The Dark Reflection of the American Dream in 'Falling Down'
This podcast episode delves into the multifaceted themes presented in the film "Falling Down," particularly focusing on the protagonist, Defense, and his psychological unraveling amidst societal discontent. We scrutinize the pivotal moment when he abandons his vehicle, symbolizing a rejection of societal norms and a descent into chaos, which sets the tone for his subsequent confrontations. The discussion juxtaposes his turmoil with that of Pendergrass, a character grappling with his own struggles, thereby highlighting the varying reactions individuals have to their respective crises. We examine the implications of pride, societal pressures, and the consequences of one’s choices, ultimately questioning whether Defense's actions are a product of his environment or an intrinsic flaw. As we navigate these complexities, we reflect on the broader societal commentary embedded within the narrative, pondering on the nature of morality and the human condition in a world rife with conflict.
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Takeaways:
- The podcast delves into the complexities of character motivations in the film 'Falling Down', emphasizing the theme of societal pressures and personal failures.
- A significant takeaway is the parallel drawn between the protagonist's violent actions and the societal neglect of mental health issues, highlighting a broader commentary on human behavior.
- Listeners are encouraged to reflect on their own reactions to frustration and anger, as discussed through various personal anecdotes related to everyday experiences.
- The speakers articulate a critical analysis of how pride and denial can lead to destructive behavior, urging a discussion on the importance of self-awareness and accountability.
Companies mentioned in this episode:
- Michael Douglas
- E.B. White Smith
- Joel Schumacher
- Ant Man
- Batman and Robin
- Batman Forever
- Three Amigos
- China Syndrome
- War of the Roses
- Romancing the Stone
- Jewel of the Nile
- The Game
- The War of the Roses
- Falling Down
Mentioned in this episode:
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Transcript
I think this.
Speaker A:I think this series has gone off the rails on more than one occasion.
Speaker B:I felt like all the exposition was very, very tight and well done.
Speaker C:Does William Shatner know that he's not a captain of a starship?
Speaker D:That's like Ricky Bobby.
Speaker D:He's covering his bases.
Speaker A:Same with Tom Cruise, you know.
Speaker A:Yeah, go ahead and say it, Phil.
Speaker C:Loud and proud.
Speaker C:Put it in the trailer.
Speaker D:It's like, once you start it, it's like, okay, I gotta see where this is going.
Speaker B:Yeah, like the.
Speaker B:The setup of the movie a lot.
Speaker A:That was the weakest part of that scene.
Speaker B:Sure.
Speaker C:That's a.
Speaker C:That's an emotional swing for 24, 48 hours.
Speaker A:Okay, fellowship of the real.
Speaker A:This time we are doing the Michael Douglas movie Falling Down.
Speaker A:We will be reviewing that, but first we want to do Sherry's notable quote, notable quotables.
Speaker A:All right, so let's do that.
Speaker A:All right, Sherry, hit us.
Speaker D:Okay, now, these are famous Michael Douglas movie lines.
Speaker A:Okay.
Speaker D:They may not be what he says, but it's famous movies that Michael Douglas is in.
Speaker D:And these are lines from the movies.
Speaker A:Okay.
Speaker B:We're guessing the movies, the movie's name.
Speaker A:But it may not be from Michael Douglas.
Speaker D:Might not be Michael Douglas saying it, or it could be.
Speaker D:It could be.
Speaker A:Okay, okay.
Speaker D:I don't think they are, though.
Speaker A:All right, we'll see.
Speaker D:Yeah, no, I don't.
Speaker D:I don't think any of them are what he actually says.
Speaker D:I think these are what people say to him.
Speaker A:Okay.
Speaker D:Anyway.
Speaker D:All right.
Speaker D:The first one.
Speaker D:When I watch you eat, when I see you asleep, when I look at you lately, I just want to smash your face in.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker A:War of the Roses.
Speaker B:Yep.
Speaker B:Yep.
Speaker A:Kathleen Turner.
Speaker D:Yep.
Speaker C:That's a fun one.
Speaker D:I.
Speaker D:I really like that movie, but.
Speaker A:I do, too.
Speaker D:It's.
Speaker D:It's a.
Speaker D:It's a crazy movie.
Speaker A:I didn't know that movie till about halfway through the quote, but.
Speaker A:Yeah, that's a good one.
Speaker D:Yeah.
Speaker A:All right.
Speaker D:Okay.
Speaker D:So that's what she says, Tim.
Speaker A:Oh, yeah, yeah.
Speaker D:Okay.
Speaker D:All right, next one.
Speaker D:What did you do?
Speaker D:Wake up this morning and say, today I'm going to ruin a man's life.
Speaker D:Oh, that is him saying it.
Speaker A:Oh, I know.
Speaker A:Do you know?
Speaker D:Do y' all know?
Speaker C:No.
Speaker D:Hear me say it again.
Speaker A:No, I know.
Speaker A:It's from messing the stone.
Speaker D:Yep.
Speaker A:Yeah.
Speaker A:Oh, again.
Speaker A:Get.
Speaker A:He's talking to Kathleen Turner at that point, right?
Speaker D:Yes, he is.
Speaker D:I forgot that that was what he.
Speaker D:Yeah.
Speaker D:Today I'm going to ruin a man's life.
Speaker D:Okay.
Speaker D:Yeah, no, that's another.
Speaker A:Yeah.
Speaker D:That with him.
Speaker D:And what's the guy's name?
Speaker D:Danny DeVito.
Speaker D:Yes.
Speaker B:Joan Wilder.
Speaker A:Look at the snappers.
Speaker B:Ira.
Speaker A:Ira.
Speaker D:And then that guy, they go knocking on his compound and he's Joan Wilder.
Speaker D:Yeah, he's such a fan.
Speaker B:You think he's like some big drug lord and he's a fan of Joan Wilder books?
Speaker D:What was the name of his.
Speaker A:My Little Mule.
Speaker D:Yeah, his little mule that.
Speaker D:He takes them out.
Speaker D:Okay, all right, last one.
Speaker A:Kathleen Turner.
Speaker B:Wo.
Speaker B:From Three Amigos.
Speaker B:Same actor.
Speaker A:Yeah, yeah, yeah, yeah.
Speaker A:And Kathleen Turner's legs in that movie are exceptional.
Speaker A:All right, enough of that.
Speaker A:Go ahead.
Speaker D:I'm not gonna.
Speaker D:I'm not gonna lie.
Speaker D:I think.
Speaker A:Okay.
Speaker D:Both movies.
Speaker D:The War of the Roses, she's.
Speaker B:Yeah, yeah.
Speaker D:Okay.
Speaker D:And then this is the last one again, it's one of his movies, but I don't think he said this.
Speaker D:Okay.
Speaker D:I'm not going to be ignored, Dan.
Speaker D:And I.
Speaker D:I wrote down is the most famous line from this movie.
Speaker A:I'm not going to be ignored.
Speaker D:I'm not going to be ignored, Dan.
Speaker A:I'm drawing a blanket crazy.
Speaker D:I'm not going to be ignored, Dan.
Speaker A:And it's a Michael Douglas movie.
Speaker D:Michael Douglas movie.
Speaker D:It's the.
Speaker D:I think I wrote down.
Speaker D:It's the most famous line from this movie.
Speaker B:I wasn't thinking it was a game, but I don't think that's it.
Speaker D:No, but I like that movie, too.
Speaker C:Good movie.
Speaker B:Yeah.
Speaker A:You might have got us on this one.
Speaker A:I don't know.
Speaker A:Hold on.
Speaker B:China syndrome.
Speaker D:No, no, what movie?
Speaker A:Is it a comedy or.
Speaker D:No, what movie?
Speaker D:Have I always said that before couples get married, they all.
Speaker B:Attraction.
Speaker D:Yes.
Speaker A:Oh, God.
Speaker A:I've maybe seen that.
Speaker D:I'm not gonna be ignorant to him.
Speaker A:Okay.
Speaker B:Yeah, yeah, yeah.
Speaker B:I was thinking he was saying it.
Speaker D:No, she said it to him.
Speaker B:Poor rabbits.
Speaker D:Yeah, we don't.
Speaker A:Yeah, that was good.
Speaker A:Yeah, that last one.
Speaker D:Sorry.
Speaker C:Those were tough, man.
Speaker A:Yeah, yeah, yeah.
Speaker B:I gotta show lathe more Michael Douglas movies because he only knows him as.
Speaker B:Him.
Speaker B:Yeah.
Speaker B:Hank Pym from Ant Man.
Speaker D:Oh, I've not seen it, man.
Speaker B:Yeah, he's like Ant Man's mentor or whatever, which is fine.
Speaker B:He's great in this movie, but you know what I mean?
Speaker B:You're like.
Speaker B:That's not pinnacle of Michael Douglas.
Speaker A:Yeah.
Speaker B:I would definitely know him as only Hank Bim.
Speaker D:You know, I'd like to watch the game again.
Speaker A:Yeah, I've seen it in a while.
Speaker A:Yeah, definitely.
Speaker A:Romancing the Stone and.
Speaker C:Oh, yeah, and Jewel of the Nile.
Speaker B:Yeah.
Speaker B:You don't like Joel as well.
Speaker A:I.
Speaker A:I like it.
Speaker A:All right.
Speaker A:But Romancing the Stone is.
Speaker C:I think out of all his movies, I've seen Ghost in the Darkness the most.
Speaker A:That's a good one.
Speaker A:Yeah, that's a good one.
Speaker C:You know, that's.
Speaker C:That's one of those films that are loosely based on events that may have happened.
Speaker A:Right.
Speaker B:Only the most incredible parts are true.
Speaker A:Yeah, that's right.
Speaker C:But it's still a fantastic movie.
Speaker A:No, it is very good.
Speaker A:All right.
Speaker A:Thank you, Sherry.
Speaker A:We ready for money.
Speaker A:Critics, fans.
Speaker A:All right, let's do it.
Speaker A:Okay.
Speaker A:My knee.
Speaker A:Critics, fans are falling down.
Speaker A:Now, this movie's budget was.
Speaker A:What was it?
Speaker B:$1,000,000?
Speaker A:Did I not write down what the.
Speaker A:What was.
Speaker A:I guess I didn't.
Speaker A:I think it was 49.
Speaker A:No, 25 million.
Speaker C:Yeah, I'm showing budget 25.
Speaker A:25.
Speaker A:Yes.
Speaker A:25 million dollar budget grossed approximately 40 million domestically and 96 million worldwide.
Speaker A:So sorry.
Speaker B:Made 96 and cost how much?
Speaker B:I have all just 25.
Speaker A:25 million.
Speaker A:And it made three times its money back.
Speaker A:96 million.
Speaker A:So if you figure 25 million for marketing.
Speaker A:25 million.
Speaker A:So it still made, you know, twice.
Speaker A:Twice, Yeah.
Speaker B:I was gonna say four times, but yeah.
Speaker C:And Hollywood financing this movie barely made money.
Speaker A:Well, I mean, it.
Speaker A:It say so.
Speaker A:So say it cost 50 million with making and marketing, it made 100 million.
Speaker B:96 then.
Speaker A:96 million, so 46.
Speaker A:Yeah.
Speaker C:So, I mean, it wasn't a dismal failure, but it wasn't a crazy, crazy success either.
Speaker C:From what I mean.
Speaker A:Yeah.
Speaker C:Looking.
Speaker C:Looking back on it, even Michael Douglas says this is his finest role.
Speaker C:I think it's my favorite performance by him.
Speaker A:Absolutely.
Speaker C:This movie was great, but I don't think it.
Speaker B:But I wonder, like, what were their expectations?
Speaker B:Because this was never.
Speaker B:This is not.
Speaker A:It's very low key.
Speaker A:It's a slow boil the whole time.
Speaker B:Not a blockbuster movie that's gonna, you know, come out making 100 million out of the opening weekend.
Speaker A:You know, I mean, the fact that it made that much as a slow burn.
Speaker B:Yeah.
Speaker C:Well, in the.
Speaker C:The writer of this, E.B.
Speaker C:rose Smith.
Speaker C:Yeah, this.
Speaker C:They never wrote anything before or after.
Speaker C:They were just kind of.
Speaker A:If I wrote this, I would never write another thing.
Speaker A:I mean.
Speaker C:Yeah, I mean, maybe this is a giant success, but I mean, in Hollywood terms.
Speaker A:Right.
Speaker C:In a barn burner.
Speaker C:Crazy money maker.
Speaker A:Right, right.
Speaker B:Never wrote anything again, huh?
Speaker C:From what I understand.
Speaker C:Let me see.
Speaker A:I've never heard of this guy.
Speaker B:I meant to.
Speaker B:He's.
Speaker C:I should have researched small time actor type guy.
Speaker C:Just a Daily.
Speaker A:Yeah.
Speaker C:But, yeah, this was his only writing thing.
Speaker D:Maybe an actor that got stuck in traffic and had.
Speaker C:Well, think about it.
Speaker C:From what I understand, he got Joel Schumacher to read it and loved it.
Speaker C:And then Michael Douglas read it, loved it.
Speaker C:And Michael Douglas even came out of.
Speaker C:Not semi retirement, but he was taking a break after.
Speaker A:Yeah.
Speaker C:Some big movies.
Speaker C:So it.
Speaker C:It spoke to them.
Speaker C:So it brought.
Speaker C:Yeah, yeah.
Speaker C:It was exciting.
Speaker C:So I guess they would say that's a win.
Speaker A:Think it's a win.
Speaker A:Yeah.
Speaker A:But I.
Speaker A:You wouldn't expect a.
Speaker A:Because it's very low key in a lot of ways.
Speaker A:Even though there are explosive moments, it is really character driven, which gives you a, you know, a slower burn a lot of times.
Speaker C:Let's see.
Speaker C:Joel Schumacher.
Speaker C:I heard somebody refer to Joel Schumacher.
Speaker C:Schumacher.
Speaker C:As a bat nipple enthusiast.
Speaker C:Because he's the one that.
Speaker B:Wrong.
Speaker C:Batman and Robin with George Clooney.
Speaker A:Okay.
Speaker C:And the bat nipple gate.
Speaker A:Yes.
Speaker C:Nipples on the back.
Speaker B:He did for Batman Forever as well.
Speaker A:Yeah.
Speaker B:So, like, he's the.
Speaker B:Like when you think of the Batman with all the colors, that's that guy.
Speaker B:Yeah.
Speaker B:He's very hit or miss to me.
Speaker B:Like, he's got amazing movies like Falling Down.
Speaker A:Yeah.
Speaker B:And then Bat Nipples, you know, like, how is that in the same resume?
Speaker B:That's nuts.
Speaker A:That is crazy.
Speaker C:I heard George Clooney will.
Speaker C:If you stop him and say that you saw Batman and Robin in the theaters, he will give you your money back.
Speaker C:He will pull out $10 or whatever.
Speaker A:That's crazy.
Speaker A:Y.
Speaker A:That's funny.
Speaker A:As far as the thermometer, the movie Falling down had a critic score of 75, which I think is low based on my opinion.
Speaker A:Based on 56 reviews, critic score of 75.
Speaker A:It's not.
Speaker A:Not bad, but it's not as good as I think it should be.
Speaker A:With a rating of 6.8 out of 10, I would give it higher.
Speaker A:The audience score or.
Speaker A:Popcorn meter.
Speaker A:Pop.
Speaker A:Popcornometer.
Speaker A:Popcorn, corn, whatever.
Speaker C:Pop pop.
Speaker A:Is 84, which I think is still low based on 25, 000 rating.
Speaker A:So respectable scores.
Speaker A:But I think that it deserves more.
Speaker A:And we can talk about that as we go.
Speaker B:When.
Speaker C:When's the first time you guys saw this movie?
Speaker C:If y' all.
Speaker A:It would have to be on digital video or something.
Speaker A:I know I didn't see.
Speaker D:When did it release?
Speaker B:90.
Speaker C:93, right?
Speaker A:3.
Speaker A:Yeah, sounds right.
Speaker D:That's the year we got married.
Speaker A:Yeah.
Speaker D:I remember watching it.
Speaker D:I bet.
Speaker D:I think we rented it, probably, but.
Speaker A:I think I remember being very impressed right off the bat.
Speaker D:You were.
Speaker D:I remember that.
Speaker A:Yeah.
Speaker C:You're like, oh, this is a good movie.
Speaker A:Yeah.
Speaker C:This.
Speaker C:It had been around.
Speaker C:I guess if this was released in 93, I probably would have saw it in home media of some 94.
Speaker C:95.
Speaker B:Yeah.
Speaker B:I.
Speaker B:I don't remember if I owned it on VHS or not.
Speaker B:I know I owned it on dvd.
Speaker C:Yeah.
Speaker B:Then was disappointed when I realized I didn't.
Speaker B:Didn't still own it for some reason.
Speaker B:Like I didn't own it on Blu Ray or anything.
Speaker B:And.
Speaker B:And then.
Speaker B:Yeah.
Speaker B:Then rented it to watch it.
Speaker B:And then.
Speaker B:Yeah.
Speaker B:Like, I was like, why didn't you buy that?
Speaker B:After I started watching it again.
Speaker A:Yeah, yeah.
Speaker B:Anyhow.
Speaker B:But yeah, I must have rented it or something.
Speaker A:I have the extended version that I meant to watch Michael Douglas's interview about this because it's on there, but I didn't.
Speaker A:Because he has some thoughts about this.
Speaker B:Version of the movie.
Speaker A:No.
Speaker A:Well, it has the DVD and it has extra features.
Speaker B:Okay.
Speaker A:Yeah.
Speaker B:There's an extended.
Speaker B:Yeah.
Speaker B:But.
Speaker B:Yeah.
Speaker A:And he talks about it, which I meant to watch, but.
Speaker B:All right.
Speaker A:And I will go back and watch it.
Speaker A:But if James is saying that he thought it was his finest role, then.
Speaker C:Yeah.
Speaker C:I think even to this day he says it's his favorite that he's been a part of.
Speaker A:Yeah, I.
Speaker A:We're gonna.
Speaker A:We're.
Speaker A:I promise not to belabor these.
Speaker A:We will go through them quickly.
Speaker A:But the.
Speaker A:Anyway, is anything else about money?
Speaker A:Critics, fans, anything we want to add Money, box office, whatever.
Speaker B:We didn't do it on the last one.
Speaker B:Did we want to talk about genre and is in regards to catboy.
Speaker A:I was thinking about that because it's definitely a dude with a problem, but there is definitely a road trip.
Speaker A:So in this one.
Speaker A:Yeah, yeah.
Speaker A:In fact, they chart his progress on a map, you know, and his goal.
Speaker C:Or his whatever victory at the end is his daughter's birthday.
Speaker A:Yes, that.
Speaker A:I mean.
Speaker B:All right.
Speaker B:Yeah.
Speaker B:No, I had like, writers.
Speaker B:I have writers of passage and then even institutionalization.
Speaker A:I can't say it Institutionalized.
Speaker B:There we go.
Speaker C:Words are hard.
Speaker B:Yeah.
Speaker B:Words are kicking our ass today.
Speaker A:Okay.
Speaker A:I.
Speaker A:I hadn't thought of those two.
Speaker A:It was either do the problem because he definitely got a problem.
Speaker A:99 problems.
Speaker A:But so like, right.
Speaker B:As a passage.
Speaker B:Right.
Speaker B:It says a life problem from puberty to midlife to death.
Speaker B:These are the universal passages we all understand.
Speaker B:A wrong way to attack the mysterious problem.
Speaker B:Usually a diversion from confronting the pain.
Speaker A:Oh, yeah.
Speaker B:And then a solution that involves acceptance of a hard truth the hero has been fighting and the knowledge it's the hero that must change not the world around him.
Speaker C:I'm the bad guy.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker A:I don't know that.
Speaker A:We'll talk about.
Speaker A:I don't know that he ever.
Speaker A:Which I think is his problem.
Speaker A:But we'll get into that.
Speaker A:Yeah.
Speaker B:I don't know that he.
Speaker B:Yeah, well, we can get to that.
Speaker B:I don't.
Speaker B:Yeah.
Speaker B:I don't think he changes.
Speaker A:Right.
Speaker B:But I think he realizes.
Speaker A:Okay.
Speaker B:Okay.
Speaker B:All right.
Speaker B:Interesting.
Speaker B:Okay.
Speaker B:And then.
Speaker B:Yeah.
Speaker B:This one I was less.
Speaker B:I guess it's.
Speaker B:Every story in this category is about a group, family organization or business that is unique.
Speaker B:The story is a choice that ongoing conflict pitting brand a Brando or a knife versus the systems company man.
Speaker B:Finally a sacrifice must be made leading to one.
Speaker B:So I guess it's more about him against the system.
Speaker A:Yeah.
Speaker B:But it didn't like pick on a.
Speaker B:It's society as a whole.
Speaker B:It doesn't look like.
Speaker B:You know what I mean?
Speaker B:Where most of these types of movies it's.
Speaker A:Yeah.
Speaker B:You know, a specific.
Speaker B:Well, like the war institution.
Speaker B:Yes.
Speaker A:Yeah.
Speaker B:That you're picking on.
Speaker B:Yeah.
Speaker A:The very first time I watched this and even in.
Speaker A:In subsequent viewings it is.
Speaker A:It would be very easy to superficially say that this movie is, you know, about the ordinary guy rising up against the system and against, you know, and.
Speaker A:And taking charge and.
Speaker A:But you.
Speaker A:You can't ride along with this guy too much thinking he's the noble vigilante.
Speaker C:Yeah.
Speaker A:And we'll talk about that too.
Speaker A:Because you want to be with this guy because.
Speaker A:Yeah.
Speaker A:You know, crime and all this.
Speaker C:Wrong.
Speaker A:Yeah.
Speaker A:A lot of times he's not wrong.
Speaker A:Okay.
Speaker B:But you weren't on board with him ever.
Speaker B:Because I feel like.
Speaker B:Like both times I've watched it this time on board with him.
Speaker B:And then he crosses the line, even shorts it out and says he's gone past the no point.
Speaker B:And then after that then you're like.
Speaker B:Okay.
Speaker B:Then you start to see.
Speaker B:Then you can't go along with the ride with him anymore.
Speaker A:Right.
Speaker B:You know, and I'm still the end.
Speaker B:That's a bummer to me.
Speaker B:But like the first part.
Speaker A:Right.
Speaker B:Granted doesn't give you a right.
Speaker B:Like Robert Ball says, don't you right to be a fucking asshole.
Speaker B:But it's still on board with.
Speaker B:No, no, look at that fucking sandwich.
Speaker B:You know what I mean?
Speaker B:Like.
Speaker A:Yes.
Speaker D:And.
Speaker A:And I was.
Speaker A:That's how I have always viewed it.
Speaker B:Yeah.
Speaker A:But as I'm going through it, you have to.
Speaker A:As you learn more about him and maybe some of what I am Saying about him is speculative, but I think it has foundation.
Speaker B:Okay.
Speaker A:If you transfer that back to the beginning, I mean, we're going to talk about it.
Speaker A:So I think he wants to.
Speaker A:He has a problem confronting his flaws in this movie and when confronted, he doesn't act.
Speaker A:Well.
Speaker B:Sure.
Speaker B:No, I agree.
Speaker B:If you do like the people closest to him.
Speaker A:Yes.
Speaker B:His ex.
Speaker B:Wife and mom.
Speaker A:Yeah.
Speaker B:The way they talk about him.
Speaker A:Yes.
Speaker B:When he's, you know, at the table or whatever.
Speaker B:And then the video is very telling.
Speaker A:Yes.
Speaker B:Happy birthday video.
Speaker B:Yeah.
Speaker A:And many times says things happened to him.
Speaker B:Sure.
Speaker A:You know, anyway, we'll get into that because I think it.
Speaker A:But.
Speaker B:But you think it's a dude with a problem.
Speaker A:Well, he's got a problem and I definitely think it's a road trip anyway.
Speaker A:Yeah, I did.
Speaker A:I didn't nail it down, but I toyed with dude with a problem.
Speaker A:And was it Fleece?
Speaker A:Golden Fleece, Yeah.
Speaker B:I don't know a lot about.
Speaker B:Yeah, Golden Fleece is the road trip, which I think the.
Speaker B:The previous movie was as well.
Speaker A:Yeah.
Speaker B:To me, I guess I felt like it was more rite of a passage.
Speaker B:It just.
Speaker B:I don't know.
Speaker A:No, no, he's.
Speaker B:But most of those, they realize they're going about it the wrong way and then they go about it the right way to fix it.
Speaker B:He never does that.
Speaker A:Well.
Speaker B:Well, if it's a rite of pass, I don't feel like.
Speaker A:I think it's.
Speaker A:I think it very well could be a rite of passage.
Speaker A:At various times he is given the opportunity to opt out and go a different way and doesn't.
Speaker B:Yeah.
Speaker A:And we'll talk about some of that because that's some of.
Speaker B:Accept his own flaws and I don't think he ever does that.
Speaker A:Right.
Speaker A:But.
Speaker A:But we'll get into it because.
Speaker A:Anyway.
Speaker A:All right, so we ready for the beats then?
Speaker A:And like I said, I.
Speaker A:I have a lot of pages, but I promise I will not.
Speaker A:We're gonna just hit these and run and talk about them and.
Speaker A:Yeah, we don't want to breakfast club this thing as.
Speaker A:As been.
Speaker A:That's our new phrase.
Speaker A:We.
Speaker A:I Breakfast club the out of this.
Speaker B:So did you ever release it to the Wild?
Speaker C:No, he deleted it.
Speaker A:I deleted all that.
Speaker B:What?
Speaker A:I know, I know because I mean, I probably still have the text somewhere.
Speaker B:Might be interested in listening to it, like.
Speaker B:Right.
Speaker B:Because it's just a part.
Speaker A:At that point I was so disgusted.
Speaker A:I was like, oh my God, what have I done here?
