Episode 15

Civil War Review aka "Human Water Pistol"

Published on: 17th April, 2024

This week, we take a look at the not to distant future (although we hope it isn't really) with Alex Garland's "Civil War" starring Kirsten Dunst, Wagner Moura, Caliee Spaeny, and Jesse Plemons.

First, we skip Catch that Quotable to talk a little about the Amazon Prime series "Fallout"(5:54) and Disney Plus' always on channel(9:09). Doug rants about pharmaceutical commercials during March Madness(18:25). Finally, we dive in to our review of "Civil War(23:01)."

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Remember you can join our patty family, and help produce the show by going to Patreon.com/filmsinblackandwhite

Links:

https://www.theverge.com/2024/4/15/24131034/disney-plus-fast-channels-streaming?fbclid=IwZXh0bgNhZW0CMTAAAR0906qE2JeDM33YQ1GtDlLlje1fXJt_Wir3bexqm8efPSeV69aZWtZrRl0_aem_AVU-sA1H-8Vy6L4MqbR3t-_2dI_7fCGcBDVuEvvmoy6D9UsOCAZml7xkCBeiY_ZqBiZEHeFWhU63uuYg1LPVgMO-

https://www.npr.org/2024/04/12/1244265614/alex-garlands-new-film-imagines-what-a-truly-divided-america-could-look-like?fbclid=IwZXh0bgNhZW0CMTAAAR2KcFMXNRFF_w5YkmOAUN60C86xKA3qf9UHbD9XEx7ww_S1miJfTLo59Ek_aem_AVU02PX0vy1HmpG67h7hC-1ZZlAv_yG4mhEGhyQK4BDMOQiozLCYcHIJyjiuWBt4noiVWEIwNnAmUntWD2aXvvRB

Plugs:

Support the Mantra: Never Offended Always Humble - https://linktr.ee/MarcusJ.Destin

Color Me Confetti Shop - www.etsy.com/shop/colormeconfettishop

Transcript
::

The afterburner's on this bitch.

::

I'm keeping the music going, too,

::

so it's coming in right with the music.

::

All right, here we go.

::

Let's do it.

::

I'm just going to pick an intro.

::

Here we go.

::

There we go.

::

Just pick it.

::

All right.

::

It's that time.

::

We'll be right back.

::

Welcome to Films in Black and White,

::

everybody!

::

How are you all feeling?

::

It is a great Monday to be with you all.

::

This song has me amped to

::

start getting after it.

::

So I'm very thrilled.

::

We've got a great episode.

::

We're going to talk Civil War,

::

the A24 movie that just

::

came out recently starring Kirsten Dunst.

::

Might touch on one or two

::

other things here,

::

but we are so thrilled.

::

It's going to be a great Monday.

::

But in order to do it right...

::

And in order to do it well,

::

I need to thoroughly invite

::

and welcome everybody into this space.

::

So I'm going to kick it on

::

over to Brian Roush, a.k.a.

::

New People's Army Captain.

::

Brian, how are you feeling, sir?

::

Okay.

::

You know what?

::

I'm feeling great to be here.

::

I'm so happy.

::

I have a space to talk about

::

the movie Civil War, A24 Civil War,

::

because this movie messed me up.

::

Messed me up good.

::

I'm also really happy to

::

have some people here because...

::

And man,

::

this movie is a lot and there's a

::

lot of really bad takes.

::

I'm just going to like I'm

::

usually not this guy,

::

but there's a lot of bad

::

takes from like reviewers

::

and people like on, you know,

::

on the clock app.

::

So I'm just I'm happy to be with my guys.

::

All right.

::

That's the short that's the

::

short answer here.

::

I'm happy to be with my guys.

::

So thank you for welcoming me,

::

welcoming me into the space.

::

Doug, how are you?

::

I am doing well.

::

Because I can't help but

::

every time I hear the phrase Civil War,

::

think about the Guns N' Roses song,

::

Civil War.

::

And so that was my problem.

::

Every time I hear someone says Civil War,

::

I'm like, I don't

::

That's all I can think of in

::

the back of my head.

::

And how it starts.

::

What we have here is a

::

failure to communicate.

::

There's something about that

::

song that just triggers me

::

every time I hear it.

::

But he wrongs it.

::

He gets it.

::

Because it's a super southern accent,

::

so I love it.

::

You know me.

::

I'm a big accent fanatic.

::

That's very true.

::

But other than that,

::

I'm doing really well.

::

I think I'm over my cold.

::

Oh, that's good.

::

Planning a birthday for a seven-year-old.

::

So all the things that come

::

along with that.

::

That's high-priority work right there.

::

That's a full-time job.

::

It's wild times, yeah.

::

But Marcus J. Destin, a.k.a.

::

Somebody Stop Jesse Plemons.

::

How you doing, sir?

::

I'm doing good.

::

I'm ready to pop.

::

My guys are being flexible.

::

As soon as I thought I was

::

walking out of the building, you know,

::

something catches on fire.

::

That's okay.

::

You always got to go back.

::

You always got to go back.

::

Did you start the fire?

::

Sometimes.

::

that's the fun part

::

sometimes no but I'm here

::

the movie was very civil

::

war was very heavy but I'm

::

ready to pod ready to

::

dissect it with my guys I'm

::

very excited to get into it

::

I want to talk about we'll

::

get to it when we get to it

::

but the way that marcus sat

::

down in this theater I was

::

very concerned for his

::

well-being when he sat down

::

we'll get into it when we really

::

Oh, man, Brian.

::

We'll get into it.

::

You know me, brother.

::

I wish I could have seen

::

this video because I was like,

::

I don't know if I'm ready to see this.

::

I was alone.

::

I was like one of five.

::

But Brian,

::

tell the people how they stay in

::

touch with us.

::

Give them the rundown.

::

Take it away, sir.

::

Hey folks,

::

the best way that you can

::

support us is by signing up

::

for our Patreon.

::

You can head over to

::

patreon.com slash films in

::

black and white.

::

You can see all the ways to support us.

::

We have different tiers.

::

If you have $5, you can support us.

::

If you have $20, you can support us.

::

If you're not able to sign

::

up for one of those tiers

::

and all of the amazing

::

benefits they give you,

::

make sure to follow us on socials.

::

That is the best way for us

::

to show up in algorithms.

::

You know this game.

::

You listen to this podcast.

::

You can find us on Instagram at

::

at films in black and white.

::

You can find us on Facebook

::

at films in black and white as well.

::

And of course,

::

Instagram is where we put

::

all of our funny clips on those reels.

::

So definitely make sure to follow.

::

And again,

::

we are going to be having

::

spoilers for the a 24 movie

::

civil war by Alex Garland.

::

So you have been warned.

::

We are going to be deep

::

diving it like we do with our style.

::

So we're getting into all of

::

the nitty gritty.

::

We are leaving no stone left unturned.

::

Absolutely.

::

So we are starting a little bit later,

::

so we're going to forego

::

Catch That Quotable this week.

::

We're going to give

::

ourselves and all of you, the listeners,

::

the watchers,

::

a week off from Catch That Quotable.

::

So big ups to Roman for

::

sending us the quote.

::

We'll bank that one.

::

Maybe we'll get to it next

::

week or we'll do a new one.

::

Thank you, Roman.

::

Appreciate you sending that.

::

I hope it's that

::

fill-in-the-blank style like last week.

::

I thought that was great.

::

I enjoyed that a lot.

::

That was a good one.

::

Even though we didn't follow

::

his rules exactly.

::

We had fun with it.

::

Who are we not to help each other?

::

It would be criminal if we didn't.

::

I would be mad too.

::

Before we get into Civil War,

::

I did just want to do a

::

quick little mini review

::

because I'm a little bit of

::

a rabbit hole this past week.

::

Really?

::

So, the Amazon Prime show Fallout.

::

Yeah.

::

That came out last week on Wednesday.

::

It was bumped up like a week and a half.

::

Yeah.

::

And I've watched seven and a

::

half out of the eight episodes already.

::

Whoa.

::

This show is very good.

::

I enjoy this show a lot.

::

This show captures...

::

elements that if you played

::

the RPGs growing up and if

::

you played them,

::

it does a lot of those things.

::

It's got so many quick

::

little nods to things from

::

the game where you look at

::

it and you're like, oh shit, yep,

::

that's a thing.

::

Yes.

::

But what I think it does

::

really well is rather than

::

it just be... And I won't

::

go any much deeper because

::

I don't want to ruin it.

::

Go deeper.

::

You can do the first episode.

::

Yeah, I can do the first episode.

::

So the first episode is all

::

about establishing this world.

::

And it sort of does like a back in time...

::

with um with how did we get

::

to this point and sort of

::

where it's at it has that

::

like 50s vibe and then it

::

flashes then bomb goes off

::

and it jumps into you are

::

in a fallout you're in a

::

bunker with the group of

::

bunker 33 as they get ready

::

to do an exchange with

::

bunker 32 to have this sort

::

of like marriage to sort of

::

propagate the species more

::

and to not have it be

::

And it's an exchange.

::

So it's like, it's a whole thing.

::

And they established the lore really,

::

really well.

::

Awesome.

::

But then you come to find

::

out that the folks in

::

bunker 32 are not 32 bunker rights.

::

They are Raiders pretending

::

to know for 30.

::

So it's very,

::

very well done as this sort

::

of like bait and switch with that.

::

Yeah.

::

Um,

::

walton got walter goggins

::

plays um a ghoul but also

::

plays some folks in the

::

back like he's one he's the

::

cowboy from going back in

::

time too but it's really

::

well done and that's what I

::

like about this is that

::

it's woven such a mystery

::

throughout yeah and we

::

talked a lot about like how

::

with ghostbusters frozen

::

empire we liked all of the different like

::

side quests and things like that.

::

Like that was the main

::

portion of this that like,

::

it was a deterrent,

::

but it was also something

::

that we kind of enjoyed.

::

Yeah.

::

This,

::

this TV series is very much that way

::

of like, Oh, you have to go here.

::

Oh, but shoot, something happens.

::

So now you have to like redo

::

your steps and go somewhere else.

::

So again,

::

it does a lot of this like

::

reminder of the video game that I really,

::

really like.

::

But the mystery element that

::

it weaves throughout all of

::

it is also well balanced, too.

::

So all in all, good show.

::

Highly recommend.

::

Check it out if you have the

::

shipping service slash TV

::

streaming service,

::

because it's good because

::

it's definitely worth a watch.

::

I believe it's already been

::

green light for green light

::

for a season two, which is.

::

Oh, wow.

::

Unsurprising.

::

But yeah, I like it.

::

It's been really, really good.

::

Did y'all know cable is back?

::

I did know that Cable is back.

::

Why do you think Cable is back?

::

I heard that Disney Channel or Disney,

::

well, it's become a Disney Channel again.

::

Disney Plus is adding

::

constant live streaming

::

channels for things like

::

Star Wars and what was the other one?

::

Marvel.

::

I think if we're talking

::

about that one from the

::

article from The Verge,

::

I think they were thinking like Star Wars,

::

Marvel, and Disney animation.

::

Yeah.

::

Yeah.

::

So they're going to add a whatever to it.

::

I guess a part of the app

::

will have a constantly

::

streaming shows that are also on the app.

::

With ads.

::

And weekly drops that you

::

now just pay for.

::

So welcome back to cable.

::

It only took us, what,

::

three years to get back?

::

Yeah.

::

i mean I mean if you're I

::

don't know 14 ish if you're

::

counting the start of

::

streaming I don't know

::

you're right um but yeah

::

like I so I i believe this

::

by the way I know it was

::

reported on the verge but

::

it also got that

::

information from a place

::

called the information I've

::

never heard of this website

::

before that'll get you a

::

laptop the cooties

::

i mean I'm looking at it it

::

seems legit I'm just I've

::

never heard of it but like

::

I believe it um so uh I'm

::

seeing I'm seeing sick

::

nasty in the chat we are we

::

are banking catch that

::

quotable for next week

::

since we did have a late

::

start but we are looking

::

forward to it and we do we

::

do appreciate you you

::

haven't missed it and we

::

hope that it's fill in the blank again

::

We are very excited about

::

the fill in the blank.

