December 12, 2025 • 59 mins
On this week's episode the guys start the episode with a little history lesson on what led to the never made Alien sequel by Neill Blomkamp. This leads down a quick discussion about his many wonderful projects. This then leads to an adaptation Neill has been tapped to write and direct called Blindsight based on the novel by Peter Watts. That then leads down the road of Hard Sci-Fi books including Snow Crash by Neal Stephenson. On the news that Netflix has won the bidding war to buy Warner Brothers, Christopher Nolan brings the director's Guild to a meeting with the heads of Netflix to discuss the future of the movie industry. To wrap up the episode Cody shares with Joe that he and Paige have been watching Most Extreme Elimination on a youtube channel titled ConTV.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Somebuddy.
Speaker 2 (00:01):
Nothing was something to you.
Speaker 1 (00:02):
Nothing almost called page right now. I opened up uh
uh FaceTime to call and it has you, and I
was about to click on it, and it like refreshed
because like its like a I don't know yours probably
doesn't do it because mine's updated, but it does like
A suggested and it was like it switched to hers,
(00:26):
and I was like, oh, don't call her right now.
She'll be very mad.
Speaker 2 (00:31):
A page you want to be part of our podcast.
Speaker 1 (00:33):
Right now from the bed would be super angry with me.
Speaker 2 (00:37):
I bet she would.
Speaker 1 (00:44):
I prefer not to do that, right sent boom boom
goes the time.
Speaker 3 (00:57):
M h.
Speaker 1 (01:06):
All right, let's see here. Indeed, no, I'm looking at news.
Speaker 2 (01:13):
Oh okay, indeed is next.
Speaker 1 (01:19):
Indeed his next uh huh mm hmmm. Stephen King recommends
this forgotten action movie with twenty eight percent rotten tomatoes.
(01:41):
Let's have to skim past like two paragraphs of exposition
until we figure out what he's talking about. Oh really,
really though about takers? Oh my god?
Speaker 2 (01:57):
What takers?
Speaker 1 (01:58):
Takers t A K. Yeah, it's a film from two
thousand and eight, when the Takers come out anyway, says
it's just Alba, Paul Walker, Hayden Christiansen. What was that
(02:19):
guy from? Oh what is that? What is his name?
Damn it? What is his name? Michael? Not Michael Ealy.
It's the other one, damn it. Not to look it up.
Not to look it up because it's gonna bother me.
(02:39):
Michael Douglas, Yes, Michael Douglas, that's the one. You were.
You were right there, Takers twenty ten, twenty ten.
Speaker 2 (02:53):
I wasn't.
Speaker 1 (02:53):
It was Michael Ealy, I was right, Jay Hernandez, Paul Walker,
t I, Chris Brown, Hayden Christensen, Zoe's Andala. Yeah, I
mean it was. It was a heist movie. It wasn't terrible,
but it wasn't great. The acting was subpar on many
(03:14):
levels by many people in that movie. And it wasn't
it just all but yeah, But apparently Stephen King recommends
it for whatever reason. I don't know. I didn't read
the whole thing. I did see this article. I guess
(03:34):
it was published yesterday where Sigourney Weavers spoke about why
Neo Blancom's Alien five movie died. Oh okay, Now this
article made it sound like it was like a definite reason.
(03:55):
But quote in this suggests why so it says, I think,
like many of us, I was a big admirer of Neil.
Of Neil, I don't know why she said was.
Speaker 2 (04:09):
I know, right, it's like I was. I still am,
But I also.
Speaker 1 (04:13):
Was because I think this is her talking about at
the time, like she she was a big admirer, like
you know, she probably still is. And it kind of
makes it sound like this, but it was just a
weird way of her saying it. But I think it's
because this quote has probably taken almost out of context.
Says his movies. His movie was striking because he had
(04:34):
only made one at that point, and I worked with
him on a movie called Chappie, which was his second movie,
and I loved working with Neil, and he had this
idea for bringing Ripley and Newt back. It was a
wonderful script, and unfortunately it was at the point that
I think Ridley Scott decided to be very possessive about
his series and really drilled down on his prequels, and
(04:55):
so I think it was a disaster for that project.
We were never able to I think Neil, in fact,
just gave up. And he's so talented. I wish him
all the best. That was her quote from that was
in there. So she is saying that it was because
of Ridley Scott taking back the reins to the Alien movies.
Speaker 2 (05:19):
I believe that.
Speaker 4 (05:20):
I mean, that's I mean, honestly, that's I believe. That's
what I believed from the beginning, because there was nothing
going on for a while, and there were rumors of
Blombcomp working on something. But then I mean, that's just
kind of I feel like, that's just unfortunately what bomb
Komp has done for a while, you know, like uh,
(05:44):
rumors of Halo, of working on Halo stuff, and then
they just suddenly are like, nah, we're going in a
different direction, you know, with it, and it's just like,
oh shit, Okay. Then rumors of him working on the
alien stuff and he had the concept art and stuff,
and then it was just like Ridley Scott going now
I'm gonna take it in my own direction.
Speaker 3 (06:00):
It's just like the Okay, yeah, poor guy, seriously, because
he's a fantastic I mean, I honestly haven't still yet
to watch his last movie that came out didn't take
great reviews.
Speaker 4 (06:12):
But then again, Chappie didn't get great reviews, and I
thoroughly enjoyed Chappie.
Speaker 2 (06:16):
You know, kind of a modern take on a short
circuit in my opinion.
Speaker 4 (06:23):
But yeah, I think he's a fantastic filmmaker, especially for
what he can do on.
Speaker 2 (06:29):
A small budget, relatively quote unquote small budget.
Speaker 1 (06:33):
Yep, you know.
Speaker 4 (06:34):
So it would have been fun to see him at
the helm of a Halo series. It would have been
fun to see him at the helm of an Alien series.
I want to say there was something else that he
was attached to at one point, and I just can't
think of it right now.
Speaker 2 (06:49):
But whatever, Does he have anything coming out soon? Is
he working on anything? I know he still does.
Speaker 4 (06:56):
He still has that game studio, which again is another
thing that's like that game.
Speaker 1 (07:01):
That game came out. So did it come out?
Speaker 2 (07:04):
Oh?
Speaker 1 (07:06):
It was an extraction shooter. So I didn't really give
two ships.
Speaker 2 (07:10):
Yeah that makes sense.
Speaker 1 (07:13):
Let's see if he has anything listening to the pipeline.
His last thing was Grand Trees.
Speaker 4 (07:19):
Oh right, yeah, okay, his last Even then, I wasn't
even thinking about Grand Reasona.
Speaker 2 (07:24):
I forgot about that.
Speaker 1 (07:25):
You're thinking Demonic. Yeah, that's the last one of his movies.
When I say his movies, he wrote and directed it
as WATS produced it. But god, I love I.
Speaker 4 (07:39):
Can't hardly do anything on this laptop anymore. Yeah, I
can't go to IMDb.
Speaker 1 (07:45):
The website.
Speaker 2 (07:47):
Yeah the fuck It loads.
Speaker 4 (07:50):
For a second and then just application error, a client
side exception occurred.
Speaker 1 (07:54):
Yeah, that's the fun.
Speaker 2 (08:01):
Anyway, you're gonna have to tell me.
Speaker 1 (08:04):
Wait, what what am I reading this correctly?
Speaker 2 (08:08):
I don't know.
Speaker 1 (08:10):
In twenty twenty, Blanconk joined Gunzilla Games as a co
founder and chief creative officer. He began work on Off
the Grid, which is that game that was to talk
about the extraction shooter, and the game went into early access.
In October of twenty twenty four. His company acquired Game
Informer from GameStop, restarting the publication after seven months. Neil
(08:34):
did that. Yeah, I did not know that, though we
talked about that.
Speaker 4 (08:38):
Maybe not from this point of view, but yeah, from
the point of view that the company got bought.
Speaker 1 (08:43):
I knew that. I did not know his company bought it,
like Gunzilla.
Speaker 4 (08:48):
Yeah, it's cool right, And now, to be fair, I
haven't actually heard anything prom d or paid attention to
it afterwards, but it's cool.
Speaker 1 (09:02):
Wow interesting, So technically yeah, Gunzilla Games owns it. Wow. Wow, Okay,
not what I was expecting. But there's something here. We go.
I knew there's something and we I don't think we
(09:24):
ever talked about it very much in two thousand. I
think actually I think we did in two thousand. March
of twenty twenty five this year, as of recording, Columbia
Pictures tap blancomp to write and direct an adaptation of
Robert A. Heinlein's military science fiction novel Starship Troopers. He
(09:46):
is also reportedly working on an adaptation of Peter Watts's
novel Blindsite. I think we talked about pretty sure, we
talked about Starship Troopers.
Speaker 2 (09:58):
Starship Troopers, but I don't recall with the director at
the time.
Speaker 1 (10:04):
Yeah, so it's he's.
Speaker 2 (10:05):
So they've tapped him for doing.
Speaker 1 (10:08):
To write and direct. That's the important parts. That's the
important part because that is definitely in his wheel.
Speaker 2 (10:15):
That hopefully that goes all the way through.
Speaker 1 (10:21):
Have I read this one blind Site?
Speaker 2 (10:26):
I on think I have that when I don't know
what is blind Site.
Speaker 1 (10:30):
It's a book by a gentleman named Peter Watts was
publishing on Tour Books, which a lot of sci fi
books are in two thousand and six, it won a
Hugo Award or well sorry, it was hu Award finalist,
and then one uh Suwan Award for Best Novel in
(10:52):
Japanese Translation.
Speaker 2 (10:54):
Yeah.
Speaker 1 (10:57):
I don't know if it's I think it was just
an adaptation to jetpans all it was. No, it's definitely English. Yeah,
well it's his je.
Speaker 4 (11:04):
It won the Swing Award for the Best Novel in
Japanese Translation.
Speaker 1 (11:09):
Yeah, so it means it was it was translated into Japanese.
Speaker 2 (11:12):
Translated into Japanese, okay.
Speaker 1 (11:13):
Because here it says language is English.
Speaker 2 (11:15):
Okay, that's just weird.
Speaker 1 (11:17):
Genre is hard science fiction? Yeah? Yeah, yeah, we both
know how that goes. Speaking of which, have you finished it?
Speaker 2 (11:29):
Finish? What?
Speaker 1 (11:30):
Come on? Man? What what book were you struggling to
get through?
Speaker 2 (11:35):
No? I finished that book. I just haven't finished the series.
Speaker 1 (11:37):
Oh okay, okay, you did it in a fishing.
Speaker 2 (11:39):
It because you're talking about the hyperiod.
Speaker 1 (11:43):
No, what's the you were just reading the we were
talking about.
Speaker 2 (11:49):
Right now, Right now, I'm actually reading Dungeon Crawler. Dungeon Crawler, Carl.
Speaker 1 (11:54):
It's so hard to say, it's so good. What do
you think?
Speaker 2 (11:56):
Uh?
Speaker 4 (11:57):
I was skeptical at first, it felt too much like
just a It felt too much like any other jokey
sci fi.
Speaker 2 (12:11):
Book, kind of like Space Team, you know, type of thing.
Speaker 4 (12:14):
It felt, you know, very much in that realm, but
too far close to that type of thing. But once
I got past the first few chapters and it's just like, oh, okay,
yeah it still is that, but it is still kind
of its own thing, and you just settle into it
and it's just like, this is actually pretty funny and fun.
Speaker 2 (12:32):
I'm enjoying it.
Speaker 1 (12:34):
It's lots of fun.
Speaker 5 (12:35):
I liked it a lot.
Speaker 4 (12:36):
Yeah, but yeah, before that, I read the new Dan
Brown book.
Speaker 1 (12:45):
I can't remember what it was. You were reading something
that was sci fi, and I don't remember what it was.
Speaker 4 (12:51):
Now, let's take a look at my I can do
a library, because I mean, I think I know what
you're you're talking about.
Speaker 1 (13:00):
This you're reading or no, it was snow crash. Snow crash,
that's what it was, Yeah.
Speaker 2 (13:08):
Snow crash.
Speaker 4 (13:09):
Even then, like I, I guess I didn't really don't
really consider that sci fi.
Speaker 2 (13:14):
That was just cyberpunk.
Speaker 1 (13:16):
Well still sci fi, I mean.
Speaker 2 (13:18):
I guess it's still sci fi. You are correct in.
Speaker 1 (13:22):
That he drives a car that goes beyond normal speeds.
