Artemis II, Crash, and 28 Days Later: The Bone Temple

Toned down this week because we're weaning off caffeine: Artemis II, Crash, big books, and 28 Days Later: The Bone Temple

Transcript

SPEAKER_01 0:00

Okay. Here we go in another episode. Jumping right in. I'm gonna try not doing the theme song. I guess this is Jack on Jack. I was just listening to this series of podcasts that I've recorded. And you'll notice I'm a little toned down because I think as I was listening to them, I was like, whoa! There's a lot, there's a lot happening. There's a lot happening. It feels a little frenetic, maybe. You know, I'm also now going entirely off caffeine. And so maybe that's it. Maybe I'm moving at a slower pace. Maybe it's that it's a Saturday morning in a glorious uh spring day. It is sunny. It is the perfect temperature. And nice and chilly. It just feels brisk. I love a brisk day. And yeah, I guess that means I don't feel like belting into song, but that feels so sad. Shouldn't we always shouldn't we always feel like belting into song? I don't know. But regardless of experimentation, we're trying new things. We're gonna go songless today and see how that goes. Yeah. Hello. Hello. Hello! Good morning. Oh! That's a song. Couldn't even go, what, three minutes without a song? Music is irrepressible. In my soul. In my soul. Also, I do think holding the microphone out a little bit does help audio quality as I was doing some reconnaissance on myself. So we're gonna try doing that. I guess because we do care about audio quality. I don't know. Kind of a lost cause when we're when we're just doing things so scrappy here. Hello, I don't like this. Another week. Another beautiful week. Um Yeah. Pitter patter. Pitter patter, putter patter. I don't know that I have that much putter patter. I'm just sort of, again, having a quiet little morning. I'm gonna make some beans. Got some beans going. Big beans. That's exciting. They're very good. They're organic. Trying to eat organic. Which, you know, is a bit. I don't want to say controversial. I don't want to say controversial. That feels too strong of a word, but it is a little like, huh? Is that really worth it? Is this real the whole organic thing? Are there real benefits? Or is it just some marketing ploy? Is it just people with too much money and too much time getting worried about things? But you know what? You know what? I do think it actually has some merit because of how polluted everything is. So not everything has to be organic. Some things kind of naturally are. Right? As I've done research, you know it takes some money and time to get certified organic as a farmer, so there's plenty of farmers who are growing things that are just quite nice and not polluted and not using pesticides and blah blah blah. Or bad pesticides and everything. So they're still quote unquote organic, even if they're not certified. So I'm trying to eat organic. I'm trying to eat organic. I've making organic beans. I don't know. Is it worth it? Does it stave off neurological disease? I think it might. I think it might. We've seen some research. I've read an article or two. I've seen a tweet here and there. Um, and you know, when I first started eating organic, or mostly organic, I really did. Chopping garlic, sorry. Oh, for the garlic, um, I really did feel a lot better and more energized and really good. Like in the span of a few days, even. So I'm hoping that it is good for me, and I'm not just I don't know, wasting money. I don't think I am. I have to I have to burp a little bit. Excuse me. So we've been doing experiments here. We've been doing experiments here. I don't like this podcast. Do we like them? The video experiment. I have to figure out how to get that video episode online. I know the audio episode went online, but the video? Question mark. Where does that go? YouTube? I'm gonna try doing some video stuff on social media. Oh, I interviewed, I did an interview with somebody to try that out. I don't think it worked. Not because the interview subject was bad, we were just sitting and yapping, and that was fine. But I think the audio is actually not usable. I mean, maybe it is. It's just very bad quality. Because I had one microphone that I set up in between us, and already I'm like, it might be training the aesthetic, the aesthetic concept of this podcast where it's just me talking into my headphones by having an external mic, you know, is that already too much? And then it was kind of too much, too little, you know? Because it was set up in between us and you couldn't really hear either of us very well. I was happy with the conversation. It took a little while, maybe, to get anything going. Is there anything ever going on this podcast? I'm not sure. I'm really not sure. But it's been really fun to do so far. I feel like it's good practice. I feel like every writer needs to be able to talk. And it's good practice to do that. I don't know. I don't know. It's also fun, it's a fun thing to do that's not more writing. I guess this is this Jack on Jack? Yeah. But this is, I feel like writing. We're talking a lot about writing, which is not bad on this podcast. I think a fun thing to do as a writer is to have outlets that are expressive or require you to think, but they're not writing, if that makes sense. So a podcast seems really ideal for that because I don't have to write any more than I already am, and I get to flex some other muscles in my brain, neurons, whatever. And I don't have to just keep doing the same thing that I'm always doing. You know, I don't have to sit down at a laptop and stare at a screen. I can putter. I can putter. I can putter while I do this. Um that feels nice for me. I put too much water in these beans, I think. That feels nice to me. Does it feel nice to anybody else? I don't know. Does it matter? I don't know. Even if even if there's just five people listening to this, which might be generous. Then it's worth it. Who knows? Who knows, who knows, who knows. I think it's just important to try new things, right? Try new things, experiment. Have fun. Follow your heart my horoscope, and by that I mean random Instagram accounts on my for you page. Very bullish on doing things. On going forward and doing things and just pushing and trusting, and um so you know, that's how I live my life. That's how I live my life. My little little voices on my screen tell me to do things, and I say, Okay. Okay, I'll start a podcast. Um we'll see.

