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Speaker 1: Hello. My name is Rosy Night and I'm a Buzafar.

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Speaker 2: That's him.

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Speaker 3: I'm so happy you're here.

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Speaker 2: Boo. Welcome back to X ray Vision, the podcast where

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Speaker 2: we dive deep into your favorite shows, movies, comics, at

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Speaker 2: pop culture. We are here at iHeart Podcast, where we'll

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Speaker 2: be bringing you three episodes a week and news on Saturdays.

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Speaker 1: And in today's episode, Rosie, you and I are going

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Speaker 1: to be using the Witcher season four and the Netflix

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Speaker 1: adaptation at large sort of as a launch pad for

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Speaker 1: a larger discussion about adaptations, because you and I have

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Speaker 1: been chatting about good adaptations, bad adaptations. What makes them good,

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Speaker 1: what makes them bad? How do you do them right?

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Speaker 1: Quote unquote how do you do them wrong? And so

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Speaker 1: we're gonna get into that today through the lens of

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Speaker 1: the Witcher.

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Speaker 3: Okay, ah boo. What is your preference?

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Speaker 2: Do you want an adaptation to be a strictly adherent

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Speaker 2: to the source material?

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Speaker 3: Do you like when an adaptation puts soon spin on it?

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Speaker 2: I do feel personally that that is a subjective question

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Speaker 2: that's mostly on like a case by case basis.

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Speaker 3: But what are your thoughts on it?

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Speaker 1: Yeah? I mean, subjectively speaking, I lean toward the purest

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Speaker 1: view on this, like, especially when it comes to stories

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Speaker 1: that I'm already deeply attached to and that I'm quite

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Speaker 1: passionate about. If I'm watching an adaptation, I want it

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Speaker 1: to follow the story that I already know and love.

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Speaker 1: I want it to adhere as closely as it can

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Speaker 1: to the source material. And in fact, that is the

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Speaker 1: reason I've been turned off for many adaptations, is when

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Speaker 1: it begins to drift too far from the original characters

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Speaker 1: or the original plots and themes that resonated with me originally. Yeah,

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Speaker 1: if that begins to change in the adaptation, I begin

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Speaker 1: to check out, and ultimately like, there's a high chance

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Speaker 1: that I'm gonna not like the adaptation if it begins

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Speaker 1: to be two different from the story that I already know.

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Speaker 2: Okay, I'm very interested to ask you then about Let's

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Speaker 2: talk about uh Denny's June, because I do. I love June,

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Speaker 2: and I think, like you know, I like many I'm

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Speaker 2: not like you. I've not read all the books. I

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Speaker 2: have not like struggled through the density of the of

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Speaker 2: the text, though I do. I do love what I've read,

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Speaker 2: and I've enjoyed kind of dipping into them throughout my life.

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Speaker 3: And I love those adaptations.

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Speaker 2: But I do understand, even from my brief knowledge, like,

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Speaker 2: there are some changes that are quite like a big deal.

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Speaker 2: But at the same time, sure, yeah, a lot of

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Speaker 2: it sticks incredibly textually to the books.

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Speaker 1: Right, Yes, I think the dannie Ville Love films are

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Speaker 1: actually an example of handling an adaptation perfectly. Are there changes?

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Speaker 2: Yes?

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Speaker 1: Are changes inevitable? Yes, you're changing, You're changing to an

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Speaker 1: entirely different medium of storytelling, and you're retelling the story

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Speaker 1: decades after it was originally published. There inevitably have to

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Speaker 1: be changes. And of course it's being told through the

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Speaker 1: lens of a different artist, right Like that that worldview,

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Speaker 1: their perspective is going to bleed into the adaptation of matter.

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Speaker 2: And also eight years after it is written or something

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Speaker 2: you know as well, that's the other thing. It's like

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Speaker 2: decades decades later, so things have changed, Yes, But yeah,

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Speaker 2: what is it about the balance? How did Denny capture

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Speaker 2: and balance those two things?

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Speaker 3: Was it about? Like?

