Episode 11 - Better Man

[00:00:14] Speaker A: All right, welcome to watch this. I'm playing a Robbie Williams song. This is actually in honor of Alex because he was asking if Robbie Williams still has new music. And this is his latest single, came out two. Something. Oh, I actually like. I actually like it. But then again, I like Robbie Williams. [00:00:37] Speaker B: Does Robbie Williams know what genre Robbie Williams. [00:00:40] Speaker A: No, Robbie Williams does all kinds of different genres. That's what I like about him. [00:00:42] Speaker C: Robbie Williams does whatever he wants. [00:00:44] Speaker A: Yes. [00:00:44] Speaker B: Yeah. [00:00:45] Speaker A: Even a bad movie, apparently. Okay, we are talking about today, Better man, which I wish had been a better movie. Thank you. Thank you very much. So, okay, let's introduce ourselves. I'm Paul Klein, one of the hosts of this show and I am actually a big fan of Robbie Williams. We're gonna go the other way around. Sitting across from me is Stephanie Caplano. We're not playing the sound effects. I don't have it queued up. There we go. Okay. The Italian Explosion sitting next to me [00:01:16] Speaker B: to my left, it's Alex Bello. I actually don't. I've never heard. I had never heard Robbie Williams before this movie. I had no idea he existed. He was not in my plane of existence anyway. [00:01:28] Speaker A: Cuz you're young and you're not British. Apparently. So. Yeah. And most people in the United States have not heard of him because this movie was a huge, huge bomb. Cost about 110 million. Made 2 here, 2 million in the United States, made 20 like worldwide, which is still not great. Most of that 20, I think was in England. But when you put in 100 million and you have Robbie Williams being portrayed as a chimpanzee and it's also an R rated movie with a lot of cursing and not that much sex, little bit of stuff, but not too much. But it's still an R rated movie. It's not going to exactly make a lot of money, I don't think. But I'm glad they tried. So this is Watch this where we discuss movies and review and discussion podcast. We pick a movie from a bowl. Bo. The mighty bowl, and we have to watch that movie. We went against Beau's wishes for this episode because we pulled out the last episode. We pulled out the other. No, the Ugly Stepsister. Yeah. And two of us in this room were just not in the mood for it. And one of us watched it and was like. Or watched half of it and then warned us and said, what was it? Prepare your stomachs. [00:02:39] Speaker C: It's nauseating. [00:02:39] Speaker A: It's nauseating. Yeah. So we're still going to watch it. So we kind of we put our heads together and we said, we're going to allow ourselves this one out and we're going to pick another movie because we'd watched a lot of dark movies in a row. I think the last one we watched was Midsummer. I think basically after watching Midsommar, I think, you know, you have to take a break from the gore. From the heavier. Yeah, the heavier Dark Materials. And the Ugly Stepsister was definitely a gory, heavily sarcastic satire, I think, of the Cinderella story. And so we chose to watch Better Men. Well, I know we actually got together and if you heard our mini episode, we. We made a decision. Yeah. We had an addendum episode and we had. We had two choices. They were two B movies. Just. They started with the letter B. We had Better man and we had Black Bag. We went with Better Man. [00:03:31] Speaker B: Yes. [00:03:32] Speaker A: And I had wanted to see it. I actually had a screener for it, and it was really weird. I had a screen. I was looking forward to watching it, and then I was like, yeah, but I had to watch movies that I think actually would be awards worthy because I had to watch movies too, so I could vote for the Film Critics Circle Awards. And. And so I kind of put Better man on the back burner and ended up not watching it. Stephanie was telling us she saw it. How long ago did you see it? January. [00:03:58] Speaker C: I saw it when it came out in theaters. [00:04:00] Speaker A: You saw it in theaters? [00:04:01] Speaker C: Yeah. [00:04:01] Speaker A: That's cool. And. And. And was telling us how much you loved it. Right. [00:04:04] Speaker B: Told us it was one of the best movies you've seen. I think, I think. [00:04:07] Speaker A: I think you went that far. [00:04:08] Speaker C: Did I go? [00:04:08] Speaker B: You went pretty far. [00:04:09] Speaker A: I think so. [00:04:10] Speaker C: I don't think I went that far. [00:04:11] Speaker A: I think so. [00:04:12] Speaker B: You said it was really good. [00:04:13] Speaker C: I. Yeah, I still think it's a really good movie, but I wouldn't. I don't think I said it's the best movie because it's. It's far from the best movie. [00:04:20] Speaker A: I think you were saying something like, it's. It's like one of your all time favorite movies. Something like that. There was something. There was some major superlative in there that we were like, whoa, all right. You know, like, I wanted to see it, but probably even I wasn't expecting that. [00:04:32] Speaker B: Okay, I'll give you the benefit of the doubt and say it was probably recency bias, like, right when you had just seen it. So you were like, you're excited? Yeah. [00:04:38] Speaker C: Yeah. [00:04:39] Speaker A: Actually, Stephanie, what is your. So we know Alex has not listened to Robbie Williams. He had never heard of him what, what drew you to seeing the movie in the first place? And did you know anything about Robbie Williams before? [00:04:49] Speaker C: The only song of Robbie Williams that I knew at the time was Candy. [00:04:54] Speaker A: It's a different song. [00:04:55] Speaker C: I learned since then that he actually hates that song, which is funny. [00:05:00] Speaker A: It's pretty bad, actually. I listened to it yesterday, last night because it's like from like the later Robbie Williams, which I. I get on and off board of the Robbie Williams fan train. Like I kind of let him be for five years. And then I go, oh, what's happened to Robbie? And I kind of go back and. And I listen to it and I listened to that song last night because I remember you were saying that that's what got you into him. And also that he hated it. Where did you hear that he hated it? [00:05:22] Speaker C: Oh my God. It was something online, that interview that he did or something. [00:05:26] Speaker A: I thought he was going to say it in the movie or something. [00:05:28] Speaker C: No, I found out later after I watched the movie because I was looking more into him. [00:05:33] Speaker A: Yeah. [00:05:34] Speaker C: But I just, I saw the trailer when I was at the theaters for a different movie and I saw the line where he said, for the next two hours your ass is mine. [00:05:43] Speaker A: Okay. [00:05:43] Speaker C: And for some reason I was like, man, that sounds really cool. I want to watch that. So that was just it. It was just kind of like, oh, cool. Rock and roll. Let's go watch this. [00:05:52] Speaker A: Okay. [00:05:53] Speaker C: Yeah, that was pretty much it. There was nothing in particular. [00:05:56] Speaker B: You said, watch this. Nice. [00:05:58] Speaker A: Yeah, I'm glad that you caught that. To answer your question, Candy was like a number one hit in the uk and so it was also a kind of late career, I think 2016. Or was it 2012? I can't remember. It was in the teens and. And so it was like his first number one since 2004. Sort of a thing. Yeah. And itself as just a song, as a piece of music, it's not bad. It's kind of like a fun, as you kids would call it, a banger. But the lyrics are really bad. The lyrics are dumb. But. But his singing is good and the music is. It's entertaining. It's an entertaining song. And Robbie Williams is extremely self effacing and probably so as we were. I've already kind of given away that like, I do not. I do not like the movie. I think for me what happens is that I kind of. And this is probably why I get on and off the Robbie train quite often is that like his, his shtick can get a little repetitive and his self effacing Humor and his sort of, you know, it almost gets to the point of he's self pitying after a while and, and I'm a little. It's, it's not his. I mean especially if you look it up. Like he has like adhd, he has dyslexia, he has another mental illness. I forget which one now. So he has a lot of issues. [00:07:11] Speaker B: Yeah. [00:07:12] Speaker A: But I guess as somebody who doesn't, you know, it's just that thing where this is a horrible thing to say, but sometimes you just can't carry someone else's weight. I think kind of what we're talking about like Midsummer, you know, like how it's like he can't carry her weight. [00:07:26] Speaker B: Yeah. [00:07:27] Speaker A: And it's understandable, you know, and he should have just been honest. Me, like, I gotta walk away. That kind of happens with Robbie Williams where, where you just like at some point, please just get over it because I just cannot hear about it one more time. I've been hearing about it for 30 years now and it's like I feel for you. I understand like a lot of the things he goes through. Like, like I do kind of connect to and I understand it, but I'm sort of like, please, please just fucking stop. And also, I mean only last year I watched, it was like a five episode documentary on, on Robbie Williams with him that he produced himself. And it was great fun for me to kind of go through the history of Robbie Williams again and sort of, you know, and a lot of things that I kind of missed out on that I didn't know about because it was like happening in the UK and it wasn't being reported here. And I think the thing that kind of stood out for me the most from that documentary is like when I think we saw, when they do the number just now where he fights like his alter egos, his, his chimpanzee ultra egos. Net worth. That was net worth, right? [00:08:21] Speaker B: Yeah. [00:08:22] Speaker A: They show him before the Nebworth show, they were filming it and the look of terror and fear on his face, like I'll never forget it. Like he's, he comes out of the trailer and he's just like, like he's about to die. Like right there. He's so terrified. And I kind of feel like that human part of him did not come through in the movie. [00:08:43] Speaker B: Yeah. Because before Nebworth in this, he was like hyping himself up. [00:08:46] Speaker A: He was like, well that's the thing about him is. And I think the movie does do that pretty shows that pretty well how it's all like this act. [00:08:52] Speaker B: Light him up. [00:08:53] Speaker A: Yeah. And he has terrible stage fright. You know, from the standpoint of him, where it's. It's one thing when you're with a band, but it's another thing when it's just you. You know, it's Robbie Williams and you have to entertain thousands of people on a stage. It's interesting when you hear or, like, you identify with him as a human being. But. But, yeah, I. There is. I. Okay, I'll put it this way. I was on board with him for, like, Through a Lens. And then he has. Pleased to meet you. I was expecting you. Sorry. Yeah, yeah, I was expecting you. And then he had Sing while you're Winning. Then he had Swing while you're Winning, which was his swing album. [00:09:29] Speaker B: Oh, he did a swing album. [00:09:30] Speaker A: He did a swing album, yeah. With. And he did a. It actually was a charting hit in the uk. He did a song with Nicole Kidman. [00:09:35] Speaker B: Really? [00:09:36] Speaker A: Yeah. Something stupid and spelled S T O O P I D. And then he did Escapeology, which was the last album that he did fully with Guy Chambers, who is horribly represented in the movie. And that. I kind of. The movie lost me there. [00:09:50] Speaker B: Why? Did it not look like him? Or he was just. [00:09:52] Speaker A: No, they turned him into a cartoon. Like. Like, I honestly feel that I. Or I think it would be hard to argue that Robbie Williams would not be around today if it wouldn't be for Guy Chambers. [00:10:02] Speaker B: Okay. [00:10:03] Speaker A: And they underplay that majorly in the movie. They really make him look like he's just some producer who kind of helped him out. And he even makes that sort of smug remark where he's like, oh, you know, Guy just wants me to talk about how we vacation together and not. And then. What did he say? What is he. Not what I'm talking about. Like, the meaning of the songs or something. [00:10:19] Speaker B: Something like that. [00:10:20] Speaker A: Yeah. Yeah. I really. I. I just kind of got like, are you serious, dude? You know, I mean, like, this guy. I think you owe your career to this guy. The best songs you wrote were with Guy Chambers. And. Yeah, they did. They did Vacation together. They actually have video of it in that documentary also. It was him and Jerry Hollowell because they were dating from the Spice Girls, which they skipped in the movie. It's fine. I mean, you know, you have space for everything. But. But, yeah, they would go on vacation together and they would be writing songs together. And, you know, he really was such a huge part of Robbie Williams. And it's as kind of as Robbie alludes to. He's very self destructive. And I think at one point he overheard Guy Chambers, like someone came to him with a song and was like, oh, do you think Robbie will be interested? And he looked at it and he was like, no, this is not. This is not for Robbie. And he was like, who are you to say that? [00:11:04] Speaker B: That. [00:11:04] Speaker A: Yeah, why are you speaking for me, huh? Like you getting too big for. For. For yourself. Yeah, for your britches. So he d. He dumped him and then he did his next album, which is called Rude Box, which is. You know what? You know what? I'm going to play some of it cuz I want you guys shitty. Or I actually kind of like it. I'm weird that way. But I'm going to play. You know, I'm going to let you guys decide for yourself as I'm looking for this. Let me see. Oh, he had a Christmas album in 2020, which I didn't realize. [00:11:32] Speaker B: It's funny because they like allude to a Christmas album when he's talking to Nicole Appleton, which I later found out. Well, they showed in the movie, but I googled it during the thing that she marries Liam Gallagher and they're together until 2014. [00:11:44] Speaker A: Yeah. Yeah. I mean, you saw in the movie that. [00:11:46] Speaker B: Yeah. [00:11:46] Speaker A: Oh, geez. Yeah. Like every side character in the movie, like, is either just a cartoon or if it's based on like a famous person. It's so garishly done. [00:11:55] Speaker B: Dude. That Liam and Noel Gallagher was so bad. Neither looked like them. No. [00:11:59] Speaker