Superman: The Movie | Review - DC on SCREEN | DC Studios News/Review

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

Speaker 2 (00:03):
Welcome into DC on Screen. I'm your host, David c. Roberson.
This is my co host Jason Gosso. All right, So
this episode I cannot promise a big iconic show. That'll
be up to you guys to decide listening out there,
But we are talking about a big iconic movie today,
and it's what we've never reviewed on this podcast before

(00:25):
in all of ten years, if you can believe it.
So we're talking about the theatrical cut of Richard Donner's Superman,
the movie starring, of course, Marlon Brando, Gene Hackman, Ned Baby,
Margot Kidder, and of course Christopher Reeve. You might be asking, now, Dave,
what do you mean by theatrical cut? I mean it's
the original film released in theaters December fifteenth, nineteen seventy eight,

(00:47):
state Side. Anyway, it's two hours, twenty three minutes long.
It is available in HBO. Max.

Speaker 1 (00:53):
I wasn't gonna point out that's where I watched this
part in case anyone mm hmm. I was curious about
which cut I watched.

Speaker 2 (00:58):
And I specify because there are two.

Speaker 1 (01:00):
Shout out to whatever you're called now, Max.

Speaker 2 (01:01):
Yeah, I specify that though, because there are two other
notable versions out there. The Special Edition, which is two
hours thirty one minutes long. It is Richard Donner's preferred
cut of the film. And then there's the Extended Cut,
which is a little over three hours with lots of
padded scenes deleted scenes. This is a version Richard Donner
hated and wished would never have been seen. But it

(01:25):
is also important to have if you're like me and
you saw it for the first time on television and think, no,
I want to see all this stuff that I remember,
this random, little weird stuff like watching it this time,
like I generally watch either the Special Edition or the
Extended Cut because that's how I grew up watching it.

Speaker 1 (01:39):
So, and you said special was how long?

Speaker 2 (01:41):
The Special Edition, which is essentially the director's cut, was
two hours and thirty one minutes.

Speaker 1 (01:46):
Okay, so we're only eight minutes shy of it, right right.
You'll have to explain later if you'd like what we're missing.

Speaker 2 (01:52):
That there are little things, and you know, you'll have
to forgive me because I don't remember every bit that
you know this in the Extended Cut versus the Special Edition.
I'm pretty sure the Special edition has, for instance, when
he's running beside the train and you see the little
girl notice him and she's like excited. In this version,

(02:12):
it just cuts away without the little girl or her
parents talking, and in like I think I think it's
the Special Edition, she calls attention to Clark running and
they of course don't see him anymore. He's already gone
on and they're like, wellwis lyon you and your imagination
or something like that. And of course, so you know,

(02:32):
they make clear that oh, this little girl is Lois Lane.
They've crossed paths as youths, and yeah, why not, and
I would prefer it not be Lois Lane, I think.
But you know, the nice thing about that is that
her parents are played by Kirk Allen, the original Superman
and Noel O'Neil, who was one of the original Lois Lane's.

Speaker 1 (02:54):
So that was, oh, that is I did not realize
Kirk Alhen was there for that. I'm going back.

Speaker 2 (02:58):
You didn't even see his face, his face, it is him.

Speaker 1 (03:02):
Yeah, still interesting.

Speaker 2 (03:04):
So yeah, they're there are a little bits like that.
I believe the Special Edition as well as the three
hour cut, have the the the Gauntlet where Superman, you know,
drills into the concrete to get into Lex's layer, and
as he's walking through, there's like there machine guns, they're
you know, flamethrowers or all these like extreme cold, all

(03:25):
these this like gauntlet of uh of tests to see
what Superman can withstand as Lex is watching him on
the monitors. That was not in this cut.

Speaker 1 (03:36):
H well, that would have yeah, I would have preferred that.

Speaker 2 (03:39):
Yeah. Yeah, there are little things that you just kind
of go, oh, I wish that was there, and maybe
one day we'll get to get around to watching those
special editions.

Speaker 1 (03:49):
M hm. Yeah.

Speaker 2 (03:50):
But uh also we just kind of talked about him here.

Speaker 1 (03:55):
Yeah.

Speaker 2 (03:55):
Yeah, oh but see kids, multiple cuts didn't start with Snyder.

Speaker 1 (04:00):
Oh god, now now it's been a problem long before that, before.

Speaker 2 (04:06):
We actually really get into the movie. Though, I do
want to acknowledge something. In typical fashion, I forgot to
post a damn thing about it on the day. But
May eighteenth was the tenth anniversary of this show DC
on Screen totally slipped my mind, which sucks because I
have forgotten to post anything every year after the first anniversary.

(04:28):
I was determined to remember the tenth, and I still forgot.

Speaker 1 (04:31):
In proud tradition, in a proud tradition.

Speaker 2 (04:33):
Yeah, so I'm disappointed to have forgotten on the day,
but I'm also, you know, incredibly grateful for all of
the friends we've made over these past ten years. I'm
grateful for everyone who consistently lets us into their ears
to talk about this vast fictional multiverse. And I'm also
very very grateful for you, Jason. I absolutely could have
done this show without you.

Speaker 1 (04:55):
Oh thank you.

Speaker 2 (04:56):
I said, could have, but I wouldn't have had anywhere
near as much fun.

Speaker 1 (05:06):
See you like that?

Speaker 2 (05:06):
Yeah, yeah, I say this every year and then also
whenever we hit like another one hundred milestone. But I
love you, man, and I'm so glad we finally started
recording these episodes. I feel like if we had started
from the beginning, we would be celebrating our fifteenth anniversary
right now.

Speaker 1 (05:21):
But yeah, yeah, very very likely, all right, which would
have been interesting to see for one very specific reason,
because I would have liked to have seen like our
our lead up to a Man of Steel and compare
it to now what we were thinking then.

Speaker 2 (05:36):
Yeah. Last year, though, I started trying to figure out
what we were going what we were going to do
for the tenth anniversary, life got really weird, busy, and.

Speaker 1 (05:47):
It has been an interesting year. I'm interesting in the
harshest term.

Speaker 2 (05:50):
Yeah, and that tradition continues as well. But I'm actually
really pleased that this winds up being our tenth anniversary
episode because we're reviewing Superman the Movie, which is the
blueprint for every modern superhero film. True, and I do
want to say I love this film. I have the
utmost respect for this film. We will be making fun

(06:12):
of some of the stuff in this film. We're gonna
love on it, as we say here in the South,
and then we're also gonna take a task as well,
because there are some weird ass choices in this thing there.

Speaker 1 (06:22):
Honestly, there are so many weird choices that, if I'm
being honest, it's more gonna be a A. It's this
is probably gonna be more you explaining to me why
I like this, Why I would like this movie. I
don't really like it that much. Well, it just was
not that fun to watch.

Speaker 2 (06:37):
Wow oo oeh man, I feel like a Roylin character
over here. He's about to get hot up in here.

Speaker 1 (06:47):
It's not that hot to take. I was just like,
there's some seriously seventies stuff going on in the movie.

Speaker 2 (06:52):
It's just yeah, like, I hate to break it to you,
but it was made in the seventies. Jason.

Speaker 1 (06:57):
Yeah, yeah, even for the seventies. This of it it
was that's there's there's some great stuff too, but there
was it's it's it's a long two and a half hours.

Speaker 2 (07:06):
Yeah. What struck me because it has been quite a
while since I sat down and really just watched.

Speaker 1 (07:12):
It's going to be a while before I see this
ever again. Yeah, it's going to be a long time
before I realize now why I have not gone back
and watched this the entire time we've been doing the show.

Speaker 2 (07:22):
You have you have, I've I have suggested this several times,
and you have like fought me tooth and nail, Like
I didn't know, nobody cares. I wants to watch that.

Speaker 1 (07:33):
I I don't think I've seen it since I was
a kid. And then as I was watching it, I
was just like, oh, I don't think I was all
that interested in parts of this, Like it was it
was a weird experience for me because I remember deeply
living like quest for peace, like but that was that
was because I was like three and I saw it
for the first time. That was differently. I experienced seventy
eight Superman after the fact, like after Flisher and stuff

(07:53):
like that. It was it was a very different thing.
I don't remember seeing this and just rewriting the landscape
of my life said already seen Fleisher frankly, like that
was that was an earlier memory of of of I mean,
way more formative Superman for me.

Speaker 2 (08:06):
That's a good point. I don't I don't know whether
I saw Fleischer or this first.

Speaker 1 (08:10):
But I definitely did see Fleischer for it. Like some
of my earliest most one inch shag carpet brown wood
panel eighties memories are with Fleischer.

Speaker 2 (08:20):
Is close for me.

Speaker 1 (08:21):
I don't remember this one being on repeat anywhere.

Speaker 2 (08:23):
I do think it was this. I think it was
the three hour cut because I remember my parents saying
they're gonna play it over two nights, and you know
that would that would have been the long ass three
hour cut that was padded to absolute absurdity. Uh, but yeah,

(08:44):
I'm pretty sure it was this. That's I think that
my first memory is seeing Superman. Uh, one of my
first memories of seeing Superman save lows. You've got me
Who's got You that been?

Speaker 1 (08:55):
Yeah, yeah, I mean there's parts of it that I
definitely remember from that that like that piece of childhood
or that chunk, but it's it's later than some of
the earlier stuff. I mean, for sure, I remember some
Ghostbusters at that time way more clearly than some Superman
other than some of the.

Speaker 2 (09:11):
Cartoons definitely, and I yeah.

Speaker 1 (09:14):
The Superman was more like a couple of things that
I was able to get my hands on, but it
was just sidebars, not actual comics and stuff, and then
mostly just cartoons and seeing that kind of thing.

Speaker 2 (09:23):
Mm hmm. Yeah, Ghostbusters would have been around the same
time it For me.

Speaker 1 (09:28):
It swelled right at the mid eighties when I was born.
I mean it was literally the number one movie in
theaters of the week I was born.

Speaker 2 (09:35):
Mm hm.

Speaker 1 (09:36):
Purple Rain had just handed off the Rains I was
handed them. I can't remember. It was adjacent to it.

Speaker 2 (09:42):
I couldn't tell you either way. The hell of a
run immediately. Something I noticed in this movie, though, is
it starts out and I think to as detriment. It
starts out with Jorell and the Council banishing General zod
Non and Ursa to the Phantom Zone. Yeah, and I

(10:04):
think it is to the detriment of this movie because
they don't fucking show up anywhere else in the fucking movie. Yeah.

Speaker 1 (10:10):
I kept thinking they were going to be a thing
that it mattered. It did not mm hmm.

Speaker 2 (10:16):
Now, originally supposedly because they were shooting some of some
of two in general, right, because they were they were
shooting some of two along with this, And originally what
was supposed to happen was Superman was supposed to throw
the throw one of the missiles into space, and the

(10:36):
missile was supposed to hit that glass on the of
the Phantom Zone and release the criminals, and that's how
this movie would be. Yeah, and the reversing of the
Earth was supposed to be in Superman two to erase
uh Lois's memory of him being Superman. I'm not sure

(10:56):
why they changed that, but at the moment they realized
they were not going to do that, they should have
taken out that chunk of the of the Council of
banishing them.

Speaker 1 (11:07):
I could see it. I mean, I had one note
in there. I think it was like ten minutes of
the movie in and there are several of my notes
where I wrote down just where at X time in
the movie, And I still don't know this, and I'm
gonna kind of blankeantly say that, like that's probably just
seventies pacing, and this exaggerated. I think here even for

(11:29):
seventies pacing, this felt like what are we doing in
whole chunks? But it's the whole movie's kind of a
series of vignettes more than a story.

Speaker 2 (11:36):
I feel like that's a Mario Puzo thing.

Speaker 1 (11:38):
He's the good writing.

Speaker 2 (11:39):
Yeah, that's yeah, he wrote The Godfather, and there's there's
something I like about it where it's like.

Speaker 1 (11:45):
But it is it's kind of modular though, like I
mean basically the Crypton, Like, yes, it tells a story
like that Krypton has to go first, but it didn't
have to be there at all.

Speaker 2 (11:53):
Right, well, Krypton could be there, but like they had
two segments of Krypton. They had the banishing of the
Kryptonian villains, and then they had he goes right out
of that.

Speaker 1 (12:03):
Into now he's on trial.

Speaker 2 (12:05):
We're fucked, And they're like, I'm.

Speaker 1 (12:08):
Sure there was a contrast thing, Well, oh, now you're
the one on trial.

Speaker 2 (12:10):
Now.

Speaker 1 (12:10):
There were several contrasts and things like that that were
all done in the movie. Yeah, but I didn't need that, Like,
it didn't accomplish much though.

Speaker 2 (12:20):
Right, Like it's just bad filmmaking to me. But it's
a lot of what people complain about now with Marvel movies,
like oh is set up for the next one? Well, okay,
all right.

Speaker 1 (12:29):
That's what it was, yes, but kind of winds up
but very much after the fact. The I mean, I'm
halfway through what's that book where we'll keep trying to
read the super members of Hollywood. It's basically just the
half that I'm through is just the Skins accidentally made
these things. I mean, there's some real art going on

(12:50):
in the first one, and then everything after that is
just barely getting it across the finish line. The rest
of the franchise just just accomplished by the Harrist and
Margins and to make money. For sure, it's not a
like short of this movie having some really not nice goals,
and you can kind of tell where they did and
where they really got some nice effects out of it,
and some seriously they accomplished wonders in their way. But

(13:12):
like you can tell after that that it fell apart entirely.
Parts of this aren't coherent really it, Yeah, what's good
about this exists by accident. I don't.

Speaker 2 (13:21):
I wouldn't say that because I do get the sense
of a sprawling epic, I do. You know, there were
like Donner in the cinematographer like based a lot of
the shots on Rockwell paintings, you know, and I got that.
I felt that like it does feel wholesome in a
way that Norman Rockwell paintings portrayed well.

Speaker 1 (13:44):
The farm scenes absolutely, but.

Speaker 2 (13:47):
Yeah, even even even the city scenes, you know, there
were a lot there was a lot of like there's
a grand juror to the movie, you know, like Lois
is on you know, an assignment out in the desert,
you know, like there it feels like the locations are grand.

Speaker 1 (14:02):
And yeah, the Hoover dam or a mock up of it.

Speaker 2 (14:06):
Absolutely absolutely, and that actually like Jimmy Olsen looking at
the damn was a reference to a Norman Rockwell painting,
Oh was it? Yeah? But like yeah, I think like
seeing Clark as a child, like a little child, and
then seeing Clark as a teenager, and I feel like
getting to that moment of him flying out as Chris Reeve,

(14:31):
I feel like that a lot of that was I
lended to the epic feeling, the saga feeling of it,
but also like there's like no conflict through the first
like half of the movie, at least.

Speaker 1 (14:44):
I marked down. I think we were one hour in
when we met Lex Luthor, and when we met him
it was not clear that he was doing anything in
the movie. Really, I mean, we met him, but I
think it was another fifteen twenty minutes in before we
figure out why we had met him.

Speaker 2 (15:00):
Yeah, I mean, I guess we meet him when I
think the first thing we see of him is his
hand like controlling that doors is heading back to the Yeah,
otis is heading back, and then like the cop has
following him, and he pushes the cop out in front
of the train.

Speaker 1 (15:15):
Yeah. Yeah, with a little lever Yeah, with the Looney
Team's looking lever death thing. It is kind of a funny,
brutal way to introduce somebody.

Speaker 2 (15:24):
I do enjoy Hackman's Luthor, like he's a cartoon. But
he's fun.

Speaker 1 (15:28):
He very much is. And one of the things that's
a shame about the entire franchise is that that more
more of this isn't captured. He is having so much fun.

Speaker 2 (15:38):
Yes, he like.

Speaker 1 (15:40):
I think that is in the book though, that he
seemed to he enjoyed the process under one set of
conditions that changed immediately, and he said, I don't want
to do anything to do with it. And they took
some of the scraps of what he'd filmed and tried
to make the rest of it out of it.

Speaker 2 (15:49):
Uh, he left, but he Hackman left because they fired daughter.

Speaker 1 (15:54):
Was that it m hm, But so doing this initial
filming though he was he was interested and happy with it. Eric,
I think that was a stage part. But anyway, on
screen it certainly appears that way. He's having a great time.
He does a wonderful fucking job. Yeah, he's immediately charming. Yeah, immediately.

Speaker 2 (16:09):
One of my favorite lines is, oh Lord, you gave
them eyes, yet they do not see Yes. Every time
he screams miss Testmoker, I laugh. Yeah, it's wonderful.

Speaker 1 (16:21):
It really is. The way he does it, it's just
from the very very bottom of his stomach. Man, and
and it the the miss Testmoker line has its own
almost story arc throughout the movie. The last time is
almost a mournful test.

Speaker 2 (16:34):
Worker, and he is a cartoon, but he's such a
wonderful sinister being because you look at him like, oh, yeah, yeah,
he's a he's a he's a mustache twirling piece of shit.

Speaker 1 (16:47):
Yeah.

Speaker 2 (16:48):
But then the cold blooded way when she's like, well,
my mother lives in New Jersey, and he like just
calmly looks at his watch and then looks back up
at her with fur brow shad like like oh god,
oh my god.

Speaker 1 (17:00):
It was it was not It was not kind.

Speaker 2 (17:04):
That would hit harder to me than when Superman was like,
that's how you get your kicks, Luthor, he whatever, like
you threatening the lives of innocent people? No, by taking
the lives of innocent people, Yeah, he's rough something like that.
It's like Jesus Christ.

Speaker 1 (17:20):
Yeah, he genuinely. Well sometime I thought about it in
that scene, because you know, that's where he finally hits
him up in the layer or shows up in the layer.
Which fund set design. Dear god, that must have been
so much fun to do that pool. Well, not to build,
not to build it, that would have been paying the ass,
but to design the the what do you call the
underground the train station pool and everything. Yeah, I loved

(17:43):
his library. God, the set design was so much fun.
But something that occuraged to me is, yeah, he's he
meets Luthor and like the first thing he does, he
outwits him immediately. But that kind of made sense. LUTHORI
is very smart. He did, for some reason, describe all
of his weaknesses in an article, except he did publish it.

(18:06):
I mean enough of them.

Speaker 2 (18:07):
No, no, no, in the article he which the article
didn't match what we got on screen, but like what
we got on screen was her saying, hey, how old
are you? And he doesn't want to say And then
the article apparently says somewhere that Krypton exploded in nineteen
forty eight, even though Joerell in the Fortress told Clark
that many thousands of years or whatever have passed in

(18:28):
your time.

Speaker 1 (18:29):
Right, Yeah, okay, so I didn't like, Okay, that's another thing.
I didn't get how I got that or the radioactive
thing out of that article.

Speaker 2 (18:36):
But I'm a simpleton. I'm not as smart as Lex Luthor.

Speaker 1 (18:39):
Yeah we God, what is that line he puts in there?
Kind of I wrote this one down. It was so
good funny. I can find it something about like is
it is it electrifying to be in a room with me?
Or something like that.

Speaker 2 (18:49):
Yeah, something like that.

Speaker 1 (18:51):
When I run across it later, I'll I'll rehash it. Yeah,
I'm not I could see him beating the Superman though,
even with that riadom and of information, Wine, it was
dumb to publish it. And yes, but you're not thinking
there's somebody like that and Luthor for some reason. And
by the way, he has no motivation in this and
this other than just he enjoys doing dickish things. Yeah,
he seems to vaguely, not vaguely, very very very much

(19:12):
to be into real estate. M hm.

Speaker 2 (19:14):
I end my boy land.

Speaker 1 (19:17):
Great story about it and all that, but like, it's
he there is no reason for him at all in
this movie or franchise as far as I can tell.
But well, the fact that you got with him so clear,
so so so quick. Yeah, Superman's a dodo. He doesn't
have a natural predator. Yeah, of course he got with
him immediately. No one's ever actually tried to take him
down in this franchise.