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Speaker 2: The tone feels so much like Dune. The themes are

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Speaker 2: still there, but those little changes work. Like what was

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Speaker 2: it about it for you that made it so special?

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Speaker 1: I think tone and theme are what Denny nailed. When

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Speaker 1: it comes to Dune, It's clear that Dannyville Love deeply, deeply,

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Speaker 1: deeply understands the Dune universe and doesn't just understand it like, oh,

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Speaker 1: I picked up this book and I read it once

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Speaker 1: and I liked it a lot. I'm going to make

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Speaker 1: a movie. He clearly has read the entire series, has

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Speaker 1: read much of the extracurricular stuff that's out there, the

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Speaker 1: expanded lower stuff, and so that to me shows that

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Speaker 1: there was respect and knowledge here from danny Ville Love.

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Speaker 1: I think he also captured tone, and the film itself

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Speaker 1: is about the major themes that Frank Herbert was exploring

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Speaker 1: in the books, about fanaticism and religion and despotic leaders

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Speaker 1: and politics and you know, fate and predestination, like all

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Speaker 1: of these things are intact in the films.

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Speaker 2: I think that's a really good point because also it

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Speaker 2: reminds me of another adaptation that actually did change the

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Speaker 2: source material like a lot, which was Watchmen. It basically

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Speaker 2: acted as like a sequel HBO's Watchman. But I think

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Speaker 2: in the thing that it understood was it understood the

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Speaker 2: political themes. It understood the way that it was supposed

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Speaker 2: to be satirizing, superho culture, fascistic policing, the way those

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Speaker 2: two things can come together.

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Speaker 3: So that team was able to create something new.

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Speaker 2: With the characters that felt entirely thematically resonant and felt

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Speaker 2: modern and updated. And I think that there is a

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Speaker 2: possibility of doing that. But the kind of deft hand

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Speaker 2: that you need.

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Speaker 3: Is so so.

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Speaker 2: Just like gentle and intricate, and like you need to

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Speaker 2: be able to weave those together because also sometimes it

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Speaker 2: is a case of like Jurassic Park, that was something

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Speaker 2: we talked about, right, amazing adaptation. Arguably a lot of

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Speaker 2: people would say better than the book. The first book

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Speaker 2: is a lot more like the second book that there's

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Speaker 2: a movie. Ironically, there is a lot more density, there's

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Speaker 2: a lot more of what you would expect from a

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Speaker 2: Christim book.

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Speaker 3: And I love him. I love that book.

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Speaker 2: But with Jurassic Park, I think it was kind of

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Speaker 2: ironically an incredible streamlining of a great idea and now

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Speaker 2: the themes are there. It's not about science gone wrong, it's

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Speaker 2: about science gone right. But it's about greed, but it's

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Speaker 2: about should you. It's about all the same things. But

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Speaker 2: what they managed to do in Jurassic Park was streamline

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Speaker 2: it into like a blockbuster monster movie, and that's also

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Speaker 2: very interesting, like you can even change genre a little

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Speaker 2: bit if you end up in a space because the

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Speaker 2: original Jurassic Park is a sci fi thriller, as most

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Speaker 2: of Crichton's books are, but there are moments I think

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Speaker 2: a lot about the Sam Jackson wrapped arm on his

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Speaker 2: shoulder that feel fully like horror, you know, And I

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Speaker 2: think that's because they understood what needed to be done

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Speaker 2: from a dinosaur movie, something we hadn't had a popular

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Speaker 2: one off since like the fifties, you know, obviously other

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Speaker 2: than like kind of sitcommy dinosaur X stuff, but not

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Speaker 2: like a thrill ride. So I think those are really interesting.

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Speaker 2: I also think it's kind of funny how time changes

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Speaker 2: things because Lord of the Rings we all loved it, right,

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Speaker 2: but as kids there were definitely, like when I was young,

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Speaker 2: there was a lot of nitpicking about like, oh, there's

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Speaker 2: not enough singing, why don't they have the singing, why

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Speaker 2: don't they have the long food sessions, why don't they

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Speaker 2: get into the stuff that is in the appendices? And

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Speaker 2: then ironically, you know, when Amazon decided, okay, well we'll

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Speaker 2: just do that, that didn't work, you know, for for

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Speaker 2: most people. I am a Rings of Power fan. I've

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Speaker 2: talked about it. I like the show, I really enjoy it.

