June 28, 2026 • 48 mins
In this no frills, no commercials, and no production design whatsoever episode of No Win Scenario, Don and Trevor dig into Disclosure Day, Steven Spielberg’s new science fiction story about alien contact, political fear, and the fragile state of human empathy.
On the surface, Disclosure Day is about what happens when humanity learns we are not alone. But the bigger question may be what happens when people are asked to care about someone, or something, they do not understand. Spielberg uses the familiar language of first contact to explore a very current anxiety: have we become too divided to respond to the unknown with curiosity instead of suspicion?
We talk about the film’s political undertones, its treatment of empathy, and why science fiction remains one of the best genres for examining the present without simply lecturing the audience. Disclosure Day may be about aliens, but like the best Spielberg stories, it is really about people.
No Win Scenario is a sci-fi podcast where two friends who hate each other talk movies, television, storytelling, worldbuilding, and the future we probably deserve.
On the surface, Disclosure Day is about what happens when humanity learns we are not alone. But the bigger question may be what happens when people are asked to care about someone, or something, they do not understand. Spielberg uses the familiar language of first contact to explore a very current anxiety: have we become too divided to respond to the unknown with curiosity instead of suspicion?
We talk about the film’s political undertones, its treatment of empathy, and why science fiction remains one of the best genres for examining the present without simply lecturing the audience. Disclosure Day may be about aliens, but like the best Spielberg stories, it is really about people.
No Win Scenario is a sci-fi podcast where two friends who hate each other talk movies, television, storytelling, worldbuilding, and the future we probably deserve.
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Episode Transcript
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Speaker 1 (00:00):
All right, let's discuss Disclosure day. I saw it recently,
you saw it before me. What do you think, tremor?
Speaker 2 (00:07):
I was really.
Speaker 1 (00:10):
I was.
Speaker 2 (00:10):
I was really surprised by it. Not that I'm saying
I'm surprised by Spielberg. Make it a great movie. It
makes most of his movies are are pretty great. I
thought it was a bit different for him, for I
think he has a tendency to keep his his kind
of political statements and his entertainment family entertainment, very very,
(00:35):
just as far away from each other as possible. You know,
you got Munich on one end and Jurassic Park on
the other. I felt like this time he is was
bringing them together and interesting. I thought it was bold,
and I you know, I'm not I'm not hot on
(00:56):
the script or specifically the dialogue. I mean, you know,
I don't David Kep is fine. I I but I uh,
I found the storytelling far more compelling than the story,
which is, you know that happens that happens with Spielberg regularly,
(01:21):
not regularly, It's happened more than once.
Speaker 1 (01:25):
I can't believe I'm about to say this, but I
think we need to unpack all of what you said,
because there was a lot going on there. It was
it was you ate your wheaties this morning.
Speaker 2 (01:34):
I mean, what did you think? Like, what did you think?
Speaker 1 (01:36):
Yeah? You thought I would hate it first? Yeah, I
mean you thought I would hate it. You called me,
said I like this movie a lot, or you loved
it or whatever it was, and you and you said
to me, don you will hate this movie.
Speaker 2 (01:45):
And I said, I think it's very flawed. And I
thought that those flaws were going to grate you to
no end.
Speaker 1 (01:54):
So you were one to get wrong. I don't know
if I liked the movie or not. I think I'm
very conflicted. But I think I had a better reaction
to it than you thought I would. But yeah, I
think there was definitely issues with the screenplay. The dialogue
was strange and off at times. You know, I go
back to it one moment and Emily Blunt's character says,
(02:16):
I don't want to be anyone's religion, when like a
woman crossed and kneel down and like that came out
of nowhere, and I'm like, I kind of ground, I
mean it sort of did. The themes are there, but
that people I don't know, all right, Yeah, Okay, I
mean I just kind of went I had like a
visible like is this coming from? But I love the ending,
(02:36):
but I want to before we kind of unpack more.
You know, you mentioned that this is a political film,
and I wonder how many people see this movie as
a political statement of sorts, you know, and so maybe
we could talk about that, Like, for one, you told
me you use that word, and that made me want
to go see it. And right off the bat, you
have what this like UFC match and there's like red
(02:57):
hats all around and I'm like, oh boy, this is
going to be something. And but then that kind of
gets buried for a while a couple hours until you
hit that your hit with that last line. So this
is a spoiler filled I guess episode of you know.
Speaker 2 (03:10):
No way to discuss this film in any depth whatsoever
without spoiling it. So please, if you haven't seen it
and you don't want it spoiled.
Speaker 1 (03:20):
Just listen to the ads. No, we're not doing any ads.
We're not doing a whole episode in the studio. We
just wanted to come on and talk about this film
while it was fresh. But yeah, how much politics was
in here? Or what am I not getting to because
there was the beginning sort of you know, well, allusions
to uh maga, and then at the end listen like
it was all about being empathetic towards one another.
Speaker 2 (03:40):
And very often, Yeah, empathy has been politicized, and he
I mean, I think it's sad that to to discuss
to discuss empathy means it's a political statement. But like
I can tell you from from personal experience that empathy
(04:07):
was frowned upon in my household growing up. I mean,
my father literally thought of empathy as a weakness, but
he also thought of it as an emotion. He'd never
even had the correct definition of it, which is it's
not emotion at all, that's sympathy. Empathy is a thought
process that could lead to sympathy. Who knows, But this
(04:28):
was this was what was fed to him with all
of the men I won't say specific names, but all
the crazy radio that he was listening to. And as
you can see, in the last eight or ten years,
there has just been this war on empathy. So if
(04:50):
you are going to talk, if you're going to make
empathy the main theme of your film, and if you're
going to end your film with one word, listen, listen
like whether you like it or not. In these times,
you're making a political statement, and I mean, he's not
(05:16):
people think that, well, I don't know if people think that.
People may think that he's not somebody who makes political statements.
And oh, I highly recommend you go watch Munich because
holy crap, I don't enough.
Speaker 1 (05:33):
But is it enough of a political statement or is
it like could the criticism be that it's like a
little easy right here? You have like a liberal Hollywood
filmmaker basically saying we need to listen to on each other,
you know, to understand each other better. Is it? You know,
is there something criticism there? Is it maybe a little
too superficial?
Speaker 2 (05:53):
I don't find in this climate, I don't find it
any of it superficial. I don't find.
Speaker 1 (06:00):
Or is it too cautious? Is it too cautious to
be safe so that it'll be a mass market film? Right?
Because listen, I just we just applied for a grant here, yeah,
for documentary that we're working on, a development grant and
we had to be very careful. Certain words and phrases
and thoughts were not in the grant yep, even unintentional,
(06:21):
not even for the meaning they were. But just because
they could be flagged as oh, we have an automatic
rejection because of these words the documentary.
Speaker 2 (06:30):
I've been I've been reading a lot about the state
of the documentary, uh in today's market.
Speaker 1 (06:39):
And sorry, Trevor, what are you doing reading? I know?
And were you also reading a sentence by Don Checkter
available now?
Speaker 2 (06:49):
I was, I was reading. I was reading, you know, for.
Speaker 1 (06:53):
Your for enjoyment.
Speaker 2 (06:54):
Yeah, I was reading a lot of articles on indie
Wire are talking about how there's a lot of documentaries
out there and nobody is buying.
Speaker 1 (07:07):
Nobody is buying.
Speaker 2 (07:08):
Yeah, And and festivals documentary filmmakers are really just exacerbated,
well like other they they basically are showing their films
at festivals and that's the only time their films are
being are being seen because nobody wants to distribute anything
(07:33):
and it and from what I understand, a lot of
these documentaries aren't even controversial or anything. It's just distributors
these days are afraid of everything because.
Speaker 1 (07:44):
I'm not sure companies are being bought.
Speaker 2 (07:47):
Parent companies are certain parent companies are being bought by
certain people, and these media conglomerates are being consolidated and
they they have control, they have control. I think there's
more to it. I mean, definitely that plays a part.
But I think for like the independent folks, a lot
(08:09):
of it's just the market's not there anymore. I mean,
I just you know, was one of the producers on
an indie feature and that got sold, and it's you know,
very hard to get sold to make any money because
there's just not the market. It's not like when you know,
Netflix is buying up everything in sight and everybody was
struggling to keep up.
Speaker 1 (08:26):
Right.
Speaker 2 (08:27):
I agree that the the documentary bubble where all the
streamers were buying every every garbage documentary out there and
there was a lot of tread and they were just
gobbling it up for content. That that's over. But that's
that's been over for a few years. This is this
is a whole other level where I mean, but let's.
Speaker 1 (08:46):
Get back to Spielberg. Yeah, let's get back to disclosure today.
So okay, so it's a political statement.
Speaker 2 (08:51):
But basically what I'm saying, I don't think in the
yes it comes across. It may be simple, but I
think in these times it it works really well. You know,
Let's see how it works in ten years, if we're
all still alive.
Speaker 1 (09:07):
Well, some of us are older than others.
Speaker 2 (09:09):
That is true. That is true.
Speaker 1 (09:11):
If I'm still happy birthday, by the way, thank you,
thank you. Trevor just turned a significant milestone birthday.
Speaker 2 (09:17):
Yep, and with it a lot of medical problems.
Speaker 1 (09:23):
I mean appropriate.
Speaker 2 (09:24):
Yeah, that threshold I hit that threshold age and my
body just that doctor's appointment was pretty sad.
Speaker 1 (09:36):
Yeah. Sorry, Trevor. This is not your tender profile. This
is no one scenario podcast.
Speaker 2 (09:44):
Okay, So I feel like we're dragging here.
Speaker 1 (09:48):
I'm going to keep this all in my friend all
eg people need to see the unvarnished truth of these
podcasts when we have no plan and we're like, let's
just talk and see what happens. Okay. So we talked
about how it was political. You know, we could start
the end, we could start the beginning of the middle.
I love the end. I thought the I really appreciated
how I was concerned. Let me say that he was
just going to like start disclosure and go to black
(10:11):
and that was it. So I really really appreciated that
we actually got to see, like this made up a
map of disclosure, a video disclosure. It would have been
cool to incorporate some more real world stuff, but you know,
it was close.
Speaker 2 (10:27):
I know she's not going to qualify, but I really
think that news anchor, she's not going to get a nomination,
she deserves something.
Speaker 1 (10:36):
Oh my god, that was the best performance I've seen
in quite That was the most accurate human performance I've
seen a.
Speaker 2 (10:42):
Very long an amazing performance.
Speaker 1 (10:44):
Yes, who was the actress? Trever? I don't know? You
don't know? Okay, Well, while you're not going to bother,
I'm going to let you look it up. So I
really like that. You know, did I want more of
the movie at the end? I did? How about you?
I mean, I understood why it ended when it ended
(11:05):
with that word, but I wasn't know.
Speaker 2 (11:07):
I got I thought I thought the word was perfect.
