TODAY: We review Alex Garland’s Civil War (good) and explain why the haters were wrong (bad) We begin the episode with a trailer round-up of all the slop that’s fit to slurp: Bad Boys …4? Joey Pants is in Trouble! A British Inglorious Basterds? Sexy Twin Twisters?? Movies are BACK Then we explore the A24 pump-fake from Garland whose Civil War uses modern memes to make a movie about violence, power, wartime photography, extreme trauma, ladies rocking, etc. When it’s our turn, will you shoot it? Sturgill Simpson- Breakers Roar Sign up at http://patreon.com/miniondeathcult for $5/month and get 2 bonus episodes a week
The liberals are destroying California and conservative humor gone awry.
Conservative humor gone awry is going to fascist-phonia today.
So stay tuned.
We're going to take a few pictures of the desert and how their policies are actually messing it up.
It's not beautiful when you go across that border.
Stay tuned, guys.
We'll show you exactly what it looks like.
We'll show you exactly what it looks like.
We'll show you the desert.
All their remarkable stuff.
Stay tuned.
I'm Alexander Edward.
And I'm Tony Boswell.
And we are Minion Death Cult.
The world is ending.
The Antifa massacre of 2023, probably, is responsible.
And we're documenting it.
Folks, it's Civil War time.
It's finally, after years of doing this show, seven years of Minion Death Cult or something like that, it's now officially Civil War time.
It happened.
When the A-24 came up and the thing, I yelled, I yelled, it's Civil War time!
Everyone loved it.
Everyone loved it.
And you did, you did attack the person sitting next to you.
Yeah.
And I continue to point out every instance throughout the movie that was a Civil War.
I was like, it's a Civil War!
That's a Civil War right there!
People loved it.
They were really into me doing that.
So we went to see Alex Garland's and A24's Civil War, a movie that I think a lot of people hated, wanted to hate, because they thought it had silly politics or whatever.
That might be why you're listening to this episode.
I was always willing to give Alex Garland the benefit of the doubt.
I like Alex Garland.
In fact, you can go back to December of this year on my timeline where I tweeted Alex Garland good.
Because I think he's good.
I think he's a good filmmaker and a good screenwriter.
And the premise, which we'll get into, I think is allowed to be stupid.
If it even is stupid, we can explore that.
I think it's science fiction movies.
It's fine if it has a science fiction action movie or whatever.
It's fine if it has a stupid premise as long as you make a good movie out of it.
And I think people might be shocked.
I think this was a pretty good movie.
Yeah, I went into it kind of all along a tiny bit and kind of going into it maybe a bit arrogant, thinking like, there's no way that they're going to do this correctly.
Mostly because, I don't know about you, but they didn't ask me to consult.
They didn't tap me for the writing of this.
So I was like, there's no way this is going to be accurate.
They don't know.
They don't know about American Civil War like we know about American Civil War.
Right.
So I didn't really know what I was getting into.
I was pleasantly surprised.
I enjoyed the hell out of that movie.
When we first heard about this movie, I can't remember you sent it to me or someone else sent it to me and was like, there's a movie called Civil War coming out.
It was like last year sometime.
And I was like, holy shit, that's going to be great.
It's definitely going to be in this vein of like, at the very best, it's going to be like a White House down situation.
Yeah.
And at the very worst, it's going to be like a Breitbart produced, you know, couldn't get off the ground anywhere else action movie about a suburban dad killing his neighbors.
Yeah, that's what I thought it was going to be for sure.
And I was surprised when I did see the trailer that there were real people in it.
Hold on, what do you mean real people?
Well, no, I was expecting like the Guardian type actors.
I don't know why I can't think of any of their names.
We've only covered every single one of those movies.
But I thought it was going to be one of them.
Kevin Sorbo was going to be in it.
Sure.
But then when I saw there was, oh, these are real people in this movie.
This is interesting.
It's an actual movie and then seeing who made it, I was like, oh, this is like a an LFA 24.
OK, this is I'm not going to keep on paying for my subscription to some awful website to stream this.
Yeah, but when I did see who made it, I was like, okay, this movie's not, it's not going to be what I think it is.
It's just going to be like a post-apocalyptic action sci-fi, you know, that Alex Garland is good at doing.
And it did turn out to be relevant to this show because it does have politics.
And I think when people heard uh that it was going to be a civil war between not even between but among uh California and Texas on one side the federal government and like loyalist states on another side and then the Florida alliance on the other side uh people were like well Texas and Florida are fucking MAGA strongholds why would they ever
Go to civil war against, like, a Republican president?
Or, like, why would California ever go to war against a liberal president if that's who Texas wanted to go to war against?
You know what I mean?
That's not really explored at all.
Basically, the clues you have as to why California and Texas are united is because they're heavily populated with military personnel, U.S.
soldiers.
And essentially their faction probably rose out of a military coup against the right-wing Trump-like figure played by Nick Offerman in sort of just a couple cameos really.
But the politics of the movie, like one of the criticisms I saw, and this is like, This is pretty bad, but this is kind of what I think of when I think about people criticizing the movie because the politics are stupid or whatever.
I saw this response and it was on Twitter.
It said, Making a politically neutral movie about the Second American Civil War, especially given our current political climate, is irresponsible.
And that's kind of what it feels like if you're like, how dare you get the politics of this moment wrong?
Texas would never align with California or whatever.
First of all, it's like, shut the fuck up, nerd.
Yeah.
Make a movie about whatever.
Second of all, when you... It's easy to see where this came from, where this idea came from, and I'm willing to bet it came from Alex Garland seeing a Jimmy Dore interview with the Boogaloo Boy.
That makes sense.
That is why I think there's a Florida alliance against the right-wing Republican president.
Because there are Boogaloo Boys in this movie, and that's what made me eventually come to this realization.
he thinks he did that meme of the the confederate redneck bumping fists with the california black california badass like that's nightmare that is like the california forces are led by a black woman who does i think the kill shot on the president on the right wing president of the united states on trump shoots him in the head in the oval office
Yeah, that part was pretty important because you do meet characters along the way who are seemingly bad guys who I don't think would be too excited about a black woman having a leading role in this.
Right, but Civil War makes for interesting bedfellows.
You know what I mean?
And again, it's what Nick Offerman truly fears is the West Coast rapper teaming up with the Southern hick-hopper Yeah.
Against the elites, like Nick Offerman.
Yeah, absolutely.
And they did a good, like you said, they did a really good job at that.
At like, really kind of, the West, the Western, what do they call the Western forces?
Is that what it was?
Yeah.
Yeah, they were, they were very diverse.
They're very diverse.
Okay, let's get into our theater experiences, okay?
I saw this, I think in like, I think it was like an RPX situation, or like a, Or like a 4DX.
You know, it was one of those X's situations.
I think just because it was super fucking loud.
Was your showing extremely loud?
It wasn't really loud, but that's because I didn't go to the premium viewing of it.
There was one I could have paid like a few dollars more to see that I think would have been the loud one.
It had, yeah, same thing.
It had like an X. It was like Cinemax H. Whatever.
Oh, that's a good one.
Yeah, Cinemax H, yeah.
I just went to digital.
I went to the ones that are digital because it was an $11 matinee.
Let me pretend to know which one you're talking about, bro.
I love Cinemax H.
It's my favorite.
It's got the 6.7 surround, which you don't get on the Cinemax J. No, I noticed.
Digital, I think I only had like, I think it was max 4 point sound.
It was good though.
It still was, the theater was still a good theater, so it was okay.
But I didn't want to tell you because I didn't want to, you know, I don't want my Cinefile credentials to be taken back for going to the digital viewing as opposed to a Cinemax.
Five.
Right, which has the real film audio.
And you can hear the film grain in the audio for, you know, that kind of a more authentic analog experience that would be better when it's available.
That's one of the points of sound, is the film being pumped into the... It's just warmer.
Makes for a warmer viewing experience.
So my viewing, I want to talk about the commercials I saw.
I don't ever see commercials, pretty much.
And so I did take notice of the ones, most of them, that were on screen.
There was Hyundai Santa Fe ad that I was think trying to appeal to the racists in the audience coming to see Civil War because it had like a Viking family packed into their crossover SUV you know so I think that was like for for all the white heads in the Civil War audience and then after that Google had like an animated ad where the Pixel and iPhone were working together as superheroes
But I couldn't help but notice that the Pixel always outperformed the iPhone, which was interesting.
I'd never seen that data before, but you know, you live and you learn.
No need for data.
You got to watch it happen in real time.
I saw an ad for Bad Boys 3 or 4.
Have you seen that, Tony?
I've been hearing people talk about it, but I have not seen the ad for it.
Which one is it?
The trailer.
I think it's 3, right?
No, there's been a Bad Boys 3, I think.
I think this is 4.
I think it... Oh, it's called... It doesn't have a... Oh yeah, because there's Bad Boys, Bad Boys 2, Bad Boys for Life, and now this is Bad Boys Ride or Die.
Ride or Die.
Which, I don't know how they're going to do that with DMX being dead.
Well, that's the other option, right?
What?
You went with the second one?
But in this one, they're framing Joey Pants!
He's being framed, Tony.
And the bad boys, they're trying to help him, but they become fugitives from the law themselves.
They become actual bad boys.
Uh-oh.
It looks great.
Martin Lawrence's face looks crazy in 4K.
Yeah.
The next ad was for Here we go.
I have my notes.
Here we go.
Eye roll emoji.
Here we go.
Another anti-Nazi movie.
That one's not for the white heads in the audience.
