 Welcome back to Think Check. This is Movies You Can Learn From. I'm Jay Fiedel. Today is reviewing Killers of the Flower Moon, which is a very, very interesting movie. It will captivate you. There it is Leonardo DiCaprio, Robert De Niro, and a woman called Lily Gladstone, who you will meet. Okay, so let's talk about the historical background. It's a novel, but it speaks of true events and a true circumstance, a true moment in the history of the United States and the history of the Indians in Oklahoma, the Osage Indians in Oklahoma. So joining me is Stephanie Stahl-Galton. I'm so happy to see her. Welcome to the show, Stephanie. Nice to see you back. Nice to be back. Yeah. Thank you. What's the historical, can you paint the picture of the historical tableau on which this movie is based? Well, I think that, as you said, it's based on the real thing. So this actually is an experience of life for this part of the country, which is Oklahoma. And these are the Osage Indians who have been moved there. They were actually forced to make that move into a territory that they were unfamiliar with. And then they settled themselves into the best situation they could. And this was probably in the 19th century and the 1880s, post-Civil War, but not so much at the end of the century. Actually, if they came west along with the Cherokees, who went from Georgia also to Oklahoma on the Trail of Tears, Oklahoma was some of the worst land in the Zen country. And I think the government was sending Indians to Oklahoma thinking they weren't giving up very much because this was really marginal land. That's why you have the Trail of Tears under Andrew Jackson in the 1830s. That's why later on you have the Osage Indians coming from Missouri, Kansas, and Arkansas, I believe. And so they wound up in what the government considered really bad, useless land. And everybody is in Oklahoma. And this movie is set, by the way, in the late teens after World War I and in the 20s. Go ahead. Hey, that's a little bit later than I noted. And of course, the cruelty of the President Andrew Jackson at the time was astounding, along with some other themes in the movie. But he did have them escorted into this new territory and lost lots of people along the way. There was no mercy. It was a forced march into this territory. But they went with all that they brought with them, whatever they could carry, but they themselves were strong and they established themselves as best they could. But in a very poverty-stricken situation, there was nothing there that they could really do agriculture with and be very successful. So it was very tough times. But then the irony is, of course, that they did then have the discovery of a will. So the point is the cruelty and the lack of responsiveness of the President Andrew Jackson and those that moved these people hundreds and hundreds of miles that they had to walk to, there were many efforts to keep some mercy in this picture and give them that nothing happened. And then, of course, as I was saying, the irony was that the land had nothing on its surface that these people were familiar with or could use as means of producing their benefits in their lives. But they did have something underneath, which was enormous oceans of oil, which then were theirs. And they were able, they became very rich because of the explosion of oil that they discovered under the land. But I think that the story what was already very, very sad, but with the discovery of the oil and the riches that they then purportedly had access to, they still were left in a position of subjugation and oppression and inability to manage it and to make it work for the betterment of their own lives. And this is where we get then the entry of other people into the situation who were there to on the surface help these people out. But what the movie is about is the theme of how the oppression was made to be systematic and systematic about making sure that the money was not theirs and that the money could be obtained by other people who were not looking out for their best interests, but rather coming in to take advantage of them. And I think that what has happened in this story that is, again, based on real facts, is that these people who were portrayed in the movie as the scoundrels who came in to help them, but really were helping themselves, were able to be so duplicitous and bring themselves into the situation and were mostly white men and looking for resources such as these people had. And they were able to manage these people in ways that put them in the worst possible position possible. And they were unable to in any way take charge or control of their own resources. And I know Jay was talking about earlier that issue of incompetence. They even labeled them because they didn't have skills, they hadn't been educated. So they were looking for help, but the help came in and took advantage of all that they couldn't do. So I think that I think the Indians were legally treated probably under the laws of Oklahoma, but maybe under federal law as less than competent. And I guess that was because they were Indians. It was pure racism. And they were wealthy. They owned large tracts of land, you know, reservations that they'd been given. And at the time they were given these reservations, somebody realized what oil meant and that there was lots of oil under them. But in the, I guess the teens, John D. Rockefeller was discovering all his oil holdings, you know, and people were, Ford was building cars and oil became very valuable. And all of a sudden the Indians found oil and they realized what it meant. And they invited, you know, these oil companies in on the land to drill for oil. And they had a scene there. I wondered how they got that scene. A scene there were virtually hundreds of oil wells, wooden oil wells. As far as the eye could see it, it was all owned by the Indians. They were wealthy, but they