The Big Picture - Top Five All-in-One-Day Movies and 'The Lovebirds'

Episode Date: May 25, 2020

The new Netflix film 'The Lovebirds' falls into a classic bucket: the all-in-one-day movie. Sean and Amanda talk about what works (and what doesn't) in the Kumail Nanjiani–Issa Rae comedy. Then, they share their top-five all-in-one-day movies. All killer, no filler. Hosts: Sean Fennessey and Amanda Dobbins Learn more about your ad choices. Visit podcastchoices.com/adchoices

Hello, and welcome to The Ringer Podcast Network. This week, The Ringer is launching a new podcast feed called Boom Bust. It's a new hub for narrative podcasts documenting the rise and fall of companies, celebrities, and trends. Season one, hosted by our own Alyssa Bereznack, takes you through this spectacular journey of HQ trivia, the once $100 million industry-altering company turned disaster. Alyssa interviewed dozens of former employees, investors, journalists, and fans, bringing you the behind-the-scenes story of how HQ crumbled from within.

Subscribe to Boom Bust HQ Trivia and check out the first two episodes out now on Spotify or wherever you get your podcasts. I'm Sean Fennessy. I'm Amanda Dobbins. And this is The Big Picture, a conversation show about these long days and endless nights. Today, we're talking about a new film that hit Netflix last week, which inspired an idea for one of the most fun buckets that a movie can fill, the all-in-one-day movie. But first, let's talk about the film that inspired this idea, Amanda. That movie, of course, is The Lovebirds, a new film on Netflix starring Kumail Nanjiani and Issa Rae. So this movie has had an interesting journey to Netflix. We were planning to see it, you and I, at South by Southwest in

March, where it was set to debut, when it was still distributed by Paramount Pictures. Paramount, it seems like, in the face of COVID-19, decided to offload the film and send its distribution on down to Netflix. It's an interesting decision. Not the first time Paramount has done that for a movie. Probably won't be the last, frankly, given how things are going right now. So, before we get into the details of whether The Lovebirds works or not, what kind of a movie it is, you know, what do you make of its journey to our homes, unlike some of the other movies that have had various journeys to our homes? I think that maybe it worked out best case for this movie, even though this movie is now also saddled a little bit with the sign of the times analysis, which, you know, we're doing it right here. We're, we're a part of

the problem and maybe it can't quite live up to the weight of being analyzed as like a 2020 movie that represents everything that's going on in 2020. I mean, it's just a movie. It's just kind of like, it's like a comedy and some of it works and some of it doesn't, and we'll talk about it. But I did think while watching this in my home about how I would have responded in a theater. And it's very funny to kind of like, kind of try to retroactively figure that out. And I, there's, there's no honest way to do it. I can't have seen it in a theater or access that. But I did think to myself while watching this on Netflix, I really can't imagine what I would have thought if I saw this in a theater because it does not really seem fully theater-baked in the way that I expect even a studio comedy to be these days if I

take the trouble of going to see it in a theater. I know. We use this as an opportunity to make every new release straight to our homes a lodestar for what it means for this moment in time. And every piece of really resonating film criticism that comes out now is like, how this old movie that I love represents these times. You're right. I gave this a lot of thought too when i was watching the lovebirds i was thinking about when when we saw long shot uh at south by and i didn't see it with you i i had seen it before in a screening room you guys saw it and you guys you and chris ryan got the free boys to men concert and i had already seen it and was just like the asshole at the bar drinking beer by myself.

Well, I mean, after that screening that we had, we were convinced that this was the comedy hit of the summer because of just how rapturously received it was in a theater. And nothing works better for a comedy than a bunch of people laughing at it. You know, nothing makes you feel, you know, that sort of insinuates to you or convinces you that something is working

than a bunch of people lapping it up. And while I still love Longshot and thought it was great, and even though you saw it in a screener setting, I know that you loved it too. I was wondering if I would have liked the lovebirds a little bit more if I could have been a little bit closer to people

who I know were loving it too. Because sitting alone watching a comedy is a weird experience. So I was going to say, did you watch it by yourself? You didn't watch it with Eileen. I did. I watched it by myself. And she actually came in midway through and was like, this is something I would have liked. Why did you do this? Which is something I'm just not good at. I'm just a very selfish person. I need to start texting her on your behalf. I could have helped with that. I watched it with Zach and he laughed sometimes and I laughed sometimes as well. And there were genuinely parts of this where we were two people cracking up on a couch.

And that added to the experience. Does that add to a complete movie? No, it does not. And we can talk about some of the things that I think hinder the lovebirds. But I just want to say that Kumail and Issa Rae are like extremely funny people. And on the list of people who have made me laugh in 2020, I actually was, I made this list in my head during one of like the ridiculous plot points of this movie. You ready?

Here are the people who have made me laugh in 2020. Chris Ryan's voice work. Speak of the devil and you sound clear. Tyler Parker in the final tango. It's real funny. A guy hit his head on his desk. He hit his head on his desk. And it's funny because earlier he hit his head on the thing inside his thing

when he was trying to just show y'all part of his life. But that's real funny because he hit his head. Just wish if you haven't seen that on the ringer youtube channel please seek it out it's the weirdest thing i've ever seen and then kamal najani and isa ray and the lovebirds that's it that's those are the only people who have made me laugh this year so credit to them well i'm wounded that i'm not on that list that's tough to hear considering how much you got, you and I are talking to each other every single week since this all started. I meant intentionally, but I'm sorry. Okay. Fair enough. Yeah. This is a tricky thing to talk about this movie because I think,

and frankly, it reminds me a little bit of the last Issa film that we talked about, The Photograph, which is, I think we walked out of The Photograph thinking, man, Lakeith Stanfield and Issa Rae are great. I would watch them do anything. And I feel very similarly about Issa Rae and Kumail. They're really funny and I think very charismatic and effective as the leads of movies. And I think that they got stuck with a movie that is like an unfinished idea.

It was really strange. I was surprised that this was a studio movie because usually the studio movies seem to go through a little bit more of that development process that you and I talk about sometimes on this show. Yes, it's both an unfinished idea and then like five ideas or five movies jammed in together at once. And so when you're trying to do a lot of things at once, it does often happen that you don't really complete any of them. But the plot itself is silly and you never really quite become invested in it. Should we share the plot?

Should I try to summarize the plot? Yeah, let's talk about it. Please correct me. So Kumail Nanjiani and Issa Rae play a couple who have been together for four years. There's like a nice little rom-com prologue. But then you pick up on the day in question. This is an all-in-one-day movie, and we'll come back to that. And they've been together for four years.

