Minute 41: “Welcome to the desert of the real.”

Transcript

Transcribed automatically from the audio, and imperfect for it — names and punchlines suffer worst. Useful for finding a moment, not for quoting one.

0:00Welcome to the Matrix Minute. Tim, we're keeping this. Philip's tired, so I jumped in to save the day. Hi, welcome to this week where I'm tired all week. And I have one wonderful fact to share with everybody. Neo wakes up seven times during the course of this film. That's pretty good. Seven deadly wake-ups. Seven. It's the seven scrolls. Sinful wake-ups. I don't know. What is another seven? The seven scrolls of the apocalypse. There you go. Neo is the apocalypse. My name is Jake and standard issue. Standard issue.

0:41Standard issue Jake. All right. Tim's there too. And we have once again for the last time, Cy. Woo! Yay! Hey, guys. Thanks for having me again. Oh, you're so welcome. Absolutely. Absolutely. Thank you for coming on the show. Especially these hard-hitting episodes. Yeah. These are hard-hitting. This is some good content, man. These episodes. This is good. I like them. This is good stuff. Yeah. This is good stuff. It's great. Oh, boy. And this is minute 41. We've passed our 40-minute thing. I made the content of the movie, by the way. I wasn't, like, self-praising. Oh. We don't. I mean, we had some good stuff going. We had some great work. Especially with Cy. He's saving us. He's saving this show. I like these. These are good episodes. I don't feel any pressure whatsoever.

1:22Cy. He's just a savior. He continues saving us. Save us. From ourselves. Okay, Philip. Explain to us what happens in this minute. All right. Yes. Give me a good second. Do it faster. Come on. Quick. Ah! Okay. I'm kidding. On the television screen, Morpheus shows him the world Neo knows from the end of the 20th century. But then he clicks a switch and shows him the world as it exists today. And thus begins Morpheus' brief history lesson. He declares, welcome to the desert of the real. And explains about what they know about what went wrong. The birth of AI in the early 21st century.

2:04Wow. Whoa. AI. You mean artificial intelligence? Yeah. He had to say that so the audience knew. That's a total, like, what do you call it? Info dump, isn't it? Oh, it is. I think Nia just wanted to double check. I think the whole, like, this whole first act of the film is a huge info dump, to be honest. It's just Morpheus spewing exposition left and right. But that's the thing. The concept is so strong that you are able to enjoy listening to this man, you know, tell you stuff about the world. And I think that that has a lot to do with, like, the buildup that they gave. Not the word, you mean. It's a preacher. Sorry, Cy. Go on. I'm just thinking the main character is somebody who needs to be informed. It's not like pulling somebody forward into a scene to explain it to them just so they

2:47can explain it to us. The main character is being informed the entire time. So it's a forgivable, you know, dump. Absolutely. Absolutely. It's a good technique to use if you want to, you know, not have the main character just walk. And you actually want to hear. Yeah, you want to hear because that's, like, the premise. You don't know what it was. There wasn't that, you know. I think the funny thing to me is, like, if you watch a movie and at the beginning there's, like, a narration that goes, in 2077. Oh, I hate that. Don't do that in a film if you can have it. It always sucks. I mean, there's exceptions. You know, there's, like, Lord of the Rings or Terminator, you know, where it's, like,

3:29it makes sense. Lord of the Rings did it in a very good way. Yeah. I'm sure. What about Star Wars? Are we going to diss Star Wars for the huge? Oh! Yeah, but Star Wars is at this. You just dropped a bomb. That's a different piece. Are we doing this? I totally forgot about that. But then again, Star Wars was, like, sort of referencing the old Buck Rogers shows. Yeah, but that's a humongous, humongous info dump. It's, like, three pages of just, uh, I don't know how to tell you how this happens, so we're just going to write it and, you know, you can read it. Just read this text. The funny thing is. Well, if you can help it, don't do it. But Star Wars definitely pulled that off. They, flying colors. I have no idea how that was, uh, that's even.

