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

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Speaker 1: He Did. My name is Milly to Jericho.

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Speaker 2: And I'm daniel Henderson, and we.

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Speaker 1: Are digging movies. You might say we have film femur,

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Speaker 1: but you know we were just boned this way.

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Speaker 3: Okay, that is only gonna make sense that people wants

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Speaker 3: to hear the theme, but I fucking love it. Knocked

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Speaker 3: out of the park. Three puns rapid action puns.

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Speaker 1: Written on a piece of paper.

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Speaker 3: Everyone listening right now is like, is Millie having a strip?

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Speaker 1: Is there some kind of event?

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Speaker 3: Why is Danielle not acknowledging that she's not pronouncing any

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Speaker 3: words correctly?

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Speaker 2: Because they're puns, people, you're gonna get around.

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Speaker 1: I had to write them down because I was like,

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Speaker 1: how many puns can I pack into this intro that

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Speaker 1: people are not gonna realize until later? Until we do.

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Speaker 2: You to mail me that piece of paper so I

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Speaker 2: can frame it.

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Speaker 1: Here we go.

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Speaker 2: Oh how are you this week? Oh?

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Speaker 1: You know, I'm a I've actually stoked because I am

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Speaker 1: finished with my grad school papers and an end of

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Speaker 1: the semester.

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Speaker 3: Yeah, oh Mike, I'm proud of you.

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Speaker 1: Thank you. That is not an easy.

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Speaker 3: Undertaking and were your papers, because I feel like the

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Speaker 3: sign obviously the biggest papers at the end. Yeah, so

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Speaker 3: if you're taking multiple classes, you're writing like four or

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Speaker 3: five ten to twenty page papers. Yes, uh huh is

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Speaker 3: that experience?

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Speaker 2: That is?

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Speaker 1: I wrote two. One of them is I took a

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Speaker 1: horror class, which some would say is probably a lamp

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Speaker 1: for me. Uh, because that's the deal. If you don't

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Speaker 1: know this by now, you know, I decided to finish

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Speaker 1: my grad program because we've joked on the podcast for

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Speaker 1: years about how you're a PhD drop out and I'm

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Speaker 1: a master's drop out. So we're like, you know, we're, uh,

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Speaker 1: you at least finished your masters, but I hadn't. And

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Speaker 1: I've found myself with some time on my head, so

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Speaker 1: I figured why not? And uh, I only had like

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Speaker 1: five classes left so I could get it done this year.

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Speaker 1: And so I took to the semester. One was a

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Speaker 1: horror class, of course, and it was it was a

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Speaker 1: great class. You know what's interesting though, this is this

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Speaker 1: is very deeply interesting to me, and I don't know

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Speaker 1: if you feel this way. So so the class was

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Speaker 1: essentially about genre, right, and you can take you can

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Speaker 1: put any genre of film in there and discuss it

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Speaker 1: on a critical level. So I would say over half

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Speaker 1: of my class did not like horror movies really, but

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Speaker 1: took a horror movie class. Does that make sense? That

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Speaker 1: makes any sense?

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Speaker 3: That doesn't make any sense to me, because I feel like,

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Speaker 3: especially at that level, like a grad school level, you

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Speaker 3: should be taking classes that are in line with not

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Speaker 3: just you getting your degree requirements, but every class you

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Speaker 3: take is geared towards you writing a thesis. Yeah, so

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Speaker 3: I agree horror has to figure in there somehow for

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Speaker 3: you to take the class because it's gonna be valuable

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Speaker 3: to your degree and your thesis.

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Speaker 1: That's kind of what I was thinking.

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Speaker 3: I'm surprised too, and like this, this this is the

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Speaker 3: generation that spawned ten Saw movies.

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Speaker 2: So what do you mean you don't like horror?

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Speaker 1: I know that. So it's fine if you don't like horror. Okay,

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Speaker 1: I'm throwing it out there. We get a lot of

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Speaker 1: emails all the time from people like I hate horror movies.

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Speaker 1: They're too scary. I get it. I'm not one of

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Speaker 1: those people. You're not one of those people. But we

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Speaker 1: gain though, right, I just I guess I just don't

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Speaker 1: understand wanting to take an entire class and pay for

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Speaker 1: it about horror movies. If you don't watch or actively

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Speaker 1: seek out horror, that's just me.

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Speaker 3: No, it's me too, because it's so much time. Yeah,

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Speaker 3: it's also a tremendous amount of time and money and usefulness.

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Speaker 3: And again I understand that sometimes you just take things

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Speaker 3: to fulfill requirements, but I don't feel like my grad

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Speaker 3: school requirements were similar to my undergrad requirements. Like my

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Speaker 3: grad school requirements were basically you have to take a

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Speaker 3: certain number of core classes so that you understand the

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Speaker 3: you know, the mechodism't that you're working within yeah, in your.

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Speaker 2: Major, but then beyond that you're on your own.

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Speaker 1: Yeah. It's like I will say this, you know, because

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Speaker 1: I've been gone about God, it's been about eight years since,

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Speaker 1: you know, like I had an eight year break for

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Speaker 1: those of y'all that don't know. I started this program

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Speaker 1: in twenty fourteen and was in it for about two years,

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Speaker 1: going part time because I was working full time, and

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Speaker 1: I left because I got the opportunity to move to

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Speaker 1: LA and so, you know, it was kind of like

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Speaker 1: it was a hard decision, but I ultimately decided, you

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Speaker 1: know what, I will never have this opportunity to move

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Speaker 1: to LA again. I might as well do it now

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Speaker 1: because I'm getting old. It's harder to move like that

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Speaker 1: when you get older. So I was like, all right,

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Speaker 1: let me, let me just drop out of the program

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Speaker 1: or at least return to it at a later date. Right.

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Speaker 1: So it's been about eight years, and since then the

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Speaker 1: program has changed a lot, Like it used to be

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Speaker 1: under the School of Communication and now it's its own department.

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Speaker 1: And I will say that I think that the focus

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Speaker 1: seems to be now kind of less about that kind

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Speaker 1: of traditional film school cinema studies thing, and it's more

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Speaker 1: like interdisciplinary, so there seems to be a lot of

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Speaker 1: people talking about video games and TV and other things.

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Speaker 1: So yeah, I think that maybe the old school like

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Speaker 1: film studies people like the cinema people are kind of

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Speaker 1: fewer and far between now and that wasn't the case

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Speaker 1: when I started the program. So I feel like I'm

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Speaker 1: on an island where I'm like really interested in movies

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Speaker 1: and I'm the only person in this class who has

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Speaker 1: seen any of these horror movies and has a passion

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Speaker 1: to see them. So it's it's very interesting. But wrote

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Speaker 1: a paper about that snorted this this wild seventies like

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Speaker 1: Z grade horror movie called Criminally Insane. The concept of

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Speaker 1: the movie is basically, a fat lady goes nuts and

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Speaker 1: kills everyone. That's the concept of the film. A hero

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Speaker 1: for me, I would say Ethel Janowski is her name,

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Speaker 1: her character I played by Priscilla Alden, And you know,

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Speaker 1: this is a movie that I discovered. Actually it's very wild.

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Speaker 1: I'm sure there are people out there that know it

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Speaker 1: and know the director of this film, because essentially he

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Speaker 1: made like four more films starring effectively this Ethel Janowski

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Speaker 1: character and then replayed clips from the first movie Criminally

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Speaker 1: Insane in the sequels. Oh wow, So it's this weird

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Speaker 1: moment where you're like, huh, this movie, this fourth installment

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Speaker 1: is using the footage from the first movie over and

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Speaker 1: over again.

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Speaker 2: So that is what did you did?

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Speaker 3: You were you writing about just the first movie or

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Speaker 3: the whole series of my I was.

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Speaker 1: Just writing about the first movie, and it was basically

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Speaker 1: a would you would appreciate this of paper about the

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Speaker 1: character of Ethel Szanowski being you know, centered in this

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Speaker 1: like second wave feminist construct of you know, the fact

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Speaker 1: that she's a horror villain. She is a you know,

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Speaker 1: a killer fat lady who rejects femininity and rejects you know,

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Speaker 1: she's like doing the craziest stuff. She's you know, killing

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Speaker 1: her family, she's you know, indulging in vices. She's mean,

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Speaker 1: she's a bigot. She doesn't wear makeup. She's like rejecting

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Speaker 1: all of these sort of like you know, these concepts

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Speaker 1: of kind of like old school femininity, that kind of

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Speaker 1: like you know, pre second wave feminism attitude that women

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Speaker 1: need to be a certain way. And so you know,

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Speaker 1: I had to do it like that. I had to

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Speaker 1: basically like write a paper about feminism essentially.

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Speaker 2: It's so great.

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Speaker 1: Yeah, it made me watch It made me have to

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Speaker 1: watch this movie probably about eighty times. But it's fine

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Speaker 1: because the movie is like sixty one minutes long or something.

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Speaker 1: It's very short.

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Speaker 2: That god, So that is why were you watching it

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Speaker 2: so much? Was it just to get different context clues

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Speaker 2: or yeah, you.

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Speaker 1: Know, it's like when you're writing a paper, you just

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Speaker 1: want to like really like drill down, Yeah, you know,

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Speaker 1: into kind of the beats of the film, and you

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Speaker 1: know when and I did this for the book actually too.

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Speaker 1: I just you know, when you just watch movies over

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Speaker 1: and over again. You kind of are able to, you know,

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Speaker 1: pull out things that you'd want to write about and

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Speaker 1: things that people aren't noticing, and you kind of fill

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Speaker 1: up those twenty pages, you know what I mean. So

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Speaker 1: all the all the details are fine.

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Speaker 3: Now tell me about your professor for this course and

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Speaker 3: how do you think this paper is going to be received.

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Speaker 1: She's a fellow maniac, which I love, okay like for her.

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Speaker 1: On the first day, she came into the class and said, Hey, so, uh,

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Speaker 1: I just watched like ten Italian cannibal movies literally just

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Speaker 1: so you know where I'm at. Yes, And everyone's like,

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Speaker 1: what would she saying this.

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Speaker 3: To a classroom full of people who are like, what movies?

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Speaker 1: Horror?

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Speaker 2: What?

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Speaker 3: Like?

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Speaker 2: Could not swing more the other way?

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Speaker 1: Yeah? And I'm like, what are we talking about here?

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Speaker 1: We're talking about Cannibal fair Ox, cannibal Apocalypse. Are We're

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Speaker 1: talking about fault? She are We're talking So I was

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Speaker 1: like ready to go. Everybody else was horrified.

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Speaker 2: So she's cool.

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Speaker 1: She's cool. And we did an entire entire class on

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Speaker 1: gonshen Hess Oh nice, which was awesome. And I mentioned

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Speaker 1: that we talked about gonschen Hess on our podcast. So

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Speaker 1: that was that paper, and then the other paper I wrote,

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Speaker 1: which is like more to your point about using like

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Speaker 1: grad school as a way to maybe like set up

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Speaker 1: some ideas for future work. Right, did you do that

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Speaker 1: when you were in grad school? Did you write things

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Speaker 1: that you were like, maybe I can expand on this.

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Speaker 3: Absolutely, Okay, for a lot a lot of my papers

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Speaker 3: were geared towards, you know, fulfilling the assignment. But also

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Speaker 3: I was always trying to bring in an element of

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Speaker 3: because you know, you know, in grad school you're always

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Speaker 3: trying to set yourself up as an expert, like you're

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Speaker 3: learning how to be an expert in something. Yeah, so

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Speaker 3: I always brought in elements of things that were important

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Speaker 3: to me, which felt very good.

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Speaker 1: It felt like I was it was wide.

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Speaker 3: Reaching, and it was an easy way for me to

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Speaker 3: think deeply about the things I cared about.

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Speaker 1: Yeah, so I really did.

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Speaker 3: I did that a lot in my Did I ever

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Speaker 3: tell you what my master's thesis was?

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Speaker 2: There?

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Speaker 1: No, I was going to ask you what was it?

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Speaker 1: Or maybe I know, but say it again, say it again.

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Speaker 3: Keep in mind I graduated with my master's degree in

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Speaker 3: twenty thirteen. My thesis was about mommy blogging, and my

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Speaker 3: master's degree is in gender studies perfect and the point

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Speaker 3: of view that I took was how interesting it is

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Speaker 3: that I basically posited that mommy blogging was replicating the

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Speaker 3: Victorian standards of motherhood with the pre feminist standards of

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Speaker 3: motherhood because there were a lot of women at the time.

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Speaker 2: Maybe not now, I'm not no longer.

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Speaker 3: Following mommy blogging a lot, but mommy blogging was kind

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Speaker 3: of at the crux of women who were writing about

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Speaker 3: their lives online. That was how it was always presented

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Speaker 3: as we're women were writing about our lives. No one

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Speaker 3: has given us this access before, and we're being real

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Speaker 3: about ourselves. But my contention with it, and what I

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Speaker 3: wrote seventy pages on and got a degree on, is

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Speaker 3: that basically all of the popular I looked at who

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Speaker 3: was making money and mommy blogging, who was.

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Speaker 1: Shut out of the world of.

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Speaker 3: The voices of mommy blogging, how they were reported on,

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Speaker 3: how they were, you know, representing themselves, how they were

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Speaker 3: representing each other, and realizing that it was still the

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Speaker 3: domain of white women and they were able to write

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Speaker 3: about motherhood from the comfort and security of a very

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Speaker 3: traditional cis marriage usually, and so they're writing about their

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Speaker 3: lives and children with the help of paid people to

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Speaker 3: come in and watch their children, usually brown women, and

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Speaker 3: the income of their husbands or.

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Speaker 2: Partners to support them.

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Speaker 1: Right, yep.

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Speaker 3: So this the way that I kind of, if I

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Speaker 3: remember correctly, the way that I kind of wrapped it

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Speaker 3: all together was that this replicated this system of victoria

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Speaker 3: in motherhood where women were fragile, they had to be protected,

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Speaker 3: they had to be cared for, they had to be supported,

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Speaker 3: and they had to have other people come in to

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Speaker 3: care for their children because the job of taking care

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Speaker 3: of their children was clearly their domain, but a big

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Speaker 3: enough job that they couldn't do on their own. And

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Speaker 3: just the way that we venerate white motherhood was a

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Speaker 3: big part of that process. So talking about something that

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Speaker 3: bothers me to this day when people say I'm a

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Speaker 3: single parent and what they really mean is they are

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Speaker 3: a divorced co parent, because they're they're kind of gleaning

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Speaker 3: the instant sympathy of associating with that cultural touch point,

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Speaker 3: like we all know what a single parent is. We've

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Speaker 3: seen that represented in so many ways without actually doing that.

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Speaker 3: So you're you're kind of kind of like a stolen valor.

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Speaker 1: To me, heard heard, heard, yep, you know.

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Speaker 3: And so there's just I looked at the language of

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Speaker 3: how women were speaking about each other, how people spoke

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Speaker 3: about them, and kind of tied it all together and

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Speaker 3: my my own little feminist rant in a.

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Speaker 1: That's all that, like me is sort of the angle

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Speaker 1: that I'm taking with some of these papers is just like, yes,

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Speaker 1: I just want to write about this and I'm correct,

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Speaker 1: and I don't give a shit who knows, Like absolutely.

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Speaker 3: Here's what I think and here's my my actual evidence

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Speaker 3: for this because I went back in the I pulled

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Speaker 3: back from like I was going back to the Victorian era.

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Speaker 2: So I'm I've got the receipts.

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Speaker 1: Yeah, yeah, I mean, like that's kind of like the

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Speaker 1: point like doing things like seve of our papers and

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Speaker 1: stuff in grad schools because you have you do have

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Speaker 1: an argument to make, you do have a point of view,

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Speaker 1: and you have to be able to like defend it

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Speaker 1: and absolutely like defend it with research, but also defend

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Speaker 1: it amongst your peers, and you know, like it's basically

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Speaker 1: taking your thoughts and you know, making sure that you

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Speaker 1: really think these things and are good at communicating them.

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Speaker 1: Which is a good skill. That's a great skill. I

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Speaker 1: will say that I think that being in grad school

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Speaker 1: is really useful for certain things, like you know, sort

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Speaker 1: of having critique. Like if you don't have a job

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Speaker 1: where you get regularly critiqued about creative work, go to

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Speaker 1: grad school. People will take the shit out of your work.

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Speaker 1: But it just makes you tougher. It makes you a

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Speaker 1: tougher person. It makes you sort of understand that you know,

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Speaker 1: you can't be like too precious about things and that

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Speaker 1: people are just trying to make her work better.

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Speaker 2: You know.

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Speaker 1: I needed that lesson big time for sure. But the

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Speaker 1: other paper that I wrote, so I decided not to

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Speaker 1: go for the traditional thesis option because I was like,

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Speaker 1: who has the time? And also I wrote a book already.

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Speaker 2: And yeah, do I want to be real?

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Speaker 1: So I did this like coursework intensive option to graduate

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Speaker 1: or I'm I'm planning on it. I haven't graduated yet,

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Speaker 1: but essentially it requires taking another class and then taking

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Speaker 1: one of your papers and sort of you know, like

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Speaker 1: adding a few more pages, not to do like a

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Speaker 1: full thesis, but to do like maybe a half or

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Speaker 1: a like three fourths of one. And I took a

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Speaker 1: class this semester about fandom. Ooh, very interesting.

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Speaker 2: It is fandom is fascinating.

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Speaker 3: All fandom is fascinating, but modern fandom especially is wild.

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Speaker 1: I can't tell you how my how blown my mind

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Speaker 1: was by this class. Like the professor that taught it

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Speaker 1: is this old professor of mine, doctor Ethan Tussey at

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Speaker 1: Georgia State. He's a g We love him. And it

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Speaker 1: was like the class was like structured to where you

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Speaker 1: learned about lots of different types of things. So it

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Speaker 1: wasn't just like media, but it was like sports. It

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Speaker 1: was politics, Like there was an entire q and on

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Speaker 1: week where we learned about like political fandom or you know,

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Speaker 1: conspiracy theorists.

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Speaker 3: That is crazy to think about QAnon as being fans

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Speaker 3: of anything.

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Speaker 1: I know, I know, and like it's it is wild stuff.

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Speaker 1: And then the papers that everybody wrote were so good.

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Speaker 1: Like I was like when we were we were in

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Speaker 1: the class a couple weeks ago where we all did

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Speaker 1: a presentation and kind of was telling everybody like you know,

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Speaker 1: we were kind of in that peer review mode and

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Speaker 1: we were getting an overview of what everybody wrote about,

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Speaker 1: and it was so like there was it ran the

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Speaker 1: gamut from everything and just stuff that like I never

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Speaker 1: thought about. Like this woman in my class wrote a

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Speaker 1: paper about chat AI chat bots that are basically like

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Speaker 1: celebrities or characters from movies and TV and video games,

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Speaker 1: where it's essentially a user can go in and create

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Speaker 1: like a fake AI chat with anything of their creation.

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Speaker 1: It could be the fucking baby from Hard Boiled. It

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Speaker 1: could be you know, Jordan Peel, it could be you know,

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Speaker 1: like any anything, and you can literally have like an

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Speaker 1: AI convo that remembers details so the next time you

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Speaker 1: pop in the chat, they'll be like, oh, so, how

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Speaker 1: was your how was your cooking lesson last week?

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Speaker 2: Or whatever? Holy shit.

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Speaker 1: And it's gotten to the point where people, like people's

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Speaker 1: spouses are like leaving their partners because they are in

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Speaker 1: love with their AI bought chat.

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Speaker 3: They're in love with the bot that they created, right

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Speaker 3: that is a like a.

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Speaker 1: Celebrity or some kind of fictitious character. So it's basically

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Speaker 1: like you could literally have a continuing relationship with the

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Speaker 1: Toxic Avenger where you like log in and you chat

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Speaker 1: with the Toxic Avenger and it's like all like anything

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Speaker 1: you want, Like it can be like I mean, obviously

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Speaker 1: it can. It turns sexual sometimes you know these people.

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Speaker 2: It's the Internet.

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Speaker 1: Yeah, but like it's like you're just log in and

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Speaker 1: you're like, yo, I'm I'm chat with my boyfriend the

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Speaker 1: Toxic Adventure today and John Wick actually cares about my feelings. Yeah,

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Speaker 1: I mean, And I just was like my mind was

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Speaker 1: fucking blown to smithere and it's like I was like, yeah, wow.

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Speaker 2: This is such a I have to take a nap

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Speaker 2: on the back of this information. I know.

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Speaker 1: So, I mean, and her paper was literally about that.

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Speaker 1: It was about, like what are the ethics of this?

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Speaker 1: You know, how does this different? Like how is this

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Speaker 1: different than like fan fiction? Like do we have like

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Speaker 1: should partners be leaving their spouses because their partners are

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Speaker 1: in love with a bot? Like a fake bot that's

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Speaker 1: not a real person. I don't know. It's very well.

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Speaker 3: Also is to expand that a bit and to think

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Speaker 3: about what is going to happen to the emotional development

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Speaker 3: of people and relationships If it's that easy to fall

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Speaker 3: in love with a bot, I know, like if you're

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Speaker 3: getting your emotional fulfillment from a computer program, I know

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Speaker 3: what's going to happen to people.

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Speaker 1: Look. I the entire time she was up there presenting.

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Speaker 1: I was like, in my mind, my eyes were huge,

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Speaker 1: and I was just like, holy shit, think of the

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Speaker 1: ramifications of this. What the hell like? This is insane.

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Speaker 1: So I learned a lot in that class. I mean,

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Speaker 1: it was kind of amazing. But I wrote my paper

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Speaker 1: on and this is something that I've been wanting to

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Speaker 1: do for a long time. I wrote my paper on

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Speaker 1: the prisoner letters that I got.

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Speaker 2: Yeah.

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Speaker 1: I love that. Yeah, And I'm going to I already

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Speaker 1: talked to my professor about this. I'm going to use

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00:22:06,280 --> 00:22:10,119
Speaker 1: it as like my final So I'm gonna, you know,

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00:22:10,200 --> 00:22:14,000
Speaker 1: expand upon it, polish it up real nice. I collected

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Speaker 1: it for years and years and years, even though I

385
00:22:15,920 --> 00:22:18,879
Speaker 1: had moved on from that job, and I was still

386
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Speaker 1: getting them after I left, Like my coworkers still hand

387
00:22:22,880 --> 00:22:25,760
Speaker 1: me letters that have my name on them and are

388
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Speaker 1: from people who have been fans of of of my

389
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Speaker 1: work and my programming. And so I just am like,

390
00:22:33,080 --> 00:22:35,560
Speaker 1: you know what, like, I want to write about this,

391
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Speaker 1: and I've always wanted to do it, and this was

392
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Speaker 1: like a perfect It was actually in my professor's idea,

393
00:22:42,280 --> 00:22:45,040
Speaker 1: to be honest, to really formalize it and write about it.

394
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Speaker 1: And so I have to thank him for that idea obviously,

395
00:22:48,480 --> 00:22:50,760
Speaker 1: but like, yeah, I don't know, it just was like

396
00:22:51,119 --> 00:22:55,080
Speaker 1: it's it's personal, you know, it is fandom at the

397
00:22:55,119 --> 00:22:56,960
Speaker 1: end of the day, Like these are these are people

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Speaker 1: that love the network, they love old movies. That's something

399
00:22:59,720 --> 00:23:01,399
Speaker 1: that I I could write about in the context of

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Speaker 1: this class, and.

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00:23:03,400 --> 00:23:06,720
Speaker 3: I adore this idea. I think it's fantastic. I think

402
00:23:06,720 --> 00:23:13,280
Speaker 3: it's fantastic, and it's also really it's becoming historical moment

403
00:23:13,920 --> 00:23:15,879
Speaker 3: because as you talk about, you know, the rise of

404
00:23:15,880 --> 00:23:18,760
Speaker 3: social media, meaning that you were getting you were still

405
00:23:18,760 --> 00:23:22,040
Speaker 3: getting letters, but nobody was paying attention to it. This

406
00:23:22,240 --> 00:23:23,840
Speaker 3: is the only way that a lot of people have

407
00:23:23,920 --> 00:23:25,800
Speaker 3: to communicate, and I think it's very easy to forget

408
00:23:25,800 --> 00:23:28,520
Speaker 3: that that. You know, they're not throwing out laptops in

409
00:23:28,760 --> 00:23:31,240
Speaker 3: most jails. Most jales don't have a computer lab. They're

410
00:23:31,280 --> 00:23:34,640
Speaker 3: not allowed to use the Internet depending on their crimes.

