#283. 'A Complete Unknown'
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With JVL out sick (Mike insists it's just a cold, not the norovirus going around), Sonny and Mike carry the show alone to review A Complete Unknown, James Mangold's Bob Dylan biopic with Timothée Chalamet; Mike loves it outright, calling it a genuine portrait of an artistic genius who refuses to be boxed in by Pete Seeger's (Edward Norton) folk-movement politics, while Sonny is cooler — he finds the personal drama largely uncompelling except when Boyd Holbrook's Johnny Cash shows up ("drunk Jim Carrey," he says approvingly), but still rates it well above something like Bohemian Rhapsody since Mangold "can shoot a picture." A long opening stretch covers Sonny's just-completed New Orleans trip with his wife, taken days before the Bourbon Street terror attack in the same French Quarter blocks they'd been wandering; his old plasma TV dying with a loud pop mid-holiday, sending him TV-shopping for a mid-tier Samsung QLED; and Mike's game- and video-game-heavy Christmas break with his kids (Quix, reverse-Jenga "Tinder Blocks," Lego Star Wars: Skywalker Saga, and his own slow progress through Tears of the Kingdom), plus a new climbing wall in his basement. They also relitigate their Christmas movie draft, with Sonny half-jokingly accusing Mike of rigging the draft order in his own favor, and run through year-end box office (Sonic 3, Mufasa, and Nosferatu atop the charts, with 2024 clawing back from -24% down to just -4% versus 2023), detouring into Sonny's appreciation for Robert Eggers and a rant against The Crucible for eliding that the Hollywood Ten really were communists. They close by predicting A Complete Unknown, Wicked, and Conclave as the Best Picture front-runners.
From the show notes
Like a rollin' stone!
Full transcript
Guest00:00:00If you're traveling in the north country fair, they say no one wants to hear what a kid wrote last month. Well, I like your songs. Where the winds hit heavy on the borderline. Who wrote this? He did. Remember me. How about that Joan Baez, folks? She's pretty. Sings pretty. Maybe a little too pretty. Your songs are like an oil painting at the dentist's office. You're kind of an asshole, Bob.
Mike00:00:43Welcome to the Sub-Beacon podcast. I'm your co-host, Mike Warren. With me is my co-host, who said he doesn't need a weatherman to know which way the wind blows, Sonny Bunch. JVL is out this week. He's just under the weather.
Sonny00:00:59Look, there's a last minute scratch. Last minute scratch.
Mike00:01:02There's no replacing JVL. So it's just going to be the two of us for this show. And there's a lot going on, a lot going around, norovirus and all kinds of gross stuff. So don't think that's what JVL has, just a cold. But wish him well, and he'll be back with us hopefully next week. Join us over at SubBeacon.com, where you can get all the news. You've got to be a patron. You can only be a patron at SubBeacon.com. Tell your friends, tell your family. The only way to listen to the show is to become a patron at SubBeacon.com. Join the comments. It's been real lively in the comments the last few shows. Maybe that's because we didn't do a show for the week of Christmas. I don't know. But there's been a lot of discussion, and it's always fun over there at SubBeacon.com. We are going to be talking about a complete unknown. Later in this show. But first, Sonny, Happy New Year. Merry Christmas. And how are you? What is going on with you?
Sonny00:02:10Everything's pretty good with me, I guess. I don't know.
Mike00:02:13Oh, really bringing the good stuff to the show.
Sonny00:02:16So I got a couple different things. First off is, so, funny story. I was in New Orleans like four days ago. So my wife and I, we went to New Orleans. It was the weekend after Christmas, but before New Year's. So like that weekend. Interesting.
Mike00:02:40Interesting timing there, Sonny.
Sonny00:02:42Well, it was just, you know, like what worked out for us schedule-wise. Her mom was in town, so we could have her watch the kids for a couple days. We could go to New Orleans. And, you know, she had never been. I have only been once before, but we went around. We went to a bunch of great places. We went to this French restaurant, Mamou, which was delicious. Okay. We had a good time there. All over. We went all over.
Mike00:03:13Did you do the French Quarter?
Sonny00:03:15We did the French Quarter. So like this, you know, this fucking terrible tragedy happens at like Bourbon and Canal Street, you know, a couple days ago. And, like, we were like crossing. We were crossing Bourbon and Canal constantly. Oh, yeah. For like a whole. We spent. So we were there. We got in Friday late afternoon and early evening. We were there all day Saturday. We left Sunday early afternoon. But, like, Saturday for most of the day, at least the first half of the day until about 4 or 5 or so, we were just in the French Quarter. Just, like, wandering around, going into shops and, you know, getting bites to eat places. We went to Criollos for a beignet. Beignets and breakfast. It's in the Hotel Montenort, I think is. Yeah, yeah. Something like that, which is very nice. And, yeah, we went to this used bookstore, the Faulkner House. I picked up some. Or I just picked up a book because we spent a lot of time in there. I wanted to buy something. Right. But it's tiny. I mean, it's like there's a sign on the door that's, like, no more than six people in this. I couldn't find a bookstore at any one time because it's, like, the size of my podcast studio, which, you know, folks don't know. But it was, like, about 10 feet by 7 feet. This bookstore was not much bigger than that.
Mike00:04:38I bet it had even more books in it than your podcast studio does, which nobody can see, but there are a lot of books in there.
Sonny00:04:45Barely more. So, anyway, but it was, like, you know, it was a nice little trip. We stayed at a hotel. We stayed at the Hyatt Regency, which is, like, right behind the Superdome. Yeah, okay. We stayed in, like, a 25-story. We stayed on the 25th floor. It's, like, a 28 or 30 stories. But it was, I mean, it was, like, crazy high in a way that I have not experienced in a while because it wasn't just, like, it wasn't you weren't just on the 25th floor. You, like, look out the window. You expect that to be high. It was one of these hotels with an open atrium plan.
Mike00:05:19Oh, yeah, yeah, yes, yes. And, like, all the way down.
Sonny00:05:24That's amazing. Like, you look over the rail. You look over the window. You look over the rail, and it's, like, 250 feet. And I'm, like, this can't possibly be safe. I don't understand, you know, considering how many drunk people there are in this town at any given time. But it was, we didn't die.
Mike00:05:41Best meal? Best meal?
Sonny00:05:43The best meal was that first one at Mamou. Oh, yeah. Again, French restaurant. It was pretty good. We went to another one called, I think, Coquettes or Croquettes or something like that. It's on Magazine Street. That was pretty good as well. Again, Criollos for breakfast that day. And then we went to, I believe it's Mr. B's Bistro or something like that, which is, like—
Mike00:06:05Yes, yes, I've been to Mr. B's.
