3 (44:33):
York, she's and then supporting and then not to mention,
not to mention, like in addition to her taking care
of that, they're also like all like fully grown.

Speaker 1 (44:45):
No, so she's not so mother in high school?

Speaker 3 (44:49):
Yes, yeah, and she's like four years older than them
or something. They're like thirty two is she? But canonically
in this I don't think she's supposed to be two.

Speaker 2 (45:00):
Oh I thought I thought in the movie they said
she was thirty two.

Speaker 1 (45:03):
Really yeah, in real life she is thirty four.

Speaker 2 (45:06):
Really yeah.

Speaker 1 (45:07):
She looks great. I actually sort of gotta say I'm
a huge fan of Dakota.

Speaker 2 (45:11):
Johnson's No, I love her, I.

Speaker 3 (45:14):
Enjoy I like her. I do think you asked about
our opinions on the performance.

Speaker 1 (45:21):
Yes, I want to know your and I, Yeah.

Speaker 3 (45:24):
I do think it was sort of upsetting to watch
a lot of the time. Yeah, it was very It
was really uncomfortable to watch her have so much disdain
next to people that were like excited, yeah, to do
something that they didn't understand what they were doing.

Speaker 1 (45:43):
So this is an interesting, I would say, like angle
of the whole like camp conversation, because normally what happens
with camp is you look at someone like Uma Thurman
and Batman and Robin it's someone trying so hard and
it falls flat. But this was the opposite of someone
not trying hard enough, someone like It truly is like
the opposite of a traditional camp performance. She's like barely performing.

Speaker 3 (46:07):
Well, it's interesting that you think of it that way
because like so, so I tend to Yeah, I agree that,
like I tend to think of camp as failed glamour. Yes,
and I And in this scenario, I would argue that
the entire apparatus around her was like was the attempt

(46:27):
at the glamour. And she is kind of like the
film in a way because you know, because she's kind
of like.

Speaker 1 (46:34):
Not so she makes the film camp, but her performance
is not camp or something.

Speaker 2 (46:40):
Yeah, that makes sense to me.

Speaker 3 (46:42):
Sort of by that logic. Yes, but but but I
do know what you mean where it's like there is something,
there is something sort of I don't know.

Speaker 1 (46:49):
Well because the film itself. Also I understand why you're
saying the film is trying to be the glamor. But
the film also is so giving up on everything it's
doing halfway through, like again not really showing the superheroes.
It's so grounded.

Speaker 3 (47:03):
Do you think she should be humiliated by this?

Speaker 2 (47:06):
No?

Speaker 1 (47:07):
No, I think this is for her.

Speaker 2 (47:09):
I think no one actually should be humiliated by this,
except maybe like the Marvel Corporation. Yeah, Like, I actually
think I was pretty impressed with what Adam Scott was
able to do with his horrible part. I was pretty
impressed with Sidney Sweeney coming out like not looking stupid,
like almost looking like a victim of a bad movie
rather than like, yeah.

Speaker 1 (47:29):
Herself, So Sidney Sween, like, the Sidney Sweeney performance is
exactly what a movie a superhero movie performance used to
be like, because you are playing a cartoon like, that's
the whole point. You're playing a comic book character, so
of course you're gonna be like an archetype. You're gonna
be like slutty teen or wise mother or whatever. Like

(47:51):
I mean, I don't know, like just this idea that's.

Speaker 3 (47:54):
Going to be a slutty teen or blind woman, or
like this idea that like.

Speaker 1 (48:00):
Robert Downey Junior. Suddenly we're expecting like nuanced indie film
performances in superhero movies like Ruins all the fun.

Speaker 3 (48:09):
Yeah, no, I thought, but that's exactly what she's supposed
to be, right.

Speaker 2 (48:12):
I thought, Yes, yes, totally. Emma Roberts was kind of.

Speaker 1 (48:16):
Eating as the role of pregnant lady. I was like,
she was like, she was like, what is so my
thing is that I'm pregnant? Got it?

Speaker 2 (48:22):
She was like, I was like, this seems pregnant. This
is so lived in. Oh yeah, and her like we
have scene also.