411
00:23:34,960 --> 00:23:37,520
Speaker 3: You know, like it's not set up. It's not a

412
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Speaker 3: system set up for people to be engaging with the

413
00:23:40,240 --> 00:23:41,920
Speaker 3: outside world. And a lot of people come out of

414
00:23:42,000 --> 00:23:45,240
Speaker 3: prison at a deficit for so many reasons in so

415
00:23:45,320 --> 00:23:48,400
Speaker 3: many ways, but especially in that one where they do

416
00:23:48,440 --> 00:23:52,080
Speaker 3: not have the they don't have the the they've never

417
00:23:52,119 --> 00:23:56,280
Speaker 3: had the education in being online. Yeah, and so like

418
00:23:56,440 --> 00:23:58,760
Speaker 3: using that to communicate doesn't come very naturally for a

419
00:23:58,760 --> 00:24:00,680
Speaker 3: lot of people. So I think it's it's really a

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Speaker 3: part of history, and it's really a part of an

421
00:24:03,560 --> 00:24:07,360
Speaker 3: important part of understanding fandom from an angle we don't

422
00:24:07,359 --> 00:24:09,199
Speaker 3: ever get to hear about because a lot I remember

423
00:24:09,240 --> 00:24:11,200
Speaker 3: you taught you talked about a lot of these letters

424
00:24:11,200 --> 00:24:15,960
Speaker 3: with me personally, and a lot of them are wow, Like,

425
00:24:16,000 --> 00:24:17,880
Speaker 3: you know, this movie made me think of this part

426
00:24:17,920 --> 00:24:20,040
Speaker 3: of my life or would you play this movie because

427
00:24:20,040 --> 00:24:23,320
Speaker 3: I love it? Like thinking about how the humanity, like

428
00:24:23,480 --> 00:24:27,840
Speaker 3: the humanity of prisoners coming through in their fandom is fascinating.

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00:24:28,200 --> 00:24:31,560
Speaker 1: Yeah, and there was. I did a lot of digging

430
00:24:31,680 --> 00:24:36,600
Speaker 1: into prison studies, essentially because this was kind of my

431
00:24:37,200 --> 00:24:41,840
Speaker 1: you know, this was an area of academia that I

432
00:24:41,840 --> 00:24:43,879
Speaker 1: didn't know much about, but it was obviously going to

433
00:24:43,960 --> 00:24:46,600
Speaker 1: help with sort of my understanding of what I was

434
00:24:46,640 --> 00:24:51,000
Speaker 1: writing about. And like time and time again, I found

435
00:24:51,000 --> 00:24:57,919
Speaker 1: so much research about the importance of both watching TV

436
00:24:58,560 --> 00:25:03,280
Speaker 1: and watching film in prison, but also letter writing and

437
00:25:03,359 --> 00:25:09,720
Speaker 1: about how the letter itself is a connection point, like

438
00:25:09,800 --> 00:25:13,399
Speaker 1: the ritual of writing. The ritual of like sending mail

439
00:25:14,119 --> 00:25:19,080
Speaker 1: in jail is like a space. It's like a third space.

440
00:25:19,840 --> 00:25:23,199
Speaker 1: And I was blown away by that, Like I was

441
00:25:23,280 --> 00:25:26,280
Speaker 1: just like, you know, sitting here going like it made

442
00:25:26,359 --> 00:25:31,400
Speaker 1: me understand that fucking throwing letters away without reading them

443
00:25:31,520 --> 00:25:36,359
Speaker 1: is awful. And you know, I am so glad that

444
00:25:36,440 --> 00:25:39,200
Speaker 1: I did not have that instinct to just toss it away,

445
00:25:39,640 --> 00:25:43,000
Speaker 1: that I took things seriously, because it just really drove

446
00:25:43,040 --> 00:25:47,040
Speaker 1: home the importance of like this connection point for people who,

447
00:25:47,119 --> 00:25:51,480
Speaker 1: like you just said, are like, you know, essentially unable

448
00:25:51,600 --> 00:25:55,200
Speaker 1: to do a lot of things online, and you know,

449
00:25:55,480 --> 00:25:58,760
Speaker 1: they're still using the physical act of letter writing as

450
00:25:58,760 --> 00:26:01,479
Speaker 1: a way to communicate with the out world. And I

451
00:26:01,520 --> 00:26:05,200
Speaker 1: just thought it was really important to put that into

452
00:26:05,240 --> 00:26:08,520
Speaker 1: the paper. And uh, you know, I don't know, I

453
00:26:08,640 --> 00:26:11,400
Speaker 1: just to me, I was like, I've been thinking about

454
00:26:11,440 --> 00:26:14,160
Speaker 1: doing this for a long time. Obviously, I obviously think

455
00:26:14,160 --> 00:26:17,840
Speaker 1: it's a very kind of unique situation that I was

456
00:26:17,880 --> 00:26:20,199
Speaker 1: in to have these letters and to be you know,

457
00:26:20,400 --> 00:26:24,880
Speaker 1: the subject of a lot of them. And the requests

458
00:26:24,880 --> 00:26:29,480
Speaker 1: were so awesome, like pages upon pages of like cool

459
00:26:29,520 --> 00:26:32,720
Speaker 1: movie requests. You know, I pitched prisoner request month like

460
00:26:32,760 --> 00:26:36,719
Speaker 1: every year that I worked there. Oh yeah, and no,

461
00:26:36,880 --> 00:26:38,879
Speaker 1: there was really like no interest because I think that

462
00:26:38,960 --> 00:26:40,679
Speaker 1: they thought it was going to be kind of a

463
00:26:40,680 --> 00:26:43,120
Speaker 1: sticky subject and kind of a liability thing or whatever.

464
00:26:43,160 --> 00:26:46,040
Speaker 1: I don't know what it was about that, but I

465
00:26:46,040 --> 00:26:49,640
Speaker 1: don't know. To me, I feel like if you're if

466
00:26:49,680 --> 00:26:54,920
Speaker 1: your mindset is that, you know, jail is fucked up,

467
00:26:55,520 --> 00:26:58,160
Speaker 1: and sometimes the wrong people go to jail, and that

468
00:26:58,880 --> 00:27:03,200
Speaker 1: jail is sometimes you know, a way for rehabilitation to happen.

469
00:27:03,240 --> 00:27:05,920
Speaker 1: Like people who are you know, acting a good faith

470
00:27:05,960 --> 00:27:08,760
Speaker 1: and wanting to change their lives, and they're right, you know,

471
00:27:08,920 --> 00:27:12,520
Speaker 1: using classic movies to help them through the dreariness of

472
00:27:12,520 --> 00:27:15,120
Speaker 1: that situation. I'm not judging, you know what I mean,

473
00:27:15,200 --> 00:27:18,679
Speaker 1: Like I and I encourage that, I encourage, you know,

474
00:27:18,880 --> 00:27:21,000
Speaker 1: people to use movies to help their lives.

475
00:27:21,800 --> 00:27:25,879
Speaker 3: So absolutely, Oh that is fucking fascinating. And I think

476
00:27:25,960 --> 00:27:29,720
Speaker 3: there's also a space where even if you're not able

477
00:27:29,760 --> 00:27:33,320
Speaker 3: to formally respond, if they saw the movie they requested

478
00:27:33,440 --> 00:27:37,280
Speaker 3: on TCM, then they.

479
00:27:36,200 --> 00:27:37,000
Speaker 2: That's a response.

480
00:27:37,320 --> 00:27:40,320
Speaker 3: Yeah, oh definitely, and that's a moment of excitement and

481
00:27:40,359 --> 00:27:44,199
Speaker 3: like that is so wonderful. It's wonderful. I think I

482
00:27:44,200 --> 00:27:46,160
Speaker 3: think it's it's a beauty. I think it's a beautiful

483
00:27:46,200 --> 00:27:51,200
Speaker 3: topic for that thesis are just for an intellectual life

484
00:27:51,200 --> 00:27:57,119
Speaker 3: hobby or a real life like practice. Application of humanity

485
00:27:57,480 --> 00:27:59,240
Speaker 3: is not forgetting prisoners.

486
00:28:00,200 --> 00:28:03,600
Speaker 1: Actually, Like like I was, I was doing my pitch

487
00:28:03,720 --> 00:28:05,439
Speaker 1: in the peer review talking about like what I was

488
00:28:05,440 --> 00:28:08,320
Speaker 1: writing about, and everybody in my class was like, oh

489
00:28:08,320 --> 00:28:10,720
Speaker 1: my god, is this paper gonna make me cry? I'm like, I.

490
00:28:10,680 --> 00:28:13,919
Speaker 2: Don't know, maybe I don't know what is today, but

491
00:28:14,040 --> 00:28:15,600
Speaker 2: it just my I know.

492
00:28:15,640 --> 00:28:19,840
Speaker 3: I followed this account on Instagram called prison Feminism, and

493
00:28:19,880 --> 00:28:24,199
Speaker 3: it's really fascinating for to follow and watch how for

494
00:28:24,240 --> 00:28:26,400
Speaker 3: a lot of prisoners they're realizing for the first time

495
00:28:26,480 --> 00:28:34,040
Speaker 3: how masculinity and you know, kind of ciss had masculine

496
00:28:34,080 --> 00:28:37,959
Speaker 3: concepts influenced their lives in a way that put them

497
00:28:38,000 --> 00:28:41,400
Speaker 3: in these dangerous positions where they're making these decisions. And

498
00:28:41,440 --> 00:28:45,960
Speaker 3: so learning about feminism and learning about you know, doing

499
00:28:46,040 --> 00:28:49,440
Speaker 3: gender studies has completely revolutionized their lives, both in and

500
00:28:49,440 --> 00:28:53,840
Speaker 3: out of prison. Right, So it's very much like you know,

501
00:28:53,880 --> 00:28:55,880
Speaker 3: they come out of prison and are able to look

502
00:28:55,880 --> 00:28:57,440
Speaker 3: at their families differently, are able to look at their

503
00:28:57,520 --> 00:29:01,440
Speaker 3: their place in society differently, to enhance the lives of

504
00:29:01,440 --> 00:29:02,720
Speaker 3: anyone who takes this programs.

505
00:29:02,760 --> 00:29:04,720
Speaker 2: It's a fascinating Instagram account. I recommend everyone.

506
00:29:04,760 --> 00:29:07,040
Speaker 3: Oh but I love this. I want a book on this.

507
00:29:07,080 --> 00:29:08,080
Speaker 3: I want you to keep it going.

508
00:29:08,600 --> 00:29:12,040
Speaker 1: Yeah, I mean it's I'd like to do something with

509
00:29:12,080 --> 00:29:14,440
Speaker 1: it too. So if there's anybody out there that has

510
00:29:14,520 --> 00:29:17,640
Speaker 1: money for people to write books, please email us at

511
00:29:17,680 --> 00:29:21,400
Speaker 1: I Saw what you did pod at gmail dot com.

512
00:29:21,480 --> 00:29:24,240
Speaker 2: Girl, you have a literary agent, Go to a publisher.

513
00:29:25,400 --> 00:29:28,360
Speaker 3: Don't be scamming for money on our podcast to publish

514
00:29:28,400 --> 00:29:28,800
Speaker 3: a book.

515
00:29:29,440 --> 00:29:31,800
Speaker 1: You know, we outsourced our entire lives. We're like, yo,

516
00:29:31,960 --> 00:29:34,240
Speaker 1: we need medical advice. I Saw what you did pot

517
00:29:34,240 --> 00:29:40,640
Speaker 1: at gmail dot com. We want Christian Slater to respond com.

518
00:29:40,640 --> 00:29:44,560
Speaker 1: We're just I can't help it. I'm so wired to

519
00:29:44,760 --> 00:29:49,120
Speaker 1: just ask strangers over the podcast to help me, and

520
00:29:49,160 --> 00:29:49,520
Speaker 1: they will.

521
00:29:49,600 --> 00:29:52,760
Speaker 3: Somebody, somebody will be like, oh, yeah, I have a publisher. Yeah,

522
00:29:53,320 --> 00:29:55,320
Speaker 3: Ignor Danielle, go right.

523
00:29:55,200 --> 00:29:59,000
Speaker 1: To the So well, having said all this, my first

524
00:29:59,320 --> 00:30:03,120
Speaker 1: semester back over, I have like three more classes left

525
00:30:03,120 --> 00:30:04,960
Speaker 1: and then I'll be fucking dune.

526
00:30:05,920 --> 00:30:09,000
Speaker 3: Oh I'm so excited. I'm so excited for you. I agree,

527
00:30:09,280 --> 00:30:13,280
Speaker 3: this is fantastic I'm too keep telling us more about

528
00:30:13,280 --> 00:30:15,160
Speaker 3: what you're writing about and what you're learning, because this

529
00:30:15,240 --> 00:30:17,040
Speaker 3: is again, I have no idea what's going on in

530
00:30:17,080 --> 00:30:18,120
Speaker 3: college campus right now.

531
00:30:18,440 --> 00:30:21,120
Speaker 2: I know this is very interesting to me.

532
00:30:21,760 --> 00:30:25,920
Speaker 1: Oh sure, I mean I it's fascinating to me as

533
00:30:25,960 --> 00:30:30,120
Speaker 1: a coming back. I mean, like eight years ago when

534
00:30:30,160 --> 00:30:32,040
Speaker 1: I was there, I was a little older than people,

535
00:30:32,040 --> 00:30:33,880
Speaker 1: and now I'm kind of like a lot older than people,

536
00:30:33,920 --> 00:30:38,520
Speaker 1: and it's very interesting coming back to that environment. It's

537
00:30:38,560 --> 00:30:42,400
Speaker 1: also interesting being somebody that's been in the private sector

538
00:30:42,440 --> 00:30:45,440
Speaker 1: as long as I have to come into academia because

539
00:30:45,480 --> 00:30:48,040
Speaker 1: you know, it's like I had a job for twenty

540
00:30:48,120 --> 00:30:50,760
Speaker 1: years and there are people who just you know, were

541
00:30:50,800 --> 00:30:53,320
Speaker 1: an undergrad and then went to their grad program and

542
00:30:53,360 --> 00:30:56,080
Speaker 1: then now on a PhD program, and you know, and

543
00:30:56,120 --> 00:30:59,160
Speaker 1: that's a shit. If I could have done it differently,

544
00:30:59,200 --> 00:31:01,400
Speaker 1: I might have gone that route too, but I ended

545
00:31:01,480 --> 00:31:04,520
Speaker 1: up just working. But you know, it's a different, different

546
00:31:04,600 --> 00:31:07,600
Speaker 1: environment academia. I mean, there's a lot of similarities between

547
00:31:07,640 --> 00:31:12,120
Speaker 1: academia and the and corporate but also yeah, miles, miles

548
00:31:12,120 --> 00:31:15,720
Speaker 1: and miles of difference. But yeah, so I'll definitely let

549
00:31:15,720 --> 00:31:17,400
Speaker 1: you know what I'm working on, for sure.

550
00:31:18,800 --> 00:31:21,000
Speaker 2: Thank you. That was awesome. Awesome updates.

551
00:31:25,640 --> 00:31:28,520
Speaker 1: I can't even make a transition, have you well, have

552
00:31:28,560 --> 00:31:29,360
Speaker 1: you thought it back?

553
00:31:29,800 --> 00:31:31,560
Speaker 3: We can bring it back to the puns at the

554
00:31:31,600 --> 00:31:33,560
Speaker 3: top of the episode, which will now finally make sense

555
00:31:33,600 --> 00:31:34,560
Speaker 3: since we tell you the theme.

556
00:31:35,680 --> 00:31:41,680
Speaker 1: Well you have to say the theme because you coined

557
00:31:41,680 --> 00:31:45,959
Speaker 1: it obviously, and I could not stop laughing when you

558
00:31:46,000 --> 00:31:49,520
Speaker 1: said it. So tell everybody the theme for this week.

559
00:31:50,160 --> 00:32:00,080
Speaker 2: Our theme this week is leave those bones alone. Raw, y'all.

560
00:32:01,360 --> 00:32:07,400
Speaker 1: A teachers, leave those bones alone.

561
00:32:07,440 --> 00:32:10,400
Speaker 2: These are movies where bones ruin everything.

562
00:32:10,720 --> 00:32:12,920
Speaker 1: Ah, that's so true.

563
00:32:13,760 --> 00:32:17,320
Speaker 3: Just bones, just piles of bones ruining people's fucking lives.

564
00:32:18,280 --> 00:32:21,600
Speaker 1: Yeah, it can be any bone, it can be multiple bones,

565
00:32:21,640 --> 00:32:24,480
Speaker 1: it could be just a skull. It doesn't matter. We're

566
00:32:24,520 --> 00:32:29,720
Speaker 1: just talking about bones. A bone ruined my life, a

567
00:32:29,760 --> 00:32:33,320
Speaker 1: bone made me say.

568
00:32:34,320 --> 00:32:36,560
Speaker 2: A bone uncovered some nasty truth.

569
00:32:38,160 --> 00:32:41,240
Speaker 1: Dude. So I swear I think it's been like twenty

570
00:32:41,320 --> 00:32:44,280
Speaker 1: years since I've seen your movie. Yeah, and that was like,

571
00:32:44,840 --> 00:32:49,040
Speaker 1: what the fuck is going on? That movie is fucking crazy.

572
00:32:50,680 --> 00:32:54,280
Speaker 1: Like I'm like, I'm blown away by how nuts that

573
00:32:54,320 --> 00:32:57,320
Speaker 1: movie is. And like I would say, or I would

574
00:32:57,360 --> 00:33:01,200
Speaker 1: say that your movie is one of the most famous

575
00:33:01,400 --> 00:33:04,880
Speaker 1: horror movies ever. But I'm like, does everybody know how

576
00:33:04,920 --> 00:33:06,560
Speaker 1: secretly weird that shit is?

577
00:33:07,920 --> 00:33:13,080
Speaker 2: This movie is dark, and it is truly the scariest

578
00:33:13,120 --> 00:33:14,440
Speaker 2: movie I've ever seen in my life.

579
00:33:14,640 --> 00:33:18,960
Speaker 3: Wow, considering I mean I've seen scarier movies since visually,

580
00:33:19,000 --> 00:33:21,080
Speaker 3: but considering when I saw it, the age at which

581
00:33:21,120 --> 00:33:24,880
Speaker 3: I saw it, and the context in which I saw it, Yeah,

582
00:33:24,880 --> 00:33:26,200
Speaker 3: it was the scariest thing I've ever seen in my

583
00:33:26,200 --> 00:33:26,800
Speaker 3: fucking life.

584
00:33:27,040 --> 00:33:30,400
Speaker 1: Yeah, oh, I can definitely. I think I saw this

585
00:33:30,480 --> 00:33:32,400
Speaker 1: when I was a little kid too, but I don't

586
00:33:32,400 --> 00:33:34,920
Speaker 1: remember it. It wasn't until like much later that I

587
00:33:35,000 --> 00:33:38,720
Speaker 1: was like, whoa, you know, gotta gotta watch this movie

588
00:33:38,760 --> 00:33:42,160
Speaker 1: because oh, my friends are referencing it all the time.

589
00:33:42,520 --> 00:33:44,160
Speaker 1: And then yeah, I haven't watched it in probably like

590
00:33:44,200 --> 00:33:45,800
Speaker 1: twenty years, and I was like, Yo, this movie is

591
00:33:45,920 --> 00:33:48,720
Speaker 1: fucked up. There's a lot of like weird details in

592
00:33:48,760 --> 00:33:51,720
Speaker 1: this movie that are just like very interesting to me.

593
00:33:51,920 --> 00:33:54,840
Speaker 3: But it's also super dense, Like I don't think I

594
00:33:54,880 --> 00:33:56,520
Speaker 3: remembered how dense it is.

595
00:33:56,920 --> 00:33:59,360
Speaker 1: Dude me too, Like I forgot that there was this

596
00:33:59,440 --> 00:34:05,400
Speaker 1: whole crew that comes in before Zelda Rubinstein comes in.

597
00:34:05,480 --> 00:34:07,920
Speaker 1: Like I was like, oh, I forgot about all these motherfuckers.

598
00:34:10,040 --> 00:34:10,920
Speaker 1: It's fucking wild.

599
00:34:11,120 --> 00:34:13,319
Speaker 3: And your movie, which was the first watch for me,

600
00:34:15,200 --> 00:34:19,279
Speaker 3: I mean, the ending is something that I cannot get over.

601
00:34:20,080 --> 00:34:23,600
Speaker 1: Yes, your your movie is is was really.

602
00:34:23,400 --> 00:34:24,320
Speaker 2: Wild to watch.

603
00:34:25,280 --> 00:34:28,319
Speaker 3: The narrative device of your of your film being kind

604
00:34:28,320 --> 00:34:29,879
Speaker 3: of going back in time and telling the.

605
00:34:29,880 --> 00:34:30,960
Speaker 2: Story of the bones.

606
00:34:31,360 --> 00:34:34,440
Speaker 3: Yes, and like finding where you had sympathy or didn't

607
00:34:34,440 --> 00:34:37,560
Speaker 3: have sympathy was interesting, and like then uncovering this mystery

608
00:34:37,760 --> 00:34:42,040
Speaker 3: amongst the bones, please you find bo't leave those bones alone.

609
00:34:42,239 --> 00:34:44,799
Speaker 1: Leave them alone. If you're out in the desert and

610
00:34:44,840 --> 00:34:48,000
Speaker 1: you're wandering around with your metal detector and you're like, oh,

611
00:34:48,040 --> 00:34:53,279
Speaker 1: I found a skull, turn turn around, walk intohod because

612
00:34:53,280 --> 00:34:56,480
Speaker 1: you're gonna you're gonna ruin this entire town essentially if

613
00:34:56,520 --> 00:34:57,120
Speaker 1: you do that.

614
00:34:57,239 --> 00:35:01,359
Speaker 3: So it'll be a far reaching kind of ruination too.

615
00:35:01,400 --> 00:35:03,719
Speaker 3: It's not going to be like, oh, I found these

616
00:35:03,760 --> 00:35:06,160
Speaker 3: bones in this small spot in the desert, and now

617
00:35:06,200 --> 00:35:08,479
Speaker 3: this place, this one small spot, might be a little

618
00:35:08,520 --> 00:35:09,120
Speaker 3: bit cursed.

619
00:35:09,560 --> 00:35:10,440
Speaker 1: Yeah, no, it is.

620
00:35:10,640 --> 00:35:11,719
Speaker 2: Once you uncover the.

621
00:35:11,680 --> 00:35:16,240
Speaker 3: Bones from a movie standpoint, you've unleashed it into the world.

622
00:35:16,360 --> 00:35:19,680
Speaker 3: So even archaeologists, I feel like, you know, maybe start

623
00:35:19,760 --> 00:35:21,400
Speaker 3: leaving some bones alone.

624
00:35:21,640 --> 00:35:27,120
Speaker 1: Yeah, I feel like uncovering of bones equals centuries of

625
00:35:27,239 --> 00:35:31,200
Speaker 1: generational trauma. And you don't want that smoke. If you're

626
00:35:31,280 --> 00:35:33,239
Speaker 1: just a casual person in the world. That's just like

627
00:35:33,600 --> 00:35:36,520
Speaker 1: just go away, like, just walk away from the bones.

628
00:35:36,920 --> 00:35:39,279
Speaker 1: Let somebody else find them. Like, it ain't gotta be you.

629
00:35:39,400 --> 00:35:41,040
Speaker 1: It does not have to be you all the time.

630
00:35:41,160 --> 00:35:42,239
Speaker 1: It can be somebody else.