::

Um, but yeah, I mean, I just, here's my,

::

here's my thing.

::

Here's my pitch.

::

Um, listeners of this podcast, don't like,

::

don't go to streaming

::

services to just have cable again.

::

If you don't know what to

::

watch or you need a

::

constant stream of things.

::

Ross, sick Nancy said,

::

guess you don't like charity.

::

Nope.

::

Guess not.

::

Not tonight.

::

Look,

::

all I'm saying is that if you need

::

live cable TV or you always

::

need something on the back

::

and in the background,

::

we will we'll create another Patreon.

::

Oh, yeah.

::

You just subscribe to that.

::

We will email you like every two weeks.

::

Hey, you want something on the background?

::

You watch Suits.

::

That's it.

::

You just watch Suits.

::

And then here's like the

::

three movies you watch.

::

If you need to watch a movie,

::

we will do it for you.

::

We will make those choices for you.

::

Don't just go to another

::

cable channel and a streaming service.

::

It's not worth it.

::

We'll do the work for you.

::

We live in this world.

::

It comes naturally.

::

We're now told there are

::

starving children out there.

::

Yo,

::

should we just play catch that quarter?

::

Because I feel like I'm

::

being pressured into it a little bit.

::

No, we run this show.

::

That's how this works.

::

He is a Patreon member where

::

he's a producer of the show.

::

I just want to say that too.

::

Absolutely.

::

I just want to put that out there.

::

Yeah.

::

I am confident that we started later,

::

so we're just going to wait.

::

We're just going to wait.

::

He can wait.

::

I just want to ensure we're

::

on the same page.

::

Yes.

::

Yes.

::

Okay.

::

Wow.

::

Mason says kids in Africa.

::

All right.

::

Well, let's queue it up.

::

I'll go ahead and pull that bad boy up.

::

When a black man says kids in Africa,

::

that's when you know it gets bad.

::

All right.

::

I feel guilt, but I'm going to,

::

I'm going to, I'm sticking.

::

to my to my principles we

::

are I mean he is mason is

::

tripling down in in lieu of

::

this I will select a

::

charity this week that is

::

the commitment well we as a

::

podcast we'll select where

::

we'll be setting this money

::

so in lieu of doing catch

::

that quotable we will do

::

that this week in the

::

background we appreciate

::

your patience with our

::

programming I don't I'm

::

just kidding I'm kidding

::

I'm kidding you know what

::

You know what?

::

I mean,

::

I am on the record as being saying

::

frequently, fuck them kids.

::

Not them kids specifically,

::

but all kids in general.

::

Just in general.

::

Big Anakin Skywalker energy.

::

Yo,

::

they are in the chat tearing our asses

::

up.

::

Keep going.

::

This is a great reason to

::

join our Patreon and our livestream.

::

The other thing, Brian,

::

that I think is interesting

::

about the streaming piece

::

to try to pivot us back to that is that

::

This is going to be a way in

::

which I feel like these

::

streaming services try to

::

pay some of their cost for

::

managing them without

::

having the cost of membership go up.

::

Because I don't wonder.

::

They have to be doing

::

research in the background, right?

::

There's no way.

::

Disney Plus is looking at

::

the cost of membership and going, well,

::

we can't get away with

::

raising it every year.

::

People will leave us.

::

So let's... God damn it.

::

God damn it, Roman.

::

It's just...

::

Let's go start our own money.

::

How did they have Sick Nasty

::

and Roman and Mason teamed up?

::

They did.

::

As much as it's weird to

::

have cable come back with

::

it's just a channel that's

::

on that has ads, that's fine.

::

If that's what they have to

::

do to keep my costs from going up,

::

so be it.

::

It's weird, but fine.

::

The added Hulu component on Disney+,

::

does have movies like it

::

does have ads I'm sorry so

::

like if you watch anything

::

that is hulu my disney plus

::

things don't have ads to it

::

but anything that's on hulu

::

still has at least like

::

maybe one or two ads on it

::

yeah he was so britney was

::

so mad she was so pissed was she

::

Cause Brittany has like

::

things that she has like

::

queued up that she likes to watch.

::

And so she kept trying to

::

get like Hulu to launch and she's like,

::

I can't get it to launch.

::

And I'm like,

::

I don't know what to tell you.

::

Like, it's not like,

::

I don't know what to say here.

::

Like it's just, it's out of my league.

::

It's out of my league.

::

She goes, we'll make it work.

::

I go,

::

you write to Hulu and Disney and you

::

tell them to make it work.

::

That's you contact their

::

customer support folks.

::

That's not on me.

::

But then finally I was like, Oh shit,

::

that's right.

::

It switched over Disney plus.

::

And so I told her to go over there.

::

She goes, Oh,

::

Now I have to go and find

::

all my stuff again because

::

it's not there.

::

I know this exact conversation.

::

I didn't think about this.

::

So that was a thing.

::

And so, I mean, to her credit,

::

she's not wrong, but she's like,

::

now we got to, she's like,

::

now I got to go find like

::

Abbott Elementary and find

::

that and find it somewhere.

::

That's so frustrating.

::

We'll put it all in there.

::

I have a question for y'all

::

real quick before we move on.

::

Just as y'all quick dad math

::

brains real quick,

::

how much is or did cable

::

cost y'all versus how much

::

do you pay now for relatively about,

::

I guess the same,

::

how many streamers would it take?

::

Two questions.

::

What's the price difference?

::

Like roughly how many

::

streamers would it take to

::

match to that cable cost or worth?

::

I paid around $105 a month

::

for cable and for my

::

internet service provider.

::

And that was for both.

::

And then right now I pay $60

::

a month for my internet, which is faster.

::

And then I think I'm

::

probably paying somewhere around like...

::

$35 in streamers currently, give or take.

::

So I would say it would have to, like,

::

I would have to go,

::

it would have to go up by

::

$20 in total for me to be like,

::

but I like my internet so

::

much that I'm not going to

::

go back to a package thing

::

like that again.

::

Like my, I get,

::

I get a faster speed for less money.

::

Midco can fuck themselves.

::

Cause it's too expensive.

::

Yeah.

::

Lost that Miko sponsorship.

::

All right.

::

Well, that one's gone.

::

All right, bro.

::

They know what they're doing.

::

Don't say anything about Blue Peak.

::

That's all we got left.

::

It varies so much here.

::

I love them.

::

They're great.

::

It varies so much here.

::

But basically,

::

it's like if you want your

::

regular – if you want your –

::

I would say the regular cable package,

::

your ESPN, your HDTV,

::

it's like $50 a month just for the cable.

::

And then if you want internet,

::

it's another 50.

::

So you're looking at a hundred bucks.

::

We don't have cable or

::

landline phone here.

::

So we only pay like 55 bucks

::

for like a step above

::

internet because we stream everything.

::

So right now with all of our

::

streaming stuff,

::

we're like at that cable package.

::

I like it better because I

::

primarily don't have

::

commercials unless I'm watching on Amazon,

::

the shipping service streamer.

::

That's about it.

::

Everywhere else is ad-free,

::

which is how I want to live my life.

::

I lived through the 90s.

::

I know bad ads.

::

I've seen the same ad a

::

bazillion times for countless,

::

countless products.

::

I will never buy it.

::

That was my biggest pet

::

peeve about watching March

::

Madness coverage.

::

They would break and they would be like,

::

yep,

::

two teams about to go at it and we're

::

going to kick it over to

::

commercial before we start

::

the second half.

::

It was like,

::

why the fuck did you come back then?

::

Why did you come back to tell me?

::

With a random shot of the floor.

::

It's just a random basketball floor.

::

And then some guy eating

::

popcorn in the stands.

::

I don't give a shit.

::

And then the other thing that bugged me

::

The other thing that bugged me is like,

::

y'all,

::

we got there are people in this

::

country that are getting

::

their pharmaceutical advice

::

from the television.

::

And can someone tell me how

::

often and how severe is it

::

that every single

::

medication gives you diarrhea?

::

Like at some point in time,

::

it's not worth it.

::

Hey,

::

do you have kind of a rash that breaks

::

out every once in a while

::

and it's pretty itchy?

::

You could do that or you

::

could have diarrhea all the time.

::

That's true.

::

Do you want to itch or do

::

you want to sit on the

::

toilet and sound like

::

you're playing Gatorade?

::

You know what?

::

I would gladly be a little

::

itchy for a week than have

::

to shit myself every day

::

because of the diarrhea

::

from the medication.

::

Would you rather become a

::

human water pistol or get

::

rid of that pimple on your face?

::

i would rather just live

::

with the pimple I don't

::

need to I don't need to

::

like I don't need to do

::

that so much and the ads

::

are so bad he is mad

::

something no but to your

::

point doug like in in a lot

::

of european countries you

::

are banned from advertising

::

certain medications because

::

of their health care system

::

because they're like why

::

would you advertise your

::

doctor knows what's best for you

::

So anytime I see those, yep.

::

Anytime I see those ads, like on TV,

::

I'm just like, I ignore them immediately.

::

Cause I'm just like, you finally won.

::

I finally won.

::

Doug, Doug adds up in these comments.

::

Now they said,

::

this is way better than cash.

::

Honestly, I,

::

I don't want Doug to

::

commentate March Madness now.

::

It's just him being like, oh,

::

there's a guy with a popcorn.

::

That's what you want to see.

::

The ad is this.

::

It's like Joe working construction,

::

and he's worried all of his

::

friends are staring at his

::

plaque psoriasis.

::

And I'm like, Joe,

::

just fucking tell him you

::

got plaque psoriasis.

::

Nobody gives a shit.

::

We're out here lifting girders.

::

Leave him alone.

::

It bugs me.

::

If you ever had IBS before,

::

that commercial kind of saved you.

::

You'd be like,

::

I could probably give you

::

the name of at least four

::

drugs that IBS might be a side effect.

::

Is that a Russian roulette

::

you want to play?

::

You're right, honestly.

::

I can't argue with that.

::

Or the other ones?

::

This is the phrase that

::

pisses me off to no end

::

with pharmaceutical things.

::

If you're allergic to this, don't take it.

::

No fucking shit.

::

Don't fucking... Okay, yeah,

::

and you know what?

::

If my shoes aren't tied, I might trip.

::

Don't tell me obvious shit.

::

Like, hey, if you're allergic to this,

::

don't take it.

::

Well, I was gonna... I did feel like dying,

::

so I was just gonna take

::

Ozempic until it killed me.

::

But no, if you have ED...

::

Don't you want to sacrifice

::

your heart for a heart?

::

Absolutely not.

::

It is just a sack.

::

Look, there are,

::

we're just going to figure

::

it out like that.

::

If that's the case with me,

::

we're going to have a look.

::

I'm really sorry,

::

but I'm not dying for an erection.

::

Like that's just not

::

something that I have.

::

Dying for an erection.

::

My new band name.

::

One, two, three, hit it.

::

yeah yeah uh anyway enough

::

about my tirade about

::

pharmaceutical ads no it

::

was it was necessary and it

::

totally came out of left

::

field but I can't imagine

::

you not doing it now like

::

it needs to be just bothers

::

me that's true and I you

::

you know who's really sick

::

of it britney because every

::

time they'd show up I'd be

::

like and look a fucking

::

another one like poor britney

::

They got all the kids in

::

there that'd be like

::

holding hands or it has

::

like the B-roll footage has

::

nothing to do with the medicine.

::

Oh, absolutely nothing.

::

You know what I mean?

::

It's like, oh,

::

you got an elbow that's

::

extra cracky and you want to put some,

::

you know,

::

you've been struggling with this

::

for years.

::

It's got a little,

::

it's got a little lemon in it.

::

And you're like, yeah.

::

It's two kids doing jump rope.

::

Kids don't even have that.

::

Why are we doing the hokey

::

pokey in the EB commercial?

::

Why are you doing it in a

::

Viagra commercial?

::

Stop jumping rope in a Viagra commercial.

