Dear Watchers: an omniversal comic book podcast

[Rob]: welcome to dear watchers a comic book omni verse podcast where we do a deep dive

[Rob]: into the multiverse

[Guido]: We're traveling through the story lines before and after our alternate universe. I

[Guido]: can't remember doing it off top of my head. so here's our interro music

[Guido]: and your watchers On this journey continued to be me Gto.

[Rob]: and me the raccoon that is actually piloting rob

[Guido]: So the reason I don't have my script open, is this isn't really exciting. bonus

[Guido]: episode we're doing.

[Guido]: We had

[Rob]: yes

[Guido]: to do it because we just saw everything everywhere all at once and

[Guido]: talking about it so much. let us to conclude that we wanted to share some of these

[Guido]: thoughts, right

[Rob]: yes it i did i mean it's a perfect

[Rob]: companion to our podcast because it's all about multi verses and omni verses

[Guido]: it is, and so fair warning, total spoilers.

[Rob]: yes

[Guido]: We' not going to hold back from anything, so if you have not yet seen the movie,

[Rob]: i i already spoiled there's a raccoon in the movie so

[Guido]: Oh yeah, that's not nice,

[Rob]: it's in the

[Guido]: but

[Rob]: trailer there is a raccoon in the trailer so if you've seen the trailer you get

[Guido]: yeah, but you don't know that that one does not know the plot that you divulged, But

[Rob]: no no i i think i might have just confused people even more by just saying that

[Guido]: we'll leave it in there and hopefully no one's mad at us.

[Rob]: there's a raccoon that's like piloting a person though

[Guido]: So if you haven't seen the movie and care about spoilers, then stop listening and

[Guido]: come back and listen after you have. If you haven't seen the movie and don't care

[Guido]: about spoilers, then keep listeningcause. You might be inspired to see it

[Rob]: that's true

[Guido]: based on what we talk about, and so I think that we should just launch right in be

[Guido]: cause we both love this movie and have a lot say. And we came up with a way of

[Guido]: sharing it, So we're going to go through ten things that we liked about the movie and

[Guido]: two questions that we have about the movie. So

[Guido]: who's going to start

[Rob]: i'll start

[Rob]: and i'll start by talking a little bit about a thing i liked with the rules of the

[Rob]: world

[Rob]: and in the movie they set up this rule that if you kill a body that

[Rob]: your consciousness your multi verse consciousness is inhabiting in that world then

[Rob]: that body is dead and that consciousness cannot take that body so if i killed y

[Rob]: Guido in our world than the geos from the other universes cannot inhabit your body

[Rob]: and that's a really it's a really strong rule and i think movies like this are

[Rob]: really made on rules like this and it's a great way to kind of have this inter

[Rob]: dimensional inter universe battle play out gives you real stakes there

[Guido]: it? Also, as you talked about, it

[Guido]: is the explanation as to why

[Guido]: Evelyn's father of the alpha version of him wants to kill Joy. So the rule

[Guido]: makes sense. It makes sense

[Rob]: yes

[Guido]: in the battle and the progression of the plot.

[Rob]: hmm

[Guido]: My first thing I like is also going to be a rule. It is a rule I have never heard

[Guido]: before, and I and I'm now really eager for other storytellers to use this rule or use

[Guido]: some version of this rule. And it's that in order to jump from universe to universe,

[Guido]: you have to do the least probable thing, because that pulls you to the edge of your

[Guido]: universe. and then you can leap into the multi verse, and that is really cool. Just

[Guido]: even visually, When you're looking at that map of worlds that they show on the on the

[Guido]: phone, you can sort of see. It makes sense. Now how you jump.

[Guido]: there's not a lot of

[Guido]: multiivesal jumping or time jumping Scifi media. I feel like there's not always a

[Guido]: explanation as to how you can jump. There's just some sort of magical device or

[Guido]: magical person that can get you to jump. This felt like it was a you know, absurd but

[Guido]: somewhat scientific rationale for Okay, Well, if I do the least probable, least

[Guido]: predicted thing that, I'm actually sort of challenging the flow of my my universe, my

[Rob]: yes

[Guido]: time line, and by pushing at that boundary, I can actually get over that boundary,

[Rob]: h

[Guido]: so I think it is the coolest rule. Not even then, accounting for the coolness that it

[Guido]: gives you in the movie where they get to just do wild things

[Rob]: yeah and it's set up where we're introduced to the idea before it's explained to us

[Rob]: so evelyn is told to put her shoes on the wrong feet and we see whalin wem eating

[Rob]: the chapstick so it's introduced and we're like why are they doing that what does

[Guido]: right.

