1
00:00:10,280 --> 00:00:13,720
Speaker 1: Hey, everybody, welcome to another episode of I Saw What

2
00:00:13,800 --> 00:00:17,040
Speaker 1: You Did. My name is Millie to Jericho, I'm Daniel Henderson,

3
00:00:17,560 --> 00:00:21,120
Speaker 1: and we're back with you to talk about films and

4
00:00:21,200 --> 00:00:22,200
Speaker 1: everything else.

5
00:00:23,079 --> 00:00:28,159
Speaker 2: Danielle, Hi, how are you. I'm doing all right. A

6
00:00:28,160 --> 00:00:31,960
Speaker 2: little tired this morning because I woke up very early,

7
00:00:33,920 --> 00:00:37,800
Speaker 2: like it was nineteen ninety four. I woke up super

8
00:00:37,800 --> 00:00:43,760
Speaker 2: early to purchase concert tickets. Yeah, and I had to

9
00:00:43,760 --> 00:00:45,800
Speaker 2: get up at five o'clock in the morning, and it

10
00:00:45,920 --> 00:00:46,720
Speaker 2: was so worth it.

11
00:00:47,400 --> 00:00:47,680
Speaker 1: Yeah.

12
00:00:47,760 --> 00:00:49,879
Speaker 2: I hadn't purchased tickets in a long time. So when

13
00:00:49,920 --> 00:00:51,519
Speaker 2: I got there, I'm like, all right, it's gonna be

14
00:00:51,520 --> 00:00:53,920
Speaker 2: a fucking free for all. This is what I remember

15
00:00:53,920 --> 00:00:57,040
Speaker 2: of ticket Master, I think, because I was buying the

16
00:00:57,080 --> 00:01:00,160
Speaker 2: tickets for a concert in another country that likes to

17
00:01:00,240 --> 00:01:04,240
Speaker 2: line up. There was a queue, yeah, which was even

18
00:01:04,280 --> 00:01:07,960
Speaker 2: more terrifying because I got in there ten minutes early

19
00:01:08,440 --> 00:01:10,200
Speaker 2: and they're like, join the waiting room, and I'm like,

20
00:01:10,240 --> 00:01:12,480
Speaker 2: all right, So I joined the waiting room and They're like,

21
00:01:12,480 --> 00:01:16,000
Speaker 2: there are ten thousand people a heady. But I was like,

22
00:01:16,720 --> 00:01:20,280
Speaker 2: am I gonna get fucking tickets? What the fuck? But

23
00:01:20,360 --> 00:01:22,399
Speaker 2: I did? I did. It was stressful but.

24
00:01:22,520 --> 00:01:24,720
Speaker 1: Did you have to do the thing I've done this

25
00:01:24,760 --> 00:01:29,680
Speaker 1: before where I will log in on my computer and

26
00:01:29,800 --> 00:01:32,319
Speaker 1: my home phone and my work phone, and I'm like,

27
00:01:32,520 --> 00:01:34,440
Speaker 1: just whoever gets in first.

28
00:01:34,480 --> 00:01:38,000
Speaker 2: Absolutely, And I picked like three different locations cause I'm like,

29
00:01:38,080 --> 00:01:42,480
Speaker 2: I will see them anywhere, like, just give me the chance.

30
00:01:43,800 --> 00:01:46,120
Speaker 2: So I'm like, on this this device, I'm logged in

31
00:01:46,200 --> 00:01:48,840
Speaker 2: for this city, for this device, I'm logged in for

32
00:01:48,880 --> 00:01:50,640
Speaker 2: this city. And I did, like, I ended up buying

33
00:01:50,640 --> 00:01:54,760
Speaker 2: tickets for two places because one I got in first,

34
00:01:54,840 --> 00:01:57,160
Speaker 2: but it wasn't like the main place I wanted to go,

35
00:01:58,280 --> 00:02:01,760
Speaker 2: So I just bought two tickets and then I'm like,

36
00:02:01,800 --> 00:02:03,120
Speaker 2: maybe I'll go here, maybe I'll give them to a

37
00:02:03,200 --> 00:02:04,800
Speaker 2: friend or like we sell them or something. And then

38
00:02:05,240 --> 00:02:06,880
Speaker 2: I did get into the one I wanted to get

39
00:02:06,880 --> 00:02:11,160
Speaker 2: into and got a fucking great seats. Seats were a premium.

40
00:02:11,240 --> 00:02:12,640
Speaker 2: This is the other thing about the first one. The

41
00:02:12,639 --> 00:02:15,560
Speaker 2: first one was the only thing left was general admission

42
00:02:15,600 --> 00:02:18,640
Speaker 2: on the floor standing. Now I am too old for

43
00:02:18,680 --> 00:02:21,760
Speaker 2: that game, yep. I ain't getting there early to line up,

44
00:02:21,760 --> 00:02:23,640
Speaker 2: So I get there in the front. I'm not fucking

45
00:02:23,680 --> 00:02:25,560
Speaker 2: fighting with people on the floor. I'm not getting beer

46
00:02:25,600 --> 00:02:28,600
Speaker 2: spilled all over me. So the second place where I

47
00:02:28,680 --> 00:02:33,040
Speaker 2: actually wanted to go, I got four incredible seats, and

48
00:02:33,080 --> 00:02:35,320
Speaker 2: I'm like, I can set my old ass down. I

49
00:02:35,360 --> 00:02:38,120
Speaker 2: can be with my people. I feel like, because of

50
00:02:38,120 --> 00:02:39,800
Speaker 2: what this concert is, it's going to be filled with

51
00:02:39,800 --> 00:02:43,800
Speaker 2: people my age anyway. M h. So I'm like, so

52
00:02:43,800 --> 00:02:47,440
Speaker 2: I'm a little tired, but I also I have a

53
00:02:47,720 --> 00:02:53,920
Speaker 2: very serious and important question for you. Okay, now that

54
00:02:53,960 --> 00:02:58,839
Speaker 2: we are into the season, heavily into the season, how

55
00:02:58,880 --> 00:03:05,359
Speaker 2: many cinnamon brews do you currently have in your house? Oh?

56
00:03:05,480 --> 00:03:06,880
Speaker 3: I knew that was coming.

57
00:03:07,680 --> 00:03:12,440
Speaker 2: Uh, Now the people want to know currently I have.

58
00:03:14,120 --> 00:03:20,560
Speaker 1: One cinnamon room out meaning out of the plastic, just

59
00:03:20,639 --> 00:03:21,440
Speaker 1: out in the house.

60
00:03:21,480 --> 00:03:22,919
Speaker 3: And then I have two whisks.

61
00:03:24,480 --> 00:03:26,840
Speaker 2: Wait are the are the whisks the tiny ones?

62
00:03:27,160 --> 00:03:31,440
Speaker 1: Yes, the tiny little baby ones that I just kind

63
00:03:31,440 --> 00:03:34,240
Speaker 1: of like throw in little areas like ones in my

64
00:03:34,360 --> 00:03:38,160
Speaker 1: laundry room because I'm like, I don't know, there's like

65
00:03:38,240 --> 00:03:42,080
Speaker 1: tools back here. Maybe it'll smell nice if I put

66
00:03:42,120 --> 00:03:44,240
Speaker 1: like a little whisk here. What are your tools usually

67
00:03:44,280 --> 00:03:48,720
Speaker 1: smell like, I don't know, like dirt, like red Georgia clay.

68
00:03:49,560 --> 00:03:51,200
Speaker 2: How are you doing with these tools? You're like, let

69
00:03:51,240 --> 00:03:54,960
Speaker 2: me drill directly into a sack of rancid meat.

70
00:03:57,240 --> 00:03:59,480
Speaker 3: I'm just gonna put this shit back on the shelf.

71
00:04:00,160 --> 00:04:03,200
Speaker 3: I have my ransoid meat hatchet that's in the corner.

72
00:04:04,560 --> 00:04:08,680
Speaker 1: It is only for ransod meat, and uh it needs

73
00:04:08,800 --> 00:04:10,640
Speaker 1: it needs to be deodorized.

74
00:04:10,640 --> 00:04:11,600
Speaker 3: But I haven't had the time.

75
00:04:11,640 --> 00:04:13,960
Speaker 1: So I'm just gonna stick a cinnamon whisk back there

76
00:04:15,120 --> 00:04:16,120
Speaker 1: and pray.

77
00:04:17,480 --> 00:04:18,279
Speaker 2: Room. Just a whisk.

78
00:04:18,320 --> 00:04:20,520
Speaker 3: It's a light, a light airing.

79
00:04:22,200 --> 00:04:25,640
Speaker 1: It's like a it's like a little fragrant, a little

80
00:04:25,680 --> 00:04:29,800
Speaker 1: a tiny, little fragrant bomb. There's one in that laundry room,

81
00:04:29,839 --> 00:04:33,279
Speaker 1: and then there's one in the guest bathroom. So I'm like, okay, well,

82
00:04:33,520 --> 00:04:38,760
Speaker 1: my guess will smell the season in here. I never

83
00:04:38,839 --> 00:04:41,239
Speaker 1: have people at my house, by the way, ever, ever, ever.

84
00:04:43,880 --> 00:04:48,520
Speaker 2: You're like, this is an aspirational setting, bitch, I don't

85
00:04:48,560 --> 00:04:50,279
Speaker 2: know if this is the way you are at your house,

86
00:04:50,360 --> 00:04:53,800
Speaker 2: because I mean, like this is I have this like

87
00:04:53,920 --> 00:04:55,400
Speaker 2: whole guest bathroom that.

88
00:04:55,440 --> 00:04:58,040
Speaker 3: Is ready to go in case.

89
00:04:58,440 --> 00:05:01,920
Speaker 1: Like it's like a fucking it's like a bathroom in

90
00:05:02,000 --> 00:05:07,200
Speaker 1: like a New York City steakhouse with like perfumes and

91
00:05:07,279 --> 00:05:12,040
Speaker 1: like little hair sprays, and like, why are.

92
00:05:11,920 --> 00:05:15,760
Speaker 2: You setting this up. No one comes over. You got

93
00:05:15,800 --> 00:05:18,039
Speaker 2: some mass in and in there holding towels and like

94
00:05:18,080 --> 00:05:18,880
Speaker 2: waiting for a tip.

95
00:05:19,440 --> 00:05:21,440
Speaker 3: Yeah, you're like, you're like, I'm sorry.

96
00:05:21,520 --> 00:05:23,880
Speaker 2: You just show up every day for your shift and

97
00:05:23,920 --> 00:05:26,400
Speaker 2: nothing happens. I know.

98
00:05:26,480 --> 00:05:28,760
Speaker 1: It's like I have this medicine cabinet that I have,

99
00:05:28,880 --> 00:05:32,600
Speaker 1: Like it's like hair's for the guests, like mouthwash and

100
00:05:32,640 --> 00:05:34,960
Speaker 1: like hairspray, and I'm like that shit, no one has

101
00:05:35,080 --> 00:05:36,039
Speaker 1: used any of this stuff.

102
00:05:36,080 --> 00:05:37,240
Speaker 2: I never have people over.

103
00:05:38,160 --> 00:05:41,080
Speaker 1: There's there's never gonna be a time where anybody's gonna

104
00:05:41,120 --> 00:05:42,480
Speaker 1: use any of these toiletries.

105
00:05:42,960 --> 00:05:44,440
Speaker 3: But I understand the impulse.

106
00:05:44,560 --> 00:05:47,000
Speaker 2: I understand the impulse because I am the same way

107
00:05:47,200 --> 00:05:50,839
Speaker 2: where I'll be goddamned if anyone's ever coming to my house.

108
00:05:51,160 --> 00:05:53,200
Speaker 2: But I understand the urge because I'm like, oh, I

109
00:05:53,200 --> 00:05:56,800
Speaker 2: can't wait until I get this place in enough good

110
00:05:56,920 --> 00:05:59,240
Speaker 2: order that I can actually have people come and stay.

111
00:06:00,200 --> 00:06:01,520
Speaker 3: And I've got a guess bucket.

112
00:06:01,600 --> 00:06:04,320
Speaker 2: I've got a bucket like a little plastic tupperware, you know,

113
00:06:04,360 --> 00:06:07,279
Speaker 2: one of those crates. Yeah, that's filled with like tampons

114
00:06:07,320 --> 00:06:11,240
Speaker 2: and soap and fucking moisturizer. Like you're like.

115
00:06:11,200 --> 00:06:14,160
Speaker 1: A soul cycle up in there, like anything you got

116
00:06:14,160 --> 00:06:18,160
Speaker 1: hair I got hair ties, I've got whatever you need.

117
00:06:19,440 --> 00:06:23,880
Speaker 2: Lotions, especially because like I'm so gross that like I

118
00:06:24,000 --> 00:06:26,320
Speaker 2: use that bucket as a way to kind of guess

119
00:06:26,400 --> 00:06:28,599
Speaker 2: what people do to take care of themselves because I

120
00:06:28,600 --> 00:06:31,640
Speaker 2: have no skincare routine to speak of. You know, I

121
00:06:31,720 --> 00:06:34,359
Speaker 2: don't take a shower every day if I'm not going anywhere,

122
00:06:34,839 --> 00:06:36,360
Speaker 2: and I'm just kind of gross.

123
00:06:36,400 --> 00:06:39,080
Speaker 3: So I'm like, what would somebody who like takes care.

124
00:06:38,960 --> 00:06:42,520
Speaker 2: Of themselves want for their daily prep when it's not

125
00:06:42,640 --> 00:06:44,560
Speaker 2: just like brushing your teeth and wiping the crust out

126
00:06:44,600 --> 00:06:45,280
Speaker 2: of your eyes.

127
00:06:45,120 --> 00:06:45,960
Speaker 3: Like what would they do?

128
00:06:46,360 --> 00:06:47,960
Speaker 2: Yeah, So I look in the bucket and I'm like, oh,

129
00:06:48,000 --> 00:06:50,840
Speaker 2: maybe I should moisturize something. Maybe I shoul put some

130
00:06:50,880 --> 00:06:54,520
Speaker 2: moisturizer on a leg, a leg, one leg.

131
00:06:54,600 --> 00:06:58,440
Speaker 3: Maybe maybe I should pum us a foot well, And like,

132
00:06:59,400 --> 00:07:03,600
Speaker 3: to be honest, like I'm I'm just too excited because.

133
00:07:03,640 --> 00:07:08,120
Speaker 1: This is literally the only time in my life where

134
00:07:08,200 --> 00:07:14,119
Speaker 1: I've ever had extra space, right, Like I've only lived

135
00:07:14,120 --> 00:07:20,080
Speaker 1: in one bedroom or less yep, places like sometimes it's

136
00:07:20,080 --> 00:07:23,960
Speaker 1: one big room and I've never had a guest bathroom.

137
00:07:24,000 --> 00:07:27,680
Speaker 1: I've never had an extra anything. So I'm like, we're

138
00:07:27,720 --> 00:07:32,120
Speaker 1: going ham on this guest bathroom. And on top of that,

139
00:07:32,520 --> 00:07:37,560
Speaker 1: I have been in certain I won't say who, but

140
00:07:37,640 --> 00:07:41,560
Speaker 1: I've been to people's houses who do have like tons

141
00:07:41,560 --> 00:07:44,720
Speaker 1: of rooms, tons of bathrooms, and there have been times

142
00:07:44,720 --> 00:07:46,840
Speaker 1: where I've been into one of their guest bathrooms and

143
00:07:46,840 --> 00:07:50,560
Speaker 1: there's like it is barren in there. There's no fucking

144
00:07:50,560 --> 00:07:54,200
Speaker 1: toilet paper, there's no soap for the sake, there's like

145
00:07:54,560 --> 00:07:57,600
Speaker 1: dead bugs in the corner. And I'm like, that's how

146
00:07:57,680 --> 00:08:02,400
Speaker 1: much they don't use that bathroom. And I'm like, wow,

147
00:08:02,640 --> 00:08:05,320
Speaker 1: I can't have that. Like I know, I never go

148
00:08:05,400 --> 00:08:08,640
Speaker 1: in this bathroom, but there aren't gonna be flies in here,

149
00:08:08,680 --> 00:08:10,280
Speaker 1: and there's gonna be toilet paper.

150
00:08:10,800 --> 00:08:13,480
Speaker 2: Like come on, so you're in the if you stay ready,

151
00:08:13,520 --> 00:08:14,840
Speaker 2: you don't have to get ready mode.

152
00:08:15,120 --> 00:08:17,920
Speaker 3: Yeah.

153
00:08:18,080 --> 00:08:21,840
Speaker 2: Like, if I keep this cinnamon whisk out, then I

154
00:08:21,840 --> 00:08:23,400
Speaker 2: don't have to worry about how it smells in here.

155
00:08:23,440 --> 00:08:25,120
Speaker 2: Somebody's like I need to place to stay tonight.

156
00:08:25,640 --> 00:08:31,200
Speaker 1: Yeah, listen, like the cinnamon whisks is.

157
00:08:31,240 --> 00:08:32,080
Speaker 3: I gotta be honest.

158
00:08:32,120 --> 00:08:36,360
Speaker 1: I've been getting a lot of emails from folks about that.

159
00:08:36,400 --> 00:08:39,559
Speaker 3: They want to know where are you with your cinnamon

160
00:08:39,600 --> 00:08:40,640
Speaker 3: whisks consumption.

161
00:08:42,720 --> 00:08:45,439
Speaker 1: I'm gonna say it again because some of y'all are

162
00:08:45,480 --> 00:08:50,439
Speaker 1: fooling around and you're sending me photographs of like brooms

163
00:08:50,480 --> 00:08:55,680
Speaker 1: that are not cinnamon scented, like the Maui wowie brooms,

164
00:08:55,760 --> 00:09:02,640
Speaker 1: the fucking like fucking pine For no, they're not the

165
00:09:03,120 --> 00:09:07,160
Speaker 1: ones that I enjoy. I only like cinnamon original recipe.

166
00:09:08,280 --> 00:09:12,120
Speaker 1: Don't fucking give me a tropical cinnamon or a tropical broom.

167
00:09:12,520 --> 00:09:14,200
Speaker 1: Don't give me a tropical broom.

168
00:09:14,240 --> 00:09:17,080
Speaker 2: That is so weird at that point, it's just like

169
00:09:17,200 --> 00:09:19,040
Speaker 2: you just have a bunch of sticks that smell like

170
00:09:19,080 --> 00:09:19,480
Speaker 2: the beach.

171
00:09:19,600 --> 00:09:24,680
Speaker 1: Come on, yeah, okay, I think this happened the last

172
00:09:24,720 --> 00:09:27,240
Speaker 1: time we talked last season when we talked about this

173
00:09:27,320 --> 00:09:29,679
Speaker 1: cinnamon broom thing, because a lot of people were like,

174
00:09:29,720 --> 00:09:31,040
Speaker 1: what the fuck are you talking about?

175
00:09:32,120 --> 00:09:33,480
Speaker 2: Like it's a country thing.

176
00:09:34,679 --> 00:09:37,440
Speaker 1: It's it's like a country thing where you have to

177
00:09:37,520 --> 00:09:40,240
Speaker 1: imagine like, oh, I'm going to the grocery store to

178
00:09:40,280 --> 00:09:42,000
Speaker 1: pick up like a six pack and some ships, and

179
00:09:42,000 --> 00:09:45,920
Speaker 1: they're like, oh, in the quarner is a decorative wooden

180
00:09:45,960 --> 00:09:53,600
Speaker 1: barrel filled with these weird, unusable brooms that are made

181
00:09:53,640 --> 00:09:56,880
Speaker 1: of like sticks, and it's like it's like, oh, I

182
00:09:56,960 --> 00:10:00,880
Speaker 1: just went to like the old farm and bought this

183
00:10:01,000 --> 00:10:04,520
Speaker 1: off of a farmer. That's it looks very crafty. But

184
00:10:04,679 --> 00:10:10,679
Speaker 1: they're mass produced, obviously, and they're only available in the

185
00:10:10,720 --> 00:10:13,360
Speaker 1: fall and in the winter time in the South. But

186
00:10:13,520 --> 00:10:16,000
Speaker 1: I hear other places have them too. They definitely don't

187
00:10:16,000 --> 00:10:17,080
Speaker 1: have them in California.

188
00:10:17,200 --> 00:10:20,600
Speaker 2: I have only a Trader Joe's. Only if Trader Joe's,

189
00:10:21,160 --> 00:10:25,400
Speaker 2: and begrudgingly yeah, the same way, like Trader Joe's will

190
00:10:25,440 --> 00:10:28,079
Speaker 2: sell an apple cider donut in LA in the middle

191
00:10:28,120 --> 00:10:32,000
Speaker 2: of the fucking fall, And I'm like, you are in

192
00:10:32,040 --> 00:10:35,120
Speaker 2: a senior where people don't eat bread or gluten, So

193
00:10:35,160 --> 00:10:36,719
Speaker 2: thank you for putting these out for the three of

194
00:10:36,800 --> 00:10:38,240
Speaker 2: us who will eat. This is not this is the

195
00:10:38,320 --> 00:10:40,680
Speaker 2: lost leader for you. This is not a money making

196
00:10:40,920 --> 00:10:42,760
Speaker 2: endeavor for Trader Joe.

197
00:10:44,160 --> 00:10:48,600
Speaker 1: I think cinnamon evokes like the country, the cracker barrel,

198
00:10:48,800 --> 00:10:52,320
Speaker 1: the fucking farmland, Like you know, the only things that

199
00:10:52,360 --> 00:10:55,080
Speaker 1: are made with cinnamon are like things that have a

200
00:10:55,080 --> 00:10:57,720
Speaker 1: lot of calories. So people in our LA are like,

201
00:10:57,800 --> 00:10:59,920
Speaker 1: why the fuck we need cinnamon scented anything?

202
00:11:00,720 --> 00:11:02,760
Speaker 2: Like why are you reminding me that I haven't had

203
00:11:02,800 --> 00:11:07,600
Speaker 2: a sweet yet? Nothing sweet to eat for five years.

204
00:11:08,679 --> 00:11:13,280
Speaker 1: The entire town is mostly scented like Santall thirty three

205
00:11:13,559 --> 00:11:19,040
Speaker 1: Lollabo perfume. Like it's not a cinnamon town. So they're

206
00:11:19,080 --> 00:11:23,560
Speaker 1: not any of that that fall the Fall festival shit.

207
00:11:23,640 --> 00:11:26,040
Speaker 2: They're like no, They're like, we will smell like a

208
00:11:26,120 --> 00:11:31,040
Speaker 2: yoga studio, an upscale yoga studio or nothing. We will

209
00:11:31,080 --> 00:11:34,439
Speaker 2: smell like money or nothing at all. Here's what.

210
00:11:35,920 --> 00:11:40,839
Speaker 1: Take this whisk, take this broom, Cut the whiskey things

211
00:11:40,880 --> 00:11:41,559
Speaker 1: off of it.

212
00:11:43,000 --> 00:11:44,360
Speaker 3: So it's just the stick part.

213
00:11:45,360 --> 00:11:47,760
Speaker 1: Burn it at one end, make it smell like Polo

214
00:11:47,840 --> 00:11:50,560
Speaker 1: Santo or some stage and that sale.

215
00:11:51,880 --> 00:11:54,400
Speaker 3: But that's that's it. There's no reason to have a

216
00:11:54,400 --> 00:11:55,600
Speaker 3: cinnamon broom in La.

217
00:11:55,679 --> 00:11:57,440
Speaker 2: Take that broom with you when you're on your walk

218
00:11:57,480 --> 00:11:59,160
Speaker 2: to run in and use it like you know people

219
00:11:59,320 --> 00:12:02,040
Speaker 2: how people use the lift bar without the weights on it,

220
00:12:03,600 --> 00:12:05,719
Speaker 2: like fucking pump fash it in front of you and

221
00:12:05,720 --> 00:12:08,200
Speaker 2: be like, this is my seasonal bar that I used

222
00:12:08,240 --> 00:12:13,000
Speaker 2: to walk with on runion. We lived in La for

223
00:12:13,080 --> 00:12:16,760
Speaker 2: so long to have such stereotypes about that lay I know,

224
00:12:17,760 --> 00:12:20,600
Speaker 2: but truly, cinnamon and La do not go. Cinnamon rooms

225
00:12:20,640 --> 00:12:23,080
Speaker 2: in La do not go together. And trader Joe's knows it,

226
00:12:23,120 --> 00:12:25,920
Speaker 2: and they're like, look, we have to carry these nationally.

227
00:12:26,000 --> 00:12:27,640
Speaker 2: It's the only reason they're here. And they're in like

228
00:12:27,640 --> 00:12:30,640
Speaker 2: a cardboard box that's like way at the bottom somehow.

229
00:12:32,040 --> 00:12:34,160
Speaker 1: The top's just the top of the box is just

230
00:12:34,160 --> 00:12:36,200
Speaker 1: like ripped off by oh hell.

231
00:12:36,080 --> 00:12:37,680
Speaker 3: Yeah, some employee. Yeah it is.

232
00:12:37,720 --> 00:12:39,839
Speaker 2: They got all the like bills of lading are still

233
00:12:39,880 --> 00:12:43,280
Speaker 2: on there, and they're like, fucking there's always like groceries

234
00:12:43,280 --> 00:12:45,200
Speaker 2: that people didn't want that they're like, oh, that's what

235
00:12:45,240 --> 00:12:48,400
Speaker 2: this box is for. So there's just like lemons and

236
00:12:48,480 --> 00:12:57,000
Speaker 2: a fucking packet a bucket of cookies back out those

237
00:12:57,000 --> 00:12:58,400
Speaker 2: little rye bread toasts.

238
00:12:59,280 --> 00:13:02,280
Speaker 1: I was having a time there, I mean, because that's

239
00:13:02,320 --> 00:13:05,280
Speaker 1: the thing, like, you know, I don't know, we experience

240
00:13:05,360 --> 00:13:08,440
Speaker 1: seasons in these locations that we live in now, And

241
00:13:08,480 --> 00:13:10,440
Speaker 1: when you go to a place that basically is just

242
00:13:10,520 --> 00:13:13,600
Speaker 1: summer all the time, you're like, huh, may I have

243
00:13:13,640 --> 00:13:18,200
Speaker 1: this like hankering for like something fall something cozy, you know,

244
00:13:18,320 --> 00:13:21,720
Speaker 1: I need like a elbow patch sweater, I need something

245
00:13:21,760 --> 00:13:22,199
Speaker 1: like that, And.

