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054 - Æon Flux (2005)
33 Plays3 years ago
"We're meant to die -- that's what makes anything about us matter."
This week, we're talking another poorly-made adaptation of a beloved cult classic media property! We love those! We'll discuss director Karyn Kusama's career, the terribly misguided studio meddling, and how much of a teen rebel Brett was!
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Transcript
00:00:20
Speaker
I'll seek one for you.
Introduction to Failed Film Franchises
00:00:25
Speaker
Welcome back to the disenfranchised podcast. We're that podcast all about those franchises of one, those films that fancy themselves full fledged franchises before falling flat on their face after the first film. I am one of your hosts, Steven Foxworthy, and joining me, as always, he's trying to keep off the grass lest his feet become impaled. It's my good friend, Brett Wright. Hey, Brett. Hi, Steven. How's it going, buddy?
00:00:54
Speaker
I just caught this fly with my eyelashes. It was super cool. Oh, that sounds super cool. That actually sounds like it would be cooler in theory than in execution, but maybe I'm wrong. Who knows anything?
00:01:09
Speaker
It really depends on how you're executing it. Ah, touche. In animation, cool. In live action, maybe not so much. Yeah, maybe. Maybe it just looks goofy and weird. Interesting. Okay, let's talk, let's have a conversation about that maybe.
Eon Flux: The 2005 Movie
00:01:27
Speaker
And the reason we're going to have a conversation about that is because we are talking about what movie this week, Brett?
00:01:35
Speaker
We are talking about 2005's Charlize Theron helmed Eon Flux. Yes, we are talking about 2005's Eon Flux directed by Karen Kusama and written by Phil Hay and Matt Manfredi based on the 1990s animated show by Peter Chung.
00:01:56
Speaker
starring the aforementioned Charlize Theron, but also Martin Chokash, Johnny Lee Miller, Sophie Okonedo, Frances McDormand, Pete Posselthwaite, and many others. Brett, this was a movie.
00:02:13
Speaker
It certainly was. And let's also discuss, I hope this doesn't become another Constantine problem. Do you pronounce it A? I mean, I think they pronounce it Aeon in the movie, right? But shouldn't it be pronounced Aeon? That's a great question, and one to which I do not know that I have an answer. So let's do a little bit of impromptu internet digging. Because it's really supposed to be
00:02:42
Speaker
What is basically a symbol, it's not an actually, it's the A and the E that's sort of combined together. Correct, which we will, I mean, we're totally going to have it put up that way when people click on this episode. Because the symbol comes from the Gnostic notion of aeons, they're like emanations of God who come in like male-female pairs. Correct, which is what
00:03:04
Speaker
the character Ian and Trevor are in the show, as I understand. Right. Apparently, according to Google pronunciations, it's Ian. Nothing. So I'm going to trust Google, although Google has failed me before. But yes, we are talking about 2005's Ian Flux, starring all those people I talked about and involved involving all those people that I mentioned earlier.
Origins: Eon Flux Animated Series
00:03:33
Speaker
So, yeah, Brett, this was based on a television show, a television show that aired in the early 90s on MTV back when MTV was starting was originally starting to get tired of just playing music videos all the time. Were you at all familiar with the show? Because I can tell you right now, spoilers, I really was not.
00:03:57
Speaker
I was familiar with the shorts, not the actual series they made later. Okay, so the show premieres in 91 and is created by Peter Chung and it was a part of Liquid Television. The shorts were part of Liquid Television, which is the program that gave us, among other things, Beavis and Butthead.
00:04:18
Speaker
Yeah, it did also, it gave us Beavis and Butthead, it gave us The Max. Oh, yeah, right. Ian Flux. The Head was the name of that show by the guy with the big head that had an alien living inside of it. Just a lot of weird avant-garde cartoons before that sort of thing was super popular, like it is nowadays. Yeah, and I watched that religiously as a young teen.
00:04:47
Speaker
I was going to say it aired from 91 to 95, so that would have been just pre our teen years, early adolescence, perhaps. See, I was born in 83, so that would put me at eight years old when this show aired initially.
00:05:04
Speaker
I feel like I was older because I think it aired, but they were still running reruns after that. I don't think they were producing any new episodes, but I saw reruns later. That's probably accurate because I think hearing the creator, Peter Chung, talk about the show, he's like, I knew they were going to air it a whole bunch, so it was one of those things I poured a lot of effort into.
00:05:26
Speaker
the rewatchability factor, like including things that you would pick up on on subsequent rewatch. It was kind of made to be watched and watched and watched kind of over and over and over again and to be picked apart and dissected. Even the little five to six minute shorts that aired as a part of liquid television. The show is very visually dynamic, very dense. What are your memories of it? I thought it was really weird. It was always very strange. It was always
00:05:55
Speaker
I always thought it was a weird decision. Also, most of the episode, she ends up dying at the end. And I always thought that was interesting because I mean, you know, it's not like the show stopped.
00:06:08
Speaker
They never explained anything. They gave you all the lore and everything later in the actual show, but when you watch just the shorts and the television, there was no explanation about what was going on. There was no reason for why she died at the end of almost every short, but she was alive in the next one. And so it's one of those things that it kept me coming back because of
00:06:32
Speaker
Well, are they ever going to explain what's going on on top of the fact that it was just visually very stimulating animated very well? I mean, it's it's one of those it was ahead of its time, man.
Influence of 90s Animation on Eon Flux
00:06:45
Speaker
It's it's the sort of animation that you didn't really get in America in the early 90s. And so it was very
00:06:54
Speaker
You know, it was still the early days of anime. So to see something that well animated and that just cool and action oriented was super neat and super interesting.
00:07:07
Speaker
There is, I think a lot of people forget that the 90s were kind of an animation renaissance in a lot of ways. I mean, that was when we got Nicktoons and the triple punch of Doug Rugrats and Ren and Stimpy.