Speaker 1 (11:10):
Well, this makes sense. So the breakout news actress in
Steven Spielberg's sci fi thriller I'm reading this from our
AI overlords at Google is Courtney Grace, a former real
life TV news anchor who transitioned to acting full time
in twenty twenty three.
Speaker 2 (11:23):
See I makes I honestly recognized her. It was she
with a California affiliate, because I may have seen her
when I was living in California.
Speaker 1 (11:34):
I don't see that here. She did film this one
shot scene inside the actual NBC studios at thirty Rock.
Oh wow, it's been Wiley, like you said, it's been
a great a great performance there. So yeah, I mean,
you know, being an anchor being on TV is some acting.
So the fact that you know she could craft this
performance and it seems.
Speaker 2 (11:54):
So real, it was great.
Speaker 1 (11:55):
It was great. It was wonderful.
Speaker 2 (11:58):
And you know, you weren't you weren't that hot. The
Emily Blunt performance.
Speaker 1 (12:02):
I thought it was fine. I didn't love the character
as much. Oh the performance fine. The character felt a
little one dimensional from the start, which is fine. I
mean I think the oddest one of the oddest things
about the film, and there's odd things. It was like
a little random these too, like again like two white
like Americans are the ones that were chosen to do this.
That seemed a little too convenient, Like yeah, and again
(12:23):
it's not a racial thing. It's like, you know, it's
a whole planet, Like it was one thing if there
were pairs around the country, around the world, and these
this is the story of dis pair that we followed.
But like it felt a little bit like it's a little.
Speaker 2 (12:35):
These two people in America.
Speaker 1 (12:38):
Get to each other.
Speaker 2 (12:39):
I'm not saying it's impossible. I've just said it. It
was story. It was it was too convenient.
Speaker 1 (12:50):
If it was like two like farm kids from you know,
where their farms were visited and it fit in that mythology,
then okay, they plucked out there was an alien crash,
an alien visitation in Iowa and somewhere else, and you know,
they plucked out two kids from their farmhouses and did it. Okay, fine.
They didn't seem to be a rationale that I picked
up on and why it was these two people, and
(13:12):
you know you wouldn't need that, but because it was
so convenient, I felt like I wanted some rationale for
why it was them, right, So you know, I thought
she did very good Emily Blunt. I just didn't think
I just didn't find the character that interesting to me, so,
you know, but it was a different role for her,
which was you know, she definitely did something with it,
(13:33):
for sure. I don't know, what do you think?
Speaker 2 (13:36):
I thought she was amazing. I the best performance I've
seen so far this year is End Day Never At
in a film called Obsession, which is like burning up
the box Office. I mean I I that is, I
was convinced I wouldn't see a performance that would come
(13:58):
even remotely close to that, And Emily Blunt's performance for
me came came, came close.
Speaker 1 (14:04):
Like it.
Speaker 2 (14:05):
I don't think it's better, but it came, it came close.
I think it is. I don't think it's her greatest performance,
but I only think I think only she could have
pulled it off. I think it required uh quite the
balancing and act.
Speaker 1 (14:23):
And well, it was good that she kind of did
like not dits, but like went from like dits to
like being able to speak Korean and you know and
all that stuff. So I think that was part of it,
to kind of start it like a more superficial level,
right right, even though she wasn't clearly going to be
that way, but that's how she was portrayed by her
job things like that. So Colin Firth, though, I want.
Speaker 2 (14:44):
To go back to the ad with literally just going
to ask you about Colin Firth.
Speaker 1 (14:50):
What bothered me about the end was him just sitting
in that chair. You know, after all that he does
give up, but he had to be there. Was he
knew he I couldn't do anything so I get why
that was there, but it didn't feel wrapped up to me.
Speaker 2 (15:06):
His characters I totally, I totally agree with that, Like
it didn't feel wrapped up, but that didn't bother me
at all. Yeah, I mean, I I saw him as
in that moment defeated, but who knows, I mean, who
(15:28):
knows if he's going to give up. I mean, to
people with that much money give.
Speaker 1 (15:33):
Up, Well that to it and all. Yeah, that's true.
Like I just I kind of wanted not that he
give up. He knew he couldn't do anything at that moment,
but I kind of wanted a button to his story
or something. Yep, you know, he was kind of the
mustache twirling bad guy for most of it with some
(15:54):
at the end they tried to throw and think about
his wife or whatever. All that kind of seemed to
come out of nowhere in this film. As part of it, too,
is this film is not the movie that people think
it is. Like you, there was the trailer for this film,
or the teaser than the trailer, and I don't think
that's the movie I saw. And I think the people
who didn't like it maybe didn't like the fact that
this wasn't the movie they thought it was going to be.
(16:15):
There was a lot more not supernatural, because it's not supernatural,
but like the whole, like jumping in people's brains, thing,
the whole, like showing up as someone else. Thing that
was a lot more supernatural ish or fantastical technology than
I would have wanted for what I thought this film
was going to be. I wanted something more grounded, and
this was more out there. Yeah.
Speaker 2 (16:35):
Well, I mean, and I'm guilty of this too, but
you have to judge the film. If you want to
be objective about it, you got to judge it for
what it is, not what you want it to.
Speaker 1 (16:47):
Be, because that's the way the world works. But yeah,
I know, but.
Speaker 2 (16:53):
So I could. I saw it on preview night, so
the night before it opens, and these are the theater
was pretty full, and people that go on preview night
they're you know, they're they're ant up their fans and.
Speaker 1 (17:14):
And this was for your Mauver birthday, right, Yeah?
Speaker 2 (17:18):
No, Masters of the Universe was for my birthday.
Speaker 1 (17:20):
That is troubling. Please continue, well unpack that.
Speaker 2 (17:24):
Yeah, well, the next episode of Time, I could feel
in the first forty you could just feel it. You
could just feel it.
Speaker 1 (17:33):
In the room.
Speaker 2 (17:34):
In the first forty five minutes to an hour. It
lost a lot of people. And that's because and I
and I'm not I'm not I'm not judging people for
not liking this. I personally enjoy a film that starts
like an enigma and I have to piece it.
Speaker 1 (17:56):
It puts you right in the middle of the action
off that like, you don't know who this guy is,
what the back person.
Speaker 2 (18:01):
Hour, you don't know what's going on.
Speaker 1 (18:03):
We don't need it, we don't need it early on,
he agreed.
Speaker 2 (18:06):
I agree here, I don't need any of that stuff.
Speaker 1 (18:09):
That's like we're on the screenwriting is start the story
as late as possible. I actually wonder it was as
late as possible. But also was it necessary a lot
of that first forty five minutes?
Speaker 2 (18:20):
I think, yeah, I think it. I think it was
too much for general audiences, and that that is okay.
Speaker 1 (18:29):
Yeah. See my issue with the opening, not the opening
the first forty five minutes or hour is not how
it opened, not not understanding it, but it was like
too many scenes of him almost getting caught in escaping.
It was like one or two too many things. It
could have just been.
Speaker 2 (18:46):
You're talking about the jow Is josh O'Connor Joshuah Connor's character.
Speaker 1 (18:50):
Yeah, he could have just like slipped by them with
the thing, got away once, but then it was like
this place that it was a chase, then it was
the nunnery. Then it was the hotel, and it was
the motel, and it was all these things, and then
it was like, you know, it just seemed like it
was too many things just to get him, you know
that you didn't necessarily need. So for me, it wasn't
the enigma of the opening. It was that there were
so many pieces to get somewhere that we could have
(19:11):
gotten half as much time, right because that you know,
a little action thing or someone on the run, Like
that's not that new yep, you know. So you know
that's to me where it lost me a hair, but
just a hair. I still enjoyed it, you know, definitely
a movie that's fun to go to go see with
other people.
Speaker 2 (19:28):
I thought it was a blast. Yeah, it also really
moved me. I was really shocked by how emotionally how
much it impacted me.
Speaker 1 (19:39):
Well, again, it was because it was around your birthday
and you know, there's only so many days left for
you here my friend, and you know this could be
the last movie you see me.
Speaker 2 (19:45):
It's funny, you joke, but you're not You're not all
that wrong either.
Speaker 1 (19:50):
You know now you're going to make me be the jerk. Here.
See he's teasing me everyone before we hit record. He
just mercilessly teases me if I bring out Ascendance by
Don Scheckter. I see, you know, And now I make
a joke like that, and it's like, I'm the bad guy.
I'm the bad guy. I guess. So I thought I'm
like the clown. I was. I was on a podcast
(20:12):
called Amusing Jews. I'm like, am I a clown? What? What? What?
What is this? But it was actually really fun. That'll
be out of a month or so.
Speaker 2 (20:21):
I uh, But.
Speaker 1 (20:22):
When you watch the movie again, Trevor, because like.
Speaker 2 (20:24):
Absolutely I wanted to go see it in the theater again.
I just haven't had I just haven't had time.
Speaker 1 (20:29):
Oh we should go see it together? What no?
Speaker 2 (20:33):
I said, I'd love to go see it again. I
told you after Dune Part two, I'll never see a
movie and I'll never go see a movie with you ever.
Speaker 1 (20:43):
You and we've covered this in other episodes. You think
that I was like twitching or talking or something. I
think that was you eating your bucket of popcorn and
Eminem's the entire time you objecting that action onto me.
Speaker 2 (20:56):
You were so loud, it was so embarrassing.
Speaker 1 (21:01):
What was I doing? I was so loud in my
chair movements. They were really talking.
Speaker 2 (21:06):
You are da da da you were I hate this.
I hate this part. I hate this part. I hate this,
I love doing part two. Bar dem this Harv he
was a I hate this hery blah blah blah. I
hate everything. And I'm like, what is wrong with you?
That's me, Like you're being me right now, like what
what do you?
Speaker 1 (21:24):
This is why? Which brings me to Wyatt Russell? What
do you think of Wyatt Russell in Disclosure Day? I
kind of got a chuckle when I saw him. He's,
you know, Curtin Goldiehan's uh Son. He was in Monsters
on Apple TV. He's like the bad Captain America or
whatever in Marvel. I have a sort of connection to
him many many years ago. I was almost many years ago,
(21:44):
I don't know, fifteen twenty years ago. It was almost
almost a like consulting producer or co producer or something.
I don't remember on a film that he was in
called Folk Here and Funny Guy that didn't work out.
It moved from Boston to Georgia because of his schedule,
and it was the year of the snow apocalypse here
in Boston, so it would have worked filming up.
Speaker 2 (22:04):
Wow that that Wow?
Speaker 1 (22:07):
Is that twenty sixteen or so? Twenty fifteen a long
time ago. So for a brief moment, I was kind
of involved with this film or going to be involved
with this film, and he was in it. So I
always chuckle when I see him because I came close
to at least being around his orbit prior to his success.
But yeah, what do you think of his character? I
thought his character was good. It was it was him.
It's the roles he tends to play. And he's the
(22:29):
boyfriend of Emily Black.