A: Was like no one was okay. But like, they were just afraid to even have him, like talk. They just have a guy with sunglasses and the haircut in the back and [00:12:06] Speaker B: they gave him like the biggest sunglasses. He had those face. Which I know, but like, I don't know, it just felt like. And then the Liam with the shitty wig. [00:12:13] Speaker A: Everybody has a shitty wig in the movie. [00:12:14] Speaker B: Yes. [00:12:15] Speaker A: It's a big problem for me for most biographies or anything that takes place at a specific time. Like, wigs are terrible. [00:12:21] Speaker B: And just do the hair grow with the hair? [00:12:23] Speaker A: I guess they can't. I. I understand why. You know, it's one of those things where like, you can't. Because also some people just. Hair just doesn't go that way. And also, like, you have to film quickly and you bring people in. You don't have time for them to grow it out and to actually style it. So they just put wigs on people. [00:12:37] Speaker B: And the Manchester accent or their accent was horrible. Like a fake British accent. [00:12:42] Speaker A: It was. It was bad. And speaking of bad, here's the Song. [00:12:56] Speaker B: This, like, electronic. [00:12:58] Speaker A: He went electronic? [00:12:59] Speaker B: Are you serious? [00:13:00] Speaker A: And not the whole album, but some of it. Wait till he starts rapping. No. Oh, yeah. He raps all over this album. Come on, Robbie. Okay, then back to basics. [00:13:13] Speaker B: Grab your shell, toes and your fat [00:13:15] Speaker A: laces A little hand clap with some [00:13:17] Speaker B: funk faces and make your. Please turn this off, E. They do [00:13:26] Speaker A: that [00:13:30] Speaker B: dance like you just won the [00:13:31] Speaker A: Special Olympics he'd be canceled for that. [00:13:34] Speaker B: That sounds like. This sounds like if you know that one album, whatever people say I am, that's what I'm not by Arctic Monkeys. The one with the guy smoking the cigarette. It sounds like if that album was really shitty. [00:13:44] Speaker A: It's the. The song is. Is kind of legendarily dunked on. [00:13:48] Speaker B: Yeah. [00:13:49] Speaker A: I actually kind of like it in like a bat. Yeah. Like it. It. It's also nostalgia because I remember when I listened to it, and. And I actually liked this album back in the day, and I was listening to it last night again, and I can't defend it, but, like, I still enjoy it. So since you were so concerned about us, like, dunking on you, Stephanie, I do want to point out, like, we're never gonna be dunking on you. There was nothing wrong with you picking this movie. There's nothing wrong with you liking this movie. We're gonna dunk on the movie a lot because we hated it. [00:14:18] Speaker C: I'm okay with that because I enjoy [00:14:20] Speaker A: it, and I think that's only fair. I mean, again, for Arts and letters, my whole big presentation I did, the whole thesis of it was like, you're never wrong for liking a movie. [00:14:29] Speaker B: Yeah. [00:14:29] Speaker A: So I'm never gonna be like, how could you? [00:14:32] Speaker B: Yeah. [00:14:32] Speaker A: You know, my dad would do that to me. He's like, how could you like that? [00:14:35] Speaker B: And I'm just like, that is a big dad. [00:14:39] Speaker A: Yeah. [00:14:39] Speaker B: It's just like, you're crazy for liking that. Yeah. Also, like, I made you guys watch Dragged Across Concrete, and, like, even though you guys didn't really like it, like, whatever. [00:14:47] Speaker A: Well, I mean, I appreciated it. I think we appreciated it. [00:14:50] Speaker C: Yeah. It was a movie you could appreciate. It was that it made my tummy hurt. [00:14:53] Speaker A: Ye. [00:14:55] Speaker B: Which. That's fine. [00:14:56] Speaker A: That's. [00:14:56] Speaker B: That's the culture we should have here. It's like, all right, if you don't. If you like the movie, good for you. I mean, I might not like it, but I. I don't think less of you for it. [00:15:02] Speaker A: I want to use this podcast to. To really explain why I disliked it, you know? And, like. Like, not just to be like, oh, it Sucked. I really. There were specific things that really made me kind of cringe that I would like to explain and sort of be like, this is why I didn't like it. And I would like to hear from you, Stephanie, like, what it kind of did for you. [00:15:20] Speaker B: I think that's a good way to do this. We should both explain our grievances and hear Stephanie's counter argument. [00:15:25] Speaker A: But I definitely do not want to sit here and be like, Stephanie, could you. Yeah. No. One time side story, I was watching Brotherhood the Wolf. Do you guys hear that movie? [00:15:35] Speaker B: I'm not familiar. [00:15:36] Speaker A: Okay. It was like a big geek movie. Came out, like, in 2002. It was a French movie and like a. Like an artsy action movie and. Artsy action adventure horror movie loosely based on something that actually happened in the. When was The French Revolution? 18. [00:15:56] Speaker B: The French Revolution was after the American revolution, so early 1800s. [00:16:00] Speaker A: Early 1800s was. [00:16:02] Speaker B: Yeah, I'll get back to you on that. [00:16:04] Speaker A: It takes place late 1700s, early 1800s. And there's this. People are being killed, and they. And they think it's a monster out in the forest, and it's them hunting down the monster and finding out what it is. [00:16:14] Speaker B: Le Pac de Lu. [00:16:15] Speaker A: Yeah. Yeah. It was like a cool mix. Whatever. I liked it. And I liked it when I saw it in theaters. And then my dad had a copy of it because he rented it from the library. And I was like, oh, I really like that. Let's watch it. And we should do it for this podcast because I hated it the second time, but also because, like, it was like a bad copy of the movie and so it looked shitty because movie looks very good, actually, which kind of goes back to Better man, because the way we saw it was pretty crappy. But I really enjoyed it the first time. The second time, because my brother and my. And my dad were watching it with me, and they were absolutely hating it. And I knew was just going to get worse for them. It made me hate it. Like, I turned to my dad and I said, look, I made a mistake. You guys are going to hate. It's not going to get better for you. You're going to hate this. Right? And I was like, I think we should turn this off. And my dad, I think because he wanted to just twist a knife in me, was like, oh, no, we're going to finish this. [00:17:04] Speaker B: So you could really. [00:17:05] Speaker A: On, yeah, so he could really. And then, like, afterwards, he was just berating, like, you know, just being like, how could you? How could you like this? This, you know and it just eats you up inside. And I was making all these excuses, and I was just like, I should have just walked up and left. I should have been like, all right, you guys, I'm not going to do this to myself. And so my thing is, like, I don't want to do that to other people. [00:17:26] Speaker C: I get scared of that when I show people music and movies, because it'll sound really good to me when I listen or watch to it alone. And the second someone else is watching it, I just hear, like, shit. I just. I hear everything that's cringy about it. I hear everything that's bad about it, like, so, so intensely. And then I'm sitting there, I'm like, do they hear that it's cringy? Are they picking up on this also? [00:17:51] Speaker A: And I was trying to give Better man, like, the benefit of, like, I was trying to like it. And, like, Alex was the earliest one to be, like, talking, like. Like, clearly not liking it. Yeah, I liked it longer than you did. And I kind of was like, alex, stop. You know what I mean? Like, we got to stay neutral here. But then something happened, and we'll probably get into it later where I. And I was like, paul, don't do it. Like, don't let people know. Like, let them enjoy. And then I was like, no, I can't. And I just kind of put my head down and, like, started banging my head on the table. [00:18:18] Speaker B: For a second there, I thought you started crying. Like, I thought I had an emotional. I was like, wait. I was like, you know what? Crying. That's okay. Like, that's fine. That's normal. It's a movie. I get it. I cry all the time in movies. But then I saw your expression. I was like, he's not crying. He's not. Like, I. [00:18:32] Speaker A: Because, okay, the song Angels is probably. Robbie Williams is, like, most popular song. I think we had the numbers here on Spotify. It has 650 million streams. And one of the creepy things about that song, or not creepy, but, like, kind of dark thing about that song is that it is a number one song played at funerals. [00:18:51] Speaker B: Really? [00:18:51] Speaker A: Yeah. And so when they were like, hey, your nana is not doing well, I was like, oh, God, she's gonna die. And they're gonna do Angels. They're gonna sing Angels as a musical number. So when it happened, I just kind of. I. That's when I was like, I'm out. I can. It was so predictable. On the other hand, with that history of that song, I almost feel like, how could you not use it. Like, you have to. [00:19:13] Speaker B: Yeah, it's kind of like a layup. [00:19:14] Speaker A: Yeah. Like, I'm not. I. I think people would be angry if he didn't do it. You know, I think it was just at that point I thought it was such a typical structure wise and story wise. I thought it was such a typical biography, you know, like. Yeah, biography, you know, movie biopic. Exactly that, honestly. And I do think we should watch this movie afterwards. It is one of Jessica's picks. Walk Hard, the Dewey Cox story. Because that movie skewers every single cliche that this movie revels in. And it is hilarious. Like, a running gag in the movie is that, like, every time he has, like, his episode after he does drugs and things up, he always takes a sink and throws it on the floor. And like, when Robbie Williams started breaking his room apart, I was like, it's the sink from Walk Hard, you know? [00:19:59] Speaker B: Can I start getting into one of my grievances? [00:20:01] Speaker A: Yeah, please. [00:20:02] Speaker B: Because you're setting it up perfect. Oh, go ahead. [00:20:03] Speaker C: But before we start. [00:20:04] Speaker B: Yeah. [00:20:05] Speaker C: I. I feel like I'm so okay with you guys disliking it because the reasons why I like it are so specific to me. [00:20:12] Speaker B: Yeah, right. [00:20:13] Speaker C: That, like, I can see why other people don't like it. But for me, it's like I have. I have my little reasons in my little box right here. [00:20:20] Speaker B: Yeah. [00:20:20] Speaker C: Like, personally. And then I watch the movie and, like, one thing will happen. I'll be like. I'll be like, oh, oh, knife in my chest. Thank you. I love it now. [00:20:28] Speaker B: Yeah. [00:20:28] Speaker C: And I have no grievances with your grievances. [00:20:32] Speaker B: Okay. [00:20:32] Speaker C: That is my. [00:20:34] Speaker A: You shouldn't. I think. [00:20:35] Speaker B: And. And that goes back to what we were saying earlier, that, like, you shouldn't, like, give people for liking something. Because at least me, like, it happens to me all the time with music and movies where, like, art especially is something that's so personal to you that, like, the reasons why you got, like, I like some really shitty movies that I know other people don't like. And it's like, that's what makes it special. Art is like a, you know, subjective thing. And so don't let people on what, you know, what you guys think. [00:20:59] Speaker C: But anyway, right now, yeah, we're shitting [00:21:02] Speaker B: on what we think, not what you [00:21:03] Speaker A: think, which is exactly. Exactly. [00:21:05] Speaker B: Yeah. And so with that said, my personal, like, polite with this movie was like, you're saying what you were leading up to. It is the by the books, you know, cookie cutter music biopic, which has been done so many times and for so many different artists. It pisses me off because it's the same thing over and over. But I feel. I'm of the belief that, like, if you're gonna do a music biopic or like a biopic about anybody, if you do it well, like it does, I don't care if you follow the. Buy the books. Like, you know, the numbers, they start off poor and then they get famous, and then they fall off, and then they come. [00:21:39] Speaker A: That's what happened. [00:21:40] Speaker B: And then you end on the big musical number. Like, that's how it always goes. And that's, you know, the life of many of these artists. So I get it. You have to follow that arc and, like, it works. Like, you could just follow that simple arc. You do it well. You find an actor that looks like the person. You find supporting actors that look like. You let them deliver a powerful performance, and people will have a good time because they are there for a reason. To learn about this person. And whether it's dramatized or not, you're learning about their life, which is ultimately what you're trying to get out and hear. Hearing the music, I felt as though they. And I might just be, you know, throwing. Fucking. Yeah. Throwing something out there, I thought. As though they had the typical biopic and they were like, well, how do we make this different? And then Robbie Williams was like, oh, let's make me a monkey. And like. And then he. He goes, you know, he uses the crutch of all this is how I see myself. And. But it's just like, you could have just done a Robbie Williams biopic without making him a monkey. And we get the idea of how it costs a lot less. It would have costed a lot less. You probably could have found someone that really looked like him, and you could actually visualize what he looked like in that era. Because that was another issue for me is that I was watching the movie and I'm like, trying to visualize what Robbie Williams actually looked like. And I don't know because I've never seen him. [00:22:50] Speaker A: I'm gonna talk about. I'm gonna. [00:22:51] Speaker B: And so maybe that's my own personal issue, but, like, that's just what my first general issue with the movie. I have other small ones, but I felt like they just added in the monkey to make it different, but they didn't need to do that. [00:23:03] Speaker A: I want to. I want to address that, if I may. The. The monkey thing drives me crazy. Notice I am actually saying monkey now because, like, first of all, he's A chimpanzee, which is not a monkey. And that's not. That's not a dig against you. What? I was reading up on it yesterday. The director came