Transcript
Speaker: Okay, I just didn't get that one.
Speaker: Awesome.
Speaker: You know, it was lovely.
Speaker: Just a lovely experience.
Speaker: I really enjoyed it.
Speaker: Just a beautiful, lovely, lovely little game.
Speaker: Yeah, truly.
Speaker: You know what isn't beautiful or lovely?
Speaker: Hey there, everybody!
Speaker: It's us!
Speaker: We're not beautiful or lovely!
Speaker: Welcome back to Pixelit!
Speaker: Oh no!
Speaker: My name is Kevin.
Speaker: I always knew!
Speaker: With me as always is Phil.
Speaker: I always knew.
Speaker: Always deep down inside.
Speaker: Today we're talking...
Speaker: Bioshock Rapture.
Speaker: We're in part three.
Speaker: This is our fifth episode on the book, and we're probably not going to finish the book in this episode.
Speaker: The more time we spend with it, the beefier this book gets, in my eyes.
Speaker: You actually put it very well earlier today when we were talking.
Speaker: We were texting back and forth, and Kevin said...
Speaker: When we were reading Far Cry Absolution, it had great moments.
Speaker: But then there would be a lot of like just basically not filler, but it would be like beautiful descriptions of trees and long drawn out action sequences that really when we're transcribing them to you guys, it was just going.
Speaker: And then this fight happens for like ten pages.
Speaker: Right.
Speaker: That is not the case in this book.
Speaker: right now this is really pack it in there yeah I think I said it feels like every sentence is a beat yeah it's it's there isn't a lot of padding here you know there's not much padding it's used pretty well there is it is like you know what it's like it's like a can of tuna fish oh god it is very well packed in there perhaps in oil so many things perhaps in water
Speaker: Well, I feel like that's appropriate.
Speaker: The occasional chunk of dolphin.
Speaker: The occasional chunk of dolphin.
Speaker: I feel like that's appropriate with our fan favorite villain, Frank Fontaine.
Speaker: That is true.
Speaker: Yeah.
Speaker: The head of the fishery.
Speaker: I don't know if they were getting much tuna down in Rapture.
Speaker: Maybe they were.
Speaker: Maybe it was the mercury that was...
Speaker: I mean, the mercury has had an effect.
Speaker: I think we can all agree on that.
Speaker: Something's going on.
Speaker: Something's going on down there.
Speaker: And you know what?
Speaker: It's it's for sure has nothing to do with the plasmids or the abject poverty.
Speaker: No, no, that would be silly.
Speaker: That would be silly to assume.
Speaker: It's got to have something to do with those damn moochers.
Speaker: Those damn parasites.
Speaker: Just ruining things for great men.
Speaker: If it weren't for the parasites.
Speaker: If he was truly a great man, don't you think he'd be able to overcome the parasites?
Speaker: That's exactly what I was about to say.
Speaker: It's like you would think that a parasite, it's like, well, you're a great man, so get rid of the parasites.
Speaker: What's stopping you from doing that?
Speaker: That's never answered.
Speaker: Never answered.
Speaker: They never bring that up.
Speaker: Yeah.
Speaker: They leave that one for the rest of us, us, us plebs to figure out us parasites over here.
Speaker: Us.
Speaker: We parasites.
Speaker: We parasites.
Speaker: That's the name of my next book.
Speaker: We parasites.
Speaker: Instead of I, Claudius.
Speaker: Yeah.
Speaker: We parasites.
Speaker: But it's actually about, it's about head lice.
Speaker: We parasites.
Speaker: Little wee parasites.
Speaker: So we start with chapter 15 in the infirmary in Persephone, and we got a dude, Carl Wing, who cares.
Speaker: I mean, he's one of those ships passing in the night.
Speaker: Another character that's just...
Speaker: We're not going to see a lot of them.
Speaker: We're not going to see a lot of them.
Speaker: He floats in one scene.
Speaker: He's gone the next.
Speaker: But it's another Sophia Lam scene.
Speaker: And there's like some there's been some sort of a gap in stuff that has happened to Sophia Lam because she's in Persephone as as it were.
Speaker: But at this point, it is become clear that her daughter, Eleanor, has is being experimented on.
Speaker: Yes, she is.
Speaker: She was taken away from Sophia and she is.
Speaker: She is.
Speaker: Let's let's be honest, she's going to be one of the little sisters.
Speaker: Yes, absolutely.
Speaker: That much is pretty clear.
Speaker: So basically, Sophia is Sophia is trying to she still has some leeway within Persephone for some reason.
Speaker: I don't understand.
Speaker: Like, logically, I'm not sure why Sophia is allowed.
Speaker: Like if she is such a threat.
Speaker: Yeah, I mean, like he has brought up the whole I'm going to disappear her thing a lot.
Speaker: At this point, she's in this heavily guarded, you know, I don't want to tell the dictator how to dictate.
Speaker: But at this point, she's been in this mental institution kind of thing.
Speaker: Yeah.
Speaker: For a while.
Speaker: Wow.
Speaker: You could just you could just have her rubbed out.
Speaker: Right.
Speaker: Or is that like he's he's already planned stuff like that.
Speaker: He's already playing dirty.
Speaker: It's he's already, you know, giving up on his ideas.
Speaker: He is the the grand threat that he.
Speaker: Right.
Speaker: Enough to be thrown into Persephone.
Speaker: Right.
Speaker: Then why are you letting her talk to the prisoners and give them psychiatric counseling?
Speaker: It makes it's like, yeah, like I don't I don't I don't like the idea of offing her.
Speaker: No, I don't either.
Speaker: If I were playing this on Renegade style and I wanted to get all the bad guy points, she'd be dead.
Speaker: She'd be dead.
Speaker: Yeah.
Speaker: Yeah.
Speaker: So, yeah, basically, she's she's been using these therapy sessions with the Persephone prisoners to build her army from within.
Speaker: And she's still getting visits from Simon Wales, who is one of her followers, but also not locked up, even though he kind of is a turncoat.
Speaker: Right.
Speaker: And Simon Wales is like her interface to the outside, more or less.
Speaker: And by the way, the guy who does the narration in the audio book does a really weird voice for Simon Wales.
Speaker: And I don't know why.
Speaker: Like, I have no there's no like real indication of what what he's trying to pull off.
Speaker: Yeah.
Speaker: He doesn't have, you know, it's like, it's like he doesn't spend a lot of, you know, when you certain, when you do narration, when you're reading these characters,
Speaker: Excuse me.
Speaker: You know, for a lot of your characters, you're just going to talk like yourself because it's the easiest thing to do.
Speaker: And I can understand needing to change the voice if like there are a bunch of people in the room and you need to differentiate.
Speaker: But it's just him.
Speaker: It's just the way it's almost never with anybody else.
Speaker: So, yeah, it's a weird, weird choice.
Speaker: It is weird choice.
Speaker: She's not.
Speaker: And she's she's also kind of a Manchurian candidating these people, isn't she?
Speaker: Yeah.
Speaker: Yeah.
Speaker: Basically, she's trying to plant the seed and activate them later.
Speaker: Right.
Speaker: Right.
Speaker: And honestly, we really don't have to wait that long.
Speaker: We don't have to wait.
Speaker: Actually, she changes her mind in this in this scene.
Speaker: She's like, you know what?
Speaker: We're doing it now.
Speaker: And basically she she and her her army take over Persephone.
Speaker: Because they had the the warden was on her side.
Speaker: So the warden's on her side.
Speaker: They off some of the guards.
Speaker: And Sinclair is basically who is who was in Persephone at the time has to like evacuate.
Speaker: And right.
Speaker: But now Sophia Lamb has a little base of her own operation in Persephone.
Speaker: Yeah.
Speaker: Yeah, yeah.
Speaker: Yeah.
Speaker: She basically pulls a fuck it.
Speaker: We'll do it live.
Speaker: And they just because I was I honestly thought the way it was going, I was like, they're going to just this is going to be this is the seed they're planting.
Speaker: And the climax of the third part of the book is going to be her taking.
Speaker: Oh, no, she's done it.
Speaker: She did it.
Speaker: It's over.
Speaker: Yeah.
Speaker: So that was interesting.
Speaker: Yeah, it was.
Speaker: I didn't see that coming.
Speaker: And then we jump over to our protagonist, erstwhile protagonist, Bill McDonough, doing some work in Hephaestus.
Speaker: Poor Bill.
Speaker: And he's listening to Andrew Ryan giving some dumb speech about altruism and how it's the worst thing in the world.
Speaker: Um, everything is every, it is altruism is worse than slavery.
Speaker: According to Andrew Ryan.
Speaker: Yes.
Speaker: So yeah, that's, that's a saying that he, that's a thing to, that's a, that's a thought to chew on.
Speaker: That is, that is a thing that he said.
Speaker: That was a thing that was said by a human being at a time.
Speaker: Um, so he, uh, basically he's listening to it and Bill is like, uh, but what happens is, is his coworker Pablo, um,
Speaker: um is like yeah you know this is like ryan's an idiot you know um right he basically insults ryan to bill's face and he's echoing he's echoing stuff that bill's thinking he's echoing this stuff that bill's thinking but then when pablo says it out loud um bill is like oh no i have to defend ryan you know don't don't don't let anybody hear that talk and and uh and pablo says yipped like a true lap dog
Speaker: Oh, it's great.
Speaker: It's great.
Speaker: And Bill, like, basically, I mean, he basically has no choice at that point.
Speaker: He has to be like, you talk to me that way again.
Speaker: I'm going to punch you in the mouth is essentially what he tells them.