[Rob]: that have to do and only then is it explained so that's great

[Guido]: Yeah, yeah,

[Rob]: and then the other thing i like is that it's also set up in the movie that you

[Rob]: can't really fake it 'cause

[Guido]: Mhm.

[Rob]: evelyn at one point is trying to say i love you to dedra but he's not really saying

[Rob]: it so it doesn't really work and wayans but he even says you can't really give

[Rob]: yourself a paper cup when you're trying to do it so it's great that like it's set

[Rob]: up that like you really have to

[Rob]: believe in what you're doing in order for it to work

[Rob]: wonderful well i'm gonna talk a little bit about

[Rob]: uh i think this movie we you know we're talking about these rules which are really

[Rob]: kind of high scifi ideas but this movie also has a real mix of kind of the high and

[Rob]: low if you will so there's these big grand sci fi concepts then there's also a

[Rob]: great emotional core of this family and an intergenerational family but then

[Rob]: there's also lots of super fun silliness so there is dil dos and there is hot dog

[Rob]: fingers and they're s sticking trophies in your butts and lots of other really

[Rob]: goofy things and some things that you could call quote unquote sophomore or grote

[Rob]: you know gross out or something like that but that sits us right aside these big

[Rob]: kind of grand and emotional concepts and that kind of combination of the two is a

[Rob]: really really rare thing

[Guido]: Think narratively. It does it too a

[Guido]: level, because

[Guido]: I mean, you and I walked out of there and said That was the most entertained we

[Rob]: this

[Guido]: been in a movie And

[Guido]: it's so entertaining and yet it was so emotional and had all these deeper layers to

[Guido]: the narrative. so I think narratively it ofs the

[Guido]: pure candy entertainment delight

[Rob]: yes

[Guido]: of cinema. with like a story telling. I'll be thinking about and feeling about for

[Guido]: the rest of my life.

[Rob]: mm hm yeah it's a very diff uh what i'm thinking about now it's a very different

[Rob]: kind of

[Rob]: show or movie or this this is a show but we were talking about when we were

[Rob]: watching peacemaker too there's a lot of gross out kind of things in that but then

[Rob]: they feel earned they don't feel just

[Rob]: to for the sake of being oh this is a funny joke or whatnot it's part of the

[Rob]: character part of the story and i think that's when you can really get away quote

[Rob]: unquote with though doing those kind of things

[Guido]: All right, so my number two is the Hollywood omaages that are throughout the film and

[Guido]: there are probably so many that we did not even see, which is part of why I can't

[Guido]: wait to see it again. But the most visible to me were the Matrix Oagees, which both

[Guido]: in the

[Rob]: yes

[Guido]: story telling, but then, when they cut to the Alpha verse, and they are wearing the

[Guido]: the head gear to link them into the computer, and then the Wang Kar Wa Omage, in

[Guido]: particular with the Singers universe, where she and Weymond are in the alley toward

[Guido]: the end. And then I did not even spot cause, I have shockingly never seen Two

[Guido]: Thousand Wa Topace Odyssey, But actually, Elliott pointed out to us, you had

[Guido]: recognized it. I had,

[Rob]: eight

[Guido]: not, but Elliott pointed out in our debrif with him that the apes in the hotd dog

[Guido]: universe were an oage to two thousand one. So I just really loved the way that they

[Guido]: were pulling at these different

[Guido]: archetypes images, motifs tropes

[Guido]: that are present in our brains because they are present in our media. I thought that

[Guido]: was so cool.

[Rob]: yeah and i think what's neat too is i haven't seen as many wn car w movies as you

[Rob]: have but i know he's also dealing with sometimes big sci fi themes and some of his

[Guido]: Yes,

[Rob]: movies two thousand and one is very much about how one little action can resonate

[Rob]: throughout the time and re and beyond time as as the movie then ends with so there

[Rob]: definitely definitely and of course the matrix talks so much about this kind of

[Rob]: stuff too so they didn't just thing choose oh this is a reference to another movie

[Rob]: but they chose movies that also are talking about similar concepts

[Rob]: and for me i'm gonna stick with my hollywood world and go with

[Guido]: for your number three.