4:10Like, yeah, now that you're making me think about it, how did they get away with that? Like, nobody else can do that. No, it's usually, it's, it's, it's, it's, like, I watched recently, like, the, uh, a combination, we did a double feature of the newest Underworld movie and the newest, uh, what's it called? Resident Evil. Resident Evil. It's the same situation. It's, like, a wife of the director and it's, like, the hundredth, uh, you know, whatever sequel. And it's made for money. And she's, like, and they both start the exact same way. Oh, dear. The monsters have been going for the, and there's always a montage of all the previous movies. Yeah. And it's, like, the footage. You can see, like, the quality, how it's, like, it goes from, like, super high budget

4:51movie and then it kind of, like, the footage is, like, slowly dropping as the montage goes away. But, yeah, usually that, that, like, sort of narration. I have no idea how Star Wars is. It's really difficult to do. I mean, I've been doing a lot of, um, writing and listening to a podcast. Do you guys know the podcast, uh, Script Notes? I do. No. You guys don't, Philip, you never listen to Script Notes? Timo, yeah, you know it. Yeah. Yeah, I've heard of it. I'm sorry. It's great. It's just for writers. Um, well, that's for everybody, right? It's writers talking, um, and, uh, getting guest writers in it and stuff like that. But I think it's one of the biggest problems is how do you give an info dump without giving an info dump? You know, the whole thing of show, don't tell.

5:32Yeah. Yeah. But, like, in a state of, like, Star Wars. But now, fair enough, now in Underworld, I mean, they do, like, montages and voiceover don't they? Yeah, it's like a whole thing. It's like just bringing up to speed. Like, everything. Yeah, that's cheap. Sorry. Yeah. That's, you know, there's another way to do it, you know? Say it with pride. That's cheap. It's just lazy. No, I mean, the guys are obviously way ahead of me in filmmaking and I can't this, but I would hope I would not. I would have a better idea by the time I get to there. It's okay. You know, like, we can call them out now and then when we're like, you know. Are they going to hear this? Are they going to hear this? It's going to come up, like, in, like, 10 years. It's going to be on Reddit. There's a 3% chance. That Psy, the director of this whatever feature, was on a stupid little podcast.

6:15Yeah, it's going to be. And then it put the clip and he's like, he totally is there. I'll just change my identity. And it's going to be on BuzzFeed and it's going to be posted and by the end you're going to be a racist pig. This director said that. Who hates everyone. And it's just going to be like, Psy, career over. That's what you did, man. Angry director. Calls rampages once more. Calls the great saga of... Remember that show you did Psy? You usually know? Yeah. It's a... Okay, we're sorry. Okay. That's okay. We've calmed down. We've calmed down. That's cool. That's cool. What the hell are we talking about? I don't know. Info dumps. Info dumps.

6:55For Morpheus. Yeah. No, I think the Matrix does info dumping well because, like we said before, yeah, the main character in it is actually on a huge journey of discovery. So he needs somebody explaining to... Imagine if there was no Morpheus in this movie at all. Oh my goodness. And he was just woken up by Trinity or Cipher. Oh, an accident. Oh, an accident. And he's just walking around going, where the hell am I? And he's coming into slime. Where's my hair? That movie would be plausible, but it would be such an abstract and weird and strange film that I think it wouldn't have any kind of like... I don't know. I think I'd like to see that. That's what I'm saying.

7:35No, that's the thing. It would be one of those arthouse films. Yeah. It would be very accessible to... Or like an Odyssey kind of movie, you know, he goes on through this wasteland and meets and just like pieces it together. He meets these like, you know, rogue people going around. It would be a very different film. It sounds like a great film to make, actually. And then he has to return to the Matrix, you know? He's like... He keeps walking away and then he realizes, I have to go back. I have to save you people. And then he likes like a montage. He gears up and he's like, oh, Matrix. No, I don't know. I can't remember where I heard this. I think it was an interview and it might have been another actor or director talking about Lawrence Fishburne's performance. But they mentioned that Lawrence Fishburne basically only gives exposition.

