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

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Speaker 1: You Did.

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Speaker 2: My name is Millie to Jericho.

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Speaker 3: I'm Daniel Henderson, and we're.

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Speaker 1: Two film goals back to talk with all of you

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Speaker 1: about the wonderful world of movies.

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Speaker 2: Danielle, what's going on?

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Speaker 3: You know, I've been having weird thoughts because and it's

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Speaker 3: not even how do let me back it up? So

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Speaker 3: I grew up in the town I currently live in,

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Speaker 3: So there's a lot of things about being back here

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Speaker 3: that just feel very familiar, sure obviously, and that I

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Speaker 3: kind of it's not like I take them for granted.

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Speaker 3: I just kind of don't pay attention to a lot.

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Speaker 3: But because of this time of year, and you know,

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Speaker 3: we just went through this it was absolutely gorgeous, like

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Speaker 3: tree changing colors, like it was so beautiful this year,

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Speaker 3: and I loved it. And I'm out for a drive

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Speaker 3: and every time I'm running errands, I just keep having

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Speaker 3: this one like insidious thought, which is how unnatural but

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Speaker 3: common it is for me to just be driving down

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Speaker 3: blood spattered streets like there are fucking there's roadkill everywhere,

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Speaker 3: and it's not like, oh a little mouse got run over.

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Speaker 3: It's a fucking possum, a full sized deer. Like it's

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Speaker 3: just like blood and guts and bodies everywhere.

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Speaker 2: Holy shit.

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Speaker 1: Like, Okay, so you live out in the country ish, right,

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Speaker 1: Like it's so of course there's probably an uptick of like.

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Speaker 2: Animals that are just hanging out right totally.

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Speaker 3: They're all getting ready for the winter and doing their

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Speaker 3: little like cartoon Whenever I imagine animals getting ready for the winter,

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Speaker 3: it's always like cartoony, like they're stirring stew with ill lobes.

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Speaker 2: And like, well and like. But I also want to

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Speaker 2: ask you this because I sort of have this similar

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Speaker 2: feeling where I live, which is pretty much the complete

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Speaker 2: opposite of where you live. I live in the mean

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Speaker 2: streets of a major metropolitan city. But I have noticed

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Speaker 2: an uptick of things on the side of the road.

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Speaker 2: Let's just say that it's not even just animals, but

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Speaker 2: it's like furniture. It's fucking literal trash, like open trash

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Speaker 2: bags that are just on you know, fell off the

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Speaker 2: back of a truck and then just got run over

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Speaker 2: a few times. So part of me wonders maybe we're

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Speaker 2: having a similar experience in that I don't know, like

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Speaker 2: maybe I do did all of the animal the roadkill

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Speaker 2: collectors quit their job or something like I you know.

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Speaker 3: Who knows, And it's not uncommon for things to just

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Speaker 3: get hit and then just be there until they're run

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Speaker 3: into flat dust.

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Speaker 2: Yeah, Like I saw this.

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Speaker 3: I was gonna rented Errans the other day and I

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Speaker 3: saw this possum that I originally saw had gotten run

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Speaker 3: over like three weeks ago, and when it was fresh,

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Speaker 3: when it was fresh roadkill, it was just like actual

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Speaker 3: like it got squashed, like they were just like guts

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Speaker 3: coming out of its mouth, like just viscera. It was

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Speaker 3: just disgusting. And then now a couple days later, I

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Speaker 3: drove the same road and I'm like, that possum is

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Speaker 3: still fucking there. Nobody scraped it up or moved it

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Speaker 3: off to the side. It's still there, and it is

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Speaker 3: just a flat like tire track, like it's gonna just

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Speaker 3: melt back into the earth. It's very organic recycling. But

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Speaker 3: it's the weirdest fucking thing. And then because there's so

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Speaker 3: much roadkill everywhere, there's just blood spatters everywhere and like

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Speaker 3: guts everywhere and the way, so I'm just driving down

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Speaker 3: the street, I'm like, there's a big old blood stain

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Speaker 3: and it was just like I didn't even key in

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Speaker 3: on it. I've lived here for two falls now and

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Speaker 3: I didn't even key in on it until the other day,

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Speaker 3: and I'm like, no, I used to have a life

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Speaker 3: where I didn't see dead animal.

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Speaker 2: Bodies all the time. I forgot and it's like, oh

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Speaker 2: my god.

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Speaker 3: There was one point last year where a friend came

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Speaker 3: to visit with her wife and they turned the corner

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Speaker 3: and they were like when they got to my house,

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Speaker 3: they were like, so, there's a dead deer up on

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Speaker 3: the corner and there were so many vultures eating it

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Speaker 3: that it was like animated, like it looked like it

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Speaker 3: was being jumping around and like it was alive. Pop

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Speaker 3: it and lock in, yeah and completely. And I went

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Speaker 3: up the street with them and sure enough, they were

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Speaker 3: like fourteen fucking vultures just chowing down.

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Speaker 2: And I'm like, oh, yeah, I see that all the time.

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Speaker 3: It's not normal, but it is normal, Like it's natural,

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Speaker 3: but it's not natural to my general day to day

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Speaker 3: life where it wasn't for so long. And then when

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Speaker 3: I got back here, just like I slipped right back

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Speaker 3: into it where I'm like, yeap, dead deer, dead animals everywhere.

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Speaker 1: Yeah, yeah, I mean maybe, I mean because you've lived

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Speaker 1: in cities for a while. I mean, you were in

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Speaker 1: New York and you were in LA.

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Speaker 2: So you probably weren't saying like the full on deer

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Speaker 2: carcass thing for a while.

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Speaker 1: But then also, I don't know, maybe maybe they did

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Speaker 1: quit because I feel like somebody at least came through

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Speaker 1: and powerwashed or something like, right, like, yeah, you can't

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Speaker 1: just have blood on the street everywhere.

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Speaker 2: That's just demoralizing. I haven't seen a.

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Speaker 3: Single street sweeper since I moved here a year and

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Speaker 3: a half ago. Nobody's caring for these streets. There's like

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Speaker 3: this is how it is. Get on board.

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Speaker 2: So they might have all quit on mass I don't know.

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Speaker 3: And you know, from my experience with pest control, it

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Speaker 3: is a weird subsect of people who will like even

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Speaker 3: want those jobs.

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Speaker 2: Just like they are a different breed entirely. Yeah, so

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Speaker 2: if they all quit, I don't know.

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Speaker 3: It just it makes you think about the cycle of

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Speaker 3: like society and who's doing the work to keep our

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Speaker 3: lives moving. And yeah, Richard Scary doesn't have any fucking

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Speaker 3: in his books. He doesn't have any fucking dead animal Scoopers. Yeah,

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Speaker 3: I mean, you don't learn about that, but but they

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Speaker 3: clearly keep our economy going in some way, even just

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Speaker 3: for our own delicate sensibilities.

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Speaker 2: Yeah, I mean you're out here like Judd from pet

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Speaker 2: Cemetery being like loss, I think I found a cat.

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Speaker 2: Your cat's up here, it's on the side of the road.

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Speaker 2: I think your cat died because I'm looking at your

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Speaker 2: dead cat. I think, Lois, I think I got a

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Speaker 2: dare up here, got him in the road.

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Speaker 3: Yeah, talking wild, it's wild out here, like when I

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Speaker 3: really sit and just like step back and look at

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Speaker 3: the macro. This is a wild place to be.

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Speaker 2: Yeah, I mean, listen, I think I have. I've never

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Speaker 2: been to upstate New York. I've never been. Okay, I'm

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Speaker 2: always really confused about this.

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Speaker 1: Okay, I'm going to I'm really gonna shine a light

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Speaker 1: on how terrible I am at like geogra because I

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Speaker 1: feel like the highest I've ever gone in that region

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Speaker 1: is New York City. But then I realized that isn't

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Speaker 1: Boston north of New York, like is it?

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Speaker 2: Yeah?

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Speaker 3: Okay, Boston, Maine, New Hampshire, Vermont, all that shits somethings.

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Speaker 1: Okay, I always forget that. I always feel like New

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Speaker 1: York is higher than it actually is.

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Speaker 2: I don't know why.

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Speaker 3: I know, well, this is and this is why people

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Speaker 3: always wanted We've had this happen before. Via email, somebody

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Speaker 3: tried to come at me an email. That's like, I

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Speaker 3: live in Rochester, which is actual upstate New York. Anything

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Speaker 3: that's not New York City is upstate. That is just

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Speaker 3: culturally how everyone thinks of it. It's like New York

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Speaker 3: City is its own thing, but then everything else. The

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Speaker 3: entire rest of New York State, which is most of

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Speaker 3: New York which is ninety eight percent of New York

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Speaker 3: is considered upstate.

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Speaker 2: Yeah, it is up the state away from New York

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Speaker 2: City exactly. So it's really easy to forget that there's

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Speaker 2: like a whole other state happened here.

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Speaker 1: Yeah, makes sense to me, And honestly, like I feel

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Speaker 1: like I've completely romanticized that part of the world because,

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Speaker 1: like I said, I've never yeah, I've never been a

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Speaker 1: boss that I've definitely never been to Maine in New Hampshire,

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Speaker 1: which I am dying to go, Like I have friends

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Speaker 1: that move there and I'm like, I want to go

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Speaker 1: to the Llban flagship store. I want to go to

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Speaker 1: a Kadia National Park, like bring me to Maine, people,

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Speaker 1: But I also I think I've also just like romanticized

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Speaker 1: the areas up there because I've never been. And then

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Speaker 1: I watch Stephen King film adaptations and talk to you

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Speaker 1: and watch Nobody's fool and so I have this like

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Speaker 1: very like beautiful picture of like where you live, right

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Speaker 1: so that when you do come to the podcast and

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Speaker 1: say there's blood everywhere, like, I'm like, what.

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Speaker 2: Not in those pristine apple orchard streets of your town?

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Speaker 3: They don't show you this shit in the bridges of

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Speaker 3: Madison County when they're like trying to fucking hold hands

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Speaker 3: on a beach or whatever I've never seen, or red

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Speaker 3: bridges mad County like their old hands on a beach

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Speaker 3: is that Knights of rodanth whatever, Like they they don't

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Speaker 3: show you that part where they're like those people are

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Speaker 3: hopscotch and over some fucking carcasses guaranteed in the midst

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Speaker 3: of their romantic revelry.

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Speaker 2: Yeah, I can't even imagine it, honestly.

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Speaker 1: Like there are times where I will see they have

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Speaker 1: like if you drive through the country here, you'll definitely

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Speaker 1: see like deer and you know, like raccoons and all

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Speaker 1: that kind of stuff on the side of the road.

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Speaker 1: Seeing a dead deer, though, is actually like, even as

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Speaker 1: much as I have seen.

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Speaker 2: It in my life, it's always so jarring to see

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Speaker 2: a dead deer.

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Speaker 3: It's horrible. It is fucking And depending on how they're hit,

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Speaker 3: how they're killed, and the way in which they land,

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Speaker 3: it's like sometimes those legs are a kimbo like up

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Speaker 3: in the air like it is. It's a weird. Maybe

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Speaker 3: that's why I like, because I grew up around all

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Speaker 3: of this, I have a very weird but calm connection

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Speaker 3: to death because I just saw it every fucking place I.

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Speaker 2: Went as a kid.

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Speaker 3: Every stage of death was just visible to me on

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Speaker 3: the street. Yeah, and I decomposition and shit, like it's

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Speaker 3: just visible just everywhere.

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Speaker 2: Yeah.

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Speaker 1: And I was always afraid because I was told I

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Speaker 1: think when I was in high school, some some adult

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Speaker 1: I don't know who it was, told me, oh, yeah,

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Speaker 1: if you hit a deer on the freeway, Like if

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Speaker 1: you're going like sixty five seventy five miles an hour

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Speaker 1: and you hit a deer at that speed, you would die. Basically,

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Speaker 1: Like the deer is so huge that it would just

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Speaker 1: like destroy your card. You would fly out of the windshield.

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Speaker 1: And I was always like, oh no, like I don't

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Speaker 1: want to hit a deer.

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Speaker 2: Ever, like, oh yeah, the odds are not good.

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Speaker 3: And that has been a true fear of since I

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Speaker 3: started driving, like especially at night, and there are so

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Speaker 3: many times where like just I'd have to I kind

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Speaker 3: of just don't drive at night here because of deer

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Speaker 3: and the couple of times that I've had to do it,

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Speaker 3: especially around my house, like I'll go out to the

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Speaker 3: store or something at night, and because as we know,

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Speaker 3: the best time to do grocery shopping if you don't

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Speaker 3: have a twenty four hour store, is right before they close.

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Speaker 3: So my local grocery store closes at like eleven or

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Speaker 3: twelve o'clock. So if I'm going, I'm going at like

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Speaker 3: eleven fifty. I don't want to see anybody. I don't

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Speaker 3: want to talk to anybody. I know what I want

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Speaker 3: I supermarket, sweep it around that fucking store, and I'm out.

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Speaker 3: And at night, when I'm coming home from the grocery store,

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Speaker 3: all I'm doing is passing fields and every turn or

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Speaker 3: every time the car you know goes certain you know

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Speaker 3: around to bend. You just see eyes, like just fucking

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Speaker 3: glowing eyes in the field because it's just riddled with animals,

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Speaker 3: like fucking foxes and raccoons and deer. They're having a

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Speaker 3: goddamn party out there, and I'm like, at any moment,

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Speaker 3: they could just decide to leap into the fucking road. Yeah, terrifying. Yeah.

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Speaker 1: I so a while ago, many years ago. I feel

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Speaker 1: like I've talked about this on an episode once, but

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Speaker 1: my friend April and I did this road trip and

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Speaker 1: we were it was kind of a weird roadship actually,

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Speaker 1: but it was kind of in an area of the

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Speaker 1: US that I just have never thought about going to really,

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Speaker 1: but it was this like we went we started in

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Speaker 1: I feel like we started in Nebraska or something like that,

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Speaker 1: and then we like went north to North Dakota and

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Speaker 1: then cut across to like we drove across Wyoming like

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Speaker 1: twice and somehow ended up in Denver. It was a

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Speaker 1: it was a weird road trip, but honestly, I think

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Speaker 1: it was probably my design because I was like, I

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Speaker 1: want to go to bad Lands National Park and I

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Speaker 1: want to go to Yellowstone, and I was like, go

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Speaker 1: to the take me to these national parks, right but

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Speaker 1: I remember being I feel like it was probably the

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Speaker 1: Dakota's or it was in Wyoming where so, yeah, you're

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Speaker 1: like driving through like bad Lands National Park and all

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Speaker 1: this stuff, and we just kept seeing all of these

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Speaker 1: big horn sheep. I guess they kind of look like rams,

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Speaker 1: or maybe they are rams, but they've got like the

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Speaker 1: curly antlers and they're.

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Speaker 2: Kind of like jacked up deer.

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Speaker 1: And you know, when you're out in the middle of

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Speaker 1: the of nowhere, it feels like there's no speed limit, right,

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Speaker 1: And so I was truly on the edge of my

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Speaker 1: seat when we were driving because we were going like

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Speaker 1: I don't know, ninety or something, and I was like,

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Speaker 1: one of these big horn sheep is gonna just step

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Speaker 1: what He's gonna take a paw and put it right.

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Speaker 2: In the in the thing, and we're gonna do. This

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Speaker 2: mini van we've rented is gonna be mangled and no

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Speaker 2: one's paw. It's gonna stick its little foot.

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Speaker 1: Out in the road, and then we're gonna hit it,

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Speaker 1: and then this entire car is gonna be mangled and

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Speaker 1: they're not gonna find us forever because we're in the

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Speaker 1: middle of nowhere. And maybe some of those birds are

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Speaker 1: gonna come and like feast on our eyeballs, you know.

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Speaker 3: Like well after a prong horn causes your wreck, because

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Speaker 3: I'm imagining a prong horn like on the side of

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Speaker 3: the fucking road talking to its friend and then being

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Speaker 3: like should we put a foot out, Let's get this one.

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Speaker 3: They get you, and then they just start going to work.

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Speaker 3: They're just like, let's hide this fucking car, let's bury

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Speaker 3: these bodies. It's just like a fun activity for them

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Speaker 3: where they're like, let's give ourselves a job for the

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Speaker 3: next couple of days. They will never find these human

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Speaker 3: beings and they'll think they were serial killed, or they'll

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Speaker 3: think they like change their identities, bake their deaths. It

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Speaker 3: is some scary shit the sheep.

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Speaker 1: I could just see it being like a double indemnity

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Speaker 1: situation where these sheep are like Fred McMurray and Barber

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Speaker 1: Stables are like, yes, now we can bury these two

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Speaker 1: bitches out home the ditch and then take.

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Speaker 2: Their insurance money and go to Acapoco or whatever.

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Speaker 3: I'm loving this threat of Fred McMurray through all of

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Speaker 3: this animal chaos and death, Like who knew? Who knew

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Speaker 3: that it would take us to make that.

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Speaker 1: Correlation truly, truly, but I I yeah, I in a way, Yes,

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Speaker 1: I want to come visit you.

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Speaker 2: I'm still waiting for those blueprints of your house.

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Speaker 3: Not gonna lie, you gotta come visit. Yeah, I'll do

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Speaker 3: a video I'm gonna do. And actually, when I bought

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Speaker 3: the house, they gave me the property images. I don't

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Speaker 3: know what you call them, but like they kind of

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Speaker 3: gave me the like these big scrolls that were like

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Speaker 3: and here's your property line, and I'm like fine, Like,

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Speaker 3: but it's the kind of thing that like if I

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Speaker 3: were an architect, I frame and hang up. Yeah, But

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Speaker 3: because I moved into this house and immediately had a

300
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Speaker 3: break down, I just like put them somewhere in some room. Yeah.

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Speaker 3: But it's like it's it's the blueprint of this house

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Speaker 3: is wild. I think that it's the animals all freak

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Speaker 3: me out.

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Speaker 2: Yeah.

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Speaker 3: I remember also when I lived in Alaska that I'd

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Speaker 3: be driving towards like Girdwood or Homer and they're always

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Speaker 3: in the winter, these mountain goats that hang out on

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Speaker 3: the side of these like of mountains. Obviously, Yeah, but

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Speaker 3: there'd be like ice floes coming down and it's gorgeous,

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Speaker 3: like it's just like you know, melting water and ice floes,

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Speaker 3: and they're just like chilling on a fucking ice floe.

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Speaker 3: And it's so unnatural to see a fucking goat just

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Speaker 3: hanging out on the side of the fucking mountain. Yeah,

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Speaker 3: and you look up and you're like, if one of

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Speaker 3: those falls, it's mass destruction. Yeah, they're mass fucking chaos.

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Speaker 1: They're huge, like in a way that you never expect

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Speaker 1: them to be huge, Like when you just think about them,

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Speaker 1: or when you see them in books or something like that,

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Speaker 1: you're just sort of like, it's kind of how I mean,

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Speaker 1: this is a little bit of a tangent, but it's

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Speaker 1: kind of how I feel about stop lights. Like go

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Speaker 1: on a stoplight, Like you look at it from your

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Speaker 1: car right and you're like, oh, this tiny little stoplight

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Speaker 1: telling me to stop, go and slow down. But then

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Speaker 1: when you actually get up to a stoplight, you're like, Yo,

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Speaker 1: this fucking thing is huge.

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Speaker 2: Like it's a huge it's a huge unit.

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Speaker 1: It's a huge like piece of equipment, and like, oh,

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Speaker 1: I never know that because I just whizz past them

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Speaker 1: all the time. But like, for example, if a stoplight

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Speaker 1: falls off the wire, it can destroy your car.

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Speaker 3: It's huge, and you it'll be like that scene. I

333
00:17:34,080 --> 00:17:35,520
Speaker 3: know you haven't seen it, but it'll be like that

334
00:17:35,640 --> 00:17:41,159
Speaker 3: scene in the dark Night when Batman like slams his

335
00:17:41,280 --> 00:17:42,840
Speaker 3: fist on the hood of a car and like the

336
00:17:42,920 --> 00:17:46,920
Speaker 3: truck fucking flips over end over end, Like if one

337
00:17:47,119 --> 00:17:49,200
Speaker 3: fucking stop light falls, that's you.

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Speaker 2: Yeah, what are you gonna do?

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Speaker 3: And you never you can anticipate it. Yeah, you can't

340
00:17:54,680 --> 00:17:57,960
Speaker 3: take a traffic course for that shit. Driving is truly

341
00:17:58,000 --> 00:18:00,600
Speaker 3: a psychotic endeavor when you think, when you really think

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00:18:00,680 --> 00:18:05,159
Speaker 3: about it, driving piloting a car isn't a wild thing

343
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Speaker 3: to do.

344
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Speaker 2: Yeah, it's true.

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Speaker 1: And like be it animals or you know, pieces of

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Speaker 1: equipment that were just coming down off of like the

347
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Speaker 1: signs and the and.

348
00:18:16,680 --> 00:18:19,000
Speaker 2: The wires and stuff. They're all bigger than you think.

349
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Speaker 2: And that's that's yeah. The animals are like really a

350
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Speaker 2: lot bigger.

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Speaker 1: Like when whenever, like you get up to the animal,

352
00:18:25,080 --> 00:18:27,399
Speaker 1: you're like, oh, this thing is my height or bigger,

353
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Speaker 1: And I never never would have thought that.

354
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Speaker 2: Right.

355
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Speaker 3: I feel the same way when I see tall people

356
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Speaker 3: in public and I'm like, oh, they're really tall, and

357
00:18:34,119 --> 00:18:36,040
Speaker 3: then as we get closer, I'm like they're like three

358
00:18:36,080 --> 00:18:40,240
Speaker 3: inches shorter than me. I'm huge, Like I'm a beast

359
00:18:40,400 --> 00:18:43,439
Speaker 3: to compare to everyone that I think is tall and public.

360
00:18:43,800 --> 00:18:46,040
Speaker 3: Then I'm like, no, it's always me. I'm the biggest one.

361
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Speaker 3: But it's also it's strange too to think about. Like,

362
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Speaker 3: now that we're talking about animals, I'll give you a

363
00:18:52,080 --> 00:18:57,480
Speaker 3: little update. So I have spent countless hours and thousands

364
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Speaker 3: of dollars trying to clear the groundhogs away from my house.

365
00:19:00,840 --> 00:19:05,560
Speaker 3: Of course, and we got rid of Chauncey and his family,

366
00:19:05,640 --> 00:19:08,200
Speaker 3: but Chauncey had babies, and all of his friends had babies,

367
00:19:08,320 --> 00:19:11,160
Speaker 3: and they're still here. They're still around now. I've kept

368
00:19:11,200 --> 00:19:13,679
Speaker 3: them away from the house itself, like I put netting

369
00:19:13,800 --> 00:19:16,960
Speaker 3: and like kind of dug down and like they can't

370
00:19:17,000 --> 00:19:19,840
Speaker 3: get under the house right now, which is great, but

371
00:19:19,960 --> 00:19:22,359
Speaker 3: they are still having a fucking disco party out in

372
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Speaker 3: the backyard. So I got these things. I was talking

373
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Speaker 3: to my landscape for the guy mows my lawn, and

374
00:19:29,440 --> 00:19:32,800
Speaker 3: he is so funny to begin with, like, Frank, if

375
00:19:32,800 --> 00:19:36,399
Speaker 3: you're listening, you know, I love it. You're hilarious. And

376
00:19:36,480 --> 00:19:39,680
Speaker 3: he was like, so I have a customer who got

377
00:19:39,760 --> 00:19:44,520
Speaker 3: these things called sonic spikes, and I'm like, what are

378
00:19:44,560 --> 00:19:46,520
Speaker 3: you talking about? Are you high right now? He's like no,

379
00:19:46,600 --> 00:19:46,840
Speaker 3: I'm not.

380
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Speaker 2: What they are?

381
00:19:48,440 --> 00:19:51,200
Speaker 3: Are there these plastic things that you sink into the

382
00:19:51,240 --> 00:19:58,800
Speaker 3: ground and they emit this like consistent beep so it

383
00:19:58,920 --> 00:20:01,600
Speaker 3: doesn't electrocute the ground and nothing like that. It just

384
00:20:01,760 --> 00:20:05,320
Speaker 3: makes it so annoying for the groundhogs to be there

385
00:20:05,400 --> 00:20:08,080
Speaker 3: that they go away. And I was like, you know what,

386
00:20:08,359 --> 00:20:10,359
Speaker 3: I'll try it. It's thirty bucks, Oh my gosh, a

387
00:20:10,400 --> 00:20:14,320
Speaker 3: couple of D batteries. Yeah, nothing has worked better than

388
00:20:14,359 --> 00:20:18,000
Speaker 3: a sonic spike. If you have groundhogs, I cannot tell you.

389
00:20:18,080 --> 00:20:20,800
Speaker 3: It makes me laugh so fucking hard. The first day

390
00:20:20,800 --> 00:20:23,879
Speaker 3: I put them in, I put in like three or

391
00:20:23,920 --> 00:20:26,720
Speaker 3: four because they have a pretty big range, and so

392
00:20:26,800 --> 00:20:29,440
Speaker 3: I put in three or four in the backyard and

393
00:20:29,560 --> 00:20:33,720
Speaker 3: I watched three fucking groundhogs roll up to the backyard

394
00:20:33,760 --> 00:20:36,399
Speaker 3: like they normally would uh huh, and just kind of

395
00:20:36,520 --> 00:20:40,399
Speaker 3: hang out on the sidelines like what the fuck? What

396
00:20:40,560 --> 00:20:43,679
Speaker 3: the fuck is this noise? And then they just ran away. Dude,

397
00:20:44,760 --> 00:20:47,560
Speaker 3: but they were like, they're like, we got evicted, Like

398
00:20:47,640 --> 00:20:49,800
Speaker 3: I have victed. I gave them an eviction notice in

399
00:20:49,840 --> 00:20:52,320
Speaker 3: the form of a fucking sonic spike. And now that's

400
00:20:52,359 --> 00:20:53,560
Speaker 3: all I say is they come to the edge of

401
00:20:53,600 --> 00:20:56,800
Speaker 3: the yard and they're like very confused, and then they

402
00:20:56,880 --> 00:20:58,320
Speaker 3: have to go build their houses elsewhere.

403
00:20:58,680 --> 00:21:02,280
Speaker 1: Dude, that's like the wlliam Sadler character and when he

404
00:21:02,480 --> 00:21:04,880
Speaker 1: did the distr behavior behavior, when he had the rat

405
00:21:05,400 --> 00:21:06,120
Speaker 1: noise thing.