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Speaker 2: Why not make a big swing, Why not tell me

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Speaker 2: more about these characters? Sure, but it's funny what you

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Speaker 2: can sometimes I think adhering too much to those little

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Speaker 2: details that fans love, the songs, the hobbits, hairy feet,

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Speaker 2: these things that you know, super fans are complaining about.

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Speaker 2: Sometimes if you focus too much on that, you actually

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Speaker 2: lose what is at the core of it, which is

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Speaker 2: kind of this adventure story or whatever.

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Speaker 3: Appeals to people.

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Speaker 2: So it's really interesting how these things change, because obviously

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Speaker 2: now a lot of the Rings is seen as like

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Speaker 2: the ultimate, almost perfect adaptation, you know, even though there

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Speaker 2: are definitely big changes.

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Speaker 3: Well, I know that. Let's talk about some some less good.

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Speaker 2: Let's talk about the one that really inspired this conversation,

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Speaker 2: which was.

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Speaker 1: Sure, yeah, the Witcher, the Witch.

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Speaker 3: Let's talk about it.

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Speaker 2: So tell me more about your fandom of the Witcher

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Speaker 2: and how you came to the Witcher before the show,

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Speaker 2: because you do have like a distinct knowledge of the

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Speaker 2: law and the novels and the games and stuff.

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Speaker 1: Right, Yes, absolutely, I love the games I was actually

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Speaker 1: introduced I'm sure, like many people to the Witcher through

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Speaker 1: the video games, and actually not the Witcher three. I

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Speaker 1: played the Witcher one was just not a great video.

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Speaker 1: Actually it's pretty outdated and bad. Which Are two is great?

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Speaker 1: Witch Are three is maybe one of the most legendary

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Speaker 1: video games of all time. That's how people are usually

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Speaker 1: introduced to the Witcher. They realize, wait, these are based

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Speaker 1: off of books. Let me read the books, and that's

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Speaker 1: when you realize the games are actually completely disconnected from

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Speaker 1: the books. It just takes the characters in the setting.

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Speaker 1: The games are not canon in any way, to be clear,

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Speaker 1: but the books themselves are great, and the games adapt

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Speaker 1: the books by doing hitting all of the things that

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Speaker 1: you and I have been talking about, perfectly, nailing the characters,

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Speaker 1: the tone, the themes, many of the ideas, setting it

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Speaker 1: in a world that feels so in line with the original.

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Speaker 1: And that's one big reason the games are so popular

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Speaker 1: as well, because of the great setting and great characters.

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Speaker 1: The books are also great. I'm a big fan of

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Speaker 1: the games, I'm a big fan of the books. I

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Speaker 1: ran a very popular Witcher podcast for many years that's

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Speaker 1: now sort of been on hiatus because I'm past that

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Speaker 1: Witcher phase in my life. And you know, I thought,

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Speaker 1: for the first season the Witcher TV show, while not perfect,

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Speaker 1: I had my qualms with it. I had my nitmix.

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Speaker 1: While not perfect, I think it was a good start,

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Speaker 1: and I was hopeful that we would continue to see

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Speaker 1: the show grow into itself, kind of find its voice,

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Speaker 1: really establish that its strengths as an adaptation of the material,

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Speaker 1: because it was doing a pretty good job in season one.

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Speaker 1: I think by the time we got into season two,

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Speaker 1: we started to diverge greatly from the source material. Season

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Speaker 1: one certainly had its divergences, but that could be explained

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Speaker 1: away because we're a TV show.

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Speaker 3: Now change some things, different format, different medium, you need

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Speaker 3: to change it.