8:16And he carries that so well. But it's because... I'm saying it's a testament to his acting ability. Yes, it's Lawrence Fishburne because he's such a charming man. Actors hate exposition, generally? Yeah, people always call out exposition. But I think that exposition has gotten a little bit too... The word has gotten a little too dirty these days. It's difficult to do exposition well. Yes. As a actor. And I think that's what we've been talking about this whole time. And the writing also helps a lot because he speaks in a very sort of... We talked about this. The way... The matter of... The choices of words. It's very, you know, higher sort of like prophetic... Prophetic. Prophetic. So I think it helps to sell the idea.

8:57And what Phil has said numerous times before, because we are part of the journey and we don't know what the Matrix are, at least the first time you're watching. So you forgive absolutely any subject exposition because you want to know the information. So it's like, it's not like, oh, you kind of figured it out and now it's for the main character. So he makes sense. That's like bad storytelling when you're like, I know. Yeah. And also like this whole beginning of the film was just teasing what it could be. And it was giving you visual hints at what was going on behind the scenes that were cool. And you could actually keep being hooked to wanting to know more. And so this is sort of like the payoff now where we have the exposition going on.

9:42Now they're looking at the TV. I just wanted to segue this into what TV this is because I love giving away this kind of information. The television is the famous AWA Deep Image Radiola Television model 209C from 1958. Is it color? And it's another fantastic. No, I think it was black and white. Ah, okay. But it is another, but it is another fantastic decision in keeping the rotting bygone days look that we were talking about last episode. And also, it's also quite ironic because they're using this to talk about the future and stuff like that. I love that kind of stuff.

10:22And it's a better condition than the chairs. Those truths and pristine. Man, the chairs. Oh, those chairs. I can't go off those chairs. I mean, they modified it to do colors. So obviously they're fixing it. But I think it's great that after we see the, you know, the collage of Getty images that they took offline. Yeah, interactive simulation. The great shot, the great sort of sequence of them. He's then, you know, Morpheus shows him. So this is what the real, you know, he says the famous line, you're living in a dream. You've been living in a dream, you fool. Yeah, with a smug face. He says that, super smug, super casual, leans back on his chair.

11:05You've been living in a dream world, Neo. You can tell Morpheus is waiting. Just like your father always told you. Yes. Every father hears that from there. Says that to the kids, don't they? You're never going to dream, kid. Wake up. Or your teacher. Or your teacher. Or your boss. So here's a question. When they say, we know it was us who scorched this. Sorry, have we finished that topic? I just wanted to say that there's a beautiful... Unfortunately, that's not in this minute. Ha ha. Can't talk about it. I'm just kidding. Oh! I've been skipping ahead, my boy. You see where the sky looks really kind of burnt? Yes. Was it scorched, maybe? Was it scorched by something?

11:46I don't know. Could you tell us more about that side? About the scorching? Uh, uh, uh, uh, uh, uh... What's with the scorching? I don't know. Yeah, well, they did scorch the sky. I just would love to know what that meant. Did they kill the sun, or what did that mean? That's what I was... That was my question as well, Cy. I was wondering about this. I was wondering how they implemented that to achieve the scorching. You mean like real life? It was like... Or are you talking about the movie? Well, in the movie, the sun is still there, because remember the third, the final film that go above the clouds? I mean, they clearly called it Project Scorch. No, this is... It's called... It was called Project Dark Star. P.S. Project Scorch? It was called Dark Star.

12:27Dark Star. Yes. It's a bit... I like mine better. It's based on... I think, Cy, you would know Dark Star. Oh, yeah. Dana Bannon's first film. Yeah. Yeah, yeah, yeah. It's a film prior to Alien, anyway. That's right. But I think... Isn't it like just like... Just a lot of emission? Like a lot of like... Diesel instead of, you know, petrol and just like... All of this is actually visualized in the Animatrix, the second Renaissance. Oh, yeah, that's right. It's true. It's an animated short that shows the history of the machines versus the humans. I actually do have them. I watched the first two and never finished them. And that was in 2000 or 1900, as you guys remember. Oh, wow. Because there's two of them that are pretty interesting. They're important to the backstory.