up with the idea, and he went to Robbie Williams and was like. He was like, oh, I kind of see you as a monkey. And Robbie Williams was like, oh, okay, I can see that too. And they were like, okay, let's go with that. Right. But it's like. So they're all using the term monkey, and then they make him a chimpanzee, which is not the same thing. So, like, they didn't think this through. Yeah, they. They had. They had, like, the. The baby of a hook. And we're like, no, no, this is gonna. This is gonna make our movie stand out. And it's like, well, it. You didn't think it through. Like, why this is actually being done this way? Like, what does it add to the movie? I will argue, knowing what Robbie Williams looked like, it wasn't. I think you're right. [00:23:53] Speaker B: Yeah. [00:23:54] Speaker A: I think, as somebody who has not seen what he looked like back then, that they would be sort of like, what the. Like, you would be lost, and it just would be an effect. What I liked about it was that I will say, and that that was one of the reasons why he did it also was that that they said when you see an actor trying to be somebody else and you know what that person looks like, that you kind of spend the whole time. Like, the way we looked at Liam, you know, we're kind of spending the whole time going like, is that. That's not him? And you kind of. By going so fake and so kind of ridiculous, you're kind of avoiding that. You know, you're sort of saying, it's a special effect. We're buying into this. It's a movie that's fine. And so I kind of, like. I get that, but I. But the fact is, like, you know, that the German of the idea, you know, they didn't think it through all the way. [00:24:39] Speaker B: Yeah. It was more like an afterthought. [00:24:41] Speaker A: It was an afterthought. And then he tried to justify it after the fact. And. And I don't think it's ever per complet. Completely justified. I saw your hand up, and I think you want. You're raring to speak. [00:24:51] Speaker C: Me and Jiren had the same idea about that part of the movie. So we thought it was cool up until the end of the movie when we both thought at the same time that there was gonna be, like, a mirror scene. And it was gonna, like, spin around and like, when he healed. [00:25:09] Speaker A: Cliched enough, they should have. Yes. [00:25:10] Speaker C: Like, I thought it was gonna be that cliche thing where it was gonna be like, he healed and now we see Robbie Williams, like, as himself. [00:25:17] Speaker A: Yeah. [00:25:18] Speaker C: And that would have been cliche enough to be cool for this movie. [00:25:24] Speaker A: It would have given it more of a purpose. [00:25:25] Speaker C: Yeah. Like, it would have been like, okay, that's why he's been a monkey this whole time. Because he was dealing with all this stuff and that's how he saw himself and blah, blah, blah, and the whole spiel. [00:25:35] Speaker A: Now he feels better about himself. [00:25:37] Speaker C: But because they never went there, we both were like, okay, well, now he was a monkey this whole time. For what purpose? And we both had that. Yes, that. [00:25:47] Speaker A: And again, I. I think there is no proper answer because they never thought it through. [00:25:51] Speaker C: Yeah, I do understand that. [00:25:53] Speaker A: And I will kind of add on to. I was going to save it for the end, but we're kind of there now with the ending is. And I was making fun of this because, like, you know, they're running things about the movie. And again, it's so cliche. Whenever he performs, he looks in the audience and he sees younger versions of himself and they're all like, threatening him and saying, you suck and this kind of stuff. Right. I read enough things, enough of interviews with him where I know that he has. He has talked about looking at the audience and just seeing a void and saying how it's hard. Like how difficult it is to. To be the entertainer when you're basically dead on the inside or when you, when you're so filled with self loathing. And so I was okay with them showing that, you know, visualizing it that way, it became repetitive because it was. Every time there was a musical number, they would do it. And then at the end when they show, when he's having his big triumphant moment and singing My Way with his dad, they show up again. And I was like. But they weren't saying anything. They were just glowering at him. Right. And I was like, this is actually good. Because what they're saying, I thought what they're saying is, even though he's fighting his demons and now he's kind of. He's not conquering. Like, the point being, you fight your demons, you will not completely conquer them. They will always be there. You learn to live with them. Right. And so he learned to quiet them down, that they're still there and they're looking at him. That's actually pretty smart. But then what Happens, they start applauding him and smiling and smiling. And I was like, no, that's not what would happen. And so. And then exactly that. They actually. I think they tried to get away with it a little bit. Because my understanding. I think Robbie Williams is not actually singing the songs throughout the movie that they re recorded for the movie. Only at the end is it actually him singing when he's doing My Way. Yeah. And so they were trying to. I think that was their way of saying, now it's the. You know, it's the. Yeah, but it doesn't. Nobody's gonna know that. You know, it should have been shown visually. Yeah. And so I think I was trying to get to the point that if they would have kept him as a chimp, then it would have been a nice way of saying that even though he's better, he's never. He hasn't. He's never gonna be something like, oh, I love myself. Right. And so, again, they didn't do that. And to show that they didn't quite get it, that's the same thing would happen, like, with his demons, when they show them that they're suddenly smiling and approving him. Well, then he should turn back into a human being. [00:28:02] Speaker B: Yeah. [00:28:03] Speaker C: Now. Now I have a problem because I thought watching the movie that he was dealing with schizophrenia, not just depression. So I thought that the visions that he was seeing and the hallucinations that he were having was like him talking about real hallucinations that he would get on stage. And I was watching it, being like, oh, my God, that's so scary. How did you deal with that? Not. It being just like a complete metaphor of like, oh, I hate myself. [00:28:30] Speaker A: Right. [00:28:30] Speaker C: That. I don't. Like. I didn't know that. [00:28:32] Speaker A: And I. Because I don't think he has. We were. I don't know if you looked it up. We were talking about his mental issues. I don't think schizophrenia necessarily in that was part of it. [00:28:40] Speaker C: Yeah, it was like he has dyspraxia, which is. [00:28:43] Speaker A: Yeah. What was that? I couldn't. That's new to me. [00:28:44] Speaker C: No idea. [00:28:45] Speaker B: And on that note, that's another issue that I seem to find with the movie is that. [00:28:49] Speaker A: Yeah. [00:28:49] Speaker B: You're presenting these things like, you know, these people are in the audience, these versions of you that are looking at you. But it kind of kills the tension for me because it's like, you're seeing this, but you're still performing perfectly fine. I mean, when we. Even when we get to Nebworth, he, like, they. They, like, show where he's like freaking out and like getting scared. But it's like, I know in real life that didn't show up on stage. So you're showing it to me. But like, where are the, what are the stakes here? Because it's like, yeah, you're getting scared and stuff. But then it kills it when you tell me that that's just like, it's [00:29:17] Speaker A: not ruining your performance. It's. [00:29:19] Speaker B: It's not ruining your performance and it's not like what you're actually exper. [00:29:22] Speaker A: Like, yeah. [00:29:22] Speaker B: You experience that stage, right? What, did you figure out what dyspraxia was? [00:29:26] Speaker C: It's. It's not a mental disorder. It's a developmental coordination disorder. [00:29:31] Speaker B: Okay. [00:29:31] Speaker C: Yeah. So it has to do with abnormality and walking flaccid muscles and muscle weakness. [00:29:36] Speaker B: Okay. [00:29:37] Speaker A: And yet he's. He's in good shape. [00:29:39] Speaker B: Yeah, he is. [00:29:40] Speaker A: Yeah. Being famous helps. [00:29:42] Speaker B: And so then like that's, that's the issue where it's like you set up all these like high stakes, right? Like, oh, these people are in the crowd and they're the versions of me are screaming at me. And then it's like, okay, but like how is that really affecting you? Like you're showing like, you're like getting scared and stuff. But I know that wasn't happening. Like, that didn't reflect physically in real life as you show it in the movie. And then even at Net Worth where it's like you're hyped up and this is like your big performance, then you cut it halfway for this actually. Pretty cool fight. Yeah, it was pretty cool where like you're like fighting your demons, like physically fighting. But it's like, I know in real life you were just, you know, maybe that's what it felt like, but it didn't manifest itself. [00:30:17] Speaker A: I think that's a great point. And a couple things. I think what I would say is what the stake was that even though it's not affecting his performance as far as that people can notice. Yeah, it's affecting him mentally, obviously. And that's where his self destructive behavior. Behavior comes from. So like that's where the stakes would be there. It does actually reflect kind of realistically because I was talking about his terrified face when he was at Nebworth. [00:30:39] Speaker B: Yeah. [00:30:39] Speaker A: And when you see the footage, because the documentary is him watching himself. So it's him now watching these clips and watching his concert. And if I remember correctly, there is. They're showing him the net worth and he's performing great and he's like I was so terrified. He was like. And I was hating it, and I hated my life, and I wanted to kill myself. And this was the worst thing ever. And that's kind of where, like, the amazing thing about him comes from, is that he's such an entertainer that. That these things actually do not. Even though they're manifesting in his head. [00:31:08] Speaker B: And he. [00:31:08] Speaker A: That's how he feels on the inside. You cannot tell when he's performing. [00:31:11] Speaker B: Yeah. [00:31:12] Speaker A: And so I guess the movie kind of does, like, it's. [00:31:14] Speaker B: It. [00:31:14] Speaker A: I think it's trying to do that. Yeah. I think it's trying to sort of show. But I think it does it clumsily. [00:31:19] Speaker B: Yeah, exactly. And it does a lot of things clumsily. I felt like, especially continuing on the theme of stakes, and this is another issue that I had is like, it does a lot of setting things up and then just kind of, like, solves things really quickly. [00:31:33] Speaker A: Yes. [00:31:33] Speaker B: So, like, you spend this whole movie building up all these mental breakdowns that he has, all these drug addiction, all these broken relationships that he has. I mean, even. Even the they use. We spend so much time with him and Nicole Appleton, and we see about how, you know, really, tragically, she had to have an abortion because, you know, she was getting. [00:31:52] Speaker A: The manager wouldn't allow it. [00:31:54] Speaker B: Yeah. The record label pressured them into not having a baby. And, you know, this really took a toll on him. And you this up. And then in the end, in the last five minutes, you solve it all. And like. And even the whole thing with the dad is like, I. [00:32:06] Speaker A: It just goes away. [00:32:07] Speaker B: It just goes away. And then it's like, okay, well, they [00:32:08] Speaker A: have the sort of tete a tet in the. In the lake. [00:32:11] Speaker C: But I hated that scene so much. [00:32:13] Speaker A: In the lake. [00:32:14] Speaker C: No, when. At the end, when all of a sudden he's like, I love my dad. [00:32:19] Speaker B: Yeah. [00:32:20] Speaker C: I love my dad so much. That was Irish. [00:32:23] Speaker B: I love dad. [00:32:24] Speaker A: I love my dad. [00:32:25] Speaker C: I love my dad. And, like, I was. When I first watched, I was sitting there, I was like, there's no way that you just forgot that he abandoned you as a child and then took advantage of your fame. And I was sitting in the theater, I was, like, shaking. I was like, I hate this so much. [00:32:42] Speaker A: But that's my issue with the movie in general is that. Is that everybody's so two dimensional. [00:32:45] Speaker B: Yeah. [00:32:46] Speaker A: That, like, nothing really has an impact. And. And actually. No. You wanted to say something because I want to say something else, but I want. [00:32:52] Speaker B: No, I was just gonna continue on the thing with the dad and I'M just gonna riff on a little more. Like, maybe when I was watching it for a second, I. Bo. And like, honestly, that last. That closing scene before getting ahead of myself to the ending, that final scene where he's performing my way in the same place that Sinatra performed really, like, a nice scene. It's a night. Like, it was uplifting. It was a nice note to end on. And I was. For a second, I believed it because, like, thankfully, I have a good relationship with my father. And like, every time we've had an argument, it's like one of those things where, like, the next day you guys are fine. Like, maybe you'll be like, you'll be. Still be a little mad at each other, but then eventually, like, that's my dad. You know, I love him. We're going to be fine. But, like, when you don't. Like, he didn't have a good relationship with his father. [00:33:27] Speaker A: No. [00:33:27] Speaker B: And then at the end, he gives him that space to be that hero, and it's like, oh, you know, we solved all our issues. All the. All the times that you exploited me that we literally were just dealing with five minutes ago. We jump ahead in time, but we don't explain how these things were healed. [00:33:39] Speaker A: Yeah. [00:33:39] Speaker B: You just go to therapy one time that we show in the earth. [00:33:42] Speaker A: Well, that's my. Okay, so the two things I had is that, like, what I. What I wrote in my notes for the. For that my way scene, I was like, it's really pleasant and uplifting, but it's completely unearthed. [00:33:50] Speaker B: Yeah. [00:33:51] Speaker A: It was not earned. And then what I wrote before that was like, you cannot exactly. As