Speaker: And Pablo just kind of goes, uh, huh.
Speaker: Yeah, I believe you.
Speaker: Yeah, sure.
Speaker: Anything you say honky and moves on.
Speaker: It's a really interesting scene because Bill, we've been watching Bill lose any interest, not interest in the cause, because he's still Bill makes me think of somebody who came by libertarianism.
Speaker: Honestly, sure.
Speaker: Like who actually does like think that in their heart of hearts, this is really the best.
Speaker: This is the best thing.
Speaker: Yeah, this is right.
Speaker: And but then he like went to a bunch of libertarian conventions and met these people and found out how many of them are obsessed with like age of consent and building like seafaring islands like fucking John Galt and like how many of them are just fucking lunatics.
Speaker: Yeah.
Speaker: And he was just like,
Speaker: Oh, oh, shit.
Speaker: God, this is terrible.
Speaker: And then somebody else insults them and he's like, hey, those are my friends, I think.
Speaker: Yeah, it makes me think a little bit of my my friend who's a libertarian libertarian, a liberal Christian.
Speaker: I'm like, oh, you must day to day just be it must be a real rough one for you.
Speaker: Yeah.
Speaker: On a day to day basis.
Speaker: Yeah.
Speaker: Yeah.
Speaker: Um, so that that's just another scene in the ever growing pile of scenes of Bill McDonough gets his resolve tested pretty much.
Speaker: Yeah.
Speaker: Yeah.
Speaker: Yeah.
Speaker: And, and I will say, we just said that, um,
Speaker: that there isn't a lot of wasted time in this book.
Speaker: Right.
Speaker: I stand by that.
Speaker: But I would argue that we probably needed two or three fewer of those moments.
Speaker: Yeah.
Speaker: It's like, all right, we got it.
Speaker: Bill really isn't happy with this.
Speaker: I'm right there with you.
Speaker: I understand that.
Speaker: Yeah.
Speaker: Bill is not happy with the way things are going.
Speaker: We jump over to Frank Fontaine now, which these chapters are just so filled with scene changes.
Speaker: It's really hard.
Speaker: And as a writer, what is your opinion of like of the scene, like how you categorize a chapter versus the scene changes?
Speaker: Because it feels like the the book could have just been like 80 chapters.
Speaker: Who cares?
Speaker: And each each scene change could have just been its own chapter.
Speaker: Right.
Speaker: Yeah.
Speaker: I mean, the whole idea when you're writing chapters, it's the same.
Speaker: I mean, it all...
Speaker: It's all a matter of taking the same idea and smushing it down.
Speaker: The whole idea of writing a book is you write the beginning, the middle and the end.
Speaker: And then the whole idea with writing parts of a book is each one of them is a beginning, middle and end a chapter beginning down to paragraphs in many people's opinions, right?
Speaker: Like each paragraph needs to deal with one small piece.
Speaker: It's a it.
Speaker: So it's it is an odd choice.
Speaker: I kind of at this point see
Speaker: why these three chapters have been divided the way they have.
Speaker: But yeah, I totally get what you mean.
Speaker: It's especially this part, because I think some of the sections, the little sections within the chapter, this has some of the shortest
Speaker: most direct sections, especially in a chapter coming up.
Speaker: There are like little half page sections of the book, which is not a thing.
Speaker: I blame TV mostly.
Speaker: It makes me think of a where this this whole thing is paced a bit like a mini series.
Speaker: Yeah, like each chapter is an episode in a mini series or limited.
Speaker: The moments, the scenes within the episode.
Speaker: That's not a bad thing or a good thing.
Speaker: It's just it is what it is.
Speaker: It is what it is.
Speaker: Yeah.
Speaker: Yeah.
Speaker: Otherwise, what's what is the connective tissue holding the chapter together?
Speaker: If not.
Speaker: The mat.
Speaker: Right.
Speaker: Is it like the mat?
Speaker: We're starting.
Speaker: We're starting to see.
Speaker: And we and we saw this with with the previous two parts where we would have these moments.
Speaker: that didn't necessarily push the plot forward per se, kind of like the scene with the guy who's spending all his wife's money on plasmids and he accidentally kills her with a fridge.
Speaker: That doesn't push the plot forward per se.
Speaker: It's just our window into this world just to show us how bad things are getting.
Speaker: Right.
Speaker: We have fewer of those, but we do have, for example, this part.
Speaker: This is a very short section that we're about to get into.
Speaker: With Frank Fontaine.
Speaker: Yeah.
Speaker: Frank Fontaine in his lab, basically working on propaganda for the Atlas movement.
Speaker: He's building his Atlas, his Atlas persona, so to speak.
Speaker: Right.
Speaker: Right.
Speaker: And he's talking about where he's pulling things from.
Speaker: You know, we find out that they're killing constables.
Speaker: They're basically keeping people scared.
Speaker: His guy, his guy, he basically just has his guy, Reggie, going out and shooting cops.
Speaker: Yeah.
Speaker: Just killing cops.
Speaker: Actually, they have a debate as to whether they're cops or not.
Speaker: Right.
Speaker: Right.
Speaker: Right.
Speaker: He says, well, they're not really even cops.
Speaker: They're constables.
Speaker: They're bums with badges.
Speaker: He said, they're bums with badges.
Speaker: And the guy goes, the guy goes, well, between you and me up on the surface, I always thought of cops as bums with badges.
Speaker: So it's all the same to me.
Speaker: Basically, Reggie says a cab.
Speaker: He says, hey, cab, throws fist up and everyone cheers.
Speaker: But basically, it's a section of Frank gearing up for the big fight.
Speaker: I think it's done well enough.
Speaker: I think I think I think it's done appropriately enough.
Speaker: There have been some places, I think, where.
Speaker: You could have just gone ahead and made that all one section.
Speaker: Sure.
Speaker: There was no need to split it up.
Speaker: But but I think it's done well enough.
Speaker: It's just it's definitely clipping along at a at a faster pace at this point.
Speaker: Right.
Speaker: Yeah.
Speaker: So they so that happens.
Speaker: And then we kind of get the fallout of that happening is is Ryan, along with Bill McDonough, some other characters who don't matter nearly as much.
Speaker: And Cavendish.
Speaker: I literally have them written as posse.
Speaker: Posse.
Speaker: Yeah.
Speaker: With Cavendish and Redgrave, the constables are basically looking at the murders of the of the three constables that Reggie has just shot.
Speaker: Yeah.
Speaker: They're hanging them.
Speaker: They hang in their bodies near some propaganda.
Speaker: Yeah.
Speaker: Yeah.
Speaker: And so, yeah, there's it's just kind of like a more diving into the like the the the issues on the street level that are happening more and more often.
Speaker: And Ryan's reaction to that, like, yeah, makes his own value system crumble because at this point, yeah, he's talking about we need curfews.
Speaker: We need checkpoints.
Speaker: We need
Speaker: Robots with guns.
Speaker: Robots with guns, because there's nothing more objectivist than a robot with a gun.
Speaker: That's exactly it.
Speaker: So that's what he wants.
Speaker: And look,
Speaker: Could there be anything cooler than your private society full of, you know, armed automatons?
Speaker: Probably not.
Speaker: Uh, but bill just can't believe it.
Speaker: He's, he's shocked.
Speaker: Yeah.
Speaker: Um, and it goes even further, uh, south because, uh, Ryan basically announces that they're going to go take over Fontaine's business by force.
Speaker: Yeah.
Speaker: He's, he's basically doing the thing that, um,
Speaker: It had been like softly floated out there years prior.
Speaker: And now he's just like, yeah, I'm doing it.
Speaker: We're we're doing and it's really funny too, because it just it's another moment of I keep thinking about watching an episode of
Speaker: or maybe it was just an interview.
Speaker: It was an interview with Penn from Penn and Teller.
Speaker: And, you know, he's always been very heavily libertarian.
Speaker: Sure.
Speaker: And and he explained that the reason he was libertarian is, you know, it's because he's very Pollyanna.
Speaker: He admits that he says, you know, I think we're going to fix the problems.
Speaker: We're the best people to do it, you know, without any evidence.
Speaker: But that was his belief.
Speaker: And and it kind of makes me think of Ryan and his interactions with
Speaker: Fontaine, right?
Speaker: You know, for all the non-regulation of this world that he wants to create, he's still expecting Fontaine to play by some level of rules.
Speaker: Yeah.
Speaker: Gentleman's rules.
Speaker: Yeah.
Speaker: Like, like he's it's, it's taken him this long to kind of realize that Fontaine is, is
Speaker: just literally if if we determined that uh that ryan is um is uh what is it lawful evil right then fontaine is is chaotic evil like absolutely he is he is just in it for the chaos baby yeah like is there is there is there money yeah but let's do it as in the in the most chaotic way possible
Speaker: Well, he's the real face of objectivism.
Speaker: That's the irony.
Speaker: Yeah.
Speaker: You know, Ryan thinks that he's the guy who came up with all of this.
Speaker: Sure.
Speaker: Like he's like, I, you know, no rules, no regulations.
Speaker: And it's just the market, just the market.
Speaker: And that's how it works.
Speaker: And Fontaine goes, cool.
Speaker: I can get in on that.
Speaker: And he really absolutely.
Speaker: He's kind of like the comedian in the watchman.
Speaker: Yeah.
Speaker: Like he's like, he's like showing you the true face of, of what this is about.
Speaker: Like, you know, Ryan thinks he's the face of it.
Speaker: He's not.
Speaker: Fontaine is.
Speaker: Yeah.