631
00:35:42,560 --> 00:35:48,239
Speaker 3: So anonymous call on those bones, Yeah, anonymous call an archaeologist,

632
00:35:49,400 --> 00:35:53,320
Speaker 3: the police, a hospital like anyone else.

633
00:35:53,719 --> 00:35:55,600
Speaker 1: Yes, but you if.

634
00:35:58,760 --> 00:36:02,879
Speaker 3: A layman uncoverson owns hell is a comin mm hmm.

635
00:36:04,160 --> 00:36:06,520
Speaker 3: Well I'm going first this week and I cannot wait.

636
00:36:06,800 --> 00:36:11,440
Speaker 3: Let me again go because my movie was released in

637
00:36:11,520 --> 00:36:15,600
Speaker 3: nineteen eighty two. It was written by Steven Spielberg, Mark Grayison,

638
00:36:15,880 --> 00:36:19,359
Speaker 3: Mark Victor. The director is Toby Hooper. My movie is

639
00:36:20,160 --> 00:36:21,880
Speaker 3: Pulter Guys.

640
00:36:22,320 --> 00:36:28,160
Speaker 1: Something's funny going after next Door. Something We were wondering

641
00:36:28,160 --> 00:36:32,880
Speaker 1: if maybe you had experienced a name disturbances life, what

642
00:36:33,000 --> 00:36:33,879
Speaker 1: kind of disturbances?

643
00:36:34,200 --> 00:36:37,440
Speaker 3: Now, there was a lot of behind the scenes drama

644
00:36:37,480 --> 00:36:39,319
Speaker 3: with this film that I didn't know until now when

645
00:36:39,360 --> 00:36:42,200
Speaker 3: I was researching it, because apparently a lot of people

646
00:36:42,280 --> 00:36:45,360
Speaker 3: didn't want to give Toby Hooper like his due, and

647
00:36:45,400 --> 00:36:48,040
Speaker 3: they kept insisting that Steven Spielberg not only wrote it,

648
00:36:48,080 --> 00:36:52,840
Speaker 3: but actually directed it, and the DGA had to get involved.

649
00:36:53,040 --> 00:36:56,400
Speaker 3: At one point, I was reading mental flaws and the

650
00:36:56,480 --> 00:37:00,000
Speaker 3: DGA had to get involved the Director's Guild and basically

651
00:37:00,960 --> 00:37:01,680
Speaker 3: stick up for.

652
00:37:01,719 --> 00:37:03,960
Speaker 2: Toby Hooper like.

653
00:37:06,160 --> 00:37:08,920
Speaker 3: But then Zelda Rubinstein, who's an actress who was on

654
00:37:09,640 --> 00:37:12,920
Speaker 3: in the film, said that Steven Spielberg was her director

655
00:37:13,080 --> 00:37:16,080
Speaker 3: during the six days that she was there shooting. So

656
00:37:16,200 --> 00:37:19,680
Speaker 3: there's been a weird amount of speculation coming through. And

657
00:37:19,719 --> 00:37:24,040
Speaker 3: there are also moments in the film that feel like

658
00:37:24,200 --> 00:37:29,160
Speaker 3: a Steven Spielberg movie. Oh so yeah, but this movie

659
00:37:29,200 --> 00:37:33,279
Speaker 3: is fucking wold. I give you the one sentence up top, am.

660
00:37:33,320 --> 00:37:37,640
Speaker 3: I one sentence synopsis of Poltergeist is for several reasons,

661
00:37:38,280 --> 00:37:46,080
Speaker 3: never trust an American subdivision. True, rife with misery, Rife

662
00:37:46,120 --> 00:37:47,799
Speaker 3: with misery. Like I said, this was the scariest movie

663
00:37:47,800 --> 00:37:48,800
Speaker 3: I've ever seen in my life.

664
00:37:49,440 --> 00:37:52,839
Speaker 2: It was. It was released in nineteen eighty two.

665
00:37:53,200 --> 00:37:55,799
Speaker 3: I was five years old. You better believe I saw

666
00:37:55,800 --> 00:37:58,600
Speaker 3: it before I turned seven. Of course, with your fine

667
00:37:58,680 --> 00:38:02,000
Speaker 3: family absolute at least saw this movie at like six

668
00:38:02,320 --> 00:38:04,280
Speaker 3: and then kept seeing it for most of my life,

669
00:38:04,360 --> 00:38:07,120
Speaker 3: I'm sure, and I think it was because it had

670
00:38:07,200 --> 00:38:09,759
Speaker 3: kids in it. Most families thought, oh, it's okay for

671
00:38:09,880 --> 00:38:13,200
Speaker 3: kids to see this. How they get you, that's how

672
00:38:13,200 --> 00:38:14,680
Speaker 3: they get you. It absolutely was not.

673
00:38:15,040 --> 00:38:19,560
Speaker 1: It's like Steven Spieldberg's involvement plus children is goin to

674
00:38:19,640 --> 00:38:23,960
Speaker 1: bring children to the theme and then when they get there,

675
00:38:24,040 --> 00:38:27,799
Speaker 1: they're going to be fucking traumatized, like, oh.

676
00:38:27,640 --> 00:38:30,960
Speaker 2: This is actually a Toby Hooper joint, the.

677
00:38:30,840 --> 00:38:35,720
Speaker 1: Texas Chainsaw Masker. Dude just made a little kids movie

678
00:38:35,760 --> 00:38:36,720
Speaker 1: for y'all.

679
00:38:37,200 --> 00:38:40,920
Speaker 3: Just casually made a fucking little kids movie for you.

680
00:38:41,320 --> 00:38:42,800
Speaker 2: It'll be fine.

681
00:38:44,080 --> 00:38:46,279
Speaker 3: And I think what was also interesting about the film

682
00:38:46,280 --> 00:38:48,279
Speaker 3: when it was released in nineteen eighty two is that

683
00:38:48,360 --> 00:38:51,480
Speaker 3: it was one of the first well not the first movie,

684
00:38:51,520 --> 00:38:54,040
Speaker 3: because of course we've covered other films that have done this,

685
00:38:54,080 --> 00:38:56,640
Speaker 3: but I think it was the first movie that I

686
00:38:56,800 --> 00:39:00,720
Speaker 3: saw that turned television into a horror movie character. Yes,

687
00:39:01,520 --> 00:39:06,359
Speaker 3: and clowns and chicken and pools like everything became a

688
00:39:06,440 --> 00:39:09,839
Speaker 3: major horror movie moment, and it took the familiar and

689
00:39:09,880 --> 00:39:14,200
Speaker 3: made it very terrifying. Agreed, and a lot of people

690
00:39:14,280 --> 00:39:19,600
Speaker 3: also believed that the film set was haunted because there

691
00:39:19,600 --> 00:39:23,600
Speaker 3: have been a number of fatal, horrible things that have

692
00:39:23,680 --> 00:39:27,360
Speaker 3: happened to the actors and.

693
00:39:27,520 --> 00:39:29,520
Speaker 2: People involved with the film.

694
00:39:30,040 --> 00:39:34,800
Speaker 3: Of course, most famously, the actress who played Carol Anne

695
00:39:35,320 --> 00:39:37,799
Speaker 3: Heather of Work died very young.

696
00:39:37,840 --> 00:39:39,359
Speaker 2: She was twelve years old. She died of like an

697
00:39:39,400 --> 00:39:42,640
Speaker 2: undiagnosed oh god, what word is it?

698
00:39:43,120 --> 00:39:46,640
Speaker 1: She she died in the way that I almost died.

699
00:39:46,640 --> 00:39:47,200
Speaker 1: Did you know that?

700
00:39:47,560 --> 00:39:51,239
Speaker 2: Yes, she had septic septic shock, but was undiagnosed.

701
00:39:51,719 --> 00:39:55,520
Speaker 1: Undiagnosed she had she had like I think it was

702
00:39:55,680 --> 00:40:03,840
Speaker 1: like an abdominal intestinal issue and basically like felt the

703
00:40:03,880 --> 00:40:09,480
Speaker 1: same symptoms I felt, and went to the hospital and essentially,

704
00:40:10,239 --> 00:40:13,200
Speaker 1: you know, died of septic shock. I thought that was

705
00:40:13,320 --> 00:40:16,120
Speaker 1: so weird when I was like researching this, going like,

706
00:40:16,480 --> 00:40:18,719
Speaker 1: holy fuck, I almost died in the same way that

707
00:40:18,719 --> 00:40:21,040
Speaker 1: that girl died. That's so random.

708
00:40:21,120 --> 00:40:23,839
Speaker 3: Yeah, you know, and she she they said she died

709
00:40:23,880 --> 00:40:26,240
Speaker 3: of a heart attack, but that was like an undiagnosed

710
00:40:26,480 --> 00:40:28,400
Speaker 3: result of septic shock.

711
00:40:28,440 --> 00:40:32,840
Speaker 1: Right, yeah, because when your septic your organs start feeling

712
00:40:33,440 --> 00:40:35,680
Speaker 1: so absolutely unreal.

713
00:40:35,719 --> 00:40:38,480
Speaker 3: And again, twelve years old, twelve years old, and then

714
00:40:38,719 --> 00:40:41,960
Speaker 3: Dominique Dunn, who plays her sister, Dana in the film

715
00:40:42,760 --> 00:40:49,239
Speaker 3: also died of dominic Dunn's daughter and also died in

716
00:40:49,280 --> 00:40:53,920
Speaker 3: a terrible way. She was murdered by her ex boyfriend.

717
00:40:54,080 --> 00:40:57,799
Speaker 3: And she was one of the first people to have

718
00:40:57,840 --> 00:41:02,480
Speaker 3: been kind of murdered in this stalker like an actress

719
00:41:02,600 --> 00:41:06,760
Speaker 3: who'd been stalked by an ex and she was terrified

720
00:41:06,760 --> 00:41:08,640
Speaker 3: of him. And it was awful and you can definitely

721
00:41:09,719 --> 00:41:12,600
Speaker 3: go and read more about it. But yeah, she was

722
00:41:13,280 --> 00:41:15,279
Speaker 3: murdered very very young.

723
00:41:16,200 --> 00:41:18,680
Speaker 2: She was twenty two years.

724
00:41:18,480 --> 00:41:19,200
Speaker 1: Old when she died.

725
00:41:19,640 --> 00:41:22,760
Speaker 3: Yeah, and yeah, she was strangled by her ex boyfriend.

726
00:41:22,840 --> 00:41:26,359
Speaker 3: So and it was like during an argument outside of

727
00:41:26,360 --> 00:41:32,000
Speaker 3: her home. So just absolutely terrible. And then other people,

728
00:41:32,200 --> 00:41:35,120
Speaker 3: you know, have died in connection to this film, because

729
00:41:35,120 --> 00:41:38,320
Speaker 3: it was four members of the cast that died, oh god,

730
00:41:39,239 --> 00:41:41,319
Speaker 3: during and soon after the filming of the year of

731
00:41:41,640 --> 00:41:44,279
Speaker 3: their film. So it was hether of work Dominique Dunn.

732
00:41:45,200 --> 00:41:47,800
Speaker 3: So Julian Beck, who played the evil preacher Kane in

733
00:41:47,800 --> 00:41:50,680
Speaker 3: the Poltergeist two movies, had stomach cancer when he was

734
00:41:50,760 --> 00:41:52,120
Speaker 3: cast in the film and he knew that, but he

735
00:41:52,160 --> 00:41:56,239
Speaker 3: died shortly thereafter. And then Will Samson died during a

736
00:41:56,280 --> 00:41:59,600
Speaker 3: medical procedure like he was getting an organ transplant that

737
00:41:59,680 --> 00:42:01,520
Speaker 3: had a survival rate, but it was still kind of

738
00:42:01,520 --> 00:42:05,200
Speaker 3: connected to, you know, his being in the film. And

739
00:42:05,200 --> 00:42:09,319
Speaker 3: then people kind of speculating, is the Poltergeist franchise just

740
00:42:09,400 --> 00:42:11,120
Speaker 3: cursed and people are going to die no matter what,

741
00:42:11,160 --> 00:42:12,759
Speaker 3: even if they have an illness, they're going to die

742
00:42:12,760 --> 00:42:18,160
Speaker 3: from it shortly after or during filming, and people believe

743
00:42:18,239 --> 00:42:18,719
Speaker 3: that it was.

744
00:42:19,600 --> 00:42:20,440
Speaker 2: This is wild.

745
00:42:20,840 --> 00:42:23,279
Speaker 3: A lot of people believe that the haunting and the

746
00:42:23,320 --> 00:42:27,160
Speaker 3: curse of Poltergeist films began because the original prop master

747
00:42:27,800 --> 00:42:29,480
Speaker 3: used real skeletons.

748
00:42:30,600 --> 00:42:33,080
Speaker 1: I had always heard that, yep, And.

749
00:42:33,040 --> 00:42:35,680
Speaker 3: They're like, You're like, so, it's kind of interesting because

750
00:42:35,719 --> 00:42:38,440
Speaker 3: the movie is about this very thing, right, like how

751
00:42:38,560 --> 00:42:44,560
Speaker 3: leaving bodies and bones behind contributes to a Poultergeist experience,

752
00:42:44,560 --> 00:42:47,280
Speaker 3: a haunting, a curse, whatever, and then it actually happened

753
00:42:47,320 --> 00:42:48,960
Speaker 3: to people on set as well.

754
00:42:49,000 --> 00:42:50,120
Speaker 2: A lot of people believe.

755
00:42:50,320 --> 00:42:54,080
Speaker 1: Yeah, I mean listen, I mean sometimes it's like like

756
00:42:54,760 --> 00:42:56,680
Speaker 1: curses make their way onto set. I mean it was

757
00:42:56,760 --> 00:42:59,560
Speaker 1: kind of the same thing about The Exorcist, which is

758
00:42:59,600 --> 00:43:03,280
Speaker 1: interesting too because it's like, when I was rewatching this movie,

759
00:43:04,120 --> 00:43:08,440
Speaker 1: I felt like there was a lot of maybe obviously thematic,

760
00:43:08,560 --> 00:43:12,759
Speaker 1: but maybe more visual references to The Exorcist than I

761
00:43:12,800 --> 00:43:13,320
Speaker 1: ever thought.

762
00:43:13,360 --> 00:43:13,440
Speaker 2: Like.

763
00:43:13,480 --> 00:43:16,040
Speaker 1: I was like, oh, sure, this is sort of generally

764
00:43:16,080 --> 00:43:18,840
Speaker 1: the same conceit, right, you have like young kids, you

765
00:43:18,880 --> 00:43:21,880
Speaker 1: know that are being like taken over and a family

766
00:43:22,040 --> 00:43:23,799
Speaker 1: and a house and this and that. But then I

767
00:43:23,840 --> 00:43:27,040
Speaker 1: was like, oh no, there's like straight up like visual

768
00:43:27,800 --> 00:43:30,919
Speaker 1: similarities to that movie. And that movie was cursed too,

769
00:43:31,040 --> 00:43:34,400
Speaker 1: So I mean, come on, what are we doing, Like,

770
00:43:34,400 --> 00:43:37,120
Speaker 1: what are we doing here folks talking about curse movies? Yeah,

771
00:43:37,480 --> 00:43:40,839
Speaker 1: these CRUs Hey, if you're on a crew and you're

772
00:43:40,920 --> 00:43:43,279
Speaker 1: like at the prop house and somebody's like, hey, you

773
00:43:43,320 --> 00:43:47,919
Speaker 1: want this actual skeleton of like a fucking Civil War

774
00:43:48,040 --> 00:43:50,200
Speaker 1: ghost or some shit that we found at a thrift

775
00:43:50,440 --> 00:43:54,719
Speaker 1: at a thrift store, say no, I'm gonna use plastic.

776
00:43:55,680 --> 00:43:58,520
Speaker 3: I'm going to make a skeleton out of whatever. I'll

777
00:43:58,560 --> 00:44:00,640
Speaker 3: make a skeleton out of a bucket of bolts before

778
00:44:00,640 --> 00:44:02,680
Speaker 3: I buy a real as body in a thrift store.

779
00:44:03,480 --> 00:44:06,759
Speaker 2: Thank you very much, you've learned about this good day.

780
00:44:07,440 --> 00:44:08,120
Speaker 2: Holy hell.

781
00:44:08,239 --> 00:44:10,080
Speaker 3: Also, can you believe that this movie almost got a

782
00:44:10,080 --> 00:44:13,719
Speaker 3: PG rating, or at least no Spielberg lobbied for it,

783
00:44:13,760 --> 00:44:16,399
Speaker 3: because PG thirteen didn't exist until nineteen eighty four.

784
00:44:16,920 --> 00:44:20,960
Speaker 1: Yeah, oh yeah, I definitely think it's a PG movie

785
00:44:20,960 --> 00:44:23,080
Speaker 1: with a guy that rips his own fucking face off.

786
00:44:23,120 --> 00:44:26,400
Speaker 1: I think that should be. That's very, very close to

787
00:44:26,719 --> 00:44:32,200
Speaker 1: Blues Clues or whatever the fuck is happening. God, wow, that.

788
00:44:32,200 --> 00:44:37,439
Speaker 3: Is a definite Bluey storyline.

789
00:44:38,640 --> 00:44:42,200
Speaker 1: The Power Rangers rip their own faces off and were

790
00:44:42,200 --> 00:44:47,000
Speaker 1: better for it. Anyway, Wild Spielberg got some wild shit

791
00:44:47,040 --> 00:44:47,759
Speaker 1: you try to pull.

792
00:44:48,440 --> 00:44:50,560
Speaker 3: I mean the combination, like you said earlier, the combination

793
00:44:50,600 --> 00:44:52,440
Speaker 3: of Steven Spielberg and Toby Hooper, Like, we're going to

794
00:44:52,480 --> 00:44:55,399
Speaker 3: get some real moments here. Yeah, agreed, And I feel

795
00:44:55,400 --> 00:44:57,200
Speaker 3: like that's how we should talk about this film because

796
00:44:57,200 --> 00:44:58,800
Speaker 3: most people have seen it, and if you haven't, you

797
00:44:58,840 --> 00:45:01,600
Speaker 3: probably don't want to. But I am going to say

798
00:45:01,680 --> 00:45:03,520
Speaker 3: up top that I am going to bring this movie

799
00:45:03,760 --> 00:45:06,040
Speaker 3: almost to the bitter end in this discussion, because there's

800
00:45:06,080 --> 00:45:08,920
Speaker 3: a lot in the ending that I need to talk about. Agreed,

801
00:45:09,600 --> 00:45:11,360
Speaker 3: But I'll leave you one moment at the end that

802
00:45:11,400 --> 00:45:13,960
Speaker 3: I won't discuss. But for the most part, I will

803
00:45:14,320 --> 00:45:16,480
Speaker 3: first and foremost what I love about this movie is

804
00:45:16,800 --> 00:45:20,319
Speaker 3: the family dog starts off the film and is just

805
00:45:20,560 --> 00:45:22,920
Speaker 3: walking around this house at night picking up snacks from

806
00:45:22,960 --> 00:45:26,960
Speaker 3: everyone who fell asleep with snacks in the house. And

807
00:45:27,000 --> 00:45:28,799
Speaker 3: I love the one two punch of that. You're like,

808
00:45:28,800 --> 00:45:30,720
Speaker 3: it's gonna be a cute little dog in Ghost Movie.

809
00:45:30,800 --> 00:45:31,319
Speaker 1: No it is not.

810
00:45:32,840 --> 00:45:34,680
Speaker 3: There's a point later on in the film where one

811
00:45:34,680 --> 00:45:37,000
Speaker 3: of the kids finally gets to leave and the dog

812
00:45:37,080 --> 00:45:39,319
Speaker 3: looks back at the house and then runs into the

813
00:45:39,320 --> 00:45:40,040
Speaker 3: cab with the kid.

814
00:45:41,000 --> 00:45:43,840
Speaker 1: They put a little baby in a cab. That's interesting,

815
00:45:43,960 --> 00:45:46,480
Speaker 1: that's a very early eighties thing that happened. But then

816
00:45:46,520 --> 00:45:48,960
Speaker 1: they let the dog in there too. I was like,

817
00:45:49,120 --> 00:45:51,399
Speaker 1: that dog knows. It's like, I'm not staying around here.

818
00:45:52,000 --> 00:45:53,680
Speaker 1: That dog is fucking out of here.

819
00:45:54,080 --> 00:45:57,279
Speaker 3: And then there's also there's animal trauma happening from the

820
00:45:57,320 --> 00:46:01,440
Speaker 3: beginning because the family bird dies and mom tries to like,

821
00:46:01,480 --> 00:46:04,600
Speaker 3: you know who's played by Joebeth Williams. Famously played by

822
00:46:04,680 --> 00:46:08,880
Speaker 3: Joebeth Williams, Diane Freeling. It's character's name, and Diane's like

823
00:46:09,680 --> 00:46:12,319
Speaker 3: way of getting rid of the family bird that has

824
00:46:12,360 --> 00:46:14,080
Speaker 3: died is she was just gonna flush it down the

825
00:46:14,120 --> 00:46:20,000
Speaker 3: fucking toilet, which is like, like, I don't know, I

826
00:46:20,000 --> 00:46:23,720
Speaker 3: think a lot about my pipes because I'm a homeowner now. Yeah,

827
00:46:23,760 --> 00:46:26,000
Speaker 3: and there are some double flushers that I question, you're

828
00:46:26,000 --> 00:46:30,520
Speaker 3: flushing a whole ass bird, like mom, and thank god,

829
00:46:32,560 --> 00:46:36,680
Speaker 3: thank god, Carolyn catches her and has like instant trauma

830
00:46:36,760 --> 00:46:40,040
Speaker 3: seeing her bird being dangled over a fucking bowl. Because

831
00:46:40,480 --> 00:46:42,359
Speaker 3: now they have a proper funeral for it, and it's

832
00:46:42,400 --> 00:46:44,759
Speaker 3: a cute, the cutest little kid funeral. So it's got

833
00:46:44,800 --> 00:46:47,560
Speaker 3: like a cigar box and there's like a little picture

834
00:46:47,560 --> 00:46:49,480
Speaker 3: in case the bird gets lonely, and a little piece

835
00:46:49,520 --> 00:46:51,560
Speaker 3: of liquorice in case it gets hungry, and like a

836
00:46:51,560 --> 00:46:52,160
Speaker 3: little blanket.

837
00:46:52,200 --> 00:46:53,600
Speaker 2: It's a very very cute funeral.

838
00:46:53,760 --> 00:46:57,120
Speaker 3: Yeah, but what's happening in this in the beginning of

839
00:46:57,120 --> 00:46:58,960
Speaker 3: the film is they're basically setting up this family and

840
00:46:58,960 --> 00:47:02,120
Speaker 3: this family who has has moved a few years ago.

841
00:47:02,160 --> 00:47:05,400
Speaker 3: They moved to the subdivision because their dad played by

842
00:47:05,400 --> 00:47:09,400
Speaker 3: Craig T. Nelson Stea Frieling, was part of the development

843
00:47:09,800 --> 00:47:14,480
Speaker 3: of this subdivision, so he built these properties and they've

844
00:47:14,480 --> 00:47:16,000
Speaker 3: been living in this house and you can kind of

845
00:47:16,040 --> 00:47:19,480
Speaker 3: tell they're loaded up top because there's three kids in

846
00:47:19,520 --> 00:47:22,279
Speaker 3: the family. So you have Dana the oldest who's the

847
00:47:22,360 --> 00:47:28,799
Speaker 3: older sister, Robbie middle child brother, and Carol Anne and

848
00:47:29,120 --> 00:47:34,359
Speaker 3: Robbie has the big Darth vaderhead toy where you opened

849
00:47:34,360 --> 00:47:36,200
Speaker 3: it up and they're all these little things inside that

850
00:47:36,280 --> 00:47:38,440
Speaker 3: I desperately wanted as a child and would never in

851
00:47:38,480 --> 00:47:42,279
Speaker 3: a million years get from my fucking family. And so

852
00:47:42,320 --> 00:47:44,680
Speaker 3: they have all these cool toys in their room, which

853
00:47:44,760 --> 00:47:46,200
Speaker 3: Caroline and Robbie share a room.