Speaker 4 (13:29):
Uh, snow crash was one of those. Was was a
book that, yes, I finished it, but it's my problem
with it is not with the problem that I have
with heart sci Fi is the type of thing when
I think hard sci Fi, I think, well, hyperiond like
(13:49):
like I said, my problem with that is those types
of books seem to introduce concepts in words and never
explain what those things are. That's my problem with with
a lot of heart sci Fi. They take things that
should just have normal explanations to them. You have a hyperdrive,
all right, you called it a hyperdrive. Cool, I know
(14:12):
what that is. You explain what it is. It's good,
but you introduce like it quick get to the transworp
something something something or other, and it's like, okay, what
is that?
Speaker 2 (14:23):
Then I don't know.
Speaker 4 (14:24):
You just used it and got away, and it's like, well,
what the fuck was it? Does it open up the
portal somewhere?
Speaker 2 (14:28):
Is it a ship? Is it a drive?
Speaker 4 (14:30):
Like I had that problem with hyperiod where it was
just like they tell you stuff and then just expect
you to know what it is, and it's just like
I didn't know what the fuck that was, you know,
even thinking of other, you know, books like Dune. Dune
was like, here's an ornithopter anyway, here's what an ornothopter
looks like, here's how it works. And you're like, oh, okay,
(14:52):
now I have an image in my mind of what
this thing is and how it works. But if they
would have just been like, get to the ornithopter, I'd
be like, what the fuck is an horner ofth opter?
Speaker 2 (15:03):
And that would be my problem with heard sci fi.
Speaker 4 (15:08):
The difficulty with the cyberpunk one was just it was
so weird and crazy.
Speaker 1 (15:13):
Yeah, that's very true.
Speaker 4 (15:17):
At first, but once you settle into it, they do
explain things. I think it's also just coming from It's
one of those books that when you're reading about it,
probably at the time looking forward, it makes sense, but
when you're reading it now looking backwards, you're like, well,
that technology doesn't make sense anymore. Like that's not how
(15:42):
hacking would be or something like that. I'd have to
think about it a little bit more so. It's kind
of off the cuff. But yeah, that so the difficulty
in reading it was also just kind of like I
just didn't really didn't really care for any of the
characters early on.
Speaker 2 (16:01):
It was just kind of a weird world to be in.
Speaker 1 (16:06):
Very true, very sure. So yeah, so uh that was
Neil's uh two things I guess he's working on, which
is cool. Yeah, so what is this?
Speaker 2 (16:22):
Uh? What was this book even about?
Speaker 1 (16:27):
So from what I can gather, a crew of astronauts
sent to investigate a trans Neptunian comment dubbed Burns call
field that has been found to be transmitting an unidentified
(16:48):
radio signal, followed by their subsequent first contact air quotes.
M yep, that's that's the quick synopsis, and there's a long,
long ass plot breakdown. Apparently the ship they use is
called the Theseus.
Speaker 2 (17:08):
I just thought I saw that, and now I kind
of really want to read this.
Speaker 1 (17:11):
Yep mm hmmm, why.
Speaker 2 (17:13):
Do you call it the ship the Theseus?
Speaker 1 (17:15):
Wait?
Speaker 3 (17:16):
What?
Speaker 1 (17:17):
Hold on? What the fuck is happening in this?
Speaker 2 (17:20):
Oh?
Speaker 1 (17:20):
This is this is hard sci fi fantasy.
Speaker 2 (17:24):
Elves evolved.
Speaker 1 (17:25):
There's a vampire.
Speaker 2 (17:28):
I'm sorry, what bro.
Speaker 1 (17:29):
I'm telling you right now. Djuka Sarsisti is a vampire
and the cruise nominal and frightening leader as a predator
from the that is a name. He is alleged to
be far smarter than baseline humans.
Speaker 4 (17:52):
I'm sorry that just suddenly read like like the line
from Back to the Future, I am Darth Vader from
the planet Bulkan.
Speaker 1 (17:59):
Like, wait, what, I don't it's like plus plusian Plastonium.
I don't know, it's.
Speaker 2 (18:09):
I just like this line. It's out of context.
Speaker 1 (18:12):
From the ice age apparent, but it.
Speaker 4 (18:16):
Immediately hails them over the radio, and in a range
of languages varying from English to Chinese, identifies itself as.
Speaker 2 (18:22):
For roshak.
Speaker 1 (18:25):
Okay, so you know we've got.
Speaker 4 (18:27):
A crazy conspiracy theory theorist mask wearing guy in.
Speaker 1 (18:32):
Here, Sirie Keaton. Oh don't know, it went off. I
knew it was going to do it once I once
I look down. You can't say that name out loud.
And then my computer and my phone started doing stuff.
Speaker 2 (18:48):
Oh I know, I hate it so much.
Speaker 4 (18:51):
I listen and watch a YouTuber named Simon Whistler who
does just like decoding the Unknown and some other stuff
I think talked about before. But he'll, especially his early stuff,
he'll literally be like, hey, that name, what is blah
blah blah because he's looking for an explanation in a
script that he's reading and it sets off.
Speaker 1 (19:10):
Everything that's annoying. Learn my voice, damn it. He's a
narrator and protagonist. This person, oh well, I'm sorry, is
I don't know if he or she Major Amanda Bates.
(19:31):
It's a combat specialist, biologists, a vampire. The gang are
four distinct personalities in the mind of one woman. What
the fuck do This book's wild? The captain is the
(19:53):
ship's artificial intelligence. It's so funny because this book isn't old.
It's from two thousand and six, but it seems like
it should be like way back in the day.
Speaker 2 (20:08):
Yeah no, that I get that feeling too.
Speaker 1 (20:14):
Then Helen Keaton, who is that person's mother, I can't
say that name whose consciousness has been connected is a
brain in a vat style to a virtual utopia called Heaven.
As a parent, she traumatized that person's name with an
emotional demand in.
Speaker 2 (20:37):
Not from a different world, least from the Place to
Scene era?
Speaker 1 (20:40):
Yeah wait what? Yeah? I just I was going through
It's yeah, so he's a caveman.
Speaker 4 (20:45):
Empire is from the Place to Scene era. Jakku Saristi
is a vampire and the crew's nominal and frightening leader.
Speaker 2 (20:55):
As a predator, from the place to scene.
Speaker 4 (20:58):
Yeah, he is alleged to be far smarter than baseline humans.
Speaker 2 (21:03):
Okay, he's from the place to scene here, that's interest.
Speaker 1 (21:05):
Does that make him a caveman? Technically?
Speaker 2 (21:08):
I don't mean, I don't I don't know, like I
don't know.
Speaker 4 (21:11):
The etymology or where not entymologic but the you know
where that tree you know goes to, but that you know,
place to scene.
Speaker 2 (21:21):
Eric, according to Wikipedia, was.
Speaker 4 (21:24):
Two point five eight million to eleven thousand, seven hundred
years ago.
Speaker 1 (21:31):
Okay, yep, that's what that says. Okay, all right, Well,
I'm just gonna add this to the old listy list
of stuff to Yeah, that might read just preparing myself
for whatever whack ass shit Neil does with it.
Speaker 2 (21:50):
Maybe the next thing to read. Like, I don't know,
like how long is this book?
Speaker 1 (21:57):
You gotta be fucking kidding me. I have it already.
Speaker 2 (22:03):
Does it say? When?
Speaker 1 (22:04):
My God? When did I get this? Oh? It was
a free It was one of the one of the
free ones. One of the free ones is no longer free,
so I don't actually have it anymore. Okay, Oh you
know what I did start this one? Okay, I do
remember the vampire thing oh man, Now I gotta try
(22:29):
to wait for it to come back up or or
buy it, whichever one. Interesting. What is that is a
wild picture Peter Watts has on audible.
Speaker 4 (22:47):
Really, let me see what the it's Wikipedia just looks
like like him standing in and out of the.
Speaker 1 (22:52):
Podium if you can see that or not? U.
Speaker 2 (22:58):
I mean it's him with a cat.
Speaker 1 (23:00):
Yeah, okay, so I did have that for maybe I
found out Neil was doing it. I went to look
for it and maybe I tried it or something, or
as free or something. I don't know, probably free, because
I do that shit all the time and then I
get distracked with something else.
Speaker 4 (23:21):
He worked with Relic Entertainment and did one of the
early drafts for Whole World two or what would become
the game Home World two or recently, he was recruited
by crid Tech as a writer and guard consultant a
crisis too.
Speaker 1 (23:37):
Oh, I guess that would be the most recent but
for him, But I don't know if I would consider
that reason.
Speaker 2 (23:44):
This is just reading through like quick look at Wikipedia.
Speaker 4 (23:47):
Yeah, I mean clicked on him for I might as
well see, like if there's anything that I know.
Speaker 2 (23:55):
Him from?
Speaker 1 (23:57):
What are we looking at here novels, novels, nobles.
Speaker 2 (24:04):
Uh, nothing is jumping out like any good writer. He
is a lot awards and recognition. The island, that's not that?
Speaker 1 (24:22):
Wait, the island like the Michael Blane movie.
Speaker 4 (24:25):
Is that the Michael? That's what exactly I was thinking too.
There's no link, no.
Speaker 1 (24:35):
Starfish mouse fam Yes, three books. Oh so Blindsight is
one of three books in a Firefall series. Okay, so
(25:01):
if I go to I don't know if you went
to it or right, what's the island based.
Speaker 2 (25:04):
Trying to find?
Speaker 4 (25:05):
But like it's when I clicked on it, it didn't
it went to see what There's no direct link to
the island, it's just links to I think it's a
short story compilation.
Speaker 1 (25:19):
Okay, yeah, No, this says screenplay our story by and
it has Caspian Treadwell Owen, who co wrote the screenplay,
apparently with Alex Chritsman and Robert Orsey. Roberto Orsey does
not say based on so must just be a coincidence.
Speaker 4 (25:38):
Yeah, it looks like the Island was a short story
inside of a collection of short science ficient short stories
for the New Space Opera Too, which, by the way,
happens to have John Scalzi in it.
Speaker 1 (25:52):
Okay, links being made.
Speaker 4 (26:00):
That's the Tale of the Wicked by John Scalzi that
came out in two thousand and nine, so that's not
too long after after he wrote The Blindside.
Speaker 2 (26:18):
Okay, wait is it it's blind Side right?
Speaker 1 (26:22):
Or blind Side blind Site?
Speaker 2 (26:24):
Okay?
Speaker 4 (26:25):
Because I said, I said Blindside, and I was like, well, wait,
that's that football movie. I mean, really awkward. I have
to rewatch that and see if it suddenly changes, you.
Speaker 1 (26:39):
Know, strange thing. I don't remember seeing a vampire on
that movie, but I didn't either. You know, people take
liberty liberties with story all the time and those so yeah, right, anyway, AnyWho,
that'll be an.
Speaker 2 (26:56):
Interesting, interesting read.
Speaker 4 (26:59):
Maybe next Yeah. I'm sixty something percent through Dungeon Crawler
Carl right now.
Speaker 1 (27:08):
I need to pick back up and finish those ones.
Speaker 2 (27:13):
Yeah, it's pretty fun.
Speaker 1 (27:15):
There are lots of fun. I got distracted with other books.
Speaker 2 (27:20):
Did you ever read the Dan Brown book?
Speaker 1 (27:23):
No, it's it's one of my next ones I gotta get.
Speaker 4 (27:26):
Okay, it's it's it's just your regular run of the
middle uh Robert Landian book. It was good, but nothing spectacular.
Speaker 2 (27:47):
M m hmm.
Speaker 1 (27:52):
Interesting here's the thing saying. Christopher Nolan led Directors of
America planning urgent meeting with Netflix. The Director's Guild of America,
which is led by Claimed director Christopher Nolan, is planning
an urgent meeting with Netflix. This announcement comes on the
heels of Netflix announcing its historic merger with Warner Brothers,
(28:16):
which has caused concern among rival companies, some fans and artists.
The news that Netflix had secured exclusive rights to negotiate
for w b D at the time, which is Warner
Brothers Discovery, raises significant concerns for the DGA, the Director
Guild America wrote. In December, Fifth News released The Dark Knight.
(28:39):
Director Nolan is the president. He wrote, we believe that
a vibrant, competitive industry, one that foster's creative creativity encourages
genuine competition for talent, is essential to safeguarding the careers
and creative rights of directors and their teams. We will
(29:03):
be a meeting when Netflix outline our concerns and better
understand their vision for the future of the company. While
we undertake this due diligence, we will not be commencing further.
Don't know what that actually means.
Speaker 4 (29:21):
The only thing I could guess is that there's probably
I mean, obviously he's head of the directors. Guilty said
that maybe they might suspend some things that might be
in production, maybe early production, until they get a better
idea of like what's going on with this, because yeah,
(29:41):
Netflix has come out and said that now we're totally
still going to release things in theaters, but the question
will be like, can you really hold them to, you know,
to actually do that. I could definitely see them doing
that for a while and then just slowly just not
(30:03):
doing it or doing what they did.