And they are, you know, a couple who has been together four years in all that that entails. And so they decide to break up. And then while they're breaking up, they get involved. They hit a biker. They're driving in a car and they hit a biker with their car. And as a result of hitting this cyclist, get ensnared accidentally in what seems to be some sort of crime um or like it's more like a criminal conspiracy in a way yes exactly i was like heist isn't quite right the the right word but they are definitely now they become like accessories or parts of a crime. And they are trying to, so they spend the rest of the 24 hours trying to find the actual criminals in order to clear their names and to be able to all live their lives again. And so it takes them around.

I believe it's set in new Orleans. Is that, yeah, that's correct. And it takes them around new Orleans and toinks ensue, which is always the fun part of an all-in-one-day movie that you get to meet a lot of different people they need to get into his phone and they don't know how. So they have to convince a colleague of Issa Rae's in order to use his IT powers. That three minutes where it's like,

is unbelievably funny. It's the best part of the movie. Yeah, it's, I was dying. They have like great comedic chemistry, which is not always the case. You can cast two people who you really like independently and who can be really funny independently, but they can't build off of each other and they are just going back and forth.

So parts of it work and then parts of it are just really baffling and also kind of sad. Can I give you my first take on this movie? Of course. They didn't need to break up. We don't need to turn this into an investigation of how people communicate in relationships, okay? They're a couple who's been together for a long time. They don't appreciate each other enough. They go through this whole adventure ordeal, and then they learn to appreciate each other more. That's fine.

That's enough. Everyone's going to understand that we don't have to add in all these emo stakes in the middle. That's, that's take number one from Amanda. So I'll give you my, my sense of what happened here. And it's, it's related to what you're saying and the reason why maybe they, they needed to break up or there needed to be this kind of this defiance of conventionality in the story. So you mentioned that prologue, and then that is, in most cases, that prologue where they meet cute, and then everything that happens after they meet cute

is what normally would be the movie. That's what the rom-com version of The Lovebirds would be. They cut all that out. Now, what they then do is they do this criminal conspiracy heist slash Eyes Wide Shut parody that follows,

some of which works and is funny, some of which does not work and is kind of tedious. So Michael Showalter is the director of this movie. That's really important for a couple of reasons. For those of you who are not familiar with Michael Showalter, he's one of the co-founders of The State, the comedy troupe that had an MTV series in the 90s, very influential on me, very subversive, very weird show in retrospect, but I think informed the comedic sensibility of a lot of people at that time along with mr show and conan o'brien a very kind of like hipster you know over-educated watched too much monty python and saturday night live kind of generation of

comedians and showalter has spent the last 10 or 15 years of his career evolving into a writer and director of feature films. He was one of the writers on Wet Hot American Summer, which is a kind of subversion of the summer camp movie. He was the writer and director of a movie called The Baxter, which is a, you know, a kind of like a subtle undercutting of some of the expectations of a rom-com. And then most recently, he was a writer on They Came Together, an out-and-out parody of rom-coms. And then he made The Big Sick with Kumail, which is a very sincere movie and is based on Kumail's life and his eventual marriage to his wife, Emily. But it doesn't bow down to

the conventions of these genres. All all of these movies seem to be circuitously operating around what your expectations are. And I love that Michael Showalter does that. I don't think all of his movies work as well as, I mean, White Hot American Summer is like iconic at this point. It is so beloved and has been, you know, reimagined as a Netflix series. It has such a cult following. And The Big Sick is an Oscar nominated movie. I mean, that was a really, really big movie and kind of set Kumail on this course to being a guy who could carry a movie with Issa. The Lovebirds feels like Michael Showalter continuing that tradition of dissecting and rebuilding the rom-com genre, but the script

is just not that good. And without a good script, these Michael Showalter movies don't work as well. Like the idea of making a slightly meta commentary on skipping over the rom-com parts of the rom-com, it just feels like we just missed out on the movie we would have wanted. Does that make sense? Yeah, it does. I think the movie misunderstands

what movie it ultimately is. And I don't know. And I think a little bit of that is because it's trying to be both a romantic comedy. Though, listen, let's just let me get this on the record once and for all. OK, it's not a romantic comedy if they start up together and end up together. That's not how it works. OK, a romantic comedy is they're not together at the beginning. They hate each other.

And then at the end, they're together. Let's it's fine. There are many other genres that you can do. It's just it's not a romantic comedy. they're not together at the beginning. They hate each other. And then at the end, they're together. Let's it's fine. There are many other genres that you can do. It's just it's not a romantic comedy. That's OK. But I think it's trying to be a romantic comedy and it's trying to be the heist thriller conspiracy thing. And, you know, like people die in this movie. Suddenly there's there's it's very jarring.

There's like a tonal element to this that I think is what I'm trying to put my finger on because it's, it's going along and it's meta commentary and it's sending up all of these types of movies you've seen before. And you're familiar with all the beats. And then there's just like a room where it seems like everyone's been shot all of a sudden. And you're like, what is going on? Like we were, this is not, this is not a crime drama, but this is, this is a comedy. So I think that maybe it's just, it couldn't get its arms around all of the different genres

and tones that it was trying to both emulate and also send up. It's, it's kind of trying to do too much, but yeah, I just, this movie is too ridiculous to attempt the sincerity and also the drama that it is trying to do at different points. And that for me was the thing that I couldn't quite get past it. Like all of the different parts of it don't add up. Yeah, I agree with you. I think that makes sense. the reasons why it feels like this movie belongs on netflix is because it is this blenderized mishmash of rom-com elements crime drama elements parody elements conspiracy thriller elements and then also just there are times when it just feels like you're watching insecure or watching silicon

valley you know it has a kind of elevated sitcom patter you know know, it looks, it's kind of like a long version of an HBO sitcom. There are a lot of HBO sitcoms that I love. That's not a bad thing. And I suspect that a lot of people are going to watch this movie because these two people have a big following. This is going to be, you know, it's a long holiday weekend.