00:07:25
Speaker
you get stuff like eon flux and then later in the decade you get south park the simpsons is one of the biggest shows on tv in the early nineties i mean animation kind of has a resurgence every every network television station is trying to do kind of their version of the simpsons trying to get into adult animation squiggle vision becomes a thing in the early nineties like animation is kind of in this
00:07:51
Speaker
really interesting and kind of exciting place in the early 90s that we kind of take for granted now. I mean, there wouldn't be like the animated shows we have now would not exist without these forebears that kind of came before, which I find very interesting. Yeah, because I mean, you say adult animation, they I mean, they weren't really right. I mean, maybe the South Park kind of was, but
00:08:14
Speaker
You think about adult animation now, it's it's Archer. It's Rick and Morty. It's like that's adult animation now. Hmm. Like most of the that animation Renaissance was still kid oriented. And in some ways, but television wasn't at all. It was it was aimed, I think, more toward a teenage audience, which is I think was MTV's key demographic. But the I don't know, the
00:08:42
Speaker
I think the the animation that you get in the early 90s, it's very focused on kids, but that's just because cartoons and animation were widely regarded as kids stuff. But I think the people that were wanting to do this stuff were trying to push the envelope in interesting ways. The Simpsons is a family show initially. Now it's just kind of whatever it is. But like in the early days, it was a show about a family and it was an animated sitcom.
00:09:12
Speaker
for all intents and purposes. But then you get some shows that we're responding to and riffing on that. The one that always comes to mind, and this is one of those shows that just does not exist, is Capital Critters. Do you remember Capital Critters?
00:09:32
Speaker
I do not. It is a show about rodents and mice that live in Washington, D.C. And it features the voice talents of among others, Neil Patrick Harris and Bobcat Goldthwaite. And it was I mean, it was a prime time animated show that my parents would not let me watch because apparently it was too grown up.
00:09:53
Speaker
I don't even I don't have any memory of the show. It must not have lasted very long. No, I think it only lasted like a season, maybe two. But yeah, it was a thing that existed. And it was it was again part of that kind of response to The Simpsons, like we want something that, you know, an animated something that we can air in prime time. And I mean, Ian Flux was created by Peter Chung, who is one of the people responsible for the Rugrats.
00:10:21
Speaker
which is directly related to his...
00:10:26
Speaker
to his creation of Eon Flux because he got very frustrated drawing babies and the limitations of what they could and could not do. And so that he intentionally created the characters within Eon Flux to be very live and willowy and have very angular features and move in very bizarre and interesting and dynamic ways, which is why the show looks so very different.
00:10:52
Speaker
And I think it's got an anime sensibility without actually being anime. And you can tell there's definitely some inspiration in there, even if the thing itself is not directly that.
00:11:07
Speaker
Yeah, I agree. And I think what you had to do in the 90s to hit that niche, which I mean, because you got is I also just randomly remember like Duckman, if you remember Duckman at all. Duckman. Yeah, like that. That's a directly adult cartoon that feels more in line with the ones we're getting nowadays. But I feel like what you had to do in the 90s was you had to do the Simpsons thing where like,
00:11:35
Speaker
because Ren and Stimpy did this too. You had to like, and what Pixar perfected later is make jokes that kids get, or like kids will laugh at, but then parents actually get the joke. It sort of goes over the kids' heads, but they still laugh. But then the parents are like, I see what you did there.
00:11:56
Speaker
Yeah, it's kind of that I don't understand, but it had the cadence of a joke. So I'm going to laugh. And then you go back and rewatch it as an adult. And you're like, Oh, dear Lord, what did my parents let me watch?
00:12:06
Speaker
Yes, go back and watch some old Ren and Stimpy and it's just nonstop that. Honestly, and I mean, Ren and Stimpy was another one that I was not allowed to watch growing up. And I probably would not have been allowed to watch this. Just I, you know, I watched five minutes of the of the first episode of the actual series of Eon Flux. And I was like, oh, gosh, my parents would have taken one look at these costumes and been like, nope, you're not watching that. So my my my.
00:12:33
Speaker
Parents didn't want me to watch it either. I remember watching MTV late at night with my door closed and the volume down watching it on television. You rebel. I was a rebel. I would watch Beavis and Butthead the same way. Yeah, another one I was not allowed to watch. Just sneaking it in the room.
00:13:02
Speaker
Yeah, was was not allowed to watch honestly, probably most of this kind of a more adult oriented stuff and didn't watch a lot of it until I got older, did not watch The Simpsons really until college, you know, because my parents listened to George Bush when he said it was evil. So what are you going to do? Of course.
00:13:21
Speaker
Yeah, so, you know, watch The Simpsons in college didn't get into South Park until I met my wife, you know, when it was a show that she really liked. So, you know, you start to you come to this stuff later and you you pick up on the importance of it, but you weren't there experiencing it at the time, or at least I wasn't. I say you referring to myself, but
00:13:41
Speaker
Yeah, I, you know, it was not was not on the ground floor with any of this stuff. But I would be interested. I think I watched one of the shorts, one of the more acclaimed ones called War in preparation for this episode, which was really interesting. That one, the main character, Ian, which she was not named until much later, but she's killed in like the first minute.
00:14:07
Speaker
And then it continues to follow the characters that kill the previous character. So whoever kills the previous point of view character becomes the point of view character. And it's just kind of this really interesting meditation on the nature of war and the callousness and frivolity of war. It's just really, really powerful for a five and a half minute short. Like it's just really well done.
00:14:34
Speaker
Yeah, interestingly enough, completely just nowhere in this movie. No. And that's one of the things that I found really interesting about the show that I think any film adaptation just would not be able to touch is that the show deals with, from what I have seen of the show, which is, again, very little to what I've read and understand about the show, the show is dealing with some very complex themes.
Philosophical Themes of Eon Flux Series
00:14:59
Speaker
like complex themes that make The Matrix look kind of silly in comparison. I say that blithely, but like they're dealing with these like very, you mentioned earlier, the Gnostic concept of the Aeon. Like, I mean, that is very much wrapped up in the show, but the show is dealing with different philosophical insights week after week, like every episode is kind of a new
00:15:22
Speaker
You know philosophical idea And the fact that the show is only or at least the shorts are only visuals. There's no dialogue. There's nothing to really
00:15:34
Speaker
There's no like walls of exposition, which this movie opens with a literal text, like wall of exposition text, and then narration text, like narration exposition. So like this movie opens with all exposition, whereas the show just kind of said, all right, here's this thing. Let's see if you can figure it out. Let's see if you can crack it. And that's what I think ends up making the show.
00:15:59
Speaker
really compelling, and I think makes people really excited to watch it and engage with it. And I think it's one of the things that this movie just does not do well at all, unfortunately. No. And mainly because like, there's I mean, there's a lot of action in the show. And it's
00:16:23
Speaker
into like the choreography and the fights and the action and the cartoon or, you know, we keep saying dynamic, but I mean, they are and it's the best way to describe them. And it's just very cool and flowy and it feels, you know, good, like a John Wick action scene, just well choreographed and just looks amazing.