246
00:13:22,160 --> 00:13:24,640
Speaker 2: It's just so hard to find there. It's really hard.

247
00:13:25,120 --> 00:13:27,679
Speaker 2: And summer's my least favorite season. It's like I'm sweating

248
00:13:27,720 --> 00:13:30,920
Speaker 2: the most, the most uncomfortable for me. To move to

249
00:13:30,960 --> 00:13:33,240
Speaker 2: a place this year round summer was the dumbest thing

250
00:13:33,280 --> 00:13:35,160
Speaker 2: I've ever done, and I had to do it for

251
00:13:35,240 --> 00:13:37,360
Speaker 2: my career. But like I could, I could not have

252
00:13:37,440 --> 00:13:39,200
Speaker 2: run out of there fast enough for that reason. I'm like,

253
00:13:39,240 --> 00:13:41,000
Speaker 2: if this were if there are a place where it

254
00:13:41,040 --> 00:13:42,840
Speaker 2: was fall year round, I would have thrived.

255
00:13:42,880 --> 00:13:43,319
Speaker 3: I would have.

256
00:13:43,320 --> 00:13:47,120
Speaker 2: Fucking bloomed like that one of those like corpse flowers

257
00:13:47,120 --> 00:13:48,000
Speaker 2: that only blooms every one.

258
00:13:48,280 --> 00:13:49,840
Speaker 3: I would have been blooming all year round.

259
00:13:50,400 --> 00:13:52,800
Speaker 2: Yeah, if that in that place. But no, I can't.

260
00:13:52,840 --> 00:13:55,240
Speaker 2: I can't do it with La. But we know this.

261
00:13:55,720 --> 00:13:57,160
Speaker 2: I actually was on I was a guest on a

262
00:13:57,200 --> 00:14:01,160
Speaker 2: podcast a while ago, and the way that somebody introduced

263
00:14:01,240 --> 00:14:03,840
Speaker 2: me was she used to live in LA but she

264
00:14:03,960 --> 00:14:08,640
Speaker 2: hates it. And I'm like, I'm glad that my reputation

265
00:14:08,720 --> 00:14:15,920
Speaker 2: precedes me. Yeah, and it's true. Yeah, I you know,

266
00:14:16,640 --> 00:14:18,920
Speaker 2: we've talked about this. I don't think I hated living

267
00:14:18,920 --> 00:14:20,320
Speaker 2: in LA. I thought it was fine.

268
00:14:20,400 --> 00:14:22,600
Speaker 1: I had a lot of bad luck there, and I

269
00:14:22,600 --> 00:14:24,560
Speaker 1: had the bad times in LA.

270
00:14:24,720 --> 00:14:25,440
Speaker 3: Not gonna lie.

271
00:14:25,760 --> 00:14:31,480
Speaker 1: Really tested tested me psychically, but you know what, like

272
00:14:32,160 --> 00:14:33,760
Speaker 1: it was fun it was fun while I was there,

273
00:14:33,800 --> 00:14:34,640
Speaker 1: it didn't feel.

274
00:14:34,440 --> 00:14:36,080
Speaker 2: Ever like a long term thing to me.

275
00:14:36,160 --> 00:14:38,000
Speaker 1: I was like, there's no way I can be here

276
00:14:38,120 --> 00:14:39,520
Speaker 1: in my seventies or whatever.

277
00:14:39,720 --> 00:14:42,440
Speaker 3: Like I'm like, it's just not possible.

278
00:14:42,120 --> 00:14:45,960
Speaker 1: Because again, I have a guest bathroom.

279
00:14:46,440 --> 00:14:50,280
Speaker 2: Yeah, I could never have that in LA you know exactly.

280
00:14:50,400 --> 00:14:52,720
Speaker 2: That's it. That's what I didn't like about it the

281
00:14:52,800 --> 00:14:56,240
Speaker 2: most was how limited my life felt. Where I'm like,

282
00:14:56,360 --> 00:14:59,560
Speaker 2: I am going to be poor forever if I stay here, Yeah,

283
00:15:00,200 --> 00:15:02,600
Speaker 2: gonna have anything. And I have a good career. So

284
00:15:02,640 --> 00:15:04,560
Speaker 2: I have a good career and feel like I'm never

285
00:15:04,600 --> 00:15:07,200
Speaker 2: gonna have anything was real weird for me.

286
00:15:07,800 --> 00:15:12,840
Speaker 1: Yeah, yeah, it's it's so weird how there There were

287
00:15:12,920 --> 00:15:15,600
Speaker 1: so many times when I was living in LA that

288
00:15:15,680 --> 00:15:20,320
Speaker 1: I was like, am I doing the Like am I

289
00:15:20,320 --> 00:15:22,080
Speaker 1: I feel like I'm in college.

290
00:15:21,680 --> 00:15:22,840
Speaker 3: Again in a weird way.

291
00:15:22,880 --> 00:15:26,240
Speaker 1: I Mean, sometimes that's kind of fun, like running around

292
00:15:26,280 --> 00:15:30,520
Speaker 1: town like being stupid and drinking and you know, like

293
00:15:31,440 --> 00:15:34,520
Speaker 1: running down Melrose like at two in the morning, like

294
00:15:35,000 --> 00:15:38,640
Speaker 1: going to weird escape rooms with fucking and eating like

295
00:15:39,000 --> 00:15:43,000
Speaker 1: cookies whatever. You know, It's just like all that crazy shit.

296
00:15:43,720 --> 00:15:47,120
Speaker 1: But it did make me feel like I'm like I

297
00:15:47,960 --> 00:15:52,200
Speaker 1: think I fundamentally have a good job and I'm and

298
00:15:52,240 --> 00:15:54,280
Speaker 1: I can take care of myself. Like if I were

299
00:15:54,280 --> 00:15:57,600
Speaker 1: in any other place, I would be extremely comfortable, but

300
00:15:57,720 --> 00:16:00,240
Speaker 1: here it just made me feel like I was always struggling.

301
00:16:00,880 --> 00:16:03,040
Speaker 2: Yes, it just it fucks with you.

302
00:16:02,760 --> 00:16:04,440
Speaker 3: You know what I mean, It really fucks with you.

303
00:16:04,680 --> 00:16:08,640
Speaker 2: It fucks with your sense of purpose and future and

304
00:16:09,000 --> 00:16:10,960
Speaker 2: and plus you know when you're in a place like

305
00:16:11,040 --> 00:16:13,440
Speaker 2: that and the whole world is burning around, like you're

306
00:16:13,480 --> 00:16:15,360
Speaker 2: just like, oh, this is it's coming from me first,

307
00:16:15,520 --> 00:16:17,280
Speaker 2: Like this is the this is where it's gonna it's

308
00:16:17,320 --> 00:16:19,480
Speaker 2: it will land on me first, because the whole world

309
00:16:19,520 --> 00:16:22,240
Speaker 2: is suffering and you can see the suffering everywhere in

310
00:16:22,360 --> 00:16:24,280
Speaker 2: La but everyone's just turning a blind eye to it.

311
00:16:24,880 --> 00:16:27,080
Speaker 3: Yeah, it's wild, I know.

312
00:16:27,440 --> 00:16:30,160
Speaker 1: And I would have these moments where I like try

313
00:16:30,160 --> 00:16:33,400
Speaker 1: to do some of my folksy Southern shit like cinnamon

314
00:16:33,440 --> 00:16:38,600
Speaker 1: brooms and especially like tea, Like I'm so pissed that

315
00:16:39,880 --> 00:16:44,160
Speaker 1: people still balk at the idea of sweet tea, Like

316
00:16:44,200 --> 00:16:47,200
Speaker 1: I'm like, no, it's still treated as if it's this

317
00:16:47,400 --> 00:16:52,680
Speaker 1: like fucking depraved, like you know, deliverance ass fucking drink.

318
00:16:52,520 --> 00:16:55,240
Speaker 2: Like sweet tea sugar and.

319
00:16:55,320 --> 00:16:58,120
Speaker 3: I see it's fucking delicious.

320
00:16:58,160 --> 00:17:00,239
Speaker 2: Are you kidding me? Yes?

321
00:17:00,360 --> 00:17:02,920
Speaker 1: And like I would be on the West Coast and say,

322
00:17:03,360 --> 00:17:07,000
Speaker 1: like I would very gingerly be like, Hi, do you

323
00:17:07,040 --> 00:17:09,840
Speaker 1: have iced tea? And they're like yes, and I'm like

324
00:17:10,040 --> 00:17:13,159
Speaker 1: do you have sweet tea? And they're like excuse me what?

325
00:17:14,160 --> 00:17:17,640
Speaker 1: Look at where you are and a just why would

326
00:17:17,680 --> 00:17:20,960
Speaker 1: we ever do that? I'm like, oh, you don't think

327
00:17:21,000 --> 00:17:26,800
Speaker 1: about putting sugar into cold tea? Like you know hot tea, right?

328
00:17:26,920 --> 00:17:29,879
Speaker 1: You know how people put honey in hot tea. That

329
00:17:29,960 --> 00:17:33,160
Speaker 1: it's some Southern shit that seems to be fairly ubiquitous.

330
00:17:34,000 --> 00:17:36,200
Speaker 1: Just think of it with ice in it. And that's

331
00:17:36,240 --> 00:17:38,199
Speaker 1: what I'm fucking talking about. And these people treated me

332
00:17:38,240 --> 00:17:41,720
Speaker 1: like I was some dumb ass, and I'm like, stop

333
00:17:41,920 --> 00:17:42,520
Speaker 1: doing that.

334
00:17:42,760 --> 00:17:44,840
Speaker 2: It is fine. It is not weird.

335
00:17:45,480 --> 00:17:46,240
Speaker 3: It's a real thing.

336
00:17:46,280 --> 00:17:48,240
Speaker 2: And I know I've said this before, but I have

337
00:17:48,280 --> 00:17:53,920
Speaker 2: to reiterate the one thing in my life that I

338
00:17:53,960 --> 00:17:57,919
Speaker 2: am so happy about living here. I have not heard

339
00:17:58,400 --> 00:18:04,320
Speaker 2: the word macha and a year and a half because

340
00:18:04,320 --> 00:18:05,680
Speaker 2: I would go into a place and just be like,

341
00:18:05,720 --> 00:18:09,280
Speaker 2: can I just have a coffee? And they're like I'm like, yeah,

342
00:18:09,440 --> 00:18:13,040
Speaker 2: just coffee. I guess we're making our lavender macha right

343
00:18:13,080 --> 00:18:15,080
Speaker 2: now though, so we'll be about twenty minutes and I'm like, what,

344
00:18:15,520 --> 00:18:17,520
Speaker 2: because somebody in front of me ordered a fucking macha

345
00:18:17,560 --> 00:18:19,679
Speaker 2: and they're like, we gotta whisk it, we gotta grind it,

346
00:18:19,680 --> 00:18:21,640
Speaker 2: we gotta get the mortar and pestle, we gotta get

347
00:18:21,640 --> 00:18:23,800
Speaker 2: all this shit. And I'm like, I can't just get

348
00:18:23,840 --> 00:18:26,720
Speaker 2: a fucking coffee without you looking at me like I'm

349
00:18:26,720 --> 00:18:27,159
Speaker 2: a weirdo.

350
00:18:28,440 --> 00:18:31,320
Speaker 1: I am going to admit something to you right now.

351
00:18:32,320 --> 00:18:35,800
Speaker 1: I think I'm a little fuzzy on what machha actually is.

352
00:18:36,320 --> 00:18:38,360
Speaker 2: Of course you are, because it's like a weird powder

353
00:18:38,600 --> 00:18:42,160
Speaker 2: that's green, and I'm look, if you're a macha lover,

354
00:18:42,440 --> 00:18:44,600
Speaker 2: do not write to us. I am telling you right now.

355
00:18:44,640 --> 00:18:47,800
Speaker 2: Put your fingers away. I don't want to hear it.

356
00:18:49,560 --> 00:18:52,080
Speaker 2: I've tried it. I don't like it. It tastes like

357
00:18:52,119 --> 00:18:55,560
Speaker 2: I'm drinking grass and I'm not a fan. But it's

358
00:18:55,640 --> 00:18:58,800
Speaker 2: basically like a powdered plant.

359
00:18:59,480 --> 00:19:05,399
Speaker 1: Yeah, I'm googling it. Finely ground powder of specially grown

360
00:19:05,440 --> 00:19:10,600
Speaker 1: and processed green tea leaves. Yeah, okay, so there's this

361
00:19:10,800 --> 00:19:12,920
Speaker 1: green tea powdered leaves.

362
00:19:13,240 --> 00:19:16,840
Speaker 2: Is there's powdered tea. Okay, I'm powdered tea now. And

363
00:19:16,840 --> 00:19:19,280
Speaker 2: this is also a moment where I got to say

364
00:19:20,040 --> 00:19:22,280
Speaker 2: class issues come into play for me because when I

365
00:19:22,320 --> 00:19:25,359
Speaker 2: was growing up drinking powdered milk, they looked at me

366
00:19:25,480 --> 00:19:29,000
Speaker 2: like I was a gum on the bottom of somebody's shoe.

367
00:19:29,000 --> 00:19:30,919
Speaker 2: But you powder some green leaves, and all of a sudden,

368
00:19:30,960 --> 00:19:33,960
Speaker 2: you guys are high falutin and like fucking charging a

369
00:19:34,000 --> 00:19:40,080
Speaker 2: million bucks for it, powdered milk versus powdered macha get

370
00:19:40,160 --> 00:19:43,280
Speaker 2: out of town. So I just can't. I can't, and

371
00:19:43,359 --> 00:19:45,679
Speaker 2: I cannot with the whole production of it and the

372
00:19:45,720 --> 00:19:49,439
Speaker 2: special whisk and all the shit. I want coffee. I

373
00:19:49,440 --> 00:19:52,800
Speaker 2: want caffeine in my body immediately. And have I ever

374
00:19:52,800 --> 00:19:54,919
Speaker 2: gotten line behind somebody who ordered matcha? I'm like, well,

375
00:19:54,920 --> 00:19:56,240
Speaker 2: there goes my fucking afternoon.

376
00:19:57,160 --> 00:19:57,800
Speaker 3: What okay?

377
00:19:57,880 --> 00:20:07,600
Speaker 1: Am I confusing? What is the fermented bubbly stuff? K okay, kumbucha?

378
00:20:07,640 --> 00:20:08,880
Speaker 3: That's some booch.

379
00:20:10,280 --> 00:20:13,919
Speaker 2: I'm googling. I listen, which can also go to hell,

380
00:20:14,000 --> 00:20:15,560
Speaker 2: and I don't care if it's good for my gut health.

381
00:20:15,600 --> 00:20:17,080
Speaker 2: There are other things that are good for my fucking

382
00:20:17,080 --> 00:20:20,040
Speaker 2: gut health. I'd rather chug raw apple cider vinegar than

383
00:20:20,080 --> 00:20:21,760
Speaker 2: drink kombucha.

384
00:20:22,080 --> 00:20:24,600
Speaker 3: I butchered the spelling of kombucha.

385
00:20:25,880 --> 00:20:29,240
Speaker 1: Tell me because it's ko n b u c h

386
00:20:29,320 --> 00:20:32,320
Speaker 1: a I I typed in. I did this with one

387
00:20:32,359 --> 00:20:35,840
Speaker 1: hand because I'm talking to you. Ko m b u

388
00:20:36,119 --> 00:20:38,920
Speaker 1: h a kuha kumboh.

389
00:20:39,720 --> 00:20:42,879
Speaker 2: Can I have some kumbuja with coconut oil instead of milk?

390
00:20:43,520 --> 00:20:51,280
Speaker 1: Yes, it is mushroom tea. Mushroom tea fungus fermented, lightly effervescent, sweet,

391
00:20:51,280 --> 00:20:57,399
Speaker 1: and black tea commonly consumed for its health benefits.

392
00:20:57,280 --> 00:20:59,600
Speaker 3: When the apocalypse arrives.

393
00:21:00,359 --> 00:21:05,040
Speaker 2: Not if. When the apocalypse arrives, I will be incredibly

394
00:21:05,040 --> 00:21:08,280
Speaker 2: grateful for the person who knows how to turn some

395
00:21:08,640 --> 00:21:12,119
Speaker 2: old mushroom leaves into a drink. But while there is

396
00:21:12,200 --> 00:21:16,600
Speaker 2: still diet coke on this planet, I am not drinking kumbuch. Look,

397
00:21:17,080 --> 00:21:17,760
Speaker 2: I'm not trying.

398
00:21:17,920 --> 00:21:23,000
Speaker 1: Like Filipinos eat some weird shit too, man like ballute,

399
00:21:23,320 --> 00:21:26,479
Speaker 1: like fucking purple yams like. I don't know if anybody

400
00:21:26,560 --> 00:21:29,879
Speaker 1: ever has eaten a Filipino dessert called hollow hollow.

401
00:21:30,280 --> 00:21:32,480
Speaker 3: Oh that shit, that shit looks a mess.

402
00:21:32,560 --> 00:21:34,840
Speaker 2: I'm not gonna lie anytime my.

403
00:21:34,720 --> 00:21:36,600
Speaker 1: Mom gets it, I'm like and she's like, you want

404
00:21:36,600 --> 00:21:39,400
Speaker 1: some hollow hollow I'm like, no, why this has got

405
00:21:39,400 --> 00:21:41,119
Speaker 1: like fucking gummy bears in here?

406
00:21:41,320 --> 00:21:45,000
Speaker 3: And some we like are there marshmallows in here?

407
00:21:45,160 --> 00:21:45,320
Speaker 1: Why?

408
00:21:45,480 --> 00:21:49,119
Speaker 2: Why is there yams in here? Like? The fuck is

409
00:21:49,160 --> 00:21:54,879
Speaker 2: this mess? But somehow, I what I appreciate about it

410
00:21:54,960 --> 00:21:57,600
Speaker 2: is it doesn't have the snobbery attached to it. I

411
00:21:57,760 --> 00:22:00,720
Speaker 2: guarantee there's a restaurant in LA who has MADEO some

412
00:22:00,960 --> 00:22:05,159
Speaker 2: fucking high level, forty dollars dessert. And that's what bothers me.

413
00:22:05,280 --> 00:22:07,440
Speaker 2: Is like if you were just drinking some old tea

414
00:22:07,520 --> 00:22:12,280
Speaker 2: leaves and some old mushrooms and just like be in

415
00:22:12,280 --> 00:22:16,040
Speaker 2: a dirt bag. Fine, it's the whole lifestyle and process

416
00:22:16,080 --> 00:22:18,000
Speaker 2: that comes along with it that just makes me want

417
00:22:18,000 --> 00:22:20,359
Speaker 2: to run the other way. And that's that's happened to

418
00:22:20,400 --> 00:22:21,679
Speaker 2: me a lot in my life, where I'm like, this

419
00:22:21,680 --> 00:22:23,240
Speaker 2: thing is probably good for me, but because of the

420
00:22:23,240 --> 00:22:26,440
Speaker 2: people associated with it, I'm going to now have liver

421
00:22:26,520 --> 00:22:30,040
Speaker 2: failure because I will never actually try this because I

422
00:22:30,040 --> 00:22:31,320
Speaker 2: don't want to be one of those people.

423
00:22:32,080 --> 00:22:36,160
Speaker 1: Ballute has apparently has health benefits but I don't see

424
00:22:36,240 --> 00:22:43,720
Speaker 1: yoga ladies on in West Hollywood eating fucking ballute exactly exactly.

425
00:22:43,840 --> 00:22:46,000
Speaker 2: You know, I was like picking and choosing. They're picking

426
00:22:46,040 --> 00:22:48,919
Speaker 2: and choosing, like this will make me seem exotic but

427
00:22:49,040 --> 00:22:50,800
Speaker 2: also is kind of passable.

428
00:22:51,359 --> 00:22:58,159
Speaker 1: Yeah, can we make a beautifully designed product out of

429
00:22:58,200 --> 00:23:03,640
Speaker 1: this to sell at cost plus world.

430
00:23:03,359 --> 00:23:04,720
Speaker 3: Market or whatever.

431
00:23:04,960 --> 00:23:10,520
Speaker 2: Do you remember when those white women developed a mahjong

432
00:23:11,200 --> 00:23:13,439
Speaker 2: game that was like one hundred and fifty dollars for

433
00:23:13,520 --> 00:23:18,040
Speaker 2: the tiles. Oh my god, you have to look it

434
00:23:18,119 --> 00:23:23,080
Speaker 2: up the internet. Lost is a fucking mind because they're like,

435
00:23:23,080 --> 00:23:26,520
Speaker 2: we found this like cool game, and we decided to

436
00:23:26,640 --> 00:23:31,760
Speaker 2: make our own version of it, like one hundred and

437
00:23:32,040 --> 00:23:34,760
Speaker 2: fifty dollars for the fucking dials. And I'm like, this

438
00:23:34,800 --> 00:23:36,920
Speaker 2: shit used to be made out of bones, Like are

439
00:23:36,920 --> 00:23:43,240
Speaker 2: you kidding me? Like majo doles used to be made

440
00:23:43,240 --> 00:23:45,960
Speaker 2: out of fucking chicken bones and fucking whatever you could

441
00:23:45,960 --> 00:23:49,280
Speaker 2: carve into and they maybe cost five dollars for a

442
00:23:49,400 --> 00:23:54,880
Speaker 2: sack of tiles. You're out here trying to market majong.

443
00:23:55,000 --> 00:23:57,000
Speaker 2: It is the funniest thing I've ever seen. You have

444
00:23:57,080 --> 00:23:59,200
Speaker 2: to look it up. It is hilarious. It's like when

445
00:23:59,240 --> 00:24:02,600
Speaker 2: people went, oh god, I remember when that company was like,

446
00:24:02,880 --> 00:24:05,320
Speaker 2: we're gonna make a bodega on the go, and it

447
00:24:05,359 --> 00:24:08,720
Speaker 2: was basically like old cigarette machines with bodega shit in there,

448
00:24:08,760 --> 00:24:10,520
Speaker 2: and people are like, are you fucking kidding me. It

449
00:24:10,640 --> 00:24:13,320
Speaker 2: was these two white guys who are like, we're gonna, like,

450
00:24:13,359 --> 00:24:15,200
Speaker 2: we like a bodega, but we want to like make

451
00:24:15,200 --> 00:24:17,359
Speaker 2: it upscale, and I'm like, that is you are literally

452
00:24:17,400 --> 00:24:20,000
Speaker 2: missing the entire point of a bodega. Like if you

453
00:24:20,080 --> 00:24:22,919
Speaker 2: go into a bodega and you're not risking getting legioneer's

454
00:24:22,920 --> 00:24:26,400
Speaker 2: disease from a leaky acy unit right over the doorway,

455
00:24:26,480 --> 00:24:27,560
Speaker 2: you're not in a bodega.

456
00:24:27,600 --> 00:24:28,440
Speaker 3: You're just in a store.

457
00:24:29,440 --> 00:24:31,679
Speaker 1: Like if you don't see a feral cat sitting on

458
00:24:31,760 --> 00:24:34,879
Speaker 1: top of a bunch of fucking noodle cups being like,

459
00:24:34,960 --> 00:24:39,919
Speaker 1: thank you, you know, what the hell are you doing? Honestly, listen,

460
00:24:40,119 --> 00:24:45,399
Speaker 1: You've sparked this idea, because again entrepreneurial spirit, I was like,

461
00:24:45,680 --> 00:24:47,879
Speaker 1: let me do this. Let me go down to h

462
00:24:47,960 --> 00:24:52,399
Speaker 1: Mart this afternoon, buy up a bunch of fucking those

463
00:24:52,520 --> 00:24:57,200
Speaker 1: like kitchen like all of those like plastic buckets and

464
00:24:57,280 --> 00:24:59,560
Speaker 1: fucking like suit bowls and all that stuff and then

465
00:24:59,680 --> 00:25:01,760
Speaker 1: just resell them.

466
00:25:02,320 --> 00:25:05,000
Speaker 3: Hell yeah, triple or quadruple the price.

467
00:25:06,280 --> 00:25:09,679
Speaker 1: Put a sign out in front that's in futurifont or

468
00:25:09,680 --> 00:25:13,760
Speaker 1: something like some kind of sand Sarah font and watch

469
00:25:13,840 --> 00:25:15,000
Speaker 1: the money just roll in.

470
00:25:15,840 --> 00:25:19,320
Speaker 2: Just retirement plan. Your retirement plan is going to be

471
00:25:20,160 --> 00:25:22,199
Speaker 2: selling your culture to white people because they want it,

472
00:25:22,240 --> 00:25:23,679
Speaker 2: they want to take it, they want to spend all

473
00:25:23,680 --> 00:25:25,560
Speaker 2: their money on it so they seem cool.

474
00:25:26,520 --> 00:25:29,879
Speaker 1: I wonder if I can get like hipsters to buy

475
00:25:30,640 --> 00:25:34,840
Speaker 1: those wash buckets, like you know, like come to like

476
00:25:34,880 --> 00:25:38,240
Speaker 1: a Scooper and you just fill a water like this

477
00:25:38,280 --> 00:25:40,520
Speaker 1: is how I fucking took showers in the Philippines when

478
00:25:40,520 --> 00:25:42,880
Speaker 1: I was there. Was basically like we fill up this bucket,

479
00:25:43,520 --> 00:25:45,720
Speaker 1: this giant fucking bucket, and then we take a Scooper

480
00:25:45,800 --> 00:25:48,480
Speaker 1: and we just like scoop water onto ourselves.

481
00:25:48,720 --> 00:25:52,919
Speaker 2: Guess what you remember that shower scene in the beginning

482
00:25:52,920 --> 00:25:56,639
Speaker 2: of INCIONG when we talk without it, there are genuinely

483
00:25:56,640 --> 00:26:00,720
Speaker 2: people in Joshua Tree with like wooden bucket hot tubs

484
00:26:00,840 --> 00:26:03,879
Speaker 2: and like wooden bucket bathtubs, And I'm like, this is

485
00:26:03,880 --> 00:26:07,199
Speaker 2: some inciang shit. Or yeah, you're trying to make it

486
00:26:07,280 --> 00:26:11,119
Speaker 2: fancy to take a shower with and a hole in

487
00:26:11,160 --> 00:26:11,639
Speaker 2: the ground.

