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Speaker 1: Hello, everybody, Welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho, I'm Danielle Henderson,

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Speaker 1: and yes it's us. We're back to talk about movies

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Speaker 1: with you again. Take a sniff, Danielle, just take a

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Speaker 1: take a whiff.

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Speaker 2: Can you smell the fall in the air right now?

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Speaker 2: Oh that's a good dad joke. Listen.

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Speaker 1: I'm stoked about, like having lived in California for the

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Speaker 1: past however many years, and then being in Florida for

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Speaker 1: a while. I have to tell you, I'm so excited

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Speaker 1: to be back in a location that has fall.

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Speaker 2: I could not agree more. Yes, I could not agree more.

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Speaker 2: I don't know what I was thinking living in a

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Speaker 2: place where I don't get to see leaves changing and

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Speaker 2: that christness in the air. You know that part of

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Speaker 2: the autumn where it's kind of warm during the day

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Speaker 2: but then at night you need a blanket. Mmm. I

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Speaker 2: love that part. Listen.

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Speaker 1: I am so excited there might be an opportunity for

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Speaker 1: me to experience a Halloween with a jacket, because the past,

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Speaker 1: like what five years that I've been gone, has been

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Speaker 1: hot Halloween, which is one of my biggest pet peas

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Speaker 1: in the world, because I don't know if people outside

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Speaker 1: of La know this, but usually it gets hotter in

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Speaker 1: La towards the fall when everybody else is experiencing fall,

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Speaker 1: like La is one hundred and something degrees yeah, minimum, yes,

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Speaker 1: And I could never get used to it because it's

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Speaker 1: like I would see all my friends back in Georgia,

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Speaker 1: like at the apple orchard with their kids and people

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Speaker 1: drinking cider and shit, and I'd be like, it's a

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Speaker 1: thousand degrees in my apartment and I'm laying in front

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Speaker 1: of an air conditioning.

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Speaker 2: Yeah, I'm in an ice bath, like I'm in an

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Speaker 2: urban legend.

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Speaker 1: Yes, somebody is about to steal my kidneys. Yeah, no,

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Speaker 1: I'm excited. And also on top of that, I started

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Speaker 1: buying Halloween decorations.

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Speaker 2: Oh did you get the twelve foot skeleton?

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Speaker 1: No, it's not a twelve foot skeleton, because I'm like,

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Speaker 1: where am I going to put a twelve foot skeleton? Like,

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Speaker 1: I know people are into the abnormally large skeletons these days,

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Speaker 1: Like people are like, oh, it's as big as my house.

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Speaker 1: I'm like, where the fuck are you storing that?

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Speaker 2: Thank you? Impossible at your neighbor's house.

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Speaker 1: In a silo I have no idea where, but I

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Speaker 1: got a life size skeleton, like a six foot skeleton

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Speaker 1: gold because oh you know, I need a little glamour

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Speaker 1: in my life. But here's the thing about Halloween, just

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Speaker 1: really briefly, I am a person who likes Halloween just enough.

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Speaker 2: Do you know what I mean? Yes, Okay, I know

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Speaker 2: exactly what you mean. I think we're the same way. Yes,

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Speaker 2: I will take a little pumpkin. I'll take a couple

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Speaker 2: of little pumpkins and line them up in my house.

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Speaker 2: Maybe a jack o' lantern outside if trick or treaters

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Speaker 2: are coming. Maybe a couple of lights, a skeleton, a

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Speaker 2: cauldron done.

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Speaker 1: Yes, And this is like truly no shade to people

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Speaker 1: who celebrate Halloween like all year rounds. Like I have

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Speaker 1: a really good friend named Eddie. If Eddie, if you're listening,

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Speaker 1: we're about to talk about you. Eddie is the hardest

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Speaker 1: working man in Halloween. That's what we've started calling him,

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Speaker 1: because he is like Halloween three sixty five. He starts

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Speaker 1: organizing like haunted house trips in July, like he's super

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Speaker 1: on top of it, and we love him for it. Excellent,

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Speaker 1: But that's not me. Unfortunately, I'm I like it just enough,

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Speaker 1: like I like a little fanfare. Yeah, obviously I'm out

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Speaker 1: here like buying some decor, but I'm not like over

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Speaker 1: zealous about it. And that's just because I don't know.

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Speaker 1: I don't think I really have any.

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Speaker 2: Holiday that I go crazy for.

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Speaker 1: But yeah, you know that's just me and maybe you

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Speaker 1: you're telling me this now by yourself.

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Speaker 2: I didn't know that. I think that you. You don't

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Speaker 2: have a holiday that you go bonkers for. But you,

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Speaker 2: more than anyone I've ever met, will go ape shit

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Speaker 2: for cinnamon broom season. Yes, that's you have your own

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Speaker 2: special connection to cinnamon broom season, even in La Okay.

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Speaker 2: First of all, you will like hang out in front

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Speaker 2: of a Ralph's waiting for a damn cinnamon to come out,

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Speaker 2: checking that shit weekly.

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Speaker 1: But here's the reason I'm pissed off that there's a

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Speaker 1: season for it, Like a cinnamon broom should be a

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Speaker 1: year round thing.

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Speaker 2: That's all I'm saying.

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Speaker 1: You know, to me, I understand that the smell of

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Speaker 1: cinnamon evokes like an autumn or a winter. It's like

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Speaker 1: a cold weather smell. Yeah, but says who who fucking.

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Speaker 2: Said that shit? Yeah? Because I like cinnamon in May.

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Speaker 2: It's not that you know.

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Speaker 1: To me, I just don't understand why cinnamon brooms only

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Speaker 1: come out in autumn, and so now that I'm forced

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Speaker 1: to buy them only in autumn, you go ham, I

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Speaker 1: go fucking insane because I'm like, when is the next

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Speaker 1: time this is gonna happen. So it's almost like me

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Speaker 1: being over zealous about the Cinnamon Brooms season is only

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Speaker 1: because it's a limited edition product.

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Speaker 2: Do you know what I'm saying? Oh? Yeah, like you

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Speaker 2: are their main target customer, where like someone is going

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Speaker 2: to come in here and buy fifteen brooms because they

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Speaker 2: know they'll be gone next week. But here's what I'm

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Speaker 2: gonna do. Here's what I do. I for your birthday,

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Speaker 2: which is not in the autumn, definitely not. I Am

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Speaker 2: going to buy a Libman mop and some McCormick cinnamon.

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Speaker 2: Just sprinkle the whole container on that mop and then

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Speaker 2: you're gonna twist it open and be like, oh my god,

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Speaker 2: it is a cinnamon mop. It'll be like your own special. Listen.

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Speaker 1: I just know somebody is gonna be in our comments

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Speaker 1: on our Instagram. Tell me the reason why cinnamon is

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Speaker 1: only a fall like some cinnamon farmer or I don't

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Speaker 1: even actually know how cinnamon's made. It's a stick. Is

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Speaker 1: it a tree?

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Speaker 2: It's a stick, and they grate it and they powder it.

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Speaker 2: It's a whole ass process. But someone don't worry, You're right,

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Speaker 2: somebody will tell us. Somebody will tell us, and we

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Speaker 2: will be educated and we normally appreciate it. But all

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Speaker 2: I know is that cinnamon broom goes out, cinnamon mop

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Speaker 2: comes in. You're just gonna get one in the mail

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Speaker 2: every month, like a subscription service.

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Speaker 1: But you can't just buy a mop off the racket

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Speaker 1: target or something, because it is plastic. The essence of

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Speaker 1: the cinnamon broom is that it's like made out of

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Speaker 1: like little sticky things, like little wispy sticky things.

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Speaker 2: I don't even know what a cinnamon broom is made of.

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Speaker 2: That broom is not made of cinnamon sticks. So they're

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Speaker 2: sprinkling cinnamon on that broom. They're gluing cinnamon onto that shit.

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Speaker 2: But it's like.

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Speaker 1: Corner like husks or whatever. What is a cinnamon broom

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Speaker 1: made of? It's made of stalks like branches. Thing is

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Speaker 1: that like comeing a broom or like a doll? Is

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Speaker 1: it a corn husk? What is the straw. All right,

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Speaker 1: we gotta google this because I'm gonna go crazy. It's

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Speaker 1: whatever it is is able to bind the cinnamon perfectly.

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Speaker 2: We'll get this the mop I'm talking about, like the

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Speaker 2: twist fabric mop, right, the ones where you can take

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Speaker 2: the heads off and it just looks like a like

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Speaker 2: a crumpled old doll or puppet or something. Yes, take

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Speaker 2: that out. Jam it in a pot full of cinnamon,

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Speaker 2: Boil it, let the essence boil in, dry it out

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Speaker 2: in the sun, Sprinkle some more cinnamon on it. Put

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Speaker 2: that shit in a box. Priority mail. Here you go.

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Speaker 1: Okay, I'm just looking at it now and I feel

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Speaker 1: like it's pine straw and cinnamon oil. They use an

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Speaker 1: oil on it, which is why it lasts a little

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Speaker 1: bit longer than just powdered cinnamon like you just suggested.

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Speaker 2: Okay, new plan, mop head boiling pot of water, cinnamon

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Speaker 2: dust with cinnamon oil in there. I throw it in

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Speaker 2: the washing machine. My washing machine is like a deep

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Speaker 2: fill feature where you can just let shit soak. Let

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Speaker 2: it soak in the oil for two days straight, sprinkle

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Speaker 2: some more cinnamon on it, dry it out in the sunshine.

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Speaker 2: Priority mail. There you go. April, May, June, July, and August.

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Speaker 1: Okay, look, if you're gonna go through all that trouble

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Speaker 1: just to satisfy my year long cinnamon broom quest, then

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Speaker 1: I'll love you for it.

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Speaker 2: I'm doing it. I'm doing it. You know where I live.

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Speaker 2: You think I can't find someone to make me a

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Speaker 2: broom year round? Oh, yeah, that's true.

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Speaker 1: You could definitely find somebody like on the corner Whittle

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Speaker 1: and Wood, and then they're like, oh, I'll just make

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Speaker 1: a cinnamon broom for this woman that I've never met.

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Speaker 2: Yeah, whose friend.

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Speaker 1: So I was like, twice removed, the work will be

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Speaker 1: for somebody twice removed. But honestly, if they just made

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Speaker 1: that shittyar round, then we wouldn't have this problem. I

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Speaker 1: wouldn't have to be like a freaking lunatic running around

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Speaker 1: to all the Trader Joe's and the Krogers being like,

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Speaker 1: bring me all these brooms. I've got like twelve brooms

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Speaker 1: in my arms and they're like poking me in the

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Speaker 1: face and shit, and I'm trying to like scan them

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Speaker 1: all and self check out, and everyone's like, this woman

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Speaker 1: is clearly nuts. But if they just like it's kind

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Speaker 1: of like when you see a line at a fast

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Speaker 1: food restaurant that goes like around the corner and down

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Speaker 1: the block, and you're like, why don't they just put

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Speaker 1: that shit in more places, like get an out burger

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Speaker 1: or something. When you would go and see the in

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Speaker 1: and out burger line and you're like, just make another

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Speaker 1: one like two blocks down and you wouldn't have the congestion.

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Speaker 1: It's how I feel about cinnamon brooms, Like I would

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Speaker 1: not be a cinnamon broom psycho if they just made

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Speaker 1: that shit year round and a story, you know.

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Speaker 2: And here's my question, because so you buy them folk,

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Speaker 2: you buy them twelve to fifteen in a time. Do

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Speaker 2: you have do you when you put those all in

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Speaker 2: your house at the same time, do you have like

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Speaker 2: overpowering cinnamon smell for a long time and then it

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Speaker 2: goes away? Or can you bring them out one by

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Speaker 2: one to make it last longer?

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Speaker 1: Oh, it's one by one because you don't want to

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Speaker 1: like blow your load at once, right, because if you

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Speaker 1: put fifteen cinnamon brooms out, like where.

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Speaker 2: The fuck am I gonna put fifteen cinnamon brooms? So

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Speaker 2: if you a closet, then you put fifteen cinnamon brooms

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Speaker 2: in and then you take one out. Is that closet

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Speaker 2: just smell like cinnamon year round? Well, I would never

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Speaker 2: put it in just a closet.

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Speaker 1: I want to put it out like in the most

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Speaker 1: central location, so usually like the kitchen or like the

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Speaker 1: front room or something like that, right, so that.

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Speaker 2: The whole house kind of is hugged in the scent. Right.

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Speaker 1: But yeah, once I start noticing it's going away, I'm

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Speaker 1: like Tom to retire this bad boy. Gotta put out

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Speaker 1: the new cinnamon broom. It's like the Menudo of cinnamon brooms.

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Speaker 1: It's just like you're getting a little too old. Let's

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Speaker 1: hire the new guy.

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Speaker 2: Come on in, take over the new addition. Ralph Treadsman,

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Speaker 2: get your ass in here anyway, so that yes, you

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Speaker 2: called me out on my shit.

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Speaker 1: Yes, I actually do go crazy for some seasonal thing,

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Speaker 1: but for the most part Halloween in general.

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Speaker 2: You know, I'm I like it an appropriate amount.

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Speaker 1: Yes, no hate for people who are you know, bonkers

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Speaker 1: obsessed and wear their spider web tits in fucking February.

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Speaker 2: Yes, I'm no shade. I'm just saying that for me,

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Speaker 2: I like it.

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Speaker 1: I'm failing in there, and I'm stoked that I'm not

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Speaker 1: in La where it's like probably one hundred and three

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Speaker 1: degrees right now.

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Speaker 2: I completely agree and don't. I don't go hand for

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Speaker 2: any holiday because I had a traumatic childhood. Yay. Oh,

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Speaker 2: we just didn't do shit. Not to make it, not

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Speaker 2: to bring you down, not to bring anyone down, but like,

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Speaker 2: I'm just not in the habit of celebrating like Halloween

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Speaker 2: or Valentine's Day hardcore, Like we celebrated at school and

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Speaker 2: that was it. Like no one in my house was

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Speaker 2: trying to give candy to kids or deal with costumes.

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Speaker 2: Like it just wasn't the jam. So I just never

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Speaker 2: got in the habit of it. So, yeah, celebrate all

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Speaker 2: you want. I'm not putting anything outside my house. At most,

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Speaker 2: I'm gonna paint my house black and break every single

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Speaker 2: light bulb outside. And that's the most holiday spirit I'm

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Speaker 2: willing to get into. Halloween. Also, Halloween is my former

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Speaker 2: adding anniversary.

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Speaker 1: Oh it's loaded. So you're saying it's loaded, little loaded,

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Speaker 1: little loaded, Noah, I hear you.

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Speaker 2: But I'm with you. I'm with you.

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Speaker 1: I like, just celebrate it just enough. Well, tell me

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Speaker 1: what's up with you? Now that I've revealed a lot

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Speaker 1: about myself.

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Speaker 2: And some of it I did pull out of you.

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Speaker 2: So thank you for going on that ride with me.

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Speaker 2: Oh of course, of course I appreciate that about our

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Speaker 2: friendship that I can just put you on blast on

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Speaker 2: this pod. Get I need to be put on blast.

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Speaker 2: Come on, look at me. And it's charming and it's

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Speaker 2: something I absolutely love about you and it cracks me

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Speaker 2: up every year. Yes, I am doing okay, I have PMS. Hmm.

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Speaker 2: You know what's wild? At this point in my life,

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Speaker 2: I feel like I have this period tracker app, so

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Speaker 2: I always know when my period's coming. But for some reason,

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Speaker 2: the app thinks that PMS is only supposed to be

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Speaker 2: like a day long wow I wish, And for me

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Speaker 2: it's like a solid week, a solid week. Oh yeah.

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Speaker 2: So I woke up this morning. I got up, I

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Speaker 2: fed Carrot a little bit. And the way that I

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Speaker 2: have to feed him, because he loves food so much

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Speaker 2: and he's so excited to eat, I have to give

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Speaker 2: him half of a little can, and then I wait

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Speaker 2: like half an hour, I do my morning thing, and

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Speaker 2: then I give him the rest, right, and that keeps

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Speaker 2: him from puking. This morning, I gave him his first

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Speaker 2: half and I heard what my friend Susie refers to

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Speaker 2: as the techno sound. I'm in bed and I start weeping.

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Speaker 2: And then I get up and I see Carrot sit

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Speaker 2: in the hallway proudly over a pile of his own vomit.

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Speaker 2: And I picked him up and I'm like crying into

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Speaker 2: his head, kissing him, and I'm just like, please, please

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Speaker 2: stop puking, Please stop puking. In the morning. I hate

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Speaker 2: waking up like this. And then I realized, like, oh,

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Speaker 2: I got PM Yeah, I got PMS. Why wipe my tears.

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Speaker 2: I got in the shower, I got dressed, I went

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Speaker 2: to the local harbor store and got some rug stained spray. Hmmm.

