Ron Howard's GUNG-HO (1986) + Wine Made With Sake Yeast + Japanese Old Fashioned

Today we tackle Ron Haward's GUNG HO and regret it instantly. 

Perfectly inoffensive in 1986, as all Ron Howard movies are; and perfectly offensive in 2026, as all Ron Howard movies are.

THE WINES:

Viña Marty’s “Goutte d’Argent” Sauvignon Blanc, Aconcagua, Chile

Japanese old fashioned

Transcript

0:00

I think these days Ron Howard has plenty of actual friends who do podcasts. And he's listening to any any podcasts, he's listening to those, not randos. He's listening to these guys who cover a film he made in 1985 with a string of cliches. Dear God. Okay, Dave, we are going to start this episode off with a series of rapid fire questions about the prices of goods and items in the year 1986. Don't overthink it. Just best guess. You're not being scored. All right. No listeners are scoring me but listeners don't. right. They're as judgmental as we are. ah in 1986, what do you think the price of a gas of gasoline was? uh a gallon of gas. I say is that what you're asking? hilarious. You said a gas of gas. Gasoline. Yes, a gallon of gasoline. Alright, alright, speed round, I'm gonna, one dollar. Okay, one dollar. All right. Number two. All right. How about the cost of a gallon of whole milk? Hmm, also a dollar. Oh, all right. I like that. And a pack of cigarettes. Oh, you know, when I was in college in the 90s, I did sell these in gas stations. So I'm going to say in the 80s, a dollar. Wow, all right, we like it. And how about the median household income? 20 or 25. Something like that. Let's go with 25. 25. Wow. All right. Okay. I'll take it. I'll take it. And how about the cost of 30 minutes with your favorite escort in Las Vegas? I have no idea what they cost now. I've never been on 30 minutes with any escort, let alone in Vegas. But let's go with, this is going to be totally random. I'm pulling it out of my butt. Let's go with, let's see, how many packs of cigarettes would 30 minutes with the Vegas escort Let's go with 100. Let's go with $100. All right. All right. I'll take it. How about the price of a movie ticket in 1986? Let's go $3. And how about the number one movie of nineteen eighty six? though it was released in 1986 that one's got a little bit. Okay multiple choice multiple choice Multiple choice. right. All right. Multiple choice. We're going to go with, uh, shit. Hold on. Ah, here we go. Platoon, aliens, stand by me. Top Gun, Ferris Bueller's, day off. OK, it's aliens or Top Gun. OK. And I'm going to say, you know, I'm going to say just because I know what a vehicle it was at the time and aliens as big of a hit as it was, it was James Cameron's like second movie right after Terminator. So I'm going to go with Top Gun. It's got. Top top gun. All right, we'll take it, we'll take it. And finally, the average cost of a brand new car in the year 1986. In 86, thinking of what my my used cars cost in the 90s once again, and those were used cars. I'm going to go with it's it's low ish maybe like somewhere between three to five. Let's go. Let's go with five thousand. This is average. So there are there were some expensive cars out there. Let's go five. Fantastic $5,000 were taken. All right for the answers the average cost of a gallon of gas 90 cent in 1986 In 1986 the cost of a gallon of milk was $2 and 12 cent exactly. All right cost of a pack Cigarettes? I thought we had more cows in that back there. A pack of cigarettes cost $1.10. So not bad, not bad, not bad at all. The median household income was $24,897, so very close. That one for sure. And the cost of 30 minutes with your favorite escort in Las Vegas was $117. So, guys, not bad at all. That's not bad. It's like, ballpark, I'm in super ballpark-like area, yay! know a good time with an escort and go and grab a gallon of No, okay cool and the price of a movie ticket in 1986 three dollars and 71 cents so again And the number one movie of 1986 of course is Top Gun That's right. That's right. And finally the average cost of a new car in 1986 nine thousand three hundred and sixty six bucks exactly. All right. So definitely some expensive ass cars out there. than I thought. Well, those answers may just be important to the film we are pairing today, which is 1986 is Gung Ho by Ron Howard. That's right. That little redhead boy from the Andy Griffith show. But right now, Dave, let's get Gung Ho and run that fancy intro for the people. Are you not then to is Dave and I'm Dallas and this is Ventertainment. We have opinions on just about everything. Sometimes those opinions are spot on. Sometimes they go down easier with a glass of wine. This is entertainment. next. Welcome everybody to Vintertainment. This is of course the podcast where we pair wine with entertainment. It's as simple as that. And before we get to our movie, it's of course time for our wine trivia question of the week. Mr. Delidale, the yeast strains that are used to ferment grape juice into wine, whether commercial strains or spontaneous slash natural yeast. that is used sometimes you can just use the the yeast ambient in the air that were on the grape skins and you pick the grapes sometimes use commercial strains because you have more control over the flavor profile they give and things like that. But no matter which one, all the strains we use commonly to make grape uh based wine, all can slow and die when the temperature drops below which degree is it a 14 degrees Celsius, a.k.a. 57 degrees Fahrenheit. B, 12 degrees Celsius, AKA 53 degrees Fahrenheit. C, 10 degrees Celsius, AKA 50 degrees Fahrenheit. Or D, eight degrees Celsius, AKA 46 degrees Fahrenheit. So which on that lowering scale, A to B to C to D, you're going down two degrees Celsius, each one from 14 to eight. So 14, 12, 10, or eight, and you're going from 57 degrees Fahrenheit to 46 degrees Fahrenheit. Where is that coming So the threshold of death, we are looking for the threshold of yeast death. Right. Where fermentation basically will not happen because you they slow to the point where they can't eat. They can't do the fermentation process and then they start dying out. All right. ah My gut tells me 57 is, m hmm, interesting. That's counterintuitive. I can honestly say I don't know enough about the temperatures for yeast and wine fermentation, so this is going to be a purely blind guess, and I'm going with 53 or 12 degrees centigrade. Go ahead and tell me I'm fucking wrong. Not bad, though. You are wrong, but you were close. It's just it was C, the one right under it. It's 10 degrees Celsius and 50 degrees Fahrenheit is where the cutoff is. um And remember, kids, everyone listening, I'm sure you're all kids listening to a wine and movie pairing podcast. So kids, this one's going to be important when I reveal my wine pairing for today's movie. So remember that. temperature amount that 10 degrees Celsius, 50 degrees Fahrenheit. That's when wine yeast dies because that's going to play a part into why I paired what I paired today. All right. Would you like to kick us off? D master. Do this thing. Okay. You know those free association questions I asked Dave at the top of the question, right? That I said might be important to our pairing of 1986's Gun Hole by Ron Howard. Well, the following abstract from a paper titled Knowledge Transfer, Toyota, New Me and GM from Harvard Business is also important. Dave, would you care to read a brief of this paper for the peeps? Yes, I will. And I promise this won't be too boring. So listen up, folks. Here we go. New United Motors Manufacturing Inc. or NUMI and UMMI was a joint venture between Toyota and General Motors. It was an opportunity for GM to learn about the Toyota production system or TPS, which was quite different from the mass production processes American automakers used at the time. It was also an opportunity for Toyota to learn how to do business in the United States. GM contributed