Kermode & Mayo’s Take - Jordan Peele, Nope, Eiffel, Five Days at Memorial and Blind Ambition

Episode Date: August 12, 2022

Join Anna Bogutskaya and Rufus Jones as they fill in while Mark and Simon are on their annual cruise. Rufus speaks to the genius director behind ‘Get Out’ and ‘US’, Jordan Peele, about his latest horror/sci-fi ‘Nope.’ Anna reviews the harrowing new Apple TV + series ‘Five Days at Memorial’ - chronicling the aftermath hurricane Katrina had on one hospital, ‘Eiffel’ - following the life and career of Gustave Eiffel and starring Emma Mackey, ‘Nope’ - Jordan Peele’s latest big hit and ‘Blind Ambition’ - a new documentary about Africa’s best and most unlikely sommeliers. PLUS a surprise from Mark and Simon... make sure you wait for the credits... You can contact the show by emailing [e-mail] or you can find us on social media: @KermodeandMayo A Somethin’ Else & Sony Music Entertainment production. Find more great podcasts from Sony Music Entertainment at sonymusic.com/podcasts To bring your brand to life in this podcast, email [e-mail] Learn more about your ad choices. Visit podcastchoices.com/adchoices

Get holiday ready at Real Canadian Superstore. Will you find more legendary ways to save than any other major grocery? Until December 13th, you'll get a free PC turkey when you spend $300 or more. That's right, free only at your Super Holiday Store. Conditions apply to fly for details. Hello! Welcome to Kermode and Mayo's Take. I am Rufus Jones. And I'm Anna Bukutskair. We are standing in for Simon and Mark while they're off on their annual cruise, sailing the high seas this week, no doubt. So Anna, hello again. Hi, there's that booming voice. Come on. Come on. Come on. Now the production team

have asked us to introduce ourselves in the first bit, although we've we've met each other in a formal life down the line. But please, we are friends, not foes people. Let's start with you, Anna, can you tell me something that no one knows about you? This is going to be a confession. Okay. And I didn't tell you this before, but you want to see your real reaction. How many days have you lost confession? Probably years. I have seen every single polysure film there is. By the expression in your face, I can tell that you know exactly who Polysure is.

I am judging me for it. I'm trying to summon up a polysure impression, but I can't, man. That's not even him. Only one person could do polysure, and that's polysure. So our listeners will probably know Polysure from Enchino Man. In Cino Man also known as California Man here, a film that I still have on DVD, so I'm

judging me. Do you have it for Pauli Shaw or do you have it for Brandon Fraser? Obviously, Brandon Fraser. I cannot go a single day without mentioning Brandon Fraser. I think I'm known for this on the internet. I love him. I love Brandon Fraser. I wish only the best things for him.

I went to see... And he's having a moment, isn't he? He's having a big moment. Yeah. Do I want to take credit for this? Yes, I do. Ha ha ha. Um, best polisher film?

In the army now. No, Sun and Law. Sun and Law. And worst polisher film. I think it's a... I think it's a documentary he made about himself called polisher is not dead, where he pretended that he had died to see how people reacted.

Yeah, those high concepts, films go one or two ways. Not great, and I cannot believe I've wasted minutes of the show's airtime talking about Polisher of Old People. Let's go back to my not-fragile. Listen, he's part of Hollywood folklore because his parents set up the comedy story. Yes, that's true. That's a huge group. How key group? My confession is that I'm still wearing purple nail varnish from the Christina Aguilera concert I went to on Saturday. How was she like?

It was bright and bright. Me and my girlfriend and our friends went along. And I'm not a natural Aguilera Easter, but she was kind of incredible. She was always incredible. Yeah, you see, but she was there and then she wasn't there for the last few years, because she kind of pulled out of the music industry in a really healthy way.

Yeah, good for her. And just kind of went, I'm not going to do the body fascism. I'm just going to be myself. And the record company went, okay, well, we don't need you anymore. Turns out she's still a superstar and 30,000 people in Preston Park in Brighton. What was your favorite song? Agreed with me. Oh, all the old hits.

Weirdly, the lady, lady Marmalade, sort of, medley thing. Yeah, did that. Okay. Dirty with two hours, I think. Yes, it's with two hours, but very fundamental song. Am I upbringing? But I just suddenly realized, my God, you're just one of the...

For better or worse, you're one of the voices of our generation. I think for better now, is that... You know what I'm really glad for. I'm really glad we're going through... We're living through a moment where all of them aligned or misunderstood or mocked, stars, musicians, pop stars, film stars, TV stars, all of the 2000s and the late 90s are kind of coming back and getting not only their chance to say what actually was happening from their point of view, but that they're being met with, with a warm audience, with empathy and with people actually saying, you know what, we messed up. That was not a fair reaction,

that was on us. So Anna, what is coming up on the show today? So I'm going to review all of this week's essential releases, the documentary blind edition, the series, five days at Memorial and the films I fell and nope, which of course brings us to our extraordinary special guest. Oh, today's guest is the current king of the horror genre. He directed Get Out as well as us among others. And he is about to release his latest film, the aforementioned note. It is, of course, Jordan Peel. It was so exciting to talk to him.

I'm so jealous. I'm actually so jealous. I'm jealous. I'm jealous of yourself. But there's more, isn't it? There sure is. On Monday, there will be another take in which you'll hear more on core. Jordan Peel, I don't know why I'm saying that in a foreign accent, we'll be expanding your horizons and I'll feature one frame back inspired by note.

We've been asking you for your favorite alien movies. Lost to Choose from Anna. I have a lot of thought to aliens. Excellent. Send your suggestions for great streaming stuff to correspondents at kermodonmayo.com. Sign up to the premium value extra takes to get stuck into all that stuff and you can access all the extra stuff through Apple podcasts or if you want to use a different platform, hey, knock yourself out, head to extra takes.com. And if you're already subscribed,

then you're, well, you're a member of the Vanguard, so thank you. Thank you so much. Let's go for an email, shall we, Anna? Here we go, from Noah Crampton, who is 13 years old, one of a generation of precociously intelligence and lovely young emailers that the show has gotten used to.

Noah writes, I am a heritage listener and first time e-mailer. Being only 13, I have very few good films at my disposal that I haven't already watched. Really, Noah? You've watched them all? My word. However, most recently I've been working my way through the original plans of the apes films. Love them.

This made me appreciate, once again, how good some classic films are, as I'm also a huge Hitchcock fan and a lover of the original Universal horror films. 13 years old. No, no. Incredible. I would be grateful in light of this. If you could recommend to me some classic films and where to watch them, especially those in the horror, thriller or sci-fi genres, thanks again for your wonderful work.

Noah Crampton. What do you reckon, Anna? Well done Noah, 13 years old. I know what you're fan of the Universal Monsters. He is doing the work, isn't he? We should be friends. I was thinking about this. If he's a Hitchcock fan, he would have already seen the biggies, he would have already seen Psycho, so I'm going to recommend another one, which is a film based on a children's book that terrified me as a kid and became a film that terrified me as a kid and as an adult, Nicholas Rogues, 1990 film The Witches, not the Ann Hathaway we make, the Angelica Houston starring one. It is, works as a

kid's film, and it is one of those really, really underlyingly terrifying films. The prosthetics, just the characterization of The Witches, and just a sheer fact that The witches in the witches hate kids so much. They just wanna kill the kids. They just wanna kill the kids. It captures role-doll, I think, better than virtually any film that's been made of his stuff.

That's true, and it is, it's a Nicholas Ragh film. So you know it's interesting and layered and textured. It do not dismiss it because it looks like a kids film because it's based on a kids book. It is frankly terrifying. I'm scared of it now. I would also recommend The Night of the Hunter from 1955. The Charles Lawton Film, Charles Lawton famed recognized actor. This is the only film he did with Robert Mitchum as a real killer, misogynistic preacher, essentially on the prowl and trying to get rid of a couple of kids to get his hands on

a big loot of money that their father left behind. It's one of my favorite films of all time. It's glorious. It feels completely out of place for the time that it was made in. And again, something that ends up in a lot of critics lists, like my own, but at the same time needs to be seen more. Good luck, Noah. Right. Douglas Kirkpatrick says, heritage listener here,

and on the subject of Mufti Day, and all the angst it entailed, the panic about what you would wear and an odd to all those, including myself, who just about managed to get to school on time every day, let alone remembering it was a non-uniform day to those who wondered the corridors of their shirt sleeves rolled up and P trainers in an attempt to blend in until the bell. Anyway, the reason I write is that our chemistry teacher, Bishop of Heriford Bluecoat School, Circa 88, took the view that aed in VCR and square TV was the

perfect way to relax on those last two lessons of the term. I'm relating to this, by the way, and it's extremely strongly. I don't think you would get away with it these days as he chose to show us the shining in two installments. Someone noticeably wobbled by the experience. Nice use of wobbled. But most of us took it in our stride. Final mention should go to your discussion about remakes. Point break should never have been remade. The magic the original was totally lost in the action sequences were laughable.