::

I always wonder if they're

::

getting that from stock

::

footage or if people

::

consciously know they're in

::

an erectile dysfunction commercial.

::

I can just think of these

::

people being like, yeah,

::

I just made Bank doing all

::

these stock photos.

::

Then you turn on the TV and you're like,

::

that makes me look like I have ED.

::

Now he got to go to the bus

::

stop and everybody's like, hey, look,

::

that's

::

it was just a little job man

::

it was a little look it's

::

lip dick rick like that we

::

love you you know autograph

::

lip oh god where do you go

::

from here well we're gonna

::

pivot to talk about civil war so

::

well we got our fun in we

::

got our fun in while we

::

could hard right everybody

::

this is gonna be all hard

::

right so we are going to

::

here's a spoiler warning

::

again for uh the a24 movie

::

here we go war um anybody

::

want to give us a

::

barbershop summary for this

::

particular film

::

Man.

::

All right.

::

Look.

::

Listen.

::

In a very bleak possible future,

::

here's what happens.

::

All right.

::

Listen.

::

You walk in.

::

You find out.

::

You sit down in theater.

::

You turn on screen and you

::

see America is split into different

::

Factions?

::

Is that a safe word to say?

::

Yes.

::

Yes, I would say so.

::

Different factions of

::

like... Different

::

secessionist governments.

::

Different secessionist governments.

::

Yeah.

::

Does anybody remember the

::

names of the... Oh, I do.

::

Yeah.

::

The Western Forces and then

::

the Florida Alliance.

::

Yes.

::

And then the New People's Army,

::

which is my Chiron,

::

which includes Minnesota,

::

is like the north slash

::

northwest of the United States.

::

So boom, look, check it.

::

The president,

::

he wants to go for a third term,

::

but without asking for permission.

::

I think he's in his third term.

::

Oh, he's in his third term.

::

He is, yes, yes.

::

He's in his third term.

::

He did not step down after his second.

::

Did not step down.

::

He's constantly on the radio

::

talking to people, talking about, yeah,

::

we stand for the United

::

States of America and then

::

to this republic for which it stands.

::

The factions are at war with each other,

::

okay?

::

So basically they're all fighting for

::

Some of them are trying to

::

get the president out.

::

Like they're trying to kill

::

the president essentially

::

to get him out of the office.

::

And so,

::

but they all have their different

::

militaries and things.

::

And the world is also split

::

into different factions.

::

As you have these reporters,

::

you have like this

::

journalist who captures

::

pictures and does all these things.

::

They're all journalists, right?

::

That's safe.

::

She's like a war journalist.

::

Kristen Dunn's character is

::

more like a war journalist.

::

She is with a TV news type

::

journalist interviewer guy

::

that kind of is from Reuters.

::

They said at one point in

::

time they're from Reuters, I feel like.

::

I thought that was a made-up name,

::

and then I thought it was steroids,

::

and then I thought it was hemorrhoids.

::

No, it's real.

::

Okay, got it.

::

She's from Reuters, all right?

::

And so she's flaring up,

::

and she's taking all these pictures.

::

And so what's happening is

::

they want to get this shot

::

of the president dying,

::

of them killing the president.

::

She wants to get the

::

world-famous picture

::

because she's a

::

world-famous war photographer,

::

and he wants to interview

::

the president in his last moments.

::

So they also take this older

::

gentleman with them who's

::

an older gentleman.

::

I'm sorry.

::

older gentleman who's an

::

older journalist in this

::

road trip across.

::

But then they also run into

::

this young lady who was

::

aspiring to be Kristen

::

Dunst and this war journalist.

::

OK, we'll get in the names later.

::

All right.

::

So then they put them all in this car.

::

They want to take the back

::

roads to get to Washington, D.C.

::

Washington, D.C.

::

is listed as if you're a

::

journalist and you step

::

foot in Washington, D.C.,

::

you basically die on sight.

::

Like they will shoot you

::

from my way because they

::

don't want any journalists

::

near whatever the fuck is going on.

::

OK,

::

so they got to go through all of these

::

different pieces and

::

different areas as you kind

::

of see how the world is

::

split and divided.

::

Nothing is very specific as to like, oh,

::

it's Republican.

::

Oh, it's Democrat.

::

Oh, it's this.

::

It's none of that.

::

There is no there's not a

::

lot of backstory outside of

::

the president is in his third term.

::

You get to see all of the

::

how the world is adjusting

::

and picking sides and how

::

people are kind of living

::

in this new America.

::

That is kind of civil war.

::

I mean, that's a good synopsis.

::

A couple of things I'll add

::

that I think are important

::

to note is the president,

::

the other forces are trying

::

to take down the president,

::

not just because he sat for a third term.

::

And they didn't really make

::

this super clear,

::

but it's what he did when

::

the other governments

::

disagreed and they split off,

::

which was he started

::

bombing American civilians.

::

Oh, he did say that.

::

Because they are and he's

::

practicing because the goal

::

for the male journalist

::

who's sort of a kind of

::

sort of like really

::

partnered with Kirsten Dunst.

::

I'll mention his name here in a minute.

::

Wagner Mora, I think, is the actor.

::

Yeah.

::

What he says,

::

he really wants to get the

::

interview because to Marcus's point,

::

the president doesn't do

::

anything with the press anymore.

::

He's basically outlawed the press entirely,

::

and it's basically his own

::

propaganda machine that is

::

publicly talking everything.

::

He also disbanded the FBI.

::

The FBI is no longer a unit.

::

And so he really wants an

::

interview to before the

::

other forces take on there.

::

So they go to Washington, D.C.

::

to hopes to capture it

::

because they basically said, look,

::

he's got three days and

::

then they will be there and

::

they will kill him.

::

So you've got to beat the

::

Western forces there.

::

Like, that's the goal.

::

And so that's some of the other stuff.

::

All in all, great barbershops.

::

Yeah.

::

So let's run down cast quick.

::

So Kirsten Dunst plays Lee.

::

Wagner Mora plays Cole.

::

Callie Spaney plays Jesse.

::

Nick Offerman is the president.

::

Yeah.

::

Jefferson White plays Dave.

::

Nelson Lee plays Tony.

::

I want to pull up some of

::

these other folks.

::

Where's that other older dude?

::

What's his name?

::

I cannot find his name.

::

acting credit is it simon

::

for no that's not him

::

anyway um kinley henderson

::

yes yes yes yep yep that's

::

him he played the new york

::

times journalist yeah yep

::

yep he does um and then

::

jesse plemmons is in this

::

playing a soldier who is

::

jesse plemmons he's playing

::

what he usually plays

::

You all know what he's doing.

::

They did have some fun clips

::

from his wife talking about

::

how he got hired two days

::

before he was supposed to.

::

And that he killed it.

::

And she was like, oh my God,

::

this guy's an amazing actor.

::

And was like, oh my God,

::

this guy's amazing.

::

um budget has an estimated

::

of 50 million dollars

::

listed as the budget and

::

then actually pretty cheap

::

the opening weekend so far

::

through yesterday um is

::

around 25 million dollars

::

so it's made half of that

::

back they're gonna imagine

::

as word catches on yeah

::

they're gonna make at least

::

that back I would expect

::

based on where we're at

::

runtime is about an hour and

::

49 minutes so it wasn't

::

like super long which is

::

fantastic but gentlemen

::

thoughts on Civil War I

::

think this is 824 is also

::

like highest grossing

::

opening weekend or

::

something like that oh is

::

it really I think it might

::

be right while somebody

::

could confirm that I think

::

initially here's how I

::

walked into the movie yeah

::

I just want to confirm, yes,

::

Civil War is the highest

::

opening weekend for A24.

::

That makes sense.

::

Confirmed on Rotten Tomatoes.

::

This will probably win some awards.

::

One, I walked in high.

::

medical marijuana so oh no

::

mark brian brian brian this

::

motherfucker sits down and

::

the music is playing and

::

he's like let's do it and

::

I'm like oh buddy like this

::

is I'm so worried for you

::

like I was going to a

::

funeral watching this movie

::

the music is playing and he was like

::

like he was just ready and

::

then that first scene where

::

the lady with the american

::

flag runs at the water

::

truck and I was like hey

::

are you gonna make it let

::

me tell you this is exactly

::

how I was running late

::

because I was at dinner

::

with some friends right and

::

so I was coming back it was

::

a seltzer it was like a thc

::

seltzer that I took like 10 milligrams oh

::

So I drank it, right?

::

And it wasn't too crazy,

::

but I had a nice little buzz.

::

And so I walked in,

::

sat down next to my guy

::

Doug in the typical seats we sit in,

::

and I'm like, fuck yeah, let's do this.

::

Like, hell yeah, let's get it.

::

They're going through this

::

whole opening sequence,

::

and as soon as that

::

American flag ran across

::

that scene and that bitch exploded,

::

I said, huh, this is a bad decision.

::

So this is...

::

Mason took inspiration from

::

Afro man somebody get Roman

::

Myers and Mason out of the

::

chat together we need some

::

mods yeah but so we that

::

scene here's what I really

::

enjoy I think one I want to

::

start here Kristen Dunst

::

did an amazing job yes

::

amazing job I think that

::

it's hard to play that role

::

Kristen Dunst is one of

::

those people of like I

::

don't really see just

::

Kristen Dunst when she's

::

playing a role does that make sense

::

Oh, 100%.

::

She really embodied

::

something completely

::

different as this lady, war journalist,

::

top of her game, PTSD,

::

also numb to a lot of shit

::

that she captures and has

::

seen a lot of shit.

::

I think she captured that very, very well.

::

So I want to just start there,

::

and then I'm going to lean

::

into the cinematography of

::

it all after we go through

::

our original things that we like.

::

Yeah.

::

Yeah.

::

Yeah, man,

::

I'm gonna jump in because this

::

so it's funny to me and

::

this is important for context.

::

This movie is billed as like

::

an action movie.

::

That was how it was billed on IMDb.

::

Thriller is also on here.

::

Thriller I feel like is the

::

more apt description of the movie.

::

And I'm bringing it up

::

because this movie like

::

To me, it is a horror movie.

::

It is a thriller horror movie to me.

::

And I really enjoyed that,

::

even though it scared the

::

bejesus out of me.

::

This movie messed me up,

::

but it was done very well.

::

The cinematography,

::

we'll talk about the lighting,

::

everything.

::

That stuff is top notch here.

::

And we'll gush about that.

::

However,

::

Alex Garland has crafted a story

::

that I feel does a very

::

good job of using

::

environmental storytelling.

::

And it is focusing to me on

::

the right parts of a civil war.

::

And I'm not even talking about, like,

::

what if this happened in our country?

::

But, like, legit,

::

this is what happens in other nations.

::

And it's not always about, like,

::

the government forces versus the rebels,

::

right?

::

It's these small stories

::

that are the most...

::

like the people that are actually impacted,

::

right?

::

Like people in small towns

::

who are just trying to get

::

food for their kids or, Hey,

::

there's a war crime over there.

::

And we'll talk about that more later.

::

And so I feel like I really

::

enjoyed the focus of this film,

::

which is what surprised me

::

at the end of it,

::

because the pacing of it, you have,

::

it's basically this road

::

trip from hell is how I've

::

been describing it to people.

::

Yeah.

::

You just have this road trip

::

from hell from New York to

::

DC and you have these

::

really small stories.

::

And I thought the movie was

::

ending at one point.

::

And then they get to D.C.

::

and then it's like, no, buckle up,

::

buckaroo.

::

We got some stuff to show you.

::

And I kind of I there were

::

two points in this movie

::

where I wanted to throw up.

::

And that was the second one.

::

So in a good way, though.

::

And I thought the finale mostly landed it.

::

I did have some critiques,

::

but we'll get into that in a little bit.

::

But that's what I liked about it.

::

I love the pacing of it.

::

Yeah,

::

I think the thing that I appreciated

::

the most about the movie that I liked,

::

and it's kind of similar to Brian's,

::

is I think the attention to

::

detail from Alex Garland,

::

where he almost keeps some

::

of his bigger reveals hidden.

::

He hides them until the very last minute.