Speaker: You know, and he's showing you exact cause he is willing to do anything it takes.
Speaker: Right.
Speaker: You know, and there are no rules against it.
Speaker: There are no rules against it.
Speaker: He's not breaking any laws, you know, killing people.
Speaker: Except for killing people.
Speaker: But Ryan's doing that too.
Speaker: Ryan's like,
Speaker: When you when you don't have any laws or or there's no lines in the sand anywhere.
Speaker: So so there's no way that Ryan can say the way I do it is better than the way he does it.
Speaker: Right.
Speaker: Right.
Speaker: We see this time and time again.
Speaker: Yeah.
Speaker: You know, Ryan, Ryan, Fontaine is literally is truly playing by the rules or lack thereof that Ryan set down.
Speaker: And Ryan's the one breaking his own rules to get back at Fontaine.
Speaker: Yeah.
Speaker: It's really very ironic, very interesting.
Speaker: yeah yeah um and speaking of Fontaine speaking of Fontaine we're there's basically we're back we're in the little sisters orphanage this scene made me sad yeah yeah um so basically what happens in this scene
Speaker: Oh, this is the description of what the Little Sisters end up like.
Speaker: What are they doing to the Little Sisters?
Speaker: Right.
Speaker: We're back at the orphanage here.
Speaker: Which is like they implant the kid with the sea slug.
Speaker: And one of the things that...
Speaker: One of the things that stood out to me was where it's like the little sisters developed a strangely uniform look in their pinafore in their little pinafores, their faces and bodies remarkably similar thanks to a side effect of the sea slug implantation.
Speaker: The sea slugs were like tapeworms inside of them.
Speaker: They're not human anymore, he told himself.
Speaker: Yeah.
Speaker: Yeah.
Speaker: It's, it's really upsetting.
Speaker: And, uh, and, and Tenenbaum is not happy.
Speaker: Tenenbaum has, yeah, we have finally met.
Speaker: Yeah.
Speaker: We have finally met the line that Tenenbaum is not happy to have crossed.
Speaker: And it is this, um, it, it like, it's this abuse of children.
Speaker: Basically she's, she's, she's hit it.
Speaker: She's hit the mark.
Speaker: I'm like, Oh, I actually.
Speaker: She's good with abusing people.
Speaker: People in general.
Speaker: She will.
Speaker: Adults.
Speaker: She will stick a needle in a man's testicles to get, to get his semen.
Speaker: I forgot.
Speaker: My brain was trying to protect me.
Speaker: I forgot all about that.
Speaker: But yeah, there's a, there's a great moment like where she's talking about like her, her breaking point here.
Speaker: Sure.
Speaker: She's talking about how one of the little girls hops into her lap.
Speaker: Yeah.
Speaker: Which is kind of a precious image.
Speaker: Sure.
Speaker: Uh,
Speaker: And she immediately pushes her off and shouts, get away from me.
Speaker: She says, I can see the atom oozing out of the corner of her mouth.
Speaker: She closed her eyes, remembering her filthy hair hanging in her face, dirty clothes, that dead glow in her eye.
Speaker: I feel hatred.
Speaker: Her voice broke.
Speaker: Hatred, Frank, like I never felt before.
Speaker: Bitter, burning fury.
Speaker: I can barely breathe.
Speaker: But Frank, she opened her eyes and looked at him for one surprising instant.
Speaker: Then I know it is not this child I hate.
Speaker: So she is she is turning in on herself.
Speaker: She hates herself for what she's doing.
Speaker: She hates herself.
Speaker: And Fontaine is like the dame is cracking up.
Speaker: Doesn't he even is this chapter where he even says, like, because they haven't fucked in a little while.
Speaker: Maybe I should start sleeping with her again is something like he's like, it's like he literally he literally is like it's like she seems she's cracking up.
Speaker: Maybe I should slip her the old can deal.
Speaker: That'll that'll fix the problem.
Speaker: She's got the hysterics.
Speaker: I've got a massage her cervix.
Speaker: Like Jesus.
Speaker: Like, I know we like Fontaine and everything, but Jesus Christ, man.
Speaker: Yeah.
Speaker: Yeah.
Speaker: It's like as a character, not as a personality.
Speaker: Well, yes.
Speaker: Yes.
Speaker: He's a great character.
Speaker: Yeah, he's a great.
Speaker: He's horrible.
Speaker: Horrible.
Speaker: But slip of the old Fontaine fountain.
Speaker: Yeah.
Speaker: Oh, God.
Speaker: We need more kids for this orphanage after all.
Speaker: Oh, man.
Speaker: Yeah, it's rough.
Speaker: So, yeah, clearly something is like
Speaker: broken in 10 and nothing that there's nothing.
Speaker: There's nothing in her that cock is going to fix.
Speaker: Yeah.
Speaker: Um, so the, he, then he all is, he's talking to, uh, to Souchong about the, the abduction of, uh, and this is the, it's at this point, the plot line that leads into, uh,
Speaker: The literal protagonist of Bioshock begins because they're talking about the abduction of the stripper that Ryan sleeps with Jasmine hurt the child basically.
Speaker: Yeah, that she's carrying that is that is Ryan's.
Speaker: But.
Speaker: Yeah.
Speaker: So they they they bought they bought her the fertilized egg, the the as you pointed out at the end of part two, she's clearly pregnant.
Speaker: And she's trying to tell him that she's pregnant, but she never gets it.
Speaker: Right.
Speaker: And she never gets it out.
Speaker: So, but she was able to get it out to Sushong, who they paid her for the fertilized egg.
Speaker: So now they have Ryan's DNA and they've got this plan to use it against him in some horrifying fashion.
Speaker: To accelerate its growth and make it so that it is able to be commanded with a code word.
Speaker: So, Phil, would you kindly tell me what the next chapter is about?
Speaker: I will tell you what the next chapter is about.
Speaker: That was in no way a reference to a very famous game moment that broke the fourth wall in its own way.
Speaker: I think we all remember that moment.
Speaker: Oh, good.
Speaker: I don't know what happened there.
Speaker: I just got a terrible urge to go find a film grad school and burn it to the ground.
Speaker: I don't know what that's all about.
Speaker: Would you kindly?
Speaker: That does.
Speaker: But that does bring us to Chapter 16.
Speaker: Yes.
Speaker: And we get this.
Speaker: This is a fun opening.
Speaker: Yeah.
Speaker: We get this bizarre propaganda in response to capital punishment, because Ryan's talking about issuing capital punishment, which he's never done before.
Speaker: A lot of a lot of more libertarian types that I know find capital punishment to be abhorrent because it is not it's it's a it's an overstepping of the government's boundaries.
Speaker: Exactly.
Speaker: And and Ryan is basically making propaganda just he's like prepping it to get the people ready.
Speaker: You know, and it's truly like some Red Scare era shit, like where it's just like, hey, you know, better dead than red.
Speaker: Like that whole thing.
Speaker: A little capital punishment is a small price to pay to protect all of our freedoms.
Speaker: Ooh.
Speaker: Now you're talking, Mary.
Speaker: That's right, because it's Mary, the weak willed woman who can't come around to it.
Speaker: And the smart man with his big man brain comes and goes, come on, Mary, we're going to have to kill some people every now and then to protect ourselves.
Speaker: And she's like, well, I guess you're right.
Speaker: I should just get back to having babies.
Speaker: So that happened.
Speaker: Rapture, 1958.
Speaker: Ryan shows it to bill and bills just so he's so depressed.
Speaker: Bill is, Bill is, is just disappointment personified at this point.
Speaker: Yeah.
Speaker: And he just talks about looking at Ryan, how Ryan just seems like this old, sad, paranoid man.
Speaker: Yeah.
Speaker: And, and this is all over the course of how long has it been?
Speaker: When did they, when did they meet?
Speaker: I would say it's been 11 years.
Speaker: I want to say ish.
Speaker: So like they've just like over this time, he's just watched him kind of just losing it.
Speaker: Get old and kind of like old and frail, basically.
Speaker: Right.
Speaker: Well, it's just, it's just his inability to bend, you know, it's like Ryan is a man of absolutes.
Speaker: And, and, but when he does bend, that's the irony.
Speaker: He's only willing to bend, uh,
Speaker: in a direction that is more of the dictatorship and the totalitarian ship.
Speaker: Right.
Speaker: He escaped with the Soviet Union.
Speaker: Yeah.
Speaker: Uh, yeah, he isn't willing to bend.
Speaker: He's, I think that's what it comes down to.
Speaker: People like this.
Speaker: The, the spine of them is cruelty.
Speaker: Yeah.
Speaker: Uh, cruelty is the point.
Speaker: Cruelty is the point.
Speaker: Exactly.
Speaker: He is he is willing to bend, but never in the direction of helping out people that he finds to be undeserving, which is almost everyone.
Speaker: Almost all of them.
Speaker: So, yeah, so they so.
Speaker: They're talking while they're reviewing this footage.
Speaker: Bill and and Ryan are talking more about the raid on Fontaine Futuristics.
Speaker: And and Bill is basically trying one more time to impress upon him like you can't just go in there and nationalize a somebody else's company by force like.
Speaker: That's against your beliefs.
Speaker: Right.
Speaker: Yeah.
Speaker: Your very beliefs.
Speaker: And Ryan essentially threatens him.
Speaker: Yeah.
Speaker: Yeah.
Speaker: It's just like it's a very because, you know, Bill has kind of played the angel on Ryan's shoulder as often as he feels that he can reasonably get away with it.
Speaker: Right.
