Intro

SPEAKER_00 0:00

This week, we're reviewing two movies that are about music and vibes.

SPEAKER_03 0:05

Yeah, man, it's a big week for montages. We're talking about her private hell and motor city.

SPEAKER_00 0:13

And for TV, we'll be discussing Silo season three, episode four, titled Whatever You Do, Don't Go Home.

SPEAKER_03 0:21

And Whatever You Do, Don't Go Anywhere. Because this is we should watch that.

Movie Review: Her Private Hell

SPEAKER_03 0:50

All right, guys. First up, we've got Her Private Hell, the latest film from Nicholas Winding Reffin, the director of Drive, Bronson, and the Neon Demon. It stars Sophie Thatcher, Charles Melton, Havana Rose Lew, Christine Frostath, Doug Ray Scott, and Diego Calva. It is set in a surreal, futuristic city that's slowly being swallowed up by a mysterious mist. You've got a beautiful complex actress with daddy issues, an American veteran searching for his missing daughter, a serial killer who wears diamond gloves. But honestly, it's just all about the aesthetics and the vibes. So this was a wild one. Uh what'd you think, Sush?

SPEAKER_00 1:38

This was one of those movies where you actually did most of the selling. Since you were pretty excited to see a fan of Nicholas Wending Reference. And also Brownson, which I didn't realize he wrote and directed until I started researching this movie. And I'm usually at least open to movies with really unique visual design. I'm not already aware and looking forward to them. So yeah. The trailer literally gives you nothing about the plot.

SPEAKER_01 2:14

Mm-hmm.

SPEAKER_00 2:14

It just looks like some movie with what I felt was weird Katy Perry music video energy.

SPEAKER_03 2:21

Oh my god.

SPEAKER_00 2:23

But actually pleasing to the sentence instead of being off-putting. Sorry if I offended any Katy Perry fans, but Oh yeah. I didn't even know how much of a metaphor or not the title of the movie was, or if it even had to do with the plot, but I guess I was down. Yeah. If nothing else, this movie has Charles Melton, who I'm told is hot right now, as far as Asians go. So gotta support the culture and the Asians and the arts and whatnot.

SPEAKER_01 2:55

Mm-hmm.

SPEAKER_00 2:57

So seeing this movie by the end of it, I still had no idea what the fuck was going on. Yeah. I mean, I got a very bare bones idea of the premise or the plot, but I was never really certain whether something I saw or even some things that were said were supposed to be real or literal. Yeah. Or some kind of metaphor or hallucination or something. Man, I know it's been a while since I've seen Drive and Bronson. I don't remember much about how the films were made in the style or anything like that, but I did not have the impression that this NWR, uh, that's what I'm gonna call him because that's how he signs off his movie titles. This NWR dude was this artsy. I sat through about 20 to 30 minutes of this movie before I realized that none of the questions that I was coming up with in that frame of time mattered. Why? Because none of them would ever be answered.

SPEAKER_03 4:02

Yeah.

SPEAKER_00 4:02

And furthermore, there was also a high probability that it didn't matter anyway. Because I ended up realizing this movie is completely about style.

SPEAKER_03 4:13

Yes.

SPEAKER_00 4:14

It's kind of a wild coincidence that we saw this movie the same week that we saw Motor City. I know it's nuts. Another movie that leans heavily on sound and visuals. While that movie leans into those elements to show the grittiness of reality in 70s Detroit, this movie goes in the completely opposite direction and shows a weird, ethereal, sexy, scary dreamscape. Which ultimately led me to interpreting this as some weird horny space murder mystery. I had some awareness of the cast, but seeing that the leads are mostly younger actors, I personally haven't seen each of them in many roles. I didn't really have an opinion to work off of to begin with. And this movie, not really knowing what was happening most of the time, it was really hard for me to have any sort of opinion on the acting for most of the movie. With that said, Sophie Thatcher was a good pick for the lead. But I only recall seeing her from the movie Companion with Jack Quaid, I think it was.

SPEAKER_03 5:26

Yes, she's also in that uh Mormon's going door to door and something goes awry movie.

SPEAKER_00 5:33

Oh, with Hugh Grant, right? Yeah. That one. So yeah, if you've seen her in other stuff and wonder why I kind of sound like I have no idea what I'm talking about. Man, this movie just kind of messed with my head. That's probably why.

SPEAKER_02 5:46

Yeah, yeah, it'll do that.

SPEAKER_00 5:48

But I do think she has a very unique, kind of gloomy, goth adjacent aesthetic that I think lent well to this specific visual style of this movie. Charles Melton. I literally only know of him because I'm Asian and I follow and support other Asian entertainers. Uh, but he's got a very chiseled look overall. Like, dude's face is mad angular. He's ripped and he looks greased up under neon black lights in this movie. So, you know, props to my guy for bringing up the overall appeal of Asian men, I guess. But also, please eat some fast food so I don't feel like I have to look like that. Thank you. Then her Havana Rose Lou. She's literally popping up in everything we've seen lately. I swear, first Lurker, then tuner, then Power Ballad, and now this movie.

SPEAKER_02 6:43

Wow, true.

SPEAKER_00 6:44

Yeah. But okay, she's pretty versatile. And in this movie, they give her an actual character with a personality. Even if is arguably sloppily, who knows what, if any guidance was provided for it. But she gets to be something other than the girlfriend or love interest who reacts to things the lead does, you know. Right. Which is pretty much all she did for two out of the three movies I've seen her in. So yeah, good to her. Finally, getting to pretty much the only elements that mattered. The ones around the sound and visual design. There's no doubt that this movie has some really interesting, unique style as far as costume, makeup, hair, set, props, pretty much anything visual that can be restyled, as well as cinematography and lighting, it's definitely what some people would refer to as a feast for the senses. Ooh. And if that's what you're looking for from a movie, then I really do think this movie delivers. One small warning, though, if you're one of those people who can get eepy during kind of slow burn, dimly lit scenes, maybe don't see this if you're tired. And uh maybe get a caffeinated beverage ahead of time. Because as someone who personally doesn't get tired during most movies, my eyelids were admittedly getting heavy at certain points.

SPEAKER_01 8:14

Yeah.

SPEAKER_00 8:15

As far as the sound goes, even though its presence wasn't as obvious as the visuals, they were also really heavily stylized and helped to emphasize emotions in certain scenes as well as present an overall dreamlike vibe. Thinking about the use of sound and the score, I actually thought it played a really similar role as it did for one of the movies we reviewed last week, The Invite. Even though that movie is very rooted in reality and communication, and this movie is really trying to capture something completely different, possibly even the opposite.

SPEAKER_02 8:49

Yeah, really.

SPEAKER_00 8:50

I found it interesting that sound was equally as effective in emphasizing emotions in two completely different situations.

SPEAKER_02 8:59

Yeah.

SPEAKER_00 8:59

So going into my ratings, I gave this movie a one and a half for enjoyment. Yeah. A two for quality.