::

Which kind of puts you on edge.

::

So I want to refer to the

::

scene Brian was talking about,

::

the war crime scene.

::

They stopped to get gas for

::

the first time.

::

And I remember as they panned,

::

as they were driving by,

::

they panned by that car wash.

::

And I remember saying out loud, I was like,

::

are those bodies hanging in the car wash?

::

And didn't really even think much of it.

::

And I was like, I guess maybe it will.

::

Maybe they'll address it.

::

Maybe there wasn't.

::

Maybe that was just a, hey,

::

this is how bad it's gotten.

::

Yeah.

::

But then what he does,

::

and this is such a smart way of doing it,

::

is he confirms your worst fear, which,

::

yes,

::

those are bodies hanging in a car wash.

::

And believe it or not,

::

these dudes are the ones

::

who put them there.

::

So like it's I think it's a

::

he he makes you so uncomfortable.

::

And then he makes you like

::

almost like face that level

::

of discomfort head on.

::

It doesn't let you shy away from it.

::

And so that's the thing I

::

think he did masterfully with this film.

::

And there's several other parts of it, too,

::

where he does it really,

::

really well of like, you know,

::

that part where they're, you know,

::

climbing across where

::

they're climbing across the cars.

::

And you're like, this seems really,

::

really safe.

::

Yeah.

::

Leads to the scene with Jesse Plemons.

::

It was like your worst fear

::

was that something was

::

going to happen to Jesse,

::

not Jesse Plemons,

::

but the character Jesse in this.

::

Yeah.

::

And then you've come to find, yes,

::

you have to face that.

::

Now everybody's in this situation.

::

Like, it's just,

::

there was a lot there where he, like he,

::

he, he addresses, he says,

::

what's the worst thing that could happen.

::

Okay.

::

Now you have to face that head on,

::

which I think is, is a lot and well done.

::

Yeah.

::

I think... Okay,

::

so I want to kind of go

::

about this a little bit

::

differently by asking you

::

all some questions here.

::

Oh, okay.

::

But I want to bring up some

::

points so that I don't forget them.

::

So what would you like first?

::

The questions or the points?

::

Points so you don't forget them.

::

Yeah, you should do that.

::

Here's a couple of my favorite points.

::

I love the fact that this

::

is... What it gave me was

::

like the beginning of...

::

And Brian, correct me if I'm wrong,

::

dystopia,

::

like beginning of a dystopian feel.

::

Yeah, 100%.

::

Usually we get put right

::

into the middle of that

::

kind of environment.

::

But this one was like,

::

what if we're in the early stages of like,

::

it ain't all like that, but like, hey,

::

we don't have cell phones

::

no more because the towers don't work.

::

Or like, we don't have simple heating.

::

Like,

::

she's heating up the film by her body

::

temperature.

::

Oh, yeah.

::

Like to me, oh,

::

here's this empty football field.

::

And Doug said it.

::

He was like, it's never a good sign when,

::

it's never a good sign when

::

who is there to help them.

::

When like, yeah,

::

UNICEF and the United

::

Nations are there helping.

::

And he was like, it's never a good sign.

::

And there's nothing but

::

tents and cars and people

::

playing football and living

::

this kind of normalized

::

life in this area of like,

::

you could tell by the way he shot it.

::

I really enjoyed that.

::

This is the beginning stages

::

of what this would feel like.

::

So that's my number one point.

::

Yeah.

::

My number two point,

::

what I think he does really well,

::

the diversity.

::

I think that it takes a lot

::

for you not to.

::

Every shot had a mix of

::

people in it to get away

::

from the point that it was

::

just white versus black or

::

this race versus this or

::

Democrat versus liberal versus.

::

Like he did.

::

He made a deliberate effort

::

to diversify every shot.

::

If there were bodies hang

::

like the bodies in the back

::

of the truck with Jesse Plemons.

::

There was a mix of different

::

colors of bodies in there.

::

Yes.

::

Every shot was deliberate.

::

And so I appreciated that effort of like,

::

oh, they not just killing black folk.

::

They not just killing white people.

::

They not just killing.

::

You know what I mean?

::

It was a little bit of every

::

not just young, young and old.

::

It was everybody.

::

Yes.

::

Yes.

::

And then my last one was I

::

really enjoyed how they.

::

introduced characters.

::

And I think it gave me just enough.

::

You didn't need like full

::

backstories from people.

::

This old man, if you look at the,

::

if you look up at the setup

::

of the car and I could have

::

been overthinking this cause I was high,

::

but.

::

You're good.

::

You look up the setup of the car, right?

::

You have somebody who's young in the game.

::

This whole movie to me is

::

about kind of like

::

transitioning as much as

::

it's about like the

::

dystopian feel of like if

::

you don't do the right thing.

::

And it's like perspectives

::

like through the eyes of

::

everybody in the car.

::

You have this thrill seeking,

::

hungry motherfucker that

::

really will do anything for

::

the fucking shot.

::

Okay.

::

Yeah.

::

He's literally driving the vehicle, right?

::

He's driving the story,

::

driving the vehicle,

::

driving these characters to

::

different places that maybe

::

you wouldn't have gone or

::

to do things that you wouldn't do before.

::

You have this more aged out

::

leading actress.

::

Kristen Dunst is like,

::

I've gone through this.

::

I've seen some things.

::

I'm on the I haven't.

::

The first part of happiness

::

that she showed is when

::

she's wearing the dress and

::

it's like that was it

::

didn't feel normal to her to feel that.

::

So she's like in that stage of her life.

::

The back is this old man

::

who's on the nearly damn

::

near the end of his life.

::

And then you have young, fresh, new.

::

Everything is wow.

::

What the fuck type 23 year

::

old energy in the back.

::

That's all in one car.

::

Yep.

::

So I thought that they did

::

really well balancing these

::

things and not giving me

::

too much information.

::

Do I need to know if Kristen

::

Dunst was married in this?

::

No, it's not fucking important.

::

You know what I mean?

::

Just give me just enough information.

::

So those are the points that I liked.

::

Yes.

::

I just want to say it's

::

really refreshing to hear you say that.

::

And obviously I know we're

::

on the same podcast,

::

so some of it's expected, but like...

::

i read I just I read I read

::

some reviews for this movie

::

and I went to the reddit

::

discussion because it left

::

me feeling a certain way

::

last night and I just

::

wanted to see if other

::

people were feeling the

::

same way I was I had made

::

up my mind about how I felt

::

about this movie and marcus

::

your ability to be like no

::

like this is what's

::

important like the things

::

you just listed off of like

::

how these things are

::

happening and who it's

::

affecting and how that's

::

important and how the story is told

::

And then you have people that are like,

::

well,

::

this is a bad movie because I don't

::

even understand.

::

I don't even understand like

::

why people are fighting.

::

And it's like, what?

::

Like or like there needs to

::

be more detail with Kirsten

::

Dunst's character.

::

And I'm just like,

::

I just I like it's very clear.

::

Alex Garland is putting out

::

this story of like, nah, man,

::

like this is bad.

::

Like this is bad.

::

And you should avoid this.

::

Like, why?

::

Why are you not wanting to avoid this?

::

But he said that in the

::

scene when they were going

::

through the cars, right?

::

He says it deliberately outright,

::

which I thought was a fire scene.

::

He says, what are we shooting at?

::

How do you know if that

::

person is a good person or

::

a bad person that's sniping

::

us from the house?

::

He says,

::

I didn't like the line that he used,

::

but I understand.

::

Oh, yeah.

::

He was like, are you stupid, basically?

::

Are you dumb?

::

He looks over at the girl and he says,

::

what's happening right now?

::

He says, they're shooting at us.

::

He looks back and he's like,

::

do you get it now?

::

Like, it's not this side versus that side.

::

We don't know who's good or bad.

::

It's just, we are surviving.

::

This motherfucker is shooting.

::

Yes.

::

Yes.

::

And I think and I think what helped me,

::

one, yes, to everything Marcus said.

::

I think the other thing that

::

I would add that I think

::

highlights the fact that

::

this is a transformational

::

story and shows how

::

exposure to that kind of

::

coverage like this wasn't

::

about the conflict.

::

Like the conflict hits close

::

to home because I think of

::

recent events in our own

::

nation's history.

::

I think it hits a little

::

closer to home than maybe

::

we're necessarily comfortable with.

::

But I think I'm going to say

::

something and I don't want

::

everybody to like come at me,

::

but I think the conflict is irrelevant.

::

Yeah.

::

Because I think you could

::

have picked up these four

::

people and you could have

::

put them in Canada and it

::

could have been the same situation.

::

And the story is still about

::

the journalists.

::

And it's still a

::

transformation of someone who, Jesse,

::

the youngest character in this,

::

who comes in saying,

::

this is what I want to be,

::

not understanding that you

::

give up a part of your soul,

::

which she does at the end.

::

The death of Kristen Dunst

::

at the end of this is,

::

It's not, it's not, it's a sad moment,

::

but if it feels empty,

::

it means to me that I think

::

that we need to like

::

reframe how you look at it.

::

That wasn't just the death

::

of Kristen Dunst.

::

That was the death of her

::

innocence of having an idea.

::

And when she gets up there

::

and she takes a picture of her,

::

like on when she takes a

::

picture of Kristen Dunst

::

dead on the floor and she's

::

not crying about it.

::

That is a, no,

::

she's a different animal right now.

::

She is a different person in

::

this environment right now.

::

And so I think there's a lot

::

to be said for that.

::

So I think if you're saying, oh,

::

I don't understand the conflict,

::

you missed all the other –

::

I think you missed all the

::

meaty character development

::

detail in there.

::

But you need – the conflict

::

is there to give you the

::

result of the conflict though.

::

Yeah, yeah, yeah.

::

It's just – it's the

::

appetizer or it's the

::

reasoning and the cover.

::

But what you –

::

In order to tell a really

::

good story like Alex did,

::

you got to go with what are

::

the results of this conflict?

::

There has to be a reason for

::

these folks to go out and do it.

::

And I hate to say like, oh,

::

the conflict is the MacGuffin.

::

It kind of is like it kind

::

of like the reason why.

::

Why they are going out there.

::

The whole impetus for their

::

journey is we are trying to

::

get a photo of the

::

president before he's

::

killed and to get a

::

statement from him before he's killed.

::

That's the reason why they left.

::

You're absolutely right, Marcus.

::

That conflict is relevant and needed.

::

And it's otherwise,

::

why leave your back door?

::

Well, and I feel like the other thing, too,

::

is like there's enough

::

information there for

::

people to to connect the dots.

::

They don't explicitly state

::

like this is what the

::

Western forces believe.

::

This is what the loyalists believe.

::

But they do enough

::

environmental storytelling

::

that if you're if you're

::

paying attention to the

::

movie and I'm not trying to be like.

::

mean about it but like yes

::

it's not going to be in

::

direct dialogue but it's

::

not as out there as like

::

dune like you do have

::

characters saying like oh

::

yeah the president bombed

::

civilians and he disbanded

::

the fbi um and he probably

::

it's alluded to the fact he

::

suspends the constitution

::

so that is a conflict like

::

that is a very clear conflict between

::

And then you have other

::

forces like Texas and California,

::

regardless of what you

::

think about their politics,

::

they're saying, nah, I'm not doing that.

::

And they're starting this conflict.

::

But to your point, like the lore is there,

::

even if you agree with it or don't.

::

But again, that's not the point.

::

That's the backdrop.

::

And it's the main focus is

::

what happens to these

::

everyday people when a

::

conflict like this breaks out.

::

And I think I think the

::

other thing of this, Brian,

::

that I appreciated about

::

that is it allowed my brain to try.

::

I mean,

::

it allowed my brain to try to fill

::

in the dots because I went

::

because the question I

::

started before I started to

::

watch this movie,

::

I saw California and Texas.

