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July 9, 2020 - Minion Death Cult

01:42:36

Force of Nature (the Mel Gibson Puerto Rican Hurricane Movie)

This week we watch Force of Nature, a film about a New York cop (Emile Hirsch) and retired Boston cop (Mel Gibson) tapping into their histories of abuse to take on cartel members in the middle of a category 5 Puerto Rican hurricane. This movie is racist in ways you can't even begin to imagine. Support the show for only $3.11/month and get a bonus episode every week at www.patreon.com/miniondeathcult

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	Siri, read text message from Graham.
	Graham said my dear baby girl oops, I mean Bailey sorry still remembering you as baby and a child.
	I'm so happy you got a new car.
	Having all the bells and whistles it will take good care of you and keep you safe on the road.
	I know you're very busy working a lot when you have time give me a call.
	And tell me all about your jobs and all the other good stuff and some of the dirt.
	I pray you and your sisters will think about our country and realize that Donald Trump is not a bad person or a bad president.
	He's the best one we've ever had and I know because I've been voting since 1956.
	Okay, I'm Alexander Edward.
	I'm Tony Boswell.
	I study this all the time I know politics and American history with the back of my hand.
	I'm glad George Soros is old.
	I hope he dies soon before he does any more destruction in this country.
	Don't be deceived, Bailey the devil is alive.
	I'm cowling this world.
	Okay, I'm Alexander Edward.
	I'm Tony Boswell.
	We're a minion death cult.
	The world is ending.
	A Boston version of Mel Gibson is responsible.
	We're documenting it.
	What's up, everybody?
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	You did what I might have seen somebody do if I was watching myself the other day when I found a rug on clearance that had a sticker, a clearance sticker on it, but there was another rug for like a fraction of that price With a sticker on it that comes off really easily, and you buy that rug, and you engage with the red poloed employee, and say, hey, this isn't coming up at the price I'd like it to.
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	So today we're doing a special episode.
	We're talking about a movie again.
	Something we haven't done for, I don't know, a couple months, I think?
	It's been a while since we've delved into cinema.
	But we're back to film, baby.
	Yeah, this is a movie that Tony brought to my attention I think like a month or two ago when the trailer dropped and like immediately a bunch of I don't know you know angry liberal reactions dropped as well talking about how bad this movie is and how racist it is which it is I think the premise of it is probably the most racist and then it's not racist in the way you think it's gonna be racist.
	I would say.
	Yeah, yeah.
	I think it's racist in a couple ways.
	Not the ways you think.
	They throw a couple curveballs at you.
	We're talking about the Mel Gibson like jaded retired cop in a Puerto Rico hurricane while a heist is going on around him movie.
	Force of Nature from 2020.
	Just dropped like a week ago.
	You know, if I would have known that you were going to use the term heist, I probably would have avoided talking about Ocean's Eleven earlier, because that's a heist film, goddammit.
	This, this was, this was supposed to be a smash-and-grab robbery.
	It's a movie set in Puerto Rico about Puerto Rican, like, gangsters doing a heist in the middle of a Category 5 hurricane.
	Yeah.
	And so you're thinking like, wow, that sounds a little offensive.
	Like, you know, I don't know, putting this into context with our universe and considering, you know, recent events, it seems a little, a little tasteless to, uh, you know, write and, and release this movie when, I don't know, uh, Hurricane Heist was already a movie and was released not, not too long ago?
	Stepping on some toes there, I think.
	Yeah, just a little bit, a little bit of, uh, There's a case to be had here, I think.
	Oh, wow.
	No, of course, I'm talking about how tens of thousands of people died in Puerto Rico and, you know, a million more suffered and are still continuing to suffer because of just utter neglect from the American Empire, which, you know, chooses to claim ownership over Puerto Rico, but extend none of the benefits of that ownership.
	Um, so yeah.
	But here, hey, we got a movie with Mel Gibson in a fake Puerto Rican, uh, hurricane that ends in, like, a day.
	This is Mel Gibson.
	This is Emile Hirsch.
	These are the two leads.
	Uh, Emile Hirsch, you may be familiar with, like, him from Into the Wild, from Speed Racer, or from him, uh, strangling a female studio executive at a nightclub.
	It's not even like a domestic attack.
	It was like a public assault on somebody he didn't know at a club because she turned him down.
	He like jumped over a table and choked her almost to unconsciousness.
	That's so fucking wild.
	You said Emile Hirsch, but I don't really remember Into the Wild, and I never saw Speed Racer, but I'm supposed to see Speed Racer.
	It's like one of those movies you're supposed to watch because it's low-key good, right?
	Yeah, it's a Wachowski movie.
	It's a wild watch.
	I started watching it because I was listening to a podcast that was like going through all the Wachowski's stuff and they kind of spoke very highly of it and I watched it again.
	It's a weird movie.
	It's like what the cat in the hat would be if it was interesting.
	Like what a live-action Dr. Seuss movie would be if it was like going all the way.
	Going full bore.
	Man, I'm really happy that you weren't trying to sell this movie.
	It's funny because when you watch this guy act throughout the whole thing, I didn't realize he is from other things.
	Because he is just trying to do Leonardo DiCaprio from The Departed so hard throughout the whole thing.
	But he couldn't do the accent because Mel Gibson already has the accent.
	So he was just stuck doing this bad Leo impression the whole time.
	Well, I think what, I don't know, I didn't really pick up on a Leo impression.
	He just looks exactly like Leonardo DiCaprio.
	There's the one scene though, there's that one scene that's late in the movie that has that one quote.
	I'll hear your argument.
	I'll hear it.
	I'm not saying it's, I just think he looks exactly like Leonardo DiCaprio.
	And I was like, before you said anything, I was like, it's kind of crazy how much he looks like him.
	He's a decent actor, obviously.
	And Mel Gibson as well.
	They make a great team.
	They're both playing cops in this movie.
	And Kate Bosworth of Horse Whisperer and of Blue Crush is playing Mel Gibson's daughter who is a doctor who lives with Mel Gibson.
	I don't think she lives with him.
	She's like a caretaker, it seems like.
	She checks on him all the time.
	I hope not.
	Because she's already a doctor.
	She's already a doctor in, like, austerity-ridden Puerto Rico.
	I hope she doesn't also have to, like, clock out of her, you know, 16-hour shift and then go home and wipe Mel Gibson's ass.
	Yes, true.
	I mean, I hope not too, but it did kind of give that vibe.
	She at least, I mean, she's like a worrisome daughter who's like, does seem to take care of him.
	She just enters Scrubs when we meet her and she's at Mel Gibson's apartment where he's refusing to evacuate.
	And you find out, you know, that he's an ex-cop.
	He's an ex-Boston cop.
	And Emil Hirsch is a Puerto Rican cop who's refusing to learn Spanish.
	He doesn't agree to learn Spanish.
	But a Puerto Rican cop, we do need to say he's a cop in Puerto Rico.
	Yeah.
	Well, he's an American.
	That's what I mean.
	He's an American citizen.
	They're all American citizens, Tony.
	I don't know what you're implying.
	He's a cop that is employed by the Puerto Rican Police Department.
	What if Emile Hirsch was doing a Puerto Rican accent?
	What if he was doing like a John Leguizamo thing the whole time?
	That would be amazing.
	What if he was doing like the birdcage accent but as like a serious cop?
	Do you know the accent that I'm not gonna do?
	Oh no?
	No way.
	We start off with, um, a flash forward.
	We start off in, like, the middle of the movie during an action scene where you're seeing Mel Gibson and his daughter, uh, like, trying to get out of this apartment building while, you know, there's a hurricane going on around them and Mel Gibson has, like, a flak jacket and he's leading the way with a gun but he looks just awful.
	Like, he looks very bad.
	And they are looking down the middle of the stairwell where there's like an open courtyard and they see Emile Hirsch's character fighting with, you know, one of the bad guys and Mel Gibson can't get a shot.
	Like he doesn't have a clear shot because he's like, you know, ten stories up.
	And this is kind of where you start to notice what kind of a movie this is gonna be or like what quality of a movie this is gonna be.
	Um, and I just wanna say up top, like, when we watched Assassin, uh, 33 AD, uh, I said at the top to, you know, hey, hold off on listening to this show, because this movie's actually worth watching, and you sh- there's a- there's like a- a- a good twist.
	Uh, not with this movie.
	This movie's not worth watching.
	It was terrible.
	I would argue strongly against watching it.
	I didn't think it was even going to be an episode until we were like an hour in or like 45 minutes in because it's just a bad movie.
	It's like The way everything is blocked in this movie and then the way uh the action is paced is just awkward.
	Like that's the best way to describe it.
	Awkward and um boring because it's that scene he's like trying to take aim on Emile Hirsch for like a good 15 seconds and he's like I can't get a shot!
	Come on!
	Come on!
	Can't get a shot.
	And it's not, like, filmed in a dynamic or, you know, stress-inducing way or a tense way or anything like that.
	It's just boring.
	You're just watching an old man, like, waggle a gun around on one shot of him.
	You know, it reminds me of, like, the bad blocking in the Sin City movie.
	Where they're trying to look like a, like a comic book.
	So everything is like blocked really awkwardly and everything's in the scene.
	And so you see like, uh, what, what's his name?
	Mickey Rourke, like aiming a gun with two hands.
	And he's like weaving while he's aiming the gun.
	He's like, I got you right in my sights.
	And then you see like a woman walk up clearly behind him in the shot and then like bonk him over the head.
	It's, it's all very much that same, but not stylized, you know?
	Yeah, and it's also stupid because like Emil Hirsch and the guy he's fighting are, they're engaged in like very close combat.
	They are like putting each other in holds.
	Mel Gibson is like two stories up with some sort of handgun and he's like old and probably not steady at all.
	He should not be trying to take this shot.
	This is a bad shot anyways.
	Like he's going to kill Emil Hirsch.
	Yeah, so we cut back to Emile Hirsch's character.
	I think he's in a bathtub and he's going to shoot himself in the head.
	Yeah!
	He's going to kill himself.
	He has it up to his head.
	I think it's in his mouth.
	Well, okay.
	I mean, just let me say it, okay?
	Sorry.
	He has it up in his, he has the gun up to his head and then he's like, you know, oh no, I can't do it.
	But then he just moves the gun into his mouth.
	And you're like, okay, I guess you're like, you're like getting better leverage or something?
	Yeah.
	Like, okay.