Sonny00:06:07It was all good. The food was all good. Drinks were great. You know, we did the tour at the Sazerac House.
Mike00:06:17I was going to—the Sazerac, yeah.
Sonny00:06:19So that was fun. I had forgotten that Sazerac now owns Buffalo Trace and that whole family. Correct. I don't know exactly. I assume there's some, like, Jim Beam-style conglomerate above all of those that owns, like, you know— Yes. But—
Mike00:06:37Because they own Buffalo Trace. They own at least one or two other distilleries in Kentucky and a whole lot of other stuff. But did you—so did you go to the Roosevelt Hotel and the Sazerac Bar there with the—
Sonny00:06:51So we did, actually. We went to the Roosevelt Hotel to go to the Sazerac Bar. But there—but it was, like, we went there at, like—it was, like, 3 in the afternoon, and we needed— like, we went there because we wanted to, like, sit down and have a drink, and there was nowhere to— Really? There was nowhere to sit, and there weren't— There weren't any chairs at the bar, which is unusual. I've been there before. The other time I was in New Orleans, I went there, and there, you know, it was like a bar, and there were chairs there. Like, I sat at the bar last time, but they didn't have those chairs there this time, I guess probably because it's Saturday afternoon. People coming up and, you know, getting a drink. Going on. New Orleans is a fun town. I like it. It is—it's also a very funny town because it's, like, you have all these, like, chicken and daiquiri shops where it's, like, come— Oh, yeah. Come get some free daiquiri samples because that's what people need is free liquor in this town.
Mike00:07:46Everybody's walking around with hand grenades and hurricanes and—
Sonny00:07:50Yeah, it was a— Well, it was wild that— It was great.
Mike00:07:55—that you were there just a couple days ago. A couple days before this— Yeah. Terrible, terrible thing. Terrifying. It's weird because, you know, I don't—I knew people who were in New Orleans from my Georgia connections because University of Georgia Bulldogs were playing in the Sugar Bowl. And I didn't really—I wasn't really talking to anybody who was there, but, like, through my own personal connections, like, a friend of my mom's was there and was, like—and was apparently—because there was a— there was a CVS right where—right where the attack happened. And this friend was, like—it was, like, at 3 o'clock in the morning, was, like, almost getting ready to walk in the CVS and decided, no, my feet hurt. I'm going to go upstairs to my hotel room instead. And, you know, it's, like, it's wild because if you know anything about that part of New Orleans, of the French Quarter, it's just—there's just so many people all the time, particularly at 3 o'clock. So, it's really terrible. But I'm glad you had a good time there. New Orleans is—it's a great place to visit.
Sonny00:09:05No, it was—people should go—people should visit New Orleans. This is not a reason—no excuse not to go visit one of the great American cities. Go to New Orleans. So, anyway, that—the only other thing going on in my life is that my—so, as longtime listeners know, I am a—I was partisan of the plasma TV. One of the great TVs.
Mike00:09:26Oh, yeah.
Sonny00:09:27And I still—I still have one. It's a Samsung 65-inch. I should say I had one because it—I went to turn it on today. Literally today. I went to turn it on so my kids could play Wii or whatever. And it—there was this enormously loud pop when I hit the power button. Like, I thought—I thought somebody had, like, popped a balloon right next to my ear. Like, I was like, what the hell was that? And that TV was—the TV was— It was fried. It was—I was like, well, that's not a good sound. The TV's not coming on. Like, it was—it was interesting, too, because I could hear—I could hear volume coming out of the speakers, but there was no picture. And I, like, I kind of unplugged everything and—and anyway, long story short, that TV is dead. I took it—I took it to the recycling place immediately. I was like, I just gotta get a new one. So I've got a—now I'm in the—now I'm in the market. I'm in the market for, like, a mid-tier 65-inch TV. I'm looking at the Samsung QLED class. I figure that—that's probably where we're gonna—we're gonna end up. Okay. Because I—you know, I—but I, like, I don't need—I don't need, like, the fancy OLED. You know, I've already got one of those in—in the main viewing room. I don't need that sort of thing. So anyway, that's—that's, like, it's—but it's interesting, though, because shopping for, like—there's a difference between shopping for— shopping specifically for, like, I need a thing, right? And we'll look at the range of things. Or, like, I'm shopping for—I want this best type of thing. Like, then you can kind of narrow—but now it's just kind of like, I need a—I just need a thing. And I, like, I don't do a lot of, like, I just need a thing shopping, you know?
Mike00:11:14Yeah, yeah. Does that make sense?
Sonny00:11:15Does that—does that breakdown make any sense to you?
Mike00:11:18Sure, it does. And it's—for me, it's— It's, you know, we've had this discussion on the show before, and I really feel like we're missing JVL, particularly at this moment, because he would have lots of deep thoughts about this. I have a very hard time buying things like that at all in the first place. It's just—it's, like, it is such a heavy mental load for me to purchase, like, a major appliance. I mean, look, if it's an appliance that I need to have, like, I need to replace it, fine. Like, I can—I can— When the gun's at my head, I can make a decision on those things. But, like, particularly on, like, TVs, it—and without the knowledge that you have or that JVL has, like, it just feels like an infinite number of choices where—and I don't even know what I— I don't even know what I want, so that's my problem.
Sonny00:12:18Again, this is one of these things where it's not that big a deal because it's, like, it's the— Extra TV, basically, right? Right, right. The TV that the kids use or whatever, it's the TV that, you know, occasionally will, like, sit as a family and watch something or whatever. But, like, it doesn't need to be, you know, it doesn't need to be great. I still want it to be not terrible. So it's, you know, I'm not going to—I'm not buying, like, a $200 incense TV or Hisense or whatever they're called from, you know, Best Buy or whatever. It's kind of, you know, it'll—I've narrowed it—again, I've kind of narrowed it down. I'm—
Mike00:13:00But there's no pressure. There's no pressure to do it together.
Sonny00:13:03Right, right. There's no, like—there's no, like, I need that TV immediately or I'm going to be crazy. Like, that, you know—
Mike00:13:09See, I need that pressure. That's—I think that's what I'm—
Sonny00:13:11You need something—you need somebody, like, really bearing down on you.
Mike00:13:15Exactly. The clock is ticking. Let's do it. So, anyway, all right. Well, I guess— How have you been? How have you been since—
Sonny00:13:24Since we last talked. There's all sorts of Christmas news, certainly.
Mike00:13:30Yeah, I guess.
Sonny00:13:31New Year's news. I don't know.
