Top 5 Movies About Marriage | Archive

16:52Josh Larsen:You're not going to get to that point. It might, in fact, be the hardest thing you ever do, yet part of what it means to be married is to keep doing that work all the way through to the end. And underneath all the complications that away from her captures, there are past betrayals, there's the disease, there's aging itself. It still recognizes this truth, I think, especially near the end. After Fiona has moved into a memory care facility and she begins to drift further and further away from Grant, there's a sequence where there's this one moment of awful, but at the same time sort of wonderful clarity.

17:28Josh Larsen:You could have just driven away. just driven away without a care in the world

17:36Adam Kempenaar:and forsook me

17:41Adam Kempenaar:forsook me

17:45Adam Kempenaar:forsaken

17:49Josh Larsen:not a chance I'm pretty sure we played that clip before but I wish I hadn't because it's really even more fitting for this list and it's always worth hearing Christie's delivery there. So away from her, my number four, don't wait for marriage to get easy. I don't know that that day ever comes.

18:07Adam Kempenaar:Yeah, that is a great pick. I love that film and I love those performances. My number four, I'm going to be very brief here because it's a film that even though it came out in 2014, I still feel like not enough people have seen and to get into the weeds too much on it would really ruin the experience. And maybe after listening to this top five list, people will be curious to check out this film. I think it was the debut film from director Charlie McDowell. And I know that I like this movie more than you did, though. I feel like you were favorable on it. The one I love. I love. The one I love from, as I said, 2014, starring Mark Duplass and Elizabeth Moss as a couple who are going through a rough patch.

18:46Adam Kempenaar:They're kind of trying to recapture some of their past glory and their more passionate times. And they're seeing a therapist who's played by Ted Danson. and he suggests they go to this weekend getaway and have some fun, hopefully, and maybe reignite this passion that has gone a little bit dormant. And here's the truth. I'm really not going to say more than that. That's the basic plot. That's all you need to go going in. They go to the house and some really strange things start to happen.

19:19Josh Larsen:That was a little bit of a weird fight last night. I know. I don't really understand what happened, but I feel like maybe we just talk it up to like some bad pot and alcohol combo, put it behind us and not let it ruin the trip.

19:32Adam Kempenaar:Agreed. Totally.

19:34Josh Larsen:Cool. That being said, it was one of the weirder fights we've had.

19:39Adam Kempenaar:Oh my God, I know.

19:40Josh Larsen:Crazy, right? I mean, I still don't fully understand whether you were so drunk and stoned that you thought we had sex or were you just making a joke and it backfired? Honestly, I think it was just one of those things. You know? One of those things.

19:55Adam Kempenaar:And when you come out of that film, I said this when we talked about it on the show, I said it in my Letterboxd review at the time, if you watch that film with your significant other, as I did, whether you're married or not, if you've been together for any amount of time, I imagine that the person you watch it with will turn to you just as my wife did and say, okay, so what's the best version of me? They will ask that question. or some form of that question after seeing this film. And I could probably give you the advice to not take the bait and don't answer that question. But if you want to have a really, I suppose, honest and interesting conversation with your spouse, you could try to answer that question because the truth there, the fundamental truth there is, no matter how happy your marriage is, no matter how much you do genuinely love that other person, there are going to be imperfections.

20:48Adam Kempenaar:There are going to be quote unquote flaws. There are going to be things that you probably wish you could change about them. You may discover new ones as you go through the marriage and whether or not you ever feel like those are things you need to bring out into the open or those are things that are forced out into the open. That's different for every couple. That might be just a secret that you take to your grave. But in this case, the one I love, it's a film that really forces you to not only, I would say, Josh, think about it in terms of your spouse, but think about it, I think, the way Sarah did, which if you're really connecting with the material the way I did, you're not going, wow, what would I change about Sarah?

21:27Adam Kempenaar:I'm going, what would Sarah change about me? What should Sarah want to change about me? How do I need to be better? So the one I love, maybe a little bit of a surprise choice here, but a movie, at least on this topic of marriage, I found pretty profound.

21:41Josh Larsen:Yeah, overall, I didn't go for the movie, but I did note that it gets at a truth very similar to what you were just saying. Basically, the gap between the spouse we want to be and the spouse we are can feel huge, right? So I do think the movie touches on that for sure. You ain't heard about Moto Casino? Moto has real Vegas slots. Any game you can find on the floor in Vegas, you can play it on Moto. I like my slots hot. Moto's free to play, like food stamps. In line at the grocery store. At a funeral. In traffic. Keep your eyes on the road. Hop on Moto Casino. Moto Casino got jackpots that are bigger than my belly.