00:16:49
Speaker
And then there's hardly any action in this movie. And the action that is in it feels clunky and worse than a Jason Bourne movie. Just hard cuts left and right. Just punches and kicks not connecting because you've hard cut to try to make it look like it did. Sure. And just this bad. It's real bad. Look, I'm sorry. I'm getting real ahead of myself here. But I was extremely disappointed because I remember
00:17:18
Speaker
I didn't watch the actual series they made, but I remember seeing this movie in ads and commercials and whatnot. And even at that age, which I mean, I was in my 20s by then. Yeah, you'd have been in your early 20s with that. Early 20s. Even back then, when I wasn't nearly the movie connoisseur that I am now,
00:17:48
Speaker
I still knew that that movie wasn't going to do justice to the cartoon. And I remember going, that movie is going to be real bad. Well, and it's an early example of what is now kind of all the rage in Hollywood tragically.
00:18:06
Speaker
which is the live action remake of the animated thing. And Disney has like the market cornered on this thing where they will do almost shot for shot remakes of their animated features in live action. And I'm putting some air quotes on live action because stuff like The Lion King
00:18:26
Speaker
Is is in no way live-action. I think maybe the only live-action stuff might be Might be the scenery like they might have actually shot some stuff in Africa on location But all the animals are computer animated, but they're made to look hyper realistic you know, it's the live-action remake is kind of all the rage now, but
00:18:47
Speaker
the limitations of live action compared to animation are pretty vast and you just can't do all the things that you can do in live action that you can do with animation. And so I think any live action remake runs the risk of kind of, I don't know, watering down the brand. It does. I think you have to walk a really fine line of
00:19:16
Speaker
don't try to recreate the cartoon source material, try to capture the essence of what it was. I think Alita does a good job of that as an example of not only a movie we've covered, but also just a good example of
00:19:34
Speaker
taking a cartoon and turning it into a live action thing. Mm hmm. And I mean, I'm sure there are other examples that I'm not thinking of right now, but sure. Or maybe there aren't actually. I mean, but you've got an even outside of the Disney Purview, you've got like Ghost in the Shell. There's a cowboy bebop live action. They make coming good, actually, as a cowboy bebop fan. Let me tell you right now.
00:20:04
Speaker
It looks really good. I hope you're right, man. Is the show going to be good? I don't know. But they seem to be visually capturing the essence of what the anime was. So here's Hope.
00:20:18
Speaker
They've they've been threatening us with an Akira live action remake for years. But I hope not. Don't there's, there's no way without screwing it up. There's an there's a movie that we're going to cover on this podcast one day. And I know every time I bring it up, you say no, no, we can never cover it. But we're gonna have to at some point, a little M night Shyamalan joint called The Last Airbender that we're gonna have to cover at some point, we kind of can't ignore it forever.
00:20:45
Speaker
Well, no, I mean, it's not that I mean, it deserves to be ignored forever. But it's not that I don't want to cover it. It's just I mean, there's there's not going to be any discussion in that episode. It's just going to be me yelling into a microphone for two hours and nobody wants to hear that.
00:21:01
Speaker
I mean, I'm sure there's someone out there who wants to hear it. I mean, when we do our Ghostbusters episode, people can judge whether or not they want to hear more of that. Sure, I suppose. Yeah. Well, look, I dislike 2016 Ghostbusters, don't get me wrong, but the last Airbender movie is just it's on another level of
00:21:24
Speaker
everything. Another level of everything is just bad, just bad, terrible adaptation, casting, acting CGI. I mean, I don't know, studio oversight. I mean, I could go on. It's just it's not another whole other level of all of those things. And hey, speaking of studio oversight,
00:21:49
Speaker
Eon Flux is the movie that we're talking about today. We will absolutely litigate both The Last Airbender and Ghostbusters 2016 at some point in the future. Ghostbusters 2016 much sooner than The Last Airbender, but you'll have to wait for that. Until then, though, let's talk a little bit more about Eon Flux. And the first thing we should probably get into is the plot of this movie, such as it is.
00:22:18
Speaker
And to do that, we turn to our little friend, the Coin of Justice. The Coin of Justice, who will determine which of us, Brett or myself, will recount the plot of 2005's Ian Flux in 60 seconds or less. Yes, it's time for the plot in 60 seconds. The Coin of Justice is at the ready. Brett, call it in the air. New season, new me, heads.
00:22:41
Speaker
And it is heads. Hey, look, new season, new me. But the streak, however, continues the streak. I mean, the new season, new streak. But yeah, it continues because I I did the Dick Tracy one last week. So, hey, the coin flip, though. So still counts. All right. Cue up 60 seconds for me and I'll try to wade through this as best as I can. Sure thing, man. Let me get there for you.
00:23:11
Speaker
Why does this always happen to me? All right, whenever you're ready, man. All right, man, I'm ready when you are. OK, your time starts now. All right, it's the far-flung future. And there's a city called Bregna, which is the remnant of the human population after a disease. It's pretty much wiped out everybody. And they're ruled over by the Goodchild regime, led by Trevor Goodchild and his idiot manchild brother.
00:23:38
Speaker
Eon Flux is a member of a group called the Monnekins who are rebelling against the Good Childs, but it turns out that everybody's a clone somehow, and we find out when Eon's sister gets killed by the military for some reason. Everyone's DNA is basically recycled, and it turns out that Eon and Trevor were actually lovers all these years ago
00:24:01
Speaker
way back in the current times and that he saved her DNA or the keeper saved her DNA and brought her back. She's supposed to kill Trevor, but she doesn't. They end up teaming up and they end up tearing the whole thing down for some reason and then they destroy the clones and everyone gets to live just once, but with hope. Yay, hope.
00:24:23
Speaker
Yay, hope. And I mean, let's be honest, hope is a good thing, maybe the best of things, and no good thing ever dies. But ooh, this movie, oof.
00:24:36
Speaker
Big damn oof. So yeah, let's let's get into it. I mean, on paper, this movie has everything that I really like in it. It's directed by a filmmaker I very much admire, Karen Kusama. It stars some some talent that I really enjoy.
00:24:55
Speaker
Charlize Theron, Sophie Okonedo, Johnny Lee Miller, Pete Posselthwaite, the late great Pete Posselthwaite. It's a dystopian future. I love all of that stuff on paper, but for whatever reason, the execution just, it's not good. It's really not good. It's all over the place, honestly. It really felt disjointed.
