From Cinemacon to Superman Day

Episode Transcript
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Speaker 1 (00:00):
You were listening to DC on Screen.

Speaker 2 (00:03):
All right, Welcome into DC on Screen. I am David c. Robertson.
This is my co host, Jason Goss. Oh, how you
doing Man? All right, it's been a while, Yeah it is. Yeah.
We totally expected to do a Batman Forever review, and
then there was some kind of like there was the

(00:24):
five minute thing because we okay, what happened was all right,
so and it's sad, it sucks. It's look at first
they were doing CinemaCon and they had released a or
they had put out a five minute Superman footage thing

(00:46):
at CinemaCon, and they were like, you're not gonna be
able to see it, and then it came out. They're like, oh,
well wait, it's gonna be on the Minecraft movie. You're
gonna have to go to the theater to see Minecraft
and the Superman footage will be there. And then they
released it online. Anyway, so we'll talk about that in
a minute. But like on April first, while all this
was going on, Val Kilmer died and I was thinking like, okay,

(01:09):
we'll get we'll get to do a we'll do a
Batman Forever because we haven't sat down and watched Batman
Forever and reviewed it for our show in ten years.
It's ridiculous we haven't gotten to Batman Forever. But uh yeah,
it's one of those whereas like April first, are you
kidding me? Like I thought I was hoping it was
a prank? Yeah, No, but yeah, Val Kilmer passed away.

(01:32):
He was sixty five, died from pneumonia. He struggled for
years with throat cancer. He was a great actor, known
for so many, so many movies like Top Gun and
Heat and Tombstone and Kiss Kiss Bang Bang. By the way,
have you seen Kiss Kiss Bang Bang.

Speaker 1 (01:47):
Long time ago? But yes, it was great.

Speaker 2 (01:49):
Oh God, the Saint, the Doors Willow and of course
Batman Forever. So did you actually sit down and rewatch
Batman Forever yet?

Speaker 1 (02:00):
No? No, I was going to that weekend and the
plans crumbled as I never saw it.

Speaker 2 (02:04):
Right, Yeah, we did. We did actively plan on doing
a review or were like, look, we'll just wait on
the news because it's still coming in and it never stopped.
That's the thing is, like, I'm gonna have to apologize
to you guys. We've never been like all inclusive on
every piece of news, but this is ridiculous. This is

(02:26):
like every outlet has their whole like long ass exclusive
interview with James Gunn, David Corny Sweat, Rachel Braze to Hand,
and Nicholas Holt, and they're all just saying they're all
saying great things to me. Like to me, they're all like,
it sounds like they've got the characters down. That's like
they understand what I've always loved about the characters to
begin with. And I won't even say like all the

(02:46):
shit that I've loved from the characters from the comics,
because for a long time I felt like the comics
didn't get it as much as uh uh the Burnett
Deanie tim animated Superman show did. But you know, I
came up also in that that Triangle era of Superman
comics where it was just like fucking event after event

(03:09):
after event, death of Superman, Reign of the Superman, return
of Superman, like Electric Superman, Electric Superman, red, fucking.

Speaker 1 (03:16):
Fuck right before and after that.

Speaker 2 (03:18):
Yeah, so like, well specifically the Triangle era was just
like like the the mid to late nineties.

Speaker 1 (03:26):
Well, actually it has a good point. So the triangle,
I think I'm maybe that term, but the triangles after
the crisis, yes, but before the fifty twos, right, that period.

Speaker 2 (03:35):
Right, but it ends before even well before the fifty twos.
It's just like this big era and it's they it
did across like the Triangle era specifically refers to an
era of Superman comic where you could like kind of
track the story by the triangle on the cover that
has the number. But you know, DC was doing that

(03:56):
across the board with you know, death of Superman and
how they treated Hal Jordan and the addition of Kyle Rayner,
the relaunch of Green Lantern. Batman's back has broken now
they've got it. It was just like everything was a fucking event.

Speaker 1 (04:12):
Yeah, a lot of big swings being taken.

Speaker 2 (04:14):
Changed the face of comics forever.

Speaker 1 (04:17):
Yeah. And I mean that really was the air though,
where it was like you remember seeing the now fuzzy
news reels with shoulder pads about they're going to kill
Superman and these newscasters who've clearly not really thought about
this character, like since Reeve left the screen. Yeah, and

(04:37):
they made a big deal at it. It was like a
I think it was just like a thing where all
the news media decided to be fun to cover this
it almost like a culture moment.

Speaker 2 (04:46):
Yeah, and weirdly at the time, it's for me. I
mean as much as I love Lois and Clark and
they did, you know, play a little bit with what
they were doing in the Triangle era, but as much
as I love that, to me, like, what really brought
me back to what Superman was was Superman the animated series. Yeah,

(05:06):
I know, that's that's why I give preferential treatment and
speak more highly of it than other things.

Speaker 1 (05:12):
But what was a huge character recept for a generation.

Speaker 2 (05:14):
It was it was like, Hey, while we're going through
all this weird shit over here in the comics, let's
remind you of what Superman is. And uh, it's it's
feeling a lot of it's feeling like a lot of
what we're talking about in this movie.

Speaker 1 (05:27):
I mean, there's there is an inevitability to the reboot
cycle in that sense, Like, all right, so you just
left the Triangle era. I didn't know that term. I
guess I hadn't heard it in a long time. The
only Triangle from the early nineties I think of is
the Chicago Bulls. Even I think of that.

Speaker 2 (05:42):
One and I've died. I have no idea what you're
talking about.

Speaker 1 (05:46):
There, Jordan, Pippen and whoever the third one.

Speaker 2 (05:50):
The closest I've gotten to the to knowing anything about
the Bulls, I think was someone pointed out online that
if you flip it, if you flip their logo upside
down and it looks like a robot fucking a crab, that's.

Speaker 1 (05:59):
About its true. The triangle is some like Phil Jordan
renovation about how they operated it was it was either
an offensive defensive strategy. I don't fucking remember, I don't
know basket go, but so your fucking thing where like
even I know the term because you just run across it.
And others, like even other sports referenced it where they're like,
oh yeah, the fucking this time where it was just
it was a time where something was mastered, though, is

(06:21):
what I thought of ass And see you, I don't
really know that era, but people have to come to
these things. So like if if you're growing up in
that era, you've seen Superman deconstructed and Batman's back broken, right, yeah,
like but you go through all that, you want to
see him back in his base form, and then you
watch him go through all these variations. But now you're
like thirty five, forty years old, a new ver or
generation comes in and needs to see a set reset version.

(06:42):
So yeah, our generation came in and saw you know,
Tim Daily and or heard rather right and Conroy and
all the moment. Oh okay, okay, So so this is
the baseline, and then like yeah, now we're we're older
and want to fuck with them. But everybody, ever, every
generation has to have somebody like Pta, yes or you know,
tas right. I find it by going backwards a.

Speaker 2 (07:02):
Little bit, they don't have to Yeah, they don't have to, Bud,
it's nice to have.

Speaker 1 (07:07):
I do wonder that that's almost a theory I would
want to put out there and see what it goes.
Is do you kind of have to have a baseline
to be able to enjoy the fucked up deconstructed versions?
I mean postmodernism it says post right there in the
name it posts something, and then the modern means that
there was a retro. So it's all contingent.

Speaker 2 (07:24):
Yeah, I guess. So it's just I wonder if.

Speaker 1 (07:28):
Z cares that they can, they might just be able
to go straight into deconstruction versions.

Speaker 2 (07:31):
I don't know, I mean, I think we're just looking
at like this. This is one of the reasons that
there are so many splinters, you know, of fans, people
are like a whole man of steel is the only one, Like,
Wi'll fuck you very much. But I get it. I
get the reaction, the knee jerk reaction. Tod be like, no,
the one I grew up with is the thing. But

(07:51):
you know, even as a kid, like I didn't have
that quite that, Like I certainly have at times had
certain preferences obviously in biases and whatnot. But you know,
I even then I knew like, oh yeah, well it
started off like this though, or you know, yeah, before
this it was this. And you know that's part of
the power of storytelling and the importance of storytelling and

(08:14):
taking our you know, mythologies and are archetypes and shifting
them and changing them into new things so that they
remain relevant and yeah, they still remain as part of
something that matters to to the audience on a fundamental level.

Speaker 1 (08:33):
Yeah, it has to have like a source material that
gets reflected and then there's a group of people that
like the reflection with you and then that dies down. Yeah,
but something about Superman that's stayed for eighty eighty five
now and.

Speaker 2 (08:45):
Plus yeah I think so, I guess so. I don't know.

Speaker 1 (08:49):
But that's why archetype characters like these are so big,
is you make these cute archetypes like the big ones,
and they stick for a reason because you just can
reset those characters over and over again and do them
in your own end, and you doing for a different generation.

Speaker 2 (09:01):
Eighty seven eighty seven, Yeah.

Speaker 1 (09:03):
Yeah, I was trying to remember the last like numbered
edition of something that came every five years they come
up with an anniversary edition or something. M hmm. I
think the last one I fell for was the eighty
I'd have to look at the shelf though.

Speaker 2 (09:15):
Yeah, it's uh. I just my secret is I'm always angry,
Like I don't even pay attention to what what number
it is. It's just like, yeah, I don't know, Yeah,
sure I like this, Yeah, all right, I like this.
Oh yeah, did you get it? Because it's anniversary issue?
I'm like, was it?

Speaker 1 (09:33):
Yeah?

Speaker 2 (09:34):
Yeah, I don't even know it said anniversary. I don't know.
It's fucking.

Speaker 1 (09:40):
You're gonna be like me, who every time I get
a Beatles remix, like, oh cool, even more that's actual?

Speaker 2 (09:44):
Yeah?

Speaker 1 (09:45):
Yeah we did this way now. No, no, no qualms
for me. Send it by way. What did you find?

Speaker 2 (09:50):
Yeah, you know, everybody, everybody listens to this show.

Speaker 1 (09:52):
I eventually get one where somebody does something You're like, oh, oh,
you should exit this conversation.

Speaker 2 (09:57):
Yeah. Yeah, I think the next big anniversary I can
about for Superman, It's probably gonna be one hundred. But
if I'm most if I'm around, But I don't know, I.

Speaker 1 (10:08):
Think fifteen years is I'm sure we're well within boundaries
of being probable.

Speaker 2 (10:12):
But yeah, maybe I don't know. But you know, everybody
that listens to this show knows that I'm a big,
big star trek fan. Twenty five was a big year
because it just came about. The twenty fifth anniversary was
a big year for me.

Speaker 1 (10:26):
You know.

Speaker 2 (10:26):
They it was Kirk, it was Picard, and that was
about it. And there were all these specials about Oh
my God, because the next Generation was the highest rated
thing ever, And there were all these specials and books
and posters and Action figured out all sorts of crap
that you could get for the twenty fifth anniversary. By
the time thirtieth came around, d S nine and Voyager

(10:47):
were things, and I happily bought the magazines and all
the things I could find. By the fiftieth anniversary, I
was like, Paramount doesn't care. Why the fuck should I?
And if you remember the fiftieth anniversary, that's when they,
you know, put out Star Trek Beyond and to grab

(11:10):
the Futurama phrase that you like so much, that movie
just escaped. It really didn't get released. Yeah, yeah, and
they didn't really care, and you're just like, well, shit,
that's sad, you know what.

Speaker 1 (11:19):
I've never thought about it before, but I do think
about that phrase a lot because it taught me a
lot about how actual television production works. I thought it
was a lot more deliberate and straightforward until I heard
the Futurama writers doing some inside baseball like that, Yeah,
and realized, oh no, no, they're fighting tooth and nail just
to get these things done against sometimes just incompetence, just
people who shouldn't be in the position they're in, like

(11:40):
just life lifing at them.

Speaker 2 (11:42):
Yeah.

Speaker 1 (11:43):
And I have never thought about it until this moment,
but like, it did escape, and things don't always escape.
We do have batgirls, right, Things don't make it out
the back door all the time.

Speaker 2 (11:51):
Yeah, that one's sad in a way, but I think
it's for the best. Anyway, we should probably talk about
the cinema footage that they released.

Speaker 1 (12:01):
We actually should get back to the show. But I'm
I thought about it a few seconds ago, and I'm
actually proud of us for once that was a tangent
that stayed relatively within the scope of what we intend
to do on the show.

Speaker 2 (12:10):
Mm hmm somewhat.

Speaker 1 (12:11):
Yeah, mostly, and it's more than normal, more than normal,
and I was proud.

Speaker 2 (12:15):
That's all.

Speaker 1 (12:16):
Okay, we'll be a long time before it happens again.

Speaker 2 (12:18):
I was just trying to Wow, I'm not gonna cut
it so likely to do any of that. Ah, all right. So,
like I said, at first, it was gonna be a
CinemaCon thing, and then it was like, oh, it's on
the Minecraft movie, and then they just released it online.
Fine by me. I wanted to see it anyway.

Speaker 1 (12:36):
Without the Minecraft movie.