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25:16Josh Larsen:This stars Cary Grant and Irene Dunn as Jerry and Lucy Warriner, a husband and wife who, like the couple we meet in Marriage Story, are in the process of divorce. There are essentially two movies going on here. There's the one where Lucy and Jerry are trying to find new partners while simultaneously sabotaging each other's efforts at romance. And then there's the one where Lucy and Jerry continue to share glances, inside jokes, instinctual smiles before they remember they're not supposed to be smiling at each other. basically no matter who else is around, they're always the most compatible couple in the room.

25:50Josh Larsen:Now, the director, Leo McCary, he stages a really brilliant comic sequence near the end that I wanted to highlight and why I wanted to put this on the list. This is when Lucy and Jerry, for these really convoluted plot reasons, they have to stay in the same country house in adjoining rooms on the night that their divorce will be finalized at midnight. Once they're settled in their beds, the door between these two rooms, it keeps opening like the wind does it. And then there's this cat, all sorts of stuff comes into play. And each time it happens, they have a clear sight line of the other person just sitting there in their bed.

26:20Josh Larsen:So there's a lot of comic business about this where they try and fail to keep the door closed. Eventually, they just realize they're going to have to connect with each other on some level. And this leads to, here's another, speaking of the man, great screwball exchange that hints at reconciliation.

26:38Adam Kempenaar:You're all confused, aren't you?

26:42Josh Larsen:Aren't you?

26:43Adam Kempenaar:No.

26:44Josh Larsen:Well, you should be because you're wrong about things being different because they're not the same. Things are different, except in a different way. You're still the same. Only I've been a fool. But I'm not now. So long as I'm different, don't you think that, well, maybe things could be the same again? Only a little different, huh? You mean that, Jerry? Vina Delmar doing the screenplay there. She's adapting a play by Arthur Richman. And basically, the simple truth here, marriage means making up. In a way, marriage doesn't become a marriage until you've hit brokenness of some kind and have by some grace been able to make it to the other side.

27:24Josh Larsen:I think the awful truth is this great farce about somewhat begrudgingly making it to the other side and these two being surprised to find themselves there but also just really sort of overjoyed with it as well. So I guess you could see this as a positive pick too.

27:42Adam Kempenaar:For sure. Yeah. Yeah, no, good pick. A movie that was also part of our Screwball Comedy Marathon back in 2006. My number three choice would be a great pairing with your number four. You talk about a couple that hopes or imagines that they are absolutely in that settling part of their marriage, where their life is what it is and it is joyful enough and they believe there is a firm foundation and that foundation gets rocked a little bit by a revelation. It's the movie that was my number three film of 2015, Andrew Haig's 45 Years. And I'm sure this was discussed by people who talked about the movie at the time.

28:20Adam Kempenaar:It's fascinating to see this for what it was, which was a follow-up to his debut film, a movie we liked a lot called Weekend, which was about two gay men who meet and have this kind of fling and this connection. And then they go their separate ways. It's a relationship that never gets to have a history, at least a history that we're going to see. And then we come to 45 years, a movie that is all about that history. And the truth for me that it really showcases is the way a marriage can have that kind of quiet comfort that two people can have together. But there being some cracks and cracks that can potentially develop into fractures.

29:00Adam Kempenaar:And it's not by accident that I use words like crack and fracture because that's kind of integral to the plot. You've got Charlotte Rampling and Tom Courtney as the husband and wife, and they are supposed to be celebrating their 45th wedding anniversary when a letter arrives that says a body has been found from his past from over 45 years ago. The woman that he was madly in love with before he met his wife, Kate, and they were on a trip together, hiking somewhere, and she fell between a glacier and obviously died. Her body was never found. They have now recovered it. And just that body, it's almost honestly like a ghost story in a way where now this body comes up and haunts them.

29:46Adam Kempenaar:Right. And they have to relive and revisit some choices that were made before they even knew each other. And then things that are sort of kept secret throughout their marriage. There are a number of devastating scenes in this movie at our end of the year wrap party. I talked about a slideshow scene in the attic that I thought was a scene of the year candidate, a music moment from the end of the film. Haig takes a very subtle approach here. It's a two-hander. It's these two people doing a lot of talking and doing a lot of talking within the space of this home that they have made together. You get a lot of kind of simple, longer takes lingering with this couple.

