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

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Speaker 1: You Did. My name is Millie to Jericho, I'm Daniel Henderson,

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Speaker 1: and what's.

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Speaker 2: Up, girl?

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Speaker 3: What's up? What is up? What is up? Just cruising?

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Speaker 3: I had a moment of intense reflection this week and

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Speaker 3: it was a real city mouse country mouse moment, City

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Speaker 3: Sadie Country Sadie from big business moment. Thanks for speaking

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Speaker 3: in my language. I appreciate that. I gotta cover the spread, you,

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Speaker 3: I gotta cover the spread, So over our hiatus. I

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Speaker 3: went to London for a week and it was a

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Speaker 3: little scary to think about international travel for the first

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Speaker 3: time in a long time, but you know, handled it

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Speaker 3: well and just did my best to wear my masks

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Speaker 3: and keep myself protected on these streets. Yes, and I

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Speaker 3: really didn't have a plan. I just went to London

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Speaker 3: because I wanted to be not in America for a week.

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Speaker 2: You like, lived there at some point. Am I wrong

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Speaker 2: about that?

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Speaker 3: Or you just yeah? I lived in Reading, which is

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Speaker 3: not too far away. But I lived in Reading for

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Speaker 3: a little while, and I've just I've been to London

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Speaker 3: a lot, like it's one of my It's probably my

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Speaker 3: second favorite city compared to New York. New York's always

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Speaker 3: going to be number one in my heart, but London

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Speaker 3: is absolutely second. I also did post something on Instagram,

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Speaker 3: just in conversation about the worst places I've also ever lived,

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Speaker 3: and that list number one Seattle, number two, Los Angeles,

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Speaker 3: and number three the apartment I had in Fairfield, California

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Speaker 3: that had interior slugs. So Seattle and LA are worse

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Speaker 3: than interior slugs.

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Speaker 1: I had no idea that there were outside slugs and

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Speaker 1: inside slugs.

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Speaker 3: They're mostly outside slugs that find their way inside.

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Speaker 2: Oh okay, so there's.

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Speaker 1: Nothing patently different about them. They're just sort of like,

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Speaker 1: we're coming in, yeah, and we're going to live here.

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Speaker 3: They're the same kind of disgusting, and they're like, we

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Speaker 3: have found a breach and we are taking advantage of it,

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Speaker 3: and we're gonna eat your cat's food and leave our

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Speaker 3: slime trail. Oh yeah, that is horrifying, and leave our

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Speaker 3: slime trail all over the living room floor of your

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Speaker 3: disgusting little studio apartment where when you sit on the

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Speaker 3: toilet your knees touch the sink.

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Speaker 1: I don't know why it's so disturbed to me when

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Speaker 1: insects or bugs eat pet food. I don't know why

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Speaker 1: that freaks me out so much.

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Speaker 3: Oh because it's vile, Because it is terrifyingly vile. It

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Speaker 3: should freak you out.

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Speaker 2: Oh my god, I'm sorry to interrupt, but.

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Speaker 3: No, please, I mean, interior slugs is a lot to ingest,

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Speaker 3: especially on the fly, Like you didn't know you were

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Speaker 3: going to get me getting that information on the fly.

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Speaker 2: I saw what you did there.

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Speaker 3: Thank you, thank you.

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Speaker 1: The name of our podcast, that's not the name of

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Speaker 1: our pod, it's the spirit.

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Speaker 3: Of our pod. And so so yeah, Like I've lived

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Speaker 3: in horrible places, I lived in great places. I love London.

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Speaker 3: It is one of my favorite cities. I love British TV,

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Speaker 3: I love most British things. I like British people. And

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Speaker 3: it was just really nice. And I think the cool

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Speaker 3: thing about being there is that I feel like the

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Speaker 3: world has changed now in a way where people people

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Speaker 3: were very charming and charmed. So I think everyone was

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Speaker 3: really excited to talk and to kind of meet new people,

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Speaker 3: and like they would hear my accent and you know,

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Speaker 3: all of a sudden we'd be in a conversation. I

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Speaker 3: got in a conversation. My friend Amy was with me.

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Speaker 3: She lives in Saint Louis. So she came over for

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Speaker 3: the same week and we were kind of walking around

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Speaker 3: and I saw this adorable little kid dancing around on

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Speaker 3: the sidewalk and I was.

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Speaker 2: Like, I love your shoes.

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Speaker 3: Your dress is so cool. And then we just ended

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Speaker 3: up talking to her parents and this little kid for

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Speaker 3: like thirty minutes, like exchanged email addresses. By the end

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Speaker 3: of it, her dad was a surgeon, like this really

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Speaker 3: cool black guy from Kansas, I think something like that. Wow,

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Speaker 3: and her mom was like a cookbook author, like they

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Speaker 3: were just the coolest people. Yeah. And by the end

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Speaker 3: of this conversation that we just randomly struck up on

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Speaker 3: the sidewalk, we were like buddies and we have like

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Speaker 3: contact with each other.

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Speaker 2: That's so charming.

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Speaker 3: Oh my god. Yeah. So I think it's just part

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Speaker 3: of it is like the state of the world, and

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Speaker 3: part of it is just that London's great. Yeah, I

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Speaker 3: just love it.

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Speaker 1: I know I've never been, which is shameful, but I

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Speaker 1: do watch a lot of Gardeners World, and yeah, I

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Speaker 1: do love like everybody that builds like those really cute

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Speaker 1: gardens in London, Like, yeah, it almost looks like a

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Speaker 1: townhouse or something. But a lot of people have those

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Speaker 1: little backyard garden things and that's so sweet, and I'm like,

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Speaker 1: I want to go there.

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Speaker 3: I want to Oh, we're going. Yes, don't worry, we

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Speaker 3: are going. Now that I've done this, I've done the

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Speaker 3: initial trip, and I feel like it's possible to go

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Speaker 3: and protect yourself and be in the world a little bit.

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Speaker 3: We're gonna go. We'll go for sure.

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Speaker 2: That is a sealed document contract right now.

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Speaker 3: Oh yeah, it is a verbal contract that we're making

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Speaker 3: on air that I want everyone to hold us to

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Speaker 3: because Millie needs to go to London for sure. Yes,

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Speaker 3: adopt me. I'll go. Oh the music alone, We're going

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Speaker 3: to go. So I went and had this great week

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Speaker 3: in London, and then I came home, you know where

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Speaker 3: I live in the woods and in the country, and

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Speaker 3: I was just really ruminating on not just the difference

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Speaker 3: in tone, but there's something that I've started noticing around

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Speaker 3: here that I don't think is specific to this town.

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Speaker 3: I think is specific to country life. Where it started

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Speaker 3: to pick up on these little moments of country revenge.

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Speaker 3: Huh yeah. Like my first inkling of this was I

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Speaker 3: was doing my usual drive to get coffee from Dunkin Donuts.

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Speaker 3: And I've passed this field that I pass all the time,

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Speaker 3: and it's usually just empty, like it's full of farm stuff.

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Speaker 3: The only thing that grows there is produce. This time

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Speaker 3: I drove by and I saw somebody's garbage can from

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Speaker 3: their home in the middle of the field. Oh, which

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Speaker 3: can only be a revenge tactic. Like somebody dragged this

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Speaker 3: garbage can from somebody's house and was like fuck you

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Speaker 3: and put it in the middle of a field.

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Speaker 1: I hope it was the garbage people. I hope that

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Speaker 1: they were like, I'm fucking over this shit. Like whatever

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Speaker 1: it is they keep throwing away in terrier slugs and

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Speaker 1: putting them in these cans, and fuck this, we're putting

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Speaker 1: this can in a field.

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Speaker 3: It's like Richard Scary their truck over the wheat. Wow.

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Speaker 1: What a site though, What a site to like just

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Speaker 1: be driving or whatever and just look at a field

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Speaker 1: and see a giant garbage can in the middle of it.

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Speaker 3: Yes, And it made me think, like that would fuck

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Speaker 3: up my life. If somebody stole my garbage can, I'd

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Speaker 3: be fucked. What am I gonna do? You have to

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Speaker 3: buy those things from the garbage company, I'd be fucked.

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Speaker 3: Oh and they're not cheap. They're not cheap. And it

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Speaker 3: made me laugh like instantly because the absurdity of it,

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Speaker 3: but also just thinking about the revenge of it. And

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Speaker 3: then I get totoken donuts and I don't know who

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Speaker 3: this car belongs to, but there is a champagne colored

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Speaker 3: like old school Chevy suburban style suv kind of old truck.

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Speaker 3: And I know, I just do a lot of words

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Speaker 3: at you, but it's champagne colored, it's boxy, and it's old, sure,

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Speaker 3: and it's parked there regularly, so I think it belongs

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Speaker 3: to one of the employees. I have noticed that above

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Speaker 3: the rim of the front tire on the driver's side,

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Speaker 3: the panel is riddled with bullet holes.

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Speaker 2: Oh shit, just like.

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Speaker 3: Ten bullet holes over the wheelwheel of this fucking sire.

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Speaker 2: So what is the story there that you think? What

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Speaker 2: do you think happened?

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Speaker 3: I think again country revenge? Yes, Like, did you drive

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Speaker 3: your truck to somebody's house unexpectedly and they just popped off?

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Speaker 3: Did you get this car at a police auction? Like?

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Speaker 3: What is the story with this truck?

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Speaker 2: Listen?

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Speaker 1: I don't know if it's because I just decided to

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Speaker 1: start a justified rewatch. But in my mind, I'm like,

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Speaker 1: is this like Arlow Givens and some other country thug

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Speaker 1: having a shootout because of the drug trade in the

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Speaker 1: holler or whatever.

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Speaker 3: I kind of hope that that's the bad because I

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Speaker 3: would love somebody just being like, I'm not fixing this,

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Speaker 3: Like I want you to look at the damage of

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Speaker 3: this and know that I mean business every time we

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Speaker 3: fight about this holler. I can't even imagine that.

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Speaker 1: I can't even imagine like just seeing a car full

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Speaker 1: of bullet holes and just being like, well, I'm just

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Speaker 1: driving this around like I'm yeah, my car.

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Speaker 3: And they are objectively bullet holes, like they cannot be

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Speaker 3: anything else.

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Speaker 1: Yeah, it's not like rocks that have made dents. They're

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Speaker 1: like fully formed holes, right.

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Speaker 3: They are fully formed, perforated holes the size of bullets.

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Speaker 3: So I have so many questions. But I've never seen

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Speaker 3: anyone get into or out of this vehicle. Yeah, And

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Speaker 3: I don't feel like stomping in there and being like,

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Speaker 3: whose cars in the parking lot? All? Shut up?

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Speaker 1: I demand the story now?

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Speaker 2: Is this country revenge or not? Tell me?

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Speaker 3: And it's also the parking lot is also adjacent to

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Speaker 3: a couple of restaurants, So it might not even be

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Speaker 3: anybody at the dunkin Donuts, could be somebody who works

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Speaker 3: at one of the restaurants. I've worked at enough restaurants

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Speaker 3: to know I'm not asking a fucking chef with a

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Speaker 3: bullet riddled car what's going on?

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Speaker 2: Tell me about it.

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Speaker 1: Sometimes a rogue car is just a roague car, and

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Speaker 1: you can't go any further because if you go down

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Speaker 1: the road, you may find more of a story than

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Speaker 1: you ever wanted, right, oh.

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Speaker 3: Completely, Like you're gonna all that truck and you're gonna

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Speaker 3: pull up to the house and the first car you're

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Speaker 3: gonna see is one of those like garbage cars or

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Speaker 3: just has stuff in the back windows, like cabbage patch

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Speaker 3: kids and shit, and then you're gonna keep going. It's

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Speaker 3: gonna be like there's always a cabbage Patch kids smashed

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Speaker 3: against the window.

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Speaker 1: Multiple cabbage Patch kids is really scary.

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Speaker 3: You've been driving this fucking car since goddamn nineteen eighty six.

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Speaker 3: It makes sense to me a little bit, because like,

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Speaker 3: there are a lot of people literally living out of

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Speaker 3: their cars in La absolutely, but there are also a

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Speaker 3: lot of people who are just like I cannot walk

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Speaker 3: the mile back to my apartment to get these papers

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Speaker 3: that I need for work, So they just live in

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Speaker 3: my car.

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Speaker 1: Now, Yeah, I would honestly be that person. However, I

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Speaker 1: have this whole instinct because of living in Atlanta for

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Speaker 1: so long, that you just don't leave anything in your

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Speaker 1: car exactly.

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Speaker 2: I leave virtually nothing in my car at this point.

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Speaker 3: Yeah, my car's empty. Yeah, empty, empty, empty, Like even

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Speaker 3: if you pull up the little piece in the middle,

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Speaker 3: you might find some hand sanitizer. Yeah, so if you're

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Speaker 3: busting into my car, you're gonna get the cord that

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Speaker 3: I used to attach my phone to No phone, nothing

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Speaker 3: else is in there, and some hand sanitizer and a

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Speaker 3: CD because my car does have a CD player. Yeah,

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Speaker 3: a CD of Day Last Soul is dead because they're

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Speaker 3: not streaming. Yes, so if I want to listen to

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Speaker 3: Day Last Soul in my car, I have to put

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Speaker 3: on the CD.

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Speaker 4: God.

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Speaker 1: I used to keep CDs in my car. Oh my God, Like,

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Speaker 1: now you're just taking me back. You remember those wallets

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Speaker 1: like the flip down the flip down wallet from the visor,

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Speaker 1: and it only was supposed to hold ten discs and

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Speaker 1: there's like forty five discs in there, just smash real tight.

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Speaker 3: That's the top ten. And you're like, I'm gonna scratch

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Speaker 3: all of my favorite fucking CDs because they're all going

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Speaker 3: in there.

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Speaker 1: Oh my god. I remember when I was in high school.

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Speaker 1: I used to like my dad would be like, go

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Speaker 1: clean out your car. It's disgusting in here. And I

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Speaker 1: was just all I was doing was vacuuming up sharves

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Speaker 1: of jewel cases, like the little ends where they attach,

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Speaker 1: you know, I know those notes, like those little broken

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Speaker 1: fucking ends. I'm just like, this entire car is filled

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Speaker 1: with did jewel cases from CDs?

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Speaker 3: I know those nubs?

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Speaker 4: Well?

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Speaker 3: No, And you're like, this is a job for a

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Speaker 3: shop back. This is not a job for a home vacuum.

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Speaker 3: This is a job for an industrial shop back, because

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Speaker 3: you're just sucking up your friends, leaving like cups in

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Speaker 3: there and like.

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Speaker 2: Smashed French fries.

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Speaker 1: Ugh.

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Speaker 3: Yeah.

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Speaker 1: If the kids of today knew the indignity of vacuuming

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Speaker 1: jewel case nubs, then we would get along. I feel

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Speaker 1: like the simple fact that she didn't experience it means

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Speaker 1: we're always gonna have differences.

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Speaker 3: That's the generational divide. That's it. In a nutshell, you've

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Speaker 3: never vacuumed up a nub that you have also in

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Speaker 3: the summertime, stepped on in your bare feet.

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Speaker 1: Yes, or alternately, never experienced the sensation of leaving a

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Speaker 1: record store in your car and trying to unwrap a

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Speaker 1: brand new CD while you're driving.

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Speaker 3: Oh please, impossible, Like I feel like you would see

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Speaker 3: that exact situation on Wipeout or something like some games.

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Speaker 3: Because it's impossible. Yes, and we all tried it, yeah,

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Speaker 3: and we're like, you're biting it and you're trying to

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Speaker 3: get in there with your nails and you're fucking doing

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Speaker 3: fifty down the highway and you're like, I want to

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Speaker 3: hear this song while I'm driving.

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Speaker 1: Get your teeth in the folds, in the folds of

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Speaker 1: the plastic on the corner.

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Speaker 3: Try to run a nail down that crease where the

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Speaker 3: case opened.

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Speaker 1: Yes, get that crease going, Get a nail in the crease.

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Speaker 1: And then I did not know this. We're really going

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Speaker 1: down a path here. I'm just I'm just saying I

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Speaker 1: apologize in advance. But like, it wasn't until I actually

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Speaker 1: worked in the record store that did I figure out

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Speaker 1: that you can actually remove one of the ends of

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Speaker 1: the CD cover to take that sticky plastic tape off

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Speaker 1: it off the top that used to seal it.

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Speaker 3: You know what I mean.

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Speaker 2: Yeah, because I used to just sit there and try

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Speaker 2: to pick it off.

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Speaker 3: Yeah.

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Speaker 1: It took me like forty five minutes just to get

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Speaker 1: that plastic, sticky tape that we.

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Speaker 3: Used to come on CDs.

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Speaker 1: And I'm like, no, all, you gotta just flip this

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Speaker 1: up and just remove the tape.

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Speaker 3: It's easy. I cannot tell you how many times I

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Speaker 3: got so frustrated that I would just try to open

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Speaker 3: the case and see if the pressure from the case

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Speaker 3: and the sharp edge of the case would do the

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Speaker 3: rest of the opening for me, Like I'm trying to

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Speaker 3: open like a cellophane case because I was so frustrated,

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Speaker 3: Like I cannot sit in this car in this parking

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Speaker 3: lot for another twenty minute trying to get into this shit.

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Speaker 3: My key can't penetrate it. They had like military grade

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Speaker 3: plastic on these fucking CDs, Like we could not get

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Speaker 3: in there.

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Speaker 1: I know, and the kids these days, they just don't

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Speaker 1: know got it so easy.

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Speaker 3: But I will also say, before we start getting DMS,

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Speaker 3: I am definitely drawing a correlation between what I consider

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Speaker 3: a garbage car and a hoarder. Hoarding is a psychological issue, sure,

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Speaker 3: and I know that I'm talking about a lazy person's

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Speaker 3: garbage car. There's a valley between those two things.

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Speaker 1: For me, totally agree. I have been in a garbage

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Speaker 1: car many times.

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Speaker 3: A don't write anybody out.

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Speaker 1: Yeah, no, I'm not gonna write anybody out. I mean,

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Speaker 1: I do know exactly whose cars they are, but I

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Speaker 1: won't name names. But the garbage cars are it'll way.

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Speaker 1: It's sort of like, well all bets are off then,

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Speaker 1: so you'd go then come pick you up or whatever,

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Speaker 1: and you'd be like, oh, well, this car is fucking trash.

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Speaker 1: So I guess it doesn't really matter if I like

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Speaker 1: blow my nose and then I just leave this tissue

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Speaker 1: in the door thing because it's not gonna matter. But

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Speaker 1: it was a lot of times, like especially in high school,

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Speaker 1: when I was getting in garbage cars, like there were smokers. Yeah,

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Speaker 1: that was a huge contribution to like the garbage part,

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Speaker 1: Like oh yeah, smushed out cigarette butts, holes in the headliner,

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Speaker 1: like the top, yeah, just shit everywhere, so empty packets

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Speaker 1: of cigarettes and like yeah, smashed cellophane from those sticking.

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Speaker 3: To your feet when you get out to your shoes.

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Speaker 3: We were a generation of filth. I just want to say,

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Speaker 3: like there was the greatest generation Boomers, and then dirt bags.

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Speaker 3: We were the dirt bag generation and it carries on

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Speaker 3: to this day in many of our behaviors. And it's fine.

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Speaker 3: It's fine. You can forget Gen X because we're fucking disgusting.

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Speaker 1: Garbage car dirt bags unite, is all I'm saying.

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Speaker 2: So we are in our last week of Black History Month.

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Speaker 3: Yeah, it's been a good one, it has.

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Speaker 1: Last week was quite a doozy. I meant to ask you,

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Speaker 1: did you watch the Tragedy of Macbeth yet?

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Speaker 3: Have you seen it yet?

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Speaker 4: You know?

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Speaker 1: A hey girl, I wish I tried.

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Speaker 2: I tried. You know how I am was Shakespeare? I

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Speaker 2: have a mental.

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Speaker 3: Block, I know. And it's like they did you, Derney

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Speaker 3: by putting two of your favorite, like two great actors

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Speaker 3: in a Shakespearean movie.

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Speaker 2: Listen, the entire lineage of that movie was for me.

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Speaker 1: I'm like the Cohen Brothers, Francis McDorman, Denzel this is great.

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Speaker 3: But why why are we doing.

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Speaker 1: The Shakespeare language? Because it's like I can't figure it out.

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Speaker 1: I had the subtitles on, and I was like, I

351
00:15:51,960 --> 00:15:53,160
Speaker 1: don't know what this shit means.

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Speaker 2: I'm trying like Denzel was so hot.

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Speaker 1: I'm sorry, I hate subjectify our king, but I'm just

354
00:16:00,480 --> 00:16:03,040
Speaker 1: saying he was so hot with his like salt and pepper.

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Speaker 2: I was like, oh my god, Oh I wish I

356
00:16:05,800 --> 00:16:07,840
Speaker 2: could understand what the fuck is going on right now.

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Speaker 3: I want to so bad ah ah. I absolutely love

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Speaker 3: that journey for you. It is unsurprising and lovely and hilarious.

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00:16:24,760 --> 00:16:26,640
Speaker 3: And I did think of you when I was watching it,

360
00:16:26,640 --> 00:16:28,920
Speaker 3: because I'm like, this movie is so good. I wonder

361
00:16:28,920 --> 00:16:35,080
Speaker 3: if Millie's gonna dip in a toe. It's so good.

362
00:16:35,120 --> 00:16:37,880
Speaker 3: And I'm like, there's no time of day that you

363
00:16:37,920 --> 00:16:39,680
Speaker 3: could watch it that I think it would make more

364
00:16:39,760 --> 00:16:42,720
Speaker 3: sense to you. Like, watch it in the morning doesn't help.