00:25:22
Speaker
I've already mentioned how bad the action is in a movie where the action should be the focus. Now, you know, this was this is pre John Wick times. So, you know, where is this also pre pre born movies or was this around born movie times? Let me look that up here. Give me two seconds. The action just reminded me of a born movie.
00:25:50
Speaker
born identity comes out three years before the born supremacy, the sequel comes out the year before. And then two years after this is the born ultimatum. So this is kind of mid born. All right, so we're deep in the born legacy. And I just feel like
00:26:10
Speaker
There's no explanation for anything, and you know how much I hate that. Right, right. Like, for example, why are they called the Monicans? Sure.
00:26:22
Speaker
If you've seen the original cartoon and know that lore, maybe you could figure out why they're called Monikins. But outside of that, no. Right. I mean, and because this movie, again, in the way that the show was so compelling, because it didn't give you the answers, but it
00:26:41
Speaker
kind of set all the ingredients out in front of you and let you piece together the things that you needed to figure out, this movie either tells you what you need to know outright or it doesn't. And there's really no in-between.
00:26:57
Speaker
Yeah, because I can totally get behind something that doesn't spell it out, but still gives you the tools to figure it out on your own. But yeah, when you're just throwing stuff at me and just expecting me to know what you're talking about, that's completely different. Sure, it is. And I mean, very, very different thing. So this movie. So let's start talking about who talked about the show already. Let's talk.
00:27:26
Speaker
about the origins of this
Karyn Kusama's Film Career
00:27:28
Speaker
movie. So this movie, incredibly popular during the 90s. It runs, again, like the first half of the 90s, very popular in 2000s.
00:27:44
Speaker
Yes, the year 2000, Karen Kusama makes her first feature film, which is an independent film financed by her mentor, John Sayles, called Girl Fight, which is the movie that gave us Michelle Rodriguez. And when she was trying to get financing for it, she basically stuck to her guns and fought for her vision. Like she was a female filmmaker who wanted to make movies about females. She wanted to make movies about women.
00:28:12
Speaker
And so she is adamant that she be able to make the movie she wants to make when she's trying to get financing. They're saying, does this character have to be Latina? Couldn't she just be a white woman instead? Which is super gross, but also
00:28:29
Speaker
which is super gross, but also super on par with how awful Hollywood is. And she sticks to her guns, ends up financing, like I said, independently through contributions of people like John Sales and makes the movie she wants to make, which takes Sundance by storm. Like people love it. It gets like purchased for a bunch of money and she's able to make
00:28:55
Speaker
and it's able to get a big release. Unfortunately, it is one of the earliest victims of what is later called the Sundance Effect, which is a movie that will do really well in a small festival, but then it will be purchased by a studio that doesn't really know how to market it, doesn't really know what to do with it.
00:29:16
Speaker
And so it doesn't end up making a good return on its investment. So for all intents and purposes, Girl Fight is a good movie that just doesn't get the attention that it deserves and kind of now serves as this really odd little footnote in Karen Kusama's career. Ian Flux is her second movie, but she's not able to make it until five years later.
00:29:41
Speaker
And the movie is written by Peter Hay and Matt Manfredi. Hay and Kusama would actually go on to get married after this movie.
00:29:54
Speaker
But the movie itself, it seems like from the jump, this was always going to be one of those adaptation in name only kind of things. Because when Peter Chung read the original script by Phil Hay and Matt Manfredi, he hated it and said it didn't really do the story justice, didn't really do the characters justice, just kind of fell flat across the board. So the idea that this is something that
00:30:22
Speaker
was probably ever going to be successful to hardcore fans of the show. Very unlikely. But they give the script to the studio. The studio likes what they read, and they decide to move forward with it, and they start auditioning directors. Karen Kusama is the only one who really comes in with a plan.
00:30:45
Speaker
Like she has storyboards and she has a presentation. Whereas everyone else, the other directors that they had tapped for it came in and basically said stuff like, I don't know, like maybe we have Moby do the music. That'd be cool. Like that was the pitch. Right.
00:31:02
Speaker
What the actual fuck? Right. Right. OK. Doesn't does not seem like like a good idea in execution or in theory. But Kusama basically blew everyone away because she actually had an idea and had a plan. They get Charlize Theron right off of her Oscar. So she has just won in 2004. She wins the Oscar for The Moving Monster. Directed by Patty Jenkins.
00:31:31
Speaker
And at this point, you can see the throne is using her star power to basically help promote female filmmakers. So she does her movie Monster Gets the Oscar and then signs on to do Ian Flux. And so that's like her next big thing we had talked about.
00:31:59
Speaker
Charlize Theron briefly in our 2003 Italian job episode that we did last year or I guess earlier this year back in February. And we mentioned at that time that that was the movie that kind of spurred her to want to do more action because of the way she was treated on that film as, you know, like she got she had to have more training with the cars than the guys did. So this seems like a very logical step for her. It's a female filmmaker who's made
00:32:28
Speaker
a very hot indie film that she probably saw and really enjoyed and it's a chance for her to do action and she insists, insists on doing her own stunts in this movie.
00:32:38
Speaker
And at one point, she actually like pulls like a muscle in her neck and like has to like sit out and like heal for a little bit. Usually they would use that time to go back over the script. They did not. That doesn't surprise me. The basically what it looks like is this movie was shot and it had a cut that Kusama was proud of.
00:33:05
Speaker
and the studio watched it and decided they didn't like it. So they took it away from her, essentially kind of like kicked her out after she had directed this movie for them, essentially like kicks her off the project. To hear her say it, they fired her off the project and then brought in their own editor who hacked it down to 71 minutes. An hour and 11 minutes was this movie's runtime at one point, and then they realized it was even worse.
00:33:35
Speaker
So they called her back and begged her to come fix the movie, but still would not let her restore the director's cut of this movie. So she has to come in and is basically not able to be left alone with the editor. There's kind of someone from the studio in there babysitting her, making sure she doesn't just remake her director's cut.
00:34:00
Speaker
And so what we're left with is this movie, which is, I think at the end of the day, something that no one involved with the project is actually happy with.
00:34:10
Speaker
There weren't anybody from the original show doing any work on it. You fire your director and then tell her to come back. Of course, nobody's going to be happy with this at the end of the day. Jesus, could you have fucked it up any worse? That's exactly what it is. Karen Kusama doesn't even want to talk about it in interviews anymore. She calls the process eviscerating.
