Episode 179

Inglorius Basterds (2009) with James Ray and Hugo

In this episode of Left at the Projector, we analyze Quentin Tarantino's Inglourious Basterds with guests Hugo and James Ray (aka @Jamesgetspolitical). We discuss standout performances and the film's controversial historical narrative.

Hugo shares his admiration for Tarantino's blend of dark humor and WWII themes, while James raises concerns about historical accuracy but values the film's artistic approach to revenge.

We explore character motivations, particularly Hans Landa's moral ambiguity, and examine key scenes that highlight tension. The conversation also touches on themes of vigilantism and anti-fascism, underscoring the film's cultural relevance today.

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Transcript
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Track 1: Hello and welcome to Left at the Projector. I'm your host, Evan,

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Track 1: back again with another film discussion from the left.

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Track 1: You can follow the show at leftattheprojector.com. This week on the show,

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Track 1: we'll be covering another Quentin Tarantino film, this time Inglourious Bastards.

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Track 1: It was released in 2009 and has a large cast.

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Track 1: Just a few of them include Brad Pitt, Christopher Waltz, Michael Fassbender,

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Track 1: Eli Roth, Diane Kruger, Daniel Bruhl, Melanie Laurent, and many more.

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Track 1: With me to discuss, I have Hugo, who you may know from episodes such as Jackie

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Track 1: Brown, another Quentin Tarantino film, and James Ray or James Gets Political

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Track 1: on TikTok. Thank you both for being here today.

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Track 2: You can call me Hugo Stieglitz. All German soldiers know Hugo Stieglitz.

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Track 1: Are you the big bear?

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Track 2: No, Hugo Stieglitz is not the bear. That's, that's, uh...

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Track 2: Oh my god i knew i was gonna i was gonna blank on names because there's so many

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Track 2: people i uh eli roth is the bear.

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Track 1: But yeah thank you both for coming on to talk about this one and i guess so

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Track 1: the way i usually send out like a list of films which i send to you james and

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Track 1: i think we like we may have like gone over a couple potential options and then

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Track 1: you picked inglorious bastards what was your, I don't know, motivation?

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Track 1: And as I mentioned, Hugo's done another Tarantino film with me.

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Track 1: We're a big fan of Tarantino. So what made you think about that one?

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Track 3: Yeah. I mean, just over the years, I've really been a fan of a lot of Tarantino's work.

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Track 3: Like Inglourious Basterds in particular, when I was young, was like one of those

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Track 3: movies where I was like, oh, this is a movie I could watch a million times and be very, very happy.

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Track 3: Like the way that it's shot, the actors in it.

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Track 3: It was my first time actually really going through and seeing some of the actors

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Track 3: that were in their films. I mean, obviously I've seen a couple of them because

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Track 3: you have like a lot of just a line or,

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Track 3: a level performers but like christoph waltz um

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Track 3: it was like his first performance i'd actually seen him in um and

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Track 3: it really caught my attention uh and like the story is

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Track 3: obviously really funny it's it's a very funny and simultaneously i

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Track 3: guess it points tragic film uh and and it's i don't know um i was a world war

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Track 3: ii nerd in high school and college so for me it was like the perfect blend of

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Track 3: everything i was interested in plus like i'm seeing nazis die which was kind

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Track 3: of cool uh so like it was easily like pretty quickly ranked as like my favorite

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Track 3: uh like tarantino film or at least one of my favorite tarantino films.

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Track 1: What do you think you go we've like we've talked we talk a lot about like tarantino

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Track 1: i know we were like originally talking about a while ago doing like the django

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Track 1: unchained and we did jackie brown and like is this your favorite uh i know actually

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Track 1: i know it's not your favorite tarantino movie i know.

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Track 2: Yeah no i i uh before i knew anything about movies i would just watch whatever was on the ifc.

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Track 3: Channel and.

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Track 2: And pulp fiction was always on so i

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Track 2: always for many years i had only seen pulp fiction

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Track 2: like bits and pieces and i didn't know that i thought i would i was missing

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Track 2: something but it's i didn't know it was not in chronological order but i've

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Track 2: always thought quentin tarantino that he was like my introduction to like we're

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Track 2: like wow i like these i like film um but also like james was saying i loved world war.

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Track 3: Ii i used.

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Track 2: To watch every World War II film. I would read World War II films about World War II films.

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Track 2: About World War II films. I would just read about World War II.

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Track 2: I've watched tons of documentaries. During COVID, I re-watched.

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Track 2: There's a really long one that's like a series.

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Track 3: It's like World War II in color.

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Track 2: I think that's it. Yeah. Because they did world war one and he did a,

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Track 2: and who's the guy who's the director that did the documentary.

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Track 2: He did the Vietnam one too.

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Track 3: Oh, I know who you're talking about. I can't remember right now.

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Track 3: Top of my head, but I watched the Vietnam documentary in college and it was amazing.

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Track 2: Yeah. So yeah, I just love everything world war two and this move,

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Track 2: this one like brings everything together and like in such a,

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Track 2: and it's so satisfying, you know,

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Track 2: like to watch the revenge, you know of like how it could have gone uh spoiler alert early on.

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Track 1: I think that's i think that's uh i don't know if that even would qualify as

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Track 1: a spoiler but well so it's funny a lot of people give like this i was reading

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Track 1: a bunch of reviews of the film when it came out and a bunch of

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Track 1: more sort of haters i guess of quentin tarantino were whining about how it's

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Track 1: not historically accurate and it's like oh he you know bastardized you know

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Track 1: no pun intended to the film and like the

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Track 1: thing and like who cares in a way i mean it's a movie that's not intended to

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Track 1: be a an accurate portrayal of the events as they unfolded so i don't think like

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Track 1: that doesn't matter to me to me it's just like it's a cool film and it's very

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Track 1: much his style you know everything so i don't know like

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Track 1: does that does anyone like did you think of like oh man this this part uh you

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Track 1: know not accurate to the your world war ii in color that you watched like.

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Track 3: No i think for me it

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Track 3: was just wow this is sick like i like there i can't

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Track 3: understand watching really any quentin tarantino film

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Track 3: but like especially inglorious bastards and being like oh man the inaccuracies

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Track 3: are killing me like i feel like it's like i don't know a single like like i'm

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Track 3: not watching like once upon a time in hollywood because i want to see the manson

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Track 3: murders right like i just i don't understand like people being like that with Tarantino.

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Track 3: Like a lot of his films obviously take a lot of liberties. And I think that's

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Track 3: kind of the fun ride that you're getting when you're watching his,

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Track 3: like when you're watching the things he creates, like I like it a lot.

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Track 2: I think that part of me thought it was based on a true story when it first started.

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Track 2: When I first saw it in the theater, I think I believed it was based on fact.

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Track 2: Because, you know, you watch these World War II documentaries and they're like,

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Track 2: you know, a secret group went behind enemy lines. And, like,

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Track 2: they'll tell you the story kind of like this.

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Track 2: So I was like, oh, yeah, wow, I can't believe this is going to happen.

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Track 2: And I'm so cool that Quentin Tarantino made it. And then I'm like, oh, they're like, wait.

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Track 2: Like, at the end, you're like, that's not how, that's not how it happened, right?

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Track 3: Like, hold on, hold on.

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Track 2: Wait.

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Track 3: I got to check this.

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Track 1: Wait a minute. Yeah, I need to look this up. Cut it. We can't do this anymore.

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Track 1: It's not a true story. But, well, it's like, I mean, that's why it's sort of

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Track 1: like the, you know, I think I put in my notes, like, it's like a fantasy historical

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Track 1: fiction, like, historical fiction, I guess you could call it.

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Track 1: Like the same way you're reading a book that's about world war

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Track 1: ii but it's just take liberties and it's meant to

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Track 1: be funny yeah and actually

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Track 1: one thing that i saw i put this like this quote i won't read the whole thing

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Track 1: it was some article talking about the the film as the historical fiction and

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Track 1: it was interesting that the film was released the same week as the internal

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Track 1: cia report that depicting all the prisoners of Iraq and Afghani, you know,

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Track 1: men and women and kids and all this and all these terrible things they did to

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Track 1: them using power tools and then putting them into, you know,

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Track 1: Quotanamo Bay and everything.

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Track 1: And it's kind of ironic in a way that that's kind of what the Americans are

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Track 1: doing in this, but it's to Nazis. So, like, I'm a little less upset about it.

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Track 3: Yeah, I think that's kind of what I like. I mean, it's an interesting thing about the film.

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Track 3: It's just it's so gratuitous, but the enemy is so like ontologically evil that it's like, ah, I like it.

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Track 3: I'm okay with this. Like, I didn't matter. Like, you don't even think about

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Track 3: it as it's going through.

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Track 3: And it's just kind of a fun ride. I don't know.

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Track 2: I also i i think that's why

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Track 2: world war ii is so is so fun to not

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Track 2: fun but like interesting to like look into and

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Track 2: learn about because we're before i

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Track 2: was even like radicalized or anything i was like wow this

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Track 2: is a war where like america fought for the

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Track 2: right thing you know there was like a really good

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Track 2: reason to go to war with these people they were doing horrible

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Track 2: things um to jewish people and uh

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Track 2: and like yeah we had to save them and i'm so happy that we did that all of the

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Track 2: people that they killed deserve to die you know so that's why i'm like that's

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Track 2: why this film is so satisfying because you get to see like bad people have bad

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Track 2: things happen to them um and,

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Track 2: but at the same time i don't know i also remember there's a uh in band of brothers

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Track 2: there's a scene where, um,

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Track 2: where the main character runs over. He's like the captain.

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Track 2: He runs over this hill and he sees this kid, a German soldier,

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Track 2: but he's like a kid. He's clearly like 16.

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Track 3: 17.

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Track 2: And they like look at each other and you know, the American guy, I forgot his name now.

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Track 2: Winters, Lieutenant Winters. He has his gun. And I feel like this really did

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Track 2: happen because they interview the actual guys.

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Track 2: So he comes over this hill and he just sees this kid and he's just staring at him.

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Track 2: And you could look at his face. He looks like he's 16 and behind him,

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Track 2: there's a whole battalion and they haven't even noticed the German soldiers

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Track 2: haven't noticed. It's just a kid.

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Track 2: And Lieutenant Winters just looks at him and just fucking shoots him.

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Track 2: And he talks about it later, how he felt like he was shooting,

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Track 2: like he could have been shooting his neighbor. Like it was just a little, like a little kid.

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Track 3: Well, they play on that later in Band of Brothers too. I don't know if you remember

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Track 3: the episode with the, the, the German prisoners on the road where one of them

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Track 3: ends up being like a U S citizen. yeah yeah yeah from.

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Track 1: Like i.

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Track 3: Don't know it's like there's weird elements throughout band of brothers that i

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Track 3: thought was really cool i love band of brothers i think i watch it like once a year

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Track 3: is like a ceremonious thing for me um but

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Track 3: it's it's neat to see like those little moments of

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Track 3: like oh like this is like a person it's like you know and you get that little

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Track 3: like kind of thing in there and i don't know like

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Track 3: i i like that a lot i i get that a lot in like in inglorious

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Track 3: bastards too though like there's little moments like i don't know if you

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Track 3: remember the first time they're introducing like kind

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Track 3: of the full cast on the ground in germany when they're like killing

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Track 3: that little like german platoon they're like ambushing i mean like sitting guys

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Track 3: down and they're like having full-blown conversations with these germans right

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Track 3: like they're they're talking with them they're engaging with them they're bantering

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Track 3: almost with them and then they kill him obviously but like there's that like

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Track 3: moment of like oh this is like a dude who's just like he's evil but he's just

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Track 3: some guy like and i think that's interesting.

