Superman Returns Review

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

Speaker 2 (00:03):
All right, Welcome in to DC on Screen. I am
David C. Robertson. This is my co host Jason Gosso.
Oh oh, oh oh. We are less than forty eight
hours away, and less than forty eight hours we will
be at the theater. The lights will have dimmed, and

(00:26):
James Gunns Superman will be shoveled unscrupulously into our into eyeballs.

Speaker 1 (00:33):
Right. I feel like it would have been less work
to say, in forty eight hours we will be watching that. Yeah,
I mean we'll be somewhere in the middle of it.

Speaker 2 (00:42):
Right, It would have been less work, but less fun
as well.

Speaker 1 (00:45):
But you know, once you got started, it was just
let's see how we get there.

Speaker 2 (00:48):
Yeah, all I have fun with it sometimes, Yeah.

Speaker 1 (00:51):
I enjoyed it. But for now I'm excited. Though it
is a it's going to be difficult forty eight hours.
I'm avoiding the Internet as thoroughly as possible. Yes, yes,
I'm only looking at small corners that I can trust.
If I enter any If if I have to go
to the Internet for anything, I might hell, I might
have anything I have might say like no spoilers. And

(01:14):
then and then the internet search starts.

Speaker 2 (01:16):
Mm hmm. But that's not what we're here to talk
about today.

Speaker 1 (01:21):
Here to talk about what we did have at our disposal.
Yes already, yes, for quite some time.

Speaker 2 (01:27):
And uh, you know, here's the thing this episode. I
am very tired. I've had some rough sleep and I
might not sound too excited about Superman returns, but rest
assured that's because the movie fucking sucks.

Speaker 1 (01:49):
I want to known right here now, it's not because
I'm tired. If he sends any lack of will to live,
it's the fact that this movie took it from me.
When did you watch it? How? What's your How far
out from this sickness are you?

Speaker 2 (02:06):
Well? You know, I saw it in theater like a
few times when it came out, Really I did. I
went and saw it, and then I saw it in
Imax with a with a with a different friend. We
went to uh we went to Georgia and saw it
and uh and this I think it was the only
Imax theater we had at the time, uh, in our vicinity.

Speaker 1 (02:31):
But that's probably accurate. Yeah, yeah, see, yeah, You've got
a whole whole ass viewing experience with this thing that
I do not have right.

Speaker 2 (02:40):
You also have to remember, though, that Superman returns. Yeah,
even with me having seen it in theaters a few since.
I think i'd seen.

Speaker 1 (02:52):
It once since that how long ago?

Speaker 2 (02:56):
It was a longer ago than this podcast, So over
ten years?

Speaker 1 (03:02):
Okay, So you just had like a like an XX
viewing several years later, right, and then it's been untouched
until what you watched it like last night? No, I
think we mean you were watching it yesterday.

Speaker 2 (03:13):
Uh. Yeah, I watched it last night.

Speaker 1 (03:15):
Somewhere overlapped, which must have been fucked up from AX
to have two viewers of this movie at the same time.

Speaker 2 (03:21):
Yeah, yeah, I was finsh. I was wrapping the movie
up and I looked down and saw you A texted
I can't do this. I gotta finish this tomorrow. It's
like you coward.

Speaker 1 (03:39):
Yeah, it's one in the morning. I was falling asleep
writing notes.

Speaker 2 (03:43):
Yeah, and I was just I was tired, but I.

Speaker 1 (03:46):
Would wake up. My pen was further down the line.

Speaker 2 (03:49):
Yeah, okay, good.

Speaker 1 (03:51):
I had to get the thought mostly down before it
turned to squiggles. Let me, okay, let's let's get this.
Let's finish this.

Speaker 2 (03:56):
So to set the scene, though a little bit for me.
I saw this in theaters multiple times, partially because I
wanted to milk as much of it as I could
into my soul, because, like I was so excited about
this movie. This is keep in mind, this was the
first Superman movie in twenty years.

Speaker 1 (04:19):
This would have been I mean, okay, so for us,
this would have been our generations like Superman movie.

Speaker 2 (04:25):
Yeah it should have been, but it wasn't. Uh for
obvious reasons.

Speaker 1 (04:29):
It did not work out that way. But yes, we
we should have been for all intense purposes seeing this thinking,
oh my god, we we have a Superman.

Speaker 2 (04:37):
Fine, and I don't think the whole thing is bad,
but it's pretty close.

Speaker 1 (04:45):
I mean, that's a good way of putting it.

Speaker 2 (04:48):
Yeah, it's funny because like in Superman four, Superman tel
at the end Superman tell's leg see you in twenty
and it was he was right. Yeah. So yeah, what
had happened was for twenty years, you know, or not
twenty for real, but kind of. I just kept hearing

(05:08):
about the next Superman movie that was coming, Oh, the
next Superman movie that was coming. And for I remember
when they were still trying to get Chris Reeve to
do Superman five, and then I remember when he had
his accident and the people were still saying, well, you
saw Jurassic Park, they could still make it happen, and
I was going, maybe, I don't think so. Though.

Speaker 1 (05:33):
That was in the Halicon days of just anything was possible,
right because we have computers, the what the house days?

Speaker 2 (05:40):
Oh that was like Haley con What is a halicn.

Speaker 1 (05:44):
I spelled that wrong in my head.

Speaker 2 (05:45):
I was like, yeah, that's some sort of comic book convention.

Speaker 1 (05:48):
Now, just weirdness, But that was like anything, It was
the possible time.

Speaker 2 (05:55):
Right, I'm sorry. What just completely derailed me with that?

Speaker 1 (06:02):
Completely deil? Yeah, that's what are we talking about the
fact that anything was possible for that?

Speaker 2 (06:07):
Oh yeah, yeah we saw it. We people saw Jurassic
Park and just decided deep fake is a thing today
and yeah, and then all of a sudden, you know,
it's like, oh, well, we're not gonna That's not what
was gonna happen. We're gonna have Nick Cage and it's
gonna be Tim Burton and all this stuff that just
kind of kept saying it's gonna do, and then they

(06:28):
just never would. And we do talk about that. There
is some of that in the trivia where it's just
like this movie alone was like, you know, Brett Ratner
was going to do it, and McK g was gonna
do it, and j. G. Abrams had a hand in
a part of it, and then it didn't. You know,
good God.

Speaker 1 (06:46):
You know we have an early episode where it's just
movies that didn't happen, where this this was deering an
arrow where there were several several scripts that got passed
around and you know we've covered him a very times
farious reasons. Yeah, there were a lot of a ton
of faalse starts, some ideas maybe hung around for a minute,
so I think some maybe showed up in this movie.

(07:08):
This was John Peter's film after all, so god knows
what kind of weird bullshit got trapped in it. Yeah,
And like a lot of stuff was bouncing around, but
very little of it made it to the film or
made it to actual film. Yeah, unfortunately, most of this did.

Speaker 2 (07:23):
This is a strange movie.

Speaker 1 (07:26):
It is for a lot of reasons.

Speaker 2 (07:27):
But I had, like I was saying, you know, I
was excited that they were gonna make it, and I was,
you know, once they announced Brian Singer, I was.

Speaker 1 (07:36):
Kind of excited was a hell of a get at
the moment.

Speaker 2 (07:40):
It was he was, you know, fresh off of X
Men and X two, and I was obsessed with Brian
Singer because of apt Pupil and most importantly the usual suspects,
super super excited about Kevin Spacey at the time.

Speaker 1 (08:00):
Oh yeah, he was. He was killing. This was him
over the stretch of what would be his prime. The
Brien Singer did he end up doing the Armageddon storyline
for X Men?

Speaker 2 (08:12):
The Armageddon storyline, I have.

Speaker 1 (08:15):
A vague memory. I think it was Brian Singer where
there was.

Speaker 2 (08:17):
Some Days of Future Past.

Speaker 1 (08:19):
Yeah, I think they're calling it Days of Future Past,
but like I think that was like he had put
out like he just wherever what whatever tweets were at
the time, he just messaged somewhere that like Days of
Future pasted or armaged or whatever it was. But I remember,
like you coming to show me, like, oh my god,
Brian Singer said this. I think this is what they're
going to do with the franchise next mm hmm. But
it was it was an exciting time.

Speaker 2 (08:38):
Yeah, yeah. And Days of Future Past is a classic
storyline and that is the title of it. A classic
storyline from uh, the comic books. Now they didn't do
it like the comic books, of course, but that was
a good movie.

Speaker 1 (08:52):
Yeah, But well, point was it was at that time
him even saying what the storyline was, it was a
very like that. That was a big break.

Speaker 2 (09:00):
Yeah, that was that was cool and that you know,
that was after this. So Superman Returns was just one
of those things where I said, look, I don't understan
like some people have hang ups about Donner. And at
the end of the day, Brian Singer couldn't decide what
the fuck you wanted to do with this movie because

(09:22):
it's not a true sequel and it doesn't make sense.

Speaker 1 (09:27):
It can be considered a true from just Superman Wanted Too.

Speaker 2 (09:30):
It can't. It can't.

Speaker 1 (09:32):
Jason, what's it missing?

Speaker 2 (09:34):
Well, first of all, yeah, I know comic books do this, but.

Speaker 1 (09:39):
I almost I almost want to ask what would be
the proper way to start tearing this down first? But
I just whatever, whatever, whatever comes to mind. All right,
first of all, you know as well just start chipping
away the Superman. It's gonna be bad. I'm very sorry
if you'd enjoyed this movie. Yeah, it's not gonna be great.
I have two pages of notes about things that are
just weird.

Speaker 2 (09:57):
So Superman wanted to very clearly take place in seventy
eight and eighty roughly roughly, this very clearly takes place
in like two thousand and fucking six.

Speaker 1 (10:10):
Yeah, anachronism's all all over the place.

Speaker 2 (10:13):
Yeah.

Speaker 1 (10:14):
I wasn't thinking done in that direction. That would just
be a dead end.

Speaker 2 (10:16):
Yeah, so already that. But you know, Lex goes to
the Fortress of Solitude, knows where the Fortress of Solitude is.
Kitty Kowalski says something like, you act like you've been
here before, and he sort of confirms it, but with
the look he gives in the camera, we that's confirmation.

(10:39):
But then he's shocked. He's shocked when the thing displays
when when Jorell is talking to him as if he's
Superman and he thinks sim his son. Okay, well, regardless
of which version of Superman two you watch, whether it's
Lara or Darrell, he should this is all what he

(11:01):
fucking knows, Like that they are talking to him like
he's kal el right, And Gene Hackman's Luthor was like,
it's hologram, you know, it's not real. He's not really there.

Speaker 1 (11:13):
And for that reason, I almost read it as he
seems so it when she says, it looks like you've
been here. He's going over the crystals. M hm, he
looks familiar with him. I read it as he's looking
at him, like, which one was it that I remember

(11:34):
that one? Like, that's how I read the action of it.
And then he and then he puts in the crystal.
By the way I wrote my note for that section
is the crystal still don't make any fucking sense. That's
what my my note from that section says. And no
one explained this, by the way, fuck oll of you
for it. But he he sees it. I almost took
it as he was just like, oh, this one thinks
it's talking to me, which is equally stupid. I don't

(11:57):
because he's already had doesn't help at all. Yeah, that
doesn't help in the light.

Speaker 2 (12:01):
Yeah. And then he's like, tell me everything with the crystals,
my guy, you already.

Speaker 1 (12:05):
Knew, yeah, yeah, you you.

Speaker 2 (12:08):
By the time Zod and company brought Lex to the fortress,
they're like act to oaked the fucking chamber. And he's
like all right, and he's like, you know, just goes
about it like I already know. I already figured this
shit out. So if it's a true sequel to either
of those, none of that shit makes sense. So all

(12:29):
of that, all of that I'll say, and I might
have more later if I think of it, yeah, or
if I'll see in my notes, But that right there,
like I don't know, And that's what I mean by
like the movie doesn't know what it wants to be
because sometimes it acts like it's a sequel, and then
sometimes it's like it's not a sequel because the way
Lex is acting doesn't make sense.

Speaker 1 (12:49):
Doesn't sequelize it. I think you can someone makes it.
Another one that really strikes me later Tests goes through
the same emotional actually did in the first one. Who like,
uh uh like about Kitty, that's not she's not Kiddy,
she's not she's not test.

Speaker 2 (13:04):
She's not test Maker.

Speaker 1 (13:05):
No, she's Oh god, so much more sense.

Speaker 2 (13:07):
That is kay, Okay, she's Kitty Kowalsky. She is not.

Speaker 1 (13:13):
That makes more sense. Yeah, yeah, even thank God for that.
That's one last problem.

Speaker 2 (13:17):
Even though she says the same ship, they make the
same jokes.

Speaker 1 (13:21):
Yeah, she is just a knockoff off the character. So
she's just sort of like.

Speaker 2 (13:26):
The Poorest Man's eve Test Mocker kind of.

Speaker 1 (13:29):
Yeah, Like she definitely feels the same role like and
in the sense that she's just boring to watch, Like.

Speaker 2 (13:34):
That's true of almost everything in this movie.

Speaker 1 (13:36):
I mean yeah, Like she comes back from that scene
where the breaks are cut on her. It it just
that one that one's taxing to watch. It's just overplayed.
It got she's screaming in a way that doesn't make
sense he's doing I just there were there only there's
really about only that moment in the movie where I
just thought, oh, this is just bad to watch.

Speaker 2 (13:57):
Yeah, Parker Posey Kent not overacted?

Speaker 1 (14:01):
Is that the problem?

Speaker 2 (14:02):
She's either completely overacting or she's doing like like when
she's like keeps when they keep showing her like having
her emotional moments, like not being okay with what Lex
is doing. She's I guess that's her version of being subtle.
But instead she's got kind of her mouth hanging open
like she's having a stroke. She looks like Will Ferrell
doing Harry Carey.

Speaker 1 (14:24):
Yeah, I guess so. Yeah, it was not hidden for me.

Speaker 2 (14:27):
And they're just like there She's just sitting there like spazing,
staring at Lex and holding that dog.

Speaker 1 (14:34):
That well, yeah, she's paired with that weird fucking storyline
with the dogs. Uh huh, with the.

Speaker 2 (14:43):
Yeah, it's weird, man, it's a weird mo was she.

Speaker 1 (14:47):
Like, was the dog eating just the other dog up front?

Speaker 2 (14:51):
Yeah?

Speaker 1 (14:51):
Or was that was it the lady's fingers?

Speaker 2 (14:53):
Oh? No, it was the other dog. There were two dogs,
and there were two They left the fucking house and
then came back some long time later to one victorious dog,
to one dog, And she's like, was it there two
of those?

Speaker 1 (15:07):
Yeah?

Speaker 2 (15:07):
By the way, the old lady you know who that was?
No that Lex got everything from Gertrude. That was the
original Lois. That was Noel Neil. Oh, okay, she showed
he showed her pleasures that she never imagined.

Speaker 1 (15:22):
Yeah, so the movie starts awful, Like Lex's introduction here,
that should have been more of a sign. I thought
that was just such a weak way for this even
even this he like huckster legs.

Speaker 2 (15:37):
Uh huh.

Speaker 1 (15:38):
Such a weak fucking way for this guy to make
is to make a fortune, like I guess, a bounce
back fortune. He needs a little bit of money to
play with, not his first fortune in this story, I
don't know, you.

Speaker 2 (15:48):
Know, he's just always a criminal somebody.

Speaker 1 (15:52):
Yeah, I know, but if he if they're going hard
way to get a startup.

Speaker 2 (15:55):
It is it's weird. I did know, I do. I
did laugh with him taking off the wig and handing
into the little girl and the girl screaming that was funny.