365
00:16:42,760 --> 00:16:45,720
Speaker 3: Watching every Pray go to bed doesn't help. I truly

366
00:16:45,800 --> 00:16:47,840
Speaker 3: think it's gonna be one of those films that you

367
00:16:47,960 --> 00:16:50,880
Speaker 3: have to put on in the background and just ingest

368
00:16:50,920 --> 00:16:53,200
Speaker 3: it by osmosis, and then one day you'll be like,

369
00:16:53,320 --> 00:16:55,400
Speaker 3: oh no, I totally get it, Like I understand. Yeah,

370
00:16:55,480 --> 00:16:58,320
Speaker 3: Like turn it into an audiobook, record it and just

371
00:16:58,320 --> 00:16:59,720
Speaker 3: put it on when you go to sleep at night,

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00:16:59,760 --> 00:17:01,800
Speaker 3: so when you wake up one day, like three months later,

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00:17:01,840 --> 00:17:03,960
Speaker 3: you'll be like, no, I totally understand what they're saying.

374
00:17:04,040 --> 00:17:04,280
Speaker 3: I get.

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00:17:05,119 --> 00:17:07,399
Speaker 1: Or it's gonna have to be the thing where I

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00:17:07,560 --> 00:17:10,399
Speaker 1: watch ten minutes at a time over the course of

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Speaker 1: several months.

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00:17:11,400 --> 00:17:14,480
Speaker 3: Which is always a great way to watch them.

379
00:17:15,800 --> 00:17:18,119
Speaker 1: All Right, I gotta do my ten minutes today, and

380
00:17:18,200 --> 00:17:20,080
Speaker 1: I watched the ten minutes of the movie that I'm like,

381
00:17:20,080 --> 00:17:23,200
Speaker 1: all right, so now I gotta look up everything, figure

382
00:17:23,200 --> 00:17:23,960
Speaker 1: out what this is.

383
00:17:24,040 --> 00:17:26,880
Speaker 2: Do the translation. Is there a translation app.

384
00:17:26,680 --> 00:17:30,200
Speaker 1: Like a Shakespeare to modern English translation app?

385
00:17:30,400 --> 00:17:33,080
Speaker 3: If there's not, and you don't invent it, I will

386
00:17:33,080 --> 00:17:36,680
Speaker 3: be so mad if there was somebody on this planet

387
00:17:36,840 --> 00:17:40,159
Speaker 3: built create that app. It is you. You know what

388
00:17:40,200 --> 00:17:42,359
Speaker 3: I really wonder too. This is one of those movies that,

389
00:17:42,680 --> 00:17:46,199
Speaker 3: because the acting is so good, I wonder, is it

390
00:17:46,320 --> 00:17:49,400
Speaker 3: something that you could watch on mute and just try

391
00:17:49,400 --> 00:17:52,040
Speaker 3: to get like, just try it through their actions and

392
00:17:52,080 --> 00:17:56,560
Speaker 3: facial expressions, try to understand what's happening. Yeah, that might

393
00:17:56,600 --> 00:17:59,440
Speaker 3: be a good idea. I'm sure that, like Joel Cohen

394
00:17:59,480 --> 00:18:02,520
Speaker 3: wants it to be watched that way with absolutely no sound.

395
00:18:03,720 --> 00:18:08,119
Speaker 1: Yeah, listen, I was I literally had the Wikipedia entry

396
00:18:08,119 --> 00:18:08,840
Speaker 1: for Macbeth.

397
00:18:11,240 --> 00:18:12,600
Speaker 2: I was like, all right, I feel like we're at

398
00:18:12,640 --> 00:18:13,280
Speaker 2: this part now.

399
00:18:13,600 --> 00:18:16,400
Speaker 1: I feel like this is what's happening, Like the witch Thing.

400
00:18:16,920 --> 00:18:20,760
Speaker 3: Got it. It was great. But right after the witch Thing,

401
00:18:20,800 --> 00:18:23,159
Speaker 3: I was like, Okay, now what are we doing? I

402
00:18:23,200 --> 00:18:25,400
Speaker 3: can trying to figure this out and.

403
00:18:25,400 --> 00:18:28,600
Speaker 1: I'm like scrolling the like paragraph me like, all right,

404
00:18:28,680 --> 00:18:29,840
Speaker 1: I think I missed this part.

405
00:18:30,040 --> 00:18:31,800
Speaker 2: Uh.

406
00:18:31,800 --> 00:18:33,960
Speaker 1: Anyway, I need you to come to my house and

407
00:18:34,320 --> 00:18:35,240
Speaker 1: perform it for me.

408
00:18:35,480 --> 00:18:37,600
Speaker 3: I was just gonna recommend, like maybe I'll just come

409
00:18:37,600 --> 00:18:39,440
Speaker 3: and hang out with you and like we can pause

410
00:18:39,480 --> 00:18:41,680
Speaker 3: it and talk about it and get through it that way.

411
00:18:41,760 --> 00:18:45,159
Speaker 2: Yeah, because you've you've probably memorized the entire thing, like

412
00:18:46,560 --> 00:18:48,000
Speaker 2: and can you say it.

413
00:18:48,119 --> 00:18:50,959
Speaker 3: Like right now if you want it to. I haven't

414
00:18:51,040 --> 00:18:55,119
Speaker 3: actually haven't picked my Shakespeare soliloquy for the year yet. See.

415
00:18:55,240 --> 00:18:58,440
Speaker 1: You gotta really have gone back deep into our archives

416
00:18:58,480 --> 00:18:59,040
Speaker 1: to know this.

417
00:18:59,119 --> 00:19:01,200
Speaker 2: But what are the first episodes that we recorded.

418
00:19:01,320 --> 00:19:04,200
Speaker 1: Danielle revealed to us that she like has memorized Shakespeare

419
00:19:04,640 --> 00:19:06,480
Speaker 1: and she can just say it whenever.

420
00:19:06,160 --> 00:19:09,880
Speaker 3: She wants to. It's my intellectual hobby to memorize one

421
00:19:10,000 --> 00:19:14,280
Speaker 3: Shakespearean soliloquy every year because I'm terrified that I am

422
00:19:14,320 --> 00:19:17,040
Speaker 3: going to get Alzheimer's or dementia like my grandmother and

423
00:19:17,080 --> 00:19:19,679
Speaker 3: my great grandmother. And I'm just trying to keep that

424
00:19:19,760 --> 00:19:22,720
Speaker 3: brain spry, God, trying to use that muscle. And it's fun.

425
00:19:22,760 --> 00:19:24,119
Speaker 3: It's fun to be able to do that and whip

426
00:19:24,119 --> 00:19:25,200
Speaker 3: it out at a party or something.

427
00:19:25,240 --> 00:19:28,320
Speaker 1: I mean, instead of doing like sunoku, you're just memorizing Shakespeare,

428
00:19:28,359 --> 00:19:29,600
Speaker 1: which I think is so great.

429
00:19:29,680 --> 00:19:31,240
Speaker 3: I'm like, she went the high road.

430
00:19:31,560 --> 00:19:33,000
Speaker 2: I love this, Thank you.

431
00:19:33,400 --> 00:19:36,440
Speaker 3: I went the ultra nerdy road. And speaking of work

432
00:19:36,440 --> 00:19:39,080
Speaker 3: it out muscles, how are we doing with deadlifting, sunny

433
00:19:39,119 --> 00:19:40,960
Speaker 3: Corolio and our challenge that we've given each other?

434
00:19:41,840 --> 00:19:43,639
Speaker 2: Let me tell you right now. So I don't know

435
00:19:43,640 --> 00:19:44,520
Speaker 2: if anybody knows this.

436
00:19:44,800 --> 00:19:47,320
Speaker 1: You might have seen this on my social mades, but

437
00:19:47,880 --> 00:19:50,280
Speaker 1: I joined a women's barbel club.

438
00:19:50,400 --> 00:19:51,000
Speaker 3: Yeah you did.

439
00:19:51,240 --> 00:19:54,520
Speaker 1: It is really cool. I've been several times. I go

440
00:19:54,760 --> 00:19:57,520
Speaker 1: basically two times a week and it's very simple. We

441
00:19:57,600 --> 00:20:01,800
Speaker 1: basically do four lifts, nice, one of them being the

442
00:20:01,880 --> 00:20:05,679
Speaker 1: dead lift. And when I first got there, you know

443
00:20:05,760 --> 00:20:07,840
Speaker 1: you basically they try to figure out how much.

444
00:20:07,680 --> 00:20:10,160
Speaker 3: You can do. Yeah, they have to assess the situation.

445
00:20:10,520 --> 00:20:16,359
Speaker 1: Yeah, assess the situation, and so basically I was assuming.

446
00:20:15,840 --> 00:20:16,959
Speaker 3: That I couldn't do anything.

447
00:20:17,000 --> 00:20:18,080
Speaker 1: Like I was like, oh, I'm gonna be able to

448
00:20:18,160 --> 00:20:19,880
Speaker 1: lift like ten pounds. I actually did a lot more

449
00:20:19,920 --> 00:20:23,119
Speaker 1: than I thought I could. And now after like how

450
00:20:23,160 --> 00:20:24,960
Speaker 1: long I've been there, three weeks or something like that,

451
00:20:25,280 --> 00:20:28,679
Speaker 1: like I don't know how much Sonny Corleone weighs. Really,

452
00:20:28,920 --> 00:20:30,919
Speaker 1: I don't want to ask James Conn how much he weighs.

453
00:20:31,000 --> 00:20:33,159
Speaker 1: I feel like I can do at least half of

454
00:20:33,200 --> 00:20:36,440
Speaker 1: a Sunny Corleon, maybe three fourths of a Sunny corleone.

455
00:20:36,520 --> 00:20:39,160
Speaker 3: So I'm on the way. Baby. Oh yeah, I am

456
00:20:39,200 --> 00:20:40,200
Speaker 3: so impressed by this.

457
00:20:40,359 --> 00:20:41,760
Speaker 2: Three weeks, three weeks.

458
00:20:42,000 --> 00:20:44,120
Speaker 3: I am so impressed by this. I need you join

459
00:20:44,200 --> 00:20:47,359
Speaker 3: a class, clearly because I have done two things in

460
00:20:47,400 --> 00:20:50,320
Speaker 3: my deadlift Sunny Corleone challenge in the past couple of weeks. Carrot,

461
00:20:50,359 --> 00:20:52,880
Speaker 3: my cat weighs fifteen pounds. So I pick him up

462
00:20:53,000 --> 00:20:55,439
Speaker 3: and I've tried to curl him, and I usually, like

463
00:20:55,480 --> 00:20:57,040
Speaker 3: you know, I pick him up and I curl him

464
00:20:57,080 --> 00:20:58,440
Speaker 3: and I kiss his little face and then I bring

465
00:20:58,520 --> 00:21:01,320
Speaker 3: him down and he hates every fucking minute of it.

466
00:21:01,440 --> 00:21:04,360
Speaker 3: And the next day my arms are sore by from

467
00:21:04,440 --> 00:21:07,560
Speaker 3: curling my cat. That is how sore I am. He's

468
00:21:07,600 --> 00:21:11,280
Speaker 3: fifteen pounds. And then I also I started rocking these

469
00:21:11,320 --> 00:21:13,960
Speaker 3: two pound weights on the treadmill, and I bought a

470
00:21:13,960 --> 00:21:17,200
Speaker 3: trampoline for Christmas for myself. Wow. So I've been tramping

471
00:21:17,520 --> 00:21:20,159
Speaker 3: and holding weights and I'm like destroyed the next day

472
00:21:20,200 --> 00:21:23,320
Speaker 3: two pounds. Oh, two pounds. So if you're lifting half

473
00:21:23,400 --> 00:21:25,720
Speaker 3: or three quarters of a semi corleone, I'm gonna be

474
00:21:25,720 --> 00:21:28,119
Speaker 3: able to like cradle his head, yeah, and just like

475
00:21:28,200 --> 00:21:30,840
Speaker 3: gently lifted, I can support his neck. Like That's where

476
00:21:30,840 --> 00:21:31,480
Speaker 3: I am right now.

477
00:21:31,640 --> 00:21:33,680
Speaker 2: Look, you can get there, I'm telling you right now.

478
00:21:33,880 --> 00:21:38,560
Speaker 1: Especially if you've previously lifted something before, you have muscle memory.

479
00:21:38,720 --> 00:21:39,240
Speaker 2: That's the thing.

480
00:21:39,359 --> 00:21:41,800
Speaker 1: I forgot all about that, and I was reminded by

481
00:21:41,840 --> 00:21:44,400
Speaker 1: the teacher like basically like, hey, you know, you think

482
00:21:44,400 --> 00:21:45,600
Speaker 1: you're gonna come up here and not be able to

483
00:21:45,640 --> 00:21:48,639
Speaker 1: lift two pounds, but actually you did this before technically,

484
00:21:48,720 --> 00:21:51,000
Speaker 1: and yeah, your muscles remember how to do it. And

485
00:21:51,240 --> 00:21:55,080
Speaker 1: I'm not gonna lie sore as fuck like every muscle,

486
00:21:55,240 --> 00:21:57,680
Speaker 1: which is so strange because I'm basically like, but I'm

487
00:21:57,680 --> 00:22:00,600
Speaker 1: only like doing this like very simple movement. No, no,

488
00:22:00,760 --> 00:22:03,119
Speaker 1: it's using all these muscles that you don't know that

489
00:22:03,200 --> 00:22:05,840
Speaker 1: you have. But then it also is that kind of

490
00:22:05,840 --> 00:22:08,000
Speaker 1: thing where you're like, but oh, I use these muscles

491
00:22:08,040 --> 00:22:10,960
Speaker 1: in my everyday life to pick up my fifteen pound cat,

492
00:22:11,280 --> 00:22:14,000
Speaker 1: to pick up like this fucking water jug that I

493
00:22:14,040 --> 00:22:16,240
Speaker 1: have to put on the thing, and it's just sort

494
00:22:16,240 --> 00:22:19,000
Speaker 1: of like, oh, So that's why people lift is because

495
00:22:19,000 --> 00:22:22,480
Speaker 1: it helps with your tasks for life, right like your

496
00:22:22,560 --> 00:22:24,399
Speaker 1: day to day But then it also can help for

497
00:22:24,520 --> 00:22:29,719
Speaker 1: picking up aging Hollywood actors better if we decide to

498
00:22:29,880 --> 00:22:32,119
Speaker 1: contact him and say, will you let to him in

499
00:22:32,440 --> 00:22:32,920
Speaker 1: lift you.

500
00:22:33,240 --> 00:22:35,680
Speaker 3: First and foremost, I have no muscle memory. I've never

501
00:22:35,760 --> 00:22:39,800
Speaker 3: intentionally lifted a weight in my goddamn life. My muscles

502
00:22:39,840 --> 00:22:42,520
Speaker 3: would have to be pulling back to the eighties to

503
00:22:42,560 --> 00:22:45,520
Speaker 3: get muscle memory for me picking up anything more than

504
00:22:45,680 --> 00:22:49,919
Speaker 3: like a water jug, for sure. But also, do you

505
00:22:50,040 --> 00:22:52,879
Speaker 3: know how impressed I will be if we go and

506
00:22:53,000 --> 00:22:56,679
Speaker 3: find a way to deadlift Jimmy Kahn and you do

507
00:22:56,760 --> 00:23:01,000
Speaker 3: it by yourself. I will or are you a parade

508
00:23:01,280 --> 00:23:03,280
Speaker 3: if you just like pick him up and then like

509
00:23:03,400 --> 00:23:06,840
Speaker 3: lift him above your head? If that's where you are

510
00:23:06,880 --> 00:23:08,600
Speaker 3: at the end of this year, I'm gonna give it

511
00:23:08,600 --> 00:23:10,000
Speaker 3: to you. I'm gonna I'll buy you a car. I

512
00:23:10,000 --> 00:23:10,440
Speaker 3: don't care.

513
00:23:10,760 --> 00:23:15,760
Speaker 1: Okay, you've created an additional challenge. Okay, so deadlifting sunny

514
00:23:15,840 --> 00:23:18,320
Speaker 1: Corleone is one thing. Now you're telling me that he

515
00:23:18,320 --> 00:23:21,080
Speaker 1: needs to do it overhead press of sunny corleone.

516
00:23:21,200 --> 00:23:25,320
Speaker 3: I would like to see a single press solo of

517
00:23:25,359 --> 00:23:27,919
Speaker 3: sunny Corleone. And you know what, I'm gonna be generous.

518
00:23:27,920 --> 00:23:30,159
Speaker 3: I'm gonna give you till twenty twenty four. Let's do

519
00:23:30,240 --> 00:23:32,280
Speaker 3: a deadlift this year, and I'll give you a couple

520
00:23:32,400 --> 00:23:37,280
Speaker 3: extra years to pump him up above your head because

521
00:23:37,320 --> 00:23:39,040
Speaker 3: I want to see some pumps. I don't want to

522
00:23:39,040 --> 00:23:41,159
Speaker 3: see you just like lift him and throw him on

523
00:23:41,240 --> 00:23:42,879
Speaker 3: a mat. I want to see you lift him and

524
00:23:42,960 --> 00:23:46,320
Speaker 3: like really do a couple of presses, like four presses,

525
00:23:47,680 --> 00:23:50,720
Speaker 3: so he's truly confused by the time you let him down,

526
00:23:50,800 --> 00:23:52,240
Speaker 3: Like I want him to have a little bit of

527
00:23:52,320 --> 00:23:53,880
Speaker 3: terror that he's never coming down.

528
00:23:54,119 --> 00:23:56,320
Speaker 1: Look, we're gonna wrap him up in a very soft

529
00:23:56,359 --> 00:24:00,199
Speaker 1: blanket cash mirror. He's gonna be like burritoed in this

530
00:24:00,480 --> 00:24:04,359
Speaker 1: very cozy environment, Okay, and he'll love it. It'll be

531
00:24:04,440 --> 00:24:06,560
Speaker 1: just sort of like a ride, you know what I mean,

532
00:24:06,600 --> 00:24:08,679
Speaker 1: It'll be like, yeah, taking a ride, we're putting you

533
00:24:08,760 --> 00:24:11,800
Speaker 1: over our heads. We're not gonna drop you, sir, There'll

534
00:24:11,840 --> 00:24:12,560
Speaker 1: be spotters.

535
00:24:12,920 --> 00:24:14,840
Speaker 3: How are we gonna get and I say we, but

536
00:24:14,920 --> 00:24:16,560
Speaker 3: I'm not doing it. How are you gonna get him

537
00:24:16,600 --> 00:24:19,320
Speaker 3: down on you once you pump him over your head?

538
00:24:19,520 --> 00:24:21,760
Speaker 3: If I can deadlift him, I'll be thrilled. I'm ending

539
00:24:21,760 --> 00:24:25,240
Speaker 3: it there. How are you gonna get Sonny Corleone, Jimmy

540
00:24:25,320 --> 00:24:30,040
Speaker 3: Kahn down from his burrito once you pump him over

541
00:24:30,040 --> 00:24:30,760
Speaker 3: your head?

542
00:24:31,200 --> 00:24:34,240
Speaker 1: Listen, I actually don't know because a lot of times

543
00:24:34,280 --> 00:24:37,360
Speaker 1: when people lift, once they've done the hard part, they

544
00:24:37,440 --> 00:24:38,120
Speaker 1: just drop the wight.

545
00:24:38,320 --> 00:24:38,960
Speaker 3: They just drop it.

546
00:24:38,960 --> 00:24:41,280
Speaker 1: That's all I ever see in a very violent way,

547
00:24:41,440 --> 00:24:42,000
Speaker 1: which I have.

548
00:24:42,000 --> 00:24:42,760
Speaker 3: A hard time with.

549
00:24:42,960 --> 00:24:46,440
Speaker 1: Yeah, because it feels very bro move, but I know that, Hey,

550
00:24:46,520 --> 00:24:49,000
Speaker 1: this is what happens. You've just put fucking four hundred

551
00:24:49,000 --> 00:24:50,560
Speaker 1: and fifty pounds over your head.

552
00:24:50,720 --> 00:24:52,040
Speaker 3: You don't want to cub all the way down, You're

553
00:24:52,040 --> 00:24:53,199
Speaker 3: just dropping that shit. Yeah.

554
00:24:53,240 --> 00:24:55,560
Speaker 1: I know that if we dropped him, he would break

555
00:24:55,600 --> 00:24:56,520
Speaker 1: every bone in his body.

556
00:24:56,520 --> 00:24:57,199
Speaker 3: And we don't want that.

557
00:24:57,400 --> 00:25:00,359
Speaker 1: So we're gonna have to figure out a way to

558
00:25:00,560 --> 00:25:02,240
Speaker 1: get him down, then he.

559
00:25:02,200 --> 00:25:04,760
Speaker 3: Would heal and break every bone in our body. I

560
00:25:04,800 --> 00:25:06,840
Speaker 3: feel like the way to go about it just hear

561
00:25:06,920 --> 00:25:10,879
Speaker 3: me out, crane. You pump him up into the jaws

562
00:25:10,960 --> 00:25:15,119
Speaker 3: of like one of those one of those diggers that

563
00:25:15,240 --> 00:25:16,920
Speaker 3: like scoops out dirt out of the earth.

564
00:25:17,119 --> 00:25:17,879
Speaker 2: Excavator.

