Disasters In the Making 07-03-25 John Travolta is Eating Dirt and 'Trading Paint'

Episode Transcript

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Speaker 2 (03:15):
Got to go with the primus in order to kick
things off. How's everybody doing a kaylor end? This is
Thursday night and we are getting ready to kick off
your holiday weekend. This is disasters in the making. How's everyone?
I'm Brad Schlager getting ready to fire up and get
us down the track, but joining me in the co

(03:35):
pilot seat as we get ready for the flag to wave.
Here is from screen rent dot com, Paul Yon, what's
going on? Paul?

Speaker 3 (03:42):
What's up?

Speaker 2 (03:43):
Buddy?

Speaker 3 (03:44):
I am a race car driver.

Speaker 2 (03:46):
Indeed getting ready for a high octane episode and all
those other damn cliches. It's so funny reading any kind
of movie reviews for a film these days. I used
to enjoy doing that, like going over the rotten tomatoes
and just looking at all of the garbage ways mover.

(04:06):
Reviewers have to throw some kind of metaphor of the
film in with their review. This one never got out
of the starting gate. This movie is a red light
the whole way through, on and on and on.

Speaker 3 (04:17):
It so started with pole position and it ended up
dead last.

Speaker 2 (04:22):
This one spins out and goes into the garage because
it's a failure. Okay, we got it, Thank.

Speaker 3 (04:27):
You, they make it. There's been a lot of racing
movies made.

Speaker 2 (04:32):
There's been a share you know. It's uh, you can say,
so not too many good ones. However, the whole reason
we're talking about it, I should probably explain to everyone
listening is on the show, each episode we try to
tie you into something in theaters, something in the news,
and a little bit of a dark cloud. Over this one, Paul,
we managed to strike both unintentionally.

Speaker 3 (04:56):
I know, I think this is this is not the
first time we've done this, by the way, I think
it's happened to us once prior.

Speaker 2 (05:06):
I'm trying to remember now possibly so well. What we're
talking about here is our choice of movie. We were
basing this one on the big smash hit that came
out in theaters last week, F one, starring Brad Pitt
as a driver on the F one racing circuit. So
we decided to do a racing movie. And Paul and

(05:28):
I we like to kick ideas around, try to challenge
each other to come up with the worst possible selection,
and it was a matter of pride for me. He
threw an option at me. I was like, wow, that's
pretty bad. Have you seen this one?

Speaker 3 (05:42):
Pretty bad looks Just so we know, I wanted to
do Lady Driver. I think when that was called Lady Driver,
I had the Van Deems in it, of the Casper Vandeems,
the Klan van Dam and it was his he's playing
and the father to a former the one Lady Driver,

(06:05):
who is his daughter. And in the movie they're also
playing father and daughter. So you know, wow, that was
going on.

Speaker 2 (06:12):
Yeah, it's a double shot of nipotism taking place.

Speaker 3 (06:15):
Oh yeah, of sorts. But then then you had to
hit me back with it. Go ahead, and you hit
it back with something better.

Speaker 2 (06:22):
Oh yeah, I saw that one. I was like, Okay,
that's intriguing. It's like so just in my head, I'm like,
let's see raising movies. Wait a second. I recall not
long ago seeing one and sent that over and then
Paul pretty much is like, oh, holy hell, we got
to what we're talking about here is the Southern stock

(06:44):
car epic called Trading Ping. And if you haven't heard
of it, how dare you? Because stars America's blockbuster superstar himself,
I think anytime you consider red neck dirt track racing,
the first name that's gonna pop in your mind is
John Travolta.

Speaker 3 (07:07):
He's a man of all jack of all trades, this
master of none.

Speaker 2 (07:13):
I'm gonna say miscast. How about that?

Speaker 3 (07:19):
Everybody in this movie except for the sun is miscast.
The son and his wife feel like they are exactly
in the movie they need to be in. Twayne, what
is she doing in this film?

Speaker 2 (07:33):
Nothing? I'm gonna say that.

Speaker 3 (07:36):
She gets to well, John Travolta gets to make out
with her a few times, but for the most part,
she ain't doing nothing but standing around looking falling.

Speaker 2 (07:44):
Yeah, just you know what, honey, the camera's on, just
smile And that was pretty much all she did. Not
a lot of lines, not a lot of action. She's
just kind of set dressing. But it's Shanaiah Twain and
she's a country star, so it kind of works out.
I'll just say this, maybe she's a little too pretty

(08:04):
for the Talladega area. I don't want to be too
offensive here. I'm just kind of you.

Speaker 3 (08:10):
Don't have to try and be offensively. It's easy to
figure out what's happening because if you look at the
people in the stands in the Talladega show during the
racing scenes, it's dirt track racing. This is not This
is not Brad Pitt behind the wheel of a Formula
of a Formula one car going around the circles. This
is a movie. This is the type of race, and
that when it's over with, the guys go back to

(08:31):
being toe drunk drivers. Literally, that's their job during the night,
not their day job. That's their night job they do
when they get off. It's like it might as well
go be Uber Eats or something.

Speaker 2 (08:43):
Yeah, the fans that are probably in the first ten
rows are going to go back to their cars after
the race with clods of dirt all over their clothing.
Just the way it works.

Speaker 3 (08:54):
You know.

Speaker 2 (08:54):
There there is fencing at these things, however, that doesn't
stop the clay from being pitched out by the rear wheels.

Speaker 3 (09:01):
That's not to say there are some some pretty fine
looking NASCAR women standing about all the time, but that's
not what's happening here. They're also the end, like every
race is this weird thing, and this movie that would
have you feel like every race ends as if it's
the end of the stock car era. That's not well.

Speaker 2 (09:21):
I think that might be the sponsors too, shipping in
some girls from the dance club down the street or something.
It's like, hey, what do you doing Thursday night, I
need you for about twenty minutes.

Speaker 3 (09:30):
You know that kind of thing.

Speaker 2 (09:32):
Yeah, we're not talking about the glamour of Nascar, the
flashy vehicles flying around. This is this is dirt track.
This is on a half mild track. This is this
is not pretty. And try to imagine John Travolta in
this environment. Doesn't really work. And we've seen the movie.

(09:55):
We've seen him in this environment, so no, it does
not work. I will say this. I kind of liked
Kevin Dunn. He was the one that played Stumpy. He
kind of seemed to work.

Speaker 3 (10:06):
I like Kevin Dunne. Kevin do was fine. They brought
in what's his butt?

Speaker 2 (10:11):
From its where I like him and Vat he's really funny.

Speaker 3 (10:16):
No, the fella from Northern Exposure played the guy that
nobody liked olthough.

Speaker 2 (10:24):
Uh yeah, he plays the radio guy. He's in for
one scene.

Speaker 3 (10:27):
Basically his name yea, his name is deputy.

Speaker 2 (10:32):
Yeah, he's he's a fixture though. He's been around, He's
been in everything. I mean, he was the general in
War Games. Come on.

Speaker 3 (10:38):
Yeah, but he's only in this movie for that one
scene for the podcaster.

Speaker 2 (10:42):
Mm hmm.

Speaker 3 (10:43):
And it's killing me that I can't remember his name
because he's been around for so long. Barry Corbyn, I
gotta lose my mind. Did you when do you do
any research on this movie? Because there's not much to
be found.

