314: Wake Up Dead Man

In this episode, Professor Mouse and the Cosmologist discuss Rian Johnson's "Wake Up Dead Man: A Knives Out Mystery." 

Episode Transcript

Speaker 1 (00:00):
Time. It's like a clown. No, no, this little page
he's bagging boarding batman in the gutter like a maze.
Story tellers me some fellas, we some felons. Isn't amazing.
It's like a Pella bearver sell it because this shit
is so contagious. Mouths on the summer Reason pilot got
the shells while the cycle spinning knowledge on the getty
like a pro beat the babble, be the rabbit. Don't
step to the squad. We get activic and hate. It's
like a sepal of parts. You don't like fish talk?

Speaker 2 (00:20):
Do you hate?

Speaker 1 (00:20):
It's a batal with the cuttle fish killers, tender pools
on the taping Greatest Spider Stars. If you cherish your life,
Bucky barneshit squad spraying legen your pipe. Hey, everybody, welcome
to another edition off Is this just bad? Is this
just bad? The best podcast you never heard of? I'm
your host, Professor mouse Stranger is always by the sea
because milogist, Hello, cet.

Speaker 2 (00:44):
Up, get up dead dead dead dead dead dead man.

Speaker 3 (00:50):
Ben Wan Blanc says, get up.

Speaker 1 (00:54):
Get up, stand up, get up, stand up dead. Ain't
dang stand up to these gators.

Speaker 3 (01:05):
I went down a rabbit hole of music that samples
the Godzilla theme. And because I was at a wrestling
event or something and there's a I guess a Pharaoh
Monk song Munch, thank you Maunch. Wow, that's brutal, and

(01:26):
then glad You're here Manch seemed like it's even in
an Eminem lyric. I don't know I've ever heard Pharaoh
Munch say his own name out loud, but Eminem talks
about them all the time. Anyway, So there's one song
there about Simon says, get the fuck up. It's got
the the backbeat from the spooky Godzilla music.

Speaker 1 (01:50):
Yeah, that was on his first solo release in nineteen
ninety nine on Raucous Records, and it created that indie
label because Tojo apparently was very relegitious and suppressed that record,
which everybody loved. And yes, it never ended up coming

(02:10):
out officially. It just came out on Spotify recently. You
can go in there and it says like released twenty something,
but it was released in the nineties. Amazing record, And yeah,
I guess fuck Tojo for for ruining a potential like

(02:32):
like a massively influential indie indie rap label.

Speaker 3 (02:36):
That's wild. They are going from being Soltigious to Godzilla
in like every mobile game. I guess they get paid
for that.

Speaker 1 (02:46):
Yeah.

Speaker 3 (02:47):
Wild.

Speaker 1 (02:49):
So let's talk about this. The detective from Dubayu was
solving Gata crimes. Wow, I leould say, like Cord, Yes, indeed,
I saw some I saw I saw some some takes
about like this being there's something there's something so ridiculously

(03:15):
arch about this character and the the the the not
the yearly, but the like the the relative frequency with
which this comes out, and the obvious parallels and things
like the pink panther and like all like the Michael
Crichton guys and the Jack Ryans and stuff like that,

(03:35):
where there were there were these takes that were and
and and maybe you agree with these, but for me,
this is like a very specific type of film franchise,
and the takes were like, this is the most this
is like the most in depth personal Daniel Craig performance

(03:57):
that we've seen in a long time. And I'm like, really,
this is like a fucking goofball comedy bullshit detective movie
where he's running around talking like Foghorn Leghorn and like
solving crimes. This is death on the This is Kenneth Brana.
This is the American version of that. It's it's better,
It's definitely better. Ryan Johnson is a better storyteller than

(04:21):
Kenneth Branna. But yeah, I thought these were fun holiday
mysteries that like emulated like an Agatha Christie type thing
where you wouldn't be like, Agatha Christie is the best
novelist in the world, and this is a deeply personal
and validate no It's just like she does the trick

(04:44):
every time, and the trick works in different ways and
it delves into different content areas, but it's not like
it's not like great art.

Speaker 3 (04:56):
So Maul and I were having a conversation about this
a little bit. She made a great point about the
better comparison for these is TV mysteries, especially in like
the British mold of like a Lord Peter Whimsey or
Hercule Poirot or even Colombo a little bit of like
the There. This is obviously a movie on a TV show,
but the setup is one of those like piecemeal. It's

(05:19):
a recurring character in the most like frame narrative sense.
Yeah he's back, but like it's a completely different cast
of characters beyond him. You learn a little bit about him,
but it's not about him. It's not some deep character
portrait exactly, and it is you know, you're he drops

(05:40):
into a world and there's a whole new goofy trick
to deal with, and then you get another one in
like a year or something. It's funny that Andrew Scott's
in this, and of course Ryan Johnson's casting is very
uh self referential, as is all of this. Get people
who have been in mystery shows, get people who you know,

(06:01):
get at least one former Avenger every time. But that
I thought it was a really good point of like
if you're familiar with those the entire basically output of
brit Box or Acorn streaming services, all that sort of
like cozy mystery style recurring detective. That's a I think

(06:25):
the way to approach these. There is no need to
rewatch these, there's no need to like think deeply about
the Ben wa Blanc connected cinematic universe. Like I was
a little off put that we didn't get to hear
from Hugh Grant. Again, I'm sure he was busy, and
that Ben Wah doesn't this feels even less interested in

(06:47):
Ben Wan Blanc in many ways, like the first movie,
I don't think Ryan Johnson intended and we know for
a fact that he didn't intend that to be like
a recurring thing. The fact that he's saddled with this
like Knives Out branding was not intentional. The second one,
we're like, all right, finally give to the people what
they want and we'll learn a little bit more about

(07:09):
Ben wall Blanc. And this one is he's back to
he's your window into the world. It's not really about
him and the trick of him not actually hew he helps,
but like they revolve around him and in spite of
him in many ways. Is Yeah, this is not about

(07:30):
some deep character portrait of a very troubled you know,
you know BBC Sherlock type of thing. He's a goof.
These are goof That's totally fine.

Speaker 1 (07:39):
Yeah, there's supposed to be family. There's supposed to be like,
there's supposed to be like fun family Christmas movies and
the like.

Speaker 2 (07:49):
The The thing about these is that they work best
with and Knives Out was on an armiss in glass Onion,
it was Janelle Monet and then this one it Josh
O'Connor where it's like.