Speaker 2 (22:30):
No, I know he was. He was fine. I didn't
see I didn't. I couldn't see what he saw what
she saw in him in terms of a relationship partner.
But that ultimately, that was that point. That was the
point they you know, they don't work out.
Speaker 1 (22:47):
Right, they don't work out And that was fine. Yeah, yeah,
it just it was just again, little moments like that,
they could have added to the character depth without having
so much of Josh O'Connor's you know, being on the
run kind of right, And what about the Josh's I
just don't remember any character names, which is sad. Just
see the movie. But his girlfriend with the whole religious back,
(23:08):
she's fantastic.
Speaker 2 (23:09):
Yeah, I I I like her a lot. I thought
she was finn I thought she was so great. I
loved loved the scenes when she would get taken over
by and the and the style of the film would
literally go into Hitchcock mode. I mean like right, like really,
(23:31):
I mean that's where it becomes Hitchcock.
Speaker 1 (23:33):
And in general, the direction is great, right again, the
whole film, the direction is great. Spielberg's great. It's not
his script, and it feels like it's not his script.
Speaker 2 (23:41):
I mean he doesn't to I mean he doesn't often
write his scripts. He wrote them in the beginning, yeah,
and he's wrote he's written a few since that. I
think what he does is that he takes, you know,
the script. Here's the thing. We criticize the script, but
the script is never the script. You and I both
know that the director and they go through rewrites and
(24:06):
it changes filmmating is improvising you know lines, you know,
changing lines here, improvising lines there, like it. And I've
always assumed that he has the ability to change things up.
Speaker 1 (24:23):
I mean not the.
Speaker 2 (24:23):
Ability, that he has the clout to change things up.
And I think he I think he does. I again,
I think his The story is not what.
Speaker 1 (24:37):
Brought me in.
Speaker 2 (24:38):
It's again his storytelling and I with camera work that
I was blown away by, Like again, this is what
he's the master of. He's the master of staging the
relationship of how the actors are choreographed along with the camera,
and every every choice is is perfect. I know so
(25:01):
many people are mad about the fence scene where he's
like ducking down and none of the agents can see him.
I didn't care about that at all, because that shot
that weaves around the fence, Yes, and he goes into
the car and somehow he's able to do it without
(25:23):
being showy. I think that's Spielberg's genius.
Speaker 1 (25:26):
Without being showy is correct.
Speaker 2 (25:27):
Yeah, he could, although it felt.
Speaker 1 (25:29):
Like I agree with you, I just felt like it
didn't feel as gritty as like the Children of Men
kind of car. See.
Speaker 2 (25:35):
But I don't think he's going for that.
Speaker 1 (25:36):
Yeah, but it was kind of sick, but also like
the rationale. Again, I thought it was such good craftsmanship,
but then the rationale this guy like stealing the car
then driving into the house to get the girl who
happened to just be there. Like there's a few logical
things that as they were happening, It's one thing if
you think about it after, like, Okay, I didn't notice that,
Like during the film, people are distracted, Like how could
(25:58):
no one see him the fence? Like how did he
know she was just sitting there staring to space? And
could scoop her up in time? Like those things? It
looked like it was a little bit more of a
film exercise than it was something that made sense in
the story for a person to do.
Speaker 2 (26:11):
Here's that not fair? Yes, that's totally fair. I think
this is where this is where I am as a viewer,
and I think you know this about me. Let me
give you an example. Last night I saw a Supergirl,
and I thought Supergirl. I was surprised by how bold
and adventurous the screenplay was. Unfortunately the storytelling and I'd
(26:37):
love for you to see it's just so you could see.
Speaker 1 (26:39):
What I saw with the editing.
Speaker 2 (26:41):
I mean, my god, it looked like a rough cut
like that, like real first pass. Really, like I haven't
seen editing that bad. Either the editing's bad or they
just didn't get enough coverage. Wow, Like it is shocking.
Speaker 1 (26:58):
It's that messy. Yeah.
Speaker 2 (27:01):
Yeah, and it's too bad because they've got the story,
they've got the lead. The lead, she's fantastic. And here's
an example of the dog. Yeah, the dog's awesome. The
the story is bold, you know, I not maybe not
(27:22):
so much the screen writing, but the themes, the the plot.
Speaker 1 (27:27):
I think it.
Speaker 2 (27:28):
I think it's adventurous, but it's just not well made
and not well told, and it's really it's a real bummer.
Go to Disclosure Day, which again I think this the
the themes, the the plot mechanics. Again, I think these
are bold and adventurous. You know, the dialogue and the coincidence,
(27:51):
you know, that's another thing. But it's it's so well made,
it's so well told that it gets it gets by
for me. I think that's an example of two movies
that I think we're both kind of adventurous. One of
(28:13):
them was told very well by a master director, and
one of them was not. And I don't know if
even in the case of Supergirl, I don't know. Maybe
the studio took it and cut it like I don't know,
But either way, one of them's told well the other
one is not.
Speaker 1 (28:30):
Trevor. I'm concerned because we have this sort of aura
around us where I'm the charming, dashing host who's funny,
and you're the film snop who knows a lot. But
I think for people who might be listening or watching
to this right now, your frame of reference has been
Masters of the Universe and Supergirl. So can we take
(28:50):
you seriously when you say Disclosure Day is a masterpiece?
If that's the two Disclosure Day, it's a masterpiece.
Speaker 2 (28:56):
But I do think it will, uh, I do. I
hope it emerges.
Speaker 1 (29:07):
As one of.
Speaker 2 (29:09):
Spielberg's better to best film films. But also keep in mind,
I loved, loved, and I will defend every I loved
his remake of West Side Story. I actually think it's
better than the original. Really a camera work that you
want to see his staging and his camera work, Like
(29:32):
even Guaemo del Toro made a whole thing about it.
It was like the camera work is like the most insane.
It's This is why he's a master. It's unbelievable what
he does without being showy. And I felt I felt
a lot of the same way with Disclosure Day. It's
just he was having he was having a lot of
fun telling the story, and I thought it was very infectious.
Speaker 1 (29:56):
Well, I am seeing our analytics in real time here, Trevor,
and the moment you brought up with side story and musical,
our viewer.
Speaker 2 (30:01):
Dropped right, dropped substantially, didn't We're.
Speaker 1 (30:04):
Gonna miss you, Sandy. Your cat just left the building? Yeah?
Was there something you're looking forward to? Or is there
anything else you want talking about Disclosure Day again?
Speaker 2 (30:19):
I thought the camera work was excellent.
Speaker 1 (30:22):
Uh.
Speaker 2 (30:23):
People were like, what was up with all of the
lens flares? Why is he doing Abrams? And I was like, no, no, no, no, no,
jj Abe. Spielberg has been doing that since Minority Report. Yes,
Abrams took that from yes from him and like, Abrams
beat it to death. I don't think it was that
necessary in this film. I actually thought it made it
(30:45):
look longer.
Speaker 1 (30:45):
It didn't bother me at all.
Speaker 2 (30:46):
I will admit that there's a lot of it. It
did not bother me at all because I felt like
the lens flares were a just just a suggestion of something.
They're worldly out there.
Speaker 1 (31:01):
Yeah, And I guess for me, the things that I
sort of bumped on the most were things that distracted me.
Like we talked about with the chase and the lens
flares a little bit, and then I wanted something that
was much more grounded in reality. So then when they
introduced the technology and never really got into what that meant.
You can get into someone's brain and stuff like that,
and they had it, it's fine, and the person disappeared
(31:23):
and then came back and all that stuff like, so
it hints that there's this abduction and there's this you
know technology. I just felt a little too many fantastical
things and that was part of it, that it made
it less like a real world disclosure and event, which
is why I feel like at the end it kind
of came back to the real life because we're just
a new station. Oh, we got to talk about this
before we go, just because someone's playing back video that
(31:46):
every network is going to now take it as fact
and like, yes they have the oh our ai pixel
says this is true pixel whatever it was, And that
was the reason that everyone else picked up as real.
That was ridiculous, And I know they needed it because
it was the end and disclosure was pressing play. But ultimately,
ultimately this movie was about pressing play in a bunch
of video and people accepting that. I feel like theyre needed.
(32:09):
That's a little bit of a cop out. I feel
like there needs to be and I'm really not doing
this to sell my book Ascendence. Oh my god, there
is seriously, come on, but there is something. But there's
something in there that people believe. And I struggled with
how to make it seem realistic that people would believe
this thing. And I don't think that pressing play in
(32:31):
like a small, you know, a relatively small market news
station would be sufficient. But what are your thoughts? And
I don't have an answer for what would have been better?
But that seemed just like that's it. It It seemed
it seemed like it.
Speaker 2 (32:57):
I'm not saying it seemed real, realistic, it seems and possible.
I mean, I remember, I remember very clearly the nineteen
ninety three NBA Finals, and all of a sudden it
cuts away from the finals, the NBA Finals, and it
(33:17):
cuts to a white Bronco on the highway.
Speaker 1 (33:22):
Right, But that was an event that was happening in
real time that they could say, this is happening, we're
seeing this, we're filming this now. I wasn't born to know.
Speaker 2 (33:29):
I was young, but that is absolutely not true.
Speaker 1 (33:33):
But but that's not the right analogy though, because once
up breaking news event that's happening in real time, other
networks are going to say, hey, an anchor in St River,
sand Lewis whever was is playing back video Like I
just feel like, journalistically, that's.
Speaker 2 (33:47):
I hear what you're saying. I to me, I see,
I don't think that the people that are running these
TV networks stations are thinking in terms of journalism. I'm
thinking I think they think they're thinking in terms of
advertising dollars, right, And so they are going to go
(34:09):
to the thing whatever it is that's going to bring
them the most eyeballs for their advertisers. And then it
just kind of they just got roped into this worldwide
event where it didn't even it wasn't even going to
be about advertisers anymore.
Speaker 1 (34:28):
It just wasn't a thing. I don't know, it just
it seemed unbelievable, more so.
Speaker 2 (34:34):
Than the alien to me, I can always count on
human greed, uh for that?
Speaker 1 (34:40):
I mean that that. Yeah, I'm with you.
Speaker 2 (34:43):
It's a big, big stretch, but it wasn't that big
of a stretch for me.
Speaker 1 (34:48):
And what do you think about Grandpa Alien? They're coming
in at the end out of the nursing home.
Speaker 2 (34:55):
I mean, what, what did it bother me?
Speaker 1 (34:57):
Or? No? Did you like the look? Would you just anything?
I thought they did a good job. Yeah. I thought
there was to be more of him, to be honest,
a little bit more because they they kind of foreshadowed
him so much, and I thought there would be a
little bit more of like he was tormented. Yeah, right,
did I miss? Did I understand that currently he was
the one that was experimented on that they let, they
let escape?
Speaker 2 (35:18):
I believe so.