were treated as incompetent. They could not take, legally take control of their own affairs. So they had to have a, you know, a guardian, that was the term, to do anything, including draw money out of their own account. And you saw some of that at the beginning of the movie and you realized that these really, you know, these really bad guys were controlling the money and dipping into it. And the Indians were getting what was left, even though it was all theirs. So you began to get the sense of how the Indians were being mistreated. But it got much worse. You want to talk about that? Well, I'd see it's coming up in my mind and very painfully because of the way that they were managed by people that themselves really had nothing in mind to be helpful to them, but really came in and took advantage of these people. As I said, not only at the level of we know how to do this and we'll take care of it and you, you don't know how to do it. And so you don't have the capacity. And so we will have to control you. And they established these relationships with these men who were, who were these guardians who had to be approached to get any money at all. And then they got to allow the Indians to have the money. But I think that the very, very sad part of all of this and the wickedness that is coming up that's displaying how difficult and how deplorable has been this relationship during the development of our country at that time between the Western way of doing things and the Indigenous people. Well, when I referred it, it got worse. What I mean is, and this is not dissimilar from treatment of the native Hawaiians here in Hawaii. They owned the land. There was no real system for devolving the land of the next generation. And so you had to look to, you know, had to look to the way it worked without a will and who inherited what? Okay. And this was apparently early in the game of this kind of intestate succession arrangement. No wills and it just went down the family. And if you had a larger share because of your place on the family tree, just the way things worked in Hawaii back in the 19th century, then you got more money. And our heroine, Lily Gladstone, a beautiful woman really, I mean, as an actress, she was, she had a full charge. She had a large share. Okay. So that made her a bit of a target by any of these wise guys howly, wise, wise guy howlies that were coming in there to try to launch out into the Indian money. So if you married somebody with a full share and then succeeded that person and survived that person, you were going to inherit her share of the oil. And that was big bucks. So the Indians were not sophisticated about this. They didn't realize that it really wasn't romance at all. It was the law of intestate succession and what, and what their husbands and children were going to inherit from them. And that opens a whole new chapter in how they were abused. And the movie speaks of a sort of history of all these Indians who had died under strange circumstances in that town. I think it was Fairfax was the name of the town, I think. It was Fairfax. They died from, you know, who knows what, but it was like the wasting illness. It was probably poison. Sometimes they were shot. There was a whole, you know, panoply of possibilities about how they died, but it was always, you know, a kind of suspicious. And when they died, some howly guy would inherit. And little by little, their birthright was being conveyed to others, to howly guys. So this is very troublesome. It's one thing to marry a woman and then naturally inherit her wealth in the oil. It's another thing to have her killed early and then inherit everything early. And that's what was happening. And they, the, to see the patterns emerge in this approach that the leaders, the guardians and those that were there to get the money, what they did is that you could see the pattern of the deaths go right along with the inheritance line. So as Jay says, the families were taken out almost one by one, either by the poor health and no support for anything like that. They were suffering with diabetes and all kinds of dilemmas that there was no medical care for and nobody much provided anything. It did come up at the end that they started to do that. But that was very difficult to see people, young people, healthy people, and who had inherited all, who had all of this resource and money and they couldn't get any help. So they would die. And then the man that was married to maybe an older sister would come along and then pick up again with the next sister in line. And, and we'd go through the same thing there. And sometimes that was a more pernicious or direct approach to using poison or taking people out, you know, directly with weapons. But then they would move it right on down until they got to the one remaining inheritor. And then that person was in complete jeopardy of being sailed and also being brought around to get into relationship and marry and then give those inheritance rights, not to their own children even, but to this, this usually white man that, or as well as, as Jay said, the Halley types. But they would, it was a fleece. It was a fleecing machine, because the doctors, the medical establishment in that town were all complicit. And they didn't take care of these people. They let them die. Sometimes they provided the poison. The law enforcement officers in that town looked the other way. And there were some really blatant shootings in the town in the middle of the town or in the woods near the town. People would walk up to somebody who was going to inherit and just shoot them, bang. And so the whole town was kind of organized around ripping off the Indians. And as, as people came into the town, young men out of other places or with some family connections, in fact, that was how one of the, the Ernest Burke Hart, the Leonardo DiCaprio character came into town and what was, what was done