Alex said, you cannot say. You cannot have him go through all these horrible issues. And then he goes to therapy. Not even therapy. He goes to. [00:34:02] Speaker B: It was like, aa. [00:34:02] Speaker A: Yeah. To AA or some sort of. And he comes out and suddenly everything's fine. It's just been solved. Like, you know, he has one session where he talks, and suddenly all these mental issues, all these things that are. That are so difficult to untie that you have to spend years working on yourself to get there. Sometimes with the help of medicine and things like that. And for them to just go. He went to, you know, he had one session, and he makes amends with Gary Barlow, with his friend who only shows up just. He can have the cliche. He yells at his friend thing with Nicole Appleton, and then. Exactly. With his dad. Like, it's all suddenly figured out. It's just so unearned and so stupidly simplistic. And I think that's My issue with the movie overall is that I just think it's so stupidly simplistic. [00:34:48] Speaker B: Yeah. [00:34:48] Speaker A: His mom is not a character. Nobody's a charact. Everybody is just this weird cartoonish caricature. [00:34:53] Speaker B: They're like a vessel to tell, to propel the story forward, but they're not. [00:34:57] Speaker A: They don't feel like people. And what it reminded me of, actually was Saturday night. Yes. How. How, like everybody around them is just this caricatured idiot. You know? And only the people in the center, in your focus are. Are allowed a little bit of. To be sort of three dimensional. [00:35:13] Speaker B: Yeah. [00:35:13] Speaker A: And like, even Nicole Appleton, which is the only one, the only person they're not mean to. Right. Well, not that his grandmother, she's. She's a saint, for goodness sakes. Like, there's nothing. [00:35:21] Speaker B: What a cute old lady, by the way. [00:35:23] Speaker A: Yeah, she was great. She's great. But like, Nicole Appleton, like, again, they make her a saint also. She's in All Saints. [00:35:30] Speaker B: Nice. [00:35:30] Speaker A: That's good. They. It started wearing on me and like, when everything is so two dimensional to me, like, there's nothing for me to dig into. There's nothing for me to kind of go like, yes, I will go through these cliches happily because you know what I mean? Like, if it's something three dimensional, if it's something that feels honest, if it's something that feels like, oh, I can sort of. I can see the filmmaker thinking, I can see what this character is thinking, then I'm on board. I don't care about the cliches, but everything was just so flat that I was like, I can't spend two hours and 15 minutes on it. It's just too much for something that I've seen a million times before and done better. [00:36:03] Speaker B: Yeah. And then I compared to something that I saw. Were you going to say something? [00:36:07] Speaker A: I'm sorry. No, no. [00:36:07] Speaker B: Then I compared to something like that I saw recently, which I don't know if I know you haven't seen it, but the Bob Dylan biopic. [00:36:13] Speaker A: Yeah. [00:36:13] Speaker B: How It's a very by the numbers biopic. Like you have, you know, the. The Come up and the Rise to Fame. But what that movie does so well is that instead of focusing on his whole life, it focuses more like on a vignette. So a couple years in the life of Bob Dylan. And that gives you more time to sort of work in this universe. And it's like, turn the people around him into real characters. [00:36:33] Speaker A: Right. [00:36:33] Speaker B: Like people that you feel their pain and you see how, like, his character has an effect on them. And that's something that really pissed me off. That pissed me off. Something that upset me about this movie. [00:36:42] Speaker A: No, it pissed you off. You were pretty. [00:36:44] Speaker B: Yeah, it did piss me off. It pissed me off about this movie where it's like. Like you're trying to get me to buy into the idea that he's ruining the lives of everybody around him. But it's like, I don't feel the struggle. Yeah, they're Lego fear. I mean, the guy is going on these long benders, like, doing drugs, and his mother is dealing with the loss of her own mother. Yeah. And he's not even answering the phone, right. But then he finally answers the phone, and it's like, oh, it's all about his pain. It's all about his, not his mom's. And it's like, your mom is clearly an important part of your life. I mean, you cut her 15 times in the final scene where you're singing. [00:37:18] Speaker A: But only in the final scene. [00:37:19] Speaker B: Only in the final scene. And we see how you're. [00:37:21] Speaker A: I don't understand his relationship with her. I don't know how she treated him. I don't know anything. Exactly. [00:37:26] Speaker B: And, like, for example, the Bob Dylan biopic did this so well, where all the women. Because he, like, you know, his girlfriend, both his girlfriends in the movie are like. You kind of feel bad for them. You're like, wow, this guy really treated them like shit. And, like, you still like him because he's Bob Dylan, but, like, you see how much of a shitty person he was at times in his life. So, yeah, that just really bothered me. [00:37:44] Speaker A: And I think they're trying to do that here, but it's done poorly. [00:37:47] Speaker B: It's done poorly. [00:37:48] Speaker A: Just. [00:37:48] Speaker B: Yeah, because you're spending 15 minutes doing the same drug trip, right. We saw already, oh, he's gonna fall and he's gonna be on the ground. [00:37:56] Speaker A: Seen all this. Like, I'm like, come on, stop. [00:37:59] Speaker B: I'm trying not to make eye contact with Stephanie when I'm ranting because I feel like it's directed at her. [00:38:03] Speaker A: Yeah, it's not. It's really just at the movie. Yeah. [00:38:06] Speaker C: All of this is very understandable. Yeah, I. I liked those things, strangely enough. [00:38:12] Speaker B: Okay. [00:38:13] Speaker C: Because as I'm watching this, I don't like Robbie Williams. As I'm watching. [00:38:17] Speaker A: Yeah, yeah. [00:38:18] Speaker C: The. Not even at the end do I like Robbie Williams. [00:38:21] Speaker A: Okay. [00:38:22] Speaker C: And I think it's because when I'm watching this movie, I'm watching it through his eyes, like him watching himself, because he's telling the story. Like, he is the narrator and the character of the story. So I don't think he's meant. [00:38:34] Speaker A: He's Dante. Yeah, Dante. [00:38:39] Speaker C: So he's portraying himself as this shitty person who never actually gets better. I mean, I don't. I don't think that he actually ever does really become a better man. It's like he's trying, but he's not getting there. And that's why all these characters are so one dimensional, because he doesn't see these people as people. It's him, and he's going through. [00:39:02] Speaker B: That's a good point, actually. [00:39:03] Speaker C: And it's all about him. Because in his life, it's all about him. He's the one getting famous. He's the one that has problems. And that was the thing that his friend was yelling at him about, is that he doesn't actually care about anybody else or their problems or their lives. He just cares about himself, which is what the whole movie was portraying, is that everybody else is a side character, is one dimensional. Doesn't matter. And then even at the end. [00:39:29] Speaker A: But the movie wants us to care. As if they were not one dimensional, as if they were three dimensional. [00:39:35] Speaker C: You know, the movie was just about him being shitty. [00:39:37] Speaker A: But then that's a pretty bad. I think, yeah, that. That's a bad. Like, it's a good excuse. Right? And. And I think that's. I think that's. Yeah, and I think you're right. I don't think you're wrong. It is. And behind the scenes, apparently the director, Michael Gracie. [00:39:52] Speaker B: Michael Gracie. [00:39:53] Speaker A: Michael Gracie based the movie on two years of interviews that he did with him in a recording studio. And a lot of the narration, apparently, is actually from those recording sessions. So it is very much from his point of view. And actually, when he showed the script to Gary Barlow. Gary Barlow from Take that, the one who wrote the songs. And he had like. That's another thing. Like, their relationship is so interesting to me. And like, they didn't get into it at all. He has, again, Robbie Williams loves himself. He hates himself and loves himself at the same time. Because he has two songs on this album. They're actually good songs, even though he's rapping on them. Called the 80s and the 90s. And it's his life in the 80s and the 90s. A lot of stuff in the movie is kind of talked about here. He raps about how he. He came home to his mom and was like, how am I gonna tell her that I failed my exams? And then she's like, oh, you're in the boy band, which is in the movie. So it's also in the rap here. So he loves himself, right? Like, or he loves talking about himself, but I lost a point. Shit. [00:40:49] Speaker B: I wish I could help you backtrack, but I don't know where you're going. [00:40:51] Speaker A: Yeah, I don't know. It was, it's just. Oh, sorry. I was saying Gary Barlow, he showed [00:40:56] Speaker C: the script to him. [00:40:56] Speaker A: He showed the script to him and Gary Barlow was like, bro. And he said, he said, we're basically, we've repaired our relationship to about 95%. Right? So he showed us script and Gary Barlow's like, he's like, dude, you made me like worse than Darth Vader in Star Wars. And he said that they toned it down a little bit. But he explained to Gary Barlow, he's like, well, this is how I saw things then. [00:41:15] Speaker B: Yeah. [00:41:15] Speaker A: So it definitely leads credence to what you're saying. Exactly. This is through his eyes. But I would beg to differ that it's not a good idea because like again, for us it's leaves everything so flat. And for me, having gone through the Robbie Williams pity party, and I think that's what I was talking about earlier, his, his album Escapeology, which was the last one with Guy Chambers. I liked him. I listened to it and then I had and I told. I was talking up to Norman. I was like. Because Norman was into Robbie Williams also. And I was like, dude, you gotta listen to it. I love it, I love it. And he listened to it and he was like, I fucking hated it. And I was like, why? He's like, it's such a pity party. Every song is oh poor me, Robbie Williams. Oh my God. You know, and then I listen to it through those years and I'm like, oh, it is. [00:41:55] Speaker B: Yeah. [00:41:55] Speaker A: And so now I'm very sensitive to oh poor me, Robbie Williams. And so I'm sort of like, I think someone should have kind of looked at it and go, robbie, shut up. You know, like, it's not enough that you're showing yourself be bad. It's not. It doesn't make the movie worth it or it doesn't make you such an awesome person just because you're allowing to show yourself in a bad light. But there has to be more to it. And it just seems to be like, it's all about Robbie. And that just gets boring after a while. [00:42:20] Speaker B: And then here's my issue is I wish I would have seen it through that lens. Like, okay, this is him like self deprecating and Being like, I'm a piece of. And I would have bought that. But then when you end the movie with him singing Better man, which I know is a song about him trying to be a better man, but then you quickly fix all these issues, you fix all his mental health issues, and then end on him singing to a crowd, shouting and clapping, and him with the fanfare, and then you get this big dramatic ending and it's like, that's like you're. You. You can't redeem your. You can't spend a whole movie talking about how you're a piece of. And how you see these people in your life as one dimensional individuals. And you're like basically saying you're. If you're saying you're taking them, you took them for granted, that's one thing. But then when you at the end, redeem all of that and then make yourself the hero of the story, which is what it felt like to me. Yeah, like that's. [00:43:09] Speaker A: And like that's. It's. It's fake. [00:43:11] Speaker B: It feels fake. And then it's like the whole thing with like, sorry, I'm just gonna. This is the last. [00:43:15] Speaker A: Do it. [00:43:16] Speaker B: Stephanie's about to say something. I can't speak for everybody else here, but like, I know from experience, like dealing with like mental health issues, that's something that, like, I'm not gonna say I have like diagnosed like anything diagnosed, but everybody deals with these things, at least most people. And it's not something that you heal once and for all. I mean, maybe you get medicated and you get better, but it's constant work. And even when you get there and you get to like a better part of your life, you still fall back into that every now and then. You still have like. [00:43:44] Speaker A: And that's happened with Robbie. I mean, right? If in that documentary, it's a constant thing. He's always like, oh, well, then this got better. But. And then you see like he does a performance. You're like, oh, what a good performance. He's like, yeah, but mentally I was again telling myself I was terrible. [00:43:58] Speaker B: Yeah. [00:43:58] Speaker A: And then he's in a better place, but it's a tug of war basically. Right? I mean, that's all we can really ask for is that we just keep trying. But. But to be sort of to end it like he now is the better thing is bullshit. [00:44:12] Speaker B: You end it on the high note. If you would have ended it. And then, then like in a way where I feel like, okay, yeah, you're better, but you're still regressing because we all do. [00:44:20] Speaker A: Yeah. [00:44:20] Speaker B: I'm like, okay, good for you. Perfect. [00:44:22] Speaker A: Do you guys remember the movie the Beautiful Mind? It won a Best Picture. [00:44:25] Speaker B: Yes. [00:44:26] Speaker A: Russell Crowe, directed by Little Richard Cunningham from Happy Days, Ron Howard. It's a very traditional biopic also. And I actually liked it when I saw. I haven't seen it in years, but he. It's about a real life mathematician who had. I think it was schizophrenia actually. And they do the same thing where he sees like, it's basically. It's kind of a cool thing, I'm going to give it away, is that he. He's talking to these characters and these characters are coming to him and sort of being like, you have to go on a spy mission and all this kind of stuff and. And here's this femme fatale and blah, blah, blah. And then it turns out that's all in his head. And then they kind of keep using