Speaker 1 (08:02):
The Benuan Block is not the lead in any of
the movies. He is an auxiliary because the detective who's
solving the crime should be an auxiliary and the and
that's what makes the Hercule Poirot Kenneth Brana is kind
of tough because he does take center stage. I mean,
he's a fucking he's an actor. He's a Shakespearean actor.
Where it's like every one of these plays there's one

(08:26):
dude in the middle of the thing that's making everything
go and has the most, the most lines by far,
and so he's just in there frenching it up, and
it like really and if you don't like that character,
then you won't like that series. As opposed to Knives Out,
where it's like, I like this one better than the
li like that you can even make that distinction. You

(08:49):
can't do that with the Hercule Poirot wants because it's
like it's just him again, just being just being the
most the most French, the most Peter Seller version of
a French guy and solving a crime in a way
that mostly sucks, and also interfacing too, I think, maybe

(09:11):
too much with like all of the supporting characters in
a way that sucks the air out of the of
the room because the ensemble is is it's too famous
and they take up too much space, as opposed to
this one, where it's like the cast of characters and
the witnesses are like, how long is Kerry Washington in
this movie? You think seven minutes?

Speaker 3 (09:32):
Yeah, probably, And I.

Speaker 1 (09:35):
Think that's ultimately a good thing. So I think we
start here. So the either said on pot or off pot,
who knows, Uh, it's all the same. The challenge that
we had sort of laid out. It was just a
fun game, and let me tell you how I fuck
this game up. So I followed. I followed, I followed

(09:56):
my rules. But I've said my my wife and to
play this game where we do forty five minutes and
we guess the killer based on like what's going on,
And we do that almost exclusively with Jallo's which are
ninety minutes long. So it's like halfway through forty five
minutes into this movie, a fuck all has happened.

Speaker 3 (10:15):
Nobody's dead yet, Yeah, Yeah, this is the anti. What
I love about about the structure is the anti Colombo
where in Colombo guy dies in the first five minutes.
You see it happen, you know who did it, and
then it's about like the tightening news, which is very
unique among detective shows anyway. But then this is you

(10:35):
go like an hour in almost before anyone has died.
You go forty five minutes is right about the time
Van will Block even shows up at all, and you're
just meeting people the whole time. To your point about
it really being Josh O'Connell's movie, So that makes total sense.

(10:55):
So did you try to stop at forty five minutes
and be like, wait a second, I don't have enough information.

Speaker 1 (11:00):
No, So I I did it, and I'm going to
show you this, and uh, you know, God is my witness.
This is what I This is what I wrote. So
at forty five I wrote Glenn Close. At fifty one,
I wrote, they don't figure it out. So here's the

(11:24):
thought process. So spoiler alert, Glenn Close is the bad person.
Here's why Els is the murder. Gun Close is the murder.
She figured it out or like or like. I would
say that I was correct and identifying Glenn Close, But
the thought process that went into me identifying Glenn Close
had nothing to do with the mystery because it had

(11:46):
not enfolded yet but I was holding myself to the
to the to the game. This is why I picked
Glenn Close. It was all movie based, had nothing to
do with the mystery. So the fact that she played
a prominent role in a flash, the fact that seemed
disconnected from the rest of the film, is why I
picked her. That's the only thing I had to go

(12:06):
on at that moment. And I think the movie did
a good job at throwing me. So I was like,
oh man, maybe it's not her. And then like really
kind of drumming up the putting the suspicion on the
Thomas Haden Church character and then like flipping the suspicion
back into the the Jeremy Renner character. And so then

(12:27):
what it does is that it it encourages you to
consider the people who are bad and who are behind
it kind of but Glenn Close kind of falls out
of the movie. And then when she fell out of
the movie, then I was like, it is her, because
there's no way this bitch isn't doing a monologue in
this film. And that is so Again, none of it

(12:49):
was based on like clues or like I'm trying to
figure out the mystery. It was all based on met
textural things casting her role in the flat back or
being Glenn Close and not having a monologue yet, And
then it's like, where do monologue show up in these movies? Oh,
the twenty minute monologue at the end where the person
says everything that happened. So I'm i'm I'm I'm discrediting

(13:14):
myself here. And also I should have said halfway through
the movie write down you think the killer is not
forty five minutes because fuck all happens. It's so weird,
that's awesome.

Speaker 3 (13:26):
So I I'll show you what I wrote in a second.
But Maul does not like this game I offered you
every time. I do not want to play that, but
did exactly what you did. You know, didn't want to
talk about it until the end, but was like, oh yeah,
Glenn Close obviously creepy kid in the flashback. It's got
to be her. So the exact same like mettextual, just

(13:48):
like Spooky wearing black the whole time has the flashback.
So went through the exact same thought process you did,
came the same conclusion you did. I saw Glenn Close
immediate was like that's too easy, question mark, and I
then like turn myself a knot, so my notes are

(14:09):
here and it's got so I stopped. Like right when
the dude dies, the dude Josh Brolin dies, say who
killed Wicks? Jeremer Renner is first to ask what's wrong,
has a handkerchief and moves the knife first, but we
don't know anything else about his skills, so like, I'm
just watching Jeremy Renner as soon as the as Monsieur

(14:32):
Monsignor hits the ground, and he's doing a great job
of like the little fidgety, like he might as well
be Peter Laurie and like and then he's got the handkerchief.
Immediately he's the friend, Like this is this is so
much exactly what you would do if you needed to
get yourself into the crime scene for some reason and
then try to allay suspicion away from yourself, like this

(14:56):
is classic. So it's got to be him. And then
it was like wait, Sam the gardener, Samson, Uh, we
know he do anything for Martha. We know Monsignor Woods
looked stunned when Glenn close her made her confession, So
there's something going on here. He must be involved in

(15:17):
some way to protect her. He's got the technical know
how about the Lazarus Door and then spoilers for obviously
for all of this when the Lazar's door opens before
we understand, uh as you know, when when the door

(15:37):
opens and then Samson is killed, and like, okay, definitely
Samson's involved now, because that's a loose end that's getting
tied up. So I'm like keying off of all of
the details of And yes, in fact, and the other
thing that I wrote here was Martha might have been
Lady m in this scenario. So we were all right

(15:57):
in terms of like picking.