565
00:25:18,040 --> 00:25:20,879
Speaker 3: I think that's what we call. Yeah, yeah, excavator. You

566
00:25:20,920 --> 00:25:24,159
Speaker 3: pump him directly into the maw of an excavator, and

567
00:25:24,200 --> 00:25:26,879
Speaker 3: he just in his blanket, in his little burrito, just

568
00:25:27,080 --> 00:25:29,919
Speaker 3: rolls safely to the edge of it, to the interior,

569
00:25:29,960 --> 00:25:31,960
Speaker 3: and they just cradle him down to the earth and

570
00:25:32,040 --> 00:25:34,640
Speaker 3: let him out and all as well.

571
00:25:35,440 --> 00:25:37,680
Speaker 2: This sounds so perfect.

572
00:25:37,800 --> 00:25:41,399
Speaker 1: This plan is, we're gonna have to hire an excavator

573
00:25:41,800 --> 00:25:44,120
Speaker 1: a person or drive it. We'll do it in Vegas.

574
00:25:44,600 --> 00:25:46,520
Speaker 1: Why not, Well, it'll be like a way in for

575
00:25:46,600 --> 00:25:49,880
Speaker 1: a boxing match. Like it's gonna be very pompous circumstance.

576
00:25:50,080 --> 00:25:52,359
Speaker 3: Of course, Also, I feel like he should pay for

577
00:25:52,400 --> 00:25:54,679
Speaker 3: the excavator. Like, if you want to get down to

578
00:25:54,720 --> 00:25:58,119
Speaker 3: the earth safely, then you have to hire an excavator.

579
00:25:58,200 --> 00:26:01,920
Speaker 3: Like what Millie can do is ump you up. From

580
00:26:01,920 --> 00:26:04,439
Speaker 3: that point, your choice is either she will throw you

581
00:26:04,480 --> 00:26:07,760
Speaker 3: to the ground, or you can hire an excavator and

582
00:26:07,800 --> 00:26:11,240
Speaker 3: she will gently push you over the lip into the

583
00:26:11,320 --> 00:26:13,120
Speaker 3: dump truck part of the excavator.

584
00:26:13,400 --> 00:26:15,520
Speaker 1: Listen, I know that you're in a Kashmir or burrito,

585
00:26:17,960 --> 00:26:19,440
Speaker 1: but we will take the utmost care.

586
00:26:19,720 --> 00:26:21,720
Speaker 3: But it's on your time. It's on your time, it's

587
00:26:21,720 --> 00:26:22,119
Speaker 3: on your day.

588
00:26:22,160 --> 00:26:23,560
Speaker 1: You didn't even want to do this to begin with,

589
00:26:23,600 --> 00:26:26,080
Speaker 1: and now you've got to buy an excavator absolutely to

590
00:26:26,119 --> 00:26:27,959
Speaker 1: get you down from this stunt.

591
00:26:28,119 --> 00:26:31,200
Speaker 3: We're out here deadlifting, but we're also out here sticking

592
00:26:31,240 --> 00:26:33,800
Speaker 3: it to the patriarchy. And I feel like Jimmy Conn's

593
00:26:33,800 --> 00:26:35,680
Speaker 3: gotta be on board with that, and we'll.

594
00:26:35,480 --> 00:26:36,640
Speaker 2: Pay for the experience.

595
00:26:37,359 --> 00:26:39,640
Speaker 3: He could get thrown to the ground either way. We're

596
00:26:39,640 --> 00:26:41,639
Speaker 3: gonna give him an option. And I feel like our

597
00:26:41,720 --> 00:26:45,720
Speaker 3: due diligence is done. Our part is the deadlift, your

598
00:26:45,760 --> 00:26:49,240
Speaker 3: part is the pump, and his part is getting down. Listen.

599
00:26:49,720 --> 00:26:51,840
Speaker 2: I feel like his son, whoever, what was his son

600
00:26:51,880 --> 00:26:52,760
Speaker 2: that was in Hawaii?

601
00:26:52,760 --> 00:26:56,200
Speaker 3: Five? Oh oh, Scott Scott con Yeah.

602
00:26:55,760 --> 00:26:58,199
Speaker 1: He will have something to say about this. He'd be like,

603
00:26:58,280 --> 00:27:00,600
Speaker 1: do not lift my dad an inch.

604
00:27:01,119 --> 00:27:02,800
Speaker 3: I'll be like, well, then, why don't you climb up

605
00:27:02,800 --> 00:27:06,200
Speaker 3: there and get them scot Con. You got muscles, Yeah,

606
00:27:06,200 --> 00:27:08,520
Speaker 3: you got muscles. Come on, little hoty, why don't you

607
00:27:08,560 --> 00:27:11,280
Speaker 3: do one of those baskets like basket your fingers together,

608
00:27:11,560 --> 00:27:14,240
Speaker 3: tent your fingers together and just catch them. How about

609
00:27:14,240 --> 00:27:17,280
Speaker 3: you get off our backscot Com. Just catch your dad

610
00:27:17,359 --> 00:27:19,439
Speaker 3: after we lift them in the air. What the fuck

611
00:27:20,160 --> 00:27:24,879
Speaker 3: is that asking too much? We'll throw them right at you.

612
00:27:24,960 --> 00:27:27,639
Speaker 3: We are popping off. Let's talk about movies. Good lord.

613
00:27:28,119 --> 00:27:30,480
Speaker 2: I know, listen, we're just coming back from a break.

614
00:27:30,600 --> 00:27:34,400
Speaker 1: So like, I'm giving us this grace exactly to truly

615
00:27:34,600 --> 00:27:36,880
Speaker 1: formulate these fucking crazy plans.

616
00:27:37,400 --> 00:27:39,880
Speaker 3: But if we hadn't been able to spin that out,

617
00:27:39,920 --> 00:27:42,159
Speaker 3: we would never have arrived at scot Con catching his

618
00:27:42,200 --> 00:27:48,159
Speaker 3: own dad, which is now a crucial part of this

619
00:27:48,240 --> 00:27:49,320
Speaker 3: deadlift ceremony.

620
00:27:49,640 --> 00:27:51,720
Speaker 1: I swear. Is this what being in a writer's room

621
00:27:51,800 --> 00:27:53,320
Speaker 1: is like? Do you just sit around and just like

622
00:27:53,400 --> 00:27:54,320
Speaker 1: tell tales.

623
00:27:55,119 --> 00:27:57,360
Speaker 3: This is it, and you throw in some personal stories

624
00:27:57,760 --> 00:27:59,920
Speaker 3: like I saw a car that was riddled with bullets,

625
00:28:00,160 --> 00:28:02,000
Speaker 3: and then you just spin it out to garbage cars

626
00:28:02,040 --> 00:28:05,800
Speaker 3: and scott Con catching his dad, and then you try

627
00:28:05,880 --> 00:28:07,760
Speaker 3: to fit that into a scene and make a story

628
00:28:07,800 --> 00:28:11,600
Speaker 3: out of it. Oh my god. Usually usually there's an

629
00:28:11,600 --> 00:28:13,320
Speaker 3: adult in the room that's like, can we just focus

630
00:28:13,359 --> 00:28:16,159
Speaker 3: on what we're actually doing and not tell any more

631
00:28:16,240 --> 00:28:19,040
Speaker 3: of these insane stories from the inside of your murky

632
00:28:19,080 --> 00:28:19,600
Speaker 3: little head.

633
00:28:20,000 --> 00:28:22,880
Speaker 1: Well, unfortunately, we don't stop each other at all, because

634
00:28:22,880 --> 00:28:23,960
Speaker 1: we're not those type of people.

635
00:28:24,000 --> 00:28:25,000
Speaker 3: We're not those kinds of friends.

636
00:28:25,080 --> 00:28:26,800
Speaker 2: We encourage the madness.

637
00:28:27,040 --> 00:28:27,399
Speaker 3: Yeah.

638
00:28:27,440 --> 00:28:29,879
Speaker 1: So we are in our last week of our Black

639
00:28:29,920 --> 00:28:34,080
Speaker 1: History Month, like I said before, and this week we're

640
00:28:34,119 --> 00:28:36,960
Speaker 1: going out with one of the biggest bangs of all time.

641
00:28:37,160 --> 00:28:39,280
Speaker 3: In my opinion, we had to do it. We had

642
00:28:39,320 --> 00:28:40,920
Speaker 3: to do it for them, we had to do it

643
00:28:40,920 --> 00:28:44,840
Speaker 3: for us. Yeah, this is a cumulative experience. Yes, at

644
00:28:44,840 --> 00:28:46,560
Speaker 3: the end of this Black History Month, do you want

645
00:28:46,600 --> 00:28:47,920
Speaker 3: to tell them what our theme is?

646
00:28:48,120 --> 00:28:51,400
Speaker 1: Yeah, I mean it's I feel like they figured it out.

647
00:28:52,080 --> 00:28:55,240
Speaker 2: But our theme this week is black horror.

648
00:28:55,520 --> 00:28:58,480
Speaker 1: You and I want to start it off if you

649
00:28:58,520 --> 00:29:03,200
Speaker 1: don't mind asking you a question, because you have famously

650
00:29:03,640 --> 00:29:05,280
Speaker 1: told us since.

651
00:29:05,160 --> 00:29:07,680
Speaker 2: The beginning of this podcast that you grew.

652
00:29:07,600 --> 00:29:10,600
Speaker 1: Up watching horror movies, that your grandma is a horror

653
00:29:10,600 --> 00:29:13,959
Speaker 1: movie maniac of the highest order. M hm. And so

654
00:29:14,160 --> 00:29:15,720
Speaker 1: I just kind of want to flesh that out a

655
00:29:15,760 --> 00:29:18,280
Speaker 1: little bit because I feel like we're doing this theme,

656
00:29:18,760 --> 00:29:22,200
Speaker 1: we're talking about kind of almost two things. I feel

657
00:29:22,200 --> 00:29:26,280
Speaker 1: like in a way, you're talking about black creators of horror, right,

658
00:29:26,400 --> 00:29:28,080
Speaker 1: so like, obviously we're going to talk a lot about

659
00:29:28,160 --> 00:29:31,880
Speaker 1: Jordan Peel and Russy Kundiev, who directed my movie, but

660
00:29:32,040 --> 00:29:36,200
Speaker 1: like also black fans of horror or like, yes, viewers

661
00:29:36,240 --> 00:29:39,600
Speaker 1: of horror, like black viewers of horror. So I don't know,

662
00:29:39,640 --> 00:29:41,600
Speaker 1: maybe you can talk about that a little bit, just

663
00:29:41,640 --> 00:29:44,120
Speaker 1: the experience of being a horror movie fan, as a

664
00:29:44,160 --> 00:29:45,960
Speaker 1: black person, as a black family.

665
00:29:46,280 --> 00:29:48,480
Speaker 3: Yes, I think it's an excellent question, And I think

666
00:29:48,560 --> 00:29:54,120
Speaker 3: that from my perspective, my grandmother's love of horror comes

667
00:29:54,160 --> 00:29:57,120
Speaker 3: from what I would note at the time that she was,

668
00:29:57,160 --> 00:30:00,920
Speaker 3: like my age or younger, a real social con so

669
00:30:00,960 --> 00:30:04,320
Speaker 3: there wasn't a lot of space to really imagine a

670
00:30:04,360 --> 00:30:07,040
Speaker 3: different kind of life. So science fiction, horror, like those

671
00:30:07,120 --> 00:30:09,760
Speaker 3: kind of pop cultural elements. I feel like I've always

672
00:30:09,760 --> 00:30:12,560
Speaker 3: been really popular in black culture, Yeah, because those are

673
00:30:12,800 --> 00:30:16,240
Speaker 3: means for us to escape by envisioning a completely different life.

674
00:30:16,520 --> 00:30:19,280
Speaker 3: And I'll say from my point of view, especially now

675
00:30:19,320 --> 00:30:21,920
Speaker 3: that you know, over the last few decades, we've been

676
00:30:21,960 --> 00:30:25,760
Speaker 3: seeing more horror from black creators. To me, it's a

677
00:30:25,800 --> 00:30:28,880
Speaker 3: way of shining a light on culture in a way

678
00:30:28,920 --> 00:30:31,160
Speaker 3: that says, we have enough to be afraid of in

679
00:30:31,200 --> 00:30:33,200
Speaker 3: real life. Now we're going to kind of flip that

680
00:30:33,320 --> 00:30:36,320
Speaker 3: script and show you what we are afraid of and

681
00:30:36,360 --> 00:30:38,480
Speaker 3: show you what our fears are in a creative way,

682
00:30:38,640 --> 00:30:40,960
Speaker 3: but kind of flip the script a little bit and say, hey,

683
00:30:41,280 --> 00:30:43,840
Speaker 3: we've seen what white people are afraid of in horror

684
00:30:43,840 --> 00:30:46,920
Speaker 3: movies forever, and now we want you to understand that

685
00:30:47,040 --> 00:30:50,080
Speaker 3: our fears are sometimes a little bit more academic and

686
00:30:50,120 --> 00:30:52,920
Speaker 3: a little more psychological and a little more emotional than

687
00:30:53,040 --> 00:30:55,680
Speaker 3: just the slasher flick. So I think that that's kind

688
00:30:55,680 --> 00:30:57,920
Speaker 3: of my approach to it, Like it's an escapism, but

689
00:30:57,960 --> 00:31:00,760
Speaker 3: it's also again in the hands of black creators, it

690
00:31:00,800 --> 00:31:04,760
Speaker 3: becomes a spotlight, and I think that that's really necessary

691
00:31:04,840 --> 00:31:06,640
Speaker 3: for this time of life that we're living in.

692
00:31:06,760 --> 00:31:08,440
Speaker 1: Yeah, I wasn't sure if you were going to bring

693
00:31:08,520 --> 00:31:10,760
Speaker 1: this up, But when we were preparing for this episode,

694
00:31:10,800 --> 00:31:15,000
Speaker 1: I rewatched this really great documentary called Horror Noir, A

695
00:31:15,120 --> 00:31:16,200
Speaker 1: History of Black Horror.

696
00:31:16,560 --> 00:31:18,880
Speaker 2: It came out in twenty nineteen. It was on Shutter.

697
00:31:18,960 --> 00:31:21,880
Speaker 1: If anybody has shudder, the horror streaming app But it's

698
00:31:21,920 --> 00:31:25,680
Speaker 1: basically an entire documentary about the history of black horror,

699
00:31:26,120 --> 00:31:28,840
Speaker 1: and obviously a lot of great moments.

700
00:31:28,840 --> 00:31:29,880
Speaker 3: It goes far back.

701
00:31:29,920 --> 00:31:32,440
Speaker 1: I mean, it even goes like to movies in the

702
00:31:32,480 --> 00:31:35,160
Speaker 1: early twentieth century and then obviously up into now and

703
00:31:35,320 --> 00:31:37,920
Speaker 1: interviews a lot of great people, including Jordan Peele and

704
00:31:37,960 --> 00:31:40,680
Speaker 1: I think he said something in the documentary, and I'm paraphrasing,

705
00:31:40,760 --> 00:31:43,160
Speaker 1: so take that as you will, but basically he said

706
00:31:43,200 --> 00:31:45,320
Speaker 1: something to the effect of like, as a person who

707
00:31:45,320 --> 00:31:48,600
Speaker 1: grew up watching horror, you were always watching white people

708
00:31:49,040 --> 00:31:52,280
Speaker 1: in the horror like react to the horror, and as

709
00:31:52,320 --> 00:31:54,720
Speaker 1: a black person, he felt like that would not be

710
00:31:54,840 --> 00:31:57,360
Speaker 1: my reaction, Like I would not go into the basement,

711
00:31:57,400 --> 00:31:59,280
Speaker 1: I would not do these things right, And part of

712
00:31:59,320 --> 00:32:02,280
Speaker 1: like his to those movies was always just like why

713
00:32:02,320 --> 00:32:05,080
Speaker 1: are these people doing these things that I would never do?

714
00:32:05,240 --> 00:32:06,920
Speaker 1: And so I think that was kind of part of

715
00:32:06,960 --> 00:32:10,240
Speaker 1: why he decided to make Get Out, because he was like, well,

716
00:32:10,240 --> 00:32:11,920
Speaker 1: what would we do? What would I do as a

717
00:32:11,920 --> 00:32:15,160
Speaker 1: black person? I would definitely never like follow that weird.

718
00:32:14,920 --> 00:32:17,960
Speaker 3: Guy into the house or whatever, you know, none of

719
00:32:17,960 --> 00:32:21,200
Speaker 3: my own free will. Hello. But then he creatively came

720
00:32:21,280 --> 00:32:23,200
Speaker 3: up with a solution to that. He came up with

721
00:32:23,240 --> 00:32:24,960
Speaker 3: a solution to like, how do we get that guy

722
00:32:24,960 --> 00:32:27,560
Speaker 3: in the basement if he wouldn't follow him willingly? Right?

723
00:32:27,720 --> 00:32:30,040
Speaker 3: And I love that. It's also where that that kind

724
00:32:30,080 --> 00:32:32,640
Speaker 3: of joke comes from about how you know, when you

725
00:32:32,680 --> 00:32:34,560
Speaker 3: watch a horror movie with a black person in a

726
00:32:34,600 --> 00:32:36,960
Speaker 3: movie theater, we're always shouting at the screen and we're

727
00:32:36,960 --> 00:32:40,440
Speaker 3: always like bugging out. And it's because of that exact

728
00:32:40,440 --> 00:32:42,680
Speaker 3: thing where we're like, this literally does not make common

729
00:32:42,720 --> 00:32:46,320
Speaker 3: sense to me. I cannot suspend disbelief enough to think

730
00:32:46,360 --> 00:32:49,560
Speaker 3: someone is this dumb, yeah, just to keep this movie going?

731
00:32:49,640 --> 00:32:51,840
Speaker 1: Oh god, totally. I don't think I've ever asked you

732
00:32:51,880 --> 00:32:55,680
Speaker 1: this before. What types of horror freak you out the most? Like,

733
00:32:55,720 --> 00:32:58,520
Speaker 1: do you have like a little storyline or subgenre that

734
00:32:58,600 --> 00:33:00,440
Speaker 1: really just fucking freaks you the out?

735
00:33:00,600 --> 00:33:05,320
Speaker 3: Oh? Completely, spooky kids can get the fuck out of here? Yes, So,

736
00:33:05,440 --> 00:33:08,680
Speaker 3: like Annabelle and all that, I never get your spooky

737
00:33:08,760 --> 00:33:10,840
Speaker 3: kids the fuck out of here. I do not want

738
00:33:10,840 --> 00:33:13,480
Speaker 3: to see a child holding a knife attacking somebody. It

739
00:33:13,520 --> 00:33:15,800
Speaker 3: creaps me the fuck out. I cannot handle it. I

740
00:33:15,880 --> 00:33:20,480
Speaker 3: also do not I don't like Gore. I like psychological horror,

741
00:33:20,560 --> 00:33:22,240
Speaker 3: and I like, you know, a little bit of violence.

742
00:33:22,240 --> 00:33:27,120
Speaker 3: You know, I love violence, who doesn't. But I don't

743
00:33:27,240 --> 00:33:29,640
Speaker 3: like gore, and so I don't ever want to see

744
00:33:29,680 --> 00:33:31,720
Speaker 3: like a leg coming off in the movie. I don't

745
00:33:31,720 --> 00:33:34,960
Speaker 3: want to see like someone being rammed through and then

746
00:33:35,000 --> 00:33:37,280
Speaker 3: their innards are spilling out on the ground like that

747
00:33:37,360 --> 00:33:39,760
Speaker 3: just makes me want to puke. So yeah, I don't.

748
00:33:39,800 --> 00:33:46,880
Speaker 3: I don't like horror that is extreme gore or children. Yeah,

749
00:33:46,960 --> 00:33:50,600
Speaker 3: fair enough. And I gotta say spooky dolls can also

750
00:33:50,600 --> 00:33:52,320
Speaker 3: get the fuck out of here. I am done with

751
00:33:52,360 --> 00:33:53,160
Speaker 3: a haunted doll.

752
00:33:53,800 --> 00:33:56,720
Speaker 1: Well, I apologize because my movie had some spooky dolls.

753
00:33:56,760 --> 00:33:58,480
Speaker 3: Your spooky dolls were hilarious, though.

754
00:33:58,680 --> 00:34:01,080
Speaker 2: Yeah, we will definitely get to that.

755
00:34:01,240 --> 00:34:03,920
Speaker 1: But I'm excited to talk about these two movies because

756
00:34:03,920 --> 00:34:06,160
Speaker 1: it's like it feels almost like get Out was sort

757
00:34:06,200 --> 00:34:08,880
Speaker 1: of like a mile marker in a lot of ways

758
00:34:08,920 --> 00:34:13,239
Speaker 1: for the new era. Like get Out was just this huge,

759
00:34:13,719 --> 00:34:17,200
Speaker 1: massive sea change in terms of like what is happening

760
00:34:17,239 --> 00:34:20,160
Speaker 1: right now and what it was before. But I like

761
00:34:20,239 --> 00:34:22,279
Speaker 1: that you picked his second film because I feel like

762
00:34:22,320 --> 00:34:25,520
Speaker 1: there's something really particular that I want to talk to

763
00:34:25,600 --> 00:34:29,040
Speaker 1: about when it comes to like people's second films, especially yeah,

764
00:34:29,080 --> 00:34:32,400
Speaker 1: when the first film is so huge in this like huge,

765
00:34:32,760 --> 00:34:36,640
Speaker 1: masterful success. So I can't wait to talk about your movie.

766
00:34:36,640 --> 00:34:38,279
Speaker 1: And I haven't seen it since it came out, so

767
00:34:38,440 --> 00:34:39,320
Speaker 1: I'm so excited.