those people to point to his mental illness. So, like, he'll still see them. And so at the end of the movie, and I thought this was very clever and that's what they were trying to do here, but they fucked it up in that movie. It does end with like. It's a triumphant thing. He's better. But when he's walking away, the three characters are still there. [00:45:19] Speaker B: Yeah. [00:45:19] Speaker A: They're looking at him and it's sort of like he turns his back on them. So it's like. But it's not like, oh, it's all better. It's all gone. It's. They're always going to be there. [00:45:27] Speaker B: Yeah. [00:45:27] Speaker A: And this movie and that. And that's when you were laughing when you said German is. Said that we're going to say the word self aggrandizement. And I did. Of course. That's what I mean with this movie. That. That all that sort of self effacing stuff comes off false to me because at the end it's like, no, Ravi, you are perfect now. You are awesome. And like that's, you know, like it just sort of seems like he's trying to make us not pay attention to that or trying to like, take our attention away from that by being like, no, look how much I hate myself. You know? And then it's like. And then. But at the end, suddenly it's like, but I am awesome. [00:46:00] Speaker B: Yeah. You were gonna say something. Yeah. [00:46:02] Speaker C: You know Evangelion. [00:46:04] Speaker A: Yeah. [00:46:04] Speaker C: You know Evangelion? [00:46:05] Speaker B: Yeah. [00:46:06] Speaker C: At the end when everybody starts clapping, it reminds me of the end of Evangelion where Shinji decides that which version [00:46:14] Speaker A: are we talking about the actual TV show, like the actual 26th episode or the remake movies, because they have very different endings. [00:46:21] Speaker C: The one where at the end, everybody just starts clapping for Shinji. [00:46:25] Speaker A: It's like the happy. Like the really happy ending one that's from the movie. The remasters, the remakes. [00:46:29] Speaker C: So in that ending, that's what I kept thinking about when I saw this movie was like, yes, everybody's clapping and, yay, Robbie Williams. But you're still there thinking, God, what a pathetic piece of shit. [00:46:41] Speaker B: Yeah. [00:46:42] Speaker C: And that's what I. That's why I hate Shinji and Evangelion so much, is because of that. It's because he is so worthless the entire movie. Yes. [00:46:50] Speaker A: Oh, that'll be. [00:46:51] Speaker B: I keep thinking that you're talking about your cat. [00:46:53] Speaker A: I think my cat for a reason, [00:46:55] Speaker C: because German bullies are catching. [00:46:59] Speaker A: Gets bullied a lot. [00:47:02] Speaker C: But in the entire movie, Shinji's like this worthless, awful, pathetic person. [00:47:07] Speaker A: Yeah. [00:47:07] Speaker C: And then at the end, he makes, like, one decision, finally. And then everybody claps for him unearningly. And as I'm watching Better, I know you're. This is my. [00:47:17] Speaker A: Yeah, yeah, yeah. I'm gonna leave it. Yeah. No, no, I'm not trying. That's why I stopped. I was like, no, no. And I. Yeah, go ahead. [00:47:24] Speaker C: We'll talk about that later. [00:47:25] Speaker A: Yeah. [00:47:26] Speaker C: But as I'm watching Betterment, like, the entire time, I'm still think, like, during this whole thing with, like, the dad and everyone's clapping and he sees the people, I'm still there sitting, thinking, well, this guy's a pathetic piece of shit because he did all this stuff and he got an unearned reward. And it makes me think maybe Robbie still thinks he's pathetic. I don't know. I don't know. Robbie Williams. [00:47:48] Speaker A: Yeah, I think he does, but I don't think the movie does. [00:47:50] Speaker C: I watch this movie so biasly, and I think it's because, like, okay, the scene where he's in the car and he's singing that song and he's, like, driving, like, into traffic. [00:48:01] Speaker A: Come on, then. [00:48:02] Speaker C: That one is what made me like the movie was that scene. Because I think it was the most vulnerable scene in the entire movie. I think every other scene was so coded with this guilt and this and that, but this. But I'm trying to. And that scene was just vulnerable. It was just, I am here. I'm literally having a psychotic breakdown, and there's nothing else that I know what to do right now. And that scene is what did it for me, that I was like, okay, for this one millisecond, we're seeing who Robbie Williams is. And then every other scene of the movie, this is how he's seeing himself. Which is never accurate the way, like, if we're watching an autobiography, it's not gonna be accurate. [00:48:49] Speaker A: It's not gonna be more accurate because [00:48:51] Speaker C: every person sees themselves as this aggrandized version of themselves. No one really wants to portray themselves as who they really are. [00:48:58] Speaker A: Right. Right. [00:49:00] Speaker C: So as I'm watching this movie, like, I'm seeing all this stuff, but I'm seeing it as like, this is Robbie Williams version. I'm not looking for the truth here. I'm looking for how does Robbie Williams see himself? [00:49:14] Speaker A: I don't know if I'm looking for truth. I'm looking for entertainment. And that's the thing. I was not. I was dying. And I, I will say for you, I think, I think the difference is that you're seeing Pat, you're seeing through the movie's. Yeah, I think the movie is still trying, like, I don't think the movie's trying to get you to think that I, I think that you, like, you saw past it. I think the movie's just like, yo. And that's what people. That's, I think, why people love it so much because it is such a triumphant ending. You know what I mean? And it gives you the feels. And I'm just like, like, would you. You didn't earn it. It's so, so I. It's. It's interesting what you're saying because you're seeing through it, but you still like the movie. Like, you know what I mean? You're still finding things to like. [00:49:55] Speaker C: I think I just like having to see through. Maybe I think I'm just a masochist for movies. [00:50:00] Speaker A: Yeah. [00:50:01] Speaker C: Because I'm like, I'm like, I like the challenge of being like, what are you really trying to tell me right now? [00:50:06] Speaker B: Like, yeah, and it's good that you see through that bullshit because I personally couldn't see through it. And knowing also. [00:50:12] Speaker A: No, you clocked it as. [00:50:13] Speaker B: I clocked it as early on. And once I clock it as I can't deal with it anymore, I'm done. Like, I'm clocked out mentally. And then like, I'm trying to appreciate it, but I still feel like it's. And knowing that he had a hand in the filmmaking process big time. Big time. And it's like you're saying it's like it's a non trustworthy narrator because it's a first Person, narrator. And you don't get that with most music biopics or most biopics in general. It's removed after the person passes away or after they're out of the limelight. Somebody else is writing a story, maybe based on a book or something. [00:50:43] Speaker A: Yeah. [00:50:44] Speaker B: And they're retelling that story, but they're not. And I'm sorry to say this, but they're not mentally masturbating onto the movie. [00:50:52] Speaker A: Right. Right. [00:50:53] Speaker B: And it's just. It's just like this thing. And again. I'm gonna repeat it again. It just felt like he was being a pick me. It felt like. Like, have you ever met one of those people that. They're like, oh, my gosh, I'm so. Like, I suck so much. And they're just, like, fishing for compliments. That's what it feels like. It feels like he's like, oh, I'm so cool, but I'm also so sad and, like, my life is so hard. [00:51:13] Speaker A: But then also. But doesn't that make me cool? You know what I mean? [00:51:16] Speaker B: Yeah, but does that make me cool? Because, like, I'm cool and I'm so [00:51:19] Speaker A: honest about what a I am. So isn't that doesn't actually make me cool and less of a. And it's like, no, dude, no. You're just coming off like a. I [00:51:26] Speaker C: think, idolizing those people. [00:51:29] Speaker A: Yeah. [00:51:29] Speaker C: That's why I like this movie, because I think I saw that and I was like. And I was like, so why do you hate yourself? I'm, like, playing therapist as I'm watching this movie. I'm like, what do you have that you're acting this way again and again and again? Like, why would you portray yourself? This is why. I like reading Dante. Like, as I'm reading Dante, I'm like, dante. Why would you portray yourself this way? What's wrong with you? [00:51:53] Speaker A: We should say the Divine Comedy. [00:51:54] Speaker B: Yeah. [00:51:55] Speaker C: Oh, yeah. [00:51:55] Speaker A: Sorry. I'm sorry. [00:51:56] Speaker C: The Divine Comedy. [00:51:58] Speaker B: And, like, for me, it's like, when I meet those people in real life, I don't want to know why they hate themselves, because everybody fucking hates themselves. Instead, it's like, nobody. You can. You can be a confident person. You can love yourself. Like I love myself, but, like, still, I'm not. [00:52:10] Speaker A: Like, you're gonna have moments where you. [00:52:12] Speaker B: Yeah. And like, those people that are constantly, like, oh. Like, they just, like, feel bad for themselves, and I'm just like, shut the up. [00:52:18] Speaker A: Yeah. And that's. And that's exactly what, like, sorry. Like, with Robbie, like, I've. I'VE gone along with it for like, for a while. And again, even, even in that documentary, which is only a year old or two years old, I still went along with. I enjoyed watching the whole thing. But, but there's a lot of moments like again, like escapology, where it's like, will you just shut the fuck up? And he has a song on there called Me and My Monkey, which again is, is that tortured metaphor which never worked. I think that they took that. Well, it's not a euphemism, it is a metaphor because it's just, it's a 10 minute song about how his monkey, which is, which is him, his alter ego that they, he plays with him. No, no, It's. It's like 10 minutes of him going like, my monkey was doing this. Like he was getting drunk. He made me get drunk. He made me do drugs, he made me cheat on my girlfriend. It is 10 minutes long and you're like, I get it. Shut up. Quit bitch bitching. And I think that's kind of, that's the feeling I had watching this again, like within 20 minutes I was like, I get it. Quit bitching. Continue. [00:53:25] Speaker C: I think, I think that's why I liked what. I just forgot her name. Apple. [00:53:30] Speaker A: Nicole. [00:53:30] Speaker B: Nicole Appleton. [00:53:31] Speaker C: Appleton. Like she said that in the movie. She was like, I always thought that you couldn't help it, but you know exactly what you're doing and it's completely your fault. [00:53:40] Speaker B: Yeah. [00:53:40] Speaker A: Yep. [00:53:41] Speaker C: And even though the side characters, they are one dimensional and we don't see enough of them. No, they are the only ones that are telling the truth. [00:53:50] Speaker A: Well, some. I mean, his dad is always like, no, the only thing that matters is that people like you. [00:53:54] Speaker B: Yeah. [00:53:55] Speaker A: You know, fame is all that matters. [00:53:58] Speaker C: That's Robbie Williams truth. Like, he's, he's telling like everything that the characters are telling him are the real things about his life, you know? So, like everything that Robbie says, it's always, oh, pity me. It's not my fault. I'm trying my best. And everyone else is telling him, this is your fault. The only thing that really matters is that people like you. And for Robbie Williams, that's, that's what's true about him is that his fame comes from everybody else liking him. It doesn't matter if he likes what he's doing. For him to be famous, everybody else has to like him. [00:54:31] Speaker A: Right. [00:54:32] Speaker C: So that's, that's the truth that matters to him. Yeah, I guess. Like for. From what I'm seeing it, like, what I'm trying to say is that what the side characters are saying is what Robbie Williams is living. And what Robbie Williams is saying is the. That he's trying to make you believe. [00:54:49] Speaker B: Oh, okay. [00:54:51] Speaker C: Does that make sense? [00:54:52] Speaker A: Yeah, I think I agree. I'm. I'm just twisted in knots right now. I just. I don't know. [00:54:56] Speaker C: I like it because I like it. [00:54:57] Speaker A: Good. That's fine. [00:54:57] Speaker B: Yeah, that's good. [00:54:58] Speaker A: Let's actually. I've been dying to get to this. Let's actually talk about some things that are good about the movie. Now Alex is not going to agree with this part, but I think the musical numbers are good. The Come Undone song, which you said is. Is actually pretty powerful and, and I think I wrote in my notes several times they did this. They did it. The imagery is cool. It's not the most original and eye popping visuals I've ever seen, but like it's. I think for a modern day musical they do a good job of sort of like having the visuals kind of represent his, his internal turmoil or even the things that he's enjoying. I thought it was pretty clever to show like the whole she's the One part where he meets Nicole Appleton and it's this beautiful Beauty and the Beast like ballroom dance number with fireworks and everything. But then they're intercutting it with the things that went shitty in their relationship. Not stupid. I think it's pretty clever actually. [00:55:47] Speaker C: The. [00:55:48] Speaker A: I did enjoy it was the one where Alex, after it was done, he was like, did we have to do spend five minutes of it when they're doing the whole. When he's on the top of the world would take that and they're dancing down Regency Street. Is that what it is? I am so tired of the one take. You know, the fake one take scene where they make it seem like it was all done in one shot, which they do here. Didn't give a fuck about that. But the camera moves were good because you could see what they were doing and it gave the. It also kind of gave the energy to what, what the characters are supposed to be feeling. And so I think overall like the musical numbers are good looking and well put together and spaced out nicely. And for me I'm biased because I like the songs, I know them all and I'm singing along with them. So I will give them that. That I think as far as. And again, the guy is a music video director also. I mean he's only done one, one film. Mostly he's done like commercials and music videos. But he, he kind of does bring a nice sensibility to the musical moments in. In the movie. And