Tickety Tunk and Up with Gen X have a fantastic cruise and love all your new podcasts. Now this is interesting, Douglas, because I was shown the shining at my school in a kind of film society context when I was 14 and that was terrifying and maybe a little previous I think maybe I could have could have done with another year under my belt before watching Shelley Duval you know Monitley Fendorf Jack. That is a very cool way to do that. Yeah.

I just got shown quest for fire about five times. Oh, quest for, you know, my dad worked on quest for fire. Did he? Yeah, he was moving. Movement choreographer on quest for fire, but that's another story. But I was also shown at school, the devils, Ken Russell's the devils at the age of 12. Now that just seems right.

My history teacher, because we've done witches and the medieval period. Out of all of the witch's films, even all of the British witch's films, the Devil's, that's the one that they wanted to hear. I loved Mr. Rwom. He was great. Wow. Right. Dear Love and Thunder, this is from Marlin. Long time listen, at first I'm right, I was convinced that you would be flooded by Swedes writing in last week, Right. Dear love and thunder, this is from Marlin.

Long time listen, at first I'm right, I was convinced that you would be flooded by Swedes writing in last week, but since that was not the case, I feel urged to explain. Now I'm gonna try and attempt this pronunciation. Sir strumming, I think, yeah, I'm gonna go with that. Is assaulted and fermented herring. The tradition is ancient in Scandinavia

that oldest fish fermenting site in Sweden could be traced back to something like 9,000 years ago. A lot of Swedish traditional food has to do with conserving for cold months. Huh, didn't know that. And today, those traditions are often stronger the further north in the country you go. Nowadays, we eat sir strumming in summer after the first weekend in August. And there are rules. One, the can is never to be opened inside. Two, if you can open it in a tub of water to avoid being hit by the juice. Already, I'm intrigued and appalled.

And three, if at all possible, eat outside. Now regular listeners will know that this is in relation to J Rainer's email about fermented fish from a couple of weeks back. Why even bother, Marlin continues. Well, oddly, it doesn't taste very much like the smell. It's very salty, a bit fishy, a bit fermenty. Kind of towards a solid Thai fish sauce in flavour.

Okay, Marlin, I'm on board. The fish itself is also used almost like a seasoning, if that makes sense. You eat it with buttered turnbrewd, which is a thin crispy bread, potatoes and quite a lot of onions. Whenever you see non-sweeds eating this, they eat way too much of the actual fish or stand around smelling the tin, which no local would ever do. I'm listening from Stockholm nowadays, but discover the show while living in London? I quite honestly never thought.

I would move back to Sweden, but after having Stellan, my first son, the pull of family and things like free education and practically free childcare became too strong. Wow, I'm moving there as well, Marley. A classic move for roaming Swedes I've since learned. This means that your show now provides me with both all my cinema and cinema adjacent news, but also a window back into English life and culture. Hello to Jason and Toby Jones, up with families of all hair colors, and of course,

free education, down with Nazis and pandemics, and thanks for all the fish. Very best wishes, Nolan. Oh, my. All the fermented fish. Absolutely. We are now moving on to some correspondence about Irma Vep, the Alicia Vikander series that Mark and Simon talked about last week. Amos Salem, a musulam on YouTube, I think it's a musulam, says, highlights, the recapitulation of the creation of the original was also interesting, and the clips of it were wonderfully crisp. I enjoyed it, but it wasn't brilliant. Mind you, things don't have to be quite right to you. A cozy meta-journey of a production of a series

I haven't seen ever. I've seen a few episodes. I think I've seen about four episodes of this show, you know. And it was on my to watch list list and I'm so enjoying it. I'm a big fan of the original serial and my big fan of film history in general. That's what I've dedicated my career to and what I love talking about. And when I studied in Paris, the French really do have such an in depth appreciation and commitment to understanding and not letting go of their film history.

And even through shows like this, which is in a mix of languages, has a Swedish performer in the lead, plain in American and it's set in Paris and it is very meta and it is so much a continuation slash remadgining of the of the 90s film that Olivia Salles did with Maggie Chung in the era of Emma Vepro, but they also talk so much about the original serial, the 1916 serial live ampere, and they talk so much about Musidora, who is I went down a little rabbit hole about Musidora again after watching a few episodes of the last night, and she is, if anything, if you've left with any curiosity after watching a couple of episodes, or if you're not, or the whole

show, just go down that rabbit hole. There's a really, really fascinating history of her. She was an actress and artist, a director, a producer as well. She married, she moved to Spain, married a bullfighter. They hinted this in the first episode of the show, but it's so much more vast than that. And if I can, there's a, there's a really fabulous article by writer and historian Pamela Hutchinson on her website, Silent London, which just gives you this beautiful overview of who this woman was and why she is the original villainess of cinema history and still so are learninguring and so fascinating. And this show kind of deals with that too. So there's something for film history lovers,

there's something for Alicia Vikander lovers. And it's just entertaining. I thought it was a half an hour sort of dramedy and it's actually hour long episodes. It went down so well really enjoying it. I'm going to watch it now. Should we do a review? Let's do it. Come on. First up is I fell. And I think we have a clip. Fell? Yes, pardon. I told you you could have ideas on the subject of concours.

I'll provide the subtitles. The list of us, especially ideas, the stuff is in favor of the Metro of the Metro mix. No one dream, after the defeated sedan, France needs a monument like you did for the Americans. Statue of Liberty, what a symbol. That was Bartolti's work, sir. But if it stands, it's thanks to you.

Hey, Trinan, what do you think? Same as Mr. Minister. You must be freer. Or decious. If I get the metro, this must be France's revenge on history. I fell! That's why I expected you. Here. Oh, dishes. Forget the Metro. This must be Francis Revenge on History. I feel, that's why I expect to you, a granite column, how boring.

We want to punish, Nutella. 300 meters high. 300? Incredible. Made a metal? I'm entirely a metal. I wish I had you in my screening office. It would have been so much more enjoyable.

I may do some audio subscription, audio description for screenings of I fell in the weeks to come. What did we think of this? Is it a French film? It is a French film. I mean, calling in a film is a choice, which I'm not gonna make on this show. You know when sometimes you go see a film and you're kind of unsure of why it exists. You know, is it a passion project? Is it a really juicy commission? Is it a rights issue? Someone just doesn't want to let the rights out.

Is it a tax break? I think this is an ad for Paris. Oh! There is something really to talk about this film where at the beginning I noticed that they said that it's sponsored by Laurel Perry. And suddenly I thought, Oh, okay, that makes sense. And it is essentially it

is not a strict biopic. Anything that's sponsored, probably not, probably not a great space train a little bit later. But it's essentially a fictionalized version of Gustav A. Felle, who is the architect and engineer who is responsible for the Eiffel Tower, which was the clip that we just listened to. You know, he, this is the moment where he pitches it. And it's also about the love story that was going on alongside that massive life-changing career-making project that he was embarking

on. You know, he recommend, he reconnects with his long lost love who he hadn't seen in over 20 years, played by Emma Mackie, who I did not know was actually French. Didn't I know either? Did I know that? I was like, why? I thought you were recognized, I guess. Yeah, Emma Mackie from Sexers UK. Right, right, fabulous actress. I was like, oh, her French is fantastic. I wonder if she's in a way. She's got the Kristen Scott talk to her vibe going on. Exactly. Well, no, she's French. In any case, she's great. I will say up front, I already had

Aiki feelings about this film going in because Emma Mackey's 26, Remain Dury, who plays Gustave Eiffel, is almost 50. And it does that thing in the film where they age up the male lead to remind us the 20 years in fact have passed in the story. But Emma Mackie looks 26 at the start of the film and 26 years, 20 years later when they

reunite. And it's one of those charming age gaps. Yeah, they're both fine. They're both fine. Do you know what? I hope that everybody had a lovely tummy Paris. I hope they got paid a lot of money and that they all got a whole big basket

of lorail products. But ultimately, there is no pull to this film. The love story is not a love story. It's completely nerd. Emma's character, Adrienne, has no personality. They do this thing where she has, she gets a couple scenes where she does random, explosive, impulsive things like,

oh, I feel, I'm gonna jump into the river and you're gonna have to save me because I'm impulsive and slightly dangerous and unhinged because I am a woman. And then you must fall madly in love with me. And then she just disappears. And there is nothing to it.