Speaker 3 (48:32):
The baby's hour scene we can talk about, but like
I want to fast forward to the scene where she's
being driven to the hospital and she's first of all,
she's okay. They decide she's her water has broken, and
so she Adam Scott and the three girls need to
go to the hospital together in the same car. And

(48:52):
so the first decision that has made is that she
needs to be shoved into the back of a two
door car, and so they middled the seat and she
hobbles in, yeah, to get in the middle seat of
the in the back of this car. And then her
reaction during the entire drive, where all he's doing is
like speeding and cutting off cars and doing every illegal

(49:13):
move possible, all she does is slap the seat and
go and say go, go, go, come on, Like we.

Speaker 2 (49:21):
Have five minutes to get to a hospital in New
York and it's like there's probably one clothes, like, yeah.

Speaker 3 (49:26):
She's in Queen's Astoria is made of hospitals.

Speaker 1 (49:31):
I will say wild in terms of the like cartoonishness.
Something I really appreciated is that they kept Emma Roberts
in a wig and full makeup as she was going
to give birth, rather than trying to be like super
hyperrealistic about it. And she's like sweating and crying or whatever.
Like yeah, it's like, no, you're in a superhero movie.
So you're gonna look the part, sweetie, and we're gonna
do like one more little you know, sort of lip

(49:53):
filler for the scene and then you're gonna look snatched.

Speaker 3 (49:56):
Oh, I mean every single baby, at every freshly newborn
baby that came out in this movie was dry. Yeah,
and it was was dry and powdered.

Speaker 1 (50:06):
Even when the baby was born in a lake.

Speaker 3 (50:09):
In a lake, the baby came out dry and powdered. Yeah.

Speaker 2 (50:13):
Yeah, Okay, I want to talk about the baby shower
scene because this was so funny to me. It was
so many things trying to set up Dakota Johnson as
like relatable and like sort of like smarty and like
she doesn't do baby stuff. But she's like like wants
to be grilling with the boys, and she's like a
horrible mom because first she walks in and it's like
critiquing the guy grilling for like how it's like not

(50:35):
gonna have the flavor anymore yea.

Speaker 3 (50:37):
And everyone is so excited to see her. They're cheering
when she walks in and all she does is criticize
people and complain. She's just like me honestly.

Speaker 1 (50:47):
And literally.

Speaker 3 (50:50):
Get so excited to see all I do.

Speaker 1 (50:53):
She's like, you were having max a Max wittterd energy
she does, but you're no, but you're more high energy.
That's the thing. It's like it's you on a valium.

Speaker 2 (51:03):
Yeah, yeah, because I mean to have this girl who
you know has like never been to a normal person
barbecue in her life, like to be like in a
front yard in Queen's and be like, yeah, that's called
fat and that's where the flavor comes from. I was like,
this is crazy. And then also she's like the hand
are like a crisp clear pepsi And she's like, do

(51:26):
you have any beer? And he's like, actually, I think
because you were almost had a near death experience, you're
gonna be drinking.

Speaker 1 (51:32):
PEPs You're gonna be drinking a pepsi.

Speaker 3 (51:33):
And so she and then she and then she doesn't.

Speaker 2 (51:36):
She doesn't open it the whole time, holds she.

Speaker 3 (51:39):
Holds a dry can of pepsi. Pepsi.

Speaker 1 (51:44):
Sorry, she's the type of girl who like secretly doesn't
know how to open a can. She's like, I never
learned because I grew up in foster care. Like there's
something garry, like it goes back to the whole I
don't know thing. Yeah, she's sort of like how does
this work?

Speaker 2 (51:59):
Like so then the baby shower, they're playing this game
where you put like some memory of your mother or
like a memory of being raised on a piece of
paper and everyone like talks about it and it's like, wow,
so true, and.

Speaker 3 (52:13):
They like pull it out of a hat or whatever.

Speaker 2 (52:15):
They pull it out of a hat and then they
go who did this? And then everyone will be like,
I did it. My mom always made me try to
cookies whatever. So for hers, the Emma Roberts pulls out
a blank one. Instead of being like, oh, this was
a mistake, she's like who did this? Like instantly offended already,
She's like, who put a blank one in? And then
Madam Webb is like, I did I did my mother childbirth,

(52:41):
which is actually really common, by the way, not that
it will happen to you, but it does happen.

