Killers of the Flower Moon – Only Murders in the Colony

Full transcript of Killers of the Flower Moon – Only Murders in the Colony.

0:00KT: It's another week in the For Your Reference household and it is the fifth and final course of our 2024 Reference Degustation, a month long celebration of sizzling Scorsese cinema.

0:14Oti: Mm-Hmm.

0:16KT: Oh man, this feels like The Menu, Oti, we were having a good time and then we realized the joke was on us.

0:23Oti: Um,

0:25KT: thank you friends and lovers for joining us and celebrating five years of the For Your Reference podcast.

0:31KT: Just recapping the tasting menu that we had this year. First course, very experimental tantalizing for all the senses. We had The King of Comedy. Second was a crowd pleaser. It was tantalizing. As much we had Goodfellas. We went into some young blood growing pains in The Aviator. Then we went to some old man action growing pains in The Irishman.

0:56KT: and we are rounding it off. I'm pretty sure Lily Gladstone only exists in Killers of the Flower Moon.

1:02KT: Trigger warning, sending love to all our indigenous friends and lovers and note to listen with care, especially those from the Osage Nation. While this is a film and we don't go into graphic detail, it is still portraying genocide and we acknowledge the very real and ongoing pain that does not get taught, but it is also a part of the truth telling.

1:24KT: Also, elders and people might have passed away at the time of you listening to the recording.

1:32KT: Let's get on with the show.

1:38KT: Hey, friends and indigenous centering lovers. Welcome back to the For Your Reference Podcast. You got your host, KT. Reach into the bag of tried and tired Hollywood to put indigenous pain in the periphery to center and focus on the white peoples. Pillage and plunder, but make it cute with The Killers of the Flower Moon this week.

2:04Oti: Wow.

2:06KT: Okay, let's get into general stats and information before we get into first impressions, before we get into common and recurring themes. We'll talk about Martin Scorsese, I think, once we get to the end of the review, but for now, director Martin Scorsese, writer Eric Roth, who is also credited for Dune: Part One, as well as Forrest Gump. Martin Scorsese, as well as David Grann. Um, friends and lovers, if you follow us on socials, particularly on Instagram, you will know that I painstakingly tried and I got through five chapters of the book that it is based on, Killers of the Flower Moon, in way of cast, cast, cast, we have Lily Gladstone. Leonardo DiCaprio, Robert De Niro, but literally, and also Jesse Plemons, will mention as well. Shout out to Tantoo Cardinal as well.

2:59KT: but let's get into first impressions. Spoiler, spoiler, spoiler, white tears, white tears, white tears.

3:09Oti: Green Book approach to the Osage murders misses a crucial perspective. While Lily Gladstone shines, the film's angle disappoints. Yeah.

3:22KT: While Killers of the Flower Moon is a reflection of the incessant need to document suffering through a white lens, the want to film but the reluctance to commit to the very real and ongoing pain, Lily Gladstone, the Indigenous cast, as well as the Osage Nation, shines brightest.

3:40Oti: brightest.

3:41Oti: Nice.

3:42KT: I took my tip from you. I put a little rub at the end. Ah. Yeah, Yeah.

3:53Oti: go fast because I think I went into this quite green. There's a lot that I did not know

3:59KT: know. Green Book as well. You put it in your quote. Wow.

4:02Oti: because I got the same feeling and the same sort of anger watching this that I got while watching Green Book.

4:09KT: Yeah. And I think you're cursing this episode because we lost our Green Book

4:13Oti: We

4:14Oti: did. And it's, it's, it's a perspective that I am not like, well, for the longest time I've said that I'm done with watching black people suffer on screen. And this goes to all the indigenous people. And, you know, the ones who, I'm always persecuted and at least the ones that we always see this side of. We don't see any other angle.

4:41Oti: And to get

4:42Oti: this movie from the perspective of fucking Ernest was such a disrespect. I, I just could not believe that this is what I was watching. And this is what I was deriving the feelings for.

4:55KT: for.