The thing that does become exciting about the film is actually the engineering feat that was the Eiffel Tower. There is one scene that I thought, oh, are we actually going to get an interesting movie about the class issues, the strikes, the actual engineering and the danger of building a tower like that, which, you know, it sounds like the most boring part of a film that is marketed as a love story, but it's actually the most exciting part is when they actually build the first level of the Aval Tower and through a combined system including hydraulics and something else, which I don't have a recollection

of because I'm a dumb dumb and I don't know any engineering. I know films. That's my thing. No films and bread and fresh air. And I'm only sure, don't do yourself that. That's right, too. Thank you. Thanks for your support.

And it's riveting because you see the delicate combination of leadership and engineering and also of maintaining all the work for safety and how everybody essentially needs to work for the same thing to make this huge monument that I fell intended to be essentially an equalizer. A monument that was visible and free for everyone who went through Paris, which is the interesting nugget in the middle of this completely bland and unnecessary film. I would really urge everyone to kind of avoid going to the cinema to see it. It does not deserve a big screen.

And I really hate that the fact that this is the first review of this show. I think if you're making a film about the Eiffel Tower that does not deserve the big screen, then you're probably not doing something right. Saying something. But hey, if you want a French love story with an enormous phallic symbol in the middle of it, then Eiffel is on a general release. Still to come, Anna.

I'll be reviewing the extremely intense series five days of memorial, which is about the difficulties of a New Orleans hospital after Hurricane Katrina, the documentary Blind Ambition, about four Zimbabwean men who formed their country's first wine tasting Olympics team. And of course, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, Nope. Then you Jordan Phil me release. Nope. Yep. And you can hear from the aforementioned Jordan Peele himself plus the laughter lift. A new thing for Anner and me, an old, somewhat say very old thing for Simon Mark in a few minutes. But for now it's time for the ads, unless you're one of the hardcore in which case we'll be back after a nice jingly thing. Gingly thing. Hi, esteemed podcast listeners, Simon Mayo.

And Mark Kermot here. I'm excited to let you know that the new season of the Crown and the Crown, the official podcast, returns on 16th of November to accompany the sixth and final season of the Netflix epic Royal Drama series. Very exciting, especially because SuperSub and Friend of the Show, Edith Bowman, hosts this one. Indeed, Edith will take you behind the scenes, dive into conversation with the talented cast and crew, from writer and creator Peter Morgan to the crowns Queen Elizabeth Imelda Staunton. Other guests on the new series include the Crowns research team, the directors,

executive producers Suzanne Mackie and specialists, such as Coach William Connaker and Propsmaster Owen Harrison. Cast members including Jonathan Price, Selim Dor, Khalid Abdullah, Dominic West and Elizabeth Tabicki. You can also catch up with the story so far by searching The Crown, the official podcast, wherever you get your podcast. Subscribe now and get the new series of The Crown, the official podcast first on November 16th. Available wherever you get your podcasts. Happy Nord Christmas. Protect yourself whilst Christmas shopping online and access all

the Christmas films from around the globe. Plus, when you shop online, you'll have to give websites your card details and other sensitive data like your personal addresses. Those websites should already have their own encryption built into their payment systems, but to be on the safe side, you can use a VPN to ensure that all data coming to and from your device is encrypted. Even if you're using an unsafe Wi-Fi, you'll still be able to shop securely with a VPN. And you can access Christmas films only available overseas by using streaming services not available in the UK.

To take our huge discount of your NordVPN plan, go to NordVPN.com slash take. Our link will also give you four extra months for free on the two-year plan. There's no risk with Nord's 30-day money back guarantee. The link is in the podcast episode description box. This episode is brought to you by Mooby, a curated streaming service dedicated to elevating great cinema from around the globe. From myConnect directors to emerging oturs, there's always something new to discover, for example. Well, for example, the new Aki Karazaki film Fallen Leaves, which won the jury prize at Cannes, that's in cinemas at the moment. If you see

that and think I want to know more about Aki Karazaki, you can go to Mubi, the streaming service, and there is a retrospective of his films called How to Be a Human. They are also going to be theatrically releasing In January Priscilla, which is a new Sophia Coppola film, which I am really looking forward to since I have an Elvis obsession. You can try movie free for 30 days at movie.com slash kermedon mayo. That's m-u-b-i.com slash k Kermit and Mayo for a whole month of great cinema for free. Welcome back everyone. We will start with an email. This is from Ellen in upstate New York. Hey Ellen, dear Tut's and the Mayt Hours, entering 10th grade, 15 years old in English currency, my parents

sent me to a boarding school to improve my educational prospects. I think it must have been a last minute decision because I was housed in a room that had recently been a small classroom with fluorescent overhead lights and a big white clock on the wall. My roommate was a couple of years older and was gone most of the time, appearing late at night with few words. In the morning, she would crank older and was gone most of the time, appearing late at night with few words. In the morning she would crank up the record player to get herself going, not sure she knew I was in the room, and two albums will always bring back those mid-70s years for me. The first is Neil Young's After The Gold Rush, the drug references were lost on an innocent

teen's sure they were, Ellen. And the other is the soundtrack from The Harder They Come. I did not see the movie until a few years later, but that Jamaican sound, those short sweet harmonious songs live with me, a bright spot in an odd time. Heritage listeners still along for the ride. Thanks so much for your breezing us in these, well, times. Thank you, Ellen. Yes, The Harder They Come, Anna, have we seen this? I have never seen it. Have you ever seen it either? Oh my God, I was so on cool. I did really love Mark's take on it last week

when he said that it was one of the first, or if not the first album that he downloaded, the soundtrack on the Spotify or whatever the playing is. And it's one of those, and I know it's been released by the BFI and it's a massive gap. I need to see it. If at least for the music. We need to fill it. We are going to hit the box office top 10 now. In at number 19 in the UK charts and 19 in the US is fire of love. And have we seen?

I've been really highly recommended this. And you know what? I love a love story between two weirdos, two volcanologists who fall in love and the fire, give me! I'm not rated by Miranda July, absolutely! Oh, the film that I felt could have been. UK number 10, US number 11, Jurassic World Dominion. Let's leave the dinosaurs alone. I know. I'm okay with not having seen this Well, I'm gonna say was I saw Jurassic Park the other week again

Do you know yeah, and if if that was a dinosaur Velociraptor just coming at you a hundred miles an hour this one Brontosaurus man The Brontosaurus is the man Dino No, no, no, no, no, no, it was just that was, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no What gives? Okay, UK number nine, not charted in the US, probably for good reason in that it's a British theatrical production is Prima Facy. This is the Jodie Comer one-woman show. Jodie Comer's one-woman West End show, which is now getting a sort of theatrical was cinematic release. I mean, if anyone can break into the top 10 box office with a one-woman show, a theater

play, it's going to be Jodie Comer. There we go. And we actually have an email on this from Anika Ruffin Sheffield. She says, it's been nearly a week since I saw the absolutely mesmerizing National Theatre Lives prima facie, and I'm still reeling from that evening. Never have I found myself so emotionally entangled with the character in a theater show. It was like Teresa, which is, I seem Jodie's role, it was like Teresa was speaking on behalf of all women, and that is all down to the impeccable writing of Susan Miller. As the main character

asks us, I looked to my left and looked to my right, and all three of us women were crying in solidarity with her and injustices displayed. It's a magnificent feat that Jodie Kerma has replicated this incredible performance night after night. I've seen her on the screen before many times, but there was something so raw about this performance. All of this was aided by the excellent music of self-esteem, which wanted certain scenes. Shout out to the absolutely fabulous Curzon Sheffield,

which has always enjoyed a visit. The manager's continually welcoming and makes one mean, muggery decup deal. And the best quackam early around. The Curson and the Equally Brilliant show really do a lot to lift the appeal of Sheffield City Centre. Hey, don't do it down, Anika Ruff.

