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Speaker 1: Hey, everybody, welcome to another episode of I Saw What

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Speaker 1: You Did. My name is Millie to Jericho.

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Speaker 2: I'm Danielle Henderson, and we are here with you.

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Speaker 1: To talk about film. Danielle, what's up? Not much chill week?

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Speaker 2: How's everything going with you?

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Speaker 1: It's actually okay. I did I tell you that I

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Speaker 1: have been taking an art class.

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Speaker 2: You did, and I've been seeing some of the art

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Speaker 2: you've been posting and you are an incredible artist.

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Speaker 1: What the fuck? How could you bury this lead for

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Speaker 1: so long? I thank you for saying that. I do

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Speaker 1: not feel like that's true, but I really wanted to

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Speaker 1: take classes at this place here in Atlanta that is,

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Speaker 1: you know, kind of like an arts center and it's beautiful.

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Speaker 1: Like I went to a wedding there like twenty years

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Speaker 1: ago for my old roommates, and it's just like it's

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Speaker 1: kind of this weird like tutor property and it has

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Speaker 1: a lot of gardens and stuff, and I was like,

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Speaker 1: this place is so magical. What do they do with

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Speaker 1: this place? And they're like, Oh, they teach you know, art,

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Speaker 1: and you know pottery, and you know, leather working and

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Speaker 1: that kind of shit basket weaving, and they just do

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Speaker 1: a lot of different you know, types of art. And

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Speaker 1: so I was like, you know what, I'm going to

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Speaker 1: take a drawing class because I don't know, just interested

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Speaker 1: in drawing. And it's me and seven other people who

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Speaker 1: are all retired. They're my parents.

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Speaker 2: As you're older, you are also retired right now. So yes, oh,

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Speaker 2: and it is.

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Speaker 1: Like a glimpse into the wonderful retired life. Like I'm like,

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Speaker 1: I'm ready for this now. It's like and maybe have

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Speaker 1: been for a long time because this shit is so fun.

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Speaker 1: It is so fun to go to this class.

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Speaker 2: Oh how many? Like is it once a week? Couple

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Speaker 2: times a week?

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Speaker 1: Yeah, once a week in the morning. I love a

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Speaker 1: morning art class. Great way to start a day. Unbelievable.

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Speaker 1: So yeah, it's a couple hours one day a week,

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Speaker 1: and you know it's taught by you know, this art

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Speaker 1: professor and he's awesome, Like he's kind of this like

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Speaker 1: he reminds me of a guy that I probably would

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Speaker 1: have hung out with in college or something. He's like

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Speaker 1: he was probably in a band, you know what I mean. Like,

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Speaker 1: you know how you get that vibe from certain people

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Speaker 1: You're like, yeah, you're in a band because you wear

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Speaker 1: like double denim and you have like wrist tattoos exactly,

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Speaker 1: even though you might be like, you know, an accountant

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Speaker 1: now or something, but you know you you either play

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Speaker 1: in a band on the weekends or you were in

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Speaker 1: a band in the nineties, right, and yeah, and it's

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Speaker 1: so fun. I mean, listen, you know I love gear.

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Speaker 1: Gear is literally like if I could just buy.

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Speaker 2: Gear for s life. Do you have a carrying case?

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Speaker 2: I imagine you have a carrying case for those pencils.

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Speaker 2: Let me just guess what your whole setup is. I

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Speaker 2: bet you have an easel. I bet you have a

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Speaker 2: few notebooks, a varying paper weight. You've got a watercolor,

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Speaker 2: You've got a sketch, you've got a draft. You have

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Speaker 2: different pencils colored and plane, like the graphite ones and

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Speaker 2: the but also like the the blue ones with the

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Speaker 2: black tip, those art pencils.

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Speaker 1: You bet.

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Speaker 2: I bet you have an intense amount of erasers a

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Speaker 2: varying degree.

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Speaker 1: You called me out on that ship. I have so

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Speaker 1: many different types of erasers it's kind of like it's unhealthy.

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Speaker 1: I love it.

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Speaker 2: And then you go to class with like a suitcase

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Speaker 2: full of gear. I guarantee yes, you read me in

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Speaker 2: to film.

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Speaker 1: What did I expect? What did I expect? No, I'm obsessed.

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Speaker 1: Like I've been to every art art supply story in

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Speaker 1: Atlanta and I'm just browsing the aisles and I'm like,

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Speaker 1: I'm an artist now, so you know, I just want

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Speaker 1: to look, take a look and see what they got here. Oh,

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Speaker 1: like they have all these uh B pencils versus the

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Speaker 1: H pencils, and you know, like all this stuff. Like

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Speaker 1: I know what I'm talking about. I just found out

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Speaker 1: about all of this stuff like three weeks ago. Okay,

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Speaker 1: It's so fun and I have You're correct. I have

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Speaker 1: a little art bin that I keep my erasers and

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Speaker 1: my charcoal and my pencils and my ruler.

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Speaker 2: And I have a little little art kaboodle with your craypaws.

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Speaker 1: Oh yes, and I've got my my sketch my sketch pad,

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Speaker 1: my drawing pad. I actually have two, one for home

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Speaker 1: and one for a way. This is incredible. I love

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Speaker 1: this so much.

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Speaker 2: Yeah, I love this so much, and I think that

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Speaker 2: it's again you were an incredible artist. Like I was

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Speaker 2: shocked when you were like, oh, I'm taking this art

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Speaker 2: class and I'm like, oh, to like show off, because

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Speaker 2: you're a really good art.

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Speaker 1: Well, it's like the first okay, the first class. You know,

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Speaker 1: you basically get used to all of the you know,

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Speaker 1: your gear. He's like an introduction to your gear. They're

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Speaker 1: called art materials or supplies, but I call it gear,

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Speaker 1: you know. But it's basically like he sat down. It

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Speaker 1: was like, here's what all the pencils are, here's what

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Speaker 1: these types of erasers do. It was great. Then he

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Speaker 1: was like, do your first project. He handed out like,

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Speaker 1: you know, pictures of things to draw, and you were

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Speaker 1: just supposed to copy what we saw. And so because

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Speaker 1: when it comes to drawing, like I have always been

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Speaker 1: one of these people that like can't figure out like

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Speaker 1: the size of things.

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Speaker 2: You know what I mean, like dimensionally placing.

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Speaker 1: Yeah. Yeah, So like whenever I draw people's faces, I

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Speaker 1: you know, I can't get the eyes and nose in

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Speaker 1: the right place. I'm like, these eyes are too big

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Speaker 1: and this nose is too small? What is wrong with me?

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Speaker 1: Like I can't dimensionally can't figure it out, and don't.

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Speaker 1: I don't know why. But it's funny because I was

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Speaker 1: actually proud of myself. I was like, oh, that looks

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Speaker 1: like a pair of scissors. That's pretty cool. You know

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Speaker 1: you should be, and then you draw a faith and

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Speaker 1: it looked great. Yes, And the coolest thing about that

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Speaker 1: project in particular was that he made so the teacher

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Speaker 1: made us bring in a you know, he's like, go

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Speaker 1: through a magazine and pick out like a picture of

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Speaker 1: somebody and bring it into class. And so we did that,

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Speaker 1: and you know, I went through like I had these

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Speaker 1: like old issues of like Fantastic Man, and I was like,

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Speaker 1: oh cool, there's like a picture of pedro Amouldivar. That

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Speaker 1: seems really cool. I'll just draw that. So I ripped

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Speaker 1: it out and then we come to class and I'm like,

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Speaker 1: oh fuck, I'm gonna have to draw a face. I'm nervous.

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Speaker 1: And then he was like, okay, so now we're gonna

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Speaker 1: turn all these pictures upside down and you're gonna have

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Speaker 1: to draw it upside down. And I was like what.

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Speaker 1: And for some fucking reason, like I got everything proportionally correct,

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Speaker 1: Like I was like, oh, when I turned it right

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Speaker 1: side up, I was like, oh shit, Like it seemed

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Speaker 1: harder to draw upside down obviously, but I.

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Speaker 2: Wonder like if it's because when you're looking at especially

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Speaker 2: a face upside down, you can break it down into

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Speaker 2: shapes more more readily. Yeah, so it's more about le's

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Speaker 2: about the pressure of getting the details correct and more

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Speaker 2: about getting the placement and the That makes sense to

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Speaker 2: me that you're kind of yeah yeah, Oh, like I've

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Speaker 2: taken it out of context, so it makes a little

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Speaker 2: more sense to me in a different way.

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Speaker 1: Oh yeah. I totally like stopped the teacher when it

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Speaker 1: was walking around. I'm like, all right, what's the science

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Speaker 1: behind this? You got to tell me how can I

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Speaker 1: draw a face upside down but not right side up?

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Speaker 1: And he was just like, give me, give me the

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Speaker 1: oral history of this face drawing.

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Speaker 2: I know.

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Speaker 1: I was like, but it's exactly what you said. I mean,

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Speaker 1: he basically said what you said. So I don't know.

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Speaker 1: I love it. I love waking up, getting a coffee,

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Speaker 1: going to my art class, and the Guardian and the

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Speaker 1: fucking beautiful tutor mansion. And I swear to you, like,

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Speaker 1: if once I retire, it's gonna be on like I'm

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Speaker 1: taking all kinds of shit. You have no idea.

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Speaker 2: I feel like you're gonna be the kind of retired

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Speaker 2: person who takes trips to do art classes. You're gonna

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Speaker 2: be like, oh, I'm in Switzerland next week drawing the Alps.

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Speaker 1: Oh yeah, yeah, I'm gonna be a real fucking obnoxious

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Speaker 1: patron of the arts. Also, I found out something, you know,

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Speaker 1: like when you see TV or movies of people holding

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Speaker 1: up a paintbrush like this and they're with a thumb. Yeah,

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Speaker 1: I find out why people do that. And I didn't.

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Speaker 1: I thought people were just doing it to be fancy.

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Speaker 1: And He's like, look at they're They're measuring the distance

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Speaker 1: of something. And I'm like, oh, that's not just some

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Speaker 1: bullshit like funny art person thing that happens in TV

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Speaker 1: and movies is like no, just checking to see if

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Speaker 1: they need a manicure. That's like, wow, I'm learning so

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Speaker 1: much about art. This is incredible. I fucking love it.

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Speaker 1: I love that you doing this class.

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Speaker 2: I love that you have like something that you enjoy

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Speaker 2: that's different to get you out of your head to

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Speaker 2: look forward to every week. It's very very important, And

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Speaker 2: this is the kind of thing we couldn't do two

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Speaker 2: years ago, I know.

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Speaker 1: So I'm thrilled.

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Speaker 2: I love it, and I just want I want you

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Speaker 2: to send me you pick, but send me some of

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Speaker 2: your art so I can frame it and hang it

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Speaker 2: up like a proud like a proud papa.

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Speaker 1: That is a lot of pressure. But I will. I

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Speaker 1: will figure out at the end of the class which

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Speaker 1: is my best work, and then i'll i'll it could

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Speaker 1: be your worst work. I just want to I just

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Speaker 1: want to support you. I really love this. I truly

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Speaker 1: love this. Thank you, thank you. Here's the thing. I

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Speaker 1: have finally come up with a list for you to

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Speaker 1: do a round of serial Killer self care. Fucking yeah. Ah, yes, yes, yes, yes, yes.

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Speaker 1: I was like, okay, challenge accepted. It was harder than

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Speaker 1: I thought, by the way, I don't know how you're

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Speaker 1: able to do it all so easily. I was like, wow,

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Speaker 1: this is like, this is a real brain teaser for me.

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Speaker 2: And sometimes it's a little bit of reverse engineering because

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Speaker 2: I think everyone is capable of being a serial killer,

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Speaker 2: so I just reverse engineer from that.

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Speaker 1: Yeah, I was like, what what everything is serial killer?

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Speaker 1: That's the thing is that I was like, is everything

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Speaker 1: for serial killers?

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Speaker 3: No?

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Speaker 1: But I've come up with the small list and I'm

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Speaker 1: hoping that you'd want to play the game in reverse.

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Speaker 2: Of course, of course, Okay, this is my dream come true.

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Speaker 1: Okay, so if you're not aware of this game, we've

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Speaker 1: played it a few times on the podcast. So basically,

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Speaker 1: Danielle comes to the pod with a list of things,

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Speaker 1: and you have to decide whether or not it is

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Speaker 1: serial killer or self care? Right, and you're inhabiting the

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Speaker 1: brain of the other person, you know, Traditionally it's like

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Speaker 1: I have to get into Danielle's brain and figure out

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Speaker 1: what she would answer like. But then now we're doing

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Speaker 1: it in reverse, so you're gonna have to jump into

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Speaker 1: my body. Tom Hanks in big style.

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Speaker 2: I knew you had fifty five erasers before you even

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Speaker 2: said anything.

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Speaker 1: I'm ready for this. Let's see. I'm sure this is

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Speaker 1: gonna be so easy. I'm sure it's gonna be so easy.

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Speaker 2: So also, do you like how we whenever we come

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Speaker 2: up with a game on this show and is the

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Speaker 2: most complicated version, we're like, is it good?

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Speaker 1: Or was I horny? And everyone's like, how do we

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Speaker 1: answer that? We're like serial killer or self care?

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Speaker 2: But get into the other person's body, like we're just

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Speaker 2: never like here's a question.

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Speaker 1: Yes, it's never easy with us. It's never easy with us.

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Speaker 1: But you know what, I fucking love I love I

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Speaker 1: love our weird ways of thinking. So same, same Okay,

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Speaker 1: so first question, there's five in total. So first question,

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Speaker 1: serial killer or self care? Sleeping with only one pillow

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Speaker 1: for you?

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Speaker 2: Serial killer?

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Speaker 1: Yes?

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Speaker 2: Correct, only because I have slept at your house in

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Speaker 2: your guest room and there were like five pillows on

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Speaker 2: that bed. Oh if this is how she treats guests,

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Speaker 2: she's got enough pillows on her own bed to reach.

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Speaker 1: Like halfway down the mattress. What does it say about

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Speaker 1: me that I the idea of sleeping with one pillow

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Speaker 1: is scary, Like if people look at a bed that

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Speaker 1: has one pillow on it, you're like a serial killer

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Speaker 1: sleeps there.

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Speaker 2: When I'm a hund do percent and don't get me started,

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Speaker 2: I'm like, it's good for my back, it's good for no,

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Speaker 2: because that's also serial killer where you're like I have

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Speaker 2: to sleep on the floor and like or like a

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Speaker 2: hard mattress because it helps in my I'm sorry, I can't.

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Speaker 2: Sleeping should be for comfort and recharging your body, and

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Speaker 2: if you have one pillow, I don't see how that's happening.

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Speaker 1: Yeah, I mean, listen, I when it comes. There's like

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Speaker 1: two separate things the functions of pillows. There's like the

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Speaker 1: decor part and then the pillows that you actually sleep with. Okay,

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Speaker 1: So decore wise, I'm all, I'm like, half the bed

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Speaker 1: is pillows. I'm like, you gotta get the euros in there.

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Speaker 1: You gotta get the body pillow, the standards, the little decorative,

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Speaker 1: fuzzy furry pillow, and you know it's you're just trying

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Speaker 1: to create an am Beyonce. Okay. But then here's the thing.

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Speaker 1: Some of those pillows come off and then some of

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Speaker 1: them staying. I'm ever just whittling it down to one

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Speaker 1: pillow to sleep on. I mean, right, when it comes

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Speaker 1: down to it, I'm bare minimum, bare minimum two, but

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Speaker 1: really ideal four. Absolutely.

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Speaker 2: I have six pillows in my bed and they are

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Speaker 2: all different. There are three different kinds of pillow. I

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Speaker 2: have two each of three different kinds of pillow. I

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Speaker 2: have bamboo pillows, which are like a little bit firm,

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Speaker 2: but they're kind of just soft enough. I have your

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Speaker 2: typical like target, go get them. They'll be collect apps

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Speaker 2: in two minutes, soft pillows, and then they have it

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Speaker 2: in between. Because I love to sit in bed and

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Speaker 2: write or reach, so there's a lot of propping up

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Speaker 2: that needs to happen. And then when I go to sleep.

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Speaker 2: None of the pillows come off, they just move around.

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Speaker 1: Yeah.

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Speaker 2: So I might put one behind my back, I might

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Speaker 2: put one between the knees to help with the hip

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Speaker 2: alignment boom.

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Speaker 1: They never leave the bed. I use them all depending

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Speaker 1: on how I feel. Yeah. I got one of.

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Speaker 2: Those square pillows that's supposed to be good for side

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Speaker 2: sleepers that you put in the side of your neck. Yeah,

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Speaker 2: but that's what I use my little target.

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Speaker 1: Pillows for that.

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Speaker 2: You can just switsh them up and roll them in there.

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Speaker 1: Absolutely. Yeah. My standard operating procedure is two under the

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Speaker 1: head and then one on each side. Yeah, because I

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Speaker 1: like it feels like I'm armchaired in the bed. Like

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Speaker 1: I'm like, oh, I'm like, I've got bumpers. I got

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Speaker 1: my little bumpers because I also have the dog. Yeah.

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Speaker 1: Dog sleeps like around the leg area, so I'm like,

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Speaker 1: I feel like I need bumpers.

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Speaker 2: And absolutely same with Carrot. Carrot likes to sleep directly

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Speaker 2: between my knees. Yeah, so if I'm on my back,

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Speaker 2: he's like right there, Like I can't move. I can't,

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Speaker 2: So I have to be comfortable up top because I

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Speaker 2: can't move the bottom half of my body. Once he

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Speaker 2: decides to go to sleep.

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Speaker 1: Yeah, so if you sleep with one pillow, I don't

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Speaker 1: know about you. I'm just saying you might be a murderer.

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Speaker 1: All right, So you got that one right, We're off

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Speaker 1: to a good start. Okay. Now here's the second one.

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Speaker 1: All right? So, serial killer or self care? Flavored coffee?

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Speaker 1: And I'm not talking about adding flavors to coffee. I'm

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Speaker 1: talking about when the coffee itself is flavored bean. Yes

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Speaker 1: for you, serial killer? Correct.

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Speaker 2: I have had so much coffee with you, Benji know

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Speaker 2: that you have never once ordered a hazelnut coffee? Uh

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Speaker 2: uh either?

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Speaker 1: Yo, Adding like hazelnut and maple and vanilla to a

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Speaker 1: bean is fucked up. Who thought of that? The bean

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Speaker 1: wasn't enough? Yeah, dunkin Donuts? I guess is who thought

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Speaker 1: of it? I don't know who thought of it? Folgers?

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Speaker 1: Something weird like Cafe International? What are those like? Old school?

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Speaker 1: It's so like I'm not saying, like if you brew

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Speaker 1: your coffee and then you add a little like, you know,

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Speaker 1: hazelnut flavoring, you know, like those pumps of things, fine,

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Speaker 1: but if it's added before you grind the bean or whatever,

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Speaker 1: or as you're brewing it. I'm like, that's gross, dude.

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Speaker 2: Let me tell you, I've worked in so many fucking

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Speaker 2: coffee shops and when you you have to have a

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Speaker 2: separate grinder for the flavored bean. So but it's only

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Speaker 2: one grinder. So someone before you orders hazelnut and then

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Speaker 2: you order like butter pecan. It's all mixed in there,

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Speaker 2: like you're getting all kinds of flavors and it smells like, hell, yeah,

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Speaker 2: I don't like the smell of it.

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Speaker 1: I really don't.

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Speaker 2: It also paves the way for flavored creamers, which I

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Speaker 2: also think is a serial killer move.

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Speaker 1: One hundred percent.

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Speaker 2: You can take your fucking international delights and get them

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Speaker 2: right out of this house.

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Speaker 1: No, no, I mean I have to say there was

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Speaker 1: a small period of time when I used to fuck

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Speaker 1: with that like French vanilla coffee mate type of stuff,

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Speaker 1: because I was like why not. No, Now I think

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Speaker 1: about I think about those days, and I'm like disgusted

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Speaker 1: with myself, Like how did I drink vanilla creamer?

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Speaker 2: I think flavored coffee and flavor flavored beans and flavored

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Speaker 2: creamers are training wheels for drinking a real cup of coffee.

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Speaker 1: Yes, one hundred percent. It means that you hate coffee.

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Speaker 1: I think when you are in that zone, you're like,

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Speaker 1: I don't like to taste of coffee. It's gotta taste

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Speaker 1: like a milkshake. And I'm like, no, I'm at the

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Speaker 1: point of my life where I think the taste of

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Speaker 1: coffee is delicious. Yes, So that's kind of maybe that's

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Speaker 1: the line of the sands. So if you like the

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Speaker 1: taste of coffee and you don't need any additives self care,

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Speaker 1: if you have to have maple coffee, use a serial killer.

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Speaker 2: Oh you might have killed, you might have killed. I

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Speaker 2: also think we should start calling this game alienation because

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Speaker 2: I guarantee fifty five percent of our audience at the

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00:18:27,840 --> 00:18:30,399
Speaker 2: end of every round is like, they're absolutely calling me

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Speaker 2: a serial killer.

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00:18:31,320 --> 00:18:35,800
Speaker 1: Oh yeah, there's like furious fingers typing mean emails to

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Speaker 1: us right now. I'm like, how dare you? How dare

355
00:18:38,920 --> 00:18:41,479
Speaker 1: you say that in twenty twenty three you might not

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Speaker 1: have killed?

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Speaker 2: But if you're drinking international delights you, it's in you.

358
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Speaker 2: It's like a little feed waiting to be watered.

359
00:18:51,119 --> 00:18:53,399
Speaker 1: Okay, So here's the next one. So you've gotten to

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Speaker 1: right so far. I'm very proud of Thank you, Thank you.

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00:18:56,560 --> 00:19:00,680
Speaker 1: This next one. I don't know it's gonna feel easy.

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00:19:00,760 --> 00:19:06,320
Speaker 1: Maybe maybe not so serial killer of self care. Farting

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Speaker 1: in a yoga class.