4:56Oti: So,

4:57Oti: am I meant to feel sorry for Ernest being used by King?

5:01KT: Yeah.

5:02Oti: Am I meant to feel sorry for everything that he did? And without any sort of anger, without any sort of emotion from,

5:12KT: Molly.

5:12Oti: from Molly and I'm here sitting and thinking, what the fuck is this?

5:17KT: Okay. Okay.

5:19KT: So let me pick up on what you said initially, cause there's a lot, there's a lot of things that you said, there's a lot of things that I agree with as well. The last part I don't agree with, but let's go with the first part. I just, anyone can make anything. I don't agree.

5:40KT: it is a tried and tired trope of Hollywood to continue to have that Jake Sully Avatar sort of lens, right? Wanting to, to, to, experience the pain without the very real oppression, right? Scorsese didn't need sci fi in order to channel that indigenous suffering, right?

6:01KT: So I, as a viewer, as a film lover, as a, I guess you could say critic, I don't have control over what gets made. I don't have control over who wins awards. I'm done with suffering. Just like you said, you said it on black suffering. You're saying it now about indigenous black Brown, indigenous suffering.

6:23KT: I'm sick of seeing unless it's Chinonye and we're talking about Till, unless it's done in a way that.

6:30KT: Humanizes the, those

6:33KT: that are being oppressed and it's not being seen through the white tears of the oppressors, then fine. However, there's nothing to be gained out of this. And like, let's just say it now. If anyone wants to argue that they didn't know about it or they didn't understand the extent of the brutality, go on and fucking watch a documentary. At least be me and read five chapters of a book. You don't need a film to tell you about the very real genocide of the Osage nation. And if you do, well, fuck you. No, but seriously, put your big boy, non gender pants on. and fucking learn about history. What do you need to, how, how many, how many films about slavery do you need to see? How many films about the extermination and deliberate genocide of indigenous people do you need to see to think for yourself and feel guilty for two seconds and then skip into your next course, says the film, fuck off.

7:36Oti: I hear you.

7:37Oti: I hear you

7:38KT: Oh, the camera angles were so great. Fuck off.

7:42Oti: so you said you disagreed with part of what I said towards the end what was that

7:48KT: I agree in what you are saying, but I disagree where potentially your feelings are because you're directing it at Molly. But what you need, like you can do whatever you want, but I think it would be worth to take a step back and realize the marionette and the puppety hand that are making this film if the indigenous people aren't expressing the rage.

8:12KT: Look at the pen, look at the one behind the lens. Do you see what I'm saying?

8:17Oti: I hear

8:18KT: Because they can, this is what really bothers me because this film, and you see it in a lot of films that have nothing to do about hundreds of years ago, like even modern sort of stories, whenever you see like people of color, right, or indigenous or black and brown people. There's always some sort of inkling of ha ha, he, he, we're going to like see white people that we don't necessarily care or agree with their politics, but you're not allowed to hate You're not allowed to hate them because, and again, I only read five chapters of the book. The only real thing that I remember about Ernest was that he was a very handsome man.

9:00KT: and he was a war vet. I don't remember them speaking about his sort of disposition. But it was really played up in this film that he was a simple sort of man, or he was very easy to be,

9:12Oti: To manipulate.

9:13KT: to manipulate. Right. And there's a lot of notions in the film where he says that he loves Molly. But the caveat I would put on that is if you don't even see them as human, if you don't even see them as your level, then how,

9:31Oti: How can you love?

9:32KT: how can you, how, how is that even love?

9:34KT: Right.

9:34Oti: Mm.

9:35KT: Right? Exactly. Thank you very much. So I would point back to who was making the film. I think maybe, maybe Scorsese didn't want to do a slave film like Django. So he just chose this one instead. I'm sure. And again, there is a cameo that we see, at the end of the film where we're, they're doing like a radio sort of recreation.

9:57KT: and you can say Martin Scorsese is like getting very emotional, but what the fuck do your tears do? You made this whole film, but you made the film de centering the very people that the film was about.