::

together and I was like this

::

doesn't make sense because

::

I immediately went to the

::

obvious thing they're

::

politically on either side

::

of the spectrum but driving

::

home I went oh of course

::

they did they're the two

::

largest states they finally

::

realized their power and

::

their ability to try to

::

change things for the

::

better whether you agree

::

with them or not they went

::

nope this is shit isn't gonna fly

::

Well, and none, none of,

::

I don't feel like I'll watch it again,

::

but there's nothing in the

::

text of the movie that is like, Hey,

::

they're like the rebel Alliance,

::

the Western forces.

::

They're the good guys.

::

Like, no one said they're,

::

they're good guys.

::

And they literally, they,

::

I shouldn't say that.

::

They quite directly say to

::

the journalists and the audience, like,

::

we're not capturing anyone.

::

This is a mission to kill the president.

::

Yeah.

::

like we're not even

::

capturing and it's like oh

::

that seems weird okay the

::

press secretary she goes

::

well we'll we'll worry

::

about the scenario they go

::

we'll worry about the

::

surrender and they go we're

::

not surrendering anything

::

bring him out here so we

::

can shoot him right right

::

like that is not like good

::

guy language that no you

::

don't you don't see the

::

protagonist doing that at

::

all you don't know you

::

don't see princess leia

::

being like nah bring him

::

out I'm gonna shoot him

::

But I did enjoy when they

::

get to the White House.

::

And this is obviously skipping some steps.

::

I'm gonna go back to these questions.

::

There was no they still had

::

people that were in the

::

White House that were

::

aligned with the president,

::

whether it was like five people.

::

You can't really tell.

::

You know, I mean,

::

he still has his like cabinet members,

::

the secretary of the.

::

Secretary of State?

::

She was the press secretary.

::

She was in that forum room.

::

They just shot her ass down.

::

She was in the press briefing room.

::

They went through the press briefing room.

::

That's how they got in there.

::

Oh, did she?

::

Did she have a weapon?

::

I take it back then.

::

Also,

::

this movie does such a good job of

::

creating the confusion of a battlefield.

::

I saw this movie yesterday.

::

Missed that detail.

::

Well done.

::

Good call.

::

I want to go back here a little bit.

::

Let's do it.

::

What was,

::

we talked about pop moments and I

::

like that.

::

And I think I want to apply

::

that to our podcast language.

::

We talked about pop moments

::

last week on wrestling.

::

What was your favorite pop moment for you?

::

What like,

::

and I'm going to put a little

::

definition to it.

::

What woke up your,

::

what cleared your sinuses to be like, Ooh,

::

this is one of those.

::

I need to think Doug, narrow it down.

::

Go ahead.

::

I think for me,

::

it was it was the transition.

::

We're about I think,

::

like a third of the way

::

through the movie.

::

And

::

uh jesse the new

::

photographer is trying to

::

get sleep and they do this

::

kind of like they lull you

::

into this sense of like

::

safety and familiarity even

::

though by the way there's

::

like clearly gunfire

::

happening a mile off you

::

hear it in the sound and it

::

you know they're and joel's

::

like oh you just try to

::

sleep blah blah blah and

::

it's like oh okay we're

::

going to sleep we're going

::

to sleep and then snap it's

::

a bullet and like

::

it is a credit to the sound design.

::

Cause like, I was like, is this a dream?

::

Like, it's just so shocking.

::

It's almost surreal.

::

And it's like, no, this isn't a flashback.

::

This isn't a dream.

::

Like they're in it.

::

Like these, this is it.

::

This is the civil war.

::

This is what the movie is about.

::

And it's this terrified man

::

hiding behind a column like that.

::

And that is based on what we

::

have heard of war.

::

That, that is war.

::

You are just trying to survive war.

::

the next thing and it is

::

people who look like they

::

just came from a Jimmy

::

Buffett concert I was

::

thinking the same thing bro

::

I was about to say you know

::

is the best way to say it I

::

didn't realize that they

::

were probably the Florida

::

Army until after the movie yeah

::

um but it doesn't matter

::

right it doesn't matter in

::

that moment because that

::

dude's getting shot at and

::

yeah it totally brought me

::

into the movie and was like

::

this is it we're doing it

::

and you have jesse they're

::

trying to learn how to take

::

a picture of someone being

::

shot at and it woke up all

::

of my senses a hundred

::

percent nice yeah like it I

::

think I think for me

::

not to be too obvious about it,

::

but I do it.

::

Those, those put me like,

::

those were certain Brian,

::

that is a great example

::

because those put me on edge that moment.

::

Certainly that moment certainly did it.

::

The moment where the

::

firefight at the edge of the white house,

::

like where they're trying

::

to get behind the barricade,

::

like really super, super intense.

::

But the thing that fucked me

::

up the most that made me go like,

::

Oh Christ,

::

like this is going to be a

::

thing is that opening

::

sequence with the woman

::

with the flag bombing the water truck.

::

that that messed me up

::

because those I think where

::

this is this this set the

::

stage for me on the stakes

::

yeah and I realized why it

::

was so early in the movie

::

is one I didn't expect it

::

to be there right I didn't

::

expect that I expected a

::

yeah this is a conflict to

::

be honest with you I saw

::

the police and I kind of

::

expected one of them to

::

shoot it shoot a civilian

::

That felt like a bait and switch.

::

Cause I felt like a huge bait and switch.

::

I was like, Oh God,

::

they're going to fucking hit one of them.

::

And cause I,

::

that's just where I saw it going.

::

So then when somebody who is

::

wildly unassuming,

::

who you didn't even notice

::

until right before it happens,

::

picks up a flag and runs in

::

slow motion to bomb the truck.

::

That to me, like that was such a,

::

oh god like this is the

::

stakes for what's going on

::

and what they're involved

::

with the rest of it was

::

military combatants people

::

who were armed fighting one

::

another that one messed me

::

up because I was like no

::

the stakes here are

::

different like the stakes

::

with whatever conflict is

::

going on yeah is a whole

::

other level and it's

::

something really serious

::

that that is affecting it

::

at the level that there is a

::

suicide bomber in the

::

middle of New York City.

::

Like that to me was just another level.

::

With an American flag.

::

With an American flag.

::

Because again, I think the thing,

::

and from listening to

::

interviews and things like that,

::

I think that's the thing

::

that we're trying to go here is that,

::

I think the statement is like,

::

we all assume none of this

::

can happen or you see it

::

somewhere else and you go, never here.

::

And then what Alex Garland

::

does very well as he goes is,

::

No, this stuff happens everywhere.

::

It's not unrealistic to

::

assume that it could happen here.

::

One interview I want to

::

share with and I'll share

::

with in the chat.

::

Lisa Fottle from NPR

::

interviewed Alex Garland

::

and she Leslie Fottle.

::

I can't remember her first name,

::

but she used to be a military reporter.

::

She was on front lines in

::

places like Baghdad and

::

Cairo and parts of Africa.

::

And one thing she says is she goes,

::

so tell me about why did

::

you make some of these choices?

::

He goes,

::

because whether we want to admit

::

it or not and whether it

::

gets covered or not,

::

these things are happening.

::

And that's why the press is so important,

::

because they have to shed

::

the light on and you have

::

to see it like you have to

::

see it to believe it,

::

that it could happen.

::

And so I think that that to me.

::

That statement compared with

::

that scene with the American flag goes,

::

okay.

::

Yeah.

::

That's,

::

that's why we're following them

::

around is we have to see

::

this to believe it and to understand it.

::

Okay.

::

Yeah.

::

All right.

::

All right.

::

Next question.

::

Marcus, what was yours?

::

Oh, do you want to, did you have one?

::

Hey,

::

Yeah,

::

my pop moment is probably the it's

::

really late in the movie,

::

but after it's her crawling

::

out of the pit on top of dead bodies.

::

Yeah.

::

And what got me was it's the

::

length and the duration of

::

the shot because it didn't

::

just show that she fell in

::

the pit and landed on bodies.

::

They showed her struggling

::

to climb over dead bodies

::

to get out of the pit.

::

It was grotesque.

::

And the way it's framed like

::

it when you see that pit

::

and you're standing on the

::

outside of it looking at it,

::

it doesn't look big.

::

But then when she's in there,

::

that that fucking pit takes

::

up the entire frame and you

::

are just trying to figure

::

out where she is.

::

in what literally is a pile

::

of dead bodies.

::

Brian,

::

it is what makes it... When you said

::

it's a horror movie, I was like, no,

::

he's not wrong.

::

That scene alone was like, holy shit,

::

what a scary moment to see that.

::

That was crazy.

::

I mean, it did make me queasy, 100%.

::

And it...

::

I don't know.

::

I don't know.

::

I think it was just the

::

visceralness of Jesse,

::

like literally having to

::

climb over these dead bodies.

::

And to your point, Marcus,

::

like it's a lot deeper than you think.

::

And you're just in a dead bodies.

::

Um,

::

Yeah, it was chilling.

::

And here's why I like the scene.

::

I may have inferred entirely too deeply,

::

but like you said about the

::

environmental explanations and shots,

::

right?

::

If you look at where they are,

::

they are in a field of green grass, okay?

::

Like bright green, green grass.

::

They are also pouring

::

something before they get there,

::

which seems to be like

::

seeds or some type of

::

fertilizer or something.

::

It's...

::

So what I would have

::

imagined what they were

::

doing is that was a

::

perfectly cut out square.

::

It seems like they were killing people,

::

putting them in the dirt,

::

and then grass was growing

::

over the top of them.

::

So that entire field could

::

have been filled with,

::

I interpreted it to be like,

::

they have fields of people being killed.

::

Like, you know what I mean?

::

But maybe that's a stretch,

::

but I don't know.

::

It was something about...

::

It seemed like it was

::

inferring that they were

::

doing that constantly.

::

Yes.

::

To me, it went, oh,

::

what a convenient place to

::

cover up a war crime.

::

That's the thing.

::

Going back to a point I made previously,

::

we assume that war crimes

::

happen in a jungle a

::

thousand million miles away.

::

and it's not they can happen

::

anywhere and it doesn't

::

take much there are I

::

fucking we live in south

::

dakota like it wouldn't be

::

hard oh fuck hold on not

::

that but you know what I

::

mean like what I was trying

::

to say was it's not outside

::

of the mind to say what war

::

crimes were committed and then covered up

::

You know what I mean?

::

I almost went to a rabbit

::

hole where it said,

::

too hard to commit a war crime.

::

That is not the route.

::

Hey, NickyBT,

::

I swear to God I'm not

::

committing war crimes.

::

I swear to God.

::

I'm just trying.

::

I was going down a rabbit hole.

::

I had to stop myself.

::

I got excited.

::

But what I'm saying is that

::

it's not outside of the mind to say,

::

you know, if it were to happen,

::

North and South Dakota

::

would be great wet places.

::

Nope.

::

Go ahead.

::

No, because I'm trying to help you.

::

Because of mainly because of

::

the whole night.

::

She's like, what the fuck am I watching?

::

I'm just joining her.

::

yeah all right so the next

::

question is if you were a

::

war crime what war crime

::

you were a war criminal no

::

um what would be your crime

::

of choice thanks for doing

::

this where would you go huh

::

well clearly mine's mass

::

graves so clearly but no to

::

your point doug it's these

::

rural areas right that that

::

are out of the way that are

::

unsuspecting and it's

::

people who it is people

::

who don't think it can happen.

::

It's for people that don't

::

think it can happen.

::

Yes, it can easily happen.

::

I think what they were spreading was Lyme.

::

Oh, that's what it was, Brian.

::

It was.

::

But yeah,

::

I totally get that as a pop moment.

::

It made my stomach queasy.

::

Well done, Alex Garland.

::

I hated it.

::

Good job.

::

I hated it.

::

All right.

::

Can you give me your

::

favorite moment or least favorite moment?

::

I also take least like which

::

one did you like?

::

Oh, I don't like that.

::

But in like a good way or

::

which one did you like?

::

Oh, they explain that pic.

::

They painted that picture or

::

delivered that message very well.

::

I think for me,

::

one of the there's I think for me.

::

I hate to bring it back to a

::

scene that we've just spent

::

so much time talking about.

::

No, I think you have to.

::

But I think the way Jesse Plemons...

::

The man,

::

the way Jesse Plemons played that.

::

What kind of American are you?

