And I'm proud to be an American, where at least I know I'm free.

And I won't forget the men who died, who gave that fight to me, and I got this end up next to you.

And the members do today.

Believe it or not, I actually wrote a piece for Jacob and that should be out soon about the movie we watched last week.

Oh, yeah, that movie.

You've already suppressed it, like some kind of buried childhood trauma or something.

Yeah, believe it or not, I somehow had more to say about it.

I feel like you probably had to cut about 20 minutes of audio in the final version, because we talked so much.

To be clear, this is not one of the reunited states, which I genuinely did forget for us.

The Masterpiece, the Cinematic Masterpiece, brought to us by executive producers Van Jones and Megan McCain, telling hard truths.

Yeah, I felt I had more to say about it, and I could only find two real reviews of it.

I mean, I suppose there are probably more, but the two major reviews I could find.

I mean, one was a capsule review in the New York Times, which it was decently critical of it, just kind of pointed out how thin the overall concept was.

But it was, you know, only a few hundred words.

And then I found another one in the Daily Beast that was a little longer and more in depth, and was basically taking the view that the film was sort of advocating, you know, negotiating with people who are, you know, racists and extremists and stuff like that.

And it was sort of a like, you can't, there's no negotiating with Marjorie Taylor Greene and like that, that sort of republicanism, you know, that was basically the argument.

And, you know, I agree with that, although I know right away what Van Jones and Megan McCain would say if, if challenged on those grounds, because I watched a clip they did about the movie on the view.

And, you know, they basically begin with the caveat that like, well, of course, we're not talking about pandering to extremists or anything like that.

But then at that point, like, who are they talking about? Who are these mythical republicans that you're supposed to reach across?

Well, and remember the film isn't really just about republicans, right? I mean, it's about sort of dialogue and reaching across the aisle, like, in general.

Well, there's that opening montage where you see clips of on the one hand Charlottesville white supremacists and on the other hand, Black Lives Matter protesters.

And the movie is implying that like, these are what have happened to the great binary in American politics that is left and right.

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