Speaker 2 (10:56):
Yeah, I tried, but no. And this this is the
classic case of mood goes straight to video. And if
you probably noticed at the beginning, how there was like
about a dozen title cards, like they just production company,
productive company, distributor distributors. This is the classic case where

(11:16):
they go and shop this around at a film market.
They sell off the rights ahead of time, pocket like
ten million dollars from the deals. They shoot the movie
for eight and they keep the remaining two million, and
that's their profit. They don't care about anything else after
the fact. That's the way these movies get made. So
all of those title cards that came up once from Britain,

(11:37):
once from France, one's probably Canada, one's probably Australia, and
they get the distribution rights in their country as a result.
So they they pitch it. They come to the movie
market with a poster. John Travolta is going to be
in this, He's he committed, and then they get excited.
They're like, oh, Okay, yeah, well here, here's nine hundred

(11:57):
thousand dollars that we get the rights to your movie.
So they do this and then shoot it on the quick,
shoot it on the cheap, pocket the difference, and there's
your there's your movie making experience. And that's what this means.

Speaker 3 (12:08):
Like the all the whole staff that's involved in this
movie is just odd to me. So was it Karzan
cater I mean, I'm sure it's not the way he
pronounce his name, but it's I'm gonna pronounce it the
way it's spelled. Car Zan Cador is what Iraqi Kurdish
moved from was fled kurtis stand with his family during

(12:28):
the Iraqi War in nineteen ninety and ended up winding
up in Stockholm. He's ever in Sweden and he's directed.
Now he's directing these movies. Before he did this, he
directed three shorts and two movies, so twenty ten, twenty twelve,
and then did nothing until twenty nineteen when Trady Paint
came out and somebody said, hey, let's put John Travolta

(12:48):
and Shanaia Twain in front of this fella from Sweden,
from Iraq via Sweden to do a movie about stock
car racing or dirt car racing in Taladay. Surely that's
gonna go perfectly correct. He'll focus on all the proper
aspects of this movie. And instead they like, there's this

(13:09):
background story about where him and his director of photography
didn't speak English and they're yelling at each other and
eventually had a shoving match and they had to be
separated on the ground because they were rolling around fighting
like which, believe it or not, that's that's the most
redneck car racing thing I think happened.

Speaker 2 (13:28):
I was gonna say, this is not exactly what you'd
expect from so in Iraqi to get in a fight
over a dirt track NASCAR movie. But okay, fits it's
really weird.

Speaker 3 (13:41):
I mean, it's just a whole thing. It's just an
odd it's just an odd conglomeration of people. I think, honestly,
there's a good story in there to tell, if not
a fairly mundane, straightforward kind of story. It's not there's
nothing new happening here. Father son, quibble, break apart, rival,

(14:02):
pulls the sun over to his side. Then the dad
comes back in to show him how it's done in this.
Then the the the rival does something that brings hurts
one of them and brings the other back together. Then
they they get together to try to beat the rival.
At the end of the movie and everything's done. That's it.
That's the movie. There's there's nothing to it, right, There's

(14:23):
no meat and potatoes here. There's maybe some bone broth.

Speaker 2 (14:27):
Yeah, this thing is you know, it could have probably
played as a Hallmark movie and you'd be fine with it.
Otherwise not so much.

Speaker 3 (14:39):
Now, this is an award that did win an award.

Speaker 2 (14:43):
Well, yeah, Travolta did, Yeah.

Speaker 3 (14:45):
Golden Raspberry. I'm honestly surprised he didn't get it for
the what was it called the line or Lineman. Remember
that one we talked about a while a couple.

Speaker 2 (14:54):
Of years ago. Yeah, that Jesus, Yeah that one. That
one defies memory too. Yeah. This this is not Travolta
at its finess. And the odd thing is it's got
a number of stars in it. And then the reason
we were a little downcast at the start of this
is we had chosen this movie a few days ago,
what Monday or so, and then news comes across today

(15:16):
that Michael Madsen has passed away and he's in this
one very odd bit of kismet there.

Speaker 3 (15:25):
I'm telling you, we've done this before. We've had we've
done a movie, and the movie that we picked was
about a guy. One of the actors died that week.
It's happened once before and I just don't remember who
it was.

Speaker 2 (15:40):
The d TM curse as it were, but it's not
really but now. Michael Madson I've always liked. He pretty
much plays the same and everything. He's just this gruff
villain type in pretty much everything. Probably remember him and
Reservoir Dogs. He was the one, oh yeah, miss of
the music when he cut the ear off of one

(16:02):
of the.

Speaker 3 (16:03):
What'd you say? I can't hear you no, mister blond? Yeah.
I like Michael Mattson. He's been in a lot of
stuff that I enjoyed. Did you ever watch Blueberry? It's
a supernatural western movie based off of a French comic book.
Believe it or not. Wow, the first two acts of
the film are amazing. They're so good. The last act

(16:25):
is like, what it's so they changed people in this movie,
like it's it's that it's that big of a change.
It's like, if you ever get a chance to watch it,
that I suggest you at least give it a shot
if you can find it. I don't even know if
it's Yeah, I don't even know if it's a streaming anywhere.
That's how old it is.

Speaker 2 (16:45):
Yeah, he's uh, you know, and he plays the heavy
in here, and he does Okay, he doesn't really have
a he's not given much really, and.

Speaker 3 (16:52):
He's not given much direction. It's like the guy told
him that scene where Cam comes into his office to
sell his boss Mustang, his Boss three or two, and
he's like that whole scene, he's like like walking around
with his back to the camera, like looking away shyly
and playing with things on his desk and then looking
out the window and tapping like what's he doing.

Speaker 2 (17:15):
It really feels like they said, Okay, we need this scene,
so Travolta comes in, he's gonna sell the Mustang and
go like it feels unscripted, and the two of them
just had to kind of okay, we don't like each other,
but you're going to do the city way and he
needs the money, so and yeah, it's a ponderous scene

(17:36):
because there is some kind of plot development going on,
but they don't really seem to know how to get
to it, and again it doesn't feel like their fault.

Speaker 3 (17:45):
And it's not just that it's they stat have established
earlier in the film that these two are rivals only
by pure word, you know, you're just like, oh, he's
a rival. He got these two guys that are bantering
over every race scene like at they're commentators. But we
never see the commentators, Like it never cuts, it never
cuts to you know, anybody. It's just a voice over

(18:08):
the whole time, and so you never get to putting
faces to the you know, the banter doesn't make any sense,
but they're just saying, oh, yeah, he could do something
here and blah blah blah blah blah. And you're like what.
And then the first time we get them together to
be able to see that kind of that kind of
rivalry play out, it doesn't even really go anywhere, just

(18:31):
sort of fizzles.

Speaker 2 (18:33):
Yeah, this is.

Speaker 3 (18:33):
After he got his son hurt.

Speaker 2 (18:37):
It's all a plot by insistence not take it. So
this is this is dirt track racing, Like we said,
half mile track, and we start off on the track
in the middle of a race and Cam is in
the lead. Cam would be Sam's son. Sam is John Travolta.

(18:57):
Cam is the young guy play in the world. Well,
this is Tony Sebastian, who you've never heard of and
never saw in anything since. The only notable film on
his resume is when he played andre Agassi in a
movie that I think was made in Germany called Perfect
Match with him and stepfie Graff. What's about it? Yeah, Yeah,

(19:22):
that's him. He's uh, hasn't gone on to do much yet,
and that was a few years ago. He hasn't worked since,
so that's kind of a dead end career right there.
So he's in the lead though, and Michael Madsen's the
rival car in second place, and he is uh challenging,

(19:43):
but Cam is in the lead. Cam's got this under control.
Cam's got everything going. Michael Madson is Bob Lynsky, the rival,
and he's frustrated until coming around turn three, Cam's engine blows.
He's up against the wall and Lynsky goes in and
coasts for the winrow steering wheel, throw the helmet, high drama,
damn it. And John Travolta's in the pits, frustrated because

(20:06):
his boy who helped didn't do too well and they
don't even have a moment because it's late at night
and John Travolta has to go to work.