Speaker C:We were falling.
Speaker C:Falling asleep when I looked around and.
Speaker A:It'S like I was the only one still awake.
Speaker A:I'm like, okay, fuck this.
Speaker C:There's 20 more pages of this front feedback.
Speaker A:Unlike, you know, Foster.
Speaker A:I gained some software and it's okay.
Speaker A:No, we can't.
Speaker C:Let's just say to the audience that one of us has a master's degree in something and went all out.
Speaker A:I.
Speaker A:I realized, okay, I have fanboy.
Speaker A:The out of this, and I'm the only one on this ride, so we're gonna.
Speaker A:Anyway, I hope I didn't do that with this, but when.
Speaker A:When you come across a movie that now it.
Speaker A:There are two options.
Speaker A:This, the writer, director, and.
Speaker A:And everybody involved was either a genius in their choices or this is the happiest set of coincidences to ever happen.
Speaker C:I would say it's the former.
Speaker A:I would, too.
Speaker C:Yeah.
Speaker C:All of them knew what they were doing.
Speaker B:Yeah.
Speaker B:They're working together.
Speaker B:Yeah.
Speaker B:Like we're talking about with the Frankenstein thing previously, that.
Speaker B:With the other, you know, movie.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker B:This is the opposite of that.
Speaker B:This is everybody being on the same page and it coming together.
Speaker B:And.
Speaker A:Yes.
Speaker B:I think Michael Douglas looking and thinking.
Speaker C:And Michael Douglas has a long track record of producing films.
Speaker A:Yeah.
Speaker C:And I think this goes to show that, like, he just got it done.
Speaker A:Yeah.
Speaker A:And.
Speaker A:Yeah, I do, too.
Speaker A:All right, are we ready for the.
Speaker B:Well, if there were any issues, you probably just told them I'm making a movie.
Speaker B:Clear path.
Speaker C:Yeah, pretty much.
Speaker A:Yeah.
Speaker A:Make a path.
Speaker B:One of my favorite lines in the whole thing.
Speaker A:Yes.
Speaker B:Cracks me up.
Speaker B:No, clear path one.
Speaker A:My.
Speaker A:My mind is.
Speaker A:Take some shooting lessons.
Speaker B:Yeah, that one's good, too.
Speaker A:That's why you're on board with this guy?
Speaker A:Initially, but, yes, I missed.
Speaker B:You missed?
Speaker B:I missed, too.
Speaker B:Yeah, it's good stuff.
Speaker A:Do you know how much money my country gave your country?
Speaker B:How much?
Speaker A:How much?
Speaker A:I don't know, but it's got to be a lot.
Speaker A:I can guarantee you that.
Speaker A:I don't know the facts anyway.
Speaker A:Okay, we ready for the beats?
Speaker B:Let's do the beats.
Speaker A:Not five o' clock.
Speaker A:Getting out of here.
Speaker A:All right, the beats.
Speaker A:Here we go.
Speaker A:Right?
Speaker A:All right.
Speaker A:I don't know.
Speaker A:Is it better for you guys to tell me your opening image and anything you want to say before you get what I heard?
Speaker B:What I heard was you guys tell me what you think it is, and I'll tell you how you're wrong.
Speaker A:I just didn't want to monopolize.
Speaker C:Hit mute on all your microphones and go.
Speaker A:You guys could go now.
Speaker B:Well, that's interesting, but you're wrong.
Speaker B:Here's what it is because.
Speaker B:Well, he's in the car, right?
Speaker C:Absolutely.
Speaker B:He's in the car.
Speaker A:Listen.
Speaker B:Surrounded by people, but he's isolated.
Speaker A:Very good.
Speaker B:And he's also dead because the flies.
Speaker C:It's real.
Speaker C:Real hot.
Speaker A:Real hot.
Speaker A:Now, did you catch the flies?
Speaker B:Flies everywhere, man.
Speaker B:He's dead.
Speaker A:Yes.
Speaker A:Oh, that's good.
Speaker B:Lies in his room.
Speaker A:Yeah.
Speaker A:Now.
Speaker B:Get ready.
Speaker B:Do you have.
Speaker B:Make sure you find the.
Speaker C:The.
Speaker B:You're gonna be hitting that.
Speaker B:That longer.
Speaker B:Is that a different one?
Speaker A:No, no, that's the same.
Speaker B:I don't remember all the.
Speaker B:The other people at the end.
Speaker C:Amazing.
Speaker A:No, no, it's the same one.
Speaker B:It's always been there.
Speaker B:Okay.
Speaker A:What.
Speaker A:What?
Speaker B:I did it more clearly.
Speaker A:What I did, like, was.
Speaker A:And this probably goes up Chris's alley or whatever, but it's one long tracking shot around that car.
Speaker A:At first, there's no cuts, which I always love that.
Speaker B:Yeah.
Speaker A:Anyway.
Speaker A:All right.
Speaker A:Yeah.
Speaker A:So, yeah, I didn't think about the fly stuff.
Speaker A:I have comments about the flies, but not that flies buzz around dead things, which.
Speaker A:That's actually pretty good.
Speaker A:So you should get one of those.
Speaker A:First one.
Speaker A:All right.
Speaker A:The opening image, and there's no word spoken.
Speaker A:And it's like four and a half minutes now.
Speaker A:And.
Speaker B:And the guys are already on the phone, but.
Speaker B:Yeah, but it's not really.
Speaker B:Yeah, but it's important dialogue.
Speaker A:Yeah, that's true.
Speaker A:Yeah.
Speaker A:And I desperately.
Speaker A:And I need to maybe watch it on subtitles because I.
Speaker A:Whenever there is a radio playing in the background with people talking, I know that that means something.
Speaker A:And I couldn't get what the guy was saying.
Speaker A:What the guy was saying.
Speaker A:You know, it was a caller into a radio show and.
Speaker B:James, did you watch it with subtitles?
Speaker A:You do a lot.
Speaker C:Yeah, but I don't recall.
Speaker A:You didn't catch up because the.
Speaker A:The caller asked.
Speaker B:Damn.
Speaker B:I almost watched with subtitles this morning.
Speaker A:I don't know if they put that in there, but sometimes they'll put the background in there.
Speaker A:And the caller's asking you, how old do you have to be?
Speaker A:And then it goes based on everything else in the movie.
Speaker A:I feel sure that that meant something or hinted at something, but I just couldn't get.
Speaker A:I couldn't get it.
Speaker A:Anyway.
Speaker A:Yeah, From.
Speaker C:From what I understand, kind of doing a step back in a broad view of this movie.
Speaker C:It's about a guy that's out of time.
Speaker C:Like he is the old way of doing things versus the new way.
Speaker C:So if the caller is saying, how old do you have to be?
Speaker C:Blah, blah, blah.
Speaker C:Michael Douglas's character is out of time.
Speaker A:Yeah.
Speaker C:He has nothing to do.
Speaker C:He.
Speaker C:He doesn't relate to this world anymore.
Speaker A:Yes.
Speaker A:And there's lots of children in this background.
Speaker A:And anyway, okay, anything.
Speaker A:Anything else do we want to.
Speaker A:That you want to mention real quick?
Speaker A:Because I do.
Speaker C:Go for it, man.
Speaker A:All right, so now trumpet at the bit.
Speaker A:When I watched this movie the first time, I watched it on the big tv, you know, in my chair or whatever, and I didn't notice this second time I was on the computer so I could type while I was watching and not have to then retype it back in.
Speaker B:There's something on the smaller screen versus the bigger.
Speaker A:Well, well, before, you know, it's black screen fade up.
Speaker A:You know, before you.
Speaker A:Even before the credits even roll, the black screen comes on and credits or whatever, you hear Michael Douglas labored breathing before you even see him.
Speaker A:And I didn't catch that watching it first, but you hear this.
Speaker D:Did you have headphones on.
Speaker B:Here?
Speaker B:Yes.
Speaker A:Which I thought was very cool because I didn't.
Speaker A:I didn't pick up on that.
Speaker A:Before the first image even appears, we hear labored breathing, deep breaths of someone trying to keep their cool in a very hot situation.
Speaker A:Literally, it sounds like a man trying to not go on a panic attack in about three seconds.
Speaker A:You know, he is trying to keep his grip, and that's gonna be obviously something that he's dealing with.
Speaker A:Sweat on the lip and face and brow.
Speaker A:This man is trying to keep it together.
Speaker A:His struggle is an internal one.
Speaker A:Almost appears on the verge of a panic attack.
Speaker A:Flight or fight response.
Speaker A:Ultimately, his first action is to flee.
Speaker A:Get it.
Speaker A:Get out of there.
Speaker A:Impulse control is lost and he bolts.
Speaker A:So eventually he's gonna bolt out of that car.
Speaker A:The panic attack.
Speaker A:He's gonna bolt.
Speaker B:Yeah.
Speaker B:I thought the cutting was very effective.
Speaker B:Like.
Speaker A:Yes.
Speaker A:Yeah, absolutely.
Speaker B:And yeah, the first shot is an uncomfortable shot of him.
Speaker B:Right.
Speaker B:Like they kind of pulled back and had him swipe was.
Speaker B:You know, he's whatever.
Speaker B:But it's like right on his lips and his.
Speaker B:Yeah, it's an uncomfortable shot.
Speaker B:Right.
Speaker A:Blinking and he's.
Speaker A:I'm going to.
Speaker A:I'm going to make maintain this.
Speaker B:You know, I mean, AC doesn't fucking work.
Speaker A:Yes.
Speaker B:Window won't roll down.
Speaker A:Nothing.
Speaker A:The opening sequence, it seems, is a long panning.
Speaker A:One shot has a multitude of loaded imagery.
Speaker A:Is in this.
Speaker A:I'm gonna do this quickly.
Speaker A:If I start seeing you fall asleep, I'll throw the page right down, I promise.
Speaker A:We see his parking sticker now, the reason I want to do this justice, because there is, there is not a wasted inch of film in my opinion.
Speaker A:Anyway, we see his parking sticker indicating he works for a company called Notech.
Speaker A:Now I thought that was interesting because later he's going to confess that I'm over.
Speaker A:Over skilled and under qual.
Speaker A:Undereducated.
Speaker A:Or is it the other way around?
Speaker A:Apparently he didn't keep up with his quals, his qualifications, you know, and got obsoleted because a technology moved on.
Speaker A:And he's still, he's got no tech.
Speaker A:No tech.
Speaker C:He's a man at a time.
Speaker A:Man at a time.
Speaker B:Yeah, but the no tech didn't cut.
Speaker C:That well, even the way he's dressed, the button up white shirt, the pocket protector.
Speaker A:He's like from, you know, an astronaut.
Speaker C:50S, 60s.
Speaker A:Yes, yes.
Speaker C:And here it is in the early 90s.
Speaker A:Yes.
Speaker C:And he's, he doesn't know this world anymore.
Speaker A:Right.
Speaker B:Now I thought about that with the way he was dressed.
Speaker B:I don't know why.
Speaker C:Briefcase.
Speaker A:We will get to it when we get to it, I guess, but I can say it now.
Speaker A:He will say that, that you know, he is overqualified and undereducated or over educated, under qualified.
Speaker A:But if he's having trouble dealing with his flaws, he saw no need because he's always in denial about his flaws in my opinion, in this movie, which is his problem.
Speaker A:And he saw no need to keep up his qualifications because, you know, he, he knew his job.
Speaker B:Yeah.
Speaker A:And didn't.
Speaker A:Now could he, we don't know this, but could he have increased, you know, taken classes or increased his knowledge to keep up with.
Speaker A:I hope so, but didn't because maybe that was an affront to him working stiff.
Speaker A:You know, I'm, you know, I'm the bag, you know, you know what I'm saying?
Speaker B:Still want to solve the, the home front problems.
Speaker B:But I mean, yeah, based off how he.
Speaker A:Yes, but perhaps he wouldn't have lost his job.
Speaker A:Yeah, we don't know this.
Speaker B:Where's he been going every day?
Speaker B:Where's he at his lunch?
Speaker A:Right.
Speaker A:Anyway, all right, so we see his parking sticker indicating rush.
Speaker A:It appears a government contractor job, possibly a dod.
Speaker A:We learn that later.
Speaker A:He works for, he works for America, so to speak.
Speaker A:So who let who down?
Speaker A:All right, so is this a play on words indicating his at work problem?
Speaker A:He has not kept up with technology.
Speaker A:He has become obsolete, as he will confess later.
Speaker A:So I think no tech is, is not a coincidence.
Speaker A:All right.
Speaker A:A small child stares steadily at him from the car in front.
Speaker A:Does this for sure.
Speaker A:This Is my question.
Speaker A:Does this foreshadow his at home problem?
Speaker A:Wanting to reunite with his estranged wife and daughter later on?
Speaker A:This girl gives, I mean, she looks like right out of the Shining, this little girl staring at him at some.
Speaker C:Point, staring into his soul.
Speaker A:Yes, I think it's the.
Speaker A:I think it's the ghost that haunts him.
Speaker A:Because it's not the only one in the movie that does that.
Speaker A:The kid, Garfield, the cat pressed against the window of an adjacent car.
Speaker A:A placement indicating being trapped and wanting to escape.
Speaker A:You know, press.
Speaker A:That cat is pressed against the glass.
Speaker A:Once out.
Speaker A:That's our guy.
Speaker A:Okay.
Speaker A:And what of the traffic jam?
Speaker A:Life has come to a standstill for him.
Speaker A:I don't think anything means nothing in this movie.
Speaker A:And I probably got carried away at some point.
Speaker B:Yeah, no, sure, yeah.
Speaker B:He's.
Speaker B:He's going, literally going nowhere.
Speaker A:Right.
Speaker A:His life has come to a standstill.
Speaker A:School full of rambunctious children and a large American flag, which is not the only one you will see draped on the side of the bus.
Speaker A:The next generation to rise in this country and what will they face and what kind of country will they live in?
Speaker A:Is my question.
Speaker C:Yep, they're stuck right in there with him with no future.
Speaker A:Yes, this is.
Speaker A:This is America.
Speaker A:And the title of this movie, now this was developed over time as I.
Speaker A:Because there are references to several things.
Speaker A:The title of this movie, falling down, getting tripped up, stumbling, disoriented, failing to see or ignoring things that can trip you up is my question.
Speaker A:I think one of the questions this movie asks is, did America fall down and create Michael Douglas character?
Speaker A:Or did Michael Douglas character get tripped up, stumble and fall down, creating modern America.
Speaker A:So is this a problem that we've created and made America or has somehow America failed us?
Speaker A:Ultimately, I think it's Americans who make America and we create the environment that we create.
Speaker C:You know, I'm saying by becoming stagnant and not willing.
Speaker A:And throughout this movie, watch how each.
Speaker A:Watch how everybody interacts with everybody else.
Speaker A:Impatience, intolerance, anger, you know.
Speaker B:Yeah.
Speaker A:Which is how much.
Speaker C:Anyway, and it's a perfect background.
Speaker C:LA in the early 90s is a perfect background for that.
Speaker C:Because in the real world that stuff was going on.
Speaker C:The Rodney King stuff.
Speaker C:Stuff.
Speaker C:Oh yeah, riots and all that.
Speaker A:Yep.
Speaker A:On the radio of the two men.
Speaker A:The two men are arguing in the car now.
Speaker A:I did catch this on the radio of the two men in a heated exchange.
Speaker A:There is a news report.
Speaker A:I don't know if you guys caught this.
Speaker A:The cul de sac killer strikes Again, so what is being introduced, I think, is a very violent culture that.
Speaker A:That he is moving in and that everybody is trapped in the cul de sac killer.
Speaker A:Why?
Speaker A:Cul de sac.
Speaker A:Cul de sacs.
Speaker A:The dead end.
Speaker A:Right.
Speaker A:Anyway.
Speaker C:Is that insinuating that he is the killer?
Speaker A:I think it.
Speaker C:Serial killer.
Speaker A:I.
Speaker A:Well, I took it to mean that.
Speaker C:That'S where he's been going.
Speaker A:Well, well, no, that.
Speaker B:That anybody from neighborhood can be a killer.
Speaker A:Sure.
Speaker A:But that.
Speaker A:That.
Speaker A:That he.
Speaker A:This is a culture of violence.
Speaker A:Yeah.
Speaker A:And there are predators out there who are.
Speaker A:And everybody is sort of preying on everybody else.
Speaker B:You know, he picks up a weapon from everyone he encounters.
Speaker A:Yes.
Speaker A:And it escalates.
Speaker B:Yeah.
Speaker B:And it keeps getting.
Speaker B:Yeah.
Speaker B:It goes from a bat to a knife to a gun.
Speaker B:Yeah.
Speaker A:So you are living in a toxic environment where there are actual predators out there just killing people for sport.
Speaker B:Right.
Speaker A:Which is just one aspect of this toxic environment, I think.
Speaker A:All right.
Speaker A:Cul de sac killer strikes again.
Speaker A:The picture we are getting of this world is one of heat, stress, anger, violence and tension.
Speaker A:Every image so far is of heat, anger, violence, tension.
Speaker A:Certainly, Michael Douglas looks like he's about to freak out.
Speaker A:Not a safe place to be.
Speaker A:Not a peaceful place to be with nowhere to go.
Speaker A:Traffic jam, no escape.
Speaker A:Garfield.
Speaker A:So you're stuck and there's no escape in this violent, toxic environment.
Speaker A:Is what I think is.
Speaker A:We're given as some of this opening image.
Speaker C:And that's the first five minutes you're uncomfortable.
Speaker A:Yeah.
Speaker A:This.
Speaker A:This scene goes on for four minutes and five seconds which is essentially one panning shot.
Speaker A:We all get.
Speaker A:We get this information in a circular one shot, one track shot around Michael Douglas's car.
Speaker A:A fly buzzes around Douglas.
Speaker A:Another intrusion.
Speaker A:So to me, that's a good point about the death, because I didn't.
Speaker A:Because he is essentially dead.
Speaker A:But it's something he can't control.
Speaker A:He tries to kill that fly and he's flailing at some.
Speaker A:At forces he cannot control.
Speaker A:His job, his family.
Speaker A:None of this he can control.
Speaker A:And he's flailing is.
Speaker A:Is how I sort of went with that.
Speaker A:The male man is flailing against forces, life, that have gone beyond his control.
Speaker A:He eyes the little girl and the cat.
Speaker A:Now he.
Speaker A:Attention.
Speaker A:He looks at the girl.
Speaker A:He looks at the cat.
Speaker A:I think the.
Speaker A:So anytime there are cuts, I thought they make sense.
Speaker A:You're meant to see that.
Speaker A:Looks at the girl, looks at the cat.
Speaker A:The girl, obviously, is his daughter he wants to get.
Speaker A:But he can't escape the situation where he's not supposed to be with her.
Speaker A:Or he's trapped in his situation.
Speaker A:The honking distracts him.
Speaker A:Someone else flailing it for.
Speaker A:So, yeah, somebody honking in a traffic jam.
Speaker A:What are you doing?
Speaker A:Yeah.
Speaker A:Oh, you know what I'm saying?
Speaker A:The worst, the honking in the gridlock is equivalent to the buzzing fly.
Speaker A:The woman with the lipstick and the man with the dark sun.
Speaker A:Now.
Speaker A:Yeah, so there's a cut where this guy leans out the window.
Speaker A:He's got the dark sunglasses, and he's staring menacingly at Michael Douglas.
Speaker A:And the woman looks in her mirror.
Speaker A:It's almost like they're, you know, like he looks at his mother when they're eating dinner.
Speaker A:Almost at that point.
Speaker B:Yeah.
Speaker A:So there's a sense that everything is hostile.
Speaker A:Everyone around you is out for themselves and is hostile.
Speaker A:All right, now, the bumper stickers got me.
Speaker A:I don't.
Speaker A:Did y' all anything else you want to say about that before we get to the bumper stickers?
Speaker A:No.
Speaker A:Okay, Good to go.
Speaker A:A second reference to escape the book.
Speaker A:Now, the bumper stickers all mean something, and I think are given callbacks at the very end, but we'll wait till we get to the end.
Speaker A:A second reference to escape the bumper sticker promising financial freedom.
Speaker A:So there are all these people want to have these apps, the ways of escape, you know what I'm saying?
Speaker A:And you got a lot of money.
Speaker A:You can maybe get.
Speaker A:Get out of all this financial freedom with a single phone call.
Speaker A:May maybe a reach.
Speaker A:But the number on his.
Speaker A:Okay, so the number on his window sticker is 92.
Speaker A:And the last two digits of this is where I started.
Speaker A:Probably reaching.
Speaker A:Last two numbers of that phone number are 92.
Speaker A:Probably doesn't mean shit.
Speaker A:But anyway, it was there.
Speaker A:We will learn that this man has lost his job, negating his finances and compelling him to live with his mother and most likely living off her income, whatever that might be, because he's living at home with no income.
Speaker A:She's probably drawn Social Security or disability, and that's probably it.
Speaker A:Finances are yet one way this man feels trapped.
Speaker A:And the lure of money allowing one to break free is a strong one that will come up, I think, at the very end.
Speaker A:This is immediately contrasted with another bumper sticker stating.
Speaker A:Stating he died for our sins.
Speaker A:Now, I didn't know what to make of this, whether that was cynical or whether that was the answer that would have solved everybody's problem, his problem.
Speaker A:We'll get into that.
Speaker A:It is a reference, obviously, to Christ dying for our sins.
Speaker A:Christ made the ultimate sacrifice to give US Freedom.
Speaker A:And yet here we are.
Speaker A:Okay, so is Christ dying for our sins the same empty promise that that one phone call is, that gives you financial freedom?
Speaker A:Or is it an indication that one path out of this hot, stressful and violent existence has been provided a spiritual reconnection based on something that has been accomplished for us, namely, you know, the sacrifice of Christ.
Speaker A:Because later on when he's standing over the guy with the gun, there's a picture of Christ behind him, a mural.
Speaker A:So I didn't know what to make that, but I have a feeling that it would have been one place he could have opted out of his situation by somehow reconnecting with not just the things he can't control, you know, but.
Speaker C:Go with Jesus, take the wheel type.
Speaker A:Yeah.
Speaker A:Spiritual.
Speaker A:Yes, yes, that aspect.
Speaker C:I was, I was just now thinking of maybe a third option of, you know, he died for this.
Speaker C:And then you look around.
Speaker C:Well, that, that was a hole.
Speaker A:Yes.
Speaker B:That was, it was either next bumper sticker about eat or whatever.
Speaker A:Yes.
Speaker A:So yes, Christ died for our sins and there is an option, but this is what we do with it.
Speaker B:Right.
Speaker B:So there's two way.
Speaker C:There's two, three ways to look at it is, you know, he died for this.
Speaker C:Look around.
Speaker C:He died for nothing.
Speaker C:Or he's the salvation.
Speaker C:Take that as.
Speaker A:Yeah, but everybody's, but everybody just.
Speaker A:It's not taken because there are several options that he has along the way that he doesn't take.
Speaker B:Right.
Speaker A:Anyway, I took the cynical approach, I think in light of this movie.
Speaker A:The take is the cynical judgment on us.
Speaker A:Christ died for our sins and this is what we do with it.
Speaker A:You know, someone who sacrificed everything for us.
Speaker A:And this is this, this is great.
Speaker C:This is where we wind up.
Speaker A:This is where we wind up.
Speaker B:We tell each other to eat.
Speaker C:Yeah.
Speaker C:And it's hot.
Speaker C:So it's kind of a.
Speaker C:A Hell yes situation.
Speaker A:Yes.
Speaker A:A third bumper sticker says, how am I driving?.1 800 each.
Speaker A:Shit, I kind of want that bumper.
Speaker C:Sticker, but hell yeah.
Speaker A:Another reference to the hostile, hot, angry, ordinary world.
Speaker A:Empty promises, financial freedom, a path to redemption provided but ignored.
Speaker A:An aggressive, mean spirited, angry, hostile world.
Speaker A:Eat shit.
Speaker A:This is.
Speaker A:This is the ordinary world.
Speaker A:Things we have created to give us relief can and often do fail.
Speaker A:The air conditioner.
Speaker A:While life's buzzing, flies seem ever present.
Speaker A:Soul crushing existence.
Speaker A:Whose fault is it?
Speaker A:America's or Americans?
Speaker A:What is America but an assembly of Americans?
Speaker A:So this is the life we have made.
Speaker A:Again, everybody throughout this movie, everybody points to an external threat where we're actually we're the threat to each other because of how we treat each other.
Speaker B:Right.
Speaker A:You say, anyway.
Speaker A:The construction sign of a figure digging a hole.
Speaker A:Michael Douglas will keep on digging this whole movie.
Speaker B:Sure.
Speaker A:Okay.
Speaker B:Yeah, I saw it.
Speaker B:I guess more this time.
Speaker B:The.
Speaker B:They kept cutting back to that sign, but I couldn't.
Speaker B:I guess in my mind, put, well.
Speaker A:Well, when you're.
Speaker B:I know.
Speaker B:Digging a hole.
Speaker B:But I guess I did put it together that he keeps digging his hole.
Speaker A:And so do we.
Speaker A:So does everybody by the.
Speaker A:By their actions.
Speaker C:I was thinking more the.
Speaker C:The constant construction is.
Speaker C:You constantly have to grow, constantly stuck.
Speaker C:It's just all that subtext.
Speaker C:And we may just be putting that.
Speaker B:No, that's good too, because later on he goes, what's wrong with the street?
Speaker B:You know, Again, not rising his own flaws.
Speaker B:I mean, he gets the guy.
Speaker A:He never asked what's wrong with me.
Speaker B:Yeah.
Speaker A:You know, saying everything's external.
Speaker A:Oh, it's not me.
Speaker A:I'm.
Speaker A:I'm the bad guy.
Speaker B:It was fine yesterday.
Speaker B:It fell apart in two days.
Speaker A:Right.