Speaker 2 (12:38):
Oh God, I'm not gonna watch that. I was like, well,
I'll miss that. Yeah, I'm gonna go see Minecraft. Fuck.

Speaker 1 (12:44):
I might watch it when it gets to the house,
just to see what kind of chaos has been rotted here.

Speaker 2 (12:48):
Yeah, you're you are exactly the audience who would watch
it because Jack Black is in it.

Speaker 1 (12:53):
Oh not even I mean, I have no, like profound
love for the guy. I think he's a lovely man.
But I would watch it just becau now I would.
I'm curious because I have seen a lot of people,
do you know hot takes on it now? Of course, yeah,
and a lot of it's like this is incredible to
watch because they basically filmed and they put together a
movie that they can call a movie, but they used

(13:13):
it using fragments of ideas through this game. And some
people were making this hot take about how you know,
people are just projecting these phrases they see, like these
little niche video game phrases that are community things suddenly
on the big screen and blah blah blah. There's a
whole cottage industrail must to people just saying this is
a whole generational moment seeing what the Minecraft movie is made,

(13:35):
and blah blah blah. And I'm kind of curious because
I want to see if it's is this really different
or is this just a lot of inside jokes shoved
into a movie that you didn't understand it. We do
this all the fucking time, and y'all are being weird
mm hm. My gut says it's the second one because
it usually is. It's like the Ockhams Raiser thing. Whatever.
Whatever you're thinking that's weird is probably not it if
a more normal explanation does it.

Speaker 2 (13:55):
Yeah, I mean, y'all can miss me on all that. Like,
I don't, I don't care about mine. I don't care
about Jack Black. Sorry, I have not cared about that
man sense high fidelity. I loved him in high fidelity
and that was the end of that he had. I don't.

Speaker 1 (14:08):
I don't know that I ever had any love for
him or not. It just he just comes and goes
from my life like so many people. Yeah, if anything,
I did have a small affinity for him in my
twenties when I went through a mister Show phase.

Speaker 2 (14:18):
Oh okay, and was like I the truth though.

Speaker 1 (14:21):
Back when he was like just deeply in the creative
thing and.

Speaker 2 (14:24):
He was he was the voice of reason. He was
Matthew Broderick's best friend. Wasn't doing his Jack Black bullshit stick.
He was Matthew Brodrick's best friend in the cable guy
m Yeah, and he was the voice of reason, the
one that was like, dude, Steven, I'm telling you this
guy's fucked up, he's not all right. Please don't you know,
don't have a party with him. Please don't let him

(14:46):
into your house. He's going by several different TV names. Please,
I swear to God, this guy's gonna hurt you. And
uh And Matthew Brodrick didn't listen. And I was on
Matthew Broderick's side because I was like, you, you have
such a shitty attitude about this guy having a new friend.

Speaker 1 (15:04):
Like you remember this film way better than I do.

Speaker 2 (15:07):
I wouldn't I love the Kimble guy. But I was like,
I was just like, even now, I'm like, dude, I
wouldn't listen to you either, because it just sounds like
you are being the pettiest piece of shit ever. Like
in the movie, it totally does. Like before he there's
any indication that Jim Carrey is not okay, Jack Black
is being a dick about it. Of course, he's just

(15:27):
like being a snarky little like my friends were supposed
to have another friend type. And I wouldn't listen to
him either.

Speaker 1 (15:34):
That sounds like the kind of thing that movie did.

Speaker 2 (15:35):
Though. Yeah, I do love that movie. It's so dark.

Speaker 1 (15:41):
The only parts I remember now it's been a long time.

Speaker 2 (15:43):
It upset everyone who loved Jim Carrey movies. They went
to this thing thinking it was gonna be a Jim
Carrey movie, and it was a Ben Stiller movie.

Speaker 1 (15:50):
That was my favorite part. And it was a Ben
Stiller movie before anyone knew that was gonna be a
whole last thing too.

Speaker 2 (15:54):
Yes, it was a Ben Stiller movie without Ben Stiller
in a starring role. It was a Ben Stiller direct
a movie type of thing.

Speaker 1 (16:02):
This is l well and he had no interest in
being funny here. Everyone came here not to be not funny,
and they were funny names, and it was it. I
enjoyed watching the reaction, even at like twelve or whatever.
It was.

Speaker 2 (16:12):
Yeah, it is funny. It is a funny movie. It's
just very dark.

Speaker 1 (16:16):
Yeah.

Speaker 2 (16:16):
I mean, Ben Stiller is in it, but he's like
the the Menindez Brothers kind of thing, you know I'm
talking about. Yeah, yeah, like his his he and his
brother killed his parents or something. And everyone was addicted
to this trial. I don't know. I yeah, some interesting
commentary about our society. As I'm doing a podcast about

(16:38):
TV shows and movies, should get back to again. Yes, yes, yes, yes,
Jesus Scott. All right, so the look the five minutes
I thought were great, the gorgeous shots of small Bard,
Superman lands. Superman's wheezing sounds like he's got a punctured lung,
crushed wind pipe something. The wheezing whistles for Crypto, I'm

(17:03):
not entirely sure how you whistle like that if you
can't even breathe.

Speaker 1 (17:07):
But you know what, I just keep howking that up to, Like,
if you've got the ability to do ice breath, yeah
you can, you know, a little bit better than the
rest of us.

Speaker 2 (17:18):
Yeah, I just imagine he You know, in bad situations,
you muster your energy. You know, there's no reason that
a mother can lift a school bus with her child
underneath it. She can with the proper amounts of adrenaline. Yeah,
I'm willing to. You know, we're talking about a movie
about an alien who gets his powers from the Yellow Sun.

(17:41):
I can suspend my disbelief a little bit to say, Okay,
he just mustered his energy and his breath and made
a whistle, just a whistle. So okay. Now Crypto runs up,
and what we didn't see in the original trailer is
he is just excited as hell and pounces all over
Superman just wants to play.

Speaker 1 (17:59):
Yeah, ye, which was delightful. It is. It's the part
that it's the ragged on nature of the leg that
that's the part that really cracked me out. Like they yeah,
and and the arm, but the you could tell they
spent some time on the acting of that leg, and
I really appreciate it.

Speaker 2 (18:14):
Mm hmm. And I've I've honestly, I'm not sure I've
ever felt as uh uh simpatico with Superman, you know
what I mean, Like I've just been a group of dogs.
I've been a group of dogs, you know, the you know,
you feel bad, and of course that's when they want
to run up and pounce on you and play.

Speaker 1 (18:32):
Oh yeah, when your stomach hurts, and that's when they're
gonna double fist you in the stomach.

Speaker 2 (18:37):
Yeah, absolutely, So he gets he gets Crypto to go
out and take him, take him home. Crypto finally figures
it out.

Speaker 1 (18:43):
This is happening. I'm watching the background. I just finally
got a decent look at Crypto's collar and it's fucking perfect. Yeah,
it's exactly the collar I have built for my previous dog.
But yeah, it's fucking perfect.

Speaker 2 (18:54):
Everything that's wonderful. So Crypto takes him to the Fortress
of Solitude, which grows out of the ground, which is cool.

Speaker 1 (19:02):
Yeah, I like there's a bark for him.

Speaker 2 (19:04):
Yes, that opens it. Yeah, yeah, Yes. They're greeted by
a number of robots, Robot number four, which he yes,
this is the thing from All Star Superman. Y'all go
back and look, and a bunch of people are like,
oh k, looks doesn't have numbers. No, this is this
is a different thing. Robot number four with the voice
of Valentutic.

Speaker 1 (19:23):
So abruptly and distinctly Alentutic and like so much so yeah,
in every possible way that we I mean, just he
just brings me so much joy every time I hear
him enter a voiceover.

Speaker 2 (19:34):
Yeah. So as as the robots lift Superman up, he
thanks them, which is the most Superman thing I've ever heard, right,
And Robot number four, voice by Alentudic says, no need
to thank us, sir, as we will not appreciate it.
We have no consciousness whatsoever. Merely Automaton's here to serve.
Meet twelve. She's new And then twelve giggles and says

(19:56):
he looked at me.

Speaker 1 (19:57):
Yeah.

Speaker 2 (19:57):
Now I've I've seen many of the naysayers complain that
he's already broken his own cannon with this, because if
Robot number four says they're just autumatons, they don't appreciate it,
then somehow the number twelve giggling and being happy that
Superman looked at her is you know, now that's.

Speaker 1 (20:15):
For the amount of time it took you to half
start that sentence, I've got two explanations already, like Jesus,
sure ya.

Speaker 2 (20:20):
Sure well. First of all, I thought what Robot four
was saying sounded as sarcastic as hell, like maybe they'd
had a conversation before, and Superman made a you know.

Speaker 1 (20:31):
Could very easily some personality aspect of number four that
that's the that's an air that number four puts on.
That's an easy thing.

Speaker 2 (20:40):
It could also yeah, it could also be. It could
be that, like they do have like the emotions and
you know, have all these they have consciousnesses and whatever.
But and Superman made a bad comment or something earlier
accidentally and upset his dignity or some shit. Yeah, or

(21:01):
it could be that he's saying it completely straight and
Number twelve represents a new factor, a jump forward in
the sentience of the of the robots in the Fortress
of Solitude.

Speaker 1 (21:13):
Yeah, half a second before he says she's new, and
then she does something yes, new that shouldn't be yep,
even if he did break the rule in that sentence,
that was okay. And the otherwise it's just a robot
with a personality type for like, it's fine.

Speaker 2 (21:26):
M M. I'm interested to see what the context of
that conversation, the way the conversation was, Like, I was
fine with it. So I think it's interesting. As they're
like dragging him in or carrying him in, we hear
Kryptonian language over like an intercom system.

Speaker 1 (21:43):
And.

Speaker 2 (21:45):
I, you know, as people have been complaining about like
his breathing and how messed up he was, and like
they actually like go down the laundry list as they're
examining him. Fourteen fractured bones, damage to the bladder, kidney,
large intest and lungs. He's not screaming because the yellow
sun hurts him. By the way, when they set him down,

(22:06):
they put and they say this in the clip. If
anyone's willing to listen, pay attention, Uh, you know, forre says,
but the healthy dose of yellow sun you will have
you up and at him in no time. And they
freaking lock into place these magnifiers, these sunlight magnifiers that
channels uh intense sunlight onto Superman to heal him. They

(22:28):
said they set the power to two hundred and ninety
two times Saharan Prime. Don't know what it means, but
you know what sounds excruciating same time, even if it
doesn't hurt Superman. What is hurting Superman is fucking bones
healing and popping back and snapping back into place.

Speaker 1 (22:42):
Yeah, he's not I mean to pain.

Speaker 2 (22:44):
She's starting to pain. When the hell has he ever
been immune to pain? Thing?

Speaker 1 (22:48):
He feels everything. It's just really hard to actually hurt him.
But if you can't, it fucking.

Speaker 2 (22:51):
Hurts so and and the robots hold him down as
he screams, and it fades into trailer territory, which the
trailer territory is a little different, right, actually.

Speaker 1 (23:00):
Serious robots to even be a Yeah, I thought about it. Yeah,
there's nothing at all crazy about the same. It really
is a love letter to All Star. Now that you
mentioned the oh that's where the robots are coming from.
I'll tell you can. I tell you the thought the
part about this I thought was silly though, the part
that was off putting.

Speaker 2 (23:19):
Please do see.

Speaker 1 (23:20):
You're logging the like, what is it two and eighty
two whatever?

Speaker 2 (23:26):
Yeah?

Speaker 1 (23:26):
Two sub whatever? This is uh sun two.

Speaker 2 (23:30):
Hundred and ninety two times the heir in prime? Whatever
the hell that means?

Speaker 1 (23:33):
There we go. If it's the hair in prime, I
assume two ninety two times like the actual peak of
the equator hitting you. But anyway, my point was, if
you can't be hurt by light, I don't understand the
fancy calculation and the need for it. Just put him
in front of the light machine and turn it on high.

Speaker 2 (23:49):
Oh I'm not sure it's totally the light.

Speaker 1 (23:52):
I mean that's the sun. Like he's getting the sun,
the t V and the sun everything. Also, like the
idea has always been the radiation from the sun is
what gets him. So like, if if the radiation can't
hurt him, well, I don't know why we need to
calculate it. I just didn't know why there was a
dosage necessary. It wouldn't you wouldn't need to be like, oh,
he only needs like thirty six equatorial heights here.

Speaker 2 (24:08):
I mean it's as silly as Adam too. It's as
silly as you know, you know, Dark Knight return Superman
being all emaciated and flying up close to the Sun
trying to get closer to the Sun so that he
can heal faster. You know, it's the same thing. It's
also another All Star thing. He got too close to
the sun and the radiation starts killing him.

Speaker 1 (24:29):
Now, So that's my point though, is see I logged
it as a little bit silly that we did a calculation,
because like, who cares, Just throw the put the microwave
on high and put him in. He'll be and he'll
he'll he'll be fine, I wondered, though, because yes, All
Star has that. That's famously the big problem in All Stars.
There is a point, right.