Speaker 3 (20:19):
He literally he goes, hey, guys, He's like, hey, guys,
can you help load up? Load up the car? I
gotta go to work. And he just gets in this
truck and leave. And then here's like they're literally they're
literal tow truck drivers.

Speaker 2 (20:30):
Yes, it's like, you've got the truck, go get your boy.

Speaker 3 (20:35):
How are you a tow truck driver? Doing race cars?
Racing dirt cars? And half Shanaia Twain on your arm
like I can't. I can't get by, I cannot get
by that. How old is John Travolta.

Speaker 2 (20:50):
Oh, I'm going to go with sixties here, born in
fifty four, Well they're the seventies.

Speaker 3 (20:57):
Then he's seventy one, and then this movie was made
six years ago, so he was sixty five in this film.
And Shania Twain is what always she's like an eternal
thirty seven.

Speaker 2 (21:08):
Oh yeah, and uh, an eternal nine at the.

Speaker 3 (21:11):
Very least she was born in sixty five.

Speaker 2 (21:16):
There you go, But.

Speaker 3 (21:19):
I don't even understand how it's unrealistic.

Speaker 2 (21:23):
So he's a tow truck driver but unable to get
his tow truck on the truck to get his son's
car off the wall. He has to have other tow
truck drivers do it because he has to go to work.
And then we see him at work where there's a
car accident. Car hit a pole and he's just sitting
in the truck. So you were not in a hurry

(21:46):
go help your boy and then get to work. But
nonetheless he's sitting there waiting in the rain and flashing
back and we see this sad tableau where he and
his wife had a car accident and his wife has died.
We next get the details of this because he's having

(22:07):
a lovely picnic by the lake with Shania Twain.

Speaker 3 (22:12):
And she died in the most final destination way possible.
He's like making He's driving a Mustang Boss three to
Oho two, which is a fantastic car. He's driving it
at reckless speeds and they're making out while he's driving,
and he just happens to turn around and this car
swerves around another car with a giant pipe and it

(22:32):
comes to the smashes to the windshield and we can
only assume went straight through her face. I mean, that's
that's the assumption. Implied by the way, do you know
what the title of this movie was? But you know what?
It was released as Burning Rubber? Do you know why
you can't call it burning rubbler because it's on a
dirt tracking.

Speaker 2 (22:51):
H I think somebody might have tapped someone else on
his shoulder there. It was like, excuse me, he burns.

Speaker 3 (22:58):
Rubber like once in front of her, in front of
the school.

Speaker 2 (23:01):
Oh well, we're gonna get into that one.

Speaker 3 (23:03):
That what was that even about? This whole movie is
just a conglomeration of scenes, like they don't go from
one thing to another where they make sense. And man,
this guy Carson Kreson kara kara maatic, he loves the
melodramatic scenes, does he not? Apparently so, because he loves

(23:24):
a good of melodramatic.

Speaker 2 (23:26):
They shovel it on. And yet at the same time,
we don't know anybody in this movie enough to care
what's going on.

Speaker 3 (23:33):
I mean, you don't get a chance to know them.

Speaker 2 (23:35):
His son is on screen for quite a bit of
this movie, barely speaks. I come to find out he's
got a kid only because John Travolta said you're a
great father. Wait when did that happen? What yeah, I
mean that kind of thing. That's what this movie is like.
So we just have to gotta go with it.

Speaker 3 (23:55):
Is it? It's Toby Sebastian right, Honestly, he was my favorite.
He's my favorite character in the film. They've the ones
they get. This whole thing is supposed to be geared
around John Travolta, but truthfully, the story here is his son.
But they should have focused the whole thing on just

(24:16):
him because he's the one that's being pulled from between
doing the thing that his dad taught him and that
it's been in his family for years and generations and
then doing the thing that he really wants to do,
which is to win. But they don't really ever put
they really would put that win into perspective. He's like, oh,
I'm earning points, but we only ever see one race.

(24:38):
They only show one type of race. We never see
points standings or guys like on TV talking about the
different points. What is there even a dirt track series
where people follow that kind of stuff? And is it
only in Talladega.

Speaker 2 (24:54):
That's the other thing is usually auto racing has a
series where you go from town to town or travel around.
I don't know that you go to the exact same
track every Saturday and race the same guys every time,
because you're gonna get the same damn result for the
most part. Unless there's an accident or something like that.

Speaker 3 (25:11):
Maybe there is. Hey, look, I'm not gonna pretend like
I know a lot about this, but I guess it's
called short track. I just googled it. Twenty twenty five
Teledaga short tack schedule. They've got a bunch of them.
It's they just keep going. Here's eight thousand dollars to
the winner for the Bama Bash. There's twelve thousand dollars
to the next winter the very next day, the Alabama

(25:33):
Gag one hundred. I mean, I guess this is the thing.

Speaker 2 (25:35):
But they have different classes of cars and things like
that too. I mean, it's just way that works out.

Speaker 3 (25:41):
But you know, we should have done. I got a
buddy who races cars. He's been racing cars since he
was him and his dad did it. L Oh my gosh.
I feel so stupid that it asked Robert to come
on to the show and talk to us, because he
runs a podcast about racing and he goes down to
the Gator Nationals and races all the time, and his uh,
I think he's got a Daytona or something, and he
races he's had it since I've known him in high school.

(26:04):
He's been working on it, in the wrenching on it forever. Man,
Can we just put this on pause and restart. You
guys come back a little while and we'll talk about
We'll talk to Robert. That would be awesome. God, I
feel like such an idiot now.

Speaker 2 (26:17):
Didn't prepare, I.

Speaker 3 (26:19):
Didn't even think about it.

Speaker 2 (26:20):
I'm just kind of struck by a few things with
all of this, you know, sad bastard presentation of given
us one. If your wife died in a car accident,
you're still brooding over this. Maybe one of the careers
you don't want to move into is a tow truck
driver collecting car wrecks for real.

Speaker 3 (26:39):
Right right.

Speaker 2 (26:42):
As we see he's in the you know, having his
flashbacks and looking mopilely at his dashboard before the cop
fightings on the window, was like, hey, you want to
get to work here. Finally you do your job. But
then next we see him at the lake having the
picnic with Shanaia Twain. Dude, you're you hit the lottery

(27:03):
as far as recovery goes, Okay, you're doing damn good here.

Speaker 3 (27:07):
But this is like their first date or second date
or something. Right, It's like they haven't been together very
long because she doesn't even understand that he races.

Speaker 2 (27:16):
Right, But then he what's the first thing he does
with Shania Twain? He goes into this long story about
his wife dying. Well, I don't race anymore because my
wife died. It was my fault, and that's why I
don't drive the most dang anymore.

Speaker 3 (27:27):
Just like, dude, no, you didn't hit her with the car,
bro You just somebody's jerked out in front of him
with stopping mid like midst mid street.

Speaker 2 (27:36):
Plus if anything, it was her fault. She's the one
that was leading over trying to kiss him during the drive.

Speaker 3 (27:40):
It's like, come on, you know, yeah, and whatn't she
didn't she die when the when the son was like
little like nine or something. And now he's got a
kid of his own, like it's been twenty years.

Speaker 2 (27:54):
Well we come to learn he's no longer racing because of.

Speaker 3 (27:58):
This, and said he pushed his son into racing. Good job.