Speaker B:This dude falls apart in one, you know?
Speaker A:Yes.
Speaker A:The construction side of a figure digging a hole.
Speaker A:Has circumstances dug a hole that this man has fallen down into, or has he dug his own hole?
Speaker A:He will say that someone dug a hole and I fell into it.
Speaker A:But.
Speaker B:Right.
Speaker A:Maybe you got a shovel in your hand, you know.
Speaker B:Right.
Speaker A:Because he'll say, I did everything they told me to do later on.
Speaker A:So, you know.
Speaker B:Right.
Speaker A:Anyway, he tries to wind down the window for some escape, but the window handle seems to only spin.
Speaker A:This is the cat, I say, trying to escape.
Speaker A:Now, the only sympathetic looking face in this whole scene is the child leaning on the open window of the bus.
Speaker A:Does it have something to do with the cat?
Speaker A:Is the open window significant since both the cat and the man are both seemingly trapped behind the window?
Speaker A:Again, a lot of times I think I'm reaching, but I really got down the rabbit hole in this.
Speaker A:The child looks down from above.
Speaker A:The look one of quiet camaraderie.
Speaker A:And the look on that kid's face is almost serene and compassionate compared to everybody else.
Speaker A:And he's staring down at Michael Douglas or whatever.
Speaker A:A contrast to the raucous, chaotic sight around.
Speaker A:And the other children on the.
Speaker B:He was hot and sleepy.
Speaker A:Could have been.
Speaker B:All right.
Speaker A:The noisy girl throws a paper plane out the window.
Speaker A:Any significance to this since he worked for a government contractor?
Speaker A:I don't know.
Speaker A:You know, throwing away the.
Speaker A:His life.
Speaker A:I don't know.
Speaker A:His license plate all but confirms, you know, his job defense.
Speaker A:This Also signifies his close identity to his job.
Speaker A:I mean, I'm sure he wasn't compelled to get a license plate that said defense, but his whole identity is wrapped up in that job.
Speaker A:And to the point where he got a.
Speaker A:A special vanity plate for it.
Speaker B:Right.
Speaker A:If the quiet child on the bus is looking down was positive, the creepy little girl in the car head is something else.
Speaker A:Is this the ghost that haunts him?
Speaker A:She put.
Speaker A:She looks like a Kubrick kid or something when she's staring at him.
Speaker A:I mean, right.
Speaker A:I think that's the ghost that haunts him.
Speaker A:It's interesting.
Speaker A:We'll get into this, but Pendergrass lost a kid.
Speaker A:He has lost his daughter different ways.
Speaker A:A collage of images.
Speaker A:The little girl, the chaotic noisy children, the trapped cat.
Speaker A:The gentle look of the little boy.
Speaker A:The false allure of financial freedom.
Speaker A:The heated exhaust of gridlock.
Speaker A:Car blowing out hot polluted air.
Speaker A:The seemingly ignored redemption.
Speaker A:The traffic sign signaling delay, delay, delay.
Speaker A:The hostile angry people yelling and honking amounting to nothing but an impotent and aggressive world.
Speaker A:All collide now at four minutes.
Speaker A:So the four minutes we get all of this, which I think is loaded.
Speaker A:And I took meaning from almost everything right in that scene.
Speaker A:Okay.
Speaker A:Any other thoughts about that?
Speaker A:I think.
Speaker A:I think it's at that point I knew I was on board for the long haul.
Speaker B:Sure.
Speaker A:At 405, our man has had enough.
Speaker A:We don't get his name until the very end.
Speaker A:Foster.
Speaker A:I can't remember his first name.
Speaker B:Bill.
Speaker A:Bill Foster.
Speaker A:Yes.
Speaker A:He likes bill.
Speaker C:On IMDb it he's listed as Defense.
Speaker A:Defense.
Speaker A:Yeah.
Speaker B:In the credits he's Defense and his mom is Defense's mom.
Speaker B:And the Adele is best child.
Speaker B:It says Adele.
Speaker B:And then in princess, Best child.
Speaker A:Not.
Speaker A:Not his.
Speaker A:Woo.
Speaker B:Yeah.
Speaker A:Crud.
Speaker A:Just don't give him a Yeah.
Speaker B:I was like, God damn.
Speaker C:Yeah.
Speaker A:I just keep calling him our man.
Speaker A:His name is.
Speaker A:We'll call him Defense or whatever.
Speaker A:He's had enough.
Speaker A:With no out to fight, with no way to fight out of his panic, he chooses flight.
Speaker A:Out the door he goes, hey, where are you going?
Speaker A:Yeah.
Speaker A:And that question is asked several times.
Speaker B:That's where you going?
Speaker A:Where are you going?
Speaker B:He's going the wrong way the whole time.
Speaker A:Yes.
Speaker A:He is still trapped, though.
Speaker A:He tries going this way, tries going this way.
Speaker A:It's blocked.
Speaker A:And he takes off a third way.
Speaker A:I'm going home.
Speaker A:That's not the first time or the last time.
Speaker A:That's not the last time he'll say that, right?
Speaker A:That somebody will say that.
Speaker A:His abandoning his car causes trouble for the guy behind him because now it is another impediment to his forward progress.
Speaker A:So, you know, is this a situation that's on us or is this a situation we cause for each other?
Speaker A:I think it's a situation we cause for each other.
Speaker A:And he won't acknowledge that.
Speaker A:You're supposed to accept when the system impedes you, but act out, bail on the system.
Speaker A:It will protest, you know, so if you fight the system because this guy is now mad at him for leaving his car in front of his car.
Speaker C:I would be mad, too.
Speaker A:Yeah, absolutely.
Speaker A:His abandoning this car causes trouble for the guy behind him.
Speaker A:We talked about that home, the one place you are supposed to have that is a haven, a stronghold against the stresses of life.
Speaker A:But this man's home, like him, has also become unmoored.
Speaker A:Another false promise.
Speaker A:So he is.
Speaker A:He is definitely unmoored.
Speaker A:Unanchored, untethered.
Speaker A:Drifting.
Speaker B:Yeah.
Speaker A:And whose fault is that?
Speaker A:Well, we could talk about it.
Speaker A:That's.
Speaker A:That's the opening image.
Speaker A:And it's loaded.
Speaker A:And rightly so, I think.
Speaker A:I mean.
Speaker C:Yeah.
Speaker A:Okay, so I got.
Speaker A:Sweet setup.
Speaker A:Opening image sets our guy up pretty well.
Speaker A:Other characters set up.
Speaker A:Now follow.
Speaker A:Our detective is in the same traffic jam.
Speaker A:So now we get a contrast.
Speaker A:And I think there's a back and forth because you'll cut from him to him.
Speaker A:To him.
Speaker A:And it's usually a very similar situation with different reactions.
Speaker B:Yeah.
Speaker B:Deval is much more easy going.
Speaker B:A lot of it.
Speaker A:Yeah.
Speaker B:Whereas other guys working out.
Speaker A:He's in the same traffic jam a few cars back, and it sees the billboard and what is the little guy coming out?
Speaker A:Help me.
Speaker B:And he laughs at it.
Speaker A:Yeah, he laughs at it.
Speaker B:But cleavage or whatever.
Speaker A:Another reference to trapped and help.
Speaker B:Yeah.
Speaker C:Well, it comes.
Speaker C:Comes out later.
Speaker C:Robert Duvall's in a similar situation with all the pressures and the.
Speaker A:Yes.
Speaker C:The man at a time.
Speaker C:He's getting retired.
Speaker C:His wife wants to move.
Speaker C:She's overbearing and controlling, but he handles his life a little bit different.
Speaker A:Yes.
Speaker A:Yeah.
Speaker A:So, yes, Duval has an anchor that is that he has not come free of.
Speaker A:Whereas.
Speaker A:Whereas Defense has.
Speaker A:You know.
Speaker B:Yeah.
Speaker B:I guess the way I wrote it was Defense can go.
Speaker B:Wants to go home and can't.
Speaker B:Pendergrass can go home and doesn't want to.
Speaker A:That's good.
Speaker A:Yes, He's.
Speaker A:He is.
Speaker A:And we can mention this here, but.
Speaker A:Because he'll say later that his wife didn't want to have kids, but he did, and she sacrificed.
Speaker B:Yeah.
Speaker B:It explains all of the reason why he Puts up with her bullshit.
Speaker A:Yes.
Speaker B:Yeah.
Speaker A:She sacrificed her looks and body so that she could give him kids.
Speaker B:Yeah.
Speaker A:And he sacrificed his career now.
Speaker B:Yeah.
Speaker A:Because, you know, make no mistake, I love my wife.
Speaker B:Right.
Speaker A:Okay.
Speaker A:So they are sacrificing for each other.
Speaker A:Defense never seems to make the sacrifice for his family.
Speaker A:When they don't do what he wants, he gets angry.
Speaker B:Right, right.
Speaker A:So that contrast had.
Speaker A:And that's.
Speaker A:See, that's.
Speaker A:That's an option out.
Speaker A:If defense were to acknowledge it's a give and take, he might have been okay, but it's.
Speaker A:He doesn't.
Speaker A:And that.
Speaker A:That ultimately, I think, is this problem.
Speaker A:I call it pride.
Speaker A:I think his main problem is pride.
Speaker A:Pride comes before a fall, I think is.
Speaker B:Sure.
Speaker A:Anyway, in 7 minutes and 40 seconds, we are introduced to all major players.
Speaker A:And this is where I got like.
Speaker A:I knew I was in for long haul because I'm making my notes and I'm like, okay, we're making progress.
Speaker A:I look down and it's been seven minutes.
Speaker A:I'm like, oh, shit.
Speaker C:Yeah.
Speaker A:The trial.
Speaker A:Okay, so in 7 minutes, 45 seconds, we are introduced all the major players.
Speaker A:The world is up.
Speaker A:The traffic sign.
Speaker A:Okay, so now.
Speaker A:Now, I almost wanted to say it's a fun and games, but I don't.
Speaker A:I don't necessarily think it is because there's lots of fun and games.
Speaker A:And this may be a fun and game, but I think it's the catalyst that we're about to hit with the phone booth and Mr.
Speaker A:Lee.
Speaker B:Okay.
Speaker A:What did you guys have as your catalyst?
Speaker A:Did you have any thoughts about that?
Speaker B:Yeah, I guess it was.
Speaker B:I had him, like, debating about getting out of the car.
Speaker B:Right.
Speaker B:I don't know that we see him debate making the phone call or not, because he goes over there, he tries to call, doesn't get anybody, and then he goes into the store.
Speaker B:Then I feel like from that moment on, we're into funny games.
Speaker A:Right.
Speaker A:And you would.
Speaker A:Yes, that's a logical conclusion.
Speaker B:Yeah.
Speaker B:I mean, so when does he see.
Speaker C:The guy in the sandwich board that says obsolete or something?
Speaker C:I thought that was his.
Speaker A:Huh?
Speaker C:The guy.
Speaker A:Oh.
Speaker A:But the.
Speaker A:Not economically viable.
Speaker C:Yeah.
Speaker B:Yeah, that's.
Speaker B:Yeah, that's later, though.
Speaker B:I think it is later because he.
Speaker C:Gets arrested and all that stuff.
Speaker B:They don't forget me.
Speaker B:Yeah.
Speaker A:Did you guys notice?
Speaker A:Same exact shirt, same exact tie, same exact pants.
Speaker C:Yeah.
Speaker C:And nobody seems to acknowledge him.
Speaker A:Yes.
Speaker C:At all.
Speaker A:Essentially has the same problem as defense is handling it different, though.
Speaker B:Yeah.
Speaker A:Okay.
Speaker B:He is striking out against the system, though, huh?
Speaker B:Still against the System.
Speaker A:Yes.
Speaker B:But still punished by the system.
Speaker A:Well, I think they probably took that guy around the corner and let him go.
Speaker A:They're not going to.
Speaker A:He has every.
Speaker B:He has a.
Speaker B:Yeah, fine.
Speaker B:Yeah.
Speaker B:I was thinking about it this time.
Speaker B:When he got it right, I was like.
Speaker B:I thought protesting was.
Speaker A:No, he's perfectly protected by that.
Speaker A:But what are you gonna do?
Speaker A:You know, I don't think he got any farther than around the block.
Speaker B:And they let him go.
Speaker A:Let him go.
Speaker A:But it's a different reaction.
Speaker C:91 3, there's a guy in your exact same situation doing.
Speaker A:Doing something, but different and different.
Speaker A:It's not gonna.
Speaker C:He's not going nuts, Right?
Speaker B:Yeah.
Speaker B:But it all.
Speaker B:To me, it's like, I guess if you go that way, he saw what happened to that guy, so that's not the answer.
Speaker B:So like it.
Speaker B:To keep doing what he's going the way he's going.
Speaker A:Yeah.
Speaker A:But Duval will say they lied to you.
Speaker A:They lied to the fish.
Speaker A:Okay.
Speaker A:So I'm not saying that.
Speaker B:I'm not saying his solution was correct.
Speaker B:I'm just saying after seeing what happened to economically viable guy.
Speaker A:Sure.
Speaker B:Well, I'm not going that.
Speaker B:Walking away.
Speaker A:Right, right, right.
Speaker B:All right, so.
Speaker B:But yeah.
Speaker B:So back to the phone call.
Speaker B:He goes to call, and at this point, if you haven't seen the movie.
Speaker B:Right.
Speaker B:Then you don't know that he can't go home.
Speaker B:Right.
Speaker B:He calls and he just.
Speaker B:Right.
Speaker B:Chanters.
Speaker A:And he didn't say anything or he doesn't say anything.
Speaker B:That's the first time where he just doesn't get him.
Speaker A:No, he gets him and doesn't say anything.
Speaker B:Say anything.
Speaker B:So, you know.
Speaker B:All right.
Speaker B:Something's not right.
Speaker B:Did you notice in that scene, when it goes to the wider shot of him on the phone, the first time he calls her, there's a sign, and it says, not a through street.
Speaker A:Yes, sir.
Speaker B:Yeah.
Speaker B:Yeah.
Speaker B:So the way he's going is a dead end.
Speaker B:You can't go that way.
Speaker A:You're a genius.
Speaker A:Because I have the exact same thing.
Speaker C:Wow.
Speaker C:You're a genius.
Speaker C:Because he had the same thing.
Speaker A:Yeah, I had the thought.
Speaker A:So you agree with me.
Speaker A:Makes you very smart.
Speaker B:Don't take away my warm, fuzzy Phil.
Speaker B:I mean, James.
Speaker C:Sorry.
Speaker A:The traffic sign above the phone booth says not a through street.
Speaker A:A warning to travelers that if you're going this way, you won't make it.
Speaker A:The way our man chooses to go will not allow him to make it to his destination.
Speaker A:So figuratively, he is on a not a through street.
Speaker A:The way he's Going right now.
Speaker A:There are ways.
Speaker A:There are side avenues he could take.
Speaker A:He's not going to.
Speaker B:Yeah, I was talking to Leith about that.
Speaker B:I was like, they could have framed that any fucking way they wanted.
Speaker B:They framed it.
Speaker B:Where you see that sign?
Speaker A:There is.
Speaker A:And it.
Speaker A:There's a.
Speaker A:There's a scene in this movie where.
Speaker B:I was not concerned about bat nipples on that day.
Speaker A:There is a scene in this movie where I was convinced that everything meant something.
Speaker A:And did I see this several times.
Speaker A:And I didn't notice this because at that point I started looking up everything.
Speaker B:Right.
Speaker A:If there was something.
Speaker A:Anyway, we'll get to it.
Speaker A:So you have the catalyst as the phone call.
Speaker B:No.
Speaker B:Getting out of the car.
Speaker A:Oh, yeah, okay.
Speaker B:Just getting out of the car.
Speaker B:And then.
Speaker B:Because that's the only, like, debate.
Speaker B:Right.
Speaker B:Because he makes phone call, goes to get something.
Speaker B:I don't.
Speaker B:I say that.
Speaker B:I guess when he's sitting on the hill with the gang members, that could be a debate, I guess.
Speaker B:But I don't feel like there's ever this.
Speaker B:I don't feel like he ever decides not to go down the.
Speaker B:The.
Speaker B:You know, not through street.
Speaker B:Like, that's just.
Speaker B:I'm.
Speaker B:I'm going over the moment he said, I'm going home.
Speaker B:That was his plan the whole time.
Speaker B:Where are you going?
Speaker B:I'm going home.
Speaker B:Like, I felt like that was always his plan.
Speaker A:Yes.
Speaker B:And he always meant the home with.
Speaker B:With Beth and Adele.
Speaker B:It was never back to, you know.
Speaker A:Right.
Speaker A:Because his mother would later say, well, this is his home.
Speaker B:Right.
Speaker B:Where else we go?
Speaker A:Yeah.
Speaker A:Anyway.
Speaker A:Okay.
Speaker B:I have it a little different later.
Speaker B:Yeah.
Speaker B:No, well, tell me how I'm not a genius.
Speaker A:No, no.
Speaker A:I think that because he opens the door, steps out, a decision has been made.
Speaker B:Just giving your.
Speaker A:No, no.
Speaker B:We are eager to get to 85 cent.
Speaker A:Yes.
Speaker A:The catalyst.
Speaker A:This is what I have.
Speaker A:We immediately are shown this store owner.
Speaker A:Okay, so the very first thing.
Speaker A:This is what I'm talking about, how we treat each other is.
Speaker B:Yeah.
Speaker B:The guy's eyeballing him like he's going to steal some shit.
Speaker A:Yes.
Speaker A:Dress like what he ultimately wants.
Speaker A:Change for a dollar.
Speaker B:Yeah.
Speaker A:The very first time we see Mr.
Speaker A:Lee, even before the guy gets there, he's cracking change into the drawer.
Speaker A:He's got the change.
Speaker D:Yeah.
Speaker B:He just didn't want to do it.
Speaker B:Didn't want to do it when he's watching with the cooler.
Speaker A:Like, that's later.
Speaker B:You're right.
Speaker B:He's got the change.
Speaker A:We are told this guy has the change and doesn't Want to do it?
Speaker B:Yeah, right.
Speaker B:I mean, we could assume that he has a good fucking cash register, but you're right, they wouldn't want to step further.
Speaker B:They showed him, show him.
Speaker B:Have it fucking two corners.
Speaker A:This is how you want to treat each other and then are surprised when there's hostility.
Speaker A:It's hostility that we create by our treatment of each other.
Speaker B:Sure.
Speaker A:You know, okay.
Speaker A:Anyway.
Speaker C:Well, isn't it even deeper that Michael Douglas goes in there asking for change and nobody's giving it to him.
Speaker B:What?
Speaker A:I caught this.
Speaker B:I thought.
Speaker B:Were you gonna say something?
Speaker B:What?
Speaker B:I caught the second time watching this morning.
Speaker B:He wants change, but it'll cost him.
Speaker C:Oh, yeah, there you go.
Speaker A:That's good too.
Speaker B:It's the same thing as what you're saying.
Speaker A:Yeah, that's very good.
Speaker A:Because that's almost like the 16 blocks or whatever.
Speaker A:I don't want the change, you know, or whatever.
Speaker A:We talk.
Speaker B:Yeah, right, right.
Speaker A:Yeah, that's good.
Speaker A:I hadn't thought of that one.
Speaker A:Yeah.
Speaker A:So we are immediately shown the guy has change.
Speaker A:Either be part of the hostile soul crushing system or extend compassionate.
Speaker A:If he had given the guy change, that's one stone closer and maybe the.
Speaker B:Whole day wouldn't have gone the way it went.
Speaker A:You see what I'm saying?
Speaker B:Yeah, yeah.
Speaker B:And they did a good job.
Speaker B:Like, you know, all the sweat and how hot it was and everything.
Speaker B:Because that soda looks so fucking good.
Speaker C:Yeah.
Speaker A:Oh my God.
Speaker B:When he's even holding his head, I'm like, yeah, feels real good.
Speaker A:Absolutely.
Speaker B:You want to crack open that soda and drink it so bad.
Speaker A:Oh my gosh.
Speaker B:His movies do that.
Speaker B:Characters have cup of coffee.
Speaker B:And I'm like, it makes me go make a fucking cup of coffee.
Speaker B:Absolutely.
Speaker A:His failure to do so is the sin of all of us and only contribute.
Speaker A:So he's contributing to the hostility.
Speaker A:That.
Speaker B:Yeah.
Speaker A:Anyway, what follows is a series of events where.
Speaker A:Okay, so from here on out, Defense is getting out of the car several times.
Speaker A:Is what I'm saying, A series of events where our man gets out of the car several times, the freezer and the cold coke.
Speaker A:Is this an opportunity for things to go a different way?
Speaker A:An opportunity not taken.
Speaker A:85 cents and not enough change.
Speaker A:Now this is where I'm saying that the catalyst is.
Speaker A:And the debate.
Speaker A:The guy won't give him the change.
Speaker A:And there's a lot of.
Speaker A:Okay, so there's a lot of what I call trespassing.
Speaker A:You go, now you're on my golf course.
Speaker A:You know what I'm saying?
Speaker A:He's always being Accused of trespassing or someone is encroaching on something that is not theirs.
Speaker B:Yeah.
Speaker A:You go down.
Speaker A:So there's this.
Speaker A:And.
Speaker A:And later I thought, okay, so again, maybe I'm reading the idea of trespass.
Speaker A:I don't know.
Speaker A:In the Presbyterian Church, we always would read the Apostles Creed and then do the Lord's Prayer.
Speaker A:Forgive us our trespasses as we forgive those who trespass against us.
Speaker B:Yeah.
Speaker A:The whole movie is people trespassing over each other and not forgiving.
Speaker A:And, you know, you're trespassing on me.
Speaker A:I'm trespassing on you.
Speaker A:I'm.
Speaker B:No, that's good.
Speaker A:You know, saying.
Speaker C:Yeah, well, I was.
Speaker C:I was going to say that it probably hammers home more the theme of a man at a time in a place he's not supposed to be.
Speaker A:Yeah.
Speaker C:So he's trespassing in all these places because he's not supposed to be here.
Speaker C:He hasn't grown with the time.
Speaker A:No, no.
Speaker A:He's supposed to be at work, so.
Speaker A:Right.
Speaker A:Yeah.
Speaker A:To James's point.
Speaker A:Yeah, that's good.
Speaker A:Okay.
Speaker A:So he has this argument with Mr.
Speaker A:Lee about the 85 cents.
Speaker A:Well, that won't give me enough to make a phone call.
Speaker A:And you go now and blah, blah, blah.
Speaker A:And he turns, he grabs his case and he turns and walks to the door after Mr.
Speaker A:Lee has told him he's Korean.
Speaker A:I can't remember the exact conversation.
Speaker C:That's Korean.
Speaker A:Korean.
Speaker A:So he's on his way out the door, I guess, to another store, I don't know.
Speaker A:And then it dawns on them that Korean.
Speaker B:Yeah.
Speaker A:Turns around.
Speaker A:To me, that's 85 cent.
Speaker B:There's a V in that.
Speaker B:You come to my country and you can't fucking.
Speaker B:That's how it starts it.
Speaker B:They don't know.
Speaker B:They don't have V's in China.
Speaker A:You're right.
Speaker B:I am Korean.
Speaker A:Right.
Speaker B:Jokes made twice in the movie.
Speaker A:Yeah, yeah.
Speaker B:But it's with.
Speaker B:I think it's Japanese.
Speaker B:The.
Speaker A:Oh, yeah, yeah, yeah.
Speaker A:Because of the other guy bothered to notice.
Speaker B:What do you say?
Speaker B:Yeah.
Speaker B:Well, Mr.
Speaker B:Lee, Korean.
Speaker B:I happen to be Chinese.
Speaker A:Japanese, case.
Speaker B:You never noticed.
Speaker A:Yes.
Speaker A:So that's.
Speaker A:That's what I'm saying.
Speaker A:The catalyst is this doesn't give me enough change for the phone.
Speaker A:I'm now being stifled.
Speaker A:And he turned and he's going to leave.
Speaker A:He's going to let it go.
Speaker B:Yeah.
Speaker A:But he doesn't.
Speaker A:He turns around.
Speaker A:He almost accepts this humiliation, but turns back.
Speaker A:The break into two is his words.
Speaker A:I stay.
Speaker B:Yeah.
Speaker B:No, that's Good.
Speaker B:Yeah.
Speaker A:Slams the.
Speaker B:Because getting out of the car and just run.
Speaker B:That's not.
Speaker B:I mean that's.
Speaker A:I think it's his ordinary world.
Speaker B:Bigger.
Speaker B:Yeah.
Speaker B:It's a much bigger step to decide to bust up a chop versus getting out of your car.
Speaker A:I think, I think because I think there's a reference like two months ago he was fired.
Speaker A:So this has been going on for two months?
Speaker B:Yeah.
Speaker B:Has he been looking for a job or whatever?
Speaker A:Well, he has a paper with some things circled later.
Speaker B:Oh yeah, you're right.
Speaker B:Yeah.
Speaker B:When he's sitting on the hill.
Speaker A:But if he hasn't.
Speaker A:If he hasn't maintained like if he's out of time, he hasn't done anything.
Speaker B:A job just like the economically viable guy.
Speaker B:Yeah.
Speaker A:Right.
Speaker C:It's been a slow.
Speaker B:The guy was trying to get along because that guy couldn't get a job.
Speaker A:He couldn't get a job either.
Speaker C:But that's the thing later on in the, in the film is you find out he's been unemployed for two months.
Speaker C:Well where he's been going.
Speaker C:So this is.
Speaker C:You find out that he's been in a slow boil.
Speaker A:Yeah.
Speaker C:And it's just not a one day.
Speaker B:Couldn't find a job for two months.
Speaker B:Coming home empty handed every day.
Speaker B:Sitting in that same traffic every day.
Speaker B:Or I guess he was on the way to work.
Speaker B:Yeah.