[Rob]: for my number three and stick with the hollywood world which is that we see evelyn

[Rob]: has all these different lives and were shown in really fast montage cuts of this of

[Rob]: all the different worlds and one of the worlds we actually see is michelle yo who

[Rob]: plays evelyn on the red carpet at the crazy rich asians premiere or cri and of

[Rob]: course michelle yo is one of the stars of crazy rich asians so i love that not only

[Rob]: did they use that footage and they did not hide it it says it right behind her but

[Rob]: it almost made me think oh wow so maybe michelle yo is an evelyn like the michelle

[Rob]: yo of our world is in evelyn and she starred in crazy rich's

[Guido]: Yeah, yeah, that's a fun idea. I, that

[Guido]: it.

[Guido]: My number three is going to be my gosh. What a parable for our times.

[Rob]: seven

[Guido]: There are so many ways that this movie spoke to what it feels like to live in an

[Guido]: increasingly anxious and confusing world,

[Guido]: and to see the letter from the directors that came out with the wide release, which

[Guido]: if you haven't read, is on their twitter and is really powerful about their trying to

[Guido]: address. starting writing in twenty sixteen, the too muchness of our world, and it

[Guido]: really fit. I mean you could read into a lot of the depression and anxiety, and then,

[Guido]: of course, all of Weyman's conclusions, and the lessons learned about being kind,

[Guido]: being the most important way to deal with how a day can just feel out of place, and

[Guido]: that the world can just feel insecure, And institutions are are sort of

[Guido]: demtriializing,

[Guido]: But well, yeah,

[Rob]: listen

[Guido]: it really was so yet not timely in a sense that I think in ten years or twenty

[Rob]: yeah

[Guido]: years, or thirty years, or forty years or fifty years, it's going to feel unrelaable

[Guido]: either, so it, really. Pretty masterfully got at some key current issues while

[Guido]: staying really broad. Andreable.

[Rob]: in that way it also reminds me of the matrix where the matrix was coming at coming

[Rob]: out at a time when the internet was just starting to come out and we were maybe in

[Rob]: this more corporate world you know corporations were gaining even more power than

[Rob]: they had ever before

[Rob]: and

[Rob]: that movie was a bit of a reaction to that but when you watch the matrix now it

[Rob]: doesn't seem like it's commenting specifically on the late ninety seconds it seems

[Rob]: like such an evergreen idea and i think the same thing goes for this movie

[Rob]: well my next my number four

[Rob]: is going to be performances so we really haven't we talked about concepts a lot in

[Rob]: this conversation but we haven't really talked about the actors and there's some

[Rob]: amazing actors here of course michelle yo is is leading the way here

[Rob]: but also the other thing i wanted to comment on is that this is a great film for

[Rob]: older actors

[Guido]: Mhm,

[Rob]: so stephanie sue is one of the stars and she she's only in her thirties but most

[Rob]: most the of the other

[Guido]: Yeah, the others for sure,

[Rob]: actors are all older james hong who plays michelle yo's father in his nineties and

[Rob]: you probably know him from big trouble in little china and blade runner but it's

[Rob]: just a really great opportunity for actors not white actors older actors all these

[Rob]: things that are still unfortunately rarities in hollywood

[Guido]: including to that depth. I mean, I've seen some some interviews with the cast talking

[Guido]: about not being given roles or

[Rob]: seven

[Guido]: having opportunities for roles that have such a range,

[Rob]: yes

[Guido]: And this gives that so, on top of just being a showcase for these incredible

[Guido]: performers and performers of an age or a race that don't often get to star the the

[Guido]: characters and the things they have to do

[Rob]: yes

[Guido]: are actually quite diverse and and different too. So

[Rob]: yeah and and people like michelle yo and jamie lee curtis you know older women who

[Rob]: also get to do these kick ass fight

[Guido]: yeah,

[Rob]: sequences and that is such

[Guido]: they do

[Rob]: a taboo and you know you so rarely see that and romance too

[Guido]: and romance right, Like with each other like like, So they? you know? Yeah, they get

[Guido]: to be everything in in this movie.

[Rob]: everything all at once

[Guido]: I did not even mean for that to happen.