13:09It's like a two-parter. Yeah, where they explain the entire backstory of the war between the... Which is pretty interesting. It's just not like an offshoot, like a, you know, story that's in the Matrix. That's right, yeah. But it's actually what shows... Yeah, the actual story. It's... What do you call it? It's canon. It happens around the main story. Yes. So they might refer to it, like I'd say, oh, your man's ship crashed yesterday. And then you see in the Animatrix that whole episode where it crashes, that kind of thing. Yeah. Yeah. I love that stuff. Yeah. Check that out. It's pretty good. I think the Matrix was one of the first things that actually implemented that. Like, the Wachowskis brought that as one of the fun ideas that they were able to use to expand their band. Yeah. Like with the comic.

13:50I mean, Star Wars did it first, obviously. But it wasn't... Hold on. Does Talke not do that with the Simerlian? Oh, yeah. Is that not kind of like that with the... Because he wrote the world and the language first. Yeah. Yeah. He wrote... Yeah. That's right. That's what he did. That was like this whole mythology was this life project of his. And Lord of the Rings, he decided to implement as just a portion of that big story that he has. It's a huge kind of... And so, yeah. So when you listen... Yeah. Sorry. So when you listen to Lord of the... Listen to it. When you read Lord of the Rings, there will be characters reciting stuff that no one knows about it unless you look at the back history.

14:32The Simerlian. I can't even say it. The Simerlian. I cannot say it until this day. Well, Tim, in our... We do... Tim's version is my favorite. We did some stupid commentaries for the Hobbit films that I wish everybody watched, but they never will. Oh, yeah. We can plug this today. Yes. Let's do that. I gotta hear this. We watched... There's a super cut of these things. We watched all the Hobbit movies and we did a commentary on them. Every year when they came out. Yeah. The moment... Like, the month that each movie came out on video, we watched it together and we recorded us making fun of it, practically, because we weren't very big fans of those films. And it's great because they're cut, like the commentary. If it's, like, boring, it's cut away. And then Phil did these amazing After Effects animations that just make this whole thing.

15:17Like, I... Tooting our horn, but... Yes, you do. Everyone else listening should, too. I don't care. You guys... You guys have... Hilarious. You've seen Mystery Science Theater, haven't you? The original. Yes. Yes. Classic. Love those. That's what started the whole craptacular scene for me. Oh, yeah. A craptacular... I like to believe I coined that phrase. I don't know if I did. But I used to have... Pretend you did. It's all good. I'll pretend I did. Trademark. Sidekick. I had a craptacular movie theater. Get the trade. What? Quickly before the air of the episode. Quickly get the trade. Yeah. We used to hold, in my house, a craptacular movie theater nights. Guys only. And it was just like, let's watch the shitiest films we can find.

15:59From like... Aw, dude. Yes. But it was totally inspired by Mystery Science Theater 3000, the original guys. The original series. Of the funny crack. We had so good time. The best movie we watched to date was Attack of the Crab Monsters. I have not seen that, and I'd like to see that now. You have to see Attack of the Crab Monsters. Anything that's dated. It came from beyond the... Or... Yeah. That kind of stuff. They're gold. Or like giants from... Oh, yeah. It's perfect. Perfect. But just stay away. Attack of the Crab Monsters is like late 50s. It's 57. But anything... It was amazing. Anything in the 70s, be really careful, because it moves into pornography really quick.

16:42Oh, yeah. And you don't know. We watched Zardoz not having a clue what it was about. Zardoz. We just saw Sean Connery in a body thong, and we're like, hey, this has got to be good. And it was scarring for many people. Yeah. It's Ingmar Bergman, isn't it? The 70s were a crazy time. Oh, by the way, Crabman is Roger Cormann. Not Ingmar Bergman. What am I talking about? Roger Corman did the Crabman. Roger Corman did the Crabman. Roger Corman. Roger Corman. Yeah, yeah. The other guy. I was one of his first. Who directed Excalibur? Oh, God. The latest one? No, no, no. The 80s one. The 1981.