	Isn't that like less successful?
	Isn't shooting yourself in the mouth the less successful route to go?
	I don't know, but I do think that you really should Google that before you do it, because I'm not going to say which one it is, because I'm not positive.
	But I think before you do that, you should Google it.
	Yeah, don't trust my advice, please.
	No, no, don't.
	Yeah, but like this scene is like, he said, out of nowhere, this is the guy, this is, you can only barely tell this is the guy who was fighting in the foyer.
	But now he's about to kill himself in the bathtub.
	Yeah, you don't know why he's suicidal, but you do get flashbacks with him and like a blonde woman on his lap.
	So you're like, okay, she's dead.
	And then it goes to him like getting ready for work and he puts on his uniform and he goes to work at the port, you know, whatever.
	Where are they?
	San Juan?
	He's working at like the front desk and He is told that he is on evacuation duty.
	He's not too happy about it.
	He also gets teamed up with like a very fresh-eyed female cop who we learn requested to assist this department because her department doesn't have enough action.
	Yes, exactly.
	And the part that she's a naive she is a big part of this character introduction.
	He's like, listen... He may as well have been like, listen toots.
	Life's not easy.
	The whole conversation, she seems like she doesn't know what's going on.
	She's like, so what do we do?
	People don't want to go with us.
	And he's all like, well, they're going to die a very awful death.
	Yeah well he he just they go they go into the van and and she's like so what's the game plan he's all what do you mean what's the game plan she's like well what's the play what do we do and he's all we don't do anything it's like we sit here and then we go get lunch and he's you know he's just going to he he's not going to uh jeopardize his Yes.
	afternoon for having to go fuck with people or like help them you know yeah yeah and she's like you know no i i need something on my you know i need i want to get transferred here and this that and the other and he's like hey yeah so what happens when they don't want to go huh they file a complaint against you yeah she's like so i was just doing my job and he's like yeah well that complaint it's still a mark on your record and you want to get transferred
	they're going to look at your record and they're going to see a a complaint filed against you and then you're not going to get a transfer and it's like i thought that that was how you got transferred was you just get enough you just get enough complaints and then they transfer you no no questions asked Which like, I mean if you're wondering, I mean just a little bit of get-ahead, but if you're wondering what he's doing working in Puerto Rico, apparently he got transferred?
	That's kind of what they say, right?
	They say somehow he got transferred from Boston to Puerto Rico?
	Which I don't think that's a pipeline that happens.
	I don't think that exists.
	He's not Boston, he's New York.
	It's all the same to me.
	I don't really give a fuck.
	I'm from California.
	Yeah, for sure.
	Who needs to know that bullshit?
	Yeah, I don't know why you would accept that transfer.
	Like, I don't know.
	It seems like... Yeah.
	Just, yeah, I'll just move to a different territory.
	Move to a different, like, you know, area of the world.
	Exactly, yeah.
	Um, and they wouldn't transfer him anyway, for what happens.
	We'll get to that.
	But, um... Yeah.
	Well, I don't know.
	Maybe they would.
	Okay.
	So, uh... Maybe.
	We get this scene at the grocery store.
	Oh hold on, I got a quote from that part.
	When she asks for advice, one thing he says is, don't trust them, and that applies everywhere, not just a place where they don't speak your fucking language.
	And that's kind of like a little bit of foreshadowing that doesn't really lead anywhere.
	You're like, man, this guy hates Puerto Rico.
	This guy hates Puerto Ricans.
	Which, like, he does, but you just kind of know he does because he's like a white guy.
	And they're like, that doesn't really, they don't really expand on that.
	That's the most racist it gets against Puerto Ricans.
	Yeah.
	Like, people are saying that, oh, it's because it's a Puerto Rican gang that, like, that's explicitly racist.
	And I don't know, because they're never, like, portrayed as, like, cartoonish Puerto Rican caricatures.
	Like, the lead bad guy is a very competent, very knowledgeable guy with, like, you know, a mild accent.
	I don't see any real overt racism there.
	There is... Yeah, well, that's not really... I mean, it is a mild accent, but it is the guy... It's the detective from, um... The detective from Dexter with the unique voice.
	If anybody's watched Dexter, you know which one I'm talking about.
	He's like the lovable detective that's like the sister's, like, partner, best friend.
	He's like Batista or something.
	Yeah.
	Yeah, yeah, I think you're right.
	Detective Batista or something like that.
	So you're saying because he has an accent that it's racist?
	No, no.
	Oh, you're saying that's the most racist the movie gets?
	I thought you were just talking about his mild accent.
	I'm like, his voice is very unique.
	Oh, no, I was just saying that I don't see much anti-Puerto Rican racism other than this Emile Hirsch saying that he doesn't want to learn the language and he doesn't trust anybody, especially the people who don't speak his fucking language or whatever.
	Okay, moving on.
	We get the scene at a grocery store with like, you know, two characters we haven't met yet.
	A black character who is taking all the meat from the butcher at the grocery store.
	Just like loading up his cart with literally a hundred pounds of meat.
	Yeah, 100 pounds.
	Um, and a, uh, you know, a Puerto Rican man and his son is like trying to get meat, you know, so they can eat during the hurricane.
	And he's like, Hey, you know, uh, can I, can, can I have some meat?
	You're taking it all.
	Can I have some?
	And he was like, no, you can't.
	And he's like, please, like I want, you know, let me have some.
	And he's like, you want me to, the black guy's like, you want me to beat you up in front of your son?
	You want me to fight you in front of your son?
	Yeah.
	And then the Puerto Rican guy waves down a security guard and then tells the security guard that the black man stole his meat, took the meat out of his son's hand, I think he says?
	Yeah.
	See, sometimes Karens are actually Puerto Rican men in Puerto Rico too.
	uh-huh and uh the security guard tells him that he needs to leave the store and so then the dude fights the Puerto Rican guy and gets like you know detained or whatever and this is like it's a it's a pretty interesting moment it's a pretty interesting scene because it appears that this guy is hoarding food during a natural disaster
	Like, that's something that we've seen very recently here, you know, on this side of the world, or on this side of the states, or whatever.
	You know, we saw people hoarding goods, and we saw, you know, disaster capitalism in effect.
	It's a statement that oh this guy is uh you know stealing all this food for himself or hoarding it all for himself but then this other guy lies to the police or lies to the security guard and says that this guy committed a crime which he hadn't which you know theoretically like put could put his life in danger yeah uh and so it's a very it's it's like who do you side with here do you side with the guy who just wanted meat for him and his son
	Or do you side with the guy who actually didn't, you know, commit a crime?
	I mean, honestly, I think that this character, this character himself is, like, pretty racist.
	Like, just the idea that, like, this person who, like, this is their worst moment in the whole movie.
	Like, the rest of the movie, they're very, like, kind and, like, pretty open and sympathetic and, like, lovely, you know?
	Because they become a main character.
	He becomes a main character in the movie.
	Yeah, you don't see this per- like, there's no way this person wouldn't have just said, like, alright man, cool, here's the fucking meat, alright?
	Leave me alone.
	Yeah.
	Like, that would have for sure happened, but like, you- it's funny, because they had to, like, lean on, like, the existence of the- they knew that if that guy would have accused him, he would have been wrong.
	That's a very believable, like, a very believable plot point.
	It's like, that that man would accuse him of security guard to believe it.
	That's a very believable plot point.
	Yeah.
	So they kind of, like, used racism, but also, like, illustrated this guy as this weird, like, angry monster that doesn't make... that only makes less sense the more you find out what's going on with the meat.
	Well, it makes less sense overall, but it makes more sense why he was hoarding meat and why we still think he's a good person.
	Yes.
	Yeah.
	Because he has a reason to have all this meat.
	He's not doing disaster capitalism.
	He's not stocking up for himself.
	He has a reason for all this meat, which is insane.
	It's an insane justification.
	But he really was like, I don't know, trying to use the meat.
	Yes.
	He wasn't going to go to waste.
	He wasn't going to throw it in a big bulk freezer.
	He wasn't going to try to profit on it.
	Yeah.
	So it's just this very weird, like, op, like, you know, you can't really, like, I don't know, for some reason there's these two, you know, minority characters by our, you know, in our context, and you can't really get behind either of them.
	It's kind of weird how that worked out.
	Yeah, kind of conflicting.
	Emile Hirsch and his partner, what's her name, Peña?
	I don't remember anyone's name.
	Like, literally throughout my notes, it's like, like, cop, black guy.
	Like, that's- those are my notes.
	I don't know anyone's name.
	I didn't get the black dude's name.
	Uh, I got Peña because they say her name a lot because she's- Hey, if you could do me a favor, if you could say black guy, it's a lot less abrasive for me.
	What did I say?
	Black dude.
	If you could just say black guy, I'd appreciate that.
	Why?
	It just feels better.
	This is not a real thing I'm saying, just sorry.
	I don't know.
	Sorry, sorry, sorry.
	I forget that I'm talking to someone who actually listens.
	So we got Peña because Peña gets kidnapped later so they say her name a lot.
	We only learn Mel Gibson's daughter's name who's a main character in this like I don't know an hour and 15 to 20 minutes into the movie because she's been given a boy's name by Mel Gibson.
	Her name is Troy.
	Yeah which is a sick name for a girl turns out.
	I don't know Mel Gibson's character's name and I think Emile Hirsch's name might be Smitty or Smythe or something.
	Maybe.
	Anyway, so Emile Hirsch and Peña are in the van and a call comes in that needs their help and Emile's like, don't take it.
	And she looks at him and she's like, you know, defiant.
	She wants to get to work.
	She wants to crack some skulls.
	So she takes it and she says, you know, we'll be right there.
	And they get called to the grocery store to deal with our black guy.
	Uh, who, you know, like when the security guard tells the story to the cops, the security guard doesn't even say that he stole meat from the guy and his kid.
	He just says he was trying to clean out the meat section.
	That's all he says.
	Like it doesn't even, like the security guard knew that the other guy was lying apparently.
	Yeah.
	And so he says, how much?
	And he says, a hundred pounds.
	And he's like, why?
	And he's like, uh, I don't know.
	I got people back home that they won't leave my house or I got people back home I need to feed or something like that.
	And they're going to, they're going to make him evacuate.
	And he's like, no, I got to go home.
	I got to go home.
	And they're like, why do you have to go home?
	You know, tell me why you have to go home.
	That's a little suspicious.