Speaker 1 (52:44):
All the time. You kept like digging a hole for herself.
She was like, it could happen, but probably not to you.
I mean it's post nine to eleven York, but you
never know.

Speaker 2 (52:51):
But yeah, I mean that scene was so so insane
and the way that all the girls were like mad
at her instantly, and I like, this is genius writing.

Speaker 1 (53:02):
What did you guys think of Shashana? Loved her?

Speaker 3 (53:06):
What could she have possibly done differently?

Speaker 1 (53:07):
Well? So I read a review I sort of was
like skimming some reviews, and one of them called her
like horribly miscast, and I'm like, who do you want
as the NSA agent if not just Shana.

Speaker 3 (53:19):
Yeah, it's like like all she ever is is like
an abused assistant, right, Like that is he that's her
type casting? Yeah, it's like totally I need an abused assistant.

Speaker 2 (53:31):
I mean, I thought it was so goofy to watch,
but in a way where I was like that almost
made me feel like does this movie know what it's doing?
Like this movie knew there would be gay guys watching
ironically and get a guffaw when they see Shashana in
the control room.

Speaker 1 (53:44):
Well, I also feel like.

Speaker 3 (53:45):
So the control room was just like his dinas, like
a bunch of computers in it that she's always at.
It doesn't matter to day night she's there. Yeah.

Speaker 1 (53:57):
I also do think, like the way Girls did, Shoshana
was sort of going into this kind of path because
she was being such a girl boss and so like,
all right, it's time to get serious, Like I've lived
my twenties, it's time to like really join the NSA.
And I actually do think it would make sense that
she would like meet this guy at a party and
be like, Okay, this is like a good connection to

(54:18):
have like in case he offers me a job and
then it turns out her job is killing teenage girls.

Speaker 2 (54:23):
Yeah, and I like that. She was like, wait, you're
gonna kill teenage girls but they're just teens, which one
it's like, yeah, kill adult women, but don't kill teens.

Speaker 1 (54:32):
She's like, wait until they turn eighteen.

Speaker 2 (54:34):
Then murder them. And then he's like, well, they're teens now,
but in ten years they'll be adults. And she was
like She's like, oh, yeah, told them and kill them. Yeah, totally,
I'll track them for you. Also, the thing about her
webcne from them all and they're being this big thing
of like, wait a minute, there's like the seam in
the woods where it's like we're not all strangers. You

(54:55):
saved my mother and I met you before, and there's like,
oh my god, and you lived in my building and
oh my god, you flipped me off that one time.
And they had this whole thing of like this is spooky,
like we all know each other sort of, and then
did not matter at all. There was really no point.

Speaker 3 (55:09):
It was just like okay, and by the way, that's
like that's just like New York. It's like, yeah, oh
my god, but wait, no, I saw you at Key
Foods six weeks ago. How is this possible?

Speaker 1 (55:21):
Yeah, it's like, yeah, it didn't have sex five years ago.

Speaker 3 (55:24):
Yeah, it's like I think the reason that possible is
because we all live in a small, condensed neighborhood in
New York City.

Speaker 2 (55:30):
Yeah, we all have the same agent.

Speaker 1 (55:33):
It is sort of I mean, I guess it's sort
of about post nine to eleven, everyone in New York
City needing connection, like really leaning into finding connection.

Speaker 3 (55:41):
And you know what's sad about the Shoshana character, Yeah,
is that she kind you know, she had a moral compass, right,
she was feeling a little bit dubious about like helping
him track down teenagers to kill. She didn't really like that.
But then he was like here in her and said
what would I what am I paying you for if

(56:04):
you don't do this? And she's like, fuck, you're right.
But then at the end, like he dies, so hypothetically
she loses her source of income.

Speaker 1 (56:11):
Anyway, she is sort of the most tragic character because
it actually is sort of like the banality of evil.
She's the one doing like the behind the computer work
of the murder.

Speaker 2 (56:21):
She's the zone of interest interest yeah, she's literally Sondra
Huler and zone of interest.

Speaker 3 (56:29):
Sondra Huler and Shoshana need to be in a movie
to girls to get Sondra.

Speaker 1 (56:36):
You know, Sondra would actually should join the Marvel Cinematic un.