17:22John Borman. John Borman. John Borman did Zardoz, I think. Oh, yeah. John Borman. Yep. Well, here's a little bit of fun for you. Apparently, and I don't know if this is true. I read this somewhere. Apparently, Sean Connery, it was a favor to, is it John Borman you're saying? Yeah. I think I read this as well. It was a favor. He said he wouldn't do another Bond movie unless they made Zardoz with his friend. I always say he didn't make Zardoz. I have no idea. He was friends with the director, apparently, or the writer. Yeah, yeah, yeah. And he said, I'm not going to do another Bond film unless you fund Zardoz. And I wonder, does he regret it? Because one scene of that. Have you guys seen the film? Have you seen Zardoz?

18:03I haven't. I've seen. No, I've seen the shots or stuff like that. Clips of it. It's just crazy. Opening scenes of like. It's crazy. Opening scenes of like rape on the beach. And then a humongous head. And them all screaming out, yes, the penis is mighty. All this crazy stuff. What? What is this? This is our second Sean Connery impression on the show. Thank you. Well, there are two. That was a good one. Size is pretty good, actually. I just, I love it. And then I love the reference in Futurama where they're wearing new uniforms and the professor is wearing a Zardoz costume. And I just thought, excellent. But yeah, I want to say watch Zardoz, but just be careful, guys.

18:47Be careful. Be careful. It's okay. We watch a lot of nonsense. Anyway, back to the Matrix. All right. Anyway, back to that. So he goes and shows the real world. The world as it exists today. But before that, you know, he's before that Morpheus is like, you know, you've been living in a dream world. Your parents, your loved ones, joy. They're all neural interactive simulations. They're real people. Everything you've ever loved is all bullshit. Yeah. That's kind of what it is. And he shows how the world exists today. Now that wide shot, Matt Painting, I believe it's New York.

19:30It has to be. Because I think those two towers up there are the World Trade Center. And how creepy is this? We're recording this on September 11th. September 11th. Oh, yeah. We're just about to talk about 9-11. Yeah. Oh, my goodness. Yeah. Yeah. That was not planned. So this is an alternative reality. There we go. But I also believe there were the Twin Towers. I do too. I think that's the only explanation. I think that just shows... That was in Chicago. It used to be Chicago. But I guess no one would know any of the towers in Chicago. This is more iconic. But now I was taking a closer look at the city. Okay. And I think there's some futuristic looking buildings. So it kind of gives you a hint of... Oh, totally. Yeah. The left-hand side.

20:10Yeah. Yeah. That this isn't... You know, the world didn't go to hell in 1999. Yeah. Or 1998. Actually, you know what? You're right that it's 1998 because at the beginning of the film, it says the recording code that shows up and it's recording the conversation between Trinity and Cypher at the very beginning. It says 1998 on it. Well spotted. Yeah. Isn't that cool? Wow. So anyway, yeah. So the camera goes all the way down to this volcanic, disgusting thing. To this lame set of blankets. And then it goes to the lame set. This is why it's fine. We like it. I like it too. I do.

20:51So Tim, tell us why you don't want it. I just noticed this now and I always had a clue. It proves it on you. I just reminded of that blanket that Sam has in Lord of the Rings when he's in Mordor and he like turns it into a rock. Oh, that one. That's all I can think of looking at the set. It's like blankets covered in dust. That's true. It's a bit setty, I guess. I think maybe a little bit of blue light from the sky. It's not the best. It's definitely not the best. Would it work? To be honest. The transition to the ground is nice though. We're looking at the big rocks. It's a little smooth. It starts from the TV and then goes down. That's a really great sequence. I also love that the armchairs are back. It's always nice. It's cool because Morpheus is presenting this to Neo in the most dramatic way possible.