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Speaker 1: Like sure, right, But I think seasons two, certainly, by three,

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Speaker 1: and now that we're into four that just came out

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Speaker 1: this year, while we are still borrowing many things like

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Speaker 1: overarching plotlines and characters from the books, the way they

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Speaker 1: are interpreted and portrayed and the way the story is

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Speaker 1: told has diverged dramatically from the source material in ways

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Speaker 1: that to me no longer honor the themes and ideas

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Speaker 1: of the original stories. And so the show does not

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Speaker 1: resonate with me in the same way that the books did,

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Speaker 1: and it doesn't expand at the universe and let me

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Speaker 1: live in it like the games did. And so unfortunately,

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Speaker 1: I'm sort of a a former Netflix which your show fans, you.

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Speaker 3: Know what, you gave it a try.

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Speaker 2: You gave it a try, and I think that that's

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Speaker 2: the thing. And I'm really excited to come back after

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Speaker 2: the break because i have a different Netflix show where

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Speaker 2: the changes they made really worked for me, and it

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Speaker 2: got canceled.

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Speaker 3: So I'm excited to talk about that after the bak

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Speaker 3: and we're back. Aboo, welcome back.

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Speaker 2: Thanks to those adverts that you definitely listen to, guys,

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Speaker 2: me and a boo back, We're here, and yeah, Mark

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Speaker 2: for me, I totally feel you on the Witch. I've

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Speaker 2: played some of the games, not like finished. I think

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Speaker 2: they're great. I actually read the first book. I thought

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Speaker 2: it was really enjoyable. I watched a Netflix show. It

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Speaker 2: just never really caught me in the same way it

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Speaker 2: caught other people, but I thought it looked great. Around

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Speaker 2: the similar time Netflix launched, I think it was maybe

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Speaker 2: twenty eighteen. The end of twenty eighteen, they launched a

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Speaker 2: shadow and Bone, which was an adaptation of the Lee

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Speaker 2: Bardugo books that I love. But with that adaptation, Lee

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Speaker 2: essentially went, hey, guys, I wrote this ten years ago.

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Speaker 3: I was young. It was my first ever book. I

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Speaker 3: didn't really it was.

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Speaker 2: Inspired by her own you know, I think it's like

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Speaker 2: Slavic folklore heritage. So she was like, I want to

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Speaker 2: reimagine this when we make it. I want to bring

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Speaker 2: on Asian American writers. I want to make sure that

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Speaker 2: this kind of fictionalized version of Asia that they had

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Speaker 2: in it. That she decided to make the character Elena

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Speaker 2: the main character, ended up making her that she was

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Speaker 2: from that space, but also from the kind of generic, generic,

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Speaker 2: you know, white Europe space, and there was this very

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Speaker 2: interesting care put into that season. They also built in

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Speaker 2: characters from the spinoff books, which were, you know, really popular,

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Speaker 2: more popular arguably than Shadow and Bone. Six Crows and

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Speaker 2: Crooked Kingdom still highly recommend. That was the kind of

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Speaker 2: I did a lot of coverage on that shows too,

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Speaker 2: so I had a lot of insight, but the kind

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Speaker 2: of conversations they were having creatively, I was just like, Oh,

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Speaker 2: these are people who deeply care about the show, and

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Speaker 2: obviously Lee is the creator, so there is an authorship

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Speaker 2: thing there where she is involved, but she's involved in

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Speaker 2: the way unlike some other YA authors where you're like,

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Speaker 2: I'm so glad you're thinking about stuff like this. And

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Speaker 2: both seasons of the show are amazing, but Netflix is

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Speaker 2: notorious but not really advertising past the first season in

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Speaker 2: the same way second season. We never got the third

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Speaker 2: and we never got the Sixercro's Ketadam spinoff.

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Speaker 3: But that's one where for.

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Speaker 2: Me, those Hollywood changes, those adaptation changes, those medium changes,

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Speaker 2: that timeline that had passed. She reacted to it in

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Speaker 2: a way that just made the work so much better

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Speaker 2: for me, and I was like, how I read it?

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Speaker 2: And those are the versions of the characters I see.