::

That phrase of what kind of

::

American are you is sort of

::

like deep on so many other levels.

::

And it's just so masterfully listed.

::

He's so... I love it when...

::

someone is so calm, they become menacing.

::

And that's the thing about

::

him that I love the way he played that.

::

He was not on edge.

::

He didn't look like he was on edge.

::

He didn't look angry.

::

He didn't look mad.

::

He looked...

::

call and I'm going to ask

::

you a very matter of fact

::

question because I'm

::

prepared for whatever the

::

results are but here's the

::

thing nobody knows what the

::

right answer is and that's

::

the reason why it fucked me

::

up yeah and I you can say

::

I'm reading too much into

::

it but I that scene I think

::

one of the reasons it's so

::

scary is like you don't

::

know who he's gonna shoot and yes

::

And you're like,

::

who's going to make it out?

::

And in the back of my mind, I was like,

::

he's going to shoot all of them.

::

He's just dragging it out.

::

Because the reporter,

::

and I'm totally blanking on his name,

::

and I'm going to find it really quick,

::

but the New York Times reporter, Sammy...

::

He's absolutely right.

::

He's like, no, they're all dead.

::

If you go over there, you're dead.

::

And Jesse Plemons' character

::

was absolutely stringing it

::

out because he enjoyed it

::

or he enjoyed the power or

::

he just enjoyed leading the conversation.

::

And it's like,

::

there's not a win scenario here.

::

This is it.

::

Brian,

::

I think if you take it a step further,

::

I think the other reason

::

why it's so menacing is

::

We don't know what side he's on.

::

Yeah, we don't know.

::

They've never explained it.

::

Who is he fighting for?

::

Like,

::

is he fighting for the Florida Alliance?

::

Is he fighting for the president's army?

::

Right.

::

He asked him, though, and they asked him,

::

they said,

::

aren't you with the Western forces?

::

And he doesn't answer.

::

He doesn't answer.

::

He literally like skips right by it.

::

And you sort of go like, oh, fuck.

::

And that's the thing that

::

makes it so hard is if I

::

don't know who you are,

::

I don't know how to answer the question.

::

And it essentially becomes

::

this like standoff of you don't know me.

::

I don't know you.

::

So the only choice is we go

::

back to that scene where

::

it's like there's somebody

::

shooting at me.

::

So we're shooting at them.

::

That's what this is.

::

And that's again,

::

it just takes it to another

::

level where it's it's menacing.

::

Like it is a menacing moment.

::

A hundred percent.

::

And I will answer your question, Marcus,

::

but I do want to take a

::

Films in Black and White

::

victory lap because we all

::

watched this preview and we

::

all went into the chat

::

about Jesse Plemons and we

::

all clocked that sequence

::

for exactly what it was.

::

We did.

::

We talked about it.

::

I can't remember what episode.

::

I'll bring it up later.

::

But it was like,

::

Jesse Plemons is going to be

::

this awful white

::

supremacist and basically

::

that's what ended up

::

happening so I just want to

::

take a victory lap here

::

please join us for our

::

podcast follow us for more

::

futuristic insights of what

::

you can expect in movies so

::

Look,

::

you gotta give credit where credit is

::

due.

::

That's true.

::

We saw Jesse Plemons and we were like,

::

this guy's gonna be bad news for us.

::

We know what he's like when

::

he pops up in roles.

::

It's like, he pops up and he's like,

::

oh yeah, that guy's gonna fuck some shit.

::

He just asked what kind of

::

American we were.

::

And remember,

::

he was married to Kristen Dunst.

::

So I leaned over in the

::

movie and I randomly said,

::

I wonder what their sex is like.

::

Right.

::

Okay.

::

Okay.

::

I just want to be honest.

::

I bet it's weird.

::

Does he wear those glasses?

::

Yeah.

::

Those glasses were a touch.

::

Those are my Bubbler glasses.

::

They gave me those when they

::

sent me packages from Bubbler.

::

And I was like,

::

how the fuck did he get those?

::

Okay, so don't drink Bubbler, apparently.

::

Hey, hey, hey, hey.

::

Whoa, whoa, whoa.

::

That's what I heard.

::

That's what I heard.

::

We know you're listening.

::

Reach out to us.

::

We'll share our media.

::

Stop sending glasses to white supremacists,

::

Bubbler.

::

No free passes from me.

::

We'll advertise you on a bracket about,

::

like, your favorite Marvel characters.

::

What's your favorite drink?

::

It's Bubbler every time.

::

Oh, man.

::

But, I mean, to answer your... I mean,

::

obviously,

::

I think that the scene that we

::

just talked about is, like,

::

one of the best sequences in the film.

::

But I think, for me, one of the other,

::

like,

::

good sequences in the film for me was...

::

when they get to the Western

::

forces forward base and

::

essentially they've just

::

survived Jesse Plemons.

::

Um, we have Sammy bleeding out.

::

He's probably not going to make it.

::

And like the way they use

::

sound to kind of convey all

::

this anger and sadness,

::

like there's these Chinook

::

helicopters that are just like,

::

I was worried my,

::

my theater speakers were

::

going to blow out.

::

Cause it was so loud.

::

We don't have a million.

::

Oh, okay.

::

Um, but like, it was just like the dum,

::

dum, dum,

::

And it's like dropping off a Humvee.

::

But you see I mean, you see Joel,

::

the character Joel,

::

just screaming because he

::

just lost a friend and

::

everyone is processing.

::

But I thought that was a

::

really I don't know that I

::

just thought that was a

::

really cathartic and

::

creative way to convey this sense of loss,

::

to convey the sense of

::

futility and to have this

::

oppressive noise on you,

::

just like this unrelenting feeling.

::

This unrelenting force you

::

can't get rid of,

::

and all you can do is try

::

to deal with it.

::

I thought that was very well done.

::

I want to add,

::

and then you combine that

::

with the fact that Kristen

::

Dunst is literally cleaning

::

her friend's blood off the seat.

::

And there's all of this

::

cacophony of sound.

::

It's just so much in that moment.

::

with the gut punch that

::

they're like oh yeah by the

::

way they like surrendered

::

the war's over the war's

::

over oh so we did so we did

::

all of that for nothing

::

cool which is I was not

::

expecting that in this

::

movie no and I applauded in

::

this movie I think it is so

::

smart and I think it makes

::

so much sense for the

::

finale which I'll talk

::

about at another point but

::

it's like this makes sense

::

like all of this does

::

narratively make sense and

::

it focuses on the right things

::

Yeah, I think for me,

::

my favorite moment was the transition.

::

So there's two parts in the

::

final scene when they go to

::

the White House, right?

::

They have the scene where they're at.

::

There was a black man who

::

was a soldier who was

::

hiding behind the column.

::

And he's leading,

::

the journalist is leading

::

the younger photographer by

::

holding the back of her like jacket.

::

bulletproof vest right

::

through the thing and kind

::

of guiding her to keep keep

::

the eyes together I asked

::

doug like why why is he

::

doing that why is he doing

::

it he said to keep her

::

moving to keep her like

::

yeah she slows down she

::

gets in the way and

::

somebody gets shot it's on

::

her right and so and I want

::

to add to that I love this

::

idea that the journalists

::

are so much involved nobody

::

ever stops them from being

::

a part of like oh the

::

military is about to push

::

into the white house

::

Oh, yeah.

::

Include them into like

::

they're giving signs and signals of like,

::

yeah, we about to go in right here.

::

You need to hop in right

::

here and are just molding

::

them right into the function.

::

Well,

::

and I don't know if this was intentional,

::

but it definitely felt like

::

the Western forces, they wanted that.

::

They right.

::

They wanted those news reporters.

::

They wanted to.

::

I said that at the end, Brian.

::

So that was going to be my next point.

::

Oh, everybody loves you.

::

Everybody wants to be a part of history.

::

Right.

::

And so that's the picture

::

that goes in the history

::

book is look at how they

::

posed up in front of the body.

::

And that's what we would do overseas,

::

you know, in other countries.

::

But to do that in your own

::

land in the White House is

::

a crazy thing to think about.

::

Right.

::

Like Nazi flag on January 6th.

::

Mm hmm.

::

Right.

::

You know, I mean, so.

::

You know, I'm just spitting facts.

::

These are things that happen.

::

So one of the things that I

::

liked was on the back end

::

when they're storming and

::

actually going into the White House,

::

it transitions where Jessie

::

is no longer afraid.

::

She's going to go get those fucking shots.

::

But the person that he has

::

to lead and push forward is

::

Kristen Dunst.

::

Because she's throwing up.

::

She's crying.

::

She can't stop going.

::

And he looks at her at one

::

point and is kind of like,

::

He looks at her and the way

::

he looks at Jesse like, oh God,

::

this transition has happened.

::

She's not going to get the shot.

::

Jesse's going to be the one

::

to get the shot.

::

And I like that.

::

And then when she gets shot,

::

there's a scene or this

::

snapshot of Jesse laying

::

next to the body of Kristen

::

Dunn's character.

::

And there's bullets,

::

there's bullet casings surrounded her.

::

There's two bodies next to each other.

::

And when she gets up,

::

there was almost this

::

transference of like spirits, souls,

::

feelings.

::

Ah.

::

When she laid down,

::

she laid down in her innocence,

::

but when she got up,

::

she got up as this numb

::

character of what Kristen Dunst was.

::

She embodied everything that

::

Kristen Dunst was.

::

Did not hesitate to get the shot,

::

did not hesitate to get anything.

::

Yeah, that was her transformation.

::

That was the climax of her transformation.

::

Yep.

::

That's an amazing call-out

::

and description of that

::

because I didn't think that

::

in that moment because I'll be honest,

::

the assault on the White

::

House is so well done,

::

I didn't have time to think about it.

::

And that's the part, by the way,

::

that's the part of the

::

third act that surprised me

::

when I'm referring back to

::

what I said earlier because

::

I thought basically when

::

the cars drive out of the White House...

::

This is it.

::

It's going to be a whimper, not a bang.

::

Then it was this moment.

::

I don't even know how to describe it.

::

When Kirsten Dunst looks at

::

the White House, she's like, no,

::

he's in there.

::

I'm like, no way.

::

Marcus fucking called that shit.

::

Oh, man.

::

Those are decoys.

::

He's in there.

::

And just this idea of one,

::

there's more of the movie left.

::

Amazing.

::

But two, oh no.

::

You know the whole thing.

::

Oh no.

::

It's not a haunted house,

::

but it's just this house of

::

horror of you know exactly

::

what's going to happen.

::

And it wasn't the fear of

::

what's going to happen.

::

It was the fear of I know exactly.

::

This movie has told me

::

what's going to happen.

::

And it's going to be awful.

::

And there it is.

::

You go straight down the hallway to it.

::

Man, yeah,

::

I just really liked that action sequence.

::

So I'm really glad you brought that up,

::

Marcus.

::

All right, two more questions.

::

What was your favorite

::

picture that was taken in

::

the movie that stuck with

::

you after it was over?

::

So for those that haven't seen it,

::

they do a combination of as

::

the movie is going.

::

So something that he does really well,

::

as I'm explaining,

::

allowing the guy some time to think,

::

There's an amazing contrast

::

that Alex provides here

::

because there was a song

::

that was randomly played and I was like,

::

why the fuck are they

::

playing this song with

::

everything that's happening?

::

But one thing he does really

::

well throughout the movie

::

is capture the contrast of things.

::

There is a car wash.

::

with bodies hanging in it.

::

There's all of these

::

different shots of like the

::

White House and a military

::

person with a gun in the

::

White House in rooms that

::

are like legendary.

::

So he captures all of these

::

moments really well.

::

Was there a picture that

::

stood out to y'all that

::

they kind of flashed on the

::

screen the most?

::

I can start.

::

I liked.

::

Yeah, go ahead.

::

I liked when the friend, you know,

::

they were trying to get the

::

guy from behind the column

::

and like Brian said,

::

they're dressed in shirts.

::

You have these regular dudes

::

that are dressed in these

::

regular Florida shirts,

::

like these button-ups, Jimmy,

::

Margarita time type shirt.

