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Speaker 1: Hi, my name is Milli to Jericho and welcome to

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Speaker 1: Deer Movies. I love you.

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Speaker 2: Whoa Millie? What a stunt?

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Speaker 1: Dag my leg my leg my leg?

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Speaker 2: Oh my god, Millian, I didn't know a human body

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Speaker 2: could contort that way.

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Speaker 1: Yo, dude, my leg?

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Speaker 2: I dude, why did you tell me to get on

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Speaker 2: this missile that we launched into a lake? Oh? I

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Speaker 2: thought it'd be sick. I thought it'd be sick and

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Speaker 2: it was.

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Speaker 1: Yo. Yeah, I can't believe you got me to do

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Speaker 1: all these crazy things. There was also an alligator that

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Speaker 1: was on the missile with me, which I thought was

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Speaker 1: you know, a little a little crazy. And then you know,

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Speaker 1: I don't know, They're like everybody was naked. Everybody was

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Speaker 1: standing around was just naked.

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Speaker 2: There's a jar of alligator seamen on top of the rocket.

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Speaker 2: Is that really necessary?

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Speaker 3: Ye?

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Speaker 1: Well, my leg is completely separate.

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Speaker 2: Well, I hope you can keep doing the podcast today

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Speaker 2: because we've got a huge one.

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Speaker 1: Really huge one. If you couldn't tell we're actually going

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Speaker 1: to talk about this. Has this the first time we

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Speaker 1: talked about a sequel and not the original movie?

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Speaker 2: Oh that's a good question. Yeah, I guess that's true.

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Speaker 2: It is a sequel. Yeah, and you do need to

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Speaker 2: have seen the first one for the second one to

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Speaker 2: make sense, right.

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Speaker 1: I feel like everybody has probably seen the first one

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Speaker 1: at least, But we're going to talk about Jackass number

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Speaker 1: two that came out in two thousand and six. There's

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Speaker 1: a reason why we're talking about the second one, which

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Speaker 1: will be clear in just a few moments.

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Speaker 2: But I don't even know if I know the reason.

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Speaker 1: Uh, you don't have to.

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Speaker 2: As long as one of us is as Yeah, as

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Speaker 2: long as we I have known what's going on, we're okay.

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Speaker 2: And that's great, very exciting. And then we are also

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Speaker 2: going to be talking to the wonderful Caden Mark Gardner

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Speaker 2: on our segment, my area of expertise, and we're going

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Speaker 2: to be talking about fifties diner aesthetic. A really awesome

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Speaker 2: conversation with Caden. Would you say Cayden is a film writer,

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Speaker 2: a writer about film.

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Speaker 1: Yeah, I would say Cayden and I run in the

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Speaker 1: same streets. It's like we're all out here doing a

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Speaker 1: little bit of programming, a little bit of writing, a

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Speaker 1: little bit historian stuff.

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Speaker 2: He's just a wealth, truly a wealth of knowledge. And

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Speaker 2: we talk about fifties diner aesthetic and we get into it.

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Speaker 2: That's fun, that's right, So please stay tuned. It's going

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Speaker 2: to be a wild and wonderful episode.

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Speaker 1: And in the meantime, I have to try to put

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Speaker 1: my leg back on somehow. I think I'm just going

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Speaker 1: to pull this duct tape. Anyway, I'll figure.

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Speaker 2: It out, and just imagine the first guitar riffs of

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Speaker 2: minute Men's Corona is playing. Imagine that in your head, audience,

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Speaker 2: because we can't play.

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Speaker 1: It, but we can play this song because you're listening

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Speaker 1: to Deer Movies. I Love You, Dear, I Love you,

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Speaker 1: and I've got to.

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Speaker 2: Love me too. Check the box.

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Speaker 1: All right, Hey, y'all, welcome to another episode of Deer Movies,

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Speaker 1: I Love You. This is the podcast for those who

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Speaker 1: are in a relationship with movies. My name is Millie

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Speaker 1: to Jericho, and.

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Speaker 2: I'm Casey O'Brien.

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Speaker 1: And Casey, what did you just tell me during the

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Speaker 1: Dark Day?

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Speaker 2: I said, you know, in the brief moment between the

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Speaker 2: intro and this part of the podcast, I said, when

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Speaker 2: I was taking guitar lessons, one of the first things

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Speaker 2: I learned was minute Men's Corona, which is the theme

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Speaker 2: song for Jackass because minute Men. I loved them and

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Speaker 2: I was really obsessed with them, and they're a great band.

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Speaker 1: That's so funny. What I the first time I ever learned, Like,

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Speaker 1: I picked up a guitar and my neighbor taught me

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Speaker 1: how to play guitar. I learned the opening to Come

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Speaker 1: As You Are by Nirvana.

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Speaker 2: Bom boom boom, boom boom. Yeah, that's a good one.

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Speaker 2: That's tough.

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Speaker 1: That's the only one I know, the only thing I

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Speaker 1: know how to play. And I just played over and

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Speaker 1: over and over again. But I wish I would have

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Speaker 1: learned the miniments.

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Speaker 2: That had been fun. Yeah, it's complicated. D Boone was

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Speaker 2: an excellent guitarist. Rip uh if you ever want to

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Speaker 2: learn us easy song and guitar. All of Neutro Milk

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Speaker 2: Hotel songs are really easy. I love them though, you

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Speaker 2: know what's saying. Uh. Anyways, huge episode, like you said

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Speaker 2: at the top, but really I have two questions quickly,

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Speaker 2: quick questions here.

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Speaker 3: Okay.

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Speaker 2: Number one, did you hear that still in Scars Guard

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Speaker 2: called Ingmar Bergman a Nazi? Have you heard that before?

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Speaker 1: No?

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Speaker 2: He said Ingmar Bergmann was a Nazi during World War Two?

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Speaker 2: And he's the only person he knows that cried when

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Speaker 2: Hitler died. What And I'd never heard this before. I

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Speaker 2: was just curious if you had ever heard any rumors

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Speaker 2: that Ingmar Bergmann was like a Nazi sympathizer.

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Speaker 1: How old is Stellam Scars Guard, by the way, was

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Speaker 1: he around to see that?

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Speaker 2: Here's the here's the thing, he said, he's he's seventy four,

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Speaker 2: so he was born after Hitler died. So I don't know.

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Speaker 2: I he did not see it. He didn't see him cry.

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Speaker 2: So I'm kind of like, maybe you heard it secondhand.

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Speaker 2: I don't know. I'm no, it's just a bummer because

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Speaker 2: I love Ingmar Bergmann. I have all of his movies

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Speaker 2: from the Criterion collection, literally all of them. I have

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Speaker 2: a huge set. And it's just hard for me to

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Speaker 2: someone who like is such a poet of human nature

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Speaker 2: to be a Nazi. That's just hard for me to reconcile.

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Speaker 2: I guess.

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Speaker 1: So anyways, well, one time, my grandfather, this is not

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Speaker 1: for nothing. Maybe we cut this. I don't know, we'll see.

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Speaker 1: Once my grandfather told me when I was like a teenager,

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Speaker 1: that he actually appreciated living under fascism in Italy because

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Speaker 1: he felt like things were run very efficiently.

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Speaker 2: The trains ran on time.

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Speaker 1: Yes, he basically said that he was like, actually, I

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Speaker 1: thought that fascism was for the most part of positive

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Speaker 1: because it felt like everything was just like working well.

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Speaker 2: And I was like, Wow, interesting, bold dog Grandpa. Wow,

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Speaker 2: I think I know.

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Speaker 1: That's what I'm saying. Maybe this is a thing where

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Speaker 1: it's like maybe he was like maybe he was like

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Speaker 1: on a Twilight Bender and he was like, hey, you

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Speaker 1: know what, I love Hitler or whatever. Scale Scar's guard

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Speaker 1: was just happened to be there. He like, what the fuck, dude?

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Speaker 2: Or I don't know.

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Speaker 1: I'm not gonna I'm not going to speculate.

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Speaker 2: But anyways, that was one question I had. And then

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Speaker 2: I have a I just wanted you to weigh in

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Speaker 2: on this. I did something I've never done before, and

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Speaker 2: I feel weird about it. Okay, went and saw a

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Speaker 2: movie at the movie theater. H bought popcorn. It was good.

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Speaker 2: You know how when the popcorn is like that yellowish

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Speaker 2: orange and it's just like really salty. It was good. Anyways,

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Speaker 2: it was a big bag and I only finished like

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Speaker 2: half of it, and so I brought it home and

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Speaker 2: I put it in a big ziploc bag and I

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Speaker 2: ate it for the next rest of the week. Is

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Speaker 2: that weird that I did that?

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Speaker 1: No? What the fuck? You paid like thirty dollars for that.

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Speaker 2: I did pay more for that than I did for

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Speaker 2: my movie ticket for my pop and popcorn was more

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Speaker 2: expensive than the movie ticket. Okay, I just wanted to

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Speaker 2: check in it. I really enjoyed it, and I loved

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Speaker 2: eating it throughout the week. I just felt like nine

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Speaker 2: years old, like pulling out like this giant ziploc bag

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Speaker 2: of popcorn throughout the leekue.

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Speaker 1: It seems way that. First of all, I'm glad that

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Speaker 1: you did that. Second of all, now that i'm now

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Speaker 1: that you said it, I'm curious. Have you ever gone

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Speaker 1: to a movie theater just to buy the popcorn, not

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Speaker 1: see a movie, and just walked walked?

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Speaker 2: No, but my grandma used to do that. Yeah, And

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Speaker 2: there's a movie theater in my neighborhood, not but two

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Speaker 2: blocks from my home where they say they have the

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Speaker 2: best popcorn in the city and people will apparently go

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Speaker 2: in and just buy some and leave. Yeah, I've done it,

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Speaker 2: and I'll go you one further. Perhaps I've done a

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Speaker 2: lot of hard research onto like what it is? Uh huh,

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Speaker 2: that's in the movie theater popcorn that makes it so delishus. Yeah,

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Speaker 2: do you want to know what it is? Or do

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Speaker 2: you I do?

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Speaker 1: Okay, of course, Well this is according to Reddit.

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Speaker 2: Okay, it's a.

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Speaker 1: Combination of a couple of things. Number One, this seasoning

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Speaker 1: salt called flavor.

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Speaker 2: Call okay, chemical flav.

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Speaker 1: A call it's the out. It looks like a carton

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Speaker 1: of milk, and it's got like a really cute like

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Speaker 1: nineteen fifties nineteen sixties design scheme. It looks like it

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Speaker 1: hasn't changed.

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Speaker 2: Since the fifties or sixties.

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Speaker 1: Which is one. You know, it was manufactured by a

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Speaker 1: company called gold Metal, which I'm assuming is maybe the

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Speaker 1: flower people from Cincinnati, Ohio. So that's the seasoning salt

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Speaker 1: that goes on the popcorn. Then I read that there's

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Speaker 1: this butter flavored oil.

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Speaker 2: Yeah, because I don't really actually want real butter.

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Speaker 1: Yeah it's not real butter. Good by the way, I've

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Speaker 1: had popcorn with real butter and it's cond of Marley.

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Speaker 1: I gotta tell you.

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Speaker 2: Oh, I feel like the art house cinemas are trying

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Speaker 2: to make their popcorn more healthy.

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Speaker 1: I feel like, no, I feel like it's not the

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Speaker 1: way to go. It tastes I think that this is

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Speaker 1: a It's like going to a gas station knowing you're

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Speaker 1: going to be snacking on something disgusting.

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Speaker 2: It's the whole part of the experience. You don't want

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Speaker 2: to go in there and find a bunch of fruit

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Speaker 2: and vegetables in there.

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Speaker 1: No, I don't need like a watcha smoothie at you know,

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Speaker 1: a racetrack. But so I went online, did a little

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Speaker 1: bit more research, and there's this gallon that you can

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Speaker 1: buy on Amazon called Snappy I think the name of

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Speaker 1: the company is Snappy, but it's called butter Burst, and

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Speaker 1: it's a literal gallon of oil. Like I guess it's

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Speaker 1: like a butter flavored oil. It's like sludge basically, like

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Speaker 1: you can get a gallon of popcorn sludge.

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Speaker 2: We should do shots on the podcast.

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Speaker 1: I should send you some. I've been like, because what

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Speaker 1: am I going to get through a gallon? I've been like,

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Speaker 1: you know, peeling people off some of the butter bursts.

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Speaker 1: I'm like, well, I'm not going to have this. Let

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Speaker 1: me let me give you a plate. As they say down,

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Speaker 1: what do they say in uh, Minnesota. If you go

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Speaker 1: to a cookout, you know, and somebody walks out to

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Speaker 1: you know, come get you, Come get.

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Speaker 2: A plate, het you a plate. Let me put together

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Speaker 2: a plate for you.

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Speaker 1: Get your plate.

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Speaker 2: Yeah that's what I mean. Get you a plate of

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Speaker 2: this butter burst and I'll send it up to you.

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Speaker 2: Very good.

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Speaker 1: Yeah.

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Speaker 2: Well, just wanted to check in with those two questions, Millie,

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Speaker 2: I have something.

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Speaker 1: Else, please a follow up real hot off the presses.

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Speaker 1: Did you hear that the paranormal investigator who was handling

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Speaker 1: the Annabelle doll died?

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Speaker 2: Yes? I did. I did see this. What is going on, Millie?

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Speaker 2: I'm freaking out here.

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Speaker 1: I am too, dude.

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Speaker 2: I'm just like, I feel like we shouldn't have even

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Speaker 2: talked about it on the podcast.

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Speaker 1: How about this is the first thing that I thought about.

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Speaker 1: I was like, we've invoked this now and now I'm worried.

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Speaker 1: That's something sad.

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Speaker 2: It's gonna happened up.

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Speaker 1: But here's the t Casey. In addition to doing shots

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Speaker 1: of butter bursts, should we also sage the podcast?

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Speaker 2: Yes, we should have my mom come on and do

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Speaker 2: a catholic blessing the podcast. She did that on our

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Speaker 2: house when we moved in, so she's no stranger to it.

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Speaker 2: Maybe she should come on and she can do this. Listen,

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Speaker 2: I'm fucking serious. No, I need to Okay, let's talk

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Speaker 2: to your mom. Okay, I'll get my mom. She's the

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Speaker 2: most Catholic person I know. She It's like it goes

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Speaker 2: like Pope and then her and we got to get

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Speaker 2: her on. Okay, this is good. There's been a lot

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Speaker 2: of news at the top, I know, jeez, but Millie,

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Speaker 2: we got to get to our film diary at the

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Speaker 2: movies we watched this past week. Open it up?

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Speaker 1: Man?

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Speaker 2: How much if Okay, so let's say you were staring

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Speaker 2: at the case that Annabel is in, My God, how

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Speaker 2: much money would it take for you to open it?

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Speaker 1: To open it? Yeah, got to be at least at

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Speaker 1: least ten gee's if not more, I would do five figs.

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Speaker 1: Bear mins.

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Speaker 2: I need to take care of my family.

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Speaker 1: Sure you know that our loved ones. Have you know

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Speaker 1: our beneficiary money? Because once you open that fucking gate,

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Speaker 1: that girl is going ham on you.

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Speaker 2: So spooky. There is a new one of the Conjuring

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Speaker 2: movies coming out soonish, I believe so well, what all

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Speaker 2: this Annabel tour was all about.

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Speaker 1: But see, now, is it going to be like some

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Speaker 1: crazy polter guy scenario like everything's cursed or like exorses

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Speaker 1: the Exorcist, everything's cursed?

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Speaker 2: I don't know. Oh scared? Okay, Millie, can you tell

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Speaker 2: us what you watched this week? Sure?

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Speaker 1: I watched quite a few things. Wow, So I'll just

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Speaker 1: be brief about things. I watched two serious documentaries and

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Speaker 1: then I watched basically films for teenage boys. Good, okay.

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Speaker 1: I saw two documentaries about classic film icons of our past.

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Speaker 1: I saw the two thousand and five Kevin Brownlow co

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Speaker 1: directed documentary about Greta Garbo entitled Garbel.

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Speaker 2: Okay, I've never been not familiar with this.

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Speaker 1: It was it was, you know, put together by my

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Speaker 1: old stomping grounds at TCM, but it was basically talking

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Speaker 1: about Garbo, you know, kind of famously decided to retire

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Speaker 1: in her was it late thirties, early forties, and then

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Speaker 1: she just was like, I'm going to live in New

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Speaker 1: York and be a normal person. And if you try

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Speaker 1: to say hi to me in an antique store, I

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Speaker 1: probably won't say high back. But who knows. Like she

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Speaker 1: just was like I'm going off the grid type. That's cool,

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Speaker 1: and then people were like obsessed with spotting her and

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Speaker 1: wanting to talk to her and things.

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Speaker 2: So I thought that was kind of cool, very cool.

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Speaker 1: I like, again, I'm really pulling for celebrities that are

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Speaker 1: cool by the way, to just disappear from public life

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Speaker 1: and just being on a person, Like if you're cool,

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Speaker 1: you don't need to be famous for the rest of

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Speaker 1: your life.

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Speaker 3: See.

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Speaker 2: That's why I was so disturbed by the death of

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Speaker 2: Gene Hackman, because I like that he did do that.

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Speaker 2: He like was like peace, go into the desert, audios everybody.

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Speaker 1: But they from all accounts, and trust me, I've read

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Speaker 1: about this a lot well because I am in constant

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Speaker 1: fear of things like this happening to me as a

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Speaker 1: single woman who lives alone. Right, Yes, they really pulled out,

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Speaker 1: like pulled out in a way that was like probably

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Speaker 1: not like they didn't. From what I gather, it didn't

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Speaker 1: seem like they were very social.

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Speaker 2: They went too far.

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Speaker 1: They went too far, they kind of stayed too inside.

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Speaker 1: I didn't didn't have their social network or anything, so

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Speaker 1: you know, I try not to. That's why I'm like

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Speaker 1: trying to be nice to people, because I'm like, don't

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Speaker 1: forget about me, because I will one day not be

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Speaker 1: able to walk out of this house.

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Speaker 2: And you've got you see a lot of mail piling

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Speaker 2: up in the mailbox, Come knock on my door. Yeah,

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Speaker 2: if you see my mummified remains, if.

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Speaker 1: You see that I have magazine subscriptions and newspapers subscriptions.

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Speaker 1: I don't need it, I need I don't need those.

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Speaker 1: Those will just pile up and fall on me. Just

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Speaker 1: cancel them. And then I saw I don't know if

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Speaker 1: you've heard about this, but you know Mariska Harkta.

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Speaker 2: I'm very familiar with miss Mariska Hargita because I produce

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Speaker 2: a podcast about a little show called lawn Order S

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Speaker 2: for you.

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Speaker 1: No, that's exactly why I said. I said it that way.

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Speaker 1: She made it to documentary about her mom, Jane Mansfield,

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Speaker 1: which is called My Mom Jane, came out this year.

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Speaker 2: Heartbreaking, heart, really sad, and the whole thing is just

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Speaker 2: so sad, so.

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Speaker 1: Sad, but also like a testament to like her and

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Speaker 1: her brothers and sisters and her husband and just sort

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Speaker 1: of like the people that like stayed in her life,

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Speaker 1: like her father's and everything. I don't know, I just

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Speaker 1: was like, man, I cried man, I cried during that

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Speaker 1: she's lovely, and also the pictures of her from like

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Speaker 1: the late eighties and early nineties. Damn, she was the

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Speaker 1: hottest woman. I'm talking about Marishka. I'm not talking like

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Speaker 1: Jane Mansfield. I mean, why wasn't she more famous?

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Speaker 3: Then?

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Speaker 2: It's interesting like lon order SVU is kind of her

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Speaker 2: big break, but not that she was old by any means.

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Speaker 2: But I think she was like in her thirties, you know,

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Speaker 2: you think she would have blew up earlier than that.

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Speaker 1: Sure, Yeah, she's like man, she was. She was a

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Speaker 1: smoke show. I'll tell you, if I look like her,

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Speaker 1: I wouldn't be doing this podcast. I wouldn't even be

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Speaker 1: on the Internet. Just throwing that out there. Okay, So

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Speaker 1: I watched those two documentaries. So then I watched a

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Speaker 1: couple of movies to prepare for this episode, which I

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Speaker 1: feel like I should just mention, but I'm not going

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Speaker 1: to go into it because we're going to talk about it.

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Speaker 3: Yeah.

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Speaker 1: I watched the first three Jackass movies obviously, but then

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Speaker 1: the end. To put a cap a feather in the

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Speaker 1: cap of my old film diary, this week, I decided

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Speaker 1: to rewatch Weird Science from nineteen eighty five.

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Speaker 2: A movie I've never seen.

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Speaker 1: Holy fucking shit. Now, I like I said, I don't

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Speaker 1: like to make people feel bad if for na see movies.

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Speaker 1: But I'm actually legit surprised you've never seen this.

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Speaker 2: I am too, because I'm like a John Hughes fan.

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Speaker 2: That's like my era. I don't know it was on

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Speaker 2: TV and I caught snippets of it. I gotta watch it.