Kind of an L take for them because it's Henry Cavill in a twirly mustache doing like the British Inglourious Bastards.
Oh, okay.
It's like Suicide Squad, a bunch of ruffians.
A bunch of ruffians go over and kill Nazis.
And an untold story.
An untold true story.
So it's just gonna be Glorious Bastards, but they're gonna say like Cheerio every once in a while?
Yeah, there's probably gonna be more bare-knuckle boxing.
Probably more beans?
Yeah, there's gonna be more Scrud or whatever that's... Scran?
There's gonna be more Scran.
Do you know what Scran is?
No, I don't think I want to.
I mean, it sounds grosser than it is, but it's also grosser than it sounds.
It's like when you go to a footy match in Britain, in the Queens, and they give you like a stew of peas and potatoes, and then maybe there's some gravy on top too.
Oh, you gotta have the gravy.
And that's grand.
That's awful.
People are gonna be like, oh, this is just like Inglorious Basics, except they're not eating any biscuits.
They're only eating crumpets.
Yeah.
What is that about?
Henry Cavill also has a twirly mustache in that.
And I forgot that twirly mustaches did used to be They weren't even that fancy.
It was just like a normal kind of mustache.
Weird, degenerate, depraved times that they were living.
And I don't know what it was a sign of or whatever, but it's like, they were all popular in times... Why would you want to go?
Why would you want to go back there?
Why would you want to... Why would you want to feel that way?
I mean, Henry Cavill still looked incredibly fucking handsome with it.
So it's like, don't watch this movie and be like, I can also pull off the thick, twirly mustache.
You can't do it.
I'm sorry.
You have to have a crazy jawline in order to do that.
To do that mustache.
Next ad for another movie... Twisters?
Did you see the Twisters ad, Tony?
I've seen it.
I didn't see it today, but I've seen it.
I loved this.
He's a fucking... It's that guy.
It's that Glenn guy.
You know what I mean?
That blonde, white Glenn guy.
Yeah.
Who's in the romantic comedy with the other girl that everybody likes.
He is the new tornado chaser and he's, I think, even fucking cockier than Bill Paxton was.
That's a high bar to set there.
Crazy to think about.
Not only are they hunting tornadoes, Tony, they're destroying tornadoes.
Yeah, sure.
Oh, I chase tornadoes and I have to run away when they get too scary or whatever.
Yeah, they're destroying tornadoes.
They're like spiting the tornadoes?
They like deploy drones, like a swarm of iRobot Will Smith iRobot drones that go in and they try to destroy the tornado, like make it go the other way around or something.
I don't know.
Interesting.
Because that was kind of a part of Twister, right?
They were trying to like send up something that would have like little sensors, right?
Yeah.
Well, yeah, that was like a big, big-ass piece of almost like a satellite.
It was like a big-ass, whatever you call it, data reader that would say how fast the wind speed was and shit like that.
This, they want to like disrupt tornadoes, you know?
and then in a very uh another reason i want to see this movie specifically is because of yeah like halfway through the trailer you're watching the trailer you're like this is crazy and then one of the guys you know you've seen tornadoes destroy this you've seen a tornado destroy that but then one guy says oh my god it's twins and then there's two tornadoes and i think
They're related to each other.
They have like similar names.
I think they're sisters.
Sister tornadoes.
And they're touching.
Wild.
They're twins and they're getting real close.
And they're reckless.
They want to share you.
You're so lucky.
They're coming right for you.
So, I want to see Twisters.
The twins!
Dang.
And then Furiosa, which looks great.
Again, I believe George Miller.
George Miller good.
I believe him.
Yes.
I can even forgive the chopped and screwed grunge song that's in the trailer.
Still, you can't dampen my faith in that movie.
It's like they have to do that now.
It's like a mandate.
You gotta do it.
I don't know if like some record labels signed some crazy contract with some studios.
They have to do it.
It's like if you're gonna make a movie, you gotta find some old iconic song and like you said, chop and skew it.
Yeah, it sucks.
I hate it.
I've hated it for like 10 years now.
Forever.
I was getting sick of it back in the like stomp clap music era.
It was already a cliche.
And then finally, yeah, another trailer for a movie that I've been wanting to see, I Saw the TV Glow.
Have you seen a trailer for that, Tony?
No.
Oh, it looks cool.
It's by the same, I believe by the same director as the person who did We're All Going to the State Fair, which I didn't see, but was like really well regarded.
I think it kind of bordered on experimental film, like art house stuff at least.
This is their follow-up and the soundtrack itself looks insane.
It has a broken, so again, like a cover of a song, but it's a cover of Broken Social Scene.
Okay.
Yeah, I'm looking at like the images of it from it too.
It looks rad.
Yeah, it looks cool.
Looks like a cool, weird, coming-of-age, nightmare, alternate reality, anxiety horror thing.
Fun.
And Phoebe Bridgers is in it?
No, I think she's just on the soundtrack.
Maybe she's in it.
It says Cass, but she doesn't have a name under there.
Maybe she has a cameo or something.
She's on the soundtrack.
Alex G's on the soundtrack.
There's a bunch of other people on the soundtrack.
Right on, right on.
Yeah.
So I don't know, I'm glad that got like a big, well, I think that's also A24, so that's why it was before this movie.
Yeah, it is, yeah.
But yeah, I want to see that one.
Anyway, yeah, what do you say we get on to the film itself?
I think we should just kind of go through the plot here, not spend too much time on it, but there's a lot of interesting stuff to talk about.
Again, I would say, I guess we'll get into it as we go, but it was really kind of surprising to me how much of this movie felt like a character study on specifically Kirsten Dunst's character.
It really just felt like, here's what life is like for this spiritually dead inside war photographer Who's also kind of a badass.
Totally.
And has like a really sick sense of life and death.
Totally.
Yeah.
And she was great in it.
She was great in it.
It was really funny.
You said, I didn't know what this was about.
I didn't realize this was going to be like about, essentially about photojournalists and about her and a couple other like stories going on around her.
And yeah, she was great in it.
And like that was, it was cool.
Watching her go through it and I think the payoff was brutal but good and great with her character.
Yeah so it starts off with a presidential address and you're seeing like President Ron Swanson practice his address and this is like interspersed with Clips of cops in riot gear outside, you know, shooting at civilians, pummeling civilians, just the normal crowd control stuff that cops tend to do.
And Ron Swanson, I don't even remember what the president's actual name is.
I don't remember them saying it at all.
Yeah.
I think about it.
He says, again, practicing his speech to the nation or whatever.
He says, we are closer than we have ever been to victory.
Some are already calling it the greatest victory in the history of mankind, which is a Trump thing.
That's obviously an obvious reference to Trump, just the greatest.
Totally.
People are already calling it.
I'm hearing it's being called the greatest ever.
Yeah, yeah.
He's like, biggest dub ever possible.
The Western forces of Texas and California have, according to state media, have suffered a loss at the hands of the U.S.
military.
He wants them to rejoin the states.
And then we cut to Kirsten Dunst in a hotel room watching the TV broadcast and takes a photo of the screen of the TV and a bomb hits nearby outside her window.
We later learned that Kirsten Dunst is a famous photographer for taking the famous Antifa Massacre photo.
The Antifa Massacre reference is one of the few clues you get as to why, if not why things are happening, at least who the things are happening to.
Who the people are involved.
Yeah and it was like one of the only um out loud Uh, real things that was kind of mentioned, you know, like you said that there were, there were boogaloo, boogaloo boys in there, but you have to know what a boogaloo boy is to know what you're seeing.
Yeah.
Like they say, like the Antifa massacre.
And it's funny because I think it is kind of like, if you're watching this and you, you know, it, depending on who you are, how you're hearing that, how you're receiving the phrase Antifa massacre.
Cause one, one side you're hearing like, what did Antifa do?
And the other side you're thinking, what happened to Antifa?
Yeah.
Yeah, I think it's, if you're paying attention to who these characters are coded as, I think it's implied that the federal government did the Antifa massacre, like Trump did the Antifa massacre, I think is what they're implying.
Yeah, okay.
So, as we meet the reporters, Kirsten Dunst, she's with another male reporter.
I think his name is Joel.
And they were watching tent encampments.
We're doing drone shots of dystopian cityscapes with, yeah, like I said, tent encampments.
Paramilitary, uh, patrolling, uh, patrolling roofs, uh, and this is where we see like a riot slash protest going on, uh, water related.
It's people lined up at a water tank, you know, trying to get water in the, Uh, whoever's in control of that area.
It's hard to tell a lot of this because, uh, like I said, the Western forces are just U.S.
military as well, so they just have camo and all, you know, all the military gear that the military would have.
Uh, they just...
The only difference is they have a little Western Forces flag patch on their shoulder instead of an American flag, but the Western Forces flag is just an American flag, but it only has two stars on it.
It's a bad flag.
It sucks ass.
When I saw that, I was like, At first I was like well there's an unrealistic part of this movie they had time to produce like their own patches you know in the middle of a civil war or whatever and then I just like remembered that half of these guys lives is producing little patches or emblems for you know like ammo websites to sell Yeah, this flag was made, ironically, a couple years before this actually happened.
So they were already being pre-made.
They were going to go for the Don't Step On Sneak, but they couldn't do it.
They got voted down and they went for the two-star.
Yeah, this movie, to me, it approaches being a meme without being annoying.
It approaches all these memes that we do kind of understand in real life without like, I think, being too cute about it or without hanging too much of a lantern on it.
But there's a lot of types of guys in this movie.
A lot of guys.
There's a lot of representations in this movie and I did enjoy that.