Speaker 2 (28:04):
So he's basically the one that it's not pit boss.
What is it crew chief for the kid the kids racing,
so they blow the engine and then they have to
get it going, you know, basically rebuild it, take it
on the track, and all they talk about is we're
never gonna win with this piece of junk, to which

(28:26):
I have to say, hold on, you were just winning
the race. You were half a lab from winning, and
they're saying there's absolutely no way we can win. I'm
sorry what you I was watching it, you were winning,
you were winning. Really just bad timing. But they're about

(28:47):
to give up, and the kids frustrated he can't win
like this, so he basically makes the hard decision, I'm
leaving your dad and I'm gonna go race for Lensky.

Speaker 3 (29:00):
And of course Lynsky is your your classic hot shot, swinging,
swinging pecker kind of fella that owns the only four
dealership in town, but he also happens to race his
own vehicles at the age of sixty seven. Well, I
guess if Michael Madson has died today at sixty seven,

(29:21):
six years ago, been sixty one. So the dude's sixty
one years old, and you're telling me he's still in
the dirt track schedule. Well, I guess that makes sense
because later in the movie they showed that guy retiring
ed or Charlie or whatever. He's ninety five.

Speaker 2 (29:33):
Yeah, still, but you know, Lynsky comes to a kid
at one point. He's like, Hey, if you ever decide
you want to win, you want to come over with
a really fast car. You know you could be the
best driver, but if you don't have the equipment, you're
never going to win. Come over until come race form Lynsky.
It's again, you almost beat your half a lap from

(29:54):
beating Lynsky. But okay, he does this. Now dad's all
pissed off. You can come over to garage, you can
collect your tools. And every single race after this, they're
in the pits trading those forlorn pissed off looks at
each other.

Speaker 3 (30:10):
Well that's not just that. Like the daughter is trying
to talk sense into her husband. Right, So again, the
the wife and the son are the two most interesting
people in this movie, and they're not given enough focus,
so you know they're having the actual conversation. She's like,
your dad is gonna be hurt if you make this decision.
You know he's gonna fire you. He's not just gonna

(30:33):
let you off the team. He's gonna fire you like
she's she's giving him sound advice. Right, it's the best.
It's the best dialogue in the film. And then they
don't do anything with it other than he goes to
quit or goes to quit the team, and his dad goes, wait,
you're fired, like well, like you could have played that better.

Speaker 2 (30:54):
But you don't know why they don't listen to the girl.
You know, he doesn't listen to his wife for a
very sound reason. She's a woman. They don't know anything
about racing.

Speaker 3 (31:03):
Right, yeah, all right, exactly. She dries like she does
that cool that cool truck. Remember that truck she got in,
that old square body forward.

Speaker 2 (31:12):
Oh yeah, the old mine. You should have started up
with a screwdriver f one fifty from nineteen fifty.

Speaker 3 (31:17):
It looked like, m that's a cool truck man. Those
things are expensive now you want to try to buy
one of restore good luck.

Speaker 2 (31:24):
Well, John travolt is all pissed off now, so he
does the only thing you do in Alabama when you're
pissed off, You go to the bar and get drunk.
And that's where he meets his friend Stumpy.

Speaker 3 (31:36):
Stumpy. I did like the story why they call him
Stumpy later, but they should have told that story like
in the first act. Instead they tell the story of
how it becomes to Stumpy. What near the end of
the movie, right pretty much?

Speaker 2 (31:49):
Yeah, but he's you know, and this is Kevin Doney's
sitting next to him, big beard, And this is what
cracks me up the whole time. He talked like, you
know what, but we haven't done in a long time.
We should go fishing. And this is what you could tell.
The script is written by people in Hollywood who've never
been in the South. They keep talking about going to

(32:12):
the fishing hole.

Speaker 3 (32:15):
Nobody, dude, what was that you said in the in
the tweet? You put the tweet out there promoting the show,
and you're like, more was it more old hats? Oh?

Speaker 2 (32:26):
Yeah, it's generic baseball hats. He's only wearing a black hat.
The holes with nothing on it.

Speaker 3 (32:32):
They're all greasy, All of them are greasy, like they
don't they don't take time to change their clothes.

Speaker 2 (32:37):
Or Bathe sometimes he's got one that says Sam on
the front. Well, at least he knows it's his.

Speaker 3 (32:46):
And I don't know why he'd want to wear a
hat with that gorgeous hairline he had the entire time
that you sent me a picture of.

Speaker 2 (32:51):
Yeah, this is a few times where John Travolta's noted
balding pate is on display. You see, his hairline is
literally a line. It's hard. I mean, it's an unmistakable
rug that he's wearing at times. But I just love

(33:11):
the fact that Stumpy keeps saying, we got to go
to the fishing hole, because that's how people in the
South talk. According to those in tinsel Town, nobody's I'm sorry,
nobody goes to a fish holes. Well, you're good in
a lake. We're gonna go to the water bond whatever
fishing hole. Stop reading Mark Twain. It's twenty twenty five already.

(33:37):
But he gets drunk, he gets in a fight sort of,
and again this is where the Shania Twain connection really
falls apart. The next day she comes to his house
and there he is drunk in asleep in a rocking chair.
She thinks, this is adorable.

Speaker 3 (33:57):
Yeah, he looks. He looks homeless.

Speaker 2 (34:02):
He came home drunk, plopped down in the rocking chair
on the porch and fell asleep there and came to
when Shanaia Tuing walks up and finds him like that.
Oh you must have had a fun night. Oh my gosh,
what the hell is going on? How are there no
other men in this area of Alabama but him?

Speaker 3 (34:23):
How is she stuck in this part of Alabama?

Speaker 2 (34:30):
You know, he's got the gray beard going, the bad hairline,
the grease see hats, the flannel shirts passing from the south,
looks like utter hell. And she can't get enough of them.
Oh you're bloody from a fight and hung over. You're
my kind of man. So when the sun leaves. Now,

(34:56):
John Travolta has made a decision after six years, he's
going to get back into racing. He just has this bug.
And Shanaiah now is, during one of her swooning sessions,
decides to go into his garage. She finds his car,
his race car, sitting there. Goes into another section and

(35:19):
this is his trophy room. Holy crap, this guy's got
more hardware than a pep boys, what would you say?
Like one hundred trophies conservatively easy? And it's not like
these aren't the little ones you put on a shelf.
These are like the four to five foot tall ones. Cups,

(35:41):
filigree gold, I mean all over the place. It's like
this guy kept every single trophy from his goat cart
days when he was twelve. It looks like and she's swooning.
And then she turns to the left and sees there's
another car under wraps, and she lifts the corner up,

(36:02):
and then John Travolta comes in. He's like, don't you
dare touch my car, Turn around and leave it. Pretend
you never saw this. And you know, of course she's
Shania Twain. She could look at the headlight and say, oh,
that's a nineteen seventy three H two bus, isn't it?
Stop it?

Speaker 4 (36:22):
No?

Speaker 2 (36:22):
Sorry, no, I know everybody is supposed to be car
centric or something in here, but not Shania Twain. I'm sorry,
but uh, basically, this is the John Travolta comeback story now.

(36:43):
So he's, you know, he's on the track and he
and Stumpy trying to get his car going very and
they keep talking about how his car's garbage, it's not
good enough. You need a better engine in there. And
he goes out and promptly wins the very first race
he's in.

Speaker 3 (37:00):
In the same car, and he's got no crew. He
Stumpies his only crewmember right.