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Speaker 1: Very very contentious at this point in our culture, which duh,

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Speaker 1: I get it. Yeah, every horny teenage boy movie from

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Speaker 1: the eighties is being dragged at this point. There's issues,

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Speaker 1: there's issues that movie particularly was I have seen that

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Speaker 1: movie so much in my life, wow a lot. I

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Speaker 1: can quote it in fact, because again I was in

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Speaker 1: John Hughes Freak too. I actually think the concept in

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Speaker 1: and of itself is so stupid, you know, but the

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Speaker 1: issues that arise, at least for me and I don't

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Speaker 1: like I don't think I have as many as others would,

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Speaker 1: although I do understand why they would have them, because

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Speaker 1: it is like gross teenage you know, masculinity, misogyny, homophobia, racism,

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Speaker 1: this kind of stuff. Right, It's just like very broad,

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Speaker 1: dumb eighties comedy strokes, let's get serious. Yeah, but there

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Speaker 1: is something to be said for a movie that is

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Speaker 1: basically like taking the idea of like what teenage boys

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Speaker 1: think they want, which is they want to be able

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Speaker 1: to like create a woman, which is what's happening right

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Speaker 1: now in like AI, it's happening by the way still

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Speaker 1: where guys are basically like, I'm fifteen and I want

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Speaker 1: to know what, you know, it would be like to

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Speaker 1: kiss a girl, So I'm going to like create some

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Speaker 1: computer simulation of it. That's exactly what they do. Yeah,

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Speaker 1: but it's completely improbable because it's like, you know, obviously

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Speaker 1: the science doesn't add up, size doesn't ad up. And

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Speaker 1: then like Lisa, who's played by Kelly LeBrock, who's like

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Speaker 1: impossibly hot, Like she's I was like sitting there watching

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Speaker 1: her this time, going, she's gotta be like the hot

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Speaker 1: woman I've ever seen. Uh And I say that as

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Speaker 1: a straight woman, and I have no I've no bone,

390
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Speaker 1: no bones about it. She is like probably the hottest

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Speaker 1: woman I've ever seen in that game. If you look

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Speaker 1: like her, no podcast no podcasts, I would know you.

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Speaker 1: It wouldn't even fucking talk to you, bro Sorry, But

394
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Speaker 1: like like she kind of is like a Mary Poppins

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Speaker 1: in the in the sense that she's like basically creating

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Speaker 1: alternate universes where things can happen. Yeah, there's something fun

397
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Speaker 1: about that. But sure there is a couple there are

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Speaker 1: a couple of scenes that are really hard to take

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Speaker 1: in twenty twenty five. But for the most part, I'm

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Speaker 1: still like sort of charmed by it. And I sure

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Speaker 1: maybe you feel a little guilty about that.

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Speaker 2: But you know, you have to look at things through, uh,

403
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Speaker 2: you know, a certain lens when we're looking at art

404
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Speaker 2: from the past, you know. And no one would have

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Speaker 2: fault you for enjoying a movie like that, but I would.

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Speaker 1: Of your take. By the way, you should watch it.

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Speaker 2: Nineteen eighty five's Weird Science. I gotta yeah, I gotta

408
00:22:08,040 --> 00:22:10,200
Speaker 2: check it out. You know, it's funny the t There's

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Speaker 2: a TV show, Weird Science that I would watch sometimes,

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Speaker 2: and I had five seasons.

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Speaker 1: Five seasons, my god.

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Speaker 2: They always advertised in the back of my comic books,

413
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Speaker 2: and I'd be like, Ooh, what's this horny show?

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Speaker 1: Was it like a USA?

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Speaker 2: Yeah? I think that's right, of course, my turn.

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Speaker 1: Yeah.

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Speaker 2: I watched one movie in addition to my homework. I

418
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Speaker 2: didn't talk about this last time today. Final Destination Bloodlines

419
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Speaker 2: no from this year, twenty twenty five, year of Our Lord?

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Speaker 3: How was it?

421
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Speaker 2: H This was incredible, incredible film. I think this is

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Speaker 2: maybe the best Final Destination. I thought it was done

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Speaker 2: so well. It's like very air tight, it's funny, it's

424
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Speaker 2: insanely violent, it's like so outrageous and it just flies by.

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Speaker 2: I thought it was incredible. Everyone should see this movie.

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Speaker 2: Take your children to this movie. It's so good.

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Speaker 1: How long is it?

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Speaker 2: It's an hour and fifty minutes, So that's a little long.

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Speaker 2: That's a little long for horror, but I know, but

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Speaker 2: it hugs along. And guess what Filipino representation get out

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Speaker 2: of here?

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Speaker 1: In what way?

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Speaker 2: Make characters Filipino get out? Who is it? Her name

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Speaker 2: is Caitlin Santa Juana. She's yeah, I mean she's Canadian,

435
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Speaker 2: but she's a Filipino descent.

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Speaker 1: Fantastic. You know when you're in a hurry to google

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Speaker 1: something and you just destroy the spelling of it. Huh

438
00:23:40,520 --> 00:23:44,320
Speaker 1: I put it it looks like a Russian word. Finally,

439
00:23:46,200 --> 00:23:49,080
Speaker 1: death Sta Matilo.

440
00:23:49,119 --> 00:23:52,399
Speaker 2: It's like, do you have any elderly relatives that you

441
00:23:52,440 --> 00:23:55,000
Speaker 2: get emails from and you're like, when did you stop

442
00:23:55,080 --> 00:23:56,919
Speaker 2: learning how to spell? Does that ever happen to you?

443
00:23:57,400 --> 00:23:59,879
Speaker 1: I'm putting it in the chat just because it looks

444
00:24:00,040 --> 00:24:04,119
Speaker 1: oh fucking stupid. It's like, I'm going to hurry to

445
00:24:04,160 --> 00:24:05,399
Speaker 1: find this out.

446
00:24:05,960 --> 00:24:07,000
Speaker 2: There's no time.

447
00:24:07,720 --> 00:24:07,840
Speaker 1: Uh.

448
00:24:08,000 --> 00:24:11,639
Speaker 2: Anyways, check this out. Incredible film. Oh yeah, incredible. It

449
00:24:11,720 --> 00:24:13,560
Speaker 2: was so fun fantastic.

450
00:24:13,600 --> 00:24:15,399
Speaker 1: You know, I had every intention of seeing it. Then

451
00:24:15,440 --> 00:24:17,720
Speaker 1: I sort of slept, honest.

452
00:24:17,480 --> 00:24:20,440
Speaker 2: Slept on it. I think it's on HBO Max now

453
00:24:20,720 --> 00:24:23,159
Speaker 2: with all of the Final Destination movies and I and

454
00:24:23,200 --> 00:24:26,840
Speaker 2: I admittedly haven't seen all of them. But it was good.

455
00:24:27,440 --> 00:24:32,440
Speaker 2: All right, Millie, moving on to a main discussion, Close

456
00:24:32,480 --> 00:24:51,600
Speaker 2: it up, Close it up? All right, welcome back. It

457
00:24:51,720 --> 00:24:53,639
Speaker 2: is time for a main discussion, and today we're talking

458
00:24:53,680 --> 00:24:57,679
Speaker 2: about I mean, I give this movie five stars on letterbox.

459
00:24:58,040 --> 00:25:01,040
Speaker 1: I think I did too. If it wasn't a or Actually,

460
00:25:01,080 --> 00:25:03,399
Speaker 1: I gotta tell you, I might have given it my

461
00:25:03,560 --> 00:25:05,719
Speaker 1: actual five stars, which is four and a half.

462
00:25:07,040 --> 00:25:09,639
Speaker 2: Does that makes sense, Yeah, that makes sense. That makes sense.

463
00:25:10,160 --> 00:25:12,959
Speaker 2: Jackass number two from two thousand and six. You know,

464
00:25:13,000 --> 00:25:18,120
Speaker 2: there's not really a synopsis to this, you know, it's

465
00:25:18,840 --> 00:25:22,000
Speaker 2: an extension of the Jackass TV show and the first movie.

466
00:25:22,160 --> 00:25:28,200
Speaker 2: There's a bunch of stunts, violent stunts and outrageous pranks.

467
00:25:29,000 --> 00:25:32,520
Speaker 2: And what would you describe what they're doing in these movies?

468
00:25:33,000 --> 00:25:35,800
Speaker 1: How would you describe, Well, this is something I wanted

469
00:25:35,840 --> 00:25:41,919
Speaker 1: to talk about. In fact, I feel like this is

470
00:25:42,359 --> 00:25:48,520
Speaker 1: a modern example of a mondo movie. Would you say, perhaps.

471
00:25:48,400 --> 00:25:53,520
Speaker 2: Yeah, okay, yeah, I would say so. I'm not totally

472
00:25:53,800 --> 00:25:58,320
Speaker 2: familiar with mondo movies. I know, like, what is it

473
00:25:58,400 --> 00:25:59,359
Speaker 2: Faces of Death?

474
00:25:59,600 --> 00:26:03,800
Speaker 1: Sure, yep, that's a good example. So that's a good

475
00:26:03,960 --> 00:26:11,080
Speaker 1: documentary documentary. Mondo Kane, which is pretty much where I

476
00:26:11,080 --> 00:26:14,920
Speaker 1: think the term comes from, which is a sixties Italian

477
00:26:14,920 --> 00:26:18,439
Speaker 1: movie that was kind of like so just a really

478
00:26:18,480 --> 00:26:22,320
Speaker 1: really really short brief history of a mando movie. First

479
00:26:22,359 --> 00:26:25,080
Speaker 1: of all, I feel like they the term mondo and

480
00:26:25,160 --> 00:26:28,040
Speaker 1: like the kind of genre has kind of fallen out

481
00:26:28,080 --> 00:26:31,080
Speaker 1: of fashion in that classic sense. There's kind of a

482
00:26:31,200 --> 00:26:37,400
Speaker 1: classic mondo period. There's actually probably two classic Mondo periods,

483
00:26:37,400 --> 00:26:41,199
Speaker 1: one in the sixties and one in the eighties. But

484
00:26:41,359 --> 00:26:45,360
Speaker 1: basically they were these attempts at making documentaries that were

485
00:26:45,400 --> 00:26:48,600
Speaker 1: supposed to kind of give you a peek into some

486
00:26:48,720 --> 00:26:53,399
Speaker 1: kind of world that's very like Lurid and taboo when salacious.

487
00:26:53,440 --> 00:26:56,879
Speaker 1: So it was like the original Mondo Kane and Kane

488
00:26:57,000 --> 00:27:01,800
Speaker 1: is spelled c E la Caine and it's basically Italian

489
00:27:01,880 --> 00:27:05,280
Speaker 1: for a dog's world or a dog's eye view of

490
00:27:05,280 --> 00:27:08,000
Speaker 1: the world or something like that. But it was essentially

491
00:27:08,119 --> 00:27:13,800
Speaker 1: like a collection of sequences of like, you know, just

492
00:27:13,920 --> 00:27:16,800
Speaker 1: weird things. And these are for people who didn't get

493
00:27:16,840 --> 00:27:21,919
Speaker 1: to travel the world and didn't see like indigenous cultures

494
00:27:22,040 --> 00:27:27,159
Speaker 1: and like you know, different outfits and different like religious

495
00:27:27,240 --> 00:27:28,879
Speaker 1: rights and stuff like that. So it was kind of

496
00:27:28,920 --> 00:27:32,920
Speaker 1: taking advantage of people who were like not well traveled

497
00:27:33,160 --> 00:27:39,359
Speaker 1: and not really you know, either couldn't be interested or

498
00:27:39,400 --> 00:27:43,560
Speaker 1: didn't have the means to be interested in the world, right, Yeah,

499
00:27:43,600 --> 00:27:46,119
Speaker 1: And it was meant to shock and titilate in awe.

500
00:27:46,119 --> 00:27:50,560
Speaker 1: That was the whole point. Over the years and the sixties,

501
00:27:50,600 --> 00:27:53,280
Speaker 1: they started getting a little bit more, I don't know,

502
00:27:53,400 --> 00:27:55,199
Speaker 1: they up the stakes a little bit. A lot of

503
00:27:55,200 --> 00:27:59,439
Speaker 1: them started being made in America, and it would focus

504
00:27:59,480 --> 00:28:02,480
Speaker 1: on place like Hollywood of course, or like New York City,

505
00:28:02,840 --> 00:28:06,040
Speaker 1: places where if you were living in like Minnesota and

506
00:28:06,080 --> 00:28:07,679
Speaker 1: you didn't go to New York, you'd be like.

507
00:28:07,680 --> 00:28:09,520
Speaker 2: Oh my God, New York so crazy. Look at all

508
00:28:09,520 --> 00:28:11,200
Speaker 2: these crazy things that happened there.

509
00:28:12,040 --> 00:28:13,880
Speaker 1: So it was kind of a peek into these like again,

510
00:28:13,960 --> 00:28:17,040
Speaker 1: these kind of like taboo salacious worlds. Then in the

511
00:28:17,080 --> 00:28:20,800
Speaker 1: eighties you get kind of a resurgence of them, probably

512
00:28:20,800 --> 00:28:23,520
Speaker 1: because of home video, but that's where you come in

513
00:28:23,560 --> 00:28:26,240
Speaker 1: with the faces of death and the traces of death

514
00:28:26,680 --> 00:28:33,480
Speaker 1: in the faces of gore and the whatever, these kind

515
00:28:33,560 --> 00:28:38,600
Speaker 1: of like fake death sequency things like, because that was

516
00:28:38,640 --> 00:28:40,560
Speaker 1: the other part of it too, was a lot of

517
00:28:40,600 --> 00:28:44,880
Speaker 1: times these Mando movies were being staged. They were not real,

518
00:28:45,280 --> 00:28:48,760
Speaker 1: I see, right, So it was like, as much as

519
00:28:48,800 --> 00:28:50,840
Speaker 1: it was kind of scary to be like, oh my god,

520
00:28:50,880 --> 00:28:52,880
Speaker 1: I feel like I'm watching a snuff movie or something,

521
00:28:52,880 --> 00:28:55,680
Speaker 1: you're like, no, these are like people recreating or faking

522
00:28:55,840 --> 00:28:56,800
Speaker 1: things like this, right.

523
00:28:57,920 --> 00:29:02,360
Speaker 2: But that's different than Jackass, I would say, because the

524
00:29:02,480 --> 00:29:07,720
Speaker 2: relationship the viewer has with the Jackass boys is very direct.

525
00:29:07,800 --> 00:29:12,320
Speaker 2: They're speaking to you, the audience member, yes, and it's

526
00:29:12,360 --> 00:29:13,000
Speaker 2: all real.

527
00:29:13,760 --> 00:29:17,640
Speaker 1: Yeah, I think that, Like, that's what is interesting, and

528
00:29:17,640 --> 00:29:21,120
Speaker 1: this is why I call it Monto in that way,

529
00:29:21,240 --> 00:29:26,840
Speaker 1: which is that basically they're they're making a documentary or

530
00:29:26,880 --> 00:29:33,320
Speaker 1: they're at least, you know, hobbling together scenes of realness,

531
00:29:33,640 --> 00:29:37,960
Speaker 1: right that is hard to watch is taboo if you

532
00:29:37,960 --> 00:29:40,040
Speaker 1: think about it, it will get We'll probably get to

533
00:29:40,040 --> 00:29:41,959
Speaker 1: that later with like the nudity and all this stuff.

534
00:29:42,720 --> 00:29:46,080
Speaker 1: But it's also like a peek into the world of

535
00:29:46,120 --> 00:29:50,760
Speaker 1: these kind of like skater guys essentially, and that's really

536
00:29:50,800 --> 00:29:53,440
Speaker 1: where I came in to the Jackass world was through

537
00:29:53,480 --> 00:29:55,600
Speaker 1: like skate videos. I don't know if that was your

538
00:29:56,960 --> 00:29:57,760
Speaker 1: way experience.

539
00:29:57,920 --> 00:30:01,360
Speaker 2: I had heard of Cky cam Kill Yourself, which was

540
00:30:01,480 --> 00:30:05,520
Speaker 2: like Bam Margera's crew in Philadelphia. Yeah, putting these like

541
00:30:05,720 --> 00:30:09,680
Speaker 2: they were like there was more like skate videos and

542
00:30:10,600 --> 00:30:13,880
Speaker 2: there was like stunt stuff. I can't even really remember them.

543
00:30:13,920 --> 00:30:16,120
Speaker 2: But there was also like music videos because I think

544
00:30:16,320 --> 00:30:19,239
Speaker 2: Jess BAM's brother was a musician and there was a

545
00:30:19,240 --> 00:30:23,440
Speaker 2: band Cky and everything. But I mean, how I discovered

546
00:30:23,560 --> 00:30:28,200
Speaker 2: Jackass was watching MTV at one in the morning when

547
00:30:28,200 --> 00:30:32,560
Speaker 2: I was thirteen years old. Yeah, you know, and it

548
00:30:32,760 --> 00:30:36,120
Speaker 2: really rocked my word. I was obsessed with the show

549
00:30:36,200 --> 00:30:39,360
Speaker 2: Jackass when it came out. It felt like something so

550
00:30:40,000 --> 00:30:43,640
Speaker 2: new and exciting and thrilling, and you would just watch

551
00:30:43,760 --> 00:30:48,440
Speaker 2: one after another because it was just sort of like NonStop.

552
00:30:48,560 --> 00:30:50,720
Speaker 2: You know, there's no narrative to these things. It's just

553
00:30:50,800 --> 00:30:53,959
Speaker 2: these crazy stunts or it's just kind of like funny

554
00:30:54,000 --> 00:30:57,440
Speaker 2: things they do. You know, it's a vibe. It's a

555
00:30:57,560 --> 00:31:00,720
Speaker 2: very specific vibe, and that's kind of.

556
00:31:00,920 --> 00:31:03,400
Speaker 1: How I think of it too, because I do think that,

557
00:31:03,520 --> 00:31:06,600
Speaker 1: Like I remember seeing one of the Ky videos, I

558
00:31:06,600 --> 00:31:09,400
Speaker 1: think it was called Ky two K, and it was

559
00:31:09,440 --> 00:31:13,360
Speaker 1: a lot of like, yeah, BAM's Crew with Brandon decamillios

560
00:31:13,400 --> 00:31:17,560
Speaker 1: on his name self, Yeah, Rob himself, Ryan Dunn, all

561
00:31:17,600 --> 00:31:20,840
Speaker 1: these folks, and it was like, yeah, a combination of

562
00:31:21,360 --> 00:31:25,800
Speaker 1: skate tricks then kind of like it almost seems like

563
00:31:25,880 --> 00:31:27,920
Speaker 1: b roll or behind the scenes footage of them just

564
00:31:27,920 --> 00:31:30,680
Speaker 1: like fucking around and like pulling pranks on each other,

565
00:31:31,160 --> 00:31:33,200
Speaker 1: and they were just kind of these comp videos of

566
00:31:33,280 --> 00:31:36,440
Speaker 1: like hanging out with skater dudes, which at the time

567
00:31:37,080 --> 00:31:39,880
Speaker 1: that was my main interest being in high school in

568
00:31:39,880 --> 00:31:41,239
Speaker 1: the nineties. I was like, yeah, I want to hang

569
00:31:41,240 --> 00:31:42,760
Speaker 1: out with guys like this. I think they were funny

570
00:31:42,760 --> 00:31:45,360
Speaker 1: and weird and that kind of stuff. So when Jackass,

571
00:31:45,400 --> 00:31:47,640
Speaker 1: when I did see Jackass on MTV, I thought, oh

572
00:31:47,640 --> 00:31:50,160
Speaker 1: my god, like these are basically these skate videos, except

573
00:31:50,200 --> 00:31:52,959
Speaker 1: now it's a TV show. Yeah, and they kind of

574
00:31:53,040 --> 00:31:56,800
Speaker 1: added you know, kind of the other like other crews

575
00:31:56,880 --> 00:31:59,240
Speaker 1: to it. So there was that original kind of Cky crew,

576
00:31:59,280 --> 00:32:01,200
Speaker 1: but then there was like the Steve O and Chris

577
00:32:01,240 --> 00:32:03,040
Speaker 1: Pawnee stuff, and then Johnny.

578
00:32:02,720 --> 00:32:05,840
Speaker 2: And I came from Yeah, it came from Big Brother

579
00:32:05,960 --> 00:32:11,280
Speaker 2: Skate Magazine, and Jeff Tremaine and Johnny Knoxville and Spike

580
00:32:11,400 --> 00:32:15,960
Speaker 2: Jones kind of all met up. And because Johnny Knoxville

581
00:32:16,040 --> 00:32:19,200
Speaker 2: was pitching around kind of a Hunters Hunter S Thompson

582
00:32:19,440 --> 00:32:23,640
Speaker 2: kind of style of a series of articles he wanted

583
00:32:23,680 --> 00:32:26,959
Speaker 2: to do where he like had weapons tested on him,

584
00:32:27,000 --> 00:32:29,200
Speaker 2: you know, like tasers and rubber bullets, and he even

585
00:32:29,240 --> 00:32:31,680
Speaker 2: got shot with a gun with like a bulletproof vestante.

586
00:32:31,880 --> 00:32:34,360
Speaker 2: And so he was kind of shopping that around and

587
00:32:34,400 --> 00:32:37,240
Speaker 2: he came in contact with Jeff Tremaine, who is that

588
00:32:37,360 --> 00:32:41,960
Speaker 2: Big Brother Skate magazine, and they sort of did that.

589
00:32:42,240 --> 00:32:45,600
Speaker 2: And then Steve O was in Florida like the circus performer,

590
00:32:45,640 --> 00:32:49,120
Speaker 2: and he was trying to submit stuff to Big Brother Magazine.

591
00:32:49,240 --> 00:32:50,920
Speaker 2: And then so there was like that crew and then

592
00:32:50,960 --> 00:32:53,960
Speaker 2: the Cky crew and they kind of came together to

593
00:32:54,080 --> 00:32:57,480
Speaker 2: do Jackass, like all together. It was kind of like

594
00:32:57,520 --> 00:33:00,400
Speaker 2: these two separate crews were kind of doing a similar thing,

595
00:33:00,920 --> 00:33:03,520
Speaker 2: So that was sort of the impotent the origin behind it.