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Track 1: Well one of the it's funny

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Track 1: you mentioned uh band of brothers and that's one of

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Track 1: the things that i noticed about this well we

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Track 1: could also maybe talk like briefly kind of about just like the style of

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Track 1: the film where i mean this is all again quentin tarantino but in

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Track 1: like most of those world war ii movies you know i think of saving

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Track 1: private ryan all of those other you know you know

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Track 1: main films there's always like a band or a group that's kind

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Track 1: of tight-knit that are together and you constantly see them you

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Track 1: know sneaking around doing their you know various um oversimplifying

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Track 1: but all these different things they're doing in this you don't really see that except

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Track 1: for like the moments before they commit like an

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Track 1: act of violence and they're like you said talking with them you know

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Track 1: getting them to admit the things they did or get information from them

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Track 1: and i kind of like how it's uh like flips that narrative

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Track 1: of like the typical world war ii film to be more just about the the gratuitous

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Track 1: violence that they're committing against nazis as opposed to like all the lead-up

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Track 1: to it and it's well crafted in the Tarantino way where they have these long,

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Track 1: drawn-out conversations that, obviously,

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Track 1: they're not doing that in a real, live situation, but he loves his dialogue.

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Track 3: Mm-hmm.

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Track 3: I mean, that's true.

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Track 2: Oh, yeah.

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Track 3: No, you, you, you.

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Track 2: I don't know what I was going to say.

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Track 3: Oh, yeah, pretty much same. I mean, I don't know. I think it's kind of fun, though.

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Track 3: Like, you get those moments of gratuitous violence, but, like,

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Track 3: you get, like, slight buildups.

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Track 3: Like, I feel like, like, Band of Brothers and a lot of other World War II films,

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Track 3: I'm thinking, like, Fury is, like, my counter.

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Track 3: Like, the more serious kind of, like, counter to it is, like,

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Track 3: you're getting a lot of buildup for these, like, moments of,

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Track 3: like, extreme violence, right?

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Track 3: And in glorious bastards you're getting like five minutes of like

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Track 3: build up and then violence and then it switches back to

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Track 3: a whole different storyline and you get a little bit of like an escalation there

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Track 3: and then it's back to just gratuitous violence and then it's like it's like

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Track 3: a back and forth you're getting like this uh it's like someone's like uh like

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Track 3: hitting the gas and then hitting the brakes really abruptly in a way that's

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Track 3: like really kind of neat and i don't know like it's cool in seeing like how

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Track 3: that violence escalates in a much smaller scale like The bar scenes, what I think of,

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Track 3: like where you have like that kind of constant tension, but they're working

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Track 3: their way towards like just a shootout functionally.

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Track 3: I mean, you're getting like just enough build out to make it like contextually make sense.

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Track 3: But otherwise, you can tell that like Tarantino in this film was very much just

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Track 3: locked on to showing Nazis dying. And I think that's neat.

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Track 1: Yeah. Like the, the, like that was, I think I commented to you before,

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Track 1: you know, earlier this week or something is that one thing about this movie,

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Track 1: which we'll also then maybe go back and talk about like Shoshana sort of like

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Track 1: the hero of the film, as I would argue is the,

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Track 1: like the way that it's kind of set up is there's like lots of,

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Track 1: I don't want to call them vignettes, but little kind of bits of scenes that

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Track 1: kind of happen to flashing between different groups.

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Track 1: So you have Shoshana, who's a survivor of, you know, the Christopher Waltz character

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Track 1: who they nicknamed the Jew Hunter at the very opening scene.

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Track 1: Like they kill the rest of her family, which is being hidden in,

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Track 1: you know, a neighbor's basement.

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Track 1: And then, you know, you have the bar scene, which is like a good like 15 minutes

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Track 1: long, maybe even longer. It's a really long scene.

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Track 1: And then lots of these very short scenes, which kind of sometimes made it feel fragmented in a way.

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Track 1: But, you know, this is like maybe my one critique of the movie.

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Track 1: But otherwise, each scene is so good and the dialogue is so good,

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Track 1: like that opening scene where they're just sitting down.

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Track 1: He offers him the glass of milk and you know immediately what's going to probably happen.

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Track 1: But you but you don't know at the same time. He's really good at the Hitchcockian

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Track 1: like bomb under the table.

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Track 1: But you don't you know, you don't know when it's going to blow.

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Track 1: Like especially that first shot where they slowly pan down from the top around

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Track 1: behind the two of them talking at the table and then you see them in the basement

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Track 1: is just like a it's just it's so fucking good.

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Track 2: And Christoph Waltz is so good at those scenes at like building the tent he's

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Track 2: just like he goes from like this happy like hey I know I'm dressed like a Nazi

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Track 2: but I just really love your daughters are beautiful can I have some of your milk,

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Track 2: oh no no no this is your house you don't have to ask me

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Track 2: to smoke you smoke can i can i also partake and

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Track 2: he brings out the giant i remember in

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Track 2: the theater like sweating bullets because i'm like is he

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Track 2: hiding because we don't know that he has he has the family under the under the

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Track 2: floorboards yet until like kind of like i think like halfway through the conversation

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Track 2: they show us that the family is down there and they're looking up um god yeah

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Track 2: i love the tension i love christoph waltz Like, he just does such a good job.

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Track 2: My favorite scene, I just watched it right before we started recording,

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Track 2: is when he's sitting, he's like, ooh, that's a bingo!

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Track 2: Oh, is that the right way to say it? No, it's just bingo. Bingo! Fun!

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Track 2: So good. What a... But yeah, the whole film feels like that.

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Track 2: It's always, like, building.

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Track 2: Just from, like, it's crazy how he could do that. how like Tarantino could just

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Track 2: make you feel like on edge just from them talking because you're like what's

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Track 2: gonna happen what's gonna happen very good.

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Track 3: No I really do think Christoph Waltz plays like the best villain character and

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Track 3: like any movie he's in he played it in um what was it it was uh one of the 007

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Track 3: movies wasn't it where he was also one of the main villains and he was like

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Track 3: phenomenal in that role too like every role I've seen him in I'm just like this

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Track 3: guy knows how to be evil in like the,

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Track 3: most clever kind of way oh.

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Track 1: Yeah he's inspector i think maybe is one.

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Track 3: Yeah i think he's inspector yeah oh.

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Track 1: Yeah he's really good in that one.

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Track 3: He's also a good good guy too i mean i guess like

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Track 3: jango unchanged as being the kind of counter example of that right i think

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Track 3: he just is good at acting and i just like you know crazy concept

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Track 3: but like he like every character i've seen him play i'm just like this like

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Track 3: he's one of my favorite actors um coming out of jango and coming out of uh inglorious

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Track 3: bastards and i just love everything he does like i've every project he's in

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Track 3: i'm just like i'll watch a movie if i know he's in it he's a really good actor.

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Track 1: Yeah he pretty much kills every single scene he's in you know.

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Track 3: Just the.

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Track 1: Also when he's at the the restaurant and they're like she

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Track 1: orders the strudel and he's like oh wait no you have to get the cream on the

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Track 1: strudel and like this like the way that you know he you think and then there's

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Track 1: like a moment where you think that he knows that it's her and then he like he

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Track 1: has no idea it's just like he's just the way he pauses his like his uh his dialogue is just uh.

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Track 2: Oh my god that scene too when she when he leaves and she exhales and she's just

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Track 2: like oh my god like in the theater too i was like sweating god what a great

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Track 2: scene yeah yeah that freaked me out the way and the music he uses that music

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Track 2: and i feel like it reminded me of kill.

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Track 3: Bill when.

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Track 2: When christoph waltz first walks in it's like that like literally alarms just going off.

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Track 3: No i actually put a note on my phone about that like in the first scene like

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Track 3: it's it's crazy because the music becomes so enveloping right up until the scene

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Track 3: where he's like aiming the gun at the main protagonist and then just like as

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Track 3: soon as he like gets the the sight off of her the music just cuts,

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Track 3: completely and it's like so well done like the way that the way the music is

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Track 3: used in this movie in particular is phenomenal, but that scene was crazy to watch.

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Track 1: It makes it jarring almost as you're watching it.

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Track 1: He's always well-known for his scores and the music, but in this,

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Track 1: it's very different because it's not the same kind of music. It's not a modern film.

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Track 1: It's not like Jackie Brown or Pulp Fiction or something. It's World War II.

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Track 1: It doesn't make sense to have that same music. Like, it's, yeah.

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Track 1: Well, one of the things that, so I mentioned before, like, do you,

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Track 1: would you both agree that Shoshana,

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Track 1: you know, the, the film, you know, the one who escapes the beginning of the

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Track 1: film and then has the movie theater and then, you know, eventually has the plot,

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Track 1: the simultaneous plot to, like, kill all the, you know, big time Nazis,

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Track 1: like, is the actual hero and not the, like, the bastards, despite,

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Track 1: again, the film's called Inglourious Bastards?

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Track 2: I think so because she's the one that like there

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Track 2: she has no uh qualms about

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Track 2: what she's doing she's like i'm absolutely doing this there's no no holding

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Track 2: me back like as soon as she figures out that this is what's happening she's

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Track 2: like this is what we're gonna do right away uh what she tells her um uh her

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Track 2: boy uh marcel in the theater like right after that she's like he's like what is going on,

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Track 2: she's like, we're gonna kill every single Nazi that walks into this theater, like, right away.

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Track 2: And, like, it just happens that the bastards roll up on this and it kind of sucks.

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Track 2: Oh, I remember you guys were talking about this earlier. It kind of sucks that,

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Track 2: like, when it comes down to it, it's really her and no one will remember her.

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Track 2: Were you guys talking about this?

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Track 3: Yeah, I remember this in the chat.

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Track 2: Yeah, yeah, yeah, yeah. Okay.

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Track 1: Well, I mean, that's kind of like, so that's like, as I was thinking about her

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Track 1: being, you know, viewed as a hero, it kind of also reminds me,

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Track 1: like, if you look at polls that were taken right after World War II of Americans

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Track 1: and Europeans, like, who do they think won World War II?

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Track 1: Most people would have said the Soviet Union. But then 50 years later,

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Track 1: you ask the same question, and it's the opposite.

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Track 1: It's most people would say the United States. And like, of course,

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Track 1: that's, you know, decades of

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Track 1: propaganda against the Soviets and the Cold War and all of those things.

Speaker:

Track 1: But it like leads me to think about how these like resistance groups who actually,

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Track 1: you know, had so much sacrifice and don't get any real remembrance or credit or any of these things.

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Track 1: I mean, I guess sometimes there's documentaries or films about some of them,

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Track 1: but she, she is like the real hero.

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Track 1: And yet, you know, they're going to bring over this guy from,

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Track 1: you know, Chris, Christoph Waltz is going to come to America with his swastika

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Track 1: on his forehead as like a work for NASA or something like they all do,

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Track 1: you know, little operation paperclip for a treat.

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Track 3: Well, that was something I think I brought it up in the talking beforehand with

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Track 3: y'all. But an interesting thing about the movie is how it does kind of also sanitize U.S.

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Track 3: Operations during like the tail end of World War Two. Like, I think that like

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Track 3: a lot of the sort of like gratuitous violence against the German like officer

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Track 3: corps and stuff in that instance is seen as being like this pinnacle of like

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Track 3: American violence and excellence and like, oh, we're killing all of the Nazis.

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Track 3: All the high command is gone. But like, realistically, we probably would have

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Track 3: offered many of them jobs and did like historically.