SPEAKER_01 9:07

Okay.

SPEAKER_00 9:08

Overall, I thought this was a really cool-looking movie. But that's pretty much all it was for me. Weirdly, I kind of connected the experience, or at least the environments or settings that were in this movie to my experience as a young raver. Mostly because there's a few major scenes in the movie where it seemed like they were at some shitty after hours and nobody ended up making it out to. Seriously, just remember sometimes you go to a party and either it ended up getting busted or otherwise just didn't end up being a great time. So even though everyone's talking about going to after hours following the party, you get there and just fog and neon lights and cool music. But after you kind of duck through all the smoke and end up finding out there's only like five people that showed up, and it sucks. You just want to go home, man.

SPEAKER_02 10:03

That seems apt.

SPEAKER_00 10:04

It's hard for me to enjoy something where there isn't a consistent story, and with this movie, I really feel like it was an afterthought. Pretty much just a vehicle for delivering cool looking and sounding stuff. I really don't have a problem with visual art, and I obviously get that film as a visual medium, but what sets it apart from other visual art is the story aspect of it, whether that be some sci-fi fantasy or a retelling of real life events. So for me, that really was what hurt the enjoyment score so much. Beyond that, the delivery of the cool-looking stuff was so inconsistent, and aside from being dreamlike and having a bunch of neon, just didn't seem to have much substance to it. There was never enough shown or said about anything to allow you to care about anything really. Yeah. I was a bit more generous with the quality rating because I do think that there are a lot of interesting, well-produced visual elements in this movie. I'd say the set costume props and hair were all great. And the cinematography and lighting leverage to capture them were some of the best aspects of the movie. But the lack of consistency in storytelling, character development, just any sort of explanation that mattered or ended up mattering in the end. If there was anything that was supposed to, I don't even know. It just really made it hard for me to give it a higher quality rating than a two.

SPEAKER_01 11:38

Yeah.

SPEAKER_00 11:39

I'm all for movies that have a plan and are able to successfully execute it to get to the end product that they intended, even if that includes a response that they desired that might not be enjoyable to me for whatever reason. I think that's why we'll sometimes give a high quality rating to a low budget movie or one most viewers would otherwise consider a horrible movie. But that's not really the impression I got from this movie.

SPEAKER_01 12:09

Yeah.

SPEAKER_00 12:10

I really do think everything outside of the specific visual style NWR wanted for this movie at least feels like an afterthought if there wasn't something glaringly obvious within the movie itself that supported you. This is like the movie version of TikTok foods or whatever.

SPEAKER_02 12:31

Oh my god.

SPEAKER_00 12:32

Like they're cool to see, but how much are you really enjoying it is the person who's actually consuming the product. So yeah. As far as related recommendations go, the only thing I can think of that I felt was similar as far as visuals was Under the Skin, the 2013 movie starring Scarlett Johansson. That movie actually was a lot more critically acclaimed and definitely a bit more reined in, I think, than this movie. So if you haven't seen it, I check it out. It's in a bunch of lists for best films of the decade, which I didn't even realize until I looked it up for my notes. So yeah, probably worth the watch. But yeah, what'd you think about uh this movie?

SPEAKER_02 13:22

Uh man, it was a disappointment.

SPEAKER_00 13:25

It just was kind of wanted it to be good, or you were looking forward to it.

SPEAKER_03 13:30

I was, and it's hard because I I love a lot of Nicholas Wendingreff and his career. And it's hard to say outright what I feel about it because I've been seeing all these people online saying that Her Private Hell is one of the worst movies of the year. And honestly, I mean, I think that's kind of the easiest way to sum it up because I don't think it's particularly good, but I also don't think it's bad. Yeah, I think it's just barely a movie, is the problem.

SPEAKER_00 14:03

Right.

SPEAKER_03 14:06

It does not have the form that you would expect in a narrative film. You're mentioning that I'm a big fan. I have to just talk about my bona fides here. You know, I cried during the opening credits of Drive. I've been watching his movies since the Pusher trilogy. I've got the satin drive jacket. I dressed up as the lead character from Neon Demon for Halloween. I watched watch Bronson four times in a row. So when I say that I wanted this movie to be good, I mean that I really wanted this movie to be good. It was almost cruel how much it let me down. All right. Because the first image came up on the screen, and I immediately was like, holy shit, what is this? It doesn't even look like Earth. It's just neon and mist and these big futuristic buildings. Then our lead character, El, comes on and she's got these massive dough eye makeup look out of like glitter and rhinestones and stickers. The first thing I thought was, please make this movie good because I want to dress like her for Halloween. But then from there, wow. Wow. Okay, I feel bad because both of the movies that we're talking about today, I feel like I'm just trying to process their form, you know? And with this movie, I had to really talk to myself almost like, okay, Ashley, stop looking for a normal movie. Just get on board with its wavelength because I already learned with Only God Forgives, the previous ref and movie that I didn't like. He really likes symbolism. He likes movies that feel more than they explain. It's much more about emotion and setting. So I didn't want to expect something that's buttoned up like a Bronton or a drive. I wanted to just go along. Okay. But it's still just so odd. I mean, I don't think the problem is that people don't get the movie. I think the problem is like there's nothing to get. Some of my favorite movies are confusing. That's no problem. Confusing's great, it's complex. So I started to think of the movie more as visual art, but then I thought, you know what? Even when I look at a painting, I usually walk away feeling like I know what it's a painting of. About halfway through this movie, I was like, okay, I'm not gonna understand what it's about. It's not gonna have a normal movie setup. You have to completely let go of those expectations. And I kept trying to sort of tamper down my frustration because not only did it not make any literal sense, it didn't really make metaphorical sense. I kept thinking, okay, what are the themes? All right. Here we got uh fathers and daughters, then suddenly, oh, trafficking, then well, you went through a lot more steps than I did.

SPEAKER_00 17:25

I got to the oh, he just doesn't care, yeah, kind of phase pretty quickly, mostly because there's a few times in the movie where there's certain details that are pointed out, or at least you assume that they're being pointed out to you. So you retain the information assuming that something is going to be revealed about it, or that it's going to be a callback later on, and then it never does. Nothing ever gets explained prepared in the word most of the time, is it ever relevant?

SPEAKER_03 17:58

Yeah. And I mean, I think what you're hearing from me is just how much I was really looking at this movie in the most charitable light possible. Because I was there anyway. I like this director, I want to look for the good in it, but it just was such a letdown. I think normally Reffin's good at big ideas, like Drive is about a man who can't feel, so he drives and listens to pop music. Bronson's about turning your own life into a performance. You know, you can usually point at his movies and come up with a really simple concept that's throughout the plot as well as the themes and visuals. But here, there is just nothing holding it together. There just wasn't. It's just random ideas. Um, I think my favorite moments ended up being when they have uh punctuations of violence. I think violence is something that is one of Reffin's greatest strengths. He makes it very shocking and not gory, but graphic in a way. And here I was just so grateful for violence because it broke up the weirdness in other scenes. It feels like 30 seconds between each person saying a line. So when there's just people fighting, hell yeah, something's happening. I kept trying to think again, because man, I really wanted to get something out of this.