10:11KT: shout outs to Ian from Native Film Talk. I've mentioned it many times, friends and lovers, but if you're looking for, you know, film discussion that is about Native Americans and you should go check out Native Film Talk, um, he talks about it a lot.

10:26KT: He, and a lot of, um. a lot of native people will talk about it in, whether they're critics or just in general, Devery Jacobs, who we love from, Rez Dogs, she had a really great tweet thread, gave all the love to Lily Gladstone, but she was very honest about, you know, even when the, like, native women were on scene, they were being brutalized.

10:46KT: So it wasn't even like, is that the extent of the representation? Right. So this is a world where I want to exist, where we can have. This level of critique and I kind of talked about it in Next Goal Wins, you know, if we're talking about loving, supporting something, but also critiquing it as well. Yeah. but going back to this, you know, there are people that say like native people that say of all of the stories to be told, this isn't necessarily the one to tell whether for whatever reason.

11:19KT: Right. And what I would say from a film point of view. I feel like, again, I, I wasn't there in the writer's room, I wasn't there on the cutting room floor, but it was very interesting that they chose the Osage Nation, who are one of the most wealthiest, to be in this film, as if there was some sort of peak or some sort of, um,

11:44KT: Like,

11:45KT: on the perception of, oh, I, I don't need to feel bad about them because I can see that they have white slaves and I can see that they're very rich as well. Right. I don't know what that does to the sensibilities of seeing, like, you know, white people like come up, have they come up and it's like, I don't know.

12:03KT: And I don't care to have that sort of lens, but I just. Like, I think we can just call it for what it is. I think it was very clear that this film was made to dabble and play through a white lens. And I'm just not here for it.

12:17KT: I don't care

12:19Oti: for it. Same. I And maybe my frustration with reactions within the movie should put me outwards like you said.

12:29Oti: I understand that. It's, it's the anger right? It's the narrative. It's everything that's being done up till the

12:44Oti: We get, and he, you talked about brutality. Uh, we, our last movie was The Irishman, which lacked aspects of brutality

12:53KT: we just thought they were old. They didn't want to show the brutal violence.

12:56Oti: violence.

12:57Oti: There was a lot of brutality described or shown on screen as text. And, you know, Martin Scorsese talking about, Oh, he's done with brutality. I've done that before. We're in, in Goodfellas. I don't need to do it again. And then we come to Killers of the Flower Moon. And even Aspects, they showed Anna who was brutally murdered.

13:20Oti: And we didn't see how it happened or how she was killed. All we know, she died. They showed her body. They couldn't even have an open casket because her face was off. And then at the end of the movie towards the final act,

13:35KT: wasn't enough.

13:36Oti: it wasn't enough. We had to go back to see how everything transpired. Why the fuck was that important?

13:42KT: Exactly.

13:43Oti: What did it add to the fucking movie to that point? In the story,

13:48KT: Exactly.

13:49Oti: what did it enhance? What did it make, like, what did it make you evoke anyway? Seeing them being murdered like that. It wasn't enough to just show the condition of the body, describe the condition of the body. You had to take us back to the end of the movie while we've already moved way past that.

14:09KT: Yeah.

14:11Oti: And then you, you go back to The Irishman and it's all fucking described. We don't get to see it. We're just told by fucking footnotes.

14:25KT: This

14:25KT: is Scorsese's King Kong. And how did he make a King Kong in the 2020s?

14:31Oti: Oi,

14:32Oti: I think we need to move to the themes.

14:35KT: things. I think, uh, yeah, okay. this is direction and stylistic choices.

14:41KT: We have Brent. Long ass movies. This was long.

14:44Oti: is long.

14:46KT: And it was a, it was long suffering. It was too long. Um, next one we have is two, we have Rob saying the rating and then we have Julio saying voiceover as an effective storytelling

14:58Oti: a little bit at the start with, Ernest and I think even King at some

15:04KT: in between at some

15:07Oti: Nothing was effective about this

15:09KT: this just, it just makes me so mad. It makes me so mad. Brent, New York. No, obviously not. Rob, Scorsese bingo, freeze frame, slow mo, split diopter, tracking shot, extreme close ups.