to him as a young man out of the service and trying to reestablish himself and had an uncle living there. And you could see the, the entire game being played with the uncle doing the wink, wink, nod, nod thing about, if you like girls, and you might want to think about some of these here. And if you want to take on the step of getting married, this is a good place to do it. And then slowly that would unravel as being a tactic or a strategy to, to bring in another Indian person with a large wealth claim, and that then they would marry them and bring them into the family. And this, this, this person that was played by. And you just restart that question, that answer. One chilling piece of this movie is to actually see not only the patterns of the deaths that were directly almost like primogenitor, which didn't involve so many males in the, of the India, they had profiled women too. They, they all had their claim. So it didn't matter what they were women or men, but they would come into the town and they would see what their opportunities were where they thought at first, maybe they could help and beat the oil men, but no, they, there were bigger opportunities that were presented and encouraged. And so DiCaprio, Leonardo DiCaprio came into town as a recently, a recent soldier now out of the service and looking to use his uncle as a way to get a life started and get a job and have some income. And the uncle of DiCaprio that who, who's Robert De Niro was, yeah, it was, that was a fantastic character. And, and you wouldn't even recognize either DiCaprio or, or De Niro, they were, they were so into these characters and so, so tightly identified with them. So William Hale, the uncle, or De Niro would not only play the, the gracious gentleman of the city who he had done very well by that time, but also was the leader for these young, young men who would come and wanted to treat this, this young man as a son. And the chilling part of this more discreet and under the surface tactic was how absolutely it got into the, the intimate and private details of people's lives. So he would talk with his, his nephew who was in town about the kinds of work that he could do. And while he was doing that, he could find people that he might want to consider having relationship with or getting married. And so that, that just laid out and lots of wink, wink, not, not about, you know, having relationship liking girls, getting married, which is such a, taking on that responsibility with the clear message that this is all about, get out there and get us another hook into what is this wealth that these people have and have no business having because they don't know how to end. We're skipping over a lot of content. This is a three and a half hour movie, which is loaded with contents while you want to see it twice to catch it all. But at the end, Robert De Niro character encourages Leonardo DiCaprio to actually poison his wife. And arguably, he had feelings for her. And she certainly had committed to him. She was a really sweet wife. And he would tell her one minute that he loved her. And the next minute he would slip her some poison. Fantastic scenes. But mind you, the character, the rabbit, rather the Leonardo DiCaprio character, was not a smart character. It's like the movie we reviewed before downsizing. Matt Damon was not particularly smart character. He was the lead of the movie and DiCaprio was the lead of the movie. But neither of them played smart characters. And here's this guy trying to poison a wife who was completely dedicated to him for her money because Robert De Niro has encouraged him to do so. And in the end, I find it very interesting this all connects up with the FBI, believe it or not. His wife, a little suspicious of all these strange deaths in the town. She goes gets on a train and goes to Washington, from Oklahoma to Washington. And she looks up the president. And she talks to who was Calvin Coolidge at the time. And she has a moment with him and encourages him to do a little investigation. And he sends somebody from a brand new organization run by a fellow named Hoover, Edgar G. Hoover, back in the 20s, who was was just starting the FBI. In fact, they called it the Bureau of Investigation, not the FBI. And ultimately, to their credit, they sent a team of investigators down to this Fairfax town, who began checking up on things. And they ultimately found at least some of the culprits, not all of them. And it was very interesting that there was a certain level of justice, but not complete. And it shows you, you know, the dodgy experience that federal and this is just like what's going on with Trump these days. The dodgy experience that federal investigators have when some people are lying, and they can't really get the hands on the evidence. But ultimately, our friend DiCaprio went to jail. And I think he died and jailed me many years later. And the same thing with Robert DiUro character, I think he got out when he died shortly after he got out. They tell you at the end, they get him a radio play, right? At the end, where Margot Scorsese, this is a Martin Scorsese movie, he plays one of the announcers in the radio play. They review the whole movie in a radio play in the late 20s, I guess, in a radio studio. Then Scorsese is part of that. And you say, wait, that guy looks so familiar. That's Martin Scorsese. He made the movie. Well, it's a gift because we know so little about this period of time and these relationships that were set in motion by a lack of any oversight or any federal or anything larger than the local sheriff. And so easily can crime come into that and take over all that is about the good and following the law. But I think that it is quite a statement about the value of a federal bureau of investigation or something to come in and be another lever for these people to call down for some checking on who's breaking the law here. So I found