SPEAKER_01 19:35

Yeah.

SPEAKER_03 19:36

I kept trying to think of what is this movie like? And I started thinking, oh, you know what it is? It's like we're going through one of those art exhibits about paintings by serial killers. You'll be like, oh, that's fascinating. Oh, that's disturbing. Okay, that looks cool. But then you walk out and you're like, what the hell was that? What did that mean? And would I even want to know what it means, or would it be too disturbing? It just uh anyway. All right, I'm gonna stop trying to basically get the director off the hook by trying to figure this out. I'm just gonna give you a hit list of things that I did like in no particular order. I liked the retrofuturistic makeup and costume design. I loved the production design, especially the really surreal stuff. I loved the Giallo-inspired cinematography. I loved the score, which turns out was written by Pino Dinaggio, who's like one of the greatest Italian film composers of the last 50 years. Um, I loved uh all the performances. I especially liked a Sophia Thatcher and Havana Rose Lew, because I think they get to do some weird stuff. And okay, maybe this is still my best, but there was a really great joke where one character says, You're like the little match girl, Hans Christian Anderson. And the other girl says, Oh, I don't know that one. I don't listen to European music. So yeah, all right. Would I recommend seeing this in theaters? No, but you know, if it's out on streaming and you're having a house party, put it on in the background. It's gonna be a weird thing for people to see and it'll look cool. So my scores, I gave it a double deuce. I gave it a two for a drive-in because I wasn't able to get some interests. Um and quality, I gave it a two. Is the script, you know, basically non existent? Yeah, I can't give it a high score, but I gave it a two for the level of craftsmanship and artistry that it goes into all the production design, music, etc. All right. Well, damn it, Nicholas Wending Reffin.

SPEAKER_00 22:00

That sounds like uh it was your private house.

SPEAKER_03 22:03

It was my private house, sushi. I don't want to be let down by my faves.

Movie Review: Motor City

SPEAKER_03 22:12

Okay, next up, we're talking about Motor City, the latest film from Old Henry director Patsy Pontaroli. And it's uh one of the more unusual movies that I've seen in the action realm. It's starring Alan Richson, Ben Foster, and Shailen Woodley. It's built around a pretty wild filmmaking experiment that we'll get into in a minute. And the movie follows a man who's framed for a crime he didn't commit, sent to prison, and after getting out, sets out on a relentless mission to get revenge. It's got muscle cars, pretty 70s style, explosive action, and only five lines of dialogue. So, what'd you think, Sush?

SPEAKER_00 22:57

Well, if anything sold me on this movie, it was definitely the cast.

SPEAKER_01 23:02

Yeah.

SPEAKER_00 23:03

I pretty much enjoyed everything Alan Richson's been in since he played Hawk in the DC TV series Titans. He's kicking ass in the trailer for this movie, which is always fun to watch a dude as big as him do. But I thought the cinematography gave it this nice grittiness.

SPEAKER_01 23:21

Yeah.

SPEAKER_00 23:23

But also, dude got some crazy ass hair in the trailer.

SPEAKER_01 23:26

Yes.

SPEAKER_00 23:26

And even though you already put it together that Ben Foster's character basically set his ass up so he could take his girl, played by Shaleen Woodley. I still kind of want to know how everything went down. Shalene Woodley. I mean, she's the perfect actress to play a wife or girlfriend who has been wronged somehow.

SPEAKER_03 23:46

Yeah, she's always wronged.

SPEAKER_00 23:48

Played the role so many times. At this point, I wouldn't be surprised if it's just second nature to her. Also, we got Ben Foster, who likes Shaleen Woodley, is playing what seems to be the type of character we probably know him best for. Sleazy, greasy dude who gets punched in the face, or at least gets his ass kicked. Honestly, seeing the teaser and full trailer, I guess I just thought it was a creative decision to cut trailers that had no dialogue and instead have it be a montage with music kind of moving the story along. I think it wasn't until we decided to go see it, and I happened to watch Alan Richardson on some late night talk show appearance that I found out that the movie, in fact, only had a few lines of dialogue and it was mostly driven by music and action, which I thought was a cool idea. But I was also reasonably skeptical about how good the movie would end up being. And after actually seeing the movie, I don't think I was entirely wrong to feel that way.

SPEAKER_02 24:47

Yeah.

SPEAKER_00 24:50

I think at the start of the movie, I realized I still had no idea who actually directed or wrote this movie. Which reminded me, uh, I did think it was kind of interesting that there really wasn't any attention drawn to the filmmakers in either of the trailers. After looking into the production of this movie, holy shit. Yeah, I'm not surprised at all. Apparently, the script was in the 2009 blacklist, but went through production woes for years. Seems like big name directors and actors were attached to it at different times, but as it changed hands, it seems like interest kind of waned in it. And it didn't ultimately have a finalized director and cast attached to it until it started filming in 2024.

SPEAKER_03 25:39

Oh, yikes.

SPEAKER_00 25:40

This just seems like one of those highly original scripts that maybe was a lot of hype around, but over time maybe the people attached to it started realizing how difficult it would be to deliver an end product that has almost no dialogue. I mean, after a few well-known producers and directors were attached to the movie, this movie ultimately ended up with Fatzi Ponsaroli, uh director that's only been credited in four films, one of which isn't out until 2027. I don't think the movie was a flop, though. There's a lot that was enjoyable and entertaining about this movie, and I think it does owe a lot to the lack of dialogue and emphasis on music and action to carry the story. So even if the execution wasn't perfect, and there's a very noticeable difference in how this movie feels overall compared to a more typical Hollywood movie studio offering, I definitely found more value in seeing a movie like this actually being made than not. So I really think it could lead to similarly styled movies in the future that could eventually get the formula right. With that said, I really have to give it up to the cast because even though the movie was also being carried by the soundtrack and visual design, it ultimately was the actors that I think kept this from being a complete failure.

SPEAKER_02 27:04

Yeah.

SPEAKER_00 27:05

Yeah, I mentioned Alan Rifson, Shaleen Woodley, and Ben Foster when I talked about my experience before seeing the movie. Their characters are pretty much the same ones that you were introduced to in the trailers. The love triangle they have is crazy as fuck, but hey, it really fits the feel of the movie. Beyond them, I guess I didn't notice Pablo Schreiber in the trailer. He's in the movie too. If you liked his grittier roles like the one he played in Den of Thieves, I think you'll really enjoy him in this. He has one of the best elevator scenes I've ever seen.

SPEAKER_03 27:40

Oh, damn, yes.