Speaker 2 (19:37):
It's it's odd, it's it's it's bizarre because like, of
course I would think, you know, you had Jonathan Kent
who was like, ah, yeah, we were afraid that somebody
come and take you away. That's why we didn't want
you to do this shit in the first place. And
this is when you know, Clark was a kid, he
just wanted to play football. And Jonathan's like, weah, well,
we were worried that, you know, someone tried to take

(19:58):
you away. I don't know why Clark wouldn't think that
that was still on the table, right, although also I'm
sitting there thinking very limited thinking on behalf of John Kent.
Clark could have become a star football player, gone on
du pro, made millions of dollars, give a ship, tons
of money to charity. By god, we don't know why
you're here, but it's not to score touchdowns. Yuck, yuck, yuck.

Speaker 1 (20:21):
I mean, yeah, you're gonna you're gonna turn him into
an effective altruism so basically.

Speaker 2 (20:28):
But yeah, he's got issues. But you know, that's an interesting,
you know, lesson for Clark to learn you're not here
to make money and be famous. Another big lesson for Clark.
You know, for all your powers, you can't save everyone.
Because immediately after John Kent has a massive heart attack
and dies, right, which was the only reason for the

(20:51):
whole Lina and Brad thing to be there. They didn't
know they were gonna make Superman three where that would
you know, we're Superman, would for some reason forget that
he was up to be with Lois to some degree
and go hang out with Lana and find off her
ex husband, Brad abusive prick.

Speaker 1 (21:08):
He's the guy we hate from that scene, right, yeah, yeah.

Speaker 2 (21:11):
Come on, Lana, you pick that up too, Clark, I
didn't catch the name.

Speaker 1 (21:17):
Yeah, abusive prick though, gotcha?

Speaker 2 (21:19):
Yeah? And then Superman three is her ex husband.

Speaker 1 (21:22):
Of course it is. Of course it is m m
Off making some other family miserable. Now, Brad, I.

Speaker 2 (21:32):
Do wish we'd gotten more from Paul and my man pocket,
Like Martha barely got anything.

Speaker 1 (21:38):
Oh yeah, very very little, very little on her.

Speaker 2 (21:41):
And Paul gets like one quick scene. I guess it
was enough. But for something that feels like an epic,
we very much didn't get, like because we get Pockett die,
and you know, Clark's all upset about that. For all
my powers, I couldn't save him, and then like we
get him like staring out the window at the shed
I don't know, or at the barn, I don't know what.
Why the They never explained why the crystal. Was the

(22:02):
crystal talking to him telepathically? Was it just beckoning him?
He goes into the barn in the early morning hours
and just like, oh like just pulls back a blanket
and there's the crystal. I guess, yeah, that has been
hanging out there for some eighteen years.

Speaker 1 (22:16):
That is not clear. Yeah, very confused.

Speaker 2 (22:19):
About all of that. Is the crystal telling them things,
tells them where to go.

Speaker 1 (22:23):
These are the crystals in general? They they don't there's
no through line with the crystals either. I think it's
a design choice. There was, there were several design choices
that were made that are again, man, the seventies was
an interesting time. That's cocaine. So this one though. The crystals,
they they seem to be a futuristic thing, much like
I guess the aluminum oil suit that we used in

(22:44):
the over contrasting lighting or whatever. But there's no point
the crystals. I guess two things. Sometimes he handles that.
One it does something, the other one calls him. I
guess we don't really get a We don't really know
about that. I don't know what they're doing. Or later
he asked her, She's like, are you almost done working?
And he's like, sure, I'm almost done. I don't know

(23:04):
what he does he does he like grinding the crystals
in the back with a circular saw. I don't know
if the fuck you do with a crystal to build it.
It's not clear at all. And then do you Brando's
swinging this glowing wand crystal thing up in their trial
early on m what why it looks great on him?
Because like everybody, by the way, one side note to
all of the stuff with Branda, like you could have

(23:25):
cut the entire Crypton thing, or the ride over and
or frankly the ride over and done with a small
recap like all of it. Yeah, it accomplishes the story
of telling you Krypton's backstory, but it does so over
like twenty minutes when two would have done. And like
it to me, it seemingly it's only redeeming value is
that Brando could sell anything. Yeah, it'd sell fucking anything.

Speaker 2 (23:45):
Just by his name, because he wasn't trying here.

Speaker 1 (23:47):
No, and he was still that good. Yeah, he was
accidentally that good.

Speaker 2 (23:52):
He was fine.

Speaker 1 (23:53):
He wasn't given much at all, and it kind of
and just one shot. I wish I would, I really
wish I was watching this with you moments. But do
you remember when Brando so he's doing his speech to
baby baby Cow. They're about to send him off, and
he does this nice speech longish again where he goes

(24:17):
over like, you know, I'm giving you all this stuff
and I'll always be with you, and here's the crystal
and all that stuff. Yeah, it goes on for like
ninety seconds, it feels like. But I swear there's a
moment halfway in that word, Mom looks up and Borderline
realizes that, oh, you didn't make a single crystal for
me whatever.

Speaker 2 (24:33):
Oh he did she's in two is she? Yeah?

Speaker 1 (24:36):
Oh, thank goodness, because it's not there at all. She's
a very very underfoot character in this thing.

Speaker 2 (24:42):
In too for sure.

Speaker 1 (24:44):
Okay, that's good. He did not mention her at all,
Like she seems to look up surprised, either that Brando
was still improving the scene, I guess at this point,
or that in character she realized that she's not being
mentioned in the slightest and this child is about to
leave the planet either one struggle.

Speaker 2 (24:57):
Yeah, it does seem that way in this movie. But yeah,
she's she's around later.

Speaker 1 (25:04):
Well, there were moments even in the movie where I thought,
what the hell do we do this for? And then
a couple of minutes later they assays, so, okay, just
the timing sometimes didn't hit me. Yeah, And then there's
gonna be a lot of explanations like that where it's like, oh,
they were filming to it once or two it is
where in the mix it once mm hmmm.

Speaker 2 (25:19):
Also they were dealing with the fact that I read
that Brando was like, Hey, why don't we just film
the rehearsals just in case you never know?

Speaker 1 (25:27):
And then then let me guess bounced and they're.

Speaker 2 (25:29):
Like, yeah, all right, and then like he did it
well on the first take and then would just like
not do anything else mm hmm. And so like the
first takes is what they used for like the rehearsal
takes or what they use for him pretty much the
whole time is because he just sucked. He just like
did it one time well and just went all right,
I'm done, yeah, and would just fuck off through the

(25:51):
rest of it.

Speaker 1 (25:52):
Yeah. I mean that probably damaged everything surrounding the scene
except him, But to be fair, his part looked fine.
He did do okay.

Speaker 2 (25:59):
Yeah, he just comes off as being a Kryptonian. Yeah,
somewhat emotionally put aside. But yeah, they could have absolutely
just not even shown Krypton at the beginning. They should have.
They could have just like started out in Kansas with
the with the truck something falls from the sky.

Speaker 1 (26:16):
Would have been fine. They also didn't have to include
the six year old naked true. I didn't know that
was I didn't know it was gonna be a callback
in Man of Steel that there was a I guess
that was why. M there's a like he gets out
of the ship and like the version of him getting
off the ship is like he's three four whatever this
is and it and just like he gets off and
does like this buffalo bill looking pose like with his

(26:38):
arms off. Do you remember this at all?

Speaker 2 (26:41):
And Man of Steel or in this one? No, in
this one, Yeah, I do know what you're about.

Speaker 1 (26:44):
Yes, it's a big triumphant look at me. And then
I don't know. I always thought it was weird in
Man of Steel that were like, man, you just seem
to you just had to do the shot where it
was just the big naked baby, Okay, And I guess
that was maybe an homage later, I'm not sure. I
don't know why the river necessary.

Speaker 2 (27:01):
I mean, it's a baby, man, I mean it's a yeah,
I don't care.

Speaker 1 (27:05):
Like I didn't care that much either. It was just like, man,
you could have just not shown him nakedly getting off
the thing or actually, you know what cracked me up
is like they did a really scene. They did a
scene or if he's crawling up the hill like Houses
of the Holy style, not shown his jump. Yeah, and
then after that they're like, but here's the one with
the junk.

Speaker 2 (27:20):
Okay, yeah, you know I've seen some of those takes
on on online. We're like, of course, BeO, Hollywood has
to show a naked baby, and I'm like, it's a baby.
Like I never would have thought about it until you
brought it up. Like I never went like, oh god,
the sexuality of the baby, Like it never occurred to
me at all.

Speaker 1 (27:40):
Yeah, the sexuality. That's gonna be a whole other aspect
that that's an unfortunate said, it's not what's ocring to
me either. Mine's more of the like the when you
have a six year old running naked through the house.
Yeah yeah, you chuckle, but then you tell me to
put some fucking pants on.

Speaker 2 (27:54):
Some people do some people don't, you know, it's a
certain point. It's just like they don't understand, you know
what I mean. Like some people think like they don't
understand why I'm not gonna put that on them right now. Uh.
And again I would prefer them to do it like that.
And some of the Silver Age comics where like they
get him out of the thing and he's like wearing
a diaper with a Superman simple on it.

Speaker 1 (28:15):
That that is that one's also yeah, he's pre swaddled
for some reason. Yeah, yeah, that was another word.

Speaker 2 (28:21):
I don't feel like either way is a blue lagoon situation.
So yeah, I do wish like I when when Clark
is in that field though, and he's about to leave
and Martha walks out and she's like you have to leave,
don't you or whatever? I wish I cared more.

Speaker 1 (28:41):
Why why does he have to leave?

Speaker 2 (28:43):
I don't know why he has to leave.

Speaker 1 (28:44):
The movie does not tell me why he goes to
the barn, and then does not tell me why he
has to leave. There's no description of.

Speaker 2 (28:49):
Either, right. The only thing that Seene really did was
give him a name to say, oh yeah, I asked
him if he could help out from now on and
uh and now in every version of Superman, some one
in Kansas mentions that guy's name as one of their neighbors.
To fill out through the world building, that's pretty much it.

Speaker 1 (29:07):
Uh like the one thing when he's so one thing, like,
all right, he's leaving, and I thought, Okay, well the
dog can't help around the farm very much, so you're
just leaving this lady with literally no one else to
help her on the farm. Well, this is I mean,
I yeah, he's gonna come by and blah blah blah,
But like I feel like that's that's like in my head,

(29:30):
I'm doing the real world math where like somebody comes
by for a few months and then you just sort
of don't see him after that because it was too much,
probably not a lifelong commitment to till every filled out
there for you. And God like, looking at she looks
like she's like in her early sixties like this, Yeah, yeah,
it just seemed reckless to leave her alone with no income.
And then yeah, a few minutes later in the film

(29:50):
or however long it was, when he gets to Metropolis,
that's we dropped the whole We sent half my paycheck
out there. Okay, cool.

Speaker 2 (29:56):
Okay, he's sitting half his paycheck out there. But you know,
I have quite just about this whole trip to uh,
the Fortress of Solitude, because then Jorell see, Okay, first
of all, he said he sends that baby, the baby
version of Clark Off, and like, while he's flying through space,
he's teaching them all these things, and uh, he's telling

(30:17):
them all about all the things who he is and
Chinese uh things. He's one of the weird things that
he brought up. While they're doing Yeah, he's doing like
like these.

Speaker 1 (30:32):
Galaxy he's like learning learning tapes and like that I
think had started to be like a huge thing. They
had learning vinyls before, but yeah, it was I forget
when that you remember that fad though, like you put
on this tape and you'll learn maybe.

Speaker 2 (30:46):
Yes, while you sleep.

Speaker 1 (30:47):
Yeah, but I think that was well in effect when
someone thought that that doing that too, that the infant
would do anything.

Speaker 2 (30:54):
Yeah, So like I wanted the scene where he gets
to the to the fortress and uh and Joel was
like the ice waffle, yeah, and he's like, oh, do
you remember the Chinese proverb? I told you? And he's like, no,
what are you talking about He's like, fuck, that didn't work. Well,
I guess we're gonna spend twelve years, twelve of your
Earth years, taking you through a hologram of the cosmos

(31:17):
and explaining all of this fucking shit to you all
over again, because damn it. Yeah, the tapes over this.

Speaker 1 (31:25):
You remember what the thing on the ship, the one
on the ship. There were tapes on the ship. My
first memories are from the far I don't even remember
the ship. They showed me the ship later. What are
you talking what are you talking about? Yeah, I do
not remember crashing.

Speaker 2 (31:39):
I played all of this for you, all right. Fine,
so you're telling me that he was like in this hologram.

Speaker 1 (31:47):
If there was a fly on that ship accidentally, it
got more out of it than this.

Speaker 2 (31:51):
He was like in this hologram of Krypton or hologram
of seeing Krypton and going through the cosmos learning all
this shit for twelve years, and at no point did
Jorell go, oh, well, you know, it's uh coming up
upon Thanksgiving in your time, so yeah, have a good uh,
have a good holiday break, go see your mother, you know, like, fuck, dude,

(32:17):
like she's is he just gone for twelve years, or
did like they take breaks. Did he like go go
home and be like, hey, ma, well god, I've learned
some so much stuff. You know, apparently there's this uh,
this planet out there, you know called Thanagar. You know,
I don't know, uh, because he's telling him all about
the like the whatever it was twenty three known galaxies
or whatever the hell he.

Speaker 1 (32:35):
Said, right?

Speaker 2 (32:37):
Or was he just gone for twelve years? And she
was like, well, I don't know, he went off somewhere.
I guess he's dead. I mean that's some depression level stuff.
You know. That's like, oh yeah, that's what we did
back then. As we we would wake up, we'd go
and look at our boy would be out in the field,
and we'd be like, it's time. Yeah, hey boy, what
you standing out here in the field all morning for?

(32:57):
Because like she like gets up when he's standing out
in the field and it's like like you know, breaking dawn.
And then like she comes out there around noon. She's like,
all right, he's gotta stand out in this fucking field
all day? What you doing? Boy? Is it time? It's time?

Speaker 1 (33:11):
Oh yeah?

Speaker 2 (33:12):
Ah be damn sorry.

Speaker 1 (33:14):
Breakfast and everything got to be about lunch. I realized
you were still out here.

Speaker 2 (33:17):
Yeah, I know that look that middle distance field.

Speaker 1 (33:21):
Look, I know that existential stare anywhere. He's got the rambles, Yeah,
talk part of that many a time.

Speaker 2 (33:31):
Gotta be rambling on now. Young men get a bit
of restlessness.

Speaker 1 (33:34):
And yeah, he had that look in his eyes when
you landed. That's why I was fighting so hard to keep.

Speaker 2 (33:39):
You well, Tom, give me getting on mal see you never.
I just don't buy it. I think he had to
have come back at some point, but we didn't get
that movie very much. Made it seem like he was
gone for twelve years. Yeah.

Speaker 1 (33:57):
Yeah, there's no sense of time there. I mean, at
least that journey, at least that had like an idea
of Skip's time in a way that made sense, and
they actually skipped the time. I'm still a little bit
mad about just the Spaceship Journey in general. That first one.
I don't know why mm hmm. I don't know why I
had to be there. It had a couple of really
neat camera effects. I do genuinely kind of feel like

(34:19):
the reason it got down, like there was a lot
of focus on some stuff that went really well, like
the flying, Like I see why you tagged this thing
with like you'll believe a man can fly, because it
was probably the most believable thing. I mean not probably,
it was incredibly believable for its time.

Speaker 2 (34:30):
Looked great, Yeah we're not doing this side shots of
him on a green screen cart you know, we're not
seeing Yeah, him turned into a cartoon like in the
Kurt Callen shit.

Speaker 1 (34:39):
Like, there's some serious blend of practical and visual here
that was really really innovative. It was very cool. They
tried what it is, they really did, and they tried
a lot of things with all these like high contrasts,
you know, kind of bladed in. I mean, this was
a little bit boring psychedelia frankly, but like they well
for what it is in terms of psychedelia, it was
a decade beyond are late and not doing really all

(35:02):
that anything all that interesting, but it just mostly didn't
have to be there. And I feel like a lot
of the stuff that went well, they spent all that
time on that and did really well on that. And
then there's a reason that it's not like the tagline
wasn't Superman the story of Superman, because there is none,
because that is not here. It's not a content full film.
It's a film of like vignettes where you see a
story accidentally kind of happen, and some really cool visual

(35:24):
things happen, but like, it doesn't have an overarching thing.
There's no there's like whole chunks that could go away
and it would still tell what little stories here mm.

Speaker 2 (35:32):
Hmm, because the story does not really begin until he
gets to Metropolis.

Speaker 1 (35:36):
A half hour hour and a half, yeah.

Speaker 2 (35:39):
And the movie on, and then it really only happens
because he does that stupid interview with Lois. Yeah, and
I guess you know, part of the him flying around
in the air with her. He told her a bunch
of other shit that she wound up publishing because of
the interview. At the table, they were way too preoccupied
with underwear and shit, like they weren't talking.

Speaker 1 (35:56):
Oh, it was the thirstiest conversation.

Speaker 2 (35:58):
I wouldn't have even told her I could. I couldn't
see through lead.

Speaker 1 (36:01):
I mean, yeah, yeah, well that's what I'm saying. He
published most of his weaknesses for some reason, but I
don't know enough of them.

Speaker 2 (36:07):
I don't know how Alex decided he could hear that frequency.

Speaker 1 (36:10):
He doesn't, and there's no reason I think that the
radioactive thing has any effect on him. There's just there's
some leaps in logic there, mm hmm. But and I
just clicked around to see what it is and it's
it's an hour and twoish into the movie where you
actually see them show up at the bullpen here m hm.
But one of the big strengths of the movie. My god,
these two are fantastic together. Like, as soon as they

(36:33):
walked on, I forgot how bored I'd been for an hour.
I was like, oh my god, this is this is
immediately fun. Now you come on Superman and Lex no, no, sorry,
Margo and Chris here, Like as soon as I saw
Lewis and Clark like properly interacting with eat each other,
I was immediately and immediately like on board with the
film again mm hmm. Like I definitely just had some

(36:53):
spots where I was just very much bored. And yeah,
they they're they're just immediately charming.

Speaker 2 (37:00):
Yeah. I think it was funny because I said, when
he became Superman, which is so good at Yeah, when
when when we like get past the montage of Cosmos
and he becomes Superman and flies out of the fortress.

Speaker 1 (37:13):
I looked at my wife grabs that costume out of
absolutely fuck all where Yeah.

Speaker 2 (37:17):
I mean, you know whatever, I mean they it built
an entire U a single crystal, built an entire fortress
just because he threw it into some ice.

Speaker 1 (37:24):
Yeah yeah, I mean we're in, We're in. You don't
get an explanation, sci fi land hard.

Speaker 2 (37:29):
Yeah. At this point absolutely uh So at the point
where he flies out, I look at Bethany, my wife,
and I say, okay, So, now's the point where you're
gonna be like, finally the movie's gonna get good or
oh my god, the movie's gonna get terrible now because
people do not. Critics of the movie generally like, oh man,
everything leading up to him becoming Superman was just this

(37:49):
was great, you know Americana, like, you know, sweeping epic,
and then it's just becomes a comic book movie, or
they go, oh man, it was so boring leading up
to the part where he was finally super I don't
hear much in between.

Speaker 1 (38:05):
Person I could see it because it is a major
tone jerk. Well, I mean, and it's it is. It's
tone setting all up. You're doing this this whole two
thousand and one thing beforehand for half of it, and
then you do you just sort of see this forty
year old in the wig.