Speaker 2 (24:46):
Yeah, well, yeah, his cells I think it was not
even the radiation. I think the cells just become oversaturated
and start exploding and shit.

Speaker 1 (24:53):
It was oversaturated with kind of whatever pseudo scientific sounding
version of radiation that came up with for his cells though,
just get too sparkly.

Speaker 2 (25:02):
Which is yeah, which is the problem. Which is the
problem with applying any kind of real science to it,
because it's gonna do Yeah, stupid in the first place.

Speaker 1 (25:12):
It's it's not a workable concept. Yeah, I did, though.
It made me wonder, especially when you pointed out the
all star part, because I'd originally logged that as a problem.
But they may be getting very specific because they're going
to find out, Yeah, too much sun is going to
be a problem for the Superman. It could be that that's.

Speaker 2 (25:26):
They're starting it. They are starting a universe. I don't
I don't think they will kill them, but.

Speaker 1 (25:30):
No, it just may turn out that that's one of
his limits. As we learned about this Superman, we will
also have to learn what can beat him up and
what can take him out. Why They're going to focus
on what's going to be in the world, like in
the lyright, so Cavil's Superman. Clearly kryptonite was just all
over this fucking planet if you knew where to look.
M h. I mean, I guess it was really in
just two places, I guess, but somewhere in the Indian

(25:51):
Ocean and somewhere else I want to say, But yeah, yeah,
kryptonite was the big deal here. And then they they
used the environment like the smell of environment man of
still kind of thing on the ship to Weakening.

Speaker 2 (26:03):
Yeah, like world World's him, I guess, but his real
weakness nineties grunch. I'll I just liked that was.

Speaker 1 (26:16):
Late two thousand's solo work from an earlier artist.

Speaker 2 (26:19):
Damn it. Yeah, yeah, I know.

Speaker 1 (26:24):
You can't pick up Chris Cornell's name in a lineup.
You don't deserve to be having this conversation.

Speaker 2 (26:28):
I mean, I recognize his name.

Speaker 1 (26:31):
There's voice.

Speaker 2 (26:31):
I mean sorry, Oh that's that's a bit tougher.

Speaker 1 (26:35):
That would be.

Speaker 2 (26:35):
This is the nineties. Everybody had that voice.

Speaker 1 (26:38):
No, I would deeply object to that. Cornells they're there.
They don't make cornelles man. They ain't a lot of
Chris Cornell's children fight you. I will go to Matt.

Speaker 2 (26:54):
Okay, what's Matt gonna do?

Speaker 1 (26:56):
No to a Matt. I know we only know one
mutual Matt. I don't know which way he'll go on
this shit, so I wouldn't ringuement.

Speaker 2 (27:05):
Oh he'll go my way, you think, so as long
as you don't tell him it's my way. Matt Carroll
of mcucast, absolutely, I absolutely agree with me. As long
as he doesn't know I am the one who said it,
that's fair.

Speaker 1 (27:22):
So now long as you got started and I opposed it,
he would be fully.

Speaker 2 (27:25):
On the Yeah, we have to trick him to get
a real opinion. That's the thing.

Speaker 1 (27:31):
I be scared to ring out because I think he
would have He's knowledgeable enough about the topic that you
have an opinion, but he may be solidly against me
and I have two on one. Then Yeah, he has
a singer. I think I think he would. I think
he would side with me on this one. That Cornell's
voice is quite unique.

Speaker 2 (27:44):
I'm not saying there's not all of these. All the
nineties singers have like specific little things that they do
that make them unique. But there is just a specific
style in the nineties that I don't know why. Sometimes
I'm okay with it, sometimes I'm not. But I mean
I like black Hole song, I'll give that.

Speaker 1 (28:01):
Yeah. Yeah, there's a there was a rasp. There was
certainly the closed throat thing they did, but Cornell never
did that part. He did he was a raspy kind
of guy. He didn't do the jam.

Speaker 2 (28:12):
No, he doesn't quite do that, but he does more
of a he does more of the uh cobain nasally thing.
It's like channels it through the nose, through the back,
I think so straight through the top of those Yeah, yeah,
I think that was the thing. And you know, maybe
i'd never really listened to him after you know, sound Garden.

(28:33):
I tried a couple of times and just went, it's
not me.

Speaker 1 (28:36):
Just when he actually gets in range, it's a deeply,
deeply crystal clear, very very high range voice. Beautiful.

Speaker 2 (28:42):
I'm sure you know I've.

Speaker 1 (28:44):
He can scream with the best if I never wrong
go back because his christ Post or something scream like
anybody in nineteen ninety would would love to have had
those pipes.

Speaker 2 (28:51):
But he actually know, I'll say, H'm pretty open. I'm
pretty open though, Like I like giving you ship, that
is fair. I do like giving you ship. But uh,
you know I was a kid. I don't really care
for stp like them a whole lot more now like
going back, yea, Like my wife is still like gross
and I'm like, no, no, no, there's something here. It
actually is better than still can't do pearl jam quite

(29:11):
quite quite like a lot of nineties people can't.

Speaker 1 (29:13):
Well, it was the voice thing. I never could get
over the thing.

Speaker 2 (29:17):
Aside from laughing at it, I just can't get into it.

Speaker 1 (29:20):
I didn't even like I mean STP was my favorite
band for a very very long time, and even then
the first parts, Like I loved Wild's voice when he
got clear it's gorgeous, But I didn't love that first
albums when he did the dialect almost for it. Mm
hmm a rule, you know just as well without the
affectation that I would have been fine. Yeah, Like, by

(29:46):
the time you and Interstate love Song or something, you're
not listening to the same thing. That's not the same
as plush at all. Yeah, anybody who actually still knows
this and gives a ship.

Speaker 2 (29:55):
Yeah. But at the same time, like I hear stuff
like nickel Back and Creed and I go, look what
you did? Yeah, I know, look what you did.

Speaker 1 (30:02):
That is exactly what they did, and that should be
a shame.

Speaker 2 (30:05):
It's how you you react to uh, to the led
Zeppelin when you hear Van Halen, you see you see motherfuckers.

Speaker 1 (30:11):
Yeah, if you'll stopped had done those last couple of
studio albums.

Speaker 2 (30:16):
Weird, we have gone so far off.

Speaker 1 (30:18):
We could have had an eighties full of David Byrne
and Blues and Bob Dylan doing weird Ship, but no,
instead we got Poison. Oh God, what was Superman doing again?
Where we were we that behind the scenes?

Speaker 2 (30:36):
Yeah, so, oh no, this was still the five minute thing. Yeah,
where the so the robots hold him down, he screams
and fades into the trailer territory trailers a little different. Yeah.
We actually hear Lex say he's back when he sees
Superman flying out the window.

Speaker 1 (30:51):
Uh.

Speaker 2 (30:51):
We have some extended action in VFX, like Superman up
closing the Kaiju fireball. Uh. And we we now have
now we know now we know why Superman is kind
of hanging back with that big eyeball attack in the
city and he's talking to Lois and taking a sweet time.
There's a green lantern back there fighting him. There's a
green Lander taking care of it. He doesn't need to

(31:12):
be the right and I think that's gonna be a
big thing in the movie. Somebody said, and I don't remember.
I may have put this in the notes at some
point I got overwhelmed and I don't know what to
put in there. But there's a lot there.

Speaker 1 (31:25):
I don't even I can't even make sense. Somebody notes,
if we're being honest, but it was.

Speaker 2 (31:28):
A long month. There was a couple of there was
an interview somewhere where someone I want to say it
was Corn Sweat made mention of you know, one of
the ways into this character is him dealing with the
fact that he can't do everything, he can't save everyone,
he can't be everywhere. And I think, you know what

(31:49):
we're looking at in this trailer and he one of
the like the picture that the first official picture we
got of Superman was the suit being all messed up
and him sort of like lack it or not really likely.
Basically it looked like he was tired as fuck putting
on that boot while an alien attacks the city behind them. Yeah. Yeah,
And it's that same.

Speaker 1 (32:10):
We're scrutinizing the wrinkliness of the uniform.

Speaker 2 (32:12):
Yeah, and scrutinizing the fact that he wasn't hurrying to
go out the door. Uh, and that was as aspirated. Uh.
Later on when we got that trailer and he was
hanging out with Lois and the thing is in the
background or destroying the city. Well one we see that
there's in this little trailer, we see that there's a

(32:33):
green lantern fighting that eyeball in the background, but.

Speaker 1 (32:37):
What looks like a construct back there doing something.

Speaker 2 (32:39):
Yeah, yeah, I mean that's yeah, absolutely, it's just like
a green Beam doing some shit.

Speaker 1 (32:44):
You know what that means, going to maybe be an
actual green iron girder beam.

Speaker 2 (32:48):
Yeah he is.

Speaker 1 (32:49):
He was not imaginative, no, but we know what that means.

Speaker 2 (32:53):
Uh. But also, like, I think one of the themes
of this movie is that Superman cannot be everywhere and
do everything himself. Like the fact that they're bringing in
Justice League members, the fact that they're like, you know,
much to the chagrin of several fans who are worried
that this is gonna be two stuffed it's not a
Superman movie. It's all about Justice League, you know. No,

(33:16):
I think that's what they're doing. I think they are
going full fledged into hey, here is a big part
of this character, and that character cannot do everything it does.

Speaker 1 (33:28):
He seem to be building toward the idea that like
everyone else is going to join his cause. Like all
these tangential care all these extra big pieces of DC
universe seem like they may be Yeah, like you hear
Brosnahan saying, the sneak peak will get to at some
point like we can use a lot more of that
kind of thing. But yeah, you may be that it's
just that like maybe they're just joining what he's been
doing for so long at this point.

Speaker 2 (33:48):
Yeah, yeah, and you know he part of what makes
Superman interesting to me. And I feel like I've seen
Gun that I may actually have it written down like
I said, but I feel like I've seen Gun say
this is that one of the interesting things about Superman
is dealing with the fact that he can't save everybody,
and that's you know, they they touched on that in

(34:08):
the Christopher Reeve movie, albeit briefly. You know, the fantastic
Alex Ross Pauldini Superman Piece on Earth graphic novel that
if you haven't seen, is ginormous sized and you should
check it out. Is amazing. But yeah, this is a
man who can hear people. And this is something we
saw in this trailer that I fucking loved.

Speaker 1 (34:28):
Is the chance with the heart and the whole You've
told me about this inne a hundred times, where like
he couldn't stop his heart from stopping, you know.

Speaker 2 (34:35):
Oh yeah, no, it's not that long. It's like he
races Clark up the up to the house, and Clark
gets up at the house and turns back, and pau
is like collapsing and he like runs back to Paw
and then they like fade into the funeral and at
the graveside, young Clark is weeping and says, for all
my powers, I couldn't save him.

Speaker 1 (34:55):
Yeah, which is chukes math even hear you say it again.
It's to hell of a scene. But yeah, that does
very much feel like where they're shooting a little bit here.

Speaker 2 (35:05):
Yeah, but you know, also like this is a guy
that can hear, and this is something they put in
the in this trailer is like people chanting and screaming
for Superman, Superman, Superman. Yeah, And it's one of the
most harrowing notions of being Superman is hearing people all
over the world screaming out for you twenty four hours
a day, Yeah, and not being able to help them.

(35:26):
You literally can't help everyone. And then you also pile
on top of that that you want to have a life.
And you know what is a you know they've said
that he and Lois are have just just a few
months in a dating in this in this movie. What
does that do to a relationship? Yeah, just starting out
like this isn't like Superman and Lois or you know
where they're married and they have a few kids and

(35:49):
they have a life, and when a big thing happens,
she's like go and he flies away Like no, this
is you are relatively new to this, and every fucking
setecond of your day you were hearing people screaming, people
who were dying. Yeah, screaming for your health.

Speaker 1 (36:06):
It is one thing to have like a lot of
weight on your shoulders and have some responsibility and even
be saving people. It is another thing to be able
to literally hear someone in Australia scream your name in
a moment of just cheer panic, I don't know, attacked
by a fucking kangaroo who knows in this scenario, but
like just a moment on the other side of the planet,

(36:28):
and they scream for your name before their death. But
you hear it. You heard that.

Speaker 2 (36:32):
Yeah, I don't know. I might be picking up more
than they're putting down, but it's James Gunn, so I'm
betting I'm not. You may.

Speaker 1 (36:39):
I think some of the things are definitely in there,
and some of the little bit of pressing before that
all seem to be leading up to this giant barrage
of the same kind of thing that like over and
over gonna have seen that stress this is a good person,
Like they're going to focus deeply on the fact that
Superman is just a good person and everything else is
going to come out of that.