406
00:21:06,280 --> 00:21:08,159
Speaker 3: Yes, because because that was my next step is like

407
00:21:08,160 --> 00:21:10,680
Speaker 3: I'm gonna have to get like an ATV in like

408
00:21:10,840 --> 00:21:13,720
Speaker 3: strap a fucking speaker system on the back and just

409
00:21:13,800 --> 00:21:16,280
Speaker 3: be rolling around my yard at night. But no, these

410
00:21:16,359 --> 00:21:19,520
Speaker 3: sonic spikes. With all the time and all the idiots

411
00:21:19,560 --> 00:21:22,560
Speaker 3: I've had to talk to and all the shit I've

412
00:21:22,640 --> 00:21:24,680
Speaker 3: had to go through for these fucking groundhogs. It took

413
00:21:24,760 --> 00:21:29,119
Speaker 3: three twenty dollars spikes, Holy crap. And they're just like

414
00:21:29,480 --> 00:21:31,639
Speaker 3: they might be. Look, they can make their homes on

415
00:21:31,800 --> 00:21:34,159
Speaker 3: the creek, like they can make their homes in the woods.

416
00:21:34,600 --> 00:21:36,480
Speaker 3: There's plenty of space for them. I just don't want

417
00:21:36,480 --> 00:21:39,919
Speaker 3: them in my little, my little patch, yeah, because they

418
00:21:40,000 --> 00:21:41,760
Speaker 3: do a lot of fucking damage. There's a hole in

419
00:21:41,840 --> 00:21:43,800
Speaker 3: my yard right now that like a child could fall

420
00:21:43,880 --> 00:21:44,720
Speaker 3: into and disappear.

421
00:21:44,920 --> 00:21:45,160
Speaker 2: Wow.

422
00:21:46,080 --> 00:21:49,680
Speaker 1: Yeah, well listen, I mean that is a humane way

423
00:21:50,000 --> 00:21:51,560
Speaker 1: of sending them elsewhere.

424
00:21:52,200 --> 00:21:55,400
Speaker 2: That's fucking awesome. Like you who knew that it could

425
00:21:55,440 --> 00:21:57,960
Speaker 2: be that easy, because that's all I ever wanted. I'm like,

426
00:21:58,000 --> 00:21:59,240
Speaker 2: I don't have to kill you. I just want you

427
00:21:59,280 --> 00:21:59,760
Speaker 2: to go away.

428
00:22:00,119 --> 00:22:02,719
Speaker 3: And the only option I was given was like, well,

429
00:22:02,760 --> 00:22:05,720
Speaker 3: we can trap them and then drive them somewhere. We

430
00:22:05,800 --> 00:22:10,560
Speaker 3: can be an uber service for fucking groundhog, which is

431
00:22:10,640 --> 00:22:16,520
Speaker 3: just not practical or clearly doesn't even work. After all

432
00:22:16,600 --> 00:22:20,320
Speaker 3: that money I spent to like taxi these fucking groundhogs

433
00:22:20,359 --> 00:22:24,040
Speaker 3: around the county, they're still here. So I'm like, all right.

434
00:22:24,080 --> 00:22:27,200
Speaker 3: And then I also gave I told my neighbor, my

435
00:22:27,320 --> 00:22:30,359
Speaker 3: one neighbor. I said, you know, hey, this is what

436
00:22:30,480 --> 00:22:32,080
Speaker 3: I'm I've done to kind of keep them out of

437
00:22:32,119 --> 00:22:33,879
Speaker 3: my yard. I've got a couple extra spikes if you

438
00:22:33,920 --> 00:22:35,240
Speaker 3: want them, and he was like, let you do it.

439
00:22:35,359 --> 00:22:38,119
Speaker 3: Let's keep them away from this whole area. So I

440
00:22:38,160 --> 00:22:41,080
Speaker 3: think we're pretty well protected. They seem to be working.

441
00:22:41,800 --> 00:22:45,520
Speaker 2: That is fucking awesome. I'm so happy you could just

442
00:22:45,640 --> 00:22:50,080
Speaker 2: like kind of gently nudge them with an annoying noise.

443
00:22:50,720 --> 00:22:53,040
Speaker 3: You know, it's so and it doesn't clearly doesn't bother

444
00:22:53,160 --> 00:22:55,880
Speaker 3: the deer. The deer just like we're still out here.

445
00:22:56,520 --> 00:22:58,600
Speaker 2: But you can't hear it, right, you can't hear it

446
00:22:58,680 --> 00:22:59,560
Speaker 2: as a human, No.

447
00:23:00,320 --> 00:23:02,159
Speaker 3: Because I put them far in the backyard, Okay, I

448
00:23:02,240 --> 00:23:04,320
Speaker 3: can't hear them, and they're buried. They're like underground.

449
00:23:04,480 --> 00:23:05,800
Speaker 2: Oh got it. Wow.

450
00:23:06,000 --> 00:23:07,320
Speaker 3: So I had to go buy these, Like I had

451
00:23:07,359 --> 00:23:12,840
Speaker 3: to buy a a hole maker, yeah, like you know

452
00:23:12,920 --> 00:23:15,440
Speaker 3: those things you jam into the ground and like like

453
00:23:15,520 --> 00:23:16,080
Speaker 3: a yeah, like.

454
00:23:16,119 --> 00:23:19,080
Speaker 2: A ditch digger, not a dish digger, a hole yeah,

455
00:23:19,119 --> 00:23:22,480
Speaker 2: I know, a post digger, yes. Yeah.

456
00:23:22,760 --> 00:23:24,359
Speaker 3: And also this was me in the hardware store on

457
00:23:24,400 --> 00:23:26,600
Speaker 3: my local hardware store where when I walk in now

458
00:23:27,000 --> 00:23:30,040
Speaker 3: they just start laughing. Oh god, when they see me,

459
00:23:30,080 --> 00:23:32,000
Speaker 3: they just start laughing, Like what is this idiot going

460
00:23:32,040 --> 00:23:34,040
Speaker 3: to want? Now? I'm like, I need one of those

461
00:23:34,040 --> 00:23:35,440
Speaker 3: things where you can dig a hole in the ground.

462
00:23:35,440 --> 00:23:37,080
Speaker 3: They're like a shovel and I'm like, no, bitch, I

463
00:23:37,119 --> 00:23:40,680
Speaker 3: know what a shovel is. I need like a uniform

464
00:23:40,840 --> 00:23:44,159
Speaker 3: hole that goes deep into the ground. And you just

465
00:23:44,240 --> 00:23:50,439
Speaker 3: started cracking all these like very very medieval looking tools.

466
00:23:50,800 --> 00:23:53,440
Speaker 3: But I got the postsetter or whatever it's called. Yeah,

467
00:23:54,400 --> 00:23:56,960
Speaker 3: and I just kind of dug some holes, and I

468
00:23:57,080 --> 00:23:58,840
Speaker 3: dug two more holes in my Three more holes in

469
00:23:58,880 --> 00:24:01,120
Speaker 3: my in my my yard are hopefully the last holes

470
00:24:01,160 --> 00:24:03,000
Speaker 3: that will be there. Now I say this, and I

471
00:24:03,040 --> 00:24:06,840
Speaker 3: feel very triumphant, having figured out how to keep groundhogs away.

472
00:24:07,520 --> 00:24:09,520
Speaker 3: I am being terrorized by a fucking squirrel.

473
00:24:10,200 --> 00:24:13,520
Speaker 2: What now, just a simple squirrel's rooting your life? How

474
00:24:13,600 --> 00:24:14,240
Speaker 2: did that happen?

475
00:24:14,920 --> 00:24:20,440
Speaker 3: Absolutely terrorized by one pernicious red little fuck. And I

476
00:24:20,520 --> 00:24:23,960
Speaker 3: see him every day and he flaunts his shit. He

477
00:24:24,119 --> 00:24:26,320
Speaker 3: crawled up into the eves, he made a hole, he

478
00:24:26,400 --> 00:24:30,920
Speaker 3: got in my attic. I watched this fucking squirrel bowl

479
00:24:31,080 --> 00:24:33,480
Speaker 3: a crab apple like he was kicking a crab apple

480
00:24:33,960 --> 00:24:37,480
Speaker 3: down my yard, like he was fucking peley, Yeah, put

481
00:24:37,560 --> 00:24:40,840
Speaker 3: it in his mouth, ran up the building, and then

482
00:24:40,880 --> 00:24:43,960
Speaker 3: I heard him rolling that shit around over my head,

483
00:24:44,160 --> 00:24:48,800
Speaker 3: like I watched the whole process one morning, And he

484
00:24:48,840 --> 00:24:51,600
Speaker 3: has storn all of his fucking food in my attic

485
00:24:51,920 --> 00:24:55,000
Speaker 3: for the winter. And I can't find the hole. I

486
00:24:55,160 --> 00:24:56,960
Speaker 3: don't know how I know where he's getting I can't.

487
00:24:57,040 --> 00:24:59,600
Speaker 3: I don't know how he's getting in. It might be

488
00:24:59,680 --> 00:25:03,320
Speaker 3: by this silo, I don't know. But I saw him

489
00:25:03,320 --> 00:25:04,760
Speaker 3: one morning, like I was. I was in bed and

490
00:25:04,840 --> 00:25:07,919
Speaker 3: I looked out the window and he red squirrels are

491
00:25:07,960 --> 00:25:11,720
Speaker 3: really like shitty, Like they're the shittiest squirrels. The gray

492
00:25:11,760 --> 00:25:14,560
Speaker 3: squirrels that you see, yeah, are like they're pretty normal,

493
00:25:14,600 --> 00:25:16,560
Speaker 3: Like they're pretty chill. They're like the stoners of the

494
00:25:16,560 --> 00:25:17,520
Speaker 3: squirrel world.

495
00:25:18,119 --> 00:25:18,320
Speaker 2: Yeah.

496
00:25:18,480 --> 00:25:21,560
Speaker 3: Red squirrels are like the methaddicts of the squirrel world.

497
00:25:22,320 --> 00:25:24,160
Speaker 2: I don't think I've ever seen a red squirrel. Yeah,

498
00:25:24,440 --> 00:25:24,920
Speaker 2: Oh my god.

499
00:25:24,960 --> 00:25:28,320
Speaker 3: They're screechy and loud, and he fucking hops around the

500
00:25:28,359 --> 00:25:31,120
Speaker 3: fucking tree tops like Spider Man, just yelling all day.

501
00:25:31,760 --> 00:25:33,879
Speaker 3: And it's only one, Like, nobody will mate with this

502
00:25:34,000 --> 00:25:36,480
Speaker 3: fucking maniac. It's only one. He doesn't have a fucking family.

503
00:25:37,119 --> 00:25:37,879
Speaker 2: And so I saw him.

504
00:25:37,880 --> 00:25:39,119
Speaker 3: I was in bed one day and I saw him

505
00:25:39,160 --> 00:25:41,760
Speaker 3: on the roof of the like the thing that's the

506
00:25:42,440 --> 00:25:44,600
Speaker 3: part of the garage that's between the silo and the house.

507
00:25:45,400 --> 00:25:48,200
Speaker 3: And so he crawled that out of my attic, hopped

508
00:25:48,200 --> 00:25:50,399
Speaker 3: on the roof, stood up on his back legs and

509
00:25:50,520 --> 00:25:53,680
Speaker 3: his tail was twitching and he was like like he

510
00:25:53,760 --> 00:25:55,600
Speaker 3: was like screaming, and I'm like, are you trying to

511
00:25:55,680 --> 00:25:56,600
Speaker 3: get your friends to.

512
00:25:56,640 --> 00:26:01,320
Speaker 2: Come out of my fucking house. What the fuck?

513
00:26:01,680 --> 00:26:05,080
Speaker 3: And then he paylaid some fucking crab apples down, and

514
00:26:05,160 --> 00:26:09,520
Speaker 3: there must be there's like an absolute litany of food

515
00:26:09,600 --> 00:26:12,600
Speaker 3: in my attic right now. Yeah, because I hear him

516
00:26:12,680 --> 00:26:15,119
Speaker 3: playing with it all fucking day, and I got the

517
00:26:15,200 --> 00:26:18,160
Speaker 3: sonic thing going. I got the sonic that ten hour

518
00:26:18,240 --> 00:26:21,320
Speaker 3: squirrel thing that I discovered on YouTube a few months ago.

519
00:26:21,800 --> 00:26:25,320
Speaker 3: He's immune to it now, He's like, yeah, whatever, some beeps,

520
00:26:25,359 --> 00:26:26,280
Speaker 3: I'm gonna eat all winter.

521
00:26:26,480 --> 00:26:27,120
Speaker 2: This is tight.

522
00:26:28,520 --> 00:26:30,800
Speaker 3: Yeah, man, hould me immune to it? Man?

523
00:26:30,880 --> 00:26:34,159
Speaker 1: These squirrels, they really figured out how to live. They

524
00:26:34,320 --> 00:26:36,440
Speaker 1: just like adapt to so much.

525
00:26:37,359 --> 00:26:40,720
Speaker 3: I fucking break dancing in my walls. You heard it

526
00:26:40,800 --> 00:26:43,480
Speaker 3: in that one episode a couple of weeks ago. I

527
00:26:43,560 --> 00:26:45,320
Speaker 3: had to bang on the walls like I'm like an

528
00:26:45,520 --> 00:26:47,919
Speaker 3: absolute maniac in my own house where I hear him,

529
00:26:47,960 --> 00:26:48,359
Speaker 3: and I'm.

530
00:26:48,240 --> 00:26:53,160
Speaker 2: Like, dad like bang it all and shouting, and Carrot.

531
00:26:52,880 --> 00:26:55,640
Speaker 3: Is constantly looking at me like, what is your fucking problem?

532
00:26:55,960 --> 00:26:59,000
Speaker 2: Yeah? I mean, shit, dude, it's like you're a Doctor

533
00:26:59,080 --> 00:27:02,120
Speaker 2: Doolittle type. I mean, at this point, you're like, these

534
00:27:02,200 --> 00:27:03,840
Speaker 2: are the animals that live here, and I have to

535
00:27:03,960 --> 00:27:06,080
Speaker 2: like try to figure out a way for them not

536
00:27:06,200 --> 00:27:08,320
Speaker 2: to annoy me while I'm doing my tasks.

537
00:27:09,240 --> 00:27:14,920
Speaker 3: I am the world's most reluctant snow white. I'm like

538
00:27:15,160 --> 00:27:17,200
Speaker 3: snow white for all the dirtbag animals.

539
00:27:17,800 --> 00:27:19,440
Speaker 2: Oh my god.

540
00:27:19,760 --> 00:27:22,560
Speaker 3: Yeah, this red squirrel and we're gonna fucking box. And

541
00:27:22,600 --> 00:27:24,560
Speaker 3: I was reading about how to get rid of him,

542
00:27:25,160 --> 00:27:26,879
Speaker 3: and they're like, find the hole, and I'm like I can't,

543
00:27:27,240 --> 00:27:30,880
Speaker 3: and then they're like, well, you should go. Another option

544
00:27:31,040 --> 00:27:33,560
Speaker 3: is to go up in your attic soak a bunch

545
00:27:33,640 --> 00:27:37,920
Speaker 3: of rags in apple cider vinegar and then like lay

546
00:27:37,960 --> 00:27:39,720
Speaker 3: them around the area. And I'm like, one, I'm not

547
00:27:39,840 --> 00:27:42,000
Speaker 3: going up in my attic. That shit is a creep fest.

548
00:27:42,240 --> 00:27:42,920
Speaker 2: Yeah me neither.

549
00:27:43,640 --> 00:27:47,600
Speaker 3: I am not doing it. And two apple cider vinegar.

550
00:27:47,680 --> 00:27:49,320
Speaker 3: It's like you can wash your hair with it, you

551
00:27:49,400 --> 00:27:51,320
Speaker 3: can make a fucking chili with it, and you can

552
00:27:52,080 --> 00:27:55,320
Speaker 3: detract squirrels. Is this not the world's most miracle liquid.

553
00:27:55,720 --> 00:27:57,800
Speaker 3: I've had so much coffee. I'm sorry, but I'm like

554
00:28:00,000 --> 00:28:04,200
Speaker 3: every time, like home remedies for people who don't want

555
00:28:04,200 --> 00:28:06,560
Speaker 3: to kill animals that also don't want to live with animals,

556
00:28:06,960 --> 00:28:10,919
Speaker 3: it's something like you should take you should take an

557
00:28:10,960 --> 00:28:14,080
Speaker 3: old candle and take the wick out and do a

558
00:28:14,200 --> 00:28:16,920
Speaker 3: spell with it in the moonlight, and then stamp the

559
00:28:17,000 --> 00:28:19,879
Speaker 3: candle with your own brand, and then the squirrels will go.

560
00:28:20,040 --> 00:28:23,120
Speaker 3: And I'm like, none of this works. These squirrels are impervious.

561
00:28:23,240 --> 00:28:25,359
Speaker 3: They figured out all of our fucking tricks. I'm not

562
00:28:25,440 --> 00:28:28,400
Speaker 3: going to be just like hucking rags, fucking apple cider

563
00:28:28,520 --> 00:28:30,359
Speaker 3: vinegar soaked rags up in my attic.

564
00:28:30,680 --> 00:28:33,480
Speaker 1: I know they need to update the Farmer's Almanac with

565
00:28:33,560 --> 00:28:35,600
Speaker 1: all of these tips, like just be like, you know what,

566
00:28:35,920 --> 00:28:40,720
Speaker 1: like we need sonic spikes for every animal that annoys me,

567
00:28:42,160 --> 00:28:44,720
Speaker 1: that one the one that they don't get used to.

568
00:28:44,840 --> 00:28:48,400
Speaker 2: The sound and then move on, you know. They we

569
00:28:48,520 --> 00:28:50,600
Speaker 2: got to figure out a way to really really do

570
00:28:50,720 --> 00:28:52,840
Speaker 2: it humanely but actually works.

571
00:28:53,040 --> 00:28:55,240
Speaker 3: For some This is a business that I would invest in.

572
00:28:55,480 --> 00:28:57,400
Speaker 3: I would invest in this shit, Like give me a

573
00:28:57,520 --> 00:29:00,479
Speaker 3: rotating sonic spike that like plays the music some times,

574
00:29:00,640 --> 00:29:04,440
Speaker 3: or like what's the most what's the most annoying music

575
00:29:04,520 --> 00:29:07,480
Speaker 3: that you could pulse underground? And is it Liberaci?

576
00:29:09,720 --> 00:29:12,560
Speaker 1: I was gonna say, Liberaci seems a little chill, Like

577
00:29:12,720 --> 00:29:15,440
Speaker 1: I would be like sleep me, sleep me away.

578
00:29:15,640 --> 00:29:18,040
Speaker 2: I don't know, And for me it would be like

579
00:29:19,880 --> 00:29:23,160
Speaker 2: I don't know, like Limp Biscuit or something of ooh.

580
00:29:23,400 --> 00:29:26,480
Speaker 3: Can you imagine like nookie, just like the sounds of

581
00:29:26,680 --> 00:29:29,320
Speaker 3: Nookie underground, like you would move out of your own house.

582
00:29:29,440 --> 00:29:32,200
Speaker 1: Oh my god, don't even if I had neighbors right

583
00:29:32,240 --> 00:29:34,240
Speaker 1: now that like Limp Biscuit, I would move. I just

584
00:29:34,320 --> 00:29:40,280
Speaker 1: can't absolutely like something shrill and mean, mean, mean and shrill.

585
00:29:41,080 --> 00:29:43,880
Speaker 3: And what if it's like Diamanda Gallas or something like that.

586
00:29:45,000 --> 00:29:48,960
Speaker 3: Who I like a lot, Yeah, like early Yoko Ono,

587
00:29:49,160 --> 00:29:53,520
Speaker 3: Diamanda Gallas, like fucking freak these fucking animals out. But

588
00:29:53,600 --> 00:29:55,760
Speaker 3: I would invest in this. Goddamn this is an industry

589
00:29:55,760 --> 00:29:56,600
Speaker 3: that I would invest in.

590
00:29:56,880 --> 00:29:57,080
Speaker 2: Yeah.

591
00:29:57,400 --> 00:29:59,160
Speaker 3: I cannot believe how much of my life is being

592
00:29:59,240 --> 00:30:02,360
Speaker 3: dictated by one single goddamn squirrel right now.

593
00:30:03,040 --> 00:30:04,960
Speaker 1: Yeah, I think you need to go blast some death

594
00:30:05,000 --> 00:30:07,040
Speaker 1: grips and see what happens. Just go out there and

595
00:30:07,160 --> 00:30:10,840
Speaker 1: be like, yo, you can't take this sonic assault, not

596
00:30:11,000 --> 00:30:14,880
Speaker 1: this band. They're too fucking heavy and out of their minds.

597
00:30:15,400 --> 00:30:17,560
Speaker 1: You're just gonna have to fucking keel over and die

598
00:30:17,680 --> 00:30:18,320
Speaker 1: after you hear this.

599
00:30:20,040 --> 00:30:25,400
Speaker 3: Here's some high lung you're a croak. Have some gar

600
00:30:25,560 --> 00:30:25,840
Speaker 3: have it?

601
00:30:26,120 --> 00:30:27,560
Speaker 2: Have some gar but it is.

602
00:30:27,720 --> 00:30:33,320
Speaker 3: It is truly made me realize how boring and impossibly

603
00:30:33,400 --> 00:30:38,040
Speaker 3: dull my life has become. But also very focused, very

604
00:30:38,120 --> 00:30:41,200
Speaker 3: focused on a humane way to get rid of animals.

605
00:30:41,400 --> 00:30:43,720
Speaker 3: And I'm gonna have to cover my whole house in

606
00:30:43,920 --> 00:30:47,720
Speaker 3: like a biodome. I don't think I'm gonna win this fight.

607
00:30:49,600 --> 00:30:51,720
Speaker 2: Well, I still want to come visit.

608
00:30:52,840 --> 00:30:55,600
Speaker 3: Yes, it's gorgeous. There's blood everywhere, this squirrel.

609
00:30:58,840 --> 00:30:59,480
Speaker 2: In spite of the.

610
00:30:59,520 --> 00:31:03,840
Speaker 1: Blood and the squirrels, I still want to come see you.

611
00:31:04,200 --> 00:31:06,800
Speaker 1: And I want to check out this house in this hood.

612
00:31:06,920 --> 00:31:07,560
Speaker 1: I can't wait.

613
00:31:07,680 --> 00:31:11,040
Speaker 2: It's gonna be so you're gonna love it. You're gonna

614
00:31:11,080 --> 00:31:11,320
Speaker 2: love it.

615
00:31:11,560 --> 00:31:14,080
Speaker 3: I finally found a contractor that I can work with

616
00:31:15,000 --> 00:31:20,720
Speaker 3: after two tries. My criteria was very simple. You have

617
00:31:20,880 --> 00:31:23,760
Speaker 3: to be good at what you do and skilled at

618
00:31:23,800 --> 00:31:25,760
Speaker 3: working in older houses that need a lot of work.

619
00:31:26,840 --> 00:31:31,760
Speaker 3: And you have to have a woman on staff correct yep,

620
00:31:31,920 --> 00:31:33,760
Speaker 3: because I need to be able to talk to someone

621
00:31:33,800 --> 00:31:36,560
Speaker 3: and have them hear me mm. And that has not

622
00:31:36,720 --> 00:31:39,200
Speaker 3: been my experience with the men who come into my house. Yes,

623
00:31:39,920 --> 00:31:44,000
Speaker 3: So I found one one, yeah, in the whole county,

624
00:31:44,720 --> 00:31:46,040
Speaker 3: and I was like, I will wait for you.

625
00:31:48,280 --> 00:31:49,960
Speaker 1: Yeah, I think you talked about this on a on

626
00:31:50,040 --> 00:31:53,600
Speaker 1: an earlier episode about how it was like a was

627
00:31:53,640 --> 00:31:55,320
Speaker 1: it a brother and sister team or something.

628
00:31:55,520 --> 00:31:55,720
Speaker 2: Yeah.

629
00:31:56,640 --> 00:31:58,600
Speaker 3: Yeah, So we set it up. They hooked me up

630
00:31:58,640 --> 00:32:01,920
Speaker 3: with an architect who came. I kind of love showing

631
00:32:02,240 --> 00:32:04,959
Speaker 3: people around my house because they cannot believe how insane

632
00:32:05,040 --> 00:32:08,480
Speaker 3: it is in that not the size or the scope,

633
00:32:08,520 --> 00:32:13,560
Speaker 3: or they cannot believe my actual living situation where they're like, wow,

634
00:32:13,720 --> 00:32:16,200
Speaker 3: every room needs were I'm like, yeah, every room is

635
00:32:16,240 --> 00:32:19,680
Speaker 3: a different level of complete insanity because the people who

636
00:32:19,720 --> 00:32:22,840
Speaker 3: lived here before me clearly did all the work themselves,

637
00:32:22,880 --> 00:32:24,800
Speaker 3: and they didn't know what they were doing and had

638
00:32:24,960 --> 00:32:28,080
Speaker 3: orgies with ghosts, like it is just insane. So the

639
00:32:28,160 --> 00:32:31,280
Speaker 3: architect came over to do all these plans and I

640
00:32:31,320 --> 00:32:33,600
Speaker 3: didn't I don't even I didn't even know architects did that.

641
00:32:35,200 --> 00:32:37,200
Speaker 3: I'm like, I thought they just built like skyscrapers, but

642
00:32:37,240 --> 00:32:38,560
Speaker 3: they work in regular houses too.

643
00:32:39,440 --> 00:32:39,640
Speaker 2: Yeah.

644
00:32:40,160 --> 00:32:43,920
Speaker 3: So yeah, he came over and was like very nice,

645
00:32:44,360 --> 00:32:48,479
Speaker 3: very receptive, listened to me and just kind of measured

646
00:32:48,520 --> 00:32:51,320
Speaker 3: every room and did like crawled around the house and

647
00:32:52,040 --> 00:32:54,240
Speaker 3: did and every where. He's like, yeah, we can we

648
00:32:54,320 --> 00:32:57,840
Speaker 3: can make this a functional house, but wow, it really

649
00:32:57,960 --> 00:32:59,560
Speaker 3: is not right now, and I'm like, yeah, tell me

650
00:32:59,560 --> 00:33:02,480
Speaker 3: about it, tell me about it. Well, you do not

651
00:33:02,680 --> 00:33:03,720
Speaker 3: have to say that twice, sir.

652
00:33:05,080 --> 00:33:08,080
Speaker 2: I still want to come. You're trying to ward me

653
00:33:08,200 --> 00:33:12,720
Speaker 2: off of this Winchester mystery house of yours, but every

654
00:33:12,800 --> 00:33:15,440
Speaker 2: time you mention how weird it is, it makes me

655
00:33:15,640 --> 00:33:16,320
Speaker 2: more curious.