Mike00:13:33I don't really have any news, per se. I don't have anything to break here. It just—it's been—I was thinking, it's been a very game-and-play-heavy couple of weeks in my house. So, we are definitely a game family. I don't know if—I don't know if you guys are, if you guys play games with your kids, you play games, like, with—
Sonny00:13:55Like Yahtzee or whatever.
Mike00:13:57Whether it's Yahtzee, well, okay, well, certainly those kinds of games.
Sonny00:14:00Are you talking board games or, like—
Mike00:14:03Well, let's start with board games and those kinds of games. So, you know, card games, board games, whatever it is, like, we do a lot of that, and we probably would do more if, you know, our kids were a little older. Like, in fact, as—what I noticed this Christmas break— Now that both of my kids can basically play a lot of these games, it's been a more prominent part of our time off with the kids home. Like, they're constantly—both constantly asking us, the grown-ups, or the grandparents who are in town to play games. And they got games for Christmas, like a dice game that's really fun called Quix, if you want to look it up, Quix, Q-U-I-X-X. That are sort of, like, simple, right? They're sort of these small packages—
Sonny00:14:58I disapprove of the spelling of that game.
Mike00:15:01I don't care for it.
Sonny00:15:03Quix, Q-U-I-X-X.
Mike00:15:06We can't even remember what it's called half the time. It's just that dice game. You know, but it's like one of the—it's like these games that are, you know, they come in little packages where everything fits in the tin or fits in the little box. And there's one that my father-in-law got. Which is like a—it's like a reverse Jenga. So it's like these—it's called tinder blocks. And it's these tiny little wooden blocks that are either log-shaped or little cubes that are red and yellow, which are fire-shaped. And you basically have to sort of build a fire based on the cards that you pull. But, you know, you have to use tweezers and you have to sort of build the element and then place it on the existing one. And, you know, all that sort of thing.
Sonny00:15:55Have we discussed—have we discussed modern board games?
Mike00:15:59No, but I feel like you're gonna hate the—I feel like you hate it, Sonny, right? You hate the sort of modern board game craze.
Sonny00:16:09My problem with modern board games is that they all have too many rules. There's too many rules. Like, I get these card games or whatever, and it's like, draw six gemstone cards, but mix them with four rhinestones. Gemstone cards. And it's like, shut the fuck up.
Mike00:16:27This is like Cones of Dunshire on Parks and Rec.
Sonny00:16:31Exactly. Totally. Just give me a board and dice.
Mike00:16:35You forgot the essence of the game. It's about the cones. But, yes, okay, I'm with you, but I would say that there are a lot of high-quality games out there that are— seem intimidating until you start playing them. And I know that's a cliche, but it's like they could be really fun, and it's all sort of about strategy. And it's been very fun to see my kids, to see which games the individual kids glom onto and don't like. So, for instance, my oldest is—fine motor skills have never been a forte of his. So, for instance, the reverse Jenga or these tiny little cubes that you have to use tweezers to put whatever, he can't stand that game. He doesn't like it because it's hard for him. But my middle one, who would play with Legos all day if he could, like he's great at it. He loves it. He wants to play it all the time. So, you know, but we have a lot of fun learning these games. And, you know, there are sort of—there's been a proliferation of these. There's kind of party games as well. If you've ever played like Bananagrams, for instance, which is sort of a crosswords—it's like a freeform Scrabble where you sort of are trying to put together, build a crossword and run out of tiles to use as you build it. Great game to play after you've had a couple drinks with your friends at the beach, which is what we do with our friends at the beach. There's just—it's a great time for games out there. And so we had fun with that. There's also a lot of video games in the last couple of weeks. The kids got a pair of Nintendo games from Santa. Which ones? So I'll start with the lesser hit, but this was my almost seven-year-old's choice, which was—so they have a Nintendo Switch. It's Kirby Return to Dreamland Deluxe. I don't know. Okay, fine.
Sonny00:18:56Kirby's got to get back to Dreamland.
Mike00:18:58Of course, and he's got to do it deluxely. And then the real winner has been—it's a Lego Star Wars game called Skywalker Saga. Have you heard of this game, Sonny? No. It's fantastic. So they started playing it at a friend's house. They have friends who are brothers as well, and they have it on Xbox, I think. But it's also made for the Switch. And it's essentially—what it is is it's Lego Star Wars. It is every world or every kind of in-game is—you play the narrative of each of the nine Saga Star Wars movies. And everybody's in Lego. And what's great about it is your playable character switches based on the level that you're playing it. So, for instance, at the very beginning— At the very beginning of Star Wars, of the first Star Wars level, you know, you are playing—if you're playing one player, you're playing as Leia. If you're playing two-player, you're playing as Leia and a, you know, a rebel redshirt. I don't know what you would call it in Star Wars. The rebel guys on the first ship that are shooting and get shot at. And, like, you play that level and you reach sort of the end of that level. And then all of a sudden, you're now playing C-3PO and R2-D2. And you've got a different task to do. And so— It's actually great for, like, two players, for two kids, especially for, like, a younger brother who sort of maybe always feels like he's playing second fiddle on the two-player games. Because you—like, it's very collaborative and also kind of—you don't know which character you're going to get in whatever—however you're playing it. And so that's been great. It's very funny as a lot of these Lego mashup with another property are, you know, they make jokes. You know, when C-3PO and R2-D2 are in the escape pod, the cut scene is them looking out on the ship. The damage doesn't look so bad from out here. And then it, you know, it makes it look like they're in a washing machine, you know, like, fills up with bubbles as they're looking out the window. It's, like, cute jokes like that that my boys lose at it. They think it's so funny, so clever. So that's the big hit. I've actually been playing a lot of video games, which is nice. Not usual for me, but my kids got me the later, the most recent, maybe it's not the most recent, but it's, like, the most recent serious Zelda game, Tears of the Kingdom, which is the sequel to Breath of the Wild, which I received for Christmas a few years ago. And I still haven't beat because, I don't know if you know this, I don't have a lot of time.
Sonny00:21:45Yeah.
Mike00:21:45You know, this thing called time that you need to, like, play video games. So now they've been pressuring me, my boys have been, to finish Breath of the Wild. So there's been a lot of time that, like, they would like to play video games, but they've been like, no, dad, you play and we'll watch and help you so that you can beat this game so you can play the game that we got. So that's been fun. That's been nice. That's been great. You know, a little break here and there to play some video games. And then finally, I put up, I sent you guys the photos, the climbing wall on the side of my wall in my basement. And, you know, very easy to put up. Maybe you can share one of the pictures on the on the thing. But it's it's it's attached to my wall. It's not going anywhere. And it's going to be something great. It's basically like three panels. One is like kind of a rope wall that you can climb. One is like has a swing and some like rings hanging down that you can push off of. And then the middle panel is a climbing wall with like little knobs that you can climb up. And so in the winter. Months, it'll be great for them to get the energy out. So everybody's been playing. I had a great time. That's that's what's going on in my Christmas.