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Track 3: Like, I mean, like, like with Operation Paperclip and like associated operations,

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Track 3: like we were really like picking up like a an absurd amount of like Nazi scientists,

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Track 3: but also like military officers, intelligence officers,

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Track 3: like integrating them into security services, into like NASA,

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Track 3: other government agencies.

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Track 3: And it's interesting how like we see like a really brief glimpse of that at the very end.

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Track 3: But even then it's treated as a like, oh, no, we won't let you go unheard.

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Track 3: You know, we won't let you go unseen in these communities. but like,

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Track 3: we did, you know, like we completely did.

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Track 2: I think so on that specifically, the higher command wants to bring the Nazis

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Track 2: over and use their intelligence and use the scientists. And they did.

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Track 2: So the government does that, but the soldiers on the ground,

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Track 2: if any, they were the ones that really hated Germans because they were,

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Track 2: they were fighting them every day. They were killing them every day.

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Track 2: Oh, and that's the other thing I wanted to say. So in the, in the,

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Track 2: the first scene where we're introduced to the bastards, Brad Pitt, um, is telling them.

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Track 2: And like one thing I was, I just read this book, um, kill everything that,

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Track 2: uh, kill anything that moves, which is about the Vietnam war.

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Track 2: And they talked about how in training they refuse to let the soldiers talk,

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Track 2: uh, call the Vietnamese, like Vietnamese.

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Track 2: They came up with all the derogatory terms, which I'm not going to say.

Speaker:

Track 2: But similarly, Brad Pitt does that. He talks about the Germans.

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Track 2: He doesn't call them Germans.

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Track 2: He calls them, you know, besides Nazis, he says all these derogatory German terms.

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Track 2: And that is like a way to dehumanize the other side so that it's easier to kill them.

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Track 2: So that you don't see them as people. You see them as just like bugs or something

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Track 2: that you can squash out and kill and it doesn't bother you.

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Track 2: So Brad Pitt hates Nazis. He would never make a deal with Nazis.

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Track 2: And in fact, you see him wrestling with it. He's like, ah, like,

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Track 2: I guess if you, you know, gave us information that's going to lead to all these other guys dying.

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Track 2: All right. I guess if, yeah, I could see how that's useful, but you know,

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Track 2: but you, you're so disgusting. I don't want you walking around in the world

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Track 2: hiding what you are, you know? So I think the soldiers really hate Nazis,

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Track 2: but the U.S. government loves Nazis.

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Track 2: They represent everything that the U.S.

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Track 2: Government does. It's imperialism and racism.

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Track 2: It's beautiful. It's American. Sounds pretty American to me.

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Track 3: I mean, and the characters have good reason to hate them, too.

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Track 3: I will say there's two elements of the composition of characters that we get

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Track 3: in terms of the bastards themselves that both makes me happy and also bothers me slightly.

Speaker:

Track 3: And the happy element of that is that you have like a bunch of like specifically

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Track 3: denoted to be Jewish soldiers who are going behind enemy lines and killing Nazis.

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Track 3: Right. There's this like fun element, I guess, of like a like historically,

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Track 3: when we look at the record, it's like this oppressed community that did resist

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Track 3: like throughout. I mean, we have the Warsaw Ghetto Uprisings.

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Track 3: We have countless instances of Jewish partisans and communists like liberating Nazis.

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Track 3: Territory or fighting the germans um but it's

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Track 3: like seeing uh like a unit of jewish

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Track 3: soldiers this like historically um oppressed

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Track 3: cohort especially in the world war ii context that's

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Track 3: going in and functionally killing their oppressors right like

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Track 3: that that's a really cool element of the movie that i think is really cool now

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Track 3: there's some like you know there's questions around like how tarantino is

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Track 3: like a rabid zionist that makes me go like

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Track 3: okay like what there's like

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Track 3: you could go into like how like early zionist literature and like

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Track 3: you know continued zionist framings kind of paint this

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Track 3: differentiation between like this kind of unter mensch and uber

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Track 3: mensch like jewish communities of like um the weak jew

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Track 3: that accepted um death and accepted you

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Track 3: know their own subjugation and annihilation and this

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Track 3: like uh counter um israeli like strong

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Track 3: like david the strong image the strong

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Track 3: jew of like you know we're resisting we're militant

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Track 3: we're doing this um so like i don't know

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Track 3: how much that filters into this i i could also just be really

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Track 3: over analyzing that what it's like functionally just tarantino being like

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Track 3: hell yeah we're killing nazis um but it's

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Track 3: i don't like but it's interesting nonetheless and i think it's like a net positive

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Track 3: yeah actually um but the other side of that though that i think is like weird

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Track 3: is you have like several german soldiers like nazis themselves who for whatever

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Track 3: reason find their way into the bastards um like the serial killer character, for example.

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Track 3: Who's killing German officers, it gives the same energy to me as like Valkyrie

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Track 3: did when it came out where it's like, yeah, he's killing Nazis,

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Track 3: but he still put the uniform on and he was still a part of the military structure in some capacity.

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Track 3: It's, I guess, like a lot clearer, I guess, because he's killing officers and

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Track 3: stuff with characters in the bastards.

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Track 3: But like a lot of media around like German resistance during like the period

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Track 3: in which like the Nazis were in full control of power,

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Track 3: has this weird effect of like humanizing and maybe doing apologia for like Nazi

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Track 3: actors. And it's interesting to me.

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Track 1: Well, that's, I mean, that kind of reminds me, or not reminds me,

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Track 1: kind of like is that same aspect of taking what the U.S.

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Track 1: Government did with, which we already talked about, like Operation Paperclip

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Track 1: and taking these people who committed atrocities. Granted, it was like sort

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Track 1: of meant to be like a hidden thing.

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Track 1: Like, you know, we weren't supposed to know about it until we find out about

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Track 1: it later on, of course, as, you know, we always do when things are declassified.

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Track 1: But, you know, taking these people who were monsters and then just being like,

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Track 1: oh, but they invented like the...

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Track 1: I don't know the something they invented

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Track 1: like a you know methadone something for an ass i was gonna

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Track 1: say they invented yeah okay so sure something something

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Track 1: but but i think it's in the other interesting thing about

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Track 1: the which i forgot to mention which is a good call out is

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Track 1: that tarantino actually met his current wife on

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Track 1: the press tour in israel for this film and then

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Track 1: got married and now lives in israel since 2018 doesn't

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Track 1: speak hebrew and it's kind of like a sticking point for him where you like

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Track 1: is mad about like not being able to fit in fully

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Track 1: there because he doesn't speak the language and like doesn't really care to

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Track 1: learn i know yeah seriously but it's uh

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Track 1: i don't like i don't think that that played a part in this film necessarily

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Track 1: although you know it's possible he already had these you know probably if you

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Track 1: asked him beforehand if there was any media on it like asking him what he thought

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Track 1: of israel he probably would be supportive of israel I can't imagine he would have been anti-Israel.

Speaker:

Track 1: And putting Jews into this group, committing crimes against the Nazis who had

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Track 1: killed millions of their family members would feel like that's vengeance and

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Track 1: it's worth it. It doesn't matter. Israel's right.

Speaker:

Track 1: I was speculating a little bit, but I don't think it's that far of a reach.

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Track 3: I will say it is really funny like and it's like the most quintessentially American

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Track 3: thing for him to do to like go to another colony and then just refuse to learn their language and.

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Track 1: Then complain that.

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Track 3: He's not integrating properly it's like he's like I hated you they're being so mean to me.

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Track 1: Like because.

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Track 2: I won't learn their language.

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Track 1: Yeah that's and so this is another thing that I saw that's maybe unrelated to

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Track 1: this but so some of this it came up as you were talking about the like the atrocities

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Track 1: and those kind of things and like how you

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Track 1: you look at it is apparently one of the critics who wrote a review back when

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Track 1: it came out said that he was disturbed by how American Jewish American soldiers

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Track 1: were mimicking the atrocities that the Germans had done to Jews,

Speaker:

Track 1: making them basically like becoming Nazis.

Speaker:

Track 1: And like the irony of that is like full circle in, you know,

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Track 1: well, since 1948, but like, especially in the last two years of,

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Track 1: you know, uh, the atrocities that Jews aren't, well, I should say Zionists are

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Track 1: committing against, you know, the Palestinians. And it's,

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Track 1: To have that complaint when then they turn around and actually commit that kind

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Track 1: of behavior for the better part of half a century is a little bit.

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Track 2: I think yeah i think one of the things that i

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Track 2: everything that's been

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Track 2: going on because we're like so hyper aware about what's going

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Track 2: on in palestine like it's made

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Track 2: me lose my taste for world war ii um

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Track 2: all the love i had for like world war ii films and documentaries because it

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Track 2: just reminds me of what's going on right there right now and like just to see

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Track 2: the joy that these nazi soldiers are feel when they're killing like innocent people,

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Track 2: like reminds me of, you know, watching Israeli soldiers like laugh and like

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Track 2: shoot babies in the head and like have competitions to see how many like kneecaps

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Track 2: they can blow out of kids.

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Track 2: So they can't play soccer, you know, like stuff like that. Like it just,

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Track 2: it, it reminds me a lot of, uh, what's going on.

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Track 2: So that's why it's so hard for me to watch i i definitely didn't enjoy the film

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Track 2: as much as i did back when you know i saw it when it first came out uh because

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Track 2: i just was like i feel like yeah i feel like they're giving it like like there

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Track 2: there's a reason we're doing this to the palestinians look what they did to

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Track 2: us you know and it's just like that's not the same thing man.

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Track 1: This might be completely unrelated but i don't know if you have either of you

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Track 1: seen the film hostile yeah.

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Track 2: I love hostile.

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Track 1: So it was directed by eli roth who plays

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Track 1: the bear jew in this and was produced by quentin tarantino

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Track 1: and i saw some folks saying sort of like how they're like don't like his character

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Track 1: specifically in this because of using someone who basically created a i guess

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Track 1: you could call like a torture porn type of a film hostile which even for what

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Track 1: it is i mean it was a pretty like groundbreaking movie whether you like it or not,

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Track 1: I don't know if that's worth, I don't know how much, if that was just Tarantino

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Track 1: became friends with him because of that and then brought him into this,

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Track 1: but having him be this sort of like the, the ultimate scare,

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Track 1: like when he comes out of the tunnel,

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Track 1: like tapping the bat along the tunnel, like I can't help but being like,

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Track 1: this is pretty badass. So like, like, is he going to come out yet?

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Track 1: And like, he just slowly makes his appearance, you know, and it's this big guy

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Track 1: with the bat and, you know, things signed all over it, like dried blood.

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Track 1: And he's just, you know, moments later, just bashes the Nazis head against the ground.

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Track 1: So it's like, it's a conflicting thing, I guess is what I'm saying.

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Track 2: It is conflict that's what i was trying to say it's conflicting because

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Track 2: at like like i said when i first saw it i was like yeah kill the

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Track 2: nazis like but now it's just like wait i feel like he's

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Track 2: getting like he loves the idea of like torturing someone

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Track 2: and like kill you know and i don't know

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Track 2: it just feels very uh conflicting is

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Track 2: the word i would use also i just want to go back and say i don't actually

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Track 2: love hostile i remember thinking eli roth is

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Track 2: like a great director and then i'm looking

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Track 2: at all of his films and i don't like

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Track 2: any of them they were all very difficult to watch green

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Track 2: inferno is very hard to watch it's all very

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Track 2: like like you said it's torture porn and i

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Track 2: don't think that um it's just

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Track 2: not my type of film it's it just makes you it just makes my stomach sick you

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Track 2: know and i love horror films but these aren't scary these are just just it's

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Track 2: just like making like it's literally torture it's literally it's torch it hurts

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Track 2: to watch someone get tortured so i don't enjoy any of his films well.