656
00:33:16,600 --> 00:33:19,640
Speaker 3: So I want you to see it in its weirdest

657
00:33:19,760 --> 00:33:22,600
Speaker 3: possible state. So I do want you to visit right away,

658
00:33:23,200 --> 00:33:25,240
Speaker 3: and then when it's fixed, I want you to be like,

659
00:33:25,360 --> 00:33:29,920
Speaker 3: holy shit, this is better. Oh yeah, this is I

660
00:33:29,960 --> 00:33:32,120
Speaker 3: want you to I'm kind of excited to show people

661
00:33:33,480 --> 00:33:36,640
Speaker 3: this nascent state that it's in because I think it

662
00:33:36,720 --> 00:33:39,920
Speaker 3: will one day be so much better. And you especially,

663
00:33:40,520 --> 00:33:43,080
Speaker 3: I want you to come when I finish the guest

664
00:33:43,200 --> 00:33:46,520
Speaker 3: room because guys, I think I've talked about this before.

665
00:33:46,560 --> 00:33:48,440
Speaker 3: I watch a lot of prices right with my grandma.

666
00:33:50,200 --> 00:33:52,480
Speaker 3: They have you bidding on a ton of shit that

667
00:33:52,520 --> 00:33:54,240
Speaker 3: I don't pay attention to. But one day they had

668
00:33:54,280 --> 00:33:55,840
Speaker 3: a dry sauna on there.

669
00:33:56,560 --> 00:33:59,000
Speaker 2: Ooh yeah, and I was like, you can just buy

670
00:33:59,120 --> 00:34:03,200
Speaker 2: those for your fucking house, yep, for not a lot

671
00:34:03,280 --> 00:34:05,440
Speaker 2: of money, not like a ton of money. Mm hmmm.

672
00:34:05,640 --> 00:34:11,200
Speaker 3: So the guest room, the black toilet, black jacuzzi bathroom

673
00:34:11,280 --> 00:34:13,480
Speaker 3: of horrors, the worst bathroom in my house that I've

674
00:34:13,600 --> 00:34:16,799
Speaker 3: literally shut off and just decided not to go into

675
00:34:16,880 --> 00:34:21,279
Speaker 3: for the past year, is going to eventually be a room.

676
00:34:21,480 --> 00:34:24,400
Speaker 3: There's a little closet in between the guest room in

677
00:34:24,440 --> 00:34:26,959
Speaker 3: the bathroom, and I'm gonna put a fucking dry sauna

678
00:34:27,040 --> 00:34:27,319
Speaker 3: in there.

679
00:34:27,719 --> 00:34:29,319
Speaker 2: Hell yeah, hell yeah.

680
00:34:29,400 --> 00:34:31,120
Speaker 3: So when you come to visit, you're not gonna want

681
00:34:31,120 --> 00:34:31,439
Speaker 3: to leave.

682
00:34:31,719 --> 00:34:33,680
Speaker 1: Oh hell no, I'm gonna be like a fucking seventies

683
00:34:33,719 --> 00:34:38,160
Speaker 1: tennis player up in there, just like feeling fucking the

684
00:34:38,320 --> 00:34:43,000
Speaker 1: ecstasy of a dry sauna of health of you know,

685
00:34:43,600 --> 00:34:45,600
Speaker 1: I don't know actually what a sauna does.

686
00:34:45,760 --> 00:34:48,000
Speaker 2: Like, that's the thing. I'm like, I love a sauna,

687
00:34:48,680 --> 00:34:50,839
Speaker 2: but is it just heating up my bones? I guess

688
00:34:50,880 --> 00:34:54,319
Speaker 2: I don't know what the true health benefits are.

689
00:34:54,920 --> 00:35:00,799
Speaker 3: Let's call it bjorn Borg, Like, what's a sauna, dude?

690
00:35:02,200 --> 00:35:04,879
Speaker 2: Sauna seem very seventies to me, and I don't know why.

691
00:35:06,480 --> 00:35:07,520
Speaker 2: I love a sauna.

692
00:35:07,800 --> 00:35:10,080
Speaker 3: And I love it because if you live in cold

693
00:35:10,160 --> 00:35:13,040
Speaker 3: places or places where it's liable to get very cold,

694
00:35:13,760 --> 00:35:16,279
Speaker 3: sometimes it is really hard to warm up. Yeah, like

695
00:35:16,360 --> 00:35:18,480
Speaker 3: it just objectively is hard to warm up. So I

696
00:35:18,560 --> 00:35:20,919
Speaker 3: think the purpose of a sauna just getting heat deep

697
00:35:20,960 --> 00:35:24,440
Speaker 3: into your body. It's useful. Like they're all over Montreal.

698
00:35:24,760 --> 00:35:27,520
Speaker 1: Yeah, well, I mean I understand a steam room because

699
00:35:27,560 --> 00:35:30,279
Speaker 1: a steam room like opens up your pores and you're

700
00:35:30,280 --> 00:35:33,240
Speaker 1: sweating out toxins and that kind of stuff, dry heat.

701
00:35:34,200 --> 00:35:36,840
Speaker 1: I need to google this because I love them. I

702
00:35:36,920 --> 00:35:39,800
Speaker 1: actually love the vibe in there because it's all wooden

703
00:35:40,200 --> 00:35:43,759
Speaker 1: and like you know, I mean an eucalyptus on there.

704
00:35:44,080 --> 00:35:44,440
Speaker 2: Totally.

705
00:35:44,480 --> 00:35:47,400
Speaker 1: I love it when somebody pours the little scooper with

706
00:35:47,560 --> 00:35:50,759
Speaker 1: water over the rocks or whatever. I like to go

707
00:35:51,200 --> 00:35:53,759
Speaker 1: naked if no one else is in there. So I'm

708
00:35:53,880 --> 00:35:59,120
Speaker 1: just like, yo, this is a cool chill, wooden nude hang.

709
00:35:59,840 --> 00:36:02,560
Speaker 1: But I actually don't know what it's doing in my body.

710
00:36:02,560 --> 00:36:05,000
Speaker 1: I'm just like, yo, I'm just heating myself up, and

711
00:36:05,080 --> 00:36:08,480
Speaker 1: then it's our things aligning in the body like a

712
00:36:09,239 --> 00:36:11,279
Speaker 1: my is my spine in order? Like, I don't know

713
00:36:11,320 --> 00:36:13,680
Speaker 1: what I'm doing. I'm just getting hot your spine.

714
00:36:14,640 --> 00:36:16,480
Speaker 2: The hell kind of saunas you been there? No, I'm

715
00:36:16,480 --> 00:36:18,440
Speaker 2: just saying I don't know what it's doing. I'm just

716
00:36:18,600 --> 00:36:22,600
Speaker 2: I'm making guesses as to what this experience is supposed

717
00:36:22,600 --> 00:36:23,520
Speaker 2: to be doing for my body.

718
00:36:24,120 --> 00:36:26,239
Speaker 3: I'm going to go in the sauna with scoliosis and

719
00:36:26,280 --> 00:36:29,960
Speaker 3: I'm coming out without SCOLIOSI.

720
00:36:30,520 --> 00:36:33,120
Speaker 2: Well, we're gone, Listen, I don't it doesn't even matter.

721
00:36:33,360 --> 00:36:35,920
Speaker 1: The vibe is so appealing to me that I'll come

722
00:36:35,960 --> 00:36:37,680
Speaker 1: to your house just for that. I mean that is

723
00:36:38,520 --> 00:36:44,319
Speaker 1: just to be a seventies health expert in the sauna, so.

724
00:36:44,880 --> 00:36:46,319
Speaker 3: Cause you, and this is part of the reason I'm

725
00:36:46,360 --> 00:36:48,320
Speaker 3: doing it. I don't want to leave my house anymore,

726
00:36:48,400 --> 00:36:49,920
Speaker 3: like I never want to go anywhere. I don't want

727
00:36:49,920 --> 00:36:51,359
Speaker 3: to do any I don't want to go out ever,

728
00:36:52,040 --> 00:36:54,320
Speaker 3: And I especially don't want to go sit in a

729
00:36:54,400 --> 00:36:59,360
Speaker 3: fucking steam room post COVID with all these people breathing

730
00:36:59,400 --> 00:37:01,040
Speaker 3: in and out with their hot air and all their

731
00:37:01,080 --> 00:37:05,560
Speaker 3: shit particles are just hanging in the fucking air, Like

732
00:37:05,640 --> 00:37:08,120
Speaker 3: I don't want to breathe in anyone else's particles anymore.

733
00:37:08,840 --> 00:37:11,359
Speaker 2: Agreed. Agreed, You just have to have all of all

734
00:37:11,440 --> 00:37:14,880
Speaker 2: of your public services in your home at this point.

735
00:37:15,160 --> 00:37:16,600
Speaker 3: Yeah, so pretty much.

736
00:37:16,800 --> 00:37:19,920
Speaker 2: Yeah, I agree. Well, listen, can't wait to come up.

737
00:37:21,000 --> 00:37:24,160
Speaker 1: I'm gonna wait for the snow to go away and

738
00:37:24,280 --> 00:37:27,600
Speaker 1: then maybe come up next year and hopefully those fucking

739
00:37:27,600 --> 00:37:30,520
Speaker 1: squirrels will be out of there and we're gonna have

740
00:37:30,560 --> 00:37:35,239
Speaker 1: a great time sitting in your dry sauna and it'll

741
00:37:35,280 --> 00:37:35,800
Speaker 1: be a blast.

742
00:37:36,400 --> 00:37:38,880
Speaker 3: You know. Damn well, that squirrel is gonna be holding up.

743
00:37:38,920 --> 00:37:41,160
Speaker 3: He's gonna have like a fucking tiny baton and just

744
00:37:41,280 --> 00:37:43,680
Speaker 3: like doing having a symphony with all of his friends

745
00:37:43,719 --> 00:37:46,760
Speaker 3: that he's convinced to move into his dope fucking attic space.

746
00:37:47,080 --> 00:37:49,160
Speaker 3: He's like, she can't even get us up here, Come hang,

747
00:37:49,239 --> 00:37:53,200
Speaker 3: and they're gonna have like a fucking symphonic experience.

748
00:37:53,440 --> 00:37:55,919
Speaker 1: But he's out there telling the other squirrels that he's

749
00:37:56,040 --> 00:37:59,200
Speaker 1: putting a dry sauna in your attic for them squirrels.

750
00:38:00,120 --> 00:38:03,160
Speaker 2: Soely, he already probably already did it.

751
00:38:03,280 --> 00:38:05,120
Speaker 3: What do you think all those crab apples he's using

752
00:38:05,160 --> 00:38:08,200
Speaker 3: those skins, and he's like, this is the corner where

753
00:38:08,239 --> 00:38:11,160
Speaker 3: I just like huff particles, hot particles.

754
00:38:11,560 --> 00:38:12,320
Speaker 2: Come join me.

755
00:38:18,040 --> 00:38:23,920
Speaker 3: Well, speaking of the seventies, Yeah, we got some movies today, we.

756
00:38:24,160 --> 00:38:29,560
Speaker 1: Do h Listen, I'm gonna I'm gonna say this to

757
00:38:29,760 --> 00:38:33,280
Speaker 1: you right now and to everybody right now. I truly

758
00:38:33,600 --> 00:38:39,480
Speaker 1: like we're doing a recurring theme, but the films that

759
00:38:39,640 --> 00:38:45,800
Speaker 1: we chose for this time might be my favorites. This

760
00:38:45,960 --> 00:38:48,680
Speaker 1: might be like, I've never had a double feature on

761
00:38:48,760 --> 00:38:49,280
Speaker 1: this podcast.

762
00:38:49,320 --> 00:38:53,239
Speaker 2: Speak to me more then the two A lot.

763
00:38:53,480 --> 00:38:55,520
Speaker 1: That's saying a lot, because you know, we got a

764
00:38:55,600 --> 00:38:57,600
Speaker 1: lot of faves. There have been weeks where we're like,

765
00:38:57,680 --> 00:38:59,880
Speaker 1: this is the best paring ever, this is our favorite ever.

766
00:39:00,719 --> 00:39:03,360
Speaker 2: This for me personally is it.

767
00:39:03,440 --> 00:39:07,279
Speaker 1: Speaks to the core of who I am as a

768
00:39:07,360 --> 00:39:11,719
Speaker 1: film lover. I could I was like shocked by how

769
00:39:12,719 --> 00:39:16,600
Speaker 1: great like these two movies were together in a way.

770
00:39:17,160 --> 00:39:19,400
Speaker 1: I can't wait to talk about these I'm so excited.

771
00:39:19,440 --> 00:39:21,480
Speaker 3: I can't wait. Well, look I can't wait either, So

772
00:39:21,600 --> 00:39:24,160
Speaker 3: go ahead and tell them the theme and then you're

773
00:39:24,200 --> 00:39:24,760
Speaker 3: going first.

774
00:39:25,000 --> 00:39:27,000
Speaker 2: Okay, Well, I hope you know what the theme is

775
00:39:27,080 --> 00:39:29,359
Speaker 2: by now, people, because it is we're bringing it back.

776
00:39:29,680 --> 00:39:31,640
Speaker 1: The theme for this week is baby Girl, What is

777
00:39:31,680 --> 00:39:37,040
Speaker 1: you Doing? And if you haven't caught the previous episodes

778
00:39:37,160 --> 00:39:39,000
Speaker 1: where we did this, I mean this is.

779
00:39:39,320 --> 00:39:42,000
Speaker 2: This is again another Danielle Henderson joint.

780
00:39:42,520 --> 00:39:43,360
Speaker 3: This is her.

781
00:39:45,040 --> 00:39:49,839
Speaker 2: Her coming from her brain and what would you how

782
00:39:49,840 --> 00:39:51,600
Speaker 2: would you describe baby Girl? What is you doing?

783
00:39:53,080 --> 00:39:57,719
Speaker 3: It's basically any kind of film where a woman is

784
00:39:58,160 --> 00:40:02,680
Speaker 3: doing something non tradition in a way that either confuses

785
00:40:03,080 --> 00:40:05,840
Speaker 3: or delights or entices.

786
00:40:08,040 --> 00:40:17,120
Speaker 2: Us, specifically us. Yeah. We we are asking the question

787
00:40:17,520 --> 00:40:21,160
Speaker 2: to the characters in the all day, all day, all.

788
00:40:21,080 --> 00:40:22,920
Speaker 3: Day, the entire hour and a half two hours, like

789
00:40:23,000 --> 00:40:24,040
Speaker 3: baby Girl, what did you do it?

790
00:40:26,719 --> 00:40:28,279
Speaker 2: But and I feel like.

791
00:40:29,920 --> 00:40:35,439
Speaker 1: This time around, like I said, two great thrillers. Really yeah,

792
00:40:36,320 --> 00:40:40,200
Speaker 1: but just like some of my favorite films. And I'm

793
00:40:40,239 --> 00:40:43,560
Speaker 1: gonna get into my film because I'm going first, please do.

794
00:40:43,680 --> 00:40:45,680
Speaker 3: And I've never seen it before, and I just want

795
00:40:45,719 --> 00:40:49,200
Speaker 3: you to know this kind of movie, and this movie

796
00:40:49,239 --> 00:40:53,400
Speaker 3: in particular is the equivalent of me showing Millie Border

797
00:40:53,560 --> 00:41:02,680
Speaker 3: or Hereditary. This movie freaked me the fuck out. Oh shit, Oh,

798
00:41:02,719 --> 00:41:03,600
Speaker 3: we're gonna talk about it.

799
00:41:03,680 --> 00:41:04,320
Speaker 2: You go right on it.

800
00:41:05,400 --> 00:41:07,680
Speaker 1: My film for the theme Baby Girl, What is You Doing?

801
00:41:07,880 --> 00:41:10,400
Speaker 1: Is a movie from nineteen seventy eight. It was written

802
00:41:10,480 --> 00:41:13,359
Speaker 1: and directed by Alan Rudolph and it's called Remember My Name?

803
00:41:14,000 --> 00:41:14,719
Speaker 3: Did you Know Neil?

804
00:41:14,800 --> 00:41:18,600
Speaker 2: From I met Neil in the back of a crowded car.

805
00:41:19,840 --> 00:41:21,480
Speaker 3: I must have been about twelve years old.

806
00:41:21,960 --> 00:41:23,880
Speaker 2: Okay, I don't know if you knew this. Daniel but

807
00:41:23,960 --> 00:41:25,480
Speaker 2: I have been wanting to bring this movie to the

808
00:41:25,520 --> 00:41:27,799
Speaker 2: table for a long time. Yeah.

809
00:41:27,880 --> 00:41:31,520
Speaker 1: I wrote about this movie in my book, and I

810
00:41:31,680 --> 00:41:33,719
Speaker 1: have been a fan of this movie ever since I

811
00:41:33,760 --> 00:41:37,719
Speaker 1: saw it. And to that end, though, it was really

812
00:41:37,760 --> 00:41:39,600
Speaker 1: hard to see this movie for a while, I mean

813
00:41:39,960 --> 00:41:44,359
Speaker 1: for I mean only now I think it's popped up

814
00:41:44,440 --> 00:41:47,600
Speaker 1: on to be in a couple of the other streaming sites,

815
00:41:47,680 --> 00:41:49,600
Speaker 1: but yeah, it was really hard to see for me

816
00:41:50,239 --> 00:41:53,880
Speaker 1: and for everybody forever. I still don't think it's on

817
00:41:53,960 --> 00:41:56,520
Speaker 1: home video, and it was, and that's why I said

818
00:41:56,640 --> 00:41:58,560
Speaker 1: last episode, at the end of last episode, like check

819
00:41:58,640 --> 00:41:59,719
Speaker 1: the Internet archive for it.

820
00:42:00,120 --> 00:42:00,799
Speaker 3: It might be there.

821
00:42:01,560 --> 00:42:03,200
Speaker 1: But yeah, So I think that's part of it too,

822
00:42:03,360 --> 00:42:05,480
Speaker 1: is that it just was something I had always heard

823
00:42:05,480 --> 00:42:09,440
Speaker 1: about and that was obviously very enticing, and I couldn't

824
00:42:09,480 --> 00:42:11,319
Speaker 1: find it and that was enticing. And so then when

825
00:42:11,320 --> 00:42:12,640
Speaker 1: I finally saw it, I was like, oh my god,

826
00:42:12,719 --> 00:42:15,799
Speaker 1: this movie is great. Why is it not available or something?

827
00:42:15,840 --> 00:42:16,359
Speaker 2: You know what I mean?

828
00:42:16,680 --> 00:42:18,880
Speaker 3: Yeah, And also, and I wanted to ask you this

829
00:42:18,960 --> 00:42:21,360
Speaker 3: because I did watch it on Internet archives. Yeah, and

830
00:42:22,239 --> 00:42:25,680
Speaker 3: the first thing that pops up is like the TCM logo,

831
00:42:25,880 --> 00:42:28,080
Speaker 3: like did you ever program this movie?

832
00:42:28,480 --> 00:42:31,000
Speaker 2: Because if you did, somebody rip that shit and put

833
00:42:31,040 --> 00:42:33,560
Speaker 2: it up. Look, I.

834
00:42:35,320 --> 00:42:38,840
Speaker 1: There are times where I'm out in these internet streets

835
00:42:38,840 --> 00:42:42,080
Speaker 1: and I do see bootleg copies of films that have

836
00:42:42,200 --> 00:42:47,120
Speaker 1: the TCM logo on them, and I'm like, I see you,

837
00:42:48,640 --> 00:42:52,759
Speaker 1: and I keep it moving cause I don't have any

838
00:42:52,800 --> 00:42:56,680
Speaker 1: control of that obviously, So you know, I'm like, okay,

839
00:42:57,000 --> 00:43:01,000
Speaker 1: like I'm sure that's not good, but I just keep

840
00:43:01,080 --> 00:43:08,560
Speaker 1: it moving. But yeah, I mean I've played it on

841
00:43:08,800 --> 00:43:11,160
Speaker 1: TCM obviously, and that's why I wrote about it for

842
00:43:11,280 --> 00:43:11,640
Speaker 1: the book.

843
00:43:11,760 --> 00:43:14,239
Speaker 2: And but I feel like, I don't know.

844
00:43:14,480 --> 00:43:17,520
Speaker 1: We've sort of talked about this before about how, you know,

845
00:43:18,000 --> 00:43:21,239
Speaker 1: the reasons why movies aren't available, and a lot of

846
00:43:21,320 --> 00:43:24,360
Speaker 1: it is rights issues, and a lot of times it's music.

847
00:43:24,520 --> 00:43:27,160
Speaker 1: And you know, it has the soundtrack by ALBERTA. Hunter

848
00:43:27,280 --> 00:43:29,680
Speaker 1: that I wonder if that was part of the reason

849
00:43:29,760 --> 00:43:32,800
Speaker 1: why it wasn't available, because you look at this cast

850
00:43:33,320 --> 00:43:36,719
Speaker 1: and you look at like, you know, Alan Rudolph, you know,

851
00:43:37,040 --> 00:43:39,399
Speaker 1: pretty famous director, and you're like, why is this movie

852
00:43:39,440 --> 00:43:40,000
Speaker 1: not available?

853
00:43:40,000 --> 00:43:42,480
Speaker 2: So it had to have been something and yeah, and

854
00:43:42,560 --> 00:43:44,439
Speaker 2: it was produced by Robert Altman.

855
00:43:44,440 --> 00:43:47,920
Speaker 1: Exactly exactly, and it's really just one of the great like,

856
00:43:48,080 --> 00:43:50,719
Speaker 1: to me, it's a great movie of the seventies that

857
00:43:50,920 --> 00:43:53,120
Speaker 1: is sort of underseen, and I feel like there's no

858
00:43:53,280 --> 00:43:56,520
Speaker 1: reason why unless there was something really wrong with it,

859
00:43:56,760 --> 00:43:59,400
Speaker 1: like rights wise, like it shouldn't be on Criterion collection

860
00:43:59,560 --> 00:44:01,560
Speaker 1: or something, you know. I mean, it's it's one of

861
00:44:01,600 --> 00:44:06,040
Speaker 1: those films, right, But to your exact point, So, this

862
00:44:06,680 --> 00:44:10,920
Speaker 1: movie was produced by Robert Altman. Alan Rudolph the director

863
00:44:11,440 --> 00:44:14,800
Speaker 1: who directed and wrote this film. He was a protege

864
00:44:15,440 --> 00:44:21,919
Speaker 1: of Altman, and as his own filmmaker, I think Alan

865
00:44:22,000 --> 00:44:24,799
Speaker 1: Rudolph has made some pretty interesting movies over the years.

866
00:44:24,880 --> 00:44:29,960
Speaker 1: And remember My Name was his attempt at sort of

867
00:44:30,160 --> 00:44:35,360
Speaker 1: making a kind of classic quote unquote woman's picture, like

868
00:44:35,440 --> 00:44:39,160
Speaker 1: a you know, classic Hollywood melodrama, like a Betty Davis

869
00:44:39,239 --> 00:44:40,200
Speaker 1: movie from the forties or.

870
00:44:40,200 --> 00:44:43,400
Speaker 2: Fifties, and you know that. So this was kind of

871
00:44:43,480 --> 00:44:45,640
Speaker 2: his like attempt at making a movie like that.

872
00:44:45,800 --> 00:44:49,560
Speaker 1: And for me also, it's a little noir, a little thriller,

873
00:44:49,719 --> 00:44:53,000
Speaker 1: as we mentioned, and honestly, for me, it's kind of

874
00:44:53,120 --> 00:44:57,520
Speaker 1: a genuinely odd film, which yeah, we'll talk about in

875
00:44:57,719 --> 00:45:00,880
Speaker 1: just a second, I'm sure, but I want to do

876
00:45:01,200 --> 00:45:03,960
Speaker 1: a one sentence synopsis of the film really quick. So

877
00:45:04,640 --> 00:45:09,120
Speaker 1: a one sentence synopsis of Remember My Name, a woman

878
00:45:10,560 --> 00:45:14,719
Speaker 1: who has just been released from prison after murdering the

879
00:45:14,920 --> 00:45:19,200
Speaker 1: lover of her former husband makes a very dark and

880
00:45:19,320 --> 00:45:24,480
Speaker 1: desperate attempt to get back with her ex. Mm hmm okay,

881
00:45:24,960 --> 00:45:28,200
Speaker 1: I mean so much happening already, Yeah, so much happening already.

882
00:45:28,320 --> 00:45:32,080
Speaker 1: So Remember my Name is about a woman named Emily

883
00:45:32,800 --> 00:45:36,000
Speaker 1: and she is played by Geraldine Chaplin, who is an

884
00:45:36,000 --> 00:45:40,000
Speaker 1: amazing actress. She's been in so many films here and

885
00:45:40,120 --> 00:45:43,600
Speaker 1: in Europe, and she's also the daughter of Charlie Chaplin.

886
00:45:44,320 --> 00:45:47,520
Speaker 1: In the film, Emily has just been released from prison.

887
00:45:47,960 --> 00:45:52,080
Speaker 1: She just served a twelve year sentence for murder. And

888
00:45:52,280 --> 00:45:56,279
Speaker 1: at the beginning, she's kind of like wandering through like

889
00:45:56,600 --> 00:45:59,600
Speaker 1: a town, going to like kind of these like clothing stores,

890
00:46:00,160 --> 00:46:01,719
Speaker 1: and she goes into this clothing store.

891
00:46:01,840 --> 00:46:04,600
Speaker 2: She's looking to purchase some nice outfits and to get

892
00:46:04,640 --> 00:46:06,080
Speaker 2: her hair done, and we.

893
00:46:06,239 --> 00:46:10,520
Speaker 1: Realize that it's because she's trying to like hook up

894
00:46:10,600 --> 00:46:14,279
Speaker 1: with her ex husband. And her ex husband is named

895
00:46:14,360 --> 00:46:19,439
Speaker 1: Neil and he's played by Anthony Perkins of Norman Bates Fame.

896
00:46:21,560 --> 00:46:24,920
Speaker 1: Neil is a construction worker and he's married to a

897
00:46:25,000 --> 00:46:28,640
Speaker 1: woman named Barbara, and Barbara's played by Barry Berenson, who

898
00:46:29,120 --> 00:46:31,319
Speaker 1: was actually Anthony Perkins's.

899
00:46:30,960 --> 00:46:32,319
Speaker 2: Real wife at the time.

900
00:46:33,760 --> 00:46:36,759
Speaker 1: And here's the thing about Emily, right, because like right

901
00:46:36,800 --> 00:46:38,040
Speaker 1: off the bat, you're like, okay.

902
00:46:37,840 --> 00:46:43,400
Speaker 2: She's just released from prison. She seems a little a

903
00:46:43,440 --> 00:46:46,000
Speaker 2: little off maybe, but she.