30:23Adam Kempenaar:But there is just one cut in it that really floors me. It's when they're in the living room. They're sitting down, separate parts of the room. and she's reading and he comes and kind of curiously sits down right next to her. And Tom Courtney looks at her very hard for a second and she says, what? What is it? And he clearly has something to say and he says that he doesn't. And then you hear his voice, even though his mouth isn't moving, you hear his voice say, there's something I want to tell you. And we're seeing them in profile. He's clearly not talking. We hear that voice. It turns out that we then cut to another angle and that audio is just a bridge.

31:01Adam Kempenaar:to him finally starting to say whatever it is he had to say. You don't know in that moment how much time has actually passed. Have they been sitting there for 10 seconds together or 10 minutes or an hour? You really don't know how long it took him to kind of build up the courage to finally say what he has to say. That's something I want to tell you. Okay. You know, I feel sure I've told you before, but it was a long time ago, So I could be wrong.

31:36Adam Kempenaar:OK, go on. Yeah. Um, I was her next of kin. What do you mean?

31:42Josh Larsen:Well, officially, I was her next of kin. I'm sure I told you this before. Well, I think I remember her husband being

31:50Adam Kempenaar:another woman's next of kin. Why? Why what?

31:55Josh Larsen:Well, why were you her next of kin?

31:57Adam Kempenaar:Because they thought we were married.

32:00Josh Larsen:Who did?

32:01Adam Kempenaar:The authorities, people.

32:03Josh Larsen:What made them think that?

32:04Adam Kempenaar:We told them we were. There's something about that really efficient use of ellipsis there that seems so appropriate to the film, which, as I said, is about the past encroaching on the present and possibly affecting their future. And another true moment there in any relationship, there being some secret. There being something that one person doesn't want to tell the other person but knows they really have to. and they don't want to do it under the guise of wanting to protect her when really selfishly you're protecting yourself, which is what he's doing there, I think. And these are the type of dramas that are playing out in households everywhere, every day, and will forever.

32:44Josh Larsen:Yeah, you're right. That would make a really great pairing with Away From Her, just the way it recognizes this sort of tranquil domesticity should never be taken for granted. That's maybe when those cracks start to turn into fault lines or something. something bigger. Okay, I'm at number two on my list. I won't spend a lot of time on this because I did go with Eyes Wide Shut, which we just spent so much time talking about as part of our Nine from 99 series. I wouldn't say this movie is anti-marriage, but it's in a lot of ways, it's pro-marriage, but it's certainly the movie that's honest about the difficulties of marriage and the reality that marriages fail for all sorts of reasons, that sometimes the right call might be the hard one of deciding not to stay together.

33:28Josh Larsen:The couple here, of course, Bill and Alice, Tom Cruise, Nicole Kidman, they really find themselves at this point early on in the film. It kicks off the entire rest of the movie, this late night conversation that threatens to peel away some of the masks that they've been wearing for each other. So this is, you know, they're at this point well before Bill throws a fit and decides to go sneak into a creepy sex party. They have some issues, fair to say. Now, you might point out that after all this craziness, Bill and Alice still seem to be moving themselves towards some sort of reconciliation by the end of the film.

34:00Josh Larsen:I think that's true. But as I noted in our review, and we did spend a lot of time talking about marriage in that review. It's worth noting if listeners haven't checked that out yet. But as I noted there is that they've still got a lot of work to do at that toy store in that final scene when they get home. The reality is they might not make it. I mean, my instinct coming out of Eyes Wide Shut is, you know, you breathe a sigh of relief. But the more you think about it and realize what they have ahead of them and where they're at, I mean, this is a downer pick in a lot of ways because the truth is that you might not make it.

34:38Josh Larsen:It's just a sad reality.

34:41Adam Kempenaar:I totally get that reading or suggesting that it could be read that way. And I see it so much more hopeful. I see it as they finally come through it. They finally come through it. And now that they have been forced to confront reality, actual reality, the honesty of each person's viewpoint and I suppose mindset of their marriage, I think it's going to lead them to better things.

35:03Josh Larsen:That's my hope. They're definitely in a better place for sure.

35:06Adam Kempenaar:Still got a ways to go. Yeah. So my number two does go back to Satyajit Ray. You mentioned the film. It is The Big City from 1963. I love this film. What a great filmmaker. And the truth of marriage that we're seeing explored here, I think, is what can happen, the upheaval and the angst that can happen when you have a marriage that's in transition. When one partner decides to break from their assigned role in the relationship and all the drama that can unfold from that. This film stars Madhavi Mukherjee as Arati and her husband Subrata is played by Anil Chatterjee. And we talked about this a lot during our marathon and this review.