Speaker 2 (30:05):
They're doing with the.
Speaker 4 (30:07):
Stranger Things last episode. Yeah, it's in theaters anyway, five
hundred of them and only for two days.
Speaker 2 (30:12):
Or whatever it is there might be it might be
actually more days. I only saw two days.
Speaker 1 (30:17):
Yeah, it's too right now. They did expand the theaters
though it's up to I think it's up to eight
hundred and sixty theaters or something like that. But it's
up to the theaters if they want to take it.
Though it's not completely the Netflix.
Speaker 2 (30:30):
No, definitely not.
Speaker 4 (30:31):
But that's what I'm That's what I'm still saying, is
like they could still contractually meet that obligation of yes,
it got a theatrical release, yeah, but it's not.
Speaker 2 (30:42):
A widespread thing because again the problem with this is.
Speaker 4 (30:48):
That that's not in Netflix's best interest to release things
in theaters.
Speaker 2 (30:56):
Because they're a streaming platform.
Speaker 4 (30:58):
Yeah, you want to drive people to your streaming platform,
So why allow people to go to the theaters to
see something That's that's my concern, and that's a.
Speaker 2 (31:10):
Lot of people's concerns.
Speaker 4 (31:11):
I imagine there's probably a lot more behind the scenes,
are a lot more concerns as well. I can only imagine,
because I know that I shouldn't say. I know this
is all my speculation and stuff, but I can only
imagine that what what could be negotiated as under like
(31:34):
different guild contracts for like a theater theatrical release versus
a streaming release. Because wasn't there something not too long
ago that we had we had talked about where like
a contractually agreements said that if this was like a
theatrical release, that.
Speaker 2 (31:56):
People could get paid out X amount. Was like Amazon
that it.
Speaker 1 (32:00):
Was the remake of fucking Roadhouse.
Speaker 2 (32:07):
Yeah, but if it.
Speaker 4 (32:08):
Went streaming, then they didn't have to pay them that much.
So that's exactly that I can see the thing right
here happening.
Speaker 2 (32:15):
Yep.
Speaker 4 (32:15):
You know, we don't have to pay you out that
much because it's streaming only.
Speaker 2 (32:21):
Yeah.
Speaker 1 (32:22):
Yeah, because if you get back end money and there's
no back end, then you get no money exactly.
Speaker 4 (32:28):
So I could definitely see this being a concern for
everybody that is in making the stuff. And then I
just have never for the longest time, and maybe this
is also because I'm just off of cable TV, off
of radio all that stuff. I've just never seen Netflix
as a very good place to market their stuff. Yeah,
they market some of their bigger stuff. I still get,
(32:49):
you know, ads for Stranger Things and whatnot, But for
some of their smaller stuff, they just kind of suck
to me at advertising that stuff. Obviously, they make it
mostly difficult to complain that I've had for many a
year that if I if I'm following a series on Netflix,
it doesn't integrate with watch Now on Apple TV. So
(33:12):
unless I remember when a release is out, I'll totally
miss it because it's not on my watch Now. It
doesn't pop up with like, hey there's a new episode
of blah blah blah. It's like, oh shit, that's right, yeah,
let me just go ahead and watch that.
Speaker 2 (33:27):
Now.
Speaker 4 (33:27):
I have to remember to open too that something is
coming out soon that's on Netflix in order to watch it.
Speaker 5 (33:34):
Yeah.
Speaker 4 (33:36):
So yeah, there's a lot of questions about this, this merger,
and then what it also means to the DC as well.
I know that they said no, no, no, that you know,
James Gunn is still within, is still a.
Speaker 2 (33:51):
Co creator of the you know, co owner.
Speaker 4 (33:53):
Whatever whatever the title that he has right now, the
co head of the what is it.
Speaker 1 (34:00):
It's not DCU, it's DC Studios.
Speaker 4 (34:02):
DC Studios what they want to call it now, But like,
how how much longer is that?
Speaker 2 (34:07):
Like, you know, we.
Speaker 4 (34:08):
Saw that with with HBO Max when the new new
guy came in and just went like and chop, chop chop.
Oh that movie's almost finished now. It's not, Oh that
thing's ready to release.
Speaker 2 (34:20):
No, it's not.
Speaker 4 (34:20):
It's just like, you know, you're literally again taking money
out of people who've spent maybe you know, five years
making a script and then then doing stuff and then
doing blah blah blah, and it's like, Okay, we're about
ready for a theatrical release to see some returns.
Speaker 2 (34:35):
On this anyway.
Speaker 1 (34:35):
No, you're not tax shelter exactly.
Speaker 2 (34:41):
So there is so many concerns with this.
Speaker 1 (34:43):
Well, the biggest thing I would say to that though,
is Netflix releases all sorts of ship on their streaming platform.
Speaker 4 (34:49):
Oh no, like that was Another thing that I could
definitely get to is like their problem as well is
that they will release a ship ton of stuff just
kind of like throwing spigett at the wall to see
what sticks. And then the next problem is you could
literally have a meatball that sticks and you're like, oh
my god, this is so good, and then it's just like, nah,
it didn't get the numbers that we want to see,
(35:11):
so cancel.
Speaker 1 (35:14):
Yeah, yeah, there's a further Another quote from the Writers
Guild of America, the world's largest streaming company swallowing up
one of the big one of its biggest competitors, is
what antitrust laws were designed to prevent? The outcome would
estimate eliminate jobs, pushed down wages, worse in conditions for
(35:34):
all entertainment workers, raise prices for consumers, and reduce the
volume of diversity of content for all viewers. Industry workers,
along with the public, are already impacted by only a
few powerful companies maintaining a tight control over what consumers
(35:55):
can watch on television, on streaming, and in theaters, their
merger must be blocked. Then, further on, says a labor
union representative, writing a motion picture, television, radio, and internet programming,
including news and documentaries. Interesting, that's a.
Speaker 4 (36:13):
Big thing that I didn't even think of until that quote.
But we literally have something in recent recent months really
that really would prove that is that here we saw
Microsoft Game Studios buying up a bunch of game studios.
But that's almost a year to date ago from the
(36:34):
day that they raised the prices for Game Pass, so
they bought Bethesda Studios, and then a year from that
they raised the rates by.
Speaker 2 (36:46):
Half for Game Pass. So this is just.
Speaker 4 (36:51):
Another thing too that's literally like, oh, yeah, you know,
we're gonna Netflix. I can see them they raise their
rates pre it feels like, yeah, it's just another thing
that's gonna raise the rates of of their stuff.
Speaker 1 (37:09):
Yeahah, there's gonna be some price adjustments for sure because
they have to make back there what is it, eighty
eighty seven billion dollars whatever fucking nonsense number that was.
Speaker 2 (37:22):
Mm hmkay, Yeah, I don't like this.
Speaker 1 (37:31):
Yeah, it's ever great when you that, like they were
saying in that is, when you have too many companies
holding so much power. M it's just interesting to see
like our and it's gonna be interesting to see what
the plan is. Obviously must have a plan. They just
buy fucking Warner Brothers for eighty seven billion dollars because
(37:56):
on a whim, you know what I mean?
Speaker 4 (38:00):
It also makes me wonder where are some of those again,
I'm thinking of the DCU DC properties. Yeah, like because
right now you have contracts with HBO to release things
like the Penguin.
Speaker 1 (38:14):
Well Waterer. Brothers owns hp HBO. Oh so this is
included in Yeah, Warner Brothers owns HBO.
Speaker 4 (38:24):
Okay, so then that but then that still leads into
the fact of, like what happens to all the streaming services?
Speaker 2 (38:33):
Are they just going to get folded into Netflix?
Speaker 1 (38:35):
I mean, that's what Disney did with Hulu.
Speaker 2 (38:38):
That's what they're slowly doing with Hulu.
Speaker 4 (38:39):
Yeah, so you know, does HBO Max Goo Away, which
again was bundled in different things.
Speaker 2 (38:48):
I think.
Speaker 4 (38:50):
I think we have HBO through like a Verizon bundle
that included Disney and Hulu or something like that.
Speaker 1 (38:57):
Yeah, it's one of the men.
Speaker 2 (39:00):
Yeah, yeah, I don't like any of that.
Speaker 1 (39:10):
It's gonna be very very interesting to see what happens
or how it happens. I should say it, well, actually,
if it happens to you, if they if the SEC
blocks it due to fear block it antitrust, but I guarantee.
Speaker 2 (39:26):
You they're not going to block it. This doesn't feel
like that type of bug.
Speaker 4 (39:31):
Not to get political, but administration that would block something
like this. I don't know if there is a history
of them doing stuff like, you know, blocking stuff like this,
but this just feels like something that's just going to
go through without any issues or with back end promises.
(39:51):
Let's put it like that.
Speaker 2 (39:54):
Yeah, yeah, I don't like any of it.
Speaker 4 (40:02):
Because exactly that I can see them going. You're not
gonna immediately rock the boat. You're gonna slowly rock it
over time until you capsize it. Then nobody notices that
you capsized it until it happens.
Speaker 1 (40:14):
You know.
Speaker 2 (40:15):
Even the Disney Hulu thing.
Speaker 4 (40:16):
Is like no, no, no, that's soft in the future type
of thing, and then it will suddenly just happen and
you log on one day and it's like, well, Hulu
no longer exists type of thing you have to log
into Disney, which is still just a weird thing for
me in general.
Speaker 2 (40:32):
It's like I'm gonna go watching an A rated R
movie on Disney.
Speaker 5 (40:35):
Plus hell, it.
Speaker 2 (40:36):
Still feels wrong to me. That's a whole nother argument here.
Speaker 1 (40:42):
So I felt when I started when I when I
play games that are m A or something on the Switch,
it's like m or in any anything into platform really,
Like I remember playing a fuck was that name of
that game super Bloody? I was on the Wii can
it was something mad World. Yeah, mad World. We were
(41:03):
playing that, and I was like, this seems fucking nuts.
Speaker 2 (41:07):
Dude, Well yeah, the game was fucking nuts.
Speaker 1 (41:09):
Yeah, and it was on the Wii.
Speaker 2 (41:11):
It was a week exclusive for a recall, right yeah yeah.
Speaker 1 (41:15):
I was like, this is way way more violent than
I expected everything to be on here.
Speaker 2 (41:19):
And it was in black and white and red.
Speaker 5 (41:21):
Yeah, but yeah, yeah, we shall see SPOS.
Speaker 1 (41:34):
There's nothing we can do about it now.
Speaker 4 (41:36):
So nothing we can do obviously, and I even know
if there's nothing that that even the the Directors Guild
could do, like they're probably literally just looking into this
just to be like, yo, can we get something great?
Agreeances because I mean, I guess the only thing that
I could see happening is if the deal is so
atrocious that you're just gonna get most big name directors
going nah fuck Netflix, I won't work for won't work
(42:00):
them at all. So you'll have a few maybe Christopher Nolan.
I could see maybe James Cameron even giving him the
big finger, and some other directors just being like, I
will never work with with you because of the deals
that you want to strike all the you know, hey,
it's not getting a theatrical release, so we're not getting
more money based on we're not getting based on revenue
(42:22):
type of thing.
Speaker 1 (42:23):
Yeah, And well, I mean when it comes to Christopher Nolan,
when you stop that it's happening, Yeah, Christopher Nolan's more
about the experience of the movie going more than right.
Speaker 2 (42:34):
Yeah, absolutely right.
Speaker 4 (42:36):
But and that is one of the things that I
can definitely see him arguing for because it was Tenant. Now,
what was the movie that durrecting COVID that you refused
to release because they had because he wanted it.
Speaker 2 (42:49):
To be released in theaters. It was Tenant.
Speaker 1 (42:52):
Yeah, and that's that's why he went from working with
Warner brothers to working with Universal because of what they
did with Tennant and doing the day, day and date
release in theaters and on streaming.
Speaker 4 (43:08):
So I can definitely see him, you know, trying to
make sure that there's going to have some sort of
agreement and hopefully, you know, maybe something written down in
stone on paper that that works to help release things
in theaters and you know, meet directors creativity demands.
Speaker 5 (43:37):
Yep.
Speaker 1 (43:38):
Yeah. Also, I think we talked about this before it too,
was like speaking of Netflix releacing shit in theaters. When
they did Gamerol de Torros Frankenstein, they at least it
in limited theaters.
Speaker 2 (43:53):
Right.
Speaker 1 (43:54):
Again, probably not completely up to them. It's up to
this the movie theaters to pick it up to you
and how their deal works with that. But you do
that and then you release it on Netflix, right, cool, whatever,
But it's like you didn't really push anything. I mean,
they had a large online presence of ads and stuff
(44:16):
on YouTube, and they put up a bunch of special
features up like this is how Jacob Lordy got in
the makeup and this is blah blah blah, you know whatever, right,
but it's like you didn't make a push like other
than like a week before it was in theaters I
know of, because again, as you said earlier, Netflix isn't
the best about advertising or you know, letting you know
(44:39):
things are out. But it just seemed like it was
like a oh yeah, by the way, these seventeen and
a half screens are gonna have it for a week,
and I hope you can see it.