Speaker 1 (15:59):
I would say, I would say, I think you were
more right than picking Glenn Close. I think that you
were picking up on the actual details of the crime
as it happened. So like the idea of solving the
mystery itself, where Glenn Close is orchestrating a bunch of
people who are doing the illegal shit, I think you

(16:21):
are picking up on that. And I am picking up
on an element of the movie that has nothing to
do with the actual crime because Glenn Close is not
in there. She's not administering the tranquilizer. She's not as
she's like she's moving the pieces around the chessboard, so
she has the motive to do it. But like when

(16:42):
it comes to like solving what happened in the movie
to the guy that died, I think that you are
engaged in that activity.

Speaker 3 (16:51):
Thank you. I appreciate that I am interested in I
think the activity you're engagedent is especially relevant to this
movie because this movie and this series of films is
so met textual already and so self referential that like,
that's where I got caught of, Like would they do
that because they're so hyper aware and the answer is yes,

(17:14):
of course they would, Like okay, fair enough, but yes,
the getting the pieces where they fit together. But then
my dumbass watching too much Supernatural is like I saw
the man dead. They did the whole like meat flip
the meat, and then I see him come out of
the door, like sure, that's fine whatever. He must have
killed Samson and didn't catch the They look vaguely similar switched,

(17:39):
you know, switch the bodies. Even though I was picking
up on like Samson has to be involved in like
the mechanics of this in some way. He's got the woodworking,
he's got the tech whatever it is, So yes, we're
all sort of like circling the same brain here.

Speaker 1 (17:59):
The other. The other thing is that a lot of
these movies are I had to look at my bookshelf
to remember the title of it Agatha Christies. And then
there were none. Is broadly speaking, the first film, I
was thinking about strangers on a train.

Speaker 3 (18:20):
Sorry, and I'll just because the the redirect of everybody's
got a reason to kill this guy? Sure that in
the classic like it's not just one and that was
as we start getting introduced to people, I'm like, it's
not just one person. That's too easy, and that's part
of this, like they're all connected, but it's also too

(18:41):
easy for it to be all of them like ganging
up on him. But this like switching crimes and teaming up,
and like that's a very Agatha Christie element, right, like
of the interwoven motives for things. So get continue.

Speaker 1 (18:57):
Yeah, and and then there were none. It is sort
of that that frame narrative. Yeah, everybody goes to a
big house, everybody has a reason to despise the person
who dies. The second movie, Glass Onion, has a very

(19:19):
similar structure and does more remind me of sort of
like a murder on the Orient Express, Like they're all
basically kind of Agatha Christie novels this one, they really
signpost that this is the hollow Man movie and that
this is the movie of how do you solve an

(19:41):
unsolvable crime? And so the reason why at fifty one
I put they don't solve it, which is kind of correct,
they don't ever solve it in a way that like
in a way where the pol least find who's the
who the murderer is type of thing resolution with a

(20:04):
lot of these detective stories is because Ryan Johnson is
also very much part of this like very troublesome kind
of like disruptive filmmaker school of how do you solve
an unsolvable crime? Well, if it's unsolvable, then you can't

(20:25):
solve its, right, right, And so instead of having having
this person have the the brain, like the the logical
deductive capacity of solving something that no one else could
possibly solve, Ben wil Blanc realizes that he actually can't
figure it out with any certitude. He can't he might

(20:47):
have a theory, and and and the movie ends without
like a resolution. And in this movie, the one of
the things that I clocked immediately was this is Catholicism,
m H. And so somebody gonna is gonna confess the crime.
That's definitely what's gonna happen towards the end of the film,

(21:08):
because that's a central part of this sort of religious
uh practice, And so he does he does. It's it's
an interesting way of making the unsolvable crime movie and
then technically never actually having the detective solve the crime,
but letting the audience know what the mystery resolution is.

(21:35):
And so he's he's trafficking in this sort of gray area.
But this is his whole deal, like ever since he
made Brick, is like flipping Noir on its head, ever
since he made Star Wars, being like, let's make something new,
forget about the prequels, forget about all this bullshit, like
let's do new stuff, let's change things. And this is
why people hate him, and this is why he's the

(21:56):
most like hated online person is because he goes in,
he makes a genre movie and then he flips all
of the shit and the expectations in a way that
are like challenging and disruptive in a way that can
lead to like intensive amounts of hate. It happens every
time a Knives Out movie comes out, where people are like, oh,

(22:17):
this is fucking bullshit blah blah blah blah blah, as
there are an equal amount of people who are like, Oh,
this is brilliant blah blah blah blah blah, where I
think it's just kind of entertaining and fine.

Speaker 3 (22:29):
Yeah, I thought it was fine, But I can to
our point a moment ago thinking about how he must
be really chafing under having like backed himself into a franchise.
I read a quick quote from him about like, I'm
gonna do another original thing before I come back to
one of these. I have not really thought about it,

(22:51):
and I don't want to think about it until I'm
closer to being ready to actually make it. And that
makes a lot of sense. But like, I wonder if
he would like do like a self referential Reichenbach falls
kill Ben wile Blanc because he's tired of doing me.
That would be my like the next place to go

(23:13):
for him.

Speaker 1 (23:14):
Yeah. I also wonder why Daniel Craig would want to
be in a another franchise, because my understanding was after
James Bond ended that he wanted to do stuff like
junkie no queer like things like that where he is
not not attached to or it doesn't have the expectation

(23:38):
of being attached to this thing and playing the same guy.
But he seems to like Ben want Blanc as much
or maybe more so, than he likes James Bond and being.

Speaker 3 (23:48):
Yeah, and like to our point, it's not he it's
his franchise in not in name. It's an you know,
the name is kind of irrelevant. He's a recurring character,
but he is all of He's like the damn pier right,
like all of the strengths and none of the weaknesses
of leading a franchise. He can be a character actor
for this and not have to It's not a huge lift.

Speaker 1 (24:13):
Yeah, yeah, the So it's interesting the why do you
think and we can get into some of the social commentary,
why do you think the ensemble is in this film?

(24:36):
There was there was a degree to which I was
like confused about why cast all these people? Like why
is what's the moriarites? Guy's name Andrew Andrew Scott? Andrew Scott?
Why is Andrew Scott in this movie?

Speaker 3 (24:52):
Yeah? This is an interesting I wonder if this is
also self referential of like I'm the expectation is now
to have a star suded ensemble, So I'm going to
do that with a bunch of faces you'd recognize from
other mysteries. Carry Washington is scandal? Carry Washington?

Speaker 1 (25:07):
Is that right?

