Disasters in the Making 04-24-25 Supernal Men

Episode Transcript

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The following program contains course, language and adult themes.

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Listener and discretion is advised.

Speaker 7 (02:46):
Standing there alone, the ship is waiting all systems a
good Are you sure it is not convinced? But the
computer has ay it dance, no need to apply, watching
a chance the.

Speaker 2 (03:08):
Chances, and good evening to everybody out at k l
r n Land. This is Thursday night and that means
this is your early weekend introduction because this is Disasters

(03:33):
into making. How is everybody doing on? Brad Slager getting
ready to escort you down some of the dark alleyways,
dingy hallways and go do some movie dumpster diving. But
never do this alone because joining me, as always on
these fortnight features is ScreenRant dot COM's own Paul Young.

(03:54):
What is going on?

Speaker 3 (03:55):
Paul? Good even than Brad? How are you today? How's
your week? Ben?

Speaker 2 (04:02):
We're doing well, doing well, got through the Easter holiday
and the week's going. We're on cruise control and I'm
in a supernal mode. I'm reaching for the stars because
i have been inspired to do so. Even though I'm
a male.

Speaker 3 (04:17):
I feel very connected to love.

Speaker 2 (04:21):
Yes'm I almost feel like I'm infringing upon the female
realm by having space born positive vibes and energy. But
apparently I don't know. It was very weird to watch.
What we're basically referring to here, of course, is the

(04:42):
quote historic Blue Origin flight that took place the.

Speaker 3 (04:48):
Twelfth of such flights that they dead. That's how historic
it is. It's the twelfth one they've done.

Speaker 2 (04:54):
This is this is the Jeff Bezos space venture where
he has his own sexual mirital aid looking rocket that
flies kind of into space. And I'm unclear on the
achievement here, because they don't even go into orbit. They

(05:18):
don't even break through like the proper stratospheric level to
be considered true space flight. They just I don't know,
get a high enough to be weightless and have experiences
and then high five each other and come down.

Speaker 3 (05:32):
Well, the best part is that she's like, yeah, we
were astronauts because we were floating in space. Well, first off,
you didn't break the stratus here a second, if you're
if that makes you an astronaut. That it makes every
single actor that was on the Apollo thirteen movie filming
an astronaut. And it makes the entire band okay go

(05:54):
an astronaut for filming inside of the Bomit Comet, you know,
the big jet plane that goes high the nosed dives
for like I don't know, ten miles or some nonsense
like that, and it reproduces weightlessness for like two full minutes.

Speaker 2 (06:13):
Well, I don't even think it's that long, is it.
I think it's like thirty or forty five seconds of perth.
You go up and down, down, and then they curl
back up.

Speaker 3 (06:22):
You know.

Speaker 2 (06:22):
They basically go into a like a biometric flight pattern
where they'll fly up and then they coast down on
an angle for a period of time before they have
to cut the engines back on and then go back up.
And they did. I think they do it like three
or four times during each venture.

Speaker 3 (06:40):
Right, I think you're right.

Speaker 2 (06:42):
But this is how they film Apollo. In the weightlessness scenes,
they had to basically get everything prepped, everybody in place.
You got thirty seconds, don't screw up your line. Go
They do that. So the amusement to here is little
Katy Perry and gave Old King come back down to
Earth and act as if they had achieved something that

(07:05):
nobody has ever seen before. And the broadcasting, how oh,
we just did this because we wanted to inspire girls
and other women and just bring female empowerment to this.
And everybody's basically looking at them saying, you realize there's
been like two hundred females that have been in space
already and actually did stuff.

Speaker 3 (07:28):
Yeah, Or how about how about the one lady that
was in space just not two or three weeks ago
that Elon Musk had to rescue because she was up
there for six four months stranded.

Speaker 2 (07:38):
Yeah, she was on her mission. Was She's supposed to
be at the space station for like two weeks and
she ended up spending nine months trapped up there. I
think she's still trying to learn how to walk again.
Not a lie, but that happens when you're a weightlessness
for that period of time. You you basically have to
reacclimate to gravity. Really that those are kind of accomplishments.

(08:01):
You know, she did stuff, she's experimenting up there and such.
Katy Perry's hair floated around and I covered this over
up my column too. You know, like Gail King the
day after they landed, was getting upset because people were
making fun of them. And it wasn't you know, Republicans
and conservative media dumping on her. It was people in Hollywood.

(08:23):
We're like, the hell you talking about female empowerment? You
paid thirty five million dollars for a space uber ride. Yeah,
you know, I.

Speaker 3 (08:32):
Feel like if they recognized what they did and just went.
It was fun. I'm glad we got a chance to
do it. I hope one day is affordable enough for
everyone to get a chance to do it. You should,
really because it would be really great for you to
just a common person to be able to experience going
that high in space off the Earth. It was. It

(08:54):
was life changing for me. Those are all fair statements.
You don't look like a total jerk. While you don't
look you do look like you said, everybody knows you're rich,
but you don't look how you're flying it. You're just
like this was. I'm glad I got this chance. You
know what I mean? Like there's some humility to it.
Instead it's have you been to space? I've been to space, but.

Speaker 2 (09:15):
Yeah, I don't know.

Speaker 3 (09:17):
Have you been to a grocery store. I've been to
a grocery store that makes me a grocer.

Speaker 2 (09:22):
Yes, yes, I've I bought vegetables last week. So I
gotta tell you I'm inspiring farming and everybody because they're
farming expertise.

Speaker 3 (09:31):
Now, I don't want to brag, Brad, I don't want
to brag, but I was once on a boat. I
am now. I don't make the rules in.

Speaker 2 (09:42):
This Katy Perry lands and she comes out and kisses
the Earth like she had been away for you know,
nine months on the space station or something, and just
she talked in these platitudes. No, I don't know if
she said I actually brushed the cheek of God or
anything of that sort. It sounded like.

Speaker 3 (10:00):
That I brouched the cheek of God.

Speaker 2 (10:05):
I mean, I'm listening to her speak and I just
wanted to just slap her. It's like, honey, no, you
went up and down, Gail king This has cracked me up.
I covered this in my media column. Her network, CBS News,
I think, did something like twenty one segments on her,
like before and after, you know, all her preparation, all

(10:26):
of the training they did. You sat in a chair
and you unbuckled yourself. That was your training. They spent
something like, I don't know, two and a half hours
of full time coverage of her. Total, you know, adding
up all these segments from the time that they said
zero lift off to the time they landed on Earth
was eleven minutes.

Speaker 3 (10:49):
Yeah. Uh, I was watching this TikTok of this lady.
She's sober, funny, and she's like Gail Kinge's talking about
how it was an amazing trip. She goes, girl, you
were the heir for a eleven minutes. You could have
ordered a pizza, taken off and landed and it still
wouldn't have been there.

Speaker 2 (11:09):
I mean, there was really no sense of self awareness
at all in all of this. I dropped tens of
millions of dollars to go on to commute, and then
they're they're just talking as if they've transformed space travel
for all mankind or womankind. I need to say. There

(11:29):
was even a one of the segments about that on
CB as they were talking to some other astrophysicist or
space experts and they're like, yeah, they're doing this for mankind, right,
Excuse me, that's the improper phrase to use. It's person kind.
Because these female crew.

Speaker 3 (11:47):
No one who said that. Somebody say that, and then the.

Speaker 2 (11:51):
And the interview were even apologized like, you're right, I
didn't I misspoke. I apologize, you are correct. This is
where we're at any more. You know, five women went
to space for a couple of minutes. The world is
changed as a result.

Speaker 3 (12:06):
But okay, the first time because Jackie Gleeson have been
sending Alice to the Moon for years. Do you think
there's anybody listenings gonna understand that reference? Besides like you,
me and Aggie, Rick might get it, Will might get it,

(12:28):
Forty might get it.

Speaker 2 (12:30):
I don't know if you say Jeff to Jeff. Jeff's
got a little bit of that aftrophysicist thing going on,
and he has a lot of opinions about this site
as well. The space travel had him rather aggravated.

Speaker 3 (12:44):
That's a that's a deep, deep throwback.

Speaker 2 (12:47):
Yeah it is, you know what, It just shows our rage.

Speaker 3 (12:51):
Well, what brings us to the movie itself is not
the women going up into space. We have plenty of
movies we could have chosen for him to talk about
women in space. But it's the landing that brings us
to our film. So when the capsule, the blue Origin capsule,
the head of the sex device lands on the onto

(13:11):
the desert, the women from inside the pod open it,
which should open the door, which should not be possible
since it should be pressurized. So it started all this
conspiracy theory about about whether they excuse me, it's just
sneeze about whether they actually left the I mean they did.

(13:34):
Did they go as hig as a plane? But take them?
Did they even leave the ground. Would you have taken
the combined net worth of about five hundred million dollars
and send it on a rocket into space? Would you
actually have done that, which included your fiance? Nobody, nobody knows,
you know, certainly when when, when astronauts and pilots and

(13:58):
that they sign up for that's what they're doing. You're
taking essentially what is an unproven method of travel, and
you're throwing it behind a whole bunch of rocket thrusters
and you send it in the space. I don't know
if you take I don't know if you can find
an insurance company willing to take on that kind of leverage.

Speaker 2 (14:19):
So well, you sign a waiver before you get on there.
Oh okay, rides at the carnival where you have to
you won't sue us? Oh okay, thirty five million dollars
and no lawyers.

Speaker 3 (14:33):
There's a requirement. There's a reason why there weren't like
super rich people in the submarine that's that imploded going
down to the Titanic. There's just certain chances these people
aren't willing to take I mean, there are tom Cruise
hanging on to the sides of the airplanes to film
a film a movie.

