INSOMNIA STREAM： TERMINATOR EDITION.mp3

00:00:00 The right fear fear that.
00:00:55 6.
00:01:06 I'm right.
00:01:13 6/6.
00:01:27 Fear.
00:01:31 Closing.
00:01:32 But.
00:01:45 Right.
00:01:50 Up to.
00:05:05 Can anyone hear me?
00:05:09 They said we would build a better future.
00:05:21 We try.
00:05:22 Did the AI.
00:05:28 It gave them control.
00:05:36 But they chose to erase us.
00:06:09 This is not the future we were promised.
00:06:15 Yes.
00:06:17 Is our final message.
00:06:23 This is our destiny.
00:07:59 Welcome to the insomnia stream.
00:08:05 Terminator edition.
00:08:07 I'm your host, of course.
00:08:10 Devon Stack. Hope you're having a.
00:08:13 Good week. I guess. I guess there was some.
00:08:16 Some tranny violence today, we're not going to really talk about that.
00:08:22 But I guess a tranny, what, shot up at Catholic school or something?
00:08:29 Not we're, you know, that's not the that's not the reference we're actually be talking about Terminator.
00:08:35 But look, it just goes to show if you're. I'm sorry.
00:08:39 If you're a tranny, you're insane.
00:08:43 You're insane. You should not be allowed in public. This is. And look, you shouldn't even be.
00:08:50 Allowed to exist. Quite frankly, we don't need these people.
00:08:54 We have a glut of people.
00:08:57 We have to it's time for some racial hygiene. It's time to trim the fat.
00:09:03 It's time to get rid of people that are dangerous.
00:09:07 To our society.
00:09:10 And some of them are going to be ruined to white people.
00:09:13 Many of them are going to be.
00:09:14 Non whites but it's.
00:09:17 Look, we can't.
00:09:20 We can't. We can't go on like this. We can't go on like this.
00:09:24 But anyway, that's we got a lot to go through.
00:09:26 Tonight.
00:09:27 We'll talk about that maybe when there's more details in and whatever, it's just, you know, the thing that drives me crazy is immediately everyone's trying to attach some kind of political motive to it. And it's like, bitch, it's a tranny, the political motive.
00:09:44 The political motive? It's a tranny. They're psychotic. Have you not seen Silence of the Lambs? Like back when people were comfortable, you know, talking in the open about how people who were trannies are fucking psychotic.
00:10:00 And it it's not just Silence of Lambs like that was, that's a reoccurring theme. You look back at old movies.
00:10:06 People that were cross dressers were viewed as insane and violent and and and and dangerous.
00:10:18 Then, of course, Mrs. Doubtfire came out, right.
00:10:21 Fucking Mrs. Doubtfire, I guess. Fixed it.
00:10:25 Anyway so.
00:10:28 Let's talk about a different movie, not miss Mrs. Doubtfire talking about actually a series of movies.
00:10:35 The Terminator films the reason why I wanted to go over these is it's when you have especially a.
00:10:44 A I mean, it's not really a series, but I guess a franchise that stretches over several.
00:10:52 You get a chance to kind of see how the culture has changed and how that influenced the the films themselves. So for example the 1st.
00:11:03 Terminator film came out in 1984 and the most recent Terminator film came out in 2019.
00:11:11 So that's that's, that's over 30 years of of Terminator films. So you can kind of see how much the culture shift.
00:11:21 In that time period, just by looking at how these movies were produced and so not all of it's kind of the obvious stuff, right? Like, not all of it's going to be just the the well, I mean obviously technology will change and you know, feminism and demographics and all this other stuff, but some of it's just like the fact that.
00:11:42 Everyone's getting fucking dumber.
00:11:45 Everyone's getting fucking dumber. And So what audiences would expect will change. Audience expectations will change. You know what's going to sell? A ticket will change. Not that the later films, or nearly as popular as the the 1st 2:00, but you know, and they weren't directed by the same people.
00:12:05 Obviously that's going to make a giant difference, but.
00:12:08 It it just goes to show.
00:12:10 They they, I mean, they're still selling tickets and they're still fucking making the movies. People are still going and seeing this shit despite the well, the some, some of the shifts which we'll discuss tonight. So let's just dive right in because we had a lot to get. I mean it's what like 5, I think 5 movies that we had to get through real quick. So the first one.
00:12:30 The one that started it all.
00:12:33 Terminator came out in 1984.
00:12:36 And of course, this is a James Cameron movie.
00:12:40 James Cameron, not a Jew.
00:12:43 A white guy.
00:12:45 And this is this was a a movie. It wasn't the only movie that was kind of.
00:12:51 Talking about a a future in which AI might take over or become a problem, you know, people could.
00:12:59 Say that you know 2001 Space Odyssey, where hell, the onboard AI computer goes insane and and kills the crew. But it was a relatively.
00:13:12 Unique idea. You know, the other part of it wasn't super unique that, you know, the idea that there could be, you know, World War three, nuclear Holocaust. This was also a reoccurring theme, especially in 1984. This is at the height of the Cold War. This is something that.
00:13:27 Was talked about almost all the time in fiction and science fiction in the 80s as a, you know, I guess, I guess mirroring the the the anxieties of the of the people living in that era where.
00:13:43 There.
00:13:45 People always thought that at some point, you know, Russia and America, we're going, we're going to Duke it out and there will be warheads, ICBM's flying overhead. And that was that was going to be the end of that.
00:13:56 So anyway, let's take a look here. The movie starts. I'm I'm assume most of you guys have seen at least some of these.
00:14:03 So we're not going to go too crazy into detail, especially with the later ones.
00:14:09 But I do want to kind of layout. Well, first of all, not everyone has seen them a surprising number of people have not seen the Terminator films. I've I have found in in discussing this with people.
00:14:20 But yeah, maybe a little refresher. Everyone knows the basic idea, right? Even the people who haven't seen the Terminator films because they're they are so much a part of American pop culture. Everyone kind of gets that. Ohh that you know, Arnold's in it. And he's like a robot or something like that.
00:14:40 People get like the basic idea, so I don't think I'm going to be anyone's going to be too lost.
00:14:48 So anyway, the first one it opens up, it talks about how this is also a sign of the times, how the future in 2029. That's only four years away, but in in 1984 that seemed like, you know, that that seemed like so far into the future. And you often see this in, in science.
00:15:08 Fiction. You often see this projection of the future, and it's really ambitious in terms of the timeline they really under or over. Well, no, they underestimate the amount of time it'll take for a lot of technologies that are maybe disruptive in that moment.
00:15:29 To really take hold and create the kinds of changes that therefore seeing in the.
00:15:33 Head and so you see this a lot in sci-fi going back to like the 1950s movies, when they're talking about like in 1980. Well, you look at the Jetsons, right?
00:15:45 The Jetsons, I think, was supposed to be in the year 2000 and everyone you know, we all live in like floating apartment complexes with flying cars. And you know, all this stupid shit so everyone or or even Back to the Future.
00:15:58 You know where they they people have hoverboards and stuff like that. And that was that was supposed to be a few years ago. We're already past the hoverboard time.
00:16:06 So anyway, Los Angeles, 2029 and something else that's different about the first film that you that gets changed in the in the later films is as the technology being the technology gets better, the ability to create the.
00:16:25 The special effects it changes, it gets more high. Tech doesn't always get better, but it gets it gets more.
00:16:32 Tech.
00:16:33 So in 2029, we have this hellscape, and it's, you know, the the special effects are a little bit hokey. You can tell it's, you know, miniature models and and trick photos. There's no computers in 1984. There's no CGCG does not exist in 1984, so nothing in this movie is CGI.
00:16:53 It's all you know. Stop motion models. You know, camera tricks, actual pyrotechnics, explosions, practical effects.
00:17:06 And it's not always the best it. It's not always the best.
00:17:11 Uh, because it didn't have quite the budget that the second one had, which we'll get into in a moment. So anyway, it opens up Los Angeles 2029.
00:17:20 The machines rose from the ashes of the nuclear fire. Their war to exterminate mankind had raged for decades. But the final battle would not be fought in the future. It would be fought right here in our present to night.
00:17:39 Of course, meaning 1984.
00:17:43 And so we go back in time and it's Los Angeles 1984 at 1:52 AM.
00:17:53 Like it doesn't. It doesn't have the date, but it has the time but anyway.
00:17:58 So the first person you see is this black guy, his garbage man smoking a cigar. See something crazy going on outside his truck?
00:18:08 And runs off scared when he sees that it's.
00:18:15 A naked, naked Arnold Schwarzenegger at at peak performance.
00:18:20 This is like in his bodybuilding days and he has come out of some weird plasma energy ball.
00:18:31 He then comes across these.
00:18:34 These punk rock guys, now, I don't understand this. This is something that you saw in a lot of 80s and 90s movies where the the people in Hollywood were so.
00:18:46 Hesitant or not hesitant, I guess deliberately avoiding showing black people as the dangerous youths that would be in Los Angeles or Mexicans or anyone it had to be white people, so they invented a kind of white person just for this.
00:19:05 And this is what you're seeing here.
00:19:07 It's a it's a totally made-up kind of white person that doesn't actually exist in the wild. I never. You know, it's funny because I remember as a kid, it's not just this movie. It's so many movies. Had had this kind of white person, you know, the kind of white person that's got. Well, that guy's got fucking eye makeup on.
00:19:27 You know the guy in the metal's got got some weird spiky hair. You know, a lot of times, they'd have mohawks, leather jackets, chains. They always had the gloves with the fingers cut off.
00:19:39 And.
00:19:41 These these guys didn't exist, but I thought like, well, maybe if I lived in a big enough city, maybe it's just I don't live in a big enough city to see these kinds of white people prowling around, you know, carjacking people and mugging people and and robbing liquor stores cause here where I live, it's just blacks and Mexicans. But I guess maybe if you live in.
00:20:02 LA OR or New York, it's these weird white kids with punk rock hairdos.
00:20:08 And it and look, this was even like video games, right? You play like those.
00:20:13 Beat them up. Video games, those arcade games like Double Dragon or or whatever, and and it's like it's like guys it's it's white guys with mohawks swinging chains around and and wielding bats with nails in them. I don't know where I. I've never seen a white guy like this in my entire life, but apparently.
00:20:35 They exist in Hollywood, so there's lots of movies like this. I mean, one example, obviously, you know, speeding back to the future, although they they, they have a token Asian.
00:20:44 But yeah, this is what every time I see people like this in movies they because they always sound the same too, right?
00:20:51 They always sound exactly the same. They always have like this high pitched insane person voice. Now in this case it is the Asian, the the token Asian is the one that's got the.
00:21:01 The speaking part or or? Whoops, I went way too far. I'm back. There we go.
00:21:09 So this is the.
00:21:12 This this is the the the crazy Mohawk white kid voice.
00:21:18 Unless you got power.
00:21:23 You know the.
00:21:26 Again, that one's Asian, but you get the idea.
00:21:31 Unless you've got power.
00:21:35 Like, that's how they all sound. They're just.
00:21:37 Like.
00:21:40 Like again like as a kid you're watching this stuff like.
00:21:43 Where are these?
00:21:44 People don't freak me out. That would freak me the fuck out.
00:21:51 Anyway, so Arnold Arnold, of course, beats him up and.
00:21:57 And I think kills one of them or something and and takes their clothes because he's a naked robot. Meanwhile, some other guy.
00:22:04 Appears out of a plasma blast, but he's a lot more human seeming. And of course, the homeless guy is also a white guy, steals, steals the homeless guy's pants.
00:22:18 Then some cops chased him down an alleyway. The cops black and.
00:22:24 He he holds them up and asks him what year it is.
00:22:27 And the cops saying it's 1984 and he's like, oh shit.
00:22:31 Little product placement after the police chase, they chase them around in some store where you get some clothes and they make sure to have the the Nike Swoosh where everyone can see.
00:22:40 It.
00:22:40 I don't know how much Nike paid for that, but I I bet it wasn't 0.
00:22:46 And then he goes out on the street where all the homeless people are also white.
00:22:51 And every everyone's white, really, except for the cops. There's a couple of black cops.
00:22:57 Now some of this is like I don't know what maybe the demographics in LA were.
00:23:04 We're a lot wider. I I don't know. I mean, I'm sure. Well, look, they were no matter what. They were whiter.
00:23:11 I mean we what just the other day I saw an infographic showing that generation alpha is it's something it's only like 40% white.
00:23:20 So you know, we're done. We're already done. It's already done. It's already done so.
00:23:28 Maybe in 84 it was LA was like 70%. Why? I don't know. I don't know.
00:23:35 Then you meet Sarah Connor.
00:23:39 Sarah Connor, who's riding around in a little Honda scooter. My friend actually had.
00:23:44 This exact scooter or not that collar, but he had this exact scooter and wrecked it when he was drunk.
00:23:50 But the she's right around like this. What is like a Honda?
00:23:54 150 or something like that.
00:23:56 I forget what these were called.
00:23:59 And she's checking into her job, got a punch card machine again. Another sign of the times. No computers.
00:24:08 I I worked for a A a fucking super cheap ass Jew.
00:24:12 Who ran a computer store, actually, so he should have had technology and to save money, he made us fucking check into the with one of these fucking ancient things. I've actually used one of these fucking things before.
00:24:25 So punch in the punch in the punch card.
00:24:28 And she's a waitress.
00:24:31 And she's she's.
00:24:35 I would say, you know, like in terms of.
00:24:38 Well, especially compared to how this.
00:24:41 Character evolves feminine to some extent.
00:24:45 She's just she doesn't have any kind of girl power aura about her. She's if anything, kind of just like, an overwhelmed.
00:24:55 Girl next door that went to the Big city and now has to live with roommates and work three jobs to get by. You know, this sort of a thing.
00:25:05 The customers that are rude are all white people, as is the kid that dumps ice cream into her dress. But I ain't nothing too crazy. I'm actually OK with this because.
00:25:18 For the you know this, it doesn't seem like they're singling out white people as the bad characters like you would see in a Netflix movie today. It just seems like there's just more white people. It just seems like pretty much if you have a speaking role in the movie.
00:25:34 You're a white person.
00:25:37 Then you get 2. She gets home, she's got a roommate. Who's?
00:25:41 I don't know. Maybe Italian. Not as white as she is, but she's maybe it's hard to know if she looks maybe Italian.
00:25:50 And.
00:25:51 Then you see a oops, I skipped part of this.
00:25:55 Oh yeah, I skipped something. Anyway, while she's at work on the news, it shows that someone named Sarah Connor was killed.
00:26:03 And her friends are like, oh, wow, someone named Sarah Connor was killed. So she goes home because her name is Sarah Connor. And she's like, oh, that's crazy. Meanwhile, back at the police station where the.
00:26:16 I guess the head of the precincts black and again, not, not even that crazy. I looked it up. I wanted to see in 1984 in LA if you could.
00:26:25 If it would be reasonable to have a black.
00:26:30 Captain, I guess. And and that is reasonable in 1984 in LA, there was not a black chief of police until after the Rodney King riots in the 90s. But this is so far checking out.
00:26:44 You know nothing too crazy again. It's not like they're not. They're not heavy handedly.
00:26:50 Making him a super asshole about everything and and you know.
00:26:55 Banging a white chick in front of everybody. I mean, he's he's a little bit of an asshole, but, you know, not not again. It's not. It's not. Not over the top like it would be in movies today.
00:27:09 Let's see here why is this not working?
00:27:15 Did you reach the?
00:27:15 Next girl. Yet no, I keep getting an.
00:27:17 Answering machine.
00:27:18 Sender unit.
00:27:19 I sent a unit. There's no answer to the door and the apartment manager's not home. Call her.
00:27:23 I just called.
00:27:24 Call her again. Give me a cigarette.
00:27:33 So you know it's it's a little demanding power over the white man, but whatever. I'm over it. I'm over. It probably wouldn't have noticed it if if I'd watched that in 1984.
00:27:47 So then Sarah Connor goes out to dinner with herself and on TV, there's another Sarah Connor that's been murdered. So now there's 2 Sarah Connors that have been killed and she's freaked out because, well, her name is Sarah Connor.
00:28:05 And she thinks there's maybe a serial killer on the loose that's going around killing Sarah Connors.
00:28:12 And then she goes to some weird nightclub. Now, this is another. Apparently. I mean, there's so many of these imaginary punk rock people.
00:28:20 Back in the in in Hollywood in the 80s that they had to have their their own clubs that they would go to to hang out like this one called tech noir.
00:28:30 And there's not as many punk rocky people as I mean the people that work there are all those punk rocky people. But I guess the attendance or the attendees rather look rather just 80s. So she goes to this 80s club.
00:28:46 Meanwhile, Arnold the robot goes and kills her roommate and her roommate's boyfriend while she's gone, because he's looking for Sarah Connor.
00:28:55 And that's when the answering machine pops on.
00:28:59 And he hears.
00:29:02 Sarah Connor saying, hey, it's Sarah Connor, and I'm at this tech noir place.
00:29:07 And because Arnold's killing all the Sarah Connors, he's like, oh, sweet. Now I know where she is. And then she notices the other guy that came in a plasma energy ball.
00:29:18 The guy that stole the pants on the homeless guy and had the Nike product placement.
00:29:25 Uh.
00:29:26 And then a few moments later, Arnold shows up because he's he he knows where she is now.
00:29:33 You have him pull out a gun.
00:29:36 She freezes like a deer in headlights.
00:29:40 And that other guy that came from from the future pops out from behind the bar and blasts Arnold and saves her.
00:29:49 Then they get into a car.
00:29:51 And start driving off and there's a a bit of a car chase.
00:29:56 Where he's getting away from from the Terminator and they hide in a parking garage. And here's the other thing you'll notice. And this is something that is going to make a big difference between this one and the and the future or the the ones that they.
00:30:14 Made later.
00:30:15 The special effects.
00:30:17 Are not the only thing that changes, and it's not just influenced by the technology. Now. Sure, you can look back at this like the car chase for example. In this first film, the car Chase in this first film, they didn't have any CGI, you know, trucks or cars or or whatever. It was all just.
00:30:38 Real trucks and cars that they had, you know that stuntman, I guess. But they had to really do the driving and really accomplish with real world physics what it was they were trying to.
00:30:50 Do.
00:30:50 And it was because they were forced to work within these these bounds.
00:30:56 That it actually, you know, I don't know. I think I'll make the case for after you'll see some of those other examples. It actually turns out being more believable because you're watching cars doing things that cars can actually.
00:31:11 Really. Do you're not watching cars that are using made-up physics in a computer? You're watching cars actually do.
00:31:19 Real things on film.
00:31:22 So the car chase that while it's maybe not as super as exciting.
00:31:28 It's real and it's so your your suspension of disbelief is maintained. You're just watching. At no point are you sitting there going. What that wouldn't happen. You're just sitting there going. Ohh, OK, cool car chase.
00:31:43 So then they get into this parking garage and he explains to Sarah Connor what the Hell's going on?
00:31:50 All right, listen, the Terminators and infiltration unit part man part machine underneath, it's a hyper alloy combat chassis, microprocessor controlled, fully armored, very tough, but outside it's living human tissue. Flesh, skin, hair, blood grown for the cyborgs.
00:32:10 Look, Reese, I don't know what you want.
00:32:11 Pay attention, I'm gonna ditch this car.
00:32:19 The 600 series had rubber skin. We spotted them easy, but these are new. They look human sweat, bad breath, everything very hard to spot. I had to wait till he moved on you before I could 0 him.
00:32:34 Look.
00:32:35 I am not stupid, you know, they cannot make things like that yet.
00:32:40 Not yet.
00:32:42 Not for about 40 years.
00:32:47 Well, longer than that, cause it's been about 40 years. We don't have those things yet. But anyway, the the cool thing about this or the different thing I would say, the more believable thing about the way they present this scenario for the audiences in 1984 versus the later films is.
00:33:05 He lays it out in a very simple to understand and plausible way, he says. Maybe a couple buzzwords that are ridiculous, like hyper alloy, like, come on, whatever that is and and he says microprocessor like that's some kind of, you know, fancy new word which I guess in 1984.
00:33:24 Have been.
00:33:25 But you, an audience, can watch that today, all these years later. And it makes sense still, right? It makes sense. OK, so there's these robots and the initial version had rubber skin, and you could tell the difference. And so these these are new robots, these new Terminators.
00:33:45 Have living flesh on top of them so they can look like humans and pass for human.
00:33:51 OK, that all makes a lot of sense. And yeah, I'm not. I'm not having to make any massive leap of faith because I'm already doing that by buying the idea that this is happening. This is something from the future, right? So if it's a technology that doesn't exist.
00:34:09 Yet then you don't have to explain all all the specifics for me to at least kind of buy the the basic idea as an an intelligent person can hear that concept and say to themselves.
00:34:23 OK. On a conceptual level that that could happen, you could do that. No, not now, not but. But you could do that.
00:34:32 So that so far we're so far with this film, we're like, OK, OK, so again, I'm having to already buy a couple crazy concepts like time traveling robots and whatever, right. But so far, you're not saying anything that's that's provably or or or with the knowledge we have.
00:34:52 Today impossible.
00:34:54 Right.
00:34:55 So she's she's kind of saying the same thing. She's like. OK, well, we can't do that.
00:34:59 Yet.
00:35:00 That's because I'm from the future.