Speaker 2 (37:06):
From what I could see. Yeah, but he's his mechanic.
It's not like he's jumping the wall in the pits
and changing tires or anything for him. So I don't
know if these are just you know, fill it up
and go fifty and you what's it, You're done. But yeah,
he wins races continuously. Now it's like, bang, he won
another one. Oh, he wins another, and now Lensky's getting

(37:28):
pissed off because he's starting to threaten his points title
for the season. I loved this though during the race
because you were talking about the race announcers. This is
a bad idea in a movie when you reference the
storyline in your movie in third party form and talking.

Speaker 3 (37:51):
About they just filmed b roll and then talked.

Speaker 2 (37:54):
Over it all right, But did you hear what he
was saying, because there was like he's out there, instance
son never been anything faster. This is a true Southern
soap opera. You can't write anything better.

Speaker 3 (38:10):
Uh, who did the announcing We're in for a long haul?
Then Lenn Phillips was one of the announcers. I don't
know who that there's.

Speaker 2 (38:23):
This was like voice over after the fact, and they
were running a dr in order to fill in some
plot lines. But when your track announcers are calling this
a Southern soap opera, that's not getting me endearing to
your movie anymore.

Speaker 4 (38:37):
And then.

Speaker 2 (38:39):
You can't write anything better than this storyline. All right,
I give up then, because you just admitted this is
as good as it's getting and it ain't good to
begin with. Okay, we now have permission to check out
of this film.

Speaker 3 (38:55):
The guys.

Speaker 2 (39:00):
So, yeah, he's he's doing super on the track.

Speaker 3 (39:03):
Now.

Speaker 2 (39:03):
I think he won like three races. They showed Lynsky's
getting up and this is the funny thing. So Cam,
remember who was winning the opening race, wanted to get
a faster car. All of these races, the best I've
ever seen him do is third place. So he goes
to Lynsky and moves back in the pack.

Speaker 3 (39:27):
Lensky doesn't want him to win, He just wants him
to knock his dad out.

Speaker 2 (39:31):
Well that's the next plot point. Then Lynsky now is
getting mad that he's not winning. He tells Cam, you
got to spin your father Outkim is hesitant to do so,
and so in the next race they even the track
announcers like, what's going on. We see this car in
the lead now slowing going like thirty on the track,

(39:55):
and basically this is Lynsky's other driver who's now setting
things up. He's spins Cam, whose car sits in the
middle of the track. Sam for the first time all
movie is in like ninth place. He comes barreling in
at high speed and t bones his son and and

(40:16):
they set it at.

Speaker 3 (40:16):
Lensky sets it up after the race. He tries to
get it, get Cam to set up Sam and wouldn't
do it, And he's like, hey, uh, I'll pay you
just to crash them. He's like, yeah, that's what I
live for. What Like, I feel like if he that
dude was a bigger villain than that, then everybody would
already know to watch out for this dude that likes

(40:37):
to put you into the dirt.

Speaker 2 (40:40):
But also, why wouldn't Lensky be doing this himself? He
would here in second place, he's running side by side
for the most part, so just Dale earnhartm Yeah, to
hit the weird quarter panel, spin them boom, first place,
you win.

Speaker 3 (40:56):
But also if you get lapped, if you get lapped
in this you get to qualified. They make a big
deal about it at the end. Remember there's a huge
deal about that. So why would this guy take the
opportunity to be all the way near the back of
the pack. I don't I don't understand that.

Speaker 2 (41:14):
Again, this is Alabama short track racing written by people
in Los Angeles.

Speaker 3 (41:19):
Things with things we could have asked Robert, who just
texted me back, get the get the details. Ridiculous. So
you know, it's a major plot point. This is a
major plot point, right, This is like a tipping point
in the film.

Speaker 2 (41:37):
Sad to say, because this is the major plot point
of the movie.

Speaker 3 (41:41):
But then when he actually get but it's never found out.
It's a severely under underhanded, slimy thing for Mattson's character
to do, and he never suffers consequence for it. The
other guy never suffers consequence for it. It's never investigated

(42:03):
or determined why he slowed down and then got out
of the way, you know, just to let somebody else
hit him.

Speaker 2 (42:09):
In a few moments, I'm gonna undermine this scene even
more because it just gets even dumber. But after Sam
collides with his kid, his son Cam now is in
the hospital and he's now brooding what are we gonna do?
My car shot? His car's destroyed, so he's got a

(42:32):
plan where he needs to get another car. And it's
at this point in time he decides, all right, been
hanging on to that Mustang all these years after my
wife died when she got pole axed. Time to sell it.
So Sam wants to defeat his arch rival. What's the

(42:58):
first thing he does?

Speaker 3 (43:00):
Sell the carters arrival.

Speaker 2 (43:01):
He goes to his arch rival for help because he said.

Speaker 3 (43:05):
He wanted to buy it, and I'm gonna I'm about
to make it even worse for you when you finish
this point.

Speaker 2 (43:12):
But you've got Lynsky now mad because Sam was beating him.
Sam's crashed out. Linskey should be happy about this. Instead,
he's gonna buy the car to help Sam get back
into racing. Why because Sam said, you know, I'm just

(43:36):
gonna that's it. I'm gonna retire as like, oh, I'm
gonna win the championship without beating you. You just spun
the guy out so you could beat him because you
couldn't beat him. But now you want him on the
track so you can beat.

Speaker 3 (43:49):
Him, can you because you can't beat him. Yeah, it's
so weird. And I had to I've literally had to
stop watching the movie, like just turn away because it
was so stupid. When he his son gets into that
wreck and he's walking around on the track picking up dirt,
and there's just the soundtrack in this movie is terrible,
by the way. It's just it's terrible. It's terrible editing,

(44:12):
it's terrible song choices. I don't know if there's a
I don't know if there's a worse song edit than
the final race as he goes to win, when it
just cuts from like the dramatic music to this like upbeat,
poppy pop country.

Speaker 2 (44:26):
Yeah, so odd.

Speaker 3 (44:28):
So they do this and he no, it doesn't fit,
and travultures just just like wandering the track picking up
little hunks of dirt.

Speaker 2 (44:38):
What are you doing?

Speaker 3 (44:39):
Are you sniffing it? What are you doing? I mean,
I can understand if maybe you went out and sat
or just went for a long drive.

Speaker 2 (44:48):
You're a you're a car driver.

Speaker 3 (44:50):
What if you just went for a long drive. I
know there are places in Alabama where you can drive
all day and never take a corner, you know what
I mean? Or what if he went and just got
on the track and ran in circles to try to
get it out of his system. There's just the melodrama. Ah, yes,
it's like why it was like watching two millennials.

Speaker 2 (45:10):
Argue this is a movie insisting this stuff is dramatic
and important without giving us drama or import Yeah, the
entire film is that. Take our word for it.

Speaker 3 (45:22):
This is important.

Speaker 2 (45:25):
This is where he's at. He has to sell it.
He and stumping out go out in the middle of
nowhere to go meet a ninety year old guy who
just is arbitrarily building a car, not racing, just building it.

Speaker 3 (45:39):
He has the parts for it, and the parts in
a box.

Speaker 2 (45:45):
Top of the line carburetor. You're never going to see
a better steering column.

Speaker 3 (45:48):
Than wheels and tires on the LA and the guys,
I've never This is the worst negotiation I've ever seen
in my life. This was negotiated like somebody in Sweden.

Speaker 2 (46:03):
Wasn't even negotiation because John Travolta just goes right to
the top. I got eighty grand, will you take it?
Guy's like, I got more invested in that I need
eighty five.