	You know, you're not telling me.
	Everything about your life.
	That's a little suspicious and Emile Hirsch is like getting into it now because he can like, you know Lord his power over somebody or he can like, you know funnel off his his anger and resentment into somebody and so dude says There's people in my building that won't leave.
	You're trying to evacuate people.
	There's people in my building that won't leave.
	There's an old guy and like a retired cop who refused to leave.
	And if we go back to the building, you can get them and I can check in on my pet, you know?
	And that's when you're like, okay, a pet, he's got the meat, whatever.
	Well, during that part, I'm almost thinking, like, he's getting the meat to go, like, feed the old guy and the cop?
	I was like, I thought he was, like, trying to, like, feed his, like, building before he left, you know?
	Like, I don't know why I thought, I was like, still some sort of, you know, he was being more humanitarian than anything, and that's still very, you know, it still feels that way.
	So I was kind of, I was still with him at this point.
	So they go knock on Mel Gibson's door and Kate Bosworth answers it and she's like, oh good, you guys are here.
	Talk some sense into my dad, he won't leave.
	And the first words out of Mel Gibson's mouth, who's like sitting in a recliner, sitting in an armchair, she says, the PDs here, they want you to leave.
	And he says, uh, the current PDs filled with pussies who care more about liability and politics.
	I'm staying here.
	I'm not leaving.
	Cough, cough, cough, cough, cough.
	And it's funny, I don't know, the line is kind of funny because he says the current PDs fill with pussies who care more about liability and politics than what he doesn't say.
	But yeah, so that's the first line we get from Mel Gibson who just again looks completely awful.
	Looks like he's dying and that's because he is.
	He's, like, supposed to be, like, hacking up, like, he's doing that, just, just dying from old man-ness.
	It's like what, you know, these, like, old, like, gritty old men die from.
	It's just, it's just the years, the hours, what's killing them.
	There's no, like, prognosis.
	I mean, it's like pure spite.
	It's pure spite for how, how pussy cops are now.
	That's exactly what it is, yeah.
	He talks to, uh, Emile Hirsch, and he's like, I recognize you.
	I, you know, I recognize you.
	And Emile's, like, not really making eye contact.
	And he's like, no, you're Camillo or whatever his name is.
	He's like, yo, you're Camillo.
	I know who you are.
	He's all, did you ever catch the guy who did it?
	And he's like, I don't know what you're talking about or whatever.
	He's all, cause if it was me, we would have taken him, blah, blah, blah.
	And he says that they, he tells this story about how when he was working the force, they would get calls from this guy about like a rape or a burglary or something.
	And every time they would go, The guy would be on the rooftop shooting at them with a BB gun.
	And after that happened like three times, see what we did is we went over there and we broke his fingers.
	Yeah, they like beat him up.
	They like rubbed him out.
	And it's just funny to think of cops, like, taking fire from a BB gun and not instantly killing that person.
	Actually murdering them, yeah.
	Like, not only is this somebody pointing any type of gun at them, he's actually firing it at them.
	Those BBs can hurt, you know?
	They can break the skin.
	Couple more pumps.
	The first words would be, like, shots fired, officer down.
	Like, that would be, for sure, the first words.
	We know this is a- Like, there would be no clarification.
	They're like, we're taking heavy fire.
	Yeah.
	We need everybody here.
	They'd hear, like, the pinging off of a street sign and just fire back 70 rounds into the apartment building.
	Like, do you think the only reason they didn't kill this guy is because he's, like, the lead singer of Dropkick Murphys or something?
	Yeah, that's exactly it.
	That's the only person it could have been.
	It could have only been one of those people.
	It's, like, the only reason they didn't murder him in his tracks.
	Yeah.
	um he like really wants to know what like the details of Emile Hirsch and why his character is in Puerto Rico now like he knows why but he wants to know the details of the actions also so what happened how'd it feel how'd it go down tell me come on tell me and it's very weird like he's getting horny For this like story of you know police misconduct or police you know abuse that we don't see for another I don't know 45 minutes of the movie.
	No.
	And Emile's like, Emile doesn't want to tell them, and then they get into a little bit of a fight, or they start yelling, and he's like, you know, stay here, you can go, whatever, you need to listen to your daughter, or should I say your caretaker.
	And that's like, he's like, I'm not going with him because he's a cop-killing cocksucker.
	Yeah, he's like, hey, this guy your partner?
	I want your fucking back, alright?
	He's a cop-killing cocksucker.
	Yeah.
	And you still don't really know, you know, what happened.
	Um, and so they go to get the quote, old guy, uh, while Pena stays with Mel Gibson's character.
	And, uh, you know, uh, the daughter goes with Emil Hirsch for some reason to try and get the other old guy.
	Yeah.
	They go to the old guy who's like an old German guy who's got like a bunch of security features on his door.
	They're like trying to get him to open the door.
	He doesn't want to open the door.
	And that's when like the Puerto Rican gang... Oh, we didn't say the bank scene.
	That also happens in the beginning of the movie.
	Yeah the bank scene is pretty wack.
	The bank scene they go, they find some seem to be powerful well off woman.
	The main gangster and a partner kind of corral her and walk side by side with her.
	Just do the old school, if you do anything just do what we say or we're going to fucking kill you and the next person next to you is do what we say.
	She takes him to security box and for some reason the bankers have like, they're just totally clueless of this woman clearly being coerced.
	Well, I think they, the bank probably knows who these people are.
	Like, I mean, he's like a high level supposed like gang guy.
	So I think people, they probably know who he is.
	And as long as they're not making a scene or flashing guns around, there's not much they can do.
	Okay.
	Yeah, that's true.
	And they're in the room and they open up the security box and it's got like a piece of paper in it, which I'm guessing is a map or something, or it's a drawing?
	The piece of paper in the tube?
	Yeah.
	It's a painting.
	It's a painting that's rolled up, yeah.
	Yeah.
	It's like a Van Gogh.
	It's like a famous painting.
	Oh, what's the name of that famous painting?
	It was like night lilies or some shit like that.
	Okay, so I just I thought it would connect them with the German.
	I don't know how they get the German's location after meeting with this woman.
	I don't know why that happens.
	Yeah.
	Anyway.
	They're walking out of the bank with the woman and she starts, like, having a heart attack, kind of.
	Like, faking a heart attack or saying she can't go on.
	So the head guy shoots her in the head and his partner, also.
	And they get out of there.
	And, like, some of the dialogue in this movie is not too bad.
	Like, honestly, the worst part of this movie is the pacing and the action.
	Like, the fight scenes and shit are incredibly bad and incredibly poorly done and edited and shot.
	Anything that required any type of special effect or stunt was like bad.
	Well they added so many special effects during fight scenes like they would speed up the film for like half a second when somebody was throwing a punch or when somebody was like you know swinging a leg or something and it just looked so fucking bad but In this scene, yeah, he shoots him and then he gets back into the car and then, like, in a piece of dialogue I actually liked, the getaway driver said, you know, what happened?
	He's all, well, she pitched to fit.
	I had to get rid of her.
	And he's all, well, what about baby?
	And he says, baby's been aborted.
	Yes.
	Great line.
	That was clearly the homie's nickname.
	And he's been waiting for years to drop that line.
	He looked at, he told baby one time, he said, one day I'm gonna kill you.
	One day I'm gonna kill you.
	I'm gonna call that, I'm gonna call that homicide and abortion.
	Okay?
	Just so you know.
	Cause the gangsters get to the, get to the apartment complex.
	Uh, they shoot the apartment manager that Tony likes a lot.
	Well, but that's important because, because what's his name?
	Emile Hirsch sees that.
	He's going out to talk or maybe to talk to the guy, to the landlord.
	And he, he sees the landlord get shot.
	And he's like, oh fuck, oh shit, oh fuck, we're on an attack.
	Yeah.
	And that's where it all pops off, and that's when he like, that's when they go to the black guy's apartment, and they're like, hey, like, let us in, you gotta let us in.
	They bring the German, they drag the German out of his apartment, and then they go up to- Who also has, like, an offensive, like, if I was German I would be offended by his accent.
	I thought it was a good accent, I thought it was, like, believable, like, I think that's a real accent.
	Oh, really?
	Because you, like, can't even understand it.
	It's, like, it's very thick.
	I'm doing some sort of, like, double reverse racism right now.
	So they, uh, they, the black dude doesn't, what's his fucking name, man?
	Can you look up, can you look up his name, please?
	Yeah.
	Yeah.
	Okay.
	They get into his apartment.
	Uh, he doesn't want to let him in.
	And he's being like, you know, uh, pretty defiant.
	And then, uh, Emil Hirsch's character threatens to shoot him through the door.
	So he lets him in.
	Um, his name is Griffin.
	I didn't hear Griffin once.
	They don't say it one time.
	The only reason why I knew it is because I turn on the subtitles to hear the final line in the movie and it says Griffin like before that.
	It just says Hussein and his name is Griffin.
	Dude, I had to use the subtitles a few times.
	There's like, there's parts like Mel Gibson gets shot and he says, he says, uh, they put another hole in me or something like that.
	He says, like, I got an extra hole in this place, or something like that, and he's pointing at his side.
	But what it sounds like he says is, like, they shot me in the familiar place.
	I was like, you're kidding me?
	Like, what?
	And then he put on subtitles and it's just a totally different phrase.
	And that happens a few times.
	There's just no reshoots or no, you know, ADR or anything like that.
	So they get up to the... Hold on.
	Let me go through the cast names real fast.
	Okay.
	Mel Gibson's character's name is Ray Barrett.
	Okay, I think I heard... I think the German says Ray at one point.
	Yeah, and then we got, then we got Pina, then we got Troy, who's Kate Bosworth, and then Emile's name was Cardillo.
	But then David Zayas, the main gangster, his name was John the Baptist.
	John the Baptist, I remember that.
	Yeah.
	And then no one else has names of this, like, nine person cast.
	Baby had a name.
	Baby's not listed.
	They're in Griffin's apartment.
	He didn't look like a Griffin, if you ask me.
	Actually, I mean, I only know one Griffin and they don't look that far off.
	Oh, you know a black Griffin?
	I've never known a black Griffin.
	I only know a black Griffin.
	The only Griffin I know is black.
	What's up Griffin?
	I don't know if you listen.
	I think you might.
	Shout out Griffin.
	So they're in Griffin's apartment and he's like yelling, even though they're like, Hey, there's, there's like gang bangers looking for us right now.