it was a very good advertisement for a little more bigger government. I mean, yes, ordinarily many of you many up these small places, even with tremendous assets such as this can get along and do it themselves. But for the most part, there is usually a little more resource needed to make it all work out for everybody. But the FBI coming in and starting to show how they could go about this technical analysis of the situation when everybody else was just wandering around, how come Joe's dead over there in the barn? They didn't see any patterns. So they brought in that way of detecting whether there was criminal activity going on. And that's what they needed. And that's what I think this woman, the main character woman, Molly Burkhardt, she considered the soul of this movie because she was quiet, not nonverbal, but very low verbal, but very insightful and always watching and listening and knowing what's going on. And she could tell that there was another level of look at what they were experiencing that needed to be taken. Yeah, the Indians are always going to funerals. They were dying left and right. And nobody was doing anything about it. And there was no investigation of any of those deaths. And she decided she had to do something. So she went straight to the top and it worked. For a quiet, diminutive personality, it had a lot of effect, it cleaned up the town. And a lot of guys went to jail. But one thing I just wanted to trip off what you were saying a minute ago, this is a great study of American history. It's a great study of the Indian situation. This is not wounded knee or, you know, Custer's last stand. The Indians were very docile. In fact, the chief of the tribe says, gee, I wish it was the good old days. I'd go and kill some of these people, but it's not the good old days. I can't do that now. They were wealthy, but they didn't know what to do with it. And they didn't know how to control it. And the capitalists came down and ripped them off left and right. It would have gone on forever had Molly not gone to Washington. It's still going on. I mean, the right, the point is also made by some of the reviewers. It justifies this righteous fury and anger that indigenous people have towards the white supremacy and the racism that they've had to endure through all of these centuries and have less just lost incredible amounts of life over it. And that this is one piece of our fabric that we've not picked up the blanket looked under it much at all. And now through this presentation, here's another picture of something that's not a happy picture, but it is a story of how it is that America has grown and hopefully moved on from that sort. Yeah, it really teaches you about the not so much the 19th century, which was bad enough, but the early part of the 20th century in middle America where there was racism to beat the band. There was crime to beat the band. There was the police were corrupt. Even the doctors were corrupt. The whole town was full of corruption. And it's a great concern that as recently as what 100 years ago, that's all it was. This was going on in middle America, which was supposed to be civilized. It wasn't. And by the way, this is not too far from Tulsa, where in 1920, a wild mob burned down the black part of the town of Tulsa in Oklahoma, the same state, either Tulsa or Oklahoma City, I don't remember which which it was might have been Oklahoma City. But by the wine is, it was pretty rambunctious in those days. American history, you know, even 100 years ago was wild. And you could get away literally with murder, and robbery, and abuse of people and racism that was just visible, palpable racism. So anyway, it teaches you about that. On the other hand, it is a great movie. Let's talk about the quality of the movie. Let's talk about the acting. We have a few minutes left, Stephanie. Well, as I said, I mentioned before that you barely can recognize De Niro and DiCaprio. I mean, they're so integrated with these these characters and their roles. I mean, it's a beautiful, continuously on on task business that that they're doing, they're both of them. This has got to be some of the strongest work that that both of them have done. And of course, they say Scorsese has taken away some of the phenomenal fireworks that he usually throws in to get more focus on the issues here that are central to this movie's message. And it's these are the kinds of things, the ways to get this information out to the public, to be educated about these things that we're not educated about in school. And there seem to be, there seem to be pressures to not let this into our schools. And yet we need to know about these extremes of of of error and relationships that we've had, you know, with people that are not like us. It's a it's just a part of the whole place where we are now at this time trying to understand how to get along. But I always always watch to see the dynamic and Scorsese certainly capable of that. And he has made unbelievably good movies in his life and his career. But one one thing I noticed is that the copy of I suppose is the lead actor doesn't really change. The dynamic remains about the same. He starts out being a wise guy. He starts out breaking the law. He's he's robbing banks and a mascot and all this, even after he meets this this woman that he's supposed to have a romantic attraction to he's doing a plant a really bad things. And he keeps doing them. And as I said before, he does them because he's stupid. The character is a stupid character. And he's being egged on by the mafia boss. And that is Robert De Niro. And he just he gets worse to Niro as we go forward. So here in these two leading male characters who form an axis of evil. And the Indians can't tell because they'd be really sweet to them. While they're talking to them up nice, they're complimenting them. They're talking about how wonderful it is to live in this town and