Speaker 2 (56:39):
I mean, Sondra should have been Madam Web.

Speaker 1 (56:41):
Yeah, she would have been a great Madam Web. Oh,
I don't know.

Speaker 2 (56:46):
I don't know, my Web, I don't know.

Speaker 3 (56:51):
Sometimes these things just happen to women.

Speaker 1 (57:03):
Okay, I have a question. Was Sticky man hot?

Speaker 2 (57:08):
Yeah? No, no, not.

Speaker 1 (57:11):
He like he had all the makings of a hot man,
but then it somehow didn't add up. No, it really
was not having hot he was. Oh my god, Yes,
the other a man was hot. I agree, And I thought,
I think Adam Scott has hot, but Max disagrees.

Speaker 3 (57:28):
I can't.

Speaker 2 (57:29):
I wish I was. Scott's hair wasn't so long.

Speaker 1 (57:32):
Okay, that's complaint.

Speaker 2 (57:34):
But I thought the Aronha guy, I will like when
we meet him in the in the seventies and he's
like in this like barbed wire Web get up and
it's like kind of spooky and cools.

Speaker 1 (57:45):
The house of Yes, make it mistick.

Speaker 2 (57:47):
I loved it. And then we cut to present two
thousand and three, and she goes to Peru and he's
now wearing like linen, like all linen, and I was like,
this is keep it in the mystery zone. Like he's
like you found me, and it's like, wait, so some
days you dress up from J Crew and some days
you're wearing just some twine. This is this makes no sense.

Speaker 1 (58:07):
So don't you think that when she went back, like
the initial plan was for like a whole community to
greet her, but they like didn't have the money for that,
so they were like, whatever, just get that guy. We
can't even do his costume right now. Put him in
a blazer and like.

Speaker 3 (58:19):
And we're just gonna film this in the rainforest cafe.

Speaker 1 (58:21):
Yeah.

Speaker 3 (58:22):
Yeah.

Speaker 2 (58:25):
When she's like I'm going back to Peru, that was crazy.

Speaker 3 (58:29):
Well, she didn't even say that. She was like, wasn't
she like, wasn't she Like There's something I have to do,
but I don't know what. And then one of the
girls was like, you have to go to Peru And
then she was like, well.

Speaker 1 (58:42):
That is her sixth sense. She's like there's something.

Speaker 3 (58:46):
Her sixth sense is that is that she's like I
don't know, but like something's up.

Speaker 1 (58:50):
Yeah, that's true, which I do think is sort of relatable.

Speaker 3 (58:56):
Yeah, I too, I too have a sixth sense of
being like, something's wrong in my life and I don't
quite I know how to fix it.

Speaker 2 (59:05):
Yeah, what is going on? I don't know. I don't
don't know anything the whole movie.

Speaker 1 (59:10):
And she does have this like permanent look of confusion,
which I also relate to.

Speaker 2 (59:15):
Remember. Okay, so another funny funny line is when she's leaving.

Speaker 3 (59:19):
Can you imagine I'm sorry, really quickly? Can you imagine
being Dakota Johnson and like waking up in the morning
and being like day nineteen. I mean, I should go
into hair and makeup to continue being can you.

Speaker 1 (59:34):
Imagine how much of it? And I say this with
oh my love, how much of a bitch she was
to everyone on set for instead of this, oh.

Speaker 2 (59:40):
My god, horrific.

Speaker 1 (59:41):
Wait, I have asked a question, and sorry, Sam, I
know we're coming up. This is in the Indie Wire review,
and I want to hear if you guys know what
it is. It says, I don't want to spoil the
best moment of a film that only has about three
good ones, So let's just say that Johnson manages to
redeem one of the most gratuitous and worst written scenes
in the history of superhero movies, with the joke so
wildly morbid and perfectly delivered that the otherwise half conscious

(01:00:04):
audience had my screening roared with laughter. I don't know
what he's referring to.

Speaker 3 (01:00:09):
There were like two lines that she did that were
like that.

Speaker 1 (01:00:12):
I remember one. Yes, I remember at one point turning
to you and being like that was a good line,
rating like yeah, occasionally she will just like hit.

Speaker 3 (01:00:21):
Ultimately.