Speaker 1 (16:04):
That I hated it. It looks so lame, like it
triggered me though, And here's why, because like the he
comes out of that, like it's it's already weird. They
already do. Like he plops the hair off to reveal
the baldness, which, by the way, the bald storyline in
this is a whole other set of weirdness. Uh huh.
Now I'm trying to be fucking all bald woke and shit,

(16:25):
I'm just saying, you made a it's a lot of
weird fucking jokes. Like it's a lot, It's a whole
ass string. You'd think the entire movie can depend on
a bald joke. Seriously, just bad.

Speaker 2 (16:35):
But like, wait, what are you talking about?

Speaker 1 (16:39):
Like the constant references to like even the first thing
Jason says when he sees Lex in the hallways, you're bald, right,
that's the least believable line in the entire fucking movie.

Speaker 2 (16:48):
Well, I knew you were gonna go there, because that's
the only two I remember.

Speaker 1 (16:52):
I think they were their lines anyway, maybe are overregistered,
but it's like it got weird. Yeah, yeah, yeah, Kitty
mentions it at another point. It's just it keeps coming up.
He's got all the things.

Speaker 2 (17:02):
At some point like what my father told me, you're
losing your hair.

Speaker 1 (17:06):
Yeah, there's that thing. Yeah, there're so three yeah. And
then like at some point when she's breaking in, like
the big trigger is she sees all of his his wigs,
which I don't remember being it's a strange thing to
point out that he's got a whig fascination now and
we're supposed to know that's a big inherent figure of
oh naicsiness.

Speaker 2 (17:24):
That was well, that's coming off of the Donner stuff.
And he absolutely had that. Oh god, he had so
many wigs. Every time we saw Legs in those movies,
especially Number one. I think he wore just one wig
consistently in Number two, But in Superman the movie, he
had like a whole wall of wigs, and every time

(17:46):
we saw him he was wearing a different fucking wig.

Speaker 1 (17:49):
All here's our remember from that, he's bawled the whole
movie because that's the thing. And then when he goes
through a few like they go on little heists in
little adventures, and he wears a wig for him, which
I guess he'd here. So fine, that's okay, So he's
got the same wall as before. Fine, that's a reference. Yeah,
but like the way the part, so the part the
originally got me, that's just annoying. He comes out and

(18:11):
that's the big the big do reveal is he pops
off his hair and oh my god, we have bald lex.
Oh it's he's a bad guy. The whole family's there.
He's inside, she's signing the will with her literally their
last breath, and then.

Speaker 2 (18:23):
He had to finish it.

Speaker 1 (18:23):
Power had to sort of walk her through it. And
then he comes outside and there's just the little girl
standing there and just throws her that. Then it the
reason I hated it is I it just wasn't that funny.
It's just kind of a stupid scene.

Speaker 2 (18:37):
But it was one of those that was funny to
me because of how absurd it was.

Speaker 1 (18:42):
Just so I think that's where like it could be funny,
But I think my interaction instead of that is I
immediately got annoyed, but like, okay, we're just it's another
fucking time where no one's gonna take this seriously at all,
Like you're just you have in this space, you have
like you could have introduced him a numer of one
and you have n't do this ridiculous thing, like it's

(19:04):
the most shy street way he could possibly get his fortune.
Which do we need to show the most shy street
way he could do it. There's a number of ways
you could have shown him accumulating matt like wealth right now,
land deal's any other thing you wanted to do, like
a stock market deal. He didn't necessarily have to go
like black widows some old lady. Yeah, it was just
a weird choice to start with that and then to
immediately come out with like I think they do like

(19:25):
a Dutch angle on the little girl when she's screaming
and some shit. It just broke me out of the
thing real quick.

Speaker 2 (19:30):
Hmm. Yeah. I wasn't terribly against it, like because that
felt like that was the last time his luthor felt
like Gene Hackman's luthor though to me, really because throughout
the rest of the film, he's just he's not He's
not fun like, he's dark and menacing and hateful. And

(19:54):
there are definitely things Kevin Space he did with Luthor
that felt fun in a way, like him being like
God's uh, you know, gods are beings in little red
capes who don't share their power with mankind. You know.
He had some some fun little Prometheus shit, some Arthur C.
Clark shit going on, but uh, he didn't. He never

(20:18):
really after that initial bit, the huckster bit, he never
felt like Hackman. He because Hackman seemed like he was
having fun, Like he felt like a used car salesman
a little bit. You know, Lex Luthor's greatest criminal mind
of this or any other time he's thrown up the
peace signs, he's you know, just cheez.

Speaker 1 (20:39):
So funny there it It had a weird effect. I
think most of the film I thought he was doing
a really impressive Gene Hackman impression, oh right there. I
don't know. I did get the sense that he was
doing a really good impression of it. But occasionally he
would take a time to do like something a little
bit darker that felt a little bit more like Kevin
Spacey's kind of area because he you know, he was
great at just being like dark like that. But I

(21:01):
thought it was a pretty good impression for the most part.
But you're right, like it wasn't. It wasn't just as
boldly comical and farcicle as it normally would be. The
closest I can remember is kind of the you know,
the bathrobe scene with the break in. That's maybe as
close as I can remember.

Speaker 2 (21:16):
Yeah, And they don't like and I'm not saying like
they should have, I'm just saying, you know, there there
were several little like tone differences, Like space he wasn't
playing it as as uh, he wasn't playing it like
he was as put upon as Hackman, did you know
any little thing that his idiot cronies would do and
he would just just shake his head with his eyes closed,

(21:38):
like oh. But at the same time, they would have that.

Speaker 1 (21:41):
Like literally the like Abbot and Costello beat for.

Speaker 2 (21:43):
Those, Yeah, and they would have the little march of
villains from williams Den Durn to dorn Dun Dunt dun
Dun kind of really pushed that like comic edge too,
and it was it was an interesting thing to look
at so Close behind the Reeve movies, because it really

(22:05):
really did play it darker, like none of almost none
of the villains even had I don't think any of
the villains other than Kiddie had lines. One of them
did about.

Speaker 1 (22:17):
Most of them. I think the guy who died eventually
has like one line somewhere in the fight.

Speaker 2 (22:21):
Well, all of them died eventually.

Speaker 1 (22:22):
But oh yeah, yeah, I mean the piano dude, my man.

Speaker 2 (22:25):
The piano dude, the John Wayne Gacy guy.

Speaker 1 (22:27):
I don't think cal Pen had any lines.

Speaker 2 (22:29):
Calpin did not know he didn't. There was one guy
who said when he was like stop the camera, he's like, oh,
I'm getting it, and he's like, stop the camera. There
was that one guy with the camera.

Speaker 1 (22:39):
Yeah. But yeah, So that is a weird note how
few lines there were in this thing.

Speaker 2 (22:45):
We didn't have like a proper otis stand in.

Speaker 1 (22:49):
I did wonder about that.

Speaker 2 (22:50):
We just had a bunch of thugs who didn't really speak.

Speaker 1 (22:53):
There were things that I think were meant to be
more humorous that didn't hit like. I think because of
the way he played, like the whole bit with the dog,
like the end when they're when he's just looking at
the dog. I think that's supposed to be funnier than
it is.

Speaker 2 (23:04):
Maybe, oh, because that's what they're going to eat.

Speaker 1 (23:07):
Yeah, yeah, maybe that was meant to be a little
more what you're looking for, but it just didn't work
that way with all those in there. One thing I noticed,
so Brutus, I think.

Speaker 2 (23:16):
It is the uh that was Oh no, maybe it
was the other guy I thought.

Speaker 1 (23:21):
I think Brutus is piano dude.

Speaker 2 (23:22):
Okay, oh yeah, you're right, you're right, you're right, you're right.

Speaker 1 (23:25):
Dude with this caulled cap. Yeah, so there's one dude
that's constantly playing. I think this is meant to be
a running bit that's funny in the background, And to
me it kind of was because it's funny in the background.
But like I like the running bit where they're never
able to play pool hmmmm, Like if you look in
the background, that's a it's a pool table on a boat.
And he didn't get the kind that's gyroscopically, gyroscopically whatever.

(23:45):
So there's a spot somewhere in the movie they actually
do a camera shot where it's over the pool table.
I think for a second, and you like it puts
it in the foreground or for a fault for a second,
but otherwise it's just kind of chilling the back. Yeah,
and he's always just kind of moving the balls around
while he can to hit it while I can. It's
it is a farce technically in the background of these
otherwise funny scenes, but it's not doing the work you
wanted to do.

Speaker 2 (24:04):
I don't think, m m, yeah, it's not so to
kind of jump back, though, I thought the opening of
the movie was weird, the little prologue there, but the
wise scientist who sends his son to Earth and all that,
there's a weird way to kind of do that catch up,

(24:27):
get the audience up to date on that, and then we.

Speaker 1 (24:31):
Do not have to have a recap. Can't stress that enough,
but we know.

Speaker 2 (24:34):
And then we have like Krypton's son sucking in and exploding,
and the son looks like cgi a krylic It looks plastically,
it's so loud, it looks like ketchup and the now
the effects look like the opening of fucking Pee Wee's Playhouse.
And it's a total stylistic choice that I hate. I

(24:56):
hate it.

Speaker 1 (24:57):
So I think I agree. I think they we're trying
to do something that looked like a bridge between the
shitty practical and what we could do now. I genuinely
think there was a deliberate choice to kind of give
it a little bit of shitty practical feel and move
on from that in the in the rest of the movie.

Speaker 2 (25:15):
But you know, you see pictures from Hubble and all
that stuff, it looks like the shitty practical effects. It
looks real to us what the practical effects look like.
Often in you know, you know, high budget seventies pictures,
you see like a like a planet and shit, and
you're like, yeah, that actually does look closer than what

(25:35):
the CGI shit looks like. Right to me.

Speaker 1 (25:40):
It was strange. I liked that they minimized the backstory,
but it was still unnecessary.

Speaker 2 (25:45):
Yeah. By then we get the credits, and yes, the
words the credits zooming towards us look great, But all
the galactic effects, you know, galactic effects from a two
hundred plus million dollar movie should not look like nineties
loading in space cases. And that's what it fucking looked like.

Speaker 1 (26:03):
It looked rough where you're just zooming through the medior
and stuff.

Speaker 2 (26:07):
Yeah, and even then I'm still sitting there going like
I am not so not so IQ deficient that I
am happy to just sit and watch pretty colors on
a screen for this long, like, please get through these credits,
Please move on.

Speaker 1 (26:24):
I thought you were going to yes completely. I thought
you were gonna say, I'm not so enamored of my
memory of this fucking movie. Like, that's another thing. This
movie didn't know where to exist between nostalgia and trying
to regain a new audience, and it didn't know how
to do that at all. So that credits is too long.
We didn't need to do We did not need to
do that. That is an edit that should have been
left in the late seventies. Movies don't paste that way anymore,

(26:46):
and they should stay that way, damn it. And here
we are. It was nice to see that. I enjoyed
seeing the credits do that for a second, but it
really a third of the time even.

Speaker 2 (26:58):
Yeah. Now, something that they cut out that maybe they
should have kept was a long sequence of Clark in
his ship surveying the spot Krypton used to be at.
If they had kind of done credits there, that would
have been Because it is a pretty lots of pretty shots,

(27:19):
it's doesn't really give much of the story but it's
better than the opening credits that we got. I feel
there is there was a plot line in there where
apparently the original plan and they and Warner Brothers made
him cut thirty minutes out of the movie. So where
have you heard that before?

Speaker 1 (27:36):
Mm hmm.

Speaker 2 (27:39):
Calpin and Lex Luthor trick Superman. They basically have astronomers
quote unquote astronomers say that they found Krypton and it's
still there and that's why Superman leaves. And because Superman
isn't there, and because Superman did and wasn't there, now

(28:02):
as a witness, Lex is free because they mention it.

Speaker 1 (28:06):
Those are two of the weakest parts of the entire movie.

Speaker 2 (28:09):
Yeah, Superman didn't have didn't he just you know, grabbed Lex,
took him to jail. No Miranda rights know anything. Yeah,
guess what Lex is getting free, buddy.

Speaker 1 (28:20):
It's there are times where I would rather just pretend
there's no legal system than invoke it and do it
so badly that it just annoys the shit out of me, Like, mmm,
I this isn't one where I'm like, I don't know
enough about the law to care or to give you
any kind of rundown here. I just I It's not

(28:41):
believable to me that somebody at Lex trying to kill
millions of people is going to get off because any
one of the witnesses, even Superman, needs to coordinate. That
is not how That's not a believable thing for me
to digest and watch your film. Mm hmm, I can't
get along with it.

Speaker 2 (28:56):
Well, he had already been in prison. Again, if we're
going by sequel, he'd already been in prison from the
first movie, escaped in Superman two. Yeah, yeah, I guess
you know, you could say that he was, you know,
under duress or whatever. He was, No, you, But I
mean I've.

Speaker 1 (29:15):
Seen that, we've seen this done in real life where
you literally exonerated of the first thing, still went to
jail a little bit for for skipping jail, even if
you like, we have seen this in the actual court
president that it doesn't work that way. No, I that
was that was the judge.

Speaker 2 (29:30):
So yeah, I know, I'm just saying, like you could
kind of say him helping Zod was like Zod was
forcing him. Yeah, but the other stuff is still there.

Speaker 1 (29:40):
I just you're going to invent something Nuremberg level for Lex.
It's not going to go by oh, he didn't feel
it for a court debt, just it's not workable for me.

Speaker 2 (29:48):
Yeah.

Speaker 1 (29:49):
Also the astronomer thing, I'm glad you said that. I'm
glad there is a backstory, but on the face of it,
what I saw here, I don't do it. It's five
years of travel. I don't even know why he needs
a ship' I don't know in this story, in this universe,
I don't know why this superman necessarily needs a ship
to travel.

Speaker 2 (30:07):
Well, if he goes to another galaxy, he would because
he's going to be away from our son.

Speaker 1 (30:11):
Yes, but you can be near other yellow Sun. There's
within the rules of this universe. I don't know for
sure if it's outlawed exactly, but the rules of the
universe change enough that, like I can't hold you do
that entirely.

Speaker 2 (30:26):
I'm just going to say, this motherfucker needed a ship
to get here. He's going to need a ship to
get back. That's what I'm gonna say.

Speaker 1 (30:31):
Maybe, but that's where the problem lies. Like five years
travel time is two and a half years back and forth, right,
that's down the street. In terms of astronomy, there's no
just a glancing blow at it. There's no version where
they're just like, hey, we just discovered this thing. It
would be like just discovering you had a lawn. If

(30:52):
you're an astronomer, it impossibly close to what you're trying
to look at. You would have discovered that decades ago.
There's no way, like the idea that Lex goes in
and like bribes somebody to say that is the only
reason I could ever get behind that cutting that is
an absolute abomination mm hmm of explainability. Like and you know, honestly,

(31:13):
here's the part that I do hate about that because
I want to be like, they shouldn't have cut that, dude,
this is two and a half hours, and it did
not have to be. It didn't really there's other stuff
you should have cut, Like the studio probably should have
told you not to make it three hour movie. I'm
kind of siding with them on this one, all right now.

Speaker 2 (31:28):
I kind of desperately want to do my own cut
of every one of these Superman movies.

Speaker 1 (31:33):
I don't I'm down for it. I would happily sit
and watch these with you.

Speaker 2 (31:38):
Now, here's what I like about him going on this
mission to go and see check out Krypton from the
sequel perspective. In the Reeve Cannon Supergirl film, the reason
Superman isn't there to help her with this threat is
because they say Superman is on a deep cosmic or

(32:01):
galactic mission to another galaxy of course, so I.

Speaker 1 (32:06):
Like sounds more noble than just he's on some personal
shit right now off somewhere else.

Speaker 2 (32:11):
Yeah, but again problematic for the sequel status. They at
like Superman just disappeared and no one knows where he went.
Yeah where it was like literally like a newscast or
some shit, and Supergirl that was talking about it.