its shuttered Fremont assembly plant and Toyota agreed to manage it. Now the plant had a tumultuous history with numerous quote unquote wildcat strikes, which is a work stoppage initiated by employees without authorization from their union leadership and constant bickering between GM management and the United Auto Workers, which was the union. So a lot of bickering there and the workers just wildcat striking as they pleased. The vehicles produced there were the worst quality in all of GM. So Toyota hired mostly former GM workers, including well-known plant militants and activists. It taught workers TPS, the Toyota production system, but more importantly, it installed a culture that was the essential quote unquote software that enabled TPS to work. Toyota transformed the Fremont assembly plant into the most productive auto assembly plan in the US at the time with quality comparable to its Japanese factories. That's right. And of course, there is chatter that gung ho was loosely inspired by this new United Motor Manufacturing. so loosely, oh, so loosely, or a new me venture between GM and Toyota. And it seems it was Edwin Bloom and daughter Deborah Bloom who brought the idea to Ron Howard's attention after seeing a 60 minutes episode on the subject of Japanese auto companies moving into the American market. Ron Howard, having his own automobile connections, discovered that the cultural clashes between Japanese and American execs could often be entertaining. You mix all that up into a distinctly 80s blender and you get today's film. 1986's gung-ho horribly inoffensive in 1986 as all Ron Howard movies are and horribly offensive in 2026 as all Ron Howard movies are. The film stars Michael Keaton just before his turn as Batman with supporting appearances by uh Gede Watanabe and George Wendt. Both Eddie Murphy and Bill Murray allegedly turned down the Keaton role because I guess they had taste. Anywho, Michael Keaton stars as Hunt Stevenson, a motormouth blue collar worker who lacks all the charm of Rocky Balboa, but definitely has the inability to shut fuck up of Rocky Balboa, and he hopes to save a failing Pennsylvania automobile assembly factory from closing its operations by traveling to Japan to convince a Japanese auto firm to reopen the factory, keep staff and streamline its operations. And after all the requisite Hollywood conversations, lunches, coffees, meet cutes and hobnobs, the film was greenlit with a budget of 13 million dollars. That's right. Principal photography was slated to begin July 18th, 1985 in Pennsylvania and Japan with filming ending in October 1985. The film would go on to spend 16 days at principal photography in Buenos Aires, Argentina, where Ron Howard managed to locate a shuttered assembly plant that worked perfectly for the setting. Later added to the locales list was Shadyside, Ohio, where filming took place for two days. The film opened on March 14th, 1986 with an opening draw of $7,178,330,000 and a lifetime gross of $36,611,610. The reception seemed to run hot and cold though, summed up by Siskel and Ebert's original reviews of the film. Siskel found it humorous, but wasn't sure the movie knew what it was trying to say. While Ebert couldn't give a positive review because it felt offensive, of course, toward Japanese culture. And both reviewers' takes are, as far as I could tell, completely accurate. Ebert wrote, and I quote, quote, think the fault is in the screenplay, which tells a story that can be predicted almost from the opening frames. The people who wrote this movie did not bother or dare to give us truly individual Japanese characters. There is only one who has developed with any care, nor did they think much about how a Japanese automaker might really impact a small American town. The movie feels more like an attack on labor unions than a clash of alien cultures. And the message seems to be that the American car industry would be as successful as the Japanese if our workers were willing to work eight dollars an hour seven days a week with unpaid overtime just because of their patriotic pride." Unquote. So on that note, my friends, let's get to our act by act breakdown of Gung Ho from 1986. This is where we break the movie down into three acts. give a brief synopsis for each and discuss our thoughts on the film and what we were thinking in terms of a wine pairing every step of the way. We will be spoiling the plot of the movie. So if that's something you're sensitive to, this movie, again, not one of those movies where there's a lot to reveal per se, but if you're sensitive to that and you want to see the movie first, this is your hear there be spoilers warning. Here we go. Act one. you you In Japan, Asan Motors corporate managing director, Kazuhiro, played by Gero Watanabe, receives a blow to his back from a sadistic trainer during a management class on corporate discipline for failing executives. In America, former automobile factory foreman, Hunt Stevenson, played by Michael Keaton, begins to make a trip to Japan to entice Asan Motors to open a factory in his hometown of Hadleyville, Pennsylvania. If he is not successful, hundreds of auto workers will remain unemployed. On the way to his meeting in Japan, Hunt gets lost in the countryside, and a farmer gives him directions. He returns to the city and interrupts a scene where Kazuhiro is still undergoing quote unquote training, AKA fraternity-like humiliation, to ask for more directions. This time, he is only a block away from his intended destination. Upon entering the Asan Motors conference room, a table of stone-faced Japanese executives barely acknowledged his presence. He shows slides of an American automobile factory built 35 years earlier and completely renovated two years ago, then closed in the previous nine months. When he sees that he is not getting much of a reaction, especially to his stupid asinine jokes, he stops the slide presentation and describes how the factory provided employment for the entire town. When it closed, hardworking people lost their livelihood. But if Assan Motors agrees to open a plant in Hadleyville, it would save his town. However, the Assan executives are unresponsive, or seemingly so, and Hunt returns home defeated. There, his girlfriend Audrey tells Hunt that more small businesses have closed while he was gone. But days later, Hunt's friend, Jr. announces the son executives are coming to Hadley Field. They arrive to a budget marching band ticker tape parade thrown by the town. Faced with a rolled out red carpet, Japanese executives awkwardly remove their shoes to step on it, prompting the American city politicians to do the same. Ha ha ha. Later, Hunt stops by the. plant office and recognizes Kazuhiro from the conversation at his training session in Japan. Kazuhiro offers him the position of employee liaison with a promise of a hefty raise. Kazuhiro gives Hunt a copy of the company's labor policy and expects him to explain the Japanese way of making cars and conducting business. At an auto workers union meeting, Hunt convinces workers they are lucky to have the Japanese company in their town and should let management acclimate before they start making demands and they agree. Kazuhiro welcomes the workers on their first day. All right, end of Act one. The plants there, the Japanese are there, they're beginning but they want these American workers to do it their way or the highway. That's right. Dallas thoughts. My first question after act one is is Kool-Aid an option for pairing because my god I There is it's it's I'm selling Dave before we started this audience that I love this film. I actually secretly love this film because it is Not great storytelling. It's not Masterful in any way, but it is a thumbnail from the 1980s, a very specific thumbnail trapped between technological sort of ages, really, you know, it's this sort of east versus west protocol. I love