Speaker 4 (44:52):
The fact that you say that it was it was
it's being released in theaters or was released in theaters.
Speaker 1 (44:56):
I had no idea it was. Yeah.
Speaker 4 (44:57):
I knew about it. Yeah, I knew about the movie,
but not that it was released in theaters. So again
just the shit, you know, advertising of it right there,
and again that's something that I can definitely see them
doing of, just likeing, well we met or we met
our contractual agreement that five hundred and one theaters.
Speaker 2 (45:19):
Have gotten the movie.
Speaker 1 (45:22):
Wait what Yeah, yes, it was unfortunate for sure. Yeah,
ah does actually having me. Netflix has released a list
(45:48):
of most searched films of the year, Give Chance, Give
fans a chance to claim one more accolade before twenty
twenty five is over. Per Google and What's on Netflix.
K Pop Demon Hunters officially been named the most searched
for movie of twenty twenty five for users in the
United States, followed by sinners in a Minecraft movie. Doesn't
(46:15):
see how many searches, but I don't think that number
is fathomable by typing out anyways.
Speaker 2 (46:23):
But it's also something Netflix.
Speaker 4 (46:25):
Again not to rag, not to continue to rag on Netflix,
but I believe it's something that they never release either.
Speaker 2 (46:30):
What are their streaming numbers?
Speaker 1 (46:32):
They never release on it, Yeah, for any any content,
not publicly.
Speaker 4 (46:36):
Yeah, but I can see that those being the most
searched for things a people trying to understand what K
pop demon hunters are, because that's kind of a thing
that got very popular, and I would I definitely see
(46:59):
like what the is that you know people searching for it.
Centers is an interesting one because to me that was
like a period piece movie and then you find out
that there are vampires in it, and I was like,
what that Why that's why it was searched for? Yeah,
(47:20):
what was the other.
Speaker 2 (47:21):
One on there?
Speaker 1 (47:22):
A Minecraft movie?
Speaker 4 (47:24):
Oh, then that's just people searching for why the what
the hell is a chicken jockey?
Speaker 2 (47:28):
And why are people destroying theaters?
Speaker 1 (47:31):
Those kids are fucking terrible and should all be beaten.
Speaker 5 (47:35):
Wow.
Speaker 1 (47:36):
It's true. I mean their parents are terrible people. They
should be beaten as well.
Speaker 2 (47:42):
That that'd probably be more behind.
Speaker 1 (47:46):
Yeah, we should make the parents beat the kids, and
then the parents should be beaten in public by anybody
wronged by their kids.
Speaker 2 (48:00):
Okay, okay, and we.
Speaker 1 (48:02):
Should film it and we should put on pay per view.
Speaker 2 (48:04):
Wow, it's like some.
Speaker 4 (48:11):
Greek style with Greek Roman whatever, Roman colosseum style, just
like put put everything on display. It feels like, and
just let the violence go. I don't know, maybe we're
heading towards the almost a maze runner uh and I'm
literally spacing out something.
Speaker 1 (48:30):
Runner, the Running Man, The Running Man.
Speaker 2 (48:32):
There we go. Feels like we're just barreling towards that anyway.
Speaker 1 (48:37):
I mean we if you're looking at like the Arnold
Schwarzenegger one, yes, if you're looking at the actual one
and Edgar Wright's one, we are kind of already there
because we do have some pretty ridiculous ship on TV
that people do get.
Speaker 2 (48:52):
That's what I'm getting at. Just the next thing is.
Speaker 1 (48:53):
Just going to be like straight murder, you.
Speaker 4 (48:56):
Know, straight up the survive murder. You know they're going
to play it off as like Haha, this is you
know they didn't actually die, and then you're gonna find
out that it's like, no, they really were like just
the rich people killing people on a secret island.
Speaker 2 (49:11):
Yeah, it's gonna be like Big Brother, but you know with.
Speaker 1 (49:14):
Guns, didn't they? They made that movie? What was that
one called? It was with Steve Austin? Oh my god,
what was that one called?
Speaker 2 (49:28):
I don't follow the wrestling movies as much as you do.
Speaker 1 (49:30):
No, this was a while ago too. I don't think
you went and saw it with us again.
Speaker 2 (49:36):
It doesn't seem like something I would go see.
Speaker 4 (49:38):
No.
Speaker 1 (49:41):
Actually, I don't even know if was Mike hanging out
with me at that point. Steve Austin, that is not
how you spell that. Well, there's a lot of people
with that name. I want to be a professional wrestler.
(50:03):
His movies filmography, What was it called? Why is there
three dropdowns for that one? Not the Package Knockout, No,
the String, the Stranger, No, the Condemned boom there? It
(50:24):
was ten People Will Fight, Nine People Will Die? You
get to watch had Vinnie Jones in it. It was
it was a it was a good time. It was
not a good movie. Oh it was a ww film
that actually makes a lot of sense.
Speaker 4 (50:44):
But yeah, back back in that day. That's I mean,
what when was it filmed?
Speaker 1 (50:49):
Two thousand and seven? That came out in two thousand
and seven. Yeah, the film, So this is what it
says here. The film centers on ten convicts who are
forced to fight each other to the death as part
of an illegal game which is being broadcast to the public.
M that's literally the whole premise of the movie.
Speaker 4 (51:11):
And I can definitely see that being a thing that again,
like that's one of those things that that pops up.
That's like I doubt that they would. It would be
like hunger game, not hunger games, squid games.
Speaker 1 (51:28):
Yeah, you know, type of thing, but like televised, but televised.
Speaker 4 (51:34):
Like the sad part is, the more I think about it,
the more I think of, like, man, i'd kind of
watch that, like imagine like, you know, it's totally fake,
but you drop off ten people in the middle of
the forest or whatever it is, and all throughout you
hide like paintball guns or something that you use as markers,
(51:55):
laser guns, I don't know, but these ten people or
over a you know, a large, very large square footage
have to survive thirty.
Speaker 2 (52:06):
Days and if they.
Speaker 4 (52:10):
Get caught by other people, they could possibly just eliminate
them by by, you know, shooting them or something like that.
I kind of would watch that, and now I feel
like I'm the problem.
Speaker 1 (52:25):
I mean, you're not wrong.
Speaker 2 (52:29):
You would watch that.
Speaker 1 (52:30):
I guarantee you.
Speaker 2 (52:31):
I'd watch that exactly.
Speaker 1 (52:35):
Oh I did not know.
Speaker 4 (52:37):
This would be like naked and afraid, but with like
paintball guns. Oh my god, that'd be terrible.
Speaker 1 (52:42):
Not just paintball guns, but like the pepper spray paintball guns.
Speaker 2 (52:47):
Yeah.
Speaker 1 (52:48):
You gotta you gotta make it more than just the pain.
They gotta be like, oh shit, I can't see.
Speaker 4 (52:52):
Papa, because that would be the only thing of like,
how do you make sure that someone got eliminated.
Speaker 2 (52:59):
You'd have to have cameras set up everywhere.
Speaker 1 (53:02):
Speaking speaking of eliminated, I think we've talked about this
in real life. I don't know if we talked about
the podcast. But on YouTube right now, there's a the
YouTube channel that is non stop live with most extreme
elimination Challenge. Okay, so do you remember XC from Spike
(53:23):
TV Back in the day. It was the Japanese It
was a dubbed show. It was basically taken from Takashi's Castle.
Speaker 4 (53:29):
Oh yeah, I didn't know that was what it was called. Yeah,
but yeah, I know it as Takashi's Castle.
Speaker 1 (53:33):
Yeah. So the American version of it, which basically took
episodes of Takashi's Castle and then had these two dudes
do voiceovers for pretty much everything. And they've been playing
at NonStop for like the last like two months on
I think it's called con TV, like con TV, I
think it's the channel, but it's been live and the
(53:55):
it's been going through and then they block they have
blocks of the seasons you can watch as like full
through and there's no i mean, obviously there's YouTube ads,
but there's no like no commercials in it obviously, but
it's just the show and it's ridiculous. Just maybe think
when you said an eliminated because what do we always say,
(54:16):
don't get eliminated. That's what they say at the end
of the every show. Yeah, and it's we watch it
and it's just so funny because like there's no way
I mean maybe nowadays just because like we've kind of
turned a corner with what people will get offended by.
But some of the ship that's on there I'm like, dude,
you would get like you put it on Comedy Central
(54:38):
and no one care. But it's like, dang, that's wild.
They had one when we were watching a part of
one either yesterday the day before, and it was, uh,
comic book enthusiasts versus the world's oldest profession, so prostitutes,
(55:04):
and I think they included like porn stars in it too,
but it was just, oh no, the porn star one
is a different one, businessman versus I can't remember what
it was, but yeah, they just and the names they
come up with and then the stuff they put in,
like there's one where the guy was like he cleans
(55:26):
up in adult movie theaters and his hobby as he
collects full house memorabilia. It's so weird, dude. And then
of course the names they use are just ridiculous. Yeah. Yeah,
it's just it makes me laugh for a single time
because that show was bonkers. And plus I don't even
know like they're taking what's crazy about it too is
(55:48):
obviously the voiceover stuff is ridiculous. But they take Takashi's
castle and they then do voiceover out of whatever the
fuck's happening on Takashi's castle. And there's this one episode
where they kept blowing each other up with like these
stage bombs or whatever, right, but it was like they're
talking about like I don't remember what it was, and
(56:09):
they'd say Kenny kept blowing them up, and then like
it was just like this most ridiculous thing. And then
like another episode they were doing like product placements and
like Vic Romano was advertising this new like machine that
helps you clean your hair, but they strap Kenny into
it and then basically it's on this wheel that like
(56:30):
dumped them in water and has this big brush like
slap him in the head. Yeah, it was so like
what is the context in Takashi's castle, right, Like I
don't obviously, I know it's not a direct translation. They're
not saying this is a machine for hygiene. And then
they have one where like they're throwing uh what they
(56:52):
what did Vic call him? What's the exfoliating orbs? But
it's a volleyball pitching machine and they're just shooting it
right at Kenny's face, so like, yeah, let it, you know,
like let's exfoliate your skin, Like, look, do you feel
that glow? And he's like getting hit directly in the
(57:12):
face of these volleyballs from like ten feet away.
Speaker 2 (57:17):
Damn.
Speaker 1 (57:19):
I was like, what can someone give me a wiki of?
Like what the fuck this episode is actually about? Like
what were they doing? Because in the show they use
those machines in a couple different games, and one is
the Brass Balls, which is where they do the contestants
have to walk across a rope bridge that has no handles,
(57:41):
it's just the bridge portion of it. The captain gives
them a gold volleyball and they have to walk across
while being shot at by other by one of those
those pitching machines with other volleyballs, and they're always getting
hit in the face and the growing the legs. It's hilarious.
But the bridge is like maybe twelve fourteen inches wide,
(58:05):
so as soon as you step on one side, it's
definitely tipping over. You have to, like, you know, be
very careful. And it's just hilarious because like they just
take and then they fall off into a giant net.
But they're getting drill all the time, and then if
you drop the ball, you have to wait for another
one to come back and then you have to Yeah,
it's just ridiculous. But yeah, so like he's just getting
pelted in his face by these orbs, these exfoliating orbs,
and I'm like, what the fuck is the actual context
(58:28):
of this clip? Right, like what could it possibly be?
And then the other thing too, is like, I know
they probably spice in a bunch of random shit together
to make a story, like a find a a clip
of Kenny getting blasted in the face by volleyballs, and
we'll add it to this other ridiculous thing where we're
slapping in the head of this giant fake toothbrush to
brush his hair. And then there's like one about there
(58:51):
applying like some kind of like goo to his hair.
Like it was just I don't know, it was so
fucking weird, dude. I was like, what is happening.
Speaker 4 (59:00):
To say that there is somewhere that does actually have
the original Taikashi's Castle with translations out there?
Speaker 1 (59:06):
I think Amazon actually has Takashi's Castle on it. Mm hm.
Speaker 2 (59:12):
You could go get those answers if.
Speaker 3 (59:13):
You really want to, or you could just I don't
think I do let the imagination, yeah, or just let
the magic simmer.
Speaker 1 (59:21):
Yeah, I don't think. I don't think I want to
know the actual answers.
Speaker 2 (59:24):
Yeah.
Speaker 1 (59:26):
Plus I'll never would be nearly as ridiculous as they
make MXC right, right, all right, I think that's it
for this week's episode. As Joe Joe pretends to pretends
to be falling.