904
00:46:47,600 --> 00:46:51,280
Speaker 1: Was haunted by jail, okay, and you get the impression

905
00:46:51,360 --> 00:46:54,160
Speaker 1: that it was a terrible time for her. Like there

906
00:46:54,200 --> 00:46:58,359
Speaker 1: are many times where the sound of jail plays through

907
00:46:58,400 --> 00:47:01,120
Speaker 1: the film, like just the south of like prison bars

908
00:47:01,200 --> 00:47:05,560
Speaker 1: and talking and stuff, and you can tell Emily is

909
00:47:05,680 --> 00:47:09,600
Speaker 1: very haunted by this experience that she's just had, and

910
00:47:10,280 --> 00:47:14,319
Speaker 1: she seems kind of almost triggered by men in police uniforms,

911
00:47:15,360 --> 00:47:18,680
Speaker 1: which really plays out when she interacts with the landlord

912
00:47:18,719 --> 00:47:20,880
Speaker 1: of her building, who is this guy named Pike, and

913
00:47:21,000 --> 00:47:23,839
Speaker 1: he's played by the amazing actor Moses Gunn.

914
00:47:24,960 --> 00:47:26,800
Speaker 2: And so there's a lot a big.

915
00:47:26,719 --> 00:47:31,920
Speaker 1: Part of this movie where Emily is trying desperately to

916
00:47:32,120 --> 00:47:36,399
Speaker 1: readjust to like society, you know, and to her sense

917
00:47:36,440 --> 00:47:38,919
Speaker 1: of kind of I don't know, like womanhood or something.

918
00:47:39,040 --> 00:47:39,160
Speaker 4: You know.

919
00:47:39,239 --> 00:47:40,960
Speaker 2: It causes her a lot of anxiety to be out

920
00:47:40,960 --> 00:47:41,640
Speaker 2: in the world right now.

921
00:47:43,120 --> 00:47:47,440
Speaker 1: And in these moments I do feel sorry for her,

922
00:47:47,560 --> 00:47:50,000
Speaker 1: Like I do feel like, yeah, wow, like what an

923
00:47:50,040 --> 00:47:54,520
Speaker 1: intense experience, like just being incarcerated, and you know, she's

924
00:47:54,640 --> 00:47:57,080
Speaker 1: like out here, doesn't know how to act, doesn't know

925
00:47:57,960 --> 00:47:58,600
Speaker 1: what to wear.

926
00:47:59,840 --> 00:48:02,040
Speaker 2: She's like, you know, oh, I.

927
00:48:02,040 --> 00:48:03,320
Speaker 1: Want to get my hair out, and I want to

928
00:48:03,360 --> 00:48:05,000
Speaker 1: do all this stuff so that, you know, I can

929
00:48:05,239 --> 00:48:07,880
Speaker 1: meet up with my ex. But like she's kind of

930
00:48:08,000 --> 00:48:10,920
Speaker 1: like unsure, and it plays out in every one of

931
00:48:11,080 --> 00:48:14,000
Speaker 1: her like facial expressions and how she walks and everything.

932
00:48:14,040 --> 00:48:14,920
Speaker 2: It's very interesting.

933
00:48:16,040 --> 00:48:18,560
Speaker 3: Yeah, and all this is like very slowly rolled out too,

934
00:48:18,680 --> 00:48:20,239
Speaker 3: So if you at first you're like, well, I don't

935
00:48:20,280 --> 00:48:22,680
Speaker 3: know what I'm seeing or what she's doing. Yeah, all

936
00:48:22,719 --> 00:48:24,680
Speaker 3: I know is this woman is putting out cigarettes with

937
00:48:24,719 --> 00:48:25,680
Speaker 3: her bare fucking hand.

938
00:48:25,800 --> 00:48:28,759
Speaker 1: Ha oh my god in a way well, like she's

939
00:48:28,840 --> 00:48:33,440
Speaker 1: basically like rubbing the cherry of the cigarette between her

940
00:48:33,480 --> 00:48:36,080
Speaker 1: two her thumb and her index finger, and I'm like, damn,

941
00:48:36,239 --> 00:48:38,240
Speaker 1: b that is That's.

942
00:48:38,160 --> 00:48:42,640
Speaker 3: Trumped every fucking movie villain I've ever seen. Instantly, I'm like,

943
00:48:42,880 --> 00:48:46,360
Speaker 3: whoever this is and whatever she's doing, I'm afraid.

944
00:48:47,000 --> 00:48:47,799
Speaker 2: I'm freaked out.

945
00:48:47,960 --> 00:48:53,520
Speaker 1: Also, like one of my favorite visual moments of the

946
00:48:53,640 --> 00:48:57,200
Speaker 1: film is when she goes into her apartment, like she's

947
00:48:57,239 --> 00:49:00,279
Speaker 1: reading this apartment in this like apartment building, Like I said,

948
00:49:00,320 --> 00:49:03,440
Speaker 1: her landlord is that guy Pike, and she's it's pretty

949
00:49:03,520 --> 00:49:06,200
Speaker 1: much like barely furnished, and she's got this like bedframe

950
00:49:06,320 --> 00:49:09,560
Speaker 1: that's pushed up against a window and in the windowsill

951
00:49:10,280 --> 00:49:13,040
Speaker 1: are three cartons of Winston's.

952
00:49:14,440 --> 00:49:18,400
Speaker 2: And it's pretty much the only decor in this apartment.

953
00:49:19,360 --> 00:49:24,120
Speaker 3: It is again like in terms of serial killer layers,

954
00:49:26,600 --> 00:49:29,160
Speaker 3: freaked me the fuck out. And I'm like, she's wily.

955
00:49:29,520 --> 00:49:31,640
Speaker 3: All she has is cigarettes and a bed frame, and

956
00:49:31,719 --> 00:49:33,840
Speaker 3: she keeps asking Pike for shit, and she's.

957
00:49:33,760 --> 00:49:36,000
Speaker 2: Like, I need a lock, I need a lamp, I.

958
00:49:36,040 --> 00:49:37,920
Speaker 3: Need this, And I'm like, you need a house, like

959
00:49:38,000 --> 00:49:41,240
Speaker 3: you need a whole fucking apartment. You can't just single

960
00:49:41,360 --> 00:49:44,320
Speaker 3: file this shit in, yes, And also.

961
00:49:45,320 --> 00:49:49,399
Speaker 1: Leaving a carton, let alone multiple cartons of cigarettes next

962
00:49:49,400 --> 00:49:52,719
Speaker 1: to your bed is so weird to me, Like I'm like,

963
00:49:52,920 --> 00:49:55,680
Speaker 1: she's literally it's like behind her it's basically where her

964
00:49:55,800 --> 00:49:58,719
Speaker 1: head would lay. So I'm like, is she literally just

965
00:49:58,840 --> 00:50:02,319
Speaker 1: laying down in between the little bars of her bed

966
00:50:02,360 --> 00:50:05,279
Speaker 1: frame and pulling out packs of cigarettes.

967
00:50:05,560 --> 00:50:07,720
Speaker 2: And then just putting them out with her fucking fingers.

968
00:50:10,120 --> 00:50:13,200
Speaker 2: We're gonna talk about Geraldine Chaplain in just a moment.

969
00:50:13,320 --> 00:50:16,279
Speaker 2: But like, there are so many things about this movie

970
00:50:17,200 --> 00:50:18,000
Speaker 2: that are like, this is a.

971
00:50:18,040 --> 00:50:21,080
Speaker 3: Character that is unfit for fucking society. And instantly, just

972
00:50:21,440 --> 00:50:24,279
Speaker 3: that apartment alone that you need.

973
00:50:24,800 --> 00:50:27,319
Speaker 2: Yeah, that apartment is very baby girl, what is you doing?

974
00:50:28,120 --> 00:50:28,439
Speaker 2: For real?

975
00:50:29,440 --> 00:50:31,520
Speaker 3: But then also the bed frame is because I'm like, Okay,

976
00:50:31,600 --> 00:50:33,520
Speaker 3: you just got out of jail, you're freaked out by jail,

977
00:50:33,560 --> 00:50:36,640
Speaker 3: you had a miserable experience, and now you're just sleeping

978
00:50:36,760 --> 00:50:39,839
Speaker 3: with bars yea like hanging above you. It was very

979
00:50:40,000 --> 00:50:42,239
Speaker 3: like a very subconsciously weird move.

980
00:50:42,440 --> 00:50:44,960
Speaker 2: Yeah. No, there's part of what I love about this

981
00:50:45,040 --> 00:50:47,799
Speaker 2: movie is that there's so many kind of like things to.

982
00:50:47,920 --> 00:50:50,920
Speaker 1: Notice about the film, Like and it's not just like

983
00:50:51,080 --> 00:50:54,600
Speaker 1: audio stuff, but it's visual stuff. It's like signs in

984
00:50:54,640 --> 00:50:57,759
Speaker 1: the background, it's you know, things like like pictures in

985
00:50:57,840 --> 00:51:01,880
Speaker 1: the back of the you know, you know, photographs and

986
00:51:01,920 --> 00:51:04,240
Speaker 1: stuff and like in the back of the scene and stuff.

987
00:51:04,239 --> 00:51:07,920
Speaker 1: It's just really to me, like there are like little

988
00:51:08,440 --> 00:51:11,719
Speaker 1: tiny clues happening all throughout the movie, which makes it

989
00:51:11,960 --> 00:51:17,000
Speaker 1: really fun to watch. But so, okay, you got Emily who's,

990
00:51:17,640 --> 00:51:21,560
Speaker 1: you know, having a rough time transitioning out of prison.

991
00:51:22,560 --> 00:51:26,239
Speaker 1: But at the same time, Emily starts doing some real

992
00:51:26,480 --> 00:51:32,720
Speaker 1: baby girl what is you doing shit? Okay, she starts

993
00:51:33,760 --> 00:51:36,640
Speaker 1: driving by Neil when he's on his job site, because

994
00:51:36,640 --> 00:51:39,520
Speaker 1: you know, he's a construction worker. She's just driving past,

995
00:51:39,800 --> 00:51:42,040
Speaker 1: honking a bunch and then just driving away.

996
00:51:43,800 --> 00:51:47,560
Speaker 2: Like beep beep, I'm still around, motherfucker. Yeah, I'm like, okay,

997
00:51:48,040 --> 00:51:50,160
Speaker 2: doing these little drive by honkings.

998
00:51:50,840 --> 00:51:54,600
Speaker 1: Then she starts showing up to Neil and Barbara's apartment

999
00:51:55,440 --> 00:51:58,520
Speaker 1: and she's just like looking through the windows right like

1000
00:51:58,719 --> 00:52:03,560
Speaker 1: just being a real weird, creepy paper. Eventually she starts

1001
00:52:03,760 --> 00:52:07,840
Speaker 1: trashing their flower beds and rooting their cars, like.

1002
00:52:10,200 --> 00:52:13,360
Speaker 3: That scene where she walks up to the house and

1003
00:52:13,480 --> 00:52:16,279
Speaker 3: kind of like peeks around, sees the Vinuine's and then

1004
00:52:16,440 --> 00:52:20,320
Speaker 3: just goes like hands first into the flower bed And

1005
00:52:20,400 --> 00:52:22,520
Speaker 3: I'm like, what is happening right now? Like is she

1006
00:52:22,640 --> 00:52:25,880
Speaker 3: having a breakdown? What? And just fucking rips it to

1007
00:52:25,920 --> 00:52:27,920
Speaker 3: shreds with her bare hands and then takes some of

1008
00:52:27,920 --> 00:52:32,320
Speaker 3: the flowers and puts them in Barbara's car. Yes, And

1009
00:52:32,400 --> 00:52:34,120
Speaker 3: I'm like, baby girl, what is you doing?

1010
00:52:34,440 --> 00:52:38,120
Speaker 1: I know I mean, it's just so it's so creepy

1011
00:52:38,560 --> 00:52:41,480
Speaker 1: and you're just sort of like and in every scene

1012
00:52:41,719 --> 00:52:44,239
Speaker 1: as the movie continues, it gets amped up a notch

1013
00:52:44,400 --> 00:52:47,200
Speaker 1: like you're just like, damn girl, like, what is you doing?

1014
00:52:47,360 --> 00:52:47,480
Speaker 2: Right?

1015
00:52:48,040 --> 00:52:51,920
Speaker 1: At some point, Emily gets a job, right, and it's

1016
00:52:52,120 --> 00:52:54,640
Speaker 1: it's at like kind of like a dollar store or

1017
00:52:54,760 --> 00:52:59,359
Speaker 1: like a you know, somewhere like that. And this job

1018
00:52:59,719 --> 00:53:03,120
Speaker 1: was more or less arranged by one of her cellmates

1019
00:53:03,200 --> 00:53:06,239
Speaker 1: in jail because the manager of the store is this

1020
00:53:06,400 --> 00:53:10,000
Speaker 1: guy named mister Nud And he's played by a very

1021
00:53:10,120 --> 00:53:15,080
Speaker 1: young Jeff Goldbloom who has always looked exactly the same.

1022
00:53:15,320 --> 00:53:19,400
Speaker 1: I can't stress this enough. He looks and talks exactly

1023
00:53:19,480 --> 00:53:23,000
Speaker 1: the same. And these and these movies are decades apart.

1024
00:53:23,160 --> 00:53:24,840
Speaker 1: I don't understand how this is happening.

1025
00:53:26,680 --> 00:53:28,279
Speaker 3: He just showed up to Hollywood and it was like

1026
00:53:28,640 --> 00:53:32,960
Speaker 3: here's who I am taking or fucking leave it and

1027
00:53:33,280 --> 00:53:34,120
Speaker 3: never changed.

1028
00:53:34,320 --> 00:53:38,360
Speaker 2: Yes, I don't know if he's getting baby cells injected

1029
00:53:38,400 --> 00:53:39,399
Speaker 2: into his blood or something.

1030
00:53:39,440 --> 00:53:41,680
Speaker 1: I don't know what is happening, but I'm like, from

1031
00:53:41,880 --> 00:53:44,160
Speaker 1: how many Jeff Goldbloom movies have we done? It's like

1032
00:53:44,320 --> 00:53:47,120
Speaker 1: from The Fly, The Big Chill, this movie I feel

1033
00:53:47,120 --> 00:53:48,960
Speaker 1: like he's like in the background of another movie.

1034
00:53:49,000 --> 00:53:51,520
Speaker 2: It's like he's just looked the same consistently throughout the years.

1035
00:53:51,680 --> 00:53:52,240
Speaker 2: It's crazy.

1036
00:53:53,200 --> 00:53:55,640
Speaker 3: The glasses have only gotten more colorful, but they've stayed

1037
00:53:55,640 --> 00:53:56,760
Speaker 3: the same size and shape.

1038
00:53:56,920 --> 00:53:59,680
Speaker 2: Yes, and he is the same height and weight throughout

1039
00:53:59,800 --> 00:54:01,440
Speaker 2: all all of these films. It's crazy.

1040
00:54:02,200 --> 00:54:07,520
Speaker 1: But so mister Nud his mother was Emily's sell me right,

1041
00:54:07,680 --> 00:54:13,239
Speaker 1: and apparently his mother killed his father. And because he

1042
00:54:13,320 --> 00:54:17,360
Speaker 1: cares about his mother so much, he's been employing, you know,

1043
00:54:17,680 --> 00:54:20,040
Speaker 1: these ex convicts that are coming out of this prison.

1044
00:54:20,160 --> 00:54:22,080
Speaker 2: So that's why Emily is able to get a job there.

1045
00:54:22,280 --> 00:54:25,520
Speaker 1: And Emily has to learn the ropes of this job

1046
00:54:25,680 --> 00:54:28,880
Speaker 1: from a woman named Rita. And she is played by

1047
00:54:29,320 --> 00:54:31,840
Speaker 1: Alfrey Woodard in her very first movie.

1048
00:54:33,480 --> 00:54:34,000
Speaker 2: Oh good.

1049
00:54:34,080 --> 00:54:36,120
Speaker 3: I love seeing her in this fucking movie.

1050
00:54:36,520 --> 00:54:36,920
Speaker 2: Me too.

1051
00:54:37,320 --> 00:54:43,440
Speaker 1: Her hair is fucking incredible, and this whole sequence like her,

1052
00:54:43,600 --> 00:54:49,640
Speaker 1: this whole job really shows how antisocial Emily has become. Okay,

1053
00:54:50,600 --> 00:54:53,920
Speaker 1: she is smoking cigarettes at the register while she's working,

1054
00:54:54,560 --> 00:54:56,919
Speaker 1: even though Rita tells her she's not allowed to smoke

1055
00:54:56,920 --> 00:54:58,680
Speaker 1: cigarettes while she's helping customers.

1056
00:55:00,120 --> 00:55:01,920
Speaker 2: Repeatedly, repeatedly.

1057
00:55:02,560 --> 00:55:05,640
Speaker 1: After a certain amount of time money starts to go missing,

1058
00:55:06,560 --> 00:55:10,160
Speaker 1: Like you know, she's got these like weird, tense like

1059
00:55:10,560 --> 00:55:14,000
Speaker 1: conversations that are happening with all of her coworkers, one.

1060
00:55:13,960 --> 00:55:16,840
Speaker 2: Of whom is the guy from Scandal What was the

1061
00:55:17,400 --> 00:55:17,879
Speaker 2: Well I forgot?

1062
00:55:18,080 --> 00:55:22,600
Speaker 3: Jeffrey fucking Perry who played Cyrus Bean on Scandal right.

1063
00:55:23,400 --> 00:55:26,960
Speaker 2: And was also the teacher in My Soul Called Life, But.

1064
00:55:28,880 --> 00:55:32,160
Speaker 1: Young young guy in this movie, like everybody is super

1065
00:55:32,280 --> 00:55:35,920
Speaker 1: young and he so you know, she's having weird conversations

1066
00:55:36,000 --> 00:55:41,400
Speaker 1: and interactions with this guy. Eventually, Emily and Rita's relationship

1067
00:55:41,480 --> 00:55:45,280
Speaker 1: get so bad that at one point in the film,

1068
00:55:45,520 --> 00:55:48,439
Speaker 1: Emily busts in on Rita in her like back room

1069
00:55:48,640 --> 00:55:51,360
Speaker 1: office and kicks her in the vagina.

1070
00:55:52,680 --> 00:55:57,800
Speaker 3: First grabs her nipples, Oh I got she goes full

1071
00:55:58,280 --> 00:56:04,160
Speaker 3: jailhouse surprise, grabs both of them, squeezes both of her nipples,

1072
00:56:04,200 --> 00:56:06,920
Speaker 3: and then kicks her in the goddamn vagina.

1073
00:56:08,680 --> 00:56:11,799
Speaker 1: The best, literally, the funniest, one of the funniest sides

1074
00:56:11,800 --> 00:56:12,640
Speaker 1: of the movie is that.

1075
00:56:15,320 --> 00:56:18,120
Speaker 2: readA gets kicked in the vagina and then like Emily

1076
00:56:18,239 --> 00:56:20,160
Speaker 2: just leaves and then another like I think it was

1077
00:56:20,360 --> 00:56:23,480
Speaker 2: like the other coworker, the Jeff Perry character. Is that

1078
00:56:23,560 --> 00:56:27,279
Speaker 2: his name jeff Perry. Yeah, je. So the Jeffrey Parry

1079
00:56:27,480 --> 00:56:30,320
Speaker 2: Parry character comes back and is like, hey, Rita, and

1080
00:56:30,400 --> 00:56:32,920
Speaker 2: then all she all she does is she looks up

1081
00:56:33,080 --> 00:56:36,200
Speaker 2: and she's like, I'm gonna kill that bitch. I'm gonna

1082
00:56:36,360 --> 00:56:37,440
Speaker 2: kill that bitch.

1083
00:56:37,920 --> 00:56:44,560
Speaker 3: She's crumpled on the fucking floor like a rag doll. Man.

1084
00:56:44,920 --> 00:56:48,000
Speaker 2: I don't know why getting kicked in the vagina is

1085
00:56:48,040 --> 00:56:54,760
Speaker 2: so funny to me, But just like Damn and the cherry.

1086
00:56:54,840 --> 00:56:57,479
Speaker 1: On top of this Sunday too, is that Emily, after

1087
00:56:58,719 --> 00:57:02,080
Speaker 1: she kicks read it in a crotch, she goes out

1088
00:57:02,080 --> 00:57:07,120
Speaker 1: to the parking lot and stabs Rita's white cowboy boyfriend

1089
00:57:07,760 --> 00:57:09,040
Speaker 1: with a pencil.

1090
00:57:08,800 --> 00:57:15,480
Speaker 2: In the parking lot. She's fucking rampaging, I mean, crazed,

1091
00:57:16,120 --> 00:57:17,160
Speaker 2: crazed actions.

1092
00:57:17,280 --> 00:57:21,520
Speaker 1: Okay, And again this is just sort of like it's

1093
00:57:21,560 --> 00:57:25,520
Speaker 1: all building up to this point because she Emily finally

1094
00:57:25,640 --> 00:57:30,360
Speaker 1: breaks into Neil and Barber's house, Barbara is there by herself,

1095
00:57:30,920 --> 00:57:36,480
Speaker 1: and that scene with the knives is legit terrifying one

1096
00:57:36,760 --> 00:57:42,040
Speaker 1: hundred percent. It is like the biggest jump scare I

1097
00:57:42,120 --> 00:57:44,360
Speaker 1: think I've had in film in a long time.

1098
00:57:44,760 --> 00:57:46,840
Speaker 2: I mean, I'm never gonna forget that scene because it's.

1099
00:57:46,760 --> 00:57:50,439
Speaker 1: Like, you know, Barry Berenson's like in the kitchen doing

1100
00:57:50,520 --> 00:57:54,440
Speaker 1: some cooking or whatever, and like, you know, Emily is

1101
00:57:54,520 --> 00:57:57,240
Speaker 1: just kind of like circling the rooms around her.

1102
00:57:58,640 --> 00:57:59,360
Speaker 3: That is creepy.

1103
00:57:59,600 --> 00:58:01,880
Speaker 2: Yes, it's like so weird.

1104
00:58:02,000 --> 00:58:04,880
Speaker 1: And then finally they confront each other in the kitchen

1105
00:58:04,960 --> 00:58:08,480
Speaker 1: and went, oh my god when Geraldine Chaplain like pulls

1106
00:58:08,520 --> 00:58:12,200
Speaker 1: out that knife and oh my god, it's so terrifying.

1107
00:58:13,920 --> 00:58:16,600
Speaker 3: And the question she's asking before that, or like is

1108
00:58:16,680 --> 00:58:19,920
Speaker 3: your name Barbara? Are you a good fuck? And I'm like,

1109
00:58:20,520 --> 00:58:21,480
Speaker 3: what are you doing?

1110
00:58:21,880 --> 00:58:24,440
Speaker 2: Yeah? What, baby girl? What is you doing right now?

1111
00:58:24,480 --> 00:58:28,160
Speaker 1: I mean, this is totally not the move like at all,

1112
00:58:29,000 --> 00:58:33,800
Speaker 1: And I'm gonna say, like, to this point, I think

1113
00:58:34,480 --> 00:58:38,959
Speaker 1: the complexity of this Emily character is absolutely all about

1114
00:58:39,040 --> 00:58:42,000
Speaker 1: Jerli and Chaplin. I mean, she is the reason for

1115
00:58:42,120 --> 00:58:45,960
Speaker 1: the season in this film, right. And one of the

1116
00:58:46,040 --> 00:58:49,120
Speaker 1: things I think that really fascinates me about this movie

1117
00:58:49,160 --> 00:58:52,280
Speaker 1: and part of the reason why I wanted to write

1118
00:58:52,320 --> 00:58:54,320
Speaker 1: about it and talk about it and all this stuff,

1119
00:58:54,400 --> 00:58:57,760
Speaker 1: is that Emily sort of has this butch quality to her,

1120
00:58:59,160 --> 00:59:04,120
Speaker 1: as does bar Right Neil's wife. Like both of these women,

1121
00:59:04,240 --> 00:59:05,920
Speaker 1: I mean, if you're talking about this film and like

1122
00:59:06,000 --> 00:59:08,800
Speaker 1: that kind of if you see it as that sort

1123
00:59:08,800 --> 00:59:11,680
Speaker 1: of nod to a kind of classic Hollywood melodrama, Like

1124
00:59:11,800 --> 00:59:15,920
Speaker 1: both of these women, you're not They're not typical melodrama ladies.

1125
00:59:15,960 --> 00:59:19,360
Speaker 1: They're not like the glamorous Betty Davis. Even though Betty

1126
00:59:19,440 --> 00:59:23,880
Speaker 1: Davis is smoking and acting kind of off and bitchy

1127
00:59:23,920 --> 00:59:26,600
Speaker 1: and whatever. These women are kind of a little bit

1128
00:59:26,720 --> 00:59:29,280
Speaker 1: more I don't know, they just kind of seem a

1129
00:59:29,320 --> 00:59:30,760
Speaker 1: little bit more masculine to me.

1130
00:59:31,440 --> 00:59:33,840
Speaker 3: Yeah, well, especially at the at the time, like for

1131
00:59:33,960 --> 00:59:37,120
Speaker 3: the seventies like she did, and you know, again she's

1132
00:59:37,200 --> 00:59:39,479
Speaker 3: just been released from prison. But then the first scene

1133
00:59:39,520 --> 00:59:41,640
Speaker 3: that you see her in is her buying this dress

1134
00:59:41,760 --> 00:59:44,440
Speaker 3: and looking in this window and it almost looks like

1135
00:59:44,560 --> 00:59:47,880
Speaker 3: she's in drag. When she comes out yeap of that experience,

1136
00:59:48,000 --> 00:59:50,160
Speaker 3: like she's she's trying to figure out how to portray

1137
00:59:50,240 --> 00:59:50,800
Speaker 3: the feminine.

1138
00:59:51,200 --> 00:59:54,160
Speaker 1: Yes, And and you know Jerline Chaplin as the actress,

1139
00:59:54,200 --> 00:59:57,480
Speaker 1: I mean, she's like she's she's thin, and she's kind

1140
00:59:57,520 --> 00:59:59,600
Speaker 1: of like, you know, she's kind of got this like

1141
00:59:59,720 --> 01:00:02,280
Speaker 1: a her face, and you know, she.

1142
01:00:03,760 --> 01:00:06,479
Speaker 2: Kind of, I don't know, in this role, she's really

1143
01:00:06,720 --> 01:00:07,840
Speaker 2: like she can.

1144
01:00:08,320 --> 01:00:11,320
Speaker 1: She's got this like expression on her face that's like

1145
01:00:11,800 --> 01:00:15,200
Speaker 1: you feel she seems wounded, but she's also, like I said,

1146
01:00:15,280 --> 01:00:17,600
Speaker 1: completely antisocial and a little unhinged.

1147
01:00:17,720 --> 01:00:17,880
Speaker 3: Right.

1148
01:00:18,720 --> 01:00:21,440
Speaker 1: And the Barry Barrison character too, it's like she's got

1149
01:00:21,520 --> 01:00:24,560
Speaker 1: this kind of short hair and she's none of these

1150
01:00:24,640 --> 01:00:28,080
Speaker 1: women are like uber feminine, like in that classic Hollywood way.