that. I love that concept. I think it's exactly exactly. Exactly. And, you know, so I I had some hope for the concept going in. I was like, oh, OK, this this could be a nice little slice of Americana. This could be a nice little like time capsule. You technologically speaking, like it's got to. No, we got to dig back because we're here again because of that shit. anyway, uh is nothing terribly thought out or serious about Act one. It's just a bunch of storytelling benchmarks that set the stage for the action. If you can call it that the stock characters don't really inspire much confidence in the potential storytelling. But if you are the kind of person who's looking for a good old fashioned hint. American and supposedly Japanese. from a sex comedy. It's bizarre. It's like they don't know what kind of movie they're making. It does have weird uh look like an animal house level of comedy. When they do comedy, they do animal house comedy. And I'm like, what movie is this? This is not what you this is not the kind of humor that should be in this movie. There's a bit of a like fetishistic kind of element. You're right. I actually I didn't put that in my notes, but you're right. just so lowest common denominator like to like bottom of the barrel physical comedy and yuck yuck at like, oh, you're you're from a different ethnicity and culture and we're small town working class and I'm like, oh, Jesus scoop my brain out with a spoon just I just ah Oh, so good. So good. Anyway. ah But it is is it is as Dave was just saying, you take an American's version of the cliches of Japanese culture and an American's versions of the cliches of America's middle class working culture. You put them in a blender, mix them up, add an American flag and a baseball game and, you know, some odd underwear that Americans are unfamiliar with. And you get this film. Wine wise, I honestly have no clue at this point. I was still just sitting there with my jaw and my mouth agape just like, wow, this was not only made but made some serious dough as well. no, it's made 40 million life with $13 million budget. And even that was sort of questionable. But again, 30 million is breaking even. it's like it did OK. It did OK. didn't. It's not it's not breaking any bit. No one made a sequel. No one bought it like. The sequel's on us, Dave. The sequel's waiting on us. We gotta write it. It did okay. It did okay, but it did better than I mean to be fair though. It's Michael Keaton His star was rising right around this time. Ron Howard had just done cocoon. Yeah, so his star was rising at the time and You can see how the concept of this movie too It doesn't sound like a bad concept at all Especially if it's based on a true life like this was happening in American culture. We were business-wise We were the Japanese were our competition They were the in all electronics in automobile making. We were playing catch up at that point in time for sure. the 80s were like we it was a crisis for a crisis, crises, plural for American everything because they were the ones that were always ahead of us and always doing the next major advancement. um our asses in video games at the time. Yeah, kicking our asses. When I saw what this movie was going to be, I was like, OK, how have I never heard of this? and then I found out why I have never heard of this. But I was. But at first I can see why it would appeal. And at the time, mean, we American, the American public like this kind of shit back then. And again, know, Ron Howard does. And this is true for most of his films. I attribute it to his placement in the pulse and the cultural sort of in our canon. Everything he does has a slice of Mayberry in it, meaning. Well, maybe it's a very specific imagery, right? It is small town America during the mid century. It is the end of the show. What is very. Mayber's name of the town from the Andy Griffith show. Uh, okay, never seen it. I know what it is, I've just never seen it. Okay, wow. uh Note to self, anyone who wants to do a viewing of a couple of episodes of the Andy Griffith Show so that Dave can be a real true American at some point, let us know. And if you want... seen Happy Days. I've never seen the Andy Griffith Show. I've never seen All in the Family. What? I hate American TV. I hate it. I hate it. I hate it. So I've watched very little of it. All right, we're going to we're going to do a we may do an American TV pilot month where we view three or four essential pilots in the past and discuss anyhow. seen, never seen Seinfeld, never sell like it. There's so much. There's so much. We're gonna create a master list of five or six pilot episodes that we're gonna watch and we're gonna discuss at some point. That's sort of American TV cornerstones, which you know, number one on that list will probably be the show that Ron Howard got his start in. The Andergrim show, which is set of course in the fictional town or quasi-fictional town of Mayberry. Anyway, so that's why I say everything he does has a touch of Mayberry. And think most people who are familiar with the Andergrim show will understand what I'm saying. That's just sort of. Cornerstone sentimentality, Americano, Schmaltzy sentimentality. he does and it you can see it sort of progressed through the ages, right? And this one is no different Like you said it was this idea of playing catch-up on the technological stage is clear and present in everybody's mind There were so many, know 60 minutes episodes or deep dives and journalistic kind of pieces about you know This giant coming from the East that is, you know came to claim America's, you know dominance and uh You know the new me thing which started in, I think around 1984. It was up and running. That was on everybody's mind. So it's clearly the inspiration. But anyway, back to the point. Wine wise, I have no fucking idea and or clue what to pair with this. I briefly toyed with the idea of maybe some Japanese sort of rice wines or some sort of, you know, fruit wines and things like that. in terms like a traditional sort of uh why I just I. I was like, I need a little more time with this. We'll see if something jumps out. But I, yeah, I'm, uh, who knows where I end up with the, uh, for this. Where about you? What about you? Jesus. Yeah, don't forget the we had that black black rice wine, black wine on our our rare wine night not too long ago, like a month or two ago. um Yeah. So for me, obviously, this movie is about culture clashes, the two coming together and being so shocked by how each that you do things differently than us. It just drives me absolutely bad. What do mean a woman can't sit at the table when men are talking? What? No shit. Well, there's that. And there is, you know, this film is completely unserious. It caricatures both cultures. There's so little nuance to Ebert's point in his review where he's like, no one seems to have put any thought into how a Japanese manufacturing group would have actually impacted an American working class culture. They just they go for the easiest like send up of what that might look like. So the opening scene even suggested like, it's interesting because the opening scene with, um is almost semi-serious, right? Where he's with his girlfriend. Right. He's like, this is gonna be, you know, I'm not even nervous. We're going to go and we're going to make this presentation. We're going to save this town. And I'm like, okay, I'm into this. This is cool. Um, it's like his trip to Japan is almost going to be a realistic one. And then suddenly we get to Japan and it's all visual gags. of him getting lost on rice paddy fields, um eating McDonald's over anything that he looks at and he doesn't understand what it is, of course. um And somehow this all happens in like a couple of hours and still makes it to his morning meeting. I'm you were lost for like seemingly a whole day in Japan. And then he still makes it like the