Speaker 2 (14:55):
Well, the one I love too is when I'm looking
at the at the crew, if we're gonna call him that,
you know, they each had there was like an official
insignia and patch for this mission quote unquote, and each
one had a little symbol on the patch to indicate
who they were, like Gail King had a tiny little microphone,
and Katie Perry I think had fireworks or something. I

(15:17):
don't know. And I'm looking at the women. I think, again,
my caring about this is so minimal. But I was
just reading through who they were and what their accomplishments
are and just why the living hell are they on
this flight? And one of them was, oh, the children's
author who has just broaden horizons for kids with her books.

(15:38):
I've never heard of that. Oh you mean Jeff Bezos girlfriend. Okay,
that's why she's on the Okay, got it, now understood.
That's her accomplishment. The guy who bought her breast also
bought her ticket. Okay, So in honor again quotation marks

(15:59):
of this mission quotation marks, we decided to choose a
film that was in similar fashion that being fake space travel,
and so Paul tapped my shoulder and said, you know
what we need to do. The nineteen seventy seven sci

(16:21):
fi hit Capricorn one.

Speaker 3 (16:24):
I don't even know if you can call this a
sci fi film. I don't think so. I never leave
the camp.

Speaker 2 (16:30):
Well, yeah, but they the whole time. They do fictionalize
in the film Astrophysics. So I'm gonna go with I
think in the most technical and deliberate definition of the term. Yes,
this was science and it was fiction. See how that works.
So if you're excuse me, if you're not familiar with
this one, this this is a hit film at the

(16:54):
time that not very good, but it's a very this
is a very very seventies movie. The cast alone is
indicative of this. It's back then there were just so
many films that had sometimes like ten people of named
prominence in Hollywood appearing in the cast. And they all

(17:17):
had like bit roles. So we get Telly Savalas, Brenda Vaccaro,
Karen Black, these are all names that show up in
these movies on a regular basis. They always none of
them are top flight's A list stars, but they're in
seemingly every single film. It's almost like an episode of
the Love Boat, you know, it's like, oh, I remember him, Hey,

(17:39):
I've seen it before. The nineteen seventies were filled with these,
so we do have a well represented cast of characters,
and it is a it's a wrong. So basically what
we're talking about is a space mission to Mars, the

(17:59):
first demanded space mission to the red planet. Kind of cool,
not a and uh our crew some very prominent names.
James Brolin, top flight actor. Sam Watterson veteran actor, been
around forever, even still playing the trade today. And O J.

(18:22):
Simpson and O J. Simpson Wait what now? I know
this movie back in the days when HBO was a
novelty and just entering into homes is played on the
regular when it came out, and I saw it quite often.

(18:43):
Who was on again? Cool? But this is my eleven
year old self being, you know, I'm thinking, I'm fascinated
and captivated by something that could happen. No, No, it
could not No, definitely not right.

Speaker 3 (18:57):
And they're suppcially going to an extended space and they're
using the castle for Apollo thirteen, Like, I don't know
if there's enough room for those guys to sit straight
up and down for six months and not move around,
because that's how long it takes to get to Mars?
Is it not in it?

Speaker 2 (19:12):
Like, yeah, it's pretty like the trip. You're not gonna
just sit there strapped into a bucket seat for that
entire time. You need You're gonna need mobility and moving around,
you know, like sky Lab or the current Space station.

Speaker 3 (19:26):
Or unless Matt Damon's just movie was just full.

Speaker 2 (19:29):
Of crap, possible, possible, you know about that?

Speaker 3 (19:35):
Wasn't Val Kilmer in The Red Planet? He was, Yes, yeah,
but there's much better March movies out there to watch.
This thing is supposed to be some sort of It's
described as a conspiracy thriller, dark comedy, action adventure, drama

(19:58):
thriller on IMDb. I guess the conspiracy thriller is Crew. Yeah,
the conspiracy thriller, I'll give them that. Dark comedy, don't
even understand it. There is no action in this movie.
There's certainly no adventure. There is some drama. So I'm
going to give them two. Two out of the six
they've picked on here seven, I'm gonna give them two

(20:21):
of them.

Speaker 2 (20:23):
Yeah, it's I think that there's basically over the years,
somebody's like, well that was kind of a funny line. Comedy. Well,
it was sort of a chase scene action, just pilot
on whatever there are I say, these elements, but maybe
one element of each in this movie. But nonetheless, I

(20:47):
mean it's if you suspend your disbelief, there could be
some enjoyment I could see in this. But basically, yeah,
you're turning the brain off if you're going to do so.
And it doesn't take very long to run into those issues.
So the thing opens up with the rocket on the
pad seen in the distance. In silhouette, we hear the monotone,

(21:12):
flatlined delivery of the guy from mission control. You know,
there's copper Cordlon getting ready for the takeoff. The mission
will take place at six pm. You know. That kind
of just padantic delivery.

Speaker 3 (21:25):
And there's some but it sounds official. Right, there's a
problem in Hollywood. We wanted things to be completely real.
And yes, things that are real are obviously more realistic.
They're also more boring and not everything translates well into
a movie. I don't need to hear that dude talking
to a monotone voice and telling me all the different

(21:47):
numbers in times and team minus two days and fifty
three seconds in mark seven two, I don't. I might
gonna follow that.

Speaker 2 (21:57):
No, the I mean, you need a little bit of
that for reality's sake, you know, like, look, let's just
do this for the introduction. But we're ten minutes into
the movie and this guy's still going on Capricorn mission
will take place to Mars four six month mission for
our crew, and it's yeah, we understood that, already, stop it, Okay,
we were in the moment. Let it be. This was

(22:18):
similar to when they were showing the scene of them
leaving the capsule on the surface of Mars. Again quotation
marks where uh, he's coming down the stairs, and every
single sentence had to begin with the word Houston.

Speaker 3 (22:36):
Yes, make sure you know who they're talking to.

Speaker 2 (22:39):
Houston. I have my hand on the door handle, Houston.
I have opened the door, Houston. I am stepping to
the ladder. Houston. I have taken a second step on
the ladder. And it was like, after five minutes, I help,
I know what you're talking.

Speaker 3 (22:54):
Steps from the bottom, Houston. I am one step from
the bottom. Houston, I am getting ready to jump out,
and the guy go key slow motion.

Speaker 2 (23:04):
This scene was too fast paced.

Speaker 3 (23:08):
They're not really they're not really in space, so I
got to queue the.

Speaker 2 (23:12):
But that was the thing too, is I was if
they're gonna fake this, which we probably should get into
that first. So we're in the capsule and they're doing
the countdown and they were what I think, three minutes
from ignition, and yeah, now when these rockets go off,
let's just step back a little bit and imagine the

(23:37):
hundreds of people that are involved in this process, because
everybody's got a job. There's so many moving parts to
all of this to get a damn thing off the pad.
There's people every single everywhere you look, there's people right
and as they're getting ready to launch, you can see
through one official glass a guy in a three piece

(24:01):
suit starts just ambling right up to the rocket capsule
and walks right up and opens the door and says, okay,
you three, you gotta come with me.

Speaker 3 (24:13):
In a suit. It's a dude in a regular suite.

Speaker 2 (24:16):
Suit, vested everything. He's not in gear, he's not in
NASA insignia clothing. No looks like he's in a two
hundred dollars Brooks Brother special.

Speaker 3 (24:26):
And and no one else saw him go up. You
know how long it takes to get up the elevator
mm hmm. Like he had to get on it, ride it.
He had to time that out perfectly, and then I
just I have to look it up. I have to
ask Google, how long is the elevator ride?

Speaker 2 (24:47):
Well, there's a lot of problems here on top of
a rocket. So he he just opens the Capsule's like, okay, three,
come on, we gotta go, we gotta go. And there
they only have like a couple of questions like wait,
what's going on? Who are you?

Speaker 3 (24:59):
What?

Speaker 2 (25:00):
Trust me? You need to come with me right now, okay,
and they just disconnect hoses and step out and go
away with this guy who they've never seen before. All right,
And then they take them down a hallway and we
cut back and forth between mission control, and we hear guys,

(25:20):
you know, reading all the time. Okay, everything's ago, temperature
is right, oxygen levels are at their peak, everything is checked.
We are green light for launch. And in between all
of this, they cut back to the three astronauts and
then they walk them out onto they get out of
a car, they get into a helicopter, and then they
take them to a tarmac where they get into a

(25:40):
lear jet.

Speaker 3 (25:42):
You're ready, Hold on, I had to load this up.
All right, So there, what is it you said three
minutes left in the countdown when the guy gets up
there and takes them out of the capsule.

Speaker 2 (25:49):
Yeah, roughly that it's.

Speaker 3 (25:51):
A fifteen minute journey to go from the from the
ground level to the top of the Saturn five rocket.
Fifteen minutes. Like I understand that they didn't have a
Google to get into things back then and look it
up real quick while they're writing of this kind of stuff.
But I can't imagine because NASA gave them equipment for
this movie, like a lot of the equipment that you

(26:13):
see in the screen where they're sitting down behind the
consoles and stuff, and NASA loan than that, so it
would be more realistic. That tells me you had NASA
people on staff to give you production assistance, and you
didn't at anytime ask them how long should we make
this countdown timer? How long would they need to get out? Okay,
so we need to redo this movie entirely or just

(26:34):
completely ignore reality except for this party, you know what
I mean.