Speaker: Um, and, uh, and Ryan basically is like, I see you.
Speaker: Like he said, I see what you're doing and you can be replaced.
Speaker: Yeah.
Speaker: Essentially.
Speaker: Yeah.
Speaker: You know how he handles it.
Speaker: And Bill thinks of his pregnant wife and shuts the fuck up.
Speaker: Yep.
Speaker: Don't, don't be replaceable.
Speaker: Um, yeah.
Speaker: And Ryan's just what the irony of course is that Ryan is getting more paranoid and sad, but it's kind of hilarious how often he gets things right.
Speaker: His paranoia actually does suit him well because he does bring up the idea that he suspects that Jasmine, his old fling, uh, is working now with Fontaine and it's just kind of like, wow,
Speaker: it's kind of hard to criticize this guy for being paranoid when he is kind of spot on.
Speaker: Yeah.
Speaker: No, he's, he's able to pick up like the little things, all these little things.
Speaker: Um, speaking of which we, we jumped back over to Fontaine Futuristics and, um,
Speaker: This is a good example, by the way, of where I think we could have combined a bunch of little scenes.
Speaker: We go back and forth and back and forth with Fontaine's area.
Speaker: Yeah, it didn't necessarily... And I think because it's trying to... Because the writer is... Shirley is trying to...
Speaker: have the different points of view because the first scene was from Fontaine's point of view.
Speaker: This scene though is from Tenenbaum's point of view.
Speaker: That's a good point.
Speaker: So basically they're growing the fetus in a tube.
Speaker: It's like accelerated growth or something like that.
Speaker: And Souchong is doing the WYK conditioning which
Speaker: She doesn't know what that is.
Speaker: And he's like, well, I can't tell you.
Speaker: You're like, we're not supposed to tell every, you know, we can't tell each other everything.
Speaker: And she immediately just goes, oh, yeah, you're right.
Speaker: You're right.
Speaker: She's totally on his side on that.
Speaker: Yeah, yeah, yeah.
Speaker: Which I didn't I didn't realize W.I.K.
Speaker: What does that mean?
Speaker: And then I was like, oh, would you kindly?
Speaker: Yeah.
Speaker: It's a nice touch.
Speaker: It's a nice touch.
Speaker: And yeah, but we're watching this little boy's growth and it's Mr. Bubble.
Speaker: You know, it's just like he's he's
Speaker: know, exploding in size because basically the idea is that these girls, well, we're going to get to it later, but these, these little girls are defenseless.
Speaker: So they need, Oh no, no, this is, this is not that this is, this is, we're getting to that later.
Speaker: We're getting to that later.
Speaker: This is, this, Oh no, you're right.
Speaker: This is the, this is the,
Speaker: The dude from some bio check.
Speaker: This is Ryan's kid.
Speaker: Yeah.
Speaker: Who is going to be sent out into the world briefly and come back with fake memories.
Speaker: Yeah, this is this is Oedipus.
Speaker: Yeah.
Speaker: Yeah, he's he's he is.
Speaker: I didn't think about how big of an Oedipal story this is until they literally like throw it in my face like this.
Speaker: Oh, God.
Speaker: But yeah, I said, yeah, you're absolutely right.
Speaker: I got mixed up.
Speaker: This is this is this is.
Speaker: Yeah, the big daddy stuff.
Speaker: They call Jack.
Speaker: Yeah, the big daddy stuff is coming soon.
Speaker: This is this is the main character of Bioshock one.
Speaker: being grown in a test tube basically.
Speaker: And he'll come back basically being looking like he's 30 years old when he comes back in like two years.
Speaker: He's like two years old.
Speaker: He's basically two years old, but in the body of like a 30 year old with implanted memories.
Speaker: Right, right.
Speaker: Yeah.
Speaker: And it goes without saying, as we put it out before, the Tenenbaum is so not OK with it.
Speaker: She is.
Speaker: She is drifting.
Speaker: The rope has snapped and her raft is drifting further and further down the river of not being OK.
Speaker: Yeah, exactly.
Speaker: Into the I'm not all right ocean.
Speaker: So the so basically they're they're getting that taken care of and they're going to be sending the child off.
Speaker: They have a they have a bathysphere ready to go to get the child out because the the goal is not to keep the child on rapture.
Speaker: Yeah, that's part of Fontaine's plan.
Speaker: Which is important because in the very next scene, we got basically it's the it's the gathering of the troops at Neptune's bounty.
Speaker: Yeah, it's time to raid Fontaine.
Speaker: game time to make what's his ours it's time for the fight um a lot of stuff happens in this scene uh don't necessarily need to go over all of it there's just like a lot of combat
Speaker: Mostly, it's the raiding party getting their ass kicked by splicers.
Speaker: Destroyed by splicers.
Speaker: They are not ready for the splicers, man.
Speaker: Yeah, they're not ready.
Speaker: The splicers are freezing people.
Speaker: They're lighting them up.
Speaker: They're really...
Speaker: They're really messing them up.
Speaker: And Bill.
Speaker: But Fontaine essentially has is an army of superpowered crackheads.
Speaker: Yeah, he's he's got essentially what these are.
Speaker: It's like if the if the X-Men were addicted to meth, that's what Fontaine has at his disposal.
Speaker: That's exactly.
Speaker: And he's the only guy in town making meth, making the meth is he is Fontaine is the Heisenberg of Rapture.
Speaker: Yeah.
Speaker: Yeah.
Speaker: And so, yeah, it's it's and it's just a mess.
Speaker: And and then Fontaine makes an appearance and it's a really weird appearance.
Speaker: He is super theatrical.
Speaker: Yeah.
Speaker: Bill's like really Bill notices that the voice is like this doesn't this is weird.
Speaker: Why is he acting like this?
Speaker: He's literally pulling the whole like, you're never going to take us alive.
Speaker: See kind of shit.
Speaker: And he's like two, like double, like, like gently double pistol, you know, firing down at everybody, not giving a shit if he's getting shot out, not like being strategic, just berserker raging his way into the crowd.
Speaker: And based on what we have heard with Fontaine asking about plastic surgery and whatnot, I think we can all safely rest assured that's not Fontaine.
Speaker: That is not Fontaine.
Speaker: That is one of his guys who Fontaine had handpicked in that chapter.
Speaker: He's like, oh, yeah, this guy already kind of looks like me.
Speaker: So we're going to get him a little plastic surgery.
Speaker: So he looks exactly like me.
Speaker: Right.
Speaker: And they take him out.
Speaker: Yeah, no.
Speaker: One of the random guys is like, yeah, I got Fontaine.
Speaker: Woo.
Speaker: Yeah.
Speaker: Yeah.
Speaker: Yeah, it's the it's like the classic like Batman taken out by the the nameless goon in Batman, the animated series.
Speaker: God, that was a good episode.
Speaker: It was it was like the it's basically any Star Trek The Next Generation episode with Worf getting absolutely destroyed by by somebody, by someone, by someone.
Speaker: Like someone worth just getting his ass handed to him.
Speaker: That's exactly what it is.
Speaker: Like this, this, this big baller character who, you know, we expect to be a total badass.
Speaker: Just, just getting knocked out.
Speaker: But at least with this, uh, there's a reasonable explanation.
Speaker: Yeah.
Speaker: Um, yeah.
Speaker: So they, they just keep fighting, fighting back and forth.
Speaker: There's, there's, um,
Speaker: So they they they managed to to kill Fontaine.
Speaker: They end up having to retreat anyway, kind of because the splicers are are basically just insane.
Speaker: I mean, it doesn't matter that Fontaine's dead.
Speaker: Right, right.
Speaker: And the people who survive are like Bill and Sullivan and, you know, the people you hear their names off over and over again.
Speaker: Bill Sullivan, Redgrave, Cavendish.
Speaker: They all get out.
Speaker: And yeah, they they move on with Fontaine, quote unquote, Fontaine dead.
Speaker: Yeah.
Speaker: Yeah.
Speaker: And yeah, they they they're essentially taking over.
Speaker: They've accomplished their mission.
Speaker: Yep.
Speaker: Meanwhile, still at Fontaine Futuristics, they find out that the Little Sisters Orphanage, basically, there had been rumors coming out of the Little Sisters Orphanage about what kind of experiments were going on there.
Speaker: And Sullivan is like, yeah, well, I can confirm now that those experiments, that was not just a rumor.
Speaker: They were actually doing that crazy shit.
Speaker: Yeah.
Speaker: And he's disgusted.
Speaker: He is disgusted.
Speaker: Sullivan is Sullivan is like, he's an interesting character.
Speaker: And I feel like we don't get enough of him.
Speaker: Uh, his deterioration, like we get some of it, but he has this deterioration going on because he already was an alcoholic and it is just getting worse and worse as, as shit hits the fan.
Speaker: Absolutely.
Speaker: Yeah, he's he's he's going we know that he used to be a big gambler and like he comes from a, you know, slum kind of background.
Speaker: And Ryan gave him a chance and saw something great in it.
Speaker: Right.
Speaker: And he's like trying to to he's basically like Bill in a way where he just he just wants he doesn't want to let him down.
Speaker: But he doesn't have.
Speaker: uh, I guess the self control or reason to be alive that bill has.
Speaker: Right.
Speaker: He's trying to start a family.
Speaker: It's just a single guy.
Speaker: Yeah.
Speaker: Yeah.
Speaker: Bill's got his wife and daughter.
Speaker: Sullivan's just an old, old cop.
Speaker: Um, right.
Speaker: Yeah.
Speaker: Yeah.