00:34:32
Speaker
Charlize Theron admits in interviews that, yeah, we essentially fucked it up. Peter Chung said he was humiliated and sad at the premiere. Like, no one liked this thing when it came out. And it's kind of just this dark footnote. And it essentially kind of erases the public and a public memory of the show because the show was honestly not that popular in 2005.
00:34:59
Speaker
And it was never as big as, say, the phenomenons that were Ren and Stimpy, or the animation that really popped. Eon Flux never popped in quite the same way. It was popular, but it had more of a cult following. So I think even the decision to make this into a live-action remake is kind of puzzling, but then what do you expect at the end of the day?
00:35:25
Speaker
I remember at one point during the movie going, this feels like in, you know, based on our few last few minutes conversation, this isn't the case, but that it felt like a different movie that they rewrote to fit Ian Flux. Yeah, it kind of does. Well, I mean, I think Hay and Manfredi were actually fans of the show, but they wanted to, I think, kind of expand on the lore in ways that were never
00:35:55
Speaker
made explicit within the actual show. The idea that Eon would die at the end of every episode, or in every episode of the short, they explain that away by the cloning idea. Like, okay, well, everyone's cloned. The problem is, at no point in this movie does she ever actually die and get reborn as a clone.
00:36:19
Speaker
Like that never happens. And then we find out that when that does happen, you're cloned as a baby, not as a full grown person, which would make more sense as to why the character is able to keep coming back, keep coming back, keep coming back. And.
00:36:35
Speaker
It plays on the idea that because in some episodes, Ian and Trevor are lovers. In some episodes, they're mortal enemies and nemeses. It kind of plays with that idea, but it doesn't really expand on it at all. And whereas the show had all these very complex philosophical ideas that it's wrestling with, the main issue or I think the main idea that this movie is is kind of preoccupied with is like. Is cloning OK?
00:37:04
Speaker
You know, what is, I think, maybe they kind of scratched the surface of like, maybe what is the nature of mortality, but like, not really, not not in any way that is gratifying, I think, to the audience or fulfilling, you know, philosophically speaking.
00:37:21
Speaker
like so what we're at what we're left with is is and again maybe there was and here's the thing i desperately want to see kusama's cut of the movie because i think a lot more of this would be clear kusama is a good filmmaker like i like her so after
00:37:38
Speaker
After Eon Flux, she basically languishes in movie jail for another four years before she is handed the Diablo Cody script, Jennifer's Body. Diablo Cody hot off of Juno, which wins her the Oscar for Best Screenplay.
00:37:54
Speaker
So, Kusama directs Jennifer's Body, and that movie bombs because of the marketing. It's actually a really great movie and has kind of enjoyed a resurgence, has become kind of a camp classic in recent years. And it is, in fact, a very good movie, but it was one that at the time, because of the marketing, again, the marketing made it seem very
00:38:17
Speaker
provocative and sexy. They geared it toward the teenage male demographic, when in fact it's a movie for teenage girls. But when all you see is Megan Fox scantily clad in the advertising material, you're going to think it's one thing and then be very disappointed when you get into the movie and see that it's actually really something else. Yeah, I was really happy that that movie finally got its due.
00:38:42
Speaker
Yeah, it was really good. I watched it last year for my Halloween marathon and thought it was fantastic. And then in 25. So then she again, it takes her another six years before she makes the movie The Invitation, which was actually written by Hay and Manfredi again.
00:38:59
Speaker
And they were actually going to make it their directoral debut and the more they kind of talked over talked about it with Kusama who helped consult them on the script and with story ideas, they all kind of realized that really Kusama should be the one to direct it. And so she does. And if you've not seen The Invitation, it is fantastic. It's a really good movie.
00:39:18
Speaker
And then she does just like a slew of TV Chicago fire casual masters of sex man in the high castle Billions halt and catch fire the outsider like she's doing all this TV work in treatment the series Benedict Society She's got an episode of yellow jackets coming out the pilot episode of yellow jackets, which he's filming right now apparently and then she also does a segment for the female and
00:39:43
Speaker
the female-driven horror anthology film, X-X.
00:39:49
Speaker
And she directs the segment her only living son. So I mean, and then in 2018, she does a the film Destroyer, which is a police drama, again, written by Hay and Manfredi, this time starring Nicole Kidman. So I mean, Kusama is a great filmmaker. She's done some really good films. In fact, I would say this is based on what I've seen of her work. This is easily the low point.
00:40:15
Speaker
But it's interesting that it comes so soon after, I guess not really soon, but right after the film that wins her probably the most acclaim she's gotten in her career up to this point. I can't really say I'm too familiar with her. Well, you've seen this and you've seen Jennifer's body now. You really need to see the invitation. Invitation is very good.
00:40:40
Speaker
All right. So definitely give that a watch. It's it's I think the only that in Girl Fight, I think the are the only two of her films not streaming right now. You know, Flux is streaming. Jennifer's Body is streaming. Destroyer is streaming. So you can watch all those. But unfortunately, not Girl Fight and not the invitation. Although if you have a library card, you can probably get them from your local library to that. But you don't have to take my word for it, Brett.
00:41:10
Speaker
Nor mine. Were there any of the performances in this movie that worked for you? Not really, but I don't know. I mean, Charlize Theron was doing her thing. She feels very flat. Yeah, but I mean, she can she can do that sometimes.
00:41:35
Speaker
But it's very prevalent here. And honestly, it was kind of a thing that was happening a lot in movies around this time frame. I mean, this is two years after The Matrix sequels come out. And Keanu is doing this very kind of muted thing. Really, most of the actors are doing this very kind of muted thing throughout all of those movies. And so that becomes particularly in action movies like this.
00:42:02
Speaker
You could argue, and I don't think I would, but one could argue that the action and the choreography and even the look of this film was at least in part inspired by The Matrix. I would agree, because I also I kept getting
00:42:25
Speaker
equilibrium vibes Which is also kind of one of those like hey Matrix is cool right check this out Yeah, which is how it was marketed? But if you haven't actually seen equilibrium Please go watch it Because it's a great movie
00:42:46
Speaker
In my opinion, I know it's probably got its detractors. I haven't seen it in a number of years. I remember really liking it at the time. I don't know how it holds up, but like I watched it in college and I remember thinking this is pretty cool. Wow, let this guy be Batman. That's pretty awesome. Yeah, this guy has got a good cast. It has a good story. It's got some really good like it's really cool premise for like. There's a gun gun play.
00:43:16
Speaker
Anyway, what I'm trying to get at is also a dystopian movie, dystopian future movie.