Speaker 1 (32:24):
Yeah, they so all right, So in this movie again
back to its back to it its own logic, you,
Clark bumblingly tries to say, well, maybe it was unbearable
for him to say goodbye, right, And then there's a
reference later where she tries to say, well, you're you know,
Clark tried to say this, and Superman's like, maybe it's
just that they they don't address that enough for it

(32:46):
to make any sense to me.

Speaker 2 (32:47):
Like, well, I think the the secret reason is because
one this isn't Reeve Cannon, and two bitch was twenty
two at the time, so when he left, she was sixteen.
And Sam Lane was already up in his as for
statutory sure, sure, sure.

Speaker 1 (33:07):
It. Yeah, there's gonna be a few of these where
I'm just like there, I don't know where to begin
with some of the problems though, like I can skip two,
I can skip to one in particular. All right, So
along the lines of the editorial choices there, like, all right,
that movie should have been a two hour movie. M
could easily have been into our movie. There's a lot
of there that didn't need to be there. The a

(33:31):
three hour movie at that time, by the way, in
two thousand and six was an absurd ask you better
have a damn good us, are you? Like, and trying
to start a Superman franchise in two thousand, like, that's
not a bad reason to try to make a thriller.
Like I'm I'm hearing it out. It's just not all there.
It's not worth it for me. But in terms of
what you could have cut, there were a lot of

(33:51):
story choices here that were just what are we doing
with this film? So kind like you said, the film
doesn't seem like it knows where it's going.

Speaker 2 (34:00):
We can cut that long extended sequence of him remembering
being a young Clark running across the field wearing glasses. Yeah,
I don't know why motherfucker needed to wear glasses.

Speaker 1 (34:09):
I don't know why, and I didn't need to watch
him like it looked like bad hulks. Hegi like almost
at times looked like they grabbed the Hulk action and
just it was rough.

Speaker 2 (34:20):
Were they trying to say like Clark couldn't he was
wearing glasses because his supervision was trying to kick in
or making some like is that why his kid is
like asthmatic and shit like? Because well, I kept.

Speaker 1 (34:34):
Thinking that they were gonna do something very cool with
the asthmatic kid thing, where maybe it was I would
love it, Like, Okay, well, if he was born of Earth,
then maybe Earth is a trigger for him, so when
he gets around ryptonite it makes him stronger. Uh huh,
that would be a cool turn. They didn't go down
that road. I don't feel like so right like, if anything,
he has powers here, but there's no explanation. He just has.
Mommy's about the diye powers. Uh huh. It's it's strange.

(34:58):
But in terms of just oh all story and editorial choices,
there's are story choices which when you look at this thing.
It's like story by Brian Singer. So there's a story
by three people and written by two people. Singers only
in for the story part, and then it's that he
bounces out and then he comes back for the director
title or credit, so he helps break the story somebody else, right,

(35:20):
so he comes back and directs the thing. But I'll
put it this way. So the game I wanted to
play with is this looking it up, the whole process,
the whole the plot as we have it here? Can
you think of a way to pitch me this story
that doesn't sound like you just got dumped.

Speaker 2 (35:39):
I'm not sure who's supposed to be the dumper.

Speaker 1 (35:42):
I just this is very much the script of someone
who is working some shit in their personal life out.

Speaker 2 (35:48):
It seems like it and not. Well, it's like it
seems like someone very toxic. Yes, because it's like, yeah, okay, cool.
So again, if we're going by sequel, which we probably
shouldn't in this case, we have a superman who fucked.

Speaker 1 (36:11):
Lois and reports to be a sequel, so it.

Speaker 2 (36:14):
Believes it is. It thinks it is, so okay, fine,
you you had sex with Lois then gave her a
memory kiss that made her forget that you had sex
with her and that you were, in fact Clark Kent,
and I assume she thinks that her kid is fiance

(36:35):
Richard Whites until he throws that piano. So so as
the Greek Kevin Smith wants to ask before me, why
isn't having Lois? Why isn't Lois saying? When the fuck
did you rate me? Superman?

Speaker 1 (36:49):
A little bit? But so I'm I'm getting into the
slide everything, so I can't tell watching it, I think
she knows. Like there the the film makes a lot
of dude, the movie over and over again is like
did you did you fuck him?

Speaker 2 (37:04):
Though?

Speaker 1 (37:04):
But did you fuck it? Like even Richard, the nice
guy of the film, has to stop at some point
and go Okay, I mean, yeah, yeah, but but did
you fucking like it's it's weird, fucking horse shaming behavior
that's fucking out annoying the whole fucking movie.

Speaker 2 (37:17):
That's not what he said. He said, were you in
love with him? Yeah? She said everybody was in love
with Superman and he was like, yeah, but were you?

Speaker 1 (37:26):
Yeah? They go back for that, but like it, I
think just watching it, especially like the way that she asks,
so you remember when Lex is like hanging over the
kid and he's got the kryptonite and he's like, are
you sure again? Even then Lex is like, but did
you fuck him? The whole movie is asking over and
over again, you sure you didn't bone Superman?

Speaker 2 (37:47):
Yeah?

Speaker 1 (37:47):
And in that moment I felt like her response was
very much I don't. I feel like she knows this
boy is not Richard's. Maybe I don't know if canonically
or within I don't know if in the truth of
the film I have to be wrong about that, or
if it's an interpretation possibility. I felt like she knows
that this is Superman's boy, I think, which makes the
whole film so much weird for me.

Speaker 2 (38:08):
I think a lot of it is is interpretation. Uh,
A lot of it's not clear. There's this, you know,
that big us fucking thing where they're like the kid
is like Superman's in the water down there, and she's like,
how do you know? And then this like everybody kind
of just knows why he knows? And I'm like, I
don't know, do they have some kind of fucking psychic

(38:31):
link all of a sudden like.

Speaker 1 (38:33):
That, can you do you have audio or do you
have really terribly clipped audio that of his superhering as well, Yeah,
but I didn't hear. By the way, why did you
do that?

Speaker 2 (38:43):
Why was that a choice y'all made? Yeah, that was weird.

Speaker 1 (38:50):
You have superhering, but you can only hear it.

Speaker 2 (38:52):
It's just fucking I see. I did, like, you know,
I did like Richard being like, I mean, yeah, you
you what was the name of that article? She was like,
my night with Superman. I spent the night with Superman. Yeah.
She's like, yeah, that that was Perry's idea. Tle was
Perry's idea. He's like, uh huh uh huh.

Speaker 1 (39:11):
Yeah, I mean that that's kind of what I'm getting out. Like,
he didn't have to ask about the night with Superman.
He just been like, are you in love with him?
And even then, that's that would have made sense. I
would I would be perfectly okay with Richard's character of
being like cool, Superman was out of the picture before.
Now that he's back, how did you really feel about
this dude? That would be kind of unacceptable behavior.

Speaker 2 (39:31):
Well, Richard's total NEPO baby dude, Like he's supposed to
be some fucking reporter, a good enough reporter that he
is above everybody else and has his own office and shit,
but is upset that Lois has a password on the computer, like, ah, shit,
she has a password. Yeah, that's how it fucking works,
is that it works?

Speaker 1 (39:48):
Rick, I was confused about that. Oh man, I I
glanced away from the screen and I got another character wrong.
So I had to go back for a second and
be like, did I have that right? I thought for
a second, just hearing their voices, that he's the one
who brings out the sheet of paper and is like,
I don't know what these numbers mean, but it's Lois's writing.

(40:11):
Uh huh, Which the whole thing just stupid anyone saying
I know this must be Lois's writing, but I don't
know what these numbers are. Next, that's just I don't
know what to tell you. And then also that must
be off the coast of Japan. Dude, there's like four
numbers there. Latin lungs are like eight numbers long minimum.
I don't I don't know much about them. I know
they're longer than that. Yeah, it's just weird. It's a
weird spot For a second, though, I just I could

(40:32):
have sworn it was it happened another way around. I
was so pissed I had to go back and rewatch
that scene.

Speaker 2 (40:36):
Well, and actually, you know, they they did figure out
what the people have figured out what the latitude and
longitude where it is, and it's like right off the
coast of New Jersey. Man m hm, So I mean
that is kind of where they were going what they
were going for.

Speaker 1 (40:51):
I mean it's for them being accurate. Yeah, great, great, Yeah,
I'm sure they were. I just it's a it was
a weird spot to It was a weird piece of
dialogue to turn all that around one.

Speaker 2 (41:00):
Oh yeah, that nets most of this movie, like a
couple of pop points that are there. The dialogue is
stiff and weird, like Clark and his mother talking just
like what the fuck are we doing? Their dialogue was odd.
It's weird. Weird to see Glenn Ford in the picture
on the piano. It's weird. It's just weird. It's all weird, dude.

(41:20):
Oh just hold on, why did Clark throw that ball
so fucking far away?

Speaker 1 (41:27):
Okay, I'm gonna do a quick list of non supermany behaviors.
But everything we fucking talked about so far, okay, And
then you knew that that is clearly that dog's favorite ball.

Speaker 2 (41:37):
And by the way, let me okay, let me ask
this real quick, how the fuck does Man of Steel
get all the shit that it does when Superman returns,
came in and had Clark throwing that ball so far
away for that dog, and has Clark moping and brooding
and fucking floating around like a damn stock. He's floating

(42:01):
around like a stalker outside of stalking Lois House.

Speaker 1 (42:04):
I can't. I lost track of who's cooking who over
the course of the movie. It's it's a it's a
trifolding set of cookeries. I don't understand entirely how they
lie together. There's a lot going on there. It's stalkery
as ship. There's at some point let me let me
find the one note I have to hear about this.
It's just I think it just says like, yeah, sir,

(42:26):
that is a mother. What are you doing?

Speaker 2 (42:28):
Uh huh?

Speaker 1 (42:29):
I'll take like, like all right, So this whole scene,
so he goes off with her and he does this
flight where he like confronts her about how could you
write that article? Okay, cool, all right, So motivation wise,
he's going to come back and be like, how could
you write that article. I get behind that scene. I
get behind that as it's stamps. But then he doesn't
just kind of do that. He comes back and he's
basically like the entire scene is him just being angry

(42:50):
about how dare you forget how much y'all needed me? Yeah,
that's the lesson, Like, yes, exactly that he's fucking small
and like he's he does all that, and then on
like he gets onto her basically for just not loving
him the way he does. It's stupid. And then on

(43:11):
top of that, he starts to do the thing where
he's like, let me just show you something real quick,
all right, this is where I'm like, dude, that is
as far as you're concerned. That's the mother of a
child you just met. Like, what are you doing bird
dog in this man? Like what happened right here? We're
this is not superman behavior, and it's not the kind
of thing where it's like, oh, we're gonna humanize him
a bit. You didn't humanize him. You just kind of

(43:31):
made him a shitty version of like you made him
go through a weird thing that I think you think
is more normal than it's supposed to be. Mm hmmm
that's not like I'm not relating to that, because that's
not great behavior. No one should be relating to that.
That's not as sympathetic as you would expect.

Speaker 2 (43:47):
Like no surprise. You can't just mind wipe somebody then
take off for five years, because that's exactly what would
have happened if he is the father. That's the timeline
that you're looking at with the age of that kid,
take off or five years without even saying goodbye.

Speaker 1 (44:05):
Yeah, which is also fucked up. There's no version of
events where he couldn't leave some note about what was happening.
That's a contrivance the writers needed to make this film
even doable. It's lazy, Like the whole film seems to
be centered around what would happen if he ran off
for a couple of years and came back and there
was another family. It's like that's how they sold the movie,
is what if it was a love triangle? Now you

(44:25):
have the whole Superman at your disposal.

Speaker 2 (44:27):
And he's like all mopen in the Daily Planet, like
I didn't never see lowis settling down?

Speaker 1 (44:31):
Fuck you it yeah, it just it was that fucking
I was supposed to be special, even though I've been
I did everything wrong to this relationship, but you were
supposed to be you were supposed to treat it differently.
It's just shitty behavior. It's and like, I'm not trying
to be twenty twenty five about it was shitty behavior
in two thousand.

Speaker 2 (44:48):
And six, it was. There were people myself included complaining
about it.

Speaker 1 (44:54):
Don't feel needy and weird. We have a slightly different
language for it now, but it's the same shitty behavior.

Speaker 2 (45:00):
Yeah, you know, call it what it is. It's toxic. Yeah.

Speaker 1 (45:04):
And then he takes her all the way out to space, right,
He's just he takes her all the way back out
there just to show her. It's like he chastises her.
Like what do you hear nothing? Will I hear everything?

Speaker 2 (45:18):
Yeah?

Speaker 1 (45:19):
Okay, I'll take you back now now that you see
how important I am.

Speaker 2 (45:22):
Now, your article said the world doesn't need Superman, but
what I hear begs to differ. People are crying for
me every second.

Speaker 1 (45:32):
Yeah, don't you feel bad about ever writing that article
about me? I just yeah, I just can't get behind it.
This is not a guy I'm rooting for. And to
that extent, later, like when the triumphant music happens and
he's going to save him, and there's a boat and
the boat's cracking in half and all that, like when
the John Williams orch I'm not I ain't vibing with that, Like, yeah,
he's saving some weird family that he's not even supporting.

(45:54):
He abandoned half of them. I don't know what Richard's
role is in this. Richard seems to be a good dude.
Just like they said, why are you doing this to Richard? Yeah, like,
can anyone treat Richard respectfully? If anything, this movie made
me want to go rot Sonic three, which I'm sure
is a better movie maybe probably. Uh.

Speaker 2 (46:11):
On top of that, though, I mean, yeah, he's got
the look down. Yeah, he's got elements. I won't say
all of them, but he's got revisms. Uh but Ruth
or Ralph Ralph, Yeah, Brandon Ralph has revisms.

Speaker 1 (46:27):
But one of my notes is just that I think
he does such a good impression of Reeve at times
that he unfortunately recreates the bad parts.

Speaker 2 (46:36):
I think he creates his own bad parts. I just like,
for instance, I don't think there's a difference between like
he doesn't fully do Clark the way Reeve did for
him to have been supposed to be the same character,
but he also doesn't have like a really terribly different
persona as Superman, you know what I mean?

Speaker 1 (46:56):
Kind of Yeah, Yeah, I feel like there are moments
right can see he's trying, and I definitely early on
in the movie when he's bumbling around the office, all
that nervousness, I felt like that was a beat for
beat impression of Reef at at times. Yeah, I do
feel like last half of the movie maybe maybe not
so much. Yeah, but again back to that point, maybe
you shouldn't have made such a long movie. You kind

(47:18):
of lost track of some of your own themes.

Speaker 2 (47:20):
Yeah. I don't know what it is, but Brandon Routh
seems too young. He might not have been, but he
seemed too young to have had all this back history
with That's fair with Lois, and Lois definitely seemed too young,
and she was. She was twenty two when she was
w what's her name? Kate Bosworth was twenty two when

(47:41):
she was playing this Lois, and that is entirely too young.

Speaker 1 (47:46):
I agree, that's about ten, maybe even fifteen off now
for what she should be.

Speaker 2 (47:51):
I mean, she was sixteen years older than the kid
playing her son. She did not look she looked like
she was sixteen herself at the time.

Speaker 1 (48:02):
That true. Yeah, I just thought about it. I had
neither of them looked like their continuations of Margo and Chris,
especially five years past.

Speaker 2 (48:12):
No, not at all, not at all. It's an odd thing.

Speaker 1 (48:17):
All the lex looks about right. It does seem like
time stopped in that sense.

Speaker 2 (48:21):
Yeah, this Jimmy Olsen is loud and obnoxious and I
want to hit him.

Speaker 1 (48:26):
I liked him.

Speaker 2 (48:27):
I didn't like him.

Speaker 1 (48:28):
I did, but I've always liked that actor. He I
don't know why. It's some I've run across a couple
of times, and I always liked him.

Speaker 2 (48:33):
Mmmm. Those two work togethers on You're a big Jungle
to Jungle fan?

Speaker 1 (48:39):
Is that a thing?