SPEAKER_00 7:50

We'll see.

SPEAKER_01 7:52

We'll see. Thanks for bearing with. We're gonna keep experimenting and trying new things. Don't you worry. Don't you worry. Things aren't gonna settle down. Not by a long shot. Um what's going on? What's going on, friends? You know what was going on? You know what? I think it was last week. I think it was last Friday, actually. I stayed in as I am wont to do. And I put on the Artemis 2 landing. And you know what? I think that's the first thing I'll talk about here is I don't like this. I don't like the Artemis program. There, I said it. And it took me a little while to come to that because I love space. If there's one thing about me, it's that I love space. I'm kind of obsessed with space. You know, I'm working on a sci-fi novel. Just grabbing random spices and putting them into these beans because I'm not really convention. Um, you know, I'm working on the sci-fi, and I love space. I love reading sci-fi, I love watching sci-fi, I love just the random little um bits of information that come up that get fed to me about space. Again, the voices in my in my phone. It's it's not through Instagram. It's usually, you know, where I'm getting this is through the the Google Discover page, little suggested links that come up. There's a lot of like space.com, fizz.org, that's phys.org, that have little like science updates. And I guess my algorithm is now tailored to give me like new biosignatures discovered on Enceladus. What does this mean? You know, like uh gravitation on Titan is totally different, and now the waves are probably three feet higher than we used to think they were. And I love it. Give me more, you know, as Britney Spears said, give me more. I can't get enough. I love that kind of stuff. Oh, I love a weird YouTube account. I shouldn't say weird. I love a YouTube account that's about space. Astrum.org. You know who has a really good one is PBS. PBS is a great one, but it is a little hard to follow sometimes because they get really into the science. But it's really cool. You know, I can just sit down and watch those for a while. So I thought, you know, I'll sit down and watch this live landing of the Artemis 2 thing. Should be right up my alley. And you know what? It kind of was. It kind of was, but it also kind of wasn't. I mean, so on the pro side, what I what was entrancing is the drama, you know, it's two hours of them falling back to Earth essentially out of orbit, and you see the live cam and you hear them like talking on their I don't know if it's a radio or what the technical term would be, but the communications between the pod in space and the control people on the ground and do-do-do-do, and they have to be in position. And I am all about that kind of stuff. And then when it comes down, oh my gosh, it's so cinematic. You see the little pod and it lands in the water, and the the um what is that? The I want to say umbrella. No, no, no, no. Parachutes. I mean the parachutes go out first before it lands, so they these brightly colored parachutes. It's very colorful, which I was kind of surprised by because the parachutes are a color, and then they have these little um like uh platforms, inflatable platforms that come out that are colored, they're bright yellow, and a lot you know, for high visibility, I'm assuming, and um in the waves, and you have these really cinematic things, cinematic um like uh views, because you have these cameras, these telephoto cameras from super far away, so you get these grainy shots, and it's like what's going on? It's kind of abstract. It's really amazing. It's really and you know you hear the live commentary of them getting ready, and and oh, something's going wrong, and you have to wait. Super cool, super dramatic, super amazing, super fun to watch. I'm really glad. But that's what I did on a Friday night. Um But you know, it's also a bummer because I hope I put everything in these beans that I need. It's probably because the Artemis program, the more that you learn about it, the more you're like, oh, this is not good. This is actually very, very bad. Um, and again, a lot of this is fed to me by these YouTube videos, explainer videos about it. So, apologies in advance if I'm totally wrong, but I don't think I am. Because the Artemis program in general, you know, is about putting people back on the moon, putting specifically Americans back on the moon, and building a lunar base, which is not just a purely scientific endeavor. It's to claim, essentially, lunar territory for America. And so they're building at the South Pole, which will, you know, supposedly is a great strategic hub because I mean there's water there is a huge thing. They can also stay in daylight there, so there's solar panels and um and all that. And it is just a bummer to think about this whole space program really being about resource acquisition and claiming territory and colonizing space. And that stinks, no? Colonialism? Colonialism seems like an obvious bad, and yet it's driving this huge endeavor. It's still a motivating mindset. It's still a motivating mindset for so many people. Um, and obviously Elon Musk and SpaceX and all that stinks, and he's very, you know, explicitly colonialist, which maybe you shouldn't be a surprise coming from a white South African guy who's you know racist and evil and all that, and that he wants to colonize more.