768
00:34:39,360 --> 00:34:40,799
Speaker 3: I feel the same way about yours. I have not

769
00:34:40,880 --> 00:34:44,440
Speaker 3: seen your movie since I was like nineteen Wow, So

770
00:34:44,560 --> 00:34:47,200
Speaker 3: I am thrilled to talk about your movie because there

771
00:34:47,200 --> 00:34:50,799
Speaker 3: are things about it that I didn't remember being as

772
00:34:50,840 --> 00:34:53,400
Speaker 3: intense as they were yep, And so I am like

773
00:34:53,800 --> 00:34:57,520
Speaker 3: so psyched. And I think that Jordan Peel is very

774
00:34:57,560 --> 00:35:00,279
Speaker 3: interesting to me as a writer. I think he's so

775
00:35:00,800 --> 00:35:04,000
Speaker 3: smart and so funny. But he also, I don't know,

776
00:35:04,120 --> 00:35:05,879
Speaker 3: like you said, I think he flips the script. He's

777
00:35:05,920 --> 00:35:08,160
Speaker 3: really a part of that sea change, and he's part

778
00:35:08,160 --> 00:35:09,840
Speaker 3: of that sea change in a way where he's not

779
00:35:09,960 --> 00:35:14,279
Speaker 3: willing to compromise what he thinks is scary. So he's

780
00:35:14,360 --> 00:35:17,320
Speaker 3: changing our conception of even what we find scary, Yeah,

781
00:35:17,360 --> 00:35:19,439
Speaker 3: which I think is wild. And I'm going to bring

782
00:35:19,440 --> 00:35:21,520
Speaker 3: her up a couple of times in the episode while

783
00:35:21,520 --> 00:35:24,920
Speaker 3: I'm talking about my film. But Soriah Nadia MacDonald wrote

784
00:35:24,920 --> 00:35:28,120
Speaker 3: at The Undefeated about this film in an article called

785
00:35:28,239 --> 00:35:31,120
Speaker 3: Jordan Peel's US has a message for those who can

786
00:35:31,160 --> 00:35:34,600
Speaker 3: hear above the screams, and one thing that she says,

787
00:35:34,800 --> 00:35:38,200
Speaker 3: and i'll quote here is quote and both get out

788
00:35:38,280 --> 00:35:42,120
Speaker 3: and us. Peel builds a tradition of black horror as

789
00:35:42,200 --> 00:35:47,200
Speaker 3: social commentary and pushback against white stereotypes of blackness that

790
00:35:47,320 --> 00:35:51,440
Speaker 3: extends as far back as Dwayne Jones's turn as Ben

791
00:35:51,880 --> 00:35:54,880
Speaker 3: in Night of the Living Dead from nineteen sixty eight. Ben,

792
00:35:55,040 --> 00:35:57,880
Speaker 3: who is actually the hero of the film, ends up

793
00:35:57,920 --> 00:36:01,600
Speaker 3: getting shot and tossed on a funeral pyre when white

794
00:36:01,640 --> 00:36:05,279
Speaker 3: rescuers assume he's an enemy. This after he spent the

795
00:36:05,320 --> 00:36:08,320
Speaker 3: movie saving a bunch of white people from marauding ghouls

796
00:36:08,480 --> 00:36:11,399
Speaker 3: looking to eat live flesh. End QUI. So I think

797
00:36:11,440 --> 00:36:13,960
Speaker 3: that it's worth mentioning before we get specifically to the

798
00:36:13,960 --> 00:36:16,920
Speaker 3: movie US. I agree with Sarah McDonald, Jordan Peel is

799
00:36:17,000 --> 00:36:20,920
Speaker 3: definitely pushing back against white stereotypes of blackness and black

800
00:36:20,960 --> 00:36:24,000
Speaker 3: stereotypes of blackness. I think that he's pushing back against

801
00:36:24,040 --> 00:36:27,800
Speaker 3: how we see ourselves as a society, and it's very exciting.

802
00:36:27,920 --> 00:36:30,160
Speaker 2: Oh yeah, I know you're going first this week.

803
00:36:30,440 --> 00:36:33,120
Speaker 1: So I couldn't be more pleased, and not just because

804
00:36:33,120 --> 00:36:34,840
Speaker 1: I hate going first, but I'm just saying that, like,

805
00:36:34,920 --> 00:36:36,279
Speaker 1: we're going to talk a lot about this movie, and

806
00:36:36,280 --> 00:36:37,640
Speaker 1: I'm like, so, it's gonna be a fun.

807
00:36:37,440 --> 00:36:40,480
Speaker 3: Episode for sure. And I would be remiss if I

808
00:36:40,520 --> 00:36:43,320
Speaker 3: didn't say right off the bat, before we even again

809
00:36:43,520 --> 00:36:46,160
Speaker 3: get deep into the commentary of us, that you and

810
00:36:46,200 --> 00:36:49,200
Speaker 3: I saw this movie together at the Grove when we

811
00:36:49,239 --> 00:36:52,879
Speaker 3: both lived in LA and we had a conversation from

812
00:36:52,960 --> 00:36:55,560
Speaker 3: the time we left the theater till we got into

813
00:36:55,600 --> 00:36:58,439
Speaker 3: the parking garage until we dropped each other off at home.

814
00:36:58,600 --> 00:37:01,160
Speaker 3: I think I dropped you off at home and we

815
00:37:01,200 --> 00:37:04,040
Speaker 3: had a conversation about this movie the whole time that

816
00:37:04,239 --> 00:37:07,640
Speaker 3: was so intense and so questioning that we literally said

817
00:37:07,640 --> 00:37:10,239
Speaker 3: to each other, we should start a film podcast. And

818
00:37:10,520 --> 00:37:13,880
Speaker 3: I really feel like US is the origin of us

819
00:37:13,960 --> 00:37:16,719
Speaker 3: having this podcast right now. That's right, Jordan Peale brought

820
00:37:16,760 --> 00:37:17,240
Speaker 3: us together.

821
00:37:17,320 --> 00:37:19,520
Speaker 1: If you want to get down to brass tacks, which

822
00:37:19,560 --> 00:37:22,000
Speaker 1: is kind of magical, the Ultimate Matchmaker.

823
00:37:22,239 --> 00:37:22,839
Speaker 2: I love it.

824
00:37:22,880 --> 00:37:26,200
Speaker 1: I love that this is the movie that basically kicked

825
00:37:26,200 --> 00:37:27,680
Speaker 1: this entire thing off. So this is our this is

826
00:37:27,680 --> 00:37:34,000
Speaker 1: our origin story, this freakius fuck movie, which I gotta

827
00:37:34,040 --> 00:37:34,360
Speaker 1: tell you.

828
00:37:34,520 --> 00:37:36,560
Speaker 2: When we watched it. I think like in the theater,

829
00:37:36,800 --> 00:37:38,400
Speaker 2: I will say this when you get into the movie.

830
00:37:38,440 --> 00:37:40,480
Speaker 3: This is the scariest movie ever.

831
00:37:40,800 --> 00:37:43,799
Speaker 1: Yeah, this movie is truly scary, like even scarer than

832
00:37:43,960 --> 00:37:45,520
Speaker 1: when we saw it in twenty nineteen.

833
00:37:45,680 --> 00:37:47,520
Speaker 3: Oh, I agree, Well, let's get into it. I'm just

834
00:37:47,560 --> 00:37:50,800
Speaker 3: gonna set this up. Yes. My movie for our final

835
00:37:50,800 --> 00:37:53,920
Speaker 3: theme of Black History Month, Black Horror, was released in

836
00:37:53,920 --> 00:37:58,320
Speaker 3: twenty nineteen. It was written, directed, and produced by Jordan

837
00:37:58,400 --> 00:38:02,880
Speaker 3: Peel and the movie is us, there's a family in

838
00:38:02,880 --> 00:38:05,320
Speaker 3: our driveway. It's probably the neighbors.

839
00:38:05,920 --> 00:38:07,240
Speaker 4: Which'll you have a family.

840
00:38:08,520 --> 00:38:13,839
Speaker 3: How can I help you? Sorry, put your shoes on.

841
00:38:14,120 --> 00:38:19,560
Speaker 3: If you want to get crazy, we can get crazy.

842
00:38:20,480 --> 00:38:23,520
Speaker 3: So my one sentence synopsis of this film, which was

843
00:38:23,600 --> 00:38:27,760
Speaker 3: kind of difficult to create, is this the fifteen minutes

844
00:38:27,840 --> 00:38:30,080
Speaker 3: that it takes for a little girl to get lost

845
00:38:30,160 --> 00:38:33,880
Speaker 3: at the Santa Cruz boardwalk in nineteen eighty six comes

846
00:38:33,920 --> 00:38:37,920
Speaker 3: back to haunt her family years later in a story

847
00:38:38,280 --> 00:38:43,520
Speaker 3: rife with allegory, metaphor, symbolism, and some of the scariest

848
00:38:43,520 --> 00:38:45,600
Speaker 3: shit I have ever seen on a movie screen.

849
00:38:47,880 --> 00:38:51,799
Speaker 1: That's a masterpiece, a masterpiece of a one sentence synopsis.

850
00:38:52,040 --> 00:38:54,359
Speaker 3: This movie is truly terrifying. So just to give you

851
00:38:54,400 --> 00:38:56,040
Speaker 3: the gist of it, if you haven't seen this movie,

852
00:38:56,080 --> 00:38:58,360
Speaker 3: because you know, it's rare that we do newer movies

853
00:38:58,400 --> 00:39:00,360
Speaker 3: as well, but I feel like, because this is a

854
00:39:00,360 --> 00:39:02,120
Speaker 3: new room film that was released in the last couple

855
00:39:02,160 --> 00:39:04,719
Speaker 3: of years, more people probably have seen it. However, if

856
00:39:04,760 --> 00:39:07,440
Speaker 3: you haven't or if you've forgotten, the real summary of

857
00:39:07,440 --> 00:39:09,840
Speaker 3: this film is that Adelaide is a little girl. She

858
00:39:09,880 --> 00:39:11,880
Speaker 3: goes missing at this fair with her parents who are

859
00:39:11,920 --> 00:39:15,080
Speaker 3: kind of bickering. Dad's not paying attention, and true eighties

860
00:39:15,160 --> 00:39:17,080
Speaker 3: kid fashion, he's like, I'm going to play whack a

861
00:39:17,160 --> 00:39:20,279
Speaker 3: mole piece and she wanders off into this hall of

862
00:39:20,320 --> 00:39:24,880
Speaker 3: mirrors and she meets herself essentially, like she sees a

863
00:39:25,000 --> 00:39:28,319
Speaker 3: very spooky image in the hall of mirrors. As she

864
00:39:28,440 --> 00:39:31,880
Speaker 3: approaches the mirror, the image in the mirror does not

865
00:39:31,960 --> 00:39:35,200
Speaker 3: turn around, like it's the back of this creature that

866
00:39:35,280 --> 00:39:38,520
Speaker 3: looks like her. So she goes into this hall of

867
00:39:38,560 --> 00:39:42,919
Speaker 3: mirrors and she comes out changed, like she's silent and

868
00:39:43,120 --> 00:39:45,640
Speaker 3: she's not speaking, and her parents take her to a

869
00:39:45,640 --> 00:39:48,200
Speaker 3: psychologist and she's just a different kind of child when

870
00:39:48,239 --> 00:39:49,960
Speaker 3: she comes out of this, and they don't know what

871
00:39:50,080 --> 00:39:53,960
Speaker 3: happened to her. So years later, Adelaide, who's played by

872
00:39:54,160 --> 00:39:57,279
Speaker 3: Lupita and Yango, comes back to the same boardwalk to

873
00:39:57,320 --> 00:40:01,160
Speaker 3: go on vacation with her family, and she now is married.

874
00:40:01,440 --> 00:40:05,239
Speaker 3: She's married to Gabe Wilson, who's played by Winston Duke,

875
00:40:05,480 --> 00:40:09,960
Speaker 3: the truest of the nerdy dads, like corny dead genre.

876
00:40:10,080 --> 00:40:13,000
Speaker 3: He plays it so well, oh, so cute. Oh, he's

877
00:40:13,160 --> 00:40:16,399
Speaker 3: so adorable with his little glasses. And there's one part

878
00:40:16,440 --> 00:40:19,360
Speaker 3: where she's walking away and he's in the bedroom and

879
00:40:19,360 --> 00:40:21,439
Speaker 3: he's like, I'll see you later in the magic room.

880
00:40:21,440 --> 00:40:25,000
Speaker 3: Like he's just so corny and hilarious, and he plays

881
00:40:25,040 --> 00:40:28,840
Speaker 3: it really well. And they have these two kids, Zora

882
00:40:28,920 --> 00:40:33,399
Speaker 3: who is played by Shahadi right Joseph in a masterful term.

883
00:40:33,440 --> 00:40:35,280
Speaker 3: She's portraying a sixteen year old and she just plays

884
00:40:35,280 --> 00:40:38,840
Speaker 3: this so well. And Jason, who's played by Evan Alex

885
00:40:38,960 --> 00:40:41,880
Speaker 3: again fantastic. One of the things that I will say

886
00:40:42,200 --> 00:40:45,760
Speaker 3: about this movie that still continues to blow me away

887
00:40:45,960 --> 00:40:50,120
Speaker 3: is how amazingly all of these actors play dual roles.

888
00:40:50,280 --> 00:40:53,160
Speaker 1: Yeah, oh my god, obviously I could do an entire

889
00:40:53,160 --> 00:40:55,799
Speaker 1: episode about Lupida in this movie, Like I'm just like

890
00:40:55,920 --> 00:40:59,320
Speaker 1: she is such an incredible actor. Yeah, Like I'm like,

891
00:40:59,800 --> 00:41:03,080
Speaker 1: how the hell is she able to inhabit like both

892
00:41:03,160 --> 00:41:06,400
Speaker 1: these characters perfectly? And I feel like she could be

893
00:41:06,440 --> 00:41:08,239
Speaker 1: the new Sarah Conner as far as I'm concerned, Like

894
00:41:08,320 --> 00:41:10,719
Speaker 1: she needs to be like our fucking action movie hero.

895
00:41:11,000 --> 00:41:14,399
Speaker 1: She's able to do like physical stuff really well. Absolutely,

896
00:41:14,480 --> 00:41:16,240
Speaker 1: she's got that really expressive face.

897
00:41:16,280 --> 00:41:18,680
Speaker 3: I mean, she's just like such a gem. She is

898
00:41:18,880 --> 00:41:21,359
Speaker 3: truly an incredible act Like I know she had an

899
00:41:21,360 --> 00:41:23,600
Speaker 3: Academy Award for twelve Years of Sleeve. I think she

900
00:41:23,640 --> 00:41:25,719
Speaker 3: should have gotten one for this role. I truly think

901
00:41:25,760 --> 00:41:27,359
Speaker 3: she should. Thank you.

902
00:41:27,360 --> 00:41:28,359
Speaker 2: No, I thought that too.

903
00:41:28,440 --> 00:41:31,640
Speaker 1: I was like, holy shit, like nobody's doing this, Like

904
00:41:31,680 --> 00:41:33,799
Speaker 1: what she's doing in this movie is like nobody is

905
00:41:33,800 --> 00:41:37,000
Speaker 1: doing this. And I was like completely blown away. This

906
00:41:37,040 --> 00:41:38,920
Speaker 1: is my second watch. Obviously I saw it with you

907
00:41:38,960 --> 00:41:41,280
Speaker 1: the first time, but I was like that really hit.

908
00:41:41,160 --> 00:41:41,719
Speaker 3: Home this time.

909
00:41:41,760 --> 00:41:43,600
Speaker 1: It's just about how she should have gotten all the

910
00:41:43,600 --> 00:41:44,880
Speaker 1: awards for this movie.

911
00:41:44,920 --> 00:41:47,839
Speaker 3: It was a unique character and a unique portrayal of

912
00:41:47,880 --> 00:41:51,160
Speaker 3: the characters. So yeah, she is whoo blows me away.

913
00:41:51,160 --> 00:41:53,879
Speaker 3: But all these actors are fantastic and this is again

914
00:41:53,920 --> 00:41:56,400
Speaker 3: a journey where she's coming back to this boardwalk with

915
00:41:56,560 --> 00:41:59,359
Speaker 3: her family, and she seems nervous about the trip. She's

916
00:41:59,360 --> 00:42:02,200
Speaker 3: a little uneasy. They're kind of sharing this trip with

917
00:42:02,239 --> 00:42:06,400
Speaker 3: this white family who the parents are Elizabeth Moss and

918
00:42:06,520 --> 00:42:10,600
Speaker 3: Tim Hedeker, which is great, and they have these twin daughters,

919
00:42:10,680 --> 00:42:13,160
Speaker 3: like these teenage twin daughters, so they're kind of sharing

920
00:42:13,160 --> 00:42:16,600
Speaker 3: this trip. But Addie, you know Adelaide, she's very nervous

921
00:42:16,600 --> 00:42:20,120
Speaker 3: about it. And then one night, as she's telling Gabe,

922
00:42:20,280 --> 00:42:23,480
Speaker 3: I've always felt like there was a mirror image, like

923
00:42:23,520 --> 00:42:25,279
Speaker 3: there was a double of me out there in the

924
00:42:25,280 --> 00:42:28,879
Speaker 3: world trying to get me. Jason, their son, walks into

925
00:42:28,920 --> 00:42:33,000
Speaker 3: their bedroom and says, there's a family in our driveway.

926
00:42:33,520 --> 00:42:37,880
Speaker 3: And all hell breaks loose up truly because the family

927
00:42:38,000 --> 00:42:42,319
Speaker 3: in the driveway they show up in red jumpsuits, leather

928
00:42:42,400 --> 00:42:45,759
Speaker 3: driving gloves, and sharp gold scissors, and they are the

929
00:42:45,920 --> 00:42:48,840
Speaker 3: exact doppelgangers of ADDIE's family.

930
00:42:49,080 --> 00:42:52,239
Speaker 1: There is a true moment of terror. And I don't

931
00:42:52,239 --> 00:42:55,080
Speaker 1: know if it's because now I'm living in a house

932
00:42:55,120 --> 00:42:58,800
Speaker 1: that has a driveway, but that moment, and this was

933
00:42:58,840 --> 00:43:01,440
Speaker 1: how I felt in twenty nineteen, but it was doubled.

934
00:43:01,520 --> 00:43:04,360
Speaker 1: The fear was doubled now when I rewatch this movie.

935
00:43:04,400 --> 00:43:08,200
Speaker 1: The idea of them just seeing the outline of this

936
00:43:08,360 --> 00:43:12,000
Speaker 1: family at the top of the driveway and then nothing happening,

937
00:43:12,080 --> 00:43:14,200
Speaker 1: and they're just sitting there being like, what the fuck

938
00:43:14,280 --> 00:43:15,880
Speaker 1: is this? And the dad goes out and he's just like,

939
00:43:16,040 --> 00:43:18,120
Speaker 1: excuse me, what are you doing? And there's no movement,

940
00:43:18,480 --> 00:43:22,120
Speaker 1: and I'm just like that creeping fear of like there's

941
00:43:22,120 --> 00:43:25,520
Speaker 1: a stranger on our property but they're not moving or

942
00:43:25,560 --> 00:43:26,320
Speaker 1: saying anything.

943
00:43:26,760 --> 00:43:30,480
Speaker 3: Was fucking terrifying. They have all the power in that situation.

944
00:43:30,640 --> 00:43:33,200
Speaker 3: Oh yeah, that kind of lurk. It's a powerful stance.

945
00:43:33,360 --> 00:43:36,840
Speaker 3: And they're standing there holding hands like those paper dolls. Yeah,

946
00:43:36,880 --> 00:43:39,520
Speaker 3: and then the two kids, one is on either side

947
00:43:39,520 --> 00:43:42,080
Speaker 3: of the parents, they just take the fuck off. The

948
00:43:42,120 --> 00:43:45,759
Speaker 3: two kids just run. And that scared the shit out

949
00:43:45,800 --> 00:43:48,799
Speaker 3: of me because I'm like, where the fuck are these

950
00:43:48,880 --> 00:43:51,600
Speaker 3: kids going? What is the plan? What is happening here?

951
00:43:51,680 --> 00:43:53,920
Speaker 1: There's nothing worse than a horror movie when a completely

952
00:43:53,920 --> 00:43:56,800
Speaker 1: still person just bolts into action for no reason.

953
00:43:57,040 --> 00:44:00,360
Speaker 3: Fuck it terrifying, Fuck it primal fear. Oh my, So

954
00:44:00,560 --> 00:44:02,560
Speaker 3: what we're dealing with here too, which again I love

955
00:44:02,640 --> 00:44:07,360
Speaker 3: about the way that Jordan Peel tends to reimagine larger

956
00:44:07,400 --> 00:44:10,080
Speaker 3: themes that we've already experienced. So this is like a

957
00:44:10,080 --> 00:44:12,879
Speaker 3: play on the evil twin motif, a play on home

958
00:44:12,920 --> 00:44:16,520
Speaker 3: invasion films, but it's so smart. So these doppelgangers show

959
00:44:16,600 --> 00:44:18,960
Speaker 3: up and look, they have been to Big Bud Press,

960
00:44:19,120 --> 00:44:25,200
Speaker 3: they have bought their red jumpsuits and they are silence

961
00:44:25,480 --> 00:44:29,640
Speaker 3: and the only person that speaks is ADDIE's doppelganger, who

962
00:44:29,680 --> 00:44:33,080
Speaker 3: goes by Red, and they call themselves Shadows and Red.

963
00:44:33,560 --> 00:44:36,920
Speaker 3: Just the way that Lupita and Yango inhabits the bodily

964
00:44:37,120 --> 00:44:40,640
Speaker 3: form of this character, where she walks very straight back,

965
00:44:40,760 --> 00:44:45,200
Speaker 3: her eyes are wide, she has a very raspy, halting voice.