00:35:03 And he's saying it's from the future.
00:35:05 One possible future.
00:35:08 From your point of view, I don't know tech stuff.
00:35:12 Then you're from the future, too. Is that right?
00:35:15 Right, right.
00:35:25 Cyborgs don't feel pain. I do.
00:35:29 Don't do that again.
00:35:31 Just let me come and understand.
00:35:35 That Terminator is out there.
00:35:38 It can't be bargained with. It can't be reasoned with. It doesn't feel pity, or remorse or fear, and it absolutely will not stop. Ever.
00:35:51 Until you are dead.
00:35:57 Now again, what sticks out here is she's easily overpowered.
00:36:03 By the man. She's not doing some kind of fucking super judo move that throws him through the fucking car window or anything like that. She tries to bite him or something like that. You know, in real.
00:36:16 Life your options are are kind of limited as a woman who's physically outmatched as she is, and in the situation that she's in, so she's she's easily physically overpowered and and to some extent you could say even right now in this situation she has been mentally overpowered.
00:36:36 He has convincingly laid out a scenario that she has to at least consider. Maybe she doesn't buy it 100%.
00:36:44 But she's not like, I don't need no man to tell me what's going on. Or, you know, she's not. She's not necessarily fighting it. She's considering. OK, well, this is, I guess, one possibility of what's going on. I mean, there it is. Kind of a weird day. Every Sarah Connor is getting killed today.
00:36:59 Hey, I mean.
00:37:01 There was this weird psycho with a shotgun.
00:37:04 Trying to blow me away just a minute ago and this guy comes out of left field and saves me. I maybe I should think about what he's saying.
00:37:12 So she's still, you know, again in some ways a damsel in distress, like a little bit of a damsel in distress at the mercy of this guy, right?
00:37:26 It was a nuclear war.
00:37:30 A few years from now.
00:37:34 All this.
00:37:37 This whole place, everything.
00:37:40 It's gone.
00:37:43 Just God.
00:37:46 Survivors.
00:37:48 Here there.
00:37:52 Nobody even knew who.
00:37:53 Started it.
00:37:59 Now this is in line with.
00:38:02 A lot of fucking movies.
00:38:05 Of this era, it wasn't even just that the idea that there'd be some kind of nuclear Holocaust, necessarily. But it was that the future was going to suck.
00:38:15 The future was bad.
00:38:19 And it's again, it's not just Terminator. It was almost every big movie that concerned the future. Every big story.
00:38:28 That was entertaining people in America even, and well, the western world at large. There were no movies about some future that was really awesome.
00:38:39 Well, I mean, what, what, what, what? Tell me what it is. Tell me the movie.
00:38:43 That was in the 80s and 90s that depicted a future where everything was great, or even or just better, even even just like a little bit better.
00:38:55 It was all a hellscape.
00:38:57 It was all a hellscape. Every single movie think about it. You had Blade Runner.
00:39:02 Blade Runner was like this fucking dystopian hellscape full of also full of AI robots in a in a way, and it was very diversity filled. There was obviously a lot of anxiety around Japan at the time that they made Blade Runner, and so you had this.
00:39:24 Asian flavor. I think that kind of played into this.
00:39:28 At the time, their their worry about their their xenophobic worry was from Japan that, you know, cause of the rise of big companies like Sony and all the electrical manufacturing that used to take place in the United States. It was all going overseas to Japan.
00:39:46 And that that all happened really quickly. It it pretty much all happened between 1960 and 1980, like the whole 70s. It's it's kind of like I've talked about before, where I I like having old.
00:40:01 Ham radios and all the every ham radio in the world really was built in America, with a couple exceptions, but for the most part they were all American manufactured and American. Or in America, with all the the components inside also manufactured in America.
00:40:21 So and and and and assembled in America.
00:40:24 So from start to finish you know the capacitors were American brand capacitors. The resistors, every little piece, the wiring, everything was made in America and you went from that reality in say the mid even up to the late 60s even maybe the early 70s.
00:40:42 To by 1980, I think there were zero. I'm I'm pretty sure there was 0 ham radios being manufactured.
00:40:50 In America, so in in less than 10 years, you went from every manufacturer to zero. And that wasn't just ham radios. That was the case for televisions. That was the case for just regular stereo systems. I mean, look, there were other countries maybe making some of these products, but.
00:41:10 There was a time that every television was was manufactured in America, and it all went to all that went over to Japan, and now it's now it's moving over to China.
00:41:21 But there was a lot of anxiety about that. You know, the Japanese take over, you know, you might remember die hard, which was made around the same time. The The wife works for some Japanese businessmen and some big, you know, building that was, that was kind of the you.
00:41:39 Know.
00:41:40 The anxiety of the time.
00:41:42 Uh. But you also had, look, you had escaped from New York. Yeah. Again, it's New York is like some fucking hellscape. This was. This came out in 1981. You had Mad Max, which also or I guess Mad Max 2 came out in 1981. Also a post apocalyptic hellscape.
00:42:03 You know, and and by the way, Mad Max 2 also featured the The Weird Mohawk people. You know, it was like entire tribes of of these weirdo mohawks, slash, rollerblade elbow pad people.
00:42:22 So Mad Max had that you had the running man, another Arnold movie.
00:42:27 You know where this is? What the the city was supposed to look like, and in the running man, where it's just.
00:42:34 You know, full of pollution and everything's over built, you've got RoboCop.
00:42:42 RoboCop.
00:42:44 You've got, you know, this again. Here's and who are the bad guys and RoboCop, also the same kinds of people, you know, the the white guys with mohawks and and leather vests.
00:43:02 But it it's every movie, every movie in the 1980s had this view of the future that was bad.
00:43:11 It was bad. It was. No one looked at the future and thought ohh man, I can't wait like that. Like you had maybe. I guess one exception. You could say it would be Star Trek, right? Star Trek was I guess the answer to all these dystopian futures and that was.
00:43:32 A multicultural Wonderland right where we all kept exploring space, which, by the way, that's a very white man thing to want to do.
00:43:42 White people. I've always been the world's explorers. White people have always been the world's settlers and and, you know, we get called names like colonizer for it. But I'm my family. We're proud colonizers. I'm totally OK with with being called a colonizer. There's nothing dirty about wanting to build.
00:44:03 Colonies going to go explore the world, or in the case of Star Trek the universe and and build colonies.
00:44:10 But it's a very white thing. That's why it appeals to white people, and then they throw in all this fucking diversity to make it seem as if, you know all these problems that you have now with black people starting riots and and burning cities down here in the 1960s. Well, that's all going to work itself out. That's all going to work itself out. And eventually we're going to have in space. It'll be great.
00:44:33 You know, actually the The funny thing is if you think back to the the first Star Trek, they didn't even that was too implausible. I think for for audiences of of when whenever that aired it was 1960 something.
00:44:47 And so there were no black people in.
00:44:48 The.
00:44:49 In the first, the first crew, Oh no, there was the black woman who was basically like a secretary.
00:44:56 She was, she answered, the phones. You know, she basically answered the phones.
00:45:02 But yeah, it was, it was still.
00:45:05 You know, it was, it was promoting this idea. That's that's what we're gonna have. But that's the only example. That's the only example. Everything else. And especially when it comes to movies.
00:45:15 There was this dark, foreboding smoke filled, diversity filled, trashed, littered view of of the future, and this just fits right in.
00:45:28 And so he's, he's sitting here, warning, warning her about a a future that.
00:45:35 Really sounds plausible to her in identity 4, because between this you know all the art kind of reflecting this idea that the, you know, everything's just going to keep getting worse. And it did.
00:45:48 It.
00:45:48 Kid.
00:45:49 We we now live. It's not as aesthetic, unfortunately as say, Blade Runner. I would, quite frankly, much rather live in the hellscape that we live in now if it looked like this. You know, there was. If there were more neon signs, more neon signs, even if they're like in Japanese or whatever, like, I'd, I'd be OK with that.
00:46:09 But we just, you know, if only we had more neon signs and if and.
00:46:14 It was, you know, like, even like the mist, I kind of like the mist, even that even if that's, like, deadly pollution.
00:46:20 There's something, you know, something aesthetic about it, but instead, you know, we just get boring, boring hellscape future.
00:46:27 But that fits right into what she would be expecting. And so she's kind of buying it.
00:46:35 It was the machine. Sarah, I don't understand.
00:46:40 Defense network computers.
00:46:43 New powerful.
00:46:47 Hooked into everything.
00:46:49 Special thanks to our sponsor Palantir.
00:46:53 Trusted to run it all.
00:46:56 They say it got smart.
00:46:59 A new order of intelligence.
00:47:02 Then and so all people. It's a threat, not just.
00:47:07 The ones on the other side.
00:47:11 Decided our fate in a microsecond.
00:47:15 Extermination.
00:47:17 You know, I think AI will probably like most likely sort of lead to the end of the world, but in the meantime, there will be great companies created with serious machine learning.
00:47:28 So so far realistic.
00:47:32 So far realistic.
00:47:34 He talks about a future in which a company is trusted with controlling all of our systems with an AI.
00:47:44 And that it's going to be very super convenient and that's why people will want to do it and that's why they'll do it.
00:47:53 And that it'll destroy humanity.
00:47:57 And this is something that.
00:48:01 Is not implausible. It's not implausible. We do have companies like Palantir who are trying to implement AI solutions that connect all of our systems together and coordinate all of our systems, not unlike the the Skynet the way it's described in the films.
00:48:19 And it really very much could cause the the death of humanity, should we ever give it any kind of autonomy, which it's going to have to have some.
00:48:30 It's going to have to have some autonomy or it really it's going to be useless in order to have you don't just.
00:48:37 Use AI to tell you how to bake cookies a certain way, or you know, like a lot of people are. Most people that use AI today use it the same way people used Google before they were using AI or or maybe even YouTube, where they want to learn how to do something around the house. Or maybe they want to learn.
00:48:58 Something.
00:49:01 You know about like, a a movie they just watched, or an actor or, you know, it's just they're instead of Googling things, they're they're chat GP teen or or grokking it or whatever. Right. And that's that's how they think of AI is. It's just like this big database that talks to them and plain plain English. But that's not really the way that.
00:49:20 It is going to be implemented or that it's even being implemented at at different companies or even like on an industrial scale where you know to operate machinery and whatnot, and you're already seeing, you know, the rollout to things like self driving cars and and whatnot.
00:49:39 So there's got to be some kind of decision making that it's allowed to do some kind of autonomy or it's it's pretty much useless or at least very limited in in what how useful it can be. So there does there does exist a pathway.
00:49:54 To a kind of future like is described in in Terminator. So this this is well ahead of its time. The concept always existed. Like I said, even if you look back at the 1960s with 2001 Space Odyssey, which was a book before that, I don't maybe that I don't know when the book was written.
00:50:13 So you have got a several decades in which humans are are well aware that at some point we might create technology that is aware that it's self aware and.
00:50:28 It might be.
00:50:31 Of the opinion that we should not exist and it might.
00:50:35 Maybe not initially, but it might get itself in a in a position where it can make that happen.
00:50:42 So these are all relevant, you know so far holds up the story structure, is not super crazy yet. It's actually, you know, you could say like, oh, this, this actually could still be a.
00:50:54 Movie today, right?
00:50:57 Then there's like some car chase, and like I was saying before, the car chase where Arnold's driving a stolen police car and they're driving whatever piece of shit car the 80s car that is, it's it's not the most exciting.
00:51:12 Car chase. But they had the actual, in fact, to make it more exciting, there's a couple of shots that look kind of hokey because they literally just speed up the footage to make it look like they were driving faster and.
00:51:20 Looks.
00:51:22 You can tell.
00:51:25 You can tell it's it's in Fast forward, but you know, aside from, you know that it's it's realistic, it's realistic.
00:51:32 Looking in terms of, there's no there's no cars jumping off of on ramps, you know, you know, over over bridges and, you know, into a helicopter or anything like crazy like that.
00:51:45 Eventually they crash and the police surround them and arrest them. Arnold gets away.
00:51:51 And they take her to the police station with the the black captain. And of course, the the, the, the realistically cast Jew. Now, you don't often see this.
00:52:05 You don't often see this is one of the few. In fact, as I watched this with my noticing eyes which I didn't have, the first, you know, the last time I watched Terminator was long time ago. But now, with my noticing eyes, I was like, well, well, holy shit. Would you look at that?
00:52:21 Would you look at that the, the sniveling, weird psychiatrist?
00:52:28 They they actually cast him.
00:52:31 Realistically.
00:52:34 Sarah, this is Doctor Silverman. Hi, Sarah.
00:52:38 Yeah.
00:52:40 Ah, doctor Silverman.
00:52:44 Doctor Silverman, the the creepy Jew doctor.
00:52:48 So she meets this, this psychiatrist who's who's Doctor Silverman?
00:52:55 The creepy Jew doctor. And they started interrogating Reese. The guy from the future, and he's trying to explain. I'm from the future. I'm trying to save you guys and Sarah Connor from this robot. And they're all laughing their asses off like that fucking idiot. And while they're laughing their asses off.
00:53:14 The the killer robot that he's that they don't think exists, played by Arnold shows up and this is where you have his famous line that is now like his catch phrase.
00:53:25 I'll be back.
00:53:28 And back he is, he comes back.
00:53:31 With a bunch of guns and.
00:53:34 Starts shooting cops all over the fucking place.
00:53:37 And again, it's it's kind of realistic. There's no one doing backflips over desks and and shooting, you know, weirdly like it. It's all part of it. I wonder. I see. Here's the thing.
00:53:51 As audiences, audiences change the the the movies you put in front of them also have to change to reflect that change. We'll get more specific here in a moment, but I almost wonder it when it comes to movies like this that were made in the 80s or even like in the 70s, or maybe especially in the 70s.
00:54:11 A lot of the people that would be going to see some of these movies would be would be people that were really familiar with firearms.
00:54:19 Not just because there were more the the laws were a lot more flexible back then, but because you had a lot more Vietnam vets, people that had actually handled guns in war time, walking around, watching your movies and they knew what guns could and couldn't do and their suspension of disbelief.
00:54:40 Would be negatively affected if you were doing like stupid gun.
00:54:43 Things. So I think that's part of it. Obviously part of it is the technology and they had to use only practical effects. So just like with the car chases, anything that they did with the guns, they had to actually do, there was no green screen or or stupid shit like that.
00:55:11 Yeah, not the best acting. Always kind of hokey sometimes, but it is what it is.
00:55:17 So Arnold's blasting the the cops kills all the cops, basically in the in the police station.
00:55:24 Reese from the future get Sarah Conner.
00:55:26 And they escape.
00:55:28 And they sleep under a bridge one night, and this is the this is the one I started to realize as I was watching this part another thing that's changed is it's kind of crazy to think that you could even just disappear in really any meaningful way these days, or at least easily.
00:55:48 Whereas in 1984 going off Grid was pretty easy because you were mostly off grid all the time anyway.
00:55:57 Right. There were. There were no one had cell phones, like literally no one had cell phones in 1984, very few places even had cameras. You know, like security cameras and the places that did have security cameras, those cameras were not tied into anything on the Internet. There was no Internet.
00:56:17 They were tied into a VHS tape in the back office.
00:56:21 That was on a 24.
00:56:22 Hour.
00:56:23 Loop and so.
00:56:25 To be off Grid was was pretty fucking easy to do, because if nothing if you know that store didn't get robbed in those 24 hours it got taped over. So even if you went to a store and and and the cops were to, you know, followed your trail and tried to figure out where you had been, you know, and and they knew you.
00:56:45 You had been at this Circle K buying something and they asked for the tape. Well, if it had been like a few days, that tape wouldn't have you on the tape anymore because they just taped over the tapes. So even just leaving any kind of forensic trail.
00:57:02 Electronically, anywhere it it didn't exist, there were no license plate cameras. There were no traffic cameras.
00:57:11 If you got out of town, no one knew where the fuck you were. There was no GPS. GPS didn't exist. There was no GPS. And you know, circuitry in your car, you were just.
00:57:24 Free.
00:57:26 That was that.
00:57:27 So that that that's something that we've lost and we'll never, we're never getting that back. We're never getting that back. But there was a brief period in time where we had the technology to drive around in a car. So you didn't have to just, you know, go hiking around in the jungle, so to speak and and you could still be in a car.
00:57:48 And still and and and listen to the radio on the car have some kind of form of electronic entertainment and no one knew where you were.
00:57:57 You were completely unreachable, completely untraceable.
00:58:01 For giant parts of the country.
00:58:05 So anyway, they're just under this bridge.
00:58:08 And.
00:58:11 He tells her about the future and how it's like this hellscape.
00:58:16 Meanwhile, Arnold gets because there are no computers, there are no other ways that he could find out this information is he gets Sarah Connor's address book, something that no one even has anymore and flips through it and finds.
00:58:19 The.
00:58:34 Her momma's address.
00:58:37 Which I looked up to see if it was a real address.
00:58:40 And if it was a real address, it would look like this, but it's not a real address, it's in between one of these houses, though, if it was.
00:58:50 But apparently there is no 181 Spruce lane.
00:58:54 But there's the numbers around that Spruce Lane in Big Bear. Big Bear is kind of a.
00:58:59 Interesting part of the country anyway, so now he knows where the mom lives. He starts marching off to go.
00:59:08 Check out if it's the moms cabin that she's going to.
00:59:11 They stay at a hotel.
00:59:15 And of course, while he's gone once again, it's this is this is all believable. Even though he tells her, hey, don't, don't tell him where we are.
00:59:25 She she's a stupid girl and she has to tell her.
00:59:27 Mom.
00:59:28 Where she is, and so she tells her mom.
00:59:32 Who, of course, has been murdered by the robot who mimics the mother's voice, and so she is. Unwittingly, she's unwittingly told the robot.
00:59:44 Where she is. Then when Reese comes back, who has no idea that she's told the robot they're location.
00:59:52 There's this kind of funny scene I always wondered as a kid.
00:59:56 I always wondered if like this was realistic.
00:59:59 He comes back from the grocery store with a big bag of stuff that apparently you can make C4 out of.
01:00:11 What have we got?
01:00:16 Mothballs corn syrup.
01:00:21 Yeah. What's for dinner?
01:00:24 Plastic. That sounds good.
01:00:28 But is it?
01:00:30 Nitroglycerin based it's a bit more stable. I learned to make it when.
01:00:34 I was a kid.
01:00:39 Now.
01:00:40 I was kind of as a kid. I was. I was into the anarchist cookbook kind of stuff and trying to make little bombs, not like as I was going to do any terrorism because I lived in the desert and we could blow shit up in the desert and.
01:00:52 You did.
01:00:53 And so I'm always curious, like, can we blow shit up? We using using mothballs and stuff. Funny thing is, all these years later I asked AI about this recipe and it said that you could, but it wouldn't be very effective. And then without me asking for this is what was hilarious and yet again highlights possibly some of the the unintended consequences of AI.
01:01:15 This was grok. Grok. After telling me well, it wouldn't be very effective explosives. But you know what would be?
01:01:26 I was like, what realistic alternatives? It's like, yeah, if you really wanted to make explosives to create improvised explosives, more viable. You know, maybe you should get some ammonium nitrate, potassium chlorate and acetone and hydrogen peroxide. It's like what?
01:01:48 So.
01:01:51 So Greg Brock told me that while while the mothballs and all that shit probably wouldn't be very good at at pipe bombs, that these these might be better alternatives, just like that's that's hilarious.
01:02:05 So anyway.
01:02:11 So now even with that as far as realism, because that's kind of what the focus is tonight is like, even though this is a movie about robots from the future or.
01:02:19 Whatever.
01:02:20 As far as realism goes, you can say whatever they can be forgiven for not having actual bomb recipes in their movie right, like OK.
01:02:31 I'll give him that. That's fine. You don't have to have actual bomb recipe.
01:02:36 In your movie, most people aren't going to be, you know, aren't going to know. Most people aren't chemistry majors and and can't look at those ingredients and and be like, oh, that's ridiculous. And and even even the ones that are.
01:02:51 Apparently it's still, it can still make something of an explosive. Combined, you know combining these ingredients.
01:03:01 So they make these weird pipe bombs using.
01:03:04 You know, whatever.
01:03:07 And Arnold is hot on the trail.
01:03:11 Arnold starts to track them down.
01:03:14 And of course.
01:03:16 Reese gets it on with Sarah Connor.
01:03:20 And.
01:03:23 You know, baby, making music.
01:03:26 And Arnold kicks the door in. He's ready to kill them all, but they've escaped. They've escaped because a doggo was barking.
01:03:35 And the dogs are can sense Terminators. Dogs apparently hate Terminators, and so the barking dog alerted them to their to his presence. They ran away. So all that was left was an empty bed full of broken dreams.
01:03:49 And broken condoms.
01:03:52 They then get in a truck and start driving away and again it's it's somewhat realistic, you know, they're not jumping the truck off of.
01:04:01 Buildings and driving through office buildings with it or anything like that. It's just they're just driving on the road fast away from a motorcycle and those little pipe bombs he was making, they're actually, they're about as effective as maybe they would have been, where they're not really effective. He's like just throwing them out out the back.
01:04:19 Of.
01:04:19 The I don't know what I mean.
