The Worst Idea Of All Time - 09: Lost In Our Work

Episode Date: January 14, 2026

Get ready for a completely earnest discussion about the movie Joker: Folie à Deux cause these guys have lost it. Tim’s review of this watch? “I miss my family and I want to leave.” Guy’s feelings on critics who aren’t down at The Classic with them watching this film? Frauds. Tim pontificates on what Chris Nolan would have to say to Todd Phillips, Guy believes Todd has left breadcrumbs in the movie to show his appreciation of Always Sunny and Arrested Development and both of our boiz wonder about these inmates’ piss buckets.Good news - you can support us at twioat.substack.com Hosted on Acast. See acast.com/privacy for more information.

idea of all time You had a question for me? That's right. I wanted to ask you, and I want you to be totally honest, are you in any way growing tired of discussing Joker 2?

Yes. Yes, I am. Thank you for your candor. I don't want to talk about it anymore. It is unique that in the way that we've formulated this season of the podcast, we are just, it's just you and I talking about Joker 2. Some other people drop in, thank God from time to time.

But this is literally... They go home. Just episode after episode after episode after episode after episode after episode after episode after episode after episode after episode after episode after episode after episode of you and I talking about Joker 2. I think you missed about six episodes. Don't have it in me to do 14 of that. It is episode after episode after episode after episode after episode after episode after episode after episode after episode after episode after episode after episode after episode after episode after episode after episode of us discussing Joker 2 undoubtedly. You feel good about that?

You know, in a world in which in a world in which I'm looking for points of pride about something I'm doing. I do. Okay. I do feel good about that. I was even jealous of you when you started doing it. We've been living at the classic for four days now. Yeah. And these walls are the only walls, really, that we've seen in a while.

Can't tell you something? Yes. These walls were made for talking. Yeah. And that's just what they'll do. wouldn't it be you know wouldn't it be sorry i don't know why i interrupted you to say that go on i just thought it was um well it was an intriguing take on nancy sinatra's boots were made for walking isn't it because it also trades on a and historic turn of phrase which is these um these boots

if these walls could talk yeah who would you be more paranoid of as a gossip a wall or a fly. Because the things people say is they say if these walls could talk Well they say I'd love to be a fly on the wall Oh yeah The wall

Flies die Walls are forever Yeah Exactly The first half You know there's not a single fly in this movie The first half of the movie That is crazy

Because where we're spending our time You don't know that It is cold But you'd think there'd be flies everywhere Yeah They don't rinse their Yeah, piss buckets. No, it really bothered you today, didn't it?

I just think that the build-up of the sort of acidic smell of piss would be over-want. And I know that these are not, you know, we're not, these are not hotel conditions. That's where I'm coming from. I just don't think there's anything for it. I guess there's an argument for you do what you can. I think even so you do what you can. They're pouring them into a trough which has taps above it. Like, it's not hard.

Yeah, to turn around. It's about an additional, you know. 10 seconds of work to just rinse the bucket before you take it back. Yeah. You're right about that. Do you think they do shits?

I mean, and I'm a guy who loves a clean urinal. In the same bucket? I wonder about that. Yeah, I mean, the assumption would be... It has to be. The assumption has to be that you would also shit in that same bucket.

But the place that they pour, the, you know, runoff is... Really only equipped to deal with number ones. Yeah. Not number two's. It doesn't be a thing about really. No, not a lot of the stars. I fell asleep and I woke up and then we watched the movie again.

Yeah. Cool. That's sort of the sequence of events. And I didn't hate the first third of the swatch. Didn't hate it. Did not hate it. And we got right up. up to the moment where Arthur loses his nerve as the Joker in the courtroom and essentially confesses in the middle of his own trial in a way or gives up allowed to the judge, the courtroom and the television audience and to the camera.

and then there was no veil to hide behind facade to pretend it existed. I hated the film and I hated what we're doing and I hate myself. Do you? In this moment. No, come on. Come on, Tim. This is, uh... You can hate the film.