Speaker 2 (38:18):
You can do the cinematographers to two thousand and one.

Speaker 1 (38:21):
Maybe, yeah, that would make sense. But yeah, then there's
the forty year old running with the train in a
wig for a long time. It's just by the way.
He was entirely disconcerting. Everything with him was disconcerting. I
don't I don't know why. It just it was weird.
That running scene alone is bizarre, uncanny valley stuff that
felt like AI generated before it's time.

Speaker 2 (38:37):
Yeah it does.

Speaker 1 (38:39):
It's strange, but I didn't. It was just a series
of like, like I said, we were an hour in
before I met Lex and was really like, oh, okay,
this is someone I'm caring about that's going to be
here for a minute. I guess, because I mean brand
New famously died for the ten minutes they got to
know him, he can come and gone. I guess I
was half compelled by his character. But yeah, it was
just that I finally met people that were that were

(39:00):
part of the story at the hour of mark in
and these were some of them that was more of
my camp puppet. Well, you know, I forgot he was
even in the suit by the time I saw him
doing Clark and Lois stuff.

Speaker 2 (39:10):
Yeah, which I am, you know, famously on the show,
known for not liking her version of Lois, so.

Speaker 1 (39:18):
It's not my favorite. She's very screeny.

Speaker 2 (39:20):
Yeah. Yeah, she's kind of all over the place chainsmoking.
I feel like they do, like, especially watching it now,
I'm watching this one now, I go, Oh, they quirk
her up a whole lot.

Speaker 1 (39:31):
In the sequels, did they even more? Yeah, she was
like she's got quirk.

Speaker 2 (39:35):
Here, she's got shit. Oh, I mean they make it worse.
They make it worse, Like she's got like two scenes
of her not knowing how to spell a thing here,
and like in future sequels, it's just like she doesn't
know how to spell anything. She's got to have her
orange juice. She's you know, it's just like, oh my god, Lois, like,
you're so awful.

Speaker 1 (39:52):
That's weird. I mean, then there's like a hint that
she's a good reporter here, but otherwise she's and and
they clearly get a lot, like they have a chemistry
that I think is like she's just more of a
a I don't know, an interesting person for him to
be around. Then she is like the star reporter that
Lois Lang sometimes is. I feel like it was. I mean, yeah,

(40:13):
there were some jokes about it not being able to spell.

Speaker 2 (40:14):
But yeah, but I did enjoy all the things that
she couldn't spell, like how many peas and rapist?

Speaker 1 (40:19):
Yeah, how many is? I guess?

Speaker 2 (40:22):
Yeah, this is like it's all just like horrendous things
that she's writing about.

Speaker 1 (40:26):
Yeah, and then here you go, it's the City Beat
Summer Story. I there's like they have respect for in
the bullpen. She's clearly got a like the city beating
a big deal. They just don't make a big meal
out of how she's good her job. They just sort
of roughly let it sit there that she is. And
then the rest of the film is just that she's
incredibly into this guy in this weird red outfit or
weird blue outfit. And then other than that, like she

(40:50):
just sort of is dying a lot.

Speaker 2 (40:52):
Yeah, she's always in trouble, but is you know, I
did notice that, like looking at the trivia kind of
like brought it up to me, like they hit all
of the major all the things from the Adventures of
Superman like faster than the speeding bullet they covered that
more powerful than a locomotive. They've covered that, like all
of them they covered, like can leave tall buildings in

(41:12):
a single bound, can even the secondary ones that they've
added later on, can change the course of mighty rivers.
You know, they hit every one of them in this film,
like those were all the action beats. It was just showcasing. Yes,
even in this version, he does exactly what the other
thing said in the opening. Yeah, I did kind of
like that.

Speaker 1 (41:31):
That was fun. It was there, There wasn't there's like
it seems. I don't know, was that a common thing.
I don't know that well, they didn't really have. I mean,
a superhero movie wasn't a common thing, so I don't
know how that was gonna work. It definitely is now
a common thing for there to be, like I said,
just the little series of vignettes before, like oh he's
got his powers, now let's watch him save three or
four randows.

Speaker 2 (41:50):
Yeah, it's been.

Speaker 1 (41:52):
In everything since this. I don't know if it was
a thing before or not.

Speaker 2 (41:54):
Here was one of my sadistic favorite things in the movie.
He saves the cat in the.

Speaker 1 (42:01):
Tree hut where you're going with this.

Speaker 2 (42:03):
Little girl runs there and goes mommy, Mommy.

Speaker 1 (42:05):
Paused the film, pause the film, pretty sure, wrote down
at time, Pretty sure, I know where you're going with this.

Speaker 2 (42:09):
Go ahead, mommy, mommy, man save the cat out of
the tree. Just flew away. And she's like, I don't
know what she said, like you.

Speaker 1 (42:18):
Mom this like cuts my pops her fucking child just
cuts right.

Speaker 2 (42:24):
You hear the pop?

Speaker 1 (42:25):
She backhands the girl. I I like, I paused the movie.
I wrote down the time there's in case you're watching,
there's an hour and seven and forty five left, because
when you're watching it on Max, it shows you what's
left if anyone wants to go verifire research here. Yes,
like she walks in happy with her cat and what
sounds like drunk moms and the you line cutting fucking

(42:46):
backhands like I guess Superman just flies away.

Speaker 2 (42:52):
Yeah, like he just flies away. And then she's like, mommy, mommy,
fat you lie? You know, like it cuts immediately after
the slap, like and that was absolutely a humor beat.

Speaker 1 (43:03):
Yes, yeah, like, oh god, I don't I don't understand that,
and like we was a little different. Later there's a
moment where test marker says something like with the red
with you know, at the risk of being smacked around
or whatever. So what that one felt like It was
just more of a that one didn't feel like a
domestic violent situation so much as just like a gallows
humor about like, yeah, you're really verbally abusive kind of thing.

(43:25):
It felt way more collegiate than the fourteen year old
with the cat getting slapped in the Yeah.

Speaker 2 (43:31):
Like the little kid with getting slapped. We had to pause.
We had to pause it because we were laughing too cool. Yeah,
we paused it just to laugh because we were both like,
that is a family guy shit. That is like, that's
a family guy bit that they would have done to
point out like what would have really happened, yea in
the seventies if a kid.

Speaker 1 (43:50):
Said that, I wasn't there with y'all because I wanted
to do something. I paused and didn't know what to
do with myself. Was like I should stop? Should I
call somebody? I should? I didn't know what to do
with myself. I looked around the room like I was
there was supposed to be someone here with me that
I could go like you saw that, right, you heard that?

Speaker 2 (44:03):
Yeah? We just laughed laughed and laughed.

Speaker 1 (44:06):
I meant to look. Let me see, I kind of
want to. I'm gonna bounce around in the movie.

Speaker 2 (44:10):
It's such a dark humor beat man.

Speaker 1 (44:13):
It really is.

Speaker 2 (44:14):
But I also feel like that's something that someone would
have done in the seventies if their kid was like, hey,
there's a man flew out of the sky and save
my cat.

Speaker 1 (44:21):
It's a weird scene. Anyway. There was a moment right
before that where like he's flying in and it shows
the cat for a second, just the weight zooms in
on the cat. I was like, oh my god, he's
gotta crush his cat.

Speaker 2 (44:30):
The cat looks terrified.

Speaker 1 (44:31):
Terrified, and the camera is horror camera tricks. To be sure.
I thought he was about to accidentally. Yeah, I have
to explain that shit well with my density. I accidentally
crushed your cat. I'm so sorry, little girl.

Speaker 2 (44:44):
That was a Sam Raimi horror shot before before Sam
Raimie was doing his thing.

Speaker 1 (44:50):
It really was. I'm gonna turn on captions. I want
to see if they actually I want to see the
subtitles if they have it in there about the smacking sound.
We're right at the cat. Now, goodbye, Frisky, so long. Now,
I'm all good luck hope you don't get abused by
your drunk mom. I can hear it in there, fucking
complaining about our boss right now. Oh mommy, Mommy frisky
was stuck in the tree. This man swooped out of
this guy and gave them to me. Female number three,

(45:10):
haven't I told you to stop telling lies?

Speaker 2 (45:12):
No?

Speaker 1 (45:13):
No, they don't have it in the official goes next
to thunder rumbling.

Speaker 2 (45:17):
Oh lord, my travels.

Speaker 1 (45:19):
So it's just it's just I told I told my
wife about that.

Speaker 2 (45:22):
Later.

Speaker 1 (45:22):
I was like, I'm just fascinate. Someone did folly for this.
They added it, Yeah, someone thought about it. A department
was was engaged to accomplish the task of getting it done,
and all of that thought went into it and somebody
and in the end they were like, yeah, that's perfect.
Put in half way.

Speaker 2 (45:39):
I mean, I'd probably still do it, maybe.

Speaker 1 (45:46):
I just I don't.

Speaker 2 (45:47):
It's a funny bit.

Speaker 1 (45:48):
It's a funny enough bit, But you can't have Superman
borderline earshot for a normal human away from the kid
getting slapped and still get away with that. You just
have to I have to have it in house like
Superman just test to double back and be like, well,
I see that was an ishoe my pad and take
her somewhere.

Speaker 2 (46:04):
Yeah, then you can do it. Yeah, you have to
like cut away to Clark going ooh, and then you
see him in the phone booth going hello dhr Yeah.

Speaker 1 (46:13):
Yeah, like that's the family that I want to see
is Then we revisit the scene and just you know, yeah,
he flew away and found a phone booth. Later, by
the way, the phone booth gag cracked me out, And
he's looking for a phone booth, but it's one of
those half half sized ones, the ones that you'd see
more like outside of a gas station. Yeah, in the
last gasps of pay phones.

Speaker 2 (46:31):
Yeah, yeah, because in those days, Yeah, the phone booth
had become so much smaller. Yeah.

Speaker 1 (46:37):
Yeah, there's an in house joke in nineteen seventy eight
about how that had become slightly obsolete.

Speaker 2 (46:43):
M I dug that too.

Speaker 1 (46:46):
Here we are watching it at this point.

Speaker 2 (46:47):
I was very happy with that. I had not remembered that.
By the way, Yeah, when you when we were talking
about the family guy, it reminded me of that bit
from where they did the Back of the Future thing
where flies like, what the fuck the ring you think?
I don't understand I don't realize that our son looks
like that guy that you dated back in high school.
M hm, where'd you fuck Marty? Yeah?

Speaker 1 (47:15):
I forgot about that too.

Speaker 2 (47:19):
Anyway. But yeah, even even I don't know, man, uh
I there were lots of things in this movie I
needed clarification on, like when he he goes through the
whole thing where he's like saving the town, He's stopping
the damn he's stopping, He's doing all the shit, and

(47:40):
Lois is at the time dying.

Speaker 1 (47:44):
Mm hmm.

Speaker 2 (47:45):
Then he has this freak out and Jarrell has said
it like fifteen times, do not fuck with human history, right,
He's just like, you know, fuck you, old man, you
don't know, you don't know kind of do it? Yeah,
And he flies and he goes he speeds around there.
Earth has to be going light speed, but you know whatever,
he would completely kill everything on the planet if he did.

(48:06):
With the visually, show just.

Speaker 1 (48:08):
Would have I I can't even begin to start on it.

Speaker 2 (48:13):
So he goes back at time and then he said.

Speaker 1 (48:16):
A flat Earth would make more sense than what I
just saw.

Speaker 2 (48:18):
Yeah, So are we to believe that there's a the
same Superman is in the past saving all of those
things while a second Superman is now saving Lois or
did like the because they never show him stop the missile,
the call or the earthquake that.

Speaker 1 (48:34):
I don't know what happened that kills. I have no
idea hackensack or whatever it's called. By the way, what
the hell did that say? He do do this? Filmmakers?

Speaker 2 (48:40):
I know, Well, I don't think it was the intention
because they had that whole bit. That was another thing.

Speaker 1 (48:46):
It was unclear we were going to film something there.
They didn't give us a crack cat tax credit.

Speaker 2 (48:50):
So well, they had a whole bit where Lex had
Otis go and change the coordinates on one of the missiles, right,
and Otis did it wrong.

Speaker 1 (49:00):
Right, So we he never another scene where we did
not have to do that.

Speaker 2 (49:05):
But okay, yeah, we never saw a hint them go
back and change that. So yeah, right, we didn't. Well,
test Maker, there were two, there were two missiles.

Speaker 1 (49:15):
Okay, he changes, So I thought the whole, the whole,
the whole second scene was an excuse to get test
Maker in a skimpy outfit with the jokes with the soldiers.

Speaker 2 (49:23):
Well, she she was part of the first scene like that,
and then she was the one that changed it in
the in the second one. But there were two different
missiles that they had to change the coordinates for I thought,
or maybe the first one. Okay, so the first missile
that they changed was supposed to be going someplace other
than Hackensack, I think, because the second one that was
successful was supposed to hit that fault line in California.

Speaker 3 (49:46):
Yeah.

Speaker 1 (49:46):
Yeah, so he had one going to the fault line.
That's the whole plan was. I believe I had this right.
One has to go to the fault line. That's the
real payload. He he really wants that one to hit
because that's where you get you know, Odisburg, Right, And
then even if he wanted to stop that, he's still
going to punish you because you got Hackingsack, New Jersey
that's just going to die on the other side of
the country. So like you're gonna have to pick one, Yeah,

(50:08):
and you might as well. I think the idea was
you might as well pick the city that's actually populated
with a bunch of innic at folk shows seemingly out
of nowhere. Although I guess there's got to be a
backstory for why you'd pick some random city. But I
guess that was the idea, like you have to definitely
a populated city over here and an arid desert over here.
That I guess just happens to have two people you want,

(50:28):
you care about in it. I do not know why
they're there, right, Well, it is not clear to me
why Jimmy oh or Lewis is out.

Speaker 2 (50:34):
Well, they were there because they were interviewing, Uh, they
were interviewing that Native American man who sold all of
that land, Alex Luthor, because Lois was doing a story
on this crazy billionaire millionaire or whatever who was just
running around buying the land.

Speaker 1 (50:50):
Yeah yeah, okay, okay, yeah, that's why she just happens
to be all right, So I felt like that one
was gonna have an explain, all right, So she's chasing
this story. He is the one, by the way, buying
the random buying the stuff lex Is. So Lois, for
some reason, is the one who ends up chasing this
beat half a country away and we have a rather
wide country mm hmm.

Speaker 2 (51:08):
But what's not clear is where lex originally intended that
first missile to go. Because he gives a he gives
a coordinate Otis puts it in wrong and that has
to be the one that's going to Hackensack. So I
guess LEX thought about the thing went, oh, okay, well
it's not going wherever I wanted it to go. It's
going to go in a Hackensack. Okay, well that'll work.

(51:29):
I guess I had that.

Speaker 1 (51:31):
Maybe I had that wrong, or I was im I
missed it. I thought he had him. I thought they
just missed one because Otis was a dumbass. And then
test Maker pulls some canary and fixes that and they're
back on track with just it being a you have
to I know the point of him was that we're
going to send an oup a direction direction. You can't
be everywhere once, right, right.

Speaker 2 (51:47):
I don't know. Maybe I'm maybe I'm wrong in this,
Maybe I'm not remembering an extended scene or something correctly.
Now I did laugh, and my wife is now head
candidate that Larry Hagman's uh major who gives performs mouth
to mouth on miss test Mocker, she's headcannon. That it's
the same character from I dream of Genie Hagman scared

(52:10):
him from my dream of.

Speaker 1 (52:11):
I'd forgotten that's m He did look familiar.

Speaker 2 (52:15):
He's like about face, he's like, I'm not. I never
asked my men to do something I wouldn't be willing
to do myself, son of a bitch. That was oh god,
and like, oh my god.

Speaker 1 (52:33):
It's a funny scene, but like damn, I'm like, I'm
I'm There are a couple of scenes in here that
they just you could tell they really wanted to do
this joke and otherwise it didn't have to be there.

Speaker 2 (52:45):
Right, like like a perfect example of that test maker
taking the Crypto night off of Superman so he can
go save her mother. Then before she does it, she
kisses him, takes a few seconds.

Speaker 1 (52:56):
To kiss him, and then he says.

Speaker 2 (52:58):
And then he's like, why did you kiss me before
you took the thing? And she's like, because I didn't
think you'd let me after. Well, that's frankly rapey behavior.
It was.

Speaker 1 (53:08):
I mean when he asked that, I was thank you.
I was wondering myself.

Speaker 2 (53:11):
Yeah.

Speaker 1 (53:13):
Now it did this one cracking out too, because right
after that, she she has this moment where they have
they have a little moment, I guess, and she she
has the like why can't I follow for the nice
guy's kind of thing? And I don't know if that's
a trope before after this, but she does that, and
then Superman just sort of like very gently sort of
holds her and they have they have a moment. He

(53:34):
smiles very comfortingly and then does nothing else, absolutely nothing
else helpful piece of advice. He just it's as though
he looks at her and goes, yeah, that's gonna happen anyway.

Speaker 2 (53:46):
No, to me, it was like he just caressed her face,
you know, and I looked at her like, well, because
you're a dumb bitch. It was.

Speaker 1 (53:56):
He did not help her at all with this. Yeah.
But and now that you lay it out there, though,
he might be thinking, like he's just quietly saying, because
you're the kind of dumb bitch that just is a
bit rapie and like kissed me when what you're weird? Yeah, yeah,
but don't say that out loud.

Speaker 2 (54:14):
Yeah, there's a missile heading straight for your mother's hometown
and you decided to hold off for a minute and
kiss me. Here's your selfish bitch.

Speaker 1 (54:23):
This one. I had a question marked by this. I
wrote down a very brief version of the conversation because
right before that he's he's swimming, which sidebar I think
if I had to bet what his least favorite day
of filming was was probably that maybecause I know there,
I know there was some hardness work, but like, yeah,
you ever just tried to swim, like to see if
you could like keep your face right there, just for fun,

(54:43):
like for a couple of seconds, just just to experiment,
because you quickly swallow a bunch of water and it's miserable.

Speaker 2 (54:48):
Yeah, that's all of my swimming experiences.

Speaker 1 (54:50):
Yeah, Or it's like the if you actually, if you
fuck up and fall asleep in the bath, that's the
that's the first feeling right there. That's better. I'm not
having a feeling. But right before she comes to him, yeesh,
she has this moment where he says like, will you
let innocent people die? Something like that. She goes maybe,
and then he's like, well, please help, and then she

(55:12):
goes straight to okay, but only if you help my mom.
First she goes from are you just going to let
everyone die? And like I'm gonna do it a little
bit like her maybe, And it's not even like you
know what that's said. I even did it indignantly like
it has something to do with the next line. It
doesn't like it just doesn't she just I don't know
what she's doing there. It's a weird line, it's a
weird set of dialogue.

Speaker 2 (55:33):
Yeah, ah, but it did.

Speaker 1 (55:36):
I did realize after that another one of those things
where I would see something in this movie and realize
there's moments in a Man of Steel or in this
case BBS where like like later when Amy Adams throws
the spear away, I think me and you have bitched
about there were probably more effective ways to get that
out of the picture. But I guess maybe it was

(55:56):
a little it was a nod as well, it could
have been maybe.

Speaker 2 (56:00):
Yeah, not sure, maybe maybe.

Speaker 1 (56:02):
I'm sure it was got to have him in a
pool of water.

Speaker 2 (56:04):
And yeah, throw it and then it goes down a
drain and throw.

Speaker 1 (56:08):
And it goes down to drain. Yeah.

Speaker 2 (56:09):
Yeah. Now what I was saying though, is like I
don't know what the what the line of events are
now in the new universe, because he rewrote the universe,
Like does him saving Lois and lingering around and talking
to her and Jimmy mean that now he can stop
the other missile.