So we can expect pretty significant audience for it. I do also want to say, I thought the amazing race bit at the beginning, the first scene, fantastic. And then I thought the amazing race bit at the beginning, the first scene, fantastic. And then I assume if you're listening to this podcast that you've seen the end, let's just say that the amazing race bit, they don't forget about it. And I really, I appreciate everything that they're doing there. Stick around to the end of the movie, I think is the note there. If you turned it off right when you felt like the story was resolved, don't turn it off. So yeah, it's a tricky thing. I mean,

I was looking at what we're going to get in June for this podcast, and it's frankly more than I was expecting. They just announced on Friday that Irresistible, the Jon Stewart-directed political comedy, will be coming straight to our homes. So if you include that and the Five Bloods and the King of Staten Island and Artemis Fowl, and then all of a sudden we kind of have a slate that is like 50% of a June slate. It's missing, obviously, the big, muscular, noisy blockbuster stuff, but we're getting a lot of middle ground stuff now. And I'm happy to have it. I hope those movies are good. I really don't know what to expect.

But it's better than nothing. I think three months ago when we were podcasting about this, we were like, are we going to get nothing? I'm thrilled to have new movies. It's great. I would like to get to a point where I am not analyzing why they decided to put this particular movie on VOD or PVOD and or thinking to myself, oh, I see why you did this one on VOD or PVOD. And I do think that's as much about my expectations

as it is about the quality of any of these movies, though it might also be related to the quality of these movies. I can't get past trying to figure out either what the problem was or what they were thinking or strategizing or saddling a movie with all of the existential like angst analysis that I just chided other people for earlier on this podcast. So, yeah, I'm excited for the new movies. I hope they're good. I hope they're good, too. Let's talk about all in one day movies. You mentioned that the lovebirds definitely falls into this category. I wouldn't say it goes out of its way to position

itself as an all in one day movie, but let's, let's set some ground rules here. Cause this is, this is complicated. Um, there can only be, I think a prologue or an epilogue that begins in the recent or distant past or future in movies like this, with the exception that I'm open to flashbacks. Are you comfortable with flashbacks? Yeah, I think so. I think that's fair. I think that the all-in-one day movie is ultimately about the constraints that are placed on the movie time-wise. And if you can solve for those constraints in any way you want, and we reward ingenuity on this podcast and in life.

So I'm okay with flashbacks. What about multiple iterations of the same day? Think of Groundhog Day. Yeah. Well, I think we're saying no, right? I didn't pick it. Did I pick any of multiple iterations of the same day? I don't think so. No, I think you're good. I think we're saying no, right? I didn't pick it. Did I pick any of multiple iterations of the same day? I don't think so.

No, I think you're good. I think you're all set. There's a case to be made that it's all one long day, that life is just a never-ending 24-hour cycle. It certainly feels that way lately. Sure. I think that's true, though. I think that Groundhog Day and that philosophy,

in a lot of ways, is antithetical to what you learn from all-in-one-day movies, which is not that you're going to have another chance and another chance and another chance, but this is it. And the real this-is-it feeling is what animates so many of the movies on our list. So I love Groundhog Day. Great movie. I don't want to spoil anything, but there's an upcoming movie that uses parts of the Groundhog Day aesthetic that we're going to talk about on this show too. And it's surprisingly resilient as an approach.

Russian Doll obviously did the same thing. And it's impressive how, I don't know just how much you can get away with that. This topic first came up on the rewatchables when we were doing a film that is going to be, we're going to spotlight here in one of our top fives. So I've been eager to talk about this with you. But before we share those top fives, let's hear a word about a new podcast from Gimlet. Hi, I'm Patrick Radden Keefe, a reporter at The New Yorker magazine. On my new podcast, Wind of Change,

I investigate a rumor I haven't been able to shake since I first heard it years ago. It came from someone inside the CIA, and the story was that the agency had written one of the best-selling rock songs of all time, a song that changed the world. So that was the tip that started me on this story, and it only got crazier from there.

Listen to Wind of Change, a new original series from Pineapple Street Studios, Crooked Media, and Spotify. Amanda, let's go to our top fives. I'd love to. So you and I have, we've conferred. There's no overlap here. There has been a little bit of politicking, I would say.

I think this might be the first top fives episode in which we both like all of our picks is that fair to say maybe there's one on here and on mine that you don't care for it's not that i don't care for them it's more that i knew that you needed to pick something and so i didn't and when you didn't pick it i was like what's wrong with you, Sean? You need to put this on your list for you. I was just kind of being a reality check for you. Sometimes you can outthink yourself.

You know, I outthink myself every day on the job. You want to start us off with your number five? Yes, I do. My number five, wow, what a way to start this. My number five is a film called Can't Hardly Wait. Oh, yeah? Yeah, well, you're the one. Amanda is going to be embarrassed.

Who's going to want you now? Somebody. From 1998. And this is definitely not the best movie on either of our lists nor is it the best movie in this genre nor is it even the best um like one last party movie ever made or even of its generation that's okay there is there are a number of reasons why i picked can't hardly wait it was released in you know in 1998 in that wave of late 90s teen comedies that aligned with my middle school and high school experience and so i just it has a very generational specific effect to me even though it has some residue of 90s culture that I don't miss at all. But it also has like

the purely conceptual, just the party movie thing in a way that when I think of a movie about a party or a just one night movie, I think about Can't Hardly Wait because there aren't any like great, amazing performances or like directorial flourishes or anything to get in the way. It's just the concept. This is it. This is like the purest expression of this type of movie. And I, you know, there's value in that in terms of setting the terms for the rest of the podcast.

I also just put it on because it like personally ruined my life for five years. There's one specific scene. Do you don't know? Do you remember this scene when Peter Facinelli gives the speech to Jennifer Love Hewitt? And he's trying to win her back. And he just goes, Amanda, you don't remember this quote? Let me tell you, I remember that. Because Jennifer Love Hewitt, who is like the it girl in the movie, her name is Amanda. And this movie came out in 1998.

Do you want to know how many times I've heard Amanda in my life? Let me give a piece of advice to everyone out there listening. You think you got like a really clever pop culture joke, right? You're trying to relate to someone. You know something about them, their name, where they're from, some sort of interest. And you're like, oh, I bet they've never heard this one before. They have heard it. They've heard it a thousand times.

They don't really need to hear it from you. Okay. I just, I know, Amanda, I get it. So this movie had an effect on the culture and on my culture. And it is my number five. Wow. You've just served up a recurring bit for me to share every single time you say something I disagree with.

This is amazing. How did you not think of that already? You call yourself a cinephile and you didn't know the Amanda reference until I told it to you on this podcast. I don't know how many years I've known you and that just occurred to you. That's on you, man. This is exciting. I mean, first of all, I love Can't Hardly Wait.