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Speaker 2: That I was just like, oh, this is how I

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Speaker 2: find out now. I just burst into tears. Oh yeah,

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Speaker 2: And just imagine the seed of me just laying in

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Speaker 2: bed on my back, just weeping and Carrot like what

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Speaker 2: the fuck and then just crying about catpuke. That's where

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Speaker 2: I am in my life right now. I know.

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Speaker 1: I'm telling you I feel the same way I feel

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Speaker 1: like my I could be. Like we talked about this,

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Speaker 1: like really in one of the really early episodes about

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Speaker 1: how like our aging bodies have like changed the nature

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Speaker 1: of our pmss. Yes, yeah, I get like super emotional

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Speaker 1: and sad now. Like it was never like that when

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Speaker 1: I was no, when I was in my twenties, I

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Speaker 1: would just have like the cram soh my gosh, and

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Speaker 1: then I'd be like I'm bitchy. But it's now it's

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Speaker 1: like I'm just like feeling weirdly emotional. So like, there's

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Speaker 1: a local chain of grocery stores down here called Publics.

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Speaker 2: I'm not sure if you've ever heard of it.

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Speaker 1: Yeah, Publics is known for making these very emotional Christmas commercials.

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Speaker 1: Oh so they have these like, you know scenarios. It's

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Speaker 1: like a commercial where it's a scenario of you know,

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Speaker 1: it's usually like a family member coming home or like

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Speaker 1: some kind of like kid and grandparents scenario. And they're

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Speaker 1: really well done. They're like indie movies basically, and they

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Speaker 1: make everybody cry. Like Publics is known for this. So

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Speaker 1: the other day I realize that now Publics is making

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Speaker 1: them year round, speaking of, because one of their newest

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Speaker 1: commercials features an Asian man preparing his house to meet

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Speaker 1: his black girlfriend's daughter, and he's super nervous to meet her,

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Speaker 1: and then the daughter comes in she's like this young

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Speaker 1: girl and she's just like nice to meet you, and

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Speaker 1: he's like nice to meet you. And it's like public's

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Speaker 1: we're shopping is a pleasure, And bitch, let me tell you.

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Speaker 1: I was pmsing already, so we all know what this

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Speaker 1: is going to be.

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Speaker 2: I was beside myself.

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Speaker 1: I was crying like a fucking lunatic, and I was like, Okay,

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Speaker 1: normally this thing would get me, but now during the PMS, yeah,

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Speaker 1: I had to like put my phone on airplane mode.

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Speaker 1: I could not even talk to like anybody. I was like,

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Speaker 1: leave me alone for like three hours. I'm just gonna

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Speaker 1: be bawling.

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Speaker 2: I feel you so hard. I follow a couple of

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Speaker 2: animal sanctuaries on Instagram. Can't follow them when I have PMS. Though.

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Speaker 2: Every single post, I'm like, the calf is gaining weight,

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Speaker 2: it's getting healthy. I lose it and it's just a

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Speaker 2: picture of a fucking calf hanging out in a barn,

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Speaker 2: and I'm like, he's getting so strong. I know exactly

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Speaker 2: what you're talking about.

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Speaker 1: It's the worst, Just like the progress photo from the

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Speaker 1: shelter and you're just like, oh my god, are you

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Speaker 1: trying to kill me?

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Speaker 2: And cold blood. Oh like the cats, the cats that

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Speaker 2: have the crust in their eyes, and then the next

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Speaker 2: picture they're like healthy and their eyes are open, and

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Speaker 2: you're like, ah, they used to feed him with a

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Speaker 2: cutesip and now he's eating a steak and they're like,

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Speaker 2: oh my god, oh my god.

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Speaker 1: Yeah, this is we cannot be out in these streets

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Speaker 1: with these like incidental things happening during the PMS time,

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Speaker 1: because it honestly is like jarring, Like it's not the

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Speaker 1: thing where I'm like, oh, a tear is falling and

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Speaker 1: then I move on with my day. It's like, no,

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Speaker 1: I just saw the shelter photos and now I have

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Speaker 1: to call in stick.

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Speaker 2: To work for the next week. Precisely, it is a minefield.

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Speaker 2: I talk to my grandma today at lunch, and I

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Speaker 2: started a new job this week, so I didn't go over,

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Speaker 2: but I've kind of set it up with her. I've

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Speaker 2: set up her care so that she's you know, consistently

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Speaker 2: seeing people throughout the week when I can't be there. Yeah,

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Speaker 2: And I called her today and she was very lucid,

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Speaker 2: and we were joking around and I, you know, just

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Speaker 2: talk for a couple of minutes. Told her I'll see

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Speaker 2: her tomorrow. Hung up the phone. Was fine, and then

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Speaker 2: just a quick thought came in my head and I thought,

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Speaker 2: my grandma's gonna die one day. Burst into tears. So

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Speaker 2: just hanging out on my porch, burst into tears. She's

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Speaker 2: fucking fine right now. We just laughed. I had a

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Speaker 2: good time. Just the thought of it made me burst

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Speaker 2: into tears, and I was like, I cannot go through

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Speaker 2: my day like this. I have shit to do. I

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Speaker 2: got a to do list, I got to start crossing

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Speaker 2: some shit off. I'm crying into my cat. I'm crying

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Speaker 2: over my grandma. Let me get through my fucking day. Please.

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Speaker 1: Sometimes it feels good to cry like that, though, doesn't it?

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Speaker 1: Like I don't know about you, but I'm like, I'm

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Speaker 1: not saying like it is it fun to like think

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Speaker 1: of the death of family members, But I'm.

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Speaker 2: Just saying that. So sometimes, like the pms cry, when

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Speaker 2: you like.

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Speaker 1: Really get into it, you're like, oh, man, like I'm

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Speaker 1: exercising all kinds of shit, like it's just coming out

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Speaker 1: of my body.

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Speaker 2: Oh, very cathartic, very cathartic. So yeah, I had I

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Speaker 2: had a doozy today, but it's it's fine now, it's fine,

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Speaker 2: just you know, crying over cappuke. Well, speaking of Hell, yeah, yeah,

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Speaker 2: we're gonna get into it this week. I'm glad we

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Speaker 2: got our laughs out because what's our theme?

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Speaker 1: Okay, so our theme for this week is we are

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Speaker 1: in Hell? Now, all right, let's talk about this because

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Speaker 1: it can mean so much. Yes, and when we first

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Speaker 1: came up with it, Okay, So I think the plan

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Speaker 1: initially was we came at it from one direction, and

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Speaker 1: then we kind of changed it, yeah, and made it.

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Speaker 2: A little bit more.

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Speaker 1: We opened it up a lot, and then it became

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Speaker 1: this sort of like Yeah, I mean, hell can be

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Speaker 1: a bunch of different things. It can be like your

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00:21:07,480 --> 00:21:12,240
Speaker 1: personal circumstance. It can be like some geopolitical big event.

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Speaker 1: It can mean a lot of things. But I think

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Speaker 1: that like.

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Speaker 2: It could be Ralph's and publics being out of cinnamon brooms.

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Speaker 1: Yes, it can be PMS, as we've just mentioned. Yes,

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Speaker 1: but I think for our movies, we kind of took

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Speaker 1: our own look at it, and I think that both

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Speaker 1: these instances, it's like one is those sort of like

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Speaker 1: emotional space and the other is like an absolute physical space.

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Speaker 2: Yeah, but they're the same thing. Essentially, it's hell Yeah,

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Speaker 2: I like. I like this approach because I think when

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Speaker 2: we originally conceived of it, we were thinking of like

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Speaker 2: very horrorly and you know, that kind of film. So

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Speaker 2: I think that I like that we were able to

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Speaker 2: open it up and kind of you know, expand our

397
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Speaker 2: horizons and moments.

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Speaker 1: Yeah, Like sometimes Hell is not a complete dystopian future.

399
00:22:02,280 --> 00:22:06,520
Speaker 1: Sometimes it's literally like your neighbors. Yeah, and that's what

400
00:22:06,560 --> 00:22:09,000
Speaker 1: I love about it. But I'm excited to talk about

401
00:22:09,040 --> 00:22:13,560
Speaker 1: it because you forced me to watch a movie this

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Speaker 1: week that speaking of being wrecked, I was fucking wrecked.

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Speaker 2: By this film. Not gonna lie. And lucky for me, you're.

404
00:22:21,840 --> 00:22:24,280
Speaker 1: Going first, so you're gonna you're gonna get to talk

405
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Speaker 1: about it with me right now.

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Speaker 2: Oh my good. And I know for a fact, if

407
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Speaker 2: we have to talk about it, that there were situational

408
00:22:34,760 --> 00:22:36,960
Speaker 2: moments in this movie that also put you in hell.

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Speaker 1: That oh my god, hell on so many different fronts,

410
00:22:42,440 --> 00:22:44,919
Speaker 1: and I'm just like, I cannot wait for you to

411
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Speaker 1: get into this movie, truly cannot.

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Speaker 2: Let's not wait, Let's do it. My film for the theme,

413
00:22:53,359 --> 00:22:56,840
Speaker 2: We Are in Hell, was released in two thousand and six,

414
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Speaker 2: directed by Todd Field, and it's called called Little Children.

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00:23:04,200 --> 00:23:07,520
Speaker 2: It's the hunger, the hunger for an alternative, and the

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Speaker 2: refusal to accept a life of unhappiness. Oh god, oh god,

417
00:23:13,840 --> 00:23:14,280
Speaker 2: oh god.

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00:23:15,560 --> 00:23:18,320
Speaker 1: I haven't felt this much unease since the time you

419
00:23:18,400 --> 00:23:25,679
Speaker 1: made me watch Hereditary, which you also washed with your mom.

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00:23:25,960 --> 00:23:33,800
Speaker 2: Exactly exactly what double feature double feature theme goes into

421
00:23:33,840 --> 00:23:42,200
Speaker 2: a quadruple feature theme. So this film, oh boy, this

422
00:23:42,280 --> 00:23:46,720
Speaker 2: film is I think stunning. It's a stunning, stunning movie.

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Speaker 2: One of my favorites. Todd Field, the director and the

424
00:23:51,280 --> 00:23:55,159
Speaker 2: person who adapted the novel that Tom Parrata wrote. Uh,

425
00:23:55,280 --> 00:23:58,720
Speaker 2: you'll remember him because he played Frank in Walking and Talking.

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00:23:59,280 --> 00:24:03,399
Speaker 1: Yes, was one of the first things that when I

427
00:24:03,440 --> 00:24:05,679
Speaker 1: was looking information up about the movie. I was like,

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00:24:05,840 --> 00:24:08,800
Speaker 1: I think he is in Walking and Talking And I

429
00:24:08,920 --> 00:24:10,440
Speaker 1: was right, yeah, oh my.

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Speaker 2: God, it's so cool, absolutely correct. And he is directing

431
00:24:15,240 --> 00:24:21,720
Speaker 2: a killer cast Kate Winslet, Jennifer Connelly, Patrick Wilson, Noah Emrick,

432
00:24:22,320 --> 00:24:27,040
Speaker 2: and the return of Jackie Earle Haley. So most people

433
00:24:27,040 --> 00:24:32,040
Speaker 2: will know Jackie Earl Haley from his stunning inclusion in

434
00:24:32,119 --> 00:24:36,320
Speaker 2: the Bad News Bears franchise. He was also in Breaking

435
00:24:36,359 --> 00:24:40,360
Speaker 2: Away and he kind of had he did a lot

436
00:24:40,400 --> 00:24:43,639
Speaker 2: of TV movies and kind of faded out around nineteen

437
00:24:43,720 --> 00:24:47,359
Speaker 2: ninety three from Public Eye, like he did some TV

438
00:24:47,480 --> 00:24:49,640
Speaker 2: movies and his last one was in nineteen ninety three,

439
00:24:50,840 --> 00:24:55,480
Speaker 2: and then he did this movie and he was nominated

440
00:24:55,480 --> 00:24:58,800
Speaker 2: for a Best Supporting Actor OSCAR in two thousand and seven.

441
00:24:59,800 --> 00:25:03,120
Speaker 2: He he was Freddy Krueger in The Nightmare on Elm

442
00:25:03,160 --> 00:25:07,760
Speaker 2: Street reboot, like his whole career restarted. And I have

443
00:25:07,840 --> 00:25:10,520
Speaker 2: to say it is so well deserved because this is

444
00:25:10,560 --> 00:25:16,879
Speaker 2: an absolutely fucking amazing performance. He kills it in this movie.

445
00:25:17,480 --> 00:25:20,600
Speaker 2: And it was a well received movie. The movie itself

446
00:25:20,640 --> 00:25:24,720
Speaker 2: got three OSCAR nominations already said Best Supporting Actor for

447
00:25:24,800 --> 00:25:28,760
Speaker 2: Jackie Earl Haley, also Best Actress for Kate Winslet, and

448
00:25:28,880 --> 00:25:31,320
Speaker 2: Best Adapted Screenplay, and it was on a bunch of

449
00:25:31,320 --> 00:25:36,280
Speaker 2: critics top ten lists. Roger Ebert in his review called

450
00:25:36,280 --> 00:25:40,199
Speaker 2: it Stephen King in the summertime for the tone of

451
00:25:40,200 --> 00:25:43,640
Speaker 2: the film, and I love that, but yeah, Jackie Earl

452
00:25:43,640 --> 00:25:46,479
Speaker 2: Haley was the highlight of this movie for me. I

453
00:25:46,520 --> 00:25:48,800
Speaker 2: love everyone in it in certain ways, but he was

454
00:25:48,840 --> 00:25:51,120
Speaker 2: really the highlight. And it made me also question, I'm

455
00:25:51,160 --> 00:25:54,000
Speaker 2: interested in your thoughts on this is it better when

456
00:25:54,080 --> 00:25:56,639
Speaker 2: actors step away for a while and then come back,

457
00:25:57,119 --> 00:26:00,119
Speaker 2: Do they have more gravitas? So to go away for

458
00:26:00,240 --> 00:26:03,920
Speaker 2: like over a decade and you come back and you

459
00:26:03,960 --> 00:26:06,840
Speaker 2: look different and you feel like you're older, your age,

460
00:26:06,880 --> 00:26:09,680
Speaker 2: like you're taking different roles. I know that there's kind

461
00:26:09,720 --> 00:26:13,040
Speaker 2: of a worry in Hollywood that you won't get cast

462
00:26:13,480 --> 00:26:15,159
Speaker 2: if you say no to things, But I kind of

463
00:26:15,160 --> 00:26:18,720
Speaker 2: wonder if that's the right move, because he really fit

464
00:26:18,800 --> 00:26:20,640
Speaker 2: this role to a t well.

465
00:26:20,680 --> 00:26:22,960
Speaker 1: I mean, it certainly is for men. I mean, honestly,

466
00:26:22,960 --> 00:26:26,160
Speaker 1: there's so many instances of this. It's like when Mickey

467
00:26:26,200 --> 00:26:28,640
Speaker 1: Rourke came back into the Wrestler. It's like when Kurt

468
00:26:28,680 --> 00:26:31,960
Speaker 1: Russell came back, and you know Travolta, and you know,

469
00:26:32,040 --> 00:26:35,600
Speaker 1: basically like that's Quentin Tarantino's situation is that he just

470
00:26:35,600 --> 00:26:37,760
Speaker 1: brings back all these people that haven't worked in forever.

471
00:26:38,680 --> 00:26:40,080
Speaker 2: And I think it works.

472
00:26:39,880 --> 00:26:43,480
Speaker 1: To their advantage because usually when they come back, and

473
00:26:43,480 --> 00:26:47,000
Speaker 1: if they're in a really good movie, they get awards,

474
00:26:47,080 --> 00:26:49,040
Speaker 1: like a lot of times, they get nominated a lot

475
00:26:49,040 --> 00:26:51,400
Speaker 1: of times. You know, if the movie's right, then they

476
00:26:51,440 --> 00:26:53,960
Speaker 1: get you know, articles written about them like so and

477
00:26:54,000 --> 00:26:56,520
Speaker 1: So's back and they're in the best movie of their

478
00:26:56,560 --> 00:26:58,880
Speaker 1: career and blah blah blah blah blah. And I say

479
00:26:59,000 --> 00:27:01,640
Speaker 1: men because it seems to happen more with men than

480
00:27:01,640 --> 00:27:04,560
Speaker 1: with women. I mean, I think that might be changing slightly,

481
00:27:04,640 --> 00:27:06,720
Speaker 1: but traditionally it's always been like, oh my god, he

482
00:27:06,760 --> 00:27:10,119
Speaker 1: came back, whatever happened to him, and now he's incredible,

483
00:27:10,480 --> 00:27:13,080
Speaker 1: And even if they play a villain. If they play

484
00:27:13,080 --> 00:27:16,840
Speaker 1: a villain, it almost is no problem. So it's that

485
00:27:16,960 --> 00:27:21,119
Speaker 1: thing where, yeah, I think that that it does help sometimes.