Loving the new show, thanks Anika. Yeah, not much to add other than Jodie Kermore's clearly one of our greatest actors. I think now. Truly the savior of box office. Amazing. It's amazing. Also, a slight correction, I make the best quackam early around. I've seen a lot of the most recent I've seen a lot of the most

recent I've seen a lot of the most recent I've seen a lot of the most recent I've seen a lot of the most recent I've seen a lot of the most recent I've seen a lot of the most recent I've seen a lot of the most recent I've seen a lot of the most recent I've seen a lot of the most

recent I've seen a lot of the most recent I've seen a lot of the most recent I've seen a lot of the most I can't see in the kitchen. UK number eight, US not charted. It's Westlife, live from Wembley Stadium, a compelling dark thriller from the mind of who we were. Good for Westlife. Good for them. UK number seven, US number seven, where the Crawdad sing. Now I'm going to reserve our judgment on this film because I think you're going to be doing some

Crawdad material in Take 2 and Possibly Take 3. A film we've both seen. But let's just let an emailer Amanda say her piece about it. Dear alligator and snake, heritage listener, first time emailer, colonial commoner from Melbourne, Australia, I'm writing to defend the Crawdad's movie. colonial commoner from Melbourne Australia. I'm writing to defend the Crawdads movie. I seem to remember Mark wasn't so keen, although Simon actually really enjoyed it. You'll see what we think later. I saw it last Saturday night, Amanda says, with nine of my friends, eight of whom had read

and loved or were reading the book. And our consensus as fans of the book was that it was brilliant. Daisy Echajones was no perfect. An embodiment of Kaya and Harris Dickinson was perfectly cast as the slimy, smalmy chase. I'd agree with that actually. I honestly don't know how it could have been done better.

The friends who enjoyed it, the least were the ones who hadn't read the book. So I suspect this is really one for the fans. Hello to Jason, regards Amanda. UK number six, US number five is Top Gun. Robert! Anything to say on this, Anna? We've seen it. We have seen it. Now this is a big screen movie. I mean, is it a good movie? Is it a fun one?

Is it a remake of Star Wars? Is it a remake of Top Gun? Yeah! It involves sellers, moustache, doing very good things. Is it a remake of Star Wars? Is it a remake of Top Gun? Yeah. It's more sellers, more stash, doing very good things. Yes, it is. Does it have Ed Harris at the top, referencing the right stuff beautifully, I thought. Do you know what, David Lee Roth, the rock star,

said that rock and roll is selling you back your youth. And I thought that's what Top Gun Maverick was doing. And there are a lot of people in their kind of 40s, I would argue, in the cinema having a unified moment. And it was the first movie I'd seen on the big screen this year since lockdown. Where I, not literally the first movie, but the first one where I had that collective. That's why I come to the cinema. You know what I mean? You know what I saw? I didn't go to the premiere, but I was there when Tom Cruise is talk,

at the Camphill Festival, when the premiere of Top Gun was happening. Was it his talk about his career? It was his talk about his career. It was very strange, but I was very happy to be in that room. I want strange, I want strange Tom Cruise. It's very odd.

But then there was planes flying over the Palais, there was a big hubbub, there was a big display, Tom Cruise got a special palm door for being Tom Cruise. And I think I mostly, mostly love that my very good friend Kim, who is the number one Tom Cruise fan on this planet, got to see Tom Cruise speak and also got to go to the Top Gun Maverick premiere. And then a few weeks after the festival, we did a special event at my house called Tom Cruise in, where we watched four Tom Cruise movies to fully appreciate the man's range.

And he has got range. You have got range. You have got range. You have got range. You have got range. He's a movie star. He's a movie star. He's a movie star with a capital, I'm in a capital S. That's it.

And I wish Mark still went to Cannes because he could have gone to that Tom Cruise retrospective and heckled him. I mean, I made a choice to watch it to an hour for our Russian movie instead of going to see Topgum Maverick. Slightly regret that. Come with him all. UK number five, US number nine is Elvis. I haven't seen this Bazlowman spectacular, you have.

Oh, also another can. Another can. So I did 8.30 am on my last day of the festival. Absolutely wired on coffee, no sleep, and Bazlowman. I love this. I give this a five star review and little white lies and I stand by it. Genuinely calm, it to see it.

It's so much fun. UK number four, US number four is Thor, Lavin Thunder. Don't think you've seen this, come here. I haven't seen this yet. No. I saw it with my nephew, Louis, last week and I asked for Louis review. And he reckoned it was a solid 8 out of 10. And he's a real Marvel completist.

I was impressed by it, because it's meringue, it's just light as air, you know, and it's got that kind of mic Hodges flash Gordon thing that Tica YTT can just do in his sleep. And it's... But everyone's being very quippy, it's very witty, it's genuinely funny at times, but Christine Bale, as the baddies,

genuinely terrifying. I've heard really good things about his performance. And it's not like he's in a different movie, because that seems, you know, a pejorative statement, but he lends it weight that it needs. And Russell Crowe turns up as Zeus. Excuse me. Yeah, excuse me.

Am I even supposed to say that as a spoiler? That's a spoiler for me. Jason Donovan turns up as Zeus. I will say I have managed to perfect protecting myself from spoilers. I didn't even know what was going to happen in Spider-Man that way home. I didn't know what the cameras were going to be in the multiverse of madness. Now you've just pulled. sorry. Cut that. Could I just say my friend Brett Goldstein turns up in the credits at the end. I won't say who he plays, but I've never...

Are mutual friend Brett Goldstein? Oh, mutual friend! Hello, Brett. I know he listens. I don't know he listens. UK number three, US number six is Minions. The rise of grew our favor to what would you call the Mura Trash K-Otitions. Um... Shout out to the gentle gentle minions. I support you. No, they grab you say I saw this with my kids. I haven't seen it yet. I just I love it.

I'm gonna spoil it for you. Well apparently that's your thing now. Yeah. That's our thing. You just spoil movies for me. I'm already mad. Why don't you do it? There's keep going. Spull DC League of Superpets for me. Yeah, they all die. It's a reboot. Um, you know, okay. Number two, US number two, DC League of Super pets. I got, I got nothing. Oh, you're not going to spoil this one. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, Box office number one here, box office number one there in the US is bullet train. I've got a couple of emails here which I might read out. Dear J.R. and Bobby, this Friday, me and a few of my friends went to see David Leach's bullet train, Odin, Tornton, Somerset.

The film was a real blast, a fun, it had the cars, the choreography and in the words of June Carter was sharp like a razor and steady like a train. Ultimately, I'm not expecting the film to run riot at any major awards, but as I walked out of the cinema, I said to myself, you know what? That was fun. I enjoyed that. I needed that. Hey, thank you Simon and Mark for all you do. Keep up the fantastic work, Dan from Devon. Julian says, hi, Lemon and Tangerine.

Loving the new podcast, I saw bullet train in the local Odin in Dublin last night with my favorite assmate, Stephen commiserations to all your other hated assmates. What could have been a tight action romp following Brad Pitt's luck ladybug ended up as excruciatingly unfocused, a two hour sub-richy snooze fest as I've seen. The endless Thomas the Tank Engine MetaVoids became laughable and by the time he got to the 90 minuteminute mark, I was begging for it to end.

If not for Brad Pitt's effortless screen presence, I would have walked out. Rubbish! Thanks for all the trips up and down the laughter lift, Julian. I haven't seen bullet train, you have? I mean, all I can say is. All I'm going to say is. I went to see bullet train with my boyfriend, and all I can say is that I'm really happy you didn't dump me by the end of the running time. Oh my God. Wow.

It's a dark time in our culture that this is the number one film of the week in the box office. From what I've seen or in the previews in the trailers, I kind of think that fast talking film about assassins where they discuss the minutiae of life. I mean, is it too much attention? Like Thomas the Tangentian? Or, right. It feels like when Tarantino wrote The Royal with Cheese,

seeing in Pulp Fiction, he unleashed a pan-gurls box. There was a moment in the late, in the early 2000s when everybody who had seen and grown up with Tarantino and his, you know, the way that he uses plot and dialogue and humor and very intense violence. And they tried to make their own Tarantino ripoff. It's a moment in cinematic history. We can't deny it. That moment is gone. And then Guy Richie came along and you know, is Mark and Simon Kolnick kind of this geyser type gangster movie. Why are we trying to rip off badly both these styles? That's what bullet train is. So it's come, it's out of time in the worst possible way. It is old fashioned in a very boring and

an interesting way. I was looking at my watch halfway through. If you're on the bullet train and you're looking at watch, that's not a good thing. You know what, for a film that's set on a very fast train, it is very slow moving. And also not enough train. Enough bullet? No. Not enough train.