854
00:47:47,040 --> 00:47:50,120
Speaker 2: But you also notice that they're very.

855
00:47:49,920 --> 00:47:52,719
Speaker 3: Comfortable yelling at their mother without any fear of repercussion.

856
00:47:53,080 --> 00:47:56,319
Speaker 3: So Caroline's like, keep the closet door light on, like

857
00:47:56,360 --> 00:47:58,319
Speaker 3: she's like yelling, and her mom's like, oh sure sure,

858
00:47:58,320 --> 00:47:59,640
Speaker 3: And I'm like, that is a sign of a wealthy

859
00:47:59,640 --> 00:48:01,760
Speaker 3: family where they are afraid of their own children.

860
00:48:02,360 --> 00:48:08,200
Speaker 1: Yeah, of course, of course, also like the parents. This

861
00:48:08,280 --> 00:48:10,480
Speaker 1: is so interesting And I'm not sure if I'm putting

862
00:48:10,480 --> 00:48:12,040
Speaker 1: the car before the horse here you might be talking

863
00:48:12,080 --> 00:48:15,440
Speaker 1: about this, but like they're like totally smoking weed in

864
00:48:15,480 --> 00:48:15,879
Speaker 1: their house.

865
00:48:15,960 --> 00:48:17,640
Speaker 2: Yeah, I was just gonna just gonna talk about that.

866
00:48:19,080 --> 00:48:24,520
Speaker 3: How mom and dad are very well off, clearly, but

867
00:48:25,040 --> 00:48:29,319
Speaker 3: they are mostly concerned with getting high, which is a

868
00:48:29,560 --> 00:48:33,520
Speaker 3: very eighties experience for a lot of us. Yeah, where

869
00:48:34,760 --> 00:48:36,680
Speaker 3: the clip with the feathers that you wore in your

870
00:48:36,719 --> 00:48:40,680
Speaker 3: hair home from the carnival was somehow then on your

871
00:48:40,719 --> 00:48:44,680
Speaker 3: living room coffee table the next morning, surrounded by ashes

872
00:48:45,800 --> 00:48:46,480
Speaker 3: and shake.

873
00:48:53,040 --> 00:48:56,640
Speaker 2: Parents got loaded in the eighties. They got drunk, They

874
00:48:56,680 --> 00:48:58,520
Speaker 2: got high as soon.

875
00:48:58,320 --> 00:49:00,799
Speaker 3: As those The kids weren't even a sleep as soon

876
00:49:00,800 --> 00:49:02,640
Speaker 3: as they were in bed.

877
00:49:02,880 --> 00:49:05,680
Speaker 2: Yeah, mom's ripping one. And they are having a good

878
00:49:05,719 --> 00:49:06,200
Speaker 2: time too.

879
00:49:06,200 --> 00:49:07,640
Speaker 3: This is not like a oh God, I need to

880
00:49:07,640 --> 00:49:09,240
Speaker 3: calm down from my day kind of hikes.

881
00:49:09,280 --> 00:49:11,360
Speaker 2: They're like, we can't wait to have fun.

882
00:49:11,840 --> 00:49:15,040
Speaker 1: Yeah. Joe Beth is like straight up rolling joints. The

883
00:49:15,120 --> 00:49:19,279
Speaker 1: door's not even shut at one point, like the sun

884
00:49:19,360 --> 00:49:23,000
Speaker 1: comes in and like she's like she's just like exhaled,

885
00:49:23,040 --> 00:49:25,719
Speaker 1: and she does this little like she just waves her

886
00:49:25,760 --> 00:49:28,160
Speaker 1: hand in front of her mouth like oops. I'm like, yo,

887
00:49:28,239 --> 00:49:31,200
Speaker 1: that kid knows this whole room is hot boxed, Like

888
00:49:31,239 --> 00:49:34,359
Speaker 1: what the fuck they've hot boxed the room.

889
00:49:34,800 --> 00:49:38,880
Speaker 3: Dad is only wearing pajama pants and it's like weird

890
00:49:38,920 --> 00:49:42,600
Speaker 3: aviator glasses and is standing in the mirror doing like

891
00:49:43,280 --> 00:49:48,000
Speaker 3: funny stomach bits like he knows your fucking root like wrecked,

892
00:49:48,040 --> 00:49:48,800
Speaker 3: he knows your wrecked.

893
00:49:49,640 --> 00:49:54,160
Speaker 1: I gotta tell you, Craig Tea, I would hit in

894
00:49:54,239 --> 00:49:57,839
Speaker 1: this film, and I probably would have done it back

895
00:49:57,840 --> 00:49:59,840
Speaker 1: in the day too, because I had a weird crush

896
00:49:59,880 --> 00:50:03,719
Speaker 1: on him on Coach. You remember that show Coach. Of course,

897
00:50:04,239 --> 00:50:06,160
Speaker 1: I kind of don't want to bang out every dude

898
00:50:06,239 --> 00:50:08,040
Speaker 1: on Coach, that.

899
00:50:08,000 --> 00:50:09,080
Speaker 2: Tall blonde dude.

900
00:50:09,000 --> 00:50:12,080
Speaker 1: The dumb guy, the other guy that's a little bit

901
00:50:12,120 --> 00:50:15,680
Speaker 1: smarter but cute. I thought all the guys on Coach

902
00:50:15,719 --> 00:50:18,920
Speaker 1: were hot, including Craigtinos, And so when I saw this

903
00:50:18,960 --> 00:50:22,160
Speaker 1: movie again, I was like, oh, yeah, like he's hot

904
00:50:22,200 --> 00:50:25,560
Speaker 1: in this, He's here's a daddy in this. You know,

905
00:50:26,040 --> 00:50:28,600
Speaker 1: see I don't I don't go for the daddy's You're like,

906
00:50:29,080 --> 00:50:30,800
Speaker 1: you're disgusting, Millie.

907
00:50:30,960 --> 00:50:33,640
Speaker 3: I want to so against dad, Like you guys have

908
00:50:33,680 --> 00:50:36,279
Speaker 3: to know that about me by now. We got so

909
00:50:36,400 --> 00:50:40,480
Speaker 3: many emails about pull through parking and backing in parking,

910
00:50:40,880 --> 00:50:42,680
Speaker 3: and so many of them were like, well, my dad

911
00:50:42,760 --> 00:50:44,319
Speaker 3: told told me to do it. And I'm like, I

912
00:50:44,360 --> 00:50:48,640
Speaker 3: don't care about dads. I am against dads across the board.

913
00:50:48,920 --> 00:50:52,960
Speaker 3: How do you not know of this about me? When

914
00:50:53,000 --> 00:50:55,760
Speaker 3: you say, like something came from a dad, I'm doubly

915
00:50:55,880 --> 00:50:56,640
Speaker 3: likely to hate it.

916
00:50:57,600 --> 00:51:04,920
Speaker 1: Yeah, understood, I'll just say that understood. However, I don't know.

917
00:51:05,080 --> 00:51:07,120
Speaker 1: I just do something about Craig T. Nelson in this

918
00:51:07,200 --> 00:51:09,759
Speaker 1: in the eighties that really rocked me, Like I had

919
00:51:09,880 --> 00:51:12,160
Speaker 1: your crushes on older guys like that. I had a

920
00:51:12,160 --> 00:51:14,920
Speaker 1: crush on fucking Lee Majors as the fall guy. He

921
00:51:15,000 --> 00:51:18,360
Speaker 1: was probably like sixty years old, and I was like

922
00:51:18,440 --> 00:51:21,319
Speaker 1: in elementary school being like, ooh, I love it when

923
00:51:21,320 --> 00:51:23,239
Speaker 1: he's in the bathtub with a cowboy hat.

924
00:51:23,360 --> 00:51:25,560
Speaker 3: Well, and to your credit, this is what they gave

925
00:51:25,640 --> 00:51:29,440
Speaker 3: us as sex symbols. I know there was no Ya

926
00:51:29,880 --> 00:51:32,239
Speaker 3: version of anything back then. It was like you go

927
00:51:32,440 --> 00:51:35,520
Speaker 3: directly from Donnie Osman to Tom Selleck.

928
00:51:35,600 --> 00:51:36,840
Speaker 2: There was no in between.

929
00:51:37,000 --> 00:51:40,359
Speaker 3: There were no Austin Butlers or fucking Harry Styles.

930
00:51:39,800 --> 00:51:43,919
Speaker 1: Is Dude, would I see like members of BTS where

931
00:51:43,960 --> 00:51:47,920
Speaker 1: I'm like, oh, they're like sex symbols internationally, like all

932
00:51:47,920 --> 00:51:49,960
Speaker 1: these little girls like scream when they like show up

933
00:51:50,000 --> 00:51:52,080
Speaker 1: in Times Square or whatever, And I'm like, I had

934
00:51:52,120 --> 00:51:58,600
Speaker 1: a crush on Lee Majors, Like why do you fucking

935
00:51:58,880 --> 00:52:01,839
Speaker 1: like that? There was nothing like that in our era

936
00:52:02,080 --> 00:52:05,720
Speaker 1: like this, I mean, it's just like it blows my mind.

937
00:52:05,880 --> 00:52:08,239
Speaker 3: I think this is why we all lost our shit

938
00:52:08,280 --> 00:52:10,080
Speaker 3: when new Kids on the Block came on the scene.

939
00:52:10,200 --> 00:52:14,440
Speaker 3: Age appropriate crushes, and to your credit about your taste,

940
00:52:14,680 --> 00:52:16,399
Speaker 3: you still went for the oldest one.

941
00:52:16,760 --> 00:52:18,200
Speaker 1: I know, dude, I know.

942
00:52:18,560 --> 00:52:22,360
Speaker 3: I'm like, like, I'm a fucking Jonathan girl, and I'm like,

943
00:52:22,400 --> 00:52:26,680
Speaker 3: he is genuinely aged out before this group even got started.

944
00:52:27,920 --> 00:52:31,000
Speaker 1: I'm like, so is that? I'm like, who's about to

945
00:52:31,040 --> 00:52:36,959
Speaker 1: get kicked out of Menudo? That's my guy.

946
00:52:38,840 --> 00:52:45,399
Speaker 2: I get which version of New Edition is post Johnny Gill?

947
00:52:47,800 --> 00:52:49,600
Speaker 2: Give me the Johnny Gills of New Edition.

948
00:52:50,960 --> 00:52:56,319
Speaker 3: That's my jam. You always go for the oldest one.

949
00:52:56,400 --> 00:52:58,520
Speaker 3: So I'm trying to help you here by saying, oh,

950
00:52:58,600 --> 00:53:01,600
Speaker 3: this is the the eraror that we were raised, and

951
00:53:01,640 --> 00:53:04,360
Speaker 3: these were presented as our sex symbols, but you and

952
00:53:05,520 --> 00:53:10,200
Speaker 3: you inherited that, imbibed that, and just crystallized it so

953
00:53:10,200 --> 00:53:11,320
Speaker 3: that forever more.

954
00:53:11,120 --> 00:53:12,720
Speaker 2: You were going to pick the oldest dude possible.

955
00:53:13,000 --> 00:53:16,400
Speaker 1: I know it's that cracky, I can't shake it.

956
00:53:16,480 --> 00:53:20,279
Speaker 3: Absolutely amazing, but yeah, they are fucking They are the

957
00:53:20,440 --> 00:53:23,560
Speaker 3: closest and weirdest representation of true eighties parents that I've

958
00:53:23,600 --> 00:53:29,239
Speaker 3: ever seen on screen that totally tracks yes, just neglect

959
00:53:29,760 --> 00:53:39,600
Speaker 3: and pot neglect and substances truly. So essentially, the setup

960
00:53:39,760 --> 00:53:44,319
Speaker 3: here and this is important to know Caroline is sleepwalking

961
00:53:44,320 --> 00:53:47,680
Speaker 3: one night, or that's how Mom decides to interpret it,

962
00:53:47,719 --> 00:53:51,680
Speaker 3: because Caroline wakes up and is gravitating towards the fuzzy

963
00:53:51,680 --> 00:53:55,640
Speaker 3: television and it is talking back to it, and Mom's like, oh,

964
00:53:55,719 --> 00:54:00,279
Speaker 3: maybe they're sleepwalking. Also, they're digging a pool in their house.

965
00:54:00,320 --> 00:54:02,120
Speaker 3: They're digging a pool in the backyard, even though they

966
00:54:02,160 --> 00:54:04,040
Speaker 3: lived there for a little bit. They're giving themselves some

967
00:54:04,480 --> 00:54:08,080
Speaker 3: pool to in ground pool time. You need to know

968
00:54:08,120 --> 00:54:12,160
Speaker 3: that there's a creepy clown in Robbie and Caroline's room,

969
00:54:13,000 --> 00:54:14,480
Speaker 3: there's a giant storm coming.

970
00:54:15,520 --> 00:54:17,479
Speaker 2: And you also need to know, if.

971
00:54:17,400 --> 00:54:20,880
Speaker 3: You're not from this era, that TV programming used to

972
00:54:21,160 --> 00:54:24,160
Speaker 3: end at night, and it ended by playing the national

973
00:54:24,200 --> 00:54:26,520
Speaker 3: anthem and then the TV would just go to static

974
00:54:26,560 --> 00:54:27,040
Speaker 3: and there was.

975
00:54:27,040 --> 00:54:29,960
Speaker 2: No more TV until the morning.

976
00:54:30,200 --> 00:54:34,480
Speaker 1: Yeah, they I remember this. This one TV station that

977
00:54:34,600 --> 00:54:38,760
Speaker 1: we had growing up did not play the start Spangled banner,

978
00:54:38,960 --> 00:54:43,520
Speaker 1: but played is that Louis Armstrong? What a wonderful world

979
00:54:43,640 --> 00:54:48,880
Speaker 1: is that? The song? And I remember that song was

980
00:54:49,000 --> 00:54:52,799
Speaker 1: like night night like that was like basically like do

981
00:54:52,960 --> 00:54:57,600
Speaker 1: not stay up past the Louis Armstrong song because you

982
00:54:57,640 --> 00:55:00,200
Speaker 1: will be haunted by demons or something like.

983
00:55:00,239 --> 00:55:04,239
Speaker 3: I was just like go night night now because there

984
00:55:04,320 --> 00:55:06,799
Speaker 3: is and TV's didn't turn off on their own, Like

985
00:55:06,880 --> 00:55:08,719
Speaker 3: my TV now will turn off on its own if

986
00:55:08,719 --> 00:55:11,279
Speaker 3: it's left with you know, on pause for more than

987
00:55:11,280 --> 00:55:11,840
Speaker 3: ten minutes.

988
00:55:12,480 --> 00:55:14,160
Speaker 2: You had to physically get up and turn your fucking

989
00:55:14,200 --> 00:55:14,719
Speaker 2: TV off.

990
00:55:14,719 --> 00:55:17,240
Speaker 3: So many many people fell asleep in front of static,

991
00:55:17,239 --> 00:55:19,520
Speaker 3: in front of the television at night, back in the

992
00:55:19,560 --> 00:55:22,080
Speaker 3: back in the eighties. The hard part about this for

993
00:55:22,200 --> 00:55:25,279
Speaker 3: Carol Anne is that there's a fucking poltergeist in this

994
00:55:25,360 --> 00:55:27,960
Speaker 3: house and the first time she meets it is that

995
00:55:28,320 --> 00:55:31,480
Speaker 3: a hand lasso's out of the fucking static and shakes

996
00:55:31,520 --> 00:55:34,120
Speaker 3: the house and she just kind of looks back at

997
00:55:34,120 --> 00:55:36,879
Speaker 3: her parents and she's like, they're here like this chick

998
00:55:36,920 --> 00:55:39,960
Speaker 3: fears nothing, fears nothing.

999
00:55:40,000 --> 00:55:41,360
Speaker 1: She's like, there's some people in the TV.

1000
00:55:42,200 --> 00:55:45,040
Speaker 3: And her mom eventually asks like, what do you mean

1001
00:55:45,040 --> 00:55:48,960
Speaker 3: when you say the people in the TV. And she's like, oh,

1002
00:55:49,000 --> 00:55:51,919
Speaker 3: you know, like like the TV people, And mom does

1003
00:55:51,960 --> 00:55:52,960
Speaker 3: not go further than that.

1004
00:55:53,000 --> 00:55:55,480
Speaker 1: She's like all right, and they watch her have like

1005
00:55:55,520 --> 00:55:58,200
Speaker 1: a full I'll talk about AI chat box. She's like

1006
00:55:58,360 --> 00:56:02,520
Speaker 1: talking to the TV and be like, hey, yes, oh

1007
00:56:02,560 --> 00:56:06,200
Speaker 1: that's so funny. I'm five. Yes, No, I don't know

1008
00:56:06,200 --> 00:56:09,239
Speaker 1: what you mean by that. Like somebody's interviewing her, like

1009
00:56:09,280 --> 00:56:13,319
Speaker 1: she's being grilled, and like the parents are just like.

1010
00:56:13,320 --> 00:56:16,960
Speaker 3: What And her face is genuinely an inch away from

1011
00:56:17,000 --> 00:56:19,040
Speaker 3: the screen and the only thing her mom says is, oh,

1012
00:56:19,080 --> 00:56:21,640
Speaker 3: your eyes, because that was all parents cared about back then.

1013
00:56:21,760 --> 00:56:23,920
Speaker 3: They didn't care what you were watching or if it

1014
00:56:23,960 --> 00:56:25,799
Speaker 3: was a fucking Poulter guys. They're like, we don't want

1015
00:56:25,800 --> 00:56:28,560
Speaker 3: to pay for glasses eventually, so get your fucking face

1016
00:56:28,560 --> 00:56:34,640
Speaker 3: out of the TV. So mom kind of has Diane

1017
00:56:34,760 --> 00:56:38,319
Speaker 3: kind of has this fun experience when she's cleaning up

1018
00:56:38,360 --> 00:56:41,360
Speaker 3: after breakfast one day and fun things start happening in

1019
00:56:41,400 --> 00:56:43,919
Speaker 3: the kitchen. And when I say fun things, I mean

1020
00:56:45,160 --> 00:56:47,520
Speaker 3: the dog is standing up on its hind legs and

1021
00:56:47,560 --> 00:56:50,960
Speaker 3: just barking into space, like barking into mid air. And

1022
00:56:51,000 --> 00:56:53,120
Speaker 3: then all the chairs on the table are moving and

1023
00:56:53,120 --> 00:56:56,640
Speaker 3: then eventually stacking on their own, and she's like, what

1024
00:56:56,680 --> 00:56:59,319
Speaker 3: the fuck's going on? But you would think this is

1025
00:57:00,040 --> 00:57:02,680
Speaker 3: a queue to be like, hmm, I need to get

1026
00:57:02,680 --> 00:57:04,799
Speaker 3: my family the fuck out of this house. No, she

1027
00:57:04,960 --> 00:57:07,520
Speaker 3: turns it into a game like it's some kind of

1028
00:57:07,560 --> 00:57:12,680
Speaker 3: like stupid Petrick. So when when dad comes home, when

1029
00:57:12,719 --> 00:57:14,280
Speaker 3: Steve comes home, she's.

1030
00:57:14,040 --> 00:57:15,399
Speaker 2: Like, hey, honey, watch this.

1031
00:57:16,400 --> 00:57:19,600
Speaker 3: And she's drawn two circles on the floor, and she

1032
00:57:19,680 --> 00:57:21,920
Speaker 3: puts a chair in one circle and watches it shoot

1033
00:57:21,960 --> 00:57:25,000
Speaker 3: across the room to the other circle. Then, to prove

1034
00:57:25,080 --> 00:57:28,160
Speaker 3: her point, she straps a helmet on Carol Anne and

1035
00:57:28,240 --> 00:57:31,000
Speaker 3: puts her in the circle and sends her five year

1036
00:57:31,040 --> 00:57:35,000
Speaker 3: old daughter shooting across the room, not at all paying

1037
00:57:35,040 --> 00:57:37,080
Speaker 3: attention to the fact that this is happening, because it's

1038
00:57:37,080 --> 00:57:40,680
Speaker 3: a fucking ghost haunting your shit, That's.

1039
00:57:40,560 --> 00:57:43,840
Speaker 1: What I'm talking about. Like, I was like really in

1040
00:57:43,880 --> 00:57:47,440
Speaker 1: tune with like what they were possibly thinking as characters.

1041
00:57:47,520 --> 00:57:50,960
Speaker 1: I'm like, do they think like some earthquake happened and

1042
00:57:51,000 --> 00:57:55,200
Speaker 1: now their daughter can just move across the kitchen without walking?

1043
00:57:55,240 --> 00:57:58,960
Speaker 1: Like I'm like, what on earth would make them think

1044
00:57:59,000 --> 00:58:02,280
Speaker 1: that this was some like cool new addition to their house.

1045
00:58:02,440 --> 00:58:04,440
Speaker 1: I just have like, what this movie is.

1046
00:58:04,440 --> 00:58:07,240
Speaker 3: So weird, And we have talked about this before, but

1047
00:58:07,280 --> 00:58:10,840
Speaker 3: I feel like this is the mark of wealth and

1048
00:58:11,160 --> 00:58:15,360
Speaker 3: a certain type of privilege that is couched in safety.

1049
00:58:16,080 --> 00:58:20,120
Speaker 3: We're like, you can look at something extremely dangerous and think, oh.

1050
00:58:19,960 --> 00:58:24,280
Speaker 2: Fun, Yeah, engage with that. I want to beat bear grills.

1051
00:58:24,600 --> 00:58:26,000
Speaker 3: I want to go live on the side of a

1052
00:58:26,040 --> 00:58:28,320
Speaker 3: fucking mountain and only eat dandelions. That sounds like a

1053
00:58:28,320 --> 00:58:31,480
Speaker 3: fun way to challenge myself. Meanwhile, people who grew up

1054
00:58:31,480 --> 00:58:33,600
Speaker 3: poor are like, can you give me some fucking food please?

1055
00:58:33,640 --> 00:58:35,680
Speaker 3: I don't need to challenge myself by eating off of

1056
00:58:35,680 --> 00:58:37,000
Speaker 3: the side of a mountain for a week.

1057
00:58:37,400 --> 00:58:40,080
Speaker 1: Yeah, why don't you put a fucking Thanksgiving dinner in

1058
00:58:40,120 --> 00:58:41,880
Speaker 1: that circle and have it shoot her over to me

1059
00:58:42,720 --> 00:58:47,520
Speaker 1: instead of Ah, your fucking kitchen chairs. What the fuck?

1060
00:58:48,400 --> 00:58:49,160
Speaker 3: It's so weird?

1061
00:58:49,360 --> 00:58:52,160
Speaker 2: Why don't worry? Because if that's not enough to get

1062
00:58:52,160 --> 00:58:52,960
Speaker 2: them out of the house.

1063
00:58:53,280 --> 00:58:56,000
Speaker 3: Later that night, the creepy tree outside of the kid's

1064
00:58:56,080 --> 00:58:59,000
Speaker 3: bedroom comes to life and grabs Robbie right through the

1065
00:58:59,000 --> 00:59:01,840
Speaker 3: fucking window and start it's literally eating his body, like

1066
00:59:01,840 --> 00:59:03,120
Speaker 3: trying to suck him into the trunk.

1067
00:59:04,680 --> 00:59:12,360
Speaker 1: This okay, looking back on this movie, now, this tree

1068
00:59:12,840 --> 00:59:17,320
Speaker 1: was introduced in an extremely chill way. Yeah, in my mind,

1069
00:59:17,520 --> 00:59:20,040
Speaker 1: like I was like, one moment, everything seems to be

1070
00:59:20,360 --> 00:59:22,080
Speaker 1: more or less okay, and then all of a sudden,

1071
00:59:22,120 --> 00:59:26,880
Speaker 1: this shit pops off, and I'm like, when did this start?