Speaker 1 (35:19):
I think that's why I just thought there would be
a little bit more of there. Again, if the forty
five or first forty five minutes or hour was twenty
or thirty minutes less of a car chase and hotel bit,
I think there would have been more room to deepen
this story a little bit.
Speaker 2 (35:33):
Yeah, I mean I think it's it's a film that
I'm going to watch many times over I think.
Speaker 1 (35:45):
You'd like it less the second time.
Speaker 2 (35:46):
I really do well, I think that's I think that's
I think you're right. But I think I'll have a
better grasp of it too. I mean, I I don't Again,
I think it's very flawed, but I also feel that
he he went he just he went for it. And
I appreciate films that rm that are ambitious and flawed.
Speaker 1 (36:10):
Most of the time.
Speaker 2 (36:11):
I prefer those over something that's, you know, done, that's
done well but pretty standard.
Speaker 1 (36:21):
Is there anything you're looking forward to before we before
we move off a disclosure day? I want to say
one thing. I remember this.
Speaker 2 (36:28):
I just remember the score being excellent, and I I
was like, huh, I wonder who scored it? And only
because I knew Spielberg had like worked with Thomas Newman
in the last ten years, and uh, And I just
made this assumption that John Williams was out of the game,
(36:50):
and I was stunned when I saw his name there.
Ninety four years.
Speaker 1 (36:57):
Old, still younger than Shot I think, I.
Speaker 2 (37:01):
Mean literally, he's literally younger than Shatner, right, yeah, and
he's he's still doing that. I mean, unbelievable, great, great, amazing.
Speaker 1 (37:14):
Yeah, you know I was. I was listening to on
the car right over to my office this morning, Kiss
the Ring, the song the track from Dune two from
uh yeah, yeah, what's his face? Zimmer? Zimmer? Excuse me
on Zimmer like this guy, small track. I wish it
was longer. Unbelievable. He just calls this Kiss the Ring
and it's this amazing piece. Anyway. Yeah, no, I agree
(37:35):
with you. The score is amazing. It's amazing, Williams. It's
still going.
Speaker 2 (37:39):
Uh okay. What am I looking forward to? I'm already
looking forward to season two of Widow's Bay because season
one was awesome?
Speaker 1 (37:48):
Was it?
Speaker 2 (37:49):
Okay? Not fantastic? So give me that season two asap.
Speaker 1 (37:54):
We got Silo coming out soon.
Speaker 2 (37:56):
I got to start that.
Speaker 1 (37:57):
I I have not.
Speaker 2 (37:59):
I have not started it. What am I looking forward to?
It's so funny. I'll tell you what I'm I mean.
I'm obviously I'm gonna go see it in IMAX, but
I am not looking forward to the Odyssey.
Speaker 1 (38:14):
You know, it's funny. I'm the same way there's Yeah,
I'm gonna go see it. Yeah, take me with you
because I'm very curious.
Speaker 2 (38:22):
No, I'm absolutely not taking you with me.
Speaker 1 (38:24):
You were so sensitive. It seems a little dopey to me. Yeah,
the acting, like the actors stand out so much that
I'm like, I don't know that I could like not
laugh at this, but I'm gonna, I'm gonna try to
kind of.
Speaker 2 (38:37):
I'm worried about that that cast. There's some there is
some heavy hitters in that class in that cast, mixed
in with some serviceable actors who I don't think are
going to be able to hold a candle next to
(38:58):
the heavy hitters, and then there's gonna be a disparity.
Speaker 1 (39:02):
Well like who because like I haven't looked too much
into it, but like I love Matt Damon, I just
don't see how this is the right role. But let's see.
Tom Holland seems like what and halfaway I love, But
I again, I just feel so out of place. They
feel so modern to me, And maybe that's my own biases,
but I don't.
Speaker 2 (39:21):
I'm I'm open to be wrong and let me Oh
my gosh, let me tell you. I've been wrong about
Nolan many times. Like the first time I saw Tenants,
I was like, give me a break, And now it's
I think my favorite film by him, So really, yeah,
I think Tenant's incredible, But uh, I just I just don't.
(39:47):
Tom Holland is a serviceable actor. He does good, he's
a he's he's a really good Peter Parker. He does
a great Spider Man. I've really enjoyed him. Yes, I don't.
I could be wrong. I'm open to being wrong. But
just the little moments I've seen in trailers him, like
him sharing the screen with John Burnhall, Like, I just
(40:12):
I don't.
Speaker 1 (40:13):
I don't know. Yeah, I don't know.
Speaker 2 (40:16):
Yeah, I just if you're going to put somebody up
against John Burnhal, you better know what the hell you're doing. Yeah,
because that guy can, he can eat the screen alive,
half asleep.
Speaker 1 (40:32):
Yes, I'll completely agree.
Speaker 2 (40:34):
Yeah, So I'm curious. And then what else am I
looking forward to?
Speaker 1 (40:38):
Well? Toy Story five.
Speaker 2 (40:40):
The final season of The Bear dropped last night?
Speaker 1 (40:42):
Oh did it really? Yeah? I kind of didn't actually
watch the last season. I like the show. Yeah, never
got through the previous season.
Speaker 2 (40:49):
You should finish it, and then you should watch that
special episode they dropped a few months ago called Gary. Uh,
it's it's not called the Bear, it's called Gary, but
it takes place in It's.
Speaker 1 (41:00):
With the Bear cinematic universe.
Speaker 2 (41:03):
Yeah, exactly, and it's an excellent episode. And then I'm
seeing the new Jackass movie on Saturday. Oh god, I'm
looking forward to that.
Speaker 1 (41:11):
You know what's the funniest thing someone told me I
was talking, we were talking about some sci fi history,
and they thought that The Leftovers took place in the
same universe as Lost. Yeah. I could stop laughing. And
they're like, I haven't seen it. I'm like, I get it.
You don't see It's funny, but just for some reason
that crossover to me hysterical.
Speaker 2 (41:32):
I finally watched The Leftovers during the pandemic and I
could not believe what I was watching because.
Speaker 1 (41:40):
We should do a Leftovers episode. But give me the
blow down?
Speaker 2 (41:43):
Blown away by it?
Speaker 1 (41:48):
Man?
Speaker 2 (41:48):
Is it? That is a nasty, nasty show.
Speaker 1 (41:52):
It is. And I just will say that what I
really the most, the most, the one thing that I
really really really appreciated about The Life Dovers was the end.
It didn't go to a religious ending. It's it was
sci fi all along and it stayed sci fi. And
that's what I really like. It was so different because
(42:13):
so many shows and films in that era IRA era
moved towards spirituality and religion as the answer like Bouslar
Glactaga right and lost. But it didn't do that. And
I was very relieved because I love the show. But
like you just felt like that was coming, coming, coming,
and it wasn't that.
Speaker 2 (42:35):
So it also it also features a performance by Live
Tier of all people that scared me to my core.
And she is terrifying in that show. And it's a
it is a hell of a performance and that you know,
(42:56):
that's what happened. You give people good material, they'll deliver
a good performance.
Speaker 1 (43:02):
Well, Trevor, we started with Disclosure Day, we ended up
with something old like the Leftovers. We started with Ascendance.
Let's end with your old reactions. You want to talk
about front row reactions. Well, while yes, I have burying
at the end of the.
Speaker 2 (43:17):
Show, I have a YouTube uh channel where I produce
movie reactions. It is called front row Reactions. You can make.
Speaker 1 (43:35):
Eye contact, you cannot even make eye contact.
Speaker 2 (43:37):
You can find YouTube. What's the YouTube cha at front
row reactions? Uh? YouTube reaction was RoboCop. We've got Star
Trek four.
Speaker 1 (43:47):
On the way. Uh. We have well, and you're you
have a very popular episode that got you on the map.
Real quick, right, you did Star Trek two start.
Speaker 2 (43:57):
Your two Wrath of con got us on the map.
We were very shocked, and so we only have three
thousand subscribers. But we got into the YouTube monetization, the
YouTube partner program, which we are still shocked by, and
we've been able to monetize and uh, right now we're
filming reactions to the original start the you know, Star
(44:21):
Trek tos. That's when we're going to make the jump
to Patreon and stuff like that.
Speaker 1 (44:27):
Am I close? How many pennies close?
Speaker 2 (44:29):
How many pennies?
Speaker 1 (44:30):
Yeah?
Speaker 2 (44:33):
Uh, more than a couple hundred dollars. I mean from YouTube,
it's not a lot. The real money is when you
hop over to Patreon, correct, which is what we are
in the process of prepping for now.
Speaker 1 (44:48):
Well, I wish you luck. So that's bank front Row reactions.
Speaker 2 (44:51):
At front Row reactions on YouTube starring Heather starring Heather.
Speaker 1 (44:55):
So you don't get to hear or see Trevor.
Speaker 2 (44:58):
It don't see me, but do hear me.
Speaker 1 (45:00):
It's all giggling in the background.
Speaker 2 (45:03):
You I go by a different name on front Row reactions,
but I haven't watched it. Yeah, I know you haven't.
Speaker 1 (45:10):
I know you have, I'll watch it when you read
my book. Yeah, I know you haven't. Well, Trevor, I've
enjoyed this impromptu, uh new way of doing our podcast here. Yep,
we should do we should do our creators next.
Speaker 2 (45:24):
I was literally just going to bring that up.
Speaker 1 (45:27):
Always a step behind that thing.
Speaker 2 (45:29):
That I mean, that episode is going to be about
what's let's say four hours four hours. I think we
could get easily and without being boring. I think we
could get four hours out of our.
Speaker 1 (45:40):
G I think we got to go do it in
the studio and we got to be playing the same time.
I think it's got to be We're not gonna do
that twitch thing that people do. We're not gonna do
this riverside approach here or zoom. I think we got
to be in the studio and playing it and just
we'll let our crew just hit record and walk away.
Speaker 2 (45:55):
We don and I have We've we disagree on most things.
We've agreed on a few things, but I don't think
we've bonded over something as strongly as our graders.
Speaker 1 (46:09):
Yes, but also, you abandoned me the moment you got
me hooked.
Speaker 2 (46:13):
I just don't like doing things with you and the
few times I played with you, you got me killed
right away.
Speaker 1 (46:22):
I'm much better now. I know what I'm doing.
Speaker 2 (46:24):
I don't know what it is. You're like a magnet
for rats. Like whatever I played with, all the rats
just come and they kill us, and they take all
my good gun, they take my bait, my level for Betina,
and it's just like I.
Speaker 1 (46:39):
Was so much goop for you. I can just give
you some I have. I have a whole Trevor stash
that I can just donate to you.
Speaker 2 (46:46):
I need, I need, I need something. I need some humidifiers.
Speaker 1 (46:53):
Everyone's confused. Everyone who's listening now, they're not.
Speaker 2 (46:56):
I actually think there's some people who understand what we're doing.
Speaker 1 (46:58):
Well, if you guys actually want to hear and watch
us play and talk about our greaders, leave a comment
let us know. No Win Scenario podcast at gmail dot com.