488
00:26:12,160 --> 00:26:17,359
Speaker 1: Yeah, and instead of this Scooper having an unlicensed drawing

489
00:26:17,400 --> 00:26:22,720
Speaker 1: of the Powerpuff Girls or something, this is this beautiful

490
00:26:22,760 --> 00:26:31,640
Speaker 1: like like balsam fur, like fucking wood scuper like fuck, dude.

491
00:26:31,680 --> 00:26:36,280
Speaker 2: It is truly the retirement plan for us is again

492
00:26:36,720 --> 00:26:41,560
Speaker 2: lost my mind when I saw someone talking about like

493
00:26:41,720 --> 00:26:44,080
Speaker 2: oil pulling or some shit like that, and I'm like,

494
00:26:44,480 --> 00:26:46,840
Speaker 2: Black people have been putting basoline on their fucking face

495
00:26:46,880 --> 00:26:50,760
Speaker 2: for centuries. What are you talking about, white lady, Like

496
00:26:50,800 --> 00:26:53,639
Speaker 2: we invented this new skincare routine. And I'm like, you

497
00:26:53,760 --> 00:26:56,080
Speaker 2: literally didn't. I did not leave the house in the

498
00:26:56,080 --> 00:26:59,399
Speaker 2: winter between the years of nineteen eighty two and nineteen

499
00:26:59,440 --> 00:27:03,199
Speaker 2: eighty seven and without someone grabbing me, Like I couldn't

500
00:27:03,200 --> 00:27:05,440
Speaker 2: even run out, I couldn't run away from them fast enough,

501
00:27:05,680 --> 00:27:08,399
Speaker 2: grabbing me by the fucking arm, already had the fucking

502
00:27:08,480 --> 00:27:11,240
Speaker 2: vasoline in their hand and just smacking me in the

503
00:27:11,240 --> 00:27:13,120
Speaker 2: face with it and just like smoothing it all over,

504
00:27:13,160 --> 00:27:14,879
Speaker 2: like you're ready to go, And I'm like ready to go?

505
00:27:15,119 --> 00:27:20,760
Speaker 2: Where ready to go? Fucking street fight? Like what the fuck? Yeah,

506
00:27:20,800 --> 00:27:22,560
Speaker 2: Like you didn't invent oil pulling?

507
00:27:23,520 --> 00:27:25,400
Speaker 1: Well, and like That's the thing too, is that there

508
00:27:25,400 --> 00:27:28,080
Speaker 1: are many times where I'm like, you know, on Instagram

509
00:27:28,119 --> 00:27:31,080
Speaker 1: and I'm like, Okay, what kind of like weird home

510
00:27:31,160 --> 00:27:37,880
Speaker 1: remedies that our mothers had are now cool and are

511
00:27:37,960 --> 00:27:43,240
Speaker 1: now like on you know, the strategist or whatever. I'm like, Uh,

512
00:27:43,280 --> 00:27:46,119
Speaker 1: In my house, it was my mom just used witch hazel.

513
00:27:46,440 --> 00:27:48,719
Speaker 1: That was like her face stuff was witch hazel. And

514
00:27:48,760 --> 00:27:51,560
Speaker 1: then we used Vic's vapor rub for everything.

515
00:27:52,560 --> 00:27:55,800
Speaker 2: Absolutely, that was like the first stop. If those two

516
00:27:55,840 --> 00:27:59,800
Speaker 2: things combined didn't cure what was ailing you, then you

517
00:27:59,880 --> 00:28:03,520
Speaker 2: just might die because you're also not going to the doctor. Yeah,

518
00:28:03,720 --> 00:28:05,280
Speaker 2: that was not an option in my house. When you

519
00:28:05,320 --> 00:28:08,760
Speaker 2: were sick. It's like, well, how sick are you? Yeah, like, oh,

520
00:28:08,800 --> 00:28:12,480
Speaker 2: your stomach hurts, I don't know, mayb rub some dix

521
00:28:12,560 --> 00:28:14,960
Speaker 2: on your chest in your back and that'll somehow open

522
00:28:15,040 --> 00:28:17,280
Speaker 2: up your lungs and cure your stomach. Like nobody knew

523
00:28:17,320 --> 00:28:20,840
Speaker 2: what they were doing. But also these are old remedies.

524
00:28:21,000 --> 00:28:24,840
Speaker 2: It's like that joke in my Big Fat Greek wedding

525
00:28:24,840 --> 00:28:26,560
Speaker 2: when her father put windex on everything.

526
00:28:26,840 --> 00:28:30,760
Speaker 1: Yes, I was just about to mention that, but imagine,

527
00:28:30,800 --> 00:28:36,199
Speaker 1: like Gwyneth Paltrow like coming up with her own Windex

528
00:28:36,880 --> 00:28:40,600
Speaker 1: in a very beautiful decorative bottle and selling it as

529
00:28:40,640 --> 00:28:41,560
Speaker 1: like a new remedy.

530
00:28:42,280 --> 00:28:46,200
Speaker 2: Absolutely, and I guarantee that has happened. I pay so

531
00:28:46,320 --> 00:28:49,720
Speaker 2: little attention to Goop because I just cannot. I can't

532
00:28:49,720 --> 00:28:52,800
Speaker 2: pay attention to it. It makes me too angry to

533
00:28:52,880 --> 00:28:56,040
Speaker 2: pay attention to But I guarantee she has already done that. Like,

534
00:28:56,120 --> 00:28:59,440
Speaker 2: I have this woman who works for me, who like

535
00:28:59,480 --> 00:29:03,560
Speaker 2: cleans my house, and you know, she made this tea

536
00:29:03,600 --> 00:29:05,600
Speaker 2: one day that I was like, this is delicious, and

537
00:29:05,640 --> 00:29:09,800
Speaker 2: she said it was just like twinings rose tea. But

538
00:29:09,880 --> 00:29:12,000
Speaker 2: I decided to elevate it by going out to my

539
00:29:12,080 --> 00:29:15,840
Speaker 2: garden and cutting a couple of rose bushes and steeping

540
00:29:15,880 --> 00:29:17,920
Speaker 2: the leaves and like really giving you that. Like, I

541
00:29:17,960 --> 00:29:20,200
Speaker 2: guarantee that shit's already happened. Where she's like, oh, you

542
00:29:20,280 --> 00:29:23,600
Speaker 2: have like just a bag of fucking PG tips. Well,

543
00:29:23,760 --> 00:29:27,880
Speaker 2: I'm going to elevate that shit and make it organic. Yeah,

544
00:29:28,240 --> 00:29:30,080
Speaker 2: see how much more organic can you get than fucking

545
00:29:30,120 --> 00:29:31,280
Speaker 2: tea leaves? Right?

546
00:29:31,520 --> 00:29:34,400
Speaker 1: And this is I think the problem, this is why

547
00:29:34,400 --> 00:29:37,479
Speaker 1: we're not millionaires, is because we need to be in

548
00:29:37,520 --> 00:29:40,200
Speaker 1: her position. We need to be like listen, we're the

549
00:29:40,280 --> 00:29:42,920
Speaker 1: curators of all this shit. Like, you don't need that

550
00:29:43,040 --> 00:29:45,120
Speaker 1: lady to tell you to use vixed vapor rum on

551
00:29:45,280 --> 00:29:46,840
Speaker 1: literally every part of your body.

552
00:29:47,600 --> 00:29:50,600
Speaker 2: Like, listen to us. We'll market it for you.

553
00:29:50,680 --> 00:29:54,120
Speaker 1: If you want to overpay for it, that's solely fine,

554
00:29:54,880 --> 00:29:57,960
Speaker 1: But let us tell you instead of her.

555
00:29:58,480 --> 00:29:59,840
Speaker 3: But pay us to tell you.

556
00:30:00,680 --> 00:30:04,080
Speaker 2: Then if you put vix on your feet, which again

557
00:30:04,360 --> 00:30:07,080
Speaker 2: still forty years later, do not know the purpose of that.

558
00:30:08,640 --> 00:30:10,440
Speaker 2: But if you put it on the soles of your feet,

559
00:30:10,960 --> 00:30:14,040
Speaker 2: somehow you'll wake up and feel better for whatever cold

560
00:30:14,200 --> 00:30:17,480
Speaker 2: was about to bust open in your body. Yes, exactly,

561
00:30:19,000 --> 00:30:21,680
Speaker 2: absolutely unreal. I cannot wait for the moment when I

562
00:30:21,680 --> 00:30:23,920
Speaker 2: see white people out in these streets like brushing their

563
00:30:23,960 --> 00:30:28,880
Speaker 2: teeth with that stick from Africa. You know that there's

564
00:30:28,960 --> 00:30:31,760
Speaker 2: like some tree in Africa where it has like really soft,

565
00:30:33,040 --> 00:30:36,680
Speaker 2: like soft meat in it in the middle, like isn't hard,

566
00:30:37,320 --> 00:30:39,520
Speaker 2: and so they like brush their teeth with it. I

567
00:30:39,600 --> 00:30:43,640
Speaker 2: cannot fucking wait to see that shit marketed at Whole Foods.

568
00:30:43,840 --> 00:30:47,240
Speaker 1: Oh yeah, they're ready use in charcoal. So yeah, just

569
00:30:47,280 --> 00:30:49,240
Speaker 1: a step step down, a step over.

570
00:30:49,840 --> 00:30:51,719
Speaker 2: If you just take a step back and look at

571
00:30:51,760 --> 00:30:54,040
Speaker 2: the macro of what's happening in our world right now?

572
00:30:54,120 --> 00:30:58,200
Speaker 2: This shit is wild. Yeah, all these home remedies and

573
00:30:58,480 --> 00:31:04,400
Speaker 2: formally low class things are now being packaged and resold

574
00:31:05,040 --> 00:31:07,880
Speaker 2: in a way that I have I never could have guessed,

575
00:31:08,120 --> 00:31:11,720
Speaker 2: never could. I saw some company that makes period products

576
00:31:12,160 --> 00:31:14,920
Speaker 2: and they're like like this is for cramps, and this

577
00:31:15,000 --> 00:31:16,560
Speaker 2: is for this, and this is for that, and it's

578
00:31:16,640 --> 00:31:20,479
Speaker 2: just all eucalyptus, Like that's all. It's like eucalyptus and peppermint,

579
00:31:20,840 --> 00:31:22,160
Speaker 2: And I'm like, you know, you can just go get

580
00:31:22,200 --> 00:31:22,960
Speaker 2: those things.

581
00:31:23,160 --> 00:31:26,719
Speaker 1: Yeah, well, I'm telling you, let's get on the ground floor.

582
00:31:26,920 --> 00:31:29,200
Speaker 1: Let's do an elevated cinnamon broom.

583
00:31:29,800 --> 00:31:30,000
Speaker 2: There.

584
00:31:30,040 --> 00:31:32,640
Speaker 1: We go, get these people in La to you know,

585
00:31:32,680 --> 00:31:36,560
Speaker 1: get some like you know, some what do you call them,

586
00:31:36,640 --> 00:31:39,000
Speaker 1: some venture capitalists to come.

587
00:31:38,840 --> 00:31:40,760
Speaker 3: In on this project with us.

588
00:31:41,240 --> 00:31:44,560
Speaker 1: Get Elizabeth Holmes, we get some Elizabeth Holmes money, and

589
00:31:44,720 --> 00:31:48,800
Speaker 1: fucking make like a very elevated, very chic cinnamon broom.

590
00:31:50,320 --> 00:31:55,400
Speaker 2: Charge. I would love to Elizabeth Holmes the shit out

591
00:31:55,440 --> 00:31:58,440
Speaker 2: of it in terms of we make one prototype that

592
00:31:58,600 --> 00:32:01,000
Speaker 2: barely smells like cinnamon and we get a million and

593
00:32:01,000 --> 00:32:04,800
Speaker 2: a half dollars Like I don't know, I don't know

594
00:32:04,800 --> 00:32:06,600
Speaker 2: why we we know. We told you we could get

595
00:32:06,640 --> 00:32:09,160
Speaker 2: the cinnamon smell year round out of one broom. I

596
00:32:09,160 --> 00:32:13,680
Speaker 2: don't know why it doesn't work, but thanks for the money. Goodbye.

597
00:32:14,080 --> 00:32:17,680
Speaker 2: Maybe sprinkle some fucking cinnamon on it and that's how

598
00:32:17,720 --> 00:32:20,240
Speaker 2: you reactivate it, or put it fucking put your hair

599
00:32:20,320 --> 00:32:22,280
Speaker 2: dryer on it and reactivate that cinnamon.

600
00:32:22,720 --> 00:32:24,480
Speaker 3: Yeah, oh wait a month.

601
00:32:24,800 --> 00:32:28,320
Speaker 2: You do the work, you do it, We'll take the money. Goodbye,

602
00:32:29,400 --> 00:32:31,840
Speaker 2: good fucking bye. I would genuinely sit in a room.

603
00:32:31,880 --> 00:32:35,520
Speaker 2: I would take right now five million dollars to just

604
00:32:35,560 --> 00:32:38,240
Speaker 2: sit in a room with a venture capitalist and be like,

605
00:32:38,800 --> 00:32:41,280
Speaker 2: here's all the crazy shit my grandma did to try

606
00:32:41,320 --> 00:32:43,720
Speaker 2: to prevent taking me to the doctor. You could sell

607
00:32:43,760 --> 00:32:46,320
Speaker 2: any one of these things any way you want. Here's

608
00:32:46,360 --> 00:32:51,160
Speaker 2: a list. Just to give them the list. Just give

609
00:32:51,160 --> 00:32:53,000
Speaker 2: me the money, just giuse you. This is what's coming.

610
00:32:53,320 --> 00:32:55,440
Speaker 2: Just give me the money because you're gonna find a

611
00:32:55,480 --> 00:32:57,520
Speaker 2: way to market this shit anyway. So just let me

612
00:32:57,560 --> 00:32:58,680
Speaker 2: tell you what's coming next.

613
00:32:59,240 --> 00:33:08,040
Speaker 1: Yeah, hey, listen, speaking of country.

614
00:33:08,800 --> 00:33:11,200
Speaker 2: I've had a lot of coffee today and I'm chugging

615
00:33:11,200 --> 00:33:13,080
Speaker 2: a diet coke and that's as country as you can

616
00:33:13,120 --> 00:33:14,080
Speaker 2: get right now for me.

617
00:33:14,600 --> 00:33:15,320
Speaker 3: I'm out here in.

618
00:33:15,320 --> 00:33:19,400
Speaker 2: These streets just chugging caffeine all day, and we got

619
00:33:19,400 --> 00:33:20,760
Speaker 2: a theme that's gonna work for it.

620
00:33:21,520 --> 00:33:25,960
Speaker 1: Oh my god, listen, this has been I have been

621
00:33:26,000 --> 00:33:28,640
Speaker 1: waiting to do this theme for so long.

622
00:33:29,520 --> 00:33:30,480
Speaker 3: It makes me laugh.

623
00:33:30,680 --> 00:33:33,720
Speaker 1: And I love the reference point for it. Why don't

624
00:33:33,760 --> 00:33:35,960
Speaker 1: you tell the folks what our theme is for the week.

625
00:33:36,800 --> 00:33:42,920
Speaker 2: Our theme this week is city Sadie, Country Sadie. And

626
00:33:42,960 --> 00:33:46,320
Speaker 2: if you get that reference, good for you. You're one

627
00:33:46,360 --> 00:33:46,720
Speaker 2: of us.

628
00:33:46,920 --> 00:33:47,680
Speaker 3: One of us.

629
00:33:48,400 --> 00:33:54,760
Speaker 1: It essentially is we're doing a theme about people from

630
00:33:54,800 --> 00:33:57,280
Speaker 1: the country and people from the city and how they

631
00:33:57,520 --> 00:34:02,040
Speaker 1: swap places sometimes and the hijinks that ensue.

632
00:34:02,760 --> 00:34:04,640
Speaker 2: Right, And if you if you don't get the reference,

633
00:34:04,680 --> 00:34:07,680
Speaker 2: it's from a lovely eighties film that was highly on

634
00:34:07,800 --> 00:34:12,120
Speaker 2: rotation in my video store rentals called Big Business, starring

635
00:34:12,120 --> 00:34:17,279
Speaker 2: Bitt Midler and Lily Tomlin, Yes separated twins to one

636
00:34:17,320 --> 00:34:19,160
Speaker 2: set is sent to the city, one set is sent

637
00:34:19,200 --> 00:34:19,800
Speaker 2: to the country.

638
00:34:20,760 --> 00:34:23,680
Speaker 3: That's right. That is the basis for the theme.

639
00:34:23,840 --> 00:34:26,360
Speaker 1: And I don't know if you've heard this term before,

640
00:34:26,600 --> 00:34:29,000
Speaker 1: because what I think is interesting about our movies is

641
00:34:29,000 --> 00:34:32,799
Speaker 1: that they're the opposite, right, So yours is a is

642
00:34:32,800 --> 00:34:34,239
Speaker 1: a I don't know.

643
00:34:34,280 --> 00:34:35,240
Speaker 3: Have you heard this term?

644
00:34:35,680 --> 00:34:38,080
Speaker 1: Is this just a Southern thing? It's called country come

645
00:34:38,160 --> 00:34:38,560
Speaker 1: to town?

646
00:34:39,640 --> 00:34:41,600
Speaker 3: That is one of Southern thing.

647
00:34:43,520 --> 00:34:44,160
Speaker 2: Do you go off?

648
00:34:45,400 --> 00:34:50,200
Speaker 1: Like it was kind of this like pejorative term for

649
00:34:50,520 --> 00:34:54,840
Speaker 1: like when some redneck from the from the you know,

650
00:34:54,920 --> 00:34:59,080
Speaker 1: country would come into the city, and it kind of

651
00:34:59,200 --> 00:35:01,680
Speaker 1: is like a way to describe like a person who

652
00:35:01,719 --> 00:35:05,040
Speaker 1: comes into the city and starts acting like a fucking fool,

653
00:35:05,360 --> 00:35:06,719
Speaker 1: you know what I mean, Like they're.

654
00:35:08,200 --> 00:35:11,240
Speaker 3: They're like, oh my god, look at all these big buildings.

655
00:35:11,280 --> 00:35:13,480
Speaker 1: I can't believe it. Like, and they're wearing their like

656
00:35:13,560 --> 00:35:16,520
Speaker 1: bad jeans. I don't know, Like it's just this like

657
00:35:16,600 --> 00:35:21,120
Speaker 1: pejorative term for that kind of thing where you're like, uh,

658
00:35:21,280 --> 00:35:23,520
Speaker 1: your country come to town, Like look at country come

659
00:35:23,560 --> 00:35:25,520
Speaker 1: to town walking through here, Like it was just a

660
00:35:25,560 --> 00:35:30,520
Speaker 1: way to say that incredible, which we're not using that

661
00:35:30,640 --> 00:35:33,000
Speaker 1: term in this in this way I think this week.

662
00:35:33,040 --> 00:35:35,920
Speaker 1: But that's what your movie is. It's a country come

663
00:35:35,960 --> 00:35:38,000
Speaker 1: to town story, right absolutely.

664
00:35:38,000 --> 00:35:39,280
Speaker 3: And I love putting.

665
00:35:39,400 --> 00:35:42,719
Speaker 2: I love that saying because it's it's so Southern, not

666
00:35:42,800 --> 00:35:46,040
Speaker 2: just in the words it's using, but it's so Southern

667
00:35:46,120 --> 00:35:49,000
Speaker 2: in that way of we're gonna insult you to your

668
00:35:49,040 --> 00:35:53,799
Speaker 2: face and make it sound like something sweet. Yeah, like

669
00:35:53,840 --> 00:35:56,759
Speaker 2: oh Country came to town. Meanwhile we're saying like you are

670
00:35:56,760 --> 00:36:03,160
Speaker 2: a fucking yogul? Would from your shoes, Yeah, it would be.

671
00:36:03,760 --> 00:36:06,759
Speaker 1: This was something that like I would hear when I

672
00:36:06,880 --> 00:36:09,480
Speaker 1: was during my DJ days and I was like working

673
00:36:09,520 --> 00:36:12,480
Speaker 1: a lot in like clubs and bars and stuff, and

674
00:36:12,520 --> 00:36:15,279
Speaker 1: like you would always have somebody come in on the

675
00:36:15,280 --> 00:36:20,080
Speaker 1: weekend from like Macon or Augusta or something like that,

676
00:36:20,320 --> 00:36:23,560
Speaker 1: and they'd be like, you know, I just they just

677
00:36:23,640 --> 00:36:26,719
Speaker 1: looked a lot different than everybody, Like everybody at the

678
00:36:26,760 --> 00:36:30,560
Speaker 1: bar would be like dressed like fucking I don't know,

679
00:36:30,880 --> 00:36:33,040
Speaker 1: like Inner Pole or something.

680
00:36:33,080 --> 00:36:34,719
Speaker 2: And then they would come in and it.

681
00:36:34,719 --> 00:36:38,120
Speaker 1: Would be like their clay aching or something like that,

682
00:36:38,360 --> 00:36:57,640
Speaker 1: like like.

683
00:36:48,480 --> 00:36:51,120
Speaker 3: Clay aching walking to a bar.

684
00:36:55,120 --> 00:37:01,600
Speaker 1: Sorry, I have not thought about clay aching in a million.

685
00:37:05,320 --> 00:37:09,400
Speaker 2: Is no fucking perfect reference. I've not thought about what

686
00:37:09,560 --> 00:37:11,239
Speaker 2: is Klay get up to? Is he hanging out with

687
00:37:11,280 --> 00:37:19,960
Speaker 2: Costas mandelor are they cutting an album? God do Christmas duets?

688
00:37:20,560 --> 00:37:25,480
Speaker 1: Oh lord, I am crying officially crying on this episode.

689
00:37:26,560 --> 00:37:27,359
Speaker 2: But you know what I mean.

690
00:37:27,440 --> 00:37:29,239
Speaker 1: It's that thing where you and then you would see

691
00:37:29,280 --> 00:37:32,840
Speaker 1: that klaya can person come in and be like woo, girl,

692
00:37:32,880 --> 00:37:35,360
Speaker 1: Country came to town or country come to town like

693
00:37:35,400 --> 00:37:35,799
Speaker 1: something like that.

694
00:37:35,840 --> 00:37:36,439
Speaker 2: You're just like.

695
00:37:37,280 --> 00:37:40,600
Speaker 3: Wow, like that is a that is is a look.

696
00:37:41,440 --> 00:37:42,719
Speaker 2: That is my movie to.

697
00:37:42,840 --> 00:37:43,879
Speaker 3: A fucking tea.

698
00:37:44,360 --> 00:37:49,600
Speaker 2: Yeah, I cannot even stand Yeah. And then the flip

699
00:37:49,680 --> 00:37:52,320
Speaker 2: side of your movie is that it is the exact

700
00:37:52,400 --> 00:37:55,000
Speaker 2: opposite where it's like, yeah, here's a quaint it's what's

701
00:37:55,040 --> 00:37:59,000
Speaker 2: happening now in most small towns, which is like, oh fuck,

702
00:37:59,080 --> 00:38:02,080
Speaker 2: we've been infiltry and I'm an infiltrate even though I

703
00:38:02,080 --> 00:38:04,480
Speaker 2: grew up here, I'm still an infiltrator because I came

704
00:38:04,520 --> 00:38:07,439
Speaker 2: back with my like big city fucking ideas. But it's

705
00:38:07,440 --> 00:38:09,760
Speaker 2: when like the person who has lived in a major

706
00:38:09,840 --> 00:38:13,880
Speaker 2: city for twenty years. Besides, I'm gonna come to this

707
00:38:13,960 --> 00:38:16,440
Speaker 2: town and instead of assimilating to what this town is,

708
00:38:16,480 --> 00:38:18,839
Speaker 2: I'm gonna make it cool and I'm gonna make it mine.

709
00:38:19,480 --> 00:38:23,319
Speaker 1: Yes, I'm gonna put my like weird goth shit all

710
00:38:23,360 --> 00:38:24,000
Speaker 1: over this.

711
00:38:25,800 --> 00:38:28,960
Speaker 3: Fucking Duluth Trading Company.

712
00:38:28,640 --> 00:38:32,560
Speaker 2: Ass a town. I'm gonna put one of my one

713
00:38:32,640 --> 00:38:34,800
Speaker 2: of my sculptures in front of this bass pro shop,

714
00:38:36,400 --> 00:38:39,919
Speaker 2: and it's just spikes. It's just a sculpture of spikes.

715
00:38:40,600 --> 00:38:43,359
Speaker 2: Like you guys, get it, y'all get it, level up,

716
00:38:44,080 --> 00:38:45,440
Speaker 2: level up on this spike sculpture.

717
00:38:45,920 --> 00:38:48,800
Speaker 1: I have to say, I'm like, I love this concept.

718
00:38:49,000 --> 00:38:52,680
Speaker 1: It really is funny and interesting. And I feel like

719
00:38:52,719 --> 00:38:56,960
Speaker 1: our movies, like my movie is definitely like y'all have

720
00:38:57,040 --> 00:39:00,359
Speaker 1: probably seen it like twenty five thirty times, like and

721
00:39:00,800 --> 00:39:03,480
Speaker 1: I even like hesitate to even really go into a

722
00:39:03,560 --> 00:39:07,320
Speaker 1: plot about it when it's my turn, But like your movie,

723
00:39:07,400 --> 00:39:10,200
Speaker 1: I haven't seen it in a couple of years, and

724
00:39:10,840 --> 00:39:13,160
Speaker 1: you know, I think it's it's such a great film.

725
00:39:13,360 --> 00:39:16,400
Speaker 3: I feel like it is. It's really textured.

726
00:39:16,440 --> 00:39:18,080
Speaker 1: And I was like on this whole thing where I

727
00:39:18,160 --> 00:39:22,840
Speaker 1: was like on the internet reading articles like Mark Harris,

728
00:39:22,920 --> 00:39:25,160
Speaker 1: I don't know, we've talked about him before he wrote

729
00:39:25,280 --> 00:39:27,000
Speaker 1: The Five Came Back and the.