Speaker 1 (56:25):
So I just figured it went back to before the
missiles got launched. No, I mean he can't eat like
she was there? What time must it be? Yeah, she
already shows down in the desert.

Speaker 2 (56:35):
She already said that where were you when I needed you?
Blah blah blah. And he's like, well, I've been pretty busy.

Speaker 1 (56:39):
Doing what like, so you came back sometimes like thirty
minutes before. I feel like he's already got a fair
amount of this. And yeah, I don't know where he
catch his legs in this situation. Yeah, what he's rewound
to exactly.

Speaker 2 (56:50):
I don't know. But apparently the missile has hit and
he was underground packing the damn fault again. And then
at some point he I guess that means that that
version of him could go and stop the other missile
and hack and sack and then come and save her.
But yeah, I don't know, I don't know.

Speaker 1 (57:08):
Well, you're right, he does get like, he kind of
does like a victory let before he realizes she's dying.
It know, only gets their moments later. Right, he only
needed to buy himself a few seconds. He he bought
himself again.

Speaker 2 (57:18):
He comes back before the car even starts to go,
even before like the crack starts coming along the road.

Speaker 1 (57:22):
I know, I'm just saying if if he bought himself
another go, maybe he did some other stuff, but I
just got the feeling went back to before they'd launched somehow.
But then I don't know what she's doing in the
desert at the same.

Speaker 2 (57:31):
Time, Well why yeah, why is she being like, yeah,
the gas they should just blew up because there was
an earthquake. You know that only happened because the missile
hit the first missile hit. Yeah, so yeah, it doesn't
make any sense to me.

Speaker 1 (57:42):
Like, the only way this works is if he just
speed ran or like like Mario in eleven minutes level
speed ran. Mm hmmm, the entire thing, giving a second
shot at it and still gets to her in time
to smirk about it.

Speaker 2 (57:54):
You know.

Speaker 1 (57:55):
Yeah, we're giving that way more thought than they did.

Speaker 2 (57:58):
I know, I know. And what was more is I
you know, I know that they were fixing a thing
because the whole, like I said, the whole flying around
their earth backwards, and that was not supposed to happen. Yeah,
Like I think the hack and Sack missile was supposed
to have Maybe maybe that was not so, maybe it
was supposed to have gone to hack and Sack and

(58:19):
instead it flew into space or something. I thought I
read that Superman pushed into space and then that's when
it hit the Kryptonian. Uh people the.

Speaker 1 (58:30):
Maybe they yeah, maybe they just cut him. Maybe they
thought they had to cut that second missile because it
was going to be connected to that, and that was
kind of an error in their continuity judgment there m hm.
Overstepped when they didn't have to. I mean, look on
on the right side here. The stuff that they did
well was really well done. Like the shots of him
under the earth when he's rebuilding that mantle looked fantastic.

(58:52):
Mm hmm. I genuinely think with like some cleaning up,
a lot of them would hold up today m hm.
Like because they were there. They were kind of shot
in this super close up version that it got a
lot of the intensity of being under the mant Like.
I just thought it was a gorgeous, well unseen fantastic.
For the same reason though lois being buried absolute nightmare fuel. Yeah,

(59:13):
they really killed it on those those close ups, like
they like the camera camera work on that killed the
fucking sense of urgency. It was beautiful. Uh. San Francisco
Bridge and other highlight everything regarding that bridge, even the
rescue on it looked phenomenal.

Speaker 2 (59:28):
Yeah, a lot of it.

Speaker 1 (59:29):
Would held up today without effects, would hold up right now,
would be fine.

Speaker 2 (59:33):
Yeah, everything snapping those the giant cords snapping and crashing
into the that was you gave me like a little
mini panic attack just thinking.

Speaker 1 (59:41):
Yeah, it was. Yeah, incredibly well done. The missile chase.
Uh did a lot, like a lot of combination of
like sped up visuals and a lot of overlay kind
of stuff, like stuff that's so primitive that I even
know what those terms are. That like, but they did
wonderful job with it. This in nineteen SI seventy eight,
watching this one, genuinely, some parts of this must have

(01:00:03):
been like grabbed the edge of your seat. You've never
gotten to see something that's thrilling like on the screen before.
I do absolutely understand why people sat for this long
and watch the movie at the time. Yeah, well, I
say that I understand the whole two and a half
as a gestal, I don't. The first hour is well,
I do.

Speaker 2 (01:00:21):
I mean, the first hour is like any standard movie
for audiences back then, I'd say, uh, and look, I'm
fine with that, Like, dude, I one of my favorite
movies of all time is Cool Hand Luke. And about
half of that movie is it's just like really really
long panning shots of the countryside.

Speaker 1 (01:00:39):
Yeah, with a sunset, yeah.

Speaker 2 (01:00:42):
And a soundtrack. That's it. Like for you know, I
am okay with that. I'm fine at the slow pace.

Speaker 1 (01:00:48):
The most haunting scene in that movie, from my memory
is is genuinely just several minutes of him with the guitar.
I think, I don't think that's quick or anything, but
like it.

Speaker 2 (01:00:58):
I wouldn't say several, but it was one of the
one of the most poignant sings just is uh, we're
talking about cool Hand Luca. Yeahs when he's been informed
that his mother has passed away of lung cancer and
he can't go and he yeah, he can't, He's not
allowed to go to re funeral. And uh he walks

(01:01:18):
back into his little barracks with with his guitar and
sings Plastic Jesus, a silly song, but uh, a song
that seemed it very much seemed to uh be in
line with the kind of relationship he was shown to
have with his mother. Yeah.

Speaker 1 (01:01:37):
And it's a great piece of movie making right there.

Speaker 2 (01:01:39):
As he just like slowly cries like oh my god,
I want to cry.

Speaker 1 (01:01:44):
The performances thinking about it. Absolutely killer.

Speaker 2 (01:01:47):
Yeah yeah, and then they take him and put him
in the hole, but so he won't try to escape
and go go to a refuneral fucked up.

Speaker 1 (01:01:53):
Yeah, to pull you directly out of any kind of
sense of respectability in Modelinness, I found that line. Doesn't
it give you like a shutter of electricity to be
in a room with me?

Speaker 2 (01:02:06):
It always does.

Speaker 1 (01:02:12):
That that, Like, I loved a lot of Luthor's lines,
that one alone. He seems like he's enjoying himself the most.
Maybe there or he's like, just oh, I get to
be just this arrogant And he's also enjoyed himself with
the time with the comedy beats, like the bit with
the robe in the water, he's taking his time with
the fact that he's putting this robe on. He he

(01:02:33):
knows where the punchline is at the end of the scene,
huh he he milks that. It just beautifully done.

Speaker 2 (01:02:41):
Yeah, yeah, all right, I would be remiss to not
completely shit on this scene. My genuinely, my least favorite
thing in this entire movie. Can you read my mind?

Speaker 1 (01:02:55):
Okay, I've got several questions. Fuck that weird poetry scene.
I don't know what that is. A weird music video
for a for a poem. M M, I don't know
what to do with it. It's following. I mean every
time they've otherwise met on the roof it's been it's
it's glorious. I mean, yeah, that is like their first

(01:03:16):
she is manness. She want to fuck this man?

Speaker 2 (01:03:19):
Mm hmm, Like.

Speaker 1 (01:03:20):
How big are I mean, how's tall? Like do you eat?

Speaker 3 (01:03:25):
Like?

Speaker 1 (01:03:27):
She just it's pretty good, and then like it you
think that's bad? And then later she's like, can you
see me underwear? I just it it. I wonder though,
if this was like when you remember what, because we
just did Batman Forever, very very ourselves did that Becoma
trope is to make everyone like, to make them just
that damn thirsty every time they see the person in
costume the first time or something.

Speaker 2 (01:03:48):
Well, you know, in Batman eighty nine, Vicky was seemed
like she was scared appropriately so really I don't know. Yeah,
like when he like shows up and takes her to
the back cave and he's like, yeah, drugged her or
whatever so she can't see it or something, and she's.

Speaker 1 (01:04:05):
Oh, yeah, yeah, yeah not Batman. Yeah, I'm thinking like Kilmer, no, no, no,
but that's the one is incredibly like that.

Speaker 2 (01:04:14):
Yeah, absolutely, Like fucking Catwoman was like Dominatrix, thirsty, Like
there's a violence to it.

Speaker 1 (01:04:22):
It's like they just wanted to prove the fucking age
of seductor and seduction of nicence. Dude, Right, he's not
Warnstrom because that's a future rama villain.

Speaker 2 (01:04:30):
But worth them, Okay you talk about the uh.

Speaker 1 (01:04:38):
Yeah that asshole?

Speaker 2 (01:04:39):
Yeah okay, yeah, worth them?

Speaker 1 (01:04:40):
Yeah yeah, a couple of jokes in there. I mean, like,
all right, so maybe the biggest fail though in the
entire movie as far as the just choices is yeah, like,
like you said, maybe he didn't mention this anyway? She
falls during that scene, she finally lets go of his
fingers and falls. The fuck is she doing? Horizontal in
the entire fucking scene. I can't concentrate on the I
can't concentrate on how much I hate the poem happening

(01:05:03):
because of how they're flying. I don't want any of
the scene.

Speaker 2 (01:05:07):
Yeah, I think I think the point of that and
that was okay with that because it's like they seem
to be like up high and they've got they've got
like a a momentum going. If you get enough momentum going,
they can you can stretch out and like as long
as you're connected, like there's like an you know, there's
enough wind underneath you, you're gonna stay horizontal.

Speaker 1 (01:05:26):
I don't think she's creating drag at these levels. But yeah,
I mean, like I'll I'll give you the refsense that
I'm not thinking about them having a momentum in my
in my imagination at all. I'll throw that into the
head canon. It does take the edge off, but you've.

Speaker 2 (01:05:38):
Got wind underneath.

Speaker 1 (01:05:39):
She's got wind, yeah, to keep her up.

Speaker 2 (01:05:42):
But he's still holding on to her because as soon
as she lets go, she falls.

Speaker 1 (01:05:45):
Yeah, yeah, yeah, that is oddly portrayed. But okay, I'll
let it rest on that one.

Speaker 2 (01:05:51):
Yeah, I think the the idea there was that he
made her feel like she could fly, and she's just
getting a little more free in a little more free
and a little more free, and one almost like she's
wondering did he give did he imbue me with these
powers or did he completely just make her forget herself?
All that was Okay, I guess like I could have

(01:06:12):
found an.

Speaker 1 (01:06:13):
Ally, can you read my mind. I don't.

Speaker 2 (01:06:14):
Yeah, she's got a whole poem and I hate it.
I hate it all.

Speaker 1 (01:06:18):
It's bad. I wondered, after again putting too much thought
into it. I wondered if they were doing a thing,
a whole internal dialog thing, because I maybe they're flying,
like you said, loud, but that seems like too thoughtful.
Mm hmm, does not seem like it would be considered
in this situation.

Speaker 2 (01:06:33):
And you know, I have never met anyone that this
scene worked for that I know of, Like when I
when I was a little kid and I saw that scene,
I went, this is gross, this is stupid, you know.
And then my little sister at some point watched this
movie with me and we got to that point and
she was just like puke and I was like right,

(01:06:55):
she was like, this is dumb. I'm like, yeah, yeah
it is. I don't know, like I know, Richard Daughner
wrote it, he wrote that little poem, but this is
oh h I hate that scene so much.

Speaker 1 (01:07:09):
It it it's like, I don't know, I don't want
to judge it on its literary merits. I'm sure I
could write much worse poetry than what was on there.

Speaker 2 (01:07:17):
But man, I don't think I'm capable.

Speaker 1 (01:07:21):
I just I didn't. It didn't have to be here.
I feel like, even without being mean, I can just
say there's absolutely no fucking reason for that.

Speaker 2 (01:07:29):
No, I loathe that scene. I would love to do
an edit of the movie where it didn't exist.

Speaker 1 (01:07:35):
Yeah, just a two hour and thirty three ish minute cut,
because that I think was five minutes. At some point
my notes say, quote, why is this scene still happening?

Speaker 2 (01:07:43):
Yeah, I I don't mind there being like.

Speaker 1 (01:07:45):
Some that's right after why is there a poem?

Speaker 2 (01:07:48):
I don't mind them flying around and doing like a
quick montage of that, but I probably and I probably
would cut the bit where she's you know, I don't know.
I don't know what I would do, but I know
I would cut that poem. Yeah, that is absolutely imperative
that poem would go.

Speaker 1 (01:08:02):
Speaking of the kind of mild interview where they meet earlier,
you know, he sits down in this cape something that's uh.
I want to stop and point out with just how
fucking good he is his freak out as you called it earlier.
The I hated that scene. I don't. I don't like that,
just that that didn't hit for me like I don't
like the way it's acted. I just it's it goes

(01:08:24):
on too long. It's my ongoing complaint with this movie
is just everything could have been halved. But like I
didn't love that, But every other fucking thing, in every
other frame in this is he's so incredibly good at
being Clark, so incredibly good at being confident when he's
Superman and the transition he does that, he does the
transition so that you can see him making the decision

(01:08:45):
to be, you know, either one, and then the moment
it's wonderful. But like when he sits down in particular,
like I'd pause the scene around that area and the
wife came through and I kind of asked her, like, hey,
just my ongoing through right now. Basically that a couple
scenes plus he's he's so handsome that they thought that
he could sell this movie, right, And it's just like, yeah,

(01:09:07):
he's he's incredibly handsome, but like he eats up the
screen as far as that goes, and they make a
meal of letting him sit there and being in shape
and all that cool, make you money, But he's so
fucking confident, Like there is a like even the way
he sits down at that at that table, like he
sits down with this like this man, fuck's attitude that

(01:09:29):
I fucking love in this cape he is in what
is I think, pretty objectively a silly costume.

Speaker 2 (01:09:34):
Mm hmm.

Speaker 1 (01:09:35):
It's it's on point, don't I wouldn't done ay, I
wouldn't have done any different. They did exactly what they should done.
They should have made it a silly costume, I think,
the same way Gun is about to do now, Like
it should be out of touch in school boyish, you know, yeah,
but which they did a wonderful job of it here
and he fits it perfectly and he looks great in it.
But he just walks around like he's supposed to fucking
be in it, and he sells you on that. I

(01:09:56):
think it's an underrated quality of Like I forgot how
much I love that part of this. Yeah, it should
be dumber than it is, but damnit, he doesn't let
you get there with it.

Speaker 2 (01:10:06):
Yeah, it's it's like a Wes Anderson bit. It's like
they're all playing it very straight.

Speaker 1 (01:10:11):
Yeah, And I know I do know from what I
know of the behind the scenes that was a very
deliberate choice he made. Was I'm gonna play this straight,
and you know not in the Dadam West. I'm gonna
play it straight, So the joke's better, Sinse. He really
wanted to try to do that, try to do that
job in that costume on screen.

Speaker 2 (01:10:27):
I mean they did. They did make a point of
pointing it out and one of the one of the
most dated bits of the film where the pimp says, say,
Jim Woo, that's a bad outfit.

Speaker 1 (01:10:37):
Yeah.

Speaker 2 (01:10:38):
It was one of my favorite parts.

Speaker 1 (01:10:40):
Of the fucking jive fucking turkey sitting outside.

Speaker 4 (01:10:42):
Yeah, yeah, it is just like hello sir, Yeah, how
are Man?

Speaker 2 (01:10:53):
Oh my god. Reeve does a great job being being
quick Kent and Superman separately. Like he has a different
voice as Superman. He's more high pitched than nasally as Clark.
They part their hair on the different on different sides,
you know, like he hunches as Clark.

Speaker 1 (01:11:12):
You see him change how he holds himself, especially in
one scene they really let.

Speaker 2 (01:11:16):
It where he's focus Lois.

Speaker 1 (01:11:19):
Yeah. Yeah, and you watch him make that decision with
his body. It's so good, it's so fucking good. He
I don't know where in the process of us being
having an on screen Superman we would have gotten that
done so well short of him, because it is in
the books, like there's a content farm worth of stuff
in there to get it right. Somebody was going to
get that right eventually, is my theory. But there's no

(01:11:40):
need to. He got it, and everything past that will
just be someone doing it as good as he did
or not. Mm hmm. I am one of the most
impressive pieces of it.

Speaker 2 (01:11:51):
I happened upon a reel on Facebook earlier this week,
and the first part of the reel was a girl
who was well, no, maybe one hundred and seventy pounds
maybe I would guess. And the point was she was
showing her before and after and the after she had

(01:12:12):
put on a considerable amount of bulk as far as muscle,
but had lost a lot of her fat. Uh, And
like people in the comments are just like, this is
these are not the same people. These are not the
same people. This is bullshit, Like and they're like measuring
out eyebrows and like.

Speaker 1 (01:12:28):
Oh, they started drawing trapezoids and just.

Speaker 2 (01:12:30):
Like yeah, like just trying to be like no, this
is this is this Like you can't know that's not
the same person.

Speaker 1 (01:12:37):
And then like I love that forgetting someone's height because
they fucked up and took a picture near a brick wall.
But and he's devastating it somewhere.

Speaker 2 (01:12:43):
Someone responded, Finally, I find no one seeing Clark Kenn
a Superman. Believable, Like it makes sense. I mean, Clark
getting Superman totally the same person? How can how could
they not? No one on screen? No one can tell
that Clark Kenn of Superman. No makes sense, it makes sense.

Speaker 1 (01:13:01):
No, it does. People see faces a lot more in
context than you think they do. I mean, if you
actually have a prognosia mm hmm, that wone will really
fuck you up. Like if you have actual face blindness.
It's it's funny you there's a story of recently where's
a couple that part of the fun is the wife

(01:13:22):
can't the wife has face blindness. So like she's getting
better at understanding being able to watch movies because like
as the movie progresses and costumes change, she can't tell
where the lead character is. She just can't follow the
movie because the costumes change and the context change is
per seen as prescribed by having been a movie. But yeah,
you actually do use context way more than you think

(01:13:42):
you do.

Speaker 2 (01:13:42):
Oh yeah, it's crazy and I've told this story on
the show before, but I think someone recently. Several years ago,
I went on a cruise and ill advisedly got drunk
the first few nights and did a lot of karaoke.

Speaker 1 (01:13:55):
The Great National Blackout.

Speaker 2 (01:13:57):
Became something of a celebrity on the ship, at least
to the point where I couldn't go out in public
on the ship without people coming up to me, Hey,
my dingling, my dingling. Yes, I did, Chuck Berry's my dingling.
Fucking It was a lot of fun at the time. Now,
to combat this, because I was honestly just sick of it,

(01:14:18):
I went to the I went to my little cabin
and shaved off my go tea. I just had like
a little go tea. That's all I was. I just
shaved off the go tea. No one approached me for
the rest of the trip. It was like half the week.
Everyone was just like knocking down my door, bugging me, Hey,
it's that guy. He's a lot of fun. Yuck yuck, yuck.

(01:14:38):
And then like all of a sudden, they're like, I
don't know that guy. I even had one person talking
to me about like, oh yeah, I don't know what happened.
To that guy that was with them, and he was
a lot of fun. He was always doing karaoke. M hm, yeah,
I don't know. He sure he was with them, you know, yeah, yeah, yeah,
so yeah, I believe it. But it is funny to I.

Speaker 1 (01:14:57):
Mean, I probably accidentally do my this easier for people
that are hard on that, for people that this is
a problem for being that I wear the same outfit
like ninety percent of the time. Oh yeah, I'm in
one hoodie until it breaks, one set of jeans until
they break, and one set of shoes until they break.
I will change everything else, And the rest of it
is just I get up and assign myself that clothing

(01:15:18):
every day and leave. So it can't be that hard
for me. And my faces look the same for you know,
ten years.