596
00:33:03,880 --> 00:33:07,959
Speaker 1: Yeah, well, I and to be completely honest with you, like,

597
00:33:08,200 --> 00:33:10,520
Speaker 1: you know, despite the fact that I had already sort

598
00:33:10,560 --> 00:33:16,080
Speaker 1: of liked watching you know, like Edgelord's skate videos and

599
00:33:16,560 --> 00:33:19,360
Speaker 1: other people doing pranks, and I was a huge fan

600
00:33:19,400 --> 00:33:23,880
Speaker 1: of Mando movies. Like I said before, I do. I

601
00:33:24,000 --> 00:33:29,760
Speaker 1: do actually still to this day, believe this that there

602
00:33:29,800 --> 00:33:32,360
Speaker 1: was there was something that was happening with like the

603
00:33:32,480 --> 00:33:38,000
Speaker 1: Jackass Show and then the subsequent movies that I feel

604
00:33:38,000 --> 00:33:44,080
Speaker 1: like had this Maybe it was an unintended effect, which

605
00:33:44,120 --> 00:33:47,680
Speaker 1: is that it was like a way for people to

606
00:33:47,840 --> 00:33:50,560
Speaker 1: see male bonding in a way that I don't think

607
00:33:50,560 --> 00:33:51,800
Speaker 1: i'd ever seen before.

608
00:33:52,040 --> 00:33:58,520
Speaker 2: Necessarily, Yes, I think it is a revolutionary representation of

609
00:33:58,680 --> 00:34:07,400
Speaker 2: like vulnerable masculinity. Yeah, and like friendship, because there's a

610
00:34:07,400 --> 00:34:09,320
Speaker 2: lot of them where like they'll be like I'm scared.

611
00:34:09,400 --> 00:34:11,640
Speaker 2: Fuck this, I'm not doing this, Like they're they're really

612
00:34:11,680 --> 00:34:14,359
Speaker 2: scared and they're showing all that on the show. It's

613
00:34:14,400 --> 00:34:16,800
Speaker 2: not just the stunt. It's also like you know, in

614
00:34:16,880 --> 00:34:21,799
Speaker 2: Jackass Number two, Dave England watches these rubber bullets like

615
00:34:21,960 --> 00:34:25,000
Speaker 2: destroy a mannequin, and he and they're like, okay, you

616
00:34:25,000 --> 00:34:27,760
Speaker 2: guys are up next, and he's like, I'm like, I'm

617
00:34:27,800 --> 00:34:30,840
Speaker 2: having an anxiety attack. I'm not gonna I CA. I

618
00:34:30,880 --> 00:34:34,399
Speaker 2: can't do that. But also they do get hurt, and

619
00:34:34,440 --> 00:34:36,759
Speaker 2: then they they're like, I'm in pain, I'm hurt. You know,

620
00:34:36,800 --> 00:34:41,359
Speaker 2: they're not tough guys either, you know, and I don't know.

621
00:34:41,400 --> 00:34:43,960
Speaker 2: I just I feel like you don't see that. You

622
00:34:44,000 --> 00:34:47,319
Speaker 2: don't see that type of masculinity on screen. It's either

623
00:34:47,360 --> 00:34:51,600
Speaker 2: like tough guys who get hurt but like power through,

624
00:34:52,320 --> 00:34:57,359
Speaker 2: or it's like super weepy, sensitive poet guys, but never

625
00:34:57,480 --> 00:35:02,080
Speaker 2: this kind of in between dufis who is like, you know,

626
00:35:02,239 --> 00:35:05,440
Speaker 2: showing his emotions on screen as he's getting you know,

627
00:35:05,520 --> 00:35:07,840
Speaker 2: kicked in the nuts or whatever, right, And that's.

628
00:35:07,719 --> 00:35:10,160
Speaker 1: They think kind of what I what I always think

629
00:35:10,200 --> 00:35:16,080
Speaker 1: about when I think about like nineties skaters and sort

630
00:35:16,120 --> 00:35:18,880
Speaker 1: of the worlds that I traversed when I was in

631
00:35:18,960 --> 00:35:22,239
Speaker 1: high school with like knowing skater guys and kind of

632
00:35:22,239 --> 00:35:24,920
Speaker 1: being obsessed with skater guys. I've talked about this with

633
00:35:25,000 --> 00:35:27,880
Speaker 1: Danielle on our old podcast ad nauseum because she was

634
00:35:27,960 --> 00:35:31,319
Speaker 1: also she actually skated. I was simply a poser. I

635
00:35:31,360 --> 00:35:33,640
Speaker 1: just wanted to like hang out with skaters, but she

636
00:35:33,640 --> 00:35:36,439
Speaker 1: she actually skated. A little bit was that they were

637
00:35:37,719 --> 00:35:41,560
Speaker 1: they were like athletes that weren't real athletes in that

638
00:35:41,600 --> 00:35:45,600
Speaker 1: traditional masculine sense, right, So it's like, yeah, they were athletic,

639
00:35:45,719 --> 00:35:50,520
Speaker 1: they could skate, they were you know, they had body

640
00:35:50,560 --> 00:35:53,040
Speaker 1: confidence and they knew how to like you know, keep

641
00:35:53,080 --> 00:35:56,720
Speaker 1: themselves on a skateboard. But they were also like not macho,

642
00:35:57,400 --> 00:35:58,080
Speaker 1: and they were.

643
00:35:57,960 --> 00:36:00,759
Speaker 2: Just like there's a real lack of match show yeah

644
00:36:00,920 --> 00:36:04,040
Speaker 2: in this Yeah, and they're like they were, They're all

645
00:36:04,080 --> 00:36:07,839
Speaker 2: about you know, like not being too proud to fail

646
00:36:08,360 --> 00:36:10,720
Speaker 2: and fall and break bones.

647
00:36:10,960 --> 00:36:14,000
Speaker 1: And you know be scared of you know, putting beer

648
00:36:14,160 --> 00:36:16,200
Speaker 1: funnels in their asses and things like that. I mean,

649
00:36:16,200 --> 00:36:20,360
Speaker 1: it's like totally normal stuff, which which humanizes men to me,

650
00:36:20,440 --> 00:36:23,799
Speaker 1: which is what I needed so badly as a young woman,

651
00:36:23,920 --> 00:36:25,400
Speaker 1: was that I needed to feel like guys were like

652
00:36:25,520 --> 00:36:29,200
Speaker 1: normal and nice. So I don't know, watching Jackass was

653
00:36:29,280 --> 00:36:31,040
Speaker 1: kind of like that for me, where I was like, oh,

654
00:36:31,080 --> 00:36:33,479
Speaker 1: it's like a peak into again. I use the word

655
00:36:33,480 --> 00:36:36,320
Speaker 1: peak because I was using it talking about Mamda movies,

656
00:36:36,360 --> 00:36:38,560
Speaker 1: but like there was a peak into this world of

657
00:36:38,600 --> 00:36:41,759
Speaker 1: guys who were like also super confident with like being

658
00:36:41,800 --> 00:36:44,560
Speaker 1: naked around each other and like touching each other's bodies,

659
00:36:45,440 --> 00:36:47,319
Speaker 1: which I've never seen before. Like I was like, oh,

660
00:36:47,400 --> 00:36:52,480
Speaker 1: don't I don't watch guys like you know, basically hold

661
00:36:52,680 --> 00:36:54,400
Speaker 1: guys's balls.

662
00:36:54,719 --> 00:36:58,120
Speaker 2: To things and stuff and like there's no which would

663
00:36:58,160 --> 00:37:03,040
Speaker 2: have been very there's know, like gay jokes like like

664
00:37:03,080 --> 00:37:05,640
Speaker 2: you're gay, you know. It's like there's there's not a

665
00:37:05,680 --> 00:37:10,239
Speaker 2: whiff of that to be seen. Yeah, and it's refreshing,

666
00:37:11,080 --> 00:37:11,440
Speaker 2: it is.

667
00:37:11,520 --> 00:37:13,400
Speaker 1: And that's that's like the one thing that I will

668
00:37:13,560 --> 00:37:16,880
Speaker 1: always defend is that I do think it is like

669
00:37:18,120 --> 00:37:21,720
Speaker 1: it is that exactly the thing that you mentioned. Although

670
00:37:22,239 --> 00:37:24,719
Speaker 1: it's funny now because I actually asked a friend of

671
00:37:24,760 --> 00:37:28,440
Speaker 1: mine to watch Jackass two with me, Like I was like, oh,

672
00:37:28,520 --> 00:37:30,959
Speaker 1: sh you know, hey, I gotta watch Jackass two again

673
00:37:31,040 --> 00:37:32,799
Speaker 1: for the podcast what you want to watch? And he's

674
00:37:32,800 --> 00:37:35,200
Speaker 1: like hell no. He was like, this is like the

675
00:37:35,280 --> 00:37:39,000
Speaker 1: reason why all these like stupid TikTok bros. Exist. And

676
00:37:39,040 --> 00:37:43,200
Speaker 1: I was just like, huh, maybe.

677
00:37:42,840 --> 00:37:46,240
Speaker 2: I mean that's really interesting because I was thinking about

678
00:37:46,360 --> 00:37:48,920
Speaker 2: gen Z. Yeah, and I was like gen Z could

679
00:37:49,000 --> 00:37:53,080
Speaker 2: never Yeah, because I feel like there's a real lack

680
00:37:53,120 --> 00:37:56,960
Speaker 2: of control. They give up complete control in Jackass, Like

681
00:37:57,520 --> 00:38:00,279
Speaker 2: they set things in motion, but they don't know what's

682
00:38:00,320 --> 00:38:03,759
Speaker 2: going to happen. That's kind of the beauty of it, right,

683
00:38:03,880 --> 00:38:06,759
Speaker 2: you know. Like for example, one of the kind of

684
00:38:06,800 --> 00:38:10,279
Speaker 2: a famous image is Johnny Knoxville putting on a blindfold

685
00:38:10,280 --> 00:38:13,200
Speaker 2: and lighting a cigarette as they unleash a bull at him.

686
00:38:13,520 --> 00:38:17,120
Speaker 2: Who knows what's going to happen. He gets flipped like perfectly.

687
00:38:18,640 --> 00:38:22,160
Speaker 2: But like I feel like TikTok is so manicured and

688
00:38:22,160 --> 00:38:25,160
Speaker 2: they're in such control of their image and the outcome

689
00:38:25,680 --> 00:38:29,840
Speaker 2: that I feel like they're completely different, because when you

690
00:38:29,960 --> 00:38:33,160
Speaker 2: don't know what's going to happen, you are completely vulnerable

691
00:38:33,560 --> 00:38:37,359
Speaker 2: to how you are represented, you know what I mean?

692
00:38:37,640 --> 00:38:41,279
Speaker 1: Yeah, Yeah, it makes me wonder because it feels like

693
00:38:42,160 --> 00:38:45,720
Speaker 1: Jackass sort of existed in a pre social media era almost,

694
00:38:45,719 --> 00:38:48,040
Speaker 1: even though I know that's not entirely true, but at

695
00:38:48,120 --> 00:38:51,520
Speaker 1: least the show and the first couple of movies existed

696
00:38:51,600 --> 00:38:55,520
Speaker 1: pre TikTok for sure, and pre Instagram stories or whatever,

697
00:38:55,880 --> 00:38:58,839
Speaker 1: So it is like this contained universe of like, oh,

698
00:38:58,880 --> 00:39:01,719
Speaker 1: these are like these are like real reactions and real

699
00:39:01,760 --> 00:39:04,719
Speaker 1: things happening. I mean, it's a it's a documentary. We're

700
00:39:04,760 --> 00:39:08,120
Speaker 1: probably seeing the best of the best, you know, and

701
00:39:08,160 --> 00:39:11,360
Speaker 1: not every single take, but we're also like seeing things

702
00:39:11,400 --> 00:39:13,640
Speaker 1: that are real and having people having real reactions. And

703
00:39:13,920 --> 00:39:17,600
Speaker 1: you're right, it isn't this like manicured thing. Although I

704
00:39:17,640 --> 00:39:19,919
Speaker 1: want to say this, this is this was like part

705
00:39:19,920 --> 00:39:23,759
Speaker 1: of the reason why I think I was compelled to

706
00:39:23,920 --> 00:39:28,239
Speaker 1: do number two Jackass too. I don't know if you've

707
00:39:28,239 --> 00:39:30,040
Speaker 1: seen how long has it been since you've seen the

708
00:39:30,120 --> 00:39:32,120
Speaker 1: first Jackass.

709
00:39:31,280 --> 00:39:33,480
Speaker 2: Probably three years. It's somewhat reason.

710
00:39:34,000 --> 00:39:35,920
Speaker 1: Yeah, the one thing that really stock out to me

711
00:39:36,000 --> 00:39:39,480
Speaker 1: between one and two is that the production value got.

712
00:39:39,400 --> 00:39:40,759
Speaker 2: Upped a lot in two.

713
00:39:41,960 --> 00:39:45,400
Speaker 1: The first Jackass movie was pretty much like the show.

714
00:39:45,520 --> 00:39:47,799
Speaker 1: It was still really rough around the edges. It felt

715
00:39:47,880 --> 00:39:51,799
Speaker 1: kind of like very you know, digital video, a lot

716
00:39:51,840 --> 00:39:55,399
Speaker 1: of like, you know, there was no I mean, there

717
00:39:55,440 --> 00:39:58,840
Speaker 1: was an opening sequence, but it wasn't. I just felt

718
00:39:58,880 --> 00:40:04,200
Speaker 1: like the production value went up significantly, probably because the

719
00:40:04,239 --> 00:40:06,520
Speaker 1: first one was so popular that they got more money

720
00:40:06,560 --> 00:40:09,759
Speaker 1: to do the second one, of course, and so the

721
00:40:09,800 --> 00:40:14,000
Speaker 1: second one feels like a more fully formed piece.

722
00:40:13,880 --> 00:40:14,960
Speaker 2: Than the first one.

723
00:40:15,719 --> 00:40:18,040
Speaker 1: And I will say my favorite. The reason why Jackass

724
00:40:18,040 --> 00:40:21,000
Speaker 1: two is my favorite is because of the end of

725
00:40:21,480 --> 00:40:25,359
Speaker 1: Jackass two, which is a total nod to Buzzby Berkeley. Yes,

726
00:40:26,640 --> 00:40:29,200
Speaker 1: that is my favorite shit in the world. Is that

727
00:40:29,320 --> 00:40:33,640
Speaker 1: whole ending sequence of Jackass two with like the cevo

728
00:40:33,800 --> 00:40:37,959
Speaker 1: as Esther Williams and then the like you know, fifties

729
00:40:38,120 --> 00:40:44,160
Speaker 1: like technicolor Western musicals and like the crazy stage stuff.

730
00:40:44,200 --> 00:40:46,000
Speaker 1: I mean, I just loved that shit.

731
00:40:46,360 --> 00:40:48,920
Speaker 2: I think too, like just to go back to like

732
00:40:48,960 --> 00:40:53,600
Speaker 2: sort of like TikTok Stars and how different Jackasses from

733
00:40:53,640 --> 00:40:58,319
Speaker 2: those people. Yeah, they are so committed to doing the

734
00:40:58,440 --> 00:41:01,120
Speaker 2: dance and the singing, right, Yeah, like it's what makes

735
00:41:01,160 --> 00:41:04,399
Speaker 2: it funny, you know, but they are there's no kind

736
00:41:04,440 --> 00:41:08,280
Speaker 2: of like wink at the camera, like isn't this funny

737
00:41:08,280 --> 00:41:10,560
Speaker 2: that I'm doing this? It's like, no, they're trying to

738
00:41:10,600 --> 00:41:15,160
Speaker 2: do it. Obviously, it's funny that they're doing like attempting

739
00:41:15,200 --> 00:41:19,680
Speaker 2: to do a Busby Berkeley ending, right, But there's no

740
00:41:19,920 --> 00:41:22,399
Speaker 2: they have they're both feed in. They don't have one

741
00:41:22,400 --> 00:41:24,520
Speaker 2: foot out the door, you know, Like they're just they're

742
00:41:24,640 --> 00:41:28,200
Speaker 2: very committed to it in a sincere way, which I

743
00:41:28,239 --> 00:41:30,280
Speaker 2: think we don't see anymore.

744
00:41:30,520 --> 00:41:34,400
Speaker 1: Yeah, I feel part of it. Hopefully this isn't going

745
00:41:34,480 --> 00:41:40,200
Speaker 1: to get too intellectual, psychological or something, but like part

746
00:41:40,200 --> 00:41:42,280
Speaker 1: of it is that I feel like those Jackass guys

747
00:41:42,360 --> 00:41:45,239
Speaker 1: have reference for things like that.

748
00:41:45,239 --> 00:41:45,720
Speaker 2: That's true.

749
00:41:45,840 --> 00:41:51,040
Speaker 1: I've read many articles with Johnny Knoxville and with you know,

750
00:41:51,160 --> 00:41:53,759
Speaker 1: some of the creators of Jackass and some of the

751
00:41:53,840 --> 00:41:58,920
Speaker 1: Jackass guys talking about how they loved Looney Tunes cartoons,

752
00:41:58,920 --> 00:42:01,239
Speaker 1: and they loved the old Tom Jerry cartoons and Bugs

753
00:42:01,280 --> 00:42:04,080
Speaker 1: Bunny and like all of those like road Runner, you know,

754
00:42:04,760 --> 00:42:11,160
Speaker 1: cartoons where the antics are so violent and so funny

755
00:42:11,520 --> 00:42:14,000
Speaker 1: that they just wanted to be like real life versions

756
00:42:14,040 --> 00:42:15,920
Speaker 1: of that. They were like, Oh, we want to drop

757
00:42:15,960 --> 00:42:18,520
Speaker 1: anvils on people's heads and doorways, and we want to.

758
00:42:18,480 --> 00:42:23,359
Speaker 2: Like, you know, God, have a giant hand come from

759
00:42:23,360 --> 00:42:25,960
Speaker 2: a wall and slap somebody down. That's the first one,

760
00:42:26,000 --> 00:42:26,560
Speaker 2: I guess.

761
00:42:26,360 --> 00:42:27,520
Speaker 1: But that's the third one.

762
00:42:27,560 --> 00:42:27,839
Speaker 3: I think.

763
00:42:28,719 --> 00:42:30,160
Speaker 2: Is that the third one, yes.

764
00:42:29,920 --> 00:42:36,840
Speaker 1: Because that shit is fucking so funny When I rewatched it,

765
00:42:36,840 --> 00:42:40,200
Speaker 1: it is definitely I think the third one where they

766
00:42:40,280 --> 00:42:42,200
Speaker 1: had one of the guys brig in like all this

767
00:42:42,480 --> 00:42:45,960
Speaker 1: soup like for something, you know, they wanted to basically

768
00:42:46,000 --> 00:42:47,800
Speaker 1: hit him with his giant hand.

769
00:42:47,960 --> 00:42:49,880
Speaker 2: Yeah, and it's like high five and this hand just

770
00:42:49,880 --> 00:42:53,040
Speaker 2: comes out of nowhere and like, oh, it's fans cartoon.

771
00:42:53,160 --> 00:42:55,759
Speaker 1: It's fantastic. It's like that is the essence of what

772
00:42:56,080 --> 00:42:59,440
Speaker 1: of jack ask to me is like that cartoonishly stupid stuff.

773
00:42:59,520 --> 00:43:01,760
Speaker 1: And also, I mean, even though this makes me gag

774
00:43:02,360 --> 00:43:05,640
Speaker 1: when they do like models, like models of things and

775
00:43:05,640 --> 00:43:11,799
Speaker 1: then like it's something disgusting involving models, like either someone's

776
00:43:11,920 --> 00:43:13,520
Speaker 1: poop or someone.

777
00:43:13,280 --> 00:43:15,160
Speaker 2: Yeah, they have like a miniature, they have a little

778
00:43:15,200 --> 00:43:17,040
Speaker 2: diorama and you're like, oh, this is cute, and then

779
00:43:17,080 --> 00:43:20,640
Speaker 2: a giant piece of shit from someone's butt falls onto

780
00:43:20,680 --> 00:43:23,799
Speaker 2: the diorama and it's funny.

781
00:43:23,600 --> 00:43:25,920
Speaker 1: Or it's like a it's like a puppet in a plane,

782
00:43:25,960 --> 00:43:28,800
Speaker 1: it's actually someone's dick or whatever. You're like, oh my god.

783
00:43:29,080 --> 00:43:31,840
Speaker 1: But those That's what I mean is like those jackass

784
00:43:31,880 --> 00:43:37,160
Speaker 1: guys loved old entertainment. They loved old cartoons, they loved

785
00:43:37,239 --> 00:43:40,840
Speaker 1: old movies, they loved like the old show biz stuff,

786
00:43:41,600 --> 00:43:46,320
Speaker 1: and it shows in these jackass movies. Whereas I feel like, sorry,

787
00:43:46,760 --> 00:43:48,880
Speaker 1: I hate to call you out, gen Z, but like

788
00:43:48,880 --> 00:43:51,160
Speaker 1: when I watch a TikTok, there's no like.

789
00:43:51,719 --> 00:43:53,040
Speaker 2: There's no cinematic reference.

790
00:43:53,160 --> 00:43:55,880
Speaker 1: There's no reference, there's no antics though, there's no anything.