	And Griffin's like, what?
	I won't be quiet.
	It's my apartment and this is my fifth amendment or this is my first amendment, right?
	And just like yelling in there.
	And they're like, Hey, you know, quiet.
	They're going to kill us or whatever.
	But then there is a like shaking or knocking or pounding at another door inside of this apartment.
	Oh it's because he was already going to go into the other room in the apartment which has like 8 padlocks on it.
	- Yeah, it's a very sturdy door. - It's got eight security locks on it.
	So he had left it open when he was answering the door and when they were all yelling and shit.
	And then after that happens, the door bursts open and he throws himself in front of it And this is, like, the point at which I was like, okay, this is arguably the most interesting thing that's happened in the movie.
	Like, not even arguably.
	This is definitely the most interesting thing that's happened in the movie.
	There's some kind of monster behind this door that he has padlocked inside of his studio apartment.
	Or maybe it's a one-bedroom and the monster just gets the bedroom.
	You know what I mean?
	Yeah.
	And it is the most tedious scene in the whole movie.
	Even more tedious than all the action scenes that I was talking about before because the scene consists of him throwing his body in front of this door and then saying, get the food!
	And they're like, what food?
	The food!
	It's in the bowl right behind you!
	Get the bowl!
	Get the food!
	And they're like, what?
	What are you talking about?
	What food?
	And he says, get the food!
	The bowl and the food!
	He says, get the food in the bowl like 12 times in this scene.
	Which would be so stupid if there wasn't the world's biggest bowl of food right there.
	It's like a washtub full of meat.
	Yeah, it's like a big ol' thing of food.
	It's a big ol' basin with meat in it.
	That is way too much for any, like, animal, even like a wild animal, would not eat that much meat.
	That would be like a whole pack of whatever this animal is eating.
	It's a large thing of meat, yeah.
	Yeah.
	I think it's supposed to hold the animal over for the whole hurricane.
	Yeah, maybe.
	It's like when you go away and you leave a mountain of food for the cats indiscriminately.
	Totally.
	Yeah.
	Oh, for things to be that simple.
	Yeah.
	Would that I could.
	Yeah.
	So this goes on.
	It's an interminable about him shouting, get the food.
	And they're like, what?
	He's like, get the food in the bowl.
	What?
	It's behind you.
	Get the food in the bowl.
	What?
	Huh?
	Get the food in the bowl.
	And then the door finally bursts open and he's dragged into the room.
	You're like, okay, well there that guy goes.
	There goes Griffin.
	Maybe that's why I didn't learn his name.
	It's because he died in the first 20 minutes.
	But then things get quiet and you hear him say, get the food in the bowl.
	It's on the table.
	And you're like, oh my god, this is still going on.
	You write a different line.
	Write something else.
	Say anything else.
	Shorten the scene.
	You don't need this much dialogue in the scene.
	So, and then it takes like three minutes for Emile Hirsch to figure out what the food on the table is in the bowl.
	You know, it's the big pile of meat in the fucking center of the room.
	And Emile Hirsch knows, Emile Hirsch knows this man earlier was trying to clear out a meat section to feed a pet.
	Emile Hirsch knows this part.
	That's the only thing he knows about this guy.
	So he takes the bull and the guy's like giving him specific instructions.
	He's like, Take off your uniform.
	It'll attack you if you're wearing your uniform, which is important for later.
	Because he's in his cop uniform.
	He's like, I trained him to attack cops.
	Because he's like, you know, he's a black dude.
	That's what black guys do.
	Yes, I have a German Shepherd, but it's also trained.
	It only responds, instead of German, it only responds to AAVE.
	Exactly.
	What did he say?
	He's speaking some different language.
	You gotta do something.
	You gotta do a bit right there.
	I can't do it.
	I can't listen to any early aughts Snoop Dogg around him.
	Because the dog just loses his mind.
	I followed an account on Twitter that was Struggle AAVE tweets.
	And it's just like screen caps of like bad use of African-American vernacular English.
	I love that.
	I want that.
	It's really good.
	Send me that later.
	It's like, oh, we made all the tea, sis.
	I need that type of refreshing soft racism in my life right now.
	Like that's the kind of racism I'm craving right now.
	Just really delicate soft racism.
	Somebody was like, yeah, uh, uh, ASF for sure.
	And somebody was like, what, what does ASF mean in this context?
	And the person was like, to be honest, I don't know.
	Dude, I had that whole thing with the paper happen, and I had this woman hit me up on Instagram and be like, hey, we could put this on Black Twitter and really get him.
	And I had to check their profile like three times, and I was like, they were a white woman.
	And I was like, wait, do you have some sort of access to Black Twitter that I don't have?
	Like, yeah.
	She was probably with What's-His-Face from a couple episodes who was going to, or no, That's from the episode we did about Shooter's Grill with What's-Her-Name, who just won the Republican primary in that area in Colorado.
	Rifle, Colorado is where the Shooter's Grill is.
	It's a pun on Hooters, but instead of having boobs, all the waitresses have guns.
	They also have boobs, too.
	The point is that they have guns.
	They open carry guns.
	And somebody had a comment that was like, yeah, I want to send about 50 Black Panthers in there, open carry.
	And it was just like a random white guy.
	Yeah, it's the same energy.
	Hey, Tony, you know what I'm gonna do for you, Tony, about this article that they wrote?
	I'm gonna send 50 Black Panthers to the Redlands Daily Fax.
	The Highland Courier.
	And like, my response was just like, I mean, I can do that.
	And then they responded with just like, devil emojis.
	Like, I'm like, okay.
	I'm like, I like your energy.
	You just, nevermind.
	And like, I need that type of soft racism because it's so like, nice to have that instead of the other gnarly stuff happening right now.
	Emile Hirsch has to take off his uniform and then put the, but he's like standing in front of the door wearing the uniform.
	And then the guy's like, take off your uniform.
	And so, yeah, uh, takes, takes off his shirt, puts the food in the room and then drags Griffin out of the room.
	And that's it.
	But Griffin is like severely injured.
	He's like losing blood.
	He has a pretty gnarly leg wound.
	Yeah, and they need to go find the doctor's apartment so that they can get, you know, antibiotics or penicillin or whatever for Griffin.
	You know, Troy is there.
	She's a doctor, so she would know how to use all of that stuff.
	To save Griffin, they gotta get the supplies.
	Peña is still with Mel Gibson in their apartment, and Mel Gibson is, like, trying to get her to leave, but she won't leave, and he keeps calling her sweetheart a lot, which, I don't know, is that a reference to him calling that other female officer sugar tits?
	Oh!
	Is, like, sweetheart a nicer way to say sugar tits?
	Maybe.
	That would make sense.
	This is a call back to his own real life.
	That's a little Easter Egg for all you Mel Gibson fans out there.
	All the real Gib Heads out there.
	She wants him to give a recommendation because he says he used to like lead that police department.
	Yes.
	That Emil Hirsch is from.
	She wants a recommendation so she can transfer this to this police department.
	She tells him about her, like, biggest bust, you know, because he's like, well, fine, if you're not gonna leave, tell me something about yourself.
	He's like, tell me a story.
	Tell me a story.
	Not like a Disney story.
	Not like your favorite story.
	Like your best story.
	Tell me your best story.
	It's gotta have a lot of balls.
	She tells him about how she inadvertently busted a guy for a bunch of narcotics and he laughs at her and says that, oh, the guy was just an idiot and that's why he got caught.
	She, I don't know, she leaves and Honestly, like, I don't really care about this shit.
	The German guy...
	They leave to go to the doctor's, uh, Emile Hirsch and Troy, like, they leave to go find the doctor's apartment, and they tell the German guy to put pressure on the wound, on Griffin's wound, uh, and then, like, as it's going back and forth between these characters, Griffin is just randomly asks the German guy, so are you a Nazi?
	And the guy doesn't say anything and then Griffin's like, you don't like people like me, huh?
	And it's like weird because it would be like a stereotypical like black character thing to just accuse a German guy of being racist.
	It would be like a stereotypical like anybody who's like naive or anybody who's you know an SJW or anything.
	Yes!
	to accuse her but surprise surprise he is a fucking Nazi the German guy is a Nazi and what the gang gangsters are there to find is his stash of Nazi stolen artwork yes Yes.
	Which is wild.
	Just like, you know, already a cliche.
	Like, such a cliche that it was in The Simpsons, you know?
	Like, it was already a cliche back in 1993 or whatever year The Flying Hellfish came out.
	That was, I think, season seven, so...
	Uh, 1996?
	1998 maybe?
	Somewhere in there.
	Dude, you're gonna get shredded by Simpsons Twitter, bro.
	I know, well, I know what season it was.
	Dude, you're gonna get so fucking fucked up by Simpsons Twitter right now.
	I know what season it is, and the seasons encompass two different years, so by saying 96 or 98, I'm only like half wrong.
	Okay, okay.
	It's one of those.
	It encompasses one of those years.
	He guesses he's a Nazi because of his German accent.
	Yeah.
	And then they have a much better interaction later.
	But the first point of this movie where I was like, okay, here's something that's actually worth talking about.
	Yes.
	Emile Hirsch and Troy have like finally made it to the doctors.
	They've like climbed out scaffolding to get upstairs and there's like a long scene where they were being shot at from the ground and then she slips and falls and he has to grab her off the side of the scaffolding and he tries to pull her up like four times and it doesn't work and it's just like a scene that lasts five minutes or something.
	And then Emile Hirsch kills one of the bad guys because he's like a really good shot.
	They get into the doctor's apartment or whatever and they're getting the stuff out of, you know, the cabinets and they have this dialogue scene.
	Troy and Emile Hirsch.
	And I'm trying to remember how it starts because Troy says that, oh, no, they're not in the doctor's apartment.
	They're in a woman's apartment.
	He says, do you know where we are?
	Yeah, we're in this.
	All these people know all the apartment numbers.
	They know like where every person in the apartment lives.
	Oh, Ray, he's in 33B.
	Oh, Griffin.
	Yeah, I've seen him around here.
	He's in 22B.
	Like, okay, that's insane to me to know that, but they go I mean, you only know the first two floors, right?
	Once it goes past the third floor, you're not really familiar anymore.
	And she's like, I mean, you, you only know the first two floors, right?
	Once it goes past the third floor, you're not really familiar anymore.
	Are you, me personally?