730
00:39:26,920 --> 00:39:28,160
Speaker 3: Mike Nichols Nichols book.

731
00:39:28,200 --> 00:39:31,560
Speaker 1: Yeah, he has this great essay on the Criterion Channel

732
00:39:31,600 --> 00:39:33,920
Speaker 1: website about it, like, and I was just reading all

733
00:39:33,960 --> 00:39:38,080
Speaker 1: of these like kind of critical, you know, interpretations of it,

734
00:39:38,120 --> 00:39:40,080
Speaker 1: and it was like, Wow, what a cool movie to

735
00:39:40,239 --> 00:39:43,080
Speaker 1: like just have people write about and you're going to

736
00:39:43,160 --> 00:39:43,680
Speaker 1: talk about it.

737
00:39:43,719 --> 00:39:45,360
Speaker 3: I'm so excited.

738
00:39:44,960 --> 00:39:47,319
Speaker 2: Well, yeah, let's dig into it because my movie is

739
00:39:47,400 --> 00:39:50,920
Speaker 2: first this week and it was released in nineteen sixty nine,

740
00:39:51,680 --> 00:39:56,320
Speaker 2: directed by John Schleschinger. The screenplay is by Waldo Salt,

741
00:39:56,360 --> 00:39:59,680
Speaker 2: but it's based on the novel by James le o' hurlehey,

742
00:40:00,200 --> 00:40:04,480
Speaker 2: And my movie is Midnight Cowboy or rich any what

743
00:40:04,600 --> 00:40:07,840
Speaker 2: any class at all buys that cowboy crap anymore? Like

744
00:40:07,920 --> 00:40:09,839
Speaker 2: we god damn it all. The one thing I've ever

745
00:40:09,880 --> 00:40:10,600
Speaker 2: been good for it.

746
00:40:10,520 --> 00:40:14,520
Speaker 1: Loved come out country, come through country.

747
00:40:14,400 --> 00:40:17,520
Speaker 2: Come through this movie. I think I picked because there

748
00:40:17,560 --> 00:40:20,840
Speaker 2: are a lot of city sadie country sadie movies to

749
00:40:20,920 --> 00:40:23,600
Speaker 2: choose from if you really look at some themes, and

750
00:40:23,640 --> 00:40:25,920
Speaker 2: a lot of them are like cartoon and kids movies

751
00:40:25,920 --> 00:40:28,360
Speaker 2: for some reason, Like yeah, you could have picked fivel

752
00:40:28,440 --> 00:40:34,160
Speaker 2: Goes West. You could have like you could have picked Ratatue,

753
00:40:35,040 --> 00:40:38,360
Speaker 2: Like for some reason, we're trying to indoctrinate kids about

754
00:40:38,719 --> 00:40:41,759
Speaker 2: the dangers of moving to the city through cartoon characters

755
00:40:42,000 --> 00:40:44,319
Speaker 2: who are like going through so much major shit when

756
00:40:44,320 --> 00:40:45,520
Speaker 2: they decide to try one.

757
00:40:46,200 --> 00:40:51,320
Speaker 1: But okay, I need Casey to isolate Deddy L just

758
00:40:51,360 --> 00:40:56,120
Speaker 1: like you could have picked Fible Goes West. And we

759
00:40:56,239 --> 00:41:00,760
Speaker 1: just gonna have to insert that into like random episodes something.

760
00:41:01,080 --> 00:41:03,280
Speaker 2: Why'd you pick this movie? You could have picked Bible

761
00:41:03,320 --> 00:41:03,839
Speaker 2: Goes West.

762
00:41:05,520 --> 00:41:08,560
Speaker 1: I have not thought about bad movie in twenty five

763
00:41:08,680 --> 00:41:09,360
Speaker 1: thirty years.

764
00:41:09,760 --> 00:41:14,200
Speaker 2: Good look Fible Goes West and Clay Aiken on tour

765
00:41:14,480 --> 00:41:20,160
Speaker 2: twenty twenty thirty. Let's oh go. It's called the weirdest

766
00:41:20,160 --> 00:41:24,520
Speaker 2: tour You've ever seen. Cossus Mandalor will be introducing both

767
00:41:24,640 --> 00:41:30,160
Speaker 2: acts and then we will have we will have two

768
00:41:30,160 --> 00:41:30,840
Speaker 2: people show up.

769
00:41:30,880 --> 00:41:31,920
Speaker 3: We will make three dollars.

770
00:41:32,200 --> 00:41:39,719
Speaker 2: Yeah, it will cost us more to license the film. Shit,

771
00:41:39,800 --> 00:41:41,279
Speaker 2: But there are a lot There are a lot of

772
00:41:41,360 --> 00:41:44,000
Speaker 2: city to country, country to city movies. But the reason

773
00:41:44,000 --> 00:41:45,560
Speaker 2: that I love this one, and this is the first

774
00:41:45,600 --> 00:41:48,400
Speaker 2: one that came to mind, is there's such a strong

775
00:41:49,560 --> 00:41:52,680
Speaker 2: there's such a strong vein throughout this film of just

776
00:41:52,800 --> 00:41:55,759
Speaker 2: how out of place our main character, Joe Buck is

777
00:41:56,200 --> 00:41:59,840
Speaker 2: because of his country roots. And there's also there's something

778
00:42:00,160 --> 00:42:02,960
Speaker 2: be said for the fact that what most people know

779
00:42:03,000 --> 00:42:05,200
Speaker 2: about this film is that it got an X rating

780
00:42:05,200 --> 00:42:09,080
Speaker 2: when it first came out, and it's about sex and homosexuality.

781
00:42:09,520 --> 00:42:13,040
Speaker 2: But what I really tapped into this time when watching

782
00:42:13,160 --> 00:42:17,960
Speaker 2: it is there's also this major theme of loneliness. So

783
00:42:18,400 --> 00:42:22,759
Speaker 2: you're watching someone who does that country to city move

784
00:42:22,880 --> 00:42:26,160
Speaker 2: and they don't adjust like that is kind of unheard of.

785
00:42:26,239 --> 00:42:27,600
Speaker 2: There are a lot of things in this movie that

786
00:42:27,640 --> 00:42:31,440
Speaker 2: were really firsts for the big screen, but that's a

787
00:42:31,480 --> 00:42:34,560
Speaker 2: major one of them. When I think, there's an article

788
00:42:34,680 --> 00:42:37,239
Speaker 2: that I read on Vanity Fair, and again, there's so

789
00:42:37,360 --> 00:42:40,600
Speaker 2: much about this movie out there to read, I highly

790
00:42:40,640 --> 00:42:42,840
Speaker 2: recommend digging into it. But I read this article on

791
00:42:42,920 --> 00:42:46,800
Speaker 2: Vanity Fair by Glenn Frankel, who actually wrote a book

792
00:42:47,120 --> 00:42:51,720
Speaker 2: about this movie. His book is called Midnight Shooting, Midnight

793
00:42:51,760 --> 00:42:56,759
Speaker 2: Cowboy are Sex, loneliness, liberation, and the making of a

794
00:42:56,880 --> 00:43:01,759
Speaker 2: dark classic. So he kind of thinks about and talks

795
00:43:01,800 --> 00:43:04,840
Speaker 2: about these themes in the book. But there's there's so

796
00:43:04,920 --> 00:43:06,799
Speaker 2: many points in this film where you're like, why is

797
00:43:06,840 --> 00:43:09,360
Speaker 2: this character doing this? And it always comes back to

798
00:43:09,400 --> 00:43:11,600
Speaker 2: the fact that it's because he's lonely. He's lonely and

799
00:43:11,640 --> 00:43:15,239
Speaker 2: out of place, And I just I love that, even

800
00:43:15,280 --> 00:43:17,239
Speaker 2: though I've seen it quite a few times, like I

801
00:43:17,280 --> 00:43:20,359
Speaker 2: can pick up on something new that really hits home

802
00:43:21,040 --> 00:43:22,680
Speaker 2: for me in this viewing.

803
00:43:23,239 --> 00:43:23,799
Speaker 3: Yeah.

804
00:43:23,840 --> 00:43:25,520
Speaker 2: But yeah, So this is a film that, again, like

805
00:43:25,560 --> 00:43:28,120
Speaker 2: its reputation kind of precedes it.

806
00:43:28,160 --> 00:43:29,440
Speaker 3: The cast is great.

807
00:43:29,440 --> 00:43:32,239
Speaker 2: You've got Dustin Hoffman playing Ratso Rizzo, one of the

808
00:43:32,239 --> 00:43:35,600
Speaker 2: main characters. John Voight plays Joe Buck, the main character,

809
00:43:36,400 --> 00:43:40,719
Speaker 2: Brenda Vacaro, Bernard Hughes, Sylvia Miles like all these like

810
00:43:40,800 --> 00:43:43,880
Speaker 2: Ruth White, like all these kind of great actors that

811
00:43:43,920 --> 00:43:46,840
Speaker 2: are in this film. But it's really about Ratso and

812
00:43:46,920 --> 00:43:52,960
Speaker 2: Joe essentially, And my one sentence synopsis is a Texas

813
00:43:52,960 --> 00:43:56,560
Speaker 2: dishwasher tries his luck and moves to New York City

814
00:43:57,040 --> 00:44:00,160
Speaker 2: to ply his wares and use the one skill he

815
00:44:00,200 --> 00:44:03,280
Speaker 2: knows he has in his back pocket to become a hustler.

816
00:44:04,800 --> 00:44:06,880
Speaker 3: YEP, that is what it's about.

817
00:44:07,840 --> 00:44:10,239
Speaker 2: And what I love about this movie is that it

818
00:44:10,400 --> 00:44:14,399
Speaker 2: is one hundred percent like he's like, this is going

819
00:44:14,400 --> 00:44:16,400
Speaker 2: to work, Like there's never a doubt in his fucking

820
00:44:16,480 --> 00:44:20,840
Speaker 2: mind because he's so cute and so like he's the

821
00:44:20,920 --> 00:44:24,640
Speaker 2: number one lover man in Texas, and so he thinks

822
00:44:24,800 --> 00:44:27,279
Speaker 2: it'll be easy, not just to be a hustler in

823
00:44:27,280 --> 00:44:30,480
Speaker 2: New York City, but his primary goal is to be

824
00:44:30,520 --> 00:44:32,640
Speaker 2: a kept man. He's like, I'm going to find a

825
00:44:32,719 --> 00:44:34,719
Speaker 2: rich woman and she is going to love me so

826
00:44:35,120 --> 00:44:38,560
Speaker 2: much that she will just pay for my lavish existence.

827
00:44:39,800 --> 00:44:43,800
Speaker 1: Yeah, I was gonna say, is there anything more ambitious

828
00:44:44,080 --> 00:44:48,000
Speaker 1: than thinking you're the best in bed? Like you're like, oh,

829
00:44:48,040 --> 00:44:51,000
Speaker 1: I'm the best in bed, and I can make money

830
00:44:51,000 --> 00:44:51,440
Speaker 1: off of it.

831
00:44:52,440 --> 00:44:55,560
Speaker 3: Like you just have to be so confident.

832
00:44:55,920 --> 00:45:01,120
Speaker 2: In order to even think that, so confident, because let

833
00:45:01,120 --> 00:45:08,120
Speaker 2: me tell you, dix are everywhere everywhere, especially in New

834
00:45:08,200 --> 00:45:10,920
Speaker 2: York City. You can make sex whatever you want if

835
00:45:10,960 --> 00:45:12,960
Speaker 2: all you need is the apparatus.

836
00:45:13,320 --> 00:45:16,120
Speaker 3: So just to be crude for a moment, like I

837
00:45:16,160 --> 00:45:17,239
Speaker 3: don't know how.

838
00:45:17,000 --> 00:45:19,239
Speaker 2: Good you think you are at sex, to think you

839
00:45:19,280 --> 00:45:24,200
Speaker 2: could literally tantalize people with it in a new city,

840
00:45:24,280 --> 00:45:26,200
Speaker 2: be like I just gut here, but I'm awesome at sex.

841
00:45:26,480 --> 00:45:28,520
Speaker 2: Why don't you buy me an apartment? Like that is

842
00:45:28,680 --> 00:45:33,360
Speaker 2: just a level of bravado that I have never considered.

843
00:45:33,920 --> 00:45:36,560
Speaker 1: Yeah, I mean that his country Sadie is really coming

844
00:45:36,600 --> 00:45:38,799
Speaker 1: out in that moment because he's basically just like, Oh,

845
00:45:38,840 --> 00:45:40,840
Speaker 1: this is all gonna work out, Like I'm a stud

846
00:45:41,400 --> 00:45:43,759
Speaker 1: and I'm just gonna be able to live off rich

847
00:45:43,800 --> 00:45:47,040
Speaker 1: women forever and I'm gonna be very successful at it,

848
00:45:47,080 --> 00:45:49,520
Speaker 1: and it's gonna happen immediately, Like I'm not gonna have

849
00:45:49,560 --> 00:45:51,719
Speaker 1: to struggle and I.

850
00:45:51,680 --> 00:45:53,520
Speaker 2: Have a completely unique vibe.

851
00:45:53,640 --> 00:45:54,800
Speaker 3: I'm a country guy.

852
00:45:56,600 --> 00:45:59,719
Speaker 2: Day I arrive and I'm like, look, you could you

853
00:45:59,760 --> 00:46:02,520
Speaker 2: could arrive in New York like John Voyd's character Joe

854
00:46:02,520 --> 00:46:04,520
Speaker 2: Buck could have arrived in New York with his dick

855
00:46:04,760 --> 00:46:08,120
Speaker 2: genuinely hanging out of his pants, and it still would

856
00:46:08,160 --> 00:46:12,080
Speaker 2: not have been enticing to anyone, like at all. But

857
00:46:12,160 --> 00:46:15,880
Speaker 2: you see his kind of country sadie vibe from the

858
00:46:15,960 --> 00:46:18,880
Speaker 2: minute the movie starts. And the other thing that is

859
00:46:18,920 --> 00:46:23,319
Speaker 2: really I think kind of associated with this film is

860
00:46:23,320 --> 00:46:26,239
Speaker 2: the soundtrack, because you've got this Harry Nilsen track. You know,

861
00:46:26,280 --> 00:46:29,400
Speaker 2: everybody's talking playing throughout, and it's kind of like the

862
00:46:29,440 --> 00:46:36,279
Speaker 2: soundtrack of his country existence. Ever about his talking, I

863
00:46:36,360 --> 00:46:38,040
Speaker 2: don't hear a word to say, and.

864
00:46:40,000 --> 00:46:42,879
Speaker 3: Only vehicles of mam.

865
00:46:45,719 --> 00:46:50,560
Speaker 2: And Joe Buck basically takes a little little radio, little

866
00:46:50,560 --> 00:46:55,960
Speaker 2: handheld transistor radio. He takes his brand new cowhide suitcase,

867
00:46:56,600 --> 00:46:59,920
Speaker 2: a brand new pair of boots, a brand new hat,

868
00:47:00,960 --> 00:47:05,120
Speaker 2: and sets out on the bus. And he sits on

869
00:47:05,160 --> 00:47:07,880
Speaker 2: a bus and he sits down next to a man

870
00:47:07,920 --> 00:47:12,399
Speaker 2: who's eating tobacco like a sandwich. So you're basically like, yeah,

871
00:47:12,440 --> 00:47:14,600
Speaker 2: in this environment, I can see how you're a little

872
00:47:14,600 --> 00:47:18,520
Speaker 2: bit more like high class or more desirable to certain people.

873
00:47:19,080 --> 00:47:22,400
Speaker 2: But it's really it's an interesting film for so many reasons.

874
00:47:22,400 --> 00:47:24,440
Speaker 2: And one thing I want to definitely dig into is

875
00:47:24,440 --> 00:47:29,160
Speaker 2: that this movie was nominated for seven Academy Awards and

876
00:47:29,160 --> 00:47:33,080
Speaker 2: it won three. It won Best Picture, Best Director, and

877
00:47:33,160 --> 00:47:37,279
Speaker 2: Best Screenplay. And because it won so many awards, they

878
00:47:37,320 --> 00:47:39,640
Speaker 2: went back to the ratings board and they're like, so

879
00:47:39,680 --> 00:47:42,080
Speaker 2: you still want this rated X. And there's this whole

880
00:47:42,080 --> 00:47:45,360
Speaker 2: complicated history about why it was rated X, and you know,

881
00:47:45,400 --> 00:47:47,719
Speaker 2: it's a lot of like fear of homosexuality and fear

882
00:47:47,719 --> 00:47:50,440
Speaker 2: of sexuality in general, and just you know, thinking the

883
00:47:50,719 --> 00:47:53,040
Speaker 2: like they brought in like psychologists and shit, and they're like,

884
00:47:53,080 --> 00:47:55,960
Speaker 2: the public isn't ready for this. But then after it

885
00:47:56,000 --> 00:47:57,960
Speaker 2: won a shitload of awards, people looked at it and

886
00:47:57,960 --> 00:48:01,560
Speaker 2: they're like, actually, rated R is fine. It's not that bad, Yeah,

887
00:48:02,080 --> 00:48:02,680
Speaker 2: as we thought.

888
00:48:02,960 --> 00:48:05,440
Speaker 1: Yeah, I mean like at the time, I mean, you

889
00:48:05,520 --> 00:48:08,880
Speaker 1: obviously have the end of the production code in Hollywood,

890
00:48:08,920 --> 00:48:13,360
Speaker 1: which I mean honestly, like maybe five years before, maybe

891
00:48:13,360 --> 00:48:17,200
Speaker 1: even less, you could have this would have been unfucking

892
00:48:17,280 --> 00:48:19,080
Speaker 1: heard of. Like you couldn't have made this movie at

893
00:48:19,120 --> 00:48:24,280
Speaker 1: all in Hollywood with major studio backing. Let alone haven't

894
00:48:25,280 --> 00:48:30,840
Speaker 1: nominated and win an Oscar, right, So that's how quickly

895
00:48:31,920 --> 00:48:34,759
Speaker 1: things were changing, like in terms of just like what

896
00:48:34,880 --> 00:48:38,360
Speaker 1: was appropriate for film and you know, nudity and content

897
00:48:38,400 --> 00:48:41,000
Speaker 1: and that kind of stuff. But it's weird because this

898
00:48:41,040 --> 00:48:42,840
Speaker 1: movie is one of those movies that really did like

899
00:48:43,080 --> 00:48:47,080
Speaker 1: change the thing. It changed, like, you know, what the

900
00:48:47,160 --> 00:48:50,040
Speaker 1: idea of like what an X rated movie is versus

901
00:48:50,080 --> 00:48:52,319
Speaker 1: an R rated movie, and it's always going to be

902
00:48:52,400 --> 00:48:54,520
Speaker 1: historical for that, which I think is really interesting.

903
00:48:55,040 --> 00:48:58,000
Speaker 2: Absolutely, I completely agree. And I think it's also interesting

904
00:48:58,040 --> 00:49:01,759
Speaker 2: that Waldo Salt, who wrote the screenplay, was a blacklisted

905
00:49:01,760 --> 00:49:05,919
Speaker 2: writer and he wrote under pseudonyms and he wrote for

906
00:49:06,239 --> 00:49:08,719
Speaker 2: like TV shows in the UK, and like he was

907
00:49:09,000 --> 00:49:11,360
Speaker 2: not able to make his living as a Hollywood screenwriter

908
00:49:12,040 --> 00:49:14,640
Speaker 2: during you know, the time that these codes were enforced,

909
00:49:14,719 --> 00:49:17,360
Speaker 2: so he had he was one of the writers who

910
00:49:17,440 --> 00:49:20,360
Speaker 2: was affected. And to come out of that experience and

911
00:49:20,400 --> 00:49:24,920
Speaker 2: write something like this is really a triumph and a

912
00:49:24,960 --> 00:49:25,720
Speaker 2: weird triumph.

913
00:49:25,840 --> 00:49:26,000
Speaker 1: You know.

914
00:49:26,040 --> 00:49:30,040
Speaker 2: It's kind of a nod to the fact that he

915
00:49:30,440 --> 00:49:34,520
Speaker 2: was trying to change or at least engage with the definition.

916
00:49:34,200 --> 00:49:35,200
Speaker 3: Of what art is.

917
00:49:35,320 --> 00:49:38,400
Speaker 2: Or could be by looking at how strict the codes

918
00:49:38,440 --> 00:49:41,480
Speaker 2: were versus you know, what could come out of a

919
00:49:41,560 --> 00:49:44,719
Speaker 2: story that does feature sex and bodies and homosexuality and

920
00:49:44,800 --> 00:49:47,480
Speaker 2: nudity and all kinds of things. So yeah, I thought

921
00:49:47,480 --> 00:49:51,440
Speaker 2: that was kind of interesting too. So essentially, you have

922
00:49:51,600 --> 00:49:56,480
Speaker 2: this man who is honestly kind of not smart, Like

923
00:49:56,520 --> 00:50:00,480
Speaker 2: he's kind of brazenly dumb, Like he really eyes on

924
00:50:00,560 --> 00:50:02,759
Speaker 2: his looks in a way that he's not interested in

925
00:50:02,800 --> 00:50:06,320
Speaker 2: engaging with the real world in a real way. Like

926
00:50:06,320 --> 00:50:10,840
Speaker 2: there's something very boyish and simple about Joe Buck and

927
00:50:10,880 --> 00:50:12,279
Speaker 2: the way he kind of like looks at himself in

928
00:50:12,320 --> 00:50:14,440
Speaker 2: the mirror and like turns around and shoots, you know,

929
00:50:14,480 --> 00:50:17,279
Speaker 2: finger guns at himself, and like he's just very boyish.

930
00:50:17,520 --> 00:50:20,960
Speaker 2: But as the movie goes on and you're looking more

931
00:50:21,040 --> 00:50:23,920
Speaker 2: at his flashbacks because the movie's told in a pretty

932
00:50:23,960 --> 00:50:28,680
Speaker 2: interesting way, you realize that he's almost been groomed by

933
00:50:28,800 --> 00:50:32,719
Speaker 2: his grandmother to be this kind of guy and to

934
00:50:32,800 --> 00:50:34,839
Speaker 2: live this kind of life. And they don't go into

935
00:50:34,920 --> 00:50:38,759
Speaker 2: it too much, like they leave a very nebulous kind

936
00:50:38,800 --> 00:50:41,959
Speaker 2: of pocket for you to, you know, discover on your own.

937
00:50:42,080 --> 00:50:43,840
Speaker 2: But there are scenes of him, like in bed with

938
00:50:43,920 --> 00:50:46,840
Speaker 2: his grandmother and her partner, and you're like, is this

939
00:50:46,960 --> 00:50:48,560
Speaker 2: cute or is this weird?

940
00:50:48,760 --> 00:50:49,440
Speaker 3: Is this sexual?

941
00:50:49,560 --> 00:50:52,720
Speaker 2: Is it not sexual? You know, scenes of him washing

942
00:50:52,719 --> 00:50:56,239
Speaker 2: her hair at a salon and her telling him that

943
00:50:56,320 --> 00:51:02,880
Speaker 2: he's you know, basically hot, and it's really complicated. So

944
00:51:02,920 --> 00:51:06,560
Speaker 2: the more you get into it, the more that For me, anyway,

945
00:51:06,600 --> 00:51:12,719
Speaker 2: I see Joe Buck kind of trying to deny all

946
00:51:12,760 --> 00:51:15,719
Speaker 2: of these horrible things that have happened to him in

947
00:51:15,840 --> 00:51:19,120
Speaker 2: order to be this person who lives a more simple life,

948
00:51:19,200 --> 00:51:21,520
Speaker 2: who can just get by. So I think, like the

949
00:51:21,719 --> 00:51:23,960
Speaker 2: I kind of in this view and kind of question

950
00:51:24,120 --> 00:51:29,319
Speaker 2: more why he didn't have more in depth aspirations. And

951
00:51:29,360 --> 00:51:32,200
Speaker 2: I think that that's what I kind of discovered is

952
00:51:32,239 --> 00:51:35,080
Speaker 2: that he he can't because in order to do that,

953
00:51:35,120 --> 00:51:37,959
Speaker 2: he has to engage with parts of his life that

954
00:51:38,160 --> 00:51:44,239
Speaker 2: he actively were traumatic. We're deeply traumatic there.

955
00:51:44,320 --> 00:51:46,319
Speaker 1: So yeah, that I paid attention a lot to that

956
00:51:46,440 --> 00:51:50,000
Speaker 1: too this time I watched it because I mean, I

957
00:51:50,040 --> 00:51:54,520
Speaker 1: will say that, you know, this movie is visually at

958
00:51:54,560 --> 00:51:58,040
Speaker 1: times of the era of the late sixties, So there's

959
00:51:58,120 --> 00:52:01,359
Speaker 1: moments it's very psychedelic and doing a lot of like

960
00:52:01,560 --> 00:52:04,680
Speaker 1: you know, audio visual tricks, and there's this these flashback

961
00:52:04,760 --> 00:52:07,880
Speaker 1: sequences that are kind of like popping up at certain

962
00:52:07,880 --> 00:52:11,480
Speaker 1: times in the movie that are suggesting that, you know,

963
00:52:12,080 --> 00:52:15,080
Speaker 1: young Joe Buck had a lot of trauma, possibly he

964
00:52:15,160 --> 00:52:18,160
Speaker 1: sexual trauma. Possibly you know, like he had that situation

965
00:52:18,280 --> 00:52:22,759
Speaker 1: with the ex girlfriend that they keep flashing back to

966
00:52:23,520 --> 00:52:29,839
Speaker 1: where there was sort of like a gang a gang situation, right, yeah,

967
00:52:30,120 --> 00:52:34,520
Speaker 1: and about how maybe his girlfriend was institutionalized because of

968
00:52:34,560 --> 00:52:36,920
Speaker 1: it and everything. And it's like, so there's very like

969
00:52:37,560 --> 00:52:41,640
Speaker 1: really like kind of horrific flashback moments and it's just

970
00:52:41,719 --> 00:52:45,000
Speaker 1: happening randomly in the movie when he's doing things in

971
00:52:45,040 --> 00:52:48,279
Speaker 1: real time, and so you're like kind of questioning, like, well,

972
00:52:48,320 --> 00:52:50,520
Speaker 1: then is this his response to all that is that

973
00:52:50,560 --> 00:52:55,400
Speaker 1: he's just like closed off from any kind of like

974
00:52:55,560 --> 00:52:58,160
Speaker 1: real emotion, real processing.