Speaker A:Well, beginning of the day, this is.
Speaker A:I didn't think of this but he's fired two months ago.
Speaker A:Where's he going?
Speaker A:He is still trying because it's maybe embarrassing for him or humiliating for him.
Speaker B:Pride.
Speaker B:Keeping up appearances.
Speaker A:Keeping up appearances for two months.
Speaker A:Going out for eight hours and doing what?
Speaker A:Stewing, boiling.
Speaker A:You know, like James is.
Speaker C:Everything's pissing him off at that point.
Speaker A:Yes, he is.
Speaker B:Right.
Speaker A:But can't admit, you know, let me.
Speaker B:Go learn some new skills.
Speaker A:Get a job or tell my mother or tell people I lost my job.
Speaker A:Can't admit it.
Speaker A:Won't admit it.
Speaker B:Right.
Speaker B:Yeah.
Speaker B:Because why is mad about.
Speaker B:You don't even pay alimony.
Speaker B:But yeah.
Speaker B:He doesn't have a job to pay.
Speaker A:You're right.
Speaker A:But.
Speaker A:But, but doesn't want to confront that.
Speaker B:Right.
Speaker A:And that's.
Speaker A:And that's.
Speaker B:Yeah.
Speaker A:Theme throughout the movie.
Speaker A:I think it's going to repeat.
Speaker A:I stay fun and games.
Speaker A:I call this price reduction.
Speaker A:You know, obviously he clears the store.
Speaker B:You know, I had thought about.
Speaker B:Until you said it earlier about the way he was dressed because I'm rolling back prices.
Speaker B:I thought about the second time I watched it.
Speaker A:The 60s.
Speaker A:Yeah.
Speaker B:65.
Speaker B:I'm thinking, why so far back?
Speaker B:That's 30 fucking years at this point.
Speaker B:That's 93.
Speaker A:Yeah.
Speaker B:But maybe there's correlation of that in the way he's dressed.
Speaker B:Right.
Speaker B:You know what I mean?
Speaker A:Yeah.
Speaker B:He didn't say I'm rolling back to 85.
Speaker B:He said 65.
Speaker B:I was like, holy.
Speaker B:Yeah, like, you know, I mean, who in the right mind, you know?
Speaker B:And yeah.
Speaker B:And like you said, the guy had the change.
Speaker B:85 cents versus 50.
Speaker B:Dude could have given him a couple of quarters and got on better day.
Speaker A:Anytime we want to.
Speaker B:That soda cost you, you know, is the owner, you know, if we want.
Speaker A:To stop the hostility, stop being hostile.
Speaker A:What you see what I'm saying?
Speaker A:And that's none of these people take the.
Speaker A:Take the out.
Speaker A:And so you.
Speaker A:You have no.
Speaker B:It's a responding kind kind of mentality, right, Abs?
Speaker A:It's.
Speaker A:Yes.
Speaker A:Law of the jungle.
Speaker A:You're gonna fight me, I'm gonna fight you.
Speaker A:And you know.
Speaker C:Yeah.
Speaker C:I got a bigger stick than you.
Speaker A:Yes.
Speaker B:Yeah.
Speaker A:Now obviously he clears the store, whatever.
Speaker B:But there's in fact, I think this whole wreck is suspect.
Speaker A:Yes, very.
Speaker A:Yes, it is.
Speaker B:You're on board with them, you know?
Speaker A:Yeah, absolutely.
Speaker A:No.
Speaker B:Just wanted a cold soda and this guy's being a dick.
Speaker A:Absolutely.
Speaker B:And he had to change like you said.
Speaker B:Yeah, the of them donuts.
Speaker B:Nobody's eating those.
Speaker A:No.
Speaker B:Like, the guys react.
Speaker B:The guys.
Speaker B:His acting is really good.
Speaker B:The whole movie.
Speaker B:Everybody's acting is really good.
Speaker A:Yes.
Speaker B:I don't.
Speaker B:Just the guy when he.
Speaker B:I don't remember which time it was.
Speaker B:He says the wrong.
Speaker B:Too much and he hits it.
Speaker B:I think it's like the second thing that he asked him in the price.
Speaker B:He's like, oh, shit.
Speaker A:He knew.
Speaker B:You can see on his face.
Speaker B:I fucked up.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker A:Now there is a direct cut when he's clearing that register off.
Speaker A:They struggle for the bat.
Speaker A:There is an immediate cut to the American flags falling on the ground.
Speaker B:Shattering.
Speaker A:Shattering.
Speaker A:Yes.
Speaker B:Yeah.
Speaker B:The jaw shatters.
Speaker A:Yep.
Speaker A:The falling down of the American flag here.
Speaker A:This is the falling down of America as we have saying, is it America's fault?
Speaker A:Is it our fault?
Speaker A:Well, ultimately it has to be our fault anyway.
Speaker A:But there's a direct cut to that flag falling down.
Speaker B:That's good.
Speaker A:I saw that with, you know, let's see.
Speaker A:Yes, we talked about that.
Speaker A:And then he's.
Speaker A:And so this is his pride issue again.
Speaker A:The guy thinks he's a thief.
Speaker A:Take my money.
Speaker A:But you think I'm a thief.
Speaker A:I'm not a thief.
Speaker A:You're the thief.
Speaker B:Right.
Speaker A:You know, this is mumbling.
Speaker B:And so I can't just stop it.
Speaker B:Take your hands away.
Speaker A:Yes.
Speaker B:Michael Douglas is.
Speaker B:Again, we talk about his best performance.
Speaker B:It's good stuff.
Speaker A:Absolutely.
Speaker A:But this is someone else's problem.
Speaker A:I'm not the thief here.
Speaker B:Right.
Speaker A:I'm not.
Speaker A:I'm the bad guy.
Speaker A:No, Right.
Speaker B:I'm the one that's.
Speaker B:With the bat that I took from you, busting up everything.
Speaker B:But I'm not.
Speaker A:I'm the thief, right?
Speaker A:No.
Speaker A:So to me, that's the first fighting game and the.
Speaker A:And sort of the break into two because at that point, he's about to walk out.
Speaker A:No, I'm not having it today.
Speaker B:Right.
Speaker A:I stay.
Speaker A:Now, this is before the bat.
Speaker A:But he was going to get his change, you know, anyway.
Speaker B:One soda, 12 ounces.
Speaker A:Yes.
Speaker A:50 Cent.
Speaker B:Sold.
Speaker A:Sold.
Speaker A:Oh, now, there's a contrast to this later when he's buying the unicorn.
Speaker A:And it's all.
Speaker A:I don't want to say it's a spiritual thing, but the guy is a Indian or whatever.
Speaker A:He almost like a swami.
Speaker A:There's the gentle music playing.
Speaker B:And he didn't haggle over that price.
Speaker A:No, no.
Speaker A:How much for this?
Speaker A:This was $3.
Speaker A:You know, very calm.
Speaker A:I'll buy that.
Speaker A:It's a very.
Speaker B:That's interesting.
Speaker A:If people would just take a beat, maybe that's how things could go.
Speaker A:Instead of.
Speaker B:Sure.
Speaker A:Anyway.
Speaker A:But he, he, he.
Speaker A:And this is the thing so he can appreciate goodness.
Speaker A:And I think somewhere in there is a good man.
Speaker B:We can get to it.
Speaker B:But the.
Speaker B:The mom, her favorite animal is a skunk, right?
Speaker A:Yeah.
Speaker B:And the.
Speaker B:The stripe, it's not painted on.
Speaker B:It's in there.
Speaker A:Yeah.
Speaker B:He's wearing white.
Speaker B:Wearing black.
Speaker B:And his hand has the white strip.
Speaker B:Right.
Speaker B:That's him.
Speaker B:Like he.
Speaker B:And he.
Speaker B:He's the skunk that the mom still loves.
Speaker B:All black, but they're still white.
Speaker B:There's still goodness in there.
Speaker A:That is because I wanted to make some of that skunk and I just.
Speaker A:I guess.
Speaker A:Yeah.
Speaker A:That's perfect.
Speaker A:That's brilliant.
Speaker A:There is still a bit of goodness, even.
Speaker A:Yeah.
Speaker A:Oh, I like that.
Speaker B:Did you like this guy?
Speaker B:He just.
Speaker B:You know what I mean?
Speaker A:Yeah.
Speaker B:Just goes too far.
Speaker A:A skunk is very cute.
Speaker B:Yeah.
Speaker B:But they stink.
Speaker A:Well, if you attack them and then they attack you.
Speaker A:So there you are again.
Speaker C:Or if they're fired from their job two months ago.
Speaker A:Right, right.
Speaker A:Or mean to their wife and daughter.
Speaker B:Oh, hey, the flies.
Speaker B:And then the skunk.
Speaker B:Like, isn't that smell associated with dead.
Speaker A:I've heard that the smell of a skunk is equivalent like a dead body on par with the smell of a cadaver.
Speaker A:I don't know if that's true, but that's what I've heard.
Speaker B:That lady is nuts, though.
Speaker B:This is a giraffe drinking water.
Speaker A:Yes, I have.
Speaker A:At any given moment, we could choose to act in a way that changes the dynamic, but seldom do we make that choice.
Speaker A:I'm not a thief.
Speaker A:By implication, you are.
Speaker A:This is someone else's fault.
Speaker A:Okay.
Speaker B:Stole my bet.
Speaker A:Stole my bet.
Speaker A:Yes.
Speaker A:That's the first scene.
Speaker A:Then we cut to Pendergrast.
Speaker A:Genuine Arizona sand.
Speaker A:Last day pranks on Pendergrass.
Speaker A:He takes everything in stride with good humor, you know?
Speaker A:Did you take my stuff out first?
Speaker A:No, but he doesn't.
Speaker B:What's fun in that?
Speaker B:He doesn't get mad.
Speaker A:Doesn't get mad.
Speaker A:He laughs.
Speaker B:He says, I'm sorry, like.
Speaker B:And she's genuine with her apology.
Speaker B:I'm sorry.
Speaker B:I tried to persuade him.
Speaker B:And he goes, it's all part of it.
Speaker A:It's all part of it.
Speaker A:Takes everything in stride and good humor.
Speaker A:All while still harboring the grief for his daughter.
Speaker A:Because he.
Speaker A:They poured that sand over the photograph of his daughter, which is almost incessant.
Speaker B:It's buried.
Speaker A:Yeah, that's good.
Speaker A:He's harboring real grief, and you can see that later.
Speaker B:He's one of them turds.
Speaker A:But it didn't turn him bitter.
Speaker B:Yeah.
Speaker B:The annoying partner, Bill Paxton could have played that role.
Speaker A:Yeah, absolutely.
Speaker A:Defense lost his daughter because of his actions.
Speaker A:And he's bitter.
Speaker A:Pendergrass lost his daughter through no fault of either his or his wife's.
Speaker B:And he's taking it.
Speaker A:And people can react to.
Speaker A:And it can ruin him for the rest of life, but it.
Speaker A:He's dealing with it, but he doesn't let it change him.
Speaker B:Yeah, like how he says it later at the end when he doesn't.
Speaker B:Yeah.
Speaker B:You know?
Speaker B:Yeah.
Speaker B:Basically, they lied to everybody.
Speaker B:Lied to the fish.
Speaker A:Yeah.
Speaker B:Like, that doesn't give you the right to do what you did today.
Speaker A:Yeah.
Speaker B:It makes you special.
Speaker A:Is that little girl?
Speaker A:Yes.
Speaker B:Yeah.
Speaker A:There you go.
Speaker B:And there's a difference between the two of them.
Speaker A:And.
Speaker A:And when he's talking to that asshole captain about, oh, it says you have kids.
Speaker A:Yeah, we lost.
Speaker A:Yeah.
Speaker B:That's Arlo Givens.
Speaker A:Is it?
Speaker B:Yeah.
Speaker A:Damn.
Speaker B:I'm pretty sure.
Speaker A:I think you're probably right.
Speaker B:Yeah.
Speaker B:The captain is Arlo Givens.
Speaker D:Oh, really?
Speaker D:I didn't even notice.
Speaker B:Justified.
Speaker D:Yeah.
Speaker A:Okay.
Speaker A:Yeah, yeah, yeah.
Speaker A:All right.
Speaker A:All right.
Speaker A:He Says, well, losing the kid, that.
Speaker A:That could be hard.
Speaker A:Yeah.
Speaker A:Yep.
Speaker A:It can be.
Speaker B:After he asked him, well, how's the kids?
Speaker A:Yes.
Speaker B:We.
Speaker B:We lost.
Speaker B:God damn it.
Speaker B:I'll take a stick to these notes and shit.
Speaker B:Jesus Christ.
Speaker B:Yeah, I like this English show how not personable this asshole is.
Speaker A:Right.
Speaker A:Having to suffer these indignities.
Speaker A:Duval still takes it in stride.
Speaker B:Yeah.
Speaker B:Doesn't get mad.
Speaker A:And talking about the loss of a child.
Speaker A:Yes, sir.
Speaker A:It can be hard.
Speaker A:Anyway, the contrast is strong.
Speaker A:His anxious wife, his loving response.
Speaker A:So we're gonna find that he.
Speaker A:He is sacrificing for his wife.
Speaker A:And later she sacrificed it.
Speaker A:And we already talked about that.
Speaker B:We're interested in the water gun, too, I guess.
Speaker B:I think at this point, the.
Speaker B:You see the mom filling.
Speaker A:Yes.
Speaker A:Yes.
Speaker A:Because she's preparing for her birthday party or whatever.
Speaker B:Yeah.
Speaker A:I guess they talked about this point.
Speaker A:Moving to Havasu, where the London Bridge is.
Speaker A:And I think this is going to.
Speaker B:Be at some point.
Speaker B:Yeah.
Speaker B:Because I have the.
Speaker B:I guess just in my notes, I have the kill, kill, kill sign.
Speaker B:But that's as he' to go sit on the hill.
Speaker A:That's the next guy with them.
Speaker B:But yeah.
Speaker B:And then after that, when I have the London Bridge falling down.
Speaker B:Just a note there.
Speaker A:Yeah.
Speaker A:The London Bridge falling down is both things.
Speaker B:That the wife.
Speaker B:Right?
Speaker A:Yes.
Speaker A:Yeah, that's it.
Speaker A:That's it.
Speaker B:And I've seen this movie a million times and never put two together.
Speaker B:That.
Speaker B:It's called falling down in London Bridge is falling down.
Speaker B:Well, missed that.
Speaker A:I did.
Speaker B:I looked at times previously.
Speaker A:This is how crazy I got.
Speaker A:I looked up.
Speaker A:We're not going to go through it.
Speaker A:But I looked up the history of the London Bridge.
Speaker A:It's.
Speaker A: It was built like an: Speaker A:But it's also a children's game.
Speaker A:London Bridge is falling down, Falling down.
Speaker A:The bridge fell many times in this history from any attacks.
Speaker A:The children's game involves children.
Speaker A:And I think I remember playing this when we were kids.
Speaker A:The kids are joined in their arms and kids are passing through, and at some random moment, they drop down and trap a kid.
Speaker B:Yeah, I think that's right.
Speaker A:Anyway, that's the game.
Speaker B:This is falling down.
Speaker B:The game's a different movie, sir.
Speaker A:That's true.
Speaker A:Yeah.
Speaker A:The children's game involves children being randomly captured when other children forming the bridge bring it down over them.
Speaker A:Could the meaning here be, when the bridge falls down and you are under it, how will you react when the bridge falls down on you.
Speaker A:How are you going to react?
Speaker A:And I think we get two contrasts.
Speaker B:No, that's.
Speaker B:Yeah.
Speaker B:Or just.
Speaker B:Yeah.
Speaker B:Just.
Speaker B:How do you.
Speaker B:Yeah.
Speaker B:When you fall down.
Speaker B:If you're on the bridge and it falls down.
Speaker B:Yeah.
Speaker A:Right.
Speaker A:Anyway.
Speaker B:All right.
Speaker A:Any thoughts on that?
Speaker C:Well, that you said that they were retiring to go out there where London Bridge is.
Speaker A:Yeah.
Speaker A:It didn't have a.
Speaker A:Yeah.
Speaker A:They actually moved the London Bridge from London to.
Speaker B:Yeah.
Speaker B:I think it's in the movie Brick by Brick.
Speaker A:Brick by brick.
Speaker A:They rebuilt it in.
Speaker A:In Arizona.
Speaker A:You can actually.
Speaker D:Yes.
Speaker D:Because I saw it on what Ghost adventures.
Speaker D:They go out and investigate the bridge and that's one up.
Speaker B:Yeah.
Speaker C:So England build it built a new bridge.
Speaker A:Yeah.
Speaker C:Where that one was.
Speaker A:We moved it brick by brick over to like Havasu and man, that's a.
Speaker C:Good use of money, I suppose.
Speaker B:Right?
Speaker A:I guess now.
Speaker A:Yeah.
Speaker B:I didn't know it was not still like I guess over there somewhere.
Speaker A:It's in Arizona.
Speaker D:Yeah, it's in Arizona now.
Speaker A:The London Bridge falling down.
Speaker A:But it was rebuilt brick by brick oftentimes.
Speaker A:And Duval, I'm sure, you know, Pendergrass, at the death of his daughter, I'm sure had to rebuild his.
Speaker B:Yeah, yeah.
Speaker A:Life brick by brick.
Speaker A:He felt like defense never feels the need to rebuild brick by brick after his London bridge fell down.
Speaker A:You know.
Speaker A:So there's two reactions and I think.
Speaker A:I think London Bridge is significant.
Speaker B:No, that's good for that.
Speaker A:The hill, your reference to kill.
Speaker A:Kill.
Speaker A:That's the first thing I noticed.
Speaker A:That poster on the wall.
Speaker A:Everything is hostile now.
Speaker A:I tweeted that picture of him looking through the sole of his shoe.
Speaker A:I don't know if I'm reading into this, but there's a hole in his soul.
Speaker B:Yep, that's what I got.
Speaker A:There you go.
Speaker B:And without his family because he's trying to look at their house.
Speaker B:Right.
Speaker A:I think.
Speaker A:I think probably he's looking towards where he's going to go.
Speaker A:Yes.
Speaker B:Yeah.
Speaker B:So he's.
Speaker B:To me, that's what I put was.
Speaker B:Yeah.
Speaker B:He's got a hole in his soul that his family.
Speaker A:Yes.
Speaker A:There is not a reference to this in the movie, but there's a saying that we all have a God sized hole that we're looking to fill and we.
Speaker A:If we don't fill it with God, we fill it with something else.
Speaker A:Addictions, drugs, whatever.
Speaker B:Sure.
Speaker A:Materialism, whatever.
Speaker A:That's the saying that we all have a God sized hole that we're trying to fill.
Speaker A:And if we don't fill it with God, we'll Fill it with something that is destructive.
Speaker A:I think he's got a hole in the soul and he's trying to fill it with something that is not going to help him.
Speaker B:Right.
Speaker C:Well, you said he was looking at the family's house through the.
Speaker B:That was my assumption.
Speaker B:Yeah.
Speaker A:I'm assuming that's the way he.
Speaker B:Downtown was behind him and it looked like residential.
Speaker B:Just in the.
Speaker B:I mean, that makes sense.
Speaker A:Yeah.
Speaker C:The family would fill the hole.
Speaker A:Yes.
Speaker B:Yeah.
Speaker A:Yes.
Speaker A:That's where he's going now.
Speaker A:Again, the shoe got a hole in it.
Speaker A:He wore the hole in it.
Speaker A:Did he wear the hole in his own soul by not maintaining his own soul or, or internal nature or.
Speaker A:You know what I'm saying?
Speaker C:Yeah.
Speaker A:Because the hole that big doesn't just happen.
Speaker A:Like he didn't step on something, made that hole.
Speaker C:Right.
Speaker A:Over time, that hole got worse.
Speaker A:And he never did anything about it.
Speaker B:Sure.
Speaker A:You know, he never did anything.
Speaker B:Back to your point about the, you know, doing it yourself.
Speaker B:Yeah.
Speaker B:He's the reason he doesn't have a soul.
Speaker C:Yes.
Speaker C:He never maintained it.
Speaker C:He never upgraded it.
Speaker A:Nope.
Speaker C:He never filled the hole.
Speaker A:Yes.
Speaker A:Got behind the time.
Speaker A:The time moved on and he didn't.
Speaker B:Right.
Speaker A:Even though I'm sure he.
Speaker A:Like it's never brought out in the movie, but I think he could have advanced his skills and kept that job.
Speaker C:So you're thinking that the hole in the shoe.
Speaker C:He passed by many shoe repair stores in his life wearing that hole.
Speaker A:Yeah.
Speaker A:Didn't I?
Speaker A:Don't.
Speaker A:You know.
Speaker B:Yeah.
Speaker A:I'm good to go.
Speaker C:Lots of off ramps.
Speaker A:Yes.
Speaker A:Now, I.
Speaker A:This, this is probably more than.
Speaker A:But when he, when he patches that hole, he does it with the newspaper where he was looking, where it has job circles in it, you know, so he's trying to fill that hole with the job, you know, making money.
Speaker A:The newspaper, which is all external events, you know, trying to fill it with anything.
Speaker A:And that later on you see a shoe again and that it's.
Speaker A:It's worn through again, like when he's buying the combat boots or whatever.
Speaker B:Yeah.
Speaker A:The hole is there again and you don't see the newspaper.
Speaker A:He's worn it out.
Speaker A:So what he tried to fill it with didn't last.
Speaker A:And I, you know, anyway, another long look by a female child.
Speaker A:So he's sitting on that hill and there's this kid way far away, looking, just dead.
Speaker A:Stare at him, you know.
Speaker B:Right.
Speaker A:It's the ghost, I think, of his family the lot.
Speaker A:The ghost of the lost family at haunting another failure.
Speaker A:Okay.
Speaker A:So now we get this confrontation with the two gang guys and.
Speaker B:And you're thinking about trespassing.
Speaker A:Trespassing.
Speaker A:And they're not talking to each other with any kind of like.
Speaker A:He feigns saying, I tried to talk to you like men.
Speaker A:But he also says, I wouldn't want you people living in my backyard either.
Speaker A:So there's this subtle hostility and racism too.
Speaker B:When they.
Speaker B:He goes, I didn't see any signs.
Speaker B:What do you fucking call that?
Speaker B:But when they tell him.
Speaker A:Graffiti.
Speaker B:Yeah, a graffiti.
Speaker B:And then they have.
Speaker B:They.
Speaker A:Maybe if you wrote it fucking.
Speaker B:You may wrote in fucking English, I could fucking understand it.
Speaker B:Yeah, yeah, he was definitely responding in kind.
Speaker A:Yes.
Speaker A:So there's no, you know, there's no.
Speaker A:We're creating these environments and then are surprised when they're anyway, Right.
Speaker B:Means fucking new.
Speaker A:Yeah, that's right.
Speaker A:Tribalism is what I call this.
Speaker A:Another failure to be able to talk to each other in a civil manner or extend kindness to another.
Speaker B:This is a gangling thing.
Speaker B:Gangland thing.
Speaker A:The gangland thing.
Speaker A:What's going on here?
Speaker A:Yeah.
Speaker A:So everybody's staking their claim and.
Speaker A:And, you know, fighting the other guy for it.
Speaker B:I think you should pay a toll.
Speaker A:That's right.
Speaker A:Yeah.
Speaker A:Our man gets control back too.
Speaker B:Like, again, maybe back to your pride thing, because, like, he's out.
Speaker B:He's like, I'm not giving you my briefcase.
Speaker A:Right.
Speaker B:Nothing wrong with one.
Speaker B:There's nothing in it.
Speaker A:I get it.
Speaker B:Yes, yes.
Speaker A:But he does get some control back there.
Speaker A:Here's where he starts to.
Speaker A:You know, at this point, though, you're still on board.
Speaker A:I mean, come on.
Speaker A:These guys are.
Speaker B:These guys.
Speaker A:Yeah, these guys.
Speaker A:It gets his control doing anything.
Speaker B:He was just sitting there.
Speaker B:I mean, he did bust up the other guy's shot, but here he's just sitting there, Right.
Speaker B:And he said, all right, look, I'll be on my way.
Speaker B:And they're like, nope, you're not.
Speaker B:Without paying.
Speaker B:So, yeah, you're on board with him still.
Speaker A:And he flails about like he almost.
Speaker A:I want to say this is sort of an equivalent to him swatting that fly in the car, totally unsuccessfully with the newspaper.
Speaker A:He's flailing away now, but with that bat.
Speaker A:Yeah, but he's hitting his mark.
Speaker A:You know, he's getting the fly now.
Speaker A:He's starting to get control, which is not going to ultimately anyway.
Speaker A:Yeah, Anyway.
Speaker A:So any.
Speaker A:Any other thoughts about that?
Speaker A:His path was blocked previously.
Speaker A:Traffic jam.
Speaker A:Now he demands that his path be cleared.
Speaker A:Make a path.
Speaker B:Clear path.
Speaker A:Clear.
Speaker A:A path from nothing to a bat.
Speaker A:From a bat.
Speaker A:To a knife, ultimately.
Speaker A:From knife to guns.
Speaker A:Yeah.
Speaker B:He throws the bat when he says that at the guy going there, Picks up the knife.
Speaker A:Yeah.
Speaker A:A token, if you will, of the escalation.
Speaker B:Yeah.
Speaker B:How did he do that?
Speaker A:Yeah, that's.
Speaker A:That's the thing.
Speaker A:He's almost sort of humble and.
Speaker A:And ordinary.
Speaker B:Right.
Speaker A:And then.
Speaker A:But there's this thing where he wants to, you know, symbols of his rise to taking more control against external forces in his life.
Speaker A:Nothing to address his internal forces as are.
Speaker A:Okay, now, so I thought this was interesting.
Speaker A:Any other thoughts about that scene real quick or whatever?
Speaker A:No.