791
00:43:55,920 --> 00:43:59,200
Speaker 1: It's just basically you guys like pulling up at you know,

792
00:43:59,280 --> 00:44:02,680
Speaker 1: wherever and like filming things. I don't know. To me,

793
00:44:02,800 --> 00:44:06,040
Speaker 1: I just feel like maybe it's because I'm older and

794
00:44:06,160 --> 00:44:09,520
Speaker 1: I get those references that the Jackass movies are funnier

795
00:44:09,520 --> 00:44:10,239
Speaker 1: to me, Like.

796
00:44:10,320 --> 00:44:13,759
Speaker 2: Oh, I mean, I don't know if I've laughed harder

797
00:44:13,800 --> 00:44:15,480
Speaker 2: at a movie ever, to be honest.

798
00:44:15,800 --> 00:44:18,600
Speaker 1: Yeah, my favorite is when they dress in costumes, Like

799
00:44:18,640 --> 00:44:21,040
Speaker 1: when they dress in a costume based on the stunt

800
00:44:21,280 --> 00:44:24,120
Speaker 1: that they're doing, you know, that really cracks me up.

801
00:44:24,680 --> 00:44:29,080
Speaker 1: Any kind of old school Tom and Jerry scenario is

802
00:44:29,160 --> 00:44:29,840
Speaker 1: my favorite.

803
00:44:30,680 --> 00:44:32,759
Speaker 2: Yeah, I mean I love the like this is kind

804
00:44:32,760 --> 00:44:35,480
Speaker 2: of a classic. But this is like obviously based on Lunatus,

805
00:44:35,520 --> 00:44:38,440
Speaker 2: Johnny Knoxville on a rocket. What would happen if we

806
00:44:39,200 --> 00:44:42,600
Speaker 2: put Johnny Knoxville on a rocket? And it's like, holy shit,

807
00:44:42,680 --> 00:44:44,280
Speaker 2: that's what would happen. Yeah.

808
00:44:44,360 --> 00:44:48,120
Speaker 1: Yeah, Well, I now I have to ask. Yes, I

809
00:44:48,160 --> 00:44:53,239
Speaker 1: know this is like a very difficult proposal, but I'm

810
00:44:53,280 --> 00:44:56,879
Speaker 1: gonna ask anyway, what is your ranking of.

811
00:44:57,719 --> 00:45:00,719
Speaker 2: You know, it's hard because I kind of have tears.

812
00:45:01,000 --> 00:45:04,080
Speaker 2: Can I do it that way? I'll rank him well.

813
00:45:04,160 --> 00:45:10,600
Speaker 2: I feel like the top tiered guys obviously are Johnny Knoxville,

814
00:45:11,000 --> 00:45:16,080
Speaker 2: Bam Margera, Steve O, and I'd throw Chris Pontius into

815
00:45:16,120 --> 00:45:20,399
Speaker 2: that top. Uh. If I had to rank those guys,

816
00:45:20,440 --> 00:45:23,719
Speaker 2: I would say John Knoxville is number one. I think

817
00:45:23,719 --> 00:45:27,160
Speaker 2: he's an American hero, He's the last great showman. Of course,

818
00:45:27,200 --> 00:45:29,759
Speaker 2: I would put Bammargera number two. He's kind of the

819
00:45:29,880 --> 00:45:35,520
Speaker 2: lead guitar, lead act. I feel like Johnny Knoxville is

820
00:45:35,560 --> 00:45:37,799
Speaker 2: like kind of the architect of the whole show in

821
00:45:37,840 --> 00:45:41,720
Speaker 2: some ways, but like Bammar Jerra is like he brings

822
00:45:41,800 --> 00:45:46,160
Speaker 2: kind of a cool, hip leading man quality to the

823
00:45:46,160 --> 00:45:46,560
Speaker 2: the show.

824
00:45:46,640 --> 00:45:47,400
Speaker 1: Yeah, I hear you.

825
00:45:48,200 --> 00:45:50,799
Speaker 2: And then Steve O is just a wild man. I'd

826
00:45:50,800 --> 00:45:53,760
Speaker 2: probably put Steve. When I put Steve O number two,

827
00:45:53,680 --> 00:45:55,520
Speaker 2: it's hard. This is hard.

828
00:45:55,560 --> 00:45:56,920
Speaker 1: I told you it's hard.

829
00:45:57,320 --> 00:45:59,560
Speaker 2: I'll put Steve O number three for now, Chris Pontius

830
00:45:59,640 --> 00:46:03,560
Speaker 2: number four, and then after that I would go we Man.

831
00:46:05,239 --> 00:46:07,640
Speaker 2: I like we Man, though, but I would go we Man,

832
00:46:08,239 --> 00:46:14,080
Speaker 2: Ryan Dunn, Dave England, Preston Lacy, and then Danger. Aaron

833
00:46:14,160 --> 00:46:16,440
Speaker 2: is probably my least favorite, so what about you, what's

834
00:46:16,480 --> 00:46:17,000
Speaker 2: your ranking?

835
00:46:17,719 --> 00:46:20,319
Speaker 1: I'm with you that number one with a bullet with

836
00:46:20,400 --> 00:46:22,520
Speaker 1: a rocket in fact, is Johnny Knoxville.

837
00:46:22,680 --> 00:46:24,440
Speaker 2: I want to talk more about him after this, but.

838
00:46:24,600 --> 00:46:26,560
Speaker 1: Of course, I mean I have a lot to say.

839
00:46:26,600 --> 00:46:28,359
Speaker 1: He used to live in my neighborhood. When I look

840
00:46:28,440 --> 00:46:31,239
Speaker 1: at that, and I saw him so many times, so

841
00:46:31,400 --> 00:46:38,720
Speaker 1: many times. And also he's like a Tennessee guy. Yeah,

842
00:46:39,000 --> 00:46:42,480
Speaker 1: dangerously attractive. There's so many reasons to like Johnny Knoxville.

843
00:46:42,480 --> 00:46:44,839
Speaker 2: Here's one thing I don't know if we've exactly touched upon.

844
00:46:45,040 --> 00:46:47,160
Speaker 2: I think all these guys are pretty hot, Like they're

845
00:46:47,200 --> 00:46:48,000
Speaker 2: all really cute.

846
00:46:48,120 --> 00:46:51,200
Speaker 1: Oh they're cute. What we wouldn't follow the boy band

847
00:46:51,239 --> 00:46:52,640
Speaker 1: if the boy band didn't work.

848
00:46:52,719 --> 00:46:56,200
Speaker 2: It's exactly right, Okay, Johnny.

849
00:46:55,920 --> 00:46:58,800
Speaker 1: Knoxville is definitely number one, And I think the reason

850
00:46:58,840 --> 00:47:01,200
Speaker 1: why is because you're right. He is a showman. He

851
00:47:01,280 --> 00:47:04,760
Speaker 1: kind of has the pomp and circumstance of like doing

852
00:47:04,840 --> 00:47:07,200
Speaker 1: the old stunts, Like he kind of presents it in

853
00:47:07,239 --> 00:47:10,440
Speaker 1: a way that's like he's like an old Carnival barker.

854
00:47:10,640 --> 00:47:12,600
Speaker 2: I love it. I love it well. And I think

855
00:47:12,680 --> 00:47:17,759
Speaker 2: his steady hand, he never shows fear. Now, he's the

856
00:47:17,800 --> 00:47:21,640
Speaker 2: only one that's not like I don't want to do this.

857
00:47:22,320 --> 00:47:25,440
Speaker 2: You never see him like that. He's he's very much

858
00:47:25,520 --> 00:47:28,640
Speaker 2: a showman in the way that it's like no, I said,

859
00:47:28,640 --> 00:47:32,239
Speaker 2: I'm doing this, and we're doing it. Yeah, there's no

860
00:47:32,680 --> 00:47:36,200
Speaker 2: going back. He's like Evil Canevel in that way, like, yeah,

861
00:47:36,520 --> 00:47:38,880
Speaker 2: once he's decided to do it, it's happening.

862
00:47:38,719 --> 00:47:38,960
Speaker 3: You know.

863
00:47:39,160 --> 00:47:41,440
Speaker 1: And he kind of has he kind of has this

864
00:47:41,560 --> 00:47:44,360
Speaker 1: older brother quality to him that I really appreciate.

865
00:47:44,880 --> 00:47:47,000
Speaker 2: But in number two, I feel like, especially there's a

866
00:47:47,040 --> 00:47:48,840
Speaker 2: lot of times where the guys you'll hear them be

867
00:47:48,960 --> 00:47:54,360
Speaker 2: like Noxill's insane, or they'll be like really afraid, like

868
00:47:54,440 --> 00:47:57,279
Speaker 2: that bull scene where they're on the teeter totter. Yeah,

869
00:47:57,840 --> 00:48:02,640
Speaker 2: they show the guys like legitimately frightened for the guys

870
00:48:02,680 --> 00:48:05,360
Speaker 2: in the bowl, yeah, you know, and they're like you

871
00:48:05,360 --> 00:48:08,520
Speaker 2: can tell Steve O is like disturbed. Yeah, but it's

872
00:48:08,560 --> 00:48:12,600
Speaker 2: like Johnny Knoxville just doesn't he never quits.

873
00:48:13,000 --> 00:48:14,640
Speaker 1: Yeah, I don't. I think it was the second one

874
00:48:14,680 --> 00:48:16,720
Speaker 1: where they flip the golf cart.

875
00:48:17,600 --> 00:48:19,800
Speaker 2: No, that's not that's not number two. That might be

876
00:48:19,880 --> 00:48:20,279
Speaker 2: number one.

877
00:48:20,320 --> 00:48:22,840
Speaker 1: I think it's number one. That was terrifying, Like I

878
00:48:22,960 --> 00:48:26,040
Speaker 1: was like, I mean, golf carts kill guys. That's why

879
00:48:26,040 --> 00:48:27,920
Speaker 1: you don't race around in them. I'll just keep it

880
00:48:27,960 --> 00:48:31,760
Speaker 1: they do. But it's there was a thing in number

881
00:48:31,760 --> 00:48:37,440
Speaker 1: one where it looks pretty pretty hairy for Johnny Knoxville.

882
00:48:37,480 --> 00:48:39,160
Speaker 1: But I love him the most, and I like not

883
00:48:39,239 --> 00:48:41,040
Speaker 1: just because he was at a John Waters movie and

884
00:48:41,040 --> 00:48:44,080
Speaker 1: he's just generally like he feels like a guy that

885
00:48:44,120 --> 00:48:47,400
Speaker 1: I would know from sure the South, Like he's just

886
00:48:47,480 --> 00:48:52,319
Speaker 1: kind of like a diminutive, skinny, like weird guy that

887
00:48:52,480 --> 00:48:54,080
Speaker 1: also loves weird things.

888
00:48:54,120 --> 00:48:54,480
Speaker 2: I don't know.

889
00:48:54,600 --> 00:48:57,400
Speaker 1: He just reminds me of home, I suppose. But anyway.

890
00:48:59,040 --> 00:49:03,239
Speaker 1: My second is Chris Pontius, and I get it, yes,

891
00:49:03,360 --> 00:49:06,400
Speaker 1: because I feel like there's a sensitivity to Chris Ponnius,

892
00:49:06,440 --> 00:49:08,040
Speaker 1: like a kind of I don't know if it's a

893
00:49:08,160 --> 00:49:11,040
Speaker 1: dandy quality to him, but uh.

894
00:49:11,320 --> 00:49:16,680
Speaker 2: His stunts he was never like to me, even though

895
00:49:16,719 --> 00:49:19,160
Speaker 2: the first stunt of the movie is his dick getting

896
00:49:19,360 --> 00:49:20,840
Speaker 2: bit by a snake.

897
00:49:21,080 --> 00:49:22,239
Speaker 1: Yeah.

898
00:49:22,640 --> 00:49:25,279
Speaker 2: I always felt like his stunts on the show were

899
00:49:25,360 --> 00:49:28,880
Speaker 2: like him dressed as the Devil going down the street

900
00:49:28,880 --> 00:49:32,400
Speaker 2: being like keep is it Keep God out of California

901
00:49:32,560 --> 00:49:35,319
Speaker 2: or something like that. Or he would go into a

902
00:49:35,320 --> 00:49:37,520
Speaker 2: best buy and start playing music and start stripping like

903
00:49:37,719 --> 00:49:41,040
Speaker 2: that was. He was always getting naked and his were

904
00:49:41,120 --> 00:49:45,719
Speaker 2: more His were less based off like physical pain than

905
00:49:45,800 --> 00:49:46,600
Speaker 2: the other guys.

906
00:49:46,680 --> 00:49:50,200
Speaker 1: He was very okay with being like a lepperprint thong.

907
00:49:50,480 --> 00:49:52,279
Speaker 1: He kind of reminds me of David Lee Roth a

908
00:49:52,320 --> 00:49:54,160
Speaker 1: little bit. He's a little zesty. I think that's why

909
00:49:54,200 --> 00:49:54,719
Speaker 1: I like him.

910
00:49:54,840 --> 00:49:58,120
Speaker 2: Yeah, he's a little zestyle. I've actually seen him act

911
00:49:58,239 --> 00:50:01,040
Speaker 2: in stuff more than any of the other guys.

912
00:50:01,360 --> 00:50:06,480
Speaker 1: Yeah. From there, I'm kind of like I used to think,

913
00:50:07,560 --> 00:50:09,279
Speaker 1: not gonna lie. I used to get freaked out by

914
00:50:09,280 --> 00:50:10,839
Speaker 1: Steve O back in the day, and I think it's

915
00:50:10,920 --> 00:50:14,600
Speaker 1: just because he was just so fucking crazy, Like when

916
00:50:14,600 --> 00:50:16,240
Speaker 1: he put the fish hook through his mouth.

917
00:50:16,360 --> 00:50:19,319
Speaker 2: I think this is almost too much, too much, man,

918
00:50:19,480 --> 00:50:22,560
Speaker 2: I was like, and he goes into a different level

919
00:50:22,560 --> 00:50:27,280
Speaker 2: where I'm like, you're oh, you're like actually like self mutilating. Yeah.

920
00:50:27,400 --> 00:50:31,200
Speaker 1: Yeah, but he's kind of around still, right. He does

921
00:50:31,239 --> 00:50:32,839
Speaker 1: like things on social media.

922
00:50:32,960 --> 00:50:36,200
Speaker 2: He's like completely sober and like he's in a good spot.

923
00:50:36,440 --> 00:50:36,880
Speaker 3: See.

924
00:50:37,000 --> 00:50:38,480
Speaker 1: I think that's what I like about him now, is

925
00:50:38,480 --> 00:50:40,839
Speaker 1: that he's kind of like, yeah, he's sober. He's kind

926
00:50:40,880 --> 00:50:45,080
Speaker 1: of like assessing his life a little bit. But honestly,

927
00:50:45,120 --> 00:50:47,800
Speaker 1: it's it's kind of a tie between him and I.

928
00:50:47,800 --> 00:50:50,879
Speaker 1: I have to say, rip, Ryan's done. But Ryan's done

929
00:50:50,880 --> 00:50:54,480
Speaker 1: in the old Jackass shows, but in the movies was

930
00:50:54,600 --> 00:50:55,960
Speaker 1: always the biggest grump.

931
00:50:56,760 --> 00:50:59,399
Speaker 2: He's a big grump. I feel like he's a little

932
00:50:59,440 --> 00:51:01,840
Speaker 2: bit more prom it in the first one then he

933
00:51:02,000 --> 00:51:02,839
Speaker 2: was in number two.

934
00:51:03,560 --> 00:51:07,600
Speaker 1: Yeah, And I have read a little bit about sort

935
00:51:07,600 --> 00:51:10,880
Speaker 1: of like the timeline of the hole, like him and

936
00:51:10,960 --> 00:51:13,360
Speaker 1: Bammar Jera and the kind of falling out of things,

937
00:51:13,400 --> 00:51:15,600
Speaker 1: you know, they all kind of split up or whatever.

938
00:51:16,840 --> 00:51:19,160
Speaker 2: But yeah, I believe Ryan Dunn didn't talk to any

939
00:51:19,160 --> 00:51:22,640
Speaker 2: of them for two years between number two and number three.

940
00:51:22,840 --> 00:51:24,920
Speaker 1: Wow, yeah, yeah, yeah, it makes sense.

941
00:51:25,000 --> 00:51:30,520
Speaker 2: But I I always love the kind of reluctant like grump,

942
00:51:30,640 --> 00:51:33,000
Speaker 2: the guy that's like, I can't fucking believe we're doing

943
00:51:33,000 --> 00:51:35,120
Speaker 2: this shit, just so fucking and say, like I think

944
00:51:35,120 --> 00:51:37,200
Speaker 2: it was the first one that got put in a barrel.

945
00:51:37,480 --> 00:51:39,640
Speaker 2: Ryan done got putting a barrel and pushed over the

946
00:51:39,640 --> 00:51:41,760
Speaker 2: waterfall and he's just complaining about the hole.

947
00:51:42,480 --> 00:51:45,399
Speaker 1: He's gotta be that guy, you know, And he very

948
00:51:45,480 --> 00:51:47,920
Speaker 1: rarely like takes his clothes off which I really appreciate.

949
00:51:47,960 --> 00:51:50,640
Speaker 1: I love that guy too that doesn't like, isn't quick

950
00:51:50,840 --> 00:51:52,160
Speaker 1: quick to be in the underwear?

951
00:51:52,560 --> 00:51:54,800
Speaker 2: Yeah, the anti Zach Graf.

952
00:51:56,320 --> 00:51:58,520
Speaker 1: The guy's a little bit more, you know, reserved about

953
00:51:58,520 --> 00:52:00,000
Speaker 1: showing skin. I appreciate that.

954
00:52:01,160 --> 00:52:01,799
Speaker 2: And then I don't know.

955
00:52:01,800 --> 00:52:04,279
Speaker 1: From there, I do like, I like, I like we

956
00:52:04,440 --> 00:52:06,560
Speaker 1: man and pressed in together. I think that they're like

957
00:52:06,600 --> 00:52:09,640
Speaker 1: a good like that they're good pairing, and I know

958
00:52:09,680 --> 00:52:11,680
Speaker 1: why they pair them together, but I actually think that

959
00:52:12,200 --> 00:52:18,160
Speaker 1: they're like funny together. And then I don't know, I

960
00:52:18,160 --> 00:52:21,360
Speaker 1: think danger Aaron and Dave. God, they just get the

961
00:52:22,239 --> 00:52:24,520
Speaker 1: ass end of every fuck they do.

962
00:52:24,920 --> 00:52:27,160
Speaker 2: I do feel kind of like bad for them. They

963
00:52:27,200 --> 00:52:29,080
Speaker 2: get like the shittiest ones.

964
00:52:29,239 --> 00:52:31,920
Speaker 1: Oh my God, like the wor they get the worst

965
00:52:32,000 --> 00:52:35,560
Speaker 1: of the worst, and they always have teeth missing, and

966
00:52:35,600 --> 00:52:39,440
Speaker 1: they always look like they're they've been knocked unconscious and revived.

967
00:52:39,520 --> 00:52:40,720
Speaker 1: I don't know, those poor guys.

968
00:52:41,040 --> 00:52:45,640
Speaker 2: So and then bam, is your Wow is least favorite?

969
00:52:45,840 --> 00:52:46,120
Speaker 1: Yeah?

970
00:52:46,360 --> 00:52:47,400
Speaker 2: I think so Wow.

971
00:52:48,040 --> 00:52:50,399
Speaker 1: I don't know, I don't There was kind of an

972
00:52:50,560 --> 00:52:52,400
Speaker 1: energy for a while where you felt like he was

973
00:52:52,480 --> 00:52:54,960
Speaker 1: kind of like, I don't know, just kind of like

974
00:52:55,239 --> 00:52:58,839
Speaker 1: too bratty perhaps, and then like, although I do love

975
00:52:58,880 --> 00:53:01,560
Speaker 1: his parents, but there was even in those moments where

976
00:53:01,560 --> 00:53:04,000
Speaker 1: I felt like he was like, Okay, he breaks his parents,

977
00:53:04,040 --> 00:53:07,040
Speaker 1: we get that, but he was actually like too bratty

978
00:53:07,080 --> 00:53:09,680
Speaker 1: about it. I don't know, I'm kind of like, yeah,

979
00:53:09,760 --> 00:53:11,440
Speaker 1: I mean, I guess your parents aren't getting paid to

980
00:53:11,440 --> 00:53:12,160
Speaker 1: do all this stuff.

981
00:53:12,200 --> 00:53:15,040
Speaker 2: But like, I mean, Van Bargerr is an interesting person

982
00:53:15,080 --> 00:53:17,680
Speaker 2: in the history of Jackass because he's really on the

983
00:53:17,719 --> 00:53:20,279
Speaker 2: outs with them now and he is really struggling with

984
00:53:20,360 --> 00:53:24,799
Speaker 2: like addiction. Yeah, and it's sad because I think a

985
00:53:24,800 --> 00:53:28,319
Speaker 2: lot of them and then like Ryan Dunn died in

986
00:53:29,680 --> 00:53:32,720
Speaker 2: I want to say, twenty eleven. Yeah, yeah, Ryan Dunn

987
00:53:32,760 --> 00:53:35,640
Speaker 2: died in twenty eleven at the age of thirty four,

988
00:53:36,000 --> 00:53:40,960
Speaker 2: which does kind of cast a shadow over everything. And

989
00:53:41,040 --> 00:53:45,200
Speaker 2: he was struggling with addiction and he was drunk driving

990
00:53:45,239 --> 00:53:50,879
Speaker 2: and he died. Yeah, and it's hot. You know, that

991
00:53:50,960 --> 00:53:54,600
Speaker 2: does make it all. You know, you're always worried one

992
00:53:54,640 --> 00:53:56,960
Speaker 2: of these guys is going to get killed, you know,

993
00:53:57,239 --> 00:54:01,480
Speaker 2: doing it. But then it does sort of make you

994
00:54:01,800 --> 00:54:03,560
Speaker 2: view the whole thing from a little bit of a

995
00:54:03,600 --> 00:54:06,239
Speaker 2: different point of view, you know.