sun is still high in the sky and he makes it to his meeting. He's only a little bit late. And I'm like, None of this makes so it doesn't even make like sense in real time and space kind of thing They're just going for the jokes and jokes do not have to make sense in any real world type of situation um And it rarely tickled my sense of humor either. I was just like, holy shit. We're so we're so got off I will say this. My favorite line of the entire thing. Favorite line. Those are ribbons of shame. Loved it. That was just like, All right. All right. Your badges. And he's like, these nice ribbons. Those are ribbons of shame. But the best part, even when yes, even when the Japanese get to America, they have that scene where like, you know, they get into their hot spring outfits. Right. And head gear. And then they wade into the like disgusting small town factory river, which no Japanese would ever do. They like no Japanese. They would take one look at our water and be like, no, thank you. You know, like we will have our, we have a spa in our fucking hotel somewhere. No thank you, please. No thank you. I'm like, and of course they're just doing it in the middle of the day for no seeming reason. Like they go to America and even the Japanese themselves, the characters are written to like just want to treat it like Japan. Like there's nothing different. And I'm like, this hurts me so much because the Americans want nothing to change now that they're working for Japanese culture. The Japanese just come and try to treat it like Japan. We plainly did not bother to find out how Japan actually worked. because we're just sending up their culture during the times we're in there. So, you my only thought at this point was a wine that was culture clash in some way, or form. Now, part of that wine, of course, it's American and Japanese. There really isn't any such thing that are those two things specifically per se. I did think, of course, there's sake, right? And so sake is a definite possibility. And there is an Arkansas based sake group. They grow all the rice in Arkansas. It is all proper. Arkansian sake, I can get it to K and L that's around in America. It's actually quite good sake, not too expensive either. So I was like, maybe something around that, like, you know, the Japanese bringing it and and and but sake also was a little I'm like, I feel like sake is on the nose as this movie is on the nose. Would that be a match? Yes, it would be a match. But we're one act in and I'm so fucking annoyed with this movie that I'm already thinking like, OK, culture class, a culture clash. don't know what that's going to mean. But I I'm thinking maybe something to counteract this movie, because I think matching this movie is going to drive me extra insane. And I cannot I don't want to revel in what this movie is giving me. I want to fight it. uh And so I think my pairing is probably going to be something to fight, fight, fight that. That's what I got so far. All right. Yeah, Act one was anyway. All right. Act two. Let's talk about Act two. active you To build teamwork, Kazuhiro and Mr. Saito, another executive, lead morning exercises while the Americans laugh at the idea. Kazuhiro turns to Hunt for support, and he motivates the workers to sort of cooperate. The Assan executive team observes the workers through closed circuit television to spot any problems on the assembly line. One supervisor tells a worker named Paul he cannot smoke a cigar or listen to music on the job. When Buster, another worker, complains that he has to do a lot of different jobs instead of his specialty, Hunt takes Mr. Saito aside for a talk. But Saito insists Buster can only go back to his job once he understands how everyone else's job works. Another worker, Googie. is told he cannot read a newspaper in the bathroom. A worker named Willie thought he had permission to see his son in the hospital. He had cleared it with hunt but he's prevented from leaving the factory by the Japanese executives. Hunt tells Kazuhiro the rules are oppressive and the workers dislike Saito. Kazuhiro reveals that Saito is the nephew of the company's CEO, Mr. Sakamoto. However, Hunt obtains permission to let the workers do the jobs they know how to do best. At the factory, a former worker, Tony, is assigned to Buster's position on the assembly line and Buster assumes he is getting a promotion. But Saito reassigns him to sweep the floors. Buster is irate and wants to quit, but Hunt reminds him that he has a family to support and promises to smooth things over at dinner with the Kazoo Heroes. At the dinner, Hunt criticizes the Japanese way of doing business. Kazuhiro tells him he is fired and will go back on the assembly line. Hunt panics and argues that the factory was still open. That when the factory was still open, production was up 10 percent. Kazuhiro responds that in a Japanese factory, production would normally be up 40 percent. Hunt says if the workers have to work longer hours, which they can, they have to be paid time and a half. Kazuhiro answers the Japanese, way answers that the Japanese way is to make the company look good without extra compensation. Audrey tries to back hunt up in his panic, but in his panic, he lashes out at her, telling her to shut up almost literally that bluntly for no reason whatsoever. And she storms out well and truly done with hunt hunt, calms down, then claims as all he is, he always does that he will be able to work things out because he is the smoother outer later hunt. joins the Asan executives morning swimming ritual in the river and claims he will press the workers to produce get this number people 15,000 cars in one month matching the Japanese monthly record. And if they accomplish this, the company increases salaries up to their previous levels and guarantees full employment. At the next union meeting, Hunt stirs up the crowd with a challenge first appealing to their American pride, then revealing what it will take to be as good as the Japanese. Producing 15,000 cars a month intimidates the Americans, so they suggest if they do 13,000, they can get half raises. Once again, panicking and always waiting to be liked, Hunt fibs and says, yeah, yeah, sure. But don't think like that. Think about making the 15,000 happen, huh? You can see where this is going. The auto workers arrive early, leave later and take shorter lunch breaks. But after two weeks, they inform Hunt. They will be happy to produce 13000 cars and get a little compensation. And fuck. Hunt can't tell them that he lied and they get nothing if they miss their quota. Hunt invites Kazuhiro to go have a beer. They get drunk and Kazuhiro admits Saito is telling the head office he is losing control. one more mishap and he will be fired. admits he falsely promised the men they would receive partial compensation if they produce 13,000 cars. Kazuhiro laughs because Hunt is in even more up shit's creek state than he is. Later, Tony has an accident on the assembly line. Saito orders the men back to work but Kazuhiro finally breaks and decides that it is appropriate to stop since a man is hurt, which by the way is a hilarious scene. Anyway, for odd reasons. At the hospital, the workers learn from an executive that they will not be compensated for 13,000 cars and only for the 15,000. They confront Hunt at his house and theorize that the Japanese broke their promise to Hunt. Instead of telling his friends the truth, Hunt pretends, my God, those jerks. Yeah, they're going back on their word. And he promises to sort out the problem. Ari Wine. Dave, what you got? Yeah, so this is where I literally wrote in the notes sweet cheese So believe it or not folks you just heard all of that was just act two this is a two-hour Movie and it has no right to be This film I said it's animal house humor and this this thing should have been a spell 80 minutes in and out and if they were gonna