	Of where you live.
	Yeah.
	I don't know.
	I mean, I guess I know who's right directly above me because they're loud as hell.
	But other than that, I don't, I don't know.
	Like I have people I know in the building.
	No one, no one, but no one knows like their, their, their building numbers.
	They're like apartment numbers.
	No one knows that.
	I have acquaintances in my apartment that I'm on friendly terms with.
	I don't know what fucking apartment they live in.
	Like I know my neighbor and that's it.
	She knows who this woman is.
	The woman's not there.
	The woman's evacuated, but just like looking around the apartment, she's like, Oh, I know the type of person who lives here.
	It's probably this woman.
	And she says this she knows this woman because she comes into the hospital and tells them that cops hold her down and inject rat blood into her eyes.
	And this is like told as like a joke this is like this crazy woman who says this stuff about cops and it's like it's it's said in such a passing way that I had to turn on captions because I couldn't understand what was actually I just heard injecting rat blood into her eyes and I was like oh is this did she say the gangsters did this and like they're demonizing you know the Puerto Rican gangsters or whatever no she's the woman is a crazy person who hates cops and is lying about what the cops are doing so
	She goes to the hospital and then the doctor, Troy, gives her a vial of eyewash, like an eyedropper, but has to tell her that it's holy water in the eyedropper so that the woman will use it because she's so, like, backwards and crazy.
	And then Emile Hirsch is like, I know exactly which woman you're talking about.
	Yep.
	You know how I know that?
	Because she brought the eyedropper into the police department and asked us to test it for rat poison.
	Because she thought that the doctor was poisoning her with rat poison.
	Honestly, we do need to talk about that on the show.
	Civilians are the worst.
	Like civilians are just the worst.
	They're bad to people, they're bad to nurses, they're bad to cops, they're bad to first responders.
	Well they're either weak and stupid or they're crazy and hyperbolic and they just want to do damage to the police and they don't care if it's true or not.
	But it's very interesting because they have this bonding moment Over a woman who has, like, lied about both of their authoritative, you know, responses to her, right?
	Because, uh, you know, Troy is a doctor.
	She has a certain level of authority at the hospital.
	Uh, Emile Hirsch is, of course, a cop, so he has the ultimate authority.
	And they are bonding over, like, a stupid nuisance of a civilian who just wants to spread, like, rumors and misinformation that they have to, like, you know, put up with.
	They have to, like, tolerate her existence because, like, their hands are so tied because we coddle these people now, you know?
	If she doesn't say, like, you know, and we looked into it and obviously nobody was putting rat poison in her eyeballs.
	That scene never happens.
	That dialogue never happens.
	Yeah um I don't know and it's just you know you hear these stories about like I've heard this uh this stereotype that like the female version of of like the the male bully or the male uh what do you call it like a grieved aggressive person becoming a cop is becoming a nurse.
	That is not to put nurses at the same level of cops at all.
	That's not what I'm doing.
	But I've also heard many horror stories about nurses.
	I mean, it's one of those things, too, where it's like, not all nurses are cop wives, but a lot of cop wives are nurses.
	I mean, it's a position of authority, so I'm sure it, like, attracts some, you know, it can attract a certain type of person.
	But again, like, nurses are heroes.
	They're, like, A backbone of society.
	I'm not trying to paint with that.
	But it's the same thing with teachers.
	A teaching position can be attractive to an authoritarian type.
	It takes a real type of piece of shit that exists in abundance to become a nurse for the power.
	That's a real person.
	There's a lot of them.
	Obviously there's a lot of...
	Great people doing it, too.
	Yeah, it takes a super sick person because, like, that's a really emotionally taxing job.
	Like, I tried to go that route.
	I couldn't do it.
	I was, like, too thoughtful.
	Oh, yeah.
	No, it's probably one of the hardest jobs there is.
	I mean, it's a manual labor job and, like, an emotionally stressful job at the same time.
	Like, you know, I had a friend in elementary school whose mother was a nurse and literally broke her back.
	From rolling patients all day.
	So it's it's like far far more difficult to be a nurse than a police officer, obviously.
	Yeah, easily.
	I just it's it seems it seems like they they have this like shared like almost borderline fascistic connection over the treatment of this like over their disdain for this civilian.
	And like who they have to put up with because as they're both like relaying these stories she is like getting closer and closer to him and he's getting closer and closer to her as they're talking about this insane woman who like only has it out for them and they almost kiss like they get closer and closer and quieter and quieter uh and and it really feels like they're gonna make out.
	That's the service room, right?
	Yeah, that's fine.
	No, it was a police report.
	It was for the commissioner.
	Yeah, she, uh... She thought that the police commissioner was stealing her coupons.
	No.
	She... She's fucking nuts.
	Just this weird, like, romantic, like, I don't know, borderline fascist connection they share over the domination of a civilian is very interesting.
	Peña leaves Rey to go find Cardillo, but their walkie-talkies aren't working with each other because they're in the storm.
	And then she encounters one of, like, the gang members Yes.
	Who forces her, who's like, where's the old man, where's your partner, etc.
	And she's like the wily one, so she's like, I'll take you to him.
	She walks back towards Ray's apartment, and this is like actually pretty good writing.
	It's still like shot very poorly.
	But as they're passing in front of Ray's apartment, she's like kind of slowing down and lagging to the point where the gang member behind her like pushes her with the gun and is like, get going.
	And she's like, hey, stop pushing me with your gun.
	She says it like really loudly right in front of Ray's apartment.
	And then it's not like telegraphed or anything, but it's like, you know, what she's doing is a good idea.
	And then she keeps going to like the end of the hallway.
	And then Ray comes out of the door behind them and kills the gangbanger guy.
	Yeah, and he like, what do you say, he like has a good line there.
	Some good like tough guy line, I have it written down.
	Oh yeah, he like opens the door and just says, hey asshole, and then shoots him in the crotch.
	That's a great line.
	It's a good line.
	And so they drag the body back into Ray's apartment and then they try to go find, I guess, you know, Emile and Troy.
	Emile and Troy, at this point, they exit the apartment.
	And this is what I was talking about.
	It's like kind of an actually funny action scene because something happens and Emile Hirsch ends up having to tackle the other guy and they both go over the railing of the apartment complex.
	And I don't remember why.
	But it was a funny reason that he had to do that.
	And so they both fall and he lands right on top of the other.
	They fall like four or five stories.
	Hundreds of feet.
	And they're fighting down there.
	Mel Gibson is like, you know, takes like, I don't know, 20 seconds to see if he can shoot them from where he's at on the railing.
	He's like, I don't have a shot.
	And so then they go down like two more stories and then he does it again.
	And for like another 20 seconds trying to aim at them.
	And the guy's about to kill Emile Hirsch.
	And you hear shots ring out.
	And Emile goes down.
	And then more shots happen.
	And the bad guy gets killed.
	Yeah.
	And what you find out happens is she shoots Emile Hirsch in the...
	Troy shoots Emile Hirsch in the leg and then shoots the bad guy.
	And Mel Gibson is like impressed by this.
	He sees her do it.
	And he's like, oh, cool.
	Smart.
	That's my girl.
	And so eventually they get to the doctor's office.
	And you learn she's like dressing Emile Hirsch's wound in his leg.
	And she's like, I went right through your, your tibia and your fibula or whatever the two bones in your, in your lower leg are.
	And he's like, Oh, lucky me.
	And she's like, lucky you.
	I'm a great shot.
	Yep.
	Yep.
	Totally.
	And it's like, she like names the bones and shit.
	And it's like implying that just because she's a doctor, that she knows how to like shoot a gun through the two bones in your leg.
	And she also has something along the lines of like, Oh, like, like you've never been shot before.
	Yeah.
	And I was like, what?
	Like, is it just a thing that all cops have been shot for?
	I mean, the way they talk, yeah.
	Right?
	Like, it's like part of being an... You're a rookie until you get shot.
	I thought that was funny.
	She shot him to, I guess, get him to drop out of the way of the... Like, he was being strangled.
	Like, there was no way for him to drop anyway.
	But I just think it's a very funny idea.
	Mel Gibson who's like this you know tough cop who thinks like we're too soft on criminals now and like always do you worry too much about liability and you worry too much about like you know the paperwork and and the fine print and you can't just do your job he sees his daughter shoot A hostage to get the hostage out of the way to kill the bad guy.
	And he's like, damn, that's right.
	That's good.
	That's cool.
	He was probably happy that she didn't have a badge.
	She doesn't have to deal with all the paperwork.
	This is a citizen's arrest.
	That's I mean, that's like, but it's just it's so funny because it is almost like a Like a lethal weapon type thing.
	It is almost something like Mel Gibson would do in Lethal Weapon.
	Instead of pointing the gun at his own head in this instance, he shot the actual hostage.
	Instead of dislocating your shoulder, you take one to the thigh.
	But he's actually such a good shot that he put it clean through the leg.
	So you really can't complain.
	That's really what Emile Hosch was doing in the bathtub with the gun in the mouth, was like practicing where to line it up so you can shoot yourself in the head and still live.
	He was like practicing the end of Fight Club.
	He's like, this might happen.
	I'm feeling, you know, not quite myself lately.
	What if an alternative personality takes over my body?
	I have to know where to point this gun.
	I have to know where to shoot Tyler Durden right in the face.
	So then we get a story about Troy growing up with Mel while she's stitching up Emile Hirsch's leg.
	She talks about how good of a shot she is because she was raised by Mel, Ray, and She tells a story about how on Thanksgiving, Ray bought a bunch of frozen turkeys, but not for eating.
	It's because he wanted to shoot them.
	Target practice is what she says.
	And it's like, this is the other point where I was like, okay, this, another thing to talk about with this movie, like something else that's actually interesting to talk about, because I can't imagine the type of psychopath who's like, I need target practice, but it can't just be like literally any other object.
	It can't just be a piece of paper or the side of a hill.
	It has to be something with flesh.
	Well, yeah.
	It's much like tattooing, you know?
	It just feels different to shoot flesh.
	You have to desensitize yourself to it.
	Because with tattooing, you're going to see a lot of blood, and you're going to make a lot of mistakes and shit, so you want to desensitize yourself to that sort of thing.
	And I don't know if you know this, but if you ever get shot, the skin around the wound instantly turns dimply like a turkey.
	Like turkey dimples.
	It's really eerie, and you have to get used to that.