There's a great story about the making of this movie on the ringer that andrew graded r wrote a couple of years ago and it is a very fun version of this coming of age movie that feels a little bit you know to that conversation about the lovebirds it feels like 25 self-aware like it's aware that there is a long history of movies like this and it is doing some archetypal stuff to address that, but it's not out-and-out parody or satire or anything. There's still a lot of heart and sincerity in the movie. Yeah. It's just very committed to its idea,

which is there's one party, and everyone's going to have their moment. And I like the simplicity of it. It's so 90s, though. It is like achingly 90s. Here's the soundtrack. Third Eye Blind, Smash Mouth, Blink-182, Busta Rhymes, Missy Elliott, Run DMC, Guns N' Roses, Matthew Sweet.

No, I know. I mean, this movie, I vividly remember there is a tank top. The tank top that Jennifer Love Hewitt is wearing in the movie was sold at, I believe it was the limited and not the limited to, though, feel free to get in touch with me. But we all had it. And like, we were all buying this tank top because of Jennifer Love Hewitt in this movie, which is, you know, not how you want to grow up. Don't let your children do this.

But yes, it is oh yeah i had it i looked hot as hell in it it's a statement piece for me okay you can't believe the impact that jennifer love hewitt had on 16 year old sean fantasy sweet christ yeah i mean that's the other thing there was a reason that like all all the girls were buying the tank top everyone was trying and not pulling it off. She was a very powerful young woman. That's a great pick. I like that movie.

And funnily enough, when we were doing Groundhog Day with Issa Rae on the rewatchables, she said she'd love to come back and the movie she would love to do is Can't Hardly Wait. So maybe that's something that we'll do down the road. That would be great. Okay, I'll do my number five, which is a considerably more serious film

it's called training day i supervise five offices that's five different personalities five sets of problems you could be number six if you act right but i ain't holding no hands you understand i ain't babysitting you got today and today on to show me who and what you're made of you don't like narcotics get the fuck out of my car go back to the office get a nice pussy desk job you know chasing bad checks or something. You hear me? I hear you. Okay. And this of course is the film written by David Ayer and directed by Antoine Fuqua and features an Academy Award winning performance from Denzel Washington and an Academy Award nominated performance from Ethan Hawke. Holy shit. It's just so embarrassing that we went from can't, I mean, it's amazing,

but also embarrassing that we went from can't hardly wait to training day that is this podcast in a nutshell but wow okay continue gotta be yourself we just gotta be ourselves i think that this is um you know one of the enduring crime cop movies of the last 25 years it's a really really fun movie to re-watch we did do it on the rewatchables it is a great portrait of two things. I think there's, there's different kinds of categories that we're talking about here. You hit on the kind of like the big final party. This is really, I think kind of first day slash worst day on the job kind of a movie. The movie is seen through the eyes of Ethan Hawke's character. Who's a young police officer. Who's trying to make the jump to detective in the undercover drug police.

And he gets taken on this wild ride by a very aggressive King Kong-esque figure played by Denzel. And it is the sort of movie that shows you the nightmare side of that bad day. You know, if Can't Hardly Wait is the exultant and partying side of your life, Training Day is how every single thing can go wrong. And also how even when it seems like you're in control, you're not in control. That's one of my favorite parts of the movie is frequently Ethan Hawke's character is getting not just dunked on but manipulated and framed by denzel's character and i don't know it's just it's an incredibly entertaining and fearless kind of mainstream movie there are not a lot of movies that are like this right now i don't know what happened i think somehow in the

culture we cycled out of the the crooked cop movie, but it feels like it's ripe for revitalization. David Ayer did a lot of work like that in the late 90s and early 2000s that I really like movies like Street Kings. And he has shifted into this Suicide Squad era that is just not as successful. Yeah. Well, that happens to everyone now in filmmaking, unfortunately. It's a microcosm, I think, of a lot of what's happened. You know, if you look at the stuff

that he was super into. And Fuqua is an interesting dude, too. He made some more movies with Denzel. I think he and Denzel made The Equalizer together. And then he's got another movie coming out in 2020. What's that movie called?

Oh, no. He's got a movie coming out in 2021 called Infinite infinite which is a science fiction action movie starring guess who our boy mark walberg so i'll be i'll be i'll be tuning in to that hopefully hopefully that'll be we'll be able to go back to movie theaters by may 28th 2021 one year from now what do you think we'll we'll be doing that i'm not making any promises but i have i am filled with hope like you are okay what's your what's your number four what is my number four oh this is so rude that this movie is number four i don't know what i was thinking

when i put together this list but it is a nice segue from the first day on the job to the last day on the job so to speak uh my number four is His Girl Friday. Oh, no, Mama doesn't dream about you anymore, Waller. You wouldn't know the old girl now. Ah, yes, I would. I'd know you any time, any place. Any place. Ah, you're repeating yourself, Waller. That's the speech you made the night you proposed. Yeah, I know that you still remember it. Of course I remember it. If I didn't remember it,

I wouldn't have divorced you. Yeah, so I wish you hadn't done that, Hilly. Done what? Divorce me. Makes a fella lose all faith in himself gives him a which is a movie that happens in one day even though you may remember it for other issues it is all about number one a newspaper deadline and number two about the deadline of a marriage which is happening the next day and the first scene you learn that rosalind russell is uh going to get married the next day and then carrieary Grant has however many hours to not prevent that from happening.

And he does. So I love this movie. But the reason that I think that this actually is a great all-in-one-day movie, even though you might not think about it, is because there is such an element of pacing and rhythm to all of the, all of these movies. Like you have to, number one, you have to make it believable that it's only, only two hours have passed, but also an entire day has passed. But there is also that, that pacing of, we have to get things done. We have to get things done. Um, there, there's a deadline. There are only so many things we can

fit into this day. And that is like literalized in his girl friday with the speed of the talking and how fast they're going and there is an energy to it that just feels frantic and i gotta cram everything that i possibly can into this moment so great movie i love that pic i'd never really thought about it that way i'd never thought of it as an all-in-one day it's an inspired idea um I don't really have much to say. People were asking us in the last mailbag about classic films and what do I watch and how do I know? His Girl Friday, that's in the canon. If you haven't seen it, check it out. It's available all over the place. Got some of the best star performances ever, some of the best

dialogue ever. Super fun movie. My number four is a fun movie in a different kind of way. It's called the Texas Chainsaw Massacre. It was released in 1974, directed, of course, by the late great Toby Hooper. And this also was a movie that is maybe not always considered an all-in-one-day movie, but it sure is an all-in-one-day movie about a group of friends who go out on a road trip of sorts and find themselves lost in a scary town and they stumble upon an evil family of chainsaw murderers including leatherface one of the most iconic villains in horror movie history i don't know if there is a more effective horror movie that's ever been made hey that guy smeared blood all over the van. Looks like he's trying to run something. What? What'd he do?