35:53Adam Kempenaar:The movie.

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37:53Josh Larsen:Complete Disclosures available at public.com slash disclosures. Let's talk about modern home shopping. It's sort of become a fun side hobby, right? Scrolling listings at night, dreaming about kitchens you've never seen or backyards you haven't even stepped foot in, all from the comforts of pretty much anywhere. Redfin knows a lot of people like you want to own but are stuck in this browsing mode loop. That's where Redfin flips the script. With listings that update within minutes and tours you can book right from the Redfin app, you can see your dream home the moment it appears. Now, liking a listing is easy, but actually landing it, that's where Redfin comes in.

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38:58Adam Kempenaar:Forces us to think about what her role, what RIT's role is as a woman in their household within their marriage. She's a wife. She's a mother. She's a daughter-in-law. She's a sister-in-law. She's a housekeeper. She's a cook. She's a nurse. She's all of these things. And we see the toll that all of those roles take on her. And they all have prescribed actions and needs that come with it. And because of his struggles, her husband not making the money that he should and they're having trouble making ends meet, she discovers that she could work outside the home, that she could go make some money as well.

39:38Adam Kempenaar:and she does that. She goes to work as a saleswoman and actually has some success. So now we see her take on new roles as an employee, as a coworker, as a friend and actually a supervisor and the big one that causes so much trouble at home as the breadwinner. And she's trying to navigate all these while also navigating all those other roles. She can't just abandon them. And these new ones don't have the history, the decades and centuries of history that tell you what type of housewife you're supposed to be in this culture, what type of housekeeper or daughter-in-law you're supposed to be. She's making all this up as she goes, which is both what makes it so thrilling and what makes it so hard.

40:20Adam Kempenaar:I mentioned she becomes the breadwinner. There's a scene where she tells her husband that she's gotten a raise, and at least the English translation that we get on screen in the subtitles is, great the wife comes home a hero the husband's zero that's how he feels he feels completely worthless now because of her new role and she's enjoying her work she is successful and she's being useful to the family and she loves that and his kind of self-pity and despondency really does hurt her and there are a couple of scenes josh that i know you remember well from this movie that really get to the heart of this and it's a fairly early one after coming home from the job and she's just kind of recounting her routine, the details of the job very casually to her husband.

41:04Adam Kempenaar:And she says, you wouldn't recognize me on the job. And that piques his interest. And he says, what about at home? Would I recognize you at home? And Mukherjee, just what a performance. Yeah. Very slyly, almost sensually, slowly approaches him, enters the frame that's just on his face, sharing that very close space with him. It's a very intimate exchange and very close to him very quietly says you don't recognize me and she brings up the mole on her face that of course he knows. And when he says that it feels all familiar she points out that she's still the same housewife. She does reassure him here in that moment.

41:45Adam Kempenaar:Now later when he's found the lipstick that she has put on to go out on her job as a saleswoman something she's never used before. He gets a jab in at her. He doesn't even look at her as she's heading out the door. He says, you're not going to put on your lipstick. And this moment is so good. She throws the lipstick out the window. She doesn't need it. And she says, listen to me. Do what you like. But please don't misunderstand me, darling. So it's at once sensitive. It's a plea to him. But it's emphatic and also defiant at the same time. It's an order. It's her telling her husband, don't misunderstand me.

42:22Adam Kempenaar:You can think what you want, but don't ever question my feelings for you or my loyalty to you and this family. Basically, don't ever do that again is what she says to her husband here. And rewatching scenes from this, it's available on the Criterion channel. I almost didn't stop. I almost didn't get this list done just because I started rewatching the big city. It's that good.

42:42Josh Larsen:Yeah, that scene with a lipstick was my choice for most moving moment in the marathon. And I just can't recommend that marathon highly enough if we have relatively new listeners who didn't have a chance to go through those films with us. I think we probably both assumed we were going to encounter a masterpiece with the Opu trilogy. But we saw, you know, The Big City, I would consider another one. And really almost every film in it was just unbelievable. So I'm glad that we have two Ray. I think it's very appropriate to have two Ray picks for this list. I'm at my number one, which is Sunrise, A Song of Two Humans.