Sonny00:23:00That's nice.
Mike00:23:01Yeah. Before we move on, do we want to talk briefly about the Christmas movie draft? Any kind of. Oh, yeah. Final thoughts on this.
Sonny00:23:13I wanted to do. I wanted. I was going to do a little bit on this. I decided not to because, you know, bits are hacky. But I do think. Oh, yeah.
Mike00:23:21Bits are below us.
Sonny00:23:22We took we took we took last weekend off because I wanted to have a full investigation, frankly, into the draft ordering as it's, you know, you showed up on the episode. You were like, I have in my pocket the names of when people will go. And I didn't really think much of it at the time. I was like, you know, it's a it's a it's a it's a different category draft. So we can all go like first, second and third. We could do it that way. But I want to make a big. You already had it all planned out, but it is interesting. Some might say suspicious that you had the the the first pick of the second round, which was the round that Die Hard was obviously going to go in. I would not have picked Die Hard because, as everyone knows, I do not believe it.
Mike00:24:14OK, OK. So what's your point?
Sonny00:24:16JBL would have. No, but no, but I think it's I don't think you necessarily know that I would not have picked it. I don't think. Fair enough. So I'm just saying you show you show up and you're like, oh, yeah. Oh, don't worry. I'm going third in the first round. Poor me. I get to go first in the second round. I get to go third again in the in the third round. You know, I got to go third twice. That's a real. And I got to say, the more I thought about it, the more suspicious that got. So I don't even know who won the. I don't even know who won the poll because I just don't think it really counts. Well, it's a draft. I think it's a. It's a. We're going to have to. We have to talk about. We're going to have to take it. There might be an asterisk next to it in the record books. The. The draft record books. I don't know.
Mike00:25:05It's kind of, you know, election denial, really, on the subject. I'm sort of shocked because the way I look at it, 337 votes, 65 percent of 337 votes. Can anybody do some quick math for me? What's what's 65 percent of 337 votes as a zero?
Sonny00:25:22It's as of 67, 60, what, five percent of three hundred and three hundred and zero.
Mike00:25:29So you would you would throw out the votes of two hundred and nineteen people because of some suspicion. What is your accusation? Sonny, what is your accusation? What is your accusation? You haven't made one. You haven't made one.
Sonny00:25:42Well, my accusation is that you monkeyed with the draft order. How dare you, sir? But that's that's an assumption. I'm not throwing out the results or anything. I'm not. I'm not throwing out the results. I'm just saying that, you know, in again, in the record books, we put a little asterisk next to it. You're you got the Roger Maris, basically. Oh, you're the Roger Maris of the you.
Mike00:26:06You lost and and now you're throwing a hissy fit and now you're throwing a hissy fit. All I know is think about this, Sonny. Think about this, Sonny. Do I look like a guy who would even know how to rig a draft like this? I don't think so. I don't think so.
Sonny00:26:23What does that even mean? I like you're you're not you're not that I can't make a draft.
Mike00:26:30Well, no, but like you're not like you're not that dull. I don't know. But this is like this is I'm not I'm not saying I'm dumb. I'm just saying, like, I got I got a lot going on winning this draft.
Sonny00:26:45I mean, how did you come up with a draft order? How did you come up with a draft order, Mike? I had it out of a hat.
Mike00:26:51No, I had a number random. I went to. I have a number randomizer and just put in our names and clicked randomize and it came out Sonny JVL Mike.
Sonny00:27:00Interesting. Interesting. OK, can't really check that. Can't really trace it. You didn't take a screenshot.
Mike00:27:04I assume I could probably share my history. Would you like to see that?
Sonny00:27:08Which I mean, I'll pour out anything that I'll pour out my heart here.
Mike00:27:13I'll put I'll open up the books.
Sonny00:27:16I just say next time. Next time. Maybe we discuss it a little bit ahead of time to see. You know, so you're not surprised. You're not bringing last minute changes on the electorate, if you will. You're not changing the rules as we as we go. It's just something to think about.
Mike00:27:36I'm carrying this podcast with all of its gimmicks on my back here. So, you know, the you know, I got I got to come up with all these.
Sonny00:27:45I came up with I was the one who said I was the one who said we should do a Christmas draft and also gave the categories for the draft.
Mike00:27:52And then you stop there and then you stop there.
Sonny00:27:55Well, I didn't realize I didn't realize I was going to have to deal with a fraudster over here. I didn't realize I was going to have to deal with Mike putting his thumb on the scale for that. But, you know, it's fine. It's fine. You want you won one. You won one. I think this I I again, I think it's time.
Mike00:28:14So, Sonny, I think it's time.
Sonny00:28:16What are the little cross things? You know, we got asterisks, crosses. Stars. Oh, yeah.
Mike00:28:24The little sword. Yeah. Yeah.
Sonny00:28:25Yeah. The little sword. The little diamond. Do a little diamond.
Mike00:28:28Whatever. Whatever. Whatever. Whatever makes you feel good, Sonny. All right. Let's move on to discuss the box office. The last box office of twenty twenty four, I guess, is what we last the last weekend that we have to discuss here. Number one of the box office, Sonic the Hedgehog three, which was at its second week at at number one. I had kind of forgotten that this movie was coming out, frankly, but but it's holding, I guess, fine at number at number one. Mufasa, the Lion King at number two, just just behind it, really, and had a kind of an uptick. And then number three, Nosferatu, which I am not saying. Did you see Nosferatu?
Sonny00:29:11I did. I did see it and I liked it a lot. The no, it was a it was a interesting it's an interesting weekend. Again, we you got to look at the whole year and this this was a year that was shaping up to be pretty disastrous. I think at the end of March, it was down negative 24 percent year over year comparing, you know, box office at the same time to between 20, 24 and 20, 23. And it ended up only being down, I think, four percent year over year, which, you know, that's a that's pretty good recovery. And there was and there was a pretty big Christmas weekend business, you know, Sonic the Hedgehog, considering there. Was not considering there was not a big new family movie out this this this Christmas weekend, you know, Sonic and Mufasa were both in the weekend before Christmas.
Mike00:30:04Got it. Yeah.