He rides up on the van? That doesn't mean this is the greatest horror movie that's ever been made. It doesn't mean it's the most, you know, expertly imagined. It doesn't mean it's the most brilliantly made. It's a fairly low-budget film. It's pretty grindhouse-y in general. But it is iconic for a reason. And that is because the final 30 to 40

minutes of this movie are straight up harrowing. And it's a bit of a bit to say that a movie looks like a fake documentary or that the found footage era of horror really informed this like you are there and maybe this is real. Blair Witch Project

obviously a big part of that. Texas Chainsaw Massacre is 30 plus years ahead of that conceit and treats it takes everything effortlessly seriously it is so so so sincere about the story that it's trying to tell even though it's ridiculous it's obviously based on many ways, the crimes of Ed Gein, the serial killer, who we've seen kind of used as a figure over and over again in horror and crime fiction. But it's just one of the most overwhelming movie experiences I can remember. Amanda, knowing your taste, if you haven't seen this movie, I would say don't watch it. I don't think you're going to enjoy it. There's something about the just gruesome violence once you know it's coming. It's not that I am afraid of it. It's just not what I would prefer to watch. But I was kind of surprised you

didn't have more horror movies on your list just because it seems like the perfect construct for a horror movie. It does. There are a lot of people who claim that Alien is a great all-in-one-day movie. I don't know if we can confirm that. Also, I mean, in space, what is the definition of a day? Yeah, it's all, yeah, no one can hear you scream and no one knows whether clocks work in space. Okay. So, yeah, I think I probably could have put more. I just didn't want to overdo it. Just me repeating the history of horror movies over and over again might have been a little bit boring, though it's probably boring just hearing me talk about it now anyway. No, it's not. We appreciate your restraint, though. Fun fact that I don't think I realized about this movie until I just pulled up the Wikipedia page

for it, which is that it's narrated by John Larroquette, who would go on to star in Night Court and The John Larroquette Show and a great many other things. I had no idea that he was the narrator. But that narrator is a person who delivers this kind of like this steely and intense prologue and epilogue that makes you think that this was real, makes you think that this is a document of truth. And that's part of what makes the movie so effective. So Texas Chainsaw Massacre, check it out. It's an all-time classic. What's your number three? So my number three is sort of a joint number three. I think that you and I were both going to put it on our list and I took it from you in order to make room for another list, another thing that you didn't realize that you needed to put on your list. And I also just want

to say, we will probably be talking about this movie again in a few weeks when we talk about Spike Lee. But this movie is 25th Hour. Montgomery Brogan. Yeah, that's me. I'm Agent Flo with the Drug Enforcement Administration. I can see that. What is all this? We've got a warrant to search your apartment.

Are you serious? Which is just an unbelievable movie. It is, it's, I rewatched it this week and was extremely moved by it as I was when the first time I saw it, however many years ago. So the premise is, it's directed by Spike Lee and written by David Benioff, who adopted his own novel and stars Edward Norton as a guy who's, he's a convicted drug dealer and he's going to jail the next day. And so he has 24 hours left to kind of seize the last out of life. And it is a movie about New York. You know,

it is very, in a specific time, it is very famously has a lot of references to nine 11 and was filmed right after nine 11, but it, and it, and it's fused infused with, a specific time and is very famously has a lot of references to 9-11 and was filmed right um after 9-11 but it and it and is fused infused with um a love of new york and trying to conjure up what um is good about it and what is you know will will be missed from it um it's of a very specific moment in time. And it really also just manages to convey all of the lives that are lived in New York. You know, it's technically about

Edward Norton, but it has a tremendous supporting cast, including Philip Seymour Hoffman, Barry Pepper, Rosario Dawson, Anna Paquin, Brian Cox. And you spend time with all of those people in a way that's not gimmicky. You really, you get a sense of them. You get their connection to Edward Norton's character. You get a sense of what they do in their own lives. And you really get the sense of this entire life that this person is having to say goodbye to. And you get that sense of longing. And at the end, you get like a tremendous sense of not quite possibility, but like what could have been that I just find wrenching every time.

But it's the opposite of a lot of the other movies that I've specifically picked, but that we have on this list. It is about making the most of a day, but it is also about packing everything in because you're not... It's saying goodbye to a day and also to a life. And it's wrenching to me. Yeah. I think I'll probably talk a lot more about this in a few weeks. It's one of my favorite movies ever made.

I think it's an amazing movie about friendship. It's an amazing movie about fathers and sons. It's an amazing movie about a version of blue collar New York that I really identify with. It's obviously this post 9-11 document, really one of the first films to reflect on that. It's also just from a craftsperson's perspective. I think it's Terrence Blanchard's, maybe his best score for Spike Lee. The music is incredible in this film and it is a huge part of telling this story. I rewatched the sequence where Monty, Ed Norton's character's house,

the cops invade his house to do a raid of a sort. And it's a very funny scene because Isaiah Whitlock Jr., who people may know as Clay from The Wire, has this very showy performance as a cop. But that scene is ratcheted up by this score it's so intense and so you're like on the edge of your seat the whole time even though

you know exactly where it's going so that and also it's it's i don't know if it's rodrigo prieto's first uh american film he he you know he had worked with inritu on amoris peros and then he goes on to be ang lee's cinematographer and then then Martin Scorsese's cinematographer. He's been nominated for a bunch of Oscars. He shot The Irishman. He shot Brokeback Mountain. He's really one of the cinematographers of the 21st century. to American audiences. And the movie just looks so incredible and it combines that very specific Spike Lee visual sensibility with a new eye. You know, this is like a new kind of collaboration for him. Just an amazing movie.