	She talks about how she wanted to be a doctor so she would operate on the turkeys after Ray shot them full of lead, is what she says.
	I don't see this happening.
	No.
	I don't see anybody letting their kid play with a raw turkey.
	I mean, Ray would.
	Ray would, like, make her eat the heart of the kill or something, you know?
	Totally, yeah.
	But it's not only that, it's like, what is left to operate on?
	After you shoot a turkey full of lead, like, the bullets don't lodge into a turkey.
	I mean, maybe if it's frozen, I guess.
	But you can't operate on a frozen turkey either.
	I don't know, it's just... It's just weird, like, alpha nonsense.
	That she's like, yep, that's just what it was growing up with Ray.
	That's just what Dad was like.
	Yeah, and then she says, you know, he wanted a son.
	She's like, obviously.
	He gave me the name Troy.
	Yeah.
	Incredible.
	So then this is where we get Emile Hirsch's backstory.
	He finally tells her what Ray was talking about when he accused him of being a cop killer or whatever.
	It's a flashback scene of Emile and a blonde woman having sex in his muscle car.
	Yeah his Dodge Charger for sure.
	Yeah they're they're fucking in the Dodge Charger like on the side of a wash you know in New York or the side of a port or an inlet or something and they get a call uh and he wants to take it but his partner slash like lover it's I don't think they were married but he doesn't say he says she was my And then Troy's like, I know.
	And so that's all that's, you know, given to her.
	She doesn't have a name or a title or a, you know, a relationship in relationship to him.
	Yeah.
	It is all weird.
	Cause like, they're definitely like hooking up in this car, which is weird for like, you know, In general, but then like, he takes a radio call.
	Not like a cell phone, it's a radio.
	It's like his, you know, unmarked vehicle almost?
	Yeah, he's like a detective or something, so he's in that car.
	and so they take the call even though he takes the call even though she doesn't want to um and he like he tells her to stay in the car and then he goes inside because they had a some apartment building had a report of an armed gunman And so he goes inside and he's he's wandering through the apartment and he like he looks exactly like Leo in like Inception.
	Like Inception era Leo is like pretty much what he looks like.
	And he's going through these hallways and he sees a gun poke out from like behind a door coming around a corner or coming out of a stairwell or something and he just shoots him.
	He says, I see a gun and I got jumpy and so I shot.
	That's so stupid.
	Like, how does she find some alternative route to go to?
	the bit like how sorry but how stupid is that that's so stupid like how does she find some alternative route to go to and like why would she have done that why would you do that without alerting the other officer who's in there Yeah.
	Like, you're a cop.
	You know how trigger-happy cops are.
	Yes, totally.
	Why would you do that?
	Like, you are going to shoot him.
	If he doesn't shoot you, you're gonna shoot him.
	Yes.
	Like, maybe you should coordinate.
	Which, like, anyway, he kills her, right?
	And he still goes through the apartment looking for the other gunman and uh he eventually meets up with a guy who he's like oh you called us in and he tells us that the guy called in an armed gunman because he was worried that the police were taking too long to respond to his noise complaint.
	Yeah.
	Yeah.
	Which is the exact same thing that happens earlier with like the false claims and like wasting their time and it's just and like that's the same thing that Mel Gibson talked about earlier too.
	It's this thread throughout where it's like civilians can't be trusted.
	Yeah.
	9-1-1 calls are a waste of time and only put cops in danger.
	Maybe that's the avenue we need to take.
	It's like calling 9-1-1 puts cops in danger.
	Right, that's why we shouldn't do it.
	And I think another very interesting...
	This hues to a lot of the themes we talked about on the show, but it's just interesting that it manifests this way because it's so, it's like, it's bad.
	It's not doing the propaganda that it want, that they want it to do.
	Because what we're being told is that a guy called in a false report of a gunman, right?
	And so cops responded much too aggressively.
	Guy went in on his own without backup and shot like the first person he saw coming around the corner.
	Yeah.
	It's actually a good outcome that that person he shot happened to be another trigger happy cop.
	Yep.
	Like, good.
	Like, who was she gonna shoot?
	You know what I mean?
	Like, you're not making the argument that you think you are.
	No.
	Like, the argument that's being made here is that if you call the cops, somebody is getting killed.
	And it's just lucky it happened to be another cop this time.
	And like, if you're a civilian telling the same story, you're gonna tell the story where you would've tried to take the gunman down yourself, so you would've had a gun, and the cop would've killed you.
	So it's like, there's no winning here.
	Like, it all looks bad.
	And for some reason, it still made it through several cuts, and like, you know, made it to this final film that's like, the basis of this character arc.
	It's like, from our perspective, this civilian, or the guy who made the initial phone call, is a piece of shit for like, putting everybody in that building Putting their lives in danger, including his own.
	They're a piece of shit.
	But in the mind of the story, in the mind of like what the movie is trying to say and what Hirsch is trying to say is that that guy is a piece of shit because he made him kill his partner.
	Yes.
	He made him shoot his own partner when in reality it should have been just somebody else.
	It should have been somebody else in the building that he killed.
	And there's a line right here He tells this story and he's not crying.
	He's not like, he's like sad about it.
	He's like bummed about it.
	Killing his lover accidentally.
	Like Romeo and Juliet shit, you know?
	He's telling someone this that he's known for hours.
	Yeah.
	Maybe hours.
	She says, that's not on you, you know that.
	And he says, I know, but it happened to me, you know?
	And then he says, I put her in that position.
	Um, which is like, again, just, she's a cop with age, she's an adult female cop with agency, so much agency that she decided to put, to, to like, go into this situation in the worst way possible.
	Yeah, gun drawn.
	Gundron, no communication with the other person who's like hunting in the building as well?
	Yes.
	Like, it's insane.
	It's insane that they didn't have a firefight in this apartment and kill three other people.
	Yeah, just mowing civilians down, yeah.
	um so it's just instantly it's just that's not on you you know that i know but it happened to me like hey you know the shit shit rolls downhill hey you know sometimes like bad stuff happens to good people like me um and so then right after that She says, I always said I'd never hook up with a cop.
	Instantly.
	They're so horny.
	He has just told her that he killed his lover accidentally.
	That he accidentally shot his lover to death.
	And she's like, you know, I swore I'd never hook up with a cop.
	But everything I've heard here, boy.
	I'm just getting so many high-value alpha alerts big time from you.
	This is like another Mel Gibson trope though, too, where it's like the woman is so into his injuries that he's sustained from being a badass cop that they get horny right then and there.
	It's like the scar scene, the scar-taking scene from Lethal Weapon, which we might have to just revisit that whole series.
	Um, it's also, that scene is also in Roadhouse.
	Yes!
	Yeah, yeah.
	It's very much in Roadhouse because he's actually fucking a doctor in that movie and she, the first time he goes to the doctor, she's like examining all of his scars.
	Yeah.
	And he's like, you know, telling a story about each one and then he tells her that he's the one who like, you know, stitched himself up or whatever.
	She's like impressed, right?
	Oh, she's very impressed.
	These are good.
	Clean stitching.
	Who did it?
	It was all me.
	She's like, okay, I'm gonna give you a shot for the pain.
	And he's all, no thanks.
	And she's like, really?
	It's gonna hurt.
	And then he says the famous line, pain don't hurt.
	Pain don't hurt.
	Yep.
	Yep.
	Great movie.
	Love that movie.
	Fantastic film.
	So she says, Troy says, I always said I'd never hook up with a cop.
	And then Emile Hirsch says, why?
	Because of your dad?
	And then she says, I'm not really into kissing my dad, you know?
	Which is weird.
	It's a weird thing to say.
	It's a weird thing to say.
	And then he says, well, daddy issues, huh?
	Which is, I think a little, a little weirder.
	Like that's not the right thing to say there either.
	No.
	The correct response to that is like, yeah, if you think that cops are your dad, then yeah, you shouldn't kiss him.
	Like, you shouldn't.
	Yeah, absolutely.
	It's a weird thing for you to do.
	But he's like, oh, you don't want to kiss your dad?
	Somebody's got daddy issues.
	Also, like, stop talking about the dad, dude.
	Like, maybe the dad thing is not helping you.
	That's just what a force Mel Gibson is.
	A force of nature, arguably.
	So then we cut back to Griffin and the Nazi.
	God, Griffin and the Nazi should have a spinoff, I think.
	Right?
	Cut back to them.
	We get Griffin's backstory.
	Because the Nazi asks him, why did you train your animal to attack police?
	and he says he tells his story about how he had been getting stopped because he fit the profile of whatever crime had taken place he'd been getting stopped his whole life you know and he was sick of it and so one time the cops stopped him and he said a few choice words is what he says and then he pushed off of one of the cops And then the next thing he knew he woke up in a hospital.
	And then he sued the city and he got a settlement and he used the settlement to move to Puerto Rico and rescue the animal who has a female name like Loretta or something like that.
	Yeah.
	Janet?
	Lorraine or something like that.
	I think it's Janet.
	Janet?
	I think maybe.
	Which would be sick, which would be sick because that might be a Janet Jackson reference who does have the song Black Cat.
	Like that would be...
	That's a good Easter egg.
	I'm a fan of this movie now.
	I think you're giving the Poland brothers a little too much credit.
	I just love, I just think that Rhythm Nation is an opus and I think that it's one of the greatest pop albums of all time.
	I think you're not wrong.
	Then he says about the settlement, apropos of nothing, he says, feels like dirty money.
	Like I took something that didn't belong to me.
	Do you know what that feels like?
	Says that to the Nazi, whose stolen artwork is being, like, is the MacGuffin of this movie.
	Yes.
	And the Nazi says, I do.
	He's comparing the settlement that he got for being, obviously got the shit kicked out of him, or definitely being, like, assaulted by the police.
	The settlement he got from that, and saying that he feels dirty about it, like it's dirty money.
	And then he gets compared to...
	Stolen Nazi paintings immediately.
	His connection to the Nazi is that they both, like, had ill-gotten gains, you know?
	Like, just, uh, just, you ever, you ever feel like, I don't know, just, sometimes I feel like I systematically exterminated an entire people, uh, known as the American taxpayer.
	Yeah, exactly.
	It feels like, uh, just, gosh, it feels like I used the deficit to, uh, make lampshades.
	Yeah.
	Do you know what that feels like?
	And the German is like, wow, you're a bad person.
	I mean, I feel like kind of bad, but you sound awful.
	You sound really terrible.