15:23Oti: Yeah. Of course there were.

15:26KT: Historical retelling of real events. This is from Brent.

15:30Oti: Yep.

15:31KT: Yes.

15:32KT: Uh, I just want to mention it while we're here. again, this is through reading the book and the book was also written by a white journalist. And again, friends and lovers, especially that are on Instagram. You know how hard I agonize over this fucking book and this fucking movie. And I was not interested at all until the award season started happening.

15:55KT: Love and splooshes to Lily Gladstone, congrats. She just won the SAG award actually. but you know, seeing her win all of these awards. I understand the importance of it, and that is why, of all of the directors, we chose Martin Scorsese so we could end on this film, so we could support Lily Gladstone and the Osage Nation, but man, it was hard to get through, and what I wanted to point out in regards to historical, retelling of real events is, it was written by a white journalist, but it was written with more, uh, It was written with more objectivity than this film.

16:32KT: Like it didn't try and, um,

16:35KT: at least in the five chapters, it didn't try and make you not demonize the white people like the, Ernest and King. But what I wanted to mention is the Osage people were displaced more than one time. Right into what was considered unlivable sort of conditions essentially places that white settlers and colonists didn't want to live in.

16:58KT: Yeah. And then it got to a point where oil was discovered there and then white people wanted to move in, but they couldn't do it legally in the legal system that they created, which is again, friends and lovers, the point to remember because they created something called allotments. And they've, they've, uh, they did it in the movie, but they didn't do it in a way with the heinous, morbid

17:24KT: deliberateness,

17:24KT: that really was to get rid, cause it wasn't like, we can share this wealth.

17:29KT: It's like, you need to leave so I can take it all. so they talk about allotments in the book and also. The, I just, I just, I fucking hate it. It's like, they can't handle their own wealth. Therefore we need to give them white guardians. Right. I think they called it incompetent in the film. So not only do you have white people that are like stewards over the wealth and the finances that are for the Osage people, you also have allotments.

17:58KT: So people coming into the gold rush, people coming into the oil rush rather, or buying up land. So it was never fair, but it's fair because it's in the law, right? And the film didn't even want to be that scrutinous about it.

18:13KT: So what are we doing?

18:14Oti: I don't know what we're doing.

18:16Oti: And I avoided a lot of the things, or at least I didn't go out of my way to watch trailers. I didn't really know what they were going to cover in this movie. All I knew, it had Lily Gladstone, it had De Niro, it had Leonardo.

18:29Oti: Uh, to go in and see it through this, two hours in and I realized what this is.

18:36KT: it's

18:37Oti: It's hard.

18:38KT: I just don't, like, I actually don't get it. Like, no, no matter what race or gender or sexuality you are, I don't understand how you sit here, watch this film and be like, okay, let me skip into my errands for the day.

18:53KT: Like, how the fuck are you not sitting there being like, why, why? I just don't, I don't even understand, but let's continue.

19:03KT: Julio, the minutiae of large scale operations presented as an entry point into our characters, world, and lifestyle. So I guess when he's talking about operations, he's talking about allotments and taking of

19:14Oti: the whole system around it. King, Ernest, our gateway into all that.

19:20KT: don't know if Ernest was genuinely that way in real life. It also doesn't excuse him from willfully poisoning his own wife. But anyway, Brent throwback films, I guess,

19:32Oti: Yeah.

19:33KT: I guess.

19:33KT: Uh, Brent crime and gangster drama.

19:37Oti: They're

19:37Oti: fucking gangsters.

19:39Oti: They are, they just are.

19:41KT: fuckheads. That's what they are.

19:43KT: let's move on religion.

19:46KT: Catholic boys, Rob, religion or religious overviews, sacrifice, temptation, and the seduction of good. Julio says Catholic guilt. That's a big one. Ben says Catholic guilt or just guilt revealing itself through self flagellation, self harm, mental or physical. I wish they would have harmed themselves. I'm serious.