966
00:44:45,400 --> 00:44:50,120
Speaker 3: Everything about how she portrays this character scares the shit

967
00:44:50,280 --> 00:44:52,879
Speaker 3: out of me. There's one part where she comes into

968
00:44:52,880 --> 00:44:54,880
Speaker 3: the house and this is again early on in the

969
00:44:54,920 --> 00:44:57,480
Speaker 3: All Hell Breaking Loose, and she's sitting down across from

970
00:44:57,520 --> 00:45:00,520
Speaker 3: the family, and she looks at Zora, the sixteen year old,

971
00:45:00,560 --> 00:45:04,239
Speaker 3: and she goes, little girl run. Those three words are

972
00:45:04,280 --> 00:45:07,279
Speaker 3: the scariest shit I saw all year, Oh definitely all year.

973
00:45:07,320 --> 00:45:08,839
Speaker 3: When that movie came out, I was like, what the fun?

974
00:45:08,920 --> 00:45:11,240
Speaker 3: And now you think I watched that in my house

975
00:45:11,280 --> 00:45:13,800
Speaker 3: alone and didn't get up to fucking piss because I

976
00:45:13,840 --> 00:45:15,960
Speaker 3: want to piss my pants. Yeah, I was like, oh

977
00:45:16,000 --> 00:45:18,000
Speaker 3: hell no, I had to pause it. I was like, nope,

978
00:45:18,480 --> 00:45:20,960
Speaker 3: hell no, I'm not being in this house but myself.

979
00:45:20,960 --> 00:45:24,279
Speaker 3: Pizza and Yango's telling this little girl to run. Oh

980
00:45:24,280 --> 00:45:26,959
Speaker 3: my god. Totally freaked me out. So this is like, again,

981
00:45:27,000 --> 00:45:29,640
Speaker 3: this is where we start this journey and we start

982
00:45:29,680 --> 00:45:33,120
Speaker 3: to learn about this shadow family. They're referred to in

983
00:45:33,160 --> 00:45:35,840
Speaker 3: the movie There for themselves as shadows, but I've also

984
00:45:36,280 --> 00:45:39,040
Speaker 3: read of them as being referred to as the tethers.

985
00:45:39,280 --> 00:45:42,560
Speaker 3: The doppelgangers are tethered to the main characters. And the

986
00:45:42,600 --> 00:45:45,160
Speaker 3: thing that this made me think about this time because

987
00:45:45,160 --> 00:45:46,799
Speaker 3: I've watched it a couple times when they came out,

988
00:45:46,840 --> 00:45:49,400
Speaker 3: but this time in particular, I was really paying attention

989
00:45:49,560 --> 00:45:52,719
Speaker 3: to that relationship, and it made me a question, what

990
00:45:52,760 --> 00:45:55,839
Speaker 3: does it mean when a tether breaks free? What does

991
00:45:55,880 --> 00:45:59,120
Speaker 3: it mean when you're confronted with yourself? What are the

992
00:45:59,120 --> 00:46:02,919
Speaker 3: ways that we attack ourselves, ignore ourselves, ignore each other.

993
00:46:03,160 --> 00:46:06,040
Speaker 3: Because again, like in looking at some articles that we're

994
00:46:06,080 --> 00:46:08,960
Speaker 3: talking about this film, one thing that I read in

995
00:46:09,320 --> 00:46:12,799
Speaker 3: Tasha Robinson's article on the Verge and the article is

996
00:46:12,800 --> 00:46:16,440
Speaker 3: called Jordan Peel's Us turns a political statement into unnerving

997
00:46:16,680 --> 00:46:20,120
Speaker 3: horror Again. It's written by Tasha Robinson, and I quote

998
00:46:20,360 --> 00:46:24,440
Speaker 3: Peel said, the film is fundamentally about America's misplaced fear

999
00:46:24,680 --> 00:46:28,160
Speaker 3: of outsiders. This movie is about this country, he said,

1000
00:46:28,480 --> 00:46:31,440
Speaker 3: where in a time where we fear the other, whether

1001
00:46:31,480 --> 00:46:34,040
Speaker 3: it's the mysterious invader that we think is going to

1002
00:46:34,040 --> 00:46:36,400
Speaker 3: come and kill us and take our jobs, or the

1003
00:46:36,440 --> 00:46:39,319
Speaker 3: faction we don't live near who voted a different way

1004
00:46:39,480 --> 00:46:42,520
Speaker 3: than us. We're all about pointing the finger. And I

1005
00:46:42,560 --> 00:46:45,480
Speaker 3: want to suggest that maybe the monster we really need

1006
00:46:45,520 --> 00:46:49,880
Speaker 3: to look at has our face. Maybe the evil it's us.

1007
00:46:50,160 --> 00:46:52,880
Speaker 3: And so I'm thinking about all these questions and looking

1008
00:46:53,000 --> 00:46:57,000
Speaker 3: at how this family has assimilated into this upper middle

1009
00:46:57,040 --> 00:47:01,080
Speaker 3: class life. Gabe still has a lot of ambition that

1010
00:47:01,200 --> 00:47:03,640
Speaker 3: is rooted in whiteness. There's a point in the movie

1011
00:47:03,680 --> 00:47:06,399
Speaker 3: where he buys a boat. We're just witnessing the trappings

1012
00:47:06,480 --> 00:47:10,160
Speaker 3: of whiteness that this family is trying to aspire to,

1013
00:47:10,560 --> 00:47:13,520
Speaker 3: but especially Gabe, and the boat that he buys is

1014
00:47:13,600 --> 00:47:17,680
Speaker 3: so janky. It is like sojang. So it makes you

1015
00:47:17,680 --> 00:47:20,239
Speaker 3: a question like what happens when even the trappings of

1016
00:47:20,280 --> 00:47:22,480
Speaker 3: whiteness fail? Like will we ever be able to live

1017
00:47:22,560 --> 00:47:24,839
Speaker 3: up to these standards? And why do we want to?

1018
00:47:25,360 --> 00:47:27,680
Speaker 3: And then there's a really interesting switch to later in

1019
00:47:27,719 --> 00:47:31,200
Speaker 3: the film where Gabe ends up having to fight the

1020
00:47:31,239 --> 00:47:34,800
Speaker 3: bad Josh, so he's literally fighting with his white ideal.

1021
00:47:34,920 --> 00:47:35,080
Speaker 4: Yea.

1022
00:47:35,280 --> 00:47:38,600
Speaker 3: So the symbolism and again, like the metaphors, and there's

1023
00:47:38,719 --> 00:47:41,440
Speaker 3: so much of it in this movie. It's rife with it,

1024
00:47:41,520 --> 00:47:45,120
Speaker 3: but it's also just scary. It's just scary. There's a

1025
00:47:45,160 --> 00:47:49,040
Speaker 3: part where Zora is running away and Umbray, her doppelganger,

1026
00:47:49,080 --> 00:47:52,040
Speaker 3: her shadow, her tether, chases her to this car and

1027
00:47:52,080 --> 00:47:54,280
Speaker 3: then she's kind of looking at her through the car windows.

1028
00:47:54,280 --> 00:47:57,279
Speaker 3: They're each on either side, and then Umbray just disappears,

1029
00:47:57,320 --> 00:47:59,480
Speaker 3: and I'm like, fuck this shit, I got this pause

1030
00:47:59,520 --> 00:48:02,560
Speaker 3: it again, go go, Like I could not handle it

1031
00:48:02,600 --> 00:48:05,240
Speaker 3: was such a heightened sense of fear in this movie,

1032
00:48:05,280 --> 00:48:09,000
Speaker 3: but then it's tempered by this very real family dynamic.

1033
00:48:09,080 --> 00:48:11,719
Speaker 3: So I just found it really fascinating that I could

1034
00:48:11,880 --> 00:48:14,719
Speaker 3: withstand that kind of horror, and that is the kind

1035
00:48:14,760 --> 00:48:17,680
Speaker 3: of horror that I enjoy. Yeah, because it's really tempered

1036
00:48:17,719 --> 00:48:20,600
Speaker 3: by looking at how this family interacts with each other,

1037
00:48:20,760 --> 00:48:23,320
Speaker 3: how they interact with the world, and how they interact

1038
00:48:23,400 --> 00:48:25,560
Speaker 3: with the Tethers, because there is a point in the

1039
00:48:25,600 --> 00:48:28,960
Speaker 3: movie where the family is really on a separate journey

1040
00:48:29,040 --> 00:48:32,440
Speaker 3: of terror with their own doppelgangers, and again, like that

1041
00:48:32,600 --> 00:48:35,360
Speaker 3: is saying a lot about how do we face ourselves?

1042
00:48:35,480 --> 00:48:36,799
Speaker 3: I just I don't know. I could talk about this

1043
00:48:36,840 --> 00:48:41,040
Speaker 3: movie for seven hundred years. But Red the Shadow does

1044
00:48:41,120 --> 00:48:44,280
Speaker 3: explain how all of this is connected. When she first

1045
00:48:44,320 --> 00:48:46,759
Speaker 3: meets the family and she's sitting down and talking to

1046
00:48:46,800 --> 00:48:50,120
Speaker 3: them about who she is, she basically points out that

1047
00:48:50,480 --> 00:48:54,200
Speaker 3: the Tethers receive all of the bad side of life

1048
00:48:54,520 --> 00:48:57,520
Speaker 3: and the cold and the darkness. So, for example, she says,

1049
00:48:57,560 --> 00:48:59,840
Speaker 3: you know, your toys were soft and mine were sharp,

1050
00:48:59,840 --> 00:49:03,040
Speaker 3: and so they were living parallel lives. And she points

1051
00:49:03,080 --> 00:49:06,200
Speaker 3: out how her version of the parallel life was awful.

1052
00:49:06,560 --> 00:49:11,000
Speaker 3: It was awful. And there's something that I read that

1053
00:49:11,360 --> 00:49:14,279
Speaker 3: I wanted to also talk about here. Again, this is

1054
00:49:14,280 --> 00:49:17,800
Speaker 3: from the SORIAH McDonald essay on The Undefeated. She says

1055
00:49:17,920 --> 00:49:21,040
Speaker 3: us as a jagged allegory for the pitfalls of capitalism

1056
00:49:21,480 --> 00:49:25,680
Speaker 3: and the resentment that mounts when we pretend those whose

1057
00:49:25,760 --> 00:49:30,200
Speaker 3: labor we exploit for our happiness do not exist. And

1058
00:49:30,200 --> 00:49:32,479
Speaker 3: that hit me so hard, and it made me think

1059
00:49:32,600 --> 00:49:35,520
Speaker 3: instantly of we don't have to reach back too far

1060
00:49:35,880 --> 00:49:39,840
Speaker 3: to understand how that is a true statement. Think about

1061
00:49:39,880 --> 00:49:43,880
Speaker 3: this pandemic and how everyone was rallying around essential quote

1062
00:49:43,960 --> 00:49:47,600
Speaker 3: unquote workers in the beginning, and essential workers didn't get

1063
00:49:47,640 --> 00:49:50,080
Speaker 3: a raise, and essential workers are burnt out right now,

1064
00:49:50,239 --> 00:49:53,200
Speaker 3: and essential workers, you know, we don't cheer for them anymore,

1065
00:49:53,440 --> 00:49:57,080
Speaker 3: and we have gone back to wanting to pretend that

1066
00:49:57,360 --> 00:50:00,680
Speaker 3: their labor to keep us safe and healthy doesn't exist.

1067
00:50:01,239 --> 00:50:05,560
Speaker 3: And this kind of goes double for black people. I

1068
00:50:05,600 --> 00:50:09,000
Speaker 3: think America's cultural reference for itself is to ignore its

1069
00:50:09,000 --> 00:50:12,600
Speaker 3: own history, and so we tend to not focus on

1070
00:50:12,800 --> 00:50:15,520
Speaker 3: Black people who are innovative and creative and who bring

1071
00:50:15,560 --> 00:50:18,440
Speaker 3: a lot of things to the forefront of our lives

1072
00:50:18,480 --> 00:50:21,000
Speaker 3: and enhance our lives, and we tend to just kind

1073
00:50:21,000 --> 00:50:24,120
Speaker 3: of forget about people who are not white, because that's

1074
00:50:24,440 --> 00:50:27,040
Speaker 3: not how America wants to write its own history. So

1075
00:50:27,080 --> 00:50:29,440
Speaker 3: I just thought that was a very poignant and pointed

1076
00:50:29,640 --> 00:50:33,240
Speaker 3: sentiment that fits really well in the description of this movie,

1077
00:50:33,320 --> 00:50:36,040
Speaker 3: because I think that's what this family is representing. It's

1078
00:50:36,040 --> 00:50:40,359
Speaker 3: a really truly terrifying film. I think that the use

1079
00:50:40,400 --> 00:50:42,680
Speaker 3: of music in this film is scary. Oh my god.

1080
00:50:42,840 --> 00:50:46,960
Speaker 3: They make a point of using I Got Five on

1081
00:50:47,000 --> 00:50:48,960
Speaker 3: It in two different scenes, and they do like a

1082
00:50:49,000 --> 00:50:51,920
Speaker 3: classical and that song is pretty spooky to begin with.

1083
00:50:52,160 --> 00:50:55,840
Speaker 1: Oh completely, it's so spooky. I love the orchestral version

1084
00:50:55,880 --> 00:50:58,520
Speaker 1: of it, the one that's playing during the ballet scene.

1085
00:50:58,560 --> 00:51:00,800
Speaker 1: I was like, I never knew any did a strings

1086
00:51:00,880 --> 00:51:03,399
Speaker 1: version of I Got Five on It, But thank fucking god,

1087
00:51:03,400 --> 00:51:03,920
Speaker 1: it's here.

1088
00:51:04,000 --> 00:51:05,479
Speaker 3: Thank fucking god it's here.

1089
00:51:05,760 --> 00:51:06,160
Speaker 2: Love it.

1090
00:51:07,400 --> 00:51:11,480
Speaker 1: But also the mini Ripperton song, yes at the end.

1091
00:51:11,520 --> 00:51:14,200
Speaker 1: I won't give away the ending obviously, that song I'd

1092
00:51:14,200 --> 00:51:16,279
Speaker 1: always listened to just sort of is like, oh, this

1093
00:51:16,320 --> 00:51:19,680
Speaker 1: is like a Saturday afternoon easy breezy seventy song or whatever.

1094
00:51:20,080 --> 00:51:26,880
Speaker 3: Fucking terrifying in this movie. Ah, holy shit, it's so scary.

1095
00:51:27,120 --> 00:51:29,840
Speaker 3: And it's that exact thing, like the way that Jordan

1096
00:51:29,960 --> 00:51:33,880
Speaker 3: Peel uses symbolism and pop culture references for things that

1097
00:51:33,920 --> 00:51:38,880
Speaker 3: are previously innocent or calm or comforting, and he uses

1098
00:51:38,920 --> 00:51:41,760
Speaker 3: that to turn it around and freak us the fuck out. Yeah,

1099
00:51:41,840 --> 00:51:44,720
Speaker 3: Oh my god, like hands across America is a big

1100
00:51:45,000 --> 00:51:49,520
Speaker 3: symbolic part of this film, and he uses this thing

1101
00:51:49,560 --> 00:51:52,560
Speaker 3: that was developed to fight poverty as a way to

1102
00:51:52,600 --> 00:51:56,000
Speaker 3: point a finger at us and look at our own racism,

1103
00:51:56,239 --> 00:51:58,920
Speaker 3: which is fucking brilliant any way you shake it. But

1104
00:51:59,000 --> 00:52:03,880
Speaker 3: he makes hands across America fucking terrifying. He makes rabbits terrifying.

1105
00:52:03,960 --> 00:52:07,480
Speaker 3: There's a bunch of white rabbits hopping around in this

1106
00:52:07,600 --> 00:52:10,759
Speaker 3: underground world and it's punctuated by some black ones and

1107
00:52:10,800 --> 00:52:14,560
Speaker 3: some brown ones. And that's intentional. Everything he does is intentional.

1108
00:52:14,600 --> 00:52:16,839
Speaker 3: I know I'm quoting us to death here, but there

1109
00:52:16,840 --> 00:52:20,000
Speaker 3: are just so many that are good, and so many

1110
00:52:20,040 --> 00:52:22,480
Speaker 3: thoughtful pieces about this movie. But it has to be

1111
00:52:22,520 --> 00:52:25,680
Speaker 3: said that Jordan Peel loves pop culture. He is someone

1112
00:52:25,680 --> 00:52:28,920
Speaker 3: who has consumed pop cultures whole life. You can tell

1113
00:52:29,160 --> 00:52:31,480
Speaker 3: in the way that he writes and directs his films.

1114
00:52:31,960 --> 00:52:34,920
Speaker 3: And Richard Brody of The New Yorker pointed out, and

1115
00:52:35,040 --> 00:52:38,439
Speaker 3: I quote the movie's many pop culture references, whether kids

1116
00:52:38,480 --> 00:52:41,720
Speaker 3: wearing T shirts for Thriller or Jaws, or the presence

1117
00:52:41,760 --> 00:52:44,759
Speaker 3: of good vibrations and fuck the Police on the soundtrack

1118
00:52:44,920 --> 00:52:49,319
Speaker 3: are no mirror decorations. Peel's radical vision of inequality of

1119
00:52:49,360 --> 00:52:52,200
Speaker 3: the haves and the have nots, those who are in

1120
00:52:52,360 --> 00:52:55,719
Speaker 3: and those who are out, is reflected brightly and brilliantly

1121
00:52:55,840 --> 00:52:59,480
Speaker 3: in his view of pop culture. Current and classic mass

1122
00:52:59,520 --> 00:53:03,319
Speaker 3: media is presented in US as rich people's culture, if

1123
00:53:03,360 --> 00:53:06,080
Speaker 3: not in the immediate origins of its artists, then in

1124
00:53:06,160 --> 00:53:10,760
Speaker 3: the production, distribution, marketing, platforming, and lawyering of the work,

1125
00:53:10,960 --> 00:53:14,719
Speaker 3: in the very notion of its valuable and ubiquitous legacy.

1126
00:53:14,920 --> 00:53:17,719
Speaker 3: So that's a very wordy New Yorkery way of saying, like,

1127
00:53:17,920 --> 00:53:21,200
Speaker 3: he thought about how we use pop culture against each

1128
00:53:21,200 --> 00:53:24,319
Speaker 3: other and how we use pop culture against blackness, and

1129
00:53:24,680 --> 00:53:27,200
Speaker 3: that is to me, again, a fascinating thought to have

1130
00:53:27,239 --> 00:53:31,680
Speaker 3: come out of this film, because pop culture is fueled

1131
00:53:31,760 --> 00:53:34,960
Speaker 3: by blackness. It's fueled by blackness. So I think that again,

1132
00:53:35,040 --> 00:53:38,560
Speaker 3: he's very, very smart. He made a terrifying fucking film.

1133
00:53:38,840 --> 00:53:41,120
Speaker 3: I could talk about it for seventeen hours, but it

1134
00:53:41,200 --> 00:53:45,400
Speaker 3: is truly just scary. It's dark, it's ominous, it's a

1135
00:53:45,440 --> 00:53:49,200
Speaker 3: little bit gory, but it's thoughtful and it's funny, and

1136
00:53:49,239 --> 00:53:51,640
Speaker 3: the kids are so funny. There's one scene where Abby

1137
00:53:51,880 --> 00:53:55,040
Speaker 3: and Gabe are talking and Jason goes like, what's micro

1138
00:53:55,160 --> 00:53:58,439
Speaker 3: machines and the other kid goes What's Home Alone. It's

1139
00:53:58,480 --> 00:54:02,960
Speaker 3: like they are so far removed from these Bob cultural references.

1140
00:54:03,080 --> 00:54:05,080
Speaker 3: So it's that kind of feeling where it's like it's

1141
00:54:05,080 --> 00:54:07,839
Speaker 3: a very dark and scary movie that's punctuated by these

1142
00:54:07,920 --> 00:54:12,200
Speaker 3: funny moments. Jordan Peele is masterful at bringing in the

1143
00:54:12,280 --> 00:54:14,920
Speaker 3: levity right when you need it and then scaring the

1144
00:54:14,920 --> 00:54:17,839
Speaker 3: shit out of you. Yes, and I just think I

1145
00:54:17,920 --> 00:54:19,920
Speaker 3: loved get Out. Get Out is, like you said, it

1146
00:54:20,000 --> 00:54:23,799
Speaker 3: is a pivotal film. I particularly think that US is

1147
00:54:23,880 --> 00:54:25,239
Speaker 3: his actual masterpiece.

1148
00:54:25,680 --> 00:54:27,600
Speaker 1: I would have to agree with you, I feel like

1149
00:54:27,800 --> 00:54:31,320
Speaker 1: so when we saw it in twenty nineteen, there's always

1150
00:54:31,360 --> 00:54:33,640
Speaker 1: that whole like setup, like I said before, of like, Okay,

1151
00:54:33,880 --> 00:54:39,120
Speaker 1: somebody made this like really important, big, huge culture shifting thing,

1152
00:54:39,360 --> 00:54:42,120
Speaker 1: and now they have to make a second movie, right, Yes,

1153
00:54:42,160 --> 00:54:45,960
Speaker 1: And there was that pressure I think everybody gets when

1154
00:54:45,960 --> 00:54:48,279
Speaker 1: they have to like do so replicate some kind of

1155
00:54:48,480 --> 00:54:51,759
Speaker 1: huge success again. And it goes double for Jordan Peele,

1156
00:54:51,800 --> 00:54:52,560
Speaker 1: who's a black man.

1157
00:54:52,680 --> 00:54:52,839
Speaker 3: Right.