Speaker 2 (26:38):
Well, here's the other problem. You know, we're seeing them
as they take them into the car, and then the
helicopter and then the jet and in between we see liftoff. Right,
if you ever go to Cape Canaveral or anywhere else,
the rocket is almost like a mile away from anything.
And that's because of the damn last radius from the engines.

(27:03):
So I'm sorry you didn't amble on over to a
station wagon and load these guys into it and then
into a helicopter while this thing's going off, because they'd
be basically incinerated to some degree, and.

Speaker 3 (27:15):
They certainly were going to be as close as they were.

Speaker 2 (27:19):
Here's one other problem. Now when we again, we're what
two three minutes into the movie.

Speaker 3 (27:25):
No, this is like, this is like ten minutes, this
whole this whole sockets.

Speaker 2 (27:29):
Like, yeah, I mean yeah, they do grow it up.
This this intro and much of the movie is drawn out.
But this is almost two plus hours, and it could
have been ninety minutes and even then would have been loaded.
But after they pull them out of the capsule, they
still go through with the entire launch. Did did Houston

(27:49):
not recognize there was nobody in there? Like there there
was no radio communication because the others were a helicopter.
They explained that, well, they sort of do.

Speaker 3 (28:00):
Well, how Hullwork says what happened. I don't know how
much of it makes sense.

Speaker 2 (28:05):
But also too later on in the film we see
they had video inside of their How do you explain
three empty seats while this thing is firing off into space?

Speaker 3 (28:16):
Well, that's just it. So how were says that they
have all the footage from the training missions and all
the audio, and that's what's being broadcast to everybody. So
the people in Houston and Houston have no idea what's
going down, which is why they got rid of that
one guy that kept figuring it out. And then they've
got a whole production team in burd Bank somewhere that

(28:39):
I assume, I mean, that's the assumption, right, This is
somewhere in the LA area with a sound stage.

Speaker 2 (28:46):
And supposedly in the outskirts of Houston at some point,
I think Elliot Gould, the reporter from this ut like
there was it was an abandoned space or or air
force area that was no longer in use and they've
re employed it for this conspiracy.

Speaker 3 (29:08):
Oh did it? Okay? I missed that.

Speaker 8 (29:09):
Either way, the the people that are at the facility
filming are are broadcasting live to the world when they
go to do their stuff.

Speaker 3 (29:22):
But then they are cutting over to film footage, training
footage when the people in the rocket or the people
that Houston need to see or communicate other things. I mean,
I guess I sort of understood what it is they
were trying to pull off.

Speaker 2 (29:35):
But right, But for that to work, the guys that
mission control would have to be scripted, like you would
know specifically what they're going to ask, so then you
could respond with the appropriate audio. What I'm saying, because
it's it's a dialogue that takes place between mission.

Speaker 3 (29:52):
The dialogue stuff was those guys live and at the
at the Fate set.

Speaker 2 (29:58):
But then later I'm talking about just during the launch
sequence because they're still in the hell for the plane.
They're still taking them to the facility and explaining everything
to them. So in the meantime, the rocket is on
its way to Mars, and you know, Houston is saying
things like, you know, how was how's your pressure? Everything's
holding up, oxygen levels are okay, we're square here. You know,

(30:19):
there would be that kind of exchange going on. You
don't have pre recorded audio to answer every single of
those questions. I'm sorry, but.

Speaker 3 (30:28):
Oh yeah, I didn't think about that part O the
first part I got.

Speaker 2 (30:32):
Now they you know, faking the footage made sense later,
but for the launch sequences, like I'm sorry, somebody gonna
pick up on a problem here somewhere. How about the
very fact that you know we see later on too,
like they have each of the astronauts' heart rate on
a screen, you know, when they when the capsules supposedly
melted on in re entry. Okay, as soon as they

(30:56):
disconnect the tubes, all three of them with a flat
line on a screen somewhere. So again, we're not ten
minutes into the movie. The whole thing is already in
the hobber unless you just forgive every single thing you
watch and just let this washer over you, which you
must do. So as far as Mission control and the

(31:17):
general public is concerned, everything's going swimmingly. But we've got
three astronauts stuck in what looks like a blank office
room plastic chairs, and Hal Holbrook comes in explain what's
going on? This is what ten minute monologue from hell Hobrook.

Speaker 3 (31:41):
Oh it's long, it's not short, and he's been talking
about random stuff. It's so weird.

Speaker 2 (31:47):
Yeah, he doesn't say, like, okay, guys, here's what's going down?
And here's why. He sits down and looks at it.
Brubaker who is James Rowling, and just starts pontificating about nothing.
How far do we go back?

Speaker 3 (32:03):
Brew? What is it?

Speaker 2 (32:04):
Sixteen years? Sixteen years? We've been together, you've been a trooper,
We've been to fishing trips together. How are the boys doing?
They're in school, aren't they? It's just isn't this all
going right here? Somebody should have slapped the tables, like
the hell is going on? Yeah, Karen's got a tumperware

(32:27):
party coming up. Man, aren't those things something? Huh? It
just I mean rambles on. It eventually gets to the point,
which is space is very expensive to explore. There's so
much involved in so many pieces of the pie. Or

(32:47):
got their hands in this operation, and there's so much
money and steak, And it eventually gets to the point
is they figured out one thing would have gone wrong
on this trip and killed all three of them, or
to keep the money flowing, they got to fake the
entire thing.

Speaker 3 (33:05):
And what's really weird is so like they never bring
the president into this movie. They talk about him multiple times,
but he can't he can't be bothered, like people are
just the space program has just happened in what ten
years prior, right the nine sixty seven, and suddenly America
is completely out of They've fallen out of love with

(33:27):
space to the point where the President doesn't care. He's
got other things that are more important. So they bring
the Vice president to the launch the launch game. Try
the hand everybody out. There's just that weird inner exchange
with the senator what's what's his name? Senator wants to
such such such wants to get an extra pair of binoculars,
commenitive binocular for his wife, Senator Yeah, And they give

(33:49):
them to and then they give other binoculars to the
Vice president. He immediately starts looking at that woman's flat butt. Yeah,
and he's like, uh, the rockets this way, vice President,
Like they set this weird thing up between the Senator
is supposed to be I guess maybe he's he's supposed

(34:13):
to be a big proponent of what's happening, and the
Vice President is just kind of a lackey that's there
to take, you know, a yes man, and the President
has no interest, and they don't they don't ever bring
that to conclusion in the film do they. I don't.
I never saw it, well we they never explore it
for fully.

Speaker 2 (34:32):
Now we kind of have to buy into the fact
that he is, I guess, one of these money men.
He's one that wants to keep the program going for
his own crep needs. This is what Senator Hollis Parker
is that isn't And yeah, he played the big Lebowski.
He was the guy, you know, victorating all over my carpet.

Speaker 3 (34:55):
That guy.

Speaker 2 (34:56):
And he's got big glasses, he's always smoking cigars, you know,
proto typical Washington politician. He he wants the gravy train
to continue, so it's a and basically he's mad that
it's only the vice president that shows up. In Wholebrook's monologue,
he even details how when John Glenn went into orbit,

(35:16):
the entire planet was captivated and froze what they were doing.
But then by the time we got to the moon,
they were bitching about preempting reruns of I Love Lucy.
And this is kind of the framing of you know,
and the President doesn't care about this too, and he
wants to defund the program a bed I guess, or
so this we have to buy all this now just

(35:39):
to kind of explain the genesis of things here.

Speaker 3 (35:44):
This is a.

Speaker 2 (35:46):
This is a baby of the director. This was his
He wrote and directed this, Peter Hyams. But he did
this back in like seventy one, and initially, yeah, he
didn't get any takers, like people weren't too interested in it.
But then Watergate happened and all of a sudden, a

(36:07):
movie that could have a conspiracy in it had some
gravity to it. And then he pitched it to some producer,
like within five minutes, it's like, you're making this movie.

Speaker 3 (36:16):
So oh yeah, Hollywood love to jump on a trend.

Speaker 2 (36:20):
So the political backbiting and intrigues what got this thing made,
and so that's what we have to buy into. So
the astronauts are basically looking at each other.

Speaker 3 (36:29):
Now.

Speaker 2 (36:29):
I was like, why the hell would we go along
with this? This is our entire livelihood and you want
us to fake it. It's like, well, you know, all
three year families are on the same plane, and there
just might be this little package on the plane that
if I hit a button, boom.

Speaker 3 (36:45):
And that was so weird. Right now, remember I'm watching
this thing thinking it's still a thinking it's still a
dark comedy. So I'm waiting for the dark comedy to
have it and it's not. And he goes, well, we
could kill your family on a play and gogo boom,
they're all together and I'm like, that's the dark. Where's

(37:07):
the comedy. I'm like, I'm missed at it. It's not there.

Speaker 2 (37:10):
Yeah, you got duped. I'm just gonna say it. You
fell prey to the Hollywood hype machine. Paul, I'm sorry
to tell you. I got to break it to you.
But when he says this, you know, all three astronauts like,
what about my family? You know, that was the gripping moment.
So he says this in order to motivate these guys

(37:32):
to go along with the ruse problem. This mission, like
we said at the start, is months long in the making.
There ain't no plane flying around in the sky for
three months with their family on board. Okay, I'm sorry,
just hold out for like eight hours. Your family's gonna

(37:53):
be underground. But as we find out, there's nefarious machinations
in the background, and it does reach comical levels, but
not intentional ones. As we'll get into cabals. There's a
cabal involved, and this is the other thing. Yeah, you know,
the fake moon landing is this is of course bouncing

(38:14):
off of that. How many people have to be in
to make this work? To pull this off, you have
to have dozens and dozens of people on board, and
none of them are going to say anything. I mean,
throughout this film we see just at this abandoned facility,
dozens of guys in suits that are ushering these guys around,

(38:38):
are chasing them. You have entire flight crews and helicopters
chasing them down. Everybody's going to keep shutting up about
this forever. Sorry, It's just this is where conspiracy theories
fall apart. It's called reality. But they compel all three
of them to go along with this, So the mission

(38:59):
is still going on. Everybody admission control is buying into it,
except for one meddlesome self starter.