Speaker 2 (01:15:25):
Oh you know. My My problem is like I'll be
walking through the living room and I'll go, hey, Jason, no,
that's Will Forte.

Speaker 1 (01:15:30):
Yeah yeah, we've all been there. I have mirrors too. Yeah,
they've drunk with fortepe No, no, no different one.

Speaker 2 (01:15:47):
Oh man, Uh, can I complain about a couple things
in the middle, Absolutely, you can't.

Speaker 1 (01:15:52):
I have me, let me swap out a couple of nuts.

Speaker 2 (01:15:55):
Here, but I'll just carry this whole thing. Jesus, try
to get it.

Speaker 1 (01:15:58):
I'll try to get through them briefly, but it really
is doing the saving things segment.

Speaker 2 (01:16:03):
Saving things segment.

Speaker 1 (01:16:05):
Yeah, yeah, like okay, he's done, by the way, another
note about just how good he is in their ole thing.
He says like that he pulls out the truth justice
in the American Way where American Way line. But even
then they cut back to him and he has a
brief I never lie.

Speaker 2 (01:16:20):
You lie about your your identity every fucking day.

Speaker 1 (01:16:23):
I mean, yeah, there's that, but he he just says,
all of that was such presence, Like I half believe
that this is the kind of guy that, like you
do you do get the sense that this is a
guy that, if he shows up an emergency, just says, hey,
listen to me and you're gonna make it out. I
kind of am. Yeah, people tend to listen to tall
dudes anyway. And he sicks four but like, yeah, he's

(01:16:46):
saying things very well.

Speaker 5 (01:16:47):
Yeah.

Speaker 1 (01:16:48):
I'd written down stuff that like the flying looks so good,
And then I had a whole thing about Frisky and
wrote down like poor Frisky's parents just just a couple
of piggy things, but like it really I think it
was just the one really, so there's like the whole
there's a whole scene with the pilots that the pilots
are in the in the Air Force one. I guess
it is. Well, they're eight fucking pilots on that plane.
I went back in Paulus. I think I think they

(01:17:09):
I think there really are eight. It is a lot
of a lot of people in there, Like it looks
it's a scrum of pilots, a rugby pile.

Speaker 2 (01:17:21):
Yes, I don't know. I thought there were at least four.

Speaker 1 (01:17:30):
Generally, but I think four makes a lot more sense.
I was just seeing a ton of them.

Speaker 2 (01:17:35):
But it was Air Force one, so that some of
them may have been security.

Speaker 1 (01:17:40):
I don't know if they have security pilots, but I
don't know.

Speaker 2 (01:17:43):
They might have, you know, just extra What I mean
is like extra like security pilots.

Speaker 1 (01:17:48):
Oh yeah, yeah, just redundancy pilots.

Speaker 2 (01:17:50):
Yeah, like you have a heart attack and you have
a blowout in your pants.

Speaker 1 (01:17:54):
Yeah, okay, yeah, you know that one bother me. Actually,
you know that most min it's actually were for after
the flying because yeah, a lot of my notes have
revolved around the girl up slaped away. There's some headlines
that come after it. This one really cracks me out.
There's like, you know, they do that scene where you
flap the papers down after and show off all the
stuff that like, all right, so wait notes, it's actually

(01:18:15):
on that scene happens to be. So first one is
look at flies or whatever. There's blue bomb buzzes. Metropolis
is one, and they just pictures. The second one cracks
me out. Look, ma, no wires, look my no wires.

Speaker 2 (01:18:26):
Yeah, yeah, absolutely, that's the only one I remember.

Speaker 1 (01:18:30):
In my heart. I like to believe that was written
by the effects team. They just threw it in themselves
for a little joke.

Speaker 2 (01:18:38):
Now, look at this Air Force one. In addition to
the president, staff and flight crew, a VC twenty five
A can carry one hundred and two guests in typical
domestic business class seats. The backup VC twenty five typically
flies with fourteen crew, two pilots, six flight crew, two cooks,
and four flight attendants. Now I don't know where all

(01:18:58):
those fuckers sit.

Speaker 1 (01:19:00):
That's yeah, two two, there were there were hold on,
got the scene, but where's fourteen? I think there are
five pilots and that's I'm counting five skulls.

Speaker 2 (01:19:11):
But yeah, what where are the fourteen crew?

Speaker 1 (01:19:14):
Usually crew that involves you know, uh, because.

Speaker 2 (01:19:17):
That's not the because it's the flight crew. Those are
the flight attendants.

Speaker 1 (01:19:21):
And yeah, like that's going to be everybody from front
to tail. And then I'd assume that includes like one
marshal these, I mean, I include marshal these. It's probably
separate department.

Speaker 5 (01:19:28):
You know.

Speaker 1 (01:19:28):
Actually, I've never thought about there's just a tenant. There's
just a tenants in pilots. It's all that's not a
flight right, Like, it's not like a maintenance guy hanging
out in the bay in case there might be in
an Air Force one. I don't know, but I don't know.

Speaker 2 (01:19:40):
I'm just saying, like, there's four flight attendants, six flight crew,
so I guess it's not the flight attendant says six
flight crew by in four flight attendants, but then also
fourteen crew. Yeah, and two cooks.

Speaker 1 (01:19:53):
By the way, that one dude's weirdly eighty yard speech
is just that's just creepy.

Speaker 2 (01:19:57):
Yeah.

Speaker 1 (01:19:57):
Another movie that, by the way, had a lot of
sink issues in general with the overdubs. Yes, I guess
I know it was the seventies.

Speaker 2 (01:20:04):
Yes, yes, yes, it's fine, it's fine. We know, we're
we're we know. It was the seventies and there were
still some problems.

Speaker 1 (01:20:12):
Yeah, I did. Like after when uh Perry's going around
the room kind of haranguing all of his reporters with
questions that should be asking all that, he says like
the single most important interview since God talked to Moses,
And I was like, yeah, that's kind of that was
kind of the thesis when you know, the Sigle and
Choster sat down here right like they were like they

(01:20:32):
were kind of kind of writing an idealized character that
was the most like this culmination of all the religious
ideology they knew of anyway, mm hmm. I got the
whole thesis in one little sidebar here.

Speaker 2 (01:20:44):
Yeah, there was. There was something in the trivia talking
about how like they intended for uh kal El's ship
to look like the Star of Bethlehem.

Speaker 1 (01:20:53):
Oh is that what that was supposed to.

Speaker 2 (01:20:54):
Be encroaching upon earth? But then I that makes sense.

Speaker 1 (01:20:57):
It was otherwise just one of those weird choices.

Speaker 2 (01:21:00):
Reading that. I laughed though, because I was like, yeah,
but the imagery before it even got to visible in
the in the in the day sky because they did
have him crashed during the day, so it wasn't like
John and Martha Kent were driving along and they looked
up into the night sky and saw the Star of
Bethlehem and croaching and went, what the hell and then
all of a sudden it crashes because in the movie

(01:21:22):
he he crashes of the day, and that even that
is after he has gone through. They show it going
through our atmosphere and like burning up into a tiny
little ball. Right, So like, eh, okay, well that was
a weird thing that y'all did.

Speaker 1 (01:21:36):
But all right, I mean I don't I don't know
the answer to that. You can't also do you get babies?
I mean, all right, so I know we get hit
during the day. We get hit by stuff all the time.
I don't know if you can see them without it
being nighttime. I thought about it, right, I.

Speaker 2 (01:21:52):
Mean, that's probably why they had it in the movie
as day, because you know, otherwise at the time people
in the in the forties or fifties or whatever it
was I guess have been late forties, people would have
been like, what the fuck was that falling? You saw
something falling crash into that forum over there.

Speaker 1 (01:22:11):
There go chase it down.

Speaker 2 (01:22:11):
Yeah, mm hmmm hmm. But you know, I'd like to
also point out there's plenty of Christ imagery here in
this movie. So again, there's a lot of people complain
about this. Snyder wasn't the first one to do it.
It was there since the beginning.

Speaker 1 (01:22:28):
No, not, I genuinely not doing it would be a misstep.

Speaker 2 (01:22:34):
Well, the original concept was more of a of a
Moses thing.

Speaker 1 (01:22:40):
It is. I just mean, I mean, it's it's very
clearly based on old you know, Old Testament style references
more than you know, the very clear New Testament one.
That's going to be the very clear divination here between
Jewish and not. But like, yeah, it's not so much
a Jesus story as like a kind of a Moses's story.

Speaker 2 (01:22:57):
But yeah, like I doubt a couple of Jews are
sitting there who just escaped the Holocaust or sitting there going,
you know what we should do a Jesus tell Yes,
we should do a whole bunch of it, just celebrate Christ.

Speaker 1 (01:23:07):
Yeah, I don't want Easter getting on this by themselves. Yeah,
I'm sure that wasn't the plant. But there's so much
of the iconography that goes across that is the same,
like that story gets told when me the other a
thousand times, and like that Moses l line in particular, I
think is a good way to hit back with it.
But I think not having any religious savior iconography anywhere

(01:23:31):
in a Jesus right, pick your flavor of it, right,
but that's what it's meant to be in like a
product of right.

Speaker 2 (01:23:41):
And by the way, even though the paintings don't depict this,
you know, you look back at the original Greek and
Hebrew the Bible specifically says that the Last Supper happened
in a giant crystal palace. It doesn't, it doesn't. Don't
believe me. It was a joke.

Speaker 1 (01:23:58):
Floating robots served at the last bread, yes right, oh
good lord, Yeah, I really should have looked up how
much it was three of them. Really it was Marlborough.
Marlborough how ever to kind of I'll never get good

(01:24:19):
at saying that. And thankfully they're not around as much
as they used to do for me to keep practicing
all So, yeah, that cigarette, because how do you know
what to say, Marbur's cowboy killers, Yeah, Marbers, Yeah, pack
old reds there and then JVC Cheerios. I wanted to
look up how much they paid to get into this

(01:24:39):
film because they were prominently in it.

Speaker 2 (01:24:40):
Oh yeah, dude, Like Martha Kent walks into her kitchen
and sits down that cheerios exit way is fucking day,
Yeah it is.

Speaker 1 (01:24:49):
They built the house around that fucking box of cheerios.

Speaker 2 (01:24:51):
Man. Yeah, everything was dark, dude, Everything was dark in
that house except for that box of cheerios. Yeah. See
there's there's the window with the more Son and Clark
in the distance in the field staring out knowing that
he has to leave. And here in the foreground lit
up like nobody's business better than anything else in that room,

(01:25:11):
a wholesome box of cheerios.

Speaker 1 (01:25:13):
Fucking four star. General Mills there himself was controlling the
lights and keep dim it, keep dimming everything else.

Speaker 2 (01:25:20):
Yeah, like they they took that film and either dodged
the hell out of that box of cheerios or burn
the hell out of everything around it.

Speaker 1 (01:25:29):
Yeah, to get that contress there.

Speaker 2 (01:25:32):
To get that contrast, absolutely.

Speaker 1 (01:25:35):
Yeah, that was impressive. Speaking of speaking of what really
going over going for it on set the camera, I
don't was there a need to have the shots of inside.
I think he just wanted to put the camera in
the helicopter and get the shots. Mmm. I didn't see

(01:25:56):
much purpose for them, Like there's I don't think we
had to have the inside view of the camera or
of the end of the helicopter there like later, I
guess we kind of use it, But it's it's more
just the staged thing anyway, Like she's she's on one side,
clearly the camera's on the other. Yeah, it's not from
the innards that Like, No.

Speaker 2 (01:26:14):
I thought all that was great, Like I to me,
I liked that. I liked the camera inside of the helicopter.
It made us feel a little claustrophobic but then also
terrifying as she's falling out of it.

Speaker 1 (01:26:26):
Well, I the camera work inside it, though. So they
have this moment where they're approaching the building and the
camera is already in the helicopter, and I like that
is a you have to do some stuff on set
to make that happen. I mean, you've got to actually
put the thing in there and let it go on
a flights like.

Speaker 2 (01:26:43):
These of their worries in Universe. They had to do
a whole lot more to get that fucking Daily Planet
ball off the roof. Oh, so they could land the helicopter.

Speaker 1 (01:26:50):
Yeah, yeah, sure, no, no, actually that's probably what happened.
The helicopter thing went so poorly they went, fuck it,
just put a giant ball up there so no one
can never do anything again. Yeah, from nineteen seventy nine on,
there's been a ball up there, or no, there was
a ball there before, and then someone put a helicopter

(01:27:12):
there before, and they put the helipad up there, and
then now there's a ball again because they learned their
fucking lesson about while there was a ball up there. Yeah,
it's a weird little stint in nineteen seventy seven, seventy
eight without a ball, they still talk about it. It
just seemed like a again, it wasn't necessary. They just
seem to have had that, like they put that camera
and let it go on a little you know, adventure

(01:27:33):
in the helicopter for seemingly just the approach shot. I
just didn't I don't know what they were doing with it.
It's fine, okay, I'm glad you have that. I guess
it seemed like just camera work for camera work's sake,
which is fine, I guess, Okay, On the other hand,
you had like Jimmy Elson early on in the film
doing his thing when you're when they were going around
the bullpen where you can see the aperture adjustment at

(01:27:55):
the bottom or whatever that is. I don't know that
I'm using that word correctly at all. I think you
sted it wrong actually, but still you can see the
adjustment that was neat. I like that. That was a
fun little choice. Yeah, I enjoyed it.

Speaker 2 (01:28:05):
I didn't enough one iso bullshity whatever it is. Yeah, dude,
I took photography. I have sold prints of my photography.
I don't know what they're called.

Speaker 1 (01:28:16):
No fucking I do it all.

Speaker 2 (01:28:18):
I have so much problems with it, Like I use them,
but I don't ever remember what's to call them. I
just experiment with them until I find something I like
that's fair. I'm not a professional. I'm a hobbyist, but
I can't remember that ship. I don't care enough. Plus
half of my half of my fund is finding finding
something that works and going, oh, hey, that looks good.

Speaker 1 (01:28:37):
You've pretty aptly described how I play the piano with
l of that. Yeah, yeah, yeah.

Speaker 2 (01:28:42):
I'm not quay us over here, like looking around, like
licking a finger and sticking to that one. Hm, well,
based on the lighting I'm seeing, Yeah, without using a
light meter. Oh, it's a no, we're not doing that.

Speaker 1 (01:28:53):
We're gonna get in there and fill this thing out.

Speaker 2 (01:29:01):
Oh man, what we got.

Speaker 1 (01:29:04):
I'm just scooted through some notes. Seriously, if there's anything
super crazy, super crazy?

Speaker 2 (01:29:10):
Did you know that Christopher Reeve was His body building
regime was supervised by David Prowse, who played Darth Vader
in the original Star Wars.

Speaker 1 (01:29:21):
I didn't there. I do know from the book there
was a that probably is in there somewhere. Probably I
gotta finish that damn thing, Like I started that when
two vacations ago, and I got to pick it up
and actually get through the back end of it. But
in there there was a lot of attention to that. Yeah,
he went through a lot of effort to look this way,
and then between films was a little bit mad. They

(01:29:42):
had to keep it up as much as he did.
M hmm, because like that's.

Speaker 2 (01:29:46):
Plus he was a really active guy, and he still
had a problem with it very much so.

Speaker 1 (01:29:49):
But he was active in like the sense that he
really used his body. He didn't he didn't try to
go out and make it look this way the whole time.
Late this even and even in nineteen seventy eight, this
was looking a certain way like this was a little
bit more body building than it was just being athletic,
which is kind of weird. Man, We live in a
different landscape now. Like our average let's say, basketball player

(01:30:11):
is so athletic and trimmed now just by virtue of
doing that sport the way they do it these days,
that they look more like a model than anybody in
the late seventies would if they were just supposed to
be on screen and playing someone that was intentionally attractive.
Did like our average football player now, you know, British
or American interpretation of that term pick one doesn't matter,

(01:30:32):
looks way better than the average you know, celebrity in
the nineteen sixty something.

Speaker 3 (01:30:36):
Mm hmm.

Speaker 1 (01:30:38):
What you can do with your body in a lifetime
has just changed drastically.

Speaker 2 (01:30:42):
Yeah, you did you ever see that family guy bit
where they were sorry, this keeps going back to family Guy.
There's a family guy bit where it's like Peter at
the inception of basketball back in the old days, there's
a bunch of white guys like flabby white guys playing basketball,
and then like the janitor, the black janitor who's like
really built and really tall, goes, hey, that looks like fun.
Can I play? And they all just like look at
each other and Peter goes not yet.

Speaker 1 (01:31:10):
Yeah, that's that's furpe.

Speaker 2 (01:31:12):
Yeah, as it was when you look back at like
old athletics. Yeah, there was a lot of like not
very built white guys just kind of schlobbing around like,
oh man, yeah he was a great athlete, you know,
Babe Ruth there, Yeah, we called him. He called him Tubs.

Speaker 1 (01:31:29):
Yeah. But it's like they're playing. It's like they're playing
at playing almost more than anything. Like they've got a
little boys club of select people who are are able
to to do the and the moment you actually open
the floodgates to real people to come into these tickets,
super colorful, super trained, real quick.

Speaker 2 (01:31:47):
Yeah yeah damn, we're gonna have to step it up.

Speaker 1 (01:31:51):
Yeah yeah, oh man, I'm still like them if or
anything like just outstanding. It's two pages of notes I
I just kept writing down, like there's a we went
through a ton of it. There's just a lot of
what the fuck, there's a general I could probably take
a quarter of my notes out twenty five percent of
my notes are hilariously too long because and redundant, because

(01:32:12):
there just notes about how this film is too long
and redundant. But again, I but like forever your note
where I'm like, man, why is this scene still happening?
Right after that? There's like, well, that's a neat camera trick,
Like yeah, I wrote down like his audiobook Space Trip
or whatever, but there is neat camera stuff. Is a
note I have in here. I did write down something

(01:32:34):
about the thirty year old Philip J. Frye running with
the Trained, and fuck, it was fucking with me a
little bit.

Speaker 2 (01:32:38):
Yeah, even the opening credits are just too long.

Speaker 1 (01:32:41):
They are, but that is maybe a good note. I
do like they're they're way too fucking long. All right,
So here's the third note in my thinking. Is there
a film after this music video? Is what I wrote down.

Speaker 2 (01:32:56):
For the reason that's the opening credits you're talking about.

Speaker 1 (01:32:57):
Yeah, well, like my entire first few notes here, just
three at verbatim is it's it's credits and I have
no idea what I saw yet. I mean, yeah, so
like there, I don't even know the first few seconds
of the film. I literally do not know what I saw.
Do you remember what I'm talking about before even the
credits roll? I don't. Is it like some kind of
announcement of some kind of like I'm gonna I'm gonna rewind.

Speaker 2 (01:33:17):
This, oh the bit where it's like like through a
news No, it's from a comic book for a comic book,
I think.

Speaker 1 (01:33:24):
But there's curtains on the side of it.

Speaker 2 (01:33:26):
Yeah, there's curtains and the.

Speaker 1 (01:33:28):
Frame ark device. Are we doing right now?

Speaker 2 (01:33:30):
That was weird? Yeah, that is a super weird thing.
But it's like curtains pull back as if we're in
a theater and we see a little boy or the
hands of a little boy put down an action comics.

Speaker 1 (01:33:41):
And then there's a dream wavy thing and.

Speaker 2 (01:33:44):
Yeah, yeah, Like he opens the book and we're seeing
panels and he's like he starts talking about Metropolis and
the Daily Planet, a metropolitan newspaper.

Speaker 1 (01:33:52):
He goes to a glow, a daily Planet with a
globe that we don't have, by the way, yees.

Speaker 2 (01:33:56):
Yeah, with a globe waves waves in. I don't know.