Speaker A:Yeah, I think.
Speaker A:Yeah.
Speaker A:Because we go from that.
Speaker A:Him picking up a better weapon.
Speaker A:The very next scene is what?
Speaker A:Pendergrass surrendering his weapon.
Speaker B:Oh, nice.
Speaker A:Yeah.
Speaker A:Is surrendering his means of external protection and control, which.
Speaker A:Which later he's going to reach for and not have.
Speaker B:Yeah.
Speaker A:Surrendering his means of external protection and control in the face of aggression.
Speaker A:Because.
Speaker A:Because it's immediate.
Speaker A:After that scene, he's surrendering his weapon and he looks at a headline in the newspaper that says, cop killed, cop shot.
Speaker A:You know, that is not without meaning.
Speaker A:I mean, that's intentional, you know?
Speaker A:Now, gradually, the paths are going to cross, and so we get these encounters.
Speaker A:Lee sees Pendergrass.
Speaker A:Pendergrass gets his second encounter with our man because he talks to the shop owner first.
Speaker A:Later, we'll hear about the gun.
Speaker A:So he's starting to get noise about this guy, but it doesn't put.
Speaker A:Put them.
Speaker B:Oh, he paid for the soda.
Speaker B:Oh, I'm sorry.
Speaker B:I thought this was a robbery.
Speaker A:Yeah.
Speaker B:Stole my baseball bat.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker A:You sell baseball bats?
Speaker A:No, for defense.
Speaker A:Defense.
Speaker A:I thought that was.
Speaker B:Yeah, I like the payoff later with that.
Speaker A:Yes.
Speaker B:But even yells at to him.
Speaker B:The guy's like, what the are you talking?
Speaker A:Right, right.
Speaker A:But I keep the bat for defense, you know?
Speaker B:Yes.
Speaker A:All right.
Speaker A:I love that scene.
Speaker A:Anyway, phone home.
Speaker A:The estranged wife knows it's him calling.
Speaker A:You got to stop calling me.
Speaker A:This is when we begin to learn.
Speaker B:That, yeah, things are.
Speaker A:Things are not good.
Speaker A:He's a dead man walking.
Speaker A:Maybe that's.
Speaker A:I didn't link the flies, but that's brilliant.
Speaker A:Floating with no place to land at the end now.
Speaker A:Anyway, we'll get to the end when he's in the water.
Speaker A:Now, this is probably nothing, but on the phone booth that he's caught, there's a sticker that says gratis.
Speaker A:Gratis means free or grace.
Speaker B:Okay?
Speaker A:Free medical care, free clinic is what it is for.
Speaker A:And I'm thinking, see, there's these signs.
Speaker A:There's all these signs along the way where he could got out.
Speaker A:He could walk into that clinic now, man, it's a.
Speaker A:It's a.
Speaker A:It's for East LA type.
Speaker B:I saw him and I was trying to figure out.
Speaker B:But yeah, like, meaning behind them.
Speaker B:So, yeah, that's good because I guess the only thought I had was because that's when the guys are.
Speaker B:That he beat up on the hill.
Speaker B:They're driving around looking for him and the girls, like, once you go to the doctor, he's like, no, fuck that.
Speaker B:I want to find this guy.
Speaker A:Yeah.
Speaker B:And I was thinking, the only thing I thought about was they could have gone to the clinic instead of trying to attack them.
Speaker B:So I'm getting, you know, fucked up themselves.
Speaker A:But he's talking to the phone and.
Speaker B:Right here, real close in the camera.
Speaker B:Yeah.
Speaker B:So it's got to be.
Speaker A:He could have walked into a free medical sticker on that phone and probably gotten something to help him.
Speaker B:Yeah.
Speaker A:But he.
Speaker A:He doesn't see it and certainly probably wouldn't have taken it, you know, anyway.
Speaker B:Signs all around him that he doesn't see.
Speaker B:Yeah.
Speaker A:Yes.
Speaker A:He is told, this isn't your home anymore.
Speaker A:You know, which is cold and it isn't.
Speaker A:But he doesn't want it.
Speaker B:He's doing just fine without you.
Speaker B:Yeah, that's fucked up.
Speaker A:Yes.
Speaker A:But.
Speaker A:But again, that's true.
Speaker A:But he doesn't want to confront it.
Speaker A:That's.
Speaker A:Again, it's a pride issue.
Speaker A:That's his main sin.
Speaker C:I think that was his thing.
Speaker C:I'm going home.
Speaker C:Yeah, that's what he said.
Speaker C:Where are you going?
Speaker C:I'm going home.
Speaker C:This isn't your home anymore.
Speaker C:Well, I'm going home.
Speaker A:Yeah.
Speaker A:I'm staying.
Speaker A:I'm going.
Speaker A:You know, it's a pride issue.
Speaker A:He.
Speaker A:He.
Speaker A:Yes, absolutely right.
Speaker A:All right, so the.
Speaker A:We have this shootout, the screaming girlfriend argue.
Speaker A:The screaming girlfriend is like, just forget it.
Speaker A:So unbelievably, she's the voice of reason here.
Speaker B:Right, right.
Speaker C:Out of all of them.
Speaker A:Out of all of them, they.
Speaker A:They do a drive by, obviously miss.
Speaker A:He walks on, they crash, take some shooting, listens, you know.
Speaker B:Yeah.
Speaker A:Now when he grabs that gym bag, everybody is fleeing at that point.
Speaker A:They are now making a path for him for sure, you know, anyway.
Speaker C:And now he's upgraded to not just a gun, he's got a bag full of guns.
Speaker A:Yes, he is.
Speaker B:He is all the guns in the world, man.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker A:I thought that was a great line.
Speaker A:Let's see.
Speaker A:Oh, the talk.
Speaker A:Yeah.
Speaker A:So throughout this Movie.
Speaker A:He is on a power rise.
Speaker A:And Pendergrass is on a power rise, power decline.
Speaker B:Sure.
Speaker A:Having to give up his gun, his job.
Speaker A:This whole talk is so humiliating.
Speaker A:The guy's boxing.
Speaker A:The sign of aggression, you know, this guy's the, you know, and, and we've talked about, you know, his daughter.
Speaker A:Yeah, it can be.
Speaker A:It can be.
Speaker A:But this whole conversation is a soul crushing humiliation.
Speaker B:He's even standing over him while he's sitting.
Speaker A:Yeah.
Speaker A:And got his pants open.
Speaker A:You know, button is pants, you know, like got his dick out or whatever, you know, that he pulls his dick.
Speaker B:Out, his pants opened.
Speaker A:Yeah.
Speaker A:I'm the big of dick swinger here.
Speaker A:And you're just, you know, just worked.
Speaker B:Up a sweat and I'm gonna go back to work and not be stinky at all.
Speaker A:Right.
Speaker A:Yeah.
Speaker A:Wearing a T shirt.
Speaker B:Wearing a T shirt.
Speaker A:So Pendergrass maintains his dignity in the face of external humiliation.
Speaker A:Is able to do that where our guy's not.
Speaker A:Anyway, one possible future.
Speaker A:So he's sitting there and he can't get on the bus.
Speaker A:But he looks around and he sees people of various walks of life on the down and out.
Speaker A:The beggar, the guy selling peanuts, the guy selling oranges.
Speaker B:Right.
Speaker A:Everybody's trying to make their way.
Speaker A:Is this what they want to be doing?
Speaker A:No, but they're doing it.
Speaker A:He won't.
Speaker A:He won't, you know, Anyway, he fails to board the bus.
Speaker A:There's that.
Speaker A:The thing around the bus says, I.
Speaker A:I love you, daddy.
Speaker A:You know, so there's all this.
Speaker B:Oh, yeah.
Speaker A:Haunting.
Speaker A:Haunting of his loss.
Speaker B:I don't know I really sympathize with him on the bus thing.
Speaker A:I don't.
Speaker B:I guess I have this thing about personal space and people that don't know me bumping into me and not saying, I'm sorry, excuse me, noise.
Speaker B:The out of me.
Speaker A:Sure.
Speaker B:So when he's constantly.
Speaker B:I would have stepped out of that crowd too.
Speaker A:Oh, absolutely.
Speaker B:You know, I mean, like.
Speaker A:Yeah, absolutely.
Speaker D:Well, don't go the streets in New York.
Speaker D:When I was walking on the street.
Speaker B:In New York, honestly bumped.
Speaker D:I was.
Speaker D:I was looking up and I accidentally bumped into someone else.
Speaker D:Oh, I'm so sorry.
Speaker D:And my cousin who is from there just started laughing.
Speaker D:She said, they're going to keep going.
Speaker A:Yeah.
Speaker A:Yes.
Speaker A:Now he, he gets off the bus and he starts to walk and the construction guy says, no, where are you going?
Speaker A:Just follow your tootsies, you know.
Speaker B:Yeah, yeah.
Speaker A:Where are you going?
Speaker A:The second time someone asked him where he's going.
Speaker A:The second time he answers, I'm going home this way.
Speaker B:You're not.
Speaker A:Right.
Speaker B:Yeah.
Speaker A:He has to take a third way again.
Speaker A:Restraining order.
Speaker A:We learned that he has a horrendous temper when she calls the cops or is talking to the cops or whatever.
Speaker B:Yeah.
Speaker B:But that was interesting because, like, at this point, to me, I was kind of, like, still on board with him.
Speaker A:Yeah.
Speaker B:Because it's like, oh, okay.
Speaker B:The wife seems like maybe a little bit of a bitch.
Speaker B:Because he's like, well, did he ever strike the child?
Speaker B:Ever strike you?
Speaker B:Well, no.
Speaker A:No.
Speaker A:I always thought he could.
Speaker A:It's complicated.
Speaker B:Yeah.
Speaker B:Right.
Speaker B:But it seems.
Speaker B:It's almost like, all right, that's kind of fucked up.
Speaker A:And the male cops.
Speaker B:We've seen his temper, but I was still.
Speaker B:You know what I mean?
Speaker A:Like, I always thought he could.
Speaker A:You know, I didn't want to wait to find out.
Speaker A:Wait till he did it.
Speaker B:Cops seem like, well, that's up.
Speaker A:Well, because.
Speaker A:Because I'm thinking his face, to me.
Speaker B:That'S what it says.
Speaker A:Yes.
Speaker A:Because he's.
Speaker A:Here's a male cop.
Speaker A:And I'm sure if he's married, you know, it can't be easy with the cop's wife.
Speaker A:And.
Speaker B:Yeah.
Speaker A:And in my mind, I was.
Speaker A:He.
Speaker A:I had him thinking, this is the problem.
Speaker A:You know, everybody's down on us, you know, immediately sympathizing with the father element in that situation.
Speaker B:Right.
Speaker A:About the wife putting a restraining order.
Speaker A:And he didn't even do anything, you know.
Speaker B:Yeah.
Speaker A:He's not getting any.
Speaker A:She's not getting any.
Speaker A:Yeah.
Speaker B:Because it's interesting me, like, because I guess I was still, you know, like, on board with him and, like, is, like, mad at her in that scene that she did that.
Speaker B:Even though we've seen plenty of examples of him losing his temper.
Speaker B:But I was like, well, that was all warranted.
Speaker B:Even though it's not the way you're supposed to react.
Speaker A:Right.
Speaker B:He's reacting, the situation around him like the 85 cent and all the gang guys.
Speaker B:Yeah.
Speaker B:I'm so on board with this guy.
Speaker A:Yeah.
Speaker B:And then to me, like, it's later when he's watching the home video and the girls.
Speaker B:The daughter's crying, he's like, well, just put her on the horse.
Speaker B:To me, I didn't see until then, like, oh, okay, all right.
Speaker B:Yeah, that's home.
Speaker B:And you're losing your mind about fucking putting your girl on a horse.
Speaker A:Yeah.
Speaker B:Like, oh, down.
Speaker B:Yeah.
Speaker B:And which is what she best saw the whole time?
Speaker B:That's what she was talking about.
Speaker A:Yeah.
Speaker A:And even the video, she looks very trepidatious.
Speaker A:And.
Speaker A:Yeah, scared.
Speaker B:You always do this, Beth, yet again, blaming other people, always somebody else.
Speaker B:Yeah.
Speaker A:She says he could, I think, get violent.
Speaker A:And the cop says, you think?
Speaker B:So you can tell he cheese this fucking lady, right?
Speaker A:Yeah.
Speaker A:So now, this is subtle, but when he says, you think.
Speaker A:There's this long awkward moment where she's frustrated because she's not getting her point across.
Speaker A:And then there's a scene where she looks up at him at some point, exact same kind of look that Pendergrass gives his captain when he says, well, that can be tough.
Speaker A:Yeah, it can be.
Speaker A:He's not looking at him, and all of a sudden he looks up, and it's almost like a dead stare.
Speaker A:She puts it anyway.
Speaker B:All right.
Speaker B:Nice.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker A:So no walk in the park.
Speaker A:This.
Speaker A:This whole park with all the kids playing next to a guy that says, we're dying of aids.
Speaker A:And so you've got.
Speaker A:You got this con.
Speaker A:This is the environment.
Speaker A:The kids are.
Speaker A:This is the world.
Speaker B:Kids are like in every scene of violence almost.
Speaker B:Yes.
Speaker A:Side by side.
Speaker B:Yeah.
Speaker A:Yes.
Speaker A:Homeless and mentally ill fight over scraps while street musicians place.
Speaker A:You got people playing music while homeless people fight.
Speaker A:You got kids playing next to a guy who's dying of aids.
Speaker A:This is.
Speaker A:This is the world.
Speaker A:You got a homeless vet sitting.
Speaker A:I need food and stuff.
Speaker A:In the background, there's a guy in a Chase Lounge just catching rays, you know?
Speaker B:Yeah.
Speaker A:This is the world, you know?
Speaker A:And we've done this.
Speaker A:This is what we've made, you know, this.
Speaker A:This guy.
Speaker A:You got to give me something.
Speaker A:I.
Speaker A:You know.
Speaker A:Come on, man.
Speaker A:I haven't eaten in a week.
Speaker A:Well, except for this.
Speaker A:This always changed.
Speaker B:I was a vet.
Speaker B:You're an animal doctor?
Speaker B:No, no, I was in Vietnam.
Speaker B:I meant to say the golf man.
Speaker A:Can'T even keep his grip straight, man.
Speaker A:At that point, you are on board because.
Speaker B:Yeah, this guy.
Speaker A:This guy, man, you know?
Speaker A:Absolutely.
Speaker A:All right.
Speaker A:You know, he throws the apple at him.
Speaker B:Yeah.
Speaker B:Could have eaten there's, you know, it's one of the most nutritious foods out there.
Speaker B:You threw it away.
Speaker A:Yeah, he doesn't want that.
Speaker A:He wants what he wants, you know, and if you're not complying, I'm mad, you know, you're not.
Speaker A:Anyway, now let's see.
Speaker A:I have it here.
Speaker A:Okay, so as our guy.
Speaker A:So he throws the apple at him, which our guy ignores as he makes a left out of the park.
Speaker B:Yeah.
Speaker A:There's a bunch of signs, right?
Speaker A:One of those signs sitting right there, clear as day.
Speaker A:I never, never noticed it.
Speaker A:But now I'm hyper aware.
Speaker A:I'm looking up everything the sign says.
Speaker A:Where is it?
Speaker A:Let's see.
Speaker A:The sign says the scene where he's.
Speaker B:After the apple's been thrown back at him and he's about to walk.
Speaker A:Yes.
Speaker B:Okay.
Speaker A:Right on the left, there's a big sign that says virtus V R R T U S on it with a.
Speaker A:With a picture of a guy.
Speaker A:I don't know, Virtus.
Speaker A:What is virtus?
Speaker A:Virtus is a Latin word.
Speaker B:Veritas.
Speaker A:Nope, I thought it was veritas, but it's V I R T U S.
Speaker A:Virtus.
Speaker B:Okay.
Speaker A:It means virtue, excellence or moral strength for no reason.
Speaker A:Like there's a sign.
Speaker A:Looks like every other sign, but it says virtus on it, which is.
Speaker B:You want there?
Speaker A:Yeah, yeah.
Speaker A:Excellence.
Speaker A:Moral strength of character.
Speaker A:A virtue, excellence.
Speaker A:Okay.
Speaker A:Have some verdicts and you're out of the situation, you know, have some moral strength.
Speaker A:Okay, I'm down.
Speaker A:Here's what I got to do to take, you know.
Speaker A:No, no.
Speaker A:So he thinks he's the hero, but does he lack moral strength and virtue?
Speaker B:Right.
Speaker A:Maybe that's what we're being told, you know, Anyway, because he passes that sign, just passes it on by.
Speaker B:Right.
Speaker A:Anyway.
Speaker B:Whammy burgers after that.
Speaker A:Yep.
Speaker B:Okay.
Speaker A:The customer is always right.
Speaker A:Well, that's not our policy, you know.
Speaker B:Here I am, Customer.
Speaker A:That's right.
Speaker C:There's a.
Speaker C:There's a tidbit.
Speaker C:Michelle Pfeiffer's sister is the actress in the burger joint.
Speaker A:The waitress.
Speaker B:Interesting.
Speaker A:Really?
Speaker C:Yeah.
Speaker C:The one that's sitting there with the manager.
Speaker A:Yeah.
Speaker C:Yeah.
Speaker A:That's Michelle Pfeiffer's sister.
Speaker C:Shell Pfeiffer's sister.
Speaker B:Does she go.
Speaker A:Do.
Speaker B:Go on and do anything else?
Speaker C:I don't think so.
Speaker C:Not that I know of.
Speaker A:She looked familiar to me, but I.
Speaker A:I couldn't.
Speaker A:They.
Speaker C:They favor each other.
Speaker A:Yeah.
Speaker B:Each other.
Speaker A:The customers are always right.
Speaker A:He's getting a taste for his new power.
Speaker A:Now he's less timid to use it.
Speaker A:Is what I have here.
Speaker B:Yeah.
Speaker B:Again, kids and violence.
Speaker B:Where this guy's holding up the place.
Speaker A:Yes.
Speaker C:Yeah.
Speaker C:Now he's starting to think he's right.
Speaker A:Yes.
Speaker C:The universe is behind him and his virtue.
Speaker A:Now he's starting right?
Speaker A:Yes.
Speaker A:His pride is being fed.
Speaker A:This is now a couple things here.
Speaker A:And this is what I'm talking about.
Speaker A:Same with the change.
Speaker A: stopped serving breakfast at: Speaker A: He looks at us, what,: Speaker A:And when she goes to get the breakfast, it's right There.
Speaker B:Yeah.
Speaker A:It's not like they have to fry an egg.
Speaker A:Right.
Speaker A:They're sitting there, probably gonna be thrown away.
Speaker B:Right.
Speaker A:And when he gets lunch, it's next to that.
Speaker A:So the breakfast is sitting.
Speaker A:All you have to do is just have a little patience, man.
Speaker B:You know, we don't do this, but here you go, sir.
Speaker B:I don't know.
Speaker B:Something.
Speaker B:Yeah.
Speaker A:Yes.
Speaker D:Go to Chick Fil A.
Speaker D:Apparently, if they have leftover breakfast, they'll give it to you.
Speaker A:Well, that's cool.
Speaker B:Well, it's.
Speaker C:I mean, because leftover Chick Fil A is not a thing.
Speaker B:Because the.
Speaker A:That's true.
Speaker B:The nuggets and the chicken.
Speaker B:Right.
Speaker B:That they serve your breakfast and lunch is the same, probably so.
Speaker B:Right.
Speaker B:I mean, the bread changes.
Speaker B:That's it.
Speaker A:But that's very intentional, that business model.
Speaker B:But yeah, it's.
Speaker B:Right.
Speaker A:Three minutes.
Speaker D:That's what my supervisor's been there as long as you go inside like that.
Speaker D:Right.
Speaker D:At that time, if they have left, they've given her stuff before.
Speaker B:You're also talking about the place.
Speaker B:This is my pleasure.
Speaker B:Right.
Speaker B:Afterward, if you say thank you, that's what.
Speaker B:That's the response.
Speaker B:Yeah, yeah.
Speaker B:I mean, you know, one place with the line super long.
Speaker B:I'll wait.
Speaker C:Just not on Sunday.
Speaker C:No Sunday.
Speaker B:But.
Speaker D:But you get through.
Speaker B:That's what I'm saying.
Speaker B:That's what you're willing to wait.
Speaker B:If I brought the water burgers.
Speaker B:That long?
Speaker A:Nope.
Speaker B:I've given up next week before I get my food.
Speaker A:Giving up on whataburger?
Speaker A:Anyway.
Speaker A:All right, There was the line, you know, he accidentally shoots the gun up.
Speaker A:Sorry.
Speaker A:That it's got a sensitive trigger.
Speaker A:And I.
Speaker A:I wrote down.
Speaker B:Oh, he's got something.
Speaker A:He's got a sensitive.
Speaker A:He's not.
Speaker A:The gun is not the only one with a sensitive trigger.
Speaker B:Nice, Nice.
Speaker A:Anyway, the sorry, miserable, squashed thing.
Speaker A:I love that line.
Speaker B:It did look pretty.
Speaker B:Pretty sad, man.
Speaker A:Oh, my God.
Speaker B:Look at that picture.
Speaker A:Yeah.
Speaker A:And then when he asked the question.
Speaker A:Nobody.
Speaker B:Just the kid.
Speaker A:Just the kid again.
Speaker B:A child enjoying your lunch.
Speaker A:I think I love that line.
Speaker A:I think we have a critic here.
Speaker B:She didn't like the special.
Speaker A:I mean, he's.
Speaker B:You.
Speaker A:You.
Speaker A:It's a love.
Speaker A:Hate this.
Speaker A:This guy, you know, because I do like him.
Speaker B:Yeah.
Speaker A:I think we have a critic here.
Speaker A:Just.
Speaker A:Anyway, lunch for two.
Speaker A:Okay.
Speaker A:So he's having his lunch, you know, with guns and violence.
Speaker A:And Pendergrass is now having the date with Sandra, I think her name is.
Speaker B:Wasn't it?
Speaker A:Not the date.
Speaker A:But they.
Speaker A:They agreed to have lunch.
Speaker B:They had lunch.
Speaker B:Yeah.
Speaker A:Have lunch.
Speaker A:Yeah.
Speaker B:But they've done it so often.
Speaker B:They both.
Speaker B:He was like, what, a six?
Speaker B:Or.
Speaker B:She goes, seven.
Speaker B:All right, two seven.
Speaker A:Two sevens.
Speaker A:Yeah.
Speaker B:That was a.
Speaker B:Like he gets along better with her than he does his own wife.
Speaker A:Yes, I think so.
Speaker A:Yeah.
Speaker A:I think she's more balanced anyway, always.
Speaker A:So she wants to say, you know, hey, moving to Arizona, you're doing it for her.
Speaker A:She's.
Speaker A:But anyway, there's this conversation, but he puts her at ease.
Speaker A:So Pendergrass is always trying to put the other person at ease.
Speaker B:Yeah.
Speaker A:It's interesting, you know what I'm saying?
Speaker A:And so this is his tact in life.
Speaker A:You know, he doesn't have change and not give it to you.
Speaker A:Or he doesn't have breakfast and not give it to you.
Speaker A:You know, you're ragging him about retiring early, but he's putting you at ease.
Speaker A:You see, I'm saying it's the whole alternate reality philosophy.
Speaker A:Contrast between him and defense, you know?
Speaker B:Yeah.
Speaker B:It's interesting.
Speaker B:Like, I just don't thought about even the talking about this, I guess, how people treat each other in every scene.
Speaker A:Yes.
Speaker B:When the annoying detective.
Speaker B:I don't remember his name, he comes up and says, hey, we got to go.
Speaker B:Blah, blah, blah.
Speaker B:And the way he and the waitress accidentally bumps him or something.
Speaker A:Yeah.
Speaker B:There's no.
Speaker B:The exchange could have been, oh, I'm sorry.
Speaker B:It's fine.
Speaker B:He goes, I don't touch my gun.
Speaker B:Fuck you.
Speaker B:I mean, they're still playful, but it wasn't the words I'm sorry and excuse me.
Speaker B:It was.
Speaker A:And it's basically a sexual space.
Speaker B:Don't trespass and fuck you.
Speaker B:Yeah.
Speaker A:And he's basically.
Speaker A:Yeah.
Speaker B:By ladies.
Speaker A:Yeah.
Speaker A:But.
Speaker A:Yeah.
Speaker A:So he's.
Speaker B:Yeah.
Speaker B:And those ladies are like, who the fuck's that guy?
Speaker A:Right.
Speaker A:He's just always, you know, backs.
Speaker A:Not a nominal viable.
Speaker A:We talked about this.
Speaker A:Dressed.
Speaker A:I think this guy is a shadow of him.
Speaker A:That's why he's dressed exactly the same.
Speaker A:I think that's intentional.
Speaker B:Oh, yeah.
Speaker B:The economically viable.
Speaker C:I think it goes to the.
Speaker C:The girls that he keeps seeing.
Speaker C:The kids.
Speaker C:Like, you say that's the ghost.
Speaker A:Yes.
Speaker C:Of the family.
Speaker C:This guy is the ghost of himself.
Speaker A:This is a.
Speaker A:This is.
Speaker A:Throughout the movie.
Speaker A:There are paths he could take that would.
Speaker A:That would.
Speaker A:Because at this point, he's still viable, so to speak.
Speaker A:Like, he could still.
Speaker B:Yeah.
Speaker B:Until he kills the one dude.
Speaker B:Yes.
Speaker B:It's.
Speaker B:The rest of it could be argued as defense or just, you know.
Speaker A:Yeah.
Speaker A:But, yeah.
Speaker A:Nobody's gonna at that point, they don't even have a good line on him.
Speaker A:I mean, like.
Speaker B:Right.
Speaker A:Pendergrass is getting closer, but, yeah, he still has outs.