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Track 1: He co-produced bay watch that's a little bit different.

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Track 2: What year i.

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Track 1: Just i just saw that on his list like that's like the one film that's not you

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Track 1: know seemingly like filled with violence or whatever but.

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Track 3: Inside every director or two wolves.

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Track 1: Yeah seriously like that's what he wants to do but like he can't he can't bring

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Track 1: that part of him out i think yeah i think he's i'm like looking at also the

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Track 1: movies he's been into and yeah like there's just not a lot of ones this is probably

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Track 1: this and like i guess he's also in death proof right so that's also a you know

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Track 1: tarantino movie that's pretty good.

Speaker:

Track 1: I think there's also some other just scenes that are worth talking about.

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Track 1: We didn't mention the, or another character that's worth mentioning,

Speaker:

Track 1: and that is like the Frederick Zoller character, which I guess was based on

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Track 1: an actual German sort of war hero who had done something very similar,

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Track 1: had 345 confirmed kills, like as a sniper.

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Track 1: And it kind of just, it makes me think about just the use of propaganda,

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Track 1: in this case by the Nazis. and it's not so different than a lot of the propaganda

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Track 1: that the United States would use following World War II.

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Track 1: Again, I'm not trying to like shit on your interests in like World War II,

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Track 1: obviously, but just like the way that they use a lot of the actions of the United

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Track 1: States as this grand hero that did everything to end World War II when in fact,

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Track 1: you know, they delayed their entrance and like we don't need to go down the history rabbit hole,

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Track 1: but just like the use of propaganda in the film is

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Track 1: just I think it's just a cool aspect of

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Track 1: it and just like the whole entire movie scene at

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Track 1: the end where they just have everyone in there like they have all the Nazi you

Speaker:

Track 1: know paraphernalia all over the theater and it just as an owner of the theater

Speaker:

Track 1: is like this Jewish survivor who had been had all her family killed by Nazis

Speaker:

Track 1: is just it's just like this taste of justice that is just hard to you don't

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Track 1: you don't see very often I.

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Track 2: Also want to mention that reminds me a lot of Lyudmila Polyvchenko,

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Track 2: who's a Russian sniper for the Red Army who shot 309 people.

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Track 2: Nazi soldiers so yeah.

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Track 3: Is it uh i don't kill men i kill fast.

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Track 2: So sick dude um the

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Track 2: other oh the other person i wanted to mention is like there's a scene i noticed

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Track 2: this time around when they're giving goybles a goybles uh what's his name is

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Track 2: that good is that a goybles how do you pronounce it when they're giving him

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Track 2: the little tour through the theater and they had watched a film and he yells

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Track 2: at one point. He's like, what did you think of the film?

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Track 2: And I think he says it's what was it? Was it Lucky Kids?

Speaker:

Track 2: Yes, it was Lucky Kids and he's like, Lillian Harvey!

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Track 2: So Lillian Harvey was a German actress,

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Track 2: who, I guess she had Jewish friends, so they were keeping an eye on her,

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Track 2: the Gestapo was keeping an eye on her, but then there was a producer who let

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Track 2: me see, I wrote it down yeah,

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Track 2: she helped a choreographer Johns Keith who was prosecuted under the homosexual

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Track 2: acts and she posted bail on him and then when he got released from custody she

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Track 2: helped him escape to Paris so that's why Goebbels is super pissed about,

Speaker:

Track 2: Lillian Harvey but that also sounds a lot like Bridget von Hendersmart.

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Track 2: Hammersmark who's the other actor You know, I feel like it connects because

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Track 2: she's also like a double agent, you know, not, or like, I guess not as heavy,

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Track 2: not, not exactly what Lillian Harvey did, but, but it reminds me like,

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Track 2: you know, the, he, I feel like he mentions it on purpose.

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Track 3: No, I think that's that's honestly very fair.

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Track 3: Like I actually like von Hammersmark was a very interesting character in and

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Track 3: of herself to like this idea of like, I don't know, like a like a high class

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Track 3: German trader or spy kind of assisting the operations behind the scenes.

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Track 3: Like it was very neat. It felt like it was part of a larger part of the film

Speaker:

Track 3: that I thought was neat about it or like interesting was that you have like

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Track 3: three separate stories basically going on concurrently. You have like Hammer's

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Track 3: Mark and her kind of escapades as you're getting into the film.

Speaker:

Track 3: You obviously have your your the bastards plot, which is just like every scene

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Track 3: we show up and we're killing something.

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Track 3: And then you have like the the actual plot, right, of like a woman who lost

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Track 3: her entire family seeking revenge upon Nazi high command when she gets a lucky

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Track 3: opportunity, taking advantage of a German war hero to secure this operation

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Track 3: and then killing everybody. Right.

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Track 3: And it's so interesting to me that like Hammer's Mark becomes such a like pronounced

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Track 3: element of that storyline.

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Track 3: Like just like right when she does and it's like this hyper fixation on like

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Track 3: german again like german traders within the ranks of like german government

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Track 3: or high-class society and what have you um and i guess the chaos that stems from that as well.

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Track 1: Well do you think there's something i mean

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Track 1: i don't i don't i don't know the accuracy of you know uh of

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Track 1: you know historical german you know actors

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Track 1: or people in like higher places that actually were working

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Track 1: as double agents or like actually doing things to protect people

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Track 1: but i mean do you do either you know if like was that actually a common thing

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Track 1: i know i know that uh verne hammers mark is like based on a hungarian actress

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Track 1: who apparently also had done some i don't think she was actually a spy but she

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Track 1: had done some you know um was like,

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Track 1: like loosely based on her just as a person but like is that actually a common

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Track 1: thing that was going on at this time like in world war ii.

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Track 3: I mean there were resistance and like there was resistance

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Track 3: in germany to nazi rule like for sure um not

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Track 3: like externally from the nazi party i mean it's part

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Track 3: of why the early reprisals were so heavy against like communists and socialists and

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Track 3: like trade unionist factions um but even within

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Track 3: the nazi ranks like you had occasional resistance um valkyrie

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Track 3: is probably like the biggest example that gets plotted i i

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Track 3: think the most um but i it wouldn't surprise me if some of the people who are

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Track 3: otherwise oppositional the german rule were probably also high as like you know

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Track 3: you're going to get a couple of actors actresses people like that um you know

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Track 3: it certainly wasn't german capitalists uh who were very very happy to throw

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Track 3: their uh their weight behind the nazi regime but i i have to assume there's a couple.

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Track 1: This is this isn't exactly this is like completely unrelated but i was just

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Track 1: was like looking at like how many actors are in this and i couldn't help but

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Track 1: like laughing about how mike myers being sort of this this general in it.

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Track 3: Like i felt.

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Track 1: Like i was like watching a portrayal of him being in like austin powers but

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Track 1: like the boss in austin powers in a way like it was like a reversal of that

Speaker:

Track 1: it was i just loved his little like cameo in this and i had forgotten about it had been a while.

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Track 3: And i love it when big actors do little cameos like that like him there and

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Track 3: like like tom cruise in Tropic Thunder.

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Track 1: Right?

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Track 3: It's like those small little roles where it's like, oh yeah,

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Track 3: he's in this movie, I guess. Okay, like, cool.

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Track 2: All the way at the end.

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Track 3: Yeah, right?

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Track 2: That's wonderful. Oh, so one theory that I wanted to talk about was about Hammer's

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Track 2: Mark, is that once Hans Landa discovers her clues in the tavern,

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Track 2: he mentions that something's unusual with the scene of the crime.

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Track 2: And so one of the theories is that he was able to figure out that it was actually

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Track 2: a Nazi trap gone wrong and that van hammers mark was trying to leave clues for

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Track 2: the nazis to find her and the bastards um,

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Track 2: And we don't know exactly when Landa decides to defect to the allies,

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Track 2: but when he does, he's like figured out that Von Hammersmark is intending to

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Track 2: sabotage the attack on the theater.

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Track 2: So that's when he realizes he has to kill her because why would he kill her?

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Track 2: Like, it just doesn't make sense.

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Track 2: Again, should I mention spoiler alert? I don't know if we mentioned that at the beginning, but.

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Track 1: Yeah, it's fine. No, you're good.

Speaker:

Track 2: And like, I don't know. It's like, it's just a broad, but I,

Speaker:

Track 2: it was a broad generalization, but I thought it was like, it was pretty interesting

Speaker:

Track 2: to think that like he wanted to, he actually does want to bomb the place.

Speaker:

Track 2: And he thinks that she left too many clues. Cause it's true.

Speaker:

Track 2: Once he figures out that the shoe was there and she left the note,

Speaker:

Track 2: like, why didn't she mention that to, to Brad Pitt when they got upstairs?

Speaker:

Track 2: Like, Oh, by the way, my shoe's missing.

Speaker:

Track 2: And I wrote a note for the guy with the baby that they're going to find.

Speaker:

Track 2: They're gonna find the bodies so just.

Speaker:

Track 3: Like a double.

Speaker:

Track 1: Double agent i'm sorry i got james like.

Speaker:

Track 2: A triple agent yeah.

Speaker:

Track 3: No it makes you think of like how long he must

Speaker:

Track 3: have known um like how

Speaker:

Track 3: long he must have known about like any of the plot there's like a there's an

Speaker:

Track 3: equally kind of interesting theory that like you know the initial scene where

Speaker:

Track 3: he's like he's getting he's like really pushing the cream to go on top of the

Speaker:

Track 3: dessert um for like the main protagonist as you're going through and And he's

Speaker:

Track 3: like, no, no, you should have this. You should have this.

Speaker:

Track 3: There's like a working theory that the reason he was doing that was because

Speaker:

Track 3: he did recognize her to some extent and was like, because he remembered that

Speaker:

Track 3: she had lived on a dairy farm and was like.

Speaker:

Track 2: He orders her milk right away.

Speaker:

Track 3: And it makes me wonder, like,

Speaker:

Track 3: Throughout the entire film, like, is he actually ever really not on the kind

Speaker:

Track 3: of same page as the Bastards?

Speaker:

Track 3: Or is he like working his own angle this entire time? Because he's portrayed

Speaker:

Track 3: from the get go is like the most intelligent character.

Speaker:

Track 3: Right. It's like it's like a guy who knows everything that's going on.

Speaker:

Track 3: He's three steps ahead of people, even when they're doing their best.

Speaker:

Track 3: And so it's like these little tells throughout the film kind of give this.

Speaker:

Track 3: I guess they give this kind of feeling to me at least that he is really a lot

Speaker:

Track 3: more on top of everything than we think he is and that he's recognizing things

Speaker:

Track 3: as they're going on and understanding like okay there's like a plot going on

Speaker:

Track 3: here and by the time he gets to Hammer's Mark he's like I know exactly what's

Speaker:

Track 3: about to happen okay cool.

Speaker:

Track 1: Well that makes also sense because once he knows about that the bastards were

Speaker:

Track 1: at this private meeting at this tavern he clearly knows they're,

Speaker:

Track 1: you know, they're also with Van Hammersmark. They're clearly planting something.

Speaker:

Track 1: And he knows that she's going to be at this movie premiere because she's this famous German actress.

Speaker:

Track 1: And he also, he's already thinking ahead because he now knows that the bombs

Speaker:

Track 1: are already inside of the theater.

Speaker:

Track 1: Like he's, like he's, like you said, he's three steps ahead of everyone.

Speaker:

Track 1: And it makes a lot of sense that he would do this and he's killing Van Hammersmark

Speaker:

Track 1: purely so he can cover himself later when he gets, you know,

Speaker:

Track 1: becomes uh you know an american citizen or whatever lives in was it nantucket

Speaker:

Track 1: or something or is that what he.