also, it doesn't seem like someone just starts to study, like. Like they're the middle conversations. Start studying, singing. [00:56:48] Speaker B: They literally did that. That's why I was pissed off when they did the. You're the one. Because he's standing there on the edge of the boat talking to her, and then he's like, talking, and he does this thing where he goes into. [00:56:58] Speaker A: So he does do that. [00:57:00] Speaker B: And then I'm like, oh, off. [00:57:01] Speaker A: Yeah. [00:57:01] Speaker B: What is this high school theater like? [00:57:03] Speaker A: Yeah, I don't like that either. I missed that. Okay. [00:57:05] Speaker B: And it didn't do it for every song. [00:57:07] Speaker A: Exactly. I think overall they didn't because a of lot of it they hid within that they're performing. You know, I think you're right. She's the One is the only one where they really kind of make it be like. Like an actual musical number. Like, almost like La La Land where they just kind of like break out into song. That's true. [00:57:21] Speaker B: It works for me a lot. I like it also. I will take this away from myself and I'll give this to you guys. I don't know any of the music in the movie. Like, the only song that I recognized in the movie was My Way by Frank Sinatra. I didn't know any of the other songs. I've never listened to the Tom Jones one. [00:57:36] Speaker A: He does as the. I didn't like that one. That's not his. [00:57:39] Speaker B: When does he do that one? When I noticed there was one song [00:57:41] Speaker A: that I recognized when his. When his career takes off as. As a solo artist. Yes. After he meets Guy Chambers. [00:57:47] Speaker B: Yeah. [00:57:48] Speaker A: And then they have a long montage and it ends with him doing the duet with Tom Jones. [00:57:51] Speaker B: Yes. [00:57:52] Speaker A: At the Brit Awards. Yes. [00:57:53] Speaker B: Yes, yes. [00:57:53] Speaker C: Okay. [00:57:53] Speaker B: That one I knew, but like, the whole other rest of the. I didn't know any of them. And so I was just kind of like, okay, cool. So I didn't recognize the music, so it didn't really resonate with me that deeply. [00:58:04] Speaker A: They are kind of neutered versions of the songs. Like, they're. They're more like. A lot of them are a lot. A lot rockier. A lot, you know, have a lot more going on. Because I think they want us to pay more attention to the vocals and, like, the singing. And because I think they use orchestration, I think rather than. Than traditional kind of like rock instrumentation, it neuters the songs a little bit. I just know them so well that it's just like. It's still cool for me. [00:58:27] Speaker B: And I also couldn't really. Like, his voice never really stood out to me. I don't know if Robbie Williams is someone who's necessarily popular for his voice or, like, if he has an iconic voice. [00:58:35] Speaker A: It's a mixture. [00:58:36] Speaker B: But, like, yeah. I could never tell if it was like a Robbie Williams song or if it was just like a song that he's singing along with because I just. Voice didn't do anything for him because I don't know it. Whereas, like other movies, I know the voices of the people because I know the artist. Typically when I watch a music biopic, so I get it, but this one, I didn't really. But that's just a me thing. [00:58:53] Speaker A: I don't think anybody would argue that Robbie Williams has, like, the greatest voice in music. It's a unique voice that. That stands out that, you know, it's Robbie Williams. I think it is kind of like the Elvis Presley thing where it's the whole package. [00:59:06] Speaker B: Yeah. [00:59:07] Speaker A: And also the fact that he writes his own songs and. And a lot of them are like. They have clever turns of phrase. [00:59:13] Speaker B: Yeah. [00:59:14] Speaker A: What was it? Every morning when I wake up, I look like Kiss, but without the makeup. You know, like, things like that. I. I like. It's hard, you know, I put myself in a bad position. Yeah. Anytime you throw out a lyric, especially about the music, you just were like, what the. So, yeah, I dug that hole for myself. But, like, things like that to me are funny. What things that especially I don't expect from an ex boy band member where I, you know, like, okay, okay, I'll talk about myself. Great. In 1995, I was in Germany when he left. Take that. I was in. I was spending the summer with my dad in Germany. And the things that they do in the Come On Done number that they're talking about the suicide hotlines. That shit was for real. It was like people were losing their minds. I didn't know who this guy was. I had heard To Take that, you know, and then, like, he had left. People were losing their minds and they had straight face. They had people being like, we have suicide hotlines. They're like, we want you to call. We're like, we're going to tell you that. That he's still alive. Yes. He won't be making music to Take that, but he will have a solo career. Like, that shit was real. And then a year later, when I was in Germany, the next summer, he released his first solo single, which was a cover of George Michael's Freedom 90. You know, freedom. Yeah. Yeah. He Did a cover of that. And I. I watched the media, the video like a million times. Not because it was a good cover, but he was acting like such an out of control ass in the video. Just like dancing and spazzing out and making stupid faces to the camera that I just sat there going, what the is this? And I would just find myself just watching it, fascinated, being like, this is terrible, you know, and then for him to have turned it around and come back after he met up with Guy Chambers and he was putting out, like legitimately good, like good pop rock songs with what I thought and I still think clever lyrics. I was like, it was like a complete 180 for me. Where I was like, that's probably where it kind of came from, where I just kind of had this. I saw these things happening with him. I saw what the effect was, other people. And then some of these music was coming out and I was like, I actually like this. I spent $30 on. On his second album because it was import only. Yeah. And I didn't mind. I was glad I paid the money. I listened to the album a lot. And again, he is quite funny. I mean, he. When he tried to break the United States, they took the first two albums, the best songs, they put it together as one album here, and it was called the Ego has Landed, which I find funny. And on the COVID he puts a big sweater over his face so he's not trying to sell his looks to sell his music. And so there's a lot of interesting sides to him that I've sort of seen throughout the years. And the Pity Party one is my least favorite. And that's what this movie really all. To me, all it was was just the pity party. Robbie. I talked about myself long enough. Let's. [01:02:03] Speaker C: I don't know what like the actual word for it is, but like the visual transitions. [01:02:10] Speaker A: Sounds right. What are you trying to. [01:02:11] Speaker C: Like when. The way that the. The camera will switch between scenes. [01:02:15] Speaker A: Oh, yeah, the transitions between. Yeah, I actually mentioned. [01:02:18] Speaker C: Love those. [01:02:19] Speaker A: They had some really good ones. [01:02:20] Speaker C: Like, there were so like the one where he goes towards the. The car and he like hits it and then he's like in the water. [01:02:27] Speaker B: In the water? Yeah. That was crazy. [01:02:28] Speaker C: And it would just keep switching between scenes and like these cool effects. [01:02:32] Speaker A: Yeah. [01:02:32] Speaker C: Or like they would be dancing on the boat and then like they would go into a move and he would dip her and he was like dipping her in a different scene. [01:02:38] Speaker A: Right. [01:02:39] Speaker C: I love that. That's my favorite part of movies in general is when they do that. [01:02:44] Speaker A: Well, yeah, there was. I know I wrote one down where they show him flushing a toilet. And then they cut to him with the liquor bottle in his mouth. Yeah, the shooter. And it's just kind of going down the same way as the toilet water. So that was good. And my other note here with this funny I wrote. I'm talking about the Rock DJ number. That was the one on Regency Street. Camera moves were good. Captured the dancing and the energy and not five minutes too long. Alex. I wrote in my. [01:03:09] Speaker B: It was. It went on for a little while [01:03:10] Speaker A: long, but it was visually engaging. I thought for that time. Yeah, they had me. They had me. Yeah, he left at that point. [01:03:17] Speaker B: Yeah, I left during the. The one with them two on the boat. And then I came back and they were still going. I walked all the way to the bathroom. [01:03:25] Speaker A: They covered a lot of things in that scene. [01:03:27] Speaker B: Yeah. And I still figured out what was going on. I didn't do the whole thing. [01:03:31] Speaker A: No, I. I was actually. I was gonna. I wanted to yell to y' be like, she had an abortion. Alex. [01:03:36] Speaker B: I saw it. [01:03:37] Speaker A: I know, because, like, it was so obvious that I. I wanted to be, like, pretending as if it was not obvious. Like, it's just so ridiculous. [01:03:44] Speaker B: I did like, actually the one transition where he hits the car and then he goes underwater. [01:03:48] Speaker A: That's cool. [01:03:48] Speaker B: But I'm going to be an and give my grievance again. You guys, Paul knows this. I really, really hate Boz Lurman. He's the guy that did the Great Gatsby movie and he did Elvis, Moulin Rouge, which I actually kind of like. [01:04:01] Speaker A: I love Moulin Rouge. [01:04:02] Speaker B: And a lot of these visual transitions, because a lot of it was cgi and most of the. The not set pieces, but yeah, most of the movie was cgi. At least a lot of the places that were when they were in Regency Street. I think there was some sets, but a lot of, like, the background and stuff was cgi. [01:04:17] Speaker A: I was gonna. I was gonna interrupt you earlier because I found out that they actually filmed it on Regency Street. Not only that, but, like, they basically. They had to get all kinds of permission to lock down that street. Yeah, they had to get permission from all the shop owners, blah, blah, blah. And then the night that they went to film it, the queen died. [01:04:34] Speaker B: Oh. So they couldn't do it. [01:04:35] Speaker A: They couldn't film it. And then they had to delay it by five months and get all the permissions again. And basically, like. Like, you know, that's another reason why the movie cost 110 million. [01:04:44] Speaker B: But they visually enhanced Regency Streets. They must have, because it looked like. It looked like, like Night City and cyberpunk. Like, it was just so bright and like, weird looking and like, they do that a lot throughout the movie. At times where I felt like it didn't need it. Like the boat scene. [01:04:58] Speaker A: Well, that one would disagree. [01:05:00] Speaker B: I thought it was just like too gold and bright and it looked like a scene out of like, the Great. And I hate that. I hate these. [01:05:06] Speaker A: What I liked about that one is that it had. It had a dimensionality. Like there were things in the foreground. There was them dancing in the background and then behind them. So there really were three planes going on. So it didn't look like just kind of flat CGI to me. [01:05:17] Speaker B: Yeah, I don't know. It just didn't work. [01:05:19] Speaker A: Also, you went to the bathroom, so I'm not gonna give you. [01:05:21] Speaker B: I didn't miss much. [01:05:24] Speaker A: Arguably, no. But yeah, it still was a good scene. [01:05:26] Speaker B: But yeah, that. That did kind of bother me. Like, a lot of the visual transitions were really. Like. The one transition that really pissed me off was when he comes out of the bathroom when he was. Was he doing heroin? Yeah. [01:05:36] Speaker A: Oh, yeah. [01:05:37] Speaker B: And, like, did she push him down the stairs and he fell? Like, what the happened? I don't know. I can't keep up. And then he's like, falling down the stairs. And, like, you actually have this really cool shot where you see him falling and there's like a light hitting him and then all of a sudden he's falling through, like, different, like, time periods of his life. And it's like, like, just tell that story to me in a real way. Like, walk me through. Even if it's a montage, walk me through it. But you don't have to work it into, like, this really, like, CGI musical number. And, like, showing me glimpses that are supposed to be, like, vague, but, like, I can tell, like, the abortion thing, I can tell exactly what's going on. You didn't have to put a giant sign on the wall that said gynecology. Like, I can tell she's getting a abortion. [01:06:14] Speaker A: I'm sorry, I'm gonna. I'm gonna argue in the sense that musicals are. Are always going to be big and in your face and obvious. [01:06:20] Speaker B: Yeah, yeah. [01:06:21] Speaker A: So, like, and. And because the movie is in maximalist mode all the way throughout, like, yeah, it. I know 100% where you're coming from. And even the Regency street thing, it kind of goes back to issues I have. Like, what? Kingsman right there, has a big Action sequence where they're like fighting in a car. Right. It looks like, I think also done, like it's done in like a one take thing. Right. And it all was CG to me. And I was sitting there going, like, I would like this if this were real. Yes. But then I found out that they actually did film it for real. But they put so much CG shit around it that it didn't matter. And I think there's an element of that with what you're saying with the Regency street that it's like, even though they filmed it there, there was so much CG gunk put on that. [01:07:02] Speaker B: Yeah. [01:07:02] Speaker A: That you couldn't tell. I still thought the scene was well done though. But yeah, it wasn't. It was kind of flat CG Ish looking. [01:07:09] Speaker B: It happens a lot in. In Mission Impossible. We were talking about it recently. Tom Cruise is doing these badass stunts and like, we know that he actually did them. But then you coat so much CGI on it to make it look better that it's like, now I can't even tell what's real. [01:07:21] Speaker A: It doesn't. It doesn't look real anymore. Yeah. [01:07:23] Speaker B: And that just bothered me. Like, that in general bothers me. And like you were saying, musicals are usually very maximalist. I don't like, like that maximalism in movies for the most part. There is movies where I like it, like Babylon and La La Land, which both Damon