975
00:52:58,280 --> 00:52:59,600
Speaker 3: He's just like, I'm just.

976
00:52:59,520 --> 00:53:02,359
Speaker 1: Going to be like the you know, fun guy in

977
00:53:02,400 --> 00:53:05,080
Speaker 1: the coat in the hat, and I'm not gonna, you know,

978
00:53:05,360 --> 00:53:07,680
Speaker 1: really think about it. I'm just gonna keep going. And

979
00:53:07,680 --> 00:53:12,880
Speaker 1: that's why I think when he meets ratso like he

980
00:53:13,000 --> 00:53:18,440
Speaker 1: has to, he discovers maybe that he does have emotional

981
00:53:19,480 --> 00:53:22,239
Speaker 1: like he does have an emotional register in some way,

982
00:53:22,360 --> 00:53:24,759
Speaker 1: like right, And that is what I think is part

983
00:53:24,880 --> 00:53:28,359
Speaker 1: so fascinated about the film ultimately is because of that.

984
00:53:28,960 --> 00:53:32,080
Speaker 3: But yeah, you're right. I mean he's very like shut it.

985
00:53:32,120 --> 00:53:36,600
Speaker 3: He shut it down at a certain point. Wow, you

986
00:53:36,600 --> 00:53:37,280
Speaker 3: know completely.

987
00:53:37,280 --> 00:53:40,160
Speaker 2: And then you see what his life prior to this

988
00:53:40,280 --> 00:53:46,160
Speaker 2: like traumatic sexual event where you know, spoiler alert, he

989
00:53:46,360 --> 00:53:48,800
Speaker 2: is raped. I mean, the insinuation is that he's raped

990
00:53:48,840 --> 00:53:50,560
Speaker 2: by all these guys who are kind of jealous of

991
00:53:50,640 --> 00:53:52,600
Speaker 2: him or who just didn't like him, or jealous of

992
00:53:52,640 --> 00:53:56,480
Speaker 2: him and his girlfriend and they both get raped, and

993
00:53:57,840 --> 00:54:01,360
Speaker 2: you know, he flashes back to moments of it, like again,

994
00:54:01,520 --> 00:54:04,239
Speaker 2: in five four years prior they would there had never

995
00:54:04,360 --> 00:54:07,160
Speaker 2: been a scene of him naked and bent over a

996
00:54:07,200 --> 00:54:10,799
Speaker 2: car and someone's spreading his legs open. Like the insinuation

997
00:54:10,960 --> 00:54:13,480
Speaker 2: of that alone is what helped get this an X rating.

998
00:54:14,040 --> 00:54:17,040
Speaker 2: But he so he engages with life in a way

999
00:54:17,040 --> 00:54:19,600
Speaker 2: that's very happy, go lucky, and when he meets Ratso,

1000
00:54:20,800 --> 00:54:24,000
Speaker 2: he meets him at a point of extreme vulnerability as well.

1001
00:54:24,120 --> 00:54:26,239
Speaker 2: So he's arrived in the city and the women are

1002
00:54:26,280 --> 00:54:30,720
Speaker 2: not fucking having it. Like his first hustle goes so wrong.

1003
00:54:30,840 --> 00:54:34,120
Speaker 2: She basically hustles him where she's like I need cab money,

1004
00:54:34,160 --> 00:54:36,759
Speaker 2: like she's so offended at the thought that, like he

1005
00:54:37,080 --> 00:54:39,319
Speaker 2: was a sex worker that she's like, not only am

1006
00:54:39,360 --> 00:54:40,919
Speaker 2: I not paying you, but you're gonna give me cab

1007
00:54:40,920 --> 00:54:41,839
Speaker 2: money because I have a date.

1008
00:54:42,360 --> 00:54:45,080
Speaker 3: Yeah, And it just goes so wrong.

1009
00:54:45,600 --> 00:54:47,800
Speaker 2: So by the time he goes to this bar and

1010
00:54:47,880 --> 00:54:51,800
Speaker 2: meets Ratso, who is just the sweatiest motherfucker in this city.

1011
00:54:53,600 --> 00:54:57,320
Speaker 2: Like Dustin Hoffman in this film is doing the most

1012
00:54:57,880 --> 00:55:00,680
Speaker 2: body horror work I've seen from him.

1013
00:55:01,160 --> 00:55:05,680
Speaker 1: I mean, I obviously no spoilers, but by the end

1014
00:55:05,719 --> 00:55:10,719
Speaker 1: of the film, you're like, how can one character look

1015
00:55:11,040 --> 00:55:14,319
Speaker 1: this gross? Like you're just I mean, it rivals The

1016
00:55:14,440 --> 00:55:19,920
Speaker 1: Fly in a weird way, like, yo, this it is.

1017
00:55:20,760 --> 00:55:23,680
Speaker 2: Bad the Fly.

1018
00:55:27,320 --> 00:55:29,640
Speaker 1: Maybe that's maybe that's a double feature for you guys,

1019
00:55:29,719 --> 00:55:36,840
Speaker 1: is like watching characters deteriorate and watch this movie and

1020
00:55:36,880 --> 00:55:38,080
Speaker 1: The Fly and.

1021
00:55:38,120 --> 00:55:43,239
Speaker 2: The theme is we're falling apart for reasons, yes, we're

1022
00:55:43,239 --> 00:55:49,839
Speaker 2: falling apart. But he is so outwardly gross and struggling,

1023
00:55:50,600 --> 00:55:53,880
Speaker 2: and Joe just kind of tells him his whole plan,

1024
00:55:54,160 --> 00:55:57,000
Speaker 2: and Ratso' is like, oh, I can help you with that.

1025
00:55:57,080 --> 00:55:59,120
Speaker 2: I know this guy named no Daniel and he'll set

1026
00:55:59,160 --> 00:56:00,960
Speaker 2: you up in business, And like what you need as

1027
00:56:01,000 --> 00:56:04,759
Speaker 2: a manager. And he gets hustled by Ratso too, Like

1028
00:56:04,800 --> 00:56:06,960
Speaker 2: he's just getting hustled by everyone, and he meets this

1029
00:56:07,040 --> 00:56:10,120
Speaker 2: so Daniel guy and he ends up being like this

1030
00:56:10,520 --> 00:56:15,799
Speaker 2: wild priest who's basically like, you know, he's like this

1031
00:56:16,360 --> 00:56:18,840
Speaker 2: evangelical priest who's trying to like talk him out of

1032
00:56:18,840 --> 00:56:22,239
Speaker 2: the lifestyle. And this is where Joe Bucks flashbacks, you know,

1033
00:56:22,280 --> 00:56:24,719
Speaker 2: to this terrible night before he left home come back

1034
00:56:24,719 --> 00:56:28,000
Speaker 2: into play. But yeah, like he's like Ratso hustles him

1035
00:56:28,040 --> 00:56:30,560
Speaker 2: out of ten bucks or twenty bucks for a finder's fee,

1036
00:56:30,920 --> 00:56:33,120
Speaker 2: and this woman's hustled him out of twenty bucks and

1037
00:56:33,160 --> 00:56:35,040
Speaker 2: he's just like losing all of his money. So when

1038
00:56:35,040 --> 00:56:38,000
Speaker 2: he gets back to his hotel room, they're like, you

1039
00:56:38,040 --> 00:56:40,319
Speaker 2: can't pay us, so you can't stay here or get

1040
00:56:40,360 --> 00:56:42,600
Speaker 2: any of your shit until you pay.

1041
00:56:42,920 --> 00:56:44,879
Speaker 3: So all he has is is radio, and.

1042
00:56:44,840 --> 00:56:47,280
Speaker 2: He's just walking around the streets in New York dressed

1043
00:56:47,280 --> 00:56:51,680
Speaker 2: like a cowboy, like a total cowboy, and he's just

1044
00:56:51,840 --> 00:56:54,520
Speaker 2: so lonely, like I don't think I think that. In

1045
00:56:54,520 --> 00:56:57,279
Speaker 2: that Vanity Fair article I read by Glenn Frankel, he

1046
00:56:57,320 --> 00:57:01,000
Speaker 2: also talked about how this was first time that New

1047
00:57:01,040 --> 00:57:03,080
Speaker 2: York city was kind of shown in this way, like

1048
00:57:03,080 --> 00:57:08,400
Speaker 2: this very solemn, dirty, lonely place to be, and so

1049
00:57:08,480 --> 00:57:10,879
Speaker 2: we're kind of seeing the CD Underbelly of New York

1050
00:57:10,920 --> 00:57:16,240
Speaker 2: for the first time, which comes to fruition when Joe's like, well,

1051
00:57:16,320 --> 00:57:19,000
Speaker 2: I know what I gotta do. I gotta go to

1052
00:57:19,080 --> 00:57:22,040
Speaker 2: Times Square and I gotta start tricking, because that's what

1053
00:57:22,120 --> 00:57:24,360
Speaker 2: Time Square was back then. So he does. He goes

1054
00:57:24,400 --> 00:57:28,640
Speaker 2: and meets Bob Balaban, a young Bob Balaban.

1055
00:57:30,200 --> 00:57:31,840
Speaker 3: Always forget that that's him.

1056
00:57:32,320 --> 00:57:37,040
Speaker 2: Right in a wild scene where you know, again he

1057
00:57:37,120 --> 00:57:39,760
Speaker 2: gets hustled where he's you know, agrees to go to

1058
00:57:39,840 --> 00:57:42,000
Speaker 2: this movie theater, and we've talked about this, like especially

1059
00:57:42,000 --> 00:57:45,240
Speaker 2: in basket Case, where Times Square used to be this

1060
00:57:45,400 --> 00:57:48,440
Speaker 2: kind of den of iniquity, for places for things like this,

1061
00:57:48,520 --> 00:57:50,400
Speaker 2: so he would, you know, he went to this movie

1062
00:57:50,440 --> 00:57:53,600
Speaker 2: theater and Bob Balaban gives him oral sex and then

1063
00:57:53,680 --> 00:57:57,840
Speaker 2: he's like, I actually don't have any money. So Joe

1064
00:57:57,880 --> 00:58:01,400
Speaker 2: is struggling, like he is struggling to not just function

1065
00:58:02,240 --> 00:58:05,320
Speaker 2: in a day to day experience, but he's struggling with

1066
00:58:05,400 --> 00:58:08,200
Speaker 2: the concept of who he is. The more this movie

1067
00:58:08,280 --> 00:58:11,000
Speaker 2: goes on, like in the Country version of Joe Buck.

1068
00:58:11,120 --> 00:58:13,480
Speaker 2: He was king of his fucking domain until that one

1069
00:58:13,520 --> 00:58:18,040
Speaker 2: event happened that really I forced him out of that setting,

1070
00:58:18,120 --> 00:58:21,080
Speaker 2: like he needed to get out of there. But in

1071
00:58:21,160 --> 00:58:24,200
Speaker 2: the city he is not only a nobody, but he

1072
00:58:24,480 --> 00:58:29,120
Speaker 2: doesn't have the skills or the wherewithal to survive even

1073
00:58:29,160 --> 00:58:33,040
Speaker 2: a day in that city. So it's very very interesting.

1074
00:58:33,360 --> 00:58:36,960
Speaker 3: Yeah, there's that scene. This I mean not gonna lie.

1075
00:58:37,000 --> 00:58:39,960
Speaker 1: This movie is a stone cold bummer all throughout.

1076
00:58:40,160 --> 00:58:41,400
Speaker 3: It really is bleak.

1077
00:58:43,600 --> 00:58:45,120
Speaker 2: I mean kind of in this like.

1078
00:58:46,680 --> 00:58:50,400
Speaker 1: It is so bleak that there is like a it

1079
00:58:50,480 --> 00:58:53,960
Speaker 1: has like a vibe, right and sometimes you're in the

1080
00:58:54,000 --> 00:58:55,800
Speaker 1: mood for that vibe. Sometimes I want to watch a

1081
00:58:55,800 --> 00:58:58,160
Speaker 1: bleak as fuck movie right now. This will do it

1082
00:58:58,280 --> 00:59:01,400
Speaker 1: for you if you're ever in that movie. But there's

1083
00:59:01,480 --> 00:59:05,000
Speaker 1: this scene in particular that really bumms me the fuck

1084
00:59:05,040 --> 00:59:08,919
Speaker 1: out where he's walking down I guess forty second straight

1085
00:59:08,960 --> 00:59:12,760
Speaker 1: or wherever he is in his cowboy get up and

1086
00:59:12,840 --> 00:59:16,160
Speaker 1: he looks around and there's like a million guys on

1087
00:59:16,160 --> 00:59:18,919
Speaker 1: the street that looked just like him, Like they're like, Oh,

1088
00:59:19,000 --> 00:59:21,160
Speaker 1: here's this guy a cowboy hat, this guy's got a

1089
00:59:21,200 --> 00:59:24,440
Speaker 1: fringe jacket, this guy. So it's just that realization that

1090
00:59:24,480 --> 00:59:26,760
Speaker 1: it's like, oh, here, I thought I was this like

1091
00:59:26,960 --> 00:59:31,880
Speaker 1: special thing country come to town. Turns out every hustler on

1092
00:59:31,920 --> 00:59:33,959
Speaker 1: forty second Street looks exactly like.

1093
00:59:33,920 --> 00:59:36,800
Speaker 2: Me, completely a bummer.

1094
00:59:37,440 --> 00:59:39,320
Speaker 3: Yeah, yeah, it is so.

1095
00:59:39,640 --> 00:59:43,640
Speaker 2: And this is recognition on his face of oh, this

1096
00:59:43,760 --> 00:59:45,560
Speaker 2: is why women have been treating me like shit all

1097
00:59:45,640 --> 00:59:48,000
Speaker 2: day because they knew who I was before I even

1098
00:59:48,080 --> 00:59:50,800
Speaker 2: knew who I was. They could see me coming a

1099
00:59:50,800 --> 00:59:53,680
Speaker 2: mile away, and I didn't know that that's what was

1100
00:59:53,680 --> 00:59:58,600
Speaker 2: happening in this city. Yeah, it is a bleak, bleak moment. Yeah,

1101
00:59:58,640 --> 01:00:01,480
Speaker 2: and god, there's another scene that bums me out so

1102
01:00:01,560 --> 01:00:05,720
Speaker 2: much too. Like he he eventually reconnects with Ratso and

1103
01:00:05,760 --> 01:00:07,720
Speaker 2: he's like, yo, fuck you. You took ten bucks over our

1104
01:00:07,760 --> 01:00:10,760
Speaker 2: twenty bucks for me. And Ratso's like, look, I've got

1105
01:00:10,760 --> 01:00:13,720
Speaker 2: a lot of opinions. I've got an awful lifestyle. All

1106
01:00:13,720 --> 01:00:15,280
Speaker 2: I want to do is go to Florida for some

1107
01:00:15,320 --> 01:00:17,280
Speaker 2: sunshine and coc and that. So that is my plan.

1108
01:00:17,760 --> 01:00:21,280
Speaker 2: In the meantime, I'm living in a squat. You can

1109
01:00:21,280 --> 01:00:24,160
Speaker 2: come chill with me and I will take on And

1110
01:00:24,240 --> 01:00:25,560
Speaker 2: Joe's like, all right, but you gotta take on the

1111
01:00:25,600 --> 01:00:27,720
Speaker 2: job of being my actual manager like you said you

1112
01:00:27,760 --> 01:00:31,760
Speaker 2: would be and help me kind of kickstart my sex

1113
01:00:31,800 --> 01:00:35,800
Speaker 2: work career. And so there's this really it's the only

1114
01:00:35,960 --> 01:00:38,480
Speaker 2: scene in the film, and it's not even fun. It's

1115
01:00:38,520 --> 01:00:40,360
Speaker 2: just got a little more levity than the rest of

1116
01:00:40,360 --> 01:00:43,840
Speaker 2: the film, where he's like stealing clothes and like getting

1117
01:00:44,000 --> 01:00:45,960
Speaker 2: Joe kind of cleaned up and like break it into

1118
01:00:46,000 --> 01:00:49,320
Speaker 2: the shoeshine boxes and shit, and he's getting Joe kind

1119
01:00:49,320 --> 01:00:53,160
Speaker 2: of cleaned up, and then he steals Ratso steals the

1120
01:00:53,240 --> 01:00:56,400
Speaker 2: address from an escort service and like kind of sets

1121
01:00:56,440 --> 01:00:59,080
Speaker 2: Joe up in this hospital or this excuse me, this

1122
01:00:59,160 --> 01:01:02,320
Speaker 2: hotel where a lot of rich women hire sex workers,

1123
01:01:02,400 --> 01:01:04,880
Speaker 2: and of course the plan backfire is because again Joe

1124
01:01:04,920 --> 01:01:07,360
Speaker 2: has no idea what he's doing, so he's instantly thrown

1125
01:01:07,360 --> 01:01:11,400
Speaker 2: out for solicitation. But you get to see a little

1126
01:01:11,400 --> 01:01:15,760
Speaker 2: bit of Ratzo's dream in that moment where he's kind

1127
01:01:15,760 --> 01:01:17,840
Speaker 2: of watching Joe go off into what he thinks is

1128
01:01:17,880 --> 01:01:22,320
Speaker 2: their future. And there's this really like psychedelic scene kind

1129
01:01:22,360 --> 01:01:25,520
Speaker 2: of far out where he's envisioning himself in Florida, being

1130
01:01:25,600 --> 01:01:29,480
Speaker 2: like the man of man about town and he's you know,

1131
01:01:29,600 --> 01:01:33,520
Speaker 2: still sweating up a storm, but he's got, you know,

1132
01:01:33,560 --> 01:01:36,600
Speaker 2: he's got everyone wrapped around his finger essentially, and so

1133
01:01:36,840 --> 01:01:40,960
Speaker 2: his dreams are constantly crashing down too. And you're watching

1134
01:01:41,040 --> 01:01:44,200
Speaker 2: these two characters, these two people trying to hold on

1135
01:01:44,320 --> 01:01:47,440
Speaker 2: to each other for like for like a like a

1136
01:01:47,560 --> 01:01:51,400
Speaker 2: life support, and neither one of them is equipped to

1137
01:01:51,400 --> 01:01:54,480
Speaker 2: help themselves or the other person. So it's like, and again,

1138
01:01:54,520 --> 01:01:56,800
Speaker 2: I know you haven't seen Titanic, but it's like Rose

1139
01:01:56,840 --> 01:01:58,560
Speaker 2: and Jack on that fucking door at the end. It's

1140
01:01:58,600 --> 01:02:01,120
Speaker 2: like if you get on, I'm gonna and if I

1141
01:02:01,160 --> 01:02:05,080
Speaker 2: get off, I'm gonna die. Like this is a constant

1142
01:02:05,120 --> 01:02:08,560
Speaker 2: seesaw that you're watching with these characters between like can

1143
01:02:08,600 --> 01:02:10,600
Speaker 2: we actually help each other? I don't know, but we're

1144
01:02:10,600 --> 01:02:13,600
Speaker 2: all we've got. And Ratso's got the street smarts, like

1145
01:02:13,600 --> 01:02:16,040
Speaker 2: he's born and raised in New York and he kind

1146
01:02:16,040 --> 01:02:17,720
Speaker 2: of has the street smarts, but he doesn't have the

1147
01:02:18,000 --> 01:02:21,120
Speaker 2: temperament or the personality to make his dreams come true.

1148
01:02:21,120 --> 01:02:24,800
Speaker 2: In New York, people outwardly hate him and he's kind

1149
01:02:24,840 --> 01:02:28,720
Speaker 2: of vile and like he's just reviled, Like he's a

1150
01:02:28,800 --> 01:02:31,840
Speaker 2: definitely a reviled character. So he's like, all right, well,

1151
01:02:31,960 --> 01:02:34,720
Speaker 2: if I'm gonna make it and use my knowledge in

1152
01:02:34,760 --> 01:02:36,640
Speaker 2: a way that makes my life better. I got to

1153
01:02:36,640 --> 01:02:38,840
Speaker 2: get the fuck out of here, and Joe's like, but wait,

1154
01:02:38,880 --> 01:02:40,480
Speaker 2: I just got here. Give me some of that knowledge

1155
01:02:40,480 --> 01:02:41,000
Speaker 2: before you go.

1156
01:02:41,440 --> 01:02:44,760
Speaker 1: Yeah, I okay, I'm gonna say this right now, and

1157
01:02:44,800 --> 01:02:48,760
Speaker 1: I hope I'm not offending entire segments of our listenership.

1158
01:02:49,200 --> 01:02:51,280
Speaker 1: And I don't know if this is because I've spent

1159
01:02:51,440 --> 01:02:53,080
Speaker 1: extensive amounts of time in the.

1160
01:02:53,040 --> 01:02:54,880
Speaker 3: State of Florida.

1161
01:02:55,160 --> 01:02:59,480
Speaker 1: Is there anything sadder than someone who believes that all

1162
01:02:59,520 --> 01:03:04,960
Speaker 1: their dreams will come true in Florida present day? No,

1163
01:03:05,240 --> 01:03:10,800
Speaker 1: there's nothing better like I This is something actually that

1164
01:03:11,160 --> 01:03:13,400
Speaker 1: I have to give myself a programming challenge because I

1165
01:03:13,440 --> 01:03:16,120
Speaker 1: can think of, like to at least two movies where

1166
01:03:16,360 --> 01:03:19,959
Speaker 1: the characters are so desperate to go to Florida because

1167
01:03:19,960 --> 01:03:23,080
Speaker 1: they think that they're going to reinvent themselves and you know,

1168
01:03:23,200 --> 01:03:24,640
Speaker 1: make a good life for themselves.

1169
01:03:24,960 --> 01:03:26,920
Speaker 2: And this is like part.

1170
01:03:26,720 --> 01:03:29,440
Speaker 1: Of what I think is So, this is why this

1171
01:03:29,520 --> 01:03:31,600
Speaker 1: movie is so interesting and why I love reading about

1172
01:03:31,600 --> 01:03:33,919
Speaker 1: it and love talking about it is because Yeah, you're

1173
01:03:34,000 --> 01:03:37,240
Speaker 1: exactly right. There's like two dreams going on right now,

1174
01:03:37,280 --> 01:03:40,439
Speaker 1: which is that the country comes to town and then

1175
01:03:40,480 --> 01:03:42,760
Speaker 1: the town wants to go to Florida, you know.

1176
01:03:43,560 --> 01:03:48,360
Speaker 4: And it's just this kind of like naive, this like

1177
01:03:48,520 --> 01:03:54,360
Speaker 4: naive thinking of like I mean, Ratso is living in

1178
01:03:54,400 --> 01:03:55,320
Speaker 4: a squat.

1179
01:03:55,640 --> 01:03:59,040
Speaker 1: Okay, Also, I have to ask you, does it ever

1180
01:03:59,640 --> 01:04:02,920
Speaker 1: does ever get revealed like what Ratso is sick with?

1181
01:04:03,080 --> 01:04:05,600
Speaker 1: Like does he have septic shock? Like I'm like, what

1182
01:04:05,920 --> 01:04:06,920
Speaker 1: is this illness?

1183
01:04:07,600 --> 01:04:10,600
Speaker 2: He is sick throughout and he's getting sicker and sicker

1184
01:04:10,640 --> 01:04:14,240
Speaker 2: and sicker, and it's not revealed in the film at all. Yeah,

1185
01:04:14,600 --> 01:04:17,040
Speaker 2: and he of course can't go to a doctor and

1186
01:04:17,120 --> 01:04:19,520
Speaker 2: so we never find out in the film what it is.

1187
01:04:20,240 --> 01:04:22,800
Speaker 2: But it's an illness that's progressing to the point where

1188
01:04:22,800 --> 01:04:26,320
Speaker 2: he loses the use of his legs. So it could

1189
01:04:26,360 --> 01:04:28,480
Speaker 2: be like MS or it could be something, but it

1190
01:04:28,520 --> 01:04:31,920
Speaker 2: seems like it's also something to do with his lungs

1191
01:04:32,000 --> 01:04:34,440
Speaker 2: and like his whole vascular system, like he is just

1192
01:04:34,480 --> 01:04:38,320
Speaker 2: struggling the function. And I think that the what I

1193
01:04:38,400 --> 01:04:40,840
Speaker 2: keep taking away from this film when I watch it

1194
01:04:40,880 --> 01:04:44,880
Speaker 2: is that I believe they're trying to convey this notion

1195
01:04:45,400 --> 01:04:49,640
Speaker 2: that the way he lives is killing him. So the

1196
01:04:49,960 --> 01:04:52,880
Speaker 2: fact that he's poor, the fact that he can't get

1197
01:04:53,160 --> 01:04:57,360
Speaker 2: by the fact that he already has a disability, like

1198
01:04:57,400 --> 01:05:00,439
Speaker 2: he kind of walks with a limp, and so trying

1199
01:05:00,440 --> 01:05:04,920
Speaker 2: to convey this underlying notion that like his lifestyle is

1200
01:05:05,000 --> 01:05:07,000
Speaker 2: killing him because he can't get proper care and if

1201
01:05:07,000 --> 01:05:09,240
Speaker 2: he could get care for one of his ailments, he

1202
01:05:09,360 --> 01:05:12,480
Speaker 2: might actually thrive. But because he can't get help for

1203
01:05:12,600 --> 01:05:14,919
Speaker 2: any of them, they just get progressively worse and worse

1204
01:05:14,960 --> 01:05:15,360
Speaker 2: and worse.