SPEAKER_00 13:56

More! More colonizing!

SPEAKER_01 13:59

Uh yeah, so you just you you start to really wonder and realize is this really good? Is this really good, this Artemis program, all this space stuff that I love? I mean, space is great. We love space. We love science in space. There's so much great science that goes on in space. Though you know. How much of science is colonial as well? How much of that is colonial as well, we can all unpack that. We can unpack that at a later date. But this is all fuel. Fuel for the noggin about the sci-fi book that I'm working on. Get excited for that. And I yeah, I think that's just it. I think that's just it. I don't really like the Artemis program, and that's okay. That's okay. I mean, it's kind of a bummer, because I want to be excited about it. I love space. I'd love to be excited about this whole program that's happening. And you know it's bananas. Well, if they have all the funding that they want, it's the bananas. They're gonna start sending people up to the moon, like hand over foot. So they can build this base up there. Um. Also, the plans for the base are kind of wack-adoodle. At least the ones that I was watching about, where they want to turn the rocket ship into the first part of the base. And I'm like, I don't this is a lot of work. I don't. I mean, they got a lot of money, but I don't know. Curious to see where all that goes. I think defund it. I think defund it, Trump. You hear me, Trump? And I think that's what they're already doing. I think they're already defunding it. Which seems okay to me. I'm okay with that. I don't know that we need to be doing all this. I don't know. You know, and they're competing with China, I guess, is the whole thing. Where China is planning to go up and and do stuff like this, or supposedly is, that's what they're saying.

SPEAKER_00 16:00

So we gotta get there first. America first. Boo!