Speaker C:Yeah, he could stop and disappear.
Speaker A:Yes.
Speaker B:Yeah.
Speaker A:Yes.
Speaker A:Don't forget me.
Speaker A:I thought he said, I won't.
Speaker B:The captain even makes that point.
Speaker B:Who am I up in the ass when he's holding the.
Speaker A:Oh, yeah, yeah, yeah, yeah.
Speaker A:They're not gonna.
Speaker B:You're gonna arrest me.
Speaker A:Yeah, they, they make the, the girl say it was gang instead of a white guy.
Speaker A:You know, I thought he said, I won't forget you, but he just nods.
Speaker A:Don't forget me.
Speaker A:That scene, I like that scene a lot.
Speaker A:You know, I'm going away now, you know, Anyway, it's all.
Speaker B:This is what happens when you're not.
Speaker A:Economically viable, which, you know.
Speaker A:Yeah, it's like the guy.
Speaker A:It's like the guy haven't changed.
Speaker A:The bank can give this guy money and.
Speaker A:But they didn't.
Speaker A:They wouldn't do it.
Speaker A:You know, maybe he doesn't check every box, but they're checking every box over his humanity.
Speaker A:You see what I'm saying?
Speaker A:We're dealing with each other instead of in a humane way, in our own little confrontational territorial styles, tribalism, you know.
Speaker A:No, you're not economically viable.
Speaker A:We can't help you.
Speaker A:But it's just a guy who needs help, man.
Speaker A:Anyway, banks aren't charity.
Speaker A:I get it.
Speaker A:But come on.
Speaker A:Anyway, anything about that scene.
Speaker A:In this society, the individual can be lost and forgotten.
Speaker A:We want to know our livestow meaning that we will be remembered or that we can.
Speaker A:That we were given respect even as we gave it.
Speaker A:So it's all about being remembered or, you know, I, I, my life had meaning, you know, remember me.
Speaker A:You know, have someone remember you.
Speaker A:And anyway, anything else?
Speaker A:He buys the, the snow globe in a nice scene.
Speaker B:Yeah, you said that earlier.
Speaker A:Yeah.
Speaker A:And then, then he opens the gun bag and puts the snow globe on top of the gun.
Speaker A:So you got this loving, peaceful gift for his daughter on top of a bag full of.
Speaker B:Well, it's the killing weapon.
Speaker B:We've been seeing violence and children mixed together right.
Speaker B:In the same environment.
Speaker A:Oh, that's good.
Speaker A:That's good.
Speaker A:That's good.
Speaker A:Then they, Then they say, because the wife is.
Speaker A:Keep calling the cops and the female's leaving or whatever.
Speaker B:Yeah.
Speaker B:She tells her to vote for.
Speaker A:Yeah, yeah.
Speaker A:But he says, she says maybe he came to his senses and turned around and went home or whatever.
Speaker B:Yeah.
Speaker B:It doesn't.
Speaker B:Somehow doesn't take all.
Speaker B:No, that's later.
Speaker B:Somebody later on someone says it doesn't take all day to get from there to there.
Speaker A:Yeah.
Speaker B:They don't realize he's on foot.
Speaker B:Yeah.
Speaker A:So if he would have come to his senses.
Speaker A:Yeah, this everything would have been fine.
Speaker A:But he never comes to his senses, you know.
Speaker A:Anyway, out of order.
Speaker B:Should be at the.
Speaker B:The surplus store now.
Speaker A:Yeah, but I have out of self.
Speaker A:Oh, the phone.
Speaker A:When he's using the phone.
Speaker B:Yeah, you're right.
Speaker B:This one's out of order.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker A:I have a selfish asshole calling another asshole an asshole.
Speaker A:Right.
Speaker A:Because.
Speaker B:Yeah, because you haven't noticed other people.
Speaker A:Yeah, you're using the phone, which is your right.
Speaker A:But I need to use it and you're using.
Speaker A:And I can't use it.
Speaker A:So you're wrong.
Speaker A:What?
Speaker A:Yeah.
Speaker A:And then he chooses to shoot it up.
Speaker C:So again, every interaction now nobody can use it.
Speaker A:Right, that's right.
Speaker A:But he was being selfish.
Speaker A:You're a selfish asshole for using the phone when I wanted to.
Speaker B:Right.
Speaker A:It's his whole reasoning.
Speaker B:Yeah.
Speaker A:And this is how we're dealing with each other.
Speaker A:And this is the, you know.
Speaker A:Anyway, another clue.
Speaker A:Sandra gives another clue, but it seems to conflict.
Speaker A:Yeah.
Speaker A:Because I guess he's have guns now instead of a bat.
Speaker A:So.
Speaker A:But Pendergrass will put that together later.
Speaker A:Anyway, the wife gets a little angry both situations on the phone.
Speaker A:Oh, okay.
Speaker A:So Pendergrass is arguing with his wife now and does get a little cross with her.
Speaker A:But so you have him on the phone and him on the phone.
Speaker A:There's always this matching scene almost.
Speaker A:Our guy was on the phone.
Speaker A:Now Pendergrass is on the phone.
Speaker A:How is, how are they different?
Speaker A:You know, that kind of thing.
Speaker A:Pendergrass gets a little cross with his wife maybe, but certainly doesn't shoot it up and certainly doesn't, you know.
Speaker B:Yeah.
Speaker A:So it's all about response to situations.
Speaker A:And he's given another clue about our guy shoe shopping.
Speaker A:This.
Speaker A:I love this scene in the army Navy.
Speaker A:I love this guy's Nazi.
Speaker A:I hate, you know, reprehensible human being.
Speaker A:But it's probably just really good.
Speaker A:Yeah, it's probably the lines I quote the most with the same you and me.
Speaker A:I say that all the time.
Speaker A:Think about it.
Speaker A:I quote those lines and I don't any other lines in the movie.
Speaker A:I love his performance.
Speaker B:Good for stomping.
Speaker A:Yeah, we can, we can say it, but we're not going to say.
Speaker B:Right.
Speaker B:Well, same thing there.
Speaker B:Right.
Speaker B:About the theme that you're.
Speaker B:That you're talking about.
Speaker B:Because the one buddy is like, man, just fucking let it go.
Speaker B:Right.
Speaker B:Because they hear it the first time when he says.
Speaker B:I think.
Speaker B:I think the squares.
Speaker B:First time.
Speaker A:Yeah.
Speaker B:Right.
Speaker B:And then they move down the line a little bit.
Speaker B:Just.
Speaker B:Let's just get a little bit further from.
Speaker B:They don't leave at that point.
Speaker A:Right.
Speaker B:They're just.
Speaker B:Let's look at these clothes further down the road.
Speaker A:Yeah.
Speaker B:Then he escalates it to fucking faggots.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker B:So then they're like, all right, we're out of here.
Speaker B:But the one buddy wants to go and confront him.
Speaker A:You're right.
Speaker B:And, you know.
Speaker B:Right.
Speaker B:And his.
Speaker A:Yeah.
Speaker B:The other one's like, man, just let it go.
Speaker A:Yes.
Speaker B:And I think.
Speaker B:I think he was on his way out, and then the guy said something else.
Speaker B:Something else.
Speaker B:All right, fuck you.
Speaker B:Now I'm coming back in here to say something.
Speaker A:Yeah.
Speaker B:Make you play, you know, with a gun.
Speaker B:Yeah, yeah.
Speaker B:You know, I love how the Michael Douglas is completely disgusted by this guy and he can't fathom that we're the same, but he is the same.
Speaker B:Like, this dude's overreacting, right?
Speaker A:Yes, I.
Speaker B:This guy's upset about, you know, people with a different sexual, you know, preference from him, Right?
Speaker A:Yes.
Speaker B:And then, of course, he's racist all around.
Speaker B:Well, but, you know, but he's reacting to the stuff that he doesn't like.
Speaker B:But Michael Jordan spent the whole movie reacting stuff he doesn't like.
Speaker A:When.
Speaker A:When.
Speaker A:When Nick, that's his name, is talking to Defense or whatever.
Speaker B:Yeah.
Speaker A:He's saying something that it's not particularly kind.
Speaker A:And.
Speaker A:And it's.
Speaker A:It's hard.
Speaker A:It's.
Speaker A:It's quick, but.
Speaker A:But Defense nods.
Speaker A:Okay.
Speaker A:And then when he's watching Nick deal.
Speaker B:With talking about what the shoes are good for, he nods.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker A:So something.
Speaker A:I can't remember the exact reference, but he's saying something.
Speaker A:And.
Speaker A:And.
Speaker B:And he nods.
Speaker A:He's nodding like.
Speaker A:Yeah, yeah.
Speaker A:And then when he's arguing with the two guys, Michael Douglas looks over and sort of shakes his head.
Speaker B:Yeah.
Speaker B:When he pulls the gun, he's just like, this guy's pulling gun.
Speaker B:This is nuts.
Speaker A:Yeah.
Speaker A:Yeah, but you just pulled a gun at the window.
Speaker A:My question was, what is he thinking about what's happening right now?
Speaker B:Yeah.
Speaker A:In relation to what he did in Mr.
Speaker A:Lee's store.
Speaker B:This guy is nuts.
Speaker A:I wasn't nuts.
Speaker B:I was justified.
Speaker A:I'm not a thief.
Speaker A:So everything.
Speaker A:Yeah, everything is.
Speaker A:So I'm saying pride and justified.
Speaker A:Yeah.
Speaker B:We're not the same.
Speaker B:I'm an American and you're sick.
Speaker A:You're right.
Speaker B:But it's.
Speaker B:No, you're the same.
Speaker A:Absolutely.
Speaker B:You're the same.
Speaker B:Just hate different things.
Speaker B:Yeah.
Speaker A:Okay.
Speaker A:Our man is nodding as Nick talks about the other patrons and is content to let them engage in their tussle.
Speaker A:The couple trash a bit of the places that leave.
Speaker A:How does this resonate, you know, with.
Speaker A:How does defense think about that?
Speaker B:Yeah.
Speaker B:Right.
Speaker A:Knowing he did.
Speaker B:Busted up his place just like he busted up, you know.
Speaker A:Yes.
Speaker B:Where he bought the coke.
Speaker A:Yes.
Speaker A:And that point is maybe when he was shaking his head like, I can't believe they're doing that.
Speaker A:Or, you know, total denial about his own.
Speaker A:Then cut back to Pendergrass.
Speaker A:All the guns in the fucking world.
Speaker A:Pendergrass is haunted by his daughter as well.
Speaker B:Office arrests, officer S's.
Speaker A:Yeah.
Speaker A:Yes.
Speaker A:All of this.
Speaker A:You know, we're the same, you and me.
Speaker A:I love that line.
Speaker A:Nick protects our man, sees him as.
Speaker A:So.
Speaker A:So this is the first interaction where Defense is welcomed and.
Speaker B:Yeah.
Speaker A:Supported.
Speaker B:Right.
Speaker A:You know, and Nick is all on board until he gets called a sick asshole.
Speaker A:And then all of a sudden, it's almost like a wave hits him.
Speaker A:You can see him blinking, like, what?
Speaker A:What?
Speaker B:Right.
Speaker A:What kind of.
Speaker A:What kind of sick fuck are you?
Speaker A:Or whatever he says.
Speaker A:What kind of vigilante are you?
Speaker B:This was used.
Speaker B:They actually use that.
Speaker A:He.
Speaker A:He did a good job.
Speaker A:We're the same, you and me.
Speaker B:Now, the stupid porno books he had sitting there.
Speaker B:Because there was one.
Speaker A:Yeah, I know.
Speaker A:There's not three books.
Speaker B:There's two naked chicks on either side of it.
Speaker B:One of them swastika.
Speaker A:Okay, okay.
Speaker B:And then I don't remember the other.
Speaker A:Oh, yeah, no, he's.
Speaker B:Yeah.
Speaker B:There's naked chicks and then there's.
Speaker B:Yeah, Nazi.
Speaker B:I mean.
Speaker A:Yeah, here's the thing.
Speaker A:This guy's reprehensible.
Speaker A:Nick, obviously white supremacist, racist.
Speaker A:Yes.
Speaker A:Okay.
Speaker A:But he's not having a life crisis.
Speaker A:His life is not in disarray.
Speaker B:His stuff's hidden.
Speaker B:This guy's out in the open.
Speaker A:Sure.
Speaker B:But Nick is perfectly happy.
Speaker B:Bring every.
Speaker B:Anybody.
Speaker B:Just anybody.
Speaker A:But Nick is not having a crisis in his life.
Speaker A:Defense is.
Speaker B:Yeah.
Speaker A:Yes.
Speaker A:Defense, when confronted with who he is, is not comfortable with it.
Speaker B:Sure.
Speaker A:You know, saying.
Speaker B:Yeah.
Speaker A:If you were to call Nick a white supremacist, he's not gonna have a problem with that.
Speaker A:You damn right I am.
Speaker A:You know, whatever.
Speaker A:Yeah, yeah, yeah.
Speaker A:So that was strange to me, that this.
Speaker A:This reference.
Speaker A:But he's.
Speaker A:He's more honest with himself.
Speaker B:Yeah.
Speaker A:With himself.
Speaker A:Than.
Speaker A:Than our guy.
Speaker A:If our guy would be honest.
Speaker A:With himself.
Speaker B:Yeah, that's true.
Speaker A:Anyway, now Nick helps him out, shoves the bag and pulls the card.
Speaker A:Blah, blah, blah.
Speaker A:But when defense sees the cops, there's the scene where he's clutching those guns close to his chest.
Speaker A:He's clutching those guns.
Speaker A:That's his resort.
Speaker A:That's his choice.
Speaker A:If they come in here, I got these guns almost.
Speaker A:He's clutching the potato to himself or whatever.
Speaker A:We're the same.
Speaker A:I'm an American.
Speaker A:You're a sick asshole.
Speaker A:The gym bag is stark evidence that he is not just a man trying to get home to his daughter's birthday.
Speaker A:He.
Speaker A:So his actions betray his speech.
Speaker A:He's not just a father trying to get home.
Speaker A:He's a guy clinging to a gym bag full of guns that he is getting more comfortable with using.
Speaker B:Right.
Speaker A:You know, anyway.
Speaker B:Yeah, that's the idea.
Speaker B:And then when he's.
Speaker B:When he shoots.
Speaker B:Gets him in the leg or whatever.
Speaker A:Yeah, yeah.
Speaker B:Shoots and misses first and says, you missed.
Speaker B:I missed too.
Speaker B:But then I think I just remember, like, after he shoots him and hits him in the leg, because that's the.
Speaker B:That's the ticker.
Speaker B:That's the idea or something.
Speaker A:Yeah, yeah, that's the idea.
Speaker A:Like concept.
Speaker B:That's the concept.
Speaker A:That's the concept.
Speaker A:Yes.
Speaker A:Now.
Speaker A:But that's the concept.
Speaker A:He misses.
Speaker A:I would argue you fail once, you try again.
Speaker A:This guy failed, is not trying again.
Speaker A:He's blaming.
Speaker B:Blaming.
Speaker B:Yeah.
Speaker A:You know, anyway, now that's him literally.
Speaker B:Learning a new skill.
Speaker B:And he refuses to do that.
Speaker A:Yes, exactly.
Speaker A:Had he done that right now when Nick is this whole.
Speaker A:It's almost.
Speaker A:Give it to me, give it to me, give it to me.
Speaker A:You know, I can.
Speaker A:Why?
Speaker A:What do you mean?
Speaker A:I'll fall down.
Speaker A:I'll fall down.
Speaker B:Yeah.
Speaker B:Yeah, I like that.
Speaker B:If I.
Speaker B:If I let go, he says, gravity.
Speaker B:I'll fall down.
Speaker B:But if I let go, if I surrender.
Speaker A:Yeah.
Speaker B:This the only thing holding me up, keeping me here.
Speaker A:Yes.
Speaker B:I'm gonna fall down.
Speaker A:Yes.
Speaker A:Yes.
Speaker B:And then.
Speaker B:Yeah.
Speaker A:When he knocks, doesn't know that he has fall.
Speaker A:Yeah.
Speaker A:Yes.
Speaker A:Yes, I'll fall down.
Speaker A:He has fallen down already.
Speaker A:And Cantor won't acknowledge it.
Speaker A:Now, I tweeted this, but when he stabs Nick, Nick sits up and looks himself in the mirror.
Speaker A:And there's defense in the mirror.
Speaker B:Yeah.
Speaker A:So there in my mind, he's looking at him.
Speaker A:He's looking in the mirror and he sees that shadow image of himself, the Nazi, the white supremacist, the aggressive, whatever.
Speaker B:Yeah.
Speaker A:You know, that.
Speaker A:That he is not as Far away from this kind of thought as he thinks he is and won't acknowledge it.
Speaker B:You know, like his reaction to the knife.
Speaker B:That's not one of mine.
Speaker A:Yeah, no, he's absolutely in shock at that point.
Speaker A:In my mind, it must have, like, struck as a order or something, because stabbing the shoulder.
Speaker A:Okay.
Speaker A:But he is.
Speaker A:He's bleeding out internally.
Speaker A:I got to.
Speaker A:Because he is totally wasted.
Speaker A:We're the same, you and me.
Speaker A:Not a reflection close to.
Speaker A:Then he likes to think arm.
Speaker A:Okay, now say this is where I have.
Speaker A:Right up to the midpoint.
Speaker A:Our man is now completely lost at this point.
Speaker A:You can't.
Speaker A:Yeah.
Speaker B:Because he murders that guy.
Speaker B:Whole blood.
Speaker A:Yes.
Speaker A:Feels good, doesn't it?
Speaker A:Standing up.
Speaker B:No longer threat after he stabbed him.
Speaker A:Yeah, right.
Speaker A:It feels pretty good, though, doesn't it?
Speaker A:Standing up for your rights.
Speaker B:Right.
Speaker A:Oh, good.
Speaker A:Freedom of religion, you know?
Speaker A:So now he's so good.
Speaker B:Oh, God.
Speaker A:Yeah, yeah, yeah.
Speaker A:Oh, good.
Speaker A:You know, freedom, religion.
Speaker A:It feels good standing up for your eyes.
Speaker A:Done it.
Speaker A:Blam.
Speaker A:Shoots him several times now.
Speaker A:He shoots him once.
Speaker A:Okay.
Speaker A:And then.
Speaker A:And you can see him change his trajectory.
Speaker A:It shoots the mirror and then goes back to shooting Nick.
Speaker B:That's interesting.
Speaker B:I don't want to see myself.
Speaker A:Yes.
Speaker A:The image of me doing this is not who I think I could.
Speaker B:If you see it, then maybe ignore all these flaws.
Speaker B:Yeah, that's good.
Speaker B:That's good.
Speaker A:Later on, he watches that videotape and he can't shut it down.
Speaker A:Won't.
Speaker A:He sees himself and you can see that he knows it.
Speaker B:Yeah.
Speaker A:But he immediately goes to the pier and, you know, he didn't.
Speaker A:He.
Speaker B:Denial.
Speaker B:Yeah, yeah.
Speaker A:Denial.
Speaker A:Midpoint, I have a false victory.
Speaker A:It feels good to exercise your rights, doesn't it?
Speaker A:And this is almost exactly an hour.
Speaker A:So this, to me, it's a victory for him.
Speaker A:He thinks it's a victory, but it's not.
Speaker A:This is the seeds of his downfall.
Speaker A:What did you have?
Speaker A:So that.
Speaker A:That's the end of the fun and games with Nick.
Speaker A:And then the midpoint.
Speaker B:I have same.
Speaker A:Yeah.
Speaker B:False victory.
Speaker B:I'm an American.
Speaker B:You're a sick asshole.
Speaker A:Yeah, there you go.
Speaker A:Feels good, doesn't it?
Speaker A:So now he is totally embraced.
Speaker B:Yeah.
Speaker C:This is when he changes to outfit.
Speaker A:Yes.
Speaker C:Yeah, yeah.
Speaker A:And he's talking to his wife.
Speaker A:You know, in some countries when a wife disrespects her husband, she kill her.
Speaker A:Yeah, yeah.
Speaker A:And then later he'll tell the family in his fantasy version of how he thinks it should go, we're going to all go to sleep together in the dark.
Speaker A:He's gonna kill him.
Speaker C:Yeah.
Speaker C:And it's a murder suicide.
Speaker B:In the dark.
Speaker A:In the dark.
Speaker B:We were gonna have a barbecue like you guys.
Speaker A:Yeah.
Speaker A:And we're all gonna go to sleep together.
Speaker A:In the dark.
Speaker A:Yeah.
Speaker A:With my gym bag.
Speaker A:All right.
Speaker A:Pendergrass on the hunt in the men's bathroom.
Speaker A:Pendergrass.
Speaker B:They don't sleep with the lights on, Phil.
Speaker B:That's all he meant.
Speaker A:That's all he meant.
Speaker A:He's innocent.
Speaker A:Now there's.
Speaker A:Again, you have the scene with the mirror, and then it immediately cuts to Pentagrass in the bathroom, and there's the parallax view of the two mirrors.
Speaker A:But there's mirrors in that scene.
Speaker B:Oh, nice.
Speaker A:So there's always this cut between Nick, between defense and Pendergrass, and it's usually a match of what they're doing, you know, in some way.
Speaker A:In the men's bathroom, Pentagrass makes his case and they're okay.
Speaker A:He's talking about who defense is and.
Speaker A:Yeah, because.
Speaker A:And they're getting on to him about it.
Speaker A:Well, it's your last day, Pendergrass.
Speaker A:You're not a cop anymore.
Speaker A:Whatever they're saying, it's almost now I have.
Speaker A:As if Pendergrass is trespassing.
Speaker A:Now, that may have been me reaching a little bit, but human interaction gives him.
Speaker A:So, yeah, he.
Speaker A:He's mad and he's gonna go do it.
Speaker A:But his partner.
Speaker A:So Sonya talks him down a little bit, and they agree to do it together.
Speaker B:Yeah.
Speaker A:So now I'm up choices right here.
Speaker B:Because he could just pack up and go home, but he doesn't want to.
Speaker A:Right, Right.
Speaker A:And he's mad, I guess, that no one will listen to him or whatever.
Speaker A:But his partner, who definitely is fond of him and he.
Speaker A:Or her as partners, but as friends.
Speaker A:And I think he probably sees her as maybe a daughter that could have been, you know, whatever.
Speaker A:Bring us to the bad guys.
Speaker A:Close in.
Speaker A:Past the point of no return is what I'm.
Speaker A:Because this is interesting, because in that phone call with his wife, he says, I'm past the point of no return.
Speaker A:Now, you know what that is?
Speaker A:That's when you're closer to the end.
Speaker A:And it's longer to go back to the beginning than to the end.
Speaker B:Right.
Speaker A:It's longer to go back to beginning than it is to the end.
Speaker A:With the killing of Nick, he has passed.
Speaker A:So with the killing of Nick, he's past the point of no return.
Speaker A:I think.
Speaker A:I think his dialogue comments on his role in the story at that point.
Speaker B:Yeah, I Do think he's, you know, because that's the first time he murdered somebody.
Speaker B:So he is, you know, past the point of no return.
Speaker B:But I guess what I caught this morning when I watched it again, once he says that and then like, you know, I don't know if it's immediately, but pretty quick after we see Pendergrass go all the way back to the beginning.
Speaker A:Yeah, yeah, yeah, yeah, that's good.
Speaker B:So they're stuck in the car.
Speaker A:Yes.
Speaker B:Because he sees the shit.
Speaker B:The damn car that I helped push out of the way.
Speaker A:Yes.
Speaker B:Was.
Speaker B:Was this guy's car.
Speaker A:Yes.
Speaker B:Because that's when he puts the defense thing together.
Speaker A:Yes.
Speaker B:Because his plan was to go back and talk to the shop owner.
Speaker A:Yes.
Speaker B:And try to.
Speaker B:But again, start at the beginning.
Speaker A:Yes.
Speaker B:He sees the sign that he saw and he realized, oh, shit, I bet.
Speaker A:You this guy sees the traffic jam.
Speaker C:Still down there in the same traffic I was.
Speaker A:Yeah, yeah, yeah, yeah.
Speaker B:I pushed that car out.
Speaker B:Today's your lucky day.
Speaker B:Oh, yeah.
Speaker B:Is it?
Speaker B:Yeah.
Speaker B:We didn't talk about that car.
Speaker A:Yeah.
Speaker A:With the.
Speaker B:Sell tiles myself, Give a discount to cops.
Speaker A:And anyway, with the killing of Nikki, he's passed the point of return.
Speaker A:And this justifies the idea of killing his wife for disrespecting that.
Speaker A:So now I think he's.
Speaker A:He thinks he's justified.
Speaker A:This is his right.
Speaker A:You know, in some countries it's.
Speaker A:It's my right to kill you.
Speaker B:She wants to turn off the lights.
Speaker B:I think she's fine, Phil.
Speaker A:Sure.
Speaker A:Nick is closer.
Speaker A:Next is closer to the end.
Speaker A:I think I missed named him Pendergrass.
Speaker A:I mean, defense is closer to the end than the beginning.
Speaker A:But Pendergrass finds himself at the beginning with the location of his questioning, hunting for our man.
Speaker A:The billboard with the graffiti.
Speaker B:Yeah.
Speaker A:Now there's still a chance for Pendergrass to not be past the point of no return.
Speaker A:Because at the end of the movie, says, my wife's going, my name is mud.
Speaker A:I'm still a cop.
Speaker A:So he hasn't passed the point of return of not being a cop.
Speaker A:So he is able to, I guess, turn back and.
Speaker A:Because he's, I guess, still going to be.
Speaker A:Not going to retire.
Speaker B:Yeah, that's what I got out of.
Speaker B:Yeah, yeah.
Speaker A:Cut to the cartoon.
Speaker A:Now again, everything is everything.