486
00:27:21,160 --> 00:27:24,760
Speaker 2: So men, men shocker, Yeah, it helps men. What a surprise.

487
00:27:25,119 --> 00:27:27,160
Speaker 1: But that shouldn't take away from the fact that JACKI

488
00:27:27,160 --> 00:27:30,199
Speaker 1: ear Ol Haley is a great actor and deserved whatever

489
00:27:30,240 --> 00:27:31,760
Speaker 1: he got for being.

490
00:27:31,560 --> 00:27:34,560
Speaker 2: In this film, you know, completely completely. Yeah, it was

491
00:27:34,600 --> 00:27:37,600
Speaker 2: just something that it made me think about, like, if

492
00:27:37,640 --> 00:27:39,840
Speaker 2: I had seen him consistently over the years, would this

493
00:27:39,960 --> 00:27:43,000
Speaker 2: role have hit as hard? Yeah, but yeah, he just,

494
00:27:43,520 --> 00:27:47,320
Speaker 2: oh god, beautiful performance. I am going to give a

495
00:27:47,359 --> 00:27:50,000
Speaker 2: one sentence synopsis before we really get into this shit.

496
00:27:50,200 --> 00:27:55,159
Speaker 2: M M, so here we go. One sentence synopsis of

497
00:27:55,240 --> 00:28:00,200
Speaker 2: Little Children. Patrick Wilson fulfills his contractual obligation to take

498
00:28:00,240 --> 00:28:04,360
Speaker 2: his shirt off and Suburban lives meet at the intersection

499
00:28:04,600 --> 00:28:09,960
Speaker 2: of boredom, fury, unhappy marriages, and affairs. When a convicted

500
00:28:10,000 --> 00:28:13,440
Speaker 2: sex offender moves back to a Massachusetts town after being

501
00:28:13,480 --> 00:28:22,080
Speaker 2: released from prison, contractual hobbligation. That man's always naked.

502
00:28:22,480 --> 00:28:26,120
Speaker 1: Okay, let me get into that real quick, because if

503
00:28:26,119 --> 00:28:31,080
Speaker 1: you go to the letterboxed entry for Little Children, one

504
00:28:31,080 --> 00:28:34,359
Speaker 1: of the top reviews you see is somebody Who's just

505
00:28:35,160 --> 00:28:40,520
Speaker 1: The simple review of this film is Patrick Wilson's acts

506
00:28:41,400 --> 00:28:43,320
Speaker 1: just full objective objectification.

507
00:28:43,920 --> 00:28:46,040
Speaker 2: That's the only thing in this review.

508
00:28:46,160 --> 00:28:49,600
Speaker 1: And I was like, I must not be fully aware

509
00:28:49,640 --> 00:28:51,640
Speaker 1: of Patrick Wilson, Like I know that he.

510
00:28:51,600 --> 00:28:52,360
Speaker 2: Was in Girls.

511
00:28:53,720 --> 00:28:58,320
Speaker 1: What else has he been in? Because he was naked Girls? Right, okay,

512
00:28:58,920 --> 00:28:59,920
Speaker 1: shirtlessen Girls.

513
00:29:00,680 --> 00:29:05,480
Speaker 2: I'm thinking of him in this movie Girls and Watchmen,

514
00:29:05,920 --> 00:29:08,880
Speaker 2: not the TV show but the movie, the horrible movie.

515
00:29:09,400 --> 00:29:11,920
Speaker 2: I never saw it, so maybe that's right. Oh you

516
00:29:11,920 --> 00:29:14,560
Speaker 2: did not miss out. There's the worst sex scene I've

517
00:29:14,560 --> 00:29:18,960
Speaker 2: ever seen in my life in that film. I love that.

518
00:29:19,360 --> 00:29:25,000
Speaker 2: The worst sex scene, tragic, tragic. Not only is it

519
00:29:25,040 --> 00:29:29,840
Speaker 2: not sexy, it was offensively bad. Oh boy, I love it.

520
00:29:30,040 --> 00:29:33,400
Speaker 2: But I saw it in the theater. Everyone burst out laughing.

521
00:29:33,480 --> 00:29:36,520
Speaker 2: That is how bad it was. But yeah, guy's always

522
00:29:36,520 --> 00:29:38,640
Speaker 2: taking a shirt off. He just loves to take a

523
00:29:38,640 --> 00:29:39,160
Speaker 2: shirt off.

524
00:29:39,600 --> 00:29:41,920
Speaker 1: And you know what, God bless him. He's got a

525
00:29:41,960 --> 00:29:46,960
Speaker 1: great bod. He's just like a waspy king. And in fact,

526
00:29:47,080 --> 00:29:50,360
Speaker 1: he's in the movie he's called the prom King by

527
00:29:50,480 --> 00:29:53,440
Speaker 1: like this group of women in the neighborhood. And I

528
00:29:53,480 --> 00:29:55,520
Speaker 1: was like, yeah, I mean he kind of is. And

529
00:29:55,560 --> 00:29:57,960
Speaker 1: so you know, if you got it, flawn it, I suppose.

530
00:29:58,040 --> 00:29:59,920
Speaker 1: I'm not not body shaming you, mister.

531
00:30:00,800 --> 00:30:03,360
Speaker 2: No. To me, it's just funny that, like the same

532
00:30:03,360 --> 00:30:05,080
Speaker 2: way that Brad Pitt finds a way to eat in

533
00:30:05,160 --> 00:30:08,800
Speaker 2: every movie, he finds a way to pop that shirt

534
00:30:08,800 --> 00:30:12,360
Speaker 2: off in every movie. Listen, it's a nice little easter

535
00:30:12,440 --> 00:30:14,120
Speaker 2: egg for those of us that are paying attention.

536
00:30:15,320 --> 00:30:18,080
Speaker 1: Patrick Wilson just I would just walk away from the

537
00:30:18,120 --> 00:30:21,840
Speaker 1: business from ten years, come back, take those pants off.

538
00:30:21,680 --> 00:30:24,560
Speaker 2: And boom, you're gonna get an oscar. Let's get serious.

539
00:30:24,960 --> 00:30:28,160
Speaker 2: Come back with a paunch, come back with like a

540
00:30:28,200 --> 00:30:32,800
Speaker 2: hairy belly and some sagging like like you know, like

541
00:30:32,800 --> 00:30:36,040
Speaker 2: when when the ass this is so terrible, you know,

542
00:30:36,080 --> 00:30:39,640
Speaker 2: like when someone gets older and their ass just drops

543
00:30:39,720 --> 00:30:42,640
Speaker 2: and it just kind of drops into like little SAgs. Yeah,

544
00:30:42,720 --> 00:30:45,520
Speaker 2: little pools, Yeah, like little pools of skin, Like just

545
00:30:45,520 --> 00:30:48,080
Speaker 2: come back with a little saggy pool ass break in

546
00:30:48,120 --> 00:30:51,840
Speaker 2: those oscars. I'm sure he will be beloved just the same. Well,

547
00:30:51,880 --> 00:30:54,480
Speaker 2: he does flash a lot of skin in this film,

548
00:30:54,520 --> 00:30:57,880
Speaker 2: and so does Kate Winslet. Because this is truly a

549
00:30:57,960 --> 00:31:04,480
Speaker 2: story of these two characters who are kind of forced

550
00:31:04,560 --> 00:31:07,760
Speaker 2: into the performing these gender roles that neither one of

551
00:31:07,800 --> 00:31:11,560
Speaker 2: them really wants to play, and these like these parenting roles.

552
00:31:11,960 --> 00:31:14,840
Speaker 2: And I think that this movie is by and large

553
00:31:15,040 --> 00:31:19,640
Speaker 2: about a neighborhood, but it's also about the complication of

554
00:31:20,360 --> 00:31:26,320
Speaker 2: marriage and the complication of relationships over time. So Sarah

555
00:31:26,640 --> 00:31:30,560
Speaker 2: Kate Winslet, I keep saying, Kate Winslet like Kate Blanchett.

556
00:31:35,640 --> 00:31:42,520
Speaker 2: Kate's o Winslet, as we know her regionally, the mayor

557
00:31:42,600 --> 00:31:46,640
Speaker 2: of East Town. She's the mom to a toddler. But

558
00:31:46,720 --> 00:31:49,960
Speaker 2: she's a very smart and unsatisfied woman. So she has

559
00:31:50,000 --> 00:31:54,040
Speaker 2: a master's degree in English literature, and she makes the

560
00:31:54,120 --> 00:31:58,719
Speaker 2: decision to stay home with her toddler, but she's not

561
00:31:58,760 --> 00:32:01,560
Speaker 2: sure why. She's thin It's like she feels his social

562
00:32:01,600 --> 00:32:04,600
Speaker 2: pressure to do so, but she's not happy with it clearly.

563
00:32:05,120 --> 00:32:07,600
Speaker 2: And the reason we know this is because the whole

564
00:32:07,680 --> 00:32:14,560
Speaker 2: film is narrated by Will Lyman, who also narrates Frontline

565
00:32:14,880 --> 00:32:15,840
Speaker 2: on PBS.

566
00:32:16,240 --> 00:32:21,800
Speaker 1: Oh my god, we have to talk about this. When

567
00:32:22,080 --> 00:32:24,640
Speaker 1: I texted you the other day and I was like,

568
00:32:25,640 --> 00:32:30,440
Speaker 1: I can't sleep because the narrator from Little Children is terrifying.

569
00:32:31,720 --> 00:32:34,960
Speaker 1: I was convinced he was forensic files, Like, couldn't I

570
00:32:34,960 --> 00:32:37,760
Speaker 1: couldn't pin him down. I was like, Okay, whoever is

571
00:32:37,880 --> 00:32:40,080
Speaker 1: narrating this film is so.

572
00:32:40,800 --> 00:32:42,160
Speaker 2: Creeping me out right now.

573
00:32:42,960 --> 00:32:46,760
Speaker 1: And I think he's from a true crime thing, which

574
00:32:46,800 --> 00:32:49,320
Speaker 1: is maybe why I'm so creeped out by him. But

575
00:32:49,440 --> 00:32:53,040
Speaker 1: you just telling me he's from Frontline. It doesn't change

576
00:32:53,040 --> 00:32:55,240
Speaker 1: how I feel. But now I'm like, Okay, at least

577
00:32:55,240 --> 00:32:57,920
Speaker 1: I have heard his voice before you can place the

578
00:32:58,200 --> 00:33:02,280
Speaker 1: creep factor. Yes, his Frontline is not like My Little Pony.

579
00:33:02,320 --> 00:33:04,720
Speaker 1: It's not like a happy, upbeat show. Oh no, no,

580
00:33:04,720 --> 00:33:06,880
Speaker 1: no no. It's like they're talking about like the drug

581
00:33:06,920 --> 00:33:08,560
Speaker 1: war in foreign countries and stuff.

582
00:33:08,560 --> 00:33:11,960
Speaker 2: It's not fun. But yeah, it's a slog. It's a slog.

583
00:33:11,960 --> 00:33:13,840
Speaker 2: It's a great show, but it's a slog. So yeah,

584
00:33:13,880 --> 00:33:16,280
Speaker 2: he is the narrator and I have to say they

585
00:33:16,360 --> 00:33:20,800
Speaker 2: picked the perfect narrator, because I think narration in movies

586
00:33:21,040 --> 00:33:24,320
Speaker 2: for me can kind of take me out of the action,

587
00:33:24,480 --> 00:33:27,080
Speaker 2: and it removes that fourth wall in a weird way.

588
00:33:27,080 --> 00:33:28,800
Speaker 2: It just takes me out of it. But he was

589
00:33:28,920 --> 00:33:32,680
Speaker 2: so his voice fits so seamlessly into the creepiness of

590
00:33:32,720 --> 00:33:36,840
Speaker 2: the film that it just worked. It just worked. So

591
00:33:36,920 --> 00:33:41,000
Speaker 2: Sarah's unhappy, She's got a husband who's very distant and

592
00:33:41,040 --> 00:33:45,040
Speaker 2: who she discovers has an addiction to online pornography. In

593
00:33:45,760 --> 00:33:48,200
Speaker 2: what is supposed to be a disturbing scene but is

594
00:33:48,240 --> 00:33:52,520
Speaker 2: possibly the funniest scene in the film, it was disturbing too.

595
00:33:52,800 --> 00:33:56,640
Speaker 2: I'll just say that, Well that's could you watch this

596
00:33:57,040 --> 00:34:02,440
Speaker 2: with your mom? Ah? You watch this with your mom?

597
00:34:04,800 --> 00:34:08,880
Speaker 2: You were texting with me and I was laughing my

598
00:34:08,960 --> 00:34:10,880
Speaker 2: ass off, And this is where it becomes for me,

599
00:34:11,040 --> 00:34:14,040
Speaker 2: like that Footprints poem. And I'm like, it was then,

600
00:34:14,160 --> 00:34:16,960
Speaker 2: my child, that I decided durvi you this film on

601
00:34:17,000 --> 00:34:17,839
Speaker 2: our podcast.

602
00:34:18,560 --> 00:34:21,960
Speaker 1: I mean, how else am I supposed to feel about

603
00:34:22,040 --> 00:34:26,200
Speaker 1: sitting around with my mom watching a grown man huffing

604
00:34:26,520 --> 00:34:29,440
Speaker 1: a stranger's panties that he got in the mail.

605
00:34:29,680 --> 00:34:33,480
Speaker 2: And masturbating at the same time. Very important, very important.

606
00:34:37,480 --> 00:34:40,160
Speaker 2: If we didn't bring that part up, you don't get

607
00:34:40,200 --> 00:34:46,040
Speaker 2: away that free. The part about it to me that

608
00:34:46,200 --> 00:34:51,000
Speaker 2: is amusing is all Kate Winslet's reaction, her standing in

609
00:34:51,040 --> 00:34:54,600
Speaker 2: the doorway and being like, what do I do? Like what?

610
00:34:55,160 --> 00:34:58,320
Speaker 2: And then she gets mad, which is hilarious because usually

611
00:34:58,320 --> 00:35:00,400
Speaker 2: in that situation you feel like there'd be like shock

612
00:35:00,480 --> 00:35:04,400
Speaker 2: and horror and screaming. She gets pissed and she's like,

613
00:35:04,440 --> 00:35:07,600
Speaker 2: you're basically holding up my nighttime walk. It's the only

614
00:35:07,600 --> 00:35:09,839
Speaker 2: thing I look forward to during the day because it's

615
00:35:09,880 --> 00:35:13,680
Speaker 2: the only hour I have away from our child. Oh

616
00:35:13,719 --> 00:35:14,440
Speaker 2: what a scene.

617
00:35:14,600 --> 00:35:17,160
Speaker 1: She just goes, we need to talk and this like

618
00:35:17,239 --> 00:35:19,760
Speaker 1: slams the door, and I'm like, you know what, I'd.

619
00:35:19,640 --> 00:35:22,799
Speaker 2: Probably have that response. You need more than to talk,

620
00:35:22,880 --> 00:35:28,960
Speaker 2: my dude, more talk. But so Sarah's got this whole

621
00:35:29,040 --> 00:35:33,839
Speaker 2: life that she's very disenchanted with, and it's compounded by

622
00:35:33,840 --> 00:35:36,920
Speaker 2: the fact that all of the neighborhood moms in the park,

623
00:35:37,040 --> 00:35:42,160
Speaker 2: like these three moms, are just horrendous beings. They're very

624
00:35:42,840 --> 00:35:46,600
Speaker 2: tied into each other's lives. They're very judgmental, they're very cruel,

625
00:35:46,680 --> 00:35:49,759
Speaker 2: they're cruel about how each other, how they're raising their

626
00:35:49,840 --> 00:35:52,960
Speaker 2: children and how everyone else is raising their children, and

627
00:35:53,560 --> 00:35:57,799
Speaker 2: it's a very powerful scene to kind of instantaneously drive

628
00:35:57,880 --> 00:36:02,160
Speaker 2: home Sarah's unhappyness because she just does not fit into

629
00:36:02,160 --> 00:36:06,040
Speaker 2: this group. And one thing the group loves is to

630
00:36:06,640 --> 00:36:10,279
Speaker 2: kind of scope out who's come into the park. And

631
00:36:10,440 --> 00:36:14,320
Speaker 2: Brad comes to the park one day and they're all

632
00:36:14,400 --> 00:36:16,920
Speaker 2: excited because they haven't seen him in a long time.

633
00:36:17,800 --> 00:36:20,600
Speaker 2: They call him the prom King because no one's actually

634
00:36:20,719 --> 00:36:25,239
Speaker 2: ever spoken to the man, and he's a very attractive

635
00:36:25,320 --> 00:36:30,399
Speaker 2: and attentive dad. So they dare Sarah to go talk

636
00:36:30,400 --> 00:36:33,000
Speaker 2: to him, and she does and they strike up a

637
00:36:33,000 --> 00:36:37,560
Speaker 2: conversation and from that moment on, all hell breaks loose

638
00:36:37,560 --> 00:36:43,719
Speaker 2: for them. Ah, there go all health, there it go.