SPEAKER_01 16:04

Boo, obviously, we're not into that, so yeah. I don't know. It was it was kind of a mixed bag. And that's what the sort of stuff that we like to explore here. I don't like this podcast. It's stuff where we don't like it, but we kind of do. You know? Complicated, but complex. Complex ambivalence is rich. Rich for the pod. What else? What else? Oh, you know, I mean, sort of sort of on a science fiction dystopian wave. I am reading Crash, the JG Ballard novel from I think it's from the 80s. Is it from the 70s? And you know what? I don't like this. I am not a big fan of it, I don't think. And I'm only about halfway through. I'm like a little over halfway through. So who knows? Everything could change. I'm also reading it on my phone, which means that I'm mainly reading it like in transit, you know, when I'm on the subway or something. So it's not the greatest reading experience, it's not the closest reading experience, and I'm not reading it that closely. I am I am reading it kind of quickly because I'm not loving it. So maybe I'm not doing it justice. And I it's been a long time since I've read anything else by him. So, you know, I'm maybe not appreciating the nuance of the ouvre, as they might say. But it's really boring. It's really boring. It's really boring. And I don't know if that's like an intentional, an intentional sort of like thing, because you know the book, you know the book is about these people who basically get horny for cars and car crashes. Car crashes make them horny. So they get in car crashes while they're having sex or like jerking off. And that's pretty much the whole thing about the book. That's pretty much it. And there's a lot of very vivid sexual descriptions. There's a lot of vivid descriptions about car crashes and bodies and what happens to them. There's a lot of like the moment the windshield broke, my semen came all over her chest or something, you know, it's or her nipples, or her in her anus, or something. Like it's very it's very uh explicit. The words do a lot of naming of things and repetitive, you know, that pretty much every chapter someone's someone's semen is covering someone's anus. And it's like, okay, okay, okay. And so it's a little surprising, I guess, to me, that this book that is about sex and violence and action ostensibly is so boring. And part of me is like, okay, is this intentional, right? I'm not so slow to miss that. That you know it's it's set in suburban England outside London, and these car crashes happen, and it's very kind of boring, soulless, suburban development where you have to get on this highway on-ramp, and everything is desolate and soulless, and blah blah blah. So it's supposed to be kind of boring, right? And maybe that's the intention of the book is that violence and sex can just be very boring and very repetitive and and and not have much to it, really, and kind of desensitizes the reader to those things, makes them aware maybe of what they're hoping to get out of violence and sex and how they don't. Which sounds sophisticated when I say it, and I'm on that wavelength. I think that's cool. I like that, if that's the intention. I don't know that that's the effect, though. I don't know that that's the effect. But again, maybe I'm just halfway through and I haven't seen because yeah, maybe the characters will change and something will happen to really bring that home for the reader. But at this point, it just feels like I feel like every chapter is kind of the same, and you could have that effect on the reader more succinctly. I'm just wondering about kind of editing this down a little bit. And again, maybe it's supposed to be repetitive and everything, but I just feel like that could be done a little more effectively if that was the intent. It kind of. So, okay, that's me hoping that that's what the intent was. The other intent that I can also see is that it's supposed to be kind of shocking, and it's supposed to be titillating, and you're supposed to be, as a reader, constantly aroused by these very graphic sexual descriptions, and then also disturbed by how they're um being interlaced with the violence of these car crashes and people dying and getting hurt, and you're supposed to be unsettled at yourself and your own inclinations and everything. And you know, it's supposed to be very graphic and provocative that they're talking about anal sex and uh homosexuality or homosexual attraction between straight people or um you know, illicit affairs, and blah blah blah, and that all that's supposed to be very titillating and shocking. And oh my goodness, you know, is the suburban reader is supposed to be disquieted, and maybe it was in the 70s, sort of like that, you know. Um but it I don't think it is very shocking now, and maybe