Speaker 2 (36:58):
Yeah. So, James Gunn says, I don't consider this a trailer,
by the way, he says, more of a sneak peek.
I'm actually just finishing up the next trailer for you
all now. And oh boy, am I excited for you
to see it? Someone said Superman second trailer win And
James Gunn says, we just released five minutes of footage
in theaters, so it will be a beat on more

(37:20):
CinemaCon Superman teases that all sound right at my alley.
Gun describes Superman as a modern take on the Man
of Steel with the story that is utterly human and
utterly fantastic. At the same time, he offered these teases
quote Pocket Universes, Sorcery, flying Dogs, Max Fleischer, cartoons.

Speaker 1 (37:40):
Wait, yes, all of that, yeah, all of that, he goes.

Speaker 2 (37:43):
He says, I really do believe in this movie, and
I do believe that there is a lack of human kindness,
or at least a degradation of human kindness that is
there this is a movie that celebrates kindness and human love.
And look, we're at the forty five minute mark on
our recording, so I'm gonna go to break and we're
just gonna pop right back into this and just to
keep talking about Superman for a while. You're right back,

(38:05):
all right, We're back now. Before Gun and his little
crew here took the stage at the Coliseum and Caesar's Palace,
they sat down with Entertainment Weekly and this is the man.
This is like this whole interview I'm going to talk about.

Speaker 1 (38:20):
And like you said, this is you. You went to
a river, just a deluge and grabbed as many five
gallon buckets of information as you could get back.

Speaker 2 (38:27):
Well, I like this whole interview, so I'm gonna talk
about it.

Speaker 1 (38:30):
But it's not the whole damn river. They've been talking
a lot.

Speaker 2 (38:33):
Yeah, Entertainment Weekly asked James. Is the central conflict in
Superman adapted from one particular comic book or would you
describe it as describe it more as an original story
inspired by an assemblage of different material. Gun said, I
would say it's an original story, but the tone and
the look of the film in many ways is inspired
by Grant Morrison and Frank Quietly's All Star Superman. But

(38:53):
if I wrote my own story, then I could just
rip off their look. No, I'm kidding. They're really great
guys and they're incredibly talented our and I read that
comic book and it really has this feeling of the
big old school science fiction silver age comics. We have
robots and monster babies and giant kaiaju and all of
that stuff that is also grounded around these incredibly real
relationships with a couple that has started dating a few

(39:14):
months ago, and now they're really learning the ins and
outs of each other. What's good about them, what's not
so good about them, and what are their ideals? Like
we have Lois Lane who's a pragmatist and Superman who's
an idealist, and how does that work together? My wife
and I are like that. Actually, they said, what would
you say is the central conflict of the story. Gun says,
I think we weave in and out of various conflicts,
but the central conflict is between and then Nicholas Holtz

(39:36):
says it's a love triangle, and Gun says yeah and laughs,
and he says, the central conflict revolves around a lot
around Lex Luthor's attempts to defeat and destroy Superman. I
think Lex Luthor thinks of Superman in the way that
an artist thinks of AI. Here's this guy who's this
incredible genius scientist who's worked his whole life to become
one of the richest, most powerful men in the country

(39:57):
or at the start of the world, and he does
it all to be lauded. I mean, he wants to
be the greatest. And suddenly this jerk comes in wearing
a cape with a lantern jaw and a cocky grin,
and he just takes all of the oxygen out of
the room, out of the room of the earth, and
it creates a burning hatred in the sky. David Rachel
and Nick there have been a lot of incarnations of
these characters over the years. How would you describe your

(40:17):
approach of what made it feel genuine? Corn Sweat says,
I think with characters that have been around for so long,
have had so many wonderful iterations on screen in print,
live plays. Wasn't there a Superman musical? And Rachel says,
there was a Superman on the stage, and God says,
we watched it. Corn Sweat says, they are very simple
characters in the way that they can exist in the
public consciousness. Everybody knows who they are and the basic

(40:39):
things about them. But over the decades, so much of
these characters have been excavated by different contributors, different writers,
different artists, different actors. So to take that on, to
have an opportunity to maybe illuminate something new about the
character or bring it to a new audience is always
a really exciting opportunity for me. Rather than think about
anything old or new, I just found that the thing

(41:00):
that I was drawn to most with Superman was the
tension between his love of humanity and the role that
he can play for them, and the loneliness that he
feels in the fact that he can never quite be
one of them. And that plays out in so many
different ways, not least of which is his love of
being Clark Kent and getting to play as one of them,
at least for short periods of time the way and brosnahnns, Yeah,
Brosnahan says, we were lucky that James laid such a

(41:22):
clear roadmap for us. James has spent more time with
these characters than any of us had probably going in
so there's so much of all of them and all
the different lives that have lived through these different iterations
on the page, and like theater, in a way, it
was our job to do our homework and find our
own ways into these characters that hopefully you don't feel
the seams of when you see them on the screen,

(41:42):
and that's what makes them so uniquely their own. And
Entertainment Weekly says similarly, James as a filmmaker, how did
you make these familiar characters your own? And he says,
I think I bring questions to the material. It's the
same thing I asked the beginning of my journey with
the Guardians of the Galaxy. I said, Okay, there's a
talking raccoon that sounds a little silly, but what if
it was real? How would it be real and what

(42:04):
would it be like? And I realized at the beginning,
before I ever even took on writing the screenplay for Guardians,
that meant the character was the saddest character who's ever
existed in the history of the universe, and the story
was the journey of him learning to be connected to
the rest of the universe, becoming a part of things
as opposed to separate from things. It's the same question here.
What I tried to bring to it is something beautiful

(42:25):
that is about the goodness of human beings, about kindness
and people, because that's what Superman represents to me. He
almost represents something old fashioned, and yet I think that's
exactly what we need right now. Kindness, goodness, the innate
moral values that we grew up with. Somehow the Internet
has drowned out and deemed weak. That's who he is
and that's what his strength is. So that interested me.

(42:46):
And then bringing a complexity to the relationship between Superman
and Lois and also between Lois and Legs. We have
a great ten minute scene of Lois and Clark going
over their relationship, the way they look at the world,
their ideals, their ethics, and how that makes them who
they are. And then they said, can you say anything
about what particular business Lex is in and what Luther
Corp is in the film? And Holt says tech defense, defense. Yeah,

(43:08):
I can't say exactly more than that, probably right, Gun says,
I think Lex has invented one of the best forms
of battery in the entire world that almost everything runs on.
And we don't ever talk about this in the movie,
but I think that's where he made the majority of
his money. And Holt says, you described him in one
moment as a sorcerer the level of science, and I
think and I like that in terms of just understanding

(43:29):
the level of genius he's working with, and also the
science that's at play in the story and how that evolves,
and also the recklessness that he plays with. And I
think that also plays into the links he's willing to
go to and the risks he's willing to take for
his goal. And then ethically the question that people start
to question, I suppose even though he presents himself with
something very different and controls the narrative in that as well.

(43:51):
And Ew says, James Superman is the first movie to
be released as part of the larger DC university're establishing.
How is this movie setting the tone for us to
come and Gun says, I think it's only setting the
tone so far as that this is one hundred percent
of James Gunn movie. And what I want with the
future films is for them to be the same, not
James gun movies. But when I talked to Greg Craig Gillespie,

(44:12):
who's doing Supergirl, I said, I don't want all of
these movies to be the same. What I love about
ThEC comics is that you can read a story like
The Dark Knight, which is totally very different because of
its artist and writer, than Superman for All Seasons, than
All Star Superman and Batman, the Long Halloween. There are
all these beautiful stories within the same world, but completely different,
and that's what I think is exciting. I think that
I learned from my time at Marvel. When Guardians of

(44:35):
the Galaxy came out, people were like, well, how is
this raccoon going to interact with this god of thunder
who's been set up in a totally different type of movie.
And that was the thing that people like the most
about Infinity Wars. So it's about really letting the artists
create these unique visions that allow us to get to
know these characters in different ways. I look forward to
the time when these characters one of them does show
up pretty soon two of them actually, so anyway, when

(44:57):
they get to see them in a totally different light,
in a totally different genre, in a film that isn't
the big spectacle action adventure, maybe something more dramatic, maybe
something more comedic whatever, and see these characters in a
slightly different light, portrayed by the same actors.

Speaker 1 (45:10):
But he definitely doesn't want to make He doesn't want
there to be a term like a Marvel movie, right,
which the term we've all gotten used to. Yeah, it's
another Marvel movie.

Speaker 2 (45:18):
Like Also, I've never agreed with that. That's something that
you know, naysayers, you know, so Marvel formula. It's Marvel formula.
I'm like, okay. Also, just looks like the fucking Hero's Journey.

Speaker 1 (45:30):
I don't think it's like a Marvel I don't think
the Marvel movies have a specific type of Marvel formula.
They're using the same story archetypes that everybody has for
the centuries before them. They didn't rewrite this right, and hell,
even then, the movies are all, for the most part
derivative of the books themselves. They've already written some of that.
But yeah, I don't know, all right, fair enough, we've gone,

(45:50):
We've bounce around too much. I've forgotten.

Speaker 2 (45:52):
Yeah, e W says Is it fair to say that
this movie is a love story between Superman and Lois?
Brosnahan says, sure, I think one of the things that
I love so much about the Christopher Margo Kidder, Richard
Donner Superman was that it felt like a love story
wrapped in a universe that was familiar but not quite
our own. And isn't love at the root of every
story in a way, you have to love so hard
to hate something too. I think it's interesting to see
these two characters exploring their love because she's somebody, as

(46:15):
you said, who leads with her heart or with her head.
He's somebody who leads with his heart. What does Lex
lead with? And Holt says, honestly, I would think of
him as leading with love for humanity in some ways,
but then how he displays it, because obviously he's egotistical
and selfish, But in some ways it would be a
humanist element of the character and God and all these
things that he perceives himself to be, and protecting their

(46:36):
faith and corns. What says This conversation made me see
an interesting, weird, strange thing which may not be true.
But Lex is sort of a combination of Superman and Lois,
where he has all of Lois's intelligence and foresight and
skepticism that allows him to make these incredible advances and
control the narrative in the government and all these things
that he has control over. But he has Superman's passion
for the world and for being a symbol of something,

(46:57):
standing for something and being a public facing symbol. And
maybe the downfall is that Lex has decided what's right
between those two and which should went out, whereas Superman
and Lowist sort in a constant battle about what is right,
so they get they each should get checked by the
other and then brosn has this, but they also bring
out each other's humanity.

Speaker 1 (47:14):
Yeah, I gets it.

Speaker 2 (47:15):
Uh, Yeah, I like that a lot.

Speaker 1 (47:17):
I kind of I have to be saying about, you know,
the three way aspect of that, Like they are all
traveling together anyway, So yeah, they're very much gonna be
fighting for each other's attention in some sort of borderline
ediple way anyway, mm hmm. I'm gonna be interested to
see the philosophies bounce across each other this way too,
Like Lex is gonna have a little bit of that
aspect of someone who does good as long as it
aggrandizes him, as long as you're applauding him properly for

(47:40):
all the good he's doing. He will continue to be
a great person. But as long as that as soon
as that gets taken out of the equation, like, for instance,
in this case, another guy taking up all the agrandization.
Mm hmm, he's just gonna turn out to be a
narcissistic prick after all. With yeah, you know super science powers.

Speaker 2 (47:56):
Now I like this too. There's a profile on a
Corn Sweat and time and Gun explained his thought process
during casting and went on to talk about, you know
what exactly makes corn Sweat the right fit for Superman.

Speaker 1 (48:11):
I'm getting used to his face again finally or finally,
Oh but Corn Sweats. Yeah, Okay, nothing against him, It's
just that it takes a minute to put somebody else
in the suit in your head.

Speaker 2 (48:21):
Huh yeah, I mean some of us never do. Yeah, yeah,
So he was talking about a couple of other leading
men of his Chris Pratt and John Cena, and Gun
emphasized the importance of treating everyone with kindness and respect,
and he says, I've seen sets that cater to an
actor or director's ego, and that's just not something that
would happen with David. He is Superman. Even in his nerdiness,

(48:42):
he listens to old jazz standards, like that's what he
listens to, just as a normal procedure, like Superman. He's
a simple man in complicated times. And he wouldn't have
he said, Corn wouldn't have been cast.

Speaker 1 (48:52):
Yeah, just Coltrane on a Tuesday.

Speaker 2 (48:55):
Yeah. Yeah, And he pointed out Corn Sweat would not
have been cast a Superman unless he was going to
follow suit and treat everyone with kindness and respect.

Speaker 1 (49:03):
Yeah, he would not have one of those stories. Yeah,
you can't have that. You cannot have somebody wearing that
cape and then off screen be a dick. There's the
press will not let you have it. No, No, you
have to be a bonafide sweetheart in and out you mayber.
That was one of the nice things about the old
George Reaves tradition of it though, right. He really prided
himself on doing a lot of like good work with

(49:24):
kids while he was in costume. He thought he should
be an example. Always liked it when the actors have
taken on that part of it.

Speaker 2 (49:30):
Yeah. Yeah, same with William Hartnell and a doctor who Anyway,
I like this. This is interesting. No, it doesn't mean anything,
but it's fun. James Gunn and Jim Lee saw Superman
in the same theater when they were kids.