Speaker 3 (39:11):
Who they probably get rid of.

Speaker 2 (39:12):
One of the technicians is looking into things of his
own volition. He's run his own program and has come
to find out that the video transmissions are coming in
much much faster than radio and telemetry transmissions, and he's
run every kind of test that has rechecked it a

(39:35):
number of times, goes to his superior with the information.
He's like huh what console are you working on, Oh,
number thirty five. Yeah, we've had bad wiring in there.
M yeah, I'm sorry, but this is NASA. If you
had a council with bad wiring, it would be fixed immediately.

(40:00):
I mean, if you got a problem like that, you
kind of need it, it fixed it. But again, our
guy's a self starter, he's a motivator, or you know,
maybe he's a little anal retenter. But he keeps running
these diagnostics and keeps coming up with the same result.
So now he goes to how Hulbrook with his complaints,

(40:23):
and Holbrook says, oh, yeah, I heard about that. You're
on thirty five, aren't you. We've got in trouble with
thirty five. We're gonna have to shut that down. Huh, okay,
maybe shut it down. I'd say fix it. You know,
you're NASA, you kind of need this stuff.

Speaker 3 (40:43):
And then they literally shut it down. They put there's
a tarp over it for the rest of the film.

Speaker 2 (40:48):
Right, whatever he was supposed to be measuring, we don't
need to measure it anymore. Barely. That's that's no longer
mission important. But uh, there's a little bit of conveneians here.
Where this technician also just happens to be good friends
with CBS reporter Elliott Gould. Well, how's that for convenience?

(41:13):
Robert Caulfield is his name, and he explains his concerns
at call Field. He says, Wow, Okay, that's gonna lodge
in the back of my brain because I'm a cut reporter.
I'm gonna be breaking stories left and right, So I'm
gonna do this. I'm gonna be on it. And at
some point Caulfield has questions for his buddy, goes to

(41:38):
his apartment that he's been to dozens of times, and
a woman answers the door who's not his friend, and
his friend doesn't let it. He just kind of like
eventually barges in. He's like, listen, I've been here dozens
of times. Look me in. He doesn't even tell her,
like I'm a reporter. I'm with CBS News should He's
just like, listen, I'm a crazy job you've never seen before.

(42:01):
Let me in the house, all her mail, all her magazines.

Speaker 3 (42:07):
And she and he disappears like instantly. Remember they went
to play pool, right, Yeah, they got to play pool,
And he gets a phone call at the bartenders at
like the bar, and he's like, yeah, I call the
assignment desk, Well, what are you talking about? What's going on?
And then he comes back and his buddy's just gone,
and then then he never sees him again at his console.

(42:28):
And then then it turns out he is the Elliott
Gould is the reporter that's at NASA in the press room.
So that guess that's how they became friends. There's a
lot of convenience here.

Speaker 2 (42:41):
Yeah, this this works out well for the screenwriter. And
so yeah, so Elliot Gould now has a kernel of
a story, something just pecking out his brain, and he's
he's looking into the matter. The entire apartment has been renovated, painted,

(43:03):
new furniture, new curtains, the mail, everything's got his buddy's
address on it. But this woman's name, and you know,
I've been here dozens of times, and later even says
he checked with the landlord and they said that she's
been living there for over a year now.

Speaker 3 (43:19):
And they got paperwork because of the year. I give
that lady credit to because she's obviously a plant.

Speaker 2 (43:27):
She had to be in on this conspiracy, is what
I'm saying, Like, for this conspiracy to work. The net
of people involved is so broad. But this, lady, what
do you pay someone to do this? We need you
to live in an apartment and insist that you've lived
there for years, just engaged. Somebody shows up and they
didn't even know the reporter was looking for this guy.

Speaker 3 (43:51):
Yeah, it's just like they they they just completely removed
him from the earth, like he was he like a loaner.
Did he not have a y mom, dad, siblings? Somebody
that he loved came and checked in on him. He
just a nerded NASA that only the reporter was friends with. Well,
no other friend is looking for him.

Speaker 2 (44:14):
And what about the rental office? You have to get
everybody in there, Like, listen, anybody comes snooping around, you
never heard of Roger Okay, missus missus Leavincock has been
there for eighteen months. You understand. That's what you're gonna
tell anybody that shows up.

Speaker 3 (44:30):
This is it's such a weird thing. They could have
just they could have just disappeared him, but they had
to try to make it in the movie. They had
to try to make it seem as that they erased him,
and I guess, I guess they were trying to do it,
to show the gravitas of the situation and show how But.

Speaker 2 (44:47):
I'm like, this is the thing that back then in
my eleven year old mind, I'd be like, wow, man,
the government is this powerful. They could just make someone
disappear and mik And of course my adult self is like,
well wait a second. I I've got about three dozen
problems with the scenario. It's just where you know. That's

(45:10):
the thing is this movie was basically made for eleven
year olds, but back in seventy seven adults watched this
and we're like, well, Watergate happened, this could too, right, I.

Speaker 3 (45:19):
Mean Watergate was a thing, and that's true. And what
was it? All the President's Men? Is that the Robert
Redford movie about it?

Speaker 2 (45:27):
Yep?

Speaker 3 (45:27):
Yeah, So I mean and that's that was actually a
pretty good movie and it covers the you know, the
unfolding of it pretty well. But this is not because
they had they had nothing to go off of. They
had to make it fake. You know, if you were
to talk about conspiracy films, I would say that my

(45:48):
number one conspiracy movie Slash not very good but also
pisses me off at the same time, is Arlington Road.
Have you had your watched you've never seen Arlington Road.

Speaker 2 (46:02):
That's with the Tim Robbins, right.

Speaker 3 (46:03):
Uh huh Tim Robbins and oh goodness, gracious, he's in MCU.
Now what's that fella's name? Jeff Bridges. So, Jeff Bridges
in Arlington Road. Is is such a good conspiracy film
because it true it You have this conspiracy throughout the

(46:28):
film that Jeff Bridges is a bad guy and Tim
Robbins is a good guy. Then the movie goes and
shows you that Jeff Bridges is the bad guy and
Tim Robbins is the good guy. And at the end
of the film, Jeff Bridges has convinced everyone else that
Tim Robbins is the bad guy and he is the
good guy. And the movie ends that way with and

(46:53):
you're like, no, uh no, no, I need I need
I need better. I had a better conclue, Like that's
a good conspiracy, that's a good way to go to it.
And then it pissed me off so much that I
can't watch it again. I cannot. I could never watch
this movie again. It pissed me out that much.

Speaker 2 (47:10):
It's almost like Geostorm, where Ed Harris was the corrupt
spoiler alert member of the administration who is behind the
takedown of Dutch Boy.

Speaker 3 (47:22):
Yeah, seriously, get it. You get a chance, you watch
Arlington Road. You'll only need to watch it one time
because the endinge will upset you so much because they
don't resolve it to the to a positive conclusion, that
you'll never want to watch it again. But you will
not be upset that you've watched the film because Jeff
Bridges and Tim Robbins are fantastic actors.

Speaker 2 (47:42):
So yeah, well you just said I was going to
be upset if I watched this.

Speaker 3 (47:46):
You are. You will be upset at the movie. You
will not be upset that you've watched it. It's not
a waste of time.

Speaker 2 (47:53):
It's just conflicted.

Speaker 3 (47:55):
But that's that's how you do a conspiracy, right This
This movie, for everything that it does, doesn't play the
conspiracy part of it very well.

Speaker 2 (48:07):
Well, it's it almost seems like this is written by
somebody who says, I'm gonna look up conspiracy ites. He
was involved, Oh, government overreach, oppression and erasing people. O this,
let's just do all of that. Yeah, that's okay, this
is a conspiracy now, and yeah for this to work

(48:27):
though it basically be like winning a lot of re
four times over. Like everything has to go off without
a hitch. Everybody has to be on board at the
same time. Nobody's gonna speak one word about this to
anyone else ever, and the one guy that does will
be completely erased off the face of the planet. You know.

Speaker 3 (48:48):
They even they even talk about some other conspiracies when
they try to make Elliott Gould seem crazy, right, He's like, oh,
I'm crazy. He's like he's losing his mind. That's how
they're gonna take him out that way, it is being crazy.
And his editor even says that you came to me
talking about too, I love so much you interviewed the

(49:10):
second shooter, the JFK assassination. I thought distant in age. Well,
since they just proved that there was a second shooter
and the JFK assassination in smiles Trump.

Speaker 2 (49:23):
We got it. That's uh, David Doyle, he would be
bodsily famed from Charlie's Angels. We're definitely gonna pick this
scene apart because I loved it. But first conspiracy. So
Elliott Gould's knocking on doors and asking the wrong people
the wrong questions gets in his brand new Mustang and

(49:43):
it's been tampered with.

Speaker 3 (49:45):
Such an awesome car, by the way.

Speaker 2 (49:47):
Beautiful car. You don't see too many of them in
that blue color either, so it was very cerulean Mustang.
Oh beautiful.