I will not have you hating yourself. It's dreadful. It's dreadful. Okay, here's a few, here are a few immutable facts. You have agency. Do you know what my review of Joker 2 is this time around? I miss my family. Yeah, that is a totally valid review.

And I want to leave. You have agency. You are here. It doesn't feel like I do have agency. You are here of your... own free will. I'm here technically a behest of myself. But it doesn't feel like that. Who's, there's a door. I can see a door behind you. You can walk through that door. Like a trick. You can walk through that door. No, I can't, though. If you, if you want to,

I'm telling you right now, you can't. And I'm telling you, I can't. Just go easy on yourself. Because you're going to be here for a while, yeah. We're over halfway. We're more than halfway. Yeah. We've watched it. Yeah, this race. Yeah, but like we're, you know, we passed halfway a while ago now. We're two screenings passed halfway. Yeah. We're down to Amiga.

Five? Five screenings. Tim, maybe this will make you feel better. We've only got, hold on, just got to do some quick sums. 11 hours and 40 minutes left of this movie. Cool. That's awesome news. Tell me about

Chris Nolan's relationship to this film and what, if anything, he might say to Todd Phillips? The most palatable part of Joker 2, Folliardieu, comes I'm going to say 13 minutes before the credits roll at the end where the carbom explodes just outside the courthouse in the scene that ensues can really only be described as Nolan air.

for many reasons. Number one, there is sort of a Hans Zimmer style, discordant string orchestral slide that happens in the soundtrack, which is overwhelming any of the dialogue that occurs. We are also given the on the floor experience of, you know, the air is ringing after an explosion. Yeah, whenever you hear like a flashbang in a movie and they do that very high frequency whine to mimic.

what would happen to your hearing after allowed ban? There's every chance that the sound person just had a bad day at work and... Recorded buzz. Yeah, and they rolled with it. And someone in the edit was like, we can save it. Don't worry, we'll make it seem like we did it on purpose. So it's a chaotic scene. There's dust everywhere.

People have died. This has come all of a sudden. You don't actually see that people have died, but it would be hard to imagine that people weren't taken out with this enormous blast in the courtroom. Arthur's been thrown into the ground. People definitely die. He gets up in a stupor. We've got very long, uncut shots on a shaky camera following Arthur to give his perspective of a lack of sure footing.

Obviously, he was almost killed in this blast. He's trying to get his wits about him, but he can't. Stumbling around, we're in pretty shallow focus for a midshot, and there is a figure which looks a lot like the Joker, stumbling around, who then comes up to Arthur and it is a guy fully decked out in the Joker garb and facial makeup. It's a cool moment. We've talked about it before. It looks and double takes as if to say, oh my God, it is you.

Takes him under his wing, leads him into a getaway vehicle into the back seat. And it's exciting because finally in this movie for the first time ever after two hours, something is going on. And that's Nolan. You can say a lot of things about Nolan. He's not very good at mixing his sound. You could accuse him of being boring in some movies. I would accuse him of having gone absolutely ham on Oppenheimer

for just wall-to-wall dialogue without letting a single moments rest occur except the explosion of the atomic bomb. However, he is, an unbelievably good filmmaker and the closest that Todd Phillips gets in this film to good filmmaking is basically doing a

homage to him and so what would he say what would Chris say to Todd Chris Nolan from what I've seen in interviews of him is a very there is an elegance to the man and a thoughtfulness

and an intellect and a certain British reserved attitude he is in some ways sort of the opposite of Quentin Tarantino

who you would see in a baseball hat and a Yankees T-shirt justifying very loudly why he's allowed to say the N-word Chris Nolan a lot more internal a lot more sophisticated

three-piece suit sitting down. He wouldn't be going at Todd Phillips. He would have, I think, very useful, constructive feedback for him. That's very sweet. I can't imagine him. Do you mean what, as a filmmaker? Because I'm assuming this conversation takes place after the fact. The movie has been made.

Correct. So are they words of affirmation, words of consolation, words of encouragement, a blend of all three? I think he might say something like, I'll tell you, Todd, I admire your ambition, which is simultaneously faint praise and unbelievably cutting.