Speaker 1 (49:44):
Oh yeah, I saw that somewhere. Do you see that
some clip of them talking somewhere.

Speaker 2 (49:49):
Yeah, same theater in Saint Louis. That's really neat, it's odd.

Speaker 1 (49:53):
Yeah, they I think they said they don't. There's no
reason believe they were sitting in there at the same time,
in the same row or some shit, but like it was,
it was the same building. Yeah, for the same showing
of the same.

Speaker 2 (50:04):
Same run anyway. No, all right, So we got a
new Superman futurette on Superman Day, which was yesterday, Our
by our count, and James talks about how he loves
the purity of Superman when he was a kid, or
he loved the purity of Superman when he was a kid.
He didn't know if he should be doing Superman. He
struggled with it for years. Peter Saffern says, one day
Gun called him and said he figured it out a way.

(50:25):
In Gun there's a clip of Guns saying this character
is noble, he's beautiful. I thought it was interesting because
the footage shows that the robots are real, their practical effects.

Speaker 1 (50:34):
Yeah, he's playing Patty Cake with yep.

Speaker 2 (50:37):
At some point we see hot girls smashing through a
window clutching a person with a black suit and white hair,
and I was like, oh, who is that? Who is
she fighting right now? Is a Simon Stagg there? That
was my guess.

Speaker 1 (50:49):
There are a lot little easter legs like that in this. Yeah,
like they're out in the actual snow for the shot
of the of him folly mm hmm.

Speaker 2 (50:57):
Oh yeah, they're in is Falbard for sure? Yeah.

Speaker 1 (51:00):
I didn't really put it together, that was off somewhere
gold until I saw oh happening together.

Speaker 2 (51:05):
Really we talked about that because like the Internet in
the usual suspects, as we say, uh, we're all like,
oh this is terrible CGI. It is terrible CGI, and
and then everybody was and then everything came out and gun.
He actually even addressed it was like, dude, this is
literally Swallbard, Like none of this was CGI.

Speaker 1 (51:24):
I did wonder about that though, like he said, nine,
but but like really like the ridges around the exact shape,
did you I mean you hadn't done that practically. Did
you have somebody come shape it? I think lay down
in it. Now, that's that's fine, But but I imagine
there's a lot of problems, like he's also got the
red blood spot there. Well, that can only be there
for so long to make exactly that that might be cgi,

(51:45):
we don't know like that. There's a lot of stuff
in there. There's plenty of.

Speaker 2 (51:47):
Stuff in there that could be touched up, I mean
touched up possibly. But what they were referring to was
like the whole set the looking like he's oh, he's
in snow and he's flying around mountains and stuff, and
they're like, no, this was that was practically shot. I
thought Hot Girl Metamorpha looked really cool. I've seen some
some ship talking, but you know, importantly, it's not like

(52:10):
ship talking from people who matter, Like it's I am
seeing overwhelming positivity for this movie until I go on
Facebook then leaving that place, Yeah, and then it's just like,
you know, the bitter Snyder people.

Speaker 1 (52:24):
That's that's all it is. I guess that somewhere, I guess.

Speaker 2 (52:28):
I mean, it sucks. We used to be allies. We
used to want the same things we do we still do,
but they just got to be ghost shift. Look, yeah,
I gota say every I say every episode. I want
the Snider Verse to be around and to finish up
and stuff like Jesus Christ. We we didn't want different

(52:51):
ways of going about it.

Speaker 1 (52:52):
But I'd mentioned it before that we were at it.
I think at some point years ago now, i'd said,
you know, at this point, I'll be mad if they
do release Thisyer cut because it'll do.

Speaker 2 (53:01):
This, this and this, uh huh.

Speaker 1 (53:02):
And it did exactly everything I said it was gonna do,
to be sure, Yeah, but I.

Speaker 2 (53:06):
Believe Also, Yeah, I love the Snider cut. It's great.

Speaker 1 (53:13):
But you know to that in Yeah, all of my
arguments are the same this time. I don't want to
see anything else from the Snyder verse for another ten years.
This has this has to lift to live on its
own for so long. Yeah, before any of that would like,
I would actually be mad. Now if you told me
we're gonna do this thing, it's a distraction. What are
you doing? Y'all are fucking up again? How many fucking

(53:34):
times do you have to learn this lesson? Yeah?

Speaker 2 (53:37):
I think I agree with that. Like if if gun
and it's not, it's never gonna it's never gonna be
let up even ten years from now. If every fucking
movie that James Gunn puts out under the DC Studio's
umbrella is a billion dollar hit. Right if in ten
years he decides, oh, yeah, I'm talking to Zach, we're

(53:57):
gonna do it else world's continuation of Snyder and wrap
that up, Snyder bros. Are still gonna be laughing and going,
oh the DCU flo up. So he's desperate and going
back to Snyder her. They don't care about numbers now,
they don't care about logic, they don't care about anything
in the real world.

Speaker 1 (54:15):
I mean, it wouldn't it wouldn't matter.

Speaker 2 (54:18):
We really shouldn't want Snyder Verse to not happen just
because of them, because I want to see it. I
want to see the end, so I'm rooting for it.
It doesn't matter what gun does, they're gonna have a
pitch a fit up the other.

Speaker 1 (54:30):
It's not that it would just be that in this
uh that would be The funny thing is like they're
they're such a small portion. Now they're loud, but they're
not even as loud as they used to be. They're
getting crowded out finally and or thankfully. But I don't know, man,
I don't know how much it'll matter in ten years
what their justssification would be. I just I just know
at this point would be very much the wrong decision.

Speaker 2 (54:50):
It.

Speaker 1 (54:50):
I hate to side with the whole because it's not
the same. I don't feel like as siding with this whole,
like a character can exist in two places at once,
Like we could have had the Constantine movie while Constantine
the show was on, and that would have been fine. Yeah,
that is a very different argument than what I'm saying
right here.

Speaker 2 (55:03):
I think, mm hmm, yeah, that's the that's the overall problem.
Like Warner Brothers, in their way was right about that
the fan bases, they're too toxic it and really, well.

Speaker 1 (55:15):
Here, I can give that enough time. Like the Snyder
people are already you know, some like two percent of
what anyway, they're irrelevant. They're just irrelevant. So like they're
they're gonna be more and more. So, I think there's
just gonna be a period not too far from now. Honestly,
a few months from now, if we're being real, like
six months from now. I think the Warner Brothers is
is just moving into a new era if they haven't already.

(55:36):
As soon as this movie does fine and starts establishing something,
they'll they'll be well on their way to disregarding anything
that's happened before, and we're already passed a point where
I think they've learned their lesson. I'm trying to make
little cul de sects that make a little bit extra
money and keep people happy and heavy quotation marks while
actually starting big fights instead. Hmm. I don't know. They're dumb,

(55:57):
They're dumb as shit, but I think they figured it
out this time.

Speaker 2 (55:59):
Finally, Maybe we'll see, We'll see, honestly, Like I want.

Speaker 1 (56:03):
All the things I do, you just can't safely apply it.

Speaker 2 (56:07):
I know, I know you can't.

Speaker 1 (56:08):
It sucks.

Speaker 2 (56:12):
I love the I loved gun and Engineer and the
Engineer posing with all the Lex soldiers. James sitting down
in that craft, this red and white. When the hell
is that? M what kind of ship is that? I
don't know, you got Philly and talking about James writes
stories with heart. Superman is a character who is good,
He's filled with hope. He saves people because it's the
right thing to do. Dude, did you see the Lex
mech suit? Is the Lex battlesuit? Is that what that is?

(56:34):
I think that's what the one.

Speaker 1 (56:36):
Yeah, Okay, I've been wondering.

Speaker 2 (56:37):
I think that's what that is. Lots of talking this
thing about how this startup a new universe. They're they're
driving that home pretty heavily. I'm excited, dude. It looks cool.
It looks really cool, and God help me, I've gotten
choked up a few times. Yeah, hearing them talk about
their take on Superman. Yeah, it does give me the

(56:58):
feel that the All Star Superman gave me.

Speaker 1 (57:01):
He was right. All Star feels like it's out of
space and time in a way. It you have to
remember that it actually came a little bit later than
some of the other classics that it sits with. It did,
but oh my god, it's the rest there so so
comfortably doesn't.

Speaker 2 (57:14):
It's so good. It was like when All Star Superman
came out. I mean, I don't have I don't have
a graphic novel, a deluxe edition, an absolute edition of
All Star Superman. I have the original run if you want,
but I have the original run in the comics, okay,
and I have several variant covers now. At the same

(57:36):
time when I was buying these, I was also subscribed
to all of the current Superman books, and I just
you know, I hate to be the guy who you know,
puts down to lift up. But at the same time,
I would read All Star Superman and like read the
others and go, the fuck are y'all doing mainstream Superman
books suck compared to this, Like how have you managed

(57:59):
to make Superman this boring? When Grant Morrison is over here,
like elevating the fuck out of this character in a
way that feels like it should have always been this way.

Speaker 1 (58:11):
You know, it's gotta suck. It is to be the
guy doing the monthly and doing doing good work, like
good enough work that it's it's what's being made right now,
and you're probably working on some story that you're proud
of and all that. But then you look over at
the other simultaneous issues coming out and you see what
Grant Morrison's doing, And then you look back at your
pages and just go, oh, oh, these are simple, aren't they?

Speaker 2 (58:33):
And I yeah, and I get that like mainstream, the
mainstream books were the mainstream books, and the mainstream books
had to tie in with whatever fucking event that they
were leading them, And yes, they are incredibly hamstrung. Same time,
Oh my god, oh good god, what a fantastic uh

(58:55):
Superman story? Yeah, all right, do you have anything else
with Superman? Because I'm gonna move on to Peacemaker if yeah, cool,
let's see. In an interview with Comic book dot Com,
Danielle Brooks was talking and they're talking about the weirdness
of both the Minecraft movie and the Peacemaker universes, and

(59:16):
she they asked, uh, which one was weirder. Brooks did
say that they're both weird, but season two of Peacemaker
really sets the bar. When asked which one was weirder,
she says, oh, both of them, but after season two
of Peacemaker, I feel like that one might have it.
I think so, Yeah, I think so for sure. But
you know, I here's what I say. If the DC
universe isn't weirder than Minecraft, what are we even doing? Like, yeah,

(59:41):
you know, I've read a lot of comic books, so
I've read a lot of DC. It's a lot of
weird shit going on on.

Speaker 1 (59:49):
I'm my right. Is one from the eighties Panic in
the Sky. I think you explained this one to me
that like it's not even Superman. That's that's like, I
don't even think this is actually Superman. This is some
mid eighties chaos, is what this shit is mm hmm.
And like I look over my left, they've got like
a version that's from the Action one thousand that does Yeah,
it's referencing like the Mermaid almost versions of him from

(01:00:09):
the seventies, really stretching for it is at the end
of the Code Authority.

Speaker 2 (01:00:14):
Bullshit.

Speaker 1 (01:00:14):
M h I'm just saying, yeah, this shit ge is weird.

Speaker 2 (01:00:17):
Yeah, real rud absolutely. James Gunn has announced that Peacemaker
season two will start on August twenty first.

Speaker 1 (01:00:27):
On Max at his company.

Speaker 2 (01:00:28):
He says he's finished the d I and mix on
the season premiere. He says it's one of his favorite
things ever. I'm down. I'm excited about Peacemaker season two.
And they even put out like we got like a
like a few little snippets because they put out like
this like coming to Max Soon trailer, and I think
there's like maybe ten seconds of Peacemaker. It's it's not

(01:00:49):
worth even really talking about, but it's out there.

Speaker 1 (01:00:53):
Yeah, it's hard to grasp it. I wouldn't know what
kind of go he'es take to have on those ten seconds.

Speaker 2 (01:00:58):
Man, it's like, oh, look he's got soot on his
face and there's fire and then Okay, he's in the
car with Abideo and okay, yeah, well that's it. That's
about it.

Speaker 1 (01:01:10):
We've got some have done those bullshit English class riding
exercises where you come up with fifteen minutes on nothing.
But yeah, I'm sure there's a fifteen minute YouTube breakdown
of those ten seconds if anyone wants to done.