20:07Oti: They tried to make it seem as if Ernest had some semblance of guilt towards the end.

20:13KT: Oh, fuck

20:14Oti: Exactly.

20:15Oti: I wasn't there for it. Whatever they wanted to show, Ernest as it didn't fucking matter.

20:22KT: Do you think, King felt guilt when he kept implicating black people in crime scenes?

20:28Oti: bro, in this movie. Like, this is, we should have had a Scorsese bingo of fucking black people being called out in every single film.

20:39KT: Yeah.

20:40Oti: And they're nowhere in sight.

20:42KT: Yeah. Like, why lump it with Tarantino? There's enough to go around.

20:46Oti: Like brah. Fucking hell.

20:51KT: and the inner workings of absolute

20:57Oti: Yeah.

20:58KT: a means to resolve

21:02Oti: I wouldn't say resolving any conflict, though fucking butchering everyone.

21:08KT: But it's actually, to me, it's actually a more disgusting layer. It's more than violence.

21:15KT: It's colonial violence. It's colonial greed. It's not just a film, especially for the United States that hasn't reckoned with its own history that wants to get off on the suffering through film. It's a fucked world, man.

21:35KT: It's a

21:35KT: fucked world indeed.

21:36KT: Julio, the idea that sooner or later, and also, well, you're never gonna hear us cover Scorsese again.

21:43Oti: No.

21:44KT: so, just while we're here. Julio, the idea that sooner or later our sins catch up with us and sooner or later you learn that crime doesn't pay.

21:51Oti: got the lands, didn't they?

21:53KT: Yeah.

21:57Oti: I

21:57KT: But this is, but this is what's so frustrating because however they wanted to portray Whether it was Molly or Ernest or King, how

22:07KT: and who benefited from the oil. And I just, it's just, it's again, friends and lovers documentaries. Well, good ones might bite your back, but what's a fucking documentary.

22:23KT: Educate yourselves. You don't need this film again. Opportunities are given within a colonial white powered framework. So this is why we're covering this film. If you have the ability to evaluate the layers because we're angry, but that's why we're covering it. Okay. Let's move on.

22:44KT: Julio living by a specific code of conduct, whether you're a criminal or not, there was no code of conduct.

22:51KT: Marty,

22:51KT: cameo. You can take this one, Oti.

22:53Oti: Yup, he was very tearful indeed.

22:58KT: Can I just, can I just ask you in your Atlanta living as a middle aged white man, like what was, what was the point of him being tearful on camera in the film that he made? I just want to get your thoughts on

23:14Oti: I don't even know what the fuck that was

23:17KT: Like, was it his Karen moment? Like, what was the

23:20Oti: the point of that? I don't know.

23:26Oti: I do The tragedy. The murders that happened. And the violence and the brutality. Of what you showed us for three and twenty minutes up until that point.

23:38Oti: For you to come up there and being fucking tearful. Do one, man. Do fucking one. Let's continue.

23:48KT: Julio, the struggle to be spiritual in a materialistic world. There was nothing spiritual, like spiritual about the way they brutalized No. Uh, okay.

24:00KT: So we have four, Rob conflicted protagonists who are charming and righteous in their cause. They really believe what they're doing is the right thing.

24:06KT: I don't think they, I don't think they thought they were doing the right thing. I think they just wanted to have what they wanted to Or what do you think?

24:13Oti: Yeah,

24:14Oti: plus they didn't see them as people and to them they're just doing what they feel like it's owed to them.

24:23Oti: or what's theirs really because they are superior and they deserve it so they can take

24:30KT: Ben, challenging protagonists who are ethically and morally flawed, yet human and layered. Brent, heroic bad guys, relatable villains, usually loved for the wrong reasons. Taxi Driver, Goodfellas, Mean Streets, Wolf of Wall Street. I think we should have watched Wolf of Wall Street. and that's Brent.