Speaker 2 (48:41):
That's where my wife knew him from. She was like,
it's so and so from Jungle to Jungle And I'm like, okay,
what I have some Tim Allen guy?

Speaker 1 (48:51):
Oh god, yeah, that is what Disney Tim Allen thing. Yeah,
I believe that's the one that I saw the cover
of the other day and thought, ooh, that probably m
I finely held up very poorly. He is just one
of those people that I've seen occasionally and buys enjoyed him.
There they did a movie him and Rauth did one
called Dylan Dog or a Detective Dylan Dog whatever, that

(49:12):
detective dog.

Speaker 2 (49:13):
I know, I know what it is. Dylan Dog.

Speaker 1 (49:16):
Yeah, Dylan Dog.

Speaker 2 (49:17):
Yeah.

Speaker 1 (49:17):
I don't think it was a great movie. But I
didn't like it.

Speaker 2 (49:20):
I hated it in a comic strip.

Speaker 1 (49:24):
Yeah yeah, And I think I remember liking it more
than I was supposed to and knowing that I was
liking it more than it was worth liking.

Speaker 2 (49:30):
Uh huh. That's accurate because I I just go, oh god,
I hated it with every fiber of my being. Yeah,
I was like, this seems neat, and oh god it was.

Speaker 1 (49:44):
It was not great. I think I specifically had like
a bottle of wine sitting aside that night to kill
with that movie, and it did.

Speaker 2 (49:51):
Yeah. I wasn't a fan. Hey, here's the thing that
I hate. Uh. Everyone is shocked when Clark comes back
to the Daily Planet. They're like every They're like, oh Clark.
But they all knew he was coming back because they
had a cake and Perry had already hired him, and
everyone knew he was coming back, but they were all surprised.

(50:11):
What the fuck. Yeah, this sloppy, dude.

Speaker 1 (50:15):
They just thought that was like next Thursday, not this Thursday.

Speaker 2 (50:18):
You know. Yeah, what's that about.

Speaker 1 (50:20):
Yeah, I mean the cake got delivered early, so that's cool.
So like a happy accident, but like you're he already,
Oh god, was not prepared.

Speaker 2 (50:27):
All right. Here's another thing. When Lois is on that plane,
the one that has the shuttle attached to it, m M.

Speaker 1 (50:34):
I still times she should have died in the movie.

Speaker 2 (50:36):
Yeah. I still don't know why that shuttle was on
the plane.

Speaker 1 (50:39):
I don't I don't know, but while I was there
was it was It's supposed to like piggyback the so
the plane takes the shuttle up to a certain spot
and then it Jennison's off and then it can get
into the atmosphere like it's just a piggyback thing.

Speaker 2 (50:57):
Okay, okay. But they were talking about how this was
gonna like make it make airfare cheaper for people or something.

Speaker 1 (51:04):
Yeah, that part makes no fucking sense.

Speaker 2 (51:05):
I don't know what that was about. But Lois is
asking a question, She's like, how much will it cost
to go on this plane for average people or whatever.
She's being kind of shitty about it, you know, and
the woman says, just says that information is available in
your press packet, and I was like, bitch, you're a reporter,
read your press packet.

Speaker 1 (51:27):
I did side with the hostess there, So it's that
there's some other line she says where she gets like
the responses basically this is a Wendy's And I think
it was something about like, you know, when the technical
blah blah blah. She's like, that's gonna be for like
the after discussion, like like we're in the middle of
the event right now, and you can ask the technical

(51:47):
questions after we get done, when we're down in the flight.
I get that a little bit. Uh so, good point.
I think that the person hosting that probably enjoyed watching
Lois get banged around the inside of that. Yeah, yeah,
that was That was another point. There's Lois should have
died many times.

Speaker 2 (52:05):
Mm hmmm.

Speaker 1 (52:07):
I don't think this movie has a real good understanding
of just what happens to bodies when you put him
into big things and then and then shake him around
a lot, Like yeah, she just you just slammed her
against every side of the inside of an airplane, like
she's injured several times, if not dead.

Speaker 2 (52:23):
But also like, is Brian Singer one of those dudes
who has never actually talked to a woman, because like,
he does everything in his power to make Lois like
an old timey hysterical. I'm falling, Like, why the fuck
does she faint after all of that in the plane
when he takes off, She's like swoon and then passes

(52:46):
out like it's it's why why does he Why does he.

Speaker 1 (52:51):
Have lower trope that they don't need to do right?

Speaker 2 (52:54):
Then? Why does he have? Lois go to Richard White,
her fiance, the the nepo baby of Perry White, and
go have your uncle get off my back. She oh,
he's given me a hard time again, like where have
the where has the real Lois Lane gone? I don't know?

Speaker 1 (53:13):
And that I didn't think about that. She asks him
to get off her back about the She's trying to
write this whole article about a blackout the whole time,
and then and then he's saying, no, write the artic
about Superman. And then it seems like she was like,
rich hered, will you get him so I can so
I can write the article I want to, but then
that nothing changes. She ends up getting yelled at just
right after that for the Superman thing again mm hmm,

(53:34):
like later Clark gets as sign the Blackout story mm hmmm.

Speaker 2 (53:38):
And also it's weird that Lois calls him mister White,
eh guy, and the old ones.

Speaker 1 (53:44):
She calls him Perry Perry it's always been Perry like.

Speaker 2 (53:47):
They're good like that, She calls him chief for Perry. Yeah,
I ain't know, mister White. What the fuck is that?
I don't like it? I don't like it. There people,
the people that they planet are a family, dammit.

Speaker 1 (53:59):
Agreed, and this does not treat it like that. Don't
you think about this one though? But yeah, just in
the Daily Planet tropes area, uh huh, I really hate
this movie. Made me realize how much I hated I
think I hate the idea that Lois can't spell.

Speaker 2 (54:15):
Yeah, I loathe it. Yeah, sure, it's just.

Speaker 1 (54:18):
Dumb and I want it to go away. Not this
movie's fault. This movie was continuing the pattern.

Speaker 2 (54:23):
Did they do that again?

Speaker 1 (54:25):
Yeah, she can't spell? She asked how many f's are
and sophisticated.

Speaker 2 (54:28):
Ah okay, yeah, I forgot about that.

Speaker 1 (54:31):
I don't need that I want Gun to leave that
one out if at all.

Speaker 2 (54:34):
Possible, fingers crossed. My fingers crossed.

Speaker 1 (54:37):
That one will be one where I go, ah, we
didn't have to do that.

Speaker 2 (54:40):
Hopefully Gun is like, nope, we have spell check. Now,
let's just never mention that again.

Speaker 1 (54:44):
There's that. Yeah, that'd be cool. There's a category of
things in this movie that aren't entirely its fault, just
tropes that I've seen over and over again that I
didn't like, I've never relived, or just bored with or
but none of it is represented well here. And was
bored on top of whatever I was.

Speaker 2 (55:01):
Saying, mm hm oh. By the way Singer makes it
to where Lois can't hail her own fucking taxi.

Speaker 1 (55:07):
She can't. But and here's a rare moment of I
think that one was funny. The idea that he can
just whistle really loud. It's not like it's something that
he should be able to do within his current skill set.
That's not weird that he can just be able to
go and that you get like a proper whistle.

Speaker 2 (55:23):
Yeah.

Speaker 1 (55:24):
I liked that. If you're gonna donerize things where you
sort of exaggerate is it's almost lestering, but like when
you just sort of exaggerate his powers just for the
comedy of it, makeup ship because you want to. That
one's not a bad one.

Speaker 2 (55:38):
Mm hmm.

Speaker 1 (55:39):
You even have the little dog or like, but you
know that's hurt his ears too. Yes, this is a
very abusive, very dog abusive Clark.

Speaker 2 (55:47):
Yeah, dog abusive Clark and just woman abusive in general. Yeah. Because,
by the way, not only is Bosworth's loess uh, not
only is she just like have the personality of a
rice cake, she's also like a neglectful mother mm hm

(56:08):
forgets to pick a kid up and then also decides, oh, well,
I tracked this power outage down to this boat. How
about you and me go trespassing.

Speaker 1 (56:18):
Yeah. One of my notes small chile Ois is bad
at investigating.

Speaker 2 (56:21):
Things, small child who is weak.

Speaker 1 (56:26):
I've been trading out your Inhaler cartridges this whole movie
in the background. But yes, let's investigate this very dangerous
blackout that I shouldn't be investigating real quick it this
movie doesn't think that Lois has to be realistic at all.
It too nices the fuck out of her.

Speaker 2 (56:46):
Mm hmmm.

Speaker 1 (56:47):
We're way past like this was more offensive than the
range juice as far as making her a complete A
pile of nonsense, A.

Speaker 2 (56:55):
Pile of nonsense, absolutely, Uh. There's also a lot of
other piles of nonsense, like uh, Perry going. These pictures
are iconic and they were taken by a twelve year
old with a camera phone.

Speaker 1 (57:07):
Not with that quality, with that fucking quality. No fucking no, no, no,
nu huh in two thousand and six, fuck your ass,
no fucking way. Although I did like that Perry.

Speaker 2 (57:20):
Now, he's a fine Perry. It's just, you know, this
movie was so forgettable. People are like freaking out about shit, like,
oh good James, God, Superman doesn't doesn't do truth justice
in the American way anymore? How dare he? No one
remembers the backlash from Superman Returns when that trailer came

(57:40):
out and Perry goes, does he still stand for truth justice?
All that stuff? And everyone flipped the fuck out because
how dare they cut out the American way? And they
didn't say woke back then, but that's what they were saying.

Speaker 1 (57:52):
It was the intention.

Speaker 2 (57:53):
Yeah, they were like, oh god, the liberals got him.

Speaker 1 (57:56):
It was anti patriots, so like this that same you know,
there was a post not eleven kind of thing that, Yeah,
we were deeply in the middle of that. We didn't
have words for it. Yet it became at this is
a whole fucking does a whole fucking thing. But yes,
like that was seen as anti patriotic or whatever. And
I wondered that when I heard that, because he even
says like political truth justice and then he leaves that
out deliberately, but like didn't didn't super Maniloe's get a

(58:18):
headline for fucking with the same thing. Like two years ago,
I did some episode where it was just gonna be
like truth jarifs they they messed with the phrase. I
forget what they did. They adulterated it, and it was fine.
Like it was one of those where I thought it
was fine because they were just gonna be in more
more uh when American anymore it was more inclusive, God
forbid you do things like that. But like I know,

(58:40):
they weren't the first to funk with it though, and
the American way thing was always in that category of
like this is why in God is in the plot
and God, you know, like where in God we trust
is on the money kind of like we did a
lot of inserting of phrases around the fifties that were
just weird and they've stuck.

Speaker 2 (58:58):
I think in God We Trust was the forties, was it?

Speaker 1 (59:00):
It was the forties, and there was like the stuff
with the plat, I what's the fresh under God in
the pla and the plat or whatever, like we didn't
need that. We threw stuff in. We did stuff like that. So,
like the American way was something that like we had
some nationalism in the fifties that also had some America
has this habit of being like over Christian and over

(59:21):
nationalistic at the same time and turns into Christian nationalism.
But like we do these things and like phrases sneak
in and like that was one of them. Truth dressed
in American way. It was just like something that was
being It was an over patriotic insertion at the time.

Speaker 2 (59:34):
You were right, it was nineteen fifty seven. But he
said for and God we trust on the money. You
know where it showed up I was.

Speaker 1 (59:40):
I wouldn't even be in particular about the fifties, just
that area.

Speaker 2 (59:43):
You know, Oh that phrase showed up before or on
the Nazi belt buckles. Nice.

Speaker 1 (59:50):
Nice, some of these belt buckles were guns.

Speaker 2 (59:52):
Uh, huh.

Speaker 1 (59:55):
Last ditch fuck you's from whatever commander you just said it. Anyway,
the point was it was a phrase that was also
it was always a bit contrived to make it. However,
many years later, a big point of contention is just
kind of the stupid fucking thing.

Speaker 2 (01:00:10):
We do, mm hmm.

Speaker 1 (01:00:12):
And it just I'm honestly glad to hear you said
it that it did get a little bit of press
at the time. I don't remember that.

Speaker 2 (01:00:17):
Oh, it totally did. By the way, just to just
for clarity, the phrase did first appear on our currency
in eighteen sixty four on the two cent piece. Oh fun,
so it had some coin life before all the others.
Fifty seven was the paper money.

Speaker 1 (01:00:34):
See now now, Later I got to go back and
look at whether the phrase two cents is related to
the actual two cent piece. Oh yeah, yes, that'll be
a that'll be a waste of my add energy later though, I'm.

Speaker 2 (01:00:45):
Just remembering the Stephen Wright joke. A penny for your thoughts.
But yeah, you have to throw your two cent cents.
Someone somewhere is making a penny, m all right.

Speaker 1 (01:01:01):
So things that don't hold up, well, that was a lot.
That was the most intense facts I've ever seen sent.

Speaker 2 (01:01:08):
Oh my god, but you know what that I did
actually note that as being the most suspenseful part of
the fucking film.

Speaker 1 (01:01:17):
Actually, I have a contender, and and this is one
of the moments there, me and you have a habit
of we'll rip it apart. And then at the end
we're like, all right, here's three sincere things we liked. Yeah, uh,
here's I guess, here's one of mine. I guess the
helplessness right before, like when they're when they're going under
in the boat and Lewis has been knocked out, which,
by the way, knocked the fuck out by that door,

(01:01:39):
Like she's not alive. She died three times in this movie. Yeah,
no fucking way she lives.

Speaker 2 (01:01:43):
Yeah, and then for all of that to know that,
like she eventually just buys it from like a gas
bomb the Joker puts in the Daily Planet, you know, Yeah,
in Crisis. You remember, that's why that's why Brandon Routh
is all MOPy and shit in Crisis on Infinite Earth.
Why can't he just be fucking normal Superman for Christ's sake?

Speaker 1 (01:02:04):
Yeah, of course, of course, God, what was I even
what was again? It was what was what was the bitching?
I was gonna do that one.

Speaker 2 (01:02:11):
Uh she got hit in the head with that door
and passed.

Speaker 1 (01:02:13):
Than you thank the helplessness there, all right. So at
that specific spot they're going down, it's those three. There's
just nothing but a few inches of air, and they're
watching the like the they first they watched the water
come over, and then it gets darker, like it was claustrophobic.
He like direction wise they cut it down to just

(01:02:35):
the breathing. It gets physically darker, and then it gets
like extremely loud when the boots hit the outside. I
really liked that scene. I thought that was incredibly well done.
It's it's I felt the despair, the claustrophobia, the hopelessness
right before the boots actually hit. I loved it. Yeah,
that was good ship and then immediately fought. But again

(01:02:55):
it's immediately foled by the music. I made it four
seconds of sincerity into this film before I was like, okay,
but he's saving them, And then like, are they going
to tell Richard that that's his boy? Does he know
or who we do?

Speaker 2 (01:03:06):
It certainly seems that he knows.

Speaker 1 (01:03:08):
And then later when he's like do you have him?
Like him and Richard need to have a sit down
over several beers.

Speaker 2 (01:03:14):
Yeah, several.

Speaker 1 (01:03:18):
Richard des oe that at least.

Speaker 2 (01:03:19):
So we had our little bit where we were talking
about Parker Posey overacting and you were like, I don't
know why she was screaming like that with the brakes.
Uh did you catch that? Yes, she was in on
the plan. It was all part of a plan. But
when she the next time she sees Lex, she's like
hitting him and yelling about how he actually cut her brakes. Yeah. Yeah,

(01:03:41):
And she was like, I was just gonna pretend, did
you you actually cut my brakes? He's like, m m,
I did.

Speaker 1 (01:03:48):
Like that par that is That is the scene that
I was so to his point with because like, the
way she's yelling at him is just so it is
is over. It's like I felt like she was spitting
at him.

Speaker 2 (01:04:00):
I also didn't. I just didn't buy it the way
she did it. I didn't buy it.