How one-in-one what they're serving. How one-in-one what the cabins look like. That's what I was thinking because the plot was so nonsense. Yes, yeah, I wanna see a documentary about the bullet train. I've never ridden that. I'm intrigued. Yeah, me too. I want that. Can we have that? It's just a CGI mess. It's not even a real train. Outrageous. I'm still gonna watch it. It's time for our guest. It's the director of Oscar-winning horror film Get Out. He was the genius behind the movie Us, and he is known around the world as one of the most inspirational directors of our time,

as well as all that for people in the know he was part of one of the most influential sketch shows of the last 35 years in Kim Peel. His film, Nope, is out in cinemas now. It's only Jordan Peele. Now, you will hear my interview with the delightful Jordan after this clip. What did you see? That's big. How big? Big.

What it looked like? Oh no. It was fast. Too fast. Too quiet to be a play. Oh, Jay. Are you saying what I think you say it? That was a clip from Noop, and I'm delighted to be joined by its director, Mr. Jordan. Peel Jordan, how you doing?

I'm doing good. I'm doing very good. Thank you very much for having me. Pleasure is all ours. Now listen, I've got to say, I adored your film. I think Nope is my film of the year and maybe a couple of years as we as we emerge out of difficult times, I was blown away. Wow, thank you. No, seriously, and I've been describing it to friends over the last week since I saw it and some days I wake up and I describe it as a horror. Sometimes it's a Western. I've described it as upside down jaws today. I wondered how you describe it to your friends and colleagues. I think when you have scary enough things in a film,

it automatically is a horror just because, that helps people know where the boundaries lie, but what you're saying is, resonates with me, right? I mean, I love genre and at the same time, I despise sort of the boxes. But let's just say, I love breaking out of boxes because I hate the boxes. And so I have this love hate with genre and I want to utilize it all and explode it at the same time. Yeah, that's the feeling I get. But it's interesting,

because I guess the one box that is kind of unavoidable in the context is that it's a summer blockbuster. Did you know it was gonna be a summer movie? Do you go into production knowing that this is gonna be a biggie, does that make any difference? Would you just make the damn thing? I mean, yeah, I was just inspired by the directors that feel like they go for broke

with every ounce of opportunity they have. And I felt like, man, those films, those original big stories that were committed to for a big summer blockbuster, I feel like those days are, those years are few and far in between. And so I felt like, yeah, I have a little bit of a responsibility to sort of give my 15 year old self a movie that he didn't get.

It has been a while since someone has put a flying saucer on screen that is kind of beefy spielberg, close encounters, ships. This is a kind of almost-ed wood sort of tribute, beautiful piece of design. They obviously then become something very different. I wonder how conscious that was. Did you know that you wanted to make at least in that first reel of the film a very, very tried tribute to that flying saucer genre of 50s filmmaking? Yeah, I mean, I knew I wanted to make a minimalist spectacle.

I knew I wanted to make something that an audience could link to what they have in the back of their minds and say, oh, this is what they have been seeing. You know, this is sort of, but I also was thinking of it just the device of a flying saucer, a bit like Michael Myers and Halloween, and that you have this sort of familiar blank slate, both having to do with space, tangentially, in this case, through the William Shatner connection. But the ability to sort of stalk with this mystery box

is very terrifying because it just, it creates the intrigue of what's inside. You know how when you watch a musical, you sometimes, you know, you go out kind of humming the tunes. I came out humming the themes of Noep. There it is, you have so much going on, and it feels like you leave a trail of breadcrumbs through the film of symbols and little Easter eggs

about what the film may be about or may not be about. And it's so delicious as a viewer to be chasing meaning in this film. Did you start with the themes like, I don't know, a predatory Hollywood or the nature of the spectacle in the 21st century? Did you start with the themes? Or did they just organically emerge from wanting to write a really kick ass film? I'm in this place where I get to decide what to do next.

And that notion we discussed of going big and going unapologetic. And then the rest of my process is always about breaking down the first notion and trying to understand what that is. And in trying to locate the humanity of it, I found stories like King Kong, Jaws, Jurassic Park, these things that are about how we consume spectacle. And then I just sort of followed my heart

and brought in a bit of this sort of, you know, there's a Mulholland Drive love that I have. I think it's the best satire and Hollywood horror film. I mean, if you can even call it, if you even label it anything. But I just like love it so much. And that was a sense that permeated in how he was able to reveal the underbelly of Hollywood without being too dark about it. I wanted to ask you very quickly about Daniel Kaluya. You guys obviously have a very special working relationship. How did you guys meet?

Were you aware of him before get out, got going? I watched his Black Mirror episode probably a few months before I was casting for Get Out. And so he was just the guy who had shown me the full skill set really through that. I contacted him, he was going to be in LA for some other thing, oh, for Sikar Eo press. And so he was kind of enough to combine audition and it was just really a no, you know,

I wish I could call myself brilliant, but you have Daniel Collier performing the hypnosis scene and get out in front of you. It becomes pretty clear, pretty quick. I want to give a shout out to Kiki Palmer as well, who I think does incredible work in this. And their brotherly, sisterly relationship, I thought, is one of the best sort of sibling relationships

I've seen drawn in a film for some time. There's no sort of midnight conversations about dad where it feels like they could have been like in this film, but you just let them get on with behaviorally displaying their family life. Is that something you guys worked on a lot, sort of just getting that kind of intimacy of a brother and sister? Yeah, and I, well, you know, actually I would say no, I would say that they they they instantly were sort of able to Get that I had done a little bit of work with them individually beforehand and of course they knew the script

But when they got together, you know, we all we all knew it was just about you know kind of tying that bind and Allowing it to take place and form and be what it is You know, there's just an honesty to siblings that I, you know, having no siblings myself, there's, you know, you feel like you can't get away from the good and bad that you know, they know about one another. There are few sibling films, and I think they crushed this.

I've been talking to people about your facility for not treating the audience as chumps and sort of, you know, really acknowledging an audience's intelligence. You run the popcorn stand and the oyster bar at the same time with your movies and which directors did you love growing up? Who did that for you? Sometimes I will love to just chump out and watch a movie, you know. And so I am in some ways trying to make movies that do the whole thing, but I'm not so much trying to send messages through the films. I like the fact that through the nightmare factory, that is my brain, I tend to find a bit of a young, sub-conscious, collective

subconscious connectivity with a story. And if I just use my best truth to tell that story, it ends up generating conversation. Let's put that way. You were a very independent voice and continue to be, and it feels like you're operating within your own parameters right now, which is, you know, very inspirational and very impressive. Is there a side of you that would ever want to do to enter the kind of jungles of franchise cinema and do a bond or do a do a Marvel movie? I'm not asking you to commit now, but does that sort of thing, does that sort of thing attract you at the moment to enter into that kind of franchise world that's so predominant in Hollywood?

I just have the best job in getting to tell these stories. And I really, you know, what I would rather see is more original stories getting more opportunity, more sort of IP given opportunity to be generated because when it's done right, we get such a big gift. I love good movies, however they come. And there's a deficit of commitment on a big studio level in original storytellers, I think. Like everyone around the world, I'm obsessed with key and peel and have been, I know you guys don't, you know, you're not making the show anymore. Is there a side of you, the ones to act again and, you know, put on your tap shoes and kind of get in front of the camera or do you feel like that's done and you're happy with that work and this is where you are now.