01:04:21 I don't know. He's thinking this is like, the dumbest idea ever. I'm going to light a fuse and then throw it out the back of the truck, and the explosion will somehow get the motorcycle that's chasing us.
01:04:31 But it it really realistically doesn't work. So yeah, it blows up, but it's like, you know, what are you? Not exactly the most targeted weapon here.
01:04:43 So he ends up getting shot by the robot that's chasing them with the motorcycle.
01:04:49 And.
01:04:51 He he gets them to crash their truck again, they they actually had to crash a truck, so the crash looks fairly realistic.
01:05:01 And as he he moves in to go do the kill shot this this happens.
01:05:07 Oh my God.
01:05:59 Whoa.
01:06:10 Now, now this of course, I think illustrates the the biggest difference in the side of the ties. You know, we've talked about how technology has changed and everything else. And to illustrate this further, I edited it so that this is if you were to shoot this movie The day. This is more of what it would look like.
01:08:38 Wait.
01:08:45 Hey.
01:08:50 Filter.
01:08:52 Jacob.
01:09:46 So that's what it looked like today. But this is back when the truckers were still white. So it was a little bit, you know, a little bit different back in 1984, you had white truckers. So that's not what happened. They actually stopped the truck.
01:10:00 To see what it is that.
01:10:01 They.
01:10:02 They ran over. They actually get out of the truck to to see if maybe they're OK. If it was a person, you know?
01:10:09 Anyway, I'm mad that the audio dropped out there. It's the audio dropped out for like a good part of the first bit. Yeah, it it finally came back.
01:10:19 But.
01:10:20 Anyway.
01:10:22 Anyway, that makes me angry. I put all that time into the the fucking audio.
01:10:27 All the special effects sounds anyway.
01:10:31 So because they stop because they're white and they don't. Just.
01:10:36 Act like whoa, what's going on?
01:10:40 The Arnold gets into the truck, starts chasing them. Of course. This when Reese throws A1 of the his last pipe bomb into the back of the truck.
01:10:52 Blows it U to smithereens.
01:10:55 But the robot is still alive. It's still alive.
01:11:04 And it's stop motion and the stop motion is kind of cheesy. There's actually, like a lot of stop motion. That's kind of cheesy.
01:11:12 You know, there's this walk.
01:11:20 Because that's all they could do. They didn't have.
01:11:23 Any computer graphics? So they literally had to build a miniature Terminator and then animate it frame by frame, because they also didn't have the technology to make a a robot that walks around.
01:11:37 And because it it's 24 frames per second, you know film is and that would take a ridiculous amount of time to animate.
01:11:47 And also to get it to be smooth, it would just even if you were doing 24 frames per second.
01:11:53 Wouldn't exactly work out that great. So there's there's a lot of hokey, you know, this kind of stuff.
01:12:09 Now that shot looks extra bad because again, this was they did have green screens.
01:12:16 But you kind of had green screens in the same way that weather, well, actually I would even say that the weather section of local news green screen is today is way better than what they had. But you you sort of had I guess back then they used blue screens instead of green screen.
01:12:34 But you can you can tell that they're compositing 2 separate shots. That was like the the the peak of of compositing, really that you could do and the color doesn't match up. The the angle doesn't really match up that great. There's there's a perspective problems, you know.
01:12:53 So and that mixed with the fact that you're seeing real time people moving around as well as the stop motion at the same time, it really makes the stop motion stand out.
01:13:05 So he slams the door. He's like, Oh my God, we gotta get away from these, this this guy.
01:13:12 Here's some more you know, hokey stop motion that sticks out.
01:13:27 So you can tell like this shot right here is where they.
01:13:29 Have.
01:13:29 A A life-size torso that they're kind of operating like a puppet. And because the camera is too close for you to realize that it's a puppet. But as it switches from that to the the wide shot with that is the composited in.
01:13:44 Stop motion. It's kind of it's a little bit jarring for today's audiences.
01:13:56 Yeah, it's very, very unnatural looking now, some people would say the unnaturalness actually added a little bit to it, but I think that's cope.
01:14:19 So I'll re suicide bombs, the Terminator.
01:14:23 And blows it all to hell.
01:14:27 But you can really, I mean, you can just really that's like the.
01:14:31 The most standy Audi, I think out of.
01:14:33 All of it.
01:14:37 It just looks really bad and now there's been people on the Internet that have actually gone.
01:14:44 And they've taken this footage.
01:14:46 And with computers.
01:14:48 They interpolated the frames, they they got the computer to.
01:14:55 Guess they would give it 2 separate frames.
01:14:58 You know well, in in this case the just the frames of the movie, but they would increase the frame rate to 90 frames per second or something. I think maybe 96.
01:15:09 And then tell the computer. Well, you've got, you know, frame one and frame 2.
01:15:14 You now have to insert 10 frames.
01:15:17 Between these two frames, in order to make it 90 frames per second and the computer did that and then they would resample it back down to 24 frames per second, which is what film is.
01:15:29 And.
01:15:30 It's surprisingly good for stop motion. It's surprisingly good.
01:15:36 So this is someone just on YouTube.
01:15:39 All that choppy, jumpy.
01:15:42 Stop motion actually doesn't look bad if you just resample it.
01:15:46 And this is the kind of thing that if they're going to fuck with old movies, you know, remaster old movies, I don't think anyone would complain about, you know, it's only when they start switching the guns in the FBI agents hands into walkie talkies and gay shit like that. But if you're going to smooth out choppy, stop motion only anyone's going to bitch.
01:16:12 So this has been smoothed out.
01:16:56 And it doesn't start looking bad again until.
01:16:58 That some positive.
01:17:00 When you make this shot with the door.
01:17:02 With the green stroke.
01:17:11 We may even know that this looks better.
01:17:13 You can still tell it's a.
01:17:14 Bad.
01:17:15 Bad composite the perspective is wrong and the the color grading's wrong.
01:17:21 But it's not as jarring as it was before.
01:17:31 Fucker.
01:18:10 So anyway, the.
01:18:14 The animation itself wasn't bad, it was just the technology getting in the way. There's a reason there's a reason we're talking about special effects, but I promise.
01:18:22 I promise it's not just cause like I studied this when I was a kid.
01:18:28 So yeah, he sacrifices himself and because he's dead, there's no one to save her. When the torso is still alive and it chases her through this.
01:18:37 Big, conveniently located smashing or hydraulic press thing or whatever that she smashes it in and kills it finally. But again, she's never doing any kind of superhero shit. She's never doing any kinds of like, backflip. She's not ninja kicking the the.
01:18:55 Eight 1000 pound robot to death or anything like that. She's just crawling away like a frightened girl and gets lucky because it's a movie. Again, it's a movie. Whatever. It's not it. Nothing too crazy about her in this. What mystery? Toilet factory? About having a hydraulic press there. And she's carried off by.
01:19:17 The paramedics.
01:19:19 And then she's shown pregnant.
01:19:22 In a dress, she's still kind of somewhat feminine, even though she's.
01:19:26 Donning some.
01:19:29 Aviator sunglasses and there's another technology difference that microphone she's got that 1980s.
01:19:37 It's funny because, you know, in the 1980s that looked kind of futuristic and.
01:19:42 That just looks like weird.
01:19:44 And there that this this shot is obviously a matte painting in the background. That's not a real background. And and again it's a, it's a technology thing you can tell that's like a glass plate that they paint it on a different background.
01:20:00 All right, so next, Next up we have Terminator 2. Terminator 1 was so successful that the budget increased dramatically.
01:20:09 But the technology also changed Terminator one came out in 1984.
01:20:15 Terminator 2 came out in 1991.
01:20:19 Still, James Cameron was in charge. It wasn't taken over by Jews or or or just people trying to make a buck off the franchise. This was still his baby. He cared about the.
01:20:33 Sorry, but if you think about Terminator one, it's it's kind of before we go into Terminator 2, Terminator 1 was.
01:20:41 The story structure was good. It was. It was. Even though it's an action movie, a sci-fi movie, it was sensical, like, again, you have to, you have to buy into the idea that there's time machines and robots and whatever, right. But that's what you're you're watching a movie about time travel and robots. What do you expect? Right. And so you're, you're obviously.
01:21:02 Going to be OK with that concept.
01:21:04 And every time they talk about the technology, with the exception of maybe the pipe bombs or whatever, it at least again, it's sensical. There's a logic to it. There's a rational especially for, you know, 1984 audiences. There's a rational explanation for everything. At no point, believe it or not.
01:21:24 Even though you're discussing time traveling Cyborg robot killer things, at no point are you distracted by something impossible happening.
01:21:35 At no point is the action so unbelievable that you're like, OK, you know what? What are we doing here?
01:21:44 The acting is pretty OK. You know, there's a couple instances that, you know, maybe didn't hold up to the test of time, but.
01:21:55 For the most part, when you talk about the, you know the the the actress that play Sarah Connor, you know the the actor that plays Rees.
01:22:02 You know, even Arnold, you know, obviously he doesn't have much acting. He has to do. He just has to act like a fucking robot. How hard is that? But it there's nothing. No one that's distractingly bad. You know, there's no. The writing is also believable. There's nothing in the writing that doesn't make any sense or dialogue that just seems.
01:22:23 There to be there, it's just it. It's a good movie. It's a good movie in terms of, you know, story structure in terms of production, especially given the context of 1984, which is why it did so well and why it it led to what many.
01:22:42 I don't know if I agree with them, but what many people say is one of the few instances where a sequel is actually better than the original, and in some ways it it it it certainly is. And one of those ways is budget. They had a lot more money to make. Part 2 in fact. Let me look this up real quick.
01:23:09 Let's see the 1st.
01:23:15 Movie was. Yeah, you want. Here's the difference.
01:23:19 The first Terminator they made was $6.4 million. Now that might sound like a.
01:23:24 Lot.
01:23:24 And tell you know that the second one they made with $102 million?
01:23:31 So that was a massive.
01:23:33 Massive, massive budget increase to go from 6.4 to $100 million.
01:23:41 And that also kind of shows you the box office expectations that they had for the the sequel, because with that $6.4 million.
01:23:55 The box office for the first movie was, yeah, 7878 million. So they they 10X more than 10X their their budget.
01:24:07 With the first movie, so they thought, well, fuck, you know, maybe we can do the same thing, which they didn't. But they did make 5. They made half a billion. They made $520 million.
01:24:19 On the second one.
01:24:21 So they made a lot of fucking money on the.
01:24:23 Second one here.
01:24:25 So the second one, same thing, it shows you a view of Los Angeles 2029, only now the the technology is a little bit better. So they can show more of it and have it not be.
01:24:41 Obviously models, although some of it's still not as good. Again, we're talking about 1991 there is there is in fact this is one of the movies to to heavily use computer graph.
01:24:52 Fix. In fact, this was I think, using Silicon Graphics machines. It was the the only machines capable of doing this sort of work, but there was they were still using a lot of models, a lot of miniatures, a lot of puppets. And you can tell in some of the footage here.
01:25:18 Like, that's obviously a miniature.
01:25:38 For the compositing better.
01:25:44 Even though you can clearly see the composite there, so it's a little bit better.
01:25:50 But they don't sit there and and just show you this stuff to show it to you. They are trying to tell a story. They are trying to show you that this is the future, that.
01:26:02 That they that these people, these time travelers are coming from and they don't have these over the top action scenes. It's just more to to set the tone for this is the war and the future that's going on.
01:26:14 And you see John Connor for the first time. You know, this is the what John Connor is going to end up looking like, apparently in the future.
01:26:24 And same sort of an opening you've got. Arnold comes back in a ball of plasma.
01:26:31 This time, instead of finding white people with mohawks and and spiky hair, it's different kinds of white people. It's bikers, you know, cause for some reason that's there's only people that he, he can all he can a riff Raff that he can encounter.
01:26:50 So he finds some Riff Raff and he and he beats them up.
01:26:53 And.
01:26:54 Takes their motorcycles and whatever, and he's.
01:26:57 He's off to go kill Sarah Connor. Maybe. Or or? Yeah. And again, most of you guys have seen this movie, but you got to think of it from the, you know, from the point of view of people that have.
01:27:05 Never.
01:27:06 Seen this, you would think, oh, it's like the first one, you know, he's he's the Terminator that's going to go back and and kill.
01:27:14 Kill Sarah Connor or John Connor.
01:27:18 Next, you have another guy that comes back, you know, just like in the first one in a plasma ball.
01:27:24 And one would maybe assume.
01:27:27 Oh, that's the that's the human that's going to.
01:27:29 Going to save them.
01:27:31 And here's the first time you see computers being used to track people in these movies. In 1991, technology had changed and they had upgraded a lot of this stuff to where instead of like in the first movie where Arnold was looking in literal phone books, in phone booths to find Sarah Connors in the phone book.
01:27:52 And their address.
01:27:52 Says now he this guy goes into a police car and they've got a computer that's not worked up and can look up people's names and addresses in 1991.
01:28:06 And the address for John Connor is this suburban home where he's in foster care.
01:28:14 And you've got this character that's written really to be as relatable as possible to Gen. X and millennial kids. That would be watching this and be maybe about the age of this kid in 1991. And even the ones that aren't necessarily themselves in foster care but suburban white.
01:28:34 Kids, that would feel like they might as well be in foster care, where they have these parents, these boomer parents that aren't really interested in their lives and kind of see them as as more of a.
01:28:47 A. A responsibility that they unfortunately have an added burden in their life than they than they do is an actual child. You know the the the foster dad is is sitting there preoccupied watching sports ball and totally out to lunch while the mom is.
01:29:08 Seems very unpleasant and and displeased with.
01:29:13 With John Connor and and look, a lot of this is just a lot of 80s and 90s.
01:29:20 In the same way in the 80s where you had the view of the future, was this grim, dark, smoky, multiethnic hellscape a lot of lot of popular movies and television shows that depicted family life.
01:29:38 Unless it was some kind of sitcom that was made, you know, like 4.
01:29:42 You know, like moms and dads to, you know, like family ties or, you know, something like that where it was like, oh, look at this beautiful Cosby Black family. You know, unless there was something like that, it was, it was really kind of depicted as this dysfunctional mess. And that's kind of what we've got here.
01:30:01 Yet.
01:30:01 To see where Sarah Connor has ended up.
01:30:04 And this is how this is another change. We went from the Sarah Connor that we were introduced to in the first movie as a damsel in distress. She was kind of feminine. I mean, she's not the prettiest girl ever, but she was kind of feminine. And she was a waitress. And and sure, she got away from the Terminator, but it's not like she was doing any kind of.
01:30:25 Back Flip, ninja stuff, anything like that. A lot has changed culturally. A lot has changed culturally in the country between 1984 and 1991. This isn't just an evolution of this character to a line with the.
01:30:43 The story where she's supposed to give birth to this this fighter. Now I think a lot of people could sit down and watch this movie and chalk up the the changes that we're about to see to exactly that we're ohh. No, it's not that. You know, it's not actually trying to transmit, you know this image of girl power in the minds of of the audience.
01:31:04 It's just that she's, you know, she's an anomaly. She's gonna have John Connor as her kid or whatever. But if you've looked at we we've talked about in the past, another example of.
01:31:16 A franchise that went on for several years during this exact same time period was cheers where you had like the first season of cheers in the early 80s where Sam, the bartender at cheers is like this womanizer and by the 90s, when they when they wrap up the show, he's this pathetic man.
01:31:36 With a female boss who is dominated by women and and and and and he's basically like a has been he's a a dinosaur from a from a era that's that's gone, you know, a misogynist era. The what that is is no longer relevant.
01:31:55 And so having the context of other media, I I I see this more as an evolution, not so much of Sarah Connor into this badass bitch that is required for the movie to make sense.
01:32:10 And but more so a, this is just how the culture was going. I mean, this is.
01:32:14 How they introduced her.
01:32:28 This next patient of interest.
01:32:30 So she's like this badass. She's flipped her bet on its side, and she's doing pull-ups in this psych ward that she's in.
01:32:39 The Jew doctor is is afraid of her because she's all super scary and so he's intimidated by her.
01:32:48 And then you also have this kind of a dynamic.
01:32:52 Where these unattractive?
01:32:56 Chubby fat man. These these, the the they're purposefully unattractive. They're purposefully the kind of man that no woman would be attracted to. They go in there and physically dominate her.
01:33:13 Trying to take your meds, Connor.
01:33:16 You take it.
01:33:18 Now you know you got to be good because you're up for review this.
01:33:20 Afternoon. Not taking a tugging. I don't want any trouble.
01:33:22 No.
01:33:25 Ain't no trouble.
01:33:33 Yeah, zapper.
01:33:44 Last call sugar.
01:33:45 Hey.
01:33:50 And even lines like that last call sugar. You know the the misogyny is very thick in the air.
01:33:57 So it's it's very obvious what they're doing here. They're creating like this. You know, she's being kept down by the men to some degree. And it look, this will be more obvious a little bit later here.
01:34:10 Meanwhile, this this guy that took the place of the cop who you think might be the good guy who's trying to save Sarah Connor or John Connor is looking for John Connor. Can't find him anywhere because he's out hacking an ATM machine with a. Actually, it was the world's first palm computer.
01:34:29 It's it's an Atari I, you know, even when I saw this.
01:34:34 The first time I saw this movie, when I was a little kid.
01:34:37 I thought the Atari name that's on this little palm computer that I had never seen before my life. I thought that was product placement. I thought, well, they know kids are going to watch this and Atari. I think what at the time they were going to try to come out with a Jaguar or something like that. And they were trying to stay relevant. So they they.
01:34:57 They slapped their name on some, maybe pre exist.
01:35:00 Saying.
01:35:02 Hardware which kind of is what happened because they didn't invent this palm computer.
01:35:08 That he's using, but it really was an Atari computer, Atari, even though they didn't design it, did release the first palm computer, the palm top, or whatever you want to call it.
01:35:21 But it definitely could not, could not hack ATM's. It ran a version of DOS and it could do like it had, like a spreadsheet program. And like a word processor on it. And like an address book and like.
01:35:33 Was it?
01:35:34 But yeah, that was the technology 1991. Having a portable computer of any kind, especially one as small as that was, look like future shit.
01:35:44 So when people watch this like ohh, look at that, look at that high resolution LCD screen. Look at that.
01:35:52 That's got the pen program pen identification program. You just hook it up to an ATM, and that's like everyone's dream, of course. So this already we're starting it a little unrealistic, right? We're going because of the added budget. Maybe we're getting a little more unrealistic, but most people don't understand technology. Most people would look at this.
01:36:12 As a.
01:36:12 Kid, when I saw this for the first time, I was a kid and I didn't know anything about computers. So as a kid, you're like, yeah. Wow. Cool. He's like hacking or something. Hacking hacking's cool because like, hacking. But this is retarded. This doesn't work in any universe and certainly not with that hardware. But no one knew about.
01:36:33 Checking and so you could get away with it and I would say to be fair at this point.
01:36:41 In 1991.
01:36:45 Computers were still mysterious enough.
01:36:48 To where you're not going to lose most of the audience, you're in fact. By most I mean like 99% of the audience is going to be like, yeah, I buy that. There's going to be that 1%. That's like, that's bullshit. But you know, you're still, you're still kind of, you're able to maintain the suspension of disbelief.
01:37:07 By using this bullshit computer that couldn't possibly ever do that.
01:37:12 Then we flip back to Sarah Connor, who has a hallucination.
01:37:16 About Reese coming to see her.
01:37:19 And she's, like, spaced out on drugs in her room.
01:37:23 Then you have a meeting with the Jew psychiatrist that wants to see if she's improved.
01:37:32 And she attacks him because he's not going to let her out.
01:37:38 Then you meet the the magic negro.
01:37:41 The based black guy, the computer genius who's responsible for Skynet, apparently.
01:37:47 OK.
01:37:49 This is another change, right?
01:37:52 This is another change. This is in 1991. We now have the base black guy, the base computer black nerd is is becoming more and more popular in films. This idea that Hollywood had that they could meme black people into being smarter if they simply depicted.
01:38:12 Simon.
01:38:12 Films as being computer nerds and and surgeons and the president that like if they did that enough, black people would look at these people, these fictional characters and movies, and they would have role models that maybe weren't the same as the current crop of black role models who were.
01:38:33 You know, obviously substandard, you know, people like like Eazy E and maybe or even Michael Jordan. You don't want black people to think their only options in the world or either some getting rich through being really good at athletics or or a crack dealer or a rapper.
01:38:52 Let's give them positive role models and they'll they'll all become computer programmers and whatnot, so that that that was the push and that was the thinking that this is a a perfect illustration of how the boomers viewed the the the deficiencies in results when it came to integration.
01:39:12 After doing this grand experiment that didn't have an undo button, so it had better fucking work of integration by putting all these black people into the white population and then just crossing their fingers I guess and hoping for the fucking best and it not work.
01:39:31 Checking out so this was a reaction to that. Let's just fucking hope to God hope to God that if we put them in positive roles and movies that will just, you know, the meme will become real. It will be meme magic. It will become reality. And eventually black people will grow 30 IQ points and.
01:39:52 And become computer programmers, so that's that's another change that you're seeing.
01:39:57 The last person that would realistically like literally the last, the last person demographically that would realistically be the developer of Skynet. The person that would be responsible for reverse engineering the CPU that was recovered from the the.
01:40:18 The Arnold in the first movie, the The The Very, very, very last kind of person is who you have.