1072
00:59:27,120 --> 00:59:31,720
Speaker 1: Like I was very confused by like the way in

1073
00:59:31,800 --> 00:59:34,600
Speaker 1: which all of this shit is getting kicked into gear,

1074
00:59:34,880 --> 00:59:38,080
Speaker 1: like there's no it just starts happening, and everyone's just

1075
00:59:38,120 --> 00:59:41,880
Speaker 1: like okay, but yeah, it's like the kitchen chairs. And

1076
00:59:41,920 --> 00:59:44,680
Speaker 1: then later that night the tree and they do start

1077
00:59:44,720 --> 00:59:47,120
Speaker 1: panicking when they see their child being grabbed and eaten

1078
00:59:47,160 --> 00:59:49,320
Speaker 1: by a tree, because that's not supposed to happen, so

1079
00:59:49,360 --> 00:59:51,600
Speaker 1: they panic a little bit. But this is also where

1080
00:59:51,720 --> 00:59:54,000
Speaker 1: real shit pops off, and it just I think it's

1081
00:59:54,080 --> 00:59:58,440
Speaker 1: the escalation that is something I didn't remember. Yes, and

1082
00:59:58,480 --> 01:00:00,120
Speaker 1: it makes sense in the narrative of the film, but

1083
01:00:00,120 --> 01:00:02,160
Speaker 1: it's also still really, like you said, it's kind of

1084
01:00:02,880 --> 01:00:06,680
Speaker 1: hard to understand the escalation of it. Because the tree

1085
01:00:06,680 --> 01:00:10,680
Speaker 1: grabs Robbie, he's being sucked in. Dad climbs a tree,

1086
01:00:10,800 --> 01:00:13,120
Speaker 1: Mom and Dana run outside and they're all screaming at

1087
01:00:13,160 --> 01:00:14,120
Speaker 1: the tree.

1088
01:00:14,360 --> 01:00:17,439
Speaker 3: And at this moment, the Polster guys is basically like, chill,

1089
01:00:17,520 --> 01:00:20,680
Speaker 3: got everybody outside, Let's light up this closet and suck

1090
01:00:20,720 --> 01:00:27,680
Speaker 3: this little girl in. And that's exactly what happens. She

1091
01:00:27,760 --> 01:00:30,120
Speaker 3: gets sucked into the closet. It takes like five minutes.

1092
01:00:30,160 --> 01:00:32,720
Speaker 3: It takes a long time Yeah, so this this polter

1093
01:00:32,840 --> 01:00:33,880
Speaker 3: guy's is organized.

1094
01:00:34,560 --> 01:00:35,880
Speaker 2: It's like, let me get the tree going.

1095
01:00:36,320 --> 01:00:38,280
Speaker 3: Oh but Robbie thinks he gets away, We're gonna wrap

1096
01:00:38,320 --> 01:00:39,840
Speaker 3: it around his leg and make them stand out here

1097
01:00:39,840 --> 01:00:42,680
Speaker 3: for a little bit long, and we're gonna suck these fucking,

1098
01:00:42,880 --> 01:00:45,440
Speaker 3: this fucking kid into this closet. And she's hanging on

1099
01:00:45,520 --> 01:00:49,200
Speaker 3: to this wicker bed frame for dear life, Bluss and

1100
01:00:49,240 --> 01:00:51,680
Speaker 3: anyone whoever's ever had one of those nos that you

1101
01:00:51,680 --> 01:00:53,400
Speaker 3: could just sleep a little too heavy and break a

1102
01:00:53,440 --> 01:00:55,360
Speaker 3: wicker bed that was not gonna save her.

1103
01:00:55,600 --> 01:00:57,880
Speaker 1: I was ripping chunks out of that shit left and right,

1104
01:00:58,000 --> 01:01:00,439
Speaker 1: just by grabbing onto it. Like it's not even just.

1105
01:01:00,680 --> 01:01:04,080
Speaker 3: Like unravel like that one tendril would unravel, like my

1106
01:01:04,160 --> 01:01:04,840
Speaker 3: bed's broken.

1107
01:01:05,400 --> 01:01:07,959
Speaker 1: Yeah, you're fuck that happens. You just trying to jam

1108
01:01:07,960 --> 01:01:10,280
Speaker 1: it back into the little woven part, but it's always

1109
01:01:10,320 --> 01:01:13,680
Speaker 1: gonna poke out and unravel.

1110
01:01:14,280 --> 01:01:15,720
Speaker 2: So she was fucking doomed.

1111
01:01:15,960 --> 01:01:18,120
Speaker 3: And clearly Dana was in the house at first and

1112
01:01:18,160 --> 01:01:20,920
Speaker 3: didn't hear her screaming for some reason the whole time.

1113
01:01:22,040 --> 01:01:25,000
Speaker 1: Yeah, very weird, very TVD about data. By the way,

1114
01:01:25,000 --> 01:01:26,280
Speaker 1: there was like a lot of moments where she was

1115
01:01:26,320 --> 01:01:27,760
Speaker 1: just straight up gone yea.

1116
01:01:27,800 --> 01:01:28,320
Speaker 2: I was like, oh.

1117
01:01:28,360 --> 01:01:30,600
Speaker 3: She was like I cannot there isn't what And they

1118
01:01:30,680 --> 01:01:32,200
Speaker 3: do try to explain it away with like, oh, yeah,

1119
01:01:32,200 --> 01:01:34,200
Speaker 3: she's at a friend's house because honestly, she's the smartest

1120
01:01:34,200 --> 01:01:36,600
Speaker 3: person in her family. But I'll describe that. I'll explain

1121
01:01:36,640 --> 01:01:40,240
Speaker 3: that later. So they get Robbie. They're back in the house,

1122
01:01:40,280 --> 01:01:44,120
Speaker 3: they're looking for Caroline, and Robbie meanwhile is wandering around

1123
01:01:44,240 --> 01:01:48,800
Speaker 3: in a stupor just covered in barbecue sauce when.

1124
01:01:48,840 --> 01:01:51,160
Speaker 2: He hears Carol Aine in the TV.

1125
01:01:52,400 --> 01:01:56,440
Speaker 3: And he's like, yo, Like his reaction to that moment

1126
01:01:56,520 --> 01:01:58,320
Speaker 3: is still so scary to me, where he just kind

1127
01:01:58,360 --> 01:02:01,800
Speaker 3: of closed mouth, not moving his lips, start shouting for

1128
01:02:01,880 --> 01:02:05,720
Speaker 3: his mom, like he is purely terrified, and they're like, oh,

1129
01:02:05,760 --> 01:02:07,880
Speaker 3: we can hear her. Where is she? He's like, she's

1130
01:02:07,880 --> 01:02:11,520
Speaker 3: in the fucking TV? Like can you believe this fucking night?

1131
01:02:12,320 --> 01:02:14,640
Speaker 1: What would happen if you, like were a kid and

1132
01:02:14,640 --> 01:02:16,960
Speaker 1: you went downstairs and your brother was on a TV

1133
01:02:17,800 --> 01:02:19,600
Speaker 1: party time here you.

1134
01:02:19,640 --> 01:02:22,560
Speaker 2: Go, turn on the Smurfs, Corey, make it happen.

1135
01:02:22,960 --> 01:02:25,560
Speaker 1: I finally get my own room, Like that's what I

1136
01:02:25,560 --> 01:02:29,680
Speaker 1: would have been, like, sorry, fu deuces, good luck with

1137
01:02:29,720 --> 01:02:30,120
Speaker 1: your life.

1138
01:02:31,080 --> 01:02:34,080
Speaker 3: Let's let me wash mash. Finally, don't put me like

1139
01:02:34,720 --> 01:02:37,000
Speaker 3: turn mash on at three pm after school so I

1140
01:02:37,000 --> 01:02:39,560
Speaker 3: could wash it, because that's usually when our parents put

1141
01:02:39,640 --> 01:02:42,840
Speaker 3: us to bed. No, I would have been freak the

1142
01:02:42,840 --> 01:02:45,400
Speaker 3: fuck out, like I'm hearing a voice, because again, back then,

1143
01:02:45,440 --> 01:02:47,240
Speaker 3: you have to remember that it wasn't normal to hear

1144
01:02:47,320 --> 01:02:51,040
Speaker 3: voices from of people you knew inside. Most machines, like

1145
01:02:51,440 --> 01:02:54,600
Speaker 3: answering machines were new, computers were not a big deal.

1146
01:02:55,200 --> 01:02:57,720
Speaker 3: Like recording on tape to things was there, but it

1147
01:02:57,800 --> 01:03:01,479
Speaker 3: wasn't common for most people. Yeah, I would have freaked

1148
01:03:01,480 --> 01:03:03,040
Speaker 3: the funk out, but then I eventually would have been

1149
01:03:03,040 --> 01:03:09,120
Speaker 3: like my own room and let's hassle an, please more

1150
01:03:09,200 --> 01:03:15,040
Speaker 3: barbecue sauce for me, and not to be this person

1151
01:03:15,120 --> 01:03:17,400
Speaker 3: to my mom. And I don't even think I think

1152
01:03:17,400 --> 01:03:18,960
Speaker 3: if either one of us, I don't think it was

1153
01:03:18,960 --> 01:03:21,080
Speaker 3: specific to my brother, if either one of us had

1154
01:03:21,080 --> 01:03:22,760
Speaker 3: gotten sucked into a TV, she would have been chill.

1155
01:03:22,800 --> 01:03:23,960
Speaker 3: She would have been like, oh my god, my life

1156
01:03:23,960 --> 01:03:25,480
Speaker 3: is so much easier as one kid, because she was

1157
01:03:25,560 --> 01:03:28,000
Speaker 3: truly a single mother, meaning she did not have anyone

1158
01:03:28,000 --> 01:03:31,000
Speaker 3: to drop us off with. Ever, I think she could

1159
01:03:31,000 --> 01:03:32,720
Speaker 3: have lost a kid and been fine. I could have

1160
01:03:32,720 --> 01:03:34,000
Speaker 3: lost a kid to a poltergeist and.

1161
01:03:33,960 --> 01:03:38,720
Speaker 1: Been like, all right. I kind of feel like my

1162
01:03:38,760 --> 01:03:40,640
Speaker 1: mom would have too. I don't know if it's just

1163
01:03:40,720 --> 01:03:45,480
Speaker 1: eighties moms, it's been like whoof God? If one of

1164
01:03:45,600 --> 01:03:48,280
Speaker 1: us goes to the Poultergeist, then they.

1165
01:03:48,160 --> 01:03:52,760
Speaker 2: Go does it save us? Does it save us? Does

1166
01:03:52,800 --> 01:03:54,880
Speaker 2: it take one of our kids and leave us alone?

1167
01:03:55,000 --> 01:03:55,479
Speaker 2: All right?

1168
01:03:55,880 --> 01:03:58,640
Speaker 3: Eighties parents did not fuck around like sometimes you gotta

1169
01:03:58,640 --> 01:04:05,160
Speaker 3: get a Poultergeist. Yeah, that's how it goes. So sometimes

1170
01:04:05,360 --> 01:04:07,720
Speaker 3: one of your kids disappears. It was like living on

1171
01:04:07,800 --> 01:04:11,560
Speaker 3: a farm in the eighteen hundreds, like, eh, sometimes they

1172
01:04:11,600 --> 01:04:15,040
Speaker 3: get snatched, sometimes they get poultergeisted. So some time passes,

1173
01:04:15,720 --> 01:04:18,440
Speaker 3: and what's interesting about what happens next, And this is

1174
01:04:18,480 --> 01:04:22,240
Speaker 3: like the real Poultergeist part of the movie. Steve doesn't

1175
01:04:22,240 --> 01:04:24,920
Speaker 3: go to the police. He goes right to the university.

1176
01:04:24,960 --> 01:04:27,440
Speaker 3: And at this point he looks like the crow, like

1177
01:04:27,520 --> 01:04:28,720
Speaker 3: he has got these.

1178
01:04:28,440 --> 01:04:31,160
Speaker 1: Fucking dark circles under his eyes.

1179
01:04:31,600 --> 01:04:37,360
Speaker 3: He looks ruined, he has not slept in ages, and

1180
01:04:37,400 --> 01:04:39,880
Speaker 3: he also is like, oh, Robbie, He's talking to this

1181
01:04:39,920 --> 01:04:43,120
Speaker 3: team at the University of this paranormal team and he's like, yeah,

1182
01:04:43,200 --> 01:04:44,840
Speaker 3: Robbie sleeps with us now, and I'm like yeah, and

1183
01:04:44,880 --> 01:04:48,240
Speaker 3: he will forever, he will forever. And then he kind

1184
01:04:48,280 --> 01:04:51,560
Speaker 3: of casually mentions that the house has now escalated and

1185
01:04:51,680 --> 01:04:56,640
Speaker 3: is filled with pounding, flashing, screaming and music. So these

1186
01:04:56,680 --> 01:05:00,160
Speaker 3: ghosts are like at the Hacienda with the Happy Mondays,

1187
01:05:00,160 --> 01:05:01,640
Speaker 3: like they were fucking jamming.

1188
01:05:03,160 --> 01:05:07,560
Speaker 1: They are twenty four hour party, Poltergeist.

1189
01:05:07,160 --> 01:05:11,200
Speaker 3: Toyy faw our Party, polted Guys.

1190
01:05:14,440 --> 01:05:15,200
Speaker 1: One.

1191
01:05:16,080 --> 01:05:18,280
Speaker 3: They are throwing a fucking party at this place with

1192
01:05:18,360 --> 01:05:21,680
Speaker 3: Killy and Murphy and his little silver pants from back

1193
01:05:21,680 --> 01:05:22,480
Speaker 3: in the nineties.

1194
01:05:23,680 --> 01:05:25,400
Speaker 2: And this family is like, yo, can we get some

1195
01:05:25,440 --> 01:05:26,280
Speaker 2: sleep and they're like.

1196
01:05:26,320 --> 01:05:35,800
Speaker 3: Yip bey yippy, yeah, yeah, yeah, yeah. They have one

1197
01:05:35,920 --> 01:05:41,080
Speaker 3: at this point. This Boulder guys have one. And so

1198
01:05:41,120 --> 01:05:43,600
Speaker 3: that the team comes to the house and it's these three.

1199
01:05:44,320 --> 01:05:45,880
Speaker 3: These three people come to the house. So you have

1200
01:05:46,680 --> 01:05:50,720
Speaker 3: Doctor Leash play by Beatrice Strait, and her team has

1201
01:05:50,760 --> 01:05:54,960
Speaker 3: Marty and Ryan and when they come to the house,

1202
01:05:55,000 --> 01:05:57,800
Speaker 3: they're kind of like, oh, you know, we actually saw

1203
01:05:57,840 --> 01:06:01,240
Speaker 3: a toy car roll across the room because of a poultergeist,

1204
01:06:02,000 --> 01:06:04,560
Speaker 3: and it took seven hours, but we did a time

1205
01:06:04,680 --> 01:06:07,400
Speaker 3: lapse and it's really interesting. And Steven with his like

1206
01:06:07,440 --> 01:06:11,600
Speaker 3: fucking hangdog eyes and his no sleep face, is like, oh.

1207
01:06:11,520 --> 01:06:12,200
Speaker 2: Yeah, interesting.

1208
01:06:12,240 --> 01:06:14,480
Speaker 3: And then he opens the door to the kid's bedroom

1209
01:06:14,520 --> 01:06:16,040
Speaker 3: and he's like, we don't go in this room anymore.

1210
01:06:16,120 --> 01:06:19,200
Speaker 3: There's like a he man riding a fucking horse while

1211
01:06:19,200 --> 01:06:21,640
Speaker 3: the bed is spitting like a fucking record. It is

1212
01:06:22,040 --> 01:06:23,680
Speaker 3: lit and it is a rave and there was a

1213
01:06:23,720 --> 01:06:27,600
Speaker 3: weird rave happening with toy spinning in mid air, and

1214
01:06:27,640 --> 01:06:30,720
Speaker 3: they are shook. They are like, we do we clearly

1215
01:06:30,800 --> 01:06:33,760
Speaker 3: have never seen anything like this before. So doctor Love

1216
01:06:33,800 --> 01:06:36,280
Speaker 3: goes on and explains the difference between a poultergeist and

1217
01:06:36,280 --> 01:06:39,200
Speaker 3: a haunting, and you know, hauntings are supposed to be

1218
01:06:39,240 --> 01:06:44,440
Speaker 3: more about than individual, whereas poultergeist are more about an area.

1219
01:06:45,120 --> 01:06:47,400
Speaker 1: That was very helpful, by the way, you know, that

1220
01:06:47,520 --> 01:06:49,560
Speaker 1: was a good moment. I need to know. I need

1221
01:06:49,600 --> 01:06:51,280
Speaker 1: to know the details about stuff.

1222
01:06:51,600 --> 01:06:54,760
Speaker 3: So I like that that level of intricacy for sure.

1223
01:06:55,560 --> 01:06:58,320
Speaker 3: And they also discover that they can still communicate with

1224
01:06:58,400 --> 01:07:00,920
Speaker 3: Carol Ann. So the family has been communicating with Caroline.

1225
01:07:00,960 --> 01:07:03,920
Speaker 3: She's alive somewhere in the house, is how they explain it.

1226
01:07:04,840 --> 01:07:10,480
Speaker 3: And Mom is fully like. She looks energized by community.

1227
01:07:10,520 --> 01:07:12,919
Speaker 3: She does not look like dad. Dad looks like hell.

1228
01:07:13,840 --> 01:07:16,080
Speaker 3: Diane is like, nope, I'm still talking to my daughter.

1229
01:07:16,160 --> 01:07:18,160
Speaker 3: All is well, We're not leaving this house until I

1230
01:07:18,160 --> 01:07:21,440
Speaker 3: get her back. We can fucking do this. There's a

1231
01:07:21,480 --> 01:07:26,640
Speaker 3: moment where Caroline passes through her mother because they realize

1232
01:07:26,680 --> 01:07:30,400
Speaker 3: that she's there with these beings, and but there's also

1233
01:07:30,560 --> 01:07:33,440
Speaker 3: a kind of a negative presence with her, and she

1234
01:07:33,520 --> 01:07:36,400
Speaker 3: passes through her mother and she's like, oh, she.

1235
01:07:36,360 --> 01:07:37,200
Speaker 1: Went through my soul.

1236
01:07:38,080 --> 01:07:40,160
Speaker 3: But then a big old monster trumps through the house

1237
01:07:40,240 --> 01:07:43,000
Speaker 3: after her, and the parents are so matter of fact

1238
01:07:43,400 --> 01:07:45,360
Speaker 3: because they're like, yeah, you probably can't go in that room.

1239
01:07:45,360 --> 01:07:47,440
Speaker 3: They don't think they're gonna let you in, And so

1240
01:07:47,480 --> 01:07:49,439
Speaker 3: the paranormalists are like, well, I guess we're gonna stay

1241
01:07:49,440 --> 01:07:51,400
Speaker 3: here and find out how to get this fucking kid

1242
01:07:51,400 --> 01:07:52,200
Speaker 3: out of these walls.

1243
01:07:54,720 --> 01:07:56,800
Speaker 2: And even though at this point Steve.

1244
01:07:56,560 --> 01:07:59,040
Speaker 3: Does actually suggest that they should go and stay in town,

1245
01:07:59,080 --> 01:08:01,120
Speaker 3: but Diane won't leave because she's like, I've.

1246
01:08:01,560 --> 01:08:03,320
Speaker 2: I can't leave without Carol Anne.

1247
01:08:03,680 --> 01:08:05,840
Speaker 3: And Dana is truly bugging out, like she only comes

1248
01:08:05,840 --> 01:08:07,160
Speaker 3: home to it seems like she lea comes home to

1249
01:08:07,160 --> 01:08:08,760
Speaker 3: pick up clothes every once in a while.

1250
01:08:09,200 --> 01:08:11,320
Speaker 2: And as soon as she walks in, those ghosts aline.

1251
01:08:14,720 --> 01:08:17,880
Speaker 1: As soon as she walks in, the ghosts.

1252
01:08:17,560 --> 01:08:24,600
Speaker 3: Are saying joy division and like new order, and she

1253
01:08:24,760 --> 01:08:33,040
Speaker 3: starts screaming and crying and runs out again. And so

1254
01:08:34,080 --> 01:08:37,320
Speaker 3: they're they're all kind of like laughing about how funny

1255
01:08:37,320 --> 01:08:40,000
Speaker 3: it is that the doctor is scared, like the doctor,

1256
01:08:40,040 --> 01:08:43,120
Speaker 3: you know, doctor Lethema and Diana are talking and she's like, oh, yeah, yeah,

1257
01:08:43,160 --> 01:08:44,000
Speaker 3: your hands were shaking.

1258
01:08:44,040 --> 01:08:46,320
Speaker 2: How funny. And then Robbie pops up and he's.

1259
01:08:46,120 --> 01:08:48,160
Speaker 3: Like, yo, if I die here, will I be trapped

1260
01:08:48,160 --> 01:08:50,479
Speaker 3: like Caroline? Like He's just like, well, somebody tell me

1261
01:08:50,520 --> 01:08:52,559
Speaker 3: what's gonna happen, because I feel like I'm gonna die

1262
01:08:52,560 --> 01:08:54,840
Speaker 3: every day my fucking life. And I've already been half

1263
01:08:54,840 --> 01:08:57,120
Speaker 3: eaten by a tree. Like he's up to a pack

1264
01:08:57,120 --> 01:08:59,439
Speaker 3: a day a cigarette. This child is wrecked.

1265
01:09:00,120 --> 01:09:00,360
Speaker 1: Ah.

1266
01:09:02,240 --> 01:09:04,719
Speaker 3: So then we start seeing some of the visual aspects

1267
01:09:04,720 --> 01:09:07,960
Speaker 3: of the poultry guys coming to Fruition through the team.

1268
01:09:08,360 --> 01:09:15,320
Speaker 3: A paranormalist, most importantly and freakishly and life scarringly is Marty.

1269
01:09:15,479 --> 01:09:18,439
Speaker 3: So Marty gets hungry and he starts to like he's

1270
01:09:18,520 --> 01:09:21,640
Speaker 3: kind of rifling through the kitchen and he starts to

1271
01:09:21,800 --> 01:09:24,519
Speaker 3: he lays out a steak to cook while he's eating

1272
01:09:24,560 --> 01:09:28,960
Speaker 3: a chicken wing, but the steak starts slithering across the counter.

1273
01:09:29,800 --> 01:09:34,720
Speaker 3: It explodes in a firework of meat, and then he

1274
01:09:34,800 --> 01:09:36,880
Speaker 3: drops the chicken wing he was eating on the ground

1275
01:09:36,920 --> 01:09:38,440
Speaker 3: and it's covered in maggots.

1276
01:09:38,560 --> 01:09:41,080
Speaker 2: And I swear to God a generation of vegetarians were

1277
01:09:41,080 --> 01:09:41,840
Speaker 2: born in that moment.

1278
01:09:42,400 --> 01:09:45,320
Speaker 1: Dude. Let me tell you one time I did LSD

1279
01:09:45,439 --> 01:09:47,360
Speaker 1: at my parents' house when I was in high school.

1280
01:09:49,000 --> 01:09:51,120
Speaker 1: It was like me and like four of my friends,

1281
01:09:51,760 --> 01:09:54,600
Speaker 1: and I remember going into the bathroom and having a

1282
01:09:54,720 --> 01:09:59,520
Speaker 1: very similar experience with this tube of like crest toothpaste,

1283
01:10:00,600 --> 01:10:05,640
Speaker 1: where I envisioned the thing crawling across the counter and

1284
01:10:05,680 --> 01:10:08,880
Speaker 1: then there was like some you know, infestation of bugs

1285
01:10:09,160 --> 01:10:12,519
Speaker 1: and some explosions and shit, And I was like, why

1286
01:10:12,520 --> 01:10:15,720
Speaker 1: did I do this drug? This is so stupid?

1287
01:10:16,720 --> 01:10:19,880
Speaker 2: Why did I do this to myself? Genuinely, do I have.

1288
01:10:19,880 --> 01:10:21,840
Speaker 1: To wake up my fucking mom and dad and tell

1289
01:10:21,920 --> 01:10:23,759
Speaker 1: them I'm like, I need to go to the hospital

1290
01:10:23,800 --> 01:10:29,160
Speaker 1: because I'm too fucked up right now. He was so dumb,

1291
01:10:29,280 --> 01:10:31,080
Speaker 1: It was so or something at that moment, I was

1292
01:10:31,160 --> 01:10:33,760
Speaker 1: just like, yeah, I'm like, way too fucked up for this.