1205
01:05:15,880 --> 01:05:18,080
Speaker 1: Yeah, I couldn't figure out if this was something like

1206
01:05:18,120 --> 01:05:23,040
Speaker 1: a chronic condition or if this was like some acute

1207
01:05:23,120 --> 01:05:26,600
Speaker 1: thing where you know, maybe he like cut himself in

1208
01:05:26,600 --> 01:05:29,520
Speaker 1: a rusty can and was just like, you know, sweating

1209
01:05:29,560 --> 01:05:33,360
Speaker 1: out basically, because I was like, this is fascinating because

1210
01:05:33,360 --> 01:05:36,400
Speaker 1: that's part of like his character progression is obviously he

1211
01:05:36,400 --> 01:05:40,640
Speaker 1: gets sicker and sicker, looks grosser and grosser, and you know,

1212
01:05:40,840 --> 01:05:43,120
Speaker 1: and he can't take care of himself, and like even

1213
01:05:43,280 --> 01:05:45,440
Speaker 1: the interesting part is that there's a moment where Joe

1214
01:05:45,480 --> 01:05:48,280
Speaker 1: actually like gets a little bit of money, goes to

1215
01:05:48,360 --> 01:05:53,200
Speaker 1: the store and buys a medicine and he's just like okay, cool,

1216
01:05:53,680 --> 01:05:55,920
Speaker 1: like you know what I mean, Like he's not like

1217
01:05:56,560 --> 01:05:58,640
Speaker 1: almost kind of like, well, I deal with this all

1218
01:05:58,680 --> 01:06:00,000
Speaker 1: the time and none of that's going to help me

1219
01:06:00,160 --> 01:06:02,400
Speaker 1: type of thing. And I'm like, well, what is that?

1220
01:06:02,800 --> 01:06:04,680
Speaker 1: You know, I don't know what it is it, you know,

1221
01:06:04,840 --> 01:06:06,320
Speaker 1: or like what he's suffering from.

1222
01:06:06,400 --> 01:06:08,960
Speaker 2: It's very interesting, But I like that they leave it

1223
01:06:09,000 --> 01:06:11,960
Speaker 2: nebulous because you get you get to kind of wonder, like,

1224
01:06:12,120 --> 01:06:15,040
Speaker 2: what is is this a resistance in this character that

1225
01:06:15,080 --> 01:06:17,720
Speaker 2: he refuses to help himself even though he looks so

1226
01:06:17,800 --> 01:06:21,520
Speaker 2: industrious and he's always trying to make a buck, he's

1227
01:06:21,560 --> 01:06:24,760
Speaker 2: not actually trying to help himself ever, So it seems

1228
01:06:24,760 --> 01:06:28,320
Speaker 2: like a really cool shade of this character to kind

1229
01:06:28,320 --> 01:06:31,160
Speaker 2: of question, like, well, what is his illness and why

1230
01:06:31,200 --> 01:06:33,040
Speaker 2: isn't he getting help for it? And is he so?

1231
01:06:34,120 --> 01:06:36,080
Speaker 2: Is he lying to himself the same way that Joe

1232
01:06:36,160 --> 01:06:40,120
Speaker 2: is lying to himself about his abilities and you know,

1233
01:06:40,160 --> 01:06:42,520
Speaker 2: his his ability to kind of make money and thrive

1234
01:06:42,600 --> 01:06:44,160
Speaker 2: and do what he actually wants to do in New

1235
01:06:44,280 --> 01:06:48,880
Speaker 2: York while ignoring his major trauma and ignoring his major

1236
01:06:48,920 --> 01:06:51,200
Speaker 2: illness in order to try to get by. He's just

1237
01:06:51,240 --> 01:06:53,040
Speaker 2: living day to day the same way that Joe is.

1238
01:06:53,720 --> 01:06:55,920
Speaker 2: And that came through to me loud and clear as

1239
01:06:55,960 --> 01:06:57,840
Speaker 2: well this time. But like these are just people living

1240
01:06:58,040 --> 01:06:59,880
Speaker 2: day to day, hour to hour.

1241
01:07:00,080 --> 01:07:04,080
Speaker 1: Sometimes that there's that whole scene where they go to

1242
01:07:04,280 --> 01:07:08,440
Speaker 1: like the you know, fake Andy Warhol party or whatever,

1243
01:07:09,280 --> 01:07:12,840
Speaker 1: and they're about to walk up the stairs to go

1244
01:07:12,920 --> 01:07:17,440
Speaker 1: into the loft or whatever, and rats like basically can't even.

1245
01:07:17,720 --> 01:07:21,560
Speaker 3: Walk up the stairs. He's so winded. And then you know, Joe.

1246
01:07:21,400 --> 01:07:23,800
Speaker 1: Basically is like, all right, let's get your look together.

1247
01:07:24,240 --> 01:07:26,880
Speaker 1: I mean, goddamn, this movie is bleak. This is another

1248
01:07:27,200 --> 01:07:30,360
Speaker 1: fucking bummer part. But it's like he's like, oh, I

1249
01:07:30,360 --> 01:07:32,840
Speaker 1: gotta like, you know, let's comb your hair, let's get.

1250
01:07:32,760 --> 01:07:33,520
Speaker 2: Do something with your hair.

1251
01:07:33,560 --> 01:07:36,960
Speaker 1: And it's just like that ain't gonna do it, man,

1252
01:07:37,280 --> 01:07:39,480
Speaker 1: Like he like they just kind of try to slip

1253
01:07:39,640 --> 01:07:42,000
Speaker 1: his hair is like you know, a rat's nest.

1254
01:07:42,240 --> 01:07:45,120
Speaker 3: I mean, he's sweating, constantly sweating, and he's just.

1255
01:07:45,080 --> 01:07:46,880
Speaker 1: Like they're trying to like comb it and make it

1256
01:07:46,920 --> 01:07:50,680
Speaker 1: look good. And I'm like, yo, I don't even think

1257
01:07:50,680 --> 01:07:52,840
Speaker 1: he can climb up these stairs to make it to

1258
01:07:52,880 --> 01:07:56,120
Speaker 1: the party. Yes, And then he actually when he leaves

1259
01:07:56,120 --> 01:07:59,480
Speaker 1: the party, he falls down the stairs and I'm like this, yo,

1260
01:07:59,720 --> 01:08:01,800
Speaker 1: this guy's breaking, like.

1261
01:08:02,000 --> 01:08:04,400
Speaker 2: After he just spent the whole party doing laps and

1262
01:08:04,480 --> 01:08:06,800
Speaker 2: jamming food in his pockets, and the lady's like, yo,

1263
01:08:06,880 --> 01:08:09,320
Speaker 2: you don't have to steal the food. It is free,

1264
01:08:09,360 --> 01:08:12,240
Speaker 2: and he's like, great, get me all of it, did

1265
01:08:12,280 --> 01:08:12,520
Speaker 2: you not?

1266
01:08:12,720 --> 01:08:15,000
Speaker 1: This is how I felt every time I see that part.

1267
01:08:15,080 --> 01:08:18,840
Speaker 1: I'm like, yes, I am Ratso like my hot friend.

1268
01:08:18,920 --> 01:08:21,680
Speaker 1: My hot friend got invited to the school party and

1269
01:08:21,840 --> 01:08:25,760
Speaker 1: I'm there, I'm their ugo. That's just stealing the salami

1270
01:08:25,960 --> 01:08:26,839
Speaker 1: off of the spread.

1271
01:08:27,720 --> 01:08:29,720
Speaker 2: They're just trying to make me passable enough to be

1272
01:08:29,760 --> 01:08:31,599
Speaker 2: able to go through the door so that they can

1273
01:08:31,640 --> 01:08:33,960
Speaker 2: go in and have a good time. And I'm gonna

1274
01:08:33,960 --> 01:08:36,439
Speaker 2: sit in the corner with like a dagwood sandwich that

1275
01:08:36,479 --> 01:08:38,920
Speaker 2: I've compiled out of all the orders.

1276
01:08:39,840 --> 01:08:43,519
Speaker 1: I'm like housing appetites, just like, get all those meats,

1277
01:08:44,680 --> 01:08:45,599
Speaker 1: you go have fun.

1278
01:08:46,640 --> 01:08:50,560
Speaker 2: I'm just gonna be eating the salami they got pineapple.

1279
01:08:50,680 --> 01:08:51,640
Speaker 3: I'm cool.

1280
01:08:53,320 --> 01:08:54,480
Speaker 2: Pineapple and toothpicks.

1281
01:08:54,520 --> 01:08:55,439
Speaker 3: I'll be over here.

1282
01:08:58,800 --> 01:09:00,880
Speaker 2: And it does, and it gets and I don't want

1283
01:09:00,880 --> 01:09:04,240
Speaker 2: to ruin the ending, but I will say there is

1284
01:09:04,280 --> 01:09:07,479
Speaker 2: an attempt at an escape from New York that just

1285
01:09:07,600 --> 01:09:11,960
Speaker 2: lands them both in more of the worst luck that

1286
01:09:12,000 --> 01:09:16,120
Speaker 2: you can ever imagine. And so this is a very

1287
01:09:16,400 --> 01:09:20,679
Speaker 2: It's a different kind of city, Sadie country, sadie entry,

1288
01:09:21,400 --> 01:09:25,240
Speaker 2: because there's not a lot of hope. It's very, very bleak.

1289
01:09:25,600 --> 01:09:28,679
Speaker 2: It's kind of like Fat City where you're just watching people. Yeah,

1290
01:09:28,720 --> 01:09:32,240
Speaker 2: like we talked about that movie Fast and you're watching

1291
01:09:32,240 --> 01:09:34,680
Speaker 2: people like, why doesn't he just get a job as

1292
01:09:34,680 --> 01:09:37,760
Speaker 2: a dishwasher. He used to be a dishwasher in fucking Texas.

1293
01:09:37,840 --> 01:09:40,519
Speaker 2: And he's like got such a grandiose idea that he

1294
01:09:40,600 --> 01:09:43,320
Speaker 2: can't let go of. And it's this idea of who

1295
01:09:43,360 --> 01:09:45,439
Speaker 2: he thinks he is and who he wants to be

1296
01:09:46,080 --> 01:09:48,400
Speaker 2: that ends up being his downfall. And I just I

1297
01:09:48,439 --> 01:09:51,439
Speaker 2: love a movie that shows you that kind of grittier

1298
01:09:51,560 --> 01:09:55,000
Speaker 2: side of city life because it's not all fucking gossip

1299
01:09:55,040 --> 01:09:59,200
Speaker 2: Girl and you know, fucking tea at the Ritz and

1300
01:09:59,439 --> 01:10:02,800
Speaker 2: the fucking big piano from the Big Toy Piano from

1301
01:10:02,840 --> 01:10:06,439
Speaker 2: Big Cities are rough in New York City, especially when

1302
01:10:06,479 --> 01:10:09,960
Speaker 2: you dig into the underbelly. There's a lot of rough

1303
01:10:10,000 --> 01:10:12,640
Speaker 2: shit going on in most people's lives.

1304
01:10:13,280 --> 01:10:16,240
Speaker 1: Damn, dude, I gotta say, I mean, I am a

1305
01:10:16,360 --> 01:10:17,759
Speaker 1: fan of this movie.

1306
01:10:17,840 --> 01:10:19,840
Speaker 3: I'm a fan of movies like this.

1307
01:10:19,920 --> 01:10:20,320
Speaker 2: Obviously.

1308
01:10:20,360 --> 01:10:23,759
Speaker 1: I presented Fat City listen, do a double feature called

1309
01:10:23,840 --> 01:10:24,759
Speaker 1: Stone Cold.

1310
01:10:24,560 --> 01:10:29,080
Speaker 2: Bummers, and then just sit in the bath all night

1311
01:10:29,320 --> 01:10:31,680
Speaker 2: wondering about your life. Just sit in the bath in

1312
01:10:31,760 --> 01:10:34,559
Speaker 2: a dark room, dark bathroom, turn the lights out, get

1313
01:10:34,560 --> 01:10:38,360
Speaker 2: in the tub, and just wonder what the fuck your

1314
01:10:38,400 --> 01:10:39,280
Speaker 2: life is all about.

1315
01:10:40,400 --> 01:10:43,360
Speaker 3: I love it. I mean I'm not gonna lie.

1316
01:10:43,520 --> 01:10:47,920
Speaker 1: I fucking love shit like this, Like the bleaker the better,

1317
01:10:49,600 --> 01:10:51,960
Speaker 1: especially when it comes to like New York and the

1318
01:10:52,160 --> 01:10:55,320
Speaker 1: old New York. I mean, we've talked about it. It's

1319
01:10:55,360 --> 01:10:58,520
Speaker 1: so I love seeing old forty second straight.

1320
01:10:58,280 --> 01:10:59,040
Speaker 2: All that stuff.

1321
01:10:59,760 --> 01:11:03,240
Speaker 3: But this is such a perfect movie for the theme.

1322
01:11:04,000 --> 01:11:06,400
Speaker 1: I mean, you can't get a more country sadie than

1323
01:11:06,479 --> 01:11:11,840
Speaker 1: Joe Buck and he really, I mean his the way

1324
01:11:12,080 --> 01:11:15,599
Speaker 1: his like spirit gets diminished.

1325
01:11:15,479 --> 01:11:17,639
Speaker 3: Scene by scene is so.

1326
01:11:17,880 --> 01:11:22,200
Speaker 1: Fucking real and it's so bleak, and it's masterful.

1327
01:11:22,320 --> 01:11:23,680
Speaker 2: Yeah, it's really masterful.

1328
01:11:23,720 --> 01:11:26,760
Speaker 1: And I feel like, you know, it's one of the

1329
01:11:26,880 --> 01:11:30,160
Speaker 1: if you haven't seen Midnight Cowboy. I mean it hesitates

1330
01:11:30,200 --> 01:11:32,559
Speaker 1: saying this because it just seems like this is the

1331
01:11:32,600 --> 01:11:34,479
Speaker 1: thing that film people say all the time.

1332
01:11:34,760 --> 01:11:35,080
Speaker 2: It is.

1333
01:11:35,760 --> 01:11:37,960
Speaker 1: It is a must watch for me, like just yes,

1334
01:11:38,160 --> 01:11:41,880
Speaker 1: to get the references to watch, you know, like the

1335
01:11:42,360 --> 01:11:45,439
Speaker 1: one of the best movies of the late sixties, and

1336
01:11:45,640 --> 01:11:48,000
Speaker 1: just also I gotta say.

1337
01:11:47,840 --> 01:11:49,799
Speaker 3: I'm gonna ask you, ask you this question.

1338
01:11:52,040 --> 01:11:56,160
Speaker 1: I love Okay, I love John Voight as a young

1339
01:11:56,439 --> 01:11:59,519
Speaker 1: as a young actor. I know he's something different now,

1340
01:12:00,120 --> 01:12:05,080
Speaker 1: oh yeah, and we're gonna ignore that part bus.

1341
01:12:05,400 --> 01:12:07,679
Speaker 2: Just that information is out there for you to discover,

1342
01:12:07,720 --> 01:12:08,599
Speaker 2: should you so choose?

1343
01:12:08,800 --> 01:12:12,280
Speaker 1: Yes, Like, there's a different John voy that's on our

1344
01:12:12,800 --> 01:12:15,640
Speaker 1: astral plane right now. But the old John Voight, the

1345
01:12:15,640 --> 01:12:20,040
Speaker 1: one that was in Mindai Cowboy and like, you know, Deliverance,

1346
01:12:20,080 --> 01:12:23,040
Speaker 1: and Conrad is like, I love young John Voight, Okay,

1347
01:12:23,080 --> 01:12:25,559
Speaker 1: I think he's a great actor. There are times in

1348
01:12:25,600 --> 01:12:28,800
Speaker 1: this movie where I'm like, because you know, the whole

1349
01:12:28,800 --> 01:12:31,360
Speaker 1: movie is about him being a fucking hot stud, right,

1350
01:12:31,439 --> 01:12:34,000
Speaker 1: And I'm like, yeah, there are moments where I'm like,

1351
01:12:34,439 --> 01:12:35,759
Speaker 1: he looks like a hot stud.

1352
01:12:35,880 --> 01:12:38,280
Speaker 2: I can see it. He's very cute, he's very tall.

1353
01:12:38,560 --> 01:12:41,200
Speaker 1: And then there are moments from like, he looks exactly

1354
01:12:41,280 --> 01:12:42,600
Speaker 1: like Angelina Jolie.

1355
01:12:42,720 --> 01:12:47,400
Speaker 2: Okay, let's fucking talk about I cannot even tell you

1356
01:12:47,439 --> 01:12:50,920
Speaker 2: because that's her dad obviously, if you haven't put that together,

1357
01:12:51,200 --> 01:12:55,880
Speaker 2: her dad is John Voight, and she has his face Yep,

1358
01:12:56,360 --> 01:12:59,479
Speaker 2: she stole his fucking face. And I've always thought that.

1359
01:12:59,520 --> 01:13:02,000
Speaker 2: And there're you know, some phone is where they're together

1360
01:13:02,120 --> 01:13:04,559
Speaker 2: and you're like, oh yeah, Like she's definitely his kid.

1361
01:13:05,200 --> 01:13:10,479
Speaker 2: In this movie. There are too many scenes where I'm like,

1362
01:13:10,520 --> 01:13:11,519
Speaker 2: that's Angelina Julie.

1363
01:13:11,600 --> 01:13:13,320
Speaker 3: Yes, that's her.

1364
01:13:13,560 --> 01:13:17,360
Speaker 2: Yea, that is her. Yes, Like it is riveting and

1365
01:13:17,479 --> 01:13:19,960
Speaker 2: jarring to see it at this stage of life, when

1366
01:13:19,960 --> 01:13:21,840
Speaker 2: you've watched one of his kids have this kind of

1367
01:13:21,840 --> 01:13:24,599
Speaker 2: career as well. Yeah, but yeah, they have the same face.

1368
01:13:24,600 --> 01:13:27,080
Speaker 2: She has her mom's lips because she has his face. Yes,

1369
01:13:27,240 --> 01:13:27,759
Speaker 2: the eyes.

1370
01:13:27,840 --> 01:13:28,960
Speaker 3: I mean, it's just it's crazy.

1371
01:13:29,000 --> 01:13:32,040
Speaker 1: I was like, yes, John Voyd is very attractive. Well

1372
01:13:32,040 --> 01:13:35,040
Speaker 1: wait a minute, is this Angelina Jolian Hackers right now?

1373
01:13:35,080 --> 01:13:38,000
Speaker 3: Like what am I watching? I'm like, that'sh that's her face.

1374
01:13:39,240 --> 01:13:40,759
Speaker 2: It is I could.

1375
01:13:41,000 --> 01:13:43,320
Speaker 3: There are times I cannot get over it.

1376
01:13:43,560 --> 01:13:45,600
Speaker 1: I'm of two minds whenever I see him as a

1377
01:13:45,640 --> 01:13:49,759
Speaker 1: young as a young actor, so genetics are wild.

1378
01:13:49,960 --> 01:13:51,720
Speaker 2: There are so many scenes that I wrote down in

1379
01:13:51,720 --> 01:13:54,120
Speaker 2: my notes that I'm like, and then Angelina Julie shows

1380
01:13:54,160 --> 01:14:00,360
Speaker 2: up and they do not have a good relationship. So

1381
01:14:00,360 --> 01:14:02,880
Speaker 2: I apologize Miss Joe Lee. I know you probably don't

1382
01:14:02,920 --> 01:14:06,400
Speaker 2: want us putting your names together, but I can't get

1383
01:14:06,439 --> 01:14:06,840
Speaker 2: over it.

1384
01:14:07,000 --> 01:14:09,719
Speaker 3: Yeah, it's it is so crazy how much they look alike.

1385
01:14:09,800 --> 01:14:11,559
Speaker 3: But oh and.

1386
01:14:11,520 --> 01:14:15,160
Speaker 2: There's also I have to mention if you are because

1387
01:14:15,200 --> 01:14:17,439
Speaker 2: there's not a lot of music in this in this film,

1388
01:14:18,120 --> 01:14:20,920
Speaker 2: but one of the other songs that you hear a

1389
01:14:20,960 --> 01:14:23,559
Speaker 2: lot is the theme from Midnight Cowboy, which is a

1390
01:14:23,560 --> 01:14:27,280
Speaker 2: lot of like, you know, kind of a real cowboyish song.

1391
01:14:27,760 --> 01:14:31,639
Speaker 2: Faith No More does an incredible cover of the Midnight

1392
01:14:31,680 --> 01:14:34,960
Speaker 2: Cowboy theme on the album Angel Dust, and it's very

1393
01:14:35,040 --> 01:14:38,479
Speaker 2: orchestral and I've always loved it. And I listened to

1394
01:14:38,520 --> 01:14:41,160
Speaker 2: that song before I ever saw this movie, and I

1395
01:14:41,200 --> 01:14:43,320
Speaker 2: was kind of like, Midnight Cowboy, what's this about? Why

1396
01:14:43,360 --> 01:14:45,840
Speaker 2: are they doing this kind of orchestral thing? So when

1397
01:14:45,840 --> 01:14:48,639
Speaker 2: I finally saw the movie and put two and two together,

1398
01:14:48,720 --> 01:14:58,880
Speaker 2: I was like, Aha, it's beautiful. They turned this very

1399
01:14:58,920 --> 01:15:01,679
Speaker 2: simple song into a very beautiful piece.

1400
01:15:01,880 --> 01:15:04,360
Speaker 1: Yeah, isn't it like John Barry did that soundtrack for

1401
01:15:04,400 --> 01:15:09,080
Speaker 1: the Yeah, those pieces? Yeah amazing. Well got to jam

1402
01:15:09,120 --> 01:15:11,839
Speaker 1: that Faith No More version. That's amazing. I didn't realize

1403
01:15:11,840 --> 01:15:12,360
Speaker 1: they did that.

1404
01:15:13,040 --> 01:15:16,559
Speaker 2: Oh yeah, go today when we finish recording you're gonna

1405
01:15:16,600 --> 01:15:20,519
Speaker 2: look it up, listen to it, and it's so wild

1406
01:15:20,600 --> 01:15:23,479
Speaker 2: that Faith No More of all people because this is

1407
01:15:23,640 --> 01:15:27,120
Speaker 2: I mean, Angel does as an album goes pretty hard. Yeah,

1408
01:15:27,479 --> 01:15:30,320
Speaker 2: And so then they kind of drop in this like

1409
01:15:30,320 --> 01:15:35,240
Speaker 2: like litl sing Lovely Orchestra and Mike Patton isn't singing

1410
01:15:35,240 --> 01:15:37,479
Speaker 2: over it or anything. But who would I be if

1411
01:15:37,479 --> 01:15:38,720
Speaker 2: I didn't mention Faith No More?

1412
01:15:40,120 --> 01:15:44,519
Speaker 1: I expect nothing else? Yeah, well, why.

1413
01:15:44,400 --> 01:15:45,960
Speaker 2: Can't wait to talk about your fucking movie?

1414
01:15:46,040 --> 01:15:49,200
Speaker 3: A bit of a tone shift?

1415
01:15:49,880 --> 01:15:55,519
Speaker 2: This might be our wildest theme tearing in a long time. Yeah.

1416
01:15:55,560 --> 01:15:57,280
Speaker 1: I was trying to think of something that was more

1417
01:15:57,360 --> 01:16:00,760
Speaker 1: jarring than Midnight Cowboy and Beetlejuice, but you know, I

1418
01:16:00,760 --> 01:16:07,559
Speaker 1: can't really think of anything. So my movie for the theme,

1419
01:16:07,840 --> 01:16:11,400
Speaker 1: Citi Sadie Country Sadie is a movie from nineteen eighty eight.

1420
01:16:11,479 --> 01:16:15,479
Speaker 1: It was written by Michael McDowell, Larry Wilson, and Warren Scarn,

1421
01:16:16,080 --> 01:16:22,960
Speaker 1: directed by Tim Burton, and it's called Beetlejuice. So look,

1422
01:16:23,080 --> 01:16:25,720
Speaker 1: I I'm just gonna say it. I I probably don't

1423
01:16:25,760 --> 01:16:29,800
Speaker 1: even need to give any details about this film. Every

1424
01:16:30,000 --> 01:16:32,240
Speaker 1: is a beloved classic. Everybody has seen it probably a

1425
01:16:32,320 --> 01:16:35,320
Speaker 1: hundred times You probably all know who Tim Burton is,

1426
01:16:35,360 --> 01:16:36,400
Speaker 1: the director of this movie.

1427
01:16:36,439 --> 01:16:39,080
Speaker 3: You probably know him a lot more than I do.

1428
01:16:39,280 --> 01:16:44,679
Speaker 1: Let's just say that, but for paperwork purposes, right. So,

1429
01:16:45,040 --> 01:16:50,240
Speaker 1: Beetlejuice was Tim Burton's second film after Peewee's Pick Adventure,

1430
01:16:50,520 --> 01:16:54,120
Speaker 1: which I'm sure everybody has seen a hundred times as well.

1431
01:16:55,040 --> 01:16:57,960
Speaker 2: And listen.

1432
01:16:58,880 --> 01:17:05,320
Speaker 1: I tried to listen to this Canadian Broadcasting corporation produced

1433
01:17:05,840 --> 01:17:08,839
Speaker 1: oral history of Beetlejuice, and I couldn't.

1434
01:17:09,280 --> 01:17:14,599
Speaker 2: It's like unavailable for the I couldn't because it's too bad.

1435
01:17:16,240 --> 01:17:17,200
Speaker 3: We wouldn't get through it.

1436
01:17:17,840 --> 01:17:19,800
Speaker 1: I tried to play it on their website and they're like,

1437
01:17:20,080 --> 01:17:22,360
Speaker 1: this is not available in your country, and I was like, God.

1438
01:17:22,280 --> 01:17:22,640
Speaker 3: Damn it.

1439
01:17:22,680 --> 01:17:25,519
Speaker 1: So guess what you're not. I'll spare you the oral

1440
01:17:25,720 --> 01:17:27,280
Speaker 1: history of Beetlejuice.

1441
01:17:27,479 --> 01:17:30,360
Speaker 2: I cannot believe there's not a US based oral history

1442
01:17:30,360 --> 01:17:32,960
Speaker 2: of Beetle Juice, especially since the Broadway play came out.

1443
01:17:33,680 --> 01:17:38,040
Speaker 1: Yes, it is unavailable for US, but maybe if we

1444
01:17:38,080 --> 01:17:43,040
Speaker 1: write enough letters to the CBC, they'll release the Beetlejuice

1445
01:17:43,200 --> 01:17:44,360
Speaker 1: oral history version.