996
00:54:06,440 --> 00:54:09,200
Speaker 1: Yeah, I mean these guys were like skater dudes. I

997
00:54:09,200 --> 00:54:12,120
Speaker 1: mean they you know, they weren't like you know, from

998
00:54:12,120 --> 00:54:15,239
Speaker 1: the Ivy League acting schools like they were you know,

999
00:54:15,600 --> 00:54:18,880
Speaker 1: like kind of like street kids, like hanging out and

1000
00:54:18,920 --> 00:54:22,719
Speaker 1: pulling pranks. It's not, you know, that far of a

1001
00:54:22,719 --> 00:54:26,320
Speaker 1: stretch to imagine that maybe something bad happened to them sometime,

1002
00:54:26,520 --> 00:54:30,239
Speaker 1: you know, it's unfortunate. But yeah, I think that's that's

1003
00:54:30,280 --> 00:54:35,319
Speaker 1: the interesting about this whole. They feel like, to me,

1004
00:54:35,719 --> 00:54:40,080
Speaker 1: pretty authentically punk in that way, whereas I feel like,

1005
00:54:41,560 --> 00:54:45,240
Speaker 1: I don't know, what's the comp is it the try guys?

1006
00:54:45,280 --> 00:54:46,680
Speaker 1: Like what are we comping now?

1007
00:54:46,800 --> 00:54:50,280
Speaker 2: Like what are we try guys? The buzzer you try

1008
00:54:50,360 --> 00:54:54,320
Speaker 2: guys over even attempting to be punk.

1009
00:54:54,680 --> 00:54:56,680
Speaker 1: No, of course, what I'm saying is like, what's this

1010
00:54:56,840 --> 00:55:00,919
Speaker 1: like modern iteration of like this thing of like here's

1011
00:55:00,960 --> 00:55:02,880
Speaker 1: a group of guys, or here's a group of people

1012
00:55:02,880 --> 00:55:05,919
Speaker 1: that are gonna do something wild or do something like weird.

1013
00:55:05,960 --> 00:55:08,759
Speaker 2: They're gonna be like you're that's the thing. It is

1014
00:55:08,920 --> 00:55:15,160
Speaker 2: like TikTok or like streamers on twitch, you know, Kai

1015
00:55:15,360 --> 00:55:23,520
Speaker 2: Sinnat or Drew Ski, but it's so less dangerous or

1016
00:55:24,000 --> 00:55:31,080
Speaker 2: trying to do something, you know. I I think there's

1017
00:55:31,120 --> 00:55:35,759
Speaker 2: a real lack of punk rock going on right now.

1018
00:55:35,960 --> 00:55:36,120
Speaker 1: And.

1019
00:55:37,920 --> 00:55:44,359
Speaker 2: I can't imagine gen Z doing something as beautiful as Jackass.

1020
00:55:45,760 --> 00:55:49,960
Speaker 1: Yeah, I think the punk is the entire factor to

1021
00:55:50,000 --> 00:55:55,160
Speaker 1: this whole conversation is punk rock and coming from you

1022
00:55:55,160 --> 00:56:00,239
Speaker 1: know that world, which I like, I said, I can't

1023
00:56:00,239 --> 00:56:03,640
Speaker 1: even believe I said try guys as in the same sentence. Really,

1024
00:56:04,120 --> 00:56:06,960
Speaker 1: And this is me saying that having seen only like

1025
00:56:07,080 --> 00:56:11,440
Speaker 1: one episode of this try Guys thing. But I know

1026
00:56:11,560 --> 00:56:12,960
Speaker 1: people that are into it.

1027
00:56:13,760 --> 00:56:21,120
Speaker 2: But it's just everything is so soft and predictable now

1028
00:56:21,320 --> 00:56:25,840
Speaker 2: it makes me so sad. I just watched this TikTok

1029
00:56:26,840 --> 00:56:29,720
Speaker 2: or I guess it was a video from the poet

1030
00:56:29,719 --> 00:56:33,800
Speaker 2: and author Ocean Vang. Yes, do you know this person?

1031
00:56:33,880 --> 00:56:34,560
Speaker 1: Of course I do.

1032
00:56:36,520 --> 00:56:39,440
Speaker 2: He was talking about his students. He's a college professor.

1033
00:56:39,480 --> 00:56:41,840
Speaker 2: He's talking about his students and how so many of

1034
00:56:41,840 --> 00:56:43,080
Speaker 2: them are like I want to be a poet, I

1035
00:56:43,080 --> 00:56:44,920
Speaker 2: want to be a writer, but none of them are

1036
00:56:44,920 --> 00:56:51,120
Speaker 2: doing it. Yeah, because they're terrified of looking cringe. They're

1037
00:56:51,200 --> 00:56:57,399
Speaker 2: terrified of looking like they are trying too hard or

1038
00:56:57,600 --> 00:57:00,080
Speaker 2: attempting to do something and failing. They don't want to

1039
00:57:00,120 --> 00:57:04,080
Speaker 2: be cringe. Cringe is the worst thing possible. Yes, And

1040
00:57:05,200 --> 00:57:08,799
Speaker 2: do you think the Jackass guys feared cringe? You know,

1041
00:57:09,080 --> 00:57:12,480
Speaker 2: it's like so many young people are worried that they

1042
00:57:14,360 --> 00:57:19,760
Speaker 2: won't look fully polished or someone will make fun of

1043
00:57:19,760 --> 00:57:22,880
Speaker 2: them for being sincere. Because I think Jackass there's a

1044
00:57:22,920 --> 00:57:27,480
Speaker 2: real sincerity to it. Yeah, you know, and gen Z

1045
00:57:27,640 --> 00:57:30,920
Speaker 2: is afraid to look sincere lest they be cringe.

1046
00:57:31,400 --> 00:57:34,720
Speaker 1: Well, they have more eyeballs on their things. That's the

1047
00:57:35,040 --> 00:57:40,919
Speaker 1: That's ultimately a huge too, is that you know, back

1048
00:57:40,920 --> 00:57:44,200
Speaker 1: in the day when Jackass was conceived, it was like, oh,

1049
00:57:44,320 --> 00:57:46,160
Speaker 1: you might have a video.

1050
00:57:47,480 --> 00:57:47,840
Speaker 3: Of you.

1051
00:57:49,960 --> 00:57:55,720
Speaker 1: Having, you know, to inhale some dude's farts in a

1052
00:57:55,760 --> 00:58:00,240
Speaker 1: gas mask. That might be shown to other skaters. It

1053
00:58:00,360 --> 00:58:02,920
Speaker 1: might be sold in like a skate shop. But that's

1054
00:58:02,960 --> 00:58:06,080
Speaker 1: the extent of it. There really wasn't anything. There were

1055
00:58:06,080 --> 00:58:10,080
Speaker 1: like little to no stakes, even in the context of

1056
00:58:10,120 --> 00:58:13,960
Speaker 1: a television show. I mean that Jackass TV show was

1057
00:58:14,040 --> 00:58:17,600
Speaker 1: so fucking popular it was probably beamed into like one

1058
00:58:17,680 --> 00:58:21,360
Speaker 1: hundred million homes, like you know, the sixty eight Comeback

1059
00:58:21,480 --> 00:58:23,720
Speaker 1: special from Elvis or some shit. But it's at the

1060
00:58:23,720 --> 00:58:30,240
Speaker 1: same time, like there is no the quality of the Internet,

1061
00:58:30,240 --> 00:58:34,680
Speaker 1: which is that things are mimified and preserved forever and

1062
00:58:34,760 --> 00:58:39,680
Speaker 1: ever and ever and remixed and sent to people's phones

1063
00:58:39,840 --> 00:58:42,160
Speaker 1: in their homes. It's like that quality of it, I

1064
00:58:42,240 --> 00:58:46,720
Speaker 1: think is what might explain why the Jackass guys went

1065
00:58:46,760 --> 00:58:49,600
Speaker 1: harder than any of these TikTokers. But at the same time,

1066
00:58:49,760 --> 00:58:53,000
Speaker 1: like those Jackass guys are punk rock and that doesn't

1067
00:58:53,040 --> 00:58:54,720
Speaker 1: seem like a thing anymore.

1068
00:58:54,880 --> 00:58:57,280
Speaker 2: It's really fun ethos that I don't feel like these

1069
00:58:57,320 --> 00:58:58,080
Speaker 2: streamers have.

1070
00:58:58,360 --> 00:59:00,520
Speaker 1: Yeah, well it's funny you say that ocean wong thing,

1071
00:59:00,720 --> 00:59:04,080
Speaker 1: because there's also this other tick going around on TikTok

1072
00:59:04,480 --> 00:59:10,240
Speaker 1: of Matt Rogers from The Lost Cultures's podcast, Yes, also

1073
00:59:10,400 --> 00:59:15,080
Speaker 1: dogging out gen Z for being like obsessed with cringe

1074
00:59:15,680 --> 00:59:21,560
Speaker 1: and calling millennials like losers because they're cringe. I don't know,

1075
00:59:21,600 --> 00:59:23,240
Speaker 1: you should look it up, but basically.

1076
00:59:22,920 --> 00:59:24,480
Speaker 2: You should look it up. I'm sure I agree. I

1077
00:59:24,520 --> 00:59:26,200
Speaker 2: always agree with Matt Rogers generally.

1078
00:59:26,320 --> 00:59:30,080
Speaker 1: Yeah, he's basically like, y'all are making fun of us

1079
00:59:30,080 --> 00:59:34,120
Speaker 1: for being earnest and cringe and stupid. But guess what,

1080
00:59:34,200 --> 00:59:36,920
Speaker 1: you will also be stupid when you get old. Like

1081
00:59:37,000 --> 00:59:42,800
Speaker 1: every day you live is more time for your style

1082
00:59:42,920 --> 00:59:46,400
Speaker 1: and everything that you hold true to phase out and

1083
00:59:46,440 --> 00:59:48,360
Speaker 1: become cringed, do you know what I mean, Like, there's

1084
00:59:48,360 --> 00:59:50,960
Speaker 1: always a generation coming after you that's gonna think you're

1085
00:59:51,320 --> 00:59:51,880
Speaker 1: a loser.

1086
00:59:52,080 --> 00:59:56,800
Speaker 2: So like lighting up type thing. But I do think that,

1087
00:59:56,880 --> 01:00:02,480
Speaker 2: like gen Z, is it really inhibited creatively because the

1088
01:00:02,600 --> 01:00:07,200
Speaker 2: creative act inherently there is a point where you depart

1089
01:00:07,640 --> 01:00:11,360
Speaker 2: from something you can control. Sure, like you are putting

1090
01:00:11,360 --> 01:00:14,560
Speaker 2: something out there into the world and you honestly don't

1091
01:00:14,600 --> 01:00:17,160
Speaker 2: know how people are going to react and it might

1092
01:00:18,560 --> 01:00:22,960
Speaker 2: be embarrassing. Yeah, but that is inherent to the creative process.

1093
01:00:23,440 --> 01:00:27,200
Speaker 2: And so if you're not willing to take that leap,

1094
01:00:27,600 --> 01:00:29,880
Speaker 2: there will be no You will not create anything.

1095
01:00:30,080 --> 01:00:34,280
Speaker 1: Yeah, So that's like the foundation of this podcast.

1096
01:00:35,280 --> 01:00:36,680
Speaker 2: Well we are cringe, but we are free.

1097
01:00:36,840 --> 01:00:40,720
Speaker 1: That's I mean, like, if you sat around caring, you

1098
01:00:40,840 --> 01:00:47,000
Speaker 1: just would be completely catatonic from fear and anxiety of

1099
01:00:48,400 --> 01:00:51,160
Speaker 1: the perception of what you're doing or you or your

1100
01:00:51,240 --> 01:00:56,240
Speaker 1: ideas or whatever. I actually am surprised that Jackass two

1101
01:00:56,480 --> 01:00:59,640
Speaker 1: has brought us to this point where we're talking about

1102
01:00:59,680 --> 01:01:05,560
Speaker 1: creative inspirations. That's an unintended consequence of watching Jackass too,

1103
01:01:05,560 --> 01:01:06,160
Speaker 1: but I love it.

1104
01:01:08,440 --> 01:01:15,400
Speaker 2: Well. I think that Jackass as a form is so creative,

1105
01:01:16,440 --> 01:01:19,800
Speaker 2: Like I was so inspired watching this, and it's so

1106
01:01:21,080 --> 01:01:26,600
Speaker 2: like there's so much thought that goes into these bits. Yeah,

1107
01:01:27,200 --> 01:01:30,120
Speaker 2: and I think it's cool when they just like show

1108
01:01:30,200 --> 01:01:33,200
Speaker 2: one that's like five seconds long and clearly took a

1109
01:01:33,280 --> 01:01:35,520
Speaker 2: huge setting. Like there's like a scene where they're in

1110
01:01:35,600 --> 01:01:39,000
Speaker 2: BAM's house and they set up a ski hill on

1111
01:01:39,120 --> 01:01:42,120
Speaker 2: their steps, but we only see it for like ten seconds. Yeah,

1112
01:01:42,160 --> 01:01:44,440
Speaker 2: you know, yeah, which makes I don't really have a

1113
01:01:44,440 --> 01:01:46,560
Speaker 2: point to that. I just I'm I'm I was just

1114
01:01:46,600 --> 01:01:49,640
Speaker 2: so inspired watching this, and I was just like the

1115
01:01:49,760 --> 01:01:55,480
Speaker 2: form of Jackass as a film is so interesting and unique,

1116
01:01:55,680 --> 01:01:59,640
Speaker 2: and I just really enjoyed watching Yeah, it's it's this movie.

1117
01:02:00,120 --> 01:02:02,120
Speaker 1: It really to me. This is why I think two.

1118
01:02:03,400 --> 01:02:08,600
Speaker 1: I mean, there has been times where a sequel has

1119
01:02:09,640 --> 01:02:12,640
Speaker 1: been a better movie than the first and the subsequent

1120
01:02:12,760 --> 01:02:15,040
Speaker 1: Once Pee, a lot of people think The Night Around

1121
01:02:15,160 --> 01:02:19,160
Speaker 1: Mstreet two is the best Night around Elms Street, as

1122
01:02:19,200 --> 01:02:23,520
Speaker 1: well as other movies other properties The Godfather Too, Evil

1123
01:02:23,560 --> 01:02:27,640
Speaker 1: Dead two Exactly what I think two is the best,

1124
01:02:27,880 --> 01:02:31,000
Speaker 1: perhaps out of all of them, is because it is

1125
01:02:32,240 --> 01:02:35,959
Speaker 1: it is a perfect step up from the first one,

1126
01:02:36,080 --> 01:02:41,720
Speaker 1: which was very raw and like the TV show and

1127
01:02:41,840 --> 01:02:47,680
Speaker 1: kind of still pretty low fi, but it's not like

1128
01:02:47,680 --> 01:02:50,320
Speaker 1: like once you jump to Jackass three D. By the way,

1129
01:02:50,400 --> 01:02:53,000
Speaker 1: Jackass three D is great too. They're all great. I

1130
01:02:53,280 --> 01:02:56,080
Speaker 1: literally have seen every Jackass movie in a movie theater.

1131
01:02:57,760 --> 01:03:02,360
Speaker 1: They I go opening weekend. I'm obsessed. I love the

1132
01:03:02,440 --> 01:03:05,080
Speaker 1: Jackass movies, and if they make Jackass twenty seven, I'm

1133
01:03:05,080 --> 01:03:08,320
Speaker 1: gonna go. I don't care if I'm ninety years old,

1134
01:03:08,880 --> 01:03:12,000
Speaker 1: I don't care if I'm Spike Jones and the bad

1135
01:03:12,080 --> 01:03:17,200
Speaker 1: Grandma Boobs costume. I'm going to see the new Jackass movie.

1136
01:03:17,400 --> 01:03:20,640
Speaker 1: But I feel like Jackass three D got leveled up,

1137
01:03:21,040 --> 01:03:23,880
Speaker 1: like you could really tell that they were like, oh,

1138
01:03:23,920 --> 01:03:26,640
Speaker 1: we have like Hollywood money now because they all have tans.

1139
01:03:27,240 --> 01:03:30,040
Speaker 1: That was the first thing I noticed. And Jackass three D.

1140
01:03:30,280 --> 01:03:32,360
Speaker 1: I was like, oh, these guys will have tans. They're

1141
01:03:32,360 --> 01:03:35,320
Speaker 1: not like pasty white with like bad skater tattoos. They're

1142
01:03:35,320 --> 01:03:38,960
Speaker 1: all like tan buff Johnny Knoxville talks out. At one point,

1143
01:03:38,960 --> 01:03:40,640
Speaker 1: he talks about working out. He's like, oh, yeah, I

1144
01:03:40,680 --> 01:03:43,800
Speaker 1: do squats now, and shit, I'm like, damn, these guys.

1145
01:03:44,880 --> 01:03:48,240
Speaker 1: They made it baby, which is fine.

1146
01:03:48,320 --> 01:03:48,840
Speaker 2: They and it.

1147
01:03:48,840 --> 01:03:51,720
Speaker 1: As the movies go on, that like the they keep

1148
01:03:51,800 --> 01:03:54,840
Speaker 1: the pranks fresh, which is why they can continue to

1149
01:03:54,880 --> 01:03:56,840
Speaker 1: do this shit for the rest of their lives if

1150
01:03:56,840 --> 01:04:00,200
Speaker 1: they wanted to. But it is this, I think, who

1151
01:04:00,360 --> 01:04:03,640
Speaker 1: is this perfect encapsulation of like the best they can be.

1152
01:04:03,840 --> 01:04:08,760
Speaker 1: It's like, yeah, a little bit more money than shooting

1153
01:04:08,800 --> 01:04:15,560
Speaker 1: things on camcorders, but not like gobsmackingly huge amounts of money.

1154
01:04:15,640 --> 01:04:16,400
Speaker 1: Does that make sense?

1155
01:04:16,560 --> 01:04:20,120
Speaker 2: It's still raw, still still got, it's leveled up more.

1156
01:04:20,480 --> 01:04:23,520
Speaker 1: Yeah, but and also to me that you just can't

1157
01:04:23,560 --> 01:04:26,880
Speaker 1: beat the Buzzbee Berkeley ending and even the beginning, Like

1158
01:04:27,240 --> 01:04:30,600
Speaker 1: the end caps of the movies are always like these

1159
01:04:30,640 --> 01:04:32,400
Speaker 1: big production numbers and they're so.

1160
01:04:32,480 --> 01:04:37,320
Speaker 2: Funny, like did you have a favorite stunt? In number two?

1161
01:04:37,920 --> 01:04:45,800
Speaker 1: Oh my Jesus Christ. Where so this is one of

1162
01:04:45,840 --> 01:04:49,280
Speaker 1: the ones that involves ban Margera's mom and dad, but

1163
01:04:49,320 --> 01:04:52,360
Speaker 1: the one where they dress pressed it up like Phil

1164
01:04:52,800 --> 01:04:53,720
Speaker 1: and they sneak.

1165
01:04:53,560 --> 01:04:56,520
Speaker 2: Into risingly similar bodies.

1166
01:04:56,720 --> 01:05:00,200
Speaker 1: Yes, but the mom like that holds the the old

1167
01:05:00,240 --> 01:05:03,960
Speaker 1: sequence where she's like, God, get off of me, like

1168
01:05:03,960 --> 01:05:06,080
Speaker 1: what is your problem? And then she like this is

1169
01:05:06,120 --> 01:05:07,720
Speaker 1: all in the dark, and then she like reaches back,

1170
01:05:07,760 --> 01:05:12,160
Speaker 1: she's like, what like Phil realizing in the dark that

1171
01:05:12,200 --> 01:05:16,000
Speaker 1: it's not her husband. And then just like the moment

1172
01:05:16,040 --> 01:05:18,720
Speaker 1: of her like flipping the fuck out that it was

1173
01:05:18,800 --> 01:05:21,600
Speaker 1: like some brand dude, she like falls on the floor.

1174
01:05:21,720 --> 01:05:25,040
Speaker 1: I was like, God, but I hope they paid her

1175
01:05:25,080 --> 01:05:26,600
Speaker 1: a shit tot of money to put up with.

1176
01:05:27,320 --> 01:05:30,360
Speaker 2: But then at the end she's smiling, which I was like, Okay,

1177
01:05:30,520 --> 01:05:35,600
Speaker 2: so you are ban Margia's mom. Like there's at least

1178
01:05:35,720 --> 01:05:39,600
Speaker 2: kind of like she knows that this was funny, you know, like.

1179
01:05:39,760 --> 01:05:42,200
Speaker 1: Yeah, is this the one is to the one with

1180
01:05:42,280 --> 01:05:44,480
Speaker 1: the brand where he gets the brand on his.

1181
01:05:44,560 --> 01:05:46,560
Speaker 2: Ass that is fucked up?

1182
01:05:46,600 --> 01:05:49,720
Speaker 1: Oh my god. But she he like goes home. This

1183
01:05:49,760 --> 01:05:51,520
Speaker 1: is what I mean about the brandiness. He's like, oh,

1184
01:05:51,600 --> 01:05:54,120
Speaker 1: check out my ass. And she's just like, oh, you

1185
01:05:54,200 --> 01:05:56,680
Speaker 1: had such a cute but why did you ruin it?