Speaker 3 (46:15):
I'm like he's I think he's coming back with like
a number number, Like like if Travolter should have started
like a sixty, moved his way up to eighty, and
I started your top number and can't go in to
where Hi. This guy's like, he's like, yeah, I'm gonna
have to get what I got into it. Eighty five.
I thought you could say like one twenty, you know,
like it's like a like, I just can't. I don't.

(46:36):
Maybe I can get a hundred. I don't know, eighty
five thousand, five files more dollars. I'll go take a
loan now for five grand if that's what I need
to get this thing. That give me a number that
makes sense.

Speaker 2 (46:45):
These are two guys who have never seen pawn Stars.

Speaker 3 (46:48):
No, and then Stumpy does the stupidest thing ever, because
it doesn't make any sense for the rest of the movie.
He trades him his restored panhead for the car. Well,
then why did he sell his Boss eight three h two?

Speaker 2 (47:01):
Not a motorcycle, just the engine. That's the part I enjoyed.

Speaker 3 (47:08):
Are you sure what I thought it was a whole motorcycle?

Speaker 2 (47:10):
No, because he said, well, for one, we've never seen
Stumpy on a motorcycle anywhere in the film. Okay, so
we're at five thousand dollars differential. I can't let this
go for less than five. Stumpy turns to his right
and sees a gleaming Hardy. He's like, so you're in
the bike's huh, I got a panhead engine. Not he

(47:34):
didn't say I have a Harley with a panhead that's
been restored from nineteen fifty two. Or he just says
I have a panhead engine. He's like, really, it's a bit.
Is the engine restored? It's like, it's a great engine,
panhead engine. Okay, I just got a motorcycle engine sitting
in my garage, no frame, nothing else for here you
go have the engine. So that makes up the five

(47:57):
grand difference, apparently, and everybody's happy.

Speaker 3 (48:00):
So a panhead, I mean, panheads are worth it by
ten to twelve grand. Here's a one on eBay right now,
nineteen sixty restored panhead for twelve grand. He only needed five.

Speaker 2 (48:13):
Well, it's just the engine, paul seat, and there's no frame,
no tires, no seat, no.

Speaker 3 (48:17):
But I mean, what did he do to I go, okay,
I'll give you seventy grand and this panhead, you know
what I mean? Or I give you seventy five in
this panhead. Is that what he just said, I got
a panhead. The guy goes, all right, deal, they give
him money too. That's what I couldn't figure out.

Speaker 2 (48:34):
Cash in an engine. You got a new race car.
So this is where we're at. And then this is
when we get the scene now where they're hanging outside
the garage, and we get the long ponderous story of
how Stumpy became Stumpy, because he says he owes John Travolta.

(48:58):
That's why he did the motorcycle track froll just like, ah,
you don't know me nothing, nowork clean. So now we
learned they went to the fishing hole one time. Who
was at the fishing hole pole? That's where all those
militraumatic things take places when you're younger, way back in
seventy three. This is how far back we have to

(49:21):
reach for this story. And they were fishing and there
was a gator twelve footer got a hold of Stumpy's leg,
but there was John Travolta that grab his arms and
pull him out of the gater's mouth and save his life.
There's the story of Stumpy. So this is why he

(49:42):
gave up his panhead motorcycle engine for the sake of
it stuck.

Speaker 3 (49:46):
And it's such a long drawn out story. It was fishing.
The gator bit my leg. That's it. He's like, yeah,
So we're over here at the fishing hole and I'm
fishing and I'm reeling it out and pulling it. Ain't
catching nothing.

Speaker 2 (50:02):
Didn't catch nothing that day, no matter what we tried. Well,
you gotta try hot dogs. Well you didn't use any
hot dogs up now, you didn't catch it, he did you. Well,
it's because I didn't have hot dogs.

Speaker 3 (50:11):
Because I didn't use hot dogs. This is this whole
hot dog banter. And he's like, yeah, okay, by the way,
tomorrow's fourth of July. I'm wearing a T shirt that
says I'm here for the winners. I'm just here for
the wieners. I may have to send you a picture
speaking of hot dogs. And so he's like yeah, So
fishing and pull it in and fishing, pull it in.
And then finally I go down to the edge of

(50:32):
the creek and I find I catch something. I got
something on the rod. I can't figure what it is.
It's all hung up. I start to pull it and
I find out exactly why they're none of the fish
are biting. This big old son of a bee come
out here and just bought my legs, started death rolling.
And if it wasn't for the hot dog man behind me,
I probably would be wouldn't be here to tell you

(50:52):
this long drawn out story about a gator dropping off
my leg. And that's how I got the name Stumpy. Anyway,
let's go racing, and like that's how it cuts off.
Let's go racing.

Speaker 2 (51:03):
What doesn't lead in all this did.

Speaker 3 (51:10):
So?

Speaker 2 (51:10):
Basically, The haggling with the motorcycle took about a minute.
The story to justify the haggling with the motorcycle took
five minutes. Didn't need that, sorry, just say no. He
saved my life one time. Gator bit me, pulled me
out of his mouth. I owe you. You're getting a
motorcycle now done? No, we got a burn screen time here. Well,

(51:36):
in order to do this, John Travolta has to sell
the Mustang. He notifies Shania Twain that he's selling the
Mustang and then the next day goes to the elementary
school where Shania Twain teaches and starts doing donuts in
the parking lot.

Speaker 3 (52:00):
Yeah, why he doesn't he doesn't pick her up and
do donuts. He just destroys the property of the school
in front of all the all the kids, including the
The Talladega Dwarf. Is that what we're calling him, is
that that's gonna be his wrestling name, right, the Talladega Dwarf,
That's what I call on him.

Speaker 2 (52:19):
Also shredded about three hundred dollars tires in the process
of doing this. He never announced to her that he
was doing this, by the way, he didn't call her.
He's like, a, I gotta bring the mustang over and
sell it. But uh, I'm gonna come over and see it. No,
he just starts doing it. And one of the kids
is like, there's something going on out died, I go
check it out. No, no, no, Bobby, you sit down now.
Now I'm checking it out. This is Alabama. We don't

(52:41):
listen to teachers. And all the kids go over and
then she goes over and then she sees the Mustang
and there he is doing his donuts, a lot of smoke,
leaving a lot of tire marks in the parking lot.

Speaker 3 (52:53):
Like, dude, you killed your wife in that car. Yeah,
and now you're trying to kill school students like you're
trying to mow down second graders, Like what, I don't
what is the scene even about?

Speaker 4 (53:06):
This?

Speaker 2 (53:06):
Is he does this for like two minutes and then
drives away and that's it.

Speaker 3 (53:13):
Like those the elementary school. You could have just done
that like at Walmart? Did she Did they ever establish
anywhere prior to the scene that she was a school teacher?
Did I miss it?

Speaker 2 (53:25):
I want to say there was like a mention of it.

Speaker 3 (53:28):
I would fail second, third and fourth grade if Shanhaia
Twain was my school teacher about it? Like, you look
like you're eighteen. Why are you being held back? Don't
you worry about me? I'll get there.

Speaker 2 (53:41):
I'm I'm waiting for anatomy to start, so just shut
that's right.

Speaker 3 (53:45):
Yeah, anyway, I'm gonna go paint my teacher's house today.

Speaker 2 (53:51):
I mean, at some point I think they said, you
know this is her, and yes she's a teacher. I
think it was like that kind of a mention.

Speaker 3 (53:56):
But was that kind of a throwaway?