Yeah. I don't think that Chris Nolan also would like pull many punches. I think he's so sort of smart that he would find a way to honestly communicate. Honestly articulate his thoughts without it being mean, but still with it being. honest that like that film didn't work and why don't you and i have a talk about why

you think he's going to bother himself with talking about why with todd yeah i do i do i think he sees a fellow filmmaker and todd phillips maybe not operating quite at his level but you know this is a fellow director it's not that you think about it there's an absolutely fucking stupid uh quote that gets banded around by joe rogan about how many stand-ups, like real stand-ups there are who just make their money from comedy. I think he said like 500 thing in the world, which is wrong. But how many direct, like how many director, you know, professional Hollywood directors operating could there be?

It's less than 50, right? Who are actually doing like big budget Hollywood films regularly. And Todd Phillips is in there. And Christopher Nolan's part of that club as well. Small club. It's a small club. It's like the presidents, you know. You don't agree with the other former presidents of the US,

but there's a sort of unique kinship formed by... I think historically there was... Occupying the role. Yeah, that's true. It might have changed. Can I ask you a question that's perhaps less about the movie exactly and more about what we're doing? Why didn't YouTube want this?

Yeah. Why don't people want this? You know, the gut reaction I had when you said that question is it's not for me to say. It's sort of for the audience to say. And there are answers. Certainly there's answers to that. I've always framed what happened as we were, I didn't take it as the direct attack on us in what we made. No.

I think we came up with an idea at an interesting time. in that it did get greenlit and paid for by them and then it was impossible to produce a series again because of the timing we got in the door was still open but they were closed it they were in the process of closing the door while we got in the room so like arriving at a house party when they're doing last call yeah so you can have you can have one grab our drink if you want but i really got to get you out of here after that because we're wrapping everything up i've actually got to do the vacuuming It's purely timing. Yeah. Nothing to do with creative endeavor. In my mind, yes. What do you think? I think they looked at it and thought,

I'm glad we made this, but no more. I think what we've made and, you know, what we are making is... You think it's a little too specific for YouTube? Well, it's pretty specific. It's pretty specific. pretty specific but people still like movies

yeah people still like you know movie culture criticism analysis discussion joker too and people don't like that but that's not important

because the space in which we're occupying is a very you know without falsifying or being hubristic about our own credentials, which I think are very thin on the ground in terms of expertise, there is no one operating with this level of commitment, which means that while we might not be

qualified, you know, by way of research and specifically critical endeavor in terms of like having the faculty or language to criticize film or, you know, bank of knowledge and resource to analyze or criticize films the way that the best critics can. Fucking Richard Lawson isn't here. Yeah. You know? Yeah. I don't see Peter Travers.

You know, I haven't come across Peter Travers in the last four days of the classic. I agree. You know, Mark Kermiode. Where for art thou, Mark Kermiode, you know? I'm down underneath the tech booth every night. calling out for fucking Peter Bradshaw to lead down his fair hair so I can climb up and have a little conversation about Joker 2 with him. There's not even a Kiwi thing.

Dominant Corey hasn't poked us head in here. Kate Rogers has not appeared from the urinal where we were watching and reviewing Joker 2 for the half-dozenth time. So, you know, it's not... Are you sort of laying down the gauntlets of them saying, pull you get out of your ass film reviews? No, they review on their terms and we review on ours.

They seem to think there's more to be gleaned in film criticism from watching a variety of films, having a huge bank of knowledge to draw on for contrast and comparison. There is an interesting subject that I would like to just hold over for a moment because you've really tripped over something there. Film reviewers, and I think reviewers of most stripes of most things, are banking on a width of information. and what we are exploring is, is their value in a depth of information about the subject that you're reviewing?

And on paper, it would seem to me that that is important. To put it another way, would you rather have a cake that is a meter wide and a centimeter deep? Yeah. Or, you know, if we are using cake as an analogy, would you rather have the more traditional slice of cake, which is, you know, maybe a 25 centimetre circumference and a 10 centimetre depth?