No Wincinnaria podcast on all the socials. Is that right, Trevor,
that's right, And don't forget to do at front Row Reactions.
Speaker 2 (47:14):
At front Row Reactions, and don't forget to buy your
copy of The Ascendants by Don Checkter. It is a
it's it. I know we all can decide. Get it aside.
It is a good book, Don, It's a labor of love.
I watched Don work on it for many years and ed, really,
(47:38):
it's a passion project and it reads like that on
the page, and I highly recommend it. I know you
can't believe I said something positive. You're like, you're kind
of dumbfounded, but I highly recommend it.
Speaker 1 (47:52):
Folks. Next time, i'll hit record, because I don't think
we've been recording this whole episode. Say it again, say
my name? All right, Thanks everyone for listening and watching.
Thank you everyone, but bye, now bye.
All right, let's discuss Disclosure day. I saw it recently,
you saw it before me. What do you think, tremor?
Speaker 2 (00:07):
I was really.
Speaker 1 (00:10):
I was.
Speaker 2 (00:10):
I was really surprised by it. Not that I'm saying
I'm surprised by Spielberg. Make it a great movie. It
makes most of his movies are are pretty great. I
thought it was a bit different for him, for I
think he has a tendency to keep his his kind
of political statements and his entertainment family entertainment, very very,
(00:35):
just as far away from each other as possible. You know,
you got Munich on one end and Jurassic Park on
the other. I felt like this time he is was
bringing them together and interesting. I thought it was bold,
and I you know, I'm not I'm not hot on
(00:56):
the script or specifically the dialogue. I mean, you know,
I don't David Kep is fine. I I but I uh,
I found the storytelling far more compelling than the story,
which is, you know that happens that happens with Spielberg regularly,
(01:21):
not regularly, It's happened more than once.
Speaker 1 (01:25):
I can't believe I'm about to say this, but I
think we need to unpack all of what you said,
because there was a lot going on there. It was
it was you ate your wheaties this morning.
Speaker 2 (01:34):
I mean, what did you think? Like, what did you think?
Speaker 1 (01:36):
Yeah? You thought I would hate it first? Yeah, I
mean you thought I would hate it. You called me,
said I like this movie a lot, or you loved
it or whatever it was, and you and you said
to me, don you will hate this movie.
Speaker 2 (01:45):
And I said, I think it's very flawed. And I
thought that those flaws were going to grate you to
no end.
Speaker 1 (01:54):
So you were one to get wrong. I don't know
if I liked the movie or not. I think I'm
very conflicted. But I think I had a better reaction
to it than you thought I would. But yeah, I
think there was definitely issues with the screenplay. The dialogue
was strange and off at times. You know, I go
back to it one moment and Emily Blunt's character says,
(02:16):
I don't want to be anyone's religion, when like a
woman crossed and kneel down and like that came out
of nowhere, and I'm like, I kind of ground, I
mean it sort of did. The themes are there, but
that people I don't know, all right, Yeah, Okay, I
mean I just kind of went I had like a
visible like is this coming from? But I love the ending,
(02:36):
but I want to before we kind of unpack more.
You know, you mentioned that this is a political film,
and I wonder how many people see this movie as
a political statement of sorts, you know, and so maybe
we could talk about that, Like, for one, you told
me you use that word, and that made me want
to go see it. And right off the bat, you
have what this like UFC match and there's like red
(02:57):
hats all around and I'm like, oh boy, this is
going to be something. And but then that kind of
gets buried for a while a couple hours until you
hit that your hit with that last line. So this
is a spoiler filled I guess episode of you know.
Speaker 2 (03:10):
No way to discuss this film in any depth whatsoever
without spoiling it. So please, if you haven't seen it
and you don't want it spoiled.
Speaker 1 (03:20):
Just listen to the ads. No, we're not doing any ads.
We're not doing a whole episode in the studio. We
just wanted to come on and talk about this film
while it was fresh. But yeah, how much politics was
in here? Or what am I not getting to because
there was the beginning sort of you know, well, allusions
to uh maga, and then at the end listen like
it was all about being empathetic towards one another.
Speaker 2 (03:40):
And very often, Yeah, empathy has been politicized, and he
I mean, I think it's sad that to to discuss
to discuss empathy means it's a political statement. But like
I can tell you from from personal experience that empathy
(04:07):
was frowned upon in my household growing up. I mean,
my father literally thought of empathy as a weakness, but
he also thought of it as an emotion. He'd never
even had the correct definition of it, which is it's
not emotion at all, that's sympathy. Empathy is a thought
process that could lead to sympathy. Who knows, But this
(04:28):
was this was what was fed to him with all
of the men I won't say specific names, but all
the crazy radio that he was listening to. And as
you can see, in the last eight or ten years,
there has just been this war on empathy. So if
(04:50):
you are going to talk, if you're going to make
empathy the main theme of your film, and if you're
going to end your film with one word, listen, listen
like whether you like it or not. In these times,
you're making a political statement, and I mean, he's not
(05:16):
people think that, well, I don't know if people think that.
People may think that he's not somebody who makes political statements.
And oh, I highly recommend you go watch Munich because
holy crap, I don't enough.
Speaker 1 (05:33):
But is it enough of a political statement or is
it like could the criticism be that it's like a
little easy right here? You have like a liberal Hollywood
filmmaker basically saying we need to listen to on each other,
you know, to understand each other better. Is it? You know,
is there something criticism there? Is it maybe a little
too superficial?
Speaker 2 (05:53):
I don't find in this climate, I don't find it
any of it superficial. I don't find.
Speaker 1 (06:00):
Or is it too cautious? Is it too cautious to
be safe so that it'll be a mass market film? Right?
Because listen, I just we just applied for a grant here, yeah,
for documentary that we're working on, a development grant and
we had to be very careful. Certain words and phrases
and thoughts were not in the grant yep, even unintentional,
(06:21):
not even for the meaning they were. But just because
they could be flagged as oh, we have an automatic
rejection because of these words the documentary.
Speaker 2 (06:30):
I've been I've been reading a lot about the state
of the documentary, uh in today's market.
Speaker 1 (06:39):
And sorry, Trevor, what are you doing reading? I know?
And were you also reading a sentence by Don Checkter
available now?
Speaker 2 (06:49):
I was, I was reading. I was reading, you know, for.
Speaker 1 (06:53):
Your for enjoyment.
Speaker 2 (06:54):
Yeah, I was reading a lot of articles on indie
Wire are talking about how there's a lot of documentaries
out there and nobody is buying.
Speaker 1 (07:07):
Nobody is buying.
Speaker 2 (07:08):
Yeah, And and festivals documentary filmmakers are really just exacerbated,
well like other they they basically are showing their films
at festivals and that's the only time their films are
being are being seen because nobody wants to distribute anything
(07:33):
and it and from what I understand, a lot of
these documentaries aren't even controversial or anything. It's just distributors
these days are afraid of everything because.
Speaker 1 (07:44):
I'm not sure companies are being bought.
Speaker 2 (07:47):
Parent companies are certain parent companies are being bought by
certain people, and these media conglomerates are being consolidated and
they they have control, they have control. I think there's
more to it. I mean, definitely that plays a part.
But I think for like the independent folks, a lot
(08:09):
of it's just the market's not there anymore. I mean,
I just you know, was one of the producers on
an indie feature and that got sold, and it's you know,
very hard to get sold to make any money because
there's just not the market. It's not like when you know,
Netflix is buying up everything in sight and everybody was
struggling to keep up.
Speaker 1 (08:26):
Right.
Speaker 2 (08:27):
I agree that the the documentary bubble where all the
streamers were buying every every garbage documentary out there and
there was a lot of tread and they were just
gobbling it up for content. That that's over. But that's
that's been over for a few years. This is this
is a whole other level where I mean, but let's.
Speaker 1 (08:46):
Get back to Spielberg. Yeah, let's get back to disclosure today.
So okay, so it's a political statement.
Speaker 2 (08:51):
But basically what I'm saying, I don't think in the
yes it comes across. It may be simple, but I
think in these times it it works really well. You know,
Let's see how it works in ten years, if we're
all still alive.
Speaker 1 (09:07):
Well, some of us are older than others.
Speaker 2 (09:09):
That is true. That is true.
Speaker 1 (09:11):
If I'm still happy birthday, by the way, thank you,
thank you. Trevor just turned a significant milestone birthday.
Speaker 2 (09:17):
Yep, and with it a lot of medical problems.
Speaker 1 (09:23):
I mean appropriate.
Speaker 2 (09:24):
Yeah, that threshold I hit that threshold age and my
body just that doctor's appointment was pretty sad.
Speaker 1 (09:36):
Yeah. Sorry, Trevor. This is not your tender profile. This
is no one scenario podcast.
Speaker 2 (09:44):
Okay, So I feel like we're dragging here.
Speaker 1 (09:48):
I'm going to keep this all in my friend all
eg people need to see the unvarnished truth of these
podcasts when we have no plan and we're like, let's
just talk and see what happens. Okay. So we talked
about how it was political. You know, we could start
the end, we could start the beginning of the middle.
I love the end. I thought the I really appreciated
how I was concerned. Let me say that he was
just going to like start disclosure and go to black
(10:11):
and that was it. So I really really appreciated that
we actually got to see, like this made up a
map of disclosure, a video disclosure. It would have been
cool to incorporate some more real world stuff, but you know,
it was close.
Speaker 2 (10:27):
I know she's not going to qualify, but I really
think that news anchor, she's not going to get a nomination,
she deserves something.
Speaker 1 (10:36):
Oh my god, that was the best performance I've seen
in quite That was the most accurate human performance I've
seen a.
Speaker 2 (10:42):
Very long an amazing performance.
Speaker 1 (10:44):
Yes, who was the actress? Trever? I don't know? You
don't know? Okay, Well, while you're not going to bother,
I'm going to let you look it up. So I
really like that. You know, did I want more of
the movie at the end? I did? How about you?
I mean, I understood why it ended when it ended
(11:05):
with that word, but I wasn't know.
Speaker 2 (11:07):
I got I thought I thought the word was perfect.
Speaker 1 (11:10):
Well, this makes sense. So the breakout news actress in
Steven Spielberg's sci fi thriller I'm reading this from our
AI overlords at Google is Courtney Grace, a former real
life TV news anchor who transitioned to acting full time
in twenty twenty three.
Speaker 2 (11:23):
See I makes I honestly recognized her. It was she
with a California affiliate, because I may have seen her
when I was living in California.
Speaker 1 (11:34):
I don't see that here. She did film this one
shot scene inside the actual NBC studios at thirty Rock.
Oh wow, it's been Wiley, like you said, it's been
a great a great performance there. So yeah, I mean,
you know, being an anchor being on TV is some acting.
So the fact that you know she could craft this
performance and it seems.
Speaker 2 (11:54):
So real, it was great.
Speaker 1 (11:55):
It was great. It was wonderful.