1186
01:05:56,840 --> 01:05:58,360
Speaker 1: You know? And I was like, Oh, that's a mom.

1187
01:05:58,520 --> 01:05:59,960
Speaker 1: That's as a mom.

1188
01:06:00,120 --> 01:06:03,000
Speaker 2: That's a mom. I never liked Viva Labam as much.

1189
01:06:03,160 --> 01:06:06,080
Speaker 2: Either I wasn't as big on that or I honestly

1190
01:06:06,120 --> 01:06:08,480
Speaker 2: I didn't like Wild Boys that much either. They just

1191
01:06:08,560 --> 01:06:12,720
Speaker 2: felt there was something about like watching an episode of

1192
01:06:12,840 --> 01:06:17,280
Speaker 2: Jackass was like entering a world, you know, and it

1193
01:06:17,360 --> 01:06:20,000
Speaker 2: was a certain type and maybe it was that Spike Jones,

1194
01:06:20,120 --> 01:06:24,000
Speaker 2: Jeff Tremaine touch that gave it sort of this energy

1195
01:06:24,080 --> 01:06:27,680
Speaker 2: that you were like hanging out with these guys that

1196
01:06:27,720 --> 01:06:30,360
Speaker 2: felt kind of like unpolished, but like, I don't know

1197
01:06:30,400 --> 01:06:32,360
Speaker 2: it just you were submerged into this world in a

1198
01:06:32,360 --> 01:06:35,840
Speaker 2: way that I didn't feel the same for Wild Boys

1199
01:06:35,880 --> 01:06:39,040
Speaker 2: and viand.

1200
01:06:37,680 --> 01:06:40,720
Speaker 1: Listen you can't sometimes the band is too good in

1201
01:06:40,760 --> 01:06:44,120
Speaker 1: the side projects. You respect, you respect them, but you're

1202
01:06:44,120 --> 01:06:46,040
Speaker 1: not really is into them, you know what I'm saying.

1203
01:06:47,760 --> 01:06:52,320
Speaker 2: Oh, well, anything else you wanted to touch upon.

1204
01:06:52,600 --> 01:06:54,520
Speaker 1: I think it was great that we were able to

1205
01:06:55,360 --> 01:06:58,840
Speaker 1: really chew a lot of a lot of meat.

1206
01:06:58,800 --> 01:07:03,080
Speaker 2: On this boat. Can I recommend something so I used

1207
01:07:03,080 --> 01:07:06,720
Speaker 2: to produce I think I've recommended this podcast before. I

1208
01:07:06,800 --> 01:07:11,640
Speaker 2: used to produce a podcast called Switchblade Sisters. Sure, And

1209
01:07:12,000 --> 01:07:19,360
Speaker 2: we had the filmmaker and cinematographer Kirsten Johnson on the

1210
01:07:19,440 --> 01:07:23,560
Speaker 2: show to talk about the documentary which is sort of

1211
01:07:23,560 --> 01:07:29,200
Speaker 2: similar to Jackass, called Dick Johnson Is Dead and it's

1212
01:07:29,280 --> 01:07:34,960
Speaker 2: about her dad going into the late stages of Alzheimer's

1213
01:07:35,080 --> 01:07:37,720
Speaker 2: and they keep doing these like fake stunts where they

1214
01:07:37,840 --> 01:07:40,560
Speaker 2: like fake his death and it is sort of like Jackass,

1215
01:07:40,680 --> 01:07:43,400
Speaker 2: light sort of and it's very funny. But she was

1216
01:07:43,440 --> 01:07:46,800
Speaker 2: on the podcast Switch Sisters to talk about how Jackass

1217
01:07:47,760 --> 01:07:52,480
Speaker 2: inspired her Wow, and it is one. It's probably the

1218
01:07:52,480 --> 01:07:56,360
Speaker 2: best episode of the podcast. She goes into depths of

1219
01:07:56,440 --> 01:08:02,360
Speaker 2: like the vulnerability and masculinity of these Jackass boys, how

1220
01:08:02,560 --> 01:08:08,800
Speaker 2: they're you know, their relationships with their bodies and how

1221
01:08:08,840 --> 01:08:12,560
Speaker 2: they are communicating something with their bodies in these movies,

1222
01:08:13,280 --> 01:08:16,599
Speaker 2: and how your relationship with your body as your ending,

1223
01:08:17,120 --> 01:08:18,920
Speaker 2: you know, is your life is coming to an end

1224
01:08:19,400 --> 01:08:23,439
Speaker 2: changes and Dick Johnson is dead sort of touches upon that.

1225
01:08:23,520 --> 01:08:28,320
Speaker 2: So really great podcast conversation and episode and but yeah,

1226
01:08:28,360 --> 01:08:31,719
Speaker 2: should check that out if anyone's interested in that. Cool.

1227
01:08:32,080 --> 01:08:32,720
Speaker 2: Should we move on?

1228
01:08:33,280 --> 01:08:48,320
Speaker 1: Let's go Okay, everybody, we have an amazing guest for

1229
01:08:48,600 --> 01:08:53,160
Speaker 1: this edition of My Area of Expertise. I would consider

1230
01:08:53,240 --> 01:08:55,439
Speaker 1: him an old friend. I will say that I don't

1231
01:08:55,439 --> 01:08:59,439
Speaker 1: know when the threshold for old friend and like friend is,

1232
01:08:59,680 --> 01:09:03,559
Speaker 1: but we've been in these film streets for a long

1233
01:09:03,560 --> 01:09:09,120
Speaker 1: time together and I'm just super thrilled that he's here

1234
01:09:09,120 --> 01:09:12,360
Speaker 1: to give us his time talking about his area of expertise,

1235
01:09:12,360 --> 01:09:15,840
Speaker 1: which is very fascinating, very specific as we like here

1236
01:09:16,560 --> 01:09:20,160
Speaker 1: on Dear movies. I Love you, But our guest is

1237
01:09:20,200 --> 01:09:24,880
Speaker 1: a freelance trans film critic, programmer, and researcher based in

1238
01:09:24,960 --> 01:09:28,040
Speaker 1: upstate New York. He focuses on queer cinema and the

1239
01:09:28,120 --> 01:09:31,760
Speaker 1: history of the trans film image, and his book that

1240
01:09:31,840 --> 01:09:35,599
Speaker 1: he co wrote with his fellow film critic Willem McClay

1241
01:09:35,920 --> 01:09:39,759
Speaker 1: came out last year. It's amazing. It's called Corpses, Fools

1242
01:09:39,760 --> 01:09:43,559
Speaker 1: and Monsters, The History and Future of transnis in Cinema.

1243
01:09:43,600 --> 01:09:47,040
Speaker 1: And I guarantee that this book is a classic already.

1244
01:09:47,800 --> 01:09:50,640
Speaker 1: It's going to be taught in schools everywhere. I just

1245
01:09:50,720 --> 01:09:54,000
Speaker 1: know it. But we're very, very very happy to have

1246
01:09:54,360 --> 01:09:58,080
Speaker 1: our guests. Cayden Mark Gardner, Hello, Cayden.

1247
01:09:58,960 --> 01:10:02,080
Speaker 3: I knowly, Hi Casey, thank you for having me on.

1248
01:10:02,479 --> 01:10:04,880
Speaker 1: We have to get into this area of expertise, Corse,

1249
01:10:04,960 --> 01:10:08,840
Speaker 1: because it's so again, so specific. It also feels so you.

1250
01:10:09,040 --> 01:10:12,320
Speaker 1: And again I don't want to you know, it's not

1251
01:10:12,360 --> 01:10:14,080
Speaker 1: because I know you. I just feel like it's you.

1252
01:10:15,520 --> 01:10:19,080
Speaker 3: But if you want and just to tease, it's tease

1253
01:10:19,479 --> 01:10:24,040
Speaker 3: if you thought if we're talking about trans cinema and

1254
01:10:24,120 --> 01:10:27,040
Speaker 3: I think my I stated in my area of expertise

1255
01:10:27,080 --> 01:10:32,720
Speaker 3: on the surface doesn't sound anything like yeah, imp but

1256
01:10:32,800 --> 01:10:33,400
Speaker 3: yes it's me.

1257
01:10:35,520 --> 01:10:39,840
Speaker 2: Well okay, so on tell everybody then, what your area

1258
01:10:39,880 --> 01:10:40,800
Speaker 2: of expertise is.

1259
01:10:42,439 --> 01:10:48,920
Speaker 3: The nineteen fifties diner esthetic in both spirit and also period, Like,

1260
01:10:49,760 --> 01:10:55,440
Speaker 3: I think I have a kind of ratitude, huge ratitude,

1261
01:10:55,479 --> 01:10:58,760
Speaker 3: and what would be considered acceptable in this even though

1262
01:10:58,800 --> 01:11:03,880
Speaker 3: it's a very specific thing, and I believe like my

1263
01:11:04,120 --> 01:11:07,640
Speaker 3: kind of example is something that actually came from the

1264
01:11:07,720 --> 01:11:10,479
Speaker 3: nineteen fifties, which is the Frank Tashlin film The Girl

1265
01:11:10,560 --> 01:11:11,200
Speaker 3: Can't Help It.

1266
01:11:11,400 --> 01:11:13,920
Speaker 1: So walk us through a little bit about you. So

1267
01:11:13,960 --> 01:11:15,599
Speaker 1: you're saying, the girl can't help it was kind of

1268
01:11:15,640 --> 01:11:21,320
Speaker 1: the seed for this obsession? Or was there anything else?

1269
01:11:21,400 --> 01:11:25,160
Speaker 1: Like were you a diner person? Like growing up, did

1270
01:11:25,200 --> 01:11:27,040
Speaker 1: you go to diners a lot? Or you know, did

1271
01:11:27,040 --> 01:11:29,240
Speaker 1: you like hang out in diners as a teenager? I

1272
01:11:29,320 --> 01:11:31,000
Speaker 1: know I did, But I just was wondering if there

1273
01:11:31,040 --> 01:11:35,000
Speaker 1: was something else that influenced this passion of yours.

1274
01:11:35,320 --> 01:11:38,080
Speaker 3: Well, the crucial part of my origin story that actually

1275
01:11:38,920 --> 01:11:42,960
Speaker 3: in a sort of long game way, does connect to

1276
01:11:43,040 --> 01:11:46,679
Speaker 3: the book and at least one movie, at least where

1277
01:11:47,120 --> 01:11:52,400
Speaker 3: I went hung out at this nineteen fifties diner ish

1278
01:11:52,640 --> 01:11:57,679
Speaker 3: place called Bruno's in Albany, New York, and wow, it doesn't.

1279
01:11:57,800 --> 01:12:01,400
Speaker 3: It wasn't shaped like this sort of tin camp and

1280
01:12:01,560 --> 01:12:05,439
Speaker 3: to bul a train car style of a nineteen fifties diner.

1281
01:12:05,920 --> 01:12:10,400
Speaker 3: Inside it had everything. It had chrome, it had chrome accent,

1282
01:12:10,640 --> 01:12:16,360
Speaker 3: It had a checkerboard, it had a checkerboard floor, It

1283
01:12:16,600 --> 01:12:23,280
Speaker 3: had jukeboxes at the tables, at the seatings, and it

1284
01:12:23,320 --> 01:12:27,800
Speaker 3: also had a lot of nineteen fifties kitchen memorabilia all

1285
01:12:27,840 --> 01:12:32,200
Speaker 3: over the place. And I remember locking eyes with one

1286
01:12:32,200 --> 01:12:36,439
Speaker 3: particular piece of memorabilia, which was the James Dean poster

1287
01:12:36,840 --> 01:12:41,320
Speaker 3: from Giant, and I remember that was kind of the

1288
01:12:41,360 --> 01:12:45,160
Speaker 3: anatomy of my obsession with James Dean, which then later

1289
01:12:45,360 --> 01:12:47,559
Speaker 3: led me down the rabbit hole of one of the

1290
01:12:47,640 --> 01:12:49,679
Speaker 3: movies featured in the book, Come Back through the Five

1291
01:12:49,720 --> 01:12:53,040
Speaker 3: and Dime Jimmy Dean Jimmy Dean, which itself is about

1292
01:12:53,120 --> 01:12:59,240
Speaker 3: sort of nostalgia and memorabilia tied to Jamesteen. That's all

1293
01:12:59,240 --> 01:13:04,880
Speaker 3: over that movie, But the girl can't help it kind

1294
01:13:04,880 --> 01:13:07,479
Speaker 3: of for me, even though it takes place exactly at

1295
01:13:07,479 --> 01:13:10,320
Speaker 3: that time, sort of has this sort of relationship of

1296
01:13:10,400 --> 01:13:14,360
Speaker 3: being this sort of jukebox musical review which even though

1297
01:13:14,400 --> 01:13:17,400
Speaker 3: it doesn't have Elvis because Elvis was just breaking as

1298
01:13:17,439 --> 01:13:22,559
Speaker 3: that movie was happening. It does feature all the players

1299
01:13:22,560 --> 01:13:26,360
Speaker 3: at the time, and that can include both the rock

1300
01:13:26,600 --> 01:13:29,920
Speaker 3: such as Eddie Cochrane in the movie Little Richard of

1301
01:13:29,960 --> 01:13:32,800
Speaker 3: course his song the Girl Can Help It is the

1302
01:13:32,840 --> 01:13:36,400
Speaker 3: title of the movie, but also torch song singers like

1303
01:13:36,479 --> 01:13:41,080
Speaker 3: Julie London and do wop performers like the Platters, who

1304
01:13:41,560 --> 01:13:46,559
Speaker 3: are completely iconic to me. And yeah, I have a

1305
01:13:46,600 --> 01:13:51,400
Speaker 3: soft spot for that period as far as meet American pop,

1306
01:13:52,320 --> 01:13:57,160
Speaker 3: particularly the Platters and the whole do wop kind of stuff.

1307
01:13:57,200 --> 01:14:03,919
Speaker 3: I listened to a due op radio station regul and yeah,

1308
01:14:04,000 --> 01:14:08,040
Speaker 3: I have an affinity for that, and I also obviously

1309
01:14:08,080 --> 01:14:11,720
Speaker 3: have an affinity for a lot of the movies that

1310
01:14:11,720 --> 01:14:14,559
Speaker 3: were coming out at that time. And I also found

1311
01:14:15,080 --> 01:14:18,920
Speaker 3: Frank Tashlan to be a wonderful sort of character that

1312
01:14:19,080 --> 01:14:23,240
Speaker 3: sort of had this relationship with both iconography and the

1313
01:14:23,280 --> 01:14:27,840
Speaker 3: public reaction to that He's this is probably his best

1314
01:14:27,920 --> 01:14:31,439
Speaker 3: known live action film, but he was obviously famously an

1315
01:14:31,520 --> 01:14:37,519
Speaker 3: animator who did Mooney Tunes cartoons, and I think for

1316
01:14:37,800 --> 01:14:40,639
Speaker 3: runner to The Girl Can Help It is his nineteen

1317
01:14:40,800 --> 01:14:47,840
Speaker 3: forties cartoon called Swooner Krooner, which which kind of you

1318
01:14:47,840 --> 01:14:51,040
Speaker 3: could almost say predicted the sort of hysteria around Elvis,

1319
01:14:51,080 --> 01:14:55,800
Speaker 3: because it's about the hysteria regarding figures at that time,

1320
01:14:55,960 --> 01:15:01,600
Speaker 3: be it sinaftra Bing, Crosby, cap Cowaway and how suggestive

1321
01:15:02,000 --> 01:15:06,080
Speaker 3: and blue. A lot of the jokes are such as

1322
01:15:06,680 --> 01:15:10,879
Speaker 3: the signs of the sort of hysteria and arousal from

1323
01:15:11,479 --> 01:15:17,920
Speaker 3: seeing these cartoon characters, these cartoon crooners perform and stuff

1324
01:15:17,960 --> 01:15:23,200
Speaker 3: has all these people laying eggs. Yeah, and it's and

1325
01:15:23,320 --> 01:15:25,320
Speaker 3: it kind of makes me think of the girl can

1326
01:15:25,439 --> 01:15:29,879
Speaker 3: help it with the famous milk shots of milk popping

1327
01:15:30,160 --> 01:15:34,840
Speaker 3: and exploit and exploding. When Gene Mansfield walks.

1328
01:15:35,320 --> 01:15:43,720
Speaker 1: She's I mean suggestive much? Yeah, No, I it's so

1329
01:15:43,760 --> 01:15:49,400
Speaker 1: funny because I what I was like, thinking about your

1330
01:15:49,479 --> 01:15:53,479
Speaker 1: area of expertise. I was going, Okay, so we have

1331
01:15:53,520 --> 01:15:56,559
Speaker 1: to make a line of demarcation, I feel like, because

1332
01:15:56,680 --> 01:15:59,840
Speaker 1: you have the movies of the time period that are

1333
01:16:00,040 --> 01:16:03,080
Speaker 1: featuring the diners of the time period, right, but then

1334
01:16:03,120 --> 01:16:06,200
Speaker 1: you have this like hole, there's like this whole like

1335
01:16:07,720 --> 01:16:12,040
Speaker 1: you know, proliferation of that esthetic that has persisted throughout

1336
01:16:12,080 --> 01:16:14,080
Speaker 1: the years where it's almost kind of like a joke

1337
01:16:14,200 --> 01:16:16,519
Speaker 1: at this point. Like I think about a movie like

1338
01:16:16,600 --> 01:16:20,559
Speaker 1: Ghost World, for example, with Rowsville, and I'm like, it

1339
01:16:20,600 --> 01:16:23,160
Speaker 1: became kind of this I don't know, this like symbol

1340
01:16:23,520 --> 01:16:27,559
Speaker 1: of boomerness or something I don't know. And I thought

1341
01:16:27,560 --> 01:16:31,280
Speaker 1: about like my friends's dads and stuff that were like

1342
01:16:31,320 --> 01:16:34,120
Speaker 1: obsessed with you know, like they had these like basements

1343
01:16:34,160 --> 01:16:36,680
Speaker 1: that were set up like fifties diner looking things, with

1344
01:16:36,720 --> 01:16:40,280
Speaker 1: like the straw holder that pops out and the whole

1345
01:16:40,360 --> 01:16:45,680
Speaker 1: Like yeah, just like like retrofitting an entire basement as

1346
01:16:45,680 --> 01:16:46,559
Speaker 1: a fifties diner.

1347
01:16:47,040 --> 01:16:49,800
Speaker 2: It is interesting. I feel like there is like sub

1348
01:16:50,120 --> 01:16:54,640
Speaker 2: after you know, the nineteen fifties and diner culture. It

1349
01:16:54,720 --> 01:16:58,160
Speaker 2: now holds a place that's both ironic and sincere at

1350
01:16:58,160 --> 01:17:03,960
Speaker 2: the same time. Yes, you it holds that boomer space,

1351
01:17:04,080 --> 01:17:06,519
Speaker 2: but also, like ghost World, they keep going back to

1352
01:17:06,560 --> 01:17:09,640
Speaker 2: that diner. It's a it's a safe place in a

1353
01:17:09,680 --> 01:17:10,439
Speaker 2: lot of ways.

1354
01:17:10,880 --> 01:17:14,080
Speaker 1: You know. Well, so I wanted to ask, is there

1355
01:17:14,479 --> 01:17:17,920
Speaker 1: besides the girl can help it, is there other movies

1356
01:17:18,360 --> 01:17:23,439
Speaker 1: of this era that you would suggest people watch to

1357
01:17:23,520 --> 01:17:26,680
Speaker 1: kind of get the vibe of the diner vibe if

1358
01:17:26,720 --> 01:17:29,240
Speaker 1: you will. I mean, there is isn't there a great

1359
01:17:29,320 --> 01:17:32,000
Speaker 1: diner scene in the Wild World. There's a diner diner

1360
01:17:32,040 --> 01:17:32,960
Speaker 1: scenes in the Wild One.

1361
01:17:33,800 --> 01:17:38,519
Speaker 3: Oh yeah, he'd got he like Brando definitely has that

1362
01:17:38,640 --> 01:17:42,200
Speaker 3: sort of playful kind of let's listen to music type

1363
01:17:42,240 --> 01:17:48,640
Speaker 3: of moment there. I'm trying to think of others I

1364
01:17:48,640 --> 01:17:51,479
Speaker 3: almost want to say and pay in place, because they're

1365
01:17:52,840 --> 01:17:56,360
Speaker 3: mainly because again I think again, it's a move, it's

1366
01:17:56,400 --> 01:17:59,000
Speaker 3: a it's a it's a it's a text that shook

1367
01:17:59,080 --> 01:18:02,320
Speaker 3: everyone to their or when it came out first as

1368
01:18:02,360 --> 01:18:08,200
Speaker 3: a book. And while the movie does shape off some

1369
01:18:08,360 --> 01:18:11,000
Speaker 3: of the edge from the original book, it's still a

1370
01:18:11,040 --> 01:18:15,880
Speaker 3: pretty good sort of look into sort of the dark undercurrents.

1371
01:18:16,479 --> 01:18:23,040
Speaker 3: I would say David Lynch, his whole World an uber itself,

1372
01:18:23,080 --> 01:18:27,360
Speaker 3: can be seen as a nineteen fifties diner aesthetic. And

1373
01:18:28,080 --> 01:18:31,799
Speaker 3: when you mentioned it was so me like Willow often said,

1374
01:18:32,240 --> 01:18:34,759
Speaker 3: we're both Lynchy and and the fact that she's into

1375
01:18:35,040 --> 01:18:41,719
Speaker 3: the sort of industrial, gothic, fractured, feminine, fallen woman's side

1376
01:18:41,880 --> 01:18:45,320
Speaker 3: of his work, while I'm definitely the nineteen fifties diner.