Sonny00:30:05Nosferatu, again, is not where I would not describe that as a family film. Precisely, a complete unknown is probably the closest thing to a family family movie. And it it was not it was not there at the top. No, but it was a it was like a really good weekend. Just lots of, you know, again, like it helps that you have it helps that you have Sonic the Hedgehog and Mufasa, two obvious family movies. But then you also have Moana 2 and Wicked, you know, which are both five and six weeks old. I think something like that hanging around and doing doing decent business. You know, Gladiator 2 is holding like everything is everything is holding pretty well, which is nice. Nosferatu is I liked it a lot. I liked it a lot. And it I really I really like Robert Eggers. I don't know if you've seen his other movies, The Witch and The Witch and The Lighthouse and The Northman. I don't like The Lighthouse that much. It didn't didn't work for me. But The Witch and The Northman, I think, are great on this. And this is very much in line with those movies. He does this interesting thing where he's one of the few modern filmmakers who may make movies set in older time periods that hew to the beliefs and standards of those time periods, which is, you know, like you say that and like you're like, well, of course, that's what movies that's what period pieces do. I don't think that's true. A lot of the time, I think the perfect example of this is a show that's on Apple TV called Palm Royale, and it like it doesn't it doesn't really matter. All you really need to know about this show is that it's set in Florida in the 1960s during the kind of beginnings of the manned space flights and stuff. And you know, this is this is this Kristen Wiig. Yeah, it's the Kristen Wiig show on Apple. Got it. Got it. And it's a sort of show where like I saw somebody tweet like nobody on this show is ever smoking and that really bothers me. But the real the real issue is that like everybody on the show who is good. Has basically like twenty first century center left beliefs, right? Like all of the characters who are good are very tolerant of the gay character who has to live in the closet. And you know, they're they're like supportive of his of his lifestyle, et cetera, et cetera. And like that, it's like that sort of thing is throughout the you know, it's you know, it is a it's it's. And that is just. That is just the way it is on lots and lots of on lots and lots of movies and TV shows that have a period setting. This is not Nosferatu is not a movie like that, I don't think, which is nice and like especially especially The Witch and The Northmen are both movies that are very much like what would happen if pre-modern people encountered like mystic evil? Like, how do you how would they deal with?
Mike00:33:22It and it is this the is this the is this the one where it's like the the witch, but the W is the two V's.
Sonny00:33:28Yeah. All right. Sorry.
Mike00:33:30That's that. That's the witch. OK. But it's like, what is it? It's like it's like around the Salem Witch Trial time or Puritan times or something.
Sonny00:33:41Yeah, it's Puritan. It's not specifically the Salem Witch Trial, but it's basically so when the movie came out, it's so funny when the when the witch came out, there was like this round of pushback from, again, mostly progressive critics because there was an initial round of praise. Then there was a round of pushback from from mostly progressive critics who were like, this movie is bad because it is set during the Salem Witch Trials and it treats witches as real. It treats witches as real. Witches are real in this movie. It's not just a witch hunt. It's it's real.
Mike00:34:10It's, you know, and like it's a it's a it's a horror movie, but it's but it's a horror
Sonny00:34:15movie. But also like it, it the perspective of the movie is told from somebody who. Is. Was alive at this time and like dealing with witches, which I think about the thing about witch hunts is, you know what? You know what's true about witch hunts? Usually the witches are real. Yeah, usually, you know, this is we can talk about Pete Seeger here in a second. Totally. Stalin or the Crucible. But no, this is like I resent the Crucible more than any other piece of fiction. And I think we have we may have talked about this. I resent the Crucible. Because it it does this thing where it's a metaphor for the communist witch hunts, right? Like that's kind of where the Arthur Miller. It's a metaphor for the communist witch hunts. And like there were no witches, obviously, because witches aren't real. So the witch hunts were unjust. The problem with that metaphor is that there were communists everywhere. There were communists all over. And like the you know, the. Hollywood 10 bunch of fucking communists. Pete Seeger fucking Stalinist. And like we could talk about whether or not we talk about whether or not it's like good or bad that the government was involved in making them like I'm not I'm not interested in that debate precisely. I just want people to acknowledge that they were, in fact, communist stooges. And then we can go from there. Then we can go for like once you acknowledge, acknowledge the communism, acknowledge being in the service of an enemy state and its. Ideology, and then we'll move from there. We can we can discuss from there. So anyway, that's why that's my beef against the crucible. Every time there's every time there's a there's a show that is like either about the Salem witch trials or whatever that like treats witchcraft as real. I like stand up and cheer. I like like so this extends to WandaVision or not WandaVision, the the Agatha all along, Agatha all along that that Disney Plus show that was that was out. It doesn't mean you didn't miss much. I thought it was fine, but I enjoyed it mostly because like the premise of the show is the Salem witch trials were were necessary because there was evil witches. There were good witches, but there were also evil witches.
Mike00:36:36So what you're saying is art must you to your ideological priors, which leads us to talk about this week's movie, A Complete Unknown. Sonny, let's move on. And can you give us a big boy review of? A Complete Unknown.
Sonny00:36:53No, that's not my point, Mike. My point is not that. My point is. I know it wasn't your point. That's not what I was saying. I like lots of commie agit prop. There's plenty of good communist movies that you can, but I, but you have to acknowledge. Three Days to the Condor. You have to acknowledge the comics.
Mike00:37:08Yes. Okay. Okay. All right. You can get off your soapbox now.
Sonny00:37:15Oh, should I do my review? A Complete Unknown. That's what I asked for. That's what I asked for. A Complete Unknown. Directed by James Mangold. Starring Timothee Chalamet as Bob Dylan in his early years. Basically 1960, was it like 59, 60? 61.
Mike00:37:2961.
Sonny00:37:29To 65. When he plugged in and went electric at the Newport Folk Festival. So what's interesting about this movie is that it is, the central idea of it is essentially that, well, I don't know if this is a central idea, but this is, my big takeaway is that, is that Bob Dylan is essentially unknowable and uncategorizable and resents more than anything else being put into different categories. Like that is.
Mike00:38:03You might call him a complete unknown. Right, exactly.