00:43:22
Speaker
where there's like the one character trying to take down the government. And, you know, it's action and guns and everybody's playing the muted sort of performance thing. Sean Bean dies at the beginning. Yeah, because of course he does. Because you Sean Bean. So it gave me a lot more of those vibes, but at the same time, I mean, it goes back because everybody says that equilibrium is just, you know, like a matrix.
00:43:50
Speaker
inspired things. So I guess it goes back to your point, but it just feels like, yeah, everybody was inspired by The Matrix around this time. Can you blame them? I mean, yeah, it's the biggest movie of the time. But then you've got the pedigree of a lot of these actors, right? So Charlize Theron and Frances McDormand, who plays the handler, have both won Oscars at this point.
00:44:15
Speaker
Sophie Okonedo and Pete Postlethwaite have both been nominated for Oscars at this point. Johnny Lee Miller has been in, at this point, I think, one of the biggest indie films of the previous decade, Trainspotting. The year before that, of course, he's in one of your favorite movies, Hackers. Hack the planet. Yeah, OK, fine. Calm down. See how cool himself.
00:44:45
Speaker
But they I mean, so he's got like this movie has like some very talented actors. And but none of the performances really land for me, even even performers that I really like, like Sofia Knado and Pete, possibly like Sofia Knado has was nominated like.
00:45:05
Speaker
just that previous year for Hotel Rwanda. These actors are big, and if they're not household names, they're on their way to becoming so. And this movie feels like it stops a few of them from really emerging. I think the only one who really comes out of this completely unscathed is Charlize Theron.
00:45:33
Speaker
Although I think most of the rest of the cast is kind of able to like hide behind the poor box office performance. But I mean, Charlize Theron is literally the face of this movie in so many ways. But I mean, Kusama, like, again, is put in director jail for four years after this. Like, I mean, it it kind of like tanks her career for a little bit, unfortunately. Everybody else seems to go on to do bigger and better things, though. So
00:46:02
Speaker
Well, and but I mean, and she does as well, but I'm just saying, like, at the time, this movie is is kind of an albatross for most, if not all of the people involved here, which is, I think, a shame.
Studio Interference and Film's Reception
00:46:15
Speaker
It's not a good movie, but I think and again, this feels like you can you watch this movie. And if you didn't know what was going on behind the scenes, you could tell this movie seems incomplete. Like, it's just not a whole movie, which is
00:46:32
Speaker
a problem. And again, I just want to see Kusama's cut of this because I think it would make sense. I think it would be a good film. And in fact, when she got called in for Jennifer's body, the studio head basically kind of read her the riot act, not in so many words, but basically kind of like
00:46:49
Speaker
sat her down and started grilling her specifically on this movie, on Eon Flux. Why is she dressed so differently from everybody else in the first scene? Kusama was like, well, if they'd let me do my version, you would know that she was coming from a funeral. There's all these things that are different or these things that are in different places and that I think Kusama's version of this film would have at least
00:47:14
Speaker
explained. It may not have been great, but it would have at least been a more coherent film. And again, she's a director that I respect enough to think that, yeah, I think she should get her shot. Honestly, I think a big part of the reason why she's put in director jail is because she's a woman.
00:47:35
Speaker
Sadly, because how many male directors who have exacting preoccupations are really demanding, how many of them will release a movie that tanks and then the next year already be signed on to make something else? I think that's very apparent. I think that's really obvious, the fact that they fired her off of it.
00:47:57
Speaker
and then had to come crawling back to her because they knew they screwed it up. I mean, it's written all over the face of this movie. That's just because she's a woman filmmaker, that she got screwed over. But honestly, though, I don't know if even she could have saved it. I mean, hashtag release the kasama cut or whatever. But like, I don't even think she could have fixed this movie. Here's the thing. I think
00:48:24
Speaker
If you're looking for a straight up adaptation of Aeon Flux, you're going to be disappointed regardless because Peter Chung said, I mean, the creator of the thing said the script was not.
00:48:36
Speaker
in any way related to what he put out. And the script that she shot was the original script that he read. So I mean, there's no indication that this is going to be something that's going to please fans of Ian Flux. But I think it could have at least been a compelling thing in its own right. I'm not saying it's going to be a perfect movie, but I can pretty much guarantee you it's going to be better than what we ended up getting.
00:49:04
Speaker
Potentially, yeah. And I want to see what that movie would have been.
00:49:09
Speaker
And I don't think that's too much to ask. But unfortunately, there are not enough fans of Karen Kusama or of this movie to, you know, burn the studio down if they don't, if someone doesn't hashtag release the Kusama cut. You know, Warner Brothers pretty much releases the Snyder cut because they're afraid of, you know, virulent toxic fanboys, aka Snyder Bros. But, you know, Karen Kusama does not have fans that are that
00:49:39
Speaker
that livid, I suppose, or that that outspoken and toxic. So not many people do. Yeah, which is why the people that do have those kinds of toxic fans stand out a lot, you know, pretty much. We should mention that Trevor Goodchild is played by
00:49:58
Speaker
Martin Chokash, whose name I completely butchered in our Abraham Lincoln Vampire Hunter episode. He plays Jack Bartz in that movie. So, you know, he's he's a pretty good actor and I wanted to correct my mispronunciation of his name. And we thank you for that. And he honestly doesn't do too bad a job in this, I don't think.
00:50:19
Speaker
He doesn't do any any better or worse than anybody else does. I was going to say he's not he's not doing, you know, he's it's not a great performance, but, you know, it's it's something. Hey, shrug, it's something. Which is that's that's you know, that's a great way to describe all the performances in this movie. I mean, it's kind of a great way to describe this movie, because again, this movie is not. It's the best thing that it's got going for it is how weird it is, but it's not even weird in the same way that like
00:50:49
Speaker
the original show was weird. It's kind of weird on its own merits, which I can respect. And you can tell that there's a better movie hiding in here somewhere, but because of the studio hack job, it's not able to really show itself, which is sad. The only time it gets close to cartoon weird
00:51:14
Speaker
is when she's talking to the handler, like the flower comes out of her mouth, throws all that pollen all over her to show her how to get through the maze, right? Yeah. Yeah, that was, that approaches the weirdness of the cartoon.
00:51:36
Speaker
But still, it's still kind of just scratching the surface based on what I've seen. No, it is. No, you're right. But that's the closest we get. And it's only like a short, like five, 10 second scene. Right. Yeah. Like there's a lot of promise in the premise. Unfortunately, because of what happened to this movie, it's just not able to really deliver, which is a book.