639
00:36:44,280 --> 00:36:47,360
Speaker 2: And he's equally disenchanted with his marriage. He's married to

640
00:36:47,440 --> 00:36:52,200
Speaker 2: Jennifer Connelly, who's like this documentary filmmaker and very suave

641
00:36:52,280 --> 00:36:56,080
Speaker 2: and cool. So she's the kind of mom who insists

642
00:36:56,120 --> 00:37:00,440
Speaker 2: on having their child in the bed with them, so

643
00:37:01,160 --> 00:37:03,200
Speaker 2: she kind of moon over him, and it's like, you know,

644
00:37:03,239 --> 00:37:05,200
Speaker 2: she's been gone all day at work and she's kind

645
00:37:05,200 --> 00:37:07,759
Speaker 2: of the breadwinner, so when she comes home, that's her

646
00:37:07,800 --> 00:37:10,440
Speaker 2: time to have with their kid, but he's like, I

647
00:37:10,520 --> 00:37:14,399
Speaker 2: want to fuck. Essentially, she's like, I want to look

648
00:37:14,440 --> 00:37:17,200
Speaker 2: up our beautiful child that we meet together. Well, oh yeah.

649
00:37:17,200 --> 00:37:19,759
Speaker 1: She kind of nags him a bit too, because I guess, yes,

650
00:37:19,880 --> 00:37:24,759
Speaker 1: you know, Brad is attempting to be a lawyer but

651
00:37:24,960 --> 00:37:30,880
Speaker 1: keeps failing the bar exam. Yes, she's just beautiful but

652
00:37:31,080 --> 00:37:34,799
Speaker 1: not really warm. I guess that's kind of the feeling.

653
00:37:34,480 --> 00:37:38,839
Speaker 2: Towards him, exactly exactly, And she does this thing which

654
00:37:38,880 --> 00:37:42,520
Speaker 2: I have seen parents do before, even as someone who

655
00:37:42,600 --> 00:37:46,160
Speaker 2: does not have children. It drives me up a wall.

656
00:37:46,920 --> 00:37:49,040
Speaker 2: There's a scene where she comes home from work and

657
00:37:49,120 --> 00:37:52,480
Speaker 2: their son runs to her and she picks him up,

658
00:37:52,800 --> 00:37:56,799
Speaker 2: and she says, you got some son today. Daddy didn't

659
00:37:56,920 --> 00:38:01,600
Speaker 2: use sunscreen, did he? And he's sitting right there, So

660
00:38:01,640 --> 00:38:03,680
Speaker 2: instead of turning to him like an adult and saying, hey,

661
00:38:03,680 --> 00:38:06,000
Speaker 2: as you put sunscreen on him today, she talks about

662
00:38:06,120 --> 00:38:12,600
Speaker 2: him through their child, yeah, which is so humiliating and demoralizing.

663
00:38:13,920 --> 00:38:17,960
Speaker 2: It's awful. And that kid is basically like, yeah, I

664
00:38:17,960 --> 00:38:19,719
Speaker 2: don't know. I guess I don't know what he did.

665
00:38:19,760 --> 00:38:23,560
Speaker 1: I was I'm four, Yeah, what is a sunburn?

666
00:38:24,080 --> 00:38:26,000
Speaker 2: He could have covered me? And mustard I don't know,

667
00:38:27,719 --> 00:38:29,640
Speaker 2: but she's that kind of person and she you know,

668
00:38:29,719 --> 00:38:32,799
Speaker 2: when she talks to her mom on the phone, you

669
00:38:32,880 --> 00:38:35,319
Speaker 2: get the impression that that's where this comes from. This

670
00:38:35,400 --> 00:38:38,000
Speaker 2: is kind of like a lineage, like it's part of

671
00:38:38,040 --> 00:38:42,120
Speaker 2: her family lineage to to have these complicated marriages or

672
00:38:42,120 --> 00:38:44,200
Speaker 2: to be the kind of icy one in the relationship.

673
00:38:44,239 --> 00:38:46,799
Speaker 2: Because her mom as soon as she says anything at

674
00:38:46,840 --> 00:38:50,400
Speaker 2: all about how you know, I'm kind of tired. H.

675
00:38:50,440 --> 00:38:52,520
Speaker 2: I don't know where where Brad is tonight. I think

676
00:38:52,520 --> 00:38:55,560
Speaker 2: he's playing football. The mom is like, I'll come down

677
00:38:55,600 --> 00:38:57,200
Speaker 2: there and watch him and make sure he's doing what

678
00:38:57,239 --> 00:39:01,200
Speaker 2: he's supposed to be doing. Yeah, instantly, And I'm like,

679
00:39:01,280 --> 00:39:05,080
Speaker 2: what is happening here? So yes, So Brad and Sarah

680
00:39:05,280 --> 00:39:09,400
Speaker 2: both unhappy. Brad is a little bit stunted in his maturity,

681
00:39:09,760 --> 00:39:12,400
Speaker 2: so you see him kind of looking at skateboarders and

682
00:39:12,440 --> 00:39:15,800
Speaker 2: he joins a touch football league, and the reason he

683
00:39:15,880 --> 00:39:18,799
Speaker 2: joins a touch football league is because of one of

684
00:39:18,840 --> 00:39:23,719
Speaker 2: his other parent friends, Larry. And Larry is this disgraced

685
00:39:24,120 --> 00:39:27,840
Speaker 2: former police officer played by Noah Emerick, and he's also

686
00:39:28,120 --> 00:39:32,800
Speaker 2: this one man committee trying to get the sex offender

687
00:39:33,320 --> 00:39:37,719
Speaker 2: Ronnie mcgrvey played by Jackie Earl Haley to leave the neighborhood,

688
00:39:38,040 --> 00:39:43,560
Speaker 2: and Larry is unhinged. He is an unhinged man, and

689
00:39:43,600 --> 00:39:47,200
Speaker 2: you're kind of seeing his descent into madness, and they

690
00:39:47,239 --> 00:39:50,040
Speaker 2: try to do this thing towards the end, which I

691
00:39:50,080 --> 00:39:51,840
Speaker 2: think comes through a little bit but not a lot,

692
00:39:52,360 --> 00:39:54,960
Speaker 2: where they explain the reason that he's no longer a

693
00:39:55,000 --> 00:39:58,640
Speaker 2: police officer is that he accidentally shot a child in

694
00:39:58,680 --> 00:40:02,600
Speaker 2: a mall who had a toy gun and he never

695
00:40:02,640 --> 00:40:05,440
Speaker 2: recovered because he had PTSD. And I have to say

696
00:40:05,440 --> 00:40:09,160
Speaker 2: that in twenty twenty one's eyes, that was a part

697
00:40:09,239 --> 00:40:12,000
Speaker 2: of the movie that I was not willing to go there.

698
00:40:12,320 --> 00:40:14,640
Speaker 2: I'm not willing to have sympathy for the white cop

699
00:40:14,640 --> 00:40:18,759
Speaker 2: who shot the black kid by accident. Yeah, so that

700
00:40:18,800 --> 00:40:22,120
Speaker 2: part didn't hit me as hard. This like the Larry narrative.

701
00:40:22,160 --> 00:40:26,319
Speaker 2: I saw him kind of as purely monstrous. And part

702
00:40:26,320 --> 00:40:29,759
Speaker 2: of the reason is that the Ronnie mcgurvey character that

703
00:40:29,800 --> 00:40:36,359
Speaker 2: he's bullying and tormenting. He's a very complicated character. So

704
00:40:36,440 --> 00:40:39,520
Speaker 2: he was in jail for two years for exposing himself

705
00:40:39,760 --> 00:40:42,920
Speaker 2: to a young girl, and he moves back in with

706
00:40:43,040 --> 00:40:45,480
Speaker 2: his mom, and his mom is just convinced that if

707
00:40:45,480 --> 00:40:47,680
Speaker 2: he finds a woman in his own age and goes

708
00:40:47,719 --> 00:40:50,360
Speaker 2: out on a date, he'll be okay. And he's so

709
00:40:50,560 --> 00:40:55,040
Speaker 2: realistic about his life and his issues, and he just

710
00:40:55,239 --> 00:40:56,880
Speaker 2: turns to her and is like, mom, I have a

711
00:40:56,880 --> 00:41:00,239
Speaker 2: psycho sexual disorder. Like this is not something to be

712
00:41:00,320 --> 00:41:03,799
Speaker 2: cured by a date, essentially, But that scene between them

713
00:41:03,880 --> 00:41:07,040
Speaker 2: is so moving and weird because he's kind of like

714
00:41:07,160 --> 00:41:09,479
Speaker 2: at her feet and looking up at her while she's

715
00:41:09,520 --> 00:41:12,360
Speaker 2: looking through the you know, the personal ads in the paper.

716
00:41:12,480 --> 00:41:14,680
Speaker 2: And he's like, all right, I'll just do it once

717
00:41:14,760 --> 00:41:17,759
Speaker 2: and just to make you happy. And she starts describing

718
00:41:17,880 --> 00:41:20,680
Speaker 2: him to himself, like you know, you're a go getter,

719
00:41:20,719 --> 00:41:22,920
Speaker 2: and he's like, what else? And he just keeps saying

720
00:41:22,960 --> 00:41:26,040
Speaker 2: what else because he's just trying to like, he's just

721
00:41:26,239 --> 00:41:29,760
Speaker 2: reveling in the notion that somebody thinks he's a good person,

722
00:41:29,880 --> 00:41:34,800
Speaker 2: somebody loves him. But then he goes on this date. Oh,

723
00:41:34,800 --> 00:41:40,000
Speaker 2: and he's an absolute nightmare. I mean, I want to

724
00:41:40,040 --> 00:41:43,000
Speaker 2: talk about the scene. Jane Adams is in it. She's

725
00:41:43,000 --> 00:41:46,600
Speaker 2: another incredible actress, but I just I don't want to

726
00:41:46,640 --> 00:41:49,640
Speaker 2: ruin it for anyone who hasn't seen it. Yeah.

727
00:41:49,680 --> 00:41:53,560
Speaker 1: Plus it's so oh. It really put me in a place.

728
00:41:53,640 --> 00:41:57,240
Speaker 1: It put me in a dark place because the date

729
00:41:57,840 --> 00:42:04,040
Speaker 1: is very very much like you're watching two older people

730
00:42:04,120 --> 00:42:08,600
Speaker 1: who have sort of they're sort of broken in their

731
00:42:08,640 --> 00:42:12,480
Speaker 1: own ways, and they're and they're trying to connect in

732
00:42:12,520 --> 00:42:15,680
Speaker 1: some way. You can tell that they're both sort of

733
00:42:15,719 --> 00:42:19,520
Speaker 1: in their own ways going like I'm undateable, right, but

734
00:42:19,719 --> 00:42:22,640
Speaker 1: that the Jada Adams character is so willing to kind

735
00:42:22,640 --> 00:42:26,400
Speaker 1: of put her cards on the table, right, And you

736
00:42:26,840 --> 00:42:32,719
Speaker 1: get the sense that maybe the Ronnie character is also

737
00:42:33,080 --> 00:42:36,560
Speaker 1: kind of in that mode. But then he does a

738
00:42:36,680 --> 00:42:42,640
Speaker 1: turn that is just so disturbing and and so dark

739
00:42:42,719 --> 00:42:45,680
Speaker 1: that I was like, are we watching a Todd Salons

740
00:42:45,760 --> 00:42:46,440
Speaker 1: movie right now?

741
00:42:46,480 --> 00:42:54,560
Speaker 2: Like what is going on? Yes? It is bleak. And

742
00:42:54,800 --> 00:43:00,000
Speaker 2: her performance in that car is fantastic. She's a fantastic actress.

743
00:43:00,640 --> 00:43:06,040
Speaker 2: But it made me so sad, And it also made

744
00:43:06,080 --> 00:43:10,240
Speaker 2: me sad thinking that this movie does such a good

745
00:43:10,360 --> 00:43:14,560
Speaker 2: job of pulling out the complicated nature of humanity and

746
00:43:14,600 --> 00:43:17,880
Speaker 2: the human experience. So you have this person who wants

747
00:43:17,920 --> 00:43:20,120
Speaker 2: to be accepted, wants to be loved, wants to be

748
00:43:20,280 --> 00:43:25,000
Speaker 2: you know, quote unquote normal, but is completely been ostracized

749
00:43:25,120 --> 00:43:30,719
Speaker 2: by his community, and maybe rightfully so, maybe rightfully so.

750
00:43:30,960 --> 00:43:34,880
Speaker 2: Like there's another scene at the pool where he goes swimming,

751
00:43:35,880 --> 00:43:37,759
Speaker 2: and at the beginning of the film, we kind of

752
00:43:37,760 --> 00:43:40,920
Speaker 2: get the laundry list of what he is and is

753
00:43:41,000 --> 00:43:45,160
Speaker 2: not able to do based on a news report, and

754
00:43:46,400 --> 00:43:48,359
Speaker 2: he's not supposed to be at this pool. He can't

755
00:43:48,360 --> 00:43:50,600
Speaker 2: be within one hundred yards of kids, you know, or

756
00:43:50,640 --> 00:43:53,080
Speaker 2: one hundred yards of certain things. So when he goes

757
00:43:53,120 --> 00:43:55,839
Speaker 2: to the pool, and the scene is stunning. He goes

758
00:43:55,920 --> 00:43:58,880
Speaker 2: into this pool and he puts on flippers and a

759
00:43:59,120 --> 00:44:04,200
Speaker 2: snorkel and he starts swimming and he's just looking at

760
00:44:04,239 --> 00:44:07,680
Speaker 2: all of these bodies underwater, most of them are kids,

761
00:44:08,640 --> 00:44:12,040
Speaker 2: and he pops up a couple of times, and then

762
00:44:12,080 --> 00:44:15,919
Speaker 2: there's a total panic and everyone grabs their kid out

763
00:44:15,920 --> 00:44:18,960
Speaker 2: of the pool and they're all standing around the pool

764
00:44:19,000 --> 00:44:22,040
Speaker 2: in silence looking at him, and the cops are called.

765
00:44:22,840 --> 00:44:24,920
Speaker 2: So and when he gets out of the pool, he's like,

766
00:44:24,960 --> 00:44:26,680
Speaker 2: I just wanted to cool off, and you're like, but

767
00:44:26,760 --> 00:44:30,920
Speaker 2: you didn't. You were being a sexual predator. So it's

768
00:44:31,000 --> 00:44:34,439
Speaker 2: kind of presenting this and I both love and hate

769
00:44:34,480 --> 00:44:37,600
Speaker 2: the movie for this, Like it's presenting this very complicated

770
00:44:37,680 --> 00:44:42,040
Speaker 2: push and pull dynamic about is a person horrible based

771
00:44:42,080 --> 00:44:45,839
Speaker 2: on their actions, or you know, is a person redeemable

772
00:44:45,880 --> 00:44:49,120
Speaker 2: based on their actions? And I think part of the

773
00:44:49,160 --> 00:44:50,920
Speaker 2: reason I love the movie is because I hate feeling

774
00:44:50,960 --> 00:44:52,400
Speaker 2: like that. I don't know if that makes any sense,

775
00:44:52,400 --> 00:44:53,919
Speaker 2: but I like that it pushes me to a place

776
00:44:53,920 --> 00:44:57,640
Speaker 2: where I have to consider things differently, even if I

777
00:44:57,840 --> 00:44:59,600
Speaker 2: land on the same side, which is like, he's a

778
00:44:59,640 --> 00:45:03,200
Speaker 2: sexual predator, get them out of the right, right right,

779
00:45:03,920 --> 00:45:06,080
Speaker 2: get him out of that pool. And the same thing

780
00:45:06,080 --> 00:45:07,920
Speaker 2: can be said for the other characters. You know, I

781
00:45:07,920 --> 00:45:11,799
Speaker 2: think that you know Sarah and Brad who are having

782
00:45:11,840 --> 00:45:14,799
Speaker 2: an affair, but the way it's presented and the way

783
00:45:14,800 --> 00:45:18,960
Speaker 2: that they're presented as singular people prior to getting together,

784
00:45:19,760 --> 00:45:23,600
Speaker 2: you kind of feel like it's they're a good match. Yeah,

785
00:45:23,600 --> 00:45:26,000
Speaker 2: they're a good fit for each other, and when their

786
00:45:26,080 --> 00:45:29,399
Speaker 2: kids are hanging out together, it makes sense and they

787
00:45:29,440 --> 00:45:32,880
Speaker 2: look like a family and you kind of forget for

788
00:45:32,880 --> 00:45:36,040
Speaker 2: a minute that they're cheating on their their their partners.