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00:19:08,720 --> 00:19:13,199
Speaker 2: All right, I'm inhabiting your brain. This is harder than

365
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Speaker 2: I thought. My instinct is serial killer. But for you,

366
00:19:20,280 --> 00:19:22,679
Speaker 2: I think you're gonna say self care because when you

367
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Speaker 2: gotta go, you gotta go.

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Speaker 1: You're absolutely crap. Look, we're not holding it in. We're

369
00:19:32,600 --> 00:19:35,480
Speaker 1: not holding it in. No, not in this economy, not

370
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Speaker 1: in this economy. I mean, first of all, like I

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Speaker 1: feel like and then maybe this is just me, but

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Speaker 1: like you know, when you're in a yoga class, you

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Speaker 1: know you're loosening up the guts, You're loosening up all

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Speaker 1: the hinges and the joints and all of the little

375
00:19:50,640 --> 00:19:55,840
Speaker 1: pockets of air. Okay, So, like, farts are gonna happen. Okay,

376
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Speaker 1: I'm not saying, you know, not to laugh, but I'm

377
00:19:59,640 --> 00:20:02,600
Speaker 1: just saying they happen, and you shouldn't get all grossed

378
00:20:02,600 --> 00:20:05,800
Speaker 1: out and go have fucking maple flavored coffee with your

379
00:20:05,840 --> 00:20:07,800
Speaker 1: friends after class and be like, can you believe that

380
00:20:07,920 --> 00:20:11,560
Speaker 1: lady farted in our yoga class. I'm like, no, it

381
00:20:11,680 --> 00:20:14,399
Speaker 1: is absolutely something that you should fucking do if you

382
00:20:14,440 --> 00:20:15,400
Speaker 1: have to, and don't be.

383
00:20:15,400 --> 00:20:18,800
Speaker 2: Embarrassed by it. I could not agree more. And I

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Speaker 2: think if you can't handle huffing someone's farts, wear a mask, yes,

385
00:20:24,400 --> 00:20:29,480
Speaker 2: in class, because it's designed to help you release. Most

386
00:20:29,560 --> 00:20:32,120
Speaker 2: yoga classes will help you release, and your body will

387
00:20:32,200 --> 00:20:33,800
Speaker 2: let you know what kind of release you need, and

388
00:20:33,840 --> 00:20:35,200
Speaker 2: sometimes that releases a fart.

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Speaker 1: Sometimes it's a tight muscle.

390
00:20:37,200 --> 00:20:39,720
Speaker 2: Yeah, Like I mean, don't go in there and like plan,

391
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Speaker 2: I'm blowing yourself around like a fucking jaloppy.

392
00:20:47,080 --> 00:20:49,120
Speaker 1: Like plan and be like I'm holding in my farts

393
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Speaker 1: until I get to yoga class. But if they happen,

394
00:20:51,560 --> 00:20:55,919
Speaker 1: they happen. Yeah, I mean holding then farts. I'm sorry,

395
00:20:56,000 --> 00:20:59,480
Speaker 1: Like I'm getting to the point where I'm like, maybe

396
00:20:59,520 --> 00:21:01,080
Speaker 1: you can do that that shit when you're a kid

397
00:21:01,320 --> 00:21:04,000
Speaker 1: and everything's fine, But after a certain point in time,

398
00:21:04,080 --> 00:21:07,960
Speaker 1: if you're holding in farts, that's reckon you, Like your

399
00:21:08,440 --> 00:21:12,000
Speaker 1: your guts are broken. If you're holding in farts.

400
00:21:12,160 --> 00:21:12,320
Speaker 2: Like.

401
00:21:13,760 --> 00:21:15,639
Speaker 1: You know, I'm not saying it, you should be farting

402
00:21:15,680 --> 00:21:18,520
Speaker 1: anywhere and everywhere, but I'm just saying generally, if you're

403
00:21:18,560 --> 00:21:21,000
Speaker 1: the type of person that's like I can't stand farting

404
00:21:21,080 --> 00:21:25,120
Speaker 1: I can't do it, you know, like, get get real,

405
00:21:25,280 --> 00:21:26,040
Speaker 1: you gotta fart.

406
00:21:27,480 --> 00:21:30,560
Speaker 2: I am proud to be the number one crop duster

407
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Speaker 2: in the Tristate area.

408
00:21:34,280 --> 00:21:36,160
Speaker 1: I'll fucking own it. I'm not holding it in.

409
00:21:36,200 --> 00:21:39,199
Speaker 2: And again, this is one of the last bastions. We

410
00:21:39,240 --> 00:21:40,800
Speaker 2: talked about this once. I think I was in a

411
00:21:40,800 --> 00:21:43,680
Speaker 2: bonus episode about movie theaters and sitting in public and

412
00:21:43,760 --> 00:21:46,720
Speaker 2: kind of being with people. I think one of the

413
00:21:46,800 --> 00:21:51,000
Speaker 2: last bastions of you being forced to interact with society

414
00:21:51,520 --> 00:21:53,760
Speaker 2: is occasionally you're gonna smell a fart and you don't

415
00:21:53,760 --> 00:21:55,240
Speaker 2: know when it could happen. And that's the risk you

416
00:21:55,280 --> 00:21:57,960
Speaker 2: take when you leave your fucking house exactly. And we

417
00:21:58,040 --> 00:21:59,040
Speaker 2: all do it and it's fine.

418
00:21:59,680 --> 00:22:03,480
Speaker 1: Yeah, Like I said, you know, be a little curatorial

419
00:22:03,520 --> 00:22:05,840
Speaker 1: about it obviously, Like you know, you don't want to

420
00:22:05,920 --> 00:22:08,439
Speaker 1: like be in a situation where you're like in a

421
00:22:08,480 --> 00:22:12,439
Speaker 1: tight fucking elevator going up like forty floors and farting. Like,

422
00:22:12,800 --> 00:22:14,840
Speaker 1: but I'm just saying, if you're if you're alone in

423
00:22:14,880 --> 00:22:16,800
Speaker 1: an aisle in a grocery store and you have to

424
00:22:16,880 --> 00:22:19,119
Speaker 1: let one rip, fucking do it, Like if you're in

425
00:22:19,160 --> 00:22:21,160
Speaker 1: a movie theater by yourself and you have to fart.

426
00:22:21,800 --> 00:22:23,359
Speaker 1: Let it go, you know.

427
00:22:23,560 --> 00:22:27,800
Speaker 2: And I'm talking about like the high pitch squeal fart.

428
00:22:28,920 --> 00:22:30,800
Speaker 2: I don't care if there's sound attached to it.

429
00:22:30,840 --> 00:22:31,400
Speaker 1: I don't care.

430
00:22:34,920 --> 00:22:38,359
Speaker 2: Let out a high pitch squeal, let out a little

431
00:22:38,400 --> 00:22:42,879
Speaker 2: like you know those like it's just like again dream

432
00:22:42,920 --> 00:22:45,960
Speaker 2: come true for me talking about farts. You know those

433
00:22:45,960 --> 00:22:48,440
Speaker 2: ones that just come out like one toot where it's

434
00:22:48,480 --> 00:22:49,080
Speaker 2: like a big one.

435
00:22:49,119 --> 00:22:51,359
Speaker 1: Who was, Like You're like, whoa, I didn't know I

436
00:22:51,359 --> 00:22:54,400
Speaker 1: had that in me, Like be the baritone horn. Turn

437
00:22:54,480 --> 00:22:56,840
Speaker 1: her add to a baritone horn. Just let it go,

438
00:22:58,520 --> 00:23:01,680
Speaker 1: you know, Casey needs to in a fart noise right now.

439
00:23:01,720 --> 00:23:04,240
Speaker 1: And let me just tell you, Anna least used to

440
00:23:04,240 --> 00:23:09,480
Speaker 1: do that for us before you came around. So honestly,

441
00:23:10,359 --> 00:23:13,480
Speaker 1: I'm so cl' on the same page about farting. Yes,

442
00:23:13,640 --> 00:23:16,560
Speaker 1: you know, let it rip. I feel like again, if

443
00:23:16,560 --> 00:23:19,000
Speaker 1: you go to a yoga class, especially a hot yoga class,

444
00:23:20,080 --> 00:23:23,159
Speaker 1: anything goes, and my farting is the least your concerns

445
00:23:23,160 --> 00:23:24,040
Speaker 1: in a hot yoga class.

446
00:23:24,080 --> 00:23:27,160
Speaker 2: I mean you gotta you know, yeah, you're passing out.

447
00:23:27,680 --> 00:23:30,040
Speaker 1: Yeah, people puking. You better watch out for puke.

448
00:23:30,520 --> 00:23:33,679
Speaker 2: It's like an ayahuasca festival and a hot yoga class.

449
00:23:33,760 --> 00:23:36,040
Speaker 1: Yes, farting is the least of your concerns on one

450
00:23:36,080 --> 00:23:38,560
Speaker 1: of those. So anyway, I'm you got that correct. So

451
00:23:38,640 --> 00:23:43,560
Speaker 1: you are three for three so far. This is actually incredible. Okay,

452
00:23:43,720 --> 00:23:46,040
Speaker 1: So here's the fourth one, serial killer of self care.

453
00:23:47,000 --> 00:23:48,520
Speaker 1: Try not to laugh, you can.

454
00:23:48,680 --> 00:23:50,520
Speaker 2: You can always opt to turn the camera off.

455
00:23:51,520 --> 00:23:51,879
Speaker 1: Allah.

456
00:23:52,040 --> 00:23:55,640
Speaker 2: My last question in our last round about the rabbit vibrator.

457
00:23:56,680 --> 00:24:01,639
Speaker 1: Yes, so, uh, serial killer of self care? Working out

458
00:24:01,720 --> 00:24:07,480
Speaker 1: in jeans? Fuck? Is serial killer one? No hesitation?

459
00:24:10,440 --> 00:24:15,200
Speaker 2: Obviously a hundred you're saying, right, And I know this

460
00:24:15,520 --> 00:24:17,879
Speaker 2: for several reasons, but because I also know that you

461
00:24:17,960 --> 00:24:20,920
Speaker 2: love to watch those extreme workout videos.

462
00:24:21,760 --> 00:24:24,080
Speaker 1: Where people are like they have like.

463
00:24:24,000 --> 00:24:27,480
Speaker 2: A chain with a piece of exercise equipment around their

464
00:24:27,520 --> 00:24:31,000
Speaker 2: neck while they're lifting, and those people are ninety percent

465
00:24:31,040 --> 00:24:31,840
Speaker 2: wearing jeans.

466
00:24:32,640 --> 00:24:36,280
Speaker 1: Okay, I don't know why I think this is a

467
00:24:36,280 --> 00:24:38,720
Speaker 1: weird look because I'm like, now, I think they make

468
00:24:38,840 --> 00:24:42,480
Speaker 1: workout jeans, so whatever. But I'm like, anytime I see

469
00:24:42,520 --> 00:24:45,399
Speaker 1: a guy, it's always a guy. I've never seen a

470
00:24:45,440 --> 00:24:49,800
Speaker 1: woman working out in jeans, by the way, No, sorry

471
00:24:49,880 --> 00:24:51,800
Speaker 1: to stereotype, but it's true.

472
00:24:51,840 --> 00:24:54,919
Speaker 2: I've only seen men working out in jeans. We have

473
00:24:55,000 --> 00:24:57,520
Speaker 2: too much to be aware. We're wary of the yeaths

474
00:24:57,520 --> 00:24:59,120
Speaker 2: this situation, I'll just say that.

475
00:24:59,119 --> 00:25:03,160
Speaker 1: Yes, yeah, but it's also like part of me is going,

476
00:25:04,280 --> 00:25:08,119
Speaker 1: were you just so fucking pumped to work out that

477
00:25:08,160 --> 00:25:11,960
Speaker 1: you couldn't change? Like You're like, I don't work out

478
00:25:12,040 --> 00:25:14,280
Speaker 1: right fucking out and I'm not putting on shorts, I'm

479
00:25:14,359 --> 00:25:17,359
Speaker 1: going in my jeans. Like that to me is weird

480
00:25:17,640 --> 00:25:23,200
Speaker 1: and serial killing, right. Yeah. Most people plan their jim routine.

481
00:25:24,080 --> 00:25:26,240
Speaker 2: So when you see someone in jeans, you're like, oh,

482
00:25:26,440 --> 00:25:28,119
Speaker 2: what is going on exactly that?

483
00:25:28,200 --> 00:25:29,560
Speaker 1: What is going on with you that you had to

484
00:25:29,560 --> 00:25:33,760
Speaker 1: work out right the fuck now? It's so weird. It's

485
00:25:33,760 --> 00:25:38,920
Speaker 1: such a weird look. Also, jeans are not good for

486
00:25:39,600 --> 00:25:42,720
Speaker 1: working out. Like I I'll just tell you right now.

487
00:25:43,200 --> 00:25:45,159
Speaker 1: One of the biggest mistakes I ever made in my

488
00:25:45,280 --> 00:25:48,159
Speaker 1: life was when I went on a hike in Big

489
00:25:48,240 --> 00:25:51,919
Speaker 1: sur Okay, and I went to my favorite hike in

490
00:25:51,960 --> 00:25:54,600
Speaker 1: Big Sirt. It's like at Angel Malia State Park. It's

491
00:25:54,640 --> 00:25:58,679
Speaker 1: the Creamery Meadow Hike. Okay. It's wonderful, beautiful and empties

492
00:25:58,720 --> 00:26:02,720
Speaker 1: out into a fucking desk beach. It's amazing. The beginning

493
00:26:02,760 --> 00:26:08,600
Speaker 1: of the hike though, requires you to possibly cross a river, okay,

494
00:26:09,240 --> 00:26:11,920
Speaker 1: and it depending on the time of year that you go.

495
00:26:12,080 --> 00:26:15,119
Speaker 1: Sometimes there's no water and there's a little piece of

496
00:26:15,160 --> 00:26:17,800
Speaker 1: wood that you walk over. Sometimes the water is like

497
00:26:18,320 --> 00:26:21,480
Speaker 1: up to your tits deliverance, You're like, I am in

498
00:26:21,560 --> 00:26:24,800
Speaker 1: deliverance right now. So the year that I went, I

499
00:26:24,880 --> 00:26:27,600
Speaker 1: decided to wear jeans, And I don't really know why,

500
00:26:27,640 --> 00:26:32,359
Speaker 1: because everybody knows if you're like a fucking sporty hiker type,

501
00:26:32,760 --> 00:26:35,399
Speaker 1: you never want to wear cotton, right or whatever. You

502
00:26:35,440 --> 00:26:40,680
Speaker 1: want to wear, like breathable fabrics that are wicking, wicking, wicking.

503
00:26:40,320 --> 00:26:42,680
Speaker 2: Fabrics you gotta be all times.

504
00:26:42,880 --> 00:26:46,200
Speaker 1: Yeah, it's gotta be john Wick shorts because at least

505
00:26:46,200 --> 00:26:48,400
Speaker 1: the last thing you want to do is be wet, right,

506
00:26:48,600 --> 00:26:50,960
Speaker 1: is once you're wet, you're miserable. So I wore fucking

507
00:26:51,040 --> 00:26:53,040
Speaker 1: jeans on this hike, and then guess what the water

508
00:26:53,160 --> 00:26:57,520
Speaker 1: was up to our stomachs and I couldn't take my

509
00:26:57,600 --> 00:27:00,960
Speaker 1: pants off and cross the river. So I just crossed

510
00:27:01,000 --> 00:27:06,760
Speaker 1: the river in my jeans, and I was miserable, like chafing,

511
00:27:07,160 --> 00:27:10,160
Speaker 1: fucking it was the worst feeling.

512
00:27:10,280 --> 00:27:12,240
Speaker 2: So I'm like humid, Yeah.

513
00:27:12,240 --> 00:27:16,280
Speaker 1: Yeah, humidity, chafing, it affects the way that you walk.

514
00:27:16,359 --> 00:27:17,919
Speaker 1: I mean, it was awful. So I'm like, why the

515
00:27:17,960 --> 00:27:19,840
Speaker 1: fuck you're working out in jeans? Are you sweating in

516
00:27:19,880 --> 00:27:22,720
Speaker 1: your jeans? Like that doesn't make any sense. Just put

517
00:27:22,800 --> 00:27:24,040
Speaker 1: these basketball.

518
00:27:23,520 --> 00:27:26,919
Speaker 2: Shorts on, workout in your fucking underwear. Like with the

519
00:27:26,920 --> 00:27:29,400
Speaker 2: ship that we've seen in gyms lately. I would rather

520
00:27:29,440 --> 00:27:31,679
Speaker 2: someone work out in their goddamn toonies than work out.

521
00:27:31,720 --> 00:27:36,920
Speaker 1: And yes, there's no there's no performance based reason to

522
00:27:37,000 --> 00:27:39,240
Speaker 1: wear jeans gonna work out. I just feel like it's

523
00:27:39,240 --> 00:27:42,119
Speaker 1: somebody who's like, I gotta go right fucking out. I

524
00:27:42,119 --> 00:27:44,760
Speaker 1: don't give a fuck, Like I gotta just go directly

525
00:27:44,840 --> 00:27:48,199
Speaker 1: to the barbell anyway. So that's how that's how I

526
00:27:48,200 --> 00:27:50,520
Speaker 1: feel on that. And guess what, you got it right?

527
00:27:50,760 --> 00:27:53,680
Speaker 1: I agree. I cannot believe for four for four. This

528
00:27:53,720 --> 00:27:56,400
Speaker 1: is so much pressure. Okay, this is the last one.

529
00:27:56,480 --> 00:27:58,720
Speaker 1: Now you could get a fucking perfect score or you

530
00:27:58,760 --> 00:28:02,800
Speaker 1: could miss one finally, but we'll see. Okay, the very

531
00:28:02,880 --> 00:28:09,040
Speaker 1: last question, serial killer or self care? Eating two Costco

532
00:28:09,440 --> 00:28:13,720
Speaker 1: hot dogs at different times but in the same day.

533
00:28:14,760 --> 00:28:17,399
Speaker 2: Okay, So, like you go to Costco at noon and

534
00:28:17,440 --> 00:28:19,920
Speaker 2: then you go again, eat hot dog.

535
00:28:20,000 --> 00:28:22,840
Speaker 1: Go again at five o'clock you eat hot dog? Correct

536
00:28:22,880 --> 00:28:38,560
Speaker 1: self care, correct you did. There is nothing wrong with

537
00:28:38,680 --> 00:28:41,080
Speaker 1: going back to get a second Costco hot dog? Do

538
00:28:41,120 --> 00:28:42,400
Speaker 1: you think I haven't done that at Ikea?

539
00:28:42,600 --> 00:28:45,880
Speaker 2: Please one, going in one, coming out, I'm having I'm

540
00:28:45,920 --> 00:28:47,120
Speaker 2: going to the hot dogs.

541
00:28:46,920 --> 00:28:51,400
Speaker 1: First, Listen. I love Costco hot dogs so much. I

542
00:28:51,400 --> 00:28:54,480
Speaker 1: feel like they're special. I feel like they have the

543
00:28:54,520 --> 00:28:57,400
Speaker 1: good ratio of bun to hot dog, which is always

544
00:28:57,440 --> 00:29:00,880
Speaker 1: an issue. And you can't like a drink and a

545
00:29:00,920 --> 00:29:04,000
Speaker 1: hot dog for like a dollar or something like that. See.

546
00:29:04,080 --> 00:29:05,960
Speaker 2: I was just talking about this with my nephew, who

547
00:29:06,120 --> 00:29:08,520
Speaker 2: I blew his twenty six year old mind. I've never

548
00:29:08,520 --> 00:29:12,720
Speaker 2: been to Costco, never been to a Costco, but I

549
00:29:12,720 --> 00:29:15,640
Speaker 2: have heard tales of the Costco. Do you have them

550
00:29:15,680 --> 00:29:18,160
Speaker 2: up there by the way, That's that's the reason. Of

551
00:29:18,200 --> 00:29:19,280
Speaker 2: course they're all over the place.

552
00:29:19,480 --> 00:29:19,960
Speaker 1: Oh.

553
00:29:19,680 --> 00:29:21,800
Speaker 2: But I feel like, since I'm just one person, I

554
00:29:21,840 --> 00:29:25,360
Speaker 2: don't ever need like twenty four rolls of paper towels.

555
00:29:25,880 --> 00:29:27,400
Speaker 1: Like I don't. I don't need to get like Howard

556
00:29:27,440 --> 00:29:30,160
Speaker 1: Hughes in here. I wish, I wish I believed that

557
00:29:30,200 --> 00:29:32,160
Speaker 1: I wish I could get on your level because.

558
00:29:34,120 --> 00:29:35,880
Speaker 2: But that's the only reason I haven't gone, because I'm like,

559
00:29:35,880 --> 00:29:37,760
Speaker 2: I'm not like a bulk shopper. I'm more of the

560
00:29:38,760 --> 00:29:40,120
Speaker 2: like the daily market shopper.

561
00:29:40,640 --> 00:29:45,360
Speaker 1: Absolutely, I I have a Costco membership. Listen. I my

562
00:29:45,480 --> 00:29:48,400
Speaker 1: family has always been into like that bulk shopping game.

563
00:29:48,760 --> 00:29:50,880
Speaker 1: And even though I am one person that lives alone,

564
00:29:50,920 --> 00:29:52,840
Speaker 1: I have a card because I'm like, you know what,

565
00:29:53,080 --> 00:29:56,080
Speaker 1: who knows? Sometimes you need gas, yep, Sometimes you need

566
00:29:56,120 --> 00:29:59,840
Speaker 1: a really cheap chainsaw or some you know, you gotta

567
00:29:59,840 --> 00:30:04,160
Speaker 1: get some some party supplies or whatever. Like, Like, this's

568
00:30:04,200 --> 00:30:07,040
Speaker 1: the craziest part about about a place like Costco is

569
00:30:07,040 --> 00:30:10,840
Speaker 1: that it's not just like food and drink and beauty items,

570
00:30:10,840 --> 00:30:14,160
Speaker 1: but they actually like you can get water delivered from them.