00:52:00
Speaker
I suppose. I feel the same way now that I did, you know, back when I first saw the, you know, advertising for this is I don't want to see any Unflux adaptation. I just go watch the cartoon and I don't think this needs to exist.
Availability and Financial Performance of Eon Flux
00:52:17
Speaker
Yeah. By the way, the cartoon needs to be released on Blu-ray. The only version is the out of print director's cut DVD, which has been out of print pretty much since this movie came out.
00:52:29
Speaker
It was released to coincide with the movie. Of course, the movie is based on a TV show, so you can imagine there being many more adventures for Eon. But no, because this movie not only tanks at the box office, it pretty much destroys any possibility of Eon Flux, of anyone remembering Eon Flux. Although, again, there is talk of another Eon Flux adaptation. It seems very ill-advised.
00:52:58
Speaker
Because if it was a cult favorite back in 2005, it's even less of a cult hit now. Right, particularly because it's just not accessible anywhere. I think you can stream the 10 episodes of the the 10 half hour episodes of the show.
00:53:16
Speaker
on MTV, but if you want the shorts, I think you have to try to find them on YouTube or something. I found war on YouTube, but I didn't really look for too many of the others. That was just the first one I came across. I didn't dig too deep. I'm sure if you wanted to engage in some piracy, you might be able to find them somewhere, but we do not condone that. We never have.
00:53:40
Speaker
But, I mean, or maybe, again, try to find it at your library if you're lucky enough to have a library that might give you access to it. The film was made on a $55 million production budget, and it ends up making $26 million domestic.
00:54:03
Speaker
another 28 internationally for a worldwide box office total of about 54 million, which is just shy of its production budget. Again, that's not factoring in marketing or anything else. So the movie does not even make its budget back. It is considered a flop. It opens on December 2nd, 2005.
00:54:28
Speaker
to twelve point six six million. It opens in second place after. Let me figure out which one this is, because there are a lot of them, Harry Potter and the Goblet of Fire, which is in its third weekend. It grosses 20 million in its third weekend and has grossed two hundred and twenty nine million dollars in so far in three weeks.
00:54:55
Speaker
Uh, in number three is the Oscar player walk the line, which will go on to win, uh, Oscars for, uh, I think it's just Reese Witherspoon. Yeah. Cause Joaquin loses to Philip Seymour Hoffman. Rightly. So I would say, uh, I gotta, I gotta ask though, it's just in the long series of production issues. Why did they choose to release this in the beginning of December? Um,
00:55:22
Speaker
Honestly, I can think of one of two reasons. Either A, they were hoping this was going to be an Oscar play. Because again, OK. OK, I mean, there's precedent because you've got the Matrix films.
00:55:38
Speaker
which did, I mean, at least some technical below the line Oscar Oscar stuff. But then you've also got the fact that Charlize Theron is fresh off of her Oscar. You've got this up and coming Sundance Darling filmmaker. I mean, there is a possibility that the studio that Paramount might have wanted to go for a an Oscar play. I think once the the opening weekend box office receipts come in, they know that's not going to happen.
00:56:09
Speaker
But that's the only thing I can think of. Another possibility is that this is, I mean, you're ramping up to the Christmas season. And so big blockbuster movies are not out of the ordinary. I mean, Harry Potter is a big blockbuster movie that's just opened a couple of weeks before. So, I mean, blockbusters do come out around this time of the year and we'll get into it. We'll see, you know, there's a few other movies that are kind of in that similar position.
00:56:38
Speaker
OK, so really, it's just they they still thought this movie was going to be a big deal. Mm hmm. Well, it's that's surprising, but all right. I mean, if they wanted to dump it February, January, February is like prime. OK, let's just dump this thing kind of the season. So apparently they still had some faith in this movie, however misplaced. Well, good for them for not giving up on it. I guess there's that.
00:57:07
Speaker
In 4th place, down from 3rd the week before, in its 2nd weekend, another Paramount film, Yours, Mine, and Ours. I think that's the one with Rene Russo and Dennis Quaid. There were a lot of movies about blended families around this time. There was also the, oh, what's the one with Steve Martin and Bonnie Hunt. The sequel's got Eugene Levy. Cheaper by the Dozen.
00:57:32
Speaker
just movies about these gigantic families, gigantic blended families. In fifth place, a favorite of our friend James is the Ryan Reynolds comedy Just Friends. And then rounding out the top five, speaking of Oscar plays, you've got Rent.
00:57:49
Speaker
in sixth place, Chicken Little in seventh, Pride and Prejudice in eighth, Derailed in ninth, and In the Mix in tenth place. And then below that you've got The Ice Harvest, Zathura, Jarhead, Good Night and Good Luck, Saw II, Get Richard, Die Tryin', The Polar Express, Capote, Siriana, like on and on and on and on and on down the line.
00:58:15
Speaker
Once again, quite the eclectic mix of movies. Right, right, exactly, exactly. The Tomatometer score on this is 9%. 9%. The critic's consensus Eon Flux lacks the gravity-defying pace of its animated predecessor, and despite some flash, is largely a dull affair.
00:58:40
Speaker
There is no Metacritic score for this movie, although there are a couple for the video games that were released, which I'm sure we'll talk about here momentarily. And the letterboxed score for this movie is 2.2. Brett, out of five stars, how do you rate 2005's Ian Flux? I'm going to give it one and a half. Whereas I gave it one.
00:59:07
Speaker
I only give it one and a half because I like the source material that gets it, that gets it, uh, I could like a star. And then the other, the other half would be for, uh, Charlize Theron and, uh, Johnny Lee Miller.
00:59:27
Speaker
OK, there you go. So yeah, so that there you go. Ian Flux, not a movie we particularly enjoyed, but a movie that we watched and talked about all the same. Brett, let's take a little visit to that corner over there that's got your name written all over it. I think it's time we popped into Brett's video game corner. What do you what do you say? Sure, why not? Because there were definitely some video games about this about this movie and series.
00:59:58
Speaker
So first, they wanted to make just a straight video game adaptation of the series back in the mid-90s. That unfortunately didn't get made. The studio kind of crumbled, didn't it?
01:00:21
Speaker
Cryo Interactive later became something else, I think. It got bought up by another small company around 2008 and hasn't really done much since. Gotcha.