Speaker 1 (01:34:01):
We're still in that okay now, So it really is
just useless framing because we do that and then the
Alexander Sulkin presents the curtains literally reveal, like they pull
out from the screen, and then we're just in credits.
We're just in the credits now where the music I
started and we're we're doing credits. So I'd written down
it's credits, and I'm not at what I saw yet.
I never did get an explanation for that, and there

(01:34:23):
won't be and there wrote but goddamn those credits. And
then I have like a dot dot dot from several
minutes later where I wrote, okay, less credits please.

Speaker 2 (01:34:31):
Yeah, And when the credit started, I looked over at
my wife. She was like, oh, that looks cool, and
I'm like, yeah, I enjoy this for the next twek.

Speaker 1 (01:34:38):
So you knew I didn't.

Speaker 2 (01:34:41):
Absolutely absolutely it does look great.

Speaker 1 (01:34:45):
It does. And I wrote down at the end my
last notes regarding this were something like end credits are gorgeous.
Would have watched this in the late seventies in the
theater a few times just for the song and the
light show.

Speaker 2 (01:34:55):
By the way, plot twist, I'm pretty sure the kid
holding the comic book at the beginning is super Man's
bastard son from Returns.

Speaker 1 (01:35:02):
Nice.

Speaker 2 (01:35:02):
Yeah, I've decided that's the truth.

Speaker 1 (01:35:06):
It's might as well be the kid from sucking Twin
Peaks or whatever the hell that it's not Twin Peaks,
it's whatever that's Saint almost fire. What is the kid
that Tommy or something? What's the kid at the end
of that show that turns out every every show that's
ever existence of his brain?

Speaker 2 (01:35:21):
Stan elsewhere?

Speaker 1 (01:35:23):
Thank you.

Speaker 2 (01:35:24):
Yeah, it's Tommy west.

Speaker 1 (01:35:25):
Fall and might his well, he has got damn hands.

Speaker 2 (01:35:26):
I don't know they have been the you know, Fred
Savage from The Princess Bride or whatever the hell that was.

Speaker 1 (01:35:30):
Yeah, yeah, why not?

Speaker 2 (01:35:36):
And then he went on a sexual assault rampage and
got canceled of course, of course the Wonder Years. Indeed, sir,
piece of ship, you were beloved.

Speaker 1 (01:35:47):
We'll see we'll see Fred Savage sometime later behind the screen.

Speaker 2 (01:35:51):
Oh we already have. Probably I know he'd moved on
to directing and stuff a bunch.

Speaker 1 (01:35:56):
Yeah, you need to. I haven't seen him in front
of it. I don't know that i'd ever seen his
name in front of the screen beyond that. Actually, I
just i'd seen his name pop up several times in directing. Okay,
that's what you're doing.

Speaker 2 (01:36:06):
Now, oh yeah, well, I mean he did do an
episode of Boymi's World where he played a professor who
ironically got real rape with Tapanga. Oh lovely, and then
Corey almost got expelled for hitting him. But I mean
he was on a sitcom called Working for a while,
he was on a two season series on Netflix. He

(01:36:29):
was around, he was executive producing. He was executive producing
the new Wonder Years that was set in Montgomery and
was in universe with his Wonder Years from and then
it got canceled because he got fired for all.

Speaker 1 (01:36:42):
The bullshit so that he was doing, gotcha.

Speaker 2 (01:36:45):
Anyway, whatever turned into a weird conversation.

Speaker 1 (01:36:49):
I didn't expect this movie to end with that any capacity. Yes,
but like yeah, I mean Fred Savage, God, I just
got to the part of the screen. There's four writers
to this, so it's got and it has So there's
a pack of two. There's one and then a second,

(01:37:10):
all presented at once with no ampercent, and then the
second is set and then there's a second set with
an A percent. I don't know. So with saggirls that
like the person means something and the teams mean something,
but the way this is done don't know. If it's
suposed to be four or not. Well, what I do
know is that's a ship town of fucking writers.

Speaker 2 (01:37:26):
Also there's one uncredited Yeah, Tom Mankowitz, he took as
he's all he's written in there. Yeah, he took a
He did an uncredited pass of the screenplay.

Speaker 1 (01:37:38):
Yeah, he did. Got I gotta finish that book. That
was an interesting part in there. I remember, I remembering.

Speaker 2 (01:37:45):
And if you if you think Tom Makowitz sounds familiar,
he did Live and Let Die, He did Lady Hawk,
He worked on Superman two. Uh, delirious dragnet Man with
the Golden Gun, diamonds are forever taking the heat, a
bunch of stuff, bunch just and the Mankowitz are all
over Hollywood like his uncle, I think it was, did

(01:38:05):
uh Citizen Kane with Orson Wells like it's it's one
of those like Hollywood dynasty families. The man's been around,
the man's been around, and the name has been around.

Speaker 1 (01:38:17):
And of course.

Speaker 2 (01:38:18):
Nobody fucked with Herman Makawitz, now, yeah except for Orson Wells.
Apparently he took full credit.

Speaker 1 (01:38:27):
But he just he did Citizen Kane and then he
just did whatever he wanted for mm hmmm, I did
it actually? Did that stop? Was there an end date
to that? Or he just die eventually?

Speaker 2 (01:38:38):
He never critically never.

Speaker 1 (01:38:41):
Topped ever topped it period.

Speaker 2 (01:38:45):
No one, of course, no one did.

Speaker 1 (01:38:47):
He just came in and said, this is the perfect film.
We'll be working from here, and then apparently where everyone's right. Look,
I don't know what the fuck I'm talking about. I
saw it once when as a teenager, and he was like, yeah,
that that actually is as good as I thought. As
I was told, my understanding is it's really good.

Speaker 2 (01:39:02):
Yeah.

Speaker 1 (01:39:03):
No, but I love the narrative idea that we just
in the what nineteen forty whatever that was, We're just like, yeah,
we got it right, and worry about it.

Speaker 2 (01:39:09):
Look, here's the thing. I mean, it was so old
that like it was produced by a radio production team. Uh,
but are a production company nineteen forty one? Citizen Kane,
all right? And to you know, yeah, Citizen Kane is
like the blueprint for all movies. Apparently most people in

(01:39:31):
the critic space will say, no, some currn it's the
best movie, and it's the best movie I've ever seen.
Pound for pound. This shit's subjective, though, my wife says
it's boring.

Speaker 1 (01:39:41):
It is one of those where it has I do
like things that have crossover like this, where yeah, like
it's supposed to be that good and blah blahlah, then
you kind of watch it and really okay. But as
GA that that does look like it's pretty profound. I
don't even completely understand if that makes sense.

Speaker 2 (01:39:55):
And of course there's always like listening.

Speaker 1 (01:39:56):
To fucking Sergeant Pepper's or something, they're.

Speaker 2 (01:39:58):
Always the people who U who are just gonna try
to go against the grain, even to the point where
they you know, artists objective, so but people are still
gonna go against the grain, try to be hipsters about it.
Like I thought it was the trial that was the
best one he ever made man right, Yeah, fuck you.
I like Casino Royale. He didn't even direct that, he

(01:40:20):
was just in it. But yeah, I don't know, I've
gotten we could I could go too far on Citizen
Kane and Norrison Wills bullshit. So steer it back towards
Superman if we can.

Speaker 1 (01:40:33):
I yeah, I don't know where I arrested with this. Uh,
with the movie it was it was not I wanted to.
I expected that to be fun to watch and to
be able to just be like, oh, well, that was
interesting and just put it down. And I just found
myself slightly more annoyed for two and a half hours
than I thought I would be, and like short of
some stuff that is really like there's thirty minutes of

(01:40:54):
this that was deeply enjoyable and to two hours worth
of man mm hmm, Like, actually, let me give you
a sign off issue for me, I'm glad we didn't
watch this in the course of how are doing this show?
I actually am glad about that. Now here's why.

Speaker 2 (01:41:08):
Wow, okay Jesus.

Speaker 1 (01:41:11):
Because we went through the entire Snyder era uh huh,
and a lot of that era was people like the
people who were objecting to what Snyder was doing. It
seemed that the whole thing was we we just missed this.
And I was mad anyway that they were just people
mad about something from the seventies that they didn't get,
and this one did smile. I was mad enough without

(01:41:33):
remembering that I didn't like this as much as everyone
else did. Anyway. Yeah, I'm kind of glad we haven't
watched it because I would have been pissed at the time.

Speaker 2 (01:41:40):
I feel like I hit those notes enough for both
of us during that time, because yeah, probably while I
was like, yes, I have fond memories of this, and
I do love this movie for what it is, and
you know, you can show me all the worst bits
of it, except for the can you read my mind bit,
which I loathe.

Speaker 1 (01:41:57):
Every universally panned and just damn some things deserved.

Speaker 2 (01:42:02):
But you know, I, even for all his flaws, I
love this movie. But at the same time, back then,
I was going, can we get past Donner? Can we
just get past Yeah?

Speaker 1 (01:42:14):
That's the thing that was you kind of had to
experience some of both accounts, and I was lacking that
intrinsic version. From my version. It was more just, yeah,
that's in the past. I have vague knowledge of it,
but I wasn't. I'm glad I wasn't as acutely aware
of like how forgettable this this really is. It is
not a good film by most standards of what is

(01:42:36):
a good film. It's an okay film about a character
I love that got some stuff really.

Speaker 2 (01:42:40):
Right, Yeah I don't. I don't think that we got
enough time with the Kents to really care about John
Kent dying or you know, Ma Kent hugging him and
crying like she's never going to see him again, and
like it's time for me to go out in the
world mall like I Yeah.

Speaker 1 (01:42:58):
I mean in the sense that they were very good
actors and I cared about they're doing because they did
a great job with it. But other than that, yeah,
they didn't really have a lot of gestation.

Speaker 2 (01:43:06):
Yeah, and I don't care about the characters enter like,
I don't care much about their their their chemistry or
who they are to each other like, And maybe that's
by design, because I do get a little misty during
those scenes. But it's more or less a very generalized
feeling of time passes, children move on, people die. It

(01:43:29):
is a sad thing. It's a sad fact of love life.
You know.

Speaker 1 (01:43:33):
Yeah, you didn't get sad within this movie about the thing, right.

Speaker 2 (01:43:36):
I didn't feel things for Martha Kent or Jonathan Kent,
though I will say Glenford fucking kills it, like he
does when his arm starts to go numb and he
looks at his hand and goes, oh no, Like that
fucking kills me, because like he made me believe that
he knew he was dying.

Speaker 1 (01:43:55):
He did, and he did, and he did a good job.
But one complaint among many others, was in that scene
they never stopped the music. The score kind of from
the scene where they're just chilling kind of continues like
he just dies in the wrong music, like it's this
It was weird. I'd have to watch that one again

(01:44:15):
and like and listen with you and be like, am
I crazy? But it just seemed like they were doing
like they were doing like this walking home, you know,
oh shucks kind of moment, and we're in that kind
of like major key, slightly care free music and then
like he just kind of dies and then we go
all the way to a cemetery, like we buried this

(01:44:36):
man in the same key, And I'm not sure that appropriate.

Speaker 2 (01:44:39):
Oh no, oh hey, you want you want to? You
want to? You want to hear an argument for fun?
Oh yeah, that some people are not going to think
is fun. Sore everybody and myself included because I said
this to myself, who held this movie up while tearing
Man of Steel down for their pocket death scene. We

(01:45:01):
just watched Clark run like a motherfucker across the damn
fields and everything else to get home before Brad and
Laana drove by his house. You telling me he couldn't
run his his.

Speaker 1 (01:45:13):
Dad just down to the hospital.

Speaker 2 (01:45:15):
Yeah, no, for all, I mean, I get it. We
needed him to die, and we needed him to suddenly
not know how to not only not know how to
run his dad to the hospital, we had to have
we had to believe that he was too busy playing
with a dog in the yard to hear his dad
go oh no and collapse. Even Ma Kent heard him fall. Yeah,
but he didn't, even though he was closer to Paul.

Speaker 1 (01:45:37):
Yeah. Yeah, they.

Speaker 2 (01:45:39):
Did laugh. And I said, if Jason was Superman, he
would forget to take He would ignore his dad falling
because he was playing with a dog.

Speaker 1 (01:45:47):
Absolutely, I would. I would just get to it, and
it wouldn't occur to me until the heart had stopped.
There was an actual issue.

Speaker 2 (01:45:54):
You'd be like, yay, poppy, poppy, puppy.

Speaker 1 (01:45:58):
Oh no, yes, yeah. I would go from complete wrap
ecstasy trying to find a stick with the dog to
the heart wrenching loss of my father in just a second. Yes.

Speaker 2 (01:46:14):
Yeah, so there I've caused just enough of a problem
for Superman the movie.

Speaker 1 (01:46:23):
Yeah, okay, all right, I'm genuinely I'm done. I'm gonna
give one good line in there. I'm better start by
this one. Is a bird showing off when it flies?
Just just snuck in a damn good piece of dialogue
somewhere in there. Do you remember where that is though,
Where he's.

Speaker 2 (01:46:41):
When he's talking to his dad. Yeah, he's talking to.

Speaker 1 (01:46:43):
Off a little bit. Oh you know, all right, I
didn't mean to show off, Paul.

Speaker 2 (01:46:47):
He's like, yeah, but a bird don't wear no queer painties.

Speaker 1 (01:46:50):
Yeah. Yeah, it's a weird time.

Speaker 2 (01:46:54):
I'm glad Paul died. He never saw me in that
fruity suit. You know how he hated the gays, mal
you know how he hated the gays. He sure hits on.

Speaker 1 (01:47:03):
It was only seventy eight.

Speaker 2 (01:47:05):
He was a loving man, but man, he hated some quarters.

Speaker 1 (01:47:08):
It was nineteen seventy eight, and this was set in
a rural place, so it was not gonna be kind
when it got outside of this. That's actually probably why
that was. So that's a good point. You were just
saying it was an undeveloped thing. It's like, yeah, outside
of the context of them having done this one nice
kind thing, we might not have liked the kids very much. Yeah,
they might be closed minded cuts after all, so that

(01:47:30):
you know that saw a kid and fucking the did
the right thing. But other than that, I don't know
if I'd agree with them on much.

Speaker 2 (01:47:37):
They's probably like I want to do that version of
The Kents where it actually did happen in the thirties
or forties or whatever it was, or like Superman, like
I want to do the one where Superman is uh,
you know active as Superman in thirty eight, so you know,
we I want to go and show his history crashing
on the farm and his kids, the kins are actually

(01:47:59):
upset because his existence made them stop believing in God. Yeah,
and they lose their faith and they just can't handle them,
and they send them to the orphanage like in the
old Fleischer cartoons, And they always gloss over that, like, oh,
he was found by a couple who sent him to
an orphanage. Why did they send him to an orphanage?

Speaker 1 (01:48:20):
Because the fear.

Speaker 2 (01:48:21):
Because of the fear, yeah, and the orphanage is why
you know Superman is a bully in the first few
issues where he's like thumping thuds in the head and
shit and laughing at them as they fall. Yeah, but
also why he went after you know, corruption and as

(01:48:42):
he saw he was in the system, and he was like, dude,
being a fucking orphan sucks.

Speaker 1 (01:48:45):
Yeah, true, Yeah, I mean he he goes through. He
really does go through like a series of he in
the first issue, he's he's kind of an he's an
every man's protagonist. Like hem, he goes he changes scope
a lot, is I guess the right way of putting it,
But yeah, you're right, Like a modern day like a
twenty twenty five Superman, would we just have scenes of

(01:49:07):
him going back to Kansas and fighting about his his
fucking parents had gone maga. Yeah, Like he's going back
to small Ville where he didn't have to worry about
the ship. And then like he goes back to Lowess
n small Ville and he's like, I can hear them
right now, though.

Speaker 2 (01:49:25):
I can hear Paul watching Fox News.

Speaker 1 (01:49:27):
I tried to hide the channel. He fucking found it,
Like that would be fun. They're in Metropolis talking about Sunday.
He's just making dinner and he pauses and like winces,
real quick, what do you catch it now? You can't
cutch yourself? What what did you do? I just heard
him he found the channel. I tried I tried to
put the lock on it, but he just found it.
Yeah what fox Knews he founded.

Speaker 2 (01:49:47):
Shit, yeah, oh man, you would do some trivia.

Speaker 1 (01:49:55):
Oh that' said some trivia real quick. That would be
That is going to be an interesting time, Like we're
going to see this in like thirty years or whatever.
Twenty thirty years. Yeah, we have to tell these same stories,
but during the fifteen year Trump era. Uh huh, Like god,
I'm not looking forward to that. So too trivius away.

Speaker 2 (01:50:14):
Yes. To access Luthor's hidden layer, Superman has to drill
through the street by spinning around at super speed. And
the first time he did this was in the comics
was Superman number eleven, and.

Speaker 1 (01:50:26):
They'd read it how superscrewing before it got yeah editor
notes right.

Speaker 2 (01:50:31):
The Extended Special Edition of the movie that was released
in two thousand includes a sequence where Superman has to
endure a series of traps. Like I said, first of
these traps is sprung with sliding panels move aside to
reveal machine gun nests, and some gangsters attempted a similar
trap against Superman in Action Comics number two in July
thirty eight. I just love that they went out of

(01:50:54):
their way to do homages, even if they wound up
cutting it from the movie. Yeah, Luthor draws Superman out. Yeah,
Luthor draws Superman out in the movie by speaking to
him in a frequency only he can hear. The first
time he did this was in the Invisible Luthor Superman
number ten May nineteen forty one, which was the also

(01:51:15):
which was also the first appearance of Luthor bald. And
you know that whole story, right, how he was like
just a redheaded dude occasionally and then like someone accidentally
put a Luthor word bubble on a bald henchman and
suddenly he became Luthor.

Speaker 1 (01:51:29):
Right, Yeah, it's up there with Great Hulk. Then like
printing errors are our cannon. Now. Yeah, it all happened fast,
but we got a roll with it, right, all right,
that was good. This has been well timed. He's at
the I've just got the movie running in the background.
He just did the Quirkscrew. It's it's hilarious.

Speaker 2 (01:51:49):
Yeah. So you know Luthor's plan involving the earthquake, sending
the missile to start the earthquake Spring nineteen forty Superman
number four Men versus Luthor. The master plan involves inducing
earthquakes except for the with the aid of a stolen
earthquake machine, because of course they have something like that naturally. Comics.

(01:52:12):
Let's see pup up uh lowest debut in the comics
and the very first Superman story ever published, Superman Champion
of the Oppressed Action Comics, number one, June nineteen thirty eight.
By the way, that Chief gag don't call me Chief,
that's lifted straight from the comics.

Speaker 1 (01:52:26):
The don't call me Chief.

Speaker 2 (01:52:27):
Yeah, Perry's like, don't call me Chief to Jimmy. Sorry, Chief.

Speaker 1 (01:52:33):
There was a moment in there I can't I felt
like it wasn't don't call me they did? They borderline
did they don't call me Shirley joke? And I started
to look up what your Airplane came out because.

Speaker 2 (01:52:44):
Of Yeah, no, that's a it's an old thing from
the comics, okay, where Jimmy calling him Chief and he's like,
don't call me Chief.

Speaker 1 (01:52:50):
I want to say it was even maybe a different
but yeah, like that that I could see that. Yeah,
there was a lot of that Bullpen humor was very
It felt like that kind of snappy era after Monty
Python kind of thing.

Speaker 2 (01:53:02):
Yeah.

Speaker 1 (01:53:03):
Uh.

Speaker 2 (01:53:03):
One of my favorite bits with with the Chief though,
was like when he's like yelling at everybody and he
like looks at the cute lady standing next to him
and says something to her, and she just smiles at him.
He does this little like blush and head wobble with
a little smirk like, oh yeah, it was very mash.