25:02KT: Thoughts? I don't think Ernest was conflicted. I think they just did that so us as viewers would feel sorry for him.

25:10Oti: Whatever. He was conflicted to the point of trying to testify against King and then he took that back. When the daughter died then he switched back again and this time he was like, oh! Now I'm going to tell everything, because King, you're done.

25:33Oti: You're only done. And I think he only did that because the indigenous people aren't going to rock with him like that anymore. He said so himself. So if for whatever reason he could prove himself and still had some semblance of power, he would have done nothing. He would have still continued being with King.

25:51Oti: So the conflict was only self beneficial. And whatever remorse is like, Oh fuck, I bucked the wrong horse in this. for him to not even be able to tell Molly that I gave you something more than insulin.

26:08KT: Yeah.

26:10Oti: How conflicted could he be?

26:12KT: felt bad, he would have

26:15Oti: Yeah.

26:16Oti: But for, ah, I was so angry, Molly's sitting there crying and

26:22KT: But don't get mad at

26:23Oti: cupping his face.

26:25Oti: Oh, I'm like, what the fuck is going on? What am I watching here? This guy has murdered your whole family. He's poisoned you. And we're here shedding tears, cupping his fucking face.

26:39KT: Don't get mad at her, get mad at

26:41Oti: people

26:42KT: mad at the white people cupping the face of colonialism and

26:45Oti: Who, who, who, who writes and watches this sitting there thinking that, Oh, this is, uh, this is the perfect reaction to this moment and everything that we've watched for three fucking hours.

26:58KT: This film wasn't made for us, Oti.

27:01Oti: It's, it's infuriating when even whatever lens you want to portray this murders us. You went to the Ernest shot, Cole. You tried to make him conflicted at the end, which he really wasn't. Tried to make us feel as if he was just being taken for a ride and he's just some stupid

27:21Oti: kid. No.

27:23KT: And to be like, oh, he could have been sort of redeemable.

27:29Oti: King is the bad one.

27:31KT: no,

27:32Oti: they're both fucking trash.

27:33KT: You'll benefit from like killing them off.

27:36Oti: And then We're sitting there at the end. This guy is out of, of jail in what, five fucking years or whatever.

27:44KT: Yeah.

27:46Oti: Fam, I don't know. I don't know how I could and this is why we don't have a Green Book recording because it was just me

27:54KT: Book recording, because we're just shouting all the time. Well, we're both shouting together, to be fair.

27:59KT: I also am not interested in humanizing the white people that killed Indigenous people to gain wealth.

28:09KT: I don't care about that. We have scenes in this film where Molly and the Osage elders go all the way to Washington.

28:18KT: And it was also noted that they had to pay 20,000 to even get this investigated, to even have anyone care because no one. in these colonial filled with blood systems, benefits from investigating missing and murdered indigenous people. It hasn't changed today and it didn't change back then. And it is, it is folly and it is the most disgusting version of Westworld to even have a film like

29:01Oti: there

29:03KT: Who sits there and watches the news and then watches this film and they're like, Oh, very nice. Like it didn't even fucking need sci fi to

29:09Oti: A lot of fucking people look at the fucking Rotten Tomatoes reviews. People lop this shit up. Which People lop this shit up and I think, this is where we need to fucking be better as a society.

29:25Oti: In terms of looking at angles that you never really needed to know about anything from. They,

29:34Oti: it's like, doing a documentary about fucking the Tulsa,

29:40Oti: Black Wall Street, Black Wall

29:41KT: they even referenced it in this

29:43Oti: And then doing it from the perspective of the people doing the fucking bombing.

29:47KT: Yeah.

29:47Oti: What the fuck? Who fucking cares?

29:49Oti: And

29:50KT: wasn't there an implication that King was blaming black people for

29:54Oti: They came here and did the murders because they did the same thing in Tulsa.

29:57KT: Yeah.

29:59Oti: This man's obsession with black people, I don't even know.

30:02KT: Yeah. I hope

30:04Oti: I didn't even realize until we rewatched Nipah Day. I was like, bruh. And then we did this fucking series.