Speaker 2 (53:58):
There was no absolute reason for him to go to
a school and do burnouts in the park a lot
outsider class and then drive away because that is all
he did. It makes as little sense as I just
described I'm selling this car, but before I do it,
gotta go burn out at the elementary school. And then
he goes to the track and does a couple laps

(54:20):
in the car and the track and now it's full
of Georgia clay. And he goes and dumps it off
at the Ford dealership for his arch rival to collect
his eighty grand.

Speaker 3 (54:31):
And like, at no point did he think that guy
was just gonna come back and go Now you've runed
this car, I'll give you twenty seven thousand dollars.

Speaker 2 (54:39):
I mean, he gets out, he flips the keys to
Luke Combs and says, you got to clean it. And
that's about it, just said Luke Combs. Every guy with
a red haired beard, I'm gonna call him that. That's
just the way it is.

Speaker 3 (54:55):
And then it just wanders off like you would you
uber home, no one picking you up? He's like no,
he goes, no, I'll bring the car to you. Well, great,
how are you getting back? No one followed you here.

Speaker 2 (55:09):
Well, now he's got a vehicle, and now his son
is out of the hospital. His son no longer drives
through Lynsky And I was kind of screwed by the
timeline at this point because we the whole build up,
they kept referring to the fact that he was messing

(55:30):
up the points championship for Lynsky, right, like that.

Speaker 3 (55:34):
Thinks this thing takes place over three seasons, because there's
because the beginning of the film is that because it
says final heat of the last race of the season,
like it's got that title card over it.

Speaker 2 (55:47):
Well, that's what I'm saying is after he dumps the Mustang,
gets the car going the new car, and his son
comes back, it said four weeks to the season debut
or something like that. It's like, wait, what.

Speaker 3 (55:59):
I thought he was.

Speaker 2 (56:00):
Supposed to beat Lensky to prevent him from getting the championship.

Speaker 3 (56:03):
How do we know he lost the championship because so
Cam and Sam dropped out when Sam got hurt or
Cam got hurt. Can they called him Sam and Fred
It would have been easier than the Cam and Sam nonsense.

Speaker 2 (56:16):
Well, like Cam dropped out. But then yeah, when he
was selling the Mustang and that's when Sam John Travolta
said I'm retired, I'm not racing anymore. And that's when
Lynsky was like, no, you can't do that, because then
I have to beat you to get the chip, you know,
like the championship won't count because I'm not beating you.

(56:36):
It's basically what he's saying. The next time they drive,
it's the start of a new season. It's like, what
the hell are we doing here?

Speaker 3 (56:43):
I'm what, Yeah, that's that's the way they do it.
And then they started and that was the thing, is
like he was trying to beat Lensky for the season.
But all the final scene is all about one race
to begin, the first race of the year. Big deal.

Speaker 2 (57:00):
But they said it was a race of champions, right.

Speaker 3 (57:04):
Yeah, but the kid had never been a champion.

Speaker 2 (57:06):
The kid was in the hospital for six months, and
Sam isn't the one racing. How the hell are they
in this race? I swear to god, nobody in LA
has ever watched an actual car in their life. It
was just I'm I'm gonna pick up an old hot
rod magazine for nineteen eighty. That should be enough research
I need to do, says here seasons. Okay, it's this

(57:33):
whole thing is just a mess. At this point, what
little drama you have is based on who's beating who.
And at one point in the year and you've just
completely screwed that up.

Speaker 3 (57:46):
And it's not like they got into a fight. Like
he's like he's a bitter rival, and they'd never got
into a fistfight. They never have got as much as
an argument. He's a snake. You can't but you can't
trust him. He won try to steal your mama from me,
why you know, in the hospital or something. He stole
my business from me. He used to tea turn to everybody.

(58:08):
He blackballed me, he put snakes in my boots. I mean,
there was nothing you don't like. I don't even know
why they disliked each other so much. In fact, he
even says that he gives I'm not your enemy, but
y'all I could like it, but why are you enemies?

Speaker 2 (58:25):
It's like their enemies on the track, but respectful. It's
almost like hockey. You know, you beat a guy's brains
out and then after the game you all go out
for beers.

Speaker 3 (58:33):
I guess I don't, but I don't even think they
did it like that. You ever watched Driven with Stallone
and Kip Hemsworth, Kip Purdue? No driven with it where
it's the Formula Formula one racer Uh Young up and
comer and Stallone's the new guys that they want to teach.

(58:54):
I actually liked that movie. You know, he hums, he
has a hummer always in the zone's coming around picking
up quarters of this tire. It's kind of a stupid film,
but it's got a soft spot for it for some reason.
It's better than this movie. It's better than this movie.

Speaker 2 (59:12):
Is better than this movie.

Speaker 3 (59:14):
That's true that that rivalry and that movie made sense
right because they established it. We know why their rivals.
The guy takes his girlfriend or his wife. I think
it's his wife. He takes his wife, and then the
wife goes back to her husband. There's there's some there's
reasons why that rivalry exists. They explained it. They don't

(59:35):
explain this one at all. It's just there, so you
have a hard time following it.

Speaker 2 (59:43):
And we have what is supposedly the final race slash
first reason of this season. Maybe it's like Daytona five
hundred where it's like the Super Bowl racing, but they
start the season with it. Yeah, Oh, I'm gonna go
with that.

Speaker 3 (01:00:03):
I can't. So every time I hear the word Daytona,
I have to sing that. That soundtrack from the video game.
Everybody's heard it at Dave and Busters. When you got
eight machines lined up and you're racing around in the circles,
the race takes place. You know what I'm talking about, right? No?

Speaker 2 (01:00:19):
I don't. Actually I don't think i've heard that.

Speaker 3 (01:00:23):
What. Okay, you just keep doing your.

Speaker 2 (01:00:25):
I'm not a big David Busters guy. I'm not stepping
on your phone.

Speaker 3 (01:00:30):
You're also twenty years older than me.

Speaker 2 (01:00:40):
So the race is taking place, gam is winning, Lensky's
in second once again. Oh my gosh, just like the
start of the movie, we're coming full circle. Oh I
get it. They race in a circle. It all makes sense. Now,
none of this makes any sense. So with two laps remaining,
Cam spins out because a Lensky he's now facing the

(01:01:03):
wrong way, cars stalled. Yellow flag comes out. The cars
are slowly making their way around the track, and we
get told by the track announcers who were telling diehard
race fans something they should know, but it's for the
sake of the audience, and if they lap him, then
his race is over and he can't compete. He has
to get the car started, and he's hitting the buttons

(01:01:26):
and flipping the switches and oh my gosh, is he
gonna get the car started. I can see him coming
around turned force slowly, and then the announcer lets us
know he got the car underway, He's got I got
it started. He's got to catch up. And then he
gets around the entire track.

Speaker 3 (01:01:48):
He says, I've never seen says I've never seen slipstreaming
like this before. Do a dirt track is short, That's
why they call it the short track.

Speaker 2 (01:01:57):
Yeah, But he manages to pass the entire field with
no problem, gets back up in the leads, starts battling
with Lensky, and edges him out for the checkered flag. Finish. One.
Nobody saw that coming. Two I'm calling bull crap. Don't

(01:02:22):
know way this guy passed the entire field two laps. No, No,
give me five. Make it five laps and I'll buy it.
Two laps bull crap because these things race side by
side and it's like you kind of a paint and
he asked to pass it. You gotta make the right
moves at the right point in time and such. He's
just like zipping through this like a trap intersection or something.

Speaker 3 (01:02:46):
People are just getting out of his way. He's just
like from back in Front.

Speaker 2 (01:02:52):
Please, he probably flashing his headlights. Excuse me, like a.

Speaker 3 (01:02:59):
One way hand singles.