be this Silly and non-serious like this needed to not be treating it like a two hour proper drama, which it kind of does, even though it's also a comedy and it's a real like frat humor comedy. It just doesn't work. Everything about every it's all atonal shit. um So, yeah, this movie is unbearable, especially in this. Everyone's a cartoon character. Every dramatic scene is artificial with overbearing on the nose dialogue. And Keaton's hunt is such a fucking. He's not just a people pleaser that's distinct from someone who just wants to be liked Right. And so a people pleaser is like you're gonna work it out so that everyone can be happy and you don't want to like rock the boat, but you don't lie just to make people think you're awesome and doing an amazing job. That's a different thing and hunt is more like your And I think the movie does hint a couple of times, it suggests that he's sort of an ex-jock, right, from his high school days. And so he's the popular kid. He's the quarterback mentality. Yes. And so he's like, I'm I can run like I can save this town, I can be the figurehead of this town. But I also I have to be popular. Yeah, everyone needs to like me and think I'm amazing. And most of his decision making isn't really about even keeping people happy. It's just about keeping them liking him at any given time, which is not the most empathetic thing. Yeah, go ahead. It isn't. I may be giving more credit to the script, but the writers, but generally that character trait, you know, the person ends up painting themselves into a corner and they think that that currency of likeability is the thing that has gotten them as far as they have. they get exactly they get tied to it. If they can only, you know, position themselves to get enough time to write whatever wrong or whatever situation they've had to kind of, uh you know, themselves in. So, again, again, I don't know if that's what was behind this character. But you're right. This character is starts sort of as a people pleaser, at least initially, it seems like he was doing it for the good of the town. That was the setup. And it was it was a beautiful little setup like we discussed earlier that was like, Okay, that's admirable. I like that. um It fits with this whole Americana thing. It fits with this sort of transition and technology, East versus West, you know, Japan on the ascent thing. Middle America factories out of work. That was a big problem in the 80s. So all that stuff in the beginning, that sort of groundwork, you know, I solid hopes for it. But by the time we get here to act to I. It's almost like... We're both rubbing our faces. I'm like sweating trying to the words. uh We're just like, this movie, this movie... wonder here's my question. I wonder if there were earlier versions of this script that were really good Now let me me let me say let me say why let me say why Guaranteed, guaranteed no, but go ahead. I say this because this is such a corporate, not indictment of corporate culture, but could be an indictment of corporate American corporate culture. And then sort of the these massive um cross national partnerships that were happening at the time that it is newsworthy. It is topical. There are a lot of entities which probably had higher stakes with, you know, the sort of PR and marketing that would the marketing that would come from from this that it feels almost like someone may have written a great script. And then along the way, the powers that be were like, okay, let's I think you're seeing this. You're seeing this with 21st century eyes. You're seeing this maybe way to 21st. Maybe one. We were not critical of corporate culture in the 80s. I hate to break it to you. No one was like it just wasn't like corporate culture was fucking with. This was Reaganomics era. Yeah. Like corporate culture was swimming and we were going to beat the Japanese at their own game. We were going to we were going to. The workers are like, you know, we're going to get to Act three here in a moment. But or I actually I guess this is where Act two kind of ends when Hunt goes to the workers and he's like, when he convinces them to try for the 15,000 cars in a month, the first thing he does is he appeals to their American pride and he's like, who's the best? And he's like, we are. they're like, who's the best auto man? We are, we better than the Japanese, fuck yeah. Fuck yeah. And then, He's like, and if we're the best, then we can do as good as we can do as good as Japanese. Yeah, we can do even better. Yeah. Then we have to make 15000 cars in one month. Dead silence. Right. Because then the workers, it's not just braggadocio at that point. It's not just bravado. It's work. It's now. Right. Now it's like now you have to put out what the Japanese do. Are you as good or better than the Japanese? And the realization of that lifestyle. which is so antithetical to ours, or seemingly so, that's where suddenly everyone has to just pause and be like, well, that's crazy. You can't ask us to do, of course we're better, but that's crazy. It doesn't actually make sense when you're really confronted with what that's going to mean to have American exceptionalism where you are truly exceptional compared to your competition. What does that look like in terms of sheer numbers? And I think in the 80s too, like even if this went with the true life story and more more adhered to that, but made it bit of a fun fish out of water comedy with the Japanese coming over to America and these two cultures have to learn how to work together. The true life story isn't critical of corporate culture. it was a success story. And as far as we know, the worker, not only did the workers work well and not have to like. work for $8 an hour for obscene hours or anything like that, but then they were the most productive and produced the most high quality cars. So it's like, even if they did the real story, I don't think this was ever meant to be a critique of corporate culture. I think that is us living in the now thinking that any story like this would have to be a critique of corporate culture, but it was a different world. Yeah, you're right. I don't know, though. I still feel maybe it maybe wasn't a critique, but maybe there was a much better version of this script in the early stages. Who the fuck knows? All we know is that wine wise with acts two, I have absolutely no clue at this point. I know it's not a wine. I uh I honestly it is rare. You know me, Dave. You know, I I'm I'm very. Because Act 2, Act 2, I knew. I knew after Act 2. It was one of those situations where I was like, okay, the only thing that I got the only hint I got was okay, maybe this is an American spin on or Japanese spin on an American classic or vice versa. I was like, okay, and again, is that cross culture thing you were referencing, but wine wise, you know, I went to the sake is, of course, and went to other Asian lacors. And, you know, it was just like, I have no clue where we're going here. Yeah, we'll see. Yeah. Yep. And for me, I, wine wise, this is where I was like, okay, you know what? 100 % I want something to counteract this movie. So this is going to be something and I was pretty sure this thoroughly like put me off from American exceptionalism and that whole mentality and 80s Americana that I was like, it will not be American. Okay. I am like, I am Xing you out of this America. Like whatever this is going to be, it will still be a culture mashup. It'll still be a culture clash. It will still be. um And I definitely wanted something to counteract the brashness of the movie. And so I'm like nothing, nothing too hard hitting, nothing brash, nothing mouthy, nothing. Like I wanted something now like delicate, something elegant, something floral. So I'm like everything that's going to counteract. the feeling of this movie. I'm going to I'm going to counter program counterpair um and then something