1446
01:17:48,720 --> 01:17:51,360
Speaker 3: But there's a lot of great articles.

1447
01:17:51,400 --> 01:17:54,080
Speaker 1: I mean, The Ringer has a great article about the

1448
01:17:54,120 --> 01:17:56,559
Speaker 1: history of Beele Juice. So just go look all that

1449
01:17:56,640 --> 01:18:01,840
Speaker 1: stuff up, Okay, I mean this movie it is, it

1450
01:18:01,920 --> 01:18:04,880
Speaker 1: is beloved, it's it's such a classic. I mean, there

1451
01:18:04,920 --> 01:18:08,800
Speaker 1: was an animated series after it was released, like on

1452
01:18:10,120 --> 01:18:12,479
Speaker 1: was it like one of the big three channels?

1453
01:18:12,560 --> 01:18:15,280
Speaker 3: Right, it was like eighty years but oh yeah, something

1454
01:18:15,320 --> 01:18:15,639
Speaker 3: like that.

1455
01:18:16,200 --> 01:18:18,799
Speaker 1: I feel like there was a theme park ride or something,

1456
01:18:18,880 --> 01:18:23,000
Speaker 1: or like a stage show at six Flags or disney

1457
01:18:23,000 --> 01:18:23,759
Speaker 1: World or something.

1458
01:18:23,840 --> 01:18:25,880
Speaker 3: I'm sure somebody will tell me.

1459
01:18:26,800 --> 01:18:29,320
Speaker 1: I'm sure somebody in the comments of our Instagram will

1460
01:18:29,320 --> 01:18:31,720
Speaker 1: tell me exactly what all that stuff is.

1461
01:18:32,280 --> 01:18:33,639
Speaker 2: We already have four emails.

1462
01:18:33,840 --> 01:18:36,400
Speaker 1: Yes, yes, and you know, so there's this like a

1463
01:18:37,000 --> 01:18:38,599
Speaker 1: there's this ubiquitous quality.

1464
01:18:38,600 --> 01:18:43,000
Speaker 3: It's to Beetlejuice, for sure, but you forget.

1465
01:18:43,120 --> 01:18:46,760
Speaker 1: And that's if you're old enough to have forgotten, right that.

1466
01:18:47,080 --> 01:18:50,719
Speaker 1: When Beetlejuice was released, a lot of film critics thought

1467
01:18:50,800 --> 01:18:56,160
Speaker 1: it was pretty stupid, right, and I think famously one

1468
01:18:56,200 --> 01:18:58,720
Speaker 1: of the only people who actually liked it at the

1469
01:18:58,760 --> 01:19:02,200
Speaker 1: time was Pauline Ill, which.

1470
01:19:02,040 --> 01:19:07,200
Speaker 3: I mean trash.

1471
01:19:07,280 --> 01:19:09,200
Speaker 2: She's like, you hate it, I love it, you love it.

1472
01:19:09,240 --> 01:19:10,320
Speaker 2: I fucking hate it.

1473
01:19:10,400 --> 01:19:16,120
Speaker 3: There's my career. We stand an edge, lord a female

1474
01:19:16,200 --> 01:19:17,200
Speaker 3: edge Lord. We love her.

1475
01:19:17,600 --> 01:19:19,880
Speaker 1: But in spite of that, I mean, this movie made

1476
01:19:19,880 --> 01:19:23,160
Speaker 1: a show ton of money. It had a big afterlife,

1477
01:19:23,880 --> 01:19:29,320
Speaker 1: get it with the like the cartoon and the toys,

1478
01:19:29,360 --> 01:19:33,040
Speaker 1: lots of toys Halloween costumes, like I swear to God

1479
01:19:33,360 --> 01:19:35,799
Speaker 1: like this Halloween there was at least like four people

1480
01:19:35,840 --> 01:19:40,680
Speaker 1: on my Instagram feed dressed like Beetlejuice. So it persists

1481
01:19:41,120 --> 01:19:43,720
Speaker 1: in the culture. And so I was thinking about this

1482
01:19:43,760 --> 01:19:45,840
Speaker 1: like critical opinion of it, you know, and I was like,

1483
01:19:46,640 --> 01:19:48,240
Speaker 1: to be honest with you, like a lot of like

1484
01:19:48,360 --> 01:19:51,880
Speaker 1: what I was reading of it in eighty eight when

1485
01:19:51,920 --> 01:19:54,360
Speaker 1: it came out was is all the stuff that I

1486
01:19:54,520 --> 01:19:55,960
Speaker 1: like about it, which is that I think it's like

1487
01:19:56,080 --> 01:20:00,960
Speaker 1: slapstick and goofy. And I have to say too that

1488
01:20:01,640 --> 01:20:03,800
Speaker 1: I think generally when it comes to Tim Burton, right,

1489
01:20:03,880 --> 01:20:07,040
Speaker 1: there's something like that I really connect with with, like

1490
01:20:07,080 --> 01:20:11,000
Speaker 1: the older Tim Burton stuff like yes, Pee Wee's like

1491
01:20:11,680 --> 01:20:14,000
Speaker 1: Edward Scissorhands, you know, Beetlejuice.

1492
01:20:14,400 --> 01:20:16,920
Speaker 3: And I think it's just because of the references.

1493
01:20:16,680 --> 01:20:21,320
Speaker 1: Right, because absolutely Tim Burton has a like a camp

1494
01:20:21,520 --> 01:20:26,200
Speaker 1: quality to him, and I love how he sort of

1495
01:20:26,240 --> 01:20:30,120
Speaker 1: addresses there's kind of these like topics that are throughout

1496
01:20:30,120 --> 01:20:32,440
Speaker 1: his films. A lot of them deal with like old Hollywood,

1497
01:20:32,479 --> 01:20:37,080
Speaker 1: but also like the concept of tackiness, right, yes, and

1498
01:20:37,560 --> 01:20:40,600
Speaker 1: he also, like to our point to the theme, he

1499
01:20:40,720 --> 01:20:44,760
Speaker 1: talks a lot about like the Burbs, right, the tackiness

1500
01:20:44,800 --> 01:20:47,559
Speaker 1: of the Burbs. And I feel like he grew up

1501
01:20:47,560 --> 01:20:51,720
Speaker 1: in Burbank maybe, yeah, And so I don't know, I mean,

1502
01:20:51,760 --> 01:20:53,800
Speaker 1: to me, you know, to all of us, not living

1503
01:20:53,800 --> 01:20:57,240
Speaker 1: in La Burbank is the high highest of culture.

1504
01:20:57,479 --> 01:20:59,360
Speaker 3: Maybe, but I guess in reference to.

1505
01:20:59,439 --> 01:21:02,960
Speaker 1: La Bank is kind of you know, like a corny

1506
01:21:03,520 --> 01:21:05,200
Speaker 1: burb or something, right.

1507
01:21:05,240 --> 01:21:07,720
Speaker 2: And also like very similar it was. It was it

1508
01:21:07,760 --> 01:21:09,760
Speaker 2: was a true suburb and that like the houses all

1509
01:21:09,800 --> 01:21:11,280
Speaker 2: look the same and the people all acted the same,

1510
01:21:11,320 --> 01:21:12,760
Speaker 2: and like at the time that he grew up there,

1511
01:21:12,800 --> 01:21:15,960
Speaker 2: I imagine it was just compounded by the fact that

1512
01:21:16,000 --> 01:21:19,280
Speaker 2: they were so close to like this Hollywood area. Yeah,

1513
01:21:19,360 --> 01:21:21,439
Speaker 2: they weren't accessing that in their day to day life

1514
01:21:21,520 --> 01:21:21,880
Speaker 2: at all.

1515
01:21:22,280 --> 01:21:22,880
Speaker 3: Yeah.

1516
01:21:23,080 --> 01:21:25,479
Speaker 1: Yeah, Like like I always think about, like an Edwards

1517
01:21:25,479 --> 01:21:28,000
Speaker 1: says or hands, like those the colored houses that are

1518
01:21:28,040 --> 01:21:30,200
Speaker 1: all the same and everybody like leaves at the same time.

1519
01:21:30,240 --> 01:21:34,439
Speaker 1: I mean, that kind of stuff seems very much like

1520
01:21:34,479 --> 01:21:36,639
Speaker 1: a product of where he grew up, right.

1521
01:21:37,200 --> 01:21:39,559
Speaker 2: And this he has that kind of disjointedness, I think

1522
01:21:39,600 --> 01:21:41,760
Speaker 2: because of where he grew up and what, you know,

1523
01:21:41,840 --> 01:21:44,400
Speaker 2: his constantly coming back to the themes of the Suburbs.

1524
01:21:44,439 --> 01:21:47,280
Speaker 2: Because I think that it's it's not surprising to me

1525
01:21:47,320 --> 01:21:50,479
Speaker 2: that this movie wasn't critically well received because it suffers

1526
01:21:50,520 --> 01:21:53,600
Speaker 2: from that that thing where people don't know what category

1527
01:21:53,600 --> 01:21:55,519
Speaker 2: to put it in because it's very funny, but it's

1528
01:21:55,560 --> 01:21:57,720
Speaker 2: also very scary and it's kind of for kids, but

1529
01:21:57,760 --> 01:21:59,160
Speaker 2: it's very much not for kids.

1530
01:21:59,240 --> 01:22:02,519
Speaker 1: Yeah, Yeah, And like there's a lot of like good

1531
01:22:02,560 --> 01:22:05,479
Speaker 1: information out there about like the kind of like the

1532
01:22:05,520 --> 01:22:08,040
Speaker 1: genesis of the idea for this movie. And initially it

1533
01:22:08,160 --> 01:22:10,000
Speaker 1: was supposed to be it was supposed to have been

1534
01:22:10,040 --> 01:22:12,840
Speaker 1: like a straight up horror film, and I guess now

1535
01:22:12,880 --> 01:22:15,080
Speaker 1: you would consider it kind of like a horror comedy,

1536
01:22:15,960 --> 01:22:18,479
Speaker 1: like you know, when you think about stuff like Evil

1537
01:22:18,520 --> 01:22:22,639
Speaker 1: Dead two or you know, the second Texas Chainsaw Masac movie,

1538
01:22:22,680 --> 01:22:26,320
Speaker 1: like a lot of those, like you know, comedies that

1539
01:22:26,360 --> 01:22:28,240
Speaker 1: are just like really over the top, like The Burbs.

1540
01:22:28,320 --> 01:22:29,960
Speaker 3: That's an that's a perfect example.

1541
01:22:30,360 --> 01:22:32,240
Speaker 1: But you know, so there's this whole thing that Tim

1542
01:22:32,280 --> 01:22:35,080
Speaker 1: Burton is like working in a lot. So there's like

1543
01:22:35,160 --> 01:22:37,960
Speaker 1: the concept of tackiness, the concept of the urbs. But

1544
01:22:38,040 --> 01:22:40,360
Speaker 1: also he loves old Hollywood, which is why there are

1545
01:22:40,400 --> 01:22:44,760
Speaker 1: people in the movie like Robert Goulay and Dick Kevitt.

1546
01:22:45,360 --> 01:22:47,759
Speaker 1: And there's there's a part of me that thinks that

1547
01:22:47,840 --> 01:22:51,960
Speaker 1: the character of beal Juice too, which you know what

1548
01:22:52,040 --> 01:22:55,839
Speaker 1: I've read like Michael Keaton, who obviously plays Beetle Juice,

1549
01:22:56,479 --> 01:23:00,519
Speaker 1: was very involved in the creation of the care and

1550
01:23:00,560 --> 01:23:02,840
Speaker 1: the way the backstory of the character, the way the

1551
01:23:02,920 --> 01:23:06,000
Speaker 1: character looked, and so there's this like quality of the

1552
01:23:06,080 --> 01:23:08,840
Speaker 1: character Beetlejuice that is very old timey Hollywood to me,

1553
01:23:09,040 --> 01:23:13,320
Speaker 1: just like a fucking sleazy showman guy or something and

1554
01:23:13,360 --> 01:23:16,880
Speaker 1: a which is definitely part of the appeal for me.

1555
01:23:17,840 --> 01:23:21,479
Speaker 1: So I'll just give a one sentence, not just because

1556
01:23:21,800 --> 01:23:23,519
Speaker 1: I just do it. I mean, you guys know what

1557
01:23:23,520 --> 01:23:24,400
Speaker 1: this movie is about.

1558
01:23:25,000 --> 01:23:26,800
Speaker 2: So a married.

1559
01:23:26,560 --> 01:23:30,160
Speaker 1: Couple who are living in rural Connecticut pass away after

1560
01:23:30,200 --> 01:23:33,320
Speaker 1: a car accident. They come back as ghosts and then

1561
01:23:33,400 --> 01:23:36,000
Speaker 1: unsuccessfully try to haunt the people that.

1562
01:23:36,080 --> 01:23:37,280
Speaker 3: Moved into their old house.

1563
01:23:38,080 --> 01:23:40,560
Speaker 2: Beautiful, that's the concept of Beetlejuice.

1564
01:23:41,000 --> 01:23:44,280
Speaker 1: So, I mean, you know, the movie You Got the

1565
01:23:44,360 --> 01:23:49,040
Speaker 1: maitlands Adam and Barbara played by Alec Baldwin and Geena Davis,

1566
01:23:49,800 --> 01:23:52,800
Speaker 1: and at the very beginning of the movie, they're kind

1567
01:23:52,800 --> 01:23:55,439
Speaker 1: of like maybe what the kids would call like cottage core.

1568
01:23:56,479 --> 01:24:04,080
Speaker 2: Is that their far what a sentence? What they're kind

1569
01:24:04,120 --> 01:24:07,639
Speaker 2: of like what the kids would call cottage core. I mean,

1570
01:24:07,880 --> 01:24:09,120
Speaker 2: that's the It's true.

1571
01:24:09,479 --> 01:24:11,920
Speaker 1: Yeah, it seems to be like a lot of like

1572
01:24:12,479 --> 01:24:15,200
Speaker 1: I mean, you know, Geena Davis is wearing these like

1573
01:24:15,960 --> 01:24:20,400
Speaker 1: floor length like Laura Ashley looking dresses and oh my god,

1574
01:24:20,800 --> 01:24:25,600
Speaker 1: uh Adam Adam is wearing like, you know, checker like

1575
01:24:25,680 --> 01:24:28,680
Speaker 1: buffalo plaid stuff with like dockers.

1576
01:24:28,760 --> 01:24:31,760
Speaker 3: It's very like they're kind of like country. They're just

1577
01:24:31,840 --> 01:24:32,400
Speaker 3: kind of country.

1578
01:24:32,400 --> 01:24:35,599
Speaker 2: They're very they're very into being country as well. Yeah,

1579
01:24:35,760 --> 01:24:39,400
Speaker 2: like they love their country house, they love their esthetic.

1580
01:24:40,040 --> 01:24:44,599
Speaker 2: And Jane, their fucking real estate agent, is constantly trying

1581
01:24:44,600 --> 01:24:47,280
Speaker 2: to like get them to sell the house and move

1582
01:24:47,320 --> 01:24:49,920
Speaker 2: on and be country somewhere else, but.

1583
01:24:49,920 --> 01:24:51,080
Speaker 3: They're like, no, we like it here.

1584
01:24:51,120 --> 01:24:53,200
Speaker 2: They go into town and there's like, you know, the

1585
01:24:53,240 --> 01:24:56,920
Speaker 2: old guy in front of the the barbershop five and

1586
01:24:57,040 --> 01:25:00,519
Speaker 2: dime who carries on a conversation even when nobody's around,

1587
01:25:00,600 --> 01:25:04,080
Speaker 2: like he just keeps talking. Well, Adam runs into the store,

1588
01:25:04,120 --> 01:25:07,160
Speaker 2: which I fucking love, and they're into it. They love

1589
01:25:07,200 --> 01:25:08,519
Speaker 2: this small town life.

1590
01:25:08,680 --> 01:25:10,400
Speaker 3: Yes, yes, it's very cozy.

1591
01:25:11,360 --> 01:25:13,680
Speaker 1: You know. Basically at the beginning of the movie, like

1592
01:25:14,200 --> 01:25:16,960
Speaker 1: Adam and Barbara are like about to take like this

1593
01:25:17,120 --> 01:25:20,400
Speaker 1: two week staycation essentially where Adam is gonna like work

1594
01:25:20,400 --> 01:25:22,880
Speaker 1: on his models and he's gonna listen to Harry Belafonte

1595
01:25:23,640 --> 01:25:26,960
Speaker 1: and everything is great. And then they go into town

1596
01:25:27,080 --> 01:25:31,400
Speaker 1: one day and accidentally drive off of a bridge because

1597
01:25:31,439 --> 01:25:35,000
Speaker 1: of a dog, like a very precocious dog.

1598
01:25:36,200 --> 01:25:39,839
Speaker 2: They swear to avoid a dog who ends up killing them. Yes,

1599
01:25:42,479 --> 01:25:44,360
Speaker 2: and he's like, all I wanted to do was go

1600
01:25:44,400 --> 01:25:47,000
Speaker 2: into town and get some paint for the model I'm

1601
01:25:47,000 --> 01:25:48,679
Speaker 2: building up this entire town.

1602
01:25:49,120 --> 01:25:50,559
Speaker 3: That's how much I love this town.

1603
01:25:50,880 --> 01:25:53,760
Speaker 2: I'm building a model of it in my attic exactly.

1604
01:25:54,200 --> 01:25:58,639
Speaker 1: And if you need a second movie for your dogs

1605
01:25:59,040 --> 01:26:04,120
Speaker 1: who murder people double feature, You've got Beetlejuice. Animals are killed,

1606
01:26:05,240 --> 01:26:09,439
Speaker 1: so basically everything that happens after they die, right, is

1607
01:26:09,560 --> 01:26:13,639
Speaker 1: essentially this fantasy of what being dead is like, which,

1608
01:26:13,760 --> 01:26:17,679
Speaker 1: according to Tim Burton, means that you essentially get ushered

1609
01:26:17,720 --> 01:26:24,479
Speaker 1: into this like entire bureaucracy of like handbooks and case

1610
01:26:24,520 --> 01:26:28,240
Speaker 1: workers and like waiting in offices for an eternity and

1611
01:26:28,320 --> 01:26:33,080
Speaker 1: basically being like, okay, like what are the fucking rules here?

1612
01:26:33,120 --> 01:26:35,200
Speaker 1: Like I don't know is anybody gonna tell me anything.

1613
01:26:36,120 --> 01:26:39,880
Speaker 1: We're just riffing. We have no idea what this is like, right,

1614
01:26:39,960 --> 01:26:41,960
Speaker 1: Like we don't we don't even know we're dead at first.

1615
01:26:42,240 --> 01:26:45,280
Speaker 2: We just thought we got home. Yes, they try to.

1616
01:26:45,439 --> 01:26:47,360
Speaker 1: They try to walk out of their damn door and

1617
01:26:47,400 --> 01:26:49,840
Speaker 1: like almost get eaten by a fucking sandworm. And I'm like,

1618
01:26:51,320 --> 01:26:53,719
Speaker 1: so they're not allowed to go outside the house. That's

1619
01:26:53,840 --> 01:26:56,160
Speaker 1: that gets established pretty quickly. But then they're also like,

1620
01:26:56,200 --> 01:26:59,200
Speaker 1: well then what what are we allowed to do? Like

1621
01:26:59,240 --> 01:27:01,519
Speaker 1: we don't see ourselves and mirrors, there are no feet,

1622
01:27:01,560 --> 01:27:04,200
Speaker 1: there's no like, it's just very like it gets rolled

1623
01:27:04,200 --> 01:27:06,960
Speaker 1: out to them almost by accident, and they just have

1624
01:27:07,320 --> 01:27:08,719
Speaker 1: no idea how to be ghosts.

1625
01:27:08,760 --> 01:27:12,120
Speaker 2: And that part is so funny to me, so fucking funny.

1626
01:27:12,200 --> 01:27:14,280
Speaker 2: It's still so funny.

1627
01:27:14,520 --> 01:27:15,080
Speaker 3: Yeah.

1628
01:27:15,600 --> 01:27:17,880
Speaker 1: Part of part of like that is what makes for me,

1629
01:27:18,000 --> 01:27:21,439
Speaker 1: makes the movie like really pleasurable, is watching these two

1630
01:27:21,560 --> 01:27:26,280
Speaker 1: dead people like go to this office which there's like

1631
01:27:26,400 --> 01:27:27,680
Speaker 1: paperwork sacks.

1632
01:27:27,360 --> 01:27:27,840
Speaker 2: In the ceiling.

1633
01:27:27,920 --> 01:27:31,439
Speaker 1: I mean, I think everybody loves the waiting room of

1634
01:27:31,479 --> 01:27:34,000
Speaker 1: all these other dead people, and they're just sort of

1635
01:27:34,040 --> 01:27:36,400
Speaker 1: like they they're ripping the ticket off like at the

1636
01:27:36,439 --> 01:27:41,320
Speaker 1: deli counter, and they're just like, fuck, so good, it's

1637
01:27:41,360 --> 01:27:41,840
Speaker 1: so good.

1638
01:27:42,240 --> 01:27:43,760
Speaker 2: And they don't even know. They're like, we don't even

1639
01:27:43,800 --> 01:27:46,519
Speaker 2: know what this waiting room is. They don't nothing, they

1640
01:27:46,520 --> 01:27:47,520
Speaker 2: do nothing.

1641
01:27:47,439 --> 01:27:52,760
Speaker 1: No information, and they refuse they can't read the the handbook, right,

1642
01:27:53,120 --> 01:27:57,280
Speaker 1: there's this handbook that gets given to every dead person

1643
01:27:57,320 --> 01:28:00,200
Speaker 1: apparently called what is it called the Handbook for the recent.

1644
01:28:00,080 --> 01:28:02,599
Speaker 2: The Handbook for the recently Deceased.

1645
01:28:01,960 --> 01:28:05,960
Speaker 1: That's right, and it reads like stereo instructions, that's the

1646
01:28:06,040 --> 01:28:10,960
Speaker 1: running joke. But but they can't figure out how to

1647
01:28:11,000 --> 01:28:15,760
Speaker 1: live as dead people, right, So while they're all trying

1648
01:28:15,800 --> 01:28:19,160
Speaker 1: to figure this out, the family. There's a family that

1649
01:28:19,240 --> 01:28:21,719
Speaker 1: comes in from New York and they buy the house

1650
01:28:21,760 --> 01:28:23,320
Speaker 1: that they love so much, and it's.

1651
01:28:23,120 --> 01:28:26,120
Speaker 3: These people call the deets Is.

1652
01:28:27,040 --> 01:28:30,800
Speaker 1: The dad is essentially some like real estate tycoon who

1653
01:28:30,880 --> 01:28:31,280
Speaker 1: is like.

1654
01:28:31,600 --> 01:28:34,559
Speaker 3: Desperate to relax. Reminds me a lot of you.

1655
01:28:34,640 --> 01:28:38,120
Speaker 1: Actually your like previous episode where you're like I'm trying

1656
01:28:38,160 --> 01:28:40,760
Speaker 1: to relax, get the fuck trying to figure out, yeah,

1657
01:28:40,840 --> 01:28:42,320
Speaker 1: trying to figure out to relax.

1658
01:28:42,560 --> 01:28:42,880
Speaker 3: Yeah.

1659
01:28:43,080 --> 01:28:46,200
Speaker 1: And then his new wife, who is this like downtown

1660
01:28:46,320 --> 01:28:51,040
Speaker 1: Soho conceptual artist lady h a sculptor, and then his

1661
01:28:51,320 --> 01:28:57,840
Speaker 1: teenage goth daughter. And these people are famously played by

1662
01:28:58,479 --> 01:29:04,720
Speaker 1: Jeffrey Jones, Athine O'Hara, and one Ona Writer. And if you,

1663
01:29:05,240 --> 01:29:08,800
Speaker 1: for some reason, if you've never seen Beetlejuice but you

1664
01:29:08,960 --> 01:29:13,720
Speaker 1: have seen Shit's Creek, just imagine Catherine o'harow's character in

1665
01:29:13,760 --> 01:29:16,120
Speaker 1: Shit's Creek being a sculptor.

1666
01:29:17,640 --> 01:29:23,840
Speaker 2: Pretty much it's pretty much, absolutely brilliant in this movie

1667
01:29:24,439 --> 01:29:26,759
Speaker 2: is incredibly funny.

1668
01:29:27,640 --> 01:29:30,200
Speaker 1: Yes, And like, part of why I picked this movie

1669
01:29:30,200 --> 01:29:34,759
Speaker 1: for this theme is because these people are the absolute

1670
01:29:34,800 --> 01:29:37,960
Speaker 1: polar opposites of the Maitlands, right, And this is the

1671
01:29:38,040 --> 01:29:41,320
Speaker 1: humor of the film, right, is that these like fucking

1672
01:29:41,880 --> 01:29:48,360
Speaker 1: New York like black clothes, like hip like artists types

1673
01:29:48,680 --> 01:29:54,040
Speaker 1: are moving to the country and they are like, what

1674
01:29:54,240 --> 01:29:57,120
Speaker 1: is this bullshit? What are these cinnamon brooms? What are

1675
01:29:57,160 --> 01:30:01,559
Speaker 1: these like bird watching books like get the Strike, Strike

1676
01:30:01,640 --> 01:30:06,919
Speaker 1: the Walls, And let's put some fucking weird art in here, right.

1677
01:30:06,800 --> 01:30:09,040
Speaker 2: Let's throw some mav up here on these walls.

1678
01:30:09,520 --> 01:30:13,559
Speaker 1: Yes, and then like, probably my favorite character in the

1679
01:30:13,600 --> 01:30:21,799
Speaker 1: film is Diliadite's friend Othough Okay, and he is played

1680
01:30:21,840 --> 01:30:25,639
Speaker 1: by Glenn Shaddix, who is this was this.

1681
01:30:25,680 --> 01:30:27,479
Speaker 3: Incredible character actor.

1682
01:30:28,240 --> 01:30:31,519
Speaker 1: He was the priest in Heathers like he's been in

1683
01:30:31,560 --> 01:30:32,280
Speaker 1: so many things.

1684
01:30:32,280 --> 01:30:33,400
Speaker 3: He's been in Seinfeld.