1293
01:10:36,000 --> 01:10:38,200
Speaker 1: So I'm in that moment watching it again. I was like, yeah,

1294
01:10:38,240 --> 01:10:39,960
Speaker 1: I've been there, Marty. I've been there.

1295
01:10:40,560 --> 01:10:44,040
Speaker 3: Not a Poulter guys, but you know, self imposed po

1296
01:10:44,160 --> 01:10:44,800
Speaker 3: Poulter guys.

1297
01:10:45,040 --> 01:10:46,639
Speaker 1: Yeah, I did it to myself.

1298
01:10:47,320 --> 01:10:48,880
Speaker 3: I would have loved for you to wake up your

1299
01:10:48,880 --> 01:10:50,880
Speaker 3: parents and been like, Yo, there's bugs in the toothpaste,

1300
01:10:51,160 --> 01:10:54,400
Speaker 3: and then being like, are you fucking serious right now?

1301
01:10:54,479 --> 01:10:56,559
Speaker 1: Kid? Don't you have to be at dunkin Donuts at

1302
01:10:56,600 --> 01:10:58,720
Speaker 1: six point thirty tomorrow? Why are you like this right now?

1303
01:10:58,880 --> 01:11:00,960
Speaker 2: Don't I have to wake up gonna work in like

1304
01:11:01,040 --> 01:11:01,800
Speaker 2: three hours.

1305
01:11:05,240 --> 01:11:08,839
Speaker 3: Well, Marty's terror doesn't end there, because what happens next

1306
01:11:09,040 --> 01:11:13,479
Speaker 3: is truly horrifying, because he goes in the bathroom and

1307
01:11:13,479 --> 01:11:15,320
Speaker 3: he's like, oh my god, I'm so freaked out by

1308
01:11:15,360 --> 01:11:18,679
Speaker 3: the exploding me in the maggot chicken, And while he's

1309
01:11:18,720 --> 01:11:21,320
Speaker 3: looking in the mirror at himself kind of like trying

1310
01:11:21,360 --> 01:11:25,240
Speaker 3: to get his bearings in this Poultergeist world, he starts

1311
01:11:25,800 --> 01:11:30,960
Speaker 3: pawing at his face and peeling chunks of flesh off

1312
01:11:31,000 --> 01:11:33,840
Speaker 3: of his fucking face. And I swear I am not

1313
01:11:34,080 --> 01:11:37,080
Speaker 3: being hyperbolic when I tell you that none of us

1314
01:11:37,080 --> 01:11:39,960
Speaker 3: who saw this movie as children and saw that scene

1315
01:11:40,320 --> 01:11:45,080
Speaker 3: slept through the night until nineteen ninety three. Yeah, like

1316
01:11:45,240 --> 01:11:49,439
Speaker 3: the and it's so obviously like a model head, like

1317
01:11:49,479 --> 01:11:53,880
Speaker 3: it's obviously not a human face, but the effect of it, yeah,

1318
01:11:53,920 --> 01:11:56,080
Speaker 3: was fucking crazy to me as a child.

1319
01:11:56,080 --> 01:11:57,720
Speaker 2: It made me feel crazy.

1320
01:11:57,280 --> 01:11:59,040
Speaker 1: When I was a child. Oh, I felt like I

1321
01:11:59,080 --> 01:12:02,400
Speaker 1: was losing my exectual mind. Dude, I love you know how.

1322
01:12:02,400 --> 01:12:05,519
Speaker 1: I love those old school practical effects where people's heads

1323
01:12:05,520 --> 01:12:08,080
Speaker 1: are made of clay and then they're just like you know,

1324
01:12:08,160 --> 01:12:12,479
Speaker 1: there's like little bladders that like guys like off right

1325
01:12:12,560 --> 01:12:15,200
Speaker 1: off camera, like squeezing to make it look like like

1326
01:12:15,240 --> 01:12:18,120
Speaker 1: their fucking brains are pulsating, and shit, I love that.

1327
01:12:20,120 --> 01:12:23,320
Speaker 1: It's so good even now, I fucking love it. Yeah,

1328
01:12:23,360 --> 01:12:25,559
Speaker 1: I do too. I did too. But I'm sure in

1329
01:12:25,640 --> 01:12:30,519
Speaker 1: like back in eighty two, you were like this better

1330
01:12:30,600 --> 01:12:31,600
Speaker 1: not ever happened to me.

1331
01:12:31,920 --> 01:12:35,439
Speaker 3: I would, real, guy, this man is really ripping his

1332
01:12:35,479 --> 01:12:39,519
Speaker 3: face apart. Because we hadn't even gotten to Land of

1333
01:12:39,560 --> 01:12:44,400
Speaker 3: Confusion yet, we hadn't seen the extent to which a

1334
01:12:44,439 --> 01:12:45,679
Speaker 3: puppet clay head.

1335
01:12:47,120 --> 01:12:48,120
Speaker 2: Could truly rock.

1336
01:12:48,080 --> 01:12:50,800
Speaker 1: Us prince had not eaten his own tongue and a

1337
01:12:50,800 --> 01:12:56,639
Speaker 1: hot dog yet. If anyone gets that reference, please email

1338
01:12:56,720 --> 01:13:02,360
Speaker 1: us at assaug and punch amazing.

1339
01:13:03,840 --> 01:13:04,559
Speaker 2: Oh good.

1340
01:13:05,080 --> 01:13:08,479
Speaker 3: So after this, the Poulter guy doesn't stop like they

1341
01:13:08,479 --> 01:13:11,759
Speaker 3: are ramped up. They are fucking hot, and a ghost

1342
01:13:11,800 --> 01:13:14,240
Speaker 3: starts floating down the steps and it looks like Stevie

1343
01:13:14,320 --> 01:13:19,000
Speaker 3: Nickson her Standback era, And then when they roll back

1344
01:13:19,040 --> 01:13:20,840
Speaker 3: the footage, it's just like a ton of people and

1345
01:13:20,880 --> 01:13:22,559
Speaker 3: ghosts and they're like, where the fun shod all these

1346
01:13:22,600 --> 01:13:23,240
Speaker 3: people come from.

1347
01:13:23,240 --> 01:13:24,440
Speaker 1: There's like jewelry.

1348
01:13:24,040 --> 01:13:26,479
Speaker 2: Following through the ceiling. Robbie's had it.

1349
01:13:26,520 --> 01:13:28,240
Speaker 3: So this is when Robbie finally gets in a cab

1350
01:13:28,320 --> 01:13:30,760
Speaker 3: to go stay with his grandma and the dog goes

1351
01:13:30,800 --> 01:13:35,840
Speaker 3: with him, and Doc is like, Yo, I'm gonna go

1352
01:13:35,920 --> 01:13:36,960
Speaker 3: check out this footage.

1353
01:13:37,240 --> 01:13:38,840
Speaker 2: Marty is not coming.

1354
01:13:38,640 --> 01:13:41,639
Speaker 3: Back, Like, Marty has had it with this fucking house,

1355
01:13:42,520 --> 01:13:45,320
Speaker 3: but I will come back with Ryan eventually, but I'm

1356
01:13:45,320 --> 01:13:48,400
Speaker 3: gonna go check this shit out. So during this intermission

1357
01:13:48,479 --> 01:13:51,880
Speaker 3: of the parent Normalists being at the house, Steve's boss

1358
01:13:51,920 --> 01:13:54,439
Speaker 3: comes to visit and he's like, hey, here, you haven't

1359
01:13:54,439 --> 01:13:56,400
Speaker 3: been feeling well, and they're kind of walking around the

1360
01:13:56,439 --> 01:14:00,240
Speaker 3: property that the subdivision is called Quest questa Verde Sorry,

1361
01:14:00,280 --> 01:14:03,040
Speaker 3: Quest of Verday, and they're kind of walking around and

1362
01:14:03,080 --> 01:14:05,080
Speaker 3: the boss just kind of casually drops like, hey, you

1363
01:14:05,080 --> 01:14:07,439
Speaker 3: could build a house up here on this cool hill

1364
01:14:07,520 --> 01:14:09,040
Speaker 3: if you want, Like, we want to keep you. We

1365
01:14:09,040 --> 01:14:12,559
Speaker 3: don't want to lose your you as you're a fantastic salesman,

1366
01:14:12,760 --> 01:14:14,960
Speaker 3: will do anything to keep you. Basically, why don't you

1367
01:14:14,960 --> 01:14:19,400
Speaker 3: build this house on this hill on a graveyard? And

1368
01:14:20,000 --> 01:14:22,959
Speaker 3: Steve points that out. He's like, what about these fucking graves?

1369
01:14:23,640 --> 01:14:26,639
Speaker 3: And the boss just casually is like, oh, we've moved

1370
01:14:26,640 --> 01:14:29,760
Speaker 3: graveyards before and kind of sweeps his hand over Quest

1371
01:14:29,840 --> 01:14:32,840
Speaker 3: of Verday like huh. And Steve was like, I'm sorry

1372
01:14:32,840 --> 01:14:36,479
Speaker 3: what you built this property on top of what used

1373
01:14:36,479 --> 01:14:38,800
Speaker 3: to be a graveyard, assuming that he moved, you know,

1374
01:14:38,840 --> 01:14:40,760
Speaker 3: the headstones and bodies everything, like they just up.

1375
01:14:40,840 --> 01:14:42,519
Speaker 2: He's like, Oh, it's fine, Like families goes to go

1376
01:14:42,680 --> 01:14:43,679
Speaker 2: visit them. It's totally fine.

1377
01:14:44,800 --> 01:14:47,720
Speaker 3: Well, we get back to Poltergeiston and here comes the

1378
01:14:47,800 --> 01:14:52,360
Speaker 3: fucking judge Tangina played by Zelda Rubinstein. So Doc comes

1379
01:14:52,400 --> 01:14:58,240
Speaker 3: back with Ryan and Tangina and she is a ball

1380
01:14:58,400 --> 01:15:01,080
Speaker 3: of fucking energy, like the most chill ball of energy

1381
01:15:01,080 --> 01:15:04,560
Speaker 3: you're ever gonna meet, and she's putting this family in

1382
01:15:04,600 --> 01:15:07,960
Speaker 3: their fucking place. And at one point she turns to

1383
01:15:08,479 --> 01:15:11,400
Speaker 3: Diane and basically he's asking her, like, can I do

1384
01:15:11,439 --> 01:15:13,639
Speaker 3: whatever is necessary to get this fucking kid back?

1385
01:15:14,280 --> 01:15:15,840
Speaker 2: And she says, would you.

1386
01:15:15,800 --> 01:15:18,679
Speaker 3: Do anything I ask, even if it's contrary to your beliefs?

1387
01:15:18,760 --> 01:15:21,040
Speaker 3: Is a human being and a Christian which is an

1388
01:15:21,080 --> 01:15:23,160
Speaker 3: amazing pickup line that I'm gonna start using.

1389
01:15:25,600 --> 01:15:29,680
Speaker 2: One hundred percent. And Diane's like, yeah, do your fucking thing.

1390
01:15:29,720 --> 01:15:32,000
Speaker 3: And she's just this tiny powerhouse and she walks in

1391
01:15:32,560 --> 01:15:35,800
Speaker 3: and the wind starts whipping and shit starts happening, and

1392
01:15:35,800 --> 01:15:39,680
Speaker 3: she's like, yep, I'm I'm all over this. Caroline is

1393
01:15:39,720 --> 01:15:43,439
Speaker 3: in this weird Poulter guy's place. She's mostly with people

1394
01:15:43,479 --> 01:15:46,400
Speaker 3: who don't realize they're dead, but oh, also, the fucking

1395
01:15:46,479 --> 01:15:47,200
Speaker 3: devil is there.

1396
01:15:49,040 --> 01:15:50,439
Speaker 2: Chill, chill.

1397
01:15:50,960 --> 01:15:54,600
Speaker 3: So they come up with this plan that actually originated

1398
01:15:54,640 --> 01:15:56,519
Speaker 3: from Robbie and in one of his freak out moments

1399
01:15:56,560 --> 01:15:58,639
Speaker 3: where he's like yo, he's like shaking, and he's like, if.

1400
01:15:58,560 --> 01:16:00,559
Speaker 2: I get sucked into the fucking house, will you like

1401
01:16:00,600 --> 01:16:02,200
Speaker 2: tie a rope around me? And pull me out. And

1402
01:16:02,200 --> 01:16:06,559
Speaker 2: that's essentially what they do. What a genus beautiful move.

1403
01:16:07,640 --> 01:16:10,120
Speaker 3: Diane goes into the light with a rope tied around

1404
01:16:10,160 --> 01:16:13,479
Speaker 3: her and she pulls Caroline out, and then Tangin is

1405
01:16:13,520 --> 01:16:18,240
Speaker 3: like this house is clean. Legendary, iconic move, and you're like, cool,

1406
01:16:18,400 --> 01:16:21,840
Speaker 3: this movie is finally over. Like they've been berthed from

1407
01:16:21,920 --> 01:16:26,919
Speaker 3: the poultergeis. They're covered in jello. This movie is done.

1408
01:16:27,920 --> 01:16:31,920
Speaker 1: Absolutely nots. You're gonna be like, get like twenty five

1409
01:16:31,960 --> 01:16:34,719
Speaker 1: more minutes going on here? What else?

1410
01:16:35,840 --> 01:16:40,200
Speaker 3: There is no relief when you're being haunted. Ghosts don't

1411
01:16:40,200 --> 01:16:44,160
Speaker 3: give up. So the family finally fucking decides to leave.

1412
01:16:44,680 --> 01:16:47,639
Speaker 3: Dad quit his jobs, Like Steve was like, cool, I'm quitting.

1413
01:16:47,720 --> 01:16:48,320
Speaker 1: We will move.

1414
01:16:48,479 --> 01:16:51,680
Speaker 3: They have one more night in this house and Mom's like,

1415
01:16:51,720 --> 01:16:53,439
Speaker 3: I'm gonna put the kids to bed. I'm gonna dye

1416
01:16:53,479 --> 01:16:55,479
Speaker 3: my hair because now I have all this gray, like

1417
01:16:55,520 --> 01:16:58,360
Speaker 3: these gray streaks now from this jumping into the terror

1418
01:16:58,479 --> 01:16:59,599
Speaker 3: of the Poltergeist light.

1419
01:17:01,400 --> 01:17:03,639
Speaker 1: Oh, she's just gonna tie her hair. How did that happen?

1420
01:17:04,080 --> 01:17:06,360
Speaker 1: She didn't have that Bonnie raid shit when she came

1421
01:17:06,720 --> 01:17:08,680
Speaker 1: into this movie. What's going on?

1422
01:17:09,240 --> 01:17:13,880
Speaker 2: Because she jumped into a fucking poltergeist hole. She's lucky

1423
01:17:13,920 --> 01:17:17,640
Speaker 2: she came out with her livers still in place. Was

1424
01:17:17,640 --> 01:17:18,160
Speaker 2: a blessing.

1425
01:17:19,680 --> 01:17:21,760
Speaker 1: So she's like, I'm gonna fucking do my thing.

1426
01:17:22,320 --> 01:17:25,920
Speaker 3: While she's taking a bath, you realize you're looking back

1427
01:17:25,960 --> 01:17:26,639
Speaker 3: at the kids room.

1428
01:17:26,760 --> 01:17:28,280
Speaker 2: Nobody packed the creepy clown.

1429
01:17:28,320 --> 01:17:30,080
Speaker 3: Maybe they were gonna leave it, maybe that was like

1430
01:17:30,120 --> 01:17:31,880
Speaker 3: a last item, but nobody packed it.

1431
01:17:32,080 --> 01:17:34,880
Speaker 2: So Robbie wakes up. The clown is fucking gone.

1432
01:17:35,400 --> 01:17:35,920
Speaker 1: Yeah.

1433
01:17:36,600 --> 01:17:39,720
Speaker 3: Mom gets out of the bath and she's thrown up

1434
01:17:39,760 --> 01:17:43,800
Speaker 3: against the wall like a fucking creepy crawler. M hm.

1435
01:17:44,680 --> 01:17:47,479
Speaker 3: She runs outside, she slips into the pool, and that's

1436
01:17:47,520 --> 01:17:50,400
Speaker 3: when all of the skeletons start rising around her. And

1437
01:17:50,439 --> 01:17:54,599
Speaker 3: it's not just like one skeleton, like, hey dude, it's crips,

1438
01:17:54,840 --> 01:17:58,599
Speaker 3: it's coffins. It's like pure terror, and they're popping up

1439
01:17:58,880 --> 01:18:02,639
Speaker 3: in the front door. Their dad comes home after quitting

1440
01:18:02,640 --> 01:18:05,000
Speaker 3: his job and like finalizing some shit, and this house

1441
01:18:05,120 --> 01:18:06,160
Speaker 3: is popping.

1442
01:18:06,040 --> 01:18:07,519
Speaker 2: Off like a disco.

1443
01:18:07,920 --> 01:18:12,400
Speaker 3: There are grays like popping up, every coffin's popping up everywhere.

1444
01:18:13,720 --> 01:18:17,080
Speaker 3: He gets buried under some coffins. There are coffin's popping

1445
01:18:17,120 --> 01:18:20,800
Speaker 3: on every floor inside the house. And the boss has

1446
01:18:20,960 --> 01:18:22,880
Speaker 3: I think given him a ride home because the boss

1447
01:18:22,920 --> 01:18:23,280
Speaker 3: is there.

1448
01:18:23,800 --> 01:18:26,680
Speaker 1: Yeah, I was gonna say, like, so James Karen, the

1449
01:18:26,720 --> 01:18:31,759
Speaker 1: guy that plays his boss, is like, oh, I didn't

1450
01:18:31,800 --> 01:18:35,960
Speaker 1: do the thing that I was supposed to do. Oh.

1451
01:18:36,000 --> 01:18:38,800
Speaker 3: He's freaked out by what's happening, even though he knows

1452
01:18:38,840 --> 01:18:42,640
Speaker 3: why it's happening clearly because Steve grabs him. And this

1453
01:18:42,680 --> 01:18:45,599
Speaker 3: is where you finally figure out and put it all together.

1454
01:18:46,840 --> 01:18:53,360
Speaker 3: What has happened here that Steve's company moved the headstones

1455
01:18:53,520 --> 01:18:57,479
Speaker 3: and left the bodies. And I don't know, if I

1456
01:18:57,479 --> 01:18:59,240
Speaker 3: don't know, who hasn't wanted to grab a boss in

1457
01:18:59,280 --> 01:19:01,160
Speaker 3: their lifetime agreement with them like this. But this is

1458
01:19:01,160 --> 01:19:03,040
Speaker 3: a very satisfying scene.

1459
01:19:03,640 --> 01:19:07,719
Speaker 1: Let me tell you too. I lived in a house

1460
01:19:07,760 --> 01:19:13,120
Speaker 1: once many years ago in Georgia where the house I

1461
01:19:13,160 --> 01:19:15,400
Speaker 1: rented the house with my sister and my friend Olivia.

1462
01:19:16,800 --> 01:19:21,880
Speaker 1: We it was essentially a flipper, you know, Like essentially

1463
01:19:21,920 --> 01:19:26,639
Speaker 1: what happened was is this very rich white lady who

1464
01:19:27,120 --> 01:19:30,559
Speaker 1: was also a yoga instructor, flipped a bunch of houses

1465
01:19:30,600 --> 01:19:33,439
Speaker 1: and were renting them out right. So we rented a

1466
01:19:33,479 --> 01:19:36,280
Speaker 1: house from her. And this is prevalent. I'm not saying

1467
01:19:36,320 --> 01:19:38,679
Speaker 1: there was only one lady doing this is like happen.

1468
01:19:38,720 --> 01:19:42,320
Speaker 1: This is still happening all the time. And according to

1469
01:19:42,360 --> 01:19:47,400
Speaker 1: one of the neighbors, she moved a headstone. She found

1470
01:19:48,120 --> 01:19:51,360
Speaker 1: out at some point that there was a grave or

1471
01:19:51,400 --> 01:19:54,040
Speaker 1: maybe even more than one grave in the yard when

1472
01:19:54,080 --> 01:19:58,880
Speaker 1: they were flipping the house. So she moved the headstone

1473
01:19:59,040 --> 01:20:05,880
Speaker 1: and put it out on the curb for the trash.

1474
01:20:04,120 --> 01:20:06,400
Speaker 2: And didn't dig and figure out what the fuck was under.

1475
01:20:06,240 --> 01:20:11,719
Speaker 1: There, No, ma'am. And my neighbor who I was a friend,

1476
01:20:11,800 --> 01:20:15,639
Speaker 1: and I basically was like, we took the headstone because

1477
01:20:15,640 --> 01:20:17,439
Speaker 1: I think it's illegal to even throw out of the

1478
01:20:17,479 --> 01:20:19,960
Speaker 1: headstone in the dumpster, Like I think you can't just

1479
01:20:20,040 --> 01:20:24,519
Speaker 1: do that. But she pulled a fucking poltergeist move let

1480
01:20:24,560 --> 01:20:26,639
Speaker 1: that shit under the house. And I'll tell you right now,

1481
01:20:26,960 --> 01:20:28,760
Speaker 1: that was one of the most haunted houses I'd ever

1482
01:20:28,800 --> 01:20:31,559
Speaker 1: lived in. So many bad things happened there in the

1483
01:20:31,680 --> 01:20:34,559
Speaker 1: two years that I lived there, including a grown woman

1484
01:20:35,080 --> 01:20:37,680
Speaker 1: stranger who pulled up to the driveway and pissed in

1485
01:20:37,720 --> 01:20:42,519
Speaker 1: our driveway. What she pulled her pants down. This lady

1486
01:20:42,640 --> 01:20:44,960
Speaker 1: was trash. She was probably like sixty five years old.

1487
01:20:45,240 --> 01:20:48,280
Speaker 1: She went we were there very early on. She pulled

1488
01:20:48,360 --> 01:20:51,000
Speaker 1: up in the driveway, got out of her car, went

1489
01:20:51,040 --> 01:20:53,280
Speaker 1: around the back of the car, pulled her pants down,

1490
01:20:54,040 --> 01:20:57,400
Speaker 1: took a pee on the driveway, and then drove away.

1491
01:20:58,240 --> 01:21:01,960
Speaker 2: Holy fuck and a gravitational ball.

1492
01:21:02,280 --> 01:21:04,760
Speaker 1: To this day, I'm like, that's that poultry, guys, shit,

1493
01:21:04,920 --> 01:21:07,439
Speaker 1: that's because she moved a headstone, didn't touch the grave,

1494
01:21:07,680 --> 01:21:13,280
Speaker 1: just like James Karen and Poltergeist.

1495
01:21:13,520 --> 01:21:16,880
Speaker 2: Take it to the fucking town hall.

1496
01:21:17,400 --> 01:21:20,719
Speaker 1: Yes, we have multiple animals die in our cross space

1497
01:21:20,720 --> 01:21:24,000
Speaker 1: and it smooth smelt so bad all the time. Dude,

1498
01:21:24,000 --> 01:21:25,280
Speaker 1: the house was fucking cursed.

1499
01:21:25,920 --> 01:21:29,760
Speaker 3: You lived in the Poltergeist for real, Hondo perset, You

1500
01:21:29,760 --> 01:21:34,880
Speaker 3: lived with a Poulter geyst Yeah, well, I I fully

1501
01:21:34,920 --> 01:21:37,280
Speaker 3: believe in this shit. I didn't call me crazy if

1502
01:21:37,320 --> 01:21:41,559
Speaker 3: you want, But every time I do renovation on this house, I'm.

1503
01:21:41,400 --> 01:21:43,559
Speaker 2: Like, if there are bones, don't fucking touch them.

1504
01:21:43,760 --> 01:21:44,599
Speaker 1: Don't touch them.