571
00:30:14,200 --> 00:30:18,800
Speaker 1: They'll fucking do custom window treatments, They'll outfit your bathtub,

572
00:30:18,960 --> 00:30:22,760
Speaker 1: they do services right. Uh, there's a lot of things

573
00:30:22,760 --> 00:30:26,200
Speaker 1: that Costco does. But I will say that not all

574
00:30:26,360 --> 00:30:29,560
Speaker 1: bulk places are the same. So, like, there are people

575
00:30:29,560 --> 00:30:31,920
Speaker 1: I know who are like ride or die Sam's Club people.

576
00:30:31,960 --> 00:30:34,840
Speaker 1: I'm like, that's cool. I used to fuck with Sam's Club.

577
00:30:35,080 --> 00:30:38,080
Speaker 1: Not anymore. I'm a Costco person through and through. My

578
00:30:38,200 --> 00:30:41,560
Speaker 1: parents used to be a be They were into BJ's place.

579
00:30:41,880 --> 00:30:44,720
Speaker 1: Uh huh yeah, and then when they when the Costco

580
00:30:44,800 --> 00:30:47,800
Speaker 1: got built in their town like six months ago, they

581
00:30:47,800 --> 00:30:51,200
Speaker 1: were like, goodbye Beja, hello Costco.

582
00:30:52,520 --> 00:30:55,720
Speaker 2: Put out of business. No, I agree, And people love Costco.

583
00:30:55,760 --> 00:30:59,240
Speaker 2: They love their pants, they love their like people truly

584
00:30:59,560 --> 00:31:00,680
Speaker 2: truly love that store.

585
00:31:01,280 --> 00:31:03,920
Speaker 1: Yeah. I think it depends on like what, like what

586
00:31:04,040 --> 00:31:07,840
Speaker 1: products you buy like others, Like some places carry certain

587
00:31:07,920 --> 00:31:11,320
Speaker 1: types of brands, and then there's like the house brand Kirkland,

588
00:31:11,960 --> 00:31:16,360
Speaker 1: like that is, Kirkland has its own cult. People love

589
00:31:16,360 --> 00:31:19,360
Speaker 1: a Kirkland brand something, which is I think that the

590
00:31:20,000 --> 00:31:22,760
Speaker 1: Sam's Club is like President something or I don't know

591
00:31:22,800 --> 00:31:28,040
Speaker 1: what it was, but President's Choice, President's Choice. I'm into

592
00:31:28,080 --> 00:31:29,360
Speaker 1: a lot of picnics in my day.

593
00:31:29,440 --> 00:31:32,200
Speaker 2: I've seen those President's Choice boxes and I'm like, who,

594
00:31:33,160 --> 00:31:34,160
Speaker 2: whose choice what?

595
00:31:35,840 --> 00:31:37,640
Speaker 1: I don't know For some reason, I think I don't

596
00:31:37,680 --> 00:31:39,880
Speaker 1: know why. They're probably made by the same manufacturer, but

597
00:31:39,920 --> 00:31:43,840
Speaker 1: I'm like, yo, what fuck with a Kirkland President's Choice? Gross?

598
00:31:44,080 --> 00:31:47,480
Speaker 2: Well, it's like you're either Target or Walmart. Yeah, it's

599
00:31:47,520 --> 00:31:49,960
Speaker 2: all mass market. But like I'm a Target person. I

600
00:31:50,000 --> 00:31:53,640
Speaker 2: don't know why. Well I do know why, but Target person.

601
00:31:54,080 --> 00:31:57,240
Speaker 1: Oh, Yeah, this was actually harder than I thought to

602
00:31:57,320 --> 00:32:01,600
Speaker 1: come up with. But I'm so real that you got

603
00:32:01,840 --> 00:32:02,720
Speaker 1: everything right.

604
00:32:06,160 --> 00:32:10,560
Speaker 2: I feel prouder than I did when I got my

605
00:32:10,600 --> 00:32:15,920
Speaker 2: master's degree. If I could walk a stage right now

606
00:32:16,320 --> 00:32:19,520
Speaker 2: and like turn a tassel, I would be weeping.

607
00:32:20,800 --> 00:32:22,720
Speaker 1: Listen, you did it. I'm so proud of you. Even

608
00:32:22,760 --> 00:32:25,360
Speaker 1: though I felt like my questions were not as challenging

609
00:32:25,520 --> 00:32:28,320
Speaker 1: as they were, a couple of them were hard. I

610
00:32:28,440 --> 00:32:30,360
Speaker 1: just have hung out with you enough to know.

611
00:32:32,040 --> 00:32:34,720
Speaker 2: That a flavored the flavored coffee would have would have

612
00:32:35,000 --> 00:32:36,600
Speaker 2: confused a lesser friend.

613
00:32:36,880 --> 00:32:40,800
Speaker 1: But I'm with you enough to know you ain't about that.

614
00:32:41,880 --> 00:32:43,960
Speaker 1: I agree, I'm listen. I'm I'm so glad to call

615
00:32:44,000 --> 00:32:46,120
Speaker 1: you my friend. You know me so well, and I'm

616
00:32:46,160 --> 00:32:48,000
Speaker 1: hoping that I honored your game.

617
00:32:48,760 --> 00:32:51,760
Speaker 2: You took it to another level. You honored it, and

618
00:32:51,920 --> 00:32:54,080
Speaker 2: we I just want to do this again and again.

619
00:32:59,840 --> 00:33:02,520
Speaker 2: I I am so psyched to get into this week

620
00:33:02,760 --> 00:33:05,840
Speaker 2: and this fucking theme that I came up with.

621
00:33:06,200 --> 00:33:08,239
Speaker 1: Oh yeah, you named it, you came up with it.

622
00:33:08,360 --> 00:33:10,760
Speaker 1: I'm so I'm so happy we're doing it. So tell

623
00:33:10,800 --> 00:33:11,440
Speaker 1: them what it is.

624
00:33:11,760 --> 00:33:15,640
Speaker 2: Our theme this week is husk, and it said to

625
00:33:15,680 --> 00:33:20,640
Speaker 2: the tune of the Fleetwood Mac song Tusk, And it's

626
00:33:20,640 --> 00:33:23,280
Speaker 2: a theme about how kids drain the life out of you.

627
00:33:27,000 --> 00:33:30,080
Speaker 1: Why do we always love to do themes about kids

628
00:33:31,480 --> 00:33:34,880
Speaker 1: like killing people, ruining people's lives.

629
00:33:35,400 --> 00:33:37,880
Speaker 2: We love a fucked up parent and a shitty little kid.

630
00:33:40,040 --> 00:33:44,200
Speaker 2: A and mine, Mine is a bit of a reach.

631
00:33:44,280 --> 00:33:46,640
Speaker 2: I'll explain why I think it fits this theme. But

632
00:33:46,720 --> 00:33:50,680
Speaker 2: I also am doing our double feature this week, was

633
00:33:50,680 --> 00:33:54,840
Speaker 2: realizing the last couple of weeks, it probably feels like

634
00:33:54,840 --> 00:33:56,840
Speaker 2: like your homework has been kind of like the finals

635
00:33:56,880 --> 00:34:00,080
Speaker 2: exams of this semester, because all of a sudd and

636
00:34:00,080 --> 00:34:04,800
Speaker 2: we're assigning you these like three hour movie and you're

637
00:34:04,840 --> 00:34:08,360
Speaker 2: absolutely right, and to the semester, I'll work three hour movies.

638
00:34:08,600 --> 00:34:12,759
Speaker 2: But I think I kind of I'm interested in exploring

639
00:34:13,640 --> 00:34:18,120
Speaker 2: this concept of parenting in film because I think depending

640
00:34:18,200 --> 00:34:21,759
Speaker 2: on where the film comes from, it's kind of replicating

641
00:34:21,760 --> 00:34:25,680
Speaker 2: the social norms of parenting. So in America it's very

642
00:34:25,800 --> 00:34:28,880
Speaker 2: you know, child focused, and you know, kids can do

643
00:34:28,960 --> 00:34:30,600
Speaker 2: no wrong, and everything I do is for my kids,

644
00:34:31,000 --> 00:34:33,640
Speaker 2: and it's like very hyper, and I think that in

645
00:34:33,680 --> 00:34:36,680
Speaker 2: other countries it's less so, but or hyper in different ways.

646
00:34:37,120 --> 00:34:41,200
Speaker 2: So I'm always interested in looking at how children and

647
00:34:41,280 --> 00:34:44,839
Speaker 2: parenting in particular is viewed on screen. And I think

648
00:34:44,880 --> 00:34:48,360
Speaker 2: it's because just from the from the corners of my

649
00:34:48,400 --> 00:34:54,320
Speaker 2: feminist mind, I'm always always thinking about how becoming a

650
00:34:54,440 --> 00:34:57,120
Speaker 2: parent is the number one way that women fall into poverty.

651
00:34:58,360 --> 00:34:59,279
Speaker 1: Doesn't happen to men.

652
00:34:59,520 --> 00:35:02,480
Speaker 2: Men become parents and they start getting pay raises, and like,

653
00:35:03,040 --> 00:35:04,480
Speaker 2: you know, people are like, oh, you have a family,

654
00:35:04,520 --> 00:35:06,560
Speaker 2: we got to pay you still in twenty twenty three,

655
00:35:07,239 --> 00:35:09,279
Speaker 2: But for women, it's not the case. For women, it's

656
00:35:09,440 --> 00:35:12,320
Speaker 2: you know, you're doing the bulk of the work at home,

657
00:35:12,880 --> 00:35:15,120
Speaker 2: and you're doing a lot of childcare, and you're kind

658
00:35:15,120 --> 00:35:18,080
Speaker 2: of replicating these traditional norms in a lot of ways.

659
00:35:18,160 --> 00:35:20,239
Speaker 2: A lot of people are more progressive than that now,

660
00:35:20,320 --> 00:35:23,880
Speaker 2: but for the most part, that's kind of the setup.

661
00:35:24,360 --> 00:35:27,839
Speaker 2: And you know, sometimes you get divorced and then it's like, oh,

662
00:35:27,880 --> 00:35:31,520
Speaker 2: you're still parenting and you're going to work and you're

663
00:35:31,560 --> 00:35:34,680
Speaker 2: having to you know, do the housework. It just seems like,

664
00:35:35,640 --> 00:35:37,279
Speaker 2: and there are a lot of scholars that are much

665
00:35:37,320 --> 00:35:39,440
Speaker 2: more eloquent than I am about this point, but it

666
00:35:39,480 --> 00:35:43,760
Speaker 2: just seems like parenting is set up to denigrate women

667
00:35:43,840 --> 00:35:46,360
Speaker 2: more than it is to uplift them. So I'm always

668
00:35:46,400 --> 00:35:49,840
Speaker 2: interested in looking at those those metrics.

669
00:35:50,400 --> 00:35:54,759
Speaker 1: Absolutely and honestly, like your film this week, it's one

670
00:35:54,800 --> 00:35:59,960
Speaker 1: of these films. It's one of those, like those notorious films.

671
00:36:00,080 --> 00:36:04,239
Speaker 1: I would say maybe notorious is too strong or pejorative

672
00:36:04,239 --> 00:36:06,879
Speaker 1: of a word or something, but it is. So it's

673
00:36:06,920 --> 00:36:10,160
Speaker 1: a film that's so unique, and I think that we've

674
00:36:10,200 --> 00:36:13,719
Speaker 1: made jokes about it on the podcast because it is,

675
00:36:13,880 --> 00:36:18,600
Speaker 1: like I think it's got it's got the like notion

676
00:36:18,719 --> 00:36:22,200
Speaker 1: of being one of these like artsy fartsy films, if

677
00:36:22,200 --> 00:36:24,680
Speaker 1: you know what I'm saying, where it's like, you know,

678
00:36:25,080 --> 00:36:29,319
Speaker 1: people who are you know, when they complain about a

679
00:36:29,360 --> 00:36:34,120
Speaker 1: movie being like three hours of one person doing one thing,

680
00:36:34,520 --> 00:36:36,839
Speaker 1: you know, you're like, oh, there's actually movies that are

681
00:36:37,040 --> 00:36:42,560
Speaker 1: like that, and they are surprisingly entertaining and good sometimes exact.

682
00:36:42,600 --> 00:36:44,920
Speaker 1: So you know, I do talk about that.

683
00:36:44,960 --> 00:36:47,040
Speaker 2: And I was reading a lot about my director and

684
00:36:47,080 --> 00:36:49,520
Speaker 2: my film, and and I think that her this my

685
00:36:49,560 --> 00:36:53,480
Speaker 2: film in particular, was kind of a I think an

686
00:36:53,480 --> 00:36:58,160
Speaker 2: intentional reaction to that process because those films usually star men,

687
00:36:58,560 --> 00:37:00,239
Speaker 2: and it's like man stands around for an hour and

688
00:37:00,320 --> 00:37:02,239
Speaker 2: a half and does nothing like a nine minute film

689
00:37:02,239 --> 00:37:04,000
Speaker 2: where men's stand around it or you know, they don't

690
00:37:04,040 --> 00:37:07,000
Speaker 2: learn anything, they don't progress through life like nothing happens,

691
00:37:07,200 --> 00:37:10,040
Speaker 2: and we're all supposed to be like venerating these movies,

692
00:37:10,120 --> 00:37:13,560
Speaker 2: where again a lot of them are very interesting, but

693
00:37:13,640 --> 00:37:15,600
Speaker 2: this was kind of a direct you know, thinking about

694
00:37:15,640 --> 00:37:17,560
Speaker 2: movies that are in conversation with each other. I think

695
00:37:17,600 --> 00:37:19,279
Speaker 2: this was the first on the scene of movies that

696
00:37:19,360 --> 00:37:24,400
Speaker 2: kind of directly approached that thematic element, but in a

697
00:37:24,560 --> 00:37:25,279
Speaker 2: very different way.

698
00:37:26,320 --> 00:37:29,600
Speaker 1: Definitely, And like I mean, we talked about Igmar Bergmann recently.

699
00:37:29,680 --> 00:37:33,000
Speaker 1: I mean it's like he made a couple films where

700
00:37:33,040 --> 00:37:36,120
Speaker 1: it's literally nobody doing anything for a really long time.

701
00:37:36,280 --> 00:37:40,080
Speaker 1: So you know what like this film to me? You know,

702
00:37:40,120 --> 00:37:43,480
Speaker 1: I've heard it called a feminist masterpiece, and you know,

703
00:37:43,800 --> 00:37:45,919
Speaker 1: and when you think about it in terms of that too,

704
00:37:46,880 --> 00:37:49,319
Speaker 1: it is I mean, maybe this is something you will

705
00:37:49,320 --> 00:37:51,759
Speaker 1: talk about, but I'm just sort of like, it is

706
00:37:52,640 --> 00:37:56,320
Speaker 1: a feminist statement. Yeah, to put a woman on screen

707
00:37:56,360 --> 00:37:59,480
Speaker 1: for that long, right, like and show her life in

708
00:37:59,480 --> 00:38:02,680
Speaker 1: that way and in terms of her kid, I mean,

709
00:38:02,760 --> 00:38:04,760
Speaker 1: that is something I can't wait to talk to you about.

710
00:38:04,920 --> 00:38:07,200
Speaker 1: And then my movie is the total is like a

711
00:38:07,280 --> 00:38:12,239
Speaker 1: total one to eighty from your film. It is campiest shit.

712
00:38:12,960 --> 00:38:14,760
Speaker 1: We're gonna have a lot of fun with it, I'm sure.

713
00:38:15,040 --> 00:38:18,560
Speaker 2: But you're filming together right to the jug of like husk.

714
00:38:19,920 --> 00:38:22,560
Speaker 1: Oh yeah, oh yeah. When you suggested the theme, I

715
00:38:22,600 --> 00:38:25,880
Speaker 1: was like, there can only be one, and there's probably

716
00:38:25,920 --> 00:38:27,880
Speaker 1: like two or three, but this is the one, you

717
00:38:27,960 --> 00:38:29,759
Speaker 1: know what I mean? And I do think I do.

718
00:38:29,880 --> 00:38:30,200
Speaker 1: I agree.

719
00:38:30,200 --> 00:38:33,800
Speaker 2: I think it's a great double feat. Somehow it works,

720
00:38:34,360 --> 00:38:36,160
Speaker 2: somehow it works well, Okay.

721
00:38:36,200 --> 00:38:39,600
Speaker 1: Our producer Casey said that there's like through lines between

722
00:38:39,600 --> 00:38:41,200
Speaker 1: the films, which I'm sure we're gonna.

723
00:38:41,000 --> 00:38:43,640
Speaker 2: Talk about, so oh yeah, I'm well, we're gonna get

724
00:38:43,760 --> 00:38:47,040
Speaker 2: right the fuck into it. Because my film was released

725
00:38:47,080 --> 00:38:51,759
Speaker 2: in nineteen seventy five. The screenplays by Chantal Ackerman and

726
00:38:51,800 --> 00:38:55,279
Speaker 2: it is directed by Chantal Ackerman. My film is Jean

727
00:38:55,320 --> 00:38:59,759
Speaker 2: Delmont Don tiney do comes miil katchla vamp you said

728
00:39:00,160 --> 00:39:05,440
Speaker 2: till he const which is to manage Allison. And I'm

729
00:39:05,440 --> 00:39:06,880
Speaker 2: going to give you the one sentence and then we're

730
00:39:06,880 --> 00:39:08,319
Speaker 2: going to go into the history of the film and

731
00:39:08,320 --> 00:39:10,640
Speaker 2: the filmmaker a little bit, because it's important to me

732
00:39:10,800 --> 00:39:13,560
Speaker 2: that we do that. So the one sentence synopsis of

733
00:39:13,560 --> 00:39:16,719
Speaker 2: this film is a single widowed mother goes through the

734
00:39:16,840 --> 00:39:20,439
Speaker 2: quiet tedium of her life punctuated by moments of sex work.

735
00:39:22,360 --> 00:39:23,719
Speaker 2: So one of the reasons I wanted to pick this

736
00:39:23,800 --> 00:39:25,640
Speaker 2: film is that it was one of the first films

737
00:39:25,680 --> 00:39:28,120
Speaker 2: I watched when I started to explore the work of

738
00:39:28,200 --> 00:39:31,520
Speaker 2: Chantal Akerman. And she's one of those directors where I

739
00:39:31,600 --> 00:39:33,000
Speaker 2: do this every once in a while, and mainly I

740
00:39:33,080 --> 00:39:35,320
Speaker 2: know you do this too, where I'll either hear of

741
00:39:35,360 --> 00:39:37,600
Speaker 2: a director or realize I haven't seen a lot of

742
00:39:37,600 --> 00:39:39,560
Speaker 2: their films, and I just kind of start digging in

743
00:39:40,360 --> 00:39:42,360
Speaker 2: and you know, just kind of curious about it. So

744
00:39:43,120 --> 00:39:44,879
Speaker 2: I was very curious about this film and I watched

745
00:39:44,880 --> 00:39:46,880
Speaker 2: it for the first time a couple of years ago

746
00:39:46,920 --> 00:39:51,800
Speaker 2: and last December. So every ten years, Cite and Sound magazine,

747
00:39:51,800 --> 00:39:55,120
Speaker 2: which is the magazine for the British Film Institute, releases

748
00:39:55,160 --> 00:39:57,840
Speaker 2: a list of the greatest films of all time, and

749
00:39:57,880 --> 00:40:00,520
Speaker 2: it's usually like two hundred and fifty films. Last year,

750
00:40:01,280 --> 00:40:05,800
Speaker 2: Jean Dilmont was the number one greatest film of all time.

751
00:40:06,600 --> 00:40:10,600
Speaker 2: And I am not kidding when I say every male

752
00:40:11,000 --> 00:40:16,319
Speaker 2: film bro lost his fucking mind, including Paul Schrader, and

753
00:40:16,360 --> 00:40:17,640
Speaker 2: these are people who would admit to.

754
00:40:17,719 --> 00:40:20,680
Speaker 1: Like, I like this movie, but what the fuck?

755
00:40:20,840 --> 00:40:24,640
Speaker 2: Like men lost their fucking minds that this movie was

756
00:40:24,680 --> 00:40:27,600
Speaker 2: the nominated was considered the greatest film of all time,

757
00:40:27,840 --> 00:40:29,440
Speaker 2: and it's the first time that a woman took the

758
00:40:29,440 --> 00:40:32,680
Speaker 2: top spot, and it knocked out things like Vertigo and

759
00:40:32,680 --> 00:40:35,279
Speaker 2: Citizen Kane and like all these kind of standard classics,

760
00:40:35,600 --> 00:40:37,680
Speaker 2: which I think is very bold of sight and sound.

761
00:40:37,680 --> 00:40:40,840
Speaker 2: But it kind of kicked up this conversation about wokeness

762
00:40:40,840 --> 00:40:41,919
Speaker 2: and blah blah blah, and I'm.

763
00:40:41,840 --> 00:40:42,880
Speaker 1: Like, get over it.

764
00:40:43,560 --> 00:40:47,399
Speaker 2: Like times change, the nominating committee changes, and people start

765
00:40:47,440 --> 00:40:51,120
Speaker 2: to realize value in things that maybe have not always

766
00:40:51,120 --> 00:40:51,840
Speaker 2: been universal.

767
00:40:53,160 --> 00:40:56,640
Speaker 1: Yeah. I mean, look, I'll just say this is just

768
00:40:56,719 --> 00:40:59,760
Speaker 1: me speaking, and this is just because of the people

769
00:40:59,760 --> 00:41:02,840
Speaker 1: that I know. Anytime a site and sound poll comes

770
00:41:02,840 --> 00:41:08,960
Speaker 1: through on the Internet, I'm like, bye, like take it

771
00:41:09,000 --> 00:41:12,959
Speaker 1: a vacation. I get off the fucking social medias because

772
00:41:13,000 --> 00:41:17,080
Speaker 1: I'm like, you know, anytime you rank anything I was

773
00:41:17,200 --> 00:41:21,239
Speaker 1: the best blank, people lose their shit. But then I'm

774
00:41:21,239 --> 00:41:27,000
Speaker 1: like these film geeks that I know, I gotta I

775
00:41:27,040 --> 00:41:29,759
Speaker 1: gotta stay off Twitter, like I just can't deal with

776
00:41:29,800 --> 00:41:31,319
Speaker 1: it at all.

