Well, this is the 200th episode, so we thought it would only be fitting to return to our roots.

That is the world of Michael Moore.

So we're going back to the movie that we talked about in only our second episode.

The movie that started it all, 1989's Roger and Me.

In my hometown of Flint, Michigan, General Motors closed the factories and put 30,000 people out of work.

To raise their spirits, I made this movie.

Well, Moore is so brilliant in this film at finding one resonant visual metaphor after another.

Like there's that unforgettable scene at the Great Gatsby Garden Party early on, where, you know,

it's a society party at some fancy mansion where they've,

you know, in their social consciousness, they've hired laid off auto workers to play human

statues at this garden party. And the rich people there were like, you know, I'm really tired

of people picking on Flint, you know, saying that it's saying that it's such a terrible place.

Why there's so much great stuff. There's the ballet.

There's hockey.

In fact, you're on the board at the ballet, aren't you?

Meanwhile, there are these out-of-work auto workers.

Or, you know, there's the scene at Auto World, the automotive theme park, the world's biggest indoor theme park that's built there where there's this like chucky cheese

style animatronic show where an auto worker sings a song with like his robot pal who's going to

displace him it's absolutely absolutely incredible and throughout the film with visual metaphors like

that more really shows how you know the town and all of the various

kind of sources of officialdom within it and kind of the more affluent residents, they cling to

the post-war narrative about what Flint represents, right? Like people at the Gatsby-themed garden

...