Speaker 2 (01:00:22):
Ultimately, it was funny when she tried to climb the
wall and fell, like I thought that was like legitimately,
Like I was like, okay, you're making fun of Do you.

Speaker 3 (01:00:29):
Remember a little bit I remember in like two thousand
and like thirteen, where like every single comedy movie that
came out was just like Women Falling Down.

Speaker 2 (01:00:38):
Yeah, if there was a movie called Women Falling Down,
I would be like.

Speaker 1 (01:00:42):
And it was also all of them were starring like
bar Refelli, Like all of them were starting like sports
illustrated models that needed to do a comedy.

Speaker 3 (01:00:49):
It needed to fall down.

Speaker 2 (01:00:50):
Yeah yeah, yeah, wait, I have no idea what the
line is.

Speaker 1 (01:00:54):
I know it really was bothering me because I'm like,
I don't even know who I would ask that would
tell me.

Speaker 3 (01:00:59):
You could probably a Dakota Johnson.

Speaker 1 (01:01:01):
Okay, yeah, we'll get her on the pod.

Speaker 2 (01:01:03):
Can you email that guy that Yeah, I'm going to
email the guy. Okay. Well, the line I wanted to
point out was when they're in the woods and they're leaving,
and uh, she's leaving the girls and she says, don't
do anything dumb. Then thirty seconds past and she goes,
don't do dumb things.

Speaker 1 (01:01:21):
And then she's like, seriously, well, I think vast The
part that Julia was saying seemed improvised. It was just
sort of like she's saying that it doesn't hit as
much as she wants. She's like, I guess let's try
it again.

Speaker 2 (01:01:33):
Like that felt like pulled from like the Marvel Comedy
Handbook and like this way where it was like, Dakota
can't deliver whatever you intended for this, it's so out
of place between.

Speaker 3 (01:01:43):
I really liked that line. I thought she did a
really great job with that line.

Speaker 2 (01:01:46):
Actually, I really liked it so funny in a battle way.

Speaker 3 (01:01:49):
I thought it was like intentionally funny and successfully funny.

Speaker 2 (01:01:53):
Oh, well, agree to disagree.

Speaker 1 (01:01:54):
I really can't tell with her again, like whether or
not she is giving such an incredibly complicated, weird performance
or if it's truly just like she's tired and she's
reading lines in whatever way occurs to her at any
given moment, and it just is sort of inconsistent.

Speaker 3 (01:02:09):
I think the confusing part is because I think there
are it's clear that there are little parts where she's
having a bit of fun a hundred she's read, but
she's really generally pretty upset during during the filmmaker, so
and so most of it is just kind of unpleasant,
but then there's fleeting moments where she's like, Okay, this
is kind of funny.

Speaker 1 (01:02:30):
Whatever. Yeah, I can't.

Speaker 3 (01:02:31):
I'll ham it up for this second ultimately, but ultimately
I can't let any I can't. I can't be vulnerable
for this.

Speaker 1 (01:02:37):
Yeah. Well, I'm telling you got to see The Last Daughter.
By the way, Last Daughter sort of what Madam Web is.

Speaker 2 (01:02:45):
Oh really, but Maggie Gillen Hall plays Madam Web in
that movie.

Speaker 1 (01:02:49):
Maggieja'll Hall is actually not in it. She directed it.
Olivia Coleman is Madam Webb.

Speaker 2 (01:02:54):
That's what I meant Okay, that's it.

Speaker 1 (01:02:56):
Oliver Coleman actually would be a great Madam web like
present day Like if if Dakota Johnson is her in
two thousand and three, present day Olivia Clem will be
wise Madam Webb.

Speaker 3 (01:03:06):
I would love to see her in big shades rolling around.

Speaker 1 (01:03:09):
Yeah, I think, just being like gals.

Speaker 3 (01:03:12):
Yeah yeah. In the since becoming blind, she's getting like
the British accent.

Speaker 1 (01:03:19):
Her other senses are heightened, and her other senses are
being British or being British.

Speaker 3 (01:03:22):
Yeah.

Speaker 2 (01:03:24):
Maybe she flew to England for a few years.

Speaker 3 (01:03:26):
Her sense of to Cora.

Speaker 1 (01:03:30):
Is heightened.