That sounds like a better piece of cake to me. 100%. I want a big tall cake. Sounds like it's got more structural integrity to me. Well, exactly. That's the thing. It can hold itself up. If you have an inch thick cake that's several feet wide, which is what the normal film review would be of someone going to lots of films once

and talking about them, you can poke holes in what they have to say. You can say, well, did you actually pay attention to the fact that there's an incongruence between the cars that they're driving on the roads and the area that is suggested by those vehicles and then the dress of Lady Gaga,

which is in most of the film? Or the microphones that are being used in the courtroom. The wireless microphone. that are being used in the, albeit, fantasy version of the Sunni and Shear, BG's TV show. This is the thing, Tim, is this is why I don't think you should hate yourself. You can not like where you are psychologically, but beneath that, you're doing something. Yeah, you're right. It's not self-loathing.

It is just a hatred of the situation that I'm in. a deep desire to not be here. You're lost in your work. Yeah, I am lost in my work. You're lost in your work. And further to the point of, you know, other films, influencing other films, undeniable, true across all art forms, not new information. This is a movie that wears its influence on its sleeve.

And even, you know, in the animated sequence, me and my shadow, as the shadow of Joker is walking along the hallway to the set of the, animated talk show where you know we're going to watch the whatever moral they're trying to impart with that short film

The duality of man walks past multiple uh posters we've sort of discussed them in passing I wrote some of them down there was modern times there was

I think I got them all down except one there was an unnamed Frank Sinatra uh film there was sweet charity shall we dance in the bandwagon I don't necessarily know these films,

but I don't doubt that they have a place. Like Todd Phillips showing us that he knows about other movies and songs. And even like having Lady Gaga say a line from a song that will later be sung in the movie, you know, that doesn't make it mean anything. It's the same, it is the same thing in comedy shows where you can sort of like structurally put, callbacks and

you know booking the show with the subject manner and stuff like that but if it's not good the joke the initial joke has to stand on its own

two feet you can't seat in an average joke so that in 45 minutes time you can pick it up again and say remember when I visibly dropped this in front of you like

but I think the joke needs to support itself without the callback a lot of people do get tricked by that and a lot of reviewers, I think, also, to bring it back to what we're actually talking about, get tricked by that too, that it's like someone has thought about the concept of structure or I don't want to cheapen it so much

as to say these little narrative tricks to convince you that they know what they're doing, but they sort of are. Yeah. Having Lady Gaga say a line that she's going to sing later, but just as dialogue, I guess it's clever if the movie works. She says, sort of, but the movie.

doesn't work so it isn't anything. And to your earlier... She says both for once in my life and also if they could see me now. And her first back and forth with Arthur. It is a risky endeavour to so visibly where the references on your sleeve that you're drawing from

as a creator of art, in this case a filmmaker. Because if it's not good what you're making, there's something quite effective. offensively bad about a cheap imitation of other people's work, rather than if you just fail on your own terms, doing something new. I do think, in a way, Todd's done both. Yeah, this movie does fail on its own terms.

And also is referencing so many things. It's so hard to be in a position where you can fail on your own terms. In any endeavour, we are inevitably copying for as long as it takes for a singular or authentic voice to emerge. There are new ideas. We are taking from as many people as possible to obscure the fact that we are taking and if you do it long enough,

something will emerge. Todd has done that while also, you know... I guess it's like in evolutionary biology, in evolutionary biology, this is how Darwinian evolution works, is that genes copy themselves and pommelgate and then every now and then you get a,

mutation where the imitation hasn't worked perfectly. And if those mutations are advantageous to the environment that the organism is in, that mutation now becomes the norm because it is better adapted at its environment. What we have seen in Joker 2 is the cells replicating, the mutation has occurred, and this is one of the branches of DNA that is not well suited for its environment. and its survival, the chain has ended. It's ended that branch. Moments of the film I enjoyed today

were when I felt as though, and I've thought them before, but never to the point where I've been motivated to discuss them. Because it is a deeply unfunny movie. But Todd Phillips, I still feel is winking some influence through sitcom influence