I do want to say, you know, there are a lot of types of guys, but I did come out of this thinking it was kind of a girl's rock movie.
Absolutely.
Yeah.
Totally a girl's rock movie.
Between, like you said, one of the people in the Western forces who is a black woman who does the kill shot, and Kirsten Dunn's character, and then also the young girl who we're going to meet pretty soon, who becomes a character.
It was pretty girl's rock.
And I mean, you know, people are, you know, calling the alliance between California and Texas, you know, unrealistic or absurd.
I wouldn't call it absurd.
I would call it unrealistic, probably.
But, no, like, if there is, like, a liberal restore to order because Trump went crazy, went mad enough to get, like, enough, quote, reasonable Republicans or whatever, Uh, to defect, it would be through the military, you know?
It would be, like, a liberal, you know, the general, the honorable generals exerting power over a madman in the White House, you know?
Like, this is how, like, the liberal fantasy, essentially, of, uh... I don't know, a lot of this movie I was watching, you know, this movie does not glorify the Civil War at all, but I couldn't... I couldn't help but think that, like, a liberal...
Would be satisfied with how this movie played out.
If it were really Trump.
You know?
Yeah, totally.
If they legit said that's who it was.
Yeah, because it did feel like... No questions asked, just justice is served.
That's it, you know?
The adults are in control again.
Exactly, yeah.
And the California texting is not like that wild because between the combination of the military bases that exist throughout California and throughout Texas, and then all the rich people who are moving back and forth between L.A.
and Austin, Um, you know, who knows?
Who knows what could happen here?
Yeah, absolutely.
Um, if Joe Rogan, if Joe Rogan decides to become a general in the Western forces, I think it could happen.
So they're at this water protest.
The reporters get their Kirsten Dunst character whose name is Lee and Joel.
They get to this assembly where they're taking photos and they sort of like say what's up to the other reporters who are also there covering the event.
And a reporter gets hit in the face with a police baton.
And so Kirsten Dunst kind of comes up and helps her out.
And yeah, Kirsten Dunst is a famous independent journalist who the woman who got hit with the baton recognizes instantly.
She's like, "You're my hero.
I have such a lady boner for you.
I want to be you.
Let me fucking be you, babe.
Yeah, yeah.
You know, she doesn't say that.
She's like kind of shy or whatever, but she does eventually say that she's, you know, Kirsten Dunst is her hero and Kirsten Dunst's reaction is basically like, oh, fucking great.
Go home, bitch.
Like, get the fuck out of here.
And while she's talking to her, an American flag waving kamikaze runs up and suicide bombs the water tank and Kirsten Dunst of course clocks him instantly as he's running by and grabs the girl and they both duck behind a car when the explosion goes off and then while the other girl is still like, what the fuck just happened?
Kirsten Dunst is already standing in like the haze and smoke and debris taking photographs of all the bodies.
This scene was like pretty wild because at first when I'm seeing this standoff between the police and the people getting water, I'm in the mind state of like what exists now and how the real life we live in right now in 2024 and this hypothetical super version of what's happening in this movie.
And the police, the police, they're just hitting them with wooden batons.
And I'm like, I don't know.
I think in this in this scenario, they're going to be having guns drawn.
And I'm like, they're they are treating this with kid gloves at first, I'm thinking.
And then it immediately changes when I and I don't know, I might have seen it wrong.
I think it was a woman with an American flag.
Oh, yeah.
I was actually like typing up notes.
And all I saw was the American flag when that happened.
I could be wrong, I think so, but that also added to my Girls Rock assessment of the movie.
And then when you see that, you're like, oh, they're about business.
This is like, this is as intense as they want, they're trying to make it be.
This is setting the, laying the groundwork for what we're about to go, you know, experience throughout the rest of the movie.
And it's almost indicated this is something that happens because Kirsten Dunst sees the flag and immediately ducks behind a car like, no, it's going to happen.
There is apparently a thing where people run into crowds with an American flag.
Or just run into crowds screaming.
That's kind of a universal symbol for mass killer.
Totally, totally, yeah.
Yeah, no, that's like the point of this scene to me isn't like the politics of necessarily who was doing the bombing or whatever.
The point of the scene is that Kirsten Dunst is a really cool badass who doesn't give a fuck and is just like taking photographs while her ears are ringing, you know, and while like I don't know, people are trying to resuscitate bodies or her camera is just like right there in their faces essentially while they're performing, like trying to save lives and shit.
And you kind of start to realize that this movie is like, what if Nightcrawler happened in urban warfare?
Because she is, she's not like psychotically, what do you call it, like stimulated by war or anything like that.
Like I believe her partner Joel is a freak who talks about getting hard for war and things like that.
But she just feels like a duty to do it and she's been doing it for so long that it doesn't matter if she still does it because she's already seen like the worst shit she's ever going to see.
Essentially, and she just, I don't know, you come to see that she feels some sort of responsibility to, like, there's one line where she's like, when I first started this, you know, I thought I was, like, sending a warning back, don't do these things.
You know, you get a montage of everything she's photographed, all the executions she's photographed, including, like, tire necklaces and shit like that.
And yeah, and she says, but now it's happening here, so what was it all for?
What was me documenting all of that for if it didn't?
Change anything if it didn't dissuade people from doing this same bullshit here.
Yeah, it's a pretty heavy moment right there.
In this moment, they are kind of also doing this thing where... In which moment?
Sorry, I talked about a bunch of different moments.
When she's in the debris, in the fallout of the bombing, shooting the bodies.
And then, actually, the young girl takes a picture of her.
And in that moment, I was like, are they gonna use this picture to illustrate her as being callous and desensitized?
But they are, like you said, they're really laying that down thick.
And they almost, in the beginning of that, I don't know if you noticed, in the beginning of that scene, there's a bunch of photographers.
There's a ton.
There's a whole bunch.
And it's almost like they are doing this, it almost feels like There's almost more than the other people.
It almost feels like, uh, sensational.
Like they're trying to like, just get the picture, but not really be about it.
But then by the end, it's just her and the, and the girl.
Um, and it's like kind of, I don't know, this depiction of photojournalists and journalists in general, um, that was kind of interesting.
And, uh, is this theme throughout the whole thing?
Just like, is, is neutrality bad?
Are they, are they just like documenting this for, for the, the money shot as it gets called later on?
Yeah, I think there's a there's like a clear line drawn between her and her partner Joel.
Like that guy totally is a pervert.
Yeah, and they're portraying him as that.
And I don't know there's something there is something like odd about her but it is I think it is, you know, whatever.
Sociopathy she's developed as a response to, you know, trauma, to seeing this awful shit.
I think that's the way in which she's weird, is that she's desensitized to it, but she doesn't like revel in it, it doesn't seem like at all.
No, I think she enjoys the art of it, I suppose.
But okay, so it's revealed that they're going to D.C.
to do an interview with the president, which will be difficult because they shoot journalists on site in D.C.
Again, like a nod to liberals.
This is like a liberal fever dream that Rachel Maddow would be sneaking into Washington, D.C.
because Trump would have her executed on site.
yeah totally totally um and apparently they don't like they're going to somehow trick him into the interview uh it's not really revealed uh how they're going to actually get the interview this is like a last ditch attempt uh to get an interview with the president uh before another independent journalist i guess gets it uh Uh, so they are, like, sort of chasing this crazy idea.
Um, and, uh...
They're at their hotel, and the young girl comes back to Lee.
The young girl's name was, what, Jenny or something?
I have it later in my notes.
Yeah, I think so, yeah.
She talks to Lee, and yeah, we get flashbacks to every atrocity she's ever photographed.
Um, and the girl essentially is able to tag along by tricking Joel into allowing her to come and another guy, uh, I don't remember this guy's name.
I do.
I remember his name because I didn't like his name and I had to be like, okay, he's, he's British.
He didn't know this was not the best name to give your only black character.
His name is Sammy.
Um, which I just like, I just didn't care for that for some reason.
I was like, oh, that's too close to other, just, I don't know.
It's just not a good name.
Too close like Sambo.
I didn't do it.
But yeah, his name is Sammy.
Uh, and he's, he's, uh, he's, he's a great character to have.
I liked him a lot.
He was like wholesome, but also you can tell he was also gritty like them at one point.
They just keep talking about how old he is and how he's old and can't run anymore.
Yeah, I only know him as Thufir Hawat from the first Dune a couple years ago.
He's the Mentat.
He's the Atreides Mentat.
In this he is like, yeah, an aging journalist who Wants to come along with him to DC and Kirsten Dunst is like, no, you're too old and slow.
You'll get fucking killed.
We're not going to take you.
And that's kind of a running gag is just that Kirsten Dunst is like openly discussing how he's likely to be shot because he can't run fast enough or he can't like...
Duck or whatever but yeah they're on their way, they're all together on their way to DC and this has, the movie has a pretty good soundtrack too I would say.
The soundtrack was excellent.
There's a lot of good song choices and a lot of cool editing choices where you know the diegetic sound in the film drops out altogether and it's just You know, it's pretty, like, pop, pop-art-y commercial art, but it's effective, yeah, to have, like, whatever, a loud rock song or a loud funk song playing while your press escalade is weaving through burnt-out cars on the highway.
There were a lot of points because I think there's the whole I think there's a running theme for this movie of like of how we're kind of sensitized you know and so there are moments where you're seeing like gnarly things happening you're seeing like death you're seeing executions and it's and it's like you said it's like a funk upbeat song happening yeah Um, and it's like this, you know, this juxtaposition of this really dark act with this really bubbly music.