21:37Portrayed in such a nice way. It's like one of those moments where you can think again. Oh, wait. What is this? Is that the same spot? Did the background change around them? It also shows Morpheus' elegance because it goes hand in hand with what we talked about, the way he speaks. Yeah. You know, he's very... Like Agent Smith a little bit. Did you notice that? Educated, very... He's good with his words, you know. Yeah. He's the best words. And then he says, the desert of the real. And that's Gene Baudrillard's book, Simulacra and Simulation. And I got a little bit of a trivia. I was wondering. I was looking it up and it sounded really confusing. Is that a book where the mini-discs are? Yeah, where the mini-disc is located, that Neo has at the very beginning.

22:20If anybody's listening to those episodes or remembers those, I mentioned Simulacra and Simulation, which is where the desert of the real comes from, the term by Gene Baudrillard. And Baudrillard was discussing this short story called On Exactitude in Science. And it's about a big map being constructed. And on this map, they're making a city. And this big civilization or city gets so detailed and complex that it replaces the actual city that they were going to build. And they just start building onto that map of the city instead of making a real city. Okay. And Baudrillard says that it is the real and not the map whose vestiges persist here and there in the deserts that are no longer those of the empire,

23:17the civilization of the empire that they were making on the map, but ours, the desert of the real itself. Hmm. I don't know. I have no idea what he's saying. Doesn't matter. Sounds cool, though. Pick up Baudrillard's book. Pick up Baudrillard's book. In bookstores near you. And email. Email us. Email us with your book report. Yeah. Shout out to Baudi. And that's where you got the desert of the real. We want five pages maximum. There's a lot of influences. Keep it short and sweet. Yeah. Sorry. I keep talking too much. I'm sorry. I'm just messing. There's a lot of influences with Baudrillard and the desert of the real and the whole Simulacra simulation. Yeah. I always wanted to find out more about that, but I think that I tried to look it up, some of his stuff, and it seems very dense, the way he writes and stuff.

23:59So I don't know. That's probably for like, I don't know. Yeah. How many pages have Baudrillard? The funniest thing about this story is that Baudrillard saw the film. Oh, he's a contemporary. He said that they misrepresentation didn't understand his theories. They got his philosophy backwards. Yeah, that does happen, you know. Yeah. He said, the most embarrassing part of this film is that the new problem posed by simulation is confused with its classical platonic treatment. The Matrix is surely the kind of film about the Matrix that the Matrix would have been able to produce. Interesting. So this is like a meta theory. So he's saying that they made this action fantasy movie talking about how the real world

24:45isn't real and you should wake up, but we're watching this fantasy film and getting engrossed in that. And that's part of the theory. So it's part of the problem. And it's ironic. I guess. That's interesting. But to be honest, I never personally saw the movie as a sort of commentary or a criticism of virtual reality. You know, it was more like a higher, not to take it literally like, oh, the future is heading to the Matrix. It was more like, you know, about your mind and how you perceive reality and, you know, how you should step away from that sometime. Not like a literate. Like a warning tale of, beware of the Matrix.

25:28It's kind of like Fight Club when you get so into the film Fight Club and you love it so much. And then you find that people have started little groups about like Project Mayhem and all that kind of stuff. Oh, yeah. Missing on the whole, the whole irony of the kind of, guys, did you watch the film? Do you see what happened to these people? You know? It's very funny. Yeah, it's the whole point of the film. I know. And they're starting to copy it. I just want to talk about these chairs again. I'm sorry. Please go. Go on the chairs, man. I'm just comparing the frames to a minute before and after and positioning because I'm anal like that. But Neo's chair is sitting on a rock or something. It's not straight.

26:08Oh, yeah. Oh, come on. So Neo gets it even worse. So Neo, you get the lopsided part. Of course. Maybe this is all part of the thing we're talking about. Can I swap the cushion, please? My cushion is... Oh, guys. Ready for this? No. He never sits down. You know why the chair is placed like that? Why? Because it's foreshadowing Neo's struggles that he'll have to face in difficult decisions later. There you go. There it is. And his cushion all messed up. Perfect. Good. Okay. You know what? I think that's why Neo never sits down because it's crappy. He's just like standing there. Yeah. He never sits. Doesn't he throw up after this? He freaks out right after this? Oh, yeah. Yeah, yeah, yeah. So his chair remains unused. Unutilized. Yeah. The chair remains unused. If anyone has anyone else to talk about, well, I can make the Matrix worse.