SPEAKER_00 27:42

I can't really elaborate, so all I can say is it's wonderful. Also happy to see Lionel Boyce in yet another kind of big supporting role this year after seeing him in Project Hail Mary. Even though I don't watch it, I know he's had a major role in The Bear. So just happy to see him move into roles like that after being on Loiter Squad with Odd Future years ago and mostly knowing him from that person. And for a movie where so much has to be conveyed with looks, it was amazing to be blessed by a rare appearance by the anti-crypto king, Ben McKenzie. As many out there probably know, Ben played a character named Ryan Atwood on a little teen drama called The OC. But if you didn't watch the show or you don't remember, his character on the show actually was known for conveying a lot with just the look. Yes. It was seriously such a big part of his character that one of the other characters has a whole scene pointing it out to his parents. So yeah, if he wasn't cast because of that, it almost makes it funnier to me that he ended up in this role because that show was on for a while and this kind of acting was kind of his thing for a while.

SPEAKER_01 29:07

Oh man.

SPEAKER_00 29:08

Moving on to the sound and visual design of the movie. Sound for a movie like this is tricky because there was a clear effort to avoid using dialogue. The soundtrack is solid, but outside of that, the sound design takes some getting used to. Yeah. And sorry if this is spoilery at all. It's not plot related, but it's not as if the characters are consistently carrying on in conversations, and the music is just always playing over the top of it, like a video montage or a music video. The characters just convey a lot through body language and actions, which work really well for some scenes, but I also found caused some scenes to gradually become awkward and feel empty.

SPEAKER_03 30:04

Luckily, a lot of breathing, too.

SPEAKER_00 30:07

With the exception of one very WTF makeup effects moment near the end of the film, which I'm fairly certain will stand out for anyone who sees the film and has eyes. I can't say any of it seems that original or innovative in how it's being captured. I mean, sure, again, it is original that this movie doesn't really have dialogue, but is everything else in the movie so high quality or innovative that you can forget or even completely be fine without any dialogue? No. And I think ultimately that's the question I kind of ended up asking myself when I was trying to assess this movie. So going into my ratings, I gave this a three and a half for enjoyment and a two and a half for quality. I had a weird overall experience with this movie because I was going in just focused on and kind of looking forward to the Alan Richson revenge story angle before and seeing the rest of the cast do their thing until I realized how many challenges come with making a movie based on a script like this.

SPEAKER_02 31:49

Yeah, yeah.

SPEAKER_00 31:50

And then actually viewing this end product. I'm sure this wasn't surprising, but the cast was mostly what led me to giving this movie a three and a half enjoyment score. There's no doubt that without these actors, the filmmakers wouldn't have been able to capture the scenes they did in order to showcase how good the cinematography or pairing of the soundtrack to the action could be. I think a lot of the action scenes were definitely exciting. Alan Richardson definitely helps in that department. But luckily, he's also emotive. Most of the other actors are playing characters that are similar to others. So it's not like they're doing anything that we haven't seen before. But the upside is that the characters they're specifically playing in this movie are arguably probably the ones they're kind of known for as far as their best work and portrayals go. Quality, I gave it a middle score, mostly because I definitely didn't think this movie was perfect.

SPEAKER_01 32:48

Yeah.

SPEAKER_00 32:48

But the awareness of how much this script went through before the movie actually uh got made over a decade later was what saved it from a harsher critique, I think, for this rating. But this movie was no small feat for anyone, especially a director who had directed less than half a dozen films. So really, I'm just glad someone took a shot at this because maybe, like I said before, it'll lead to something structurally and artistically similar, but maybe just stronger and more satisfying in the future. As far as my related recommendation goes for this movie, uh, it's kind of a wild one. But mostly I was thinking about the cast, the music, and the stylized action and how central that was, and kind of how they had the same emphasis for this other movie I thought about. Except obviously, this other movie is more fun and camp, and that would be 2000's Charlie's Angels movie.

SPEAKER_02 33:55

Oh my god.

SPEAKER_00 33:57

Starring Cameron Diaz, Drew Barrymore, and Lucy Liu featuring uh the Destiny Stroud song Independent Women Part One.

SPEAKER_03 34:05

Ooh, I do like that song.

SPEAKER_00 34:06

Yeah, I just remember the soundtrack in action really being a huge part of this movie. But also, these ladies were all kind of at high points in their careers when this movie came out. So I thought that also lined up with how the cast in this movie was really the strong selling point of it as well. I mean, sure, there's dialogue and Charlie's Angels, but honestly, does anybody really remember what it was? It's pretty much like the same movie, right?

SPEAKER_03 34:33

Oh, yeah, just the same.

SPEAKER_00 34:35

I don't know. Uh, what did you think of uh Motor City?

SPEAKER_03 34:40

Well, huh? I was gonna say it was a weird one, but we just talked about an even weirder movie. But my experience was kind of strange because I was expecting a straightforward revenge tale. So, like 10 minutes into the movie, I realized, wait a minute, something's off. And then I was like, wait a minute, no one has talked yet at all. So I didn't know going in that it was gonna have this minimal dialogue. And when I realized it, I wasn't totally bothered. You know, I just was like, oh, this will be interesting. Okay, it could work for me. But I it as time went on, I realized that I wasn't really paying attention to the movie as much as I was thinking through how the movie was being affected by its form. So it's like I stopped watching the story and just watching the problem they were trying to solve. So every new scene, I was like, what are they gonna do? Okay, police station. Huh, how are they gonna do an interrogation without dialogue? Oh, okay, like that. Huh. All right. Relationship fight. Oh, okay, cool. What's their relationship? Oh, I I don't know. I can't, they don't tell me that. You know, I was so aware of how this restriction in the plot was gonna affect everything else.

SPEAKER_01 36:06

Yeah.

SPEAKER_03 36:07

And hey man, I think we need dialogue.

SPEAKER_01 36:12

Yeah.

SPEAKER_03 36:14

I think there's a reason for dialogue to exist. Movies can tell stories visually, but without dialogue, you you don't know the relationships or subtext or even details. I was desperate to understand the actual details of the story, but I wasn't gonna get them. I mean, three quarters of the way through the movie, I realized a relationship between two characters that I thought were how do I put this? A creepy boss and an overworked worker were actually two people who'd been in a relationship. So I'm like, wow, you know what could have cleared that up? Dialogue.

SPEAKER_01 36:56

Yeah.

SPEAKER_03 36:57

But the movie, I will say, it's watchable. The performances are good. I think the action's great. But I still kept asking why did they choose to tell this specific story without dialogue?

SPEAKER_00 37:13

Because the script was written that way. But why, sushi? Because it was, I don't know, one that was selected for the blacklist.

SPEAKER_03 37:24

Yeah. Okay, here's what I mean. You saw a couple of years ago there was a John Woo movie called Silent Night that doesn't have a lot of dialogue. But the reason is the main character loses his voice.

SPEAKER_00 37:37

Right.

SPEAKER_03 37:37

So there's a reason. But here it just felt like a gimmick that was there to be.