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Speaker 2: So I think there is a version like Watchmen like

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Speaker 2: that where it can be expansive. But also I think

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Speaker 2: the problem with Netflix in general that it's had is

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Speaker 2: like there is also a genericness to some of the

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Speaker 2: stuff that they put out, and I do think The

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Speaker 2: Witcher fell into looking like a Netflix original that didn't

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Speaker 2: necessarily give it the space as something like this to

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Speaker 2: show that we I think like season one foundation, I

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Speaker 2: thought it was good, right, it was fine, but it

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Speaker 2: was very different but season two off, where they really

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Speaker 2: broke out and just be able to go crazy, that

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Speaker 2: was such an incredible season of TV. And I think

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Speaker 2: often something like The Witcher it needs more space outside

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Speaker 2: of that, you know, the Netflix format to really have

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Speaker 2: like a crazy wild second third season where you can

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Speaker 2: expand outside. And but yeah, it's such a complicated thing.

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Speaker 2: But Aboo, you do have some quite good rules. You

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Speaker 2: have some quite strict rules. Let's talk about your rules.

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Speaker 2: What are your top three Aboo rules for adaptations.

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Speaker 1: Okay, so I'm curious how much you agree or disagree

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Speaker 1: with that.

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Speaker 3: I'm excited.

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Speaker 1: I came up with three. I'm here to be I'm

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Speaker 1: interested in hearing your takes. Rule number one, I think

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Speaker 1: when you're making an adaptation, you do not change the characters.

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Speaker 1: I don't think there's any reason to make dramatic changes

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Speaker 1: to characters, except where there are instances like in in

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Speaker 1: the Shang Chi franchise, where there are obviously characters with

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Speaker 1: extremely racist, problematic origins.

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Speaker 3: I infer.

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Speaker 2: There's all historically racist stuff that needs to be recontextualized.

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Speaker 1: And so recontextualizing that modernizing that I think in that instance, sure,

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Speaker 1: that's absolutely aokay. But even then I would say that

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Speaker 1: is a case by case consideration because sometimes the problematic

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Speaker 1: origins of a character is the entire point of that character.

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Speaker 2: Because also I would say, like you make a great

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Speaker 2: point someone like Luke Cage, for example, right, a character

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Speaker 2: that came out of.

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Speaker 3: The Black Exploitation explosion.

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Speaker 2: Definitely there are some elements of that story where you

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Speaker 2: could look back at it and be like, Okay, this

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Speaker 2: is kind of problematic, like I see where you're coming from.

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Speaker 2: Lots of white guys writing on this, but it found

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Speaker 2: its own audience, and because there was not a lot

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Speaker 2: of representation at the time, it ended up becoming this

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Speaker 2: very powerful thing. And I think that the Netflix show

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Speaker 2: did a great job of playing.

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Speaker 3: With both the power man history of it.

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Speaker 2: Or there's this great moment where he kind of runs

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Speaker 2: through a laundry kind of space while he's escaping and

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Speaker 2: he ends up with the yellow shirt and this kind

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Speaker 2: so they play into the corny past while still modernizing

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Speaker 2: it for the future and not leaving that character there.

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Speaker 2: So I agree, I think case by case basis. I

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Speaker 2: am also like you know, for me, I think as well,

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Speaker 2: like the notion of what changes of character is all

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Speaker 2: to do with how good the writing is, how good

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Speaker 2: the casting is. So for example, Doctor Manhattan Yah yah

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Speaker 2: Abdolmaine the second like, that's one of the greatest castings

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Speaker 2: of all time, greats reveals of all time.

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Speaker 3: So well done.

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Speaker 2: And you could argue that it is a different character

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Speaker 2: because this is a Dr Manhattan who is more emotionally understanding,

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Speaker 2: emotionally available. He's been a live longer, he's found someone

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Speaker 2: that he feels like is worth you know, being human

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Speaker 2: for so but again works because of the rest of

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Speaker 2: the peace and everything around it. Okay rule number two.