1158
00:54:53,160 --> 00:54:55,839
Speaker 1: So when we walked into the movie theater, I had

1159
00:54:55,880 --> 00:54:57,759
Speaker 1: pretty much no idea what the movie was going to

1160
00:54:57,840 --> 00:55:00,359
Speaker 1: be about, which obviously is a good thing, because when

1161
00:55:00,360 --> 00:55:03,239
Speaker 1: I first started the movie, I got that sense it's

1162
00:55:03,280 --> 00:55:06,279
Speaker 1: sort of Shining esque, and I know that a lot

1163
00:55:06,320 --> 00:55:08,880
Speaker 1: of people make that comparison about us, about how it

1164
00:55:08,960 --> 00:55:11,880
Speaker 1: caused notes of the Shining, But it's that like creeping

1165
00:55:11,920 --> 00:55:14,080
Speaker 1: feeling of like, oh, here's this family and they're kind

1166
00:55:14,120 --> 00:55:17,760
Speaker 1: of just like, you know, having really fun, buoyant conversations,

1167
00:55:17,760 --> 00:55:19,480
Speaker 1: but something creepy is about to happen.

1168
00:55:19,520 --> 00:55:20,960
Speaker 3: You don't know what that's going to be.

1169
00:55:21,320 --> 00:55:23,680
Speaker 2: And it lasts for like a very long time.

1170
00:55:24,000 --> 00:55:27,000
Speaker 1: Yeah, the first like at least twenty minutes of the movie,

1171
00:55:27,040 --> 00:55:28,480
Speaker 1: you're like, oh, Okay, they're just chilling.

1172
00:55:28,640 --> 00:55:29,800
Speaker 2: I mean, but what's going to happen?

1173
00:55:29,840 --> 00:55:33,239
Speaker 1: They're in their vacation home, you know, much like the Torrentses,

1174
00:55:33,400 --> 00:55:35,920
Speaker 1: go to this other location, and like you said, a

1175
00:55:35,960 --> 00:55:38,040
Speaker 1: lot of it is Santa Cruz, right, So it's kind

1176
00:55:38,080 --> 00:55:41,520
Speaker 1: of this like white rich environment. It's in nature, there's

1177
00:55:41,560 --> 00:55:43,719
Speaker 1: a boardwalk, there's a beach. So here they are in

1178
00:55:43,719 --> 00:55:46,839
Speaker 1: this sort of place that's not their their home, and

1179
00:55:46,880 --> 00:55:49,480
Speaker 1: you're kind of like, what's going to happen? So when

1180
00:55:49,520 --> 00:55:52,800
Speaker 1: I first watched the film, I think I was trying

1181
00:55:52,840 --> 00:55:54,480
Speaker 1: to figure out what that was going to be. So

1182
00:55:54,640 --> 00:55:57,880
Speaker 1: much that when the rest of the film started happening,

1183
00:55:57,920 --> 00:55:59,600
Speaker 1: I was like, Oh, I don't even know what's going

1184
00:55:59,600 --> 00:56:01,680
Speaker 1: on right now. I'm just sort of like, I know,

1185
00:56:01,760 --> 00:56:04,359
Speaker 1: I'm terrified, and I don't know what's gonna happen next.

1186
00:56:04,360 --> 00:56:07,360
Speaker 1: But like, my mind only really focused on the visual horror,

1187
00:56:07,400 --> 00:56:10,560
Speaker 1: on the suspense part right that the story part.

1188
00:56:10,760 --> 00:56:11,680
Speaker 2: It didn't occur to me.

1189
00:56:11,840 --> 00:56:13,680
Speaker 1: Until much later, like after I watched the film that

1190
00:56:13,680 --> 00:56:15,319
Speaker 1: I'm like, Okay, so what was that movie about?

1191
00:56:15,360 --> 00:56:16,239
Speaker 2: Let me figure this out.

1192
00:56:16,360 --> 00:56:18,760
Speaker 1: And back then I think I had a hard time

1193
00:56:18,840 --> 00:56:22,240
Speaker 1: with trying to piece together the narrative of the story.

1194
00:56:22,440 --> 00:56:26,000
Speaker 1: But when I watched it this time, I really did

1195
00:56:26,040 --> 00:56:29,640
Speaker 1: the opposite. It's terrifying as shit, scarier even from when

1196
00:56:29,680 --> 00:56:32,520
Speaker 1: I first saw it, but now I picked up on

1197
00:56:32,560 --> 00:56:35,360
Speaker 1: all the little plot points. There's a scene this was

1198
00:56:35,400 --> 00:56:38,160
Speaker 1: actually terrifying to me personally, but there's a scene where

1199
00:56:38,360 --> 00:56:41,719
Speaker 1: the Elizabeth Moss character is sitting on the beach. That

1200
00:56:41,760 --> 00:56:45,000
Speaker 1: whole scene at the beach where her and Adelaide are

1201
00:56:45,040 --> 00:56:47,279
Speaker 1: like they're sitting there and then like she sort of

1202
00:56:47,440 --> 00:56:50,840
Speaker 1: kind of mentions that she had plastic surgery. Yes, And

1203
00:56:50,880 --> 00:56:53,359
Speaker 1: it's that whole thing where she kind of looks at

1204
00:56:53,520 --> 00:56:55,680
Speaker 1: Adelaide and is like, well, of course you don't need

1205
00:56:55,760 --> 00:56:58,880
Speaker 1: plastic surgery, and that sort of like gott, I covet

1206
00:56:59,000 --> 00:57:02,880
Speaker 1: your skin, it your blackness basically, And then of course

1207
00:57:02,960 --> 00:57:06,919
Speaker 1: that plays out yes later in the horror when her

1208
00:57:07,040 --> 00:57:11,440
Speaker 1: character's tether comes and tries to basically steal her skin,

1209
00:57:11,760 --> 00:57:14,600
Speaker 1: and I was like, holy fuck, like that really hit me.

1210
00:57:14,560 --> 00:57:16,440
Speaker 2: This time, and I was like that is terrifying.

1211
00:57:16,600 --> 00:57:18,720
Speaker 1: Yes, And so there was all these moments like that

1212
00:57:18,880 --> 00:57:21,840
Speaker 1: on this watch that really like crystallized sort of what

1213
00:57:21,880 --> 00:57:24,440
Speaker 1: the story was for me, and I just appreciated it

1214
00:57:24,520 --> 00:57:27,200
Speaker 1: a lot more. You know, sometimes that happens in film,

1215
00:57:27,360 --> 00:57:30,320
Speaker 1: like sometimes like when a movie is epic, when it's big,

1216
00:57:30,400 --> 00:57:33,240
Speaker 1: when it's like this masterpiece, right, sometimes you kind of

1217
00:57:33,240 --> 00:57:35,920
Speaker 1: have to compartmentalize your viewing and you're like, okay, for

1218
00:57:36,040 --> 00:57:38,800
Speaker 1: this viewing, I only could really glom onto this part,

1219
00:57:38,840 --> 00:57:40,240
Speaker 1: and then the next time I watch it, I really

1220
00:57:40,280 --> 00:57:42,040
Speaker 1: pay attention to this part. So I think that's kind

1221
00:57:42,040 --> 00:57:44,320
Speaker 1: of what happened for me, And honestly, I'm so glad

1222
00:57:44,320 --> 00:57:47,080
Speaker 1: I watched it again. As I always say on this podcast,

1223
00:57:47,480 --> 00:57:50,680
Speaker 1: watch movies again because you get better understandings of them,

1224
00:57:50,920 --> 00:57:53,760
Speaker 1: and I think it really is like he made a

1225
00:57:53,920 --> 00:57:59,920
Speaker 1: huge artistic statement after he had made this other incredible film,

1226
00:58:00,120 --> 00:58:02,160
Speaker 1: and that is just I think a testament to his

1227
00:58:02,240 --> 00:58:03,440
Speaker 1: talent is that he was like.

1228
00:58:03,400 --> 00:58:05,360
Speaker 2: I'm going in this direction and I don't give a shit.

1229
00:58:05,520 --> 00:58:07,240
Speaker 1: I'm going to make this movie and I'm going to

1230
00:58:07,280 --> 00:58:08,760
Speaker 1: take the ideas that I have and put him in

1231
00:58:08,800 --> 00:58:10,400
Speaker 1: this one big, rich text.

1232
00:58:10,560 --> 00:58:13,320
Speaker 2: And it was a success, at least in my opinion.

1233
00:58:13,440 --> 00:58:17,080
Speaker 3: So I completely agree. I completely agree, And I think

1234
00:58:17,160 --> 00:58:19,440
Speaker 3: something else that really struck me this time around is

1235
00:58:19,480 --> 00:58:23,280
Speaker 3: thinking about Jordan Peele as a creator is again another question,

1236
00:58:23,400 --> 00:58:25,680
Speaker 3: like he makes me question things, which I really appreciate.

1237
00:58:25,720 --> 00:58:27,920
Speaker 3: But my question that I got at the end of

1238
00:58:27,960 --> 00:58:30,680
Speaker 3: this that kind of came to mind was do black

1239
00:58:30,760 --> 00:58:35,280
Speaker 3: creators make horror films that are full of social commentary

1240
00:58:35,640 --> 00:58:38,960
Speaker 3: because they have to or because they can't help noticing

1241
00:58:39,240 --> 00:58:42,680
Speaker 3: these things and how closely related to horror they are.

1242
00:58:42,840 --> 00:58:46,840
Speaker 3: I want to think that the creativity of Jordan Peele's

1243
00:58:46,880 --> 00:58:50,480
Speaker 3: mind is more intense than him just looking at the

1244
00:58:50,480 --> 00:58:51,959
Speaker 3: world and being like, I'm going to make a movie

1245
00:58:51,960 --> 00:58:54,560
Speaker 3: about that. I think that he is creative enough to

1246
00:58:54,640 --> 00:58:57,360
Speaker 3: want to just tell a scary story and just make

1247
00:58:57,400 --> 00:59:01,560
Speaker 3: a horror film, but that he's also so preternaturally smart

1248
00:59:01,720 --> 00:59:04,720
Speaker 3: that he can't help but add these elements in that

1249
00:59:04,800 --> 00:59:07,000
Speaker 3: help us look at ourselves. So yeah, I just I

1250
00:59:07,040 --> 00:59:09,040
Speaker 3: loved it. I loved it. Thank you for bearing with

1251
00:59:09,040 --> 00:59:11,320
Speaker 3: me while I fucking talked about it for seven hours straight.

1252
00:59:11,520 --> 00:59:14,280
Speaker 1: No, way, this was great. I'm so glad you picked it.

1253
00:59:14,400 --> 00:59:17,280
Speaker 1: As per usual, I love watching movies again. I love

1254
00:59:17,320 --> 00:59:19,160
Speaker 1: it when you pick a movie that I hadn't seen

1255
00:59:19,200 --> 00:59:21,520
Speaker 1: in a long time and it was great to have

1256
00:59:21,520 --> 00:59:22,120
Speaker 1: seen it again.

1257
00:59:22,320 --> 00:59:25,200
Speaker 3: Well, I love your movie too, My goodness.

1258
00:59:25,240 --> 00:59:28,120
Speaker 1: Well, I have so much to say about my movie, unfortunately,

1259
00:59:28,120 --> 00:59:30,200
Speaker 1: so you might have to go down this road with me.

1260
00:59:30,480 --> 00:59:31,440
Speaker 2: On this film.

1261
00:59:31,440 --> 00:59:32,360
Speaker 3: I'm there. Yeah.

1262
00:59:32,400 --> 00:59:35,480
Speaker 1: So my film for the theme of black horror was

1263
00:59:35,520 --> 00:59:38,600
Speaker 1: a movie from nineteen ninety five. It was written by

1264
00:59:38,760 --> 00:59:42,360
Speaker 1: Rusty Kundiff and Darren Scott. It was directed by Rusty Kundiff,

1265
00:59:42,400 --> 00:59:44,400
Speaker 1: and it's called Tails from the Hood.

1266
00:59:45,080 --> 00:59:50,959
Speaker 4: In this neighborhood is a house where souls never rest.

1267
00:59:51,640 --> 00:59:57,600
Speaker 4: You're invited to share their secrets. I've been waiting for you, boys.

1268
00:59:59,280 --> 01:00:02,560
Speaker 1: Okay, talk a little bit about the director of this film,

1269
01:00:02,840 --> 01:00:06,120
Speaker 1: Rusty Kundiff. He is originally from Pittsburgh. He went to

1270
01:00:06,240 --> 01:00:09,800
Speaker 1: USC for college, and after he graduated, he did exactly

1271
01:00:10,000 --> 01:00:14,040
Speaker 1: what you do. He started doing stand up in Los Angeles,

1272
01:00:16,840 --> 01:00:19,120
Speaker 1: and through that scene, I think he met a lot

1273
01:00:19,120 --> 01:00:21,520
Speaker 1: of people who would eventually become sort of involved in

1274
01:00:21,560 --> 01:00:24,480
Speaker 1: his films, people like David ellen Greer more about him later,

1275
01:00:24,920 --> 01:00:28,600
Speaker 1: but through the comedy stuff, you know, he had some

1276
01:00:28,640 --> 01:00:32,240
Speaker 1: acting roles, most notably in Spike Lee's movie School Days,

1277
01:00:32,560 --> 01:00:35,120
Speaker 1: and you know, he was very much inspired by Spike

1278
01:00:35,200 --> 01:00:39,240
Speaker 1: to pursue directing and writing, and eventually he wrote and

1279
01:00:39,360 --> 01:00:43,040
Speaker 1: directed and started the much beloved satire film Fear of

1280
01:00:43,040 --> 01:00:46,440
Speaker 1: a Black Hat, which I thought was fucking hilarious when

1281
01:00:46,480 --> 01:00:49,200
Speaker 1: I saw in high school. It's basically the spital tap

1282
01:00:49,240 --> 01:00:52,000
Speaker 1: of rap music. Yes, in my mind, it's our civic

1283
01:00:52,080 --> 01:00:54,480
Speaker 1: duty to bang the booty. I used to say that

1284
01:00:54,520 --> 01:00:59,320
Speaker 1: all the time to home to home, to myself.

1285
01:00:59,080 --> 01:00:59,800
Speaker 3: In my bedroom.

1286
01:01:00,800 --> 01:01:03,000
Speaker 1: But he's had his hand in so many things though

1287
01:01:03,080 --> 01:01:05,240
Speaker 1: since I mean, he directed lots of episodes of The

1288
01:01:05,320 --> 01:01:08,800
Speaker 1: Chappelle Show, he was on TV Nation, that Michael Moore

1289
01:01:08,840 --> 01:01:09,800
Speaker 1: show from the nineties.

1290
01:01:09,840 --> 01:01:11,800
Speaker 2: He's a very talented man, still working.

1291
01:01:12,040 --> 01:01:13,760
Speaker 1: But I was like should I come up with the

1292
01:01:13,800 --> 01:01:15,720
Speaker 1: one sensed synopsis of this film, but I feel like

1293
01:01:15,760 --> 01:01:18,360
Speaker 1: I really couldn't, So I'm just gonna like maybe skip

1294
01:01:18,440 --> 01:01:20,360
Speaker 1: a one sentence synopsis to just kind of tell you

1295
01:01:20,440 --> 01:01:23,080
Speaker 1: a little bit about what the film's about. So Tales

1296
01:01:23,120 --> 01:01:26,919
Speaker 1: from the Hood is a horror anthology film, and there's

1297
01:01:27,000 --> 01:01:31,080
Speaker 1: actually this great tradition of horror anthologies going back to

1298
01:01:31,120 --> 01:01:34,320
Speaker 1: at least the nineteen forties, if not earlier. I'm thinking

1299
01:01:34,360 --> 01:01:40,400
Speaker 1: of stuff like Mariobaba's Black Sabbath Creep Show, Stephen King's

1300
01:01:40,480 --> 01:01:44,840
Speaker 1: Kat's Eye, COVID Don't Take Our King. But also like

1301
01:01:45,200 --> 01:01:48,120
Speaker 1: there was a lot of like horror anthology on television,

1302
01:01:48,720 --> 01:01:51,120
Speaker 1: certainly when we were growing up. I mean there's like

1303
01:01:51,200 --> 01:01:53,400
Speaker 1: Tales from the Dark Side, Tales from the Crypt, but

1304
01:01:53,440 --> 01:01:54,560
Speaker 1: also the Twilight Zone.

1305
01:01:55,000 --> 01:01:56,360
Speaker 3: All of that stuff I.

1306
01:01:56,320 --> 01:01:59,520
Speaker 1: Think plays a part into Tales from the Hood. So

1307
01:02:00,160 --> 01:02:03,320
Speaker 1: this film, this anthology, has four parts. Each of them

1308
01:02:03,320 --> 01:02:06,080
Speaker 1: are different stories, obviously, but that there's this general wrap

1309
01:02:06,120 --> 01:02:09,960
Speaker 1: around story, which is there's a group of these young

1310
01:02:10,160 --> 01:02:13,400
Speaker 1: drug dealers. They show up to this old mansion to

1311
01:02:13,480 --> 01:02:17,600
Speaker 1: try to buy these drugs off of this eccentric funeral

1312
01:02:17,640 --> 01:02:20,720
Speaker 1: director whose name mister Simms, and he's played by the

1313
01:02:20,760 --> 01:02:23,960
Speaker 1: great Clarence Williams the third and so what happens is

1314
01:02:24,000 --> 01:02:26,840
Speaker 1: in that way, that anthology way, it's like mister Simms

1315
01:02:26,960 --> 01:02:28,680
Speaker 1: is kind of the guy that's like, well, I'm gonna

1316
01:02:28,720 --> 01:02:31,040
Speaker 1: tell you the stories about the people you know, blah

1317
01:02:31,040 --> 01:02:32,920
Speaker 1: blah blah blah. So he's kind of the narrator for

1318
01:02:32,960 --> 01:02:33,480
Speaker 1: the stories.

1319
01:02:33,760 --> 01:02:35,240
Speaker 3: Yeah, he's the guide.

1320
01:02:35,480 --> 01:02:38,720
Speaker 2: Yeah, he's the guide, kind of the cripkeeper, if you will.

1321
01:02:40,800 --> 01:02:43,680
Speaker 1: So I just have to break in say this because

1322
01:02:44,200 --> 01:02:46,480
Speaker 1: I did not see this movie in the nineties. I

1323
01:02:46,520 --> 01:02:48,480
Speaker 1: always saw this in the last few years or so.

1324
01:02:48,680 --> 01:02:50,480
Speaker 1: I don't know if it played at the New Beverly,

1325
01:02:50,560 --> 01:02:52,800
Speaker 1: but I feel like maybe I heard it on their podcast,

1326
01:02:52,920 --> 01:02:55,400
Speaker 1: Like I heard about this movie and I was like, oh,

1327
01:02:55,440 --> 01:02:56,040
Speaker 1: I have to see that.

1328
01:02:56,080 --> 01:02:57,760
Speaker 2: I never saw that movie, and part of.

1329
01:02:57,720 --> 01:03:00,680
Speaker 1: Me wonders if the reason I didn't see it initially

1330
01:03:00,760 --> 01:03:03,479
Speaker 1: is because I assumed. I don't know if it's because

1331
01:03:03,520 --> 01:03:05,800
Speaker 1: of the VHS cover or something. I just thought it

1332
01:03:05,840 --> 01:03:07,960
Speaker 1: was like a parody horror film.

1333
01:03:08,080 --> 01:03:10,640
Speaker 3: Yes, I did see it in the nineties, and that

1334
01:03:10,760 --> 01:03:13,000
Speaker 3: was my experience of it was. I thought it was

1335
01:03:13,040 --> 01:03:16,720
Speaker 3: going to be just a pure comedy slapstick parody movie.

1336
01:03:16,960 --> 01:03:19,560
Speaker 1: Yes, And you know, I'm not sure if maybe I

1337
01:03:19,640 --> 01:03:22,160
Speaker 1: was thinking Fear of a Black Hat had something to

1338
01:03:22,200 --> 01:03:23,880
Speaker 1: do that I don't know, or maybe you know, at

1339
01:03:23,920 --> 01:03:26,240
Speaker 1: the time in the nineties we saw a lot of

1340
01:03:26,280 --> 01:03:28,920
Speaker 1: that kind of parody horror, especially from like the Waynes Brothers,

1341
01:03:29,000 --> 01:03:31,600
Speaker 1: and you know, the cover of the VHS or the DVD,

1342
01:03:31,680 --> 01:03:33,400
Speaker 1: I thought, oh, maybe this is gonna be like some

1343
01:03:33,520 --> 01:03:35,960
Speaker 1: funny horror film. So I don't know if that's why

1344
01:03:36,000 --> 01:03:39,040
Speaker 1: I missed it, but I gotta tell you when I

1345
01:03:39,440 --> 01:03:43,680
Speaker 1: finally saw it, Man, this movie is really something totally unique,

1346
01:03:43,720 --> 01:03:48,360
Speaker 1: totally it's extraordinarily relevant, and I gotta say, I mean,

1347
01:03:48,440 --> 01:03:50,880
Speaker 1: it's kind of downright revolutionary if you think about it,

1348
01:03:51,000 --> 01:03:52,760
Speaker 1: especially for the time that it was made.

1349
01:03:52,960 --> 01:03:53,200
Speaker 2: Yes.

1350
01:03:53,320 --> 01:03:55,280
Speaker 1: And the craziest thing is that when you first when

1351
01:03:55,320 --> 01:03:57,240
Speaker 1: you first put it on, the first ten minutes or so,

1352
01:03:57,280 --> 01:03:59,560
Speaker 1: you're thinking, Okay, this has gotta be some kind of

1353
01:03:59,640 --> 01:04:01,440
Speaker 1: funny black send.