Speaker 2 (01:03:33):
Oh my god, wow wow.

Speaker 3 (01:03:38):
And by the way, we didn't even mention the four
D seats.

Speaker 1 (01:03:41):
Oh my god, yes what I wanted to mention. Okay, Sam,
go ahead.

Speaker 2 (01:03:45):
Well we roll up to the theater and I say,
you know, oh, what is this? Are we seeing this
four D? Surely not George bought iconic tickets.

Speaker 1 (01:03:54):
You kept giving me this classic Sam look of being
like you fuck this one up, which sometimes you do give.
Because first I had gotten five seats that were three
in one row, two in another row. Because in my defense,
when I went to go get the seats, those looked
like the only ones that were available except if you
wanted to be like in the first or second row.

(01:04:15):
And then of course it became clear that it was
four d X because that was the only time that
we could all make.

Speaker 2 (01:04:20):
And for those that aren't cinophiles, that means the chairs
shake and movie and are like on a roller coaster track,
literally on a roller coaster. There's also a cool breeze
that is blown on you in the middle of winter,
by the way, and water water that sprays on you.

Speaker 3 (01:04:37):
Which by the way, like you know, I was not
privy to any of this walking into the theater. All
I saw was I walked up to my seat and
it was extraordinarily sane. I mean, it looked like us.
It looked like it truly looked like a fourteen year
old had been like masturbating, eating like peanuts, and like
Eminem's in this chair for like fourteen days on it.

Speaker 1 (01:05:00):
Masturbating while it's going like a roller coaster, yeah exactly,
even going everywhere. Yeah, well he's watching.

Speaker 3 (01:05:06):
Madam Webb exactly, yeah exactly.

Speaker 1 (01:05:08):
Well, finally we found one row that didn't move, so
we all we were like, you know, everyone else was
like very excited for forty X and it was like
five bitchy gay guys being like, oh this is it's
like Sam, your joke, how goosh? Yeah. I was going
to be like, how gosh, We're going to the one
row that doesn't move, But then of course that row
still does have the water, so we all put our

(01:05:28):
coats in front of the water sprayer.

Speaker 3 (01:05:31):
I was genuinely scared of the of the shaking of
the chairs though, because during one of the commercials, like
before the previews.

Speaker 1 (01:05:41):
You mean one of the seventeen commercials that each lasted
five minutes.

Speaker 3 (01:05:45):
Yes, they like the the chairs. I was like rubbing
my eye and then the chair shook and I like
like I kind of like stabbed my eye with my
own finger a little bit, and I was like, ow, okay,
this is not safe for me. I need to like
I need to be able to rub my eyes at
any moment.

Speaker 2 (01:06:02):
When we were in the chairs and that it played
for the ad and we were shaking and jiggling, I
was like, I'm going to throw up.

Speaker 3 (01:06:10):
Yeah.

Speaker 1 (01:06:10):
No, if we hadn't found the one row, I think
we would have left. I don't know, I have to
say I do think it was I should.

Speaker 3 (01:06:19):
Have disinfected my clothes after coming home.

Speaker 2 (01:06:22):
It was maybe the hardest I've laughed in a while
is realizing that we were going to see Madam Webb
in four DX. I like could not get over how
insane that was also the way.

Speaker 1 (01:06:32):
One of the reasons why I thought it would be
okay was because, you know, not to brag, but I'm
a regal member, So I was like, Okay, I'm gonna
make everyone pay twenty five dollars for this, but then
I'm gonna buy them get them all a free soda,
so it will all sort of even out. And the
one thing we couldn't do, as I said, was get SODA's.

Speaker 3 (01:06:47):
Yeah. Yeah. I also really appreciated George. Okay, so like,
you know, the movies ostensibly was supposed to start at
three forty and you know, come commercial fifteen and it's
now like four fifteen PM or something, and George's like
checking his watch because he has a dinner to get to,
and like you were checking your watch after every single

(01:07:08):
preview to see okay, I was going to know exactly
starting well.

Speaker 1 (01:07:13):
I was also you know when you like, I think
it's too late to go get a soda, but then
there's like one more commercially like maybe now, maybe now,
and then each time it's more proof that it's too late. Yeah,
but then there were still six more.