that still have this little culture mashup element to it. And I really wanted to include Japanese as one of those cultures if possible. And I realized I knew of a line that checked all those box. So now the one other thing I did want to mention movie wise is um I am always baffled by characters in books in movies. Mostly in movies and TV shows, this seems to happen, but sometimes in books, too, who fuck up a relationship like in just the most dumb, like foot in mouth buddy. This is nothing but, know, buddy or lady, whichever one it is. This is nothing but your fault. Like the other person was trying and you barely were. And then you just you burned the bridge like right there. We watched you. douse it in gasoline, flip the match, throw it carelessly on it, go, oh, oh yeah, that burned. And then, oopsie, they do absolutely nothing to repair it. Days go by, weeks go by, we see time pass and I'm like, did you call them? Did you try to like talk to them? Like, how are you? And then, you know, there's a later scene, we're gonna get to Act Three here in just a moment, there's a later scene where he sees her just kind of in public in the town. part of a group gathering kind of a thing. And you can see he's like, oh yeah, I'd love to repair. I'm like, do you? How long has it been? How long has it been where you've done nothing to repair it? And those characters baffle me. And I don't know if there are truly people in real life that do that as well, where they literally don't try at all. They never make the one phone call. Maybe they make a few phone calls and the person's like, I am not talking to you right now. And then and then maybe, know, usually that's more common where it's like that happens and then they're not sure when they can actually talk to them again. And the other person is so mad, maybe just last a little too long. And then it just fizzles out and fades. That's all a different thing. I'm talking about we see characters in stories that do nothing as far as we can tell. And fuck those people to the ends of the universe, because I. do not understand that if that is a real thing. I do not understand that. And yet later we're supposed to pretend like they actually gave a shit and like want the relationship to get back together. And it's like, bye. But only if you have to do nothing. No, no guys Dave's communication style is very much knock knock knock. We need to talk. So yeah And it's like, if you're if you don't want to, if I f'd up and you don't want to talk, that's fair. Like you get that decision. Right. And it's like, OK, and I can try a few more times. I can make sure that it's not on me, that I'm not being I'm not doing it. We're like now that I've f'd it up, I'm not effing it up more. Right. But it will like the onus is on the person who F's it up. No question. Yeah. Anyway. OK. On that cheery note, act three. you Let's bring this home. Assange's CEO, Mr. Sakamoto, surprises Kazuhiro at his home in America and is angry to learn that the workers are planning a big union meeting. appears appeals to Kazuhiro to offer partial raises for producing just those 13,000 cars because he's in a bind because he's lied way too often to way too many people. But Kazuhiro cannot because he's in as much of a bind as Hunt is. and the men argue over what is wrong with each other's culture. Hunt storms out and destroys a surveillance camera in the plant. Kazuhiro fires Hunt and argues the Japanese method is the right way to run a factory. Hunt retorts, if Japan is so great, you know where this is, you knew this was coming somewhere in the movie, how come they lost the war? Buster calls for a walkout and the other workers join him. Later at a 4th of July town celebration at the park. The mayor informs the crowd that Assan is shutting down the factory and blames Hunt for letting this happen. On the podium, surrounded by his people and drowning in his failings, Hunt confesses that he lied. He thought the autoworkers would meet their obligation, but they have lost their can-do spirit. Mirroring this moment at the factory, Kazuhiro tells Mr. Sakamoto that his team is working too hard and it is killing them. They do not have time to enjoy their families and they could learn a few things from the Americans on this front. And Kazuhiro also walks out. Later that night, when the park is empty. Audrey appears and tells Hunt his speech took guts and she is proud of him. And this is the part where I'm like, fuck you, You did nothing to repair this relationship. And she's the one making the first move. Ah, drives me nuts. Anyways, as they drive home at dawn, the relationship apparently repairing itself on absolutely no effort on Hunt's part. They just miss hitting Kazuhiro with their car who walks in front of them. Hunt chases after him as Kazuhiro runs into the river. When Hunt calms Kazuhiro down, he remarks that he could do better if he had a second chance. So outside the factory, the workers cheer at the Japanese as they dismantle their factory. But Hunt and Kazuhiro arrive and announce they are going to build the remaining thousand cars to reach 15,000 they have until the end of the day or like seven something P.S. That. crazy. It's crazy. It's crazy. Doesn't it? But anyway, it's a movie. This part, this part, I'm OK with the little movie logic here. Anyways, Buster says Hunt wants to look good for management. That's the only reason he's doing this. But Tony says maybe he just wants to save the town. This is the thing about this is one thing about the workers, too, is they're so obstinate about everything. And I'm like, motherfuckers, you have no other options. That's the whole point of this. You're all up shits creep without a paddle. Like and the movie never really. Really? Because this is where it could be a corporate culture critique. Yes. Is where the towns are so locked into whatever the job is that can work there that like they have no other options. They have to bend over backwards no matter what their their CEOs and executives are telling them to do, because what options do they have? The town dies or they do it. And the movie never the movie squints so hard at that reality. I think it keeps saying it. without but it squints at like what that means for these workers and the workers are just like, we're never doing X, Y, and Z. it's like, aren't And it's crazy. It's crazy because had they dipped into that seriousness dipped into that sort of dire situation, it would have added I'm not saying it would have made a great film, but it would have added more dynamic to this film without question and it would have been so much Right. And every once in a while, hunt is like, you know, one of the workers wants to quit. And he's like, No, no, no, think of your family. And it's like, it's the hint that you have no, there's nowhere else to go, dude, if you quit this, you've quit, like you've stopped working, period, there's nowhere else to go, you have to leave the town. And so they know, but it doesn't really go there. And to this movie's detriment, it doesn't really go there. Anyway, soon the workers are back on the floor building cars with Hunt and Kazuhiro. Later, Mr. Sakamoto counts 14,994 completed cars. attempt, Hunt says, the cars, there were six more kind of still on the factory floor that they quickly, they realized they're running out of time, so they quickly kind of. make them look complete, but they're not actually complete. Mr. Sakamoto is skeptical when he's shown these six cars. Hunt says the cars were built with teamwork to prove his point. He starts the ignition, gets in the car, straps on a seatbelt, starts to drive away, and the whole thing falls apart, like literally falls into pieces. When the situation looks dire, Mr. Sakamoto suddenly announces he believes the workers have fulfilled their quota. A cheer erupts and he says that he likes Hunt because he makes him laugh. He also tells his