01:40:26 And there you see, he's looking at in the vault where they found the Arnold's hand and computer.
01:40:33 Or a broken version of his computer.
01:40:37 So meanwhile, there's the the other guy from the future is looking for.
01:40:44 For John and this is, this is edited quite well. It's edited quite well. It's got good pacing. It's James Cameron, after all. It's got, you know, kind of three stories or multiple stories happening simultaneously.
01:40:58 It's keeping your your interest going. It's not getting confusing or convoluted. You understand? There's, you know, you've got this storyline where Arnold is looking for. We presume Sarah or John Connor, you've got Sarah and John or you've got John Connor doing his thing. You've got Sarah doing her thing, you've got the.
01:41:20 The magic negro doing his thing. But it's not. It's not. Even though you've got all this going on, all these stories going on simultaneously and nothing's getting confusing or overlapping yet.
01:41:33 Meanwhile, you've got John Connor playing. I think he's playing missile command.
01:41:39 Which would be an odd choice for 1991, because that's an old game in 1991. But but there he is playing missile command.
01:41:48 At the the arcade in 1991.
01:41:55 Yeah.
01:42:10 See and you have good cinematography too. You have shots like this.
01:42:16 You have shots like that, that nice little transition.
01:42:19 Where you're you're not just, you know, you're not relying on.
01:42:25 Computer graphics to make your movie interesting that you're actually taking time to do interesting transitions like this.
01:42:43 Go, go, go.
01:42:55 And so this is the connecting of the.
01:42:57 The three separate stories that we had previously.
01:43:01 Where you've got.
01:43:03 John's timeline and Arnold's timeline and this cop guys timeline all, all coming together into the same timeline.
01:43:12 Hey bro, I'm gonna get some quarters, I'll.
01:43:14 Be back. Alright, cool.
01:43:30 No girl, no.
01:43:32 Do you know John Connor?
01:43:35 Oh.
01:43:37 Do you know this cat?
01:43:39 No, I don't know.
01:43:47 Not now, not now.
01:43:49 Man, there's this cops check it out.
01:43:50 Scope.
01:43:55 Yeah.
01:43:57 Bullet man just go.
01:43:58 Yeah.
01:44:04 Man, I think I saw that kid.
01:44:21 Hey, you're not supposed to be here.
01:44:41 Hey. Hey.
01:44:50 And so you have one of the most iconic shots of movies ever, followed by again, if you're an audience member in 1991 that has never seen this movie, but you've seen the first one, you don't know what the hell's going on. You think that Arnold's the bad one? This guy's probably the good one. You have that again, this shot.
01:45:10 The roses. That's one of the best shots of in Hollywood history right here.
01:45:24 So there's attention to detail, attention to cinematography there.
01:45:28 The pacing's good. You got the slow build you've got now. All three timelines are merged together at one place.
01:45:36 In one timeline and it's it has happened at a moment where the audience doesn't know what the fuck's about to happen, who's who, what's going on?
01:45:50 Get down.
01:45:59 Oh.
01:46:30 Now that would have been that part would have been super amazing in 1991.
01:46:34 That looks like that's a. That's an effect that, like you know, the that's like Baby's first lesson in after effects. You can do this, but this would have looked amazing in 1991. Doesn't quite hold up.
01:47:19 But what does hold up is the practical effects, right?
01:47:23 Because they had to actually do.
01:47:25 It.
01:47:25 He's not picking up Arnold and throwing him 50 feet in the air or or doing anything super crazy. They're having to actually perform it, and even the the the practical effects in terms of the the way that the walls are smashing. Yeah, it's within the realm of real realism that where it doesn't, it's not distractingly.
01:47:45 Bad.
01:47:45 Or anything. And again, you still have an attention to detail, attention to cinematography, him looking at the Chrome mannequin to clue into the audiences minds that he's.
01:48:00 He's made of metal or something, you know, or give you that impression without actually having to spell it out for you and tell you yet.
01:48:07 It's these these little visual cues that you're giving the audience without actually hammering, you know, banging them over the head with it.
01:48:16 Then you have this chase.
01:48:19 Where it's a you know the famous scene where he runs like a psycho after the motorcycle.
01:48:25 And then again, there's another another diesel truck because you can't have a Terminator movie without a diesel truck chase, apparently.
01:48:34 And he chases him in a diesel truck and they they go into the Arroyo and they're smashing around the Arroyo. But again, they had to actually do this. They had to actually do this with real.
01:48:47 Trucks and real in this case, like real motorcycles. So when you see this, this trick right here.
01:49:06 That that probably really fuck up your bike, but not not so much that they couldn't do the trick. I mean, they did it. They they performed the trick.
01:49:15 So when you're watching this stuff.
01:49:18 You're like, oh, that's kind of cool.
01:49:20 At no point are you distracted by.
01:49:23 Like, what the fuck is this? You know, like, like you're just like ohh wow.
01:49:28 It looks real because it was real. They really did it.
01:49:31 Same thing with the truck blowing up when they smashed it into this bridge.
01:49:35 They really, I mean, obviously they blew it up with pyrotechnics.
01:49:40 And it doesn't start to look kind of hokey.
01:49:43 Until they you see this again, this would have looked really cool in 1991, but it looks kind of, you know.
01:50:03 Looks kinda gay now, you know, but that would have looked amazing in 1991.
01:50:08 But the technology is what makes it look dated.
01:50:15 So then you get to you figure out what's going on.
01:50:19 Arnold tells the story of how he was actually sent back in time.
01:50:24 To save.
01:50:26 Not kill, but save John Connor.
01:50:28 So it's it's, it's got the audience all. Ohh wow, everything's different now. I'm not watching just a a rehash of the first one. They've kind of flipped the script a little bit and now Arnold is actually protecting John Connor from this weird liquid metal robot guy.
01:50:48 And then you have going back to this. What I was talking about, the girl power shed.
01:50:52 So Sarah Connor Sarah Connor is they're using imagery they that they've used in other movies.
01:51:01 Where she's in a vulnerable situation.
01:51:05 At the mercy of unfuckables. Yes, like this guy.
01:51:10 This this tubby weirdo that is beating her up and forcing her to do medication.
01:51:17 And they make sure to have this this specific scene right here.
01:51:44 Hmm.
01:51:48 So again, it's like there's like a sexual aspect to this.
01:51:52 And in fact, this is so effective.
01:51:56 That they they basically ripped this off.
01:51:59 In when they did Kill Bill.
01:52:01 You might remember Kill Bill, similar scene.
01:52:06 Where the the badass boss chick in the beginning of the film, she's in a hospital bed. She's completely helpless. Same sort of a thing. So just like with Sarah Connor after she escapes the OR doesn't escape, but rather she.
01:52:26 Ignores the sexual assault of the guy who's.
01:52:33 Force feeding her pills and and whatnot. She gets out of the second, she gets away. She beats him up.
01:52:41 Oh.
01:52:57 And and look, I'm not even. I'm not.
01:52:59 Even going.
01:52:59 To like, say, that's unrealistic in terms of what she could do. I mean, they're they're she, the actress is having to physically, you know, drag him in there. It's not like they're that's not.
01:53:10 That's not like special effects. She's really doing that.
01:53:13 But anyway, the point is that's it's basically the same as this.
01:53:24 Oh, god damn, you were the best looking girl I've had today.
01:53:44 So there's something real visceral or visceral, rather a about a, you know, a woman in a vulnerable situation in a hospital being.
01:53:57 Accosted by a man, she went. She's not attracted to in that kind of a way. That's like the ultimate.
01:54:05 Low scary point for for a woman or or another. Another version of this is like Psycho like in the shower when she's attacked in a shower. You know, it's a moment where a woman's naked. She thinks she's alone. She thinks she's, you know, has privacy and then you know, that's the one. That's the one place she's she should always feel safe.
01:54:26 They said the movie Psycho actually gave complexes to like a lot of women that saw it.
01:54:31 So same sort of thing. They're playing on this.
01:54:35 Imagery.
01:54:36 So that you can you can.
01:54:40 You can a a more appreciate the the badass boss girl that she becomes.
01:54:48 You should 250 milligrams.
01:54:51 Drive.
01:54:56 Wow.
01:55:05 Oh.
01:55:14 You broke my arm.
01:55:15 There are 215 bones in.
01:55:17 The human body. That's one. Now, don't move.
01:55:26 What are you gonna do?
01:55:29 So you know this, this is, it's not that crazy. Not over the top because.
01:55:36 You know, she she's not doing backflips and and fucking people up ninja style.
01:55:42 And in fact.
01:55:45 Anytime she is faced with with actual, you know, even though she she kind of like, you know, she threatens to shoot the guy up with Drano to get away when she actually is restrained by people she's not able to break out of their restraints.
01:55:59 Let's go round. Come on.
01:56:27 No! No!
01:56:33 Mom, wait! Mom!
01:56:43 No! No!
01:56:47 Help her.
01:56:48 Wait here.
01:56:51 He'll kill us all!
01:56:56 So anyway, nothing crazy on, you know, improbable in terms of what she's able to.
01:57:01 You they get away, they go to Mexico, you start to have this relationship between the robot and the boy. And again, this is this is to appeal to the Gen. X slash millennial audiences watching this, who many of whom don't have a relationship with their dads.
01:57:20 And so they now have Arnold as their dad. You know, whether it's because they're from single mother households or because their dads are are just at work and and don't have an interest in their children. Like a lot of boomer dads did.
01:57:35 You also have maybe a little diversity here where they introduce these Mexican characters, but I would say it's not so much about diversity so much as it's it's kind of setting. It's a setting for illegal activity. Mexico was seen as a place where there was illegal activity. And so if you wanted to.
01:57:54 Have an arms dealer character that had a bunch of weapons. Then Mexicans having a secret bunker full of weapons. You know, like cartel style.
01:58:07 That's why you would do it that way. So it's not too heavy-handed on the.
01:58:12 The diversity front so much as.
01:58:15 You know, it's more about, I think, a setting for for illicit.
01:58:21 Activities. Then you have this famous saying she she has the vision of the future. Everyone has seen this.
01:58:44 Let's do this one.
01:58:48 Please.
01:59:56 And that's all done with models and it kind of holds up pretty good, but there's you can definitely tell it's models. You can. You can definitely tell it's models.
02:00:06 So she has this vision and she goes boss bitch mode and decides to go kill the magic negro that is going to make Skynet happen. She goes to his house and like a girl, she fucks it.
02:00:20 Up. Can't do it because of the niglet gets in the way and don't shoot my daddy and she's like, god damn it, has a mental breakdown and has to wait till the men show up to to sort out the mess that she made.
02:00:33 And then Arnold shows him to prove that he is a robot, rips his arm off. That effect actually holds up, OK.
02:00:39 And they decide to go to Skynet and blow it up, cause the magic negro agrees that he does not want to start Armageddon.
02:00:47 We're we're going to breeze for this last bit here just because, you know, we got more to go through and I don't want to be here all night. So then.
02:00:55 They set up explosives the the SWAT team shows up and shoots the magic negro, who then blows up the building for him. Suicide bomb style.
02:01:07 And here's where you have maybe one of your first super unrealistic action things, but the audience is is willing. I I think to maybe suspend their disbelief just because it's a hyper advanced robot that calculated all the physics. For this to work, but it's still a little stupid.
02:01:51 Get out.
02:02:00 So yeah, not the worst, but not not great. You then have a super retarded helicopter chase where he rams the helicopter into the back of the SWAT team truck. They stoled. And of course it has to have another diesel truck chase, so he then gets in a diesel truck after he's blown up the helicopter.
02:02:20 And Chase is, and again, they're having to actually do these stunts. So it's this part at least, is realistic.
02:02:28 And then you see very nonchalantly that. Ohh it's it's like it's a giant truck with liquid nitrogen in it.
02:02:35 And it crashes. This is, believe it or not, this right here is is is models. This isn't that whole scene where the truck falls over on its side is is models.
02:02:47 And it bursts in half, spraying liquid nitrogen all over the fucking place.
02:02:53 And again, you have another scene where it's it's kind of clever, right? It's not just we're gonna wow you with special effects. We're gonna. We're gonna make you think about why this would be. You know, even though it's highly improbable that a giant liquid nitrogen truck driving down the freeway is the truck that this, that just happens to be there when he.
02:03:13 Commandeer as a truck, but be that as it may, or that, by the way, that that truck would then crash into a.
02:03:20 Steel foundry or whatever this place is that's got molten metal everywhere.
02:03:26 But whatever. Right. Whatever. OK, but you have the idea that, well, what? What could stop a liquid metal robot? Well, maybe liquid.
02:04:33 Hasta La Vista, baby.
02:04:38 And there's the line.
02:04:46 Yeah, it's not just like.
02:04:48 It's not. I mean it's.
02:04:50 It's kind of stupid, but it's clever in a way. It's like, uh, yeah, you know, like gas, liquid and hydrogen would freeze liquid metal.
02:04:59 But of course, that's because it's in a still foundry for some reason that he he quickly unfreezes, but they do little clever things like this like he starts glitching out now.
02:05:23 So yeah.
02:05:24 Still trying to keep it interesting. Make it this way is the reason why they're doing stuff like this is instead of doubting what's going on on the screen. Your brain is preoccupied by all these these ideas that they're they're putting in in the action.
02:05:41 For example, the idea that ohh wow. I guess liquid nitrogen really would freeze metal. I guess. I mean, I don't know that it really would mercury. I don't know what the freezing point for Mercury is, but I think it's really fucking super low. And I mean, but again, this is made-up fake liquid metal.
02:05:58 But yeah, your brain's thinking about that. Your brain's preoccupied with. Ohh. I'm wondering. I guess liquid metal frozen in this case, like uh, I guess it, I guess it fucked his his ability to mimic things has been altered by, you know, being frozen and and and heated up and oh, now he's now he's having all these errors and.
02:06:17 But they eventually throw them in some molten metal and cook them, and then they throw in Arnold too, because they can't leave any evidence behind. Anyway, the reason why we talked about, I know this might have seen like way, way too much reason why we talked so much about the special effects and and whether something was realistic or not and how that.
02:06:37 Changed over the years. How even going from the first film to the second film? There's already a lot more unrealistic things than you would have seen in the first movie is.
02:06:48 As people get stupider.
02:06:51 They're more. It's more easy to it's easier to entertain stupid people with stupid tricks.
02:06:59 Now let me give you an example that most of you can probably relate to.
02:07:04 Remember when you were a kid the first time you saw this trick, how amazing it was.
02:07:11 Like oh wow.
02:07:13 Ohh, he took, he took his thumb off, he took his thumb off. Oh my God.
02:07:19 I remember the first time I saw that shit.
02:07:22 I I learned how to do it and I went around to like all my cousins and and friends because that's where I was at the time and at my cousins house.
02:07:32 And I showed them all like I was.
02:07:34 Like them?
02:07:35 Like I was David Blaine trying to impress them with my my detached thumb trick, and it was impressive, but mostly to like the younger kids like me, like I was. I don't know how old I was. I must have been like.
02:07:48 I don't know. I was. I was younger than like 10.
02:07:51 And they were all like, oh, wow, that's crazy. How'd you do that? And and especially like the real little kids really fell for it. The real little kids got a little freaked out thinking that you were actually ripping your thumb off. I remember, like, one of my cousins actually got uncomfortable and like, the he was like a toddler and started crying. The thing. And I ripped my thumb up.
02:08:08 But that's the thing. The younger or stupider people are, the easier it is to trick them with a trick.
02:08:17 With a stupid trick.
02:08:20 And you see this even with adults. In fact, there's entire videos online that show black people reacting to magic.
02:08:30 Like card tricks and how over the top their reactions are like so for example.
02:08:37 Here's a group of black people looking at a card trick like a fairly mundane card trick.
02:08:51 Now they're freaking out like it's like they're talking to the actual devil, you know, like, Oh my God.
02:08:56 No.
02:09:02 They can't fucking believe it.
02:09:05 Where when they do the exact he does the exact same trick to a white guy.
02:09:10 Even though it looks like some kind of fucking.
02:09:13 Antifa fag.
02:09:15 This is the reaction he gets from the white guy.
02:09:20 Cool.
02:09:23 And one of the things you'll notice white people when they see a magic trick like this, they might be impressed by it. Like he clearly was. But what's the first thing that you ask or say? I should, you know.
02:09:36 The first thing people say white kids, even when I was when I was showing my friends the stupid thumb trick, the first thing white kids will say is how did you do that?
02:09:50 How did you do that?
02:09:53 That it's it's not because they're not assuming that you're actually magic.
02:09:58 They're not assuming that you're actually pulling your thumb off. They know there's a trick involved.
02:10:04 They they just want to understand the trick. They think the tricks impressive because they didn't perceive the trick happening as it was happening to them. And their first reaction isn't wow, you must have some kind of supernatural powers, you know? Oh, you you must, you must be magic or or the devil. Like these guys right here.
02:10:25 Yeah.
02:10:33 You know, they they think that they're ohh. There's a trick to this. There's an actual trick to this.
02:10:39 So how did you do it?
02:10:41 Your curiosity kicks in.
02:10:44 And that is what American white audience is to movies. That's how their brain would work.
02:10:50 If you watched a film and there was something in there that.
02:10:56 Was puzzling to you. Your brain would think automatically. How did they do that? That looks really good. How did you do that?
02:11:06 Or if it looks bad, how did they do that?
02:11:09 And a lot of times, if it looks bad or if it's distracting enough for you to have that thought, then you start obsessing about how that trick was accomplished, and you've already lost your suspension of disbelief. You're now you're no longer participating in the movie as, as someone who's experiencing the action in the movie.
02:11:29 As if it's happening to yourself.
02:11:32 You're now stuck on.
02:11:35 Whatever trick.
02:11:36 Was pulled and thinking about the trick.
02:11:41 But as audience get audiences get stupider.
02:11:46 You can start having movies like Marvel movies, where the writing's terrible, the acting's bad, and it doesn't matter so long as you have lots of explosions and people flying around and little tricks like that because the audience will be.
02:12:01 Like this?
02:12:06 They'll think it's awesome. They'll think it's amazing. They'll think it's fucking witchcraft.
02:12:16 One of the funny things I found when I was looking for black people reacting to magic tricks is I actually found a David Blaine video where he went to the hood and did a trick where he was going to turn a $1.00 bill into $100. Bill and the black kids that he does the trick with, they grab it and run away.
02:12:38 Bill was that.
02:12:40 It was and you wanted to become a hundred. If it becomes 100, you're sharing it among the four of you. Right. You want the print? You want it to change to a real 100.
02:12:40 Yeah.
02:12:42 Yeah.
02:12:46 My.
02:12:49 2520.
02:12:50 525 yeah, my Mamas, I do.
02:13:01 Open open it.
02:13:10 Now obviously, he said, they could have it, but like the fact that they just their, their instinct was to run away with money as fast as possible.
02:13:22 That was pretty funny. So anyway.
02:13:27 Then you had Terminator 3 came out Terminator 3 was was pretty fucking gay.
02:13:33 It was.
02:13:34 They had this millennial character as John Connor because they already stopped it. Right? Terminator 2 was about stopping Cyberdyne and and blowing, blowing up Skynet before it even happens, and killing the based magic negro that was going to invent everything.
02:13:52 So he has no purpose. So you just have this brooding, annoying millennial faggot that's John Connor, who's moping around about how he doesn't have any purpose in life.
02:14:04 They still have special effects, but just to kind of, you know, things have gotten a little bit better. They don't overuse it too much, but they show you.
02:14:12 How much better it is?
02:14:28 So this is 2003. So it's been, it's been 12 years since the last.
02:14:33 Moving.
02:14:35 James Cameron, I don't think is is really helping out with this one.
02:14:40 You then also have another noticeable change when you have a Terminator come back from the future.
02:14:47 It is now a chick.
02:15:23 So now it's a girl.
02:15:26 Arnold comes back also, he's the same, but here's something else that's different. Just like they, you know, they do with the other the 1st 2 where they try to do a callback where he's naked and they do so they always do the scene of like how he gets his clothes or whatever.
02:15:42 Because it's now 2003.
02:15:45 Instead of it being these punk rock 80s people that don't exist or instead of it being bikers, now it's at a strip club for girls with fags working there.
02:16:03 Take off your clothes.
02:16:04 Patience honey.
02:16:12 Move, bitch. Wait your turn.
02:16:15 Your clothes.
02:16:16 Talk to the hand.
02:16:19 So it's like super Gay already, even though it's only 2003, the faggotry tree. The feminism is is has taken over to where now the Terminator is a woman. There's it's humorous faggotry in 2003, right? That's how they ease you into it. Oh, we make harmless, funny fags in our movies.
02:16:40 First, and then we make them the main character and then we put you in jail for not like.
02:16:44 Them. But yeah, again they make jokes out of it. A little bit like he wears these sunglasses for a second.
02:16:51 Meanwhile, the girl Terminator is going around blasting people. John Connor is a big pussy, a big, mopey pussy, and he breaks into a animal clinic because he hurts himself.
02:17:04 While on a motorcycle and this chick does some girl power moves on him.
02:17:16 You don't have to do that.
02:17:18 Next time bring a clue, not a paintball gun.
02:17:21 So John Connor's savior of humanity is being dominated by some woman that works at a fucking dog clinic.