live in peace and harmony with the Indians. It wasn't that at all. They were killing the Indians and they were stealing from the Indians. So what you have is a dynamical, right? But then the dynamic makes them worse, not two of them worse, not better. Molly, on the other hand, she has a dynamic to she begins to understand. She never fully grapples with the notion that the man she loves is trying to kill her until the very end. And even then, she still loves him. It's a very interesting kind of romance. And he will, you know, say something affectionate to her. But at the same moment, he slips you the poison. I don't fully understand the kind of romance. But she has a dynamic. Molly has a dynamic. She gets wiser, more, you know, able to discern what is going on around her. But the two De Niro and De Caprio, they get worse. And they're beautiful, beautiful acting jobs. They both magnificent in the way they play it. Well, I think that point is so good, Jay, about Molly, the soul of the film is that she was learning all of the time more and more. And the last thing she learned from what I could see at the end was that, yes, she was still taking the medicine from him and believing he was helping her. But, but obviously at the end, she had been told that he had been poisoning her while he was getting her this medicine. And it took her until the very end that she walked, she did turn away and walk away from him when he came to talk to her at the end. And that, that, that was right at the end. And yet she was invested in him and, and, and, in romance with him and in love with him and believing and having faith in him, because that was where she was in that marriage. And he was never even in it to be humane. That scene is just so memorable. There are many memorable scenes in this memory, you know, like at one point he says, what color are you? And, you know, you're red, what are you? And she says, I'm my color. But anyway, at the very end in the scene you refer to, where you, you finally have the confrontation, she says to him, is there anything else you're not telling me? Is there any other crime or bad deed that you would like to tell me now? And he has not admitted that he was poisoning her. And he says, no, no, no, that's it. I mean, I did some murders, but so that's it. And she looks at him and realizes that he's lying to her. And that's when it's a really incredible moment. Without more, without any words, without any accusations, she simply stands up and walks out of the room. That's the end of it. And later, sooner or she divorces him for that. And that's her own life. So I mean, how they handle, you know, that bitterness must, you know, have been pervasive, you know, as people came to understand what was happening. I mean, that's not just in this circumstance, but over all these enormous numbers of unfortunate racisms and white supremacists taking it's tricky. It's tricky because they don't admit to racism. They just do it. And they do it in the worst way because they're lying about it. And they're telling the Indians, we love you. And while they got the hand in the pocket. So anyway, so it's three and a half hours. He was too long. No, I never noticed that it was that long. I knew it was before I went in, but it never came up again. I never felt that there was a drag at all. It was very engaging. I mean, we were seeing that, you know, an enactment of huge violence actually within this domestic, these domestic situations as well as on the other layers of interaction in the community. But they came the way the white supremacy could work. It was with just client power getting in there and working it without any regard for humanity or the law or God or anything righteous. Only greed, only greed. Yeah. And that's what the reviewers have said. You know, I think there should have won a lot of awards. I don't know how many it won. It didn't win Oscars. It was nominated, but it should have won a lot of awards. Why, why feel that way? First of all, the production values were unbelievable. And I don't know if you caught it, but on YouTube there's a five or six minute clip. I'll show you how Martin Scorsese was directing and, you know, talk about attention to detail. I mean, Emory Frayn and he would do it again and again so that it was just perfect. And that's what a great movie maker does, you know. And then aside from, you know, the color and the lighting and the entity and all that, the acting was really astronomical. Both Dicaprio, I've never seen him anything as good as this, even Gangster New York, which was good. And gee, look at Robert De Niro's career. This is the top of the line. He was such a character with that slight Southern accent and that moves of unkiller, Masia Donne kind of in his bowl and everyone around him. It was amazing. And it made you believe that you were there and you could see through these guys. You were clinically in a room with him. That's what I call terrific acting. And she, she was lovable. And she was totally Indian. She came from another culture and she was, as you said, quiet and thoughtful and so attracted that you almost believed Dicaprio when he said he loved her. She loves him, but he did not. I'm afraid he did not love her. So it was so intense, as you said, it was an easy three and a half hours because it kept on taking you in places. You didn't know, honestly, Stephanie, it didn't know where the thing was going. That's a little actually there. Yeah. And it wasn't bloody surprises, what Scorsese usually does, that it goes to places that you needed to see happen and play out and to understand and to see, is this really true? I mean, I couldn't really tell that he, that the Dicaprio character was giving his wife, Marley, the poison with the medicine, because of course he was distributing good medicine that they had brought to her. So this is again that, that the violence, the, you know, this violence that