789
00:45:36,520 --> 00:45:39,840
Speaker 2: So it's a really interesting push pull in this film

790
00:45:40,560 --> 00:45:42,240
Speaker 2: that I think is part of the reason it stays

791
00:45:42,239 --> 00:45:45,920
Speaker 2: with me. But there are just so many scenes, including

792
00:45:46,400 --> 00:45:51,239
Speaker 2: the laundry room sex scene that are just so graic,

793
00:45:51,920 --> 00:45:59,680
Speaker 2: so graphic and meant to like really drive home that desperation. Yeah,

794
00:46:00,080 --> 00:46:01,960
Speaker 2: but I think part of the reason I chose it

795
00:46:02,000 --> 00:46:05,040
Speaker 2: for the for the we are in Hell theme is

796
00:46:05,080 --> 00:46:09,600
Speaker 2: because absolutely every single character is in their own separate hell,

797
00:46:10,160 --> 00:46:13,399
Speaker 2: and when they come together to alleviate that pain, they

798
00:46:13,480 --> 00:46:14,600
Speaker 2: just create more hell.

799
00:46:15,440 --> 00:46:19,920
Speaker 1: Right right, Oh totally, It's it works on many levels,

800
00:46:19,920 --> 00:46:23,439
Speaker 1: as you said, but also too, it's one of these

801
00:46:23,520 --> 00:46:28,640
Speaker 1: movies where the suburbs are hell, right, because, Yes, the

802
00:46:28,680 --> 00:46:31,719
Speaker 1: one woman in the film that I think is you

803
00:46:31,880 --> 00:46:33,520
Speaker 1: just love to hate is that.

804
00:46:33,440 --> 00:46:37,640
Speaker 2: Blonde lady Mary Anne. Yes, the bob haircut.

805
00:46:37,760 --> 00:46:41,120
Speaker 1: She's kind of like the leader of the mean girls,

806
00:46:42,080 --> 00:46:44,440
Speaker 1: but like they're grown women with children and they go

807
00:46:44,440 --> 00:46:48,440
Speaker 1: to the playground and she's kind of like super judgmental,

808
00:46:48,760 --> 00:46:54,160
Speaker 1: super bitchy, and you just know this woman like through

809
00:46:54,160 --> 00:46:59,200
Speaker 1: and through, like this character is like absolutely like ripped

810
00:46:59,239 --> 00:47:04,400
Speaker 1: from the headline of like every you know, mean suburban mom,

811
00:47:05,000 --> 00:47:08,200
Speaker 1: you know. And that's the thing about Kate Winslet's character

812
00:47:08,360 --> 00:47:11,839
Speaker 1: is that she's like she just doesn't she doesn't fit

813
00:47:11,880 --> 00:47:13,799
Speaker 1: in with them. She doesn't want to be a part

814
00:47:13,880 --> 00:47:16,160
Speaker 1: of their crew. She kind of goes off on her

815
00:47:16,160 --> 00:47:18,880
Speaker 1: own and reads and she just and part of like,

816
00:47:18,920 --> 00:47:22,520
Speaker 1: I think her motivation to talk to the Brad character

817
00:47:22,719 --> 00:47:25,319
Speaker 1: is to be like, fuck these bitches, I'm gonna do

818
00:47:25,400 --> 00:47:27,920
Speaker 1: what they can't do, which is that they want to

819
00:47:28,000 --> 00:47:30,719
Speaker 1: like sit around and and call this guy the prom

820
00:47:30,840 --> 00:47:32,799
Speaker 1: king and without engaging with him.

821
00:47:32,840 --> 00:47:34,319
Speaker 2: I'm going to go up to him and actually like

822
00:47:34,640 --> 00:47:35,839
Speaker 2: you know, try to talk to him.

823
00:47:36,440 --> 00:47:38,759
Speaker 1: And you know that's the thing is that like the

824
00:47:39,040 --> 00:47:41,680
Speaker 1: the the environment that they're in is also a hell

825
00:47:41,840 --> 00:47:50,040
Speaker 1: like this really like gossipy Neighborhoodye shitty fucking neighbor vibe.

826
00:47:50,120 --> 00:47:56,279
Speaker 2: Right. Oh that book club scene, yeah, just exemplified that perfectly. Right.

827
00:47:56,880 --> 00:47:59,120
Speaker 2: So these you know, there's an older woman who's friends

828
00:47:59,120 --> 00:48:01,439
Speaker 2: with Sarah and she brings her to a book club

829
00:48:01,480 --> 00:48:04,560
Speaker 2: and she's kind of there as a little sister, and

830
00:48:04,680 --> 00:48:07,880
Speaker 2: Marianne is also there, like the blonde bob lady is

831
00:48:07,920 --> 00:48:11,640
Speaker 2: also there and just watching them react so differently to

832
00:48:11,719 --> 00:48:17,000
Speaker 2: the same book, and you know, this horrible, mean, suburban

833
00:48:17,320 --> 00:48:20,840
Speaker 2: type person is just can't think very deeply about what

834
00:48:20,960 --> 00:48:24,040
Speaker 2: she's reading and just calls the character a slut. And

835
00:48:24,080 --> 00:48:27,280
Speaker 2: then you have Sarah giving this incredibly eloquent and thoughtful

836
00:48:27,320 --> 00:48:29,839
Speaker 2: and emotional response, and it's just so evident that she

837
00:48:29,880 --> 00:48:33,239
Speaker 2: doesn't fit in with her age group right now in

838
00:48:33,280 --> 00:48:36,600
Speaker 2: this environment, but she does fit in with the older women,

839
00:48:36,640 --> 00:48:40,040
Speaker 2: and it's like, well, is that who they become or like,

840
00:48:40,120 --> 00:48:42,279
Speaker 2: are they being mirrored here in some way? I don't

841
00:48:42,320 --> 00:48:44,640
Speaker 2: know if that makes any sense, but yeah, it was

842
00:48:44,680 --> 00:48:47,319
Speaker 2: just a very interesting scene. And I think it's it's

843
00:48:47,360 --> 00:48:50,200
Speaker 2: the suburbs are hell. I think that the suburbs, especially

844
00:48:50,239 --> 00:48:55,120
Speaker 2: for Sarah, kind of just exemplified death for her, Like

845
00:48:55,200 --> 00:48:58,000
Speaker 2: every day is the same. She's not really connected to

846
00:48:58,080 --> 00:49:00,399
Speaker 2: her kid. There are parts of the Moon movie where

847
00:49:00,400 --> 00:49:03,279
Speaker 2: you're not even sure if she loves her kid. She's

848
00:49:03,360 --> 00:49:05,880
Speaker 2: kind of gone and done her Virginia Woolf, you know,

849
00:49:05,960 --> 00:49:08,319
Speaker 2: created a room of her own sort of thing so

850
00:49:08,360 --> 00:49:10,279
Speaker 2: she can have a space in the house where she

851
00:49:10,280 --> 00:49:13,160
Speaker 2: can be away from her family. And when her daughter

852
00:49:13,840 --> 00:49:16,880
Speaker 2: like infiltrates that space for a minute, she gets very

853
00:49:17,320 --> 00:49:19,640
Speaker 2: upset and very testy, and she's very short and she

854
00:49:19,680 --> 00:49:23,600
Speaker 2: has a very short temper, and it's just really wild

855
00:49:23,760 --> 00:49:28,040
Speaker 2: to see how the suburbs are impacting this character but

856
00:49:28,080 --> 00:49:31,640
Speaker 2: the same way, in the same way, it impacts Brad's

857
00:49:31,719 --> 00:49:34,600
Speaker 2: character very deeply, but in a totally different way, Like

858
00:49:34,680 --> 00:49:38,880
Speaker 2: he is in hell because he's no longer you know,

859
00:49:38,920 --> 00:49:41,400
Speaker 2: the high school or college sports star, and he's not

860
00:49:42,080 --> 00:49:45,160
Speaker 2: really he's not really living up to his potential. But

861
00:49:45,360 --> 00:49:48,920
Speaker 2: he's doesn't really have any ambition. And I think that's

862
00:49:49,000 --> 00:49:51,560
Speaker 2: his greatest you know, personal hell is that he does

863
00:49:51,680 --> 00:49:55,240
Speaker 2: not have any ambition and he wants that to be okay,

864
00:49:55,840 --> 00:49:59,280
Speaker 2: and it's absolutely not okay within his family that he's created.

865
00:50:00,040 --> 00:50:02,920
Speaker 1: Yeah, you're right, it's it's that reinforcing of these like

866
00:50:03,000 --> 00:50:05,880
Speaker 1: gender roles that you said at the beginning, you know,

867
00:50:06,120 --> 00:50:09,000
Speaker 1: that make this movie Like yeah, people, it's it's very

868
00:50:09,160 --> 00:50:13,040
Speaker 1: layered in terms of the hell that people are experiencing.

869
00:50:13,560 --> 00:50:16,960
Speaker 2: And honestly, like I was shook.

870
00:50:17,320 --> 00:50:20,760
Speaker 1: This movie shook me to my core, not just because

871
00:50:20,760 --> 00:50:25,440
Speaker 1: of the like very uncomfortable scenes of you know, the

872
00:50:25,520 --> 00:50:28,439
Speaker 1: things that we just spoke about, but it all kind

873
00:50:28,440 --> 00:50:30,319
Speaker 1: of came together in this way that was just sort

874
00:50:30,320 --> 00:50:32,440
Speaker 1: of like, oh my god, Like how how is this

875
00:50:32,480 --> 00:50:35,480
Speaker 1: going to play out? For everybody? Like everybody's making bad

876
00:50:35,600 --> 00:50:39,120
Speaker 1: choices and I don't know like what to do about that,

877
00:50:39,560 --> 00:50:42,280
Speaker 1: and you know, like how is this Gonna shake loose.

878
00:50:42,160 --> 00:50:46,480
Speaker 2: The end is legitimately shocking. Oh yeah, like when you

879
00:50:46,560 --> 00:50:50,920
Speaker 2: see how it does come together for everyone, it is shocking.

880
00:50:52,280 --> 00:50:54,520
Speaker 1: Well, I have to tell you I have not been

881
00:50:54,560 --> 00:50:59,239
Speaker 1: this disturbed since Hereditary. I must say, you continue to

882
00:50:59,440 --> 00:51:03,680
Speaker 1: bring films to this podcast that freak me the fuck out,

883
00:51:05,920 --> 00:51:09,080
Speaker 1: and they're always inappropriate to watch with your mother, and

884
00:51:09,160 --> 00:51:13,439
Speaker 1: somehow I always do it, and I just can't thank

885
00:51:13,480 --> 00:51:14,560
Speaker 1: you enough for.

886
00:51:14,600 --> 00:51:19,760
Speaker 2: Opening my eyes. You are so welcome. I will strive

887
00:51:20,280 --> 00:51:24,000
Speaker 2: to continue the trend of occasion. I'd say that I

888
00:51:24,040 --> 00:51:26,080
Speaker 2: would be happy with at least twice a year freaking

889
00:51:26,080 --> 00:51:30,880
Speaker 2: you the fuck out. No, this is a perfect movie

890
00:51:30,920 --> 00:51:31,600
Speaker 2: for this theme.

891
00:51:31,840 --> 00:51:33,960
Speaker 1: I'm so glad that you picked it again, Like I

892
00:51:34,000 --> 00:51:37,400
Speaker 1: love it when I watched movies that I've never seen before,

893
00:51:37,920 --> 00:51:41,560
Speaker 1: and you know, and honestly, like I love the people

894
00:51:41,600 --> 00:51:43,760
Speaker 1: in it, I love that it was directed by Todd Field,

895
00:51:43,760 --> 00:51:46,080
Speaker 1: and like we didn't really talk about Tom Parrada much,

896
00:51:46,120 --> 00:51:49,200
Speaker 1: but yeah, you know, I watched Missus Flesher when it

897
00:51:49,239 --> 00:51:51,960
Speaker 1: was on HBO, and you know, it's like I was

898
00:51:52,120 --> 00:51:53,840
Speaker 1: when I found out that he wrote the book.

899
00:51:55,080 --> 00:51:58,120
Speaker 2: I was like, oh that's cool. So yeah, he's he's

900
00:51:58,200 --> 00:52:01,120
Speaker 2: such a great novelist. Like he also wrote The Leftovers,

901
00:52:01,120 --> 00:52:05,480
Speaker 2: which was turned into a stunning series for HBO. He

902
00:52:05,520 --> 00:52:10,440
Speaker 2: wrote Election. He's just a great writer and his characters

903
00:52:10,440 --> 00:52:14,359
Speaker 2: are always very interesting. So yeah, I like that. I

904
00:52:14,440 --> 00:52:17,200
Speaker 2: like that. He uh he wrote this and and was

905
00:52:17,280 --> 00:52:19,880
Speaker 2: part of the s screenplay process as well. That's cool.

906
00:52:21,200 --> 00:52:26,560
Speaker 1: A great pick followed by something that's even more disturbing.

907
00:52:26,840 --> 00:52:30,960
Speaker 2: Perhaps I can't wait.

908
00:52:31,920 --> 00:52:39,040
Speaker 1: Well, okay, oh man, My movie for the theme of

909
00:52:39,160 --> 00:52:43,000
Speaker 1: we Are in Hell is a movie from nineteen seventy seven.

910
00:52:43,320 --> 00:52:49,839
Speaker 2: It was written, directed, and produced by John Waters, and

911
00:52:49,880 --> 00:53:00,560
Speaker 2: it's called Desperate Living. It's a really jodio Oh my god,

912
00:53:01,440 --> 00:53:02,280
Speaker 2: oh boy.

913
00:53:03,440 --> 00:53:07,439
Speaker 1: I just have to say for the record that we're

914
00:53:07,440 --> 00:53:09,680
Speaker 1: never going to be able to actually talk about this

915
00:53:09,880 --> 00:53:13,720
Speaker 1: because it would just give too much way about both movies.

916
00:53:13,760 --> 00:53:17,440
Speaker 1: But there is a correlation between the two of them

917
00:53:17,800 --> 00:53:21,160
Speaker 1: that if somebody guessed it in our comments.

918
00:53:21,080 --> 00:53:23,400
Speaker 2: We'll just have to give you a little squeeze on

919
00:53:23,400 --> 00:53:23,840
Speaker 2: the shoulder.

920
00:53:23,880 --> 00:53:26,360
Speaker 1: But that's all we can do because it's not the theme,

921
00:53:26,960 --> 00:53:32,040
Speaker 1: but it is something that could be is inherent in

922
00:53:32,120 --> 00:53:34,479
Speaker 1: both films, but we can't talk about it, and I'll

923
00:53:34,520 --> 00:53:36,720
Speaker 1: just leave it at that I'm just gonna be very vague.

924
00:53:38,000 --> 00:53:39,799
Speaker 2: I'm sorry to do it, but that's just the way

925
00:53:39,840 --> 00:53:42,520
Speaker 2: it has to be, Am. I right agreed. This is

926
00:53:42,560 --> 00:53:45,919
Speaker 2: our first John Waters film that we're reviewing on the pod.

927
00:53:46,400 --> 00:53:50,640
Speaker 1: Yeah, I was gonna say, I can't believe that is happening. Finally,

928
00:53:50,680 --> 00:53:53,120
Speaker 1: I mean, this is episode forty two. We've had forty

929
00:53:53,160 --> 00:53:55,400
Speaker 1: one episodes and we haven't spoken about John Waters.

930
00:53:55,440 --> 00:53:56,600
Speaker 2: I think that's I.

931
00:53:56,520 --> 00:54:01,359
Speaker 1: Admire our restraint to be honest, because honestly, I feel

932
00:54:01,400 --> 00:54:03,839
Speaker 1: like I don't even really have to talk about him

933
00:54:03,920 --> 00:54:08,280
Speaker 1: very much because to me, I think he's he's probably

934
00:54:08,360 --> 00:54:11,600
Speaker 1: the most famous living cult filmmaker in the world.

935
00:54:11,640 --> 00:54:13,720
Speaker 2: I would say, m h, I agree.

936
00:54:14,080 --> 00:54:16,719
Speaker 1: I mean he's just like an icon and a hero

937
00:54:16,880 --> 00:54:20,600
Speaker 1: to people, and I mean he's just he's a handshake director.

938
00:54:21,239 --> 00:54:24,480
Speaker 2: Really is what I think of him. Like I can go.

939
00:54:24,560 --> 00:54:29,080
Speaker 1: Down the list of people that I know and say, oh,

940
00:54:29,160 --> 00:54:31,839
Speaker 1: I developed a friendship with this person because we both

941
00:54:31,880 --> 00:54:32,880
Speaker 1: like John Waters movies.

942
00:54:32,880 --> 00:54:33,640
Speaker 2: Do you know what I'm saying?