Speaker 1 (01:53:20):
Yeah, yeah, what he has this moment to where he
does that and then he's sort of like and goes
back to the meeting, and yeah, it made it correct
me out too, because like you're if you're in that meeting,
you're watching him run around the room and say all this,
and then you watch him get his head inflated by
some lady next to him, and then you watch him

(01:53:40):
just sort of try to regroup and continue to give orders,
and you're like, I have to continue in this room
being led by this man. Okay, I got you. Okay,
That's that's my life right now, all right.

Speaker 2 (01:53:51):
I mean, and it just it felt like Colonel Blake
unmashed to me very much, same dynamic.

Speaker 1 (01:53:55):
Very much. But yeah, colonel Colonel Peoples like an order.

Speaker 2 (01:53:59):
Yeah, it was just like you know, order, order, Order.
I'm trying to make it seem like I know what
I'm doing and oh hello, yeah, Oh, anyway, margin, you didn't.

Speaker 1 (01:54:09):
Want to say it's hard to take you seriously with
your dick card. What did you say? I'm sorry, I
could there's a tent.

Speaker 2 (01:54:15):
See and I didn't even see it as like a
dick hard thing. It was just like a you know,
pretty girl looks at you and smile.

Speaker 1 (01:54:23):
In mash I was thinking it was very much more
they were. They were often being a little more koy
that way. No in here, it just seemed like he
just liked the flattery of of uh, you know, you know,
when you're trying to earn your stripes in the newsroom
and say nice things, the sycophantic period of trying to
earn your sight.

Speaker 2 (01:54:40):
Yeah, let's see. The communities shown on Otis's slide of Lexus,
New West Coast are in order from south to north, Lexington,
lex Springs, Odisburg with a backwards s Luthorville, Marina del
and my favorite test Mocker peaks.

Speaker 1 (01:55:05):
Of course, Sker peaks.

Speaker 2 (01:55:07):
That's Testmarker peaks. I don't think they get to in
the movie because he gets hung up on Odisburg. Odisburg.

Speaker 3 (01:55:13):
Yeah, Otis, Oh please, mister luth You have all these places,
and even miss Tosbacker has a place.

Speaker 2 (01:55:17):
It's just a little place, mister.

Speaker 1 (01:55:18):
Luthle, Yeah, Otisburg. Yeah, I mean her moobs are a
significant portion of the plot of this movie. So sure, Okay,
Testmocker peek, that's good. I didn't notice Testmoker peaks. That's good.
Hey that that scene did contain one of my favorite
favorite visuals in this is when he taps it with
his cane and breaks the glass over the that's just

(01:55:41):
I was well chosen, well chosen.

Speaker 2 (01:55:43):
So good, so good.

Speaker 1 (01:55:45):
See, they made a lot of choices most of the
I didn't agree with that. Some of them were very good.

Speaker 2 (01:55:50):
I liked a lot of the choices, and then you know,
I thought it was weird.

Speaker 1 (01:55:54):
Like, for instance, I would like to see me see
this movie in nineteen eighty like five, or meb this
agency at seventy eight or whatever, and see what I thought.
I wonder how big of a prick I would think
I was at either time.

Speaker 2 (01:56:07):
Yeah, Like, okay, so when Lois gets that note that
says meet me at your place at eight o'clock a friend.

Speaker 1 (01:56:13):
A friend, and she's like, oh, a friend, that's happening.

Speaker 2 (01:56:16):
She cle She clearly thinks the Superman. Yeah, but she
also clearly made plans with Clark right as if he
was the friend.

Speaker 1 (01:56:24):
Right.

Speaker 2 (01:56:25):
I don't know what we're supposed to think.

Speaker 1 (01:56:26):
I don't either. And he seems to show up after.

Speaker 2 (01:56:30):
He shows up directly after.

Speaker 1 (01:56:32):
He seemingly just to get off on how much he
impressed her, Like he just shows up to to get
to like look at his work here and be like,
oh man, she's really taking am back. In fact, I'm
so impressed. I'm I just go as far as to
tell her myself well and then and then we watch
him changing decided not to do that, and then she
wanders out of the scene saying something I don't know.

(01:56:53):
She's not paying attention either, mm hmm, but I guess
he goes like it's funny. He like cuts himself the
whole the whole fucking date. It's great.

Speaker 2 (01:57:01):
Yeah, it's weird. It's weird because you almost want them
to be like, you know, like uh, Bruce was in
Batman Forever, where she's like she's interested in Batman, not me,
Like you want Clark to be like, no, she doesn't
like me, she likes Superman.

Speaker 1 (01:57:14):
Yeah. Now, instead he's like ash, she really likes the
thing I do.

Speaker 2 (01:57:18):
But here they very much seem to be like indicating
like Superman is the real hymn.

Speaker 1 (01:57:21):
Yeah, Clark is definitely the mask here.

Speaker 2 (01:57:23):
Right, Clark is definitely the mask. It might be his
actual name, the name that he goes by in real
life as but Superman is his personality.

Speaker 1 (01:57:31):
Is a good point. You know, that is a good point.
We we didn't take time to really worry about that
in the foreverything that he considers Bruce Wayne more of
himself than in Batman. That's not one of our favorite traits.
We prefer the BTS version, you know.

Speaker 2 (01:57:46):
Uh, typically mean typically I go back and forth. Yeah,
I feel like, you know, I'm not the same person
I am. You know, any given week, I change a
little bit. I have different feelings about things. I feel
certain kinds of ways. So I'm okay with Bruce Wayne
every once in a while being like, hold up, what
the fuck, dude, I'm Bruce Wayne. Come on. Yeah, It's

(01:58:07):
just that I was completely marred by this horrible trauma
in my childhood, and uh, you know, sometimes i feel
like I'm more Batman. My personality is Batman, but I
still want to be light love for who I am,
not for a suit. You know. It's like that. It's
like that Spider Man thing where he's like getting down
with black Cat, you know, and and then he goes
to take off his mask and she just freaks the

(01:58:29):
fuck out, and she's like, don't take off the mask on. Yeah,
she doesn't like Peter Parker. She doesn't want him to
fuck her with the mask off.

Speaker 1 (01:58:37):
Yeah. Yeah, and then what it's about for Yeah.

Speaker 2 (01:58:40):
Yeah, like she like has a terrible aversion to Peter Parker,
not Peter Parker. Put the mask on. Ah, Spider Man,
there's that dick.

Speaker 1 (01:58:48):
Yeah, she wants a special thing.

Speaker 2 (01:58:50):
Yeah.

Speaker 1 (01:58:52):
You know. I've tried a couple of times to end
this on a high note, but unfortunately the last thing
might be a low one because I just it's playing
in the background and it just got to the missiles,
and I just realized, I think it's named XK one
oh one the missile. They're both named XK one O one.
I believe, Okay, they shouldn't both be named anything, right.

(01:59:14):
I think that's mandatory that missiles are not named the
same thing, lest you mix up how many and where
they are. Now much like you have the process of
trying to follow the plot, like I don't know either
where and what the missiles are.

Speaker 2 (01:59:33):
That's because they only had one missile. Yeah, they only
built one.

Speaker 1 (01:59:37):
No, they did very clearly. When you look at the
missile shot because I just saw it, we are one
is shot from the left and one is shot from
the right, and it is indicated to us that that
is two mm. But it is, yeah, very much. The
XK one O one shot twice.

Speaker 2 (01:59:51):
Right now, I don't know from bombs? Are these nuclear missiles?

Speaker 1 (01:59:56):
I don't know.

Speaker 2 (01:59:57):
Okay, I don't know.

Speaker 1 (01:59:58):
They don't have to be ICBMs. Thos are in acon.
That's the whole thing.

Speaker 2 (02:00:01):
I've seen. Some people say that they're not, and some
people say, well, like they are. And you know, earthquake
could be the least of your damn problems.

Speaker 1 (02:00:08):
Yeah, I mean no, we did see the explosion. It
wasn't nuclear. I guess it wasn't supposed to be a
nuclear bomb, or if it was the years I didn't
pull it off in the in what happened because.

Speaker 2 (02:00:16):
Yeah, like lex said something about mega ton bomb something.

Speaker 1 (02:00:19):
It's just just a big old bomb, I guess of
some kind. I don't I don't. I mean, none of
that would work either. But we're not gonna, we're gonna,
we're not gonna be able to worry about physics in
a movie where anything else in this movie happened. But yeah,
I don't think there's a version of events where you
can have even one nuclear bomb that'll actually set off
even the San Andreas felt line.

Speaker 2 (02:00:39):
Yeah, I don't remember them saying nuclear, but maybe they did.

Speaker 1 (02:00:42):
And then I don't know. If I don't know, from bombs,
it's a pretty big gap between regular bombery and nuclear bombery.
It's not you don't just like get up to grade
nine with the regular bombs and with gasoline in a match,
and then you can and then like grade ten is nuclear.
It's a jump.

Speaker 2 (02:01:00):
Yeah, I don't know. I don't know. The internet seems
to be divided. The AI overview says it is, but uh,
you know, I don't believe that thing.

Speaker 1 (02:01:08):
No, no, no, that the top of the page Google
one is. It's not one of them work, not one
of the more clever AA bots out there's put them only.

Speaker 2 (02:01:17):
Yeah. Oh okay, see this makes sense this person is saying,
Especially from that era, a lot of missiles have multiple warheads.
While no single warhead would be five hundred megatons, as
Lex stated, it's certainly possible that the combined yield would
be more than five hundred megatons. This would be especially
likely if the warhas targeted various points along the length

(02:01:37):
of the fault. Maybe both missiles were supposed to hit
the fault at two different points, which he did only
point to one point. But if even if both of
them hit the same point, maybe it would have done
something like take out all of California and create that
new West Coast. But you know, obviously one was messed

(02:01:59):
up by OTIS and went hack and sack and uh,
Sipperman didn't have to do that much to make it
not sink the whole state.

Speaker 1 (02:02:09):
Yeah, it that that seems to be another undersid this
portion of this. Like you, we'd be here for hours
if we're gott into the physics of why this movie
doesn't work.

Speaker 2 (02:02:19):
Well, sure we already have been.

Speaker 1 (02:02:21):
Yeah, it's also true that it would be another series
of it'd be ours and just googling the most elementary
of with this work, No, with this work, no, how
would this go? Not that way?

Speaker 2 (02:02:33):
Okay mm hmm, all right, well I think. Uh, I
think I'm done talking about it. I can be anyway.

Speaker 1 (02:02:44):
Yeah, I'm happy.

Speaker 2 (02:02:45):
Was there was there anything you had that was just
laying on your heart?

Speaker 1 (02:02:48):
No, I think I think I think we went over.
I actually did get through most of these two pages
of notes. Yeah, in some capacity or another.

Speaker 2 (02:02:56):
They didn't touch on them much here, But it does
make sense that Clark and Jimmy would be friends. They're
the only ones who I mean, even Perry's moved into
the seventies, but those two are still firmly planted in
the fifties. Jimmy with his bow tie, m Clark with
a swell.

Speaker 1 (02:03:10):
Yeah, a little I mean, I think called the Gemus
skinny g.

Speaker 2 (02:03:15):
I wish Clark could have been here to see this.

Speaker 1 (02:03:18):
I think you know, it's playing in the background now,
I think in the Hoover Damn scene or the Hooverish
damage scene whatever. I can't remember if it's just said
my name or not, but I think there he's just
wearing like a red flannel, which is very much you
have every one of John Dember's vinyls outfit. But like,
I mean, no offense. He was good, but like it's

(02:03:39):
not it's not the actual bow tie. I don't think
on the second, I'm kind of waiting for him to
come back.

Speaker 2 (02:03:44):
I mean it was when he was in the newsroom.
For sure. I wasn't really paying attention by the point
that he was in the damn.

Speaker 1 (02:03:50):
Oh oh, it's at that scene now, you know it
looked particularly good. Was that pretending to be a train
track or a train rail?

Speaker 2 (02:03:58):
Yeah? I fel like there should be a band called
Jimmy at the Dam.

Speaker 1 (02:04:03):
Yeah, yeah, but we'd have to revive Scott to do
that properly.

Speaker 2 (02:04:09):
Yeah, he's got like a he's got like a wind
breaker on at the Dam.

Speaker 1 (02:04:13):
It's like a wind breaker in a red flannel kind
of you know, it's that's actually that looks kind of
back in a way.

Speaker 2 (02:04:19):
Yeah, it is a wind breaker in a flannel. It
does look like a nineteen fifties though, for sure.

Speaker 1 (02:04:23):
Yeah, yeah, very much does that. But he walked out
of an archiees comic. Yeah, he did into that. He's
a nerd into the Hoover Dam.

Speaker 2 (02:04:32):
Is it sad that we've talked about it and I
just want to go watch it again?

Speaker 1 (02:04:36):
I I mean I kind of have in the background
while we've been doing this, so I'm good, but I don't.
I don't blame you. I don't blame you. I think
I would enjoy it more if we watched it and could,
you know, kind of have fun with it together. I
don't think i'll. I don't know that i'll ever really
sit and watch it by myself.

Speaker 2 (02:04:54):
M M.

Speaker 1 (02:04:55):
Maybe ever, I don't. I don't know that there will
be ever a need for it for me to do
that again.

Speaker 2 (02:04:59):
No, maybe maybe we'll. I don't know what we should do.
I don't know if we should do a just watch.
I feel like we should watch Richard Donner's preferred version
for sure and review that, and then maybe we should
do a commentary on the three hour cut.

Speaker 1 (02:05:16):
Yeah, that could be just.

Speaker 2 (02:05:18):
Hanging out in the room together, just cracking up at
the how how fucking padded and necessary the entirety of
the three hours.

Speaker 1 (02:05:29):
I don't know how you would stretch this into three hours.

Speaker 2 (02:05:31):
They did. It was like three hours and like two
minutes or something like that.

Speaker 1 (02:05:34):
Unless she was crazy literally slowed down the footage.

Speaker 2 (02:05:37):
I don't think they did. I uh, I saw somebody
talking about this, and I don't remember this. I saw
somebody talking about how like the missile scenes are so
extended that like, at some point the missile is like
doing like cartoon loopy loops and doubling back on Superman
at some point. Like I don't remember that at all,
but I now kind of want to go back and

(02:05:57):
watch and see if that's.

Speaker 1 (02:05:58):
True's early military Industrial Complex advertisement? Is that that whole scene?

Speaker 2 (02:06:05):
Yeah, I don't know. I don't know. I'm very curious
to see how bad it is. I do have it
on Blu Ray, so.

Speaker 1 (02:06:12):
We'd have to maybe doing that format. I don't think
I have the I don't think I have the constitution
to watch it again a three hour version by myself.
I think I might have to have a company.

Speaker 2 (02:06:22):
Yeah, That's what I was saying, is like, maybe we
do the.

Speaker 1 (02:06:25):
Cut a palatab away from me to do this.

Speaker 2 (02:06:27):
Maybe we do the extended cut at some point in
the future, you know, by ourselves, or we can do it,
you know together, watch it together and then talk about it.
But I definitely think that the three hour cut should
be an active commentary.

Speaker 1 (02:06:41):
Like maybe something to play it.

Speaker 2 (02:06:43):
You play the movie, you watch it with us, you
talk with it, you know, we talk over it, just
to keep it somewhat interesting. After this two and a
half hour review of Superman.

Speaker 1 (02:06:56):
That has been a minute. Lord, Yeah we.

Speaker 2 (02:06:58):
Should have Yeah, yeah, I need to go to Walmart.

Speaker 1 (02:07:01):
Yeah, if I watched the three hour version of this
by myself, I'm gonna develop you.

Speaker 2 (02:07:06):
You won't have to.

Speaker 1 (02:07:08):
I'm gonna end up with like another substance abuse issue
after that.

Speaker 2 (02:07:12):
Well, don't do that.

Speaker 1 (02:07:14):
It's gonna be it's gonna be a long journey an
hour and a half in like I've never tried Heroin,
let's see.

Speaker 2 (02:07:20):
Yeah, doing the show with me is what gave you
the substance abust problem in the first place. Yeah, funny
if it was like a Tonight Show kind of thing
where we keep joking about your substance abuse issues, but
I'm the real one with the problem. Yeah, you know
they shoot on Ed McMahon for years on the Tonight Show,
and it was really Johnny who had the problem, you know.

Speaker 1 (02:07:40):
Yeah. No, it like my version that would be going
back to events. So I was doing fine until they
introduced Legends of Tomorrow.

Speaker 2 (02:07:50):
Oh yeah, I know their verse killed me. Now. I
think I think you enjoyed that enough. I would say
it was the CGI mustache, maybe the c G mustache.

Speaker 1 (02:07:57):
We actually I talked about that with Christian yesterday that
we would just because I can't remember it. This next
Mission Impossible is coming out whatever whatever Missions Impossibles were on.
Uh huh, And I was asking if it was supposed
to be the final one. I don't know. I never
looked it up.

Speaker 2 (02:08:12):
So I think his Tom Cruise is fine. Okay, he's
campaigning for uh. Tom Cruise said he would he didn't
want the movies to go on unless Glynn Powell was
the main character.

Speaker 1 (02:08:22):
Okay, so he wants to pass it, you know what,
as much as he put into it. I'm okay with
that anyway. But I told her, I was like, you
know what, maybe there's there's probably gonna be a time
where I'll go back and watch all those movies and
be like, man, there's gonna be like twelve movies worth
of a good time. I can go have some just
a just a cheap, a cheap, entertaining laugh. It's it's
even got Simon Pegg mm hmm. It's just gonna be

(02:08:43):
a while before I can forgive it for the mustache.

Speaker 2 (02:08:45):
I will say, uh. Without as a person who has
no real vested interest in the original series or cares
anything about those characters. I like the first Mission Impossible
movie was a mind fuck and a wonderful time, like
some really cool, serious spy shit.

Speaker 1 (02:09:07):
Yeah. I watched the first couple movies. I mean they
were like I was a teenager when they started coming out.

Speaker 2 (02:09:12):
They apparently originally intended to be like in Cannon with
the TV show. They had Peter Graves supposed to come
back as John Voight's character, and he said no because
they turned him into a villain m hm. And he
didn't think that his character would do that. Phelps would
do it. Jim Phelps would would be a villain. And
I understand where he's coming from. Yeah, yeah, I find

(02:09:33):
with the integrity. Also fine with what they did. I
needed that to be a twist, Like they introduced a
bunch of characters who got killed off in the first
ten minutes. Holy shit, that was cool. That was nice.
Didn't see it coming. Yeah, so, uh, I you know,
I didn't like the second Mission Impossible movie. Uh, it was.

Speaker 1 (02:09:56):
Pretty I have no real memory of them this point,
I mean not really. The last thing I saw was
a slide of hand Guy breakdown whether Tom Cruise really
did the disappearing disc m spoiler. Yes, but it's been
a while, but like one day when I can forgive

(02:10:16):
it that whole franchise for the mustache one enough time
the franchise.

Speaker 2 (02:10:20):
It wasn't the franchise, it was the studio.

Speaker 1 (02:10:22):
I know, but it just I associated it with it
and I don't.

Speaker 2 (02:10:24):
It's just like blaming DC for the bullshit Zaz Left
keeps doing.

Speaker 1 (02:10:28):
Yeah no, but like that's what I'm saying, Like when
when enough times passed that I haven't associated with it.
They've got like twelve good movies right now, but yeah,
not there yet.

Speaker 2 (02:10:36):
Yeah, I still I would like to go back and
watch the first three Mission Impossible movies because I saw
them when they came out and that was the last time.
Well that's not true for Mission the first one. I
saw that a few times. I had it on VHS,
But the last one I actually saw was three the
JJ Abrams, Carrie Russell, you know, Philip Seymour Hoffman. I

(02:10:59):
don't think I'm wout that I saw that one in
theaters and had a fine time. That's I think that's
when Simon Peg started popping up.