[Guido]: Uh, so my number four is going to be

[Guido]: generational trauma, and I think that one of the many levels that this film works and

[Guido]: resonates with me is

[Guido]: that that idea of what you inherit from your family, and what the way you're brought

[Guido]: up and either loved or rejected by your family means and we see really clearly what

[Guido]: it means for Evelyn, and and why she might be the way that she is, And then how she

[Guido]: transfers that on to joy, even though she accepts joy'. ▁queerness, that is a Di.

[Guido]: That is a factor. Of course, is it is joys. grandfather going to be accepting of it,

[Guido]: and just all of those questions of how we deal with trauma and love and family

[Guido]: relationships. And what that means I think were really powerful and they were subtle.

[Guido]: They slowly peel back at.

[Rob]: yes

[Guido]: You know. this movie is so impossible to characterize, so I'd never call it a movie

[Guido]: about gener, intergenerational trauma or family, but of course that is so core to it.

[Guido]: Also,

[Rob]: yes

[Guido]: so it, and it slowly evolves and and I took a lot out of it, and I identified a lot

[Rob]: h

[Guido]: with with a lot of it and it was very powerful.

[Rob]: yeah in that way it reminds me of a little bit of what the watchman tv series did

[Rob]: which is take something

[Rob]: genre but talk about trauma through that lens

[Rob]: which

[Guido]: Yeah,

[Rob]: is something it still feels relatively new for film and tv to do that through a

[Rob]: comic book kind of storytelling or a sci fi storytelling but in many ways by

[Rob]: putting it through that prism it actually makes it resonate even more

[Guido]: well, especially because it's like. it's so counter to what

[Guido]: Marvel and D C are doing,

[Guido]: which obviously I love enormously. I mean the M. C U. Is you know my other favorite

[Guido]: movie watching experience ever in the world is Is you mean and Elliot watching End

[Guido]: game in the theater, But it's you know one division starts to get at telling a story

[Guido]: of something through the vehicle of genre and Scifi. But it, it even barely scratches

[Guido]: the surface. and and it's the only one that I think does that. So yeah, you're right.

[Guido]: it is. It is a great way that some of these more independent projects, although

[Guido]: Watchman is D, C, actually so, but some of these more independent projects can start

[Guido]: to use what we know about genre film's comic book films and tell something bigger,

[Rob]: well for my number five you were talking about trauma so i'm on a lighter note for

[Rob]: myself and i'm gonna talk about that there are some really adorable and very

[Rob]: unexpected uses of animals in this movie

[Rob]: so there

[Guido]: and

[Rob]: is

[Guido]: add some traumatic ones. Though

[Rob]: yes yes depending on your case so you know there's a pig on a leash i think the

[Rob]: first time maybe we see joy as the villa's walking a pig on the leash which is

[Rob]: really cute

[Guido]: I forgot that

[Rob]: then uh then we see a dog early on in the movie that jenny slates character has but

[Rob]: then

[Rob]: jenny slate in a baby carriage which is an extra cuteness but then

[Guido]: in a in a baby carriage,

[Rob]: probably what you're talking about for the more traumatic this is where the

[Guido]: Yes,

[Rob]: trauma comes in is then jenny slate uses that dog as a weapon and she swirls it

[Rob]: around on her leash like the little schoolgirl in battle royal that's what it

[Rob]: reminded me of and and yeah she uses it as like this mace ah there's of course the

[Rob]: raccoon which we talked about which speaks may or may not have the voice of randy

[Rob]: newman we were not able to confirm but kind of a take off

[Guido]: and appears to be something. Elliot pointed out that that I appreciate too Is it

[Guido]: appears to be

[Guido]: physical, a

[Guido]: practical effect, ananimatronic. I'm sure sometimes it's cleaned up or their C G

[Rob]: yes yes totally

[Guido]: elements, but particularly when it's being carted away in the cage, that is a you

[Guido]: know chucky cheese style

[Rob]: yes

[Guido]: anatronic sitting there in that cage and that adds. I think

[Rob]: oh totally yeah

[Guido]: to uh, what we appreciate about

[Rob]: totally

[Guido]: the use of that animal?

[Rob]: yeah i th that it's such a great plot and k take off of ratt which i've never

[Rob]: actually seen though i do know the concept of it but i was able to get it without

[Rob]: seeing it and the one more out of the box what i wanted to mention is the time when

[Rob]: evelyn and joy become the rocks and it actually

[Rob]: reminded me of having a pet well it reminded me of having a pet rock

[Guido]: Oh, those are animal like.