Speaker 3 (25:08):
Yeah? So I can. And Andre Scott's from like, like
you said, Sherlock. Jeremy Renner in addition to being a
former Marvel guy has like his King's Mayor of Kingstown
or something like this noir gangster thing he's doing. So
they're all involved in that space. You're right. Of the three,

(25:34):
this is the least ensemblely movie. It really is much
more of a character study of like one guy, and
then they are just kind of they might as well
be clue color characters. So I'm guessing that the big
casting is simply this is what's expected from one of
these movies now, and you can get all these people

(25:56):
because like it's not that much. It's not like a
huge time commitment for any of them. Probably like how
long could this have taken to film? So it's to
do it because you can do it. You've got Netflix
money to do it with. But given this feels like
another arch step in Haha, I got you. You were

(26:17):
expecting them to the unscreened war, like I guess, yeah,
you think it is.

Speaker 1 (26:25):
So there was a moment like halfway through the movie
or maybe more than that, where I was I was
just baffled because Andrew Scott is just kind of a
untrustworthy looking dude, and so I'm like, I mean, maybe
they're signaling that in a way, but I have no

(26:46):
I have no suspicion on him. Why would he even
be involved wise he in this movie. Same thing with
Kerry Washington, same thing with the guy who the the
The Bastards or The Hidden Sun.

Speaker 3 (27:02):
Dev Wick Romick playing side Draven. Yeah, I had to
pull up This is one of those movies like I
have on the IMDb cast lists to open right now
because as I'm watching the movie, I'm forgetting their names
as soon as I hear them. There's too many with
the problem.

Speaker 1 (27:17):
But yeah, no, I mean, but it's true because like
they would have made a bigger impression if they had
been really in the movie at all, with the exception
of Jeremy Renner, who who did pop in. And there's
always like some suspicion on the doctor. I had no
idea like what it would be.

Speaker 3 (27:33):
I don't think I even called that he was a
doctor until like two thirds of the way through. I
think they must when they introduced him, like he's a
wife guy, he's now getting radicalized. Like they must have
mentioned that he was a doctor briefly and it just
didn't stick.

Speaker 1 (27:48):
I think somebody calls him doctor nat. I think the
only that's the only little tip. But the so about
halfway through the movie, I'm like, why are these motherfuckers
even in it? And then they cut into a half
assed scene where they're all in it and WIX is
like airing all their dirty laundry out and so it's like, oh,
now they all have a motive. But still after that scene,

(28:10):
I'm like, I don't know, I don't know about this.
This is crazy.

Speaker 3 (28:15):
Yeah, I think this is much more. They are there
as Ryan Johnson's strawman for the social commentary, which is fine,
and he's got some things stuff he wants to say,
and I appreciate it. But I think so it's important
to cast a recognize will face in one of those,

(28:36):
but it's closer to like a Saturday Night Live skit
at that point, right, you bring your guest actor on
to do an extended five minute bit that could be
two minutes about Kim trails or something I don't know
about pennies going out of circulation, and you pay attention
because it's the face you recognize and they've got the

(28:58):
in this case the baggage or the addition gravitas of
mystery accolades. But yeah, I mean that the Andrews. I
bet Andrew Scott had a lot of fun with that character,
and like he was signed on that for a heart
in a heartbeat to do his his shtick, and that
was a lot of fun to watch. And it's a
fun character to have exist and he's just like goofing

(29:18):
the whole time. It didn't specifically have to be Andrew Scott,
but I like Andrew Scott and I'm happy to see
him being just about anything. So, uh, that's where I'm assuming,
is that you pin the big face because you've got
a social commentary thing you want to say, it helps
people pay attention to that social commentary.

Speaker 1 (29:36):
Yeah. Yeah, And so the social commentary is I mean,
it's it's tough. I mean, there are a lot of
people who are are upset about it. I think that
what Ryan Johnson has done, I mean he went through
the wringer with this with Star Wars fans in the
Last Jedi and has just fully leaned into it, and

(30:03):
like Kripkey has I think recognized that. I think he
said something about like subtlety is lost on Maga and
is just very directly criticizing a lot of people who
might watch this film and doing so in a way

(30:24):
that is also representing that kind of what you're talking about,
the resentful, the resentful way that he has like found
himself in another franchise and is just like, well, if
I'm going to be here, then let me, let me,
let me put out a message that that I would
be proud to stand behind as I am another popcorn movie,

(30:49):
but this time at home streaming type of guy who
five million people are going to stream this on Christmas
and probably half of them are going to have a
horant politics and and several of them are going to
be surrounded by their like liberal relatives who can kind
of smirk as as their old ass uncle is being

(31:13):
read by this film.

Speaker 3 (31:15):
Yeah, yeah, And I'm coming to it from such a
such a skewed place of being, like this feels kind
of broad and like we're gonna make fun of guys
who wear tactical vests now, Like I guess like the
fact that everybody's not just the one offline about John
Goodman and Big Lebowski and having all those guys in

(31:36):
actual Big Lebowski cosplayer John Goodman cosplay rather than like,
you know, that's like where he's fully leaning into no
subtlety as broad as possible or being hyper literal with this.
But to your point, like that's I was wondering. I'll
talk about the religious aspects in a minute, but thinking

(31:58):
of because I was thinking about Frank Sign and thinking
about like, this is a movie you've got on while
you're halfway through dinner or something, or you know, sitting
around opening gifts in this like watching it on Christmas scenario.
So trumpeting it quit loudly and repeatedly in the most
uncertain terms possible for folks who are like half paying

(32:22):
attention might be of value.

Speaker 1 (32:26):
Yeah, yeah, And so some of the social commentary is
there's the the side Raven character is is an aspirant
politician who is running cynically to appeal to dumb people.

(32:48):
He's by Rachel He's like black presenting, and he has
this whole monologue where he's like and I hit everything,
I hit the hit the trans thing, I hit the
bathroom thing, I hit the abortion thing, hit the blah
blah blah thing, and is communicating to people that like

(33:08):
there are like sofice there are Charlatan's. There are several
people who are engaged in this process of like gaining
political power and fame by espousing things that they don't
give a shit about and by doing so in a
way that is like Craven and who are also like

(33:31):
attending church as a way of having some kind of
reputational authority with like heartland people. And you know, it's
it's it's it's like a deeply the tone whenever it
comes to these like very over political critiques that Ryan

(33:52):
Johnson is communicating, it is like a very cynical tone
where it is like aggressively anti those people, and it's
a very it's a very bold approach to take. It's
it's almost like he's daring Netflix to be like this
fucking cancel me, Like don't just be like we're not

(34:13):
making movies with you anymore because you're alienating half the
people who watch them, Like please just do it. Mm hmm.