Speaker 1 (02:11:06):
I think I think I'd just sort of fallen off
by then, never quite made it back on.

Speaker 2 (02:11:10):
Yeah, never went back to it after that. Yeah, always
been shocked that they kept going.

Speaker 1 (02:11:15):
Yeah, speaking of we should, we should rap. He's gonna
take a while to edit to and a half hours
with this ship. It won't, I mean longer than it
takes for an hour's worth, Yes.

Speaker 2 (02:11:29):
It would if I edited.

Speaker 1 (02:11:31):
Yeah, I mean we did ourselves in the favor of
throwing out line by line and content edits at the
conception of the show rather than sometime later. So mm hmm.

Speaker 2 (02:11:45):
We just spent ten years not editing our show. You
think I'm going to start now right? Yeah? No, we
do edit to some degree.

Speaker 1 (02:11:56):
It's unfortunately not for tightness, but yes we edit for
right first foibles, not.

Speaker 2 (02:12:00):
For yeah, we're gonna we're gonna sign off. Thank you
guys so much for listening. Thank you for being patrons.
If you are. If you aren't, the fo's wrong with you.
It's a dollar a month to get these episodes add free,
and uh that's a pretty good deal. Honestly, I you know,
I you know, I wouldn't spend five dollars a month
just for our extra shit, but I'd spend a dollar

(02:12:22):
a month and not have to listen to the ads. Yeah,
just being honest, just being honest, I'm not gonna tell
you a lot.

Speaker 5 (02:12:28):
Yeah, I would join the Patreon, become friends with a
five dollars member and ask them to, you know, slip
me the episode from time to.

Speaker 2 (02:12:39):
Time if I was interested, of course, in a in
a you know, I wouldn't actually ask for anybody to
do that. I would guilt them into it.

Speaker 1 (02:12:45):
I've never even considered if that's a thing.

Speaker 2 (02:12:49):
We've literally had somebody like on their exit survey say,
got the episode I came for? You know.

Speaker 1 (02:12:56):
I could see that though, because I have I have
been late. I have been interested in just two or
three of something behind the pay all before and thought, yeah, right,
I'm not going to do that.

Speaker 2 (02:13:06):
But you know what, now we've got it to where
the extra episodes you don't even have to pay for
the five dollars a month. You can just buy it
outright cart Blanc for like three bocks or whatever it is. Yeah,
so it's easy, peasy, get the one thing you wanted
to move on with your desk, pick your shot, yep,
which is you can also do it that.

Speaker 1 (02:13:24):
Way, which is relevant because a lot of what we
cover is topical and can come and go, so sort
of just kind of sometimes knowing where the conversation was
at a point in time.

Speaker 2 (02:13:33):
M hm.

Speaker 1 (02:13:34):
Going back for some of our episodes is really just
kind of like going back for moments where we've hit
a story as it's coming gone.

Speaker 2 (02:13:40):
Mm hmm. But I am currently working on making the
Patreon more worth it, so I don't know if I'll
actually get to it, but I'm always planning it. It's
been wonderful talking to you for ten years on this Jason.
It kind of sounds like we're ending the show and

(02:14:02):
we're absolutely not. We are coming back probably next week,
I would imagine for a news episode, because those things
build up, and then the next week we're gonna be
doing Superman two. Right, Yeah, we're gonna be hitting Superman two,
which I actually prefer to this movie.

Speaker 1 (02:14:20):
I am curious about how I'm gonnaeel about too now,
because there's there's a lot of questions.

Speaker 2 (02:14:24):
Yeah, it's gonna be the theatrical cut. It's not gonna
be cut right, it's gonna be no straight up the
mesh of Donna and Lester theatrical cut, and and then
we'll probably do news and then Superman three, until you know,
we'll go that way until.

Speaker 1 (02:14:41):
Uh, until it's time.

Speaker 2 (02:14:43):
Did you decide you wanted to do returns?

Speaker 1 (02:14:44):
I thought about it since we have we have one
other episode that I was gonna you know, we have
the one over their episode. I'd talk to you about that.
I wanted to send you the say if we want
to do it, but it requires a little bit of
putting it together before d M.

Speaker 2 (02:14:56):
I don't remember that. We'll have to talk about that after.
But uh, well, we'll see. We might do Superman Returns.
I want to at some point.

Speaker 1 (02:15:05):
Because we're gonna you're going out of town at some point.
We went out of town one, Yeah.

Speaker 2 (02:15:09):
So we might we might skip a news on that
and just just skip a week.

Speaker 1 (02:15:14):
Well that and we didn't know what news may or. Man,
I'm kind of curious if it's well, we don't know
how we have the trailer. There might be a final trailer.
There might not. They probably, but like, we may not
get much, or we could get a town and I
have no idea. We could get a flood right before
and think, dear God, we're gonna have to do a

(02:15:34):
new show for two weeks before this thing actually comes out.
Hard to know in late May, and.

Speaker 2 (02:15:38):
Or here's the fun thing six weeks now.

Speaker 1 (02:15:40):
They could flood it.

Speaker 2 (02:15:41):
It might it might get so flooded with news that
we are just like we don't even want to talk
about I have done that, in which case, like, I'm
absolutely fine just reviewing Superman movies every week, although until
Superman comes out.

Speaker 1 (02:15:54):
Though, if I enjoy Superman two at the level that
I've enjoyed Superman one, we may have to talk seriously
about three whether I can handle.

Speaker 2 (02:16:02):
Well, you know, I don't know, because three is different and.

Speaker 1 (02:16:05):
Four was just a Four was enjoyable in its own
camping nightmare of a Like it's just I don't know
as Yeah, no, I know, but I'm saying these are
very different movies. Like it's hard to believe that what
I just watched in four are even loosely connected. Oh
it is it in certain ways, but in certain pain voice.

Speaker 2 (02:16:22):
But like I think I like three. I say I
like three more than one.

Speaker 1 (02:16:27):
I mean yes, in this sense, Like it would be
different to if I was, like, man, I didn't like
the first born identity, Well, your mom, I'm not gonna
like the fourth one either. It's the same fucking We're
not going to change that much.

Speaker 2 (02:16:37):
Richard Pryor covers a multitude of sins.

Speaker 1 (02:16:39):
It's all a yeah, that's true. But also, yeah, the
Superman movies is different, Like two will be a different
film entirely than what I just watched.

Speaker 2 (02:16:45):
Also, Three barely has Lois. It's mostly a nett O
tool being super hot as Lana Lang. And I'm just saying, weh,
my beloved, there's no Lois here.

Speaker 1 (02:16:56):
Now replaced her on the screen and in my heart.

Speaker 2 (02:17:03):
Get Bent and Brad. So yeah, anyway, but you know,
Superman three, we don't have the wonderful gene Hackman anymore,
so we're dealing with lackluster villains. Yeah, it's a tough one, man,
It's a tough I'm curious though, I'm curious what you think,
what you'll think. Yeah, because we haven't like really sat
down and watched any of these weeks.

Speaker 1 (02:17:22):
No, we really haven't. And I mean, yeah, I do
have touch about Smallville.

Speaker 2 (02:17:26):
We've talked about Smallville probably uh Lewis and Clark more
than we've talked about these movies.

Speaker 1 (02:17:33):
I mean, yeah, I think so, Well, it's been forever
since I've really seen them, because every time we talk
about it, it's just that we say yeah, I think
we That's basically been what we've said for ten years
is yeah, we know the big thing, but it's been
watle since we've seen Yeah.

Speaker 2 (02:17:45):
I mean yeah, I have seen them more often than you.

Speaker 1 (02:17:48):
Have, clearly.

Speaker 2 (02:17:48):
Yeah, Like I will just put on Superman in the background.
I won't really watch it, but I know it's there.
It gives me comfort. It's like a blanket.

Speaker 1 (02:17:58):
I get it. I mean I've and I'm not trying
to compare it. I've many a time thrown on Man
is still in the background as a as just a
nice movie that I like to have in the back.
M I would still almost rather just throw that on
the background then this one.

Speaker 2 (02:18:14):
Yeah, I get it. I get it. I get it.

Speaker 1 (02:18:16):
Trying to think it's not a hot take, start a
fire thing, you know, calm down, But yeah.

Speaker 2 (02:18:20):
It's I mean, I grew up with these on TV.
That's why I wanted the three hour cod Yeah, because
I know that there's stuff, so you know, uh, but yeah,
we're gonna we're gonna try to get through. Uh, there
was two and three. You know, I'd love to do returns.

Speaker 1 (02:18:35):
God, I I really just I think i'd hoped that
I'd go back and there'd be some like raw genius
in here that you'd be able to kind of see
through the late seventies of the of the whole thing,
and and I just didn't find that much under the hood.
I like, when you go back and look like watch
like Batman sixty six, it's it's wrong for a number
of reasons, like it's there's a number of sixties things

(02:18:57):
about it, but like you can tell that there was
there was some real chances being taken and what was
trying to be done artistically, And like this one, I
just it just you can see spots of it and
the rest of it, and it seems so so odd.
The rest of it was so hard to get my
head around and relate to.

Speaker 2 (02:19:13):
Look, you know, uh, I do see the artistic points
of it. I do see where they transcended. I mean,
first of all, they were treating a comic book movie,
not like Batman sixty six, which is phenomenal. Like they
were not There wasn't a bunch of pals zip. It
was fun and it didn't take itself completely seriously, like

(02:19:33):
it was a little tongue in cheek, But at the
same time, like they treated it like it was a
sprawling epic. They treated it like it was an important story. Uh, totally.

Speaker 1 (02:19:43):
Yeah. That the overall choice of how they chose to
frame it. Yeah, I'm they did that extraordinarily well and
did a really good job of setting a tone that
that was possible. And Chris, like I said earlier, like
the fact that he walks around in that silly, stupid,
fucking uniform and pretends it's okay the whole time.

Speaker 2 (02:19:59):
Fantastic if if they had somebody in that costume today,
that people be eating it alive, just like they are now,
where they're like, oh, diaper man, diaper man. Okay, fine,
but let's see how the movie actually presents it and
how they treat it. Because if Chris Reeve hatten acted
the way he did, if Richard Dnner hadn't filmed it

(02:20:20):
and directed it the way he did, if it wasn't
written the way it was, we wouldn't have bought this
suit either. But we do buy it because they walk
all of those things work.

Speaker 1 (02:20:29):
Yeah, they ma shedding to path through the woods for us.
I mean, I'm appreciative of all that.

Speaker 2 (02:20:33):
Yeah, but there's.

Speaker 1 (02:20:34):
A lot of it's just that so there are moments
where I can just where there isn't enough going on
there for me to really get my teeth around, And
then there are other moments where there there were some
choices made and I'm not on the wrong on the
side of it. The enjoyed it.

Speaker 2 (02:20:49):
Yeah, I get it, and I mean, I definitely I
agree on a bunch of the choices, but also but
also going like, I just took this movie seriously. Certain
things were cheesy, but I also, God, I took this
movie pretty damn seriously for what I just looked at.

Speaker 1 (02:21:04):
You know, I don't think I really was able to
get there. I think that was maybe the disappointing part
was I never quite got to the point where I
was in the movie in any real way. Yeah, like
I said, look where I finally met, when I met Lex,
when I met Clark and Lois, and like some of
the chemistry there sucked me into the movie so thoroughly
for a second that I was in it. But yeah,

(02:21:24):
now that you're saying it that way, I don't think
I was really ever for the most part in this thing. Yeah,
I do buy Bob Leaf could not fly.

Speaker 2 (02:21:34):
I Bob and weave myself. Yeah, like they're just like
little pieces where something will happen and I'll just go yeah,
then I'm back. I'm back.

Speaker 1 (02:21:45):
But yes, I feel like I was just on the
other side of that where I, for the I just
had moments where I was in just a little bit,
but it was like it was like one of the
dreams where you you realize you're dreaming and.

Speaker 2 (02:21:57):
Pop out just yeah, I get it.

Speaker 1 (02:22:00):
Man didn't quite do it, and I think it was
just because the intro there's so much upfront to kind
of get through that I just never quite got there.

Speaker 2 (02:22:10):
So yeah, well I'm sorry. I hope you like the
next one better. Yeah, we'll see, and uh babe, I'll
take a look at the news and this will either
Superman two will either be next week or it'll be news.

Speaker 1 (02:22:21):
It'll be an adjacent week in some capacity, but.

Speaker 2 (02:22:24):
Uh yeah, just tune in if you want to, and
we'll what we'll be talking about is either way, we'll
be talking about Superman. Yeah, there is one of these movies.

Speaker 1 (02:22:32):
It's gonna I'm actually, oh shit, I took I had
Superman on this morning. Now I have your your Watchman trip.

Speaker 2 (02:22:39):
Oh yeah, yeah, the Watchman or Watchman trip. Mm hmm.

Speaker 1 (02:22:42):
Yeah, it's gonna be a Superman heavy time for us.
You know what, I will get to say one nice
thing after this. I watched this movie yesterday, and I
woke up this morning with the urge and I didn't
get to do it, and I should. I walk up
this morning with the distinct urge to go watch the
trailer for the gun film. Mm hmm, and that was nice.
I don't know that they're connected, but something in the

(02:23:03):
spirit of them made me really want to go watch
the trailer for this new film and like me, the.

Speaker 2 (02:23:08):
Mo the music, the colors, you know, hopefully the hope
it does seem.

Speaker 1 (02:23:13):
Yeah, but my like my two pages of nippicking and
lack of suspension display aside, I still, yeah, there's something
in there still got to me in some kind of
way apparently.

Speaker 2 (02:23:23):
Mm hmm.

Speaker 1 (02:23:24):
You don't do that.

Speaker 2 (02:23:26):
It's insidious.

Speaker 1 (02:23:26):
Yeah, that's what the S stands for.

Speaker 2 (02:23:31):
I can smell it on you. Smell is What is
what the S is for? Yeah? What does the S
stand for? Sniff?

Speaker 1 (02:23:39):
Yeah, stands for shut the hell up?

Speaker 2 (02:23:44):
What do you mean sniff? I know you're on your period? Lois? Why? Well, yes, Lois,
I do like read very much. We've gotten to a
weird place.

Speaker 1 (02:24:00):
Also, it was nineteen seventy eight. We didn't know lead
was a huge thing yet, did we. I meant to
look that up too. Oh A lot of the lead
free stuff happened in like the eighties and nineties, I think. Yeah,
I can't remember if we knew the lead was a
damaging product at that time.

Speaker 2 (02:24:16):
I'm really good to hell for this one. But by
the way, that's another way that Superman is like Moses.
He also likes to part the red sea.

Speaker 3 (02:24:22):
Oh oh my, why I lo was this that time
of the month again, isn't it?

Speaker 2 (02:24:35):
M oh Superman? Why Superman?

Speaker 1 (02:24:40):
Well, you defeated me. I have nowhere, I have nowhere
of it to go a bit off.

Speaker 2 (02:24:51):
This is where yes and actually gets you just short
of improved, right, just short of improvement anyway, Yeah, thank
you so much for listening, and be sure to write
in about that last line. Let us know how much

(02:25:11):
we disgusted you before you decided never listened again.

Speaker 1 (02:25:15):
Thanks you.

Speaker 2 (02:25:15):
It's a good point.

Speaker 1 (02:25:16):
If anyone who's made it to this point, please feel
free too, much like I did for the entire movie.
Tell us at what point we should have stopped this
fucking review. Just you could pinch that as a percentage
a time that you go about forty five minutes ago
would be a fun.

Speaker 2 (02:25:33):
I think there's a good twenty percent of people who
would say you should have stopped when Jason said, I
don't like this fucking movie. Yeah, I feel like our
if you play our reviews, and God help you if
you do. If you played our reviews of Man of
Steel and Superman the Movie back to back, you would

(02:25:54):
find the inverse.

Speaker 1 (02:25:55):
You would you would, I don't.

Speaker 2 (02:25:57):
I don't feel like Jason vehemently defending Man of Deal. Yeah,
and then well, now it's time for Day to vehemently Yeah.
I didn't really defeated vehemently defend it. I shit on
their skypoem.

Speaker 1 (02:26:10):
Yeah.

Speaker 2 (02:26:13):
I have fun shitting on all of this stuff. But
I also love it all. Yeah, so I actually do it.

Speaker 1 (02:26:18):
Maybe would have helped if I had said that I
did have some effusive things to say but also didn't
really enjoy it. But that was hours ago, well long
after those those people stopped listening.

Speaker 2 (02:26:30):
So yeah, is it weird that there's a part of
me that just doesn't want this review to be shorter.
There's a review for Superman the movie to be shorter
than our fucking review for Batman Forever. It feels like
it needs to be a little longer.

Speaker 1 (02:26:43):
No, I mean, I don't think either one of them
is going to get to the four hours. I think
we did on Dark Knight Rises, and that was a
trunk created for That was our tight four let's be
clear about that.

Speaker 2 (02:26:56):
Yeah. No, yeah, that's true.

Speaker 1 (02:26:58):
Whatever you heard on that if if anyone anyone who's
actually listening to this listened back that far, yeah, so
whatever you heard there some less than ten years ago,
that was the Titan version. You should have heard the
version in our kitchen. Yeah, a few a couple of
years before. We sat down and talked about it.

Speaker 2 (02:27:14):
And it is just us like forgetting what we've already
said and complaining about the same stuff over and over again.

Speaker 1 (02:27:19):
I think, yeah, yeah, but I mean effectively, we were
just reciting, not that we've we didn't practice like we
basically we finished watching the film and then we sat
and bitched about it for like eight hours.

Speaker 2 (02:27:30):
And then, by by the way, if you're unless you're
I hate to undermind what you said. I just looked
it up our Dark Knight Rises review, which is titled
The Dark Knight Rises Review the worst Batman film ever made?
Of course it is, uh, yeah, that is. Our review
was an hour and thirty five.

Speaker 1 (02:27:48):
That's so much longer, doesn't it? Does it?

Speaker 2 (02:27:51):
Does that wild?

Speaker 1 (02:27:52):
That is beautiful?

Speaker 2 (02:27:53):
Then that wild God.

Speaker 1 (02:27:55):
I'm surprised we shrunk it down the right don't have
to because yeah, we went on for hours and hours
and then like whatever did there was just our best
recollection of that bitching session.

Speaker 2 (02:28:03):
Yeah. Our Man of Steel review was two hours.

Speaker 1 (02:28:06):
Oh.

Speaker 2 (02:28:06):
Our Man of Steel commentary was two hours and twenty
five minutes.

Speaker 1 (02:28:09):
The extra we added that there was. The third extra
thirty minutes was me defending Man of Steel versus The
Dark Knight Rises, where there was no there was. The
defense did not show up to court that day. The
prosecution went on for an hour and a half and
then defense went.

Speaker 2 (02:28:25):
Our Superman Man of Tomorrow review thirty four minutes. That's
how long it took us to go.

Speaker 1 (02:28:29):
This sucks all right as well, not as compelling.

Speaker 2 (02:28:37):
No, anyway, if you do listen to the Man of Steel
commentary track rather than the recap and review, I do
think the commentary track I'm much more happy with the
movie more flattering of the movie because by that point
I'd seen it a bunch of more times, and I
was more on board with what Snyder was doing.

Speaker 1 (02:28:53):
It's true, yeah, or I was more.

Speaker 2 (02:28:55):
Open to it anyway. Like I still disagree with most
of his choices. I think I just was more to
accept it.

Speaker 1 (02:29:01):
Yeah, it had a different context by the second time.

Speaker 2 (02:29:04):
Yeah, anyway, Yeah, until next time. Finally, keep some DC
on your screen.

Speaker 1 (02:29:11):
Bye.

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