[Guido]: Oh, yeah,

[Rob]: especially when we see the rock with the googly eyes on it

[Guido]: uhhuh,

[Rob]: and it really reminded me of just like having a pet rock which i i did as as a kid

[Rob]: so yeah

[Guido]: Yeah,

[Rob]: that kind of also spoke to me as well maybe there's other animal stuff that i'm

[Rob]: missing too but those are definitely the ones that stood out to me

[Guido]: how fun right. My fifth and final, our ten thing we love about this movie is going to

[Guido]: be the circle,

[Guido]: symbolism or motifs that are throughout the movie. It was I. I love recurring symbols

[Rob]: listen

[Guido]: I love love, love visual cues that are linked to the narrative. It's it's something I

[Guido]: really appreciate in anything I'm consuming. and in this case the circle. I'm sure

[Guido]: there are just dozens of examples, but I really like that. While you know, the the

[Guido]: sort of paint brush circle is the really common ▁zen symbol. it becomes the symbol

[Guido]: that Deirdra and the I R S office circles

[Rob]: yes

[Guido]: around on the receipts, It, of course is the googly eyes is a circle in a circle. It

[Guido]: is

[Guido]: the everything Bagel of Nhilsm,

[Rob]: seven

[Guido]: also, and and again debefing with Elliott pointed out, it's the image of a black

[Guido]: hole. So

[Rob]: yes

[Guido]: there's so much circular

[Guido]: symbolism and I really love imagery recurring and I think they use it. Well, the

[Rob]: the washing machines and dryers as well which we keep coming back and has got that

[Guido]: washing machines. right, You pointed that out, Mhm,

[Rob]: you know literally something going around and around

[Guido]: Mhm, which is almost mesmerizing, Right it? It pulls you in when any time it's why,

[Guido]: like in any, S in any uh, hypnosis trope in a movie or T V show. it's a. It's a

[Guido]: spiraling circle Right,

[Rob]: yes

[Guido]: That's what Poll draws you in a twilight ▁zone. Of course, being a very

[Rob]: yeah totally

[Guido]: famous example, so I love the the recurring circles a lot.

[Rob]: well we

[Guido]: So we have two questions. Let

[Rob]: yes questions

[Guido]: me, let's let's transition

[Guido]: me, let's let's transition

[Guido]: All right. So to to close us out with our two lingering questions, which my gosh,

[Guido]: there probably could have been a million.

[Rob]: of course yeah

[Guido]: but I'll start. I'll start

[Rob]: yes

[Guido]: with

[Guido]: question. My question is what would have

[Rob]: and then

[Guido]: happened if

[Guido]: Joy or or anyone, Evelyn, but Joy was the closest, went into the Nilsm, into the

[Guido]: everything Vehle, Like, what would have happened? What rules of the world

[Guido]: do we know Like? would she have been obliterated? What would that have meant? Would

[Guido]: that have

[Rob]: i don't know

[Guido]: meant that she is obliterated in every universe? Does that somehow obliterate the

[Guido]: universecause?

[Rob]: mhm

[Guido]: It breaks something. I mean, I, I'm curious and I I love thinking about it. It is not

[Guido]: a plot hole to me. It's something. I just really love wondering. Is what would have

[Guido]: happened?

[Rob]: yeah

[Rob]: in my mind it goes more towards the

[Rob]: metaphor which of then the depression that joy has and i'm also thinking about that

[Rob]: kind of another spiraling thing is is actually doom scrolling and going through

[Rob]: social media and that you're in this endless cycle of of nilis really so my kind of

[Rob]: mind goes more towards like the real world metaphor version of that where i could

[Rob]: see by her jumping into the everything bagel it's really her embracing this kind of

[Rob]: hopelessness which

[Guido]: Darkness. Yeah,

[Rob]: is i think a feeling that we've been feeling as a world a little bit with over the

[Rob]: last few years or at least that's that's kind of come to the forefront

[Guido]: so all the joys and and the jubies exist, but they are all now just completely devoid

[Guido]: of any hope or loveing.

[Rob]: and i'm almost thinking you know this seems very obvious that i didn't really think

[Rob]: about it until right this moment that the character's name is joy and she is

[Rob]: suffering from

[Guido]: That only just occurred to

[Rob]: yes it is

[Guido]: through all our discussion yesterday of depression, and like the way this could be an

[Guido]: allegory for depression. It was very clear obvious to me.