SPEAKER_00 37:57

A need to adhere to something because if you think about it, it's the only thing that makes it what it is.

SPEAKER_02 38:03

Yeah, yeah.

SPEAKER_00 38:05

Because otherwise, the story has been told before. Like, nobody's gonna think that's interesting.

SPEAKER_03 38:12

I know.

SPEAKER_00 38:12

So that was the selling point for that script, and I think that that's really why I had the theory, especially after reading about the production and how many people fell off of it, that people just didn't want to do it because they didn't want to have that much pressure on themselves because they knew it was gonna be not easy to make something that good. I mean, who do you think is going to actually have a tougher time dealing with whatever the critical responses to this movie? Patsy Pincerelli, or do you think Joel Silver is going to deal with it well? Right.

SPEAKER_03 38:49

Or who's gonna take the risk?

SPEAKER_00 38:51

Yeah, who wants to deal with that?

SPEAKER_03 38:54

Yeah.

SPEAKER_00 38:55

So I think it makes a lot of sense that this ended up with the people who were in it, because I feel like these are actors who are playing characters that they're used to being seen as.

SPEAKER_03 39:07

It's interesting. I care if it's the director or the writer, but I remember one of them talking about how this idea of the no dialogue works because it's a story that's formulaic, it's like a genre story featuring archetypes that people already know.

SPEAKER_01 39:24

Right.

SPEAKER_03 39:24

And then in casting, they cast people who are already stereotyped in those archetypes. Exactly. But they're also spectacular actors, and that's what I think sets this apart the most. I think that's and I think that's why it works.

SPEAKER_00 39:40

I mean, for what works from it, it really owes it to the actors because, yeah, like I was saying, without them, you don't have the other stuff that makes it good. You can't shoot those scenes at all without them in them. So if Alan Richardson is not able to toss some dudes around the way that he does, you're not going to be able to capture that. It doesn't matter how you want to shoot it. You won't be able to shoot something that's not happening.

SPEAKER_03 40:10

Right, right. But but you know, you don't have shit to set music. I think they wouldn't be up to the challenge necessarily.

SPEAKER_00 40:18

Yeah, I think that everybody who was involved in this movie was either somebody who is just already one of those people who's willing to take more of a risk in roles, which I think Ben Foster is always a little bit more willing to go out of the ordinary, or it's just early on in their career, yeah, and the role really does fall into stuff that they've done before. Totally. Yeah, we were just joking about that going into it. So it's just funny that it really was. Yeah, and they're so good at playing those.

SPEAKER_03 40:53

Ben Foster. Oh my god, seeing him dance around in the shiny shirt, half button down with a giant coconut nail, amazing. Shailen Woodley, I think she should dress like it's the 70s from now on. She looks the best I've ever seen her. Like that style really suits her. I loved it. Then Alan Richardson is great. He has some really, really great moments in this performance, especially near the climax. Um, I do have one small issue. Alan Richson is so unbelievably jacked that every once in a while my brain would go, wait a minute, there's no way someone would get a shirt that size in 1974. Like, it's like the Schwarzenegger problem. At a certain point, you're like, they're not playing an average guy. They're playing an average guy who is on an early form of steroids. I don't know. It's just it's insane. Um, but yeah, action looked pretty good. I liked the movie for the most part. It wasn't a bad hang, but uh it's a bit of a stretch. Oh, God. Yeah, and the ending. So she touched on it, but the ending is so nuts. So here's my advice when you see the movie, you know how sometimes the movies you think the credits are gonna roll, but then there's a surprise second ending. It's like that. Just pretend that the second ending is an outtake or something. Don't let it ruin your enjoyment of the movie because it is so truly bizarre.

SPEAKER_00 42:29

I felt like it was or if you're like us, just find extreme joy. Yeah, I did find crazy.

SPEAKER_03 42:42

I do love being surprised by something insane, and this week we were surprised by a lot of insane things. What a weird week at the movies, yeah. Oh, wait, I didn't give my scores yet.

SPEAKER_00 42:56

Yeah, you didn't.

SPEAKER_03 42:58

And for my ratings for enjoyment, I gave it a 2.5. I think that uh yeah, there were some enjoyable performances, but I just was so in my head about the no talking thing that it was distracting. And for quality, I'm gonna give it a 2.5 because I think that there's a lot of technical skill, a lot of people doing great work, some really fun and interesting moments, but not enough. Not quite enough. But I'm excited to see what the director does next.

SPEAKER_00 43:32

Cool. So two movies where uh you can play them in the background if you have a get together at your home.

SPEAKER_03 43:39

Oh my god. Yes, and both will be excellent sleepy streamies if you need something to watch with one eye closed while you're falling asleep, like I like to do.

TV Episode Recap: Silo - Season 3, Episode 4 - "Whatever You Do, Don't Go Home"

SPEAKER_03 43:55

Yeah, like who do you think dug that hole?

SPEAKER_00 44:00

Oh, well, I think actually our buddy uh Daniel in the flashback timeline.

SPEAKER_03 44:06

From what show is that?

SPEAKER_00 44:09

Oh, Silo, the one that we're about to talk about.

SPEAKER_03 44:12

What a coincidence!

SPEAKER_00 44:14

Yeah. We're on season three, episode four, titled Whatever You Do, Don't Go Home. A lot happened during this episode, so I'm just gonna get right into it.

SPEAKER_03 44:23

Yes.

SPEAKER_00 44:24

The episode picks up where we left off previously with Julia unconscious in medical following the gas attack in the mines. Robert meets briefly with Camille and seemingly sympathizing over a failed plan to find Lucas Kyle, offers his help. While the public is led to believe Juliet may not survive, Camille is secretly carrying out the algorithm's directive to eliminate Juliet and turn her death into a cautionary tale against Rebels. As the plot to murder Juliet moves forward, Nurse Amy unexpectedly betrays Camille.

SPEAKER_03 44:57

Hell yeah.

SPEAKER_00 44:58

Instead of helping kill Juliet, she sedates the guard assigned to watch over her and tells Juliet they need to leave immediately. We then cut to the first scene for the flashback timeline for the episode, showing Daniel and Helen continuing their investigation into the conspiracy they've uncovered. After discovering their previous source has vanished, they realize anyone who gets too close to the truth is being silenced. Helen tells Daniel they need to get somewhere safe, saying she knows someplace, but asks him not to arrive until 10 p.m. and giving him advice, which is where our title comes from.

unknown 45:34

Oh.

SPEAKER_00 45:35

Whatever you do, don't go home. Back in the silo, Shirley learns of the incident in the mines and rushes to the infirmary. On the way, she runs into Knox, who warns her that security won't allow her to enter, but Shirley continues past them, leaving him to chase after her. Robert and Camille arrive at medical to check on Julia to find her guard, Emerson, knocked out as we immediately cut to Amy, aiding Juliet's escape through hidden passageways. Elsewhere, Sheriff Billings continues investigating the death of Orla Kent. Medical evidence reveals that Orla didn't die from the gas exposure in the mines, but was struck in the head and murdered elsewhere before her body was dumped underground, with the assumption it would never be found. Cutting the flashback timeline, we see Daniel arrive at the safe house Helen found for them, which turns out to be her ex's home. Uh-huh. They try to figure out their next move, as we see Daniel is clearly still romantically interested in Helen.