Speaker:

Track 3: Yeah nantucket.

Speaker:

Track 1: So i mean i think it's a pretty compelling theory honestly that he.

Speaker:

Track 3: I mean it knew yeah it explains his actions with the whole like bonjourno stuff

Speaker:

Track 3: too because like you know,

Speaker:

Track 3: because like at that point he could

Speaker:

Track 3: have just been like all right yeah these guys don't speak italian

Speaker:

Track 3: i don't know what's going on here like this is ridiculous

Speaker:

Track 3: like i call over somebody like any of the numerous german

Speaker:

Track 3: officers who were there that he could have been like hey can you can you handle this um

Speaker:

Track 3: but he doesn't yeah right

Speaker:

Track 3: and he's like he's just cracking up and you

Speaker:

Track 3: can tell that he knows and he's just like all right this is ridiculous like

Speaker:

Track 3: okay because he's like he's mocking von hammersmark because

Speaker:

Track 3: she's giving her excuses for the foot thing too she's like oh i was in the

Speaker:

Track 3: alps he's like oh you were like just in the alps like are are you

Speaker:

Track 3: sure about that is that your story okay like and

Speaker:

Track 3: he's like he's toying with it like he he knows that he knows

Speaker:

Track 3: exactly what's happening so by the time he gets to hammer's mark it's like okay

Speaker:

Track 3: he is very very much so understanding the

Speaker:

Track 3: dynamic at play and he's just made his bed right he knows that he is defecting

Speaker:

Track 3: so he is keeping the mission on point because he could have stopped that at

Speaker:

Track 3: any time and he even tells her like or he tells them that like he moved them

Speaker:

Track 3: like in their seats like he got them to a place where like their explosives

Speaker:

Track 3: would be more useful like he was actively aiding and abetting Right.

Speaker:

Track 3: Um, but I don't know like at what point that, that switch flips for him. Right.

Speaker:

Track 3: Um, I have to assume it's like pretty early on in the film. Cause it,

Speaker:

Track 3: otherwise I don't know why he would let so many things happen.

Speaker:

Track 1: Yeah.

Speaker:

Track 2: Also just, uh, uh, Antonio Margariti.

Speaker:

Track 2: He's actually the name. It's actually the name of, uh, Quentin Tarantino,

Speaker:

Track 2: one of Quentin Tarantino's favorite spaghetti Western directors.

Speaker:

Track 3: That makes me happy.

Speaker:

Track 1: Yeah.

Speaker:

Track 2: Um, Margariti over and over. And then my favorite is when he gets to the last guy, what about yours?

Speaker:

Track 2: He's like, perfect. You did a great job. And that's what I knew.

Speaker:

Track 2: I was like, he fucking knows what he's doing.

Speaker:

Track 1: I don't see how he couldn't have known at minimum when he meets her at the the

Speaker:

Track 1: when he meets Shoshana at the restaurant. I think it must be around that time he realizes it.

Speaker:

Track 1: And he doesn't know that she's necessarily plotting to kill anyone.

Speaker:

Track 1: But she must know that she's seeking some kind of revenge.

Speaker:

Track 1: Like he's like, what would I do if I owned a theater and I was going to have

Speaker:

Track 1: this, you know, movie, you know, but it also falls in her lap, too. Right.

Speaker:

Track 1: It's all because she meets the the hero of this sniper thing that gets it to even happen.

Speaker:

Track 1: So it's almost like Tarantino loves these random events that kind of somehow all fit together.

Speaker:

Track 1: That's his thing. I don't know.

Speaker:

Track 2: Antonio Margariti, by the way, he did these spaghetti westerns called Castle

Speaker:

Track 2: of Blood, Naked You Die, and Cannibal Apocalypse, which now I kind of want to watch these.

Speaker:

Track 3: Those sound like phenomenal films.

Speaker:

Track 2: I would I would.

Speaker:

Track 3: Watch every single one of those on name alone.

Speaker:

Track 2: Cannibal apocalypse released from captivity in Vietnam to American army officers

Speaker:

Track 2: returned to civilian life and discover they have acquired an insatiable taste for human flesh.

Speaker:

Track 1: The poster is cool as hell too. I was just, I just looked it up.

Speaker:

Track 1: It's like the coolest looking poster.

Speaker:

Track 1: That's the one thing about Tarantino that this is maybe less than other films,

Speaker:

Track 1: but he has so many nods and references to like hundreds of films.

Speaker:

Track 1: You know, he has like his knowledge of, you know, samurai films and Japanese and Italian.

Speaker:

Track 1: Like it's crazy how many things he's seen. Like just people,

Speaker:

Track 1: we didn't even mention the fact that this film in glorious bastards,

Speaker:

Track 1: there is a, another film,

Speaker:

Track 1: an Italian film that was made in the 1970s, which is like, not really,

Speaker:

Track 1: it's not really based on it, but it's like loosely referencing it as a, you know, a film itself.

Speaker:

Track 1: So I don't know if you, uh, I've never seen it. It's directed by Enzo Castellari.

Speaker:

Track 3: No, I haven't seen it, but I want to.

Speaker:

Track 2: Oh, I know Enzo Castellari.

Speaker:

Track 1: Has he done anything you've heard of, Hugo?

Speaker:

Track 2: Enzo Castellari.

Speaker:

Track 1: I was looking at his list of films and I don't like none of them seem look familiar

Speaker:

Track 1: to me, but again, I'm not that well versed.

Speaker:

Track 1: And I think Italian would be probably like my biggest, uh, a glaring hole of, uh, knowledge for me.

Speaker:

Track 2: That that's one of the criticisms that I heard from my friend who loves,

Speaker:

Track 2: uh, he's also like a film buff.

Speaker:

Track 2: He was saying how he doesn't like Karen's Tarantino films because they're all just rip offs of all.

Speaker:

Track 2: He takes the best parts from all for much better films and pieces them together

Speaker:

Track 2: into what, into like what he makes.

Speaker:

Track 2: So like that is probably why it was films like Pulp Fiction and Jackie Brown are so appealing.

Speaker:

Track 2: Reservoir Dogs, Kill Bill, to us, like, back when I hadn't seen any other films,

Speaker:

Track 2: I thought, I was like, wow, this is the best movie I've ever seen, you know?

Speaker:

Track 2: And it's because of that, because he just rips off, oh yeah,

Speaker:

Track 2: Enzo Castellari has Inglourious Bastards, 1990, The Bronx Warriors.

Speaker:

Track 1: Well, to that point, like, Kill Bill, I think when

Speaker:

Track 1: I did that episode on the on both kill bills like i

Speaker:

Track 1: think i read something that said there was 40 or 45

Speaker:

Track 1: different japanese films that he's referencing like

Speaker:

Track 1: with the music that he uses and like you know scenes and

Speaker:

Track 1: character names and all those things so i don't know i i mean i i guess i could

Speaker:

Track 1: see that being a criticism of it it's i think it's a reasonable one but i don't

Speaker:

Track 1: think it necessarily takes away my enjoyment of of this and you know the the

Speaker:

Track 1: jewish uh you know survivor who gets revenge on killing literally killing hitler so hell.

Speaker:

Track 2: Yeah no that was dope it again i i

Speaker:

Track 2: i understand i understand the criticisms you can't

Speaker:

Track 2: i think the other thing is that like you can't take away how much enjoyment

Speaker:

Track 2: i got from these films especially as a young kid you know what i mean like you

Speaker:

Track 2: can tell me that somebody's a piece of shit and it won't ever change the fact

Speaker:

Track 2: that i I loved this film when I was a kid,

Speaker:

Track 2: you know what I mean? I love this film. I loved, uh, Pulp Fiction.

Speaker:

Track 2: I loved everything Quentin Tarantino does to, you know, uh, who was the other director, uh,

Speaker:

Track 2: And Kubrick, Kubrick's a horrible person, too. You know what I mean? What am I going to do?

Speaker:

Track 2: I think, oh, I think I told you this, Evan. We just need to assume that everyone

Speaker:

Track 2: in the film industry is a horrible person until you find out that they might be a good person.

Speaker:

Track 2: Because if you, because otherwise, you know, then you're not as surprised.

Speaker:

Track 1: Yeah. Like Michael Fassbender, who's in this film for, you know,

Speaker:

Track 1: I guess a couple scenes is also not a good person. And Brad Pitt, not a great person. he's.

Speaker:

Track 3: Not wait michael fassbender's not a good person oh.

Speaker:

Track 1: No yeah he his like ex-girlfriend maybe

Speaker:

Track 1: like like he had took like a three or four year break from acting to

Speaker:

Track 1: be like a what is like a race car driver or formula something

Speaker:

Track 1: he like dragged his girlfriend outside of like a moving vehicle

Speaker:

Track 1: and like broke her collarbone and a bunch of other oh yeah and

Speaker:

Track 1: like he buried it like if you like you can find articles about online

Speaker:

Track 1: but like they did a really good job of just like completely burying it

Speaker:

Track 1: from like existence dang okay well i'm like

Speaker:

Track 1: again like i'm not saying you can't watch a film that has these

Speaker:

Track 1: people and i think it's just like acknowledging like you're saying you like a lot

Speaker:

Track 1: of these people are just you know they're they've used

Speaker:

Track 1: their power like brad pitt too like emotionally abused uh you know um uh angelina

Speaker:

Track 1: jolie and his kids at the time and that's why she divorced him it's like yeah

Speaker:

Track 1: i mean you could you could fit an

Speaker:

Track 1: entire podcast on shitty people who make movies and art and whatever so i.

Speaker:

Track 2: Think it's because most most show business this this is recorded and this is

Speaker:

Track 2: going to go out into the world so that I'm about to say this.

Speaker:

Track 2: But I think the problem is that most of these people, like actors,

Speaker:

Track 2: directors, producers, all they care about is putting out the film.

Speaker:

Track 2: They don't care who they have to work with.

Speaker:

Track 2: They don't care who they get the money from.

Speaker:

Track 2: They are, they're like nobody people. You know what I mean? Like they don't have any feelings.

Speaker:

Track 2: Not that they don't have feelings, but they don't, have any,

Speaker:

Track 2: uh, they're not faithful to anything. Yeah. They have no morals.

Speaker:

Track 2: So whatever you say goes, do you want me to do blackface? I'll do blackface.

Speaker:

Track 2: You know what I mean? Do you want me to like, seriously, they just,

Speaker:

Track 2: I will do whatever because it's all for the art, man.

Speaker:

Track 2: It's all to get it done. Like, that's what I feel. That's why it's like,

Speaker:

Track 2: it's so annoying when you see like, uh, these actors who you think are amazing.

Speaker:

Track 2: Like, dude, I love all this guy's work. Oh, he said that he thinks, you know...

Speaker:

Track 2: I don't know. I'm just, I don't want to go into it anymore without getting super

Speaker:

Track 2: specific and just quoting.

Speaker:

Track 1: And then you just have to add on top of that, that all the Quentin Tarantino

Speaker:

Track 1: films are produced by Harvey Weinstein's company.

Speaker:

Track 2: There you go.

Speaker:

Track 3: Yeah, that's tough.

Speaker:

Track 1: Yeah, I mean, this is like the unfortunate hole you could go down about these actors.

Speaker:

Track 3: Well, I mean, one of Tarantino's films was connected to mass fraud coming out

Speaker:

Track 3: of the Malaysian Sovereign Wealth Fund a couple of years back as well, which is kind of funny.

Speaker:

Track 1: Which one?