::

Bulletproof vest.

::

Yes.

::

With like a bulletproof vest

::

over the top of it.

::

And the guy is reaching out,

::

like trying to resuscitate

::

or trying to bring back his friend and

::

And you can see the life leave his body.

::

I thought that that was a

::

perfect capture of like at

::

the end of the day,

::

these are regular people fighting a war.

::

Yes.

::

That have been recruited to

::

either fight a war or

::

volunteer to fight a war.

::

But they're not like dressed

::

in military clothing head to toe.

::

They got a fucking

::

bulletproof vest on with a

::

shirt from JCPenney.

::

Yeah.

::

So I thought that that

::

picture captured things really well.

::

Yeah,

::

I think that was going to be mine too,

::

Marcus.

::

I think the way that it was

::

framed and the way that it was shot,

::

the way that he's reaching

::

back at that moment,

::

I thought that was just

::

really – because he's calling for help,

::

but it's like he's the only

::

one who doesn't know.

::

He's going.

::

The rest of them know,

::

and they're like standing there,

::

but he's still fighting.

::

I thought there was a lot to that.

::

I was going to make an ankle back joke too,

::

but I decided not to.

::

That's how you remind me, Doug.

::

Look at this photograph.

::

Oh, yeah.

::

That's fair game.

::

We need a little bit of levity.

::

Marcus,

::

that is really inappropriate that

::

they would say,

::

look at this photograph by

::

Nickelback in the middle of

::

a song about war photography.

::

It's just rude.

::

It's insensitive.

::

That's what it is.

::

Brian, keep going.

::

I mean I think for me I

::

appreciated the photograph

::

and I think I'm remembering

::

this correctly of the

::

downed helicopter in front

::

of the JCPenney I liked it

::

mainly because narratively

::

it's like where I mean it's

::

kind of where these two

::

characters of you know Lee

::

and Jesse are starting

::

their journey together and

::

they're trying to figure

::

out what they are but also I feel like

::

It's giving this vibe of like, yes,

::

this can happen where you live.

::

There could be a downed Huey

::

in front of your mall.

::

This isn't that far off to make believe.

::

And I know there's some

::

other critics and reviewers that are like,

::

I couldn't get with it.

::

Like I couldn't believe,

::

or I couldn't buy into what I was seeing.

::

Like it wasn't real enough.

::

And I just don't get that.

::

I didn't, that was not my perspective.

::

It seemed very like the

::

photography that was done.

::

It was like, everybody knows a JC Penny.

::

No one would ever think a

::

war would be there.

::

So having those two things

::

next to each other in that contrast,

::

I thought did its job,

::

even if it was on the nose.

::

Yeah.

::

Yeah.

::

Agreed.

::

I like it.

::

Yeah.

::

I think, yeah, Brian, that was well said.

::

Yeah.

::

I think, I think that was a,

::

I think that that's where

::

Kristen Dunn starts taking

::

some responsibility for

::

Jesse a little bit.

::

And that's such a good, that's such a,

::

it's like one of the really

::

good wholesome moments in the movie.

::

I couldn't tell what their

::

relationship was.

::

Not that you really needed to.

::

I was trying to figure out

::

what their relationship was

::

trying to flourish into.

::

If it was mother-daughter, sister-sister,

::

or romantic.

::

I don't think there's any romance in here.

::

There was one scene that

::

made my stomach curl, which was the lead

::

journalists trying to hit on

::

jesse in the back of the

::

car well he was like you

::

don't want to be scared

::

alone don't be afraid oh

::

you're doing a very

::

specific person's voice

::

that's not his voice so

::

we're just gonna I think

::

you might be projecting a

::

little bit you don't want I

::

understand wait no that's

::

right what the fuck am I

::

projecting I don't start

::

with me I don't know man I

::

don't know what it is

::

I did not read it as romantic,

::

but I do... I get what you're saying,

::

though, Marcus.

::

I understand how it can be read as...

::

as romantic when they're

::

trying to dress on I was

::

like huh okay okay yeah

::

there was like some type of

::

tension there and also like

::

kind of with the movie

::

you're like I don't know is

::

this guy legit like he kind

::

of seems like a few fries

::

loose of a happy meal um

::

because he's just like

::

because he just is like

::

such an adrenaline high so

::

you're kind of like not so

::

sure about him at times in the movie

::

A few miles loose of a Happy Meal.

::

I mean, like, but the movie goes on.

::

They're in the box, Brian.

::

No, it doesn't matter.

::

They're not in the actual Happy Meal.

::

A Happy Meal with no toy is

::

kind of psychopathic.

::

What's the point?

::

And he's an adrenaline junkie.

::

That ends up what it is.

::

He doesn't have other

::

motivations other than getting that.

::

Don't be afraid, dude.

::

Don't be afraid.

::

Don't be afraid to wake up.

::

I understand why you read

::

that scene that way, though.

::

Yeah, it was very creepy.

::

All right.

::

Last question.

::

What is our favorite type of war crime?

::

Yeah, yeah, yeah.

::

That's an inappropriate

::

question that I'm not going to answer.

::

She actually submitted a question, Doug.

::

She said specifically, Doug,

::

where would you commit a

::

war crime and what is your

::

current address?

::

And I plead the fifth.

::

That's weird.

::

That's weird.

::

The FBI is that way.

::

All right.

::

Yeah.

::

Did you guys hear that glass

::

shatter like in unison?

::

Oh, wow.

::

All right.

::

They're asking me questions.

::

What did the journalist represent to you?

::

Oh, I thought about this.

::

I can go.

::

Yeah, I did.

::

Go ahead, Brian.

::

I this this movie is very much to me.

::

It's very a lot of a lot of

::

things in this movie are

::

pretty clear to me.

::

And I feel like again,

::

my interpretation is that

::

these journalists are

::

basically they are

::

representing this like last

::

line of defense to the nation's soul.

::

Not to be dramatic,

::

but that's kind of what it

::

feels like of just this nation that

::

has kind of become complacent and,

::

and they, there, there are people, they,

::

they make comments during the movie,

::

again,

::

more environmental contextual

::

storytelling about how

::

Jesse's family and Lee's

::

family know there is a

::

civil war happening.

::

They do not care.

::

They're on a farm and they do not care.

::

And I think that,

::

later in the movie, as you, you hear Lee,

::

she's like,

::

part of the reason I did this

::

was so that like,

::

I would take these photos

::

and I would send them back,

::

letting people know like,

::

this is terrible.

::

Don't do this.

::

Or like avoid this at all costs.

::

And that is a little bit in

::

contrast when she also says

::

during the movie, like, Hey,

::

we're not here to make opinions.

::

All right.

::

We're here to take pictures

::

and let everybody else sort them out.

::

And she kind of betrays

::

herself in that moment of like,

::

The whole reason I did this

::

job was to show how terrible it was.

::

So I was like, so you did care.

::

You did have an opinion.

::

You weren't unbiased,

::

even if you didn't think you were.

::

And the line is,

::

I take the pictures and

::

somebody else puts the story together.

::

Exactly.

::

And so it's like journalism

::

is this window to the world

::

to show people like this

::

isn't the way to go about things.

::

These are the terrible things that happen.

::

And to me,

::

it is this story of how these

::

journalists tried to do

::

that and nobody listened.

::

Nobody cared.

::

Nobody listened.

::

people were ambivalent and

::

that that is the theme I

::

kind of drew out of it

::

because there are people

::

that I know that are like

::

oh I actually just don't

::

read the news at all I

::

don't read the news at all

::

and I'm so much happier and

::

it's like fake news fake

::

news yeah um like cool for

::

you but like there are

::

there are things that are

::

happening that are hurting

::

people that you can even

::

get involved with at a local level

::

that you can help your

::

fellow community members.

::

And obviously this is taking

::

it to a dystopic extreme,

::

but like this world happens

::

partly because there are

::

ambivalent people not

::

caring and not doing anything.

::

And these journalists are,

::

Essentially, it shows them failing.

::

They failed to inform the

::

nation or sway them in any

::

particular way.

::

And it's not necessarily their fault,

::

but they didn't do what

::

they set out to do.

::

I mean,

::

even even what's his name in the

::

older gentleman,

::

the older journalist says, oh,

::

it's happened.

::

Kristen Dunst Lee has lost her art,

::

love of the art of journalism.

::

Yeah.

::

And it happens like she's so numb to it.

::

Yeah.

::

Sammy.

::

Yes.

::

Thank you.

::

Sammy says, oh,

::

Lee's lost her art for journalism.

::

And and kind of he was right.

::

He was absolutely right.

::

He didn't lie.

::

And you can see it in her

::

eyes that she just didn't

::

have that same passion until Jesse.

::

kind of come back since she

::

sees this picture that

::

Jesse took and says, that's the one.

::

You know what I mean?

::

And she says, that's the one,

::

so you can see it.

::

I think for me, the journalists are,

::

I just think,

::

I don't know what they represent,

::

but you can see that

::

they're more protected.

::

And so I feel like you see

::

see that when you wear the vest,

::

you're a little bit more protected.

::

You need to wear Kevlar.

::

You need to... Just ignore it.

::

You need to wear Kevlar.

::

You need to wear the hard hat.

::

They are easily welcomed into the fold.

::

People want you to capture their moments.

::

They want you to capture

::

what the fuck is going on

::

on their side of things,

::

and they protect them

::

during the duration of it all.

::

When we went to LA, we road tripped to LA,

::

and we were with...

::

We were with the guys that do L.A.

::

Sundays where they block off

::

the street intersection.

::

They do a lot of of Nikki is defending us.

::

And I think there is like L.A.

::

Sundays, they block off the intersection.

::

They do like the car tricks

::

and all that other stuff like that.

::

One of the things we had,

::

we all had cameras when we

::

were going and we told them

::

we were with media.

::

They immediately welcomed us

::

into the fold and would

::

tell everybody as we got to new places,

::

they're with us, they're with us,

::

they're media.

::

Because they wanted us to

::

capture what was going on

::

and being a part of that moment.

::

And that was kind of what I

::

felt like with this movie was, you know,

::

when you're on whatever side,

::

you want your story to be

::

told through the eyes of the journalist.

::

And if a journalist is with

::

you and you let them in,

::

they can tell your side of the story.

::

You know what I mean?

::

And I think that there's a

::

deeper message there,

::

but I can't really put it

::

into words at the moment.

::

No, I think you got it.

::

I do think that is... And I

::

think you underscored it

::

too with your earlier point

::

about how the Western forces were like,

::

no, no, no,

::

you stack up with me because

::

we need the reporters when

::

the moment happens of it

::

being a when and not an if.

::

Right, right.

::

Thank you, Brian.

::

Yeah.

::

I think for me...

::

I look at there are two, unfortunately,

::

in the times that we live in,

::

I think that there are two

::

types of truth.

::

There's lowercase truth,

::

like lowercase t truth,

::

which is subjective to the individual.

::

And I do personally believe

::

that there's uppercase truth,

::

which is what really happened.

::

Right.

::

Like there are there are facts.

::

Right.

::

And what I appreciate and

::

what I think that these

::

what I think that this

::

movie does an excellent job

::

of is I think that it

::

really shows that

::

journalists are the

::

crusaders for capital T truth.

::

Like they are they are

::

they're trying to against all odds.

::

I mean,

::

they are in they are in an

::

environment where.

::

where the president does not

::

like you has actively

::

rejected you has said if

::

you set foot in washington

::

dc you're basically the

::

rumor is no confirmation

::

but the rumor is you're

::

executed on site like all

::

of that there and yet you

::

are still committed to go

::

to the one place no one

::

else would go that's a

::

commitment to uppercase t

::

truth that I think is yeah

::

So I think he does a good

::

job of painting these folks as heroes.

::

I do think, Brian,

::

you bring up an interesting

::

discussion that I've had a

::

hard time with squaring up,

::

which is this idea of

::

people who are ambivalent.

::

Because on one part of me,

::

I get and I empathize with

::

their ambivalence.

::

Some folks' brains,

::

the notion of trying to

::

understand what is

::

happening thousands of

::

miles from you is anxiety-producing.