Um, and I think it was done so, I think it was done really well.
Yeah, you could, I mean, you could easily verge into like Zack Snyder territory when you do stuff like this, which in my, you know, I like, I like some of those movies.
Um, not the, not the worst thing in the world to do, uh, whatever insane blocking in slow motion while you know a pop song plays or whatever uh this i think was was done better than than something totally something you would see in in one of those movies it wasn't played for a joke it wasn't meant to be like oh this is funny this is happening it was it It felt different than that.
We find out at this point also that the president has served three terms in office.
So Tyrant, Trump, Orange.
I could see the Orange Mussolini doing three terms in office.
Disbanded the FBI.
Ding, ding, ding.
Trump, Trump, Trump.
You know, it's like something Trump has said he's going to do.
Um, and then also we find out he did airstrikes against American citizens.
So, uh, that one's Obama.
So he's like two, two thirds Trump and one third Obama.
Yeah.
Yeah.
Um.
That's true.
Yeah.
And that one is Obama.
Don't forget folks.
uh so yeah they're on the road and they're trying to decide if they should get gas or not there's three heavily armed men standing out front of presumably their gas station uh and they're just you know stopped in on the highway deciding whether or not to pull off deciding whether or not uh they need gas badly enough to maybe be you know robbed or murdered for it uh they decide they're gonna you know try to get gas uh the guys don't want to sell them gas at first uh they say um
She says, I'll give you 300 bucks for a half a tank of gas and two cans.
And the guy says, 300 bucks will get you a sandwich.
And then she says, 300 American.
No, sorry, Canadian.
I fucked it up.
You got to edit me in saying it right.
No way.
I'm taking this W. I'm running with it.
I'm actually going to loop it.
I'm going to loop me correcting it twice.
You didn't even say it clear.
You got it out.
You're like, I got to correct him.
You didn't even give a good read of it.
Oh, I'm going to go back and retake my correction.
Don't worry about it.
You're going to listen back and it's going to be all Canadian.
Yeah, so I'll just start right here.
Can I get a clap?
Can I get a clap real quick?
- Let me clap real quick.
300 Canadian.
But yeah, no, that's the dunk.
Again, it feels like another Lib joke.
Feels like our sensible neighbors up north would have too much common sense to do a civil war.
Yeah, their money's still going to be good.
They're not going to be impacted by this at all.
Mild-mannered Canucks?
They would never revolt.
They've still got a queen.
They're not even ready to revolt against her.
Why would they revolt against the government?
Yeah, but there are bodies strung up in the car wash part of this gas station, and it turns out, well I wrote in my notes, I said bodies strung up in the gas station car wash, parenthesis, probably looters, and the younger, the new girl, again I can't remember, Jessie I think is her name.
Jessie, yeah.
Not Jenny.
Jessie, the younger photographer who has tricked her way onto this trip.
She was going up to photograph them and one of the armed guys at the gas station is just like right behind her basically pushing her towards the bodies egging her to take a photo and it turns out the guys are still alive and they're hanging there by their hands and Pretty badly beaten up and the guy with the gun says, I used to know that guy.
And it's alluded to that they've been up there for two days, hanging up there for two days.
And the guy tries to make Jenny decide the fate of the two looters.
He does say that they were looters.
And I was like, yes, of course.
If you want to hang somebody up by their wrists in public, you got to say they're looters.
Absolutely.
It's the only way.
And for some reason that does kind of like bring this thing, because again, these guys, we're not really sure what their deal is, what their politics are, whatever.
All we kind of know is that they're like, they're controlling the gas.
That's all we know.
And so, yeah, the only thing that would be, so these people aren't up here, they aren't up here because these people are like white supremacists or those people are like foreigners or whatever.
It's because they're looters.
And like in this post-apocalyptic world, that's all you need.
That's all you need.
Sure.
Yes, absolutely.
And it's also just, like, you know, that's who would be an even bigger fear during the post-apocalypse is looters.
But it's already a fear of theirs.
So, you know, it's already a fear of people in this country now.
So, like, you know, guys probably not even looters.
You know what I mean?
But, like, whatever.
Anyway.
Yeah, he tries to make Jesse decide whether or not he's going to shoot them or let them just hang up there and suffer.
But Kirsten Dunst, Lee, she diffuses the situation by offering to take the guy's photo in front of the two captives.
It's incredible and it's something that wouldn't seem realistic if we didn't have an entire documentary of guys doing this.
Of guys talking about the war crimes they committed and standing in front of The corpses that they've defiled or whatever right and it's just it's a it's a great scene you know a lot of this stuff is like ripped from the headlines but I I just I I like the way it's done and I don't know it feels real it's like it's it's a cheap technique to be like what if the atrocities were being committed by A guy from Arkansas, you know, a guy from North Carolina or whatever.
But I think it is it is effective to be just like, well, I think the politics of this movie are like might makes right, essentially.
It's not it's not really like lib versus Republican or left versus right or whatever.
It's just whoever who has the gun And who doesn't or who is in imminent danger of dying and is therefore going to kill whoever is going to kill them before they do it.
That's like the overarching politics of this movie.
The movie was kind of sandwiched in these bookends of this national civil war that's happening, but between it is just people surviving amongst it, and some of those people are also Taking advantage of the situation until we're surviving situation and there's throughout the movie that you don't, you don't really, we don't really run across a lot of people who are loyal to one side or the other side.
You just run into people who are kind of trying to like survive or maybe run their territories or their areas.
Um, and that was kind of, that was really interesting to me.
Yeah.
Um, it, uh, there was some criticism of this movie that was like, Oh, it's just essentially a zombie movie, or whatever.
And I wouldn't say it's a zombie movie.
I would say, if anything, it is similar to 28 Days Later, specifically.
Also written by Alex Garland.
But it just has that feel.
An actual post-apocalyptic...
I don't know, a realism that isn't there for me in a lot of the other zombie movies or the crafting of a mood that really puts you in the mindset of somebody who would be trying to survive in something like The Road or something like that is more of what I would compare this to.
Absolutely, The Road, because the thing that makes it different from a zombie movie or, you know, a virus movie or whatever, to me, is all of these interactions, all of these confrontations, they begin with the people we're following, the characters we're following, figuring out if these other people can be reasoned with.
There's always an effort to, like, reason with them.
Oh, can we go haggle with them?
Can we go approach them?
You know, who's going to do the talking?
Sometimes it works, sometimes it doesn't.
And that brings this human element to it that I think is kind of, like, kind of important and really separates.
Because in a zombie movie, you just mow down zombies.
In this movie, they're trying to be like, hey, can we... Listen, we're just journalists.
We're just neutral.
We're just trying to get by.
Where like in a zombie movie there's no there's no reason like there there's no appealing to the zombies.
Well I do know I just want to cover our asses so I don't get a bunch of you know well actually's on Twitter or whatever.
Like I know that like Walking Dead is all about the human survival in the aftermath of a zombie apocalypse so of course there are like human interactions where you're like oh is that camp trustworthy or whatever.
I haven't seen Walking Dead maybe it's as good as this movie.
It just might be.
But I think this movie did a good job of that aspect of it.
Kirsten Dunst is like lecturing Leigh about what she just saw because Leigh is like break, or no, no, sorry, Leigh is Kirsten.
Jessie, yeah.
Leigh is Kirsten Dunst.
Jessie is like breaking down over watching, obviously, those torture victims just hang there.
And she's like, what if, you know, what if I had done something differently?
And, you know, Kirsten Dunst is like, you can't ask yourselves what if, you just have to like, Bear witness to it and then let other people who see, decide what if, you know, and try to do things, try to do things differently.
Because there were, essentially there was like nothing that they could do for them anyway.
It's kind of like how they rationalize it.
Real quick, this moment, because a lot of this movie is about Jessie's growth, her progress as a photographer throughout the movie is an important thread, and this moment, when she's complaining, kind of going through it, another thing she does say, even before she goes, like, maybe I could have helped them or whatever, she's like, I didn't take any pictures.
I didn't take one picture.
I think that part's really important, because we'll watch that part, we'll watch her kind of grow into that part.
Yeah, if you care about her as a character, I don't.
I don't give a shit about her, so I don't care about her growth or progress, but... No, I'm just kidding.
Kirsten Dunst does dunk on her, though.
When she's crying, hyperventilating, freaking out in the backseat, Kirsten Dunst rolls her eyes and she's like, Jesus Christ, the backseat is both a kindergarten and an old folks' home.
Pretty funny line, pretty funny dunk on both of them at the same time.
There's more scenes of American destruction in like a montage is that you know they're traveling on their way to DC to interview the president.
We see like a bombed out JC Penney that's on fire complete with a Blackhawk helicopter like burned out shell in the parking lot.
We find it you they stop here to take photos, you know, Lee wants to do a little photography clinic with Jesse on the black whatever helicopter it is.
So she's telling her to photograph it and we find out that Jesse's dad is sitting on a farm in Missouri pretending like none of this is happening.
And so we're seeing like Jesse, it was like probably a pretty well insulated, well insulated from the Civil War, but like felt like she, you know, she's a young, young strident woman.
She felt like she had to do something, you know, fucking, she's a college girl, folks.
So she felt like she had to do, you know, some war photography and that's, that's, you know, you can kind of get that glimpse at her character just being like out in the real world for the first time, it seems like.
And She's talking to Lee and Lee's like, you gotta be always ready when the moment happens.
You gotta get the shot no matter what.
I can't watch you.
I can't be your babysitter or whatever.
And you're probably going to die.