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Speaker 1: Okay, rule number two. I think it's extremely important for

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Speaker 1: any creator to understand the original author or original creator's intent,

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Speaker 1: whether or not you agree with it. You need to

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Speaker 1: at least understand the author's intent originally, and then I

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Speaker 1: think you need to do your best to stick to

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Speaker 1: the same overarching themes and ideas that were presented in

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Speaker 1: the original story. I strongly believe that obviously, like it,

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Speaker 1: someone put words to paper because they had some worldview

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Speaker 1: or some part of the human experience they wanted to

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Speaker 1: capture and share in their story. And I don't think

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Speaker 1: it's like the person adapting adapting its job to completely

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Speaker 1: change that to decide this story is about something else.

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Speaker 3: Now, yeah, I agree.

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Speaker 2: So what I really love about this all as well

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Speaker 2: is I think again it's all about you know, it's

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Speaker 2: so funny.

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Speaker 3: I bring up Watchmen so many times of this conversation because.

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Speaker 2: The reality is guys like me too, but also like

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Speaker 2: it's really funny because like when I have a lot

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Speaker 2: of controversial feelings about it, because like you know, we've

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Speaker 2: talked about this a lot on the podcast, but the

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Speaker 2: IP was essentially stole them from Alan Moore and Dave Gibbons, Yes,

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Speaker 2: but like it ended up being something that was worked

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Speaker 2: out via Alan Moore giving all of his rights and

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Speaker 2: royalties to Dave, and now Dave does these adaptations and

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Speaker 2: I love that for him, but like thematically, I love

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Speaker 2: this because I do think that the thing reason Watchmen

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Speaker 2: works so well is it understands what Alan Moore was

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Speaker 2: doing even when some of the comic book readers maybe didn't.

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Speaker 2: And I think another great example of this of how

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Speaker 2: you can make this work even if you don't agree

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Speaker 2: is like something like poor Verehoven's Starship Troopers, which adapts

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Speaker 2: a very racist book, like the book is Hella racist

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Speaker 2: that's super paramilitary pro everything. And what Verehoven did is

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Speaker 2: he essentially adapted it so to the notes of the

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Speaker 2: book that.

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Speaker 3: It became a satire of itself.

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Speaker 2: She's the point, right, So you can even disagree and

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Speaker 2: show your disagreement by saying, hey, what does this look

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Speaker 2: like when you really put it up there? As this

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Speaker 2: person is saying, and I think this comes up with

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Speaker 2: another thing that I know is super important to us

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Speaker 2: both growing up, which is Harry Potter is like, actually,

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Speaker 2: you actually sometimes like you shouldn't change that, because guess what,

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Speaker 2: that's how we know she sucks.

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Speaker 3: Like you go back in the books.

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Speaker 2: You read the names she gave people, You read the

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Speaker 2: fact that she's making the Irish kids power being blowing up.

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Speaker 2: Guess what when you adapt that, stick to it, stick

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Speaker 2: to your guns. If you want to adapt her, that's

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Speaker 2: what you're adapting. So I kind of love this. There

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Speaker 2: are times you can change the text, but at all

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Speaker 2: times like, why are you telling the story if it's

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Speaker 2: not about those themes or at least in reaction to

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Speaker 2: those themes.

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Speaker 1: Yes, at least in reaction an understanding of the original

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Speaker 1: intention of themes is I think critical to.

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Speaker 2: Him That's why I think something like this goes back

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Speaker 2: to our you know, we've had this conversation on our

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Speaker 2: anime adaptation episode. But I would say something like Ghost

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Speaker 2: in the Shelle, Dragon ball Z. Those remakes are bad

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Speaker 2: for many reasons in America, but mostly because they can

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Speaker 2: textually do not understand the theme.

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Speaker 3: That's the most interesting thing. It's like, yeah, the casting

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Speaker 3: is bad, the movie is badly made.

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Speaker 2: They think they can just go action movie, but it's

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Speaker 2: Dragon ball Z or action movie but it's Ghost in

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Speaker 2: the Shell. But Ghost in the Shell is about the

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Speaker 2: demilitarization of Japan and how Yeah, then that forced them

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Speaker 2: into this technological space like there's so much there that

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Speaker 2: you can't just go okay, yeah, I'm just making it.