Speaker 3 (01:07:26):
Yeah, they really should have like a ticker in the corner.

Speaker 1 (01:07:30):
It actually is really not that hard to be like,
this is the exact movie, the exact time the movie starts.

Speaker 3 (01:07:35):
But also I will say that, like you could have
gotten up during any point of that movie to get anything,
I mean, for any amount of time and not have
the not have it be like interrupted.

Speaker 1 (01:07:45):
Well, no, I don't care about the missing the plot,
but there were certain moments that I'm I would have
been mad if I missed. Yeah, yeah, it was.

Speaker 2 (01:07:53):
I mean, every single frame of that movie needs to
be seen.

Speaker 1 (01:07:57):
I think that's what I mean when I said it
was a good screenplay. Obviously, I don't mean it's a
good screenplay. I just mean like there sort of wasn't
a lot of padding, like it actually a lot happened,
and and you were like interested to see what happened next.

Speaker 3 (01:08:10):
Yeah, so I was ready for it to be over.

Speaker 2 (01:08:15):
I was too, I was, Yeah, I was like all right,
Like honestly, about forty five minutes in, I was like Okay,
that was funny. Yeah, I knew the big fight scene
was coming, and I was just like, I kind of
don't want to.

Speaker 3 (01:08:27):
Have I don't need the big fight scene. Yeah, and actually,
like the big fight scene was one of the less interesting.

Speaker 1 (01:08:34):
To Oh of course. Yeah, well it would have been
more interesting if hello, they had literally turned to superheroes
halfway through so that they could be superheroes for the
big fight.

Speaker 2 (01:08:42):
Literally no one had powers and they were just sort
of scrambling around hoping that he didn't kill them instantly.

Speaker 1 (01:08:48):
Yeah, I mean, talk about that is I would say
the one flaw of the screenplay is like just keep
it as is, but have them all accept their powers
in the middle and then like have a real big
fight scene.

Speaker 2 (01:08:59):
Also, like, how much more interesting if she's like, you know,
mother to these children while they're like learning to have.

Speaker 1 (01:09:05):
Power exactly, and she's teaching them about their powers.

Speaker 2 (01:09:08):
Yeah, that's way more fun. I feel. Yeah, we're not
even necessarily teaching them, but it's like then it's like
they can actually go swing away and she's like, you
guys need to stay hidden, Like, but I want to
use my powers.

Speaker 3 (01:09:21):
Remember in the end, when she fell into the water
and instead of like, instead of doing what like a
normal human does, she just like kept sinking. She kept
sinking really really literally made of like brick lead.

Speaker 2 (01:09:34):
Yeah, she getting a hit in the hand with a
firework and then.

Speaker 3 (01:09:40):
Her to go blind and become para paralyzed.

Speaker 1 (01:09:43):
Yeah, but she did look with those glasses.

Speaker 2 (01:09:47):
No, I love the glasses.

Speaker 1 (01:09:49):
Yeah.

Speaker 3 (01:09:50):
She also like why did she she like she finally
wears lipstick In the end when she's blind.

Speaker 1 (01:09:58):
She's like, enough has happened to me? At least I
have to you know.

Speaker 3 (01:10:01):
Yeah, yeah, yeah, I have to look good for my girls.

Speaker 1 (01:10:04):
Yeah.

Speaker 2 (01:10:05):
The girls are like, how's your vision? And it's like,
you know, she's blind, now, why would you ask that
she never seen it?

Speaker 1 (01:10:10):
Or is it getting better? Because the didn't she answer like.

Speaker 2 (01:10:13):
I've never seen better in my life. No, she's fully blind.

Speaker 3 (01:10:16):
See, they're like how did you like how like how
could you see that? Or something?

Speaker 1 (01:10:20):
Or so. I think her big arc actually is like
becoming more metaphorical. At the end, she's like answering each
question as though it's a.

Speaker 3 (01:10:29):
Metaphor, right, whereas before she was she wasn't answering a
single question right.

Speaker 1 (01:10:33):
Exactly like before it was I don't know. I don't know,
I don't know. And then suddenly it's like, is everyone
here family? And she's like, yes, wink. Can you see
She's like kind of wink, like everything is a metaphor.