01:00:39
Speaker
I mean, that's the story of a lot of small game publishers in the 90s and early 2000s. Because I mean, it was the 90s and 2000s. It was the video game renaissance like we talked about before. And so there were tons of tiny independent publishers doing all sorts of things that eventually get picked up by the bigger names like Square Enix and
01:01:05
Speaker
Like Microsoft and all of the big players But so we never get the series video game adaptation that They eventually turned into the game called Pax corpus, which nobody's ever heard of so it tells you how well that went sure then in 2005
01:01:31
Speaker
We get Majesco in terminal reality, which a lot of people will probably recognize because Majesco did games like Blood Rain. They did the Jaws Unleashed game, which was the video game based on Jaws where you got to play as Jaws, I believe. Interesting.
01:01:54
Speaker
And then Terminal Reality, also a name a lot of people might recognize. They recently re-released the Blood Rain games, for example. But they did the Ghostbusters video game, which is great. That's how I know them. Sure. And the King of Fighters, Spy Hunter. They did Metal Slug Anthology. There's a lot of good stuff that Terminal Reality has done.
01:02:25
Speaker
But they work together with Majesco to create a... It's based on the movie, mostly, but they also try to tie it into the series.
01:02:43
Speaker
And they really try to shoehorn in ways to connect the two. And it doesn't really work. Even though, I mean, they did get, at least they're on to voice Eon in the game. So that's cool. Which is not uncommon for that time period either. Yeah, not really, no. You could usually do that, because I mean, I think they,
01:03:09
Speaker
Well, there were multiple Matrix games, for example, just to go back to talking about the Matrix and its influence. Sure. I mean, it's an obvious point of comparison. Sure. I mean, they got most of that cast to do the voices for those games. And that's what you think about how big that cast was. It's kind of a big get.
01:03:36
Speaker
But it's not yet. It's something you could probably do around that time, but not so much anymore. But then again, I think in a lot of a lot of cases, because they want some synergy between the two, they'll actually put in the actor's contract that you need to do the video game to. True, which is what happened with Enter the Matrix, which was basically matrix two and a half because it filled in some gaps.
01:04:04
Speaker
Well, and with regard to the Matrix, I mean, it's all within the... It's all, like, everything that the Wachowskis kind of put together regarding the Matrix is essentially canon. Like, the animatrix is all canon, the Matrix video game is canon, the Matrix comics are canon, like, it's all... It's all the thing. Like, it's all part of the same lore.
01:04:29
Speaker
Oh, yeah. And it was it was one of the first like multimedia interactive franchises where everything was canon because I mean, Star Wars is very multimedia as well. But, you know, that wasn't all necessarily canon or I guess it was considered canon at the time and then later was retconned. I mean, you know, there are other franchises that kind of span out into different media types. But I think the matrix was unique and significant in that the Wachowskis kind of had their hands on all of it.
01:04:59
Speaker
So that made it all canon. Yeah, even the MMO, which existed for a while, which a bit of interesting trivia for you Matrix fans out there. If you've seen the most recent trailer, you might be asking yourself, where's Morpheus at? Well, that would be because he died in the MMO. Spoilers. I mean, wait till you hear what happened to Neo and Trinity in Matrix Revolutions, but you know. Well, sure.
01:05:29
Speaker
Well, they didn't actually die, though, right? No, Morpheus straight up just gets shot by some agents. He's dead dead. He's not like whatever happened to Neo and Trinity at the end of the third movie. I'm sorry, but Trinity in the real world gets impaled by like wash style, impaled by something. So I mean, you know. You don't come back from that. I'm sorry.
01:05:54
Speaker
But apparently you do. I mean, you know, if you want to reboot a franchise, you do. We will litigate The Matrix at a later time. There is a Matrix movie coming out later this year. We have an episode on the books to talk about at Wachowski's film. We'll get there. Yeah. And also, well, no, we won't spoil that yet. There might be too much of our hand right now. Let's not let's not tip the hand right now, but we got some things. All right. Playing some stuff close to the chest right now. But we have ideas.
01:06:23
Speaker
Anyway, back to the Eonflux video games. Yeah, yeah, yeah. That's pretty much it. This has been Brett's Video Game Corner. Thanks for coming. The most thrilling installment yet. Sure. I suppose I'm going to go, I'm going to get back to the new Vampire the Masquerade game is out. I'll be going back to playing some of that.
01:06:47
Speaker
All right. Well, and so I guess that's all that we have to say about Ian Flux, one of our shorter episodes. You're welcome. But but yeah, that's all we have to say about Ian Flux. This has been the disenfranchised podcast. Make sure you look for us wherever you get your podcasts. And if you would be so kind, please leave us a nice, juicy five star rating and review, especially if you are on Apple Podcasts. We have had a
01:07:14
Speaker
a couple of really very kind listeners who have left us some five-star reviews. So if that has been you, thank you so much. We notice, we see you, we appreciate you. And thanks for listening. Thanks for coming along with us. We really do enjoy having you here.
01:07:31
Speaker
You can find us on social media at DisinfranchPod. We are on Twitter, Letterboxd, Facebook, and Instagram under those that handle all across the board. Also, make sure that if you have anything you want to say, anything you need to let us know, please feel free to reach out to us, DisinfranchPod at gmail.com.
01:07:50
Speaker
We'd love to hear from you. Is there a failed franchise starter you want to see us cover in 2022? Please reach out and let us know. So far, we've had one person email us and say, hey, you guys should cover this movie. We've not covered it yet, but it is on the books for before the end of the year. David, you hear that? We're doing it for you, man.
01:08:08
Speaker
and we appreciate you writing in. But yeah, so we've got that coming up. We've got some good stuff planned. Stay tuned. We will not lead you too far astray. But we do appreciate you listening. I am one of your hosts, Steven Foxworthy. You can find me on Twitter, Instagram, and Letterboxd at Chewy Walrus. Brett, where can we find you on the social media?
01:08:30
Speaker
You can find me on Twitter, letterboxed, and Instagram, at sus, S-U-S, underscore, warlock. And also, we gotta say a big old thank you to Tucker for giving us- Absolutely. For our brand new theme music. We still love it, Tucker. Thank you. Fantastic. Never gonna get tired of it. Wonderful job.
01:08:54
Speaker
Yeah, we love it. And in fact, let's let's go ahead and queue up that closing theme right now, because this has been the disenfranchised podcast. I am, of course, your host, Stephen Foxworthy, for my co-host, Brett Wright and myself. Keep off the grass. Hashtag release the Kuzama cut. Hashtag release the Kuzama cut. Keep off the grass.
01:09:23
Speaker
you