Speaker 1 (01:04:03):
Yeah, it doesn't fit. And then it and then it
gets creepy because he's like, you know, women, we can
always A man can always tell when you're pretending. I
just God damn it, y'all think he's stuck. Yeah, this
whole fucking movie is obsessed with vaginas in a way
that is completely distracting. I just want anything in this
movie to have a plot point that's not weird.

Speaker 2 (01:04:20):
I feel like it was obsessed with diminishing women. Yes,
it wasn't obsessed with vaginas of the same way that.

Speaker 1 (01:04:29):
Well it still was. Yeah, I mean in the reductive sense,
like this is not like, this is not a movie
that's that's in any way having healthy relationships that we're
excited for. It is all a movie of people doing
things that they're going to regret later. Even I just
don't like any of the motivations here. Man, Yeah all suck.

Speaker 2 (01:04:49):
Yeah, yeah, Oh, here's a dumb thing. Lois says to Clark,
or says to Superman, will you be around? And he says,
I'm always around, And I'm like, not for the last
five fucking years, no, asshole.

Speaker 1 (01:05:04):
Yeah first lie, and two, in the context of the
rest of this movie, where you've been stocky, that is
not comforting.

Speaker 2 (01:05:11):
Right, you like it?

Speaker 1 (01:05:13):
You're doing creepy. I rl audiobook reproductions of your little
spaceship lessons with your your boy in there. I guess
behind you boys just sneaking in the door.

Speaker 2 (01:05:25):
It's just no, just no, m M all right. So
Lex shows us maps of his new uh Sea Monkey
Kryptonian Crystal land as this motherfucker already know exactly how
the crystals will form those land masses.

Speaker 1 (01:05:46):
He watched the one. I guess. No, he's just all
over it now.

Speaker 2 (01:05:50):
Just fuck that. That's stupid. Yeah, that's stupid. I don't
like it. I don't accept it. Yeah, you know you
don't have to now when they're on the island though,
and he Alex is like, oh, it's time for us
to go. That made me laugh. I really liked that line.

Speaker 1 (01:06:10):
That was good.

Speaker 2 (01:06:13):
Like I, however, hated that he just kept yelling what
did you do? After she dropped the she dumped the crystals?
Like what do you think she did? She did it
on purpose because you're you're going too far?

Speaker 1 (01:06:27):
Yeah, and it's it's a trophy weird line to yell
at somebody that I don't like anyway.

Speaker 2 (01:06:32):
Like you are a genius supposedly, Like why do you
didn't see this coming? When her like repeatedly asking you
are billions of people really gonna die? Like she's been
in like stroke face for fifteen minutes staring at you
and sobbing.

Speaker 1 (01:06:46):
Yeah, like she is clearly not into this, and then
you just handed the crystals. And by the way, her
plan was to just just just tusus him outside the
helicopter real quick. Yeah, I know you were getting in
the helicopter to leave, but he clearly gets out to
just simply go retrieve them. Short of the day as
sects mocking of the whole thing falling apart. It just
the right second for you to have gotten away with that,

(01:07:07):
Like if the whole thing holds up for like four
more seconds, he just walks over there and grabs the crystals,
walks inside, punches her out probably and like for betraying him,
and lifts off, like he probably just tosses right the
helicopter to be real, and moves on with his day.
It's just no, just no. Yeah.

Speaker 2 (01:07:25):
And by the way, the Hitchman as they're like all
trying to flee this this land mass without their sad
cards and yeah, and this thing, this giant thing of
like rock and crystal, is like falling forward. They do
they are they not able to see shadows?

Speaker 1 (01:07:44):
I guess not. I kind of looked at that.

Speaker 2 (01:07:46):
I'm like the straight motherfuckers straight.

Speaker 1 (01:07:48):
Yeah. I looked at it real closely, and I at
the last second, I think one of them tries to
like move to the right or something. Okay, sure, well,
I mean I guess it's hard enough that if all
of that falls it will crush those three, because sure
it should. But it's also the substance is not so
hard that when that stupid little boat biplane hits it

(01:08:09):
with a wing, it breaks it instead of the wing.

Speaker 2 (01:08:12):
No, no, all right, so you know this is this
movie has too many endings in my opinion, Yeah, which
is a singer's thing. Well that in assaulting miners really

(01:08:32):
didn't need days of the week.

Speaker 1 (01:08:34):
Huh days of the week, you know.

Speaker 2 (01:08:36):
Yeah. I kind of just kept feeling like, okay, well
this is a good point. It is a good time
to end it. You know. You save the Lois and
her cock and her sickly boy, you know, and oh no, okay,
well now you gotta go. Okay, all right, you catapulted

(01:08:56):
that thing into space, but you know the sun is
right there. You should probably heal pretty quickly. Oh no, okay,
you're going to drift back down to Earth. Ok Oh okay, well,
good thing. The sun still shines on Earth. Oh no,
you got to go to the hospital. Now, Okay, what
was the.

Speaker 1 (01:09:12):
Hospital supposed to do?

Speaker 2 (01:09:13):
Man?

Speaker 1 (01:09:13):
And I don't I almost get that if you were. Look,
if I just saw Superman appear to die, I feel
they need to do something. I guess I'll take him
to the hospital. I don't know what else to do, right,
I would feel bad just not doing anything, So I
guess we'll just throw the book at it and see
what happened. I'm okay with the motivation of the of

(01:09:33):
the hospital crew and even and you know, they even
make it kind of a fun like it's supposed to
be a poignant scene. You know, the city tries. There's
all those people staring and they just watch them. I
don't know what it does for the movie. Yeah, my
problem isn't the scene. The problem is what did you
accomplish for the movie?

Speaker 2 (01:09:49):
You know?

Speaker 1 (01:09:49):
Do you have to kill him again? Jesus fucking Christ.

Speaker 2 (01:09:52):
Richard and Lois and the kid, they've all got to
come down to the hospital and oh they're trying to
use the thing and oh well, we got his heart
working again, but it blew out everything every circuit and
we try to give him a shot and the needle broke. Okay, yeah,
it was just all such like it's so tiresome. Yeah,

(01:10:16):
it and then he gets out. He gets out, and
it's back to Stalkering's just.

Speaker 1 (01:10:22):
Back to stalkering. There's no big announcement. He just gets out,
Like the world has no relationship with Superman. He's he's
there and he's not. Like it makes sense that she's
out there writing articles about why we deed him or
don't need him, because you know, he just comes and
goes as he pleases. I mean, that's a good point.
I was singer working out some ship where the writers
working out some stuff about theology while they were doing

(01:10:42):
this movie too, Like was where they were, like where
they feeling like they were prayers unanswered that they were
having to deal with or some shit.

Speaker 2 (01:10:49):
Like I don't know, man, like they did. There was
a couple of I mean, there was a cool you
know bit where he catches the Daily Planet globe and
it's like a shot. It was like Atlas, you know,
with the world and his shoulders. That was dope.

Speaker 1 (01:11:07):
Well, so again to the highlights here, so the bigger scenes,
you you can tell where the money went, you can
tell where the effort went, and I think it was
worth it. Those scenes look good. Mm hmm, they still
look pretty good. They look as good as they would
now probably probably, I say that, you know, I mean
people are overwork these days in CGI houses, so like
god knows, you might get it. It might look as

(01:11:28):
it might look better than it could now. But like
a lot of the big scenes, like the flight thing,
all right, the whole thing where he saves the plane,
everything where he takes the you know, the whole island
of Kryptonite out of there, Like, yeah, the big tent
pole moments really did look good.

Speaker 2 (01:11:46):
Yeah. I don't know why the guy, after unloading an
entire machine gun into Superman's chest decided to like step
out from it and shoot him in the eye with
a handgun.

Speaker 1 (01:12:00):
I don't either, but it makes a great fucking moment.
It looks cool, looks cool as shit, And that little
smirk afterward from the from the barrel's perspective that.

Speaker 2 (01:12:08):
Was that that smirk may have been the best part
of the movie.

Speaker 1 (01:12:11):
It might have. That was good ship though like this, Yeah,
I don't. I don't know where the good stuff comes
from when the other stuff is that bad. Sometimes I just.

Speaker 2 (01:12:22):
Wish that the the obligatory kid being abused didn't happen
to have to be Lois's kid. Yeah. Yeah, if we're
going by Donner stuff, there was going to be a
kid getting slapped or abused in some way.

Speaker 1 (01:12:39):
It's never gonna work out for at least one minor
in that film. Well, you know what, even if we
put Jason aside, you still have the little girl that's
going to be traumatized by the man walking out and
tossing her his head.

Speaker 2 (01:12:49):
Mm hmm.

Speaker 1 (01:12:50):
She got Dutch angled and everything.

Speaker 2 (01:12:52):
Oh yeah, yeah, and then behind the scenes you've got
Spacey and singer on a set, so I'm sure there
was some real life stuff happening.

Speaker 1 (01:13:01):
Yeah, which can't Jesus God can't be good.

Speaker 2 (01:13:04):
I think.

Speaker 1 (01:13:04):
I mean, of the people here, like you hate it
for Ralph because you can you can tell how much
you wanted it. He does. He looks great. He looks
great in that outfit. Man, God, he looks like a superman.

Speaker 2 (01:13:16):
I don't care for the outfit.

Speaker 1 (01:13:17):
Well, it's not the outfit so much. I mean, he
looks good in it. Like I forget how much twenty
years ago that man looked like he should be a
fucking Clark Kent Superman. He just he looks like he
was designed explicitly for the role.

Speaker 2 (01:13:29):
Yeah, that's why he was signed, yeah to his agency.

Speaker 1 (01:13:33):
Yeah, even even the little bits with the verse that
we got later. I'm glad we squeezed whatever we could
out of him in that uniform in some capacity.

Speaker 2 (01:13:42):
I wouldn't on seeing him do it again.

Speaker 1 (01:13:44):
I just well, that was the thing. Is, like, they
let me pluck a little bit of this out. I
would actually, I mean, yeah, if you got to just
take him out of everything else that happened in this
movie and try, it'd be great. But it's I wouldn't
even have to be again to extract it.

Speaker 2 (01:13:58):
M hmm.

Speaker 1 (01:13:59):
Nothing else in the film makes sense enough to do
like I can't. I mean, you can't really work around that. No,
you can't take him out. And then I'd have to.
I'd have to bring back so many other people for
him to go through a round of apologies about his
behavior in this movie, just to make him make sense
enough to do the one I would want to do later,
like an actual Superman film. Yeah, it gets to and

(01:14:19):
here here's where we are, and we're all right, So
it's it's eight fifty two pm by my clock. Right
this second, we are are we will. We're forty eight
hours away from kind of finishing Superman twenty twenty five,
and I've hit this point I told you about yesterday.
I do not believe so mana Still is now my exception.

(01:14:42):
I don't believe we've ever made a good Superman movie.
So Man of Still I've always loved I've loved it
since the time I hit the theater. I love it
still now. I've defended it straight through the caval years,
and we'll continue.

Speaker 2 (01:14:54):
To do so.

Speaker 1 (01:14:54):
But I think it's the only one that we've ever
made that was a good film.

Speaker 2 (01:14:58):
I mean, I have my hang ups with it, for sure. Sure,
and I love the first one. I love Superman the movie,
and I enjoy parts of all of them. But yeah,
Like at the end of this thing, my wife looked
at me. She said, what do you think your favorite
Superman movie is? And I, I don't know. Just glared
into the damn middle distance of existentialism itself and found

(01:15:21):
the words Man of Steel tumbling out of my mouth.

Speaker 1 (01:15:23):
As though your mouth was automatic Writingman.

Speaker 2 (01:15:26):
She was like, not bbs, And I'm like, no, that's
a Batman movie wearing a fucking Superman pantyhose on his face. Yeah.

Speaker 1 (01:15:32):
Yeah, it's just it's a Batman movie that has like
a Superman cape that puts on occasionally. I get it.
I don't. I didn't expect to. Here's so here's where
we started, like six weeks ago.

Speaker 2 (01:15:45):
I mean, I do want to go back and rewatch
a Superman and the Moldman. I do.

Speaker 1 (01:15:49):
I do want to see that one too, But here's
where we are. So the journey I've been down personally
is six weeks ago. If you'd ask me, I think
that's about how long we've been doing this little run
of the movies, is I kind of thought, because I
haven't seen and then memory, I have not seen any
of the Reeve movies quest for Peace, but I just
thought that was ten years ago, and I thought it
was kind of an aberration as it stood. I thought

(01:16:10):
that was just kind of a weird thing. No, I
didn't realize that that was the culmination of what I
am calling now four continuously worse movies. So like for
One for me is the most saligable. I mean, you know,
as far as movies go, it's the closest to being
kind of a movie movie in a way, but like
it or's something I could go back and really defend.

(01:16:32):
But the rest we just know. We just know it two, three,
and four just a progressive loss of quality. And I
kind of thought, because of how much has been spoken,
because of the nostalgia, because of just the assumed presence
of the seventy eight movies that they were better than
they were, that was wrong. I didn't. I think that's

(01:16:53):
the myth we've built around it. There's this nostalgic bubble
around it that like, it is not that good.

Speaker 2 (01:16:59):
And I think that the Superman the movie carried a
lot of that weight. Honestly, the first one, like before
Richard Lester came in and dumbed it down and made
it more comic. Book He like Poozzoh and Mankowitz and
Donner were shooting for something more epic. They wanted something
you know, deeply cinematic and gratifying and you know, we're

(01:17:24):
gonna get this again. Where the fucking studio and the
people in charge producers were like, let's they started messing
with stuff and changing stuff and firing directors and making
it more goofy. You know, we've seen that before. We've
seen that recently. But I do think I have a
deep appreciation for Superman seventy eight and for everything it

(01:17:46):
did and for what it means for comic book movies
now and the precedent it set. It was the way
it made people take it seriously in a time where
no one was taking comic book movies seriously. But the
problems I have with seventy eight are the same problems
roughly that I have with Man of Steel when I

(01:18:07):
really think about it, Like Paul Kent his death stupid
and both like it's important for Clark to get that
lesson that, like he can't save everybody. Yeah, but you
ain't gonna tell me that, Like Clark playing with that
damn dog. As he's playing with a dog and doesn't
hear his dad's heart stop or him like collapse, like

(01:18:29):
Ma Kent hears it, and then he doesn't try to
at least like run his dad to the hospital. We
just saw your ass running. No, no, no, is that
as dumb, if not dumber than hey Clark Kent.

Speaker 1 (01:18:41):
In Steel Court on every Kent so far has read
plot from complications of plot ism.

Speaker 2 (01:18:48):
Actually, you know what I don't, I would I won't
even say that about John Kenton in Smallville. I think
that one was a good one.

Speaker 1 (01:18:55):
Yeah, I was just talking about the movies there.

Speaker 2 (01:18:57):
Yeah, yeah, uh, you know, and Man of Steel, like
he doesn't know how to fly, he doesn't know how
to do half the ship that he winds up knowing
how to do. And yeah, it's dumb that Henry Cavill
was playing like a fifteen year old Clark in that scene. Buzza.
That was a choice that that was a weird That
was a weird choice that was you know, I think

(01:19:18):
it makes people forget that he's a kid. Yeah, and
he doesn't probably doesn't.

Speaker 1 (01:19:23):
It made it play more petty than it was supposed to.

Speaker 2 (01:19:25):
It did. And also you had, like, you know, ten
years of Smallville that had just happened, Like, yeah, we've
he's been he's been known his suit hold on. Now. Yeah,
so all we know is he's he's strong, or he
has tactile teleconesis whatever some versions of it. There are
different versions of this in the universe in the comic book.