[Rob]: oh my gosh yeah no no i'm only just thinking of that now yes

[Guido]: So that is my wondering and I don't. I don't. I don't even need an answer. I don't

[Rob]: one

[Guido]: need a conclusion. I just like wondering it.

[Rob]: yes

[Guido]: What your question?

[Rob]: and i'll add we did have everything bagels this morning

[Rob]: let us in the

[Guido]: What is your question

[Rob]: they were not everly everything bagels of of darkness and nys and nothingness

[Guido]: right? We're still here and feeling love and joy.

[Rob]: though yes

[Rob]: so my question is

[Rob]: did evelyn at the end of the movie choose the right multi verse to live in

[Rob]: so we see her emb we see her kind of embracing the world that we kind of stark her

[Rob]: in and of course we see all these other versions one where she is a movie star

[Rob]: but doesn't have love he or she has love but it's complicated and i think one of

[Rob]: the things that really resonated with me at the end of the movie is it is not a

[Rob]: film where things are easily resolved we don't know if they're going to really keep

[Rob]: the laundry bat we don't know if joy in evelyn's relationship is really sage we

[Rob]: don't know if raymond and evelyn are actually gonna stay together either so evelyn

[Rob]: has actually chosen the universe where there are still all of these unpredictable

[Rob]: moments ahead

[Guido]: Yeah, I guess some of answering this question, which is why it's interesting to

[Guido]: wonder about too is requires a sense of.

[Guido]: It's like reminding me a lot of Loki. what's the sacred time line? And who's deciding

[Guido]: what the sacred time line is? And and then that raises all sorts of questions of

[Guido]: destiny. Right. So do we imagine that? if Evelyn had left

[Guido]: the prime Earth, I don't know what else to call it. I think they might refer it to

[Guido]: the Beta verse at some point, but if she left the earth, we see

[Guido]: her consciousness. She Evelyn will still exist. It's just

[Rob]: yes

[Guido]: she will not be a part of it. So what does that mean? What is she doing to that,

[Guido]: Evelyn? And then if she lands in a singing universe and stays there because it's a

[Guido]: more attractive appealing universe. Like, what does that mean for that consciousness?

[Guido]: Like it requires a sense of

[Rob]: mhm

[Guido]: how all of that plays out and what's predestined. And when you deviate from that

[Guido]: which is predestined, what does it mean? So? I mean, Obviously, for for narrative

[Guido]: purposes, I think she

[Guido]: chose the right one because

[Guido]: she, she chose to stay and make change right, she

[Rob]: yes

[Guido]: chose to do something different. She

[Rob]: and commit

[Guido]: chose to outjoy to her father. She chose to give joy the space to step away. But but

[Guido]: remind her that she loves her and wants her there, and and is a safety net for her.

[Guido]: Um, so

[Rob]: and commit to that universe because we get the sense earlier on when actually they

[Rob]: go to the irs that she's had all these hobbies through which you're of course

[Rob]: pulling from the other multi verses that she's a singer and that she always had

[Rob]: this kind of commitment and of course when we first see her in the movie she's

[Rob]: super harried and she's trying to do ten things at once and she's not really

[Rob]: sitting down doing just one thing

[Guido]: well, lack of commitment. She's always had this lack of commitment. Yeah,

[Rob]: and a lack of commitment their lack of commitment yes and at the end of the movie

[Rob]: we kind of then see even kind of the last line

[Rob]: is her kind of zeroing in and saying like okay i'm listening i'm here now i'm not

[Rob]: dividing my attention and maybe you know of course in that moment she is doing that

[Rob]: but maybe we can also assume that she will be doing that for her family as well not

[Rob]: dividing her attention really being there with them

[Guido]: so

[Guido]: what do you think if you're listening to this, please join us on Twitter and tell us

[Guido]: what

[Rob]: yes

[Guido]: did you like? What questions do you have? Obviously we both love this film. It will

[Guido]: be one of my favorite films and I am glad we got to share ten things we liked and two

[Guido]: questions we had about everything everywhere all at once,

[Rob]: yeah so you can

[Guido]: so you can follow us online.

[Rob]: at dear watchers or send us an email as well we'd love to hear your thoughts on the

[Rob]: movie

[Rob]: and we will be back soon with another trip through the multiverse

[Guido]: Make sure to subscribe, review and share.

[Rob]: yes