Speaker 2 (59:41):
Asleep, I'm not falling asleep.
Speaker 1 (59:45):
So that has been this week's episode. Comes. Actually we've
been I've been Cody, and as usual, you fuckers just
came naturally.
Speaker 2 (59:52):
Bye.
Somebuddy.
Speaker 2 (00:01):
Nothing was something to you.
Speaker 1 (00:02):
Nothing almost called page right now. I opened up uh
uh FaceTime to call and it has you, and I
was about to click on it, and it like refreshed
because like its like a I don't know yours probably
doesn't do it because mine's updated, but it does like
A suggested and it was like it switched to hers,
(00:26):
and I was like, oh, don't call her right now.
She'll be very mad.
Speaker 2 (00:31):
A page you want to be part of our podcast.
Speaker 1 (00:33):
Right now from the bed would be super angry with me.
Speaker 2 (00:37):
I bet she would.
Speaker 1 (00:44):
I prefer not to do that, right sent boom boom
goes the time.
Speaker 3 (00:57):
M h.
Speaker 1 (01:06):
All right, let's see here. Indeed, no, I'm looking at news.
Speaker 2 (01:13):
Oh okay, indeed is next.
Speaker 1 (01:19):
Indeed his next uh huh mm hmmm. Stephen King recommends
this forgotten action movie with twenty eight percent rotten tomatoes.
(01:41):
Let's have to skim past like two paragraphs of exposition
until we figure out what he's talking about. Oh really,
really though about takers? Oh my god?
Speaker 2 (01:57):
What takers?
Speaker 1 (01:58):
Takers t A K. Yeah, it's a film from two
thousand and eight, when the Takers come out anyway, says
it's just Alba, Paul Walker, Hayden Christiansen. What was that
(02:19):
guy from? Oh what is that? What is his name?
Damn it? What is his name? Michael? Not Michael Ealy.
It's the other one, damn it. Not to look it up.
Not to look it up because it's gonna bother me.
(02:39):
Michael Douglas, Yes, Michael Douglas, that's the one. You were.
You were right there, Takers twenty ten, twenty ten.
Speaker 2 (02:53):
I wasn't.
Speaker 1 (02:53):
It was Michael Ealy, I was right, Jay Hernandez, Paul Walker,
t I, Chris Brown, Hayden Christensen, Zoe's Andala. Yeah, I
mean it was. It was a heist movie. It wasn't terrible,
but it wasn't great. The acting was subpar on many
(03:14):
levels by many people in that movie. And it wasn't
it just all but yeah, But apparently Stephen King recommends
it for whatever reason. I don't know. I didn't read
the whole thing. I did see this article. I guess
(03:34):
it was published yesterday where Sigourney Weavers spoke about why
Neo Blancom's Alien five movie died. Oh okay, Now this
article made it sound like it was like a definite reason.
(03:55):
But quote in this suggests why so it says, I think,
like many of us, I was a big admirer of Neil.
Of Neil, I don't know why she said was.
Speaker 2 (04:09):
I know, right, it's like I was. I still am,
But I also.
Speaker 1 (04:13):
Was because I think this is her talking about at
the time, like she she was a big admirer, like
you know, she probably still is. And it kind of
makes it sound like this, but it was just a
weird way of her saying it. But I think it's
because this quote has probably taken almost out of context.
Says his movies. His movie was striking because he had
(04:34):
only made one at that point, and I worked with
him on a movie called Chappie, which was his second movie,
and I loved working with Neil, and he had this
idea for bringing Ripley and Newt back. It was a
wonderful script, and unfortunately it was at the point that
I think Ridley Scott decided to be very possessive about
his series and really drilled down on his prequels, and
(04:55):
so I think it was a disaster for that project.
We were never able to I think Neil, in fact,
just gave up. And he's so talented. I wish him
all the best. That was her quote from that was
in there. So she is saying that it was because
of Ridley Scott taking back the reins to the Alien movies.
Speaker 2 (05:19):
I believe that.
Speaker 4 (05:20):
I mean, that's I mean, honestly, that's I believe. That's
what I believed from the beginning, because there was nothing
going on for a while, and there were rumors of
Blombcomp working on something. But then I mean, that's just
kind of I feel like, that's just unfortunately what bomb
Komp has done for a while, you know, like uh,
(05:44):
rumors of Halo, of working on Halo stuff, and then
they just suddenly are like, nah, we're going in a
different direction, you know, with it, and it's just like,
oh shit, Okay. Then rumors of him working on the
alien stuff and he had the concept art and stuff,
and then it was just like Ridley Scott going now
I'm gonna take it in my own direction.
Speaker 3 (06:00):
It's just like the Okay, yeah, poor guy, seriously, because
he's a fantastic I mean, I honestly haven't still yet
to watch his last movie that came out didn't take
great reviews.
Speaker 4 (06:12):
But then again, Chappie didn't get great reviews, and I
thoroughly enjoyed Chappie.
Speaker 2 (06:16):
You know, kind of a modern take on a short
circuit in my opinion.
Speaker 4 (06:23):
But yeah, I think he's a fantastic filmmaker, especially for
what he can do on.
Speaker 2 (06:29):
A small budget, relatively quote unquote small budget.
Speaker 1 (06:33):
Yep, you know.
Speaker 4 (06:34):
So it would have been fun to see him at
the helm of a Halo series. It would have been
fun to see him at the helm of an Alien series.
I want to say there was something else that he
was attached to at one point, and I just can't
think of it right now.
Speaker 2 (06:49):
But whatever, Does he have anything coming out soon? Is
he working on anything? I know he still does.
Speaker 4 (06:56):
He still has that game studio, which again is another
thing that's like that game.
Speaker 1 (07:01):
That game came out. So did it come out?
Speaker 2 (07:04):
Oh?
Speaker 1 (07:06):
It was an extraction shooter. So I didn't really give
two ships.
Speaker 2 (07:10):
Yeah that makes sense.
Speaker 1 (07:13):
Let's see if he has anything listening to the pipeline.
His last thing was Grand Trees.
Speaker 4 (07:19):
Oh right, yeah, okay, his last Even then, I wasn't
even thinking about Grand Reasona.
Speaker 2 (07:24):
I forgot about that.
Speaker 1 (07:25):
You're thinking Demonic. Yeah, that's the last one of his movies.
When I say his movies, he wrote and directed it
as WATS produced it. But god, I love I.
Speaker 4 (07:39):
Can't hardly do anything on this laptop anymore. Yeah, I
can't go to IMDb.
Speaker 1 (07:45):
The website.
Speaker 2 (07:47):
Yeah the fuck It loads.
Speaker 4 (07:50):
For a second and then just application error, a client
side exception occurred.
Speaker 1 (07:54):
Yeah, that's the fun.
Speaker 2 (08:01):
Anyway, you're gonna have to tell me.
Speaker 1 (08:04):
Wait, what what am I reading this correctly?
Speaker 2 (08:08):
I don't know.
Speaker 1 (08:10):
In twenty twenty, Blanconk joined Gunzilla Games as a co
founder and chief creative officer. He began work on Off
the Grid, which is that game that was to talk
about the extraction shooter, and the game went into early access.
In October of twenty twenty four. His company acquired Game
Informer from GameStop, restarting the publication after seven months. Neil
(08:34):
did that. Yeah, I did not know that, though we
talked about that.
Speaker 4 (08:38):
Maybe not from this point of view, but yeah, from
the point of view that the company got bought.
Speaker 1 (08:43):
I knew that. I did not know his company bought it,
like Gunzilla.
Speaker 4 (08:48):
Yeah, it's cool right, And now, to be fair, I
haven't actually heard anything prom d or paid attention to
it afterwards, but it's cool.
Speaker 1 (09:02):
Wow interesting, So technically yeah, Gunzilla Games owns it. Wow. Wow, Okay,
not what I was expecting. But there's something here. We go.
I knew there's something and we I don't think we
(09:24):
ever talked about it very much in two thousand. I
think actually I think we did in two thousand. March
of twenty twenty five this year, as of recording, Columbia
Pictures tap blancomp to write and direct an adaptation of
Robert A. Heinlein's military science fiction novel Starship Troopers. He
(09:46):
is also reportedly working on an adaptation of Peter Watts's
novel Blindsite. I think we talked about pretty sure, we
talked about Starship Troopers.
Speaker 2 (09:58):
Starship Troopers, but I don't recall with the director at
the time.
Speaker 1 (10:04):
Yeah, so it's he's.
Speaker 2 (10:05):
So they've tapped him for doing.
Speaker 1 (10:08):
To write and direct. That's the important parts. That's the
important part because that is definitely in his wheel.
Speaker 2 (10:15):
That hopefully that goes all the way through.
Speaker 1 (10:21):
Have I read this one blind Site?
Speaker 2 (10:26):
I on think I have that when I don't know
what is blind Site.
Speaker 1 (10:30):
It's a book by a gentleman named Peter Watts was
publishing on Tour Books, which a lot of sci fi
books are in two thousand and six, it won a
Hugo Award or well sorry, it was hu Award finalist,
and then one uh Suwan Award for Best Novel in
(10:52):
Japanese Translation.
Speaker 2 (10:54):
Yeah.
Speaker 1 (10:57):
I don't know if it's I think it was just
an adaptation to jetpans all it was. No, it's definitely English. Yeah,
well it's his je.
Speaker 4 (11:04):
It won the Swing Award for the Best Novel in
Japanese Translation.
Speaker 1 (11:09):
Yeah, so it means it was it was translated into Japanese.
Speaker 2 (11:12):
Translated into Japanese, okay.
Speaker 1 (11:13):
Because here it says language is English.
Speaker 2 (11:15):
Okay, that's just weird.
Speaker 1 (11:17):
Genre is hard science fiction? Yeah? Yeah, yeah, we both
know how that goes. Speaking of which, have you finished it?
Speaker 2 (11:29):
Finish? What?
Speaker 1 (11:30):
Come on? Man? What what book were you struggling to
get through?
Speaker 2 (11:35):
No? I finished that book. I just haven't finished the series.
Speaker 1 (11:37):
Oh okay, okay, you did it in a fishing.
Speaker 2 (11:39):
It because you're talking about the hyperiod.
Speaker 1 (11:43):
No, what's the you were just reading the we were
talking about.
Speaker 2 (11:49):
Right now, Right now, I'm actually reading Dungeon Crawler. Dungeon Crawler, Carl.
Speaker 1 (11:54):
It's so hard to say, it's so good. What do
you think?
Speaker 2 (11:56):
Uh?
Speaker 4 (11:57):
I was skeptical at first, it felt too much like
just a It felt too much like any other jokey
sci fi.
Speaker 2 (12:11):
Book, kind of like Space Team, you know, type of thing.
Speaker 4 (12:14):
It felt, you know, very much in that realm, but
too far close to that type of thing. But once
I got past the first few chapters and it's just like, oh, okay,
yeah it still is that, but it is still kind
of its own thing, and you just settle into it
and it's just like, this is actually pretty funny and fun.
Speaker 2 (12:32):
I'm enjoying it.
Speaker 1 (12:34):
It's lots of fun.
Speaker 5 (12:35):
I liked it a lot.
Speaker 4 (12:36):
Yeah, but yeah, before that, I read the new Dan
Brown book.
Speaker 1 (12:45):
I can't remember what it was. You were reading something
that was sci fi, and I don't remember what it was.
Speaker 4 (12:51):
Now, let's take a look at my I can do
a library, because I mean, I think I know what
you're you're talking about.
Speaker 1 (13:00):
This you're reading or no, it was snow crash. Snow crash,
that's what it was, Yeah.
Speaker 2 (13:08):
Snow crash.
Speaker 4 (13:09):
Even then, like I, I guess I didn't really don't
really consider that sci fi.
Speaker 2 (13:14):
That was just cyberpunk.
Speaker 1 (13:16):
Well still sci fi, I mean.
Speaker 2 (13:18):
I guess it's still sci fi. You are correct in.
Speaker 1 (13:22):
That he drives a car that goes beyond normal speeds.
Speaker 4 (13:29):
Uh, snow crash was one of those. Was was a
book that, yes, I finished it, but it's my problem
with it is not with the problem that I have
with heart sci Fi is the type of thing when
I think hard sci Fi, I think, well, hyperiond like
(13:49):
like I said, my problem with that is those types
of books seem to introduce concepts in words and never
explain what those things are. That's my problem with with
a lot of heart sci Fi. They take things that
should just have normal explanations to them. You have a hyperdrive,
all right, you called it a hyperdrive. Cool, I know
(14:12):
what that is. You explain what it is. It's good,
but you introduce like it quick get to the transworp
something something something or other, and it's like, okay, what
is that?