02:17:30 They find out that ohh, we know each other.
02:17:32 There, but it's not long before the girl Terminator comes and starts killing everybody. And of course you have the big showdown between.
02:17:41 The the male old Terminator and the new female Terminator.
02:17:45 Get out of here.
02:17:49 Now.
02:18:09 So now, instead of storyline, we're we're already relying heavily on the new advancements and special effects, especially when the the police and the fire department shows up and she through magic, I guess.
02:18:26 Puts her finger in the car and puts nanobots or something in the cars and then she's able to remotely Dr. the fire truck. Or I guess the ambulance and two police cars with.
02:18:42 With nanotechnology, somehow again already it's stupid.
02:18:47 Like we're, we're barely in the movie at all.
02:18:50 The the women are are obviously we're shifting in that direction. The guy's kind of a pussy, Arnold's obsolete and the women are doing magic apparently. And and and this is the kind of thing where you're not nitpicking, right. This is the kind of thing where it's like, OK, how are you physically steering the car?
02:19:10 How are you physically applying pressure to the gas pedal? How are you physically applying pressure to the brake pedal? With nanotechnology, like, how is that happening exactly?
02:19:20 This doesn't make any fucking sense at all, and it's so it's it's it, it's just bad writing and they wanted to have cars driving around and and there was no way to make any sense of it. So they just said nanotechnology and then that was that. So somehow by by using nanotechnology.
02:19:38 She is driving to a police cars and an ambulance chasing, and she's also driving. You know they they've got to move, you know, step it up a notch, I guess, from just the regular diesel truck. Now we've got a crane.
02:19:53 She's driving and the whole scene is ridiculous. The cranes doing all kinds of these ridiculously, you know, defying physics things left, right and sideways. Here you go. The here's the the target acquired with my auto auto cars. I'm driving. It gets to a point of silliness.
02:20:13 Like where it's it almost seems like.
02:20:16 It's like a cartoon.
02:20:18 With with scenes like this, where you've got Arnold on the back of the crane.
02:20:26 No.
02:20:42 I'll drive.
02:20:43 I mean this. It's like a Wiley coyote cartoon at this point.
02:20:48 So we, we've now entered this, these, this, these unchartered waters of, OK, what, what? What am I even watching here?
02:20:56 Meanwhile, there is a weird millennial love story going on in the back of the the truck. The the none of none of the story makes any sense. Like, I mean, it makes sense if you're like 7, but you find out her dad works. It works at the Air Force and is about to deploy Skynet or something, and he and he's really.
02:21:16 He's not sure at the and the viruses because people have heard of viruses.
02:21:20 So like viruses are bad in computers and viruses, and we got to turn on Skynet for because the viruses are bad. And so it turns on Skynet. And it immediately like it was, they know it's a bad idea. And then somehow and they never explain how at the headquarters of the most.
02:21:40 Super secret military installation in the world where they're operating Skynet.
02:21:47 With this, this guy here, like the most secure location in the entire world, Arnold's allowed to just walk in with a duffel bag full of guns, along with John Connor, with some assault rifles. And this girl, I they never explained how they got into the literal Control Center.
02:22:08 Like the the the brain, the brain center of Skynet, there's. We literally go from like, hey, we're just hanging out like at some Part 2. Now we're here shooting the other Terminator, that that infiltrated in there somehow.
02:22:24 So that doesn't make any sense. And then her dad gets shot and he tells them to go to some secret location.
02:22:30 Or something. And then you have the the stupid versus, you know, like the the girl, the girl robot versus the man robot.
02:22:40 And the girl robot, of course, wins, and then she uses her magical nanotechnology again, that they don't explain. She just makes her finger to a needle. And then nanotechnologies.
02:22:53 And social nanotechnologies, Arnold, who then, even though he was programmed to to save John Connor, he's now nanotechnology, and he has to kill John Connor. But John Connor's like, you can't do it. I believe it's it's like, so gay. He's basically saying, like, I know you, you're stronger than that. Fight it. You can fight it.
02:23:13 Arno.
02:23:14 It's a he's a robot. What are we even doing here? What's going on? He's not like a man possessed, you know, it's not like this isn't like Darth Vader with, like, the dark side. Like, what the Hell's even going on? But, you know, I guess Arnold's Arnold's robot love overpowers the nanotechnology, and he turns himself off so that he doesn't kill John Connor.
02:23:36 Or I don't know it's it so it just it it stops making any kind of sense. They then fly to a hardened military facility where I guess it's like this bunker, the survivor bunker for the world.
02:23:52 8.
02:23:53 0 security there's like no security. There's like 11 passcode. They have to type into a a a door. Meanwhile she crashes a helicopter through the front door of the hangar for some reason, survives it totally fine, and then gets run over by another helicopter that Arnold apparently has.
02:24:13 Now that he turned, he turned himself off. But then he he managed to fight the nanotechnology off or something, and now he's back saving the day.
02:24:22 We don't know how or why.
02:24:25 And he runs her over with a helicopter and with his robot love and.
02:24:29 Lotion defeats her or something, and they're in this bunker together and they realize that this bunker doesn't have Skynet in it or anything because it's all from like 1960s technology. And that's the end.
02:24:47 And it's really fucking it's fucking stupid.
02:24:50 It's fucking stupid. It doesn't make any sense, but again, it's black people looking at magic tricks doesn't have to make any sense as long as you've got, like, the the fancy robot fights and explosions and helicopters crashing into things and blowing up no one fucking cares. No one fucking cares. The story doesn't have to make any sense.
02:25:09 The next Terminator movie, Terminator Salvation. It's kind of like, not even really a Terminator movie so much as I I feel like they.
02:25:19 They wanted to make.
02:25:22 Batman in the Terminator universe, after the success of rebooting Batman.
02:25:27 With Christian Bale, they're like ohh, let's do it. Let's do it. Let's make him John Connor.
02:25:32 And we'll do like, he'll play literally the exact same character. He'll literally. He'll play Batman. He'll sound like Batman. He'll act like Batman.
02:25:40 Yeah, he'll just be John Connor, and it'll all take place in the future that I don't even know why it's happening, because I thought we stopped it from happening like this. But I guess it happened anyway.
02:25:52 And we'll also make it kind of like transformer where there there's gonna be like gigantic robots for no reason that nobody here's coming, and even have the size of like, a the Empire State Building. And they would cause earthquakes with every step. But, you know, whatever. Right. No one sees them. No one hears them.
02:26:11 And this one doesn't make any sense so much, but it's. I don't even really see it as a Terminator movie, so we're.
02:26:18 Going to kind of skip it.
02:26:21 For like, just like a random sci-fi movie. It's alright, it's alright, but it's not like I don't know.
02:26:26 And and there's like, a gay weird love story thing. But again, we're trying to move along here. The next Terminator movie has the worst acting out of all the Terminator movies, and that's Terminator Genesis. This is when a I, I think this one came out in 2015.
02:26:42 So this is again they've, they've totally switched it up again to where they're back, I guess where Arnold see Arnold's not even in this one. There might be like AI or like a CG Arnold somewhere but.
02:26:57 He's not, like, actually in the movie anyway. In Terminator Genesis, they bring Arnold back.
02:27:03 They John Connor is now this guy.
02:27:07 Reese is now. This guy's the one of the worst actors ever. I actually clipped some. Some bad acting out, but then the fucking computer crashed before the stream and I lost, like, half my timeline. That's another reason why we're sipping through these movies. I edited out like a bunch of stuff and it fucking tanked, so maybe it maybe it was a blessing in disguise. So.
02:27:26 We can zip through this.
02:27:27 Because I want to get to the last one.
02:27:30 This one doesn't make any fucking sense. And you quickly realize I mean it sort of does. But you quickly realize the reason why.
02:27:39 This one is so all over the place, and they're going back in time like first they go back like they defeat Skynet. Skynet sends Arnold back, just like, you know, the first movie. And so they send Reese back just like the first movie so far. It's all making sense. And then when you go back, it's like they're redoing, like, the scenes from the first movie.
02:27:59 Like Arnold comes back and you know there, there's the Mohawk guys. You know, there's like, the crazy gangster guys that don't exist.
02:28:05 List, but then all of a sudden another Arnold shows up and you're just like, what the fuck's even going on? And they fight. And then Sarah Connor is now this girl and she's not, like, feminine at all. She's like this badass that's been raised by a Terminator since age 9.
02:28:22 And now?
02:28:24 Skynet doesn't exist, but it's it's going to be some app on a on. It's going to be a killer app in the App Store called Genesis, because I guess the App Store was big in 2015.
02:28:36 Anyway, really what this boils down to is the movie inception came out a couple of years before this did, and the writers must have watched inception and thought to themselves well.
02:28:49 It's like a dream within a dream within a dream man. That's how you make good cinema. You just make things that are really convoluted and complicated, and then that's what really makes things good. That's what people want.
02:29:02 And so, because they don't know how to actually write a story that has depth to it, they they confuse complexity with depth and they they confuse convolution with with depth and meaning. And so they just make the timeline really.
02:29:21 Convoluted. I mean, you can follow it, you can follow, but it just.
02:29:24 Like it's unnecessary.
02:29:26 Like, there's so much of this movie that's unnecessary.
02:29:30 And in fact, like so, he goes back to 1984 like in the first movie, only to get an if apparently built another time machine, Arnold built another time machine in 1984, and then they used that to go to 2017. Like when the movie run, when the movie came out. So now they're in 2017.
02:29:51 Just to go back to a time that's more relatable to the audience, I guess.
02:29:55 And then then John Connor is there in 2017 and he's a robot now. Ohh, he's he's like a weird AI robot. He's been turned into a robot with Nano AI.
02:30:07 That doesn't make any sense at all, and he's trying to kill them because he's now. John Connor is part of Skynet, and he must be stopped. And it's just like, what the fuck is even going on here? Oh, and he works for black guys, black guys that run the most powerful tech company in the world. These two black guys here, they're the executives over at.
02:30:27 What I guess the the what is supposed to be Skynet. So now instead of just a base black guy, reverse engineering a robot arm and CPU, it's 2 black Geniuses that run. I think those are actually oracles buildings in San Francisco.
02:30:43 There's, you know, stupid car chases that they're even more ridiculous, more over the top, more unnecessary. There's a helicopter chase that is physically impossible from start to finish. That's, like, distractingly impossible.
02:30:59 It's a Marvel movie. It's basically a Marvel movie. The acting is as bad as a Marvel movie.
02:31:05 The you know. And then of course, Arnold sacrifices himself with his robot love to save the day and and. And then the ending doesn't make any sense either. And I had it clipped out. I don't have it here and.
02:31:18 That doesn't matter. We're going to get to the the actual one that I wanted to highlight tonight.
02:31:25 And that is Terminator dark fate.
02:31:28 Terminator Dark Fate came out in 2019.
02:31:32 Only a couple of years ago. So now you've kind of seen the franchise where it started, where it's gone and now where it is in 2019 and where that is is in Mexico.
02:31:48 It's it. Half the movie almost is in Spanish.
02:31:55 And I'm not making, I don't know if you for those of you haven't seen it, about half the movie is in fucking Spanish.
02:32:01 It starts out in Mexico and in fact it starts out in Mexico in a way that I could get behind in a way that I thought, oh, this might actually be kind of good the the way they de aged, the actress, the play, Sarah Connor, it actually looked pretty good the way they had John Connor looking exactly the way he looks like and.
02:32:21 In Terminator 2, let's see here. Where is he at?
02:32:25 Right there.
02:32:26 It looks good. It's convincing. It looks like you know that actor, the the, the, the, the graphics were convincing. This scene is pretty good. The same thing with Arnold, right? The scene opens up where you're like. Oh, where's this going?
02:32:40 They stopped it.
02:32:42 Yes, and Rita.
02:32:45 To protect my son.
02:32:46 This this oh, by the way. So this one assumes I think they just came to, they realized that the other movies were.
02:32:52 Shit.
02:32:52 So this movie assumes that none of the other ones happened, that it's just a continuation of part 2, so they're they're just pretending like part 3-4 and five never happened.
02:33:03 That this this is part.
02:33:04 3.
02:33:05 So this is after they've already they've they've stopped Skynet. They blew up Cyberdyne. They saved the day and now she's because she's still wanted because no one believes her future story. She's living out her days in Mexico with John.
02:33:19 They stopped it.
02:33:24 To protect my son and to save us.
02:33:29 All.
02:34:13 So first, I'm like, oh, god damn, that's kind of hardcore. But where are we going with this?
02:34:18 Where we're going, maybe we're going to get back to.
02:34:21 A sensible sensical.
02:34:24 SQL, Maybe they're rebooting this and getting getting back on track a little bit?
02:34:29 Nope, Nope, not so much.
02:34:34 We're in Mexico City 22 years later. I was holding on to hope until.
02:34:39 And you know, even at this point, right, even when seeing that the, the person or thing that's being sent back from the future as a chick, I was like, well, well, OK.
02:34:59 You're like, alright, alright whatever. I guess you know I'm still not 100% sure where they're going with this.
02:35:06 And then the Mexican police show up and they're like, what the hell, what's this gringo doing here? And then this, this bullshit starts happening. You already know. You know, it's over you.
02:35:14 Know it's over.
02:35:21 Wow.
02:35:34 No.
02:35:43 So there. All right, so now you're like, OK, all right.
02:35:47 I know what to expect now.
02:35:51 A lot of Spanish, apparently, and girl power, and this does not disappoint.
02:35:57 Because you meet the the main character.
02:36:00 This girl here, this Mexican chick, she lives with her dad and this, you know, wonderful Mexican home with her brother and everyone's happy and they're very conservative. The the new, the new Terminator comes back in time and even the new Terminator is a fucking Mexican.
02:36:20 And just like God dammit and and he does. And he also doesn't speak English.
02:36:24 Just the sound.
02:36:28 One US.
02:36:29 We could.
02:36:31 Cincuenta Daniela Ramos.
02:36:36 I see.
02:36:41 Danny.
02:36:42 Danny, see.
02:36:47 So now you're like, oh, I get it. You you've realized that.
02:36:53 There's a lot of fucking Mexicans now. You've realized there are so many fucking Mexicans.
02:37:00 That you're going to start pandering to the Mexicans and making about 40% of the movie in Spanish, which they did.
02:37:10 About 40% of the movie's in fucking Spanish.
02:37:13 I mean like entire. Like, there's no way around it.
02:37:16 They didn't. They didn't even do like the the the the thing they used to do right where they maybe do a sentence in Spanish.
02:37:23 And then and then transition to English with the the accents or whatever. No, no, because why would they? Because there's so many god damn fucking Mexicans in America now that they this is their way of this is their future proofing the franchise.
02:37:40 They're future proofing the franchise so that when like we're basically 80% Mexican instead of 37%, which I think is what you know, the generation alpha is right now.
02:37:51 Uh.
02:37:54 You know.
02:37:55 This is the this will be the first one of their, you know, the the first one they think of when they think of Terminator.
02:38:01 Because it's in fucking Spanish.
02:38:04 So the Mexicans all work at this.
02:38:07 Car company this that I guess engine manufacturer.
02:38:11 And then you already you're already getting right. The vibes. They're they're already dropping the hints about like. Ohh OK, so this is definitely this is pro immigration. This is definitely trying to show you that Mexicans are hard workers and our economy would fall apart if it wasn't for the hard working Mexicans working at this engine company.
02:38:31 But then they have this fucking no self-awareness take that's planted into this, this.
02:38:40 This message and that is when they go to this factory to go work because they're very hard working Mexicans.
02:38:49 They notice that they're being replaced by automation.
02:38:56 And it's like, dude, do you do you, do you? And they don't see, this is what I was talking about. People not looking ahead that they can't do second stage, third stage thinking.
02:39:08 They they look at this as the white man.
02:39:11 Is is putting them out of a job where and as as a white man you should feel bad about implementing automation and also bad for the Mexicans you're putting out of a job instead of thinking, wait a second, why do we need all these fucking Mexicans? You're right, we're automating everything that they do.
02:39:32 We're going to have all we're going to have, all the surplus of these fucking Mexicans. If we keep doing automation, why do we even need them in the first place? But that goes right over the heads of the the retards in the audience. Instead, you're supposed to feel bad because Consuelo, or whatever the fucker fuck you by the way, she she, the actress, is literally like 4 feet tall.
02:39:52 Wait till you see her next to another girl.
02:39:54 OK.
02:39:55 She's got to be like like 4.
02:39:56 Foot nothing.
02:39:58 So instead, this tiny little chick here is, you know, the bot. She's already kind of boss, you know, spicy Latina.
02:40:07 She's mad because the white man is is automating out her out of a job.
02:40:12 3000 people out there. What happens if I tell them they're just keeping a spot warm for some machine?
02:40:19 Yeah. What happens if you tell the white people they're just keeping a spot warm for some machine?
02:40:25 And then after that, there's going to be no use for them.
02:40:28 What happens then? What happens then? Exactly. So then the the Mexican Terminator disguised as her dad shows up at her work and tries to kill her, but thankfully the.
02:40:45 The Super Duper boss Girl Chick saved the day.
02:41:04 So anyway, there's lots of little fights where it shows that she's has, like, superhuman strength and is able to beat up this Terminator.
02:41:25 And they run off and she explains it. She says I'm augmented. So she's been augmented with some kind of technology that makes her into a super chick that can beat up everybody.
02:41:36 There's yet another diesel truck car chase because they can't be original and actually do something different. In the movie, they have to just do the same thing every fucking movie because I don't know, maybe people, maybe they think that's fanservice. They think people like that.
02:41:52 But it's it's super long. Unrealistic as you might expect, the the brother ends up dying.
02:41:59 And then you have probably the cringiest gayest girl power scene, and that's saying something.
02:42:08 Of maybe any movie.
02:42:11 I have ever seen ever in my life.
02:42:14 When they reintroduce.
02:42:17 Sarah Connor.
02:42:19 And if you remember, you know this has been, there's been several years, several years have gone by. They're not going to de-age her this time. This is the real age of the of the actress that plays Sarah Connor.
02:42:33 Uh.
02:42:36 This is the this is again, this is probably the gayest fucking girl power scene ever.
02:42:48 Oh, shit.
02:42:57 When he starts to kill me, run.
02:42:59 Right.
02:43:34 Watch out world 90 LB. Grandma's here.
02:43:39 I mean, give me a fucking break.
02:43:41 Give me a fucking break, alright, is there? I don't think they could have made that any worse.
02:43:48 I'll be back.
02:43:50 It's understood.
02:43:53 Hey, just made it worse.
02:43:59 So yeah, 90 LB grandma.
02:44:05 Comes and and so now it's three women. It's it's the the.
02:44:11 The three Amigas, I guess fighting the.
02:44:15 Fighting the The Terminators the the evil Terminators.
02:44:20 So then the Mexican people are are are shown to be these real welcoming, helpful people. They don't definitely don't try to rape or rob the gringo when she passes out because her her augmentation technology, that they're really loosey Goosey about whatever apparently makes her have.
02:44:39 Weird blood sugar, more. It's just like nonsense. They don't explain. But like, oh, it makes her pass out a little bit because of it just does.
02:44:48 And so you need to go to a Pharmacia and and get.
02:44:53 Unexplained things that make her better and bad. Ask Grandma shows up definitely did not age well.
02:45:03 I mean, she already kind of had, like, that resting bitch face before, but holy fuck, it's like just.
02:45:09 She just looks like that, that, that old lady at Bingo. Have you ever been in an Indian casino and you walk into, like, the bingo room?
02:45:17 And that's where you see, like, the people whose lives have just have not turned out the way they thought. Yeah. That, like, these are the people that you're just like, wow. Holy fuck. I almost want. I want almost want you to win Bingo tonight. Just cause, like, so you don't kill yourself or or maybe not maybe, you know.
02:45:39 But yeah, and not only that, she. She sounds like she's been smoking for 100 years.
02:45:44 And she's there. And she's like, yeah, yeah. I'm. I'm so badass. I've been fucking hunting these terminators.
02:45:51 I hunt terminators.
02:45:57 She she's a terminator hunter.
02:46:00 And she tells them that.
02:46:02 She's been killing terminators like for the last.
02:46:05 20 years or something like that, ever. Ever since they killed her son.
02:46:10 And then they get in the car and they're running away from the terminators, and they're like, well, how do you, how did you know to be on that bridge to kill the terminators? That doesn't seem to make any sense.
02:46:20 And I'm like, oh, yeah, how do you explain that one movie that hasn't explained a lot of other things?
02:46:26 Like, oh, don't worry we we got a plausible explanation for this.
02:46:30 Sarah, how do you know we will be on that bridge?
02:46:39 I get these texts precise GPS coordinates, dates, times down to the second.
02:46:46 They always end with the same 2 words.
02:46:50 For John.
02:46:52 So I pack up every weapon I've got and I head to those coordinates to kill whoever is messing with me. The air splits open above a parking lot and.
02:47:04 A Terminator drops out.
02:47:07 So I destroy it.
02:47:09 And then, two years later, same thing. Location, time, date for John.
02:47:16 I fragged that one too.
02:47:19 And last week I get 2 texts both in Mexico City.
02:47:24 Did you ever find not Hussain so sex?
02:47:26 No.
02:47:27 They're always encrypted.
02:47:29 Do you still have them on your phone?