1151
01:00:28,120 --> 01:00:31,200
Speaker 1: And for some reason, I feel like that's interesting because

1152
01:00:31,920 --> 01:00:34,840
Speaker 1: especially when you pair it with the Neil character, and

1153
01:00:34,960 --> 01:00:39,320
Speaker 1: you know, Neil's played by Anthony Perkins, honestly, and I've

1154
01:00:39,400 --> 01:00:44,360
Speaker 1: read criticisms about the film where he was a strange

1155
01:00:44,560 --> 01:00:47,720
Speaker 1: choice to play this sort of I don't know, I

1156
01:00:47,760 --> 01:00:51,680
Speaker 1: guess like working class construction worker with a weird past type.

1157
01:00:52,200 --> 01:00:55,160
Speaker 2: Like when I was doing research for the book, like

1158
01:00:55,440 --> 01:00:56,160
Speaker 2: I read that.

1159
01:00:56,360 --> 01:01:00,880
Speaker 1: Anthony Perkins was initially really resistant to play this character,

1160
01:01:01,960 --> 01:01:04,400
Speaker 1: like he thought he couldn't play it for kind of

1161
01:01:04,440 --> 01:01:05,200
Speaker 1: the same reasons.

1162
01:01:05,240 --> 01:01:08,920
Speaker 2: I just don't think he saw himself as like a construction.

1163
01:01:08,480 --> 01:01:11,720
Speaker 1: Worker guy, right, Yeah, and that Alan Rudolph had to

1164
01:01:11,800 --> 01:01:14,960
Speaker 1: basically convince him to do the movie. But I but

1165
01:01:15,440 --> 01:01:17,480
Speaker 1: the weirdest part about all of this together is that

1166
01:01:17,560 --> 01:01:21,040
Speaker 1: I feel like, and ultimately why I think this movie

1167
01:01:21,160 --> 01:01:26,000
Speaker 1: is fascinating is that there's kind of this like maybe unintentional,

1168
01:01:26,160 --> 01:01:30,320
Speaker 1: maybe not a gender flip quality thing happening, right.

1169
01:01:30,600 --> 01:01:33,480
Speaker 3: Yeah, the women are propelling the action, yea, doing all

1170
01:01:33,600 --> 01:01:34,800
Speaker 3: the Yeah.

1171
01:01:34,920 --> 01:01:37,200
Speaker 2: Absolutely, And especially in the context if you see this

1172
01:01:37,320 --> 01:01:37,800
Speaker 2: movie as like.

1173
01:01:37,800 --> 01:01:41,240
Speaker 1: A noir or a thriller, you know, it's like, I'm

1174
01:01:41,240 --> 01:01:43,800
Speaker 1: not gonna give away how the movie ends, but your

1175
01:01:43,880 --> 01:01:48,040
Speaker 1: sense of who the scorned woman is becomes kind of confusing,

1176
01:01:48,400 --> 01:01:50,680
Speaker 1: and you're a sense of like who the femme fatal

1177
01:01:50,960 --> 01:01:54,880
Speaker 1: is is kind of confusing too, because there's a part

1178
01:01:55,800 --> 01:01:58,280
Speaker 1: towards the end of the movie where I mean, I'll

1179
01:01:58,320 --> 01:02:00,919
Speaker 1: tell you this only because it's not giving it away,

1180
01:02:01,040 --> 01:02:03,840
Speaker 1: but it happens towards the end of the film, which

1181
01:02:03,880 --> 01:02:09,320
Speaker 1: is that Neil and Emily finally do reunite, and that's

1182
01:02:09,320 --> 01:02:11,640
Speaker 1: when you find out who she is, Yes, and that's

1183
01:02:11,640 --> 01:02:13,240
Speaker 1: when you find out who she is, and that's when

1184
01:02:13,280 --> 01:02:19,080
Speaker 1: you find out like who he is, right, And the

1185
01:02:20,280 --> 01:02:24,560
Speaker 1: reunion sequence happens in a jail, I'll say that, and

1186
01:02:24,800 --> 01:02:27,880
Speaker 1: is so crazy to me because.

1187
01:02:27,720 --> 01:02:31,320
Speaker 2: Just of like the whole conversation that they have and

1188
01:02:31,560 --> 01:02:33,680
Speaker 2: she sort of finally gets to like.

1189
01:02:35,160 --> 01:02:40,120
Speaker 1: Talk about like what happened, because essentially the storyline for

1190
01:02:40,200 --> 01:02:44,400
Speaker 1: her is that they were married, he left her high

1191
01:02:44,440 --> 01:02:47,560
Speaker 1: and dry, she found out he was with another woman,

1192
01:02:47,960 --> 01:02:51,360
Speaker 1: she killed that woman, went to jail, and now she's like,

1193
01:02:51,960 --> 01:02:52,520
Speaker 1: come back to.

1194
01:02:52,560 --> 01:02:54,680
Speaker 2: Me, baby, you know what I mean? And he's like,

1195
01:02:54,800 --> 01:03:02,520
Speaker 2: I'm married actually, and also you killed somebody. But let's

1196
01:03:02,560 --> 01:03:05,320
Speaker 2: not forget. Yeah, let's not forget, baby girl. What is

1197
01:03:05,440 --> 01:03:05,840
Speaker 2: you doing?

1198
01:03:06,280 --> 01:03:13,160
Speaker 1: However, she killed for him, right, and You're like in

1199
01:03:13,840 --> 01:03:17,880
Speaker 1: this moment, you're like, oh, he's like really thinking about this,

1200
01:03:18,280 --> 01:03:21,400
Speaker 1: Like he's like, yeah, this woman killed for me. She

1201
01:03:21,560 --> 01:03:24,800
Speaker 1: loves me so much that she doesn't want me to

1202
01:03:24,880 --> 01:03:29,080
Speaker 1: be with anybody else. And that moment I think is

1203
01:03:29,160 --> 01:03:32,200
Speaker 1: really crucial to the story, but also crucial in this

1204
01:03:32,360 --> 01:03:35,720
Speaker 1: way where it becomes this kind of like gender flip

1205
01:03:35,880 --> 01:03:37,280
Speaker 1: thing where I'm like, oh.

1206
01:03:37,800 --> 01:03:40,560
Speaker 2: Well, then who is Anthony Perkins? Now? Was he the

1207
01:03:40,640 --> 01:03:41,320
Speaker 2: feen fatal?

1208
01:03:41,680 --> 01:03:46,440
Speaker 1: Like he's out here, like, you know, ruining women's lives

1209
01:03:46,600 --> 01:03:48,280
Speaker 1: or something like what's happening?

1210
01:03:48,360 --> 01:03:51,000
Speaker 2: And I just think it's it's really fascinating in that way, you.

1211
01:03:51,080 --> 01:03:54,960
Speaker 3: Know, just to completely agree and I want so much

1212
01:03:54,960 --> 01:03:56,680
Speaker 3: to talk about the end of this fucking movie. I know,

1213
01:03:56,760 --> 01:04:02,560
Speaker 3: we can't, but just I'll text you later, like, because

1214
01:04:02,600 --> 01:04:03,880
Speaker 3: it could be in this is one of the things

1215
01:04:03,920 --> 01:04:05,400
Speaker 3: I love about movies like this is it could be

1216
01:04:05,440 --> 01:04:07,000
Speaker 3: interpreted in a couple of different ways.

1217
01:04:07,360 --> 01:04:10,280
Speaker 2: Yeah, I want to talk about it. I mean, if

1218
01:04:10,320 --> 01:04:13,400
Speaker 2: we give a spoiler alert, we can talk about it.

1219
01:04:13,680 --> 01:04:17,600
Speaker 3: So I really do because my so the interpretation that

1220
01:04:17,760 --> 01:04:21,000
Speaker 3: I've gone with or that I think makes the most

1221
01:04:21,000 --> 01:04:23,960
Speaker 3: sense to me is they hook up. He goes, he goes,

1222
01:04:24,160 --> 01:04:25,720
Speaker 3: he gets her out of jail, he's like, we're not

1223
01:04:25,800 --> 01:04:28,440
Speaker 3: going to press charges, goes to a bar with her.

1224
01:04:28,520 --> 01:04:31,440
Speaker 3: They get fucking ripshit, which is the funniest scene watching

1225
01:04:31,480 --> 01:04:33,880
Speaker 3: that waiter be like, look at these fucking assholes and

1226
01:04:33,920 --> 01:04:37,000
Speaker 3: they're like on the floor smoking cigarettes. They've tried every

1227
01:04:37,080 --> 01:04:38,160
Speaker 3: drink on the menu.

1228
01:04:39,040 --> 01:04:40,840
Speaker 2: Start on the bottom, work our way up.

1229
01:04:41,360 --> 01:04:44,040
Speaker 3: So which sounds like like a very fun night, but

1230
01:04:44,240 --> 01:04:46,800
Speaker 3: not when you're with your ex con wife who's murdered

1231
01:04:46,800 --> 01:04:51,680
Speaker 3: in your name, and they go home back to her

1232
01:04:51,800 --> 01:04:57,040
Speaker 3: apartment and they fuck, and like the next day like

1233
01:04:57,160 --> 01:04:59,040
Speaker 3: she kind of like you know, puts a cold cloth

1234
01:04:59,080 --> 01:05:00,280
Speaker 3: on his head and they take care of each other

1235
01:05:00,320 --> 01:05:05,080
Speaker 3: and they fuck, and then the next day she leaves

1236
01:05:05,640 --> 01:05:07,960
Speaker 3: she packs up her ship, she goes to a store,

1237
01:05:08,520 --> 01:05:11,800
Speaker 3: buys like six hundred dollars worth of clothes, puts him

1238
01:05:11,840 --> 01:05:14,080
Speaker 3: in her car, and then you see her on the

1239
01:05:14,160 --> 01:05:17,960
Speaker 3: side of the road and she's getting changed into a

1240
01:05:18,000 --> 01:05:20,440
Speaker 3: new outfit and she's kind of like, you know, new year,

1241
01:05:20,520 --> 01:05:24,480
Speaker 3: knew me. Yeah, But before she leaves, she gives her

1242
01:05:24,600 --> 01:05:29,080
Speaker 3: key to Pike and says, lock my apartment. And her

1243
01:05:29,160 --> 01:05:32,320
Speaker 3: relationship with Pike is so interesting to begin with. Yes,

1244
01:05:32,640 --> 01:05:35,240
Speaker 3: so he's already come in and seen there's like another

1245
01:05:35,280 --> 01:05:37,040
Speaker 3: guy there, even though she's been flirting with him and

1246
01:05:37,080 --> 01:05:41,080
Speaker 3: all this shit, And she says, lock my apartment, and

1247
01:05:41,160 --> 01:05:44,320
Speaker 3: then she takes off her wedding ring and leaves.

1248
01:05:45,600 --> 01:05:45,960
Speaker 2: And so.

1249
01:05:47,440 --> 01:05:51,200
Speaker 3: The interpretation I've gone with is that she's now locked

1250
01:05:51,960 --> 01:05:58,680
Speaker 3: Anthony Perkins. She'sn't locked Neil in her version of prison, yep.

1251
01:06:00,080 --> 01:06:02,000
Speaker 3: But it's like so it's like, all right, and then

1252
01:06:02,040 --> 01:06:04,400
Speaker 3: she leaves town, so she's done with him when she

1253
01:06:04,520 --> 01:06:07,960
Speaker 3: has her closure, she has her finality, she's done with him, yep.

1254
01:06:08,480 --> 01:06:10,680
Speaker 3: So that's one way to interpret it. But then I'm like,

1255
01:06:10,680 --> 01:06:12,720
Speaker 3: all right, well does that make sense? Because then what

1256
01:06:13,040 --> 01:06:16,400
Speaker 3: he wouldn't wouldn't he just like scream or like open

1257
01:06:16,440 --> 01:06:19,080
Speaker 3: the locks from the inside and get out, or is

1258
01:06:19,080 --> 01:06:21,200
Speaker 3: it like a metaphorical prison where she's like.

1259
01:06:21,400 --> 01:06:24,400
Speaker 2: Now I'm leaving you wanting me exactly.

1260
01:06:25,760 --> 01:06:28,160
Speaker 3: It's just it's very very interesting.

1261
01:06:28,920 --> 01:06:32,200
Speaker 1: Yeah, I you know, you know, I love a rich text,

1262
01:06:32,600 --> 01:06:36,120
Speaker 1: you know, I love when a movie has the potential

1263
01:06:36,280 --> 01:06:37,680
Speaker 1: for multiple.

1264
01:06:39,000 --> 01:06:43,080
Speaker 2: I don't know interpretations, but to me, I feel like

1265
01:06:43,280 --> 01:06:44,800
Speaker 2: the movie is about.

1266
01:06:46,080 --> 01:06:50,160
Speaker 1: Like it is about freedom in jail, Like it's about yeah,

1267
01:06:50,320 --> 01:06:56,440
Speaker 1: you know, the actual incarceration of this character, Emily, but

1268
01:06:56,560 --> 01:07:02,440
Speaker 1: then also just being like inexplicably bound to a person

1269
01:07:03,320 --> 01:07:07,160
Speaker 1: right in that romantic way, right. And what I think

1270
01:07:07,280 --> 01:07:11,960
Speaker 1: is really interesting too, is that in the film, I

1271
01:07:12,040 --> 01:07:15,080
Speaker 1: guess the Barbara and Neil they live, they must live

1272
01:07:15,160 --> 01:07:18,280
Speaker 1: near the airport or something, because there's constant sounds of

1273
01:07:18,440 --> 01:07:22,800
Speaker 1: like jets flying overhead, right, And there's that moment where

1274
01:07:22,840 --> 01:07:25,960
Speaker 1: it feels like anytime you see Barry Bearnson's character alone

1275
01:07:26,000 --> 01:07:28,120
Speaker 1: in the apartment, you hear the sound of an airplane.

1276
01:07:29,320 --> 01:07:31,800
Speaker 1: And then every time you see Emily alone or she

1277
01:07:32,040 --> 01:07:36,520
Speaker 1: is alone in her apartment, you hear jail. So there's

1278
01:07:36,560 --> 01:07:38,520
Speaker 1: this moment where I'm like, it's that kind of duality

1279
01:07:38,560 --> 01:07:42,520
Speaker 1: of like freedom versus prison. Like it's just that, you know,

1280
01:07:42,680 --> 01:07:47,560
Speaker 1: an airplane being like a symbol of you know, escape

1281
01:07:48,480 --> 01:07:52,960
Speaker 1: right and travel and like possibility and jail obviously be

1282
01:07:53,040 --> 01:07:56,720
Speaker 1: the opposite. And so it's this thing where I'm kind

1283
01:07:56,720 --> 01:07:58,320
Speaker 1: of like, yeah, I think you're right. I feel like

1284
01:07:58,360 --> 01:08:02,479
Speaker 1: in a way, she's like, well, I am now free

1285
01:08:02,720 --> 01:08:04,280
Speaker 1: from whatever this was for.

1286
01:08:04,400 --> 01:08:06,440
Speaker 2: Me, and now you have to sit in it. You

1287
01:08:06,600 --> 01:08:09,200
Speaker 2: have to be exactly you know, because that.

1288
01:08:09,320 --> 01:08:11,440
Speaker 1: Part, to me is really fascinating because I feel like

1289
01:08:12,840 --> 01:08:17,240
Speaker 1: the Neil character in that jail sequence where she's given

1290
01:08:17,320 --> 01:08:21,479
Speaker 1: him her speech and he starts out with like, this

1291
01:08:21,640 --> 01:08:24,599
Speaker 1: woman has stalked my wife and I and she wants

1292
01:08:24,600 --> 01:08:28,720
Speaker 1: to press charges and I just have to, like, you know,

1293
01:08:28,920 --> 01:08:31,560
Speaker 1: have this last conversation with this crazy.

1294
01:08:31,439 --> 01:08:32,640
Speaker 2: X of mine and that'll be that.

1295
01:08:33,280 --> 01:08:36,040
Speaker 1: But then he somehow gets like pulled in and then

1296
01:08:36,160 --> 01:08:38,240
Speaker 1: at the end of the conversation he says this thing

1297
01:08:38,280 --> 01:08:42,439
Speaker 1: which chills me to the bone, where he calls he's like, yeah,

1298
01:08:42,439 --> 01:08:44,800
Speaker 1: we're not going to press charges against this woman my wife,

1299
01:08:45,160 --> 01:08:48,439
Speaker 1: I mean, my other wife. And I'm like, oh damn,

1300
01:08:49,040 --> 01:08:50,840
Speaker 1: Like I was shook by that.

1301
01:08:51,439 --> 01:08:54,920
Speaker 3: Yes, And it is so nonchalant the way he says it.

1302
01:08:55,479 --> 01:08:56,519
Speaker 2: Yeah, it is.

1303
01:08:56,680 --> 01:08:59,439
Speaker 3: It telegraphs a lot in that moment about who he is.

1304
01:09:00,120 --> 01:09:04,040
Speaker 1: Yeah, because I feel in that moment he was like, Oh,

1305
01:09:04,640 --> 01:09:08,920
Speaker 1: this woman loves me and will never not love me,

1306
01:09:09,240 --> 01:09:12,800
Speaker 1: and for some reason that is attractive.

1307
01:09:13,720 --> 01:09:15,200
Speaker 3: Like he wants to keep that close.

1308
01:09:15,560 --> 01:09:19,920
Speaker 1: Yes, And I mean it's it's kind of wild to

1309
01:09:20,240 --> 01:09:24,679
Speaker 1: like to think about that being a sort of factor

1310
01:09:25,280 --> 01:09:26,479
Speaker 1: in this whole story.

1311
01:09:26,640 --> 01:09:27,160
Speaker 2: So I don't know.

1312
01:09:27,240 --> 01:09:30,360
Speaker 1: I mean, like I said, I there's a this movie

1313
01:09:30,479 --> 01:09:32,960
Speaker 1: is so fascinating to me, and I feel like it

1314
01:09:33,080 --> 01:09:36,360
Speaker 1: does feel like a movie that doesn't get seen enough

1315
01:09:36,520 --> 01:09:37,360
Speaker 1: or talked about enough.

1316
01:09:37,520 --> 01:09:42,080
Speaker 2: And I mean, I love that you ended up spoiling

1317
01:09:42,160 --> 01:09:44,640
Speaker 2: the movie because I really felt like we had to

1318
01:09:44,720 --> 01:09:47,560
Speaker 2: talk about it, you know, Yeah, I could not.

1319
01:09:47,920 --> 01:09:51,920
Speaker 3: Like the ending is fascinating and it's really really interesting. Yeah,

1320
01:09:52,160 --> 01:09:53,880
Speaker 3: and I love that you picked it. I loved that

1321
01:09:53,960 --> 01:09:56,559
Speaker 3: I got to see it. Yeah, and it freaked me out,

1322
01:09:56,720 --> 01:09:59,519
Speaker 3: Like I was very uneasy you watching it, and uneasy

1323
01:09:59,560 --> 01:10:02,560
Speaker 3: after watch it, and just but I love that it

1324
01:10:02,680 --> 01:10:04,800
Speaker 3: made me think of I just had a ton of

1325
01:10:04,880 --> 01:10:07,720
Speaker 3: questions when the movie ended. And I love movies that

1326
01:10:07,880 --> 01:10:08,080
Speaker 3: do that.

1327
01:10:08,400 --> 01:10:09,120
Speaker 2: Yeah, me too.

1328
01:10:09,400 --> 01:10:11,360
Speaker 1: Well, I'm so glad that you enjoined it. I'm sorry

1329
01:10:11,400 --> 01:10:14,440
Speaker 1: that it was like border level traumatic.

1330
01:10:16,400 --> 01:10:18,960
Speaker 3: It wasn't I should dial that back a little bit.

1331
01:10:19,000 --> 01:10:21,519
Speaker 3: It wasn't that bad, but it was like it did

1332
01:10:21,560 --> 01:10:22,120
Speaker 3: freak me out.

1333
01:10:22,280 --> 01:10:23,120
Speaker 2: Yeah, it rocks you.

1334
01:10:23,320 --> 01:10:26,360
Speaker 1: Well, I I'm patting myself on the back for that, because,

1335
01:10:26,400 --> 01:10:28,920
Speaker 1: as we know, we try to like rattle each other.

1336
01:10:30,520 --> 01:10:33,160
Speaker 1: We're like, we we think the other is such a

1337
01:10:33,200 --> 01:10:34,240
Speaker 1: stone cold bitch that.

1338
01:10:34,280 --> 01:10:37,160
Speaker 2: We're like, oh, there's no way that she's going to

1339
01:10:37,200 --> 01:10:41,000
Speaker 2: be rocked by a movie ever, and she's seen everything

1340
01:10:41,280 --> 01:10:42,880
Speaker 2: I know, and we try to We try to.

1341
01:10:42,920 --> 01:10:44,799
Speaker 1: Do that for each other, which I think is hilarious

1342
01:10:44,840 --> 01:10:49,000
Speaker 1: and funny. But yeah, this for me, it was my

1343
01:10:49,160 --> 01:10:51,080
Speaker 1: choice for baby girl What Was You Doing? For it

1344
01:10:51,160 --> 01:10:53,439
Speaker 1: was it's a giant of that theme.

1345
01:10:53,920 --> 01:10:57,920
Speaker 3: Really reruly flying the flag of baby Girl, What is

1346
01:10:58,000 --> 01:10:58,320
Speaker 3: You Doing?

1347
01:10:58,880 --> 01:11:03,439
Speaker 2: Yeah, well, listen, we got a transition over to your

1348
01:11:03,600 --> 01:11:07,160
Speaker 2: film because my god, I have such a I have

1349
01:11:07,280 --> 01:11:09,000
Speaker 2: so much to say about it and I can't wait

1350
01:11:09,000 --> 01:11:09,760
Speaker 2: to talk about it with you.

1351
01:11:10,520 --> 01:11:13,519
Speaker 3: Well. My movie for the theme, Baby Girl, What Is

1352
01:11:13,560 --> 01:11:17,280
Speaker 3: You Doing? Was released in nineteen ninety one. It was

1353
01:11:17,439 --> 01:11:20,799
Speaker 3: directed by Joseph Rubin. The screenplay is by Ron bass,

1354
01:11:20,880 --> 01:11:23,600
Speaker 3: But it's based on a novel by Nancy Price of

1355
01:11:23,680 --> 01:11:27,880
Speaker 3: the same name. And my movie is Sleeping with the Enemy.

1356
01:11:28,439 --> 01:11:32,000
Speaker 2: I can't live without you and I won't let you

1357
01:11:32,200 --> 01:11:32,840
Speaker 2: live without me.

1358
01:11:33,760 --> 01:11:37,840
Speaker 3: Oh my god. Now this movie came out in nineteen

1359
01:11:37,920 --> 01:11:40,200
Speaker 3: ninety one and I cannot count the ways in which

1360
01:11:40,360 --> 01:11:45,880
Speaker 3: it imprinted upon me. Yes, and this is I haven't

1361
01:11:45,880 --> 01:11:47,439
Speaker 3: seen it in a while, but it's a it's a

1362
01:11:47,600 --> 01:11:50,000
Speaker 3: thirty year old movie at this point, which also just

1363
01:11:50,479 --> 01:11:52,479
Speaker 3: is so weird to me that it's that it came

1364
01:11:52,520 --> 01:11:55,880
Speaker 3: out that long ago. Yes, but so I won sentence

1365
01:11:55,920 --> 01:11:59,040
Speaker 3: synopsis because we're gonna get into it. My one sentence anopsis.

1366
01:12:00,920 --> 01:12:07,880
Speaker 3: A young wife of a successful man is locked in

1367
01:12:08,160 --> 01:12:14,040
Speaker 3: a domestic abuse situation that she plans a narrow escape from,

1368
01:12:14,439 --> 01:12:17,519
Speaker 3: only to find out that he is hot on her tail.

1369
01:12:19,560 --> 01:12:21,840
Speaker 2: You said it, man, This movie.

1370
01:12:21,760 --> 01:12:26,679
Speaker 3: Freaks me out still. So Julia Roberts, tiny baby Julia

1371
01:12:26,840 --> 01:12:30,479
Speaker 3: Roberts is in this film. She looks so she's like

1372
01:12:30,600 --> 01:12:32,599
Speaker 3: a total baby in this movie. I can't even explain.

1373
01:12:32,600 --> 01:12:34,960
Speaker 3: It's so wild to think, like she's had a career

1374
01:12:35,000 --> 01:12:37,800
Speaker 3: for like over forty years, and it's amazing that she's

1375
01:12:37,880 --> 01:12:40,640
Speaker 3: been a great actress from like throughout, Like, she's so

1376
01:12:40,760 --> 01:12:41,479
Speaker 3: good in this movie.

1377
01:12:41,920 --> 01:12:44,200
Speaker 2: Was this the movie that she did right after Pretty Woman?

1378
01:12:44,439 --> 01:12:44,559
Speaker 4: Right?

1379
01:12:45,200 --> 01:12:48,240
Speaker 3: Yeah, this is like right after, which is a bold choice.

1380
01:12:48,640 --> 01:12:50,599
Speaker 3: You know, it's a bold choice because she's not playing

1381
01:12:50,880 --> 01:12:53,240
Speaker 3: I mean, she's playing a very sympathetic character, but she's

1382
01:12:53,320 --> 01:12:56,320
Speaker 3: not playing you know, it's kind of a wild choice

1383
01:12:56,400 --> 01:12:59,680
Speaker 3: to play a role and talking about a situation that

1384
01:12:59,760 --> 01:13:03,160
Speaker 3: at the time was not really widely discussed, Like domestic

1385
01:13:03,200 --> 01:13:05,680
Speaker 3: abuse was not really widely discussed at that point. And

1386
01:13:05,760 --> 01:13:08,320
Speaker 3: if you want to hear about or read about more

1387
01:13:08,320 --> 01:13:12,960
Speaker 3: about the the history of domestic abuse laws and the

1388
01:13:13,040 --> 01:13:16,000
Speaker 3: development of things, I would highly encourage it. I will

1389
01:13:16,040 --> 01:13:18,320
Speaker 3: also give a trigger warning here for anyone who somehow

1390
01:13:18,479 --> 01:13:21,080
Speaker 3: hasn't seen this movie that it does involve a lot

1391
01:13:21,120 --> 01:13:23,000
Speaker 3: of abuse. So if you don't want to watch it

1392
01:13:23,120 --> 01:13:26,519
Speaker 3: or listen to this part, that's totally fine. But she

1393
01:13:26,720 --> 01:13:28,720
Speaker 3: is playing this young wife who is seemingly in this

1394
01:13:29,000 --> 01:13:33,840
Speaker 3: perfect marriage to this man. They live in Boston. You

1395
01:13:33,920 --> 01:13:36,640
Speaker 3: know he does he's like a financial He mentions it

1396
01:13:36,680 --> 01:13:38,200
Speaker 3: in the movie, but I always forget he's like an

1397
01:13:38,240 --> 01:13:41,519
Speaker 3: investment something or other. He has a high falutant job

1398
01:13:42,160 --> 01:13:44,880
Speaker 3: and they're on vacation in Cape Cod when the movie starts,

1399
01:13:45,000 --> 01:13:47,560
Speaker 3: and they're in this like literal glasshouse, Like she is

1400
01:13:47,640 --> 01:13:52,080
Speaker 3: trapped in a glasshouse when this movie starts, and she

1401
01:13:52,240 --> 01:13:55,280
Speaker 3: looks out the window and like, you know, kind of gaze.