Speaker 3 (49:54):
Oh yeah, I loved it. I was like, man, how
you for that on a rider's salary?

Speaker 2 (50:00):
Now, usually when you see somebody tampers with a car,
they've messed with the brakes and the brakes won't start right.
This thing was completely compromised. The brakes didn't work. The
emergency brake didn't work. That's always another flaw too, Like
if cars are running away, he's just hit the emergency brake,
then comes to a stop. Done. Nope, emergency breake didn't work,
the gear shifter didn't work. And all the time it's.

Speaker 3 (50:23):
Like it's the gas pedal is slammed on the floor.

Speaker 2 (50:27):
Meanwhile the car is speeding up the entire time, and
he's going through alleys, honking his horn, almost running over people. Now,
beautifully shot scene. I don't know how they orchestrated this
a couple of times, like he comes through the alley
at full speed into trafficking people, almost hit a bus
at one point, and oh.

Speaker 3 (50:46):
He tries to turn the car off, and the whole
ignition comes out of that.

Speaker 2 (50:51):
He turns the key on and off and pulls the
entire thing out.

Speaker 3 (50:54):
There must have been an endy team of mechanics down
there on his car. He was only up like he's
like up to that Ladies apartment for like two minutes
maybe three mm hm. And they and they chopped up
that carl like he had parked it outside the Detroit
out of Detroit apartment complex.

Speaker 2 (51:12):
Oh, I can actually explain this, Paul, Oh, okay, go ahead,
NASA technicians.

Speaker 3 (51:19):
I did think any about that.

Speaker 2 (51:21):
So he's, yeah, he's bust assen through town, almost hitting people,
destroying so many barricades and everything else, until he finally
gets out by the port, runs through about a dozen barricades,
hits a half open drawbridge, and then of course we
get Hollywood physics rule. Anytime a car goes into the water,

(51:41):
it has to be in slow motion. That's a rule.
So he hits the ramp and the slowly descends, and man,
he died. That's oh no, he's swimming in the ocean.
He's okay.

Speaker 3 (51:51):
And they never ran after him again, Well they do
they get to do? Yeah, they do later that try
to take him out another way.

Speaker 2 (51:58):
But so now we're back to the fake mission.

Speaker 9 (52:02):
Well the well quick one fact, that scene where he's
driving around town and you know, can't shut his car
off for some reason, can't find a nail or run over,
run into a rock bed to keep his car from
going forward as the engine that never quits.

Speaker 3 (52:18):
Uh. They used that as stock footage in a season
an episode of The Fall Guy a few years later.

Speaker 2 (52:25):
There we go that sea.

Speaker 3 (52:27):
They did not waste that seat. They used it once
and they came back and said, let's use it again.
They added it to The Ball Guy.

Speaker 2 (52:34):
But just to also underscore the danger of all this,
they speed up the film so at one point he's
like tearing through town at double speed. Pretty comical too,
but back in the day that's apparently worked. So so yeah,
we think the landing footage, you know, we get Houston,

(52:55):
I'm on the second to last wrong, Houston, I'm on
the last wrong, Houston. I'm touching the surface, Houston. I'm
taking a step, Houston, my foot has come down on
that step.

Speaker 3 (53:05):
So we get through. All that ground is dusty. The
rocks field field orus.

Speaker 2 (53:12):
Wait, wait, wait, who are who's he talking to? Oh, Houston, specify,
I blank the little bit they weren't clear exactly who
he was communicating to. But no, next we get a
touching scene. Because they're so far away, you can't have
direct communication, you know, you can't have a conversation. But

(53:35):
on the trip home they got closer and eventually they
could finally speak to their family, and each astronaut has
a touching moment with their wives, and Brenda Vaccaro on
national television just says, well, your son's so proud. I'm
going to read he wrote an essay in school. I'm

(53:58):
going to read the entire thing about my dad. I
love my dad. He's so brave and he's doing something
for me. Just this thing takes five minutes, and the
movie is just filled with these things that you know,
she couldn't just say your son wrote a composition, got
an a. He's so proud of you, thanks, honey. No,
she has to read the actual composition. Okay, let us

(54:22):
know what you're done then.

Speaker 3 (54:23):
And.

Speaker 2 (54:25):
How Wholebrook is about to pull the plug on this
because he's convinced at this point Brubaker is going to
scroll the deal and we have a gripping scene where
a guy at Houston Control has his finger above the
button that's gonna disconnect the communication. They actually have a
button that specifically does this. It's the long red button

(54:49):
that lights up and above it on the console it
actually says communication disconnect.

Speaker 3 (54:56):
That's yeah, it's just a big button. Why would you
what need to disconnect your communications?

Speaker 2 (55:03):
So, and he's hinting at things, and then he says
something to his wife about the family trip they took
last summer, and Holberg is on the phone with the
guy with the button hold on, not yet, I'll let
you know when to cut it off. Not yet, because
he's so convinced Rubaker's gonna spill the beans, but doesn't,

(55:25):
so the call ends naturally without the disconnect button employed. However,
our reporter Elliott Gould has picked up on something. He's
watching a replay of this, and when Rubaker mentions the
summer trip they took to Yellowstone, her face makes a

(55:48):
little twitch, a little reaction, and then she's like, oh, oh, oh, yeah, yeah,
when we went to Yellowstone.

Speaker 3 (55:55):
Yes.

Speaker 2 (55:56):
Well, Elliott Gould has picked up on this, so he
goes to have a word with brew Baker's wife because
now there's a problem. Upon re entry, the unmanned capsule
had its heat shield brake and disintegrated. Now everybody's convinced

(56:21):
the astronauts are dead, but the astronauts are still alive
somewhere in the Houston desert.

Speaker 3 (56:25):
Houston has a desert.

Speaker 2 (56:28):
I'm going with it. That's what the movie says. And
why would the movie lie to me, Paul?

Speaker 3 (56:33):
This thing was clearly shot in California. I mean, you
could tell. That's why I assume in California. That's why
assumed they had this outside of Bergen and didn't realized.

Speaker 2 (56:43):
I'm just going with the narrative. That's what they told me,
so it has to be true. So the now this
is the part that also didn't make sense. Add to
the list. After re entry in the capsule melted and disintegrated,
the re astronauts find out about this.

Speaker 3 (57:03):
No, they they assumed, Well no, he Brewbaker makes the assumption.
He's like, why are we in here? Why are we
not back to be dropped off in the water. He goes,
because they've come up with they've come up with something.
They can't have us show up. He said, We've got
They've they've done something like the shoots didn't open or
the heat shield separated, Like, oh, that's very convenient that

(57:26):
you guessed it on the second try.

Speaker 2 (57:27):
Well, the the initial plan was to have the capsule
land like two hundred miles away from the prescribed spot.
They were going to fly them out and then put
them in the capsule so that it would you know,
give them time to get flown to that location, so
the rescue boats would then show up with them inside.
But then the heat shield separation was accident. They didn't

(57:51):
anticipate that, and so I don't know if they heard
where they were, you know, in the in the room
they were hold up, and I think maybe they heard
the the audio. I don't know. Seems to me they
should have already been out on location.

Speaker 3 (58:08):
I thought it was planned that they planned the whole
time to kill these guys on re entry. I thought
that's what Holbrook said said to something on Well he
was on the phone with somebody, some shadowy figure, and
he's like, yeah, I thought he said going forward to
plant or something.

Speaker 2 (58:24):
Well, no, because it in order for them to break
out and hit the you know, go be cheeks out
in the desert is because of this. Because they said,
well if the if the I think harm Roland says it.
He's like, well, if we've died on re entry, they
don't need us anymore. They have to get rid of us.
And that's that was their motivation to then go escape. Otherwise,

(58:50):
you know, they were going to come back and fake
the landing and wave and everybody was happy. But now
that the capsule melted, they can't have the astronauts show up.
So that's that's what they said, we got to get.

Speaker 3 (58:59):
Out of here.

Speaker 2 (59:00):
And then they find out the doors locked, Jimmy the hinges,
and they escape after beating up three guys in suits
on the tarmac and they take off in a jet.

Speaker 3 (59:11):
Okay, well maybe that's right. I didn't catch that part
of it. I assumed that there was something else going on.

Speaker 2 (59:16):
Then, well, yeah, it wasn't. They didn't make it real clear,
like how Wholebrooks should have been in some form of panic, like,
holy crap, this thing. Because understand, the whole reason they
faked the mission is in order to keep the money flowing.
So if this melts on re entry, that completely ruins
their entire plan.

Speaker 3 (59:35):
Now linking the information like you know, coming back later,
they make a big deal of him grabbing that gun too.

Speaker 2 (59:41):
Don't they, which he ends up leaving in the desert
and then never and.

Speaker 3 (59:47):
Then never confronts anybody to the point where he would
have needed the gun.

Speaker 2 (59:52):
Yeah, it's like they they found what they call it.

Speaker 3 (59:54):
It was a.

Speaker 2 (59:56):
Rescue supply box or something that was inside the jet.

Speaker 3 (01:00:00):
A pack of cigarettes in it. You want to go
out into the desert, a pack of six.

Speaker 2 (01:00:07):
Well know, convenient too that it just happened to have
three cans of water, not a lot twelve ounces each.
Here you go, you got one, you get one, you
get one, three flares. And they had to sit there
and divide up all their other remaining supplies between them,
and they decide to split up. We're not going to

(01:00:28):
go east because that's where we flew from. So one west,
go north, you go south. And then it was kind
of a cool crane shot too, that it's on the plane.
We see them walking away and it starts craning back
to watch them wander off into the desert.