Chazelle movies. I think he executes it well. And like, for me, on stage, musicals work well when they do that, where it's like, you know, you talk and then you break into song and then you put like, you know, big elaborate things because it's on a stage, so you have to kind of go that extra mile. [01:07:48] Speaker A: It's already not real. [01:07:49] Speaker B: It's already not real because it's on a stage. But when you're doing it in a movie, where I'm supposed to be buying into the fact that this is a world that these people are living in, it kind of kills it for me because it's like, okay, there's so many other visual tools that you could use in a movie to tell a story or to like progress a story or to show these things that when you use that maximalism to try to get it, it feels like a cop out to me. It feels like you didn't have to do that. You could have done it in a more more practical way. But that's just my personal preference. I get why it works for most people. For me, it just kind of Kills it for me. But yeah, that's all I had left to say. [01:08:20] Speaker A: It is very bass, Norman asking. So it's sort of like, you know, your mileage will vary. [01:08:25] Speaker B: Yeah. [01:08:25] Speaker A: On. On that one, I'm. I'm kind of in the middle. It depends. I like it where it's done well. I think there's enough moments in here where it's done well. I can't really speak to how good looking the movie was. You were asking yesterday. You say that's what you were sort of. Sort of saying. Like, you got to admit, at least it's a good looking movie. And the only reason I don't want to give into that completely is because, I don't know, the streaming sucked on this one. Like, it was cool to watch it projected here in the lab, but it was sort of pixelated. Like it was not. It was not a nice 1080 crisp look to it. So I can't say if it's better in theaters exactly. I imagine it would. [01:08:59] Speaker C: It was pretty to the point where even when the story was getting boring. [01:09:03] Speaker A: Yeah. [01:09:04] Speaker C: I kept watching it. [01:09:05] Speaker A: You could at least look at it. [01:09:06] Speaker C: Yeah. Because it, it looked really good. [01:09:07] Speaker A: Yeah. [01:09:08] Speaker C: Here it looked much worse. [01:09:09] Speaker A: Yeah. I did not. Like, I could tell this was not how it was supposed to look. [01:09:12] Speaker C: Yeah. [01:09:12] Speaker A: And so that's why I was like, I can't even give it that because of the presentation of how we saw it. [01:09:17] Speaker C: It was unfortunate. [01:09:18] Speaker A: Yeah. [01:09:20] Speaker B: Yeah. [01:09:21] Speaker C: As far as like CGI goes, I. I don't have a lot of knowledge when it comes to that part of film. [01:09:26] Speaker A: It's. No, it's not about knowledge. It's just like, it's just preference. What do these things matter to you? [01:09:32] Speaker C: Like, I don't really notice them. [01:09:34] Speaker B: Yeah. [01:09:34] Speaker A: Yeah. [01:09:34] Speaker C: I don't know if that's just because I. I don't have as much experience watching those kinds or like different types of film. [01:09:40] Speaker A: It's. [01:09:41] Speaker B: I don't think it's an experience thing. I think some people just have like more of an affinity for it. Like, like you can like accept it more and you appreciate it more. For me, that's something like, even when I first started watching movies, I've never liked. Like, even when I didn't know about movies, I didn't like when movies looked really like CGI and fake. And like, my sister loves it when movies have that. My sister loves Boz Luhrmann and all that kind of like maximalist, like CGI stuff. I don't like it. But that's just, just my personal thing. I like, like Movies that look like, [01:10:08] Speaker A: I don't know, tends to be my preference. But there are, there are exceptions for me, quite a few. And again, like Bas Luhrmann, I'm. I'm hot and cold on him because I, I loved Moulin Rouge. [01:10:19] Speaker B: Yeah. [01:10:20] Speaker A: I hated his Australia movie and never actually saw Great Gatsby. I kind of got to that point where I was like, yeah, I'm good. [01:10:28] Speaker B: Great book. Didn't have to be a musical to tell the story well. Yeah. [01:10:33] Speaker A: Okay. I think I, I have a lot of notes and I think we covered everything. [01:10:36] Speaker B: Yeah. [01:10:37] Speaker A: That I had. [01:10:38] Speaker B: I had a similar visual plight with the substance at times when they're out in like the fake 80s world where it all looked very manufactured and like maximalistic. It kind of pissed me off at times. But that. We've already talked about that movie. [01:10:52] Speaker A: To me, it's just how it's done. I think that one did it pretty well, actually. [01:10:55] Speaker B: Yeah, it was on the better side. [01:10:56] Speaker A: Yeah. Like, it's not, it's definitely not something like, how real does it look? It's just like how cool fake does it look? [01:11:03] Speaker B: Yeah. [01:11:04] Speaker A: Is I think what I'm always going for. And, and again, I would like to see this again, like maybe. No, sorry, I don't want to see it again. But if I, like, if I were to watch it again, it would be to see it at least visually properly so I can be like, yes, he did do that well. No, he didn't. I, I thought the Regency street thing, at least it was a mixture for me. Like I was like, yeah, this is a little two dimensional. And I was surprised to find out that they actually filmed it on the street. But I still think, well, the song's great. I love Rock dj. And you have to watch the music video because they reference it throughout the movie. But like in the music video, he's. He's in a roller skating ring and as women cheering him on and they're telling him to like strip. So he starts stripping and then he's naked and then they're still like, we want more. So he takes off his skin and he throws it at them and he's just like all easy to see, like, just like his muscles and he's bleeding and like he actually throws the skin at a woman. She catches it like it's a shirt and says rubbing her face like blood all over her face. And then they're like, no, we want more. So he starts pulling off his muscles and starts throwing them at them until he's just a skeleton dancing. They do they do make a lot of visual references to that in the movie. They make a lot of references to a lot of his music videos, actually. Like when he's dressed. Like when he has the Kiss makeup, which is what he's wearing for. For Let me entertain you in the music video and things like that. So, yeah, kind of cool. But whatever. Movie still sucks. Do we have anything else we want to say? [01:12:26] Speaker B: Well, we gotta get the bowl so we can pick our next boot. Are we just gonna do Dewey Cox? We need the ball, don't we? We should. [01:12:32] Speaker A: I want to hear the bowl. Okay. I haven't heard the bowl speak. [01:12:35] Speaker B: Go get the ball. [01:12:35] Speaker A: Okay. [01:12:36] Speaker B: How much time do we have? Okay, it's 5, 20. I want to try to be out of here in, like, the next 10, 15 minutes. [01:12:40] Speaker A: Oh, one more. [01:12:42] Speaker B: Oh, gosh. Do you have to leave already? Stuff? [01:12:44] Speaker C: No, I just didn't know that. Oh, yeah, that one was bad. Paul, I need to do my nails. [01:12:54] Speaker B: What are you gonna do for your nails? You usually do, like, an occasion, right? [01:12:57] Speaker C: Yeah, I think I'm gonna do them so that they look like water. [01:13:00] Speaker B: Oh, cool. For, like, summer. [01:13:02] Speaker C: Yeah. Like, probably, like blue. [01:13:03] Speaker B: Nice. Like, Paul, you should do your nails again. [01:13:06] Speaker C: Did you already take it off? [01:13:08] Speaker A: Yeah, I took it off on Friday because I didn't want to go to the mechanics with blue nails. [01:13:11] Speaker B: Yeah. What a separate thing. But, like, what other artists would you like to see? Have a biopic done in the next couple years? [01:13:17] Speaker A: I think none. Like, I'm just tired of it. I do want to see the Pavement movie because I think that's supposed to be, like. [01:13:22] Speaker B: Yeah. [01:13:23] Speaker A: Really strange, like, pseudo documentary. And, like, it has, like, a fake bio. Bio movie in the movie. Like a movie within the movie. Yeah, I think. I think sort of, like, avant garde is like, the only way to go [01:13:33] Speaker B: now to just sort of to do a biopic. [01:13:35] Speaker A: Yeah, yeah. [01:13:36] Speaker B: You just gotta. You gotta stick to the basics. Just do it well, get it all. An actor that looks like the person. [01:13:41] Speaker A: Yeah, I mean, I. I still. I really do want to watch A Complete Unknown. It has that man gold factor, though, because I hate that guy. [01:13:48] Speaker B: If you watch A Complete Unknown, you're gonna come up to me and you'll be like, wow, that was a good biopic. And then I'll be like, yeah, Paul, I know. So I've been telling you to watch it. [01:13:55] Speaker A: You know, you've been telling me I've wanted to watch it. [01:13:56] Speaker B: Yeah, true. No, but I didn't shut up for it for, like, a week. [01:13:59] Speaker A: That's true. [01:13:59] Speaker B: I I would like to see a Nirvana biopic. [01:14:02] Speaker A: I think it will be. It will come out so bad. Yeah, I think it would come out so lousy. It will be bad. Bad wig gigs you need to do. [01:14:09] Speaker B: It would need to be, like, a really good director. [01:14:10] Speaker A: It would have to be, like, a really gritty, you know, Alex Cox, who did Sid and Nancy and Repo Man. Yeah, that kind of sensibility. Like. Like, it has to have, like, a real punk sensibility. [01:14:23] Speaker B: Yeah, yeah, it needs to be punk. It needs to be like. [01:14:24] Speaker A: Like, if Mango does it, I'm out. Like, I will. It'll be too. [01:14:27] Speaker B: Too clean. [01:14:28] Speaker A: Yeah. I'd rather watch Better man than Avril Lavigne biopic. [01:14:32] Speaker B: Avril Lavigne. [01:14:33] Speaker A: Okay, we're putting off your microphone, right? There you go. [01:14:35] Speaker B: So I just feel like, what the has Avril Lavine done? Like, like, popular. Like, I know her music and I know her music, but, like, turn Stephanie back up. That's me, Paul. Come on. Yeah, I'll turn. I'll turn you back up. Yeah, yeah. [01:14:47] Speaker A: Except for that was the wrong one. [01:14:48] Speaker B: Oh, this one? [01:14:49] Speaker C: You can't censor me. [01:14:51] Speaker A: Actually, we're going to make you louder. Say something. [01:14:53] Speaker C: Hello. [01:14:54] Speaker A: Just doesn't matter with you. Okay. [01:14:56] Speaker B: We need an Oasis biopic is what we need. But, like, a good one. [01:14:59] Speaker A: There's no you saw like, it. These are, like, people that you cannot, like, imitate. [01:15:04] Speaker B: You can. You can imitate Oasis well comedically, but [01:15:07] Speaker A: to try to represent them in a serious light, like, it's kind of hard. It's hard. And I mean, even we saw that trailer for the Bruce Springsteen movie that's coming out and, like. And like, what's his name? The three first name. [01:15:18] Speaker B: White. [01:15:19] Speaker A: Yeah, okay, White's not a first name, but whatever. Does not look like Bruce Springsteen. Does not suggest Bruce Springsteen. No, it just looks like a generic drama. [01:15:27] Speaker B: Yeah. [01:15:28] Speaker A: I think just out of morbid curiosity, like, I would want to see these biopics, but I cannot imagine good ones being made. [01:15:33] Speaker B: Yeah. [01:15:34] Speaker A: So we'll see what James Mangle did. Wonder if he mangled Bob Dylan's life. Yeah. Shut up. Oh, we have to talk to the Bull. Talk to the bowl. [01:15:47] Speaker C: You have to ask him permission. [01:15:48] Speaker A: Yes. [01:15:50] Speaker C: Stick your hand in there. [01:15:50] Speaker B: Hey, Bull. What's up? How you been? So this is how you know what happens when you don't listen to me. Yeah. We've learned our lesson. You haven't seen. [01:16:01] Speaker C: Sorry, Bo. [01:16:03] Speaker B: Yeah, sorry. Canceling the Barbie. Oh, wow, that's great. Yeah. Hey, Bull, can you. Can we pick a movie from you? Sure. All right, let's go. [01:16:15] Speaker A: You have permission to put your hand in me. [01:16:19] Speaker C: Drumroll. [01:16:20] Speaker B: Drumroll, please. And you, you, you. What movie came out of the bowl? Isn't happy. Oh, hell, yeah. Let's get Paul back in here. All right, Bull. Thank you for giving us a move. [01:16:43] Speaker A: See you later. Oh. [01:16:44] Speaker B: Oh. [01:16:46] Speaker C: What is Magnolia? [01:16:48] Speaker B: Magnolia is a movie by Paul Thomas Anderson, famous American director. [01:16:54] Speaker A: Three hours long. [01:16:55] Speaker B: It is three hours long. You're going to. [01:16:57] Speaker A: If I remember, it's fantastic. But I haven't seen it in 20 years. [01:17:00] Speaker B: It is. It is a. It is a emotional roller coaster ride. It is an anthology kind of. Yeah, it's an anthology. Several in the sense that there's several stories and they're all like. [01:17:10] Speaker C: Like you're both talking at the same. [01:17:12] Speaker A: Well, you don't like it when we all talk at the same time. [01:17:17] Speaker B: That's actually what it felt like when the monkeys were screaming at him from the audience. [01:17:20] Speaker A: Yes, My brains out right now. [01:17:22] Speaker C: Don't do that. [01:17:24] Speaker B: That's the voices in your head. No, Magnolia is Paul Thomas Anderson movie. It's like several stories going on at. On all at once, and they kind of, like, are connected, like, thematically or. Actually, they're all connected. Yeah, they're all connected. And it is really good. It's intense and it's intense and emotional and exhausting. [01:17:44] Speaker A: Yeah. And exactly what we need right now. [01:17:46] Speaker B: I recommend you watch it in one go. Also, I liked it so much that I considered adding it to my top four on Letterbox. Like, I was thinking about taking something out and putting something in. [01:17:58] Speaker A: Tell us what your top four is on letterbox. [01:18:00] Speaker B: Let's see. I'll be quick. [01:18:01] Speaker A: You have to look at it. You don't know. Shut up. [01:18:03] Speaker B: Sorry. That was me. [01:18:06] Speaker A: It's a lot in the podcast room. [01:18:08] Speaker B: No, because. Yeah. I'm so sorry. That was really mean. [01:18:11] Speaker A: I think I told you to shut up, so it's okay. [01:18:13] Speaker B: Also, you're my boss. I felt really wrong. [01:18:15] Speaker A: No, but in the podcast room, it's [01:18:16] Speaker B: fine because, like, I see the people