777
00:41:31,480 --> 00:41:34,719
Speaker 2: So and just watching people tie themselves in knots to

778
00:41:34,840 --> 00:41:36,719
Speaker 2: explain why this isn't.

779
00:41:36,480 --> 00:41:40,160
Speaker 1: The best film of all time. Is incredible.

780
00:41:40,520 --> 00:41:43,800
Speaker 2: It's incredible, And I haven't read the Internet from corner

781
00:41:43,840 --> 00:41:46,880
Speaker 2: to corner, but I will just say, of the immediate

782
00:41:46,960 --> 00:41:51,080
Speaker 2: twenty five articles that I saw relating to this film

783
00:41:51,120 --> 00:41:54,240
Speaker 2: being named the greatest film of all time, every single

784
00:41:54,239 --> 00:41:55,959
Speaker 2: one of them was written by a man. Every single

785
00:41:56,000 --> 00:41:57,640
Speaker 2: one that was like, this is the worst film. I

786
00:41:57,680 --> 00:41:59,960
Speaker 2: don't understand. This was written by a man. There could

787
00:42:00,200 --> 00:42:02,280
Speaker 2: women out there, I'm sure who also feel the same way,

788
00:42:02,360 --> 00:42:03,319
Speaker 2: but that's not what I saw.

789
00:42:04,000 --> 00:42:06,239
Speaker 1: And I think this movie absolutely deserves it.

790
00:42:06,280 --> 00:42:08,600
Speaker 2: And then it's the exact kind of film that by

791
00:42:08,680 --> 00:42:11,279
Speaker 2: being ranked, and by being ranked in that spot, we'll

792
00:42:11,280 --> 00:42:13,160
Speaker 2: bring more people to it. You know, this is a

793
00:42:13,160 --> 00:42:17,240
Speaker 2: film that I think is very well known in filmmaking circles,

794
00:42:17,280 --> 00:42:21,680
Speaker 2: like you know, Chantal Ackerman absolutely influenced a ton of directors,

795
00:42:21,719 --> 00:42:24,799
Speaker 2: like a whole new generation of filmmaking, but it's not

796
00:42:25,000 --> 00:42:27,360
Speaker 2: really well known to the public at large. So I

797
00:42:27,360 --> 00:42:30,239
Speaker 2: think that that's kind of the importance of those lists

798
00:42:30,280 --> 00:42:34,000
Speaker 2: in general. When you're ranking something, you're kind of bringing

799
00:42:34,040 --> 00:42:38,399
Speaker 2: it to public consciousness. So I appreciate that there's there's

800
00:42:38,400 --> 00:42:41,120
Speaker 2: so much information out there, and I'll try to kind of.

801
00:42:41,040 --> 00:42:42,080
Speaker 1: Parse this down.

802
00:42:42,200 --> 00:42:45,960
Speaker 2: But when I was reading about, you know, doing research

803
00:42:46,000 --> 00:42:49,319
Speaker 2: for the film this week, there's an article in New

804
00:42:49,400 --> 00:42:51,760
Speaker 2: Yorker magazine that came out in December of twenty twenty

805
00:42:51,760 --> 00:42:55,440
Speaker 2: two by Jessica Winter, and it's called the Revelatory Tedium

806
00:42:55,960 --> 00:42:58,759
Speaker 2: of the new Greatest Film of All Time, and she

807
00:42:58,800 --> 00:43:01,839
Speaker 2: writes a lot about how the film is shot and

808
00:43:01,880 --> 00:43:04,759
Speaker 2: what it means and kind of how it how the

809
00:43:04,800 --> 00:43:10,000
Speaker 2: film came to be and basically was really pleased that

810
00:43:10,080 --> 00:43:14,799
Speaker 2: this film was again like finding more footing in the

811
00:43:14,800 --> 00:43:19,560
Speaker 2: public consciousness. Yeah, so, Jessica Winter, the writer kind of

812
00:43:19,600 --> 00:43:24,440
Speaker 2: starts out by saying that the film strength derives insignificant

813
00:43:24,520 --> 00:43:29,960
Speaker 2: part from its austerity, patience, and extreme discipline. Each scene

814
00:43:30,000 --> 00:43:33,399
Speaker 2: consists consists of a single fixed shot placed a bit

815
00:43:33,440 --> 00:43:35,640
Speaker 2: lower than the norm. And the thing that cracks me

816
00:43:35,680 --> 00:43:38,240
Speaker 2: up about this is Chantal Ackerman was five feet tall,

817
00:43:38,840 --> 00:43:40,719
Speaker 2: so all of her shots are set up to be

818
00:43:40,880 --> 00:43:43,840
Speaker 2: like her viewpoint. You were literally getting her viewpoint. And

819
00:43:43,880 --> 00:43:46,680
Speaker 2: there are scenes in the film where you know, the

820
00:43:46,719 --> 00:43:48,640
Speaker 2: main character is in the kitchen and she's reaching for

821
00:43:48,719 --> 00:43:50,640
Speaker 2: something on a shelf and you can't see that shelf.

822
00:43:51,960 --> 00:43:53,520
Speaker 1: She's like, I'm not chilting this candle.

823
00:43:53,520 --> 00:43:56,080
Speaker 2: This is a fixed shot and we're gonna be looking

824
00:43:56,080 --> 00:43:57,520
Speaker 2: at these hips.

825
00:43:57,960 --> 00:44:00,480
Speaker 1: Yep, one hundred percent, And I.

826
00:44:00,400 --> 00:44:02,600
Speaker 2: Fuggin love it. So I think that the fact that

827
00:44:02,640 --> 00:44:05,279
Speaker 2: the camera doesn't move and there's no reaction shots, there's

828
00:44:05,280 --> 00:44:08,040
Speaker 2: no close ups, like this article kind of goes into

829
00:44:08,560 --> 00:44:12,000
Speaker 2: how you know, Delphine Sayrig the main actress, is on

830
00:44:12,080 --> 00:44:15,440
Speaker 2: screen pretty much every minute. It's all about her, and

831
00:44:15,480 --> 00:44:19,880
Speaker 2: it's all about this tedium and Ackerman basically tributes this

832
00:44:19,960 --> 00:44:23,920
Speaker 2: movie to her mother. And from the article I will

833
00:44:24,000 --> 00:44:27,080
Speaker 2: quote directly Jean Dielman is Ackerman's tribute to her mother,

834
00:44:27,200 --> 00:44:30,120
Speaker 2: to her countless hours of care, and beneath the surface,

835
00:44:30,440 --> 00:44:34,480
Speaker 2: to the religious rituals of Ackerman's Polish Jewish family, many

836
00:44:34,480 --> 00:44:38,760
Speaker 2: of whose members were murdered in the Holocaust. So Chantelle

837
00:44:38,800 --> 00:44:42,480
Speaker 2: Ackerman's mother survived Auschwitz and her mother's parents did not.

838
00:44:42,560 --> 00:44:47,719
Speaker 2: Her grandparents were killed in Auschwitz. And to continue in

839
00:44:47,760 --> 00:44:52,440
Speaker 2: the observant Jewish home of Ackerman's paternal grandfather, every activity

840
00:44:52,440 --> 00:44:55,840
Speaker 2: of the day was ritualized, a discipline that keeps anxiety

841
00:44:55,920 --> 00:44:59,600
Speaker 2: at bay and brings a kind of peace. Ackerman told Criterion.

842
00:45:00,080 --> 00:45:04,120
Speaker 2: Her mother, she suggested, sought out the same steadying rhythms

843
00:45:04,320 --> 00:45:08,000
Speaker 2: in homemaking. So I think it's important to recognize that

844
00:45:08,960 --> 00:45:10,759
Speaker 2: as we just start discussing the film and getting into

845
00:45:10,800 --> 00:45:12,880
Speaker 2: like what's the film about and what's going on, Like

846
00:45:12,920 --> 00:45:16,799
Speaker 2: there's a very important through line of valuing women's work.

847
00:45:17,280 --> 00:45:20,439
Speaker 2: And jan Taal Ackerman saw that in her own life.

848
00:45:20,480 --> 00:45:24,160
Speaker 2: And I kind of really love the idea of ritual

849
00:45:24,239 --> 00:45:28,320
Speaker 2: being something that keeps anxiety at bay. I've never really

850
00:45:28,320 --> 00:45:31,719
Speaker 2: considered that in my own life until I read that

851
00:45:31,800 --> 00:45:34,759
Speaker 2: in this article. But a lot yeah, well because a

852
00:45:34,800 --> 00:45:38,000
Speaker 2: lot of the time it's like, especially if I'm depressed

853
00:45:38,040 --> 00:45:40,279
Speaker 2: or experiencing depression, the thing that lifts me out of

854
00:45:40,320 --> 00:45:42,560
Speaker 2: it often is ritual. So it's like, all right, you've

855
00:45:42,600 --> 00:45:44,640
Speaker 2: got to do the dishes, you have to do your laundry,

856
00:45:44,800 --> 00:45:46,359
Speaker 2: you have to take a shower, you have to wash

857
00:45:46,400 --> 00:45:48,440
Speaker 2: your hair, like you have to do things to feel

858
00:45:48,440 --> 00:45:51,239
Speaker 2: like a human being. And you know, looking at the

859
00:45:51,360 --> 00:45:56,400
Speaker 2: ritualistic work of the sanctuary of your home is something

860
00:45:56,400 --> 00:45:59,000
Speaker 2: that's not really valued in our culture. In our culture,

861
00:45:59,040 --> 00:46:01,440
Speaker 2: like we kind of feel like I think we kind

862
00:46:01,440 --> 00:46:03,880
Speaker 2: of tend to think that our lives take care of themselves,

863
00:46:04,400 --> 00:46:07,399
Speaker 2: when in reality there's an unseen amount of invisible work

864
00:46:07,400 --> 00:46:10,480
Speaker 2: that goes into keeping the engine of your lives and

865
00:46:10,520 --> 00:46:11,359
Speaker 2: your famili's going.

866
00:46:12,200 --> 00:46:16,880
Speaker 1: That is a huge point in this film. That is

867
00:46:16,920 --> 00:46:20,880
Speaker 1: not only like saying a lot about this character, but

868
00:46:20,960 --> 00:46:24,960
Speaker 1: it's also like saying it's forcing you to kind of

869
00:46:24,960 --> 00:46:29,400
Speaker 1: think of your own life and how you move around

870
00:46:29,400 --> 00:46:30,480
Speaker 1: in your own home.

871
00:46:30,719 --> 00:46:35,400
Speaker 2: Completely completely and yeah, truly like the controlling of the

872
00:46:35,520 --> 00:46:39,160
Speaker 2: chaos in your home to kind of make your home

873
00:46:39,200 --> 00:46:41,920
Speaker 2: a sanctuary so that it's the one place where you

874
00:46:41,960 --> 00:46:45,600
Speaker 2: don't have to overthink things. Yeah, which I think feels

875
00:46:45,640 --> 00:46:47,719
Speaker 2: less OCD to me and maybe a little bit but

876
00:46:47,760 --> 00:46:49,520
Speaker 2: like for some people, but it feels less OCD to

877
00:46:49,520 --> 00:46:52,000
Speaker 2: me and more like you know, something I learned over

878
00:46:52,040 --> 00:46:54,080
Speaker 2: time is that like if I know where everything is,

879
00:46:54,280 --> 00:46:56,680
Speaker 2: then that's twenty minutes I don't have to spend frantically

880
00:46:56,680 --> 00:46:58,319
Speaker 2: looking for it when I'm on my way out the door.

881
00:46:58,640 --> 00:47:01,640
Speaker 2: Like that kind of simple thing, simplicity, but also just

882
00:47:01,680 --> 00:47:05,080
Speaker 2: like how how it brings a lot of comfort, Like

883
00:47:05,160 --> 00:47:08,000
Speaker 2: I like having my house be very orderly and clean,

884
00:47:08,160 --> 00:47:12,200
Speaker 2: and like again like it's not stressful. It's less stressful

885
00:47:12,239 --> 00:47:15,120
Speaker 2: for me to keep my house the way that I

886
00:47:15,160 --> 00:47:18,160
Speaker 2: wanted to feel. The feeling of being home is more

887
00:47:18,160 --> 00:47:22,200
Speaker 2: important to me than you know, the out the outsized

888
00:47:22,239 --> 00:47:24,120
Speaker 2: look at what it means to actually do that kind

889
00:47:24,160 --> 00:47:24,640
Speaker 2: of cleaning.

890
00:47:24,840 --> 00:47:27,640
Speaker 1: So yeah, and also I think too, I mean, you know,

891
00:47:28,160 --> 00:47:30,960
Speaker 1: like now that you know I'm unemployed and I have

892
00:47:31,120 --> 00:47:34,640
Speaker 1: more time on my hands, like I do think that

893
00:47:34,680 --> 00:47:37,719
Speaker 1: there are certain things about the rhythm of a day

894
00:47:38,400 --> 00:47:41,399
Speaker 1: that involved being at home and you know, making sure

895
00:47:41,440 --> 00:47:43,239
Speaker 1: that you know, when you get up, you're going to

896
00:47:43,320 --> 00:47:45,200
Speaker 1: do this, and then you're going to clean this, and

897
00:47:45,200 --> 00:47:47,400
Speaker 1: you're going to do that, which I think in my

898
00:47:47,520 --> 00:47:49,799
Speaker 1: days where I was busier and I was leaving the house,

899
00:47:49,840 --> 00:47:52,200
Speaker 1: a lot those things would kind of fall by the

900
00:47:52,200 --> 00:47:54,400
Speaker 1: wayside a little bit, you know, Like I like, I

901
00:47:54,480 --> 00:47:56,360
Speaker 1: used to like have a couple of dishes in the

902
00:47:56,400 --> 00:47:59,360
Speaker 1: dish in the in the sink before I left, and

903
00:47:59,400 --> 00:48:01,279
Speaker 1: I wouldn't get to home until later. But now it's

904
00:48:01,320 --> 00:48:03,719
Speaker 1: like I'm cleaning every fucking dish the minute I use it,

905
00:48:03,760 --> 00:48:05,680
Speaker 1: and I'm putting it back in its place because I

906
00:48:05,719 --> 00:48:11,080
Speaker 1: have the time. But I also the rhythm of it

907
00:48:11,160 --> 00:48:12,280
Speaker 1: is pleasing.

908
00:48:11,880 --> 00:48:14,719
Speaker 2: To me exactly. Oh yeah, and that's only exacerbated when

909
00:48:14,760 --> 00:48:17,600
Speaker 2: you have families and kids and schedules that are outside

910
00:48:17,600 --> 00:48:20,799
Speaker 2: of yourself. But I completely agree. I completely agree. And

911
00:48:21,120 --> 00:48:23,840
Speaker 2: the other thing that just Cointra says in this article

912
00:48:24,320 --> 00:48:28,000
Speaker 2: that I really just loved is talking about the film.

913
00:48:28,080 --> 00:48:30,520
Speaker 2: She says it, and I quote, it sought to redefine

914
00:48:30,560 --> 00:48:34,160
Speaker 2: everything that makes a film a film, how it establishes

915
00:48:34,200 --> 00:48:38,560
Speaker 2: tension and tempo, how it defines or disregards plot, whom

916
00:48:38,600 --> 00:48:42,280
Speaker 2: it chooses as a protagonist. One can watch Jean Dilemont

917
00:48:42,440 --> 00:48:45,480
Speaker 2: and wait for something to happen, but it already is.

918
00:48:46,840 --> 00:48:50,080
Speaker 2: And that is something that I find I will definitely

919
00:48:50,080 --> 00:48:52,680
Speaker 2: deep dive into. But I absolutely think it's fucking fascinating

920
00:48:52,680 --> 00:48:55,319
Speaker 2: about this movie. And I also think it's fascinating about

921
00:48:55,400 --> 00:48:58,560
Speaker 2: Chantelle Arkamen. So she was only twenty five years old

922
00:48:58,600 --> 00:49:02,320
Speaker 2: when she made this film, seventy five. She's very prolific.

923
00:49:02,400 --> 00:49:04,600
Speaker 2: She made more than forty films in her lifetime. Her

924
00:49:04,640 --> 00:49:08,319
Speaker 2: first film was Sotema VI. She made a movie called

925
00:49:08,360 --> 00:49:10,759
Speaker 2: No Home Movie like just look into if you want to,

926
00:49:10,880 --> 00:49:13,120
Speaker 2: or if you're curious about Chantelle Ackerman at all, it's

927
00:49:13,120 --> 00:49:18,600
Speaker 2: worth digging into she Unfortunately she died by suicide in

928
00:49:18,680 --> 00:49:22,080
Speaker 2: Paris at the age of sixty five in twenty fifteen,

929
00:49:22,920 --> 00:49:25,080
Speaker 2: and her New York obituary, I feel like the title

930
00:49:25,120 --> 00:49:28,000
Speaker 2: of it explains a lot about her life as a director,

931
00:49:29,000 --> 00:49:33,920
Speaker 2: which is Chantelle Ackerman, whose films examined women's in her lives,

932
00:49:34,440 --> 00:49:38,320
Speaker 2: dies at sixty five, and that's a really important distinction,

933
00:49:38,440 --> 00:49:40,200
Speaker 2: because I think that you know, in the course of

934
00:49:40,200 --> 00:49:44,240
Speaker 2: this obituary, they talked to Nicola Mazzanti, who's the director

935
00:49:44,239 --> 00:49:47,399
Speaker 2: of the Royal Belgian Film Archive. Chantal Ackerman was born

936
00:49:47,440 --> 00:49:51,680
Speaker 2: and raised in Belgium, and she said that John Delmond

937
00:49:51,719 --> 00:49:54,719
Speaker 2: specifically is a film that created overnight a new way

938
00:49:54,719 --> 00:49:57,480
Speaker 2: of making films, a new way of telling stories, a

939
00:49:57,520 --> 00:50:00,839
Speaker 2: new way of telling time. There are filmmakers who are

940
00:50:00,840 --> 00:50:05,280
Speaker 2: good filmmakers, who are great filmmakers, who are in film history,

941
00:50:05,680 --> 00:50:09,360
Speaker 2: and then there are a few filmmakers who change film history.

942
00:50:10,520 --> 00:50:14,680
Speaker 2: So the importance of her life and her work cannot

943
00:50:14,680 --> 00:50:18,800
Speaker 2: be understated, particularly with this film, but in general, I

944
00:50:18,840 --> 00:50:22,000
Speaker 2: strongly suggest that you go, if you're at all inclined,

945
00:50:22,080 --> 00:50:26,520
Speaker 2: go through her litany of films and just start picking

946
00:50:26,520 --> 00:50:28,640
Speaker 2: and choosing and getting really into the rhythm of what

947
00:50:28,680 --> 00:50:31,799
Speaker 2: she wanted to say about women's inner lives and how

948
00:50:31,800 --> 00:50:35,000
Speaker 2: important it is to have had a director like that

949
00:50:35,239 --> 00:50:41,200
Speaker 2: who I agree with, Nikola Mazanti, who actually changed film history.

950
00:50:43,200 --> 00:50:47,240
Speaker 2: So the film itself and what I love about it.

951
00:50:46,600 --> 00:50:46,959
Speaker 1: Is that.

952
00:50:48,360 --> 00:50:51,040
Speaker 2: It's a movie where the feminism is rooted in a

953
00:50:51,120 --> 00:50:55,480
Speaker 2: kind of forceful voyeurism. So it's like, you will learn

954
00:50:55,560 --> 00:50:59,320
Speaker 2: every detail of this woman's day. If you're bored by it, then.

955
00:50:59,200 --> 00:51:00,280
Speaker 1: You have to consider one.

956
00:51:00,320 --> 00:51:02,239
Speaker 2: You're bored by it, If you're fascinated by it, then

957
00:51:02,280 --> 00:51:03,920
Speaker 2: you have to It's kind of ask you to do

958
00:51:03,960 --> 00:51:08,839
Speaker 2: the work of understanding how you view this type of woman, right.

959
00:51:09,719 --> 00:51:10,440
Speaker 1: I love it.

960
00:51:10,440 --> 00:51:12,160
Speaker 2: It's a little bit stressful at first because when we

961
00:51:12,200 --> 00:51:14,480
Speaker 2: first meet her, it's kind of a story told her

962
00:51:14,480 --> 00:51:16,759
Speaker 2: of the course of three days. And when we first

963
00:51:16,840 --> 00:51:19,359
Speaker 2: meet her, she's We're in the middle of day one

964
00:51:20,040 --> 00:51:23,839
Speaker 2: in the afternoon, and she's preparing dinner. So she kind

965
00:51:23,880 --> 00:51:26,640
Speaker 2: of is getting dinner ready to sit on the stove

966
00:51:26,719 --> 00:51:28,880
Speaker 2: for a while, but she turns on the burners and

967
00:51:28,920 --> 00:51:31,040
Speaker 2: then she turns out the lights and leaves the kitchen,

968
00:51:31,120 --> 00:51:36,000
Speaker 2: and I'm like, bitch, I'm stressed already. I'm stressed by

969
00:51:36,040 --> 00:51:39,160
Speaker 2: a tiny barbie stove just burned away with no one

970
00:51:39,160 --> 00:51:41,240
Speaker 2: around to look at it, and all these towels hanging

971
00:51:41,320 --> 00:51:42,200
Speaker 2: and curtains and shit.

972
00:51:42,560 --> 00:51:42,960
Speaker 1: Stress.