Sonny00:38:06It's not, it's not, it's not subtle about this. It's not, it's not subtle about this. So again, he shows up in New York. He meets up with Woody Guthrie, who is, has, I don't know, Parkinson's or ALS or whatever. He's laid up in a hospital. Um, uh, and, uh, is played by Scoot McNary. I love, always love it when Scoot McNary shows up. Uh, and Edward Norton, who is Peter, plays Pete Seeger, uh, is at the hospital with Woody Guthrie and Bob Dylan shows up. He's like, I want to sing you a song I wrote for you. And Pete's like, well, go ahead. We got nothing but time. And they, he plays a song and Pete and Woody are both like, whoa, who's this guy? He's singing songs. He's singing folk songs. And they're so good, I guess. I don't, I, I, the songs all sound the same to me. I'm not a person who would have been booing him plugging in. I would have been like, fuck yes, finally, we got, we got some real music coming. Uh, so I don't know, all the, all the folk stuff. So I like my, the thing about this movie is that as a piece of personal drama, I find it relatively uncompelling. I just like, I'm not, I don't find any of these people terribly interesting. Uh, and as famous as they are, like the, the, the only time it really sparks to life on that level for me of like, look at these famous people hanging out is when he's hanging out with Johnny Cash. And that's because, and that's because, uh, Boyd Holbrook plays Johnny Cash, like drunk Jim Carrey, which I approve, which I approve of. It's not, he didn't get Joaquin Phoenix. James Mangold did not get Joaquin Phoenix to come back and reprise, uh, Johnny Cash. This, he's like, he's like clown Johnny Cash, which I enjoy. I like Boyd Holbrook a lot. He's very good in this. Um, but you know, like I... I, we go through a lot of the, you know, the, the highlights of the sixties. Bob Dylan is in New York when the Cuban Missile Crisis happens and he uses it as an excuse to score with Joan Baez. It's good for him. I hope that all worked out. Uh, he, he, you know, he goes, he does the, he does, he goes to some of the marches and he performs and he's, um, and he, then he, you know, kind of interestingly is at a fundraiser and folks are like, we want you to play folk songs for us and he's like, I don't want to play folk songs for you. I don't, that's, that's not what I, that's not why I'm here. And I, again, the thing I have always, I am not, I am by no means a Dylanologist. I would assume, you know, much, much more about Bob Dylan than I do Mike. And we'll, we'll, I'll, I'll let you, uh, fill folks in on that. But one of the things I've always found interesting about Bob Dylan is that he does not want to be pegged down or, uh, or like really, um, Associated or affiliated any cause in particular, right? Like he sings the songs. He wants to let those kind of stand on, on their own. And yes, he went through a whole folk phase and yes, you know, and they, he was doing protest songs, whatever. But I like, I, I, I've always found him interesting for being not pinned down. In a, in a real way, which, you know, again, I know some folks don't, don't like that. I, I just find it very. Very interesting and real. Um, uh, I don't know. I like the, the movie, the reason the movie works is because it features Timothy Chalamet playing Bob Dylan, singing songs that people like, like that's why that's why musical biopics work and this is why it's always been, you know, people always talk about walk hard and like, oh, why are they still making the musical biopic? Walk hard, destroyed that formula and exposed it as formulaic and nobody could possibly be interested in that anymore. And people like formula. First of all, people like formula, but they mostly like what they actually really like is having someone on a big screen, sing the songs by the musician that they like, that's, that's what, that's all people want. It's all people want from, from, uh, a big movie like this. They just want, they, they literally just want to hear the songs they like here. And on that level, on that level, this, this movie is very successful again. I like as personal drama, whatever. Oh, he's mean to the women he sleeps with. Okay. I don't care. I don't care about that, but like they're like, they're none of their relationships are interesting except in the accepted in so far as how it helps him write songs or it doesn't help him write songs, you know, like that's the only thing that's, that's interesting about it. Uh, I think Chalamet is very good in this. I think Edward Norton is very good. Monica. Barbaro as very good. Um, uh, whichever fanning, L fanning, she's, she's very good. Uh, I, I, I like, I like good movie. It's fine. It's fine. It's it, it, it hits every, it does everything that a movie of this sort is supposed to do. It succeeds on its own. Uh, it, it succeeds at what it's trying to do. So good for it.
Mike00:43:17Yeah. So, so I. I saw this movie the day after Christmas with my parents who were in town and, um, just the, just the three of us. And we went and the, as my mom and I were talking about the, the themes and what we thought about the movie as we were leaving my, uh, my dad's comment was essentially a validation of, of what you just said, Sonny. He was like, I just thought it was a great movie to listen to all those great songs. Like he literally like, that's, that's what he appreciated. That's what most people who go see this movie will just love about it. And Chalamet does a very convincing, I read your review Sonny. I actually don't think he's, his prettiness is too distracting. I mean, that's just a subjective thing, but I thought he really embodied Dylan much more smoothly than I thought he would. And the, the, the, the movie does a, a great job of letting the songs breathe and, uh, play out in, in, in a way that I think lesser movies sort of get you the, get you the nugget that, you know, Oh, it's blown in the wind or, Oh, it's a hard rain is going to fall. And then, and then like moves on, but like the, the songs have a chance to, to really kind of breathe in the movie. And I think that actually helps serve the narrative or the character development purpose of them as well. So, um, I don't know. So the bottom line is I love this movie. I think it succeeds for all the reasons you mentioned, but I also think it's, it succeeds because there's, I think there's a point to this movie. There's a, there's a, um, there's a message about art and geniuses. And I believe Bob Dylan is, is a genius. Uh, I believe he's like, well, he well-deserved the Pulitzer prize and, uh, sorry to have the Pulitzer prize, the, the Nobel prize in literature in 2016. Um, he's, he's sort of, uh, singular in kind of pop culture as, as a, as a poet. Um, and, uh, I'm just, I'm, I'm a huge fan of that. And I think, so I think he's a genius and I think this, this movie does a great job of demonstrating how someone like that cannot be put into an ideological box. Or a, or part of a project, which is clearly what Pete Seeger views him as. And it's complicated because it's clear that Seeger also views him, you know, sort of views him a bit as a surrogate son, or like he's a mentee and Seeger's the mentor. And I don't think it's, Edward Norton does such a good job. He's so understated of, of showing both his concern, but also his concern for this young, you know, extremely talented person, but also you can kind of see his real turning Dylan's going to be a part of my project. I'm going to bring socialism to the masses through folk music. And when Dylan goes in a different direction, Seeger just like, can't, can't handle that. Um, but, but I think it's a good, uh, demonstration of what a true, what a true artist who is not a political activist. First, second or third, um, you know, what it's like to sort of try to put them in a box. They will, like, they cannot, they cannot be in that box. Um, a couple of scenes I thought that were very important for sort of understanding this movie. So you remember when there's a party at Bob Dylan's apartment in the, in the West village and, um, and Monica Barber, who's playing Joan Baez is sort of like looking around and she sees these, like they were like yearbooks or kind of photos from. From Bobby Dylan's. Childhood in Hibbing, Minnesota, where he's Robert Zimmerman is Bob Dylan is a stage name. He's been telling people in New York that he's worked in the circus and she sort of discovers, oh, wait a second. He was like a Midwestern kid. And there's like, he's, you know, I think he had a letter jacket or something in one point, but you know, it shows him playing in bands, which is all true. Like he, he played on like rock and roll bands, like every teenager growing up in the fifties who liked music. Um, and I thought. That was a great way to demonstrate that the facade that he's put up, like what he's, what is, what he's hiding is that he actually, he wants to be, he wants to be a rock and roll star and that's the sort of youthful energy that drives him to go to visit Woody Guthrie in New York or actually New Jersey and become a part of this folk scene. Like it gets his foot in the door and he's clearly talented. But at the end of the day, he wants to, he wants to like rock and have fun and then later on in the movie when he follows Bob Newworth, who becomes his, his road manager to that bar where he's like playing the, Bob Newworth is playing guitar and it's like just a bar band. They're playing an Irish folk song and it's like the place is like rocking and rolling. And like in, in like the metaphors like so thick, he's like there and he's trying to hide because like he, he just wants to listen to the music and have a good time. And then everybody notices him and starts freaking out the band and the band stopped. Like he can't. He can't experience and do the music he wants to do because of this folk aura that, and, and, and the importance of what he's doing. That's come around and he does, and he sort of rebels against that. And I just think the movie does a great job of, um, of, of, of telling that part of the story. Maybe it's not great personal drama. I don't really care about that. I just, I looked at that aspect of the movie and thought like, this is, there's something more here than just, he was born. Something bad happened to him. Then he became a musician and then he went through all this stuff and then, you know, the walk hard story, you know, it's, it's not there, but it's, it's telling you a very discreet story about a genius. And, uh, and, and, and I just, I loved how they did it.