943
00:54:33,640 --> 00:54:37,880
Speaker 1: Like, he's he's that kind of person in our culture,

944
00:54:38,520 --> 00:54:41,839
Speaker 1: and he has this group of friends that he's made

945
00:54:41,920 --> 00:54:46,640
Speaker 1: movies with since the late sixties, really called the Dreamlanders,

946
00:54:46,880 --> 00:54:50,600
Speaker 1: and they were essentially these like Baltimore people, like people

947
00:54:50,600 --> 00:54:54,040
Speaker 1: he knew from Baltimore, and they're women and gay men essentially,

948
00:54:54,480 --> 00:54:56,920
Speaker 1: and they're not a lot of them aren't professional actors,

949
00:54:56,920 --> 00:54:59,480
Speaker 1: and they are in his movies. And I think that

950
00:54:59,480 --> 00:55:02,200
Speaker 1: that also is a reason why people just love him

951
00:55:02,200 --> 00:55:04,319
Speaker 1: so much, is that he's kind of like a guy

952
00:55:04,400 --> 00:55:09,439
Speaker 1: that gathered all these like really creative, weird freaks and

953
00:55:10,200 --> 00:55:12,680
Speaker 1: they all just made art together. Yes, And I think

954
00:55:12,680 --> 00:55:16,880
Speaker 1: that that's just really inspiring for people, including myself absolutely same.

955
00:55:16,960 --> 00:55:20,359
Speaker 2: I can't inspire and generations of people to go out

956
00:55:20,400 --> 00:55:24,359
Speaker 2: and form the similar groups on their own and make

957
00:55:24,480 --> 00:55:27,680
Speaker 2: art with their friends, and that's just beautiful, definitely.

958
00:55:29,239 --> 00:55:31,360
Speaker 1: But the reason why I really wanted to talk about

959
00:55:31,360 --> 00:55:36,319
Speaker 1: Desperate Living in particular is because it's my favorite John

960
00:55:36,360 --> 00:55:39,640
Speaker 1: Waters film of all time. It's the one that I've

961
00:55:39,680 --> 00:55:44,080
Speaker 1: seen the most. I quote it the most, I laugh

962
00:55:44,120 --> 00:55:47,200
Speaker 1: at it the most. So when I was in high school,

963
00:55:47,440 --> 00:55:53,160
Speaker 1: I bought this VHS box set called the John Waters Archives,

964
00:55:53,520 --> 00:55:55,400
Speaker 1: and I think it had like five or six of

965
00:55:55,400 --> 00:55:59,680
Speaker 1: his films, and Desperate Living was the tape that I

966
00:55:59,719 --> 00:56:00,920
Speaker 1: played the most.

967
00:56:00,960 --> 00:56:03,720
Speaker 2: I returned to it over and over and over again.

968
00:56:04,520 --> 00:56:07,440
Speaker 1: I mean at the time, you know, in the nineties

969
00:56:07,480 --> 00:56:09,160
Speaker 1: when I got the box set, you know, when I

970
00:56:09,200 --> 00:56:14,040
Speaker 1: was just discovering John Waters, you know, Hairspray had already

971
00:56:14,040 --> 00:56:18,200
Speaker 1: come out, and you know, he was sort of already

972
00:56:18,760 --> 00:56:20,880
Speaker 1: super duper famous after that movie.

973
00:56:21,320 --> 00:56:22,880
Speaker 2: But when I went back.

974
00:56:22,640 --> 00:56:25,840
Speaker 1: And I saw the earlier stuff, it just like Desperate

975
00:56:25,920 --> 00:56:29,680
Speaker 1: Living was truly kind of the most punk rock thing

976
00:56:29,800 --> 00:56:33,080
Speaker 1: I'd ever seen up until that point, and for many reasons,

977
00:56:33,640 --> 00:56:39,720
Speaker 1: and even after seeing it dozens of times, it's still completely.

978
00:56:39,120 --> 00:56:43,280
Speaker 2: Insane in the best ways possible. I just still packs

979
00:56:43,280 --> 00:56:47,799
Speaker 2: a punch. Absolutely. I'm one of those layme os that

980
00:56:48,719 --> 00:56:51,800
Speaker 2: came to John Waters in the nineties or late eighties

981
00:56:53,080 --> 00:56:56,640
Speaker 2: through like cry Baby and Hairspray. Yeah, but then went

982
00:56:56,680 --> 00:56:58,680
Speaker 2: back and watched you know, more of his movies as

983
00:56:58,719 --> 00:57:01,000
Speaker 2: I got, as I could find them. Yeah.

984
00:57:01,040 --> 00:57:03,279
Speaker 1: I think most of most people our age are that

985
00:57:03,360 --> 00:57:07,760
Speaker 1: way because you know, this movie and you know, belongs

986
00:57:07,800 --> 00:57:11,359
Speaker 1: to this trilogy that he called the Trash Trilogy, which

987
00:57:11,360 --> 00:57:16,200
Speaker 1: includes Pink, Flamingos and Female Trouble, And these were movies

988
00:57:16,240 --> 00:57:17,880
Speaker 1: that came out in the seventies, so we would have

989
00:57:18,160 --> 00:57:21,320
Speaker 1: either not been born or extremely young with these movies

990
00:57:21,360 --> 00:57:23,680
Speaker 1: too Young Waters movie.

991
00:57:23,880 --> 00:57:24,880
Speaker 2: Yeah, yeah, yeah.

992
00:57:24,920 --> 00:57:28,440
Speaker 1: So I think people of our generation, certainly like Gen xers,

993
00:57:28,480 --> 00:57:31,480
Speaker 1: would have known him from his late eighties movies probably,

994
00:57:32,040 --> 00:57:34,200
Speaker 1: And you know, by that time, like I said, he'd

995
00:57:34,240 --> 00:57:37,040
Speaker 1: already made a lot of his films, and you know,

996
00:57:37,440 --> 00:57:41,240
Speaker 1: he had already been making movies for major studios, so

997
00:57:42,080 --> 00:57:43,960
Speaker 1: we kind of knew him as more kind of of

998
00:57:44,160 --> 00:57:46,880
Speaker 1: like a commercial director that was just super quirky. But

999
00:57:46,960 --> 00:57:49,480
Speaker 1: then yeah, you go back and you watch something like

1000
00:57:49,760 --> 00:57:53,320
Speaker 1: Pink Flamingos and Desperate Living and you're like, fuck, I

1001
00:57:53,320 --> 00:57:57,720
Speaker 1: mean this is like underground fucked up shit, and I

1002
00:57:57,760 --> 00:58:02,760
Speaker 1: loved it. So the crazy thing to me about Desperate Living, though,

1003
00:58:02,880 --> 00:58:07,680
Speaker 1: was that, like, even within the John Waters universe, it

1004
00:58:07,680 --> 00:58:11,720
Speaker 1: feels like it's kind of one of his forgotten films.

1005
00:58:12,000 --> 00:58:14,200
Speaker 1: And I'm really not sure why that is. I mean,

1006
00:58:14,520 --> 00:58:17,400
Speaker 1: I think part of me thinks that it's because it's

1007
00:58:17,480 --> 00:58:21,200
Speaker 1: one of his only earlier career films that doesn't have

1008
00:58:21,320 --> 00:58:26,000
Speaker 1: Divine in it, right, And so you know, maybe that

1009
00:58:26,200 --> 00:58:29,120
Speaker 1: is a big reason why people seem to have not

1010
00:58:29,840 --> 00:58:34,280
Speaker 1: really brought it back, because a few years ago John

1011
00:58:34,320 --> 00:58:38,200
Speaker 1: Waters was sort of like refetted or something by these

1012
00:58:38,240 --> 00:58:43,760
Speaker 1: like respectable sort of art house institutions like Female Trouble

1013
00:58:43,920 --> 00:58:47,560
Speaker 1: and Multiple Maniacs got restored and they were brought to

1014
00:58:47,720 --> 00:58:51,800
Speaker 1: theaters again and had these like beautiful Criterion collection Blu

1015
00:58:51,920 --> 00:58:54,400
Speaker 1: ray releases, and I mean, I don't get me wrong,

1016
00:58:54,440 --> 00:58:57,200
Speaker 1: I was happy to see those movies in like these

1017
00:58:57,320 --> 00:59:00,680
Speaker 1: very pristine conditions because I got to be honest with you.

1018
00:59:00,720 --> 00:59:02,760
Speaker 1: When I first saw Multiple Maniacs, I saw it on

1019
00:59:02,880 --> 00:59:06,600
Speaker 1: like an eighth generation dub V. It just taped from

1020
00:59:06,640 --> 00:59:09,560
Speaker 1: like the dude that owned Blast Off Video and Little

1021
00:59:09,560 --> 00:59:12,120
Speaker 1: five Points, So I was like, oh my god, it's

1022
00:59:12,120 --> 00:59:15,080
Speaker 1: like a four K restoration of multiple multiple maniacts.

1023
00:59:15,080 --> 00:59:17,240
Speaker 2: This is fucking insane.

1024
00:59:17,520 --> 00:59:21,200
Speaker 1: But yeah, I just so I wondered why though Desperate

1025
00:59:21,240 --> 00:59:24,800
Speaker 1: Living hadn't been a part of that, because it's definitely available.

1026
00:59:24,920 --> 00:59:26,600
Speaker 2: Let's gets available from Newline.

1027
00:59:26,680 --> 00:59:30,800
Speaker 1: Because I'll tell you I know this because I attempted

1028
00:59:30,840 --> 00:59:36,000
Speaker 1: to program it for TCM earlier this year, and honestly,

1029
00:59:36,080 --> 00:59:41,320
Speaker 1: it would have played if my coworkers hadn't have pulled

1030
00:59:41,320 --> 00:59:45,000
Speaker 1: me aside and said this is legit too crazy for TCM,

1031
00:59:45,120 --> 00:59:48,280
Speaker 1: even at four o'clock in the morning, like like you know,

1032
00:59:48,600 --> 00:59:49,800
Speaker 1: like you had an.

1033
00:59:49,680 --> 00:59:55,640
Speaker 2: Intervention about desperate living, like honestly, like we were gonna

1034
00:59:55,640 --> 00:59:57,600
Speaker 2: do a slumber Ground episode about it, Like we were

1035
00:59:57,600 --> 01:00:00,320
Speaker 2: like ready to go, and then like Toya and Ben

1036
01:00:00,360 --> 01:00:03,280
Speaker 2: and Matthew were like, I gotta be honest, I don't

1037
01:00:03,320 --> 01:00:04,880
Speaker 2: know if we're gonna be able to get away with this,

1038
01:00:04,920 --> 01:00:06,400
Speaker 2: and I was like, you know.

1039
01:00:06,400 --> 01:00:09,680
Speaker 1: What, You're probably right about that, even at four o'clock

1040
01:00:09,720 --> 01:00:10,280
Speaker 1: in the morning.

1041
01:00:10,360 --> 01:00:13,640
Speaker 2: It's like it was too crazy for four am. That's

1042
01:00:13,720 --> 01:00:16,480
Speaker 2: because you are the John Waters of TCM.

1043
01:00:18,920 --> 01:00:21,560
Speaker 1: The other thing, though, is I think that also to

1044
01:00:21,600 --> 01:00:25,360
Speaker 1: that point, though this movie is gross, I mean it

1045
01:00:25,440 --> 01:00:27,240
Speaker 1: is usually gross.

1046
01:00:26,720 --> 01:00:28,120
Speaker 2: Like it is filthy.

1047
01:00:28,280 --> 01:00:33,480
Speaker 1: It's about people living in a criminal shanty town that

1048
01:00:33,680 --> 01:00:36,960
Speaker 1: is made of actual trash. So it's like, yes, it's

1049
01:00:37,000 --> 01:00:40,760
Speaker 1: a gross film on top of that, right, Because obviously

1050
01:00:40,800 --> 01:00:42,640
Speaker 1: I have seen a lot of John Waters movies and

1051
01:00:42,680 --> 01:00:45,480
Speaker 1: I've pretty much studied them my entire life, and even

1052
01:00:45,520 --> 01:00:49,360
Speaker 1: I'm like, okay, like this might be, by the numbers,

1053
01:00:49,400 --> 01:00:50,440
Speaker 1: his grossest film.

1054
01:00:50,680 --> 01:00:52,400
Speaker 2: I mean they're all all.

1055
01:00:52,240 --> 01:00:55,480
Speaker 1: Of them are packed like wall to wall with insane shit.

1056
01:00:55,680 --> 01:00:58,560
Speaker 1: So I'm not actually sure, but I don't know by

1057
01:00:58,560 --> 01:00:59,560
Speaker 1: the numbers, it might be.

1058
01:01:00,160 --> 01:01:02,760
Speaker 2: I think it takes the game. There are scenes in

1059
01:01:02,840 --> 01:01:07,000
Speaker 2: other films that are wild and could take the crown

1060
01:01:07,240 --> 01:01:12,160
Speaker 2: for wild scenes, but the entire movie is gross.

1061
01:01:12,560 --> 01:01:17,080
Speaker 1: Yes, and it's so funny that it's that way, because

1062
01:01:17,120 --> 01:01:18,880
Speaker 1: this is essentially a fairy tale.

1063
01:01:18,960 --> 01:01:20,360
Speaker 2: The movie is a fairy tale.

1064
01:01:20,760 --> 01:01:26,360
Speaker 1: Explain all right, here's my one sentence synopsis of Desperate Living.

1065
01:01:27,080 --> 01:01:31,880
Speaker 1: A rich suburban housewife and her maid accidentally kill her

1066
01:01:31,960 --> 01:01:36,720
Speaker 1: husband and our exile to Mordeville, a criminal colony ruled

1067
01:01:36,720 --> 01:01:42,120
Speaker 1: by the evil Queen Carlotta and her sadist Henchman. Okay, congrats,

1068
01:01:42,160 --> 01:01:45,920
Speaker 1: it's wonderful, Thank you very much, because there was so

1069
01:01:46,040 --> 01:01:49,520
Speaker 1: much going on in this movie that that feels like

1070
01:01:49,560 --> 01:01:54,680
Speaker 1: an understatement, like the one sentence synopsis truly skims the surface.

1071
01:01:54,280 --> 01:01:55,600
Speaker 2: Of what Desperate Living is about.

1072
01:01:55,680 --> 01:01:59,680
Speaker 1: So this film is about a woman named Peggy Gravel,

1073
01:02:00,080 --> 01:02:04,160
Speaker 1: who was played by the legendary mink Stool of The Dreamlanders.

1074
01:02:04,640 --> 01:02:08,400
Speaker 1: She has a housewife in suburban Baltimore. She's been in

1075
01:02:08,440 --> 01:02:10,960
Speaker 1: and out of the hospital for having nervous breakdowns.

1076
01:02:11,560 --> 01:02:15,080
Speaker 2: She's convinced everyone is trying.

1077
01:02:14,840 --> 01:02:19,000
Speaker 1: To kill her, including her own children and her own husband. Okay,

1078
01:02:21,240 --> 01:02:25,760
Speaker 1: and don't get me wrong, her husband is a feckin'

1079
01:02:26,120 --> 01:02:27,800
Speaker 1: mushy faced creep.

1080
01:02:27,800 --> 01:02:29,400
Speaker 2: Himself who was also racist.

1081
01:02:29,720 --> 01:02:32,800
Speaker 1: Okay, so he has no prize, but like Peggy, is

1082
01:02:32,840 --> 01:02:37,000
Speaker 1: truly on one. Okay, Like the paranoia is strong with

1083
01:02:37,080 --> 01:02:37,560
Speaker 1: this woman.

1084
01:02:38,360 --> 01:02:41,360
Speaker 2: The first there are very there are many memorable lines

1085
01:02:41,400 --> 01:02:44,400
Speaker 2: in this film, but the first fifteen minutes of this

1086
01:02:44,520 --> 01:02:49,720
Speaker 2: movie got some of the most quotable, weirdest, funniest lines

1087
01:02:49,800 --> 01:02:53,120
Speaker 2: I've ever heard an actor say.

1088
01:02:53,840 --> 01:02:55,920
Speaker 1: I mean, I would say them all right now, but

1089
01:02:55,960 --> 01:02:58,600
Speaker 1: I would be that person that's just annoying and quoting

1090
01:02:58,600 --> 01:03:02,160
Speaker 1: a movie all the time and who wants right. So

1091
01:03:02,800 --> 01:03:05,640
Speaker 1: her husband is trying to medicate her at some point.

1092
01:03:06,080 --> 01:03:08,160
Speaker 2: Again, we're like fifteen minutes in the movie.

1093
01:03:07,920 --> 01:03:12,560
Speaker 1: Of this like epic shit that she's saying, and of

1094
01:03:12,600 --> 01:03:18,320
Speaker 1: course Peggy flips out calls in her psychiatric nurse named Griselda,

1095
01:03:18,440 --> 01:03:19,440
Speaker 1: who is played.

1096
01:03:19,160 --> 01:03:22,080
Speaker 2: By Jean Hill another legend.