	So I guess I can kind of relate, but not as hard as you.
	I didn't go that deep, bro.
	It doesn't make sense, like, why he thinks this is ill-gotten money.
	He never explains why.
	He's just supposed to feel like a welfare king.
	Like, that's what you're supposed to take away, is that he got, like, the ultimate payout Uh, you know, for being black.
	Uh, not because he was unjustly targeted and assaulted and, I don't know, sounds like he was almost fucking killed just for, uh, looking the way he does.
	Uh, and he has, like, somehow determined that, uh, that's blood money.
	That's ill-gotten.
	What I really hate about this scene is that, like, it really ruins the whole movie for me because this movie should have ended where, where, uh, You know, they take him to his back to his apartment.
	And they're cops, so he just opens that door and they both get murked by the giant cat, because the cat's trained to attack cops.
	That should have been the end of the movie.
	Yeah.
	This is the whole reason you did this, dude.
	The whole reason you trained this cat was so the cat would kill cops.
	That's the reason why you did this.
	There is, in the apartment, in the studio, there is a mannequin set up with a tattered police uniform on it.
	Yeah.
	Like, he's been training the cat like Rocky Balboa, and it's been going at this, like, punching bag, basically.
	So, the black dude who was a victim of police brutality is compared to a literal Nazi.
	Like, later on, they're talking about the paintings that the Nazi has, and he's like, that's blood money.
	That's blood money.
	And it's like, so they're trying to say that what Griffin got was blood money.
	And it's like, yeah, it's blood money.
	It's his blood.
	Yeah, exactly.
	It's like he's the one who paid for it.
	Exactly, yeah.
	It's so insane.
	What makes it bad is that they're trying to silence him and not atone for what they did.
	That's what's bad.
	Yeah, it's wild.
	And it's also an argument for not having taxpayers bail out fucking violent cops.
	Yes, absolutely.
	Abso-fucking-lutely.
	Uh, I only have, like, that's about it, right?
	So it's just stupid.
	I don't want to spend too much time on the plot unless there's, like, I mean, we'll go over the plot real quick.
	We're gonna hit the ending.
	We're gonna hit all the endings.
	Yeah, we'll hit the ending, but I'm just gonna go right through it because it's kind of, like, pointless at this point.
	They catch Peña.
	They enter the eye of the hurricane, so finally communications are back between the CB radios.
	They tell Emile Hirsch he's got to bring the German to them in a few minutes or Peña's going to die.
	They bring the German to him and then they take him to where the German has actually stashed all the paintings, which is in Ray's rec room there.
	The cop's rec room.
	And this whole time, I thought they were looking for one painting.
	I thought they were looking for one single painting.
	It was real confusing.
	It was very confusing.
	But no- Because you were like, why did this guy- because he thought it was the painting from the very beginning.
	You know, I thought it was the painting from the very beginning that was inside that box.
	I'm like, how did he lose the box?
	How did he lose the painting back to the sky?
	Because the whole time they're trying to get into a safe in the Germans' basement, but there's no, there's nothing in the safe.
	So they have to find the real location.
	It seems like they're like trying to trick the bad guys and they're like, Oh yeah, uh, it's in, it's in this apartment.
	Follow me.
	And the Germans like, Yeah, Ray was the only one I trusted and I was like, oh, they're taking them to like where the the tiger is.
	Yeah.
	And they're gonna kill him.
	And it's like, no, they're taking them to Ray Mel Gibson.
	Oh, Mel Gibson gets killed.
	We should say that.
	He gets shot a bunch of times, which is cool.
	And so they go to Ray's apartment and he's got a rec room that it's just all the paintings.
	All the paintings are on the wall.
	And then they're unloading them.
	The head bad guy shoots.
	The old German guy, I guess?
	Yeah, the old German guy.
	It's off-screen, so you don't see it.
	He's like the first gnarly kill, and it's also like... You don't see it, you just see the blood splatter on one of the paintings.
	Yeah, totally wasting it.
	So they unload all the paintings, and...
	The head bad guy is like, okay, now give me your uniform to Emile Hirsch because he's going to like sneak out.
	And it's like, okay, finally we're getting to what we all knew was coming.
	He's like, give me your uniform to Emile Hirsch.
	And then as soon as he gives him the uniform, Emile's like, oh, you really believe that those were the paintings?
	They're not actually the paintings.
	They're the decoy paintings.
	And the bad guy's like, oh, where are the real paintings then?
	Let's go get the real paintings.
	And so then he leads him to Griffin's room.
	And this is when he's saying like, oh, the German guy actually hid paintings throughout this entire apartment complex.
	He actually owned the apartment complex.
	So there's paintings all over.
	And I was like, okay, he's just like lying to him, I guess, to get him to go into this room to back to Griffin's apartment.
	But then they go into Griffin's apartment and there's an actual famous painting in Griffin's apartment.
	Yes.
	So it's like the German guy did own the building and did seed paintings throughout the apartments and I don't know Emile Hirsch somehow found this out at some point on his own?
	No yeah I mean no that's just a thing you know in Puerto Rican culture If you own an apartment complex and you're an old German Nazi, traditionally you would give every tenant a painting that they have to put in their house.
	They're in Griffin's apartment for a good 20 minutes of this movie and there's no shot of a painting on the wall or anything.
	This was a Nazi who didn't...
	Doesn't like African-Americans.
	When did they have the conversation where he was like, here's a painting for your apartment?
	Yeah, they didn't like each other before that.
	Like, they weren't friends.
	No.
	He says, like, you don't like me.
	Like, we don't know each other at all.
	Anyway, he introduced each other.
	They introduced themselves to each other.
	Like, in that scene, they introduced each other.
	It's so weird.
	There's no reason for the painting to be in there.
	Like, he knows the name of that painting, the bad guy.
	And so he knows that it's, he's like, this is the crown jewel of the collection.
	Oh, I thought it was called the Crown Jewel.
	Oh, I don't know.
	It tells the whole history of the painting.
	Yeah, how much it's worth and where it was auctioned off.
	This was auctioned for $5,000 in 1819 and blah blah blah.
	So he's looking around the room and Emile Hirsch is like, in another good bit of writing, Uh, the bad guy says to take the painting off the wall, so Emile Hirsch sends Peña because she's still wearing her cop uniform.
	He sends her across the room to get the painting off the wall.
	That's a good thing, getting her out of the line of danger when what's gonna happen happens.
	But then, as the bad guy, as John the Baptist is looking around the room, he sees the door with all the locks on it.
	And again, we're first introduced to this apartment with the monster banging on the other side of the door.
	That just happens instant.
	Maybe the monster's full, maybe the cat is full so it's not making any noise, but they're in this apartment for like a good 10 minutes and there's no noise coming from behind the door.
	He sees the door with all the locks.
	He says, what's behind there?
	And Emile Hirsch, instead of saying, who has all this knowledge about the building and where the paintings are, he says, oh, nothing's behind that door.
	Like, suddenly he's trying to play reverse psychology with the bad guy, which doesn't make sense, again, because it's like, oh, so you want me to go in there?
	That's kind of weird.
	But anyway, he says, oh, nothing's behind there.
	Emile Hirsch has no stakes in protecting these paintings.
	Like that character's not supposed to have any stakes protecting his paintings.
	The guy's like, oh, it's a lot of blocks for nothing.
	And he's like, open it.
	So Emile Hirsch goes over and he goes to open it with all the locks.
	And he literally says, are you sure you want to do this?
	And like looks at the camera and looks back at the bad guy and looks at the camera.
	Like, he's like, hang on to your hats, Folks, you know?
	Yeah, yeah.
	And the bad guy says, open it!
	And so Emile Hirsch is like, you know, as you wish, and like rips open the door.
	And we see the lion for the first time, which is just like a puppet thrown across the room at the bad guy.
	And you hear a bunch of gunshots and it goes to black.
	And then we go to a hotel, or sorry, a hospital, where Griffin is waking up in his bed.
	Yeah, which is incredible, like, that, like, it ends so, well, and also because the cops show up, remember?
	They're able to get a hold of the cops, so the cops show up and everyone's safe now.
	Now, not only, not only does, like, not only does, like, uh... Wait, we don't see the cops show up.
	We don't see the cops show up or anything.
	I think they do, I think they, like, they, like, imply there's, like, lights coming out there.
	We see, I, from my- You don't see any cops though.
	You see news reports about what happened afterwards.
	Like you see the crime scene of the apartment complex on the news and that, like, that news footage is being watched from inside the hospital room.
	I thought I remember them having to be like saved, but yeah, you're right.
	No, you just hear gunshots.
	You just hear a bunch of gunshots and it goes to black and it's like, and that's the story of the hurricane heist too, you know?
	Yep.
	The cops come to visit them.
	You know, they're like, it's all a big joke.
	Like this whole thing is a big joke and What's his name?
	Emile Hirsch's character is suddenly very like wry and like has a very good sense of humor and he's not an asshole anymore.
	Like all of that happens like as soon as he starts talking to Troy basically he just becomes this like kind of suave like borderline clever funny guy.
	And that's what happens when you fall in love though.
	Right.
	People can always change as long as they fall in love.
	Remember that.
	When you're trying to find a partner, they can always change if they fall in love.
	Wow.
	So use that.
	So I'm already a suave, smart, funny guy.
	What am I going to change into when I fall in love?
	That's kind of a scary thought.
	That, yeah, oof.
	I don't know if anyone can handle that.
	I know I couldn't.
	I don't know.
	Who knows?
	They come in and he's like, hey, I need to ask you about an incident that happened in an apartment.
	And then they all laugh, you know, because they were all like there.
	And the doctor's there.
	Troy is Griffin's doctor.
	And Griffin says, so how'd you get out anyway?
	How'd you get out of the apartment complex?
	And Emile Hirsch says, well, uh, I fed your cat while you were out.
	Yep.
	And they, and they all laugh.
	And I'm just like, that cat's, that cat's dead, right?
	Yeah.
	Like Janet died.
	Janet got shot to death.
	Yeah.
	There's no way that Janet didn't get shot to death.
	Like this cat that you loved, that you risked your life in imprisonment for, got like shot to death.
	And you all, everybody in the room is laughing about it.
	Including yourself.
	I guess that's a good joke, but like you said, they weren't clear about what happened at all.
	They left it a little open-ended.
	He's going to be bummed later on.
	And then he flirts more with the doctor.
	Oh, for like three whole minutes.