973
00:51:43,480 --> 00:51:45,000
Speaker 2: But it kind of puts you right into the middle

974
00:51:45,040 --> 00:51:46,640
Speaker 2: of her life where we're just watching a woman live

975
00:51:46,640 --> 00:51:49,840
Speaker 2: her life. So on day one again, like we're watching

976
00:51:49,840 --> 00:51:52,399
Speaker 2: her preparing dinner and she puts it on to boil,

977
00:51:52,880 --> 00:51:55,239
Speaker 2: and then she accepts a client for sex work because

978
00:51:55,239 --> 00:51:57,960
Speaker 2: she meets with a different man every day, one man,

979
00:51:58,320 --> 00:52:01,120
Speaker 2: and it's kind of part of the tedium of her life.

980
00:52:01,360 --> 00:52:03,839
Speaker 2: Like her sex work is not exploitative at all, it's

981
00:52:03,920 --> 00:52:07,400
Speaker 2: kind of you know, she's dressed like she's not wearing

982
00:52:07,400 --> 00:52:10,439
Speaker 2: like lingerie and getting into like a like a best

983
00:52:10,440 --> 00:52:13,120
Speaker 2: little whorehouse in Texas kind of mood. Like she's like,

984
00:52:13,160 --> 00:52:15,720
Speaker 2: I'm wearing my prim knee length skirt and my button

985
00:52:15,719 --> 00:52:18,480
Speaker 2: down shirt and my little sweater and I'll take off

986
00:52:18,520 --> 00:52:20,479
Speaker 2: my house coat and then i will go do sex work.

987
00:52:20,840 --> 00:52:24,400
Speaker 1: Yeah, she puts the towel on the bed, which seems

988
00:52:24,480 --> 00:52:25,120
Speaker 1: very bleak.

989
00:52:25,719 --> 00:52:29,680
Speaker 2: Oh, the towel on the bed sends me every time,

990
00:52:29,760 --> 00:52:32,919
Speaker 2: and it's like a little like a baby blanket towel.

991
00:52:34,280 --> 00:52:38,760
Speaker 1: Oh, like a seventies towel, like before they started making

992
00:52:38,760 --> 00:52:41,640
Speaker 1: them big, like big bath sheets, and it's like a

993
00:52:41,719 --> 00:52:47,399
Speaker 1: seventies small towel And I'm like, wow, it can't even

994
00:52:47,400 --> 00:52:48,799
Speaker 1: wrap it under an armpit.

995
00:52:52,400 --> 00:52:52,560
Speaker 2: Ever.

996
00:52:52,719 --> 00:52:54,080
Speaker 1: Watching her and then after her.

997
00:52:53,960 --> 00:52:56,560
Speaker 2: Appointment, she takes a bath. We watched the whole five

998
00:52:56,600 --> 00:53:01,360
Speaker 2: minute scene of her bathing. She's knitting, she's listening to

999
00:53:01,400 --> 00:53:03,759
Speaker 2: the radio, she's writing letters to her sister who lives

1000
00:53:03,800 --> 00:53:07,720
Speaker 2: in Canada, like all of this is happening in real time.

1001
00:53:07,760 --> 00:53:10,360
Speaker 2: It's like real time with Jean Dilman, except instead of

1002
00:53:10,440 --> 00:53:13,839
Speaker 2: yelling about boners and crypto, she's just like, I'm gonna

1003
00:53:13,840 --> 00:53:18,439
Speaker 2: cook dinner. Yeah right, so, and one thing about Jean

1004
00:53:18,520 --> 00:53:21,120
Speaker 2: Dilman is that she will turn off the light every

1005
00:53:21,200 --> 00:53:23,360
Speaker 2: time she exits a room. She is not gonna let

1006
00:53:23,360 --> 00:53:24,760
Speaker 2: you run up that electric bill.

1007
00:53:25,040 --> 00:53:27,799
Speaker 1: One hundred percent. Oh yeah, that was like, you know,

1008
00:53:28,160 --> 00:53:31,840
Speaker 1: I it was funny that you mentioned that Shantaul Ackerman,

1009
00:53:32,239 --> 00:53:35,399
Speaker 1: you know, sort of made this movie about her mother

1010
00:53:35,640 --> 00:53:37,960
Speaker 1: because it also reminded me of my grandmother. You know,

1011
00:53:38,000 --> 00:53:40,880
Speaker 1: my grandmother was European too, and there was like a

1012
00:53:40,880 --> 00:53:45,440
Speaker 1: lot of similarities, like even you know, the housecoat like

1013
00:53:45,480 --> 00:53:49,200
Speaker 1: putting on the like the thing over your clothes so

1014
00:53:49,239 --> 00:53:51,479
Speaker 1: that you know, when you're cleaning or cooking, you don't

1015
00:53:51,560 --> 00:53:53,799
Speaker 1: splash it on your clothes like my grandmother did that.

1016
00:53:54,360 --> 00:53:57,120
Speaker 1: And then also like turning off all the lights the minute,

1017
00:53:57,160 --> 00:54:01,160
Speaker 1: like turn it on, turn off, Like even the like cookwear,

1018
00:54:01,400 --> 00:54:05,560
Speaker 1: the cookwear seemed very so it had that feeling for me.

1019
00:54:05,719 --> 00:54:08,760
Speaker 1: It felt very familiar for some reason.

1020
00:54:09,000 --> 00:54:11,520
Speaker 2: Completely, Yeah, like the kind of worn in pots and

1021
00:54:11,600 --> 00:54:14,520
Speaker 2: pans and the you know, the potato bucket it's kind

1022
00:54:14,520 --> 00:54:17,200
Speaker 2: of stained because it's also the dish bucket. Like it's

1023
00:54:17,280 --> 00:54:19,799
Speaker 2: just the kind of the way that she uses the

1024
00:54:19,840 --> 00:54:21,560
Speaker 2: things in her home and cares for the things in

1025
00:54:21,560 --> 00:54:24,000
Speaker 2: her home or part of the routine of her home.

1026
00:54:24,400 --> 00:54:26,360
Speaker 2: And you're absolutely right, like you could not leave a

1027
00:54:26,400 --> 00:54:29,439
Speaker 2: light on in my house, and that is a generational thing.

1028
00:54:30,320 --> 00:54:31,000
Speaker 1: But I think you're right.

1029
00:54:31,000 --> 00:54:34,360
Speaker 2: It comes from this this history of of our families,

1030
00:54:34,600 --> 00:54:36,359
Speaker 2: and there is a lot to feel familiar, even though

1031
00:54:36,360 --> 00:54:38,440
Speaker 2: it's even though it's taking place in Belgium, there's a

1032
00:54:38,480 --> 00:54:39,960
Speaker 2: lot that feels familiar to me too.

1033
00:54:40,360 --> 00:54:42,000
Speaker 1: Totally and like part of it too. And I don't

1034
00:54:42,000 --> 00:54:43,480
Speaker 1: know if you fell that is that like every time

1035
00:54:43,520 --> 00:54:45,839
Speaker 1: I watch this film, I'm like, Okay, so she's got

1036
00:54:45,840 --> 00:54:47,960
Speaker 1: this like tiny little kitchen and they eat in that

1037
00:54:47,960 --> 00:54:50,520
Speaker 1: little kitchen. But then she's got that like formal dining

1038
00:54:50,640 --> 00:54:53,759
Speaker 1: area or whatever that like nobody is allowed to go in,

1039
00:54:54,640 --> 00:54:58,400
Speaker 1: like you know, that has the the jar that she

1040
00:54:58,480 --> 00:55:00,640
Speaker 1: puts the money in like that. I don't know if

1041
00:55:00,640 --> 00:55:03,040
Speaker 1: that's a dining room, but it is a very formal

1042
00:55:03,160 --> 00:55:06,880
Speaker 1: room that no one is allowed to eat or drink in.

1043
00:55:07,640 --> 00:55:12,719
Speaker 1: That has a cabinet full of our expensive ceramics that

1044
00:55:12,760 --> 00:55:15,120
Speaker 1: we polish, But it's not a room you're allowed to

1045
00:55:15,120 --> 00:55:17,320
Speaker 1: be in. You could only sit in this little kitchen.

1046
00:55:17,080 --> 00:55:19,399
Speaker 2: And eat dinner, or you can sit at one end

1047
00:55:19,400 --> 00:55:22,160
Speaker 2: of this table in this big room and eat dinner,

1048
00:55:22,239 --> 00:55:25,160
Speaker 2: like one little end of this table is useful, and

1049
00:55:25,200 --> 00:55:25,759
Speaker 2: that's it.

1050
00:55:26,080 --> 00:55:27,959
Speaker 1: And then guess like that's also part of.

1051
00:55:27,880 --> 00:55:30,839
Speaker 2: The way Holmes used to be designed, is like there

1052
00:55:30,920 --> 00:55:33,040
Speaker 2: is a formal space just in case, just in case,

1053
00:55:33,040 --> 00:55:35,160
Speaker 2: even if you're not a formal person, there's a formal

1054
00:55:35,160 --> 00:55:35,680
Speaker 2: space for you.

1055
00:55:36,280 --> 00:55:38,240
Speaker 1: Oh I could I could go on about this forever.

1056
00:55:38,480 --> 00:55:41,319
Speaker 1: It's like a kids don't eat flat sheets anymore. They

1057
00:55:41,360 --> 00:55:44,440
Speaker 1: only buy the fitted ones that and like a formal

1058
00:55:45,000 --> 00:55:47,520
Speaker 1: living room like that nobody would go in. That is

1059
00:55:47,600 --> 00:55:49,840
Speaker 1: unheard of. But for people our age, oh was like

1060
00:55:49,880 --> 00:55:50,720
Speaker 1: that was our lives.

1061
00:55:51,120 --> 00:55:54,759
Speaker 2: Absolutely absolutely, we grew up with that shit. And now

1062
00:55:54,760 --> 00:55:57,520
Speaker 2: we're rebelling because I plan on using every fucking inch

1063
00:55:57,560 --> 00:56:00,640
Speaker 2: of my house. There is no formality in my home.

1064
00:56:00,719 --> 00:56:02,160
Speaker 1: Why would you have a room in your house.

1065
00:56:01,960 --> 00:56:03,920
Speaker 2: That you don't ever use? I can't, Oh my god,

1066
00:56:04,120 --> 00:56:06,759
Speaker 2: but it is. It's like this and watching her kind

1067
00:56:06,800 --> 00:56:08,799
Speaker 2: of just go through her life, and you know, this

1068
00:56:08,920 --> 00:56:10,920
Speaker 2: kitchen is so small that she keeps half of her

1069
00:56:11,000 --> 00:56:14,120
Speaker 2: kitchen like outside on a balcony, Like she's pulling pots

1070
00:56:14,120 --> 00:56:16,480
Speaker 2: and pans and potatoes from the balcony to cook, and

1071
00:56:16,560 --> 00:56:20,759
Speaker 2: like it's just this contained life. And she also has

1072
00:56:20,960 --> 00:56:25,560
Speaker 2: this son, Sylva, which her sister, Chantelle Akerman's sister in

1073
00:56:25,600 --> 00:56:27,520
Speaker 2: real life. Her name is Sylvan, which I think is

1074
00:56:27,719 --> 00:56:31,520
Speaker 2: a nice little nod, and he's a teenager. And their

1075
00:56:31,560 --> 00:56:34,400
Speaker 2: dialogue is minimal. But you come to as you're watching

1076
00:56:34,440 --> 00:56:36,200
Speaker 2: the film, you come to realize that most of her

1077
00:56:36,239 --> 00:56:40,600
Speaker 2: love is shown through the small actions and the absent dialogue.

1078
00:56:40,600 --> 00:56:42,360
Speaker 2: I mean, like she cooks three course meals on this

1079
00:56:42,400 --> 00:56:45,680
Speaker 2: fucking barbie stove. But Sylvan is smart, like he's he's

1080
00:56:45,719 --> 00:56:49,239
Speaker 2: memorizing Baudelaire and he's you kind of realize that he

1081
00:56:49,320 --> 00:56:51,879
Speaker 2: sleeps on this pull out couch in the living room.

1082
00:56:51,920 --> 00:56:53,880
Speaker 2: They go through the action of like moving the chairs

1083
00:56:53,920 --> 00:56:55,879
Speaker 2: and moving the table and kind of prepping his bed

1084
00:56:55,920 --> 00:56:58,960
Speaker 2: every night together. And then the first scene on that

1085
00:56:59,000 --> 00:57:02,080
Speaker 2: first day, they have this conversation about how she met

1086
00:57:02,080 --> 00:57:04,600
Speaker 2: his father, and you kind of realize that he doesn't

1087
00:57:04,600 --> 00:57:06,360
Speaker 2: know what she does for a living. Like through that

1088
00:57:06,400 --> 00:57:09,720
Speaker 2: conversation you realize because he has very strong opinions about

1089
00:57:09,960 --> 00:57:12,120
Speaker 2: women and sex, even though he's a teenager who's never

1090
00:57:12,160 --> 00:57:15,120
Speaker 2: had any. But he also doesn't ask. He doesn't ask

1091
00:57:15,560 --> 00:57:17,240
Speaker 2: how she makes her money, He doesn't ask what she

1092
00:57:17,240 --> 00:57:19,040
Speaker 2: does for a living, he doesn't ask how she spends

1093
00:57:19,080 --> 00:57:19,520
Speaker 2: her time.

1094
00:57:20,240 --> 00:57:23,040
Speaker 1: And again, and kind of the subtlety.

1095
00:57:22,560 --> 00:57:24,960
Speaker 2: Of this movie that I love is that Ackerman is

1096
00:57:25,000 --> 00:57:28,160
Speaker 2: really pointing out how men are able to be ignorant

1097
00:57:28,200 --> 00:57:32,080
Speaker 2: in this way. They're allowed to sustain this, you know,

1098
00:57:32,280 --> 00:57:35,800
Speaker 2: and again the traditional more formal families, they're allowed to

1099
00:57:35,840 --> 00:57:39,960
Speaker 2: sustain this air of ignorance about how their own lives function.

1100
00:57:40,320 --> 00:57:43,040
Speaker 2: Like she wakes up every day and polishes his shoes,

1101
00:57:43,120 --> 00:57:45,600
Speaker 2: and takes his shoes to get fixed so the rain

1102
00:57:45,680 --> 00:57:48,000
Speaker 2: doesn't get in. He's not questioning how she gets money

1103
00:57:48,000 --> 00:57:50,080
Speaker 2: for any of that. He's not questioning how much time

1104
00:57:50,160 --> 00:57:52,480
Speaker 2: she spends doing that. And the reason I wanted to

1105
00:57:52,480 --> 00:57:55,920
Speaker 2: pick this film for our theme of husk is because

1106
00:57:55,960 --> 00:57:59,919
Speaker 2: her whole life is built around her son. Every action

1107
00:58:00,160 --> 00:58:04,439
Speaker 2: in her day is built around her son, and not

1108
00:58:04,520 --> 00:58:07,520
Speaker 2: just her home but specifically her son. So taking a

1109
00:58:07,640 --> 00:58:11,080
Speaker 2: coat around town to look for a specific button, and

1110
00:58:11,160 --> 00:58:13,880
Speaker 2: again the shoes and the food that she cooks and

1111
00:58:14,000 --> 00:58:16,200
Speaker 2: everything is built around her son. So it kind of

1112
00:58:17,000 --> 00:58:19,320
Speaker 2: kind of forces me to question that. Like there's a

1113
00:58:19,400 --> 00:58:22,200
Speaker 2: quiet in a solitude to this film, but it's always

1114
00:58:22,280 --> 00:58:24,360
Speaker 2: done in the service of others, So like you can't

1115
00:58:24,360 --> 00:58:26,560
Speaker 2: help but question as you're watching it, like when does

1116
00:58:26,600 --> 00:58:29,600
Speaker 2: she have time for herself? And shopping and groceries and

1117
00:58:29,680 --> 00:58:33,400
Speaker 2: running errands is not time to yourself, you know, that's

1118
00:58:33,640 --> 00:58:36,160
Speaker 2: time you're still dedicating to your family, to your home,

1119
00:58:36,680 --> 00:58:38,520
Speaker 2: And it just, I don't know, just kind of forces

1120
00:58:38,560 --> 00:58:41,040
Speaker 2: me to look at and question how she spends her

1121
00:58:41,040 --> 00:58:43,280
Speaker 2: time in the service of others, even though she's completely

1122
00:58:43,320 --> 00:58:46,160
Speaker 2: alone and quiet most of the day. So even when

1123
00:58:46,200 --> 00:58:49,840
Speaker 2: she sits down at night and has a moment to herself.

1124
00:58:49,840 --> 00:58:52,960
Speaker 2: She's knitting a sweater for him. Yeah, and you know,

1125
00:58:53,000 --> 00:58:55,840
Speaker 2: we find out in a letter from her sister that

1126
00:58:55,880 --> 00:58:58,760
Speaker 2: her husband's been dead for six years, so she's been

1127
00:58:58,800 --> 00:59:01,680
Speaker 2: doing this routine for at least that long, you know, again,

1128
00:59:01,880 --> 00:59:04,800
Speaker 2: waking up, heating the room, cooking his breakfast, polishing his shoes.

1129
00:59:05,440 --> 00:59:09,040
Speaker 2: And I gotta say in her morning routine that coffee

1130
00:59:09,040 --> 00:59:12,720
Speaker 2: grinder is pure mom behavior, which she's like, got a

1131
00:59:12,720 --> 00:59:14,280
Speaker 2: pair of It's five o'clock in the morning and it's

1132
00:59:14,320 --> 00:59:17,040
Speaker 2: pitch blackout. I am grinding this coffee for a solid

1133
00:59:17,080 --> 00:59:20,000
Speaker 2: minute and you're gonna hear all these pots and pants clanging.

1134
00:59:20,640 --> 00:59:21,920
Speaker 1: But her morning, you know, as.

1135
00:59:21,760 --> 00:59:23,560
Speaker 2: We move into day two, we realize, you know, we

1136
00:59:23,640 --> 00:59:25,200
Speaker 2: kind of pick up the other side of her day

1137
00:59:25,240 --> 00:59:27,640
Speaker 2: which we didn't see in day one, and her moment

1138
00:59:27,720 --> 00:59:31,240
Speaker 2: is all about housekeeping and you know, again running these errands.

1139
00:59:31,720 --> 00:59:34,480
Speaker 2: And about halfway through the movie, which is also halfway

1140
00:59:34,520 --> 00:59:37,480
Speaker 2: through the second day, she finally has a cup of

1141
00:59:37,480 --> 00:59:41,400
Speaker 2: coffee by herself. And that simple act feels so fucking

1142
00:59:41,440 --> 00:59:45,360
Speaker 2: revolutionary by the time you see it. Yeah, because it's

1143
00:59:45,400 --> 00:59:47,800
Speaker 2: the one of the only times you see her having

1144
00:59:47,800 --> 00:59:50,200
Speaker 2: a moment to herself. I mean, this is this is

1145
00:59:50,200 --> 00:59:52,960
Speaker 2: a movie where at some point someone knocks on the

1146
00:59:53,000 --> 00:59:54,720
Speaker 2: door and just hands or a baby and she just

1147
00:59:54,800 --> 00:59:58,200
Speaker 2: rolls with it like a rogue baby is not gonna

1148
00:59:58,200 --> 01:00:01,560
Speaker 2: stop Jean Diale mom from judging that. And she just

1149
01:00:01,600 --> 01:00:03,600
Speaker 2: like she's always in the service of others, Like even

1150
01:00:03,600 --> 01:00:05,480
Speaker 2: her neighbors can be like I'm dropping my kid off

1151
01:00:05,520 --> 01:00:06,600
Speaker 2: so I can go go shopping.

1152
01:00:07,320 --> 01:00:10,640
Speaker 1: Yeah, yeah, that's that is. I think the brilliance of

1153
01:00:10,680 --> 01:00:14,560
Speaker 1: this movie in a way is that so it is

1154
01:00:14,840 --> 01:00:19,320
Speaker 1: just literally watching somebody do something that they do every

1155
01:00:19,320 --> 01:00:21,640
Speaker 1: single day, and they have a rhythm and a routine,

1156
01:00:22,360 --> 01:00:27,960
Speaker 1: so that you're so focused on studying those things that

1157
01:00:28,040 --> 01:00:34,320
Speaker 1: when something weird happens, you're like, holy fucking shit, Like wow,

1158
01:00:34,440 --> 01:00:37,160
Speaker 1: like a baby just showed up, Like what is this

1159
01:00:37,280 --> 01:00:39,760
Speaker 1: gonna be about? When you're just you're like, well, in

1160
01:00:39,800 --> 01:00:42,000
Speaker 1: any other movie, you'd be like all right, cool, But

1161
01:00:42,160 --> 01:00:47,280
Speaker 1: like I think the it's such a contained experience that

1162
01:00:47,760 --> 01:00:50,920
Speaker 1: and you're just so much looking at what's in the

1163
01:00:50,960 --> 01:00:54,040
Speaker 1: frame and you're waiting for something to happen. Like like

1164
01:00:54,120 --> 01:00:58,240
Speaker 1: you had said, quoting that article that when there is

1165
01:00:58,280 --> 01:01:01,680
Speaker 1: like a kink in some way, it becomes so much

1166
01:01:01,720 --> 01:01:03,680
Speaker 1: more important and meaningful.

1167
01:01:03,880 --> 01:01:07,000
Speaker 2: Oh absolutely, and I completely agree. Like that is the

1168
01:01:07,040 --> 01:01:10,040
Speaker 2: brilliance of this film is that there is a point

1169
01:01:10,080 --> 01:01:14,160
Speaker 2: in the second day where the movie slowly starts to unravel.