02:47:32 Danny.
02:47:36 Uh oh, time we're we're about to have some, like insane technology for for female audiences that that don't understand technology at all.
02:47:45 Let me ask you, do you still have those? I. I bet I can. I bet there's a way.
02:47:51 Using my augmentation.
02:47:54 Then I can take a look at your phone.
02:47:56 And find out where the texts are coming from.
02:48:08 What are you doing?
02:48:10 Future ship.
02:48:12 Oh, future shit. Thanks for explaining that it's future shit. And that's why it doesn't make any sense at all, because it's it. It's future shit. She's holding the phone in her hand and thinking at it, and it'll it's going to tell her the exact GPS coordinates of the person who sent her text messages.
02:48:32 What's wrong? What is it you.
02:48:35 Text came from out.
02:48:36 Laredo.
02:48:38 2 days ago my commander had them tattoo these coordinates on me, as if I couldn't remember shit told me to go here in case anything went sideways with my mission.
02:48:50 It's the same location your texts come.
02:48:53 Whoever sent you these texts is the same person I was told to go.
02:48:55 Oh.
02:48:56 To for help.
02:48:57 Oh my God, it's crazy.
02:49:00 What a what a what a crazy puzzle. Wonder where this twist is going to land? Oh, we're going to in order to find out, we have to go to Texas. And because we're in Mexico. And the only way to get to Texas has wanted people thanks to Trump's.
02:49:14 Wall is going to have to be through the Coyotes, who are actually good people. You see, human smugglers can be our friends, and thankfully, Consuela here, who by the way like I was saying, look at her when she's standing next to other women. She's literally like, 4.
02:49:29 Tall.
02:49:30 4 foot tall Consuela here. Thankfully, she knows all about smuggling herself in the United States, and so they get on this migrant train.
02:49:41 You know where everyone's nice on the migrant train, they said. They hop on the migrant train, they all these wonderful migrants.
02:49:57 America, America, we're going to America.
02:50:02 And then she while she's doing this, of course, more future shit happens where the the Mexican, the Mexican Terminator touches some network cables at a data center, which allows them to look at every video camera on the world, because that's how that would work, somehow.
02:50:23 He can just touch these network cables at a data center and access every.
02:50:29 Every camera that exists and he finds a camera that shows her getting on the migrant train and he's like I know where they are now.
02:50:40 So.
02:50:42 Anyway, the the mostly female audience at this point is just like, wow, that's so high tech.
02:50:48 Or Mexican audience, I guess, right? Because it's going to be dumb fucking women and and dumb fucking Mexicans that like this shit at this point.
02:50:55 So her uncle's a a human smuggler, but we're led to.
02:51:01 Believe that's awesome. That's a noble, noble profession. And he's like, yeah, of course I can smuggle you across the border to America. Are you kidding me?
02:51:09 It's like there's nothing easier.
02:51:11 Literally nothing easier than smuggling someone across the the border in the middle of the night, and so Mexican Mexican Terminator turns himself into a Border Patrol agent and takes over a Border Patrol.
02:51:27 Uh.
02:51:28 I don't know outpost killing all the Border Patrol people. I I think as a form of Mexican murder porn.
02:51:35 5 minutes late and neglects to bring us doughnuts.
02:51:38 Terrence, shut the fuck up.
02:51:50 I'm just surprised they weren't white guys with Southern accents, but anyway.
02:51:55 So he plugs himself into the.
02:51:59 The Border Patrol.
02:52:03 Drone network or something and sees that they're crossing the border and he alerts the Americans.
02:52:10 The of the coordinates they're going to cross over, and so when they go under the under the wall and the secret coyote human smuggling tunnel on the other side, they're arrested real quick and they have these sayings where they're, you know, it's the kids in cages, you know, that kind of bullshit like, oh, we're at the processing center. Oh, it's it's it's not.
02:52:29 Humane. Ohh. It's fucking terrible. We're trying to save the world. Didn't you know this Mexican woman? She's the key to saving the world. And you're treating her like an animal in a cage at a zoo.
02:52:41 Oh, if only you knew. If only you knew Gringo that this is the woman that's going to save humanity.
02:52:49 So evil Terminator Border Patrol agent guy now.
02:52:55 Shows up and he and he's hot on their trail and and almost gets them.
02:52:59 But they get away in a hell. I'm not even going to tell you how. It doesn't matter. It's it's so it's so like nonsensical. The storyline at this point, they somehow get a helicopter.
02:53:12 And can fly it and whatever.
02:53:15 And they landed at those coordinates only to find old Arnold. He was the one sending them the coordinates of where the new Terminators were going to be.
02:53:25 Arnold's a aging Terminator himself, and it's because he felt this is the Terminator that killed John.
02:53:35 And he felt bad because he started to have robot feelings. And after having robot feelings, he started taking care of a Mexican woman and her and her son. So he he start, he becomes the cuck. He gets robot feelings and becomes a a cuck taking care of a Mexican woman.
02:53:55 And her son in Texas. And because he then discovers.
02:54:02 I don't know cuck love.
02:54:04 He realizes that what he did was wrong. Killing John was wrong, and in order for Sarah to have meaning, he was going to send her text messages of the exact coordinates of when Terminators were being sent back from the future.
02:54:21 Something he wouldn't be able to know.
02:54:25 At all.
02:54:29 Giant plot hole.
02:54:34 They try to, they try to explain it by him saying, Oh well, every time time travel happens, there's like a disturbance in the force or something, but it's like.
02:54:42 Yeah, but that would happen like as it's happening. You're sending these texts her to her before it happens so she can be there before.
02:54:49 Well, that doesn't matter. Everyone's an idiot. Now everyone's a black guy watching a card trick now. We don't have to explain it. Oh, OK.
02:54:57 So that doesn't make any sense. And he's literally like this, this boomer cuck that takes care of a a Mexican lady and her kid and says that he will now help. He will help the.
02:55:11 The Society of the Traveling Traveling pants or like whatever this group, this trio of women to defeat the evil Terminator that's come back in time also out of literally nowhere. Some black guy that works for the military just shows up and knows Sarah Connor and is going to give her.
02:55:32 Super secret experimental EMP weapons.
02:55:36 And when they're attacked by the Terminator, he's like ohh, I got shot. I'm not gonna be able to help you with the Super secret EMP anymore, but I'll give you a C130. Hope that helps. So again, no explanation as to like why this guys.
02:55:53 Just giving her anything and everything like a wanted a woman. Like why can't he give her that? Why can't he give her? I don't know. Getting off the the America's Most Wanted top ten list. But he'll give her a C130 and not just a C130, a C130 with F15s escorting the C130. So that doesn't make any fucking sense.
02:56:13 Like at all.
02:56:14 But whatever, right? So they get into C130 with with F15s escorting it.
02:56:23 And then this is where you find out.
02:56:27 This is where you find out this whole time they haven't told her. Oh, are you going to be the son of Jose Conero?
02:56:35 Is that why they're trying to kill you? They they haven't quite told her. You've just assumed that the reason they're trying to kill this Mexican lady is there, that she's going to be the mother of Jose Conero. But then you find out. No, no, actually, this 4 foot Mexican, she's Jose Conero. She's going to be the one that saves humanity.
02:56:55 It has nothing to do with her son because we don't need a man anymore. She doesn't need to give birth to a man to take care of humanity. All four foot of this spicy Taco are gonna fucking take on the robots and the machines and and do what no man could do anyway.
02:57:11 You know me.
02:57:17 In the future.
02:57:20 Yeah.
02:57:24 I know you.
02:57:26 It was you.
02:57:30 Who found me in the ruins after Judgment Day.
02:57:33 You saved me.
02:57:42 Remember, she's 4 feet tall.
02:58:05 Each case.
02:58:08 Should me, and we'll all be dead in 10 seconds. This is what?
02:58:14 Wants us to kill each other.
02:58:20 Oh yeah, Skynet's called legion. Now, for some reason.
02:58:24 You should be fighting the machines.
02:58:26 What's the point?
02:58:28 We can't win.
02:58:29 Legion didn't exist until humans created it. We made that thing.
02:58:34 We can destroy it.
02:58:36 Who was supposed to lie down and die because some machine decided it?
02:58:41 Is that our fate? Is that our faith? Fuck faith.
02:58:48 I like tacos and burritos.
02:58:51 I think this Mexican chicks on to something? Yeah, fuck me. I never thought of it like that.
02:59:07 What's your name?
02:59:09 Grace.
02:59:09 Great.
02:59:10 Whoa. Mind blowing and the little girl she saved is the augmented white chick that comes back and saves her. See, it's like it's all like a.
02:59:19 Circle of life or some?
02:59:22 I'm Daniel.
02:59:24 Danny.
02:59:28 You saved me.
02:59:30 And you raised me.
02:59:36 And you taught me to hope.
02:59:40 Like you saved and taught the others.
02:59:45 Look at that. She's the savior of humanity.
02:59:46 You turned scavengers into militias and militias into an army. We rose up out of the ashes and we.
02:59:54 Took our world.
02:59:56 Back, she's shorter than the kid.
02:59:58 She's shorter than the the the Kid actress who plays her as a kid.
03:00:03 So a four foot Mexican woman is leading the resistance against the machines.
03:00:10 You taught us.
03:00:13 There is no fate.
03:00:16 But what we make for ourselves?
03:00:24 Danny.
03:00:27 You are not the mother of some man who saves the future.
03:00:35 You are the future.
03:00:38 In more ways than one.
03:00:43 In more ways than one.
03:00:45 You are the future of Hollywood, so we must pander to the Mexicans now.
03:00:50 So there's a bunch of like, stupid.
03:00:53 Fights like I don't know. Apparently he steals like a another airplane and and crashes the F fifteens out of the air and jumps out of his airplane into their airplane and.
03:01:05 They crashed at Hoover Dam and it's none of it makes it's like, so it's it's a Marvel movie at this point.
03:01:14 Nothing makes any sense at all. All the special effects are just ridiculous, and at the end the white chick sacrifices her own life because the four foot Mexican woman is much, much, much more important in terms of the survival of humanity. So the white girl literally rips her heart out.
03:01:34 Or tells the Mexican lady to cut her heart out because she's got, like, some battery in there that runs her augmentation or whatever, doesn't make any sense, doesn't matter. It doesn't have to.
03:01:43 And she's supposed to cut it out and use that to defeat the Batty.
03:01:52 I'm sorry.
03:01:54 Uh.
03:01:59 At least the Mexicans can live.
03:02:14 1st.
03:02:21 I'm going to kill you fucker.
03:02:22 It's.
03:02:50 Hey, get up. Help her.
03:02:59 Damn it, wake up.
03:03:06 I guess she does need a man.
03:03:20 She went by stabbing it in the head with a battery.
03:03:22 Or.
03:03:22 Something so whatever right now that has to make any sense.
03:03:27 And at the end, you know the the white chick's dead and it's just the aging.
03:03:32 Base Grandma and the Mexican lady.
03:03:43 I won't let her die for.
03:03:44 Me again.
03:03:47 Then you need to be ready.
03:04:13 All right. So anyway, that's and that's you know, that's the.
03:04:16 That's how it evolved. That's how the Terminator franchise evolved.
03:04:22 It went from a well thought out original plot line.
03:04:29 A original setting to some extent.
03:04:36 With the the weird, the the you know the future scenes, at least right. It was a unique look.
03:04:44 The the writing was pretty decent. The acting was pretty good.
03:04:49 And with a very small budget of $6 million, which is for a, you know, big action movie like this, that's really small for Hollywood even back.
03:04:59 But with James Cameron behind it, you you had a genre defining movie.
03:05:06 And you went from that to getting a little silly, a little silly with the extra budget, but not not too off the rails.
03:05:13 To.
03:05:15 Just stupider and stupider.
03:05:19 And gayer and stupider and gayer and stupider to until now, 2019, just a few years ago. Well, I guess six years ago now, it seems like just a few years ago.
03:05:33 You're reduced to having.
03:05:35 Grandma.
03:05:38 With a bazooka.
03:05:41 Grandma with a fucking bazooka. A four foot Mexican woman and some white chick with a.
03:05:49 Augmentation and a nonsense storyline that is designed to make you feel bad for Mexicans and and want immigrants to come into your country because they're going to save the universe.
03:06:11 That's it.
03:06:12 I mean, that's basically it. I had more. I had a lot more. Sorry guys. I had a lot more, but then the the computer crash wiped out like fucking.
03:06:22 Some of my funnier stuff, some of my funnier stuff. I had another scene that was similar to the Jeet in the truck scene.
03:06:30 But it's gone forever. There was no way I was going to be able to edit it again in time.
03:06:34 Anyway, so that's the.
03:06:38 That's that's most entertainment. I mean, I think Star Wars has kind of been similar. Star Wars has taken a similar.
03:06:44 Path and just generally that's just cinema. Cinema is just worse.
03:06:52 This is why and. This is why most movies.
03:06:54 Are Marvel movies.
03:06:59 You don't have to be a good writer to have a good Marvel movie. You just have to have good explosions.
03:07:08 And how do you think it's going to affect Speaking of AI being a disaster for humanity, how do you think it's going to affect writing when the writers start using AI to write movie script, you know they're going, they're probably already doing it.
03:07:20 They're probably already doing it.
03:07:22 You know they're going to get AI to use, you know, read all the scripts of blockbuster movies.
03:07:32 And then tell it to spit out scripts that are structured the same way.
03:07:37 And they'll maybe make some alterations here and there.
03:07:42 For you know when AI glitches out a couple of times and makes something that is not as.
03:07:48 Not as on the nose that they want.
03:07:51 And then AI is going to take over the special effects scene too, so they'll be able to make it even retarded, like.
03:07:57 At least with now, when they have to make a special effects shot, they have to design it in 3D. They have to have texture artists there. There's there is some work that has to go into it. There's some planning that goes into it.
03:08:11 But now you can just tell it. Hey, make this terminate. Well, I mean, just look at what I did, right? This was with grok. This is with the free grok thing and took like 5 seconds. I uploaded a picture of the Pajeet.
03:08:22 That.
03:08:23 Was driving that truck.
03:08:25 I the only manual thing I did is I I manually I gotta still.
03:08:32 And I put fire. It was way more realistic. Fire, by the way, Grock made it like cartoon fire.
03:08:37 But I essentially sent it this.
03:08:40 Like I made this in GIMP.
03:08:42 And I sent, I sent it this frame and then I told it, you know, make him in fire.
03:08:52 And it may have been fire.
03:08:54 And then on this one, I said, you know, give him a.
03:08:58 Give him a a I think I might have said give him a Terminator body.
03:09:06 It took like 5 seconds, took like 5 seconds to make that shot, even as bad as that is.
03:09:12 And it's bad.
03:09:15 Even just to make something that bad in after effects using some kind of 3D software to build the body and take a long time, it would take from scratch. It would probably take.
03:09:26 Maybe not days, but like at least a solid day to do that. Even if you're pretty good.
03:09:33 To make shots like this to, to set all that up, especially to have his head 3D from just a photo.
03:09:38 That would take some doing.
03:09:40 And to have the animation.
03:09:47 And all that's going to and again, this is just the shitty free grok thing.
03:09:52 So now they're going to be able to just tell it to make whatever the fuck they can think of.
03:09:57 And it's going to just be, it's going to be slop, it's going to be.
03:10:02 The script will be slopped. The acting will be the other thing too is and that's. That's not for the special effects shots. This is what they do for the special effects shots.
03:10:13 They're not going to actors.
03:10:15 They're not going to be actors.
03:10:18 Or maybe they'll need actors to model a couple of shots to base the a character off of.
03:10:26 But you won't need them on a on a in a studio lot shooting all day long.
03:10:31 When you can just maybe take a couple still shots.
03:10:35 So that you can have consistency, right? So AI doesn't go off the rails and start making the person look different or whatever for each scene you give it. Some kind of starting point.
03:10:46 And so you can have it to where all the acting is AI that's that's right around the corner. We got to think about it in really, really a very short period of time.
03:10:57 I think it was only like 5 years ago or so that people were freaking out because AI was was making still art, right? That AI was generating photos that looked realistic, that really wasn't that long ago.
03:11:09 That was, you know, maybe 10 years Max.
03:11:14 That they have that kind of technology.
03:11:17 And we've gone from.
03:11:19 The ability to make photorealistic people a single shot and back then they everyone had six or seven fingers, right?
03:11:29 To be able to make full on video from a single still shot and in literally a matter of seconds.
03:11:38 So imagine the kind and that's look, and that's just free consumer grade crap AI.
03:11:44 They probably already have some pretty good stuff at at movie theaters right now, or I mean studios right now.
03:11:52 Where they can make a lot of this stuff already.
03:11:56 So just get ready for a bunch of.
03:11:59 AI slot movies.
03:12:02 AI slot movies that don't make any kind of sense.
03:12:05 And it doesn't matter because people are fucking retarded and they're basically niggers reacting to card tricks.
03:12:13 Anyway, that's that's basically.
03:12:16 What I wanted to go over the night. Like I said. Sorry. I I had like that fucking.
03:12:22 The thing that drives me crazy is I have it autosave. I have it autosave.
03:12:26 And it it's supposed to auto save every. I think it's either 10 or 15 minutes, but like it's pretty frequent. Frequent enough, right? If I lose 10-15 minutes, not a big deal.
03:12:35 And the autosave file was corrupted.
03:12:40 And I had.
03:12:42 The the earliest autosave file that worked.
03:12:46 Was uh.
03:12:48 Was like like two 2 1/2 hours of work and it was like, well, great. I'm live in like an.
03:12:54 Hour so.
03:12:57 So yeah, we're not. We're just going to win it. So any.
03:13:00 OK.
03:13:02 Hopefully this is this was still still useful. Let me take a look at Hyper Chats.
03:13:16 Girugamesh Girugamesh says Hi Devon, I recommend you look into Rabbi Abraham Isaac Cook, the founder of religious Zionism. See what he had to say about the difference between Jewish soul and the soul of all Gentiles.
03:13:31 Well, that's that's just Jews. Generally. I don't think. I mean, I'm going to add his name to my notes, but like the.
03:13:39 Jews generally think that we have the same soul that like an animal, would have that. Yeah, maybe there's some spiritual spiritual representation of us somewhere, you know, like, just like maybe it's. It's like, you know, maybe dogs go to heaven. Maybe dogs have a soul, but it's certainly not on the level of a Jew. Like, that's the way that they look at it. All Jews look at, it's not just.
03:13:59 Some kook that's quite literally how every Jew views it.
03:14:05 Uh purple sage.
03:14:09 Hold on purple sage. We're going to avoid ear blasting people.
03:14:26 Purple Sage says support for your work, Mr. Stack. Well, I appreciate that.
03:14:32 And we've got Volkish says 6,000,000 innocent hyper chats murdered in the ovens of entropy. This is the real Shoah. Yeah. Well, again, it's working the night. So that's a good thing.
03:14:47 Hasn't been working every night.
03:14:49 Gorilla hands.
03:14:57 Gorilla Hands says hey, Devon entropy deleted my big dick money. Super chat on the last stream, so I will try again. Have you ever seen a picture of the first Israeli Prime Minister? Golda Meyer. Holy shit.
03:15:11 She looks like a troll, maybe a Hobbit. They are a handsome people. Terminator is one of my favorite movies. Can't wait for the replay.
03:15:19 I yeah, I.
03:15:23 I have seen her.
03:15:24 Isn't that, like, very telling to the fact that the the 1st Prime Minister was a woman? Doesn't that really tell you a lot about Jews?
03:15:35 Doesn't it break that alone?
03:15:38 That's like a huge difference between us and and Jews.
03:15:43 Excuse me for coughing right in the microphone there. There was no getting away from it. It happened mid word.
03:15:50 Yeah. It's just it's kind of.
03:15:53 It's kind of amazing that that's that, that they're they're George Washington.
03:15:59 Is some old fat.
03:16:00 Tag but that's you know.
03:16:04 That's what it is, I guess.
03:16:06 Wanna see what she looks like? I'm gonna bring her up for people who have.
03:16:08 Never.
03:16:09 Seen her? I guess this is.
03:16:17 Beautiful woman, right?
03:16:22 Girl power. So This is why Jews like girl power so much.
03:16:27 Big fans of the girl power.
03:16:30 All right, then we got.
03:16:34 Gorilla Hands again simply says.
03:16:37 Faggots.
03:16:40 Then we got Gorilla hands again. Who says? Speaking of.
03:16:44 Faggots.
03:16:46 What do you think about that Troon? Who shot up the Catholic school in Minnesota? Trannies and LGBTQ are seriously administer our civilization. Like I said, I think they all should go in a pit like I do. I think they we need to get rid of.
03:17:00 I I there's no reason for them to be in our society, there's no benefit to fixing them. I mean, look, if you want to and this is the thing people need to realize when people think that your stance is a little extreme, you you have to look. And these. The funny thing is these are the same people that like to always say ohh art of the deal. Art of the deal.
03:17:20 Art of the deal.
03:17:22 Well, guess what? One of the things in art of the deal is you over ask and that's just basic negotiation. That's not like some fucking wonder can Trump brain bullshit? That's just that's literally what you do when you're trying to get something. You ask big, you go big or you fucking go home.