(01:19:47):
Sometimes he's not super it's not super strength. It's just
tacktile telecani wills it there. But yeah, at any rate,
you know, he can hear ship and he's got he
hears a lot of voices, and he's got some X
ray ship going on, maybe a little heat vision. He
can't control it. He can't, just like he can't control
a boner at that age, for Christ's sake. But I

(01:20:08):
still have my issues and a lot of those. A
lot of my issues with Man of Steel was solved
by like pandemic shit because I was like, ah, he
got an alien invasion going on. People aren't gonna be
hanging out at ie hot, No, they will that.

Speaker 1 (01:20:24):
Yeah, that was Yeah.

Speaker 2 (01:20:26):
They'd be like, ain't no damn man, and they're gonna
make me feel like I can't do what id hey
I do?

Speaker 1 (01:20:31):
But deep Yeah, and I'm gonna be at my shift
and fuck y'all for trying to stop me. A yeah, right, Yeah,
we did find out that the world does not care
and we'll continue. So a lot of that behavior mikesing like.

Speaker 2 (01:20:43):
We are literal government, said hey, there are UFOs and
we don't know what fuck to do with with it.
We don't know what it is, and everyone was went, yeah,
all right. So anyway, Miley.

Speaker 1 (01:20:53):
Cyrus was set back prices though, and just moved on.

Speaker 2 (01:20:56):
Yeah, I don't know what's going on with Miley and Liam.
Uh yeah you hear a sweet project tic tech? Yeah yeah, yeah,
we got it. Aliens anyway, m h, gotta do something.
Gotta do something about Katie Perry and Russell Brand.

Speaker 1 (01:21:12):
Right, no, we we can't keep focused for half a
goddamn second. It's it's it's a it's a rough it's
a rough thing.

Speaker 2 (01:21:20):
To keep tracking. All right, you want to do some trivia? Yeah?
Shoot shoot yeah yeah yeah, all right, all right, so yeah,
this is what I was talking about before. Cal Penn
said in some interviews that originally he had a bigger role.
It would have been revealed that his character was a
disgraced former Daily Planet science reporter who was bribed by

(01:21:43):
Lex Luthor to plant false evidence of Krypton's possible survival,
thus inspiring Superman to leave Earth and explore Krypton's ruins.
Got cha, Yeah, you caught the is still the safest
way to travel thing, right, the flying That's what he
said with the with the lois when she almost died

(01:22:04):
on the helicopter in seventy eight. Yep, Brandon, Ralph, Kate Bosworth,
and Kevin Spacey all signed on without having read the script.

Speaker 1 (01:22:11):
So that explains that, I mean, no, look, respected director,
at the time, we're going to reboot these things. Look,
there's these these other films that, by the two thousands
were already the nostalgia bubble had kicked in hard. Apparently.

Speaker 2 (01:22:27):
Yeah, I'm sure they did.

Speaker 1 (01:22:28):
Just sign on.

Speaker 2 (01:22:29):
Yeah yeah, yeah, oh god went offer. The director's chair,
Brian Singer rejected JJ Abram's script as too far a
departure from the source material. Abram's story reimagined Superman as
a Kryptonian prince sent to Earth as a baby to
avoid an impending civil war between King Jorel and his

(01:22:51):
brother kat A Zor. Raised as midwestern teen Clark Kent
and in love with his high school sweetheart Lois, Superman
becomes humanities to defend when Katazor invades Earth, aided by
CIA agent Lex Luthor, who was actually a Kryptonian in disguise.
The film ends with Superman returning to Crypton to rule

(01:23:11):
over his people after the death of Jorrell. Singer disagreed
with these changes to one of America's most well known
characters and decided instead to pursue a storyline to act
as both a sequel and soft reboot which would honor
the character's history as well as the popular films by
Richard Donner. I feel like he did neither of those things.

Speaker 1 (01:23:30):
Yeah, Aiden, neither. He rejected that JJ's script for all
the right reasons and then did everything wrong after that. Yeah,
Like JJ, what the hell are you going buddy? That
is some you wrote another movie franchise.

Speaker 2 (01:23:45):
It is when Brian Singer became interested in possibly hiring
Brandon Routh, he arranged for them to meet in a
coffee shop. When they met at the table, Ralph stumbled
and spilled hot coffee all over the table. Although he panicked,
thinking he had just lost the part, Singer laughed and
said it actually helped him get the part. Is an
inconvinced Singer that Ralph could pull off the clumsy, bumbling Clark,
and then he did almost nothing with that.

Speaker 1 (01:24:09):
True, it would have been a funny thing to recreate
the coffee at least or something, But no, nothing, very
little bumbling. If anything, there was anti bubbling, like he
catches things he's not supposed to do, and like the
first introduction of him being back at the Daily Planet
is he like catches something that somebody dropped or like
the camera. Yeah, it was the camera.

Speaker 2 (01:24:27):
The camera, the expensive ass camera that Jimmy can't operate
better than a twelve year old can operate a a Nokia.

Speaker 1 (01:24:33):
Nokia flipped on Nokia. Yeah, we could probably still go
shoot something with that Nokia and see what the pictures
are like.

Speaker 2 (01:24:41):
Oh, they're awful.

Speaker 1 (01:24:42):
That particular phone is probably still alive if someone.

Speaker 2 (01:24:45):
Hasn't other re releasing a lot of those.

Speaker 1 (01:24:49):
Singer looking for durability, I don't blame you.

Speaker 2 (01:24:52):
Yeah. Singer wanted Christopher Reeve to make a cameo appearance
in the film, but Reeve died before filming began.

Speaker 1 (01:24:58):
Sure.

Speaker 2 (01:24:58):
Singer then decided to dedicate the film to him. Amy
Adams audition for the role of Lois. It's kind of
neat it is.

Speaker 1 (01:25:06):
Would have been two young men for her too.

Speaker 2 (01:25:10):
Oh yeah, definitely would have been.

Speaker 1 (01:25:12):
I liked her. Where we found her later was my
other objection.

Speaker 2 (01:25:15):
Brian Singer is on record as saying Superman Returns is
a loose follow up to Superman and Superman two, but
does not follow those movies continuity strictly, No kidding, Yeah,
it ignores Superman three and Superman four. However, there is
a reference to Supergirl Yeah, which was released between the two.
The later two, a radio announcer report Superman is off
on a space mission to a faraway galaxy. Right during production,

(01:25:40):
to prepare for the part of Lex Luthor, Kevin Spacey
would ride on a cart he named Lex's Superbuster across
the studio back lot with images of Superman crossed out
Kryptonite on the side, and even a Superman plush chained
to the back and dragged across the ground. He would
even shout on the microphone, Superman must die. Kills Superman,
kill him kill Superman. Okay, Yeah, So one of the

(01:26:06):
things I was going to say in this review before
we got to all this, and I never did. I
was so excited about this movie that I started watching
Brian Singer's video journals of filming that they were putting
up on the internet every day, and with every video journal,
I became less excited. Oh, seems like a good time

(01:26:29):
to point that out.

Speaker 1 (01:26:30):
That does that does make sense.

Speaker 2 (01:26:34):
I was just seeing like the atmosphere and what they
were going for and like the aesthetic of.

Speaker 1 (01:26:38):
The movie, and I was like no, And then you
saw it and you're like, yeah, that was not misrepresentative
at all. This did not work out. I didn't tell
you how I saw this movie, so mean and th
wife were trying to trying to figure out the timeframe.
I know when I saw it. I can't forget who

(01:26:58):
I must have seen it with now, so there was
somebody to side me. But I downloaded this movie. Like
this was the heavy days of DVD rips and stuff,
so like, yeah, I had a downloaded this thing and
it was a good one. It was a pretty good rip,
but it was upside down. Oh and the Codek pact

(01:27:20):
that I had at the time couldn't undo that. So
we hung me and somebody else hung our heads off
the end of my bed to watch the movie. Yeah,
and we just kind of took breaks when we were like, Okay,
I gotta I gotta sit up for a while, so
we just pause it and sort of sit up. All right,
go back down.

Speaker 2 (01:27:39):
That's fine. You still need breaks in this movie.

Speaker 1 (01:27:41):
Yeah, So I have not watched this movie without breaks
at all.

Speaker 2 (01:27:44):
I just realized, m man. Uh. Though it performed below
box office expectations, not only did it out gross Batman Begins,
but it was the second highest grossing DC Comics film ever.
Made at the time after Batman of not eighty nine.

Speaker 1 (01:28:01):
Now, yeah, it made like four hundred something, didn't it.

Speaker 2 (01:28:04):
No, it didn't even make that.

Speaker 1 (01:28:07):
The figure I thought I saw was roughly made for
roughly two and some change and made roughly four in
some change. I thought like it doubled it, but it
was nowhere near what they wanted.

Speaker 2 (01:28:14):
I thought, I don't think it doubled it. It. I
think I might have it somewhere.

Speaker 1 (01:28:20):
Hold on, I'm curious.

Speaker 2 (01:28:22):
Now there are different there of course, different reports on
what it actually cost, on what the budget was, but
that's always gonna be. Yeah, it does look like I
did read a thing where it said they didn't you know,
there's the rule that needs to make like at least
two times it's budget, and it did not do that. Yeah,
it was like costing two hundred and four million. This

(01:28:45):
was the second most expensive superhero film ever produced at
the time. Let's see, I'm skipping a bunch of stuff
just trying to find these numbers.

Speaker 1 (01:28:54):
Just the wrong figure. Yeah, because there were a couple.

Speaker 2 (01:28:58):
Of different versions of the Oh well, I don't know
where it is now, but yeah, it didn't make this
money back technically it did, but it didn't because it
has to be a certain percentage if we trust Wikipedia.
The budget was two hundred and twenty three million, or no,

(01:29:20):
two hundred and four million, and the box office budget,
I'm sorry, the box office take worldwide was three ninety
one point one million.

Speaker 1 (01:29:28):
Yeah, I could see that.

Speaker 2 (01:29:30):
That's worldwide, it's not domestic.

Speaker 1 (01:29:33):
Yeah, that's probably that's probably about online. Yeah, but with
that budget, I don't think I mean, that was three
forty five with inflation, was like the haisenbracket find So, yeah,
that's so.

Speaker 2 (01:29:46):
But I don't know if the budget was including previous
all these previous versions of.

Speaker 1 (01:29:52):
I didn't know one version of that I saw even
said that it was it was that amount, but it
didn't make some of the marketing back because marketings sometimes
included part of the budget and sometimes kept separately. Yeah,
and like you said, so we don't know which movie,
like which scripts got folded into this as Falt starts.

Speaker 2 (01:30:11):
Mm hmm.

Speaker 1 (01:30:13):
But that's the thing is the unfortunate part of this
is they do all that, they'll bury it all in
the financials for the you know, the what they've made,
what they put into the production budget of the movie,
they'll bury all of that in there, and then it's
still expects you make twice of that. M h, it's
not a fair lift.

Speaker 2 (01:30:28):
No, it's not.

Speaker 1 (01:30:31):
When you get away with it, you know, great means
you've made so much money that you can't it would
be irresponsible not to make another one. But like it's
it's not exactly a good test yep.

Speaker 2 (01:30:42):
Well, they know what the numbers are. They have those
numbers floating around. That's why people, that's why it's so
important to realize when the internet's going ha ha ha,
it's a flaw. They spent this amount, and that's what
it looked like. They're counting other shit too, man. Yes,
they're not just counting them the what cost to make
this movie? There is stuff before that that they are

(01:31:04):
hacking in there for tax purposes. Yeah, and that's why
they'll be like, well, how did it get a sequel?
It didn't make us, No, but they know what it
actually cost.

Speaker 1 (01:31:16):
That part is so annoying because sometimes you'll see the
exact version of that is like, well, you know it
was we spent two hundred on it, and they'll they'll
act like they really did spend that money. Just when
when it's convenient and then later well you know, I mean,
it was really this it's all just what's convenient to
explain after the fact. That gets very frustrating.

Speaker 2 (01:31:38):
Yep, all right, So the shot of Superman placing Kitty's
car on the ground is a visual homage to the
cover of Action Comics number one, where Superman made his debut.
Did you catch that?

Speaker 1 (01:31:47):
Oh yeah, it's even green, good good.

Speaker 2 (01:31:49):
Good good. I was, I was worried. I was word,
you didn't know that one?

Speaker 1 (01:31:53):
That one was?

Speaker 2 (01:31:55):
That was.

Speaker 1 (01:31:57):
That one is smattered across my that particular image. But
I think that I think you and I talked about
that one recently because I want to say, when Superman
Lowis did it a couple of years ago, it was like,
oh my god, I can't lose someone did this finally,
and somebody puts a screen like a side by side,
like now this this is at this point, it's basically
an homage to an homage. Mm hmm.

Speaker 2 (01:32:20):
And now we're in a world where Superman is opening,
and then like two weeks later, Fantastic four is opening
and they are literally doing the same fucking shot like
they are homaging Superman with like I think the thing
putting down like picking up and putting down a green
car that looks like the one from Action Car.

Speaker 1 (01:32:40):
It's ridiculous, that's fantastic.

Speaker 2 (01:32:43):
All previous scripts revolved in one way or another around
the death and subsequent return of Superman. Jonathan Limpkin wrote
a draft in which Superman pregnates Lois before he dies,
She gives birth soon thereafter, also dying in the process,
and a fully grown new Superman emerges to save the world.
Limken's work was quickly discarded.

Speaker 1 (01:33:09):
Why these are great examples of just you know.

Speaker 2 (01:33:14):
It'd be it'd be great is if Lois was a
incubation husk.

Speaker 1 (01:33:20):
Yeah, that really shived this up. I don't understand why
some people's approach to writing this movie was to come
in and write another movie.

Speaker 2 (01:33:30):
Oh, just a different thing. Yeah, yeah, there was.

Speaker 1 (01:33:34):
There was some story I heard recently about one of
the BTS writers where that was the advice they were giving.
It was from I think it was from Andrew Romano
who like they got a break where they're like, oh,
coo cool, They ask you'd write that that story. That's awesome,
He writes, you ass that story that way?

Speaker 2 (01:33:46):
Right?

Speaker 1 (01:33:46):
Oh man, that's cool. So you're gonna hear me out. Now,
you're gonna go home and write the story that way, right,
And she was very, very heavily coaching him to not
go home and get too goddamn creative today. You had
your assignment right that story.

Speaker 2 (01:34:03):
Hm hmmm. Why would it be Andrea Romano?

Speaker 1 (01:34:06):
I think it was her. I want I want to
go back and listen to this now. It was on
the it's the podcast you keep showing me TikTok things
of that now I've gotten obsessed with. Oh yeah, I
think it's just called Batman the animated series podcast. Great
little thing with to to English brothers that are apparently
from America anyway. They're a lovely little podcast. But I
think one of the writers said it was her. If

(01:34:27):
it wasn't hurt, it had to be somebody. I think
it was another female that was on set around that time,
but she was one of the more producery people around
that show at the time. I can I'm forgetting who
it must be, but the casting director she was, but
she was also doing some voice direction, But I think
she was. I think that it was that she would
just knew everyone well enough that she was giving him
some mentorship here. Yeah, she was, but like, I don't

(01:34:50):
think she was doing it like as part of her job.
I think that it was that she was just trying
to look out for this dude and be like, hey,
you know what'd be a great idea is not fucked
this up?

Speaker 2 (01:34:58):
Uh huh.

Speaker 1 (01:34:59):
But yeah, it's the same. It's the advice that everyone
here appears to have needed. Is you know, be a gred.
It is if you went home and wrote a Superman movie.

Speaker 2 (01:35:07):
Mm hmm.

Speaker 1 (01:35:07):
With that contract, you have to write a Superman movie.
Throwing it out there.

Speaker 2 (01:35:15):
So mill of skin is a type of span dex
and that was what they used as the material for
Superman's suit. Unfortunately, this cloth restricts movement when it's new. Worse,
it SAgs after being worn and it becomes comfortable as
a result. Eighty suits, one hundred capes, thirty boots, and
ninety belts were made.

Speaker 1 (01:35:37):
Holy shit, that is that's a wardrobe.