that's just the thing, is it was maybe more shocking and titillating. The time. Now it doesn't read that way. I guess maybe we're so desensitized to sex, or maybe I am so desensitized to that kind of sex, it doesn't it doesn't really do much. It seems really repetitive and kind of boring. Um But you know, I think it also doesn't help. It also doesn't help that I I think there's a quote on the dust chat. No, because I'm reading this online. I'm reading this on my phone, so I don't know where I saw it, but a Baudrillard quote that this was the first This was the first novel, the first hyper-real novel or something, and it's like, okay. Okay, and again, I no, not again, but so I read Baudrillard I uh in college and I guess grad school, and then again as I wrote Dream Facades, my last book, and I really thought I was gonna dig into Baudrillard, and this was gonna be somewhere I could find something for a book about reality TV and the real world, you know, the overlaying of the two. This is very hyper-real, this was very Baudrillard. I thought I was gonna get a lot there, and then as I was reading him or rereading his writing, you know, it's it's just a lot of it's a lot of stuff. It's a lot of stuff in there that's maybe not so succinct or clear. I guess it's that era of intellectual writing that's supposed to be elaborate and occasionally confusing and suggestive more than explaining things and um and yeah, it just didn't really work out for me to like quote it or use it as a as a structuring structuring text in my book in any way. Um and so I think reading Crash and thinking about that and that sort of intellectual moment of like, oh, you're going to be so franchise, and we are going to be shocking, and oh, and the world, and oh, did you ever think that the Iraq war never happened? And it's like, okay, okay, guys. Like, I get I get that this is good in a moment and a time, but maybe doesn't feel as useful now that I think the world is stranger than the world now is stranger than this suggests than than maybe it was imagined even by these far-thinking visionaries in the 70s, if that makes sense. You know, the kind of dystopia that we're now in is is much more dystopic than um than what you read in Crash or or Baudrillard, really, I would say. Um not to say that they're bad. Not to say that I don't like this, though I do kind of not so much like Crash so far. But that's okay. That's okay. I can appreciate aspects of it, and it makes me curious. Different things. Um, you know, I am also reading Infinite Just in physical form. So Crash is the is the book on the phone, and then Infinite Just is the physical form. I am NOT reading Infinite Just in public. Absolutely not. We're not doing that. It's a huge book, and I'm not going to embarrass myself by being that guy. But you know what I'm gonna say? I'm not gonna say I don't like this Infinite Just. I'm gonna go out on a limb and say, I can see things that I do like. I can see things that I do like, and I've spent a lot of time thinking about it and reading more about like the big book discourse and why big books are valued as more serious or more intellectual than smaller books, and I feel like we've all moved past this. I feel like everybody's sort of moved past the infinite just discourse, and this is all kind of in the past anyway, so you know we've gone through the oh he's the like it's like the greatest book of the 21st century, and you have to or not even a 21st century, I guess. The whatever. Late 20th century, and you have to read it, and and David Hosserwalla's God and whatever, and then everyone's like, no, lip ros, lipros suck, we don't have to do that anymore. Um and now I guess we're at the place where we can just be like, okay, it's it's got good aspects and it's got bad aspects. Uh I do appreciate that it's ambitious and that it's trying to do something that's that's nice. I do think it's weird though, also that writing a big book is signaling ambition as opposed to writing other smaller, maybe more refined and more precisely executed smaller books is like for every you know, one infinite jest, you could do like four smaller books that could all be stellar in their own ways. I was thinking, just making comparison with like Shakespeare. Shakespeare never wrote one big book that did everything. Shakespeare wrote all these little quote-unquote little plays. You know, much many fewer words in every play, in each play, than there are in Infinite Gest. And it doesn't take away from the ambition, the scope of the ambition, right? I think it in some ways it makes it even more impressive that he displays the range. And it's fine that it's across all these different works. It doesn't have to be in one giant book, right? You don't have to do it all in one big one.