two moments which either I have seen so many times and I've drawn a direct line between that and where I originally heard it from but also the worlds which Todd is traversing are close enough that there is every chance he is doing this for fun

for certain members of the audience number one Steve Coogan in the interview says that's not fun that's not funny in a way with the rhythm

that Dennis Reynolds delivers from it's always sunny in Philadelphia delivers the precise line in an episode called the gang reignites the rivalry

in which he the gang are trying to reign out a flip cup rivalry that they've been banned from in a competition called Flipadelphia with a neighbouring

business and they have been basically given a restraining order from the competition for a decade because they poisoned their opponents but the the ban is lifted and they return to try and reignite the rivalry so there are two storylines happening simultaneously number one they go back into the restaurant and basically tip it upside down to be like the rivalry's back on bitches and the other guys grow in 10 years and it's like what are you talking about

the other thing they do is to ensure that they win the competition is they go to are Dennis's university fraternity to recruit the best flip cup, you know, players, if you will. And Dennis has this sort of lofty and misguided idea that he was a legend. And they go back and he's old and there is no respect paid and they don't like him. And they tase them, him and Danny DeVito. And he comes back and he's trying to describe the experience of being humiliated by these students. And he's saying, you know, I used to, I used to go around. I used to, you know, put a banana up again.

guys, guys, and call bananas, you know, that's fun, but these, these little ladies, these savages, you know, you don't taser guy, it's not fun, it's not fun, it's not funny. And it's not fun, it's not funny is an exact replica of the dialogue delivered by Dennis Reynolds. Okay, it would not shock me that Todd Phillips is a fan of, it's always sunny in Philadelphia, and found an opportunity to transpose that specific line into the movie. Also, there is a connection between the sort of conspiratorial nature of elements of the movie, Pepe Lepeotue, the skunk, and Charlie Day in a separate episode going down the conspiracy theory line

of talking about Pepe Sylvia. So there is a continuum between the two texts. In addition to that, drawing from a separate sitcom, the scene in which I'm 14 and this is deep, spotlight's Lady Gaga,

visiting upon Arthur Fleckstroke Joker in the holding cell in the courthouse after he has finally joker and sort of declared that he is free, the guard lets her through, we see her walk down to a cell, kiss him through the bars, the guard in frame a la arrested development, who says, no touching in exactly the comedic cadence as it is constantly referred to

while the Bluth family are visiting George Bluth in prison. So those moments to me could be, in addition to all of the sort of weighty, I showy, this one's for my film buffs. I know what I'm doing. Don't worry about it. These are little sort of treasures for the comedy fans who might have followed Todd Phillips to this film to say, and I've got you guys as well.

And while they don't work necessarily, I'm not above enjoying them. While they don't work, they exist. That's kind of what you're saying. What do you, I mean, they are there, those brick crutches are there. Am I? I think your link between.

Then Pepe Sylvia and Pepe Lapeu has got to be the most tenuous. And I think you know that if you're being honest with yourself. And that's fine. I get where we're at. I get where we're at what we're doing. Like we also are being a little bit ambitious with, you know, trying to draw a little bit of blood out of the stone. The arrested development and always sunny references,

total line call from me. I think it is infinitely. possible that you're correct that Todd Phillips put them in and further there's a there's a sort of a I think him putting them in the film is a communication not just to us as an audience but I'm just I keep thinking about being on set with this movie and all of these people it's not quite throwing red meat to the lions but it's sort of doing something human Todd Phillips is doing by putting those comedy lines in there

to reference these fantastic other successful comedy enterprises to sort of showcase an awareness of like I haven't lost my mind I am still tethered to the world we all live in and I enjoy these texts which I know you do as well please don't leave the set

so it's almost to say to the grips while they're setting up all the wiring for those big big lights to replicate the sun coming through a window. Hey, you know how you like always sunny? I do too, and I'll put it in the movie. Please don't leave. We need to finish this.

As a theory, I love it. It's like the most, you know, the most serious person on set telling everyone they've got a fantastic sense of humour and everyone's sort of nervously nodding and going, absolutely. Yeah. I don't doubt that you've laughed.