Speaker: And he just, and so when, when Sullivan sees all this shit going down, he just disappears into a whiskey bottle.
Speaker: Yeah.
Speaker: Yeah, he curls up.
Speaker: He gets nice and comfy with a whiskey bottle.
Speaker: But Sullivan is breaking down.
Speaker: He's basically telling Ryan, yeah, they were using the little girls to harvest, to produce Adam.
Speaker: And he's like, it's terrible, isn't it?
Speaker: And Ryan's like, yes, terrible.
Speaker: Yes, terrible.
Speaker: Well, they can do that.
Speaker: Well, we might as well just let them leave them as they are for now, and we'll figure out another way to produce Adam efficiently later.
Speaker: Yeah.
Speaker: Slash never.
Speaker: Yeah, exactly.
Speaker: It's the old it's the old what we need.
Speaker: You know, we're just we just need to technology will come in and solve everything.
Speaker: And then we promptly don't look into that technology at all.
Speaker: Yeah.
Speaker: And then.
Speaker: So, yeah.
Speaker: Yeah.
Speaker: And then what was it?
Speaker: The Souchong basically starts talking about how the little girls can also be used as Adam harvesters.
Speaker: Yes.
Speaker: Dead bodies.
Speaker: And because now Souchong is back and Ryan's employed, obviously.
Speaker: Yeah.
Speaker: Yeah.
Speaker: Just just work back and forth.
Speaker: He's back home.
Speaker: It's kind of hilarious because this is later on.
Speaker: But yeah, he like, you know, they they he asks about Sushong's loyalty and Sushong literally says, I shouldn't have hung out with a guy who didn't have enough guns.
Speaker: You know, my problem is that I was with the guy who didn't have enough soldiers and shit and you, I won't make that mistake again.
Speaker: Yeah.
Speaker: Which is not really tells them not really the answer to his question.
Speaker: Not really.
Speaker: I don't know if Ryan picks up on that, that, that Souchong literally just says, yeah, I'm just going to go with the person who has more guns.
Speaker: Yeah.
Speaker: I'm just going to go with whatever's the most, the person who will get, get me killed the least.
Speaker: That's that's he just openly says that.
Speaker: So, yeah, the scientists are put right the fuck back to work.
Speaker: Nothing changes.
Speaker: Nothing changes at Fontaine except for the name.
Speaker: Yeah.
Speaker: Now it's it's Ryan Plasmids instead of Ryan Plasmids.
Speaker: Yeah.
Speaker: So, yeah.
Speaker: And that brings us to Diane.
Speaker: We haven't heard from Diane in a bit.
Speaker: No, we haven't heard from her a long bit.
Speaker: And this is a it's a funny chapter.
Speaker: I didn't understand the use of it until later, but essentially it's a well, it's not even chapter.
Speaker: It's a section.
Speaker: We are in chapter 17 now.
Speaker: Yeah.
Speaker: But she's been gambling and having like a lot of luck.
Speaker: She's been winning a lot of money and just doesn't care.
Speaker: It doesn't make her happy.
Speaker: She doesn't feel good.
Speaker: She wants to be.
Speaker: She says she wants to be shopping on Park Avenue in New York, not right on here.
Speaker: Right.
Speaker: It sucks.
Speaker: Yeah.
Speaker: It's like doing well in Rapture.
Speaker: Yeah.
Speaker: That's kind of a bittersweet sort of thing.
Speaker: Yeah.
Speaker: Like, what do I have to spend all this on?
Speaker: I got to watch another shitty musical by the one guy who writes musicals down here.
Speaker: One shitty musical writer who writes musicals in this shitty, shitty city.
Speaker: Yeah, I'm going to go to I'm going to go to a city underwater.
Speaker: It's like, don't worry, we've got a famous playwright.
Speaker: You'll get to be the one of the only people who get to watch his plays.
Speaker: What's his name?
Speaker: Neil, Neil, the butte.
Speaker: Oh, no.
Speaker: Is that?
Speaker: Oh, is that a play?
Speaker: Is that a playwriting deep cut there?
Speaker: That's me throwing some shade at it.
Speaker: At a playwright.
Speaker: Sure.
Speaker: Feel free.
Speaker: I'm not going to I'm not going to pick up on it or understand it, but just just let me know when it works out and math works.
Speaker: Yeah.
Speaker: Yeah.
Speaker: It's I'll give you I'll give you a five minute head start.
Speaker: OK.
Speaker: I'm about to make a theater reference.
Speaker: OK.
Speaker: This is what you get when you go to the fucking theater.
Speaker: Basically, I'll just put up a warning like theater reference upcoming theater reference.
Speaker: So she's wandering around Rapture and a woman comes up to her asking for a donation to Atlas.
Speaker: Yeah.
Speaker: And Diane's kind of disgusted with her because she's like, OK, so you're with Ryan at first, obviously.
Speaker: And then let me guess, you jumped ship and went off with Diane Lamb and their people.
Speaker: And that didn't work out because they're a bunch of fanatics.
Speaker: And now you're hanging out with this Atlas guy.
Speaker: Am I right?
Speaker: It's basically like, yeah.
Speaker: Yeah.
Speaker: But this guy's different.
Speaker: She's like, this guy's different.
Speaker: I've seen him.
Speaker: He's fantastic.
Speaker: You know, he's wonderful.
Speaker: And she just paints this wonderful picture of this hero of the day, Atlas.
Speaker: And so Diane is very intrigued by
Speaker: Yeah.
Speaker: By by this this guy's charisma.
Speaker: Yeah.
Speaker: Basically.
Speaker: Yeah.
Speaker: Because she she reads the pamphlet that the the woman gives her and she's like, yeah, it is nonsense and walks away.
Speaker: And then but the pamphlet says, yes, someone cares.
Speaker: And like the that phrasing just kind of like rattles around in her head.
Speaker: It's a very chick track kind of thing, isn't it?
Speaker: Yeah.
Speaker: You expect it to be like, it's like Atlas.
Speaker: You know, I know obviously he's not meant to be that kind of a character, but you kind of expect it to be a little tiny comic books.
Speaker: Like, yes, someone cares.
Speaker: And the Catholic church is evil.
Speaker: Like it's that kind of thing.
Speaker: Oh God.
Speaker: Diane's D and D character died.
Speaker: So Diane killed her.
Speaker: So Diane killed herself.
Speaker: Yeah.
Speaker: Um, uh,
Speaker: That brings us to Bill and Wallace there in, I think it's Orion Square.
Speaker: And no one's done anything about the dead cops that are hanging.
Speaker: The ones that were hanging before.
Speaker: Still there.
Speaker: Still there.
Speaker: Presumably because no one paid them to do it.
Speaker: No one has paid anybody to take them down.
Speaker: Yeah.
Speaker: And so, yeah.
Speaker: And they and they happen upon a big crowd, a big gathering.
Speaker: And who is there speaking?
Speaker: But Atlas Atlas, he's given his speech.
Speaker: He's he's he's talking about how everybody was lured to rapture with the promise of a better life.
Speaker: They were lured from slums in Queens or Dublins or Shanghai or London.
Speaker: And it's like he talks about the income inequality and how it's like the workers need to unite because there's these fat cats that are hoarding all the wealth.
Speaker: He's going full das Kapital.
Speaker: He is going like the executives, the CEOs are hoarding all the wealth while the working man is getting none of it.
Speaker: Um, and everybody is up there, up there telling truths.
Speaker: So sick of it.
Speaker: So sick of it.
Speaker: Easiest way to, to handle it is just, you know, tell the truth.
Speaker: Um, and, uh,
Speaker: Yeah, they're getting closer in because this is like this is serious revolutionary talk.
Speaker: Like this is worse than lamb.
Speaker: Yeah.
Speaker: Like this is this is straight up.
Speaker: Well, seditious.
Speaker: And they call him Roland Wallace says, oh, he's he's Huey Long.
Speaker: He's the kingfish.
Speaker: He's he's got that populist, very populist streak to him.
Speaker: Yeah.
Speaker: So, he just, like, Atlas mixed Huey Long and Bolshevism together, and he got his own, like, little flavor.
Speaker: I can't remember.
Speaker: Absolutely.
Speaker: Was Huey Long racist?
Speaker: The kingfish?
Speaker: I believe he was.
Speaker: Yeah.
Speaker: Yeah.
Speaker: I bet most people were back then.
Speaker: Yeah.
Speaker: That's... I'm actually gonna look it up, because I was actually wondering that.
Speaker: Like what was Huey Long's vibe?
Speaker: Was it like this stuff, but only for white people?
Speaker: Yeah.
Speaker: No, no, he was cool with everybody.
Speaker: Cool with everybody.
Speaker: Okay.
Speaker: He was in a political climate dominated by racism.
Speaker: Huey Long worked to uplift the poor regardless of color.
Speaker: Yeah, there you go.
Speaker: So, yeah, he was cool with other colored people.
Speaker: So that's good.
Speaker: Yeah, that's good.
Speaker: That's our villain here, people.
Speaker: That's our villain.
Speaker: It's just when you think that the Bioshock thing is making a really good point in objectivism, stuff like that, which they are, it does start to slide dangerously into both sides or badism.
Speaker: Yeah, yeah.
Speaker: It's it's very dangerous, but it's like, I think all extremists are bad.
Speaker: It's like, oh, fuck yourself.
Speaker: Stop it.
Speaker: Stop it.
Speaker: It's not the same.
Speaker: That's the same.
Speaker: So they they're kind of moving into this guy's general direction, trying to get a closer look.