Speaker A:So we then show the daughter and the mother in the house.
Speaker A:And the.
Speaker A:The first cut is to that lion swinging the club trying to hit the.
Speaker A:What is it, a duck or a mouse?
Speaker A:I can't remember in the cartoon.
Speaker B:Okay.
Speaker A:Yeah, there's the Cartoon lion swinging that club, trying.
Speaker B:And I remember the car.
Speaker B:I didn't pay attention to the cartoon, though.
Speaker A:Yeah, It's a cartoon of a guy with a club.
Speaker A:Little cartoon lion with a club trying to whack a duck or a mouse.
Speaker A:I can't remember what the other cartoon animal was.
Speaker A:That's obviously an illusion.
Speaker A:There's no way you have a cartoon swinging a bat.
Speaker C:Mm.
Speaker B:Yeah.
Speaker B:Right.
Speaker B:She couldn't watch anything.
Speaker A:Doesn't mean anything.
Speaker A:But it's just a layer.
Speaker A:It's just.
Speaker B:Yeah, she could have been watching anything.
Speaker A:Right?
Speaker B:Or not.
Speaker A:Yeah.
Speaker A:Now he's got a rocket launcher.
Speaker A:The whole scene with this is still in the bad guys clothes in for me.
Speaker B:Yeah.
Speaker A:The kid thinks he's on a movie set, you know, and it's explaining how to do this.
Speaker A:Rocket launcher.
Speaker B:Yeah.
Speaker B:Completely comfortable with violence.
Speaker A:Yes.
Speaker A:I see it on tv.
Speaker B:Sensitized.
Speaker A:Yeah, yeah.
Speaker A:And I said, you know, the kid knows the tools of violence from television.
Speaker A:So you can.
Speaker A:You learn the rules of this world just by your environment.
Speaker B:The guy has.
Speaker B:The construction worker has a good line.
Speaker B:He goes, man, I'm just here to keep people from falling in.
Speaker A:Yes.
Speaker A:I was like, you know, any line could have done right.
Speaker A:Chosen.
Speaker A:Pendergrass goes to Defense's mother's house, and Sonya wants to question her, and he's not getting anywhere.
Speaker B:She's even like, she's friends with him, but like, she thinks he's wasting his time too.
Speaker B:At first.
Speaker A:Yeah, yeah, yeah.
Speaker B:Until she realizes what he's.
Speaker B:What he's doing.
Speaker B:But making a connection with the mom to get her to talk.
Speaker A:The way she's talking to her is not getting anywhere.
Speaker A:Get out of my house.
Speaker B:Some questions, man.
Speaker B:Just calm down.
Speaker A:Yeah, yeah.
Speaker A:He's warrant.
Speaker B:You invited us in.
Speaker A:Why?
Speaker B:I'm inviting you to leave.
Speaker A:Right?
Speaker B:She's.
Speaker B:Yeah.
Speaker A:And they would have had to leave, but he makes a human connection.
Speaker A:And so just make a human connection and you'll get farther, you know?
Speaker B:Right.
Speaker A:This is his home, you know, so again, this is a draft.
Speaker B:Drinking water.
Speaker A:Right, Right.
Speaker A:All right.
Speaker B:Yeah.
Speaker B:That's the whole thing we were talking about earlier.
Speaker A:Class warfare.
Speaker A:He's on the golf course trespassing again.
Speaker A:This trespassing golf course.
Speaker A:Yes.
Speaker B:Jesus.
Speaker A:Go back the way you came.
Speaker A:It's too late.
Speaker A:I say.
Speaker A:Yeah, you know, he cannot go back the way this guy's golf.
Speaker A:Because.
Speaker A:Because previously Defense calls that hill.
Speaker A:He's sitting on your shitty little hill.
Speaker A:Yeah, well, this golf course is that old guy's shitty little hill.
Speaker B:Sure.
Speaker A:That our guys now trespass.
Speaker B:I like Looks of this guy, man.
Speaker B:Just let him.
Speaker A:Yeah.
Speaker A:And another guy trying to de escalate.
Speaker C:This guy's in military fatigues and looks a little stressed.
Speaker C:Why don't we just leave him alone?
Speaker C:Might be having a bad day.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker A:You trying to kill me with a golf ball?
Speaker B:Kill me with a golf ball.
Speaker A:So I call this the same event as the shitty little hill scene.
Speaker A:Just in different costumes, you know.
Speaker A:But it's the same situation.
Speaker A:This guy wants to.
Speaker A:Now he is really trespassing at this point.
Speaker B:Yeah.
Speaker B:I made that note this time he.
Speaker B:There's signs like.
Speaker B:Yeah.
Speaker B:This whole thing about trespassing and all this bullshit.
Speaker B:Like the whole time he sees the signs and makes the decision to climb over them this time.
Speaker A:Sure.
Speaker B:Showing again his point of no return.
Speaker A:Yes.
Speaker B:He doesn't even respect trespassing signs anymore at this point.
Speaker B:He is.
Speaker A:He thinks he's totally in the right.
Speaker A:These are my rights.
Speaker A:We'll get to that, I think.
Speaker B:Yeah.
Speaker B:I don't know if that's the golf course or they show it when he goes and sees the family.
Speaker B:But yeah.
Speaker B:There's one point where he.
Speaker B:I guess it's when he goes over.
Speaker B:I don't remember.
Speaker B:Yeah.
Speaker B:You see from the inside of him going over the fence.
Speaker B:So.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker B:You see the transform sounds outside the golf course.
Speaker A:Yes.
Speaker A:Now I.
Speaker A:I forgot to mention.
Speaker A:So I think flies are important because in Nick's the fly gets zapped by the bug zapper.
Speaker B:Yes.
Speaker B:Yep.
Speaker B:Yeah.
Speaker B:And then there's flies.
Speaker B:You can hear flies in his room talking to the mom.
Speaker A:Yes.
Speaker A:Yes.
Speaker A:Another buzzing of a fly.
Speaker A:The only time that there has been a fly that got taken care of was the bug zapper at Nick's.
Speaker A:Our man.
Speaker A:Stop having to flail flies after that.
Speaker A:Stopped having to flail at things he couldn't control or he was without conflict about his life.
Speaker B:Yeah.
Speaker A:They could have to.
Speaker B:It's good the way they did it.
Speaker B:Right.
Speaker B:But they could have like really play with that and had like flies may would have been too much because you would have been wondering why there's so many flies.
Speaker A:Right.
Speaker B:City.
Speaker B:But if they had like several scenes of flies, like not just in the car, like throughout the whole adventure.
Speaker A:Right.
Speaker B:Of him like swatting a fly.
Speaker B:And then after the.
Speaker B:The point.
Speaker B:No return.
Speaker B:He doesn't have to fuck with them anymore.
Speaker B:No, I mean they could have done that after Nick's.
Speaker B:Yeah, he doesn't.
Speaker B:But they.
Speaker B:You know, I mean, it was in the car.
Speaker B:There were no other scenes of him messing with the fly.
Speaker B:Like when he was at the whammies or sitting on the hill.
Speaker B:Right.
Speaker B:They could have had, you know, I mean.
Speaker A:Yes.
Speaker B:A few more in there if they wanted to.
Speaker A:Right.
Speaker A:No, no, I think.
Speaker A:I think the flies are intentional.
Speaker B:No, I agreed.
Speaker B:I'm just saying they could have.
Speaker A:Right.
Speaker B:Done more.
Speaker A:Oh, yeah, absolutely.
Speaker A:Now his mother makes a comment about his ex.
Speaker A:His ex wife, you know, she's part Italian.
Speaker A:You know how it is with them again.
Speaker A:So he got some of this bigotry from his mom, you know, so he's not that.
Speaker B:Yeah, for sure.
Speaker A:You know, but he won't.
Speaker A:He.
Speaker A:To him, that's probably an affront.
Speaker A:So he won't admit it.
Speaker A:Yeah, you know, I'm.
Speaker A:I'm the thief.
Speaker A:I'm the bad guy.
Speaker B:Mom makes comment too, about.
Speaker B:He blames me.
Speaker B:He will.
Speaker B:He doesn't want me to know where they live because he's like, you don't know where your granddaughter lives.
Speaker B:He.
Speaker B:He won't let me know where he lives because he blames me.
Speaker A:Blames me for how.
Speaker A:For everything that happened in his marriage.
Speaker A:Which, you know, again.
Speaker A:All right, so that brings us.
Speaker A:That's.
Speaker A:That's the bad guys closing for me.
Speaker A:Did you have anything else in bad guys or whatever?
Speaker A:Because I.
Speaker A:I'm now up to the all is lost.
Speaker A:Still playing the blame game now.
Speaker A:Yeah.
Speaker A:So I have.
Speaker A:I have him climbing over the house of the plastic surgeon as all our.
Speaker A:My all is lost.
Speaker C:Right there after the golf course, the plastic surgeon and the family's just borrowing that house.
Speaker A:Yes.
Speaker A:And they're allowed to do that, you know, just don't call security.
Speaker A:I'm allowed to do this, you know.
Speaker B:Is it really important to tell them?
Speaker A:Yeah, I thought he meant the plastic, but the plastic surgeon gave him permission.
Speaker A:Yeah, he's talking about security or whatever.
Speaker A:Don't you work for security?
Speaker A:But this guy, now he thinks he's so in the right.
Speaker A:He just climbed over a barbed wire fence and trespassed on property to them.
Speaker B:About getting his handcuff.
Speaker A:And he calls himself an innocent person.
Speaker A:An innocent person climbing over and cuts their hand.
Speaker A:What kind of assholes are you, dude?
Speaker A:This is the level now, right?
Speaker A:And to some degree I have to believe it was always there.
Speaker A:Now it's just let out.
Speaker B:Yeah.
Speaker A:You know, Anyway, all is lost.
Speaker A:Angry at another shadow of himself.
Speaker A:Okay, so here's this family and they obviously don't make a lot of money either because they have to sort of borrow, right.
Speaker A:Just to have a nice picnic or whatever.
Speaker B:Yeah.
Speaker B:And swimming.
Speaker B:The guys pool.
Speaker A:Yes, But.
Speaker A:But the father tells him, look, Take me.
Speaker A:They won't do anything if you take me.
Speaker A:And the mother's like, no, no.
Speaker A:But he is instantly ready to sacrifice his own life for his family.
Speaker A:Our guy is not even willing to do that.
Speaker A:No.
Speaker B:Never even his fault.
Speaker A:No.
Speaker B:Let alone.
Speaker A:Exactly.
Speaker A:So this is.
Speaker A:So he's being confronted with another version of himself.
Speaker B:Right.
Speaker A:You know, and he.
Speaker A:And I don't think he likes that.
Speaker B:Yeah.
Speaker B:I like the guy's reaction when he was like, you think I'm going to hurt you and he's going to hurt your family.
Speaker B:And the guy's like, yeah, no fucking idea what you're going to do.
Speaker B:You have a sick.
Speaker A:A bag of guns.
Speaker A:You've broken in here, yelled at me.
Speaker A:You grabbed my hand.
Speaker B:Yeah, my fucking bench.
Speaker C:Yes, but.
Speaker A:So he.
Speaker B:No idea what you're going to do, man.
Speaker A:Right.
Speaker A:This is.
Speaker A:This is why I'm calling it sort of the all is lost.
Speaker A:Still playing the blame game.
Speaker A:Innocent people like me can cut their hands coming in.
Speaker A:Yeah.
Speaker A:Like I'm just.
Speaker A:I'm allowed to be here.
Speaker A:And I came in through the door and I cut my hand because.
Speaker A:No, it's not really how it happened anyway.
Speaker A:Angry at another shadow image of himself, the man and his wife and his daughters.
Speaker A:Another alternative to how his life could have been.
Speaker A:The cops are closing in.
Speaker A:He knows his chances are running out.
Speaker A:Him with the gun and the terrified girl.
Speaker A:So at this point, he has grabbed the little girl.
Speaker A:And I don't know what he intends to do with it, but he's obviously grabbed her as leverage, whether he is aware of it or not.
Speaker A:So it's closing in.
Speaker A:He's basically losing.
Speaker A:All is lost is what I'm calling that.
Speaker A:Leading to the dark night of the skull.
Speaker A:This is where he talks about being over educated or underskilled, not economically viable.
Speaker B:And then going to sleep in the dark.
Speaker A:Going to sleep in the dark, dark night of the soul.
Speaker A:You think I'm a thief?
Speaker A:You think I want to hurt your family?
Speaker A:Same thing.
Speaker B:Yeah.
Speaker A:I'm not a thief.
Speaker A:I don't hurt families.
Speaker A:But we're gonna go to sleep in the dark.
Speaker C:I don't hurt other people's families.
Speaker C:I'm about to hurt my family.
Speaker A:Sure.
Speaker A:Right.
Speaker A:Leading to the break into three.
Speaker A:So are you good with that Dark Knight?
Speaker A:Do you have more for the dark night or a different place or.
Speaker A:Because I think that's at his lowest point.
Speaker A:Talking about his ideal situation and how he wishes it could be.
Speaker A:And yeah, he seems most lost at this point.
Speaker C:I think he's becoming aware of how lost he is.
Speaker B:Yeah.
Speaker B:Because I guess mine is a little bit later, but yours makes sense because my point earlier about him watching the video and realizing, you know, that he's.
Speaker B:He was the asshole the whole time.
Speaker A:Yes.
Speaker A:I think.
Speaker B:Runs to the fucking pier.
Speaker A:Yes.
Speaker A:I think he realizes it for a minute, and then his psychology is gonna deny that, you know, transference or whatever the term is.
Speaker A:Yeah, His.
Speaker A:His psyche, the pier.
Speaker B:Look, man.
Speaker A:Yeah.
Speaker A:And.
Speaker A:And I thought that little girl is gonna grow to hate unicorns because they're at the unicorn ride, where in the video.
Speaker A:Just get on the damn unicorn or whatever.
Speaker A:And then that's where they are at the confrontation.
Speaker A:I said, this little girl's gonna be traumatized by that unicorn.
Speaker B:Right.
Speaker A:This is.
Speaker B:Now a little girl's not gonna love the pier.
Speaker A:I'm not gonna love them.
Speaker C:And then he bought the unicorn from.
Speaker A:Yes, yes, yes.
Speaker A:Yeah, now.
Speaker A:And I thought about that unicorn.
Speaker A:Unicornists, the mythical creature, the.
Speaker A:The.
Speaker A:The unattainable, the myth that we want to achieve but doesn't really exist.
Speaker A:I don't know.
Speaker B:His daughter's unicorn.
Speaker B:He can't get his unicorn.
Speaker B:He can't get it back.
Speaker B:Yeah, right.
Speaker A:Break into three.
Speaker A:Another phone call.
Speaker A:More reminiscing.
Speaker A:You know, what they did to our peer.
Speaker A:You know, approached her house, gathered his weapons.
Speaker B:Yeah, but that's super menacing.
Speaker B:Like, he was totally telling her where the fuck I'm at.
Speaker B:This.
Speaker B:Oh, yeah, this is how close I am.
Speaker A:Yes, sir.
Speaker A:Yes, sir.
Speaker B:Yeah.
Speaker A:Approach to her house.
Speaker A:He's gathers weapons.
Speaker A:Obviously, he's storming the castle that used to be his home.
Speaker A:The mother and child run to a populated area.
Speaker A:He finally gets home, but it is an empty fulfillment.
Speaker A:He gets home, but it's empty.
Speaker A:And that's.
Speaker A:It's been that way the whole time.
Speaker A:He just.
Speaker A:He watches a video of happier times, but still sees the disturbing images of himself that he refuses to acknowledge.
Speaker A:Confronted by his darker self, he denies or does not deal with it in a healthy way.
Speaker A:He blames them for not making the day special in the video.
Speaker A:You know, but instead of seeing how he has not made it special, you know, he ruined that day, but he blames it on them.
Speaker A:A little marital strife.
Speaker A:And then I guess we cut to Pendergrass.
Speaker A:A little marital strife of Pendergrass own.
Speaker A:But.
Speaker A:And you'll have that chicken ready and leave the skin on, which is immediately following the scene of him talking with his wife on the phone.
Speaker A:So Pendergrass gets a little rough with his wife, but it's a reaction out of love.
Speaker A:And even that is you know, he loves his wife.
Speaker C:Yeah.
Speaker C:It snaps her back to reality.
Speaker A:Yes.
Speaker B:I didn't have to bite my head off.
Speaker A:Right.
Speaker A:Whereas our guys, like, you know, so it's.
Speaker A:It's.
Speaker A:It's the.
Speaker A:Always compare and contrast one scene after another with these.
Speaker B:Right in.
Speaker A:Anyway, I said maybe not entirely constructive.
Speaker A:Lol.
Speaker A:Because he does sort of chop his wife a little bit.
Speaker A:But.
Speaker B:Yeah.
Speaker A:But I think she probably needs that.
Speaker A:So.
Speaker A:Love is not always kind.
Speaker A:Love can be a little stern sometimes.
Speaker B:Right.
Speaker A:If it brings you back to a place you need to be, you know.
Speaker C:Well, I don't know if we've talked about it at all, but his wife was mentally unstable.
Speaker A:Yeah.
Speaker A:I think she had a break.
Speaker C:Like she had something happen.
Speaker C:I think it was the kid dying.
Speaker A:Yeah.
Speaker A:It didn't.
Speaker A:Yeah.
Speaker A:She didn't take it well.
Speaker C:And she's been off the reservation for a little.
Speaker B:Yeah.
Speaker B:Because he talks about when they're at lunch is you have a career.
Speaker A:Yeah.
Speaker B:Right.
Speaker B:All she had was her looks and she lost it.
Speaker B:And then later on at the pier, he explains.
Speaker B:She lost all that for me.
Speaker B:I wanted kids.
Speaker B:And so.
Speaker B:Yeah.
Speaker A:That.
Speaker B:It's like.
Speaker B:All right.
Speaker B:That's why he's putting up with all her.
Speaker A:Well, not putting up, but I mean.
Speaker B:Because he does love her.
Speaker B:But.
Speaker B:Yeah.
Speaker C:Because she's afraid of him being a police officer, getting shot and the whole thing.
Speaker C:She doesn't want to lose.
Speaker A:She sacrificed for him and he sacrificed for her.
Speaker A:And not.
Speaker A:Not begrudgingly.
Speaker A:Maybe he don't want to go to Havasu, but he is perfectly happy to do it for her.
Speaker A:Yeah, she was perfectly happy.
Speaker B:Has her own idea of paradise.
Speaker B:Yeah, he says that.
Speaker A:Yes.
Speaker A:And so neither one of those have sacrificed for the other.
Speaker A:Begrudgingly.
Speaker B:Right.
Speaker A:So there is this mutual sacrifice which our man defense never sacrificed for each other.
Speaker B:Sacrifice was the kid and it didn't fucking work out.
Speaker A:Right.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker A:The hightower surprise.
Speaker A:I guess the high tower surprise.
Speaker A:The cops arrive and Sander is shot as they storm the castle.
Speaker A:Their surprise is Sandra is there arrival.
Speaker A:Okay.
Speaker A:They're surprised.
Speaker A:Is Sandra being shot.
Speaker A:His, I guess, is the cops arrival.
Speaker B:Yeah.
Speaker A:For.
Speaker A:Because they each have a.
Speaker A:They're both storming the castle.
Speaker A:But there is this high source surprise where Sandra is taken out and his.
Speaker A:He's watching the video and the cops come surprising him.
Speaker A:Finale on the pier.
Speaker A:This whole scene, obviously till death do us part.
Speaker A:Do you remember that part?
Speaker A:I have.
Speaker A:That daughter's gonna hate that unicorn.
Speaker A:Ride the unicorn as a gift.
Speaker A:As the place of his destruction.
Speaker A:Oh, yeah.
Speaker A:He bought the unicorn gift for his daughter.
Speaker A:And at the unicorn is where, you know, he get.
Speaker A:He loses everything, even his own life.
Speaker A:Anyway.
Speaker A:Chasing the unicorn that he could not get.
Speaker A:God bless the working stiff.
Speaker A:Still sees himself as the hero.
Speaker A:And then he's hugging his daughter again.
Speaker A:External, external, external.
Speaker A:You're so big.
Speaker A:I lost all that time.
Speaker A:They stole it from me, honey.
Speaker A:But they're not gonna take it anymore.
Speaker A:They, they, they.
Speaker A:You know what I'm saying?
Speaker B:Right?
Speaker A:She says you're sick.
Speaker A:You.
Speaker A:You know, you're.
Speaker A:You're not well.
Speaker A:You're sick.
Speaker A:I'm sick.
Speaker A:Have you seen this city?
Speaker B:Yeah, take a while.
Speaker A:I'm not the thief.
Speaker A:I'm not hurting families.
Speaker A:I'm not sick.
Speaker A:Everybody else is.
Speaker B:Well, he's still not wrong.
Speaker A:He's not wrong, but he's not right about himself.
Speaker A:You know that.
Speaker A:He's as much as a sicko as the.
Speaker B:Yeah, because the.
Speaker B:I guess the.
Speaker B:The B story and the way to handle it.
Speaker B:His response is, you ain't kidding.
Speaker B:And he's over there calmly eating popcorn.
Speaker B:Yeah, right.
Speaker A:Right.
Speaker A:Pendergrast and our man have their showdown.
Speaker A:His wife made sacrifices for him.
Speaker A:He's willing to make sacrifices for her.
Speaker A:We talked about that.
Speaker A:That's how life should be.
Speaker A:Confronted with more unpleasant truths about himself.
Speaker A:I'm the bad guy.
Speaker A:We talked about that.
Speaker A:He asked the question, how did that happen?
Speaker A:How did I become the bad guy?
Speaker B:Right.
Speaker A:No self exam.
Speaker A:He could look back.
Speaker A:Well, I had anger problems.
Speaker A:I didn't.
Speaker A:I.
Speaker A:In my pride.
Speaker A:I didn't think I ever needed to study.
Speaker A:I knew everything.
Speaker A:But you know.
Speaker A:Yes.
Speaker A:How did this happen?
Speaker A:Well, I think if you thought about it, you would figure it.
Speaker A:They lied to me.
Speaker A:They, they, they.
Speaker A:They lied to me.
Speaker A:They lied to everybody.
Speaker A:They lied to the fish.
Speaker A:Pendergrast has the awareness that our guy doesn't.
Speaker A:He chose a path.
Speaker A:Pendergrass, the only thing that makes you special is that little girl sacrificing for each other.
Speaker A:And he does not get it.
Speaker A:You have a choice.
Speaker A:He tells him.
Speaker A:We had a choice.
Speaker A:He has a choice now.
Speaker A:See my little girl from prison bars.
Speaker A:No, I can't.
Speaker A:I don't think he's even worried about the little girl seeing him in prison as much as he is being in prison.
Speaker B:Right.
Speaker A:As an affront to his pride or whatever.
Speaker A:Now he does at the end.
Speaker B:It's in his dialogue, right?
Speaker B:He says, seeing her from behind bars, not her seeing me locked up.
Speaker A:You're right.
Speaker A:Yeah.
Speaker B:Seeing her from behind bars.
Speaker B:It's his point, you know his point of View.
Speaker A:I didn't think about that.
Speaker A:All right.
Speaker B:Self is astral on top of yes.
Speaker A:You have a choice.
Speaker A:He sacrificed himself for his little girl for the insurance.
Speaker A:Maybe a lesson learned too late.
Speaker A:But so his sarcastically.
Speaker B:Yeah.
Speaker B:And she'll collect the insurance.
Speaker B:Like yeah.
Speaker A:So has he learned a lesson or is that just more of his pride?
Speaker A:Because it harkens back to the financial freedom bumper sticker.
Speaker A:Right.
Speaker A:They're gonna have financial freedom now because I'm gonna die.
Speaker B:He hadn't learned shit.
Speaker A:That's what I'm saying.
Speaker A:I think he even in sacrificing himself for cause Pendergrass kills him.
Speaker A:And in his pride he says I would have gotcha.
Speaker A:He can't.
Speaker B:You know wasn't even close and had a water gun.
Speaker A:You know, if I had a real gun, I would have got you.
Speaker A:Right.
Speaker A:So even then he can't acknowledge that.
Speaker A:So I think that's his whole problem.
Speaker C:Yep.
Speaker B:Yeah.
Speaker C:He's responsible for where he's at.
Speaker A:Yes.
Speaker B:Right.
Speaker A:And.
Speaker A:And can't admit that he was bested in a gunfight.
Speaker A:No.
Speaker A:I would have got you dies anyway.
Speaker A:He now this morning I had a few more notes.
Speaker A:This is the last one, I promise.
Speaker A:No, I know this has been.
Speaker A:I hope it hasn't been bad.
Speaker A:That's been good long.
Speaker B:Maybe we're good.
Speaker A:We had talked a little bit about this.
Speaker A:Pride comes before a fall.
Speaker A:I think that is his chief sin.
Speaker A:He needed improvement.
Speaker B:So.
Speaker A:But he could not see any flaw in him as something that needed to be acted on.
Speaker A:Anger, a touch of racism.
Speaker A:I wouldn't want people in my neighborhood either.
Speaker A:Half Italian.
Speaker A:How they are when confronted with his falls.
Speaker A:He denies we talked about that.
Speaker B:Interesting though.
Speaker B:Pendergrass had a comment too which I mean he says it playfully but he's like let me guess.
Speaker B:Venice.
Speaker B:And she's like how'd you know that?
Speaker B:Where else would an Italian.
Speaker A:You're sure.
Speaker A:And I think he's.
Speaker A:I think he's playful.
Speaker A:Playful.
Speaker A:Yeah.
Speaker A:Because he's even laughing with the Japanese guy.
Speaker A:You know.
Speaker B:Right, Japanese.
Speaker A:He laughs.
Speaker A:I mean, you know, cops and all that kind.