SPEAKER_01 46:36

Mm-hmm.

SPEAKER_00 46:37

We return to the silo where Patrick Kennedy and his band of dissidents enter a room where they meet Lucas Kyle. He confirms that the world outside is not the paradise shown in the cleaning videos and is instead a devastated wasteland. His revelations shake the beliefs of some of the group, though Kennedy's still determined to challenge the silo's leaders. We follow up with Shirley heading to see Juliet and Medical. Security prevents her from entering, so Nax decides to create a diversion by provoking a fight with the guards. During the chaos, Shirley slips inside and overhears Camille and Robert discussing Juliet's escape. She briefly stops by to inform the detained Nax before continuing with her quest to find and help Juliet. This leads to us following up with Juliet as Amy reveals she's actually been quietly protecting her for some time. She tells Juliet that she had already been reducing the dosage of the memory-suppressing drugs in hopes of helping her recover lost memories, even before she decided to stop taking it. Juliet wants to know who asked Amy to help, but Amy tries to get her to realize it may not be the best time for that talk given readers are still pursuing them.

SPEAKER_02 47:51

Yeah, true.

SPEAKER_00 47:53

Catching up with Billings, we see him arrive at Supply to meet the head of Supply, Carla McLean. He has a chance encounter with Orla's boyfriend, Mike Davidson, who happens to be walking his dog and seems incredibly relaxed considering his girlfriend has been missing. Billings noticing this actually questions him about it, but Mike just responds that Orla was more independent than others, including her own family, might have known. Before walking past Billings and just continuing to walk his dog. Juliet and Amy continue to evade the Raiders, but they're beginning to close in, resulting in Amy making a split-second decision to draw the Raiders away from Juliet. She tells her to wait until the coast is clear, then to head down to the pump room on 76 before we see her takeoff and eventually get arrested by the Raiders. We return briefly to the flashback timeline where we see Helen awaken, realizing Daniel has left. She assumes he's been scared off. But soon after we actually see Daniel return with breakfast and good news, he scheduled them to meet with a friend who works at the Pentagon, hoping they can help assist further in the investigation. Back at the silo, we see Juliet arrive at the pump room, but as soon as she enters, she's surprised by Robert Sims pretty much appearing out of nowhere. Although Sims seems like he actually is trying to help her, Juliet no longer trusts him and flees. Shirley catches up with her, and after Juliet asks for help, claiming she saw Lucas Kyle heading towards the sealed-off digger void, Shirley decides to help her get there. In the flashback timeline, we see Daniel and Helen arrive at the Pentagon where they meet with Daniel's friend Sam. While Daniel was hoping Sam would be able to help, once Daniel details everything they've uncovered and encountered, Sam seems hesitant to potentially put his family at risk and ultimately refuses to help. Soon after Sam leaves, Helen and Daniel are approached by a man, the same suspicious man that each of them both recognize from completely separate encounters. Daniel from the funeral of Charlotte's fellow pilots and Helen at the offices of the job she was recently fired from. And the man requests to meet with them. At their meeting with the man, though, it's quickly confirmed that the people he works for are responsible for the conspiracy they've begun to uncover as he attempts to buy their cooperation by offering career opportunities, financial assistance, and medical help for Daniel's sister. Ellen briefly considers accepting the deal, but Daniel remains committed to uncovering the truth, leading to the two of them parting ways. We see Juliet and Shirley hiding out during their journey down to the Digger Void, where Julia takes a moment to update Shirley on everything she's been going through, revealing that she does seem to have some memories, or at least a feeling that they were close. Once Shirley spots and calls over a man named Ossie, it's revealed that they're waiting for help to cross the gap, to which he agrees. And as this is happening, we see one of the dissidents hiding nearby, eavesdropping on the conversation. She returns to update Kennedy. Lucas overhears this and tries to go after Juliet, but Kennedy stops him. However, Lucas is eventually able to convince him to join in on the effort, revealing that Juliet recognized him when he tried to save her earlier, and reasoning that her other memories might also return. Elsewhere, Billings makes his way to the office of the head of supply, still hoping to meet with Carla. She doesn't show up, but the former shadow, Glenda, happens to turn up. As Billings interviews her, it becomes clear that several potential witnesses have either disappeared or seem to be withholding information. We follow up with Juliet and Shirley as they reach the digger void, which seems to hold some connection to Juliet's growing suspicions and fragmented memories, and they discover that the area is not as sealed as everyone believed. Shirley keeps watch as Juliet ventures deeper alone. In our final flashback timeline scene, we see Daniel return to his office. He gets a call from a secure line that ends up being from Sam, telling him that he decided to look into what Daniel shared with him and that he found something that he isn't going to believe. From there, we cut directly to Helen at her ex's home, with Daniel appearing at her door soon after. He tells her about his call with Sam, asking for her help, which she agrees to, and they take off together in a minivan to continue their investigation. Man. This episode ends with Juliet venting into the Digger Void, and she finds signs that someone has been living there. Pulling back a curtain, she comes face to face with a shocking figure, Bernard Holland. Presumed dead since the end of the previous season. He's alive but badly burned. Bernard greets her, ending the episode on its biggest cliffhanger yet, and raising entirely new questions about who has been manipulating events inside the silo. Oh Ashley, what did you think?

SPEAKER_03 53:22

Oh my god. Well, this was a big episode for what I like to call hiding and discovering shit. You've got Julianne running for people in power while trying to uncover the truth. And then in DC, you've got Helen and Daniel doing the same thing, basically.

SPEAKER_01 53:38

Yeah.

SPEAKER_03 53:39

And they're both literally hiding and they're both uncovering truth. I love it. I'm really eager to see what's going on in DC. I just so much happened, I can't even cover it all. I'm just gonna go into my things that stood out the most because with the DC storyline, at the beginning of the season, every time we cut there, I'd be like, okay, I get where you're going, but I felt like it wasn't moving faster.

SPEAKER_01 54:05

Right, right.

SPEAKER_03 54:06

But now, wow, the walls are closing in. I mean, people are getting threatened, they're getting closer to whatever the conspiracy's about. And I'm pretty hooked. I thought it was interesting that the way he phrased it when he was giving them the offers was Helen could get a job, but then for um Daniel, he said basically they're gonna yank away the care for his sister. So I thought that was interesting the way that they went at them in basically the same way. They're threatening her career if she doesn't take the job, I'm sure, implicitly. So I thought that was interesting. It's basically just really clear that they have something to lose. And since the storyline just started, I've been trying to figure out man, how does this all fit together? Yeah, I just want to know. Someone tell me, how did the silos start? Right.