1402
01:13:55,360 --> 01:13:57,920
Speaker 3: She's just very forlorn and you can't figure out why,

1403
01:13:58,000 --> 01:14:00,400
Speaker 3: because you're like, this life is beautiful. Like they go

1404
01:14:00,479 --> 01:14:03,599
Speaker 3: to this party and he's like, you know, she's getting

1405
01:14:03,680 --> 01:14:06,400
Speaker 3: dressed and she's like, you know. He's like, oh, I

1406
01:14:06,400 --> 01:14:07,640
Speaker 3: thought I would have thought you would have worn the

1407
01:14:07,640 --> 01:14:09,639
Speaker 3: black dress. And she's like, oh, well, it's back list

1408
01:14:09,640 --> 01:14:11,240
Speaker 3: and it might get chilly. And then the next thing

1409
01:14:11,280 --> 01:14:13,120
Speaker 3: you see is her walking into the party with this

1410
01:14:13,240 --> 01:14:19,920
Speaker 3: black dress on. So it very quickly becomes evident, and

1411
01:14:20,040 --> 01:14:24,000
Speaker 3: it turns so fast that he is a real piece

1412
01:14:24,040 --> 01:14:26,000
Speaker 3: of shit. And we're gonna have to talk about Patrick

1413
01:14:26,040 --> 01:14:27,720
Speaker 3: Bergan for a minute, because.

1414
01:14:27,600 --> 01:14:31,160
Speaker 2: For a minute, holy shit, I mean this man.

1415
01:14:32,720 --> 01:14:35,679
Speaker 3: This movie, I will never look at him the same

1416
01:14:35,760 --> 01:14:36,800
Speaker 3: from this one film.

1417
01:14:36,880 --> 01:14:40,639
Speaker 2: He was so good at being this villain, Oh my god,

1418
01:14:41,120 --> 01:14:43,120
Speaker 2: and he creeped me the fuck out. Now.

1419
01:14:43,240 --> 01:14:48,080
Speaker 3: Patrick Bergan is originally from Ireland, from Dublin, and he

1420
01:14:48,600 --> 01:14:52,920
Speaker 3: has had a long career, he was an EastEnders.

1421
01:14:52,439 --> 01:14:55,040
Speaker 2: If you watch Oh I didn't know that. Wow.

1422
01:14:55,760 --> 01:14:58,080
Speaker 3: Yeah, later on he was in EastEnders, but like after

1423
01:14:58,160 --> 01:15:01,040
Speaker 3: this movie he did things like Robin Hood and Patriot Games,

1424
01:15:01,080 --> 01:15:03,240
Speaker 3: and like he just he's always played kind of a

1425
01:15:03,360 --> 01:15:08,040
Speaker 3: creep or a villain because he just has those eyes.

1426
01:15:10,160 --> 01:15:14,640
Speaker 2: Oh my god, I can't tell you. It's gotta be

1427
01:15:14,720 --> 01:15:18,160
Speaker 2: the eyes and the mustache and like everything about it is.

1428
01:15:18,439 --> 01:15:21,759
Speaker 2: So he's so creepy in this movie.

1429
01:15:22,400 --> 01:15:25,600
Speaker 3: Oh, he is like a stony, icy delivery, Like he

1430
01:15:26,000 --> 01:15:27,280
Speaker 3: is just full creep.

1431
01:15:27,840 --> 01:15:28,040
Speaker 2: Yeah.

1432
01:15:28,280 --> 01:15:30,519
Speaker 3: But it also what's interesting about this film to me

1433
01:15:30,720 --> 01:15:35,240
Speaker 3: is that in certain social situations, that creepiness reads this

1434
01:15:35,439 --> 01:15:39,320
Speaker 3: charming because he's very even keeled and he's very you know,

1435
01:15:40,360 --> 01:15:45,639
Speaker 3: suave and kind of reassuring, and so it's very creepy,

1436
01:15:45,680 --> 01:15:48,479
Speaker 3: but it's an interesting commentary on how sometimes relationships like

1437
01:15:48,560 --> 01:15:52,519
Speaker 3: this work, where the public face of the abuser is

1438
01:15:52,640 --> 01:15:58,719
Speaker 3: one that morphs into something more sinister Yeah behind closed doors.

1439
01:15:58,760 --> 01:16:01,320
Speaker 3: So it's not like a direct chain your personality. It's like, oh,

1440
01:16:01,400 --> 01:16:04,080
Speaker 3: you keep this locked down in public, and it comes

1441
01:16:04,120 --> 01:16:05,200
Speaker 3: across as very charming.

1442
01:16:05,479 --> 01:16:05,679
Speaker 2: Yeah.

1443
01:16:06,160 --> 01:16:11,599
Speaker 1: His whole vibe is that he's this like successful cultured.

1444
01:16:11,680 --> 01:16:14,720
Speaker 1: I mean he listens to like classical music, and he's

1445
01:16:14,760 --> 01:16:17,400
Speaker 1: just kind of this like, I don't know, this kind

1446
01:16:17,439 --> 01:16:20,360
Speaker 1: of guy you would see out that's like compelling because

1447
01:16:20,400 --> 01:16:23,680
Speaker 1: he's like sure of himself and he's like, you know,

1448
01:16:24,040 --> 01:16:27,679
Speaker 1: he's refined and he's rich maybe, and you're just like, ooh,

1449
01:16:27,720 --> 01:16:31,160
Speaker 1: who is this like you know, put together man. But

1450
01:16:31,320 --> 01:16:35,240
Speaker 1: that same vibe is what makes him such an evil

1451
01:16:35,280 --> 01:16:36,280
Speaker 1: piece of shit too.

1452
01:16:36,400 --> 01:16:42,519
Speaker 3: Right, absolutely, And you're watching these small moves at first

1453
01:16:42,920 --> 01:16:45,920
Speaker 3: with this character and Julia Roberts' character is named Laura.

1454
01:16:46,360 --> 01:16:48,160
Speaker 3: So you're watching these small moves with Laura in this

1455
01:16:48,280 --> 01:16:51,840
Speaker 3: vacation house where like they have these bath towels they

1456
01:16:51,920 --> 01:16:53,720
Speaker 3: have lines on them and the lines have to be

1457
01:16:53,840 --> 01:16:57,400
Speaker 3: perfectly lined up. Or when she opens the cabinets, all

1458
01:16:57,560 --> 01:16:59,840
Speaker 3: of the cans and everything in the cabinet is like

1459
01:17:00,400 --> 01:17:03,680
Speaker 3: labels are facing the same way. Everything is uniform, and

1460
01:17:03,760 --> 01:17:07,320
Speaker 3: you're like, why is she doing this? And she's again

1461
01:17:07,800 --> 01:17:10,960
Speaker 3: the baby girl, what is you doing? Portion of this

1462
01:17:11,200 --> 01:17:13,519
Speaker 3: is gonna be surprising to you because I'm not questioning

1463
01:17:14,040 --> 01:17:17,720
Speaker 3: the motives of anyone in domestic abuse situation. So my

1464
01:17:17,800 --> 01:17:19,880
Speaker 3: baby girl, what does you do? And has nothing to

1465
01:17:19,960 --> 01:17:23,200
Speaker 3: do with Laura. Weirdly, everything she does, I'm like, I

1466
01:17:23,280 --> 01:17:25,200
Speaker 3: get it, and she explains it later in a really

1467
01:17:25,280 --> 01:17:28,639
Speaker 3: interesting way. But she's like smashing the lights, like she's

1468
01:17:28,680 --> 01:17:31,280
Speaker 3: throwing rocks out and smashing the lights along the beach,

1469
01:17:31,360 --> 01:17:33,800
Speaker 3: and you're like, what is happening. And then there's this

1470
01:17:33,920 --> 01:17:40,599
Speaker 3: one scene that's full exposition where Martin, who's Patrick Bergen's character,

1471
01:17:41,520 --> 01:17:44,040
Speaker 3: goes down to the docks and he sees this young

1472
01:17:44,120 --> 01:17:47,960
Speaker 3: guy and his boat and the guy invites him out

1473
01:17:48,040 --> 01:17:53,360
Speaker 3: to go sailing that night, and Martin says, you know,

1474
01:17:53,520 --> 01:17:56,920
Speaker 3: my wife doesn't swim, so she probably won't want to go,

1475
01:17:57,560 --> 01:17:58,719
Speaker 3: but I'm gonna make her.

1476
01:17:58,680 --> 01:18:02,200
Speaker 2: Basically, And the doctor's like, oh yeah, like I saw her.

1477
01:18:02,280 --> 01:18:05,479
Speaker 3: She's always looking out the window, like your house looks beautiful.

1478
01:18:05,640 --> 01:18:08,840
Speaker 3: And he comes back from that meeting and this is

1479
01:18:08,880 --> 01:18:11,479
Speaker 3: where it turns and the way that it turns, and

1480
01:18:11,560 --> 01:18:15,240
Speaker 3: the he just he gets to anger so quickly that

1481
01:18:15,360 --> 01:18:19,080
Speaker 3: it is fucking shocking. Yeah, But he comes back in

1482
01:18:19,200 --> 01:18:21,640
Speaker 3: and he's like, hey, I met this doctor, like your

1483
01:18:21,720 --> 01:18:24,280
Speaker 3: doctor friend. She's like, what are you talking about? And

1484
01:18:24,439 --> 01:18:25,960
Speaker 3: he's like when was he in this house? Was it

1485
01:18:26,000 --> 01:18:28,360
Speaker 3: when I was in town? And then he smacks her,

1486
01:18:28,520 --> 01:18:31,120
Speaker 3: she falls to the floor. He kicks her, and he's

1487
01:18:31,240 --> 01:18:34,160
Speaker 3: like super fucking abusive, Like, you know, how dare you

1488
01:18:34,240 --> 01:18:36,960
Speaker 3: bring this guy in my house and humiliate me? And

1489
01:18:37,120 --> 01:18:39,439
Speaker 3: then he starts calling her princess and like trying to

1490
01:18:39,479 --> 01:18:43,519
Speaker 3: make up. It's just classic abuse behavior, right, And it's

1491
01:18:43,600 --> 01:18:46,519
Speaker 3: so disturbing to see, especially in this world, because I

1492
01:18:46,560 --> 01:18:49,719
Speaker 3: think that's something about the movie, which was critically panned

1493
01:18:49,800 --> 01:18:52,960
Speaker 3: but was like a huge success in the box office. Yeah,

1494
01:18:53,640 --> 01:18:55,200
Speaker 3: and I think that's part of the reason why, is

1495
01:18:55,240 --> 01:18:58,479
Speaker 3: it's very enticing and weird to look at this world

1496
01:18:58,600 --> 01:19:01,120
Speaker 3: that looks perfect from the outset side, but is an

1497
01:19:01,120 --> 01:19:02,799
Speaker 3: absolute horror show on the inside.

1498
01:19:03,040 --> 01:19:03,240
Speaker 2: Yeah.

1499
01:19:03,760 --> 01:19:07,040
Speaker 3: And so he's just so abusive. He takes her out

1500
01:19:07,080 --> 01:19:11,200
Speaker 3: in this fucking sailboat. It instantly turns into a goddamn norster.

1501
01:19:13,439 --> 01:19:14,880
Speaker 3: I mean, it's not the same a year for that,

1502
01:19:14,960 --> 01:19:17,200
Speaker 3: but you know what I mean. Yeah, But it's like

1503
01:19:17,439 --> 01:19:21,080
Speaker 3: from that moment where he hits her, you realize, like

1504
01:19:21,200 --> 01:19:23,080
Speaker 3: she has to dress the way he wants her to,

1505
01:19:23,840 --> 01:19:27,920
Speaker 3: she has to do what he says. There's a conversation

1506
01:19:28,080 --> 01:19:30,960
Speaker 3: they have over lunch where he's like it's clear that

1507
01:19:31,040 --> 01:19:34,720
Speaker 3: he got mad at her when she missed dinner for

1508
01:19:34,840 --> 01:19:37,600
Speaker 3: two days because she had to go to her mother's funeral.

1509
01:19:38,200 --> 01:19:43,160
Speaker 3: It's that kind of shit. Yeah, So it's just very controlling,

1510
01:19:43,760 --> 01:19:46,400
Speaker 3: very upsetting. And then they go out in this boat

1511
01:19:46,920 --> 01:19:51,000
Speaker 3: and this doctor is navigating by the moon like fucking Moana.

1512
01:19:53,680 --> 01:19:58,439
Speaker 3: He is out here on the sailboat just like you know, singing,

1513
01:19:58,520 --> 01:20:05,120
Speaker 3: fucking you're welcome, and he is. It starts raining, and

1514
01:20:05,360 --> 01:20:06,800
Speaker 3: Martin's like, I thought he said the weather was going

1515
01:20:06,880 --> 01:20:07,960
Speaker 3: to be good. He's like, yeah, I don't know where

1516
01:20:08,000 --> 01:20:10,400
Speaker 3: this is coming from. And Laura's in the back of

1517
01:20:10,479 --> 01:20:12,760
Speaker 3: the boat freaking out. Again. She doesn't swim, she has

1518
01:20:12,840 --> 01:20:17,880
Speaker 3: on a life vest. It gets so bad so fast,

1519
01:20:17,960 --> 01:20:20,479
Speaker 3: and these slippery fucks are trying to like steer the

1520
01:20:20,560 --> 01:20:25,880
Speaker 3: ship and when they look up, Laura's gone, and so

1521
01:20:26,120 --> 01:20:28,440
Speaker 3: Martin's freaking out and he's shouting.

1522
01:20:28,160 --> 01:20:31,400
Speaker 2: Laura, I'm sorry to laugh at that, but his.

1523
01:20:34,360 --> 01:20:36,680
Speaker 3: And he shouts it for like twenty solid minutes, and

1524
01:20:36,760 --> 01:20:38,559
Speaker 3: then when he gets back to the house, he shouts

1525
01:20:38,640 --> 01:20:41,080
Speaker 3: it again from the balcony like out into the wind.

1526
01:20:41,280 --> 01:20:43,640
Speaker 2: Yeah. The way he pronounces it, it's just like a

1527
01:20:43,720 --> 01:20:50,120
Speaker 2: real crazy guy. He's just like Ra's I know it's

1528
01:20:50,120 --> 01:20:53,120
Speaker 2: because he's now that you revealed that he's Irish, I'm like, okay,

1529
01:20:53,200 --> 01:20:54,680
Speaker 2: makes sense. But in the moment, you're like.

1530
01:20:54,760 --> 01:20:59,240
Speaker 3: God, this fucking guy, Laura Lora, I know it's wild

1531
01:20:59,400 --> 01:21:02,120
Speaker 3: and genuinely does it for like five solid minutes in

1532
01:21:02,160 --> 01:21:04,479
Speaker 3: the film right like he's shouting on the boat, he's

1533
01:21:04,479 --> 01:21:06,760
Speaker 3: shouting on land, he's shouting at the futal like he

1534
01:21:06,880 --> 01:21:10,000
Speaker 3: just can't stop screaming her name, and she's gone. And

1535
01:21:10,120 --> 01:21:12,479
Speaker 3: then you flash back because you're like, what the fuck happened?

1536
01:21:12,960 --> 01:21:16,400
Speaker 3: You flash back and what you see is how she

1537
01:21:16,640 --> 01:21:19,880
Speaker 3: plotted her fucking escape. And this part of the movie

1538
01:21:21,479 --> 01:21:26,439
Speaker 3: always makes me so happy, satisfying see her take fucking charge.

1539
01:21:26,479 --> 01:21:27,520
Speaker 3: It's so satisfying.

1540
01:21:27,800 --> 01:21:27,880
Speaker 2: Ye.

1541
01:21:28,040 --> 01:21:30,920
Speaker 3: So she explains because you see her. They go back

1542
01:21:30,960 --> 01:21:33,479
Speaker 3: to the night of the accident and you see her

1543
01:21:33,920 --> 01:21:36,840
Speaker 3: gripping onto the side of a booie and you're like, ooh,

1544
01:21:37,040 --> 01:21:40,599
Speaker 3: what's happening here? And she explains how she started taking

1545
01:21:40,720 --> 01:21:45,200
Speaker 3: swimming lessons, she waited for her fucking moment. Essentially, she

1546
01:21:45,280 --> 01:21:51,280
Speaker 3: started taking swimming lessons. She she cocked the fucking lights

1547
01:21:51,280 --> 01:21:53,120
Speaker 3: out on the beach so she would know which house

1548
01:21:53,280 --> 01:21:57,720
Speaker 3: was hers because she comes up on shore. While there,

1549
01:21:58,080 --> 01:22:01,679
Speaker 3: he's screaming Laura in the ocean. She runs into the house.

1550
01:22:02,040 --> 01:22:05,160
Speaker 3: She has a go bag with a bunch of cash

1551
01:22:05,400 --> 01:22:09,360
Speaker 3: and a wig and everything she needs ready to go,

1552
01:22:09,479 --> 01:22:13,200
Speaker 3: and it is one bag. And she cuts her fucking hair.

1553
01:22:14,120 --> 01:22:16,120
Speaker 3: She cuts off one wig and puts on another wig.

1554
01:22:17,640 --> 01:22:20,160
Speaker 3: Then she takes off her wedding ring. She flushes the hair,

1555
01:22:20,680 --> 01:22:24,519
Speaker 3: and she flushes the wedding ring, and she cleans up

1556
01:22:24,560 --> 01:22:27,760
Speaker 3: her fucking wet footprints and is out of there. And

1557
01:22:27,840 --> 01:22:30,200
Speaker 3: she's on a bus out of town, and she ends

1558
01:22:30,280 --> 01:22:33,920
Speaker 3: up in Iowa, Cedar Falls, Iowa, And it is so

1559
01:22:34,479 --> 01:22:40,439
Speaker 3: satisfying to hear her kind of talking about how she

1560
01:22:40,680 --> 01:22:42,400
Speaker 3: was this girl who never knew how to swim, but

1561
01:22:42,520 --> 01:22:45,800
Speaker 3: she taught herself, and she was this person who knew

1562
01:22:45,800 --> 01:22:48,519
Speaker 3: there would be a moment when he wasn't watching her. Yeah,

1563
01:22:49,160 --> 01:22:51,360
Speaker 3: and just thinking about the vigilance that she had to

1564
01:22:51,439 --> 01:22:54,400
Speaker 3: have to not know when she'd be able to escape,

1565
01:22:54,640 --> 01:22:57,400
Speaker 3: but always have to be ready because there was just

1566
01:22:57,439 --> 01:23:01,320
Speaker 3: gonna be one chance, essentially, And she gets out of there.

1567
01:23:01,360 --> 01:23:03,280
Speaker 3: And while she's on the bus, this bus trip to

1568
01:23:03,439 --> 01:23:07,360
Speaker 3: Iowa is very interesting. She sits next to a woman

1569
01:23:07,360 --> 01:23:11,240
Speaker 3: who offers her an apple, and this woman choose this

1570
01:23:11,400 --> 01:23:15,519
Speaker 3: fucking apple and the most distractingly loud way, like still

1571
01:23:15,640 --> 01:23:18,439
Speaker 3: thirty years later, when I see this bitch on a bus,

1572
01:23:18,520 --> 01:23:20,720
Speaker 3: I'm like, you got to close your fucking mouth when

1573
01:23:20,760 --> 01:23:25,840
Speaker 3: you eat. She's like, I have an apple, I have more,

1574
01:23:25,880 --> 01:23:29,080
Speaker 3: and I'm like, I'm so distracted right now by your

1575
01:23:29,120 --> 01:23:32,200
Speaker 3: gross chewing. But then she tells this woman the story

1576
01:23:32,360 --> 01:23:35,240
Speaker 3: of this friend she was visiting mm hmmm, who escaped

1577
01:23:35,240 --> 01:23:38,120
Speaker 3: a bad marriage, and of course it's her story, and

1578
01:23:38,200 --> 01:23:40,360
Speaker 3: the woman figures that out, and she's like, how long

1579
01:23:40,439 --> 01:23:43,200
Speaker 3: were you with him? And she says three years, seven months,

1580
01:23:43,240 --> 01:23:47,160
Speaker 3: six days, Like she again has been just her life

1581
01:23:47,240 --> 01:23:51,560
Speaker 3: has been counting down into moments. And he turned apparently

1582
01:23:51,680 --> 01:23:54,880
Speaker 3: like after their honeymoon, like he kind of kept his

1583
01:23:54,960 --> 01:23:57,200
Speaker 3: shit together until then, So she literally didn't know what

1584
01:23:57,280 --> 01:24:00,439
Speaker 3: she was getting into, right, And he became a different

1585
01:24:00,560 --> 01:24:04,120
Speaker 3: and abusive person once they were married, right, and very

1586
01:24:04,400 --> 01:24:08,360
Speaker 3: very possessive. So then she goes to Iowa and this

1587
01:24:08,479 --> 01:24:10,599
Speaker 3: is where my baby girlwood as you do and starts happening,

1588
01:24:11,360 --> 01:24:14,000
Speaker 3: because my baby girl, what is you doing is about

1589
01:24:14,080 --> 01:24:17,680
Speaker 3: the fucking men in this movie? Oh my God, I.

1590
01:24:19,280 --> 01:24:23,120
Speaker 2: Have so much to say about this. Okay, good Because.

1591
01:24:25,360 --> 01:24:29,160
Speaker 3: First and foremost, she meets Ben, her neighbor, Ben, who's

1592
01:24:29,200 --> 01:24:33,240
Speaker 3: played by Kevin Anderson, and he is so he's adorable

1593
01:24:33,280 --> 01:24:35,120
Speaker 3: and so weird and he's like out in the backyard

1594
01:24:35,200 --> 01:24:39,200
Speaker 3: water and plants, singing West Side Story, leaping around. Turns

1595
01:24:39,240 --> 01:24:41,799
Speaker 3: out he's the drama director at like a local college,

1596
01:24:42,040 --> 01:24:44,360
Speaker 3: or he teaches drama at a local college. And they

1597
01:24:44,560 --> 01:24:47,360
Speaker 3: meet and she's like, Okay, I have a cute neighbor.

1598
01:24:47,880 --> 01:24:53,000
Speaker 3: But she definitely she's reluctant. And so she's rented this

1599
01:24:53,120 --> 01:24:55,639
Speaker 3: old house and it's one of those old houses where

1600
01:24:55,640 --> 01:24:58,400
Speaker 3: it's furnished and they cover everything. This cheet so like

1601
01:24:58,479 --> 01:25:01,280
Speaker 3: the first like, while you're watching her get this house together,

1602
01:25:01,320 --> 01:25:02,840
Speaker 3: it's mostly her battling dust.

1603
01:25:03,600 --> 01:25:07,639
Speaker 1: Yes, she's renting. She's rented this house for seven hundred

1604
01:25:07,800 --> 01:25:08,639
Speaker 1: dollars a month.

1605
01:25:09,280 --> 01:25:10,240
Speaker 3: One hundred dollars.

1606
01:25:10,479 --> 01:25:14,519
Speaker 1: I gasped when I saw that, Like, I mean obviously

1607
01:25:14,640 --> 01:25:17,840
Speaker 1: adjusted for inflation from nineteen ninety one or whatever, but

1608
01:25:17,920 --> 01:25:20,479
Speaker 1: I was like, you can get a fully furnished house

1609
01:25:20,640 --> 01:25:23,040
Speaker 1: in Iowa for seven hundred dollars a month and ninety one.

1610
01:25:23,360 --> 01:25:25,560
Speaker 3: Wow, Well, a port swing and all you have to

1611
01:25:25,640 --> 01:25:30,840
Speaker 3: do is dust and paint, and it's got like fucking

1612
01:25:30,920 --> 01:25:34,800
Speaker 3: fruit trees in the yard and amazing. That shit made

1613
01:25:34,840 --> 01:25:39,760
Speaker 3: my pelvic floor drop, Like I was like, what the hell?

1614
01:25:40,600 --> 01:25:42,439
Speaker 3: But she planned it out and so she's got this

1615
01:25:42,560 --> 01:25:45,280
Speaker 3: cute neighbor. Now, My first, baby girl, what as you

1616
01:25:45,400 --> 01:25:48,799
Speaker 3: do in moment is when she meets Ben. She basically

1617
01:25:48,880 --> 01:25:52,560
Speaker 3: sees this tree, this apple tree in his yard, and

1618
01:25:52,680 --> 01:25:54,680
Speaker 3: at night she goes and picks some apples and he's

1619
01:25:54,760 --> 01:25:58,320
Speaker 3: like flirting with her, and she's not really having it

1620
01:25:58,439 --> 01:26:01,360
Speaker 3: because he's like, ooh, it's like theft in some you know,

1621
01:26:01,439 --> 01:26:04,320
Speaker 3: that's a grand theft to steal someone's fruit in these parts.

1622
01:26:04,640 --> 01:26:06,799
Speaker 3: And she just drops the apples and she's like fine,

1623
01:26:06,880 --> 01:26:10,720
Speaker 3: I don't wanna yeah, And then he comes to her

1624
01:26:10,800 --> 01:26:13,000
Speaker 3: fucking house and knocks on the door and she jumps

1625
01:26:13,040 --> 01:26:15,720
Speaker 3: out of her fucking skin. My baby girl, what is

1626
01:26:15,840 --> 01:26:17,800
Speaker 3: you do in connection here? Is that Ben is not

1627
01:26:17,960 --> 01:26:20,800
Speaker 3: reading any signals until the very end of this fucking movie.

1628
01:26:21,080 --> 01:26:23,439
Speaker 3: She has freaked the fuck out and he just keeps

1629
01:26:23,479 --> 01:26:26,760
Speaker 3: showing up in the creepiest goddamn ways, and I'm like, Ben,

1630
01:26:27,160 --> 01:26:29,720
Speaker 3: she has told you. You see the fucking scars on

1631
01:26:29,800 --> 01:26:32,519
Speaker 3: her head. She has told you that she doesn't want

1632
01:26:32,560 --> 01:26:34,599
Speaker 3: to do any of this. She has freaked the fuck out,

1633
01:26:34,640 --> 01:26:36,160
Speaker 3: and you keep showing up.

1634
01:26:37,360 --> 01:26:39,080
Speaker 2: What the hell? Yes, I.