Speaker 2 (14:23):
Then I don't know.
Speaker 4 (14:24):
You just used it and got away, and it's like, well,
what the fuck was it? Does it open up the
portal somewhere?
Speaker 2 (14:28):
Is it a ship? Is it a drive?
Speaker 4 (14:30):
Like I had that problem with hyperiod where it was
just like they tell you stuff and then just expect
you to know what it is, and it's just like
I didn't know what the fuck that was, you know,
even thinking of other, you know, books like Dune. Dune
was like, here's an ornithopter anyway, here's what an ornothopter
looks like, here's how it works. And you're like, oh, okay,
(14:52):
now I have an image in my mind of what
this thing is and how it works. But if they
would have just been like, get to the ornithopter, I'd
be like, what the fuck is an horner ofth opter?
Speaker 2 (15:03):
And that would be my problem with heard sci fi.
Speaker 4 (15:08):
The difficulty with the cyberpunk one was just it was
so weird and crazy.
Speaker 1 (15:13):
Yeah, that's very true.
Speaker 4 (15:17):
At first, but once you settle into it, they do
explain things. I think it's also just coming from It's
one of those books that when you're reading about it,
probably at the time looking forward, it makes sense, but
when you're reading it now looking backwards, you're like, well,
that technology doesn't make sense anymore. Like that's not how
(15:42):
hacking would be or something like that. I'd have to
think about it a little bit more so. It's kind
of off the cuff. But yeah, that so the difficulty
in reading it was also just kind of like I
just didn't really didn't really care for any of the
characters early on.
Speaker 2 (16:01):
It was just kind of a weird world to be in.
Speaker 1 (16:06):
Very true, very sure. So yeah, so uh that was
Neil's uh two things I guess he's working on, which
is cool. Yeah, so what is this?
Speaker 2 (16:22):
Uh? What was this book even about?
Speaker 1 (16:27):
So from what I can gather, a crew of astronauts
sent to investigate a trans Neptunian comment dubbed Burns call
field that has been found to be transmitting an unidentified
(16:48):
radio signal, followed by their subsequent first contact air quotes.
M yep, that's that's the quick synopsis, and there's a long,
long ass plot breakdown. Apparently the ship they use is
called the Theseus.
Speaker 2 (17:08):
I just thought I saw that, and now I kind
of really want to read this.
Speaker 1 (17:11):
Yep mm hmmm, why.
Speaker 2 (17:13):
Do you call it the ship the Theseus?
Speaker 1 (17:15):
Wait?
Speaker 3 (17:16):
What?
Speaker 1 (17:17):
Hold on? What the fuck is happening in this?
Speaker 2 (17:20):
Oh?
Speaker 1 (17:20):
This is this is hard sci fi fantasy.
Speaker 2 (17:24):
Elves evolved.
Speaker 1 (17:25):
There's a vampire.
Speaker 2 (17:28):
I'm sorry, what bro.
Speaker 1 (17:29):
I'm telling you right now. Djuka Sarsisti is a vampire
and the cruise nominal and frightening leader as a predator
from the that is a name. He is alleged to
be far smarter than baseline humans.
Speaker 4 (17:52):
I'm sorry that just suddenly read like like the line
from Back to the Future, I am Darth Vader from
the planet Bulkan.
Speaker 1 (17:59):
Like, wait, what, I don't it's like plus plusian Plastonium.
I don't know, it's.
Speaker 2 (18:09):
I just like this line. It's out of context.
Speaker 1 (18:12):
From the ice age apparent, but it.
Speaker 4 (18:16):
Immediately hails them over the radio, and in a range
of languages varying from English to Chinese, identifies itself as.
Speaker 2 (18:22):
For roshak.
Speaker 1 (18:25):
Okay, so you know we've got.
Speaker 4 (18:27):
A crazy conspiracy theory theorist mask wearing guy in.
Speaker 1 (18:32):
Here, Sirie Keaton. Oh don't know, it went off. I
knew it was going to do it once I once
I look down. You can't say that name out loud.
And then my computer and my phone started doing stuff.
Speaker 2 (18:48):
Oh I know, I hate it so much.
Speaker 4 (18:51):
I listen and watch a YouTuber named Simon Whistler who
does just like decoding the Unknown and some other stuff
I think talked about before. But he'll, especially his early stuff,
he'll literally be like, hey, that name, what is blah
blah blah because he's looking for an explanation in a
script that he's reading and it sets off.
Speaker 1 (19:10):
Everything that's annoying. Learn my voice, damn it. He's a
narrator and protagonist. This person, oh well, I'm sorry, is
I don't know if he or she Major Amanda Bates.
(19:31):
It's a combat specialist, biologists, a vampire. The gang are
four distinct personalities in the mind of one woman. What
the fuck do This book's wild? The captain is the
(19:53):
ship's artificial intelligence. It's so funny because this book isn't old.
It's from two thousand and six, but it seems like
it should be like way back in the day.
Speaker 2 (20:08):
Yeah no, that I get that feeling too.
Speaker 1 (20:14):
Then Helen Keaton, who is that person's mother, I can't
say that name whose consciousness has been connected is a
brain in a vat style to a virtual utopia called Heaven.
As a parent, she traumatized that person's name with an
emotional demand in.
Speaker 2 (20:37):
Not from a different world, least from the Place to
Scene era?
Speaker 1 (20:40):
Yeah wait what? Yeah? I just I was going through
It's yeah, so he's a caveman.
Speaker 4 (20:45):
Empire is from the Place to Scene era. Jakku Saristi
is a vampire and the crew's nominal and frightening leader.
Speaker 2 (20:55):
As a predator, from the place to scene.
Speaker 4 (20:58):
Yeah, he is alleged to be far smarter than baseline humans.
Speaker 2 (21:03):
Okay, he's from the place to scene here, that's interest.
Speaker 1 (21:05):
Does that make him a caveman? Technically?
Speaker 2 (21:08):
I don't mean, I don't I don't know, like I
don't know.
Speaker 4 (21:11):
The etymology or where not entymologic but the you know
where that tree you know goes to, but that you know,
place to scene.
Speaker 2 (21:21):
Eric, according to Wikipedia, was.
Speaker 4 (21:24):
Two point five eight million to eleven thousand, seven hundred
years ago.
Speaker 1 (21:31):
Okay, yep, that's what that says. Okay, all right, Well,
I'm just gonna add this to the old listy list
of stuff to Yeah, that might read just preparing myself
for whatever whack ass shit Neil does with it.
Speaker 2 (21:50):
Maybe the next thing to read. Like, I don't know,
like how long is this book?
Speaker 1 (21:57):
You gotta be fucking kidding me. I have it already.
Speaker 2 (22:03):
Does it say? When?
Speaker 1 (22:04):
My God? When did I get this? Oh? It was
a free It was one of the one of the
free ones. One of the free ones is no longer free,
so I don't actually have it anymore. Okay, Oh you
know what I did start this one? Okay, I do
remember the vampire thing oh man, Now I gotta try
(22:29):
to wait for it to come back up or or
buy it, whichever one. Interesting. What is that is a
wild picture Peter Watts has on audible.
Speaker 4 (22:47):
Really, let me see what the it's Wikipedia just looks
like like him standing in and out of the.
Speaker 1 (22:52):
Podium if you can see that or not? U.
Speaker 2 (22:58):
I mean it's him with a cat.
Speaker 1 (23:00):
Yeah, okay, so I did have that for maybe I
found out Neil was doing it. I went to look
for it and maybe I tried it or something, or
as free or something. I don't know, probably free, because
I do that shit all the time and then I
get distracked with something else.
Speaker 4 (23:21):
He worked with Relic Entertainment and did one of the
early drafts for Whole World two or what would become
the game Home World two or recently, he was recruited
by crid Tech as a writer and guard consultant a
crisis too.
Speaker 1 (23:37):
Oh, I guess that would be the most recent but
for him, But I don't know if I would consider
that reason.
Speaker 2 (23:44):
This is just reading through like quick look at Wikipedia.
Speaker 4 (23:47):
Yeah, I mean clicked on him for I might as
well see, like if there's anything that I know.
Speaker 2 (23:55):
Him from?
Speaker 1 (23:57):
What are we looking at here novels, novels, nobles.
Speaker 2 (24:04):
Uh, nothing is jumping out like any good writer. He
is a lot awards and recognition. The island, that's not that?
Speaker 1 (24:22):
Wait, the island like the Michael Blane movie.
Speaker 4 (24:25):
Is that the Michael? That's what exactly I was thinking too.
There's no link, no.
Speaker 1 (24:35):
Starfish mouse fam Yes, three books. Oh so Blindsight is
one of three books in a Firefall series. Okay, so
(25:01):
if I go to I don't know if you went
to it or right, what's the island based.
Speaker 2 (25:04):
Trying to find?
Speaker 4 (25:05):
But like it's when I clicked on it, it didn't
it went to see what There's no direct link to
the island, it's just links to I think it's a
short story compilation.
Speaker 1 (25:19):
Okay, yeah, No, this says screenplay our story by and
it has Caspian Treadwell Owen, who co wrote the screenplay,
apparently with Alex Chritsman and Robert Orsey. Roberto Orsey does
not say based on so must just be a coincidence.
Speaker 4 (25:38):
Yeah, it looks like the Island was a short story
inside of a collection of short science ficient short stories
for the New Space Opera Too, which, by the way,
happens to have John Scalzi in it.
Speaker 1 (25:52):
Okay, links being made.
Speaker 4 (26:00):
That's the Tale of the Wicked by John Scalzi that
came out in two thousand and nine, so that's not
too long after after he wrote The Blindside.
Speaker 2 (26:18):
Okay, wait is it it's blind Side right?
Speaker 1 (26:22):
Or blind Side blind Site?
Speaker 2 (26:24):
Okay?
Speaker 4 (26:25):
Because I said, I said Blindside, and I was like, well, wait,
that's that football movie. I mean, really awkward. I have
to rewatch that and see if it suddenly changes, you.
Speaker 1 (26:39):
Know, strange thing. I don't remember seeing a vampire on
that movie, but I didn't either. You know, people take
liberty liberties with story all the time and those so yeah, right, anyway, AnyWho,
that'll be an.
Speaker 2 (26:56):
Interesting, interesting read.
Speaker 4 (26:59):
Maybe next Yeah. I'm sixty something percent through Dungeon Crawler
Carl right now.
Speaker 1 (27:08):
I need to pick back up and finish those ones.
Speaker 2 (27:13):
Yeah, it's pretty fun.
Speaker 1 (27:15):
There are lots of fun. I got distracted with other books.
Speaker 2 (27:20):
Did you ever read the Dan Brown book?
Speaker 1 (27:23):
No, it's it's one of my next ones I gotta get.
Speaker 4 (27:26):
Okay, it's it's it's just your regular run of the
middle uh Robert Landian book. It was good, but nothing spectacular.
Speaker 2 (27:47):
M m hmm.
Speaker 1 (27:52):
Interesting here's the thing saying. Christopher Nolan led Directors of
America planning urgent meeting with Netflix. The Director's Guild of America,
which is led by Claimed director Christopher Nolan, is planning
an urgent meeting with Netflix. This announcement comes on the
heels of Netflix announcing its historic merger with Warner Brothers,
(28:16):
which has caused concern among rival companies, some fans and artists.
The news that Netflix had secured exclusive rights to negotiate
for w b D at the time, which is Warner
Brothers Discovery, raises significant concerns for the DGA, the Director
Guild America wrote. In December, Fifth News released The Dark Knight.
(28:39):
Director Nolan is the president. He wrote, we believe that
a vibrant, competitive industry, one that foster's creative creativity encourages
genuine competition for talent, is essential to safeguarding the careers
and creative rights of directors and their teams. We will
(29:03):
be a meeting when Netflix outline our concerns and better
understand their vision for the future of the company. While
we undertake this due diligence, we will not be commencing further.
Don't know what that actually means.
Speaker 4 (29:21):
The only thing I could guess is that there's probably
I mean, obviously he's head of the directors. Guilty said
that maybe they might suspend some things that might be
in production, maybe early production, until they get a better
idea of like what's going on with this, because yeah,
(29:41):
Netflix has come out and said that now we're totally
still going to release things in theaters, but the question
will be like, can you really hold them to, you know,
to actually do that. I could definitely see them doing
that for a while and then just slowly just not
(30:03):
doing it or doing what they did.
Speaker 2 (30:05):
They're doing with the.
Speaker 4 (30:07):
Stranger Things last episode. Yeah, it's in theaters anyway, five
hundred of them and only for two days.
Speaker 2 (30:12):
Or whatever it is there might be it might be
actually more days. I only saw two days.