Speaker:

Track 3: What i don't think yeah i've read a book about this like literally yesterday um it was uh oh,

Speaker:

Track 3: hilariously enough with wall street um was was

Speaker:

Track 3: partially funded by money that was being

Speaker:

Track 3: like there's like an essential like laundering process through like the malaysian

Speaker:

Track 3: sovereign wealth fund this like whole fraudulent series of activities with uh

Speaker:

Track 3: uh it's like a major u.s bank as well i could yeah i'll find this information

Speaker:

Track 3: and show you guys later but yeah no like like um the The Malaysian Sovereign

Speaker:

Track 3: Wealth Fund was this massive corruption scandal a couple of years back.

Speaker:

Track 3: One of the largest fraudulent series of activities that has happened in U.S. banking and history.

Speaker:

Track 3: And it caught up a ton of people. There was money that was donated through these

Speaker:

Track 3: kind of sources through to the Trump campaign, through the Obama campaign,

Speaker:

Track 3: which is part of why some of these federal suits happen.

Speaker:

Track 3: I mean, there were a bunch of

Speaker:

Track 3: politicians at various levels were getting access to a lot of this money.

Speaker:

Track 3: Um it was a lot of uh movies and

Speaker:

Track 3: hollywood types were getting funded a lot of this like uh lady gaga was receiving

Speaker:

Track 3: like a hundred thousand dollars to show up at events for like one of the guys

Speaker:

Track 3: that was in charge of this operation um like it's a whole thing yeah not lady

Speaker:

Track 3: gaga it was um oh what was her name uh paris hilton um like was getting like

Speaker:

Track 3: money to show up to these events um but yeah the big players there were like uh,

Speaker:

Track 3: like u.s banks that were basically bolstering these operations and some of that

Speaker:

Track 3: money worked its way into uh wolf of wall street and partially i guess like funded the project.

Speaker:

Track 1: That's being wolf of wall street is like has to be the most hilarious aspect

Speaker:

Track 1: of this that it's literally.

Speaker:

Track 3: Yeah oh yeah i know it's so on brand it's like i have to think it's like it's

Speaker:

Track 3: it's meta you know like yeah well.

Speaker:

Track 1: I mean that that's uh that's um did tarantino produce it i know it's scorsese

Speaker:

Track 1: was the director for Wolf of Wall Street. But that doesn't surprise me.

Speaker:

Track 1: Like, that goes to your point, Hugo. Like, these people will take money.

Speaker:

Track 1: Like, if someone's going to give you $100 million to make a film, you're like, okay.

Speaker:

Track 1: Like, you know, it was, we got this money from, I don't care.

Speaker:

Track 1: Just give me the money. Like, you know.

Speaker:

Track 1: But wait, but, but, but, no, no, I don't, I don't care.

Speaker:

Track 1: It's, uh, doesn't matter. They can make their film. And, uh,

Speaker:

Track 1: you know, um, yeah, that's my thoughts on Wolf of Wall Street completely aside.

Speaker:

Track 1: It's, uh, another, uh, interesting.

Speaker:

Track 3: Oh, I said quick, quick edit there. Yeah, no, for some reason,

Speaker:

Track 3: I have thought for years of the Wolf of Wall Street was a Tarantino film.

Speaker:

Track 3: And I'm just now finding out it's a Scorsese film.

Speaker:

Track 1: Okay, but Scorsese probably, you know, I mean, I haven't, has he like been known

Speaker:

Track 1: to be a bad guy? I don't know. I don't know anything about it.

Speaker:

Track 2: But like I said, you got to just assume that they are, because then you're less

Speaker:

Track 2: disappointed when you find out. You know what I mean?

Speaker:

Track 3: It's true.

Speaker:

Track 2: There's no one in the world, after the last year of just finding out that everyone

Speaker:

Track 2: is just quiet on genocide,

Speaker:

Track 2: you know, I will not be surprised if you tell me Britney Spears is,

Speaker:

Track 2: you know, believes slavery is okay.

Speaker:

Track 3: Yeah, it was wild seeing everything happen over a year.

Speaker:

Track 3: And all of a sudden, it's like, oh, there's like four people that are cool.

Speaker:

Track 2: Yeah. Eve 6 is cool.

Speaker:

Track 3: Right? Yeah.

Speaker:

Track 2: Eve six is cool.

Speaker:

Track 3: Dude awesome okay that's nice sick like please like you know there's like so

Speaker:

Track 3: many people where i'm like please just say something please like i need this while.

Speaker:

Track 1: A sean while sean cool guy.

Speaker:

Track 3: Yeah like yeah.

Speaker:

Track 1: They're like those are the two you just think we've named all of them.

Speaker:

Track 2: Can you believe can you believe eggs cost so much feel like i'm in russia.

Speaker:

Track 3: What's that running joke of like every time americans see issues

Speaker:

Track 3: in their country they're like what are we a bunch of asians you know like they're

Speaker:

Track 3: always like well this is like north korea or china like i've actually i've been

Speaker:

Track 3: having a lot of fun with the eggflation um i go to my local bj's and i'll just

Speaker:

Track 3: stand there and wait for old people to go up and like check the prices and then

Speaker:

Track 3: i'll go up behind them and be like this is ridiculous isn't it and they're like

Speaker:

Track 3: yeah it's just nuts and it's like the same conversation every five minutes it's very entertaining oh.

Speaker:

Track 1: My god yeah.

Speaker:

Track 3: Made a lot of friends at bj's.

Speaker:

Track 2: I think the thing is everyone will see problems happening under capitalism and call it communism.

Speaker:

Track 3: But it's.

Speaker:

Track 2: Like but they're actually happening under capitalism you can't call it you've

Speaker:

Track 2: never lived in a communist country.

Speaker:

Track 3: You have.

Speaker:

Track 2: No idea what goes on there but this is capitalism wait.

Speaker:

Track 3: Wait no you don't understand like we just aren't capitalizing hard like we're

Speaker:

Track 3: not capitalizing hard enough like.

Speaker:

Track 2: It's not the right type of capital.

Speaker:

Track 3: Yeah andrew.

Speaker:

Track 1: Tate just like come back to america and be like i live under communist america

Speaker:

Track 1: now because I can't make a podcast.

Speaker:

Track 1: I'm like, what? You can't make a podcast? What does that have to do with anything?

Speaker:

Track 1: I don't know. I don't know what that's the reason he's mad. Just something stupid.

Speaker:

Track 3: The woke mob won't let me podcast.

Speaker:

Track 1: That's literally the only thing that white men can do. Sorry,

Speaker:

Track 1: as my here I am as a white dude.

Speaker:

Track 3: It's like friendly fire.

Speaker:

Track 1: So I often say this we didn't really talk about the beginning,

Speaker:

Track 1: but would you recommend this film to someone just as either a movie lover or

Speaker:

Track 1: just Someone's like, oh, yeah, like, you know, should I watch this film?

Speaker:

Track 1: Would you tell them unequivocally yes?

Speaker:

Track 3: 100%.

Speaker:

Track 2: Yeah.

Speaker:

Track 3: Yeah.

Speaker:

Track 1: I think that's, I think usually you can tell by the end if like,

Speaker:

Track 1: as a, you know, as folks are talking about the, you know, if they're like,

Speaker:

Track 1: oh, this is like the worst thing I've ever seen or, you know,

Speaker:

Track 1: it was hard to get through.

Speaker:

Track 1: You know, this, this movie is long. It's two hours, 30 minutes, two hours, 33 minutes.

Speaker:

Track 1: Like that's a fairly, you know, long film, but it doesn't necessarily feel long

Speaker:

Track 1: either because of all the long scenes. Like you're watching that scene in the tavern.

Speaker:

Track 1: It's like 15, 20 minutes long, but you're like, it feels like two minutes.

Speaker:

Track 2: So yeah because you're paying attention so close

Speaker:

Track 2: to like what's going on i remember every little

Speaker:

Track 2: it's also really fun to re-watch it a couple years later um i also want to say

Speaker:

Track 2: one of my favorite things about this podcast specifically is whenever i list

Speaker:

Track 2: i love listening to episodes of films that i've seen but i hadn't seen in years

Speaker:

Track 2: and then like hearing all the everyone talk about it and then going like a couple

Speaker:

Track 2: days later and like actually watching the film.

Speaker:

Track 2: Like I listened to, um, your left of the projector pod children of men.

Speaker:

Track 2: And I hadn't seen that since like it came out and then like sitting down to

Speaker:

Track 2: actually watch children of men after hearing all the like little details of it. It's really fun.

Speaker:

Track 2: So if anyone's listening, I strongly suggest you go watching glorious bastards after this.

Speaker:

Track 1: You should listen to the guests who were on for children of men.

Speaker:

Track 1: They have a podcast called bring out your dead about Latin American British

Speaker:

Track 1: history from the 17th century.

Speaker:

Track 1: Excellent. So that was just, I'm just plugging a great podcast.

Speaker:

Track 2: I also listened to that podcast after because i i think i texted you this after

Speaker:

Track 2: i watched children of men how fun it was and you were like oh you should listen

Speaker:

Track 2: to that so i did listen to that too and it was really good those guys are great.

Speaker:

Track 3: No i was gonna say two things like one on the would you introduce it to somebody

Speaker:

Track 3: like my roommate i found out like shortly before filming this has never seen

Speaker:

Track 3: it so i'm gonna like turn it on probably right after this and show him,

Speaker:

Track 3: um but all but also um speaking of like rewatchability um indulge me on like

Speaker:

Track 3: a really like very ADHD tangent that has no relevancy to this movie at all.

Speaker:

Track 1: Please.

Speaker:

Track 3: Um, I don't know if you've ever seen the movie atomic blonde. Um, but it is like.

Speaker:

Track 1: No, actually it.

Speaker:

Track 3: Yeah. Okay. It's like Charlize, uh, Charlize Theron. Yeah.

Speaker:

Track 2: Charlize Theron or Ashley Judd. I confused.

Speaker:

Track 3: Charlize Theron.

Speaker:

Track 3: Um it is in my opinion like my

Speaker:

Track 3: favorite spy thriller film like in terms of like the

Speaker:

Track 3: um the soundtrack in particular is one

Speaker:

Track 3: of the best film soundtracks i've ever heard in my

Speaker:

Track 3: opinion like at least like one of the most well put together ones for the themes

Speaker:

Track 3: of the film um but what's interesting is it's a spy thriller and it's a phenomenal

Speaker:

Track 3: film um and because of how it ends you can re-watch it like two or three times

Speaker:

Track 3: and see different things as you're going through that lead you to the conclusion of the film.

Speaker:

Track 3: So it has this series of twists towards the end, but when you actually know

Speaker:

Track 3: what's going to happen, the film, they make a very intentional effort to film

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Track 3: a lot of little things in the background that if you're just watching,

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Track 3: you'll know the end, basically.

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Track 3: So it's a really fun suggestion if you all want to see an interesting spy thriller.

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Track 2: Till Schweiger, who plays Hugo Stiglitz, is also in Atomic Blonde.

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Track 1: Oh, well, there you go. And I think, I think I just looked up Bill Skarsgård

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Track 1: is in it. I feel like the Skargård are everywhere. You know, they're gone.

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Track 1: I, I, this is like, I just added to my watch list because it's,

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Track 1: I remember this when it came out, but I just, I never saw it.

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Track 1: And this actually reminds me a lot of like, I don't know, people might have

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Track 1: different opinions on like Christopher Nolan films where he does kind of the

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Track 1: same thing where you can watch and like know the twist in the first 10 minutes,

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Track 1: but then you watch it like the prestige is a perfect example.

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Track 1: I mean, but film I like, film I like, and you're watching it to see if you can

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Track 1: figure out all the tells throughout the movie as you're watching it,

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Track 1: so I'm going to have to watch this movie.