Speaker 2 (11:58):
And you know, you weren't you weren't that hot. The
Emily Blunt performance.
Speaker 1 (12:02):
I thought it was fine. I didn't love the character
as much. Oh the performance fine. The character felt a
little one dimensional from the start, which is fine. I
mean I think the oddest one of the oddest things
about the film, and there's odd things. It was like
a little random these too, like again like two white
like Americans are the ones that were chosen to do this.
That seemed a little too convenient, Like yeah, and again
(12:23):
it's not a racial thing. It's like, you know, it's
a whole planet, Like it was one thing if there
were pairs around the country, around the world, and these
this is the story of dis pair that we followed.
But like it felt a little bit like it's a little.
Speaker 2 (12:35):
These two people in America.
Speaker 1 (12:38):
Get to each other.
Speaker 2 (12:39):
I'm not saying it's impossible. I've just said it. It
was story. It was it was too convenient.
Speaker 1 (12:50):
If it was like two like farm kids from you know,
where their farms were visited and it fit in that mythology,
then okay, they plucked out there was an alien crash,
an alien visitation in Iowa and somewhere else, and you know,
they plucked out two kids from their farmhouses and did it. Okay, fine.
They didn't seem to be a rationale that I picked
up on and why it was these two people, and
(13:12):
you know you wouldn't need that, but because it was
so convenient, I felt like I wanted some rationale for
why it was them, right, So you know, I thought
she did very good Emily Blunt. I just didn't think
I just didn't find the character that interesting to me, so,
you know, but it was a different role for her,
which was you know, she definitely did something with it,
(13:33):
for sure. I don't know, what do you think?
Speaker 2 (13:36):
I thought she was amazing. I the best performance I've
seen so far this year is End Day Never At
in a film called Obsession, which is like burning up
the box Office. I mean I I that is, I
was convinced I wouldn't see a performance that would come
(13:58):
even remotely close to that, And Emily Blunt's performance for
me came came, came close.
Speaker 1 (14:04):
Like it.
Speaker 2 (14:05):
I don't think it's better, but it came, it came close.
I think it is. I don't think it's her greatest performance,
but I only think I think only she could have
pulled it off. I think it required uh quite the
balancing and act.
Speaker 1 (14:23):
And well, it was good that she kind of did
like not dits, but like went from like dits to
like being able to speak Korean and you know and
all that stuff. So I think that was part of it,
to kind of start it like a more superficial level,
right right, even though she wasn't clearly going to be
that way, but that's how she was portrayed by her
job things like that. So Colin Firth, though, I want.
Speaker 2 (14:44):
To go back to the ad with literally just going
to ask you about Colin Firth.
Speaker 1 (14:50):
What bothered me about the end was him just sitting
in that chair. You know, after all that he does
give up, but he had to be there. Was he
knew he I couldn't do anything so I get why
that was there, but it didn't feel wrapped up to me.
Speaker 2 (15:06):
His characters I totally, I totally agree with that, Like
it didn't feel wrapped up, but that didn't bother me
at all. Yeah, I mean, I I saw him as
in that moment defeated, but who knows, I mean, who
(15:28):
knows if he's going to give up. I mean, to
people with that much money give.
Speaker 1 (15:33):
Up, Well that to it and all. Yeah, that's true.
Like I just I kind of wanted not that he
give up. He knew he couldn't do anything at that moment,
but I kind of wanted a button to his story
or something. Yep, you know, he was kind of the
mustache twirling bad guy for most of it with some
(15:54):
at the end they tried to throw and think about
his wife or whatever. All that kind of seemed to
come out of nowhere in this film. As part of it, too,
is this film is not the movie that people think
it is. Like you, there was the trailer for this film,
or the teaser than the trailer, and I don't think
that's the movie I saw. And I think the people
who didn't like it maybe didn't like the fact that
this wasn't the movie they thought it was going to be.
(16:15):
There was a lot more not supernatural, because it's not supernatural,
but like the whole, like jumping in people's brains, thing,
the whole, like showing up as someone else. Thing that
was a lot more supernatural ish or fantastical technology than
I would have wanted for what I thought this film
was going to be. I wanted something more grounded, and
this was more out there. Yeah.
Speaker 2 (16:35):
Well, I mean, and I'm guilty of this too, but
you have to judge the film. If you want to
be objective about it, you got to judge it for
what it is, not what you want it to.
Speaker 1 (16:47):
Be, because that's the way the world works. But yeah,
I know, but.
Speaker 2 (16:53):
So I could. I saw it on preview night, so
the night before it opens, and these are the theater
was pretty full, and people that go on preview night
they're you know, they're they're ant up their fans and.
Speaker 1 (17:14):
And this was for your Mauver birthday, right, Yeah?
Speaker 2 (17:18):
No, Masters of the Universe was for my birthday.
Speaker 1 (17:20):
That is troubling. Please continue, well unpack that.
Speaker 2 (17:24):
Yeah, well, the next episode of Time, I could feel
in the first forty you could just feel it. You
could just feel it.
Speaker 1 (17:33):
In the room.
Speaker 2 (17:34):
In the first forty five minutes to an hour. It
lost a lot of people. And that's because and I
and I'm not I'm not I'm not judging people for
not liking this. I personally enjoy a film that starts
like an enigma and I have to piece it.
Speaker 1 (17:56):
It puts you right in the middle of the action
off that like, you don't know who this guy is,
what the back person.
Speaker 2 (18:01):
Hour, you don't know what's going on.
Speaker 1 (18:03):
We don't need it, we don't need it early on,
he agreed.
Speaker 2 (18:06):
I agree here, I don't need any of that stuff.
Speaker 1 (18:09):
That's like we're on the screenwriting is start the story
as late as possible. I actually wonder it was as
late as possible. But also was it necessary a lot
of that first forty five minutes?
Speaker 2 (18:20):
I think, yeah, I think it. I think it was
too much for general audiences, and that that is okay.
Speaker 1 (18:29):
Yeah. See my issue with the opening, not the opening
the first forty five minutes or hour is not how
it opened, not not understanding it, but it was like
too many scenes of him almost getting caught in escaping.
It was like one or two too many things. It
could have just been.
Speaker 2 (18:46):
You're talking about the jow Is josh O'Connor Joshuah Connor's character.
Speaker 1 (18:50):
Yeah, he could have just like slipped by them with
the thing, got away once, but then it was like
this place that it was a chase, then it was
the nunnery. Then it was the hotel, and it was
the motel, and it was all these things, and then
it was like, you know, it just seemed like it
was too many things just to get him, you know
that you didn't necessarily need. So for me, it wasn't
the enigma of the opening. It was that there were
so many pieces to get somewhere that we could have
(19:11):
gotten half as much time, right because that you know,
a little action thing or someone on the run, Like
that's not that new yep, you know. So you know
that's to me where it lost me a hair, but
just a hair. I still enjoyed it, you know, definitely
a movie that's fun to go to go see with
other people.
Speaker 2 (19:28):
I thought it was a blast. Yeah, it also really
moved me. I was really shocked by how emotionally how
much it impacted me.
Speaker 1 (19:39):
Well, again, it was because it was around your birthday
and you know, there's only so many days left for
you here my friend, and you know this could be
the last movie you see me.
Speaker 2 (19:45):
It's funny, you joke, but you're not You're not all
that wrong either.
Speaker 1 (19:50):
You know now you're going to make me be the jerk. Here.
See he's teasing me everyone before we hit record. He
just mercilessly teases me if I bring out Ascendance by
Don Scheckter. I see, you know, And now I make
a joke like that, and it's like, I'm the bad guy.
I'm the bad guy. I guess. So I thought I'm
like the clown. I was. I was on a podcast
(20:12):
called Amusing Jews. I'm like, am I a clown? What? What? What?
What is this? But it was actually really fun. That'll
be out of a month or so.
Speaker 2 (20:21):
I uh, But.
Speaker 1 (20:22):
When you watch the movie again, Trevor, because like.
Speaker 2 (20:24):
Absolutely I wanted to go see it in the theater again.
I just haven't had I just haven't had time.
Speaker 1 (20:29):
Oh we should go see it together? What no?
Speaker 2 (20:33):
I said, I'd love to go see it again. I
told you after Dune Part two, I'll never see a
movie and I'll never go see a movie with you ever.
Speaker 1 (20:43):
You and we've covered this in other episodes. You think
that I was like twitching or talking or something. I
think that was you eating your bucket of popcorn and
Eminem's the entire time you objecting that action onto me.
Speaker 2 (20:56):
You were so loud, it was so embarrassing.
Speaker 1 (21:01):
What was I doing? I was so loud in my
chair movements. They were really talking.
Speaker 2 (21:06):
You are da da da you were I hate this.
I hate this part. I hate this part. I hate this,
I love doing part two. Bar dem this Harv he
was a I hate this hery blah blah blah. I
hate everything. And I'm like, what is wrong with you?
That's me, Like you're being me right now, like what
what do you?
Speaker 1 (21:24):
This is why? Which brings me to Wyatt Russell? What
do you think of Wyatt Russell in Disclosure Day? I
kind of got a chuckle when I saw him. He's,
you know, Curtin Goldiehan's uh Son. He was in Monsters
on Apple TV. He's like the bad Captain America or
whatever in Marvel. I have a sort of connection to
him many many years ago. I was almost many years ago,
(21:44):
I don't know, fifteen twenty years ago. It was almost
almost a like consulting producer or co producer or something.
I don't remember on a film that he was in
called Folk Here and Funny Guy that didn't work out.
It moved from Boston to Georgia because of his schedule,
and it was the year of the snow apocalypse here
in Boston, so it would have worked filming up.
Speaker 2 (22:04):
Wow that that Wow?
Speaker 1 (22:07):
Is that twenty sixteen or so? Twenty fifteen a long
time ago. So for a brief moment, I was kind
of involved with this film or going to be involved
with this film, and he was in it. So I
always chuckle when I see him because I came close
to at least being around his orbit prior to his success.
But yeah, what do you think of his character? I
thought his character was good. It was it was him.
It's the roles he tends to play. And he's the
(22:29):
boyfriend of Emily Black.
Speaker 2 (22:30):
No, I know he was. He was fine. I didn't
see I didn't. I couldn't see what he saw what
she saw in him in terms of a relationship partner.
But that ultimately, that was that point. That was the
point they you know, they don't work out.
Speaker 1 (22:47):
Right, they don't work out And that was fine. Yeah, yeah,
it just it was just again, little moments like that,
they could have added to the character depth without having
so much of Josh O'Connor's you know, being on the
run kind of right, And what about the Josh's I
just don't remember any character names, which is sad. Just
see the movie. But his girlfriend with the whole religious back,
(23:08):
she's fantastic.
Speaker 2 (23:09):
Yeah, I I I like her a lot. I thought
she was finn I thought she was so great. I
loved loved the scenes when she would get taken over
by and the and the style of the film would
literally go into Hitchcock mode. I mean like right, like really,
(23:31):
I mean that's where it becomes Hitchcock.