1354
01:04:01,360 --> 01:04:02,520
Speaker 2: Up from Tales of the Crypt, Right.

1355
01:04:02,560 --> 01:04:04,840
Speaker 1: There's moments of funniness, especially when they first show up

1356
01:04:04,840 --> 01:04:06,400
Speaker 1: to mister Sim's house and he just kind of shows

1357
01:04:06,480 --> 01:04:07,040
Speaker 1: up and he's like.

1358
01:04:07,560 --> 01:04:08,320
Speaker 3: Good evening.

1359
01:04:08,360 --> 01:04:10,720
Speaker 1: He does the whole good evening thing and you're like, Okay,

1360
01:04:10,760 --> 01:04:14,200
Speaker 1: what is this. But then when the first story starts

1361
01:04:14,320 --> 01:04:16,960
Speaker 1: and you realize that this is a story about a

1362
01:04:17,280 --> 01:04:22,240
Speaker 1: rookie black police officer who watches his white superiors beat

1363
01:04:22,560 --> 01:04:26,439
Speaker 1: and kill a black community organizer, you're like, holy.

1364
01:04:26,680 --> 01:04:30,760
Speaker 3: Shit and frame him and like ruin his legacy. Yeah, yes,

1365
01:04:31,080 --> 01:04:31,760
Speaker 3: and that.

1366
01:04:31,680 --> 01:04:34,120
Speaker 1: Is really what this movie is, is that it's a

1367
01:04:34,160 --> 01:04:37,080
Speaker 1: horror movie, but it's about like the real life horrors

1368
01:04:37,480 --> 01:04:41,080
Speaker 1: experienced by the black community. And there's so much going

1369
01:04:41,120 --> 01:04:43,320
Speaker 1: on in this film because again it's an anthology. It's

1370
01:04:43,400 --> 01:04:45,800
Speaker 1: telling these little kind of bite sized stories of things,

1371
01:04:45,800 --> 01:04:49,880
Speaker 1: but it weaves in a lot about gang violence, domestic violence,

1372
01:04:50,200 --> 01:04:53,960
Speaker 1: child abuse, slavery, and it's actually reaching out to these

1373
01:04:54,040 --> 01:04:57,560
Speaker 1: like really like pivotal historical moments from like the eighties

1374
01:04:57,600 --> 01:04:59,240
Speaker 1: and nineties, certainly from our childhood.

1375
01:04:59,320 --> 01:05:01,120
Speaker 2: So it's kind of like Rodney King.

1376
01:05:01,800 --> 01:05:05,600
Speaker 1: There's a story where Corbyn Burnson, the actor Corbin Burnson,

1377
01:05:05,800 --> 01:05:09,400
Speaker 1: is playing this like David Duke type character, and that

1378
01:05:09,480 --> 01:05:12,760
Speaker 1: was a huge thing I remember from my childhood is

1379
01:05:12,800 --> 01:05:14,600
Speaker 1: remembering the David Duke stuff.

1380
01:05:14,720 --> 01:05:16,520
Speaker 2: Yeah, he was like always on TV.

1381
01:05:16,800 --> 01:05:20,480
Speaker 3: And reviled, reviled. Oh, like to see how much we

1382
01:05:20,600 --> 01:05:24,400
Speaker 3: deal with fucking Nazis now and everyone's trying to be like,

1383
01:05:24,680 --> 01:05:27,240
Speaker 3: let's hear both sides. Well, in the nineties, it was like,

1384
01:05:27,320 --> 01:05:30,720
Speaker 3: fuck this dude, he ran the KKK, fuck him, reviled, yes.

1385
01:05:30,560 --> 01:05:34,000
Speaker 1: And yet he was elected to the Louisiana House of

1386
01:05:34,040 --> 01:05:35,280
Speaker 1: Representatives or something like that.

1387
01:05:35,320 --> 01:05:38,400
Speaker 2: You're just like, I mean, honestly, that is happening right now.

1388
01:05:38,760 --> 01:05:41,400
Speaker 1: There are people in our Congress, especially people in like

1389
01:05:41,440 --> 01:05:45,120
Speaker 1: local governments, that are fucking as shitty and horrible as

1390
01:05:45,200 --> 01:05:47,680
Speaker 1: David Duke, and you're like, Wow, nothing has fucking changed

1391
01:05:47,720 --> 01:05:51,720
Speaker 1: at all. And all of the stories are very topical,

1392
01:05:52,040 --> 01:05:52,840
Speaker 1: very relevant.

1393
01:05:52,960 --> 01:05:53,280
Speaker 3: Again.

1394
01:05:53,360 --> 01:05:55,280
Speaker 2: The first story is about police brutality.

1395
01:05:55,400 --> 01:05:58,200
Speaker 1: Basically, they're kind of telling the Rodney King video and

1396
01:05:58,280 --> 01:06:03,160
Speaker 1: the trial over again. Way. There is a second story

1397
01:06:03,520 --> 01:06:09,080
Speaker 1: where this little kid is experiencing some kind of abuse

1398
01:06:09,120 --> 01:06:11,680
Speaker 1: at home and his teacher, who was actually played by

1399
01:06:11,760 --> 01:06:14,640
Speaker 1: Rusty Kindiff, is trying to figure out what's going on

1400
01:06:14,720 --> 01:06:17,680
Speaker 1: because he's showing up with bruises, and eventually they kind

1401
01:06:17,720 --> 01:06:21,640
Speaker 1: of encourage him to start drawing pictures of what's going

1402
01:06:21,680 --> 01:06:23,520
Speaker 1: on in his house, and he keeps saying that there's

1403
01:06:23,520 --> 01:06:26,560
Speaker 1: this monster that comes and hurts him. And then of course,

1404
01:06:26,640 --> 01:06:29,200
Speaker 1: like there is a moment where the teacher finally goes

1405
01:06:29,240 --> 01:06:31,240
Speaker 1: to his home and tries to figure out like, Okay,

1406
01:06:31,280 --> 01:06:33,200
Speaker 1: what's going on, Like your son's in trouble and we

1407
01:06:33,240 --> 01:06:35,280
Speaker 1: need to figure this out. And that's when David Alan

1408
01:06:35,360 --> 01:06:38,919
Speaker 1: Greer comes in a real departure for Dag. Holy shit,

1409
01:06:39,640 --> 01:06:42,720
Speaker 1: Like we're fans, We've talked about this on this podcast before.

1410
01:06:42,800 --> 01:06:45,960
Speaker 1: Love Dag, but holy shit, he is evil as hell

1411
01:06:46,000 --> 01:06:49,040
Speaker 1: in this movie in a way that's very jarring. But

1412
01:06:49,240 --> 01:06:52,480
Speaker 1: that is like again another story that kind of talks

1413
01:06:52,520 --> 01:06:56,280
Speaker 1: about something that's happening in a lot of families, and

1414
01:06:56,480 --> 01:07:00,880
Speaker 1: it's basically like the abuse and how to children and

1415
01:07:01,360 --> 01:07:04,040
Speaker 1: wives and girlfriends and people in the house, how are

1416
01:07:04,080 --> 01:07:04,920
Speaker 1: they affected by this?

1417
01:07:05,160 --> 01:07:05,800
Speaker 3: Right?

1418
01:07:05,840 --> 01:07:09,160
Speaker 1: And honestly, for me, I think it's the fourth story

1419
01:07:09,240 --> 01:07:12,960
Speaker 1: that really was like sort of eye opening and like

1420
01:07:13,000 --> 01:07:16,240
Speaker 1: I mean, it's kind of intense, but it's a good intense,

1421
01:07:16,360 --> 01:07:18,720
Speaker 1: you know what I mean. It's essentially about a gang

1422
01:07:18,760 --> 01:07:22,400
Speaker 1: member who goes to jail for participating in a murder

1423
01:07:22,960 --> 01:07:25,720
Speaker 1: and he gets offered parole if he agrees to sort

1424
01:07:25,720 --> 01:07:29,720
Speaker 1: of be transferred and be essentially having like this experimental

1425
01:07:29,720 --> 01:07:33,040
Speaker 1: treatment done to him, which is very clockwork orange esque,

1426
01:07:33,040 --> 01:07:34,880
Speaker 1: where he gets like kind of hooked up to a

1427
01:07:34,920 --> 01:07:38,720
Speaker 1: machine and there's a black female doctor who's kind of

1428
01:07:38,760 --> 01:07:40,240
Speaker 1: facilitating the whole.

1429
01:07:40,040 --> 01:07:43,440
Speaker 3: Thing, and it's also very like eugenics related.

1430
01:07:43,320 --> 01:07:46,600
Speaker 1: Yes, and you know, he's very hardened, he's very much

1431
01:07:46,720 --> 01:07:49,840
Speaker 1: like he's a young man, he's just very arrogant. And

1432
01:07:50,200 --> 01:07:55,440
Speaker 1: the machine starts showing him images of historical racist violence

1433
01:07:55,800 --> 01:07:58,960
Speaker 1: and murder alongside gang murders and sort of like what

1434
01:07:59,120 --> 01:08:03,320
Speaker 1: he's been participating, and it's sort of showing him that

1435
01:08:03,560 --> 01:08:06,680
Speaker 1: gang violence also results in the killing of black people

1436
01:08:06,680 --> 01:08:08,640
Speaker 1: in the same way that this was happening.

1437
01:08:08,280 --> 01:08:08,920
Speaker 3: In the past.

1438
01:08:09,080 --> 01:08:10,920
Speaker 2: Right, It's very effective.

1439
01:08:11,000 --> 01:08:14,040
Speaker 1: The montage sequence of that, Like that whole scene where

1440
01:08:14,080 --> 01:08:16,320
Speaker 1: he's sort of hooked up to the machine and he's

1441
01:08:16,320 --> 01:08:20,639
Speaker 1: seeing this images was really i mean it's effective and intense,

1442
01:08:20,920 --> 01:08:24,840
Speaker 1: and it's really scary, Like it's a scary moment for

1443
01:08:24,880 --> 01:08:25,519
Speaker 1: a horror movie.

1444
01:08:25,720 --> 01:08:29,639
Speaker 3: Right, Absolutely, it's very scary, and it's dark and red

1445
01:08:29,680 --> 01:08:31,479
Speaker 3: and like it's like the way they use the image,

1446
01:08:31,520 --> 01:08:34,559
Speaker 3: it's very fascinating. There's a part where he's strapped up

1447
01:08:34,560 --> 01:08:37,120
Speaker 3: to this machine and he starts shouting, you know, what

1448
01:08:37,200 --> 01:08:40,080
Speaker 3: about me? What about my pain? And what about what

1449
01:08:40,200 --> 01:08:44,280
Speaker 3: I've been through? And that's the thing that is inextricable

1450
01:08:44,520 --> 01:08:47,559
Speaker 3: in the black experience, is that he's saying, yes, I

1451
01:08:47,680 --> 01:08:50,400
Speaker 3: recognize that on a very black and white level, you

1452
01:08:50,439 --> 01:08:52,880
Speaker 3: can say that I am participating in killing black people,

1453
01:08:52,920 --> 01:08:55,120
Speaker 3: But what about my life and what about what I

1454
01:08:55,280 --> 01:08:58,559
Speaker 3: have suffered? And I'm not dead, but I have been

1455
01:08:58,600 --> 01:09:01,679
Speaker 3: diminished and I have been controlled, and I have been

1456
01:09:02,000 --> 01:09:04,439
Speaker 3: cast aside, And like it's just it's the very simple

1457
01:09:04,439 --> 01:09:07,040
Speaker 3: statement that really packs a huge punch.

1458
01:09:07,280 --> 01:09:11,280
Speaker 1: Oh completely, And it goes back to what I think

1459
01:09:11,479 --> 01:09:16,080
Speaker 1: the disconnect was between what I thought this movie was

1460
01:09:16,360 --> 01:09:18,960
Speaker 1: and what this movie actually is, right because I think

1461
01:09:18,960 --> 01:09:21,759
Speaker 1: I either read or saw an interview with the director

1462
01:09:21,840 --> 01:09:25,960
Speaker 1: that he himself was very much trying to make a

1463
01:09:26,240 --> 01:09:30,120
Speaker 1: political relevant horror film. I think he had mentioned that

1464
01:09:30,200 --> 01:09:32,720
Speaker 1: his father was a big activist and would go to

1465
01:09:32,760 --> 01:09:35,519
Speaker 1: a lot of marches, and he'd grown up being a

1466
01:09:35,600 --> 01:09:38,240
Speaker 1: black activist, and so of course he wants to make

1467
01:09:38,360 --> 01:09:41,080
Speaker 1: something that's you know, reflective of that. And of course

1468
01:09:41,479 --> 01:09:44,240
Speaker 1: the studio did not want to market a movie like this.

1469
01:09:44,400 --> 01:09:46,519
Speaker 1: They were like, how do we do this? How do

1470
01:09:46,560 --> 01:09:50,280
Speaker 1: we market a movie that's about black pain and black

1471
01:09:50,320 --> 01:09:54,240
Speaker 1: horror and not like some fucking fluffy bullshit right as

1472
01:09:54,280 --> 01:09:56,920
Speaker 1: they always do. And so part of me wonders if

1473
01:09:56,960 --> 01:09:58,439
Speaker 1: that is where it came from. It is just this

1474
01:09:58,520 --> 01:10:01,680
Speaker 1: idea that here's a studio who sort of like completely

1475
01:10:01,720 --> 01:10:04,720
Speaker 1: stuck and trying to figure out black people, as they

1476
01:10:04,760 --> 01:10:07,000
Speaker 1: always do, and then they're just like, well, let's just

1477
01:10:07,080 --> 01:10:10,680
Speaker 1: like throw this cover of like a skull with like

1478
01:10:10,960 --> 01:10:13,160
Speaker 1: you know, or whatever, and maybe people will watch it

1479
01:10:13,200 --> 01:10:15,760
Speaker 1: and think it's like some funny movie, and yet it

1480
01:10:15,840 --> 01:10:19,720
Speaker 1: was actually this. It was actually this like really serious, contemplative,

1481
01:10:19,760 --> 01:10:23,840
Speaker 1: thoughtful political horror movie. And so in a way, it

1482
01:10:23,960 --> 01:10:26,200
Speaker 1: just feels like the movie should have been better served

1483
01:10:26,600 --> 01:10:27,360
Speaker 1: in the nineties.

1484
01:10:27,600 --> 01:10:29,280
Speaker 3: I agree, and I think that you're absolutely right that

1485
01:10:29,320 --> 01:10:32,400
Speaker 3: there was no pathway, there was no language, Like nobody

1486
01:10:32,439 --> 01:10:36,479
Speaker 3: knew what to do with this kind of political film

1487
01:10:36,720 --> 01:10:39,160
Speaker 3: back in that day, or at least they knew what

1488
01:10:39,160 --> 01:10:40,840
Speaker 3: to do with it, but they wouldn't do it, you know.

1489
01:10:40,880 --> 01:10:43,640
Speaker 3: I think that it was twofold, and if it had

1490
01:10:43,640 --> 01:10:47,400
Speaker 3: been treated the way that I imagine the director wanted

1491
01:10:47,400 --> 01:10:49,920
Speaker 3: it to be treated, it could have been groundbreaking in

1492
01:10:49,960 --> 01:10:51,479
Speaker 3: the same way as Get Out it could have been

1493
01:10:51,560 --> 01:10:55,479
Speaker 3: groundbreaking and genre changing in a very similar way. Right.

1494
01:10:55,880 --> 01:11:00,000
Speaker 1: I think it's really hard to divorce politics from any horror.

1495
01:11:00,040 --> 01:11:02,599
Speaker 1: I feel like horror in general is kind of like

1496
01:11:02,680 --> 01:11:04,280
Speaker 1: inherently political.

1497
01:11:03,840 --> 01:11:06,360
Speaker 2: Even if you know, people try to act like it's not.

1498
01:11:06,520 --> 01:11:10,400
Speaker 1: I mean, horror comes from something elemental, right, right, which

1499
01:11:10,520 --> 01:11:13,840
Speaker 1: is it's not fluff normally. But I think it goes

1500
01:11:13,880 --> 01:11:18,160
Speaker 1: double for black horror, because here's a creator who is

1501
01:11:18,200 --> 01:11:22,320
Speaker 1: trying to make this very artistic, meaningful statement. And you know,

1502
01:11:22,439 --> 01:11:25,760
Speaker 1: when you get into the Hollywood machine, it's like you

1503
01:11:26,000 --> 01:11:30,559
Speaker 1: hope that people will honor those things about it, you know,

1504
01:11:30,640 --> 01:11:32,280
Speaker 1: but a lot of times they don't. They don't know

1505
01:11:32,320 --> 01:11:33,960
Speaker 1: what to do, and so you know, I think that

1506
01:11:34,000 --> 01:11:37,559
Speaker 1: this movie obviously was very pioneering. I think the nineties

1507
01:11:37,560 --> 01:11:39,759
Speaker 1: in general. I mean, I will go back and encourage

1508
01:11:39,800 --> 01:11:42,920
Speaker 1: everybody to watch that Horror War documentary because I think

1509
01:11:42,920 --> 01:11:46,080
Speaker 1: it really lays it out kind of perfectly in terms

1510
01:11:46,160 --> 01:11:48,680
Speaker 1: of what the nineties were doing for black horror. And

1511
01:11:48,760 --> 01:11:51,400
Speaker 1: you had stuff like Handyman, and you definitely had this film,

1512
01:11:51,680 --> 01:11:54,880
Speaker 1: and that obviously would pave the way for something like

1513
01:11:55,000 --> 01:11:56,160
Speaker 1: Get Out Right.

1514
01:11:56,600 --> 01:11:56,880
Speaker 3: Yes.

1515
01:11:57,080 --> 01:12:00,559
Speaker 1: However, the most interesting thing to me, and I feel

1516
01:12:00,600 --> 01:12:02,840
Speaker 1: like Rusty kind of says this in an interview as

1517
01:12:02,840 --> 01:12:05,600
Speaker 1: well that I found online where he was able to

1518
01:12:05,640 --> 01:12:09,519
Speaker 1: make two sequels to this film. Yes, but it happened

1519
01:12:09,840 --> 01:12:14,120
Speaker 1: after get Out exactly, So in this weird way, the

1520
01:12:14,240 --> 01:12:17,400
Speaker 1: movie get Out was influenced by something like Tales from

1521
01:12:17,400 --> 01:12:20,840
Speaker 1: the Hood, but that he was able to make sequels because.

1522
01:12:20,560 --> 01:12:21,120
Speaker 3: Of get Out.

1523
01:12:21,240 --> 01:12:22,760
Speaker 2: So that's very interesting to me.

1524
01:12:22,960 --> 01:12:24,559
Speaker 3: You know, I know the way and the way that

1525
01:12:24,560 --> 01:12:27,040
Speaker 3: those movies are in conversation with each other, now, yes,

1526
01:12:27,560 --> 01:12:30,120
Speaker 3: is wild. It is. It's wild because you never put

1527
01:12:30,120 --> 01:12:32,880
Speaker 3: those movies in conversation with each other if they were

1528
01:12:32,880 --> 01:12:34,719
Speaker 3: both released in the nineties, if they were both released

1529
01:12:34,720 --> 01:12:37,320
Speaker 3: at the same exact time. Yeah, But because get Out

1530
01:12:37,360 --> 01:12:41,439
Speaker 3: came and people started paying attention to black horror and

1531
01:12:41,680 --> 01:12:46,320
Speaker 3: needing black horror voices, yeah, they started making more of this.

1532
01:12:46,720 --> 01:12:47,320
Speaker 3: It's great.

1533
01:12:47,560 --> 01:12:49,800
Speaker 1: Yeah, and you know, like a lot of what he

1534
01:12:50,160 --> 01:12:52,640
Speaker 1: you know, Spike Lee produced the first film and the

1535
01:12:52,680 --> 01:12:55,080
Speaker 1: subsequent films. You know, I think that was a big

1536
01:12:55,400 --> 01:12:57,759
Speaker 1: deal for the director at the time in the nineties,

1537
01:12:57,880 --> 01:13:00,840
Speaker 1: was to have Spike Lee's involvement. But just to think

1538
01:13:00,880 --> 01:13:04,760
Speaker 1: about that in terms of like now, Jordan Peel's involvement

1539
01:13:05,320 --> 01:13:08,280
Speaker 1: helps people get things made, which is kind of remarkable,

1540
01:13:08,520 --> 01:13:10,360
Speaker 1: But it's that thing of like it takes so long

1541
01:13:10,400 --> 01:13:12,559
Speaker 1: for the industry to kind of catch up to people,

1542
01:13:12,760 --> 01:13:14,800
Speaker 1: Like that's like the craziest part when we talk about

1543
01:13:14,800 --> 01:13:17,000
Speaker 1: this all the time on the podcast, where in terms

1544
01:13:17,000 --> 01:13:19,479
Speaker 1: of black creators, it's just like, what took you so long?

1545
01:13:19,520 --> 01:13:20,400
Speaker 3: There was people.

1546
01:13:20,160 --> 01:13:25,400
Speaker 1: Making fucking great, politically relevant, hard hitting horror films in

1547
01:13:25,439 --> 01:13:28,160
Speaker 1: the nineties, and then y'all just didn't know what to

1548
01:13:28,160 --> 01:13:28,839
Speaker 1: do with them.