Speaker 2 (01:35:40):
What did it look that good to be one of
all that I hated the suit? It is an is.
I mean, there aren't many blues that I would say
are ugly, but that's one of them.

Speaker 1 (01:35:52):
Wow, I'll go back and look at that chat. I
didn't register that but they the.

Speaker 2 (01:35:57):
Red was ugly, the blue was I just don't like.
I don't like that suit.

Speaker 1 (01:36:02):
I want to look at it more close than that.
But the you just described material, they were like, what
if we use this material? The only problem with the
material is it has two features which are the exact
thing you cannot have for a material other than that,
the major two disqualifying features. We think we can use
this stuff.

Speaker 2 (01:36:19):
Yeah, it's just a weird choice, but it is a
weird choice. But also I just I feel like I
don't like. I don't like anything almost anything about that suit.
Like the material looks weird, the cut of the trunks,
he looks like he's a swimmer. I'm just not The
shield is so small.

Speaker 1 (01:36:41):
I don't know, the shield is a little small. I
don't think I had any problems with the suit though,
as it stands, although the award for best costuming in
this movie goes to Lexi's coat, sure that white coat
is better than a lot of the things in this movie.

Speaker 2 (01:36:56):
I did really enjoy when like they had put that little,
like little microscopic chip of crystal into that water, and
lex just like quietly moved to the back of the room.

Speaker 1 (01:37:11):
I laughed at that. That is about the lexiest thing
I saw him do. He just Simpson's bush gifts it
out of there.

Speaker 2 (01:37:18):
Mm hmm. I did enjoy that.

Speaker 1 (01:37:20):
Nope, I think like everyone eventually joined him on that wall,
like and the next shot of it, they come back
and like everyone's back there, But he did not stop
to tell everyone else that would be a good idea.

Speaker 2 (01:37:30):
Yeah, the lights started to come back on and they
were like looking around for Lex and like realize he's
in the back. Yeah. Yeah, that's good stuff.

Speaker 1 (01:37:37):
That's a perfect Les move right there.

Speaker 2 (01:37:39):
All right, let's see Brandon Rauth has naturally brown eyes. Superman,
on the other hand, has baby blue eyes. For his role,
Rauth had to wear blue contacts. When asked in an
interview how they made his eyes blue, he said blue
prescription contacts because I wear contacts myself. They were a
little bit infuriating because they were painted. There was white

(01:38:01):
around them, and I could blink and they'd shift. I
think they'd had to go and retouch some stuff. I'm
sure my wife didn't like the the she said they
were too blue.

Speaker 1 (01:38:13):
I don't mind the too blue part, that they don't
have to be that fucking blue.

Speaker 2 (01:38:17):
Though, Yeah, they did look like I kind of liked
it because it was like he it was I liked
the idea that his eyes are so blue that they
it's the only thing just looking at him that you
would think, God, you look like an alien.

Speaker 1 (01:38:33):
They they are a little off putting, but yeah, like
it's not. It's one of the things where like like
David Bowie's eyes are off putting, but in a way
that's charming, where you're like, I just want to learn
more about this enigmatic man, and I don't need that
for Superman. He just he just needs eyes that is
not necessary.

Speaker 2 (01:38:51):
Yeah, I think too blue is better than just black
squints like the old days, you know, I guess. I
mean you remember in the old days and the old comics,
they would just draw like two little lines for his eyes,
like he was always squinting.

Speaker 1 (01:39:05):
Yeah, it was just easier that way. I don't know
why they did that, Yeah, I don't know. And his
eye in the old comics' eyes are not blue. I
mean they're like maybe when they did a close up
or something, but for the most part they're just little
black squiggle under a line. For most of the action
that you're seeing in here, it's.

Speaker 2 (01:39:25):
Like one of those big black caterpillars under a you know,
they're hanging out on fig trees and shit, right, and
then like a little line underneath it. Eyebrow. Hi. Okay,
of course if they even bothered with that, because some
of those old comics, you think they were just like,
oh my god, I've got to draw like the smallest
possible version of this character and the smallest possible box.

Speaker 1 (01:39:48):
Mm hm. I mean I know it was detail learned it,
but still just weird. Oh one one trope. I didn't
pick on that, just it was in here that I'll
never care about. I don't the thing where you're getting
so he gets just like he gets it. They're in
beat down Moad at some point they just they've got

(01:40:09):
him out in the prison yard kind of thing and
they're just gonna beat him. They're gonna kick him to
death or whatever the fuck. It's it's that scene, the
crawling away. I hate the crawling away. Why do people
do the crawling away?

Speaker 2 (01:40:19):
I mean you got to try to do something, yes,
but can.

Speaker 1 (01:40:23):
Do something better like maybe flail at a foot or
something or just I don't know, just the just the mindless.
I'm going to crawl a little bit slowly. I don't
understand it. It it's the kind of behavior that like
I could make like a like a a borderline mindless animal,
just just like a like a bug, like an insect.
That's just that the lowest level of life for them.

(01:40:46):
I can make sense of. I just don't. It's a trope.
I can't.

Speaker 2 (01:40:48):
I can't stand I've done the crawl away.

Speaker 1 (01:40:51):
I don't get it.

Speaker 2 (01:40:52):
I've done the crawl away.

Speaker 1 (01:40:54):
I just don't get it.

Speaker 2 (01:40:55):
Okay, maybe well they won't let you up. There's no
where you can go, and you're just trying to to
get away, and then you know, you could just kind
of hope that you come across something on the floor
that you could just take in hand and start beating
the fuck out of somebody with.

Speaker 1 (01:41:10):
So, all right, there's that, so exactly that So like
in this, it's just a crawl away like in this,
and so in the crawling away scene in movies usually
is like you'll see the crawl and then they'll do
like a little pan to a gun. You know, that's
that's further away. There's none of that here. He's just crawling.
They just kind of slow. It's just a long scene
where she's up there crying about it and they're they're

(01:41:32):
just kind of stalking walking behind him. Music swells. It's
just a long beat down where there's no goal, there's
no plan.

Speaker 2 (01:41:40):
Yeah, and then they get.

Speaker 1 (01:41:41):
To the end, he just shanks him by the way,
Why shank him in the kidney? Good God, it's just
a shitty fucking execution scene. Yeah, poorly done all the
way around.

Speaker 2 (01:41:50):
The Superman weak as fuck. Bro. Yeah, this Superman.

Speaker 1 (01:41:54):
Nerved Bro's fucking Alan rickon template that got going on here?

Speaker 2 (01:42:04):
Well, Superman's week Yeah, yeah, I move. Yeah, this movie
Superman doesn't even throw a punch, you know, I do.

Speaker 1 (01:42:15):
I thought I forgot about that being a criticism. Oh yeah,
the Superman never throws a punch, and.

Speaker 2 (01:42:20):
Then the next movie all he does is throw punches
yeah and be sad. Yeah, you can't play Superman fans.
That's the point.

Speaker 1 (01:42:27):
It made me worry. It did, because, like this one,
that's where I got to, from a couple months ago
to now, my new thesis being there just never has
been a good Superman film. And I only say that
being that, like I consider Man is still a great film.
But if you're going to take that from me and
say that wasn't good. Then okay, I'm saying the rest

(01:42:49):
aren't good. So then that's the landscape we have, is
there's never been a good film, then that's where we are.
I guess I don't I don't completely get that. I
don't see why you'd get to like having watched all
these if this is what we're looking for. I don't like.
We got the Henry Cavill version and that still wasn't
good enough. I don't it makes you fear for twenty
twenty five.

Speaker 2 (01:43:11):
I fear nothing.

Speaker 1 (01:43:12):
Yeah, I don't either for some reasons, but I but
it crossed my mind.

Speaker 2 (01:43:18):
Uh, there will be people who hate it, and there
will be people who love it, and I'm tired. You know,
I'll enjoy it for reasons, and I'm sure there'll be
things that I don't love. I already know that there
are things I don't love that I've seen in clips
and whatever.

Speaker 1 (01:43:34):
I'm just like, eh, whatever, Yeah, yeah, I don't think
every second of this is going to be an absolute
thrill ride for me all I I mean, how many
times am I going to watch Seana the Dead in
my lifetime? Or I just walk away thinking that was
a perfect script. How did they even do that?

Speaker 2 (01:43:54):
Yeah, Sean of the Dead is almost perfect for me.
Blues Brothers is perfect for me.

Speaker 1 (01:44:02):
Yeah, like ninety eight ninety nine percent.

Speaker 2 (01:44:05):
Yeah, perfectness level, Yeah, high fidelity.

Speaker 1 (01:44:08):
Yeah perfect. There are how many times am I going
to have that moment though, where I just walk away
that that play or even like recently, you know, and
I love Dead pulling Wolverine, Like we left that movie
thinking I don't know, man, I don't know what I
could improve here. I think they just fucking nailed this. Like,
I think that was exciting, heartfelt. That was I enjoyed
the shit out of that. I don't think I don't

(01:44:29):
have like plot points that I'm just like, well, wait
a second, I can't get over that.

Speaker 2 (01:44:34):
Yeah. It was just.

Speaker 1 (01:44:35):
Functional and good and fun and entertaining, and there was
nothing I had to say about it when I walked
away as far as like there was just I didn't
have two hours of snark for that.

Speaker 2 (01:44:44):
You know. Yeah, that's all I'm hoping for. Yeah, That's
what I'm hoping for. Brandon Ralph auditioned for the role
of Clark Kent in Smallville.

Speaker 1 (01:44:53):
Oh yeah, it'd have been great.

Speaker 2 (01:44:57):
Did you catch the news reports mentioned Gotham. No, Yeah,
that happened, did not. Hugh Laurie was originally cast as
Perry White, but uh House caused schedule conflicts so he
couldn't do it.

Speaker 1 (01:45:12):
Yeah, he'd been fun to see here. I did like
that actor. I forget where I've seen that guy. He's
another one of those just faces that I think I've
seen a few times and always thought he did a
good job.

Speaker 2 (01:45:21):
Yeah. Brian Singer kept begging Jude Law to play General Zod,
and Jude Law turned him down several times, so Singer
eventually just eliminated the character from the script. I'm like,
watching it here, I'm like, what the fuck would Zod?
What would he have done? God, you don't need Zod.

Speaker 1 (01:45:41):
You don't. And I could just be putting too much
into it here, but it fits the behavior of the
person who storied by this movie to just be like, well,
I can't have what I want exactly, So I were
not doing that role at all.

Speaker 2 (01:45:54):
Yeah, it's weird. In an interview with The Washington Post,
Brian Singer discussed a that was in an early draft
of the screenplay but never filmed. At one point, Brian recalls,
I had a scene in the script which I never shot,
and I probably was never going to shoot, where Superman
would be standing after flying around rescuing people at night,

(01:46:14):
would be standing at dawn at ground zero, sort of
standing there, almost as if to say, had I been here,
this might not be That.

Speaker 1 (01:46:23):
Would be absolute suicide. Why would you do that? Why
would you put in the script? Why would that make
it outside of your shower? Why would you even consider
bringing that to the table, you idiot. I would have
told me about it. I say that I might. I
might tell people about that later in an interview. That
might be true, but I would not put.

Speaker 2 (01:46:43):
From a creative standpoint, I liked the idea because they
were pushing in the in this movie at times, like
there was supposed to be some level of guilt that
he had for not being on earth. You know he was,
you know, he's the reason and Lex Luthor didn't stay
in prison in prison like.

Speaker 1 (01:47:04):
Yes, but all yeah in two thousand and six and
voke the two Towers without making your movie about that,
You can't that was a real I mean, it's a
good edit for him to leave that out, But I wouldn't.
It wouldn't have made it that far. They shouldn't have
made it that far.

Speaker 2 (01:47:20):
Yeah. The Model train sequence contained several references to previous
Superman movies.

Speaker 1 (01:47:28):
I meant to go back and at and watch this
before before we started. Uh huh did they add screaming
sounds for the.

Speaker 2 (01:47:36):
They sure did. What the fuck? That was weird? I
so I forgot about that.

Speaker 1 (01:47:42):
I forgot how much that put. That was one of
the times where I had to stop watching. That is
is that's you remember in the in was it instrument three?
When when the when they crawl when the the road
signs start crawling and fighting each other. Yeah, that's my mama.
When they added screaming sounds to the little the little

(01:48:03):
miniatures in the town, Yeah, in the train model the
model trained town. That is this movie lost lost me there.

Speaker 2 (01:48:10):
I think.

Speaker 1 (01:48:11):
I think any hope I had that I was ever
gonna come back went right then. I forgot about that too.
You said it.

Speaker 2 (01:48:15):
Yeah, like the little model Town. They had a woman
experiencing trouble with her red car. They had one of
the faces of Mount Rushmore crumbling to the ground. They
had a person in a chemical plant trapped by flames,
which was Superman three by the way.

Speaker 1 (01:48:30):
Yeah, yeah, yeah. Uh.

Speaker 2 (01:48:33):
When mc gee was directing, Robert Downey Jr. Was cast
as Lex Luthor. Who else pree iron Man Robert Downey Jr.

Speaker 1 (01:48:43):
He would have been good. He would have been a
different direction, but would have been good.

Speaker 2 (01:48:46):
A sequel to this movie was planned, with Bizarro and
Brainiac as possible villains. However, due to frequent delays, as
well as the first film's massive budget and underwhelming box
office return, it was canceled. It was to be called
Man of Steel, which became the title of the next movie,
directed by Zack Snyder. Yeah, there's also a bit where
like they were like, yeah, we don't like how much

(01:49:08):
it didn't work and it was kind of received mid
you know, and then Dark Knight. They were still developing
a sequel until Dark Knight came out, and then then
they were like, no, Christopher Nolan's got to do all
the things.

Speaker 1 (01:49:22):
Well, that was one of the frustrations in this movie.
Numbers wise, it wasn't even as that far off, but
Batman Begins just got way more traction, Like people were
way more curious about that than this. I don't know
what the difference was exactly, but there was just no
hubbub whatsoever about that, Like, if there was a Google

(01:49:42):
Trends back of the time, I don't think any want
to get it wasn't up there.

Speaker 2 (01:49:46):
Well, Batman is Batmann's Batman.

Speaker 1 (01:49:49):
Again, I keep saying. It's the most impressive thing about
what Gun's done in the marketing so far is that
we're all interested in the Superman movie and not wondering
where Batman is.

Speaker 2 (01:49:56):
I think everybody's wondering where Batman is the.

Speaker 1 (01:49:59):
I mean, sure, a lot of people, but it's been
stifling before in a way that I haven't seen it
be so much here I get that's pretty famously shut down.
You know Superman two to begin with in the Snyder days,
but that was just one room though obviously.

Speaker 2 (01:50:14):
Oh yeah, Jack Larsen is uh you know the bartender
that they the old guy in the bow tie.

Speaker 1 (01:50:22):
Mm hmm, yeah, briefly, that's.

Speaker 2 (01:50:24):
That was Jimmy Olsen from Adventures of Superman.

Speaker 1 (01:50:26):
Mm hmm.

Speaker 2 (01:50:27):
Okay, all right, all right, Well the project was under
Brett Ratner's supervision. Josh Hartnett, Paul Walker, Matt Baumer, Brendan Fraser,
Ashton Kutcher, David booraniz Ian Summer Holder, Henry Cavill, Jerry O'Connell,
Victor Brown, Hayden Christensen. They were all considered for Superman,

(01:50:49):
and then Brett Ratner left the project, mostly because he
and Warner Brothers could not agree on whom to cast
as Superman.

Speaker 1 (01:50:57):
Who'd he want? I mean, those are all I guess
that's that most of those names are people that should
have appeared on anyone's list at that time.

Speaker 2 (01:51:04):
Yeah, I don't know who he actually wanted the I.

Speaker 1 (01:51:07):
Don't know who his yea, who the hill that he'd
chose to die on? Apparently?