SPEAKER_00 54:58

How does this connect to any of that?

SPEAKER_03 55:00

How does the algorithm fit? Like, what is the algorithm? And every episode, you know.

SPEAKER_01 55:07

Where is the algorithm?

SPEAKER_03 55:08

Why is the algorithm? When is the algorithm? But yeah, it's like the answer one question, and I'm like, hell yeah. Then something happens, and you're like, oh well, now I have 10 more. So but actually, I think probably my favorite scene is just this little moment when Lucas Kyle is trying to convince Patrick Kennedy that the outside is actually dangerous. Patrick's like, I saw the tape, and Lucas is like, Yeah, the tape is fake. They projected it into the helmets, and I'm like, how do you even argue with that? Like both of their sides would sound crazy if you didn't know what they know. It's like they're at such an impasse. I thought it was a cool sci-fi problem because you can't really uh identify much information here or even have the background knowledge to understand things. But I thought, ooh, okay, we're getting into misinformation and uh opposing sides that can't see the other way. I'm like, this feels very political and modern. I was also pretty fascinated by Sims, Rob Robert Sims, uh Camille, in this episode because I just don't know where they're taking him.

SPEAKER_01 56:22

I don't either.

SPEAKER_03 56:23

A few episodes ago, everything he did in this episode, I would have said without question, oh, well, that was all a manipulation.

SPEAKER_01 56:30

Uh-huh.

SPEAKER_03 56:31

But now it feels like he's really trying to help her. And I think it's pretty clear that, well, I'm assuming he's the one helping the nurse switch out the pills.

SPEAKER_01 56:41

Yeah.

SPEAKER_03 56:41

And he definitely doesn't seem happy when they decided to kill her. But then I'm like, wait, am I falling for this?

SPEAKER_00 56:48

No, I think it's implied that he did help her get hired as the nurse.

SPEAKER_02 56:53

Yeah.

SPEAKER_00 56:54

Because I can't remember if it was this episode or the one before where Robert is having a conversation with Camille and she mentions that it was his recommendation.

SPEAKER_03 57:05

Oh, that's right. Yeah. Okay, that's true. But yeah, he seemed in the last episode really concerned about that idea of losing memories and how you would lose the people you love in a way. So maybe he's seen the light. But either way, he's trying to help her. So that's good.

SPEAKER_01 57:24

Yeah, that's cool.

SPEAKER_03 57:24

Speaking of her, man, she can't catch a break. I can believe the episode basically begins with her trying to be killed. Like they go straight into it.

SPEAKER_01 57:33

Yeah.

SPEAKER_03 57:34

Like, all right, then she gets away, then something else happens. It's just a long escape scene for her.

SPEAKER_01 57:40

Uh-huh.

SPEAKER_03 57:40

I loved the nurse helping her. I loved the way Knox created distractions. Shirley locking Sims in the utility room. Like, it was stressful. It was very fun. And I'm completely a sucker for scenes where someone overhears things that they absolutely need to hear. Like you're mentioning there was a lot of standing around the corner hearing each other.

SPEAKER_00 58:03

This is one of those episodes. Yeah, I'll get into it.

SPEAKER_03 58:08

It's funny, it's corny. I find it a little satisfying and funny. I'm not bothered by it. I loved seeing Juliet reconnect with Shirley. I've always liked their friendship. So just seeing Juliet slowly remember her and also George, too, in this episode, getting those pieces of her old life back was really nice emotional break in the middle of everything else going on.

SPEAKER_00 58:33

I just liked that uh when she was just hanging out with Shirley before they were getting past the gap. Uh she's like, I wouldn't say I remember you, or something like that, but I just had this feeling that if somebody did something to you, I would I would kill them.

SPEAKER_03 58:48

Yes. Oh my God. That was perfect.

SPEAKER_00 58:50

That was great, Julia.

SPEAKER_03 58:52

I love it. I love it. Such a distinctive and fun character. I love it. You know, one thing that kind of surprised me, a feeling that I had watching this, when the nurse revealed that she'd been switching out Juliet's pills earlier, I was like, oh, cool reveal. But then I felt a little bummed because the first couple episodes, I kept thinking, wow, the power of Juliet's personality and stubbornness means that she can resist these pills. But it turns out no, it was just a lower dosage, which isn't quite as exciting character-wise. Oh yeah. And oh my god, Bernard. All right. I completely bought that he was dead. I should have known because they don't really show you his body for sure. Like when they show it, they're showing it in the context of someone telling a story.

SPEAKER_00 59:46

There's a YouTuber that I watch that talks about the show. I think he was saying, like, I knew they were gonna bring Bernard back because there's no way that they would get Tim Robbins to put on that type of makeup. Oh my god. Like, yeah, I guess that like they have an investment, yeah.

SPEAKER_03 1:00:09

Oh my god. But yeah, that was cool. And you know, he's a little scamp, he's a little stinker, you know. Yes, he's a bad guy, but he's also fun to watch. So I I'm kind of pleased he's back. Yeah, I thought it was a great episode overall. I mean, listening to you retell the plot line, I was like, oh wow, that was a lot to happen in a short period of time.

SPEAKER_00 1:00:33

It was.

SPEAKER_03 1:00:34

But I found all of it very interesting. I mean, I don't know, what'd you think?

SPEAKER_00 1:00:39

Well, I swear Apple has done some crazy analysis with all the data they're collecting from users because the show consistently pushes things so far when it comes to twists and conspiracies. Like so much that I often have to wonder why I'm still watching a show that on paper might seem ridiculous, you know, but somehow it's like they did the math and ended up with something like for every moment they do something that seems a bit excessively twisty. Rebecca Ferguson has to have a scene where she makes you feel something. Then I guess as a viewer, you just kind of let it slide.

SPEAKER_02 1:01:15

Oh my god.

SPEAKER_00 1:01:16

Because we're only four episodes into the season, and this episode alone with Nurse Amy turning out to be a big Juliet stand, Robertson's apparently also looking to help Juliet, plus whatever Lucas Kyle knows that he suddenly feels the need to go warn Juliet about once he finds out that she's heading down to Digger Void, then fucking crispy Bernard just kicking it literally behind a literally behind a curtain as they pull it back. You gotta admit, all of that together is a bit much for one episode.

SPEAKER_03 1:01:50

It was listen, you can not only not take a bathroom break while this is like you can't look at your phone. So much happened.

SPEAKER_00 1:01:59

Oh, like I think at the root of what makes it all so weird is that if there isn't someone that works for the algorithm in order for its plans to be carried out, why haven't humans ultimately just rebelled, buddy?

SPEAKER_01 1:02:15

Yeah.

SPEAKER_00 1:02:16

Like I gotta believe that even if they don't exist today, there's some shadowy group of humans that initially put the algorithm to use.

SPEAKER_02 1:02:25

Yeah.