that, like, they get asked by letterboxd. What's your top four on letterboxing? Letterboxd interviews people at the red carpet, and they, like, always know their top four. [01:18:24] Speaker A: Yeah. [01:18:25] Speaker B: So I feel like if I was being interviewed by letterbox right now and I blanked, I would feel like such a loser. So, yeah, I always prepared in my head in case that a day ever comes. [01:18:32] Speaker A: And yet now that the day is coming, you don't know. [01:18:34] Speaker B: Yeah. Yeah. [01:18:35] Speaker A: Top of your head. [01:18:35] Speaker B: We have Autumn Sonata by Ingmar Bergman. We have the Red Shoes by Powell and Press Burger. [01:18:42] Speaker A: Okay, continue. [01:18:43] Speaker B: You. We have. And see, this is why. Because it is kind of a pretentious top four. So I wanted to keep it kind. [01:18:49] Speaker A: I don't think this is what you actually put as your top four. [01:18:51] Speaker B: Yeah, this is my top four. [01:18:52] Speaker A: I'll show you in 20 years. We'll talk again. [01:18:54] Speaker B: Surf. [01:18:55] Speaker A: But not till then. [01:18:56] Speaker B: Surf. [01:18:56] Speaker A: Suck you with surf up. Get rid of that. Put Magnolia in there. [01:18:59] Speaker B: What's my 4 4th. Why am I forgetting my 4th movie? I'm gonna be really mad at myself. [01:19:03] Speaker C: It's really funny that you say that, because after I talk to German a lot about what happens at work and after telling him, like, all the movies that Alex has picked, he goes, alex is in his pretentious movie phase right now. [01:19:14] Speaker B: It's not a phase. It's just a lifestyle. [01:19:16] Speaker A: No, it's a phase because I was in that same phase at your age. [01:19:19] Speaker C: Same thing. And I was with him during it. And every day it was, watch this movie. Watch this movie. You know, it was always like a silent French film. [01:19:27] Speaker A: Yeah, yeah, yeah. And I was just sitting there. [01:19:28] Speaker C: I'm like, what is happening? [01:19:31] Speaker B: This has been since, like, junior year of high school. Like, this isn't like a new thing. [01:19:34] Speaker A: It was for me, too. Don't worry. [01:19:36] Speaker B: You. You. [01:19:36] Speaker A: You're not gonna drop it completely, but it's. You're not gonna. You're gonna see a different perspective where, you know, like, now it's. It's not that you're. You're not lying. [01:19:45] Speaker C: No. [01:19:46] Speaker A: I don't think you're faking. I. And I don't think that you're lying to yourself, but I think you are. You may be influenced by the world around you, where it's sort of like, these are the movies that you are supposed to put in your top four. And I think there's going to come a time where you're going to be like, I don't give a. [01:20:02] Speaker B: Here's the thing. Oh, my last one is Paris, Texas. Okay, I agree with that one, which I think is fantastic. The thing. It's more like this thing where, for me, Letterboxd Top 4 isn't really like, the four movies that I watch the most, like, all the time. Like, because it's one thing to have a favorite movie in the sense, like, oh, this is my favorite movie. Like, I rewatched it several times a year, even though I do do re. Watch a lot of these movies pretty often. They're like the movies that have like, impacted me very deeply and that I think about all the time. Like, I, I, after I watched Autumn Sonata, it hit like something in me that I, I re watched that, like, I don't re watch it that often, but like, I replay it in my head all the time and it like, made me feel very vulnerable when I saw it. The same thing with the Red Shoes. That movie had like a really big impact on me when I saw it. And I re watched it a few times. But it's such a good movie and I think about it all the time. Then like, surf's up. I do. Like that is like I rewatch that movie several times. It's just a good movie and it's like I needed to throw, I needed. [01:20:55] Speaker A: It's mid at best. [01:20:57] Speaker B: You haven't seen it? [01:20:57] Speaker A: I have seen it. [01:20:58] Speaker B: When was the last time you saw it? [01:20:59] Speaker A: Well, I mean, when it came on a video. [01:21:01] Speaker B: Okay. You need to rewatch it. [01:21:02] Speaker A: Yeah, no, I'm good. [01:21:03] Speaker C: That's gonna be our next one. [01:21:05] Speaker B: And then, and then Paris, Texas. [01:21:07] Speaker A: At least it'll be short. [01:21:08] Speaker B: Paris, Texas, I watch at least several times a year. And like, when I watched it, I was like, why? My world just changed. [01:21:13] Speaker A: Yeah, that movie. I like that movie a lot. [01:21:15] Speaker B: Autumn Sonata is kind of a crazy one to throw in there because it's like three and a half hours and it's grueling. [01:21:19] Speaker A: But think it's like. But yeah, I think that one, Especially that one. Yeah, I think you're sort of like, like you're proud of yourself for having sat through it, getting, getting something out of it and that. And that you did like it. Yeah, I, I don't want to. In a couple years, you're going to, you're going to be like, it'll go where it's supposed to be. [01:21:36] Speaker B: Yeah, that's fine. [01:21:38] Speaker C: As, as a girl. I just think every film film bro has like a canon event where he really, really, really likes very obscure and artsy movies. And after living with German for this long, it, it does go away. But I was forced to watch so many obscure, artsy movies that I still to this day do not understand. [01:21:59] Speaker A: But it's so good that you watched them. [01:22:01] Speaker C: It's good. And I'm glad that he liked those. And he still likes those. [01:22:05] Speaker A: Yeah, exactly. [01:22:05] Speaker C: It's just that he doesn't go around talking about them. Yes, constantly. All the time. And forcing me to be like, you don't either. [01:22:12] Speaker A: Just so you know, when, when he [01:22:15] Speaker C: was like 17, he'd go up to me and he'd be like. He'd be like, it's okay. You just don't understand. [01:22:21] Speaker A: Yes, exactly. [01:22:23] Speaker C: And then eventually, I told him to [01:22:25] Speaker A: shut the fuck up. Fuck up. [01:22:27] Speaker B: That makes sense. [01:22:28] Speaker C: That's just a film, bro. Thing. [01:22:30] Speaker A: You just don't understand. You don't know how deep I am. You don't know how much I feel I'm like Robbie Williams anyway. [01:22:39] Speaker B: But, yeah, I think we'll all agree that Magnolia is really good. And right now, at the point in my life where I am, I saw it and I was like, holy. Like, I get it. Like, I feel it. [01:22:47] Speaker A: I'm curious what I'm gonna respond to 20 years later. [01:22:50] Speaker C: Is it one of those movies where it's like, you're going through the lives of, like, different people and then all their lives kind of intersect at one point? [01:22:57] Speaker A: Yeah, but you. But you know how to. [01:22:58] Speaker B: You. [01:22:58] Speaker A: I think you have an idea how most of them intersect already, to a degree. [01:23:02] Speaker B: They kind of like. Yeah. [01:23:04] Speaker A: Not everything, but, I mean, like, some things are obvious, you know, like, and they're all. [01:23:08] Speaker B: Not only are they connected, like, thematically and like you said, like, some things are obvious how they connect, but they're also, like, there's a big event that happens at the end of the movie that connects everything. [01:23:17] Speaker A: Right. [01:23:17] Speaker C: So it's like an elevated version of that trope. [01:23:19] Speaker B: Right, Right, right, right. It's not like Pulp Fiction. Like, oh, it all connects, like, because they. Like, it's. It connects in a different way in the sense that, like. Like, something that happens that affects all of them as a group, and that's what connects it all. Which just. [01:23:32] Speaker A: Which. If you can, try to avoid the posters which give it a. Yeah. Don't. [01:23:36] Speaker B: Don't read anything about the movie before you watch it. Just watch it raw and, like, just see what happens. [01:23:40] Speaker C: Okay. I'm kind of excited. I've never heard of this movie before. [01:23:43] Speaker B: Yeah. And then after, you'll watch other Paul Thomas Anderson movies and you'll be like, wow, all his movies are good. [01:23:48] Speaker A: He is my favorite director. He's my favorite American director probably at the moment, so. [01:23:55] Speaker B: And recently I said something like, after watching this movie, that was like, big time recency bias. And I was like, he's never reached the heights of Magnolia. [01:24:01] Speaker A: Then again, I think he's changed a lot. Yeah, I think he's matured a lot. [01:24:05] Speaker B: But I saw Magnolia recently, and I was like, this movie is about me. Like, this movie not about me, but, like, it gets what, it gets me or it gets, like, something that I've thought about. Recently. [01:24:14] Speaker A: At the right age. [01:24:15] Speaker B: Yeah. [01:24:15] Speaker C: I say that about every movie that I watch. [01:24:17] Speaker B: Yes. [01:24:18] Speaker C: Because every time I watch a movie, no matter what it is, like, I could watch Surf's up and I could be like, wow. I related to that. [01:24:24] Speaker A: So, yeah. So hard. [01:24:25] Speaker B: Cody Maverick gets it. [01:24:28] Speaker C: Cody Maverick understands me. [01:24:29] Speaker B: Guys, let me be me mom. [01:24:32] Speaker C: That's me. After I watch every. Like, I'll come out of the theater and I'll be like, wow, that was so me. [01:24:37] Speaker B: You come out of the theater with a new personality every time. Yeah, that was me. After I saw a Bob Dylan movie. I was walking around like the hands in my pocket. Amen. [01:24:45] Speaker A: Amen. I'm Bob Dylan. [01:24:46] Speaker C: My personality is just constructed of every movie I've ever watched. [01:24:50] Speaker B: Yep, that's how it goes. [01:24:51] Speaker A: You're just a vessel. [01:24:52] Speaker B: Yeah. [01:24:53] Speaker A: Like the lead singer of sleep. Token piece of. Sorry. Anyway, slight overreaction. They're not a piece of band, but. Okay, so we have Magnolia for next week. Okay. So two things we're gonna go through and how many Pauls we give it. And then we're gonna do the. Watch this. Watch this. But I think we're not gonna say it over the top of each other, because it's getting lost, I think. So what we're gonna do is we're gonna go around the table, we're gonna give it the pause, then we're go around the table again and give the. Watch this. Cool. And then if we want to do it all together as a goodbye, we can do that too. We are going to start with Stephanie. We're gonna go counterclockwise. How many Pauls out of four do you give the movie? [01:25:32] Speaker C: Can I do halves? [01:25:33] Speaker A: Of course. [01:25:34] Speaker C: Okay, I give this one two and a half Pauls. [01:25:37] Speaker A: Okay. All right. [01:25:38] Speaker C: Because I do like it. It. But I understand that it is in no way like a. Like, close to one of the good movies that I like. I. It's. It's my. It's my comfy, shitty movie. [01:25:50] Speaker A: We all need those comfy, shitty movies. I don't know. Is German gonna be okay with this? [01:25:54] Speaker C: Yeah. [01:25:54] Speaker A: Okay. Yeah, cool. Alejandro. [01:25:58] Speaker B: Oh, you didn't do your. Watch this. [01:26:00] Speaker A: No, we're gonna go around after. [01:26:01] Speaker B: Sorry, I obviously wasn't paying attention. I give this one, Paul. Yeah, One and a quarter, maybe. [01:26:08] Speaker A: Yeah. [01:26:08] Speaker B: Generous. [01:26:09] Speaker C: You don't have to feel good. [01:26:10] Speaker B: I'll give it one Paul. You guys. Sorry. Yeah, one Paul. Paul. [01:26:16] Speaker A: I'm gonna give it. I have to get a little bit more than you because like I said, I like the musical numbers. [01:26:21] Speaker B: Yeah. [01:26:21] Speaker A: I'm Gonna give it one and a half pauls. [01:26:23] Speaker B: Cool. [01:26:23] Speaker A: And I think we're good. All right, now we're gonna go around and do our. Watch this. [01:26:29] Speaker C: Watch this. [01:26:30] Speaker B: All right. [01:26:30] Speaker A: Excellent. You should. We should do it over top of each other. [01:26:33] Speaker C: I know. That was awkward. [01:26:34] Speaker A: That was really awkward. [01:26:36] Speaker B: Alex, watch this. [01:26:39] Speaker A: Okay. No, what you're supposed to say is, watch this. [01:26:42] Speaker B: I don't get it. [01:26:43] Speaker A: Watch these. [01:26:44] Speaker B: I don't get it. [01:26:45] Speaker A: Watch this. [01:26:45] Speaker C: I don't like that. [01:26:47] Speaker B: What's happening right now? [01:26:48] Speaker A: Instead of saying, watch, like, hey, watch this. She's like, watch this. Are you doing, like, the crotch? Like, you know what? Like, yeah, all right. You know what? Let me. Let me gesture to my ass, but it doesn't work as well. That's less gross. [01:27:03] Speaker B: But, like, that's something Robbie Williams did do. [01:27:05] Speaker A: Yeah, yeah, but I mean, like that. But that's what the title of the show is. Because either you say, hey, watch this, or you're saying, watch this. I don't think that. [01:27:13] Speaker B: Okay, you know what? Sure. [01:27:15] Speaker C: Just say, don't Watch this. If you don't. [01:27:16] Speaker B: No, not to say watch this, but, like, in a really shitty way. [01:27:18] Speaker A: It's better to watch my ass than this movie is what I'm saying. Hey, watch this. Or we can go to the front. Hey, watch these. [01:27:25] Speaker B: No, watch that. Just give your. Just do your watches. [01:27:29] Speaker C: Put your hands on the table. [01:27:32] Speaker B: You're doing, like. Did you ever want. [01:27:33] Speaker A: You can't do it without the signature, without the moves. [01:27:36] Speaker B: Did you ever see, like, the, like, WWE when, Like, when they were doing, like, the. Suck it, the Triple X? [01:27:43] Speaker A: That's what I'm doing, the triple. Triple H. That was perfect because the. Because the audience now knows what I was doing. [01:27:48] Speaker B: Yeah, you were doing. He was doing the Triple H. Suck It. [01:27:50] Speaker A: That's what I'm doing, you know? And I, I. No, I've. This stays. This stays. If I don't like a movie, you're going to have to put up with it. This is what we. This is what happens. This is what happens when you pick a shitty movie. You're going to have to watch this. [01:28:04] Speaker C: Stop. [01:28:05] Speaker B: Just play us out. [01:28:06] Speaker A: Goodbye, everybody. We're going to. We're going to end with a Robbie Williams rapping. [01:28:11] Speaker B: That was so funny, [01:28:19] Speaker C: Sam.