It's probably going to end badly for you.
And Jesse says, you know, if I die or if I get killed, would you take the shot?
And then Lee says, no, I would just jerk off.
Which caught me off guard.
I gasped when she said that.
What if Kirsten Dunst was in the movie Happiness?
No, she says, would you take the shot?
And Kirsten Dunst says, what do you think?
What do you think?
Yeah.
Just a pretty good moment.
Like a pretty good serious moment.
Like yeah, I'm probably going to photograph your death.
Probably going to photograph your dumbass dying.
So I hope you're ready for that.
Yeah, buckle up because I'm not going to help you.
I am going to take your picture.
Yeah, so this is where she's like ruminating on the inability of her journalism over the years to have prevented this current civil war.
Which, you know, that's a pretty high bar to clear.
I don't think it's maybe fair to hold yourself to that standard of preventing this civil war from happening.
But meanwhile, the tracers and gunfire in the distance are getting Joel so fucking hard, bro!
And he gets really drunk.
And then I think he's, like, trying to hit on Jessie, kind of.
And Jessie's probably, like, 20-something, but she's still coded as, like, a 17-year-old, uh, to a certain degree.
I think they say she's 23.
That's what he's- he says she's 23, but I- she just doesn't- she still seems like a child mentally.
Totally.
Um, and so it's just really weird that he's, like, drunk and, like, leaning over her while she's, uh, getting ready to go to sleep in the- in the van, but it doesn't really come to anything.
Uh, he just sleeps on the floor.
I think he's just supposed to be, kind of, like, a drunk creep.
Yeah, they do prepare you.
You do kind of get a little bit stressed.
You're like, oh no, man, you can't.
Don't, please don't.
Because even when there's a few scenes like that, I'm like, please don't assault her, man.
Just like, just go to bed.
You know, you're like, you're stressed about it because you're also like, oh no, this is a guy who's like an older guy in like one of these fields where he's like, he let her on the trip, you know.
Some of these guys have nefarious, you know, angles on this stuff.
And so I was stressed about that and they didn't do it, which is I was happy they didn't.
That didn't happen, of course.
He's also got that like kind of evil sounding Latin American accent or like, you know, South American accent.
So you're like, what's going on with that?
You know?
Yeah.
You sound a little too sexy.
You can't just talk normal.
Should he be allowed around our women?
You know?
- You know? - Yeah. - So the next day they meet up with a battle.
I don't know, they're just following the war, like it's the Grateful Dead or something like that.
And they just wind up in a battle that's in a sort of business plaza courtyard where, yeah, Boogaloo Boys.
Guys in Hawaiian shirts and plate carriers are firing at guys in actual army uniforms up on the second floor.
Uh and again it's like really graphic and intense and they're getting shot and the photographers are like right over their shoulders the whole time and they're uh yeah taking photos of the one guy bleeding out while they're performing you know try to put a bandage on him.
And Kirsten Dunst, you know, Jessie is like crouching down to take a photo of the guy as like blood is gushing out of his belly and the other guy is like screaming for a bandage and Kirsten Dunst like also crouches down slowly like an alien watching the scene and then watching the camera over Jessie's shoulder
And then they both, like, stare at it and breathe together, and then, like, Kirsten Dunst sees the photo that she takes, and, like, the screen flashes to black and white to show the photo that she's taken, which happens throughout this movie.
It's a lot of, like, very striking imagery already on screen, but then, yeah, coupled with, like, the photography effect, really good.
And, yeah, just kind of, like, hammers home how weird Kirsten Dunst is about this stuff.
They almost make it seem like they're at the movie.
They almost do this thing where they're like, you're always trying to get a good picture.
The best picture you can get is someone dying.
That's the best.
Listen, sunsets are fine.
If you can get someone dying or someone killing somebody, that's that shit.
Those are the ones.
Imagine getting those fucking history textbook residuals.
Yeah.
You know?
This is, so this scene with the Boogaloo Boys, this is where I was like, I get it.
I get it now.
Because if you don't know, first of all, Boogaloo Boys is like a right-wing gun club, essentially, like a right-wing libertarian gun club, for the most part, who are like anti-state.
And so that might include some anti-conservative ideas about, you know, How young the people are that they're allowed to have sex with.
That sort of thing.
And one guy tricked Jimmy Dore into thinking that the Boogaloo Boys were like pro-Black Lives Matter because I think like yeah a couple people dressed up like Boogaloo Boys to go like quote support Black Lives Matter during those rallies but a lot of that was like Weird safari tourism that they would then report back into private Facebook groups about how they were among the urban types.
You know what I mean?
But anyway, one of them went on Jimmy Dore and was like, yeah, we're actually pro-gay, we actually love Black Lives Matter, and we all want to band together to overthrow the elites.
And Jimmy Dore was like, this is crazy, you'll never hear about this from any other journalist.
Yeah, I wonder why.
And Alex Garland was like, okay, yeah, there's probably some anti-Trump freaks out there.
Like, I think that that's like all you could accuse Alex Garland of is being like, it would be cool to see all these right-wing freaks fight each other.
Like, I really don't see any mistake made here on that respect.
That's what was kind of nice about this movie is you get to like, He gets a little room, wiggle room.
If he doesn't get it all 100%, he's not American.
It's okay.
He's seeing it from very much of a spectator.
So yeah, if he doesn't get all the details right, I'm going to let it rock a little bit.
So that was kind of nice to kind of let that go.
But what's funny about this too, though, is because they are Boogaloo Boys, and they are fighting somebody.
You never get to see the patches on the people in the military.
You don't get to really see.
Yeah, you don't know who they are.
Who they are.
You don't know if they're the, quote, Americans or the Western Front.
You don't know who they're fighting.
But they seem to just be like you said, they're just independent guys.
Yeah, uh, okay, so they're going up through the, uh, the stairs of this complex, uh, quietly, uh, and there's just a man at the top of this stairwell, like, at the top floor.
Uh, you can hear him just moaning the entire time.
Uh, it's like this, you know, they're like SEAL Team Six sort of thing, going up to clear the room or whatever, and it's just this long scene of them going floor by floor, clearing...
The stairwell, with this guy moaning, and they get into the room, and it's a guy in, yeah, American military fatigues, regular camo, like, bleeding out on the floor and moaning, and then they just shoot him right in the head.
They execute him immediately, and then funk rap music starts playing.
Yep, yep.
Right away.
Yeah, and they, during this... A De La Soul song, by the way.
A De La Soul song plays while they're executing four more soldiers with a mounted .50 cal.
And again, this is like, again, more indications that he did a bit of his homework with the Boogaloo Boys, because they would be the ones to have a .50 cal executing U.S.
soldiers.
Like, they would think that that would be based, or epic, even.
And they do that too, because they do show... They're showing these guys being sadistic, you know?
This guy's doing... He's hitting that gun in his slow motion.
He has the biggest smile.
He's like... It's a black rifle coffee company.
Exactly, yeah.
And that's exactly what it feels like.
It is spot on.
And I will say that Joel is enjoying the sport of hanging out with these Boogaloo boys and going on their kill mission with them that he doesn't even notice that, yeah, four American soldiers were executed over his shoulder until they hear the .50 caliber gunfire.
He's like, oh shit, whoa, that's crazy.
All right, so they move on and they wind up at like a Global Relief Fund camp at an old stadium, you know, like a refugee camp, essentially, and Ani made a good observation that it was nice to be reminded that people in tents are refugees, you know, even if they're just, quote, just homeless people or whatever, you know, those are refugees from this economic system that we live in.
Totally.
And Yeah, it's the great leveler.
I mean, you really can always imagine a situation where you might be living on the street.
You know what I mean?
You're not insulated from everything.
And I think it's a good reminder what a...
What a necessity housing is, I guess.
Your cat can kill a support chicken any day.
Right, exactly.
And you can be on the streets.
Exactly.
Yeah, the average American family is only one anxiety chicken death away from total bankruptcy.
Did you ever forget it?
Yeah.
Yeah, so there's no tents available, but that's alright.
They're just going to sleep in the vehicle or whatever.
And Jessie's looking over her photographs and she finds the one that she took of the guy bleeding out.
It's just again this intense horrific shot of a guy screaming for bandages and a guy spurting blood into the air and Kirsten Dunst you know looks at it and just kind of nods her head and she goes you know that's a great photo Jesse and it's just done with like this matter-of-fact like sadness you know it's not even like it's not even like really irony or anything like that because you are looking at something horrific and then she's like oh good photo
So it's got that ironic element to it, but it's said with awareness of how they know their job, they know what they're doing, and it's still just like, oh yeah, that's good, our life is hell, but good photo, you know?
Yeah, there's an element of like, yeah, this is why we do this.
This is why we do this, you know?
But it's also just like trying, it just seemed like a little bit too desperately trying to be normal, like pretending we have a normal job and be like, oh, that's a great photo, Jesse.
Yeah.
Yeah, totally, totally.
One thing I really liked about this scene, though, is because, so Jesse's shooting film the whole time, and the whole time I'm thinking, like, how are you shooting film?
How are you shooting film in this post-apocalyptic world?
Where are you getting this stuff developed?
And they address that, and they show her mobile developing kit, which is very cool.
Yeah, she's got like a little viewfinder that she can look all the, look at all the, you know, what do you call it, the negatives through.
Yeah, so we get like more montages as they're making their way to D.C., more buildings on fire.
There's like a six person march of death down the highway, essentially, you know, just like a family and maybe some friends just trying to make it to wherever they're going.
Bodies hanging from freeway overpasses next to American football team graffiti.