1170
01:01:14,520 --> 01:01:17,000
Speaker 2: And the reason that you know anything is wrong because

1171
01:01:17,040 --> 01:01:19,440
Speaker 2: it hasn't been shown on screen. But the reason that

1172
01:01:19,480 --> 01:01:22,120
Speaker 2: you know anything is wrong is that there's a button

1173
01:01:22,200 --> 01:01:24,480
Speaker 2: undone on her house coat, or her hair's out of place,

1174
01:01:24,560 --> 01:01:26,320
Speaker 2: or she's unable to make that cup of coffee that

1175
01:01:26,320 --> 01:01:30,000
Speaker 2: we watched her make so methodically the day before, And

1176
01:01:30,040 --> 01:01:33,920
Speaker 2: when her routine is utterly interrupted, you realize first and

1177
01:01:33,960 --> 01:01:36,400
Speaker 2: foremost that you know what her routine is because you've

1178
01:01:36,400 --> 01:01:39,400
Speaker 2: watched it in such detail. But then you can start

1179
01:01:39,440 --> 01:01:44,360
Speaker 2: to realize, fuck, there's something happening. There's something happening within

1180
01:01:44,720 --> 01:01:48,880
Speaker 2: her that we are able to translate through these actions

1181
01:01:48,920 --> 01:01:51,439
Speaker 2: or lack of actions. There's a point where she's walking

1182
01:01:51,520 --> 01:01:53,680
Speaker 2: around the house with she kind of over boils the

1183
01:01:53,720 --> 01:01:55,760
Speaker 2: potatoes and she's walking around the house with the bucket

1184
01:01:55,760 --> 01:01:57,840
Speaker 2: like she doesn't know what to do with it, and

1185
01:01:58,280 --> 01:02:01,320
Speaker 2: it's like devastating and it's a simple, this weirdness action,

1186
01:02:01,480 --> 01:02:03,240
Speaker 2: but it's devastating when you watch it.

1187
01:02:03,680 --> 01:02:07,040
Speaker 1: Oh yeah, I was shook seeing that again, Like I

1188
01:02:07,120 --> 01:02:11,080
Speaker 1: was like, why is she bringing the potatoes in the bathroom?

1189
01:02:11,160 --> 01:02:12,880
Speaker 1: What's going on here? Is it because she doesn't know

1190
01:02:12,920 --> 01:02:15,200
Speaker 1: where to put them right? And I'm like, no, she

1191
01:02:15,320 --> 01:02:18,080
Speaker 1: always knows where everything goes. This is so weird. What

1192
01:02:18,120 --> 01:02:20,560
Speaker 1: does this happen? Looks like when she leaves the top

1193
01:02:20,600 --> 01:02:23,360
Speaker 1: off that fucking candy jar thing with the money, I

1194
01:02:23,400 --> 01:02:26,160
Speaker 1: was like, oh, she hadn't put the lid back on

1195
01:02:26,320 --> 01:02:27,800
Speaker 1: the vase thing, like what.

1196
01:02:27,880 --> 01:02:30,000
Speaker 2: She didn't turn the light off. She didn't turn the

1197
01:02:30,080 --> 01:02:32,560
Speaker 2: light off when she left the room. It is, and

1198
01:02:32,640 --> 01:02:37,280
Speaker 2: it becomes almost like an interior horror movie as you're

1199
01:02:37,280 --> 01:02:40,200
Speaker 2: watching her fumble because she doesn't fumble. So I just

1200
01:02:40,280 --> 01:02:41,880
Speaker 2: I love that. I think that is the brilliance of

1201
01:02:41,920 --> 01:02:43,960
Speaker 2: this movie that you're so in tune with the movements

1202
01:02:43,960 --> 01:02:46,919
Speaker 2: of her day that you instantly know something is wrong

1203
01:02:46,960 --> 01:02:49,800
Speaker 2: when things start to appear out of place. And Sylvan

1204
01:02:49,920 --> 01:02:52,240
Speaker 2: again like to kind of continue this notion, like Sylvan

1205
01:02:52,320 --> 01:02:55,160
Speaker 2: mentions that one of her buttons is undone, but he

1206
01:02:55,160 --> 01:02:57,120
Speaker 2: doesn't dig any deeper than that, and you feel like

1207
01:02:57,880 --> 01:03:00,240
Speaker 2: if you live with someone who's so regimented and then

1208
01:03:00,280 --> 01:03:02,920
Speaker 2: things start appearing out of place. Would you not question

1209
01:03:03,040 --> 01:03:05,000
Speaker 2: that it goes to speak to kind of the not

1210
01:03:05,080 --> 01:03:07,360
Speaker 2: just the level of ignorance, but the level of the

1211
01:03:07,480 --> 01:03:09,480
Speaker 2: lack of caring that he's able to demonstrate, because as

1212
01:03:09,520 --> 01:03:11,240
Speaker 2: long as he gets his dinner and his life is

1213
01:03:11,240 --> 01:03:14,880
Speaker 2: working out, he doesn't care. So it's truly brilliant. And

1214
01:03:14,960 --> 01:03:17,120
Speaker 2: I think that you know, this is a woman. This

1215
01:03:17,160 --> 01:03:19,840
Speaker 2: is a movie about women. It's about how woman values

1216
01:03:19,880 --> 01:03:22,760
Speaker 2: her life. It's about how she maintains, how she perseveres

1217
01:03:23,400 --> 01:03:26,160
Speaker 2: right up until the moment where she cannot. And the

1218
01:03:26,280 --> 01:03:29,680
Speaker 2: end of this movie is still shocking to me, even

1219
01:03:29,680 --> 01:03:32,120
Speaker 2: if I know what's coming, it's still shocking. And the

1220
01:03:32,200 --> 01:03:33,840
Speaker 2: last scene I will I will not ruin it, but

1221
01:03:33,840 --> 01:03:35,600
Speaker 2: I will say that the last scene is like a

1222
01:03:35,680 --> 01:03:39,920
Speaker 2: seven or eight minute scene that is completely silent, completely

1223
01:03:40,000 --> 01:03:44,600
Speaker 2: focused on Jehan Dilman, and it is just in its simplicity,

1224
01:03:44,720 --> 01:03:53,200
Speaker 2: it is purely brilliant. It's comforting and scary and like evocative,

1225
01:03:53,680 --> 01:03:57,680
Speaker 2: and it's literally just a shot of a character in

1226
01:03:57,760 --> 01:04:01,840
Speaker 2: a single frame looking and that is all I will

1227
01:04:01,840 --> 01:04:03,640
Speaker 2: say about that. But it is it is just an

1228
01:04:03,680 --> 01:04:06,040
Speaker 2: absolutely wonderful film. I know it's three and a half

1229
01:04:06,120 --> 01:04:10,240
Speaker 2: hours long, but I strongly encourage you to watch it

1230
01:04:10,320 --> 01:04:13,400
Speaker 2: because it is a revolutionary film for several reasons.

1231
01:04:13,800 --> 01:04:15,720
Speaker 1: Yeah, I feel like you should we watch it at

1232
01:04:15,800 --> 01:04:17,680
Speaker 1: least once, you know what I mean, Like, it is

1233
01:04:18,480 --> 01:04:22,520
Speaker 1: a movie experience unlike any other you'll ever have. And

1234
01:04:22,720 --> 01:04:25,040
Speaker 1: you know, for the theme, I mean, it's so interesting

1235
01:04:25,080 --> 01:04:27,560
Speaker 1: that you picked this movie for the theme because you're right.

1236
01:04:27,720 --> 01:04:31,040
Speaker 1: I mean, her life is based around her child, and

1237
01:04:31,160 --> 01:04:36,040
Speaker 1: in a way his it's almost like he doesn't even

1238
01:04:36,160 --> 01:04:41,640
Speaker 1: understand how much goes into, you know, the care of him.

1239
01:04:42,120 --> 01:04:44,520
Speaker 1: I feel like the only time he ever really asks

1240
01:04:44,560 --> 01:04:48,120
Speaker 1: anything of her is it's always like sex related or

1241
01:04:48,200 --> 01:04:54,240
Speaker 1: like he's like always like, oh, well, so you know,

1242
01:04:54,320 --> 01:04:56,800
Speaker 1: let's talk about sex. Which is so weird too because

1243
01:04:56,840 --> 01:04:59,400
Speaker 1: it's like, and again, this is a European film. I'm

1244
01:04:59,440 --> 01:05:03,840
Speaker 1: sure European kids have like zero problems asking their parents

1245
01:05:03,880 --> 01:05:07,480
Speaker 1: about sex, but in my household, I was like, uh,

1246
01:05:07,640 --> 01:05:10,320
Speaker 1: I'm never asking my parents anything.

1247
01:05:10,400 --> 01:05:13,520
Speaker 2: And also like this dude has such an oedical complex

1248
01:05:13,520 --> 01:05:16,000
Speaker 2: that he discusses with his mother about how like I

1249
01:05:16,000 --> 01:05:19,000
Speaker 2: didn't want dad to fuck you basically, Yeah, and it's

1250
01:05:19,080 --> 01:05:23,240
Speaker 2: just so interesting. Yeah. Yeah, this is this movie with

1251
01:05:23,320 --> 01:05:25,680
Speaker 2: minimal dialogue that that is part of the dialogue.

1252
01:05:25,800 --> 01:05:29,280
Speaker 1: Absolutely, and I mean it's like, it's just interesting because

1253
01:05:29,320 --> 01:05:31,880
Speaker 1: it's like, Okay, so you have that happening with your son,

1254
01:05:32,520 --> 01:05:36,000
Speaker 1: knowing that she's also participates in sex work to raise

1255
01:05:36,040 --> 01:05:42,080
Speaker 1: her son. So it's very layered and very thought provoking.

1256
01:05:42,400 --> 01:05:45,680
Speaker 1: And honestly, I'm I I haven't seen it in probably

1257
01:05:45,680 --> 01:05:48,840
Speaker 1: about five years, but I did. I've seen it, I

1258
01:05:48,880 --> 01:05:51,320
Speaker 1: think three times. This is the third time I saw it.

1259
01:05:51,920 --> 01:05:57,240
Speaker 1: And as much as somebody who maybe doesn't couldn't understand

1260
01:05:57,320 --> 01:06:00,560
Speaker 1: why anybody would watch this movie three times, I'm I mean, honestly,

1261
01:06:00,600 --> 01:06:04,160
Speaker 1: every time I watch it, something else happens, like something

1262
01:06:04,360 --> 01:06:05,000
Speaker 1: a curse.

1263
01:06:04,840 --> 01:06:08,520
Speaker 2: To me, you know, I completely agree. Yeah, I love it.

1264
01:06:08,520 --> 01:06:09,200
Speaker 1: This is same.

1265
01:06:09,240 --> 01:06:12,080
Speaker 2: I probably watched it like three times total. Yeah, but

1266
01:06:12,240 --> 01:06:14,360
Speaker 2: it is. And again, it's one of those movies where,

1267
01:06:14,400 --> 01:06:16,240
Speaker 2: even if you know what's coming, you find something new

1268
01:06:16,280 --> 01:06:19,960
Speaker 2: in it with every viewing because you're you're paying attention

1269
01:06:20,000 --> 01:06:22,080
Speaker 2: to different things and you're kind of keyed into different

1270
01:06:22,120 --> 01:06:23,000
Speaker 2: emotional moments.

1271
01:06:23,040 --> 01:06:23,760
Speaker 1: So I love it.

1272
01:06:23,800 --> 01:06:26,040
Speaker 2: I think this film is a fucking masterpiece. I think

1273
01:06:26,040 --> 01:06:27,800
Speaker 2: it deserves to be the greatest film of all time

1274
01:06:27,880 --> 01:06:30,160
Speaker 2: for the next ten years. And I think everyone who

1275
01:06:30,240 --> 01:06:32,920
Speaker 2: lost their fucking mind about it should watch it again

1276
01:06:33,040 --> 01:06:36,120
Speaker 2: and maybe get a hold of themselves and check in

1277
01:06:36,600 --> 01:06:38,480
Speaker 2: with their internalized misogyny.

1278
01:06:39,480 --> 01:06:42,840
Speaker 1: Yeah, suck it haters. Maybe that should be a maybe

1279
01:06:42,880 --> 01:06:44,680
Speaker 1: should that should be a serial killer of self care

1280
01:06:45,120 --> 01:06:48,280
Speaker 1: is complaining about Jean deeal Men being the top movie

1281
01:06:48,280 --> 01:06:49,240
Speaker 1: on the site and sound.

1282
01:06:49,000 --> 01:06:53,600
Speaker 2: List one hundo percent, and it's a serial killer.

1283
01:06:53,760 --> 01:06:57,240
Speaker 1: Move pew pew pew. Well, well, your movie is a

1284
01:06:57,320 --> 01:06:58,800
Speaker 1: fucking classic.

1285
01:06:59,520 --> 01:07:03,360
Speaker 2: Watch is one of my favorite fucking movies, So go

1286
01:07:03,520 --> 01:07:04,080
Speaker 2: afore it.

1287
01:07:04,720 --> 01:07:08,680
Speaker 1: Yeah it is. The vibe is the almost complete opposite

1288
01:07:08,720 --> 01:07:15,160
Speaker 1: of your film. Although it is long long. I say, Okay,

1289
01:07:15,600 --> 01:07:19,600
Speaker 1: I'm not gonna like trash my movie necessarily I wouldn't.

1290
01:07:20,040 --> 01:07:22,880
Speaker 1: Why would I? But also like, there is something to

1291
01:07:22,880 --> 01:07:26,480
Speaker 1: be said about the idea that I can watch your

1292
01:07:26,600 --> 01:07:29,840
Speaker 1: film that's like over three hours long and be thrilled,

1293
01:07:29,920 --> 01:07:33,360
Speaker 1: and then at the same time watch my movie and go, damn,

1294
01:07:33,400 --> 01:07:36,480
Speaker 1: this shit is fucking long. Why why is this so long?

1295
01:07:36,520 --> 01:07:40,080
Speaker 1: And it's and it's shorter than your film. So good,

1296
01:07:40,280 --> 01:07:43,480
Speaker 1: I agree, we'll talk about it, But so my movie

1297
01:07:43,480 --> 01:07:51,640
Speaker 1: for the theme HSK don't. It is based on a

1298
01:07:51,680 --> 01:07:54,800
Speaker 1: novel by William Marsh and a play by Maxwell Anderson.

1299
01:07:55,200 --> 01:07:59,120
Speaker 1: The screenplay is by John Lee Mahin directed by Mervyn

1300
01:07:59,200 --> 01:08:02,320
Speaker 1: le Roy, and it's called The Bad Seed. I don't

1301
01:08:02,360 --> 01:08:04,480
Speaker 1: care how small it was. Did you have anything to

1302
01:08:04,520 --> 01:08:06,640
Speaker 1: do with the way cloud God drawn? What makes you

1303
01:08:06,760 --> 01:08:09,600
Speaker 1: ask them money? Okay, so I'll just do one sense

1304
01:08:09,720 --> 01:08:12,640
Speaker 1: synopsis right at the top. An eight year old girl

1305
01:08:12,920 --> 01:08:19,320
Speaker 1: is suspected of being a cold blooded murderer. Ah, that's it.

1306
01:08:19,880 --> 01:08:23,360
Speaker 1: I think that that sums it up pretty nicely. Absolutely,

1307
01:08:23,880 --> 01:08:27,080
Speaker 1: if you've somehow never heard of this film, this is

1308
01:08:27,120 --> 01:08:31,479
Speaker 1: a camp classic, Like, let's just put it out there.

1309
01:08:31,479 --> 01:08:35,040
Speaker 1: I think it has. It has persisted in the culture,

1310
01:08:35,160 --> 01:08:37,759
Speaker 1: like there are so many references to it in film

1311
01:08:37,800 --> 01:08:40,880
Speaker 1: and TV since it came out. I mean, I've seen

1312
01:08:40,880 --> 01:08:44,400
Speaker 1: this play the actual play, I've seen put on by

1313
01:08:44,479 --> 01:08:51,839
Speaker 1: drag queens like it is. It is a absolute horror

1314
01:08:51,920 --> 01:08:56,439
Speaker 1: camp classic. So I'll just get right into it. I mean,

1315
01:08:56,479 --> 01:08:59,240
Speaker 1: the movie is based around an eight year old blonde haired,

1316
01:08:59,600 --> 01:09:04,720
Speaker 1: blue eyed girl that has two braided pigtails and her

1317
01:09:04,840 --> 01:09:08,760
Speaker 1: name is Rhoda Penmark. She was played by Patty McCormick,

1318
01:09:08,800 --> 01:09:11,640
Speaker 1: who I have to say has an amazing sense of

1319
01:09:11,680 --> 01:09:16,200
Speaker 1: humor about this film and will present it and stuff.

1320
01:09:16,240 --> 01:09:19,519
Speaker 1: I mean, she's a icon, so she should be very

1321
01:09:19,600 --> 01:09:21,920
Speaker 1: proud of her work in The Bad Seed.

1322
01:09:22,040 --> 01:09:24,839
Speaker 2: Oh. Everyone in a fucking headlock in this movie.

1323
01:09:25,080 --> 01:09:28,200
Speaker 1: Oh my god, she fucking turns the thumbscrews in a

1324
01:09:28,240 --> 01:09:33,200
Speaker 1: way we've never seen a kid like you think Gage was.

1325
01:09:33,479 --> 01:09:38,599
Speaker 1: I mean, yo, without Rhoda Gauge would be a nobody.

1326
01:09:38,680 --> 01:09:43,679
Speaker 1: Let's get serious. So the pen Marks, okay, are a family.

1327
01:09:44,160 --> 01:09:47,400
Speaker 1: They're like an upper middle class family. Her mother is

1328
01:09:47,479 --> 01:09:53,160
Speaker 1: named Christine and her father is Colonel Kenneth Penmark, whom

1329
01:09:53,479 --> 01:09:57,000
Speaker 1: at the top of the film, you know, he he's

1330
01:09:57,040 --> 01:09:59,479
Speaker 1: in uniform and it's clear that he's like going to

1331
01:09:59,600 --> 01:10:02,439
Speaker 1: works were like maybe Washington, d C. It don't really

1332
01:10:02,479 --> 01:10:05,200
Speaker 1: know like what exactly he does, but you know, that's

1333
01:10:05,240 --> 01:10:08,720
Speaker 1: a very I think crucial element to the film is

1334
01:10:08,760 --> 01:10:13,599
Speaker 1: that the father leaves the house, okay, which I think,

1335
01:10:13,720 --> 01:10:16,400
Speaker 1: you know sets up a lot of things for this

1336
01:10:16,960 --> 01:10:20,200
Speaker 1: film and maybe you know, has a little bit of

1337
01:10:20,240 --> 01:10:22,200
Speaker 1: something to do with kind of what I'll talk about later,

1338
01:10:22,280 --> 01:10:26,559
Speaker 1: which is that there's a lot of women's picture ness

1339
01:10:26,560 --> 01:10:29,880
Speaker 1: to the bad Seed. But right at the top of

1340
01:10:29,920 --> 01:10:34,000
Speaker 1: the film, okay, Rhoda is presented. I use this term

1341
01:10:34,200 --> 01:10:35,880
Speaker 1: when I talk about myself, so I feel like I

1342
01:10:35,880 --> 01:10:37,920
Speaker 1: can call her this. She's kind of a fuddy duddy

1343
01:10:38,240 --> 01:10:42,960
Speaker 1: type of girl. Like she's very prim and proper, right,

1344
01:10:43,479 --> 01:10:47,600
Speaker 1: Like she wears dresses instead of pants, like all the

1345
01:10:47,680 --> 01:10:50,040
Speaker 1: kids wearing pants, and Rhoda's like she just wants to

1346
01:10:50,080 --> 01:10:55,440
Speaker 1: wear her like, you know, dresses. You're the crittline, Yeah, yeah, yeah,

1347
01:10:55,680 --> 01:11:00,719
Speaker 1: And like I said, the pigtails the bangs. She has

1348
01:11:01,080 --> 01:11:06,160
Speaker 1: this sweet way of talking that almost seems overwrought, and

1349
01:11:06,880 --> 01:11:10,240
Speaker 1: at this point enough time has passed to where it

1350
01:11:10,439 --> 01:11:14,639
Speaker 1: sounds disingenuous. Like she kind of reminds me of remember

1351
01:11:14,720 --> 01:11:17,759
Speaker 1: that skit that Kids in the Hall skit where David

1352
01:11:17,800 --> 01:11:20,400
Speaker 1: Foley has the speech impediment that he's sarcastic.

1353
01:11:20,600 --> 01:11:23,360
Speaker 2: There's nothing I would rather do than just stand here

1354
01:11:23,400 --> 01:11:27,520
Speaker 2: and chat with you, you know, really get.

1355
01:11:27,280 --> 01:11:27,960
Speaker 1: To know you.

1356
01:11:28,439 --> 01:11:32,439
Speaker 2: Yeses ah.

1357
01:11:32,560 --> 01:11:36,040
Speaker 1: That's what Roda sounds like in my twenty twenty three

1358
01:11:36,120 --> 01:11:37,280
Speaker 1: is that she sounds.

1359
01:11:37,040 --> 01:11:39,120
Speaker 2: She's turning it on so hard around the adults that

1360
01:11:39,160 --> 01:11:40,439
Speaker 2: you're like, she has to be kidding.

1361
01:11:40,960 --> 01:11:43,799
Speaker 1: Yeah, she's got the sarcastic disease. But at the time

1362
01:11:44,800 --> 01:11:47,040
Speaker 1: and in this film and the context of the film,

1363
01:11:47,080 --> 01:11:50,360
Speaker 1: she was seen as very sweet, like just an old

1364
01:11:50,439 --> 01:11:54,240
Speaker 1: fashioned gown, you know. So, like I said, the father

1365
01:11:54,880 --> 01:11:57,200
Speaker 1: has to go work in DC, he leaves, and at

1366
01:11:57,240 --> 01:11:58,800
Speaker 1: the beginning of the film, like right before he leaves,

1367
01:11:58,800 --> 01:12:01,080
Speaker 1: a Roda is just like sessed with her dad, like

1368
01:12:01,120 --> 01:12:03,920
Speaker 1: she's just like, Daddy, I love you, And then she

1369
01:12:04,000 --> 01:12:07,479
Speaker 1: keeps talking and asking for a basketful of kisses. It's

1370
01:12:07,520 --> 01:12:12,040
Speaker 1: just so over the top and strange, like the only

1371
01:12:12,080 --> 01:12:16,200
Speaker 1: way to see it is being performed by dragly. Yes, exactly.