You know what? I could see it more than a couple years ago. Let's put it back. I could see it, but I really do love this directing. I just love directing so much, but I never say I don't say never anymore. Well listen, that's it for take one. You can hear more from Jordan Peel and take two. Just subscribe wherever you get your podcasts. Thank you very much, never anymore. I'm a unabashed huge fan, Anna. Nope. I'm so ready to talk about that. Oh, I wanna hear what you gotta say. Seething with jealousy that you got to talk to Jordan Peele. Oh, you gotta talk to Jordan Peele. Oh, okay, so I'm gonna try to be as enigmatic,

but clear as possible because I don't want to spoil. I'm not gonna pull a roof as Jones. No, I don't want to spoil a single thing about no. It starts Daniel Clea and Kiki Palmer as the Haywood siblings. O.J. and Emerald, they're Hollywood horse trainers. That's what their dad used to do. When we first start the film, their dad passes away. You know, we're at set of circumstances.

Where a nickel falls from the sky and kills him. So they're reeling with that, but also they start, they find out something weird is happening in their farm, in the sky. There's, we can talk, it's about aliens, there's something in the sky, but I'm not going to say anything else. I'm just going to describe the feeling and the experience of watching Nope because Drudempiel in just three films has managed to make his name equivalent to a cinematic experience. And I genuinely, genuinely believe it is best to go see Nope, which as your interview really intimated at, is a film that

leaves you with tons of questions. It's so much better to go and see completely blind. Don't watch a trailer. If you see the support, if you see the poster that's already too much, just know it's a Jordan film, it's a Jordan peel film, and you're always going to be in good hands with him. And this film is big and intimate at the same time. It's intimate because it has only really four characters. It's got OJ and M, the wonderful Daniel Collier and Kiki Palmer, Kiki Palmer, especially who just sizzles on the screen. This woman has over 100 credits and she's 30 years old.

This woman is a star and the film really, really lets her shine. Daniel Collier, we know he's a star. He's one of the greatest actors of his generation. That man has more, communicates more in a single eyeball movement than most actors do in their entire body. And then there's Steven Young as Joupe, who is the sort of former Charlesthar actor

who now runs a very weird cowboy-themed amusement park in the middle of nowhere who also has another connection with the alien, which I will not go into. And his backstory is one of the greatest mysteries of the film. Oh my God. I don't want to say anything about it. Extraordinary. Film sort of begins there and returns to it.

It does. That sticks to me. And it is one of the things that after people see the film, that's going to be a rabbit hole to spend a lot of time on the internet. And it's big because I think more than get out and more than us, this is a film that uses landscape and has this massive scope.

It has elements of a western because of the way you use the landscape. It feels huge. I watched it at a screening on the IMAX and it felt like it deserved that space. And because there's so few characters, you get so attached to them and their story so small, really, by comparison. This is what's exciting and feels very subversive in a way. It is not an alien movie because when sometimes you say, what's a movie about aliens, you think, oh, it's gonna be Independence Day,

or it's gonna be like alien, the horror movie, there's gonna be a big creature we're gonna need to kill it. It's so much about very normal people dealing with the set of very unusual circumstances. And what would they do? They're always, the characters are so well drawn, they always stay true to themselves, the relationship between the siblings,

and how they relate to everyone else around them as these extraordinary things are happening are very, very believable and well drawn. And at the same time, you get to know them, you care about them, and you're thrust with them into this quite intense mind-boggling, mysterious situation of what you do. And the thing is, the thing I'm really emphasizing and being really cryptic about it, don't watch anything about this movie in advance because it is so rare for us to go into a cinema

and know nothing. See a story that we haven't seen before. That's not based on IP. See told by someone who is excited by the possibilities of directing like your interview really really showed us and who loves the genre but also knows where the genre has been lacking and there's something about the fact that it is a flying saucer movie that makes it kind of old-fashioned but completely

modern I haven't seen a flying saucer movie in a while. It's a very fifties concept. Right. It's a very fifties style of sci-fi, right? The fear and the wonder of being confronted with, oh wait, there are aliens in space. Oh wait, it's a giant, ginormous thing that I need to deal with. Couldn't possibly deal with that. And also with these characters who are so isolated in their own way and grounded in a completely different way, it's such different personalities to, like what do people do when confronted with the unanswerable and the unimaginable and the inconceivable?

And I know this is something that Jordan Peele is fascinated with just through his other two films, but also through his remake of the show The Twilight Zone. Yes. He loves to post questions. And I love that about him as a filmmaker. He's not going to give us answers. He's going to say, I wanted to, I'm fascinated by spectacle and exploitation

is something that he's mentioned in some interviews that he's done. And you get the spectacle and you see what he's trying to say about exploitation. And then once you leave the cinema, he could spend hours and days talking about this movie. There's, it leaves you with so many questions. It isn't it fun to go see a film and not have every single question answered. Three days after I saw this film,

I physically stopped in the street and suddenly thought, Daniel Clea's character is called OJ. Yes. Who's the most famous OJ? They make a joke about that. Right suddenly thought, Daniel Clea's character is called OJ. Yes. Who's the most famous OJ? They make a joke about that. Right, well, I'll do it today. I went to the Lou halfway through. But the idea that the most famous OJ that ever was

was watched by the world from the sky as he drove his Ford Bronco across Ilay, you just realize that every square inch of real estate in this film means something. It does. And if you don't get it, that's fine. You'll get it in a week. And this film just gives and gives. And as if you need any more temptation, I would say that this Jordan, either consciously or unconsciously is, is grabbing that Spielberg 70s period of George's close encounters,

maybe even Sugarland Express like before. And just reaching into that arc and kind of mashing in his own way. It's the Spielberg arc. There's a great video of I say somewhere in YouTube about the Spielberg face, which is someone looking upward in wonder. Yeah, it's Laura Dern in Jurassic Park.

Yeah, oh, there's a character in every single Spielberg film that has the face of the Spielberg in wonder. Yeah, it's Laura Dern in Jurassic Park. Yeah, oh, there's a character in every single Spielberg film that has the face of this Spielberg and Spielberg in wonder. We watch people watching things. Exactly. And this nope really captures that sense of wonder and awe when confronted with something so much infinitely bigger than yourself and than anything

you've ever seen before. I'm so glad you liked it. It made my week, seeing that film. I'm very proud that you haven't spoiled it for the last time. Thank you, the Butler did it. Okay, that was nope. We've got more with me in Jordan in Take 2. However, it's now time to take a trip between floors in the laughter lift. take a trip between floors in the laughter lift. BEEP. So the advertisements will be along shortly.

And the producers would like us to get into Mark and Simon's laughter lift. It kind of feels like a probably should have done that link before the sound effect, but hey, rock and roll. Here we go, the hand. Let's see what we got. I am terrified. This week, James Rouseon's Southampton

is after a bit of airtime. He's written in and he kicks us off with, I've been reading a really good book recently, all about how they put boats together. It was riveting. It wasn't with a blackstab. I'm sorry? Was it with a blackstab? I don't know what that means.

Someone will, I don't want that person to write it. And do you know why Peter Pan is always flying? No. Because he never lands. Oh dear. Yeah. I don't know. I'm not contractually obligated to laugh. God love everyone, but this week is thin, rural. What do you call 26 letters that went for a swim? Tell me. Alpha, wheticle? Oh, OK. It almost feels like we're being set up with the kind of bannons of the joke factory.

I'm trying really hard. And somewhere in the Azores, Mark and Simon are just laughing at us, not with us. At us. What's still to come, Anna? So I'll be reviewing this series, five days of memorial, and the documentary blind ambition. We'll be back, back, back. I think we should have another review and this

is a TV show, which is just landing on Apple Plus called Five Days at Memorial with Vera Fomega and everyone else, I'm taken away. Well, this is a change of pace. Sure is. We've got the grueling new Apple Plus show, 5 days of Memorial, and I think we've got a clip from it. Let's go. A doctor?

Excuse me. Yes. Are you all making us leave? Making you what? Somebody said you're going to start moving out of patients. Are you a patient? My dad. He had to get his leg fixed up,

but our house took some damage. I can't take him back there. No one is gonna be discharged if they don't have some more to go. He's still in pain. No one is going to be forcibly discharged. Now my name is Dr. Horace Bolts. If you have any problems, you has to see me.

All right? Thank you. All right. So this is a very intense, very grounded, very dark series about the immediate aftermath in the New Orleans hospital, called the Memorial Hospital, after Hurricane Katrina hit, which meant that the hospital was flooded. It lost its power. And I'm not going to go into kind of details about what happened because it unfolds very beautifully

throughout the eight episodes of the show. But the five coordinates are essentially tracking what happened to the staff and to the patients and how everyone desperately tried to essentially maintain order and maintain their patients, especially literally alive when the power supply went, the air conditioning went, and there was no help from the outside or very little help to try to evacuate the patients and the staff of the hospital.