Speaker: And then they notice that they are full on being watched by a small cadre of splicers that are hanging upside down, hanging to the walls and just watching them.
Speaker: And they
Speaker: And they realize they see which way the wind is blowing and and they beat feet.
Speaker: They get the hell out of there.
Speaker: Yeah.
Speaker: So because if you're being watched by someone who creeps along the wall like a fly, those spiders.
Speaker: Yeah, those spider splicers are no fun.
Speaker: No one likes them.
Speaker: No, I don't blame their.
Speaker: I don't blame anyone for that.
Speaker: Very disconcerting.
Speaker: Yeah.
Speaker: So say the least Fontaine Futuristics.
Speaker: Basically, this scene is is they're taking the sign down at Fontaine Futuristics and putting up Ryan Industries.
Speaker: And, um, so Chong, and this is where we were saying before that they find out that Adam is able to be harvested from the dead.
Speaker: Um, and that's a, that's a perfect kind of job for, for the little sisters.
Speaker: Yeah.
Speaker: But they need to be protected.
Speaker: So they're going to have what the little sisters refer to as big daddies.
Speaker: Yes.
Speaker: To protect them.
Speaker: Mr. Bubbles, Mr. Bubbles.
Speaker: Yeah, so they took Johnny Topside, who was... There is absolutely no... There's like a scene.
Speaker: That part kind of... Yeah, the whole Johnny Topside stuff.
Speaker: That part was kind of random.
Speaker: It's very random.
Speaker: There's a chapter early on where they talk about how this guy, Johnny Topside, basically smuggled his way into Rapture.
Speaker: Yeah, he was in a big diving suit and everything like that.
Speaker: Yeah, and then he was thrown into Persephone, and now they've taken him out of Persephone, and he has been turned into subject delta of the big daddies, basically a cyborg.
Speaker: And there you have our main character, our protagonist of Bioshock 2.
Speaker: Yeah, we've gotten both of our protagonists in the space of a couple of chapters.
Speaker: So basically they're using, they're bonding the girls to these big daddies.
Speaker: They're like making them attached to the suit, basically.
Speaker: They use a robotic suit that just like plays with them until they have a big daddy for them to assign to them.
Speaker: So it's it's interesting.
Speaker: So Gil Alexander is like the architect.
Speaker: They mention his of his work on the Big Daddy program, the Alpha series and all that stuff.
Speaker: So he he he Brian's like, yeah, what do you need from me?
Speaker: What do you need?
Speaker: Yeah.
Speaker: What do you need me to do to make this happen?
Speaker: Yeah, he's good with all of this.
Speaker: Yeah.
Speaker: And we jump over to McDonough's bar and Sullivan.
Speaker: Or Sullivan's getting plowed.
Speaker: He is getting plowed.
Speaker: And he thinks about it.
Speaker: He's like, this won't look too good.
Speaker: Me being in charge of law enforcement and rapture and being the drunkest son of a bitch in rapture.
Speaker: And he's back to gambling.
Speaker: Like he's, he's just, he's lost some money.
Speaker: He's lost some brain cells.
Speaker: He is, he is tight as a boiled owl.
Speaker: He is just gone.
Speaker: Yeah.
Speaker: Yeah.
Speaker: And he runs into while he's drunk, he he runs into some splicers, which is like pretty much the worst thing that he could have run into.
Speaker: Oh, absolutely.
Speaker: But what's funny is they like they fuck him up a little bit and he's eventually he just like.
Speaker: I'm not dealing with this anymore.
Speaker: And he just, he just leaves the fight.
Speaker: It just leaves.
Speaker: That's the whole section.
Speaker: It was such a weird fucking moment.
Speaker: Like I was like, what the fuck is this for?
Speaker: I don't, I don't understand why we had to see that, but I don't understand what that section was for either.
Speaker: I was wondering, I put an asterisk next to my notes for that part, because I was wondering if you were going to pick up on something that maybe I just missed.
Speaker: I did not pick anything up other than he gets he gets he's drunk.
Speaker: He gets beaten up by some splicers.
Speaker: The end.
Speaker: The end.
Speaker: Yeah.
Speaker: OK.
Speaker: Yeah.
Speaker: It's a really it's not long.
Speaker: It's like a page long, but it's so random.
Speaker: I don't know what it's doing there.
Speaker: So anyway, that that brings us back to Diane, who's wandering the streets of Rapture, which is always, always the sensible option.
Speaker: Uh, and she's, she's looking, she's in kind of the, the lower sections of the, you know, the more rougher areas of rapture.
Speaker: Cause she wants to see this Atlas guy.
Speaker: She's been intrigued ever since her, our, our last encounter with her.
Speaker: Yeah.
Speaker: And, um, so she's hanging out at this kind of,
Speaker: greasy spoon diner where all the derelicts are hanging out.
Speaker: And and suddenly Atlas shows up and he starts giving out food and supplies and everything like that.
Speaker: And so she bribes the the waitress there, or at least like, you know, she greases her palm and says, you know, is that who I think it is?
Speaker: Yeah.
Speaker: And the waitress is clearly very nervous, but tells her, yeah, like that's that's him.
Speaker: He shows up.
Speaker: He hands out
Speaker: food and supplies.
Speaker: And we love him.
Speaker: We think he's great.
Speaker: And and we think he's a righteous dude.
Speaker: Yeah, exactly.
Speaker: At least he's a righteous dude.
Speaker: And he is in his own way.
Speaker: But before Diane can approach him and I don't know what the fuck she's I'm really curious.
Speaker: I really want to know what she planning to say to him.
Speaker: Yeah.
Speaker: But before she can do that, some sirens, you know, wail in the distance and Atlas has to beat feet and he runs off into the dark, runs off into the night like her, like Batman.
Speaker: Yes, exactly.
Speaker: Leaving her alone with, with just a terrible sounding pie that the waitress described at one point, it's like a fish pie or something like that.
Speaker: they describe and I found myself oddly fascinated with for a couple of fish pie.
Speaker: That sounds like I mean, I guess that's like it sounds like something British people eat, right?
Speaker: They eat a lot.
Speaker: They eat a lot of eel from what I've read, or at least in London, they used to like eel pies used to be like a staple food.
Speaker: Maybe I don't think they do that as much anymore, but like the fucking Thames was just just full of eels and they would just pull up all these eels and make pies out of them.
Speaker: I like eel and I like pie, so maybe that would be good.
Speaker: I probably not in the 18th century, but
Speaker: I don't think a lot of foods are good back then.
Speaker: Yeah.
Speaker: I mean, I just imagine like, like, you know, a short crust pie and inside is just like eel and like, you know, like just like that, that texture that eels are like, and it's still flapping.
Speaker: It's still like,
Speaker: It's still like you could you look at the top of the short the top of the pie and you could see it like bubbling a little bit.
Speaker: And it's because there's eels in there.
Speaker: We got we got some we got some English and British friends like tell us is eel still a big part of the diet over there?
Speaker: Tell us how wrong we are.
Speaker: Tell us how wrong we are.
Speaker: I know I read that it used to be a big thing, but I don't I don't think that's how it is anymore.
Speaker: But come on.
Speaker: You know, you still got to have yourself.
Speaker: Still got a river full of fish.
Speaker: Mince, mince eel pie.
Speaker: The more I think about it, the idea of... I like... I love meat pies.
Speaker: I fucking love... You don't find them over here in the States as often, but if you can find a good British pub over here every now and then,
Speaker: They'll have like Cornish pies and just like these.
Speaker: They're just delicious.
Speaker: They're so good.
Speaker: So flaky.
Speaker: And they're filled with meat and fucking, you know, it's not like a spices chicken.
Speaker: Right.
Speaker: Well, it's not like a chicken pot pie.
Speaker: It's not the same.
Speaker: It's like a hand pie.
Speaker: You can eat the goddamn thing on the move, which is the idea.
Speaker: Right.
Speaker: They're so good.
Speaker: Like a hot pocket.
Speaker: The idea of.
Speaker: Right.
Speaker: I mean, yeah, pretty much like a big socially respected hot pocket.
Speaker: But the moment you add any, and I like fish, but the moment you add any sort of fish as a filling to a buy, my interest plummets.
Speaker: I think I have to see.
Speaker: The textures.
Speaker: Yeah, I think I have to see.
Speaker: I don't want fish in a thing.
Speaker: I want to be able to see that I am consuming fish.
Speaker: That's just me.
Speaker: I can't just like.
Speaker: I don't want to be tricked.
Speaker: I don't want them like mixed in there.
Speaker: I don't want to buy a bit.
Speaker: No.
Speaker: I don't want a tuna hot pocket.
Speaker: Right, yeah, oh no.
Speaker: God no.
Speaker: Fresh out of the microwave with- Oh, and now your house smells that way for a week.
Speaker: You have a little pouch.
Speaker: Congratulations.
Speaker: And you squeeze some mayonnaise on it, like the icing of a Pop-Tart or pastry strudel.
Speaker: Fucking tartar sauce over the top of it.
Speaker: Tartar sauce, pastry strudel with tuna fish inside, okay.
Speaker: And you take a bite and there's still room in your mouth for the gun.
Speaker: So.
Speaker: Just because you've reached that point.
Speaker: There's no going back.
Speaker: Oh, God.
Speaker: Yeah.
Speaker: Meanwhile, meanwhile, Bill and his wife, Eileen, are at the shooting gallery.
Speaker: Bill is teaching his wife how to shoot because things have gotten to that point.
Speaker: And she is just not thrilled, not happy with him.
Speaker: She's like she's trying.