SPEAKER_00 27:42

It does seem like it's a very male ambition to be like, I am going to add my one big book to the canon.

SPEAKER_01 27:53

You know, it's very, yes, it's very invested in the idea of a canon. You're gonna add the one big book. You only get one entry into the canon, right? So this is gonna be the one that gets it. As opposed to the ambition being that I'm gonna have a long career that's gonna be very varied, and I'm gonna write many different things, and and you know, maybe none of them is the one big masterwork, the one big great American novel or whatever, but they're all phenomenal in different ways, and they pursue different things, they all reach different heights, and they're all kind of symphonic when you take them together as a whole. I think that's perhaps not hey, is it better or worse? I mean, there are I yeah, I guess in my mind it does seem better, but it's also just different, you know. Not saying that one big book is bad. I think what's bad is that one big book is still valued or seen as more ambitious than other approaches to writing careers. I don't think I'm the first person to say that, but reading Infinite Jess, something that is sticking out to me that I do kind of like, but also kind of am tired of, but I can recognize how I liked it a lot when I was younger. And there's this trope that comes up in a lot of big books that I see him really leaning into. It's like the trope of um the forgotten life, the forgotten life that goes on and you know, some somebody lives and dies and is totally forgotten. You see it in like you see it in Shakespeare, you see Yorick, you know, Alaspoor Yorick, the skull, the sort of anonymous skull, who was this person, which gets referenced, I think, in Tristram Shandy, in the beginning of Tristram Shandy, you see at the end of Middle March, like the outro to Middle March is like how many how many women have been brilliant but have you know died in an anonymity because they didn't have the opportunity to do what they could have done, so all these little lies that flash out. Where else? You see it in um in Ada, like Nabokov, his big book, his biggest book, where um there's that woman in the beginning who lies down and gobbles her pills and disappears, and she has the thought that her disappearance would affect people as much as the sudden disappearance of her death would affect people as much as about as much as the sudden disappearance of the favorite comic in the Sunday paper they were used to reading. Which I think is really beautiful. That's always really stuck with me. I was always an Iboko fan. I think it's a really beautiful, heartbreaking, touching idea. And you see that in Infinite Jest, where there's these little lives that sort of flicker in and flicker out, and he shows these little vignettes, and you can see how part of what he's trying to do with this giant book, his giant compendium of these little fleeting moments. Do they add up to anything? Do they not in this crazy modern world? And I get that, and I'm sympathetic with it because those are moments that have caught my eye and my attention in those other books that I've read. Some of my favorite moments from those books are those little moments of the flickering in and out. But those were also my favorite moments, I think, when I was a lot younger, and when I was in like my early twenties, when I read those books, and that seemed really poetic and beautiful. It's like, oh, life can come and go and be meaningless, and or it's meaningful, but maybe no one will ever know. And it you makes you think about the futility of writing and and trying to leave your mark in the world, and am I ever gonna do it, and my life will still be valuable even if I don't, and the tragedy and the beauty and all that kind of stuff. I don't know. I don't know if that's really something that's so sustaining of interest, or that feels like a really mature emotional topic. It's so it's so sentimental. It's so sentimental, and that's the thing. It's a little bit twee and precious, and it's twee and precious in those books, and I think in those other books, I like it because those writers, who are all obviously really great, do these little passages in these beautiful, artful waves, and there's these there are these nice little vignettes that can stick with you in your mind, and you know you can quote them even years later, and and that's really nice, but I don't know if that's necessarily like the most profound aspect of writing or storytelling or literature, or even those books. So I don't know, I'm just having like a reflective moment of my own reading history, of things that I like, aspects of big books that I've liked in the past, and how they're showing up here. I mean, you see it also in what? What 2666, where there's the compendium of of of femicides in in Juarez in Mexico, and and they're all put together and it's you know maddening and overwhelming. It definitely seems like a big book trope. It's a big book trope that has caught my attention, and I'm sort of wondering if I'm still that into it, or if there's something else that could be done with it. Is it that profound? I think there are other big book tropes that