1635
01:26:41,080 --> 01:26:43,320
Speaker 1: You know I've gone back and forth about this in

1636
01:26:43,400 --> 01:26:46,320
Speaker 1: my own head many times because I was like, like,

1637
01:26:46,479 --> 01:26:47,400
Speaker 1: he's coming.

1638
01:26:47,160 --> 01:26:52,360
Speaker 2: In real hot, and I'm like, yo, read the room, dude,

1639
01:26:52,640 --> 01:26:53,519
Speaker 2: Like what in the fuck.

1640
01:26:53,720 --> 01:26:56,759
Speaker 1: You can't just pop into someone's house like that, period,

1641
01:26:56,840 --> 01:26:58,519
Speaker 1: doesn't even matter who they are, Thank you.

1642
01:26:59,680 --> 01:27:02,080
Speaker 3: You don't You don't know that she's just faked her

1643
01:27:02,080 --> 01:27:04,160
Speaker 3: own death and changed her name to Sarah. But you

1644
01:27:04,320 --> 01:27:06,439
Speaker 3: know something is going on that she does not want

1645
01:27:06,520 --> 01:27:09,880
Speaker 3: to be around you right now. Yes, I that to

1646
01:27:10,000 --> 01:27:13,120
Speaker 3: me is so get away from me. I'm going through

1647
01:27:13,200 --> 01:27:13,679
Speaker 3: some shit.

1648
01:27:14,000 --> 01:27:17,439
Speaker 1: Yeah, just because her windows are open in her house

1649
01:27:17,520 --> 01:27:19,280
Speaker 1: doesn't mean you get to like crawl through them and

1650
01:27:19,360 --> 01:27:21,439
Speaker 1: be like I got you more apples.

1651
01:27:21,520 --> 01:27:22,800
Speaker 2: Or whatever, like.

1652
01:27:26,320 --> 01:27:31,360
Speaker 3: Go home, Ben, go home, Ben, take a bucket hit

1653
01:27:31,439 --> 01:27:33,800
Speaker 3: And it reads is really creepy to me right away,

1654
01:27:34,080 --> 01:27:35,240
Speaker 3: It really reads as creepy.

1655
01:27:35,760 --> 01:27:36,080
Speaker 2: And so.

1656
01:27:37,720 --> 01:27:39,600
Speaker 3: While this is all happening and she's setting up this

1657
01:27:39,720 --> 01:27:42,120
Speaker 3: life in Iowa and trying to decide if Ben's gonna

1658
01:27:42,160 --> 01:27:45,439
Speaker 3: leave her alone or not we have my other baby girl?

1659
01:27:45,479 --> 01:27:46,000
Speaker 2: What as you do?

1660
01:27:46,120 --> 01:27:49,920
Speaker 3: In moment, which is all about Martin because after a

1661
01:27:50,080 --> 01:27:53,400
Speaker 3: series of events, Martin turns into fucking Poiro.

1662
01:27:54,720 --> 01:27:56,320
Speaker 2: And dedicates his life.

1663
01:27:57,760 --> 01:28:02,000
Speaker 3: To finding Laura once he realized is she's not actually dead.

1664
01:28:02,600 --> 01:28:05,920
Speaker 3: So first he like kind of steps on the broken

1665
01:28:05,960 --> 01:28:07,840
Speaker 3: glass from the lights and he's like, oh, that's weird.

1666
01:28:07,920 --> 01:28:09,960
Speaker 3: Like he's on the beach and he's like, hmm, that's strange.

1667
01:28:10,280 --> 01:28:13,160
Speaker 3: Then this woman name called named Vanessa calls and she's

1668
01:28:13,560 --> 01:28:14,080
Speaker 3: he's like, how.

1669
01:28:14,040 --> 01:28:14,800
Speaker 2: Did you know my wife?

1670
01:28:14,800 --> 01:28:16,280
Speaker 3: And he's like, oh, I knew her from the why

1671
01:28:16,800 --> 01:28:19,720
Speaker 3: where she took swimming lessons And he's like that must

1672
01:28:19,760 --> 01:28:22,760
Speaker 3: be the wrong person and she's like no, wasn't she

1673
01:28:22,840 --> 01:28:25,200
Speaker 3: a gymnast? That's how she explained all of her bruises.

1674
01:28:26,040 --> 01:28:29,639
Speaker 3: It's like so disheartening, like so heartbreaking. But he goes

1675
01:28:29,840 --> 01:28:33,360
Speaker 3: apoplectic when he's like, what the fuck she took swimming lessons,

1676
01:28:33,880 --> 01:28:36,880
Speaker 3: So he's starting to catch on that she planned this.

1677
01:28:37,560 --> 01:28:39,720
Speaker 3: Then he goes back to their beach house in Cape Cod,

1678
01:28:40,880 --> 01:28:43,240
Speaker 3: which is also covered in sheets. The sheet business head

1679
01:28:44,120 --> 01:28:48,439
Speaker 3: was raking it in on this movie. It's like this

1680
01:28:48,560 --> 01:28:50,280
Speaker 3: in a Haunted Mansion movie and that was all they

1681
01:28:50,360 --> 01:28:54,320
Speaker 3: had going for them this year. So she so he

1682
01:28:54,400 --> 01:28:56,880
Speaker 3: goes back to this beach house and just starts rip

1683
01:28:57,040 --> 01:28:58,960
Speaker 3: shit and for like ripping through all her shit in

1684
01:28:59,040 --> 01:29:02,040
Speaker 3: the house, and he cuts his hand on something in

1685
01:29:02,120 --> 01:29:06,080
Speaker 3: the bathroom, leans over the toilet and he notices her

1686
01:29:06,120 --> 01:29:09,639
Speaker 3: wedding ring is in there, which didn't actually flush.

1687
01:29:10,960 --> 01:29:12,920
Speaker 2: Yeah, and you're like fuck.

1688
01:29:13,880 --> 01:29:16,600
Speaker 3: So now he's like this bitch is alive, like he

1689
01:29:16,880 --> 01:29:20,840
Speaker 3: knows it in his bones, but he dedicates the whole movie.

1690
01:29:21,200 --> 01:29:24,599
Speaker 3: The next thing that happens is like watching him plot

1691
01:29:24,760 --> 01:29:26,760
Speaker 3: this trail of trying to find her, and I'm like,

1692
01:29:27,280 --> 01:29:29,519
Speaker 3: what are you fucking doing? Like, baby girl, what is

1693
01:29:29,560 --> 01:29:31,720
Speaker 3: you doing? Martin? I know, I know.

1694
01:29:32,280 --> 01:29:32,960
Speaker 2: It's so like.

1695
01:29:35,320 --> 01:29:38,600
Speaker 1: This part really like puts me on edge, Like this

1696
01:29:38,720 --> 01:29:42,800
Speaker 1: whole sequence of the film where you start to realize

1697
01:29:42,880 --> 01:29:45,600
Speaker 1: that there are moments like it's like kind of like

1698
01:29:46,600 --> 01:29:51,320
Speaker 1: planning the perfect getaway and then realizing that certain elements

1699
01:29:51,520 --> 01:29:55,519
Speaker 1: are now like that actually didn't work out for you,

1700
01:29:55,720 --> 01:30:00,360
Speaker 1: and that now it's like bringing this like fucking evil

1701
01:30:00,439 --> 01:30:03,680
Speaker 1: dude closer to you because that's just like little incidental

1702
01:30:03,800 --> 01:30:06,639
Speaker 1: shit like who knew a wedding ring wasn't gonna flush,

1703
01:30:07,000 --> 01:30:07,400
Speaker 1: you know, like.

1704
01:30:07,720 --> 01:30:12,160
Speaker 2: Who knew that? There is absolutely no hippo compliance at

1705
01:30:12,240 --> 01:30:14,080
Speaker 2: all in this movie.

1706
01:30:15,360 --> 01:30:19,320
Speaker 3: Yeah, everyone is just everyone is singing like a goddamn canary.

1707
01:30:20,160 --> 01:30:22,599
Speaker 2: How much slight like they have? They call him all

1708
01:30:22,640 --> 01:30:24,120
Speaker 2: the time and they're like, oh my god, isn't it

1709
01:30:24,200 --> 01:30:25,120
Speaker 2: so weird that I saw.

1710
01:30:25,040 --> 01:30:27,000
Speaker 3: Her at the supermarket and she said she was gonna

1711
01:30:27,000 --> 01:30:29,800
Speaker 3: fucking fake her death and leave you, and then she did.

1712
01:30:30,080 --> 01:30:32,120
Speaker 2: It's like someone might as well just come out and

1713
01:30:32,200 --> 01:30:35,880
Speaker 2: said that there are no there is no hippa.

1714
01:30:35,680 --> 01:30:40,400
Speaker 3: There is no confidentiality, like once someone is dead, the

1715
01:30:40,600 --> 01:30:43,519
Speaker 3: gloves are off, apparently, and that is never more evident

1716
01:30:43,560 --> 01:30:46,120
Speaker 3: than when he goes and stalks her fucking mother, who,

1717
01:30:46,160 --> 01:30:50,040
Speaker 3: as it turns out, is not dead. But she put

1718
01:30:50,160 --> 01:30:54,519
Speaker 3: her mother, her blind, ailing mother, in a home close

1719
01:30:54,600 --> 01:30:57,160
Speaker 3: to where she wanted to move, because that's how long

1720
01:30:57,240 --> 01:31:00,880
Speaker 3: she's been planning this. And so he puts it together again.

1721
01:31:00,960 --> 01:31:03,240
Speaker 3: He like turns into a fucking super detective and he's like, well,

1722
01:31:04,240 --> 01:31:06,560
Speaker 3: she can't be more than two days away from this

1723
01:31:06,760 --> 01:31:09,320
Speaker 3: place where she was originally, because Laura was only gone

1724
01:31:09,400 --> 01:31:13,600
Speaker 3: for two days. And he figures out where the mom is,

1725
01:31:13,600 --> 01:31:16,160
Speaker 3: and he gets a fucking private detective to find the mom,

1726
01:31:16,640 --> 01:31:19,200
Speaker 3: and then he starts stalking out her fucking nursing home

1727
01:31:19,720 --> 01:31:21,880
Speaker 3: and I'm like, what are you god sing, He's like

1728
01:31:22,080 --> 01:31:23,320
Speaker 3: terrorizing this old lady.

1729
01:31:23,680 --> 01:31:25,719
Speaker 2: That scene where he sits down.

1730
01:31:27,080 --> 01:31:29,639
Speaker 3: She has food delivered, like her her meal is delivered,

1731
01:31:30,040 --> 01:31:31,800
Speaker 3: and he comes in and pretends to be a cop

1732
01:31:32,200 --> 01:31:35,400
Speaker 3: and says, like, her husband's in the area and we're

1733
01:31:35,439 --> 01:31:40,240
Speaker 3: trying to protect her and Laura slash Sarah has been

1734
01:31:40,479 --> 01:31:44,000
Speaker 3: very controlled up to this point about not contacting her mom,

1735
01:31:45,040 --> 01:31:47,040
Speaker 3: but she just contacted her mom.

1736
01:31:46,960 --> 01:31:49,240
Speaker 2: Like that day, right, and that he was there.

1737
01:31:49,960 --> 01:31:54,800
Speaker 3: So he starts feeding her and it is the creepiest

1738
01:31:54,840 --> 01:31:57,679
Speaker 3: thing I have ever I've ever seen it on film,

1739
01:31:57,960 --> 01:31:59,880
Speaker 3: but I do not know why. It makes my skin

1740
01:32:00,120 --> 01:32:03,559
Speaker 3: crawl to watch him feeding this older woman who's blind

1741
01:32:03,680 --> 01:32:05,240
Speaker 3: and has no idea who she's talking to.

1742
01:32:05,560 --> 01:32:07,800
Speaker 2: Yeah, Oh, it's so creepy.

1743
01:32:08,120 --> 01:32:12,880
Speaker 1: Then, like this whole, this fucking entire part of the movie,

1744
01:32:13,479 --> 01:32:16,639
Speaker 1: where again in ninety one, maybe nobody gave a shit

1745
01:32:16,680 --> 01:32:17,720
Speaker 1: about you.

1746
01:32:18,040 --> 01:32:20,439
Speaker 2: You could just be some rando off the street and you.

1747
01:32:20,479 --> 01:32:23,800
Speaker 1: Could get full access to like a patience records in

1748
01:32:23,880 --> 01:32:26,519
Speaker 1: a nursing home. They don't even know who this guy is.

1749
01:32:26,600 --> 01:32:29,000
Speaker 1: And they're like, oh yeah, I'll tell you every visitor

1750
01:32:29,479 --> 01:32:32,040
Speaker 1: this woman has had. You can come in anytime you

1751
01:32:32,120 --> 01:32:35,240
Speaker 1: want to and feed a woman like you.

1752
01:32:35,600 --> 01:32:39,840
Speaker 2: It's like, what, like, I'm just shocked a woman. It's

1753
01:32:39,880 --> 01:32:45,920
Speaker 2: like a fucking circus event, like ring the ring the bell. Like.

1754
01:32:47,439 --> 01:32:49,280
Speaker 2: But then he's like he's going up to all these

1755
01:32:49,360 --> 01:32:52,559
Speaker 2: like young nurses and he's like, hey, girl, uh listen,

1756
01:32:52,880 --> 01:32:54,800
Speaker 2: I wondered if maybe you could just tell me if

1757
01:32:54,840 --> 01:32:57,040
Speaker 2: my ex wife will show up here, just let me know,

1758
01:32:57,280 --> 01:33:00,120
Speaker 2: Like here's where I'm staying, call me anytime and let

1759
01:33:00,160 --> 01:33:02,400
Speaker 2: me know who comes to see this old lady. And

1760
01:33:02,479 --> 01:33:05,040
Speaker 2: I'm just like and they're just like, okay, sir, no problem,

1761
01:33:05,200 --> 01:33:08,519
Speaker 2: Like there's no protocol at all at all with this

1762
01:33:08,600 --> 01:33:11,320
Speaker 2: business place. And I'm just like, well, no wonder he's

1763
01:33:11,360 --> 01:33:14,280
Speaker 2: able to get to this, you know, family is because

1764
01:33:14,640 --> 01:33:18,599
Speaker 2: everyone's just giving them all the information he needs. Oh

1765
01:33:18,640 --> 01:33:20,040
Speaker 2: and the same thing happens with Laura.

1766
01:33:20,240 --> 01:33:24,679
Speaker 3: Laura walks in, she uses she uses Ben to help

1767
01:33:24,720 --> 01:33:28,960
Speaker 3: her disguise herself and drag and puts on like a

1768
01:33:29,040 --> 01:33:31,840
Speaker 3: fucking spirit gum mustache and a hat and a wig,

1769
01:33:32,760 --> 01:33:35,280
Speaker 3: and she's like walking all hunched over, and she's described

1770
01:33:35,280 --> 01:33:38,000
Speaker 3: herself as a guy so she could go see her

1771
01:33:38,080 --> 01:33:41,360
Speaker 3: mother safely because she's still on edge and she still

1772
01:33:41,439 --> 01:33:44,400
Speaker 3: knows that like my ex is like a fucking Agatha

1773
01:33:44,760 --> 01:33:46,120
Speaker 3: Christie detective.

1774
01:33:47,080 --> 01:33:49,640
Speaker 2: And so she goes and sees it and she.

1775
01:33:49,760 --> 01:33:51,960
Speaker 3: Walks in and one nurse kind of goes, oh, can

1776
01:33:52,000 --> 01:33:54,599
Speaker 3: I help you and she's like no, I'm just looking

1777
01:33:54,640 --> 01:33:55,479
Speaker 3: for the water fountain.

1778
01:33:55,520 --> 01:33:57,360
Speaker 2: And then she just walks into her mom's room.

1779
01:33:58,960 --> 01:34:00,080
Speaker 3: And I'm like, baby girl, what.

1780
01:34:00,200 --> 01:34:06,200
Speaker 2: Is you doing? Nurse? What is you doing? Laura? What

1781
01:34:06,400 --> 01:34:07,000
Speaker 2: is you doing?

1782
01:34:07,280 --> 01:34:07,320
Speaker 3: Like?

1783
01:34:07,439 --> 01:34:09,320
Speaker 2: What is everybody doing right now?

1784
01:34:09,400 --> 01:34:11,240
Speaker 3: When it comes to confidentiality?

1785
01:34:12,840 --> 01:34:14,120
Speaker 2: So crazy?

1786
01:34:14,439 --> 01:34:19,240
Speaker 1: It's so crazy how no one cares and anybody can

1787
01:34:19,360 --> 01:34:23,320
Speaker 1: access this health facility at any time.

1788
01:34:24,120 --> 01:34:26,720
Speaker 3: And because her mom is like freaked out because she

1789
01:34:26,800 --> 01:34:28,960
Speaker 3: knows that her ex husband, like she knows it Martin

1790
01:34:29,080 --> 01:34:31,800
Speaker 3: was a bastard, but she also doesn't know she's talking

1791
01:34:31,840 --> 01:34:33,719
Speaker 3: to Martin, so she's like, oh yeah, Like she fucking

1792
01:34:33,760 --> 01:34:36,439
Speaker 3: lives in Iowa and she has this male friend who

1793
01:34:36,560 --> 01:34:39,280
Speaker 3: she's like she's getting her shit together and he works

1794
01:34:39,320 --> 01:34:41,960
Speaker 3: at a drama department at college and like shit's good.

1795
01:34:42,400 --> 01:34:46,240
Speaker 3: So go get her and tell her everything's okay. And

1796
01:34:46,360 --> 01:34:48,599
Speaker 3: you can't fault the mom because she can't see shit.

1797
01:34:48,920 --> 01:34:52,240
Speaker 3: But Martin, what are you fucking doing? Leave this woman alone?

1798
01:34:52,560 --> 01:34:53,280
Speaker 2: Leave her alone.

1799
01:34:53,640 --> 01:34:56,560
Speaker 1: Stop holding a pillow like you're gonna suffocate her, but

1800
01:34:56,600 --> 01:34:58,200
Speaker 1: then you're actually just gonna put.

1801
01:34:58,040 --> 01:35:01,200
Speaker 2: It under her head. Like that parts was so tense

1802
01:35:01,320 --> 01:35:04,200
Speaker 2: or I was like, is this guy gonna stuff out

1803
01:35:04,280 --> 01:35:06,840
Speaker 2: this poor old lady. He's like, oh no, he's just

1804
01:35:06,920 --> 01:35:09,880
Speaker 2: fluffing her pillow for her neck, like oh that.

1805
01:35:09,960 --> 01:35:12,680
Speaker 3: Part where she drops her crochet hook, and then he's

1806
01:35:12,800 --> 01:35:15,120
Speaker 3: just standing there while she's steeling around on the ground.

1807
01:35:15,439 --> 01:35:21,080
Speaker 3: Patrick Bergan classic creep. Classic, Oh my god, just classic creep.

1808
01:35:21,439 --> 01:35:24,120
Speaker 3: So he goes to the nursing home and then he

1809
01:35:24,320 --> 01:35:27,760
Speaker 3: also like when he leaves the room, there's kind of

1810
01:35:27,800 --> 01:35:31,400
Speaker 3: this tense moment where Laura is there addressed is this

1811
01:35:31,600 --> 01:35:34,559
Speaker 3: guy and he's there looking for Laura and they're kind

1812
01:35:34,600 --> 01:35:37,120
Speaker 3: of crossing paths and it's very tense.

1813
01:35:38,120 --> 01:35:41,000
Speaker 2: I good not And then he's behind.

1814
01:35:40,680 --> 01:35:46,360
Speaker 3: Her at the water fountain. That is all very tense.

1815
01:35:46,520 --> 01:35:50,960
Speaker 3: But the way he drinks water from this fountain has

1816
01:35:51,040 --> 01:35:52,960
Speaker 3: given me nightmares for thirty years.

1817
01:35:54,000 --> 01:35:58,599
Speaker 1: I think if again, I found another maybe accidental connection

1818
01:35:58,680 --> 01:36:02,759
Speaker 1: point between both of our movie, whereas there are scenes

1819
01:36:02,840 --> 01:36:06,840
Speaker 1: in both are films this week where the characters that

1820
01:36:07,000 --> 01:36:09,879
Speaker 1: aren't supposed to know that each other are there somehow

1821
01:36:10,000 --> 01:36:14,400
Speaker 1: meet face to face and nobody's the wiser. Like that's

1822
01:36:14,560 --> 01:36:16,760
Speaker 1: the sequence in my movie where she's working at the

1823
01:36:16,840 --> 01:36:20,120
Speaker 1: dollar store and then like Neil comes to the fucking

1824
01:36:20,280 --> 01:36:22,719
Speaker 1: checkout line and somehow doesn't notice.

1825
01:36:22,760 --> 01:36:25,960
Speaker 2: It's her. Same thing with your film, where it's like, Okay,

1826
01:36:26,080 --> 01:36:30,280
Speaker 2: we know Julia Roberts is dressed like a country boy

1827
01:36:30,400 --> 01:36:34,040
Speaker 2: or whatever the hell this drag outfit is in drags.

1828
01:36:34,200 --> 01:36:38,000
Speaker 2: She's in drag, but they're literally standing next to each

1829
01:36:38,040 --> 01:36:40,280
Speaker 2: other at one point and you're like on the edge

1830
01:36:40,320 --> 01:36:43,760
Speaker 2: of your seat, going no way, like there's no way

1831
01:36:43,840 --> 01:36:47,519
Speaker 2: that they're not gonna meet, there's no way, absolutely.

1832
01:36:46,960 --> 01:36:49,120
Speaker 3: And then they they don't, and it's when it's so

1833
01:36:49,439 --> 01:36:52,880
Speaker 3: tense and I'm like, this is rocking me. I cannot

1834
01:36:52,920 --> 01:36:53,839
Speaker 3: handle this tension.

1835
01:36:54,040 --> 01:36:54,960
Speaker 2: Yeah, it's crazy.

1836
01:36:55,120 --> 01:36:57,880
Speaker 3: So he keeps pursuing her, and while you know, she

1837
01:36:58,000 --> 01:37:00,280
Speaker 3: goes home and she's excited and Ben's like, you know,

1838
01:37:00,960 --> 01:37:01,519
Speaker 3: oh it worked.

1839
01:37:01,560 --> 01:37:02,160
Speaker 2: It's so cute.

1840
01:37:02,800 --> 01:37:07,120
Speaker 3: Also, now this is a point of contention with Ben

1841
01:37:07,400 --> 01:37:09,040
Speaker 3: and the baby Girl What is you do? In Canon,

1842
01:37:09,840 --> 01:37:12,080
Speaker 3: there is a scene where he takes her to the university,

1843
01:37:13,479 --> 01:37:19,120
Speaker 3: to the drama department where he works, and she basically

1844
01:37:19,240 --> 01:37:24,080
Speaker 3: plays dress up to the tune of brown Eyed Girl.

1845
01:37:25,040 --> 01:37:28,280
Speaker 3: And I've always wondered whenever that song comes on, I'm

1846
01:37:28,320 --> 01:37:30,240
Speaker 3: just like, no, I hate it. I turn it off.

1847
01:37:30,280 --> 01:37:33,000
Speaker 3: I can't fucking stand it. I think it's because of

1848
01:37:33,080 --> 01:37:33,479
Speaker 3: this movie.

1849
01:37:34,320 --> 01:37:36,519
Speaker 2: One hundred percent. Nobody can see me right now.

1850
01:37:36,680 --> 01:37:40,280
Speaker 1: You're sweating, but I'm holding my head as if I'm

1851
01:37:40,320 --> 01:37:41,599
Speaker 1: in an Exceedrin commercial.

1852
01:37:41,680 --> 01:37:46,320
Speaker 2: I'm like, I can't. This part of the movie is

1853
01:37:46,479 --> 01:37:53,000
Speaker 2: so outrageous and truly and so corny in this weird

1854
01:37:53,200 --> 01:37:54,880
Speaker 2: This is what I actually think about this.

1855
01:37:55,040 --> 01:37:57,360
Speaker 1: And I don't know if if you will agree or

1856
01:37:57,439 --> 01:38:01,040
Speaker 1: have a different take, but I'm like, totally, this part

1857
01:38:01,080 --> 01:38:04,320
Speaker 1: of the movie is so off because this entire movie

1858
01:38:04,479 --> 01:38:07,960
Speaker 1: is so fucking tense. It's so it's such a thriller

1859
01:38:08,360 --> 01:38:10,280
Speaker 1: that all of a sudden you see two people having

1860
01:38:10,320 --> 01:38:13,880
Speaker 1: a fucking makeover montage to brown Eyed Girl, and you're

1861
01:38:13,960 --> 01:38:16,599
Speaker 1: just like, what the fuck is going on? I mean,

1862
01:38:16,640 --> 01:38:18,880
Speaker 1: it's so it's almost campy. It kind of moves it

1863
01:38:18,960 --> 01:38:22,160
Speaker 1: into the campground and I'm like, why did they do this?

1864
01:38:22,520 --> 01:38:24,360
Speaker 1: And there is a part of me that really feels

1865
01:38:24,439 --> 01:38:27,360
Speaker 1: this way where I was like, I don't think they

1866
01:38:27,400 --> 01:38:32,880
Speaker 1: would have let Julia Roberts not be like the cute

1867
01:38:32,960 --> 01:38:33,759
Speaker 1: have a cute.

1868
01:38:33,560 --> 01:38:34,479
Speaker 2: Sea wootsy moment.

1869
01:38:34,800 --> 01:38:38,680
Speaker 1: Like it almost feels like it was kind of that

1870
01:38:39,360 --> 01:38:43,840
Speaker 1: moment and Pretty Woman too, where we just had to

1871
01:38:43,920 --> 01:38:48,400
Speaker 1: have a montage where she was looking radiant and cute

1872
01:38:48,880 --> 01:38:51,919
Speaker 1: and like it kind of reaffirms her as America's sweetheart.

1873
01:38:52,040 --> 01:38:54,559
Speaker 1: And I'm like, yes, there's a moment where I think, oh,

1874
01:38:54,640 --> 01:38:57,320
Speaker 1: they had to build this part into the film, because

1875
01:38:57,600 --> 01:38:59,920
Speaker 1: no way Hollywood was gonna let Julia Roberts just be

1876
01:39:00,240 --> 01:39:03,080
Speaker 1: stalked and then get revenged, Like she had to have

1877
01:39:03,200 --> 01:39:06,040
Speaker 1: a moment where she flashed that million dollar smile and

1878
01:39:06,200 --> 01:39:08,960
Speaker 1: how's she gonna fucking do that if there's no brown eye?

1879
01:39:09,040 --> 01:39:09,240
Speaker 2: Girl?