Speaker 2 (01:01:20):
Probably I don't have that any no. Over to lanyarns Man,
they've been adding cast members, so they added a key
character in John Stewart's world, Jasmine Cephis Jones from Origin
and Blind Spotting, who is joining the cast as young Bernadette,
who is played in the present day by Nicole Airy.
Parker and Jones will play a key role in the

(01:01:43):
show as fans get to see Bernadette's resilience and ability
to keep the family going, I guess John Stewart's family
going through the trials that come their way. She is
described as a perceptive, big picture thinker who also demands
excellence from herself and her family. They've also added Jay
Alphons Nicholson to It's growing on some, he says. The

(01:02:03):
Pea Valley Star has been cast as the young version
of John Senior, fathered to Aaron Pierre's John Stewart. Chris
Coy has signed on to portray Waylon Sanders. According to Deadline,
an intelligent survivor or a nervous truck driver. Age and
real name unknown. He's unbound by the laws of nature.
I don't know what I'm reading here. And Entertainment Weekly

(01:02:25):
has reported that Nathan Fillion will return as Guy Gardner
in Leonard's a Philate. We already knew that, but Gon
has mentioned that quote a few other lanterns would be
quote peppered in there as surprises for DC fans, and
now we know at least one of them will be
Guy Gardner. I'm down love to see Guy. Uh. I'm
already completely sold on Phillyan as Guy Gardner from I mean,

(01:02:48):
I would have watched him ass Hal Jordan. I'm good
with being Guy Gardner. I feel like I've had both
of my life though. Yeah. Yeah, Now let's talk about
Supergirl because some Jankee shit has happened. One there were
set pictures of Supergirl fighting people on top of a
tank from way way, way far off, and some of

(01:03:10):
them people were getting all up in arms because they
were like, why is her belt on the outside of
her cape, My friends, that is not what you were seeing.
What you were seeing is Supergirl wearing the very top
part of a cape, and then you see her belt
and then you see her skirt because she was in
action scenes that she can in the real world. You

(01:03:31):
can't fight and do a bunch of action scenes with
a damn cape. So, like, if you saw those and
you're already mad about the costume, don't be They're gonna
add the cape and post on those shots.

Speaker 1 (01:03:42):
Okay in the sneak peak where he's jumping up on
a climbing wall and you can see them. I think
there's a couple in here where you can see the
cape is like five inches worth of cape attached to
the top. I think it's just to get the red
on the over the shoulder shots.

Speaker 2 (01:03:55):
Honestly, absolutely absolutely that's what it do.

Speaker 1 (01:03:58):
So but.

Speaker 2 (01:04:00):
There are I'm not gonna go into total detail here,
but there are set pictures or set video of her
with a Kate. It is a long escape and that
I mean, it's not even a spoiler. It is the
Supergirl outfit from Supergirl, Woman of Tomorrow. That's what it
looks like, but with the corner sweat Kingdom come Logo.

(01:04:23):
It looks perfect, looks fantastic. I'm so fucking excited for this.
It looks so good. So yeah, that's side of the way.
Those were real. But there were ones of Lobo. I
even sent you went I was tricked they had ones
of Lobo been debunked. It was created by chat GPT. Okay, yeah,

(01:04:45):
so that how. I don't know. I don't know enough
about the AI shit. I just don't. I don't know. People,
I guess you just tell it like, hey, here's a
shot of you know. They probably put in like a
a shot from one of the set pictures or whatever
that were taking the real and then they were like, hey,

(01:05:06):
here are pictures of Jason Momoa and here a pictures
of Logo Lobo. Make it photo realistic. They probably fucked
with it for a while. I don't know.

Speaker 1 (01:05:13):
Maybe I just normally the not the technical part of it,
because some of that's possible, just like usually if you
bring in an IP you're getting shut out real soon.
I couldn't just be like, give me a realistic set
photo of Lobo as Jay's MoMA on right. No, I
think they probably give me a gave it Gary do
not a bike that kind of looks like this, yeah,

(01:05:34):
pressure here.

Speaker 2 (01:05:35):
And that's why, like I was a little like shocked
that it didn't look more like Lobo like I thought
it was, you know it was I thought it was
a weird motorcycle. That was the biggest that makes more sense.
I thought it was like a weird motorcycle.

Speaker 1 (01:05:48):
But I was like, find use of a hoax, because
like anything that's wrong, you're gonna be like, oh, yeah,
it's great, a thousand excuses for why that'll not look
quite right.

Speaker 2 (01:05:56):
But it's also, you know, a superhero movie, and any
given I'm gonna look at a superhero move and go like, ah,
I already have seventeen things that would have done differently
because it doesn't line up with the sauce.

Speaker 1 (01:06:08):
So in nineteen eighty three version, right, there's a there's.

Speaker 2 (01:06:11):
A part of me and it's like I wanted the
original Gift and Lobo what they arange suit Man. But
uh but yeah, so that yeah, that was debunked. That
was chat GPT guy made it came forward and shit,
so we still haven't seen Lobo and we haven't even
seen an official Supergirl. But I'll tell you this, what
it did seem as bad as look. Jason Momoa on
I on Instagram, I said, what's up, everybody, I just

(01:06:33):
wrapped Lobo And then there was a bunch of stuff
about e bikes and Minecraft or some shit. I don't care.
I'd just stop watching it after that, and I only
cared about him wrapping Lobo, and I was like.

Speaker 1 (01:06:43):
Dope, got what I needed out, got what I needed.

Speaker 2 (01:06:46):
I don't care about e bikes or Minecraft. Sergeant Rock,
oh god, yeah. Uh the CinemaCon thing, it seemed so
apparently they said that it just shooting this summer from
what I understood from one of the one of the
news sources, but I couldn't find confirmation of that. I
am shocked if that's gonna happen.

Speaker 1 (01:07:04):
No, we had the big update, but I didn't memorize
all the status is currently I can remember Rock was
one of the ones. Yeah, he gave us like green
yellow red light tags for everything the other day.

Speaker 2 (01:07:13):
But yeah, yeah, I thought it was interesting, Like there
was like I saw a couple of sources that was
like breaking down, uh, what happened at CinemaCon, what was
said at CinemaCon. I never found an actual quote, but
one of them and I don't even remember what it was,
which one it was said that Sergeant Rock was shooting
this summer. I could not find confirmation on that anywhere
else when I looked, and I may just be like

(01:07:36):
not doing my due diligence, and now I want to
look it up again. Yeah. Yeah, Google says there are
reports that Sergeant Rock movie is aiming to begin filming
the summer, specifically in the UK. Okay, that's weird. Okay, well,
or they're maybe they're just hoping hoping to I don't know.
Last I heard is, uh, Colin Ferrell was interested in

(01:07:58):
doing it, so whatever. All right, so you know what
time it is, Jason, It's time for the wbt.

Speaker 1 (01:08:08):
A. That was pretty goodn Yeah, I'm getting more used
to him as he goes.

Speaker 2 (01:08:16):
Ben Haflck reveals what really went wrong with his Batman Okay.
He says, I had a really good time. I loved
doing the Batman movie. I loved Batman v. Superman, and
I liked my brief stints on the Flash that I did,
and when I got to work with Viola Davis on
Suicide Squad for a day or two. In terms of
creative sorry, in terms of creatively I think that I
liked the idea and the ambition that I had for it,

(01:08:38):
which was of the sort of older, broken, damaged Bruce Wayne,
and it was something we really went for in the
first movie. But what happened was it started to skew
too old for a big part of the audience. Like
even my own son at the time was too scared
to watch the movie. And so when I saw that,
I was like, oh sorry. When I saw that, I
was like, oh shit, we have a problem. Then. I

(01:08:58):
think that's when you had a filmmaker that wanted to
continue down that road and a studio that wanted to
recapture all the younger audiences at cross purposes. Then you
have two entities, two people really wanting to do something different,
and that is a really bad recipe.

Speaker 1 (01:09:14):
Well yeah, when you have one person saying we made
this and we're going to continue to make this. Like
the problem with Warner Brothers wasn't so much that they said,
I see what you've made, and what we'd rather do
is we'd like to tweak it into doing this. They
were really saying the whole time, I wish we'd done
this instead, and trying to dwarp the products that were
already there into it.

Speaker 2 (01:09:34):
Right right. I love that Ben has enough thought to
be like, hey, so I'm not shitting on Snyder, but
the thing that we were doing was not kid friendly.

Speaker 1 (01:09:47):
I do like the anecdote of him sitting there like
trying to talk his kid and they're like, man, it's okay,
it's fine, Like I don't know, Dad, that must have
hit him in the gut in a way if it really,
if it really did happen that way where he's like,
are you seriously like we've you must be thinking at
that point, Oh no, we've made some serious missteps that
I didn't see it coming. Yeah, that's way beyond just
like putting on a trailer for a movie when I
watch and be like really, no, seriously, you don't want.

Speaker 2 (01:10:08):
To Yeah, that puts to me that puts a more
human spin on it than just Warner Brothers wanted.

Speaker 1 (01:10:14):
To be like more it's different than like Warner Brothers
in the audience as a concept, and it's just less general,
like you're I'm just imagining these kids sitting in you know,
next to him inte the dollar whatere the fucks do
drives and like, yeah, just what do you mean you
want to say it, like really and then rethinking a
lot of things.

Speaker 2 (01:10:30):
Yeah. Over to the Penguin season two. Uh Warner Brother's
executive Channing Dongie offered an update on Penguin season two
to Deadline. She says the door is not closed on
it completely, but there is nothing currently in the works.
The Penguin is one of those things. This is quote
her quoting The Penguin is one of those things where

(01:10:51):
and it's interesting because when you talk with everyone involved,
everyone is interested in possibly revisiting those characters and doing more.
It was very much designed though as a limited series.
But I would never say never. I think if we
can get the creative stars to line up in the
right way and the talent available, because we certainly wouldn't
want to do this without Colin or Kristen and that team,
I would say it's definitely a possibility. But there's nothing

(01:11:13):
in the works at the moment, So everybody just put
away your dicks. Yeah, stop, we're in about Colin Ferrell
for a minute. Yeah, that's I mean, that's what I
was saying at the beginning, was like, dude, I'd like
the Penguin, but I didn't need another season.

Speaker 1 (01:11:26):
Well, and think about what lesson did they just learn
about announcing things and then then turning into other things,
So we don't get an announcement of a Penguin two,
even if it is happening, y'all.

Speaker 2 (01:11:38):
That's right, that's right, that's right. The Flash, the CW show,
was the focus of a reunion panel at fan Expo
Cleveland over the weekend. It wasn't this weekend, but it
was a previous weekend because we haven't done a show.
And Grant Gustin, Knas Patt and Daniel Panabaker and Tom
Cavanall were all in attendance and they were asked if
they would be interested in coming back to reprise their

(01:12:00):
and an animated the Flash movie, and they all said yes.
Grant Gustin said yeah, Tom Cavindall said absolutely absolutely, and
Daniel Panabaker says I'm available, and gust And chime back
in with we are actors with families, and then Candice
Patten says, we got bills to pay, and kavan All said,

(01:12:20):
we are all available, we are we are in fully in.
That is the fucking saddest thing I've ever heard.

Speaker 1 (01:12:29):
It's the saddest and realist thing I've heard a long time.
But what I'm also hearing is like, hey, y'all want
to do this gig where like we just need you
for like office hours and honestly, it's half days a
lot at the time, Like can y'all come down as maverternoons.
It's like a thirty minute ride, quiet booth, real hot,
and the're sorry about that, and then after that, you're
gonna be good and uh, here's a lot of money,
Like yeah, fuck yeah, they're gonna sign.

Speaker 2 (01:12:50):
Up for the all day absolutely all right, We've got
one more news story and then we're gonna call it
on this episode and uh. In a recent interview with
TV after the season five finale of Harley Quinn, which
I haven't watched yet. God, I'm still behind Harley Quinn,
show runner Dean Lorie was asked about whether or not
that final episode was purposely made cozy and definitive in

(01:13:14):
view of the show potentially not making him return, and
he says, not really. I mean, in my mind, it's
not a series finale. I don't think any of us
making it wanted to be a series finale. But it
is the end of season five, So if that were
to be it. I think it is a nice series finale.
We certainly have plans to do more seasons, so it
might be done.

Speaker 1 (01:13:34):
It is weird to hear him talk so hesitantly, But
then again, I say weird as though I know the landscape.
I don't know what Max uses to decide if they're
going to keep doing something right now.

Speaker 2 (01:13:44):
I U if I guessed, I would say chicken bones
and tea.

Speaker 1 (01:13:50):
I don't know what he's weighing the expectation against to
tell him if it sounds sane or not. Like everything
in the world that I've heard for the last few
weeks has been about seven and some white lotus. But
like right, M I mean, like I'm I don't know
if they go by word of mouth or I guess.
I'm sure they're not going by ratings, so that's not
a real thing anyone uses anymore for these kinds of decisions, Like.

Speaker 2 (01:14:12):
Right, I mean, they do have like the streaming Nelson
chart or Nielsen charts, but uh.

Speaker 1 (01:14:18):
I do, But my understanding is that those aren't those
are guesses at the internal figures. But they have the
internal figures.

Speaker 2 (01:14:25):
I mean, they've created a situation where you know, they don't.
Things aren't try anymore.

Speaker 1 (01:14:31):
It's just gotten. It has gotten strange and and they
never were. But well that's the part. They never were,
and we all thought it was gonna normalize into some
kind of context, made some sense, like the networks used
to be profitable, and now networks aren't making the bulk
of material anymore. It's streaming things. But streaming things aren't profitable.
That's a very particular word am using. They don't make
any money, and we don't know what they're doing yet,
and they're just doing things. So I don't know. I

(01:14:54):
don't know what happens with any of that. But in
the course of all that, some of the old dynamic
stopped mat mattering, Like I don't genuinely think whether it's
trending might make more of a difference about whether it
gets renewed than whether it actually got watched properly. Is
it being meaned properly.