occurs in this quiet way that they had done on all of this work to bring in the, the diabetes medicine. And then the character William, the William Hale had brought in the, the murderous poison to add to it so that we can get on with this next victim. And yet I couldn't really see what they were doing at that point. It was after the fact that you find it out. You had to watch this movie very carefully, or you wouldn't would miss a lot of things that say you got to see it twice and you're going to be looking at it harder the second time to catch all that nuance to catch the details. So all of that considered, what do you rate this movie from zero to 10? What do you give it? Well, I think we need more of this movie. I put it at the star, the 10, the 10 stars, right, the 10, because of the importance of the topic and the, and the, and the capability of these actors to do these complicated roles. Because we were seeing this duplicity and this evil acted out in layers. So, you know, they're good actors, they're acting the part, but then they were also acting over that it to be duplicitous and to take advantage of people want to commit these murders and keep this whole complicated thing going. And you didn't really see them be themselves in the character going down to level one acting until like in the prison when the uncle William Hale and DiCabrio Ernest, you know, they got together and the uncle begged him not to tell on him. So he did try, he came, he broke out. Even at the moment where his own freedom was at issue, he was suggestible and to the mafia don person. The other thing I found interesting is at this meeting, at this meeting, which the Defense Council phoned up in front of the judge, which was actually questionable. I mean, the judge was questionable too. At this fancy meeting between DiCabrio and his quote lawyer, it wasn't really his lawyer. And they wanted to try to get him to, you know, shut up, not to say anything, not testify against William Hale. At this meeting, there's like five or six or seven oil guys representing at the time, these major oil companies that were drilling for oil in Oklahoma. You never see them before or after that scene, but you realize that they're there running it all running William Hale. They're trying to get their hands on the oil. And, you know, and this, they were the real captain, they were the really dirty guilty capitalists of the early 20th century. And I think that goes to the rating of the movie. Now, some people didn't rate this movie highly. It didn't win as many awards as I thought. But, you know, it's sort of in the eye of the beholder. If you care about American history, if you care about American Indians, if you care about the emergence of evil, you know, people in sort of capitalist clothing in the beginning of the 20th century, then you're going to rate it higher. Because as we say, it's a movie you can learn from. It's an educational experience to be there. But if you rather see Captain Marvel, you're not going to see Captain Marvel in this movie. You don't learn anything from Captain Marvel. And so, you know, you and I would give it a higher ratings than some of the other people. I might add, by the way, there's a rating review in the New York Times in this movie that is just knock your socks off. It is really wonderful. And I'm going to, I'm going to post a link to what I was saying. Anyway, so what would you give it? Ten? What? I'll give it a ten. I mean, the level of action and the latering of the acting actors acting over their characters. It was very, very complicated and very interesting to see the different perspectives that were working through all these layers, those that were taken advantage of, those that were subjugated, those that were oppressed, and then these other guys that were trying to keep it all into control was very interesting the way they, that he laid all that out. The director managed to convey so much like what you say. You can see the movie again to see what was happening. And I'm sure it's representative. This is not a unique situation. It's very representative of the way evil can pervade the situation. And when you have lawlessness and any lack of higher oversight. Yeah. The story of American history, American capitalism, American manifest destiny, you know, lawlessness in this country. It's part of the way the country, as you said, it's part of the way the country, you know, developed. And I would add that all this engagement with other cultures, this was an example of that. It's a clash of the Indian culture, which had a very, which is so sweet and lovable really. And I think that's a true statement of it versus these guys that had no moral compass whatsoever, just ripping them off. And you know, I would say that, you know, we had a movie in, in about Hawaii and the indigenous people in Hawaii. Do you remember the movie, I forget the name right now, a few years ago, and it was very popular. And it was a story of, you know, the descendants, remember? And it was, you know, about the same kind of thing with, you know, going down the chain of descendants and people trying to maybe take advantage of that and so forth. And I find it very interesting that they could make a movie in Fairfax, Oklahoma, about the clash of cultures there. And, you know, that kind of descendancy there. And we have a really mainly worthy movie here. Martin Scorsese should come out and see what he can do for us. And it would be really different, but it would have the same strength. Anyway, we got to go now. I want to tell you, I would give it a 10 when I was negotiating with myself before. And I still, I'm still holding out for a 20. That's so good. That's how good it was. Thank you so much, Stephanie. It's great to talk to you, great to review this movie with you. We'll do it again, Stephanie. That's good. Thanks, Jake. This was great fun. Yes. King and a learning experience too.