26:53We could have had Neo lying down like, you know, at a psychiatrist. Oh, man. An ottoman or something. Oh, that would be so bad. Lounging. Tell me your troubles. Tell me, Neo. How do you define real? Oh, boy. Yes. Well, if there's nothing else to talk about, there's just one more place to go. Is it to 1996? To 1996. To 1996 we go. Yes, we do. Cue the music. Ah, that was nice. Thanks, Jake. Wonderful. So, Phil, what do you have in store for us today from this magical world of 1996? Well, we all know that in the previous one, Morpheus loves mentioning Chicago a lot.

27:33Just in case we don't get that it's not Chicago. By the way, Cy, if you don't know, the reason why there's a lot of Chicago in this Matrix script is because the Wachowskis are from Chicago. So they have a lot of pride for their city. Right. Okay. They just had to put it in. I see. And so he says, the desert of the real. Right. This is kind of where we stopped. The sky is an endless sea of black and green bile. The earth, scorched and split like burnt flesh, spreads out beneath us as we enter the television. The desert of the real. In the distance, we see the ruins of the future Chicago protruding from the wasteland like

28:18the blackened ribs of a long dead corpse. It's a pretty good description there. Yeah. It matches what we've seen. And then Morpheus says, we are right now miles below the earth's surface. The only place humans can survive outside the Matrix is underground. Still moving. We turn to find Neo and Morpheus. The chair is now sitting in the middle of the black desert. Dizzy, Neo holds onto the chair and he goes, what happened? And then Morpheus. This sounds like the boat ride in Willy Wonka now. Morpheus talks about the background, which we're going to go into next episode because there's a lot more information to cover.

28:59But Morpheus says, he says, you've been living inside Baudrillard's vision. Inside the map, not the territory. Oh, wow. Very explicit on that one. Look at that. So they were just using on the nose. And Baudrillard shakes his fist in Disney. And goes, ha ha ha. You're all wrong. Don't use my name. And that's all I got for this time in the script. That's very interesting. Very, very curious. Yes. And as we do, we go down. All I can say is, I think we're done with this episode. And with that, Cy will retire from our show after this. Very sad. Very sad. I like this. He was really cool. And I really loved having Cy's comments.

29:40So thank you once again, Cy. Thank you, guys. It was a blast. I hope you enjoyed it. I did. It's been great fun. I shall hang up my headphones. I'll retire. It's your last chance to ruin your future career, if you have anything to say about anything. Oh, I think there'll be plenty more chats. But yeah, go see Cy's Instagram, which is Cy... Can you remember? Cy Murai. Cy Murai. Yes. Yes. Cy Murai. I was going to say Cy Njiff. Is your Facebook the same or no? No, it's just Cy Kelly. Cy Kelly. Okay. Cy Murai. Cool. Cool. Dude. I have a website, but I need to do something to it because it's pretty gross. Okay. Well, you can choose to link that or not.

30:21Well, you can choose to link that if you want. The choice is yours. Yeah, like a YouTube or a mobile. I was looking at tonight thinking I might have to change it because it's a mess. Wonderful. Well, in the meantime, there's other locations to check out Cy stuff. Check it out. And... Is that it, pretty much? Yeah, go to our Matrix sites. I'm so hungry. Eat some. I'm actually hungry as well. We have Twitters. We have Facebooks. We have websites. We have podcasts. We have all the great things. And we love it that you listen to this. Yes. And finally, thank you to the listeners. Especially to Cy as well. Thank you. Absolutely. Especially you listening right now. It was good. We appreciate the most. Guys, thank you very much. Yeah, check these guys out. They're loads of fun.

31:02I actually just love listening to them while I'm being recorded as well. We appreciate that a lot. Cool. Cool, man. I'll see you later. Goodbye to everyone. Bye. Good luck. Bye.