Speaker: And we get a lot of moments in this chapter with the two of them.
Speaker: where she's trying to put on a brave face and everything like that, but she is just not, she clearly wants to leave.
Speaker: She clearly wants, she misses home.
Speaker: She doesn't want to be there anymore.
Speaker: And Bill's coming around on that too, but he can't say it.
Speaker: He still feels like he owes, you know, Ryan something.
Speaker: And there's a great moment here where she says, sure.
Speaker: Okay, Bill, I just hope you're right about who we've got to shoot at.
Speaker: She lowered her voice to a barely audible whisper.
Speaker: Far as I can tell, they might come at us from either side of the fence.
Speaker: She cocked the gun.
Speaker: I guess I'd better be ready for anything.
Speaker: So like she already, I mean, she's not stupid.
Speaker: She knows that Ryan is paranoid that, you know, just because it's kind of like when you read about Stalin's inner circle, like they were just the most paranoid people in the world.
Speaker: Um, and, uh, and like there are reports of some of them like would go, one of them would go back to his wife and he would like tell jokes and talk about certain topics and he would commit to memory, which things Stalin liked talking about or laughed at and which he didn't.
Speaker: And he'd go to his wife and her and tell her she'd write them down and he'd recite them.
Speaker: They recite them back and forth.
Speaker: So he knew never to bring up certain topics ever again and to bring up other ones.
Speaker: to make them happy.
Speaker: That's amazing.
Speaker: Yeah.
Speaker: And it's, and it's that kind of thing.
Speaker: Slash terrifying.
Speaker: It's terrible, but.
Speaker: Absolutely.
Speaker: Eileen basically knows that she's a mob wife.
Speaker: Yeah.
Speaker: That's what this is.
Speaker: That's kind of, yeah, she's very aware of, of what the situation is like.
Speaker: Right.
Speaker: And she's like, yeah, we got enemies, but just as likely going to get shot by Ryan.
Speaker: Yeah.
Speaker: Bill's in too deep.
Speaker: She, all she can really do is just mention every once in a while, like,
Speaker: And we should try to get out of here if we can.
Speaker: Right.
Speaker: Right.
Speaker: So that's that's that's.
Speaker: And then we cut ahead to Christmas Eve.
Speaker: Yeah.
Speaker: Bill is playing.
Speaker: I liked this scene.
Speaker: This was kind of warm and it's warm and cozy.
Speaker: It's a nice scene.
Speaker: It's it's Bill Karlovsky and Redgrave.
Speaker: Constable Redgrave and Constable Redgrave is black and Karlovsky is Russian.
Speaker: And the two of them kind of have like this little little back and forth, you know, like poking fun at each other.
Speaker: Karlovsky says, oh, you black bastard.
Speaker: And and Redgrave's like, oh, you dirty Cossack, you know, basically just like just like playfully being racist to each other.
Speaker: Yeah.
Speaker: Playful, playful turn of the century racism.
Speaker: And, uh, but it's like a bonding moment between the three of them.
Speaker: It is clearly everyone's having a nice time.
Speaker: It's after they'd invited them over for Christmas supper because they don't have, I guess, families to share with.
Speaker: And so, uh, and as the evening progressed, they started a poker game and, and so they're all getting sloshed and Eileen is watching and laughing and, uh,
Speaker: You know, and Bill comments in his head, his inner monologue about how attracted he is to his wife, how much he loves her.
Speaker: And like, they're just everyone's having a nice time.
Speaker: It's actually a really pleasant, warm and cozy kind of moment.
Speaker: A Christmas Eve moment.
Speaker: It's nice.
Speaker: Yeah.
Speaker: Yeah, it is nice.
Speaker: It's nice.
Speaker: And then we get something not so nice, which is New Year's, New Year's Eve.
Speaker: New Year's Eve.
Speaker: They cut straight from Christmas Eve to New Year's Eve.
Speaker: So basically, Bill and Elaine are at a fancy restaurant and they're both armed, but they're going to try to have a nice night.
Speaker: They make a point out of like, oh yeah, Bill is carrying a pistol and so is Elaine in her purse and everybody is
Speaker: And they're surrounded by a bunch of the other.
Speaker: Yeah, Sander Cohen, Silas Cobb, Diane McClintock.
Speaker: Ryan is supposed to be there at some point, but at the very least, he's going to do an automated speech.
Speaker: Diane is sitting alone at Ryan's table, just like waiting for him.
Speaker: Right.
Speaker: Which we've seen happen before.
Speaker: Yeah, which we've seen.
Speaker: Poor Diane.
Speaker: Poor Diane.
Speaker: He ain't never going to love you, girl.
Speaker: No, no.
Speaker: So I like they also make a point of saying like that neither of them have slept well.
Speaker: And then they make a point of saying like, but then again, nobody in this room has slept well.
Speaker: Right.
Speaker: Everyone's getting a little more.
Speaker: Everyone is is a little they're in a bad, bad way.
Speaker: Yeah.
Speaker: So basically they're they're just kind of chilling.
Speaker: They're having their they're getting ready.
Speaker: There's some music playing.
Speaker: And I like it's interesting because they're talking about Count Basie and Duke Ellington in this scene.
Speaker: There's a moment later where someone comments.
Speaker: on the music itself in Rapture.
Speaker: And you're like, we've been down in Rapture for so long.
Speaker: We actually don't even know what popular current music would sound like.
Speaker: Yeah, they've been listening to all the same music for the entire time that they're down in Rapture.
Speaker: That's what they brought down since in the 1940s, you know?
Speaker: Yeah.
Speaker: And there are rumors of this thing called rock and roll up on the surface.
Speaker: Right.
Speaker: It's very interesting.
Speaker: It's kind of a it's a very it's a terrific opening to this scene.
Speaker: Oh, it's in this scene.
Speaker: It's music and rapture had to be outdated.
Speaker: There were rumors.
Speaker: Yeah.
Speaker: Yeah.
Speaker: Yeah.
Speaker: And it's a fantastic opening to the scene because first off, it sets this tense note.
Speaker: Right.
Speaker: Which is going to pay off later.
Speaker: I think we all know that.
Speaker: Yes.
Speaker: But it also gives you it kind of feels like it's New Year's Eve.
Speaker: The New Year is about to begin.
Speaker: And to me, this very much felt like a final moment of like kind of a time capsule of what.
Speaker: rapture is like yeah this moment right before everything crumbles everyone's paranoid they're bored nothing new every even their music has dust on it there's nothing new everything's old um and everyone's paranoid and at one point bill uh he sees one of the guards who's drinking champagne he's got a gun in one hand the champagne in the other and he says that's rapture
Speaker: Yeah.
Speaker: A gun in one hand, a glass of champagne in the other.
Speaker: And I think that's a terrific image.
Speaker: And so it's just it sets this moment of if not, it's this weird combination of both paranoia and extreme boredom.
Speaker: Yeah.
Speaker: Yeah.
Speaker: So they nothing's new.
Speaker: Nothing's interesting.
Speaker: There's this great Conan, the barbarian story from the depression, one of the original short stories.
Speaker: And Conan goes to this city he's heard of his whole life, and it's full of it's full of people.
Speaker: And the ruling class are these people who cannot die.
Speaker: And they just there are thousands upon thousands of years old, and they just sit and drink and eat and fuck.
Speaker: And they're so bored.
Speaker: And every now and then one of them climbs to the top at top of the tallest tower and throws themselves off, including their retinue, like all of their servants, all of their slaves, all of their money.
Speaker: They just they fucking kill themselves and take all of their people with them.
Speaker: And for a moment, all the other ones get something entertaining to watch.
Speaker: And then they go back to their boring, boring lives.
Speaker: This is what it felt like to me.
Speaker: They surely kind of paints this picture of these sad, paranoid, super sad people.
Speaker: Yeah, it's just a terrible existence.
Speaker: And then we get the countdown, the countdown, which literally becomes a countdown to a bomb.
Speaker: Exactly.
Speaker: As soon as Happy New Year, Happy New Year, Bill pulled Elaine close for a midnight kiss.
Speaker: And then the explosion came.
Speaker: Womp womp.
Speaker: So it's a bunch of gunmen come in and start firing on the actually a very beautiful, beautifully cinematic.
Speaker: Like I could see it in my head like so it would go to me.
Speaker: It would be like it would just go slow motion because all Lang Syne is playing in the background.
Speaker: So you just have all Lang Syne playing while these gunmen just burst in and just start murdering the shit out of this, this, this party.
Speaker: Yeah.
Speaker: Ryan actually is not even there, but no, but, but his prerecorded new year's speech starts playing.
Speaker: And that's what you talk about cinematic.
Speaker: I was, I was in the same boat as you like they, the, the, the, his speech about,
Speaker: This belongs to you.
Speaker: You all did this.
Speaker: This is all yours.
Speaker: You know, rapture belongs to all of us.
Speaker: And it's meant to be this inspiring New Year's speech.
Speaker: And of course, played over people being murdered by Atlas's terrorists.
Speaker: Yeah.
Speaker: It's chilling.
Speaker: It's a brilliantly written scene.
Speaker: It really is.
Speaker: It's a brilliant scene.
Speaker: Elaine shouts out to Diane, who is Diane at this point is just crawling on the ground.
Speaker: She's had like half her face like shredded off with with shrapnel and she's just like bleeding profusely.
Speaker: Yeah.
Speaker: It's it's a it's a super intense scene.
Speaker: And right at the end of Ryan's speech is to rapture 1959.
Speaker: May it be our finest year.
Speaker: Yeah, it is.
Speaker: It is so intense.