43:16Josh Larsen:I'm going to end with the best film, to my mind, on my list. I mean, this one is on my list of the best of all time. And it probably holds the simplest truth for me. Date night? You may want to kill your wife at some point. Is that where you're going? Date night is always a good idea, Adam. Always a good idea. This is F. W. Murnau's 1927 silent masterpiece. And yes, it begins with a portrait of marriage that's probably darker than Eyes Wide Shut, I would say. We have countryman George O 'Brien persuaded by a seductive city woman to murder his wife, played by Oscar winner Janet Gaynor. Spoiler alert, at the last minute, his conscience gets the better of him.

43:56Josh Larsen:Rather than throw her over the boat they're in, he paddles across the lake to the city where his wife understandably flees. And then comes the movie's miracle. After finding his wife again, he repeatedly pleads for forgiveness as they walk around the city together. Ever so slowly, she gives him another chance. There's this point where they are walking together, they stop at a church, and they watch a wedding that's taking place. And this causes the husband to tearfully renew his vows. And Murnau stages the sequence so brilliantly because he shifts things so that the marriage ceremony taking place suddenly becomes their ceremony, right?

44:32Josh Larsen:They emerge from the church just as the bells are ringing, for example. And then what follows is this second honeymoon, essentially, in the city as the husband and wife. They celebrate their reunion by having their photograph taken. They dance at a fair. And Murnau captures all of this with a camera that's just radically free for its time. I mean, it's really astonishing when you think about it in the historical context. So, yeah, don't wait for attempted murder to get you out of the house, Adam. Go on a date night just for the heck of it. Sunrise, my number one movie about marriage.

45:03Adam Kempenaar:It's an amazing film, and it's one that I was telling my wife was your number one as we were driving home from Marriage Story. And she asked me what it was about, and I gave her the synopsis to my best recollection. She thinks I'm insane? And she thinks you're a crazy person.

45:19Josh Larsen:Did she get in touch with Debbie immediately?

45:20Adam Kempenaar:Like, are you okay? Maybe. All right, my number one. You had to know it was coming, and here's my great indiscretion, Josh. I was so ready to pounce on you. I was going to pull out the whole Lebowski. This is not Nam. There are rules. You can't be breaking the rules by going with your movies for your list, even though I was the last person to do it completely unintentionally. But I put Apocalypse Now or something in the top five, forgetting it was in the Pantheon maybe last year. Right. So I couldn't really give you grief without being a total hypocrite. And then guess what I go and do? I discover an hour or two before we sit down to record that my number one, of course, is also in the Pantheon.

46:03Adam Kempenaar:You know what would be great? If we had on our website a page that listed the movies in the Pantheon. Yeah. We should do that. Let's do that. Yeah, let's do that. We're morons is the lesson here. But you know what? I'm going to stand by it because any list that's about the best movies about marriage needs The World of Opu on it. And I think it needs Before Midnight, the third film in Linklater's Before Trilogy. Another trilogy. There you go, Josh. All three of the films from each trilogy are in our pantheon. And if you follow FilmSpotting on Twitter, or maybe even if you don't, you may know that my Ethan Hawke tweet, a quote from my interview with him last year for the movie Blaze.

46:44Adam Kempenaar:You're famous now. It went viral. It went, you know, I'm not bragging, but it semi-viral anyway. Big numbers for a FilmSpotting tweet, let's say. And it was all about his great bit of wisdom about how dads shouldn't be worried about their daughter's sexuality and don't be the dad with the shotgun. Let them be their own shotgun and let them make mistakes. It was great stuff. And the context of that answer, though, was really just a kind of dumb question for me about whether or not my daughter, Sophie, who was 14 at the time, was ready to watch Before Sunrise. And since that time, since that interview, Sophie has seen Before Sunrise.

47:19Adam Kempenaar:She's seen it a lot. She's obsessed with the movie, Josh, as you know. And she's so enamored with it that she's not sure she wants to watch even before sunset. She knows its reputation. She knows people like me love it. Maybe even love it more than Sunrise, which she can't comprehend. But her attitude is before Sunrise is perfect. Why mess with it? I don't want to know what happens to them. I think that's probably how a lot of us felt until we saw Sunset. And then we thought, OK, well, somehow that movie is perfect, too. So she's resistant. I've always said, you know, it's only a matter of time.

47:54Adam Kempenaar:We're going to watch it. You have to see it. But you know what I haven't decided? What's always been in the back of my mind? Whether or not I'm going to have her watch before midnight.