Like, again, You could argue that it's cheap to have bodies hanging from an overpass that also says, Go Steelers.
But I think it works.
I think it's fine.
I think it's effective.
I thought it ruled.
Yeah.
First of all, it told you where they were, which was awesome.
But I had this moment where I was like, oh, this is cool because it shows there's a potential permanence of graffiti.
It's cool because like, yeah, I'm sure the NFL hasn't happened for a while, but that just didn't get buffed out before the NFL went away, before the government fell.
That's a good point.
And actually, the graffiti throughout the entire movie was awesome.
It was very realistic.
I actually saw names I recognized, which is pretty neat.
I think it's cool when they do that stuff authentically and well, because it can be done really terribly.
And it was done well.
Nice.
I also agree that the graffiti looked authentic to me, to me personally.
They wind up in a suburb where it's like normal.
Like there's just people out walking around and there's, you know, sprinklers and birds tweeting and yada, yada, yada.
Even though there's a fricking war going on.
But in the suburbs, it's like there's nothing.
It's like they're not even being touched by it.
And then Damon Wayans shows up in a mail carrier outfit and says, message!
The suburbs don't seem to be affected by the economic strife, by the elite's power play.
Hmm, interesting.
They go into a store to look around and there's just like some bored millennial or bored like, you know, old zoomer behind the register.
And they're like, hey, do you know that there's a civil war going on in America right now?
And she's like, we just try to stay out of it.
Which again is big message.
Big, big, not just liberal message.
I was going to say that's a big liberal message.
But that's also, conservatives also have that.
Where they're like, if you think just voting for Trump is all you have to do, you might as well get in the grave now.
Yeah.
There's no staying out of it.
This scene and this character, I loved because it's super on point for lots of middle class America.
And this character kind of, to me, embodied the person you must be aware of before you're like, oh, shop local, shop local, save the world.
Sometimes you're just buying goods from a cop's wife.
Uh, you know, because she was kind of like, I don't I don't care.
Like, I'm just here to I have a boutique.
I'm maintaining a boutique in the middle of this hellfire.
I don't give a shit.
And that's a very real person.
That's a very real person.
They're like, you know, I'm my dumb little town's full of.
I really like that character.
Sure, but there isn't Hellfire, like specifically, because the area is so rigorously policed, like eventually they look up on the roofs and there's like, you know, snipers patrolling on the roofs.
They could be civilian, they could be militia, they could be part of the Western, well I guess they're in Pittsburgh, so I don't know who would be in control of that area.
Me neither, yeah.
Yeah, so it's like they can afford.
You can afford to ignore what's happening because it doesn't actually affect you.
Again, almost like a materialist interpretation of war right here.
Also, right here was where I was watching Kirsten Dunst in this scene where she tries on a dress.
And I was really eager for her to star in a Marnie Stern biopic.
I think she would be fantastic as guitar god Marnie Stern.
People who know.
That's it.
That's the casting.
That's the casting right there.
I think you're there.
It's funny, Jessie is like trying to take photos of Lee of Kirsten Dunst while she's in the dress and she literally does the You're Pretty When You Smile clickbait article.
So funny.
It's like war photographers, before and after they've been told they look pretty when they smile.
And she does make Kirsten Dunst smile and takes a photograph of it and Kirsten Dunst's like embarrassed by it because she's, again, she's a badass who's dead inside.
I liked her character a lot.
Oh, totally.
And this is another moment I liked a lot, too, because Kirsten Dunst is trying to, like, flex her experience, being like, hey, like, don't take the picture.
And she's like, oh, I'm trying to wait for the moment.
She's like, well, you can let it go past you.
And then the girl's like, oh, says some funny comment.
And she gets the moment, and it's kind of like the student becomes the teacher type moment a little bit right there.
And I thought that was really kind of cute and funny and done well.
Yeah, and Kirsten Dunst's like, that wasn't the moment, but you can tell she's like, she knows it actually was the moment.
Yeah, she knows she nailed it, yeah.
Yeah, okay, so they move on and, you know, they're still in their press, Suburban, and they get caught up in a winter wonderland turkey shoot massacre.
There's like some decorations for like a winter wonderland attraction again, but it's like summer or fall or something, you know, just every, the society's just rotting.
And they're nervous to go to drive down this one road with all this crap, you know, where people could be hiding for an ambush or whatever.
And yes, they do get shot because they're looking and they see a corpse in the road and it's a it's a U.S.
soldier's corpse.
And they're like, oh, I don't know if we should drive down this way.
And then they get shot at.
And so they they floor it and run over the U.S.
troop.
And, you know, they just fuck them up really bad.
like a lot of a lot of striking imagery in this movie that you wouldn't see even in like a violent big big budget blockbuster movie like you're not going to have your heroes run over a soldier's corpse uh to get away from a firefighter whatever this movie is just all about how uh how awful a civil war would be essentially uh and yeah pretty effective um
But yeah, they get caught, they're still getting shot at so they kind of have to take cover and where they're taking cover is also occupied by a military spotter and sniper who are like both trying to take out whoever's shooting at the road and they both have rainbow hair and they both have dyed nails.
They both appear to be men or at least masculine and they're like having a conversation with the reporters while they're all hiding.
And this is where I think, yes, a bit of the movie's philosophy is laid out because the reporters are like, well, whose orders are you guys acting on?
Who are you with?
Like, what's the mission?
What are you guys doing?
And they were like, no one's ordering us.
Someone over there is trying to kill us.
So we're trying to kill them.
Yep.
Yep.
So good.
And that's what we were talking about earlier.
That's a lot of this movie.
Is survival and like I don't know it was really straight here like they just really push it home.
I don't know what's happening.
They're trying to kill us.
We're trying to kill them.
Yeah, it to me speaks like speaks to just the material forces of war, you know where politics might fall by the wayside or any sort of ideology or anything when it does come down to kill or be killed, you know, that's that's the most important thing.
And uh yeah the rainbow hair and the and the painted nails and these guys who were not otherwise like coded as gay like they didn't have like crazy gay lisp or anything like that it didn't even they didn't it didn't even indicate that they that they were together or whatever they were just like alt alt guys like alt zoomer guys who are really good sniper spotters they were like gamers or something i don't know how to describe it No, that's totally how it felt.
They felt accessible, which is interesting.
And there was a vagueness about him, because one of them had dyed hair that looked like it was dyed.
The other one seemed to have some colorful spray on him.
And it was just interesting.
The way they were talking was really fun.
This is when you get a lot of these moments where there's going to be people quoting this, I feel like.
These little parts.
The way these guys talk, the moment when he does get the shot and there's like a syllabus silence and he's like, got good news.
And you know that, oh, that means he did get the guy?
Yeah.
There's a lot of, it felt like, uh, kind of epic.
Yeah, they were cool guys.
They were cool young guys.
Um, but Kirsten Dunst isn't really paying attention to any of this.
She's just laying on the ground and looking at flowers, which, which I really related to, uh, because, you know, they're taking cover in this and while she's down on the, on the floor, it's, or on the grass, she's just looking through a bunch of, uh, you know, dandelions or like,
Baby's breath or whatever the like little white flowers are and it's got that That classic Alex Garland like rainbow lens effect that he does and you know like annihilation and shit That makes everything look looks like it's on drugs looks crazy, and I like it And it's it is just like oh She's like you know my life is hell There's flowers right in front of my face.
I should look at those for a little bit, huh?
Yeah, let me appreciate this.
That's just kind of what it feels like.
Okay, so yeah, they get the guy and then they drive off.
And while they're going down the road in this press van, this press car that they're in, I think it's an Escalade.
And since it's an Escalade, Kirsten Dunst sees another car come up behind her and instantly becomes aggressive towards it.
Instantly views the other car as her enemy, as you must when you're driving a large American SUV.
And this car comes up on them like it's going to try to run them off the road, but it turns out it's just friends of Joel, the male journalist.
And these are crazy and kooky guys.
And one of the guys in the car that's speeding along next to him wants to get into their car while they're driving.
This part was pretty stupid.
And they transfer one of the guys who wants to come with them to D.C.
into the car.
But then Jessie, who's like feeling more, you know, secure and feeling a little more adventurous, she wants to transfer the car.
She wants to transfer to the other car now for fun.
Yeah, she says, like, I gotta do this, as if, like, this is a thing that you do.
Like, this is like a rite of passage, but this is a one-off time where this guy's doing this.
It's a reporter thing, Tony.
She probably saw this and, yeah, thought it was like a reporter thing.
She's like, well, I gotta do it if I want to be a YouTube journalist.
I gotta be crazy.
And so, yeah, what she does is she climbs into the other car and then that guy speeds off with her and steals her.
Yes.
Yeah.
Which is another moment where I'm like, oh no, she just got in this car by herself with this man that she doesn't know.
Jesus Christ, what's going to happen to her?
Yeah, very stupid move.
He speeds off with her and they try to chase, but they can't catch up to him.
They do go off the road trying to catch up with him.
Again, a bit of a stupid part of the movie I didn't care for because it's all fake.
He was just playing a joke or something, but he was apprehended by A different military force or militia.
They come across the car finally that's empty and so they follow their nose to the water where two soldiers are doing a mass grave.
One of these soldiers is Jesse Plemons in the bright red sunglasses.
Are they sunglasses?
Are they stunner shades?
What were they?
I don't remember.
They're sunglasses but they're like solid They're solid like red plastic.
They're all like the same transparent red.
They're like hype.
They look like hype sunglasses or something.
Yeah, they look they're like costumey.