nephew Saito that he is fired because Saito was like, he's the biggest jerk of the whole group. He's the one who was like, you no, no, no. um He wants the workers to fail. um And so now and you know, Saito is kind of like the nephew of Mr. Saito. He'll be fine. He'll get another job anyways. The next morning, the workers join Hunt and Kazuhiro as they lead the morning exercises and the new version of this factory of Japan and America working in tandem in harmony has begun. final thoughts? Should I go first? All right. So, you know, yeah, it's an ending. It's the Japanese I, I appreciate that the Mr. Sakamoto CEO, the one thing that I did a little bit like is that he says I like you because you make me laugh. But also, I think he like just saw how hard the people were working. Yeah, authentically. Yeah, like he saw that. And he's like, and you know, even though in in sort of the Japanese ethos, like one shy does not count. Like that is not good enough. You know, this was an American factory and they never pulled anything off like this or anything close to. you know, Kazuhiro had already complained where the Japanese way is also has its downsides. Like, know, you never see your family. You work for the company. You live for the company. And that's not the best way to live either. And the fact that this was all this softening on the Japanese side as well as the American side, like I like that. Like it has a little bit of a redeeming quality in the end, where they're like both sides had to bend for this to work and for them to move forward as a better factory. They had to stop drawing a line in the sand and being like, this doesn't happen. We're out and everyone suffers and everyone has. And then the workers had to stop being like, if we don't work exactly the way we like, we're out and everyone suffers. And like everyone had to stop doing that and find that middle ground. So The movie has a few redeeming elements. Still, fuck hunt. I hate that character. I hate him so much. um Kazuhiro was very likable, not Michael Keaton's. I love Michael Keaton, but man, this character. Just everything that was wrong with America at the time. so the thing that checked all the boxes, nothing changed between what I was thinking by the end of Act Two to the end of this. And it is a wine called Vina Marti's Gotte de Argent or Silver Drop. Savillon Blanc from the Alcangua Valley in Chile. All right, so it's Chilean. Now, they produce both a Savillon Blanc and Chardonnay under this label, the Goat de Argent label, the Silver Drop label. And so in this unique style, those are the two wines they do. What makes them unique? They're fermented using Japanese sake yeasts. number seven and number nine. think I think it's it's n degree seven and degree nine. I'm assuming that means number seven number nine. I'm not 100 % certain about that. But in any event, only members of the sake producers Federation are allowed to use this yeast in the world. And Vina Mardi are the only non Japanese member today. The winemaker there took him years to get approval. to be able to use the yeast. And he had to pitch them the idea because they're very protective of their culture. So just like in the way that like, you know, the Europeans, the French don't want anyone using terms like champagne or Cote de Rhone or Burgundy if you're not actually from, so they like, protect those things. The exact sake yeast strains in Japan, they're like, this is for Japan. Like no one, we do not want anyone else using it. They're native to here and we don't want to just spread it far and wide. So Vina Mardi, they had to convince them that the point of using it was to bring the cultures together and to spread them. Like to like, this is a celebration of the two cultures, the Chilean culture and the Japanese culture, the uh European style of wine and the sake version of wine and bringing them together to create something new. And it took them a couple of years, but they did convince them and they got approval to use the yeast. They are the only ones in the world making wine wine with Japanese sake yeasts. um These yeasts uh are a true Japanese culture. And what do they do is they allow wines to vinify at much lower temperatures than regular wine yeast. This is why it was so important. for the winemaker to get this. So this has always been a dream for winemakers to keep aromas and flavors from being lost to the heat of fermentation. There's always a little bit that gets lost because of how high those temperatures have to go with wine yeast strains. So this Sauvignon Blanc, ah it has a very new and unique profile for a Sauvignon Blanc mixing. the towar of chile techniques of french vinification but the traditions of japan with their yeast vinification is in stainless steel tanks with an average length of 90 to 130 days for fermentation to complete that is very slow typical wine fermentation is 10 to 21 days okay and this is 30 to 130 days for fermentation to fully complete the fermentation temperatures are six to eight degrees Celsius. So well below that 10 degrees Celsius cutoff where wine yeast starts to die. So when Vignamardi, when the winemaker learned that these yeast actually fermented at those lower temperatures, that's when he was like, oh, that's, we need that, especially for white wines. If you wanna make clean, fresh, delicate, aromatic whites, this is what allows you to do that. So that's what he did. I paired this specifically with the Sauvignon Blanc. Oh, and by the way, the sake yeast doesn't like sulfur at all. no sulfites, very, as minimal sulfites as humanly possible were used in this wine because the sake yeast does not get along with it. So this is the Goat de Argent or Silver Drop. The label of this wine was designed by the Drops of God manga creators, the brother sister team of that. And the wine is featured in the pages of the manga. So if you ever read the drops of God manga, you will learn of this wine in the manga. It's not on the TV show yet. I don't believe I'm in the middle of season two, but I don't believe it's featured on the TV show. um This is a very, you know, citrusy white florals. You get some baked goods. They soak it on the leaves to give it little bit of extra creamy body because of how light and fresh they're keeping it without that sake yeast fermentation. It remains so floral and light and bright and fresh that they give it some lees so could you to also give it some creaminess and extra body there. um Reviewers have claimed the wine is quote unquote, not very varietal. At least it doesn't have the pungent herbal aromas of many sevillan planks coming out of Chile unquote, which I got to say that begs the question of whether something can be called varietal. if changing the yeast strain exactly changes. Right. It's like, well, then not very variety, not very locked into the variety of that's true. like we've got well, it's just like, but it's typical. And so to Piscity often equals varietally correct. But I'm like, you know what, I feel like this is a great test. Change the yeast strains. If those things go away or switch, plainly, it's not the variety itself. that or it's not it's not locked into the point where it remains uh a standard no matter what you do with the yeast strains or what you do with the you if you age it in a different vessel and it just like the thing is just lost completely it's like well then not not I mean it's one thing if you overpower all the other flavors with something like a new oak or something that's a little bit of a different story but like if you did you know old oak versus concrete, but then do it in concrete and something is just like gloss, but it's typically a new whatever it is. Like if it's if it's in the winemaking methodology, right? I don't think we can call it part of that change things? That's the article. Look forward to the article coming soon, guys. I think that would that