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Track 2: That was Following, too. I just watched Following by Nolan, by Christopher.

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Track 2: I think that was his first film.

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Track 1: Right? I have mixed opinions on some of his films I do not like, but most of them I like.

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Track 2: I don't think I loved Following, but when I got to the end, I was like,

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Track 2: oh, what the hell? I got to rewatch it because it flips everything,

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Track 2: so you have to watch it over again.

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Track 3: I don't think you better watch.

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Track 3: I'll put that on my watch list right now, actually.

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Track 2: Yeah, it's his first film, 1998, I think.

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Track 1: Yeah, this is actually, honestly, this is kind of the perfect thing that always

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Track 1: ends up happening inevitably is to recommend people who liked this film,

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Track 1: you know, another film. And I think you both did that.

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Track 1: But do you have any Hugo recommendations, like things you've seen recently?

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Track 1: I mean, you watch a lot of movies, so anything.

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Track 2: I do watch a lot of movies.

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Track 1: Have you seen something recently that you would tell the listeners to watch?

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Track 2: What did I just watch that was really good? I just watched Burning,

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Track 2: which is, uh, it's a Korean film by Lee Chang Dong, but it, uh,

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Track 2: one of the actors is Steven Ewan, Steven Ewan, the guy from, uh, Walking Dead.

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Track 1: Yep. And also Mickey 17.

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Track 2: And Mickey 17. Yes. And that's why I thought of Burning because I was like,

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Track 2: oh, it's, it was, uh, it's really good.

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Track 2: It's kind of, uh, it's only like five or six years old. I think it came out in like 2018.

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Track 2: I'm doing the Criterion, the Criterion challenge. So I have to watch 52 films

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Track 2: this year and I've already watched 40 of 41 of them.

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Track 2: So I've just I've watched a lot

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Track 2: of good stuff this year, but that's the recent one that I just watched.

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Track 2: It is not like Django. It is not like Django. It is not like Inglorious Bastards at all.

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Track 2: But I strongly suggest watching it.

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Track 1: I think if I have one recently that I've watched, I've watched a lot of like

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Track 1: random ones that I've from like directors that I really like that.

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Track 1: I just had a click on omission. I watched Miami Vice, the Michael Mann film,

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Track 1: which is super early 2000s, the ultimate early 2000s film.

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Track 1: It was pretty good. I would say, though, if you ever want to watch something...

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Track 1: That's different and this is like

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Track 1: going to be like a completely wild nothing like

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Track 1: the film you're talking about it's a uh um

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Track 1: french film called the vortilac i don't even know where you can find it might

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Track 1: be on shutter but it's basically like a very strange vampire film that takes

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Track 1: place like in the french countryside and it's just really weird and i don't

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Track 1: feel like i can say anything else about it,

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Track 1: except that if you like period pieces and vampires, it would be an interesting watch. Very strange.

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Track 1: I think it may be, maybe no one listening will like this. I don't know.

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Track 1: Maybe some people will. It's weird. It's a weird film.

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Track 2: Oh, the other, the other film that I would, that I would watch that I just recently

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Track 2: watched that was amazing that I strongly suggest is, um, the great dictator, Charlie Chaplin.

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Track 2: I had never seen that. And I just watched that and And it was the best World War II film.

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Track 2: Better than Inglourious Basterds, I think. I had a great time watching that.

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Track 2: And I think it forever will be such a great film. It'll go down in history as

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Track 2: an amazing World War II film.

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Track 2: And then there's this documentary called The Tramp and the Dictator,

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Track 2: which shows the connection, like what was going on during Charlie Chaplin's life and Hitler's life.

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Track 2: Like their lives kind of coincide, and then they cross.

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Track 2: Around the time of that film coming out like around 1930s 40s um so that's another great documentary.

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Track 3: Yeah i can't really think of any like i've been watching a lot of

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Track 3: tv shows as of late i've been like i've been like kind of like binging through and

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Track 3: watching um like yellow jackets and invincible um have been like the two that

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Track 3: i've really honed in on um but as far as movies something i i watched really

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Track 3: recently again like it's one of my all-time favorite films but i hadn't seen

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Track 3: it in years but there was like a a headline came up they're remaking it i guess is starship troopers,

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Track 3: oh why I love it it's like it's one of my favorite movies dude no.

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Track 2: No no I'm saying why would they remake.

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Track 3: Oh I was like yeah I have no idea I saw a headline that they're remaking it

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Track 3: I was like I don't know if you can like it's just it's such like,

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Track 3: it's such a unique little thing that I just I don't know maybe a sequel to it

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Track 3: or something sure like there were a lot of like direct to DVD sequels that were

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Track 3: increasingly bad as they went on but still fun to watch but Starship Troopers is like Thank you.

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Track 3: Such a good movie.

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Track 1: One of my favorites of all time it's not

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Track 1: even like paul verhoeven movies i have like the robocop poster

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Track 1: behind me like total recall like all those are i've i have an episode like one

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Track 1: of the early episodes on this show on starship troopers but i one of the thing

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Track 1: i love about that movie is like every six to eight months there's like a whole

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Track 1: thing on twitter about people who don't get the movie and you have to just remind

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Track 1: them that it's actually a satire it's mind-numbing because.

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Track 3: Like the thing too that makes it annoying is like it's based off of

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Track 3: a book that is very much not sat like satirical um so like like verhoeven had

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Track 3: to go in and like actually make it such which is amazing like a testament to

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Track 3: his work it's phenomenal but it's so good that people just can watch the whole

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Track 3: thing and actually come out of it not getting any of the lessons that you were

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Track 3: supposed to learn from it.

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Track 1: Well what's even funnier about that is just and if

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Track 1: you actually make any comments to people

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Track 1: who are fans of um heinlein who

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Track 1: wrote the original book calling it that it wasn't satire

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Track 1: like saying that he was pro like pro military which

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Track 1: is very easy to find like he is was very pro military oh

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Track 1: yeah like but if you if you say that the film was

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Track 1: like pro fascist or you know leaning that way they get so angry i i don't use

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Track 1: twitter that much but i'm on like threads and i post i got like at least 100

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Track 1: comments of people who like heinlein and are like you're wrong he actually said

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Track 1: it was satire it's just really subtle it's like no You're fucking wrong, man.

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Track 3: Pretty sure he just wrote a fascist story.

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Track 1: A hundred percent did. A hundred percent. And I get into that.

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Track 1: Yeah, it's very funny to me every time that comes up where I just...

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Track 1: I just have to laugh. Like the person who wrote the article,

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Track 1: yeah, about Snowpiercer, they're calling it like a pro-capitalist movie.

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Track 1: Hugo knows about that. She talks about Snowpiercer.

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Track 2: Didn't we do an episode of Snowpiercer? Yeah, yeah, yeah.

Speaker:

Track 3: I feel like Dune's like that too because like the themes of the film are very

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Track 3: much, like there's a lot of like, the author is a really fast,

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Track 3: I don't know if you guys have done research on like the author of Dune and like kind of the background.

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Track 3: Yeah, Herbert. like he is like a really weird character who was like simul like

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Track 3: in a lot of ways he was very much like a lot of the the the characters in doing

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Track 3: a lot of the kind of like civilizational elements are based off of his interactions

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Track 3: with like pacific northwest indigenous tribes and nations,

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Track 3: um and so you get like this weird like

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Track 3: kind of quasi respect for like these

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Track 3: sorts of like indigenous lifestyles that

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Track 3: he's perceiving but he's also like like i

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Track 3: think he like worked for the state department for some time or something so like

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Track 3: he was like in this weird vibe where the themes of

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Track 3: the film i mean the themes of the book i think to my end like culminate in this

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Track 3: like anti-colonial message of like i mean clearly when you by the time you get

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Track 3: to the end of the story it's like oh my god like this is horrible like what

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Track 3: has happened the fremen are not to spoil the books for people but like the fremen

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Track 3: are like you know they have an abundance of water and they,

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Track 3: They've lost their kind of cultural and military edge.

Speaker:

Track 3: Like, there's so many people are dead. Like, everything's going to hell.

Speaker:

Track 3: And it's interesting that people will watch that or they'll read the books or

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Track 3: they'll get synopses of the books.

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Track 3: And they'll come out of that being like, oh, this just seems like really Orientalist

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Track 3: colonial propaganda. And it's like, no, it is kind of.

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Track 3: But it's not. At the same time, the message is really wonky.

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Track 3: Because Herbert's just a really weird and complicated figure.

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Track 3: There's a really good, I want to say the Red Nation did a podcast episode on it.

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Track 1: That's a good one. I've listened to that. It's really good.

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Track 3: Yeah, they did a podcast episode, I think, dissecting Dune and also dissecting

Speaker:

Track 3: Dances with Wolves that I thought was really funny.

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Track 2: I remember that film.

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Track 3: I'm like pained as someone who really enjoys like Dances with Wolves and who

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Track 3: really enjoyed, what was the other one? The Last Samurai.

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Track 3: And I'm like the most white savior-esque films you can possibly imagine.

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Track 3: And I'm just like, no i like these films are fun i like these movies um and

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Track 3: then i'll hear a podcast going over i'm like no these are all very valid criticisms

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Track 3: i i can understand why you wouldn't like this film.

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Track 1: They also red nation also had a really good one about the um the the new planet

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Track 1: of the ape series too which is really good.

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Track 3: Like they do.

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Track 1: A lot of uh i'm pretty sure it was them,

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Track 1: Yeah, or like maybe that or like they were a guest on another podcast.

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Track 1: But yeah, definitely a plug for Red Nation podcast as well.

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Track 2: Love the idea of watching a film, enjoying it, and then walking out of the theater

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Track 2: and putting on your favorite podcast.

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Track 2: Like, if you like that film, you're actually a ranger.

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Track 3: No, I.

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Track 2: Oh, wait a minute. No.

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Track 3: It was so it was so bad because I think like the episode where they were talking

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Track 3: about Dancing with Wolves, they brought up The Last Samurai 2.

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Track 3: And I was like, man, come on.

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Track 3: Like, I need something here.

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Track 3: Like because like for me i was like i was watching and again like

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Track 3: yes like as a it's a like a white settler of course i'm like identifying with

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Track 3: dances with wolves and being like hell yeah this main character is getting development

Speaker:

Track 3: um but like you had these like indigenous commentators are like no like this

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Track 3: like this is the most ridiculous film we've ever seen and i'm like listening

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Track 3: to the criticisms and i'm like yeah that's right yeah that's valid yeah i.

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Track 1: Mean like that's that's another plug just for the idea of like people having

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Track 1: i mean the people here in this right now like being.

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Track 3: Like literate.

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Track 1: About media and like you can you can like a film

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Track 1: but like if you can understand you know what why it might be problematic even

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Track 1: enjoying it like that's acceptable but just as opposed to just being like blindly

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Track 1: like it's good like no matter what you critique about it like i will not listen

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Track 1: to your you know like people who like starship troopers is like fascist whatever.

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Track 3: It's like.

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Track 1: The same shit it's like you know you just have to kind of dissect your uh media

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Track 1: and understand that there could be problems in it.

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Track 3: Well and i like i grew up in a conservative household like my

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Track 3: dad and i really bonded over like me and my grandpa too and

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Track 3: i really bonded over our mutual like love of like war movies and like historical like

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Track 3: war films and so like now it's like always awkward kind

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Track 3: of sitting down with him where he's like yo let's watch like this movie and

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Track 3: i'm like and i'm like i'm like a muslim now i like you know and i'm just like

Speaker:

Track 3: i'm watching like just a bunch of like it's like just the terror probably like

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Track 3: the war on terror propaganda just like in front of the screen and i'm just like

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Track 3: yeah this is cool explosions awesome yeah oh,

Speaker:

Track 3: Like my dad, he got me to watch Lioness. I don't know if you all have watched Lioness.