1505
01:21:46,280 --> 01:21:50,120
Speaker 3: Mice bones, animal bones, like, whatever it is, don't fucking

1506
01:21:50,160 --> 01:21:53,519
Speaker 3: touch a bone. I do have a favorite skeleton from

1507
01:21:53,600 --> 01:21:55,600
Speaker 3: this end scene where the skeletons are popping up all

1508
01:21:55,600 --> 01:21:57,559
Speaker 3: over the place, and it's when the whole family does

1509
01:21:57,560 --> 01:21:59,720
Speaker 3: finally get in the car and they're driving away and

1510
01:22:00,000 --> 01:22:03,479
Speaker 3: Elloton is just launched out of the garage. I lapped

1511
01:22:03,520 --> 01:22:08,439
Speaker 3: on the fucking car like one last one, last hello

1512
01:22:08,960 --> 01:22:10,680
Speaker 3: as you're trying to get away from us, like we

1513
01:22:10,720 --> 01:22:13,080
Speaker 3: will launch ourselves onto your fucking business.

1514
01:22:13,280 --> 01:22:13,599
Speaker 1: Yeah.

1515
01:22:13,600 --> 01:22:16,320
Speaker 3: But I love this movie. It is the quintessential leave

1516
01:22:16,360 --> 01:22:20,280
Speaker 3: those bones alone movie for me. On percent it ruined

1517
01:22:20,320 --> 01:22:22,519
Speaker 3: my life when I was a kid. It continues to

1518
01:22:22,720 --> 01:22:25,080
Speaker 3: suck as an adult and make me scared.

1519
01:22:24,760 --> 01:22:25,599
Speaker 1: Of every moment.

1520
01:22:27,479 --> 01:22:29,840
Speaker 3: And I mean sucking that like I'm constantly scared. It

1521
01:22:29,920 --> 01:22:32,520
Speaker 3: is a fucking fantastic movie, dude.

1522
01:22:32,720 --> 01:22:37,040
Speaker 1: So weird, so reminds me of being a kid and

1523
01:22:37,120 --> 01:22:39,479
Speaker 1: the best way. And I hadn't seen it in a

1524
01:22:39,520 --> 01:22:42,679
Speaker 1: long time, So thank you so much. I like literally

1525
01:22:42,920 --> 01:22:45,280
Speaker 1: was like, this is not the same movie that I

1526
01:22:45,320 --> 01:22:46,960
Speaker 1: watched twenty years ago. I don't know what the fuck

1527
01:22:47,080 --> 01:22:49,800
Speaker 1: is going on here, but it was enjoyable. It was like,

1528
01:22:49,960 --> 01:22:51,599
Speaker 1: I love it. It's so good.

1529
01:22:51,680 --> 01:22:54,280
Speaker 3: There was so much that I didn't remember because I'm

1530
01:22:54,320 --> 01:22:57,240
Speaker 3: thinking about Marty ripping his face apart with his bare hands.

1531
01:22:57,439 --> 01:22:58,800
Speaker 1: Yeah, so I forget the.

1532
01:22:58,760 --> 01:23:02,679
Speaker 3: Details of like oh, the parent were high.

1533
01:23:03,120 --> 01:23:06,960
Speaker 1: I also love that like like late in the movie,

1534
01:23:07,160 --> 01:23:10,960
Speaker 1: Joe Beth. Look when she's doing the like litel Ritchie

1535
01:23:11,200 --> 01:23:15,000
Speaker 1: danced on the ceiling shit with her like little her

1536
01:23:15,000 --> 01:23:18,040
Speaker 1: little night shirt. How come they don't make night shirts anymore?

1537
01:23:18,080 --> 01:23:20,000
Speaker 1: Do you remember that? Like they just make like giant

1538
01:23:20,160 --> 01:23:21,800
Speaker 1: T shirts that you slept in.

1539
01:23:22,560 --> 01:23:25,840
Speaker 2: They do still make them, they do. Yeah, I've got

1540
01:23:25,880 --> 01:23:26,200
Speaker 2: a couple.

1541
01:23:26,600 --> 01:23:29,160
Speaker 1: But yeah, I'm talking about with like you know, football

1542
01:23:29,240 --> 01:23:33,080
Speaker 1: numbers or maybe like oh rainbow bright or some shit like, No,

1543
01:23:33,160 --> 01:23:33,960
Speaker 1: they're not cute.

1544
01:23:34,439 --> 01:23:36,320
Speaker 3: They still make them, Okay, And they still make those

1545
01:23:36,320 --> 01:23:37,919
Speaker 3: granny robes with like the ruffles.

1546
01:23:38,240 --> 01:23:40,679
Speaker 2: Ooh, got a couple of those.

1547
01:23:41,000 --> 01:23:43,599
Speaker 1: Okay, I gotta I gotta look this up. I need

1548
01:23:43,640 --> 01:23:49,400
Speaker 1: to type in the Google starts giant night shirt nineteen eighties, see.

1549
01:23:49,280 --> 01:23:50,320
Speaker 2: Christmas is coming?

1550
01:23:50,840 --> 01:23:56,680
Speaker 3: Yes, well your movie is also, I mean this was

1551
01:23:56,760 --> 01:23:59,439
Speaker 3: My movie was like Cannon, leave your leave those bones alone.

1552
01:23:59,600 --> 01:24:02,520
Speaker 2: Your movie is definitely.

1553
01:24:04,120 --> 01:24:08,479
Speaker 3: More wide reaching, sweeping, leave those bones alone, Leave.

1554
01:24:08,360 --> 01:24:10,080
Speaker 2: Those bones alone. Across the generation.

1555
01:24:10,600 --> 01:24:20,000
Speaker 1: Yeah, across an entire fucking town. So my movie for

1556
01:24:20,120 --> 01:24:25,679
Speaker 1: the theme leave those Bones Alone from nineteen ninety six,

1557
01:24:26,680 --> 01:24:30,400
Speaker 1: written and directed by the I Saw What You Did

1558
01:24:30,479 --> 01:24:35,400
Speaker 1: Crush John Sales. It's called Lone Star.

1559
01:24:36,000 --> 01:24:38,639
Speaker 3: If we found a body out by Fort Mackenzie yesterday.

1560
01:24:38,920 --> 01:24:40,960
Speaker 1: You got any idea who might have put him there?

1561
01:24:41,080 --> 01:24:43,040
Speaker 1: A hell of a time to bring up old business.

1562
01:24:43,320 --> 01:24:46,639
Speaker 1: So one sentenced synopsis right up top, just to get

1563
01:24:46,720 --> 01:24:51,160
Speaker 1: us all established. Here, a border town sheriff discovers a

1564
01:24:51,280 --> 01:24:55,320
Speaker 1: host of haunting details about the death of his police

1565
01:24:55,400 --> 01:25:04,280
Speaker 1: chief father. Okay, so a little bit different than Poulter guys,

1566
01:25:04,320 --> 01:25:06,800
Speaker 1: I mean, it's still it's a neo noir western, right.

1567
01:25:06,880 --> 01:25:10,759
Speaker 1: This is a favorite genre hybrid genre of mine. Obviously

1568
01:25:10,840 --> 01:25:13,360
Speaker 1: we've done like No Country for Old Men and Blood Simple.

1569
01:25:13,960 --> 01:25:19,240
Speaker 1: If there's a murder in the deserts, I'm there. I

1570
01:25:20,920 --> 01:25:25,400
Speaker 1: love it. And this film was obviously made in Texas,

1571
01:25:26,040 --> 01:25:33,680
Speaker 1: primarily Del Rio, Laredo and Eagle Pass. And the concept

1572
01:25:33,720 --> 01:25:38,000
Speaker 1: of the border town is what this movie is about

1573
01:25:38,160 --> 01:25:41,719
Speaker 1: in so many ways. Right, it's a kind of narrative

1574
01:25:41,760 --> 01:25:46,519
Speaker 1: through line throughout the entire film. So here's what we're

1575
01:25:46,560 --> 01:25:48,120
Speaker 1: gonna do. We're just gonna go through a couple of

1576
01:25:48,120 --> 01:25:51,439
Speaker 1: beats of the movie and we'll talk about the weird ending,

1577
01:25:51,479 --> 01:25:54,360
Speaker 1: but not give it away. Hopefully that can happen. Maybe

1578
01:25:54,360 --> 01:25:57,479
Speaker 1: we can dance around it a little bit. I don't know,

1579
01:25:58,760 --> 01:26:01,360
Speaker 1: because obviously want everybody see this movie, but the ending

1580
01:26:01,439 --> 01:26:04,080
Speaker 1: is so massively weird and I don't I want to

1581
01:26:04,120 --> 01:26:05,639
Speaker 1: talk about it, but I also don't want to give

1582
01:26:05,640 --> 01:26:06,519
Speaker 1: it away. So we'll see.

1583
01:26:06,600 --> 01:26:09,280
Speaker 2: I know, we'll see what happens because I'm the same boat.

1584
01:26:09,560 --> 01:26:13,240
Speaker 1: Let's feel it out. Okay. So at the beginning of

1585
01:26:13,479 --> 01:26:17,479
Speaker 1: Lone Star, there's like two men that are kind of

1586
01:26:17,560 --> 01:26:19,920
Speaker 1: out in the desert with their fucking metal detector and

1587
01:26:19,960 --> 01:26:22,120
Speaker 1: they're on this kind of old shooting range, and then

1588
01:26:22,160 --> 01:26:32,679
Speaker 1: they discover a human skull, which is like worse than

1589
01:26:32,760 --> 01:26:36,280
Speaker 1: finding like a like a bone another bone. I feel like,

1590
01:26:36,320 --> 01:26:39,240
Speaker 1: if you find a skull, that is.

1591
01:26:39,200 --> 01:26:43,400
Speaker 3: Like really bad, right, Like the difference is, oh, I

1592
01:26:43,439 --> 01:26:48,200
Speaker 3: found a femur that sucks. Yeah, But if you find

1593
01:26:48,200 --> 01:26:51,160
Speaker 3: a skull, say goodbye to your weekend.

1594
01:26:51,320 --> 01:26:51,519
Speaker 2: Yeah.

1595
01:26:51,560 --> 01:26:53,160
Speaker 1: I was gonna say, like, if it's like a little

1596
01:26:53,200 --> 01:26:55,880
Speaker 1: filangy or something, it's like I could technically be a

1597
01:26:55,920 --> 01:26:58,880
Speaker 1: chicken wing, you don't know. But if you find a skull,

1598
01:26:59,439 --> 01:27:05,000
Speaker 1: the game has been upped considerably in my mind. So

1599
01:27:05,200 --> 01:27:08,080
Speaker 1: and not only that. Okay, So they find this skull,

1600
01:27:08,120 --> 01:27:11,160
Speaker 1: but then they also find a Masonic ring. Don't want

1601
01:27:11,200 --> 01:27:14,360
Speaker 1: to find any of that shit, any kind of masonry,

1602
01:27:14,920 --> 01:27:20,240
Speaker 1: like weird skull and crossbones, fucking George w. Bush shit.

1603
01:27:20,320 --> 01:27:22,679
Speaker 1: You don't want to find any any remnants of those

1604
01:27:22,680 --> 01:27:24,400
Speaker 1: secret society things happening.

1605
01:27:24,479 --> 01:27:26,840
Speaker 3: If you find a skull and a marker of a

1606
01:27:26,880 --> 01:27:30,800
Speaker 3: secret society, you could you couldn't jump in enough. Holy

1607
01:27:30,840 --> 01:27:32,559
Speaker 3: Water declines, what's about to happen to you?

1608
01:27:32,720 --> 01:27:35,519
Speaker 1: No way, Like I was already running with the skull,

1609
01:27:35,560 --> 01:27:38,040
Speaker 1: but then you throw some fucking free Mason shit in there,

1610
01:27:38,040 --> 01:27:42,080
Speaker 1: and you're like buye, Like no, And then they also

1611
01:27:42,160 --> 01:27:45,120
Speaker 1: find this rusty share of spash, so this is not good,

1612
01:27:45,200 --> 01:27:48,960
Speaker 1: like this entirely, like like within ten minutes of the

1613
01:27:49,000 --> 01:27:51,120
Speaker 1: movie starting, you're like, oh my god, this is insane.

1614
01:27:51,200 --> 01:27:54,080
Speaker 1: I would run. Oh and they also find an old bullet,

1615
01:27:54,200 --> 01:27:57,080
Speaker 1: Like what in the world is just very There's a

1616
01:27:57,120 --> 01:28:00,560
Speaker 1: lot going on, A story has been set up, obviously,

1617
01:28:01,439 --> 01:28:03,479
Speaker 1: So what ends up happening is they call it in

1618
01:28:04,320 --> 01:28:09,400
Speaker 1: and then they figure out that this the skull belongs

1619
01:28:09,439 --> 01:28:15,880
Speaker 1: to the notorious townshriff Charlie Wade, who in nineteen fifty

1620
01:28:15,920 --> 01:28:22,240
Speaker 1: seven disappeared under mysterious circumstances alongside like a shit ton

1621
01:28:22,280 --> 01:28:26,040
Speaker 1: of government money. Okay, so this is what's happening here

1622
01:28:26,200 --> 01:28:29,200
Speaker 1: is that they're like, oh my god, it's Charlie Wade.

1623
01:28:29,400 --> 01:28:33,000
Speaker 1: Oh and also he's been missing for fifty years and

1624
01:28:33,280 --> 01:28:35,799
Speaker 1: so is a lot of money, like taxpayer money.

1625
01:28:36,160 --> 01:28:36,439
Speaker 2: Right.

1626
01:28:37,120 --> 01:28:39,840
Speaker 1: So here's what fucks me up about this Charlie Wade thing. So,

1627
01:28:39,880 --> 01:28:42,320
Speaker 1: now the movie sort of moves back and forth between

1628
01:28:42,400 --> 01:28:46,599
Speaker 1: like the present day and then the past. Okay, Charlie

1629
01:28:46,600 --> 01:28:53,040
Speaker 1: Wade in the past is played by Chris Christopherson. This

1630
01:28:53,320 --> 01:29:01,400
Speaker 1: fucked me up because I love Chris Christopherson. I think

1631
01:29:01,439 --> 01:29:04,000
Speaker 1: he's like one of the most decent human beings to

1632
01:29:04,040 --> 01:29:09,639
Speaker 1: ever lived as of this recording, right, But he's.

1633
01:29:09,520 --> 01:29:11,479
Speaker 2: A real motherfucking bastard in this movie.

1634
01:29:11,520 --> 01:29:14,880
Speaker 1: Oh. I was like, if you thought he was a

1635
01:29:15,000 --> 01:29:18,320
Speaker 1: dreamboat and Alice doesn't live here anymore and you just

1636
01:29:18,360 --> 01:29:23,040
Speaker 1: have kept that. And if you remember him consoling Sinead

1637
01:29:23,040 --> 01:29:26,240
Speaker 1: O'Connor on stage when she got booed, you will be like,

1638
01:29:26,760 --> 01:29:29,120
Speaker 1: I don't want to see my man like this, because

1639
01:29:29,120 --> 01:29:35,800
Speaker 1: he is a motherfucking prick in this movie. You know,

1640
01:29:35,920 --> 01:29:40,880
Speaker 1: ruin your vibe of Chris Chrisofferson. So, because here's the thing,

1641
01:29:41,000 --> 01:29:45,920
Speaker 1: Charlie Wade is a corrupt, racist, scumbag. He's been terrorizing

1642
01:29:45,960 --> 01:29:49,920
Speaker 1: the towns like black and Mexican residents for years. He's

1643
01:29:49,960 --> 01:29:54,200
Speaker 1: basically like that shitty white sheriff in this border town

1644
01:29:54,240 --> 01:29:58,879
Speaker 1: who's basically like a real motherfucker killing people in cold blood,

1645
01:29:59,000 --> 01:30:02,400
Speaker 1: like demanding money from business owners. He like forces the

1646
01:30:02,479 --> 01:30:04,559
Speaker 1: other people that work for him to like do his

1647
01:30:04,640 --> 01:30:08,080
Speaker 1: bidding and stuff. I mean, it's like awful, right, He's

1648
01:30:08,120 --> 01:30:12,040
Speaker 1: the worst. And then it kind of cuts to modern

1649
01:30:12,080 --> 01:30:17,000
Speaker 1: times where the actor Chris Cooper, who has been in

1650
01:30:17,040 --> 01:30:20,840
Speaker 1: a lot of John Sales films, he plays this local

1651
01:30:20,840 --> 01:30:27,160
Speaker 1: police officer named Sam deads Okay. Now, Sam is the

1652
01:30:27,200 --> 01:30:32,240
Speaker 1: son of another famous law man, Buddy Deeds, who worked

1653
01:30:32,240 --> 01:30:37,040
Speaker 1: with Charlie Wade. And in flashback he's played by Matthew McConaughey.

1654
01:30:38,360 --> 01:30:41,840
Speaker 1: So in these flashback sequences you're seeing like Matthew McConaughey

1655
01:30:41,880 --> 01:30:45,000
Speaker 1: and Chris Christofferson interact within this like sheriff's department in

1656
01:30:45,000 --> 01:30:49,719
Speaker 1: this town. Okay, And after Charlie Wade went missing, Buddy

1657
01:30:50,640 --> 01:30:55,880
Speaker 1: Matthew's character is like now the sheriff. So basically after

1658
01:30:55,920 --> 01:31:01,120
Speaker 1: Buddy dies, then Sam takes over. And the interesting thing

1659
01:31:01,200 --> 01:31:05,920
Speaker 1: about Sam, the Chris Cooper character is that he's like, so,

1660
01:31:05,960 --> 01:31:09,360
Speaker 1: my dad is this legend. There's a statue of him

1661
01:31:09,439 --> 01:31:13,080
Speaker 1: now in our town, but I could not give two

1662
01:31:13,120 --> 01:31:15,479
Speaker 1: fucks about being a cop. Like he's basically like, oh,

1663
01:31:15,520 --> 01:31:18,240
Speaker 1: I gotta be a cop because my dad was a cop.

1664
01:31:18,640 --> 01:31:20,320
Speaker 2: And he's like, I could also give two folks about

1665
01:31:20,320 --> 01:31:20,679
Speaker 2: my dad.

1666
01:31:21,240 --> 01:31:22,880
Speaker 1: Yes, That's the only thing is that he's just like,

1667
01:31:22,920 --> 01:31:26,280
Speaker 1: who gives a shit about my fucking dad. They're like, hey, Sam,

1668
01:31:26,400 --> 01:31:28,439
Speaker 1: once you come to the unveiling of the statue that

1669
01:31:28,479 --> 01:31:30,160
Speaker 1: we're doing for your dad, He's like, do I have to?

1670
01:31:30,840 --> 01:31:31,360
Speaker 1: I don't care.

1671
01:31:32,320 --> 01:31:36,599
Speaker 2: Is that around dinner time? Because I don't know.

1672
01:31:37,280 --> 01:31:40,160
Speaker 1: And that's the thing is that, like this isn't like

1673
01:31:40,280 --> 01:31:42,960
Speaker 1: a theme that is gonna run throughout this film. Is

1674
01:31:43,000 --> 01:31:50,600
Speaker 1: this sort of like intergenerational story like of trauma of

1675
01:31:51,400 --> 01:31:56,800
Speaker 1: inheriting bullshit from your ancestors. And you know, Sam is

1676
01:31:56,880 --> 01:32:01,439
Speaker 1: kind of like this unwilling participant in his dad's legacy

1677
01:32:01,960 --> 01:32:06,200
Speaker 1: right and doesn't really know much about him. And again

1678
01:32:06,320 --> 01:32:11,040
Speaker 1: he's worked with this like really notoriously shitty dude who

1679
01:32:11,240 --> 01:32:14,479
Speaker 1: is missing and no one kind of knows what happened

1680
01:32:14,479 --> 01:32:17,559
Speaker 1: to him. So essentially he's like Okay, well, I guess

1681
01:32:17,600 --> 01:32:20,960
Speaker 1: that's my cross to bear, is to be the son

1682
01:32:21,000 --> 01:32:24,360
Speaker 1: of this like famous cop. But he's interested in kind

1683
01:32:24,400 --> 01:32:29,599
Speaker 1: of solving the mystery about the Charlie Wade skull because

1684
01:32:29,640 --> 01:32:32,160
Speaker 1: he's like, Okay, well, I have to I guess I

1685
01:32:32,240 --> 01:32:34,879
Speaker 1: have to do law now and figure out this bullshit.

1686
01:32:35,880 --> 01:32:38,360
Speaker 3: But then now that i'm bones, because that's what happens

1687
01:32:38,360 --> 01:32:40,120
Speaker 3: when you have bones, you have to look into it.

1688
01:32:40,479 --> 01:32:42,240
Speaker 1: You've got you can't just like turn a blin out

1689
01:32:42,280 --> 01:32:45,519
Speaker 1: of those bones. He's the sheriff. Now he's like, I

1690
01:32:45,560 --> 01:32:48,320
Speaker 1: gotta do something with this. So at the same time,

1691
01:32:48,400 --> 01:32:51,000
Speaker 1: I think he does sort of develop a curiosity about

1692
01:32:51,000 --> 01:32:53,960
Speaker 1: his own dad, and he starts finding out more and

1693
01:32:54,040 --> 01:32:58,519
Speaker 1: more about like the ways in which his father and

1694
01:32:58,560 --> 01:33:01,720
Speaker 1: then the people in the town are sort of related.

1695
01:33:01,760 --> 01:33:05,559
Speaker 1: They're interconnected in some way, right, because there's all these

1696
01:33:05,600 --> 01:33:08,920
Speaker 1: different people in the town. So there's this woman named

1697
01:33:09,040 --> 01:33:15,479
Speaker 1: Polar who is played by the gorgeous Elizabeth Pania, who

1698
01:33:15,560 --> 01:33:19,680
Speaker 1: died way too young. And when I saw her, like,

1699
01:33:19,720 --> 01:33:21,920
Speaker 1: I mean, obviously like I love La Bamba, I love

1700
01:33:21,960 --> 01:33:23,760
Speaker 1: a lot of movies that she's been in. But then

1701
01:33:23,760 --> 01:33:25,200
Speaker 1: I saw her in this movie, and I was just

1702
01:33:25,320 --> 01:33:29,200
Speaker 1: was like my heart was hurting for her. She was

1703
01:33:29,200 --> 01:33:32,880
Speaker 1: such a wonderful actress and beautiful and very soulful. I

1704
01:33:32,920 --> 01:33:37,040
Speaker 1: love her in this movie. But basically, you know, Polar

1705
01:33:37,439 --> 01:33:40,360
Speaker 1: and Sam dated in high school and it was this

1706
01:33:40,520 --> 01:33:42,920
Speaker 1: kind of fucked up situation because they were in a

1707
01:33:43,040 --> 01:33:45,280
Speaker 1: racial couple and he was afraid of like what his

1708
01:33:45,360 --> 01:33:47,000
Speaker 1: dad was going to say or what the community was

1709
01:33:47,040 --> 01:33:49,960
Speaker 1: going to say. You know. Meanwhile, she's got this mom

1710
01:33:50,560 --> 01:33:55,320
Speaker 1: named Mercedes who is like the boss bitch in town.

1711
01:33:56,360 --> 01:34:01,639
Speaker 1: And essentially it's sort of like really you know, quick

1712
01:34:01,800 --> 01:34:05,559
Speaker 1: to americanize, Like there's this inn there. Again. This is

1713
01:34:05,560 --> 01:34:08,439
Speaker 1: the thing about John Sales. We talked about this in

1714
01:34:08,760 --> 01:34:13,040
Speaker 1: Brother from Another Planet, Right. He has themes of immigration

1715
01:34:13,320 --> 01:34:15,559
Speaker 1: and of you know, what it means to be an

1716
01:34:15,560 --> 01:34:20,320
Speaker 1: American and the ways in which kind of the races

1717
01:34:20,360 --> 01:34:24,679
Speaker 1: are interacting in communities, right, And I feel like interested

1718
01:34:24,720 --> 01:34:28,920
Speaker 1: in borders and yes, one hundred percent, And I feel

1719
01:34:28,920 --> 01:34:31,280
Speaker 1: like that plays out a lot with this Mercedes character,

1720
01:34:31,360 --> 01:34:35,839
Speaker 1: the woman who plays Elizabeth Payne's mom in the film,

1721
01:34:36,280 --> 01:34:38,720
Speaker 1: and just about the ways in which she's just very

1722
01:34:38,800 --> 01:34:42,200
Speaker 1: quick to like become American. And you know, I got

1723
01:34:42,240 --> 01:34:44,280
Speaker 1: to say, like I've seen that in my own family,

1724
01:34:45,120 --> 01:34:47,880
Speaker 1: and so her character like really kind of like hits

1725
01:34:47,880 --> 01:34:50,160
Speaker 1: a chord for me, I think when I watch this movie.