Speaker 3 (34:19):
Yeah, that's an interesting point because you're either it's important
like this is broadly broad enough appeal that folks who
will be offended like by this will watch it as
opposed to like preaching to the choir of liberals who

(34:41):
can pat themselves on the back for like, oh, yes,
this is what I believe also, but it's not going
to totally upend make me feel completely uncomfy about religion.
Like we'll have this sort of like reasoned sort of
you know, debate where nothing gets solved one way or
the other, but the rest of it and like, very specifically,

(35:06):
you got this whole montage of Brolin's character shouting at
a gay couple and folks in masks, and you know,
various other targeted groups that side. Draven is specifically talking
about having sesynically targeted for his own political career. So

(35:30):
it's good. I'm glad that that's all out there.

Speaker 1 (35:34):
I think the good the religious critique is is probably
too subtle, because there is a way that there is
a way I think that my dad is going to
really appreciate this film because Josh O'Connor plays like a

(35:58):
very damaged broken man who's navigating his trauma, who has
found a is found a sanctuary in Christianity and in
his faith, and that I think is when people find

(36:24):
it later in life, there seems to be a more
sort of genuine authenticity because it's something that wasn't indoctrinated.
It's something that you.

Speaker 3 (36:36):
Need and to themselves actively.

Speaker 1 (36:40):
Yes, as an adult, you have to choose it for
yourself actively after encountering the world and after reading the
text and after accepting like the word of Jesus Christ
or whatever, like the compassion the taking care of people,
the way that for giveness operates ass is like this

(37:02):
ultimate sort of unquestioned compassion. And there is something where
or likes like my dad who's truggled with his faith
a lot and has has taken us to a lot
of church churches and we've encountered a lot of wixes
where that ultimately is the thing that like gets you
to sort of leave or take a hiatus and and

(37:26):
and my dad's been through like this five or six times.
But would so identify with the Josh O'Connor character because
it's like it's it's about he says one line where
he's he's wicks is past and they're they're trying to
re re re retool something and O'Connor goes like, oh,

(37:49):
he would never talk about Jesus Christ, like he would
never center that as the basis of his sermon. He
would always center himself. He would always speak from the eye.
He would never take the lesson or like or be
the vessel that's like transmitting the gospel of Jesus of

(38:11):
this like ultimate compassion. And that is always what brings
my dad back into church is that I can't get
away from being in a space in which there are
people who are espousing or at least saying that this

(38:32):
is that they follow the word. They follow the word
of this of this man, this man who is who
is like deeply compassionate and deeply and and and was
killed and was murdered for these feelings by these like
tyrannical romans. And I think that that's that's not prominent enough.

(38:53):
I feel like people will watch this, and I think
there's a possibility they where like wis fucking rules, he's funny,
he's like jacking off and he's talking about it, and like,
you know, fuck those people in the church, they should leave,
and like that kind of church going. If you've been
to a lot of different churches, it's like that's what

(39:16):
a lot of evangelicals want. They want the they want
the guy to sit up there and stand in judgment
because they think that God is speaking through him and
being like gay people get the fuck out of here.

Speaker 3 (39:27):
Yeah, and got nonsense, fair for sure.

Speaker 1 (39:30):
Yeah, no, yeah. And so it's like this weird thing
of like you're so you're so clear about the message
of the the like the anti conservative politics or like
the anti trump ism of this film, but you're so
much more subtle and giving giving the audience an out

(39:52):
to really identify with these these other characters in way
that I think is I think it's good from a
film perspective, but it's just it's just a bizarre balance
of tones.

Speaker 3 (40:06):
Agreed. So I'm thinking about this from please for the
other side of I'm in the middle of reading Richard
Dawkin's God Delusion just like this is where, which I
think is an interesting counterbalance. And the introduction to that
has a fantastic line about how there ought not be

(40:26):
any such thing as a Christian child or a Muslim child.
If you need to, you say they are the child
of Christian parents or Muslim parents or whatever. But like
that speaks exactly what to what you were talking about
of kids don't have agency or a choice and they

(40:48):
and so coming to belief as an adult, like it's
a very different thing because you have to like theoretic
you what I mean, I think about it, and rather
than being indoctrinated and having the patriarchal, you know, heavy

(41:08):
sort of abusive father figure that is endemic to Abrahamic religion,
like beaten beating you the stick the whole time. So
those differences are really important. And you get a little
bit of that in belmont Blanc's monologue about his mom's
religious it's complicated. He's got a whole bunch of really

(41:33):
clear sort of anti religious feelings that and it's and
it is subtle, like we don't get detail about that.
What we get is the kind of monologue someone would have.
And I've heard it many times and I've said pieces
of it, versions of it myself, of the like coming

(41:54):
out of and away from a even tangentially religious upbreaking
not having had a choice and looking at it from
the outside, and it's like uncomfortability walking into a church,
like there's nothing I'd rather not do that listen to
a servant. But I was interested in like it's kind
of vague, like he's he speaks in broad terms about

(42:16):
misogyny and homophobia, never references specifically himself. Again, we don't
see you, grant, we don't see the fact that that
he's a gay man, which felt oddly toned down. I
mean this it's it's not the point of the movie
because he's not the point of the movie, right, But
it does speak to this, like and there's the goofy

(42:38):
and the light fades and then it comes back, and
I have no idea where the sun is in the
background of this world that like comes and goes as
it needs to for dramatic effect, which is it's fun.
But yes, the the soft pedal of very clear anti dogmatic,

(42:58):
anti fascist, that kind of organized religion with the wicks
of the world are extremely dangerous. They're cynical. That kind
of community hurts people, radicalizes people, while also casting like
it reminds me of copaganda shows. Honestly, in order to

(43:20):
have like watching the freaking Daredevil show born again of
we're going to invent an additional even more evil cops
so that we can have the good cops in opposition
to them. And I like Josh O'Connor's character a lot,
and I do respect his journey of he's trying to

(43:41):
figure out a way to give back and like process
his his trauma. I wonder about ways of doing that
that do not involve the church. And so at the
end of this movie, the like the fact that we're
in the position of Jeffrey Wright being like we're putting

(44:04):
the truth out there like real, like this is the
this is the position we're in. And it's funny, you know,
it's a recontextualization. It's like tipping things on its head.
But like this version of the church are the good
guys now, while we've also gone through and explained that
like the institution itself is so ripe for and deeply

(44:29):
it wedded to taking advantage of people. It feels it
feels strange to me to try to hold those two
ideas in your head simultaneously, which is kind of like
how faith works.