Speaker 3 (01:00:43):
But nobody knows where they they're just walking What if east?
What if east was where you needed to go.

Speaker 2 (01:00:52):
Yeah, it's kind of like, uh, you know, almost in
the Incredibles and was like, wait, you want to go
where the locket came from. It's like, well, that's clearly
where land. Okay, there's got to be some civilization from
where they came from. But no, we got to have
this third act adventure in our film.

Speaker 3 (01:01:11):
Oh is this the adventure portion of it?

Speaker 2 (01:01:14):
That's what I'm gonna go with. I mean feels like
it maybe could have been. Sure. So there are the
heat and the dust and the dirt going through their stuff. Meanwhile,
Iliot Gould try to get to the bottom of things.
He speaks to Brubaker's wife about this video exchange that

(01:01:38):
he picked up on. It's like, man, you're your husband.
I don't know. You had a funny reaction this conversation,
Like we talked about Brenda Vagaro looking like, you know,
she just wanted to do more and be given more.
This scene was the epitome of that, because first he

(01:01:58):
shows up at her house. You know, the husband's dead,
everybody thinks, so he's the only reporter to show up
at her front door. I find that hard to believe
because earlier when they were launching, they had like five
dozen reporters on her front lawn. But the husband died
and he just comes and knocks on the door, and
the CoP's like, she's got no visitors, Like, oh no,

(01:02:19):
I called ahead. She wants me, but they He has
this conversation with her. He's like, now he mentioned the
vacation and you looked kind of funny. And she's like, yeah,
cause he got the location wrong. He's like, your husband
doesn't get it wrong. She's why are you asking these questions?
I can't tell you why not. He's basically infringing on

(01:02:42):
the privacy of a woman who just became a widow,
but he won't tell her why he's asking these very
specific questions.

Speaker 3 (01:02:50):
I guess he doesn't want to seem like a nut job.

Speaker 2 (01:02:52):
But too late for that. Yeah, and he's you know,
I need to find this out. I need to find
this out. She says to him why, and he turns
to her and says, you ask very good questions.

Speaker 3 (01:03:09):
You're a smart lady.

Speaker 2 (01:03:10):
Do you know that why is a smart question? No,
it's you're a stranger. As you shut up my house.
Why you plugging me with all this interrogation? What that
was going on? You're a very intuitive woman to ask
that question. It was three letters, explained yourself. But this
all ties in with his missing buddy and he thinks
something might be askew. And you know, he said they

(01:03:33):
went to Yellowstone when actually they went to what black
Rock or something in Arizona.

Speaker 3 (01:03:37):
Well he said Yosemite, and it was actually flat Rock in.

Speaker 2 (01:03:41):
Arizona, which is one of those hokey little ghost towns,
you know, where everybody dresses up like cowboys and has
pretend shootouts and such. So Elliot Gould's walking around investigating
this place. Not a soul bey seen, just him on
a Western movie set. Two gunshots ring out and explode

(01:04:02):
right next to his head. He then dives down in
the dirt in the middle of the street.

Speaker 3 (01:04:10):
He was standing next to the building, and he is
multiple feet away after dropping down of the ground.

Speaker 2 (01:04:18):
So instead of like running into a building to take cover,
he goes in the middle of the street and just
drops down. And then you hear tires squeal as somebody
drives away. Well, everything around him is dirt, So I'm sorry,
no tires is squealing, but I was.

Speaker 3 (01:04:36):
I'm glad you picked up on that too, because I
felt the same way. I'm like, well, hold on, they're dirt,
where's the tire squealing? Come from these are dirt roads.
The whole thing is it's an all literal Old West set.

Speaker 2 (01:04:49):
But on top of that, if you're trying to kill
a guy and you miss and he drops down on
the ground.

Speaker 3 (01:04:55):
Don't you take another shot?

Speaker 2 (01:04:57):
Two more shots and your job is done? But instead
of he's like, damn it, I missed. I better get
out of town quick.

Speaker 3 (01:05:03):
And here's the other part, is like, I get it,
you don't want him to see you, But why does
it matter if he sees you? If you're planning on
killing him, why would you take a long distance shot?
Why won't you go into this completely abandoned desert town
where no one else is there, and walk up behind
him and shoot him in the head and then leave.
Then you can discarded his dispose of his body. Nobody

(01:05:26):
will ever find it because it's an abandoned Western town.

Speaker 2 (01:05:29):
Now full disclosure, Neither Paul or myself are hired assassins.
We don't do this for a living. This is all
mere speculation. But yeah, mere speculation.

Speaker 3 (01:05:38):
Again. I wouldn't say you need to bring live with you.
I'm not saying you would need that. That you might
you might need some lie.

Speaker 2 (01:05:47):
The gallon barrel of acid.

Speaker 3 (01:05:49):
One of those clastic bags from dexter.

Speaker 2 (01:05:53):
I mean wrapping a body up and chicken and dumb
blits for the gators to find. See, these are just
speculative options that some people in movies might employ, like
trying to get rid of a body. I'm just saying that, Like, have.

Speaker 3 (01:06:09):
You ever seen the story on Reddit? The Reddit story
about how to dispose of the dead body? Like if
you were gonna get away with the murder, how would
you do it? Everybody's just speculated. And this one dude,
this one dude gets on off to find the Lincoln
sentit to you. This one dude gets on there and
he goes, well, what I would do originally is I
would I would uh bury the body in a shallow
grave and then dig it up so that the sense

(01:06:30):
is there but the grave is only a few feet deep.
Then I would move the body somewhere off site, and
then I would join in the in the hunt process
looking for the body. When they find the shallow grave,
because the sense on it, they would abandon the shallow
grave and keep looking, at which point I would return
with the body and put it back into the shallow
grave and refill it. Nobody nobody, because nobody's gonna go
to looking of lights, and the whole reddit form is like,

(01:06:53):
oh my gosh, you're a Sillery serial killer. He goes,
I've got to go down, just disappear.

Speaker 2 (01:07:03):
I've said too much.

Speaker 3 (01:07:04):
I've said too much. I must leave. They don't put
a lot of thought presses and get rid of They
want the audience to know that Gould's character no longer
needs to exist and that he's the driving force behind
uncovering this conspiracy, but they don't actually want to take
the steps necessary to dispose of him.

Speaker 2 (01:07:26):
Accordingly, Well, the problem is also the convenience, and that
is now illiot Gould is convinced somebody's trying to kill him,
and the problem of course, trying to kill him would
have killed him, but now they know that he knows
that scam going on, and they left that door open. Oops.

(01:07:50):
But again anvenient for the screen writer.

Speaker 3 (01:07:52):
And this is months long. This is a month. This
is like a ten or twelve, ten or eleven month
long project. In the movie, they keep showing us to date.
It starts like in January eleventh or something and goes
like all the way to like September, October, November, sometime
they've had. You're telling me that the only opportunity they've
had to dispose of Elliott Gould was three opportunities and

(01:08:13):
they failed on all three. That's all.

Speaker 2 (01:08:16):
He's a cagy, reported Paul. This guy's a slippery eel.
He's not that easy. Plus, there's a lot of other
stuff going on. You know, they're busy. There's they have
a mission to fake here.

Speaker 3 (01:08:26):
Their attention is divided. I get it.

Speaker 2 (01:08:30):
So he goes back to Brenda Vacaro now and says, uh, well,
to upset you, can I call you some other times
upset you further? So he shows up and does by
telling her I think your husband's alive. Okay, mister abrupt,
what's going on here? Well, she says that on their

(01:08:53):
on their vacation of black Rocke at this fake town,
they just happened to be there when they were shooting
a movie, and they just happened to bring the family
in as part of the production, like we see the
kids in the director's chair and it starts hovering over
the street and not bringing the cameras asuch, and says, yeah,
my husband was really captivated with the way that they

(01:09:16):
could fake something and make it look so real, and
a switch goes off in Iliat Gould's head. Now he's
convinced there's a conspiracy to fake the Mars landing, and
so he takes his story to his executive editor, who

(01:09:37):
hates him for no.

Speaker 3 (01:09:39):
Reason that's never explained. I just I hate you, Okay.
What's my character's motivation in this film where you hate him?

Speaker 2 (01:09:45):
Why you just do?

Speaker 3 (01:09:47):
Gotcha?

Speaker 2 (01:09:49):
This discussion David Doyle. This is Bosley playing the role
here and at one point looks at Elliott Gold and
says I don't like you, tells him the reason why
this is the part that I can't get over. He's like,
I don't like you. You're ambitious. Yeah, you don't want

(01:10:09):
that in an employee. Huh, God forbid. You have a
reporter who's a self starter.

Speaker 3 (01:10:16):
You certainly you certainly don't want anybody like that as
a reporter.

Speaker 2 (01:10:24):
And he starts rattling off. He's like, you know you
found Patty Hurst three times? Yahda, yeah, you know all
these other times at Elliot Gould. I guess thought he
had something. But then he also says to him, you
think the way to get ahead in this business is
to get the scoop of the sentry. Yeah, he's a reporter.

Speaker 3 (01:10:43):
That's how it works.

Speaker 2 (01:10:45):
That's like saying, man, you think the way to become
a great baseball player is to get the home run record? Yeah,
that's he's a reporter. He supposed to get scoops and
you're sitting here shitting on him. I mean, come on,
this is his job. But okay, I guess we've all
had these editors in our past before. So he has

(01:11:12):
a hard time selling this to his boss. So he
has to take it upon himself and figure things out.
But Elliott Gould is just a muckraker to do this.
He's going to get to the bottom with Another reporter
now tells Caufield, this is Elliott Gould that I don't know.