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Speaker 1: Yeah, it's not just a rapper and an IP to

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Speaker 1: make whatever movie you want to make, totally, and it's

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Speaker 1: about engaging with the original text.

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Speaker 3: If that is the log line of this episode, that's

402
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Speaker 3: the one.

403
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Speaker 2: It's not just a rapper and IP, Like, come on, guys,

404
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Speaker 2: let's have an adapt Okay, final a boo adaptation rule.

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Speaker 1: Last thing to wrap up today, rule number three, And

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Speaker 1: this is one as a purist where I'm actually advocating

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Speaker 1: for change. I think rule number three is that a

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Speaker 1: creator should use their chosen medium to be additive to

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Speaker 1: the original text, and they should play to their strengths.

410
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Speaker 1: They should make changes that make that story fit better

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Speaker 1: into the shape that you're now putting it in. If

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Speaker 1: it is a book, don't just translate that the text

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Speaker 1: of the book into a script. That is going to

414
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Speaker 1: be a bad script. It's never going to make sense

415
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Speaker 1: on film. Dannyville love understands this. There's so much dense

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Speaker 1: lore in the Dune universe, and yet the films don't

417
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Speaker 1: feel exposition heavy. There's no clunky voiceover that explains thing

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Speaker 1: to you, thinks to you. Danny Ville Neve does a

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Speaker 1: lot of showing because you understand the medium of film

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Speaker 1: that I'm putting pictures up on screen and you can

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Speaker 1: see them and interpret them. I don't need to constantly

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Speaker 1: say things and explain things.

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Speaker 2: Like the visual exposition of just like showing what's on

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Speaker 2: the screen, rather than having someone go, hey, this is

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Speaker 2: this family and this is that family and blah blah blah.

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Speaker 3: Yeah, yeah, no. I did think that was really great.

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Speaker 2: Also loved that first movie because it just feels like

428
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Speaker 2: a like a BBC four part special that they would

429
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Speaker 2: have played like a very high budget one. But the

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Speaker 2: narrative like fictional, the the trail that it takes is

431
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Speaker 2: very much in that like not afraid to be slow,

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Speaker 2: not afraid to just take its time. I also love

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Speaker 2: this because my last agreement on this, I think this

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Speaker 2: is a wonderful take and I think is maybe the

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Speaker 2: most important of your rules. I'm gonna go for one

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Speaker 2: that is pretty much like it is a very straight

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Speaker 2: adaptation in a way, which is David Fincher's Gone Girl

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Speaker 2: adapting to Jillian the book.

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Speaker 3: But what he brought to it that the book, the

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Speaker 3: Gillian's films book.

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00:22:39,680 --> 00:22:42,840
Speaker 2: Always have like a dark tone, right, That's how she is.

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00:22:43,320 --> 00:22:47,880
Speaker 2: The movie adaptations are similar. But something that.

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Speaker 3: Was really able to be captured by Fincher was just.

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00:22:52,119 --> 00:22:58,480
Speaker 2: The the looming, dark, unsettling nature of like being settled

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Speaker 2: into a marriage.

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00:22:59,280 --> 00:23:00,520
Speaker 3: You don't want to like.

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00:23:00,480 --> 00:23:03,440
Speaker 2: This, this this domestic horror. He was able to bring

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00:23:03,480 --> 00:23:07,480
Speaker 2: to it that in my opinion, like past it's domestic horror,

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00:23:07,520 --> 00:23:10,520
Speaker 2: you know, And in my opinion like that is such

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00:23:10,520 --> 00:23:14,359
Speaker 2: a fantastic take on the book. And I think, like

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00:23:14,960 --> 00:23:18,920
Speaker 2: when you I talk about additive those performances by Rosamond

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00:23:18,960 --> 00:23:22,399
Speaker 2: Pike and Ben Affleck and even Tyler Perry and you