Speaker 1 (44:43):
I guess, yeah, yeah. There's also this sort of like
there's also this idea that and this is like a
hostile idea, especially for people who have been marginalized by
the church. But there's this idea that there there are

(45:04):
certain types of sex and ways of being religious.

Speaker 3 (45:13):
That aren't toxic s c tes.

Speaker 1 (45:18):
Yes, okay, yes, like Unitarians, Quakers, like certain Methodists, certain
Baptists that are able to apply a very generous worldview
to people that sort of brings them together, and that

(45:39):
and that, and that forsakes judgment because like we can't
judge anybody on this earth because the only person that
can do that is God. And it is this like
very kind of like inclusive type of theology and a

(46:01):
lot and those people are like not liked within the
broader tapestry of religion. Lutherans are also kind of like this,
you know. And then you have the fucking Evangelicals, and
you have the Catholics, and you have the Christian ethno
nationalists who like have have have have sprung up, and
it seems like Ryan Johnson is trying to sort of
mediate meditate on that. But there is a way that

(46:26):
any type of religious figure will ultimately cause or or
will immediately cause this like adverse reaction from certain people,
even O'Connor's character, and it's not explicit enough. I don't
think it's not explicit enough because O'Connor is like he's

(46:47):
low status, he's not able to really boss up on
anybody at the church. There's that moment with him and
Glenn close towards the end where they are, you know,
they're both these sort of low status people, a woman
in the church and then this sort of younger person
who has all this baggage who is trying to like

(47:08):
do it the quote unquote right way and is trying
to like supplant wics and stuff like this. And I
think in the context of the movie and the context
of the message, I think Ryan Johnson is trying to
do that in a way that's like more general than
the church of like young people supplanting old people who
are dogmatic and need to just fucking die already or

(47:31):
quit or retire because they keep just like they keep
redoubling the trauma that women face. On one hand, and then
also young people who aren't able to ascend to those
positions and spread a more compassionate type of love that
those people aren't able to ascend to those roles, I
think making them religious, making them Christian. It's impossible to

(48:00):
get away from that, the iconography of that. And I
think that people who aren't deep in the church, particularly
because the church is hostile towards them, like they're not
attuned to any of these types of debates or anything
like that. And so at the end of it, Yeah,
so at the end of it, you're like, oh wait,
so it's just like, yeah, Jeffrey Wright and Josh O'Connor

(48:21):
like good Christians like and the fuck that there are
no good Christians like they've only ever they've only ever been.
You're portrayed in the mainstream as people who don't want
me to exist.

Speaker 3 (48:34):
Yeah, I think that's an interesting point. So two thoughts this.
I've got a church fair near my house and it's
got big rainbow you are so loved, come as you are,
you know, big community outreach. Got a theater space in
there too, for like local artists. Does you know community

(48:58):
outreach for like showers folks on the weekends, Like they're
doing a lot of really important, valuable, uh practical community service.
Does that have to be religious? No, it doesn't, Like
but that really and so like the religion is a

(49:23):
motivator for some people to do those things. And your
point about like don't judge, but there is a different
judgment coming, Like that's why we're not judging, Like there's
always that like the other ship dropping versus don't judge
because like just don't be a big a guest, and
you know, the sort of worldly mediation. It's tough, it's

(49:43):
tough to do. And I think that Johnson, because he
wants to make this point about you know, Christo fascism
and the that hyper religious co opting of messages to
hurt and hate people in American conservatism, then he's stuck

(50:06):
with like Nai, He's gonna set his story there. He
wants to talk about that stuff. What's hiss in well,
what about the other guy? But now you've you've locked
yourself in a box where there's no way out except
to then have these kind of like wishy washy relativism.

(50:27):
The other thing you're talking about is trying to be
more general. This is a Lord of the Rings story.
Like it's sure eaves apple, but like the temptation and
the jewel and like very much everybody gets their own
like cast it into the fire moment. And that I

(50:49):
thought was interesting because it although they talk a lot
about the apple and use temptation, the fact that it's
specifically wealth and power as opposed to like sexual freedom
and independent thought cast it to me as a very
like greed and it's a piece of of it's a

(51:11):
fancy brand piece of jewelry. I thought that's got to
be intentional that like we're going a little bit broader,
and there's shots that feel very fro to over the ring.

Speaker 1 (51:23):
Yeah, yeah, and and like the yeah, and it just
doubles down on on the religious critique he's making because
the entire movie there hasn't been there hasn't been a
crucifixion represented in the church space. And then O'Connor, who
is a woodworker his character is, then creates finally a

(51:48):
crucifix and puts it up in the church. And then
the jewel is held in Christ's heart and that's supposed
to be like the tempt of greed and money is
not something that he's going to give into, right, it's
going to be uh, it's going to be protected in
this figure and that that's the thing that's going to

(52:10):
govern the way that people think here. And to your
point about like this is what I always think too,
is because that so many churches around me where this
is where localized like food pantries and access for like
clothing drives, like all this stuff is localized, and it

(52:31):
for those folks that is necessary they're doing they're doing
Christ's work on earth like through him, and so their
their teachings and their value or the values that they
spouse come from those teachings, and so it is necessarily
connected to it, which is like kind of a damn shame.

(52:53):
But it's that thing of like it's that it's a
weird thing too, because there's so many people who I know,
we're working with these organizations who are like fucking straight
up lefty atheists. It's that it's it gives the it
reveals the lie that this is what a lot of

(53:14):
like Judeo Christian people from Judeo Christian sort of backgrounds
will say, It's like, you can't have values that are
divorced from Christianity, Like you can't have uh, you can't
have a set of values that are rooted in anything
that are rooted in compassion and loving that neighbor blah
blah blah blah blah without like a Christian upbring. It's
like then you go to these churches and it's like

(53:36):
there are straight up just like Marxist feminist atheists who
are working hand in hand with people and they come
to the same place and they and they're they're they're
rooted in this sort of like same type of desire
to be sort of like selfless and and and to provide.