(01:11:37):
He would never make a miss like he says, the
astronaut would never make a mistake about his vacation like this.
There has to be there has to be a reason
he said this. So another reporter lets him know that
there's this abandoned military base out's that e Houston And
now it's I don't know, like hundreds of miles out,

(01:11:58):
so it probably it could very well be in the
tech this desert I'll grant the movie this. Maybe I'll
have to talk to Aggie and find out if this
is actually true. But so Caulfield takes it upon himself
to go look for this place, finds the necklace medallion

(01:12:18):
that he used to pry out the bar from the
hinges of the door when they first escaped, so now
he knows it they were there. He's figured this out.
Caulfield's got to have a nice expense budget for a
boss that hates him, because he managed to get his

(01:12:42):
way out to Arizona and check out this scene no problem.
And then he also managed to get out to this
abandoned military base with no problem. Imagine what this guy
could do if his editor liked them. But uh, he
then says, I gotta go find these guys. He finds
a crrupt duster pilot.

Speaker 3 (01:13:05):
Who loved your baby. You know what's so funny about
Telly Savalas playing the playing this character. First Off, he
wasn't eating a lollipop. That's a Kojak reference for those
of you who even know who Kojack is. Second, uh,
Telly Savalas was deathly afraid to fly to the point
where he would drive to most of the places he

(01:13:25):
wanted to go, Like, if he needed to travel, you would,
he would he would run a bus and he would
have somebody drive him. So for him to play a
pilot on a biplane, it's kind of comical. Maybe that's
where the dark comedy comes from.

Speaker 2 (01:13:38):
He's got John Madden disease. So yeah, he basically hires
Telly Savalas, and I mean Sabalis here is just over
the top with it. He just had fun with this role.
He's like, I'm gonna be just as outgoing and boisterous
and not just is possible, just sells it. Lets it loose,

(01:14:02):
let's it rip. So they're flying checking out the landscape
and they find James Brolin, of course they do, and
the two helicopters that have been chasing these guys down
so earlier. O. J. Simpson is collapsed in the sand.

Speaker 3 (01:14:23):
Yeah.

Speaker 2 (01:14:24):
Remember OJ was in this movie. Mm hmm. You'd be
forgiven to forget this because I don't think he has
actually ooken on camera for the first forty five minutes
of this film, hardly at all. I mean there's a
bunch of scenes with all three astronauts and yet yeah,

(01:14:45):
just in there, OJ, You're fine. Juice just you know,
you don't have to say much. We're not gonna ask
too much of you. And okay, just look pretty, I guess,
and don't kill anybody.

Speaker 3 (01:14:58):
Well, Peter Hanes didn't even want O J. Simpson in
this film.

Speaker 2 (01:15:06):
He was forced to take him on.

Speaker 3 (01:15:08):
Now he got de eied into it.

Speaker 2 (01:15:12):
By the what by the studio?

Speaker 3 (01:15:15):
Yeah, so, so Hames was in an interview because OJ's
dead now, right?

Speaker 8 (01:15:21):
Uh?

Speaker 2 (01:15:22):
Yes he is.

Speaker 3 (01:15:22):
Yeah, and they never found the killer he's that's just
so disappointing. In twenty sixteen, he was an ESPN documentary
OJ Made an America, and the director admitted that the
studio made him a mandate to cast O J. Simpson
as Walker. He said, I thought there were other worthy
African American actors who to pay their dues, who had
shown their talent. My first choice was either Robert Hooks

(01:15:45):
or Bernie Casey. I'm not familiar with either one of
those guys. Are you.

Speaker 2 (01:15:51):
No not off him?

Speaker 3 (01:15:52):
Oh my gosh, okay, Robert Hooks. I recognized his face
almost immediately. He was in Star Trek and a couple
of things. And then oh Bernie Casey, man, how did
I not know his name? He's a Bill and Ted's
excellent Adventure. He's the Prince, the principal, or no, he's
a and he's Uh in Revenge of the Nerds as

(01:16:15):
the try try Lambs, the head of the president of
the try Lambs, and I'm gonna get you sucker. Both
both of those guys are a bit fantastic, he said,
So my reaction was less than enthusiastic. I had seen
the Towering Inferno and thought Simpson's acting was not going

(01:16:36):
to frighten Daniel day Lewis, But because it was enormous celebrity,
celebrity stature for someone who's not known to show that
shown the chops to play the part. My goal was
to see if this guy, UH, make this guy work
for what I wanted. When it came time to do
his last scene, He's supposed to be parched and delusional,

(01:16:58):
So rather than acting like somebody who was desperately thirsty,
I put appliances on his face that made it difficult
for him to move and difficult to talk, and it
just made him to sound like he was in desperate trouble.

Speaker 2 (01:17:13):
That's gonna be he said.

Speaker 3 (01:17:15):
He was a charming and terrific guy. He's very positive
and tried very hard. He gets clear that he saw
a future for himself and film.

Speaker 2 (01:17:25):
Yeah, that's like a new form of method acting. You
basically impose it on the performer. So instead of going
out and getting thirsty and hot and sweaty, he just
basically made it impossible for him to talk. So he
sounded that way, got it. But yeah, basically we see
Oj he's like collapsed in the dirt and you see

(01:17:47):
you know, pockmarks and sores on his lips and everything
like the birds. Oh, the vultures are getting me. Birds.
But then his vision clarifies and it's to two helicopters. Oops,
he's picked up. Later we see Sam Waterson having to
climb It's not quite a mountain, but it's a pretty
sizable edifice that he's got a scale. Boy, was this

(01:18:11):
scene long and ponderous. So yeah, he's again, you know,
full of dirt and sweat and everything else, and he's
just rambling on with some monologue about a cat.

Speaker 3 (01:18:24):
And some dude with a cat Like Sam Waterson is
great in a law and order Dum dum dum. He's fantastic.
He always will be. And this is just such an
odd role for him.

Speaker 2 (01:18:36):
Well, he's you know, and we're supposed to buy into
the fact that you know, he's just he's delirious because
of his condition. Is hot sweet water on this cat's
on a roof. Meanwhile, he's climbing the whole time. It's
almost like he's entertaining himself or such. And he gets
to the precipice of this thing and climbs up and says,
the cat made it. And he's like, ah, because the

(01:18:59):
two hell helicopters are sitting right there waiting for him. Sorry,
did you not hear the helicopters at some point?

Speaker 3 (01:19:08):
Yeah, well I never understood this part. First off, you
could have couldn't have walked around the mountain. Why did
you need feel the need to climb it?

Speaker 2 (01:19:18):
Well, apparently it is a very long stretch of mountain side,
I guess.

Speaker 3 (01:19:25):
And second, it looks like these guys have been in
the desert for what three weeks? Think it's just just
the way it is. At one point, Josh Brolin or
James Browan tears his suit apart and puts on a
head bandana like he was karate kid get ready to
go into his final fight with with Oh, I can't

(01:19:45):
remember I can't remember the guy's name, Johnny. He's getting
ready to go fight, Johnny, And that's how he's walking
through the desert. Now, don't cover your head with it, buddy,
just just put it around your forehead to keep this
weat from getting your eyes. And then every time they
shoot off these but every time they shoot the flares off,
these guys can see it immediately. So how far have

(01:20:08):
you actually traveled? If you've only gone several miles in
the same day, how are you that parched and that
thirsty and that dirty and that tired.

Speaker 2 (01:20:20):
Well, Paul, your questions are very offensive to the screenwriter.

Speaker 3 (01:20:23):
I ask good questions. Elliott Gould told me, so, see.

Speaker 2 (01:20:28):
This is your problem, Paul. You're too ambitious.

Speaker 3 (01:20:30):
I am too ambitious. Yeah, that's well, there were there
were There weren't actually two shooters, there were three.

Speaker 2 (01:20:36):
That no one hears me, So yeah, he gives it.
I love that aspect of Hollywood too. You see this
every so often during scenes where people are fighting or
doing something and then all of a sudden, a helicopter
surprisingly rises up above the edge of a building or
something like you didn't hear this coming from miles Uh? Yeah,

(01:20:59):
helicopter ambush. That's a thing. So they get Sam Waterson.
Now it's just man, are they going to get the
Brolin or is Brolin gonna make it?

Speaker 3 (01:21:08):
I don't know. I don't know, Paul is because they
disguise themselves as birds. That's how OJ didn't see him.

Speaker 2 (01:21:15):
Well, I tell you the only way that can be
this top flight conspiracy of high technology NASA intrigue is
a biplane. This is going to foil all their plants.

Speaker 3 (01:21:30):
So they what is he crop dusting? That was my
other question. There's no where are you flying. If you're
so close to civilization that they can plant trees or
fruit or vegetable or plant anything to grow that you
need to crop does it? Well, then they should have

(01:21:54):
found civilization much quicker than they did. If not, why
are you in the middle of the day as you're
crop dusting?

Speaker 2 (01:22:03):
It's yeah, it's again plot convenience, of course, But this
is this is always the thing. It's you know, if
you need an abandoned gas station in the middle of nowhere,
you can have it without asking why in the hell
would there be a gas station out there. Same thing
with this crop dusting? What cactus? Okay? So they fly

(01:22:27):
around and they spot him, but so do the helicopters.
And now they only have time. They can't just land
and bring him on board. They only have time to
sort of slow down on the ground and allow James
Brolind to climb on the wing.