It would have been my number three if you hadn't reminded me what my number three should be, which, you know, we can also share my number three. I think we're going joint on this. All right. If 25th Hour is kind of your last day on earth, your last day before prison,

number three is days of confused. That's the last day of school. How's it going, man? Hey. Pretty good. How's it going with you? Say, man, you got a joint? No, not on me man which do you remember do you remember the last day of school do you remember that feeling did it did it did it look anything like richard linklater's vision of the last day of school we had a party we had like a after graduation an actual party at someone's house and i went to a pretty uptight school. I will surprise no one to learn. And it was kind of like, once you graduate, you guys actually can have a party. And the parents helped facilitate it. And we're like, good luck. We'll see you tomorrow. Please don't drive. Just

all do what you're going to do. So I remember that quite vividly. Did you violently paddle any freshmen? I didn't. Freshmen weren't invited to this party, please. As if I would hang out with freshmen. No, I didn't. There was a bonfire. I got really drunk. That was about the end of it. Wow. Incredible. A rule breaker. Shocking to hear. Yeah. I mean, Dazed and Confused, what can you say? One of my favorite movies of all time. One of the most rewatchable movies ever made. Obviously took Richard Linklater from the filmmaker behind Slacker and a kind of a rising Sundance figure to somebody who essentially minted a generation of stars.

One of the best casts with one of the clearest eyes for talent that's ever been assembled. Amazing soundtrack of 70s AM rock hits. Just an exhilarating representation of your whole life in front of you. And there's some anxieties that come with that too. The whole character of Randall Pink Floyd, I think is a great creation. Obviously, very clearly modeled after Linklater's own experience as a soulful athlete. I think The Ringer is doing its best to reflect on the wonders of the soulful athlete. We all imagine ourselves as Randall Pink Floyd types. And it's just a beautiful, fun, funny, very strange, and unexpiring movie. So, Dazed and Confused.

Great segue to my number two, which is also a Richard Linklater film. It is Before Sunrise. Listen, you know all this bullshit we're talking about, about not seeing each other again? I don't want to do that. I don't want to do that either. You don't either? I was waiting for you to say that. Why didn't you say something? I was afraid maybe you didn't want to see me. All right. Well, listen, what do you want to do that. I don't want to do that either. You don't either? I was waiting for you to say that. Why didn't you say something?

I was afraid maybe you didn't want to say it. All right. Well, listen, what do you want to do? Which has to be on this list. You know, I am on record as saying that I don't, I've seen this movie a lot of times and I don't always love watching it. It makes me stressed out. There is a lot of talking and I know that I talk a lot on this podcast.

And there are many people, I'm sure, who wish that I wouldn't. But in my own life, this level of talking can make me a little anxious. But I think as an example of the all-in-one-day or all-in-one-night movie and what you can do with that format, you have to put Before Sunrise on the list. Because it's... So, if somehow you don't know the plot of before sunrise um it is ethan hawke and julie delpy who meet on a train traveling through europe and then they fall in love over the course of you know the rest of the day and the evening and then and then that's it and they say goodbye before he goes to make his flight. And it's just, it's about falling in love and about how that can happen very quickly, but also with real urgency and about, it's so romantic because, you know, that there

is romance in knowing that things aren't quite going to last. And it uses the time constraints, which Richard Linklater uses in a lot of his movies. Another reason that you have to have him on his list is that the concept of time and how we all deal with it is very important. But here he just really understands how time actually does affect romance and how we connect to each other and what we're willing to say if we know that there's only so much time left. And it is really beautiful. I watched the end of it. And again, last night, and I was like, oh, I'm a jerk forever having said negative things about this. This is what a movie. I'm more of a Before Sunset person. What's your take on that one? I think maybe as a movie, I am as well.

But Before Sunset is a sequel. You know that this isn't the only time that you have. Before Sunrise is the purest, only all-in-one-day movie. Because they talk at the end about, we'll meet at this time on this train station. And maybe everyone involved knew that they actually would do a follow-up but even there they don't meet at that train station and as you're watching it you know it's never going to happen you know that they're just trying to express their feelings for each other so this is the purest example of like this is the only day you've got so that's

why i think it belongs on this list even if before sunset or even midnight, which I haven't watched before midnight since I got married. Don't know whether that would be a good decision. While you're shaking your head. One of the realist movies about what it's like to fight with your spouse that I've ever seen. I remember sitting in the theater. I was in a very large screening, watching it and being like, oh my God, I never want in the theater. I was in a very large screening, watching it and being like, oh my God, I never want to get married.

Like I, and that, and then I did. So maybe I won't revisit it. I just, I have a lot of the same tendencies, arrogance, self-regard, you know, caught up in my own bullshit that Ethan Hawke's character has in those movies. And it's charming in your 20s and it's complicated and maybe even intoxicating in your thirties. And as you approach your forties, it's really ugly. And his character gets really ugly in that

third film. And, you know, as a, as a, as a man, it's a, it's, it's insightful about what you should not do, but it's, it's not very forgiving to Julie Delpy's character either. It's insightful about what you should not do, but it's not very forgiving to Julie Delpy's character either. It's very tough on her. Before Sunset, to me, is in a kind of, I guess, a perverse way, like more romantic. It's about having lived and then having found something new, which is a slightly different thing. Before Sunrise is almost like a fantasy.

It's vanishing between your fingers and before sunset starts to get more real but not too real you know what i mean yeah i do i i agree with you that i think probably before sunset is a more romantic and enjoyable movie but that sense of fantasy that sense of everything is like this is all we have is is what makes all in one day or all in one night movies all in one day or all in one night movies that's to me is kind of the animating principle you're right you're right those are great films hopefully we'll talk more about those movies somewhere in the future i mean linklater is really like like you said the master of time he's the person who understands what it does and you can see it in so many of his films and

he is after his boyhood experiment now apparently embarking on another is it a 10-year experiment a 20-year experiment with ben platt and beanie feldstein i don't know they can just let me know when they're done and i look forward to watching it damn shots fired uh my number two is a similarly uh difficult intense movie to training day it's called dog afternoon nobody's gonna worry over kidnapping charges the most you're gonna get is five years you get out in one year huh kiss me what kiss me when i'm being fucked i like to get kissed come on come on come on you're a city cop right robbing the banks of federal offense they got me on kidnapping armed robbery they're gonna bury me man one of sydney gilbert's many masterpieces a a heist movie a relationship drama a portrait

of friendship a story about a man completely breaking down from the inside out uh features i don't know where it is it's pretty high on the Al Pacino list of iconic performances. Another one of those movies when you look at it and you're like, why didn't Al Pacino win an Oscar for this? You could say that about like six or seven movies in the 70s. Why didn't he? What was this year? That's a good question. Let's find out. So the movie was released in 1975, which I think that there is a very strong case, and perhaps this is a future episode, that this is the greatest year in the history of American movies. So 1975, here's the Best Picture nominees.

Okay. One Flew Over the Cuckoo's Nest, winner. Okay. Barry Lyndon. Oh, wow. Dog Day Afternoon. Okay. Nashville.