Speaker 1 (23:33):
And in general, the direction is great, right again, the
whole film, the direction is great. Spielberg's great. It's not
his script, and it feels like it's not his script.
Speaker 2 (23:41):
I mean he doesn't to I mean he doesn't often
write his scripts. He wrote them in the beginning, yeah,
and he's wrote he's written a few since that. I
think what he does is that he takes, you know,
the script. Here's the thing. We criticize the script, but
the script is never the script. You and I both
know that the director and they go through rewrites and
(24:06):
it changes filmmating is improvising you know lines, you know,
changing lines here, improvising lines there, like it. And I've
always assumed that he has the ability to change things up.
Speaker 1 (24:23):
I mean not the.
Speaker 2 (24:23):
Ability, that he has the clout to change things up.
And I think he I think he does. I again,
I think his The story is not what.
Speaker 1 (24:37):
Brought me in.
Speaker 2 (24:38):
It's again his storytelling and I with camera work that
I was blown away by, Like again, this is what
he's the master of. He's the master of staging the
relationship of how the actors are choreographed along with the camera,
and every every choice is is perfect. I know so
(25:01):
many people are mad about the fence scene where he's
like ducking down and none of the agents can see him.
I didn't care about that at all, because that shot
that weaves around the fence, Yes, and he goes into
the car and somehow he's able to do it without
(25:23):
being showy. I think that's Spielberg's genius.
Speaker 1 (25:26):
Without being showy is correct.
Speaker 2 (25:27):
Yeah, he could, although it felt.
Speaker 1 (25:29):
Like I agree with you, I just felt like it
didn't feel as gritty as like the Children of Men
kind of car. See.
Speaker 2 (25:35):
But I don't think he's going for that.
Speaker 1 (25:36):
Yeah, but it was kind of sick, but also like
the rationale. Again, I thought it was such good craftsmanship,
but then the rationale this guy like stealing the car
then driving into the house to get the girl who
happened to just be there. Like there's a few logical
things that as they were happening, It's one thing if
you think about it after, like, Okay, I didn't notice that,
Like during the film, people are distracted, Like how could
(25:58):
no one see him the fence? Like how did he
know she was just sitting there staring to space? And
could scoop her up in time? Like those things? It
looked like it was a little bit more of a
film exercise than it was something that made sense in
the story for a person to do.
Speaker 2 (26:11):
Here's that not fair? Yes, that's totally fair. I think
this is where this is where I am as a viewer,
and I think you know this about me. Let me
give you an example. Last night I saw a Supergirl,
and I thought Supergirl. I was surprised by how bold
and adventurous the screenplay was. Unfortunately the storytelling and I'd
(26:37):
love for you to see it's just so you could see.
Speaker 1 (26:39):
What I saw with the editing.
Speaker 2 (26:41):
I mean, my god, it looked like a rough cut
like that, like real first pass. Really, like I haven't
seen editing that bad. Either the editing's bad or they
just didn't get enough coverage. Wow, Like it is shocking.
Speaker 1 (26:58):
It's that messy. Yeah.
Speaker 2 (27:01):
Yeah, and it's too bad because they've got the story,
they've got the lead. The lead, she's fantastic. And here's
an example of the dog. Yeah, the dog's awesome. The
the story is bold, you know, I not maybe not
(27:22):
so much the screen writing, but the themes, the the plot.
Speaker 1 (27:27):
I think it.
Speaker 2 (27:28):
I think it's adventurous, but it's just not well made
and not well told, and it's really it's a real bummer.
Go to Disclosure Day, which again I think this the
the themes, the the plot mechanics. Again, I think these
are bold and adventurous. You know, the dialogue and the coincidence,
(27:51):
you know, that's another thing. But it's it's so well made,
it's so well told that it gets it gets by
for me. I think that's an example of two movies
that I think we're both kind of adventurous. One of
(28:13):
them was told very well by a master director, and
one of them was not. And I don't know if
even in the case of Supergirl, I don't know. Maybe
the studio took it and cut it like I don't know,
But either way, one of them's told well the other
one is not.
Speaker 1 (28:30):
Trevor. I'm concerned because we have this sort of aura
around us where I'm the charming, dashing host who's funny,
and you're the film snop who knows a lot. But
I think for people who might be listening or watching
to this right now, your frame of reference has been
Masters of the Universe and Supergirl. So can we take
(28:50):
you seriously when you say Disclosure Day is a masterpiece?
If that's the two Disclosure Day, it's a masterpiece.
Speaker 2 (28:56):
But I do think it will, uh, I do. I
hope it emerges.
Speaker 1 (29:07):
As one of.
Speaker 2 (29:09):
Spielberg's better to best film films. But also keep in mind,
I loved, loved, and I will defend every I loved
his remake of West Side Story. I actually think it's
better than the original. Really a camera work that you
want to see his staging and his camera work, Like
(29:32):
even Guaemo del Toro made a whole thing about it.
It was like the camera work is like the most insane.
It's This is why he's a master. It's unbelievable what
he does without being showy. And I felt I felt
a lot of the same way with Disclosure Day. It's
just he was having he was having a lot of
fun telling the story, and I thought it was very infectious.
Speaker 1 (29:56):
Well, I am seeing our analytics in real time here, Trevor,
and the moment you brought up with side story and musical,
our viewer.
Speaker 2 (30:01):
Dropped right, dropped substantially, didn't We're.
Speaker 1 (30:04):
Gonna miss you, Sandy. Your cat just left the building? Yeah?
Was there something you're looking forward to? Or is there
anything else you want talking about Disclosure Day again?
Speaker 2 (30:19):
I thought the camera work was excellent.
Speaker 1 (30:22):
Uh.
Speaker 2 (30:23):
People were like, what was up with all of the
lens flares? Why is he doing Abrams? And I was like, no, no, no, no, no,
jj Abe. Spielberg has been doing that since Minority Report. Yes,
Abrams took that from yes from him and like, Abrams
beat it to death. I don't think it was that
necessary in this film. I actually thought it made it
(30:45):
look longer.
Speaker 1 (30:45):
It didn't bother me at all.
Speaker 2 (30:46):
I will admit that there's a lot of it. It
did not bother me at all because I felt like
the lens flares were a just just a suggestion of something.
They're worldly out there.
Speaker 1 (31:01):
Yeah, And I guess for me, the things that I
sort of bumped on the most were things that distracted me.
Like we talked about with the chase and the lens
flares a little bit, and then I wanted something that
was much more grounded in reality. So then when they
introduced the technology and never really got into what that meant.
You can get into someone's brain and stuff like that,
and they had it, it's fine, and the person disappeared
(31:23):
and then came back and all that stuff like, so
it hints that there's this abduction and there's this you
know technology. I just felt a little too many fantastical
things and that was part of it, that it made
it less like a real world disclosure and event, which
is why I feel like at the end it kind
of came back to the real life because we're just
a new station. Oh, we got to talk about this
before we go, just because someone's playing back video that
(31:46):
every network is going to now take it as fact
and like, yes they have the oh our ai pixel
says this is true pixel whatever it was, And that
was the reason that everyone else picked up as real.
That was ridiculous, And I know they needed it because
it was the end and disclosure was pressing play. But ultimately,
ultimately this movie was about pressing play in a bunch
of video and people accepting that. I feel like theyre needed.
(32:09):
That's a little bit of a cop out. I feel
like there needs to be and I'm really not doing
this to sell my book Ascendence. Oh my god, there
is seriously, come on, but there is something. But there's
something in there that people believe. And I struggled with
how to make it seem realistic that people would believe
this thing. And I don't think that pressing play in
(32:31):
like a small, you know, a relatively small market news
station would be sufficient. But what are your thoughts? And
I don't have an answer for what would have been better?
But that seemed just like that's it. It It seemed
it seemed like it.
Speaker 2 (32:57):
I'm not saying it seemed real, realistic, it seems and possible.
I mean, I remember, I remember very clearly the nineteen
ninety three NBA Finals, and all of a sudden it
cuts away from the finals, the NBA Finals, and it
(33:17):
cuts to a white Bronco on the highway.
Speaker 1 (33:22):
Right, But that was an event that was happening in
real time that they could say, this is happening, we're
seeing this, we're filming this now. I wasn't born to know.
Speaker 2 (33:29):
I was young, but that is absolutely not true.
Speaker 1 (33:33):
But but that's not the right analogy though, because once
up breaking news event that's happening in real time, other
networks are going to say, hey, an anchor in St River,
sand Lewis whever was is playing back video Like I
just feel like, journalistically, that's.
Speaker 2 (33:47):
I hear what you're saying. I to me, I see,
I don't think that the people that are running these
TV networks stations are thinking in terms of journalism. I'm
thinking I think they think they're thinking in terms of
advertising dollars, right, And so they are going to go
(34:09):
to the thing whatever it is that's going to bring
them the most eyeballs for their advertisers. And then it
just kind of they just got roped into this worldwide
event where it didn't even it wasn't even going to
be about advertisers anymore.
Speaker 1 (34:28):
It just wasn't a thing. I don't know, it just
it seemed unbelievable, more so.
Speaker 2 (34:34):
Than the alien to me, I can always count on
human greed, uh for that?
Speaker 1 (34:40):
I mean that that. Yeah, I'm with you.
Speaker 2 (34:43):
It's a big, big stretch, but it wasn't that big
of a stretch for me.
Speaker 1 (34:48):
And what do you think about Grandpa Alien? They're coming
in at the end out of the nursing home.
Speaker 2 (34:55):
I mean, what, what did it bother me?
Speaker 1 (34:57):
Or? No? Did you like the look? Would you just anything?
I thought they did a good job. Yeah. I thought
there was to be more of him, to be honest,
a little bit more because they they kind of foreshadowed
him so much, and I thought there would be a
little bit more of like he was tormented. Yeah, right,
did I miss? Did I understand that currently he was
the one that was experimented on that they let, they
let escape?
Speaker 2 (35:18):
I believe so.
Speaker 1 (35:19):
I think that's why I just thought there would be
a little bit more of there. Again, if the forty
five or first forty five minutes or hour was twenty
or thirty minutes less of a car chase and hotel bit,
I think there would have been more room to deepen
this story a little bit.
Speaker 2 (35:33):
Yeah, I mean I think it's it's a film that
I'm going to watch many times over I think.
Speaker 1 (35:45):
You'd like it less the second time.
Speaker 2 (35:46):
I really do well, I think that's I think that's
I think you're right. But I think I'll have a
better grasp of it too. I mean, I I don't Again,
I think it's very flawed, but I also feel that
he he went he just he went for it. And
I appreciate films that rm that are ambitious and flawed.
Speaker 1 (36:10):
Most of the time.
Speaker 2 (36:11):
I prefer those over something that's, you know, done, that's
done well but pretty standard.