are maybe more interesting. More interesting about the the nature of reality. I guess that's obviously something that I'm interested in. And the creation of an imaginary reality, how real is the current reality? I think that's something. Also, uh capacity for a book to impact politics. I don't know if that's a big book idea. I think it's actually probably not a big book idea, because I think the books that try to do that the most aren't aiming to be part of a literary canon, but are aiming to be more part of a political society. So maybe it's an anti-big book idea in some ways that books should be um able to have a political effect. So I'm interested in that. So I'm interested in those things. On the brain, I don't know. We're gonna keep reading Infinite Gest and barely, barely end. So if this all sounds dumb, that's my excuse. I don't know. I'm gonna hope to finish it at some point. What do I like? What do I like? What oh, you know what I really liked? I think I just watched this yesterday, last night? Is that possible? No. Uh I really like the newest 28 Days Later movie. It's really good. The Bone Temple or something? Naya DaCosta. Nia DaCosta? I don't know how you pronounce her name, but I think it's I think it's Naya. Naya DaCosta, it sounds right. Um amazing. She was really good as the director. The writing had some holes. The writing was had some holes. She didn't write it. Not her fault. The direction I thought was really good. It's so visceral, it's kind of violent and upsetting. But not in that unwatchable kind of way, in that kind of like thrilling, horror, dystopian movie. The uh Samson, you know, okay, so there this takes place in this in this world in the future where there's been this virus that turns people into zombies. It's the 28 Days Later universe. Um, and there one of the protagonists is one of the zombies who's like an alpha zombie, who's like a big alpha male in the zombie society. I don't know, that's a little shaky, one of those shaky writing points, whatever's going on there. But he's naked with just a big old dick out the whole time. And I think it's a prosthetic because it's, I imagine, covering the actor's actual penis. I got I looked a little bit in there and it does look like there's a prosthetic sort of um underwear that you like uh like briefs. It looks like there's like briefs on that are made to look real, and that on the briefs there's just this big penis and testicles and bushy hair. Um and you see it a lot, and I think that's I like that I like that. I think that's a bold move that I don't think a lot of directors would have done. Uh but see that was nice and interesting and kind of titillating and sexual in a way um that didn't feel repetitive, but kind of caught the attention. I thought that was really good. Some of the camera things where there's the body cameras, I thought that was really good. I thought the acting was really good. I thought the acting was really good, actually, now that I think about that. The acting was really good. Um the story was a little there were some holes. There were some holes in the story. But I was really blown away. I have been really into a lot of these newer, younger directors who were taking on the sci-fi horror franchises. So I'm thinking like Alien Romulus. I'm thinking of Prey, which was it came out a few years ago, but it's in the Predator Predator universe. I thought Prey was really good. I did not really like the newest Predator movie, it was too cutesy, but Prey I thought was amazing. And Alien Romulus I thought was really good. And I thought this I thought the Bone Temple, 28 Days Later, Bone Temple was really good. And I know I think Alien Romulus is he Mexican, the director? He might be Mexican. Latino is some kind. Prey, I think, was a white director, but the star and many of the stars were Native American. And I think it's really nice seeing these people succeed. They're just doing good work and it's really fun. And they're being really smart and talented in re-energizing these kind of tired old franchises. I mean, Alien, oof, Alien had gotten so tired and released got kind of got really ponderous with some of those alien movies. I've watched them all, I've watched them all more than once. Don't get me wrong, but the new Alien was a real breath of fresh, as they say. And this I haven't seen all the 28 Days Later movies. I'm not the biggest fan of what's his name, who wrote who writes them. Maybe not all of them but wrote this one. It's not important. We don't need a bad mouth anybody, but um, it's nice. It's nice seeing these new talented people do their thing and knock it out of the park. We love that. Um snaps. Snaps. Snaps for that movie really wanna see what Elsenai da Costa does. I want to see the new Boots Riley movie too. I don't even know how new that is anymore. But that's on my radar. That's on my radar. I think I think that's a lot. I think that's a lot. You know, this has been a little more mellow. This is just Saturday morning pondering. It's barely even morning anymore. I haven't had breakfast. Maybe that's why my energy is a little more muted. But um Thanks everybody. Thanks everybody, until next week. I don't like this.