Speaker 2 (01:03:02):
So Cam wins the race and wins, and so this
is the resolution of the movie. They're one big happy
family now.

Speaker 3 (01:03:18):
And I don't know if I've seen worst end credits
that is.

Speaker 2 (01:03:22):
It though, I mean literally there there's Sam talking to
Shania Twain. Stop it ain't buying it. Cam and the
wife and the baby and they're eating together.

Speaker 3 (01:03:34):
And it's Abby's it's Abby's first birthday. Abby is the baby.
The baby is not in the movie. The baby's name
is all over the wall. They're eating the baby's cake.
The baby's not in the film. This is the weirdest,

(01:03:55):
I mean, the absolute weirdest end credits scene I've ever seen.
This is this is weirder than schwar the Schwarmer scene
Head Avengers right where it has nothing to do with anything,
and they don't even include the baby. But it's like
they don't they can't the baby from from the Sniper

(01:04:16):
film with with uh Bradley Cooper.

Speaker 2 (01:04:19):
Well, right before the final race too, Cam and the
wife pull up to Sam's garage and he gets out
and goes into the garage to see the brand new
race card and climb inside. Now, Sam pulls up right
next to their truck. A couple moments later, he's like, hey,
what's going on? And then the girl she's like, hold

(01:04:40):
your finger up because the baby is sleeping. He's like, oh, okay, okay,
and he closes the doorway. You just pulled up in
your truck. Okay, I'm sorry. I'm thinking a tow truck
is gonna wake up the baby.

Speaker 3 (01:04:52):
Just me.

Speaker 2 (01:04:52):
But again, we don't see the baby. There's a baby, though.
We keep hearing about the baby. And then he goes
in and then has a tearful. They win the race,
and then they eat. That's the end of the movie.
So the entire for them to sit down and have dinner.

(01:05:18):
I guess that that's really kind of pisses you off
when you invest an hour and a half in a foom.
So what happened at the end? They had meat loaf?

Speaker 3 (01:05:33):
They had meat loaf?

Speaker 2 (01:05:35):
Yeah, but did he win the races? Like, yeah, of
course you want the race or having meat loaf? So
what if he came in second it was Salisbury's steak
or what.

Speaker 3 (01:05:44):
Do you mean?

Speaker 2 (01:05:44):
What's going on? He drops eighty thousand dollars in order
for him to retire and have dinner. I guess this
is okay, and that's treating paint. I'm gonna say between

(01:06:14):
twenty minutes. Maybe now I'm gonna say fifteen. I think
that's about the point that John Travolta gave up even
trying to, you know, for a while there.

Speaker 3 (01:06:26):
And it probably still holds true that the three men
in Hollywood trying to put out the most schlock were
Chrons Travolta, Bruce Willis, and Sam Jackson. Like they were
putting out what five movies a year. Nicholas Cage would
probably be right there, right there with him.

Speaker 2 (01:06:42):
I'd say Nicholas Cage easily wins that one.

Speaker 3 (01:06:45):
That might be the four horsemen of the Apocalypse when
it comes to movies. Unfortunately, Bruce Willis, Bruce Willis is
unable to do him and his his he started going
down and down and down. Travolta kind of he peaked with.

Speaker 2 (01:07:03):
What would be.

Speaker 3 (01:07:06):
Yeah, I guess Paul Fishon was the last one he's
really truly peaked on, and it's been all downhill from there.
I mean, Nick Cage occasionally comes out with something fun.

Speaker 2 (01:07:16):
I'll tell you who's taken Bruce Willis's spot. Mel Gibson.

Speaker 3 (01:07:22):
Is he making a bunch of those kind of films? Now?

Speaker 2 (01:07:24):
Oh yeah, he's he's really big on making the Like
it's the film where he's in it for about fifteen minutes,
but he's prominently on the poster.

Speaker 3 (01:07:35):
He's doing that kind of thing.

Speaker 2 (01:07:37):
Shot for like three million. He shows up on set
for maybe a week or two, does is. Aggie and
I have talked about the one what what was it
called Tropical Depression or something. They shot it in Puerto Rico.
Literally it was like a ten day shoot. The entire
movie takes place like in an apartment complex.

Speaker 3 (01:07:56):
We did that one. You and I did that. We
talked about that one. Yeah, that's where he's like, uh,
he's like a he's like an X con or something.

Speaker 2 (01:08:05):
Right, Yeah, yeah, I forget and then it's either at
the apartment complex or one floor of a hospital.

Speaker 4 (01:08:12):
And that was it.

Speaker 2 (01:08:13):
That was the entirety of the movie.

Speaker 3 (01:08:15):
Is a Panama force of nature. It's fortunate nature.

Speaker 2 (01:08:20):
And that's yeah, that's that's what he's doing these days. Well,
outside of he was what Mad Santa. That was kind
of cool.

Speaker 3 (01:08:28):
Fat Man I kind of like fat Man.

Speaker 2 (01:08:29):
Batman, Sorry, fat Man. Yeah, make a deal with the
Defense Department.

Speaker 3 (01:08:35):
Yeah. If I have to watch two anti Christmas movies,
like the ones that use Santa in in a weird light,
I'll watch Crampis because I think that's a very good
dark comedy. I like Fat Man, and then I like
The Silent Night, Deadly Night? What's it called with David Harbor.

Speaker 2 (01:08:53):
Oh, that one right. I would add to the list though,
The ref with Dennis Leary. It's a good anti holiday film.
That is a good anti holiday film, the ref is.

Speaker 3 (01:09:04):
But it's hilarious Violent Night there, it is, Yes, Violent Night.
I like those movies. That movie is pretty good to me.
I enjoyed that one. But yeah, by the way, I
sent Rick a new clothing song and just for you,
I'm hoping Rick got it.

Speaker 2 (01:09:25):
Well, this is uh ah. We're gonna have to wave
the checker flag on this one because it just ain't
no racing anymore on this one. It's uh I'm gonna
say go ahead and check this one out. It's on.
You can go watch it at Fossome.

Speaker 3 (01:09:41):
You know what. I looked at Fossome stuff. They got
some decent selections. Bro.

Speaker 2 (01:09:46):
Yeah, it's a kind of a weird streaming service. For one,
What the hell with the name. I guess it's films
that are awesome? Is it what they're going for?

Speaker 3 (01:09:57):
I think?

Speaker 2 (01:09:57):
So that's another fast service. You can go check it
out there. I'm gonna say go seasons because it's kind
of it's just funny to see John Travolta playing a
Southern guy. Come on.

Speaker 3 (01:10:09):
Now, look in two weeks, it's going to be the
seventeenth of July and Superman comes out during this time.
We may need to talk about Alec Baldwin's the Shadow.

Speaker 2 (01:10:25):
Why do I feel like we've done that? Maybe maybe not.
Maybe we were something similar to it, But.

Speaker 3 (01:10:30):
I don't think we've done the shadow. We we have.
We have been doing these since twenty nineteen, so it's
a possibility that we did a.

Speaker 2 (01:10:38):
Shadow, but I don't recall it. It feels like it,
but I'll have to double check just to be sure.
I'll watch a scene or two and see if the
jobs or not. But yeah, this is the this is
the anti F one B. There's almost an FU movie.

Speaker 3 (01:10:54):
It's like an F twelve. Oh I see what you
did there?

Speaker 2 (01:10:57):
Ah, yeah, I got it. I'll say go and have something,
put it onto the background. You're not going to miss much.
And that is going to do it for this one.
So Paul and I are gonna have to put our
heads together and the next couple of weeks come up
with another piece of shlock here, and we'll be back
here on Disasters in the Making.