Wow. Jaws. Oh, okay. Wow. That's pretty crazy. Nashville Wow Jaws Oh okay Wow That's pretty crazy That's really That's Congratulations to the 70s

The 70s were so good God Love the 70s The Best Actor race Was really interesting So Jack Nicholson Of course won for Playing Randall P. McMurphy

In Wonderful of the Cuckoo's Nest Walter Matthau Was nominated for The Sunshine Boys Maximilian Schell For The Man in the Glass Booth, a film I've never seen. And James Whitmore was nominated for Give Him Hell, Harry, where he portrayed Harry as Truman.

And Al Pacino. So Al lost to Jack. And you know, hard to quibble with that one. Yeah. You win some, you lose some. Dog Day Afternoon, though, same deal. Doesn't expire. Brilliant film.

Written by Frank Pearson. Really edge of your seat film. Really like way ahead of its time in terms of its sexual politics and its sensitivities. I think people tend to forget what that movie is premised upon. If you haven't seen it, it's absolutely amazing. Al losing his shit outside the bank and screaming Attica and riling the crowd. All time iconic. I definitely recreated that in my home the other night.

Didn't go well either in my home. Amazing stuff. Just a brilliant movie and features one of the great performances by John Cazale. His co-star from the Godfather movies who famously only made five films, all of which were nominated for best picture the godfather the conversation godfather 2 dog day afternoon and the deer hunter dog day afternoon it's a classic we're doing a lot of classics here and frankly i feel fine about it i'm not trying to blow anybody's mind with the oddness of my picks here yeah it is a it's a

genre that has been used a lot and it like it makes sense because i believe that all good films are about constraints you know there's a you need it's two hours you need boundaries um i think i was thinking a lot about the conversations that we were having about this the cut that must not be named and the bleed from movies to tv and that when there aren't any sort of constraints when you have as long as you want and you can kind of do as much as you want, like things start to wander and it's not really what I respond to. So you need like, you need those boundaries and you need some like propulsive energy. And so to me, it makes a lot of sense that a lot of the greatest movies of all time

fit under this rubric because it has a lot of the special ingredients you need. Yeah. So that takes us to number ones. What's your number one? My number one is another classic, a movie recently featured on the rewatchables. It's called Ferris Bueller's Day Off. What do you think Ferris is going to do? It's going to be a frightful convince this really rules this is the yeah i'd like to thank i don't do this very often so just remember this in your heart i would like to thank you and Chris Ryan for defending the parade scene on the rewatchables. It is insane to me that Bill Simmons was like, it's too long. I don't know what you're talking about. That is one of the greatest scenes ever recorded in a movie.

It's just and it's also if you had one day that so Ferris Bueller's Day Off. If you don't know the plot of Ferris Bueller's Day Off, please go watch it. But it is the classic, it's like you got one day and you got to make the most of it, right? It's like the best day of your life. And that scene, which is so fantastical, where he is on a parade float singing John Lennon. John Lennon, he's lending his voice to Ferris Bueller and the entire city of Chicago is like doing choreographed dances around him is like the ultimate fantasy and the ultimate if if you could just have it all I guess I think I would want to do this too who wouldn't want to stand in the middle of a parade float and perform twist and shout i would i do ultimately think all of these movies are um i mean obviously they stretch the imagination

because they're supposed to be 24-hour movies and they only like take two hours so you're pushing the boundaries of what what's possible but i think they're always involved that sense of like what can i do this is all this is all i have. I got to make it count. And, and Ferris, Ferris Bueller taught me to make it count. How about that? Were you more into Ferris or Cameron? So you guys had a conversation about this on rewatchables. I think that the entire movie is set around the idea that the audience is a Cameron who wants to be Ferris. Like Ferris is an idea as Chris said. And we all have parts of us that are Cameron like, and we can all identify with not having the made the most of it on every single day and not like going out and being like, sure, I'll get on a parade float.

And the reason that movie works is because all of us want to want to be like Ferris and want to be able to find it easier. And so I am a Ferris person and that seems great to be Ferris. I would love to find my inner Ferris. Most days, I'm a Cameron, just like everybody else. You know, I'll tell you a weird, very, very brief personal anecdote.

In high school, this was around the time when the beatles anthology came out the that that mini series that we've talked about before on the show um i got into some argument with my friends i think we were even watching it together and we were jockeying about who cares more about the beatles and i said something like i'm the beatles guy proudly and i was kind of just mercilessly mocked by my friends. And they were like, I'm the Beatles guy to make fun of me for the next few years. But the truth is, is that I'm a Beatles guy. And you are a Beatles gal.

Like, we really care about the Beatles. And at the risk of talking about our boss on a podcast that he's not going to listen to, I think he might not be a Beatles guy. And so that parade scene that you're talking about might not be as resonant for him. But if you give a shit about John Lennon in Twist and Shout, how could you not love that moment? I don't think you have to. It's not just the Beatles. John Lennon's performance in Twist and Shout is one of the great rock and roll recordings of all time. And not to be all freaking music nerd on people like I because

I don't need to do that I've suffered enough at the hands of other music nerds but come on it's electric and I just also you know maybe maybe not everyone wants to be in the middle of a parade with people dancing around them I have talked a lot in recent weeks about how quarantine has taught me that maybe I'm more of an introvert than I thought I was. And I think that's true. But also like if you gave me the opportunity to do twist and shout with like an entire city, like I would do it. Come on. Yes. That sounds great. So it's a personality test, I guess. It sounds great to me. It's an amazing film, and it's an amazing sequence and an amazing film.

My number one is After Hours. I just realized I finished doing this whole spiel about how we all picked classics and favorites here, and then now After Hours maybe is a little pointy-headed. But if you're not familiar with After Hours, it had been previously one of the great kind of lost Martin Scorsese classics that I think people of our generation have spent a lot of time in the last 10 years

reviving and celebrating. And there's probably a couple of reasons for that. One, it's one of the funnier Scorsese movies ever made. On our wedding night, I was a virgin. And we made love. You've seen the film, haven't you? The Wizard of Oz? Yeah, I've seen it. Well, we made love... You've seen the film, haven't you? The Wizard of Oz? Yeah, I've seen it.

Well, when we made love... Whenever he... You know, when he came... He'd just... Scream out, surrender Dorothy. That's all. Just surrender Dorothy. Wow.