Yes, exactly. Anything in it for you today, Tim? I wrote down notes. I can't remember for the life of me what it is. This is a note I wrote down. Literally it just says Arthur is stupid. That is the last note that I've written. Dude, it's a huge problem.

There is nothing in this movie that punctures the note I've written in my notebook, which is Arthur is stupid. He's just a stupid guy. Yeah. And that's fine. Like, people are stupid and you can make movies about them. That's all good. It is so funny for you to be in the position you're currently in describing other people as stupid.

But don't make a movie centered around a character who is both morally repugnant and stupid, simply because that is boring. Okay, I mean, there are movies about anti-heroes and books and texts in which... I like... And they can also be stupid, but in which, like, I feel... compelled to will them to outrun the police or survive like i think of the works of patricia highsmith you know who i'm an unabashed fan of who is consistently creating uh protagonists who are reprehensible who you find yourself sort of aligned with through the length

of the book that's got to be your talent as a storyteller to give enough context for you to root for this person and there's just nothing to root for here as we've said so many times. Like, he's just a dumb, pathetic guy who murdered five people. Six.

Six people. I don't know, man. Arthur is stupid. He is stupid and the movie is also stupid around him because when he, I just want to say, when he breaks down and he loses the joke, he loses confidence and he's sort of,

he's saying, like, I put it on the makeup, I was going to come out here and do a big rant about, big angry joke around about, how everything's shit. I killed six people. No one knows this, but I murdered my mother. So in the reality of the courtroom,

in the reality of the world that the film is having us believe exists, this would genuinely garner, like, audible gasp. This would be bedlam across the jury, the gallery, the judge. And it is treated as like a minor detail in the part of, I guess, a broad admission statement that the movie is trying to make. which is the retirement of the Joker or the shattering of that id, that personality.

But the movie is so unclear in what it is doing and so, you know, like just it just completely misses it. It buries this moment which would actually, I mean, it just makes it, I think, you know,

what I'm trying to say is, it makes it difficult to respect. It makes this very self-serious text difficult to take seriously, which is a consistent problem I'm coming up against. day after day morning, noon and night

I'm struggling with this thing me too it's been a unique challenge and a different one from what we've faced before in our review careers can we get some shining lights an analysis of how the film performed today

and then perhaps I don't know watch the movie again before we get to the shining light I did write a note and I've just remembered getting intensely frustrated about this.

So this watch, as I said, I came in into it with an open heart and mind. And I really did accept Joker 2, Folly a Dirt, into my house for the first third of the watch today. And the most generous and charitable of terms, I had had a decent night's sleep. I'd had a coffee and I was just willing to love again, you know? I was opening myself up. And then after the first... first third of the movie, I started picking out bits that could be cut from the film and should

be cut from the film. You did. That structurally, nothing else would be affected if you just whipped this bit out. Like, not only is, are certain scenes not doing anything in the moment, except adding duration, but there's nothing that they're informing later on. They're not reference later on. One example of this, I think, is when Arthur is singing a song quietly to himself in the corridor. He's on the way into the courtroom. Yeah. He's walking in for the first day in court.

Because like, the song is bad. He's really singing it. They don't commit to the song. He's sort of whispering it. We're not removed into an elevated flight of fancy, which is how I think you should treat every song in a musical personally. The song is when you're smiling, by the way. And sorry, inside of this brought a point you're making, can I say,

that the first song, when he says for once in my life, and we see this jukebox musical number, this big sort of bombastic, brassy, declaration of love take place exclusively inside of Arkham Asylum and he's singing it around the inmates. Triggered by the question,

so we've had Harvey Dent on the TV saying, I'm the DA, we're going to give him the chair. And then one of the guards says, how do you feel about that, Arthur? They're going to kill you. My interpretation of it is that he, that question doesn't touch him.