1097
01:03:22,960 --> 01:03:27,240
Speaker 1: More about her in just a second. But essentially they

1098
01:03:27,360 --> 01:03:33,080
Speaker 1: kill him. I guess it's on accident, even though nobody's

1099
01:03:33,160 --> 01:03:36,439
Speaker 1: really too sad that he's gone. Let's just say that, yeah,

1100
01:03:37,480 --> 01:03:41,080
Speaker 1: but they accidentally kill him, and at that point they

1101
01:03:41,120 --> 01:03:45,760
Speaker 1: are officially on the run. They're officially sisters in crime.

1102
01:03:45,880 --> 01:03:48,080
Speaker 1: As Griselda calls them.

1103
01:03:48,000 --> 01:03:51,080
Speaker 2: They run out of that house and leave those children

1104
01:03:51,200 --> 01:03:54,680
Speaker 2: so fast because yeah, he's dead, but she has two

1105
01:03:54,760 --> 01:03:57,720
Speaker 2: kids in that house. She's gone by.

1106
01:03:58,640 --> 01:04:02,600
Speaker 1: They are still play and doctor somewhere they're there. Who

1107
01:04:02,640 --> 01:04:05,480
Speaker 1: knows what happens to the Gravel children. Let's just say that.

1108
01:04:05,560 --> 01:04:09,919
Speaker 1: But to me, this movie is all about Griselda, who

1109
01:04:09,960 --> 01:04:13,800
Speaker 1: is played by Gene Hill. Yes, okay, she was a Dreamlander.

1110
01:04:14,240 --> 01:04:18,200
Speaker 1: She was in several of John Waters movies. If anybody

1111
01:04:18,200 --> 01:04:23,400
Speaker 1: has seen Polyester, she's the woman in the choir robe

1112
01:04:23,840 --> 01:04:27,400
Speaker 1: who bites the tire of a car and pops it

1113
01:04:27,520 --> 01:04:33,280
Speaker 1: with her own mouth, like seriously epic and she has

1114
01:04:33,560 --> 01:04:35,880
Speaker 1: some of the best lines in this movie. Bar nun

1115
01:04:36,040 --> 01:04:39,240
Speaker 1: I just I love her so much. So Peggy and

1116
01:04:39,240 --> 01:04:42,120
Speaker 1: Griselda are now on the run. They get pulled over

1117
01:04:42,200 --> 01:04:46,400
Speaker 1: by this psychotic police officer who assaults them in a

1118
01:04:46,560 --> 01:04:52,680
Speaker 1: very disturbing way, very also involving underwear, ladies, underwear.

1119
01:04:53,400 --> 01:04:56,959
Speaker 2: There's a lot of crossover with our films, unintentionally unintentional

1120
01:04:57,000 --> 01:04:59,200
Speaker 2: crossovers always.

1121
01:04:59,280 --> 01:05:02,439
Speaker 1: And the the cops basically like I just heard about

1122
01:05:02,480 --> 01:05:05,640
Speaker 1: you guys on the radio. You guys are wanted for murder.

1123
01:05:05,960 --> 01:05:08,920
Speaker 1: The only shot you have is to go to Mortville.

1124
01:05:09,520 --> 01:05:11,440
Speaker 1: And they're like, what is Mortonville. He's like, it's just

1125
01:05:11,480 --> 01:05:13,880
Speaker 1: down the road. It's you know, that's where you're gonna

1126
01:05:13,920 --> 01:05:17,680
Speaker 1: end up. So they show up to Mortonville and Mortonville

1127
01:05:17,880 --> 01:05:21,800
Speaker 1: is a dump, like literally a dump. It's essentially a

1128
01:05:21,800 --> 01:05:25,479
Speaker 1: colony filled with people who have committed crimes. The whole

1129
01:05:25,520 --> 01:05:28,479
Speaker 1: place looks like the houses were made of like two

1130
01:05:28,480 --> 01:05:30,400
Speaker 1: by four and paper mache.

1131
01:05:30,400 --> 01:05:33,400
Speaker 2: They're just like very they're like paper thin walls.

1132
01:05:34,080 --> 01:05:38,760
Speaker 1: Everybody is wearing like clothing that they found on the street,

1133
01:05:38,880 --> 01:05:43,760
Speaker 1: like they're they're eating rats for breakfast. Nobody has money

1134
01:05:44,000 --> 01:05:48,280
Speaker 1: or happiness and they just get brutalized all day by

1135
01:05:48,320 --> 01:05:53,560
Speaker 1: the police, who are the henchmen of Queen Carlata.

1136
01:05:53,800 --> 01:05:58,440
Speaker 2: Yes, so their their life is hell as is the

1137
01:05:58,440 --> 01:05:59,640
Speaker 2: theme for this week. Okay.

1138
01:06:00,320 --> 01:06:02,880
Speaker 1: So they show up to one of the houses and

1139
01:06:02,960 --> 01:06:05,920
Speaker 1: it has a vacancy sign. The door is answered by

1140
01:06:06,640 --> 01:06:11,000
Speaker 1: Mole McHenry, who is played by Susan Lowe. So Mole

1141
01:06:11,160 --> 01:06:14,440
Speaker 1: in this film, I believe in this film would be

1142
01:06:14,480 --> 01:06:19,680
Speaker 1: described as a butsch lesbian. Okay, maybe in a modern

1143
01:06:19,800 --> 01:06:25,600
Speaker 1: context would be a trans man with some possible gender

1144
01:06:25,720 --> 01:06:26,880
Speaker 1: dysphoria issues.

1145
01:06:27,440 --> 01:06:29,640
Speaker 2: Yeah, you know, well there's a line in the film

1146
01:06:29,680 --> 01:06:33,040
Speaker 2: where she says, I'm a man trapped in a woman's body,

1147
01:06:33,200 --> 01:06:36,040
Speaker 2: and I think that's a fair assessment. Okay.

1148
01:06:36,720 --> 01:06:42,720
Speaker 1: So Mole's girlfriend is the beautiful Muffy Saint Jacques, the

1149
01:06:42,760 --> 01:06:46,120
Speaker 1: most beautiful woman in Mortville, as she's called, and she

1150
01:06:46,240 --> 01:06:50,440
Speaker 1: is played by Liz Rene, who is an absolute legendary woman.

1151
01:06:51,240 --> 01:06:53,760
Speaker 2: Just go look up her books. Look her up.

1152
01:06:54,280 --> 01:06:58,320
Speaker 1: She was like a burlesque dancer, She was a gangster

1153
01:06:58,480 --> 01:07:02,680
Speaker 1: mall at one point. Like she has lived an incredible

1154
01:07:02,680 --> 01:07:06,400
Speaker 1: life and wrote the best names for books ever. One

1155
01:07:06,440 --> 01:07:08,200
Speaker 1: of the books that I own by her is called

1156
01:07:08,480 --> 01:07:18,120
Speaker 1: My First one Thousand Men. Just such an incredible person.

1157
01:07:18,360 --> 01:07:19,960
Speaker 1: She was, I guess supposed.

1158
01:07:19,520 --> 01:07:21,240
Speaker 2: To be kind of like a.

1159
01:07:23,480 --> 01:07:26,080
Speaker 1: She kind of has this maybe Van Doren vibe to

1160
01:07:26,120 --> 01:07:27,200
Speaker 1: her a little bit.

1161
01:07:27,760 --> 01:07:31,720
Speaker 2: But in this movie she is unbelievable.

1162
01:07:31,800 --> 01:07:36,240
Speaker 1: Her and Mole are my other favorite characters in the movie.

1163
01:07:36,280 --> 01:07:39,520
Speaker 2: They just have the best lines ever, and.

1164
01:07:39,920 --> 01:07:42,800
Speaker 1: They do these flashback sequences of how they both ended

1165
01:07:42,880 --> 01:07:47,640
Speaker 1: up in Mordeville, and they are so incredible. Mole was

1166
01:07:47,760 --> 01:07:51,160
Speaker 1: essentially a wrestler who killed her opponent in the ring,

1167
01:07:51,240 --> 01:07:57,160
Speaker 1: and the name of her opponent was Big Jimmy Dong,

1168
01:07:57,360 --> 01:07:59,920
Speaker 1: the human blockhead. That's who she killed in the ring.

1169
01:08:01,600 --> 01:08:05,880
Speaker 1: And Muffy is in Mortville because it's revealed that she

1170
01:08:06,440 --> 01:08:11,320
Speaker 1: murdered her babysitter by drowning her in a bowl of

1171
01:08:11,400 --> 01:08:14,640
Speaker 1: dog food after her and her husband came home and

1172
01:08:14,720 --> 01:08:16,920
Speaker 1: realized that the babysitter had a party at their house

1173
01:08:17,240 --> 01:08:23,000
Speaker 1: and put her baby in a refrigerator. Ps they actually

1174
01:08:23,040 --> 01:08:25,480
Speaker 1: had a baby in a refrigerator.

1175
01:08:24,880 --> 01:08:24,960
Speaker 2: And.

1176
01:08:28,040 --> 01:08:32,400
Speaker 1: There's Liz Rene opens the refrigerator door. The actress, Liz

1177
01:08:32,439 --> 01:08:35,639
Speaker 1: Rene opens the refrigerator door, and this baby comes falling out.

1178
01:08:38,640 --> 01:08:44,920
Speaker 2: Like the seventies, the seventies evil Who was doing that?

1179
01:08:45,600 --> 01:08:45,800
Speaker 2: You know?

1180
01:08:45,960 --> 01:08:49,439
Speaker 1: Like, who's doing that for us for our entertainment? I say,

1181
01:08:50,720 --> 01:08:55,200
Speaker 1: nobody but John Waters. So Peggy and Griselda move into

1182
01:08:55,280 --> 01:08:59,040
Speaker 1: Mole and Muffy's guest house and they soon become lovers

1183
01:08:59,840 --> 01:09:03,080
Speaker 1: and they quickly get sent to the castle of the

1184
01:09:03,200 --> 01:09:06,360
Speaker 1: evil Queen Carlotta, like I said, played by Edith Massey.

1185
01:09:07,600 --> 01:09:09,880
Speaker 1: She is a fascist dictator and we know this because

1186
01:09:09,920 --> 01:09:15,719
Speaker 1: she has paintings of famous dictators like Hitler in her castle.

1187
01:09:16,560 --> 01:09:22,440
Speaker 1: And she runs Mordville and She basically makes these residents

1188
01:09:22,800 --> 01:09:25,880
Speaker 1: live in filth, She starves them, she makes them do

1189
01:09:26,080 --> 01:09:29,719
Speaker 1: humiliating things for rich tourists who come and take pictures

1190
01:09:29,760 --> 01:09:32,679
Speaker 1: of them. And she orders her goons around all day

1191
01:09:33,000 --> 01:09:35,640
Speaker 1: who are like these kind of like these tom of

1192
01:09:35,720 --> 01:09:39,280
Speaker 1: Finland guys. Yeah, and they carry her around on a

1193
01:09:39,320 --> 01:09:42,760
Speaker 1: fucking throne and perform sexual acts for her.

1194
01:09:43,479 --> 01:09:46,679
Speaker 2: And Edith Massey is so great in this movie.

1195
01:09:46,800 --> 01:09:49,360
Speaker 1: It's like when we talked about Misery a few episodes

1196
01:09:49,400 --> 01:09:52,360
Speaker 1: ago and we thought, wouldn't it be fun to be

1197
01:09:53,320 --> 01:09:55,960
Speaker 1: Kathy Bates playing that character. That's kind of how I

1198
01:09:55,960 --> 01:09:59,280
Speaker 1: feel about Queen Carlotta, Like I wish I could have

1199
01:09:59,720 --> 01:10:03,360
Speaker 1: been Edith Massey playing that character, because the character is

1200
01:10:03,439 --> 01:10:08,000
Speaker 1: so ridiculous. She eats like marshmallows all day and it's

1201
01:10:08,040 --> 01:10:12,280
Speaker 1: just crazy. But she has a daughter named Princess Cuckoo,

1202
01:10:12,360 --> 01:10:17,320
Speaker 1: who is played by Mary Vivian Pearce, and Cucko hates

1203
01:10:17,360 --> 01:10:21,200
Speaker 1: her mom because she won't let her date this garbage

1204
01:10:21,240 --> 01:10:26,760
Speaker 1: man who works at the newdest colony nearby. Okay, but essentially,

1205
01:10:26,920 --> 01:10:30,880
Speaker 1: Mole and Muffy gather together the other lesbians in Mortonville

1206
01:10:31,200 --> 01:10:33,880
Speaker 1: and they start planning to kind of overthrow Carlotta because

1207
01:10:33,880 --> 01:10:39,439
Speaker 1: they've had enough, okay, And at some point Mole wins

1208
01:10:39,479 --> 01:10:41,720
Speaker 1: the lottery, just a lot tucked in.

1209
01:10:41,920 --> 01:10:44,360
Speaker 2: I'm just trying to be as concise as possible, but

1210
01:10:44,360 --> 01:10:45,519
Speaker 2: I don't think it's possible.

1211
01:10:45,640 --> 01:10:49,200
Speaker 1: I don't think it's possible either, But Griselda and Peggy

1212
01:10:49,240 --> 01:10:52,320
Speaker 1: have paid Mole for ruben board with like a lottery ticket.

1213
01:10:52,880 --> 01:10:55,639
Speaker 1: As it turns out, Mole and Muffy win the lottery.

1214
01:10:56,360 --> 01:11:00,320
Speaker 1: So at that point, I guess Mole and Muffy and

1215
01:11:00,360 --> 01:11:03,400
Speaker 1: the other crew in Mordfield decide we've had enough of

1216
01:11:03,439 --> 01:11:03,880
Speaker 1: this bitch.

1217
01:11:03,920 --> 01:11:05,320
Speaker 2: We gotta get rid of her, okay.

1218
01:11:05,840 --> 01:11:09,680
Speaker 1: Griselda at one point is killed after a house collapses

1219
01:11:09,720 --> 01:11:15,320
Speaker 1: on her, and after that happens, Peggy essentially becomes a

1220
01:11:15,360 --> 01:11:19,200
Speaker 1: servant to Queen Carlotta, because you know Peggy, she comes

1221
01:11:19,240 --> 01:11:22,840
Speaker 1: from this rich, suburban place and she has all these

1222
01:11:22,880 --> 01:11:26,160
Speaker 1: airs about her, and now that Griselda's did, she kind

1223
01:11:26,160 --> 01:11:28,439
Speaker 1: of figures, okay, well, let me go in there and

1224
01:11:28,520 --> 01:11:32,280
Speaker 1: kiss a little ass and be the queen servant, right,

1225
01:11:33,880 --> 01:11:36,959
Speaker 1: And this is around the same time that Queen Carlotta

1226
01:11:37,000 --> 01:11:40,719
Speaker 1: decides that she wants to inject all of the residents

1227
01:11:40,720 --> 01:11:43,799
Speaker 1: of Mordeville with Rabies, which is.

1228
01:11:43,640 --> 01:11:48,400
Speaker 2: Like totally outrageous, sounds like a fever dream. It truly is.

1229
01:11:48,520 --> 01:11:51,920
Speaker 1: But Okay, I know we say we don't like to

1230
01:11:51,920 --> 01:11:54,920
Speaker 1: give away the ending of movies, but I just have

1231
01:11:55,000 --> 01:11:57,040
Speaker 1: to in this case. I feel like this movie is

1232
01:11:57,040 --> 01:11:59,040
Speaker 1: old enough. I feel like it's ridiculous enough.

1233
01:11:59,160 --> 01:11:59,800
Speaker 2: Go for it.

1234
01:11:59,840 --> 01:12:03,320
Speaker 1: If you don't want to know the ending to Desperate Living,

1235
01:12:03,720 --> 01:12:08,320
Speaker 1: I say, like, skip ten seconds right about now. Okay,

1236
01:12:08,560 --> 01:12:10,799
Speaker 1: But at the end of this movie, Mole and Muffy

1237
01:12:10,920 --> 01:12:14,800
Speaker 1: and their friends storm the Queen's castle with Cuckoo, They

1238
01:12:14,880 --> 01:12:20,519
Speaker 1: kill Peggy, they eventually kill Queen Carlotta, effectively liberating the town,

1239
01:12:20,960 --> 01:12:23,839
Speaker 1: and then they feed the residents with the barbecued corpse

1240
01:12:23,840 --> 01:12:27,800
Speaker 1: of Queen Carlotta, their former dictator.

1241
01:12:28,600 --> 01:12:33,160
Speaker 2: It's so much, it's so much a dick now.

1242
01:12:33,240 --> 01:12:36,080
Speaker 1: I never thought I would live to see the day

1243
01:12:36,120 --> 01:12:38,400
Speaker 1: that I would try to attempt to explain a John

1244
01:12:38,439 --> 01:12:40,600
Speaker 1: Waters movie to people on a podcast. So this is

1245
01:12:40,600 --> 01:12:42,760
Speaker 1: all very new to me, and I hope that I

1246
01:12:42,840 --> 01:12:46,200
Speaker 1: did it justice in some way. But the point of

1247
01:12:46,240 --> 01:12:49,880
Speaker 1: this is to say that the whole movie is sort

1248
01:12:49,920 --> 01:12:53,559
Speaker 1: of like, well, it's obviously a satire, but it's so

1249
01:12:54,760 --> 01:12:57,920
Speaker 1: the scope of it is so outrageous and huge that

1250
01:12:58,000 --> 01:13:00,559
Speaker 1: you're just sort of like in awe the entire time.