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Track 2: Oh, God. No, I heard it's like straight up propaganda.

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Track 3: No, it is. It is. If you turn your brain off, though, it's kind of cool at points.

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Track 2: I'm sure.

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Track 3: Like it's one of those films. It's one of those like shows where I was like,

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Track 3: man, if I if I just if I hadn't read a book or two, two years ago, this would be hidden.

Speaker:

Track 3: Like if I if I didn't read Fanon, this would be amazing.

Speaker:

Track 1: Yeah. Like you don't read Jakarta Method before you watch that or something.

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Track 1: Which is like literally basically bad yeah.

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Track 3: Yeah literally um but you know like lion well

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Track 3: lioness is also funny because it's one of those shows where it's like the first seasons all

Speaker:

Track 3: like anti-arab and then the second season's like um anti-cartel which

Speaker:

Track 3: is just like it's just anti- mexican sentiments um and like you get that on

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Track 3: a lot of these films i feel like where it's like oh what's the enemy of the

Speaker:

Track 3: week let's build a whole season around it um the one that i think is uh notable

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Track 3: the guy who uh uh oh god um the guy who plays jim in the office um oh.

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Track 1: I know what show you're gonna mention the one on amazon the jack ryan.

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Track 3: Yeah yeah yeah jack ryan is a great example of that too just like every every

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Track 3: year if you like look at the seasons you can tell like oh okay so this was happening

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Track 3: then like it's like oh the russians are in venezuela oh yeah sure yeah for,

Speaker:

Track 3: Um, but it's like, it's always just fun watching that kind of propaganda.

Speaker:

Track 3: Cause I'm just like, I'll turn my brain off and be like, hell yeah. Like USA baby, let's go.

Speaker:

Track 1: Like that actually reminds me of the guy you're thinking of is, um, John Krasinski.

Speaker:

Track 1: He like has come out and basically saying he's like, the CIA is not so bad after

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Track 1: all. He's like, I love the CIA because they're probably paying him to be like

Speaker:

Track 1: basically an asset for the CIA. You know, I mean, how could you not at this

Speaker:

Track 1: point being on a show for four years?

Speaker:

Track 1: Like Homeland is another good example 24 like these shows are just let's call

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Track 1: them what they are they're propaganda for american empire homeland.

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Track 3: Kind of goes crazy.

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Track 2: It works too the propaganda works like all of that

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Track 2: propaganda and like call of duty like i've been

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Track 2: playing counter-strike call of duty since i was a kid and i

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Track 2: remember i distinctly remember going into the movies when

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Track 2: i was like 20 and my little cousin who's who

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Track 2: was 17 at the time 16 telling me he was

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Track 2: like one of the top like counter-strike players and he

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Track 2: was just telling me he's like yeah i joined the marines i was like what he's

Speaker:

Track 2: like i mean i'm gonna call a duty so i know i'm gonna be good and he went he

Speaker:

Track 2: went to afghanistan and he went to iraq and like uh he's one of us now he's

Speaker:

Track 2: a full-blown guy now but he's uh but yeah it works the propaganda works like

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Track 2: i i would love to be i wanted to be a cia agent that looks awesome.

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Track 3: I would be lying if i said there wasn't a time where i was like looking at the

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Track 3: foreign services branch and i was like yo this is kind of cool i could be an

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Track 3: embassy i could like Like I could help out my country or whatever.

Speaker:

Track 3: And then I like, I, then I started looking around. I was like,

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Track 3: ah, maybe not. I don't know.

Speaker:

Track 3: Cause there's an allure to it when you're young and like, you're like embedded

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Track 3: in all this where you're like, man, I could be like the super agent guy who

Speaker:

Track 3: like saves the day. I'm like, you know, protecting the country or whatever.

Speaker:

Track 3: And then I became jaded and was like, why would I want to protect this country?

Speaker:

Track 3: Like, yeah, I will say, though, big ups to my fiance for basically like I was

Speaker:

Track 3: going down a track after college where I was like Peace Corps or maybe the Air Force.

Speaker:

Track 3: I don't know. And then like she basically was like, hey, so like these are she's

Speaker:

Track 3: like, I get your reasoning here.

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Track 3: You're not doing this to kill like, you know, like to kill people abroad.

Speaker:

Track 3: However, you know, like you kind of need to choose like what are we doing here?

Speaker:

Track 3: And I was like, yeah, OK, probably not the Air Force. Yeah, it's probably not

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Track 3: going to happen like Peace Corps.

Speaker:

Track 3: Maybe not actually the Peace Corps. I actually kind of was going to go through

Speaker:

Track 3: with and I actually got like a like a preliminary stationing in like Albania.

Speaker:

Track 3: And I was going in for like kids programs. And what flipped the switch for me

Speaker:

Track 3: was they were like, they're like, oh, you have a background kind of in the Balkans

Speaker:

Track 3: because I through college had a little bit of one.

Speaker:

Track 3: And I was like, yeah, yeah, yeah. Put me in. Put me in. Like,

Speaker:

Track 3: I'll help like, you know, do kids programs or like whatever we need to do on the ground.

Speaker:

Track 3: And they're like, yeah, we're going to put you in an embassy so you can be a

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Track 3: translator. And I was like, ah.

Speaker:

Track 3: No, I don't want to do that. Like, feel like I'm going to get in trouble.

Speaker:

Track 1: I know we've, we've strayed a little bit, but that's okay. Uh,

Speaker:

Track 1: but sorry, no, it's, this is like, this, this is like the pretty,

Speaker:

Track 1: this is like the, yeah, it always goes kind of that way.

Speaker:

Track 1: But I don't know, there are any, any like final thoughts on,

Speaker:

Track 1: uh, inglorious bastards.

Speaker:

Track 1: And I mean, we feel like maybe, I guess we got to this point cause we've maybe

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Track 1: exhausted them, but any last thoughts and we can.

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Track 2: Uh, I will, for the rest of my life, I will always think of this film because

Speaker:

Track 2: of the one line at the end where he shoots the other officer. He's like, what?

Speaker:

Track 2: You can't do that. You'll get shot for this. He's like, nah, I won't get shot.

Speaker:

Track 2: Probably get chewed out. I've been chewed out before. That's my favorite line

Speaker:

Track 2: because I always think that when I'm doing something wrong at work,

Speaker:

Track 2: like, God, I'm going to be late for this. And like, nah, they're not going to fire me for this.

Speaker:

Track 2: Chew me out. But like, yeah, it's for, it's such a, I, I Quentin Tarantino has like a big impact.

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Track 2: Like a lot of his films have a big impact on my life.

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Track 2: Like a lot of my, the music I listened to that I've been listening to since

Speaker:

Track 2: like I was 15 is based off of those soundtracks. I don't realize until I rewatch the films.

Speaker:

Track 2: I say lines. I still say, you know, my name's Paul.

Speaker:

Track 2: This shit's between y'all. My name's Pitt. And I don't know shit.

Speaker:

Track 2: And it's from the bar scene from Pulp Fiction. you

Speaker:

Track 2: know like i'll just so like uh re-watching

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Track 2: it is super fun because i just see like all the influences and um and it still

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Track 2: makes you you know i know how it's gonna end i know how the bar scene is gonna

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Track 2: end but god you know you're just still like drawn in the whole time like wait

Speaker:

Track 2: when does this happen and when hugo siglas said say a v descend to your nazi balls and just fuck,

Speaker:

Track 2: just shoots his balls off well in the.

Speaker:

Track 3: Scene in the bar where he holds up the wrong hand and And it's.

Speaker:

Track 2: Like that.

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Track 3: That, the wrong way of saying three nuts. That was crazy.

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Track 3: Great yeah i don't know for me it's like

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Track 3: i i think that inglorious bastards has some

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Track 3: of the best scenes like individual set pieces of like

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Track 3: any of tarantino's films um and i will i will

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Track 3: die on this hill that like the opening scene of inglorious bastards and

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Track 3: the bar scene are some of the best work i've seen um from him

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Track 3: not like the best but like i would say like top 10

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Track 3: or even top five for the opening scene of inglorious

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Track 3: bastards and i love it

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Track 3: to death and i i will say i love the cultural impact that

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Track 3: it has had um on like people on

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Track 3: the left and lib left um because every single

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Track 3: time there's like a resurgence of like open fascism you

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Track 3: will see like and i don't i know this because i'm like chronically on tiktok

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Track 3: um you'll see like a resurgence of like the audio usage of like you know we're

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Track 3: killing nazis like that will always creep back up and it's like you'll see people

Speaker:

Track 3: making videos to it and it's like a fun little thing because it's like intergenerational

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Track 3: as people are watching this film,

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Track 3: like no matter what the messaging might've been, no matter what the intention

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Track 3: might've been, no matter how the execution laid out, the message that people

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Track 3: got from it was that it's okay to kill Nazis.

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Track 3: And I think that is an awesome, awesome takeaway for millions of people across the country.

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Track 1: Yeah, I think, I agree with you, dude.

Speaker:

Track 1: I think that the, like the set pieces in this might be some of the best of any of his films.

Speaker:

Track 1: I don't necessarily like this as much as like a complete film as like Jackie

Speaker:

Track 1: Brown was probably my favorite of his films,

Speaker:

Track 1: probably my favorite one of his films but it's just like he

Speaker:

Track 1: it's just like perfect bill like everything about them

Speaker:

Track 1: like the camera work is just it's like firing on all cylinders

Speaker:

Track 1: for all of those and it's hard to watch them and not be like this fucking rules

Speaker:

Track 1: like how can you not be engrossed by just you know nazis getting scalped and

Speaker:

Track 1: uh you know getting shot and beaten with bats and it's uh it's a thing anyone

Speaker:

Track 1: can get behind and um i think that's that's my takeaway in.

Speaker:

Track 3: These trying times it's it's a source of unity for america you know.

Speaker:

Track 1: Yes and.

Speaker:

Track 2: It's a it's a reminder that you can't just like you

Speaker:

Track 2: know fight fascism with like pink shirts or by voting it away like fascism needs

Speaker:

Track 2: to be stamped out there's no way if you give if you give fascism any room to

Speaker:

Track 2: breathe they will like it'll spread like a germ and like and it will and it'll it'll hurt us.

Speaker:

Track 1: Uh but uh Yeah, it's been good to have you both, James and Hugo.

Speaker:

Track 1: Thank you for coming on and talking about Inglourious Bastards.

Speaker:

Track 1: And I think I forgot at the beginning, James, I think people know Hugo from, you know, from...

Speaker:

Track 1: Seize the means uh on online but do you want to tell anyone like anything you're

Speaker:

Track 1: working on or just you know where people can find you and of course i'll.

Speaker:

Track 3: Link yeah yeah i mean um so you can find me on tiktok at uh james gets political

Speaker:

Track 3: you can find me on twitter at good vibe politique and you can also find me on

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Track 3: monday so i'm a periodic contributor so i've got a couple of uh essays up there

Speaker:

Track 3: um opinion pieces things like that that are i think you know i think they're

Speaker:

Track 3: kind of worth reading uh but yeah uh that's that's where you can kind of see me.

Speaker:

Track 1: Sweet and hugo you got shirts and stuff and yeah just.

Speaker:

Track 2: Seize the mean shirts on tiktok and instagram.

Speaker:

Track 1: Well james and hugo it's been a pleasure to have you on and we will catch you next time.

Speaker:

Track 3: Sweet thank you have a good one.

About the Podcast

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Left of the Projector
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