1372
01:12:16,600 --> 01:12:19,200
Speaker 1: It's like the beginning of that like Tom Petty song

1373
01:12:19,240 --> 01:12:23,439
Speaker 1: free Fall, and she's a good girl, loves her father,

1374
01:12:23,800 --> 01:12:27,000
Speaker 1: loves Jesus, and a basket full of kisses. I don't know,

1375
01:12:27,080 --> 01:12:32,599
Speaker 1: it's like imagine that type of scenario. So, I mean,

1376
01:12:33,280 --> 01:12:35,720
Speaker 1: Rhoda is distraught that he's leaving, but the mom is too,

1377
01:12:35,920 --> 01:12:38,479
Speaker 1: and you know, she loves her family, despite the fact

1378
01:12:38,479 --> 01:12:42,679
Speaker 1: that she is actually concerned that Rhoda might be too

1379
01:12:42,760 --> 01:12:46,200
Speaker 1: mature for her age, like she wants her kid to

1380
01:12:46,240 --> 01:12:48,920
Speaker 1: be a kid, and she's kind of like you know whatever,

1381
01:12:49,000 --> 01:12:51,120
Speaker 1: Like I don't know what's going on with her, but

1382
01:12:51,160 --> 01:12:54,679
Speaker 1: I definitely understand like that maybe she's a little too

1383
01:12:55,000 --> 01:12:58,680
Speaker 1: caught up in this. And at the same time, we

1384
01:12:59,439 --> 01:13:04,200
Speaker 1: immediately a sense of Rhoda's mean streak, okay, because she

1385
01:13:04,280 --> 01:13:08,200
Speaker 1: starts talking about this award that they gave out in

1386
01:13:08,280 --> 01:13:12,880
Speaker 1: school recently, and it's called the Penmanship Award, and apparently

1387
01:13:13,040 --> 01:13:16,160
Speaker 1: it went to another kid in her classroom, a kid

1388
01:13:16,280 --> 01:13:21,479
Speaker 1: named Claude Dagel. What a name. And she is not

1389
01:13:22,160 --> 01:13:25,280
Speaker 1: fucking happy about this. She is like, it was mine

1390
01:13:25,320 --> 01:13:28,320
Speaker 1: to win. This guy stole it from me. Like she

1391
01:13:28,439 --> 01:13:31,760
Speaker 1: is real emphatic about the fact that she should have

1392
01:13:31,760 --> 01:13:36,080
Speaker 1: won this penmanship award. Okay, so you got that on

1393
01:13:36,160 --> 01:13:39,920
Speaker 1: the plate, all right, More about that later. Then we

1394
01:13:40,000 --> 01:13:43,280
Speaker 1: meet this character who was called Aunt Monica. Well she's

1395
01:13:43,560 --> 01:13:47,639
Speaker 1: Monica Breedlove, but everybody calls her Aunt Monica and she's

1396
01:13:47,800 --> 01:13:51,200
Speaker 1: essentially their landlady, right. She like lives in the building

1397
01:13:51,360 --> 01:13:55,640
Speaker 1: and is obsessed with Rhoda. Think she thinks Roda is

1398
01:13:55,720 --> 01:13:58,360
Speaker 1: like the pinnacle of all childhood. Like she's just like

1399
01:13:58,400 --> 01:14:00,599
Speaker 1: this is the most perfect little angel do ever lived.

1400
01:14:01,160 --> 01:14:03,479
Speaker 1: But the thing that's interesting about Aunt Monica too, is

1401
01:14:03,479 --> 01:14:07,880
Speaker 1: that she's obsessed with psychiatry and going to therapy and

1402
01:14:08,600 --> 01:14:10,639
Speaker 1: Sigmund Freud basically right.

1403
01:14:10,600 --> 01:14:13,960
Speaker 2: Completely, Aunt Monica is like a modern day murder Reno.

1404
01:14:14,560 --> 01:14:17,400
Speaker 2: She's like, here's how I spend my free time, psychiatry

1405
01:14:17,400 --> 01:14:17,960
Speaker 2: and murder.

1406
01:14:18,800 --> 01:14:24,040
Speaker 1: Yes, she is like, stay sexy, don't get murdered, Rhota.

1407
01:14:24,200 --> 01:14:27,400
Speaker 1: Like you know, the ant Monica character is definitely on

1408
01:14:27,400 --> 01:14:30,360
Speaker 1: one about psychiatry, and she's she's one of these folks

1409
01:14:30,400 --> 01:14:33,479
Speaker 1: that is all. She's like inserting the thing that she

1410
01:14:33,640 --> 01:14:38,040
Speaker 1: learned in therapy in every bit of conversation that she has.

1411
01:14:38,080 --> 01:14:40,760
Speaker 1: And so you know, for all of that annoyingness, though,

1412
01:14:41,240 --> 01:14:44,400
Speaker 1: her character to me is really interesting because, like I

1413
01:14:44,400 --> 01:14:46,639
Speaker 1: said before, you know, as much as the bad Scene

1414
01:14:46,640 --> 01:14:49,320
Speaker 1: has always been known as this kind of like campy horror,

1415
01:14:49,360 --> 01:14:52,519
Speaker 1: campy thriller film, to me, I think it's a lot

1416
01:14:53,280 --> 01:14:56,719
Speaker 1: in the nineteen fifties kind of melodrama, you know, Women's

1417
01:14:56,760 --> 01:15:01,080
Speaker 1: Picture World two. And I think because in the fifties

1418
01:15:01,080 --> 01:15:04,160
Speaker 1: there seem there seems to have been a lot of

1419
01:15:04,160 --> 01:15:08,120
Speaker 1: films that were made that kind of settered families around

1420
01:15:08,160 --> 01:15:12,040
Speaker 1: like mental illness or addiction. I mean, I'm thinking stuff

1421
01:15:12,479 --> 01:15:15,840
Speaker 1: like Bigger than Life than Nicholas Ray movie, or like

1422
01:15:15,920 --> 01:15:18,680
Speaker 1: Autumn Leaves with Joan Crawford, and like weirdly enough, like

1423
01:15:18,760 --> 01:15:21,120
Speaker 1: those these three movies came out in nineteen fifty six,

1424
01:15:21,160 --> 01:15:23,760
Speaker 1: So I wonder if, like nineteen fifty six was this

1425
01:15:23,880 --> 01:15:28,800
Speaker 1: big year for families in crisis or something due to

1426
01:15:28,800 --> 01:15:32,560
Speaker 1: some family member being a little off quote unquote.

1427
01:15:32,200 --> 01:15:32,360
Speaker 2: You know.

1428
01:15:32,439 --> 01:15:36,320
Speaker 1: So it's like, it's just an interesting thing to think about.

1429
01:15:36,360 --> 01:15:38,559
Speaker 1: But I think that Aunt Monica character really like kind

1430
01:15:38,600 --> 01:15:42,639
Speaker 1: of brings that to the forefront, right, because she brings

1431
01:15:42,680 --> 01:15:45,960
Speaker 1: it into this world where we're questioning, like why is

1432
01:15:46,000 --> 01:15:49,400
Speaker 1: she like this? Why is this family handling things like this?

1433
01:15:49,520 --> 01:15:52,040
Speaker 1: You know, like that kind of thing. Right. So in

1434
01:15:52,080 --> 01:15:56,479
Speaker 1: the next scene, we are introduced to another character, and

1435
01:15:56,720 --> 01:16:01,960
Speaker 1: this character's name is Lee Roy, and it's like, to me,

1436
01:16:02,160 --> 01:16:05,920
Speaker 1: he's a very like stock Tennessee Williams type character, like

1437
01:16:06,520 --> 01:16:10,320
Speaker 1: he's kind of seen by all the other characters, is

1438
01:16:10,520 --> 01:16:15,519
Speaker 1: like dopey Southern maintenance man. But we actually find out

1439
01:16:15,600 --> 01:16:19,400
Speaker 1: very soon that he's a creep. Like I said, it's

1440
01:16:19,400 --> 01:16:22,479
Speaker 1: a very Tennessee Williams stock character. I mean, this is

1441
01:16:22,560 --> 01:16:25,760
Speaker 1: kind of like Carl Malton and Baby Doll like he's

1442
01:16:25,800 --> 01:16:28,920
Speaker 1: got that kind of vibe to him. And you know,

1443
01:16:29,439 --> 01:16:34,640
Speaker 1: Monica Christina wrote a treat Leroy like garbage, like all

1444
01:16:34,720 --> 01:16:38,120
Speaker 1: of them. They he is definitely like a piece of

1445
01:16:38,160 --> 01:16:39,400
Speaker 1: shit in their eyes.

1446
01:16:40,439 --> 01:16:43,160
Speaker 2: Like he's he's a fucking idiot, but somehow he has

1447
01:16:43,200 --> 01:16:44,320
Speaker 2: a family at one point.

1448
01:16:44,760 --> 01:16:51,920
Speaker 1: Yeah, damn, that's that, You're like, damn. And also they

1449
01:16:51,920 --> 01:16:54,240
Speaker 1: make him sleep in the basement on a bed of

1450
01:16:54,960 --> 01:16:57,040
Speaker 1: This is a term that I had to actually look up, am,

1451
01:16:57,080 --> 01:16:59,200
Speaker 1: I is this an old term? Excelsior?

1452
01:16:59,439 --> 01:17:03,000
Speaker 2: Yeah, like a type of tree thing. It's like relates

1453
01:17:03,000 --> 01:17:04,400
Speaker 2: to a certain type of tree like this.

1454
01:17:04,720 --> 01:17:08,320
Speaker 1: Oh yeah, I think because yes, Because I was like,

1455
01:17:08,880 --> 01:17:11,200
Speaker 1: I have no idea why they keep saying the word

1456
01:17:11,280 --> 01:17:13,280
Speaker 1: excelsior and he's sleeping on a bed of it. I

1457
01:17:13,280 --> 01:17:14,960
Speaker 1: was like, this is so strange. But anyway, so it's

1458
01:17:14,960 --> 01:17:18,800
Speaker 1: like some kind of like bedding wool tree thing or whatever.

1459
01:17:18,880 --> 01:17:21,360
Speaker 2: Right, it's like dried Spanish moss kind of.

1460
01:17:21,560 --> 01:17:24,800
Speaker 1: Yes, So this motherfucker is sleeping on that in the

1461
01:17:24,840 --> 01:17:29,840
Speaker 1: basement of this apartment building. Right, That's how disrespected he is.

1462
01:17:30,040 --> 01:17:34,400
Speaker 1: But the thing about Leeroy is that he is, like

1463
01:17:34,439 --> 01:17:37,240
Speaker 1: I said, he's a creep and he's also bad. He's

1464
01:17:37,280 --> 01:17:40,599
Speaker 1: a battie like and he's like, well, I'm bad. And

1465
01:17:40,640 --> 01:17:43,320
Speaker 1: the other thing is that he knows Roda. He has

1466
01:17:43,400 --> 01:17:46,960
Speaker 1: her number right because he sees her. He's the only

1467
01:17:47,080 --> 01:17:52,400
Speaker 1: character that sees that she's like a mean little girl secretly,

1468
01:17:52,520 --> 01:17:55,839
Speaker 1: like for all of her pomp and circumstance, like Roda

1469
01:17:55,960 --> 01:17:57,559
Speaker 1: is actually like a little brat.

1470
01:17:57,800 --> 01:18:01,320
Speaker 2: Yeah, he's like same, recognized, same because I am also

1471
01:18:01,520 --> 01:18:03,280
Speaker 2: yes a little bit and.

1472
01:18:03,080 --> 01:18:07,760
Speaker 1: I see you yep, game recognizes game like. Leroy is like,

1473
01:18:07,920 --> 01:18:11,120
Speaker 1: it's me and you, Rhoda. We're the bad kids. And

1474
01:18:11,280 --> 01:18:14,640
Speaker 1: by the way, your dad's in Washington, d C. And

1475
01:18:14,640 --> 01:18:16,759
Speaker 1: I'm gonna try to steal your mother away from him.

1476
01:18:16,760 --> 01:18:21,120
Speaker 1: Like he's just he's all over the place. He is

1477
01:18:21,160 --> 01:18:25,000
Speaker 1: all over the place. So cutting to there's this big

1478
01:18:25,080 --> 01:18:29,519
Speaker 1: picnic happening at Rhoda school and tragedy suddenly strikes when

1479
01:18:29,560 --> 01:18:34,040
Speaker 1: a kid in her class drowns in the lake during

1480
01:18:34,040 --> 01:18:37,800
Speaker 1: the picnic, which the parents only find out about because

1481
01:18:37,800 --> 01:18:41,559
Speaker 1: it's on the radio. No one has called the house,

1482
01:18:41,640 --> 01:18:45,960
Speaker 1: no one is told that there's been a death in

1483
01:18:46,040 --> 01:18:48,479
Speaker 1: the school. They just hear about it on the radio. Okay,

1484
01:18:49,320 --> 01:18:52,160
Speaker 1: So Christine is freaking the fuck out. They sent all

1485
01:18:52,160 --> 01:18:55,439
Speaker 1: the kids home, and then Rhoda comes in the door

1486
01:18:56,479 --> 01:19:00,720
Speaker 1: and is simply like, what's going on? Like, I can

1487
01:19:00,720 --> 01:19:01,280
Speaker 1: I have a sandwich?

1488
01:19:01,320 --> 01:19:02,880
Speaker 2: They didn't feed us because we had to leave since

1489
01:19:02,920 --> 01:19:04,200
Speaker 2: that kid got murdered.

1490
01:19:04,680 --> 01:19:10,120
Speaker 1: Kid kid drowned. Her literal only concern is, yo, I'm hungry.

1491
01:19:10,160 --> 01:19:12,040
Speaker 1: They didn't let us see lunch because a kid died.

1492
01:19:12,360 --> 01:19:18,760
Speaker 1: So what she got right? And Christine is like, oh, like,

1493
01:19:19,160 --> 01:19:24,360
Speaker 1: are you okay my daughter? Because are you not traumatized

1494
01:19:24,400 --> 01:19:29,679
Speaker 1: by this? Like what is happening? So Christina is already,

1495
01:19:30,320 --> 01:19:32,720
Speaker 1: you know, kind of hip to the idea that her

1496
01:19:32,800 --> 01:19:37,200
Speaker 1: daughter is different, but then now she's like, wow, okay,

1497
01:19:37,280 --> 01:19:39,240
Speaker 1: so my daughter doesn't even care that a kid in

1498
01:19:39,280 --> 01:19:45,000
Speaker 1: her class died. Okay. So of course Rhoda is like, well,

1499
01:19:45,000 --> 01:19:46,840
Speaker 1: I'm having a sandwich and I'm going outside of play.

1500
01:19:46,880 --> 01:19:50,599
Speaker 1: She goes outside to play and sees Leroy and he's like, yo,

1501
01:19:50,960 --> 01:19:53,360
Speaker 1: you should be sad. What's your deal? And she's like

1502
01:19:53,520 --> 01:19:58,160
Speaker 1: fuck that, And I'm like, okay, so this is taking

1503
01:19:58,200 --> 01:20:04,559
Speaker 1: a turn. This says, taken a turn. Okay. So Rhoda's

1504
01:20:04,560 --> 01:20:08,640
Speaker 1: teacher invariably comes to the house is like guess what.

1505
01:20:09,439 --> 01:20:14,320
Speaker 1: Not only has there been a death in the classroom,

1506
01:20:15,200 --> 01:20:22,080
Speaker 1: but it was Claude Dagle and his penmanshit Metal is

1507
01:20:22,160 --> 01:20:28,920
Speaker 1: now missing, okay, and the teacher informs her mom that

1508
01:20:29,760 --> 01:20:32,679
Speaker 1: Rhoda was pretty much the last person that saw him alive.

1509
01:20:33,560 --> 01:20:36,560
Speaker 2: What cracks me up about this scene. It's like Christine

1510
01:20:36,640 --> 01:20:41,200
Speaker 2: gets every possible fucking explanation for how her child is

1511
01:20:41,200 --> 01:20:43,519
Speaker 2: an absolute psychopath and she's like, but is she?

1512
01:20:44,200 --> 01:20:44,760
Speaker 1: But is she?

1513
01:20:45,200 --> 01:20:47,960
Speaker 2: For like another hour and I'm like, they just told

1514
01:20:48,000 --> 01:20:50,560
Speaker 2: you straight up, your kid probably murdered.

1515
01:20:50,240 --> 01:20:53,080
Speaker 1: This kid for this fucking award. Yeah, I mean, for

1516
01:20:53,120 --> 01:20:55,800
Speaker 1: as long as I think this movie is and maybe

1517
01:20:55,840 --> 01:20:59,280
Speaker 1: shouldn't be. She has a lot of information about her

1518
01:20:59,320 --> 01:21:02,200
Speaker 1: daughter at certain point, and I'm like, Okay, it's still

1519
01:21:02,240 --> 01:21:05,519
Speaker 1: not clicking with you, huh, Like you really you don't

1520
01:21:05,520 --> 01:21:09,040
Speaker 1: want to make the phone call. Maybe like you get

1521
01:21:09,080 --> 01:21:12,920
Speaker 1: a lot of info and I mean talk about drama. Okay.

1522
01:21:13,120 --> 01:21:18,679
Speaker 1: Next person that comes through the door is Claude's mom

1523
01:21:18,720 --> 01:21:24,960
Speaker 1: and dad. Okay. Now this is where the camp gets

1524
01:21:25,040 --> 01:21:29,639
Speaker 1: kicked up a huge notchh Okay. There are two technically

1525
01:21:29,640 --> 01:21:34,439
Speaker 1: two separate scenes where Missus Dagel comes in the door

1526
01:21:35,600 --> 01:21:44,439
Speaker 1: completely trashed, and God bless this actress Eileen Heckart, who

1527
01:21:44,479 --> 01:21:52,639
Speaker 1: plays missus Hortense Dagel, because she is going for broke

1528
01:21:53,800 --> 01:22:01,240
Speaker 1: in these scenes. It's incredible, like she is wasted. It

1529
01:22:01,280 --> 01:22:04,400
Speaker 1: comes in trips over a step and you know it.

1530
01:22:04,680 --> 01:22:08,519
Speaker 1: Obviously she's grieving the loss of her only child, but

1531
01:22:09,360 --> 01:22:12,920
Speaker 1: her performance of the drunkness is so over the top

1532
01:22:13,120 --> 01:22:15,680
Speaker 1: that I'm like, it's kind of hard to remember that

1533
01:22:15,720 --> 01:22:20,240
Speaker 1: you're actually grieving because you're just trapesing around a living

1534
01:22:20,320 --> 01:22:21,599
Speaker 1: room being.

1535
01:22:21,560 --> 01:22:26,160
Speaker 3: Like and you you think you're so fancy and you

1536
01:22:27,320 --> 01:22:31,880
Speaker 3: fucking PayPal, Like what's your problem? Like your dishes are

1537
01:22:31,960 --> 01:22:35,439
Speaker 3: too nice and your fucking bourbon is too nice.

1538
01:22:35,439 --> 01:22:38,600
Speaker 2: I mean's like very She's like, I won't drink it,

1539
01:22:38,640 --> 01:22:39,639
Speaker 2: but this is too fancy.

1540
01:22:39,840 --> 01:22:42,360
Speaker 1: Like I'll drink your fucking bourbon, but this is fancy shit.

1541
01:22:42,439 --> 01:22:45,000
Speaker 1: And I just want you to know I hate you. Yeah,

1542
01:22:45,200 --> 01:22:48,160
Speaker 1: I'm just doing hair and look at you, la, how

1543
01:22:48,280 --> 01:22:51,519
Speaker 1: the horse fuck all? Y'all? My kid is dead and

1544
01:22:51,560 --> 01:23:01,599
Speaker 1: I'm like, wow, okay, lady. But again, it's a camp

1545
01:23:01,680 --> 01:23:06,760
Speaker 1: classic for a reason. Okay, So here's I'm at a

1546
01:23:06,760 --> 01:23:11,600
Speaker 1: crossroads right now because there are certain things that I

1547
01:23:11,600 --> 01:23:13,800
Speaker 1: would like to communicate to you, but then I would

1548
01:23:13,840 --> 01:23:16,080
Speaker 1: it would basically be giving away a lot of the movie.

1549
01:23:16,120 --> 01:23:18,120
Speaker 1: And then part of me is like, this movie has

1550
01:23:18,160 --> 01:23:22,080
Speaker 1: been out for sixty seven years? Is it okay to

1551
01:23:22,280 --> 01:23:22,920
Speaker 1: spoil it?

1552
01:23:23,479 --> 01:23:25,320
Speaker 2: I think it's okay to spoil it because it's been

1553
01:23:25,360 --> 01:23:26,880
Speaker 2: parodied so fucking much.

1554
01:23:27,320 --> 01:23:31,479
Speaker 1: Okay, culturally okay. So it's at this point that if

1555
01:23:31,479 --> 01:23:33,920
Speaker 1: you do not want The Bad Seeds spoiled for you

1556
01:23:33,960 --> 01:23:36,679
Speaker 1: in any way, then you know, just turn off the episode.

1557
01:23:36,680 --> 01:23:39,479
Speaker 1: We'll see you next week. But in order to, like,

1558
01:23:39,600 --> 01:23:41,880
Speaker 1: I have to give some information to talk about the

1559
01:23:41,880 --> 01:23:43,679
Speaker 1: rest of the film. So this is what I'm about

1560
01:23:43,720 --> 01:23:48,439
Speaker 1: to do. Okay. So, as it turns out, Roda has

1561
01:23:48,479 --> 01:23:54,360
Speaker 1: the fucking penmanship metal dude, right, And you're like, okay, well,

1562
01:23:54,360 --> 01:23:55,599
Speaker 1: then what the fuck's up with this?

1563
01:23:55,840 --> 01:23:58,599
Speaker 2: And Christine finds it and she's like, I don't know, maybe,

1564
01:23:58,640 --> 01:24:01,720
Speaker 2: and I'm like, bitch again, how much information do you need?