Speaker 2 (01:15:08):
Here's the thing, here's what's going to happen, And it's
not what anybody wants, it's not what the general audience
doesn't doesn't care. The Internet's going to be mad about
it for a minute. But here's what's going to happen.
AI is going to get so good that the prompters
are going to be the people in charge of making stuff,
and whether they have actors or not. I mean, I'm
not sure exactly what the landscape's going to look like,

(01:15:29):
but a lot of the production value is going to
go down come down to AI in the next several years.
It's going to make it so cheap that it actually
becomes profitable.

Speaker 1 (01:15:37):
If streaming tries to do that, it can, but they
will be playing a I mean, they're gonna be playing
it fast and lose some where that the audience gets
a shit. They might I don't think that.

Speaker 2 (01:15:46):
I don't think the general audience overall cares, and it's
going to be so it is getting well. I say
that the point where I.

Speaker 1 (01:15:53):
Say that, but in both of the sentences, I just
I don't know what they're using to decide whether they
care anymore.

Speaker 2 (01:15:58):
I don't think the audience cares if it's AI or not.
But they will eventually come up with a system where
they're like, Okay, across the board, this this means it
was profitable. But they're just going to have to like
get to a point where they're like, it costs so
little to make a thing that they are profit.

Speaker 1 (01:16:18):
You can do that easily. You just sacrifice quality on
your way.

Speaker 2 (01:16:21):
But with what I'm saying though, is that AI is
going to get to a point where you're not going
to be sacrificing quality. You won't know what the hell
you're doing. You won't even know that you're looking at it.
In a lot of ways, we're already there.

Speaker 1 (01:16:32):
I don't know that is a point where I'm gonna
be curious about. I mean, like, for me, a lot
of consuming art involves consuming what the artists wanted to
represent in that art in whatever capacity. But if you're
just consuming it with no like none of your philosophy
of the aesthetics has any regard for the artists whatsoever,
you're just consuming the in content, then like, yeah, you
may not give a shit where it comes from. But

(01:16:54):
I think there will be people that wholly are in
the camp of like, well, how much what percent are
we talking about? Was this an AI creation entirely? Because
that don't know, but like what like was it prompted?
Like were they just used as a tool in the
situation or more of a collaboration.

Speaker 2 (01:17:09):
I think there will be some that are holy I
AI which is you know, with just prompts, but I
think there will also be uh, you know you look
at like Toob you know all these like movies that
tub buys up and plays for free, and like you've
watched those in God, I'd watch an AI film before
I watch some of that ship that's awful, and these
are just it's just people. There's just people hanging out
in a mansion for rent or something, making a stupid story.

(01:17:32):
It's awful. It's like, yeah, I don't have any furniture
in this place, and it's just, oh my god, it's
terrible writing. It would have been better if it had
been AI. Like what are y'all doing? This is like
some Tommy Wisso room ship, like the kind of looks
oh yeah, like any of that Tyler Perry shit, Like

(01:17:52):
Tyler Perry makes some garbage and they even made fun
of it on Atlanta, Like Donald Glover did a whole
thing where like his girlfriend or former girlfriend whatever, took
their kid to one of these like Tyler Perry type
content forms and it's just like nothing but like like
a town of studios and then like green lighting, shooting

(01:18:15):
and cancelling shows within the over the course of an
afternoon and like recasting the little girl and putting her
in a different thing, and then like a voice of
the microphone that clearly Tyler Perry is like that's enough,
move over to the stage. A. I did not like this,
you know, just just like it was brilliant as everything

(01:18:36):
in Atlanta was. But I think that's the future. But
hopefully we do get at least another season of Hartley Quinn.
Going back to what we were talking about, how that
kicks on.

Speaker 1 (01:18:45):
Yeah, there's plenty they could play with it. I would say,
there's plenty of story, but I wouldn't even know where
to predict they would go with it. They've tried to
burn down the universe a couple of times and come back.
I'm sure they'll figure something out though, And I know
those characters have of room left.

Speaker 2 (01:18:57):
Yeah, I'm good with just a quiet story, be fun.
I'm good with anything they do, though. Yeah, I'm model story,
oh ma'am. What they should do is Harley Quinn like uh,
like a Harley Quinn Dark Knight Returns type of thing,
like jump forward in the future. Let's see what Harley
and Ivy are doing, you know, in their golden years. Well, sure,

(01:19:17):
but let's see what what does Gotham look like? What
does what does Metropolis look like? What does the world
look like? What's going on with the superheroes? We get
little snippets of what's going on with them from time
to time. Anyway, I don't know. I guess that also
depends on if they're going to do another kite Man season.

Speaker 1 (01:19:31):
Two good I mean, Kiteman the way it ended could
just fall back and be fine. Harley, though, since you
haven't seen five I mean.

Speaker 2 (01:19:40):
I haven't seen all of it, some of them. I
haven't seen all of them. I've seen.

Speaker 1 (01:19:46):
Was vouching for the finishing. It is very tight. It
could very well sit there and it would be fine,
at least even if they didn't mean to. They button
this up well enough that like I could put that
away as five seasons and be okay with it and
even watch it again later, knowing that, like I'll have
some kind of wrap up it end that I can
be okay with.

Speaker 2 (01:20:01):
Yeah, okay, that's good enough. You know, I was, we were,
we were on a good track of getting back into it,
and then uh, they started advertising Little House in the
Prairie on the Roku channel or something, and uh, or
Pluto or one of those, and uh, al Wes started
watching that off and on, Man, what a depressing show.

(01:20:23):
Everybody's like, oh man, it's so wholesome and nice, and
like I started watching it. It was like dead babies
dying in fires and shit and kids going blind. And
I believe it.

Speaker 1 (01:20:33):
They everyone who's ever said it was wholesome and nice
can only ever remember the scenes of someone saying good
night to a thousand people and another person playfully stumbling
down a soft hill.

Speaker 2 (01:20:45):
Well, now hold on the soft hill, you're right, but
the scenes of them saying good night to a thousand people,
that sounds like you're misremembering, is Walton.

Speaker 1 (01:20:53):
I am, You're right, I said, but hold up be alone,
because does might as well be the same fucking show.

Speaker 2 (01:21:03):
Now, No, no, no, they're very different ish they're different ish.
Look Uh yeah no, I me and me and Bethany
were laughing about how Matt Carroll of MCU cast and
Star Trek Universe, the other show, uh we always says
stuff like oh yeah, you like uh he's always talking

(01:21:23):
about many times about like, oh, you're like all those
country shows you like Andy Griffith and Little House of
the Prairie. I'm like, no, motherfucker, they're different. Beth That
he was like Bethany was like little else of the
Prairie was not a country show. It was pioneer. Okay,
it's a different genre.

Speaker 1 (01:21:40):
I mean, ye, it is, it is.

Speaker 2 (01:21:43):
It is very it's different. Like but like also I
wouldn't put like Andy Griffith in the same category as
he Haw.

Speaker 1 (01:21:48):
Yeah, that is a very different thing. I mean, Andy
Griffith is good and funny, whereas like I wouldn't put
he Hall On Green Acres in the same category for
some reasons.

Speaker 2 (01:21:57):
Yeah, but also wouldn't put Andy Griffith in the same
category as Green Acres, Like I would put Green Acres
closer to he Haw, and they tried perhaps not in
this perhaps not the same category. But I feel like
Green Acres and Petticoat Junction that kind of ship.

Speaker 1 (01:22:09):
There's an area of that.

Speaker 2 (01:22:10):
Yeah.

Speaker 1 (01:22:11):
Yeah, it's closer to he Ha kind of a Beverly
Hillbillies area too. Yeah.

Speaker 2 (01:22:15):
I feel like Andy Griffin is like rural, and then
like Green Acres and Petticoat Junction is like country, and
then he Haw is a travesty. Yeah. Yeah, that's a
good point.

Speaker 1 (01:22:28):
Is maybe a rural or suburban Really are they Are
they adjacent to anything big in the Maybor universe?

Speaker 2 (01:22:34):
Well, there is. I mean they're in North Carolina, and
they talk about Raleigh as if it's a big town,
like that's the big city.

Speaker 1 (01:22:42):
It was probably one of the big two or three.

Speaker 2 (01:22:44):
And but you know they also have like they have
like the like the in town. They had a little
suburban area. But then like you know, ten minutes out
you're gonna deal with like there's the the quote the
filling station. And then a little bit further out you
got like you know, woods, you get the lake, you

(01:23:05):
got lake damn, you know, little farms, people running stills
and shit. And then a little bit further out you
got the hills where like mister Darling and all those
in Earnesty Bass and all those people live.

Speaker 1 (01:23:18):
Yeah, so it is, I mean, because the difference here
would be, I mean, I'm currently in my home and
if I so, I am currently, depending on where they
are in the past year, somewhere between fifty and two
hundred yards from a cow.

Speaker 2 (01:23:32):
Yeah, Like a standard conversation in the show is about chicken,
thieves and shit, you know, like and busting up a still.

Speaker 1 (01:23:40):
But like a cow right now. But I got in
your car in thirty minutes, I could be standing at
the bottom of you know, twelve stories of concrete. So
difference difference, Yeah, I.

Speaker 2 (01:23:51):
Mean there's a reason that I referred to Trustful as
modern day Mayberry. When I moved out here with you,
I went, oh God, this is Mayberry I want to
live very much.

Speaker 1 (01:24:00):
Has some aspects to it.

Speaker 2 (01:24:01):
Yeah, Like I like being able to go to the
store and then drive five minutes that all of a sudden,
I'm in the woods.

Speaker 1 (01:24:06):
I like that.

Speaker 2 (01:24:07):
I don't take advantage of it enough.

Speaker 1 (01:24:08):
But at the same time, well, it is kind of funny.
It's nice to be able to go to the woods.
You don't like being adjacent to them in the way
that they can come visit you. Right, we did have
a bear show up, a flake, I don't know, one
hundred yards away. I mean, yeah, I called a sack over. Yeah,
I have no interest in meeting that bear.

Speaker 2 (01:24:29):
Like dude, that was at your house when all of
a sudden the cows started running through your front yard
and down the hill. That was fun. I was glad
I wasn't outside.

Speaker 1 (01:24:37):
Yeah, that would be a little bit.

Speaker 2 (01:24:38):
But if you're recalled. When we lived together, like there
was a there was literally a night where we had
like neighbors walking around going like, oh yeah we got
a kyo run it about.

Speaker 1 (01:24:47):
Yeah, a couple.

Speaker 2 (01:24:50):
Like they're taking dogs. There's also a hawk, a giant
ass s bird coming down and taking small dogs.

Speaker 1 (01:24:57):
I mean, we're just we're in such a like we're
just adjacent into so many big sets of woods. Yeah,
I mean, I could legitimately grab you know, a confass
and a knife, walk walk into the woods next to
my house and if I wanted to probably go one
hundred miles in one direction before I found another thing,
if I really wanted to mm hmm, then attached to
so many other pieces of woods through so many cities.

Speaker 2 (01:25:19):
Yeah, anyway, Uh well, yeah, I do enjoy a little
House of the Prayer, even though it's sad as shit
and everybody's just oh my god, just marbidly and so
everybody's everybody's dead and dying and it's sad.

Speaker 1 (01:25:34):
You know, it's almost as though those were harsh times.

Speaker 2 (01:25:37):
Yeah, but you know, back in those days, you don't
expect them to actually do it, you know, you don't
you know, I don't know you don't expect that in
that era of television. You don't expect to like just
turn on the TV and be like, Okay, well this
is family programming, and tonight we're gonna watch a baby
burn to death at a barn. You know, like you
don't expect it.

Speaker 1 (01:25:53):
I've also wanted though, like, yeah, because the infancy of
television and they were keeping some stuff close to the best.
But at the same time, there were different death rates
for different reasons around that time, and you know, you
might be, you know, a generation removed from like oh, yeah,
my dad was one of eight children. He was the
only one that survived, or even in your generation at
that stage, you might have grown up and like, yeah,
they named me John after my older brother who was

(01:26:14):
seven and died of the rickets or whatever the fuck. Yeah,
and like he was named John two.

Speaker 2 (01:26:18):
Yeah, yeah. Sometimes they said it was it was a
game changer in the way that you you don't remember
it being like you you look back at Mash and
go like, oh, that was a fun little jaunt, you know,
a bunch of drunk doctors, like running around after nurses
and shit, And then you watch the show and you're like,
oh shit, this changed the landscape of television. It was
not what I thought it was. It was, but it

(01:26:39):
was so much more. And yeah, it's just it's just
really cool to go back and because I watched The
Little House of Prayer when I was a kid, but
I didn't remember all that shit. I was just like, oh, yeah,
a little little kid running around and the like you said,
down tumbling down the hill.

Speaker 1 (01:26:52):
I hate it. I hate Pilgrim stuff, like the setting.
Maybe physically an I don't. I hate it.