So, and how they reacted to that. It's the show is, the show runners are John Ridley, who's best known for penning 12 years of slave. And the other show runners called to accuse who's best known for creating lost. So there's some really serious TV heavyweights and film heavyweights behind the show. And it's based on a Pulitzer Prize-winning book by a journalist called Sherry Fink, which essentially through an excruciating amount of research details why the disaster at Memorial happened and unfolded in the way that essentially the show unfolds itself almost like like a crime investigation, like a criminal investigation starts with after everything had happened and had, you know, everybody had

been rescued and evacuated. There were 45 dead bodies found in the hospital. And the show, as it unfolds, tried to understand why there were 45 dead patients left behind in the hospital. How did that happen? So it's a show where there is no right or wrong. It is an unprecedented situation. It was a situation that was incredibly badly handled by authorities at that time. Something that people of New Orleans and Louisiana and the United States and other worlds

are still grappling with. So seeing something where you're seeing people whose job it is to care for people trying to do so in the most demonic of conditions and to at the same time, and this is where the show really excels for me, shows us everyone that wasn't on the ground. People in their nine to five jobs in the insurance companies, the investigators,

people who were responding to the emails are going through the motions, are going through the bureaucracy because they weren't there with sweating, trying to literally hand-lift patients onto the ceiling, onto the helipad of the hospital, to try to get them one by one out of the hospital so they could receive care and survive. There's so much physicality in the show of just seeing the doctors and the nurses sweating, completely exhausted and completely reacting to situations where there is no manual. And as the investigation and the days unfold, the first five episodes of the series are

a Century Structord as day one, day two, day three, day four, day five. We see in brutal detail, in a film in a very almost grounded and separate way. Dispassionated. Very dispassionated. That's the word. It's almost documentarian. Like, it's not trying to make anyone look pretty or anyone look particularly elevated, Yeah, dispassionated. It's very dispassionated. That's the word. It's almost documentarian. It's not trying to make anyone look pretty or anyone look particularly elevated, trying

to be a straight forward, almost like a journalistic piece. And we're just seeing everything unfold. And the whole way through the show, you're just starting to question yourself in the same way when we see a survival film. If we see something, I know it's a completely different genre, but something like yellow jackets or if we read Lord of the Fly, so you start wondering, what would I do in that situation? And that's the questions that the show brings up. What would I do in an extreme situation?

Do you judge these doctors? Do you judge the nurses or the people for how they react to things? It's devastating choices. Devastating choices are made. And the show really manages to both keep us on the ground at memorial with the people going through it. And at the same time, show us the massive mess up that was going out around ever-rules. It has really impactful use of archive footage.

I wonder what the meaning behind the choice, behind the choice of using archive footage of the floods instead of trying to recreate them fully was. And in my mind, I think it's because sometimes we do forget as time passes by of just how devastating Katrina was. And Katrina also, as you said, a very live political issue still in American society. And this is watching in the UK,

it's a docu-drama of a tragic event, I think, with, for American audiences, this is almost a political series, you know, it's a series of helpers being abandoned by... Absolutely, and it's also, it's also a series that puts in in perspective and makes us try to think about what it means to have a duty of care. What it means for doctors to try to save people. It reminded me of, in a indirect way, of Ron Howard's 13 lives, which has just come out,

which was, which unexpectedly moved me. I thought I knew that story, just like you might know the headlines of Katrina, if you're not sort of intimately sort of engaged with that history. And 13 lives absolutely not me sideways, because we've come out of a period where we've been relying on helpers and aid workers and actually a show like Memorial and a film like 13 lives is exploring that area of the people we rely on in these moments and watching them stretch to breaking point. I think sort of after lockdown, after what we've all been through is more emotional kind of than ever possibly. Good, good series. I've only seen the opening. Have you seen? I've seen almost all the series have got one episode left.

And it is grueling. I think it's one that you really can't watch too many episodes in a row of this show. You have to dose them out because they are so intense. And I want to shout out Verifermegas, always incredibly reliable. She plays Dr. Anapoe, kind of one of the physicians in the hospital, but especially Cherry Jones.

Oh, yeah, lovely. The great, great Cherry Jones. One of those actresses who never gonna get so much credit as she should. Right, transparent, I first really sort of got to know her incredible performer. She's fantastic in this. And also my mate, somewhere in the throng there, Jonathan Cake, who when I last saw him, we were doing unspeakable things in a Julia Davis show called Camping. Hey Johnny, that was five days at Memorial. Can we move on to what's on?

This is where you email us a voice note about your festival or special screening from wherever you are in the world. Please email yours to correspond at kermodermayow.com. This week we have a message from Simon at Cinnamonover in Melbourne, Australia. The large start house theater in the southern hemisphere, Cinnamonover is turning 30 this August. Starting as two screens in 1992 and now 16 screens, it's helped make Melbourne a major center for cinema culture. My name is Simon. I've worked there for 17 years as the maintenance man and three of my children have also worked there as Asher's and Choptop makers. I wanted to wish cinema Nova a happy 30th birthday. Thank you. Send your 22nd audio trailer about your event

anywhere in the world to correspondentsatkermodomeo.com, preferably a couple of weeks up front and we'll give you a shout out. Or to be precise, you'll give yourself a shout out. Anna, blind ambition is our next review. Now I don't know anything about this, but I literally just read the premise of this and I'm immediately intrigued and smiling. It sounds extraordinary. I mean, I'm smiling, which isn't very good podcast content

that I am smiling. Tell you what, before I describe this film, I'm just gonna preface it. I wonder where you stand in this roof as. Personally, I'm a very big fan of the very niche competition. As a sub-john, we're a film. Yes, King of Kong.

King of Kong, best in show, cool runnings. That one where Alan Beckman and Josh Hardnett are hairdressers. A Rubik's Cube one, that beautiful Rubik's Cube document. Yeah, strictly ballroom. Strictly ballroom. You know, the documentaries as well, spellbound. Gotcha, gotcha.

Bring it on. We should mention bringing it on. Yeah. So this is one of those. This is a documentary directed by Robert Coe and Warwick Rose. But this is a documentary directed by Robert Coe and Warwick Ross, which follows a group of four Zimbawian refugees who discover their passion for wine making, for wine tasting, and that brings them together, and that also gives them a mutual goal to attend as the first ever

Zimbawian team, the worldwide wine tasting competition. I want to hear it clip. No, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, no, the World Wide Wine Tasting Competition, which I think that was a thing. Let's hear them. Both for Team South Africa and for Team Zimbabwe, our problem is rare wines, unusual wines. And that's why I have a program together. We're going to do this tour. France in Germany, arriving in Burgundy.

That's a holy grail for all wine lovers. There's an African word we use in South Africa which is a Ubuntu, the art of sharing and getting together to share. That's what we're doing now. I could see many people trying to make a competition Zimbabwe against South Africa. I'm not interested in that. I want both of them to do the best.

Smell well the aromas, aromas. Jivi is a good friend of mine and Givi is a great sommelier. But for me, I would like to make my own tour. Well that looks extremely heartwarming and lovely. It is exactly that. It is a lovely documentary that follows these genuinely warm-hearted and very passionate, very successful group of men as well who want to enter the world of wine. They do that. It's both at the same time heartwarming because of their own personal stories.

We don't actually, and I think this is to the benefit of the film, spend that much time talking about their past or how they made their escape or how difficult it was for them to start an unilive. It's more like, oh, and then we discovered wine. And now I'm obsessed with wine. Less is more sometimes. All of them are working as some of the years. All of them are working in fantastic restaurants as well. And then go on to do amazing stuff in the one world, too. But it's the entry into this kind of, you know, I love wine, but it is a pretentious world. It has a pretentious reputation. It is a very white world. So the visibility of just being able to see how the wine tasting

global competition is organized, how they structure it, how much training they have to do, how that training works, how they have to hire a wine tasting guru to help them train themselves, the difficulty of them even gaining access to certain kind of old country, European wines, and where they live in South Africa, kind of how that limits their training versus someone who's training in, say, London, all of those things become really fascinating. They, these characters, these men become our entry point into this really inaccessible world.