Sonny00:49:36Yeah, no, I mean, I, I, that's, that's one reason, like the walk hard format doesn't really work for him because he doesn't have that. He doesn't really have that like fall. He doesn't have that, uh, that, or at least not in this time period anyway. I mean, I, you know,
Mike00:49:52There, you know, I mean, I think he's, there's some moments where he's got a drug problem, which he's talked about, but it's like, it's not out in the open. He's not getting arrested. You know, he had a very rough few years in the eighties where he like, he became a evangelical Christian and released these like Christian folk albums that nobody liked. Um, but I mean, the other thing about it is, you know, the movie ends spoiler or the movie ends after the Newport 65 festival where he plugs in and everybody gets mad. And then like, actually it turns out a lot of people liked it. And, um, I do love, by the way, there's an element in here where we're sometimes it's in the foreground and sometimes it's in the background, but like all of the black musicians for whom Pete Seeger is sort of like trying to prop up, you know, because he's like the folk, uh, I don't know. He's like, he's like the caretaker of folk music, him and, and, and uh, and, and Alan Lomax. Um, like they all seem in the movie seem to like what Bob Dylan's doing when he goes electric, because like it's good music. And I don't know if that was an intentional thing, but there's like a, in Newport, there's like a, one of the, one of the performers is a black woman and she's like standing in the wings and while everybody's booing her, she's like dancing to, to the music. And I just thought that was like a night. It was a nice little nod to the, the, the kind of paternalism of, of the lefty folk movement.
Sonny00:51:21Well, this, this movie does do a very interesting thing. And again, it's, it's, uh, when I was, it's one of the reasons I mentioned Eggers and his, uh, kind of, I don't know, theory of, of taking the ethos of a time in which his movie is set is because there, there is this interesting thing where if you just looked at the visuals of this movie, you turn off, you turn the sound off, turn the dialogue off, just look at the visuals of that Newport film. Folk festival. And what it looks like is like a Dixie rally in the South. What it, what it looks like is like Lomax, right? Is, has his like button down shirt with the spenders and his slacks. And he looks like, he looks like with his like beard, he's kind of having, he looks like somebody out of, uh, fucking Dixie. Um, and the, you know, the, the people in the crowd yelling are definitely, are like all, it's like all angry white people. Oh, um, and like, and like you, and like you say, there is, there's this kind of like, yeah, yeah. Well, you know, uh, look from, from the few black folks that are in the crowd and it just, it's just very interesting because I like, again, I have no, I have no idea how accurate this is to the time period or whatever, but there is this very reactionary side to the folk scene or it, it is portrayed as this very uh, you know, kind of stuck in amber movement. It, it does, it is, it is portrayed as like, for as, for as, you know, uh, wild left-eyed Stalinist Pete Seeger is, you know, as, as like, as, you know, as much as he is like the progressive, he wants to change the world. Like that scene is that, that musical scene, not that scene in the movie, but also that scene in the movie, but that musical scene is very reactionary and and that's very, that's interesting again, to compare, to contrast the, the politics of those people with how they actually behave, which again, I would say is not, you know, well, it's, it's interesting.
Mike00:53:35It is. Well, there's a generational thing going on there too, because, uh, for instance, um, uh, Peter, uh, Peter Yarrow from Peter, Paul and Mary is a very minor character in this and he's, uh, he's closer to. To the Dylan generation than the Pete Seeger and, and Woody Guthrie generation. Um, and he's one of the ones who pushes back on, um, on that kind of the, the, what I keep calling them, just as I've been thinking about this and writing about this, like the folky old heads, um, because they sort of, they like, which I think is so much of a commentary on, on generations as well. And like, and, and, and the way in which like young artists are, are so often it's, I think it's, it's hard for older generations or older people in a, in a movement, in an industry, in a, in a, whatever you want to call it, to sort of give way to younger people who have a fresher perspective or a new idea. And, um, and that doesn't always mean the younger people are correct or that it's, it's objectively good, but I just think it, that's a universal kind of message of this movie. Um, the, the, what the, the, the thing I was going to say was that. Like the movie ends at Newport. And I was also thinking about like how much, how much of the Dylan story and like the, some of the highest points of the Dylan story come after this. And it's, um, it, it's remarkable and it makes you just realize that he could see what he wanted to do and he did do what he wanted to do. I mean, he goes, he does all kinds of fascinating things because he, he loved music and he was, like I said, he's a genius. He, he, and, and, and to your point about the sort of calcified folky movement, like ultimately the focus are a political project and his Dylan's is an art is an artistic ambition and it's, it's cruel to the people around him. It's, it can seem, um, like betrayal to the people who sort of lifted him up. But, and it's like Dylan does not cut Bob Dylan. Does not come off as like a great person in this movie. He just comes across as to me as a budding genius who can see what others can't see. And, you know, the, the good angel of Pete Seeger, like he kind of like flicks him off his shoulder and it's the bad angel of Johnny Cash who was also, um, rebelling against the sort of Memphis and country music scene that he comes from. I mean, he literally becomes a part of the outlaw country. We've been all this stuff. Like he sees a kindred spirit in Dylan. Um, and, uh, it's just, it, I, I think it, it does a great job of telling a bigger story than simply here's a, here's a guy who had a lot of great songs and here's what he played them in a kind of a big moment in his career and in sort of the cultural history of the United States. And yet it also works on that level too. So, um, do you have a, do you have a favorite Bob Dylan song or record or, or anything like that? I know you said you're not. You're a Dylanologist.