Speaker: Oh, yeah.
Speaker: The combat back and forth.
Speaker: Uh, Redgrave is wounded.
Speaker: Uh, uh, so Karlovsky and Redgrave are trying to take care of the splicers as much as possible.
Speaker: Um, and they, they basically Bill and Elaine escape there.
Speaker: They're able to escape.
Speaker: And then they were in their own flat, panting, Bill locking the door, Elaine with her purse in one hand and gun the other.
Speaker: Hello, called Mariska Lutz, their sitter from the next room.
Speaker: Back already?
Speaker: Have a good time?
Speaker: Yeah.
Speaker: Great.
Speaker: And, and scene and great scene, great scene.
Speaker: Like, like some of the best, uh, uh, just, just terrific action.
Speaker: Uh, it's chilling.
Speaker: It's haunting.
Speaker: It's, it's, it's, it's a wonderful scene.
Speaker: Uh, and it, it's, it's this culmination.
Speaker: Of everything.
Speaker: You know, someone lit a fuse several chapters ago and this is it exploding.
Speaker: Yeah.
Speaker: And what's nuts is that.
Speaker: And in terms of chapter structure, we talked about it before.
Speaker: It feels like that could have been the end of the chapter.
Speaker: The chapter continues on.
Speaker: Yeah.
Speaker: With the Ryan.
Speaker: Ryan just being talking about how pissed off he is.
Speaker: Yeah, it's kind of hilarious because he says he says this was meant for me.
Speaker: They were trying to get me.
Speaker: And and I immediately rolled my eyes and was like, oh, of course, everything's about you, right?
Speaker: And then I thought about it.
Speaker: I was like, actually, it was specifically for him.
Speaker: Yeah, they were.
Speaker: They were trying to kill Ryan.
Speaker: And Bill points out that it's this is all.
Speaker: in retaliation for their killing of Fontaine.
Speaker: Yeah.
Speaker: This is all reaction to all of that.
Speaker: Like the Ryan got the ball.
Speaker: We need to broker a piece.
Speaker: Yeah.
Speaker: Ryan got the ball rolling, you know, and they just like run down all of the like, there's people betraying Rapture.
Speaker: We don't have enough Adam.
Speaker: We're running out of Adam.
Speaker: even with the little sisters and all that.
Speaker: And then it ends with Ryan making this proclamation, I built Rapture, I'll do whatever I have to, but I will not let the parasites tear down what I've built.
Speaker: So it's now becoming more of like, he doesn't care about what he has to do to prevent the thing that he built from being torn down.
Speaker: Yeah, yeah, exactly.
Speaker: It's like, whatever I have to do.
Speaker: And so all of his, all of Ryan's ideals and ethics are completely out the window.
Speaker: Yeah.
Speaker: Yeah.
Speaker: It, you know, it's, it, Ryan won't give over Fontaine.
Speaker: That's what Bill's like.
Speaker: Give him, give him fucking Fontaine's futuristics.
Speaker: Yeah.
Speaker: Ryan won't do it.
Speaker: And it goes back to what we were talking about before where, you know, he'll bend, but only in the direction of, uh,
Speaker: you know, cruelty.
Speaker: You know, he basically says, you know, you know that he wants to make an army of people basically the same way that Fontaine made an army of splicers.
Speaker: He wants to do the same thing, make this army of Adam users and Bill threatens resign.
Speaker: Yeah.
Speaker: Yeah.
Speaker: He says, if he says, if we, if we can't broker some sort of peace here, I'm going to, I'm out.
Speaker: Yeah.
Speaker: And, and Ryan accuses bill of letting him down.
Speaker: Yeah.
Speaker: Uh, and bill immediately thinking of his family once again, kind of starts to backtrack and basically pretends to reconsider the whole thing.
Speaker: Yeah.
Speaker: Yeah.
Speaker: Yeah.
Speaker: And, um,
Speaker: So Bill is walking.
Speaker: We're still with Bill.
Speaker: He's walking around near the banks.
Speaker: Yeah, we're still with Bill and Ryan.
Speaker: And he sees Anna Culpepper, who is one of the singers, basically singing songs about a run on the bank.
Speaker: She's kind of doing a Dylan sort of thing.
Speaker: Yeah, fomenting some hysteria, economic hysteria.
Speaker: And Bill is trying to give him some like Ryan some reasonable advice.
Speaker: We're like, yeah, you can just do a bank closure for a little bit, you know, calm people down.
Speaker: And Ryan's Ryan is so annoyed, so pissed off that he says, I've seen enough.
Speaker: Let's get out of here.
Speaker: I'll see to it that the little red bird stops singing.
Speaker: Right.
Speaker: Oh, it's also it also has this hilarious moment where because everyone's trying to withdraw their money from the bank, you know, because they think that because of all this shit's hit the wall.
Speaker: Right.
Speaker: Or the fan.
Speaker: Yeah.
Speaker: Both the fan and the wall.
Speaker: Yeah.
Speaker: And so everyone's trying to withdraw their money.
Speaker: And that's yeah.
Speaker: Like you said, Bill's like, we could shut down the banks.
Speaker: And so these people calm down.
Speaker: And Ryan goes, no, no, free market and all that.
Speaker: And he said they can withdraw their money, but they're fools.
Speaker: I tell you fools, because when everything gets back to normal, then they're going to they're all their money is going to be worthless because, you know, how how the market works.
Speaker: It's like, oh, you're a fucking idiot.
Speaker: Jesus.
Speaker: Like, it's like it truly is these people.
Speaker: It's like, well, I've got to save five cents.
Speaker: It's like we can't save five cents if everyone's dead.
Speaker: Yeah.
Speaker: Bill is sitting there.
Speaker: I mean, you start to wonder how Ryan became the billionaire that he is.
Speaker: Yeah.
Speaker: Yeah.
Speaker: You can't help.
Speaker: It's it's kind of it is kind of how it happens nowadays where you look at some of these guys and go, how did that happen?
Speaker: How do you how have you tricked people that are thinking you're some kind of genius?
Speaker: Like Elon Musk specifically.
Speaker: Yes.
Speaker: Is is that he's a great.
Speaker: He is a great example of of the I don't quite understand why he is worth nearly 300 billion dollars.
Speaker: He's just, he's, it's, it's a combination of having a lot of money to start with and talking out of your ass on a regular basis.
Speaker: Constantly talking shit on Twitter and, uh, accusing random people of being pedophiles.
Speaker: Yeah, that worked out real good for him.
Speaker: He's a fantastic guy.
Speaker: He's actually found, uh, what was it?
Speaker: Uh, not liable for it.
Speaker: Somehow.
Speaker: I don't know.
Speaker: These fucking these people.
Speaker: So the chapter ends and we'll stop there for the night.
Speaker: The chapter.
Speaker: Well, it has one.
Speaker: Yeah, I'm sorry.
Speaker: The chapter ends back at Ryan Plasmids, formerly Fontaine Futuristics with Tenenbaum.
Speaker: Basically doing the, what would you call it?
Speaker: Like trying to associate the little sister with the big daddy by using.
Speaker: Yeah, she's got a big daddy, you know, the robot suit there.
Speaker: Like they don't have.
Speaker: Yeah, it's not a real big daddy yet.
Speaker: It's just a suit.
Speaker: right but they want but it's there with a little sister and she's basically kind of puppeteering it uh to play with her so that she um imprints on uh on the big daddy for all intents and purposes and uh and we're left with a real moment of like ten and bob just ready to snap like she is
Speaker: She is not okay.
Speaker: No.
Speaker: Yeah, she is.
Speaker: She's not okay at all.
Speaker: Something about it stabbed her to the core.
Speaker: And that is where we'll leave it for this episode.
Speaker: I mean, that is a... That's a lot of stuff.
Speaker: That's a hell of a place to... That's a lot.
Speaker: Yeah.
Speaker: That's a lot.
Speaker: And we've only got three chapters left, by the way.
Speaker: Yeah, yeah.
Speaker: The next episode will probably be, it might be a short boy, but who cares?
Speaker: But then again, we only went through three chapters today.
Speaker: That's true.
Speaker: But the last one, chapter 17, is like, was long as fuck.
Speaker: It was several chapters built into one, yeah.
Speaker: Pretty much.
Speaker: So we are coming to an end, though, ladies and gentlemen.
Speaker: Next episode, we are coming to the thrilling conclusion.
Speaker: The thrilling conclusion of Bioshock Rapture will be next episode.
Speaker: So.
Speaker: With that being said, if you would like to support us, please, please, please follow us on the podcast platform of your choice.
Speaker: Rate us, review us and share our content far and wide with your friends, family and pet birds.
Speaker: I think if you share it with I think if if they're if they're smart birds that can like talk.
Speaker: Yeah, yeah.
Speaker: That could be good.
Speaker: Yeah, play us in front of your talking birds.
Speaker: Oh god!
Speaker: Oh, that would be great.
Speaker: That's a terrible idea.
Speaker: That would be a wonderful idea.
Speaker: And then send us videos.
Speaker: If you have two African parrots or similar talking birds, please leave them in rooms with our voices and find out which one is Kevin and which one is Bill.
Speaker: It's going to be a nightmare.
Speaker: I'm really looking forward to it.
Speaker: Oh, I love it.
Speaker: I love it.
Speaker: It's going to go over very poorly.
Speaker: And so, yeah, share us, share us, share us.
Speaker: And that'll do it for tonight's episode.
Speaker: Thank you very much for listening and have a good evening, everybody.
Speaker: Bye.
Speaker: Bye.