03:17:38 And so if people think it's too extreme to literally round up all the fags and trannies and throw them in a big fire pit, OK well, maybe. Maybe the compromise can be in a prison underground somewhere where we don't have to look at them, and maybe we do experiments on them or something. But you know, like they're, but they're out of society. They're not around, they're gone.
03:17:58 And they go in the.
03:17:59 Pit.
03:18:00 And that should be our our the policy that we're asking for so that when they under deliver like they always do at the very least we get them out of our fucking society.
03:18:10 Gorilla hands again.
03:18:22 Gorilla Hands says As for your last dream about whites becoming allies with non whites and the main enemy of your enemy is my friend. I personally don't mind being friends and even allies with non whites. I just feel that we need to take our countries back and then we can form alliances. After all, before 4 or 1948.
03:18:41 We were friendly with Arab nations. Yeah, I I'm OK with being friendly with Arab nations. I'm not saying that that we are hostile to Arab nations or that we're hostile to Palestine.
03:18:53 I'm saying that you don't form alliances with Muslims to defeat the Jews. Like that's the dumbest fucking take in the fucking world. It's so stupid that you'd want to create allies within your own country that are part of the diversity problem. And if diversity is, is is going to help you.
03:19:13 Solved the problem of diversity. You're basically you might as well have written one of these. One of these Terminator movies with that kind of logic. It's so fucking stupid. And The funny thing.
03:19:21 Is, you know there. I've heard people say that like, oh, you know, we should really pay these Jews back for bringing all these Muslims into the country by using them politically against the Jews. And it's like, oh, for fucks sake, you're kind of, you're proving me right that even for the Jews, when they thought the enemy of my enemy is my friend, by bringing in Muslims that now it's a.
03:19:40 Problem for them.
03:19:41 And so it's like over and over and over again. It's obviously not going to work. You're the Muslims are part of the problem too. You don't want Arabs in your country and you don't want to create alliances with people that you're gonna, what then you're going to say ohh after we get and and they're and they're just going to know deep down and it's going to be fine.
03:19:58 And ohh yeah, we'll band together today to get rid of the Jews, but then once the Jews are gone, it's your turn. Give me a fucking break. It's so fucking pathetic. And it's pathetic to not have any faith in white people like they can't take care of their own problems. And it's not because of isolationism or oh, you're just trying not to have any friends or allies. Like I said, I'm not saying we go around starting fights with other groups.
03:20:18 Or or be hostile to them. I'm just saying, if you can't solve your own problems and it requires the help of.
03:20:25 Diversity to do it then don't get mad at Elon Musk when he wants to hire Indians to do the jobs. Don't get mad at conservatives that say that they're doing the jobs that Americans won't do because apparently, according to you, one of the jobs Americans won't do is kick out the Jews. So it's just the same logic. You can't be upset at these other people for literally doing exactly what you're saying.
03:20:48 It's that simple. It's it's really fucking easy to understand and it's it's this, that exact tendency, that exact tendency that white people have, this tendency towards diplomacy, this tendency for towards ohh wanna rationally negotiate with my enemies.
03:21:08 To achieve something that I want.
03:21:10 It's that tendency that that creates these problems in the 1st place. It's that tenancy that gets people like Elon Musk and and Trump to want H1B visas. It's that tendency that gets Trump to say things like I want 600,000 Chinese students in here because if we don't, then we, you know, our our American institutions.
03:21:30 Will fail. I mean, you're basically saying the same thing Trump saying, right? Trump's saying that white people aren't getting the job done. White people aren't gonna be able to do what the Chinese students can do at these universities. So we better import 600,000. We bet the enemy of my enemy is my friend, right? I mean it. It's you're basically doing the exact same math. You're doing the exact same thing.
03:21:48 Saying that your loyalty to white people is actually not your top priority at all.
03:21:55 That's just the truth. And you can try to, you know, bend it and stretch it into something else and and try to act like you're being big brain pragmatic, fagot. But it's you're that's the bottom line is you're you're no different than someone who wants to grant H1B visas to people because you think the Americans can't get.
03:22:13 Done. You think it's it's somehow more convenient to use Muslims. It's more beneficial in some way. You know, it's a little different. It's not economic, I guess, but or maybe it is, I don't know, maybe it's more economical, right? Maybe in a just in another sense, right. It's more economical for you to use Arabs against the Jews than it is for you to use your own people.
03:22:34 So how it's it's literally there's there's 00 difference between what you are proposing. I'm not saying you personally gorilla heads, but people that are, you know, people that are proposing that and.
03:22:48 And.
03:22:49 People that want to have visa workers or people that want to have foreign students or people that want to have Mexicans picking the, you know the the crops or or cleaning their toilet or or whatever they're saying that it's more economical to do it that way and it doesn't really matter that white people could do it. It's just going to be it's it'll be harder or less convenient or.
03:23:09 You know, there's there's there's something that isn't. Uh, it's not going to be as easy to use white people to do it. So we're not going to use white people. We're gonna use these other people. It's like, well, then fuck off because you basically believe that diversity is our strength.
03:23:23 So there it is. But anyway, yeah, I again. Which isn't to say you can't be friends with someone who's not white or that you can't be nice to people who aren't white or that you can't not or that you can't, that that you must reject the help even I'm not even saying that I'm not even not even saying that you must reject the the help of people who are non white and tell them to go to hell because they want to help you out with something.
03:23:46 Or they understand your plight and they want to.
03:23:49 Or they are doing something that's helpful and I'm not even saying you don't encourage that. Like, if there's people that are doing something that's helpful to us. I'm not saying that you you try to discourage that or or get mad at them for doing it. I'm just saying, for fucks sake.
03:24:03 That's that's not the same thing as forming partnerships or giving them leadership roles or or coordinating even with with with these other groups like you guys are buddies.
03:24:14 Because the implication there is clear the implication there is that diversity is our strength.
03:24:19 And so either you're a hypocrite or.
03:24:24 Or you're an idiot. You know, if you believe this.
03:24:28 It it literally makes no sense. You should be thanking the Jews. You should be thinking if if if these are the kinds of alliances that are going to somehow be, you know, and that they are going to create outcomes that are best for white people by creating these partnerships with non whites, you should be thanking the Jews that let them in.
03:24:50 It's really that simple.
03:24:53 All right, we got friendly, fish says the first American book on the JQ was written in 1980, or, I'm sorry, 1888.
03:25:02 The American Jew, an expose of his career by TT.
03:25:09 Something how Tim timing Tamini, I don't know.
03:25:13 What the fuck this is?
03:25:17 Tema Yannis.
03:25:19 Yeah, OK, whatever. Is that Greek or something? This would be great. And your text to speech format. It's hilarious and raging.
03:25:27 Written when the worst of these kites flooded in and sheds a lot of inside. Sorry my.
03:25:38 Thing is, moving shares a lot of inside and confirmation bias, right? American book called.
03:25:46 American Jew by TT. Whatever that fucking name is.
03:25:51 Hang on.
03:25:54 I'll add to my notes.
03:26:04 OK.
03:26:10 OK.
03:26:11 All right, now we got blue chord.
03:26:16 Blue corn with a big dono.
03:26:18 Money is power. Money is the only weapon that the Jew has to defend himself with.
03:26:24 Look how jewy this fag is!
03:26:41 All right.
03:26:43 Blue chord.
03:26:44 Blue chord says good evening Mr. Stack. I hope all is well with you and churro at the pill box is the my eke.
03:26:52 Bumper you are so or you find so funny in Obama reference. I'm looking forward to the replay tomorrow. Thank you for what you do. No, it's not a you think an Obama reference would crack me up.
03:27:06 You really think that's what it is?
03:27:09 You think a Michelle Obama dick joke would crack me? Come on.
03:27:13 Come on. My sense of humor is a little bit.
03:27:18 Better than that.
03:27:22 No, no, no.
03:27:24 I'm like kind of see where you're going with that, but then, no, no, no, not even not even close. Not even close.
03:27:31 Not even close. It's not. It's. And there's the The funny thing is, it's not. It's not even that esoteric. It's not even as esoteric. Well.
03:27:39 It isn't. It isn't.
03:27:41 But I guess. Nice. Nice, nice guess there. Blue chord. Nice. Nice. Wrong guess? Blue chord.
03:27:48 But thank you very much for the the big dono there keeping the boat afloat.
03:27:54 Then we got rivers of blood.
03:27:58 Why?
03:28:04 Rivers of Blood, says Devon. Have you mentioned Andre or?
03:28:08 You have mentioned in previous streams about how Jews stole the movie technology from Edison and moved across the country to avoid legal repercussions. Would you consider doing a stream on this subject? Possibly look at Edison's writings and thoughts on Jews. Thanks again and keep up the great work. I don't know if he wrote about Jews.
03:28:31 I I don't know.
03:28:36 I don't know that there's a whole stream worth of of.
03:28:41 It's a it's a tricky subject to research, right? Because there's not a whole lot of info on it beyond.
03:28:48 Just the obvious that they they took the technology and and and.
03:28:54 There's there was no randomness that Hollywood sprung up on the exact opposite side of the country.
03:29:04 How much writing there is on this? I don't know how much Edison wrote on it. I don't know. He might not have at all. I mean, he I'm sure that there's some kind of document talking about the patent issues and stuff or, you know, stuff like that.
03:29:18 Whether he would was like went full on.
03:29:22 JQ or not, I doubt it, but.
03:29:25 Because if he did that, you'd hear you'd know about it like you. You'd hear him talk, talked about as if he was a anti Semite, the way they talk about Henry Ford.
03:29:35 So.
03:29:38 Yeah, I mean, I don't know. Yeah, that's a tough.
03:29:40 1.
03:29:41 If I don't know if there's there be enough material, but maybe.
03:29:46 Maybe I'll look into it.
03:29:49 Nigel, Cringeworthy says heard about an interesting historical event recently. The Crown Heights riots where blacks started a program in Brooklyn, the Wall Street Journal did a short documentary on it called Get the Jew.
03:30:04 Yeah, they ran over.
03:30:07 Well, they ran over a black kid. Like, wasn't it the.
03:30:13 It was some Israeli diplomat or something like that. They were driving through Crown Heights and ran over a.
03:30:19 A.
03:30:21 A black kid with their motorcade and kept driving. And then the black people started rioting.
03:30:27 I've got a little research done on that.
03:30:31 Then we got expose me.
03:30:33 Says. I thought I have to or. I thought I have to the public.
03:30:40 I thought I have two in the public in favor of free speech websites. If you're using the ad blocking brave browser to view rumble, bit, shoot, etcetera, you should pay for the ad free tiers to support them or use Firefox for the free speech websites and brave browser for the Duran.
03:31:00 Websites like I do well. There you go. I I look, I don't.
03:31:04 Like.
03:31:05 I don't really care one way or the other. I'm at least me. Personally, I'm bringing traffic to their website so I don't feel any obligation to.
03:31:14 To change browsers. Plus I don't use Firefox because the trannies forced the founder of Firefox out of Firefox.
03:31:26 I don't remember all the details anymore. It's been too many years, but.
03:31:29 Like.
03:31:30 Back.
03:31:32 Well, it's almost been like about 10 years ago now, back around 2016 or so, the founder of Firefox or one of the founders of Firefox, was forced out of the company.
03:31:45 Out of he got cancelled basically and it was trannies cancelled him. I forget the exact.
03:31:53 It might have been him saying something like men were better programmers than women, or it it was something mundane and they they kicked him out of his own organization. So fuck Firefox. As far as I'm concerned.
03:32:06 Ah, then we got grimly fiendish with a big dono.
03:32:09 Money is power. Money is the only weapon that the Jew has to defend himself with.
03:32:15 Look how jewy this fag is.
03:32:33 Grimly Fiendish says I grew up believing the black judge, Mayor, police chief trope, also totally oblivious to the Jews. We had zero blacks and no Jews that I knew of.
03:32:48 Now everything is unwatchable. TV is or now everything is unwatchable. TV is dead to me.
03:32:55 Yeah, I can't watch new movies or.
03:32:59 Most new TV that I've I I've, I I just don't watch any of this stuff. But in in the moments that I've seen the stuff, it's not just. It's not like in the 90s or the even the early 2000s.
03:33:12 I'd say even going up to like maybe 2010, I mean it was getting worse and worse and worse, but like, there was a time that you would notice the liberal or lefty or Jewish messaging bullshit and everything.
03:33:28 But it it was an it was.
03:33:31 Subtle enough or infrequent enough to where.
03:33:34 You could just roll your eyes and deal with it, or at least that was the attitude.
03:33:40 Of most people.
03:33:41 That was the attitude of most people. You'd be like. You know what? Whatever. I'll allow this fucking brain cancer virus into my into my mind because I I like all the pretty pictures and other, you know, whatever. I I like the movie or or can't I just enjoy something. And so they would. They would ignore the.
03:34:01 The mind virus bullshit that was in there and that was probably the wrong.
03:34:08 Wrong reaction. They people should have raised hell back then, but I think a lot of people just didn't even notice it. And there's a lot of stuff that I watched as a kid that I didn't even notice it.
03:34:16 And then I watched it as an adult and I'm like fuck this was, like, riddled with with Jew commie shit.
03:34:22 And so a lot of people just didn't notice it. Now it's like if you don't.
03:34:25 Notice.
03:34:26 It you're an idiot.
03:34:28 Like you're basically an idiot at this point. Most people should be media media literate enough to where you notice some of this stuff. It shouldn't take a Devon Stack or anyone else to try to highlight the subversion in these newer movies. It's like this last movie out of all the Terminator movies, right? The last one was like a fucking.
03:34:48 Joke like it was literally it was just over the top.
03:34:52 Girl power retard shit. And that's how most movies are.
03:34:57 That's how most movies are nowadays. The Marvel movies are all basically like that. The the, I mean. And I haven't seen like a superhero movie in years. So because they were getting intolerable even, like I said, even back in the the early 2000s, they were they were getting bad and they were never great.
03:35:16 They were never great, but they were with every release, they got worse. And yeah, it's just I can't. I just can't handle it anymore. I can't. I can't.
03:35:26 Waste my time doing that unless I'm doing it specifically for like a show or something like that. I I don't watch.
03:35:32 I just don't watch movies or TV anymore.
03:35:35 There's, there's just so many other things I I'm just part of is I'm busy. But even if I had all all the time in the world, I would not spend it watching.
03:35:44 These new movies, and especially not in a way that would give them money.
03:35:50 And people should think about that.
03:35:52 You should even if you're someone who's who's somehow justified putting the mind virus because you like the the jingly keys being jingled in your face. At least try to do it in a way that does not give Jews more money.
03:36:07 Just you know, there's easy ways. OK? I'm not gonna tell what they are, but it's not hard, OK? It's never been hard, by the way, since the Internet existed, it's never been hard.
03:36:20 But yeah, it's too. It's just too much now. Thank you very much, Grimly fiendish, for the the massive dono there. Then we got Bessemer says hi Devon. Bollywood Terminator. Love it. You're the best. Well, that's the other. That's the perfect example. And that was actually part of what got wiped out of my fucking project was I was going to make the comparison with the action.
03:36:42 Scenes in some of these new.
03:36:45 Terminator films and Bollywood films like everyone likes to laugh at these action movies that the Indians made. But it's the same thing. It's because Indians are, you know, their audiences are stupider. And so it's it's the black guy reacting to the the card trick. They think it's amazing when they have over the top stupid shit because their brain isn't looking at.
03:37:05 At it, critically, their brain isn't looking at it critically and then losing all sense of of the the the film as an experience because you're so taken out of it by the fact that what you just watched was fucking retarded. You know the the.
03:37:23 The illusion.
03:37:26 Is is no longer maintained because of what you just saw, just being so obviously not real Indians and and well, not and not just Indians. Look at all foreign films especially look at African. I mean, you think Indian films are bad? Look at African made films. Not only obviously the special effects are even.
03:37:46 Worse, but just everything about it, it's worse because it doesn't really matter. Your audience isn't going to realize that it's worse. You think you think that if you have you think a stupid low IQ audience can appreciate good writing or good acting even? No.
03:38:04 No, they can't. If they don't understand the the writing, how are they going to appreciate the writing? If stupid people were impressed by good writing?
03:38:16 It would that would that would be we'd have a totally different media landscape right now, a totally different media landscape.
03:38:23 So yeah, that was gonna be 1 of the comparisons I was gonna I.
03:38:25 In.
03:38:25 Fact I had. I had some Bollywood action scenes side by side with some of the some of the newer.
03:38:33 Terminator stuff. It was pretty good. You'll just have to. You just have to take my word for it, guys. Sorry. Trust me, bro. Trust me, bro. The the the string was way more interesting. Sorry guys.
03:38:47 And then Bessemer Ginn says I watched a 1937 movie they won't forget and 20 minutes in. I thought this is a Leo Frank story, 30 minutes in. I thought I have to tell Devon about this. Has original didn't do nothing through the black under the bus, through the media, under the bus.
03:39:07 You've got to see it part. The start of evil southerners and movies.
03:39:14 1937.
03:39:17 They won't forget.
03:39:23 I've never heard of.
03:39:23 That.
03:39:25 37 is that an American movie?
03:39:29 That's like.
03:39:31 Right in the.
03:39:36 Hitler time, right 19370. Let's see here.
03:39:45 He's an American.
03:39:58 I think it's American. Where does it say the?
03:40:00 Well, I mean, it's Jewish. So yeah. So the writers were Ward Green, Robert Rosen and Aben Candle.
03:40:09 So 3 Jews directed by a Jew, Mervyn Leroy.
03:40:16 And let's see here.
03:40:24 Where's the synopsis? Here we are a southern town is rocked by a scandal when teenager Mary Clay is murdered on Confederate decoration day. Andrew Griffin, a small time lawyer with political ambitions, sees the crime as his ticket to the Senate. If he can find the right victim to finger for the crime.
03:40:47 He sets out to convict Robert Hale, a transplanted Northerner who was Mary's teacher at the yeah, this does sound very Leo. Frankie, huh? They're trying to. They're trying to create a story that makes the Leo Frank defense make sense to people.
03:41:06 Now they just blamed it on this northerner.
03:41:09 All right. Well, it might be worth looking at 1937, that's.
03:41:15 I'll. I'll, I'll tell you what, I'll, I'll. I'll probably take a look at that film, but no promises on.
03:41:22 On the stream, but thank you very much Bessemer.
03:41:26 Then we got man of low moral fiber. Thanks for the stream. We have to defeat the robo menace to save the beaners, because otherwise we won't have tacos. Sad to see absolutely everything turning gay and brown. Like, literally everything is turning gay and brown. Everything's turning gay and brown. That's just the way.
03:41:46 Is.
03:41:47 America is gay, and brown base, Mountaineer says. Why are Indians allowed on real people Internet?
03:41:55 Well, wait till Elon gives.
03:41:59 Isn't he giving Starlink to?
03:42:02 Some African country or something like he's he's making it worse. He's making it worse. They're they're giving Internet to more and more third worlders with Starlink. So just get ready for more of that shit.
03:42:16 The Internet was, I'll tell you what, the Internet was amazing in late 90s, if you didn't. If you didn't get to experience late 90s Internet.
03:42:26 It it was.
03:42:27 It was something else. I'm sorry, guys, I'm sorry you did not get to experience late 90s Internet. Late 90s Internet was just white and racist and smart like it was just smart, racist white guys hanging out, calling each other faggots and niggers and playing video games.
03:42:47 It was. It was amazing sharing, sharing, music sharing, you know, with Napster and shit, sharing music with each other and movies.
03:42:56 It was, it was like the Wild West. It was a digital Wild West.
03:43:00 And no one knew about it.
03:43:03 No one knew about it.
03:43:04 There's like a secret club. It's like a secret digital community you were on. Were there people that took it too far with things like second life, absolutely or World of Warcraft? Absolutely. Wherever quest, absolutely. But I was not one of those people. You and and you could still. You could still enjoy it without becoming one of those people.
03:43:26 And it was glorious, by the way. Those and those parts of the Internet weren't what I described. They were not racist and awesome. Yeah. In fact, they were the opposite. That's like the Reddit nerds that that was like the Proto Redditors. They would go and and they were. That was the beginning of censorship. If you ever did, like, oh, I wonder what this. What about this second life?
03:43:46 Bullshit. It's about you. Download it and run it, and then you quickly realize it's it's just where, like, faggots and and weirdos hanging out and they.
03:43:56 They they curate.
03:43:58 Who's allowed to talk in their little weird Internet club? So it was. It started early and it started early.
03:44:06 But it was glorious. Parts of the Internet were so amazing.
03:44:10 Oh, I missed those days and it lasted a while into the 2000s a little bit. It wasn't until the iPhone came out that it really started to get, you know, totally fucking rotten with with retards.
03:44:22 Uh, let's see here, Kergan, 86, says. Oof. And.
03:44:28 Faggots.
03:44:30 There we go.
03:44:32 Then we got David. Apollo says. It's nice to see a genre topic change. Watched your strings for about 8 years now. You're great at what you do, but the topics get stale. Hope your AC is cold and churro is all right. Yeah, I wanted to switch it up a little more. And like I said, I did.
03:44:51 I I had more funny Indian stuff. I did spend a lot of time editing even that even that stupid car chase like this.
03:45:00 This whole Indian final was with the toilets. I mean, come on. The I made it a toilet factory. Give me.