It is this thing where he's wearing his fatigues and then he has these these fun costumey glasses on and it's like, oh, oh, maybe, you know, it's like, oh, he's Serious, but also also cool.
He's also he's also crazy.
He's also twisted like that's what the glasses are like This guy's a killer and also he has a crazy fun time while he does it Um and yeah Jesse Plemons playing his typical uh sort of what's the word we're like you like inscrutable you can't really read what's going on in their mind and you're kind of worried that there's nothing going on in his mind uh crazy white boy crazy white boy he's he's playing a crazy white crazy crazy ass white boy performance from Jesse Plemons
uh who is yeah he has uh Jesse and the other guy who is uh Asian both of the other reporters both of the reporters friends were Asian um and so they have that guy on his knees and Jesse as well.
And so the reporters run up.
They're like, we're press.
They're with us.
Yada, yada, yada.
And Jesse Plemons is like, oh, they're with you, huh?
This is your guy.
And he just shoots the guy.
And then the other friend, the other Asian friend is freaking out and, you know, crying.
And Jesse Plemons is like, you know, they say we're American.
He goes, what?
You know, it's the trailer line.
What kind of American?
And he makes him say, like, what state they're all from.
Let me see here.
Joel is from Florida.
Oh yeah, when Jesse Plemons killed that guy, that got like laughs from some people in my theater.
No way.
Yeah.
That's interesting.
It's like, hmm, was that supposed to be funny?
And I do like the shot where the reporters walk over to Jesse Plemons and the other soldier and they go, hey guys, what's happening?
And the shot just kind of keeps widening to a mass grave.
Again, this movie has a sense of humor, it's just not a very fun one.
They're in the middle of dumping bodies out of a dump truck into this mass grave and he's like, hey what's going on fellas?
Hey guys?
And this is what I'm talking about, this is that moment where there's this part where... because they debate about going up there or not.
Uh, they're all there like, did we go try to save her?
We have to try to save her.
And he's like, no, we can reason with them.
We can, hopefully we can talk, hopefully we can talk to them.
And that's, and that you're watching that happen right here.
And you know, obviously, um, at this point it's failing to, to an extent because they already killed one of your guys just off the jump.
And now they're finding out who's, who's American.
Uh yeah and everybody's from an American state uh except the other Chinese guy who's like crying he doesn't want to say where he's from and uh sorry did I say he's Chinese?
Uh he's Asian um uh and he's finally eventually says he's from Hong Kong and Jesse Plemons goes China and then shoots him in the chest.
Again, a sense of humor to this.
The joke isn't that a guy is being killed because of racism.
The joke is that There is a certain type of guy that exists, like, who would be like this.
Who would, uh... Totally.
Who would, A, want to kill anybody who's not American, and B, just, you know, be like Hong Kong... China.
You're a China man.
You're the enemy.
And what's funny about this is, like, there's... because they're...
For a second, I was like, why are they and why is he asking what state they're from?
Because I don't know.
There was no reason for me to think that this guy was not American.
The guy he's asking who does say he's from Hong Kong.
His name's Tony, by the way.
There's no reason for me to think he wasn't American.
So I was like, why would he tell this clearly this like clear racist guy, this obvious.
I don't know, nationalist guy.
Why would he lie to him?
I probably would have lied to him, too.
I would have lied to him.
I would have lied to him.
It might not have worked, but it might have worked.
Because you know the second he says Hong Kong, you're dead, man.
Yeah.
You know that.
Another one of the states, I think Jesse was from Missouri, and he goes, oh, the Show Me State.
The Show Me State.
And he's like, why do they call it that?
And she's like, I don't know.
And he's all, see, that's American.
It's American to not know why your state's motto is what it is or what it means.
Sure, that's American.
And I would also add, it's also American that the older journalist plows through the two soldiers in the Escalade, now here at this moment, knocking both them and Jessie into the mass grave.
And there's just a gnarly scene of Jessie having to crawl over all the bodies as she gets out of the mass grave.
And they get away.
Again, Sammy, the older reporter, is the one driving, and Joel is losing it, just screaming.
And there was a point earlier in the movie when Lee is trying to dissuade Jesse from coming with them and from being a war reporter in general, where she's like, I don't want to have to watch.
She's like, because if you come, I'm going to either watch you die or I'm going to watch you lose it.
And you watch several people lose it throughout this movie, and this is where Joel is losing it, just kind of screaming into the void in the car.
Jesse pukes up a bunch of stuff.
And yeah, Thufir Hawat, an old journalist, was actually hit.
He's the one driving, he saved them all, but he got shot as they were going away.
So they put him in the back seat and continued driving.
I think Joel is driving, but he's like still screaming as he's driving.
There's like this part where they're almost like, it almost, Joel's almost acknowledging, oh, this is my fault.
Like part of this is my fault.
Like I told these guys where we were going when I was drunk.
I was drunk the other night and I told these guys where I was going right before I was hitting on Jesse, apparently.
Um, cause they say that and he's like, Oh, I guess I was just so drunk.
Um, and like, so he, I think that he is confronting that and that's why he's had taking extra hard this extra hard because like we've seen him watch plenty of people die.
We've seen him be super horny for violence and now it's his friends that he led him there.
And it's pretty, it's pretty.
He continues to scream for like a day.
And during this drive while he's driving again like the diegetic sound drops out so you can't like actually hear him screaming you just see him freaking out but there's like they're driving through a forest fire again this is like somewhere on the east coast or like northeast of the U.S.
Just driving through a crazy forest fire happening and it's just, you know, these slow-mo shots of the sparks flying and flames licking and the reflections of the fire on the glass of the windows that Sammy is looking out of as essentially he dies in the backseat of his car.
And there's like a nice country folk song playing during this moment.
Really pretty.
It's a great song.
It's a Sturgill Simpson song.
That scene hit super good.
It was like, even if I just saw that scene independently when no one was going on.
It looked really good.
Also, if you've ever driven through something like a forest fire.
What was funny is that this is what my thought was.
So I've driven through like little patches of forest fire and it's very stressful.
You can feel the heat.
The embers do look cool, but in that moment you have no time to be like, this is beautiful.
But these people went through something so traumatic that they get to drive through this forest fire and be like, wow, this is like whimsical almost.
Because in comparison, it's like, well, we're probably going to get through this fire.
We can't turn around anyways.
Yeah.
That's kind of how I guess, you know, applying my own little experience to it.
But that's how I felt watching.
It was a really good moment.
And that song was super good.
Shout out Sturgill Simpson.
Absolutely.
So they get to a Western Forces camp, and this is where you realize that the Western Forces is a fully-fledged military that has a crazy military base.
You get helicopters landing next to a lake, and it is evoking essentially Vietnam imagery, to see that, at least in my mind.
And Sammy has died.
They're removing his body from the car.
Joel is still losing it.
Yeah, I have here the Western Forces flag, only has two stars, looks like shit.
And then they hear from the embedded journalists with the Western Forces that the U.S.
military at the White House in D.C.
has essentially surrendered and the forces are marching in soon.
So they're all going to march out and go into D.C.
together.
The journalists are upset because they're not actually apparently going to get a chance to interview him because he's like, this is like his Saddam Hussein moment where he's like, Bunkered in, essentially, awaiting to be killed.
Or, you know, even his Adolf Hitler moment, I guess you could say.
Mm-hmm, mm-hmm.
And so, they're all ready to move out, move into D.C., and there's just an intense scene of all this, you know, all these helicopters and military equipment operating, and it's just loud as hell.
Like, the sound design in this movie was crazy.
Or again, maybe it's just that RPX cinema, Dolby Digital surround sound, baby.
But it was just this crazy, it's this crazy loud scene of just all the military moving out while Kirsten Dunst is mopping Sammy's blood off of the rear seat of the Escalade.
Just like pools and pools of blood pushing it off of the seat onto the ground with this crazy sound design happening.
Just like an oppressive sound design.
So now we get a montage of them moving into DC, the Western forces, and it's just again all the diegetic sound is dropped and we get some like sort of discordant acoustic guitar music with like no other audio as we're just seeing The Western forces like fire RPGs into Washington monuments and then they move further into the city and the oppressive sound design comes back.
It sort of, you know, it does feel a little bit like a Godzilla movie here or something like that, but with the immediacy of person-to-person combat or force-to-force combat at least.
It's huge.
It feels huge.
There's a lot going on.
Yeah.
So they move into the White House, which has like, you know, it's got these huge cement walls all around it.
And at this point, Kirsten Dunst starts losing her shit.
I don't remember really what the impetus for Kirsten Dunst to start losing her shit.
They're just like over the shoulder of all these soldiers who are You know, either getting shot or doing the shooting themselves.
And she's, I think, had it at this point, but they're like literally on the precipice of the White House.
So, Joel is now dragging her into the White House with these Western forces.
Another one of the Humvees that they're with gets hit with an RPG fired by a White House security guard.
He's like right outside the gates of the White House.
But they eventually blow up that little security guard shack and begin proceeding onto the White House lawn.
And yeah, Joel is basically dragging Kirsten Dunst at this point.
And as that's happening, Jessie's going buck.
Jessie is now full confident.
She's not scared anymore.
She is actually putting herself in harm's way to get the shot non-stop, being super brave.
She's going balls to the wall.
And you can tell that she's become desensitized to Lee's suffering because she looks at Lee freaking out and it's just secondary to the moment of getting the shot or following the action.
And they reveal that like, what, there is no plan to capture the president.
The Western forces say, uh, their orders are kill, no capture, basically whoever gets a gun to his head first.