1549
01:13:28,800 --> 01:13:30,760
Speaker 3: In the seventies. We talked about it last year when

1550
01:13:30,800 --> 01:13:33,400
Speaker 3: we talked about Ganja and Hess absolutely like they wouldn't

1551
01:13:33,400 --> 01:13:35,439
Speaker 3: even distribute it as is. They turned it into a

1552
01:13:35,479 --> 01:13:39,000
Speaker 3: total shit show, And you're right, yeah, I mean, this

1553
01:13:39,120 --> 01:13:40,040
Speaker 3: is just a side note.

1554
01:13:40,040 --> 01:13:41,840
Speaker 1: But you know, in the book that I wrote, I

1555
01:13:41,880 --> 01:13:44,600
Speaker 1: write about Blacula, and I talk about William Cray and

1556
01:13:44,600 --> 01:13:47,479
Speaker 1: the director of Blacula, about how he wanted to also

1557
01:13:47,680 --> 01:13:52,000
Speaker 1: make Blacula a very poignant, not you know, entirely serious,

1558
01:13:52,000 --> 01:13:54,120
Speaker 1: but also he wanted more of there to be a

1559
01:13:54,160 --> 01:13:57,439
Speaker 1: commentary and a message there. But of course studios being like,

1560
01:13:57,439 --> 01:13:59,439
Speaker 1: but we got to make this black vampire movie. His

1561
01:13:59,520 --> 01:14:01,200
Speaker 1: guys got to be a freak, you know, like we

1562
01:14:01,240 --> 01:14:03,640
Speaker 1: can't exactly talk about your serious shit, and I'm just

1563
01:14:03,680 --> 01:14:06,320
Speaker 1: sort of like, that's the craziest part, you know, it

1564
01:14:06,360 --> 01:14:09,200
Speaker 1: is just like trying to keep the integrity of something,

1565
01:14:09,560 --> 01:14:11,519
Speaker 1: of a movie that you really want to make that

1566
01:14:11,560 --> 01:14:14,000
Speaker 1: has a very distinct personal message.

1567
01:14:14,000 --> 01:14:15,960
Speaker 3: But you know, well, imagine how fucked up it is

1568
01:14:16,040 --> 01:14:18,040
Speaker 3: too that, you know, going back to what I said earlier,

1569
01:14:18,040 --> 01:14:21,360
Speaker 3: because I do truly believe this that pop culture is

1570
01:14:21,400 --> 01:14:26,400
Speaker 3: black culture, Like we give so much of ourselves in

1571
01:14:26,479 --> 01:14:31,040
Speaker 3: that way that we create culture. And imagine how fucked

1572
01:14:31,080 --> 01:14:34,720
Speaker 3: it is to see that your idea isn't accepted, your

1573
01:14:34,720 --> 01:14:38,360
Speaker 3: political horror black horror movie isn't accepted in the nineties,

1574
01:14:38,640 --> 01:14:41,320
Speaker 3: But then Cabin in the Woods comes along. But then

1575
01:14:41,439 --> 01:14:43,800
Speaker 3: you know, something else comes along in the same vein

1576
01:14:44,320 --> 01:14:48,599
Speaker 3: and launches careers and makes millions. Yeah, and it's fucked.

1577
01:14:48,640 --> 01:14:52,080
Speaker 3: It's fucked that that is the modern way that people

1578
01:14:52,439 --> 01:14:56,040
Speaker 3: continue to chip away at and take away from Black

1579
01:14:56,080 --> 01:14:59,960
Speaker 3: people and black creators is your idea is not something

1580
01:15:00,080 --> 01:15:03,519
Speaker 3: we will fund or develop or produce, but we will

1581
01:15:03,520 --> 01:15:06,040
Speaker 3: take your idea and give it to another creator, or

1582
01:15:06,040 --> 01:15:08,160
Speaker 3: if somebody else comes along and they're white and they

1583
01:15:08,160 --> 01:15:11,400
Speaker 3: have the right face, then we'll support that, even if

1584
01:15:11,439 --> 01:15:13,880
Speaker 3: it's a risk, even if it's something new, even if

1585
01:15:13,880 --> 01:15:16,880
Speaker 3: it's something that we haven't heard of before. You see

1586
01:15:17,000 --> 01:15:21,679
Speaker 3: in film, especially time and time again, white directors getting

1587
01:15:21,800 --> 01:15:25,360
Speaker 3: the opportunity to take more chances, even though again, so

1588
01:15:25,520 --> 01:15:29,000
Speaker 3: much of our cultural background and our cultural life is

1589
01:15:29,080 --> 01:15:32,960
Speaker 3: rooted in blackness. I'm heartened now by Jordan Peel and

1590
01:15:33,120 --> 01:15:36,600
Speaker 3: by directors like Boots Riley, and I'm always heartened to

1591
01:15:36,640 --> 01:15:40,080
Speaker 3: see how that shift is taking place. I think there's

1592
01:15:40,120 --> 01:15:41,760
Speaker 3: a long way to go, but I still try to

1593
01:15:41,760 --> 01:15:43,800
Speaker 3: hold on to the good part of it, which is

1594
01:15:43,840 --> 01:15:45,840
Speaker 3: that we are going to see more of that, I

1595
01:15:45,920 --> 01:15:49,080
Speaker 3: hope because the Jordan Peele's, the Get Outs the US

1596
01:15:49,160 --> 01:15:53,080
Speaker 3: is are helping to usher in this new climate where

1597
01:15:53,280 --> 01:15:56,120
Speaker 3: there's not as much fear around those ideas. And I

1598
01:15:56,120 --> 01:15:59,160
Speaker 3: think that Jordan Peele especially, he even mentioned it in

1599
01:15:59,200 --> 01:16:01,080
Speaker 3: one of the articles I read. I believe it was

1600
01:16:01,080 --> 01:16:04,519
Speaker 3: at the New York Times when Manola Dargas reviewed US,

1601
01:16:04,960 --> 01:16:07,559
Speaker 3: but he even said that he got like double the

1602
01:16:07,600 --> 01:16:10,519
Speaker 3: budget and more time to make US because of the

1603
01:16:10,520 --> 01:16:13,720
Speaker 3: success of Get Out Right. So these things kind of

1604
01:16:13,840 --> 01:16:16,960
Speaker 3: piggyback on each other, and we give people more space

1605
01:16:17,000 --> 01:16:20,320
Speaker 3: to be more creative when we support them and support

1606
01:16:20,360 --> 01:16:21,559
Speaker 3: their work at every stage.

1607
01:16:21,640 --> 01:16:25,360
Speaker 1: Absolutely, And just to close out this month, I'm just curious, like,

1608
01:16:25,439 --> 01:16:27,600
Speaker 1: what are your thoughts like? Again, I feel like we

1609
01:16:27,640 --> 01:16:29,840
Speaker 1: did a good job. I'm not going to pat ourselves

1610
01:16:29,880 --> 01:16:31,160
Speaker 1: on the back all the time. I'm just saying I

1611
01:16:31,200 --> 01:16:33,320
Speaker 1: think we did a good job of covering a big spread. Yeah,

1612
01:16:33,360 --> 01:16:36,320
Speaker 1: we started it off with somebody like Mentoli Shabaz, We're

1613
01:16:36,400 --> 01:16:40,120
Speaker 1: ending it talking about black horror Jordan Peel, So what

1614
01:16:40,160 --> 01:16:40,880
Speaker 1: are your thoughts, like?

1615
01:16:40,880 --> 01:16:43,519
Speaker 3: What are your thoughts of this experience? I feel is

1616
01:16:43,600 --> 01:16:46,360
Speaker 3: good about this Black History Month review that we did

1617
01:16:46,439 --> 01:16:48,200
Speaker 3: as I did about last year, which is, you know,

1618
01:16:48,240 --> 01:16:50,200
Speaker 3: I think it's important to me, as somebody who is

1619
01:16:50,240 --> 01:16:55,280
Speaker 3: in this business to find creators and remember that I'm

1620
01:16:55,320 --> 01:16:57,439
Speaker 3: part of a legacy, that I'm part of something bigger

1621
01:16:57,479 --> 01:16:59,599
Speaker 3: than myself, and I will pat us on the back.

1622
01:16:59,640 --> 01:17:02,280
Speaker 3: I think we do a good job of picking from

1623
01:17:02,320 --> 01:17:06,639
Speaker 3: across the genres, really showcasing that there is a place

1624
01:17:06,720 --> 01:17:11,000
Speaker 3: for black films in every aspect of life. And I

1625
01:17:11,040 --> 01:17:13,080
Speaker 3: think that you know, we have said this before in

1626
01:17:13,120 --> 01:17:16,800
Speaker 3: previous episodes, but we tend to not always focus on like, well,

1627
01:17:16,840 --> 01:17:18,519
Speaker 3: this is women's history months, so we're only going to

1628
01:17:18,600 --> 01:17:21,000
Speaker 3: do movies by women. We have a more organic approach

1629
01:17:21,080 --> 01:17:24,920
Speaker 3: to our podcast where we will always showcase black films.

1630
01:17:24,960 --> 01:17:27,840
Speaker 3: We will always showcase films by people who have been

1631
01:17:27,920 --> 01:17:31,040
Speaker 3: othered because that is just what our sensibilities are. So

1632
01:17:31,080 --> 01:17:34,040
Speaker 3: I think we did a really good job of continuing

1633
01:17:34,720 --> 01:17:37,360
Speaker 3: that process of just saying, you know, yes, it is

1634
01:17:37,400 --> 01:17:41,519
Speaker 3: important this month to focus on blackness and black people,

1635
01:17:41,680 --> 01:17:45,160
Speaker 3: but I'm really happy to have this platform with you

1636
01:17:45,760 --> 01:17:48,080
Speaker 3: where we can just say this is part of what

1637
01:17:48,120 --> 01:17:50,639
Speaker 3: we do in general and what we will always do.

1638
01:17:51,040 --> 01:17:52,880
Speaker 3: And I think that the films that we chose and

1639
01:17:52,960 --> 01:17:54,840
Speaker 3: the way that we presented it this month was just

1640
01:17:54,960 --> 01:17:58,439
Speaker 3: really again emboldened me and made me really proud to

1641
01:17:59,080 --> 01:18:01,280
Speaker 3: have this podcast with somebody who gets it and who

1642
01:18:01,320 --> 01:18:03,360
Speaker 3: wants to kind of look at things through the same

1643
01:18:03,479 --> 01:18:04,439
Speaker 3: lens that I do.

1644
01:18:04,840 --> 01:18:06,960
Speaker 1: I appreciate hearing that, but you know what, I'm so

1645
01:18:07,040 --> 01:18:08,920
Speaker 1: glad to be doing this with you because I feel

1646
01:18:08,920 --> 01:18:13,000
Speaker 1: like your perspective is so necessary, so important. I feel

1647
01:18:13,000 --> 01:18:14,720
Speaker 1: like it was a great month of movies. We had

1648
01:18:14,760 --> 01:18:17,439
Speaker 1: a lot of fun, We talked a lot of serious

1649
01:18:17,439 --> 01:18:19,479
Speaker 1: stuff too, And I feel like that's our podcast, is

1650
01:18:19,479 --> 01:18:22,840
Speaker 1: that basically we can do both things and we can

1651
01:18:23,080 --> 01:18:25,880
Speaker 1: talk about the light moments with more serious moments.

1652
01:18:25,920 --> 01:18:27,960
Speaker 2: And I feel like this month was a testament to that.

1653
01:18:28,000 --> 01:18:29,840
Speaker 2: I think it was great. I loved it.

1654
01:18:29,920 --> 01:18:30,679
Speaker 3: I'm again.

1655
01:18:30,720 --> 01:18:33,559
Speaker 1: Black History Month is every day, as we talked about before,

1656
01:18:33,760 --> 01:18:35,800
Speaker 1: but just being able to carve out a little bit

1657
01:18:35,840 --> 01:18:38,240
Speaker 1: of time to put a hyper focus on some of

1658
01:18:38,280 --> 01:18:41,479
Speaker 1: these creators is always a blast. And I hope everybody

1659
01:18:41,560 --> 01:18:43,800
Speaker 1: enjoyed it. If you have anything to say, like, if

1660
01:18:43,840 --> 01:18:45,400
Speaker 1: you have feedback, please.

1661
01:18:45,160 --> 01:18:45,720
Speaker 3: Like, let us know.

1662
01:18:46,000 --> 01:18:49,479
Speaker 1: We love hearing from you, especially about the films and

1663
01:18:49,680 --> 01:18:50,760
Speaker 1: the analysis.

1664
01:18:50,920 --> 01:18:51,479
Speaker 3: We love that.

1665
01:18:53,800 --> 01:18:56,640
Speaker 1: But if you want to talk about interior slugs, I

1666
01:18:56,680 --> 01:18:57,479
Speaker 1: guess we'll lets.

1667
01:18:57,280 --> 01:19:00,120
Speaker 3: You do that too. I mean I will. I will

1668
01:19:00,000 --> 01:19:01,840
Speaker 3: only might not read that email, but I will read it.

1669
01:19:03,640 --> 01:19:06,800
Speaker 1: Do you want to give the people the films for

1670
01:19:06,920 --> 01:19:07,639
Speaker 1: next week?

1671
01:19:07,840 --> 01:19:13,160
Speaker 3: I truly do so. Our films for next week are

1672
01:19:13,640 --> 01:19:17,240
Speaker 3: Cleo from five to seven from nineteen sixty two and

1673
01:19:17,560 --> 01:19:22,439
Speaker 3: Guess Food Lodging from nineteen ninety two. And your job

1674
01:19:22,520 --> 01:19:23,639
Speaker 3: is to guess the theme.

1675
01:19:24,120 --> 01:19:26,760
Speaker 2: My God, true bangers can't believe it.

1676
01:19:26,880 --> 01:19:29,439
Speaker 1: We left Bangers and we're bringing more bangers back, so

1677
01:19:29,479 --> 01:19:32,639
Speaker 1: this is great. Also, we have a bonus episode that's

1678
01:19:32,640 --> 01:19:34,679
Speaker 1: coming Thursday, the twenty fourth, so.

1679
01:19:34,880 --> 01:19:36,439
Speaker 3: Check that out stishr Premium.

1680
01:19:36,520 --> 01:19:38,160
Speaker 1: Yep if you got it, but listen if you want

1681
01:19:38,160 --> 01:19:40,720
Speaker 1: to email us, as we always say, we're at I

1682
01:19:40,720 --> 01:19:43,120
Speaker 1: Saw what you Did pot at gmail dot com and

1683
01:19:43,240 --> 01:19:47,040
Speaker 1: also send us questions for the bonus episodes because you know,

1684
01:19:47,120 --> 01:19:48,880
Speaker 1: that's what we do a lot on the bonus is

1685
01:19:48,920 --> 01:19:50,960
Speaker 1: that we answer a lot of questions. You know, we

1686
01:19:51,000 --> 01:19:53,640
Speaker 1: ask people to send us stories of like working in

1687
01:19:53,680 --> 01:19:58,160
Speaker 1: movie theaters and movie related fun if your parents made

1688
01:19:58,160 --> 01:20:02,160
Speaker 1: you go to a weird risk movie at a young age.

1689
01:20:02,280 --> 01:20:04,519
Speaker 2: We love all those stories. So please I Saw what

1690
01:20:04,560 --> 01:20:06,080
Speaker 2: you Did Pod a Gmail, and.

1691
01:20:06,080 --> 01:20:08,599
Speaker 3: Also please find us on our social media. We are

1692
01:20:08,680 --> 01:20:11,640
Speaker 3: at I Saw pod on Instagram and Twitter and we

1693
01:20:11,640 --> 01:20:14,160
Speaker 3: have a lot of fun on those spaces with you.

1694
01:20:14,680 --> 01:20:17,920
Speaker 1: That's right, and we have merch in the Exactly Right

1695
01:20:17,960 --> 01:20:20,240
Speaker 1: Shop at Exactlyrightmedia dot com.

1696
01:20:20,560 --> 01:20:23,320
Speaker 3: And like Milly just said, if you want more content

1697
01:20:23,360 --> 01:20:26,320
Speaker 3: from us, we have a bunch of bonus episodes available

1698
01:20:26,400 --> 01:20:29,320
Speaker 3: exclusively at Ditcher Premium and you can still use the

1699
01:20:29,360 --> 01:20:32,240
Speaker 3: promo code SAW for a free month.

1700
01:20:32,680 --> 01:20:35,799
Speaker 2: Also, I forgot to mention we do have a PO box.

1701
01:20:36,200 --> 01:20:40,120
Speaker 1: Yes, somebody during the break send us Christmas presents and

1702
01:20:40,160 --> 01:20:42,840
Speaker 1: I thought that was so sweet, except we couldn't find

1703
01:20:42,840 --> 01:20:45,639
Speaker 1: the return address. I had no idea who sent them.

1704
01:20:45,640 --> 01:20:47,680
Speaker 1: So if it was you, if you send us a

1705
01:20:47,720 --> 01:20:49,439
Speaker 1: Christmas present, thank you so much.

1706
01:20:49,880 --> 01:20:50,639
Speaker 3: We loved it.

1707
01:20:50,840 --> 01:20:53,240
Speaker 1: But yeah, if you go to on our Instagram we

1708
01:20:53,280 --> 01:20:55,200
Speaker 1: have a link tree, there should be the PO box

1709
01:20:55,280 --> 01:20:55,880
Speaker 1: information there.

1710
01:20:55,920 --> 01:20:56,960
Speaker 2: If you just want to send.

1711
01:20:56,840 --> 01:21:00,960
Speaker 1: Us letters, handwritten letters, that might be cool'd be really cool.

1712
01:21:01,160 --> 01:21:03,720
Speaker 3: Yeah, I'd love to read letters. Also, I'm glad that

1713
01:21:03,800 --> 01:21:06,439
Speaker 3: you have signed up for this PO box because, as

1714
01:21:06,479 --> 01:21:10,360
Speaker 3: you know, I have an extreme response to my own

1715
01:21:10,400 --> 01:21:14,800
Speaker 3: self reliance and protection and I would never so thank

1716
01:21:14,920 --> 01:21:18,639
Speaker 3: Millie for this PO box because I would never sign

1717
01:21:18,760 --> 01:21:21,200
Speaker 3: up for one or check it because I'd be feeling

1718
01:21:21,240 --> 01:21:23,200
Speaker 3: like you'all be lurking waiting for me to show up.

1719
01:21:23,560 --> 01:21:26,679
Speaker 3: I wouldn't do it. So thank you Milly for taking

1720
01:21:26,680 --> 01:21:29,680
Speaker 3: the risk, because you're gonna get some shit in the mail. Now,

1721
01:21:29,720 --> 01:21:30,719
Speaker 3: you're wanna get some shit.

1722
01:21:30,880 --> 01:21:33,599
Speaker 1: Listen, if Danielle had the PO box, she'd be shown

1723
01:21:33,680 --> 01:21:37,400
Speaker 1: up with a machete just to check that mail every envelope.

1724
01:21:37,439 --> 01:21:41,360
Speaker 1: She'd be keeping a tight perimeter around every.

1725
01:21:41,120 --> 01:21:43,800
Speaker 3: Box, every envelope. I'd be like, throw this to your

1726
01:21:43,920 --> 01:21:47,120
Speaker 3: X ray machine at the airport. It would take me

1727
01:21:47,160 --> 01:21:49,200
Speaker 3: seventeen weeks to open every package because I would have

1728
01:21:49,200 --> 01:21:51,160
Speaker 3: to drive it to the Newark Airport every time I

1729
01:21:51,160 --> 01:21:51,559
Speaker 3: got one.

1730
01:21:51,600 --> 01:21:54,240
Speaker 2: You'd be like doing home tests for like powder, residue

1731
01:21:54,280 --> 01:21:54,679
Speaker 2: and shit.

1732
01:21:54,800 --> 01:21:57,519
Speaker 3: Oh my god. You would never even open the mail.

1733
01:21:57,320 --> 01:21:59,880
Speaker 1: Because you'd be like, I gotta do my fifth test.

1734
01:22:00,439 --> 01:22:03,000
Speaker 3: I truly wouldn't and never send us food because I

1735
01:22:03,040 --> 01:22:08,599
Speaker 3: will report you to Homeland Security right away. This has

1736
01:22:08,680 --> 01:22:12,840
Speaker 3: got to be laced holy shit.

1737
01:22:13,040 --> 01:22:17,120
Speaker 1: Well, as for usual, Danielle, it was a pleasure as always.

1738
01:22:17,080 --> 01:22:20,080
Speaker 3: Always so glad to be with you. Yes, thank you

1739
01:22:20,200 --> 01:22:20,639
Speaker 3: so much.

1740
01:22:21,000 --> 01:22:28,080
Speaker 1: Yeah, bye, guys, see you next week.

1741
01:22:30,280 --> 01:22:32,600
Speaker 3: This has been an exactly right production. Our producer is

1742
01:22:32,600 --> 01:22:36,160
Speaker 3: Alexis Samrosi. Our engineer is Ryo Baum. Our theme song

1743
01:22:36,200 --> 01:22:39,839
Speaker 3: is by Tom Bryfogel. Artwork by Garrett Ross. Our executive

1744
01:22:39,840 --> 01:22:43,360
Speaker 3: producers are Georgia Hardstart, Karen Kilgareth and Danielle Kramer. You

1745
01:22:43,360 --> 01:22:46,240
Speaker 3: can follow us on Instagram and Twitter at I Saw Pod.

1746
01:22:46,600 --> 01:22:48,439
Speaker 3: You can email us at I Saw What you did

1747
01:22:48,479 --> 01:22:51,680
Speaker 3: pod at Gmail, and please don't forget to listen, Subscribe

1748
01:22:51,760 --> 01:22:54,840
Speaker 3: and leave us a review on Apple Podcasts, Stitcher, or

1749
01:22:54,880 --> 01:22:56,080
Speaker 3: wherever you listen.