It just bounces. often because he's so consumed by the fact that he's met Lee and he is now in love, the choice to set that entirely in this asylum and have the inmates sort of supporting the performance around it. I genuinely think of as like interesting. And the movie that is trying to be made, I think it's the right. I think it's interesting. You're right. I know it goes against what I said before. Yeah, exactly. And I know you agree. I totally agree. I think that's the right choice. And then from there, you do have the opportunity to not make that choice every single time again. Like you can burst out of the world of the movie, not just in fantasy, but like on the way to the courtroom, what you're saying, I totally agree with.

Wouldn't it be nice if there was a sense of escalation in that the delusion is getting higher and that like every type, like, that would be an interesting way to improve this film. Say you've got seven numbers in here, which is approximately right. You start grounded. So that first one where he's with Steve Coogan and just start singing into the camera. And Steve Coogan raises an eyebrow as if to say, why is this? guy singing in the middle of this interview that is so grounded in reality he doesn't leave that room he sings the whole number in that room they try to have as much movement and choreography as possible which just involves him kicking a chair out of the way to explain how he's feeling

from there it should grow and grow and grow right into the zone of when we get the fantasy of them getting married in that sort of nether region where gary paddles is all dolled up as in his finery as his best man day one of the trial let's full stop that day one of the trial you want to cut

you want to cut the song on the way in yes there's others but I that one definitely well there's a song immediately afterwards that you also said you could lose and it would not it would not it would improve the movie was it Harley yeah yeah yeah yeah so I think that's what I'm about to talk about

day one of the trial so Harley Quinn has now been firmly established as, well, I say firmly and then I'm not sure about it. She's in love with the Joker. She is in love with the idea of the Joker. She is completely enamored with the idea of the Joker. And she has been manipulating systems and people to get in his vicinity to be able to be with him. The trial is unfolding.

He stands up to look for her in the courtroom, which, triggers the line when the judge says is everything all right Mr Fleck and he says sorry your majesty I'm just looking for someone the person he's looking for is Harley Quinn because she's outside the courtroom smoking a cigarette singing a song why the fuck is she late why is she late to the court case for Arthur for the Joker this is supposed to be consuming her every waking moment she moved into his fucking apartment as far as we know this is very much the main thing she has

going on in her life what she's Here, she's at the courthouse. Why the fuck is she outside? Courts in session. Judge up presiding. Yeah. Get in there. So stupid.

And it's to sing a song, which she does badly. And again, they don't elevate it all. By choice. Terrible stuff. Whip it out. Lady Gaga. Whip it out of there in the fucking edit. Sings poorly.

You can edit it out. You don't even have to do anything special to put her in the courtroom. Just get rid of the line. where he's talking to the judge, which is a bit of fun, but it won't make any sense if she is in the courtroom. She should be in the courtroom. Just fucking, let's get going. Let's get going, you know?

This movie doesn't need to be two hours and 15 minutes. This movie doesn't need to exist at all. But if it's going to, it should be 61 minutes long. I think that is the legal limit to be able to sell popcorn to people after they buy ticket. Do that. And fucking like the midway point should be the explosion in the, the courtroom, the Nolan scene. Everything should lead up to that. Song, song, song, car bomb. Now we're Nolan. Roll the credits. Let's go home. But they don't do that. It's two hours and 15 minutes.

What did you score this movie today? Dude, I wanted to give it a thumb up and I was gonna. When I was in that first third zone of today's watch, I was like, this is going to be a one-thumb review. It is a two thumbs down review. I fucking hate this movie. I fucking hate this movie. Fuck this movie, man. It sucks. Just as a comparative piece of data,

I couldn't possibly give the movie two thumbs down when I don't feel anywhere near as passionate as you presently do about where you're at with it. So it's one thumb down from me. And I really like the way Brendan Gleason said, Ricky, what the hell's gotten into you? When one of the more sort of meek Arthur Acolyte-style inmates is sitting on the guards bleachers in the prison yard.

So I'm not going to ask you for shining light today, Tim. No, no, no, I don't think you should. Where you are, I honestly, it's not interesting to me. It's not important to our listeners. I am dedicating 100% of my. brain resources to find anyone and I got nothing. This is a movie I've now watched. So that's enough. Don't worry about the numbers. Eight times? Just put the microphone down and let's push play. We ride again. Bad boys for life.