Speaker 2 (01:51:11):
Yeah. According to an article in the September twelfth, two
thousand and five issue of Newsweek, the biggest question concerns
concerning Superman's costume involved the size and shape of his dick.
It was the bulge in the front of his tights. Yeah,
I remember reading that article. Costume designer Luisemingenbach finally decided

(01:51:33):
on a bulge that wasn't too big. Ten year olds
will be seeing this movie, she explained this. According to
an interview with Margo Kidder Is in Stark Contrast to Win,
this very same issue that was raised during the making
of Superman nineteen seventy eight of which this film is
a soft continuation where the obviously very non American Salkind

(01:51:54):
producer kept pushing for a larger bulge, which they perceived
to make the character more a quote unquot manly.

Speaker 1 (01:52:01):
Just makes it odd. It's such an odd thing to
spend time on. I mean, one, we already had a costume,
so you solved this problem. Just recreate it. Two, we've
had Kendalls for how many years? Like they've solved this
problem over and over again. You just make a little
bulge like it has the proportionate size that people have
been using ten year olds have been using for quite
some time. Just recreate that.

Speaker 2 (01:52:22):
Yep, the tattoo in the back of Brutus's head is
a fairly accurate representation of the clown makeup worn by
John Wayne Gacy and notorious serial killer who raped and
murdered at least thirty three boys. That is a weird
thing for you to stick in your movie.

Speaker 1 (01:52:35):
And they made the moment where they stopped and she
had to look at what it was, and they made
a beat for that when he takes the cap off.

Speaker 2 (01:52:43):
And then he goes and sits down beside a little boy.

Speaker 1 (01:52:45):
We're supposed to be more afraid for the kid. Now, yeah,
that's just weird, y'all.

Speaker 2 (01:52:48):
Y'all just got a Brian Singer telling on himself.

Speaker 1 (01:52:51):
Yeah, just fuck guess fuck this place. Goddamn.

Speaker 2 (01:52:56):
At two hours and thirty four minutes, this is the
longest solo super Man movie. Anthony Hopkins was set to
play Joyl when Brett Ratner was attached, which I you know,
you know, Brett Rattner has also been heavily canceled because
of sexual assault. Shit right, no, but okay, yeah that yeah,
that's the thing. Yeah.

Speaker 1 (01:53:20):
Oh, he was definitely made in two thousand and six
with like a certain circle of people that were Jesus Christ.

Speaker 2 (01:53:27):
Yeah, m hm h. Actors McGee was screening before his
departner departure included Jason Bear and Jared Padleeki for the
role of Superman, Scarlett Johansson for Lois Lane, and Shiah
Leabuff for Jimmy Olsen, Oliver Stone, Michael Bay, Robert Rodriguez,
Martin Campbell, k Shekhar Kapur, m Night, Shyamalan, and Stephen

(01:53:50):
Norrington all turned down the chance to direct throughout the
ten year project development. Billy Zane was once considered to
play Lex when mcge he was attached. Johnny Depp was
considered for Lex Angel Rell when McGee was attached. Robert
Rodriguez turned down the director's chair because it wasn't going
to be the Superman that he wanted to make, and

(01:54:11):
he gets final cut on all of his movies. The
Brandon Ralph Superman suit was later reused in the series
finale of Smallville. This is one of the last movies
to show a close up of the screen of a
so called feature phone, which was basically an advanced PDA.
The following year saw the arrival of the smartphone.

Speaker 1 (01:54:31):
Oh yeah, I could see that this we had entered
the time. Even by really the year two thousand, we
had started the enter of the time where things TV movies,
all that was starting to be advertisements for cool gadgets,
especially phones like the little device, the little pocket devices were. Yeah,

(01:54:52):
that was getting. That was getting to be something about
this time. Remember BlackBerry's whole fucking marketing thing. It was
just kind of don't thankfully, no, I just they had
a whole strand, like I was, forgetting how much time,
how much screen time was devoted to just being Look
how cool this flip phone is at that time, and
then there was a period after where it was like,
look at cool the Apple and the you know, the

(01:55:13):
new phones are. It was just over about fifteen years there.
I guess if you were whatever phone you were trying
to get in, it was just that you were trying
to get in the coolest new device. I don't know
that they do that anymore. We just do like a
Samsung AD and that's somewhere in your feet on whatever
the fuck Instagram you're using or whatever, and that's that's it.

Speaker 2 (01:55:29):
Yeah. Oh so. Actors including Eric Christian Olsen, Toafer Grace
and Sean Ashmour were being considered for the role of
Jimmy Olsen. Shawn's brother. Aaron Ashmore later portrayed both older
brother Henry James Jimmy Olsen and the younger brother James
Jimmy Olsen in Smallville. Emma Button Baby Spice discussed in

(01:55:51):
an interview on RuPaul's podcast Where's What's the Tea that
she auditioned for the role of Kitty Kowalski and was
one of the finalists for the part. She must be
a terrible actress to not have gotten it, to not
have gotten it over Parker Perice.

Speaker 1 (01:56:06):
What happened here?

Speaker 2 (01:56:07):
I don't know how this happens. Jennifer Connolly was considered
for the role of Lois Lane. I don't know how
you'd consider her and then say no. Kate Bosworth, Yeah,
I don't know. Kate Bosworth apparently based her portrayal of
Lois Lane on Catherine Hepburn.

Speaker 1 (01:56:24):
I'm not getting that at all.

Speaker 2 (01:56:26):
I would yeahow, Okay McGee and John Peters tried to
get Beyonce, Jennifer Lopez, and Catherine Zena Jones for Lois.
Matthew Vaughan said of this movie, it had no idea
what it was. Was it a remake, a prequel, or
a sequel? What was it? I actually think Brian Singer

(01:56:47):
has done some fabulous movies, but I felt that this
was just a mess. There's no other way to describe it. Well.
Will Smith claims he was approached to play Superman, but
he turned it down, quote because I had already done
Jim West of Wild World West, and you can't be
messing up white people's heroes on Hollywood. Yeah, buddy, Wild

(01:57:11):
Wall West just sucked. Wilds sucked, and nobody knew who
Jim West was nobody followed, nobody remembered Wild Wild West.

Speaker 1 (01:57:17):
That was not the issue. The issue was that movie sucked.

Speaker 2 (01:57:20):
The movie sucked, and he sucked in it.

Speaker 1 (01:57:23):
Yeah, like he's right about exactly that problem.

Speaker 2 (01:57:27):
He is not that.

Speaker 1 (01:57:30):
That's not an application of it.

Speaker 2 (01:57:33):
Well see, yeah, he says you can't be messing up
white people's heroes, but he did mess up that character.

Speaker 1 (01:57:40):
Sure, but it's just the categorizing that one as the
white people's heroes, isn't. That wasn't That wasn't the issue.

Speaker 2 (01:57:45):
Bro, Yeah, that movie white people didn't care, don't care
about Jim Weston. White people don't give a shit about
Jim west.

Speaker 1 (01:57:50):
Also, he did an angry Superman movie called Hancock that
I really liked.

Speaker 2 (01:57:54):
Absolutely. Also, why would he say, like it's weird that
he forgot the lessons he said, you can't it'd been
messing up white people's heroes in Hollywood. Then he went
up on stage and slapped Chris Rock and now he's
rapping about it and he's a national joke, Yeah, international
joke even. Yeah have you heard that? Oh God, those
lyrics are terrible. I have not. He rhymes stage with

(01:58:16):
stage and then did it again. He says stage three times.
It is odd. It's terrible, it's terrible, it's terrible.

Speaker 1 (01:58:24):
It's weird. Soa I seeing him do something a year,
year and a half ago or something like that. He
did something where he had done a little promo of
him rapping like a while back, and that was good,
like they had he had decent lyrics. There hadn't but
it was supposed to be like, yeah, we're gonna make
a new album. I don't know where they went to.
I guess that. And it sucks.

Speaker 2 (01:58:42):
Yeah, like his new his new Yeah, and people are
just tearing apart his entire new album. He's real hung
up with the Chris Rock thing. Man.

Speaker 1 (01:58:52):
That does suck. He will does have a weird place
in like the history of music though, because like I know,
he was part of a big thing and he sold
a lot.

Speaker 2 (01:59:01):
But also he's never not been a joke a little bit.

Speaker 1 (01:59:04):
Yeah, he was in a weird spot where he was
like trying to make stuff that everyone could listen to.
But but as Eminem pointed out, you don't have to
talk about other peoples shit if you're trying to do
stuff like that, Like he didn't have to be talking
about how he didn't have to cuss into songs, and
it was a weird thing. Why he just didn't have
to do all that, And then like, no, but he
but he does. He's he's had a weird like he

(01:59:25):
was in on the early part of the history and
it was it was apparently and I don't know this
from personal experience, just put a part, but like he's
he's in the early part of the history. But then
apparently a lot of that was the production part, and
Jazzy Jeff was a lot was the real genius behind
a lot all that. What went right there, Oh definitely,
And like his messine with eight O eight's and all
that was really just that that was the hugely influential part.

(01:59:47):
Like in My appointment, Smith might have just been like
putting some words over some stuff that was way bigger
than what he was doing.

Speaker 2 (01:59:53):
And about yeah two thirds of those words or just
him going ha ha maybe and I I thought I
was just making that up. And then family guy did
a bit and I was like, oh shit, yeah, maybe.

Speaker 1 (02:00:10):
He just it just maybe that his place in the
history of all that is a little more tedious than
he'd like to think it is. Mm hmmm. Still feel
bad for Jesse Jeff. They remastered that record to get
rid of all the to get rid of all the
low notes, like he fought tooth and nail to keep
all the low notes in that because he knew it
was he was making it so that it was He

(02:00:32):
was literally trying to make it so that it blew
the speakers out of your car. And then the people
who mastered the record said, oh wait, that's going to
blow the speakers on the actual record players. They're going
to blow this, so they pulled all that back so
it wouldn't hurt the record players. And then when he
went to listen to it in the car, it didn't
do the thing he had made it through. He said
he still can't listen to the album because it was
completely completely bastardized.

Speaker 2 (02:00:53):
Well, you know, it's probably good to not have your
speakers blow out.

Speaker 1 (02:00:58):
I see that one. With what he was trying to do, though,
he was trying to make those fucking things rattle like
that that early nine nineties, like I can't believe that
car still holding together kind of rattle. Uh huh, I
think you're about to break that Bonaville with that baseline bro.

Speaker 2 (02:01:15):
Oh, And they just tossed them out, like Uncle Phil.

Speaker 1 (02:01:20):
He's a goner.

Speaker 2 (02:01:22):
Alrighty, let's look. Uh. Misha Barton Kiera Knightler were both
considered for the role of Lois when McGee was attached.
Other actresses considered for the role Eliza or sorry, Eliza,
do god? I guess that. Alicia Cuthbert, Claire Danes and
Carrie Russell, Charlie Staring, Linda Cardellini, Michelle Monahan. I don't

(02:01:47):
know how you don't do Linda Cardolini, but whatever.

Speaker 1 (02:01:51):
I don't know at this point, it's just a list
of everyone who got a phone call over ten years.
I know, like sure, they were all considered.

Speaker 2 (02:02:01):
The franchise broke a billion dollars with this movie. The
Wachowskis were considered to direct the sequel, This is Neat.
The truck that Martha drives out to go retrieve Clark
in the field was the exact same truck used in
the first movie. They managed to find the truck and
they rented it.

Speaker 1 (02:02:18):
I mean, okay, that's an odd thing to go track down.
Seems like a bit of a waste of time and money,
but okay.

Speaker 2 (02:02:24):
It is. But it's kind of neat, it is.

Speaker 1 (02:02:30):
It is you ever see something that's like, that's neat,
but like how much effort you put into that? Because
if you said, yeah, I might have had something better
for your team to be doing that day.

Speaker 2 (02:02:40):
Yeah, that's I mean, that's the that's the problem with
you know, a lot of this movie is like if
you think about how much money they spent to reanimate
because they did they meticulously reanimated Marlon Brando's mouth to
say what they wanted to say and all this stuff.
I'm like, just is the nostalgia really worth it? I don't.

Speaker 1 (02:03:02):
I say no, I don't think so.

Speaker 2 (02:03:04):
They probably could have saved a lot of money if
they had just like done something else.

Speaker 1 (02:03:09):
Yeah, But like you said, it didn't. The movie didn't have,
you know, a central thesis that was trying to get
around it. It was just amandering. I genuinely think it
was a mandering mess at like a bunch of people
who'd just been dumped made a movie with a Superman
logo on it.

Speaker 2 (02:03:24):
Mm hmm.

Speaker 1 (02:03:26):
It's a bunch of people who had been dumped in
were not handling it particularly well.

Speaker 2 (02:03:30):
Yeah, man, the yes stands for stalker.

Speaker 1 (02:03:33):
Yeah, yes stands for sus In this movie, damn.

Speaker 2 (02:03:42):
H Well. You know, here's the thing. Some of some
of my opinions on the Reeve movies have changed since
the last time I watched them. My opinions about this
movie have not changed in the.

Speaker 1 (02:03:54):
Slightest disappointment then disappointment.

Speaker 2 (02:03:57):
Now, yeah, I thought, you know, in two thousand and
six in college, I was a little more I was
that was pretty difficult to please. Let's be honest, I was.
I was more elitist, I was a little hardened. If
you go back and listen ten years ago to DC
on screen, I'm a little more of an entitled prick,
you know, like I want things a certain way. I

(02:04:21):
have my versions of things that I'd like to see.
I just can't figure out.

Speaker 1 (02:04:26):
I think we have loosened our grasp on that little ourselves.

Speaker 2 (02:04:29):
You know. I just can't figure out how they can't
get this shit right. But uh, you know, no, on
this one, I'm right. I'm still right. I still agree
with myself.

Speaker 1 (02:04:39):
This is still better.

Speaker 2 (02:04:41):
It's still yeah. It was one of those things where
like I like Brandon Ralph so much and Legends of Tomorrow,
and then I liked him in Crisis playing this version
of Superman again.

Speaker 1 (02:04:51):
Yeah, and I went, you know what, maybe maybe maybe
well so to my point again that they just really
never has been a good one. I you know, as
long as I've got all these s's on my walls,
I've got one in my body, like I've got this
symbol everywhere. And you know, you and I were talking
about how weird it is almost that like we've done

(02:05:13):
this podcast for ten years, we don't have like these
reviews are all at once, like these have been around
for forever. It almost seems weird for it not to
be in our catalog in some capacity. But in a
way it seemed weird to me that I had just like, man,
it felt like a weird blank spot to me, And
after a while I just left it intentionally, like you
know what, it'd be fine. I'll just go about I'll
get to them one day. But I watching them now,

(02:05:34):
it does not surprise me that there was no one
in my life that was just like, dude, you got
to watch this. No one has ever told me I
have to sit down and watch these and been excited
about it, because now that I've seen them, why.

Speaker 2 (02:05:45):
Would they on that depressing note, I think we're gone,
I think we're done. You get anything else.

Speaker 1 (02:05:53):
That is a sad place to leave it. I don't know,
I don't think there's anything else to do with it
that other and then just be like, wow, that sucked.
We'll see in two days when things hopefully are much
much better.

Speaker 2 (02:06:08):
Yeah, all right, Well, Patreon dot com slash DC on screen.
If you want to come over there, you can. You
can join the community for free. You know, you can
get every episode add free for a dollar a month.
You can do the five dollars a month and get everything,

(02:06:29):
including exclusives. We did do a commentary track for Superman
three as well as our normal review.

Speaker 1 (02:06:37):
And which I think is a lot of fun if
you've also not enjoyed these movies.

Speaker 2 (02:06:41):
Right right, and I don't know. We're gonna watch Superman
in a couple of days, and hopefully we will change
our tune about there's never been a good Superman movie. Yeah,
but for now, I gotta go lay down or something.
I'm gonna die Alright, until next time, y'all, thank you

(02:07:02):
for listening, and keep some DC on your screen. By
no

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