	They're an inch away from each other's faces.
	Just being like, oh, bet you won't like me.
	Bet you won't kiss me.
	Bet you won't...
	Oh you're so like it was just really bad flirting like monologue like dialogue I mean it was so bad.
	It's this like really bad romantic comedy or romantic action writing where both characters clearly want to fuck each other but somebody has to like pretend like they don't want to fuck the other person to to like have catty banter.
	You know and so it's just it's really like forced writing where he's like oh so uh are you gonna take these uh stitches out of me sometime because that's like a call back to the other joke and she's like or he's like because I wouldn't trust anybody else or like you're the best at it and she's like oh I'm even better at other things.
	And then he's like, gets close to her and she's like, not on your life, bud.
	It's like, what are you talking about?
	Like, what is, what is going on here?
	And it's women, right?
	Women are the problem.
	They send out all these signals, like they want to take your stitches out and they want to do even more stuff to you, but they want, it's time to smooch in public while they're on the clock.
	They refuse.
	In front of their two homies, like, it's a really weird room.
	They don't address the other two people who are in the room watching this happen the whole time.
	Also, one of... Also, her dad's dead?
	Her dad just died?
	Her dad, like, just died, like, the day before.
	Well, yeah, now she doesn't have to kiss her dad anymore.
	Her dad's dead.
	So now, like, the cop isn't her dad anymore.
	She's finally free.
	There's a rule where you can only kiss one cop at a time.
	I don't think that's a rule.
	I think that rule gets violated all the time.
	I think so too.
	And so Emile Hirsch is like, hey, we'll see you around, bud.
	Because he's like snapping and winking at everybody in this scene.
	And he's like, hey, left you a little present.
	And then he leaves the room and Troy, taking her cue for no reason, who's like, I don't know, like, she's not, she's not a cop.
	She's not.
	Anyway, she goes over to the bed that's opposite of the room of Griffin and pulls back the privacy curtain and it reveals like a good painting.
	Yeah, and he's like, oh fuck, now I gotta figure out how to sell this shit.
	Yeah.
	And I love that line.
	Yeah, and it's just like, it's such an insane, like they all went through this thing together and now he loves cops and the cops gave him like a million dollar payment.
	A million dollar Nazi painting?
	Dude had a problem with accepting a police brutality rightful claim.
	He's not going to sell a holocaust painting.
	He's not going to do it.
	Well okay so I'm of the mind that like I don't give a shit who that painting belonged to in the first like as long as you didn't kill anybody to get you know any like Jewish people to get it yourself or your family or whatever if you didn't benefit from that specific uh act like directly it's like who's it gonna go it's gonna go back to like the millionaire the heirs of like whatever millionaires had it before like I wouldn't feel bad about taking it, is basically what I'm saying.
	If anybody has any ill-gotten World War II games, I'm more than happy to take them.
	He'll take on that karma for you.
	Now, if it's something like, I don't know, a cultural heirloom or something like that, of course not.
	I'm not Hobby Lobby over here.
	But if it's a fucking painting, yeah, yes, I will take that.
	And just remember, if it was made by a white artist, it can't be a cultural heirloom.
	Right.
	Get Panaman over.
	Right.
	So when Peña is like, come on, hot stuff, to Emile Hirsch's character, because that's like what the end of the movie is.
	Everybody's fucking joking.
	She's like, come on, come on, daddy-o, and rock me like a hurricane, or let's rock, rock like a hurricane.
	She says that.
	They leave.
	Cut to the credits where a song that is not rock you like a hurricane is playing.
	But it's a very rocking song that like the guitar like feedback starts when she opens the curtains.
	All right.
	Let's go.
	Rock me like a hurricane.
	Hey, I got you something.
	Okay.
	Fuck.
	I'm gonna figure out how to sell this shit.
	guitar solo
	A safe retreat can't fight the winds of change.
	I won't give up, it's not too late. - She opens the curtain to reveal the painting, and it's all, "Whaaaaaaaaaaaaaaaw!" And then it starts. - It is not "Rock You Like a Hurricane." It is a song called "It Hit Me Like a Hurricane." Because I was like, okay, this is obviously not the original "Rock You Like a Hurricane," but I don't, I kind of barely remember the verse in "Rock You Like a Hurricane."
	Is this like an updated mid-2000s cock rock cover of Rocky Like a Hurricane?
	Because I'm hearing allusions to like a storm.
	I'm hearing allusions to like a dry desert that is you know and like and like rushing water and shit I'm like is this so did like velvet did like velvet revolver cover rock you like a hurricane and no it's just a totally different song with hurricane in the title and uh weather like themes in the lyrics that's the movie uh I just have one Facebook comment uh to read that um You know, I think we didn't really care for this movie.
	So, normally, you know, we read, like, takes contrary to our own.
	Normally, we read, you know, comments that we don't agree with, by and large.
	This episode, however, I'm going to read a comment who agrees with us that this is not a very good movie.
	And this is from Bobby Walters on Facebook, who says, Another one hit the dust!
	Dot dot dot.
	Bruce Willis just came out with a flop, am assuming because of the COVID-19 he made, quote, surviving the night.
	Now here comes Mel doing the same thing for money.
	Dot dot dot.
	Anyone remember the days when actors will turn down a movie because they think it's crap?
	Example, I watch a documentary about Chris Tucker where he turned down so many movies because they sucks and even turned down some that went on to be hits.
	Real quick, real quick.
	I think that is a thing.
	I think we all heard about that being a thing.
	Chris Tucker, apparently, after Rush Hour, was very picky about his scripts.
	I don't think that there's a Chris Tucker documentary.
	I don't know.
	I would be interested to watch it if there were.
	I would totally watch it, but I'm pretty sure there's not.
	Bruce Willis was supposed to have this role.
	Bruce Willis backed out and then Mel Gibson picked it up.
	Thanks to online watching where we can fast forward movies like, quote, Force of Nature, I watched the trailer and it looks like crap so I have not watched it as yet.
	Quote, Mel, end quote, is broke why he made this crappy movie.
	He need money to maintain his ton ton Dot dot dot dot dot dot dot.
	What is that?
	Don't know.
	How's that spelled?
	T-U-N.
	All caps.
	T-U-N.
	T-U-N?
	Space.
	T-U-N.
	I have no clue what that's supposed to even mean.
	I don't know either.
	Half- One half star.
	Dot dot dot dot dot dot dot.
	Ponder this, said it best, when he said, Well, that was a waste of my time.
	Sorry Mel, you need to retire.
	I think that's the best way to say this movie.
	We can blame this on COVID-19 because crappy movie like this will happen when Wash Up, Mel, Produce and Star at the same time.
	What's most of you guys watching?
	Give fair feedbacks because crap like this will start to be the standard.
	Mel, quote, force of nature is one star you can do better.
	However, like Mike Tyson said, I did my last fight for the money.
	I was broke.
	Dang.
	Dang.
	I didn't expect him to hit him with that heavy one in the end.
	I think, I mean, this comment is like, you know, I don't know, nonsense, but I think there is like one good point, which is that Like, Mel Gibson has, like, a second chance at, like, Hollywood right now.
	Like, I think he's even directing a movie pretty soon here.
	He got, like, a second chance at Hollywood, which is kind of rare, especially with how badly he flamed out, and specifically, like, the people he flamed out against.
	but he has his comeback the only reason i well not the only reason one of the reasons i think people have tolerated his comebacks is because they've been like critically successful movies like people will say the beaver is a good movie haven't seen it i don't care I don't even know what that is.
	Don't worry about it.
	People say, like, Dragged Across Concrete, which was recent, where I think he plays another violent cop, that's by a well-renowned director.
	It's by the same director who did Bone Tomahawk.
	Oh, yeah.
	So, it's weird that Mel Gibson would pick this movie, because this movie's trash.
	This movie's, like, really fucking bad.
	Like, this movie is not as good as Assassin 33.
	Why isn't it?
	He dies in it, but I mean, that's an artistic choice that seems right, because he gets shot like five times in the chest.
	And if he didn't die, I was gonna laugh at it a lot.
	It just takes him like five minutes to die, which is unlikely, but, you know, more respectable.
	So it's, I don't know, it's just interesting that he would do this movie when he's been taken back by Hollywood, and he doesn't have to do stuff like this anymore, seemingly.
	I don't know.
	It's a step backward for sure.
	Yeah, anyway, what I'm saying is Apocalypto is a good movie and everybody should watch it.
	Like, steal it, though.
	You do the self-checkout on Apocalypto.
	And that's the episode.
	Thank you so much for listening.
	Like I said, if you want bonus episodes, including the episode we did on Assassin 33 AD, which is the time-traveling movie about Muslim terrorists going back to kill Christ so that they can end Christianity once and for all and an atheist has to save them and rediscover his faith in the process.
	We did that episode with the Street Fight Boys.
	It was a wonderful time.
	That movie's amazing.
	That movie is incredible.
	Definitely, I mean, if you're like, you know, stuck at home, you know?
	Stuck at home on the COVID, you know?
	I say, you know, get a little tossed up.
	Do some drugs and maybe drink something.
	Do something and go watch that movie.
	Don't do too many drugs because it might freak your mind out too much.
	That's true.
	Do some, like, very palatable drugs.
	Just, like, really just rip some mids.
	And then watch this movie.
	Yeah.
	Rip some mids, shotgun a cider.
	Watch that movie and then listen to our episode on patreon.com slash minion death cult p-a-t-r-e-o-n dot com slash minion death cult.
	We also did an amazing episode this week on Patreon where For the NFL who is going to apparently be playing the Black National Anthem before week one football games in like a vain attempt to make people forget that they're the ones who blackballed Colin Kaepernick for the crime of taking a knee all those months ago.
	We have some black commentators, some right-wing black commentators like losing their minds Losing themselves, losing their minds.
	Doing the most in response to that.
	And it's like mask off moment for these hyperventilating, cringeworthy, MAGA grifters.
	It's a very like, it's like, even they realize, oh shit, we may have gone too far in our response to this.
	Their faces is kind of reminiscent of that footage of Chris D'Elia realizing that people can screen record Snapchat.
	It's very similar to that.
	They have this moment where things are just too real.
	And they didn't delete it.
	It was up.
	Yeah.
	Yeah, it was up.
	Alright, so yeah.
	Thanks for listening, folks.
	We love you.
	Bye.
	Bye.
	Yeah.

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