Speaker A:They're not gonna get sensitive over races.
Speaker A:They probably see.
Speaker B:Yeah.
Speaker A:You're be racist with each other all day and laugh it off.
Speaker A:I mean, you know.
Speaker B:Sure.
Speaker B:Because you're exposed to that.
Speaker B:You're not in a.
Speaker B:Yeah, yeah, yeah.
Speaker A:Knowing that environment.
Speaker A:That's just knowing that Pendergrass or the other guy would have each other's back in.
Speaker A:In a moment.
Speaker B:Yeah.
Speaker A:As cops.
Speaker A:Blue line, whatever you want to call it.
Speaker A:Yeah.
Speaker A:So they.
Speaker A:We talked we talked about some of this.
Speaker A:They rebuilt London Bridge brick by brick.
Speaker A:In his prod, he would.
Speaker A:He would rather have them all go to sleep together in the dark than admit that there's flaws that need to be fixed.
Speaker A:He would rather kill his family with his own self image preserved than, you know, and we talked about this.
Speaker A:Now, in the end, does his pride make.
Speaker A:Does he think he is dying for their sins?
Speaker A:At that point, I'm going to die.
Speaker A:They're going to get a blessing.
Speaker A:So I am dying for their sins.
Speaker A:They were the ones that caused all this.
Speaker A:I was.
Speaker A:The work is stiff, you know.
Speaker B:Yeah.
Speaker B:Probably.
Speaker A:So I'm dying and they're gonna get blessed.
Speaker B:Definitely.
Speaker B:Embraces.
Speaker A:Yeah.
Speaker A:So he thinks at the very end, he.
Speaker A:He thinks he's the savior of his family.
Speaker B:Yeah.
Speaker C:You know, I don't know how insurance companies work.
Speaker C:I'm kind of ignorant on that, but don't you think that if you go on a crime spree.
Speaker A:Yeah.
Speaker C:You're not gonna pay out.
Speaker A:I don't.
Speaker A:Yeah.
Speaker A:It's not suicide.
Speaker C:In a shootout with the city of Los Angeles.
Speaker C:Goes for reparations on all his damage and sure.
Speaker C:Get any money.
Speaker A:Yeah.
Speaker A:I would be interested to know the adjuster on that, but.
Speaker B:Right, right.
Speaker A:You know, he.
Speaker A:He thinks he's the savior of his family.
Speaker B:Technically, you get a check, but then you're gonna turn around and write us a bunch of.
Speaker A:Well, yeah.
Speaker A:Yes.
Speaker B:All right.
Speaker A:In the end, does the pride make himself say dying for their sins, granting his family financial freedom via the insurance money.
Speaker A:Does this cast back to the bumper stickers when someone criticized how he was.
Speaker A:Oh, yeah.
Speaker A:So the how.
Speaker A:How am I driving it?
Speaker A:Shit, to me, it was like at various points he was confronted by that he's not driving that well.
Speaker A:And his response essentially is to eat shit every time because I'm the bad guy.
Speaker A:Obviously, you know, people are commenting on his.
Speaker A:You know.
Speaker A:Anyway.
Speaker B:Okay.
Speaker B:Yeah, no, that's good.
Speaker A:Is driving a metaphor how he is conducting his life?
Speaker A:He isn't driving at all.
Speaker A:He is at a literal standstill.
Speaker A:And so with his life is gridlock stuck in motionless.
Speaker A:We talked about that.
Speaker A:On a bridge that is known for falling down.
Speaker A:So he.
Speaker A:He is in gridlock, thinking he's driving on a bridge that is falling down.
Speaker A:It all sort of ties.
Speaker A:I think it ties together beautifully, the metaphor.
Speaker A:I really think this could be up there with.
Speaker A:With a perfectly written executed movie.
Speaker A:I mean, a lot of it maybe was reached, but the fact that you could even make a tangible.
Speaker B:Sure.
Speaker A:Argument for some of this stuff.
Speaker A:I Think is.
Speaker A:Is pretty good.
Speaker B:Did you have anything with him, like, I guess, ending up in water?
Speaker B:Like, did you put any meaning behind that?
Speaker B:Like.
Speaker B:Well, and you know, because they could have that shootout anywhere, you know.
Speaker A:Yes.
Speaker B:It could have been a park with the.
Speaker A:I watched.
Speaker A:You know, I watched because.
Speaker A:Okay, so he died for our sins.
Speaker A:The bumper sticker when he's shooting the takes of shooting, like, asshole.
Speaker A:There's the Christ figure in the back with his arm spread.
Speaker A:When he's in the water, his arms.
Speaker A:His arms are spread.
Speaker A:So in his mind, I'm Christ now.
Speaker A:I am the savior.
Speaker A:I'm not only a good guy, I'm the best guy.
Speaker A:I'm.
Speaker A:I mean, you know.
Speaker B:Yeah.
Speaker B:Yeah, maybe.
Speaker B:All right.
Speaker A:You know, I think that's the level of deception in his mind.
Speaker A:They're gonna get the insurance and I would have got you even if, though you killed me, I'm still better than you.
Speaker A:No, but he.
Speaker A:He can't see it.
Speaker B:All right.
Speaker A:Anyway.
Speaker A:Falling down, falling down.
Speaker B:It's a good one.
Speaker A:Any other thoughts or comments?
Speaker A:It's been a long one.
Speaker C:Yeah.
Speaker C:Not until I get to the past.
Speaker C:Recommend.
Speaker C:I'll give my comments on that.
Speaker A:Okay.
Speaker A:All right.
Speaker A:So we ready for pass?
Speaker A:Consider?
Speaker A:I think we are.
Speaker A:All right.
Speaker A:My movie.
Speaker A:I'll go first.
Speaker A:I recommend, obviously, I don't think there's a doubt in my mind based on Sherry's level of input.
Speaker A:I don't know.
Speaker A:What do you thought, Sherry, you like this movie or do you not like.
Speaker D:Yes, I like it.
Speaker A:Okay.
Speaker D:Yeah.
Speaker D:I recommend.
Speaker A:Okay.
Speaker D:But you said it all, so.
Speaker C:Yeah, he did say quite a bit.
Speaker A:I said a lot of words.
Speaker C:I'm gonna go with recommend as well.
Speaker C:When I first saw this movie, it.
Speaker C:I was conflicted.
Speaker A:Yeah.
Speaker C:That this is a.
Speaker C:Supposed to be a bad guy.
Speaker C:But I see myself, these situations getting as frustrated.
Speaker A:Yes.
Speaker C:And it was one of the first movies that I ever felt conflicted like that.
Speaker C:I know.
Speaker C:That's great.
Speaker C:It.
Speaker C:It's hard to watch because of how far he takes it.
Speaker A:Yes.
Speaker C:I can see myself in traffic getting frustrated.
Speaker C:I've been in traffic.
Speaker C:Frustrated.
Speaker C:I've been hot and frustrated.
Speaker C:I've been in a store and you know.
Speaker A:Yep.
Speaker B:Get the fuck out of my way.
Speaker C:Yes.
Speaker C:But I don't go that extra step like he does.
Speaker C:But I could totally see.
Speaker B:Yeah.
Speaker A:That may be part of the magic of this movie.
Speaker A:You.
Speaker A:You do identify with this guy.
Speaker A:But how far are you willing to identify with this guy?
Speaker B:Right.
Speaker B:No.
Speaker B:Yeah.
Speaker B:We've all gotten a sandwich that look smashed, sad.
Speaker B:However you describe, we've all gotten a burger that looks like that and you're.
Speaker A:Like, what the hell is our line that we're not willing to cross the same as his.
Speaker A:And it's not.
Speaker C:Well, you, you, you know your favorite line, we're the same, you and me.
Speaker A:Yeah.
Speaker C:No, we're not.
Speaker A:Yeah.
Speaker C:But yeah, you are.
Speaker A:You're closer than you think.
Speaker C:You're closer than you think.
Speaker C:And that's the kind of, you know, mirror reflection watching this movie.
Speaker C:We're the same, you and me.
Speaker C:It's like, I guess that all that's in similar than not.
Speaker A:I get all of defense is in us and all of Pendergrass is in us.
Speaker B:Yeah.
Speaker A:Now, Pendergrass isn't perfect and maybe this guy's not fully evil, but none of us are the worst we can be.
Speaker A:But none of us are the best we could be either at any given moment, you know.
Speaker A:Yeah.
Speaker C:So, yeah, totally recommend this one.
Speaker A:Yeah.
Speaker C:Own it.
Speaker C:The whole bit.
Speaker A:I.
Speaker A:Yeah, I've already talked, so go ahead.
Speaker B:Yeah.
Speaker B:It's also recommend for me something say earlier, I guess when I think about this, a couple things.
Speaker B:One, I guess doing this podcast like today is like the endings always bug me and that's probably because maybe identify with them too much.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker B:That guy.
Speaker B:Which.
Speaker B:And I fully acknowledge he goes too far.
Speaker B:Right.
Speaker A:Sure.
Speaker B:Just even when I watch it again this morning, it's always a bummer when he's like, I know.
Speaker B:Floating in the water, dead.
Speaker B:I'm like, that sucks.
Speaker A:Yeah, it does kind of.
Speaker A:Yeah.
Speaker B:I guess the, you know, just now talking about the ending and what he thought he was still like, went too far and wouldn't change and just his mentality, I guess, that I don't think I'll.
Speaker B:Maybe it won't be as of a much of a bummer next time I watch it thinking about it that way.
Speaker A:Yeah.
Speaker B:And then I guess nothing.
Speaker B:Yeah.
Speaker B:Like you talking about identifying with traffic.
Speaker B:Man, every time I get like cut off in traffic or somebody pulls out in front of it, I guess kind of the same thing, but just stuff like that I have the same thought about, man, I wish I could just add enough money where I could just own a beater and had no insurance on this piece of shit and.
Speaker B:And see them coming and.
Speaker B:And know, well, I don't have to stop coming my beater and hit them on fucking purpose.
Speaker A:Absolutely.
Speaker B:And get out and go, I'm an asshole, just like you.
Speaker A:Yeah.
Speaker B:I respond.
Speaker B:Which is the whole responding kind terrible mentality to have.
Speaker B:But it makes me think about, you know, like I've even entertained ideas of, like, trying to come with a story where that this main guy does like that, but it would be.
Speaker B:It's.
Speaker B:It'd be this guy, you know?
Speaker A:Yeah.
Speaker A:All we have to do to open that door is convince ourselves that we're right.
Speaker B:You know?
Speaker B:You're right.
Speaker B:You know?
Speaker B:Yeah.
Speaker A:And that's what he did.
Speaker C:And then you become a superhero.
Speaker A:You sure?
Speaker B:Yeah.
Speaker C:You're like, you're right.
Speaker C:You're a superhero.
Speaker C:All these things.
Speaker A:I'm going to meet out justice or whatever.
Speaker A:Because that's especially driving.
Speaker B:Yeah.
Speaker A:Road rage.
Speaker A:I mean, you have to scale back quickly.
Speaker B:Yeah.
Speaker A:It's to the point where I try not to even.
Speaker A:Like, every now and then I'll lay on the horn or whatever, but I.
Speaker A:I'm always in the back of my mind, who am I dealing with today?
Speaker B:Yeah.
Speaker B:Right?
Speaker C:Yeah.
Speaker B:You know, I honk at this guy.
Speaker B:Maybe I should.
Speaker A:Do I want to die for a hunk?
Speaker B:Stacey gets mad at me if I get a honker.
Speaker B:Flip.
Speaker B:Flip somebody off or whatever.
Speaker B:She's right.
Speaker B:Like.
Speaker B:Yeah.
Speaker B:I don't know who that is.
Speaker A:Yeah.
Speaker B:Is it worth it?
Speaker B:Getting.
Speaker B:Yeah.
Speaker B:Now it escalates because this guy is willing to go further.
Speaker B:The end.
Speaker C:Oh, man.
Speaker B:And worth it at all.
Speaker A:And I can.
Speaker A:And sometimes, like, if someone's aggressive in their car, I know.
Speaker A:I know instantly what I'm doing.
Speaker A:I get a little spiteful and I'll become like, I'll go faster.
Speaker A:No, you're not going to pass me.
Speaker A:And at that point, I was like, okay.
Speaker A:What are you doing, asshole?
Speaker A:Just.
Speaker C:I have to share mine now.
Speaker C:I was in traffic, and I'm a little bit more direct.
Speaker C:Somebody threw a water bottle at my car.
Speaker C:I don't know if I made a bad move, if I was going slow or whatever, but somebody threw a water bottle at me on the highway.
Speaker A:Yeah.
Speaker C:And I was like, what the.
Speaker C:And my first initial reaction was to swerve in their lane, but I didn't.
Speaker C:I looked right at that guy, got his.
Speaker C:Got eye contact, and I pointed at him.
Speaker A:Yeah.
Speaker C:And then I flipped him off.
Speaker A:Yeah.
Speaker C:Made sure.
Speaker C:And then I kept going.
Speaker C:I would.
Speaker C:And I was fine.
Speaker C:Right after that.
Speaker C:I was like, you threw a water bottle at me.
Speaker C:I was gonna murder you.
Speaker C:I didn't.
Speaker C:So I flipped you off.
Speaker C:Made sure you looked me in the eye when I flipped you off.
Speaker B:Right.
Speaker B:You just throw a burrito out your window.
Speaker C:I was driving this dude.
Speaker A:No, I know.
Speaker C:That's a water bottle.
Speaker B:Yes.
Speaker A:It's still.
Speaker B:He's so mad.
Speaker B:What the.
Speaker B:Yeah.
Speaker A:The random aggression for no reason.
Speaker B:Right.
Speaker A:You have change.
Speaker A:You're not giving it to me.
Speaker A:Breakfast is there.
Speaker A:You're not giving it to me.
Speaker C:Yeah.
Speaker C:It's a quick, slippery slope.
Speaker A:Oh, yeah.
Speaker B:Michael and I have talked about it.
Speaker B:The whole Thanos thing.
Speaker B:If we had that power, like bad drivers instantly.
Speaker A:No, no.
Speaker A:But then, like.
Speaker B:Like we talked about not that long ago, and then, like, probably a couple days later, I made a mistake as a.
Speaker B:As a.
Speaker B:As a driver.
Speaker A:Yeah.
Speaker B:And the wife, she called me on it.
Speaker B:She goes, well, because you're getting snapped.
Speaker B:Yeah.
Speaker B:You're not wrong.
Speaker A:Right.
Speaker B:Which everybody's going to get snapped because none of us are perfect.
Speaker C:That's why we can't have the gauntlet.
Speaker A:Right.
Speaker A:Well, I mean, the saying, you know, if you're going to go for revenge, dig two graves or eye for an eye, the world winds up blind.
Speaker B:Right.
Speaker B:Right.
Speaker A:There's got to be somebody.
Speaker A:You know, and I don't know what oriental philosophy it is, but, you know, the first one who throws a punch loses, because now you.
Speaker A:You've lost.
Speaker A:I told Jerry the other day, I said, if you're in an argument and they start insulting you, you've won the argument.
Speaker A:Because now they're not even talking about the facts of the argument.
Speaker A:They're attacking you, which means they have nothing left.
Speaker A:It seems like you're being attacked, but you've won.
Speaker A:But it's.
Speaker A:It's.
Speaker A:It's not easy to realize or to accept.
Speaker B:Sure.
Speaker A:You know, the idea that somebody is the water bottle.
Speaker B:You've trust.
Speaker A:You're in my zone.
Speaker A:You've trespassed against me.
Speaker A:You're gonna make a pass.
Speaker B:Like you said.
Speaker B:What?
Speaker B:Is he even aware if he did anything?
Speaker C:Yeah, I assume I was doing something, but that water bottle shook me out of it.
Speaker C:I don't know if I did anything.
Speaker A:Right.
Speaker C:But I was about to murder that guy.
Speaker A:Sure.
Speaker A:Now, Right.
Speaker B:Right.
Speaker A:Something as minor as maybe you.
Speaker A:You go to turn in the car there and you swear.
Speaker A:Okay.
Speaker A:Not have.
Speaker A:And it is so hard.
Speaker A:It's so easy to react instead of having patience and.
Speaker A:And understanding.
Speaker A:Maybe that guy just didn't see me.
Speaker A:Maybe that guy is having a bad day, you know?
Speaker B:You have no idea what people are going through.
Speaker A:Right.
Speaker A:But I was violated.
Speaker A:I was trespassed again.
Speaker B:That guy.
Speaker A:Yeah.
Speaker D:And so, no, if they're driving with a paper tag, they're intentionally driving like that.
Speaker A:Okay.
Speaker A:Yeah.
Speaker A:So no kidding.
Speaker A:Yeah, absolutely.
Speaker D:I mean, fired.
Speaker D:Expired, faded paper tag that you can't read.
Speaker A:Sure.
Speaker D:Has been on there for about two years.
Speaker A:People with paper tags like that guy in the park, you know, Give me something.
Speaker A:You know, they're driving around with paper taxes.
Speaker B:They don't want to pass the things too.
Speaker B:I mean, there are shitty people.
Speaker B:There's people that make mistakes and accidents are distracted.
Speaker A:And then there's city people.
Speaker B:Yeah.
Speaker A:Who won't even print out a new paper tag.
Speaker A:You just riding around with the same one you printed out six years ago because you were too lazy to even print a new one.
Speaker A:At least, at least fake it good.
Speaker C:Right?
Speaker C:Little effort.
Speaker A:Little effort.
Speaker C:Anyway, while you're giving effort, do it the right way.
Speaker A:Yeah.
Speaker A:I'm paying my taxes, you know, I'm the thief.
Speaker C:It's like if you would do it the right way with that, a little bit of effort, you'd save all your other efforts.
Speaker C:Bad way.
Speaker A:Yeah.
Speaker A:So.
Speaker A:So we're the same, you and me.
Speaker A:Is more true than any of us.
Speaker B:Right.
Speaker B:Want to admit.
Speaker A:Want to admit.
Speaker A:And it's a daily struggle.
Speaker B:Right.
Speaker A:And the only reason society gets preserved at all is because thankfully enough of us say, okay, I'm not going to shoot him, you know.
Speaker A:Right, Right.
Speaker A:But the door is there.
Speaker A:The option, the opt out is there.
Speaker A:I could go this way.
Speaker A:Or I could have a minute of satisfaction and not go home tonight, you know?
Speaker B:Right.
Speaker D:Anyway, I just mainly scream.
Speaker D:They can't hear me, but I scream.
Speaker B:Yeah.
Speaker B:It's the satisfaction of like they cut you off or whatever.
Speaker B:You want to catch up to him that needs to know that I'm mad.
Speaker A:Yeah, yeah.
Speaker B:It's so dumb to like, oh yeah, I gotta get in with them and see him.
Speaker A:And yes.
Speaker A:So they get.
Speaker D:Because every name in the book.
Speaker B:But.
Speaker C:Well, when you're, when you're in a car and you're on the highway, you're going 60, 70, your internal RPMs.
Speaker A:Oh, yeah.
Speaker C:Or at a 6 or 7.
Speaker C:So when somebody cuts you off, you're on instant yes.
Speaker B:Yeah.
Speaker C:Whereas a normal standing on the earth not moving that fast.
Speaker A:Yes.
Speaker A:You immediately realize how bad this could go because you're being stupid.
Speaker B:Yeah.
Speaker A:You know, the other guy or whatever.
Speaker B:Yeah.
Speaker D:And it's usually sometimes after we've just passed a horrific accident that people are driving crazy.
Speaker A:Oh, yeah.
Speaker A:Well, I mean, take Nick the white supremacist, the racist.
Speaker A:Typically, white supremacists hate other races because they feel like other races have taken something from them.
Speaker A:You know, the white man doesn't have any rights now and whatever, but it's the idea that other races have trespassed on the dignity and power of my race or whatever.
Speaker A:Yeah, yeah.
Speaker A:So it's.
Speaker A:Yeah.
Speaker A:We're all that guy is in all of us, obviously, and we have to opt out every day, and the struggle is real, you know?
Speaker A:Right.
Speaker A:Anyway.
Speaker D:Yeah.
Speaker D:What my.
Speaker D:My new thing or what I've had to do is just.
Speaker D:I let off the gas and I back off and I say, let me watch this unfold.
Speaker A:Yeah, yeah.
Speaker C:Leave 15 minutes early.
Speaker A:Yeah.
Speaker C:Don't.
Speaker C:Don't speed and crazy people.
Speaker C:Just let them go.
Speaker A:Yeah.
Speaker A:You have to opt out, you know, like Pendergrass in the truck.
Speaker A:You have to just laugh it off.
Speaker D:That one man that cut me off twice and almost hit me twice.
Speaker D:Oh, yeah, he got the horn and everything else.
Speaker B:Yeah, Yeah, I guess.
Speaker D:Same man.
Speaker A:Feels good to exercise your rights, doesn't it?
Speaker B:Exactly.
Speaker B:Yeah.
Speaker B:On the.
Speaker B:On the way to the gym, I'm going over there by premiere theater and stuff, and it's like.
Speaker B:So it's double.
Speaker B:Double lanes.
Speaker B:Like four lanes going both ways.
Speaker B:I don't know why, but, like, almost every time, like, we go to the gym, you know, three, four times a week, somebody will pull out, like, in front of me, going all the way across both lanes.
Speaker B:And it's happened so much that now I know it's coming, right?
Speaker B:And I'm just like, yep, here's another one.
Speaker B:My God, look at this guy.
Speaker A:Yeah.
Speaker B:You know, and even.
Speaker B:And you know, and if I'm not in a less playful mood, it's like, I'm not gonna hit the brakes.
Speaker B:I'm gonna get.
Speaker B:I'm hit the brakes very last minute to let them know that I'm coming.
Speaker C:Wet their pants.
Speaker B:Yes.
Speaker A:Yeah.
Speaker A:No, no.
Speaker B:I'm endangering myself and my wife by doing that.
Speaker C:But, but, but you're doing it, so it's okay.
Speaker B:Yes, I'm fucking right, James.
Speaker A:I'm not the thief.
Speaker C:That's what I always tell when I see somebody.
Speaker C:When I see somebody reckless driving or doing something, I'm like, oh, they're doing it, so it's okay.
Speaker A:Right?
Speaker C:Like, they're in control.
Speaker C:So it's like.
Speaker C:No, it's never okay.
Speaker B:Okay.
Speaker B:Yeah.
Speaker A:Yeah.
Speaker A:So, yeah, it's.
Speaker A:But.
Speaker A:And that makes a good movie too, because Art should inform and question.
Speaker B:Yeah.
Speaker B:Have a discussion.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker A:So I.
Speaker C:It's definitely not the most comfortable movie to watch, especially when he goes into the shop and deals with the white supremacists.
Speaker A:Yeah.
Speaker B:Yeah.
Speaker C:Like some of the.
Speaker C:But those.
Speaker C:Those type of subjects need to be brought up into the light and shown for how nasty they are.
Speaker C:But, yeah, it's an uncomfortable movie in Places.
Speaker C:Yeah, but it's fantastic.
Speaker C:It really shows.
Speaker C:It teaches you.
Speaker C:It makes you feel something.
Speaker C:It teaches you something.
Speaker B:Yeah.
Speaker B:Like the burger scene is funny until you turns around and you see all these innocent people scared out of their minds and all these kids.
Speaker D:Yep.
Speaker B:You're like, yeah, everybody would love to go off on the.
Speaker B:The crappy burger, the service you get, but.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker B:Not at the point of scaring everybody else around you.
Speaker D:Yeah.
Speaker C:This man is not the hero, even though he thinks he is.
Speaker B:Right.
Speaker D:You know, that happened to us.
Speaker D:You weren't there when I went home one time and we were in Wendy's and my niece, she was younger then, and we were just enjoying our little dinner and somebody came in complaining about something.
Speaker D:They left off the order and scared her so bad.
Speaker D:I mean, she was terrified that.
Speaker D:Yeah, they were going to pull out a gun or something.
Speaker A:Well, you've seen people absolutely flip the.
Speaker A:Out because of the fries or something, right?
Speaker C:Ice cream machines down.
Speaker C:Oh, my God.
Speaker A:Yeah.
Speaker A:Just, you know.
Speaker C:Anyway, yeah, there's a mental health crisis.
Speaker C:We need a little self reflection.
Speaker A:Yes, absolutely.
Speaker A:Well, Dr.
Speaker A:Phil in some interview said we have the highest rate of.
Speaker A:Of depression and anxiety on record since they started keeping records now, you know, that tracks.
Speaker A:Yeah.
Speaker A:And yet society is made up of us, so it's not necessarily external.
Speaker A:We did it, you know.
Speaker C:Yeah.
Speaker A:Anyway, so good movie.
Speaker C:Yep, Excellent movie.
Speaker A:All right.
Speaker A:Yeah.
Speaker A:I guess that's falling down and we are out.
Speaker A:But I think I remember being very impressed right off the bat.
Speaker D:You were.
Speaker D:I remember that.
Speaker A:Yeah.
Speaker A:Yeah.
Speaker C:Looking, looking, looking back on it.
Speaker C:Even Michael Douglas says this is his finest role.
Speaker A:If I wrote this, I would never write another thing.
Speaker B:Yeah.
Speaker B:I thought the cutting was very effective.
Speaker A:Yes, absolutely.
Speaker A:This is how you want to treat each other and then are surprised when.
Speaker B:There'S hostility signs all around him that he doesn't see.
Speaker B:Yeah.
Speaker A:Yes.
Speaker A:And when she goes to get the breakfast, it's right there.
Speaker C:Yeah.
Speaker C:He could stop and disappear here.
Speaker A:Yes, but I need to use it and you're using and I can't use it.
Speaker A:So you're wrong.
Speaker A:What?
Speaker B:More the same.
Speaker B:Just hate different things.
Speaker C:A bat nipple.
Speaker C:Enthusiastic.