1726
01:34:50,840 --> 01:34:54,360
Speaker 1: But the thing about it, and this is this is

1727
01:34:54,439 --> 01:34:57,559
Speaker 1: the whole movie in and of itself, is that you've

1728
01:34:57,600 --> 01:35:02,719
Speaker 1: got this border town that has it's a mixture of black,

1729
01:35:02,840 --> 01:35:05,960
Speaker 1: white to hano Native American. They're all in kind of

1730
01:35:06,000 --> 01:35:11,439
Speaker 1: this constant soup together existing in this town which forever

1731
01:35:11,560 --> 01:35:15,479
Speaker 1: has been run by like a small white majority, right,

1732
01:35:16,200 --> 01:35:21,000
Speaker 1: And there's a lot of very very interesting pression topics

1733
01:35:21,000 --> 01:35:24,200
Speaker 1: that are being brought up, like immigration and sort of

1734
01:35:24,280 --> 01:35:28,519
Speaker 1: like indigenous histories and American identity. Like I said, there's

1735
01:35:28,520 --> 01:35:32,400
Speaker 1: this like actual one scene in the film that it's

1736
01:35:32,439 --> 01:35:36,040
Speaker 1: basically polar at her school and she's amongst all these

1737
01:35:36,080 --> 01:35:38,720
Speaker 1: teachers and there's like all these parents that are in

1738
01:35:38,760 --> 01:35:41,160
Speaker 1: the classroom and they're kind of talking about like critical

1739
01:35:41,240 --> 01:35:41,800
Speaker 1: race theory.

1740
01:35:42,360 --> 01:35:46,120
Speaker 2: Yeah, that was fascinating. That was a fascinating scene.

1741
01:35:46,360 --> 01:35:48,919
Speaker 1: Yeah, And it's just like nineteen ninety six. I mean, obviously,

1742
01:35:49,040 --> 01:35:52,719
Speaker 1: like critical race theory has existed for a lot longer

1743
01:35:52,760 --> 01:35:55,760
Speaker 1: than now, but you know, just to think about how

1744
01:35:55,800 --> 01:35:58,160
Speaker 1: that's such a hot button issue at this moment in

1745
01:35:58,200 --> 01:36:01,200
Speaker 1: our in our culture is it's very interesting to watch the.

1746
01:36:01,280 --> 01:36:04,240
Speaker 3: Scene and to see people back in you know, ninety

1747
01:36:04,280 --> 01:36:07,400
Speaker 3: six when this movie came out having the same arguments yea,

1748
01:36:07,400 --> 01:36:09,440
Speaker 3: because the needle has not moved.

1749
01:36:09,760 --> 01:36:14,599
Speaker 1: Yeah, yep, one hundred percent. It's very interesting. But again,

1750
01:36:14,720 --> 01:36:17,280
Speaker 1: like you know, talking about the sort of generational trauma

1751
01:36:17,320 --> 01:36:20,160
Speaker 1: thing again, because there's kind of like different stories happening.

1752
01:36:20,160 --> 01:36:23,479
Speaker 1: There's obviously like Sam's story, there's Pilar's story. There's also

1753
01:36:23,520 --> 01:36:28,120
Speaker 1: the story between Otis and Denmore Payne, who was you know,

1754
01:36:28,400 --> 01:36:31,679
Speaker 1: played by of course Joe Morton who was in many

1755
01:36:31,720 --> 01:36:35,840
Speaker 1: other Sales movies as well, and Ron Canada, and Ron

1756
01:36:35,880 --> 01:36:39,200
Speaker 1: Canada plays his dad, and they're kind of this strange

1757
01:36:39,240 --> 01:36:43,200
Speaker 1: father and son. So Joe Morton's character is this like

1758
01:36:43,280 --> 01:36:47,080
Speaker 1: high ranking military officer who comes back to this town

1759
01:36:47,160 --> 01:36:49,840
Speaker 1: where he grew up with his wife and his son

1760
01:36:50,520 --> 01:36:52,880
Speaker 1: and his father is still there. He runs like a

1761
01:36:52,920 --> 01:36:54,760
Speaker 1: bar in town and they just have like a very

1762
01:36:54,880 --> 01:36:59,599
Speaker 1: strange relationship. So there's that thing too of like again,

1763
01:37:00,160 --> 01:37:06,759
Speaker 1: fathers and sons, mothers and daughters, different people within different

1764
01:37:06,840 --> 01:37:09,840
Speaker 1: generations kind of coming together. And I also think it's

1765
01:37:09,920 --> 01:37:14,760
Speaker 1: like really interesting too that Lone Star talks like it's

1766
01:37:14,800 --> 01:37:17,640
Speaker 1: not lost on me that, like we're talking about like

1767
01:37:18,360 --> 01:37:23,639
Speaker 1: law enforcement in the military, where there are oftentimes multi

1768
01:37:23,800 --> 01:37:27,400
Speaker 1: generations of people who take these jobs because their fathers

1769
01:37:27,479 --> 01:37:29,680
Speaker 1: or mothers or grandparents were either cops or in the

1770
01:37:29,760 --> 01:37:32,000
Speaker 1: armed forces. And so I think that kind of also

1771
01:37:32,080 --> 01:37:36,240
Speaker 1: lends itself to this theme right of like families and

1772
01:37:36,360 --> 01:37:41,360
Speaker 1: inheriting things, and you know, what my dad did is

1773
01:37:41,360 --> 01:37:43,479
Speaker 1: not what I want to do, or vice versa, you

1774
01:37:43,479 --> 01:37:47,320
Speaker 1: know what I mean. But yeah, I mean this movie

1775
01:37:47,360 --> 01:37:52,599
Speaker 1: is very textured. It's there's a fantastic cast, Like I said,

1776
01:37:52,640 --> 01:37:56,720
Speaker 1: I mean, obviously Joe Morton, Elizabeth Pania, Chris Cooper. Then

1777
01:37:56,760 --> 01:37:59,519
Speaker 1: you know, you've got like Chris Christopherson and McConaughey. But

1778
01:37:59,600 --> 01:38:02,920
Speaker 1: then you've got this like very brief, memorable cameo by

1779
01:38:02,920 --> 01:38:10,519
Speaker 1: Francis McDorman, who is the biggest football fan in the

1780
01:38:10,560 --> 01:38:16,559
Speaker 1: history of the world. Like so cool.

1781
01:38:17,160 --> 01:38:19,559
Speaker 2: She makes the coolest choice, is I swear to you?

1782
01:38:19,840 --> 01:38:21,600
Speaker 1: I know, She's like, I need you to be a

1783
01:38:21,640 --> 01:38:24,160
Speaker 1: total freakinist film France has come on over. She's like, sure,

1784
01:38:24,200 --> 01:38:31,240
Speaker 1: I'll be there, no problem. But yeah, and also it

1785
01:38:31,640 --> 01:38:35,559
Speaker 1: made me remember because I don't know about you. Chris

1786
01:38:35,640 --> 01:38:40,400
Speaker 1: Cooper is such a great actor, and he's obviously been

1787
01:38:40,439 --> 01:38:44,240
Speaker 1: in a number of John Sales movies like Mate Wan

1788
01:38:44,360 --> 01:38:49,679
Speaker 1: and stuff. But like, for the longest time he hit

1789
01:38:49,880 --> 01:38:55,080
Speaker 1: he was an absolute scary white devil because of American

1790
01:38:55,120 --> 01:38:58,479
Speaker 1: Beauty and him in his Nazi plate And I was

1791
01:38:58,560 --> 01:39:02,360
Speaker 1: just like Chris Cooper as scary as shit, like because

1792
01:39:02,400 --> 01:39:05,400
Speaker 1: I only remembered him really from American Beauty where he

1793
01:39:05,439 --> 01:39:09,400
Speaker 1: playsh the weird dad with.

1794
01:39:09,360 --> 01:39:11,800
Speaker 3: The Nazi then he but then he turned around and

1795
01:39:11,840 --> 01:39:14,400
Speaker 3: did that unbelievable performance and adaptation.

1796
01:39:15,040 --> 01:39:18,960
Speaker 1: Yes, so if you only know him as the Nazi

1797
01:39:18,960 --> 01:39:23,800
Speaker 1: plate dad for American Beauty, like the other things are

1798
01:39:23,800 --> 01:39:26,120
Speaker 1: going to right that wrong for you, because he's so

1799
01:39:26,240 --> 01:39:27,240
Speaker 1: great in this movie.

1800
01:39:27,360 --> 01:39:31,519
Speaker 3: Like he's fantastic. He's such a fantastic actor. He really

1801
01:39:31,640 --> 01:39:35,920
Speaker 3: was wonderful, very versatile, very emotional, and I thought, I

1802
01:39:35,960 --> 01:39:40,200
Speaker 3: thought he really he carried he carried this movie to

1803
01:39:40,280 --> 01:39:43,360
Speaker 3: a place where it was easier for me to tap

1804
01:39:43,400 --> 01:39:47,880
Speaker 3: into the emotional life of someone who is conscribed to

1805
01:39:47,920 --> 01:39:51,080
Speaker 3: these social structures, because I think that's what like, as

1806
01:39:51,080 --> 01:39:53,000
Speaker 3: you have said, like John Sales does this very well

1807
01:39:53,040 --> 01:39:56,160
Speaker 3: where he looks at the combiny, not just individually looking

1808
01:39:56,200 --> 01:39:59,599
Speaker 3: at borders and geography and legacy and class and race,

1809
01:40:00,000 --> 01:40:01,559
Speaker 3: but he kind of looks at them and how they

1810
01:40:01,560 --> 01:40:04,040
Speaker 3: play off of each other, and it's just it's very

1811
01:40:04,160 --> 01:40:04,879
Speaker 3: very interesting.

1812
01:40:05,200 --> 01:40:09,480
Speaker 1: Yeah, and like the ending of this film, now.

1813
01:40:11,080 --> 01:40:13,479
Speaker 2: I say we go for it, all right, let's go

1814
01:40:13,600 --> 01:40:13,880
Speaker 2: for it.

1815
01:40:13,920 --> 01:40:16,160
Speaker 1: Okay, you don't want to know the ending of this movie.

1816
01:40:17,600 --> 01:40:19,800
Speaker 2: Bye this week.

1817
01:40:20,200 --> 01:40:22,639
Speaker 1: We're almost towards the end anyway, won't be missing much,

1818
01:40:23,920 --> 01:40:25,960
Speaker 1: so let's talk about the ending. So the ending of

1819
01:40:26,000 --> 01:40:31,799
Speaker 1: this movie is fucking wild. You know, Polar Elizabeth Payna

1820
01:40:32,000 --> 01:40:36,000
Speaker 1: and Chris Cooper Sam are effectively back together. They have like,

1821
01:40:36,400 --> 01:40:39,640
Speaker 1: you know, they have a reconnection point. They get it

1822
01:40:39,680 --> 01:40:45,040
Speaker 1: on and now, yeah, she has a son, and then

1823
01:40:45,360 --> 01:40:50,439
Speaker 1: they're like basically thinking, yeah, let's get back together in

1824
01:40:50,439 --> 01:40:52,680
Speaker 1: a more meaningful way because when we were kids, there

1825
01:40:52,680 --> 01:40:56,080
Speaker 1: was always like mired in this bullshit about us being

1826
01:40:56,080 --> 01:40:58,599
Speaker 1: an interracial couple and blah blah blah blah. So as

1827
01:40:58,640 --> 01:41:04,240
Speaker 1: it gets discovered, turns out Buddy aka Sam's dad had

1828
01:41:04,280 --> 01:41:08,880
Speaker 1: an affair with Pilar's mom, Mercedes.

1829
01:41:09,680 --> 01:41:12,439
Speaker 3: And the way this comes out is him basically saying,

1830
01:41:13,600 --> 01:41:15,280
Speaker 3: who was your dad? And she says, Oh, it's a

1831
01:41:15,320 --> 01:41:20,360
Speaker 3: Ladio Cruz and he's like, hm, based on the timeline,

1832
01:41:21,000 --> 01:41:24,800
Speaker 3: that's not true because you were born a year and

1833
01:41:24,800 --> 01:41:26,519
Speaker 3: a half after he died.

1834
01:41:27,479 --> 01:41:31,080
Speaker 1: And here's a picture that shows my dad. Y're chilling

1835
01:41:31,200 --> 01:41:37,559
Speaker 1: with your family. So that effectively makes Sam and Pilar

1836
01:41:38,520 --> 01:41:39,880
Speaker 1: half siblings.

1837
01:41:40,840 --> 01:41:43,120
Speaker 2: Yes, And what's shocking about that.

1838
01:41:43,200 --> 01:41:44,840
Speaker 3: It's not shocking that people kept that kind of a

1839
01:41:44,880 --> 01:41:47,400
Speaker 3: secret back then, or that they were actually siblings. What's

1840
01:41:47,400 --> 01:41:49,800
Speaker 3: shocking to me about it is that they're both kind

1841
01:41:49,800 --> 01:41:52,640
Speaker 3: of like, from the way I interpreted the ending, is

1842
01:41:52,680 --> 01:41:54,759
Speaker 3: that they're both kind of like, oh, well, shit happens,

1843
01:41:54,840 --> 01:41:55,519
Speaker 3: let's go fuck.

1844
01:41:55,960 --> 01:42:04,200
Speaker 1: Yeah exactly. I was like, uh, and it's chill, y'all

1845
01:42:04,200 --> 01:42:05,639
Speaker 1: are chill chill.

1846
01:42:06,680 --> 01:42:12,479
Speaker 3: There's no there's not even enough surprise from Pilar. I'm like, wait,

1847
01:42:12,520 --> 01:42:16,160
Speaker 3: what my dad? Is it my dad? It's just like, yeah,

1848
01:42:16,240 --> 01:42:17,719
Speaker 3: oh well, let's.

1849
01:42:17,479 --> 01:42:18,400
Speaker 2: Get down a bone.

1850
01:42:18,439 --> 01:42:25,160
Speaker 1: In now, as a middle aged person, there's a moment

1851
01:42:25,200 --> 01:42:28,719
Speaker 1: where I think, okay, I'm running around with my kid.

1852
01:42:29,439 --> 01:42:31,680
Speaker 1: I haven't you know, got laid in a while. Oh,

1853
01:42:31,720 --> 01:42:33,640
Speaker 1: here's this guy from my high school that's back in

1854
01:42:33,680 --> 01:42:36,120
Speaker 1: my life again. It's very easy to get back into

1855
01:42:36,120 --> 01:42:40,120
Speaker 1: the groove with this dude, you know, and we had

1856
01:42:40,120 --> 01:42:43,400
Speaker 1: a kind of a will there won't they scenario and

1857
01:42:43,439 --> 01:42:46,559
Speaker 1: it didn't work out. But now I'm back. Oh wait

1858
01:42:46,560 --> 01:42:52,400
Speaker 1: a second, is he now my half brother? Maybe in

1859
01:42:52,439 --> 01:42:55,360
Speaker 1: a small way, I'd be like, oh, I don't know,

1860
01:42:55,439 --> 01:42:57,639
Speaker 1: is that a big deal? But no, for the most part,

1861
01:42:57,680 --> 01:43:00,040
Speaker 1: it's like, yikes.

1862
01:43:00,360 --> 01:43:04,080
Speaker 3: You share immediate DNA. Like there is no world in

1863
01:43:04,120 --> 01:43:05,559
Speaker 3: which this is even a little bit.

1864
01:43:05,640 --> 01:43:11,479
Speaker 1: Okay, that's like, y'all better keep that secret forever until

1865
01:43:11,600 --> 01:43:15,120
Speaker 1: your skulls are in the desert. Don't tell anybody that

1866
01:43:15,120 --> 01:43:16,360
Speaker 1: you're related. Okay.

1867
01:43:16,400 --> 01:43:18,479
Speaker 3: But that's why I wanted to talk about the ending,

1868
01:43:18,520 --> 01:43:21,200
Speaker 3: because I feel like it is a major moment where

1869
01:43:21,240 --> 01:43:25,200
Speaker 3: you realize the family secrets on both sides are going

1870
01:43:25,240 --> 01:43:26,000
Speaker 3: to persist.

1871
01:43:26,479 --> 01:43:27,519
Speaker 1: Yes, exactly.

1872
01:43:27,640 --> 01:43:33,959
Speaker 3: This is a generational moment of secrecy, and each generation

1873
01:43:34,160 --> 01:43:38,160
Speaker 3: keeps creating its own secrets that cause more problems.

1874
01:43:38,520 --> 01:43:41,720
Speaker 1: Yes, uh huh. And it's and this is the thing

1875
01:43:41,800 --> 01:43:47,120
Speaker 1: is that you're absolutely right. You're like, Okay, these people

1876
01:43:47,560 --> 01:43:54,000
Speaker 1: were created in secrecy. This entire town is completely fucked

1877
01:43:54,120 --> 01:43:56,960
Speaker 1: up by people's secrets, like of people's affairs, I mean,

1878
01:43:57,000 --> 01:43:59,320
Speaker 1: even like Joe Morton's dad. You know, the reason why

1879
01:43:59,360 --> 01:44:01,040
Speaker 1: there are stranger is because he had an affair and

1880
01:44:01,120 --> 01:44:04,519
Speaker 1: like left the family. So everybody's like in this soup

1881
01:44:05,920 --> 01:44:09,760
Speaker 1: and nobody is being honest about everything, and guess what

1882
01:44:10,040 --> 01:44:15,280
Speaker 1: is just gonna keep happening forever and everbsolutely.

1883
01:44:15,560 --> 01:44:17,280
Speaker 3: That was the first thing I thought, was, like, well,

1884
01:44:17,320 --> 01:44:21,000
Speaker 3: now Pilar's son is gonna have some weird future interaction

1885
01:44:22,240 --> 01:44:25,120
Speaker 3: where he finds out that his mom and stepdad were

1886
01:44:25,160 --> 01:44:25,960
Speaker 3: brother and sister.

1887
01:44:26,520 --> 01:44:31,360
Speaker 1: Yes, and honestly, could have all this been avoided if

1888
01:44:31,400 --> 01:44:35,639
Speaker 1: people just left that fucking skull alone, leave those bones alone.

1889
01:44:37,760 --> 01:44:39,760
Speaker 1: Then he didn't have to fight out about dad and

1890
01:44:39,840 --> 01:44:44,160
Speaker 1: Charlie Wade and fucking Mercedes and like shit, all this

1891
01:44:44,360 --> 01:44:45,080
Speaker 1: shit going on.

1892
01:44:45,640 --> 01:44:50,160
Speaker 2: I'm saying, oh god, this is too much fun. Always

1893
01:44:50,240 --> 01:44:51,880
Speaker 2: leave those bones alone.

1894
01:44:51,640 --> 01:44:55,080
Speaker 1: Always, I mean you, it is just not good. Just

1895
01:44:55,240 --> 01:44:57,559
Speaker 1: leave them alone. Let him out there. Somebody else will

1896
01:44:57,560 --> 01:45:03,200
Speaker 1: buy him. Yeah, that's fine. This is such a fun week.

1897
01:45:03,840 --> 01:45:06,439
Speaker 1: This is fun. This is like a really fun topic

1898
01:45:06,479 --> 01:45:07,160
Speaker 1: to talk about.

1899
01:45:07,479 --> 01:45:10,320
Speaker 3: We'll have to maybe maybe we'll do it again because

1900
01:45:10,320 --> 01:45:12,360
Speaker 3: there's a lot of movies that fall into leave those

1901
01:45:12,360 --> 01:45:13,240
Speaker 3: books alone.

1902
01:45:13,400 --> 01:45:17,200
Speaker 1: Oh yeah, I mean we have a huge list. Okay,

1903
01:45:17,240 --> 01:45:19,360
Speaker 1: So listen. If you want to email us, we are

1904
01:45:19,360 --> 01:45:22,080
Speaker 1: at a saug pot at gmail dot com. Send us

1905
01:45:22,160 --> 01:45:24,880
Speaker 1: questions for bonus episodes. We also have a PO box

1906
01:45:24,880 --> 01:45:26,920
Speaker 1: if you want to send us handwritten letters.

1907
01:45:27,760 --> 01:45:29,519
Speaker 3: And you can find us on our social media at

1908
01:45:29,560 --> 01:45:33,559
Speaker 3: I Saw Pod on Instagram, Blue Sky, and Twitter slash x.

1909
01:45:34,240 --> 01:45:36,320
Speaker 3: You can also find the link tree that has our

1910
01:45:36,479 --> 01:45:39,040
Speaker 3: mailing address if you do want to send us a letter,

1911
01:45:39,520 --> 01:45:41,479
Speaker 3: and you can also send us a voicemail. Now. To

1912
01:45:41,520 --> 01:45:43,120
Speaker 3: play on the show, all you have to do is

1913
01:45:43,160 --> 01:45:45,840
Speaker 3: record a voice memo on your phone. Email it to

1914
01:45:45,920 --> 01:45:47,679
Speaker 3: I Saw What you Did pot at gmail dot com.

1915
01:45:47,720 --> 01:45:50,400
Speaker 3: Please make it sixty seconds or less, and please record

1916
01:45:50,400 --> 01:45:51,200
Speaker 3: it in a quiet space.

1917
01:45:51,760 --> 01:45:54,360
Speaker 1: We also have merch go to exactly wrightstore dot com

1918
01:45:54,400 --> 01:45:55,960
Speaker 1: to find it, and.

1919
01:45:55,880 --> 01:45:58,160
Speaker 3: We have bonus episodes that drop on the main feed

1920
01:45:58,560 --> 01:46:00,599
Speaker 3: every third Thursday of the month.

1921
01:46:01,720 --> 01:46:04,360
Speaker 1: Next episode, what are we watching?

1922
01:46:05,680 --> 01:46:10,679
Speaker 3: Your homework for next week is to watch Birth from

1923
01:46:10,680 --> 01:46:13,679
Speaker 3: two thousand and four and the Killing of a Sacred

1924
01:46:13,720 --> 01:46:15,480
Speaker 3: Deer from twenty seventeen.

1925
01:46:16,160 --> 01:46:18,160
Speaker 1: I'll tell you right now, this is a blind bye

1926
01:46:18,520 --> 01:46:21,200
Speaker 1: I've never seen. I've never seen either of these movies,

1927
01:46:21,640 --> 01:46:23,320
Speaker 1: and I am stoked.

1928
01:46:24,160 --> 01:46:24,840
Speaker 2: Just belave it.

1929
01:46:25,560 --> 01:46:28,679
Speaker 1: Oh, so good as always, Danielle, A fucking pleasure doing

1930
01:46:28,680 --> 01:46:29,479
Speaker 1: this podcast with you.

1931
01:46:30,160 --> 01:46:40,639
Speaker 2: I love it. Bye Hie. This has been an exactly

1932
01:46:40,680 --> 01:46:41,240
Speaker 2: right production.

1933
01:46:41,479 --> 01:46:44,960
Speaker 3: Produced by Casey O'Brien, episode mixing and theme music by

1934
01:46:45,000 --> 01:46:48,960
Speaker 3: Tom Bryfogel, artwork by Garrett Ross. Our executive producers are

1935
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Speaker 3: Georgia heart Start, Karen kil Gareff, and Daniel Kramer. You

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Speaker 3: can follow us on Instagram and Twitter at I Saw Pod,

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Speaker 3: and you can email us at I Saw What You

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Speaker 3: Did Pod at gmail