1251
01:13:00,760 --> 01:13:02,200
Speaker 2: I guess that's kind of the best way to put it.

1252
01:13:02,320 --> 01:13:07,360
Speaker 1: Yeah, But somehow somebody in the most recent year, I

1253
01:13:07,360 --> 01:13:10,719
Speaker 1: would say probably in the past year or two, wrote

1254
01:13:10,760 --> 01:13:13,200
Speaker 1: a review of Desperate Living in the New York.

1255
01:13:13,040 --> 01:13:15,280
Speaker 2: Times which basically compared.

1256
01:13:16,400 --> 01:13:21,040
Speaker 1: Queen Carlotta and Peggy to Trump and Mike Pence, which

1257
01:13:21,040 --> 01:13:25,439
Speaker 1: I think is hilarious. Okay, Now, I actually think that's

1258
01:13:25,520 --> 01:13:27,720
Speaker 1: probably why I thought this movie would be a good

1259
01:13:27,800 --> 01:13:29,400
Speaker 1: pick for our theme this week.

1260
01:13:29,640 --> 01:13:31,760
Speaker 2: That is an incredible connection.

1261
01:13:32,640 --> 01:13:38,000
Speaker 1: Because it's so funny that this movie has some kind

1262
01:13:38,040 --> 01:13:41,919
Speaker 1: of lasting power that actually has a lot of parallels

1263
01:13:41,960 --> 01:13:47,280
Speaker 1: to like current political events, like who would have ever thought? Right,

1264
01:13:48,120 --> 01:13:52,080
Speaker 1: And it's like that double sided thing of like a

1265
01:13:52,240 --> 01:13:54,679
Speaker 1: who would have ever thought? That John Waters would make

1266
01:13:55,080 --> 01:13:57,360
Speaker 1: the most outrageous fucked up movie of all time and

1267
01:13:57,360 --> 01:14:02,080
Speaker 1: it somehow is paralleled with a current thing that's happening

1268
01:14:02,120 --> 01:14:06,920
Speaker 1: in the world, but also that our lives became dystopian.

1269
01:14:07,840 --> 01:14:11,400
Speaker 1: You don't have to where it mirrored a John Waters movie, right, it's.

1270
01:14:11,200 --> 01:14:15,280
Speaker 2: Just yeah, so we are in hell. The theme like

1271
01:14:15,360 --> 01:14:19,439
Speaker 2: this movie fits in because of John Water's prophetic vision.

1272
01:14:21,640 --> 01:14:28,919
Speaker 2: He's very strangely prophetic with I could have never imagined

1273
01:14:28,920 --> 01:14:30,000
Speaker 2: that in a million years.

1274
01:14:30,040 --> 01:14:35,320
Speaker 1: So I'm to me this movie is first of all,

1275
01:14:35,960 --> 01:14:39,720
Speaker 1: I do think it's worthy of a restoration and a

1276
01:14:39,840 --> 01:14:42,760
Speaker 1: whole re examining it just as much as all the

1277
01:14:42,800 --> 01:14:45,639
Speaker 1: other films. Like I'd always said, it's the grossest one,

1278
01:14:46,200 --> 01:14:48,960
Speaker 1: and there's just so much going on with it at

1279
01:14:48,960 --> 01:14:50,920
Speaker 1: all times that it's kind of like a lot to

1280
01:14:51,000 --> 01:14:51,320
Speaker 1: take in.

1281
01:14:51,600 --> 01:14:55,280
Speaker 2: However, it totally deserves it because it's like I watched it.

1282
01:14:55,320 --> 01:14:57,800
Speaker 1: I think it's on Amazon, and I watched it, and

1283
01:14:58,200 --> 01:15:00,240
Speaker 1: I was like sitting here, going, oh, like some body

1284
01:15:00,280 --> 01:15:03,280
Speaker 1: could easily do the work on this, and maybe maybe

1285
01:15:03,280 --> 01:15:06,320
Speaker 1: somebody is and I don't know it, but I was like,

1286
01:15:06,439 --> 01:15:09,080
Speaker 1: imagine if this movie was in four K, like it

1287
01:15:09,120 --> 01:15:13,800
Speaker 1: would blow people's minds. But I think it's actually it

1288
01:15:13,840 --> 01:15:17,040
Speaker 1: does deserve to be put back out in the world

1289
01:15:17,040 --> 01:15:18,520
Speaker 1: in a really great condition.

1290
01:15:18,439 --> 01:15:20,240
Speaker 2: Because it's so relevant.

1291
01:15:20,360 --> 01:15:23,439
Speaker 1: So people who have the power to do these types

1292
01:15:23,479 --> 01:15:25,200
Speaker 1: of things, please do that for me and make a

1293
01:15:25,200 --> 01:15:27,160
Speaker 1: blu ray of it, bring it out to a movie

1294
01:15:27,160 --> 01:15:29,679
Speaker 1: theater so I can see it all of the nooks

1295
01:15:29,720 --> 01:15:30,360
Speaker 1: and crannies.

1296
01:15:32,120 --> 01:15:36,519
Speaker 2: Oh my goodness, I will go see it with you. Yes,

1297
01:15:37,000 --> 01:15:39,760
Speaker 2: I will cringe with you. I will puke with you.

1298
01:15:41,120 --> 01:15:43,640
Speaker 2: It will be fantastic. I'm glad you picked this for

1299
01:15:43,880 --> 01:15:45,320
Speaker 2: I didn't even realize you were going to make that

1300
01:15:45,360 --> 01:15:49,320
Speaker 2: connection to modern times. But I'm really glad you picked

1301
01:15:49,320 --> 01:15:51,840
Speaker 2: this film because I think that, you know, again, John

1302
01:15:51,880 --> 01:15:56,360
Speaker 2: Waters has impacted so many of our lives, and this

1303
01:15:56,400 --> 01:15:59,719
Speaker 2: film in particular is just it needs to be seen

1304
01:16:00,160 --> 01:16:04,679
Speaker 2: by people who are interested in the John Waters ubra. Yeah.

1305
01:16:04,800 --> 01:16:07,080
Speaker 1: And I actually think I read somewhere. I think it

1306
01:16:07,160 --> 01:16:09,000
Speaker 1: might have been in the same New York Times article,

1307
01:16:09,080 --> 01:16:12,479
Speaker 1: which basically he was like, like somebody brought that up

1308
01:16:12,520 --> 01:16:15,240
Speaker 1: to him that basically like, isn't it weird that this

1309
01:16:15,360 --> 01:16:18,040
Speaker 1: movie you made in nineteen seventy seven is like basically

1310
01:16:18,240 --> 01:16:19,360
Speaker 1: the Trump administration.

1311
01:16:19,520 --> 01:16:24,040
Speaker 2: And he was like, yeah, but it's not funny. It's

1312
01:16:24,120 --> 01:16:25,559
Speaker 2: not funny than that happened.

1313
01:16:26,000 --> 01:16:31,080
Speaker 1: So and I have to agree, like it's funny when

1314
01:16:31,120 --> 01:16:35,439
Speaker 1: it's a fairy tale, but you know, kind of different

1315
01:16:35,439 --> 01:16:37,000
Speaker 1: when it's in real life sometimes.

1316
01:16:37,040 --> 01:16:38,800
Speaker 2: But it was.

1317
01:16:38,880 --> 01:16:40,800
Speaker 1: It was a joy to watch it again. I hadn't

1318
01:16:40,840 --> 01:16:42,439
Speaker 1: seen it in a while, like it had been a

1319
01:16:42,439 --> 01:16:47,720
Speaker 1: few years. Yeah, and I'm still imagining what would have

1320
01:16:47,720 --> 01:16:49,800
Speaker 1: happened if we played it on TCM. Not to say

1321
01:16:49,800 --> 01:16:52,920
Speaker 1: that it would never happen. I mean, who knows, who

1322
01:16:52,960 --> 01:16:56,200
Speaker 1: knows what If it's the last movie you ever program,

1323
01:16:57,800 --> 01:16:59,960
Speaker 1: maybe that is it and then you just retire.

1324
01:17:01,200 --> 01:17:03,440
Speaker 2: I'm gonna leave instructions in my will.

1325
01:17:05,120 --> 01:17:09,960
Speaker 1: Play Desperate Living at eight pm the day that I die.

1326
01:17:10,240 --> 01:17:14,639
Speaker 2: Yes, Oh my.

1327
01:17:14,600 --> 01:17:18,479
Speaker 1: Goodness, our theme, I swear our themes. They make me

1328
01:17:18,560 --> 01:17:22,519
Speaker 1: laugh because obviously we're sort of in a space where

1329
01:17:22,520 --> 01:17:24,360
Speaker 1: we're just like thinking of funny things that would make

1330
01:17:24,400 --> 01:17:26,720
Speaker 1: each other laugh. But this one was really really fun

1331
01:17:26,760 --> 01:17:29,559
Speaker 1: to think about because it was broad. Like some weeks

1332
01:17:29,600 --> 01:17:32,439
Speaker 1: it's very specific, but this one was like kind of

1333
01:17:32,479 --> 01:17:35,640
Speaker 1: like talk about hell, and that was our interpretation of it.

1334
01:17:35,720 --> 01:17:38,960
Speaker 2: So that's fun. It was great. It was great fun,

1335
01:17:39,840 --> 01:17:44,679
Speaker 2: even talking about Little Children, which is who just maybe

1336
01:17:44,720 --> 01:17:48,400
Speaker 2: watch that? Maybe watch that one in the morning, like

1337
01:17:48,439 --> 01:17:49,760
Speaker 2: you don't want to go to bed on the back

1338
01:17:49,800 --> 01:17:50,839
Speaker 2: of the Little Children.

1339
01:17:52,040 --> 01:17:56,799
Speaker 1: Both these films disturbing in their own lovely ways. Well,

1340
01:17:57,280 --> 01:17:58,679
Speaker 1: what are the movies for next week?

1341
01:17:59,560 --> 01:18:02,519
Speaker 2: Oh yeah, you're gonna have to guess the theme. But

1342
01:18:02,600 --> 01:18:06,240
Speaker 2: the movies for next week are the Opposite of Sex

1343
01:18:06,240 --> 01:18:10,120
Speaker 2: from nineteen ninety eight and Splendor from nineteen ninety nine.

1344
01:18:10,600 --> 01:18:16,320
Speaker 1: Oh my goodness, people, Oho, that's a doozy. I'm very

1345
01:18:16,320 --> 01:18:19,280
Speaker 1: excited for that. But if you would like to, we

1346
01:18:19,720 --> 01:18:22,439
Speaker 1: would love it. In fact, if you emailed us, if

1347
01:18:22,479 --> 01:18:24,360
Speaker 1: you just have thoughts, if you want to talk about

1348
01:18:24,840 --> 01:18:27,920
Speaker 1: dystopian future films, or if you want to just give

1349
01:18:28,000 --> 01:18:32,440
Speaker 1: us stories of times that you had affairs with guys

1350
01:18:32,800 --> 01:18:35,599
Speaker 1: from the pool, email us at once I Saw.

1351
01:18:35,520 --> 01:18:37,400
Speaker 2: What you did Pod at gmail dot com.

1352
01:18:37,439 --> 01:18:40,559
Speaker 1: Actually, don't tell us about your affair because then what

1353
01:18:40,600 --> 01:18:41,400
Speaker 1: if it's a crime.

1354
01:18:42,439 --> 01:18:44,680
Speaker 2: You keep that to yourself. I don't want to be

1355
01:18:44,720 --> 01:18:45,880
Speaker 2: implicated in any way.

1356
01:18:47,160 --> 01:18:49,439
Speaker 1: Yeah, we don't want to be subpoened for any shit,

1357
01:18:50,000 --> 01:18:52,240
Speaker 1: So don't tell us about your fair actually.

1358
01:18:52,400 --> 01:18:54,559
Speaker 2: But you can also find us on our social media

1359
01:18:54,560 --> 01:18:57,280
Speaker 2: accounts at I Saw Pod on Instagram and Twitter and

1360
01:18:57,280 --> 01:19:01,240
Speaker 2: you can comment all you want there about your pool affairs. Yeah.

1361
01:19:01,360 --> 01:19:06,240
Speaker 1: In public, we also have merch cold weather merch peoples,

1362
01:19:06,360 --> 01:19:10,519
Speaker 1: get a bit nippy outside. It's at the exactly Right

1363
01:19:10,560 --> 01:19:12,679
Speaker 1: Shop at exactlyrightmedia dot com.

1364
01:19:12,960 --> 01:19:15,519
Speaker 2: And if you want even more from us, we have

1365
01:19:15,760 --> 01:19:20,160
Speaker 2: so many bonus episodes available only at Stitcher Premium. You

1366
01:19:20,200 --> 01:19:22,719
Speaker 2: can use the promo code SAW for a free month.

1367
01:19:23,040 --> 01:19:26,000
Speaker 2: But that's where we read most of your emails, so

1368
01:19:26,040 --> 01:19:29,040
Speaker 2: if you want to hear us respond to something you've sent,

1369
01:19:29,400 --> 01:19:30,559
Speaker 2: that's the place to do it.

1370
01:19:31,439 --> 01:19:34,000
Speaker 1: Yes, and I just have to say the last one

1371
01:19:34,040 --> 01:19:36,120
Speaker 1: we did cracked me up. It was so fun to

1372
01:19:36,160 --> 01:19:39,120
Speaker 1: do and I just love doing it.

1373
01:19:39,120 --> 01:19:42,799
Speaker 2: It was so funny. Yeah, so fun. I love those episodes.

1374
01:19:42,800 --> 01:19:45,559
Speaker 2: They're really loose and free and fun. I mean these

1375
01:19:45,600 --> 01:19:50,880
Speaker 2: are loose and free and fun. Also those for some reason,

1376
01:19:50,920 --> 01:19:53,960
Speaker 2: I feel like they just make me laugh because your

1377
01:19:54,000 --> 01:19:57,000
Speaker 2: stories are wild, so they just make me laugh so hard. Yeah.

1378
01:19:57,040 --> 01:19:59,559
Speaker 1: We tend to read like long ones too because we

1379
01:19:59,640 --> 01:20:02,000
Speaker 1: just have the time. So you know, a lot of

1380
01:20:02,000 --> 01:20:04,840
Speaker 1: people get like really into the like craft of writing

1381
01:20:04,880 --> 01:20:08,719
Speaker 1: the email, which we love, so please join us over there.

1382
01:20:08,760 --> 01:20:13,280
Speaker 1: But yeah, as always, it was fun. It is not

1383
01:20:13,520 --> 01:20:15,600
Speaker 1: a hell to do this podcast with you.

1384
01:20:15,720 --> 01:20:20,439
Speaker 2: Danielle. I'm only in hell when Carrot pukes.

1385
01:20:24,960 --> 01:20:32,720
Speaker 1: Techno song, techno song, Oh my god, I'll never forget.

1386
01:20:32,400 --> 01:20:35,080
Speaker 2: That, Susie and the techno song which she said that

1387
01:20:35,120 --> 01:20:37,839
Speaker 2: I lost my mind. But no, this is the opposite

1388
01:20:37,880 --> 01:20:41,679
Speaker 2: of hell, this is my favorite night of the week.

1389
01:20:42,439 --> 01:20:44,080
Speaker 2: Ah me too.

1390
01:20:44,840 --> 01:20:48,120
Speaker 1: And on that note, thanks everybody for joining us. We

1391
01:20:48,200 --> 01:20:55,480
Speaker 1: love you, talk to you soon, Bye bye.

1392
01:20:57,320 --> 01:21:00,800
Speaker 2: This has been an exactly right production. Our producer is EXISAMRESSI.

1393
01:21:01,000 --> 01:21:04,559
Speaker 2: Our engineers Analise Nelson. Our theme songs by Tom bry Foegel.

1394
01:21:04,920 --> 01:21:08,559
Speaker 2: Artwork by Garrett Ross. Our executive producers are Georgia hard Stark,

1395
01:21:08,640 --> 01:21:11,840
Speaker 2: Kring Till Gareth and Danielle Kramer. Follow us on Instagram

1396
01:21:11,880 --> 01:21:14,640
Speaker 2: and Twitter at I saw pod email us at I

1397
01:21:14,680 --> 01:21:16,960
Speaker 2: saw what you did pod at Gmail, and please don't

1398
01:21:16,960 --> 01:21:20,880
Speaker 2: forget to listen, subscribe, leave us a review on Apple Podcast, Stitcher,

1399
01:21:21,040 --> 01:21:22,120
Speaker 2: or wherever you listen.