will be true. But anyways, this is my wine. It was, you know, it's a little atypical for a semi-ambanque, but a semi-ambanque is something that Americans are very familiar with. They like quite a bit. We sell it quite a lot. um So it still would match up. It's good for an American palate. It's going to be light, bright, fresh, nice and cool. um And with that sake yeast, you've got the merging of the two cultures. So got, they are gent. That is spelled. We'll have a link down below, guys, but that is spelled G-O-U- oh T-T-E and then D apostrophe A-R-G-E-N-T. So Goat de Argent, Sevillons Blanc from Vigna Mardi, M-A-R-T-Y, just like it sounds. All right, Dallas, what you got? All right, yeah, I like that. I'm definitely gonna have to find a bottle. You don't have a bottle of that now, do you? Did you finish it? Not right now, unfortunately. All right, we're gonna have to we're gonna have to get a bottle of that and read finish reading drops anyway I'd love to get the Chardonnay too and like try them varietally with other shards and Sauvignon Blancs and see what idea. All right. Look forward to another episode two guys. You know how we do here. Anyway. Yeah, I went a bit atypical and non traditional as well. As I said, wine wise, I was just like nothing. It just wasn't hitting the palate. I knew that cultural kind of mashup was going to be necessary. Even though I don't think this film is necessarily a match up. It's just sort of a mashup by numbers. It's there's a whole lot of depth to it. um So I decided to pair with the best version of this film in my mind. So as I said earlier, you'll this this will make sense once I get into it. As I said earlier, I imagine there's probably a better version of this script early on, or at least a better plot, a better idea, a more more dense and interesting. Cat has a better version of this script in his head. Precisely. And so I'm pairing with that version. ah And I imagine it's so middle American, but it's also at its core a concept of Japanese culture. And for me, it's whiskey in terms of that middle American core kind of, you know, the man's drink outside of beer, of course, the sort of that course of uh drink. So it's whiskey for me, of course. you know, we consider it an American thing. Most Americans consider it a very American thing. um And. Well, it will be more American, but but in general, most Americans consider, you know, the whiskey kind of the American cornerstone. So. um And the old fashion, I think, is uh sort of rooted in that old world Americana and. I decided to find a make this was a this was a make situation a an old fashioned using a Japanese whiskey. ah And if you guys are unfamiliar with what uh an old classical fashion is, it's made by muddling some sugar cubes, or simple syrup, you get two or three dashes of an Angostura bitters splash water and you add some bourbon or rye whiskey. um and ice and you stir well all the good stuff and then some orange peel and a little cherry liqueur or a cherry if you're feeling a little uh adventurous and As far as Japanese whiskeys go, uh there's the Nika, of course, if you guys are familiar with the Nika, Japanese whiskey or Nika, as my friend says, apparently I say it wrong all the time. uh But that's nothing new for you guys here. That's what we do. uh The founder of Nika is Masataka Tecatsura, and Suru, who traveled to Scotland in the 1900s to learn the process of distilling Scotch whiskey. uh And he ended up marrying a woman from Glasgow and he took everything he learned and then, of course, created this brand of whiskeys. They are fantastic, very refined. They're considered very pure and they are lovely on their own. uh The Japanese old fashioned consist of one Japanese. It has to be a Japanese sugar cube, by the way. I don't know what that means, but Japanese sugar cube. Have an orange slice. I was holding back to ask for when you buy a Japanese sugar cube. I'm sure there's a designation someplace. um There's of course, maraschino cherry, you get the orange peel, a dash or two of Angostura uh bitters. And by the way, if you guys don't know what Angostura bitters are, they are generally made in Trinidad and Tobago. They use a closely guarded 200 year old secret recipe involving high proof alcohol, uh ganache, root bark, spices, botanicals, the ingredients are steeped often in the percolation percolation. to extract the concentrated flavors, which are then blended with sugar and water and caramel color. ah And you get this really potent sort of drop of, uh you know, aromatic that you add to these drinks and it responds really well to alcohol. um So the directions for your Japanese old-fashioned, you will pour a touch of water in the bottom of your glass, muddle the sugar in the glass, add the cherry and the bitters, pour in your Aniko whiskey, Stir exactly 50 to 100 times. I don't know what that means. And then you twist and garnish with an orange peel. It is a lovely drink. It is probably more interesting than this film deserves. It is, there's a hell of a lot more depth to. the bitters than this film deserves is a hell of a lot more depth, particularly to the whiskey than this film deserves. But I will say you might as well drink something that's going to get you drunk when you watch this film. And this will definitely do it. So that is my parry for gung ho 1980. And by the way, Japanese sugar cubes, particularly Okinawa, uh Okinawa, Kokuto, Okinawa, Kokuto brown sugar and wasanban, fine grained white sugar are artisanal nutrient rich sweeteners with deep complex flavors. Okinawa brown sugar is mineral rich and earthy while wasanban is delicate, often used in traditional Higashi candies. They are popular for coffee, tea, and cooking. Amen. All right, guys. So that was 1986 Gung Ho starring Michael Keaton and directed by Ron Howard. We watched it for you. So you don't have to. You're welcome. em But definitely go try and find that wine. Try yourself a Japanese whiskey based old fashioned. I think those will actually keep you keep you quiet as we go. Now, before we go, as always. Do you love this podcast or like what will settle for a like but you know, we hope you love it as well. But if you love this podcast, you love this wine and movie pairing schtick, then make sure to follow us and subscribe to this pod. Also leave us a rating and review because all of these things make it easier for others to find out about us. Because, you know, as we say at the end of every, every single podcast, every single episode. No one's looking for a wine and movie pairing podcast. It's a weird old concept. But I can tell you, every time people learn about us, every time, whether it's I'm mentioning it to someone or they find us online, they're always like, this is the coolest thing. So people would love to find us if they knew we existed. So leave us a rating and review. Make sure to follow and subscribe. That helps all of that. happen even better and to endear yourself even more to our completely self obsessed hearts. Go follow us on sub stack. 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They do ship to curated dash wines.com and entertainment studios.com for us entertainment bros. That's all for this week. Thank you so much for listening. We will be back in one week another one and entertainment pairing for your entertainment but ciao for now. So neat! Alright, let's get into the crazy. Get into the crazy. That's our next theme song. Get into the crazy with Dallas and Dave. to say up in that. We can have that as a little transitionary jingle. You know, we're about to when we're about to start talking about the movie itself, right into the crazy with those Now with wine. Stick it in. Jam it in. Jam it in. No, don't jam Dave, don't jam. Feels like it's a sin. What are you in up to this week? Somebody's got a story. And that's only when you begin to improve. Oh yeah. Wow, a poet ladies a poet. You