Speaker 2 (01:27:02):
Yeah, yeah, it's it's funny because people me and Bethany
have been watching it. And I pointed out to her,
I was like, you realize, of course that you love
this shit like you watch Little House of the Prairie,
Doctor Quinn Medicine woman that shit, Like you realize, like
this is just American Victorian England, which she hates. She
will not watch a Victorian England thing. Like one of

(01:27:25):
the biggest obstacles for us with Doctor Who. And I
don't like Victorian England very much, but you know, one
of our biggest obstacles with Doctor Who is like, just
from a budgetary standpoint, they have to have like three
episodes a season set in Victorian England. So much so
that they just literally they created characters who just live

(01:27:49):
in Victorian England. It's like a lizard lady and a
santaurin and you know, like they created those characters just
to be in Victorian England so that they can use
those sets. And it's just a thing that we just
freaking hate. Dude. But I was like, you realized how
ridiculous it is that where it was like boo, Victorian
England anyway, pioneer ship.

Speaker 1 (01:28:12):
The pioneer shit is. It's so if you're if you're
pioneer shit, you're basically your grandparents were Victorians. Your parents
got out of it, but we're still Victorians and you're
kind of the asshole. That's like I get some of that,
but I'm gonna like you're not. You're just not that
far moved from it, right, It's still in your dressing

(01:28:33):
patterns again.

Speaker 2 (01:28:34):
I you know, watch a little bit of Jane Austin.
You know, I don't hate Victorians. Shit, I don't.

Speaker 1 (01:28:38):
I don't know why. You know, certain settings and I
do mean exactly that settings, some types of them are
very attractive, some not, and like the ones that are
not for me sometimes are incredibly not I don't know
what it is about Pioneer, like that whole outhouse and
one barn thing. I just I don't know, man, everybody whatever.

(01:29:01):
It is just a giant turn off for me watching.

Speaker 2 (01:29:03):
It is nice to not see a show trying to
figure out how to adequately display that the character is
reading a text message.

Speaker 1 (01:29:13):
Yeah, okay, that's I mean, yeah, I'm.

Speaker 2 (01:29:15):
So tired of that. In current sheet shows, it's like
everyone's got like a their own cute, little gimmicky wave
of showing that someone's reading a text. And I'm like,
can we just like do shows where cell phones aren't
a fucking thing? Now? Look, I'm so tired of this.

Speaker 1 (01:29:30):
You can't, nor, unfortunately, can you have it be what
it is in real life, which is someone just sort
of like tips their phone they wear and glances that
way and you don't make a camera cube out of it.
But unfortunately it has to be a beat where you
say so and so notices phone mm hm, which means
now someone has to film it, which means of course
they're going to show off and film the fuck out
of it.

Speaker 2 (01:29:48):
Yeah. My favorite thing would just be like the same
thing they did on the Old Star Trek with try
quarters like oh well, it says hear this, okay, and
you just move on with your episode, Like you just
show someone looking at the phone, they say the information
they need and you can assume someone texted it to
them from the ship or from you know, fucking of

(01:30:10):
Reacher's friend, you know, like, oh, right, the girl is
getting the spin off. She's she said this, Like, yeah, okay,
we figured we figured it came from girl with bad
accent or spin off l I don't know anybody's names.

Speaker 1 (01:30:26):
No, no, no, you're right. We have to stop into
the sounds the thing. No, I gotta watch the little over.
It's like the bottom of the screen.

Speaker 2 (01:30:34):
I feel like it's like a combination of just like awkwardness,
like thinking that like we have to address it, but
then also like there's something there where it's like but
it's so new, I really want to do something with it.
Like I think I figured it out. Everyone thinks they've
cracked it. Oh, I know how we're gonna put this
on the screen and make it look right.

Speaker 1 (01:30:53):
I honestly I thought it looked just fine, and like
the earliest versions of it I saw were maybe Sherlock
or something, and I think, yeah, just find there and
we didn't need much tweaking. Yeah, although there's uh, I've
heard tell of a new documentary I want to say
it's called Social Studies. We're basically it was just it
followed a bunch of teens and watched it gives you
the overlay of what's actually happening on their phone while

(01:31:13):
you see in real life the documentary footage of what
they're doing. So you see the screen and you see
their actions and you can see that disconnected and like
what world is inside that little block and the world's
actually outside of it?

Speaker 2 (01:31:24):
Mm hmmm.

Speaker 1 (01:31:25):
One of the takeaways from the film is that the
answer to your question, can we just have that scene
is no, definitively no, And if you want to do
yourself any favors, stop wishing for it, except in any
retrospect kind of way. Mm hmmm, because like, yeah, going forward,
I don't think anyone has any plans for eliminating that
unless you make it a period piece. Yeah, but we
are gonna have to get to that point where it's like, well,
is this set in the nineties, Oh, and then that's

(01:31:46):
gonna be shitty. Is Oh, We're gonna do a thing
set in the nineties, and then somebody's gonna refer to
like I just got this SMS from my friend? Oh God,
did you now?

Speaker 2 (01:31:56):
Yeah, why are you making me not have hope?

Speaker 1 (01:32:05):
Because there's gonna be because right now there's some dude
that's probably perfectly talented and we'll otherwise make a good film,
but is otherwise, but is at some point going to
have a shitty take on what we thought of as
the version of the nineties, And it's gonna want to
point out that they knew that that was called an
SMS back in the day, and we'll do that by
making the bad reference to it.

Speaker 2 (01:32:23):
Right. I've kind of enjoyed here and there. I've seen
some all tour directors who are formerly all tour directors
I'm looking at you, Tim Burton do stuff like yeah, oh,
it's sort of a I've never really like adhered to
a specific time frame for this. So eh, we're gonna
have a movie and we're just not gonna address cell

(01:32:44):
phones and who knows if it's real or not in
that in this reality, you know what I mean? Like
I kind of do enjoy that where it's just like, yeah,
I don't know, I don't know. We didn't address it.
It's not there.

Speaker 1 (01:32:55):
Let's let's give a little bit of credit to a
DC product here, Gotham, I think did that incredibly well.
And I think a little bit earlier than a lot
of people taken on this new aspect of things. They
intentionally from day one said we were going to have
computers that look like this era, phones here, cars here,
clothes here, whatever. Every bit of this will be intentionally anachronistic.
You will not know which era we're in, and we're

(01:33:16):
going to make it that way on purpose. Yeah, And
I think it was a really clever way of making
you not have to feel your way through that, which
makes sense because honestly, decades haven't meant anything in decades anyway.
M hm. We're living in a timeless space in some ways.
We just haven't Like since the two thousands stopped and
names stopped being clever like nineties are niche and cute,

(01:33:38):
they just stopped branding themselves. For us, we kind of
veered away. It's just been like a big it just
seems like a big product of time now.

Speaker 2 (01:33:47):
Yeah, But I mean to be fair to Batman Animated series,
they did the same thing way before got them. I
think that's where they got it from, is they would have,
you know, somewhat futuristic tech. You know, here are robots
running around in human skin. By the way, you're watching
the news on a black and white tube television in
your car. What is going on? But Batman has a
panel on his arm that he could flip open and

(01:34:08):
hit a bunch of buttons and control his vehicle and
do all sorts of things. And you know, but yes,
by the way, that giant TV you have at home
is a giant black and white TV. Like it's weird.
And then by the time they move on to.

Speaker 1 (01:34:20):
This a certain way, all the cars look like they're
late fifties curve designs before like Chevy and Mass Manufacturing
got in there and squared everything up, like there's a
certain yeah, yeah, and there's a certain time it's filled
to it. But that one does have like a nwash
kind of timelessness anyway.

Speaker 2 (01:34:36):
But then you go over to like Superman the animated series,
you know, Across the Pond or whatever, and it's got
that deco look as well, but it's like a futuristic
deco look, and they have computers instead of typewriters. But
the computers look like not really any computers that we've
seen since like nineteen seventy nine. Like I think Shatner
was fucking pimping computers a little like this at some point,

(01:34:56):
but like it's.

Speaker 1 (01:34:58):
A green block. It looks like the Severence comput Yeah,
than anything we recognize.

Speaker 2 (01:35:01):
Absolutely, And by the time you get a Justice League,
they're dealing with tech so far ahead, you're just like,
I don't even know what we're looking at. It's like
some I mean, it all looks like Jack Kirby sci
fi shit.

Speaker 1 (01:35:10):
It's unlimited, Like half of the whole seasons take place
in the Watchtower. I mean, we're way past hm hm.

Speaker 2 (01:35:17):
You know.

Speaker 1 (01:35:18):
I for some reason, I have always remembered this stupid
little Riddler. Maybe it was one Riddler episode. I want
to say it was the Menataur. Anyway, he gets these
two coins, he's these two pieces of pennies, and it's oh,
it's copper, you know, all that crap. We're a long
way from like getting pennies out of a phone booth
at the point where we're doing seasons in the Watchtower
and fighting dark Side. But realistically, that was less than

(01:35:39):
ten years worth of viewing time for us.

Speaker 2 (01:35:41):
But also they did Batman Beyond, so they like established
what a far future technology was. Like I feel like
by Justice League they were reverse engineering what it would
be from Batman Beyond. But it all just looked like
Kirby shit, because that's what they did. Like, Okay, well,
now we got like we need, like Fantastic four type
like sixties Fantastic four Jack Kirby. You know here a

(01:36:02):
bunch of like incomprehensible circles and lines in some cool patterns,
and uh, everything looks new Gods, everything looks fourth World.
You're just gonna be pressing random things and that's that's
the future. Yeah, and I'm here for it. I love
that ship, but anachronistic as hell.

Speaker 1 (01:36:20):
It's been funny to watch stuff like Star Wars, for instance,
persist after all this time without having changed anything.

Speaker 2 (01:36:26):
Oh I love it.

Speaker 1 (01:36:27):
I love that technology.

Speaker 2 (01:36:28):
Star Trek had done.

Speaker 1 (01:36:29):
It and a lever and for some reason you can
hypher time with that.

Speaker 2 (01:36:34):
Yeah, absolutely, Like yeah, they they kept all the same computers,
the sets, everything looks like it came from Empire. Everything.
I mean, we were just I wish Star Trek had
done that so.

Speaker 1 (01:36:44):
Hard, so hard, went full full remodel.

Speaker 2 (01:36:48):
Rewrite, yeah, rewrite the timeline. Fuck it? Where that would
this was supposed to be our future. No it's not.

Speaker 1 (01:36:54):
No, But like Star Wars always did have they never
did have to they they said from the very first
scroll far away for a different time, all that crap,
so like it never had a long time ago, any
of our bullshit. I never had to do with any roles.
But we were just about the like Disney Cruise and
there's a little like there's a Star Wars something like that.
Of course you're in there, and like you just in there,

(01:37:14):
like yeah, man, this is really just like six buttons
and a tiny screen that didn't tell me shit like
this is worse than shit I could have gotten at
Radio Shack when Radio Shack was at its height, Like
I could have bought like spy gear out of the
back of a highlights magazine. That might be cooler than this.

Speaker 2 (01:37:31):
But all right, yeah, so I guess we should probably
end the show, right, Okay, thank you so much for listening,
And uh, we do have a Patreon Patreon dot com
slash DC on screen and come check it out. We
put up exclusive stuff from time to time, and uh,
you come join the community. At the very least, and

(01:37:53):
we love you guys. And uh, well, I'm gonna do
you want to actually try to like do do Batman
Forever days?

Speaker 1 (01:38:00):
I think so we probably should try it.

Speaker 2 (01:38:02):
Okay, Yeah, We're about to go through a little drought here,
I hope.

Speaker 1 (01:38:06):
So that's what I'm saying. I anticipate there's gonna be
like a little cycle. My guess is cycle like a
little drought trailer. No drought push us, right, I mean,
we're three months away. We're not gonna have too many
little down periods with three months less than three months
of time before that thing hits on a light.

Speaker 2 (01:38:23):
There we about three months of time. We've got set
picks leaking from super Girl. So I'm assuming that God's
gonna like be like ah shit and put out an
official look soon, which is fine by me. But yeah,
let's actually try to get that Batman Forever done, because
you know what, I watched it, and Gilmour was a
good Batman.

Speaker 1 (01:38:40):
I believe it. I don't know when I saw that last.

Speaker 2 (01:38:42):
Movie's got some issues. Those issues were not kilmer.

Speaker 1 (01:38:45):
The only thing I remember about it is uh, and
you know, I'll I hesitant to even say this because
we might talk instead of ending the episode. I vaguely
remember being the last time they were trying to actually
do a real movie instead of a cartoon.

Speaker 2 (01:38:56):
But there, well, yeah, that was they were trying to
make a real movie, and then the studio said, don't
make that movie. That's why people are still hollering and
release the Schumer Shumer Schumacher.

Speaker 1 (01:39:07):
Hut that you're right. We'll get into that another time.

Speaker 2 (01:39:11):
We will, but until next time, keep some DC on
your screen.

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