I know. Instead of moaning or saying oh God or something normal like that. With stakes that are not as intense as the Raging Bulls and the Taxi Drivers. It's a bit more antic and it comes from that lost period when he was the Last Temptation of Christ was swirling as a

controversy and he was trying to get a sense of what his career could be and it was hard for him to get movies made. And he makes this little movie about a guy having one of the weirdest nights ever. It starts out in the day and then we move seamlessly into the night. And in part because of the ending of the movie, which ends sort of the next morning, it really represents like the full 24 hour cycle to me. I feel like we're with Griffin Dunn's character throughout this, But it might have been Chris Ryan who has informed my opinion about this, but it really is one of the great New York movies ever made because Griffin Dunn's character essentially bounces from

Soho Loft to downtown biker bar to some strange woman who he met in a diner's place all throughout the night. And it gives me a warm feeling about some stupid nights that I had in 2006, 2007, living in New York and where you're just like, oh, is it really 4.45 in the morning and I'm not home yet? That feels like a long, long ways away. That feels like it happened 75 years ago. Feels like another lifetime. Yeah. It does. But there was a time when I had a lifestyle that was closer to that. And After Hours is just it's an incredibly clever and very hip movie. You know, Martin Scorsese didn't always make hip movies. Some of his movies are magisterial.

Some of them are very tortured. This movie is like it's cool and it's clever and it's funny. And it's it's representative of a of a of a kind of day that even though it's torturous for its main character seems kind of fun so i thought it would be a nice place to to end this um you know there's we probably could do an episode like this for three and a half hours there's so many good movies that use this structure was there anyone that was really hard for you to cut i'm trying to think you know i i did go back and forth on 25th hour just because i know we're going to talk about it again super bad is another one that's not on either of our lists and that seems

pretty stupid because it's excellent and generationally very important and if you want to talk about like a party that goes a lot of different directions, Superbad is it. So that one, picking can't hardly wait over Superbad is like an interesting Amanda quirk. And I stand by the decision that I made, but I think that you could,

if you wanted to control and replace on your own time, that's fine with me. Yeah, it's generational, right? I love Superbad. Superbad is one of my favorites. Another movie that I think we wrote a long and deep piece about. We did. Andrew Codadero also wrote that one. Great, great, great story.

And we love Jonah on the big picture. But yeah, I think it's just because I was in my 20s when I saw it and not 16. And I was 16 when I saw Can't Really Hardly Wait. So I can identify with your pick. I think it's a reasonable one. There's a bunch more. I mean, you made the point about horror movies. I think there's some good crime movies. Collateral came to mind as a good all-in-one-day movie, the Michael Mann, Tom Cruise, assassin movie. Dr. Strangelove, I was looking back in the 60s, there were a lot of nuclear paranoia movies. In 64, both Dr. Strangelove and Failsafe came out, two movies that are essentially about the same thing with completely different tones. And I think those were all oriented around this feeling like

maybe the earth is going to explode. Who can um i don't know escape from new york and then clerks the big homie kevin smith oh boy big bad day at work right sure yeah i mean this is there's a wikipedia page um devoted to this phenomenon which is you know probably not comprehensive his girl friday is not on the list last time i checked but it's very long because and there are a lot of great movies in there i mean die hard counts oh die as well yeah die hard is not on either of our lists love die hard it's just yeah you can go a lot of different directions i made a list i made a letterboxd list that has like 105 movies on it and i'm sure i missed a bunch yeah it's a pretty incredible format for movies. If you could do

an all-in-one-day movie, what would be the genre? What would be the setup? Just spitball something for me real quick. Oh, God. I think I would definitely do a best day of your life situation. So I don't know what that means for me. It definitely probably involves, you know, the Mediterranean. And I suppose I need some tension in there. So like maybe I don't know, how can I turn Oceans 12 into an all in one day movie starring Dobbins, where I get to live that for a day. And if I complete the heist or if I beat the Night Fox, then I get to live in his house for the rest of my life. Maybe it's more like a Night Fox biopic where you play the Night Fox.

That would be good. Okay, that sounds great. What would yours be? I would just remake Texas Chainsaw Massacre, and I would be Leatherface. Cool, congratulations. That sounds great. You know what I was surprised wasn't on your list was One Fine Day. Are you a fan of that movie?

I'm so glad that you brought this up because I actually watched One Fine Day last weekend and it was not for this podcast. It was because, as I mentioned, my group of friends who we do, you know, we'll watch a movie together and text at the same time we did under the tuscan sun um they did go i couldn't actually go to go i thought go might be on your list i love go that was another great one yeah um but so one fine day was selected and we all watched one fine day together and i i'm not trying to to apply modern day values to everything that's happening. And I love George Clooney and I love Michelle Pfeiffer. But One Fine Day was just the most off-putting, bitter, everyone just hates each other and is yelling all the time. I didn't remember this at all. I remembered it as a movie where George Clooney and Michelle Pfeiffer

and Tiny Mae Whitman and another kid just ride the circle line. And it's like, basically all I remember about one fine day was the circle line, but it is a pretty just mean spirited movie. And everyone is kind of being mean to each other and relying on stereotypes. And at the end, you're like, well, you all seem awful. So it hasn't aged as well as I wanted it to. But I still like all the people involved. And I hope that the people can ride the circle line again one day. That's heartbreaking. I was thinking about returning to it. I seem to remember liking that movie.

I did too at the time. And then I was kind of like, this is weird. But the kids are very cute tiny may whitman just giving a great performance you've grown so optimistic i'm surprised like about this circle line or about no just that you want you want something sunnier from your from your george clooney michelle pfeiffer movie it's not that wasn't sunny i mean no spoiler but they do end up together because it is a romantic comedy it's just a spoiler it's a romantic comedy i i honestly am not gonna apologize for spoiling romantic comedies the part of the joy of watching the romantic comedy is that you know

what's gonna happen at the end and you're just it's how you're gonna get there it's the journey not the destination that's true of romantic comedies and life. Okay. But the problem is the way that they get there sucks and they are not fun to be around. Okay. Fair enough. This has been a spirited adventure. This podcast has felt no less than a day. So thanks for turning over all 24 hours. Later this week on the show, we're going to do something a little different,

little home at home with Andy Greenwald and Chris Ryan from the watch. So I'll be jumping on their show to talk about HBO max, and then they'll jump on our show to talk about HBO max. And then Amanda will be back next week. And we're going to talk about the best movies about making movies, which I'm really excited about. So get your list going, Amanda, and bring some of that sunniness to that list.

Okay. See you soon. you