1377
01:18:46,080 --> 01:18:48,799
Speaker 1: Yes, I'm with you, I'm.

1378
01:18:50,800 --> 01:18:57,360
Speaker 2: Well, yeah, with David Lynch. How does that differentiate for you?

1379
01:18:58,240 --> 01:19:01,200
Speaker 2: In terms of like the way he is presenting kind

1380
01:19:01,200 --> 01:19:03,360
Speaker 2: of diner culture, because so many of his movies have

1381
01:19:04,120 --> 01:19:07,000
Speaker 2: important scenes in diners. I mean, I think about Maulholland

1382
01:19:07,080 --> 01:19:12,800
Speaker 2: Drive and Blue Velvet especially, But how is his interpretation

1383
01:19:12,840 --> 01:19:17,280
Speaker 2: of diner culture different from one than Like The Girl

1384
01:19:17,400 --> 01:19:18,280
Speaker 2: Can't Help It.

1385
01:19:19,120 --> 01:19:23,320
Speaker 3: Well, I think there's kind of a sort of simple

1386
01:19:23,960 --> 01:19:28,240
Speaker 3: more sort of it seems simple on the surface, like

1387
01:19:28,720 --> 01:19:33,320
Speaker 3: he likes the Lynch likes the ambience of drinking just

1388
01:19:33,360 --> 01:19:38,120
Speaker 3: coffee and eating pie, whereas Tashlin is not really sort

1389
01:19:38,160 --> 01:19:41,639
Speaker 3: of diving into the finer things in life, so to speak.

1390
01:19:41,680 --> 01:19:47,080
Speaker 3: It is mostly to move platforward or just have a moment,

1391
01:19:47,160 --> 01:19:50,959
Speaker 3: to have a joke or two for the central characters

1392
01:19:51,000 --> 01:19:56,200
Speaker 3: in his work. But Lynch definitely wants to live in

1393
01:19:56,240 --> 01:20:00,559
Speaker 3: that nineteen fifties diner aesthetic, or at least have his

1394
01:20:00,720 --> 01:20:04,840
Speaker 3: characters sort of situate themselves in it, because it fascinates

1395
01:20:04,920 --> 01:20:08,120
Speaker 3: him as kind of a place that can be feel

1396
01:20:08,160 --> 01:20:11,000
Speaker 3: like it's lost in time in many ways. Whereas I

1397
01:20:11,040 --> 01:20:16,400
Speaker 3: think I'm not. I think Tashling, while being very much

1398
01:20:16,400 --> 01:20:19,599
Speaker 3: of it, of his time. I think by the nineteen

1399
01:20:19,640 --> 01:20:24,200
Speaker 3: sixties when he was doing like doors Day pictures and

1400
01:20:24,280 --> 01:20:27,559
Speaker 3: I love doors Day, So I'm not saying this at

1401
01:20:27,800 --> 01:20:32,120
Speaker 3: saying this in a dismissive manner towards her. I think

1402
01:20:32,200 --> 01:20:34,200
Speaker 3: he sort of felt like he was out of time.

1403
01:20:34,320 --> 01:20:38,759
Speaker 3: And also the sort of Looney Tunes renaissance was also

1404
01:20:38,920 --> 01:20:42,080
Speaker 3: kind of fading fading out by the nineteen sixties, so

1405
01:20:42,280 --> 01:20:45,719
Speaker 3: he kind of he kind of becomes the person who

1406
01:20:46,560 --> 01:20:53,479
Speaker 3: who becomes the sort of figure for nostalgists to to

1407
01:20:53,760 --> 01:20:58,599
Speaker 3: obsess over, but not necessarily the one who builds those

1408
01:20:58,680 --> 01:21:02,200
Speaker 3: worlds that hole nostalgia like Lynch does.

1409
01:21:03,120 --> 01:21:06,960
Speaker 1: Yeah, it's interesting because I do think that if you know,

1410
01:21:07,000 --> 01:21:08,920
Speaker 1: if I really like scope out on it, and I

1411
01:21:08,960 --> 01:21:14,000
Speaker 1: think about how many movies since the nineteen fifties have

1412
01:21:14,760 --> 01:21:18,960
Speaker 1: kind of employed the fifties aesthetic of a diner in movies.

1413
01:21:19,000 --> 01:21:20,200
Speaker 1: I mean, I'm think I think of.

1414
01:21:21,360 --> 01:21:25,719
Speaker 2: Michael Michael Diner, Michael Mann movies, you know, like Greece.

1415
01:21:25,840 --> 01:21:27,920
Speaker 1: I mean obviously stuff like that. But then you know,

1416
01:21:28,000 --> 01:21:29,920
Speaker 1: like when Harry met Sally and things of this nature,

1417
01:21:30,000 --> 01:21:33,240
Speaker 1: and it's kind of like I can't think of another

1418
01:21:34,479 --> 01:21:39,080
Speaker 1: physical location maybe or especially just a restaurant, like an

1419
01:21:39,120 --> 01:21:44,200
Speaker 1: eating established, that eating establishment that's sort of more that

1420
01:21:44,920 --> 01:21:47,519
Speaker 1: like like instead of like, for example, would it be

1421
01:21:47,560 --> 01:21:51,479
Speaker 1: as effective if like Paccino and you know, De Niro

1422
01:21:51,720 --> 01:21:55,439
Speaker 1: met at a Chipotle or like, you know, something like that,

1423
01:21:55,479 --> 01:21:58,920
Speaker 1: like some other type of interesting restaurant versus a diner,

1424
01:21:59,439 --> 01:22:01,880
Speaker 1: which because it just feels like there's sort of this

1425
01:22:02,040 --> 01:22:06,000
Speaker 1: like tradition to it that orients a movie better for

1426
01:22:06,080 --> 01:22:10,120
Speaker 1: two characters to have like a convo or something. I

1427
01:22:10,120 --> 01:22:11,800
Speaker 1: don't know if you think that it's almost like it's

1428
01:22:11,800 --> 01:22:14,120
Speaker 1: a physical space, but it's like a liminal space at

1429
01:22:14,160 --> 01:22:14,800
Speaker 1: the same time.

1430
01:22:14,880 --> 01:22:16,880
Speaker 2: Does that make sense? I think it does communicate a

1431
01:22:16,960 --> 01:22:19,880
Speaker 2: sense of safety, you know, just like heat for example,

1432
01:22:20,000 --> 01:22:21,599
Speaker 2: you know they're not going to get into a fight

1433
01:22:21,600 --> 01:22:24,280
Speaker 2: in the diner, you know, or like in Mulholland Drive

1434
01:22:24,360 --> 01:22:26,240
Speaker 2: when he's like I had a dream about this place,

1435
01:22:26,240 --> 01:22:28,320
Speaker 2: they have to leave the diner to go find the

1436
01:22:28,360 --> 01:22:30,840
Speaker 2: scary person behind it. You know, it does sort of

1437
01:22:30,840 --> 01:22:35,720
Speaker 2: communicate that this is a sacred space for these characters

1438
01:22:35,760 --> 01:22:38,439
Speaker 2: and that they'll be protected there. Well.

1439
01:22:38,600 --> 01:22:42,759
Speaker 3: Boops kind of themselves kind of insulate you and kind

1440
01:22:42,800 --> 01:22:46,720
Speaker 3: of allow you to have this sort of intimacy with

1441
01:22:46,840 --> 01:22:51,400
Speaker 3: another person across in these sort of worlds, and then

1442
01:22:51,439 --> 01:22:54,120
Speaker 3: at the same time, you can also have control of

1443
01:22:54,160 --> 01:22:57,440
Speaker 3: that whole entire space of the diner with say the jukebox,

1444
01:22:57,479 --> 01:23:01,559
Speaker 3: where you can pick the whole a song for quarter

1445
01:23:01,840 --> 01:23:05,080
Speaker 3: or whatever. Yeah, there's an autonomy in the whole, in

1446
01:23:05,160 --> 01:23:07,800
Speaker 3: the whole thing, MILLI, what do you think al Pacino

1447
01:23:07,840 --> 01:23:11,840
Speaker 3: and roberts Niro's Chipotle order would be my brain, buz,

1448
01:23:12,000 --> 01:23:14,920
Speaker 3: and then picking out pinto or black beans in line.

1449
01:23:15,000 --> 01:23:17,799
Speaker 3: It's just I was going to walk to the nearest

1450
01:23:17,880 --> 01:23:24,719
Speaker 3: Duncan to order that Dunkino. That's right, my name's dunk

1451
01:23:25,640 --> 01:23:28,439
Speaker 3: I think, I think, I think the Nero is a

1452
01:23:28,560 --> 01:23:29,559
Speaker 3: readable guy.

1453
01:23:30,080 --> 01:23:37,640
Speaker 2: I agreed, Yeah, extra sour cream, you know.

1454
01:23:37,720 --> 01:23:42,560
Speaker 1: And there's also two like there is such a mythology

1455
01:23:42,840 --> 01:23:48,120
Speaker 1: or like I love maybe for the diner waitress. Yeah,

1456
01:23:48,240 --> 01:23:52,519
Speaker 1: you know, I love the movie Alice doesn't live here anymore,

1457
01:23:52,760 --> 01:23:55,320
Speaker 1: and you know, just the whole like there is a

1458
01:23:55,360 --> 01:24:00,800
Speaker 1: culture of diner waitresses I think of. Is it gas

1459
01:24:00,800 --> 01:24:02,960
Speaker 1: food lodging? Is that the one where, like Ioti Sky

1460
01:24:03,080 --> 01:24:07,840
Speaker 1: is the waitress yes, yes, yes, yes, yes, But you know,

1461
01:24:08,080 --> 01:24:10,760
Speaker 1: just like there's like almost like a camaraderie between the

1462
01:24:10,800 --> 01:24:13,280
Speaker 1: waitresses and they, you know, there's like all these like

1463
01:24:13,400 --> 01:24:17,200
Speaker 1: side stories or almost entire movies sometimes about like waitress culture,

1464
01:24:17,520 --> 01:24:19,840
Speaker 1: and it's always in a fifties diner type of place.

1465
01:24:20,000 --> 01:24:23,679
Speaker 2: You know, it is interesting. They're almost like uh nuns

1466
01:24:24,040 --> 01:24:26,960
Speaker 2: because I feel like it's like a lot of like, well,

1467
01:24:27,000 --> 01:24:29,400
Speaker 2: it's like a job that you expect that person to

1468
01:24:29,400 --> 01:24:31,320
Speaker 2: do it for the rest of their life or something.

1469
01:24:31,720 --> 01:24:35,959
Speaker 1: Yeah, and there's the outfits, little uh and crisp white

1470
01:24:36,000 --> 01:24:37,799
Speaker 1: collar things happening.

1471
01:24:38,000 --> 01:24:40,360
Speaker 3: It gave a bunch of men a kind of sense

1472
01:24:40,520 --> 01:24:45,800
Speaker 3: of well, I can't have any other woman in my

1473
01:24:45,920 --> 01:24:48,160
Speaker 3: life talk to me, but I can have this waitress

1474
01:24:48,200 --> 01:24:48,839
Speaker 3: and made.

1475
01:24:48,680 --> 01:24:49,800
Speaker 2: Conversation with me.

1476
01:24:51,760 --> 01:24:57,120
Speaker 3: Now, I can't imagine this generation of men talking to

1477
01:24:57,200 --> 01:24:58,479
Speaker 3: waitresses at all.

1478
01:24:59,240 --> 01:25:02,080
Speaker 1: No, No, I think they're looking at their phones and

1479
01:25:02,080 --> 01:25:03,360
Speaker 1: they're just like, I don't want to.

1480
01:25:03,360 --> 01:25:06,439
Speaker 3: Talk to anybody I know, and I'd be scared for

1481
01:25:07,080 --> 01:25:12,679
Speaker 3: the waitresses or waiters or whatever. I also think of, obviously,

1482
01:25:12,880 --> 01:25:16,559
Speaker 3: you think of all the lovely waitresses of Twin Peaks,

1483
01:25:16,760 --> 01:25:22,439
Speaker 3: and also yes, and also like obviously Tarantino, the diner

1484
01:25:22,800 --> 01:25:26,960
Speaker 3: is masure is a major part from From the Jump

1485
01:25:27,000 --> 01:25:31,720
Speaker 3: the Reservoir Dogs. Whole conversation happening about the ethics of

1486
01:25:31,800 --> 01:25:36,200
Speaker 3: tipping and all that, obviously in a more profane manner,

1487
01:25:36,240 --> 01:25:39,679
Speaker 3: and also that that riffs in pulp fiction. It riffs

1488
01:25:39,720 --> 01:25:42,920
Speaker 3: on the nineteen fifties diner aesthetic where everyone is dressed

1489
01:25:43,000 --> 01:25:49,720
Speaker 3: up like a nineteen fifties person, Steve Buscemi as Buddy Holly.

1490
01:25:51,320 --> 01:25:54,200
Speaker 3: Nothing that far, but yeah, I have a soft spot

1491
01:25:54,360 --> 01:25:59,720
Speaker 3: for the whole rude sixty six mid century type of

1492
01:25:59,800 --> 01:26:06,559
Speaker 3: aesthetic generally, like, yeah, I like, I loved, like, I

1493
01:26:06,600 --> 01:26:12,639
Speaker 3: loved Wes Anderson's Asteroid City. Yeah, American graffiti probably also

1494
01:26:13,000 --> 01:26:16,240
Speaker 3: will come up, come up, even though that's technically early

1495
01:26:16,360 --> 01:26:22,240
Speaker 3: nineteen sixties. I think the whole sort of boomer narrative

1496
01:26:22,560 --> 01:26:25,799
Speaker 3: that the nineteen fifties were still going on up until

1497
01:26:25,880 --> 01:26:30,280
Speaker 3: the jfk assassination is something that I think is agreed

1498
01:26:30,560 --> 01:26:35,200
Speaker 3: agreed upon. Like again, even though it was a little

1499
01:26:35,560 --> 01:26:41,360
Speaker 3: looser and not as conformists as the Eisenhower years were

1500
01:26:41,439 --> 01:26:46,120
Speaker 3: in the early nineteen sixties, like, it was still very

1501
01:26:46,200 --> 01:26:51,599
Speaker 3: much left over nineteen fifties seeping into that period.

1502
01:26:52,200 --> 01:26:54,800
Speaker 2: Yeah, it is interesting. You know, we were talking about

1503
01:26:55,080 --> 01:26:57,559
Speaker 2: Trump at the top two and so much of like

1504
01:26:57,760 --> 01:27:03,000
Speaker 2: make America Great Again is sort of this idealized version

1505
01:27:03,040 --> 01:27:05,599
Speaker 2: of the nineteen fifties. I mean, the nineteen fifties constantly

1506
01:27:05,640 --> 01:27:09,400
Speaker 2: comes up with those sort of conversations of as the

1507
01:27:09,479 --> 01:27:13,040
Speaker 2: time that America was at its height.

1508
01:27:13,720 --> 01:27:15,559
Speaker 3: If they looked at if they looked at the taxt

1509
01:27:15,600 --> 01:27:17,719
Speaker 3: urates of the nineteen fifties, I feel like they would

1510
01:27:17,720 --> 01:27:21,680
Speaker 3: immediately realize how much of that, how much of a

1511
01:27:22,200 --> 01:27:25,840
Speaker 3: how much of a ride they're going into. It's like, oh, yeah,

1512
01:27:25,880 --> 01:27:29,559
Speaker 3: we used to fund things. We funded a whole space

1513
01:27:29,720 --> 01:27:31,240
Speaker 3: race race, we.

1514
01:27:31,240 --> 01:27:32,320
Speaker 2: Used to have libraries.

1515
01:27:32,640 --> 01:27:37,320
Speaker 1: Yeah, God, well, this is fantastic. I mean, honestly, I

1516
01:27:37,479 --> 01:27:42,360
Speaker 1: love anybody that comes to this section of the pod

1517
01:27:42,400 --> 01:27:45,439
Speaker 1: and kind of brings up something, you know, very specific,

1518
01:27:45,479 --> 01:27:47,920
Speaker 1: but then it's a kind of entry point into like

1519
01:27:48,760 --> 01:27:52,360
Speaker 1: I don't know, film culture, but also regular culture, and

1520
01:27:52,439 --> 01:27:54,880
Speaker 1: I don't know, I just I think it's fascinating thinking

1521
01:27:54,920 --> 01:28:00,639
Speaker 1: about the idea of the esthetic itself, like transcending the time,

1522
01:28:00,880 --> 01:28:03,400
Speaker 1: and it just kind of moves on and means different

1523
01:28:03,439 --> 01:28:06,840
Speaker 1: things to different movies, and I don't know, it's kind

1524
01:28:06,840 --> 01:28:07,240
Speaker 1: of cool.

1525
01:28:07,920 --> 01:28:12,040
Speaker 3: Yeah, And I definitely recommend The Girl Can't Help It.

1526
01:28:12,080 --> 01:28:15,280
Speaker 3: I recommend hearing John Waters talk about The Girl Can't

1527
01:28:15,280 --> 01:28:17,320
Speaker 3: Help It, which I think is on the criterion disc,

1528
01:28:18,439 --> 01:28:22,160
Speaker 3: but he talks about how much he loves the colors

1529
01:28:22,200 --> 01:28:25,320
Speaker 3: in the movie, and it's not even like technic color.

1530
01:28:25,439 --> 01:28:31,280
Speaker 3: It's deluxe color that was done and it's crazy. It's

1531
01:28:31,320 --> 01:28:33,679
Speaker 3: at some point it does look like a circ movie,

1532
01:28:33,760 --> 01:28:38,360
Speaker 3: even though obviously, again it's made by basically a comedian

1533
01:28:38,479 --> 01:28:42,880
Speaker 3: who again was also a very dirty old man. I

1534
01:28:44,960 --> 01:28:48,120
Speaker 3: often talk about how his movie Susan Slept Here is

1535
01:28:48,160 --> 01:28:51,120
Speaker 3: a much more disturbing Christmas movie than Eyes White Shut,

1536
01:28:51,160 --> 01:28:54,519
Speaker 3: and people don't believe me until they watch it and

1537
01:28:54,560 --> 01:28:55,640
Speaker 3: then they agree with me.

1538
01:28:56,880 --> 01:28:59,960
Speaker 1: Yeah, that was a TC Christmas classic. I remember programming

1539
01:29:00,200 --> 01:29:01,800
Speaker 1: that a bunch.

1540
01:29:01,880 --> 01:29:05,200
Speaker 3: So oh yeah, it's I still feel like it has

1541
01:29:05,280 --> 01:29:07,000
Speaker 3: to be on there. It has to be a tradition.

1542
01:29:07,120 --> 01:29:09,760
Speaker 3: You have to have Susan slept Here in outrage all

1543
01:29:09,800 --> 01:29:12,600
Speaker 3: the people who are expecting a nice, cuddly movie with

1544
01:29:12,680 --> 01:29:13,520
Speaker 3: Debbie Reynolds.

1545
01:29:16,000 --> 01:29:20,080
Speaker 1: Oh my god. Well, Kiten, I was wondering if maybe

1546
01:29:20,560 --> 01:29:23,000
Speaker 1: I know that you've got some projects coming up that

1547
01:29:23,080 --> 01:29:24,519
Speaker 1: you kind of don't want to talk about, you don't

1548
01:29:24,520 --> 01:29:26,960
Speaker 1: want to jinx, but is there any is there anything

1549
01:29:27,000 --> 01:29:29,599
Speaker 1: coming up that you want to plug or maybe you

1550
01:29:29,600 --> 01:29:32,000
Speaker 1: can just like plug where you're doing writing. I know

1551
01:29:32,040 --> 01:29:34,360
Speaker 1: you write for a Criterion channel and your you have

1552
01:29:34,439 --> 01:29:37,200
Speaker 1: your own substack. Do you have a substack?

1553
01:29:37,880 --> 01:29:42,959
Speaker 3: I don't write enough in my substack, mainly because I've

1554
01:29:43,000 --> 01:29:46,880
Speaker 3: been trying to start I'm actually i have a day

1555
01:29:47,040 --> 01:29:51,639
Speaker 3: job and I'm actually starting that relatively soon, so that

1556
01:29:51,800 --> 01:29:56,160
Speaker 3: has been kind of my focus. However, there's the baseball

1557
01:29:56,200 --> 01:29:59,040
Speaker 3: movie that actually came out this past year called Athus

1558
01:29:59,080 --> 01:30:02,320
Speaker 3: by Carson Lund that is coming out on Blu ray

1559
01:30:02,400 --> 01:30:05,200
Speaker 3: and my essay is actually included on the booklet of

1560
01:30:05,240 --> 01:30:10,920
Speaker 3: that and the again, I did the audio commentary with

1561
01:30:11,120 --> 01:30:14,840
Speaker 3: Willow on a movie that we didn't feature, that wasn't

1562
01:30:14,840 --> 01:30:18,080
Speaker 3: featured in our book, but we obviously had great affinity

1563
01:30:18,160 --> 01:30:22,200
Speaker 3: for called Ava Man, which you can buy on Blu

1564
01:30:22,320 --> 01:30:26,519
Speaker 3: ray disc. And I also have the essay Bookleate for

1565
01:30:26,720 --> 01:30:29,760
Speaker 3: Scarecrow in a Garden of Cucumbers that is also going

1566
01:30:29,800 --> 01:30:32,719
Speaker 3: to be coming that soon, So a lot of disc

1567
01:30:32,800 --> 01:30:36,040
Speaker 3: work forthcoming in that case.