SPEAKER_00 1:02:25

I don't want to assume that it's another story where AI takes over because it's just confusing that this AI seems to be behind what's happening in the silos now, but also it seems incapable of doing much. Or yeah, true. Maybe not even anything, really, as far as we know, without having to rely on humans, you know. Yet in the flashback timeline, it makes it seem like some secret organization planned this. So, yeah, I honestly just hope it ends up being something kind of original because there's so many unanswered questions as far as how the algorithm ties to everything we've seen in the flashbacks, and we basically have gotten zero answers so far.

SPEAKER_03 1:03:09

And I just can't wait to find out, like it's very possible that I said this last week and the week before, but I gotta know why it is of benefit to kill everyone in the silo to stop one person from getting out. Because given how toxic it is outside, they wouldn't be able to make it to another silo.

SPEAKER_00 1:03:32

Well, I guess Juliet did, but they showed Palo 17 last season, everybody died, Remo.

SPEAKER_03 1:03:37

Yeah, if they're all gonna die, they're all gonna die. Why kill them?

SPEAKER_00 1:03:41

What is the benefit of the thing? I feel like it's literally just data collection.

SPEAKER_03 1:03:45

Just like, oh, the batch is bad now.

SPEAKER_00 1:03:48

Yeah, I don't know. But uh speaking of the flashback timeline, though, I did enjoy everything that happened there, even if I feel like we did get a brief misdirect for a bit.

SPEAKER_02 1:03:58

Oh, yeah.

SPEAKER_00 1:03:59

Yeah, there definitely has been moments where I felt like whoever's behind all of this handled it a bit sloppily. I mean, sure, this dude, the old guy that they meet with at the Pentagon, and his people paying all these people to stay quiet about everything that's going on. But I just don't feel like some seemingly unsuccessful reporter and a freshman congressman should be able to figure out something that's been kept from the public as easily as they did. Like for as big a cover-up as this seems, it just seems like there's way less secrecy around it than there should be, given how many people apparently suspect or believe they actually know what happened on the secret mission and whatever else they might have been involved with that we aren't even aware of.

SPEAKER_02 1:04:46

Yeah, yeah.

SPEAKER_00 1:04:47

But I do appreciate that the showrunners still care about the characters in the flashback timeline, playing realistic human beings.

SPEAKER_03 1:04:54

Yeah, yeah.

SPEAKER_00 1:04:55

Like how Helen does legitimately consider the guy's offer even for a bit because you know she's got bills to pay and she lives in the real world, and it's her pride, too. Yeah, so yeah, the I'm just glad the show doesn't just forget that in an effort to give us typical protagonists that will step at nothing to uncover the truth.

SPEAKER_02 1:05:16

Yeah, yeah.

SPEAKER_00 1:05:17

And my final note for the flashback stuff, man, I can't believe Daniel's still interested in Helen. Like, he has a chance. You guys literally met because she was trying to get info off of you, and you know that, but you're still interested when this exifers pretty much establishes that she's way out of your league. Try cool for you, bro.

SPEAKER_03 1:05:39

Oh my god, that's true. That's very confident of him to think he could compete.

SPEAKER_00 1:05:43

But yeah, going back to everything that happened in the silo, I I love seeing the less or uninhabited areas in the silo, like we saw in this episode with the digger void. I always think they're like really cool looking, and honestly, I really do hope we explore more of the. Construction of them, especially given that we have a flashback timeline where they could easily just show us some blueprints or maybe even the earliest people to populate them.

SPEAKER_03 1:06:11

Oh my god, I would love that.

SPEAKER_00 1:06:13

I did kind of expect Bernard to pop up at some point this season, even if I assumed that they would be in the form of previously unseen flashbacks or something.

SPEAKER_03 1:06:22

Yeah, I was thinking flashbacks like for content.

SPEAKER_00 1:06:25

I admit I did not think he was alive until we started seeing that Robert Sims was kind of trying to help Juliet in the pump room. And again, I gotta yell at the showrunners for literally pulling back the curtain on that reveal.

SPEAKER_02 1:06:40

I love it.

SPEAKER_00 1:06:41

I don't know how on the nose you could have been, but I gotta admit I'm probably more amused than anything with that. Yeah, but and yeah, I'm gonna wash the shit out of the show. I mean, I gotta find out how many more times Daniel's gonna fumble trying to get with Helen, right?

SPEAKER_03 1:06:56

Oh my god, every time. I hope it's every time.

SPEAKER_00 1:06:59

Yeah, overall, crazy episode, just too much going on, nearly too many twists to handle. But man, this show really does train it in with the acting. Like pretty much anyone who gets more than like five minutes of screen time on the show really nails these characters and oh my god, yes.

SPEAKER_03 1:07:20

This episode, the the Pentagon connection that he goes and talks to, I was like, wow, this guy really stands out, even in the small parts, really great performance.

SPEAKER_00 1:07:30

But even for the people on the silo, they spend a lot of time making them relatable, even though this is like 300 years in the future, and they're basically future mole people. So yeah, the conspiracies and all that might be nuts, but we're still looking forward to them revealing how the flashback timeline ties to or at least two what's happened in all these silos up until now. I gotta assume we're not seeing the specific point in history we are just because it eventually leads to the silos being used. Like, why wait until this point in the history of silo 18 to reveal these things? Otherwise, there's gotta be some direct connection to what's going on in the story right now.

SPEAKER_03 1:08:08

So I gotta say, I hope this isn't true. You can quote me at the end of the season, but if they don't show us directly how the two plot lines connect by the end of the season, I'm gonna lose my mind.

SPEAKER_00 1:08:20

Yeah, I'm gonna be kind of pissed. I will.

SPEAKER_03 1:08:22

Yeah.

SPEAKER_00 1:08:24

I'll be I'll be at least moderately pissed.

SPEAKER_03 1:08:26

Like I'm interested because it's headed in a direction, but like Yeah, but if that direction ends up being nowhere. I know. I am a little nervous, but we'll see.

SPEAKER_00 1:08:35

Well, we'll see.

What We're Watching Next

SPEAKER_00 1:08:39

Ashley.

SPEAKER_03 1:08:40

Yeah. Well, there's a new Marvel outfit. Looks nice. We should do that, you know? Oh Spider-Man brand new day. And I want your sex.

SPEAKER_00 1:08:56

Cool, but we're recording, so take it easy. No, that's the name of the movie. I know. And for TV, we'll be recapping the next episode of Silo, episode five, titled Memory.

SPEAKER_02 1:09:11

Ooh, what memory will it be about?

Outro

SPEAKER_03 1:09:16

Thank you so much for listening. We really appreciate you guys. Hope you're having a lovely day.

SPEAKER_00 1:09:22

And uh make sure to subscribe, rate, and review. Yeah. Positive. Like I was positive Ben Foster was gonna get his ass kicked by someone in Motor City. Yeah. Also make sure to follow us on social media TikTok, Instagram, Facebook. Other than that, we will check you guys next week.