And you get into this car chase scene with, like I said earlier, the white challenger, the blue Mustang, both from a bullet.

And the third car, the one that Leo gets in, is a Nissan Tesoro, I think is what it's called.

So the significance of this, interestingly, somebody thinks online at least, that that car is very

popular in Mexico, but not in America, right?

But apparently in Mexico, it's like the fucking gold standard of like taxis and stuff like that.

And it's really, really effective and utilitarian.

And so I feel like Paul Thomas Anderson is really like paying some fucking respect to Mexicans and like the kind of on the ground horizontal decentralized resistance that I've

been talking about all fucking year going on here and stuff like that.

And, you know, he's being a little humble about his generation, his class, white people,

like just the more privileged sort of like thing where you want to go to the frontal line and be

this like heroic figure you know it's about ego and stuff when you actually go out and you

want to you want to fight and stuff like that but i don't think it's a 100% indictment of the

fucking antifa super soldiers and the weather underground and people like that because

uh like fucking sergeant, Sensei Sergio, Benito del Toro's character, you know, when he,

when he sees like, when he goes, oh, you were in the fucking French 75, he's like impressed.

He's a fan of that shit. So I think I don't, I think because PTA is a good, you know, he's a creative person,

he's a good artist.

Like you don't get a fucking, um, one dimensional take down of a thing.

You get a complex exploration of the relationships between, you know, stuff like more overt terrorists and stuff like

community organizing where it kind of all like, it's a much better argument that like these things

are in a buck in relationship with each other. They don't exist without each other and stuff like

that. And I don't know. The whole, the whole thing just gave off like really, really,

...