Speaker 1 (30:17):
Yeah, it's too right now. They did expand the theaters
though it's up to I think it's up to eight
hundred and sixty theaters or something like that. But it's
up to the theaters if they want to take it.
Though it's not completely the Netflix.
Speaker 2 (30:30):
No, definitely not.
Speaker 4 (30:31):
But that's what I'm That's what I'm still saying, is
like they could still contractually meet that obligation of yes,
it got a theatrical release, yeah, but it's not.
Speaker 2 (30:42):
A widespread thing because again the problem with this is.
Speaker 4 (30:48):
That that's not in Netflix's best interest to release things
in theaters.
Speaker 2 (30:56):
Because they're a streaming platform.
Speaker 4 (30:58):
Yeah, you want to drive people to your streaming platform,
So why allow people to go to the theaters to
see something That's that's my concern, and that's a.
Speaker 2 (31:10):
Lot of people's concerns.
Speaker 4 (31:11):
I imagine there's probably a lot more behind the scenes,
are a lot more concerns as well. I can only imagine,
because I know that I shouldn't say. I know this
is all my speculation and stuff, but I can only
imagine that what what could be negotiated as under like
(31:34):
different guild contracts for like a theater theatrical release versus
a streaming release. Because wasn't there something not too long
ago that we had we had talked about where like
a contractually agreements said that if this was like a
theatrical release, that.
Speaker 2 (31:56):
People could get paid out X amount. Was like Amazon
that it.
Speaker 1 (32:00):
Was the remake of fucking Roadhouse.
Speaker 2 (32:07):
Yeah, but if it.
Speaker 4 (32:08):
Went streaming, then they didn't have to pay them that much.
So that's exactly that I can see the thing right
here happening.
Speaker 2 (32:15):
Yep.
Speaker 4 (32:15):
You know, we don't have to pay you out that
much because it's streaming only.
Speaker 2 (32:21):
Yeah.
Speaker 1 (32:22):
Yeah, because if you get back end money and there's
no back end, then you get no money exactly.
Speaker 4 (32:28):
So I could definitely see this being a concern for
everybody that is in making the stuff. And then I
just have never for the longest time, and maybe this
is also because I'm just off of cable TV, off
of radio all that stuff. I've just never seen Netflix
as a very good place to market their stuff. Yeah,
they market some of their bigger stuff. I still get,
(32:49):
you know, ads for Stranger Things and whatnot, But for
some of their smaller stuff, they just kind of suck
to me at advertising that stuff. Obviously, they make it
mostly difficult to complain that I've had for many a
year that if I if I'm following a series on Netflix,
it doesn't integrate with watch Now on Apple TV. So
(33:12):
unless I remember when a release is out, I'll totally
miss it because it's not on my watch Now. It
doesn't pop up with like, hey there's a new episode
of blah blah blah. It's like, oh shit, that's right, yeah,
let me just go ahead and watch that.
Speaker 2 (33:27):
Now.
Speaker 4 (33:27):
I have to remember to open too that something is
coming out soon that's on Netflix in order to watch it.
Speaker 5 (33:34):
Yeah.
Speaker 4 (33:36):
So yeah, there's a lot of questions about this, this merger,
and then what it also means to the DC as well.
I know that they said no, no, no, that you know,
James Gunn is still within, is still a.
Speaker 2 (33:51):
Co creator of the you know, co owner.
Speaker 4 (33:53):
Whatever whatever the title that he has right now, the
co head of the what is it.
Speaker 1 (34:00):
It's not DCU, it's DC Studios.
Speaker 4 (34:02):
DC Studios what they want to call it now, But like,
how how much longer is that?
Speaker 2 (34:07):
Like, you know, we.
Speaker 4 (34:08):
Saw that with with HBO Max when the new new
guy came in and just went like and chop, chop chop.
Oh that movie's almost finished now. It's not, Oh that
thing's ready to release.
Speaker 2 (34:20):
No, it's not.
Speaker 4 (34:20):
It's just like, you know, you're literally again taking money
out of people who've spent maybe you know, five years
making a script and then then doing stuff and then
doing blah blah blah, and it's like, Okay, we're about
ready for a theatrical release to see some returns.
Speaker 2 (34:35):
On this anyway.
Speaker 1 (34:35):
No, you're not tax shelter exactly.
Speaker 2 (34:41):
So there is so many concerns with this.
Speaker 1 (34:43):
Well, the biggest thing I would say to that though,
is Netflix releases all sorts of ship on their streaming platform.
Speaker 4 (34:49):
Oh no, like that was Another thing that I could
definitely get to is like their problem as well is
that they will release a ship ton of stuff just
kind of like throwing spigett at the wall to see
what sticks. And then the next problem is you could
literally have a meatball that sticks and you're like, oh
my god, this is so good, and then it's just like, nah,
it didn't get the numbers that we want to see,
(35:11):
so cancel.
Speaker 1 (35:14):
Yeah, yeah, there's a further Another quote from the Writers
Guild of America, the world's largest streaming company swallowing up
one of the big one of its biggest competitors, is
what antitrust laws were designed to prevent? The outcome would
estimate eliminate jobs, pushed down wages, worse in conditions for
(35:34):
all entertainment workers, raise prices for consumers, and reduce the
volume of diversity of content for all viewers. Industry workers,
along with the public, are already impacted by only a
few powerful companies maintaining a tight control over what consumers
(35:55):
can watch on television, on streaming, and in theaters, their
merger must be blocked. Then, further on, says a labor
union representative, writing a motion picture, television, radio, and internet programming,
including news and documentaries. Interesting, that's a.
Speaker 4 (36:13):
Big thing that I didn't even think of until that quote.
But we literally have something in recent recent months really
that really would prove that is that here we saw
Microsoft Game Studios buying up a bunch of game studios.
But that's almost a year to date ago from the
(36:34):
day that they raised the prices for Game Pass, so
they bought Bethesda Studios, and then a year from that
they raised the rates by.
Speaker 2 (36:46):
Half for Game Pass. So this is just.
Speaker 4 (36:51):
Another thing too that's literally like, oh, yeah, you know,
we're gonna Netflix. I can see them they raise their
rates pre it feels like, yeah, it's just another thing
that's gonna raise the rates of of their stuff.
Speaker 1 (37:09):
Yeahah, there's gonna be some price adjustments for sure because
they have to make back there what is it, eighty
eighty seven billion dollars whatever fucking nonsense number that was.
Speaker 2 (37:22):
Mm hmkay, Yeah, I don't like this.
Speaker 1 (37:31):
Yeah, it's ever great when you that, like they were
saying in that is, when you have too many companies
holding so much power. M it's just interesting to see
like our and it's gonna be interesting to see what
the plan is. Obviously must have a plan. They just
buy fucking Warner Brothers for eighty seven billion dollars because
(37:56):
on a whim, you know what I mean?
Speaker 4 (38:00):
It also makes me wonder where are some of those again,
I'm thinking of the DCU DC properties. Yeah, like because
right now you have contracts with HBO to release things
like the Penguin.
Speaker 1 (38:14):
Well Waterer. Brothers owns hp HBO. Oh so this is
included in Yeah, Warner Brothers owns HBO.
Speaker 4 (38:24):
Okay, so then that but then that still leads into
the fact of, like what happens to all the streaming services?
Speaker 2 (38:33):
Are they just going to get folded into Netflix?
Speaker 1 (38:35):
I mean, that's what Disney did with Hulu.
Speaker 2 (38:38):
That's what they're slowly doing with Hulu.
Speaker 4 (38:39):
Yeah, so you know, does HBO Max Goo Away, which
again was bundled in different things.
Speaker 2 (38:48):
I think.
Speaker 4 (38:50):
I think we have HBO through like a Verizon bundle
that included Disney and Hulu or something like that.
Speaker 1 (38:57):
Yeah, it's one of the men.
Speaker 2 (39:00):
Yeah, yeah, I don't like any of that.
Speaker 1 (39:10):
It's gonna be very very interesting to see what happens
or how it happens. I should say it, well, actually,
if it happens to you, if they if the SEC
blocks it due to fear block it antitrust, but I guarantee.
Speaker 2 (39:26):
You they're not going to block it. This doesn't feel
like that type of bug.
Speaker 4 (39:31):
Not to get political, but administration that would block something
like this. I don't know if there is a history
of them doing stuff like, you know, blocking stuff like this,
but this just feels like something that's just going to
go through without any issues or with back end promises.
(39:51):
Let's put it like that.
Speaker 2 (39:54):
Yeah, yeah, I don't like any of it.
Speaker 4 (40:02):
Because exactly that I can see them going. You're not
gonna immediately rock the boat. You're gonna slowly rock it
over time until you capsize it. Then nobody notices that
you capsized it until it happens.
Speaker 1 (40:14):
You know.
Speaker 2 (40:15):
Even the Disney Hulu thing.
Speaker 4 (40:16):
Is like no, no, no, that's soft in the future type
of thing, and then it will suddenly just happen and
you log on one day and it's like, well, Hulu
no longer exists type of thing you have to log
into Disney, which is still just a weird thing for
me in general.
Speaker 2 (40:32):
It's like I'm gonna go watching an A rated R
movie on Disney.
Speaker 5 (40:35):
Plus hell, it.
Speaker 2 (40:36):
Still feels wrong to me. That's a whole nother argument here.
Speaker 1 (40:42):
So I felt when I started when I when I
play games that are m A or something on the Switch,
it's like m or in any anything into platform really,
Like I remember playing a fuck was that name of
that game super Bloody? I was on the Wii can
it was something mad World. Yeah, mad World. We were
(41:03):
playing that, and I was like, this seems fucking nuts.
Speaker 2 (41:07):
Dude, Well yeah, the game was fucking nuts.
Speaker 1 (41:09):
Yeah, and it was on the Wii.
Speaker 2 (41:11):
It was a week exclusive for a recall, right yeah yeah.
Speaker 1 (41:15):
I was like, this is way way more violent than
I expected everything to be on here.
Speaker 2 (41:19):
And it was in black and white and red.
Speaker 5 (41:21):
Yeah, but yeah, yeah, we shall see SPOS.
Speaker 1 (41:34):
There's nothing we can do about it now.
Speaker 4 (41:36):
So nothing we can do obviously, and I even know
if there's nothing that that even the the Directors Guild
could do, like they're probably literally just looking into this
just to be like, yo, can we get something great?
Agreeances because I mean, I guess the only thing that
I could see happening is if the deal is so
atrocious that you're just gonna get most big name directors
going nah fuck Netflix, I won't work for won't work
(42:00):
them at all. So you'll have a few maybe Christopher Nolan.
I could see maybe James Cameron even giving him the
big finger, and some other directors just being like, I
will never work with with you because of the deals
that you want to strike all the you know, hey,
it's not getting a theatrical release, so we're not getting
more money based on we're not getting based on revenue
(42:22):
type of thing.
Speaker 1 (42:23):
Yeah, And well, I mean when it comes to Christopher Nolan,
when you stop that it's happening, Yeah, Christopher Nolan's more
about the experience of the movie going more than right.
Speaker 2 (42:34):
Yeah, absolutely right.
Speaker 4 (42:36):
But and that is one of the things that I
can definitely see him arguing for because it was Tenant. Now,
what was the movie that durrecting COVID that you refused
to release because they had because he wanted it.
Speaker 2 (42:49):
To be released in theaters. It was Tenant.
Speaker 1 (42:52):
Yeah, and that's that's why he went from working with
Warner brothers to working with Universal because of what they
did with Tennant and doing the day, day and date
release in theaters and on streaming.
Speaker 4 (43:08):
So I can definitely see him, you know, trying to
make sure that there's going to have some sort of
agreement and hopefully, you know, maybe something written down in
stone on paper that that works to help release things
in theaters and you know, meet directors creativity demands.
Speaker 5 (43:37):
Yep.
Speaker 1 (43:38):
Yeah. Also, I think we talked about this before it too,
was like speaking of Netflix releacing shit in theaters. When
they did Gamerol de Torros Frankenstein, they at least it
in limited theaters.
Speaker 2 (43:53):
Right.
Speaker 1 (43:54):
Again, probably not completely up to them. It's up to
this the movie theaters to pick it up to you
and how their deal works with that. But you do
that and then you release it on Netflix, right, cool, whatever,
But it's like you didn't really push anything. I mean,
they had a large online presence of ads and stuff
(44:16):
on YouTube, and they put up a bunch of special
features up like this is how Jacob Lordy got in
the makeup and this is blah blah blah, you know whatever, right,
but it's like you didn't make a push like other
than like a week before it was in theaters I
know of, because again, as you said earlier, Netflix isn't
the best about advertising or you know, letting you know
(44:39):
things are out. But it just seemed like it was
like a oh yeah, by the way, these seventeen and
a half screens are gonna have it for a week,
and I hope you can see it.