(53:58):
And some call it, uh, you know, taking care of
God's children, and others call it mutual aid. But it's
like the same fucking shit. And the people who call
it mutual aid and who are atheists, they aren't governed
by this fucking book. They don't need this book. Yeah,
So it's it's it is so strange to be in

(54:19):
those areas because I go into a lot of churches,
the denominations that I do not belong in. I was
raised Christian as hell and would not like it self
identify as one. But like it is this, Yeah, it's
this like bizarre thing where it's like I don't need
to be I don't need to be that hostile to uh,

(54:43):
this type of whatever doctrine. It is as long as
we're all doing so, as long as we're on the
same page, we're doing this shit because it's like the
right thing to do.

Speaker 3 (54:52):
Yeah, And that's a really great point about like part
of what's so important about lefty organizing is like working
with the people in community where they're at like you
cannot make these sort of like super litmus tests, you know,
shutting people out, and at the same time, like, man,
now you got a bunch of people who might not

(55:13):
be who are probably uncomfortable in a church setting, but
they can't get those resources anywhere else, and you get
the same Like it's extra steps on both sides of
like read a different book, but also how many different
Marxist books are you going to have to read to
get to the same place to like deprogram yourself from capitalism?

(55:38):
But also just reading the one book often doesn't work
depending on you know who's reading it to you and
you know which version of the big b book it is.
So you're getting to that place based on your life experience,
sometimes in spite of the books that you are sticking by.

(56:03):
So yeah, it's it's tricky. I think it is a
whole bunch of extra steps. I having, you know, done
a bunch of these religious studies courses. Yeah, that version
of the compassionate community leader who gets made an example

(56:23):
of by the local government in the attempt to squash
his movement. That's I could be talking about almost anybody.
That's that's tail us all the time. But this movie
doesn't want It's got a bunch of other things that's
doing that is too complicated of a conversation I think

(56:47):
for what Ryan Johnson is is playing with or interested
in playing with. So it leaves it, it leaves me
feeling a little bit weirded out, and and it's hitting
on a bunch of other on a bunch of other points.

Speaker 1 (57:03):
In the meantime, he's also trolling everybody. Yeah, because like
you absolutely you dropped this movie on Christmas, and the like,
the one thing that you know a lot of people
sort of abide by during Christmas time is like when
you're with the family, you don't talk about politics or religion.
And he's like, here's this religious political movie. Well everybody's

(57:27):
gonna watch.

Speaker 3 (57:28):
Absolutely that was the first knives out. Like here's the
Thanksgiving feel good family fun movie. Do you just love
getting together with your family with Thanksgiving?

Speaker 1 (57:39):
Fair enough, So let's go through do the classic segment,
the round Tomatoes review, which we haven't done actually in
a long time. So this movie uh ninety around Tomatoes
critics score, ninety four percent, audience score. I wonder how

(58:00):
many I haven't looked at any of these because if
I were to give this a score, I would give
it a three out of five, which would make it fresh,
but I would not be effusive. I wonder if that's
just everybody. It's just like, it's just like fine movie. Yeah.

Speaker 3 (58:15):
We walked out of it being like, yeah, this is fine.
I think it's my least favorite of the three. To
your point earlier about like you can make those distinctions
because they are so different, but it was fine.

Speaker 1 (58:29):
Yeah.

Speaker 3 (58:30):
So yeah, let's see what people have to say.

Speaker 1 (58:32):
Totally fine, All right, let's see. Let's let's see what
the New Yorker says. New Yorkers typically kind of shitty
about everything. Uh, justin t Chang, the New Yorker says,
Johnson is saved, so to speak. God damn it, ah,
I hate fucking film critics. Johnson is saved, so to speak,

(58:57):
by his refusal of condescension. He's fastidiously committed to taking
seriously the things that many others don't, whether they be
mysteries as a genre or mysteries of faith.

Speaker 3 (59:09):
Is he taking mysteries seriously? Or is this whole movie
about like how goofy and overwrought mystery contrivances are Yeah?
Wait yeah, he's taking the Mystery of Faith way more
seriously because the movie has a whole bunch of scenes
of people like shouting at Ben wa Blanc while he's
vamping and wasting time about like why are you wasting time?

Speaker 1 (59:32):
Bro? Yeah, I have no idea the like, the idea
that he's taking anything seriously is crazy to me. There
there is a detachedness that he's exhibiting throughout this entire
fucking movie. And yeah, there's a way. I don't think

(59:58):
he's actively hostile to the audience, because that's like there's
a very specific type of movie like that. But he's
definitely kind of like not giving a shit or having
the audience in mind as he's crafting this film. I
think this is like a very individual type of exercise.

Speaker 3 (01:00:24):
I agree with that it would be a half hour
shorter if he had the audience in mind.

Speaker 1 (01:00:28):
For sure. Peter Rayner from the Christian Science Monitor, so
let's see, Okay, Yeah, the real miracle here is that
none of this heavy lifting does much to bog down
the proceedings. There are lapses and laws in the storytelling,
but to put it bluntly, you can be a bloc
or a jud and still enjoy this movie. Huh. So

(01:00:52):
he's saying that it's kind of splitting the difference between
somebody who is like, not really or somebody who actively
hate church and who asks someone who actively loves it. Yeah.

Speaker 3 (01:01:04):
I think that's correct. I think that is why we
were both what we just spent the last bit talking
about being a little bit uncomfortable with is he is
attempting to split that difference, and the Christian Science Monitor
is satisfied with that.

Speaker 1 (01:01:20):
Okay, all right, so I'll read a negative review and
then then you know, then you know where we're going. Uh.
Pal Smith for the Wall Street Journal says the story
begs for an elegant solution. The one presented is about
as elegant as a demolition derby conducted at a landfill
that he was definitely up against the up against the deadline.

(01:01:42):
He was like, Oh, what's not elegant? Smashing cars? Where
where's not elegant? A place with trash? Sure?

Speaker 3 (01:01:53):
Okay? And that's the thing like it. This is what
is bizarre to me about this film is Ryan Johnson
is like building this intricately crafted puzzle. Specifically has a
scene of Ben la Blanc and jud crushing the intricately
crafted puzzle, like physically smashing it and then has people

(01:02:14):
talking about like why isn't there an elegant solution or
just give me the answer? So that feels totally intentional
to be inelegant, to like be a send up of these.

Speaker 1 (01:02:28):
Yeah. Yeah, I mean I thought that the resolution was
kind of satisfying, Like even though I wasn't surprised at
who it was, I was like, I mean, that's a
cool thing that they did with the acid and the
fucking the drug that made to make you seem dead
and the drug.