30:11Oti: And I'm like, in every single movie, there's a ref, there's a, there's a mention.

30:16Oti: You don't have fucking black people in your movies anyway. Why bring us in? Why talk about it?

30:21KT: Yeah. Well, no, it was implicated that black people were in the background

30:25Oti: background is

30:27KT: background,

30:27Oti: happening. Miss me man. Fucking hell. Let's let's close this off.

30:32KT: no, but I, I, I wanna, I wanna end on something. I just, cause you even mentioned it with the Rotten Tomatoes quotes, and, you know, I guess we can even look inward to ourselves because we do contribute to the tomato meter. But I just want to address something.

30:52KT: I don't care for the connotation of. Oh, it's just a film. I'm just going to leave everything that I am as a brown, Pacific, Indigenous person in this world. And I'm just going to watch the film as what it is. If you can dilute and extract the very person of who you are to watch and praise a film, then I honestly, genuinely feel sorry for you. If you are watching something that denigrates People that have been oppressed and continue to feel the pain of colonial violence, then what is, what is film as an escape and as an entertainment?

31:35KT: It is, it isn't enough to continue to eat the shit that gets shoveled to black and brown indigenous people when we're just trying to sit here and fucking enjoy a film.

31:46Oti: Yeah, because you're using movies as a sort of escapism.

31:50KT: For you, not for us.

31:51Oti: it's not escapism when you're sitting on the other side of the, you know, TV screen watching this shit.

31:58Oti: Because watching your people being brutalized all the time. Watching your people being called all sort of shit. It's all escapism because in the fucking real world, when we walk out the fucking door, it's happening.

32:10KT: Yeah.

32:11Oti: So anyway, it's, it's, it's been, it's not what I expected this Degustation to be.

32:20KT: Same

32:21Oti: King of Comedy was so much fun.

32:24Oti: I had so much fun with that movie.

32:26Oti: It set up, it set up my expectations so high. On the remaining set and slowly by slowly, it just did not pan out what I thought it would be. And for whatever fucking reason, I had hopes for this because I'd had, Ooh, award buzz. Everyone's talking about how good it was because it says it's best to date.

32:53Oti: Only to sit there and to realize, Fuckin hell. Lily Gladstone will win an Oscar for this. Just like Mahershala won an Oscar for Green Book.

33:05KT: Oscar Day. And

33:08Oti: folks, will tell you everything you need to fucking know. Alrighty.

33:15KT: I think that's it, friends and lovers.

33:17KT: Is there anything, is there anything else you want to say about this course as a journey?

33:24Oti: I'm sort of glad we went through it.

33:28Oti: And we got to experience all of this.

33:32Oti: It's

33:32Oti: been a journey of high and then, whew, freefall. But, again, doing it with you, we get to enjoy a lot of stuff there. You know, cinema and movies play such a big part in who we are and what we love to do. So, Scorsese, deem him as one of the greats for whatever work he does.

33:56Oti: In cinema and outside of it. Yeah. It's just not my guy.

34:02KT: he's

34:03Oti: that's alright.

34:04KT: You're my guy though. Okay. Friends and lovers. We don't do the For Your Reference segment, but again, King of Comedy, Goodfellas, The Irishman, Aviator before that, and now Killers of the Flower Moon, uh, I've got the title of the episode

34:21Oti: Oh yeah?

34:22KT: just while we were recording this, the Killers of the Flower Moon, Only Murders in the Colony.

34:26Oti: in the colonies. Got it.

34:30KT: And with that.

34:31KT: Good night. We demand a national apology

34:35Oti: See ya!

34:37KT: on Twitter, Instagram, Spill, Bluesky and TikTok @ForYourRefPod.

34:42Oti: Write us an email at hello@fyrpodcast.com.

34:45KT: We're also on happy fifth annual Splooshies podcast.

34:49Oti: Ooh!

34:50KT: if you'd

34:51KT: like to leave a review, I will see you guys on the red carpet.

34:54Oti: see ya!