1880
01:39:10,400 --> 01:39:13,080
Speaker 3: I can't stand this song. It is absolutely because of

1881
01:39:13,120 --> 01:39:19,840
Speaker 3: this movie, and that whole scene made me sick. It's

1882
01:39:19,960 --> 01:39:22,680
Speaker 3: so out of place. It made me actually fucking ill. Well,

1883
01:39:22,680 --> 01:39:26,559
Speaker 3: I'm like I don't need this, And again, baby girl, Ben,

1884
01:39:26,840 --> 01:39:30,120
Speaker 3: what is you fucking doing? She has told you countless

1885
01:39:30,200 --> 01:39:33,080
Speaker 3: times she does not trust men, and you bring her

1886
01:39:33,160 --> 01:39:37,800
Speaker 3: to a dark theater at night by yourself and are like,

1887
01:39:38,000 --> 01:39:40,479
Speaker 3: here's all my fucking costumes. No one will ever find

1888
01:39:40,520 --> 01:39:41,920
Speaker 3: you in here, And then you put her in all

1889
01:39:41,920 --> 01:39:44,720
Speaker 3: these fucking dusty, mildewy ass fucking costumes.

1890
01:39:45,800 --> 01:39:48,720
Speaker 1: And there are parts of this sequence, as if the

1891
01:39:48,800 --> 01:39:54,040
Speaker 1: sequence wasn't just outrageous enough, where she's gonna have to

1892
01:39:54,160 --> 01:39:57,040
Speaker 1: strip down to her skivvies in order to change out

1893
01:39:57,080 --> 01:40:01,599
Speaker 1: of her fucking Elizabethan dress or whatever. And then there's

1894
01:40:01,640 --> 01:40:04,840
Speaker 1: a shot of Ben from like the other side of

1895
01:40:05,000 --> 01:40:08,840
Speaker 1: the room, kind of creepy peeping at her, like trying

1896
01:40:08,880 --> 01:40:11,479
Speaker 1: to get a look at her naked, and I'm just like,

1897
01:40:12,640 --> 01:40:13,639
Speaker 1: that's fucked up.

1898
01:40:13,760 --> 01:40:17,120
Speaker 2: Like what the fuck happened, baby girl? What are you doing?

1899
01:40:18,720 --> 01:40:19,799
Speaker 2: The fox?

1900
01:40:21,120 --> 01:40:24,840
Speaker 3: And she's like in those big clown pants, trying to

1901
01:40:24,880 --> 01:40:27,080
Speaker 3: get dressed in the clown ants with the suspender so

1902
01:40:27,120 --> 01:40:30,840
Speaker 3: he doesn't look at her fucking crotch. She's like, Hey,

1903
01:40:30,960 --> 01:40:34,000
Speaker 3: I've just spent three years being like raped and abused,

1904
01:40:34,120 --> 01:40:36,640
Speaker 3: and like maybe I don't want you looking at me

1905
01:40:38,280 --> 01:40:40,320
Speaker 3: right now or ever. I don't know. I haven't figured

1906
01:40:40,360 --> 01:40:40,840
Speaker 3: it out yet.

1907
01:40:41,160 --> 01:40:41,880
Speaker 2: And that comes to.

1908
01:40:42,160 --> 01:40:44,400
Speaker 3: Fucking light later when they get home and they're making

1909
01:40:44,439 --> 01:40:46,080
Speaker 3: out and she's like, stops off, stops up, stop, and

1910
01:40:46,160 --> 01:40:47,160
Speaker 3: she freaks the fuck out.

1911
01:40:47,520 --> 01:40:50,040
Speaker 2: Yeah, and he's like, what did he do to you?

1912
01:40:50,200 --> 01:40:51,920
Speaker 3: And I'm like, if you know enough to ask that

1913
01:40:52,040 --> 01:40:54,679
Speaker 3: fucking question back the fuck off.

1914
01:40:55,360 --> 01:40:58,640
Speaker 1: Yeah, the past week should have never happened if you

1915
01:40:58,920 --> 01:41:02,040
Speaker 1: were really respectful of like this lady and what she's

1916
01:41:02,120 --> 01:41:05,800
Speaker 1: been through. You're just trying to force her to make

1917
01:41:05,880 --> 01:41:10,240
Speaker 1: you apple pie and get her in some fucking geppetto

1918
01:41:10,360 --> 01:41:11,280
Speaker 1: outfit or whatever.

1919
01:41:11,400 --> 01:41:14,320
Speaker 2: I don't know. It's just so like this whole thing

1920
01:41:14,479 --> 01:41:19,240
Speaker 2: is so like this the Ben character gotta say, can't

1921
01:41:19,360 --> 01:41:23,000
Speaker 2: stand them, like just in so many ways, like he's

1922
01:41:23,040 --> 01:41:26,120
Speaker 2: got that wolfman hair, that whole vibe. I'm just not

1923
01:41:26,240 --> 01:41:26,680
Speaker 2: feeling it.

1924
01:41:26,840 --> 01:41:29,599
Speaker 1: I feel like, you know, I understand why they did

1925
01:41:29,680 --> 01:41:31,680
Speaker 1: it in the context of the film, but at the

1926
01:41:31,720 --> 01:41:35,439
Speaker 1: same time, I'm like, nah, Okay, it would be great

1927
01:41:35,479 --> 01:41:38,559
Speaker 1: if she never talked to him after that first night.

1928
01:41:39,080 --> 01:41:40,200
Speaker 3: I would be fine.

1929
01:41:40,360 --> 01:41:40,559
Speaker 2: Yeah.

1930
01:41:40,640 --> 01:41:44,120
Speaker 3: If the whole movie was them just being passing acquaintances

1931
01:41:44,200 --> 01:41:46,960
Speaker 3: for a year, I would have been totally legit with that.

1932
01:41:47,840 --> 01:41:51,040
Speaker 3: It's the difference to me between like a New York

1933
01:41:51,080 --> 01:41:55,920
Speaker 3: and LA, where Martin is the upfront creep New York

1934
01:41:56,080 --> 01:41:58,720
Speaker 3: give it to you straight, like, yeah, he'll tell you

1935
01:41:58,760 --> 01:42:01,880
Speaker 3: where to go, he'll give you directions, but he'll add

1936
01:42:01,880 --> 01:42:05,360
Speaker 3: a couple of fucking curse words like he's New York.

1937
01:42:05,800 --> 01:42:08,360
Speaker 3: Ben is LA, where he's like, no, it's cool, it's fine.

1938
01:42:08,400 --> 01:42:11,000
Speaker 3: I'm just gonna fucking watch you from behind the goddamn

1939
01:42:11,080 --> 01:42:13,639
Speaker 3: scenes and get all in your space, in your fucking

1940
01:42:13,760 --> 01:42:16,439
Speaker 3: life and try to pretend to be the cool, nice

1941
01:42:16,479 --> 01:42:17,880
Speaker 3: guy the whole goddamn time.

1942
01:42:18,800 --> 01:42:22,439
Speaker 1: Yes, that, dude, that's exactly what I always think. I've

1943
01:42:22,439 --> 01:42:25,519
Speaker 1: seen this movie many times, but it's that I always

1944
01:42:26,240 --> 01:42:30,400
Speaker 1: forget almost that Ben is actually supposed to be the

1945
01:42:30,520 --> 01:42:34,120
Speaker 1: good guy. Yeah right, because you're like, what is this

1946
01:42:34,200 --> 01:42:35,000
Speaker 1: guy's agenda?

1947
01:42:35,560 --> 01:42:36,439
Speaker 2: What is he doing?

1948
01:42:36,640 --> 01:42:39,800
Speaker 1: He seems creepy at all times. Is he gonna try

1949
01:42:40,240 --> 01:42:41,639
Speaker 1: to murder this woman too?

1950
01:42:41,880 --> 01:42:42,759
Speaker 2: Like? What the fuck?

1951
01:42:44,000 --> 01:42:46,880
Speaker 3: The vi? Yeah, that's the vibe. And then Martin comes

1952
01:42:46,960 --> 01:42:49,320
Speaker 3: back on the goddamn scene, sees them at the fucking

1953
01:42:49,400 --> 01:42:53,519
Speaker 3: local carnival and he's just creepy, peep in from behind

1954
01:42:53,560 --> 01:42:56,479
Speaker 3: a fucking cotton candy machine and watching them kiss on

1955
01:42:56,560 --> 01:43:00,240
Speaker 3: a goddamn roller like a fucking ferris wheel, and using

1956
01:43:00,360 --> 01:43:04,240
Speaker 3: is goddamn mind. Here's how good a creepy after Patrick

1957
01:43:04,280 --> 01:43:06,920
Speaker 3: Bergan is, he says nothing. He just stands in one

1958
01:43:07,040 --> 01:43:10,000
Speaker 3: place and stares, and You're like, I can see the

1959
01:43:10,080 --> 01:43:13,760
Speaker 3: fucking anger rising in this dude's face. Like it is

1960
01:43:14,080 --> 01:43:18,000
Speaker 3: too he's too good at being creepy, and so he's

1961
01:43:18,080 --> 01:43:21,120
Speaker 3: freaking out. I kind of feel like, you know, maybe

1962
01:43:21,160 --> 01:43:22,560
Speaker 3: I can spoil the end of this movie, but I

1963
01:43:22,600 --> 01:43:25,200
Speaker 3: don't want to the end of the movie. I will

1964
01:43:25,320 --> 01:43:30,280
Speaker 3: say the only the only moment where I think, baby girl,

1965
01:43:30,320 --> 01:43:32,840
Speaker 3: what is you doing? As it relates to Laura, is

1966
01:43:32,880 --> 01:43:36,400
Speaker 3: when they come back from this fucking carnival. She says

1967
01:43:36,479 --> 01:43:39,920
Speaker 3: to Ben, I'll be I'll be back over in twenty minutes.

1968
01:43:40,040 --> 01:43:42,200
Speaker 3: Just give me, you know, give me twenty minutes and

1969
01:43:42,320 --> 01:43:44,160
Speaker 3: I'll be back. And in my mind, I'm like, she's

1970
01:43:44,200 --> 01:43:46,680
Speaker 3: going to take a shit, Like she doesn't want to

1971
01:43:46,720 --> 01:43:49,120
Speaker 3: take a shit next, like in his house, so she's

1972
01:43:49,160 --> 01:43:51,640
Speaker 3: gonna go take a shit in piece. She gets in

1973
01:43:51,720 --> 01:43:55,759
Speaker 3: the fucking tub, and I'm like, what are you doing?

1974
01:43:56,360 --> 01:43:58,040
Speaker 2: Who takes a ten minute bath?

1975
01:43:59,280 --> 01:44:02,040
Speaker 3: Who got ten minutes to fill up the fucking tub,

1976
01:44:02,439 --> 01:44:04,880
Speaker 3: right right. That is my only what is you doing

1977
01:44:04,920 --> 01:44:07,280
Speaker 3: in regards to Laura? Otherwise, girl, get out of that

1978
01:44:07,320 --> 01:44:09,040
Speaker 3: fucking marriage. Do whatever you gotta do. I support you,

1979
01:44:09,360 --> 01:44:11,240
Speaker 3: but do not say your way back in twenty minutes

1980
01:44:11,240 --> 01:44:12,559
Speaker 3: and then hop in a fucking tub.

1981
01:44:13,280 --> 01:44:15,280
Speaker 1: Yeah, it doesn't feel like I mean in that In

1982
01:44:15,360 --> 01:44:17,479
Speaker 1: that instance, you just want to do like a quickie rinse.

1983
01:44:17,560 --> 01:44:20,080
Speaker 1: You just want to get the picks and the crotch,

1984
01:44:20,400 --> 01:44:25,240
Speaker 1: and you're not doing a full on bath right spectacles, testicles.

1985
01:44:24,800 --> 01:44:26,840
Speaker 3: While at watch, like, do the whole fucking cross.

1986
01:44:29,439 --> 01:44:29,800
Speaker 2: That's it.

1987
01:44:30,479 --> 01:44:32,479
Speaker 3: Get the fuck out of there, Put in your fucking

1988
01:44:32,560 --> 01:44:34,320
Speaker 3: Dutch cap or whatever the hell they were using in

1989
01:44:34,400 --> 01:44:35,480
Speaker 3: the nineties.

1990
01:44:35,200 --> 01:44:37,439
Speaker 2: For fucking birth control.

1991
01:44:38,360 --> 01:44:44,640
Speaker 4: A duch, go back over there. You're gonna go back

1992
01:44:44,680 --> 01:44:47,520
Speaker 4: over there with wet hair, fucking.

1993
01:44:48,680 --> 01:44:49,320
Speaker 2: Touch cap.

1994
01:44:55,520 --> 01:44:56,160
Speaker 3: You know what I mean.

1995
01:44:56,720 --> 01:44:57,840
Speaker 2: This is not bathtime.

1996
01:44:57,960 --> 01:45:00,800
Speaker 3: This is like free sex time, just like cover the

1997
01:45:00,920 --> 01:45:04,280
Speaker 3: areas you need to cover if you're that worried about it.

1998
01:45:05,040 --> 01:45:08,040
Speaker 2: Well, And the craziest part is that that ends up

1999
01:45:08,160 --> 01:45:12,120
Speaker 2: being not like because he just comes over like he said,

2000
01:45:12,240 --> 01:45:13,280
Speaker 2: what took you so long?

2001
01:45:14,240 --> 01:45:17,000
Speaker 3: Because he has no goddamn sense of boundaries, you know,

2002
01:45:17,120 --> 01:45:18,679
Speaker 3: Ben's just gonna show up anyway.

2003
01:45:21,320 --> 01:45:23,080
Speaker 2: She's like, I'm in the middle of putting in my

2004
01:45:23,160 --> 01:45:25,120
Speaker 2: fucking Dutch cap and he's like, I'll watch.

2005
01:45:26,720 --> 01:45:28,800
Speaker 3: I'll sit on the toilet and watch you. Like, let's

2006
01:45:28,840 --> 01:45:33,120
Speaker 3: do it together. You're like, Ben, get a fucking grip.

2007
01:45:33,520 --> 01:45:36,519
Speaker 3: Give the woman a minute to fart in peace. She's

2008
01:45:36,560 --> 01:45:40,960
Speaker 3: been holding it in all night. She used to go home,

2009
01:45:41,040 --> 01:45:43,720
Speaker 3: blow herself around the room, get ready for sex, and

2010
01:45:43,800 --> 01:45:46,759
Speaker 3: then maybe come back. Give her a fucking minute.

2011
01:45:47,040 --> 01:45:47,960
Speaker 2: But I so I won't.

2012
01:45:48,160 --> 01:45:50,320
Speaker 3: I will let ruin the very end, except to say

2013
01:45:51,120 --> 01:45:55,280
Speaker 3: Martin does come back into her life, and her last

2014
01:45:55,360 --> 01:45:58,559
Speaker 3: line in this movie is still one of the coolest

2015
01:45:58,600 --> 01:46:02,640
Speaker 3: fucking lines I've ever heard. Yes, it took me by

2016
01:46:02,720 --> 01:46:05,799
Speaker 3: surprise the first time I saw it. I fucking hooped

2017
01:46:05,800 --> 01:46:07,280
Speaker 3: and hollered in the goddamn theater.

2018
01:46:07,560 --> 01:46:13,240
Speaker 2: M hmm. Everyone was like, what freaked me the fuck

2019
01:46:13,320 --> 01:46:13,720
Speaker 2: out then?

2020
01:46:13,920 --> 01:46:15,720
Speaker 3: And it makes me happy to hear it now.

2021
01:46:16,280 --> 01:46:18,960
Speaker 2: But Ben and Martin, baby girl, what is you doing?

2022
01:46:19,760 --> 01:46:22,120
Speaker 3: Martin big for being an abusive, fucking prick and Ben

2023
01:46:22,200 --> 01:46:24,360
Speaker 3: for not being able to read a goddamn signal or

2024
01:46:24,560 --> 01:46:25,160
Speaker 3: room ever.

2025
01:46:27,160 --> 01:46:31,240
Speaker 1: Oh my god, I loved that you picked this film

2026
01:46:31,840 --> 01:46:35,960
Speaker 1: this Like I saw this film, I think, you know,

2027
01:46:36,320 --> 01:46:39,479
Speaker 1: not too long after it came out, and I thought

2028
01:46:39,520 --> 01:46:42,439
Speaker 1: it was like a hitchcocky and thriller, Like I thought

2029
01:46:42,439 --> 01:46:47,080
Speaker 1: it was scary. And then at some point I watched

2030
01:46:47,080 --> 01:46:48,840
Speaker 1: it as a as a in you know, like I

2031
01:46:48,880 --> 01:46:51,200
Speaker 1: don't know, thirty one of my thirties, and I was like,

2032
01:46:51,320 --> 01:46:55,360
Speaker 1: this movie is weird and like kind of campy, like

2033
01:46:55,439 --> 01:46:58,599
Speaker 1: that whole sequence, and then was kind of a guilty

2034
01:46:58,680 --> 01:47:02,080
Speaker 1: pleasure film for me, even I don't really have guilty pleasures.

2035
01:47:01,720 --> 01:47:02,920
Speaker 2: But you know what I mean. It was kind of

2036
01:47:03,000 --> 01:47:08,080
Speaker 2: like yeah, yeah, yeah. But also like it, I was like,

2037
01:47:08,120 --> 01:47:10,040
Speaker 2: oh my god, here's Julia robertson her.

2038
01:47:10,040 --> 01:47:15,040
Speaker 1: High era and she's you know, bopping around to this

2039
01:47:15,600 --> 01:47:18,240
Speaker 1: stupid fucking like hits of Motown.

2040
01:47:18,600 --> 01:47:20,960
Speaker 2: There's that other song that plays right after work.

2041
01:47:21,120 --> 01:47:25,040
Speaker 3: Oh my god. They're dancing together and if the Brown

2042
01:47:25,080 --> 01:47:28,240
Speaker 3: Eyed Girl comes on, they have the fucking nerve. Ben

2043
01:47:28,320 --> 01:47:31,840
Speaker 3: has the fucking nerve to start twirling her around the room,

2044
01:47:32,160 --> 01:47:35,360
Speaker 3: to run around Sue, which is the most slut shaming

2045
01:47:35,720 --> 01:47:39,559
Speaker 3: Hall of Fame song of all fucking time, and he's

2046
01:47:39,600 --> 01:47:42,639
Speaker 3: trying to turn it into a romantic endeavor. The whole

2047
01:47:42,680 --> 01:47:45,080
Speaker 3: point of run Around Sue is she's kissed the other

2048
01:47:45,200 --> 01:47:47,240
Speaker 3: guys like fuck her.

2049
01:47:48,400 --> 01:47:51,960
Speaker 1: Yeah, Like, okay, I thought it was a botown song,

2050
01:47:52,000 --> 01:47:54,439
Speaker 1: but you're absolutely right, it's run around Sue. The weirdest

2051
01:47:54,520 --> 01:47:57,920
Speaker 1: song to slow dance too with someone who's trying to

2052
01:47:58,000 --> 01:48:02,480
Speaker 1: woo I'm like, who the fuck does like a romantic

2053
01:48:03,080 --> 01:48:04,040
Speaker 1: dance to run.

2054
01:48:03,960 --> 01:48:05,839
Speaker 2: Around Sue an infill?

2055
01:48:08,280 --> 01:48:10,960
Speaker 3: Truly, truly, if he's trying to whine and dine you

2056
01:48:11,080 --> 01:48:13,479
Speaker 3: to run around Sue, call the fucking FBI.

2057
01:48:13,960 --> 01:48:16,439
Speaker 1: Yes, I mean that this is what made the movie

2058
01:48:16,520 --> 01:48:19,200
Speaker 1: like really over the top for me. For that, you know,

2059
01:48:19,720 --> 01:48:21,599
Speaker 1: this is what made the movie really over the top

2060
01:48:21,640 --> 01:48:23,840
Speaker 1: for me. It's just that whole sequence which is just

2061
01:48:23,920 --> 01:48:27,719
Speaker 1: so odd. But you know, I now I just straight

2062
01:48:27,800 --> 01:48:30,320
Speaker 1: up love it. I straight up love this movie because

2063
01:48:30,360 --> 01:48:33,560
Speaker 1: it like it's just so many things now to me,

2064
01:48:33,800 --> 01:48:38,560
Speaker 1: Like again, Julia Roberts post Pretty Woman, you know, America's

2065
01:48:38,560 --> 01:48:43,840
Speaker 1: sweetheart in a fucking slip dress, Like you're just like, yes,

2066
01:48:44,080 --> 01:48:46,519
Speaker 1: this is this is her movie. But then just like

2067
01:48:46,640 --> 01:48:49,759
Speaker 1: oh yeah again all the creeps and it's like weird

2068
01:48:50,080 --> 01:48:53,759
Speaker 1: and creepy and you know, but I I'm so together

2069
01:48:53,880 --> 01:48:57,479
Speaker 1: these two movies this week are really they just really

2070
01:48:57,600 --> 01:48:59,559
Speaker 1: hit me in the heart feels.

2071
01:48:59,600 --> 01:49:02,519
Speaker 3: I'm just like I watched him as a double feature

2072
01:49:02,560 --> 01:49:04,639
Speaker 3: and I was like, yes, women can do no wrong

2073
01:49:04,720 --> 01:49:05,760
Speaker 3: in my book right now.

2074
01:49:07,680 --> 01:49:14,479
Speaker 1: Also, Joseph Rubin, director of The Stepfather, also directed with the.

2075
01:49:14,560 --> 01:49:17,000
Speaker 2: Enemy, so that's probably why it was so weird.

2076
01:49:17,880 --> 01:49:20,800
Speaker 3: And Ron Bess wrote a lot of movies that you're

2077
01:49:20,800 --> 01:49:25,160
Speaker 3: probably familiar with, like like he he wrote Joy, Luck

2078
01:49:25,200 --> 01:49:27,639
Speaker 3: Club and When a Man Loves a Woman and Waiting

2079
01:49:27,720 --> 01:49:31,000
Speaker 3: to Exhale, and like he he has a lot of

2080
01:49:31,040 --> 01:49:34,559
Speaker 3: screenplay credits for movies that are about like scorned women.

2081
01:49:34,920 --> 01:49:35,120
Speaker 2: Yeah.

2082
01:49:35,720 --> 01:49:38,679
Speaker 3: Yeah, so he's like kind of found his house. Stella

2083
01:49:38,720 --> 01:49:41,640
Speaker 3: got our groove back, like he found his wheelhouse.

2084
01:49:41,960 --> 01:49:45,599
Speaker 2: Yes, well, listen, I love when we have to come

2085
01:49:45,640 --> 01:49:47,439
Speaker 2: back to the theme of Baby Girl, What Are You Doing?

2086
01:49:47,520 --> 01:49:48,360
Speaker 2: It is always a joy.

2087
01:49:48,880 --> 01:49:51,120
Speaker 3: I know. I said that it was about women who

2088
01:49:51,240 --> 01:49:54,120
Speaker 3: make you kind of question things, but I'm glad I

2089
01:49:54,200 --> 01:49:57,000
Speaker 3: turned it on its head this time. Yeah, and made

2090
01:49:57,040 --> 01:49:59,960
Speaker 3: it about these fucking creepy men in this goddamn movie.

2091
01:50:00,280 --> 01:50:01,360
Speaker 3: Baby Girl, what is you doing?

2092
01:50:01,600 --> 01:50:06,560
Speaker 1: Absolutely absolutely well, listen, if you guys have anything you

2093
01:50:06,640 --> 01:50:08,519
Speaker 1: want to talk about with us, or you just want

2094
01:50:08,560 --> 01:50:09,040
Speaker 1: to email us.

2095
01:50:09,080 --> 01:50:11,200
Speaker 2: It's I Saw What You Did Pod at gmail dot com.

2096
01:50:12,439 --> 01:50:14,200
Speaker 3: You can also find us on our socials at I

2097
01:50:14,280 --> 01:50:17,720
Speaker 3: Saw Pod on Instagram and Twitter, and please tell your

2098
01:50:17,760 --> 01:50:20,400
Speaker 3: friends to follow us by all means, leave us a

2099
01:50:20,439 --> 01:50:23,679
Speaker 3: five star review. We've given you a couple of different

2100
01:50:23,720 --> 01:50:25,639
Speaker 3: things you can say if you don't know what to say.

2101
01:50:26,120 --> 01:50:27,920
Speaker 3: The important thing is you leave those stars. You can

2102
01:50:27,960 --> 01:50:30,280
Speaker 3: say whatever you want, but leave those stars.

2103
01:50:30,560 --> 01:50:31,519
Speaker 2: That's right. And listen.

2104
01:50:31,840 --> 01:50:33,959
Speaker 1: We have to announce the films for the next episode.

2105
01:50:34,520 --> 01:50:40,120
Speaker 1: And I swear to God, Ah, I am already laughing.

2106
01:50:43,439 --> 01:50:48,519
Speaker 3: God, you are never gonna guess this theme, but it

2107
01:50:48,640 --> 01:50:51,560
Speaker 3: is my favorite theme that we have ever come up with.

2108
01:50:53,720 --> 01:50:56,880
Speaker 1: We cannot stop laughing at the name of this theme.

2109
01:50:57,120 --> 01:50:59,160
Speaker 1: I just can't and I can't wait to reveal it

2110
01:50:59,280 --> 01:51:01,880
Speaker 1: the next episode. But for right now, you're just gonna

2111
01:51:01,920 --> 01:51:04,559
Speaker 1: have to know that the films for next week are

2112
01:51:05,520 --> 01:51:10,040
Speaker 1: nine to five from nineteen eighty and Johnny Guitar from

2113
01:51:10,160 --> 01:51:11,240
Speaker 1: nineteen fifty four.

2114
01:51:11,439 --> 01:51:19,200
Speaker 2: Oh good, I I can't even wait. I cannot wait.

2115
01:51:20,680 --> 01:51:24,400
Speaker 2: Oh my God. As always, Danielle, it is a fucking

2116
01:51:24,680 --> 01:51:28,360
Speaker 2: pleasure doing this podcast with you, A true pleasure, always, always,

2117
01:51:28,400 --> 01:51:31,679
Speaker 2: always the best Yes see you all next time. Thanks

2118
01:51:31,720 --> 01:51:32,240
Speaker 2: for listening.

2119
01:51:40,520 --> 01:51:43,240
Speaker 3: This has been an exactly right production, produced and mixed

2120
01:51:43,280 --> 01:51:46,360
Speaker 3: by Casey O'Brien. Our theme song is by Tom bry Fogel,

2121
01:51:46,680 --> 01:51:50,160
Speaker 3: artwork by Garrett Ross. Our executive producers are Georgia Hart,

2122
01:51:50,200 --> 01:51:52,920
Speaker 3: Start Caring, til Garef, and Daniel Kramer. You can follow

2123
01:51:53,000 --> 01:51:55,840
Speaker 3: us on Instagram and Twitter at I Saw pod, and

2124
01:51:56,000 --> 01:51:57,960
Speaker 3: you can email us at I Saw What You Did

2125
01:51:58,040 --> 01:51:59,000
Speaker 3: Pod at gmail