Speaker 4 (44:52):
The fact that you say that it was it was
it's being released in theaters or was released in theaters.
Speaker 1 (44:56):
I had no idea it was. Yeah.
Speaker 4 (44:57):
I knew about it. Yeah, I knew about the movie,
but not that it was released in theaters. So again
just the shit, you know, advertising of it right there,
and again that's something that I can definitely see them
doing of, just likeing, well we met or we met
our contractual agreement that five hundred and one theaters.
Speaker 2 (45:19):
Have gotten the movie.
Speaker 1 (45:22):
Wait what Yeah, yes, it was unfortunate for sure. Yeah,
ah does actually having me. Netflix has released a list
(45:48):
of most searched films of the year, Give Chance, Give
fans a chance to claim one more accolade before twenty
twenty five is over. Per Google and What's on Netflix.
K Pop Demon Hunters officially been named the most searched
for movie of twenty twenty five for users in the
United States, followed by sinners in a Minecraft movie. Doesn't
(46:15):
see how many searches, but I don't think that number
is fathomable by typing out anyways.
Speaker 2 (46:23):
But it's also something Netflix.
Speaker 4 (46:25):
Again not to rag, not to continue to rag on Netflix,
but I believe it's something that they never release either.
Speaker 2 (46:30):
What are their streaming numbers?
Speaker 1 (46:32):
They never release on it, Yeah, for any any content,
not publicly.
Speaker 4 (46:36):
Yeah, but I can see that those being the most
searched for things a people trying to understand what K
pop demon hunters are, because that's kind of a thing
that got very popular, and I would I definitely see
(46:59):
like what the is that you know people searching for it.
Centers is an interesting one because to me that was
like a period piece movie and then you find out
that there are vampires in it, and I was like,
what that Why that's why it was searched for? Yeah,
(47:20):
what was the other.
Speaker 2 (47:21):
One on there?
Speaker 1 (47:22):
A Minecraft movie?
Speaker 4 (47:24):
Oh, then that's just people searching for why the what
the hell is a chicken jockey?
Speaker 2 (47:28):
And why are people destroying theaters?
Speaker 1 (47:31):
Those kids are fucking terrible and should all be beaten.
Speaker 5 (47:35):
Wow.
Speaker 1 (47:36):
It's true. I mean their parents are terrible people. They
should be beaten as well.
Speaker 2 (47:42):
That that'd probably be more behind.
Speaker 1 (47:46):
Yeah, we should make the parents beat the kids, and
then the parents should be beaten in public by anybody
wronged by their kids.
Speaker 2 (48:00):
Okay, okay, and we.
Speaker 1 (48:02):
Should film it and we should put on pay per view.
Speaker 2 (48:04):
Wow, it's like some.
Speaker 4 (48:11):
Greek style with Greek Roman whatever, Roman colosseum style, just
like put put everything on display. It feels like, and
just let the violence go. I don't know, maybe we're
heading towards the almost a maze runner uh and I'm
literally spacing out something.
Speaker 1 (48:30):
Runner, the Running Man, The Running Man.
Speaker 2 (48:32):
There we go. Feels like we're just barreling towards that anyway.
Speaker 1 (48:37):
I mean we if you're looking at like the Arnold
Schwarzenegger one, yes, if you're looking at the actual one
and Edgar Wright's one, we are kind of already there
because we do have some pretty ridiculous ship on TV
that people do get.
Speaker 2 (48:52):
That's what I'm getting at. Just the next thing is.
Speaker 1 (48:53):
Just going to be like straight murder, you.
Speaker 4 (48:56):
Know, straight up the survive murder. You know they're going
to play it off as like Haha, this is you
know they didn't actually die, and then you're gonna find
out that it's like, no, they really were like just
the rich people killing people on a secret island.
Speaker 2 (49:11):
Yeah, it's gonna be like Big Brother, but you know with.
Speaker 1 (49:14):
Guns, didn't they? They made that movie? What was that
one called? It was with Steve Austin? Oh my god,
what was that one called?
Speaker 2 (49:28):
I don't follow the wrestling movies as much as you do.
Speaker 1 (49:30):
No, this was a while ago too. I don't think
you went and saw it with us again.
Speaker 2 (49:36):
It doesn't seem like something I would go see.
Speaker 4 (49:38):
No.
Speaker 1 (49:41):
Actually, I don't even know if was Mike hanging out
with me at that point. Steve Austin, that is not
how you spell that. Well, there's a lot of people
with that name. I want to be a professional wrestler.
(50:03):
His movies filmography, What was it called? Why is there
three dropdowns for that one? Not the Package Knockout, No,
the String, the Stranger, No, the Condemned boom there? It
(50:24):
was ten People Will Fight, Nine People Will Die? You
get to watch had Vinnie Jones in it. It was
it was a it was a good time. It was
not a good movie. Oh it was a ww film
that actually makes a lot of sense.
Speaker 4 (50:44):
But yeah, back back in that day. That's I mean,
what when was it filmed?
Speaker 1 (50:49):
Two thousand and seven? That came out in two thousand
and seven. Yeah, the film, So this is what it
says here. The film centers on ten convicts who are
forced to fight each other to the death as part
of an illegal game which is being broadcast to the public.
M that's literally the whole premise of the movie.
Speaker 4 (51:11):
And I can definitely see that being a thing that again,
like that's one of those things that that pops up.
That's like I doubt that they would. It would be
like hunger game, not hunger games, squid games.
Speaker 1 (51:28):
Yeah, you know, type of thing, but like televised, but televised.
Speaker 4 (51:34):
Like the sad part is, the more I think about it,
the more I think of, like, man, i'd kind of
watch that, like imagine like, you know, it's totally fake,
but you drop off ten people in the middle of
the forest or whatever it is, and all throughout you
hide like paintball guns or something that you use as markers,
(51:55):
laser guns, I don't know, but these ten people or
over a you know, a large, very large square footage
have to survive thirty.
Speaker 2 (52:06):
Days and if they.
Speaker 4 (52:10):
Get caught by other people, they could possibly just eliminate
them by by, you know, shooting them or something like that.
I kind of would watch that, and now I feel
like I'm the problem.
Speaker 1 (52:25):
I mean, you're not wrong.
Speaker 2 (52:29):
You would watch that.
Speaker 1 (52:30):
I guarantee you.
Speaker 2 (52:31):
I'd watch that exactly.
Speaker 1 (52:35):
Oh I did not know.
Speaker 4 (52:37):
This would be like naked and afraid, but with like
paintball guns. Oh my god, that'd be terrible.
Speaker 1 (52:42):
Not just paintball guns, but like the pepper spray paintball guns.
Speaker 2 (52:47):
Yeah.
Speaker 1 (52:48):
You gotta you gotta make it more than just the pain.
They gotta be like, oh shit, I can't see.
Speaker 4 (52:52):
Papa, because that would be the only thing of like,
how do you make sure that someone got eliminated.
Speaker 2 (52:59):
You'd have to have cameras set up everywhere.
Speaker 1 (53:02):
Speaking speaking of eliminated, I think we've talked about this
in real life. I don't know if we talked about
the podcast. But on YouTube right now, there's a the
YouTube channel that is non stop live with most extreme
elimination Challenge. Okay, so do you remember XC from Spike
(53:23):
TV Back in the day. It was the Japanese It
was a dubbed show. It was basically taken from Takashi's Castle.
Speaker 4 (53:29):
Oh yeah, I didn't know that was what it was called. Yeah,
but yeah, I know it as Takashi's Castle.
Speaker 1 (53:33):
Yeah. So the American version of it, which basically took
episodes of Takashi's Castle and then had these two dudes
do voiceovers for pretty much everything. And they've been playing
at NonStop for like the last like two months on
I think it's called con TV, like con TV, I
think it's the channel, but it's been live and the
(53:55):
it's been going through and then they block they have
blocks of the seasons you can watch as like full
through and there's no i mean, obviously there's YouTube ads,
but there's no like no commercials in it obviously, but
it's just the show and it's ridiculous. Just maybe think
when you said an eliminated because what do we always say,
(54:16):
don't get eliminated. That's what they say at the end
of the every show. Yeah, and it's we watch it
and it's just so funny because like there's no way
I mean maybe nowadays just because like we've kind of
turned a corner with what people will get offended by.
But some of the ship that's on there I'm like, dude,
you would get like you put it on Comedy Central
(54:38):
and no one care. But it's like, dang, that's wild.
They had one when we were watching a part of
one either yesterday the day before, and it was, uh,
comic book enthusiasts versus the world's oldest profession, so prostitutes,
(55:04):
and I think they included like porn stars in it too,
but it was just, oh no, the porn star one
is a different one, businessman versus I can't remember what
it was, but yeah, they just and the names they
come up with and then the stuff they put in,
like there's one where the guy was like he cleans
(55:26):
up in adult movie theaters and his hobby as he
collects full house memorabilia. It's so weird, dude. And then
of course the names they use are just ridiculous. Yeah. Yeah,
it's just it makes me laugh for a single time
because that show was bonkers. And plus I don't even
know like they're taking what's crazy about it too is
(55:48):
obviously the voiceover stuff is ridiculous. But they take Takashi's
castle and they then do voiceover out of whatever the
fuck's happening on Takashi's castle. And there's this one episode
where they kept blowing each other up with like these
stage bombs or whatever, right, but it was like they're
talking about like I don't remember what it was, and
(56:09):
they'd say Kenny kept blowing them up, and then like
it was just like this most ridiculous thing. And then
like another episode they were doing like product placements and
like Vic Romano was advertising this new like machine that
helps you clean your hair, but they strap Kenny into
it and then basically it's on this wheel that like
(56:30):
dumped them in water and has this big brush like
slap him in the head. Yeah, it was so like
what is the context in Takashi's castle, right, Like I
don't obviously, I know it's not a direct translation. They're
not saying this is a machine for hygiene. And then
they have one where like they're throwing uh what they
(56:52):
what did Vic call him? What's the exfoliating orbs? But
it's a volleyball pitching machine and they're just shooting it
right at Kenny's face, so like, yeah, let it, you know,
like let's exfoliate your skin, Like, look, do you feel
that glow? And he's like getting hit directly in the
(57:12):
face of these volleyballs from like ten feet away.
Speaker 2 (57:17):
Damn.
Speaker 1 (57:19):
I was like, what can someone give me a wiki of?
Like what the fuck this episode is actually about? Like
what were they doing? Because in the show they use
those machines in a couple different games, and one is
the Brass Balls, which is where they do the contestants
have to walk across a rope bridge that has no handles,
(57:41):
it's just the bridge portion of it. The captain gives
them a gold volleyball and they have to walk across
while being shot at by other by one of those
those pitching machines with other volleyballs, and they're always getting
hit in the face and the growing the legs. It's hilarious.
But the bridge is like maybe twelve fourteen inches wide,
(58:05):
so as soon as you step on one side, it's
definitely tipping over. You have to, like, you know, be
very careful. And it's just hilarious because like they just
take and then they fall off into a giant net.
But they're getting drill all the time, and then if
you drop the ball, you have to wait for another
one to come back and then you have to Yeah,
it's just ridiculous. But yeah, so like he's just getting
pelted in his face by these orbs, these exfoliating orbs,
and I'm like, what the fuck is the actual context
(58:28):
of this clip? Right, like what could it possibly be?
And then the other thing too, is like, I know
they probably spice in a bunch of random shit together
to make a story, like a find a a clip
of Kenny getting blasted in the face by volleyballs, and
we'll add it to this other ridiculous thing where we're
slapping in the head of this giant fake toothbrush to
brush his hair. And then there's like one about there
(58:51):
applying like some kind of like goo to his hair.
Like it was just I don't know, it was so
fucking weird, dude. I was like, what is happening.
Speaker 4 (59:00):
To say that there is somewhere that does actually have
the original Taikashi's Castle with translations out there?
Speaker 1 (59:06):
I think Amazon actually has Takashi's Castle on it. Mm hm.
Speaker 2 (59:12):
You could go get those answers if.
Speaker 3 (59:13):
You really want to, or you could just I don't
think I do let the imagination, yeah, or just let
the magic simmer.
Speaker 1 (59:21):
Yeah, I don't think. I don't think I want to
know the actual answers.
Speaker 2 (59:24):
Yeah.
Speaker 1 (59:26):
Plus I'll never would be nearly as ridiculous as they
make MXC right, right, all right, I think that's it
for this week's episode. As Joe Joe pretends to pretends
to be falling.
Speaker 2 (59:41):
Asleep, I'm not falling asleep.
Speaker 1 (59:45):
So that has been this week's episode. Comes. Actually we've
been I've been Cody, and as usual, you fuckers just
came naturally.
Speaker 2 (59:52):
Bye.
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