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00:23:22,440 --> 00:23:25,399
Speaker 2: know now believed and we forget about him scandalized. But like,

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00:23:25,800 --> 00:23:28,679
Speaker 2: but but everything about that movie was additive to the

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00:23:28,680 --> 00:23:31,480
Speaker 2: point where like, I usually will choose to if I'm

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00:23:31,480 --> 00:23:33,600
Speaker 2: thinking about a story I like, and I will go

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00:23:33,640 --> 00:23:36,320
Speaker 2: back and read the book with Gonga. Pretty much every time,

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Speaker 2: I'll just watch the movie because I think, like Tonally,

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Speaker 2: Fincher understood what his playbook was and how well it

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00:23:43,040 --> 00:23:45,480
Speaker 2: would work with Flynn's and I think that's why it's

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Speaker 2: such a fantastic and the exactly so.

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Speaker 3: I love that one. Oh and boo, thank you so

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Speaker 3: much for joining me. This was the life.

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00:23:53,320 --> 00:23:55,439
Speaker 2: Yeah, I'm really happy. And guys, you got it in

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00:23:55,440 --> 00:23:56,800
Speaker 2: the discord. You gotta let us know what you think

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00:23:56,800 --> 00:23:59,000
Speaker 2: of a boost rules. I think that are most sensible

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00:23:59,400 --> 00:24:02,200
Speaker 2: rules that we've laid out so on edythe I help.

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00:24:02,320 --> 00:24:04,560
Speaker 1: So yeah, and if you're enjoying The Witcher season four,

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00:24:04,640 --> 00:24:06,880
Speaker 1: please keep enjoying it. Yeah. Yeah, we don't have any

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00:24:07,720 --> 00:24:10,280
Speaker 1: is just for me. I'm the one losing sleep over it.

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00:24:10,480 --> 00:24:12,040
Speaker 1: Y'all enjoy it, you know what?

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Speaker 3: We We love everything here and we love that other

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00:24:14,880 --> 00:24:17,960
Speaker 3: people don't love. And we like, you know, we like stuff.

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00:24:17,960 --> 00:24:19,640
Speaker 3: We don't like stuff that other people do love. That's

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00:24:19,640 --> 00:24:21,639
Speaker 3: the joy of being a fan. And yes, it's far.

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00:24:21,800 --> 00:24:25,280
Speaker 3: Enjoying it. Keep enjoying it. Larry Fishburn, I love you,

477
00:24:25,400 --> 00:24:26,840
Speaker 3: Get a wig on a.

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00:24:26,920 --> 00:24:30,280
Speaker 2: Living it, get that Netflix money. I love you. You've

479
00:24:30,280 --> 00:24:33,560
Speaker 2: been killing it since death. Wish knowing great, great, good job.

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00:24:33,760 --> 00:24:34,879
Speaker 2: I love you, Laurret's Fishburn.

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00:24:35,320 --> 00:24:36,280
Speaker 3: That is the episode.

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Speaker 2: Thank you for listening, and guys, happy holidays.

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00:24:40,040 --> 00:24:42,159
Speaker 3: And stay safe. This season.

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Speaker 2: X ray Vision is hosted by Jason steps Young and

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00:24:49,800 --> 00:24:52,720
Speaker 2: Rosie Night and is a production of iHeart Podcast. Our

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00:24:52,760 --> 00:24:56,119
Speaker 2: executive producers are Joel Monique and Aaron Korfman.

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Speaker 1: Our supervising producer is Abusafar.

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00:24:58,840 --> 00:25:02,760
Speaker 2: Our producers are Common, Laurent Dean Jonathan and Fay Wack.

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00:25:02,880 --> 00:25:05,640
Speaker 1: A theme song is by Brian Vasquez, with alternate theme

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00:25:05,720 --> 00:25:06,959
Speaker 1: songs by Aaron Kaufman.

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00:25:07,160 --> 00:25:10,520
Speaker 2: Special thanks to Soul Rubin, Chris Lord, Kenny Goodman and

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Speaker 2: Heidi our discord moderator