1565
01:24:02,479 --> 01:24:05,120
Speaker 1: Yeah? Yeah, yeah. And then meanwhile Roda and Lee ro

1566
01:24:05,320 --> 01:24:07,920
Speaker 1: are having like a villain off and it is so

1567
01:24:08,360 --> 01:24:11,679
Speaker 1: weird and hilarious, like he is like, guess what, little girl,

1568
01:24:11,720 --> 01:24:13,880
Speaker 1: you fucked up because you try to wash blood off

1569
01:24:13,920 --> 01:24:16,559
Speaker 1: of a stick and guess what, blood doesn't come off

1570
01:24:16,600 --> 01:24:19,960
Speaker 1: sticks and I got your number and then she's like,

1571
01:24:20,160 --> 01:24:23,479
Speaker 1: oh fuck, I'm bugging out, Like this guy knows that

1572
01:24:23,600 --> 01:24:28,920
Speaker 1: I might have possibly murdered someone. So she's like, in

1573
01:24:28,960 --> 01:24:31,439
Speaker 1: her mind the gears returning, okay, And this is an

1574
01:24:31,479 --> 01:24:33,960
Speaker 1: eight year old girl. By the way, UH have to

1575
01:24:34,000 --> 01:24:39,000
Speaker 1: remind you guys that she is diabolically eight. So at

1576
01:24:39,000 --> 01:24:42,440
Speaker 1: some point, Christine's dad comes to visit, so like Roda's grandpa,

1577
01:24:42,880 --> 01:24:48,040
Speaker 1: and it's like, you know her. One of Christine's friends,

1578
01:24:48,120 --> 01:24:51,200
Speaker 1: This guy Reginald Tasker is also there and he's like

1579
01:24:51,200 --> 01:24:54,400
Speaker 1: a true crime writer, I talk about murderingos. But there's

1580
01:24:54,479 --> 01:24:58,080
Speaker 1: this super creepy exchange that he has with Rhoda as

1581
01:24:58,120 --> 01:25:02,920
Speaker 1: she's leaving and he's coming in because Christine asks this guy, Reginald,

1582
01:25:03,600 --> 01:25:06,759
Speaker 1: so you like little girls to Curtsey and he replies,

1583
01:25:07,320 --> 01:25:10,800
Speaker 1: the best thing left after the Middle Ages? Oh, he's

1584
01:25:10,800 --> 01:25:16,160
Speaker 1: such a fucking creep. I was like, yo, is that

1585
01:25:17,040 --> 01:25:21,639
Speaker 1: what a serial killer says? Absolutely? The best thing left

1586
01:25:21,680 --> 01:25:24,920
Speaker 1: after the Middle Ages is that little girl's curtsy? Oh

1587
01:25:24,960 --> 01:25:30,759
Speaker 1: my god. Wild. So anyway, he's there with Christine's dad.

1588
01:25:31,360 --> 01:25:33,720
Speaker 1: Christine starts talking to them about how she's gonna write

1589
01:25:33,720 --> 01:25:36,040
Speaker 1: her own murder mystery. And I'm like, oh, that's convenient,

1590
01:25:36,080 --> 01:25:38,400
Speaker 1: and like now that you have kind of are putting

1591
01:25:38,400 --> 01:25:41,960
Speaker 1: the puzzle pieces together about your kid, and then you know,

1592
01:25:42,080 --> 01:25:45,320
Speaker 1: Reginald Leaves and so Christine and her father and the

1593
01:25:45,360 --> 01:25:49,000
Speaker 1: whole conversation. This is a long portion of the film,

1594
01:25:49,040 --> 01:25:51,639
Speaker 1: which I'm kind of like, trim it up a little bit,

1595
01:25:51,680 --> 01:25:54,120
Speaker 1: maybe it'll be a little bit more exciting. But she

1596
01:25:54,920 --> 01:25:58,280
Speaker 1: talks to her father and she starts telling him like,

1597
01:25:58,280 --> 01:26:00,679
Speaker 1: you know, I never really felt like I was related

1598
01:26:00,720 --> 01:26:04,240
Speaker 1: to you. And I'm like, she keeps screaming, who's child?

1599
01:26:04,280 --> 01:26:07,639
Speaker 1: Am I? Who's child? Am I? And then the dad.

1600
01:26:08,800 --> 01:26:11,840
Speaker 1: Eventually it just drops in, Okay, look, I have never

1601
01:26:11,880 --> 01:26:13,840
Speaker 1: told you this, but I'll tell you right now now

1602
01:26:13,880 --> 01:26:17,080
Speaker 1: that you're a grown woman. You were adopted and your

1603
01:26:17,160 --> 01:26:23,320
Speaker 1: real mom was a serial killer. Casual casual, Yes, So

1604
01:26:23,520 --> 01:26:29,400
Speaker 1: guess what now you have a direct familial lineage to

1605
01:26:29,479 --> 01:26:32,200
Speaker 1: a serial killer. So like Christine's like, oh, fuck, my

1606
01:26:32,280 --> 01:26:35,760
Speaker 1: real mom was a serial killer. My daughter might be

1607
01:26:35,800 --> 01:26:38,840
Speaker 1: a murderer. I don't know what's going on here, you know,

1608
01:26:39,520 --> 01:26:41,479
Speaker 1: I mean, like I said, The scene goes on for

1609
01:26:41,479 --> 01:26:44,559
Speaker 1: a long time, and then the word species is used twice,

1610
01:26:44,640 --> 01:26:47,120
Speaker 1: and I'm like, do people really use that word a lot?

1611
01:26:47,680 --> 01:26:54,759
Speaker 1: Not anymore then excelsior and specious, I'm like, who the hell?

1612
01:26:55,240 --> 01:26:57,840
Speaker 1: Like they were saying a lot of fancy stuff back

1613
01:26:57,880 --> 01:27:01,479
Speaker 1: in nineteen fifty six. So, so now Christine is basically

1614
01:27:01,520 --> 01:27:04,400
Speaker 1: convinced that her daughter got the serial killer gene from

1615
01:27:04,439 --> 01:27:08,360
Speaker 1: her grandma, which is only confirmed when Roda is then

1616
01:27:08,720 --> 01:27:14,080
Speaker 1: busted trying to burn her fucking shoes because guess what,

1617
01:27:14,240 --> 01:27:18,920
Speaker 1: that's the murder weapon, folks. She like tiptoes like a

1618
01:27:18,920 --> 01:27:22,800
Speaker 1: fucking cartoon character. Is so funny. Yeah, so she's trying

1619
01:27:22,840 --> 01:27:26,160
Speaker 1: to burn the murder weapon. She killed a kid with

1620
01:27:26,240 --> 01:27:29,360
Speaker 1: her shoes, basically, and then when she asked why, she's like,

1621
01:27:29,439 --> 01:27:31,760
Speaker 1: he wouldn't give me the medal like I told him to.

1622
01:27:32,439 --> 01:27:38,280
Speaker 1: I'm like, damn, that's cold blooded. Okay. Now, Like I said,

1623
01:27:38,400 --> 01:27:41,880
Speaker 1: the rest of the film goes absolutely bonkers after this

1624
01:27:41,960 --> 01:27:44,880
Speaker 1: point because now she's an actual murderer, and then she

1625
01:27:44,920 --> 01:27:49,240
Speaker 1: starts killing some more. Like now that Leroy has to

1626
01:27:49,280 --> 01:27:54,320
Speaker 1: be dealt with because he knows her secret. You know. Basically,

1627
01:27:55,840 --> 01:27:58,360
Speaker 1: she goes into the basement and sets his damn bed

1628
01:27:58,439 --> 01:28:00,759
Speaker 1: on fire while he's in it, and then like the door.

1629
01:28:01,520 --> 01:28:06,479
Speaker 1: So she's a leveling up. Yeah, it's leveling up. Shit

1630
01:28:06,680 --> 01:28:09,599
Speaker 1: gets real dark. Let's just say that. I mean, I

1631
01:28:09,640 --> 01:28:13,280
Speaker 1: feel bad just giving away the ending, But the ending

1632
01:28:13,320 --> 01:28:17,120
Speaker 1: of this movie is literally a classic. It's a classic

1633
01:28:17,280 --> 01:28:20,080
Speaker 1: what the fuck moment, And I think that that's kind

1634
01:28:20,120 --> 01:28:22,240
Speaker 1: of like what the movie is actually known for is

1635
01:28:22,240 --> 01:28:25,160
Speaker 1: the ending. So again, if you don't want to hear this,

1636
01:28:25,520 --> 01:28:29,160
Speaker 1: shut off the episode. But the end of this movie

1637
01:28:29,320 --> 01:28:33,759
Speaker 1: is essentially that Christine is like, my daughter has murdered

1638
01:28:33,840 --> 01:28:38,200
Speaker 1: several people. So what I'm gonna do is I'm going

1639
01:28:38,280 --> 01:28:44,200
Speaker 1: to kill her with sleeping pills and then shoot myself. Okay, Now,

1640
01:28:44,880 --> 01:28:51,120
Speaker 1: in the original play, in the book, that happened, and

1641
01:28:51,600 --> 01:28:56,320
Speaker 1: Christine dies and Rhoda lives, right, so evil is not punished.

1642
01:28:56,920 --> 01:29:00,320
Speaker 1: We have heard the story many times. It's you know,

1643
01:29:00,600 --> 01:29:04,880
Speaker 1: evil is never really punished. It's like the good people

1644
01:29:05,040 --> 01:29:08,400
Speaker 1: die and then the monsters live on. Right. But in

1645
01:29:08,479 --> 01:29:11,120
Speaker 1: nineteen fifty six, when we were strolling under the production code,

1646
01:29:11,320 --> 01:29:14,200
Speaker 1: the fucking production code was like, uh uh, you are

1647
01:29:14,240 --> 01:29:18,759
Speaker 1: not allowed to show some murderer getting away with the murders.

1648
01:29:18,840 --> 01:29:23,000
Speaker 1: You have to punish this person, even if it's an

1649
01:29:23,000 --> 01:29:25,920
Speaker 1: eight year old girl. So what does the movie do.

1650
01:29:27,120 --> 01:29:33,919
Speaker 1: The movie kills off Rhoda by striking her with lightning. Basically,

1651
01:29:34,680 --> 01:29:42,000
Speaker 1: she gets struck by lightning and dies. Incredible, incredible. Yeah,

1652
01:29:42,120 --> 01:29:44,280
Speaker 1: she returns to the scene of the crime where she

1653
01:29:44,360 --> 01:29:47,080
Speaker 1: killed her classmate for the penmanship medal, and then she's

1654
01:29:47,120 --> 01:29:48,719
Speaker 1: out in the fucking dock and then it gets struck

1655
01:29:48,800 --> 01:29:51,839
Speaker 1: by lightning and dies, and it is just so shocking.

1656
01:29:51,880 --> 01:29:54,439
Speaker 1: You're like, oh shit, they killed a fucking kid. But

1657
01:29:54,479 --> 01:30:00,160
Speaker 1: then guess what happens immediately after is the film this

1658
01:30:00,240 --> 01:30:04,439
Speaker 1: is wilder than the fucking lightning strike. So not only

1659
01:30:04,760 --> 01:30:08,559
Speaker 1: did the production code say this person couldn't get punished,

1660
01:30:08,600 --> 01:30:10,640
Speaker 1: but then now the ending is too fucked up. So

1661
01:30:10,720 --> 01:30:12,600
Speaker 1: what are you gonna have to do. You're gonna have

1662
01:30:12,640 --> 01:30:15,880
Speaker 1: to do a cast of characters scene where everyone who

1663
01:30:15,960 --> 01:30:19,479
Speaker 1: was in the film walks through the set and is

1664
01:30:19,520 --> 01:30:25,799
Speaker 1: introduced a movie. It's so weird.

1665
01:30:25,920 --> 01:30:28,519
Speaker 2: And then when when Christine and Rota come out, like,

1666
01:30:29,240 --> 01:30:30,960
Speaker 2: you know, Nancy Kelly, the actress like.

1667
01:30:30,880 --> 01:30:33,720
Speaker 1: Spanks wrote to like, oh you bad girl, and I'm like,

1668
01:30:33,760 --> 01:30:34,320
Speaker 1: what the fuck?

1669
01:30:34,400 --> 01:30:36,360
Speaker 2: And then there's a whole scene and there's a whole

1670
01:30:36,400 --> 01:30:40,920
Speaker 2: slide that's like, ps, don't spoil a movie, basically like,

1671
01:30:40,960 --> 01:30:43,240
Speaker 2: we know this ending is fucked, don't spoil it.

1672
01:30:44,040 --> 01:30:45,840
Speaker 1: Yeah, yeah, I just a screen grab up and we'll

1673
01:30:45,840 --> 01:30:48,280
Speaker 1: have to post it on our social media. It's just

1674
01:30:48,360 --> 01:30:51,600
Speaker 1: like it is just so over the top, like in

1675
01:30:51,760 --> 01:30:55,320
Speaker 1: so many ways. And yeah, it's like the mom comes in,

1676
01:30:55,520 --> 01:30:58,000
Speaker 1: it's like, oh you bad girl, and I'm like, oh no,

1677
01:30:58,200 --> 01:31:00,160
Speaker 1: did you actually know that you were shot in the

1678
01:31:00,240 --> 01:31:05,760
Speaker 1: head and lived and your daughter is dead? But I

1679
01:31:05,760 --> 01:31:06,960
Speaker 1: guess everything works out.

1680
01:31:07,680 --> 01:31:10,519
Speaker 2: Oh god, that was the funniest and it's it is

1681
01:31:10,720 --> 01:31:12,439
Speaker 2: it's good that you mentioned it's because of the code,

1682
01:31:12,479 --> 01:31:14,160
Speaker 2: because it's if you didn't know that, you'd be like,

1683
01:31:14,200 --> 01:31:15,639
Speaker 2: what is actually happening here?

1684
01:31:16,360 --> 01:31:19,000
Speaker 1: Yeah? Yeah, Normally I probably wouldn't have given away the ending,

1685
01:31:19,080 --> 01:31:22,559
Speaker 1: but like, honestly, that that fact is so fascinating to

1686
01:31:22,600 --> 01:31:24,200
Speaker 1: me that I felt like I had to in order

1687
01:31:24,240 --> 01:31:27,519
Speaker 1: to talk about it. So, yeah, this is the only

1688
01:31:27,600 --> 01:31:30,120
Speaker 1: movie that existed for me when you came up with

1689
01:31:30,160 --> 01:31:33,840
Speaker 1: this theme. I mean, this kid drains the life out

1690
01:31:33,840 --> 01:31:34,400
Speaker 1: of her mom.

1691
01:31:34,720 --> 01:31:37,320
Speaker 2: Oh, she essentially drives her mom up a fucking wall

1692
01:31:37,640 --> 01:31:41,040
Speaker 2: before she meets her demise.

1693
01:31:41,120 --> 01:31:41,559
Speaker 1: Like she does.

1694
01:31:41,920 --> 01:31:44,840
Speaker 2: Her mom realizing what her daughter is drives her up

1695
01:31:44,840 --> 01:31:45,480
Speaker 2: a fucking.

1696
01:31:45,240 --> 01:31:49,160
Speaker 1: Wall, right, and it's all done when the dad's not around.

1697
01:31:49,160 --> 01:31:51,840
Speaker 1: I mean that's like the crucial part of this for me,

1698
01:31:52,520 --> 01:31:55,240
Speaker 1: and what makes it kind of in that melodrama tradition,

1699
01:31:55,600 --> 01:31:58,599
Speaker 1: which is that here's a woman by herself, she's got

1700
01:31:58,640 --> 01:32:02,240
Speaker 1: no man to like guide her in any way, and

1701
01:32:02,280 --> 01:32:04,880
Speaker 1: her daughter is out killing people, you know, And so

1702
01:32:05,280 --> 01:32:06,960
Speaker 1: that to me is what kind of kicks it up

1703
01:32:06,960 --> 01:32:10,400
Speaker 1: a notch. And I honestly like melo, trauma and horror

1704
01:32:10,479 --> 01:32:14,360
Speaker 1: are very they're like kin to each other. So this

1705
01:32:14,439 --> 01:32:17,400
Speaker 1: isn't the first time that this happened, and it definitely

1706
01:32:17,400 --> 01:32:19,120
Speaker 1: isn't the last time. But I feel like that's what

1707
01:32:19,200 --> 01:32:23,040
Speaker 1: makes it campy is that it's like very over the top.

1708
01:32:23,880 --> 01:32:27,280
Speaker 1: There's a lot of fantastical, crazy things happening, and it's

1709
01:32:27,360 --> 01:32:29,640
Speaker 1: such an enjoyable film, Like I do think it's a

1710
01:32:29,680 --> 01:32:33,360
Speaker 1: tiny bit long. Like if this movie was seventy five minutes,

1711
01:32:33,439 --> 01:32:37,120
Speaker 1: it would be a fucking barn burner. I mean, like

1712
01:32:37,640 --> 01:32:40,679
Speaker 1: a little tight, seventy five minute thriller about a killer

1713
01:32:40,760 --> 01:32:43,680
Speaker 1: kid would be so great. But you know what it's like,

1714
01:32:43,720 --> 01:32:45,639
Speaker 1: it's over two hours, and I'm kind of like, okay,

1715
01:32:46,280 --> 01:32:47,200
Speaker 1: but beyond that.

1716
01:32:47,560 --> 01:32:51,080
Speaker 2: Great choice for this theme, and its fucking it's hilarious.

1717
01:32:51,160 --> 01:32:54,320
Speaker 2: It's definitely campy. It should be should not be missed

1718
01:32:54,360 --> 01:32:55,439
Speaker 2: if you haven't seen it already.

1719
01:32:55,840 --> 01:32:57,720
Speaker 1: I love this double feature. I love that it's like

1720
01:32:57,800 --> 01:33:00,680
Speaker 1: high and low art or something like I. I just

1721
01:33:00,760 --> 01:33:04,080
Speaker 1: love it. And well, so listen. If you want to

1722
01:33:04,240 --> 01:33:06,439
Speaker 1: email us about these movies, or if you just want

1723
01:33:06,479 --> 01:33:07,840
Speaker 1: to chat, We're at I Saw What You Did Pod

1724
01:33:07,880 --> 01:33:09,240
Speaker 1: at gmail dot com.

1725
01:33:09,439 --> 01:33:11,240
Speaker 2: And you can find us on our social media at

1726
01:33:11,280 --> 01:33:13,599
Speaker 2: I Saw Pod on Instagram and Twitter, or feel free

1727
01:33:13,600 --> 01:33:16,520
Speaker 2: to leave us a five star review on Apple Podcasts.

1728
01:33:16,720 --> 01:33:19,760
Speaker 2: If you don't know what to say, just say husk.

1729
01:33:21,640 --> 01:33:26,080
Speaker 1: Husk five stars. We also have merch Please go purchase

1730
01:33:26,120 --> 01:33:27,880
Speaker 1: it at the I Saw What You Did section of

1731
01:33:27,880 --> 01:33:30,880
Speaker 1: the Exactly Right shop and our bonus episodes.

1732
01:33:31,160 --> 01:33:33,679
Speaker 2: New ones are coming out the third Thursday of every

1733
01:33:33,680 --> 01:33:36,240
Speaker 2: month now, and our old bonus episodes are trickling out

1734
01:33:36,280 --> 01:33:39,040
Speaker 2: on the main feed. They're no longer behind a paywall,

1735
01:33:39,200 --> 01:33:42,160
Speaker 2: So listen up, all right, Danielle.

1736
01:33:42,720 --> 01:33:45,800
Speaker 1: Next week's episode, I mean you want to talk about

1737
01:33:45,800 --> 01:33:49,559
Speaker 1: a bar and burner. Wow, this is incredible. This is

1738
01:33:49,600 --> 01:33:50,439
Speaker 1: the summer break.

1739
01:33:50,560 --> 01:33:53,560
Speaker 2: After the final exams of the last two episodes that

1740
01:33:53,600 --> 01:33:54,280
Speaker 2: we've given.

1741
01:33:57,520 --> 01:33:58,679
Speaker 1: Tell them what the movies are.

1742
01:33:59,280 --> 01:34:02,280
Speaker 2: Your movies are next week are The Crow from nineteen

1743
01:34:02,360 --> 01:34:06,639
Speaker 2: ninety four and The Exorcist from nineteen seventy three.

1744
01:34:07,880 --> 01:34:11,320
Speaker 1: Wow. I can't believe we're making people watch The Bad

1745
01:34:11,360 --> 01:34:13,920
Speaker 1: Seed and then The Exorcists within a week of each other.

1746
01:34:16,520 --> 01:34:20,400
Speaker 1: Hike wild. That's how we wrote I can well listen.

1747
01:34:20,880 --> 01:34:23,479
Speaker 1: Danielle is always a fucking pleasure doing this podcast with you.

1748
01:34:23,800 --> 01:34:26,280
Speaker 1: Absolutely wonderful. I had so much fun. This was great.

1749
01:34:26,840 --> 01:34:32,320
Speaker 1: Yes see you guys next week.

1750
01:34:34,760 --> 01:34:37,799
Speaker 2: This has been an exactly right production. Produced by Casey O'Brien,

1751
01:34:38,000 --> 01:34:40,559
Speaker 2: mixed by Edson Choi. Our theme song is by Tom

1752
01:34:40,600 --> 01:34:44,360
Speaker 2: bry Fogel. Artwork by Garrett Ross. Our executive producers are

1753
01:34:44,439 --> 01:34:47,759
Speaker 2: Georgia Hartstart, karenkile Gareff, and Daniel Kramer. You can follow

1754
01:34:47,840 --> 01:34:50,760
Speaker 2: us on Instagram and Twitter at I Saw Pod, and

1755
01:34:50,840 --> 01:34:52,840
Speaker 2: you can email us at I Saw What You Did

1756
01:34:52,880 --> 01:34:53,839
Speaker 2: Pod at gmail