And it just, again, reminded me of like SEAL Team Six fighting over credit of who got, who got to be the one to kill Trump, who got to be the one that shot Trump.
You know what I mean?
Like it would just be as soon as they enter the room, you would think that some, all of them would start firing the shot.
Um, But then the presidential motorcade tries to get out, so we get like two SUVs and a limo, but they all get stopped and then the presidential limo gets t-boned by a Humvee and then sprayed again with a mounted 50 Cal.
Again, just like a lot of cool imagery in this movie.
I'll be honest.
A lot of it felt like what I assume playing Call of Duty might feel like if you're good at that game.
I don't know.
I'm not good at that game, so I've never really played it, but I imagine if I was good at it, it might feel like this.
Yeah, all the Western forces are running towards the limo, but Lee knows better.
She says he's not in the limo.
She starts walking.
She's still got it, baby.
She's still got it.
She starts walking to the White House, and then all the Western forces soldiers run up to the limo, and eventually a woman and child get out of the limo saying, don't shoot, and they all just kill them instantly.
They gun them down both instantly.
And yeah, but now they realize that the president isn't there, so they come back, you know, the Western forces are following the reporters into the White House.
I mean, I've said it before, and I'll say it again, I think all of our soldiers should follow reporters.
I think reporters should be the ones who lead the way in war zones.
Lead with truth?
Lead with truth and justice and art, you know?
Um, yeah, okay.
So yeah, they cautiously enter the White House where apparently all the interns have shot themselves in the head.
It's a real Adolf Hitler situation.
There's a bunch of corpses with guns in their hands lying around everywhere.
And then, uh...
They, um, a small group of guys, again, like Sealed Team 6, approach, uh, there's a single woman who's, like, in one of the rooms, uh, she's, like, the press secretary, and she says, I'm here to negotiate the surrender of the president.
And she says, like, we need a safe passage, uh, guarantee of safe passage for the president, uh, and they're, like, talking to her, pretending to humor her a little bit, uh, and eventually they just get tired of talking to her and shoot her.
And we get a crazy photograph from Jesse of the woman falling after being shot like a puppet with her strings cut.
Pretty, again, like such striking imagery.
So they're proceeding into the White House now.
They're just going to try to, yeah, again, kill the president.
And eventually they will be making their way to the Oval Office.
And as they're going and like clearing hallways, Kirsten Dunst is like right there with them.
And she's like crossing past hallways where you know the the whatever uh secret service is on the other side she's like running past the hallway that's being flanked and and trying to be progressed down and like taking a photo as she runs by to try to try and get a photograph of the shooters you know and this this happens like a few times um
And then yeah Jesse is like right with the soldiers and even in front of other soldiers getting like point-blank photographs of Secret Service members being shot in the head and shit like that and again it is it is such a like ladies rock moment like these two these two badass war photographers it feels a lot like Sicario too to me this yeah this movie did of like People who may have good intentions getting in way over their head with a bunch of psychopaths.
Like, which is what, which is what Sicario is essentially.
Um, and, but yeah, they're like, you know, the, the, the camera is their weapon and they're fucking, they're, they're using it with maximum efficiency.
I got, I got a little bit of vibes of that.
It was pretty cool.
Oh, totally.
Yeah.
Cause she was like precise.
She was, she was, you can tell she was good.
Like they were, Yeah, they were on top of the game.
You're seeing everybody, and you're seeing her kind of like be independent, not really listening to the military people.
Yeah, she's being like a freak.
She's like getting in front of the soldiers who are shooting and shit like that.
Yeah, she's like bowed it and it's pretty wild to see.
And then you see Jesse kind of like doing the same thing and kind of trying to like emulate that.
Right, right.
But yeah, so Jesse does eventually like try to do the same hallway shot, you know, like come out from behind cover to take a photograph of the hallway.
And she does it and Leigh, I guess, gets an instinct that there's going to be someone there.
So she jumps in front of her, yeah, as somebody emerges into the hallway shooting at Jessie.
And Leigh takes the shots in the back after she's pushed Jessie down to the floor.
And Jessie on the floor takes photographs of Kirsten Dunst, Leigh, being shot in the back multiple times and then falling towards her.
Falling on her, right?
She fell basically on her.
Yeah, she like kind of moved off of her.
Yeah, and then Jesse getting out from under her and then pausing for just a little bit and then continuing down the hallway towards the Oval Office where the soldiers are moving.
And yeah, they have the president on his back in the Oval Office and they're pretty much about to execute him.
The Western forces are.
And Joel is like, wait, wait, wait, wait, wait.
I need to, you know, I need to interview him or I need to ask him a question.
So let me ask him something.
And he says, you know, what, what do you, he says, I need a quote from Nick Offerman, who's on his back.
And Nick Offerman says, don't let them kill me.
And Joel says, that'll do, is the quote.
And then they all kill Nick Offerman and Jesse photographs the execution.
Yeah.
Yeah.
And that's like the Bin Laden moment?
Yeah.
It's funny because like right there when he, you know, says like, that'll do, I was kind of, kind of like disappointed.
But I think, is that supposed to like expose him as having, being more invested in it than he's supposed to be?
Like he's like happy to see like, fuck this guy over like, let me get an actual quote from him.
Well I think the quote is good for, is good as a quote because yeah it reveals the weakness of the president.
Yeah.
You know and so that would be, that would be uh I don't know because If you're a journalist, you're just trying to get, like, the reality of the story.
You don't necessarily need your subject to say something cool or whatever.
And if they say something that reveals them to be a self-serving coward or whatever, then that would be good enough.
I think that's kind of what it was.
It was just like, oh, this is revealing of what a worm.
Of what a worm Drumpf actually is, you know?
Yeah.
And yeah, Jesse photographs the execution.
And then we get like a montage of all the photographs that they have taken throughout the movie, including ones we didn't actually see in the movie, like all the Western, not all the Western, but the Western forces who were there all hard styling around President Trump's corpse in the Oval Office, giving thumbs up to the camera.
And it even said, I even got a photograph of it saying Nick Offerman over that, that photograph.
Nice.
And again, just like, I don't think this is like an incredibly like profound political work or anything like that.
It's just, it's just good.
You know, it's, it's just like, yes, this is what would happen.
They would take a fucking, like a hard style pose after killing.
That is exactly what happened.
We've seen it.
The traitor in chief, you know.
Yeah, that's exactly what they would do.
We might not see the picture right away, but that picture's happening.
For sure.
A lot of it felt like watching the Marines in Avatar bodies in Avatar Way of Water, you know?
No, I never saw it, so I don't, but I can imagine.
You didn't see Way of Water, bro?
No.
You didn't learn the Way of Water?
I didn't want to tell you.
I had to fake the credentials, you know?
Jesus Christ, bro.
Sorry.
Well, you get to see a Na'vi and wrap around Oakley iodized sunglasses.
That's kind of the vibe of this movie, I would say.
That's it.
We ran a little long on this episode.
But yeah, good movie.
Didn't hate it.
I was pleasantly surprised.
It wasn't maybe as dumb as I thought it was going to be.
And it was very enjoyable.
Highly recommended.
Yeah, it looked great.
It was gnarly.
It was super entertaining.
Soundtrack was great.
Acting was great.
Yeah, I liked it.
It was a good movie.
Yeah, I'm happy it didn't try to do any more than it did.
Because I think if they did more, that's where they could have really messed up.
Yeah.
They did just the right amount, I think.
And I think Kirsten Dunst's character rocks.
I hope she survives.
You know, we didn't, Ani also mentioned, we never saw her body.
We never saw, like, they never took a pulse or anything.
So maybe she comes back in Civil War II.
Oh, you didn't stay after the credits?
Oh, did she get recruited into the One World North America Alliance or something?
I don't want to say it, but I'm saying that maybe her eyes closed sideways.
Oh shit!
Whoa!
She can't be killed.
It's going to be called More Civil War.
Wow.
Great.
Good stuff.
All right.
Well, thanks for listening, folks.
If you enjoyed the show, go ahead and give us a rating and review on your Apple podcast app or on Spotify.
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That show good.
I like the episode about the stuff.
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We talk about a bunch of Fun subjects, we're gonna go do that now.
We're gonna listen to a song from the Korn dubstep album called Path of Totality that I somehow did not know existed and I'm going to be performing penance for by making everybody listen to one song from Path of Totality every week on Death Chat so we can really hammer home that this is a Korn album that people need to know about.
Excellent.
Excellent.
I'm so happy.
I'm so excited about this.
Oh, yeah.
Plenty of other stuff, too.
We're going to be talking about the MDC tax attorney who our H&R Block tax guy who died, but not before having a bunch of his customers audited.
Oh no!
This is the same tax preparer who showed me the Biden-Bin Laden trick where he took a piece of paper that was folded up and said Biden and he did like mad magazine fold out and it said Bin Laden on it.
Yep.
Truth teller.
That's how I knew he would be a good tax guy.
And then Liquid Death?
What?
Liquid Death was started by a Netflix ad executive?
Whoa, that's crazy.
Who could have guessed?
Who could have guessed that it was Poser?
I just saw they put out a flavor called Dead Billionaire.
Oh, wow.
Yeah.
Well, that's where I'm gonna get my seven dollar can of water.
Hey.
And then Bill Maher.
We'll find out what Bill Maher thinks about punk music also on this week's Death Chat.
So, hope to see you folks over there.
Awesome.
You're going to miss it this week if you're not signed up, but it will be released as an audio episode, and you can also go back and watch old live streams as well over at patreon.com slash minion death cult.