Speaker 3 (01:02:46):
Yeah, is it the drop the Tom Hardy movie where
they've got a bunch of acid involved too. I wonder
if that holds up to rewatching and what his accent even?
Isn't that but like, that's I like to ask it
as a narrative device. I think it's underutilized. That was
good And to take that and counterpoint it with the

(01:03:11):
classic that is the Romeo and Juliet make you Seem
Dead drug, Yeah, nice little hallmarks of the genre.

Speaker 1 (01:03:20):
And then finally Peter Travers Wake Up dead Man Murder
behind Stained Glass Windows leads Daniel Craig in a cast
of All Star sinners to find the fiendish fun and
a crime story about the wicked wages of sin. I'm
going to read a couple of excerpts from those because
I love Traverse three and a half out of four stars.
He starts off a hell fire and brimstone priest who

(01:03:42):
confesses to marathons of masturbations, a lie, and has a
hunch that many of his parishioners might want him dead
a truth get stabbed to a bloody pulp at a
neo Gothic church in upstate New York during a Good
Friday service attended by a flock of suspects played by
a team of all all star sinners. That's the setup

(01:04:02):
for Wake Up dead Man, a nice out mystery, the
third and best in this devilishly delightful film series from
writer director Ryan Johnson, again featuring James Bond apostate Daniel
Craig as drawling Southern Fried detective Benoi Bloc. This modern
day Sherlock is not above taking a fat paycheck for
private snoop, and when a case seems unsolvable, his reputation

(01:04:26):
alone demands it. I could just see Travers being like
fucking yeah, like just go into writing. Boks sing out.

Speaker 3 (01:04:35):
I love travers I love how enthusiastic it is. Every
movie he's seen most recently is the best movie in
whatever franchise he's talking about. So take that from when
It's Worth.

Speaker 1 (01:04:48):
I love his love for.

Speaker 3 (01:04:50):
Film, but he's got a lot of good points about
the way it's set up. I like him versus the
Ryan Johnson is safe. Like he's working in the religious
terms in a fun a kind of arch way, which
is delightful. You made a point his what his reviews

(01:05:12):
reminding me of is the storytelling conversation of the church
itself is more like Disney World. It's it's you know,
turn of the century, neo Gothic. It's very much a reproduction.
It's very much a theme park. And that, like Understate,
leans into Ryan Johnson's whole thoughts about edifice and then

(01:05:35):
to have him talk through that and then be like,
but is it is it a delivery system for something
that's deeply true? Like I don't know, man. That's where
like the wishy washy thing kind of comes in for me,
because we just spent so much time talking about how
this is a story, and we hear it at the

(01:05:59):
podcast Love Stories. That's what we know we talk about
in that mythologizing, but the like, what's the core of
that and does that matter? Not sure?

Speaker 1 (01:06:12):
Yes? Sorry, I just saw something like really really crazy
and I have to wait, this is crazy, okay? Sorry?
The Pool quote from Rotten Tomatoes, I feel like, oh god,

(01:06:34):
are they using AI? Sorry? The so this didn't make
sense to me and I just confirmed it. So Peter
Travers on Rotten Tomatoes. The Travers take the Pool quote
from the article is it's murder behind stained glass Windows.

(01:06:56):
It's knives out. Detective Daniel Craig and a cast of
all Stars centers find the foenish fun and a crime
story about the wages of wickedness. Don't worry, it's not
a musical. It's just like he's kind of throwing shade
at Wicked, like does he not like Wicked? And then
I looked at his Wicked for Good review. It's a
three out of four, so he's one of the few
critics who gave it a good score. And then I

(01:07:18):
went to the full review to find out about this
musical bit and it's not in there.

Speaker 3 (01:07:24):
That's wild. But don't worry, it's lat noon a musical
feels like the kind of like artificial glib that an
AI recap would put into a summary of your week's
emails or something, so I would not be surprised. Funny
story about that. I went online to check, like does

(01:07:46):
this have an end credits scene? And first off, it doesn't, right,
I didn't miss something.

Speaker 1 (01:07:56):
No it doesn't.

Speaker 3 (01:07:57):
So I looked it up and the it's obviously brand new.

Speaker 1 (01:08:01):
Right.

Speaker 3 (01:08:01):
So to your point about AI not being able to
access branding material or having a harder time the nonsense
automatic Google AI results before you put in verbatim as
a search term goes, oh yeah, there's a mid credit
scene that's a character moment that like puts a book

(01:08:22):
a bookend on Judd's character where he's like comforting a
woman and it's just like a little bit extra character
thing that doesn't exist that happens during the movie where
he's on the phone with a construction lady. And it
just pulled random nonsense from a couple of recent reviews

(01:08:42):
to invent a mid credit scene that's crazy and like
and it was like, okay, great, I'm going to do
my due diligence. I'm going to click on this link
that it references and it goes to a review that's
from like the film festival screening of the movie and
the film festival screening thing. The column is called after
the credits because it's somebody's like initial results as they're

(01:09:05):
like halfway through back to back TIF film screenings or something,
and it just like jumble that all together to decide
that there was a mid credits scene. So to your point,
that's awful. Don't do that. Remember to put in verbatim
in your searchings. But I thought it was really instructive
as an example of a bunch of nonsense.

Speaker 1 (01:09:25):
Yeah that sucks, Yeah it does. Yeah, we gotta we've
got to retire using like the Internet on the show.
Just like gotta just using our own brains as we
often do. I mean, we're often too lazy to pull
up a goddamn web page. But now when we do,

(01:09:46):
it's like now we're just talking. Now we're just reading
about computers. That's so frustrating.

Speaker 3 (01:09:53):
God to Travers, No, you can't do that, tip too,
our boy, Travers do that?

Speaker 1 (01:10:00):
Do that to Travers, dude. Uh So that'll do it
for this episode of Is this just bad? We'll see
on the next one. Bye.

Speaker 3 (01:10:12):
Is it's just a babb It's like, Oh, pirates boort
your brain.

Speaker 4 (01:10:20):
Robin Nala's no joking, opening your mind with the probust
as you woke and hitting hydra halen hairs had for time,
for hell of reasons, for more than with the soldiers,
with the men for all seasons.

Speaker 1 (01:10:28):
Listen closely while.

Speaker 4 (01:10:30):
We share our expertise in Gothic comics culture, Dean Street
tuition to the multiversity.

Speaker 3 (01:10:35):
It's like God teaching perfect balance.

Speaker 4 (01:10:36):
When we snap in benit gens into your ears, does
the shoulders when we speak. Purple men versuasive feet for
Randy Savage Dreads with their immortal technique