Speaker 3 (01:10:46):
Yeah, yeah, bless you wink?

Speaker 1 (01:10:49):
Yeah exactly. Okay, Well, any final thoughts about the film
Pepsi Presents Madam Webb starring Dakota Johnson.

Speaker 2 (01:10:58):
I would love to watch Dakota Johnson drink a mountain
do in real life. I think that would really be ground.

Speaker 1 (01:11:03):
I would love that, Yes, when they got Chinese food
and three mountain dews.

Speaker 3 (01:11:09):
My final thought is just that, Like when you opened
this up by asking what I thought of the movie,
this question was also asked to me yesterday what I
thought of the movie? After Sam asked me, what did
you think of the film? And I and I think
my response was and remains and remains, I don't have

(01:11:31):
any thoughts about it.

Speaker 1 (01:11:32):
It's like I, actually, you're a meeting to where it's at.

Speaker 3 (01:11:35):
By not having it defies, it defies.

Speaker 1 (01:11:38):
Yeah.

Speaker 2 (01:11:39):
Would you say your answer is I don't know, right?

Speaker 3 (01:11:42):
Yeah? No, No, Sam, My answer is I don't know,
I don't know. It's I don't know.

Speaker 2 (01:11:55):
I don't know.

Speaker 1 (01:11:57):
I don't know.

Speaker 2 (01:11:58):
God, what an amazing Did.

Speaker 1 (01:12:00):
You guys like her sort of burgundy red leather blazer?
I actually did like it, Like you didn't.

Speaker 3 (01:12:06):
Like, hated it, hated it one.

Speaker 1 (01:12:09):
We liked to be one, So that means it's cint
I did like her jeans, Yeah, they fix. She has
a great ass.

Speaker 2 (01:12:17):
Yeah.

Speaker 3 (01:12:17):
Yeah, yeah, you said that you like that? Yeah?

Speaker 1 (01:12:23):
Were always jerking it in the forty Yes. When I
saw her, I was sliding right off my seat because
of all the water that was big.

Speaker 3 (01:12:30):
Yeah, because of the water was being poured down my back.

Speaker 2 (01:12:33):
The driver you were having Wow, I mean should we
wrap it up? Yeah?

Speaker 3 (01:12:43):
What do you have to do?

Speaker 1 (01:12:44):
Sam?

Speaker 2 (01:12:45):
I'm going to see colds Play?

Speaker 1 (01:12:47):
Oh my god?

Speaker 3 (01:12:47):
How wait? How did you get tickets?

Speaker 2 (01:12:49):
We got press tickets baby, because okay because of the podcast.

Speaker 3 (01:12:54):
Nice? Okay, are you going to go too?

Speaker 1 (01:12:56):
I actually so we met.

Speaker 3 (01:12:58):
You already went, didn't you already went?

Speaker 1 (01:12:59):
Because as his parents gave us tickets for Christmas, which is, oh,
that's so nice.

Speaker 3 (01:13:04):
Okay. I really want to see it, but I think
I have to wait until the new tickets are released.

Speaker 1 (01:13:08):
I think you need to find a way to see
it for free.

Speaker 2 (01:13:11):
Yeah, I think you should just like ask for free.

Speaker 3 (01:13:14):
You know, I've done some ass skin around, including people
that are like a few people that are in the production,
and I can't really seem to do anything about.

Speaker 2 (01:13:23):
Okay, well, are you doing anything tonight me after?

Speaker 3 (01:13:27):
Yeah, gigli gosh, I don't think so.

Speaker 2 (01:13:29):
I would hang well, I think okay, we might go
to the Eagle after the play.

Speaker 3 (01:13:33):
We should go see Madam Webb.

Speaker 2 (01:13:36):
But maybe I don't know. I'll text you after the play.

Speaker 1 (01:13:38):
Okay, okay, we need to the Eagle.

Speaker 3 (01:13:40):
Sounds like a lot.

Speaker 1 (01:13:41):
Okay, bye, okay, bye bye podcast and now want more?
Subscribe to our Patreon for two extra episodes a month,
discord access and more by heading to patreon dot com,
slash Stradia Lab

Speaker 2 (01:13:54):
And for all our visual earners, free full length video
episodes are available on our YouTube, not get Back to
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