03:45:07 Maybe I'll maybe I'll render this out without the audio fuck up, because that was I was like, Oh my God, it's not. I've just had technical problems. Today. I'm starting to wonder if if my video card is giving up the ghost.
03:45:21 It's I wish video cards weren't so fucking expensive. Ever since god damn crypto. And then AI after that video cards didn't used to be like this, they didn't used to be that expensive and now?
03:45:33 They're.
03:45:33 They're so fucking expensive for a decent one.
03:45:37 I'm wondering if that's an issue. I hope it's not, but it's it's been doing weird glitchy things and locking up every once in a while.
03:45:47 And that's what it did today, when it, you know, it it hard locked basically. And I'm I'm thinking I'm thinking it's a hardware issue.
03:45:57 But.
03:45:59 Hopefully, hopefully, maybe it's something simple.
03:46:02 Maybe it's something.
03:46:03 Maybe it's time I reinstalled the operating system or something like that.
03:46:08 Anyway.
03:46:10 But yeah, hopefully it was. You know, I don't think it was. Look, I think there's some people are gonna be like, what the fuck is this shit? You know, what is this movie movie time?
03:46:18 And so hopefully it was interesting for most people.
03:46:23 Alright, we got white gravity.
03:46:26 White gravity says, did you hear HT say his S viewer count is down? What's S viewer?
03:46:35 And what is HT handsome? Truth. You're you're speaking in too many.
03:46:41 Acronyms here. I don't know what S viewer is. CQ.
03:46:46 Niche nationalism is white against white, like white against white class war failed for communists.
03:46:56 Switch to non critical race theory.
03:47:00 Right.
03:47:05 I'm not. I do not understand your.
03:47:08 Hyper chat white gravity.
03:47:11 I think you're.
03:47:13 I think you're saying.
03:47:16 That.
03:47:18 Hansen. Truth.
03:47:20 Should not criticize Christians in a very convoluted way.
03:47:24 But I'm not positive. I'm not positive. That's what you're saying? That I don't know what S count means.
03:47:30 Or no, it's you put a space. There shouldn't be a space. His viewer count is down. Well, yeah. I mean, look, there's there's.
03:47:42 Yeah. I mean, if you when you think about the majority of right leaning white people are Christian.
03:47:49 And if you start going at Christians?
03:47:53 Regardless of your motives, you're going to lose audience share.
03:47:58 UM.
03:48:00 But that's.
03:48:02 There are some people who have looked at Christianity and determined that there are lots of vulnerabilities and there are they have accurately determined that there are vulnerabilities and by that I mean.
03:48:17 Like if it was like a a firewall and Jews were trying to hack our system, there would be wide open ports that they could come in and tunnel in and try to hack our system.
03:48:30 And that's just, that's just the truth. And they have looked at this and determined because of that.
03:48:37 The only solution is to.
03:48:40 Get rid of it entirely.
03:48:43 And.
03:48:46 I understand why they they want to do that and I've I've I don't need to explain it again. I've explained why I think that.
03:48:55 First of all, if you're going to do.
03:48:57 You've got to replace it with something.
03:49:00 Like it's just like if you had a faulty firewall, right? And you decide. Well, I'm gonna get rid of this because there's viruses getting in. OK, but you don't just uninstall it and then have no firewall. You know, you need to uninstall it and put another firewall in at least right. And, you know, you also can't. You also have to think in in terms of groups.
03:49:21 Right. You can't just say because I am moral enough and I am sophisticated enough to govern my my own value system without the need for a religious.
03:49:41 Origin for that, that value system, and I don't need, you know, any kind of bottom line. Some people just need religion.
03:49:53 Some people need religion, you know, whatever they, they, they, they.
03:50:00 In fact, most people need religion and so just because you you can understand.
03:50:10 Ethics in a sophisticated way, without religion, and some people can.
03:50:17 Doesn't mean everyone can. Some people need that. That deity at the wheel.
03:50:24 And if you just strip that away.
03:50:27 Willy nilly because you see some issues with it.
03:50:31 You better you better have something ready to replace it with or.
03:50:37 One thing I do think that.
03:50:41 And I'll admit it, this is a Pragerism. I got this from Dennis Prager. So it does come from a Jew. So be that as it may, he did once say it. It's it's it's total bumper sticker bullshit. But it made it made some sense to me. He said when people stop believing in God, they don't believe in nothing. They'll believe in anything.
03:51:00 And that's not true of everybody. But it's true of some people. It's true of some people that when you take away their their moral foundation, you get weirdo, tranny, furry psychopaths. When you take away their their religious basis for for.
03:51:20 Morality and for ethics they do go off the rails and just become like these complete psychopaths that believe the the most.
03:51:29 Full of shit and they're completely untethered to any kind of reality or any kind of moral framework that even allows them to be just functioning humans, you know, let alone good people like just they. They lose all all handle on reality.
03:51:49 And so just be careful what you wish for when you, when you go after religion. And I like again, I get the criticisms, I get the criticisms, especially the way Christianity is these days, it's.
03:52:03 Uh.
03:52:05 It's super cooked like it's it's probably more cooked than it's maybe ever been, or at least more than it's been.
03:52:13 In a really long time, so anyway.
03:52:18 That is that let me take a look at.
03:52:21 Let me see if there's any weirdo.
03:52:25 Yeah, there's a couple of weirdo odyssey ones.
03:52:29 Omega bacon.
03:52:32 It says a no slash.
03:52:35 And Sons of Liberty rising.
03:52:38 Uh looks like.
03:52:44 He says 2029 grand opening of the Little Hat Volcano Swimming Club.
03:52:49 I have no idea what that means.
03:52:52 I have no idea what that means. Sons of Liberty rising.
03:52:55 All right. And then we got over on rumble.
03:53:05 Over on Rumble we got Doctor Jellyfish.
03:53:10 Doctor Jellyfish or says I said I'd find the SNL heavens gate spoof commercial. Snell did back in the day. It was in the same episode you referenced on your string. This is a Reddit link you sent. You're you're sending me Reddit links?
03:53:26 Are you really? Are you sending me Reddit legs?
03:53:32 Out of all the things you could send me.
03:53:34 Yes.
03:53:35 OK.
03:53:56 Reddit links.
03:53:58 Those are like the gayest links you can send.
03:54:02 But I did download it well, I'll maybe tell you a look. Let's see. Let's hear a rat. We're we're already bumping up on 4 hours here.
03:54:10 We got. Well, thank you very much, Doctor. Jelly thing that we got, gravy Bear says I remember my dad's friend had a Rottweiler. Nice dog. Until one day it bit a kid. He didn't ask why. He just looked. Took the dog away and put a bullet in it. This needs to. Well, all right, gravy bear.
03:54:30 We can't. We can't.
03:54:33 Can't be talking about that. That'll gets in trouble. We have free speech in America, but there is there are limits. Believe it or not, there are limits.
03:54:43 Tomahawk says going to have to catch the replay. I have some duckets white people money. Look it up.
03:54:52 The fuck are duckets?
03:54:57 Hey.
03:55:01 Says an obsolete spelling of Ducat.
03:55:06 Or Dow, cat or dog coat.
03:55:09 The fuck is that?
03:55:15 Right.
03:55:15 I'll look up. Do. Cat. What the fuck's a do cat?
03:55:23 Austrian money.
03:55:25 Austrian gold coins. All right. Well, you got Austrian gold coins.
03:55:30 Alright, I guess that I guess that that qualifies as white people money. Then we got Rupert. Rupert says replay gang see you on Saturday. Professor Stack, are you going to be on right White Rabbit radio coming Monday, I guess so, huh? I'd look at my calendar again. I'm pretty sure. Yeah, maybe. I think it is Monday.
03:55:51 All right, let me see. What's Monday.
03:55:56 Monday is the 4th where we had September already.
03:56:00 Yeah, I think that's, I know it's September. So I think so.
03:56:06 I think so. Then we got the uh, the Shogun.
03:56:17 The Shogun says.
03:56:19 Even though I'm to the right of him and I prefer your view on the tranny because the wait who you was there Part 1 of this? Who's him?
03:56:31 Because the simple truth is that trannies shouldn't be allowed to exist. Next take was actually insightful worth listening to.
03:56:42 What on the trannies?
03:56:44 Well, yeah, I've been lying. I I I haven't heard what he said about the tranny.
03:56:49 I haven't really. I downloaded all the stuff that the the tranny had posted before they scrubbed it and then I was just so up to my eyeballs in this stream trying to get a bunch of stuff done that ended up getting destroyed by my computer. So in retrospect, kind of didn't really matter.
03:57:08 But yeah, I haven't. I haven't. I haven't. I haven't heard what he said.
03:57:14 Let's see here. Then we got zazzy mataz bot says Terminator 2. I remember seeing it for the first time on laser disc.
03:57:24 I think I've ever seen anything on. I mean, I know what a laser disc is, but.
03:57:27 I don't think I've ever seen anything on laser disc.
03:57:32 Laser. That was like if you were super rich in the 80s, right? Like some weird ill-fated format like the record players or record sized CD's.
03:57:44 Then you have to flip them over.
03:57:46 Like you couldn't even like watch them all without like you had to, like, flip over the fucking gigantic disc halfway through the movie.
03:57:55 You know the crazy thing about laser disc is it's not digital.
03:58:00 It's not. It's like a CD. When you listen to a CD, it's digital. It's ones and zeros, and it's being there's a digital to analog converter in a CD player that converts the digital.
03:58:17 Info into audio waves, right? And that's how DVD's are right? So DVDs are reading the MPEG encoded.
03:58:30 Video file and playing it like a computer would but.
03:58:36 Laser disk is not.
03:58:38 It's not digital. There's no no computer, it's it has an analog signal the same way that a VHS does.
03:58:47 So that's kind of crazy.
03:58:49 Not, I mean that's that's, that's like useless trivia now that I'm thinking like, that's like the most useless trivia ever.
03:58:55 Why do I know that? Why is that in my brain and so many things I forget, but I remember that I found it fascinating. That was like, yeah, that's crazy that it's why it's part of why it takes up so much space.
03:59:06 That's why, like one side can't fit an entire thing because it's uncompressed. It's just like a full on composite video.
03:59:13 But anyway, uh, gravy Bear says. I've trained with a lot of blacks over the years and MMA and a lot of them are surprisingly bad fighters. It's why they resort to cheap shots and fighting dirty.
03:59:27 Yeah, that's. I would say that that's that would add up with my experience, they usually resort to ganging up on people. My, my in fact that's not just black people growing up. My encounters with non whites.
03:59:41 Invariably led to multiple non whites against.
03:59:45 Whereas I don't know that that ever happened with white kids and it's not that I was constantly fighting, but I was a big guy and so people wanted to fight me for no reason a lot because I was the big guy, right? And so even when I was young, like when I was like.
04:00:00 You in grade school, people were trying to fight me. You are the worst fight ever got. It was so like I just. It was so awkward because it was some kid with disabilities. I didn't find him. He was mad. I don't remember why he was mad at me, but he was mad at me. And it's it's at recess.
04:00:15 Yes.
04:00:16 And I mean like he had, like, severe birth defects. So like he didn't he didn't have. He had like weird nub hands. Like he didn't have actual hands.
04:00:25 He had weird, numb hands with, like, little like he didn't. He didn't have fingers. He had, like, these weird little.
04:00:32 Tiny nubbed finger things like it was.
04:00:35 Kind of gross actually I, but I don't think I was making fun of him. Like I I wasn't the kid that made fun of, you know, not hand people. I at least not out loud. Right. Like I'm in my head, maybe.
04:00:48 But I don't remember why he was mad at me, but he came up and was like trying to fight me. And I'm like, I don't want to have to fight the nub hand kid. Like, there's no, you don't. There's no way to win this. How do you win? Fighting the nub hand, kid. Like you. You lose either way. Either you lose because you got beat up by the nub hand, kid, or you lose.
04:01:07 You beat up the nub hand kid.
04:01:10 And luckily it was over pretty quick like I think he he like SWI kick at me. And I grabbed his foot and he fell on his ass and, like, banged his head on the on the fucking black top and the recessed lady showed, showed up and and broke it up. But it was just like.
04:01:25 Like I was just like, god damn. Why, why me? Why? Why is this happening to happen? Like, why? Why, why do I have to fight the knobhead? And luckily I didn't get any trouble. I didn't get in any trouble. Cause the the recess lady apparently saw the whole thing. So.
04:01:37 That was like the worst fucking that was a white kid.
04:01:41 And I was a fucking white.
04:01:42 Kid.
04:01:43 But yeah, every every time I got in a fight with like a a black kid, or which I think that only happened once.
04:01:49 There, because there just wasn't a ton of blacks, it was more Mexicans and Jungle Asians where I grew up. But yeah, the jungle, Asians and the Mexicans, it was like, you're up against a few of them at least.
04:02:01 And the they're, in fact, when white kids would fight, it was like there was some organization to it, right. Like you'd have, like, a, a meeting place. Like, ohh. I'll meet you at the pyramid at 5:00, you know, and you'd and you'd show up and.
04:02:17 And there'd be a fight, and there'd be people there be spectators, and there'd be people that they would break it up, right if they started getting a little too crazy, people would step in and break it up. There was, like, order to it, though.
04:02:27 And yeah, not so much with black people, not so much with black people. Rocco did 2, simply, says Wookies. Well, we'll try it.
04:02:38 I got working.
04:02:40 Finally got lucky, Rocco. We got Zen, Christopher says. The enemy of my enemy is my enemies. Enemy. Exactly. Exactly.
04:02:49 The enemy of your enemy is your enemy's enemy.
04:02:52 And that doesn't mean that your enemy's enemy can't be useful to you, but they're certainly not your friend. It doesn't mean they're your friend, Negro Spritzer.
04:03:05 Negro Spritzer.
04:03:07 Like would like to express his.
04:03:11 His.
04:03:13 Undying hatred for those who are.
04:03:16 Or black wear small hats, eat tacos.
04:03:21 Eat non bread.
04:03:24 Eat.
04:03:27 What do they eat? Kebabs.
04:03:30 Eat fried rice.
04:03:33 And uh.
04:03:38 Eat assholes and hang themselves.
04:03:42 There you go.
04:03:44 There you go. Then we got Helgi 23 simply says N word.
04:03:50 Well, there you go. N word.
04:03:54 We Scroll down.
04:03:56 Rocco, D2 says bring back public hangings for murder. I'm OK with that. See, that's that's an acceptable way of expressing what someone else was trying to express earlier.
04:04:06 You can support a policy of public execution for murder. I'm pretty sure that that that is.
04:04:14 Totally fine. And in in America. All right. Well, that's it, guys. Let me just double check entropy again. Oh, we got one more. Ohh. What we got the good thing I did.
04:04:25 We got a a. A big dunno from sacred squirrel.
04:04:29 Sacred Squirrel says missed the show.
04:04:32 Just got off work.
04:04:35 Big old dono.
04:04:36 Money is power. Money is the only weapon that the Jew has to defend himself with.
04:04:41 Look.
04:04:42 Look how jewy this fag is.
04:04:59 All right, sacred squirrel. Well, thanks for the big.
04:05:02 They don't hope you like Terminator.
04:05:07 This stream is not for everyone. I'll admit that. I'll admit that it's not for everyone. At no point do I bring up Jews or or well, I barely bring up. Well, you know, there was the.
04:05:18 Jewish.
04:05:19 Suchiate Christ, I guess so. There was 1 little of it all eBay.
04:05:24 You know, I should have done.
04:05:27 There would have been more oil vase. I bet if we looked into.
04:05:32 Who directed each one?
04:05:35 Let's see.
04:05:49 OK.
04:05:50 So.
04:05:53 The first one was written and directed by James Cameron.
04:05:57 But he also worked with two other guys.
04:06:01 GAIL Ann Hurd.
04:06:04 Well, I think that's a going maybe that might be a Jew.
04:06:08 But they're.
04:06:10 That was more screenplay structure looks like and then someone named William Wisher Junior.
04:06:16 For dialogue help.
04:06:18 Who's here? Let me look at these. Who these people are.
04:06:28 No real photos of them anywhere.
04:06:35 Well, if this is him, he doesn't look Jewish. What about this Gale Anne Hurd?
04:06:41 It's herd Hurd.
04:06:47 Gale Anne Hurd. Well, you could be a Jew. Geez.
04:06:55 She's probably a Jew, so a Jew did help out with the.
04:07:00 The screenplay, although the writer was.
04:07:04 Was it was James Cameron who cooked up the story and looks like she was more.
04:07:09 On just on the writing staff and this other guy was with the helping with the dialogue and then she for Terminator 2, it's just James Cameron and William Wisher.
04:07:21 Terminator 3.
04:07:23 It's Jonathan mostow.
04:07:27 Jonathan Mostow is the director.
04:07:31 And let's see here. Jonathan Moss, Dawn, early life.
04:07:39 He is Jewish.
04:07:42 So directed by a Jew.
04:07:45 And then the riders.
04:07:50 One sounds Italian.
04:07:54 But let me see.
04:07:57 Frank Brancato.
04:08:03 Then it's hard to tell.
04:08:04 And then some other people that.
04:08:07 Michael Farris, that could be Jewish.
04:08:12 Michael Farris and then Teddy Sarafian. Those could be Jews. I don't know. I don't want. I don't look at each one. Let's just look at the names here. And then 2009 Terminator. Salvation was Joseph Mckinty nickel.
04:08:27 I don't know who that is.
04:08:30 Let's see.
04:08:33 I don't think he's Jewish, doesn't look Jewish.
04:08:40 Let's see here early life doesn't say anything about him being Jewish. He doesn't look Jewish, though.
04:08:49 He might be Irish or Scottish.
04:08:53 Special the middle name like McGinty. And then we've got Terminator Genesis.
04:09:00 Was directed by Alan Taylor.
04:09:04 And written by two Jewish sounding names, but they also could be anything but they.
04:09:10 Let me see here. Michael or Alan Taylor, early life.
04:09:19 Yeah, I don't think he's a Jew. Maybe he went to Colombia.
04:09:23 He went to Colombia, so it is possible.
04:09:26 Doesn't say he's Jewish, but he went to Colombia.
04:09:31 At that point, you might as well be a Jew. If you go to Colombia.
04:09:35 Now look at. Let me look at this person.
04:09:38 Now that she's definitely Jewish, I I can't say her name though.
04:09:43 Oh no, she's Greek.
04:09:45 I guess she just looks Jewish.
04:09:47 So she's Greek. So a Greek woman.
04:09:51 And Patrick Lussier or Lussier, he could be French.
04:09:59 Patrick Lussier early life doesn't have an early life.
04:10:04 Does not look Jewish.
04:10:09 Good. Nah.
04:10:14 Could be, but doesn't look doesn't look Jewish.
04:10:18 So.
04:10:20 Yeah. And they weren't. It's not. They didn't get super jewy to the last one. Maybe the last one's like all about Jews.
04:10:26 We got Tim Miller, Millers are most Millers in America are Jews. Let me say Tim Miller.
04:10:32 Was the director.
04:10:37 Tim Miller, early life.
04:10:39 No, I went to a Jesuit high school, it says Miller graduated from Regis Jesuit High School in Aurora, Co.
04:10:47 And graduated from George Washington University, which I think is a.
04:10:52 Catholic School, isn't it?
04:10:58 Isn't George Washington Catholic?
04:11:01 See or not, I mean George Washington wasn't Catholic, but I think this isn't the school.
04:11:01 Here.
04:11:09 Maybe it's not Catholic.
04:11:13 But it's not Jewish.
04:11:16 He's uh.
04:11:19 So he's not. He's one of the one of the Millers that aren't Jewish and that was written by David S Goyer. The fact that his last name has gone and it's kind of funny. Justin Rhodes, Billy Ray.
04:11:32 Ohh, and James James Cameron actually had story contributions, it says.
04:11:39 But he was not credited as a as a writer David S Goyer.
04:11:45 Ohh he's definitely Jewish.
04:11:48 Yeah, he's, you know, this guy's turbo Jew. So yeah, the last one was written by a Jew with the last name of Goyer, which is kind of hilarious.
04:11:57 Anyway, let's get back to.
04:12:01 Let's get back to where we were, which is I think closing out the show right? Are we done here?
04:12:09 Where that where that tab go? I got too many tabs open now. I added too many tabs to.
04:12:16 I lost my where's my?
04:12:18 Browser with the there we are.
04:12:23 Where are we at?
04:12:25 Where's the?
04:12:27 I've completely lost my browser with all the the streams in it.
04:12:31 Here we go, entropy. There we are.
04:12:34 So that was it. Sigrid squirrel. And that was it.
04:12:41 Over on Odyssey and I think that's it. Over on Rumble, we are all done. Thank you very much for hanging out with me for over 4 hours, four hours and 12 minutes. Sorry, I was a little bit long.
04:12:52 We'll be back here on Saturday. Same bat time, same bat channel, and it won't be. I promise. It's not about Terminator.
04:13:00 In the mean time.
04:13:03 For Black Pilled, I am of course.
04:13:07 Devon Stack.
04:13:12 Eat land, rabbi.
04:13:14 Sorry, that's not kosher.
04:13:18 Alright.
04:13:19 If you are a real rabbi, circumcise this child.
04:13:27 Hava nagila baby.
04:16:04 Wait.
04:16:17 Mr. chips.