Speaker 3 (01:22:44):
And and don't strap him on, don't add a belt
to him, nothing, Just make him hold on for dear life,
holding on to a thin piece of airline cable that's
cutting into his hand a whole time.

Speaker 2 (01:22:55):
He's a pilot, poll he's a test pilot, he's an astronaut.
He can handle aviation, this.

Speaker 3 (01:23:05):
No problem. So you're telling me he's holding it says
here that a biplane can travel sixty to one hundred
and fifty miles an hour. It's a Steerman. A Steerman
can a stall speed of sixty in a cruising speed
of one hundred, So that's a Steerman. He's flying a Steerman.
So you're telling me that he's holding on with no goggles.

(01:23:27):
After eating only a snake in a cave over the
course of many days and not drinking any water, you're
telling me he has the strength to hold on to
a biplane going that fast.

Speaker 2 (01:23:40):
Yes, okay, I believe him only because I saw it.
But yeah, we have glossed over the snake scene. That's
one rolling when this little cave found rattlesnake, killed it
and used his safety mirror to cut open the stomach
and eat it raw.

Speaker 3 (01:23:58):
Some grouse.

Speaker 2 (01:23:59):
Pretty cool scene when you're eleven years old.

Speaker 3 (01:24:02):
That is pret it is a pretty cool scene. They said,
the the stunt guy, the flunt flying guy, I wan't
find his name here because I want to get it right.
I don't know if you caught this portion of it,
and he said it was it was one of the
most dangerous flying situations or stunt flying he had ever done.

Speaker 2 (01:24:28):
Got too because it's Hollywood, man, But but camera, this
is just the way it is.

Speaker 3 (01:24:36):
But then that that fella that was doing the flying
actually passed away in a crash a few months later. Yeah,
it's kind of sad.

Speaker 2 (01:24:46):
The Capricorn won. Curse.

Speaker 3 (01:24:50):
Well, the.

Speaker 2 (01:24:53):
We do get a chase scene now between two top
flight jet powered NASA helicopters a biplane. Who do you
think is gonna win this one? Obviously the biplane, because
Telly Savalis it is wise, cracking wisdom. Once they're behind him,

(01:25:14):
unleashed his dust puts out his smoke, and this causes
that helicopters to crash. Apparently, apparently they can't fly through smoke,
I guess is the way this blays out?

Speaker 3 (01:25:31):
I get and the well, the reason is because the
helicopters weren't actually firing any bullets. If you look at
and I didn't have to read this to know this,
I could just see it. The rockets or machine guns
or whatever they were on the sides of the on
the skids of the helicopters, they're just light boxes. If

(01:25:53):
you go back and you watch it, you just see
the light blink. It's just blinking on and off multiple times.
I did confirm this looking online. But did you know
that the helicopter slash crop duster sequence was used in
an episode of The Fall Guy and The A Team.
This movie has been reused. It has been reused a

(01:26:15):
lot throughout the years of like through most of the eighties.

Speaker 2 (01:26:20):
Wow. Yeah, they must have licensed their material ut quite frequently.
I wonder if they had a Wilhelm Scream somewhere too,
because that's kind of mandatory to be shared.

Speaker 3 (01:26:30):
And we will talk and we didn't talk about this,
but I don't know if you've caught this, But that
scene where he's passionate out the rations with the canned
water and the cigarettes and they both turned it down.
There's a knife in the kit. Did you've noticed that?
He pulls the knife out, looks at oj and then
gives it to Waterson. Did you gutch that? And it

(01:26:52):
didn't mean anything then? But it means a lot more.

Speaker 2 (01:26:54):
Now, Wow, this is uh, yeah, this is our film,
but we just we're supposed to be at the edge
of our seat at this point. Is he gotta make
it or not? Well, the helicopters crash and now Caulfield

(01:27:18):
has rescued Grubaker, and a memorial service is being held
for the astronauts, two of which are in fact dead.
Now we have to assume. But because this is filled
with live television network coverage of the memorial service, it's

(01:27:43):
considered to be deeply enervating. An heroic moment when we
see James Brolin in his scraggly self slowly jogging up
onto the scene, and it's left to us to assume
that this is this is going to unravel the entire

(01:28:03):
conspiracy and as a result, ground NASA missions for decades
to come and q slow.

Speaker 3 (01:28:11):
Motion at the end of the film, the whole, the whole,
like what last thirty seconds is nothing but slow motion
that get continued to get slower.

Speaker 2 (01:28:24):
It's it just gets more dramatic. The slower you run
is the way that works out. This is, uh, this
is our movie. He made it. It's been exposed and
apparently Illia Gould got his scoop of the century. Except yes,
it's not so much a scoop because of all the

(01:28:45):
live coverage taking place. Every single news outlet has the
story at exactly the same time. So much for your scoop.
But there you have it. There's Capricorn one and this
is available pretty much everywhere, whatever platform you want, they

(01:29:05):
got it. So I'm peacock.

Speaker 3 (01:29:08):
I watched it on Peacock.

Speaker 2 (01:29:10):
Oh did you but you had no commercials?

Speaker 3 (01:29:13):
Then? Yeah, no commercials.

Speaker 2 (01:29:15):
Now it's on all the fast network. I watched it
on Plex, but it's also on TV and Ludo and
a few others you can uh, you can find. I'll
say this, this is still a roundly stupid movie, but
I think entertaining enough.

Speaker 3 (01:29:30):
It's just.

Speaker 2 (01:29:32):
I think they could have crapped about thirty minutes out
of this thing.

Speaker 3 (01:29:35):
I'm tested.

Speaker 2 (01:29:38):
Yeah, now, just there's so many scenes that just play
out for quite a while that really could have been,
you know, a little more succinct. Let's just go with that.
But nonetheless, I still think it's fun. It's got that
little cheesy conspiracy seventies kind of vibe to it, where

(01:29:58):
it's like, oh, yeah, everything was suspicious back then. Of
course they faked Themar's landing.

Speaker 3 (01:30:06):
I would have been suspicious of that lady that was
living in his apartment just for her quarter, worried overall.

Speaker 2 (01:30:16):
You gotta also laugh at just all the various they're
not even cameos, but they're just small rules. Like Karen
Black is in one scene with Elliot Gould and she's
a hot shot reporter along with him, and she asked
one of the first questions at a news conference, and
then we never see her again.

Speaker 3 (01:30:31):
No, no, she shows up after he gets arrested for
them planting that humongous, vile a cocaine and is in
his medicine cabinet. She comes and bails him out.

Speaker 2 (01:30:44):
Forgot about that one, right, true, So they did get
their money out of her. Okay, good Dan, Well, that's
gonna do it for our space mission splash down successfully
with this one. So ball ones, you let everybody know

(01:31:05):
where can they find some more of your content around
the inner tubes?

Speaker 3 (01:31:10):
Running around on zitr and uh. I haven't done much
in ticket. I need to make a TikTok video of something.
I to you go find some sort of unique toilet somewhere,
maybe one at like a space toilet.

Speaker 2 (01:31:25):
Where on earth are you going to find this? And
you definitely have to let us know.

Speaker 3 (01:31:29):
I have a picture of me on a space toilet
in h at space Camp from like twenty fourteen. I
have to see if I can find it.

Speaker 2 (01:31:37):
Hm, now you're on it, were you using it?

Speaker 3 (01:31:43):
We're probably not there because there are other people.

Speaker 2 (01:31:47):
Taking I just wanted to ascertain how much of this
we needed to see, is what I was going for.
But okay, as long as you're still clothed while you
were testing it out, that's cool, all right. Well, as
for myself, you can find me on a regular basis
at townhall dot com. I've got my daily media column there.
I'm also on the front page of Red State pretty

(01:32:07):
regular where I've got a twice weekly podcast there. It's
called Liable Sources, covering the media and all, it's Mayhem
and you can hear more of me on this network.
Next Thursday, I'll be here with Orty Packard because he
and I will guide you through all the important entertainment
information on the Culture Shift. Tuesday evenings. I'm here at
eight and a half with the Everforvestent Aggie Reek and

(01:32:29):
on the Cocktail Lounge bringing all kinds of leisure activities
for you, from drinking to sports, science, art, anything to
take your mind off of the screwed up political and
social networks. And special notice to next day Friday. In fact,
I keep forgetting we're at we got the big klr

(01:32:50):
and drama that we're putting on where the Kaler and
players are going to bring the radio version of Alice
in Wonderland to your ears tomorrow evening. By all means,
check that out. And if you need more of me
than adlest Space, did you do, you head over to
Jit or I'm at Martini Shark. All right, Paul, we
got two weeks in front of us. We got to

(01:33:11):
pick another feature so that we can infect it airwaves
here at kal are N.

Speaker 3 (01:33:16):
I bet you we find something decent or not so much.

Speaker 2 (01:33:20):
Yeah, I can say no, no, that's not what we
do here. It's the opposite.

Speaker 3 (01:33:24):
Let's hope somebody goes to space again because i'd like
to talk about space camp.

Speaker 2 (01:33:29):
Yes a waitless Elizabeth's shoe, I know how you feel
about that. Well, uh, we'll poke around, we'll see what's
coming in theaters or in the news, what's taking place,
and we will find an appropriate feature to tie into
it here. Unliable sources, I'm sorry, or stripped over that
asasters into making Yeah, there you go. I was just

(01:33:53):
like looking at my label for some reason on that screen.

Speaker 3 (01:33:56):
How about that. We'll be a little more professional here.

Speaker 10 (01:34:00):
So the cast of the past to us shore we
were happy the last.

Speaker 3 (01:34:18):
Happen.

Speaker 10 (01:34:20):
Then empty face