Sonny00:56:51I am not. I am not, uh, a Dylanologist at all. I, I'm a big fan. I do like, uh, like a Rolling Stone. Great song. Uh, Hurricane.
Mike00:57:02The scene where they, where they kick into like a Rolling Stone is, is incredible. It's like, it, it makes you go, oh yeah, that, that's, that he's of course right to plug in. Yeah. When do they do that?
Sonny00:57:12Yeah. No, uh, like I said, I like, uh, Hurricane. Um. Ah, from Desire. Great. That's a great song. Uh, I don't know. I mean, it's, uh, I, but again, I'm, I am not a, I am not a, I own zero Bob Dylan albums. I'm not a, I'm not a Dylan guy. What about you? What's your favorite Dylan?
Mike00:57:37That's tough. It just depends. I mean, he's got, again, he's got such a varied career. Um, probably Blood on the Tracks is probably my favorite Dylan album that I could listen to over and over again. But, you know, he was writing like in 1969 and 1970, he was writing songs with George Harrison who had like all of these ideas. So like they met each other and like all these fantastic songs came out of that. His work with the band is terrific. If you, if, you know, if you listen to, um, you know, the, some of those bootlegs and, um, the basement tapes and all that stuff, the band was sort of at the height of their powers and he's like writing with them and doing, doing that. Uh, I mean, it's blonde on blonde, which is the next record after that. It's like the next record that comes out after this movie ends, uh, is great. And, you know, I even like, I even like the folky stuff. Um, I don't love all of it. It's not my favorite Dylan era. Um, but I will say that the film does a great job of demonstrating how he was even sort of elevating this very, I think kind of stayed and boring genre. Like he was doing interesting things with it. And, um, and I think they, they do a good job of depicting that you can pick it up. You're right. Right. You can, you have some great, I mean, uh, the, the Joan Baez performances are beautiful, but they are a little, they are for folks, they're like a little square and you can see the comparison, the contrast with Dylan's performances, um, at that time. So, um, yeah, I don't know. I, I, I love Bob Dylan. Um, it was, I, I just, I love the hell out of this movie. And I enjoyed it. So there you go. Good.
Sonny00:59:22Good for you. All right. I'm glad. I'm glad you, glad you, I, again, I like it. It's fine. Like it, it, uh, I liked it. I liked it. I liked it well enough. Um, uh, it's more, it's more competent certainly than something like Bohemian Rhapsody, which like, Oh gosh, is it, is another, is another movie where they play a lot of songs that people like. And like, that's why people, Normies love Bohemian Rhapsody. I don't know. Like if you ever, if you ever like. It's very funny. Sometimes on Twitter, somebody will be making fun of Bohemian Rhapsody and like 17 people in the replies will be like, my coworker was just telling me about this amazing movie that he saw that came out a couple, a couple of years ago. Loved it. It's his favorite movie is Bohemian Rhapsody. It's like, Oh my God.
Mike01:00:06Um, but that is, it's not a, it's not a, it's not a good movie.
Sonny01:00:10It's not a well-made movie. It's not a well-made movie. This is a very well-made movie, but James Mangold can shoot a, can shoot a picture. So.
Mike01:00:18Oh yeah. Oh yeah. Um, yeah. Uh, so is it going to win any awards?
Sonny01:00:23Is it, is it like, I would say, I would say a complete unknown is it the, the three front runners for best picture at the Oscars, I would say are a complete unknown, uh, wicked and conclave. I would say those are the three movies I would wager on if I were, if I were a betting man. Um, Nora has. I think the brutalist has a shot. Uh, but I, I would say those three, um, are the ones that, uh, that, that appeal to the widest swaths of voters.
?01:01:04Okay.
Mike01:01:04All right. Well, we'll, uh, be cluing into, uh, or like, I don't know, get it. We'll, we'll, we'll find out, uh, all this. So I, it's a weird, it feels like a weird year because I really just, I have a hard time remembering. What would be nominated for stuff like that? I mean, is Chalamet, is Chalamet going to get, uh, uh, a nominee nomination?
Sonny01:01:27I think he's, I think there's a pretty decent chance he gets nominated. Norton should.
Mike01:01:31Edward Norton should.
Sonny01:01:33What's that?
Mike01:01:34I think Ed Norton should.
Sonny01:01:35I think there's a decent chance Ed Norton gets nominated. Uh, the toughest race this year, the, one of the tightest is supporting actress. I could see Monica Barbaro maybe getting a nomination. Um, uh, but no, I don't know. I mean, it'll get, it'll get best picture. It'll probably get like best director and best, best editor and set design and sound and all that. So, um, I'm sure it'll, it'll do fine.
Mike01:02:01Stay tuned in. Uh, all right. Well, that is all the time we're going to give to this episode. Uh, join us over at subbeacon.com. Tell your friends, tell your family, family, family, family, family, that out. Uh, and, uh, and leave a comment, join the conversation. We will talk to you next time. Uh, yeah, this is, um, uh, this is funny. So there is that scene at the, during the, the Cuban missile crisis, um, where like people are like fleeing New York. Um, and my, my mom, who was like a little kid, like not. Paying attention, um, to that stuff when that happened, she was like, is that, did people really do that? And so I looked it up and the New York times, in fact, in fact has an article about it, uh, which, um, and then, and then the way I found that article was sort of a retrospective article from maybe 20 years later, uh, which they mentioned Bob Dylan, uh, and other folkies like singing, uh, in, in, in the West village at this time. And it was like, it was like a weird, surreal moment. It was like, Oh, like that really did have the, the idea that, so in the movie, it's like the, the people are fleeing New York on the, as the Cuban missile crisis is going on. And it's, it was, it was just, it was bizarre to see it. I don't know why I was so sort of thrown off by that. It's just, it seems like I know about the Cuban missile crisis. I don't know about like people on the East coast in these big cities, just like leaving town. Like nobody ever talks about it. So, yeah.
Sonny01:03:49No people. I mean, like, I, I don't know. I, it's interesting. The, uh, um, Oh, what was I going to say? Uh, something about mad men. I feel like there's an episode of mad men where this, where they, they actually do do this, uh, where the Cuban missile crisis happens and people are like fleeing. Um, but I, I can't remember for sure. I can't remember if, if that actually happened or if it's just something I'm imagining happened because mad men hit on all the important things.
Mike01:04:19In the 1960s, it's, it's hard to say lots of member berries, lots of member berries of that show. I gather. Have you not seen it? I'm sure it's fine.
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