1685
01:30:33,720 --> 01:30:37,360
Speaker 1: He was from Alabama, and I every time I see

1686
01:30:37,400 --> 01:30:41,200
Speaker 1: him in anything, I love it. I think he's he's

1687
01:30:41,240 --> 01:30:45,240
Speaker 1: so funny. He's got a very iconic voice. I look

1688
01:30:45,600 --> 01:30:47,160
Speaker 1: and look. I think he did a lot of like

1689
01:30:47,280 --> 01:30:53,839
Speaker 1: voice acting too in his career. But here comes Otho

1690
01:30:53,960 --> 01:30:56,439
Speaker 1: with his like spray paint can and he is like

1691
01:30:57,479 --> 01:31:00,600
Speaker 1: another another guy from the city, and you know he

1692
01:31:00,800 --> 01:31:06,000
Speaker 1: dabbles in like interior decorating and the paranormal. He's just

1693
01:31:06,040 --> 01:31:10,320
Speaker 1: like this, you know, fucking jack of all trades guy

1694
01:31:10,320 --> 01:31:13,760
Speaker 1: from New York. And he has this line that really

1695
01:31:13,760 --> 01:31:15,680
Speaker 1: makes me laugh, which is that he pops into one

1696
01:31:15,720 --> 01:31:18,440
Speaker 1: of their rooms and he's like, deliver me from Ellban,

1697
01:31:19,000 --> 01:31:25,880
Speaker 1: which is like, so that's them to a t, is

1698
01:31:25,880 --> 01:31:28,080
Speaker 1: that they're looking at this house going this shit is

1699
01:31:28,280 --> 01:31:31,840
Speaker 1: ll LLB nightmare and we're gonna change it and make

1700
01:31:31,880 --> 01:31:35,000
Speaker 1: it cool and we're gonna make it look like MoMA.

1701
01:31:35,080 --> 01:31:37,879
Speaker 3: Basically we are Interpol are claque.

1702
01:31:38,240 --> 01:31:44,880
Speaker 1: Yes, So so these like Citi Sadie people are coming

1703
01:31:44,920 --> 01:31:47,960
Speaker 1: to wreck the Maitland's house and so they're like, we

1704
01:31:48,040 --> 01:31:49,400
Speaker 1: gotta get them the fuck out of here.

1705
01:31:49,640 --> 01:31:52,000
Speaker 3: They're trying to haunt people. Again, they don't know how to.

1706
01:31:52,040 --> 01:31:54,640
Speaker 1: Be ghosts, so they're just basically like, I don't know,

1707
01:31:54,840 --> 01:31:56,800
Speaker 1: We're just throwing shit on a wall and stay it

1708
01:31:56,800 --> 01:31:57,320
Speaker 1: with sticks.

1709
01:31:57,439 --> 01:31:59,639
Speaker 3: Nothing sticks. So then guess what.

1710
01:32:00,400 --> 01:32:05,080
Speaker 2: Suddenly this uh is it a demon?

1711
01:32:06,240 --> 01:32:07,679
Speaker 3: Is it a dead guy?

1712
01:32:09,880 --> 01:32:13,519
Speaker 1: His name is Beetlejuice regardless of what he actually is,

1713
01:32:13,600 --> 01:32:16,040
Speaker 1: and he kind of makes himself known to them.

1714
01:32:16,479 --> 01:32:17,599
Speaker 3: Okay, And.

1715
01:32:19,280 --> 01:32:23,160
Speaker 1: I just have to say, for the record, Beatles just

1716
01:32:23,200 --> 01:32:25,599
Speaker 1: is one of maybe my favorite fake characters in all

1717
01:32:25,680 --> 01:32:26,839
Speaker 1: of movie history.

1718
01:32:28,200 --> 01:32:31,280
Speaker 3: It definitely is my favorite Michael Keaton role ever.

1719
01:32:32,640 --> 01:32:37,040
Speaker 2: I mean, he is so good in this. It's probably

1720
01:32:37,040 --> 01:32:39,240
Speaker 2: one of my tops for him as well. It's easily

1721
01:32:39,320 --> 01:32:43,240
Speaker 2: one of my top three of his roles. And you know,

1722
01:32:43,439 --> 01:32:43,760
Speaker 2: at the.

1723
01:32:43,680 --> 01:32:45,320
Speaker 1: Time in his career, I mean I was reading, like,

1724
01:32:45,360 --> 01:32:47,360
Speaker 1: you know, he had all these hits in the early eighties,

1725
01:32:47,400 --> 01:32:49,320
Speaker 1: like mister mom, you know, we talked about mister Mom.

1726
01:32:49,439 --> 01:32:50,320
Speaker 3: But then he was kind of in.

1727
01:32:50,280 --> 01:32:52,680
Speaker 1: A lull period, I guess in his career, and so

1728
01:32:53,080 --> 01:32:55,880
Speaker 1: you know, when he did this movie, like it kind

1729
01:32:55,920 --> 01:32:59,600
Speaker 1: of like brought him back up to everything really, but

1730
01:32:59,680 --> 01:33:03,120
Speaker 1: it's a thing where his.

1731
01:33:01,960 --> 01:33:02,960
Speaker 3: His whole shtick.

1732
01:33:03,400 --> 01:33:06,400
Speaker 1: He's kind of like this sleazy old show biz guy

1733
01:33:06,520 --> 01:33:08,559
Speaker 1: meets like New York City cab driver.

1734
01:33:10,479 --> 01:33:13,200
Speaker 3: I fucking love it. I think it's so funny.

1735
01:33:13,240 --> 01:33:16,080
Speaker 1: He has like really funny lines, and I mean this

1736
01:33:16,160 --> 01:33:18,679
Speaker 1: is probably why critics hated it so much, because they're like, God,

1737
01:33:18,720 --> 01:33:20,799
Speaker 1: this guy's so annoying. And I'm like, this guy could

1738
01:33:21,080 --> 01:33:23,280
Speaker 1: come to my house and live with me, I would.

1739
01:33:23,720 --> 01:33:26,000
Speaker 1: He's so fucking funny and hilarious.

1740
01:33:26,760 --> 01:33:27,720
Speaker 2: They're One of.

1741
01:33:27,640 --> 01:33:30,880
Speaker 1: My favorite parts of the movie is this fake commercial

1742
01:33:31,200 --> 01:33:33,760
Speaker 1: that like comes on the TV. He's basically trying to

1743
01:33:33,800 --> 01:33:36,880
Speaker 1: get Adam and Barbera to like, you know, invoke him

1744
01:33:37,240 --> 01:33:39,800
Speaker 1: so he can like you know, help them get rid

1745
01:33:39,840 --> 01:33:42,680
Speaker 1: of help the right. And this guy is unhinged by

1746
01:33:42,720 --> 01:33:46,120
Speaker 1: the way. So I'll back up and say this. So

1747
01:33:46,320 --> 01:33:49,800
Speaker 1: the Maitland's caseworker, Juno, who is played by this woman

1748
01:33:50,479 --> 01:33:54,840
Speaker 1: Sylvia Sidney. She was a nineteen thirties movie star. She

1749
01:33:54,920 --> 01:33:57,439
Speaker 1: was in this movie I love actually called Merrily We

1750
01:33:57,479 --> 01:34:01,240
Speaker 1: Go to Hell with Frederick marsh and it was directed

1751
01:34:01,240 --> 01:34:03,559
Speaker 1: by a woman. So in the thirties there were female

1752
01:34:03,560 --> 01:34:08,320
Speaker 1: directors making movies. And she she's much older obviously in

1753
01:34:08,360 --> 01:34:11,559
Speaker 1: this role. She's like smoking long cigarettes and the smoke's

1754
01:34:11,560 --> 01:34:15,720
Speaker 1: coming out of a slit from her neck, and she's like,

1755
01:34:16,360 --> 01:34:19,400
Speaker 1: do not fuck with this guy. Like, yeah, he's gonna

1756
01:34:19,520 --> 01:34:21,880
Speaker 1: try to make you say his name three times and

1757
01:34:22,120 --> 01:34:23,240
Speaker 1: you gotta resist.

1758
01:34:23,920 --> 01:34:25,599
Speaker 2: No, if you want these people out of your house,

1759
01:34:25,600 --> 01:34:28,800
Speaker 2: you gotta do it yourself right, because this guy'll give

1760
01:34:28,800 --> 01:34:31,120
Speaker 2: you any pointers beyond that, but do it yourself right.

1761
01:34:31,360 --> 01:34:33,599
Speaker 1: She was like, he used to be my assistant. He's

1762
01:34:33,680 --> 01:34:37,679
Speaker 1: totally unhinged. He's he will probably kill everybody, don't don't

1763
01:34:37,760 --> 01:34:38,280
Speaker 1: hire him.

1764
01:34:38,640 --> 01:34:39,960
Speaker 2: But so depraved.

1765
01:34:40,240 --> 01:34:44,160
Speaker 1: Yes, he's absolutely depraved, And of course you know they're desperate,

1766
01:34:44,200 --> 01:34:46,040
Speaker 1: so they invoke him and then here he comes. I

1767
01:34:46,280 --> 01:34:49,160
Speaker 1: try to look up barber skirt. And then my favorite

1768
01:34:49,160 --> 01:34:51,639
Speaker 1: part is the fake there's a fake commercial that comes

1769
01:34:51,640 --> 01:34:54,320
Speaker 1: on where it is like a fake used car lot

1770
01:34:54,320 --> 01:34:58,360
Speaker 1: commercial and he's dressed like somebody in like a nineties

1771
01:34:58,400 --> 01:35:03,800
Speaker 1: psychobilly band, Like he's dressed like somebody from the Supersuckers

1772
01:35:03,920 --> 01:35:04,360
Speaker 1: or something.

1773
01:35:04,520 --> 01:35:08,960
Speaker 3: It is. He's like Joe Buck but gross. Let's just

1774
01:35:08,960 --> 01:35:09,280
Speaker 3: say that.

1775
01:35:10,800 --> 01:35:14,880
Speaker 1: And he has this whole like speech in the commercial

1776
01:35:14,920 --> 01:35:18,800
Speaker 1: and then he's like you basically like say it was,

1777
01:35:18,880 --> 01:35:21,240
Speaker 1: say it's all, I'll eat anything you want me to eat.

1778
01:35:21,320 --> 01:35:24,160
Speaker 1: I'll swallow anything you want me to swallow. Come on

1779
01:35:24,320 --> 01:35:25,519
Speaker 1: down and I'll chew.

1780
01:35:25,320 --> 01:35:32,040
Speaker 2: On a dog or anything you want.

1781
01:35:32,200 --> 01:35:33,600
Speaker 4: Come on down out.

1782
01:35:33,840 --> 01:35:47,759
Speaker 2: Chew on a dog. I I love the idea.

1783
01:35:47,760 --> 01:35:50,000
Speaker 3: It's like, come on down, I'll chew on a dog.

1784
01:35:53,640 --> 01:36:01,760
Speaker 2: You want to know exactly how fucking the bread I

1785
01:36:02,080 --> 01:36:05,120
Speaker 2: want to get that those lyrics tattooed on my body.

1786
01:36:05,240 --> 01:36:08,880
Speaker 2: It's so funny, even all these years later, it makes

1787
01:36:08,920 --> 01:36:11,519
Speaker 2: me laugh so hard. And a big part of that

1788
01:36:11,680 --> 01:36:15,280
Speaker 2: is because Michael Keaton is so good at being so

1789
01:36:15,520 --> 01:36:18,920
Speaker 2: gross in this fucking yes, this.

1790
01:36:19,120 --> 01:36:21,479
Speaker 1: I mean honestly, for a movie that was as popular

1791
01:36:21,520 --> 01:36:24,240
Speaker 1: as it was, and that's in the cultural consciousness. As

1792
01:36:24,320 --> 01:36:27,840
Speaker 1: much as this movie is it fucking hits like I

1793
01:36:27,920 --> 01:36:32,080
Speaker 1: it is fucking hilarious, like legit hilarious. Michael Keaton is

1794
01:36:32,080 --> 01:36:34,839
Speaker 1: a fucking genius like for this movie period.

1795
01:36:35,120 --> 01:36:38,280
Speaker 2: He's got the range of like I don't even he's

1796
01:36:38,280 --> 01:36:42,160
Speaker 2: his range extends from coast to coast, like it is unreal.

1797
01:36:43,439 --> 01:36:46,719
Speaker 3: Yes, I I I truly this is my favorite roleing

1798
01:36:49,000 --> 01:36:52,959
Speaker 3: fuck your awards, fuck, don't fuck your coming.

1799
01:36:53,120 --> 01:36:59,200
Speaker 1: Heard like this isn't for me, And I mean honestly,

1800
01:36:59,320 --> 01:37:02,120
Speaker 1: like I there's so I could go on. There are

1801
01:37:02,240 --> 01:37:05,519
Speaker 1: so many parts of the movie that are just like

1802
01:37:05,560 --> 01:37:07,840
Speaker 1: I quote all the time, and I mean, you guys

1803
01:37:07,960 --> 01:37:10,960
Speaker 1: know all these and I don't want to like you know,

1804
01:37:11,360 --> 01:37:12,679
Speaker 1: pound it under the ground.

1805
01:37:12,760 --> 01:37:13,400
Speaker 2: But you know, in.

1806
01:37:13,439 --> 01:37:15,639
Speaker 1: Terms of the theme, it is perfect for the theme

1807
01:37:15,640 --> 01:37:19,080
Speaker 1: for me because it's the inverse of Midnight Cowboy. You've

1808
01:37:19,120 --> 01:37:21,880
Speaker 1: got like sending people come to the country. Try at

1809
01:37:22,360 --> 01:37:25,640
Speaker 1: at a certain point, the Jeffrey Jones character, who's the

1810
01:37:25,680 --> 01:37:30,639
Speaker 1: surreal estate tycoon, right, he is like envisioning that he's

1811
01:37:30,680 --> 01:37:34,880
Speaker 1: gonna buy the entire town, yes, and turn it into

1812
01:37:34,920 --> 01:37:38,240
Speaker 1: this like paranormal like you know, he's gonna make it

1813
01:37:38,280 --> 01:37:40,920
Speaker 1: into like I don't know, Celebration Florida or something where

1814
01:37:40,960 --> 01:37:45,320
Speaker 1: it's like a plan town about exorcisms and ghosts and stuff,

1815
01:37:45,720 --> 01:37:45,960
Speaker 1: you know.

1816
01:37:46,200 --> 01:37:48,360
Speaker 2: And then you got poor Lydia who's just like I

1817
01:37:48,400 --> 01:37:50,360
Speaker 2: am the only people who can see these ghosts because

1818
01:37:50,400 --> 01:37:51,599
Speaker 2: I wish I was dead.

1819
01:37:52,439 --> 01:37:56,920
Speaker 1: Yes, and like, listen, this this was I mean, I

1820
01:37:56,960 --> 01:38:00,600
Speaker 1: don't know if she was in anything before Beetle Juice technically,

1821
01:38:00,720 --> 01:38:04,600
Speaker 1: but like this was when she became America's goth sweetheart,

1822
01:38:04,880 --> 01:38:08,439
Speaker 1: Like like she did Heathers after this, and like, you know,

1823
01:38:08,720 --> 01:38:13,360
Speaker 1: it's basically like to me, I feel like the quintessential

1824
01:38:13,800 --> 01:38:16,360
Speaker 1: Winoda Ryder role. It's what made me fall in love

1825
01:38:16,360 --> 01:38:19,960
Speaker 1: with her, you know, like wearing that fucking giant hat

1826
01:38:20,680 --> 01:38:24,439
Speaker 1: in the veil and her hair. And I had read

1827
01:38:24,479 --> 01:38:27,200
Speaker 1: something too where basically the producers of the movie or

1828
01:38:27,240 --> 01:38:29,920
Speaker 1: one of the writers of the movie she was inspired

1829
01:38:29,960 --> 01:38:35,800
Speaker 1: by this this guy go into a Cure concert and

1830
01:38:36,040 --> 01:38:39,800
Speaker 1: was like, oh, yeah, this is She's like Lydia Dets

1831
01:38:39,920 --> 01:38:41,599
Speaker 1: is just gonna be like a Cure fan.

1832
01:38:42,920 --> 01:38:44,920
Speaker 3: I was like, and nailed.

1833
01:38:45,120 --> 01:38:48,400
Speaker 2: I absolutely love it. I absolutely love the high drama

1834
01:38:48,479 --> 01:38:49,479
Speaker 2: of Lydia Deets.

1835
01:38:50,200 --> 01:38:53,400
Speaker 1: Truly unparalleled, I know, and I mean, the only other

1836
01:38:53,439 --> 01:38:55,160
Speaker 1: thing I'll say about this movie too is that you know,

1837
01:38:55,840 --> 01:38:59,599
Speaker 1: Harry Bellefonte is on the soundtrack. It is a wonderful

1838
01:38:59,640 --> 01:39:05,759
Speaker 1: addition to the movie, and those songs became popular again

1839
01:39:06,200 --> 01:39:07,200
Speaker 1: when this movie came out.

1840
01:39:08,080 --> 01:39:12,520
Speaker 2: Yeah, I remember that, like this was like some generationally,

1841
01:39:12,560 --> 01:39:16,080
Speaker 2: this was a lot of people's first exposure to Harry Bellefonte. Yep.

1842
01:39:17,240 --> 01:39:20,160
Speaker 1: And you know, everybody obviously remembers the big scene where

1843
01:39:20,160 --> 01:39:22,600
Speaker 1: they're at the dinner table and then they get the

1844
01:39:22,640 --> 01:39:25,479
Speaker 1: shrimp fingers come out and push them, but they're.

1845
01:39:25,320 --> 01:39:27,600
Speaker 3: Dancing to Harry Belafonte.

1846
01:39:27,720 --> 01:39:29,400
Speaker 1: And the funniest part was when I was a kid

1847
01:39:29,439 --> 01:39:32,040
Speaker 1: and I saw that, I had no idea that they

1848
01:39:32,040 --> 01:39:33,040
Speaker 1: were being possessed.

1849
01:39:33,120 --> 01:39:35,679
Speaker 3: I thought they were just dancing on their own free will.

1850
01:39:37,040 --> 01:39:40,000
Speaker 2: Wait, yeah, I had no idea.

1851
01:39:40,040 --> 01:39:42,559
Speaker 1: I was like, I didn't get that they were being

1852
01:39:42,880 --> 01:39:46,679
Speaker 1: possessed by people Like I didn't realize that Maitland's were

1853
01:39:47,280 --> 01:39:50,040
Speaker 1: controlling their actions. I just thought, oh, they're just like

1854
01:39:50,080 --> 01:39:52,519
Speaker 1: having dinner and they're weird, and they just got up

1855
01:39:52,520 --> 01:39:53,360
Speaker 1: and started dancing.

1856
01:39:56,200 --> 01:39:59,080
Speaker 2: Look Catholicism. The bones run deep.

1857
01:40:00,800 --> 01:40:03,439
Speaker 3: That you can't even conceive of a possession.

1858
01:40:04,640 --> 01:40:08,400
Speaker 2: And film Eddie Young.

1859
01:40:12,760 --> 01:40:14,559
Speaker 1: I was like, yo, he's turning over that wine bucket

1860
01:40:14,560 --> 01:40:15,639
Speaker 1: and making a bogo drum.

1861
01:40:15,680 --> 01:40:19,639
Speaker 2: I guess this is what adults do at parties. This

1862
01:40:19,680 --> 01:40:25,479
Speaker 2: is what adults do. Oh shit, Well, I love this

1863
01:40:25,680 --> 01:40:29,120
Speaker 2: entry for the city Sadie Country Sadie theme because it

1864
01:40:29,200 --> 01:40:33,120
Speaker 2: is so starkly. It's not just starkly about the people

1865
01:40:33,160 --> 01:40:35,719
Speaker 2: moving from the city to the country, but it's about

1866
01:40:35,720 --> 01:40:39,040
Speaker 2: the country people being like, get the fuck addy. Yeah,

1867
01:40:39,200 --> 01:40:42,000
Speaker 2: Like we don't want you here. We know what you'll

1868
01:40:42,040 --> 01:40:44,799
Speaker 2: do to our house and our town. Get the bug out.

1869
01:40:45,479 --> 01:40:48,680
Speaker 1: Yeah exactly, I mean yeah, I mean it sort of

1870
01:40:48,880 --> 01:40:52,440
Speaker 1: is like a movie about gentrification in a lot of ways.

1871
01:40:52,600 --> 01:40:56,080
Speaker 3: It's like, I don't know, like.

1872
01:40:57,000 --> 01:41:00,599
Speaker 1: The deetss are making those property values rise these small

1873
01:41:00,640 --> 01:41:02,880
Speaker 1: towns and that is a problem that we still face.

1874
01:41:03,200 --> 01:41:05,200
Speaker 2: And you know, I don't know.

1875
01:41:05,320 --> 01:41:11,160
Speaker 1: To me, it is a deranged pairing with Midnight Cowboy,

1876
01:41:11,240 --> 01:41:13,160
Speaker 1: but somehow we made it work as.

1877
01:41:13,000 --> 01:41:14,200
Speaker 3: Only we can do.

1878
01:41:17,240 --> 01:41:19,439
Speaker 2: Truly, I'm impressed by us.

1879
01:41:19,600 --> 01:41:20,400
Speaker 3: I'm enamored.

1880
01:41:20,560 --> 01:41:21,320
Speaker 2: I love this.

1881
01:41:21,320 --> 01:41:22,599
Speaker 3: This was so much fun.

1882
01:41:23,600 --> 01:41:25,679
Speaker 2: Yeah, and we give you. Look, we're giving you the levity,

1883
01:41:25,720 --> 01:41:27,920
Speaker 2: we're giving you the bleakness. We're all over the map

1884
01:41:27,920 --> 01:41:30,320
Speaker 2: here with these two. But you can access your emotions

1885
01:41:30,320 --> 01:41:35,240
Speaker 2: through both films in very weird ways and get into

1886
01:41:35,240 --> 01:41:39,639
Speaker 2: that city Sadie Country Sadie lifestyle absoulutely.

1887
01:41:39,760 --> 01:41:40,519
Speaker 3: Well, listen, I.

1888
01:41:42,120 --> 01:41:44,280
Speaker 1: Know we got an episode coming out next week. Do

1889
01:41:44,320 --> 01:41:45,920
Speaker 1: you want to tell them what the movies are?

1890
01:41:46,880 --> 01:41:50,080
Speaker 2: I do because and a twist for us, they're kind

1891
01:41:50,160 --> 01:41:55,680
Speaker 2: of they're recent ish, yes films. So your movies for

1892
01:41:55,800 --> 01:42:03,479
Speaker 2: next week are both documentaries. One is Stories We Tell

1893
01:42:03,960 --> 01:42:08,599
Speaker 2: from twenty twelve and the other is Mommy, Dead and

1894
01:42:08,680 --> 01:42:15,960
Speaker 2: Dearest from twenty seventeen. Oh boy, oh boy. Theme This

1895
01:42:16,000 --> 01:42:17,120
Speaker 2: will be a hard theme to guess.

1896
01:42:17,120 --> 01:42:21,920
Speaker 1: I think yeah, because it's not documentaries, so you can't

1897
01:42:21,960 --> 01:42:25,360
Speaker 1: say that. Well, listen, if you want to email us,

1898
01:42:25,520 --> 01:42:27,280
Speaker 1: we are at I saw what you did Pod at

1899
01:42:27,320 --> 01:42:31,439
Speaker 1: gmail dot com. Please send us questions, fuck, mary kills,

1900
01:42:31,520 --> 01:42:35,280
Speaker 1: whatnot for bonus. Sometimes they get read on the main feed,

1901
01:42:35,600 --> 01:42:36,880
Speaker 1: so do.

1902
01:42:36,960 --> 01:42:40,920
Speaker 2: That and you can send us things to our po box.

1903
01:42:40,960 --> 01:42:43,559
Speaker 2: We love getting handwritten letters. The link is on our

1904
01:42:43,600 --> 01:42:46,559
Speaker 2: social media. It's on our Instagram account under our link tree,

1905
01:42:47,439 --> 01:42:50,040
Speaker 2: where you can find us on all our socials AT

1906
01:42:50,240 --> 01:42:53,320
Speaker 2: I saw pod on Instagram and Twitter. Was that a

1907
01:42:53,360 --> 01:42:55,519
Speaker 2: sentence that makes sense? I don't know. Find us on

1908
01:42:55,840 --> 01:42:58,040
Speaker 2: AT I saw pod on Instagram and Twitter. You can

1909
01:42:58,080 --> 01:43:03,880
Speaker 2: also get the link for rpo bocks on Instagram. Absolutely well.

1910
01:43:03,920 --> 01:43:06,559
Speaker 1: Listen, Danielle as always a fucking pleasure to this podcast

1911
01:43:06,560 --> 01:43:11,000
Speaker 1: with you. I laugh so hard with you every week

1912
01:43:11,120 --> 01:43:14,600
Speaker 1: and it is it really just makes my life better.

1913
01:43:14,600 --> 01:43:17,000
Speaker 3: Highlight of my week always.

1914
01:43:17,080 --> 01:43:20,559
Speaker 2: Thank you so much for doing this. This is a blast,

1915
01:43:20,960 --> 01:43:24,160
Speaker 2: awesome all right, see y'all soon.

1916
01:43:24,720 --> 01:43:30,679
Speaker 1: Bye bye.

1917
01:43:32,920 --> 01:43:35,639
Speaker 2: This has been an exactly right production. Produced and mixed

1918
01:43:35,680 --> 01:43:38,799
Speaker 2: by Casey O'Brien. Our theme song is by Tom bry Fogel.

1919
01:43:39,120 --> 01:43:42,559
Speaker 2: Artwork by Garrett Ross. Our executive producers are Georgia Heart,

1920
01:43:42,600 --> 01:43:45,519
Speaker 2: Start Caringkile Gareth and Daniel Kramer. You can follow us

1921
01:43:45,560 --> 01:43:48,479
Speaker 2: on Instagram and Twitter at I Saw pod, and you

1922
01:43:48,520 --> 01:43:50,719
Speaker 2: can email us at I Saw What You Did Pod

1923
01:43:50,840 --> 01:43:51,439
Speaker 2: at gmail