48:03Josh Larsen:Yeah.

48:04Adam Kempenaar:Whether or not that's going to follow. I don't know if you should do it to her. Not because it's a bad film. No, exactly. Or whether or not we're both just going to live in denial about it actually being a trilogy. There isn't a third film here, Sophie. It is more adult. Sure. I could argue that as a 15 year old, maybe she's not ready for it. It's harsher. It's more cynical. But mainly, I think I'm just protecting her from seeing what happens to Jesse and Celine, from letting her see what can happen to love as instructive as it may actually be. I started this top five with fantasy, the thin man.

48:35Adam Kempenaar:And I think we come down here with the bookend of the reality of Before Midnight.

48:42Josh Larsen:Oh, you know something? You're just like the little girls and everybody else. You want to live inside some fairytale. All right. I'm just trying to make things better here. All right. I tell you that I love you unconditionally. I tell you that you're beautiful. I tell you that your ass looks great when you're 80. I'm trying to make you laugh. Okay. I put up with plenty of your s**t. And if you think I'm just some dog who's going to keep coming back, then you're wrong. But if you want true love, then this is it. This is real life. It's not perfect, but it's real. And if you can't see it, then you're blind, all right?

49:18Josh Larsen:If I give up.

49:20Adam Kempenaar:The key there from the end of Before Midnight is Jesse saying true love and pointing out that true love is not necessarily what we think of as the fantasy or the storybook version, it's not perfect. The fundamental nature of true love is that it's imperfect and it's hard. And I did find a great article. A.O. Scott, great critic from The New York Times, of course, wrote an article after this movie came out where he tied it into a few other movies, including Amour, the Michael Hanukkah film. And the headline of the article was Marriage the Job. And he said this, the flirtation that began 18 years before on a train to Vienna and resumed in Paris, a prickly and contentious meeting of minds and hearts has hardened into a power struggle.

50:04Adam Kempenaar:And the negotiation of power is what gives substance to modern marriage stories, whether comic or dramatic. I do think that's the fundamental truth here, that any relationship, certainly a marriage, is on some level about power, whether you mean it to or not, certainly not in kind of the corporate takeover sense of it, but it's a negotiation. someone in a relationship is going to have to give. And this is what we see in Marriage Story. You talked about it with Nicole's character saying she got smaller. Someone else is going to potentially or at times going to have to thrive for the relationship to work.

50:40Adam Kempenaar:And someone is going to have to sacrifice. They're going to have to give just a little bit of themselves. And that's the work of marriage. That's the trick, ultimately, of marriage that before midnight, after certainly a lot of contentiousness and a lot of prickliness eventually does come around to.

50:57Josh Larsen:Well, as for the question whether or not Sophie should watch it, you're just going to have to get in touch with your personal Dr. Spock. Give Ethan Hawke a call, text him and see if he thinks she should watch it or not.

51:07Adam Kempenaar:But you know he'll say, of course. Well, there you go. Stop protecting her. There you go. It's just me being one of the dads protecting my daughter's innocence. She needs to see what the world's really like. You have your answer. Okay.

51:16Josh Larsen:If we're meeting for the first time today on a train, would you start talking to me? Would you ask me to get off the train with you?

51:21Adam Kempenaar:Of course. Josh and I have between us a combined 127 years of marriage. So that top five should have been a very good one.

51:33Josh Larsen:That's an exaggeration, but you didn't really need to exaggerate to shock people.

51:39Adam Kempenaar:I know. I know. That was an enjoyable top five for us. Hopefully it was for you as well. And yes, if you're a FilmSpotting family member, you can dip into the archive and listen to top fives like that anytime you would like. It's one of the benefits along with bonus shows, a weekly newsletter, early access to events, being part of the film, early access to events, being part of the film spotting family discord, and a lot more to join. Check out the info film spotting family.com. Thanks for listening.

52:08Josh Larsen:This conversation can serve no purpose anymore. Goodbye.

52:20Adam Kempenaar:This is Julian Edelman from Games With Names. I want to take a second to talk about something that's personal to me. I've had the privilege of working closely with Robert Kraft for a long time, and one thing I've always respected is how seriously he takes up standing up to hate. As a Jewish athlete, my identity is something I am proud of, but I also know what it feels like to be singled out for it. That's why this new commercial for the Blue Square Alliance Against Hate that aired during the big game really hit home. It's about showing up for someone when they're targeted, even if you don't have the perfect words.

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