Speaker 1 (36:21):
Is there anything you're looking forward to before we before
we move off a disclosure day? I want to say
one thing. I remember this.
Speaker 2 (36:28):
I just remember the score being excellent, and I I
was like, huh, I wonder who scored it? And only
because I knew Spielberg had like worked with Thomas Newman
in the last ten years, and uh, And I just
made this assumption that John Williams was out of the game,
(36:50):
and I was stunned when I saw his name there.
Ninety four years.
Speaker 1 (36:57):
Old, still younger than Shot I think, I.
Speaker 2 (37:01):
Mean literally, he's literally younger than Shatner, right, yeah, and
he's he's still doing that. I mean, unbelievable, great, great, amazing.
Speaker 1 (37:14):
Yeah, you know I was. I was listening to on
the car right over to my office this morning, Kiss
the Ring, the song the track from Dune two from
uh yeah, yeah, what's his face? Zimmer? Zimmer? Excuse me
on Zimmer like this guy, small track. I wish it
was longer. Unbelievable. He just calls this Kiss the Ring
and it's this amazing piece. Anyway. Yeah, no, I agree
(37:35):
with you. The score is amazing. It's amazing, Williams. It's
still going.
Speaker 2 (37:39):
Uh okay. What am I looking forward to? I'm already
looking forward to season two of Widow's Bay because season
one was awesome?
Speaker 1 (37:48):
Was it?
Speaker 2 (37:49):
Okay? Not fantastic? So give me that season two asap.
Speaker 1 (37:54):
We got Silo coming out soon.
Speaker 2 (37:56):
I got to start that.
Speaker 1 (37:57):
I I have not.
Speaker 2 (37:59):
I have not started it. What am I looking forward to?
It's so funny. I'll tell you what I'm I mean.
I'm obviously I'm gonna go see it in IMAX, but
I am not looking forward to the Odyssey.
Speaker 1 (38:14):
You know, it's funny. I'm the same way there's Yeah,
I'm gonna go see it. Yeah, take me with you
because I'm very curious.
Speaker 2 (38:22):
No, I'm absolutely not taking you with me.
Speaker 1 (38:24):
You were so sensitive. It seems a little dopey to me. Yeah,
the acting, like the actors stand out so much that
I'm like, I don't know that I could like not
laugh at this, but I'm gonna, I'm gonna try to
kind of.
Speaker 2 (38:37):
I'm worried about that that cast. There's some there is
some heavy hitters in that class in that cast, mixed
in with some serviceable actors who I don't think are
going to be able to hold a candle next to
(38:58):
the heavy hitters, and then there's gonna be a disparity.
Speaker 1 (39:02):
Well like who because like I haven't looked too much
into it, but like I love Matt Damon, I just
don't see how this is the right role. But let's see.
Tom Holland seems like what and halfaway I love, But
I again, I just feel so out of place. They
feel so modern to me, And maybe that's my own biases,
but I don't.
Speaker 2 (39:21):
I'm I'm open to be wrong and let me Oh
my gosh, let me tell you. I've been wrong about
Nolan many times. Like the first time I saw Tenants,
I was like, give me a break, And now it's
I think my favorite film by him, So really, yeah,
I think Tenant's incredible, But uh, I just I just don't.
(39:47):
Tom Holland is a serviceable actor. He does good, he's
a he's he's a really good Peter Parker. He does
a great Spider Man. I've really enjoyed him. Yes, I don't.
I could be wrong. I'm open to being wrong. But
just the little moments I've seen in trailers him, like
him sharing the screen with John Burnhall, Like, I just
(40:12):
I don't.
Speaker 1 (40:13):
I don't know. Yeah, I don't know.
Speaker 2 (40:16):
Yeah, I just if you're going to put somebody up
against John Burnhal, you better know what the hell you're doing. Yeah,
because that guy can, he can eat the screen alive,
half asleep.
Speaker 1 (40:32):
Yes, I'll completely agree.
Speaker 2 (40:34):
Yeah, So I'm curious. And then what else am I
looking forward to?
Speaker 1 (40:38):
Well? Toy Story five.
Speaker 2 (40:40):
The final season of The Bear dropped last night?
Speaker 1 (40:42):
Oh did it really? Yeah? I kind of didn't actually
watch the last season. I like the show. Yeah, never
got through the previous season.
Speaker 2 (40:49):
You should finish it, and then you should watch that
special episode they dropped a few months ago called Gary. Uh,
it's it's not called the Bear, it's called Gary, but
it takes place in It's.
Speaker 1 (41:00):
With the Bear cinematic universe.
Speaker 2 (41:03):
Yeah, exactly, and it's an excellent episode. And then I'm
seeing the new Jackass movie on Saturday. Oh god, I'm
looking forward to that.
Speaker 1 (41:11):
You know what's the funniest thing someone told me I
was talking, we were talking about some sci fi history,
and they thought that The Leftovers took place in the
same universe as Lost. Yeah. I could stop laughing. And
they're like, I haven't seen it. I'm like, I get it.
You don't see It's funny, but just for some reason
that crossover to me hysterical.
Speaker 2 (41:32):
I finally watched The Leftovers during the pandemic and I
could not believe what I was watching because.
Speaker 1 (41:40):
We should do a Leftovers episode. But give me the
blow down?
Speaker 2 (41:43):
Blown away by it?
Speaker 1 (41:48):
Man?
Speaker 2 (41:48):
Is it? That is a nasty, nasty show.
Speaker 1 (41:52):
It is. And I just will say that what I
really the most, the most, the one thing that I
really really really appreciated about The Life Dovers was the end.
It didn't go to a religious ending. It's it was
sci fi all along and it stayed sci fi. And
that's what I really like. It was so different because
(42:13):
so many shows and films in that era IRA era
moved towards spirituality and religion as the answer like Bouslar
Glactaga right and lost. But it didn't do that. And
I was very relieved because I love the show. But
like you just felt like that was coming, coming, coming,
and it wasn't that.
Speaker 2 (42:35):
So it also it also features a performance by Live
Tier of all people that scared me to my core.
And she is terrifying in that show. And it's a
it is a hell of a performance and that you know,
(42:56):
that's what happened. You give people good material, they'll deliver
a good performance.
Speaker 1 (43:02):
Well, Trevor, we started with Disclosure Day, we ended up
with something old like the Leftovers. We started with Ascendance.
Let's end with your old reactions. You want to talk
about front row reactions. Well, while yes, I have burying
at the end of the.
Speaker 2 (43:17):
Show, I have a YouTube uh channel where I produce
movie reactions. It is called front row Reactions. You can make.
Speaker 1 (43:35):
Eye contact, you cannot even make eye contact.
Speaker 2 (43:37):
You can find YouTube. What's the YouTube cha at front
row reactions? Uh? YouTube reaction was RoboCop. We've got Star
Trek four.
Speaker 1 (43:47):
On the way. Uh. We have well, and you're you
have a very popular episode that got you on the map.
Real quick, right, you did Star Trek two start.
Speaker 2 (43:57):
Your two Wrath of con got us on the map.
We were very shocked, and so we only have three
thousand subscribers. But we got into the YouTube monetization, the
YouTube partner program, which we are still shocked by, and
we've been able to monetize and uh, right now we're
filming reactions to the original start the you know, Star
(44:21):
Trek tos. That's when we're going to make the jump
to Patreon and stuff like that.
Speaker 1 (44:27):
Am I close? How many pennies close?
Speaker 2 (44:29):
How many pennies?
Speaker 1 (44:30):
Yeah?
Speaker 2 (44:33):
Uh, more than a couple hundred dollars. I mean from YouTube,
it's not a lot. The real money is when you
hop over to Patreon, correct, which is what we are
in the process of prepping for now.
Speaker 1 (44:48):
Well, I wish you luck. So that's bank front Row reactions.
Speaker 2 (44:51):
At front Row reactions on YouTube starring Heather starring Heather.
Speaker 1 (44:55):
So you don't get to hear or see Trevor.
Speaker 2 (44:58):
It don't see me, but do hear me.
Speaker 1 (45:00):
It's all giggling in the background.
Speaker 2 (45:03):
You I go by a different name on front Row reactions,
but I haven't watched it. Yeah, I know you haven't.
Speaker 1 (45:10):
I know you have, I'll watch it when you read
my book. Yeah, I know you haven't. Well, Trevor, I've
enjoyed this impromptu, uh new way of doing our podcast here. Yep,
we should do we should do our creators next.
Speaker 2 (45:24):
I was literally just going to bring that up.
Speaker 1 (45:27):
Always a step behind that thing.
Speaker 2 (45:29):
That I mean, that episode is going to be about
what's let's say four hours four hours. I think we
could get easily and without being boring. I think we
could get four hours out of our.
Speaker 1 (45:40):
G I think we got to go do it in
the studio and we got to be playing the same time.
I think it's got to be We're not gonna do
that twitch thing that people do. We're not gonna do
this riverside approach here or zoom. I think we got
to be in the studio and playing it and just
we'll let our crew just hit record and walk away.
Speaker 2 (45:55):
We don and I have We've we disagree on most things.
We've agreed on a few things, but I don't think
we've bonded over something as strongly as our graders.
Speaker 1 (46:09):
Yes, but also, you abandoned me the moment you got
me hooked.
Speaker 2 (46:13):
I just don't like doing things with you and the
few times I played with you, you got me killed
right away.
Speaker 1 (46:22):
I'm much better now. I know what I'm doing.
Speaker 2 (46:24):
I don't know what it is. You're like a magnet
for rats. Like whatever I played with, all the rats
just come and they kill us, and they take all
my good gun, they take my bait, my level for Betina,
and it's just like I.
Speaker 1 (46:39):
Was so much goop for you. I can just give
you some I have. I have a whole Trevor stash
that I can just donate to you.
Speaker 2 (46:46):
I need, I need, I need something. I need some humidifiers.
Speaker 1 (46:53):
Everyone's confused. Everyone who's listening now, they're not.
Speaker 2 (46:56):
I actually think there's some people who understand what we're doing.
Speaker 1 (46:58):
Well, if you guys actually want to hear and watch
us play and talk about our greaders, leave a comment
let us know. No Win Scenario podcast at gmail dot com.
No Wincinnaria podcast on all the socials. Is that right, Trevor,
that's right, And don't forget to do at front Row Reactions.
Speaker 2 (47:14):
At front Row Reactions, and don't forget to buy your
copy of The Ascendants by Don Checkter. It is a
it's it. I know we all can decide. Get it aside.
It is a good book, Don, It's a labor of love.
I watched Don work on it for many years and ed, really,
(47:38):
it's a passion project and it reads like that on
the page, and I highly recommend it. I know you
can't believe I said something positive. You're like, you're kind
of dumbfounded, but I highly recommend it.
Speaker 1 (47:52):
Folks. Next time, i'll hit record, because I don't think
we've been recording this whole episode. Say it again, say
my name? All right, Thanks everyone for listening and watching.
Thank you everyone, but bye, now bye.
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