::

And so through a series of self-protection,

::

you have to be like, I just can't.

::

I can't do it.

::

And I think,

::

but you also then also that to

::

the other side,

::

because you're absolutely right.

::

Like even educating yourself

::

to a certain point,

::

even if you do nothing about it,

::

at least now, you know, right?

::

Like there's, there's some of that,

::

that knowledge,

::

the GI Joe's weren't wrong.

::

Knowledge is power.

::

Like the more you know about it, the more,

::

you know, the more, you know, is, is,

::

is certainly a really true phrase.

::

So I think.

::

Like,

::

I think I think there's just a lot

::

there for me that I think

::

this movie does a good job of saying,

::

like, who should you feel?

::

Who are you mad about the fact?

::

Like, who are you more like?

::

Are you more like?

::

lee who's like mad that her

::

family in colorado is

::

actively like putting their

::

heads in the sand or are

::

you more like jesse who's

::

eh fuck them like if they

::

don't want to believe it

::

that's fine this is the

::

story I want to tell and I

::

think it does a really good

::

job of being like you can

::

both be doing it for

::

different reasons yeah but

::

so long as you're going for

::

that ultimate pursuit of

::

like uppercase t truth I

::

think you're in yeah you're

::

in good spot anyway

::

I have to agree.

::

I do have to, you know,

::

I've been having a lot of

::

conversations about Gen Z.

::

I'm actually reading a book

::

and I can't remember.

::

Oh, everybody.

::

It's just it was a book that

::

was given to me from my

::

supervisor and just kind of, you know,

::

I've been having a lot of

::

conversation about feeling

::

your feelings and how this

::

generation loves to feel their feelings.

::

And I do understand not wanting to.

::

You know,

::

you don't want to do that all the time.

::

Right.

::

Like for me,

::

I can't turn the TV on and just so sure.

::

But I can't also I also

::

can't afford to be unaware

::

of what's going on and be

::

just oblivious and ignore

::

what the fuck is going on.

::

It is a balance that has to be made.

::

And the type of journalist

::

and journalism also matters.

::

Right.

::

Because some are sleazebags

::

and they only want to do it

::

to get a story to get

::

something out for just like hot.

::

Oh, yeah.

::

Real quick shit.

::

Some are still trying to

::

capture like the moderate

::

journalists that aren't

::

trying to push a propaganda

::

or an agenda are still

::

trying to like figure it out.

::

You know what I mean?

::

Like it's, it's, it's just,

::

it's kind of crazy,

::

but that's kind of where I'm at.

::

Gentlemen,

::

I didn't have any other questions.

::

Anything else from the movie

::

that we felt like we wanted

::

to cover that we missed

::

that was important.

::

I mean, I, I,

::

I just wanted to say that

::

the cinematography in this is incredible.

::

It's going to get an award.

::

It's incredible.

::

It is the lighting that they

::

use is just like I could

::

talk to the like I would be

::

happy to talk to the

::

lighting specialists who

::

worked on this movie

::

because they did a scene in

::

pitch black and I don't

::

know if they only used

::

firelight to simulate or

::

like to get the light.

::

It was like they shot it in pitch black.

::

They shot it at night.

::

Sorry.

::

That's me.

::

I thought we were talking

::

about the movie Pitch Black.

::

Oh, fuck.

::

Riddick was in it?

::

Riddick was here?

::

Where was his bald-headed ass?

::

Sorry about that.

::

Girl,

::

they shot this movie in the dead of

::

night.

::

That wasn't a joke.

::

That was dead serious.

::

That was not even a joke.

::

I'm not even going to play

::

it off like I was joking.

::

This movie is so serious.

::

I welcome Vin Diesel showing

::

up and being like,

::

I did have to get on this spaceship.

::

That's a terrible Vin Diesel.

::

Because this movie does such

::

a good job of being like,

::

you should be scared.

::

You should try to avoid this.

::

Like, what are you doing?

::

But anyway, the lighting is phenomenal.

::

The way that the shots,

::

like shot composition,

::

it is of course also amazing.

::

But just these wide,

::

the ability to have these

::

wide panoramic views of

::

destruction and then

::

focusing on these really, really

::

quiet or loud small moments

::

like in the corner of an

::

office park that's a

::

battlefield or in the white

::

house or like in one

::

intersection of a city

::

street and make it feel big

::

and small all at the same

::

time it's just like if you

::

haven't go watch 28 days

::

later like if you if if

::

this is your first

::

experience with alex

::

garland go watch 28 days

::

later and then the rest of his work um

::

I've seen everything except men.

::

Um, so I can't really talk about that,

::

but I,

::

you'll enjoy it if you enjoyed that,

::

this movie.

::

So I just wanted to give a

::

shout out for that.

::

Cause I feel like it really

::

added that the gravitas to

::

this movie that it needed.

::

Word.

::

Um, yeah.

::

Uh, do we, uh, anything else with this?

::

Anything else?

::

I do not have anything else.

::

I think we covered it really, really well.

::

I certainly would go see it.

::

Like it was well done.

::

It's worth a watch.

::

If you can see it in theater.

::

Great.

::

If not,

::

I think this would be just as

::

enjoyable at home.

::

Like one of those.

::

So like, if you can't get to a theater,

::

don't, don't sweat it.

::

But I think it's,

::

it's going to be good

::

wherever you watch it.

::

So certainly worth a watch.

::

For sure.

::

Absolutely.

::

I mean,

::

if you sat through this and you

::

haven't seen the movie and

::

you're still interested, go to an IMAX.

::

Go to an IMAX and watch this.

::

Because you're in for a treat.

::

I wasn't able to get to an IMAX, but yeah,

::

I wanted to say that out

::

loud because the sound is a shame.

::

Brian,

::

do we know what we're going to

::

review in the future here coming up?

::

Yeah, I do see the chat comments.

::

Nikki gets an award because

::

she heard the war crime

::

comment and she went,

::

maybe I should stick around.

::

And then followed us as our

::

first Twitch follower to

::

write off the war crime comment.

::

Out of context.

::

Most outer context that you

::

can say for this movie.

::

You can catch the beginning

::

of this every Wednesday

::

when we drop the audio on everywhere.

::

Films in black and white.

::

Our episodes come out

::

Wednesday wherever you get podcasts.

::

We haven't decided on a movie.

::

What would you like us to review?

::

Next week, we're going to do a bonus.

::

We're going to watch The Life Aquatic,

::

which is a Doug Wagner recommendation.

::

That'll be exclusive for our

::

Patty family folks.

::

It'll come out on Monday,

::

but the podcast itself will

::

release that same Friday.

::

You'll get it either way.

::

Then I think after that,

::

we've got to check the calendar,

::

but we'll keep it updated.

::

yeah we'll uh yeah um we'll

::

release a new calendar for

::

may 2 with that coming up

::

and then next week is

::

probably going to be a news

::

roundup episode our

::

listeners that are

::

listening to this in

::

podcast format uh so you

::

can look forward to that

::

and then we'll be recording

::

our bonus episode next week so

::

So it's going to be one of

::

those shorter news episodes,

::

but bonus and early access

::

to that for our Patriot.

::

We might even talk X-Men 97

::

a little bit next week.

::

We got some shit to unpack with that too.

::

So I think there's some shit

::

to unpack there too.

::

Yes.

::

Gentlemen,

::

we have reached the lovely time

::

where it is time to plug things.

::

Brian, what do you got to plug this week?

::

Before I plug,

::

I just want to give a shout

::

out to everybody in our chat.

::

Our chat was exceptionally active tonight,

::

and we appreciate that.

::

Nikki, Mason, Roman,

::

everybody who stopped by our chat,

::

thank you so much.

::

So the one thing I'm going

::

to plug here is my wife's Etsy store,

::

Color Me Confetti.

::

Head over to Etsy.

::

Type in Color Me Confetti

::

for all of your printable event needs.

::

You throwing a party?

::

Don't go to Amazon.

::

Don't go looking for overpriced stuff.

::

Just go to Etsy on Color Me Confetti.

::

You just print that stuff out.

::

You got a printer.

::

You got paper.

::

Print it out.

::

It's all at home.

::

Color Me Confetti on Etsy.

::

Absolutely.

::

Marcus J., what do you got, sir?

::

Make sure you follow the mantra,

::

never offended, always humble,

::

or N-O-A-H for short.

::

You can hit the link in my bio,

::

Marcus J. Destin, on all socials.

::

Buy yourself some gear,

::

listen to some music, stream some music.

::

I got music out right now.

::

S-O-U-L-T-Y-E also has music

::

out right now.

::

But whatever you do, stream the music,

::

stream the mantra, wear the mantra,

::

love the mantra, never offended,

::

always humble.

::

I want to plug this podcast.

::

So if you enjoyed our

::

conversation about civil war,

::

head over to wherever you

::

get your podcast,

::

check out some more of our episodes,

::

share us with a friend or a

::

family member.

::

That is the best way for a

::

small podcast to grow.

::

So pass along that way.

::

If you're feeling generous,

::

head over to patrion.com

::

slash films in black and white,

::

sign up for one of our tiers there.

::

That's how you get all the

::

fun bonus stuff we're doing.

::

But,

::

But in the meantime,

::

we have a three-step process to success,

::

gentlemen.

::

Brian, lay us down with that first step.

::

Hey, folks.

::

I'm here to tell you to read a book.

::

Marcus is already living this.

::

He's a living embodiment of this.

::

Read a book, all right?

::

And it can be nonfiction.

::

You can just read about the

::

things happening around you

::

or read a newspaper.

::

What this movie is basically

::

begging you to do is just

::

read about the things that

::

are happening around you.

::

Begging you, please, just read books.

::

Any about the current events

::

happening around you.

::

Read a book.

::

Yeah, absolutely.

::

Marcus, what's that second step, sir?

::

If you want to survive the

::

apocalypse or a third term president,

::

make sure you drink some water.

::

You just never think about

::

when the apocalypse or

::

dystopia area happens.

::

You always forget.

::

Like you take it for granted.

::

Drink some water.

::

I mean, keep your piss clean.

::

It's important.

::

And most importantly, look, y'all,

::

wash your ass.

::

You got to wash your ass.

::

Also got to wash your legs.

::

Look,

::

some of y'all are just getting in the

::

shower and you're not washing waist down.

::

And it smells like we can find.

::

We know.

::

We know when it happens.

::

Wow.

::

I know you think, oh,

::

the water's just going to

::

run down my legs and it'll be fine.

::

It's not true.

::

You're just wetting up funk.

::

You know, when you sit down,

::

you can still smell you.

::

That air that comes off your ass.

::

Adding tips.

::

Yes, that is how our population skews,

::

NickyVT.

::

This is not for you.

::

You can go do whatever you want.

::

Anyway,

::

but this is like so it's all like

::

you're not washing waste down.

::

You're not scrubbing your legs.

::

You're just basically making it worse.

::

So here we go.

::

That's that's just where we're at.

::

So be sure to wash your ass.

::

Look, y'all,

::

that does it for this week's

::

episode of Films of Black and White.

::

We'll be back next week with

::

another outstanding episode.

::

So in the meantime and in the between time,

::

stay safe, stay healthy.

::

We love y'all.

::

We appreciate y'all.

::

And we will catch y'all next week.

::

Any slick-ass comments?

::

Doug,

::

what war crime are you committing

::

after you get done with it?

::

None.

::

He's going to bed.

::

I'm going to bed.

::

You're going to wake up with

::

flashlights in your fucking face.

::

There's a flag on my work computer now.

::

They're going to come at me.

::

We got him.

::

I'm in a lot of trouble.

::

Bye, girlie.

::

Bye.

::

He's fucked.

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About the Podcast

Films in Black and White
A Comedy Podcast about Movies, Comics, and Pop Culture
Deep dive into the movie news of the week, featuring reviews and analysis for the more socially conscious moviegoer. Join Doug, Marcus and Bryan as they share their honest, in-depth, and hilarious perspectives on today's biggest movies, comics, and pop culture.
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Doug Wagner