1568
01:30:36,800 --> 01:30:38,880
Speaker 2: Well, thank you so much, Cayden. It was such a

1569
01:30:38,880 --> 01:30:40,000
Speaker 2: pleasure having you on the show.

1570
01:30:40,640 --> 01:30:41,640
Speaker 3: Thank you for having me on.

1571
01:30:42,680 --> 01:30:46,400
Speaker 1: Yeah, and everybody, definitely if you haven't checked it out,

1572
01:30:46,479 --> 01:30:49,800
Speaker 1: please get corpses Fools and Monsters, The History and the

1573
01:30:49,840 --> 01:30:54,320
Speaker 1: Future of Transnist in Cinema, written by Cayden and Willem

1574
01:30:54,360 --> 01:30:57,080
Speaker 1: McLay and it's an incredible book. Everybody should have it

1575
01:30:57,120 --> 01:31:00,920
Speaker 1: on the shelf. And yeah, thanks Caiden, we appreciate it,

1576
01:31:01,360 --> 01:31:02,240
Speaker 1: Thank you very much.

1577
01:31:12,000 --> 01:31:16,680
Speaker 2: All Right, phenomenal, great conversation with Kayden. Great to meet him.

1578
01:31:16,720 --> 01:31:18,920
Speaker 2: I never met him before, so that was fun. Now

1579
01:31:18,960 --> 01:31:21,320
Speaker 2: it's time for Employees' Picks, where we recommend a film

1580
01:31:21,360 --> 01:31:25,600
Speaker 2: based on the theme of our discussion, Millie, do you

1581
01:31:25,640 --> 01:31:26,200
Speaker 2: have a wreck?

1582
01:31:27,200 --> 01:31:28,960
Speaker 1: Yeah? I do have a wreck, but it's not a

1583
01:31:29,000 --> 01:31:31,599
Speaker 1: movie that's okay? Is that okay?

1584
01:31:32,280 --> 01:31:32,439
Speaker 2: Oh?

1585
01:31:32,479 --> 01:31:35,960
Speaker 1: Huh, okay, guys. Yeah, I'm going to recommend because you know,

1586
01:31:36,000 --> 01:31:39,559
Speaker 1: I was going down this road of sort of you know,

1587
01:31:39,680 --> 01:31:42,920
Speaker 1: the world of Jackass and Jeff Tremaine and some of

1588
01:31:42,960 --> 01:31:45,640
Speaker 1: the other stuff that came on MTV. I don't know

1589
01:31:45,640 --> 01:31:48,479
Speaker 1: if you ever saw this series, but I mean, of course,

1590
01:31:48,560 --> 01:31:50,920
Speaker 1: now one of the people in this series is gone

1591
01:31:50,960 --> 01:31:54,320
Speaker 1: on and done so many things. And I say that

1592
01:31:54,520 --> 01:31:56,880
Speaker 1: like my eyes rolling in the back of my head

1593
01:31:56,880 --> 01:32:02,519
Speaker 1: a little bit. But the og the original series Robin

1594
01:32:02,600 --> 01:32:05,440
Speaker 1: Big on MTV is fantastic.

1595
01:32:05,520 --> 01:32:09,960
Speaker 2: Yes, fantastic. Yes, And that was like I would say,

1596
01:32:10,040 --> 01:32:14,400
Speaker 2: an extension that got on the show the network because

1597
01:32:14,640 --> 01:32:17,880
Speaker 2: of Jackass, that's right, Yeah, yeah.

1598
01:32:17,960 --> 01:32:22,200
Speaker 1: I feel like Jeff Tremaine, well, he was a co

1599
01:32:22,320 --> 01:32:24,360
Speaker 1: creator of it, so he brought it. But it was

1600
01:32:26,120 --> 01:32:30,479
Speaker 1: goddamn like the original Robin Big show where they were

1601
01:32:30,479 --> 01:32:35,320
Speaker 1: like in the house together and Big and Rob would

1602
01:32:35,360 --> 01:32:38,519
Speaker 1: just like do these like dumb things, like, you know,

1603
01:32:38,720 --> 01:32:41,960
Speaker 1: just like these again kind of like because Rob Jrdick

1604
01:32:42,080 --> 01:32:44,599
Speaker 1: is a skater, of course they would just do like

1605
01:32:45,160 --> 01:32:47,240
Speaker 1: dumb They would go on like these dumb quests. I

1606
01:32:47,280 --> 01:32:49,960
Speaker 1: guess it would be these like dumb side quests. And

1607
01:32:51,160 --> 01:32:54,200
Speaker 1: I mean, I just remember this one about I think

1608
01:32:54,240 --> 01:32:58,240
Speaker 1: it was Big Black Christopher Boykan, who plays the kind

1609
01:32:58,280 --> 01:33:04,040
Speaker 1: of you know to Rob Dirdick, his bodyguard. Right, that's

1610
01:33:04,040 --> 01:33:07,559
Speaker 1: how they met. I was talking about how his ass

1611
01:33:07,640 --> 01:33:11,479
Speaker 1: sweats so bad that he puts paper towels in his

1612
01:33:11,600 --> 01:33:14,360
Speaker 1: crack and calls it, calls it a man pawn.

1613
01:33:16,360 --> 01:33:16,559
Speaker 2: Good.

1614
01:33:17,240 --> 01:33:19,000
Speaker 1: He's like, he just gotta put it in that man

1615
01:33:19,080 --> 01:33:22,400
Speaker 1: pon And I was like, that is too damn funny.

1616
01:33:23,200 --> 01:33:27,240
Speaker 2: What what is what is the name of Rob's show?

1617
01:33:27,439 --> 01:33:27,679
Speaker 3: Now?

1618
01:33:28,200 --> 01:33:33,280
Speaker 2: Oh god, it's it's like the only thing on MTY ridiculousness.

1619
01:33:34,240 --> 01:33:37,040
Speaker 1: Yeah. I mean, this is why I'm kind of rolling

1620
01:33:37,080 --> 01:33:39,680
Speaker 1: my eyes a little bit because I'm basically like, that

1621
01:33:39,920 --> 01:33:43,800
Speaker 1: show has been on forever and it is really much

1622
01:33:43,840 --> 01:33:45,960
Speaker 1: a nothing. I mean, it's basically him pulling up like

1623
01:33:46,080 --> 01:33:48,400
Speaker 1: tiktoks and viral videos and then he has a panel

1624
01:33:48,439 --> 01:33:52,080
Speaker 1: of people that I don't know who I'm assuming are influencers, uh,

1625
01:33:52,280 --> 01:33:54,760
Speaker 1: kind of riffing on him. But it's like he's been

1626
01:33:54,800 --> 01:33:58,160
Speaker 1: able to make the show for like seventy five years,

1627
01:33:58,200 --> 01:33:58,800
Speaker 1: it seems like.

1628
01:33:58,840 --> 01:34:00,720
Speaker 2: And there's like eight billion episode Yeah.

1629
01:34:00,760 --> 01:34:03,799
Speaker 1: Oh it began airing on August twenty ninth, two thousand

1630
01:34:03,760 --> 01:34:06,280
Speaker 1: and elevenin.

1631
01:34:07,680 --> 01:34:08,320
Speaker 2: Insane.

1632
01:34:08,680 --> 01:34:16,760
Speaker 1: Wow, dude, there's been I'm sorry, forty four seasons of it.

1633
01:34:17,520 --> 01:34:19,960
Speaker 2: That's crazy. I don't even understand what that means.

1634
01:34:20,479 --> 01:34:27,320
Speaker 1: Forty four seasons of this show. If you go on Wikipedia,

1635
01:34:27,479 --> 01:34:31,360
Speaker 1: it'll give you a chart, and it's basically like forty

1636
01:34:31,360 --> 01:34:35,719
Speaker 1: four seasons. Guess what some of them there's one hundred

1637
01:34:35,720 --> 01:34:37,960
Speaker 1: and nineteen episodes in one season. I mean, come on,

1638
01:34:38,240 --> 01:34:39,280
Speaker 1: are we serious with this?

1639
01:34:40,360 --> 01:34:40,839
Speaker 3: Wow?

1640
01:34:40,920 --> 01:34:43,680
Speaker 1: But anyway, Robin Big, I don't know. I think you

1641
01:34:43,720 --> 01:34:46,800
Speaker 1: could probably see it on YouTube or something, but it's

1642
01:34:48,000 --> 01:34:50,000
Speaker 1: it's really funny. I loved it when I came on.

1643
01:34:50,840 --> 01:34:53,640
Speaker 2: I can't tell you how much Jackass meant to me

1644
01:34:53,880 --> 01:34:56,720
Speaker 2: as a twelve year old boy. Everyone I was in

1645
01:34:56,880 --> 01:35:02,160
Speaker 2: school with started videotape themselves, like jumping off their roof

1646
01:35:03,000 --> 01:35:05,679
Speaker 2: or like jumping down the stairs. There were so many

1647
01:35:05,760 --> 01:35:09,720
Speaker 2: copycat videos, and in some ways it sort of inspired

1648
01:35:09,760 --> 01:35:12,320
Speaker 2: me to become a filmmaker. I mean, I wasn't doing

1649
01:35:12,360 --> 01:35:15,839
Speaker 2: that stuff, but I think that Jackass shows the power

1650
01:35:16,120 --> 01:35:21,840
Speaker 2: of what you can illustrate with very simple means. You know,

1651
01:35:21,960 --> 01:35:25,760
Speaker 2: you do not need that. You can just if you

1652
01:35:25,760 --> 01:35:28,200
Speaker 2: have an iPhone, you can make a movie, you know.

1653
01:35:30,040 --> 01:35:33,960
Speaker 2: And so I love Jackass and one of the things,

1654
01:35:34,000 --> 01:35:36,400
Speaker 2: and I love the show Jackass and one of the

1655
01:35:36,439 --> 01:35:40,200
Speaker 2: things that what they did they did make a TV movie.

1656
01:35:40,800 --> 01:35:43,479
Speaker 2: It's technically a TV movie, but it's also just an

1657
01:35:43,520 --> 01:35:50,240
Speaker 2: elongated episode of Jackass called Jackass Gumball three thousand Rally Special.

1658
01:35:50,439 --> 01:35:51,200
Speaker 2: Did you ever watch this?

1659
01:35:51,400 --> 01:35:53,519
Speaker 1: I never saw it.

1660
01:35:53,520 --> 01:35:57,160
Speaker 2: It's incredible, basically, and it's like a it's different than

1661
01:35:57,200 --> 01:36:00,880
Speaker 2: the rest of the show. It's Johnny Knock, Phil Steve O,

1662
01:36:01,000 --> 01:36:05,400
Speaker 2: and Chris Pontius. It's just those three guys and they

1663
01:36:05,640 --> 01:36:08,840
Speaker 2: are taking a part of Gumball three thousand, which is

1664
01:36:08,920 --> 01:36:14,280
Speaker 2: like this race across Europe, and it's like a bunch

1665
01:36:14,280 --> 01:36:17,760
Speaker 2: of it's them driving across Europe, partying with like all

1666
01:36:17,760 --> 01:36:20,559
Speaker 2: these other guys doing the Gumball three thousand, and it's

1667
01:36:20,840 --> 01:36:24,160
Speaker 2: just great because it gets to you get to hang

1668
01:36:24,200 --> 01:36:26,080
Speaker 2: out with them a little bit more than and they're

1669
01:36:26,080 --> 01:36:28,599
Speaker 2: doing stupid shit obviously, but you get to hang out

1670
01:36:28,600 --> 01:36:31,600
Speaker 2: with them a little bit more than these just short segments,

1671
01:36:32,120 --> 01:36:35,400
Speaker 2: and uh, it's a delight. And you can watch that

1672
01:36:35,479 --> 01:36:40,000
Speaker 2: on Pyramount Plus or Prime. It's out there, but definitely

1673
01:36:40,040 --> 01:36:42,799
Speaker 2: check that out. It's really funny. It's like forty minutes,

1674
01:36:42,840 --> 01:36:46,480
Speaker 2: I think for an hour. But that's my that's my recommendation,

1675
01:36:46,560 --> 01:36:49,120
Speaker 2: that's my staff pick or my employee's pick.

1676
01:36:50,960 --> 01:36:54,000
Speaker 1: I love that we're still pulling from this universe for

1677
01:36:54,080 --> 01:37:00,160
Speaker 1: our recommendations. But what a fun episode. I'm really we

1678
01:37:00,280 --> 01:37:02,479
Speaker 1: got to go in hard on this. I think it's

1679
01:37:02,479 --> 01:37:05,840
Speaker 1: a good summer vibe too. I don't know why, even

1680
01:37:05,880 --> 01:37:09,639
Speaker 1: though I guess you could pull pranks year round well,

1681
01:37:09,680 --> 01:37:14,120
Speaker 1: and I also think it's funny just to cap off

1682
01:37:14,120 --> 01:37:17,559
Speaker 1: this episode that you and I have gone on record

1683
01:37:17,680 --> 01:37:20,000
Speaker 1: several times about hating to be pranked.

1684
01:37:20,640 --> 01:37:21,880
Speaker 2: Yeah, I'm anti prank.

1685
01:37:22,080 --> 01:37:26,680
Speaker 1: I fucking hate pranks, Like, don't prank me. If you

1686
01:37:26,840 --> 01:37:29,559
Speaker 1: prank me, I'll probably we'll never talk to you again.

1687
01:37:29,600 --> 01:37:33,160
Speaker 2: And I'm not even joking. I would never.

1688
01:37:33,439 --> 01:37:35,920
Speaker 1: However, we love the Jackass movies. What's up with that?

1689
01:37:36,880 --> 01:37:40,519
Speaker 2: Yeah, it's something internal, something deep within.

1690
01:37:40,920 --> 01:37:43,840
Speaker 1: I don't know, maybe what we don't want for ourselves

1691
01:37:43,840 --> 01:37:45,440
Speaker 1: we want an others who knows.

1692
01:37:45,840 --> 01:37:47,880
Speaker 2: I'm scared to go down this rabbit hole. I don't

1693
01:37:48,120 --> 01:37:49,960
Speaker 2: cover some deep truth about myself.

1694
01:37:50,040 --> 01:37:52,360
Speaker 1: I know. I feel like we've analyzed ourselves too much already.

1695
01:37:52,600 --> 01:37:56,519
Speaker 2: But you know, it's the funny thing though, the jack Yeah,

1696
01:37:56,680 --> 01:38:01,679
Speaker 2: it's like they're almost not pranks most of the time.

1697
01:38:02,640 --> 01:38:05,719
Speaker 2: Like there are obviously like pranks where they're like tricking someone,

1698
01:38:05,800 --> 01:38:08,639
Speaker 2: but most of them are like this in between type

1699
01:38:08,680 --> 01:38:11,360
Speaker 2: of like jackass thing. I don't know, I don't know.

1700
01:38:11,360 --> 01:38:13,120
Speaker 2: It's it's hard to put your finger on.

1701
01:38:13,320 --> 01:38:15,439
Speaker 1: You know. Yeah, Well, all I know is that if

1702
01:38:15,479 --> 01:38:18,519
Speaker 1: my friends got together and shave their pubes and then

1703
01:38:18,600 --> 01:38:23,040
Speaker 1: put them in a box and then made it made

1704
01:38:23,120 --> 01:38:25,160
Speaker 1: someone's spirit gum it to my face, I'd be so

1705
01:38:26,200 --> 01:38:28,320
Speaker 1: I would never talk to those people again.

1706
01:38:28,760 --> 01:38:30,400
Speaker 2: Yeah, that would be a tough one to get over.

1707
01:38:30,479 --> 01:38:30,880
Speaker 2: I think.

1708
01:38:34,240 --> 01:38:34,439
Speaker 3: Well.

1709
01:38:34,439 --> 01:38:39,680
Speaker 1: On that note, here's the deal, folks. If you're in

1710
01:38:39,800 --> 01:38:42,840
Speaker 1: need of anything, and I mean anything from us, a

1711
01:38:42,960 --> 01:38:45,800
Speaker 1: specific a recommendation, if you want film advice, if you

1712
01:38:45,840 --> 01:38:48,120
Speaker 1: want to talk about a director of filmography, if you

1713
01:38:48,200 --> 01:38:53,839
Speaker 1: got a film grape, if you got a film consensual grope,

1714
01:38:54,439 --> 01:38:56,759
Speaker 1: if you want to just talk about who your favorite

1715
01:38:56,760 --> 01:38:59,400
Speaker 1: members of Jackass are, we are at Deer Movies at

1716
01:38:59,439 --> 01:39:01,320
Speaker 1: exactly where media dot com.

1717
01:39:01,400 --> 01:39:02,080
Speaker 2: That's right.

1718
01:39:03,080 --> 01:39:06,240
Speaker 1: And also, if you want to leave us a voicemail,

1719
01:39:06,280 --> 01:39:08,360
Speaker 1: we would love it because we love hearing your voice.

1720
01:39:08,800 --> 01:39:12,160
Speaker 1: Record it on your phone, keep it under a minute,

1721
01:39:12,200 --> 01:39:15,479
Speaker 1: and again email it too. Dear Movies at exactly rightmedia

1722
01:39:15,479 --> 01:39:16,080
Speaker 1: dot com.

1723
01:39:16,400 --> 01:39:18,879
Speaker 2: That's right. And you can follow us on our socials

1724
01:39:18,920 --> 01:39:22,400
Speaker 2: at Deer Movies I Love You on Instagram and Facebook.

1725
01:39:22,760 --> 01:39:27,480
Speaker 2: Our letterbox handles are at Casey leo'brien and at Mdcherco.

1726
01:39:27,840 --> 01:39:29,720
Speaker 2: You can listen to Deer Movies I Love You on

1727
01:39:29,760 --> 01:39:33,840
Speaker 2: the iHeartRadio app, Apple Podcasts or wherever you get your podcasts.

1728
01:39:33,880 --> 01:39:40,080
Speaker 2: And uh yeah, please rate and review the show positively, preferably.

1729
01:39:39,840 --> 01:39:44,760
Speaker 1: Thank you, we'd appreciate it. Let's keep this summer train

1730
01:39:44,960 --> 01:39:48,400
Speaker 1: rolling shows a fun. What's going on next week?

1731
01:39:49,040 --> 01:39:53,639
Speaker 2: Next week we're talking about Jurassic World Rebirth from twenty

1732
01:39:53,680 --> 01:39:57,519
Speaker 2: twenty five, and just the concept of summer blockbusters we're

1733
01:39:57,560 --> 01:40:00,639
Speaker 2: going to discuss as well. Yes, dive in.

1734
01:40:00,680 --> 01:40:03,760
Speaker 1: Another new movie. So if you don't want spoilers, maybe

1735
01:40:03,800 --> 01:40:04,080
Speaker 1: you know.

1736
01:40:05,920 --> 01:40:09,439
Speaker 2: What could you spoil? Abutch a Jurassic Park movie.

1737
01:40:10,200 --> 01:40:11,640
Speaker 1: So there's this dinosaur.

1738
01:40:12,000 --> 01:40:13,000
Speaker 2: There's a dinosaur.

1739
01:40:14,000 --> 01:40:16,639
Speaker 1: Well, that'll be fun. Anyway, you should listen even if

1740
01:40:16,640 --> 01:40:18,599
Speaker 1: you don't, if you haven't seen it or don't want

1741
01:40:18,640 --> 01:40:20,000
Speaker 1: to see it, just listen. Why not?

1742
01:40:20,600 --> 01:40:25,360
Speaker 2: Absolutely one agree? All right, Mellie, I'm gonna go jump off.

1743
01:40:26,680 --> 01:40:29,160
Speaker 2: I'm gonna go jump out of a moving car and

1744
01:40:29,439 --> 01:40:30,960
Speaker 2: into a bush.

1745
01:40:31,160 --> 01:40:34,800
Speaker 1: I'm going to figure out what's going on with my

1746
01:40:34,880 --> 01:40:38,120
Speaker 1: leg and hopefully we'll get gangreen and then I guess

1747
01:40:38,200 --> 01:40:39,679
Speaker 1: I'll hopefully see you next week.

1748
01:40:40,160 --> 01:40:40,760
Speaker 2: Sounds good?

1749
01:40:40,840 --> 01:40:45,880
Speaker 1: Okay, Bye bye bye. This has been an exactly right

1750
01:40:45,960 --> 01:40:49,960
Speaker 1: production hosted by me Millie to Cherco and produced by

1751
01:40:49,960 --> 01:40:51,640
Speaker 1: my co host Casey O'Brien.

1752
01:40:51,840 --> 01:40:55,599
Speaker 2: This episode was mixed by Tom Bryfocal. Our associate producer

1753
01:40:55,640 --> 01:40:59,000
Speaker 2: is Christina Chamberlain. Our guest booker is Patrick Cottner, and

1754
01:40:59,080 --> 01:41:03,000
Speaker 2: our artwork is Vanessa Ilac. Our incredible theme music is

1755
01:41:03,040 --> 01:41:05,920
Speaker 2: by the best band in the entire world, The Softies.

1756
01:41:06,200 --> 01:41:10,120
Speaker 2: Thank you to our executive producers Karen Kilgareff, Georgia Hardstark,

1757
01:41:10,280 --> 01:41:11,719
Speaker 2: Daniel Kramer and Millie.

1758
01:41:11,720 --> 01:41:15,960
Speaker 1: To Jerico, we love you. Goodbye, Becer