And that makes it whether you enjoy wine or not, whether you understand it or not. I just drink it. I don't know anything about it. But the whole premise of the competition, well, my reputation does proceed, mate. The whole premise of the wine tasting Olympics is that you are given seven rounds of glasses of wine.

And they have to guess the year the country was produced and the type of grape, the individual producer, something else. So, and they have to, you know, jot it down and there's a great scene where they may get mistaken and jot it down on one type of paper instead of the other type of paper, all these tiny, tiny promise. It's a losing spelling day. No, because they don't drink it, obviously.

They just have to taste it. And it's... That's why they banned me, of course. It's heartwarming. It's lovely. It's entertaining and engaging. And I think it's one of those dogs that is so character-driven, as opposed to drama-driven.

You really don't care whether they win or not by the end of it. You just are happy to have been along for the ride with them. So I'd really recommend this. It's out in cinemas now, and it's one of those, I think, documentaries that is going to fill everyone with joy. And frankly, do watch it with a glass of wine. I made a mistake, and I watched it with coffee. That was blind ambition. And this is the end of Take One, Anna, can you believe it? We're done. We're done for Take One. It must go on.

That was quick. You know what? I'm gonna invent something called Take Two. I'll see you there. Production management and everything else was Lily Hambley. Teddy Riley was on cameras, videos and socials this week are by Ryan O'Meara. Studio engineer was Jay Beal.

Flynn Rodham is the assistant producer. The brilliant Hannah Tolbert is the producer. Thank you, Hannah for holding my hand through all this. Guest researcher was Sophie Avan, Anna, what is your film of the week? You know what it's gonna be. It's not a police short film. And it ain't called the other.

Of course there's Jordan Peele, Snoop. Go see it, go see it in the most in the biggest screen you possibly can. Don't look at it anything. Next week, Rihanna Dillon and Robbie Collin will be stepping in and they will be joined by my mate Hugh Bonneville. Extra takes available on Monday. Until next time, goodbye for now. Goodbye. Show a leg. Show a leg. That's an optical expression. What does that mean? Yeah, that means get up. Show a leg. Yes.

Wow There's something new every time. Yeah, what else is there? Look look that's happening. That's in the offing. That's another Notical thing. Is it the offing? Yeah, what is the offing? The offing is the Is the line on the horizon beyond which you fall off. So if something is in the offing, it means it's over there and it's coming away. Wow! Good fact. And did you know that the poor out starboard home posh thing is a backer name, it's not true? It's something, it came after the fact.

Just having a uncomfortable deck chair, by the way. I could do with a 4DX deck chair that vibrates and eases lumber pain. And I'm just having a refreshing glass of cheeky Vimto. Alagram of vomit. Yeah, anyway, good for ships. We're not supposed to be working here on the cruise, but we've taken some time away from Matt Damon's deckcoids to do a little something extra for you just to keep things, I don't know, because they're ticking over, but without us, a lot of people realize that life is slightly

more dull. Yes, and I'm certainly enjoying the Nika Day's whiskey, which is for drinking during the day, apparently. No, there's no... For relaxing times. It's like a day whiskey. It's called Nika Day's. That's anyone.

It's not meant to be trucking the daytime. I don't do so. So what have you got there? What do you... If you're not... So you're going with the day whiskey or... Yes, all that or a sundaury, I think that would, it would also fit, I mean, you know, for relaxing times,

make it sundaury time. Still no call from sundaury, so? No, nothing. It's nothing from Nika Rida, which is kind of annoying. And nothing from Vimto, we're slightly discouraged by that. I mean, going down to the telegraph from on deck D every day to check, but absolutely nothing.

You'd think, anyway. While we're here with our outside broadcast equipment and our Niagara stereo take play. Nogra, Nogra, I say Nogra. Nogra, let's call the whole thing off. Exactly. I'm gonna record it then on my U, Naga. Let's call the whole thing off. Exactly. I'm going to record it then on my EWA. And that's right.

That is correct. So, while we're just recording with our top OB team, thanks sound. What are we going to do? What else are we going to do? Well, we're chatting. Well, before we set sail from Britain's shores for the cruise, we asked everyone for their best film of the year so far.

Oh, right. Yes. So it's from the folder. Okay, so you're going to vehemently disagree with people's choices before coming up with a list of your own. Anto Frey says, for me, the best film of the year so far is definitely mass. Hello Jason. Yeah, brilliant. Sublime performances from all four leads, including our very own, are absorbing and profoundly moving script that never gives into sensationalism

and very impressive direction from first time at Franz Kran's. Also his name rhymes, which is a useful thing. Also, what a great thing we discuss for a number of weeks, the fact that Mass, the title has so many different meanings. Yes, it really does. You have to see the film to understand it. Dayeon says, my favorite film of the year so far has to be The Quiet Girl, Serene, Simple and Beautiful. I'm a 2001 baby that grew up in a small Irish village. Despite the film being set 20 years before my time, this is the first movie I've seen which genuinely captures growing up in rural Ireland. So many brief moments felt exactly like my childhood,

including the warnings about slurry pits. I recommend anyone who's not seen it, take the opportunity, you will not regret it. Hannah says, best film of the year is Top Gun Maverick. Top Gun Maverick! Yes, they say around these parts. Sarah Miles says, everything everywhere, all at run. All at runs.

All at runs. All at once. I, all at runs. All at runs. All at once. I think all the runs. I'm not. That would be a different film. Sab Asley, best film of the year so far is all my friends hate me. Chris Kay says the best film is Ben Addiction. The ending totally broke me.

Jaker says the best movie is the souvenir part too, Leashcroft. Either Flea, a beautifully told and very necessary piece of storytelling or parallel mothers, sucker punch me on an totally unexpected emotional level. Julia Colton, Elvis, so good, I saw it twice, had to restrain myself from going again and again. Baz and Elvis, a match made in film heaven. And James Hilton, Likarish Pizza, everything everywhere all at once, Belfast or Brian and Charles can't choose between them. Because you forget that some of

those movies feel like last year, but we're still being viewed as January, turned beautifully into February. Yeah. I mean, Likarish Pizza was actually this year's first of January. Yeah. Because we think of it as last year because it was a ward season last year. Oh, that's right. So we watched it at a time on our exclusive cinematic leave. That's right, that's right. So that's what the good folk back at base, back in Blighty,

that's what they thought. But now you've had some chance to reflect on your many runs around the deck. What are we going for the top movies in the time? Well, I mean, the movies that I love Brian and Charles, I love Minions, I thought Top the Maverick was great, everything everywhere of course. Castle Blanca Beats hasn't been mentioned, but I thought that was terrific. And part number six is great, true things.

Worst person in the world, nightmare alley. Boiling Point. Boiling Point, the kind of breath-taking, you know, just one... one shot movie. Flee, I thought, was great. Likrich Pizza, as I said, I think a lot of people think I was being last year. We had this much I know to be true, which is just this brilliant, brilliant musical documentary, but so much more, it's like an emotional journey.

Amulet, which is great. The quiet girl, I think, has to really, has to be a contender for one of the best so far because I didn't know anything about it kind of blindsided me I didn't know what was coming love Dali and Ava because it was so You know uplifting going to bike at your party, which I thought was fantastic I didn't know anything about that story at all I thought that was really really brilliant

That was a was a great film that and it features in a 1956 Dodge Coronet Which is exactly the same as my car, so I was delighted to see that. Soothing in part two, I mean, you know, Joanna Hogg, absolutely at the top of her game, but for me, the best movie of the year so far is Elvis. And it's such a delight to be able to say that because I was, so I'm going, I'm going on Australian, or I I was, so I'm going on Australian,

or I'm going, or I'm going, or I'm going young person at the end. A little bit of an up-infliction, I like that. It's so thrilling, and I love the fact that child two in your case came out of it and said, I'm gonna see it again. And then back to Aslator and said, I've seen it again.

There's so much going on in that film, it's so brilliant. How great that that movie is as great as it is, because you get one chance to do this, and that was it. So, movie of the year, so far, is going to be Elvis. So that's quite incredible, really picking a Bezlum in film, and his Tom Hanks, Austin Butler. Austin Butler! What did you say like that? He's not... Because it was on the bus, it was awesome. Oh, I see, I see. Okay, you're back.

So, we're going to do the worst films on next week's cruise dispatches. For now, Chin Chin, Mark and I are off to play Giant Connect 4 with the Soscus sisters. Again, a very nice joke. you